/* PRIVILÉGIOS DE SÍSIFO 反对 一 切 現代性に対して - 風想像力: 2008-07

PRIVILÉGIOS DE SÍSIFO 反对 一 切 現代性に対して - 風想像力

LES PRIVILÉGES DE SISYPHE - SISYPHUS'PRIVILEGES - LOS PRIVILÉGIOS DE SÍSIFO - 風想像力 CONTRA CONTRE AGAINST MODERNISM Gegen Modernität CONTRA LA MODERNITÁ E FALSO CAVIARE SAIAM DA AUTOESTRADA FLY WITH WHOMEVER YOU CAN SORTEZ DE LA QUEUE Contra Tudo : De la Musique Avant Toute Chose: le Retour de la Poèsie comme Seule Connaissance ou La Solitude Extréme du Dandy Ibérique - Ensaios de uma Altermodernidade すべてに対して



clique para aumentar

Como estamos nos primórdios de um colapso de civilização - a industrial, que é óbvio não resultou ou já teve direito ao seu tempo de antena, e agora já se tornou num alelo dismorfo de si mesma - eis umas boas propostas que não são apenas satíricas para entrar em "metamorphosis".

E como diz Porkêra num sms em mandarim, que levei horas a decifrar, "Enjoy the Crisis!" . Indeed!


Petit cours d'autodéfense intellectuelle par Normand Baillargeon

medium_Autodefense_intellectuelle.jpgEssai de 300 pages fort bien fait, Petit cours d'autodéfense intellectuelle (Normand Baillargeon) dénonce habilement et avec humour les manipulations quotidiennes dont nous sommes victimes. Médias, publicités et statistiques, les plus grands illusionnistes de l'information voient un à un leur mécanisme démonté.

Um título inscrito



Onde é que fica o Brasil?

O Brasil fica em parte debaixo do mar, em parte a flutuar junto de Constelações ferozes e amigáveis, em parte em Portugal que o traz na orellha, debaixo do olho e na aurícula esquerda
e o resto fica a sorver a Cordilheira dos Andes, batida com coco.

Onde é que fica Portugal?

Fica dentro de cada concha da praia, em parte, e noutra parte entre os seios das raparigas tristes e felizes, Tristes por que os nossos rios são lágrimas nossas, felizes porque lhes cresce a olhos vistos um rabo de sereia e um canto das profundidades.

Tudo o mais que se diga são falácias pasageiras nos economistas, e dos presbíteros,

Foto: Pormenor do Anjo com as armas dos Sinclair na Capela de Rosslyn, mandada erguer por um ramo dos Sinclair parentes do autor deste blog


Cat: I am affraid of your poisonous beauty! ( Emmy Nowell )

meu gato frequente, não terá a tua vida já sido
vivida por uma ânfora enorme que um mar
distraído engoliu? ou por uma nuvem quebrada
que a Senhora do Lago, num gesto pérfido

de nada, numa bandeira errada bordou?
eu no meu oblíquo desejo, vejo-te a voar
quando inteiro e sentado, te dedicas
a fazer flutuar as janelas, onde pousam

as ainda esfinges e os anjos que tremem
na vermelhidao mordaz das papoulas
abolidas. Depois a tua cauda prefixo

rodeia a lua que veio morrer na praia
das nossas paredes brancas como veias
que deitámos fora a rir na manhã memoriosa



Naquele lugar onde me enterraram de fraque
Vou deitar uma bomba ao meu túmulo
e enchê-lo a seguir de bom conhaque
que seja francês, e que para cúmulo

tenha um submarino dentro!
e uma vez feito isto fugirei do centro
do Universo, onde há sempre, sina nossa
um poeta russo e outro do minho.

Quero lá saber do meu futuro! Come tu
o teu futuro e a tua prole e a tua tia.
Cago para o teu asfalto, e já agora fica

a saber que nunca tive um telemóvel
e que o meu computador é emprestado,
e que roubei três amantes boas ao Papa.



Is it time to think the unthinkable? With banks shares in free-fall, lending collapsing and bad debts rising by the hour, what can we do? Now that the slowdown has spread well beyond houses and construction -- evidenced by falling retail sales, rapidly rising unemployment and faltering tax revenues -- is there an option out there, which, although dramatic, might be plausible in the context of the recession the country is facing?

What we are talking about here is pulling out of the euro. It might never happen, but it is worth considering how and why this might come to pass.

Now that the hollow platitudes of the "soft landing" merchants have been exposed as nothing more than cynical sales pitches, while the various paid PR men who rabbitted on about our "fundamentals" were obviously talking through their posteriors, it's time to replace catchphrases with hard thinking.

Our problem is pretty straightforward. If a Martian economist landed in Ireland, he'd see straight away that Ireland is caught in a currency arrangement which will make our recession much deeper than necessary. This is an economic fact, not a political slogan. The euro is now part of the problem, not part of the solution.

In economic history, no sovereign country has faced a property downturn, inspired by a ridiculous credit binge, resulting in such huge personal debts without devaluing its currency.

Look at what is happening in the UK and the US. Both countries find themselves in the same bind as we do. They thought that they could get rich by buying and selling houses to each other using other people's money.

Once this ponzi scheme has been revealed, they let their currency fall. This allows them to recharge their exporting sector, making it more competitive and, more significantly, it gives them the opportunity to inflate their debts away.

Ireland, in contrast, is trying to fight its way out of a recession without any macroeconomic policy. This is political suicide.

We find ourselves in the bizarre situation where we can't reflate our economy either by printing money or by borrowing. This bad dream is a superannuated version of what happens in American states following a boom bust cycle.

Because American states can't pull out of the dollar when their housing markets go into reverse, they usually experience mass migration as people up and leave. But crucially, the state gets a Federal bailout through more dole coming from the central government in Washington. So economic policy makes things better.

