“It must be that there is something in the hearts of human beings, some natural fluid perhaps, that insists on happiness, even confronted with the most powerful arguments against it.”

“She was reserved and cold, as if having been stolen from her native village in a burlap sack and made to be servant and helpmate to an Englishman many years her senior, for some reasons sat poorly with her.”

“He books it into that little playground there. I mean the guy is zooming like the Road Runner, skidding through the gravel and the slush and everything. I’m yelling, “Police, police! Stop, motherfucker!” ‘You do not yell, “Stop, motherfucker.”’ ‘I do. Because you know, Palace, this is it. This is the last chance I get to run after a perp yelling, “Stop, motherfucker.”

“Lady Middleton piqued herself upon the elegance and extravagance of her table, and all her domestic arrangements; she loved to surprise English visitors with displays of hospitality native to her homeland, such as flavouring her soups with monkey urine and not telling anyone she had done so until the bowl had been drained.”

“Beautifully indeed! But she does everything well. Have you seen her peel a banana? It is like listening to a symphony.”

“Never have I know spirits so low they could not be raised by hearing of a Frenchman eaten by a shark!”

“The art of fiction has not changed much since prehistoric times. The formula for telling a powerful story has remained the same: create a strong character, a person of great strengths, capable of deep emotions and decisive action. Give him a weakness. Set him in conflict with another powerful character -- or perhaps with nature. Let his exterior conflict be the mirror of the protagonist's own interior conflict, the clash of his desires, his own strength against his own weakness. And there you have a story. Whether it's Abraham offering his only son to God, or Paris bringing ruin to Troy over a woman, or Hamlet and Claudius playing their deadly game, Faust seeking the world's knowledge and power -- the stories that stand out in the minds of the reader are those whose characters are unforgettable.To show other worlds, to describe possible future societies and the problems lurking ahead, is not enough. The writer of science fiction must show how these worlds and these futures affect human beings. And something much more important: he must show how human beings can and do literally create these future worlds. For our future is largely in our own hands. It doesn't come blindly rolling out of the heavens; it is the joint product of the actions of billions of human beings. This is a point that's easily forgotten in the rush of headlines and the hectic badgering of everyday life. But it's a point that science fiction makes constantly: the future belongs to us -- whatever it is. We make it, our actions shape tomorrow. We have the brains and guts to build paradise (or at least try). Tragedy is when we fail, and the greatest crime of all is when we fail even to try.Thus science fiction stands as a bridge between science and art, between the engineers of technology and the poets of humanity.”