Kurt Vonnegut. Slaughterhouse-Five. El planeta Trafalmadore no viu el temps com un seguit d’instants que se succeeixen on només hi ha el present que segueix un passat que ja no existeix i un futur que no existeix encara. Tots els instants existeixen i un individu, a través de la quarta dimensió, els pot visitar tots [com si es traslladés al llarg d’un corredor a diferents habitacions], tal com fa el protagonista Billy Pilgrim. Aquest és abduït i exposat en un zoològic. Un cop s’aprèn la nova manera d’existir, es pot viatjar en el temps com en l’espai.
[il·lustració diferents escenes ]
Slaughterhouse-five: or, The children’s crusade, a duty-dance with death (Kurt Vonnegut)
p. 26
This was when Billy first came unstuck in time. His attention began to swing grandly through the full arc of his life, passing into death, which was violet light. There wasn’t anybody else there, or any thing. There was just violet light and a hum. And then Billy swung into life again, going backwards until he was in pre-birth, which was red light and bubbling sounds. And then he swung into life again and stopped. He was a little boy taking a shower with his hairy father at the Ilium Y.M.C.A. He smelled chlorine from the swimming pool next door, heard the springboard boom.
p.51
Earthlings are the great explainers, explaining why this event is structured as it is, telling how other events may be achieved or avoided. I am a Tralfamadorian, seeing all time as you might see a stretch of Rocky Mountains. All time is all time. It does not change. It does not lend itself to warnings or explanations. It simply is. Take it moment by moment, and you will find that we are all, as I’ve said before, bugs in amber.’
p. 52
Billy couldn’t read Tralfamadorian, of course, but he could at least see how the books were laid out-in brief clumps of symbols separated by stars. Billy commented that the clumps might be telegrams. ‘Exactly,’ said the voice. ‘They are telegrams?’ ‘There are no telegrams on Tralfamadore. But you’re right: each clump of-symbols is a brief, urgent message describing a situation, a scene., We Tralfamadorians read them all at once, not one after the other. There isn’t any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.’
p. 66
Billy was displayed there in the zoo in a simulated Earthling habitat. Most of the furnishings had been stolen from the Sears & Roebuck warehouse in Iowa City, Iowa. There was a color television set and a couch that could be converted into a bed. There were end tables with lamps and ashtrays on them by the couch.
[pintura viatge doble retrat]
[dibuix on surtin els meus jos de 9, 14, 40, 65 i 80 anys conversant plegats]
Idees similars prèvies o relacionades
Despertars inesperats: el son com a espai per saltar d’un moment a l’altre en el temps. (2023)
El jo, invariants. Panoptikon: som éssers “amfibis” que vivim en el passat, el present i el futur. (2023)
Quin futur visitaria? (2023)
Si tot existeix sempre, vol dir que “no fem” el futur sinó que simplement recorrem una sèrie d’escenes preestablertes? I en tot cas aprenem a saltar de l’una a l’altra. (Antropologia determinista, complement). (2023)
2009. Mirant la gent, quatre edats, endevinar l’adult en el nen, el jove que havia estat en el vell.
Borges a “El Otro” de “El libro de Arena, presenta una trobada a Cambridge entre el Borges ancià i el Borges jove.
Mileda Maresova. Doble retrat 1923. Narodni Galerie Veletrzni Palac, Praga.
Jo havia concebut Bacups per restaurar la vida en un punt anterior
La idea de connectar dos identitats de moments diferents es du a terme una mica en els correus enviats al futur que vaig començar a fer amb el future.me. ( La idea de connectar amb el jo futur: BBC )