β
That is the problem with ignorance. You can never truly know the extent of what you are ignorant about.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time #1))
β
Life is not perfect, individuals will always be flawed, but empathy β the sheer inability to see those around them as anything other than people too β conquers all, in the end.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
A life lived entirely at the whim of another is no life at all.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
Humanity is overrated
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
Progress is made by the improvement of people, not the improvement of machines.
β
β
Adrian Tchaikovsky (Blood of the Mantis (Shadows of the Apt, #3))
β
At last the words fought themselves free, 'Promise me--'
'Nothing,' she snapped instantly. 'No promises. The universe promises us nothing; I extend the same to you.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
If there had been some tiny bead present in the brain of all humans, that had told each other, They are like you; that had drawn some thin silk thread of empathy, person to person, in a planet-wide net β what might then have happened? Would there have been the same wars, massacres, persecutions and crusades?
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
Weβre going on an adventure.
β
β
Adrian Tchaikovsky (Children of Ruin (Children of Time #2))
β
You can never know. That is the problem with ignorance. You can never truly know the extent of what you are ignorant about.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
evolution had gifted them with a profoundly complex toolkit for taking the world apart to see if there was a crab hiding under it.
β
β
Adrian Tchaikovsky (Children of Ruin (Children of Time, #2))
β
How much worse to think yourself wise, and still be as ignorant as one who knew themselves a fool?
β
β
Adrian Tchaikovsky (Elder Race)
β
Advance science as far as you like, the human mind continued to place itself at the centre of the universe.
β
β
Adrian Tchaikovsky (Children of Ruin (Children of Time, #2))
β
This will be the first of a thousand worlds that we will give life to. For we are gods, and we are lonely, so we shall create.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
What does it mean that you are there and we are here? Is there meaning or is it random chance? Because what else does one ask even a broken cybernetic deity but, Why are we here?
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
Alpash moved to go, and for a moment Holsten was going to stop him, to ask that impossible question that historians can never ask, regarding the things they study: What is it like to be you? A question nobody can step far enough out of their own frame of reference to answer.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
He had bred them and mutated them and played all sorts of God, and now they wanted to know why and he had no answer.
β
β
Adrian Tchaikovsky (Children of Ruin (Children of Time #2))
β
that division of man against man that was the continual brake on human progress
β
β
Adrian Tchaikovsky (Children of Time (Children of Time #1))
β
Sometimes it is hard because we have to make choices. I remember when having to make choices scared me more than anything else except Master being angry with me. Now I know that making choices is the price of being free.
β
β
Adrian Tchaikovsky (Dogs of War (Dogs of War, #1))
β
Because the real problem with a knowledge-based economy is knowing that, no matter how hard you try, most of the information in the universe has already dissolved into entropy before you even evolved.
β
β
Adrian Tchaikovsky (Children of Memory (Children of Time, #3))
β
You will fail, and when you do, you must do everything you can to fail as little as possible. Donβt let the failure get its teeth into you. You will make decisions that come with a cost. That is Command.
β
β
Adrian Tchaikovsky (Children of Memory (Children of Time, #3))
β
This is the future. This is where mankind takes its next great step. This is where we become gods.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
conclusions are a matter of extrapolated logic based on her best comprehension of the principles the universe has revealed to her.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
Oxygen was β to quote Mikhail Elesco, the teamβs top geologist β a needy bastard that couldnβt stand not to be in a relationship, no matter how toxic.
β
β
Adrian Tchaikovsky (Children of Memory (Children of Time, #3))
β
This is fucked up,β Olli sent to Kit. βThere is no further up to which it might be fucked,β was his considered reply.
β
β
Adrian Tchaikovsky (Lords of Uncreation (The Final Architecture #3))
β
the idea that we could necessarily recognize an alien transmission for what it was. Thatβs too rooted in our assumption that aliens will be in any way like us.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time #1))
β
But then blame is just credit for something thatβs gone wrong.
β
β
Adrian Tchaikovsky (Children of Memory (Children of Time, #3))
β
She's learning that getting a proper education doesn't answer questions, it just teaches you to ask them.
β
β
Adrian Tchaikovsky (Children of Memory (Children of Time, #3))
β
Despite the barriers to communication, they have developed an idiolect of their own, mostly devoted to complaining.
β
β
Adrian Tchaikovsky (Children of Ruin (Children of Time, #2))
β
Sometimes all it takes, to crack a problem, is a new perspective.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
An inclination to play God was part and parcel of wanting to go out and terraform other worlds, but good practice was to at least play nicely with the rest of the pantheon.
