Category Archives: Other print media

Publications that are unique enough by way of presentation, format or content, they deserve their own melange of a category. Includes comics; lengthy pamphlets; art books; “web books” – there must be some kind of better name for that – etc

REVIEW: NAOKI URASAWA PRESENTA: 20TH CENTURY BOYS: LIBRO 1: AMIGO

Naoki Urasawa presenta: 20th Century Boys, Libro 1: Amigo (20th Century Boys, #1)Naoki Urasawa presenta: 20th Century Boys, Libro 1: Amigo by Naoki Urasawa

My rating: 3 of 5 stars

Manga + Kindle + aprender idiomas = ¡Win! (¡Victoria!)

Estoy enamorado de verdad de la idea de leer manga en mi Kindle, ¡y gratis también! El primer que he probado es 20th Century Boys de Naoki Urasawa, creador de Monster, que me avergüenza decir que nunca lo acabé. Algún día, quizás, quizás… Por lo que conseguí entender, porque una de las razones que lo leo el manga en español es para aprender palabras nuevas y practicar y por eso es claro que no entiendo todo, esta obra se ve muy prometedora. Solo espero que esta vez la leeré hasta el final. No tengo nada de paciencia con series muy largas…

A propósito, no sé qué es la mejora manera de escribir críticas para mangas. No voy criticar todos los libros, ¡eso significaria 22+ criticas por solo un manga! No, debe que haber otra manera… A ver.

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REVIEW: THE LEGEND OF ZELDA: HYRULE HISTORIA

The Legend of Zelda: Hyrule HistoriaThe Legend of Zelda: Hyrule Historia by Shigeru Miyamoto

My rating: 4 of 5 stars

When I first heard of the existence of Hyrule Historia and its inevitable translation and release in Western markets I was as ecstatic as any fan could be. To give you an idea, scanlations from the original Japanese edition were unleashed to the thirsty hordes of Zelda enthusiasts within a matter of hours after release in Nipponia. Finally! A Zelda tribute to end Zelda tributes; a book strictly for the fans; an official behind-the-scenes, anthology, retrospective, together with the manga prelude to Skyward Sword, all presented with high quality illustrations, colour and printing and, perhaps most importantly, THE TIMELINE!

Now that eyebrows have had the time to be lowered and discussion on the three timeline theory, which like it or not is now obviously canon, has subsided, it’s time for the admission part: the part where I look into the cold, hard facts of being a maturing Zelda fan. I hope you’re ready.

In the last pages of the book there’s a Thank You note from Eiji Aonuma, director and designer of many of the most recent additions to the series and to many the visionary and overseer of the Zelda franchise as a whole ever since Majora’s Mask was released. This is part of what he had to say:

“The History of Hyrule” allows players to determine where each Zelda game is positioned in the chronology of the series. One thing to bear in mind, however, is that the question the developers of the Legend of Zelda series asked themselves before starting on a game was, “What kind of game play should we focus on?” rather than “What kind of story should we write?” For example, the theme of Ocarina of Time , the first Zelda game I was involved with, was, “What kind of responsive game play will we be able to create in a 3-D environment? […]

“Because the games were developed in such a manner, it could be said that Zelda‘s story lines were afterthoughts. As a result, I feel that even the story of “The Legend Begins” in Skyward Sword was something that simply came about by chance.

“Flipping through the pages of “The History of Hyrule“, you may even find a few inconsistencies. However, peoples such as the Mogma tribe and items such as the Beetle that appear in Skyward Sword may show up again in other eras. Thus, it is my hope that the fans will be broad minded enough to take into consideration that this is simply how Zelda is made.”

