The Saint whose water can light lamps, the clairvoyant whose lapse in recall is the breath of God, the true paranoid for whom all is organized in spheres joyful or threatening about the central pulse of himself, the dreamer whose puns probe ancient fetid shafts and tunnels of truth all act in the same special relevance to the word, or whatever it is the word is there, buffering, to protect us from. The act of metaphor than was a thrust at truth and a lie, depending where you were: inside, safe or outside, lost.
American novelist (born 1937)
I mean what they and their hired psychiatrists call delusional systems. Needless to say, ‘delusions’ are always officially defined. We do not have to worry about questions of real or unreal. They only talk out of expediency. It’s the system that matters. How the data arrange themselves inside it. Some are consistent, others fall apart.
The nights are filled with explosion and motor transport, and wind that brings them up over the downs a last smack of the sea. Day begins with a hot cup and a cigarette over a little table with a weak leg that Roger has repaired, provisionally, with brown twine. There's never much talk but touches and looks, smiles together, curses for parting. It is marginal, hungry, chilly - most times they're too paranoid to risk a fire - but it's something they want to keep, so much that to keep it they will take on more than propaganda has ever asked them for. They are in love. Fuck the war.
It had been dark at the beach for hours, he hadn't been smoking much and it wasn't headlights – but before she turned away, he could swear he saw light falling on her face, the orange light just after sunset that catches a face turned to the west, watching the ocean for someone to come in on the last wave of the day, in to shore and safety.
"Young Tchitcherine was the one who brought up political narcotics. Opiates of the people.
Wimpe smiled back. An old, old smile to chill even the living fire in Earth’s core. "Marxist dialectics? That’s not an opiate, eh?"
"It’s the antidote."
"No." It can go either way. The dope salesman may know everything that’s ever going to happen to Tchitcherine, and decide it’s no use — or, out of the moment’s velleity, lay it right out for the young fool.
"The basic problem," he proposes, "has always been getting other people to die for you. What’s worth enough for a man to give up his life? That’s where religion had the edge, for centuries. Religion was always about death. It was used not as an opiate so much as a technique — it got people to die for one particular set of beliefs about death. Perverse, natürlich, but who are you to judge? It was a good pitch while it worked. But ever since it became impossible to die for death, we have had a secular version — yours. Die to help History grow to its predestined shape. Die knowing your act will bring will bring a good end a bit closer. Revolutionary suicide, fine. But look: if History’s changes are inevitable, why not not die? Vaslav? If it’s going to happen anyway, what does it matter?"
"But you haven’t ever had the choice to make, have you."
"If I ever did, you can be sure — "
"You don’t know. Not till you’re there, Wimpe. You can’t say."
"That doesn’t sound very dialectical."
"I don’t know what it is."
"Then, right up to the point of decision," Wimpe curious but careful, "a man could still be perfectly pure . . ."
"He could be anything. I don’t care. But he’s only real at the points of decision. The time between doesn’t matter."
"Real to a Marxist."
"No. Real to himself."
Wimpe looks doubtful.
"I've been there. You haven't.
"What more do they want? She asks this seriously, as if there's a real conversion factor between information and lives. Well, strange to say, there is. Written down in the Manual, on file at the War Department. Don't forget the real business of the War is buying and selling. The murdering and violence are self-policing, and can be entrusted to non-professionals. The mass nature of wartime death is useful in many ways. It serves as a spectacle, as a diversion from the real movements of the War. It provides raw material to be recorded into History, so that children may be taught History as sequences of violence, battle after battle, and be more prepared for the adult world. Best of all, mass death's a stimulus to just ordinary folks, little fellows, to try 'n' grab a piece of that Pie while they're still here to gobble it up. The true war is a celebration of markets. Organic markets, carefully styled "black" by the professionals, spring up everywhere. Scrip, Sterling, Reichsmarks, continue to move, severe as classical ballet, inside their antiseptic marble chambers. But out here, down here among the people, the truer currencies come into being. So, Jews are negotiable. Every bit as negotiable as cigarettes, cunt, or Hersey bars."
Easy. They just let us forget. Give us too much to process, fill up every minute, keep us distracted, it's what the Tube is for, and though it kills me to say it, it's what rock and roll is becoming - just another way to claim our attention, so that beautiful certainty we had starts to fade, and after a while they have us convinced all over again that we really are going to die. And they've got us again.