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snicketstrange · 6 years ago

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How could Lemony know about the dialogues and events?

This is Part 2 of Strange Interpretation by Jean Lucio From Brazil.

It is a strange fact that for me to prove that Lemony is lying on purpose in some passages of his work in ASOUE, I have to first prove that he has seriously endeavored to write truths in most of his work. But the theory is called "the Strange Interpretation of Jean Lúcio from Brazil", so strange things will appear here. Strange, but fruits of reasoned ideas.

I believe the good liar is not that person who lies all the time. People like that lose credibility and stop fooling anyone, even when that is necessary. Good liars speak the truth most of the time, gain the confidence of others, and choose the moments of using lies with surgical precision. Good liars deceive people for generations, and I believe that Lemony is a good liar.

I will demonstrate that it is possible to distinguish what is true from what is false in ASOUE.

Apparently, there are no intentional lies about Sunny, Violet and Klaus told by Lemony Snicket in the 13 books of ASOUE. Lemony claims that his work on these children is the fruit of a promise. At ATWQ we realize that Lemony is someone who gives great value to keeping his promises. In addition, in a personal note found in the UA in chapter 1, Lemony Snicket wrote:

"It makes me sad to think that my whole life, from to cradle to the grave is full of errors, but at last that will not happen to the Baudelaires."

As I explained in my previous text, the documents found in the UA were not written for the Great Public in the universe of Lemony. The passage comes from a personal note, so logically Lemony would not lie to himself.

So, you can trust that the whole main story of ASOUE is true.

This phrase matches the reports Lemony Snicket wrote about his own research on the events involving Sunny, Klaus, and Violet. Lemony seems to seek physical evidence of the smallest details about the events surrounding Beatrice's three children.

Besides that, the letters to the editor were not written for Lemony's large audience, so these letters also have credibility.

Thus, if there are intentional lies in the 13 books of ASOUE they could only be found in the following excerpts:

1 - In the dedications.

2 - In the descriptions of the events involving the own Lemony Snicket and Beatrice.

3 - In the descriptions of situations that were occurring during the writing of books that did not directly involve the Baudelaire siblings.

4 - Description of events related to other minor characters that occurred at different moments of the main events narrated in the books.

Of course, just because Lemony might be lying in these snippets, that does not mean he's actually lying. I just want to point out that Daniel Handler made a point of highlighting in the UA that the story about Sunny, Klaus and Violet are true, and the result of Lemony Snicket's research, not the result of Lemony Snicket's imagination.

But that raises another question: How could Lemony Snicket know about events involving Sunny, Klaus, and Violet with so much detail? For example, in some scenes, Sunny, Klaus and Violet talk to each other on their own. How could he know the content of these conversations? In addition, some events would be impossible to deduce only through observation or interviews. For example, in book 10 of ASOUE, Lemony narrates events inside the caravan, however Lemony states that he could never find what was left of the caravan after trying to find it for several months. How could Lemony know about the parachute built by Violet? What about the sticky mix that Klaus created to slow down the caravan?

Or how could Lemony know about what the Baudelaires talked about while they were on their own at Queequeg?

Lemony would need to have a source of reliable information on these matters, and only source of reliable information would come from the Baudelaires themselves.

The answer of my theory to this question is based on the following premise: In writing the 13 books of ASOUE, Lemony Snicket was writing about a past many earlier. When I talked to D., I realized that this is a premise questioned by many fans in the United States. D. explained to me that for many fans Lemony's references to the many years that have passed between the events and the publication of the ASOUE books are Daniel Handler's mistakes, or evidence that Daniel Handler changed his plans during writing of his books. I do not agree with this. Of course, maybe I'm wrong, and I do not want to accept that the books I love so much have such absurd mistakes.

Another theory involves a complicated plan involving notes delivered to Kit. These notes would be revised years later and then published. I must agree that this theory is very intelligent and that makes a lot of sense. But for it to work, you have to believe that Lemony in revising his work failed to remove secret messages to Kit. In addition, this theory does not explain how Lemony could know about dialogues and events experienced only by the Baudelaire siblings. The 'Strange Interpretation of Jean Lúcio From Brazil' presents an alternative theory, which some may believe to be better, (or not).

First, so that I do not contradict myself, I must show that in books other than the 13 books of ASOUE or in the letters to the editor, there is evidence that years have actually passed between the events recorded in the 13 books and their publication.

One important note: I believe that all UA chapters are true. I do not believe that the initial 12 chapters deal with a long, frosty introduction. That's because the "13 Shocking Secrets You'll Wish You Never Knew about Lemony Snicket" pamphlet states that UA is a safe source of research. I explained in my previous text because I believe that this pamphlet is Daniel Handler's text on ASOUE which for me has more credibility.

I am aware of what is written between chapters 12 and 13 of the UA. "There was a long pause, and I realized this curious stranger was at last done telling this confusing and unnerving story. Without another word the storyteller handed me this packet of material, which I give you now. ' However, these phrases do not make sense. First, what we find in the first 12 chapters is not a storytelling, and so there is no storyteller. There is a storyteller only in the UA introduction. In my theory, these phrases are an attempt to drive away from the interest in the book those people who read the introduction of a book, and then go on to the last pages. Such a reader, after reading the introduction of the UA, would go to the last pages, and then find the index, some photos and finally these sentences. He may have lost interest in reading the documents in the UA, believing it would be a boring read.

