Count the present days until today arrives (THE PRESIDENT OF UNITED STATES)

 


The abrupt tone of someone speaking to strangers on the subway. Well, that's the outline!

(Line by line, promising later influence)

Rejection and condemnation in droves.

Soon, blood is seen gushing from pieces of quivering flesh scattered on the powder-scorched floor. Long, military-grade metal nails running over a hideous geographic wound, along with some problematic patch of adjacent skin, whose prohibitiveness could end up transforming the tank's cabin into a bloody cubicle—an overly gathered bodice, you know? When, for example, a fat woman discovers internal bleeding, then puts the strap of her dress back in place, momentarily disguising her discomfort, and begins vomiting blood onto her ladies-in-waiting. That's it: the strap finally slips, and she falls dead to the floor, like a whale.

One constantly looks at the dashboard in a waiting mood: ashes of some failed combination of bad luck, ill will, and talent for dissimulation, assuming therefore that the mutual trust of GRINGOlou and everyone is simultaneously working on something lethal and undeclared, while a meditative panic, contiguous to the financial market, instantly disposes of the relative benefits in commodity prices, carrying out in fifteen minutes the spontaneous combustion of all the measures of self-perception of the week.

Naturally, I didn't want to hear bad things said about me in that environment. I psychoanalyzed the new normal: the thing tingling inside. The wait for that little sign of a moderate summary, a foam of good intentions, was, in fact, making me increasingly hostile. I felt trapped by a discourse under construction that took from my voice the impassioned outburst, the difficult tone it once easily acquired, and helped me make deals to buy time. Admitting anything had become (indeed) difficult for me. Every minute the overall scene distorted itself with nods and shudders. Impossible to describe, disappearing behind touch, like an interest. So many questions, with new facets, new summaries that, melting the lingering reality, drained all the super-being of politics; all the hard everyday life peeled away from the doubts that, beforehand, played in my favor: in favor of that everyday everything that made the cycle of every egg placed on the negotiating table sweat.

Wanting only a gentle, self-reflective savor, to polish with palpable impressions all this illusory taste of reconstruction that evaporates from the carrion, gathering from the past government only pure boredom, an identical directive boredom, stagnant, stagnant, growing only through friendly tincture, in a brutal withering of hypotheses for change, a false mimesis for a few months of waiting in uncritical formaldehyde.

HE DOESN'T LOVE ME - HE DOESN'T LOVE ME.

A world of transition, the ground of the unknown century, where the maturation of things is not easily conceived. To the dialectical convenience of desires, I propose a tight hold on a strong platform of waiting acroos a slow qnd large perception of a favorable moment for the resumption of an interventionist hegemonism shaped by the tradition of the Monroe Doctrine, in which the perspective of coexistence with the plurality of forms of government tends to be replaced by a commitment to eliminating the opposing camp. An expression of the voluntarism of a narcissistic businessman and with an anti-establishment discourse driven less by conviction than by opportunism, ends up imposing ourself as a catalyst of the false Russian Order of Friendship: an adjustment of measures that, in addition to being ambiguous in its effective scope, is of controversial applicability, since the dynamics achieved from the beginning of the Monroe Doctrine, introduced in 1823 in the context of concern over Spain's intentions to reverse the Latin American independence process with the support of the Holy Alliance, sets limits on the intervention of European powers in the continent. Although it was never formally abandoned until Kerry's speech, its explicit invocation did not last until 1904, when Theodore Roosevelt formulated its fifth corollary (Ayerbe, 2002). However, it ended up being associated with the role of hemispheric guardian that the United States attributes to itself, justifying interventionism throughout history based on three main arguments: i) the existence of expansionist ambitions in the region on the part of extracontinental powers; ii) the defense of the so-called "American way of life," which claims to express the highest degree of advancement known to civilization; and iii) the fragility of Latin American nations in defending their own interests without the help of their great neighbor to the north.

