Category Archives: Quotes

Just a nicely worded quote from a Kabbalistic text I was reading this morning. Lots of these give me many doubts, but this one is a rather accurate description:

(about the question “What is the meaning of my life?”)

“It is indeed true that historians have grown weary contemplating it, and particularly in our generation. No one ever wishes to consider it. Yet the question stands as bitterly and vehemently as ever. Sometimes it meets us uninvited, pecks at our minds and humiliates us to the ground before we find the famous ploy of flowing mindlessly in the currents of life, as always.”

This is going to be a little rambly. I only wanted to pick up a quote from episode 5 of True Detective because it repeats a pattern. One that I’ve been using in many of my posts on “mythology”.

This is a world where nothing is solved.
Someone once told me, “Time is a flat circle.”
Everything we’ve ever done or will do
we’re gonna do over and over and over again…
…and that little boy and that little girl,
they’re gonna be in that room again…
and again…
and again…

You ever heard of something called
the M-brane theory, detectives?
It’s like in this universe,
we process time linearly forward…
but outside of our spacetime,
from what would be a fourth-dimensional perspective,
time wouldn’t exist,
and from that vantage, could we attain it..
we’d see…
our spacetime would look flattened,
like a single sculpture with matter
in a superposition of every place it ever occupied,
our sentience just cycling through our lives
like carts on a track.
See, everything outside our dimension…
that’s eternity,
eternity looking down on us.
Now, to us,
it’s a sphere,
but to them…
it’s a circle.

In eternity, where there is no time,
nothing can grow.
Nothing can become.
Nothing changes.
So death created time
to grow the things that it would kill…
and you are reborn
but into the same life
that you’ve always been born into.
I mean, how many times have we
had this conversation, detectives?
Well, who knows?
When you can’t remember your lives,
you can’t change your lives,
and that is the terrible and the secret fate of all life.
You’re trapped…
by that nightmare you keep waking up into.

The theme of circularity is less clear, but the rest is again about determinism and the loophole. The second block speaks of the fourth-dimensional perspective, but the important aspect is the shift from one perspective to the other. One, ours, is a perspective from within the sandbox, the other, belonging to a theoretical observer we can as well call “God”, is the perspective from outside the sandbox. Where “the sandbox” means the known universe.

What’s important about this sandbox is that all its laws are contained and the sandbox is sealed. The premise of determinism is that there isn’t any intervention to the inside of this sandbox from the outside. This is also the premise of “science”, or the belief that the laws that rule the world are not mutable (if not when subject to bigger rules).

From that perspective, from the outside, everything is cause and effect. If we toss a coin we might interpret the outcome as “random”, but we also know that the face the coin falls on depends on a great number of factors and laws. Ideally, if we could know every factor we could also then predict the trajectory of the coin, how many times it spun in the air, and so predict the face it would fall on. But since this complexity is already far beyond our reach, we still consider it a practical use of randomness: we just don’t have that kind of control when we toss the coin.

But we can imagine a different perspective if one looks from the outside. In this case it would be like a sequence of numbers, of the kind where you have to guess a few missing ones by looking and figuring out the relationship between the numbers that are there. This is a common game. But with the perspective from the outside the game is different: you know already the rule that generates the sequence of numbers, you are given one number at a random point of the sequence, and your job is instead to deduce all the numbers that come before, and all the numbers that come after. That’s determinism.

Within this context, looking from the outside, the life of someone within this box looks like “trapped”. Why trapped?

“if you can’t remember your lives, you can’t change your lives”

If a choice depends, is influenced, by processes that “come before”, then that choice is always the same if the factors leading to it do not change either. But if you have memories, then these different factors will produce different results. Within a single life, linearly, you can see how experiences influence different choices down the line. That’s a perspective from within the box.

The “loophole” is again theoretically personified as “God”. Or: you need a way to escape the sealed sandbox, a kind of loophole that lets you go “take a glimpse” from the outside, and then returning back in, keeping that knowledge, so that you can use it to “change” what happens within the sandbox.

That’s once again the idea playing in those quotes. If “God” granted us, whenever the timeline reboots and we are reborn, “memories” of our past lives, then it would be as if we would obtain the “breaching of the vessel” that grants us the loophole. Knowledge that passes through God, holding our previous memories, is knowledge that is taken from the sandbox, preserved outside it, and then injected in the box to alter its content: this is intervention from the outside, and so the sandbox isn’t sealed anymore (unless there’s another external observer, whose observed system would be a deterministic “sandbox + observed god”).

