In the daylight we knowwhat’s gone is gone,but at night it’s different.Nothing gets finished,not dying, not mourning;

Was this a betrayal, or was it an act of courage? Perhaps both. Neither one involves forethought: such things take place in an instant, in an eyeblink. This can only be because they have been rehearsed by us already, over and over, in silence and darkness; in such silence, such darkness, that we are ignorant of them ourselves. Blind but sure-footed, we step forward as if into a remembered dance.

Instead I will say, "Take me to your trees. Take me to your breakfasts, your sunsets, your bad dreams, your shoes, your nouns. Take me to your fingers; take me to your deaths." These are worth it. These are what I have come for.

The newspaper stories were like dreams to us, bad dreams dreamt by others. How awful, we would say, and they were, but they were awful without being believable. They were too melodramatic, they had a dimension that was not the dimension of our lives. We were the people who were not in the papers. We lived in the blank white spaces at the edges of print. It gave us more freedom. We lived in the gaps between the stories.

So Crake never remembered his dreams. It's Snowman that remembers them instead. Worse than remembers: he's immersed in them, he'd wading through them, he's stuck in them. Every moment he's lived in the past few months was dreamed first by Crake. No wonder Crake screamed so much.

Popular art is the dream of society; it does not examine itself.