Time, identity and being

Peter Majer

pp. 172-182

in: Brian Docherty (ed), Twentieth-century European drama, Basingstoke, Palgrave Macmillan, 1994

Abstrakt

In my offices in the Prague Castle, I did not find one single clock. To me, that has a symbolic meaning: for long years, there was no reason to look at clocks, because time had stood still. History had come to a halt, not only in the Prague Castle but in the whole country. So much faster does it roll forward now that we have at long last freed ourselves from the paralysing strait-jacket of the totalitarian system. Time has speeded up.1