“Grass: I live in a great steel tower that reflects the blazing sun. People catch fire just walking by. The more bodies that pile up around you, the greater your equity, the stronger your power, the longer you live. This is the point of living in a high rise. To see the bodies pile up at sunset, the nostalgic hour, the hour of summing up, stirring the cocktails, feeling the great tower sway in the hot winds. ”

“You live in a tower that soars to heaven and goes unpunished by God.”

“I like your mother. You have your mother's breasts.""Her breasts.""Great stand-up tits." he said”

“Look at those numbers running. Money makes time. It used to be the other way around. Clock time accelerated the rise of capitalism. People stopped thinking about eternity. They began to concentrate on hours, measurable hours, man-hours, using labor more efficiently.”

“Every time she saw a videotape of the planes she moved a finger toward the power button on the remote. Then she kept on watching. The second plane coming out of that ice blue sky, this was the footage that entered the body, that seemed to run beneath her skin, the fleeting sprint that carried lives and histories, theirs and hers, everyone's, into some distance, out beyond the towers.”

“When I think of highly plotted novels I think of detective fiction or mystery fiction, the kind of work that always produces a few dead bodies. But these bodies are basically plot points, not worked-out characters. The book's plot either moves inexorably toward a dead body of flows directly from it, and the more artificial the situation the better. Readers can play off their fears by encountering the death experience in a superficial way. A mystery novel localizes the awesome force of the real death outside the book, winds it tightly in a plot, makes it less fearful by containing it in a kind of game format. [from an interview with DeCurtis]”

“No body knows how to feel and they're checking around for hints.”