From the Diary of a Snail
Two accounts advance at the same crawl: the author's own months on the road canvassing for Willy Brandt in the 1969 campaign, set down for his children, and the invented life of a Danzig teacher called Doubt, who sat out the war in a Kashubian cellar among a bicycle dealer's snails. Progress, the argument runs, moves at the speed of the second. Dürer's Melencolia I supplies the emblem for the whole.
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