Who is Fortunado Salazar?
Stop me if you’ve heard this one, but I’m of the opinion that all narrative art has got to be concerned with the question of representation. That is, whatever else a given story might be about—broken hearts, time-traveling Nazis, time-traveling Nazis with broken hearts—it’s also always going to be about the struggle to be about those things in whatever ways are particular to the medium. That’s one of the central dramas at work, whether or not we talk about it, whether or not the author calls attention to it.
at The Paris Review
At The Rusty Toque
Mikhail Bakhtin described polyphony as “a plurality of independent and unmerged voices and consciousnesses,” and argued for art in which ideas can only live and take shape at the point of contact with other ideas. For me, the word unmerged is the key. Privacy allows for the development of thought that runs counter to the mainstream, and counter to the ways in which we were taught to think. Cambodian filmmaker Rithy Panh writes, “Those who read have access to words, to history, and to the history of words. They know that language shapes, flatters, conceals, enthrals. He who reads reads language itself; he perceives its duplicity, its cruelty, its betrayal.”