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Read more in English : Notes on travel and theory
La fiction est la production du réel à partir de l’expérience elle-même, connaissance et action indissociablement mêlées, insurrection débouchant sur la constitution (et la transformation des constitutions existantes).
Ce qui importe le plus, sans doute, à la réinvention de la politique dans le monde d’aujourd’hui, comme responsabilité individuelle et comme schème de communication entre les groupes, c’est de trouver par l’expérience les lieux de la fiction.
Etienne Balibar, Droit de cité, Ed de L’aube, France.
Oui, je crois qu’il existe un peuple multiple, un peuple de mutants, un peuple de potentialités qui apparaît et disparaît, s’incarne en faits sociaux, en faits littéraires, en faits musicaux (...)
Félix Guattari
(...) Through something like Brecht’s estrangement-effect, naming as renaming can provide insight into what we call history, its making no less than its retelling, especially history of the spirits of the dead as the mark of nation and state, but I have in mind, by renaming, something else as well - namely the evocation of a fictive nation-state in place of real ones so as to better grasp the elusive nature of stately being. After all it is not only the writer of fiction who fuses reality with dreamlike states. This privilege also belongs, as Kafka thaught, to the being-in-the-world of the modern state itself.
Michael Taussig, preface to The Magic of The State, Routledge, 1997.
At the end of ’62 John Ford’s "The man who shot Liberty Valance".
Stoddard confesses the whole story for the first time, but the newspaper editor refuses to publish it and burns the notes his reporter took. "When the legend becomes fact," the editor says, "print the legend."
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