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was once a story that suddenly, when it was still possible, began. For the hero who set out, there was nothing sudden about it, of course, or set off, which had spent a lifetime waiting, nor in the outcome as this, whatever it was, it seemed as the horizon, to be provided elsewhere. But the dragon, as it was very rough, everything was sudden. Suddenly felt hungry and, without more, suddenly I was eating something. It was always like the first time. And then suddenly remembered eating something similar: a sour taste and family ... But just as suddenly, you forgot. The hero suddenly found the dragon (it took years of painful journey through the haunted jungles, endless deserts, cities charred by the breath of dragons, so that the word suddenly did not seem the most appropriate), not knowing how he felt draw the sword envy (outcome may be submitted to it soon, as if the horizon in a desperate illusion of a sudden, he bent), freedom without stress Dragon Freedom?, could have asked the dragon not have been so gross that was, while she pondered the sudden and familiar taste sour (do you still remember ...?) on his breath. But how Why? (Olvidado.)

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STORY DIALOGUE WITH THE MASTER

offshore
Chronicle (It Esquiere, October 1935) was transcribed from its collection
journalistic Special Envoy Editorial Planeta.



Ernest Hemingway and a half will make the submission of a young man at the door of the house in Key West and said he was there begging for a seat in the cars on the road from the highlands of Minnesota with the aim of formulating some questions about literature to this correspondent, who had returned from Cuba that day, had to take the train to visit some friends and write some articles during the time of travel. As flattered and terrified by the form of questions, I tell visitors to come back the next day afternoon. He was a young man of great stature, serious-looking, shaggy hair and large hands and feet.

could see that his only ambition was to devote himself to literature. He had spent his childhood on a farm, then attended secondary education and entered the University of Minnesota. He later worked as a journalist, carpenter, laborer and reaper and went wandering for two months in North America. I wanted to be a writer and had good stories to write, stories told precisely not but which can be seen in a strict order, this could overcome their differences. He had spent a year writing in a cabin he had built in North Dakota. I do not show any of his compositions because, he said, had no literary value.

I figured it would out of modesty, then made me read a story published in a newspaper of Minneapolis, was very poorly written. "At first, I thought almost all poorly written, but this guy is very serious and the seriousness is one of the essential items in the dedication of the literature. The other is talent, unfortunately.

addition to his penchant for literature, the young man wanted to meet the sea. So, and to shorten this story, we offered the use of night watchman on the boat and provide you a place to sleep and work, also had the task of flushing three hours a day, so he had three hours to devote the letters. To satisfy your desire to sail, we promised that we take with us when taken by him travel back to Cuba.

was an excellent night watchman and worked strongly in cleaning the boat and in the literature, however, proved to be a calamity at sea, ea slower than agile, sometimes seemed to have four feet instead of two hands, was nervous when he swells, had an irresistible propensity to churn the stomach and reluctance to follow orders. But he was very willing and hard working if given time for it.

played the violin as we call it the master. His name was Michael. The strong wind and cool slow used both to coordinate their movements, which the writer of this review said, "Master, you will undoubtedly become a good writer, because, apparently, not good for anything else."

Moreover, his style was improving, this indicated that he would become a writer. This correspondent who sometimes has a bad temper, never again admitted to a crewman who aspire to be literary or spend another summer on the coast of Cuba or any other between questions and answers about the practice of literature. If aboard the Pilar have to thrive more aspiring writer, that females are beautiful to serve champagne.

This correspondent understands that the ministry is far more serious writer to write these monthly reviews, but does not like to talk about it with almost all fatal. Having tried on various aspects of this matter with the willful master over one hundred and ten days, most of which had to suppress the rash of herding a bottle to your partner every time he opened his mouth and pronounced word writing, offers a number of questions and answers that followed on the literary art.

If they discourage anyone who wants who wants to write, no doubt discouraged if they can be useful to someone, this correspondent will be pleased by that, and if you annoy the reader, can this ignore them and devote their attention the many images of the magazine.

the offer, the writer of this review argues that much of the information it contains has a value of fifty cents for him when he was twenty.

Teacher: What do you mean by literature?
Storyteller: What is realistic. Realism in a narrative is directly proportional knowledge of life and consciousness of the writer, so that make a work give the appearance of reality to its content. If you know the spirit that moves the feelings of the characters and their actions, save perhaps the luck or the fantasy for some time. More if you continue to write about what you do not know, will only miss the truth and authenticity. After some time it will not be able to write with sincerity.

Teacher: What is imagination?
Chronicler: You do not have any news about it, except you get for free. Perhaps due to the experience of the individual experience acquired, which I think is likely and a quality that every writer must have, the more sincerely believe in the imagination. If you can imagine with enough sincerity, the public will believe that what has happened relates to real life and he does nothing but keep him.

Teacher: How to distinguish?
Storyteller: If you have been told, people do not remember. When she tells one something that just happened timeliness makes listeners perceive with the mind. A month later, the time element disappears, so the story is bland and they do not perceive with the mind or remember. But if it is constructed rather than relate, can you give integrity, strength and life. In this case a work is created, good or bad. And will be more the higher the real skill that has to make and the knowledge to be put on it Do you agree with me?

Teacher: Not really. Chronicler
(hopefully): As well, talk about something else, for Christ!

Maestro (not convinced): tell me more things concerning the mechanism of writing.
Storyteller: Takes! You mean the pencil or typewriter.

Teacher: Chronicler
effect: By getting one to write applies all his energy, but instead the reader gets nothing. You can also use the machine because it makes work easier and more comfortable. Having learned to write, writer should aim to convey the feelings, passions, concepts, and situations to the reader. To achieve this it is necessary to prepare carefully what is written, this is achieved by using the pen to offer three options that the reader understands what the letter gives a reading from beginning to end, and second, the machine will pass it back to correct and by recent corrections are made for the tests. The first writing pen improves a 0,333 by 100 more than if not used for that purpose: facilitating sizeable fluency, clarity and simplicity.


Teacher: How much to write daily?
Chronicler: Can not specify. The best is yet to stop work when it goes well, before difficulties arise. Thus never be delayed while writing a novel. This is the most valuable thing I can tell, so do not forget.

Teacher: Do not forget
Storyteller: I insist on the need to stop work, but the ideas come in abundance in the head and not think about him until the next day when he returns to resume. Thus, the subconscious makes all of the duration of the interruption. For the task consciously think about or worry, they fatigue and neutralizes the brain. Once writing has nothing to be concerned whether he can continue the next day or not. Must be pursued writing without any worries and learn to make a novel, the hardest part is, of course, finish it.

Teacher: What do not to worry?
Storyteller: It is best procedure is to attempt to divert attention elsewhere.

Teacher: How do you read every day before you write ea?
Chronicler: Soil read all the step I am correcting, then continue to write, when you have written a lot and can not be read from the beginning, I read every day two or three chapters each week and give a general reading, so the work has homogeneity. And do not forget to stop work at the time still that has not been faced with difficulties, that maintains the smooth running and prevent the collapse, if not find one that you can not continue writing the next day.

Teacher: Do you do the same when you write stories?
Storyteller: Yes, only sometimes a story can be written in one day

Teacher: Do you know beforehand what will happen when you type?
Storyteller: Almost never. I begin to write and the scenes are happening as I write

Teacher: That's not what is taught in a literature class
Chronicler: I have no idea about it, because I never attended such classes. A literature professor would not need to teach the subject in a school if you could write a play.

Teacher: But you're giving me lessons
Storyteller: I'm crazy. Otherwise we are in a boat and not a school.

Teacher: What books have you read a writer?
Storyteller: It's all about knowing how to read through it.

Master: Can not read anything
Chronicler: I have not said what I read, but what to read. Of course it has to procure a selective reading.

Teacher: What books are best suited for it?
Storyteller: War and Peace and Tolstoy's Anna Karerina: The Flying Dutchman, Frank and Peter always Mildmaty Captain Marryat, Madame Bobari and Sentimental Education, Flaubert's Buddenbrooks, Thomas Mann, The Dubliner, The Story of an Artist and Ulysses, Joyce, Thomas Jones and Joseph Andresw of Fieldeing; Red and black, The Charterhouse of Parma of Stendhanl, The Brothers Karamazov and other works of Dostoevsky, The Adventures of Huckleberry Finn, Mark Twain, The Open Boat and The Blue Hotel by Stephen Crane, greet and farewell, George Moore, Autobiographies, Yeats, all good works of Maupassant, Kipling and Turgenev; For an Away Long Ago, by WH Hudson and the stories of Henry James, especially Madame de Mauves, Return of greedy, Portrait of a Lady, The American.

