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In my long conversations with Rodrigo Fresán about Philip K. Dick in bars and restaurants around Barcelona or at each other’s houses we’ve never run out of things to say.
These are some of the conclusions we’ve reached: Dick was a schizophrenic. Dick was a paranoiac. Dick is one of the ten best American writers of the twentieth century, which is saying a lot. Dick was a kind of Kafka steeped in LSD and rage. Dick talks to us, in The Man in the High Castle, in what would become his trademark way, about how mutable reality can be and therefore how mutable history can be. Dick is Thoreau plus the death of the American dream. Dick writes, at times, like a prisoner, because ethically and aesthetically he really is a prisoner. Dick is the one who, in Ubik, comes closest to capturing the human consciousness or fragments of consciousness in the context of their setting; the correspondence between the story he tells and its structure is more brilliant than similar experiments conducted by Pynchon or DeLillo. Dick is the first, literarily speaking, to write eloquently about virtual consciousness. Dick is the first, or if not the first then the best, to write about the perception of speed, the perception of entropy, the perception of the clamor of the universe in Martian Time-Slip, in which an autistic boy, like a silent Jesus Christ of the future, devotes himself to feeling and suffering the paradox of time and space, the death toward which we’re all heading. Dick, despite everything, never loses his sense of humor, which means that he owes more to Twain than to Melville, although Fresán, who knows more about Dick than me, raises some objections. For Dick all art is political. Don’t forget that. [...]
i like this!
Borges, who wrote absolute masterpieces, explained it once already. Here’s the story: Borges goes to the theater to see a production of Macbeth. The translation is terrible, the production is terrible, the actors are terrible, the staging is terrible. Even the seats are uncomfortable. And yet when the lights go down and the play begins, the spectators, Borges among them, are immersed once again in the fate of characters who traverse time, shivering once again at what for lack of a better word we can call magic.
Something similar happens with the popular Passion plays, in which the eager amateur actors who once a year stage the crucifixion of Christ manage to transcend the most dreadful absurdity or unconscious heresy on the wings of divine mystery, which isn’t actually divine mystery but art.
How to recognize a work of art? How to separate it, even if just for a moment, from its critical apparatus, its exegetes, its tireless plagiarizers, its belittlers, its final lonely fate? Easy. Let it be translated. Let its translator be far from brilliant. Rip pages from it at random. Leave it lying in an attic. If after all of this a kid comes along and reads it, and after reading makes it his own, and is faithful to it (or unfaithful, whichever) and reinterprets it and accompanies it on its voyage to the edge, and both are enriched and the kid adds an ounce of value to its original value, then we have something before us, a machine or a book, capable of speaking to all human beings: not a plowed field but a mountain, not the image of a dark forest but the dark forest, not a flock of birds but the Nightingale.
But these aren’t Huckleberry Finn’s wrists, they’re Tom Sawyer’s. And that’s Mark Twain’s primary misfortune and also our delight, hypocritical readers, because it seems clear that if Twain had become Huck at some point in his eventful life, he would surely have written nothing or almost nothing, because boys and men like Huck don’t write, they’re too busy, satiated by life itself, a life in which one fishes not for whales but for catfish in the river that splits the United States in two, to the east the dawn, civilization, everything that strives desperately to be history and to be storied, and to the west the clarity of blindness and myth, everything that lies beyond books and history, everything that we fear in our innermost selves. To one side the land of Tom, who will settle down, who may even triumph, and who will surely have descendents, and on the other side the land of Huck, the wild man, the loafer, the son of an alcoholic and abusive father, in other words the ultimate orphan, who will never triumph, and who will disappear without leaving a trace, except in the memory of his friends, his comrades in misfortune, and in the ardent memory of Twain.
There are those who reproach Bayly for his neglect of form. On rare occasions, I’ve been one of them. But actually I don’t think that Bayly neglects the formal aspect so much as it might seem at first glance. Especially beginning with his third novel, I think he tries to seek a form that suits his narrative strength, his inexhaustible verbal flow. Because let’s be clear: Bayly’s strength as a storyteller, his strength as a writer of dialogue, his ability to escape from any predicament, is extraordinary. Enough to satisfy any writer. No one asks Balzac to be Stendhal. All anyone asks of Balzac is that he be God. What we should demand of Bayly isn’t formal perfection but worlds, crowds, soap operas of real life, torrents of humor, what we should demand of Bayly is what he’s already giving us: the most wonderful ear in new Spanish fiction, an often poignant gaze that turns inward without complacency and that is turned on others with humor and irony and also tenderness, the tenderness of a survivor of a time that’s already past and that probably only existed in the narrator’s dreams, a Peru in its death throes or a Peru that is now only a glimmer of what it once was.
[...] it was a novel that saved me from hell and plummeted me straight back down again. The novel was The Fall, by Camus, and everything that has to do with it I remember as if frozen in a ghostly light, the still light of evening, although I read it, devoured it, by the light of those exceptional Mexico City mornings that shine — or shone — with a red and green radiance ringed by noise, on a bench in the Alameda, with no money and the whole day ahead of me, in fact my whole life ahead of me. After Camus, everything changed. I remember the edition: it was a book with very large print, like a primary school reader, slim, hardback, with a horrendous drawing on the jacket, a hard book to steal and one that I didn’t know whether to hide under my arm or in my belt, because it showed under my truant student blazer, and in the end I carried it out in plain sight of all the clerks at the Glass Bookstore, this is one of the best ways to steal, which I had learned from an Edgar Allan Poe story. After that, after I stole that book and read it, I went from being a prudent reader to being a voracious reader and from being a petty book thief to being a book hijacker. I wanted to read everything, which in my innocence was the same as wanting to uncover or trying to uncover the hidden workings of chance that had induced Camus’s character to accept his hideous fate. [...]
PLAYBOY: Have you shed any tears over all the times you’ve been criticized by your enemies?
BOLAÑO: Many tears. Every time I read that someone’s said something bad about me I sob, I throw myself on the floor, I claw at myself, I stop writing for an unspecified length of time, I lose my appetite, I smoke less, I exercise, I go for walks along the shore, which as it happens is less than thirty yards from where I live, and I ask the seagulls, whose ancestors ate the fish that ate Ulysses, why me, when I’ve never done them any wrong.
i enjoyed this
The interruption of the closure, in this instance, by the frame: "LTV [Steel] was able to use its bankruptcy to reduce payments to productive workers." In the old days when the city bus used to pull up to the factory gate, the driver would call out "butcher shop" or "slaughterhouse". In negotiations with the steelworkers union, LTV extracted more takebacks than other, presumably healthier steel companies were able to." I can remember sitting around the lunch table and everybody at that table, there must have been seven or eight people, had a finger or something missing. "This gave LTV an advantage over its competitors." Believe it or not, people felt it was kind of like a badge of honor that they had a finger or something mising, and that would be a topic of conversations.** "Bankruptcy became, through a cultural process that understood bankruptcy as failure, a condition for success."
from $00 / line / steel / train
Forty years of hard work and what have I got to show for it? Nothing. [...] I can't even speak proper. Working-class kids writing their names on a wall that is bound to erase them. When you're a steelworker (laughs), you don't get to speak the same language that you would do if you meet people in a bank or business office. [...]
History, the arrow
pointing past
[inside this frame]--
interest at 2.9% for What
we can't afford in the first place
lost some of the formatting but the last line really hit me hard
Every day you put your life on the line when you went into that iron house. Every day you sucked up dirt and took a chance on breaking our legs or breaking your back. And anyone who's worked in there knows what I'm talking about.