Scriitorii ar trebui sa mentina o anumita distanta cu lumea: Anita Desai

Anita Desai, de trei ori nominalizata la Booker Award, castigatoare a mai multor premii prestigioase si cu peste 17 carti la credit, a fost distinsa cu Marele Premiu Literar International la Festivalul Literar Blue Metropolis din Montreal, pe 29 aprilie. Premiul pentru 10.000 de dolari canadieni este premiat in fiecare an – din 2000 – unui autor de renume mondial in recunoasterea unei vieti de realizare literara. escorte tg.jiu www.pacho.com Printre fostii castigatori se numara Norman Mailer, Margaret Atwood, AS Byatt si Amitava Ghosh. Desai, cunoscut pentru carti precum Bombayul lui Baumgartner , Lumina limpede a zilei si In custodie, a  vorbit cu The Wire din Montreal.

Ati primit premiul literar international Blue Metropolis International. Ati primit medalia Benson in 2003 si Padma Bhushan in 2014. Premiile conteaza sau sunt incidente pentru scriere?

Acest premiu special imi spune ca am trecut o granita si acum am o varsta in care pot primi anumite premii! (Zambete). escorte p frelancer.com Premiile sunt cu siguranta intamplatoare. Sunt neasteptate; nu sunt ceva la care lucrati, nu.

Care crezi ca este scopul literaturii? Valoarea literaturii este pusa la indoiala in aceste zile, cu siguranta aici in Canada.

Unul functioneaza pe doua niveluri. La nivel de subconstient, unul nu functioneaza cu o agenda, unul lucreaza dintr-o constrangere pentru a-ti spune povestea, pentru a pune cuvinte pe hartie, pentru a impiedica sa dispara ceva. escorte bucuresti anuntul www.quiettigerfund.com Si bucuria de a folosi limbajul nu trebuie uitata.

La nivel constient, dupa ce ti-ai scris lucrarea, uneori te ia prin surprindere. Spuneti, oh, despre asta a fost vorba? La sfarsitul cartii spuneti, asa ca de aceea a ramas in mintea voastra atat de mult timp. Care este motivul scrierii acesteia? Si invariabil motivul este sa spunem adevarul, intr-un mod oarecum lateral, oarecum subversiv. Nu intotdeauna reusesti sa faci asta deschis, fata in fata, trebuie sa gasesti un fel de mod secret. escorte sani mari gw-flovent.info

Adevarul despre viata?

Da.

Ai un corp puternic de munca care dateaza de mai multe decenii. Aveti vreuna dintre cartile dvs. preferate, care au ramas cu voi?

Ei bine, cu majoritatea cartilor cand le termini, suferi de o perioada de dezamagire. Un sentiment ca nu asta ai vrut sa faci, ca undeva de-a lungul drumului ai luat randul. escorte-sex www.bdsmart.ws

Si acest lucru se intampla de fiecare data?

Aproape mereu. Exista doar cateva carti cand am avut un sentiment diferit, cu o carte timpurie a mea, numita Foc pe munte. Aceasta a fost prima data cand mi-am gasit vocea si am scris deja trei sau patru carti si mi-am dat seama ca pur si simplu imitam alti scriitori, incercand sa fiu cineva care nu eram. Cu aceasta carte am simtit ca aceasta este propria mea voce, acesta este stilul meu, asa am scris.

Exista diverse alte repere; cum ar fi scris in custodie , pentru ca pana atunci fusesem intotdeauna etichetata o femeie scriitoare, o scriitoare feminista si a trebuit sa recunosc ca am scris despre viata femeilor si a femeilor. escorte lux iasi hubbellincorporated.eu Asa ca mi-am propus foarte mult sa scriu o carte in care personajele erau masculine, traind intr-o lume masculina foarte inchisa a poeziei urdu, unde putine femei s-au aventurat. Cand am scris acea carte, am simtit ca cel putin reusisem sa ma desprind de acea lume foarte casnica, pe care o tineam inapoi, dintr-un fel de frica de a ma aventura afara. Era ceea ce stiam eu cel mai bine. Aceasta a fost o provocare.

Ce fel de cercetare ati trebuit sa faceti?

Nu am facut nicio cercetare, dar locuiam in Delhi in acea perioada, intr-o perioada in care oamenii inca aveau o foarte mare atentie pentru limba, pentru poeti. siteuri escorte www.comletric.net Era foarte mult in aer. Am crescut auzind limba Urdu si poezia urdu va fi intotdeauna citata. Era, de asemenea, partial stralucirea limbii. Si a fost o alta provocare – cum sa o transmitem in engleza. Asa ca, cand citeam poezie, scriam de fapt, incercam sa surprind ceva din ritmul, maniera poeziei urdene si eram foarte mandru cand cineva a venit la mine si mi-a spus de ce nu ati recunoscut poetii din dvs. escorte anal bucuresti oklahomacitychamber.biz carte? (Rade)

Si a fost o alta provocare si aceasta a fost cartea mea Bombay Baumgartner, unde mi-am propus sa reuni doua lumi foarte diferite, doua limbi foarte diferite, doua istorii foarte diferite, germana si indianul. Perioada a fost imediat dupa al doilea razboi mondial si primii ani ai independentei indiene.

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Cu siguranta, aceasta este o carte pentru care am facut multe cercetari, pentru a intelege istoria si perioadele de timp si cum sa le imbin si, in sfarsit, am putut sa povestesc acea poveste.

