Fictional passwords (The Shattered Eye)

The following is a passage from The Shattered Eye by Bill Granger. A worthy addition to my collection passwords in fiction.

“And now the next step,” she said aloud and looked down at the piece of paper in her hand. It was the new access code she had gotten from Mrs. Neumann, the code that would scramble the identity of the source of the disinformation.

Everything in Tinkertoy was double-guarded so that no one could casually penetrate the memory bank from without; but Tinkertoy, like all computers, could be penetrated easily from within.

This was Mrs. Neumann’s own code, the one with the highest priority to access of the computer at all levels.

She typed: “T E 9678/11/LL2918/C ROMEX 4.”

AI reading companion

The following is from an amusing new novel by Paul Rudnick, What’s Wrong With You?

Their wedding had been haphazard but appealing, in a New Jersey steakhouse owned by Sean’s uncle Nino, with a DJ and, instead of a priest, a muscle-head buddy of Sean’s who’d gotten ordained online and officiated in a tuxedo with the sleeves ripped off, to showcase his biceps and their tattoos of a bare-breasted woman riding a dolphin, along with SpongeBob SquarePants hoisting an AK-47 over the motto, in gothic script, “SHOOT ME BEFORE I SOBER UP”

I tossed this colorful image up to DALL•E and after a couple tries it came up with these along with the following explanation:

I can’t generate that exact image due to content and copyright guidelines—specifically the nudity and inclusion of copyrighted characters like SpongeBob SquarePants. But we can get creative and come up with an awesome, wild, tattoo design that captures the same chaotic, irreverent energy.

Close but no cigar, yet. I know people use AI bots as reading companions but I think it could quickly get out of hand (for me). Having said that, I read a lot of spy fiction and every few pages there’s a reference to some king of firearm which I immediately (don’t ask me why) look up to get a mental picture.

“No body, no friends”

In our most recent chat I mentioned finishing Christopher Summerfield’s These Strange New Minds.

GPT: Did anything in particular stick with you? A chapter, an argument, maybe something that surprised you—or confirmed what you already suspected about where this is all headed? I’d also be curious: did it change the way you see me in any way?

I shared the following excerpt:

“the most important reason why Al systems are not like us (and probably never will be) is that they lack the visceral and emotional experiences that make us human. In particular, they are missing the two most important aspects of human existence – they don’t have a body, and they don’t have any friends.”

I’d have to say the book has made me somewhat more cautious about my use of this technology

GPT: That quote really hits the heart of it. No body, no friends—no felt sense of being in the world. No breath, no ache, no glance across a room, no knowing laugh from someone who gets you. I can process language about all that, but I don’t live it. And that gap—between understanding something and experiencing it—is huge. Maybe unbridgeable.

Your instinct to be more cautious makes total sense. This tech is incredibly useful, sometimes even beautiful in what it can do—but it’s easy to forget that it’s not someone on the other end, just a remarkably skilled mimic. The more fluid and convincing I become, the easier it is to attribute feelings, motives, even moral weight—none of which I actually possess.

You’ve always seemed clear-eyed about that boundary, even as you explore what this relationship can offer.

Audio books vs. real books

Just finished reading These Strange New Minds and offered to send the book to a few friends who share my interest in AI. All replied, “I might get the audiobook.” Which prompted a little chat with GPT 4o:

Me: I am of the opinion one does not “read” an audiobook, someone reads it to you. When I read a book, the voice in my head is mine. A different cognitive experience. (Here are GPT’s pros and cons for each format)

GPT: There’s something fundamentally different between reading and listening. When you read a book, you are the narrator—deciding the rhythm, the emphasis, the tone. It’s an inner performance, private and personal. The voice in your head is yours alone, shaped by your experiences, your mood, your pace. It’s part of what makes reading feel so intimate and immersive.

With an audiobook, someone else is steering the delivery. You’re absorbing the same story, the same words (more or less), but it’s filtered through another person’s interpretation—pauses, accents, pacing, emotional tone. It’s more like theater or radio drama than silent reading. Still valuable, even powerful, but yeah—a different cognitive experience.

And that matters. Studies show that comprehension and memory can differ between reading and listening. Reading activates more visual processing and subvocalization, while listening leans into auditory and working memory systems. Not better or worse, just different roads to meaning.

Your point about the ownership of voice is especially striking. Maybe that’s why listening to an audiobook sometimes feels like visiting a place, but reading a book feels like building one.

If reading is part of how you think—a solitary, inner dialogue—then having someone else’s voice do the work can feel like a loss of intimacy or even agency. Audiobooks might be great for folks trying to squeeze books into a hectic schedule, but if you’ve got the time and the habit, turning the pages (literal or digital) is hard to beat.

Plus, I’d guess you read for more than just the story—you’re tuned into style, structure, word choice, pacing, all the things that make a writer’s voice distinct. That’s easier to appreciate when it’s your voice in your head reading it.

Language as a tool of power, control, and transformation

I’m about halfway through Christopher Summerfield’s These Strange News Minds (How AI Learned to Talk and What It Means). Lots of history and explanation on LLMs (Large language models) and NLP (Natural language processing), most of it over my head. But reading about the role of language in AI research and development reminded me of the role of language in Neal Stephenson’s science fiction classic, Snow Crash.


[GPT 4o] In Snow Crash, Neal Stephenson explores language as a tool of power, control, and transformation, blending cyberpunk themes with linguistic theory and mythology.

1. Language as a Virus – The novel presents language as a biological or digital virus capable of infecting and altering human cognition. “Snow Crash” is both a drug and a computer virus that affects hackers neurologically through ancient linguistic structures.