Think about Ireland now. We do not get any dole transfers from the EU. Quite the opposite, we are net contributors to the EU budget. The EU also prevents us from borrowing more than 3pc of our GDP so that we can't borrow our way out of the downturn -- which is what most countries do.

So we are in the counter-intuitive situation whereby our taxes go to pay Romanian farmers, while our Government is cutting spending on our own health service.

Therefore, unlike the US states, our recession will be endured without any macro-economic solutions.

As a result, unemployment will rise to a much higher level and house prices will fall much further than necessary in the next few years.

The example of this folly is Germany, which experienced the first EMU-inspired recession in the late 1990s to the early part of this decade. Germany had its unification boom in the early '90s, it spent enormous sums of money trying to absorb the East, the economy boomed for a while, wages rose as did property prices and immigration.

Then in the late 1990s, German industry realised it couldn't compete at these new higher wages and it retrenched. The engine of Europe went into a decade long downturn. Euro interest rates -- although low -- were not low enough for a faltering Germany and the euro was far too strong for German exporters so they took the recession on the chin.

Unemployment rose to over four million and stayed there for close to a decade. German companies became competitive again by shedding jobs. Now after 10 years of a slump, they are world beaters again, but many ordinary Germans suffered much more than they would have had they had their own currency.

Now let's see what happening at home. We need a rapid injection of cash to stabilise the economy. But we don't have the cash, so we are, in effect, reduced to a barter economy where we can't create money.

Any Leaving Cert economics student will tell you that the reason the 1930s depression in the US was so severe is that the American government stayed with the Gold Standard for too long and didn't print money to bail out its debtors. Ireland is now facing the same prospect.

The only way Irish people straddled with huge mortgage debts (the legacy of our stupid binge) will be able to pay these off is with a bout of massive inflation. It sounds radical but this is the truth.

Inflation in a debt crisis bails out debtors and penalises lenders -- those with savings suffer, those with debts prosper. It's simply a transfer of income from one section of the society to another. Yes, this is unpalatable but arguably, it's an obvious way out of our present dilemma.

In recent days, much has been made of the fact that the multinational sector is still strong. Well it would be stronger still if our exchange rate were to fall.

Equally, the reason the Irish banks and the stock market are in free-fall is that investors realise the extent of the problem and there is nothing else to sell in Ireland Inc -- no currency, no interest rates swaps, nothing. So they sell what they can -- Irish companies.

When an economy is in a nosedive, it is the democratic responsibility of the elected government to do something about it. In bad times, ideas that seem extreme in "normal" times are sometimes entertained.

As our crisis deepens, the "currency" issue is likely to re-emerge as a political option. It is worth remembering that our boom was triggered by a forced devaluation in 1993. At the time, the establishment regarded the 1993 devaluation as a calamity; in the event, it proved to be a godsend.

www.davidmcwilliams.ie dmcwilliams@independent.ie

- David McWilliams



BORGES ENTREVISTA BORGES (how old is a rose?)

Interview with María Kodama

Jorge Luis Borges and his "secret universe"

Borges found her in her child gaze, when still dressed in adolescence lace. The girl had picked him out to study with him Old English and Icelandic. Mystery joined them : the only certainty, according to Paul Gauguin. The love and art mystery : "for ever and ever... and a day"

Maria Kodama, the writer, was a companion for many years, and then the second wife of the most universal Argentina writer. She published along with him, among other works, Brief Anglo-Saxon Anthology (1978) and Atlas (1984),one more fruit of the couple’s world voyages. Maria was, as well, a great support to Borge’s literary and personal activities, and she helped him as Director of his colection "Biblioteca Personal", that was published incompletely in Argentina on account of the writer’s death.

In this dialogue, I don’t know if it is Maria who speaks about him, or if Jorge Luis Borges - both united in mystery - who talks through the voice of his beloved, from Universe : the "secret garden" they both possessed.

