Yet the different narrators read as if they were different aspects of a single personality, now male, now female. Each is engaged in seemingly interminable soliloquies. There are, however, no sure signs in the book of the coming end of communism, though the book is outspoken throughout. Every line seems written either without fear or in total defiance of censorship. Part of the whole is clearly preoccupied with narrating, with story-telling, with fiction making.
Part is preoccupied with time and with the paradox of temporality.
This part, too, implicates writing, though, which insinuates itself as that which can perhaps save life from being swallowed up by time. Part is preoccupied with comparing and contrasting the East-European mentality with that which prevails in Western democracies, with special emphasis on the United States. In the brief time still at my disposal I should like to make this connection explicit, or at least try to indicate why the postmodern text is unlikely to lead to modern aberrations which in turn lead to the various Holocausts humanity is obviously capable of. Whether Konr d is directly indebted to Derrida or not is a moot question. Kobra keeps returning to the question of writing.