Time moves in one direction, memory in another.

The future's here already. It's just unevenly distributed.

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.

I had a list of things that science fiction, particularly American science fiction, to me seemed to do with tedious regularity. One was to not have strong female protagonists. One was to envision the future, whatever it was, as America.

I suppose I do the Japanese because I just don't know China. Chinese popular culture has never evoked that instant of, "Whoah! What's that?" that I have with Japanese popular culture.

It doesn't matter how fast your modem is if you're being shelled by ethnic separatists.

The designers [of the 1930s] were populists, you see; they were trying to give the public what it wanted. What the public wanted was the future.