Perhaps violence, like pornography, is some kind of an evolutionary standby system, a last-resort device for throwing a wild joker into the game?
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Under all conditions well-organized violence seems to him the shortest distance between two points.
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Hell is out of fashion -- institutional hells at any rate. The populated infernos of the 20th century are more private affairs, the gaps between the bars are the sutures of one's own skull. A valid hell is one from which there is a possibility of redemption, even if this is never achieved, the dungeons of an architecture of grace whose spires point to some kind of heaven. The institutional hells of the present century are reached with one-way tickets, marked Nagasaki and Buchenwald, worlds of terminal horror even more final than the grave.
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Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.
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The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.
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They are not following dharma who resort to violence to achieve their purpose. But those who lead others through nonviolent means, knowing right and wrong, may be called guardians of the dharma.
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Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.
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The American Dream has run out of gas. The car has stopped. It no longer supplies the world with its images, its dreams, its fantasies. No more. It's over. It supplies the world with its nightmares now: the Kennedy assassination, Watergate, Vietnam...
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Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.
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The geometry of landscape and situation seems to create its own systems of time, the sense of a dynamic element which is cinematizing the events of the canvas, translating a posture or ceremony into dynamic terms. The greatest movie of the 20th century is the Mona Lisa, just as the greatest novel is Gray's Anatomy.
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In a completely sane world, madness is the only freedom!
