in the novel David Copperfield, the writer Charles Dickens tells us about that experience common to humans where what we are experiencing seems like we have already experienced it before, in a past time, as if we remembered the present itself. It is what is called deja vuwhat we have already seen, a type of paramnesia that Freud, always aware of the mysteries of our instincts, defined as the memory of an unconscious fantasy together with a desire to improve the current situation.
Science, determined to shed light on the arcana, tells us about neuronal interactions that slow down in the temporal lobe, and that is why it seems to us that we are remembering the present, when, in reality, what happens to us is that we confuse it with the present. past. According to scientific studies there are three types of deja vu. On the one hand we have déjà vecu where we perceive everything in detail, just as it was before. On the other hand we have the let me feelwhat has already been felt and, finally, we have the let me visitwhich is what has already been visited.
Now that Paul Auster has died, we are going to celebrate the Brooklyn author by remembering that each of his novels, each of his stories, is a deja vu of all the previous ones, and this same can be extended to the first of them, which is Crystal City and that predicts his future works. Because the author from Brooklyn manipulated physical time and stirred it until he fooled us into the literary game.
The scientist who comes closest to an explanation of deja vu sprinkled by the magic of literature is Michio Kaku. According to the American theoretical physicist, it could be the memory of a moment in which our vibrations hit a frequency that takes us to another dimension. To argue this, Michio Kaku states that we are waves that vibrate and then separate over time, that is, they no longer vibrate in unison. In this way, a deja vu It is a fragment of our memory that leads us to reconstruct events with which we have lost relationship, since we no longer vibrate at the same time as them.
An Austerian explanation, without a doubt, and that takes us to Brooklyn where, after the death of his father, in 1979, Paul Auster stopped living in the present and although he knew he was in the present, “he had the sensation of contemplating it from the future, and this present-past seemed so old to him that even the daily horrors that in another moment would have filled him with fury, seemed remote to him, as if the voice on the radio were reading the chronicle of a lost civilization.
That nostalgia for the present nourishes the literary corpus of a work where what Paul Auster is experiencing gives the sensation that we have already lived it long before, in a parallel world with which we have already lost connection, but that, thanks to reading of Auster’s novels, we reconnect.
The stone ax It is a section where Montero Glezwith a desire for prose, exerts its particular siege on scientific reality to demonstrate that science and art are complementary forms of knowledge.
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