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L Timmel Duchamp quotes

Work: The Waterdancer's World

“Nathalie dropped into a crouch and fastened braces around her ankles, binding the soles of her feet with the broad bands of fabric holding the strange little knobs and springs and magnets (at least Inez thought they must be magnets). Each time a brace was clicked into place, a tiny green light on the clasp glinted. Inez cleared her throat, uncertain that Nathalie was even listening. “Perhaps you could ask after her and then message me which dome she’s in?” Nathalie” >>>
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Work: The Waterdancer's World

“She gripped the edge of it and glared at Imogen. “I find your attitude offensive. Even in your silly version of that play, one thing still managed to come through, and that’s the critical importance of law and order in civic life. It was the lack of good public order, the lack of adherence to the law that generated all the violence that comes about in that play, not Creon’s irrationality per se.” “Obey, obey whatever the person in possession of the greatest physical force orders?” Imogen’s derisive tone mocked Madeleine. “Law is always better than the violence and selfishness of chaos,” Madeleine said. Law could be repressive, yes: but think of all the evil that the elimination of law would unleash.” >>>
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Work: The Waterdancer's World

“Why would you think I take your chauvinism personally? I thought we were having an abstract discussion about dance?” “But it’s you who are refusing to keep it abstract,” Allie Sherr said. “You’ve been accusing us of chauvinism, accusing us of ascribing ugliness to all Frogmorians.” “I give up,” Solstice said. “As far as I can make out, you do consider the Frogmore physique ugly. All of you claim that anyone with the average Frogmore body — a body suited to this planet as well as any human body can be — you claim that the average Frogmore body more or less defiles dance, that the Frogmore body is not expressive enough to be appropriate for dance.” >>>
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Work: The Waterdancer's World

“They leave the viewer free of the story itself, which after its telling is finished has become a memory (often pleasurable) set firmly in the past, available for revisiting at will, but contained. In order to emphasize this past-ness of classical dramas, some ancients insisted that the drama be set entirely in one place within one local day. Dramas that remain open and unresolved necessarily employ different conventions, techniques, and narrative structures than do those of classical drama as it has developed over the millennia. — Alexandra Jador of Pleth, The Art of Holodrama” >>>
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Work: The Waterdancer's World

“The only stories that cease to live and breathe after they’ve been told are those that end in perfect, unchanging bliss — “happily ever after” — or with the definitive death of their focal character(s). Most other stories, though, remain unfinished, hanging on into the present, projecting their own spectral future, intangible, problematic, messy. They can never be perfect objects, complete and, in the viewer’s mind, hypostasized. Unceasing bliss or definitive, perfect death are called the classical modes of drama for a reason.” >>>
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Work: The Waterdancer's World

“Here on Frogmore, those who govern share a set of cultural practices and values entirely alien to the various cultural groups that together make up a super-majority population. Each member of that super-majority is in theory “allowed” to live in accordance with their cultural traditions and customs. In practice, however, they are in every respect treated as isolated monads assumed to share the cultural values and practices of the rulers. This assumption effectively strips them of their culture in every important context, rendering their cultural context invisible, allowing the rulers’ cultural values to be projected onto them as though they were blank slates. Thus, their voices are inaudible and unintelligible when the policies that affect them are being framed. And thus justice, in the rulers’ courts of law, is an utter impossibility.” >>>
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