So in UA in Chapter 4, we find a letter from Sally Sebald to Lemony Snicket. In this letter she stated:

"What a relief it was to learn that you are alive and that Dr. Orwell is dead! For YARS I suspected the opposite, and assumed that one of yours siblings was handling your affairs, as I am handling Gustav's ... I hope that The crucial scene in Zombies in the Snow - beginning and ending, as always with the Sebald Code, with the ringing of the bell - was meant to deliver a message concerning the survivor mentioned in your letter, but my brother told me no more than this. "

You may deduce that this letter was written by Sally Sebald after the events described in TMM, that is, after the death of Georgina Orwell. For years, Sally Sebald believed that Lemony was dead, and Georgina was alive. The reference to 'years' in the plural makes me believe that really years have passed between the events described in TMM and this letter. It is interesting to note that when this letter was written, Lemony had already begun work on writing the Baudelaire case, but evidently Lemony was in the research phase on the subject. In addition, it is possible to deduce that in a previous letter, letter that we do not have access, Lemony informed that he was alive and requested information to Sally Sebald. It seems reasonable to believe that when Lemony wrote the first letter to Sally Sebald, he did not yet have the script of zombies in the snow at hand, for Sally found it necessary to describe the scene in which there was a Sebald code. In some later letter, Sally evidently sent the script of zombies in the snow to Lemony. In the letter Lemony sent to Dear Dairy in the same chapter, Lemony said:

"Remember, you are my second-to-last hope that the Baudelaire's ornaments may finally be told to the general public."

In this letter Lemony stated that he had the script of Zombies in the Snow in his hands. He wanted to return the script to Sally Sebald, however, Sally Sebald did not attend the meeting. So Lemony decided to send the script to his cheesemaking friends. For some unknown reason, these friends of Lemony could not even publish one of the ASOUE books. So Lemony had to turn to his current editor, which was the last hope for him to finally be able to publish the ASOUE books.

When Lemony sent the manuscript of TRR to his current editor, Lemony also sent the Zombie Manuscript in the Snow, according to the letter to the editor found at the end of book 1. At the time he wrote the letter, Lemony stated who was in London to find out what happened to Unty Monty's collection of reptiles. Thus, this scenario seems to indicate that between the day Lemony sent the "Zombies in the Snow" script to cheesemakers and the time Lemony sent the same script to his current editor, there was a considerable time. Lemony needed to retrieve the script, then he traveled to London and then sent the script to the current editor. Apparently Lemony did not make a copy of the script, because in his letter to the cheese makers, Lemony says it would be too dangerous to keep the scripts in hand. Why would he then make a copy of the same scripts?

A scenario where several years pass between the events and the writing of the books, it combines with some statements of Lemony during the writing of ASOUE. These observations do not seem to be lies, for there seems to be no logical reason for Lemony to lie about them:

Chapter 8, book 2 - "You will remember, of course, that EVEN YEARS LATER, Klaus would lie awake in bed, filled with regret that he did not call out to the driver of thetaxicab who had brought Stephano into their lives once more . "

Book 5 Chapter 6: "Prufrock Preparatory School is now closed. It has been closed for many years."

However, after the publication of book 2 of ASOUE, Prufrock Preparatory School was still open, the Lemony Snicket went there to seek information after the publication of book 2, according to UA chapter 9. An enemy of Lemony also went to Prufrock Pre and found in the library there a copy of the TRR book that had already been published.

This means that the school stopped working between the publication of book 2 and the publication of book 5. After Prufrock Preparatory School was closed, Lemony spent many years without publishing in his universe. (In a later text I will explain this concept in more detail, in a theory I call "The Great Hiatus.")

Another detail can be found in Book 10 Chapter 13:

"Even for an author like myself, who has devoted his entire life to investigating the mysteries that surround the Baudelaire case, there is still much I have been unable to discover."

It is implied that the investigation into the mysteries of the Baudelaire affair has lasted a lifetime from Lemony's point of view, and not just a few years.

In the book Bad beginning the rare edition, Lemony says that he already knows about the Baudelaire siblings' third visit to briny beach, and that he wished to write about it in book 13 of ASOUE that he had not yet written.

The introduction of the notes in the book The Bad Beginning of the Rare Edition indicates that it has been since the publication of the Bad Beginning until the publication of Book 13.

So this whole scenario seems to match the fact that Lemony wrote and published his books years after the events recorded in them.

After these considerations, I will now explain what is the largest source of information found in ASOUE regarding Klaus, Sunny and Violet. In my theory the source of the information is the book called "The Series Of Unfortunately Events" that was on the island. I think Lemony, in his initial research on the Baudelaires, came to this island. There he found the book. Klaus, Sunny and Violet followed the custom of previous castaways and wrote about their own lives in that book. From the content of the book, Lemony was able to continue his research. As I said, Lemony said he already knew about events that took place on the island, and even events that occurred after the Baudelaires left the island before writing Book 13 in Lemony's universe. He planned to write about these events in Book 13. Note the following excerpts:

pp.116-117 A group of female Finnish pirates invented it back in the fifteenth century ...

Tomorrow afternoon, the semi-amateur geologist has promised to put me in touch with current members of the F.F.P. so I can determine if there is any truth to the rumor that Violet Baudelaire came into contact with her on her way to Briny Beach for the third time. Interested parties might turn to Book the Thirteenth, assuming I live to write such a book.

p.153 A certain island has a law that forbids anyone from removing its fruit.

Please see my article 116-117.

When Lemony wrote the notes, Lemony had not even written Book 13 yet. It is significant that in the introduction of his notes, Lemony again wrote that the publication of the ASOUE books in Lemony's universe took years.

"In the years since the book's publication, many people who have read the book have besieged me with questions concerning the iotas of the story, exactly how I came to know these iotas, and if I cared to add anything to my report."

It is interesting to note that Lemony's researches as described in the ASOUE books and as described in the TBB the Rare Edition notes are fact-finding surveys and are not searches of new fact discoveries. Look at these examples from The Rare Edition:

pp.41-42 From a street vendor, they purchased olives after tasting several varieties and choosing their favorites.

