Because in the civilization of the spectacle, intellectuals are of interest only if they play the fashion game and become clowns.
Probably there are no longer any societies in which the best people are attracted to civic duties.
The disappearance of any minimal consensus about aesthetic value means that in this field confusion reigns and will continue to reign for a long time, since it is now not possible to discern with any degree of objectivity what it is to have talent or to lack talent, what is beautiful and what is ugly, what work represents something new and durable and what is just a will-o’-the-wisp.
Les insultes d’une femme sont des fleurs pour un homme.
I know what a man feels close to the woman he loves, but he’s affraid to do anything.
A writer is not always conscious of the influences he has received.
This definition was not just limited to establishing a method for exploring the specificity of one human group in relation to another. It also desired, from the outset, to renounce the prejudiced and racist ethnography about which the West has never tired of berating itself. The intention could not have been loftier, but the well-known saying tells us that the road to hell is paved with good intentions. Because.
The symbol of a setting for a Hemingway story is a boxing ring; for Borges, a library. On the other hand I think Nabokov was a writer quite close to Borges. He had the same rich literary culture, moved with great ease in different languages and traditions, and had a playful approach to literature-literature as an intellectual game, through which, of course, the real truths could appear. But apparently the game was for Nabokov just an exercise devoid of moral substance.
Borges’s ethnocentric limitation does not detract from his many other admirable qualities, but it is best not to sidestep it when giving a comprehensive appraisal of his work. Certainly, it is a limitation that offers further proof of his humanity because, as has been said over and over again, there is no such thing as absolute perfection in this world, not even in the world of a creative artist like Borges, who comes as close as anyone to achieving it.
There were so many problems; the hydra had so many heads, iniquity raised its head everywhere one looked.
And what do I do?” replied Turk. “What do thirty or forty percent of Dominicans do? Aren’t we all working for the government or its businesses? Only the very rich can allow themselves the luxury of not working for Trujillo.
The simple fact is that he didn’t write what he saw but what he felt and believed, what those all around him felt and believed. That’s how that whole tangled web of false stories and humbug got woven, becoming so intricate that there is now no way to disentangle it.
In matters concerning God, you have to believe, not reason,” Herbert would say. “If you reason, God vanishes like a mouthful of smoke.” Roger.
The genius of the Spanish writer has always flourished through excessive rhetoric, which expresses a fundamental element in our nature and in our culture. If you think of our great writers, all of them are great rhetoricians. Think of Pablo Neruda, for instance, a great poet. It is the exuberance, the excess. Creation is something that appears like a natural phenomena, a kind of transpiration of nature more than an intellectual exercise.
Reality and fantasy are fused through the style and through the ease with which the narrator moves from one to the other, more often than not displaying devastatingly sardonic erudition and an underlying skepticism that keeps in check any undue indulgence.
If in this address I were to summon all the writers to whom I owe a few things or a great deal, their shadows would plunge us into darkness. They are innumerable. In addition to revealing the secrets of the storytelling craft, they obliged me to explore the bottomless depths of humanity, admire its heroic deeds and feel horror at its savagery.
The real truth is one thing, and the literary truth is another; and there is nothing more difficult than to want both truths to coincide.
One of the reasons why literature is important is that it gives us an instrument with which to understand time. In real life time is something that devours us, is something that does not give us the necessary perspective to understand how this time in which we are immersed flows; and so we do not have perspective, we do not have the necessary distance to understand really what is happening. Therefore, we need artificial order for understanding time.
Perhaps it was true that because of the disastrous governments that came afterward, many Dominicans missed Trujillo now. They had forgotten the abuses, the murders, the corruption, the spying, the isolation, the fear: horror had become myth. “Everybody had jobs and there wasn’t so much crime.
Lily la chilenita, la camarada Arlette, madame Robert Arnoux, Mrs. Richardson, Kuriko y madame Ricardo Somocurcio, se llamaba, en realidad, Otilia. Otilita.
We do so many things together. We go to theatres, exhibitions, bookstores, we spend hours and hours discussing politics, books, films, friends. And you think I do these things for the same reason you do, because I enjoy them. But you’re wrong. I do them all for it, for the tapeworm. That’s how it seems to me: that my whole life is no longer for my sake but for the sake of what I carry inside me, of which I am now no more than a servant.