:14:02
"Every protagonist represents only himself;
:14:06
in place of a change in the social setting
he seeks simply in the revolutionary act the sublimation of his own image."
:14:17
That's the way the breakers recede.
:14:19
And so predictably that one has to believe
in a kind of amnesia of the future that history distributes
:14:25
through mercy
or calculation to those whom it recruits:
:14:28
Amilcar murdered by members of his own party,
:14:32
the liberated areas fallen under the yoke of bloody petty tyrants
:14:36
liquidated in their turn by a central power
to whose stability everyone paid homage until the military coup.
:14:41
That's how history advances,
plugging its memory as one plugs one's ears.
:14:47
Luis exiled to Cuba,
Nino discovering in his turn plots woven against him,
:14:52
can be cited reciprocally to appear before the bar of history.
:14:55
She doesn't care, she understands nothing,
:14:59
she has only one friend,
the one Brando spoke of in Apocalypse: horror.
:15:03
That has a name and a face.
:15:07
I'm writing you all this from another world,
a world of appearances.
:15:10
In a way the two worlds communicate with each other.
:15:14
Memory is to one what history is to the other:
an impossibility.
:15:19
Legends are born out of the need to decipher the indecipherable.
:15:23
Memories must make do with their delirium,
with their drift.
:15:29
A moment stopped would burn like a frame of film
blocked before the furnace of the projector.
:15:34
Madness protects, as fever does.
:15:38
I envy Hayao in his 'zone,'
he plays with the signs of his memory.
:15:43
He pins them down and decorates them like insects
that would have flown beyond time,
:15:47
and which he could contemplate from a point outside of time:
the only eternity we have left.
:15:54
I look at his machines.
:15:56
I think of a world where each memory
could create its own legend.