My commonplace book contains following interview:

LS: On the day in question, did three children-a fourteen-year-old girl, a boy a bit older than twelve who was wearing glasses, and a young baby with somewhat peculiar teeth-purchase from you some olives, after tasting several varieties and choosing their favorites?

Vendor: Yes.

p.142 No one seemed to notice that I held a walkie-talkie the entire time.

My commonplace book contains the following interview:

LS: On the night in question, during the performance of Funcoot's play The Marvelous Marriage, did you notice that Count Olaf, the production's start, was holding a walkie-talkie the entire time?

Audience member: No.

LS: How about you?

Another audience member: No.

LS: You?

Another audience member: No.

LS: You?

Another audience member: No.

etc.

(Note the following: if no one remembers having seen walkie-talkie, as Lemony knew there was a

walkie-talkie? For me the answer is: Lemony read about the walkie-talkie in the island book).

p.146 "But Violet is only a child!" one of the actors said. "She's not old enough to marry."

My commonplace book contains the following interview:

LS: On the night in question, did you say, "But Violet is only a child!" One of the actors said. "She's not old enough to marry."

Actor: I think so.

(Note that Lemony's questions are to confirm facts that he already had in advance.)

That's why Lemony knew about what happened in the Caravan because Lemony read about it in the book. So Lemony knew about the dialogues that took place in locked rooms, or that happened inside the elevator shaft, because Lemony read about it in the book. So Lemony knew about what the Baudelaires talked about when they were alone in Queequeg on the ocean floor because Lemony read about it in that book. The part of the book that told this whole story was written by the Baudelaires during the year they spent on the island. Thus, Lemony began writing ASOUE after the events that took place on the island.

Since before writing the first book, Lemony already knew of specific facts about the Baudelaires, which indicates that he has used the information from the island's book ever since he published Book 1. Thus, Kit had been dead since Book 1 was published . But almost nobody knew this, because she died on a distant island with few people observing her death. To me that's the only explanation that makes sense. As we have seen, Lemony would never invent dialogues and events about Sunny, Klaus, and Violet.

The only things that seem to contradict these conclusions are the following: Lemony's messages to his "sister" in books 9 and 10, the contents of the letter in book 10 which states that the Denouement hotel was fully operational when this letter was written, the statement in the same letter regarding a possible sugar bowl that Lemony is looking for during the writing of TSS, claim that Lemony could save his sister Kit while he was writing TGG, the letters to the editor at the end of book 11, which were written on paper coming from the Hotel Denouement indicating that this hotel was fully operational when these letters were written.

I will give the simple and brief explanation on these subjects according to the Strange Interpretation of Jean Lúcio from Brazil to be able to close this text, and in the future I will write other texts explaining in detail all these theories.

1 - The secret messages in books 9 and 10 do not have Kit as the true recipient. In fact they are letters to Beatrice. Lemony is lying in saying in his dedications and in his main text that Beatrice is dead. The reason Lemony decided to lie about it is his desire to protect Beatrice, the woman he loves. Beatrice faked her own death, and used her training as an actress to pretend to be other people. A few years after Kit's death, Beatrice went on to pretend to be Kit. Lemony, while writing the hidden messages to his "sister", was at the same time passing on important information to Beatrice and helping to cover up Beatrice's identity. By stating that the recipient is a sister, Lemony may be using one of the definitions of "brother" or "sister" found in THH:

"Sometimes brothers and sisters are just people who are united for a common cause."

2 - In TGG, where Lemony Snicket claims he can save his sister named Kit while Lemony is writing the book, Lemony is lying on purpose. He's doing it to protect Beatrice.

3 - Just as the Lost Arms Hotel was restored after a fire at ATWQ, the Denouement Hotel was also restored after the fire a few years later, probably over the years while books 1 through 9 of ASOUE were being published in Lemony's universe.

4 - The sugar bowl that Lemony claims is looking when writing the letter to his "sister" is not the same sugar bowl that belonged to Esmé. The sugar bowl quoted in the letter contained a proof capable of clearing Lemony. It was this sugar bowl that arrived through the crows at the Denouement Hotel and probably fell on the lake in front of the hotel, and stayed there until Lemony fetched it many years later. The esmé sugar bowl contained something capable of controlling the Great Unknown (probably a kind of whistle). Lemony apparently already has access to this sugar bowl when writing the 13 books of ASOUE. It was this sugar bowl that ended up in the Gorgonian Grotto after being released by the VFD's HQ window. This sugar bowl was removed from there by a woman before the arrival of Klaus, Sunny, Violet and Fiona in GG.

Thank you for reading until now, and until the next text of the Strange Interpretation of Jean Lúcio From Brazil.

Note: 1- in Lemony's letter to the cheesemaker, Lemony states that at least one of his siblings is dead. This already puts the writing of this letter as being performed after the events described in TVV. According to Lemony's letter to the editor regarding the events described in TAA (this letter is at the end of TMM), the Baudelaire siblings spent a half-semester, before the events narrated on TVV. So at the very least, you must recognize that a few weeks or few months passed between the events recorded in the books and the sending of the script of zombies in the snow for the cheese-makers. These cheese makers were not the final editors of ASOUE.

Note 2 - I believe Gustav Sebald is Uncle Monty's helper. They have the same name and both are dead. I can not prove that they are the same person, but before my theory, I see no need to believe that they are different people.

Note 3 - About Sally Sebald. In his note to the dairy Lemony clearly states that he is there to meet Dr. Sebald, a character he uses male pronouns for, and that this person produces movies which employ Sebald Code. With respect to the use of masculine pronouns, I find it important to consider that Sally Sebald took over the business of Gustav Sebald after his death. Probably few people know about Gustav's death, so Sally Sebald must be working using only the family name in her films. Sally herself believed that Lemony's services were being performed by one of his siblings. In Sally's mind, even Kit could have taken over Lemony's services. So, in order to conceal the fact that Sally Sebald has taken over the services of Gustav Sebald, Lemony uses the English language feature available to refer to a Doctor using the male pronoun, when the doctor's gender is unknown. This same feature is used in TMM, referring to Dr. Owerl.