Teacher: Do not give me time taking note of all. Is there more?
Storyteller: Three times as much. Enumerate is another day.

Teacher: Do you have a writer who read them all?
Chronicler: You see: Do not write anything that is written if you can not improve it. There are new things to write about if you can not improve what is written above. The only way to cause the effect is to compete with the letters missing. Most writers are not present, his fame has been made by critics, who always need a genius of the season, someone to understand them perfectly and they have easy judgments about his writing, per these geniuses made leave to exist whenever you go away. Every serious writer has to emulate the missing who have left their mark, to know how far they can go.

Teacher: But reading all the writers can take away the spirits of a
Storyteller: In this case, you will be cowed

Teacher: What exercise is essential for a writer?
Storyteller: An unhappy childhood

Teacher: Do you think Thomas Mann is a great writer?
Storyteller: It is and will continue to be so even if I had not written more than Buddenbrooks.

Teacher: How can form a writer?
Storyteller: It must carefully watch everything that happens around him. If you're catching a fish is necessary to look closely at what each one of the bystanders, if you go back when the animal jumps, try to keep in mind what has caused excitement, and, if the winding the line becomes taut rope which violin, breaks, loose splash, remember the sound that has produced and the comments made in this regard. We must find the cause of the emotion and the experimental fact that has caused excitement. Then take note of it without forgetting any details to the reader to live, and cause the same emotion that caused you. That is a basic exercise.

Teacher: According
Storyteller: In this case is able to penetrate new in the minds of others. If I squeal, you must try to imagine what I'm thinking at that time and at the same time as experienced within. If Jack made pests, John reflects on the reasons that induce the other to curse. Things are as they should be or not. Therefore, as you know who is right and who do not, and must make a decision and impose it as a writer and should not censor, but to understand.

Teacher: As
Storyteller: Another thing: When people talk, listen carefully. Do not think about what you will say, because most of them do not listen and reflect. You must be able to accurately in mind all what he has seen in a room after having come out of it, if the stay has caused excitement must know what has been the cause. When it is in the city, move to the theater and watch people stands in the way of alighting from a taxi or private car. There are countless ways to exercise. And plans to continue in others.

Teacher: Do you think I will become a writer?
Storyteller: What do I know! May lack the talent for it or if not be sensitive enough to penetrate the feelings of others. But you have interesting things to say, try to capture them on paper.

Master. How do I refer them?
Storyteller: Write them down. If you work at it five years that have passed which finds that no good can then shot himself the same as now.

Teacher: not worry I'll hit him.
Storyteller: Being so, come to me and I'm going to beat me.

Master: Thank
Storyteller: It will be well received, master What do you think if we were talking about something else?

Teacher: What?
Storyteller: For the past ...

Teacher: Okay, but ...
Chronicler: No weight worth. Let this issue be closed. It's over.

Teacher: Well, tomorrow I will ask some questions
Storyteller: bet you have fun writing after having found out how.

Teacher: What do you mean?
Chronicler: You know what I mean. Jokes, opportunities, joking. Superficial sketch of an old masterpiece.

Teacher: explain it to me ...
Storyteller: Just

Teacher: Okay, but tomorrow ...
Storyteller: Tomorrow is another day.

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HEMINGWAY, THE BIG

Although the universal form of Hemingway as a writer rests on his literary work, novels and stories that creates a new artistic expression in contemporary literature, it is important not to forget his journalistic career for over four decades. Often not paid attention to their reports, yet the practice and the extensive experience that provides help in newspapers and magazines are essential not only to the entity the subject of his works of genius, but also for the extraordinary characteristic of his style.

temporarily career starts entering a trainee reporter at The Kansas City Star, where he writes valuable lessons of objectivity, simplicity and brevity under the aegis of the distinguished editor of CG Wellington. Early in the second decade of the century, a major step forward in their desire to be a writer, with lively articles published in The Toronto Star-that earned her the position of the newspaper correspondent in Paris, where he polishes his style in practice. The passage of time does not interrupt his journalistic career, during the third decade of writing unique articles and essays for Esquire in Key West, then visu chronicles of the English Civil War, after political and military analysis of the Sino-Japanese MP, later, on the Second World War, and finally a sazonadísima chronicle their adventures in Africa.

Few correspondents have produced a work so realistic and impressive as Hemingway left us. Ernest Miller Hemingway was born in Oak Park, Illinois, July 21, 1899 and was found dead in Ketchum, Idaho, on July 2, 1961. American writer, awarded the Nobel Prize for Literature in 1954 and the Pulitzer Prize. He worked as a reporter for the Kansas City Star until the First World War, in which he participated as an ambulance driver, was wounded at the front austroitaliano. In 1924 worked as correspondent for the Toronto Star in Paris.

During the English civil war served as a war correspondent in Madrid and that experience inspired one of his greatest works, For Whom the Bell Tolls, and his only play, The Fifth Column. At the end of World War II he settled in Cuba, where he worked with exiles from the English Civil War counterintelligence. In 1959 he suffered a serious accident in the town of Aranda de Duero Burgos. In 1960, after Fidel Castro took possession of his house Watcher, he moved to Idaho. He suffered severe depressive processes, which made him to be hospitalized twice, and committed suicide a year later, firing a shot with a shotgun.

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Write a society at war

Invited by the directives of the Masters in Creative Writing from National University, playwright, filmmaker and screenwriter Motti Lerner Israeli television showed, as Speaking at the Biblioteca Luis Angel Arango, an enthusiastic and refreshing perspective on what must be the work of writers in times and places like these.

Courtesy UNPeriódico
. Universidad Nacional de Colombia

Humans have been at war since the beginning of history. Continue fighting in spite of social progress, scientific and cultural rights have been achieved through the generations. For reasons that should be explored, humans did not develop skills to solve conflicts peacefully. And still fighting despite the majority of wars have not produced stable political solutions. Most of them only have paved the way for other wars. Sometimes ended in political settlements, but more often would have been able to successfully reach these agreements before the war and, indeed, without them. The 1973 war between Israel and Egypt is a perfect example. A year before the war, Egyptian and Israeli representatives negotiated a peace agreement in Washington.

The talks ended when Israel refused to withdraw from the Sinai Peninsula. War broke out and, despite having emerged victorious, Israel withdrew from Sinai, just as it had been ordered before the war. Meanwhile, however, 2,700 Israelis and about 10,000 Egyptians were killed. Was his death necessary? Probably not. Would it have been avoided? I think so. Unimediosclara vision, deep, distinct, human beings, their needs, hopes and desires, by both sides, he could point to different options, options that do not lead to death. Writers can offer a similar view. Sometimes human beings are in a deep and sensitive and can write what they see. They can open our eyes to these options before we launch into the war. I am not suggesting that writers should be involved in political negotiations. I say that if the writers are struggling to expose the social, psychological and mythic political conflict will show that there are these other options and you can avoid war.

Yes It's true. Many of us think that humans are bloodthirsty. That man is a beast hunting. Zealously protecting his tribe, his people, his race. Do not hesitate to kill millions of people for them. Do not hesitate to shed his own blood. Despite this, I can not live without the hope that people can change. Your bloodlust may end. It can be tolerant, more understanding, more forgiving, much wiser.

What may then become a writer to make us more tolerant, more understanding, to forgive more, be more prudent?

1. The first thing a writer can do is denounce the cultural lies about the nature of war. Throughout history, we have glorified war. Even Shakespeare, in the famous speech of Henry V (Act 4, Scene 3) wrote about the honor of fighting and the honor of dying: "Anyone who lives their day and see old age, each year in its wake, held with its neighbors and say: Tomorrow is the day of St. Crispin. Then undress her arms, bare his scars and say, These wounds I received them the day of St. Crispin. " This is a completely false description of how the war is remembered regularly. Most people remember the war as the most terrible experience, horrendous and humiliating to have had. When you think it's invading the horror and disgust. No pride. Or satisfaction. The pain of war will never go away. Hundreds of thousands of Israelis can not live a normal life because of his experiences in the various wars in which they participated. Among our neighbors, the nightmares are the same. The writer should remind us, for those who have never experienced a war is not offered with much enthusiasm to fight.

2. The writer should put emphasis on the price of war: people die. Men, women, children, young and old, soldiers and civilians. In everyday life we \u200b\u200btend to simplify the consequences of war and we just count the dead. When death is just a number, it becomes neutral. It contains no pain or a danger. The writer must customize the numbers to focus on people who die, and those who are alone with their loss. This endless pain should be specifically presented in public discourse, not only on Memorial Day. Should be especially present before declare war. Compare the price war with its benefits is a necessary act of survival in any healthy society. I will quote a few lines of my play, The Murder of Isaac. A war veteran tells his friends that "I opened the newspaper this morning and, on the first page, I saw the smiling faces of young soldiers. Now I know how to look at these faces. They are not smiling. Are shattered. Their bodies buried in the ground have begun to decompose. Only those who have been rotting bodies know how horrible it is. A human body is no different from a dog or a cat run over in the street. Take the hand of your commander, and get rid of yours ... And the hardworking worms are quick to find another piece of meat to feed ... And open eyes are empty ... What really justifies such a death? What is it bigger than life that deserves to die like this? ".

