reading Italo Calvino's book, World world writing from the Library Calvin Siruela Editorial (2006), (It's hard this hijuemadre is not damaged because we have not studied more together, I think your only yes, but not me) I found passages that are worth being taken up. This book is a compilation of texts from him, so each paragraph is a specific reference.
"It depends on the writers but the passage of time. When I started writing, fifteen years ago, it seemed natural it was to write with objectivity, felt like writing the history of all that went by the street. There are times when the stories are about things, is the world itself which tends to run itself, and the writer becomes an instrument. And there are times, like today, in which alone the world he does not seem to want, in which the stories of others and not read a general history, and then the writer can only tell the world about it "(answers to 9 questions about the novels, Page 36, 1959)
" Maybe reading is already a steal. There is something there, contained within the object of which is assumed to have something locked inside. In each reading there is a forcing, there is a robbery. Naturally, the pictures and literary works are built with that intention, to be stolen that way. As the maze is built with the intention that we lose, but also we are in him "(Robbery with art - Conversations with Tullio Pericoli, Page 73, 1980)
" And the language is of utmost importance because for keep awake the reader's attention is necessary that the voice that speaks to possess a certain tone, a ring, a certain liveliness. The prevailing view is that it exports a writer who writes best in a neutral tone, as less of a problem of translation. But I also believe that this is a superficial view, because a script can only gray value if the sense of the greyness that transmits has a poetic value, that is, if that gray is a very personal creation, otherwise, you just feel like nobody read it. Communication must be established through the personal touch of the writer, and this can also be a current level, conversational, not unlike the language of journalism, more lively and brilliant, and can communicate more intense, more intimate and complex, as the literary expression "(The best way to read a text is translated, Page 81, 1982)
" The literary translator is that endangers himself to translate the untranslatable "(The best way read a text is translated, Page 81, 1982)
"It depends on the writers but the passage of time. When I started writing, fifteen years ago, it seemed natural it was to write with objectivity, felt like writing the history of all that went by the street. There are times when the stories are about things, is the world itself which tends to run itself, and the writer becomes an instrument. And there are times, like today, in which alone the world he does not seem to want, in which the stories of others and not read a general history, and then the writer can only tell the world about it "(answers to 9 questions about the novels, Page 36, 1959)
" Maybe reading is already a steal. There is something there, contained within the object of which is assumed to have something locked inside. In each reading there is a forcing, there is a robbery. Naturally, the pictures and literary works are built with that intention, to be stolen that way. As the maze is built with the intention that we lose, but also we are in him "(Robbery with art - Conversations with Tullio Pericoli, Page 73, 1980)
" And the language is of utmost importance because for keep awake the reader's attention is necessary that the voice that speaks to possess a certain tone, a ring, a certain liveliness. The prevailing view is that it exports a writer who writes best in a neutral tone, as less of a problem of translation. But I also believe that this is a superficial view, because a script can only gray value if the sense of the greyness that transmits has a poetic value, that is, if that gray is a very personal creation, otherwise, you just feel like nobody read it. Communication must be established through the personal touch of the writer, and this can also be a current level, conversational, not unlike the language of journalism, more lively and brilliant, and can communicate more intense, more intimate and complex, as the literary expression "(The best way to read a text is translated, Page 81, 1982)
" The literary translator is that endangers himself to translate the untranslatable "(The best way read a text is translated, Page 81, 1982)
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