Note 4 - The only part in ASOUE that would be completely dependent on the interview with Kit's daughter would be Chapter 14 of Book 13 of ASOUE. So I believe this chapter was written after Lemony's meeting with Kit's daughter.

#asoue #asoue theories #lemony snicket #beatrice baudelaire #beatrice is alive #desventuras em série #des #violet baudelaire #klaus baudelaire #sunny baudelaire #books theories

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gellavonhamster · 6 years ago

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the unquiet grave

gen || R, the Duchess of Winnipeg | Lemony Snicket || no idea where it fits in the canonical timeline

ao3 link || originally posted in Russian

Cold blows the wind to my true love,

And gently falls the rain.

I never had but one true love,

And in greenwood she lies slain.

The man who’s been following her all the way to the graveyard does not make a sound when she turns around in a swift move and pushes him against the wall of the nearest vault. Does not say a word when she tears his wide-brimmed hat off him. And when she sees his face and shudders and steps back, he does not say anything either – just smiles, somewhat guiltily.

“Lemony,” she whispers, not able to believe her eyes.

The man who’s been following her all the way to the graveyard bows his head slightly:

“Your Grace.”

It has happened more than a few times, him referring to her by her title in jest, but hearing it still sends shivers down her spine. The number of people she trusts has grown thrice shorter lately. She must make sure thoroughly that the one standing in front of her now is really one of those still on her side.

“Is that really you, Lemony?” she asks, trying not to show how nervous she actually is. “The Daily Punctilio claimed you’re dead.”

“How long have you been trusting everything they write in the Punctilio, Ramona?”

“Fair enough. But you wouldn’t mind me asking you a few questions to make sure it’s actually you, wouldn’t you? Say, how many words should be between each two words of a message encrypted via the Sebald Code?”

“Not in the slightest. It is highly reasonable – and as to words, there should be ten of them. By the way, what colour is the car parked by the Orion Observatory? With your permission, I, too, would like to make certain I’m not talking to an impostor right now.”

“Black. But it’s all easy to find out knowing where to look. What gift did I bring you from Monaco?”

“A music box that plays In the Hall of the Mountain King. And what did I bring you from Venice?”

“A fan with a built-in blade.”

Strictly speaking, this is not quite enough either. But she has managed to examine him closely, to listen to him speak carefully, and she is positive that the person in front of her is her friend, her associate, the boy she used to sleep together with in the large armchair in the main parlour of the third headquarters for the first couple of weeks in VFD because they both suffered from nightmares and missed home. Before he embraces her, she already knows how it would feel; always liked to hug the Snicket brothers, both sturdy and snuggly like big teddy bears, only Jacques is much taller while she and Lemony have always been the same height. That’s why it has always been easy for them to bury their faces in each other’s shoulders when one of them felt like crying. Sometimes, they both cried. Case in point: right now.

“I haven’t doubted you’re alive,” she murmurs hotly into his threadbare cashmere coat. “I’m so happy you’re alive, L.”

“I am happy I’m alive, too,” Lemony responds, though he sounds nowhere near to happy. He pulls back a little and regards her seriously. “But no one must know about it, R. You shouldn’t have known either but now that you do, I must implore you not to tell anyone about it.”

“Even Jacques? Even Kit?”

“Especially Jacques and especially Kit. They’d try to find me, which is too risky at the moment. I shall get in touch with them myself if needed.”

“Cruel, but all right. Did you follow me all the way from home?”

“Almost. I have not planned it but I happened to be nearby, and became curious where you were headed, having left through the back door and wearing a veiled hat.”

Shouldn’t have known indeed. Something tells her that in truth he’s been dying to talk to someone, that he couldn’t bear complete loneliness any longer. However, if he doesn’t want to admit it, that’s up to him.

“As you can see, I was headed to leave a couple of lilies on the graves of the people,” she gestures at the tombstones, “whose friendship is akin to a death sentence these days.”

Lemony nods.

“I have been thinking of coming here for a long time myself,” he says, keeping his eyes on one of the graves. “But I didn’t have an opportunity.”

They contemplate the graves in silence for some time. Bertrand Baudelaire, reads the first one. Beatrice Baudelaire, says the other. Youthful laughter in a huge dust-smelling library; a bat on one’s palm. Stones, stones – nothing but stones now.

“I was thinking of Bertrand recently,” Lemony says at last. He looks away, and in his mind he’s still clearly someplace else. “Remember Theodora Markson?”

“The one with…” waving her hands, she tries to show a shock of hair and succeeds, apparently, because Lemony chuckles, and she follows suit.

“Exactly.”

“Your chaperone, wasn’t she?”

“She was. And Bertrand was her apprentice before me.”

“Seriously?”

“Couldn’t be more serious. And she talked my ears off about him. Bertrand this and Bertrand that. Bertrand obeys his superiors while all you do is talk back. Bertrand shall marry and have children and live happily, but you will die in solitude, in some rented apartment with moldy walls…”

“Did she really say it in so many words?”

“I might have added the apartment part by way of illustration, but that’s the point. What I am saying,” Lemony turns to face the tombstones again, “is that even prior to… all of this I had my reasons to have no special liking for him. And so I did. But now I’m looking at this marble, and I understand that I’d give an arm and a leg to have him back with us safe and sound, and to hear him play us Mozart on the grand piano once again. And as to… her…” he falters and she embraces him again and makes yet another note of their exceedingly advantageous likeness in height.

