We have only mentioned him once before on this site, but we like him more than that. In less than one minute, he sums up what can sometimes take us years to get right in the development and operation of a conservation resort: framing local phenomena in such a way that reflects value beyond the locale, while avoiding as much as possible the homogenizing effects of globalization.
The same writer, interviewed recently had this to say about writing for the sake of historical perspective, which we also can relate to well:
PM: I came across this line of yours about the period from 1975 to 1982 when murder and political violence and state oppression were at their heights: “To lock myself up in a room to write a new history, a new story with allegories, obscurities, silences, and never-heard sounds, is of course better than to write another history of defects that seeks to explain our defects by means of other defects.”
OP: Around the age of thirty, I began to learn that complaint is the sweetest thing in the non-Western world. You’re complaining about corruption, you’re complaining about lack of this, lack of that. But in the end, that doesn’t make good fiction. Good fiction is about asserting the beauties of the world, inventing a new, positive thing. Where am I going to get that? And it should be original; it should not be clichéd.
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