In 1926: living at the edge of time - Monoskop

234 ARRAYS
in a short story published by the Revista de Occidente under the title
"Curiosa metamorfosis de John" ("The Curious Metamorphosis of
John"), is one of these cosmopolitan heroes: "After eating, John went
out bareheaded ... to stroll through the Luxembourg Gardens. It was
the time of day when . . . clerks usually made the cylinders of the
calculating machines turn like lottery drums and when the exchange rate
of the Swiss franc in Constantinople rose. John began to laugh, thinking
about it. Because this time of day, when the mail was delivered and the
New York Stock Exchange closed, was also the time for kids' afternoon
snacks, the time for cupcakes" (Revista de Occidente, 10-11). Most
likely from a lack of pertinent everyday experience, the author of this
story confuses the relation between Eastern Standard Time and Central
European Time. Early evening in New York corresponds to around
midnight in Paris, and not to early afternoon. Within the narrative,
however, it doesn't matter whether Paris or New York is six hours ahead.
Even as John must take into account the plurality and relativity of time
zones when making decisions for his bank, so he must forget about
them-banish them from his reality-if he wants to enjoy the beauty of
a Paris afternoon. [see Uncertainty vs. Reality]
The analysis of labor provides a different view of time-relativity. Rising
rates of productivity are often described as an extension of conventional
time (Chronik, 22). Capitalists and socialists share this fascination
because, at least theoretically, such "extensions of time" could yield
profits on both sides of the class struggle. [see Strikes] An official Soviet
slogan recommends achieving this goal by incessantly producing "like a
chronometer" in which the "impetus of the October Revolution" and
"the pulse of American life" should ideally converge (Lethen, 22). [see
Present vs. Past] In Jean Cocteau's play Orphee, even the allegory of
death is associated with hectic activity and a shortage of time. Before
Eurydice is taken to Hades, Madame Death enters the space of human
life [see Immanence = Transcendence (Death)] by means of a complicated
machine that produces different levels of speed and intensity: "Death:
... We have a wave seven and a zone seven-twelve. Set everything to
four. If I raise, you can go up to five. Don't go past five under any
circumstances" (Cocteau, 58). Just before Madame Death is catapulted
into the world of the living, her assistants realize that, among their
numerous instruments, they have forgotten a watch, which they now
have to borrow from the spectators: "Ladies and gentlemen, Madame