Young Adult Geared Cyberpunk Series ‘Little Brother’ From Cory Doctorow Gets To Complicated Questions on Tech and Responsibility

His Writing Radicalized Young Hackers. Now He Wants to Redeem Them

Cory Doctorow’s Little Brother series has been a young-adult sci-fi bible for teen hacktivists. But with the latest and darkest book in the trilogy, it’s all grown up.

ANDY GREENBERG BACKCHANNEL10.12.2020 07:00 AM

FROM WIRED MAGAZINE

SET THE FIRST and last books in Cory Doctorow’s epic, three-book Little Brother cypherpunk saga side by side, and they read a bit like a creative writing master class on telling two starkly opposite stories from the same prompt. The common premise: Islamist terrorists bomb the Bay Bridge. Thousands die. The Department of Homeland responds by turning San Francisco into a fascist, total-surveillance police state. The protagonist, a digitally gifted, troublemaking teen, must decide how to respond.

In the first Little Brother installment, which Doctorow published in 2008, the answer seemed righteously inevitable: The hero uses his hacker skills to fight back. Specifically, he and his plucky hacker friends figure out how to jailbreak their Xboxes and channel the video game consoles’ encrypted comms over the Tor network to create Xnet, a cheap, anonymous, surveillance-proof system for organizing protest and foiling the panopticon cops by injecting false data into their totalitarian schemes.

In Doctorow’s third work in the series, publishing this week and titled Attack Surface, the protagonist takes an altogether different path. And while that path threads through the same alternate-world timeline of events, it’s tinted with all the shades of gray that the world has accumulated in the dozen long years since the series’ first, wide-eyed story.

This time the hero—or antihero, more like—instead chooses to go work for the DHS. After all, she’s angry, itching to use her prowess in digital exploitation, and someone needs to help hunt these terrorists who actually knows what she’s doing. To get the job, she breaks into her friends’ Xnet system—it was riddled with hackable bugs, of course—and uses information cascade modeling to identify all of the resistance’s leaders, then serves up the map to the authorities. Not long after, she swaps her DHS job for a contract position in Iraq, where she uses those same tricks to identify insurgent leaders, hack their devices, find them, and target them for killing.

The money is very good, and it keeps getting better. She’s transferred to Mexico City, switches contractors, and becomes accustomed to flying first-class, room service in Japanese-themed hotels, and aged scotch on the corporate account. Eventually she finds her employer is offering her exploitation skills to a kleptocratic Eastern European government that’s using them to suppress a “color revolution”-style movement. To assuage her guilt, she starts helping the dissidents, too, building surveillance systems by day and advising idealistic young rebels on how to defeat them by night—even while knowing that they’re almost certainly doomed, that the technological terrain has put them at an impossible disadvantage.

READ THE FULL ARTICLE

AT WIRED.com

R.I.P. to Lawrence Ferlinghetti – Poet and Publisher Who Took a Chance On the Beat Generation

R.I.P. to Lawrence Ferlinghetti – poet and publisher who took a chance and stood up to censorship lawsuits to publish some of the beat generation’s best and most daring in the 1960s. Publishing Allen Ginsberg’s poetry chapbook ‘Howl’ which was the subject of a groundshaking censorship trial cemented Ferlinghetti as a generous thoughtful leader of belles lettres.

https://www.poetryfoundation.org/poets/lawrence-ferlinghetti
https://en.wikipedia.org/wiki/Lawrence_Ferlinghetti

He started City Lights bookstore in San Francisco, a true landmark of literature in the United States that I urge you to visit if you ever get a chance. I checked it out when I happened to be there on a short trip, and that random evening they had some live music. Hopefully it remains a lively spot going forward!

It’s probably one of his more didactic poems but I will share today as a call for other poets to explore his legacy and poems, especially the collection ‘A Coney island of the Mind’ :

‘Poetry as Insurgent Art [I am signaling you through the flames]’

by Lawrence Ferlinghetti

I am signaling you through the flames.

The North Pole is not where it used to be.

