Oleta Sauseda

“He reached the foot of the embankment, and waved with one arm, shouting at the few cars moving along the westbound carriageway. None of the drivers could see him, let alone hear his dry-throated croak, and Maitland stopped, conserving his strength. lie tried to climb the embankment, but within a few steps collapsed in a heap on the muddy slope.
Deliberately, he turned his back to the motorway and for the first time began to inspect the island.
'Maitland, poor man, you're marooned here like Crusoe - If you don't look out you'll be beached here for ever...'
He had spoken no more than the truth. This patch of abandoned ground left over at the junction of three motorway routes was literally a deserted island. Angry with himself, Maitland lifted the crutch to strike this meaningless soil.”
― J.G. Ballard, Concrete Island

“Beauty, extreme yet ambiguously available; this very roughly, was what Nicola's entrance to the Black Cross had said to Keith. But he didn't know the nature -- he didn't know the brand -- of the availability.”
― Martin Amis, London Fields

“He summoned you into the circle, Scott. For whatever reason, I don't know. But now you've left, you've become a loose thread. He won't sit back with the possibility you might cause his whole world to unravel around him.”
― R.D. Ronald, The Elephant Tree

“As for the new world war that's waiting in the womb of time, a healthily developed foetus, who can say what will spark it, how destructive it will be? We've already played at this war in film and fiction, indicating that there's a part of us that desperately wants it. What nonsense writers and filmmakers talk when they say that their terrible visions are meant as a warning. [...] It's sheer wish fulfillment. War... is a culture pattern. It's a legitimate mode of cultural transmission....”
― Anthony Burgess, 1985