Mostrando postagens com marcador Da escrita. Mostrar todas as postagens
Mostrando postagens com marcador Da escrita. Mostrar todas as postagens

quinta-feira, 23 de novembro de 2017

The picture tells you. You don't tell it.

Didion likewise connected her openness to experience to her refusal of received ideas. In an essay titled “Why I Write,” she traced her preference for the concrete over the abstract to her student days at the University of California, Berkeley. She could never stay focused on the intricacies of Marxist dialectics, or on any other great system of thought, she recalled. Instead her attention would inevitably turn to something like “a flowering pear tree outside my window and the particular way the petals fell on my floor.” If she meditates on these images for long enough, they reveal their own unique “grammar.” She insists on taking the word “grammar” literally:
All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. … The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement.
With our master narratives, we attempt to impose order on our ever-shifting perceptions of an ever-shifting world (petals falling to the floor, snow falling in the Sierras). Didion wants to write in the exact opposite way: “Nota bene. [The picture] tells you. You don’t tell it.”
 Paul Gleason, The Picture in Her Mind.

sábado, 31 de agosto de 2013


Caravaggio, S. Jerónimo no seu Estúdio ou São Jerónimo escrevendo, 1605-06. 

sábado, 29 de junho de 2013

Era uma vez, a vida - 2

From the age of 22 to that of about 39 I knew myself to be a failure. For many of those years I was not positively unhappy, because I was doing work I enjoyed, was fond of my friends and often had quite a good time; but if at any moment I stood back to look at my life and pass judgment on it, I saw that it was one of failure. That is not an exaggeration. I clearly remember specific moments when I did just that. They were bleak moments. But they did lead to a subdued kind of pride at having learned how to exist in this condition – indeed, at having become rather good at it.

The reason for it was banal. Having fallen in love when I was 15, and become engaged to marry the man I loved three years later, I had known exactly what my future was to be. As soon as I finished my education at Oxford (not before, because I was enjoying it so much) we would be married. I would join him wherever he happened to be stationed (he was an officer in the RAF) and my life as a wife would begin. I didn't doubt for a moment that it would be happy. My childhood and teenage years had been very happy so I was a young woman who expected the answer "Yes". And then, not suddenly, but with excruciating slowness, I got the answer "No".

He was stationed in Egypt. After three months he stopped answering my letters. His silence endured for month after month, reducing me to a swamp of incredulous misery, until at last a letter came, asking me to release him from our engagement because he was marrying someone else. Like, I am sure, most young women at that time, I had seen giving my life over to a man, living his life, as "happiness". Doing that was what, as a woman, I was for. And this I had failed to do. I did, of course, see that the man had behaved badly, cruelly in fact, in leaving me in limbo without any explanation for so long, until (I guessed) being advised that he ought to guard against me "making trouble". But I was so thoroughly the victim of current romantic attitudes that, in spite of that recognition, I was unable to withstand a sickening feeling that a woman worth her salt would have been too powerfully attractive to allow this disaster to happen. And I was not that woman.

I was saved from total loss of self-confidence by the solid happiness of my childhood and teens; but my sexual self-confidence was wiped out. For most of my 20s and 30s I equated love with pain, plunged into hopeless relationships and staggered out of them further reduced, so that I became almost invisible to men. Though presentable, my looks had never been those of a "trophy" woman, so I needed to make an impression in other ways – and I didn't do so. Many years that might have been good ones were turned grey, but they did force me into some very useful knowledge: I learned that it is perfectly possible for a woman to live her own life, not someone else's, her value does not, in fact, depend on how she is seen by a man. And the clearer this became to me, the more colour was restored to my life. Bit by bit, enjoyable sex crept back into it. A romantic commitment to passion never came back, but physical pleasure did, and then the reliable warmth of friendly love – and something else happened, just as important or perhaps even more so: I discovered that I could write.

It was the writing that really put an end to failure. In the early 1960s nine stories "happened" to me. I say "happened" because I did not decide to write them, but suddenly felt a peculiar sort of itch, which produced them. One of them won the Observer's short-story prize. I was told that I'd won it on my birthday, in December, and having submitted the story in March I had forgotten about it. The news was astounding, and became even more so when I went to collect my cheque and they kindly offered to show me the room in which all the entries were stored: two thousand of them. Two thousand stories, and mine had been judged the best! I understood at once what had happened, and it was by far the best part of a lovely experience: that dreary bedrock under the surface of my life was no longer there, and off I could go into happiness. Almost at once I started the most satisfying relationship of my life, which lasted for 40 years until it was ended by the illness of the man I was living with. When sometimes during those years I stood back and passed judgment on my life, I saw it as happy. And that is still true, because when love-happiness faded out, writing-happiness took over. I had enjoyed writing three books during the 1960s and early 70s, and had then, with only mild regret, ceased to write. After retiring from my job as a publisher I started again, and the three books – plus a collection of letters that I have written and published since I was 80 (I am now 95) – have gone surprisingly well, well enough to astonish me, and to please me a great deal. Success in old age, when things have stopped really mattering, has a frivolous sort of charm unlike anything one experiences in middle age. It feels like a deliciously surprising treat. Perhaps as one advances into second childhood one recovers something of first childhood's appetite for treats. Whatever the nature of the feeling, it allows me to state that it is possible to recover from failure: to digest it, make use of it and forget it. Which is something to remember if you happen to be experiencing it.

