Back Excession
Chapters (108)
  1. About the Author
  2. Title Page
  3. Copyright Page
  4. Dedication
  5. 1 - Outside Context Problem
  6. I
  7. II
  8. III
  9. IV
  10. V
  11. VI
  12. 2 - Not Invented Here
  13. I
  14. II
  15. III
  16. 3 - Uninvited Guests
  17. I
  18. II
  19. III
  20. IV
  21. 4 - Dependency Principle
  22. I
  23. II
  24. III
  25. IV
  26. V
  27. 5 - Kiss The Blade
  28. I
  29. II
  30. III
  31. IV
  32. V
  33. VI
  34. 6 - Pittance
  35. I
  36. II
  37. III
  38. IV
  39. V
  40. VI
  41. 7 - Tier
  42. I
  43. II
  44. III
  45. IV
  46. 8 - Killing Time
  47. I
  48. II
  49. III
  50. IV
  51. V
  52. VI
  53. VII
  54. VIII
  55. 9 - Unacceptable Behaviour
  56. I
  57. II
  58. III
  59. IV
  60. V
  61. VI
  62. VII
  63. VIII
  64. IX
  65. X
  66. XI
  67. XII
  68. XIII
  69. XIV
  70. 10 - Heavy Messing
  71. I
  72. II
  73. III
  74. IV
  75. V
  76. VI
  77. VII
  78. VIII
  79. IX
  80. X
  81. XI
  82. XII
  83. XIII
  84. XIV
  85. XV
  86. 11 - Regarding Gravious
  87. I
  88. II
  89. III
  90. IV
  91. V
  92. VI
  93. VII
  94. VIII
  95. IX
  96. X
  97. XI
  98. XII
  99. XIII
  100. XIV
  101. 12 - Faring Well
  102. I
  103. II
  104. III
  105. IV
  106. V
  107. VI
  108. Epilogue

Even the pain of what had felt on occasion like an irretrievably broken heart had consistently proved less lasting than she’d initially imagined and expected; the revelation that a boy’s taste was so grotesquely deficient he could prefer somebody else to her always reduced both the intensity and the duration of the anguish her heart demanded be endured to mark such a loss of regard.

She had always known there were too few real challenges in her life, too few genuine risks; it had all been too easy, even by Culture standards. While her life-style and material circumstances in Phage had been no different from that of any other person her age, it was true that just because the Culture was so determinedly egalitarian, what little hierarchic instinct remained in the population of the Rock manifested itself in the ascription of a certain cachet to belonging to one of the Founder Families.

In a society in which it was possible to look however one wanted to look, acquire any talent one wished to acquire and have access to as much property as one might desire, it was generally accepted that the only attributes which possessed that particular quality of interest which derives solely from their being difficult to attain were entry into Contact and Special Circumstances, or having some familial link with the Culture’s early days.

Even the most famous and gifted of artists - whether their talents were congenital or acquired - were not regarded in quite the same hallowed light as Contact members (and, somewhere really old, like Phage, direct descendants of Founders). Being a famous artist in the Culture meant at best it was accepted you must possess a certain gritty determination; at worst it was generally seen as pointing to a pitiably archaic form of insecurity and a rather childish desire to show off.

When there were almost no distinctions to be drawn between people’s social standing, the tiny differences that did exist became all the more important, to those who cared.

Ulver’s feelings about her family’s ancient name were mostly negative. Admittedly, possessing an old name meant some people were prepared to make an advance on any respect they might come to feel was rightly your due, but on the other hand Ulver wanted to be admired, worshipped and lusted after for herself, just her, just this current collection of cells, right here, with no reference to the inheritance those cells carried.