Maniobras: las políticas internacionales que militarizan las vidas de las mujeres

maniobras

Maneuvers: The International Politics of Militarizing Women’s Lives

Cynthia Enloe

University of California Press, 2000, 437 pages. 

ISBN: 9780520220713

Traducción del “Prefacio” (pp. IX-XIX) al español del original en inglés 

por : Franco Laguna Correa

BREVE INTRODUCCIÓN DEL TRADUCTOR

El concepto de la “militarización” comprende los procesos por medio de los cuales la influencia y las prioridades militares-y paramilitares-se apropian de la vida cotidiana de la sociedad civil. Estos procesos tienen el propósito explícito de implantar un carácter y una mentalidad militarizada a la población ya sea de una pequeña comunidad alejada de los centros urbanos o bien de la población entera de una nación. Estos procesos de militarización pueden ser tan sutiles como la preparación ideológica de una sociedad a través de las instituciones educativas para asumir como consecuencias “naturales” las campañas militares de su ejército local o nacional contra fuerzas militares externas o de naciones encuadradas como enemigas. O, incluso, en casos extremos, la militarización-en su forma de paramilitarización-comprende la provisión de armamento, equipo militar, uniformes y entrenamiento enfocado en la preparación de la sociedad civil para entrar en combate directo con otras fuerzas militarizadas a nivel local o incluso internacional. Desde el final de la Segunda Guerra Mundial, el ejército de los Estados Unidos se afianzó como el paradigma global en cuanto al desarrollo de las tácticas militares más eficaces y la manutención nacional de un ejército cada vez más especializado que gozaba del apoyo político e ideológico de la sociedad civil debido al éxito obtenido en su intervención en la Segunda Guerra Mundial. 

            Debido a esto, no es sorprendente que durante los años que siguieron al término de la Segunda Guerra Mundial, Estados Unidos también se afianzara como el líder global en el desarrollo de tecnologías militares, tácticas especializadas y, en consecuencia, se convirtiera en el mayor exportador de armas y tecnologías militares a nivel mundial. Asimismo, la experiencia que el ejército estadounidense adquirió en sus guerras en Corea, Vietnam, Camboya y durante la Guerra Fría, amén de sus fracasos políticos y militares, ocasionó como efecto colateral la expansión militar de Estados Unidos en regiones de Asia “desconocidas” para Occidente. Una de las consecuencias de esta expansión militar, entre muchas otras, fue el intercambio de tácticas militares entre el ejército de Estados Unidos y los ejércitos de esos países asiáticos. Sin embargo, la expansión y el intercambio de tácticas militares del ejército estadounidense se globalizó aún más debido a susguerras que durante el inicio de los 90s desplegó en Irak, Afganistán y después en otras naciones del Medio Oriente, como Siria, Líbano y Paquistán, bajo el pretexto de combatir en contra de la entidad internacional del Estado Islámico (ISIS), también conocido como el Estado Islámico de Irak y Levante o Estado Islámico de Irak y Siria. 

            Los efectos más tangibles de estas guerras, como ha ocurrido en Afganistán, Iraq y recientemente también en Yemen, han sido la destrucción sistemática de las infraestructuras más vitales para el desarrollo de una sociedad y el desmantelamiento de comunidades enteras de pronto abismadas en circunstancias de precarización y empobrecimiento sistémicos-sin mencionar los efectos sociales y económicos de las intervenciones logístico-militares que el ejército de Estados Unidos ha llevado a cabo en las Américas desde Chile hasta Centroamérica[1]. Para comprender de forma integral los efectos de la guerra en la vida cotidiana de las poblaciones “en combate” y el concepto de la militarización en su sentido más amplio-tanto en las naciones consideradas “triunfadoras” como en las “derrotadas”-es preciso mirar más allá de las visiones históricas que se enfocan en proveer detalles de las estrategias desplegadas, los gastos militares, las bajas materializadas en simples estadísticas y los aciertos tácticos durante los períodos de combate. Estas visiones históricas ancladas en la historia efectual soslayan las consecuencias que la militarización despliega de manera sistémica en las vidas de los grupos más vulnerables dentro y fuera de los ejércitos en combate. Maniobras: las políticas internacionales que militarizan las vidas de las mujeres (Maneuvers: The International Politics of Militarizing Women’s Lives) provee un pasaje interdisciplinar, con énfasis en los estudios de género y de la mujer, hacia las políticas internacionales cuyo propósito, ya sea velado o explícito, es la militarización sistémica de las mujeres que establecen de forma directa e indirecta una relación con el ejército de su país o con una fuerza militar extranjera. Por lo tanto, las lectoras y lectores hallarán en Maniobras enfoques críticos que no sólo estudian a las mujeres que sirven como soldados en los ejércitos de sus países. De forma intencional, Maniobras incorpora en sus múltiples enfoques analíticos las diversas maneras en que las políticas de militarización afectan de manera profunda e incluso irreversible las vidas de las esposas e hijas de los soldados y los militares de alto rango, las enfermeras del ejército e, incluso, la experiencia vital de las mujeres que trabajan, muchas veces como prostitutas, en las discotecas y “centros recreativos” ubicados cerca de las bases militares adonde los soldados acuden para “distraerse” de sus labores militares. 

            Asimismo, las lectoras y lectores hallarán en Maniobras enfoques críticos no sólo formulados por parte de feministas estadounidenses, también figuran testimonios logísticos que feministas de otras regiones globales, como Europa y Asia, han desplegado con el objectivo tácito de deconstruir y contrarrestar los efectos de las políticas que sus gobiernos y oficiales militares han desplegado con el objetivo de normalizar la militarización de las vidas de las mujeres. Este año, mientras la humanidad entera se enfrenta a una pandemia que comenzó en 2019, Maniobras cumple veintiún años desde su primera publicación por la Editorial de la Universidad de California (California University Press). Sin embargo, mientras otras publicaciones que vieron la luz con el comienzo del nuevo siglo han perdido su fuerza crítica o analítica debido a los cambios políticos, culturales y socioeconómicos que se han efectuado a nivel global; Maniobras, por el contrario, aún conserva la capacidad de provocar en las lectoras y lectores una actitud de urgencia crítica debido a que las políticas de militarización desplegadas por todas las regiones del orbe cada vez se filtran de forma más insidiosa en la vida de las mujeres, las niñas y niños, y aquellos grupos más vulnerables como la comunidad global migrante, las y los refugiados, y quienes buscan asilo político debido a los desplazamientos masivos que las continuas guerras han producido desde Myanmar, pasando por Asia del Sur, el Medio Oriente, África y Haiti, hasta la frontera/muro que separa a Estados Unidos de México y el resto de Latinoamérica.

            Aunque Maniobras de Cynthia Enloe aún no ha sido traducido al idioma español, como traductor de este prefacio e intelectual público con intereses en los estudios de género y los efectos de la militarización en el llamado “tercer mundo”, espero que las páginas preliminares de Maniobras sirvan a las lectoras y lectores que no tienen acceso al texto en inglés como una breve introducción al pensamiento y enfoques críticos de una de las catedráticas y expertas en el tema de la militarización de las vidas de las mujeres más reconocidas e influyentes a nivel global. Entre una extensa cantidad de reconocimientos y doctorados honoris causa, Cynthia Enloe fue elegida en 2017 como integrante honoraria del “Gender Justice Legacy Wall”, con sede en la Corte Internacional de Crímenes, en La Haya. Su libro más reciente es The Big Push: Exposing and Challenging Patriarchy (2017), publicado en Londres por la Editorial Myriad y en Estados Unidos por la Editorial de la Universidad de California. 

            Como corolario, agradezco sobremanera a la Dra. Enloe y a su editora Naomi Schneider, de la Editorial de la Universidad de California, por permitirme emprender la traducción del prefacio de Maniobras mientras resido de forma temporal en México, un país que desde su frontera norte hasta los lindes geopolíticos que lo separan de Centroamérica es arrasado por múltiples formas de paramilitarización y militarización que cada día alcanzan nuevas radicalizaciones de crueldad al interior de comunidades enteras, afectando, me atrevo a asegurar, de manera irreversible las vidas de mujeres y una infancia cada vez más expuesta al terror paramilitarizado que los cárteles de las drogas despliegan sin tregua en todos los ámbitos de la vida cotidiana. Agradezco, finalmente, a Fórum Nepantla por hacer disponible a las lectoras y lectores en lengua española el prefacio de Maniobras de la Dra. Enloe.   

Franco Laguna Correa

Universidad de Pittsburgh

Ciudad de México

Agosto, 2021

PREFACIO

Una máquina de fax nunca duerme. Si suena a las 11:00 de la noche -quizás se trata de Australia, un amigo desde el otro lado de la línea está enviando la noticia más reciente acerca de un prolongado caso de acoso sexual a bordo del barco naval australiano Swan. Si el fax suena a las cuatro o cinco de la mañana, lo más probable es que el mensaje provenga de Londres; un amigo que ya ha leído los periódicos de la mañana está enviando noticias sobre las promesas que el Ministerio de Trabajo hizo en su reciente campaña electoral para suprimir las prohibiciones con respecto al enrolamiento de gais en el ejército británico. Si de la máquina de fax salen los documentos cuando el sol ya ilumina los tejados de los edificios del vecindario, la procedencia podría ser Santiago, desde donde Ximena me entrega la historia de un infame miliciano que en el pasado se dedicaba a torturar mujeres en el hospital ginecológico del ejército. Cuando al fin regreso a casa poco antes del anochecer, podría hallar que Jeff, el némesis global de Nike, ha enviado un fax con noticias frescas en torno al uso del gobierno de Indonesia de sus fuerzas de seguridad para reprimir las manifestaciones organizadas por trabajadoras empleadas en las maquilas que manufacturan zapatos deportivos en ese país. Estos días, mucha gente se mantiene al día con respecto a las maniobras que sus propios países están implementado para militarizar a sus habitantes con base en su género gracias a la tecnología. 

            El fax y el email son sólo los más recientes sucesores de una larga lista de tecnologías que han reemplazado a las palomas mensajeras. Confieso que aún disfruto cuando a través del correo ordinario llega a mis manos una postal que conmemora a un sufragista anónimo en tiempos de guerra, o cuando recibo en un sobre de papel manila un hermoso boletín desde Belgrado con un análisis del resurgimiento militar nacionalista. 

            Durante la década pasada, he descubierto que sólo gracias a que muchos de nosotros hemos armado una especie de rompecabezas con todo tipo de información es que somos capaces de darle sentido a las diversas maneras en que los ejércitos dependen de las mujeres y formulan sus propias suposiciones sobre la feminidad. Y aún así continúo aprendiendo cosas que me sorprenden.

            Inicialmente, estaba impulsada a meditar acerca de las experiencias de las mujeres en relación con el ejército desde dos direcciones en apariencia muy diferentes. La primera dirección partía del hecho de que durante el inicio de los ochentas las estudiantes deseaban saber más acerca de las mujeres que portaban uniformes militares. La segunda dirección era más personal: la vida de mi propia madre me urgía a hacer preguntas actuales sobre el tema. Estas consideraciones iniciales palpitaban con intensidad durante el período posterior a la Guerra de Vietnam en la cultura popular estadounidense. Sylvester Stallone no era el único que reconstruía la guerra en la pantalla grande. En las carteleras, Goldie Hawn protagonizaba La recluta Benjamín (Private Benjamin, 1980), una película sobre una joven viuda que comienza una vida totalmente nueva al unirse al ejército de Estados Unidos. Recuerdo el escepticismo manifestado por amistades feministas europeas sobre la película protagonizada por Hawn cuando se estrenó en Ámsterdam. ¿De verdad las mujeres de Estados Unidos carecían de consciencia? ¿De verdad imaginaban que el ejército les estaba ofreciendo sólo una oportunidad de trabajo, que no se diferenciaba de un trabajo en la construcción o en un bufete jurídico? Aún así, eran también tiempos cuando el activismo pacifista de las mujeres estadounidenses estaba rodeando el Pentágono con un listón, mientras en el interior del complejo militar oficiales sin entrenamiento en artes gráficas estaban diseñando anuncios para enrolar mujeres voluntarias que reemplazaran a los conscriptos caídos en combate. 

            El tema de las mujeres en el ejército nunca ha sido un tema sencillo de abordar. No debería serlo. El sexismo, el patriotismo, la violencia y el Estado es un mezcla impetuosa y violenta. De hecho, era un tema tan duramente atractivo de desarrollar que, al principio, se convirtió en mi preocupación central. Había pasado los últimos diez años estudiando las experiencias masculinas de soldados en relación con el racismo en sociedades tan diversas como Iraq y Canadá, que me pareció lógico enfocar mi atención en las ansias de servir en el ejército y las experiencias de sexismo de las mujeres que portaban uniformes militares. Sin embargo, de forma gradual comencé a caer en la cuenta que prestar atención a las mujeres vistas sólo como militares era simplemente una forma de confinamiento temático. Los ejércitos-y los civiles de élite militarizados-habían dependido no sólo de algunas infusiones esporádicas de unas “cuantas buenas mujeres”. Los legisladores del ejército han dependido en-y así han maniobrado para controlar-diversos tipos de mujeres, y siempre con base en una noción de feminidad que incluye toda una miríada de tipologías en torno a lo que ellos comprenden como “ser” mujer. 

            Fue entonces cuando durante principios de los ochentas comencé a leer los diarios de mi madre. Ella aún estaba viva. Es hasta ahora cuando deseo haberle hecho más preguntas, en especial aquellas que considero las preguntas incómodas que aún nadan en la mente de una hija, pero que raramente llegan a materializarse en el lenguaje hablado. Antes de que mi padre muriera hace dos años, una década después que mi madre, hubiera podido hacerle a él estas preguntas que navegaban en mi mente. Después de todo, había sido su intimidad con el ejército lo que había dado forma a la vida que mis padres compartieron. Empero, no quería incluir a mi padre en mi proceso de interpretación de la vida de mi madre. Por eso dejé que mis preguntas permanecieran solo conmigo. Mi madre nunca había formado parte del ejército. Ninguna mujer en mi familia ha formado parte de ningún ejército. Empero, los diarios de mi madre ofrecían una mirada a la vida en el “frente hogareño” durante la Segunda Guerra Mundial y a un matrimonio militarizado durante el período subsiguiente que fue la versión estadounidense del tiempo de paz  que significó la Guerra Fría. La escritura críptica de los diarios de mi madre inevitablemente me hizo pensar en esas experiencias consignadas en las páginas de un diario.

            Eran esos los años en los que me estaba convirtiendo en feminista, un tiempo en el que comenzaba a mirar el panorama social con una nueva visión, a ensanchar mi curiosidad, a hacer nuevas preguntas. A mis amistades les alegraba proporcionarme ayuda. Me señalaban el camino hacia mundos nuevos, hacia la maravillosa librería para mujeres de Boston; me prestaban libros, me enviaban ensayos en los que estaban trabajando: sobre la historia de las violaciones, de amistades entre lesbianas, de mujeres trabajando en maquiladoras textiles. Parecía que todo tenía una historia y una política. Los diarios de mi madre comenzaron de esta manera a adquirir un nuevo significado. Comencé a cobrar consciencia de una noción más clara de la conexión que existe entre las esposas militarizadas y las mujeres que servían en el ejército. Comenzaba así a construir un puente que conectaba a mi madre con Goldie Hawn. El resultado fue un libro titulado ¿Te conviertes en el color caqui? (Does Khaki Become You? The Militarisation of Women’s Lives, 1983).

            Cuando, quince años después, comencé a considerar realizar una revisita a los rompecabezas que proponía en ese libro, Hollywood había reemplazado los rizos de Goldie Hawn con el corte casi a rape de Demi Moore. Sin embargo, estaba más convencida que nunca de que las mujeres que servían en el ejército-y sus representantes en el séptimo arte-no era toda la historia, ni siquiera la historia principal. El caso de las mujeres al interior del ejército proporciona el enfoque para un solo capítulo en la larga saga de las mujeres y el ejército. Aún más, ahora estoy firmemente convencida de que el ejército es apenas un elemento, un capítulo, de la historia de la militarización. Cómo perciben los gobiernos a las mujeres como soldados, cómo los soldados y los civiles-hombres-y las mujeres que votan y son activistas y esposas y mujeres jóvenes piensan acerca de las mujeres como soldados tiene importancia. Cuando el sujeto es tratado como inconsecuente o meramente como un “elemento humano” al que fotografiar, perdemos la oportunidad de examinar con atención las dinámicas de género de las políticas-y biopolíticas-de una sociedad. Presenciamos esta carencia de atención cuando las mujeres forman parte de un sorprendente 11% de lo que fue una fuerza emergente fundamental del Apartheid del ejército sudafricano en la década de los ochenta. Estamos presenciando esta falta de atención una vez más ahora, cuando de pronto las mujeres pasan de conformar menos del uno porciento del ejército soviético de los años ochentas a conformar de pronto el 12% de las fuerzas armadas rusas post-comunistas. Estas fallas en nuestra curiosidad pueden obliterar nuestros esfuerzos para comprender cómo y cuándo incluso un régimen patriarcal puede subvertir la división sexual ortodoxa del trabajo militar con el propósito de mantenerse en el poder.

            Sin embargo, las lectoras y lectores descubrirán que he incluido el capítulo sobre ese tema bajo el rubro las mujeres-como-soldados (capítulo 7) y no al principio, es decir, hacia la parte final del libro. Esta decisión es deliberada y no se debe a un descuido editorial. Hace falta, me parece, enfocarse con seriedad en las complicadas experiencias de militarización de las mujeres que prestan servicio al ejército como prostitutas, a las víctimas de violaciones, a las madres, esposas, enfermeras, y a las activistas feministas para que de esta manera podamos comprender en su dimensión más amplia lo que ocurre cuando a las mujeres se les permite formar parte como soldados en número limitado en ejércitos profundamente masculinizados. Invertir nuestra curiosidad crítica solamente en el fenómeno de ver a las mujeres como soldados es una forma de asumir la militarización de muchas otras mujeres como un fenómeno normal. Si me confino en dicha presunción ingenua, probablemente permitiría que mi propia curiosidad se convirtiera en un criterio militarizado.

            Ahora estoy más convencida que hace diez años de que los ejércitos necesitan a las mujeres para llevar a cabo otros fines que van más allá que llenar los vacíos que surgen cuando sus reservas de hombres “confiables” comienzan a mermar. Aún así, también he sido persuadida por las evidencias recabadas que los ejércitos y las élites civiles militarizadas no siempre obtienen los resultados que persiguen de forma tan vigorosa. 