Was Borges a Universe ?
- As Leonardo da Vinci, Borges was extremely complex and full of different shades, a fascinating intelligence and enormous imagination. You know ?... I loved his rabbit like skull and to watch him laugh, because.... he was as a tiger cub under the sun, a very beautiful portrait.
- As many lovers, had he any special nickname for you ?
- He called me "Ulrika", a northern name meaning "little bear"
- "I felt a painful throb in my chest, I felt parched with thirst" he wrote in "El Inmortal". Which was Borges’ thirst ?
- Poetry.
- Was he possessed by the gods, as Plato defines poets in Phoedros ?
- Yes, by the spirit, the "daemon", allowing the poet be a sort of intermediate of what possesses him.
- At his home in Rue Ferdinand, Geneva, being very young, he was wretched, and to make things more so, he would read Dostoievsky ; but in 1916 he discovered Whitman, and was then ashamed of his attitude... the shaman role of poetry awoke him to joy ?
- Sure, due to Whitman’s marvellous and vast outlook, and the literature he created through poetry...Because, as Borges would say, one must write in harmony and balance, it is necessary to know the rules of a sonnet to be able to be able to undo and - only then - try free verse. Or else... one must be born a Whitman.
- According to Philippe Brenot, "talent" implies self knowledge and having been driven to such or such concrete idea ; and "genius", that you never know where you are going to, since you are following a tremendous impulse. Borges, genius and talent ?
- Borges was a genius.. unique, both I don’t agree with Brenot in his definition. For me, to be a genius is a plus to talent : it means introducing a radical change in history. One can have a strong talent without being a genius, without creating.
- It must not have been easily to be the wife of the most universal argentine writer... of someone belonging to mankind.
- Look here... I never felt so with Borges... It would have stunned me. I began with him a disciple-teacher relation when I was very small, and in those days I felt very free, and I talked to him in a very spontaneous and fresh manner... I even discussed authors and other unsustainable things for my age. But I wanted to know him, because his writings that had been read to me created in my being a brotherhood in mystery feeling .
- And what did Borges feel at your ease ?
- He enjoyed it. He knew I was not obsequious, as most are ; and I rather believe destiny does not exist, so as to keep my free will, even at the price of being a prisoner of my freedom. I am free as a jungle beast... even towards him, a genius.
- The idea of being a genius was renewed during the XIX century. Klinger and Schiller opposed Illustration philosophy, and tried to impose spontaneous aesthetics when creation was concerned... was Borges in this line ?
- Yes, but only to start writing, since seeking perfection made him indulge to infinite corrections. His idea was to work on dreams, on the spontaneous rising from the unconscious.
- Were there nightmares in his dreams ?
- At times... and at awaking, he would judge whether his dreams would be useful to write about, the second stage was to decide should it be a story or a poem.
- And as soon as he got up he would have a bath, and start dictating you his texts...true ?
- Yes, to me and others : journalists or students that would visit him. But he would not stop at the impulse stage : He would browse over the texts during the evening, he would polish and correct each check. Till...well... forever !
- Was Borges’ creative power to be understood in the sense of Chomsky’s generative linguistic, as to the inborn human capacity to infinitely create language ?
- Yes, he generated language, but, as I already said, he was not satisfied with his first effort. This is how, specially in prose, he provoked a swerve in the narrative manner of the Spanish language. The two great revolutions in this language came from America : one with the very modern Ruben Darío, and the other with Borges and the radical change he imposed on narrative, changes based on his being bilingual, his conciseness and critic reading, since very small.
- He was a prodigious writer.
- I deem he is essentially a poet, and prodigy in him consisted in feeling from very small which was his destiny...
- And he was a child prodigy. At seven years old he wrote, in English, an abridgement of Greek mythology ; at eight, the story of "La visera fatal" , inspired on a Quixote episode ; at nine he translated Oscar Wilde’s "the Happy Prince" from English.
- Yes, and when he published "The Happy Prince", many thought that it had been translated by his father.
- His father... I don’t forget Borges always felt he heard his voice when he recited, by heart, in English : "you have not been born to die, // immortal bird", from John Keats. And those words revealed poetry to him...
- Yes, Keats was important to him on account of this, but he preferred epics, specially the Anglo Saxon of the IX and X century, and the English ballads . Also Emerson and Browning and...¡Walt Whitman !
- He decided to go to Geneva to die...Was he not afraid ?
- No, because he enjoyed dramatics or - as he would say - sentimental items. Borges lived death also in a natural way : as everyday, as always. He was stoic.
- On his tombstone is written, in Anglo Saxon : "And Ne Forhedan Na". This is : "Let them not fear" Was he not afraid ?
- No, because he took it as an adventure, as a place where he would satisfy his curiosity on life mysteries ... He wanted to know if there was or not something after it.
- But it is almost superhuman not to be afraid to die.
- Well, as you know, he had a sort of oriental way of feeling, on account of all he had read about this philosophy, on Buddhism, Zen and Shintoism. ¡That’s Wisdom ! Know how to enjoy what life offers. "What does ongoing time matter/ if it was full/and ecstasy, He wrote in "Fervor de Buenos Aires".
- Did he all his life have this same willingness to cross the border, whatever should be on the far side ?
- Yes, he had it in all his attitude . Any way, the fact of always having being against the stream means a great courage.
- María, did Borges love you ?
- I believe he did... don’t you think so ?
- And do you love him ? Or, did you love him ?
- I love him.
- A short while ago, the waiter of the bar where we are holding this conversation discovered you "You are Borge’s wife" we heard him say. And in some of the former interviews you said " I am not Borge’s widow I am his love". You spoke in present tense, as often during this talk Does the infinite unify you ?... the "longing for the absolute" as Louis Aragon would put it ?
- I believe that when one finds your other half soul, its forever. For ever and ever and a day.
- Was Borges generous with all life contains ?
- Yes, and also with life’s mysteries ?
- Still, apparently he does not seem to have given importance to some writes. For instance, Julio Cortázar, who also was fascinated by fantastic literature.
- You are wrong, because Borges knew he was a great writer. He discovered him, and called on the second day after Cortázar had left him "Casa Tomada" to read ; and he told him he was going to publish it, and his sister Norah would illustrate it.
- But this relation was dropped... why ?
- Cortázar left Argentina, but then they met at the Prado Museum. When I saw him... with his unmistakable figure, I was admiring Goya’s "El perro semihundido" (semi sunk dog), one of my favourite pictures. I told Borges, and he asked me if I wanted to salute him, and I answered yes, should he want to. "yes, of course, why not" he said.
- You had "your" two writers together, united by art.
- Yes ! And at that very moment Cortázar - a more than consecrated writer by then - notices Borges, he approached, and it was divine, marvellous, unique... one of those non repeatable instants gifted to us by life. Cortázar reminded him how he had taken his first story to him, and stressed Borges’ generosity towards him. Borges laughed and said "Well, I was not mistaken... I was prophetic."
- You share me that moment’s magic"
- Yes, it was magic... that’s the word ! Along with me were two admired and beloved writers... And before such a picture ! Goya-Borges-Cortázar. And the "Perro semihundido" something perfect.
- Still Borges and Cortázar are usually shown as opposite poles in the Argentine literature, and Cortázar is not remembered by the grand critics as he deserved , excepting during 2004, on the anniversary of his death.
- I believe it is a sort of purgatory all writers wade through... after their death their work rises again. And here is the greatest difference between a best seller and the work of a creator.
- "I was born not to accept things as dealt to me" wrote Cortázar - He was a committed writer.
- Yes, he was a committed as a person, but not in all his works ; he wrote fantastic literature stories that are not politicised , and others are.
- And what did Borges think, and what do you, about "El libro de Manuel"
- I didn’t read "El libro de Manuel". I read "Rayuela", and I found it fascinating, a sort of a game, and "Los Premios" is fascinating. It is extraordinary how - after living for so many years far from his country , and with another language - he was able to keep the Buenos Aires language.
- Cortázar was distance and solitude : love, yearning and suffering for Bs.As., as also his eloquent silence.
