“Once, in a cheap science fiction novel, Fat had come across a perfect description of the Black Iron Prison, but set in the far future. So if you superimposed the past (ancient Rome) over the present (California in the twentieth century) and superimposed the far future world of The Android Cried Me a River over that, you got the Empire, as the supra- or trans-temporal constant. Everyone who had ever lived was literally surrounded by the iron walls of the prison; they were all inside it and none of them knew it.”

“Why does a man cry? he wondered. Not like a woman; not for that. Not for sentiment. A man cries over the loss of something, something alive. A man can cry over a sick animal that he knows won't make it. The death of a child: a man can cry for that. But not because things are sad.A man, he thought, cries not for the future or the past but for the present.”

“Do you have information that there's an android in the cast? I'd be glad to help you, and if I were an android would I be glad to help you?" "An android," he said, "doesn't care what happens to another android. That's one of the indications we look for." "Then," Miss Luft said, "you must be an android.”

“Grief reunites you with what you've lost. It's a merging; you go with the loved thing or person that's going away. You follow it a far as you can go.But finally,the grief goes away and you phase back into the world. Without him.And you can accept that. What the hell choice is there? You cry, you continue to cry, because you don't ever completely come back from where you went with him -- a fragment broken off your pulsing, pumping heart is there still. A cut that never heals.And if, when it happens to you over and over again in life, too much of your heart does finally go away, then you can't feel grief any more. And then you yourself are ready to die. You'll walk up the inclined ladder and someone else will remain behind grieving for you.”

“The pre-Socratic Greek philosopher Parmenides taught that the only things that are real are things which never change... and the pre-Socratic Greek philosopher Heraclitus taught that everything changes. If you superimpose their two views, you get this result: Nothing is real.”

“Fat realized that one of two possibilities existed and only two; either Dr. Stone was totally insane – not just insane but totally so – or else in an artful, professional fashion he had gotten Fat to talk; he had drawn Fat out and now knew that Fat was totally insane.”

“I think Dr. Willis McNelly at the California State University at Fullerton put it best when he said that the true protagonist of an sf story or novel is an idea and not a person. If it is *good* sf the idea is new, it is stimulating, and, probably most important of all, it sets off a chain-reaction of ramification-ideas in the mind of the reader; it so-to-speak unlocks the reader’s mind so that the mind, like the author’s, begins to create. Thus sf is creative and itinspires creativity, which mainstream fiction by-and-large does not do. We who read sf (I am speaking as a reader now, not a writer) read it because we love to experience this chain-reaction of ideas being set off in our minds by something we read, something with a new idea in it; hence the very best since fiction ultimately winds up being a collaboration between author and reader, in which both create and enjoy doing it: joy is the essential and final ingredient of science fiction, the joy of discovery of newness.”