Arms Control and International Security! With Venezuela on the ropes, the Castros' revolutionary legitimacy disappearing, and with U.S. pressure mounting, how long the regime survives is an open question (...) While tensions are unlikely to return to Cold War levels, when the Soviet crisis over Cuba came close to provoking nuclear war, Russian meddling in Latin America could inspire Trump to reaffirm the Monroe Doctrine. As justification for intervention in the region: i) the perception of threat from extra-regional powers, in this case Russia, to which China would later be added; ii) the defense of the American way of life, exemplified by the promotion of changes of government in Venezuela and Cuba using the current model of democracy in the country as a reference; and iii) the supposed defenseless situation in which the peoples of those countries would find themselves when exercising their citizenship without the support of the United States. The change in policy vis-à-vis the previous administration with regard to governments located in the adversary camp takes on a more explicit profile ---“troika of tyranny”, “triangle of terror (...) causing immense human suffering, driving enormous regional instability, and creating a sordid cradle of communism in the Western Hemisphere”.


Comentários

  1. Post script

    In Let's the Wind Speak, the character Medina occupies a dual position as a "macro." Like other Onettian characters, he lives off a woman, Frieda. This, in turn, places him in the position of a bankrupt "macro of art," since she is the one who invents Medina as a portrait painter and who manages his clients. Medina saw himself as painting for commission, living as a "common man," and using art—a utilitarian art. He is not a professional "macro," but a "macro" in decline. But, contradictorily or perhaps not, he has a dream of being a "pure subject," yearning to paint a "perfect wave." Medina, who lives in a house on the beach, walks the coast throughout the narrative in search of such a "wave," a quest similar to that of Gauguin, who goes to live in the Marquesas Islands in search of purity and peace to create. Thus, we read in his dialogue with the young Cristiani:

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    1. —Usted that it paints, señor. Why are there no four frames to show humanity the danger of atomic bombs... I want to say that people speak a lot, but I don't even imagine it. Instead of bullets, hydrogen. I wanted to insult him, but I contested with gentleness, slowly:
      —You have reason, Cristiani, it would be good, it would be better. But humanity is not going to look at other squares. It's safe. And it's possible that after the bombs, paradise will come. However, we are still in the same place. I have to think about it.

      (ONETTI, 1979, p. 70).

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    2. Este comentário foi removido pelo autor.

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    3. Here and in the post below we handle the doctoral thesis SECRET HISTORY OF WE LET'S TALK TO THE WINDS, BY JUAN CARLOS ONETTI written by ANA CAROLINA TEIXEIRA PINTO

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  2. ------------------------
    Here we can read the process of creating Medina's painting of the perfect wave. In the gray police notebook, between what would later become the narrative of chapter XI "Juanina," on folios 62.35 and 62.36, there is an unpublished part of the narrative that reveals Medina's search and the name of the Japanese artist: Now my mother is to make me understand. It occurs to me immediately that everything will be easier to...

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    Respostas
    1. .............explain if I have a little white; one green and one blue. Frieda had rented a house anywhere near La Banda. They are all the same from the last until Brazil. I know the uselessness of my dawns, of murky afternoons, of burning or winter twilights. Recognize this hope on every journey without destination. Final and restless that joins the hour when the fishermen return; When it is possible to believe that the secret will be revealed unexpectedly to the last person who remains attentive, to the last person who waits tenaciously and resignedly. I never discovered the clave and never let me know the grace. I could swear, I'm not sure, that it wasn't my fault, that it was just a mistake with chance. Next to Frieda, he returned to the hotel at the beginning of the night, carrying the horse, the box of paintings, the beard and the kite. I didn't suffer too much, perhaps it hadn't existed, at least there, from the first big arena in La Banda to the mystery of Brazil, which I had gone out to seek.

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    2. After the food, in the middle of the night, he dropped the cards and the failed ones, he breathed in the scent of the oils; to not see them again, so that they do not lead me astray on the pilgrimage of the following morning. It was “Hokusai”, of course, and he would never, among so many other things, be ninety years old. But, without seeking excuses, the greens and the blues only interested me as the bases of the board; It could be anything, it could not be water. I was obsessed with the conquest of an impure white and its foam, its thickness, its extensive insolence, its corruption and its smile beneath the grave colors of the sky. And it was like the little story: in my cuclillas I fulfilled every night the solitary rite of the fire, when the hotel slept. Breathe without sadness the acrid scent of acceptance, the scent of the station. (62.35, 62.36, emphasis added).

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  3. Here and in the post below we handle the doctoral thesis SECRET HISTORY OF WE LET'S TALK TO THE WINDS, BY JUAN CARLOS ONETTI written by ANA CAROLINA TEIXEIRA PINTO

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