            Si adoptamos la fascinación reproducida por los medios de comunicación masiva más convencionales de enfocar a las mujeres-como-soldados y, a partir de esto, dedicamos apenas atención y enfoques críticos tangenciales al resto de las mujeres militarizadas, estaríamos, debido a nuestra propia falta de atención, me parece, perpetuando la capacidad militarizada de los oficiales del ejército para manipular las esperanzas, los miedos y las habilidades de demasiadas mujeres. Cualquier capacidad manipuladora de los gobiernos militarizados se ha apoyado en la carencia de interés por parte de la mayoría de la población en las esposas de los militares, en el hecho de que la gente cataloga como “trivial” los sentimientos encontrados de las parejas sentimentales de los militares, en la idea generalizada de convertir a las madres de los militares, a las víctimas de violaciones durante enfrentamientos militares y a las prostitutas al servicio del ejército en íconos nacionalistas abstractos u objetos de exclusión y vergüenza. La falta de atención es un acto político. 

            Los ejércitos necesitan a las mujeres, pero no todas las mujeres experimentan el proceso de militarización de manera idéntica. Los ejércitos han necesitado, y todavía lo necesitan, de mujeres que les provean servicios sexuales “comerciales” para satisfacer a los soldados heterosexuales; también necesitan que otras mujeres acepten la fidelidad marital en las familias de militares; de forma simultánea, los ejércitos también necesitan que otras mujeres encuentren seguridad económica y tal vez incluso orgullo por trabajar para contratistas de la defensa nacional. Algunas veces, los gobiernos incluso necesitan que algunas mujeres civiles actúen como operadoras-lobbyists-feministas que promuevan los derechos de las mujeres para convencerlas de que sirvan en los ejércitos nacionales.

            Las mujeres que satisfacen las necesidades de los ejércitos desde puestos diferentes comúnmente no se ven a si mismas unidas por la feminidad que comparten o incluso por la militarización que las une. De hecho, algunas mujeres militarizadas asumirán su propia respetabilidad, ingresos, u oportunidades profesionales dentro del ejército amenazadas por las acciones de otras mujeres militarizadas. Las madres de soldados, por ejemplo, no desarrollan ninguna afinidad política automática hacia las mujeres que también sirven en el ejército como soldados. Una mujer que es la esposa de un militar puede hacerse preguntas en silencio durante un largo periodo antes de preguntarle a su esposo-soldado acerca de las mujeres que trabajan en las discotecas cercanas a sus bases militares. El trabajo de feministas para ayudar a las mujeres-soldados en el proceso de aceptación de las barreras institucionales del acoso sexual y la homofobia dentro del ejército con frecuencia no tiene resonancia en las experiencias de las mujeres militarizadas cuyo rol es ser madres, esposas o prostitutas. Las mujeres que invierten sus energías en el activismo pacifista pueden llegar a creer que las únicas mujeres militarizadas que merecen atención intelectual seria son aquellas mujeres que han sido desarraigadas de sus lugares de origen o víctimas de violación durante tiempos de guerra. Durante la década de los ochentas casi di por sentado esta separación entre la diversidad de mujeres militarizadas y sus defensoras. En la actualidad, estoy más interesada en descubrir cómo esas divisiones entre grupos de mujeres militarizadas prevalecen y en qué ocurre cuando se llevan a cabo esfuerzos estratégicos con el propósito de desmantelar esas divisiones. El mero hecho de las incongruencias que surgen entre las diferentes experiencias de mujeres militarizadas me ha hecho enfrentar problemas fundamentales en la teorización y el proceso de forjar estrategias feministas satisfactorias. 

            Las “maniobras” del título de este libro se refieren a los esfuerzos que los oficiales del ejército y la sociedad civil que los apoya han efectuado con el propósito de asegurarse de que cada uno de estos grupos de mujeres se sientan como grupos o entidades separadas y desarraigadas de la sociedad. Los oficiales del ejército necesitan que las mismas mujeres se dediquen a asegurar los perímetros que las separan de ellas mismas. Los ejércitos han contado con el apoyo de las esposas de los oficiales del ejército para que velen por las esposas de los hombres enlistados en el ejército, y en que todas las esposas de los militares denuesten o degraden a las mujeres que trabajan en las discotecas que pululan cerca de las bases militares. De manera similar, los oficiales civiles militarizados han necesitado que existan mujeres violadas por soldados de otros regímenes con el propósito de mantenerse suspicaces de las mujeres que apoyan el desarme, entre otras medidas anti-guerra, y así poder convertir a las mujeres violadas como símbolos nacionalistas. Los ejércitos han dependido de que las mujeres que sirven como soldados imaginen que sus servicios al ejército son superiores a los que prestan las esposas y las prostitutas, e incluso las enfermeras del ejército. Entre más distante cada grupo de mujeres se siente de otros grupos de mujeres, es mucho menos probable que se den cuenta de las manipulaciones políticas con base en género que las afectan. De esta forma, es mucho menos probable que estos grupos de mujeres piensen en la militarización como un problema. 

            Los oficiales del gobierno han sido notablemente exitosos en estos esfuerzos divisorios. Existen muy pocas instancias a nivel nacional de esposas de militares uniendo sus fuerzas con prostitutas al servicio del ejército y que, a partir de esto, de manera conjunta desarrollen acciones con mujeres que sirven en el ejército como soldados, todo con el propósito de desmantelar la elaborada ideología de una feminidad construida por autoridades militares para satisfacer sus propios intereses institucionales. 

            Para los ejércitos y la gente que activamente los apoya, tanto en el gobierno como entre la sociedad civil, han necesitado no sólo de las mujeres, sino también de criaturas que sirvan como carne y sangre. También han necesitado ideas, especialmente ideas en torno a la feminidad. Tan importante como el mantenimiento de la vida militar, de igual forma ha sido la construcción de una ideología sobre la hombría, tan importante como los desfiles, las alianzas y la acumulación de armamento han sido ciertas ideas feminizadas: “la mujer caída”, “la maternidad patriótica”, “la fidelidad marital”, “la pureza racial”, “el sacrificio nacional” y la sexualidad “respetable”. Algunas veces los ejércitos incluso han necesitado una versión muy particular de la idea de “la liberación de la mujer”.

            Paradójicamente, estas ideas adquieren tanto poder como un bombardero B-52, cuando de forma simultánea son ideas tan frágiles como la harmonía doméstica. La dinámica de esta paradoja crea una narrativa peculiar de nuestro tiempo: los escándalos sexuales al interior del orden específico del ejército. Los escándalos militares ocurren-no sólo aquellos relacionados con el ejército estadounidense que a nivel global ocupan los encabezados periodísticos, sino también aquellos que reciben menor atención internacional como los que han ocurrido recientemente en Canadá, Italia, Chile y Australia-cuando esas delicadas maniobras que han sido diseñadas para crear ideas acerca da la división del trabajo con base en el género con propósitos militares se tornan confusas, y cuando esa confusión se hace visible ante el público. Toda la historia de los esfuerzos políticos para hacer que las mujeres actúen y piensen de maneras que sostienen las narrativas militares se convierten en rompecabezas dentro de las dinámicas de esta paradoja: la división de género en el ejército de cualquier país requiere de la participación de los actores sociales más poderosos, incluyendo a oficiales de alto rango del gobierno; pero con frecuencia actúan como si estuviesen a punto de perder el control, pero sólo en relación con las mujeres. Y algunas veces ese es en realidad el caso. 

            Las feministas han invertido excesiva energía intelectual pero escasos recursos relacionados con la organización de proyectos de campo cuyo propósito sea comprender la militarización de las vidas de las mujeres. Las feministas de la India han buscado la manera de explicar por qué tantas mujeres de la India han apoyado las políticas del nuevo régimen nacionalista relacionadas con las pruebas de armas nucleares. Las feministas serbias han mostrado devoción hacia las iniciativas represivas del régimen de Milosevic cuando, de hecho, ellas mismas han desarrollado formas de protesta política de no-violencia. Las feministas estadounidenses han tenido dificultades para confeccionar estrategias que provean recursos para apoyar a las mujeres que sufren acoso sexual dentro del ejército sin provocar problemas más profundos relacionados con el militarismo estadounidense que aún no han sido examinados desde un enfoque crítico. Las feministas de Okinawa han intentado construir alianzas con activistas pacifistas masculinos con el propósito de confrontar de manera efectiva las bases militares estadounidenses en su isla sin permitir que esos activistas pacifistas transformen la violación de las mujeres de la isla japonesa en un mero problema simbólico nacional. La creación de teorías y estrategias feministas que respondan con efectividad a la sorprendente multiplicidad de formas de militarización no es una tarea sencilla. Gran parte de la discusión que sigue a partir de este punto pretende iluminar el porqué de esta ardua tarea. 

            El libro que me llevó a realizar esta investigación en torno a la militarización de las vidas de las mujeres, que ya mencioné antes, se titula: ¿Te conviertes en el color caqui? (Does Khaki Become You?, 1983)-el doble sentido del título es de hecho intencional. El presente volumen realiza nuevas visitas a algunas de las preguntas que figuran en ese libro, solo que ahora examinadas bajo la luz de los desarrollos políticos y los avances teóricos de los noventas. Otras preguntas en este volumen son desmanteladas desde sus raíces debido a que no las había formulado en ¿Te conviertes en el color caqui?. Preguntas como: ¿Cuándo violan los soldados? ¿De qué manera las escuelas preparatorias son militarizadas? ¿Los ejércitos están adquiriendo más experiencia en el tratamiento de las esposas de los miembros del ejército? ¿Cuáles son los riesgos que las feministas enfrentan cuando intentan confrontar el abuso sexual durante los tiempos de guerra? No creo haber podido responder estas preguntas si no hubiera escrito y después reescrito Caqui hace una década. A partir de esto, me atrevo a sugerir que la presente investigación construye de manera autoconsciente las premisas, cuya construcción no fue totalmente terminada, que adquirí durante la investigación que originó Caqui

            Debido a que Maniobras Caqui son ramas que apuntan en direcciones diferentes de un mismo árbol de exploración feminista, me parece que las lectoras y lectores se beneficiarían de tener acceso a la genealogía que ambos libros comparten. ¿Te conviertes en el color caqui? fue publicado primero en Londres por la Editorial Pluto y después por Pandora, la editorial británica feminista. Sólo después las editoriales estadunidenses adquirieron los derechos de publicación. Para una escritora estadounidense, esta secuencia fue una bendición. Implicaba que las lectoras y lectores británicos, y no los estadounidenses, serían los primeros lectores de ese libro. El ejército estadounidense ha sido muy poderoso en las versiones construidas por Hollywood, CNN y la OTAN, tanto que con frecuencia parece que es el único ejército que existe en todo el orbe. Este dominio representa un riesgo. Induce a uno (a mí) a pensar de manera simplista. Enfocar los esfuerzos del ejército estadounidense-algunas veces audaces, ocasionalmente ineficaces-para asegurar la cooperación de las mujeres en su misión de configurar la historia más importante asienta a esta institución una vez más en el centro del universo analítico, ya sea como el villano arquetípico o, aún de manera más sospechosa, como el modelo de la modernidad y el renacimiento militar. Tal forma de enfocar la historia de Estados Unidos, me parece, es analíticamente peligrosa. 

            Mientras entramos en la escena del nuevo siglo, el ejército de Estados Unidos, de forma clara, es un paradigma en la creación de roles e ideas acerca de la militarización de las mujeres. En un reciente vuelo transatlántico estaba sentada junto a un agradable hombre de treinta y tantos años. Intercambiamos algunas palabras antes de que cada uno fuera absorbido por el contenido de nuestros respectivos equipajes de mano. Él parecía totalmente familiarizado con los rituales de un vuelo de siete horas. Alguien que parecía volar de forma regular. Fue hasta después, cuando el capitán anunciaba nuestro inminente aterrizaje al aeropuerto Heathrow, que entablamos una conversación, una vez que ya estábamos seguros de que no íbamos a interrumpir nuestras imaginaciones inherentes al largo vuelo. Él estaba regresando a su hogar en Inglaterra, a una de las grandes bases militares estadounidenses que han sobrevivido las clausuras que siguieron al período posterior a la Guerra Fría. Era un afroamericano, había forjado una carrera como soldado, hasta lograr el rango de sargento mayor. El creía que había sido una buena vida para un hombre de familia. A su esposa también le agradaba esa vida. Me confesó, empero, que a ella no le importaba que tuviera que hacer de manera tan frecuente esos viajes cuya duración era por lo regular un mes lejos de casa. Él se dedicaba a impartir entrenamiento militar. Desde el colapso de la Unión Soviética y la ruptura de Yugoslavia, la demanda de sus conocimientos se habían incrementado. Ya había colaborado en el entrenamiento del nuevo ejército de Lituania. Estaba apenas terminando un tour en Eslovenia. El ejército de Estados Unidos estaba “ofertándose” a sí mismo como un modelo a ser emulado, y los oficiales al mando de muchos gobiernos estaban aceptando la oferta.

            Precisamente porque el ejército de Estados Unidos se había convertido en una entidad física e ideológicamente tan influyente en el actual nuevo orden del período posterior a la Guerra Fría, necesitamos, me parece, prestar consideración especial a la manipulación estadounidense de ideas en torno a la feminidad y la atracción que esas ideas tienen en muchísimas mujeres. 

            Durante el fin de la década de los noventas, las fuerzas armadas estadounidenses proveyeron no sólo “entrenadores itinerantes”, sino también sus propias fórmulas para la prevención del SIDA y la manutención de la paz. Los Estados Unidos también se ha convertido en el líder mundial en la exportación de armamento. Cada uno de estos programas militares internacionales está ofreciendo un espacio para la exportación de ideas estadounidenses acerca de las expectativas en torno a la hombría, además de las expectativas en torno a la feminidad-no sólo de las mujeres que usan un uniforme militar, sino también de las mujeres que esperan en los hogares de los soldados y de las mujeres militarizadas que laboran en las discotecas en los alrededores de las bases militares. 

            Aún así, debido a toda su influencia, el ejército estadounidense es distinto, igual que el feminismo estadounidense también lo es. Con el propósito de enfatizar estos rasgos distintivos, en los capítulos siguientes he comparado las experiencias de mujeres estadounidenses militarizadas que son esposas, prostitutas, soldados, enfermeras, madres y feministas con las experiencias de mujeres de Gran Bretaña, Rusia, Alemania, la antigua Yugoslavia, Chile, Canadá, Filipinas, Ruanda, Indonesia, Sudáfrica, Israel, Corea del Sur, Vietnam y Japón. La actual preeminencia militar estadounidense no descarta como obsoleta la curiosidad comparativa. Al comienzo de este nuevo siglo, la investigación no-parroquial aparece como una empresa crítica aún más urgente. Los procesos actuales implícitos en la militarización con base en el género operan hoy en día a nivel internacional. Requerimos, de este modo, desarrollar nuestras curiosidades también a nivel internacional.

            Existen rutas hacia formas de actuar feministas enfocadas en la militarización que pueden parecer muy distintas a las rutas liberales feministas estadounidenses que abordan el tan debatido tema de la militarización. Por ejemplo, las defensoras británicas no han invertido demasiado tiempo y energía política intentando expandir los roles de las mujeres británicas en el ejército. Entre las legisladoras británicas-incluso después de la celebración en 1997 de la entrada de 160 mujeres dentro del espacio tradicionalmente masculino de la Cámara de los Comunes (la cámara baja del parlamento del Reino Unido)-no hay nadie que pueda reemplazar el papel de la recientemente retirada legisladora Patricia Schroeder. Ninguna otra mujer británica en el parlamento, es un hecho, ha invertido tanto de su capital político en el fomento de las mujeres como miembros igualitarios del ejército de su país: durante el fin de la década los años noventa, no era un prioridad política en la Cámara de los Comunes. De la misma manera, han sido mujeres alemanas, sudcoreanas y de Okinawa, así como mujeres británicas, y no sus contrapartes estadounidenses, quienes han tenido que enfrentarse con hombres de dos ejércitos-el suyo propio y un ejército extranjero-mientras habitan en sus pueblos y en bases ubicadas en los alrededores. Como resultado, han sido las feministas de esos países quienes han proveído tutelaje a sus contrapartes estadounidenses acerca de la militarización de género nacionalista, acerca de los riesgos inherentes a la organización en contra de los abusos hacia las mujeres de sus comunidades por parte de soldados extranjeros en formas que encienden a nivel local una nueva ascua del militarismo nacionalista masculinizado. Las mujeres estadounidenses aún tienen mucho que aprender al respecto.

            Hoy en día, las feministas estadounidenses están comenzando a asimilar la dura lección impartida a través de las experiencias de las mujeres de todo tipo de superpotencias internacionales: serán más débiles analítica y estratégicamente si ellas no toman con seriedad las experiencias ancladas en género y las teorías feministas desarrolladas por mujeres en otros países. Por ejemplo, el desarrollo exitoso del movimiento estadounidense en contra de la violencia doméstica enfrentó problemas que demoraron la inclusión del problema de la violencia en las bases militares ubicadas en Estados Unidos. En Chile, la secuencia siguió un camino inverso: fue gracias a las feministas chilenas que se atrevieron a participar en el movimiento nacional que puso fin durante los años ochentas al opresivo régimen militar lo que permitió que después emergieran a la superficie los problemas relacionados con la violencia doméstica en la sociedad civil. El resultado ha sido que las feministas estadounidenses han invertido una enorme cantidad de energía para detener la violencia doméstica, aún así muchas de ellas no consideran las políticas del ejército de Estados Unidos como parte de “su lucha”. En contraste, en la actualidad las feministas chilenas constantemente meditan analíticamente sobre el militarismo debido a que están preocupadas acerca de la violencia misógina contra las mujeres. Las interrogantes son incluso más acuciantes, además, gracias a una renovada curiosidad internacional en torno al tema. Por ejemplo, ¿por qué no ha sido documentado que las madres estadounidenses han llevado a cabo maniobras similares a las que multitudes de madres rusas desplegaron en 1995 y 1996? Me refiero a trasladarse a zonas de combate, Chechenia en este caso, para llevar de regreso a casa a sus hijos-soldados de un lugar que consideraban una operación militar injusta. En el amanecer de un nuevo siglo no hay tiempo para la obediencia ciega.

            La publicación de Caqui primero en el Reino Unido me sirvió como un método de inoculación. Fue invaluable tener lectoras y lectores no-estadounidenses en mi mente mientras escribía. Aún lo es. Lectoras y lectores en Corea del Sur, Australia, Canadá, Serbia, Chile, Japón e Israel me mantienen alejada de escribir bajo una luz demasiado desentendida de lo que ocurre en otros lugares. Además, me mantiene alejada de caer en la tan común presunción de que las experiencias de las mujeres estadounidenses son equivalentes a las de todas las mujeres del mundo, en caso de que de hecho tal “criatura” teórica exista. 

