Notice that the modern media can only accept deliberate disguises.
Being real on the telly is impossible. Not also, that people drop their put-ons when they
are in the presence of a so-called mentally deranged person.
It takes a put-on to know a put on. NO put on means no possiblity of connection.

  ----- Original Message ----- 
  From: Chokh Raj 
  To: [log in to unmask] 
  Sent: Thursday, September 02, 2010 5:32 PM
  Subject: Re: OT - Milan Kundera: raising disturbing questions


        "The eyes that fix you in a formulated phrase".

        "And I must borrow every changing shape  
         To find expression … dance, dance 
         Like a dancing bear,  
         Cry like a parrot, chatter like an ape."

        "Let me also wear
         Such deliberate disguises
         Rat’s coat, crowskin, crossed staves
         In a field
         Behaving as the wind behaves"

        "Let us take the air, in a tobacco trance".

        A penny for the Old Guy ;-)


        --- On Tue, 8/31/10, Peter Montgomery <[log in to unmask]> wrote:
          Yes. The shift to superficial narrative is the major mental structure of our time.
          A further regression into the past, having started the process with
          a return to clasification, aka stereotyping.. 

          Look at what's raising its ugly head again in Germany.
          The perpetrator is in a seriously high place:



            ----- Original Message ----- 
            From: Ken Armstrong 
            To: [log in to unmask] 
            Sent: Saturday, August 28, 2010 6:33 PM
            Subject: Re: OT - Milan Kundera: raising disturbing questions

            Nice find, CR. That one goes on 'to read' list for sure. Thanks,


            On Aug 28, 2010, at 8:14 PM, Chokh Raj <[log in to unmask]> wrote:

                                ENCOUNTER by Milan Kundera - a NYTimes Book Review

                                The Language of Exile
                                By JOHN SIMON


                                Yet the great cultural figures were not forgotten: the period toward the end of the 20th century, Kundera says, produced monographs on Graham Greene, Hemingway, T.S. Eliot, Larkin, Brecht, Heidegger, Picasso, Ionesco, E.M. Cioran and others. But the attitude had shifted. Instead of emphasizing works, the monographers concentrated on lives, surface events beneath which they ferreted out the hidden Sin: "Europe was moving into the age of the prosecutors." 


                                 “Ah, Bertolt, what will be left of you?”