Why does this matter?

If it’s all a game of infinite perspective shifts, then we are all alike God, playing with sub-creations (see Tolkien on his mythology).

How many times those detectives had their conversation, indeed? I’ve played it at least twice. And it was repeated as many times that show was seen. Every time it’s the exact same conversation. Because those characters are trapped in a movie, and the movie plays always the same. Those characters can show feelings and everything, but they don’t have memories of the repeating acts. You can see “choice” happen, when you move from one episode to the next, those characters react depending on their past experiences, but if you rewatch the show they aren’t going to retain those memories, and so they can only repeat themselves in the exact same way.

(interesting how the genre of games called “roguelike” offers a good example of loophole and sandbox-violation. The sandbox is the game, the player is the god. The character in the game/sandbox can die permanently, but then his “knowledge”/memories passes to the player, who’s going to learn from those characters’ deaths, and play better)

So if god created the world, and sees it as a deterministic system where we don’t have any freedom, the same happens to us and to our sub-creations. We are small gods with small powers, just repeating the same moves in a smaller scale. I guess.

Oh, True Detective, HBO. Singular masterpiece on TV now.

Some pretentiousness and fluff aside, this is serious good writing, excellent use of music, excellent direction, and even more excellent acting, which is rare if taken alone, even more if you expect them to happen all at once. It comes as close as possible to an hour of perfect Television. I’m impressed (I’ve only seen the first three episodes, I’ve heard the fourth is better).

It’s also a fair bit like a TV adaptation of Bakker’s “Disciple of the Dog”. Matthew McConaughey is more than perfect for the role as Detective “Rust”, the most delicious kind of cynicism. Tasting exactly like Rust, who suffers from synesthesia. Bakker’s themes are all there and not /too/ flattened for the broader public either.

This show, contrary to the standard of TV productions, is also run entirely by a single writer and a single director. Eight episodes and the first season is over, but following seasons, if they happen, open up completely new chapters and characters. So this story will come to a close in these eight episodes. It promises and delivers.

To add more genius, the opening shows human interiority as physical landscapes. Human beings as environments. And The King in Yellow was mentioned.

But this post is simply supposed to collect quotes right from the script (or the three episodes I’ve seen).

– People out here, it’s like they don’t even know the outside world exists. Might as well be living on the fucking Moon.

– There’s all kinds of ghettos in the world.

– It’s all one ghetto, man, giant gutter in outer space.

Look. I consider myself a realist, all right, but in philosophical terms, I’m what’s called a pessimist.

– Um, okay. What’s that mean?

– Means I’m bad at parties.

– Heh. Let me tell you. You ain’t great outside of parties either.

– I think human consciousness was a tragic misstep in evolution. We became too self-aware. Nature created an aspect of nature separate from itself. We are creatures that should not exist by natural law. We are things that labor under the illusion of having a self, this accretion of sensory experience and feeling, programmed with total assurance that we are each somebody when, in fact, everybody’s nobody.

– I wouldn’t go around spouting that shit, I was you. People around here don’t think that way.

– I think the honorable thing for species to do is deny our programming, stop reproducing, walk hand in hand into extinction, one last midnight, brothers and sisters, opting out of a raw deal.

– So what’s the point of getting out bed in the morning?

– I tell myself I bear witness, but the real answer is that it’s obviously my programming, and I lack the constitution for suicide.

Ah, that’s not this. This has scope. Now, she articulated a person with vision. Vision is meaning. Meaning is historical.

Yeah, back then, the visions. Yeah, most of the time, I was convinced that I’d lost it. But there were other times… I thought I was mainlining the secret truth of the universe.

– Some folks enjoy community, the common good.

– Yeah? Well, if the common good has got to make up fairy tales, then it’s not good for anybody.

If the only thing keeping a person decent is the expectation of divine reward, then, brother, that person is a piece of shit, and I’d like to get as many of them out in the open as possible.

What’s it say about life, hmm, you got to get together, tell yourself stories that violate every law of the universe just to get through the goddamn day?

Oh, yeah. Been that way since one monkey looked at the sun and told the other monkey, “He said for you to give me your fucking share.”

Transference of fear and self-loathing to an authoritarian vessel. It’s catharsis. He absorbs their dread with his narrative. Because of this, he’s effective in proportion to the amount of certainty he can project.

