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There's nothing like the waiting room of any office of the governmentor its allies to remind you of how lucky you are. You enter a nonplace, nontime.… - Michael Marshall Smith
" "There's nothing like the waiting room of any office of the governmentor its allies to remind you of how lucky you are. You enter a nonplace, nontime. You sit on battered chairs in murky blues and greens that nobody ever names as their favorite color. You stare at the signs that have no bearing on you, nonspecific communiqués from the land that punctuation forgot. You wait until the waiting loses all sense of direction or purpose, until you become like a stone deposited in a field millenia ago by a careless glacier. You are here. This is all you have ever known. In the meantime you are stripped of any sense of individuality, of the idea that you might be different from anyone else in the room except by virtue of your particular problem; and so you become the problem, defensively, accepting it as identity, until it swells and suppurates and becomes all you are. As a species we'll tolerate being close to others, but not so close, and not in those circumstances and when we feel so small: we become rows of dry, fretting eyes, hating everyone around us and sincerely wishing our neighbor dead so we can move up one place in the line.<p>Or maybe it was just me.
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About Michael Marshall Smith
Michael Marshall Smith (born May 3, 1965) is a British novelist, screenwriter and short story writer. When writing thrillers, he writes under the name Michael Marshall.
Also Known As
Alternative Names:
Michael Marshall
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Michael Paul Marshall Smith
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Michael Rutger
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Additional quotes by Michael Marshall Smith
I'm not a great believer in writing courses, though it must be said I've never been in one. It probably depends on what kind of writer you are. I'm very un-analytical about what I do. I don't plan much for the first draft. I try to let characters come out by themselves, rather than designing them. But other writers work differently, and for them the teaching process - which at least forces you to consider what you're doing, and why - may be very helpful. At the very least a creative writing course mandates someone to spend a period of their life just writing, which can be hard to do otherwise. But beware of thinking too much about what you do.
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As he drove, he was conscious of the web around him. The web of streets, of people, of places, and of things. The other web, too, the new world. This parallel place, with email address private driveways, it sdotcom marketplaces. You could find out so much there, running reality through your hands likea god's. Everything on the web is information; but everything is on the web, these days; so the world has become information. Everything has become an utterance of this thing, of this bank of words and images: everything is something it is saying, or has said. It's about buying, and looking, about our habits and desires, about contact with others, about voyeurism and aspiration and addiction. It is us boiled down — our essence, for better or worse. It is no longer passive. It is telling the story of us, and sometimes that story needs work.
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