β
β
Adrian Tchaikovsky (Children of Ruin (Children of Time, #2))
β
Ah, yes, hindsight, always my weapon of choice.
β
β
Adrian Tchaikovsky (And Put Away Childish Things)
β
It was defiance born of a lack of any hope.
β
β
Adrian Tchaikovsky (Empire in Black and Gold (Shadows of the Apt, #1))
β
That is how people are. Once they have food and drink and shelter, the next thing they must find is a quarrel.
β
β
Adrian Tchaikovsky (The Tiger and the Wolf (Echoes of the Fall, #1))
β
Just because the tyrant dresses like a clown doesnβt mean heβs funny.
β
β
Adrian Tchaikovsky (Alien Clay)
β
I have a vision of tomorrowβs war, between people who have made themselves the slaves of entities that only exist in the heads of men, and people who want to be free. I hope I am wrong.
β
β
Adrian Tchaikovsky (Dogs of War (Dogs of War, #1))
β
Is that not what magic is? Every wise man, every scholar I have met who pretended to the title of magician, that was their study. They sought to learn how the world worked, so that they could control and master it. That is magic.
β
β
Adrian Tchaikovsky (Elder Race)
β
They are performing that oldest of tricks: constructing a path by which to reach a destination, only in this case the destination is permanent security. With each step they take towards it, that security recedes. And, with each step they take, the cost of progressing towards such security grows, and the actions required to move forward become more and more extreme.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
A bandit, a man-hunter, a lawbreaker, a bow for hire. I never wanted any grand cause. If it looks like I'm fighting tyrants, it's only because the world's so damned full of them that you can't draw a sword without crossing some of their laws. Easy as easy, it is, to become an outlaw.
β
β
Adrian Tchaikovsky (Heirs of the Blade (Shadows of the Apt, #7))
β
The problem with judgement calls is that theyβre only ever good or bad in retrospect.
β
β
Adrian Tchaikovsky (Shards of Earth (The Final Architecture, #1))
β
Things fall apart, though, and entropy is the landlord whose rent always gets paid.
β
β
Adrian Tchaikovsky (Children of Memory (Children of Time, #3))
β
They were part of the problem, even though they never actively did bad things to people. They just benefited from all the bad things that had been done.
β
β
Adrian Tchaikovsky (Service Model)
β
Sometimes you go through your whole life not rocking the boat and they throw you over the side anyway.
β
β
Adrian Tchaikovsky (Alien Clay)
β
Change hurts, but it hurts most those who shackle themselves to the past.
β
β
Adrian Tchaikovsky (Dogs of War (Dogs of War, #1))
β
Human history is full of social conventions designed to salve the consciences of the mighty and curb the ambitions of the small.
β
β
Adrian Tchaikovsky (Alien Clay)
β
The ice had been retreating. Humanity had sprung back swiftly, expanded, fought its small wars, re-industrialized, tripping constantly over reminders of what the species had previously achieved.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
You're not like other Wasps."
"Aren't I?" Aagen smiled, but it was a painful smile. "No doubt you've killed my kinsmen by the score."
"A few," Salma allowed.
"Well, next time you shed my kinden's blood, think on this: we are but men, no less nor more than other men, and we strive and feel joy and fail as men have always done. We live in the darkness that is the birthright of us all, that of hurt and ignorance, only sometimes... sometimes there comes the sun." He let the bowl fall from his fingers to the floor, watching it spin and settle, unbroken.
β
β
Adrian Tchaikovsky (Empire in Black and Gold (Shadows of the Apt, #1))
β
It is a great poison, to know you have a destiny and that everything you do is right by default.
β
β
Adrian Tchaikovsky (The Expert System's Brother (Expert System, #1))
β
What was the use of a mad scientist if they suddenly decided to start making sane decisions?
β
β
Adrian Tchaikovsky (Eyes of the Void (The Final Architecture, #2))
β
Why should we be made thus, to improve and improve, unless it is to aspire? To
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
For that, I thank him. A vast and worthless education is the greatest gift a child can have.
β
β
Adrian Tchaikovsky (Cage of Souls)
β
I am the full stop to the sentence that is human history.
β
β
Adrian Tchaikovsky (One Day All This Will Be Yours)
β
Surely every manβs courage was a rope of uncertain length, hauled hand over hand out of clouded waters. Who knew how suddenly that ropeβs end would whip up into the air?