3. Many politicians offer simplistic answers to its people's fear of his enemies. They say they can prevent war through deterrence. These leaders do not see that, to accumulate power, only encourage his enemies to gain more power. A destructive power. A reckless power. The writer must show his people the most complex and far more effective. If you want to prevent war, it is necessary to eliminate the reasons for war. While there are still reasons for war, the danger will continue. I said earlier that the writers can explain the reasons for war by exposing the social, psychological and mythic political conflict that can lead to war. Bring the reasons for war to the public discourse can show people that there are other options, options should be exhausted before the war. In recent years we have witnessed, according to Samuel Huntington, a clash between civilizations. West against East. Unfortunately, world leaders have not invested anything in trying to solve the reasons for this confrontation among civilizations, cultural reasons, economic and religious-and try, rather, to force a new balance of power in terrible wars. The writers who contribute to shaping these civilizations should invest all its efforts to transform the confrontation between civilizations in a constructive competition that leads to progress and peace.

4. How can the writer explain the social infrastructure, psychological and mythic political conflict that can lead to war? You can do this by writing about protagonists who confront the conflict. You can focus on their lives, their families, their relationships and their tragedies. Should explore their conscious and subconscious. Somewhere in the depths of their characters, discover fear, despair, hatred, malice and bigotry that must be confronted to remove the reasons for war. As we know, the hero of the tragedy always fails in his struggle. It is likely that the same happens to our heroes who try to confront the political conflict in which they live. Also fail. Can not stop the warring superpowers are released to the war. But the failure of our players is not a warning to the reader. Quite the contrary. This failure reinforces the reader and encourages him. As with the viewer who sees the failure of Romeo and Juliet in love, and not leave the theater with the decision not in love anymore in life. On the contrary. The failure of Romeo and Juliet strengthens the viewer to look for love.

5. The writer should not only explore the political conflict from the narrow perspective of national interests, but from a broader global perspective, specifically from the perspective of justice. Justice, in the most basic and simple definition that can be found in the Talmud, the ancient code of Jewish law: "Do not do unto your neighbor as you hate to do unto you." Justice is not only a moral value. Justice is probably the most useful instrument to resolve international conflicts. We already know that the agreements do not provide justice on all sides do not survive long. Only those agreements which are agreements on offer lasting justice. Probably use this expression "relative justice" in a way too easy. It is a complex expression that requires clarification: an agreement that provides relative justice is one that allows me stronger sense of justice that can be achieved, but also allow my opponent to achieve the same deep sense of justice. Some people say that mathematicians are needed to calculate the relative justice in a complex conflict. I would say you need empathy, compassion and goodwill.

6. The writer may create a political dialogue, social, ideological and even religious conflict between the parties before they go to war. You can do this by presenting the "other" on the written page and on stage. Once introduced to this "other" as a human being, as a three-dimensional character, creates empathy with the "Other." Start a dialogue with "other", a dialogue based on understanding their needs, their sorrows, ambitions and fears. Such dialogue is the beginning of reconciliation. As an example of this, I would mention the South African playwright Athol Fugard, who with great courage, presented black characters in white stage in South Africa during apartheid. At present on stage, gave white people the opportunity for dialogue that most of it never had a dialogue based on empathy.

I'm sure many of you agree with what I said, but it is likely that many of you wonder: is it possible to require the writer such responsibility? I think the answer is yes.

7. We must remember there has always been an alliance between the writer and his audience. Sometimes we tend to forget that people do not read books or go to the theater just for fun. Lee and go to the theater because you want to know what to do his life. How to live. Await responses from writers. Expect answers to hard questions that sometimes do not dare to ask. We tend to be cynical to deny the need for inspiration is people, not just jokes. It's our fault have turned the art of entertainment. It's our fault you have created just waiting for public entertainment. It's our fault continue to offer entertainment, saying that otherwise would not survive. As people see that something important is said in books and theater, read these books and attend in large numbers to these theaters. This has been demonstrated beyond doubt in the Israeli theater. When the plays relate to matters of importance, they sell a huge number of tickets. A good major political drama can easily sell 300,000 tickets.

8. The easiest thing for an artist in wartime is to join the consensus, to feel the brotherhood of spoken by King Henry V in the speech I mentioned earlier. But what really has to join the consensus? I'm sure the answer is no. On the contrary, the writer must create opposition to the consensus. The writer must provide a different perspective of reality that allows the war. How do we create a different perspective on this reality? As I said before, exploring characters trying to survive in this reality. Therein lies our effective power: the power to create characters who confront the reality and live with the consequences of this confrontation. It is our responsibility to create stories and plays with these characters.

comments apply principally to the theater, because this is a collaborative art. When not offered to theaters such works, which confront reality, or when the works offered at the theaters are not good enough, is the responsibility of the directors of the opera lead the process of creating works of this kind, bringing together writers, directors, actors and designers and challenge them to confront the reality that allows war. It may not be enough meet this challenge only those involved in the theater. At times, the theater must resort to other resources: writers, historians, philosophers, human rights activists, and use their vision to initiate the process. This is true not only in times of war. Theatre managers must understand that the theater should always be a laboratory that examines the ingredients of our reality through the powerful tools of plot, characters, conflicts, and images. This reality is not necessarily an external reality that we see when we look out the window at the garden, or when we read the newspapers or watch television. The theater should explore the reality behind this external reality. The hidden reality. The reality that is not voluntarily exposed to the eyes of the beholder. How can the theater? The answer is depth. The theater must explore the characters through their inner worlds and not only through their external actions. How do you get to this depth? Creating deeper characters, relationships and actions engaged in deeper.

To be more specific, I explore some specific issues to be writers manage in times of war. Unfortunately, I'm just a guest in this part of the world, and I can not offer specific feedback to writers living here. Therefore confine myself to a few observations about the 100 years war in the Middle East between Israel and Palestine.

1. The first thing I would recommend to our writers is to explore the role of God in the conflict between Israel and Palestine. God has been used by both sides in a destructive manner. The Israelis have used not only as a source of their right to every inch of the holy land, some of which have also been used to God and his Messiah as inspiration for an unlimited arrogance, cruelty and racism. The religious activists among us have spread the belief that we are in a time of redemption. Soon comes Messiah and solve all our problems. Do not try to reconcile with our enemies, but will destroy them all, every last one of them. What kind of God is this? What happened to the merciful God that we met for so many years of history? How did you become a God of vengeance that has no mercy at all? Muslims have created a similar God. The God of Jihad. The God who rewards to suicide bombers. The God who wants the destruction of entire civilizations. Is this the God whom we worship? If we let the image of God in the hands of these fundamentalists, this God will devour us all.

2. The second thing I recommend our writers is to explore the evolution of our historical narrative. This narrative has been created by politicians, historians, teachers and writers who thought that such a narrative would serve the purpose of survival. One of the main elements of the Israeli narrative is the description of the events that led to the creation of the Palestinian refugee problem. The Israeli narrative is very clear. When war broke out in 1948, and seven Arab nations attacked the newly created state, Israel defended itself. A 700 thousand Palestinians living in Israel, their leaders ordered them to pack their belongings and leave. They were promised they would return victorious after the war. But this narrative is not the whole truth. Many Palestinians were expelled by the Israeli army. Many fled to the threat of guns. The Israeli narrative serves the Israeli government's policy agenda. But not at the service of peace. If Israel wants peace, it must recognize its responsibility in the creation of the Palestinian tragedy. Everyone should learn to apply the principle of Truth and Reconciliation that was used quite successfully in South Africa. True reconciliation can be achieved only based on a real analysis of the conflict. Israeli writers must explore this chapter of 1948 in our narrative, should help to correct, should educate their readers to confront the truth of the past to be prepared for peace.

