Or rather they helped to furnish the illusion of a relationship with the outside world: a dismal cop-out nourished and centralized by a scornful power bent only on keeping people in their state of continuous isolation. “But certainly not the goals you’re talking about! Even those infamous contributions, those dialogues across the ether that were later purged by the Library, helped break that cycle of loneliness in which our citizens were confined. “But isn’t it possible that the Library did reach one of its goals? To bring people closer together?” “Oh, it reached goals! Quite a lot of goals!” he said with a dash of sarcasm. It was presented as a good cause, created in the hope of encouraging people to be more open with one another. Have you ever seen something spawned from a garbage dump?” “To be honest, no, I haven’t,” I replied. Giorgio De Maria, The Twenty Days of Turin 4 likes Like Small wonder, then, that an institution like the Library found space to take root. It’s certain that from those media, things passed into a slimy subsoil, a drainage basin where anyone could tip anything they wanted, all the gunk they kept inside themselves. We’ll skip over the widespread tendency of many citizens to confide their worries in newspaper agony aunts and talk radio hosts. Something terrible happened to that Italian city in the 1970s decades later, our unnamed narrator tries to write a book about it. “I don’t think the Library could’ve come to life if it hadn’t found an accepting climate, a moral willingness to latch on to. Giorgio De Maria's Twenty Days of Turin is a work of imagined history.
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