“Loin du grand complot imaginé par France Inter, la crise biélorusse s’explique surtout par la loi, plus élémentaire, de l’effet boomerang. En matière d’immigration, l’Union européenne ne cesse de pratiquer le chantage et le marchandage. Elle subordonne son « aide au développement » à la signature d’accords de « réadmission », qui lui permettront d’expulser plus facilement les clandestins. Elle menace de ne plus accorder de visas aux États qui renâclent. Elle paie la Turquie pour retenir les quatre millions de réfugiés du Proche-Orient, le Maroc pour protéger Ceuta et Melilla, la Libye pour bloquer les départs en Méditerranée, le Niger pour cadenasser la voie saharienne.”
I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries— the realists of a larger reality . Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. ... The name of our beautiful reward is ...
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