“I miss her,” he whispers chokingly. “I know you understand”. And oh, she does, she understands like no one else would. The silk of black hair; soft lips touching her cheek; a bat on one’s palm. The ring she gave Lemony so that he could offer it together with his hand and his heart; the ring that would have been of no use to her anyway – and if only there had been any possibility for her to use it as intended, it would still have ended up on the finger of the one whom he was going to give it.

“I understand, Lemony,” she says, stroking his hair. Stones, stones – nothing but stones now. Stones – and ashes. “I understand.”

#asoue #a series of unfortunate events #duchess of winnipeg #lemony snicket #snicketverse #my fic #gella talks snicketverse #beatrice x r

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zielenna · 6 years ago

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... the grave of my patron saint in Nuremberg, of whom legend has it that he was the son of a king, from Dacia or Denmark, who married a French princess in Paris. During the wedding night, the story goes, he was afflicted with a sense of profound unworthiness. Today, he is supposed to have said to his bride, our bodies are adorned, but tomorrow they will be food for worms. Before the break of day, he fled, making a pilgrimage to Italy, where he lived in solitude until he felt the power to work miracles arising within him. After saving the Anglo-Saxon princes Winnibald and Wunibald from certain starvation with a loaf baked from ashes and brought to them by a celestial messenger, and after preaching a celebrated sermon in Vicenza, he went over the Alps to Germany. At Regensburg he crossed the Danube on his cloak, and there made a broken glass whole again; and, in the house of a wheelwright too mean to spare the kindling, lit a fir with icicles. This story of the burning of the frozen substance of life has, of late, meant much to me, and I wonder now whether inner coldness and desolation may not be the pre-condition fro making the world believe, by a kind of fraudulent showmanship, that one's own wretched heart is still aglow.

W.G. Sebald, The Rings of Saturn (transl. M. Hulse)

#the rings of saturn #winfried georg sebald #quote #readings #they live in trees and eat air #religion

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lyeekha · 3 years ago

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gustav sebald already dead communication from beyond the grave zombies send tweet

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layakimbra · 5 years ago

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CINCO PALABRAS QUE DEFINEN EL PRESENTE

En un momento en que el mundo está cambiando más rápido que nunca, necesitamos un nuevo vocabulario para ayudarnos a comprender lo que está sucediendo.

En el famoso pronóstico del futuro de George Orwell (una distopía, por supuesto), lo que él llama "doble pensamiento" (alegre violación de la lógica) y "habla verbal" (lenguaje contorsionado ideológicamente) corren desenfrenadamente, y todos los ciudadanos están bajo estricta vigilancia. Mirando hacia atrás ahora, uno se sorprende por lo pintoresca que era su visión, porque en la era de Internet y la súper conectividad, todas estas cosas se han elevado a las artes sofisticadas que, en lugar de ser forzadas a nosotros, han ido silenciosamente colonizando nuestras vidas. Se solía decir que nombrar algo es comenzar a comprenderlo. No estoy segura de que eso tenga más en la "red" mundial algún significado ahora que habitamos (o estamos atrapados), con sus complejidades exponencialmente crecientes. Sin embargo, traté de elegir palabras y conceptos que deberían tener cierto poder de permanencia, durante al menos una década o dos.

Hiperobjeto

Los límites de nuestro conocimiento pueden ser un mal lugar para comenzar, pero en la era post-milenial, post-humana puede ser necesaria cierta humildad. El término "hiperobjeto" fue acuñado por el académico Timothy Morton, y se refiere a fenómenos que son tan grandes y están más allá del marco de referencia humano que no son susceptibles a la razón. Da como ejemplo el calentamiento global (que también llama "el fin del mundo"), un fenómeno instigado por la humanidad, pero en cuyo contexto ahora podemos ser insignificantes. Pero el término es evocador de otras maneras: ¿es el sistema financiero global ahora en cierto sentido un hiperobjeto?

Catfishing

Esta palabra tendría más sentido si se refiriera a la pesca de gatos, pero en realidad se refiere a personas que construyen identidades falsas en línea y, ya sea por aburrimiento, soledad o malicia, atraen a otras personas a la correspondencia continua de mensajes, construyendo así relaciones falsas con ellos. Hay dos formas de ver esto. 1. El Internet /ciberespacio es maravilloso, porque les da a las personas la libertad de aumentar o cambiar totalmente sus identidades. 2. No, es un amanecer falso, porque Internet es esencialmente un campo libertario y, como tal, amoral (muchas "libertades" pero sin obligaciones sociales); Es una nueva jungla donde debemos vigilar nuestras espaldas y luchar por la supervivencia, seguramente un paso atrás en la evolución. Me inclino hacia lo último.

Despertar (WOKE)

Como en "despertado a la autoconciencia política", con la connotación esperanzadora de que no se volverá a dormir pronto. El término se origina en el movimiento de derechos civiles de los Estados Unidos en los años sesenta y setenta. Se supone que la canción de Erykah Badu, Master Teacher, es la fuente reciente más importante. El término ha regresado recientemente a la segunda ola (en la televisión, con la serie de 2016 de Donald Glover Atlanta (la temporada 1 salió en 2016); y Dear White People de 2017), cuando los afroamericanos en los EE. UU. Se dieron cuenta de que el racismo nunca realmente desapareció, simplemente camufló su fracaso fundamental de empatía como tolerancia: esta es una afirmación del movimiento Black Lives Matter de EE. UU. que se fortaleció después del tiroteo en 2013 del niño afroamericano Trayvon Martin de 17 años. A partir de ahí, el término ha estado dando un pequeño salto a otros movimientos de derechos civiles de la segunda (por ejemplo, LGBT) y la tercera (por ejemplo, el feminismo) igualmente arrullados por la ilusión de tolerancia. El objetivo es ir más allá de sentirse tolerado a ser completamente aceptado y bienvenido.

