In the nineteen sixties and seventies, there were people in all the democratic countries who didn’t have any real power, and they started going to the people who did have all the power and saying, “All these principles of equality you’ve been talking about since the French Revolution are very nice, but you don’t seem to be taking them very seriously. You’re all hypocrites, actually. So we’re going to make you take those principles seriously.” And they held demonstrations and bus rides, and occupied buildings, and it was very embarrassing for the people in power, because the other people had such a good argument, and anyone who listened seriously had to agree with them.‘Feminism was working, and the civil rights movement was working, and all the other social justice movements were getting more and more support. So, in the nineteen eighties, the CIA—’ she turned to Keith and explained cheerfully, ‘this is where X-Files Theory comes into it – hired some really clever linguists to invent a secret weapon: an incredibly complicated way of talking about politics that didn’t actually make any sense, but which spread through all the universities in the world, because it sounded so impressive. And at first, the people who talked like this just hitched their wagon to the social justice movements, and everyone else let them come along for the ride, because they seemed harmless. But then they climbed on board the peace train and threw out the driver.‘So instead of going to the people in power and saying, “How about upholding the universal principles you claim to believe in?” the people in the social justice movements ended up saying things like “My truth narrative is in competition with your truth narrative!” And the people in power replied, “Woe is me! You’ve thrown me in the briar patch!” And everyone else said, “Who are these idiots? Why should we trust them, when they can’t even speak properly?” And the CIA were happy. And the people in power were happy. And the secret weapon lived on in the universities for years and years, because everyone who’d played a part in the conspiracy was too embarrassed to admit what they’d done.

~ Greg Egan

Yatima found verself gazing at a red-tinged cluster of pulsing organic parts, a translucent confusion of fluids and tissue. Sections divided, dissolved, reorganised. It looked like a flesher embryo – though not quite a realist portrait. The imaging technique kept changing, revealing different structures: Yatima saw hints of delicate limbs and organs caught in slices of transmitted dark; a stark silhouette of bones in an X-ray flash; the finely branched network of the nervous system bursting into view as a filigreed shadow, shrinking from myelin to lipids to a scatter of vesicled neurotransmitters against a radio-frequency MRI chirp. There were two bodies now. Twins? One was larger, though – sometimes much larger. The two kept changing places, twisting around each other, shrinking or growing in stroboscopic leaps while the wavelengths of the image stuttered across the spectrum.One flesher child was turning into a creature of glass, nerves and blood vessels vitrifying into optical fibres. A sudden, startling white-light image showed living, breathing Siamese twins, impossibly transected to expose raw pink and grey muscles working side by side with shape-memory alloys and piezoelectric actuators, flesher and gleisner anatomies interpenetrating. The scene spun and morphed into a lone robot child in a flesher's womb; spun again to show a luminous map of a citizen's mind embedded in the same woman's brain; zoomed out to place her, curled, in a cocoon of optical and electronic cables. Then a swarm of nanomachines burst through her skin, and everything scattered into a cloud of grey dust.Two flesher children walked side by side, hand in hand. Or father and son, gleisner and flesher, citizen and gleisner... Yatima gave up trying to pin them down, and let the impressions flow through ver. The figures strode calmly along a city's main street, while towers rose and crumbled around them, jungle and desert advanced and retreated.The artwork, unbidden, sent Yatima's viewpoint wheeling around the figures. Ve saw them exchanging glances, touches, kisses – and blows, awkwardly, their right arms fused at the wrists. Making peace and melting together. The smaller lifting the larger on to vis shoulders – then the passenger's height flowing down to the bearer like an hourglass's sand.

~ Greg Egan