82
" Years later I saw a film - poignantly sad, and for me unbearably so - about a scientist who had invented a kind of total sense recorder, not just video but audio and smellio and touchio and the rest, which he set to play every afternoon in a given place a given time, for as long as the mechanism lasted. The scene he projected was that of a dozen or so young couples dancing on a terrace in the same holiday house, on the same island, where the recorder itself was kept. Then this young man comes across it while it is playing and at first is convinced he is watching a real occurrence: he sees this beautiful girl, in her slinky 1930s outfit, dancing and laughing and chattering with her friends, and he falls in love with her on the spot. Second day, same time around, he comes to the island at a slightly different time so he sees a slightly different excerpt, and still doesn't twig and falls deeper in love. And so on and so forth for various days until he happens on a duplicate bit and realises something is wrong. But by then, of course, he is irretrievably hooked. So what does he do? He digs out the machine, fiddles with its insides until he has grasped its workings, and then sets it up in recording mode and records himself into the scene in a desperate last-ditch attempt to join the dancers. Which works, and there he stays: trapped there amongst them in a virtual dimension, forever young, forever re-enacting the same little loop of life, over and over. "
― , Sabine
88
" No one will shake my conviction that those leaders of men, who are in the nature of carbuncles, of semi-conscious abscesses, who draw feverish crowds to them like noxious humours, have an innate knowledge of arrested time. They play with those vacant moments as though at a game of chequers. A fraction of suspended, frozen time, of inert time, jammed like a wedge into the most wonderfully oiled cogs of the most lucid of minds: and the whole mechanism is brought crashing to the ground, prepared to accept any authority, to endorse the most monstrous aberrations, especially collective ones. "
― Jacques Yonnet , Paris Noir: The Secret History of a City
95
" As I let it out, layer by layer, Dr. Driscoll helped with the bumps and valleys. He knew just how much to draw out of me and how much I could handle. He is such an expert in his profession. He told me that the guilt I was feeling was not guilt, but regret. Guilt is a good thing. It is a mechanism by which we shouldn't make the same mistake twice. If you do something questionable, then the next chance you get to do it, guilt should stop you. I had no guilt. I had regrets, many regrets, but no guilt. It took some convincing, but he prevailed. There was always a nagging in my head, that if only I had had the guts to kill Neary myself, it would have stopped him from harming others, but that was not to be as a small boy. It does hurt that, maybe, just maybe, if I had carried out one of my many plans to kill him and myself then I could have saved victims younger than I. As victims come forward from almost all the churches where he served—and some are twenty—five plus years my junior—I feel that they would have been spared, if only I hadn't chickened out as a boy. Therein lies the answer; I was a little boy, a ten—year—old boy. Other victims of Neary were as young as six. "
― , In the Shadow of the Cross
100
" I consider Yoda to be just about the most evil character that I’ve ever seen in the history of literature. I have gotten people into tongue-tied snits unable to name for me one scene in which Yoda is ever helpful to anybody, or says anything that’s genuinely wise. 'Do or do not, there is no try.' Up yours, you horrible little oven mitt! 'Try' is how human beings get better. That’s how people learn, they try some of their muscles, or their Force mechanism heads in the right direction, that part gets reinforced and rewarded with positive feedback, which you never give. And parts of it get repressed by saying, 'No, that you will not do!' It is abhorrent, junior high school Zen. It’s cartoon crap. "
― David Brin