Time-travel has a uniquely intimate, and seductively morbid, relationship to both fiction and history, because it scrambles the very principle of narrative order in profundity. If Western media authorities assumed the same role of cultural custodianship that has been traditional among their Chinese peers, they too might have been compelled to denounce a genre that flagrantly subverted the foundational principle of Aristotelian poetics: that any story worthy of veneration should have a beginning, a middle, and an end. If time-travel can occur, it seems (at least initially) that order is an illusion, so that fiction and reality switch places. (Nick Land)

Time-travel has a uniquely intimate, and seductively morbid, relationship to both fiction and history, because it scrambles the very principle of narrative order in profundity. If Western media authorities assumed the same role of cultural custodianship that has been traditional among their Chinese peers, they too might have been compelled to denounce a genre that flagrantly subverted the foundational principle of Aristotelian poetics: that any story worthy of veneration should have a beginning, a middle, and an end. If time-travel can occur, it seems (at least initially) that order is an illusion, so that fiction and reality switch places.

Nick Land

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aristotelian authorities beginning chinese custodianship end fiction genre history illusion intimate least might media middle narrative order poetics principle profundity reality relationship role should story switch traditional veneration western worthy time-travel

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