3. The third phenomenon that I want our writers to explore in Israel is the rise of militarism. Admiration for the army, which was a survival mechanism sixty years ago has become a value-destructive in our society. Once we were a state that had an army. Now it seems that we are an army with a state. Former generals hold key positions everywhere, in industry, in education, in the municipalities, the regional council and government offices. The army itself has become one of the main sources of inspiration for the society, but also for the government. The army is able to pressure the political system to adopt policies that serve their interests but not necessarily in the interests of the state. I suspect that our last war in Lebanon, which exceeded all proportion, was the result of the army's influence over a weak prime minister and defense minister with no experience. I'm sure many Israeli writers were able to see this done at the beginning of the war. Unfortunately, very few of them spoke out against it. Another example of the influence of militarism in Israeli society is our attitude to Iran's nuclear ambitions, not considered any other option but to use force.

4. Perhaps the most important phenomenon that would encourage our writers to consider is what has happened to our moral values \u200b\u200bover the hundred years war. Do we have corrupted our military? Have not reduced the value of our life and that of others? How do we use military power we have accumulated? "We use it in its true proportions, or use it excessively? Has the use of power distorted the other values \u200b\u200bthat we have? How has affected the occupation of the Palestinians? For example, is there a connection between this long occupation and the increase in various crimes in Israel? Is there a connection between the occupation and rising suicide rates, and increased sexual abuse in our society? Is there a connection between the occupation of Palestine and our attitude towards the weak and the poor in our society? Is there a connection between the occupation of Palestine and the attitude towards foreign workers in Israel? In other words, if we compare the benefits of this war with the damage the war has caused, is it worth to keep fighting, or rather should invest greater efforts to make peace? Maybe we should be willing to give more to achieve peace. I'm sure you make these questions is essential to our survival.

Last but not least, despite everything I've said, I must confess that I'm still not totally convinced that the writers could change the political reality in times of war. Every day I come new doubts about this, but every day I struggle to persuade me that the influence of writers on the political reality is not just illusion

Every day I tell myself that the writers can not produce an immediate change. Maybe even a change that can be detected when it is given. But I certainly would like to believe that can be detected during a longer period, perhaps only a few decades. Every day I tell myself that the writers of Israel failed to stop this war a hundred years, but have contributed significantly to the progress that has been achieved so far. For example, were able to create a deeper opening to the recognition of a Palestinian state and the rights of its people, an idea that was totally rejected by most Israelis in the 1970 and now has the support of most part of the population. This is certainly an incredible achievement.

is unfortunate that the contribution of writers to political discourse in Israel, which was so evident in the decades of the seventies, eighties and nineties, is not so obvious now. Many writers have been too quiet and escapist. Maybe they got tired. I do not think we can afford to get tired. Certainly do not think we can afford to be escapist. I hope to grow a new generation of writers who contribute to resolving this tragic conflict over what we did. Writers must understand that they have a strong commitment to the society in which they live. Should be aware of their responsibility to heal. Should be aware that their skills and talents they are given mainly for this purpose. Must always remember the covenant between them and their audience. Must always remember that people read books not only entertain, but also because it seeks an explanation to grow, to heal, to understand themselves and to understand their society.

Writers must play its part in this alliance. Must cling to the illusion that they can save their society through their art, they can heal. Yes It's probably an illusion. We have had enough experience to know. But do not forget the power of dreams and the power of vision. Without vision, without illusions, nothing would change. Nothing would heal.

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Orhan Pamuk, The Memory

Pamuk is, by analogy, the "other" of Borges. Three themes are repeated so haunting and enigmatic: the mystery of the self and its ghosts, the memory of individuals and cities, the hidden meanings in the world. His work is of outstanding literary and philosophical richness. To read and reread.

Orlando Mejía Rivera *

Paper
Salmon. La Patria / Manizales

That strange work of the new Nobel laureate for literature, Orhan Pamuk Turkish. Knower of Western literature and the East has managed to construct a narrative style draws on writers as diverse as the Russian Tolstoy and Dostoyevsky, the Argentine Borges, Italo Calvino Italian, American Faulkner, the Dublin Joyce, Flaubert and Proust French, English, Carroll, anonymous poets who wrote The Thousand and One Nights , the Persian mystic Ibn Arabi, Rumi, Mevdana, Kemal Turkish writers, Rasim, Kocu and Tampines. In addition, deep pictorial influence made him believe in his vocation as a painter teenager and is now reflected in a visual prose, where the master of the descriptions of landscapes, people and architecture of his native Istanbul has made me remember the best pages of Proust and Walter Benjamin.

The old traditions of Sufi dervishes speak, among other things, the hidden symmetries of the universe and human beings. After reading the novels The black book, My Name is Red, Snow and Istanbul memoir, city and memories, I find that Pamuk is, by analogy, the "other" stories of Borges and Argentina have an equivalent in the voluminous Turkish novels. Three themes are repeated so haunting and enigmatic in these works of Pamuk: The mystery of the self and its ghosts, the memory of individuals and cities, the hidden meanings in the world. Pamuk's narrative is literature to sink into the mystery of existence human, to combat superficiality of an age that has tried to suppress all the secrets and ambiguities of individuals and societies.

Istanbul

Istanbul is recreated in its past, its present and its interior dimensions. In reading his memoirs better understand the aesthetic and ethical motivations of the writer. Your city is a tapestry of memories that merges with his biography. The child who imagined that another Pamuk lived another quarter of the city, is itself divided soul of the city which breathes nostalgia for the glorious past of the Ottoman Empire and feel angry and confused by a present of poverty and filth, where ghostly presences of Christian Constantinople and the Muslim Istanbul have failed to find the harmony of the triumphs and past defeats. Perhaps, therefore, Pamuk stresses the "bitterness of the ruins" that all citizens of Istanbul feel walking through its streets and neighborhoods. This bitterness has become an aesthetic category that is assumed to nationalist pride, but in the background shows the inability of his people to accept the demise of the imperial grandeur of the past and that feeling comes frailty and collective denial of what Turkey has been and can be.

However, the anxiety of the narrator becomes fascinated when he recalls the Bosphorus, which is the arm of the Dead Sea that surrounds the city. There Pamuk succeeds in translating fragments of poetic prose that surpass everything I've read, even above Magris Danube. This obsession with the waters of the Bosphorus Cell has his character, the chronicler of Istanbul from the Black Book, imagine with fear when the waters dry citizens contemplate the remains of civilizations that have shaped the spirit of the city and only follow the disasters and epidemics. That is, the Bosphorus is to Pamuk a talisman that has protected the city from the destructive forces of the Turks themselves. Thus he says in his memoirs: "Faced with defeat, oppression, poverty, bitterness and rotting from within the city, the Bosphorus is joined in the depths of my mind to feelings of attachment to life, zest for life and happiness. "

Finding himself

Galip, the protagonist of the Black Book is a young lawyer looking for his wife and cousin Ruya, who has left the house without saying why or with Who, though it appears that the suspect was with his brother, the famous chronicler Cell. Your search for the Istanbul-fifties led him to discover a city within a city symbolic exterior, that they dreamed of in the thirteenth century and its leader hurufíes Fazlallah of Esterabad. The articles in Cell are key to find them, while an initiatory path to Galip discovers that behind the visible world there is another world of "metaphysical geographies" where each side has its secret numbers and any object or circumstance is casual. That is, Pamuk has made a deep and entertaining, enter the coordinates of the modern novel aesthetic Western traditions esoteric Sufi dervishes of the legendary Persian, the West met in the early and mid-twentieth century for his presentation of Gurdjieff and Ouspensky "fragments of an unknown teaching." Galip penetrate the mystique of Istanbul hurufíes and education reveals an arcane, no one can be himself, because we are not one, but an "army of selves" living in a contradictory way our mind.

The historical and political

In My Name is Red, Pamuk takes us back to sixteenth-century Istanbul where the crime is committed by an illustrator, Master Donoso, and the novel begins with the voice of the dead, saying: "I am dead, I'm a corpse in the bottom of a well." Out who killed him is the core of the plot, but in reality the story is a foray into the evolution of portraiture in Western and Eastern painting, and the influence Islam had on the rejection of iconography. But it is also a love story taken from the Ottoman tradition.

In Snow, the versatile Orhan brings us to the border town of Kars in Turkey in the nineties. Here comes the poet Ka, a political exile in Germany for several years, to find out the suicides of young Muslim, who refused to remove their veil covering her face for entry to educational establishments. But Ka is also looking for the love of Ipek, a former college friend, and unexpectedly feels that: "The silence of the snow brings me closer to God." The snow cover the roads and there is a local coup to prevent the Muslim party reached the village mayor in the election. All this serves as a framework to build Pamuk various characters representing different political tendencies in his native Turkey, nationalist Republicans, the pro-Europeans, Muslims, atheists, the undecided, the Socialists, the Kurdish guerrillas, ethnic minorities.

