John

“I think about pinball, and how being a kid’s like being shot up the firing lane and there’s no veering left or right; or you’re just sort of propelled. But once you clear the top, like when you’re sixteen, seventeen, or eighteen, suddenly there’s a thousand different paths you can take, some amazing, others not. Tiny little differences in angles and speed’ll totally alter what happens to you later, so a fraction of an inch to the right, and the ball’ll just hit a pinger and a dinger and fly down between your flippers, no messing, a waste of 10 p. But a fraction to the left and it’s action in the play zone, bumpers and kickers, ramps and slingshots and fame on the high-score table.”
― David Mitchell, The Bone Clocks

“I think one of our cardinal fuckups is how we insist that even vicious whimsical crazy shit needs to make sense, add up, belong to a reason. We lay this pain on ourselves--there must be a reason behind this horror, there must, but I ain't adequate to findin' it, and that's my fault, so torture me some more.”
― Daniel Woodrell, Tomato Red

“I got my face close up to the man still standing. I let him understand that there was oodles of danger in me; my head wobbled loose, three ticks off center. This scary face is all them such as me has to show this other world, the world in charge of our world, that musters any authority, gets any reluctant respect at all. If us lower elements didn't show our teeth plenty and act fast to bite, we'd just be soft, loamy dirt anybody could walk on, anytime, and you know they would, too, since even with a show of teeth there's a grassless path worn clear across our brains and backs.”
― Daniel Woodrell, Tomato Red

“A bridge wants to not be. If it could choose its shape, a bridge would be no shape, an unspace to link One-place-town to Another-place-town over a river or a road or a tangle of railway tracks or a quarry, or to attach an island to another island or to the continent from which it strains. The dream of a bridge is of a woman standing at one side of a gorge and stepping out as if her job is to die, but when her foot falls it meets the ground right on the other side. A bridge is just better than no bridge but its horizon is gaplessness, and the fact of itself should still shame it.”
― China Miéville, This Census-Taker