Manifest Destiny is no longer manifest.

Civilization self-destructs.

Nemesis is knocking at the door.

What are poets for, in such an age?
What is the use of poetry?

The state of the world calls out for poetry to save it.

If you would be a poet, create works capable of answering the challenge of apocalyptic times, even if this meaning sounds apocalyptic.

You are Whitman, you are Poe, you are Mark Twain, you are Emily Dickinson and Edna St. Vincent Millay, you are Neruda and Mayakovsky and Pasolini, you are an American or a non-American, you can conquer the conquerors with words….

A Few Places To Submit Work Going Into the Early Months of 2021

https://www.fiyahlitmag.com/

FIYAH is a quarterly speculative fiction magazine that features stories by and about Black people of the African Diaspora. This definition is globally inclusive (Black anywhere in the world) and also applies to mixed/biracial and Afro-appended people regardless of gender identity or orientation.

https://apparitionlit.com/

We publish poems and stories between 1k-5k words in January, April, July, and October. We also hold monthly flash fiction contests between the 1st and 15th of each month. Flash stories must be under a 1000 words and be inspired or based on the chosen theme. Full details for submission guidelines at https://apparitionlit.com/submissions/.

GHOST ORCHID PRESS

EYE-CATCHING HORROR, GOTHIC & DARK FICTION

https://www.bcubedpress.com/opencalls

Protest Diaries

Alternative War

Alternative Deathiness

https://speculativelyqueer.com/

Submissions for It Gets Even Better are open now!

UNCANNY –
A MAGAZINE OF SCIENCE FICTION AND FANTASY

GETTING PUBLISHED! Going Into the New Year 2021 // Join the Monarch Writers DISCORD CHAT GROUP

As writers, we have to consider not just the work we do on our projects -creating worlds, characters, and plots- but also must take consideration of marketing our stories to the world. So let’s talk a little bit about trying to get our work published going into this new year 2021, and make a resolution to not let our stories sit on the shelf, but to put in a reasonable amount of effort into sending them on their way into the world. Whether submitting to publishers and calls for specific deadlines which our work may fit, or making connections with agents, and putting together queries and packets to send off to our dream publishing house, or keeping a blog and self-publishing some items to keep in contact with a readership, PUT IN SOME WORK on GETTING YOUR WORK OUT THERE!

Some people may have a reticence to share their work, out of fear of rejection or a related fear that their voice isn’t strong enough yet. This is totally natural, but the best way to overcome this, AND make your voice more confident, is to just keep going AND send your work out. PLOW AHEAD and keep trying! If you get rejection slips, don’t worry! You can’t win if you don’t play!

Try to find a balance between working on your vision and reacting to criticism when it comes in. If you get rejection slips that are impersonal, known as “form rejections” which have no content telling you how your work might improve, it most likely does not mean your work is so horrible it doesn’t deserve response. Far more likely is the reality that that particular publisher had so many submissions that they couldn’t respond personally to them all. So take it in stride, and don’t hyperfocus on that setback. Don’t use it as an excuse to slow down and get discouraged about your work.

The best way to gain confidence in your work is to find a group of people who will read your work and give you CONSTRUCTIVE feedback. If you are interested in joining a group that aims for this, you can JOIN THE MONARCH WRITERS DISCORD CHAT GROUP

In Search of the Present – On Writing and the Mindful Now

I am at a point in my work on my novel project right now where I am having a lot of ideas, and want to keep track of them.

I already do multiple bulletin boards and note taking methods, from notebooks as I read to apps like Google Keep which is easy to stay on top of. There is so much going on in the world it seems and so many ideas going through my head each day that my main issue is getting back to all these thoughts later on without losing track of them. Taking notes is great and facing the fresh insights of the ever-passing moment all good, but the content of a lot of these thoughts involves the dilemma itself I’d like to address here: The need to remind myself to spend time with yesterdays ideas. To not just chase after the fresh and new but to sit down and spend time with things in a deeper, more resolved way.