Supresión

Es probable que esta palabra se difunda con mucha más frecuencia en las próximas décadas, ya que los usuarios de las redes sociales se dan cuenta de que los sitios web en los que se encuentran no son meramente 'plataformas' neutrales para la 'interacción social', sino más bien una especie de flypaper al que las personas y todos sus datos personales se pegan. Además, estos sitios web están diseñados específicamente para ser adictivos: existe una vasta literatura sobre la psicología infernal que las empresas de Silicon Valley están implementando contra los usuarios de las redes sociales. No menos luminaria que Jaron Lanier, uno de los pioneros de la innovación digital en el mundo y abuelo de Silicon Valley (nació en 1960), señala muchos problemas graves con las redes sociales, pero el más sencillo es que existe mucha investigación que sugiere que las redes sociales fundamentalmente hacen que las personas sean infelices. Su solución es simple: eliminar sus cuentas.

Autoficción

Escritura que combina autobiografía y ficción, y transgrede libremente otros límites de género también. El término fue acuñado en el mundo literario de vanguardia de Francia en la década de 1970, pero se ha aplicado a la ficción contemporánea dominada por la subjetividad poco confiable del autor. (El punto es que toda subjetividad no es confiable.) Los escritores de este tipo podrían ser Chris Kraus (cuya novela de 1997 I Love Dick se convirtió en un clásico de culto feminista, engendrando una serie de televisión de 2017) y Maggie Nelson con The Argonauts, así como WG Sebald , Sheila Heti, Karl Ove Knausgaard, Ben Lerner, Nell Zink, Rachel Cusk y Elena Ferrante. El enfoque ha influido fuertemente en Lena Dunham, la creadora de la serie de televisión Girls, y ha dado lugar a un género de televisión introspectiva. En el mejor de los casos, produce ideas notables. Los críticos del enfoque, como Elif Batuman, lo atribuyen al tipo de escritura que se enseña en el entorno privilegiado de los programas de escritura creativa contemporánea (con principios rectores como 'escribe lo que sabes', 'encuentra tu voz'), denuncian su voluntad, ignorar la historia y lamentarla como narcisismo que complazca a la generación 'yo'.

#blog #present #internet #personal #words #world #ficcion #opinion #supresion #woke #despertar #catfish

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storywars-r · 5 years ago

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4/25 - Darkness

Chapter 1 by R

Avery Sebald stared in to the darkness, and against all probability, the darkness stared back. It had bright white eyes and what may have been a shape and a solid ring upon it's forehead.

"What the hell do you want from me? I didn't do anything to that stupid old grave that you have, so why are you bothering me? I tried! I tried so, so hard, and I don't deserve any of -"

There isn't much that you can say to dissuade a spirit who wants to steal your soul for whatever nasty or magical purposes that you would need a soul for. Spirits, demons, tax collectors, and ghouls were all very fierce on collecting the debts owed. Very serious.

"Duck in here. Quick." Came a voice, and, though little did Avery know, that voice came at precisely the right time. He was pulled right as the spirit struck. "Look, Avery, I need you to trust me. I know this is-"

"You have to save me!" Avery shouted. "I made a deal for knowledge, and now that thing wants my soul! What is this about?"

The girl looked at him blankly. "Have you even read the handbook for the paranormal? If you want to be a survivor, you're gonna want that."

"Survivor? Nothing you're saying is making a bit of sense. Look, can't you just, kill it? With fire? I bet fire would work." She groaned. "Or I guess not."

"If you want to get through this alive, I need all of your attention. If you can become a survivor, there's hope for anyone, at least. That spirit demon monster hunting you is what we hunters tend to call the 'Souls of the Lost'. The ring on their head is what marks them out. They're ghosts that died horribly, trying to reclaim other souls either through trickery, deals, or -

There's a rattling sound from outside.

"Well, or violence. First tip to surviving: never stay in one place for too long, no matter how safe it seems. Come on, we need to go."

#sw unfinished

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aniketosomina · 5 years ago

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Dunwich dreaming. Britain's Atlantis: an eerily atmospheric otherworld in which time seems at once a strange concept and a terrible force. The inexorable erosion of the coastline by the North Sea, the gradual submersion of a medieval port city through the centuries until only fragments remain: a buttress saved from All Saints church and now standing in the churchyard of St James, off Dunwich's solitary main street, and where the old leper chapel also stands; the ruins of Greyfriars Priory, and a solitary gravestone only a few feet now from the cliff's edge and oblivion: the Last Grave, where the sea whispered to Swinburne and Sebald. I felt reluctant to leave - Dunwich time and the languor of entropy are strangely seductive - but, perhaps feeling the need to shore up my own fragments, I retreated. (I'd like to return someday as the place still haunts me, though how much or how little will remain by then, who knows...) #dunwich #sunkencity #suffolk #suffolkcoast #eastanglia #wgsebald #charlesalgernonswinburne #erosion #encroachment #northsea #sunkenchurches #sunkenbells #cathedraleengloutie #ruins #ruinenlust #psychogeography #lostplaces #greyfriarspriory #thelastgrave #britainsatlantis https://www.instagram.com/p/B1rXSFsALBZ/?igshid=1wz241agxgfmr

