Dreamworlds can maintain themselves only as glimpses. Once the writer transports the reader across the threshold, nothing that was promised can be delivered. What was ominous becomes ordinary; what was bizarre, quotidian. Unless you simply keep upping the ante, piling on the bullshit, the only way to revive things is to switch perspectives as quickly as you can.

Budapest is a prime site for dreams: the East’s exuberant vision of the West, the West’s uneasy hallucination of the East. It is a dreamed-up city; a city almost completely faked; a city invented out of other cities, out of Paris by way of Vienna — the imitation, as Claudio Magris has it, of an imitation.

Identity is not negotiable. An identity you have achieved by agreement is always a prison.

Everyone loves a mysterious country.

Dreamworlds can maintain themselves only as glimpses. Once the writer transports the reader across the threshold, nothing that was promised can be delivered. What was ominous becomes ordinary; what was bizarre, quotidian. Unless you simply keep upping the ante, piling on the bullshit, the only way to revive things is to switch perspectives as quickly as you can.

Stories pass the experienced world back and forth between them as a metaphor, until it is worn out. Only then do we realize that meaning is an act. We must repossess it, instant to instant in our lives.

Egnaro is a secret known to everyone but yourself. It is a country or a city to which you have never been; it is an unknown language. At the same time it is like being cuckolded, or plotted against. It is part of the universe of events which will never wholly reveal itself to you: a conspiracy the barest outline of which, once visible, will gall you forever.