Pamuk Here's expertise lies in not taking side with either, but lets talk about all ideological and religious voices that exist in their homeland. Lesson narrative polyphony and freethought literature makes a real niche intelligence, tolerance and freedom in a world that has become degraded to the justification of sectarianism and violence. The murder of the poet, several years after the fact, on a street in Frankfurt is an episode that shakes, when Pamuk himself has been threatened by extremists of various tendencies policies.

In short, the work of Orhan Pamuk is a literary and philosophical richness exceptional and I think it will become a true classic living. For many years he had found a voice as unique and brilliant narrative. I feel to be an author to read, reread and dream. Pamuk, like Funes the memoirist's story by Borges, seems not to forget anything that you have read, experienced and genetic heritage of Eastern and Western blood. But unlike Funes, think and hidden plot poetically joins the symmetries of the universe in his novels and characters.

* Escritor.

Premios Nobel de Literatura
en los últimos 20 nanos

2006 Orhan Pamuk Turquía

Gran Bretaña 2005 Harold Pinter Elfriede Jelinek

2004 Austria

Sudáfrica 2003 JM Coetzee 2002 Imre Kertész



Hungría 2001 Reino Unido VS Naipaul 2000 Gao Xingjian

China

Alemania 1999 Günter Grass 1998 José Saramago



Portugal 1997 Dario Fo Italia 1996 W.

Szymborska Polonia 1995 S.

Irlanda Heaney 1994 Kenzaburo Oe

Japón 1993

T. Morrisson U.S.

1992 D. St. Lucia
Walcott 1991 Nadine Gordimer South Africa


1990
Mexico Octavio Paz 1989 Camilo José Cela


1988 N. Spain Mahfouz Egypt 1987 J.

U.S. Brodskij 1986 W.

Soyinka Nigeria

Is A 7 Inch Dick Large?

Chronicle of a City "invisible"

A Victor I know him very recently. Just know that we share a passion for literature. Man in love with a woman named captivating, her writing is cultural, historical and intelligible. Enterprising entrepreneurs as they say, Victor Cartagena Menco Haeckerman is a tight friendships, no matter if at a distance and through emoticons. I read two of his works and it is worth noting that in this, its sensitivity reaches a humane literary descriptive and reasonable care that few journalists have. He is currently director of the cultural magazine Heading, a student of Linguistics and Literature at the University of Cartagena and a bachelor's degree, but many omit the title, the longest and most delicious in the life of any person of our generation. Camilo Argüello.

Tattoos on Cartagena

Chronicle of a City "invisible" Victor Menco

Haeckermann

Lords parents: if your child gets one of these tattooed to your home, do not cry to heaven. You guys: do not be surprised that her mom get a tattoo. Thus, tracking down people who are attracted by the art that consists of decorating the body (body art), is how I arrive, any night, a restaurant located on Third Avenue in Bocagrande. After reading a large sign that reads, Ink Addiction, I enter the place: in front of my eyes, a long, white room with paintings on the walls, two display cases filled with jewelry for the body and in the background, a group of people. In short, a room that anyone surprised by its cleanliness and harmony.

Someone approaches me and asks me if I want some service. I say that I have only come to watch. Again called my attention to the bottom group of people, that very likely came at the same mine plan. After I find my way past them to a lady and her tattoo artist who sets an Indian lotus, bright colors in his left arm (his first tattoo). As discussed the present perceive that the woman is the mother of the tattoo and that the letters are in the leaves of the flower are the initials of their children. Once the tattoo, she says never have imagined that it would participate a practice of this kind, but they gaze into the design changed his mind.

Then, a 12 year old boy asked the tattoo artist, Siegfried Cardona, would make a pierced eyebrow. It says you should consult with their parents. Mom and Dad are watching. She hesitates, but finally agrees, and the boy choose your jewelry. People keep coming and going. Beside me another young man, impatiently waiting to be served. "What you gonna do?" He asked. "A phoenix in the back," he responds to teach me a magazine. I wonder what their parents would say and I said no problem, what will he do with his own money. Advance

night, people come all the features: attractive women who hope to take Chinese letters on the lower back, a metalhead who wants a tattoo touched up and become outdated expansion, other than the best rock has never heard but which became a tattoo because he gave his wins, a boy who gives away his girlfriend a navel piercing, other than, for fear of being thrown out of his house UV tattoo ink (that you only see in clubs with neon lights), foreign residents, tourists ... rather not know so many people tagging.

"Cartagena What is this?", I wonder. And as a possible answer, I say the city changes especially the young. Today are not the hippies, as adults, cut their hair. Here the evidence, mostly, will perish. How tattoos survive amid a conservative society like ours exclusive? For now, most leads in places not so visible and clothing assistance. For example, still has not reached the first choice local tattooing the face and I doubt arises. I conclude by saying that this human group need not be poor in the city to be, paradoxically, invisible. I really just "spend time" on issues like this. They

11:00 pm I feel like asking Siegfried if you would like to make a presentation to the people arrived and found the empty walls, and, suddenly, in the audience, a group of people discovered their bodies tattooed with designs of his own. But do not ask, but for their designs. He replied that on your page I can see their work. Also, I said it has no preference for any particular style of tattoo, any style you like as long as done right.

getting late, I decide to leave before they close the place, but curiosity will not let me do it immediately. In addition, there are many people that easily go unnoticed. A man about 30 years old, works in a nightclub (I infer from her sweater) I come up and say-perhaps confusing me with the staff who runs locally, it has been because he wants to cover a scar on his arm. I stay silent. Only managed to recall aloud the title of a poem by John Junieles: "Tattoos are used to hide scars." The man smiles. Pleased, go where Siegfried and speaks as a patient to his doctor. I turn and I turn my eyes to the lady of the lotus flower in her eyes and watch the spring of these men displayed in the poem. Those men who, after a woman told them goodbye, an epitaph blue tattooed on his shoulder: "Love / But, mother. "

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BETWEEN WRITERS

"The glory or merit of some men is to write well, the other is not to write": Jean De La Bruyere

Maria Jimena Duzán

Bartleby syndrome (02 of January 2006)

Having survived the New Year, surely a final heroic act is even more pertinent to begin in 2006 recognizing that there is more daring feat in this modern world than being a writer. I am not referring to the "clerks", as the name of the implacable Roberto Bolaño in reference to the best writers Isabel Allende style sellers who have become his trade in a factory making stories as predictable as perishable, but real writers who do not compromise in its creation, which are not subject to the mercantilist argument that publishers needed today, most frantic literary awards in fiddle to the investments made in the fashion writers, who publish literary daring.

My tribute goes to those writers who do not belong to the great literary circuit, they have written their works without agents, which are not to win any of these business awards and yet still dazzle with their stories. I mean a Fernando Vallejo, rigorous in its mission a writer, a William Ospina, a poet who can not live the poetry, I venture, had to do the same as Roberto Bolaño, another poet who lost for lack of funds, and delved into the novel with the fortune of written a story like Ursúa, its 51 years, or as Bolaño himself, who never lost the northern literary or discouraged by the fact that his work was recognized by publishers, as it is after his untimely death. Again, life was a successful writer and Seix Barral refused to publish at the time his first novel (The Savage Detectives).

Not to mention Colombian writers, perhaps less known, such as Julio Paredes, Hugo Chaparro, Enrique Serrano, Gonzalo Mallarino, Antonio Ungar or Carolina Sanin silent disciples of another great writer, Catalan Enrique Vila-Matas, little known in these latitudes, but considered a cult author of a whole new generation of American writers like Cesar Aira, Juan Villoro, Rodrigo Fresán or our Héctor Abad.

Vila-Matas
always so bold, has dared to make a book to explain the syndrome of "Bartleby." A literary disease takes its name from a character who appears in a story by Herman Melville, a drab office who has never gone anywhere, that nobody knows whether coming or going, or whether or not relatives in this world only knows that when someone asks you to tell them about his life, always respond with this phrase, as emblematic of these creatures living in deep denial of the world: "I would prefer not to.

There are many writers who have stopped publishing after having written only one work or two, as with Rimbaud, who wrote his only play at 19 years, or as Juan Rulfo, who after Pedro Páramo and Llano engulfed in flames in silence. In the case of Rimbaud, Vila-Matas has his passion for writing ended when he ran his hallucinations. Rulfo And when asked why he had stopped writing, he always He blamed the death of his uncle Celerino, which he said was he was telling stories. Other writers who could not be rewritten, not so lucky. Many ended up in the asylum, if not the living dead.

Here in Colombia, a typical case of Bartleby's syndrome is relatively recent, is that of Antonio Caballero, who after writing a novel peak (no choice), he has not post any. And when Knight asked why one has written a novel, answers with this phrase, feature writers always passing through the maze of no: "Because the novel was actually an excuse to write a poem.

