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Megan Chase's avatar

Probably my favorite lines of the book so far:

"No you don't. Mae, you're just unable to allow anything to live inside a room. My work exists in one room. It doesn't exist anywhere else. And that's how I intend it."

I keep thinking about these lines, and wishing that more people's work and art could just exist inside one room, without the pressures of visibility and content and exposure and growth...something so beautiful about it.

Sean Gillis's avatar

This bit of reading had a few massive scenes on the philosophy of the Circle. There was the extended discussion (private than public) between Eamon Bailey and Mae that lead to Mae going clear. These conversations result from Mae stealing the kayak and the fallout of getting caught by the Police.

The 'theft' shows how much the Sea Change cameras can undermine trust. I don't see Mae taking the kayak as theft at all - maybe bad judgement, but not theft. She knew the owner and knew the owner wouldn't mind. She had no intention of keeping it and brought it back to where she found it. She borrowed it, based on the intuitive understanding that the owner Marion was a free spirit and that Marion would trust Mae to borrow the kayak outside of regular hours. When Marion arrived to the police call, she said as much: look, Mae borrows here all the time, this was no big deal, "she has the run of the place." (pg. 273)

But Mae's direct boss Dan just doesn't buy it. (pg. 274) He relies only on the images from the cameras - the explicit things he can see - to understand the situation. The intuitive understanding of the situation between Mae and Marion doesn't count for anything - it's seems nearly impossible for Dan to view the situation that way. Dan trusts the cameras, not human interaction or nuance. Not Mae. We come to C. Thi Nguyen's idea that in our modern thought-world, quantified evidence always trumps qualitative evidence. Or phrased differently the explicit triumphs over the implied.

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