β
β
Adrian Tchaikovsky (The Tiger and the Wolf (Echoes of the Fall, #1))
β
It is easy for a comfortable, free man to cry at the fall of every little bird. A prisoner in fear of his life has precious little regret to spare for anyone else.
β
β
Adrian Tchaikovsky (Cage of Souls)
β
The Greater Good morphed into self-interest so easily; human history was full of it.
β
β
Adrian Tchaikovsky (Eyes of the Void (The Final Architecture, #2))
β
The greatest privilege of power is being able to overlook that youβre even wielding it.
β
β
Adrian Tchaikovsky (Alien Clay)
β
I am only now, at the wrong end of three centuries after loss of contact, beginning to realise just how broken my own superior culture actually was. They set us here to make exhaustive anthropological notes on the fall of every sparrow. But not to catch a single one of them. To know, but very emphatically not to care.
β
β
Adrian Tchaikovsky (Elder Race)
β
If they were of any quality or calibre, then they would ascend by their own virtues. Not if there was no structure that they could possibly climb. Not if all the structure that exists was designed to disenfranchise them. Portia,
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
Because in five years, or ten, weβll look back on all those creatures we killed, and weβll know that we did a terrible thing just because the weathervane of popular opinion was spinning at the time.
β
β
Adrian Tchaikovsky (Dogs of War (Dogs of War, #1))
β
Everyone dies, after all; every good time ends. Time itself ended. They are doomed, but in their doomed moment they live forever, and at least they had a good time for one night. Sometimes that's all that counts.
β
β
Adrian Tchaikovsky (One Day All This Will Be Yours)
β
Iβd taken up peoplesβ whole lives, Mason βtheyβd been trying to make it work for that long. And the new generation . . . they didnβt know as much. They had learned what they could but . . . and then came another generation, devolving, understanding less than before.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
It is absolutely vital that appropriate levels of intrusive micromanagement, divisive paranoia, bullying, and the threat of arbitrary punishments are maintained, so that we can truly re-create the folkways of the past. Also a propensity for calling meetings at regular, and indeed irregular, intervals.
Adam, and what is the end purpose of all this work we are seeing?
Uncharles, there is none. This is also believed to be historically authentic.
β
β
Adrian Tchaikovsky (Service Model)
β
There had been those back on Earth who claimed the universe cared, and that the survival of humanity was important, destined, meant . They had mostly stayed behind, holding to their corroding faith that some great power would weigh in on their behalf if only things became so very bad. Perhaps it had: those on the ark ship could never know for sure. Holsten had his own beliefs, though, and they did not encompass salvation by any means other than the hand of mankind itself.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
Kittering looked up from the display. βI am mistaken as a spokesman for an entire species. Very non-cosmopolitan.
β
β
Adrian Tchaikovsky (Eyes of the Void (The Final Architecture, #2))
β
The whole audacious, ridiculous plan of his had worked out in every particular, save that he had failed to adjust for the destructive stupidity of the rest of humanity.
β
β
Adrian Tchaikovsky (Children of Ruin (Children of Time #2))
β
Useless, surely. Might as well rely on thoughts and prayers.
β
β
Adrian Tchaikovsky (Shards of Earth (The Final Architecture, #1))
β
We have a situation down here.' 'Situations are also being had here,' Kit told her.
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β
Adrian Tchaikovsky (Lords of Uncreation (The Final Architecture, #3))
β
My children, let us not do that again. I, for one, am too old for shit even vaguely related to that.
β
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Adrian Tchaikovsky (Shards of Earth (The Final Architecture, #1))
β
Whatβs the point of making better people, if theyβre still sad and afraid and lonely?
β
β
Adrian Tchaikovsky (Shards of Earth (The Final Architecture, #1))
β
Olian Timo was harder to get rid of than a venereal disease working for the Hugh tax office.
β
β
Adrian Tchaikovsky (Lords of Uncreation (The Final Architecture #3))
β
The sun had been so much brighter then, in his memories. It had shone every day.
β
β
Adrian Tchaikovsky (Empire in Black and Gold (Shadows of the Apt, #1))
β
division of man against man that was the continual brake on human progress.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
We are here because we are dangerous. I do not understand: they made us to be dangerous. I do not see how they can be surprised when we were.
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Adrian Tchaikovsky (Dogs of War (Dogs of War, #1))
β
Captain Kirk would have thought of something by now, Iβm sure, but I have no red-shirted confederates to feed to it.
