“Surely, Shakespeare is wicked and the map a bad example
With ships and sun and love tempting them to steal —
For lives that slyly turn in their cramped holes
From fog to endless night? On their slag heap, these children
Wear skins peeped through by bones and spectacles of steel
With mended glass, like bottle bits on stones.
All of their time and space are foggy slum.
So blot their maps with slums as big as doom.”

“The drive toward complex technical achievement offers a clue to why the US is good at space gadgetry and bad at slum problems.”

“This sort of thing has got to be stopped. Bad philosophers are like slum landlords. It's my job to put them out of business.”

“Roughneck and rudeness, We should be using, On the ones who practice wicked charms, For the sword and the stone, Bad to the bone, Battle’s not over, Even when it's won, And when a child is born into this world, It has no concept, Of the tone the skin is living in.”

“Chandler wrote like a slumming angel and invested the sun-blinded streets of Los Angeles with a romantic presence.”

“When the sun shouts and people abound
One thinks there were the ages of stone and the age of bronze
And the iron age; iron the unstable metal;
Steel made of iron, unstable as his mother; the towered-up cities
Will be stains of rust on mounds of plaster.
Roots will not pierce the heaps for a time, kind rains will cure them,
Then nothing will remain of the iron age
And all these people but a thigh-bone or so, a poem
Stuck in the world's thought, splinters of glass
In the rubbish dumps, a concrete dam far off in the mountain…”

“i could see the veins through your skin like a map to inside you. how could skin be that thin? i was so afraid you might drop and break. i stopped breathing so you wouldn't.”

“The end result of positively reinforcing bad behavior is that you get more of it. The culmination of a failure to punish predators is a debased, dissolute, slum-dog society in which, by legal decree, the righteous suffer and the wicked prosper.”

“Maps have been a successful form of representation for centuries by making the world understandable through systematic abstraction that retains the iconicity of space depicting space. Advances in methods and technologies are blurring the lines among maps and other forms of visual representation and pushing the bounds of “map” as a concept toward both more realistic and more abstract depiction. As a result, there are a variety of unanswered questions about the attributes and implications of “maps.””

“Suddenly he saw them, the bottles of aguardiente, of anís, of jerez, of Highland Queen, the glasses, a babel of glasses—towering, like the smoke from the train that day—built to the sky, then falling, the glasses toppling and crashing, falling downhill from the Generalife Gardens, the bottles breaking, bottles of Oporto, tinto, blanco, bottles of Pernod, Oxygènée, absinthe, bottles smashing, bottles cast aside, falling with a thud on the ground in parks, under benches, beds, cinema seats, hidden in drawers at Consulates, bottles of Calvados dropped and broken, or bursting into smithereens, tossed into garbage heaps, flung into the sea, the Mediterranean, the Caspian, the Caribbean, bottles floating in the ocean, dead Scotchmen on the Atlantic highlands—and now he saw them, smelt them, all, from the very beginning—bottles, bottles, bottles, and glasses, glasses, glasses, of bitter, of Dubonnet, of Falstaff, Rye, Johnny Walker, Vieux Whiskey blanc Canadien, the apéritifs, the digestifs, the demis, the dobles, the noch ein Herr Obers, the et glas Araks, the tusen taks, the bottles, the bottles, the beautiful bottles of tequila, and the gourds, gourds, gourds, the millions of gourds of beautiful mescal...”