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When I touched that boy, I felt something. Something awful. Something I can’t describe.” “We all felt it,” Nick said. “You may have felt it, but I caused it.” Then both his eyes seemed to go far away. “Something changed out there. I don’t know what it was, but something in the world changed because that kid didn’t deserve what I did to him—and the powers that be know that I did it.” Nick watched as a tear fell from his Everlost eye and disappeared through the living world table. “What if,” said Nick, not even sure what he was going to say yet, “what if you were that kid and you were told you could change the world, but you would have to sacrifice yourself to do it?” Clarence chuckled at the thought. “I believe that question was already asked a long time ago, and that creepy kid did not look anything like Jesus to me.” “But you do think that something changed. . . .” “I don’t know whether it’s good or bad.” “What if it’s neither?” suggested Nick. “What if we get to make it one or the other? ↗
The 21st chapter gives the novel the quality of genuine fiction, an art founded on the principle that human beings change. ----- "A Clockwork Orange Resucked" intro to first full American version 1986 ↗
Simply because one is Black or Latino or lesbian or gay or whatever does not guarantee the person’s fidelity to a body of politics that empowers the particular constituency that they supposedly represent. The number of black elected officials has risen from 100 in 1964 to more than 9000 today. The number of African Americans who were in congress 30 years ago was about five; today it is over 40, an 800 percent increase. But have Blacks experienced an 800 percent increase in real power? It hasn’t happened. So, I think the emphasis of this liberal notion of social change by working solely within the established electoral system is just fatally flawed. ↗
…is postmodernity the pastime of an old man who scrounges in the garbage-heap of finality looking for leftovers, who brandishes unconsciousnesses, lapses, limits, confines, goulags, parataxes, non-senses, or paradoxes, and who turns this into the glory of his novelty, into his promise of change? ↗
