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One should never mistake pattern for meaning.
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Iain Banks (The Hydrogen Sonata)
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One should never regret one's excesses, only one's failures of nerve.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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So basically you're sticking around to watch us all fuck up ?"
"Yes. It's one of life's few guaranteed constants.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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There was something comforting about having a vast hydrogen furnace burning millions of tons of material a second at the centre of a solar system. It was cheery.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Thing about emergencies,β he said, sounding weary. βRarely occur when theyβd be convenient.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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One should never mistake pattern β¦ for meaning.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Once one survives the trough that comes with the understanding that people are going to go on being stupid and cruel to each other no matter what, probably for ever β if one survives; many people choose suicide at this point instead β then one starts to take the attitude, Oh well, never mind.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Living either never has any point, or is always its own point; being a naturally cheery soul, I lean towards the latter.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Sometimes what goes without saying is best said anyway.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Happily, I am not human, Parinherm thought, and this is only a simulation.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Oh, adjust yourself. You people have spent ten millennia playing at soldiers while becoming ever more dedicated civilians. We've spent the last thousand years trying hard to stay civilian while refining the legacy of a won galactic war.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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obsession is just what those too timorous to follow an idea through to its logical conclusion call determination.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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And in all of this, to what end?β βNo end save itself: I pass the time to pass the time, and stay involved to stay involved.β βYes, but why?β βWhy not?
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
β
faith is belief without reason; we operate on reason and nothing but. I have zero faith in my crew, just absolute confidence.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Meaning is everywhere. There is always meaning. Or at least all things show a disturbing tendency to have meaning ascribed to them when intelligent creatures are present. Itβs just that thereβs no final Meaning, with a capital M. Though the illusion that there might be is comforting for a certain class of mind.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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It seemed perverse to some, but for all their apparent militarism the Gzilt had remained peaceful over many millenia; it was the avowedly peaceful Culture that had , within living memory, taken part in an all-out galactic war against another civilisation.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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However, there is another reaction to the never-ending plethora of unoriginal idiocies that life throws up with such erratic reliability, besides horror and despair.β βWhatβs that?β βA kind of glee. Once one survives the trough that comes with the understanding that people are going to go on being stupid and cruel to each other no matter what, probably for ever β if one survives; many people choose suicide at this point instead β then one starts to take the attitude, Oh well, never mind. It would be far preferable if things were better, but theyβre not, so letβs make the most of it. Letβs see what fresh fuckwittery the dolts can contrive to torment themselves with this time.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Iβm a fucking razor-arsed starship, you maniac! Iβm not male, female or anything else except stupendously smart and right now tuned to smite. I donβt give a fuck about flattering you. The few and frankly not vitally important sentiments I have concerning you I can switch off like flicking a switch.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Where do you keep your memories of love, past lovers?β QiRia looked at her. βIn my head, of course.β He looked away. βThere are not so many of those, anyway,β he said, voice a little quieter. βLoving becomes harder, the longer you live, and I have lived a very long time indeed.β He fixed his gaze on her again. βIβm sure it varies across species β some seem to do quite well with no idea of love at all β but you soon enough come to realise that love generally comes from a need within ourselves, and that the behaviour, theβ¦ expression of love is what is most important to us, not the identity, not the personality of the one who is loved.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Oh no,β Ximenyr said, looking almost serious. βOne should never regret oneβs excesses, only oneβs failures of nerve.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Thing about emergencies,β he said, sounding weary. βRarely occur when theyβd be convenient.β βMay
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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I have a whole regimental intelligence service thatβs developed a fine line in rumour-mongering and story-placing over the last few years, and the ear of every media player youβve courted so assiduously over the decades; they will ask the questions weβve suggested, they will listen, and they will repeat what we tell them. The issue is whether people believe it.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Promises take many shapes, and the more β¦ momentous they are, the more they might look like threats. All great promises are threats, I suppose, to the way things have been until that point, to some aspect of our lives, and we all suddenly become conservative, even though we want and need what the promise holds, and look forward to the promised change at the same time.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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The Sublime. The almost tangible, entirely believable, mathematically verifiable nirvana just a few right-angle turns away from dear boring old reality: a vast, infinite, better-than-virtual ultra-existence with no Off switch, to which species and civilizations had been hauling their sorry tired-with-it-all behinds off to since - the story went - the galaxy had still been in metaphorical knee socks.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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He gazed out to sea for a moment, then added, βOne should never mistake pattern β¦ for meaning.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Birds and airfish, singly and in vast flocks that dimmed the sun, filled the spaces between the ocean and the clouds, lazily trailing one long wing across the brief smooth curvings between the waves before disappearing amongst the long rolling troughs again, or weaving columnar patterns like grey, fractal shadows against the soaring architecture of cloud.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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All great promises are threats, I suppose, to the way things have been until that point, to some aspect of our lives, and we all suddenly become conservative, even though we want and need what the promise holds, and look forward to the promised change at the same time.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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The usual bizarre bio-mix of who-knew-how-many planetary-original blood-lines, all tangled inextricably together with those from an equally unfathomable number of others, boosted with genetech, aug., dashes of chimeric and a hint of some machine in there too, depending.
