If someone comes in and says, "What are you doing," if I'm honest, the answer is, "I don't know. But I'm doing THIS, don't know why."

I'm a reluctant writer of non-fiction, in part because I don't really feel qualified.

The street has its own use for things.

The deadliest bullshit is odorless, and transparent.

If there's a movie of Neuromancer, what I really want the special effects guys to do is make you see, from Case's point of view, the little acid giggies: the little lines and trails coming off of things.

I'm happiest with people who've gotten furthest from traditional ideas of nationalism.

This perpetual toggling between nothing being new, under the sun, and everything having very recently changed, absolutely, is perhaps the central driving tension of my work.