César Aira story.

If I were a character in a play, the lack of true privacy would arouse in me feelings of profound mistrust, disquiet, suspicion. In some way—I don’t know how—I would feel the silent, attentive presence of the audience. I would always be aware that my words are being heard by others, and if that can actually fit in with some parts of my dialogue (there are intelligent things we say to show off before the largest number of people possible, and there are also times when we regret there isn’t an audience to appreciate those things), I’m sure that there would be other parts that would have to be spoken in an authentic and not fictitious intimacy. And those would be the most important parts for understanding the plot: the entire interest, the whole value of the play would be based on them. But their importance would not stimulate my loquacity; to the contrary; I would take the requirements for keeping any secrets very literally, as I always have. To start, I’d prefer not to speak. I’d say “Let’s go into another room, I have to tell you something important that no one else should hear.” But at that point the curtain would fall, and in the next scene we’d enter that other room, which would be the same stage with different decor. I’d look all around, sniff the ineffable… I know there are no seats in fiction, and in my character as a character I’d know that more than ever, because my very existence would be based on that knowledge, but even so…

There’s a César Aira story called The Spy on Electric Literature. [via Electric Literature]

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  1. Pingback: Rojak: JJ Cale dies. | Who Killed Lemmy Caution?

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