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You're smiling. But you must know yourself, since you are a literary person, that the work of fiction is always a form of recovery of the past, even if that past has to be falsified to seem real. The act of recalling the past in what we write doesn't mean knowing the way it really was, but rather becoming the master of memories as they burn in the perilous instant of creation.
Raymond Federman, Aunt Rachel's Fur
From Raymond Federman’s Smiles on Washington Square
"The same psychic processes underlie scientific thinking and imaginative thinking."
— Stanislaw Lem, interview with Raymond Federman in Science Fiction Studies Vol. 10 #29 (1983)
Moinous Je me dédouble Je m’écrie et m’écris en deux langues Je me regarde me regarder Je me me je Je me vois vu Je me vouvoie Je me déchire en morceaux Je me raccommode avec du fil rouge Je me dis-per-se Je me coupe et m’entrecoupe Je m’émotionne Je m’émeus tout seul Je me mets en moi Je mets moi en moi Je me noue Je me dénoue Je me moinous Je me singularise Je me pluralise Je me moi aussi moi aussi Je me décentre Je joue au ping-pong tout seul des deux côtés Je me schizophrénise Je me tranche en plusieurs Je me masque le masque Je me suis un autre Je me je nous suis-je Je me désaxe Je me concentre vers le côté ouvert Je m’additionne Je me double et me redouble Je me multiplie par quatre et me démultiplie par six Je me jalouse Je me perds en moi Je me déconstruis Je me disparais"
Raymond Federman, « Coups de pompes »
Most love stories are nocturnal. That's what makes them so fascinating.
Raymond Federman, Smiles on Washington Square
You see, what I write is simply a mixture of memories and lies, well, if not lies, distortions, but of course every lie has a little part of truth, one has to learn to listen. Life, like an old worn-out coat, always has a lining of fiction that is a little ripped.
Raymond Federman, Aunt Rachel's Fur