“It seems to me that all of these attitudes, however different their sources, testify to the ‘closed’ nature of our reactions to the world around us or to our fellows. But our mechanisms of defense and self-preservation are not enough, and therefore we make use of dissimulation, which is almost habitual with us. It does not increase our passivity; on the contrary, it demands an active inventiveness and must reshape itself from one moment to another. We tell lies for the mere pleasure of it, like all imaginative people, but we also tell lies to hide ourselves and to protect ourselves from intruders. Lying plays a decisive role in our daily lives, our politics, our love-affairs and our friendships, and since we attempt to deceive ourselves as well as others, our lies are brilliant and fertile, not like the gross inventions of other peoples. Lying is a tragic game in which we risk a part of our very selves. Hence it is pointless to denounce it.

The dissembler pretends to be someone he is not. His role requires constant improvisation, a steady forward progress across shifting sands. Every moment he must remake, re-create, modify the personage he is playing, until at last the moment arrives when reality and appearance, the lie and the truth, are one. At first the pretense is only a fabric of inventions intended to baffle our neighbors, but eventually it becomes a superior – because more artistic – form of reality. Our lies reflect both what we lack and what we desire, both what we are not and what we would like to be. . . .”

(Octavio Paz, The Labyrinth of Solitude, trans. Lysander Kemp, pp. 40–1.)

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