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allbestnet · 8 years ago

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100 Best Novels

Brave New World by Aldous Huxley

Crime and Punishment by Fyodor Dostoevsky

Nineteen Eighty-Four by George Orwell

War and Peace by Leo Tolstoy

Waiting for the Barbarians by J. M. Coetzee

Catch-22 by Joseph Heller

Darkness at Noon by Arthur Koestler

Slaughterhouse-Five by Kurt Vonnegut

Blindness by Jose Saramago

The Sound and the Fury by William Faulkner

The Stranger by Albert Camus

Invisible Cities by Italo Calvino

Nausea by Jean-Paul Sartre

I, Claudius by Robert Graves

The Trial by Franz Kafka

A Portrait of the Artist as a Young Man by James Joyce

Life and Fate by Vasily Grossman

In Search of Lost Time by Marcel Proust

Germinal by Emile Zola

The Sun Also Rises by Ernest Hemingway

The Adventures of Augie March by Saul Bellow

Lolita by Vladimir Nabokov

Creation by Gore Vidal

Middlemarch by George Eliot

We by Yevgeny Zamyatin

Fathers and Sons by Ivan Turgenev

Mrs Dalloway by Virginia Woolf

On the Road by Jack Kerouac

The Naked and the Dead by Norman Mailer

The Grapes of Wrath by John Steinbeck

Wuthering Heights by Emily Bronte

Nostromo by Joseph Conrad

The Quiet American by Graham Greene

The Catcher in the Rye by J. D. Salinger

The Bostonians by Henry James

A Passage to India by E. M. Forster

Sons and Lovers by D. H. Lawrence

A Bend in the River by V. S. Naipaul

Scoop by Evelyn Waugh

Beloved by Toni Morrison

Red Sorghum: A Novel of China by Mo Yan

The Cairo Trilogy by Naguib Mahfouz

One Hundred Years of Solitude by Gabriel Garcia Marquez

The Tin Drum by Gunter Grass

The Golden Notebook by Doris Lessing

Madame Bovary by Gustave Flaubert

The Great Gatsby by F. Scott Fitzgerald

Lord of the Flies by William Golding

Lucky Jim by Kingsley Amis

The Prime of Miss Jean Brodie by Muriel Spark

The Conservationist by Nadine Gordimer

The Book of Disquiet by Fernando Pessoa

The Silent Cry by Kenzaburo Oe

Things Fall Apart by Chinua Achebe

All Quiet on the Western Front by Erich Maria Remarque

The Unbearable Lightness of Being by Milan Kundera

Midnight’s Children by Salman Rushdie

Oscar and Lucinda by Peter Carey

The Picture of Dorian Gray by Oscar Wilde

Wolf Hall by Hilary Mantel

My Name Is Red by Orhan Pamuk

Invisible Man by Ralph Ellison

U.S.A. trilogy by John Dos Passos

Go Tell It on the Mountain by James Baldwin

The Glass Bead Game by Herman Hesse

The Road by Cormac McCarthy

Revolutionary Road by Richard Yates

Gate of the Sun by Elias Khoury

Nights at the Circus by Angela Carter

Portnoy’s Complaint by Philip Roth

Half of a Yellow Sun by Chimamanda Ngozi Adichie

Live and Remember by Valentin Rasputin

The Home and the World by Rabindranath Tagore

Under the Net by Iris Murdoch

The Siege of Krishnapur by J. G. Farrell

The God of Small Things by Arundhati Roy

No One Sleeps in Alexandria by Ibrahim Abdel Meguid

Atonement by Ian McEwan

The Blue Flower by Penelope Fitzgerald

That Awful Mess on the Via Merulana by Carlo Emilio Gadda

Austerlitz by W. G. Sebald

The Woman in the Dunes by Kobo Abe

Gulliver’s Travels by Jonathan Swift

The Dream of the Red Chamber by Cao Xueqin

The Way of All Flesh by Samuel Butler

The Good Soldier by Ford Madox Ford

Goodbye to Berlin by Christopher Isherwood

Lanark by Alasdair Gray

Old Man Goriot by Honore de Balzac

Hard Times by Charles Dickens

G. by John Berger

Under the Volcano by Malcolm Lowry

Conversation in the Cathedral by Mario Vargas Llosa

The Blood of Others by Simone de Beauvoir

In Praise of Hatred by Khaled Khalifa

Don Quixote by Miguel de Cervantes

Pride and Prejudice by Jane Austen

Eugene Onegin by Alexander Pushkin

The Ghost Road by Pat Barker

The President by Miguel Angel Asturias

Source: List Muse

#novels #fiction #books #reading

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pangeanews · 4 years ago

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Peter Weiss e il romanzo più importante del secolo mai tradotto in Italia (svegliatevi gente!)

L’altare al Pergamonmuseum di Berlino pare qualcosa che precede l’uomo. La Gigantomachia, in effetti, sembra profezia in marmo, dove serpe e dio, leone e tormento, gloria e punizione sono intrecciati in evidenza, appunto, disumana. È come il dispiegarsi della storia, il caos a zanne, sulla fatua volontà umana. Davanti all’altare di Pergamo, del II secolo prima di Cristo, s’innalza uno dei romanzi più clamorosi del secolo scorso, Die Ästhetik des Widerstands, “Estetica della Resistenza”, pubblicato in tre tomi (usciti rispettivamente nel 1975, 1978, 1981), scritto da Peter Weiss. Fu un evento. Sconvolgente. Di cui noi non abbiamo compreso la forza, l’impeto, l’importanza. Come se ci avessero negato, chessò, la ‘Recherche’ di Proust, i libri di Thomas Mann, quelli di Philip Roth.

Peter Weiss (1916-1982), presumo, lo conosciamo tutti: è il grande, contradditorio, centrale drammaturgo tedesco di La persecuzione e l’assassinio di Jean-Paul Marat e L’istruttoria. Un tempo Weiss era molto tradotto, di solito da Einaudi, da Feltrinelli, da Cronopio. Qualcosa si trova ancora. Tra i testi da tradurre, forse sfiziosi, c’è il carteggio con Hermann Hesse, che ha legato i due dal 1937 al 1962, è edito da Suhrkamp. Beh, io non ne sapevo nulla finché Giovanni Pacchiano, studioso e lettore fenomenale, non mi ha lanciato l’amo. “Sto leggendo in francese L’esthétique de la résistance… lo trovo straordinario e ricco di spunti”. Cerco. In Francia lo traduce Klincksieck, il romanzo conta quasi 900 pagine. Tre anni fa “Le Monde” lo ha inserito in una aristocratica classifica di “grandi romanzi da riscoprire”. “Questo è un romanzo di culto… una delle opere fondamentali della letteratura del XX secolo… spesso comparato alla ‘Recherche’ di Proust e all’Ulisse di Joyce”, leggo tra le note. Parole, parole, parole. Calco il giudizio di W.G. Sebald, allora: “Peter Weiss ha cominciato a scrivere Estetica della Resistenza quando aveva più di cinquant’anni, compiendo un pellegrinaggio tra gli aridi meandri della storia culturale contemporanea, accompagnato dal terrore notturno, carico di un mostruoso peso ideologico. Siamo al cospetto di un capolavoro, che non è espressione di effimero desiderio di riscatto, ma di una volontà di stare, alla fine dei tempi, dalla parte dei vinti”.

