There's three ways not to see what you don't want to," she told me. "One is the coward's way and too painful. The other is to close your eyes forever… - China Miéville

There’s simultaneously something rigorous and something playful in genre. It’s about the positing of something impossible—whether not-yet-possible or never-possible—and then taking that impossibility and granting it its own terms and systematicity. It’s carnivalesque in its impossibility and overturning of reality, but it’s rationalist in that it pretends it is real. And it’s that second element which I think those who dip their toes in the SF pond so often forget. They think sf is “about” analogies, and metaphors, and so on. I refute that—I think that those are inevitable components, but it’s the surrendering to the impossible, the weird, that characterizes genre. Those flirting with SF don’t surrender to it; they distance themselves from it, and have a neon sub-text saying, “It’s okay, this isn’t really about spaceships or aliens, it’s about real life,” not understanding that it can be both, and would do the latter better if it was serious about the former.

“Do you even know why you’re angry with me?” Simone shouted.
“Oh, I’ll figure something out,” Tova said.

“I’m asking you all to have faith. Don’t be afraid. ‘How could it have gone?’ people have asked me. ‘Why aren’t the gods doing anything?’ Remember two things. The gods don’t owe us anything. That’s not why we worship. We worship because they’re gods. This is their universe, not ours. What they choose they choose and it’s not ours to know why.”
Christ, thought Billy, what a grim theology. It was a wonder they could keep anyone in the room, without the emotional quid pro quo of hope.