'Plutocracy.' It has a perfect nuance: chilly, inaccessible, icy-rich.

Since I've been hired to contribute to the storyline of 'Doom 4' I can say what was always true anyway. I'm working. You see, for a writer, lots of stuff that doesn't look like working is actually working. Looking out of the window, for example. Balancing a pencil on the edge of the desk in order to find its exact fulcrum. Playing 'Doom.'

I told her that I’d done things in my youth that had placed me beyond the comfort and shelter of love, and so i had conducted my life in retreat.

The thing is, when everyone is trying to persuade you that a thing you know to be true isn’t actually true, you start to believe them: not because it is true but because it’s easier. It’s just the easy way out.

The poetry and transgression that was so much of surrealism’s anarchic force has been recruited into mainstream culture. It has been made commonplace by television and magazine merchandising, by computer games and Internet visuals, by film and MTV, by the fashion shoot.

If I couldn’t get published tomorrow I’d still be writing. It’s something to do with feeling so overwhelmed by this experience of life that you have to tell someone about it, and in a way that reorders the experience to make it manageable.

This is what we are: a collection stories that we share, in common. This is what we are to each other.

I’ve been playing ‘Doom’ for some years.

You let go. It’s as simple and as complicated as Antonia had told me. You cry. You come. You sing. You laugh. You scream. You let go. No one needs to hang on to a first edition. Whoever wrote it; even if it was Moses. I looked back up at the sky, blinking at the lustrous beauty of the ascending and departing demons. They formed an alphabet I was beginning to learn to read. They were fire in the sky.

Though most love songs are protest songs, when you think about it.