“I'm seein' the syphilitic afterbirth of a Mongolian clusterfuck, is what I see there.”

“Look around. The hantavirus is waiting for you. Ebola and the tropical rainforest is cooking up all kinds of brews to make sure that the population is kept in control. All these things are necessary. Why is there an increase in sexual deviance right now? Because it goes against procreative sex. Mother Nature does not want more children. This is not a time of birth. It is not a time to give birth, it's a time to die. The Bible says all things under heaven and that includes death as well as life. You out there, you comfortable ones, you point the finger. You say the junkie is the problem, you say the sexual deviant, serial killer, racist, and the man who hates his fellow man is the problem. But they ain't the problem. You're the problem. The sexual deviant, the murderer, the serial killer, the taker of human life is the cure, you're the problem.”

“This is one holy Mongolian clusterfuck, gentlemen”

“There, I've said it, and I said it in front of all these strange and quite scary women and that guy, because I'm less frightened of them than I am of being alone with you and you turning me down.”

“Don't kiss me", he said, looking into Natalie's eyes. There was a second's silence. "Let me kiss you. I'm old-fashioned that way.”

“The horror came as I realized that, for what he had done, the child in me was right to blame him entirely, and the adult in me blamed him not at all.”

“I don't know how you hear music. I imagine that if you like music at all then it has, in your head, some kind of third dimension to it, a dimension suggesting space as well as surface, depth of field as well as texture.Speaking for myself, I used to hear "buildings"... three-dimensional forms of architectural substance and tension. I did not "see" these buildings in the classic synaesthetic way so much as sense them. These forms had "floors", "walls", "roofs", "windows", "cellars". They expressed volume. Music to me has always been a handsome three-dimensional container, a vessel, as real in its way as a Scout hut or a cathedral or a ship, with an inside and an outside and subdivided internal spaces.I'm absolutely certain that this "architecture" had everything to do with why music has always exerted such a hold over me. I think music was the structure in which I learned to contain and then examine emotion.”