Calm down, the letters are not walking da nessuna part

Dove stia walking contemporary literature is a request that is as frequent as it is heavy. The simple risposta dell’anthology “Contemporanea Occidentale” (Il Saggiatore)

Domandarsi where the literature is walking is a request both frequent and lately heavy, essentially good as a cornice per panel and convegni. Ogni opera authentica, no matter how much intertwined with how much I precede it, turns ad attingere to that primary experience that it is the dark dawn of all possibility, the alphabet scomposto della creation, “le vestigia dell’informe, dell’innocenza della loro fonte e della materia grezza”, as scrisse George Steiner. In the volatile flux of information, data and images of the twenty-first century, the communication is definitively realized as the effective fourth dimension of our daily life – not whatever we do, but in cui, paolinamente, we live and move and we are – due to diverse eppure species Sovrapposte tendenze – gives a part of the programmatic volontà di affidare all’arte le nostre migliori intenzioni, reducing it to a manual of self-compliance in civic education, given the other theory forced by the confinement of the genera and degli stili – sotraggono the literature to its essential core, That gave an access to the knowledge of the seam without scomporle, exposing the anchor and anchor to the bare experience of being in the world, whatever I say, all the aggression is constant and without schemes or filters of our sensations and of our thoughts. His wealth is proper in no power to foresee it, purely in the “algorithmic tempo, which symbolically takes the signal from the neural network, algorithmic based on a human brain model, è scandito dalle predicioni”.

It is a parole by Andrea Gentile, who introduced the anthology “Contemporanea Occidentale” (Il Saggiatore) and which includes authors such as Thomas Ligotti, William Vollmann, Ali Smith. Anche e soprattutto in contrast with such a valanga of expressive models based on his ciò che già constituisce a nostro gusto, a nostra sottoscrizione ideologica, the letteratura ambisce to “stare dentro l’intervallo”, writes semper Gentile, in quello space quasi indefinibile, eppure così dense, which precedes comprises and surpasses tutto ciò che sappiamo già dire, or che ci atteggiamo a dichiarare nelle nostre varie maschere pubbliche. Like Eliot’s image of the “pause behind the wave of the sea”, quell’attimo che scandisce ogni nostro attimo, tra inspirare ed exirare, accogliere e restituire.

In this sense “Contemporary” if it can simply define a beautiful anthology and enough, a victory does not give little in an editorial world dominated by theses and definitions. I saw if it passed dagli ammalati of Olga Tokarczuck that if ritrovano with a sense of taste “stratificato… non esistono più le portate, ma soltanto libere confederazioni di ingredientsi” to the protagonist of Ali Smith che ammette “mai avrei immaginato che potesse esserci qualcosa di male nell ‘Osservare un albero per più di un dato lasso di tempo” and if you return to innamorarsi davvero, come for a person, say that “white che bramava api”.

One of the più belli contributors is to force the Knausgard metal-based rifles into the emotionally powerful army of Nazism, travasato sotto various spoglie in the rhetoric of the immagini of the sectarian society: “We dobbiamo avvertire la gioia, in modo che così compriamo. Dobbiamo avvertire la embarrassment, in modo che così compriamo”. The literature does not distance itself from messages or attempts to perché, in virtue of a dark telepathy, “so mucho essa è in degree of elevating the interior language and rendering it visible”, palesandosi “incompiuta come la vita”.

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Calm down, the letters are not walking da nessuna part

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