Does anybody have similar issues with keeping a course and making your inspiration turn into practical output?

This essay by Nobel Prize winning poet Octavio Paz addresses the idea of feeling like we are always on the cusp of a new tomorrow while being pursued by both the plagues and the consolidated wisdom of all that has come before. Past fault lines rolling up onto the idea of a modernity that is different, exciting, and new, but is also an aplification of what already is; I invite you to experience it with me and respond with your thoughts in the comments or in a reblog with commentary. How does this feeling of being alive in interesting times affect your calling and role as the artist/shaman of the tribe?

Marshall McLuhan believed artists see the future before it arrives as they are attuned as a type of living antennae of the race to changes and shifts in media, technology, and art. More than translating an interpretation of things half-perceived coming from the future, the task of the artist is trying to set down future values for the world in flux, I believe. And thus the artist needs to be ahead of the game on knowing what she or he wants, and what world one would want to bring about. With that in mind, please enjoy this piece by Octavio Paz written on acceptance of his nobel prize, titled ‘In Search of the Present’.

From the site NobelPrize.org

Octavio Paz

Nobel Lecture

English Spanish

Nobel Lecture, December 8, 1990

(Translation)

In Search of the Present

I begin with two words that all men have uttered since the dawn of humanity: thank you. The word gratitude has equivalents in every language and in each tongue the range of meanings is abundant. In the Romance languages this breadth spans the spiritual and the physical, from the divine grace conceded to men to save them from error and death, to the bodily grace of the dancing girl or the feline leaping through the undergrowth. Grace means pardon, forgiveness, favour, benefice, inspiration; it is a form of address, a pleasing style of speaking or painting, a gesture expressing politeness, and, in short, an act that reveals spiritual goodness. Grace is gratuitous; it is a gift. The person who receives it, the favoured one, is grateful for it; if he is not base, he expresses gratitude. That is what I am doing at this very moment with these weightless words. I hope my emotion compensates their weightlessness. If each of my words were a drop of water, you would see through them and glimpse what I feel: gratitude, acknowledgement. And also an indefinable mixture of fear, respect and surprise at finding myself here before you, in this place which is the home of both Swedish learning and world literature.

Languages are vast realities that transcend those political and historical entities we call nations. The European languages we speak in the Americas illustrate this. The special position of our literatures when compared to those of England, Spain, Portugal and France depends precisely on this fundamental fact: they are literatures written in transplanted tongues. Languages are born and grow from the native soil, nourished by a common history. The European languages were rooted out from their native soil and their own tradition, and then planted in an unknown and unnamed world: they took root in the new lands and, as they grew within the societies of America, they were transformed. They are the same plant yet also a different plant. Our literatures did not passively accept the changing fortunes of the transplanted languages: they participated in the process and even accelerated it. They very soon ceased to be mere transatlantic reflections: at times they have been the negation of the literatures of Europe; more often, they have been a reply.

In spite of these oscillations the link has never been broken. My classics are those of my language and I consider myself to be a descendant of Lope and Quevedo, as any Spanish writer would … yet I am not a Spaniard. I think that most writers of Spanish America, as well as those from the United States, Brazil and Canada, would say the same as regards the English, Portuguese and French traditions. To understand more clearly the special position of writers in the Americas, we should think of the dialogue maintained by Japanese, Chinese or Arabic writers with the different literatures of Europe. It is a dialogue that cuts across multiple languages and civilizations. Our dialogue, on the other hand, takes place within the same language. We are Europeans yet we are not Europeans. What are we then? It is difficult to define what we are, but our works speak for us.