Certain linguistic anthropologists think that religion is a language virus that rewrites pathways in the brain, dulls critical thinking.

See, we all got what I call a life trap, this gene-deep certainty that things will be different, that you’ll move to another city and meet the people that’ll be the friends for the rest of your life, that you’ll fall in love and be fulfilled. Fucking fulfillment, heh, and closure, whatever the fuck those two– Fucking empty jars to hold this shitstorm, and nothing is ever fulfilled until the very end, and closure– No. No, no. Nothing is ever over.

The ontological fallacy of expecting a light at the end of the tunnel, well, that’s what the preacher sells, same as a shrink. See, the preacher, he encourages your capacity for illusion. Then he tells you it’s a fucking virtue. Always a buck to be had doing that, and it’s such a desperate sense of entitlement, isn’t it? “Surely, this is all for me. Me. Me, me, me. I, I. I’m so fucking important. I’m so fucking important, then, right?” Fuck you.

People. I’ve seen the finale of thousands of lives, man– young, old. Each one is so sure of their realness, that their sensory experience constituted a unique individual with purpose, meaning… so certain that they were more than a biological puppet. Well, the truth wills out, and everybody sees once the strings are cut, all fall down.

Each stilled body so certain that they were more than the sum of their urges, all the useless spinning, tired mind, collision of desire and ignorance.

This– This is what I’m talking about. This is what I mean when I’m talking about time and death and futility. There are broader ideas at work, mainly what is owed between us as a society for our mutual illusions. 14 straight hours of staring at DBs, these are the things you think of. You ever done that? Hmm? You look in their eyes, even in a picture. Doesn’t matter if they’re dead or alive. You can still read them, and you know what you see? They welcomed it, mm-hmm, not at first, but right there in the last instant. It an unmistakable relief, see, because they were afraid and now they saw for the very first time how easy it was to just let go, and they saw– In that last nanosecond, they saw what they were, that you, yourself, this whole big drama, it was never anything but a jerry-rig of presumption and dumb will and you could just let go finally now that you didn’t have to hold on so tight… to realize that all your life– you know, all your love, all your hate, all your memory, all your pain– it was all the same thing. It was all the same dream, a dream that you had inside a locked room, a dream about being a person…

You’ve seen me before putting together the most disparate things, while keeping a straight face and a serious tone. So here’s a quote excised from a review of an anime about “magical girls”:

I’ve always been fascinated with the idea of using animation – and paintings, and music, and words, and etc. – to paint not so much the reality of the world, but the essence of it. If we want to see what something truly looks like, we have pictures and video that can do that, but a Van Gogh still holds up because it shows the world as perceived through the artist’s mind. Enzo once referred to Shinkai Makoto’s work as “more real than real”, and it certainly is in the way he meant it, but to me that phrase has always most resonated when an artist deliberately paints the world not as it appears, but how it is. The truth behind it, not just the reality that we see.

If I manage to write a review of “A Dream of Wessex” by Christopher Priest you’ll see how I’m following a red line of mythological journey, across many mediums, cultures, religions, philosophies and so on. That quote is very pertinent.

The basis, or the structure, of this discussion is what I wrote in “The Throne of the Soul” recapitulation. But already in this quote here you should recognize the important element: Cartesian dualism. He describes two ideas, one is the world as “it appears”, and one is the world as it is revealed through “art”.

What’s interesting in that quote is how he makes the fundamental error of inverting the scheme. He makes the distinction between the reality of the world and its essence. And he turns the “more real than real” into the world as it appears and the “truth” behind it.

What is “art” if not “interpretation” of the real? In my partial analysis of Tolkien’s mythology I examined the part about how art is often seen as a god-like creation. The desire to be like the creator. Tolkien explains this as a natural instinct built into human beings. But this deliberate act of creation should be considered as artificial, not natural (or “true”). We do not take the world as it is, we take the world as we want it, reshaping it.

Where do human beings dwell? If “Reality” is out there, then it’s almost impossible for us to reach it. There’s a membrane we aren’t able to breach. Plato’s cave. But for us, living on “this other side”, reality is made of meaning. Of patterns, symbols. To live and understand reality we rebuild it in a form that makes sense to us. This produces an heightened sense of truth. It’s not “deeper”, it’s somewhat heightened. The “truth” behind the apparent reality reveals the truth of the human condition. Not universal truth, or objective, scientific truths, the world out there. It’s the world “in here”, the one you get caged in your head. The one you live in.