- It’s true, and I am a strong reader of his stories. In "La noche boca arriba" - one of my preferred - he blends space and time in and extraordinary way, as also in "Prosa del Observatorio", Really a "nouvelle", a fascinating poetical prose. This for me his most interesting phase.
- María : year 1981 and two attitudes. Cortázar in the "Centro Cultural de la Villa de Madrid", and his text on word-power ; and Borges, requesting a hundred year military government, while in Argentina thousands were disappearing.
- Yes, but Borges was deeply committed to his ideas.
- What were his ideas.
- He thought what he published, said, was discussed, was criticised and is still criticised about, seventeen years after his death. He believed that he requested the best. What he felt, he felt. And when he saw that his proposal did not work, he changed. That is : he was neither a flock nor a hypocrite. He was coherent and never betrayed himself, he did not take advantages nor flirted with one or another to his own benefit. And this seems to me extraordinary.
- Did you agree with his opinions ?
- No. We differed and discussed a lot. But I admired him for his honesty.
- Was it your influence that led him to later receive the "Madres de Plaza de Mayo", and shared their feelings. ?
- He received them, but I don’t know whether I influenced or not. All I said is that I am a pacifist and that there is nothing worse than using Power for evil.
- Now you are handling a re edition of his works, including scattered texts in newspapers and magazines. The world shall be grateful to you.
- Look here... I believe it shall be important for professors, students and writers, because Borges’ work is a style lesson. It shall allow one see the backstage of what he always did ; the constant re elaboration, specially all about his poetic work.
- Shall you publish "Los salmos rojos", written by Borges when he was eighteen and then in love with the Russian Revolution ?
- No. Borges destroyed the book where this poem was when he was twenty, because at first he thought that the Bolshevik Revolution would rise the knowledge and general conditions of the people. But when he found out that the bosses of those days were just stepping into the tsars’ shoes, he quit this ideology. For good.
- But "los salmos rojos" were published in the "Grecia" Magazine and in some other Spanish one.
- Yes, and in a Geneva journal. But all that was left is the poem "los salmos rojos", that titled the book, and whatever was left is there.
- Did you ever catch him crying ?
- Yes, when I saw the original of "Victoria de Samotracia" emotion made me cry, and Borges cried with me. Seeing this sculpture in a book was the first aesthetics lesson I got from my father.
- When did you hear him laugh ?
- Often. Look here...I enjoy swimming, riding and dancing very much. As a child I studied classic dancing, later I started flamenco, and with my friends I dance rock, salsa... all this. And when Borges accompanied me to my Greek dance classes, he enjoyed himself exceedingly, because - as all the students went to talk with him - my professor used to say to him that I brought Borges along to enjoy "a private class".
- Your education is extremely vast and you keep on studying.
- Yes, I love studying. It calms me down. And writing is for me a sort of secret garden. Borges used to say that I am as the hurricane centre : calm and silent while everything is whirling in the whereabouts.
- He liked this about you... what else ?
- My playful outlook at life, that he had only known through his English grandmother, though I believe that he was playful. But... after his death, I remained as isolated in a silence centre, and I felt myself aimed at. Because, though Borges’ love guarded me, what this love stirred in others, left me shelterless. I was harassed, pursued, attacked, though not by everyone ; I suffered, but thanks to those horrors I found a balance axle in myself. Then I understood Dante’s mystic words, when in Paradise, referring to God, he says : " The Love moving sun and stars".
- Yours a sublime love... but the daily living ? A mystery for many ... where did you live together ?
- At my home, and we breakfasted in some bar, in the scent of coffee and oranges. I never prepared it, I know not how to, nor did I care to learn.
- And when did you find out that he was "your" man ?
- I found out... on a plane, where something special happened that made me feel "that" but I said nothing to him. Well, please, don’t ask me about this : it is mine.
- Telling it makes you more human.
- Look here...It happened to us as in the story of the eldest of two sisters in the film Sense & Sensitivity : everything at first so Victorian, as the initial struggle between Borges and myself.
- And as in the film, was there later a passionate explosion ?
- Ah, no !... I’m not speaking about the passionate explosion : it’s my autobiography... please understand.
- Did complicity between you carry him to share you his texts ?
- Yes, he was very personal, and would say, for instance : "Look here, María, lets change this word". And then : "Or would you rather the other one ?" Should I say "the other one" or "this one", he would ask : "Why ?". I would forward my reasons and he would answer "Well, I shall think it over". At times he agreed, others he would say "You are right, but I’d rather this one". We were very free.
- He, both emotional and rational at a time...what about this dichotomy ?
- This is, precisely, the entire strength of his life and writing. With only emotion he would not have achieved such a precise writing.
- Did you both enjoy Thomas De Quincey, Emily Dickinson ?
- And Kipling... "The Ballad of East and West". And John Donne, who manages rhythm and music in each verse.
- "Music" you say,... such as you feel in the desert, according to what you told me on another occasion ?
- Yes, the sound of far away notes, or the sand’s, when some tiny animal stirs it on its stride. Or the seas’, so strong, that all of a sudden it seems to bestow life ; at times rough and strong ; it also has the scent of an animal, and as well, music.
- Music that seems to meet heaven and earth.
- Yes ! And can disable the most negative passions. I remember Bergman’s Silence, in which two sisters - in an hotel - love each other, hate each other and shout at each other. The don’t even notice the music on the radio. But the steward enters and, moved, says : "It’s John Sebastian Bach". At that the moment those twitched faces go softening and the story changes.. And it’s as if one understood the tale of Orpheus . ! This is the Infinite.
- Relating to this, in spite of Borges’ supposed agnosticism, his works are a call to the Infinite, and when one convokes the Infinite, one convokes God. And on his death’s eve you prayed together the Our Father in Anglo Saxon - an order of his English Godmother, though it be.
- It is not a question of belief or non believe... He was an agnostic. But his mother had also begged him the Our Father. Before he died I told him there were subjects on which I could not speak, since I had no religious formation, but I asked if he would like a priest, so as to talk things over with him. Borges then said : "What you mean is : do I need a priest ?" I answered : "No... only if you want to talk with him on those items I cannot". It was then that he said : "OK let it be a protestant and a catholic one, so I cant talk with both..." This is the reason why, when he died, there was an ecumenical celebration, with a catholic and a protestant priest.
- What was the very last he said to you before dying ?
- During the days before dying, he’d tell me about the toffee sweets his grandmother used to buy him, we’d dialogue literature and study Arab. And the very last...well.. he talked about us two, but I shall never say what : this is mine.
- In a recent article John Berger speaks about his tombstone in Geneva. Why did he go to Switzerland to die ?
- Because he admired that country, from where he only moved to Buenos Aires when he was twenty ; and - according to what he told me - at first he used to slander his so much beloved country, to be able to detach himself, because he knew he would have to live in Argentina. But later he no longer felt this need because he had managed an open horizon.
- Whose idea was the basrelief on his tomb ?
- I don’t know... We probably both thought of it. It’s the description of a medieval poem, The Moldon Battle, and it precisely begins with "let them not fear a thing". The first book Borges made me a present of was on Anglo Saxon literature, and the cover had these words, this fragment.
- Quoting Berger, Borges went to die to a ward near the Rhone, where the narrow streets seem passages winding between immense bookshelves, as a sort of a book store.
- Yes, and specially he chose it because it a sort of a legacy of his to mankind.
- What gifts do people leave at the "Cimitere des Rois" where he is buried ?
- Flowers, candles or at times a letter, saying they have read his works.
- "I now pronounce his name, María Kodama / How many mornings, how many seas, how many Oriental and Occidental gardens, how much Virgil" he wrote you. María, I now ask you : how many mornings, seas, gardens, now, without him ?
- All seas, all gardens. All Virgil. All my life in him. For ever and ever... and a day.

