2024-09-07 07:39:39
——What does the kitchen in “Refugee” look like? Triggers or first images or ideas, writing processes, readings from friends and colleagues, etc…
——In 2004 or 2005, I imagined the story of a woman involved in the resistance movement. Argentina is split in two and this woman is trying to put it back together. I wrote hundreds of pages without finding a solution. When I recounted the plot to friends like Abelardo Castillo, they told me it was very good, and I thought so too, but when I wrote it I felt like I was moving away from the center of the story, instead of Closer. I left that project and wrote three or four more books. A few years ago, I was reminded of another story: a recently divorced man who entered into a new relationship. He feels exiled (because a couple is also a country, an inhabited place with its own borders and laws, its own language), he feels like a refugee coming to his new love. I knew this character was the narrator I needed for my scrapped novel. That, just because in his intimate life he was between two couples, the guy would want to investigate how and why Argentina was divided into two parts; in a way, the collective history is related to his private history, To understand what happened to him, the character needs to investigate Argentina’s history of secession.
——Why does the story unfold from the inside out?
Dictators don’t like this
The practice of professional and critical journalism is a fundamental pillar of democracy. That’s why it bothers those who think they have the truth.
——Because it’s always like this. Because no one went out to make a revolution in Bolivia or join the French resistance, except to dramatize their intimate issues on a larger stage. I think so. Universal history is the projection of my love and my toothache on a giant screen. In any case, the novels that move me most are structured in this way. Look what happened to Borges’s El Aleph. The narrator visits the house where Beatrice Viterbo lives, and each time he stops to look at a picture of Beatrice: from the front, from three quarters, from near and far, in different situations etc. Then go down to the basement and gaze into the Aleph, where all the places on Earth are clearly visible from every angle. So what is Aleph? It’s a common and mysterious form of the private, melancholic and petty act of looking at pictures of people you love and have lost. But “The Aleph” has only emotional reality for the reader because it is underpinned by the trivial emotions Borges mentioned earlier. Notice that even Borges, after thinking about Aleph, added this mysterious line: “I feel infinite reverence, infinite pity.” Moment: I felt awe and pity for the universe, which is not Is it weird? However, this statement makes sense because, in fact, Borges had these feelings when he looked at the picture of Beatrice.
——You are a writer, you translate, you do cultural management, notes, criticism, and you host a live broadcast called “The Truth Part”. What is the coexistence of all these aspects like? Which one do you like or please the most?
——In my opinion, what I do is tell stories in different languages and media. What I do at Neura is convey current events through different forms of knowledge that interest me: for example Greek mythology, Shakespeare’s plays, Christopher Nolan’s films, biblical stories, the Breaking Bad series or Dark The triad” concepts of narcissism, Machiavellianism and psychopathy, belong to contemporary psychology. For things like that, I try to put together a version of reality, which is why the program is called: Part of the Truth. When I write an article, story, or novel, I do the same thing with other media. My utopia, if you will, is to have everything in the same story. I recently saw an interview with Richard Ford in which he said that in his first book he used about a quarter of his brain to write, and only in The Sportswriter he could “use his “whole brain” to write. I really like this idea. In any case, the ideal place for everything, the place where meaning can be best concentrated, remains the novel.
—As we have seen, your relationship with literature goes beyond the act of writing and publishing. You’ve collected some great anecdotes along the way, such as the one I’ll ask you to tell me about Michel Houellebecq. I have no doubt our readers will appreciate it…
—In the early 2000s, when I was living in Chile, I started a project at the university where I invited foreign writers and conducted public interviews with them. I wanted to bring Michel Houellebecq, who remains in my opinion one of the most outstanding writers of this century, but I didn’t know how to make the invitation attractive. Now, the person responsible for sending the invitation email is the project manager. She doesn’t speak the language, so I have to translate it for her. I saw an opportunity there. She wrote a very formal, very Chilean letter to Houellebecq, in which she told him that she was delighted to invite him to the event, and so on. I translated: “Dear Michelle: How many times when I was a teenager did I fall asleep holding the pages of one of your novels to my chest…”. I continued in this tone. A few months later Michelle arrived in Chile. Over time, I clarified everything to him and interviewed him multiple times in different countries, including an unforgettable visit he made to Buenos Aires in 2016 that I still continue to this day Talk to him. But I will never forget the time I played Cyrano de Bergerac.
—Do you have a favorite author among Argentinians of your generation or one that you like?
-Yes of course. I read and studied from Pola Oloixarac, Pilar Quintana, Marcelo Birmajer, Pedro Mairal and these days, thanks to Maximiliano Tomas, I discovered María Gainza and I think I will continue to read a lot.
– In your public interventions, as is the case with many domestic and especially foreign writers, criticism of cancel culture features prominently. Finally, could you summarize your main objections and observations on this issue?
