By Laura Restrepo
"How am i able to inform him that he'll by no means locate her, after he has been trying to find her all his existence? If i may seek advice from him with out breaking his center, there's something i'd inform him, in hopes it'll cease his sleepless nights and wrongheaded look for a shadow. i'd repeat this to him: 'Your Matilde Lina is in limbo, the residing position of these who're neither lifeless nor alive.' yet that might be like severing the roots of the tree that helps him. in addition to, why do it if he isn't going to think me."
In the midst of warfare, the protagonists of A story of the Dispossessed are always looking: for a promised land, a future, the face of a girl who has disappeared -- looking for an very unlikely love and, conversely, for a love that's possible.
A means station for refugees from violence is the environment for an extreme love triangle within which an uprooted and wandering humans lead the reader to event the collective drama of pressured relocation. A story of the Dispossessed speaks to us in regards to the inexorable legislations that has led guy, expelled from paradise because the days of Adam via to fashionable occasions, in his look for a fashion again home.
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Extra info for A Tale of the Dispossessed/La Multitud Errante: A Novel
The reader lends his voice to what is written; he repeats and affirms what “Wanderer’s Night Song” says. ” Through the flow of tears, the archiving of the text becomes its return: everything—the view of the summits and the spruce forest, the self-address, the silence at the end—it all happens once more, just as the faded pencil lines at the southern window have described, and prescribed. ” Only when someone else has written them does one read and cry. What literary scholars call the “lyrical I” does not exist at all.
Nietzsche, however—in notes he made late in life—also formulated the Apollonian on the model of intoxication. Intoxication does not yield representation—a scenario—and it rejects hermeneutics. Because the dream uncouples desire and corporeal motorics, it forms an open system: “psycho-motoric in22 Nietzsche (1844–1900) duction” (Nachlass III 754) carries it from body to body. Accordingly, it exceeds—and not just endopsychically—“all family life [Familientum] and its venerable statutes” (Birth § 2, I 27); it openly injures the norms of the public sphere and communication.
He marked the displacement that, historically, led to the mediated public sphere. Not for nothing is The Birth of Tragedy dedicated to Wagner, whose medial Gesamtkunstwerk “no longer speaks the educated language of a caste” (Untimely IV § 10, I 428). Nor is it for nothing that talk of the Apollonian—which is “fundamentally nothing more than an image of light cast on a dark wall” (Birth § 9, I 55)—sounds like a theory of film avant la lettre. Nietzsche’s decentering of consciousness refers the theory of art to the relationship between culture and bodies.
A Tale of the Dispossessed/La Multitud Errante: A Novel by Laura Restrepo