“Let the planet be convulsed with exploding bombs.”

“Voldemort’s fury at the fall of his last, best lieutenant exploded with the force of a bomb.”

“For the first time, I was the center of attention. Everyone watched me as if I were a bomb. Would I explode and cause a disaster or would I pop and cause a miracle?”

“And still, what a risk he'd taken. The woman was like an amateur car bomb: you never knew when she would explode or who she would take down with her when she did.”

“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean. We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!" In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”

“I vow to ingest only items that preserve well-being, peace, and joy in my body and my consciousness... Practicing a diet is the essence of this precept. Wars and bombs are the products of our consciousness individually and collectively. Our collective consciousness has so much violence, fear, craving, and hatred in it, it can manifest in wars and bombs. The bombs are the product of our fear... Removing the bombs is not enough. Even if we could transport all the bombs to a distant planet, we would still not be safe, because the roots of the wars and the bombs are still intact in our collective consciousness. Transforming the toxins in our collective consciousness is the true way to uproot war (72-73).”