A Border Nobody Polices: areia, apagamento e prazer (C2)
The border is the only one nobody polices and everybody obeys. On one side of it a person is a citizen with a surname, a set of obligations and a coat; on the other, within perhaps forty paces, the same person is a body, mostly bare, arranged on a towel among strangers in an intimacy that would be actionable anywhere else. Nothing announces the change. There is no gate. There is only the line the water has drawn and redrawn since before the language existed to describe it, and a shared, unspoken agreement to behave differently on either side of it. Children understand this immediately and adults require a day. What is strange is the confidence of the arrangement, given the ground. Sand keeps no record: the footprint, the wall, the elaborate afternoon kingdom with its moat and its named provinces — all are edited out by six o'clock, and the edit is total, not partial. Elsewhere we choose our surfaces for permanence, carving into stone the names we wish to survive us. Here we build with the one material that guarantees erasure, and we build with more absorption, and more happiness, than we bring to anything designed to last.
Fonte: English for ALL (texto original).
O contraste entre a pedra e a areia, no fecho do texto, sugere que
- A) a fragilidade das construções infantis antecipa a consciência da morte, que os adultos evitam encarar refugiando-se em obras duráveis.
- B) as sociedades contemporâneas perderam a capacidade técnica de erigir monumentos comparáveis aos que legaram as gerações anteriores.
- C) a intensidade do prazer de construir na praia decorre da garantia de apagamento, invertendo a lógica monumental que associa valor à permanência.
- D) a praia constitui um espaço de exceção jurídica em que as normas de conduta pública são suspensas por acordo tácito entre os presentes.
- E) a memória coletiva depende de suportes materiais estáveis, razão pela qual nada do que se faz na areia chega a integrar a história de um lugar.