“The General Public is a statistical fiction created by a few exceptional men to make the loneliness of being exceptional a little easier to bear.”

“There is no articulate resonance. The common problem, I suppose, is to have more to say than vocabulary and syntax can bear. That is why I am hunting in these desiccated streets. The smoke hides the sky's variety, stains consciousness, covers the holocaust with something safe and insubstantial. It protects from greater flame. It indicates fire, but obscures the source. This is not a useful city. Very little here approaches any eidolon of the beautiful.”

“Bitch, on that world, was what men called women they were extremely fond of or extremely displeased with when the woman was not there.”

“ABSTRACT THOUGHTS in a blue room; Nominative, genitive, etative, accusative one, accusative two, ablative, partitive, illative, instructive, abessive, adessive, inessive, essive, allative, translative, comitative. Sixteen cases of the Finnish noun. Odd, some languages get by with only singular and plural. The American Indian languages even failed to distinguish number. Except Sioux, in which there was a plural only for animate objects. The blue room was round and warm and smooth. No way to say warm in French. There was only hot and tepid If there's no word for it, how do you think about it? And, if there isn't the proper form, you don't have the how even if you have the words. Imagine, in Spanish having to assign a sex to every object: dog, table, tree, can-opener. Imagine, in Hungarian, not being able to assign a sex to anything: he, she, it all the same word. Thou art my friend, but you are my king; thus the distinctions of Elizabeth the First's English. But with some oriental languages, which all but dispense with gender and number, you are my friend, you are my parent, and YOU are my priest, and YOU are my king, and YOU are my servant, and YOU are my servant whom I'm going to fire tomorrow if YOU don't watch it, and YOU are my king whose policies I totally disagree with and have sawdust in YOUR head instead of brains, YOUR highness, and YOU may be my friend, but I'm still gonna smack YOU up side the head if YOU ever say that to me again;And who the hell are you anyway . . .?”

“Sometimes you want to say things, and you're missing an idea to make them with, and missing a word to make the idea with. In the beginning was the word. That's how somebody tried to explain it once. Until something is named, it doesn't exist.”

“The fantasy/reality confusion...it's just marvelous in her work. I mean, there, it's practically like what we do, the fantasy working as a sort of metalogic, with which she can solve real, aesthetic problems in the most incredible ways -- I was actually in a few of her productions last year, a sort of ersatz member of the company. But finally I just had to get out. Because when that fantasy seeps into the reality, she just becomes an incredibly ugly person. She feels she can distort anything that occurs for whatever purpose she wants. Whatever she feels, that's what is, as far as she's concerned. But then, I suppose...' Bron laughed at the ground, then looked up: they'd just left the Plaza -- 'that's the right we just fought a war to defend. But Audri, when someone abuses that right, it can make it pretty awful for the rest of us.”

“Good writing is clear. Talented writing is energetic. Good writing avoids errors. Talented writing makes things happen in the reader's mind---vividly, forcefully...”