“To me, absurdity is the only reality.”

"China on China, Culture for Billions" Documentary

Associated Press interview, September 10, 2008 http://www.youtube.com/watch?v=anxkrm9uEJk / Associated Press interview, September 10, 2008 http://www.youtube.com/watch?v=C6urw_PWHYk
Context: I think there is really good chance that Sarah Palin could be president and I think that is a scary thing, because I don't know anything about her. I don't think in eight weeks I'm going to know anything about her. I know she was a mayor of a really, really small town, and she is governor of Alaska for less than two years. I just don't understand. I think the pick was made for political purposes, but in terms of governance it is a disaster. You do the actuary tables, you know there is one out of three chance or more that McCain doesn't survive his first term, and it will be President Palin. It really … I was talking about it earlier, it is like a really bad Disney movie, you know. The hockey mom, I'm just a hockey mom from Alaska, and she is the president. She is like facing down Vladimir Putin and using the folksy stuff she learned at the hockey rink. You know it is absurd. It is totally absurd, and I don't understand why more people aren't talking about how absurd it is. It is a really terrifying possibility. The fact that we have gotten this far, and with that close this being a reality is crazy. I need to know if she really thinks dinosaurs were here 4,000 years ago. That's an important. … I want to know that. I really do. Because she's going to have the nuclear codes, you know. I want to know if she really thinks dinosaurs were here 4,000 years ago or whether she banned books or tried to ban books. I mean, we can't have that.

6 May, 2014
As President, 2014
Source: El Mundo http://www.elmundo.es/espana/2014/05/06/53688afde2704e95318b4570.html

Source: The Dream of a Ridiculous Man (1877), II
Context: Yes, I dreamed a dream, my dream of the third of November. They tease me now, telling me it was only a dream. But does it matter whether it was a dream or reality, if the dream made known to me the truth? If once one has recognized the truth and seen it, you know that it is the truth and that there is no other and there cannot be, whether you are asleep or awake. Let it be a dream, so be it, but that real life of which you make so much I had meant to extinguish by suicide, and my dream, my dream — oh, it revealed to me a different life, renewed, grand and full of power!

Love's Coming of Age (1896)

As translated at Gallery of Russian Thinkers … selected by Dmitry Olshansky (2005)<!-- by Richard Schain --> http://www.isfp.co.uk/russian_thinkers/nikolay_berdyaev.html
Dream and Reality (1949)
Context: There is no objective reality. But there is only an illusion of consciousness, there is only an objectivication of reality, which was created by the spirit. The origin of life is creativity, freedom; and the personality, subject, and spirit are the representatives of that origin, but not the nature, not the object.

Introduction to Isadora Duncan : Six Movement Designs (1906)
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Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.