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Adrian Tchaikovsky (Walking to Aldebaran)
β
The entire elaborate operation looked good on paper to anyone who didnβt suspect heβd gone through it solely because he wanted more space for fishtanks.
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Adrian Tchaikovsky (Children of Ruin (Children of Time #2))
β
Being free means the responsibility to make the right choice.
β
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Adrian Tchaikovsky (Dogs of War (Dogs of War, #1))
β
Complex life was merely the recent froth over a great vat of prokaryotes feeding and dividing and dying.
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Adrian Tchaikovsky (Children of Ruin (Children of Time, #2))
β
He could be human, in that last moment. He could exalt in his ability to destroy.
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Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
Life is not perfect, individuals will always be flawed, but empathyβthe sheer inability to see those around them as anything other than people tooβconquers all, in the end.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time #1))
β
She may die, and her eyes look into that abyss and feed her with a terror of extinction, of un-being, that is perhaps the legacy of all life.
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Adrian Tchaikovsky (Children of Time (Children of Time #1))
β
providing very high levels of service coupled with a very low, albeit nonzero, level of murder.
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Adrian Tchaikovsky (Service Model)
β
Because the hardest thing about sacrifice is not knowing if itβll be worth it. Whatβs the point in taking the bullet if the person behind you in the charge loses heart, dithers, runs away? You may as well have stayed at home. You only have one life after all. It can be very hard to know when to throw it away.
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Adrian Tchaikovsky (Alien Clay)
β
Most conspiracies, after all, seem weird on the surface but are really an attempt to drag things down to a human scale: a flat Earth instead of the immensity of the cosmos, shadowy illuminati instead of a chaotic mess of chance, incompetence and greed.
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β
Adrian Tchaikovsky (Walking to Aldebaran)
β
I was also one of the pilots, although space piloting is one of those situations where they should really equip you with a dog, so your job is to feed the dog and the dogβs job is to bite you if you touch any of the expensive equipment.
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Adrian Tchaikovsky (Walking to Aldebaran)
β
Senkoviβs personal theory was that the pressure of being in the middle of the food chain was an essential prerequisite for complex intelligence. Like humans (and like Portiid spiders, had he only known), octopuses had developed in a world where they were both hunter and hunted. Top predators, in Senkoviβs assessment, were an intellectual dead end.
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Adrian Tchaikovsky (Children of Ruin (Children of Time #2))
β
Helping people is like beating your head against a wall, and in the end, when you live forever and youβre sick of the same mistakes over and over and over; in the end the only thing left is just to amuse yourself at their expense. Because you canβt make things better, and frankly, no matter how much evil you do, youβre not making things much worse, either.
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β
Adrian Tchaikovsky (Spiderlight)
β
Shadrapar has no purpose, no function. It exists for itself only, its own downward spiral to oblivion. It exists only to imprison the minds of those who dwell within it, so that their world shrinks until it holds nothing but their own desires, and they fight to stop you showing whatβs beyond the bars. So I called it the cage of souls, so they would understand.
β
β
Adrian Tchaikovsky (Cage of Souls)
β
He, who had translated the madness of a millennia-old guardian angel. He who had been abducted. He who had seen an alien world crawling with earthly horrors. He had feared. He had loved. He had met a man who wanted to be God. He had seen death. It had been a rough few weeks.
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Adrian Tchaikovsky (Children of Time (Children of Time #1))
β
There was a generation of wary caution on both sides, but once the nanovirus had taken down those barriers β between species and between individuals β so much potential tragedy was already averted. Life is not perfect, individuals will always be flawed, but empathy β the sheer inability to see those around them as anything other than people too β conquers all, in the end.
β
β
Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
She had racked her piecemeal recollection of her species' history and found only a hierarchy of destruction: of her species devastating the fauna of planet Earth, and then turning on its own sibling offshoots, and then at last, when no other suitable adversaries remained, tearing at itself. Mankind brooks no competitors, She has explained to them β not even its own reflection.
β
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Adrian Tchaikovsky (Children of Time (Children of Time, #1))
β
And then it dropped lower, and her eyes caught it in all its pale majesty. It was a moth, no more, no less, but as it circled down towards them she saw that its furry body was larger than that of a horse, its wingspan awesome, each wing as long as six men laid end to end. It had a small head, eyes glittering amongst the glossy fur behind frond-like antennae that extended forward in delicate furls. As it landed, the sweep of its wings extinguished most of their little fires.