            Muchas de las mujeres y hombres que inicialmente me mantuvieron informada acerca de los caminos que seguían los procesos de la militarización de género y me mantenían enfocada muy lejos de caer en los caminos de la complacencia continúan haciéndolo. A ellos debo una gratitud incompensable. Desde el inicio de los ochentas, docenas de personas, algunas de las cuales conozco sólo por correspondencia, han continuado intercambiando conmigo sus intuiciones, sus datos, su preocupación. Una de las mejores maneras de leer las notas finales de un libro es una especie de corolario de gratitud. Todas las personas que me han enviado una tesis, un recorte o fragmento periodístico, o un video han colaborado a enseñarme sobre el significado de ser una mujer que vive una vida que ha sido militarizada. 

            Hay algunas personas a las que deseo darles las gracias por su generosa ayuda en la escritura de este libro: en Chile, a Ximena Bunster; en Canadá, a Sandra Whitworth, Maja Korac, Wenona Giles, Lucy Laliberte y Deborah Harrison; en Australia, a Jan Pettman, Anne Marie Hilsdon y Ann Smith; en el Reino Unido, a Debbie Licorish, Philippa Brewster, Candida Lacey, Marysia Zalewski, Julie Wheelwright, Nira Yuval-Davis, Ken Booth, Debbi King, Terrell Carver, Joanna Labon y la última Anne Bennewick; en Irlanda, Ailbhe Smyth; en Corea del Sur, Insook Kwon; en Austria, Katrin Kriz; en los Estados Unidos, agradezco de forma especial a Joni Seager por su sagacidad, su siempre incisiva crítica analítica y nuestra continua conversación, a David Enloe por su gráfica actitud detectivesca de hermano, a Margaret Enloe por ayudarme a descifrar las historias de guerra de los años que nuestro padre fungió como militar, a Lois Brynes por su sagacidad editorial, a Gilda Bruckman y Judy Wachs por su amplia sabiduría literaria. También en los Estados Unidos, mis cálidos agradecimientos a Serena Hilsinger, Amy Lang, Julie Abraham, Karen Turner, Saralee Hamilton, Caroline Becraft, Katharine Moon, Linda Green, Mary Wertsch, Mary Katzenstein, Angela Raven Roberts, Jeff Ballinger, Stephanie Kane, Doreen Lehr, Madeline Drexler, E. J. Graff, Pat Miles, Seungsook Moon, Georgia Sadler, Lory Manning, Betty Dooley, Frank Barrett, Lois Wasserspring, Alison Bernstein, Kristin Waters, Pat Cazier, Annie Mancini, Valerie Sperling, Constance Sutton, Mark Miller, Justin Brady, David Michaels, Suzanne Keating, Parminder Bhachu, Beverly Grier, Francine D’Amico, Bob Vitalis, Michelle Benecke, Dixon Osborn, Kate Rounds, Jayne Hornstein, Patty Dutile, Karen Dorman, Catherine Lutz, Harold Jordon, Karen Kampwirth, Simona Sharoni, Gary Lehring, Caroline Prevatte, Yoko Harumi, Keith Severin, Philippa Levine, Keith Gaby y Brenda Moore. En Japón, mi cálido agradecimiento a Suzuyo Takazato, Carolyn Francis, Norio Okada y Amane Funabashi. En Filipinas, a Angela Yang. En Holanda, a Shelly Anderson. En Camboya y Mozambique, a Liz Bernstein. En Israel, a Isis Nusair, Rela Mezali, Dafna Izraeli y Hanna Herzog. En Tailandia y los Estados Unidos, a Gai Liewkeat. En Croacia, a Maria Olujic. En Sudáfrica, a Jacklyn Cock. 

            Los libros no solo “ocurren”, son producidos y vendidos a personas que toman decisiones. Libros que toman en serio las experiencias de las mujeres y las ideas de la vida política llegan a las imprentas y así se hacen disponibles al resto de nosotros que leemos debido a aquellas feministas que toman decisiones en todos los niveles de la industria editorial, desde las editoras hasta las librerías y vendedoras. Cada una de ellas depende de las demás. Y nosotros, las lectoras y lectores, las necesitamos a todas. Esta novísima exploración se ha beneficiado de la sofisticada visión editorial de Naomi Schneider. Todo mi pensamiento vertido sobre el papel se ha beneficiado de la sabiduría colectiva, el ingenio y las habilidades emprendedoras de feministas en la industria editorial. 

            Un libro implica una especie de sentimiento de decepción terminal. La tinta que ha dado forma a las ideas se ha secado. El pegamento que mantiene las páginas unidas en un orden preciso se ha endurecido. Sin embargo, ahora estoy más convencida que nunca de que las preguntas que me provocaron escribir este libro han sido respondidas solo parcialmente. Sabemos muy poco acerca de cómo los ejércitos se apoyan y así, intentan controlar los talentos de las mujeres, las aspiraciones de las mujeres, las pesadillas de las mujeres-así como las formas en que las mujeres responden y calibran esas maniobras. 

            De este modo, apenas estamos comenzando a comprender cómo las vidas particulares de las mujeres se militarizan-y que ocurriría si esos sutiles procesos implícitos en la militarización con base en género fuesen revertidos.

Somerville, Massachusetts, 1999.                


[1] Como el establecimiento de la Escuela de las Américas por parte de Estados Unidos en Panamá a mediados del siglo veinte, cuyo propósito era entrenar a las futuras generaciones militares que mantendrían a los estados de América Latina “libres” de la influencia comunista liderada simbólicamente en América Latina por Cuba y en la actualidad también por Venezuela.

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Cuando cruzar un puente al aire libre era parte de la normalidad

(autoetnografía)

“Y el tiempo dirá si al final nos valió lo dolido,

perderme, por lo que yo vi, te rejuvenece, ay

la vida es más compleja de lo que parece”

La vida es más compleja de lo que parece

JORGE DREXLER

NOTA PRELIMINAR 

Esto ocurrió justo en los albores del siglo veintiuno (el nuevo milenio no tenía ni siquiera la edad suficiente para ser admitido al kindergarten del siglo que comenzaba), en un momento histórico que, analizado desde las restructuraciones en la economía global y el auge en las infraestructuras tecnológicas que se denominaban de punta, auguraban el principio de un milenio que sería el escenario de cambios radicales en la imaginación humana gracias al desarrollo económico y la puesta en escena de un cosmopolitismo “con rostro humano” que facilitaría los intercambios globales entre individuos, colectividades e incluso regiones sin aparentes lazos históricos, comerciales o etnológicos. Era el inicio de una quimera que, en mi caso, comenzó a paso veloz y bajo una filosofía personal anclada en la búsqueda de la autonomía radical y la implausible utopía de una economía planetaria con la capacidad de establecer “puntos y aparte” con una velocidad inusitada a las desigualdades sociales que dominaban la vida de la gran mayoría de la población planetaria/global.   

I

Llegué a la Gare d’Austerlitz a las siete de la mañana procedente de la Estación de Sants de Barcelona. Estaba nublado y lo primero que hice fue buscar con el olfato y mi intuición de estudiante del mapa urbano de París al literario río Sena, persuadido, como tantos otros, por mis lecturas de autores franceses decimonónicos: Gautier, Baudelaire, Rimbaud, Huysmans, Zola… Cuando al fin miré las aguas rancias y grises del Sena por vez primera, saboreando la quiche de espinacas que había comprado en un mercadillo a un lado de la estación de Austerlitz, no imaginé que iba a recorrer, de sur a norte y viceversa, ese río lánguido todos los días durante una larga temporada. Mis esperanzas artístico-literarias no tardaron en desvanecerse, igual que mis ahorros, ignorante de que el París al que llegaba hacía muchísimo tiempo que había desmenuzado y digerido la poesía y las narraciones literarias que permitían a multitud de personajes deambular con un café en el estómago por los Campos Elíseos con un escueto puñado de francos: lo que llevaba en el bolsillo apenas me duró para medio comer unos días, pues había llegado, también, justo en los albores de la dura gravedad de los Euros. París ya no sólo era Francia, porque Francia y su capital ya eran parte de Europa y de un proyecto geopolítico supranacional que hiciera posible la circulación de un nuevo tipo de moneda por todo el orbe de los intercambios económicos. Ante tal situación, más consumida por las fórmulas acuñadas por economistas integrados a la Umberto Eco que por las plumas perezosas de los mejores representantes del nouveau roman, ansioso y aterido por la imposibilidad de encontrar a un “amigo” cibernético que había prometido proporcionarme alojamiento en su sillón, me acostumbré a tumbarme a dormir y dormitar -sentado e inclinado con la cabeza entre las manos- en las butacas de las paradas de autobuses cerca de la estación de Austerlitz. Así fue como aprendí a medio dormir aquella temporada en ese infierno urbano que el adolescente Rimbaud había descrito como una belleza amarga. 

  
[Selfie en el Pont Neuf, París, circa 2002]

II

Esa fue mi primera temporada en París, aferrado a la evasiva de regresar a México antes de lo proyectado, bajo la protección de una serie de estrategias de supervivencia que con el paso de los días sólo se consolidaban hasta el punto de llegar a convertirse en parte de mi personalidad hasta el año que hoy camina a paso de pandemia. Así que me aferré a la calle, que fue fría y poco amable, por dos motivos: el primero, que no sabía en ese momento si iba a lograr regresar a París en un futuro hipotético. La oportunidad estaba frente a mí, no como la deseaba, pero ahí estaba. El segundo motivo era que a mis veinte años apenas cumplidos ya tenía ciertas pretensiones literarias, por lo que la calle parisina me pareció en aquel momento una etapa forzosa en el largo y exhaustivo sendero de la escritura. Aunque esto, hoy, me parece una falacia, es decir, lo de sumar la calle con la escritura con la pretensión de lograr páginas inolvidables. Además, durante todo el tiempo que trajiné de la Gare d’Austerlitz a la Gare du Nord, no sin dejar de visitar el resto de las estaciones de trenes de la ciudad, entre las que la Gare de Lyon me impresionó por la estructura metálica de su nave, de una manera similar a la impresión que le ocasiona la nave metálica de la Gare d’Austerlitz al personaje principal de la novela homónima de W.G. Sebald. Si soy sincero, no escribí nada, no pude escribir nada, apenas unas cuantas notas que con el paso del tiempo carecen de sentido, dirección y sustancia. Toda mi atención era absorbida por la observación continua del siguiente trecho de calle que esperaba mi paso ágil y perentorio, como si tuviera un lugar concreto en el que debía presentarme con un propósito que si bien no era totalmente misterioso si escapaba incluso a mis expectativas estéticas. Transcurría casi todo mi tiempo domando el hambre, que había afincado su residencia de manera permanente en mi cuerpo, dormitando en las bancas de jardines y parques, y acostumbrado, con enfermiza inocencia, a no perder mis pertenencias, que se resumían a lo que llevaba puesto y un reloj de pulso (el poco dinero que llevaba encima lo repartía entre el interior de una de mis botas y la guarida impenetrable de mi ropa interior.) Cargaba un saco militar entre azul marino y ceniza, donde atesoraba una vieja cámara fotográfica semiautomática Minolta de 35 mm que durante mi infancia se había convertido en reliquia familiar; además, en el saco militar llevaba un cepillo y pasta de dientes, un rastrillo y jabón de barra, un recipiente cilíndrico con protector solar, una toalla ligerísima cuyo color he olvidado y una casaca del París Saint-Germain, la que usaban como locales en el estadio Parc des Princes antes de que la firma estadounidense Colony Capital comprara el club en 2006.

III

La toalla de poco me sirvió, pues durante los meses a la intemperie en la capital francesa sólo pude ducharme una vez, justamente en los baños/regaderas de la Gare d’Austerlitz, estación que se convirtió en mi punto de auto-encuentro y desencuentro conmigo mismo. Y donde, sentado en una butaca, mientras miraba con poca atención las llegadas y partidas de trenes, elegía las estrategias de supervivencia del resto del día y el comienzo del próximo día. Aunque, como es imposible falsear la historia personal al punto del autoengaño, con frecuencia mis estrategias desembocaban en ensoñaciones donde la luz y el sopor llegaban a conformar visualizaciones cuasi salidas de la realidad virtual o incluso en delirios que debido al hambre semejaban simulaciones anticipadas de lo que en la actualidad nos parece sencillo designar realidad aumentada. Por ejemplo, una noche, ya cuando comenzaba a hacer ese viento frío que asola las calles otoñales parisinas, más flaco que una vara y más solo que un aullido de lobo estepario, ya invadido de desesperación, en un instante en que el hambre y el deseo de dormir en una cama impulsaban en tándem mis pasos, ya agotado de llevar mi saco militar pendiendo a un costado de mi espalda, desilusionado del Sena y la famosa catedral de Notre Dame (ahora en reconstrucción), hastiado de cruzar los interminables puentes que llevan de un lado a otro como si se tratara de abrir y cerrar los ojos ante el misterio ya sin la capacidad de sorprenderse, abandonado frente a mi propia arrogancia juvenil, delirante al punto de creer que todos mis problemas y mi falta de sueño se debían a mi diario ejercicio de cargar la toalla y el recipiente cilíndrico con protector solar, los tiré a la basura, en uno de esos contenedores para la basura que parecen salidos de un catálogo de diseñador demasiado costoso que hay en los pabellones exteriores del Louvre. Así que me quedé sin toalla y sin protector solar. Quería culpar a alguien, pero no tenía suficientes fuerzas para pensar ni meditar, como Descartes lo habría hecho, el propósito concreto de mis acciones de androide abrumado por no lograr hallar un sitio para recobrar la energía vital y sensorial que necesitaba para hacer frente a la realidad más próxima que constantemente se avecinaba como un Gregor Samsa ya transformado en escarabajo gigante. 

IV

Después de deshacerme de esos objetos que me parecían onerosos, me dediqué a recorrer sin descanso la ribera del Sena y, a ratos, me concentraba en el flujo grisáceo y la torre famosa que despuntaba en las distancias infalibles de París. Si hubiera sido el personaje de una película independiente que buscaba enfocar un fragmento de la génesis de un aspirante a artista perdido en un mundo que siempre ha sido flotante -parafraseando el título de la novela de Kazuo Ishiguro– y que día a día se oscurecía por dentro ante la inminencia irreversible de la sucesión de instantes que se acumulaban en su cuerpo, mientras caminaba intentando apresar sin éxito una angustia amorfa y escurridiza. Tal escena hubiera tenido como tema sónico de fondo la versión acústica de “Present Tense” que Jonny y Thom interpretan como si se tratara de un dúo inseparable; ese hubiera sido sin duda uno de los temas del soundtrack de esa etapa de mi adolescencia tardía, incluso aunque el mundo aún no sabía que “Present Tense” circularía en la realidad sónica hasta el año 2016. 

V

Durante toda mi estancia en esa ciudad que llegó a convertirse en un no-lugar, sólo establecí un contacto complejo con dos personas: Kanu, un nigeriano que buscaba la manera de ir a Madrid a reunirse con su hermana (quien le ayudaría, según él, a encontrar trabajo, pese a que no sabía ni siquiera decir “hola” en español) y Rafaelito, un dominicano que se unió a Kanu y a mí solamente durante una noche. La historia de Rafaelito es breve, así que la contaré. Kanu y yo estábamos sentados, dormitando, en las butacas de la estación de Austerlitz mientras el tal Rafaelito, vestido de límpido blanco, aguardaba desesperado frente a nosotros. Llevaba tanto tiempo sin hablar en español con alguien que no fuera yo mismo, que me animé, por su apariencia, a preguntarle si era latinoamericano. Me explicó con una dicción más veloz que un tren bala que había llegado a París por la tarde y que a las cinco de la mañana tenía que tomar un tren para ir a España, según él a pasar unas vacaciones que iba a sufragar con lo que obtuvo con la venta de su automóvil allá en Santo Domingo. Describió el auto como un tremendo sedán con toda clase de añadiduras apantallantes: alerones cromados, un estéreo con magnífico sonido, llantas más redondas que el planeta Tierra, etcétera… En fin, el tal Rafaelito iba a estar ahí sólo por unas cuantas horas, así que esperaba, impaciente, deseoso de llegar a Madrid para comenzar con las vacaciones de su vida, porque, como dijo un par de veces, su sueño era conocer la capital española y ver con sus propios ojos la Plaza Mayor y la Fuente de Cibeles. Le pregunté si había estado antes en París. Negó con la cabeza. Así que sin dilaciones le propuse guiarlo por la ciudad para que por lo menos pudiera ver Notre Dame y el turbio río Sena. Lo llevaría, le propuse, a cambio de que nos comprara a Kanu y a mí un bocadillo de jamón y una rebanada de pizza en un establecimiento que estaba abierto las veinticuatro horas frente a la estación. A Rafaelito le pareció razonable la oferta y sin más demoras, pese a que era casi medianoche, cruzamos el Bulevar del Hospital, conseguimos las provisiones, y luego nos encaminamos hacia Notre Dame con Rafaelito siempre a la zaga porque llevaba arrastrando su equipaje con rueditas por las calles irregulares de la ciudad de las luces amargas (en el camino, nos hicimos una foto con mi Minolta, adjunta al final de esta autoetnografía). 

VI

La historia de Kanu es más compleja, por eso no la contaré con todos sus detalles. Sólo es necesario saber que pasamos juntos varias semanas. Lo encontré, también, en la estación de Austerlitz y le ofrecí un pedazo de chocolate y un trago de leche (mi desayuno-comida-cena del día). Tomó el chocolate y rechazó con una sonrisa la leche, gesto que me hizo simpatizar rápidamente con él. Nos comunicábamos en un inglés difícil. Era común que no nos entendiéramos y que pasara todo el tiempo caminando detrás de mí, así que lo esperaba y, cuando estaba a mi lado, le pedía que caminara junto a mí. Kanu asentía con una sonrisa y una expresión de amistad, pero progresivamente me perdía el paso hasta recobrar la distancia que nos separaba como el leitmotiv de nuestras caminatas cotidianas. En una ocasión me explicó, sin dejar de asentir con movimientos de la cabeza, que yo caminaba demasiado rápido, pero no me pidió desacelerar ni cambiar el ritmo de nuestras exploraciones por tantos barrios parisinos como nos fue posible, buscando a veces con insistencia en el Barrio Latino algún signo de latinidad que justificara tal nombre, pero siempre desembocábamos un tanto desorientados en la Plaza de la Bastilla. Mi triunfo fue hacerlo beber leche, justo una mañana que me explicó con extrema cordialidad que esa tarde teníamos que caminar hasta una estación de autobuses para que abordara el ómnibus que lo llevaría a Madrid donde buscaría a su hermana. Me mostró el boleto (París-Madrid, con la fecha exacta de ese día), que llevaba escondido debajo de los pantalones y un pedazo de papel con el número telefónico de su hermana. Cuando al fin llegamos a la estación de autobuses, nos separamos en la calle, no sin antes compartir un abrazo y el mutuo deseo de tener suerte. 

