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Terceira parte do texto que começamos na segunda feira. Se você perdeu os episódios anteriores, volte para escutar. Vale muito a pena, Pico Iyer é incrível e, quem sabe, pode mudar a sua percepção sobre o ato de viajar.
**http://picoiyerjourneys.com/index.php/2000/03/why-we-travel/
There are, of course, great dangers to this, as to every kind of freedom, but the great promise of it is that, traveling, we are born again, and able to return at moments to a younger and a more open kind of self. Traveling is a way to reverse time, to a small extent, and make a day last a year — or at least 45 hours — and traveling is an easy way of surrounding ourselves, as in childhood, with what we cannot understand. Language facilitates this cracking open, for when we go to France, we often migrate to French, and the more childlike self, simple and polite, that speaking a foreign language educes. Even when I’m not speaking pidgin English in Hanoi, I’m simplified in a positive way, and concerned not with expressing myself, but simply making sense.
So travel, for many of us, is a quest for not just the unknown, but the unknowing; I, at least, travel in search of an innocent eye that can return me to a more innocent self. I tend to believe more abroad than I do at home (which, though treacherous again, can at least help me to extend my vision), and I tend to be more easily excited abroad, and even kinder. And since no one I meet can “place” me — no one can fix me in my risumi –I can remake myself for better, as well as, of course, for worse (if travel is notoriously a cradle for false identities, it can also, at its best, be a crucible for truer ones). In this way, travel can be a kind of monasticism on the move: On the road, we often live more simply (even when staying in a luxury hotel), with no more possessions than we can carry, and surrendering ourselves to chance.
This is what Camus meant when he said that “what gives value to travel is fear” — disruption, in other words, (or emancipation) from circumstance, and all the habits behind which we hide. And that is why many of us travel not in search of answers, but of better questions. I, like many people, tend to ask questions of the places I visit, and relish most the ones that ask the most searching questions back of me: In Paraguay, for example, where one car in every two is stolen, and two-thirds of the goods on sale are smuggled, I have to rethink my every Californian assumption. And in Thailand, where many young women give up their bodies in order to protect their families — to become better Buddhists — I have to question my own too-ready judgments. “The ideal travel book,” Christopher Isherwood once said, “should be perhaps a little like a crime story in which you’re in search of something.” And it’s the best kind of something, I would add, if it’s one that you can never quite find.
I remember, in fact, after my first trips to Southeast Asia, more than a decade ago, how I would come back to my apartment in New York, and lie in my bed, kept up by something more than jet lag, playing back, in my memory, over and over, all that I had experienced, and paging wistfully though my photographs and reading and re-reading my diaries, as if to extract some mystery from them. Anyone witnessing this strange scene would have drawn the right conclusion: I was in love.
For if every true love affair can feel like a journey to a foreign country, where you can’t quite speak the language, and you don’t know where you’re going, and you’re pulled ever deeper into the inviting darkness, every trip to a foreign country can be a love affair, where you’re left puzzling over who you are and whom you’ve fallen in love with. All the great travel books are love stories, by some reckoning — from the Odyssey and the Aeneid to the Divine Comedy and the New Testament — and all good trips are, like love, about being carried out of yourself and deposited in the midst of terror and wonder.
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