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Adrian Tchaikovsky (Empire in Black and Gold (Shadows of the Apt, #1))
β
We couldn't trust them. They couldn't trust us. Mutual attempts at destruction are the only logical result. He thought of human dreams - both Old Empire and new - of contacting some extra-terrestrial intelligence such as nobody had ever truly encountered. Why? Why would we ever want to? We'd never be able to communicate, and even if we could, we'd still be those same two prisoners forced to trust - and risk - or to damn the other in trying to save slightly more of our own hides.
β
β
Adrian Tchaikovsky
β
Sublime Books The Known World, by Edward P. Jones The Buried Giant, by Kazuo Ishiguro A Thousand Trails Home, by Seth Kantner House Made of Dawn, by N. Scott Momaday Faithful and Virtuous Night, by Louise GlΓΌck The Left Hand of Darkness, by Ursula K. Le Guin My Sentence Was a Thousand Years of Joy, by Robert Bly The World Without Us, by Alan Weisman Unfortunately, It Was Paradise, by Mahmoud Darwish Collected Fictions, by Jorge Luis Borges, trans. Andrew Hurley The Xenogenesis Trilogy, by Octavia E. Butler Map: Collected and Last Poems, by WisΕawa Szymborska In the Lateness of the World, by Carolyn ForchΓ© Angels, by Denis Johnson Postcolonial Love Poem, by Natalie Diaz Hope Against Hope, by Nadezhda Mandelstam Exhalation, by Ted Chaing Strange Empire, by Joseph Kinsey Howard Tookieβs Pandemic Reading Deep Survival, by Laurence Gonzales The Lost City of the Monkey God, by Douglas Preston The House of Broken Angels, by Luis Alberto Urrea The Heartsong of Charging Elk, by James Welch Selected Stories of Anton Chekhov, trans. Richard Pevear and Larissa Volokhonsky The Sound of a Wild Snail Eating, by Elisabeth Tova Bailey Letβs Take the Long Way Home, by Gail Caldwell The Aubrey/Maturin Novels, by Patrick OβBrian The Ibis Trilogy, by Amitav Ghosh The Golden Wolf Saga, by Linnea Hartsuyker Children of Time, by Adrian Tchaikovsky Coyote Warrior, by Paul VanDevelder Incarceration Felon, by Reginald Dwayne Betts Against the Loveless World, by Susan Abulhawa Waiting for an Echo, by Christine Montross, M.D. The Mars Room, by Rachel Kushner The New Jim Crow, by Michelle Alexander This Is Where, by Louise K. Waakaaβigan I Will Never See the World Again, by Ahmet Altan Sorrow Mountain, by Ani Pachen and Adelaide Donnelley American Prison, by Shane Bauer Solitary, by Albert Woodfox Are Prisons Obsolete?, by Angela Y. Davis 1000 Years of Joys and Sorrows, by Ai Weiwei Books contain everything worth knowing except what ultimately matters. βTookie * * * If you are interested in the books on these lists, please seek them out at your local independent bookstore. Miigwech! Acknowledgments
β
β
Louise Erdrich (The Sentence)
β
I was young at Myna, that first time. When had the change come? He had retreated to here, to Collegium, to spin his awkward webs of intrigue and to lecture at the College. Then, years on, the call had come for action. He had gone to that chest in which he stored his youth and found that, like some armour long unworn, it had rusted away.
He tried to tell himself that this was not like the grumbling of any other man who finds the prime of his life behind him. I need my youth and strength now, as never before. A shame that one could no husband time until one needed it. All his thoughts rang hollow. He was past his best and that was the thorn that would not be plucked from his side. He was no different from any tradesman or scholar who, during a life of indolence, pauses partway up the stairs to think, This was not so hard, yesterday.
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Adrian Tchaikovsky (Dragonfly Falling (Shadows of the Apt, #2))
β
Ah, but it is an interesting thing, that these things can so seldom be proved. If I were to perform some piece of, hrmf, magic for you, here in this room, you would claim a thousand ways it could have been done. Indeed, those ways might be exceedingly unlikely, but you would cling to them rather than accept the, mmn, the chance that magic, the eternal inexplicable, might be the true agent, and if you were strong enough in yourself, unafraid, unthreatened, here in your own chambers, well perhaps there would be no magic worked at all. It is a subjective force, you see, whereas the physical laws of the artificers are objective. A gear-train will turn without faith, but magic may not. And so, when your people demand, mmn, proof, there is none, but when you have forgotten and dismissed it, then magic creeps back into the gaps where you do not look for it.