To all those writers heroes of this time my best wishes.

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Clerk and Borges portrayed by Bioy

The circle of the sky measured my glory, the libraries of East dispute my verses, the emirates seeking to fill me gold mouth, the angels know my last memory zéjel. My work tools are humiliation and anguish, I wish I had been born dead.
Abulcasim the Hadrami, JLB, The Maker (1960)

By Harold Alvarado Tenorio

died

JLB in Geneva on June 14, 1986. Twenty years later, this explosive in October, an editorial Argentina has released a fat volume of 1700 pages, simply titled Borges, whose author, Adolfo Bioy Casares (1914-1999), spent the last two years of his life in the tuning perhaps best picture, intimate, one of the greatest men who ever lived. A blind man from Buenos Aires, a city eternal as water and air.

The book covers the years between 1931 and 1989, but the first fifteen are abridged in ten pages. Years of meeting, the joint drafting your first job: a booklet on the curd, the foundation of their ephemeral magazines and publishers, the marriage of Bioy and Silvina Ocampo. A diary, written night after night, for forty years when Borges dined several times a week after the extended desktop, constantly writing notes to flaps of books and stories, scripts for films and hand lines, where Adolfito plays the role of James Boswell (1740-1795), to a beloved Doctor Samuel Johnson (1709-1784), exerted by Borges. An ABC book that will achieve the immortality of his master, then if the work of JLB is now frequented by thousands of millions of readers in all languages, who want to know the being of flesh and blood, must resort to this inconceivable testimony to the lives of a group of locals, so great and gossips, and beauty of the women who accompanied them and the dark times, which as everyone at all times, we has chosen by chance.

gossip is one who embodies the entire volume. Bioy never tires of noting that Borges's coming to dinner, leaving it for granted that almost ate his pocket. It's amazing certify Bioy untiring will not pass details of what Borges tells him, he says, he transmits phone calls on the vast circle of friends of the wealthy heir of the Martona, the largest processor Dairy of Buenos Aires in the middle of last century. A circle of friends who presided another rich heiress, her sister, Victoria Ocampo, one of the most famous Argentinian, not for its beauty but for their intelligence and their contributions to the literature of our language, director of the magazine and the editorial Southern Ortega y Gasset friend, Neruda, Lorca, Tagore, Camus, etc..

ABC gossip ago, its most naked exercise, we will poison hemlock in the reading of his memories of Borges. Neither friendship nor prudence and respect for women and equal prevent that with astonishing ingenuity and purpose, Bioy be recording the clever phrase or hurtful, trial bias, stubbornness against whom malquiere or hate, misogyny, racism, superiority complexes Argentine anti-Peronism, anticommunism, and his skepticism both as Borges, as they create a work made mutilation, modification, spoofing and lies whose purpose is the creation, in flesh and spirit, "is testimony that this book, a factory immortal words.

Because no one is spared in this intense scrutiny and plunder the world, where Borges and Bioy = Biorg, dissect passages, verses and rhymes examine a verse, challenging phrases, sounds celebrate, laugh roughness and the absence of an author's taste, or rewrite poems by the mere pleasure of exercising the profession they know best: writing.

Faust of Goethe, "Do not you think," says Borges, is the biggest bluff of literature? ". Shakespeare is "the divine amateur, always use the" mot unfair "Surrealism," unlike other invasive ideologies of literature, Catholicism and Communism, ignores the purpose of achieving readable works "poems are Pizarnik "absurd cacografías" Ezra Pound "miglior fabbro Elil consider, but no one reads," "Thomas Mann was an idiot" "He got the Nobel Prize Juan Ramón ... First Gabriela Mistral Jiménez, Juan Ramón now. They are better at inventing dynamite, which to give awards ... Gabriela Mistral has not written a poem pretty good ... The prizes do not help anyone to posterity ... "" What do you know of anything a brute like Hegel? "( Oliverio Turning) "his work is nothing" ... "It was a Peronist unclean", "Neruda is like because sometimes cheesy without remorse", "Lorca wrote poems horrible," "They told me that the musicians had not heard. Piazzolla not read the verses, "" Sabato also disappear without a trace after death "" If you compare the death of Socrates and of Christ there is no doubt that Socrates was the largest of the two. Socrates and Christ was a gentleman politician, seeking compassion
[...]".

And if the gossip is bone marrow is the detraction that binds our friendship and makes cronyism. If Borges is a knife of ice, is the perfidy Bioy same and both are toxic and deadly. Bioy between the lines, is making it clear that Borges has a dislike of the Puritan themes of love and feels uncomfortable with literary allusions to life sexual, often justifying that the erotic is less than epic. But the height of the traps is reached when referring women who are often interested in romantically. Haydee Lange, the beautiful redhead libertine who was one of his (JLB) passions of maturity, who left him for Oliver Girondo and with the complicity of Lorca made love one night on a terrace with Neruda, said that "the idiotic lives alcohol "Estela Canto, to whom he dedicated The Aleph and gave the manuscript after it sold at public auction and to write a book about his relationship with Borges, he considers" this pillar of righteousness "Silvina Bullrich is a" fat Florez's district Ravioli "Susana Soca, Uruguay is a patron" a bid "and another local color by rivalries and jealousies between the beautiful and very elegant for Bombal Susana, Carmen Gandara, sisters Grondona, Wally Zenner, Marta Mosquera, Esther Torres or Pipina Zemborain Tell and Elvira de Alvear, who in his last madness and poverty, Borg inevitable end of every year.

Perhaps the memorable character among the ladies of high society of Buenos Aires is Bibi Bullrich, portrayed by Bioy from the fables of Borges with his fearless confidence, daring neologisms, and unforeseen and unfortunate interventions corny. "Just as you'd like to meet poets and writers," says Borges, I am interested in knowing rich people ", when exiting a modern dance recital exclaims," \u200b\u200bI I prefer the other dances, with orchestra and with people you know who drew to a dance "in the middle of a meal says:" I'm so smart, so cool that sometimes I can understand, "" I do not like but I'm so smart I've discovered that should be okay with the Peronist ", etc.

deserves a chapter of Borges's first marriage, when at age 68, decides to marry, with the possible disappearance his mother, with an old sweetheart, widowed Elsa Astete Millán de Albarracín, a being from another world, less than Borges. "I put my fate in the hands of a stranger," said Borges. "No appears to he confident he usually does, Leonor Acevedo-Bioy. I stay quiet: I think I will care. No longer young. It was nice, now, and see ... But he does not see. For it remains the one before. "" Old, "notes Bioy-gray skin, in an attitude of servant love, admiration prostrate before the idol potentially wayward [...]; determined to surround the man and persuade domestic care of household charms, prone to take offense and blinded by jealousy, mistrust, potion, loving, optimistic, expressive and given to pouting. "And later the jealousy of Elsa with his friends, his travels, his tributes, while old and blind poet ever richer is buying dresses, fur coats, apartments, or second-hand shoes.

the end, of course, is the turn of Maria Kodama, who married by proxy Borges 45 days before dying. Bioy kept in the strictest caution about it, perhaps not to offend the memory of his friend and teacher. And he notes: "Borges told me to die does not matter one site than another. And what a luxury to have a love, heartbreak and even at eighty-something." However: "Mary is a woman of strange idiosyncrasies, accusing Borges for any reason, punished him with silence (remember that was blind), so jealous (it was furious with the devotion of fans). Next to her lived fearing angry. "

The June 14, 1986, a stranger, in a newsstand near La Biela, Borges tells him dead." I kept my way, Bioy scores. I went to one of Callao and Quintana, feeling they were my first steps in a world without Borges. "Before he died, he says, someone taped a singing tangos Borges:" They say in this recording Borges laughs with laughter as usual. "

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THE ADVICE OF BORGES

The Argentine master decides to give some advice to those still we are confused when writing a story and why not a novel. At conferences and media interviews, Borges reveals some of the steps he turned to his literary creation, undoubtedly, one of the most important in Latin America.

Adolfo Bioy Casares, in a special issue of French magazine L'Herne, that thirty years ago, Borges, Silvina Ocampo himself and six hands projected write a story set in France and whose hero had was a young writer from the provinces. The story was never written, but that sketch has become a thing of the Borges: an ironic list Sixteen tips on what a writer should never put on their books *

In literature should be avoided:

1. The performances too conformist works or celebrities. For example, describing the misogyny of Don Juan, etc..

2. The pairs of characters grossly dissimilar or contradictory, such as Don Quixote and Sancho Panza, Sherlock Holmes and Watson.

