Elegance is the quality of conduct which transforms the greatest amount of being into appearing.

Blue dust of evening over my city,
Over the ocean of roofs and tall towers
Where the window-lights, myriads and myriads,
Bloom from the walls like climbing flowers.

Life is the strange loop of a snake releasing itself from its own grip, unmouthing an ever fattening tail tapering up to an ever increasingly large mouth, birthing an ever larger tail, filling the universe with this strangeness.

What I saw was the Count's head coming out from the window. I did not see the face, but I knew the man by the neck and the movement of his back and arms. In any case I could not mistake the hands which I had had some many opportunities of studying. I was at first interested and somewhat amused, for it is wonderful how small a matter will interest and amuse a man when he is a prisoner. But my very feelings changed to repulsion and terror when I saw the whole man slowly emerge from the window and begin to crawl down the castle wall over the dreadful abyss, face down with his cloak spreading out around him like great wings. At first I could not believe my eyes. I thought it was some trick of the moonlight, some weird effect of shadow, but I kept looking, and it could be no delusion. I saw the fingers and toes grasp the corners of the stones, worn clear of the mortar by the stress of years, and by thus using every projection and inequality move downwards with considerable speed, just as a lizard moves along a wall.

What manner of man is this, or what manner of creature, is it in the semblance of man?

No one knows what it would do to a creative brain to think creatively continously. Perhaps the brain, like the heart, must devote most of its time to rest between beats. But I doubt that is true. I hope it is not, because [interactive computers] can give us our first look at unfettered thought. It can allow a decision maker to do almost nothing but decision making, instead of processing data to get into a position to make the decision.

You've got to hand it to fun money, though. Fake money rules. You can get your hands on it so quickly. For a moment, it seems like you're crazy rich. When I was a kid, I got with some of the neighborhood kids and we built this little Tijuana on our street. We made our own pesos and wore sombreros and everything!

One kid was selling hot tamales for two pesos each. Two pesos! Did this kid know that the money was fake? Was he out of his mind? Who invited this kid? Didn't he know this wasn't really Tijuana? Maybe he was really from Tijuana! Maybe these were real pesos! Let's go make more real pesos!

I think we even had a tavern where you could get totally hammered off Kool-Aid. There's nothing like a bunch of kids stumbling around, mumbling incoherently with punchy red clown lips.

[Mahmoud:]“Now take this one word: 'grok.' Its literal meaning, one which I suspect goes back to the origin of the Martian race as thinking, speaking creatures—and which throws light on their whole 'map'—is quite easy. 'Grok' means 'to drink.'”

“Huh?” said Jubal. “But Mike never says 'grok' when he's just talking about drinking. He-”

“Just a moment.” Mahmoud spoke to Mike in Martian.

Mike looked faintly surprised and said, “'Grok' is drink,” and dropped the matter.

“But Mike would also have agreed,” Mahmoud went on, “if I had named a hundred other English words, words which represent what we think of as different concepts, even pairs of antithetical concepts. And 'grok' means all of these, depending on how you use it. It means 'fear,' it means 'love,' it means 'hate'—proper hate, for by the Martian 'map' you cannot possibly hate anything unless you grok it completely, understand it so thoroughly that you merge with it and it merges with you—then and only then can you hate it. By hating yourself. But this also implies, by necessity, that you love it, too, and cherish it and would not have it otherwise. Then you can hate—and (I think) that Martian hate is an emotion so black that the nearest human equivalent could only be called a mild distaste.”

Mahmoud screwed up his face. “It means 'identically equal' in the mathematical sense. The human cliché, 'This hurts me worse than it does you' has a Martian flavor to it, if only a trace. The Martians seem to know instinctively what we learned painfully from modern physics, that the observer interacts with the observed simply through the process of observation. 'Grok' means to understand so thoroughly that the observer becomes a part of the process being observed—to merge, to blend, to intermarry, to lose personal identity in group experience. It means almost everything that we mean by religion, philosophy, and science—and it means as little to us as color means to a blind man.” Mahmoud paused. “Jubal, if I chopped you up and made a Stew of you, you and the stew, whatever else was in it, would grok—and when I ate you, we would grok together and nothing would be lost and it would not matter which one of us did the chopping up and eating.”

As he enters the baggage reclaim zone, his jacket stiffens, and his glasses dim: He can hear the lost souls of suitcases crying for their owners. The eerie keening sets his own accessories on edge with a sense of loss, and for a moment, he's so spooked that he nearly shuts down the thalamic–limbic shunt interface that lets him feel their emotions. He's not in favor of emotions right now, not with the messy divorce proceedings and the blood sacrifice Pam is trying to extract from him; he'd much rather love and loss and hate had never been invented. But he needs the maximum possible sensory bandwidth to keep in touch with the world, so he feels it in his guts every time his footwear takes a shine to some Moldovan pyramid scheme. Shut up, he glyphs at his unruly herd of agents; I can't even hear myself think!

“Hello, sir, have a nice day, how may I be of service?” the yellow plastic suitcase on the counter says chirpily. It doesn't fool Manfred: He can see the Stalinist lines of control chaining it to the sinister, faceless cash register that lurks below the desk, agent of the British Airport Authority corporate bureaucracy. But that's okay. Only bags need fear for their freedom in here.

“Just looking,” he mumbles. […]

There's a row of unclaimed bags in front of the counter, up for sale in the absence of their owners. Some of them are very battered, but among them is a rather good-quality suitcase with integral induction-charged rollers and a keen sense of loyalty: exactly the same model as his old one. He polls it and sees not just GPS, but a Galileo tracker, a gazetteer the size of an old-time storage area network, and an iron determination to follow its owner as far as the gates of hell if necessary. Plus the right distinctive scratch on the lower left side of the case. “How much for just this one?” he asks the bellwether on the desk.

“Ninety euros,” it says placidly.

Manfred sighs. “You can do better than that.” In the time it takes them to settle on seventy-five, the Hang Sen Index is down fourteen-point-one-six points, and what's left of NASDAQ climbs another two-point-one. “Deal.” Manfred spits some virtual cash at the brutal face of the cash register, and it unfetters the suitcase. […] Manfred bends down and faces the camera in its handle. “Manfred Macx,” he says quietly. “Follow me.” He feels the handle heat up as it imprints on his fingerprints, digital and phenotypic. Then he turns and walks out of the slave market, his new luggage rolling at his heels.

Summer comes quickly to Lansquenet in the wake of the March winds, and it smells of the circus; of sawdust and frying batter and cut green wood and animal shit.

The great ships hung motionless in the sky, over every nation on Earth. Motionless they hung, huge, heavy, steady in the sky, a blasphemy against nature. Many people went straight into shock as their minds tried to encompass what they were looking at. The ships hung in the sky in much the same way that bricks don't.