In the text of “Generation,” what constitutes a memorial, a legacy, a historiography is an allegorical reinscription, exemplified in the San Francisco wind and windfall (the latter in both its senses, literal and figurative: as the material evidence of the wind’s passing, and as a sudden or unexpected acquisition or advantage): “A hundred years was lost, but the integrity with which their falling rewrote the landscape drew me to their monumental sides again and again to gape. (The sound they must have made I’m glad I didn’t hear.) The speed and scale of the devastation excited me even as I mourned the losses: so big I couldn’t blink away the incontrovertible facts. I wanted the hugeness and the solidity of the mess, the grim external confirmation, the proud physicality literally shaken to its roots” (86). The rewritten landscape also serves as the scene of a telling encounter in a San Francisco park “famously – famously! – known for casual sex, though it’s been drastically pruned by AIDS, by which I mean not only that its practitioners have dwindled, but that the censors and jurists early on tried to garden away the underbrush that offered pagan cover to public acts” (87). [Derek Jarman makes a comparable observation about London’s Hampstead Heath, “where there has been another massacre of holly bushes by the moral guardians. It’s sad to see the place raped by the city which now condemns the old trees to the bonfire if people make love under their branches” (Smiling in Slow Motion, 177).] In this park already “pruned” by AIDS and further harassed by the winds,
A man I knew minimally – we never really spoke – approached and kept my eyes. I’ve seen him for fifteen years along a variety of erotic routes. He paused to talk about the weather – you do that in San Francisco because you like to show off your luck at living here – and he eyed the tumble of branches, the inviting trouble they’d made. He thought there might be human cover there too, and chuckled at the fortuitous change. The place is ghosted – we both knew that – it was nice to contemplate a turn. “It’s good to see you,” he said pointedly, far more direct than either of us expected, “I mean there’s so few of us left. It’s good to see you still around,” by which he meant “alive.” 
In the wake of the San Francisco windstorm (it might have been an earthquake), the quasi-strangers come together, by way of an unexpectedly direct address, as witnesses, survivors, veterans – at least as of 1996, the date that punctuates “Generation,” the closing chapter of Unbound: A Book of AIDS.
Here again, Shurin’s text is dated, and in more senses than one, thanks to the double functioning in English among other languages of the verb “to date”: Transitively, one dates a text; intransitively, a text dates when it ages, whether well or poorly – in other words, when it acquires a history. The dating of “Generation,” for example, gives us to read the remarking of a commemorable provenance: San Francisco, 1996, a year in which the introduction of more effective antiretroviral therapies led some, “contemplat[ing] a turn,” to invoke (not for the first time) the imminent prospect of a cure, in what would soon enough prove a false promise. Thus the date makes the text newly legible for us, here and now, in our finite outliving of the pandemic.
If reading in the archive of HIV/AIDS demands a reckoning with such dates, it is here a matter of a deliberate practice of dating that bears spectral witness to “the process of history itself disappearing” in an effort to turn it around.
VOICE: This is a story about becoming a story. It has to be told. It has to be put in the past….
It’s a story about becoming the past….
NEY: It has to be told.
VOICE: It has to pass through. Telling turns it around.
It doesn’t disappear.
NEY: It turns around.
VOICE: It begins again, and it turns around….
NEY: It turns into the past…. [“TURNAROUND, a solo dance with voice” (1993)]
At every turn, Unbound: A Book of AIDS summons those of us who have so far survived what has come to pass to make the effort required to read this receding past even as it threatens to disappear before our eyes. For “all persons of voice (first, second, and third)” remain at risk: “given its spatial and temporal dimensions, its structure of relays and delays, no human being is ever safe from AIDS” (Derrida, “Rhetoric of Drugs,” 251). Now and henceforth, lives depend on our recognition of this overwhelming fact of life.