Paolo Bacigalupi

“Some things, it was better not to think about. It just made you mad and angry.”

“Mahlia knew the many voices of war from her father’s chant.”

“Her father would return from China. He’d come back with all his soldiers. He’d pick her up in his strong arms and say that he’d never meant to leave, that he hadn’t meant to sail away and leave her and her mother alone in the canals of the Drowned Cities as the Army of God and the UPF and the Freedom Militia came down like a hammer on every single person who’d ever trafficked with the peacekeepers. A stupid little dream for a stupid little war maggot. Mahlia hated herself for dreaming it. But sometimes she curled in on herself and held the stump of her right hand to her chest and pretended that none of it had happened. That her father was still here, and she still had a hand, and everything was going to get better.”

“The idea made Mahlia’s chest tighten. It was her own fantasy, the secret one she sometimes curled up to when she went to bed, knowing that it was stupid, but still wanting it, wanting it to somehow all make sense.”

“If I was strategic, I would have figured out how to get out of this place. Would have seen everything falling apart and got out while there were still ships to sail.”

“Don’t go off like that,” he said. “Makes me think you’ll just tip right off.”

“Maggot twitch, some people called it. If you’d seen much of the war, you had it. Some more. Some less. But everybody had it.”

“They’d blame a castoff just for breathing. You could be good as gold and they’d still blame you.”

“You call me castoff,” Mahlia said, “Chinese throwaway, whatever.” Amaya was trying to look away, but Mahlia had her pinned, kept her eye to eye. “My old man might have been peacekeeper, but my mom was pure Drowned Cities. You want to war like that, I’m all in.” Mahlia lifted the scarred stump of her right hand, shoved it up in Amaya’s face. “Maybe I cut you the way the Army of God cut me. See how you do with just a lucky left. How’d you like that?”

“Mahlia just waited. She was good at that. When you were a castoff, it didn’t do any good trying to talk to people, but sometimes, if you just kind of waited them out, people would get uncomfortable and feel like they had to do something.”

“Knowing all and having the necessary tools are two different things. This is hardly a hospital. We make do with what we have, and none of that is Mahlia’s fault. Tani is the victim of many evils, but Mahlia is not the beginning of that chain, nor the end. I am responsible, if anyone is.”

“Alejandro saw you looking at them.” “I’m looking at you,” Mahlia said. “That mean you’re dead, too?”

“A rush of primal satisfaction flooded Tool as his opponent surrendered to death. Blackness swamped Tool’s vision, and he let go. He had conquered. Even as he died, he conquered.”

“They were hunters. But now, as night closed in on them, and the swamp became black and hot and close, they were becoming prey.”

“A final stand, then. One last battle. At least he could say that he had fought. When he met his brothers and sisters on the far side of death, he would tell them that he had not yielded. He might have betrayed everything that they had been bred for, but he had never yielded.”

“Pain held no terror for him. Pain was, if not friend, then family, something he had grown up with in his crèche, learning to respect but never yield to. Pain was simply a message, telling him which limbs he could still use to slaughter his enemies, how far he could still run, and what his chances were in the next battle.”

“Death is not defeat, Tool told himself. We all die. Every one of us. Rip and Blade and Fear and all the rest. We all die. So what if you are the last? You were designed to be destroyed.”

“Mahlia… understood Doctor Mahfouz and his blind rush into the village. He wasn’t trying to change them. He wasn’t trying to save anyone. He was just trying to not be part of the sickness. Mahlia had thought he was stupid for walking straight into death, but now, as she lay against the pillar, she saw it differently. She thought she’d been surviving. She thought that she’d been fighting for herself. But all she’d done was create more killing, and in the end it had all led to this moment, where they bargained with a demon … not for their lives, but for their souls” (p. 403)”

“Politics is ugly. Never doubt what small men will do for great power.”

“Down an alley a washing woman has set out laundry in pans near the rubble of an old high-rise. Another is washing her body, carefully scrubbing under her sarong, its fabric clinging to her skin. Children run naked through the dirt, jumping over bits of broken concrete that were laid down more than a hundred years ago in the old Expansion. Far down the street the levees rise, holding back the sea.”

“She smiles at him, too young to know him for a stranger, and too innocent yet to care.”

“I never turned children to war," Tool said."Only because you fought on the side of wealth,”

“The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own.And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.”

“Killing isn't free. It takes something out of you every time you do it. You get their life; they get a piece of your soul. It's always a trade.”

“We are nature. Our every tinkering is nature, our every biological striving. We are what we are, and the world is ours. We are its gods. Your only difficulty is your unwillingness to unleash your potential fully upon it.”

“Don't tell me about worth," Nita said. "My father commands fleets.""The wealthy measure everything with the weight of their money." Tool leaned close. "Sadna once risked herself and the rest of her crew to help me escape from an oil fire... Your father commands fleets. And thousands of half-men, I am sure. But would he risk himself to save a single one?”

“I'm a chess piece. A pawn,' she said. 'I can be sacrificed, but I cannot be captured. To be captured would be the end of the game.”

“Water sluices away soap and grime, even some of the shame comes with it. If she were to scrub for a thousand years she would not be clean, but she is too tired to care and she has grown accustomed to scars she cannot scour away. The sweat, the alcohol, the humid salt of semen and degradation, these she can cleanse. It is enough. She is too tired to scrub harder. Too hot and too tired, always. At the end of her rinsing, she is happy to find a little water left in the bucket. She dips one ladleful and drinks it, gulping. And then in a wasteful, unrestrained gesture, she upends the bucket over her head in one glorious cathartic rush. In that moment, between the touch of the water, and the splash as it pools around her toes, she is clean.”

“Crew up, Nailer!" Lucky Girl shouted. "You think I'm going to pull your ass up here like a damn swank?”

“Short fiction seems more targeted - hand grenades of ideas, if you will. When they work, they hit, they explode, and you never forget them. Long fiction feels more like atmosphere: it's a lot smokier and less defined.”