“Antananarivo is pronounced Tananarive, and for much of this century has been spelt that way as well. When the French took over Madagascar at the end of the last century (colonised is probably too kind a word for moving in on a country that was doing perfectly well for itself but which the French simply took a fancy to), they were impatient with the curious Malagasy habit of not bothering to pronounce the first and last syllables of place names. They decided, in their rational Gallic way, that if that was how the names were pronounced then they could damn well be spelt that way too. It would be rather as if someone had taken over England and told us that from now on we would be spelling Leicester 'Lester' and liking it. We might be forced to spell it that way, but we wouldn't like it, and neither did the Malagasy. As soon as they managed to divest themselves of French rule, in 1960, they promptly reinstated all the old spellings and just kept the cooking and the bureaucracy.”

“If they were going to be like that, then I just wished they hadn't actually been German. It was too easy. Too obvious. It was like coming across an Irishman who actually was stupid, a mother-in-law who actually was fat, or an American businessman who actually did have a middle initial and smoked a cigar. You feel as if you are unwillingly performing in a music-hall sketch and wishing you could rewrite the script. If Helmut and Kurt had been Brazilian or Chinese or Latvian or anything else at all, they could then have behaved in exactly the same way and it would have been surprising and intriguing and, more to the point from my perspective, much easier to write about. Writers should not be in the business of propping up stereotypes. I wondered what to do about it, decided that they could simply be Latvians if I wanted, and then at last drifted off peacefully to worrying about my boots.”

“during this century (the twentieth) we have for the first time been dominated by non-interactive forms of entertainment: cinema, radio, recorded music and television. Before they came along all entertainment was interactive: theatre, music, sport - the performers and audience were there together, and even a respectfully silent audience exerted a powerful shaping presence on the unfolding of whatever drama they were there for. We didn't need a special word for interactivity in the same way that we don't (yet) need a special word for people with only one head.I expect that history will show "normal" mainstream twentieth century media to be the aberration in all this. 'Please, miss, you mean they could only just sit there and watch? They couldn't do anything? Didn't everybody feel terribly isolated or alienated or ignored?'Yes, child, that's why they all went mad. Before the Restoration.'What was the Restoration again, please, miss?'The end of the twentieth century, child. When we started to get interactivity back.”

“I remembered once, in Japan, having been to see the Gold Pavilion Temple in Kyoto and being mildly surprised at quite how well it had weathered the passage of time since it was first built in the fourteenth century. I was told it hadn’t weathered well at all, and had in fact been burnt to the ground twice in this century. “So it isn’t the original building?” I had asked my Japanese guide.“But yes, of course it is,” he insisted, rather surprised at my question.“But it’s burnt down?”“Yes.”“Twice.”“Many times.”“And rebuilt.”“Of course. It is an important and historic building.”“With completely new materials.”“But of course. It was burnt down.”“So how can it be the same building?”“It is always the same building.”I had to admit to myself that this was in fact a perfectly rational point of view, it merely started from an unexpected premise. The idea of the building, the intention of it, its design, are all immutable and are the essence of the building. The intention of the original builders is what survives. The wood of which the design is constructed decays and is replaced when necessary. To be overly concerned with the original materials, which are merely sentimental souvenirs of the past, is to fail to see the living building itself.”

“The room was not a room to elevate the soul. Louis XIV, to pick a name at random, would not have liked it, would have found it not sunny enough, and insufficiently full of mirrors. He would have desired someone to pick up the socks, put the records away, and maybe burn the place down. Michelangelo would have been distressed by its proportions, which were neither lofty nor shaped by any noticeable inner harmony or symmetry, other than that all parts of the room were pretty much equally full of old coffee mugs, shoes and brimming ashtrays, most of which were sharing their tasks with each other. The walls were painted in almost precisely that shade of green which Rafaello Sanzio would have bitten off his own right hand at the wrist rather than use, and Hercules, on seeing the room, would probably have returned half an hour later armed with a navigable river.”

“When the girl sitting at the next table looked away from a moment, Dirk leaned over and took her coffee. He knew that he was perfectly safe doing this because she would simply not be able to believe that this had happened.”

“In astrology the rules happen to be about stars and planets, but they could be about ducks and drakes for all the difference it would make. It's just a way of thinking about a problem which lets the shape of that problem begin to emerge. The more rules, the tinier the rules, the more arbitrary they are, the better. It's like throwing a handful of fine graphite dust on a piece of paper to see where the hidden indentations are. It lets you see the words that were written on the piece of paper above it that's now been taken away and hidden. The graphite's not important. It's just the means of revealing the indentations. So you see, astrology's nothing to do with astronomy. It's just to do with people thinking about people.”