- Diana Athill.

Outros escritores, outras vidas, outras histórias aqui.

segunda-feira, 21 de janeiro de 2013

Do dia - 49

"qual de nós é o outro? quem mata quem? quem escreve? quem ficou escrito? em que momento preciso do silêncio nos tocamos? onde nos separaremos? tu, vivendo nas palavras, e eu alimentando-me delas. ou vice-versa. onde? quando?"

 Al Berto, Diários, p. 278

terça-feira, 28 de agosto de 2012

A desperate race



Alice Munro, s/a, s/d, The Paris Review 
"I wrote a lot of stuff that wasn’t any good, but I was fairly productive. The year I wrote my second book, Lives of Girls and Women, I was enormously productive. I had four kids because one of the girls’ friends was living with us, and I worked in the store two days a week. I used to work until maybe one o’clock in the morning and then get up at six. And I remember thinking, You know, maybe I’ll die, this is terrible, I’ll have a heart attack. I was only about thirty-nine or so, but I was thinking this; then I thought, Well even if I do, I’ve got that many pages written now. They can see how it’s going to come out. It was a kind of desperate, desperate race. I don’t have that kind of energy now."

segunda-feira, 6 de agosto de 2012

terça-feira, 29 de maio de 2012

Sobre a ociosidade e pusilanimidade gerais

Deixei-me ficar muito tempo sentado àquela mesa, abatido. O que me preocupava não era apenas a legalidade duvidosa da situação, nem o acréscimo de esforço e responsabilidades que ela me traria. Era que havia sido decidida pelos meus pares por pura comodidade, num acesso de leviano egoísmo, a que os problemas da cidade, os interesses de Roma eram completamente alheios. Como é que aquilo se tinha tornado possível? Não haver sequer uma voz que chamasse à discussão o interesse público, nem um raciocínio que ponderasse as ameaças que impendiam sobre Tarcisis, nem um gesto mínimo de renúncia sobre a ociosidade e pusilanimidade gerais... Estavam então assim os meus cidadãos? Os meus súbditos, como eu quase poderia agora dizer com propriedade?

Nessa noite, escrevi até altas horas, não para Roma, mas para mim próprio, na intimidade do meu cubículo. Quis tomar nota de tudo, antes que sobreviesse o esquecimento.

Mário de Carvalho, Um Deus Passeando pela Brisa da Tarde

quinta-feira, 24 de maio de 2012

The Harp-Weaver

Edna St. Vincent Millay, s/d, s/a

"(...) Cora e as suas três filhas — Edna (que mais tarde insistiria em ser chamada de Vicent), Norma e Kathleen — saltaram de cidade em cidade, procurando a ajuda e simpatia de família e amigos. Embora pobre, Cora nunca deixou de viajar sem se acompanhar pelo seu baú repleto de literatura clássica, incluindo William Shakespeare, John Milton e outros, que lia com entusiasmo às suas filhas com a sua pronúncia irlandesa. A família acabou por se fixar em Camden, no Maine, numa pequena casa de uma tia rica de Cora. Foi nesta modesta casa que Millay escreveu o primeiro dos poemas que a catapultariam para a fama literária. Cora educou as suas filhas para serem independentes e para dizerem o que pensavam, o que nem sempre foi bem aceite pelas figuras autoritárias da vida de Millay. Millay preferia ser chamada por "Vincent" e não "Edna", que considerava vulgar — o director da sua escola primária, ofendido pelas atitudes frontais de Millay, recusou-se a chamar-lhe Vincent, chamando-a antes por qualquer nome de mulher começado por "V"."

Ler tudo aqui.

sexta-feira, 11 de maio de 2012

domingo, 15 de abril de 2012

A twin flame of mine - 3

François Boucher, Portrait of Madame de Pompadour, 1756

Francamente - porque pensam que escrevo? Para incomodar o maior número possível de pessoas com o máximo de inteligência. Por narcisismo, que é um facto civilizador. Para ganhar a vida e figurar no Larrouse com o mesmo realismo utópico aplicado a Madame de Pompadour. Que, sendo pequenina e abonecada, ali se apresenta como "grande, bien-faite". A fama de uma pessoa confunde o juízo, como o amor fabuloso e o erotismo pedante.

(Resposta a um inquérito do jornal Libération, publicado na colecção "Le Livre de Poche", 1988)


Agustina Bessa-Luís, Contemplação Carinhosa Da Angústia