In the field of literature, the great novelty of the present century has been the appearance of the American literatures. The first to appear was that of the English-speaking part and then, in the second half of the 20th Century, that of Latin America in its two great branches: Spanish America and Brazil. Although they are very different, these three literatures have one common feature: the conflict, which is more ideological than literary, between the cosmopolitan and nativist tendencies, between Europeanism and Americanism. What is the legacy of this dispute? The polemics have disappeared; what remain are the works. Apart from this general resemblance, the differences between the three literatures are multiple and profound. One of them belongs more to history than to literature: the development of Anglo-American literature coincides with the rise of the United States as a world power whereas the rise of our literature coincides with the political and social misfortunes and upheavals of our nations. This proves once more the limitations of social and historical determinism: the decline of empires and social disturbances sometimes coincide with moments of artistic and literary splendour. Li-Po and Tu Fu witnessed the fall of the Tang dynasty; Velázquez painted for Felipe IV; Seneca and Lucan were contemporaries and also victims of Nero. Other differences are of a literary nature and apply more to particular works than to the character of each literature. But can we say that literatures have a character? Do they possess a set of shared features that distinguish them from other literatures? I doubt it. A literature is not defined by some fanciful, intangible character; it is a society of unique works united by relations of opposition and affinity.

The first basic difference between Latin-American and Anglo-American literature lies in the diversity of their origins. Both begin as projections of Europe. The projection of an island in the case of North America; that of a peninsula in our case. Two regions that are geographically, historically and culturally eccentric. The origins of North America are in England and the Reformation; ours are in Spain, Portugal and the Counter-Reformation. For the case of Spanish America I should briefly mention what distinguishes Spain from other European countries, giving it a particularly original historical identity. Spain is no less eccentric than England but its eccentricity is of a different kind. The eccentricity of the English is insular and is characterized by isolation: an eccentricity that excludes. Hispanic eccentricity is peninsular and consists of the coexistence of different civilizations and different pasts: an inclusive eccentricity. In what would later be Catholic Spain, the Visigoths professed the heresy of Arianism, and we could also speak about the centuries of domination by Arabic civilization, the influence of Jewish thought, the Reconquest, and other characteristic features.

Hispanic eccentricity is reproduced and multiplied in America, especially in those countries such as Mexico and Peru, where ancient and splendid civilizations had existed. In Mexico, the Spaniards encountered history as well as geography. That history is still alive: it is a present rather than a past. The temples and gods of pre-Columbian Mexico are a pile of ruins, but the spirit that breathed life into that world has not disappeared; it speaks to us in the hermetic language of myth, legend, forms of social coexistence, popular art, customs. Being a Mexican writer means listening to the voice of that present, that presence. Listening to it, speaking with it, deciphering it: expressing it … After this brief digression we may be able to perceive the peculiar relation that simultaneously binds us to and separates us from the European tradition.

This consciousness of being separate is a constant feature of our spiritual history. Separation is sometimes experienced as a wound that marks an internal division, an anguished awareness that invites self-examination; at other times it appears as a challenge, a spur that incites us to action, to go forth and encounter others and the outside world. It is true that the feeling of separation is universal and not peculiar to Spanish Americans. It is born at the very moment of our birth: as we are wrenched from the Whole we fall into an alien land. This experience becomes a wound that never heals. It is the unfathomable depth of every man; all our ventures and exploits, all our acts and dreams, are bridges designed to overcome the separation and reunite us with the world and our fellow-beings. Each man’s life and the collective history of mankind can thus be seen as attempts to reconstruct the original situation. An unfinished and endless cure for our divided condition. But it is not my intention to provide yet another description of this feeling. I am simply stressing the fact that for us this existential condition expresses itself in historical terms. It thus becomes an awareness of our history. How and when does this feeling appear and how is it transformed into consciousness? The reply to this double-edged question can be given in the form of a theory or a personal testimony. I prefer the latter: there are many theories and none is entirely convincing.