A writer, painter or musician, creates a world through a series of signs. This becomes a secondary, separate dimension. With its rules that must usually be consistent. Characters immersed in that world will have to shape their model of reality, interpret things happening around them. They might be poets, musicians, painters. In a delicious recursive self-reference.

All of this features prominently in Malazan, for example. The post-modern aspect is about the “awareness” of the context. Not of the “ceiling of the world”, meaning the boundaries of the artistic creation, but of the interplay of self-reference. Of the writer writing, of the context that contains the created world.

In Malazan this often creates a delicious, playful interplay filled with double-meaning. A scene can be entirely consistent with the level of plot and artistic “sealed” world. And yet it can still be “aware” of where it comes from. Of the “truth” behind the magical trick. Of the writer writing.

This is a scene from “The Bonehunters” that I bet Steven Erikson had lots of fun writing:

Things were not well. A little stretched, are you, Ammanas? I am not surprised. Cotillion could sympathize, and almost did. Momentarily, before reminding himself that Ammanas had invited most of the risks upon himself. And, by extension, upon me as well.

The paths ahead were narrow, twisted and treacherous. Requiring utmost caution with every measured step.

So be it. After all, we have done this before. And succeeded. Of course, far more was at stake this time. Too much, perhaps.

Cotillion set off for the broken grounds opposite him. Two thousand paces, and before him was a trail leading into a gully. Shadows roiled between the rough rock walls. Reluctant to part as he walked the track, they slid like seaweed in shallows around his legs.

So much in this realm had lost its rightful … place. Confusion triggered a seething tumult in pockets where shadows gathered.

I’ve mentioned before, and now is likely public knowledge, that both Ammanas and Cotillion are sometimes used by Erikson to play with this post-modern layer. On the explicit level that quote is consistent with characters and the world, but from my point of view it reads like playful meta-commentary on the writing itself, especially at that point of the overall series.

Maybe Ammanas and Cotillion “roles” are inverted, but this is the book where Erikson has to pick up all the threads he left behind after five volumes. It’s the first real “convergence” on the series as a whole. So, “a little stretched, are you” reads like something Erikson is telling himself, after all that came before and the monumental task still ahead. “The paths ahead were narrow, twisted and treacherous. Requiring utmost caution with every measured step.” This is again the description of where he’s at, writing the story. Meta-commentary on writing the series, self-reflection.

“Ammanas had invited most of the risks upon himself. And, by extension, upon me as well.” This is also the point in time when Esslemont started to publish his own side of the series. So again, it works as meta-commentary. On the sharing of ambitions, and risks.

“So much in this realm had lost its rightful… place.” This may be again about all the things that changed in the course of five volumes. Both in the story and outside it, I guess.

So be it. After all, we have done this before. And succeeded. Of course, far more was at stake this time. Too much, perhaps.” And here the determination to do it regardless of risks. You definitely can’t hesitate when you’re about to start writing the sixth volume of a ten volumes planned series.

The Shadow realm itself, where Cotillion and Ammanas reside and “scheme”, has similar metaphoric qualities:

Emerging from Shadowkeep, he paused to study the landscape beyond. It was in the habit of changing at a moment’s notice, although not when one was actually looking, which, he supposed, was a saving grace.

It has this dream-like quality. A sort of WYSIATI (What You See Is All There Is). Until things aren’t seen, they lurk in shadows, indistinct. Writing is the same. You put signs on a page. Until those signs aren’t written, nothing exists. And nothing else exists outside what is written. What You Write Is All There Is. The Observer makes reality. The realm of Shadows and Illusions. The illusion of creation.

But then again this treacherous landscape can also concretely refer to the writing itself. Something you are writing may be working well while you are at it. It seems clear, with all the details in your control. But when you are juggling so many different characters and plots, things have a tendency to slip out of control while “you’re not looking” and busy working on some other part. And so the struggle to keep it all together, as if “looking everywhere at the same time”.

“Confusion triggered a seething tumult in pockets where shadows gathered.” This seems describing almost a rebellious behavior of the realm. The moment your grasp slips, the shadows start swarming, threatening what was certain just before. The shape of things. As if you lower your guard, uncertainty devours everything. Including the writer self-doubt. It’s an hostile realm. Cotillion and Ammanas are “usurpers”.

