When all the women were dead, the jihadists burned their bodies inside the houses. After they had finished with the women, the jihadists went back to …where they had locked the children. ‘They brought out the little kids – two, one and a half, three years old – they took them out holding on to each other. They took the groups and killed them with knife stabs’. The jihadists ripped open the children’s bellies with knives and tore out their intestines… ‘It was possible they killed the children like that so as not to waste their munitions, or perhaps as a game for the jihadists'.
"Although the scene above is entirely true and based on eye-witness accounts, one element of it is complete fabrication. The atrocity has nothing to do with jihadists, nor is it set in the Middle East. It took place in Guatemala, in the 1980s. I have merely substituted the real culprits—U.S.-financed counter-insurgency troops—with the word “jihadists” each time. The real passage is taken from a Virginia Garrard-Burnett’s book on Guatemala.
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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