3. The practice of characterizing the characters for their hobbies, as does, for example, Dickens.

4. In the development of plot, action bizarre games in time or space, as do Faulkner, Borges and Bioy Casares.

5. In the poems, situations or characters that the reader can identify.

6. The characters that can become myths.

7. The phrases, the scenes intentionally linked to a certain place or certain time, ie, the local environment.

8. The chaotic enumeration.

9. Metaphors in general and in particular the visual metaphors. More specifically still, the agricultural metaphors, naval or bank. Example absolutely inadvisable: Proust.

10. Anthropomorphism.

11. The making of novels whose plot is reminiscent of another book. For example, Joyce's Ulysses and Homer's Odyssey.

12. Writing books that seem menus, Albums, itineraries or dates.

13. Anything that can be illustrated. All you can suggest the idea of \u200b\u200bbeing turned into a movie.

14. In the critical essays, any historical or biographical reference. Always avoid references to the personality or the private lives of the authors studied. Above all, avoid psychoanalysis.

15. The domestic scenes in detective stories, the dramatic scenes in the philosophical dialogues. And finally:

16. Avoid vanity, modesty, pedophilia, the absence of pedophilia, suicide. FIN

http://www.ciudadseva.com/textos/teoria/opin/borges1.htm

* From

Visio Reception Seating Chart

16 "PHOTOGRAPHY IS THE ART OF THE FORGOTTEN" Atento

By Camilo Argüello Benítez

In the spacious room with high ceilings and white walls hung large portraits that he took his father, Leo Matiz, throughout his career as a photographer, cartoonist and painter, striking a solid carved wood mantel stored in their niches, as a very luxurious dishes, cameras and Matiz documents identified in his travels around the world. It is the living room in Bogota where Alejandra Matiz, keeps alive the work of his father.

is a large room with windows facing north of the city. A low table holds one end of the room and she had several books of photography published by his father and others in tribute to him. Several chairs placed around the room and two large sofas, easy on the eye form the Leo Matiz Gallery opened in December.

As a lady who wait while the viewer's gaze is lost in the magnitude of the nearly empty room. Log in and greets jubilant. He wore a simple red suit like wine, a green scapular around his neck crafted with several images of the Virgin. Your smile is generous and sudden, and generates small wrinkles at the corners of his eyelids.

And although not speak quickly it does with great clarity, animation and energy. Your prayers are emphasized strongly, with strong emphasis on highly expressive verbal, and sometimes, some really humorous.

With them was guilty of extravagance description that she disapproved of laughing as soon as the ideas came from his mouth.

Alejandra Matiz has made several exhibitions of photographs of his father in the Country, Berlin and now has decided to bring them to Colombia, where from now, will go to other countries.

Thinking works left by his father, Alejandra specialized in restoration work in Italy, where he lived for over 30 years and came to Colombia in October with the slogan to go ahead with the Foundation "Leo Matiz" he created along with it.

Its plans include social exposures are linked to the auction of some works Aracataca Leo took in 1940, before writing "One Hundred Years of Solitude." The money raised will be used to strengthen social projects for women in the country.

- How will social exposures Foundation next year?

The topic will be women. Highlight the value in society. So, this exhibition is based on photos taken by my father from a group of important Latin American women such as Maria Felix, Frida (Kahlo) and Tina Modotti. Although Tina was not in the region, they lived long time in Mexico and feel of the land said.

definitely need to help women in Colombia. The Foundation initiated a social project to help single mothers. Then, an exhibition of Latin American women in the streets with the "Braille", ie below the photo there will be a description of what is photography for the blind can imagine and know what is a photographic portrait. I thought about them, because each in its own way, are the sign of the revolutionary woman, responsible for change part of the story.

Another presentation will be based on Macondo seen by Leo Matiz. Macondo from 1940 to 1960 before being put Hundred Years of Solitude. That people pure, elemental, which had no influence on the Nobel.

This exhibition, like the other, will be taken to the streets but is not designed to help women, but that has Aracataca aqueduct. Surely not reach, but something will help. And then I'll let these photos, large and laminated, in this town that grew up with my dad, so they have a permanent exhibition, will bring tourists and their economy improves.

- When was the Leo Matiz Foundation?

legally 1998. Leo Matiz was the same one who decided to make a foundation for not to abandon his work because he saw the need in Colombia there was a photo center, which will show the world that art so sad for the country, or as I call it : the forgotten art. I think a newspaper can write without a photograph, but if a photographer is paid work, no credit is given or not given importance and it is believed that anyone can pick up a camera and take a picture, start to miss the reason for this trade.

- What are the projects of the Foundation?

For 2006 we plan to do six exhibitions every two months. Also launch the Leo Matiz photography prize, for that there will be a convocation and prize will be divided into several categories such as professionals, amateurs and those who are starting in this field. There will be seven judges, two of them international.

- What is the idea of \u200b\u200bthe award?

Award

The idea is to launch mid-year in Bogotá, but we will have offices in some universities in the Colombian Caribbean, because one of the objectives of the Foundation is to help artists, Latin American photographers and those who have not been recognized.

few years ago, I made an exhibition of Frida Kahlo in Mexico at the Museo Estudio Diego Rivera and we came with that system because the blind, touching the picture below and described, almost perfectly, the characteristics of image. For example, said that Frida had long eyebrows, described how she was dressed, said that Leo Matiz was chubby, I loved Mexico and was a good friend of Frida.

That in Colombia has not done, and would be a way of creating culture, because a person who begins to play art leaves bullets. If you are born in the midst of arms and bullets, and then you find another world, the art, I'm sure people would stop violence and to change society we have today.

- What's Next for 2006?

It is planned to create a documentation center in the north of the city to teach all those interested in learning photography, to build a good marquetry and take the hands of all those little things I learned in Italy when I studied art restoration, as the photos are gems and we start to see them as they are. The exhibition of Latin American women will go to Australia and hopes work on the Mexican Revolution are photos taken by my dad and now serve in 2007 marks 100 years of the Mexican Revolution and 100 years since the birth of Frida Kahlo.

- How was the life of his father, What he remembers?

My Dad suffered greatly. He lost an eye in an accident very strong in 1970 in San Victorino (center of Bogotá). That day, a guy, for stealing the camera, gave a fist with a thick ring, buried him in the eye. What he did not know who was beating one of the greatest photographers of the world. He had to work without an eye and the other almost did not see, so I dedicated myself to help after seeing that tragedy.

He was very visionary before the accident. 50 years ago saw in a dream that he lost an eye. In the dream, an angel came and took him to the eye. He said that he ran behind his eye, but the flying angel and I could not reach. But I felt a strange peace because he understood that his eye was going to heaven not by malice, but out of love.

That was terrible. My father said: 'If is important an eye for a horse, how about for a photographer. " He began to die, he went to his farm in Fusagasugá (Cundinamarca) and did not want to leave or return to photography. At that time I lived between Venezuela and Italy. I came to Colombia, I went to the farm and since I yelled out that if I stayed out in front of the house, day and night, until I received. After 12 hours, went down. I convinced him to return to the world of photography, took him to Bogotá, he started working at a magazine, made him a tribute at the Museum of Modern Art in Bogotá and was reborn again.

- How was this rebirth?

My father began to live again with what he called his third eye, it was not but feel the picture. At some point even told me that he worked with his third eye, which did not need to see to know where he had a photograph because the felt. And so was born his latest book called 'The men in the field', a book that makes a blind man almost six months before his death and in a state difficult as suffering cirrhosis of the liver in advanced degree, and still managed to publish it.

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ALEJANDRA

occasion of our writer of the month, trascribirá the text "Dialogue with the teacher," a self Hemigway interview on the craft of writing, taken from his collection journalism "special envoy" of editorial Planeta.

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--------- MATIZ WRITTEN WORD ---------- ---------------------

Unattributed

I worry that life will be completely written to be seen from the screens of televisions and computers. I do not know how writers will be the future or rather if it exists in 100 years. I refer to men who seek to fight against misfortune of technology: these machines rather, I now see with the eyes of that Hidalgo, who fought in the era at all costs.

But back to top would be the best gift that God would give him at least to my generation that equals that of Foulkner, there is no history, suffers. Bitterly aware of this, I dive into the concept of the Czech writer Milan Kundera on the "eternal return: the heaviest burden," willing to bear the weight of a generation adrift in my being and supported in life, reason and words.

Waking the man who travels to the scaffold must be the intention of the writer, as Donne said. Wake of the road that leads to jail the scaffold where we all sleep from birth to grave.

writers fear for future generations. I fear for me, because I do not know if I'll be able to put aside that demon that always invites me to turn the screen so that the imagination is lost between a tunnel accident as I look in vain entertains century.

feel that the truth will live forever in the written word, thought, not spoken but lashes. I now rely on the parable of the speaker's Lonely Peruvian writer Mario Vargas Llosa. I am inclined to that blessed be a sign of the love of writing, decided to live with her until my last breath. Eat and live to endure forever in my Bicer, and develop with that warm and painful fervor that led many to the thought of a strict discipline that allowed immortality to his name and leave the world a possible vision of what can be inhuman humanity.

