Date: 1997

"But her innocent attention has reach'd unto the dead Vacuum ever at the bottom of my soul,-- humiliation absolute."

— Pynchon, Thomas (b. 1937)

Date: 1997

"What caretaker, what Verger of the Temple of the Self...?"

— Pynchon, Thomas (b. 1937)

Date: 1997

"Nor might any left behind on the ground see her again,-- would they?-- passing above in the Sky, the sleeves of her garment now catching light like wings...her mind no more than that of a Kite, the Wind blowing through..."

— Pynchon, Thomas (b. 1937)

Date: 1997

"They were possessing her in ways more intimate than had ever been allow'd him...interfering at orders of minitude invisible to the human Eye, infiltrated without need of light or Map, commanding the further branches of whatever flows in a Soul like blood,...she and her Captors whispering togethe...

— Pynchon, Thomas (b. 1937)

Date: 1997

"The dominant alternative to the Cartesian perspective is exemplified by the theoretical claim that the mind is like the sort of 'computation' that takes place in electronic computers. In simpler terms, minds are software (programs) run on the hardware (neural circuits) of the brain."

— Deacon, Terrence W.

Date: 1997

"Please could you stop the noise / I'm trying to get some rest / From all the unborn chicken voices in my head."

— Radiohead [Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, and Phil Selway]

Date: 1997

"A heart that's full up like a landfill / A job that slowly kills you / Bruises that won't heal."

— Radiohead [Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, and Phil Selway]

Date: 1998

"Jennifer Tilly plays Violet, a mob wife, prostitute, and femme with a steel-trap mind, and Gina Gershon plays Corky, Violet's ex-con lover."

— Halberstam, Jack [Judith] (b. 1961)

Date: 1998

"He thinks and thinks, like his brain was a metal plate and hammer, striking, striking, striking, of the harbour of her sharp breasts, and is murdered, murdered."

— Barry, Sebastian (b. 1955)

Date: 1998

"Every second of playing time involved writing out, note by note, the parts of up two dozen instruments, playing them back, making adjustments to the score, playing again, rewriting, then sitting in silence, listening to the inner ear synthesize and orchestrate the vertical array of scribbles and...

— McEwan, Ian (b. 1948)