I remember reading years ago that the official timeline of the series was a confidential document kept deep inside the Nintendo headquarters in Kyoto… As the years passed and new titles that made little sense when put in the big picture were added to the chronology, such as Twilight Princess, the connecting story started looking like either a lie too disappointing to reveal, or if it really was there, just a little bit too simplistic, i.e. is the great overarching story of the Legend of Zelda just a tale of many Links, many Zeldas, many Ganons and a terribly uninteresting tale of a prophecy never fulfilled? I slowly joined the disappointed doubters, those that questioned the relevancy of the timeline or even the very existence of it.

This confirmation by Aonuma sealed the deal: it was Nintendo’s way of saying “you wanted it so badly, so here it is, but you’re looking too much into it; go out more would you, you buncha nerds!” and I think it would indeed be sound advice for people still arguing on forums whether the official timeline is in fact real or not, suggesting that their own version of the timeline makes a lot more sense! The denial there is in the world…

I must admit that expecting a big closure from Skyward Sword, the “aha!” moment that would put every little piece of the puzzle in its place and it never really coming but instead getting the much-advertised prelude to Ocarina of Time with more unresolved new directions, brand new deities (as if there weren’t enough already), characters and hint-dropping, left me with a sour taste in my mouth. It is obvious that if you really want to enjoy Zelda and avoid such disappointments it would be a good idea to be “broad-minded enough” as Aonuma-san suggested, to turn your thinking brain off and take it as Nintendo delivers it. Willing as I am, I just can’t do that. I can’t create connection between the stories when the connective links (get it?) are so vague, each time raise more questions than they answer–for sequels’ sake– and often feel as arbitrary as Star Wars Episode III.

As Zelda games are changing to cater for new audience and are at least trying to get with the times, I feel more and more that they’re just not for me, that Nintendo has long stopped trying to cater for my ilk and that in reality they can’t even do it anymore. I can already see with my mind’s eye Nintendo fanboys who never broke away listing the “hardcore” games Nintendo has released in recent years that would supposedly dispute my argument. What they don’t realise themselves is that Nintendo of old, the Nintendo that dominated my childhood, was revolutionary, it wasn’t just the franchises and the games. It was innovative, it created demand, it didn’t just respond to fans. Now it’s like Fidel Castro or Chavez – only the blind and misled still see revolution where there’s nothing left but allusion to and revering of the good ole days.

Maybe it’s the gaming culture I’ve grown out of, or even a gaming culture I can’t grow into anymore. Maybe it’s just the simple fact that people change, or, as I’ve observed time and time again, that people heavily tend to single out the Zelda title they first played as the pinnacle of the series that can never be bested, and what of course follows is unrealistic expectations of newer games that they will finally be the ones that emulate the feelings they had when they played their first Zelda when they were 9. Is it possible that when a game becomes an enduring legend, the greatest enemy it has to face is its own legacy? Newer players seem to love games such as Spirit Tracks or the new Link Between Worlds, games I really can’t see myself getting into for the simple reason that I just grew up differently. It’s a pity, but so is the nature of the world: as series reach their maturity and endure for more than 25 years in a field which is barely older than that itself, so do players. Funny how people don’t have similar expectations from other media, such as fairytales or children’s animation movies.

Nevertheless, Hyrule Historia is safe from all the above because it’s made for my own personal nostalgia, it only exists in the past. It’s like a photo album with pictures from your childhood: it remains valuable no matter what. Apart from the older ones like me, I can also see the young ones taking an interest in it, those who love Spirit Tracks and Wind Waker HD and who never had the chance to grow up with the older games (same with me and the original NES Zelda) but are still interested in the series as a whole and think I’m a snob hipster 20-something gamer elitist, the very same feelings I had for those who thought Ocarina of Time was crap because according to them Link to the Past was the best. Don’t worry kids, you’re up next.