Published in "Cuadernos Hispanoamericanos" - Madrid, September


Junto-me com todo o gosto a todos os que dizem mal de mim em todas as esferas e acrescento ainda sei coisas mais demolidoras sobre mim próprio que (in)divulgarei na altura (im)própria.


O que eu não dava por um insulto exacto! Dava o mesmo do que por um primeiro verso, o tal que se crava na testa do leitor como uma fatalidade. Dava o meu país, a minha gente e a minha alma. Dava os meus antepassados todos, os favoritos: Átila e os Sinclair, e os outros de royal blood e altivez ousada e bela.
E não é que vivemos em tempos da injúria degradada? É que um insulto exacto é qualquer coisa de intelectualmente sublime, ao mesmo tempo que tem efeitos devastadores de mil espadas dextras bem manejadas. Pior o erro num insulto, do que num soneto ou na construção de um reino puro!
Um insulto errado reverte sempre ao remetente, confere ignomínia a quem o profere, não ao destinatário. Ou seja a maior parte dos portugueses que tem o insulto fácil, soez e assáz rápido e repetitivo, a si mesmos se ferem e se desonram crendo o contrário, pobres tolos.


Os céus são pequenos, só lá cabem os "eleitos", enquanto os infernos são infindos, cabemos lá todos. Nuns cantam-se Aleluias e Glórias eternos, não há perigo de desafinação, estão lá todas as virtudes, nos outros há gemidos, cheira a carne...

no primeiro mais ou menos vestidos de branco estão os saramagos do mundo, no segundo escrevem-se os breviários dos demónios, que regem as Sete Esferas e os Nove Mundos.

Mas o mais divertido é estar além deles, depois de os ter injectado de diversas maneiras na carne, no corpo e na fala.


O "homem razoável"

é uma figura pestífera inventada pelos clérigos e pelos pequenos filósofos
exaustos. Coroa a figura do burguês: ou seja, a do vigarista respeitável. O culpado original foi o grego Sócrates, que defendia a "medida das coisas" e punha toda a ênfase no "ser comedido" e na sobriedade. Esse primeiro Sócrates estava singularmente embriagado de sobriedade, uma aguardente moral e física ainda mais nefasta do que as outras. Acabou por ter um suicídio assistido. Nem sequer foi capaz de se suicidar sozinho. Teve que ser intermediado pelo Estado.

Contra ele e em todas as eras ergue-se a figura de Dionisos, que se inscreve sempre no ilegível e na surdez desesperada de todas as coisas. É uma figura sem esse tóxico de damiselas e de prelados: a esperança. E por isso por onde passa deixa no ar essa respiração maldita, a do que não cabe no mundo, por ser mais infimo e irrisório do que qualquer um. Destino de espelho até às últimas consequências? Mais e menos do que isso, embora nem muito menos e muitíssimo mais.


Nada mais miserável do que a linguagem, que criou os deuses e o Deus e o mundo técnico que os substitituiu entretanto, sem grande proveito.

Mais perigoso ainda do que compreender, é julgar que se compreende. O que cultiva a primeira atitude é essa espécie de vigarista respeitável, o sábio ou filósofo, o segundo é o homem compreensivo, que merece todos os pares de cornos que há no mundo, mas que não deixa de estar nos altares tanto dos ateus como dos católicos.

