American science fiction writer (born 1959)
Neal Town Stephenson (born 31 October 1959) is an American writer, known primarily for his science fiction works in the postcyberpunk and chemical generation genres with a penchant for explorations of society, mathematics, currency, and the history of science.
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Pen Names:
Stephen Bury
Birth Name:
Neal Town Stephenson
From Wikidata (CC0)
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Talking to cancer victims never makes me feel righteous, never vindicated. It makes me slightly ill and for some reason, guilty. If people like me would just keep our mouths shut, people like him would never suspect why they got cancer. They'd chalk it up to God or probability. They wouldn't die with hearts full of venom.
It is a strange world that Industry has made. Kind of a seething toxic harbor, opening out on a blue unspoiled ocean. Most people are swimming in it, and I get to float around on the surface, on my Zodiac, announcing that they're in trouble. What I really want to do is make a difference. But I'm not sure I have, yet.
I wanted to create an interesting scifi universe that didn't violate the laws of physics, and that means that you're limited to staying inside the solar system. I also wanted to get away from the ship-centric style of science fiction. Star Trek is ship-centric and it's all about the Enterprise — there are many other examples. What if we decided to get away from the obsession with ships and instead thought about big machines and structures that might be used to create a civilization inside the solar system?
Shut up about Leibniz for a moment, Rudy, because look here: You — Rudy — and I are on a train, as it were, sitting in the dining car, having a nice conversation, and that train is being pulled along at a terrific clip by certain locomotives named The Bertrand Russell and Riemann and Euler and others. And our friend Lawrence is running alongside the train, trying to keep up with us — it’s not that we’re smarter than he is, necessarily, but that he’s a farmer who didn’t get a ticket. And I, Rudy, am simply reaching out through the open window here, trying to pull him onto the fucking train with us so that the three of us can have a nice little chat about mathematics without having to listen to him panting and gasping for breath the whole way.
No sky, no neighboring houses, no trees, no mountains. The fog had clamped it all off. It muffled sound too...She and Enoch were existing in a bubble of space maybe a hundred paces across... She wondered if it had been thus for Dodge in the beginning, when he had been alone in Bitworld and the Landform had begun to take shape around him.
In your Primer you have a resource that will make you highly educated, but it will never make you intelligent. That comes from life. Your life up to this point has given you all the experience you need to be intelligent, but you have to think about those experiences. If you don't think about them, you'll be psychologically unwell. If you do think about them, you will become not merely educated but intelligent.
If he would just work with pure ideas like a proper mathematician he could go as fast as thought. As it happens, Alan has become fascinated by the incarnations of pure ideas in the physical world. The underlying math of the universe is like the light streaming in through the window. Alan is not satisfied with merely knowing that it streams in. He blows smoke into the air to make the light visible. He sits in meadows gazing at pine cones and flowers, tracing the mathematical patterns in their structure, and he dreams about electron winds blowing over the glowing filaments and screens of radio tubes, and, in their surges and eddies, capturing something of what is going on in his own brain. Turing is neither a mortal nor a god. He is Antaeus. That he bridges the mathematical and physical worlds is his strength and his weakness.
So I looked with fascination at those people in their mobes, and tried to fathom what it would be like. Thousands of years ago, the work that people did had been broken down into jobs that were the same every day, in organizations where people were interchangeable parts. All of the story had been bled out of their lives. That was how it had to be; it was how you got a productive economy. But it would be easy to see a will at work behind this: not exactly an evil will, but a selfish will. The people who'd made the system thus were jealous, not of money and not of power but of story. If their employees came home at day's end with interesting stories to tell, it meant that something had gone wrong: a blackout, a strike, a spree killing. The Powers That Be would not suffer others to be in stories of their own unless they were fake stories that had been made up to motivate them. People who couldn't live without story had been driven into the concents or into jobs like Yul's. All others had to look somewhere outside of work for a feeling that they were part of a story, which I guessed was why Sæculars were so concerned with sports, and with religion. How else could you see yourself as part of an adventure? Something with a beginning, middle, and end in which you played a significant part? We avout had it ready-made because we were a part of this project of learning new things. Even if it didn't always move fast enough for people like Jesry, it did move. You could tell where you were and what you were doing in that story. Yul got all of this for free by living his stories from day to day, and the only drawback was that the world held his stories to be of small account. Perhaps that was why he felt such a compulsion to tell them, not just about his own exploits in the wilderness, but those of his mentors.