"Mashups nobody's going to listen to mashups in another ten years. Mashups are novelty music. They're like "The Monster Mash." They have no musical staying power. You're pursuing a phantom there. It's bad music, I mean, it's not bad— it's a pastiche, it's like magazine collage— which can be good for what it is. But to pretend that that's like tremendous creative work— No! It's a tremendous creative power— and it can have a tremendous audience, but it's not tremendously good. And we need a little bit of aesthetic honesty in confronting things like this. Just because it's new, and people with laptops can do it, and get away with it, and find an audience for it, does not make it a real cultural advance. It's an epiphenomenon."

“Revolutions. New Orders. For Laura the words had the cobwebby taste of twentieth-century thinking. Visionary mass movements were all over the 1900s, and whenever they broke through, blood followed in buckets.”

“When the People march in one direction, it only hurts to ask awkward questions.”

“The Net was a lot like television, another former wonder of the age. The Net was a vast glass mirror. It reflected what it was shown. Mostly human banality.”

“Tomorrow composts today.”

“You know when it really got bad here? When they tried to help. With medicine. And irrigation. They sank deep wells, with sweet, flowing water, and of course the nomads settled there. So instead of moving their herds on, leaving the pastures a chance to recover, they ate everything down to bare rock, for miles around every well. And the eight, nine children that African women have born from time immemorial—they all lived. It wasn’t that the world didn’t care. They struggled heroically, for generations, selflessly and nobly. To achieve an atrocity.”

“Where there’s war, there’s whores.”