— Regarding cancel culture, we’ve already said how disastrous it is and why. They talked about how it violated free speech, intellectual debate, the presumption of innocence, and how it hinted at the Stalinist farce with political commissars who were both responsible for destroying some lives and covering up guilty people when they were friends or ally. Personally, what disturbs me most is that cancel culture forces us to say things that are contrary to what people really think, which creates a cognitive dissonance that makes us stupid. For example: I believe that no one, absolutely no one, truly feels that trans women are women. You may think (and I certainly do) that trans people have full rights to live their lives as they see fit without being disturbed. But no one feels that the life experiences that make up women’s uniqueness are the same for biological men who identify as women. Yet in many areas you have to pretend you feel differently. Another example: In all debates about feminism, we start from the premise that the only form of power is clearly expressed through titles: representative, president, judge, CEO, Nobel laureate, etc. These are the only forms of power that exist that are regulated and recognized by law. What is more important for those of us who want a society of equal opportunity is that neither regulations nor the force of prejudice can prevent women from reaching the highest status under good law. But we all know that power takes less clear-cut forms and is therefore hugely decisive. Sexual attraction is capital, temptation is capital; most men tend to act based on women’s attention and approval, and choose one or more women in their lives as the judge and moral parameter of their behavior. This is a kind of capital, And this capital is available at all times. determines a very important part of reality. Privately, a feminist friend might tell me (this happened to me): “Being a woman is a huge power because a man will stop at nothing to touch a girl.” Another aspects, it is also clear that there are collaborative forms of power – for it seems to me that the post-Marxist notion that power is inherently oppressive seems to be invalidated daily by experience – where men and women thrive, Just where to go further. Of course, that’s all fine: they’re part of reality. But they are parts that generally cannot be said, or, worse, the opposite must be said, and then a dissonance arises that makes it impossible to think.
*Screenwriters and reporters.
1725695840
#utopia #story
Argentina refugee problems
Table of Contents
The Complexities of Refugee Life: An Argentine Perspective
As we navigate the complexities of the human experience, stories of refugees and asylum seekers often take center stage. The UNHCR Multi-Country Office in Argentina is dedicated to providing support to refugees, asylum seekers, and other forcibly displaced people in Argentina, Bolivia, Chile, and other countries in the region [[1]]. This critical work is especially important in light of recent events, such as the surge in asylum requests from Brazilian citizens in Argentina [[2]].
In a recent interview, an Argentine writer shared his personal experiences and insights about refugee life, highlighting the intricate web of emotions, history, and personal struggles that refugees often face. He
Unraveling the Creative Process: An Exploration of Writing, Inspiration, and Storytelling
As we delve into the world of writing and storytelling, we often find ourselves fascinated by the creative process behind the scenes. What sparks an idea? How do authors craft their stories? And what drives them to continue creating? In this article, we’ll embark on a journey to explore the intricacies of writing, inspiration, and storytelling, drawing from the experiences of established authors and writers.
The Genesis of a Story
For many writers, the starting point of a story can be as simple as a single image or idea. As we see in the case of the author being interviewed, the concept for their novel “Refugee” was born out of a vision of a woman involved in the resistance movement in a divided Argentina. This initial spark can then evolve into a fully-fledged narrative, shaped by the author’s experiences, research, and imagination.
The Writing Process
While every writer’s approach is unique, there are certain habits and rituals that can aid in the creative process. For instance, Danielle Steel, one of the world’s best-selling authors, still uses an old Olympia typewriter that she’s had since the start of her career [1]. This familiarity and comfort with her tools can help foster a sense of creativity and productivity.
The Importance of Feedback and Criticism
Receiving feedback from friends, colleagues, and mentors can be an invaluable step in the writing process. As seen in the interview, the author shared their plot with friends like Abelardo Castillo, who offered their thoughts and insights. This constructive criticism can help refine the story, identify potential issues, and ensure that the narrative resonates with its intended audience.
The Power of Storytelling
At its core, storytelling is about conveying emotions, ideas, and experiences through various forms of media. Whether it’s a novel, article, or live broadcast, the goal is to engage the audience and provide a unique perspective on the world. As the author notes, their utopia is to have everything in the same story, blending different forms of knowledge and media to create a rich tapestry of narrative [2].
Lessons for Aspiring Writers
So, what can we learn from the experiences of established authors and writers? Firstly, it’s essential to remember that writing is a process that takes time, effort, and dedication. As James Patterson, the world’s best-selling author, would likely agree, the key to success lies in persistence and a willingness to continuously improve [2].
Moreover, preparation is crucial when it comes to interviews or public appearances. As authors, it’s essential to be prepared for any question or scenario, and to remember that the show is not about you, but about the story you’re trying to tell [3].
Conclusion
writing and storytelling are complex, multifaceted processes that require creativity, dedication, and a passion for communication. By exploring the experiences and insights of established authors and writers, we can gain a deeper understanding of the intricacies involved and learn valuable lessons to apply to our own creative pursuits. Whether you’re an aspiring writer or simply a lover of stories, the world of writing and storytelling has something to offer everyone.