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REVIEW: ΑΝΤΙΚΟΥΛΤΟΥΡΑ: ΤΑ “ΚΑΚΑ” ΠΑΙΔΙΑ

Αντικουλτούρα: Τα Αντικουλτούρα: Τα “κακά” παιδιά by Juan Carlos Kreimer

My rating: 3 of 5 stars

Δύσκολα η γενιά μας έχει πρόσβαση σε πληροφορίες για το τι γινόταν 50 χρόνια πριν, σε μια εποχή που είχε ελπίδα, όραμα και παραδόξως -γιατί τότε ήταν ο τρόπος ζωής των παρείσακτων – γέννησε μεγάλο μέρος αυτού που σήμερα λέμε pop culture (δηλαδή δημοφιλή κουλτούρα). Δεν διδάσκεται πουθενά και όλοι μας σχεδόν έχουμε σαν δεδομένα αυτά που έγιναν τότε: από τα κεκτημένα στα δικαιώματα των μαύρων μέχρι τους ανατρεπτικούς μουσικούς που γέννησαν τη ροκ και τις ενθεογενείς ουσίες οι οποίες άνοιξαν μυαλά αλλά διώχτηκαν και συκοφαντήθηκαν. Δυστυχώς από τότε έχει περάσει αρκετός καιρός ώστε να μαθαίνουμε μόνο αυτά τα οποία το κύριο ρεύμα μπορεί να χωνέψει και έχει εντάξει· είμαι σίγουρος πως πολλές ιστορίες, φιγούρες και άλλα σημαντικά για την εποχή γεγονότα και διεργασίες έχουν πια ξεχαστεί ή/και επιμελώς θαφτεί.

Το βιβλίο ως βιβλίο καταπιάνεται με όλα αυτά. ο Juan Carlos Kreimer και ο Frank Vega προσπαθούν με το Αντικουλτούρα: Τα «κακά» παιδιά (thumbs-down στην μετάφραση του τίτλου και των εισαγωγικών, που στο πρωτότυπο είναι Contracultura para principiantes, δηλαδή Αντικουλτούρα για Αρχάριους), να μας δώσουν εμάς, την γενιά του 21ου αιώνα, τι έγινε εκεί πίσω στην εποχή η οποία δημιούργησε τις περισσότερες φιγούρες στις οποίες πιστεύει το σημερινό περιθώριο, όσο κι αν σπάνια έχει συνείδηση της συστημικότητας -ήδη απ’το ’70- πολλών απ’τα στοιχεία που αυτό οικοιοποιείται σήμερα. Τα καταφέρνει; Ναι και όχι.

Ναι, γιατί αναφέρει -αρκετά συμπυκνωμένα είναι αλήθεια- όλα αυτά που μόλις έγραψα. Πώς έγιναν διάσημοι οι Beatles, πώς ξεκίνησαν οι Sex Pistols, ποιος έκανε το LSD διάσημο, ποιοι ήταν οι πρώτοι διανοητές beat, ποιες ταινίες επηρέασαν το πνεύμα της εποχής, γιατί δολοφονήθηκαν όλοι οι πολιτικοί -μαύροι και λευκοί- οι οποίοι θα μπορούσαν να είχαν κάνει τη διαφορά, τι διάβαζαν οι χίπιδες, τι δυσφήμισε τα κινήματα κτλ.

Όχι, γιατί δεν κατάφερε να δημιουργήσει μια συνεκτική ιστορία που θα συνέδεε όλην αυτή την πληροφορία σε μια ιστορία, σε μια ενιαία αφήγηση. Διαβάζοντας το μαθαίνεις αποσπασματικά τις λεπτομέρειες αλλά δεν λαμβάνεις την όλη αίσθηση της εποχής τόσο πολύ.

Τελικά όμως θα μου φανεί χρήσιμο ως σημείο αναφοράς για να ψάξω από μόνος μου κάποια από τα πρόσωπα, τις ταινίες, τα συγκροτήματα, τα πρόσωπα και τα γεγονότα που σημάδεψαν την γέννηση της αντικουλτούρας. Γιατί αν δεν ξέρεις ιστορία, είσαι καταδικασμένος να την επαναλάβεις (Santayana), ακόμα κι αν η ιστορία δεν επαναλαμβάνεται, παρα μόνο κάποιες φορές κάνει ομοιοκαταληξία (Twain) και τελικά το μεγαλύτερο μάθημα που μπορεί να μας διδάξει είναι πως οι άνθρωποι δεν μαθαίνουμε από αυτή (Huxley). Νιώθω πολύ πόζερος που μόλις το έγραψα αυτό.

