Tre flash dall’estate. Una notte di luglio con guida apparentemente spericolata ho condotto a casa Morena, una giovanissima costumista teatrale sottopagata che gira l’Italia a cucire spendidi vestiti. Dopo uno o due punch che forse erano rum e cola avevamo parlato del comune apprezzamento per la poesia di Mariangela Gualtieri e del teatro Valdoca che lei aveva visto dalle sue parti e forse ci aveva anche lavorato, lassù, tra i laghi. Avevamo read something from his copy of Fire Central and then changing the conversation he told me he was looking for the text on the writing of Flannery O'Connor . I find it the next day in the library under the house, in Milan, in Via Cesare da Sesto. At the end of the month at the beach my sister after years of reading engaged in a lot of best sellers Americans, for some 'years of law Ammaniti and appreciates that this year he won the witch and she's happy. I tell him that I reviewed Mud first edition for the university magazine a lot 'of years ago and I have a theoretical discourse, but it seems she has won anyway. Today, however, at the end of August, I wrote Michael, a friend in the spring mi ospitò a Trento in occasione di un convegno su Primo Levi; mi parla di Paolo Nori . Stà leggendo tutto quello che trova di suo dopo Noi Farem Vendetta , romanzo storico che, passata la breve stagione flamboyant della working novel ― e pensando al prossimo libro di Antonio Scurati ― potrebbe essere la nuova tendenza del triennio. Gli dico che di Nori conosco poco e come in molti altri casi mi sono fermato ai primi due libri pre-Einaudi, ovvero all’ormai consolidata vicenda di Learco. Ma di strada nel frattempo Nori ne ha fatta. E tanta. Senza ragione letta la mail riprendo in man
o l’edizione del Cielo dei Violenti dei My parents, having read many years ago and I am convinced that the people living intertwines literature they read. Reading is to become part of the plot big, "like drops of the ocean, as votes." These metaphors not to introduce the discussion case we are talking about today: always, critique and living. And if, in fact. From the site dell'infaticabile Rossano Astremo carried an article by Paul Nori clap of thunder and look lessons (from "Il Manifesto", January 13, 2007) explaining the plot of the above cases: "I think that the best way to give an idea of \u200b\u200bthe novel shots to the heart, was shot subtitle How the godfather of the Finnish Kari Hotakainen (Hyperborea 2006, pp. 353, € 16, translated by Tullia Baldassarri Höger Von Högersthal), I've read recently is the use of metaphors comparing with those of the novel by Niccolo Ammaniti As God commands (Mondadori 2006, pp. 496, € 19), which I read soon after. Make your two lists. In Amman: "Cristiano Zena opened his mouth and clung to the mattress as if it's under your feet was a gaping chasm" (p. 7). "There was a deafening blast, and the bowl fell apart like it was hit by a Cruise and rigatoni, meat sauce and splashes of plastic pieces scattered over a radius of ten meters' (P. 102). "After dinner the three remained in a coma on the couch" (p. 103). "Now that the big moment had arrived he felt serene as a samurai before the battle" (p. 187). "He shuffled through the apartment in which seems to be over the mercenaries' (p. 281). "He was completely soaked with sweat and goose weighed on him as if he were buried under a ton of land" (p. 365). "He collapsed on the sofa and began to complain of suffering as if they were doing a proctoscopy" (p. 398). "The cancer was eating it if, just like a snake eating an egg" (p. 403). "And you, at that point, as a kid, a Bambi or whatever the hell it was, began agitated, yelling, swinging, to stammer "(p. 429). "They must have some sixty years. One was high and sharp as a praying mantis and the other was small and green as a goblin. The goblin dragged behind an animal that looked like a Tasmanian devil "(p. 439). "He had seen the gulls circling like vultures which have put a dead animal" (p. 446). "He laid a hand on the hood as if exhausted by a marathon" (p. 455). "He turned his head toward the television with the speed of a monkey laboratory under opium" (p. 477). In
Hotakainen: "Men are made of paper, steel is not there ever been" (p. 177). "Coppola it felt like a schoolboy taking the hand which explains for the first time as fitting a model "(p. 190). "Sonny was excited over the top, like a scab that gets irritated at the slightest touch" (p. 216). "Man tries to call the children and grandchildren, and his voice squeaks as the chair on which sat" (p. 262). "The man had replied that if the film was the music and there were the massacres would have been more than willing to see it and would take us too in-law, who is not a fan of action movies but more a type of ice fishing "(p. 264). "For forty years Keränen was always able to go to the bathroom when he fled, he felt as if both were about to bisognini finirgli in his pants without the permission of the owner "(p. 269). "Women are unruly creatures. Are electricity and water "(p. 281). "Laatikainen seemed ready to seal a return to his original life on the shores of Saimaa. From his nose and ears sticking out the hair, shirt unbuttoned and appeared a lock of gray fluff. Apart from income, saw nothing that differed by a seal "(pp. 288-9). "The film I liked, though he was hurt. Brando was the best, one must admit. Whether or not a good man, knows how to play acting. His Vito Corleone was like my grandmother, a fragile person who says what he's quietly. Grandmother spending hours in the rocking chair in the living to mend their nets grandfather. The chair creaked, and his mouth came out of old sayings. They were not rules of life, were shots of thunder "(p. 344).
Now, apart from the seals, it is remarkable that the experience of an almost contemporary Finnish my family I have more experience of my almost contemporary Italian.
me under their feet has never been a gaping hole, I have no direct experience of something from a disintegrated Cruise, I have never seen a person in a coma, or a samurai before the battle, nor a place where the mercenaries were passed (or a lansquenet), I have never been buried under a ton of land, I have never made a proctoscopy, I never saw an egg-eating snakes, or a goat, a Bambi or whatever the hell he was agitated, screaming, squirming, babbling. I do not remember seeing a praying mantis and I have no idea what a goblin you know, let alone a Tasmanian Devil, I have no memory of vultures to "a dead animal, I've never done a marathon (even a short), not I have no idea of \u200b\u200bthe speed at which turns the head of a monkey under opium.
paper, the models, the pustules, the creaking of chairs, fishing, bisognini, electricity, water, I know. Seals little, but I had a grandmother who spoke well, with shots of thunder.
A friend of mine with whom we spoke recently the fact that the books are written with the eyes, called me yesterday and I read on the phone a piece of Flannery O'Connor taken from In the devil's territory, on the mystery of writing (Minimum Fax 2002, pp. 150, € 7.50, edited by Robert and Sally Fitzgerald, Italian edition edited by Ottavio Fatigue). Today I was in a bookstore and bought the book. The piece is this: "The narrative works through the senses, and one of the reasons why, in my opinion, writing stories is so difficult is that we tend to forget how much time and patience it takes to get through the senses. If people do not give way to experience history, to touch, the reader will believe anything that the narrator is limited to report ... I have a friend who is taking acting lessons in New York, a Russian lady who has a reputation for being an excellent teacher. I wrote my friend throughout the first months have not given even a joke, but only learned to look. Learning to look, in fact, is the basis for learning any art, except the music. Many of the storytellers who know paint, not because they are gifted, but because it helps them paint to write. Forces them to look at things. "
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