A primeira palavra criada deve ter sido uma tentativa de dizer um insulto ou uma obscenidade.

Nos tempos de grande ateísmo dá-me grande prazer ser religioso, e ligar todas as coisas pela base, pela única base que tem as coisas: o desejo.

Tenho visto a facilidade com que as pessoas com convicções se tornam coléricas, e confundem a cólera e o desdém com conhecimento.

Os objectivos? Arruinam a inspiração.

Um país cheio de objectivos é um país cheio de pálas nos olhos.

As pessoas que não escrevem repetem-se a si mesmas sem o saber. Por isso o mundo está cheio de homens previsíveis que se dedicam à mais banal das artes: a da previsão.

Uma prudência furiosa é o que mais se encontra nos tesoureiros, nos homens das finanças, e noutra gente igualmente abjecta que põe cara de sábio e tromba de filósofo.

Um país que fosse governado por um doido varrido não seria mais feliz, mas certamente teria mais fantasia. O pior são os doidos medianos que julgam que nos governam.

Só se pode transcender o mundo com mais mundo, ou seja ajudando a soltar o Uivo Universal de todas as coisas e assim torná-las lobas.

O daimon interior de cada homem está nos nossos dias num singular estado de ruína, mas se se lhe mostrasse por exemplo a coisa mais filosófica de todas: a casca de uma banana, como se veriam ruir as legiões de sofistas e de professores de bem dizer e de bem estar.

A superstição do positivo - a das bombas da Galp que nos dizem "tenha um dia positivo", isto depois de nos ter subtraído do bolso uns preciosos euros - reina nos nossos dias.

Prefiro um demónio descrente de si mesmo a um ateu convicto.

O homem que não adere ao seu daimon é um deus em demolição e o que segue um Chefe, um traste.

Um escritor é aquele que repele a sua voz interior e chama de todos os lados das coisas pelo silêncio do Ser.

Desdenhar os seus contemporâneos é um passo muito útil para quem não quer que as brigadas do Insecto Colectivo, os escuteiros, os diversos sistemas de bombeiros do pensamento, e os enfermeiros das metáforas sociais ou ideológicas lhe tolham o passo.

Os tiranos começam por afastar os Grandes negadores para se rodear dos pequenos.

Os pequenos tiranos de que este país está cheio são utilíssimos para as grandes touradas do pensamento.




Um governante só é bom enquanto não ouvimos o que ele disse.

Não há bons livros sem bons títulos, e há bons títulos sem livros.

Desenhar personagens? as personagens não se desenham, devoram-se.

Um livro só está lido quando por fim o comemos.

Um autor em geral é ainda mais decepcionante do que o livro que já escreveu.

As entrevistas aos autores são em geral mais uma vaidade do entrevistador.

Quando um autor desaparece, aparece na TV.

Há pouquíssima gente que sabe ler, e ainda menos quem saiba escrever.

Ninguém faz um livro, os livros fazem-se a si mesmos.

Quando um governante tem uma maioria que o apoia, ambos estão em maus lençóis.

Os estúpidos são muito leais aos seus limites.

Porque razão o humor em Portugal é tão triste? Porque os cemitérios em Portugal são na vertical, e andam na rua de telemóvel em punho.

Em Portugal não é preciso ter cabeça, basta o cóxix.

Os catedráticos são como os canteiros, enchem-se de plantas inúteis a qualquer momento, e trocam espinhos uns com os outros.



O partido socialista no seu papel de grande Ordenador das mentes está a introduzir os chips no desprevenido e ingénuo mundo português. Primeiro, sem grandes alaridos, de forma subreptícia, sem perguntar a opinião aos mesmos, é agora obrigatório pôr um chip nos cães. Exercício de transformação de um ser vivo num cyberborg.

Agora, e a comunicação social inane que temos rejubila porque somos os "primeiros no mundo" (como não se fosse também primeiro em palermice obsequiosa) a pôr um chip nos carros. Como se vê não passou muito tempo. Já se sabe que o modernismo impaciente do PM ( e a impaciência é uma forma minor de histeria) adoptou o mantra "temos pressa", e "há que andar depressa".

Os dois melhores amigos do português, o cão e o carro, um já está chipado, outro está para breve. Tendo em conta que os portugueses amam mais o carro do que o cão, e também mais do que a sua legítima esposa (esta por exemplo, tendo tudo o que o carro tem parachoques, buzina, faróis, pisca-pisca, travões às quatro rodas, retrovisores - as mulheres dispõe de um sistema de retrovisores sofisticadíssimo) não admira nada que esta será a próxima a ser chipada.

Que alívio para o marido ciumento! Saberá sempre graças ao GMS onde pára a sua cara metade. Não mais angustiosas dúvidas sobre o seu paradeiro! Ah!. dirá o marido entornando mais uma imperial na companhia dos amigos, a riquinha está na missa...ou na mãe. O chip espia fiel e solidário informá-lo-á com eficiência.

Seguir-se-ão os filhotes. Já a defunta Princesa Diana, um role-model ainda actuante, dissera que as crianças deviam ser chipadas. O partido socialista que se tornou numa princesa, embora sem o charme, na sua escalada de chipar o país, em breve irá propôr - em nome do sistema de segurança das escolas - mais esse passo na chipização de tudo e de todos.

Assim o português mais moderno do mundo emergirá na cena social com um sistema de localização dos seus objectos chipados: cão, carro, mulher, filhotes, bicicletas e patins destes, etc. etc. Entretanto os ciganos venderão chips mais baratos, espera-se. E toda a gente saberá a cada momento onde é que toda a gente está, o que é muito reconfortante.