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β
Adrian Tchaikovsky (Dragonfly Falling (Shadows of the Apt, #2))
β
And I am absolutely intellectually able to agree, yes, all of this great crashing wave of negative feeling is not actually being caused by the things I am pinning it to. This is something generated by my biochemistry, grown in my basal brain and my liver and my gut and let loose to roam like a faceless beast about my body until it reaches my cognitive centres, which look around for the worry du jour and pin that mask on it. I know that, while I have real problems in the world, they are not causing the way I feel within myself, this crushing weight, these sudden attacks of clenching fear, the shakes, the wrenching vertiginous horror that doubles me over. These feelings are just recruiting allies of convenience from my rational mind, like a mob lifting up a momentary demagogue who may be discarded a moment later in favour of a better. Even in the grip of my feelings I can still acknowledge all this, and it doesnβt help. Know thyself, the wise man wrote, and yet I know myself, none better, and the knowledge gives me no power.
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β
Adrian Tchaikovsky (Elder Race)
β
In Collegium it had been the fashion, while he had been resident there, to paint death as a grey-skinned, balding Beetle man in plain robes, perhaps with a doctor's bag but more often an artificer's toolstrip and apron, like the man who came in, at the close of the day, to put out the lamps and still the workings of the machines.
Among his own people, death was a swift insect, gleaming black, its wings a blur - too fast to be outrun and too agile to be avoided, the unplumbed void in which he swam was but the depth of a single facet of its darkly jewelled eyes.
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Adrian Tchaikovsky (Dragonfly Falling (Shadows of the Apt, #2))
β
Youβre a priestess. That means people donβt think of you the same way. But believe me, most of us basically canβt talk to a man without him looking us over and deciding whether or not he wants to give us the shaft. And if he does then, whatever else we are, whatever else we do, itβs always there, somewhere in his mind. And if he doesnβt fancy us, then thatβs a judgment too, writing us off as a thing without value. You canβt get rid of it. And either way it means youβre always a woman, first. Youβre not a warrior, or an archer, or even just a friend to drink with. Youβre a woman, and that means youβve got a place, and a use.
β
β
Adrian Tchaikovsky (Spiderlight)
β
Uncharles, in human populations there is seldom a uniformity of knowledge. Based on existing information I estimate that forty-five percent were unaware of the situation or considered it fake, owing to the precisely curated news sources that they limited themselves to, whilst a further thirty percent were aware but did not consider it their problem and twenty percent were aware and actively cheering on the fact or profiting from shorting elements of the neighbouring economy. A final five percent seem likely to have been directly and deliberately contributing to the collapse of their neighbour, either through reasons of malice or because they believed that in the absence of that competition their own interests would prosper. Whilst low as a proportion, I estimate this final category wielded a disproportionate amount of influence.
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Adrian Tchaikovsky (Service Model)
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The soldier within her was urging her to just kill them. Gun them down, if the physics would even let her. Or keep them up there, closer to where the death was. But she'd been among civilians and Colonials a long time. Also, she'd been taught to think that the Parthenon were the right and the good. And rather than that meaning they got to do what they liked, and their actions would be whitewashed as right and good because of who they were, it meant they had to actually do right and good things. Active virtue, defending humanity and never, ever giving in to the temptation that Doctor Parsefer had strewn in their path when she'd cooked up her perfect vat-born warrior angels. If these angels were ever to fall, we would be such a force for evil in the universe. It was a terrible thing to look into the heart of your culture and know that you were intended for monstrosity and only an active devotion to the good of others would keep you from it, even when those others hated you.
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Adrian Tchaikovsky (Eyes of the Void (The Final Architecture, #2))
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I don't really believe that people can predict the future,' he admitted.
'People predict the future every day, Stenwold Maker,' she replied, studying the rainbow carefully as the glass panels shifted slightly on the creaking wooded framework. 'If you drop a stone, you may predict that it shall fall. If you know a man to be dishonest, you may predict that he will cheat you. If you know one army is better trained and led, you may predict that it will win the battle.'
He could not help smiling at that. 'But that is different. That is using knowledge already gained about the world to guess at the most likely outcome.'
'And that is also predicting the future, Stenwold Maker,' she said. 'The only difference is your source of knowledge. Everything that happens has a cause, which same cause has itself a cause. It is a chain stretching into the most distant past, and forged by necessity, inclination, bitter memories, the urge of duty. Nothing happens without a reason. Predicting the future does not require predestination, Stenwold Maker. It only requires a world where one thing will most likely lead to another.
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Adrian Tchaikovsky (Salute the Dark (Shadows of the Apt, #4))