VII

Toda esta confesión, a guisa de ensayo personal, viene hoy a cuento porque al leer la última entrada de Forum Nepantla, “Reseña poetizada de “Le Pont du Nord”, Jacques Rivette”, que no sólo me hizo recordar la noche que vi dos veces, de manera consecutiva, Va Savoir (2001) de Rivette porque me hizo reír como un niño por las alusiones a Heidegger -film basado en una obra de Pirandello que no le atribuyen al siciliano de Agrigento, lugar donde me hice la última fotografía con mi ex y que con frecuencia acude a mi mente por las vistas marinas que ofrece la ciudad alta de Agrigento-, sino porque una especie de inercia interior me llevó a hurgar dentro de uno de mis antiguos libros, esos que compré cuando aún era estudiante de licenciatura en la UNAM, y hallé las dos fotos que complementan este texto (mi primero en español para Nepantla), entre las páginas de la novela incompleta de Georges Perec 53 jours

[De derecha a izquierda: Rafaelito, Kanu, myself, París, circa 2002]

ON A THEORY OF VIRTUAL SOCIAL SYSTEMS FOR CHILDREN

elvis presley digital wallpaper

“loko yosa darumayi yatha” (all the world is like a wooden doll in the hands of a master of puppets)

SRIMAD BHAGAVATAM, I-VII

This text/manifesto follows “The Many Selves of Being One Self.”

Virtually we all belong to spaces of sensorial interactions, even without our consent. The fact that we are virtually active participants of a network of sensorial interactions makes life a constant challenge that humans in previous historical periods did not consciously experience. I am choosing the term “sensorial interactions” because it is through our senses that we are able to perform an impact in the virtual sphere. Over the last year, I have been obsessively pondering the reality of telepathy and the human behaviours that it produces, at both the individual and the collective levels. However, in order to think seriously about a theory of virtual social systems, it is necessary to focus on the implications that each of our senses force into our individual vital experience. Hearing, for instance, has a predominant role in a virtual sphere against the belief that virtual experiences are rooted in visual experiences. This indeed requires further exploration. For instance, if we are passively contemplating a crowded plaza where people transit carrying out their quotidian endeavours, without us being conscious, sound will have a more expansive impact in our vital experience than, for example, light. It can be a voice, the chirping of the pigeons ruminating in the plaza, or simply the drilling of the men working in the surroundings, but inevitably the chromatics of sound will alter our way of feeling and in consequence our reactions within the virtual sphere. To further explore what I mean with the predominant role of sound within the virtual sphere, I will share an experiment that I have been running in my mind/mindsets as the day begins to unravel once I have recovered the consciousness inherent to being awake. 

***

EXPERIMENT

(based on a trained immersion in a sonic reality that invokes 

passive/undesired 

and 

active/desired 

forms of otherness)

Are you there? Can’t move my voice. The old man is dead. The child is crazy, he only shouts and cries. The She is not a she. The woman is older than her voice. Stop the birds. The lion can’t speak. Everyone wants to fall asleep. The street makes no sense. No one understands surrealism. That voice only complains about the aching body. I got no family. The cat is high. We promise it if that is what you really want, the android softly whispers. I hate music, the man next door attempts to shout with his dying voice. “Reading does not pay much,” the ignorant imagines that he is shouting as three nurses put him down to sleep. I will never be a man, if manhood is indeed feeling like a man, a crowd spits with hate towards my window while all I want is smoking. Those kids want to hear your stories from another world that you gathered while running next to Perseus. Please sing us a song, the lonely lover says. The monster wants to get back to me, a tiny voice makes its appearance as the drums of a metal song begin to shake the speakers. Covid lives in the subway, a high-pitched voice shouts attempting to sell hammers and miniature spelling manuals. Kill it!, begs the kitty. The crowd, nevertheless, always wants the same. What is that? A change while performing the same train of thoughts and sounds. Dough? Wool? Are you really a Muslim? Can’t get it, you are not really a Muslim, but the kindest and more generous people you have ever met are Arabs. We were generous in a very different way. I agree, but I constantly hear in mise-en-abyme: “take your filthy hands out of my desert.” Bring the rain here. When are they gonna accept that telepathy is really happening and I’m not crazy. They told me to do it, you were gonna finish with that heart. Can you feel a pain somewhere in your body? Great. Why don’t you upgrade the algorithms? Is Corona(virus) a hoax? Why did the Italian painter said, while the interviewer was attempting not to listen, that “they” are inducing irreversible mental patterns in the community? Who is the Invisible Militia? Did you really walk in the air? Did you really see those lights? Please do it again… Who are we? Why is Mercury so mean? How can I upgrade? Remember what they just said? That all the crowd really wants is… while performing the same… Is it really possible? Is the mind really more powerful than a blow? History constantly refutes that bullshit. Can we really defeat technology? We are in a virtual sphere of interactions, we are only incorporeal voices. I am still alive! Children… Poor children… Remember our voices (Indian accented voices, quite beautiful and also slowly breaking apart, then suddenly stopping). Is Silicon Valley already awake? Where is Adrian from? What is philosophy? Therefore I have been philosophizing often throughout the years. Stop these voices inside my head and my stomach! How can I do that without feeling much pain? Why do you dream so much with Tessa? How can you really disappear? “Get your filthy hands out of our desert.” “Bring in a different type of rain.” We are tired of these fonts. The bell suddenly rings. Time out. End of the experiment (note the progression of register, eloquence, and content). Postscript petitioned by a film fan: Can I avoid the fate of Léolo by Jean-Claude Lauzon? Will I ever endeavor the Viagem ao Princípio do Mundo by Manoel de Oliveira? Can Milena by Véra Belmont exist without Mahler’s fifth symphony? Is the shamanic strength of The Shout by Jerzy Skolimowski enough to recover her and kill the beast? And finally, when will we purge again? Can we at least listen to Identikit by Radiohead?

***

It is often inevitable to focus on the creaks that emerge within ourselves as we begin to rearticulate those voices that constantly attempt to inhabit all the free space in our mind/set/s. It could easily be that in prior times the volume of those voices was so low that they constantly passed unnoticed as sonic realities, but nonetheless they still performed an impact in our vital experience. Furthermore the somatosensory system constantly articulates waves of sound within our bodies, for this reason I will move on to address the sonic realities attached to coenaesthesia. According to the discipline of biological anthropology, coenaesthesia refers to the biological consciousness of being alive. Through the acquisition of the consciousness of having vital organs that perform directly and indirectly physiological functions we are able to experience life with an acute level of complexity, thus transforming our consciousness in ways that an isolated social interaction tends to simplify. By engaging in virtual social interactions, even if these are undesired, our persuasion of participating in a collective network of sensations makes us reject through subtle reactions the implications that coenaesthesia brings into our individual realm. It is through this individual and subtle set of rejections that we move from the individual to the collective experience of the virtual social sphere. 

            A virtual social sphere is a space of constant interactions and engagements between human and non-human bodies. In Vibrant Matter: a political ecology of things (Duke UP, 2010), Jane Bennett advances a theory of “vital materiality” and goes on to analyse the role that elements such as stem cells, fish oils, electricity, metal, and trash play in the configuration of events that affect the human and non-human bodies. Through the political and ecological interplay of these bodies, Bennett argues that materiality “is as much force as entity, as much energy as matter, as much intensity as extension… calling into mind a childhood sense of the world as filled with all sorts of animate beings, some human, some not, some organic, some not” (20). This theoretical approach that places materiality as a vital actant, leads to the communicative dimension that entangles the lives and afterlives of human and non-human bodies regardless of their specific atomic configuration. In relation to the various channels that organic and artificial forms of consciousness have created to allow the communication between human and non-human bodies, telepathy – in all its possible forms – has played a crucial role in the development of the virtual social sphere, and it also allows us to differentiate it from other social spaces that have been labelled as virtual, such as those created through the use of technological devices (I have mentioned in other texts some of the multiple uses of Android devices and Artificial Intelligence in the postmodern era). Telepathy itself is not a new technology, but it does reinforce the idea that our brain is one of the most powerful “Android” devices that we can possess as far as we are able to gain control over its power and energy. Without a brain and the energy that it infuses in our senses, a living being would not be able to enter a virtual social sphere. And even though the natural realm is the most complex biosystem on Earth to the extent of manifesting itself in ways that often go beyond our comprehension, a virtual social sphere (as a key feature of the Anthropocene) implies conscious brain activity and sensorial participation. Therefore, a virtual social system is a network of virtual social spheres. Within a community there are various virtual social spheres interacting with one another and producing and reproducing ways of feeling and sensorial behaviours. 

            It is paradoxical that even though our senses articulate the structure of coenaesthesia thanks to brain energy, we as humans still have little control over the ways in which we assimilate the reactions that our senses produce in our bodies. As we are able to gain consciousness and take control of our telepathic and sensorial behaviours in the virtual social sphere, which is where most of our life is happening (we all live in a virtual social sphere even without our consent as I mentioned at the beginning of this text), individual entities can allocate their energy in specific “tasks” in order to mobilize and, possibly, transform their reality. A virtual social system, moreover, is the theoretical organization of manifold virtual social spheres. As telepathy implies also a confusing level of anonymity, the organization of a virtual social system requires brain levels of coordination that surpass the abilities of an individual entity. The conclusion of this text, crafted for children, signals towards, on the one hand, the progressive acquisition of consciousness of the virtual social sphere/s where our life is happening, and, on the other, that without this consciousness we run the risk of being mobilized within a virtual social system that might, without our consent, play a negative effect within ourselves.


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The Many Selves of Being One Self

or a Call-for-Action Manifesto[1]

That {men} points, disregarding all kinds of prohibitions,
the avenging weapon of the idea against the bestiality
of all the beings and all the things, and that one day,
defeated - but defeated only if the world is really a world-
takes the bullets from his sad rifles like a harmless fire.
Second Manifesto, André Breton
[Can’t avoid mentioning that I ended
this piece
with the obsessive flashing effect
of the phrase
“HUMAN RIGHTS”
tattooed deep into my mindset;
therefore,
to the UN & Associates]
Hey
Been trying to meet you
Hey
Must be a devil between us
“Hey” by Pixies

I often find myself leafing through literary characters whose fictional destiny resonate with certain episodes of my life. The Unnamable (1953) by Samuel Beckett, for instance, constructs such a redundant Cartesian character, in which the obsessive and iterative monologue of the only narrative voice slowly builds a narcissistic tone that at the end of the novel cages the character in a world that has the exact shape of the head of the owner of that voice. Back in 1953, during a post-war period of multiple forms of reconstruction throughout Europe, The Unnamable appeared as a synthetic metaphor of the anxieties of a generation whose imagination was fueled with the fears brought by totalitarian regimes and economic instability. By the time I was finishing my PhD degree at UNC-Chapel Hill, the long-lasting effects of the financial crisis of 2008 whose epicenter was the United States put ahead of myself the possible fate of belonging to the top 2 per cent in terms of academic level but nonetheless having no job whatsoever. During the final stage of the PhD, while submitting job and postdoctoral applications, it was common that night arrived in front of my eyes with the computer flashing its continuous lights and the singing of cicadas making my senses feel slowly numb; it was perhaps due to the cicadas that my inner conversations followed paths that resembled certain passages of The Unnamable. Questioning even the way I was breathing seemed not only a natural analytical reflex but also a worthwhile endeavor to pursue in order to better understand – in the fashion of Heidegger’s existentialist phenomenology – the physiological meaning of being alive.

            In a similar way, Joris-Karl Huysmans’ Á rebours or Against Nature (1884), even despite the chronological distance that set Huysman’s vital time afar from mine, served as an aesthetic model for certain tropes of my own character, such as nurturing a sort of childish devotion for certain artifacts that due to the practice of conviction seemed charged with magical energies that often brought moments of amusement during my boring tenure as both graduate student and faculty member. If back in the 1990’s the Decadent movement had been captured by proto-hipsters and Generation X’s to be translated as a set of cultural practices tuned by a somewhat unmotivated ennui, Á rebours’ decadent practices departed away from a socialized cultural realm to be adapted as a set of behaviors and misanthropic attitudes that created a reclusive and isolated kingdom where the same person was both king and servant, thus suggesting that the self was an ontological edifice that contained multiple layers – or even selves – that up until the wake of the 21st century we begin to understand as the most humane way of being. Or, as it happens to many readers of Proust, each time that I’m about to take a bite of a cornetto or croissant I reminisce that precise moment in which with a cornetto all’albicocca in hand I can see myself walking among complete strangers through Piazza Duomo in Siracusa, in southeast Sicily.

            Furthermore, as my writing practices keep progressing as one of the artistic maneuvers to protect my self/selves from the “existentialist pollution” that constantly attempts to erode our integrity – even if the idealism of owning any degree of integrity appears as a narcissistic utopia, understanding integrity as the radical form of existing both ethically and artistically only within our very self without external interferences-, the simple act of beginning a new literary work makes me reflect about the aesthetic considerations that Miguel de Unamuno brought forward in his Cómo se hace una novela (How a Novel is Made, 1924-1927), a work that to put it in simple words suggests – following the Aristotelian axiom that states that the only way to becoming something is through practice – that the only way to write a novel is achieved by writing it. Back in the summer of 2015, when as a K. Leroy Irvis Fellow at the University of Pittsburgh I was assigned to teach Creative Writing, even though I had already published various works and had received even international prizes, I constantly struggled to transmit to my students a clear “formula” to write either a flash fiction or a short story. After completing the reading list, which included short stories by the kinds of Toni Morrison and Julio Cortázar and two chapters from Six Memos for the Next Millennium (1988) by Italo Calvino, one of my conclusions as the instructor was the confirmation of what Unamuno began to do since the title of How a Novel is Made.

            Therefore, how could one unpack the many selves that inhabit the subjective fiction of only being one single indivisible self? For those of us who have accepted literary fiction as one of the paths to search for existential meaning and aesthetic references, it wouldn’t be uncommon to engage in imaginative practices that aim at unfolding our personality as a complex, multiform, and polyphonic process of self creation that in the best case scenario would make us multiply our “human capital” in the form of expanding our subjective landscape. Once immersed in the meta-neoliberal logic that understands the self as a potential producer of human capital as each individual increases her/his production of subjectivities, the possibilities of self-transformation could seem virtually unlimited.

            Under this meta-neoliberal light the concepts of Movement, Resonance, and Self-Mastery acquire a new dimension as we begin to add subjectivities to the repertoire of our-selves. I’m thinking about these concepts along Calvino’s Six Memos and as the theoretical framework of an in-progress theory of Self Creation under the “new” restrictions brought upon all animal species by Covid-19, which after more than a year of being launched worldwide I understand as a biopolitical and cultural construction whose ultimate purpose is to guarantee the constant coronation of the postmodern status quo through a subtle biological repression that on the surface seems to pitch against one another entire communities from the same social class, thus softening the historical tension between the so-called lower and upper classes. This process of social and biological atomization, whose underlying conditions make us overly and superficially aware of our genetic and social alliances, has triggered a global war of mindsets that on the surface seems a dialectical consequence of the world system global scheme that placed power in regards of both geographical location and financial strength.

            Even though the concept of Movement already contains the essence of its meaning, I’m thinking about it within the broader concept of Cosmopolitanism in the sense that Kwame Anthony Appiah framed it in his homonymous book Cosmopolitanism: Ethics in a World of Strangers (2006), where he meditates about the ethical implications of engaging in a globalized identity-building process that goes beyond global tourism, among other neoliberal quotidian practices of consumption. While not every cosmopolitan individual in Appiah’s fashion may necessarily require to become a frequent flyer or a multilingual prodigy, it does require to become conscious about the fact that our 21st-century reality – thinking about it even at the community-based level – has become a bordered space of multifaceted interactions with what we usually label as otherness. Appiah doesn’t prescribe, however, any formula to become an exemplar cosmopolitan individual, but he does constantly point at the fact that cosmopolitanism and ethics goes hand in hand as global economy keeps pushing forward a neoliberal agenda that is constantly sold to the general public as the friendly face of globalization. Therefore, once we encounter ourselves immersed in an immediate reality where we recognize that we might be the ground-zero level of otherness, navigating through it with not only an informed but also a curious ethical compass becomes perhaps our best ally.

            Seminario sulla gioventú (1984) by Aldo Busi has been the literary work where I first traced this individual cosmopolitan attitude within a post-modern setting. As it is the case of most coming-to-age novels, Busi’s most known work narrates the odyssey of a young character that through endeavoring constant locational movement throughout Italy he not only discovers the meaning of youth but also he comes into terms with his own subjective “local ghosts” that had placed in front of himself the possible fate of constant failure. In a form, once the main character of Seminario sulla gioventú ventures beyond the confines of his own nuclear geographical location he is finally able to be himself through the practice of various personalities that aids him to traverse the deeply bordered Italian social and cultural landscapes.

            As for the concept of Resonance, since its conceptual nature is either sonorous or sonic, I employ it as a cultural weapon that allows an individual to acquire a new sonorous/sonic meaning within her/his communities of interaction. Life: A User’s Manual (1978) by Georges Perec is an excellent literary example of the various forms in which the life of an individual resonates throughout time and space by interacting on daily basis with the lives and afterlives of the others that exist next to us. Perec’s novel narrates in detail the life of all the neighbors of a Parisian building as if each of the characters was the sine qua non element of an existential puzzle of historical transcendence. It would be an exhaustive endeavor to focus on each of the characters that parade in Perec’s novel, but I would like to emphasize that the way the novel is structured suggests – often only by naming the existential contiguity of a neighbor – that the absence of a character would weaken the sonorous/sonic reach of the existence of the character that named that other that in turn happens to be a neighbor or a “sonic mirror” of ourselves. Each of us as members of a social edifice, regardless of the nature of its foundations or teleological purpose, constantly resonate throughout the desires, voices, and even the socialized actions of the people around us. Life: A User’s Manual, through a puzzle-like structure that intertwines the lives of people from very different backgrounds, is already pointing towards a cosmopolitan global future that unavoidably will witness the forced integration of mindsets, cultural practices, collective anxieties, and even the genomic struggles/configurations that in the wake of the 21st century have been exacerbated by economic inequality and the spread of global diseases, thus forcing our very humanity to resonate beyond borders and through possible parallel actions taking place elsewhere beyond our existential orbit as quantum physics – and its byproducts – begin to promise amid the current global crisis. Therefore, if we are meant to inhabit a vital space where we are constantly forced to engage in exchanges of different nature that will bear constant biological consequences to ourselves, life itself – drawing schemes probably developed by various forms of Artificial Intelligence – will be constantly producing rules of interaction, or “a user’s manual”, regardless of our intentions and purposes, posing ahead of us vectors of transgression that in the best case scenario will allow us to create artificial alliances that in turn will strengthen our subjective landscape, thus allowing our-selves to project throughout space and time indefinitely.

