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“It’s a wonder to be alive. If you don’t understand that, how can you search for anything deeper?”  – Cixin Liu, Hugo Award winning science fiction novelist and the most prolific and popular writer of SF in China.

I listened to this song a lot while reading 3 Body Problem and The Dark Forest. 

From: Beaumont, Cyril W. (Cyril William), 1891-1976. The mysterious bookshop. London : C.W. Beaumont, 1924; illustration by Wyndham Payne

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“Oh, heavens! Starry Sky!” AA cried out.

Cheng Xin knew that she was referring to Van Gogh’s  painting. True, the universe really did look like the painting. The painting in her memory was almost a perfect copy of the two-dimensional Solar System before her eyes. Giant planets filled space, the areas of the planets seeming to exceed even the gaps between them. But the immensity of the planets did not give them any sense of substantiality. Rather, they looked like whirlpools in space-time. In the universe, every part of space flowed, churned, trembled between madness and horror like fiery flames that emitted only frost. The Sun and the planets and all substance and existence seemed to be only hallucinations produced by the turbulence of space-time. 

Cheng Xin now recalled the strange feeling she had experienced each time she had looked at Van Gogh’s painting. Everything else in the painting - the trees that seemed to be on fire, and the village and mountains at night - showed perspective and depth, but the starry sky above had no three-dimensionality at all, like a painting hanging in space. 

Because the starry night was two-dimensional.

How could Van Gogh have painted such a thing in 1889? Did he, having suffered a second breakdown, truly leap across five centuries and see the sight before them using only his spirit and delirious consciousness? Or, maybe it was the opposite: He had seen the future, and the sight of this Last Judgment had caused his breakdown and eventual suicide.

Death’s End (p. 529), Cixin Liu

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