Πολλά ευχαριστώ στον Κίρα που μου έκανε το βιβλίο δώρο πέρσι τα Χριστούγεννα. Άργησα (σχετικά!) αλλά δεν μου ξέφυγε.

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REVIEW: THE ARTIST’S WAY: A SPIRITUAL PATH TO HIGHER CREATIVITY

The Artist's Way: A Spiritual Path to Higher CreativityThe Artist’s Way: A Spiritual Path to Higher Creativity by Julia Cameron

My rating: 5 of 5 stars

The Artist’s Way is one of those books that change you – one of those that are made to change you, and you buy them because you yourself want to change. It’s a course in self-discovery, acceptance and creative birth.

These are the basics: for every morning of every week for the 12-week duration of the course -one chapter for each week-, the blocked artists choosing to follow the Way have to:

1)Do three pages of free writing every morning, a daily ceremony known as the Morning Pages. This acts as a mind-clearing meditation routine, a brainstorming machine and a way of spotting trends: weeks after writing the pages the artist on the Way may analyse his or her morning pages and notice trends in his or her daily writings: unfulfilled artistic urges, changes that need to be made for the person to reach harmony and happiness, sudden ideas and other great things.

2) Take themselves out to at least one Artist’s date per week, in which they have to indulge in whatever it is they love doing but would not normally allow themselves to be lost in (remember, this book is meant for blocked artists -read: most of us-).

3) Complete tasks in personal archaeology and self-discovery, wherein they have to dig up favourite creative childhood pass-times they gave up because of humiliation, “growing up” or other creativity-killing reasons.

I completed my 12(+1 lazy one) weeks a few days ago. I can safely say that it had great effects on me. Doing morning pages has now become more of a good habit of mine, and even if I didn’t do all of the tasks, it’s one of the books you have to go through at some point again for inspiration. It says so in the end, too.

If you’re a blocked artist, believe you can’t do art because you think you’re too old to start or “can’t draw” (or are “tonedeaf” or “terrible at writing” or “have no ideas” ad nauseam), think whatever you do needs to be perfect from the beginning or don’t bother because what you would create wouldn’t appeal to the masses, you should really try following The Artist’s Way.

The only thing I would add to the course itself would be a special NoSurf task or, even better, a complete revisit to the book that takes what the world looks like in 2013 into account; I strongly feel the internet is becoming, at the same time, the most important invention and the single strongest creativity and motivation killer mankind has ever known. I mean, in the 1993 edition that I have, there’s already a no-reading week included in the course for eliminating distractions and for focusing time and energy on the creative juices within, but the internet is proving to be a distraction magnitudes greater than reading the paper or a book could ever be. We come in contact with the works of the world’s most talented and creative on a basis of addiction, almost.

What I really mean is that I’ve grown tired of and alarmed at the great artists I personally know who keep getting demotivated by seeing someone else’s graphic, photo or drawing on Tumblr or listening to that fantastic song or watching that clever video on Youtube, instead of getting inspired, as they claim they should be. It’s more “look how much others have progressed instead of me” and much less “this is possible and I could do it too.”