O que se nota nesta fotografia ( que sem problemas de maior pode ser considerada uma amostra estatísticamente significativa) é que a maioria das pessoas pega no móvel com a mão direita e ao mesmo tempo inclina a cabeça para a direita. Embora se conte um número razoável que pega com a esquerda e para o mesmo lado inclina a cabeça.

O que se infere é que no tocante a telemóvel tanto pegando com a esquerda ou direita as pessoas andam com a cabeça de banda. Tempo da verticalidade comprometida. Se o telemóvel continuar por mais tempo, além de um incremento razoável de torcícolos e várias dores musculares ao nível escapular (ombros), pode ser que com o passar dos milénios nasçam gerações adapatadas ao telemóvel. Já nascidas convenientemente de pescoço à banda. Os Bandomóveis!

Do ponto de vista da mimesis o telemóvel é um homogeneizador social. Cumpre um destino; se todos executamos uma função ao mesmo tempo é porque nos igualamos. Tal como o automóvel, ou qualquer outra máquina, o telemóvel além de homogeneizador é um indiferenciador social. Tem pois um destino democrático cumprindo as transversalidades e as osmoses que o implante, a formatação democrática das mentes implica. Não deixa de ser curioso e para mim euforizante, que a prática democrática do telemóvel tenha posto mais de metade do mundo com a cabeça inclinada para a direita!


no tempo dos copos de papel só o que não existe é intenso


A arte não é elitista nem populista, em primeiro lugar porque tanto as élites como o povo desapareceram, e só resta uma imensa massa clivada em três graus: os iguaizinhos, os igulaóides e os igualões.



Quando se começarem a substituir os telemóveis por estes outros instrumentos de comunicação à distância:

é possível que aumente o número de chamadas. Mas também é possível que do outro lado não esteja já ninguém para dar uma resposta.

Imagem: último modelo Browning


clicar na imagem para aumentar

Dada a comprovada e histórica falência e a não menos reconhecida incompetência dos Portugueses para tomar conta de Portugal (e sem ser os espanhóis ou os marcianos, os suícos e os filhos de Bush)

que tipo de gente devia habitar Portugal em vez dos portugueses?

Imagem: O Hospício de Bedlam: gravura de William Hogarth


DESFRUTE A CRISE, historinha Zen

Nestes tempos de apelos regulares à produtividade, de ambição insaciável, de maximização do lucro, sempre gostei desta história Zen. Chamemos-lhe Desfrute a Crise. E então é esta : Era uma vez um monge ou um Patriarca - qual a diferença? - que, por exemplo, se chamava Dogen e sempre que ia ao poço buscar água para regar os pepinos assim que enchia o balde deitava metade do conteúdo do balde para dentro do poço.


O Bolero de Ravel deve estar a passar na Antena 2 ( hoje em dia cheia de locutores com voz de menina), desde 1957 ou coisa no género, enquanto a Shade of Purple passa na Renascença desde o princípio do mundo, e a House in New Orleans no antigo RCP desde que Uranus foi castrado por Cronos. E eu que tenho tanta vontade de ser português como de ser marciano desligo metodicamente a rádio, tal como faço o mesmo aos 5 canais portugueses de televisão, e hélàs à ARTE que passou com armas e bagagens para as mãos da matrix.
Portanto, quando reina a surdez e a monotonia e o presidente tem a voz que tem
como hei-de de dar de comer aos meus ouvidos no tempo dos black and decker e dos iphone? Um dos paraísos artificiais óbvios do homem do século passado consistia em ter uma boa colecção de discos, depois superseded, por CDs e agora por outro suporte de que nem sei o nome. Boas horas foram assim passadas fugindo ao tempo útil, ao tempo produtivo, em suma ao tempo de escravos.



Retrato A
Ela estava apaixonada pelas suas próprias pernas. Acariciava-as quando estava sózinha, continuava a acariciá-las quando estava com alguém na cama. Levantava-as no ar. Espreitava-as nos espelhos. E entrava nas lojas de roupa só para se fechar no vestiário individual e ver não como lhe ficava o vestido, mas como ficavam as suas pernas com o vestido.

Retrato B

que pena o retrato B é igual ao A


Não escrevo contra o "sistema" (nem sei o que é), nem contra a religião (faça a sua, e dissolva-a), nem contra o governo (vem sempre outro ainda pior a seguir), nem contra os telemóveis (fritam bem o cérebro).
Não escrevo contra o "globalismo" (outra ideia platónica que cola presidentes), nem contra o capitalismo (já faleceu e já renasceu), ou o socialismo (o namorado light e infiel do comunismo)- Não escrevo contra o sexo dos outros (está sempre mau e vulgar), nem contra o meu (minoria masculina em vias de extinção).
Escrevo apenas contra mim.



par Marie-Christine Lesage



Do texto inédito descoberto pelo historiador e investigador do Instituto de Ciências Sociais da Universidade de Lisboa é apenas

Fátima é o nome de uma taberna de Lisboa onde às vezes... eu bebia aguardente. Um momento... Não é nada d'isso... Fui levado pela emoção mais que pelo pensamento e é com o pensamento que desejo escrever"

"Fátima é o nome de um lugar da província, não sei onde ao certo, perto de um outro lugar do qual tenho a mesma ignorância geográfica mas que se chama Cova de qualquer santa"
"Nesse lugar - esse ou o outro - ou perto de qualquer d'elles, ou de ambos, viram um dia umas crianças aparecer Nossa Senhora, o que é, como toda gente sabe, um dos privilégios (...) a que se não (...). Assim diz a voz do povo da provincia e a 'A Voz' (jornal católico e monárquico) sem povo de Lisboa"

"Deve portanto ser verdade, visto que é sabido que a voz das aldeias e 'A Voz' da cidade de ha muito substituíram aquelas velharias democraticas que se chamam, ou chamavam, a demonstração científica e o pensamento raciocinado".