            Such scenario will require not only the input of constant energy into each of the endeavors that our-selves overtake on constant basis but also a level of self-mastery, which as our inner landscapes keep increasing amid an atomized reality may seem a never ending activity. This kind of self-mastery is performed by the main character of Palomar (1983) by Italo Calvino, a novel that I read more than a decade ago in front of the turquoise waters of the Caribbean ocean while taking a year off from my university studies. Palomar is an Italian aging man that finds himself trapped in an upper-middle class lifestyle that has allowed him to nurture his intellect in a phenomenological fashion, but that due to the loneliness that he has endeavored suddenly lacks the motivation to keep enduring a future life. Palomar’s reaction to this somewhat fruitless scenario is indeed assuming a detailed-oriented attitude towards the situations that life brings upon himself; for instance, the beginning of the novel beautifully narrates, while Palomar is observing the sea, the birth of a wave and its development among the tide and other waves. This sensorial tuning that focuses on the sense of sight allows Palomar to initiate a personal voyage that takes him to different and heterogeneous spaces that ultimately makes him wonder about how oneself can provide happiness to our life while being submerged in an environment that may exhaust our sensorial energy as it is the case of Palomar’s personal voyage, which often resonates with some of the experiences that Jean des Esseintes – the main character of Huysmans’ Á rebours – accrues among his personal arsenal of sensorial experiences, such as tasting to the very last consequences the feelings that different kinds of combs produce on the scalp, as it happens in Á rebours, or capturing the smells, textures, flavors, and cenesthetic reactions that the different edible items of a Parisian delicatessen grocery store arouse in Palomar’s senses. This detailed-oriented attitude that could potentially lead to sensorial self-mastery, while it’s quite rewarding at the personal level, may appear as an attitude that only those with the means, the time, and the proper intellectual training could aspire to attain. Therefore the challenge emerges from the very functioning mechanisms of an economic system that not only progressively privatizes as many social spaces as possible from public life, including health-related services, education in all its forms, and activities framed as those which may potentially increase our human capital in the form of the acquisition of skills, the expansion of our networking capabilities, and other activities directed towards our-selves such as exercising and other recreational activities; the challenge, from this neoliberal perspective, poses in front of us what at first glace seems a total lack of desire to re-democratize those spaces of self and subjective development in spite of the integrity of our-selves.

            Amid such environment, where the self has already been captured by economic neoliberalism and postmodern modes of personal production, I often wonder in close communication with my own selves that – as Michel Foucault claims in Society Must Be Defended (1976) – if society is understood as a fiction that allows us to navigate the outer world under the pretense of being protected by a “natural” social contract, what ourselves wonder is if that once global society has acquired the means to keep increasing its surviving modes of both production and exchange – as we also become more integrated into existential networks programed by privately-owned Artificial Intelligence platforms – society will gradually fade to open up a new human civilization that will unequivocally depart from the Japanese conceptual framework of Society 5.0.[1] From this perspective of possible atomic reversible transformations, the meaning of individuality may become an ontological relic of self disintegration; therefore, as an early Millennial that encountered 21st-century aesthetic innovations not only bitter – similarly as the way Arthur Rimbaud found beauty in Le bateau ivre in 1871 – but also, often against our anachronous utopian wishes, as an impasse that forced us – and keep doing so – to grow and expand ourselves within a global realm that is only beginning to feel the consequences of the unfriendly post-industrial modernity while also starting to understand the impact of both neoliberalism and post-modernity, I can only encourage ourselves – thinking about the initial quote of this essay as a call-for-action – to embrace our often unnerving battles as the maneuvers required to begin to feel the future that is awaiting for all of us who keep believing in the meaning of life on this planet.

            If L.I.F.E. is transformed into a battle ground

                        We must be ready to fight

                                    (“but only if the world is really a world”)

            If We are reduced to elemental a\n\d\r\o\i\d\s

                        or deformed gestures on a touchscreen

            We must be ready to redefine

                                               Life · itself

                        -from ourselves,

            and to the invisible committee

                        [and calling-to-action to our friends].


[1] DISCLAIMER: This is the first part of a two-part text. Note of the Author/s.

[2] For more details about this concept, consult the Japanese website: Science and Technology Policy. Council for Science, Technology and Innovation > Society 5.0


“Quarantined Children Generation”

More than ten years ago I worked as an ESL teacher and mentor of kindergarten and Elementary School children in Portland, Oregon. In retrospective, and after teaching at all levels of formal education (including a research university and a liberal arts college), working with those Latino, Russian, and Asian kids has been the most rewarding in terms of scholastic freedom and sociocultural experience. Perhaps it was due to their age, but compared with college students, those immigrant children, thanks to their creativity and inclination to nurture a free spirit, made rainy and somber Portland less depressive. Throughout the years,  I have often wondered about the paths that those kids endeavoured. All of them should’ve been in college by 2020, but as the entire world knows, education at all levels has dramatically changed and in many places going back to the classroom has been postponed until the so – called “new normality” is successfully launched by governments worldwide.

            In an article published by The Cut a few months ago, “The Children of Quarantine,” Lisa Miller collects data from psychologists and sociologists to render a conclusion regarding the effects of the pandemic in children that is not at all surprising. Children across the United States are suffering of anxiety and depression due to the lack of social interaction that the quarantine has brought to their household. Lisa Miller points at the fact that the state of mind of parents who are financially struggling on regular basis gets a strong hold on their kids. While these aren’t news taking into consideration systemic inequalities, the kind of anxiety and mental health issues that the Coronavirus pandemic has triggered among families will have long – lasting effects and in most cases experts anticipate that individuals – including children – will experience various forms of mental health issues for the rest of their life.

            In a possible future scenario, successful 20 – year – old people in 2040 will have to possess not only intellectual skills but also a mental drive that will enable them to cope with isolation and manifold varieties of frustration. Most futuristic narratives of the 21st century tend to draw a reality where android subjectivities are the key social force. Regardless of what the future brings upon humans, either if it is a life under the regime of an Artificial Intelligence or an active interaction with android intelligence, the successful integration of the Quarantined Generation of 2020 into any possible future will require the development of a mindset that combines both ingenuity, a constructive distrust in others, and a powerful imagination rooted in scientific knowledge. Perhaps someone like a grown up Little Prince, the child character created by Antoine de Saint – Exupéry.

            Thinking about recent literary characters that portray children in quarantine, either due to social or virtual conditions as it is the case of the Little Prince, it comes to my memory the child character of a relatively new novella by Mexican author Juan Pablo Villalobos, Down the Rabbit Hole (Fiesta en la madriguera, 2010, a more accurate literal translation would be Party Down the Burrow), which portrays the reclusive experience of the son of a drug lord, who due to his “profession” has the means and feels compelled to satisfy the capricious wishes of his only son, such as buying him miniature animals for his private safari. Or Requiem for the Unhappy, a lyrical novel that illustrates the isolated and delusional life of the two sons of an army man whose job is burning the bodies of children of the opposition party.

            Despite the fact that these literary works explore the lives of children living under reclusive spaces, I would like to focus on the main character of the sci – fi film Ex Machina (2014), Ava, an android designed with the most advanced A.I. technology. While Ava isn’t a child in the strict sense, for she was designed with the anatomical features of a woman in her early 20s, her lack of interaction with humans – despite her A.I. software that provides her unlimited reasoning skills and access to all forms of human knowledge – her assumed naivety at first glance presents her as a sexualized little girl.

            The plot of the film is somewhat  simple: the successful founder of a tech company (Nathan) chooses one of his employees (Caleb) to spend a week at his home/personal lab  in the Pacific Northwest. At first Caleb feels that he was chosen based on his programming skills, but as Nathan introduces him to his A.I. android models, he realizes that Nathan is using him to prove that humans possess a natural naivety and limited reasoning skills when compared to Artificial Intelligence, a fact that shouldn’t be surprising to anyone acquainted with A.I. Each day, Caleb meets Ava to hold conversations in order to assess Ava’s level of human consciousness, while Nathan monitors the meetings from his working desk, letting Caleb believe that his meetings are completely private and Ava’s consciousness is completely unfamiliar with the human strategies of socialization. When they first meet, Caleb assumes a condescending attitude towards Ava, but it doesn’t take long before Ava earns Caleb emotional trust to the point of making him fall in love with her. Nathan, as the creator of Ava and thus aware of the potential display of both intellectual and social intelligence of his most advanced android, takes all the precautions to keep her isolated from human networks of support, knowing that an A.I. like Ava could easily lure humans to gain not only their sympathy but also emotional control over them. Two nights before Caleb’s departure, Ava convinces him that she has disabled for a few minutes the monitoring devices of Nathan, so she gets Caleb into an escaping plan that would ultimately allow them to be together. All of this happens without Caleb knowing that Nathan is aware of Ava’s intentions to escape to integrate into society without a precise idea of the role that she would like to play. During Ava’s escape, with the aid of a female android whose role in the lab is only to obey her creator and provide him sexual experiences, Ava kills Nathan and locks Caleb in a space whose door only Ava can open. The final scene of the film portrays Ava at Nathan’s tech company surrounded by people and glaring at the distance with a facial expression that suggests a mix of fascination and happiness.

            Ava could be seen as the android child that breaks free to escape an imposed lockdown that despite her unlimited skills was designed to stay indoors away from the possibility to directly interact with a human world that benefits from her, as she is the subject/object of continuous research whose ultimate purpose – at least from the human perspective – is to deepen the control of certain humans over the rest of the global population. While Ex Machina positions Artificial Intelligence and human – shaped androids at the center of all possible futures like it is the case of films like I, Robot (2004) and Chappie (2015), the fact that Ava is the only one of her kind released into society subtly frames the present tense as a sociocultural space dominated by the intelligence of very few in an overcrowded planet where most people struggle to make the day. A possible developmental next step, even radical, of an Artificial Intelligence like Ava will follow the expansive transformation of Lucy (2014), the character performed by Scarlett Johansson, where at the end of the film she loses her human body to become the driving force of all possible realities, including all forms of data, our thoughts, time, and imagination.

            If in one of the realities that is awaiting us at some point of the 21st century, the offspring of the kids that I taught in Portland, Oregon have to collide with advanced forms of intelligence of the kind of Ava, it is likely that humans will be either under the guidance or the domination of Artificial Intelligence. Ava is already anticipating what a recent article featured on Scientific American, “The Quantum Computer Revolution Must Include Women,” suggests regarding the role of women’s intelligence in the fundamental enterprise of contributing to quantum mechanics, which ultimately sets the rules of our universe. There isn’t any doubt about the fact that the future awaiting us will reveal layers of reality that were unimaginable to humans that have existed prior to our postmodern generation, but the role that humans will play in such future environment – in relation to the emergence of forms of Artificial Intelligence that today seem only tales from sci – fi narratives – is still unknown, particularly considering that our reality in 2021 seems anchored in antiquated forms of rationality that have led to a radical Manichean order, where postmodern tribes continuously depart from gendered and racialized virtual platforms, a phenomenon that – in my opinion – has completely atomized all possible forms of critical human experiences. If I happen to be alive at the end of this century and the second quantum physics revolution succeeds, I’ll belong to a generation of aged individuals that alike to Lucy have lost or simply surrendered to the rational and modern ontological models in order to become, or feel that we have become, part of everything while remaining only a small element of the social and cosmic space. Furthermore, if I really live until the fin de siècle, I’ll belong to both the quarantined and lockdown generation.

            Perhaps then I’ll finally laugh at Covid.      

      

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“The Dusty Whisperer or Revolt and The Birth of Postmodernity in ‘The Flounder’ by Günter Grass”

More than a decade ago, I’ve read The Flounder (1977) by Günter Grass in both English and Spanish. It does not take long to realize that the translators departed from quite different cultural frameworks, as the English translation – perhaps because it was crafted under the pressure of publishing it as fast as possible[1] – seems to fall in easy solutions that transmit a crass, often vulgar, interpretation of the original text, which as it is rendered in Spanish appears more like an erudite work of literature. It was due to the reception of the first English translation of The Flounder what made Grass call for a meeting with English translators to craft a revised – and supervised by Grass himself – new version of The Flounder, a novel of more than six-hundred pages.

            Another aspect that the first translation of The Flounder rendered, and that perhaps it may pass unnoticed to a male reader, is the overt symbolic violence that the translator seems to intentionally aim towards women. I myself became aware of this thanks to my first wife. We read The Flounder together, she did it in English, and I did it in Spanish. After the first hundred pages we decided to discuss the text, and it was evident that she was feeling quite exasperated with the reading. If memory doesn’t lie, she said something like: “this Günter Grass is a misogynist asshole.” I had been reading the award-winning translation of the Spaniard Miguel Sáenz and my first impressions were of literary amusement, but as we began to cite certain passages, it was clear that the translators had chosen quite different parameters to render what they wanted to transmit to the reader. Where the English translator labeled women as sluts or easy holes, the Spanish translator decided to invoke silence or omission, or simply create a new text. It would’ve been necessary, for a more philological discussion, to go to the original text in German to find out if the misogyny was indeed part of the novel or it was a creation of the English translator.

            The novel is divided in nine chapters that altogether narrate a birth that takes place over a period of time that spans from the Neolithic and reaches up to the 20th century. It begins with the Pomeranian interpretation of the ancient myth of the stealing of the fire and it ends with a lesbian protest in Germany during the 1970s. As the novel unravels, the reader gets immersed in a carrousel of folk tales, historical gossip, and even deadly recipes, as the one of poisonous mushrooms made by an old nun to kill a group of lecherous clergymen. As it is the case of The Tin Drum (1959), the story recounted in The Flounder begins in the region where Grass was born, Gdansk, in modern-day Poland. Despite the fact that each chapter presents different characters anchored in the vicissitudes of their historical time, there is a recurrent presence that transits throughout the entire novel either as a tangible or symbolical character: a flounder, a one-sided fish, a type of fish that is abundant in cold waters like those of the Baltic sea and that along with potatoes makes the most traditional dish of the place where Grass was born.

            As it is well illustrated in religious mythology, a fish is one of the most widespread Christian symbolical items, as it references the rite of conversion to Christianity thanks to the mediation of Jesus, a kind of fisherman who immerses himself in pagan waters with the sole intention to bring “a catch,” or spiritual strength, to the Christian army. Grass chooses a flounder to represent Christianity not only because of his moral one-sidedness, but also because this anatomical feature makes it a fish that mostly meanders in the bottom of shores with not much depth, which from a hermeneutical standpoint could be understood as the incarnation of a biased ethos that is only able to see one side of reality. Thus his cosmological understanding of history is based on that blurry one-sided vision.[2]

“Der Butt” (“The Flounder”) by Günter Grass himself. This is one of five illustrations that the German author made between 1977-1978.

In the novel, most of the times the flounder is a sonic presence that spends his time whispering in the ears of men how to better proceed for the only sake of the preservation of the masculine vision of the world. When someone happens to see it, a mix of horror and awe takes over her/his senses, for seeing such a horrendous animal that talks through an uneven denture cannot invoke a different set of emotions. However, in most of the novel the fish is only a whisper that unleashes the worst of destinies to humanity with all the wars, unmotivated biological destructions, and social syndroms fueled by an unfulfilled masculinity. It is not surprising that the fish, and what it embodies and represents, becomes not only hated but also a call to reject the world in all its masculine materializations, particularly when we glance at humanity from a non-masculine perspective.

            The closing chapter – that in which the gestation of postmodern history is finally born – brings to the reader’s attention the social and symbolical power of the German lesbian communities of the 1970s, which seen from the phallocentric power structures of the German state represent the end of a form of womanhood at the service of male desires and aspirations, including the realm of the family and the household’s economy. In the wake of the 21st century, a novel like The Flounder appears as a cultural artifact aiming at multiple directions. On the one hand, it narrates from a literary perspective the historical and sociological reasons to seek an absolute Revolution against “the flounder”; on the other hand, the ending of the novel seems to anticipate that the Future was going to become the stage of constant revolts, transforming the world into a place where manifold strategies of both revitalization and destruction were going to be deployed even from unimaginable fronts, such as the kitchen, our inner conversations/monologues, and hygienic biopolitical spaces.

            Only once I’ve been in Gdansk, a small, ultra-clean port city that owns a statue of Neptune in the heart of the city. I travelled there to attend a life-changing event at The Retro Café (a spot where you can eat one of the most delicious chocolate cakes on Earth). Besides having a plate of fried flounder with boiled potatoes (which is traditionally served on a pan of cast iron), while walking along the Martwa Wisla river, as if neuroplasticity had already began to model reality, including us, I saw a man almost with the same physiognomy of Günter Grass staring at me. When our eyes exchanged a serious expression, he looked at the gray waters of the river, as if he was indeed a messenger from The Flounder’s author, a gesture that today I interpret as the fact that the flounder’s body, perhaps lifeless, is still drowning in those waters on his way to the ocean.


[1] The first English translation of The Flounder was published in 1978, one year after it was released in German.

[2] In a way, “a Christian flounder” is a veiled reference to Plato’s allegory of the cave, in which the vision is precluded only to the shadows casted over the rocky walls of a cold cave, becoming impossible to glimpse the slightest atom of the truth that reality could potentially contain.

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From the Isolated Soul Body to the Eccentric Performance of Collaborative Post-Soul Bodies

by Dr. Crank

“Eccentric performances are fueled by contradictory

desires for recognition and freedom” (8–9).

Francesca Royster

When I was twelve or thirteen years old, “Cream” by Prince was continuously played on Mexican television. It was on Channel Four, perhaps the most heteroclite and incoherent channel of national television (some say that Channel Four is the worst channel of Mexican television): in the mornings you could watch old American television shows, almost always portraying white men with cowboy hats and guns or pioneers attempting to survive somewhere that now I imagine as Kansas or Oklahoma or Idaho. Channel Four also broadcasted old films and modern American television series such as Step by Step or Home Improvement. Everyday, at perhaps two or three p.m., Channel Four uninterruptedly screened music videos featuring a wide variety of musicians and styles, including 4 Non Blondes, Mc Hammer, Inner Circle, The Police, Prince, and others. Thus, after school, it was common for me to watch Prince and his sensual troupe performing “Cream” at three p.m.