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REVIEW: ΠΟΙΗΣΗ ΚΑΙ ΖΩΓΡΑΦΙΚΗ ΣΤΗΝ ΙΑΠΩΝΙΚΗ ΤΕΧΝΗ: Ο ΜΠΑΣΟ ΚΑΙ ΤΟ ΑΝΕΜΟΔΑΡΜΕΝΟ ΤΑΞΙΔΙ

Ποίηση και ζωγραφική στην ιαπωνική τέχνη: Ο Μπασό και το Ανεμοδαρμένο ΤαξίδιΠοίηση και ζωγραφική στην ιαπωνική τέχνη: Ο Μπασό και το Ανεμοδαρμένο Ταξίδι by Κλαίρη Β. Παπαπαύλου
My rating: 3 of 5 stars

λευκή σκέψη
σελίδες κολλημένες
θέα απ’το βουνό

Το πιο καταπληκτικό γι’αυτό το βιβλίο είναι μόνο και μόνο το ότι υπάρχει. Η συγγραφέας του, η Κλαίρη Β. Παπαπαύλου, δίδασκε ιαπωνική κουλτούρα και τέχνη στο Πανεπιστήμιο Κρήτης ήδη από τα μέσα της δεκαετίας του ’80, δύο δεκαετίες πριν γίνει της μόδας, και αυτό το βιβλίο δημοσιεύτηκε το 1988. Οι άκοφτες σελίδες και το πολυτονικό σίγουρα συνεισέφεραν στην αίσθηση μοναδικότητας, ιερότητας, και όπως θα έλεγαν οι Ταοϊστές σε άπταιστο Αγγλικήν, suchness του. Απλά υπήρχε, και το μονοπάτι μου ήρθε σε επαφή μαζί του. Αν δεν το έβρισκα από αυτόν που το πούλαγε στον Κεραμεικό δίπλα στο μετρό, εκεί που απλώνουν τα παλιά και μεταχειρισμένα βιβλία, αποκλείεται να έπεφτε στα χέρια μου ποτέ.

Και, εδώ που τα λέμε, δεν θα ήταν σπουδαία απώλεία. Οι εξηγήσεις της κας. Παπαπαύλου για τα χαϊκού και την ιστορία του Μπασό, τον οποίο εκτιμώ κι εγώ ιδαίτερα (ή τουλάχιστον το έργο του) ήταν σίγουρα ενδιαφέρουσες και κατάφεραν και με ταξίδεψαν στην Ιαπωνία της εποχής μετά το Shogun 2: Total War. Το πρόβλημα όμως ήταν το κομμάτι που έμπαινε εις βάθος στην παραδοσιακή ιαπωνική τέχνη, και ιδιαίτερα οι εικόνες που το συνόδευαν. Αν εκδιδόταν σήμερα με καλό χαρτί και με λεπτομερείς σαρώσεις και φωτογραφίες από τα έργα και τις τεχνοτροπίες που περιγράφει, θα ήταν σίγουρα πιο πετυχημένο. Και είναι κρίμα, γιατί μου άνοιξε πολύ την όρεξη με τον συνδυασμό καλλιγραφίας, ποίησης και αυτής της υπέροχης ιαπωνικής μελάνης, όλοκληρο το ολιστικό πακέτο που συνδυάζει το μέσο, το μήνυμα, όλες τις πτυχές της αναπαράστασης του μηνύματος, ακόμα και το ίδιο το χαρτί και το σχήμα του ή την διάταξη του…

Πάντως, αν έκανα ένα ταξίδι στην Ιαπωνία του σήμερα ή του τότε, σίγουρα θα μου άρεσε να ακολουθήσω την πορεία του Ανεμοδαρμένου Ταξιδιού. Και, γιατί όχι, να φτιάξω στην πορεία τη δική μου ποίηση και ζωγραφική 2-σε-1 .

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REVIEW: THE ART OF LOOKING SIDEWAYS

The Art of Looking SidewaysThe Art of Looking Sideways by Alan Fletcher

My rating: 5 of 5 stars

 

Above: a photograph of my own copy of The Art of Looking Sideways.

This book is a valuable collection of experiences, quotes, designer-gasms, observations and insights into life, the aesthetic, artistic and general human experience, by late master graphic designer Alan Fletcher.

