John

“If you are not from a particular place the history of that particular place will dwell inside you differently to how it dwells within those people who are from that particular place. Your connection to certain events that define the history of a particular place is not straightforward because none of your ancestors were in any way involved or affected by those events. You have no stories to relate and compare, you have no narrative to inherit and run with, and all the names are strange ones that mean nothing to you at all. And it's as if the history of a particular place knows all about this blankness you contain. Consequently if you are not from a particular place you will always be vulnerable for the reason that it doesn't matter how many years you have lived there you will never have a side of the story; nothing with which you can hold the full force of the history of a particular place at bay.
And so it comes at you directly, right through the softly padding soles of your feet, battering up throughout your body, before unpacking its clamouring store of images in the clear open spaces of your mind.
Opening out at last; out, out, out
And shimmered across the pale expanse of a flat defenceless sky.

All the names mean nothing to you, and your name means nothing to them.”
― Claire-Louise Bennett, Pond

“A bridge wants to not be. If it could choose its shape, a bridge would be no shape, an unspace to link One-place-town to Another-place-town over a river or a road or a tangle of railway tracks or a quarry, or to attach an island to another island or to the continent from which it strains. The dream of a bridge is of a woman standing at one side of a gorge and stepping out as if her job is to die, but when her foot falls it meets the ground right on the other side. A bridge is just better than no bridge but its horizon is gaplessness, and the fact of itself should still shame it.”
― China Miéville, This Census-Taker

“I think about pinball, and how being a kid’s like being shot up the firing lane and there’s no veering left or right; or you’re just sort of propelled. But once you clear the top, like when you’re sixteen, seventeen, or eighteen, suddenly there’s a thousand different paths you can take, some amazing, others not. Tiny little differences in angles and speed’ll totally alter what happens to you later, so a fraction of an inch to the right, and the ball’ll just hit a pinger and a dinger and fly down between your flippers, no messing, a waste of 10 p. But a fraction to the left and it’s action in the play zone, bumpers and kickers, ramps and slingshots and fame on the high-score table.”
― David Mitchell, The Bone Clocks

“Controls is about fear, see. If you’re afraid enough of the reprisals, you don’t say no, you don’t fight back, you don’t run away. Saying yes is how you survive. It becomes normal. Horrible, but normal. Horrible, because it’s normal. Now, lucky you can say ‘Not standing up to him is giving him permission,’ but if you’ve been fed this diet since the year dot, there is no standing up. Victims aren’t cowards. Outsiders, like, they never have a clue how brave you have to be just to carry on.”
― David Mitchell, The Bone Clocks