The feeling of separation is bound up with the oldest and vaguest of my memories: the first cry, the first scare. Like every child I built emotional bridges in the imagination to link me to the world and to other people. I lived in a town on the outskirts of Mexico City, in an old dilapidated house that had a jungle-like garden and a great room full of books. First games and first lessons. The garden soon became the centre of my world; the library, an enchanted cave. I used to read and play with my cousins and schoolmates. There was a fig tree, temple of vegetation, four pine trees, three ash trees, a nightshade, a pomegranate tree, wild grass and prickly plants that produced purple grazes. Adobe walls. Time was elastic; space was a spinning wheel. All time, past or future, real or imaginary, was pure presence. Space transformed itself ceaselessly. The beyond was here, all was here: a valley, a mountain, a distant country, the neighbours’ patio. Books with pictures, especially history books, eagerly leafed through, supplied images of deserts and jungles, palaces and hovels, warriors and princesses, beggars and kings. We were shipwrecked with Sinbad and with Robinson, we fought with d’Artagnan, we took Valencia with the Cid. How I would have liked to stay forever on the Isle of Calypso! In summer the green branches of the fig tree would sway like the sails of a caravel or a pirate ship. High up on the mast, swept by the wind, I could make out islands and continents, lands that vanished as soon as they became tangible. The world was limitless yet it was always within reach; time was a pliable substance that weaved an unbroken present.

When was the spell broken? Gradually rather than suddenly. It is hard to accept being betrayed by a friend, deceived by the woman we love, or that the idea of freedom is the mask of a tyrant. What we call “finding out” is a slow and tricky process because we ourselves are the accomplices of our errors and deceptions. Nevertheless, I can remember fairly clearly an incident that was the first sign, although it was quickly forgotten. I must have been about six when one of my cousins who was a little older showed me a North American magazine with a photograph of soldiers marching along a huge avenue, probably in New York. “They’ve returned from the war” she said. This handful of words disturbed me, as if they foreshadowed the end of the world or the Second Coming of Christ. I vaguely knew that somewhere far away a war had ended a few years earlier and that the soldiers were marching to celebrate their victory. For me, that war had taken place in another time, not here and now. The photo refuted me. I felt literally dislodged from the present.

From that moment time began to fracture more and more. And there was a plurality of spaces. The experience repeated itself more and more frequently. Any piece of news, a harmless phrase, the headline in a newspaper: everything proved the outside world’s existence and my own unreality. I felt that the world was splitting and that I did not inhabit the present. My present was disintegrating: real time was somewhere else. My time, the time of the garden, the fig tree, the games with friends, the drowsiness among the plants at three in the afternoon under the sun, a fig torn open (black and red like a live coal but one that is sweet and fresh): this was a fictitious time. In spite of what my senses told me, the time from over there, belonging to the others, was the real one, the time of the real present. I accepted the inevitable: I became an adult. That was how my expulsion from the present began.

It may seem paradoxical to say that we have been expelled from the present, but it is a feeling we have all had at some moment. Some of us experienced it first as a condemnation, later transformed into consciousness and action. The search for the present is neither the pursuit of an earthly paradise nor that of a timeless eternity: it is the search for a real reality. For us, as Spanish Americans, the real present was not in our own countries: it was the time lived by others, by the English, the French and the Germans. It was the time of New York, Paris, London. We had to go and look for it and bring it back home. These years were also the years of my discovery of literature. I began writing poems. I did not know what made me write them: I was moved by an inner need that is difficult to define. Only now have I understood that there was a secret relationship between what I have called my expulsion from the present and the writing of poetry. Poetry is in love with the instant and seeks to relive it in the poem, thus separating it from sequential time and turning it into a fixed present. But at that time I wrote without wondering why I was doing it. I was searching for the gateway to the present: I wanted to belong to my time and to my century. A little later this obsession became a fixed idea: I wanted to be a modern poet. My search for modernity had begun.

