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"Your mother and I don’t make trouble,” said Laurence’s father. “We make other things. Because we’re adults.”
“What?” Laurence shoved his casserole away and took a heavy swig of cola instead. “What do you make, exactly? Either of you guys.”
“Don’t talk back,” said Laurence’s father.
“This isn’t about us,” said Laurence’s mother.
“No, I want to know. It occurs to me, I have no clue what either of you produces.” Laurence looked at his dad. “You’re a lower middle manager who denies people’s insurance claims for a living.” He looked at his mom. “You update instruction manuals for obsolete machinery. What do either of you make?”
“We put a roof over your head,” his father said.
“And delicious liver-and-peas casserole on your plate,” his mother said.
“We’re leaving now.” Laurence’s mother touched his arm.
“Great,” Laurence said. “I’m ready.”
But they meant a noninclusive “we.” Not for the first time, Laurence thought this was one of the annoyingly incommunicative features in the English language. Much like the inability to distinguish between “x-or” and “and/or,” the lack of delineation between “x-we” and “in-we” was a conspiracy of obfuscation, designed to create awkwardness and exacerbate peer pressure—because people tried to include you in their “we” without your consent, or you thought you were included and then the rug got pulled out from under you. Laurence dwelled on this linguistic injustice as he watched his parents walk back to their car, across the crunchy parking lot, without him.
“I need help,” she wrote. “I wish you could think for yourself. I feel like you almost can.”
“Self-awareness paradoxically requires an awareness of the other,” CH@NG3M3 said.
Laurence had a conviction, in his loins, that he deserved to be dumped. Because he took Serafina for granted, while he was working fourteen-hour days on the Project, or because she was too excellent for him. But the whole point of being a grown-up and an uber-hacker is that you don’t get what you deserve. You get what you can get.
[...] if she remembered anything from her one and only conversation with that stupid Tree, it was that she would be serving nature, not commanding nature, and she couldn’t believe that she hadn’t made that one crucial distinction clear in all her stupid conversations about her experience, and now it was too late, and they were going to die as colossal fuckups. She couldn’t control nature, she couldn’t even control herself, and this magnetic field was crushing her like a huge steely hand, she was being smushed by magnetism. A massive dog ran right at her, barking loud enough to be heard over the guns and chaos, and she was startled to realize she understood what it was saying. Mostly, “I’m going to bite your throat! You’re dead!” And this seemed a particularly pointless moment for her to regain the ability to understand animals, when there was no reasoning with them [...]
“So,” he said when he got back to the table. Change the subject change the subject. “What’s going on with your emotional robots?”
“We lost funding.” Serafina ate a baby octopus. “Just when we were on the verge of a breakthrough. There was no point anyway. We were trying to create robots that would be able to interact with people’s feelings in a visceral way. But we were focusing on the wrong thing. We don’t need better emotional communication from machines. We need people to have more empathy. The reason the Uncanny Valley exists is because humans created it to put other people into. It’s how we justify killing each other.”
I'm assuming the baby octopus part is there for ironic effect