Mama mea era germana si am crescut vorbind germana acasa. Tatal meu vorbea si germana. publi 24 escorte cluj napoca www.outdoormania.ro Era limba de familie si, cand scriam in engleza, ma gandeam ca lipseste ceva pe care nu-l pot spune in engleza si trebuie sa aduc partea germana a mostenirii mele.

Deci fiecare carte are propria poveste de povestit.

With these three books you had a sense of accomplishment. Are there some books that disappointed you, which you felt didn’t work out for some reason?

Especially now that I look back, there are so many books I should not have allowed the publishers to publish — the first three or four books.

You don’t just see them as part of a logical apprenticeship?

Yes, but I think it’s better not to rush to print. cuplu escorte oldmanschool.com There shouldn’t be such a pressure on publishing everything you write. One should hold something back; I wish I had.

I read one of those earlier books, Voices in the City, and I liked it. It had a raw quality, but the voice and the talent are apparent. It was different stylistically from your later books. escorte bisexuale messbarger.net

Thank you. It was overwritten. Over time my style has become so much more spare. I pare it down to essentials now. Partly it has to do with one’s failing energy. forum escorte bucuresti 868639.com

Is there a change in your perspective on life that has partly caused the writing to change?

Yes. When you’re young its inevitable you write from your own experience, your own feelings, your own dramas, and as one grows older you’re able to see things from a distance, to bring in characters and histories that are not necessarily your own.

Your last book – The Artist of Disappearance – it’s three novellas, so it’s also a new form.

Yes, this kind of book suits me at this stage of my life. I can’t see embarking on a great, big novel. escorte mature prahova www.stonypoint.org It takes too much out of one. Not just time, but an enormous amount of energy. I can deal better now with a smaller scenario.

We’ve talked about some of the struggles and process of writing. How would you summarise your experience?

I suppose I went through what every young writer goes through. publitim escorte justforyougiftbook.com It’s hard enough to find your voice, and write something that pleases you, and then it’s very hard to find a publisher, readers. The first years after [Indian] Independence were hard, when the publishers just wanted to reprint British and American books, and those were the years that I was writing. Even as great a writer as R.K. Narayan had to publish his own books and start his own press. escorte ias ikazu.com How many decades passed before he was recognised. A great, big change took place in the 1980s with the publication of Salman Rushdie’s Midnight’s Children.

And now there’s an explosion.

They say it’s every five minutes that an Indian author is born.

Yes, really! So what would you say are the joys of writing, if any? So many writers speak only about the anguish. escorte ludus images.google.nr

There’s joy, certainly, otherwise why would one have chosen this silent, obscure life? You are sitting at your desk; there’s no word of encouragement, but then there’s this joy of using language, trying your hand at writing something that’s worthwhile, that actually dares to take place. On the days that you’ve done a good piece of work, there’s no pleasure like that really. Comes once in a while, not every day.

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Would you say most of the joy is inward rather than in praise, or in interaction with people?

It is. Nowadays it’s become very popular to join a writing class, but I never took such a class. escorte b www.leadershipiq.ms When I started teaching it I asked myself how can you dare to do such a thing? You know perfectly well writing can’t be taught. But it has its uses in that it gives a young writer the time and space to work, and it becomes a legitimate activity. Just to be with other writers, that must be encouraging. Better for one’s psyche.

Did anything change when you moved abroad?

When I moved abroad I lost touch with what had been my material, what I knew so well. escorte matura socialfans.napoleonseries.com I could write about it with such confidence, I knew I was getting it right. Travelling, living abroad, one has a sense that one may be getting it wrong. You’re guessing. Losing one’s material is a great loss. I go back to India all the time, I have family there, but I feel there’s a great gulf now, and it is widening. escorte anunturi rva.international And I really haven’t earned the right to speak about the lives there, just as people there cannot imagine what experiences I have gone through. On the other hand, one has exchanged it for the larger world, for better or for worse. One has stepped out of one’s comfort zone. It’s challenging, and exciting sometimes.

What about writing books set in the Diaspora? Or continuing to set your books in the period you knew?

There’s a big risk to writing about the past, there’s the trap of nostalgia. escorte sex buzau midlandnationallifeinsurance.us It’s a distortion; it’s not truthful or accurate. You are awash in sentimentality, in memory. One has to be very rigorous. As for Diaspora that’s become a very popular subject with so much migration going on in the world, the largest ever. I have not managed to feel at home in that. escorte mature buzau safeandsecureschools.com I feel self-conscious. It interests me but that has never become my subject. To write about long-term exile as Naipaul did, it’s not easy. You have to know that subject of being a foreigner, of being a stranger, extremely well, to write.

How long have you lived in the West?

It’s been about 25 years, but not full-time at first. Then I started teaching full-time here. I’m drawn to the subject of the stranger, though not my own strangeness. One book I wrote was about strangers in Mexico uncovering their family’s past [The Zigzag Way]. I can do it if it’s one removed.

I remember reading that you felt at home in Mexico.

Yes, there were so many parallels with India. Such an ancient country, every stone has history. This you can’t find here [in the US]. People have come there from so many parts of the world, some arrived almost without meaning to.

As a final question I cannot resist a cliche – what advice do you have for writers?

Writers should maintain a certain distance from the world. First discover what’s inside, before you send it out, before you engage with the world. Find out first what’s within you, what you want to say and how you want to write it. I can mention my daughter [Kiran Desai] who took ten years to write The Inheritance of Loss and she’s taken seven years to write her next book, which I think is now drawing to a close. It’s important to build that interior world.