What is modernity? First of all it is an ambiguous term: there are as many types of modernity as there are societies. Each has its own. The word’s meaning is uncertain and arbitrary, like the name of the period that precedes it, the Middle Ages. If we are modern when compared to medieval times, are we perhaps the Middle Ages of a future modernity? Is a name that changes with time a real name? Modernity is a word in search of its meaning. Is it an idea, a mirage or a moment of history? Are we the children of modernity or its creators? Nobody knows for sure. It doesn’t matter much: we follow it, we pursue it. For me at that time modernity was fused with the present or rather produced it: the present was its last supreme flower. My case is neither unique nor exceptional: from the Symbolist period, all modern poets have chased after that magnetic and elusive figure that fascinates them. Baudelaire was the first. He was also the first to touch her and discover that she is nothing but time that crumbles in one’s hands. I am not going to relate my adventures in pursuit of modernity: they are not very different from those of other 20th-Century poets. Modernity has been a universal passion. Since 1850 she has been our goddess and our demoness. In recent years, there has been an attempt to exorcise her and there has been much talk of “postmodernism”. But what is postmodernism if not an even more modern modernity?

For us, as Latin Americans, the search for poetic modernity runs historically parallel to the repeated attempts to modernize our countries. This tendency begins at the end of the 18th Century and includes Spain herself. The United States was born into modernity and by 1830 was already, as de Tocqueville observed, the womb of the future; we were born at a moment when Spain and Portugal were moving away from modernity. This is why there was frequent talk of “Europeanizing” our countries: the modern was outside and had to be imported. In Mexican history this process begins just before the War of Independence. Later it became a great ideological and political debate that passionately divided Mexican society during the 19th Century. One event was to call into question not the legitimacy of the reform movement but the way in which it had been implemented: the Mexican Revolution. Unlike its 20th-Century counterparts, the Mexican Revolution was not really the expression of a vaguely utopian ideology but rather the explosion of a reality that had been historically and psychologically repressed. It was not the work of a group of ideologists intent on introducing principles derived from a political theory; it was a popular uprising that unmasked what was hidden. For this very reason it was more of a revelation than a revolution. Mexico was searching for the present outside only to find it within, buried but alive. The search for modernity led us to discover our antiquity, the hidden face of the nation. I am not sure whether this unexpected historical lesson has been learnt by all: between tradition and modernity there is a bridge. When they are mutually isolated, tradition stagnates and modernity vaporizes; when in conjunction, modernity breathes life into tradition, while the latter replies with depth and gravity.

The search for poetic modernity was a Quest, in the allegorical and chivalric sense this word had in the 12th Century. I did not find any Grail although I did cross several waste lands visiting castles of mirrors and camping among ghostly tribes. But I did discover the modern tradition. For modernity is not a poetic school but a lineage, a family dispersed over several continents and which for two centuries has survived many sudden changes and misfortunes: public indifference, isolation, and tribunals in the name of religious, political, academic and sexual orthodoxy. Because it is a tradition and not a doctrine, it has been able to persist and to change at the same time. This is also why it is so diverse: each poetic adventure is distinct and each poet has sown a different plant in the miraculous forest of speaking trees. Yet if the works are diverse and each route is distinct, what is it that unites all these poets? Not an aesthetic but a search. My search was not fanciful, even though the idea of modernity is a mirage, a bundle of reflections. One day I discovered I was going back to the starting point instead of advancing: the search for modernity was a descent to the origins. Modernity led me to the source of my beginning, to my antiquity. Separation had now become reconciliation. I thus found out that the poet is a pulse in the rhythmic flow of generations.

*

The idea of modernity is a by-product of our conception of history as a unique and linear process of succession. Although its origins are in Judaeo-Christianity, it breaks with Christian doctrine. In Christianity, the cyclical time of pagan cultures is supplanted by unrepeatable history, something that has a beginning and will have an end. Sequential time was the profane time of history, an arena for the actions of fallen men, yet still governed by a sacred time which had neither beginning nor end. After Judgement Day there will be no future either in heaven or in hell. In the realm of eternity there is no succession because everything is. Being triumphs over becoming. The now time, our concept of time, is linear like that of Christianity but open to infinity with no reference to Eternity. Ours is the time of profane history, an irreversible and perpetually unfinished time that marches towards the future and not towards its end. History’s sun is the future and Progress is the name of this movement towards the future.