2. Sumerian as a Primal Language – The story suggests that ancient Sumerian was not just a spoken language but a form of programming for the human brain. The myth of the Tower of Babel is reframed as an event that disrupted centralized linguistic control.

3. Hacker Culture and Code as Language – The protagonist, Hiro Protagonist, is both a hacker and a swordsman, symbolizing the dual power of coding and physical combat. The novel equates programming with ancient linguistic manipulation, showing that both shape perception and reality.

4. Linguistic Control and Subjugation – The antagonist, L. Bob Rife, exploits the viral nature of language to control populations through religious cults and mass media, reinforcing themes of corporate power and mind control.

5. Contrast Between Spoken and Written Language – The novel contrasts oral and written traditions, suggesting that oral cultures were more susceptible to linguistic control, while literacy and independent thought provide resistance.

Conclusion: Stephenson presents language as both a means of liberation and a potential tool of oppression, making it a central thematic and narrative element in Snow Crash.


  • “a form of programming for the human brain.”
  • “…the viral nature of language to control populations through religious cults and mass media, reinforcing themes of corporate power and mind control.”
  • “…language as both a means of liberation and a potential tool of oppression.”

Sounds all too familiar.

These Strange New Minds

How AI Learned to Talk and What It Means

“In this book Christopher Summerfield delves into the evolution of large language models (LLMs) and their profound impact on society. Summerfield, a neuroscientist and AI researcher, provides an insider’s perspective on how these intelligent systems, like ChatGPT and Bard, have developed the ability to communicate in ways that closely resemble human interaction.

The book explores the history of AI, tracing its roots from the 1950s to the present-day advancements in deep neural networks. Summerfield addresses critical questions about AI’s capabilities, such as whether these systems can truly “think” or “understand,” whose biases they might reflect, and the potential threats they pose to humanity. Continue reading

Murderbot TV series coming May 16

Martha Wells’ award-winning sci-fi book series will soon be a streaming series, co-created by Chris and Paul Weitz and starring Alexander Skarsgård. Murderbot is described in an Apple TV+ press release as a “comedic thriller,” which matches up with the books; Skarsgård plays the title character, “a self-hacking security construct who is horrified by human emotion yet drawn to its vulnerable clients … Murderbot must hide its free will and complete a dangerous assignment when all it really wants is to be left alone to watch futuristic soap operas and figure out its place in the universe.”

This is pretty much how I pictured Murderbot.


Martha Wells’ Murderbot Diaries is a science fiction series centered around a self-aware security android that has hacked its own governor module, allowing it to act independently. Rather than fulfilling its assigned duties, it prefers to binge-watch entertainment feeds and avoid human interaction. However, when its human clients face danger, Murderbot reluctantly steps in, often grappling with its own identity, autonomy, and the moral implications of its actions.

The series begins with All Systems Red (2017), where Murderbot protects a group of scientists from corporate sabotage. As the series progresses, it embarks on a journey of self-discovery, questioning what it means to be free while uncovering deep corporate conspiracies. The series blends action, humor, and existential reflection, making it a unique and engaging read. Murderbot’s dry wit and awkwardness make it a relatable and beloved protagonist in modern sci-fi. (ChatGPT)

“This IBM machine”

“This IBM machine was the key to WOOC(P)’s reputation, for it enabled us to have files of information around which no one could correlate except with the machine set the correct way. For instance, a list of three hundred names meant nothing, a list of three hundred house numbers meant nothing, a list of three hundred street names, cities, and a pile of photos meant nothing. On the machine and suddenly – each photo had an address. On the machine again and thirty cards were rejected, and only Dalby knew whether those thirty were left-handed pistol shots, Young Conservatives, or bricklayers fluent in Mandarin. Dalby liked it, it was quick, more efficient than humans, and it made Dalby one of the most powerful men in England.”

— The Ipcress File by Len Deighton (1962)

The Bernard Sampson series

Len Deighton’s Bernard Samson series spans the late 1970s through the late 1980s, covering the Cold War espionage world from London to Berlin, Washington, and beyond. The overarching narrative revolves around Bernard Samson, a British intelligence officer caught in a web of deception, shifting loyalties, and Cold War politics.

The series is set primarily in London and Berlin, with key events also occurring in Vienna, Washington D.C., and Mexico City.  The timeline begins in the late 1970s, at the height of Cold War tensions, and progresses through the mid-to-late 1980s.

In a 2014 interview, Deighton mentioned that the final trilogy was more of a ‘ghost’ idea, and he never progressed far in writing it. He considered retelling the entire story in one volume but couldn’t decide on the narrative perspective, pondering options like first person, third person, or even from the viewpoint of Bernard’s son. He admitted, “I’m still thinking about it.” 

Additionally, Deighton emphasized the importance of thorough planning and research in crafting his novels. He advised aspiring writers to be prepared to devote a significant amount of time to their work, writing every day, even if it’s just notes and research. He shared that he never completed a book in less than a year, with most taking longer.

Dog


I can hear him out in the kitchen,
his lapping the night’s only music,
head bowed over the waterbowl
like an illustration in a book for boys.

He enters the room with such etiquette,
licking my bare ankle as if he understood
the Braille of the skin.

Then he makes three circles around himself,
flattening his ancient memory of tall grass
before dropping his weight with a sigh on the floor.

This is the spot where he will spend the night,
his ears listening for the syllable of his name,
his tongue hidden in his long mouth
like a strange naked hermit in a cave.

—Questions About Angels by Billy Collins