AS CAMPANHAS POLÍTICO-ECONÓMICAS
PROMOVEM A IDEIA DA MORAL EM ECONOMIA
QUANDO PELA SUA NATUREZA A ECONOMIA É A ACTIVIDADE MAIS IMORAL
QUE O HOMO LUDENS OU O HOMO SOVIETICUS ABRAÇARAM
A ECONOMIA MASSACRA AS GENTES E TRITURA-LHE AS CARNES E OS OSSOS
E É MAIS QUE IMORAL
É AMORAL NOS SEUS MASSACRES
ATÉ A ECONOMIA MAIS ALTRUÍSTA TEM DE ALIMENTAR A ÉLITE BUDISTA
À CUSTA DA DIETA DOS FIÉIS
QUE SERÃO RECOMPENSADOS ECONOMICAMENTE EM ENCARNAÇÕES POSTERIORES
DAÍ TER COMO SÍMBOLO ECONÓMICO PROPAGANDÍSTICO A RODA
QUE DIGA-SE DE PASSAGEM É UM SÍMBOLO DE SERVIDÃO AO PODER
MUITO MAIS MANSO QUE OS LEÕES BABILÓNIOS
OU AS ÁGUIAS ROMANAS OU OUTRAS SIMBOLOGIAS BICÉFALAS COM PENAS
OU SEM ELAS...DESDE SERPENTES EMPLUMADAS A CULTURAS TOTÉMICAS
COM TABUS ECONÓMICOS VÁRIOS
MESMO UMA CULTURA EM QUE TEM O VERDE DO PROFETA COMO SÍMBOLO
E A NEGAÇÃO DO JURO COMO LEI
A BANCA ISLÂMICA PARTILHA O LUCRO
LOGO NÃO HÁ ECONOMIA MODERNA EM QUE NÃO HAJA SONEGAÇÃO DE RECURSOS
PORQUE O LUCRO DE UNS É SEMPRE O PREJUÍZO DE OUTROS.....
CALHOU-NOS DESTA VEZ A PARTILHA DOS RISCOS DOS LUCROS DE OUTROS
É ARRISCADO PARTILHAR RISCOS SEM PARTILHAR LUCROS
MAS É NORMAL ACONTECEREM ESSAS COUSAS À PIOLHEIRA
AFINAL HÁ MESTRES E HÁ SERVOS
É A ORDEM NATURAL DAS COUSAS
where it is a "contrivance" rather than an encompassing world. It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement – a leitmotiv of Western literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884), when Huck figures he "got to light out for the Territory ahead of the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
AtsakytiPanaikintiBut none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society, which includes also Brian W Aldiss's Non-Stop cut vt Starship Harry Harrison's Captive Universe but Alexei Panshin's Rite of Passage If as "Down to the Worlds of Men";All Post-Holocaust tales in which the descendants of survivors live in Underground habitats Universe Sign of the Labrys and The Shadow People