Christians see the world, or what used to be called the siècle or worldly life, as a place of trial: souls can be either lost or saved in this world. In the new conception the historical subject is not the individual soul but the human race, sometimes viewed as a whole and sometimes through a chosen group that represents it: the developed nations of the West, the proletariat, the white race, or some other entity. The pagan and Christian philosophical tradition had exalted Being as changeless perfection overflowing with plenitude; we adore Change, the motor of progress and the model for our societies. Change articulates itself in two privileged ways: as evolution and as revolution. The trot and the leap. Modernity is the spearhead of historical movement, the incarnation of evolution or revolution, the two faces of progress. Finally, progress takes place thanks to the dual action of science and technology, applied to the realm of nature and to the use of her immense resources.

Modern man has defined himself as a historical being. Other societies chose to define themselves in terms of values and ideas different from change: the Greeks venerated the polis and the circle yet were unaware of progress; like all the Stoics, Seneca was much concerned about the eternal return; Saint Augustine believed that the end of the world was imminent; Saint Thomas constructed a scale of the degrees of being, linking the smallest creature to the Creator, and so on. One after the other these ideas and beliefs were abandoned. It seems to me that the same decline is beginning to affect our idea of Progress and, as a result, our vision of time, of history and of ourselves. We are witnessing the twilight of the future. The decline of the idea of modernity and the popularity of a notion as dubious as that of “postmodernism” are phenomena that affect not only literature and the arts: we are experiencing the crisis of the essential ideas and beliefs that have guided mankind for over two centuries. I have dealt with this matter at length elsewhere. Here I can only offer a brief summary.

In the first place, the concept of a process open to infinity and synonymous with endless progress has been called into question. I need hardly mention what everybody knows: natural resources are finite and will run out one day. In addition, we have inflicted what may be irreparable damage on the natural environment and our own species is endangered. Finally, science and technology, the instruments of progress, have shown with alarming clarity that they can easily become destructive forces. The existence of nuclear weapons is a refutation of the idea that progress is inherent in history. This refutation, I add, can only be called devastating.

In the second place, we have the fate of the historical subject, mankind, in the 20th Century. Seldom have nations or individuals suffered so much: two world wars, tyrannies spread over five continents, the atomic bomb and the proliferation of one of the cruellest and most lethal institutions known by man: the concentration camp. Modern technology has provided countless benefits, but it is impossible to close our eyes when confronted by slaughter, torture, humiliation, degradation, and other wrongs inflicted on millions of innocent people in our century.

In the third place, the belief in the necessity of progress has been shaken. For our grandparents and our parents, the ruins of history (corpses, desolate battlefields, devastated cities) did not invalidate the underlying goodness of the historical process. The scaffolds and tyrannies, the conflicts and savage civil wars were the price to be paid for progress, the blood money to be offered to the god of history. A god? Yes, reason itself deified and prodigal in cruel acts of cunning, according to Hegel. The alleged rationality of history has vanished. In the very domain of order, regularity and coherence (in pure sciences like physics) the old notions of accident and catastrophe have reappeared. This disturbing resurrection reminds me of the terrors that marked the advent of the millennium, and the anguish of the Aztecs at the end of each cosmic cycle.

The last element in this hasty enumeration is the collapse of all the philosophical and historical hypotheses that claimed to reveal the laws governing the course of history. The believers, confident that they held the keys to history, erected powerful states over pyramids of corpses. These arrogant constructions, destined in theory to liberate men, were very quickly transformed into gigantic prisons. Today we have seen them fall, overthrown not by their ideological enemies but by the impatience and the desire for freedom of the new generations. Is this the end of all Utopias? It is rather the end of the idea of history as a phenomenon, the outcome of which can be known in advance. Historical determinism has been a costly and bloodstained fantasy. History is unpredictable because its agent, mankind, is the personification of indeterminism.