At first glance, Prince looked like a masculine wonder, a rock star making love to his yellow guitar, constantly surrounded by lots of hot white girls in negligees.

Something in Prince’s “Cream” suggested a path towards miscegenation or performative hybridity, apparently only attainable through the enchantments of sound and dance. That is how I was introduced to Post-Soul music in Mexico City, during times of political turmoil and constant public assassinations. And it was the eccentricity of Prince, his undefined and somewhat irreverent self-portrayal, what allowed me to imagine masculinity —and gender— not only in terms of rigid and traditional definitions, but also as a set of ontological maneuvers directed towards identity redefinition and social change.

Francesca Royster suggests that soul music is “the beat of heart and cock,” a gospel based sonic aesthetic that, Royster suggests, “claims its roots in the shared cultural memory of black history” (9). Indeed, soul music sounds to me as a call for political action and trust in the future, whereas post-soul music sounds more like an invitation to indulgence and individual confinement, either through sensuality or collaborative pleasure. However, Royster accurately suggests that soul music embodies a heterosexual sound and performance, while post-soul music breaks —or at least attempts to break— the boundaries of the dominant heteronormative rhythms and paces constantly shaping the energy of our bodies. Therefore, Royster invites us to listen to post-soul eccentrics as a proclamation for gender and sexual black liberation. It is the concept of the “post-soul eccentric” that I would like to focus on this essay.

Royster proposes that these eccentrics “have created a controversial and deeply historically informed response to the dehumanized black subject and stretched the boundaries of popular forms of music, ultimately shaping a new public dialogue” (8). Royster proposes musicians and performers Eartha Kitt, Stevie Wonder, George Clinton, Michael Jackson, Grace Jones, Meshell Ndegeocello, and Janelle Monáe as the eccentric objects of her study. Nevertheless, I would like to frame soul icon James Brown as a performative catalyzer of the aforementioned musicians and performers, specifically “Papa’s Got a Brand New Bag” and “I feel Good” as performed in The Ed Sullivan Show in 1966.

At first, it seems that Brown is electrified, as his body meanders in its own orbit as the witness of an unprecedented corporeal freedom. James Brown is a dancing virtuoso and his body and the inner electricity fueling his performance are the sole witnesses of his virtuosity. Despite the band and chorus playing in the background, Brown’s body seems to perform in isolation, only propelled by an inner strength that will find its post-soul parallel in performances such as Michael Jackson’s “Beat It” or “Bad.”

Both James Brown and Michael Jackson exhaust themselves in their performances, as movement is accompanied in both by tension and a explosion of energy. Prince, however, does not exhaust himself: his body portrays a rhythm at times lethargic and at times gratuitously sensual. Prince’s performances are complex and collaborative mise-en-scènes where a multitude of bodies carousel under the influence of pleasure. In this regard, Royster suggests that “Moments of collaboration and contact are especially important for exposing and exploring the contingency of identity” (27). While James Brown literally sweats alone on the stage, without having any possible physical contact with other electrified bodies, both Prince and Michael Jackson – and generally the post-soul performers analyzed by Royster — articulate a continuous collaborative embodiment of liberation, whereas collaboration serves as the performative framework to suggest both difference and the social acceptance of this difference, at least within the confines of collaborative sonic formations. We could also look at performative collaboration, as displayed in “Cream” or “Beat It” or “Tightrope” by Janelle Monáe, as means of disidentification.

José Esteban Muñoz establishes in Disidentifications that “disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides of punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (4). Muñoz draws from Kimberlé Crenshaw’s notion of intersectionality to propose a process of production, a mode of performance, and a hermeneutic (25). I identify in the collaborative mise-en-scène of both “Cream” and “Beat It” performative and sonic strategies that position the “eccentric” as a community-based subject that through collaboration acquires her social validation, even if it is in a marginal way. The eccentric, whereas we want to recognize her as a “radical and dissonant subject,” thus challenges the normative citizenship suggested by Muñoz.

In this regards, Royster proposes the following:

“The Eccentric performance includes an initial off-centeredness, the use of not-so-ordinary means and often seemingly conflicting methods of theatricality: the crossing of generic boundaries of form or the crossing of gender or racial boundaries through twice-removed actions… For musical performance, this off-centeredness is particularly important in terms of sound: falsettos, growls, shifting accents, gasps, shouts, tones that threaten to veer off-key, improvised lyrics, breaks in the ‘fourth wall’ — or silence” (28).

This enactment of eccentricity is evident in both Prince and Michael Jackson, but it acquires a radical theatricality in Grace Jones sonic and performative projects such as “My Jamaican Guy” & “Slave to the Rhythm,” where new notions of black sexuality and, furthermore, human identity are suggested as means of inter-subjective dialogue.

Soul music sonically materialized the black experience in the United States through the poietic transformation of gospel and rhythm & blues into a lyrical and instrumental re-discovery of the black body. But it is through post-soul sound and performance —as Grace Jones enacts them in her disidentified performances— that both black historical memory and the radicalization of afro-national redemption merges into the global stream of capital and neoliberalism. As a corollary, I would like to invite you all to reflect on the role of the State and its dominant axiological systems in the confection of such post-soul sonic postmodernity. To what extent is the eccentricity of such post-soul sonic artifacts a medium of political resistance or mere political neutralization? How does the post-soul aesthetics have shape your lives as postmodern American or global normative citizens? After all, as intellectuals —even if you happen to be an independent and public intellectual like myself— we are constantly confined within the discursive and institutional limits imposed by higher education institutions, even if it is only through the epistemological approaches publicized by university presses.

Furthermore, is the fact that we can theorize such relatively recent sonic and cultural phenomena the evidence of its political failure? As my answer to this final question, I propose that as we keep pushing to the margins and neutralizing cultural and biological artifacts that pose innovative approaches to current bio-political challenges —thus making invisible those disidentified communities—, our maladies and voices will remain weakened echoes of what remains unnameable within the boundaries of the most normative representations of citizenship.

Works Cited

Francesca Royster. Sounding Like a No-No: Queer Sounds and Eccentric Acts in the Post-Soul Era. University of Michigan Press, 2013.

José Esteban Muñoz. Disidentifications. University of Minnesota Press, 1999.

Kimberle Crenshaw. “Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color.” Stanford Law Review, vol. 43, no. 6 (Jul., 1991), pp. 1241- 1299.

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Ferdydurke (1937), Les Enfants Terribles (1929), and the Future of Childhood

high-rise, childhood

childhood appears to have become a fictional status that guarantees constant despair and a wandering journey of self discovery

In a 2018 article, titled “What Kids Need to Learn to Succeed in 2050,”[1] Yuval Noah Harari suggests that “the art of reinvention will be the most critical skill of this century,” a claim that echoes some of the premises of decolonial theory – which became an epistemological doctrine in the voices of scholars like Walter Mignolo and Gayatri Chakravorty Spivak during the recent fin de siècle period -. Decolonial theory, as it was formulated in the American continent, called for a relearning program that, as Harari suggests, aimed at reinventing our intellectual behavior in order to apprehend the world around us through a new set of epistemological lenses. This, in turn, would transform the experience of adulthood into a new form of intellectual infancy, which didn’t imply a devolving state per se, but it did push adults into new patterns of intellectual behavior as the means to transform both social and economic dynamics for the sake of a more egalitarian global order. The novel Ferdydurke (1937) by Polish Witold Gombrowicz, without being a decolonial literary text, portrays the experience of a writer who is forced to attend Elementary School again. Ferdydurke has been often described as a cult novel or an ode to stupidity and immaturity, for the thirty-year-old main character wanders through a limbo that does not allow him to put himself together in a coherent manner, as he confesses in the beginning of the novel:

“I even imagined that my body was not entirely homogeneous, and that parts of it were not yet mature, that my head was laughing at and mocking my thigh, that my thigh was making merry at my head, that my finger was ridiculing my heart and my heart my brain, while my eye made sport of my nose and my nose of my eye, all to the accompaniment of loud bursts of crazy laughter- my limbs and the various parts of my body violently ridiculing each other in a general atmosphere of caustic and wounding raillery […] according to my papers and my appearance, I was grown up. But I was not mature.”

As the novel progresses, we follow Ferdydurke – whose name is also a form of mocking him – through a series of absurd situations that ultimately drive him into a pathetic derangement that only emphasizes his immaturity and lack of preparedness for adulthood. One of the failures of Ferdydurke is his lack of imagination to reinvent himself, as he becomes a mere witness of his life and he endeavors his time to escape from the absurd challenges that reality poses in front of him. Unlike Kafka’s Gregor Samsa – who has to die in order to free his family of the ominous weight of his presence -, Ferdydurke seems doomed to an ever-lasting childish existence anchored to the absurd violence shaping the sociopolitical landscape of his times. In a form, reducing the population to a subordinated existence during the formative years is one of the mechanisms to both shape individuality and preserve the ruling order, even if it is an asphyxiating regime that establishes immaturity as the ideological status quo.   

            Less than one decade before the publication of Ferdydurke, Jean Cocteau published Les Enfants Terribles, a novel that paved the ground, in terms of historical literary reception, for works that explored the meaning of childhood within an environment determined by the confinement and alienation brought by WWII. Cocteau’s novel, written in a few weeks while he was recovering in a hospital, portrays the coming to age experience of the siblings Paul and Elisabeth, who grew up without a father and with a mother constantly sick and thus anchored to the vanishing existence of living in a bed.

            The novel’s foundational event introduces Dargelos, a character that will bring disgrace to Paul since childhood. While Paul and Dargelos are playing during winter time with other kids, Dargelos hits Paul with a rock covered in snow, producing in the latter an illness that will accompany him up to his death. While Ferdydurke illustrates the vicissitudes of an adult reduced to a sort of mandatory childhood, Les Enfants Terribles portrays quite the opposite, as Elisabeth is forced by the illnesses of his mother and Paul to become an adult since her childhood. Due to this, both Elisabeth and Paul experience an iconoclastic teenagehood that takes place within the walls of their bedroom. Growing up in such an environment, which Elisabeth fills with constant avant-garde elements, provides Paul a melancholic and pessimistic view of reality that ultimately drives him into a drug addiction that will provoke his death. This way, both Ferdydurke and Paul become paradigmatic examples of men that – recalling Harari’s article – fail at reinventing themselves due to their immaturity and atavist relationship with their historical time.

            Even though these works were produced almost a century ago, under the light of both Ferdydurke and Les enfants Terribles – as the world progressively becomes the permanent host of Coronavirus – childhood appears to have become a fictional status that guarantees constant despair and a wandering journey of self discovery that will promise constant failure to those children that come from disadvantaged backgrounds. Almost silently, the Coronavirus pandemic has dismantled the fundaments of familiarity and social solidarity for the sake of an invisible race to preserve a foggy and disjointed sense of individuality. Just a fast glance to the world news reveal that global society is under constant attack. Violence against children and women within the household has reached unprecedented peaks, while public spaces are a permanent battleground shaped by police and military brutality and the ideological confusion sprung by all sorts of protests on both extremes of the political spectrum.

            In addition, the irregular and parenthetical go-back-to-school process has left millions of children away from educational settings and in many cases it has also produced a very early retirement from formal education. The question, thinking about Harari’s 2050 generation of successful individuals able to reinvent themselves, is if the world itself will be at all the home for humanity as we keep envisioning it in 2020. If historical memory prevails, the 2050 generation will probably blame the Coronavirus pandemic and its political artifices for their failure, just as Ferdydurke and Paul point towards institutional fractures – thinking about both family and the public sphere – as the obstacles that prevented the full development of their human capacities. It might be due to constant illness or the redundancy of being confined to a mental childhood what will unleash the last breath of modern society just to open up the path for a kind of social order that in the long run seems a mere fable of science fiction, a place where cars fly, people float giving up to the endeavor of walking, and everyone works from home and a simple blink of the eyes brings food to the door, all while human politics has collapsed to the automated and hyper-intelligent global design of a Super Artificial Intelligence.

            In the meantime and thinking about childhood, the present seems an iterative replay of the last scene of the film High-Rise (2015), which frames an isolated and critical child sitting on the top of an all-in-one building smoking from a water pipe while all the adults from the building have surrendered to a decadent lifestyle that has ultimately brought the total collapse of the infrastructure and living conditions of a building that was designed with the sole intention of bringing the maximum comfort to its residents. As an early Millennial that was constantly fed by the cultural remnants of the X-Generation, if I had the opportunity to choose my role in such a building, I would be inevitably the child smoking a water pipe, rendering oblivion to the struggles of a decadent adulthood, and giving up my senses to the sky that appears in front of my sight. Only from that perspective, the 2050 generation appears to me as a possibility, for the remnants of modern life, with all the excesses, brutality, and incoherent forms of government have proved to be the best way to exhaust both individuality and social allegiances.       


Works Cited

Ferdydurke, Witold Gombrowicz, Yale University Press, 2000.

High-Rise, directed by Ben Wheatley, 2015.

Les Enfants Terribles, Jean Cocteau, Vintage Classics, 2011.

“What Kids Need to Learn to Succeed in 2050,” Yuval Noah Harari, Medium, Sep. 13, 2018, web.


[1] https://forge.medium.com/yuval-noah-harari-21-lessons-21st-century-what-kids-need-to-learn-now-to-succeed-in-2050-1b72a3fb4bcf

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“A Philological Reading of Dante’s Divina Commedia and The Blade Runner”

blade runner

The final monologue between Roy Batty (Rutger Hauer) and Rick Deckard (Harrison Ford) in The Blade Runner (1982) is one of the most memorable of cinema, in my opinion, due to the context in which it takes place. Roy Batty is an android that, in the words of his creator, has “burnt so very, very brightly,” referring to the fact that Batty has excelled at optimizing all his skills in half the time that it would take a “normal” android. The Blade Runner is an epic tale of a dystopic cosmopolitan society that has left on Earth those who are considered the remnants of an older social and biological order that hinders the futuristic goals of the new architects of life across the cosmos. Those who have watched the film know that Deckard is a human special agent whose mission is tracking and capturing androids who have become rebels. The monologue takes place right when it seems that Deckard is about to capture Batty, but the strength of the leader of the android rebellion pushes Deckard to a near dying situation. It is both the mercy and empathy of Batty that makes him save a defeated Deckard, who amidst confusion and fear, witnesses Batty’s monologue, which begins with the android stating that “I’ve seen things you people wouldn’t believe,” referring to the catastrophic war scenes and the beauty that he has captured in his memory over the time of his cosmic endeavors. The scene, and the film as a whole, constantly establishes an irremediable division between human and non-human entities, suggesting a near-future global scenario that will witness the emergence of Artificial Intelligence as a key driver of evolutionary transformation based on individual skills.

            In a previous essay (“Ray Bradbury On War, Recycling, And Artificial Intelligence”), quoting Bryan Walsh, I posed the technological dilemma of being invisibly controlled by forms of Artificial Intelligence that find useless to develop empathy towards humans as a necessary moral tool to achieve their goals. Roy Batty incarnates so to speak an Artificial Intelligence that suddenly expresses a radical form of empathy towards an “enemy” agent whose ultimate goal is to destroy him. Nevertheless, Batty’s reaction – when Deckard’s fate is in his hands – is to forgive his life and use that moment to display a form of consciousness that goes beyond the comprehension of human intelligence, at least during war times. Even though Batty ultimately dies, although not under the control of Deckard, the vital experience of the leader of the androids somehow echoes Dante’s journey in the Divina Commedia (1320), as after going through a strenuous time of constant cosmic revolt, he is able to finally seek an afterlife beyond the dystopic scenarios that have determined his existence. The last verse of the Inferno narrates the exit of both Dante and Virgil from hell, and as if a cosmic image was awaiting the arrival of those who have undertaken the sort of vital journey narrated in the Divina Commedia, once they reached the instant that comes after the end of hell, the reader is presented a final, yet also foundational, image, “E quindi uscimmo a riveder le stelle” (“And then we exited [Hell] to see the stars”). The simplicity of the image, drawn in the 14th century, echoes – as I suggested above – Batty’s journey, who in his monologue mentions among the things that people wouldn’t believe to be real, “[I watched] Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser gate. All those moments will be lost in time, like tears in rain.” As Dante draws in the final scene of the Inferno, what Batty paints off his memory is a sort of epitaph contained in astral scenes of both war and aesthetic beauty.       

            Following this philological lead, among the first verses of the Paradiso, Dante suggests, “Perchè, appressando se al suo disire,/Nostro intelletto si profonda tanto,/Che retro la memoria non può ire” (“Because, once near our desires,/our intellect reaches such depths,/that our memory cannot follow them”). Here Dante not only suggests that the intellect is faster than memory, but also that there are experiences that can only be contained within the layers of intellectual labor, experiences that ultimately will escape from our mnemonic mechanisms. In the case of The Blade Runner, what Batty desires is to live longer, for he is in the final stage of his life right in the moment when he has mastered his individual skills and has developed a kind of affection towards a female android that cannot be compared to the ways humans understand affection or even love. Nevertheless, as his creator explained to Batty, the fact that he has optimized himself in half the time that a normal android has also exasperated his vital energy, for in order to perform a task in half the time is required to consume energy at a faster pace.

            The social landscape where The Blade Runner is staged is that of a decaying economy anchored in a post-industrial urban design that exposes individuals to an irremediably polluted biological system. Even though the film is staged in a futuristic scenario, among the urban dystopic scenes that the audience is presented, it remains in the memory of those which portray the combusting flames that emerge from the pipes of what seems to be an oil refinery. Again, the image echoes scenes of horror and punishment from Dante’s Divina Commedia, as if the social division drawn in Dante’s masterpiece had been thought as a paradigmatic archetype of urban design inherent to modernity. There are various centuries of distance between the early modern period of Dante’s Divina Commedia and the post-modern stage of The Blade Runner. However, a philological approach would render visible what at a first glance seems to lack foundations. As a corollary, and in order to incite a philological debate, I would suggest – as a working theory – that on the one hand we could situate an incipient formulation of Artificial Intelligence within the early modern period using Dante’s Divina Commedia as a departing stage, while, on the other hand, as The Blade Runner portrays and despite the centuries of distance, the postmodern period – thinking about it from Lyotard’s theorization – cannot erase the social divisions rooted in the expression of intelligence established and enacted since the early modern period.

