Author: Daniel Alarcón

Cites

• Guy Debord (1)
  • IN: At Night We Walk in Circles (2013) Fiction, American
    EPIGRAPH: The spectacle’s externality with respect to the acting subject is demonstrated by the fact that the individual’s own gestures are no longer his own, but rather those of someone else who represents them to him. The spectator feels at home nowhere, for the spectacle is everywhere.
    FROM: The Society of the Spectacle, (1967), Book, France
• Eugene Ionesco (1)
  • IN: At Night We Walk in Circles (2013) Fiction, American
    EPIGRAPH: BÉRENGER: [who also stops feeling the invisible walls, greatly surprised] Why, what do you mean? [The ARCHITECT returns to his files.] In any case, I’m glad my memory is real and I can feel it with my fingers. I’m as young as I was a hundred years ago. I can fall in love again … [Calling to the wings on the right: ] Mademoiselle, oh, Mademoiselle, will you marry me?
    FROM: The Killer, (1958), Play, Romania/France
• Carlos Monsivais (1)
  • IN: Lost City Radio (2007) Fiction, American
    EPIGRAPH: It is the people who are executed and the people who make up the firing squad; the people are both vague randomness and precise law. There are no tricks, nor can there be.
    FROM: Mexican Postcards, (1997), Book, Mexico
• Carlos Villacorta (1)
  • IN: War by Candlelight: Stories (2005) Fiction, American
    EPIGRAPH: mi familia y mis mejores amigos And they’ve opened your sides to cover their stench And they’ve beaten you because you are always stone And they’ve thrown you to the abyss so as not to hear your voice of fire And they’ve wounded you And they’ve killed you And so they’ve abandoned you like an animal like the king of any desert except this one
    FROM: In Your Kingdom”, (2007), Poem, NULL