the déjà vu of an extensive and multifarious declaration of perplexity, Juan Gabriel Vásquez, The Shape of the Ruins, the past that is ruined, in its jealousy, by the present’s 2 minutes hate

… the worst vices of our digital societies: intellectual irresponsibility, proud mediocrity, implausible denigration with impunity, but most of all verbal terrorism, the schoolyard bullying the participants got involved in with incomprehensible enthusiasm, the cowardice of all aggressors who used pseudonyms to vilify but would never repeat their insults out loud. … our modern and digital version of the Two Minutes Hate: that ritual in Orwell’s 1984, in which they project an image of the enemy and the citizens give themselves over to physical aggression (they throw things at the screen) and verbal aggression (they insult, shriek, accuse, defame), and then go back to the real world feeling free, unburdened and self-satisfied.

— Juan Gabriel Vásquez, The Shape of the Ruins, translated by Anne McLean, 2018, pp. 180-181

– Gordon Matta-Clark

I don’t know when I started to realise that my country’s past was incomprehensible and obscure to me, a real shadowy terrain, nor can I remember the precise moment when all that I’d believed so trustworthy and predictable–the place I’d grown up, [the] language I speak and customs I know, the place [the] past [of which] I was taught in school and in university, [with a] present I have become accustomed to interpreting and pretending I understand–began to turn into a place of shadows out of which jumped horrible creatures as soon as we dropped our guard. With time I have come to think that this is the true reason why writers write about their early youth: you don’t write about what you know and understand, and much less do you write because you know and understand, but because you understand that all your knowledge and comprehension are false, a mirage and an illusion, so your books are not, could not be, more than elaborate displays of disorientation: extensive and multifarious declarations of perplexity.

— Ibid., p. 439

– Majestic Theatre, Wellington, 1987