Bonsai with japanese maples bonsai alejandro zambra pdf descargar tala de arboles en pdf. Bose mb 12 bonsai pasion 2 pdf nic 12 pdf “The relationship between life and fiction is at the core of BONSÁI. Fiction can take the shape of a lie, but Alejandro Zambra. Producer(s). Bruno Bettati (Jirafa ). This is what Alejandro Zambra has done in this book, which, in the same way that a bonsai is not a tree, is neither a short-novel nor a long-story: it is a.
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A new book is as much an opportunity for a new conversation as it is for a new read. The reader, never told explicitly the design, makes herself aware of the doubling; as we read, we learn what exactly it is we are reading.
Who is your ideal reader? Writing is searching, always. Then what one is looking for is an instance of something beyond reason, in which only the text exists; the task is unfolding it, like a sculpture: You work on the stone to find the form already there. However, once finished I tend to share the pieces with a few friends, and their opinions are relevant to me.
I draft a lot; I have a diary and take notes on irrelevant things. I try to free the space of writing from any commitment, obligation, or duty; I do not push myself to write a poem, a story or a novel.
Sometimes an image takes some work, but it starts to become something. It has always been that way, clearly. And when I find the book, or when I think I found it even though I make a lot of mistakes I plunge into it obsessively. An illegible and genuine book that we translate treacherously, that we betray with our habit of passable prose. Do you constantly think of your books? You mentioned emergency proof changes at Anagrama.
Download Bonsai – Alejandro Zambra.pdf
Ten years ago I published Mudanza [ Moving ], a book of poems, which is zambrq fact one poem divided into six parts. I have around pages rewriting those fifteen pages.
I make all kind of corrections. Some hysteria as well, sure. Today, above all, it seems so aggressive to conclude a book, considering all the time one spends before the screen dealing with it. My first feeling, when I have the book printed, is: There you have its morality. To force onto them something they may or may not agree with or need as if you can determine what a reader needs is to skew the balance between reader and author, and it puts the narrative in the advantage of having the final say re: Not a message, WGC feels more like an opportunity for experience.
There are often sentences in your other books that give the reader a look into the world of an zaambra. But WGC enters something new or different. I felt like there was a moment of aha! What do you hope a reader of WGH thinks of while reading, and then, after completing the book? Yes, I agree, the reader completes the whole thing. And, at last, I believe the book is open to any kind of appropriation by anyone. As a reader one steals the book from the author, allowing the book to say many things at the same time.
One explores its meanings, its layers. I like the idea of that alejzndro.
I like the idea of literature as something that pushes us constantly to check our convictions. In any case, thinking bpnsai those zambrz that have moved me above all, I think I have never got them, understood them, utterly, really. In good books you always find a sort of opacity; they have margins of illegibility.
So it is odd to see those attempts to simplify literature. Funny idea, that of understanding Latin American literature as a literary genre. And, in any zambrq, what is that? What does it mean? In all of your books there are secondary characters. Any way you put it, a hierarchy is established. This is indicative of the way information is given as well, combining the specific with the ambiguous.
Why not tell us all the information up front at the beginning? I like the idea that all my characters are secondary ones. It happened, and it still happens, that to name them is extremely difficult.
Bonsai – Editorial Anagrama
It was absurd, I felt ridiculous choosing names for them. This is quite clear in Bonsai. I considered his idea a luminous one to attempt in my writing. I like the metaphor of the iceberg, of course.
Reading many novels I thought it would be better if I avoid telling everything, prune some paragraphs, some descwrgar of pages. The narrator says no, he is protecting her by keeping her out. How do you feel about writing from life? Do you censor yourself in terms of certain people? How do people close to you react to your work? I have no interest in telling my life. The story told in WGH is the story of many Chileans of my age, and I guess those tensions between parents and their children are present in the life of almost anybody.
Of course I care about people I love, but not by self-censorship. As I said before, this is not referential. Anyway, sure, there are alejnadro and confusions, but the people I love tend to be people who love me and they accept and understand that this has nothing to do with being literal. I really like this answer. Spaces are geographically objects, so we can ignore those.
But scenarios are often shared or affected by others in real time. Is it more important to change kibro arbitrary facts to guarantee that those close to you blnsai not get hurt, or is it better to go with your first instinct, even if your character is named Herbert and your real- life friend who has the same eye color is named Hamilton? I understand your question perfectly, and I think sescargar in every case, with every text, the answer would descaegar different.
It is one of the many things for which there are no rules in literature: There are directions, but no rules. If you use first-person singular and talk about your mother, sure, the text will deal with that tension, always, with that possibility, but there are searches which need precisely that tension. What is a fully formed character? The character must looks like everybody, anybody, and nobody. You know, yes, of course you know: How important is the perspective of the narrator?
Is there a connection between perspective and truth? I like to think of the difference between the novels considering the distance between the narrator and the main character, which is decreasing; as in Bonsaithe narrator looks at the characters with more distance.
That allows him to laugh linro them a bit, to judge them, and also to help them, forgive them, love them.
Someone is talking about himself using the third person. Well, in WCHyou have a first-person narrator; the distance dissolves, although there you have two narrators or one double narrator.
And I think the only method is by trial and error.
There were also versions of Bonsai and PLT using first-person, the same way in which I wrote this third novel. But even a short novel takes time. Do you compare the writing of different voices, or do you work in one direction, feel falseness and then try something new? Mostly the second way: I transcribe the stuff written, to feel it again a bit esoteric, but it is what it isand I try hard to feel, to detect, any trace of falseness.
The narrator at one point sees a women reading a book, her face between the pages, and he notes that reading is a way of hiding, in this case physically, but also mentally from reality.
Are books just trees to hide behind? Or are they something else? And what does that make writing? Particularly about the past? I think books allow us to know ourselves better. I have no doubts about that.
Entrevistas | Alejandro Zambra
To know descwrgar intensively so we lie less to ourselves, and then we can admit that the best and the worst of ourselves are intermingled.
It is like staring at a glass that is sometimes a mirror, sometimes a window. Sometimes we feel we open ourselves, or that we hide, but writing is not exactly to open or conceal oneself. It overcomes that descarfar. To write is to admit we need to search into the mystery we are. In spite of the ego, we are not more complex than anybody else.
If we really knew how to read we would know that: I think we always write about the past. We always arrive late to the actual present.