I dream of the " Catoblepas " that Flubert described in " The Temptation of St. Anthony, an imaginary animal, a creature that ate itself from the feet. A patient " Catoblepas" is the writer, a being who searches within himself the experience that will give life and opportunities, to answer the main question of his generation.

I'll be the literary representation of youth, playing Aldous as the man who makes her way through the forest while cutting furiously obstacles from his path. The same is deaf to the jeers loudly, who is not allowed to watch the morning that every day he asks the same question today What do you think your dreams?

For now assume this challenge on my own written word, I call on the life and fate to be left to carry on my shoulders. I call the " Catoblepas " and Lone to show what I write, why I came to this fast-paced world. Otherwise, invoke the death looking from Honduras, the light of the mountain where Hemingway was my teacher, that I will overcome it before I started my journey to eternity with the best grace that leaves us the job well done or at least tried. October 2005

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Nonsense Vargas Llosa bad

Taken www.elmalpensante.com

Photo: In this picture, the writer Antonio Caballero during an interview with the Colprensa Agency. (Colprensa, Oscar Perez)

By: Antonio Caballero

Colombian novelist and columnist. Write for the magazine Semana.

There are several Vargas Llosa (and I do not here the children). There are several different Mario Vargas Llosa. And I do not distinguish here only the narrator realistic fiction journalist. But leaving aside the political essayist and economic thinker, literary critic and social philosopher, the speaker, the polemicist, the boxer, the statesman, the dispenser torrential interviews, but the foreseeable future still memoirs, I would like other two of the many writers who coexist in Mario Vargas Llosa, the novelist and the novelist malo.El good excuse is their latest, but certainly not last, novel: a big book (or booklet in vargasllosianos parameters) of anything less (or anything else) to 375 pages: Mischief of the bad girl (Alfaguara, May 2006).

First, the good novelist. I say to start because it started very well, with a splendid novel entitled The City and the Dogs, who won the award ... but no, I have no room to talk here of Mario Vargas Llosa has won awards, whether literary or paraliterarios or extraliterary: Natural Flower of Guayaquil, the Nobel Prize in Chemistry, of Sympathy to give the Dutch churches, the Capote de Paseo the plaza de toros de la Maestranza in Seville, the ... I say it started very well but know that they started I say: it was me who began reading out there: he had already written and published, and I think he won a prize, a volume of stories that I have not read. Because, and I say in passing, I would doubt that anyone has had time in your life to read all the books that Vargas Llosa has written and published (without forgetting that, as I said earlier, we still have their memories after death) . One Breath. For me. To you too, reader, mon semblable, mon frère.

came speaking, then, Vargas Llosa's good. Without trying, much less reading it over, remember it three or four fine novels and two or three extraordinary: Conversation in the Cathedral, The War of the End of the World, The Feast of the Goat. Literary constructions of ambition vast epic and increasingly complex, overwhelming, overwhelming, like a great mother river left, but Vargas Llosa is also the bad: the daily Reutilio uncle, or Reginald, or whatever that monstrosity, the the stepmother, the aunt of the other, that of I do not know exactly what title, but I've read, or at least started to read. For though you have not read the whole work of Vargas Llosa's possible, yes I've got the tooth to nearly every imaginable. Or, to put a term dear to the liberal, the "Actually existing." And of all the novels of Vargas Llosa bad the worst is this most recent: Mischief of the bad girl. Since the end. The main character tells the narrator, in the last sentence of the book: "At least he admits that I have given topic for a novel. "No, good boy? No. Sorry, but no.

is more: no. There is nothing novel in this song that gives the above "bad girl" to the aforementioned "good kid" in any of the meanings that they want to give the term "romantic." No more bland, nothing more tedious. I summarize what continuación.La bad girl in question is neither girl (have about sixty years) nor bad (it's a fool with remorse), and does mischief, merely living as successive and sustained minor characters, lovers or husbands, who are not even many: only five or six in half a century. An official of the Cuban Revolution, a French consular official, an official of the Japanese mafia whose most outrageous excess is ask you to pull farts. And the narrator, of course: the aforementioned "good kid", a Peruvian official translation service of UNESCO in Paris. The bad girl is a civil wedding with them, and generally succeeds, although not well understood why, because not even a good lay: always says it's not, and that one either, and that hurts.

The secret of its charm that escapes the reader, painstakingly explains the narrator, fearing that the reader may have missed it, is that it is a mysterious woman: a sphinx. How will enigmatic, that being Peruvian girl Chilean girl posing as a later change their passport and a French girl of Peruvian girl again, but falso.Todo this is told in prose translation of unesco. But I am not referring to Julio Cortazar, or that of Julio Ramón Ribeyro, or even to that of the Mario Vargas Llosa, no, but that of a mediocre translator for UNESCO, as a result of "a small spill brain "thinks that the translations trade are more difficult than the literature because they are better paid. (I do not invent anything: see page 334 of the edition Alfaguara). Thus in the novel are, for example, erotic dialogue with: "" I will not return to Paris, "he warned, as he watched her, naked, his back, going on tiptoe to the bathroom." I shall stay in Tokyo and if I can not kill Fukuda, I am pleased to be your dog, and you're the bitch that gángster. "Wow, wow," barked the Chilean. "aesthetic reflections and also found this:" I took her to see cathedral, a show that with all his years in Paris, never failed to dazzle. "As the novel forces us to follow closely the narrator for most of the cities he has visited in his life Vargas Llosa, tireless traveler, and listen to all your tour guide tips .

So if we come to London "by one of those strange conjugations plot chance, we will not fail to visit" the heart of swinging London, Earl's Court, a very lively and cosmopolitan Kensington, for the influx of New Zealanders and Australians, was known as the Kangaroo Valley (Kangaroo Valley). Or if, on the other crazy combination of these, we are in the "crowded Tokyo" instead of remaining in the "impersonal cafeteria Hilton" we will go "to the brothel or maisons closes, there is christened with the name afrancesado châteaux" in Ginza, which is "the neighborhood of Tokyo's night." (They have Jacuzzi and all.) What we are in Paris? The cathedral has been said, that never fail to dazzle. And then "a neighborhood bistro whose specialty is the coq au vin, and, for dessert, a tarte tatin. And by the way of Paris, we must not forget that from the famous restaurant in the Closerie des Lilas, "the banks de l'avenue de l'Observatoire, to l'Ecole Militaire," is a good half hour's walk. " Madrid? We be helpful to know that "coffee Barbieri, Ave Maria street, looks like a decorated Expressionist Berlin of the twenties, or an engraving of Grosz or Otto Dix. And still missing, still missing.

Vargas Llosa has lived and has lectured in almost every city in the world, and all took notes. Sale Lima, of course, "with all the delights of Peruvian cuisine, the ceviche of sea bass, shrimp chowder, rice duck, mixed beef, the cause, chabelo dry." Sale Helsinki, Vienna leaves, leaves Seoul, Korea in the remote. Roma goes well, but only in passing, without much data useful information for visitors: or train schedules and prices of restaurants. But if we, instead, on second-hand furniture Rastro of Madrid on the entries in the cafeteria of Anthropological Museum of Kyoto or tea with scones breakfast at the Russell Hotel in London, Russell Square, near British Museum, where the waiters are very amables.Quiero say, not that I think it is wrong that you have things like a novel.

From the Satyricon of Petronius's novels were made to fit them all. Vargas Llosa himself discovered (he heard at a conference) that Don Quixote are exposed and neoliberal economic principles of Hayek and Milton Friedman. And boredom is a fascinating romantic theme, as in Madame Bovary. But are the characters who are bored, not the reader. Vargas Llosa And the issues are not frivolous or subtle emotions. Proust, for example, brings you a hat of the Duchesse de Guermantes two or three hundred pages of wasted time, time regained, time. And yet we feel we are just wasting time when we read that the translator of UNESCO is dedicated "to go ladies boutiques and shops to choose a gift and yet discreet original, delicate" to end up buying "one of the first things saw and liked, where Vuitton: a vanity with a collection of glass bottles of perfume, creams and lipsticks, and a calendar and a pencil Concheperla hiding in a false bottom.

adultery was something vaguely charming in that cache need. "Vargas Llosa The need good loud and gruesome themes for their stories come to mind. When you do not, you better not escriba.Pero good: at least I confess that I have given topic for an article. right?