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One night, Ye was working the night shift. This was the loneliest time. In the deep silence of midnight, the universe revealed itself to its listener… - Liu Cixin
" "One night, Ye was working the night shift. This was the loneliest time. In the deep silence of midnight, the universe revealed itself to its listeners as a vast desolation. What Ye disliked most was seeing the waves that slowly crawled across the display, a visual record of the meaningless noise Red Coast picked up from space. Ye felt this interminable wave was an abstract view of the universe: one end connected to the endless past, the other to the endless future, and in the middle only the ups and downs of random chance — without life, without pattern, the peaks and valleys at different heights like uneven grains of sand, the whole curve like a one-dimensional desert made of all the grains of sand lined up in a row, lonely, desolate, so long that it was intolerable. You could follow it and go forward or backward as long as you liked, but you’d never find the end.
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About Liu Cixin
Liu Cixin (born June 23, 1963) is a Chinese science fiction writer.
Biography information from Wikiquote
Also Known As
Alternative Names:
Cixin Liu
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Liu Ci Xin
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Da Liu
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Big Liu
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Daliu
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Liu Da
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Liucixin
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Liu Ci-Xin
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Ci-Xin Liu
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Additional quotes by Liu Cixin
Are you under the impression that the object of everyone else’s love actually exists?” “Is that even a question?” “Sure. For the majority of people, what they love exists only in the imagination. The object of their love is not the man or woman of reality, but what he or she is like in their imagination. The person in reality is just a template used for the creation of this dream lover. Eventually, they find out the differences between their dream lover and the template. If they can get used to those differences, then they can be together. If not, they split up. It’s as simple as that. You differ from the majority in one respect: You didn’t need a template.
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In this cosmic arena, Luo Ji faced not the fancy moves of Chinese sword fighting, resembling dance more than war; nor the flourishes of Western sword fighting, designed to show off the wielder’s skill; but the fatal blows of Japanese kenjutsu. Real Japanese sword fights often ended after a very brief struggle lasting no more than half a second to two seconds. By the time the swords had clashed but once, one side had already fallen in a pool of blood. But before this moment, the opponents stared at each other like statues, sometimes for as long as ten minutes. During this contest, the swordsman’s weapon wasn’t held by the hands, but by his heart. The heart-sword, transformed through the eyes into the gaze, stabbed into the depths of the enemy’s soul. The real winner was determined during this process: In the silence suspended between the two swordsmen, the blades of their spirits parried and stabbed as soundless claps of thunder. Before a single blow was struck, victory, defeat, life, and death had already been decided.
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