Finally, earlier I saw this link about an interview with David foster Wallace. And in it there’s another link to a different chunk of the interview that I find particularly interesting. DFW also was obsessed about self-reference. This part:

Whereas Cantor, yeah, codifies the transfinite, but Cantor’s paradox is the first step into Godel’s incompleteness and self-reference. It’s at once this beautiful climax of the two hundred years before it and the first note of the funeral dirge for math as something that you can just, ‘You know what, we can explain the entire universe mathematically. All we have to do is come up with the right axioms and the right derivation rules.’ I mean, Cantor’s paradox starts the wheel of self-reference.

I don’t know if you know much about Godel’s incompleteness theorem. But in a lay sense, Godel is able to come up mathematically with a theorem that says, ‘I am not provable.’ And it’s a theorem, which means that math is either not consistent or it’s not complete, by definition. Packed in. He is the devil, for math.

Cantor’s paradox, that whole ‘If it’s not a member of the set, it is a member of the set,’ and then Russell’s paradox about twenty years later, those were the first two . . . You know, when you start coming on a really interesting theme in a piece of music, you usually hear it in echo notes that foreshadow it, those are the foreshadowings. And I don’t imagine Godel would have come up with the self-reference loop if it hadn’t been for Cantor and Russell. [Sotto voce] Whatever. You’re not interested.

“You know, when you start coming on a really interesting theme in a piece of music, you usually hear it in echo notes that foreshadow it, those are the foreshadowings.” That’s a nice description of what I’ve been doing, in my reads and this post too. I’m following this red string that links all these disparate things. It doesn’t matter from which angle you start, because everything leads to everything else.

[Sotto voce] Whatever. You’re not interested.

A couple of days ago Mark Charan Newton wrote on Twitter about “Dune”,

Why did no one tell me that DUNE was this good? I blame you all.

The ebook has a good 6,000 pages… Could be a while!

Of all the things about Dune, what strikes me as most impressive is Herbert’s then avant garde ecological thinking. Amazing for the time.

Systems theory, deep ecology, self-regulation; and as the basis for a narrative, too.

And in 1965!

The science is really sound and advanced for its time. More the philosophy of the science, but still ahead of the curve.

so that was enough to spark my interest. I added the series to my wordcount page (it’s 860k overall) and started looking for the usual stuff, like dates, structure (it’s two trilogies, with an open end and the “mother of all cliffhangers” because of the author’s death) and reviews.

It was quite interesting. I actually had a copy of Dune for a very long time, but never read it because I saw the movie and that for me always takes back something from the fresh experience reading a book. I guess now I’ll read Dune at some point if the world doesn’t end (I actually already started, but the italian translation I have is a bit lacking in prose). As typical of me I’m more interested in the sequels to Dune more than Dune itself, and I notice how pretty much every review complains about Herbert indulging too much in dense philosophy, making the books a struggle to read.

If you remove all the specific references they would work perfect as Malazan reviews. And I know that Erikson is a big fan of Dune and that it was a source of inspiration.

I post here a short essay by Herbert, because the link up on the wikipedia is actually dead, but I was able to retrieve it anyway through google cache. And because vaguely related to what I was writing in comments over at Bakker’s blog (continues up and down).

All the other sequels and spin-offs that his son and the other writer have published, as far as I’m concerned, do not exist.

When I was young and my world was dominated by indestructible adults, I learned an ancient way of thinking that is as dangerous as a rotten board in a stepladder. It told me that the only valuable things were those that I could hold unchanged: the love of a wise grandfather, the enticing mystery of the trail through our woodlot into the forest, the feeling of lake water on a hot summer day, the colors (ahh, those colors) when I opened my new pencil box on the first day of school…

But the grandfather died, a developer bulldozed the woodlot, loggers clear-cut the forest, the lake is polluted and posted against swimming, smog has deadened my ability to detect subtle odors, and pencil boxes aren’t what they used to be.

Neither am I.

There may be a quiet spot in my mind where nothing moves and the places of my childhood remain unchanged, but everything else moves and changes. There’s dangerous temptation in the nostalgic dream, in the expertise of yesteryear. The nameless animal that is all of us cannot live in places that no longer exist. I want to address myself to the survival of that nameless animal, looking back without regrets at even the best of what was and will never be again. We should salvage what we can, but even salvaging changes things.

