"Do you know there are three levels of listening? First, you hear the sound. Second, you hear the meaning. And third, you hear the meaning under the meaning. You can't be `centered' unless you're listening on all three levels-"
"This is starting to get confusing-"
"I know. A lot of it comes from the telepathy training, and more of it comes from the Mode training. I know it's a break in your reality-the reality that you've made up for yourself. You can't get out of that reality, James; all you can do is learn how it works. That's the point here. All of this information comes from looking at how people experience things and how they react to them. Call it the technology of living. You've been running your machinery without an instruction book-"
On the afternoon of the third day, we talked about concepts: "Your name for this object is `chair.' This is not a chair. This is a collection of molecules, a focus for your attention. This is a thing that you use for the purpose of chair, but the chairness of it exists only in your mind. It's a concept.
"This object is a chair only to the extent that it matches that concept. If you were cold enough, this would not be a chair any more. It would be firewood-well, not this chair, but you know what I mean. Do you follow this? See, you think the connections you've made between your concepts and the physical universe have meaning. They don't-only in your head. If you believe the world is flat, does that make it flat? No, of course not.
"Now I'll ask a hard question. If you believe the world is round, does that make it round? Take your time. Right-what you believe is irrelevant. The Earth is an oblate spheroid; and it doesn't care what you believe. You don't get a vote on the physical universe. It is what it is, regardless of your opinion about how it should or shouldn't be. The only thing you have any control over is what you're going to do about it-"
On the morning of the fourth day, we talked about creation: "Creation is not making something up out of nothing. You can't create in the physical universe-the best you can do is reorganize its molecules. No, real creation happens in here-" She reached over and tapped my head.
"Creation is the act of discrimination. You separate this from that and you have created a space between them. Creation is also the act of connection. You connect this to that and you have created a new entity or a new relationship. Creation is the act of drawing a line. You use the line to connect or separate or enclose; but you're the one who drew the line in the first place.
"The question is, what do you want to create? What kind of line do you want to draw? Do you want to draw a circle around humans and bunnydogs? Do you want to draw a line between humans and worms? How are you going to make it up? You need to be clear about the circle you're creating before you walk into it."
And in the afternoon of the fourth day, we created. "Are you ready for the last lesson, James?"
"Yes."
"It's bad news."
"I can handle it."
"All right. This is it. You're a monkey."
"Huh?"
"I'll get you a mirror. Your umpty-great-grandmomma and umpty-great-grandpoppa swung naked in the trees and lived on bananas and coconuts. You're their umpty-great-grandson. You live in a house, but you still like bananas and coconuts. And if we took away your clothes, you could climb back up into the trees and nobody would ever know the difference. Are you getting this?"
"I'm not sure. What's the point?"
"The point is, you're a monkey. You are-or at least, you think you are-the dominant species on this planet. That may be a conceit. It's ultimately irrelevant. You can't go out there thinking that. You can't go out there being anything but a monkey, because that's all you are. A monkey. You are not a representative of all humankind. Most humanity doesn't even know you exist, and if it did know, it probably wouldn't want you as its representative."
"You have a great way of pumping me up."
"Listen, you have to operate in the real world. Out there it will be a circle and some bunnydogs. And you are a monkey. A naked monkey. You have to go out there and be a monkey meeting a bunnydog. That's all you can be. You can't speak for any other monkey on this planet. Are you getting this?"
"Yes, I think so."
"Good." She looked at me. "So what are you?"
"A monkey." I scratched myself in a monkey gesture and made an "eee eee" sound.
She grinned. "Mates and bananas, James. That's the bottom line. Remember that. There's not a lot much else for monkeys."
"So, do I eat the bunnydogs or screw them?"
"That's up to you," she said. "Now-look, you need to be clear about what monkeys do. What happens when a monkey comes up against something new, something outside of its experience-what's the very first thing that happens?"
"Um... it shrieks. I shriek."
"Yeah -startlement. That's where the human race has been with the infestation. We're still running around startled. What comes after startlement?"
"Fear. Obviously."
"Mm hm. Good-you did your reading. A monkey has only two responses, James. Yipe and Goody. There aren't any others. Everything is variations on that. There isn't an animal on this planet that doesn't have that basic mechanism hard-wired into its cerebral cortex. That's your machinery. You can't not react with yipe or goody. And most of the time, just to be on the safe side, you react with yipe. So you spend ninety-nine percent of your life running your yipe machine. And it doesn't matter how much intelligence you've superimposed on it, James. The intelligence doesn't control the machine, it serves the machine. The intelligence only expresses the yipe on a higher level."
She pointed forward. "Those creatures out there-those bunnydogs-no matter what kind of animals they are, no matter what kind of culture they operate in, no matter who they pretend to be-they have the same machinery. Or equivalent machinery. Or they wouldn't be there. I'm talking about basic survival machinery. If you don't have a yipe machine you don't survive. Evolution automatically produces a yipe machine. So, what you need to know is that those creatures out there are as scared of you as you are of them."
I nodded my agreement.
She continued, "What comes after fear?"
I thought about it. "Running?"
"No-let's say you can't run from the thing you're afraid of. What do you do next?"
"Um-I get angry?"
"Are you asking me or telling me? What happens when someone threatens you and threatens you and threatens you-?"
"I get angry."
"Right. Anger. After fear comes anger. How do you act out anger?"
I bared my teeth at her. I growled.
She grinned. "Right. You counterattack. You start by baring your teeth and growling and making terrible faces. If that doesn't work, you start screaming and shrieking. And if that doesn't work, you start throwing coconuts. In other words, you put on a performance of rage. All monkeys do. You do it when your survival is threatened-or the survival of anything you identify with, anything you consider as part of your identity.
"It's all part of the automatic machinery. If you scare away the thing that you're angry at, then the machinery worked; you survived. At the very worst, you might have to fight-but most of the time, though, a good performance of anger can prevent a fight. I've just told you everything you need to know to understand international politics."
She let me appreciate the truth of that joke for a moment, then she continued, "That may be fine for monkeys, James. It may even be fine for human beings, though I doubt it. It is definitely not fine for dealing with worms. That's what you need to know.
"Some of us are moving through fear and are starting to move into anger toward the Chtorrans. It could be a fatal mistake. Our monkey machinery is stuck in yipe. There's no escape. Running doesn't help. And there are no goodies. So, the next step is rage."