“Once out of the mailroom, I began to learn more about fear. As soonas fear begins to ascend, anatomically, from the pit of the stomach to thethroat and brain, from fear of violence to the more nameless kind, youcome to believe you are part of a horrible experiment. I learned todistrust those superiors who encouraged independent thinking. When yougave it to them, they returned it in the form of terror, for they knewthat ideas, only that, could hasten their obsolescence. Management askedfor new ideas all the time; memos circulated down the echelons, requestingbold and challenging concepts. But I learned that new ideas could finishyou unless you wrapped them in a plastic bag. I learned that most of thesecretaries were more intelligent than most of the executives and that theexecutive secretaries were to be feared more than anyone. I learned whatclosed doors meant and that friendship was not negotiable currency and howimportant it was to lie even when there was no need to lie. Words andmeanings were at odds. Words did not say what was being said nor even itsreverse. I learned to speak a new language and soon mastered the specialelements of that tongue.”

“What we are reluctant to touch often seems the very fabric of our salvation.”

“How language is webbed in the senses. Out of sand-blazed brilliance into quirky minds such as his, into touch, taste and fragrance. He thought he'd linger just a bit longer, let the bath take total hold, ease and alleviate, before he put on clothes and entered the complex boxes where people do their living.Nothing fits the body so well as water.”

“Cities were built to measure time, to remove time from nature. There’s an endless counting down, he said. When you strip away all the surfaces, when you see into it, what’s left is terror. This is the thing that literature was meant to cure.”

“We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn."He fell silent once more. People with cameras left the elevated site, replaced by others.We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. "They are taking pictures of taking pictures," he said.”

“All plots tend to move deathward. This is the nature of plots. Political plots, terrorist plots, lovers’ plots, narrative plots, plots that are part of children’s games. We edge nearer death every time we plot. It is like a contract that all must sign, the plotters as well as those who are the targets of the plot.”

“The future belongs to crowds.”

“I saw a photograph of a wedding conducted by Reverend Moon of the Unification Church. I wanted to understand this event, and the only way to understand it was to write about it.”

“People who are in power make their arrangements in secret, largely as a way of maintaining and furthering that power.”

“People who are powerless make an open theater of violence.”

“It's no accident that my first novel was called Americana. This was a private declaration of independence, a statement of my intention to use the whole picture, the whole culture.”