And it didnβt doubt that every single one of them would find it absolutely fascinating to stare into a fire, even if that was one thing they were unlikely ever to encounter on a ship. The urge would still be there, though;
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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It is very protective of me. But certain sorts of protection, even care, can shade into a sort of desire for ownership. Certainly into a feeling that what is being protected is an earned exclusivity of access for the protector, not the privacy of the protected.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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[I]t was really only in the generation or two before hers that the idea had started to traverse the spectrum of likelihood in the popular imagination, beginning at unthinkable, progressing to absurd, then going from possible but unlikely to probable and likely, before eventually arriving β round about the time of her birth β at seemingly inevitable.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Well, in the end, there was no helping this. Sometimes you just had to adopt the attitude summed up by, Too bad.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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In the dying days of the Gzilt civilisation, before its long-prepared-for elevation to something better and the celebrations to mark this momentous but joyful occasion, one of its last surviving ships encountered an alien vessel whose sole task was to deliver a very special party-goer to the festivities.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Others reckoned that as long as the termination was instant, with no warning and therefore no chance that those about to be switched off could suffer, then it didnβt really matter. The wretches hadnβt existed, theyβd been brought into existence for a specific, contributory purpose, and now they were nothing again; so what? Most people, though, were uncomfortable with such moral brusqueness, and took their responsibilities in the matter more seriously. They either avoided creating virtual populations of genuinely living beings in the first place, or only used sims at that sophistication and level of detail on a sustainable basis, knowing from the start that they would be leaving them running indefinitely, with no intention of turning the environment and its inhabitants off at any point. Whether these simulated beings were really really alive, and how justified it was to create entire populations of virtual creatures just for your own convenience under any circumstances, and whether or not β if/once you had done so β you were sort of duty-bound to be honest with your creations at some point and straight out tell them that they werenβt really real, and existed at the whim of another order of beings altogether β one with its metaphorical finger hovering over an Off switch capable of utterly and instantly obliterating their entire universeβ¦ well, these were all matters which by general and even relieved consent were best left to philosophers. As was the ever-vexing question, How do we know weβre not in a simulation? There
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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All these people seemed to do was talk! It supposed it was just what biologicals did. If you wanted to feel you were still somehow in control of a ship or a fleet or even your civilisation, talking amongst yourselves seemed to be the way you convinced yourself of it. Finally
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Up to this point, the story of the Gzilt and their holy book was, to students of this sort of thing, quite familiar: an upstart part of a parvenu species/civ gets lucky, proclaims itself Special and waves around its own conveniently vague and multiply interpretable holy book to prove it. What set the Book of Truth apart from all the other holy books was that it made predictions that almost without exception came true, and anticipated phenomena that nobody of the time of Briper Drodj could possibly have guessed at. At almost every scientific/technological stage over the following two millennia, the Book of Truth called it right, whether it was on electromagnetism, radioactivity, atomic theory, the cosmic microwave background, hyperspaciality, the existence of aliens or the patternings of the energy grid that lay between the nested universes. The language was even quite clear, too; somewhat opaque at the time before you had the technological knowledge to properly understand what it was it was talking about and you were reading, but relatively unambiguous once the accompanying technical breakthrough had been made. There
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Well,β the voice said, seemingly oblivious, βone thing that does happen when you live a long time is that you start to realise the essential futility of so much that we do, especially when you see the same patterns of behaviour repeated by succeeding generations and across different species. You see the same dreams, the same hopes, the same ambitions and aspirations, reiterated, and the same actions, the same courses and tactics and strategies, regurgitated, to the same predictable and often lamentable effects, and you start to think, So? Does it really matter? Why really are you bothering with all this? Are these not just further doomed, asinine ways of attempting to fill your vacuous, pointless existence, wedged slivered as it is between the boundless infinitudes of dark oblivion book-ending its utter triviality?β βUh-huh,
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Nice people who are beginning to live to a great age - as it were - react with such revulsion to the burgeoning horrors that confront them, they generally prefer suicide. It's only us slightly malevolent types who are able to survive that realisation and find a kind of pleasure - or at least satisfaction - in watching how the latest generation or most recently evolved species can re-discover and beat out afresh the paths to disaster, ignominy and shame we had naively assumed might have become hopelessly over-grown.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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She'd asked him what it was like to be in there, doing nothing but then being woken up to speak to somebody you couldn't see. He'd said that it was like being woken from a deep and satisfying sleep, to be asked questions while you kept your eyes closed. He was quite happy. Sight was over-rated anyway.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Iβm sure it varies across species β some seem to do quite well with no idea of love at all β but you soon enough come to realise that love generally comes from a need within ourselves, and that the behaviour, the β¦ expression of love is what is most important to us, not the identity, not the personality of the one who is loved.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Warm, Considering likes to think it is very protective of me.β QiRia drank from his glass. βIt is very protective of me. But certain sorts of protection, even care, can shade into a sort of desire for ownership. Certainly into a feeling that what is being protected is an earned exclusivity of access for the protector, not the privacy of the protected.β He looked across at her. His eyes were the colour of the sea, she remembered. Dark now. βDo you understand?