I got it more than a year ago like new (yes, it took me this long to go through its 1000+ pages reading/enjoying on and off) for around €30. Most of that must have been the shipping costs: when it arrived I really couldn’t believe the sheer mass of it. I tried to scan some of it, once; the results: my current profile picture, and a scanner which since then has been occassionally malfunctioning, the book’s weight having left a permanent scar in its life of digitisation. This is actually the only reason I haven’t been lugging it around more often, showing it to each and every one of my friends — artistically inclined or no.

This book is so thick with inspiration it’s almost impossible to deal with: you can’t open it randomly to catch the creative spark (supposedly Alan Fletcher’s point in making it) without wanting to read it all. Though I suppose this mindless and distracted consumption is a personal demon I have to deal with!

Anyway. I’ll make this short and to the point: this treasure chest of a book is one of my most prized and proud possessions — and believe you me, as a rule I don’t take particular pride anymore in owning things.

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REVIEW: KOKO BE GOOD

Koko Be GoodKoko Be Good by Jen Wang

My rating: 3 of 5 stars

Another addition to my Daphne-induced comic experiences, one more tasty slice of life from her rich suggestion list. I liked the art, enjoyed the story but I don’t feel as if it left me with something valuable. Koko was annoying and I wasn’t interested in what she was doing at all, apart from giving me some ideas for being more spontaneous myself; I sympathised much more with Jon and the decisions he had to make in life, i.e, whether he would follow what he thought would be a step forward (going with his long-distance girlfriend to Peru for humanitarian work) or do what he had convinced himself was beneath him but deep down (?) would rather be doing.

Enjoyable, quick summer read that took me places; nothing too earthshaking – thank goodness not everything is earthshaking.

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REVIEW: CLOVER OMNIBUS

Clover Omnibus
Clover Omnibus by CLAMP

My rating: 3 of 5 stars

I read the other reviews on Goodreads before setting out to write this (as I always do for good or ill) and it seems that we only got 2/3 of what Clover was originally meant to be. Maybe that’s why it’s nonsensical. The “written word” part of it is just that: incoherent. The lyrics from that song, in 110% cliché anime style (i.e generic song that has the words love, happiness, forever, together, alone, tears and heart mixed, sautéed in soy sauce and served on the spot) repeated ad nauseam was quite annoying and the plot in general didn’t exist at all. Yes, I’ve concluded that it can’t be my fault that almost all anime/manga plots fly right over my head. This one in particular… wow. It was so irrelevant or so it seemed, that I think it would have been better if I had “read” it in Japanese (or whatever other verb you can use to describe at least trying to read something that’s in a foreign language and you by default only pay attention to the shapes of the letters/characters/kana).

The reason I’m stressing this of course is that this tome is just beautiful and I can imagine the aesthetics take a hit when the kana and kanji are forced to be replaced by latin characters. The steampunk/clockwork angel & sparrow thing worked well and was pretty to look at on the experimentally laid out pages that flow in lightning speeds. While I enjoyed the visual feast, I must confess that this style in the end is just not for me.

Even like that, I ended up liking it and it’s probably because some parts reminded me very strongly of my girlfriend who’s the one who came to my house one day and out of the blue just left Clover on my desk. If it wasn’t for her, I would have probably never touched it. But, sentimental a critic as I am, my feelings governed these keystrokes. I feel strangely complete writing this.

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REVIEW: APOCALYPSOPOLIS

ApocalypsopolisApocalypsopolis by Ran Prieur

My rating: 5 of 5 stars

I’ve asked the question before, but can we really consider this a book? If the writer says it’s one, it is one; we’re taking it from there.

I’ve been reading the blog of this crazy person Ran Prieur for the past few weeks and every day I love him more and more. His writing, his style, his way of life is another inspiration for me. He’s quickly finding his way to this exclusive mental resort where all my top favourite people (Douglas Adams, Dan Carlin, Maria Efthimiou, Kyle Cease, Jean-Jacques Rousseau, Raymond Smullyan, Steven Wilson, Alan Watts, Edgar Wright and the list goes on) are having the longest cocktail party/cozy discussion in altered states of their (after)lives.

