"Nell," the Constable continued, indicating through his tone of voice that the lesson was concluding, "the difference between ignorant and educated people is that the latter know more facts. But that has nothing to do with whether they are stupid or intelligent. The difference between stupid and intelligent people—and this is true whether or not they are well-educated—is that intelligent people can handle subtlety. They are not baffled by ambiguous or even contradictory situations—in fact, they expect them and are apt to become suspicious when things seem overly straightforward."
— Neal Stephenson (The Diamond Age: Or, a Young Lady's Illustrated Primer)

"I send my friends e-mail messages about the progress of my garden, especially of my roses. It left them with the impression, I think, that I was concerned with nothing else. I felt no urgency in correcting that notion. People obsessed with their gardens have probably caused the least suffering in the world of any category of men."
— David Brendan Hopes

"A storyteller who provided us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearing us out with repetition, misleading emphases and inconsequential plot lines. It insists on showing us Bardak Electronics, the saftey handle in the car, a stray dog, a Christmas card and a fly that lands first on the rim and then in the centre of the ashtray.

Which explains how the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting wooliness of the present."
— Alain de Botton (The Art of Travel)

""You Americans are a very singular people," he later recalled to one of his friends. "I went with my automaton all over my own country—the Germans wondered and said nothing. In France they exclaimed, Magnifique! Merveilleux! Superbe! The English set themselves to prove—one that it could be, and another that it could not be, a mere mechanism acting without a man inside. But I had not been long in your country, before a Yankee came to see me and said, 'Mr Maelzel, would you like another thing like that? I can make you one for five hundred dollars.' I laughed at his proposition. A few months afterwards, the same Yankee came to see me again, and this time he said, 'Mr Maelzel, would you like to buy another thing like that? I have one already made for you.' ""
— Tom Standage (The Turk: The Life and Times of the Famous Eighteenth-Century Chess-Playing Machine)

"The great proliferation of museums in the nineteenth century was a product of the marriage of the exhibition as a way of awakening intelligent interest in the visitor with the growth of collections that was associated with empire and middle-class affluence. Attendance at museums was as much associated with moral improvement as with explanation of the human or natural world."
— Richard Fortey (Dry Store Room No. 1: The Secret Life of the Natural History Museum)