Um prazer raro
0 comentários sexta-feira, 18 de maio de 2012Sabem quando nós andamos a dizer uma coisa e a maior parte das pessoas a quem o dizemos, especialistas todos na matéria, nos ouvem como se estivéssemos a dizer disparates? Há muito tempo que digo umas coisas que penso sobre a modernidade e pós modernidade literária, sobre aquilo que acho que o modernismo (que trouxe algumas coisas boas) fez de mal pela literatura e pela noção de comunicação necessária entre escritor e leitor. E de vez em quando sinto-me só nessa opinião.
Hoje abri o calhamaço das Collected Stories de Isaac Bashevis Singer e li a magnífica nota de autor cujo segundo parágrafo reza da seguinte maneira:
«In the process of creating them [the stories], I have become aware of the many dangers that lurk behind the writer of fiction. The worst of them are: 1. The idea that the writer must be a sociologist and a politician, adjusting himself to what are called social dialectics. 2. Greed for money and quick recognition. 3. Forced originality - namely, the illusion that pretentious rhetoric, precious innovations in style, and playing with artificial symbols can express the basic and ever-changing nature of human relations, or reflect combinations and complications of heredity and environment. These verbal pitfalls of so-called "experimental" writing have done damage even to genuine talent; they have destroyed much of modern poetry by making it obscure, esoteric, and charmless. Imagination is one thing, and the distortion of what Spinoza called "the order of things" is something else entirely. Literature can very well describe the absurd, but it should never be absurd itself.»
Soube bem.
read more “Um prazer raro”
Hoje abri o calhamaço das Collected Stories de Isaac Bashevis Singer e li a magnífica nota de autor cujo segundo parágrafo reza da seguinte maneira:
«In the process of creating them [the stories], I have become aware of the many dangers that lurk behind the writer of fiction. The worst of them are: 1. The idea that the writer must be a sociologist and a politician, adjusting himself to what are called social dialectics. 2. Greed for money and quick recognition. 3. Forced originality - namely, the illusion that pretentious rhetoric, precious innovations in style, and playing with artificial symbols can express the basic and ever-changing nature of human relations, or reflect combinations and complications of heredity and environment. These verbal pitfalls of so-called "experimental" writing have done damage even to genuine talent; they have destroyed much of modern poetry by making it obscure, esoteric, and charmless. Imagination is one thing, and the distortion of what Spinoza called "the order of things" is something else entirely. Literature can very well describe the absurd, but it should never be absurd itself.»
Soube bem.
Subscrever:
Mensagens (Atom)