The way of this change is called “process” and it requires that we be prepared to encounter a multiform reality. Line up three bowls in front of you. Put ice water in the one on the left, hot water in the one on the right, and lukewarm water in the middle one. Soak your left hand in the ice water and right hand in the hot water for about a minute, then plunge both hands into the bowl of lukewarm water. Your left hand will tell you the water of the middle bowl is warm, your right hand will report cold. A small experiment in relativity.

We live in a universe dominated by relativity and change, but our intellects keep demanding fixed absolutes. We make our most strident demands for absolutes that contain comforting reassurance. We will misread and/or misunderstand almost anything that challenges our favorite illusions.

It has been noted repeatedly that science students (presumably selected for open-mindedness) encounter a basic difficulty when learning to read X-ray plates. Almost universally, they demonstrate an inability to distinguish between what is shown on the plate and what they believe will be shown. They see things that are not there. The reaction can be linked directly to the preset with which they approach the viewing of a plate. When confronted with proof of the extent to which preconceptions influenced their judgment, they tend to react with surprise, anger, and rejection.

We are disposed to perceive things as they appear, filtering the appearance through our preconceptions and fitting it into the past forms (including all the outright mistakes, illusions, and myths of past forms). If we allow only the right hand’s message to get through, then “cold” is the absolute reality to which we cling. When our local reality has attached to it that other message: “This is the way out,” then we’re dealing with a form of “holy truth.” Cold becomes a way of life.

More from “Forge of Darkness”. It is frustrating, because extrapolating quotes can diminish their power.

Haut nodded. ‘Listen well. You are right to not conflate the symbol with the meaning; but you are wrong in thinking that to do so is uncommon.’

‘The older you get,’ she said, in a tone that made her seem eye to eye with his grandmother, ‘the more you discover the truth about the past. You can empty it. You can fill it anew. You can create whatever truth you choose. We live long, Orfantal – much longer than the Jheleck, or the Dog-Runners. Live long enough and you will find yourself in the company of other liars, other inventors, and all that they make of their youth shines so bright as to blind the eye. Listen to their tales, and know them for the liars they are – no different from you. No different from any of us.’

‘But dear, we are its eyes. Here atop the Old Tower. We are the city’s eyes just as we are the world’s eyes, and that is a great responsibility, for it is only through us that the world is able to see itself, and from sight is born mystery – the releasing of imagination – and in this moment of recognition, why, everything changes.’

A promise of depth and distance, yet one in which the promise remained sacred, for neither depth nor distance could be explored.

to look upon oneself in this mirror-world was to witness every truth; and find nowhere to hide.

‘A will crumbled helpless to the assault of revelation. When we are driven to our knees, the world shrinks.’

Behind them T’riss spoke up, her voice carrying with unnatural clarity. ‘In ritual you abased yourselves. I saw it in the courtyard, many times. But the gesture was rote – even in your newfound fear, the meaning of that abasement was lost.’

‘Please,’ growled Resh, ‘explain yourself, Azathanai.’

‘I will. You carve an altar from stone. You paint the image of waves upon the wall and so fashion a symbol of that which you would worship. You give it a thousand names, and imagine a thousand faces. Or a single name, a single face. Then you kneel, or bow, or lie flat upon the ground, making yourselves abject in servitude, and you may call the gesture humble before your god, and see in your posture righteous humility.’

‘This is all accurate enough,’ said Resh.

‘Just so,’ she agreed. ‘And by this means you lose the meaning of the ritual, until the ritual is itself the meaning. These are not gestures of subservience. Not expressions of the surrendering of your will to a greater power. This is not the relationship your god seeks, yet it is the one upon which you insist. The river god is not the source of your worship; or rather, it shouldn’t be. The river god meets your eye and yearns for your comprehension – not of itself as a greater power, but comprehension of the meaning of its existence.’

consider this: it is only when opposed that some things find definition. Few would argue, I think, that Darkness is a difficult thing to worship. What is it we seek in elevating Mother Dark? What manner of unity can we find circling a place of negation?

A short, playful and “meta” quote from “Forge of Darkness”:

‘I yield the meaningless secrets, Setch, to better hold hidden the important ones. Think of prod and pull, if you like. Explore the concepts in your mind, and muse on the pleasures of misdirection.’

Sechul Lath studied Errastas, lying there propped up against a boulder, beaten half to death. ‘Are you truly as clever as you think you are?’

Errastas laughed. ‘Oh, Setch, it hardly matters. The suspicion is enough, making fecund the soil of imagination. Let others fill the gaps in my cleverness, and make of me in their eyes a genius.’