Apocalypsopolis is a post-apocalyptic novela – or should I say while-apocalyptic? It shows what would happen during the apocalypse. Ran Prieur’s version of it isn’t any old end of the world, however. Through his work he clearly shows all of the things that mattered to him 9 years ago and still, to a certain extent, do today: man’s alienation from nature, his interest in “conspiracy theories” and metaphysics, the simplicity, complexity and -at the same time- trivialty of existence, the future of humanity.

You like post-apocalyptic fantasy? Read it. You like (political) philosophy? Read it. You like hippie fiction? Read it. Intrigued by the deconstruction of metaphysics? Read it. Survivalism strike your fancy? You know the drill.

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REVIEW: ΤΟ ΛΑΒΩΜΕΝΟ ΝΕΡΟ

Το Λαβωμένο ΝερόΤο Λαβωμένο Νερό by Cristina Cuadra García

My rating: 2 of 5 stars

To ξέθαψα από τη βιβλιοθήκη μου. Ούτε που έχω ιδέα πώς έπεσε στα χέρια μου αρχικά. Το όλο εγχείρημα πρόκειται για μια παρουσίαση του πώς λειτουργεί το Ευρωπαϊκό Κοινοβούλιο και η ΕΕ σε θεσμικό επίπεδο μέ πρωταγωνιστές ευρωβουλευτές, βοηθούς τους, εταιρείες κτλ.

Το σχέδιο δεν είναι άσχημο αλλά η ιστορία (ακόμα κι αν όλο μαζί είναι άντε 32 σελίδες!) είναι τελείως αδιάφορη και δεν εκπληρώνει τον σκοπό της, δηλαδή να κάνει τους ευρωπαϊκούς θεσμούς να φαίνονται λιγότερο ανούσια περίπλοκοι ή τρομερά βαρετοί και γραφειοκρατικοί.

Βρήκα ενδιαφέρον πώς, τόσο το 2003 που εκδόθηκε το Λαβωμένο Νερό όσο και μια δεκαετία μετά, το 2013, η ιδιωτικοποίηση του νερού και η εκμετάλλευση του από διάφορες επιτήδειες εταιρείες παραμένει κεντρικό πολιτικό ζήτημα. Επίσης ενδιαφέρον για μένα προσωπικά η απεικόνιση των διάφορων αιθουσών του κτιρίου του κοινοβουλίου στις Βρυξέλλες (υπάρχει και δεύτερο, στο Στρασβούργο, στο οποίο μεταβαίνουν με έξοδα της ΕΕ όλοι οι ευρωβουλευτές για τις συνεδριάσεις τους τακτικότατα — ουδέν σχόλιον), τις οποίες επισκέφτηκα πρόσφατα και έτσι μπορούσαν να φανταστώ πιο ζωντανά την εξέλιξη της δράσης που διάβαζα.

Ειρωνικό και τραγικό μαζί πόσο έχουν αλλάξει οι φιλοδοξίες και η κατάσταση της Ένωσης 10 χρόνια μετά. Όλα προσχεδιασμένα από μια μεγάλη συνωμοσία; Μια ένωση η οποία ποτέ δεν είχε δημοκρατικές βλέψεις αλλά οι θεσμοί που προέκυψαν ήταν ένα ευτυχές ατύχημα (looking at you, Υοuth In Action, Erasmus κτλ); Μια ελίτ που καπηλέυεται μια «δημοκρατία» που από την υπερβολική της αδράνεια δεν μπορεί να κάνει τίποτα για να αποτρέψει την πρώτη; Μεγάλες ερωτήσεις για τις οποίες οι απαντήσεις μου είναι απλά ανεπαρκείς.

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