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Somehow, Cleveland has survived, with her gray banner unfurled -- the banner of Archangelsk and Detroit, of Kharkov and Liverpool -- the banner of men and women who would settle the most ignominious parts of the earth, and there, with the hubris born neither of faith nor ideology but biology and longing, bring into the world their whimpering replacements.

Gary Shteyngart


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🦋 The writer as a character

I'm really interested to know more about what Raimundo's experience is like in writing his History -- he has never written a story before, what is going through his head as he composes? Is Saramago making reference to his own experiences first picking up the pen? I have a vague understanding (quite possibly mistaken) that he made a living doing technical writing for a long time before he wrote any fiction -- possibly there is room to extrapolate from there to Raimundo's life. I am feeling like it's difficult for me to get this novel without knowing much of anything about the historical events at the center of the novel -- I don't know where (besides the obvious point) Raimundo's History is at odds with the accepted history. It looks (from where I am right now, about halfway through) like he is trying to write a story in which that key decision goes the other way, but everything ends up the same -- this is an unusual approach to "alternate history".

...What a great line, from Saramago's description of Raimundo's reconstruction of the Portuguese riding to a summit with the Moorish leaders:

...Roger or Rogeiro joined the expedition as a chronicler, as becomes clear when he starts removing writing materials from his knapsack, only the stylus and writing-tablets, because the swaying of his mule would spill the ink and cause his lettering to sprawl, all of this, as you know, the mere speculation of a narrator concerned with verisimilitude rather than the truth, which he considers to be unattainable.

posted afternoon of Sunday, June 28th, 2009
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