For years I have been mourning and not for my dead, it is for this boy for whatever corner in my heart died when his childhood slid out of my arms.

It's impossible to move, to live, to operate at any level without leaving traces, bits, seemingly meaningless fragments of personal information.

A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.

For years I have been mourning and not for my dead, it is for this boy for whatever corner in my heart died when his childhood slid out of my arms.

The box was a universe, a poem, frozen on the boundaries of human experience.

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts.

Why shouldn't we give our teachers a license to obtain software, all software, any software, for nothing? Does anyone demand a licensing fee, each time a child is taught the alphabet?

The 'Net is a waste of time, and that's exactly what's right about it.

And, for an instant, she stared directly into those soft blue eyes and knew, with an instinctive mammalian certainty, that the exceedingly rich were no longer even remotely human.

The future has already arrived. It's just not evenly distributed yet.

I don't have to write about the future. For most people, the present is enough like the future to be pretty scary.

The sky above the port was the color of television, tuned to a dead station.

The future is here. It's just not widely distributed yet.

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.

Language is to the mind more than light is to the eye.

Time moves in one direction, memory in another.

Generation X is dead. It has come to mean anyone aged 13 to 55 years old.

Dreaming in public is an important part of our job description, as science writers, but there are bad dreams as well as good dreams. We're dreamers, you see, but we're also realists, of a sort.

'Cyberspace' as a term is sort of over. It's over in the way that, after a certain time, people stopped using the suffix '-electro' to make things cool, because everything was electrical. 'Electro' was all over the early 20th century, and now it's gone. I think 'cyber' is sort of the same way.

A snappy label and a manifesto would have been two of the very last things on my own career want list. That label enabled mainstream science fiction to safely assimilate our dissident influence, such as it was. Cyberpunk could then be embraced and given prizes and patted on the head, and genre science fiction could continue unchanged.

All my life I've encountered people who were obsessed with one particular class of object or experience, who were constantly pursuing that thing. Since I was a little kid, I hadn't afforded myself the opportunity, I guess, to have a hobby.

All we really have when we pretend to write about the future is the moment in which we are writing. That's why every imagined future obsoletes like an ice cream melting on the way back from the corner store.

As a writer of fiction who deals with technology, I necessarily deal with the history of technology and the history of technologically induced social change. I roam up and down it in a kind of special way because I roam down it into history, which is invariably itself a speculative affair.

Cyberspace is colonising what we used to think of as the real world. I think that our grandchildren will probably regard the distinction we make between what we call the real world and what they think of as simply the world as the quaintest and most incomprehensible thing about us.

Futurists get to a certain age and, as one does, they suddenly recognize their own mortality.

Gadgets are usually the last thing I think about, and if there's something new, I'll get to the store for the final shipment of the first generation when it's on sale. So I have last year's stuff.

I assume that - because you can get degrees in journalism from very reputable universities - I assume that people can be trained to be journalists. I've never been entirely certain that anyone can be trained to be a novelist in the same way.

I can't do fiction unless I visualize what's going on. When I began to write science fiction, one of the things I found lacking in it was visual specificity. It seemed there was a lot of lazy imagining, a lot of shorthand.

I can't imagine writing a book without some strong female characters, unless that was a demand of the setting.

I didn't have a manifesto. I had some discontent. It seemed to me that midcentury mainstream American science fiction had often been triumphalist and militaristic, a sort of folk propaganda for American exceptionalism.

I don't begin a novel with a shopping list - the novel becomes my shopping list as I write it.

I don't generate a storyline and then fill it out in the course of writing. The story actually generates in the course of the writing. It's one of the reasons I've never been comfortable doing screenplays, because in order to get the contract for the screenplay, you have to sit down and tell them what's going to happen.

I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.

I don't think nostalgia is a healthy modality. But nostalgia and a sense of history are not the same thing. Nostalgia is a dysfunction of the historical impulse, or a corruption of the historical impulse.

I find it interesting to see people - mostly people who are younger than I am - going to considerable trouble to try to reproduce things from an era that was far more physical, from a less virtual day.

I grew up in southwestern Virginia. I was born in South Carolina, but only because my parents had a vacation cabin or something there on the beach. I was like a summer baby. But I did grow up in the South. I grew up in serious, serious Appalachia, in a very small town.

I guess Twitter is the first thing that has been attractive to me as social media. I never felt the least draw to Facebook or MySpace. I've been involved anonymously in some tiny listservs, mainly in my ceaseless quest for random novelty, and sometimes while doing something that more closely resembles research.

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.

I read a great deal of science fiction with consummate pleasure between, say, the ages of 12 and 16. Then I got away from it. In my mid- to late 20s, I started trying to write it.

I started with Apple, in a pre-Windows era when PCs seemed to involve more of a learning curve. But the fact that I'm yet to acquire so much as a single virus still seems a very good thing.

I started writing short fiction very briefly, as I imagine is the case for some novelists.

I think that our future has lost that capital F we used to spell it with. The science fiction future of my childhood has had a capital F - it was assumed to be an American Future because America was the future. The Future was assumed to be inherently heroic, and a lot of other things, as well.

I think the large part of the function of the Internet is it is archival. It's unreliable to the extent that word on the street is unreliable. It's no more unreliable than that. You can find the truth on the street if you work at it. I don't think of the Internet or the virtual as being inherently inferior to the so-called real.

I think the least important thing about science fiction for me is its predictive capacity.

I think the least important thing about science fiction for me is its predictive capacity. Its record for being accurately predictive is really, really poor! If you look at the whole history of science fiction, what people have said is going to happen, what writers have said is going to happen, and what actually happened - it's terrible.

I think with one exception I've never changed an opening sentence after a book was completed.

I try to be objective about technology. Agnostic, in a sense. Whatever personal opinions I form tend to have more to do with what we find to do with the new thing.

I very seldom compose anything in my head which later finds its way into text, except character names sometimes - I'm often very much inspired by things that I misunderstand.

I was afraid to watch 'Blade Runner' in the theater because I was afraid the movie would be better than what I myself had been able to imagine. In a way, I was right to be afraid, because even the first few minutes were better.