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His smile was the nightmare in my back pocket.(Speaking about Ronald Reagan)
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Sometimes, I feel like a time traveller, cause the only way that we can really travel in time is just to get older.
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I've gone to big stadium rock concerts at some artist's invitation, and there's this invariable, fascinating and rather sad situation of concentric circles of availability. There are Green Rooms within Green Rooms literally within Green Rooms. There are seven or eight degrees of exclusivity, and within each circle of exclusivity, everyone is so happy to be there, and they don't know that the next level exists.
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I had a lot of issues with the genre, and I probably even had issues with the whole idea of genre. I was coming into it with a certain degree of outsider attitude, and I didn't have a long-term plan. But I think the way it's worked out, it's sort of warped into what I suppose you could say is my own genre. If people like my books, they have some idea of what the next one will be like.
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I knew where the magnets were, behind the gyprock, and the magnets were very powerful. I think they had to be powerful for me, otherwise the reader wouldn't have a reciprocal experience. But I was very careful to bury them deeply, deeply in the plaster and paint over them. I didn't want anybody to directly access them, and that's gradually changed for me.
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A part of that [timewrap] for me was growing up in a culture that violence had always been a part of. It wasn't an aberration, though I realize that in retrospect. I grew up in the part of the U.S. where all of Cormac McCarthy's novels are set and that's a pretty violent place.
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The designers [of the 1930s] were populists, you see; they were trying to give the public what it wanted. What the public wanted was the future.
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The nature of emergent technology is, as Kevin Kelly once said, right out of control. It's an element of human evolution that's completely out of control. It's sort of driving itself, and I don't see it ceasing to do that.
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I'm a really good eavesdropper. I listen to what people say and remember all the buzzwords.
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Secrets...are the very root of cool.
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I would like to design what people generally call streetwear. I'd like to dress skateboarders, or whatever the older equivalent of skateboarders are. I pay more attention to that stuff than anyone would ever imagine because I'm watching what the designers do.
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When did it become necessary to explain what's so cool about Japan? Everyone was quite obsessed with it 15 years ago. I suppose it's the only Asian country that developed an imaginary entree to me. That's why I go back.
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I think that technologies are morally neutral until we apply them. It's only when we use them for good or for evil that they become good or evil.
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I don't think of myself as being particulary a subversive writer, but I like to think that my work could afford someone else, the extra degree of freedom that I found when I first found science fiction.
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I had a list of things that science fiction, particularly American science fiction, to me seemed to do with tedious regularity. One was to not have strong female protagonists. One was to envision the future, whatever it was, as America.
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Laney had recently noticed that the only people who had titles that clearly described their jobs had jobs he wouldn't have wanted.
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I like the idea of people who've had some success in one form secretly wanting to be something else; I have some of that myself. I look for it in other people who've established themselves in some particular art form, and then you find out that they really would like to design running shoes, or edit literary magazines or something.
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Novels set in imaginary futures are necessarily about the moment in which they are written.
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I've always been interested in people who aren't from anywhere in particular. I think it's all melting. This has been true for as long as I can remember in my adult life.
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I think that I've always written about things that are very personal, but initially, I coded everything.
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People who feel safer with a gun than with guaranteed medical insurance don't yet have a fully adult concept of scary.
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One of the liberating effects of science fiction when I was a teenager was precisely its ability to tune me into all sorts of strange data and make me realize that I wasn’t as totally isolated in perceiving the world as being monstrous and crazy
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The culture is still there, and people are still doing it. I imagine some people are doing it very well indeed. As for me, it definitely was my native literary culture. Science fiction was where I'm from, but on the way to now, I went through a lot of other territory, and I wasn't really that culturally conventional an SF writer when I started.
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I worry about what we'll do in the future, [about the instantaneous co-opting of pop culture]. Where is our new stuff going to come from?