“People have wanted to narrate since first we banged rocks together & wondered about fire. There’ll be tellings as long as there are any of us here, until the stars disappear one by one like turned-out lights.”

“Oh, bullshit. This isn't one of those stories, Avice. One moment of cack-handedness, Captain Cook offends the bloody locals, one slip of the tongue or misuse of sacred cutlery, and bang, he's on the grill. Do you ever think about how self-aggrandising that stuff is? Oh, all those stories pretending to be mea culpas about cultural insensitivity, oops, we said the wrong thing, but they're really all about how ridiculous natives overreact. Avice, we must have made thousands of fuckups like that over the years. Think about it. Just like our visitors did when they first met our lot, on Terre. And for the most part we didn't lose our shit, did we?”

“I differ with myself then agree, like the rock that was broken and cemented together. I change my opinion.”

“Because it is the triumph of a lack of planning –both for good and bad. It's chaos –and whether you say that with a gasp of despair or glee or both is up to you. Whereas Paris (certainly in the centre) is the success of a single overarching monomaniacal topographic vision, London is a chaotic patchwork of history, architecture, style, as disorganised as any dream, and like any dream possessing an underlying logic, but one that we can't quite make sense of, though we know it's there. A shoved-together city cobbled from centuries of distinct aesthetics disrespectfully clotted in a magnificent triumph of architectural philistinism. A city of jingoist sculptures, concrete caryatids, ugly ugly ugly financial bombast, reconfiguration. A city full of parks and gardens, which have always been magic places, one of the greenest cities in the world, though it's a very dirty shade of green –and what sort of grimy dryads does London throw up? You tell me.”

“When he had first started at the center, he had liked to think that he was unexpectedly cool-looking for such a job. Now he knew that he surprised no one, that no one expected scientists to look like scientists anymore.”

“There was a time when wen we did not form all our words as we do now, in writing on a page. There was a time when the word "&" was written with several distinct & separate letters. It seems madness now. But there it is, & there is nothing we can do about it.Humanity learned to ride the rails, & that motion made us what we are, a ferromaritime people. The lines of the railsea go everywhere but from one place straight to another. It is always switchback, junction, coils around & over our own train-trails.What word better could there be to symbolize the railsea that connects & separates all lands, than “&” itself? Where else does the railsea take us, but to one place & that one & that one & that one, & so on? & what better embodies, in the sweep of the pen, the recurved motion of trains, than “&”?An efficient route from where we start to where we end would make the word the tiniest line. But it takes a veering route, up & backwards, overshooting & correcting, back down again south & west, crossing its own earlier path, changing direction, another overlap, to stop, finally, a few hairs’ width from where we began.& tacks & yaws, switches on its way to where it’s going, as we all must do.”

“[…] detective novels are not novels of detection, still less of revelation, still less of solution. Those are all necessary, but not only are they insufficient, but they are in certain ways regrettable. These are novels of potentiality. Quantum narratives. Their power isn’t in their final acts, but in the profusion of superpositions before them, the could-bes, what-ifs and never-knows. Until that final chapter, each of those is as real and true as all the others, jostling realities all dreamed up by the crime, none trapped in vulgar facticity. That’s why the most important sentence in a murder mystery isn’t the one starting ‘The murderer is…’ – which no matter how necessary and fabulously executed is an act of unspeakable narrative winnowing – but is the snarled expostulation halfway through: ‘Everyone’s a suspect.’ Quite. When all those suspects become one certainty, it’s a collapse, and a let-down. How can it not be? We’ve been banished from an Eden of oscillation.”