This short review shows that we are very probably at the end of a historical period and at the beginning of another. The end of the Modern Age or just a mutation? It is difficult to tell. In any case, the collapse of Utopian schemes has left a great void, not in the countries where this ideology has proved to have failed but in those where many embraced it with enthusiasm and hope. For the first time in history mankind lives in a sort of spiritual wilderness and not, as before, in the shadow of those religious and political systems that consoled us at the same time as they oppressed us. Although all societies are historical, each one has lived under the guidance and inspiration of a set of metahistorical beliefs and ideas. Ours is the first age that is ready to live without a metahistorical doctrine; whether they be religious or philosophical, moral or aesthetic, our absolutes are not collective but private. It is a dangerous experience. It is also impossible to know whether the tensions and conflicts unleashed in this privatization of ideas, practices and beliefs that belonged traditionally to the public domain will not end up by destroying the social fabric. Men could then become possessed once more by ancient religious fury or by fanatical nationalism. It would be terrible if the fall of the abstract idol of ideology were to foreshadow the resurrection of the buried passions of tribes, sects and churches. The signs, unfortunately, are disturbing.

The decline of the ideologies I have called metahistorical, by which I mean those that assign to history a goal and a direction, implies first the tacit abandonment of global solutions. With good sense, we tend more and more towards limited remedies to solve concrete problems. It is prudent to abstain from legislating about the future. Yet the present requires much more than attention to its immediate needs: it demands a more rigorous global reflection. For a long time I have firmly believed that the twilight of the future heralds the advent of the now. To think about the now implies first of all to recover the critical vision. For example, the triumph of the market economy (a triumph due to the adversary’s default) cannot be simply a cause for joy. As a mechanism the market is efficient, but like all mechanisms it lacks both conscience and compassion. We must find a way of integrating it into society so that it expresses the social contract and becomes an instrument of justice and fairness. The advanced democratic societies have reached an enviable level of prosperity; at the same time they are islands of abundance in the ocean of universal misery. The topic of the market is intricately related to the deterioration of the environment. Pollution affects not only the air, the rivers and the forests but also our souls. A society possessed by the frantic need to produce more in order to consume more tends to reduce ideas, feelings, art, love, friendship and people themselves to consumer products. Everything becomes a thing to be bought, used and then thrown in the rubbish dump. No other society has produced so much waste as ours has. Material and moral waste.

Reflecting on the now does not imply relinquishing the future or forgetting the past: the present is the meeting place for the three directions of time. Neither can it be confused with facile hedonism. The tree of pleasure does not grow in the past or in the future but at this very moment. Yet death is also a fruit of the present. It cannot be rejected, for it is part of life. Living well implies dying well. We have to learn how to look death in the face. The present is alternatively luminous and sombre, like a sphere that unites the two halves of action and contemplation. Thus, just as we have had philosophies of the past and of the future, of eternity and of the void, tomorrow we shall have a philosophy of the present. The poetic experience could be one of its foundations. What do we know about the present? Nothing or almost nothing. Yet the poets do know one thing: the present is the source of presences.

In this pilgrimage in search of modernity I lost my way at many points only to find myself again. I returned to the source and discovered that modernity is not outside but within us. It is today and the most ancient antiquity; it is tomorrow and the beginning of the world; it is a thousand years old and yet newborn. It speaks in Nahuatl, draws Chinese ideograms from the 9th century, and appears on the television screen. This intact present, recently unearthed, shakes off the dust of centuries, smiles and suddenly starts to fly, disappearing through the window. A simultaneous plurality of time and presence: modernity breaks with the immediate past only to recover an age-old past and transform a tiny fertility figure from the neolithic into our contemporary. We pursue modernity in her incessant metamorphoses yet we never manage to trap her. She always escapes: each encounter ends in flight. We embrace her and she disappears immediately: it was just a little air. It is the instant, that bird that is everywhere and nowhere. We want to trap it alive but it flaps its wings and vanishes in the form of a handful of syllables. We are left empty-handed. Then the doors of perception open slightly and the other time appears, the real one we were searching for without knowing it: the present, the presence.

Translated by Anthony Stanton.From Nobel Lectures, Literature 1981-1990, Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, World Scientific Publishing Co., Singapore, 1993Copyright © The Nobel Foundation 1990