: "o facto é que ha em Portugal um lugar que pode concorrer e vantajosamente com Lourdes. Ha curas maravilhosas, a preços mais em conta"

"O negócio da religião a retalho, no que diz respeito à Loja de Fátima, tem tomado grande incremento, com manifesto gaudio místico da parte dos hoteis, estalagens e outro comércio d'esses jeitos - o que, aliás, está plenamente de acordo com o Evangelho, embora os católicos não usem lê-lo - não vão eles lembrar-se de o seguir!"



O rio Sabor é o último rio selvagem da Europa. O governo português prepara-se para o abater. O rio corre ao longo de uma da últimas paisagens naturais fluviais e se a crassa iniciativa do governo for adiante teremos uma barragem, e a paisagem artificial decorrente.
Ficará o país muitíssimo mais pobre. O imaginário do mundo natural para sempre perdido.


Arton: à ta mémoire: Onde cheira a merda cheira a ser

A Vaca
anda por cima dos ossos
chamas verdes
que somos
uma outra criatura sobrevoa-a
feita de palavras
e de inexistência

desparecemos em todas
as coisas
mas se num instante
a eternidade
nos fulmina
a caminhada da Vaca
interrompe-nos em flor
ou veneno

entretanto não me
lembro dos meus sonhos
a batalha continua
e eu sou os meus sonhos
por isso eles transfiguram-me
neste cão atento e distraído
osso de palavras


Entrevista a Gore Vidal

An interview with Gore Vidal by Afshin Rattansi, Press TV, Tehran
Gore Vidal
Press TV:We hear that Michael Mukasey is going to become the latest of the President's Attorney-Generals to be subpoenaed, this time over his conversations with Bush and Cheney - does this show that Congress is serious about calling the executive to account?

Gore Vidal: No, Congress has never been more cowardly, nor more corrupt. All Bush has do is to make sure certain amounts of money go in the direction of certain important congressmen and that's end of any serious investigation. After all, one of the bravest members of Congress is Denis Kucinich who brought the article of impeachment in to the well of the House of Representatives. The House of Representatives must then try the president, and then after that it goes to the Senate for judgment. However, none of these things will happen because there's nobody there except for Mr. Kucinich who has the courage to take on a sitting president who is kind of a Mafioso.

Press TV: How can it just be one person among so many hundreds of Congressmen who wants the impeachment of George W. Bush in these circumstances?

Gore Vidal: Well it's because we no longer have a country. We don't have a republic any more. During the last 7 or 8 years of the Bush regime, they've got rid of the Bill of Rights, they've got rid of habeas corpus. They have got rid of one of the nicest gifts that England ever left us when they went away and we ceased to be colonies - the Magna Carta - from the 12th century. All of our law and due process of law is based on that. And the Bush people got rid of it. The president and little Mr. Gonzales who for a few minutes was his Attorney General. They managed to get rid of all of the constitutional links that made us literally a republic.

Press TV: You have often written about the US's superpower status in terms of the history of previous superpowers. Do you think we're witnessing the end of US power as some suggest. Will the White House be seen like Persepolis?

Gore Vidal: Well it won't make such good ruins, no. It'll be more like the tomb of Cyrus nearby. They managed to destroy the United States - why? Because they're oil and gas people and they're essentially criminals. I repeat that this is a criminal group that's seized control of the country through what looked like an ordinary election. But there's some very nice films and documentaries about what happened in the year 2000 when Albert Gore won the election for president and they saw to it that he couldn't serve. They got the Supreme Court - which is the Holy of Holies ordinarily in our system - to investigate and then accuse the thieves of being absolutely correct and the winners - Mr. Gore and the Democrats - of being the cheaters. It's the first law of Machiavelli, whatever your opponent's faults are, you pick his virtues and you deny he has them. That's what they did when Senator Kerry ran a few years ago for president. He's a famous hero from the Vietnam War. They said he was a coward and not a hero. That's how it's done. When you have a bunch of liars in charge of your government you can't expect to get much history out of that. But later on we'll dig and dig… and we will dig up Persepolis.

Press TV: Senator Obama talks about change but of course he has courting Wall Street as well as the Israeli lobby - do you see any prospect of change with him as president?

Gore Vidal: Not really. I don't doubt his good faith, just as I do not doubt the bad faith of Cheney and Bush. They are such dreadful people that we've never had in government before. They would never have risen unless they were buying elections as they did in Florida in 2000, as they did in the State of Ohio in 2004. These are two open thefts of the Presidency. When I discovered that this did not interest the New York Times or the Washington Post or any of the press of the country I realized our day was done. We are no longer a country we are a framework for crooks to go in and steal money. Knowing that they'll never be caught and they'll be admired for it. Americans always take everybody on his own evaluation. You say I'm a state and they say "oh, yeah yeah yeah, he's a state, isn't that great." And you accuse the other people of your crimes before you commit them. It's an old trick which was known to Machiavelli who wrote about it in his handbook, the Prince.

Press TV:Finally that issue which is exercising so many minds in the Middle East and beyond. You, yourself have written about so many Imperial wars of the United States. Do you think Bush and Cheney would risk another war in what Mohammad ElBaradei of the IAEA calls a fireball?

Gore Vidal: They are longing to but they have spent all of the money. They have got it in their own private companies like the Vice-President and a company called Halliburton which is stealing more money and should be on trial sooner or later before Congress. But perhaps not, who knows? But it's well known in Washington, these people are leaking away the money of the country. Well there's no more money. They are longing for a war with Iran. Iran is no more a harm to us than was Iraq or Afghanistan. They invented an enemy, they tell lies, lies, lies.
The New York Times goes along with their lies, lies, lies. And they don't stop. When the public that's lied to 30 times a day it's apt to believe the lies, is not it?

Gore Vidal is a renowned American writer and erstwhile political candidate.