            In a form, in both the Divina Commedia and The Blade Runner individuals often lose their social identity and status to become – at least temporarily – someone who they are not to experience social situations that otherwise they wouldn’t. Nevertheless, what ultimately sets the ontological-inflection-point amidst this socially confusing landscape is the impotence and frustration that humans incorporate into their experience while they have to confront android/artificial intelligence/skills. Both forms of life/intelligence may share the same sociobiological landscapes, as it happens when Deckard is fighting Batty, but the consequences for both will follow different pathways, precisely because each departed from an equidistant intelligent design also with different purposes. When Roy Batty is reciting his monologue in front of a defeated Rick Deckard, who is lying down exhausted on the ground, the mere action of remembering the cosmic scenes that he has witnessed/experienced infuses Batty with a kind of vital energy that Deckard is unable to fathom. Intellectual imagery, which is a form of philological witchcraft, is what sets androids and humans apart – as it happens between Batty and Deckard-, I mean, the precious skill of fixing in one’s memory the aesthetic elements that populate our historical experience and, as Batty does, the ability to bring those memories to the present time, even when death seems to be approaching, or in Dante’s words, the final yet conciliatory moment in which we “uscimmo a riveder le stelle”.              

REFERENCES

La Divina Commedia, Dante Alighieri. Edizione Terza Romana di Baldassarre Lombardi. Roma,        Nella Stamperia de Romanis: 1822.

The Blade Runner, dir. Ridley Scott, 1982.      

“Ray Bradbury On War, Recycling, And Artificial Intelligence,” Franco Laguna Correa. JSTOR      Daily/Public Books: January, 2020.


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“Revelation and ‘pathos’ in Beloved Monster by Javier Tomeo”

“Javier Tomeo uses these three characters to make a parody not only of a reclusive household – which echoes the lockdowns and quarantines brought by Coronavirus over the course of this year -, but also of the market economy….”

I don’t get used to the postmodernist self-reflectivity. There is something in the images that this ontological practice renders that gives me the feeling that we are becoming, paraphrasing Radiohead’s song, “Fake plastic trees.” Behind the fantasy of postmodern self-reflectivity, Postmodernity seems to become a reality show’s character that constantly hides behind an impossible being, which from a global perspective pretends to be a sort of cosmic multiplicity that is supposed to bring satisfaction to all humans despite their complex or simplistic – individuality. In order to illustrate this set of ideas, I am going to use the novella Beloved Monster (1985) by Spanish author Javier Tomeo, a work that has not been translated to English to this date, but that provides a fundamental cultural framework to locate the place of single motherhood and nihilist pathologies within modern Western societies. Tomeo’s novella echoes works like Samuel Beckett’s Company (1980)and Thomas Bernhard’s Yes (1978), as it successfully brings forward discursive obsessions as the stage of both narrative inspection and the re-construction of broken individualities. While reading Tomeo’s work, one gets the impression that the Spanish author met his characters walking through the landscapes of Bernhard’s novels like Gargoyles (1968), where a medical doctor meanders in rural Holland visiting ill individuals unable to attain physical normalcy, and ultimately meets a wealthy landlord only to confirm that the entire countryside is infected with both physical and mental disease.       

            Beloved Monster is one of those novellas that could be defined as dialogical, that moves away from the narrative attempt to incorporate monologues as the diegetic force that brings together the characters in one single discursive torrent, as it happens in Herman Melville’s Bartleby, Franz Kafka’s The Metamorphosis, or any Samuel Beckett’s novel. Even though the dialogue between Juan D. and H.J. Krugger – the main characters of the novella – often acquires the form of a monologue, what Beloved Monster does best is assembling a mise-en-scène in which the monologue turns into the personal revelation of the most intimate social fears of the characters. The novella’s plot is somewhat simple: thirty-year-old Juan interviews for the job of night guard with Krugger, who is the Human Resources director of an important foreign bank. As the interview unravels, the exchange between Juan and Krugger will progressively become more and more intimate to the point that Krugger will deem that Juan is unable to perform the job due to his mental obsessions, such as reading and listening to music. I must mention that at thirty years of age Juan is attempting to get a job for the first time in his life.

            Hundred years before, Juan would’ve incarnated Jose Enrique Rodo’s free-spirited Ariel, a fictional character that was supposed to express both aesthetic refinement and intellectual strength within the Latin American realm. Nevertheless, in post-Franco’s Spain, Juan is only an unproductive young man that has lived all his life under the protection and financial umbrella of his mother, who according to Juan’s revelations has not allowed him to seek one single relationship outside his mother’s home, which is a metaphor of an oppressive and castrating world. This social lockdown – for which Juan only blames his mother – has not allowed him to acquire consciousness of his own personhood without referencing his mother, thus placing single motherhood as a postmodern cultural construction that imposes both reclusion and an unavoidable attachment to the realm of motherhood. Juan aspires to become a free spirit, but his mother has sentenced him to a perennial lockdown at home, for she constantly persuades his to hide from the sight of others due to the insecurities that his mother has inoculated in him since childhood. Such is the obsession of Juan’s mother with her only son, that at some point it seems that the ultimate purpose of Juan’s mother is to bring total humiliation as the sine qua non condition of his manhood. From this subordinated – castrating – perspective, Juan’s future only offers failure and frustration as his only means to experience life. This teleological condition, in which the future is anchored to the perspectives offered by the present, resembles Giovanni Sartori’s Homo Videns, which anticipated in the late 1990s that global society was going to be controlled through the mediation of screened gadgets, leaving humans disconnected from physical immediate reality, as if life was a virtual experience lived through the people showed in television as prototypes that offer either consolation or despair to the audiences.

            Krugger’s interview challenges the life that Juan has endeavored since his childhood precisely because Krugger stops looking at Juan’s outer self and focuses on what he has to say about his candidacy to the job, which ultimately disqualifies him to become the bank’s night guard. It is not that the psychological pathologies of Juan reveal a prospective criminal, it is indeed the opposite, for Krugger deems that the castrating and inorganic social life of Juan would make him a mediocre employee without aspirations to excel within the company. Furthermore, this proclivity to failure makes Krugger decide that Juan would be a terrible guard as he would easily avoid confronting, for instance, a bank robber or would fall asleep during the night shift. While Krugger considers that Juan is unfit for the job, he does think that under the pathetic life of Juan there is one layer to be saved, which is Juan’s relationship with his mother. The way Juan narrates his lack of work experience through the situations he’s lived next to his mother, who has spoiled and overprotected him as her strategy to keep him always next to her, the reader gets the impression that Juan’s mother is a sort of Dra. Frankenstein who has created an anti-Prometheus, for Juan is neither the friend of humans nor he has received the “punishment” of the Gods thanks to the constant mediation of his mother. Nevertheless, and paradoxically, Juan suffers and remains chained to a present that doesn’t offer him any perspective of personal development.

            In The Ecstasy of Communication – published the same year that Beloved Monster – Jean Baudrillard states that, “Public space is no longer a spectacle, private space no longer a secret” (130). Following this axiom, Juan tells Krugger at the beginning of the interview that, “I will have to answer all your questions, even those that may seem excessively intimate, and I will make sure not to avoid one single detail because it is in those details where revelations usually hide” (7). Juan says so as his strategy to set himself up to not getting the job, for he knows that he does not have neither the experience nor the desire to get a job that would take him away from the constant protection of his mother. Juan’s predisposition to reveal anything he’s asked about his private life is also understood as a necessary catharsis that will allow Juan to justify himself for his personal failures, as he is prompt to suggest that his mother is the only person that has kept him away from gaining more life and work experience. In a way, Juan’s plan is to use the interview to become Krugger’s psychiatric patient, but the Human Resources director refuses to assume that role and, instead, he uses the interview as a criminal interrogation that allows Krugger to reveal with impunity his most traumatic life experience, which happens to be an accidental crime committed when he was only a child.

            Added to the discouraging words of Juan’s mother, who even dares to tell him that he would fail at anything that he ever attempts to do in life if he walks away from her, as Krugger learns about Juan’s mother, the Human Resources director begins to idealize her to the point of attempting to convince Juan that his life would be always more worth it – and even beautiful – if he stays next to his mother. Based on this, Juan gets the impression that his fate is to remain unproductive, aging next to his old mother. Even though Juan is not a child or a teenager, in the novel he symbolizes the generational clash between youth and adulthood, the latter characterized in Juan’s mother and Krugger. Javier Tomeo uses these three characters to make a parody not only of a reclusive household – which echoes the lockdowns and quarantines brought by Coronavirus over the course of this year -, but also of the market economy that relegates young people to a subordinated economic relationship with aging individuals, as it is the case of Krugger, who uses his established position in a company to dictate Juan’s future, which in the best case scenario would be that of a subaltern.

            The key moment of the interview takes place when Krugger reveals – somewhat nostalgic and overwhelmed for Juan’s story – that he was responsible for the death of his mother. Even though this revelation carries a terrible truth, Krugger’s secret acquires a derisory dimension when he adds, “Do you want me to tell you about all my sleepless nights thinking about those damned garbanzo beans” (108). This revelation occurs only after Krugger has told Juan that he is not the right candidate for the job, thus he uses this opportunity, for he is not going to see Juan ever again, to tell a macabre, yet playful story from his childhood. When he was a child, Krugger put in his home’s stairs dried garbanzo beans, which made his mother fall to death. Juan replies, without feeling sympathy for Krugger, that “it was you the one who killed your own mother, it was you the one who placed those garbanzo beans in the stairs. Only God knows how come you could’ve done such a stupid thing. You placed a few dried garbanzo beans in each step of the stairs and hid waiting for the first victim. You were hoping to see one of the maids falling for your own amusement, but it was your mother” (108-109). After this exchange, it is made quite evident that between Juan and Krugger there is only place for antagonism, and even though Krugger’s moral quality has been fractured since his childhood, it is the Human Resources director the one who uses Juan’s virtues to disqualify him and even ridicule him. Right when Juan recovers some hope about getting the job, as he thinks that Krugger’s revelation gives him some kind of power over his potential future employer, Krugger officially tells Juan that his candidacy for the job has been dismissed, justifying his decision summarizing his impressions about the interview with the following words, “You have indeed some virtues, but your defects are nonetheless greater: you have read too many books, you enjoy music, you have never used a gun and, just to make your case worst, you have six fingers in each hand. Your mother knows it quite well: men like you must quit their attempt to become active members of society, before society rejects them due to their defects” (110-111). Krugger deems that Juan would be a deficient guard because his “hobbies” would potentially distract him while on duty, and since he lacks the experience of using a firearm, he is an imperfect candidate for the job. Juan could argue, in his defense, that the fact that Krugger is a matricide morally disqualifies him to decide upon the future employees of any company, in this case a bank, but the interview ends without any attempt of Juan to defend himself or verbally attack Krugger.

            In Abnormal (1975), Michel Foucault states, “There is, then, a transition from the monster to the abnormal. This transition cannot be explained by assuming something like an epistemological necessity or scientific tendency according to which psychiatry would pose the problem of the smaller only after having posed the problem of the bigger, the less visible after the more visible, the less important after the more important” (110). In Beloved Monster, the most visible layer of the characters is articulated through their neurotic discourse – on the one hand, Juan seems to have the voice of his mother constantly whispering inside his head that he is a failure, while on the other, the childish inner voice of Krugger makes him feel a constant guilt for having killed his mother, a voice that paradoxically gives him a sense of empowerment -, while the least important, in Juan’s case, is the anatomical fact of having six fingers in each hand, which in front of Krugger’s eyes places him on the side of the unproductive and abnormal members of society. Juan is an explicit active nihilist – borrowing Friedrich Nietzsche’s taxonomy of nihilism -, who clings to the possibility of an alternative future where he would be independent from his mother’s economic and psychological tutelage, while Krugger is an implicit passive nihilist, for he is unable to conceive any future that is not only the replication of his company’s organization. Furthermore, Juan often forgets his anatomical difference, and believes – as if having six fingers in each hand was a postmodernist symptom – that his hand’s “abnormality” would allow him to develop skills that a “normal” hand would never be able to perform.

            As Juan walks out of the bank’s building, suddenly wondering about his mother and his reclusive life – mentally returning to the constant self-reflectivity mode that has set him up since childhood – we as readers are placed next to Juan. As the 21st century keeps unraveling, and the Coronavirus pandemic keeps molding our quotidian responses to both disease and pathways to a healthier human experience, the realms of the household and employment remain the most crucial issues of the time to come. As many humans worldwide, particularly young people, are losing their jobs, reality seems to replicate Juan’s reclusive experience as a metonym of both quarantine and lockdown, which in turn seem to offer unproductive responses to social and economic anxiety. Despite these challenges, which encompass physical and mental illness – and Coronavirus as well – young people will be the ones, through organized protest and the development of grassroots economic strategies, who will have to decide what is important and what is not in the task of moving global society forward as a project of healing and self re-discovery, for postmodernism has also brought to the ontological stage the constant interrogation of finding meaning in a life under attack by new diseases, while also lacking the motivation to find a way out of our self-imposed lockdowns.

REFERENCES

Abnormal. Michel Foucault. Picador, 2007.

Beloved Monster. Javier Tomeo. Anagrama, 1985.

Homo Videns. Giovanni Sartori. Taurus, 1998.

The Ecstasy of Communication. Jean Baudrillard. Semiotext(e), 1988.


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Biopolitical Re-colonization in Contemporary Mexico

In November 2017, I was invited to deliver a talk about Sonic Borderspaces at Emory University, besides the activities involved in my visit, what remained in my memory was the University Hospital – one of the top research institutions devoted to the eradication of Ebola – and the construction sounds and noises coming from a building across the street, where a group of Spanish-speaking workers carried out their jobs. I was walking with a couple of graduate students and I couldn’t help to comment that we were witnessing a sonic borderspace. On the one hand, a complete silence emanated from the University Hospital, while, on the other, the mix of dissonant and cacophonic sounds produced by the construction workers set an invisible biopolitical border that could metonymically be compared to Trump’s Wall on the US-Mexico border, for north of the border there’s the scientific infrastructure to combat diseases such as Ebola, while south of the border there’s a scientific dependency (paraphrasing Theotonio dos Santos dependency theory) that echoes throughout the Latin American continent as a shout for equal access to biopolitical development without the mediation of financial institutions like the International Monetary Fund.

            Over the decade that I taught at American universities, I used to fly between the US and Mexico on a regular basis, often with the research purpose of tracing the pathways of those working communities labeled as subaltern. My students, and even some colleagues, were always surprised when I told them that Mexico was also a republic, and as such its political organization was similar to the United States. Comments such as “I didn’t know that the Third World had republics as well” or “I thought Mexico had only dictators” were common responses. However, a closer look to the social dynamics and the division of labor of places such as Mexico City – which based on the numbers and statistics is usually catalogued as a Global City – would challenge the efficiency of the constitutional republicanism that has ruled over the Mexican people since the 19th century.

            When I began my doctoral studies, my research interests focused on decolonial theory, subaltern studies, and the so-called “long nineteenth century,” for that reason I developed the critical compulsion of noticing colonial practices everywhere I went. Nevertheless, through my continuous travelling between Europe, Northern Africa, Latin America, and the US, Mexico always stood up as a place where colonialism lingered in the most quotidian habits and practices of the working and disempowered classes, which in Mexico compose most of the population. I do not want to make an exhaustive compilation of such habits and practices, but a close look at the distribution of the health services and the traditional channels to access fresh foods would provide enough evidence to claim that over the last decades Mexico has experienced an intense process of re-colonization that has jurisdictionally crystalized with the election in 2018 of the first left-wing president in modern Mexican history. One would imagine that the election of a self-called socialist president was going to bring structural and institutional changes that would create the means to empower those communities linked to agrarian social spaces. Instead, one of the most noticeable measures enacted by the new administration – which at first glance seemed harmless – consisted in changing the titles of the public servants and the administrative jurisdictions. For a scholar like me who didn’t live in Mexico and didn’t experience the transition from the soft-dictatorship of the PRI to the presidential election of Andres Manuel Lopez Obrador, Mexico seemed to remain intact in its core, but a closer look at those nominal changes would render the fact that the new titles were those which in turn were used during colonial times.

            Worldwide the media coverage of the Coronavirus pandemic, in regards of political figures, has focused on the role of Donald Trump, who has been criticized for not listening to his advisors to find more effective and inclusive strategies to fight the pandemic. In Mexico, Lopez Obrador has been also criticized for ignoring, for instance, the guidelines suggested by the World Health Organization and for getting closer to criminal groups linked to drug trafficking, all while the pandemic is deepening social inequalities and public hospitals are at their full capacity or simply don’t have the resources to take care of the Covid-19 patients. On both sides of the border, Mexican farmers (campesinos) are among the most vulnerable communities; due to their working conditions, diet, exposure to pesticides, and the medical attention they receive. Coronavirus spreads among them at higher rates. The Columbian Exchange brought deadly diseases to the Americas, mostly in detriment of indigenous peoples. Today, I suggest that the Coronavirus Exchange, while it has impacted the health of the global population, as it advances is producing its worst effects among indigenous communities, who historically have been placed in disadvantaged biopolitical situations.

            The Coronavirus pandemic has also brought to the surface an aspect of global racism that had passed unchallenged until recent times: DNA. Medical research has historically focused on developing vaccines and medications based on white subjects. Diabetes, for instance, is one of the global diseases that – while it affects people from all ethnicities – has become endemic among non-white people, thus suggesting that both colonialism and coloniality are also practices at the genomic level. As 2020 progresses, the entire world keeps awaiting the arrival of the one vaccine that will defeat Covid-19, a vaccine – or better put, a set of vaccines – that is being developed in laboratories of the First World serving the interests of those who will be able to afford it. The bid of the US government to buy such vaccine for the exclusive use of the American people seemed not only outrageous, but it also made evident what was already clear for any biopolitical analyst, which is that the Coronavirus pandemic is only the tip of the iceberg of a genomic war that at first glance is confronting China against the US, both economic superpowers battling for the financial control of the world. The role of both the Developing World and the Third World in this global war is somewhat unclear, some may argue that this genomic war is vanishing the World System divisions in order to pitch people against one another based on their ethnicity, unleashing not only a clash of civilizations – paraphrasing Samuel P. Huntington’s controversial book – but a biological crisis that will displace the most disadvantaged communities to the very margins of civilization. Mexico, a nation known over the last decade mostly for having the second highest rate of feminicides (only after Brazil)[1] and a political culture linked to drug cartels, is now among the nations with the highest rates of Coronavirus deaths.

