New York 2140

I explained the adjustable foils that caused the zoominski to plane up once you got to a certain speed; this was always easy to do with anyone who had ever stuck a hand out the window of a moving car and tilted it in the wind and felt it shoving their whole arm up or down.

Maybe a mistake to put something else on her calendar and in her head right before bedtime, with an Irish coffee in her no less. It was quite possible her brain would ramp back up and begin a spin cycle on this stuff, jazzing wearily through another night of insomniac pseudo-slumber, in and out until the light of dawn relieved her of the pretense o

Pain as a spur to action; oh yes, certainly not the first time for that.

Charlotte was coming to believe that arrogance was a quality not just correlated with but a manifestation of stupidity, a result of stupidity.

Anyway there it lies filling the great bay, no matter what you think or believe about it, spiking out of the water like a long bed of poisonous sea urchins onto which dreamers cling, as to an inconveniently prickly life raft, their only refuge on the vast and windy deep, gasping like Aquaman in a seemingly-impossible-to-survive superhero’s fake low

the other, the crowds just background tapestries for you to play your life against, lurid backdrops providing a fake sense of drama to help you imagine you’re doing more than you would be if you were in some sleepy village or Denver or really anywhere else. New York, the great stage set—well, there may be something to it.

People are like lemmings, they are mammals with herd instincts very much like the instincts of cows. In short, morons.

You could bat the moon out of the sky from those terraces. And so New York keeps on happening. The skyscrapers, the people, the what-have-yous. The new Jerusalem, in both its English and Jewish manifestations, the two ethnic dreams weirdly collapsing together and in the vibration of their interference pattern creating the city on the hill, the city

what some called the Egyptification of the world, but we won’t go there now, that’s pessimistic boo-hooing and giving-upness, more suitable for the melodramas describing individual fates in the watery decades than this grandly sweeping overview.