Fabrizio Ulivieri - TrendSetter

Los siguientes pensamientos provienen de una lectura reciente, pero por supuesto, esta última lectura solo abrió la caja de Pandora que estaba dentro de mí. Leí por casualidad una historia de una escritora estadounidense, a quien no conocía y que me recuerda mucho a otra escritora estadounidense, Elizabeth Strout, a quien leí mucho durante cierto tiempo cuando intentaba bajar el tono, para hacer más suave, mi estilo, demasiado abrasivo en ese tiempo. Me gustó su historia, me gustó su estilo: esponjoso, suave, dulce, melancólico y envolvente, enmarcador... Pero como la mayoría de los escritores anodinos es incapaz de ir más allá de la superficie de tal manera que posiblemente a veces pueda inquietar o por lo menos mueva el agua quieta de los sentimientos de muchas personas pero no inquieta en absoluto, no duele, no produce una crisis interior por la cual te ves llevado a revisar, criticar e inspeccionar, tu visión del mundo. Que es una característica común de los que llamo escritores ...

  The following thoughts come from a recent reading, but of course, this last reading only opened the Pandora's box that was inside me. I happened to read a story by an American writer,  whom I didn't know and who reminds me a lot of another American writer, Elizabeth Strout, who I read a lot for a certain amount of time when I was trying to tone down, to make smoother, my too abrasive style. I liked her story, I liked her style: fluffy, soft, sweet, melancholic and enveloping, encircling, enframing... But like the majority of anodyne writers is incapable to go beyond the surface in such a way that possibly can sometimes disturb or at least move the still water of many people's sentiments but doesn't upset at all, doesn't hurt, doesn't produce an inner crisis for which you are led to review, criticize and inspect, your vision of the world. It's kind of the common feature of those I call battery writers , like battery hens. Writers should goad their societies...

For me writing means to be un écrivain engagé, to be an existentialist writer such as Camus, Sartre, and also, although someone cannot agree into calling them "existentialists", Yukio Mishima, Junichiro Tanizaki and Yasunari Kawabata. Engagé does not necessary mean that it should be in a strictly political sense, even though it possible to conceive this position like this. Engagé can also be understood in the sense of a writer who searches for the life meaning in facts that concern our own daily existence. A writer can be engagé in creating a certain kind of literature that tends to make people think, to find a way to make people reflect on existence, breaking certain traditional consolidated narratives. In creating alternative voices (alternative narratives) with reference to the dominant ones. The ideal figure of our writer is an engagé writer who owns a-just-writer-status, i.e. a writer who professionally is only a writer, and not writer and ... writer and ... and...

Elizabeth Strout scrive bene, Elizabeth Strout sa scrivere, ha uno stile magico, poetico, incantatorio...e...e poi basta. I contenuti? Non li vedo. Se ci sono, io non li vedo. Il suo mi sembra un pensiero addomesticato, domato a non far male a non ferire, a non andare oltre la sensazione della malinconia degli attimi. Anzi mi chiedo: in Elizabeth Strout vi è un pensiero? Onestamente non lo vedo. Vedo belle contorsioni di frasi, talora al limite della comprensibilità, e in quelle contorsioni sembra annodarsi il massimo del suo pensiero oscuro. Per esempio vorrei che qualcuno mi spiegasse che profondità di pensiero si annidi in questa contorsione: "It's not my job to make readers know what's a narrative voice and not the private view of the author". L'autore si sdoppia? Da una parte l'autore e dall'altra una voce narrativa che non appartiene all'autore. E a chi appartiene? Mi viene in mente che un giornalista diceva che si premiamo solo gli ...