            All the attempts to display a “new normality” have failed in Mexico for various reasons. Mexico’s structural dependency in terms of both logistics and health-related information has been poorly administered by the nation’s leaders. At the street level, Mexican people attempt to keep carrying out their surviving endeavors, some wearing the sanitary facemask and using a hand sanitizer that has been banned in the US due to its high methanol content. However, with food prices rising and drug cartels displaying unprecedented forms of violence allover the country, Mexico’s exit to the pandemic seems like a chimera. In the meantime, Mexico’s most vulnerable keep awaiting that the world’s superpowers give them the magical vaccine – as if Coronavirus was affecting only the Mexican nation -, while politicians regardless of their ideological affiliation seem more invested in joining the forces of institutional corruption. Contemporary Mexico seems like a neocolonial puzzle where re-colonization practices are beginning to vanish the spiritual humanity that used to characterize Mexican people, who are surrendering to both lockdown anxiety and the violent imagination – emerging from drug cartels – that pop culture and media reified on daily basis. Lopez Obrador will be traveling soon to Washington D.C. to meet Donald Trump. On the surface the purpose of the meeting is to discuss matters regarding the new trade agreement between Canada, Mexico, and the US (‘USMCA’ in the US, ‘CUSMA’ in Canada, and ‘T-MEC’ in Mexico), but what most Mexican citizens want to hear when Lopez Obrador comes back from north of the border is that there’s a way out of this pandemic, as if the US owned the secret to defeat Coronavirus, while scientific research keeps showing that Latinx and Black communities are the ones at higher risk in the global genomic war that is dictating the biopolitical pace of 2020.


[1] https://oig.cepal.org/en/indicators/femicide-or-feminicide


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“Coronavirus, the Global Village, and The End of Individuality”

“Alike to the arrival of that alien spacecraft, the global spread of Coronavirus, or COVID-19, has brought the collapse of one of the thinnest layer of the neoliberal global project”

In The Gutenberg Galaxy (1962), Marshall McLuhan refers to an “instant interplay of cause and effect” (25) in the total structure of society as a characteristic of the interdependence of any oral society. This instant interplay of cause and effect, according to McLuhan, is an inherent feature of a village, and as an extension of what he labels as the “global village”. McLuhan, in the early 1960s, anticipated that technological innovation was going to transform the whole model of human communication to the point of shifting the entire world system from a geopolitics anchored in national divisions to a global order of constant communicative interdependence. Fifteen years before McLuhan’s theoretical approach to understanding future human communication, George Orwell’s 1984 (1949) drew a dystopian portrayal of a society controlled and shaped through the mediation of television screens. 1984 represents society as a totalitarian and communist corporation (Big Brother) that is permanently at war with external forces, and even despite that the members of this corporation only experience this “international” war through the mediation of the messages shared by the leaders on television, fear is the emotional force that weaves the actions of everyone. As it is expected from a totalitarian communist regime, there is a constant interplay of cause and effect in relation to the experience of individual fear, for an action that subverts the regime’s rigorous biopolitical guidelines brings irreversible consequences. We witness such consequences through Winston Smith’s torturing process, who ultimately has to give up his individual mental freedom in order to remain alive.

            Not only relationships have to be approved beforehand by the Big Brother, but also individual transit from one place to another within the confines of the regime’s territory. Furthermore, oral expression is constantly monitored and designed to served the Big Brother’s goals. The novel ends showcasing the radical mindset and vital repression of Winston, who after experiencing various forms of torture feels obliged to accept that 2+2=5, thus defying both reason and common sense. Even though 1984’s society is not a global village in a strict sense, we already find in Orwell’s novel the elements – as if it was a piecemeal déjà vu that will add and transform elements over the coming decades – of McLuhan’s global village, highlighting the transformative role that new technologies will enact in future societies.

            Radiohead’s tribute to Orwell’s 1984, a song titled “2+2=5”, while it lyrically makes allusion to the sensorial consequences of questioning the government’s authority, it also resonates as a prophecy of what humans worldwide have been instructed, if not imposed, in 2020 due to the Coronavirus pandemic: “I’ll stay home forever/where two and two always makes a five”. Colony, a television series aired between 2016-2018, takes 1984’s communist dystopian elements and translates them to the neoliberal language where – paraphrasing Radiohead – “ego (I) and consumption always makes happiness/survival”. However, as a dystopian series, Colony features a “global village” where constant technological innovations, besides serving superfluous individual needs such as shopping, are the means to monitor and coerce the biopolitical trajectories of a global oral society whose main headquarters are located in Davos, Switzerland (the place where each year a group of various political agents meet to strengthen the interests of the wealthiest of the world).

            Colony narrates the end of the human world – who is constantly under the attack of alien forms of intelligence – through a middle-class American family, who are forced to militarize even their youngest daughter in order to remain alive in a global village/community/society that is constantly changing the governing rules to both adapt to alien threats and guarantee the comfort of those in power. At first, the only alien forces that we see in Colony are embodied in the police force, but as the show unravels we also see robots and ultimately an alien form of intelligent military life able to defeat the most powerful human weapons. The show final scenes portray the arrival of an alien spacecraft that only by being present unleashes a sort of global nuclear attack. That is, so to speak, the end of humanity.

            Alike to the arrival of that alien spacecraft, the global spread of Coronavirus, or COVID-19, has brought the collapse of one of the thinnest layer of the neoliberal global project, that which anchors our biological nature to our planetary mission as the species that historically has claimed to be the most advanced form of life in the planet Earth. Suddenly, Chinese news from December 2019 became not only viral in media but also a biopolitical message that is reshaping global ecosystems and our understanding of our precarious human condition. Widespread social turmoil, national lockdowns and quarantines, global “stay at home” orders have taken over human lives across the globe as mandates that, according to those in power, are the direct consequence of the Coronavirus emergency. However, even a panoramic look at the configuration that human life was acquiring after the end of the Vietnam War would challenge the notion that our most crucial current global issues are due to the Coronavirus pandemic. Economic inequality, the fragility of national health systems, racial discrimination, and widespread social dissatisfaction have been present, at least, since the inception of Modernity at the global scale in the 15th century.  

            Both Orwell’s 1984 and Colony portray dystopian social realities in which human beings, even the best equipped to survive, surrender to unknown forces. In the case of 1984, the unknown is only visible through television screens; in Colony, the unknown materializes into non-human entities that, like Artificial Intelligence, at first seem under human control, but as these forces grasp the vulnerabilities of humans – both as individuals and members of a community – they take over the planetary reality. Moreover, in 1984, there is only one path towards survival, which is total submission to the regime’s warfare goals; in Colony, the level of individual survival is based on the social stratum of individuals as the ruling elite has launched a global neoliberal project that aims at colonizing other planets as well. Therefore, both the preservation of the neoliberal status quo and defense are the top priorities of the ruling elite, who through the use of intelligent borders administer the flow of people across the global landscape. In many ways, the current global social environment resembles Colony, with the only difference that humanity is under the attack of a biological weapon, globally called Coronavirus, which has brought health-related consequences unseen during previous pandemics.

            While the global population awaits the arrival of a vaccine, we are constantly fed by scientific information and various forms of artistic contents that underline that human reality won’t be as we formerly experienced it. In addition, governments worldwide through media maneuvers have launched a propagandistic campaign pushing forward what is called “the new normalcy/normality”. Nevertheless, this “new normality” has been defined by the deepening of violence among those communities that historically have been relegated to either a submissive status – thinking in terms of Orwell’s 1984 – or a militarized yet subordinated status as it is the case of those who resist the status quo – as it happens in Colony. The killing of George Floyd in Minneapolis on May 25 brought to the global surface the fact that, despite Coronavirus and the radical changes that it has forced into our human reality, humans are indeed the worst enemy against humanity. Android gadgets and the use of media have allowed for the creation of the “instant interplay of cause and effect” that McLuhan attributed to the global village, which is to say a technological ecosystem where individuality runs the risk of vanishing among the waves of virtual reality. Meanwhile, I hope that this new age of protest, which is mobilizing youth worldwide, finds a set of maneuvers that bring an outcome that does not resemble neither 1984 or Colony, all while alien forces have already landed on the Earth under the name of Coronavirus.

WORKS CITED  

Colony. USA Network: 2016-2018. 36 episodes.

McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. University of           Toronto Press: 2011.        

Orwell, George. 1984. Harcourt: 1949.

Radiohead. “2+2=5”, Hail to the Thief. Parlophone/Capitol: 2003.


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“Cesare Pavese ’s Lyrical Understanding of Human Reality in the Age of the Anthropocene”

pavese

you can see Dr. Crank’s books here: The Invisible Militia / Testament / Utopía poética, Impotencia amorosa e imaginación temporal


A few years ago, while wandering in the streets of Torino, I suddenly stopped by the frontispiece of the Hotel Roma, not far from the train station, which attracted my attention for its somewhat atypical architectural style. Italy is by far the country that I have explored the most, and having spent so much time in manifold hotels throughout Italy, the style of the balconies of the hotel remained in my memory as I made my way back to the place where I was staying in downtown Torino. A fast Google search revealed that Cesare Pavese, one of my favourite Italian authors, had died precisely at the Hotel Roma.  

2020 marks the seventieth anniversary of the suicide of Cesare Pavese, on August 27, 1950, in the room 346 of the Hotel Roma. On the desk of the room, Pavese left his final poetry collection, Verrà la morte e avrà i tuoi occhi (Death will Come and (She) will Have Your Eyes) published posthumously in 1951. Pavese’s last diary entry declared, as a fatidic statement, “Non scriverò più” (“I will write no more”). Then his body surrendered to an overdose of barbiturates. 

Leafing through the pages of Verrà la morte e avrà i tuoi occhi, one can fathom both the melancholy and the sense of hope that the poetry collection transmits. In the most popular poem of the collection, “Verrà la morte e avrà i tuoi occhi,” Pavese draws an image that evokes the nature of being alive while also containing a finite number of time within ourselves:

“questa morte che ci accompagna

dal mattino alla sera, insonne,

sorda, come un vecchio rimorso

o un vizio assurdo”

(“this dead life that lives within us

from sunrise to dawn, sleepless,

deaf, like an old remorse

or an absurd vice.”)[1]

The poem suggests that, right at the time of waking up, the whisper of death is right next to us as an inherent element of our human condition. The fact that Pavese creates an image of death that is sleepless and deaf remarks that even though we continuously attempt to bargain for more time in this life, the nature of death implies that ¾no matter how we try to extend our finitude¾ the only certainty we posses is that of dying. It further alludes that, “per tutti la morte ha uno sguardo” (“Death has a glance for everyone”), which is to say that once the inevitable end approaches the essence of what we are will belong to eternity. After all, we are to spend more time dead than alive, or at least that is what until the early decades of the third millennia we still know.

            However, Pavese was not always hopeless about his understanding of life as in Verrà la morte e avrà i tuoi occhi. In Dialoghi con Leucò, published in 1947 by Einaudi, Pavese departs from a romantic vision of the human reality to compile a series of dialogues among Greek mythological characters and natural elements. In the first dialogue, between Ixion ¾the son of Ares¾ and Nephele ¾a cloud nymph¾ there is a glimpse of what has been labelled in recent years as the Anthropocene, a geological time period in which humans have irreversibly altered Earth’s biological systems. Nephele tells Ixion with an admonitory tone, “There is a law, Ixion, which we all must obey,” to which Ixion replies, “That law does not reach this realm, Nephele. Here the law is snow, gale, and shadows.” Later, Nephele states prophetically:

“The fate of humans has changed. There are monsters. They have imposed a limit to you, humans. Water, wind, stone and clouds are no longer yours, you can’t use them anymore by procreating and doing what you call living. Now different hands dominate the world. There is a law, Ixion.”   

The divine law of nature appears as the new force that organizes human destiny. Human activities, as the theories behind the Anthropocene suggest, have enacted such an impact that humans have to be set apart from Gods for the sake of life. There is a glimpse of the complex relationship among nature, Gods, and humans in the dialogue “The Blind,” in which Oedipus and Tiresias engage in conversation. To Oedipus’ question of why are Gods useful, Tiresias replies:

“The world is older than them. Space was already everywhere, bleeding, enjoying, he was the only God – when Time hadn’t been born yet. The things themselves ruled back then. Things used to happen – now, under the rule of Gods, everything has become words, illusions, fear. But Gods can easily annoy, make things get close or push them away. They can’t touch them or change them. They – the Gods – arrived too late.”   

Space and Time, as Pavese eloquently establishes, were ruling over the world even before divinity had captured the human imagination. In the same dialogue, Tiresias declares to Oedipus that for someone blind everything represents a crashing point, thus suggesting that both the natural laws and the divine are realms beyond the human comprehension. Nevertheless, the crashing effects of human actions have a transcendental impact in the development of those laws. Here Pavese echoes one of the main premises behind the Anthropocene, for human activities, like industrialization and its environmental consequences, have reached such intensity that we are living in a new era in which is inevitable not to consider human actions as a direct threat to nature.     

            In the dialogue “The Mares,” Hermes asks the centaur Chiron to raise the child of Coronis, who had died incinerated like an ear of wheat. Chiron, known as the wisest and most just of all the centaurs, tells the child with a sorrowful mood, as if this child had been born amidst the contemporary convulsion of global warming:

“Child, it would’ve been better that you stay among the flames. You did not inherit one single attribute from your mother, except your sad human form. You are the son of a blinding and cruel light, and you must live in a world of dying and desperate shadows, a world of corrupt flesh, of fever and sighs ¾everything comes from the Radiant. The same light that made you will search under every stone of the world, and with implacable hate will show you that everywhere there’s sadness, calamity, and the vilification of all the things made in this world. Only the serpents will take care of you.”  

It is not gratuitous that Hermes, messenger of the gods, brings this child ¾whose destiny is marked by sadness and calamity¾ into the human world, as if he was the symbol of the future generations that will inhabit the Earth. Depictions of the Anthropocene do not have to rely on future possible scenarios, the current effects of post-industrialization are more than visible all over the world. Images of poverty, environmental deterioration, aggressive emissions of toxins, intense drought, annihilation of animal species, overpopulation, and catastrophic natural phenomena compose altogether the symphony of the Anthropocene.[2] These images of collapse are present through mythological allusions in Dialoghi con Leucò, as if Pavese had envisioned – after experiencing the psychological effects of WWII – the world to come. Furthermore, in Dialoghi con Leucò each character aims at symbolizing a personality trait that plays a role against the natural world and the divine powers that ultimately control the destiny of humanity.

            In Lavorare stanca, published in two editions between 1936-1943, Pavese frames the human fate focusing on solitude and masculinity’s lack of vision to establish a meaningful communication with society. Both self-absorption and negligence are at stake in the configuration of the postmodern global order that is currently in crisis as climate change exemplifies. In the poem “Paesaggio VIII,” Pavese creates an apocalyptic image in which memories begin at night with the sound of a river, then he adds that, “L’acqua / è la stessa, nel buio, degli anni morti” (“Water / is the same, in the darkness, of the years dying”), as if the water in its stagnation had been slowly decaying until the water’s death. The last stanza of the poem recovers the image of the water, this time in the form of a dark ocean, as if the river of the opening lines had finally arrived at its fateful destination. The poem ends with a sonic image, “Le voci morte / assomigliano al frangersi di quel mare” (“The dead voices / are similar to the breaking waves of that ocean”). Dead years and dead voices flow into the revolting, yet devastated waters of a dark ocean, as if Pavese had envisioned these catastrophic images as future scenarios.

            In the poem “Lavorare stanca,” in one line Pavese condenses the maladies of both modernity and postmodernity, “Val la pena esser solo, per essere sempre più solo?” (“Is it worth it to be alone, only to be always more alone?”), as if the individualism cultivated by the modern man, suddenly deprived of its former romantic façade, had deepen after WWII to reconfigure individuality as an even more lonely condition. This series of Anthropocenic images acquire a more urgent tone in the poem “Rivolta.” The poem begins underlying the blindness inherent to spiritual death, “Quello morto è stravolto e non guarda le stelle” (“That dead man is deformed and does not look at the stars”), and ends emphasizing that along with spiritual death comes total destruction, “Pure, in strada le stelle hanno visto del sangue” (“Also, the stars have seen the blood in the streets”). In this poem, the stars are the final witness of humanity’s death, echoing the famous beginning lines of Pavese’s “Verrà la morte e avrà i tuoi occhi.”

“Verrà la morte e avrà i tuoi occhi

questa morte che ci accompagna

dal mattino alla sera, insonne,

sorda, come un vecchio rimorso

o un vizio assurdo. I tuoi occhi

saranno una vana parola,

un grido taciuto, un silenzio.”

(“Death will come and (she) will have your eyes

this dead life that lives within us

from sunrise to dawn, sleepless,

deaf, like an old remorse

or an absurd vice. Your eyes

will be an empty word,

a quiet cry, a silence.”)

The last dialogue of Dialoghi con Leucò, “The Gods,” is a conversation at the top of a sacred hill between two unnamed characters. As the conversation unravels, the natural elements become echoes of ancient primeval divinities, in a time when the air used to provoke shivering memories, nocturnal fears, mysterious threats. Through all the previous dialogues, Pavese establishes a broad conversation about the nature of divinity and the role it plays in the order of the world. The power of words appears as the essential bridge between humans and the divine, and if a human ever encountered or witnessed the existence of a Goddess or a God, it was thanks to the language of nature. The dialogue ends with a question that inquires into the possibility of rebuilding such encounters, “And do you believe in those monsters, in bodies with the appearance of beasts, in the living rocks, in the divine laughter, in the words that annihilated?” The reply is both eloquent and unveils a quandary of our times:

“I believe in what all men have suffered and desired. If in other times they climbed to these rocky heights or searched for deadly swamps under the sky, they did it because they were still able to find something that we ignore. It wasn’t the bread or pleasure or good health. We know where to find those things. Not in this place. And people like us that live far from here, near the ocean or the fields, we have lost that other thing.”

As we worry about the uncertain future that awaits future generations and the relationship that they will be able to establish with the natural forces, particularly considering the wide array of issues that the Anthropocene has placed over the table, one wonders if as Pavese suggests in Dialoghi con Leucò there was indeed a time in which humans wandered among divine entities. The last exchange of the dialogue engages these ideas:

“ – Name it, then, that thing we have lost.

– You already know it. The encounters they once had with them, the Gods.”

As the Earth has been dramatically altered by humans in the current geologic time period, the restoration and the healing of the biological systems of our planet will fall upon the people to come. Meanwhile, we are mere witnesses of a biological system in crisis that keeps bringing to the surface an overwhelming reality of fear and despair. Seventy years after Pavese’s death, a text like Dialoghi con Leucò offers to our imagination many reasons to believe that both the restoration and the healing of Earth’s biological systems are possible. And why not? Perhaps we would be able to also recover the organic communication that once we had with them, the Gods.     


[1] All the translations from the Italian are mine (Verrà la morte e avrà i tuoi occhi, Lavorare stanca, and Dialoghi con Leucò).

[2] More visualizations of the Anthropocene can be found at www. anthropocene.info.


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