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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There is always meaning. Or at least all things show a disturbing tendency to have meaning ascribed to them when intelligent creatures are present. Itβs just that thereβs no final Meaning, with a capital M. Though the illusion that there might be is comforting for a certain class of mind.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Yes, you should always tell the truth, unless you find yourself in a situation where it would be utter moral folly to do so.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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~My full name is the Mistake Not My Current State Of Joshing Gentle Peevishness For The Awesome And Terrible Majesty Of The Towering Seas Of Ire That Are Themselves The Mere Milquetoast Shallows Fringing My Vast Oceans Of Wrath. Cool, eh?
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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The tram was mostly empty. It climbed steadily up a slope of tilted plain, stopping to pick up or drop off a few travellers. Those that saw Tefwe all stopped and stared at her for a few moments, then ignored her. Nobody chose to sit close to her. The sound built very slowly; it would have been hard to know when it first started to become distinct from the noises of the rattling, swaying tram and the wind moving over the surrounding fields of tall, bronze-coloured grasses and occasional thick-trunked coppery trees. She became aware of the sound when she realised that sheβd been assuming for a while that somebody was humming monotonously just behind her, only there was nobody there. βIs thatβ¦ the sound?β she sub-vocalised to the suit. βYes.β The tram clattered to a stop at another station, and now she could hear the sound properly, distinctly; it was a low booming collection of tones like very distant and continuous thunder, all the individual claps rolled together and coming and going on the wind. She got up out of the uncomfortably tilted seat and went to the front of the tramβs middle carriage, heading upstairs to get a better view. There were more of the locals here; they parted as though to let her through to the front, but she bowed, gestured, hung back. She could see well enough. The mountains rose out of the hazy plain ahead like a dark storm of rock, the higher massifs draped with cloud, the highest peaks capped in orange-white ice and snow. The sound swelled and fell away with a sort of tantalising grace, its strength implicitly influenced not just by the light breezes circling round the tram but by mightier winds blowing tens of kilometres away towards the far horizon and kilometres further into the sky. The sound, she thought, was like something you might have heard from an enormous choir of basses singing a slow, sonorous hymn in a language you would never understand. The tram station in the foothills possessed a sort of modest, ordered busyness to it, full of the dark folds moving about it with their odd, side-to-side, flip-flopping walk. The station connected with a whole fan of cogged funicular lines, winding up into the mountains like something being unravelled. The sound here was a little louder, still coming and going on the wind.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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And obsession is just what those too timorous to follow an idea through to its logical conclusion call determination.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Promises take many shapes, and the more⦠momentous they are, the more they might look like threats. All great promises are threats, I suppose, to the way things have been until that point, to some aspect of our lives, and we all suddenly become conservative, even though we want and need what the promise holds, and look forward to the promised change at the same time.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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One should never mistake pattern⦠for meaning.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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Always try to avoid setting up future opportunities for kicking yourself.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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I'm sure it varies across species - some seem to do quite well with no idea of love at all - but you soon enough come to realise that love generally comes from a need within ourselves, and that the behaviour, the... expression of love is what is most important to us, not the identity, not the personality of the one who is loved.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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This isnβt Ospin! These arenβt the Dataversities!
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
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If you wanted to feel you were still somehow in control of a ship or a fleet or even your civilisation, talking amongst yourselves seemed to be the way you convinced yourself of it.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))
β
At sunset above the plains of Kwaalon, on a dark, high terrace balanced on a glittering black swirl of architecture forming a relatively microscopic part of the equatorial Girdlecity of Xown, Vyr Cossont β Lieutenant Commander (reserve) Vyr Cossont, to give her her full title β sat, performing part of T. C. Vilabierβs 26th String-Specific Sonata For An Instrument Yet To Be Invented, catalogue number MW 1211, on one of the few surviving examples of the instrument developed specifically to play the piece, the notoriously difficult, temperamental and tonally challenged Antagonistic Undecagonstring β or elevenstring, as it was commonly known.
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Iain M. Banks (The Hydrogen Sonata (Culture, #10))