Mi muovo in ambito anglofono. The Aestethics of Resistance è pubblico dalla Duke University Press, dal 2005. Il secondo volume della trilogia è uscito quest’anno. In questo modo Robert Cohen cerca di centrarne la ‘trama’: “Estetica della Resistenza inizia con un’assenza. Manca Eracle, il grande eroe della mitologia greca. Lo spazio occupato un tempo dall’enorme fregio che raffigurava la battaglia dei Giganti contro gli dèi è vuoto. Più di duemila anni fa, quel fregio adornava le pareti esterne del tempio di Pergamo, in Asia Minore. Verso la fine del XIX secolo i resti dell’antico monumento furono scoperti dall’ingegnere tedesco Carl Humann, quindi spediti in Germania. I frammenti ricomposti nel Pergamonmuseum, costruito appositamente a Berlino, capitale della Germania guglielmina, sono l’emblema delle rivendicazioni del potere imperiale tedesco. Nell’autunno del 1937 tre giovani sono davanti al fregio. Due di loro, Coppi e il narratore, il cui nome non è mai menzionato, sono lavoratori. Il terzo, un sedicenne di nome Heilmann, è ancora studente. Coppi è un membro dell’illegale Partito Comunista, Heilmann e il narratore sono simpatizzanti. Tutti e tre militano nella resistenza antifascista. Durante una lunga discussione, i tre amici tentano di interpretare gli eventi raffigurati nel fregio in relazione al loro impegno nella lotta politica quotidiana. Eppure, non riescono a rintracciare Eracle. A parte un frammento del suo nome e la zampa in pelle di leone, nulla resta del condottiero degli dèi nella battaglia contro i Giganti. Il ‘capo’ del 1937, d’altronde, è una forza onnipresente, anche nelle sale del Pergamonmuseum, dove i soldati delle SS si aggirano, con le insegne naziste ben visibili, tra i visitatori. Sotto la pressione del presente, vite in perpetuo pericolo, i tre antifascisti leggono lo spazio vuoto del fregio come un presagio”. Estetica della Resistenza è un romanzo europeo, del pensare: discute Marx e Picasso, si muove tra Germania, Francia, Spagna, ragiona su alcune opere emblematiche, il tempio di Angkor Wat in Cambogia, Dürer, Géricault, il dadaismo, il ‘realismo socialista’. Le fonti letterarie principali di Weiss sono la Divina Commedia e Franz Kafka.

Un frammento dalla descrizione dell’altare di Pergamo, per capirci. “Tutto intorno a noi si elevano corpi di pietra, si ammassano in turbe, si intrecciano e si spaccano in frammenti, accennando ai loro corpi con un busto, un braccio, l’anca esposta, un vortice di schegge, sempre in gesti di guerra, mentre schivano, colpiscono, si riparano, allungati e ripiegati, piedi che scattano, schiena contorta, polpacci imbragati, il tutto in un unico oceanico moto. Una lotta gigantesca, abnorme emerge dal fondo grigio, richiamando la perfezione, sprofondando nell’informe. Una mano si spalanca dal suolo accidentato, pronta ad afferrare, attacca la spalla di un corpo spiantato, viso che abbaia, crepe che sbadigliano, bocca che grida, occhi atterriti, volto accerchiato dalla barba, pieghe tempestose di un abito, ogni cosa prossima alla sua estremità, alla sua origine”.

Il romanzo ha una eminenza ‘politica’, agisce – perché questo è il genere romanzo – per scavare uno scandalo. In una recensione uscita su “The Nation” (ottimo titolo: Fighting the Abyss) Noah Isenberg ne scrive così: “I passi più avvincenti – i più riusciti – del romanzo sono quelli in cui Weiss offre un esame dettagliato dei capolavori di Delacroix, Goya, Géricault, Munch… e del loro rapporto con le lotte contemporanee. Così, ad esempio, scrive del Guernica di Picasso: ‘Il dipinto presentava qualcosa di assolutamente nuovo, di incomparabile. Con crudeltà, con violenza, le ombre nette e i coni di luce, arti e facce mastodontiche s’intersecano, mentre diagonali e verticali contraddicono una densità profonda, immobile. L’aria è grave del canto metallico dei grilli’. Queste e altre analisi egualmente sontuose pareggiano i proclami politici (‘Restiamo schiavi salariati che non guidano i processi di produzione’) e tradiscono l’autentico genio di Weiss per la descrizione visiva, vivida, costante nel suo lavoro”.

Esito. Rischiamo che Estetica della Resistenza sia il libro più importante del secolo non tradotto in Italia. Il problema, d’altronde, è di soldi, economie, salari, cultura vs. convenienza, etc. etc. Insomma, puro Peter Weiss. Olè. (d.b.)

L'articolo Peter Weiss e il romanzo più importante del secolo mai tradotto in Italia (svegliatevi gente!) proviene da Pangea.

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#Letteratura #main #libro #Pergamo #Peter Weiss #Romanzo

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