The Scriptwriter intruder, José Donoso by Vicente Lastra Review of a book that deserves its reissue
This remarkable compilation work was conducted by journalist Cecilia MA García Huidobro, who in the past, we were pleasantly surprised with the publication of interviews and forgotten texts and Joaquín Vicente Huidobro Edwards Bello. Vaya entonces nuestro reconocimiento para una labor que, sin lugar a dudas, se afianza en el rescate de los sólidos edificios de la literatura chilena.
El volumen analizado en esta oportunidad, posee el agregado de contar con un prólogo nacido de la siempre erudita pluma del novelista mexicano Carlos Fuentes, uno de los entrañables amigos generacionales de José Donoso.
Antes de avanzar en nuestro comentario, repararemos en el prefacio escrito por Fuentes para la presente obra -pieza de indudable factura- que nos entregará mayores luces al instante de observar el itinerario de Donoso en el mapa de las letras hispanoamericanas. En el citado exordio, titulado “José Donoso: Maestro de un irrealismo prodigioso”, the author of The Death of Artemio Cruz ponders the art of using national writer of the following words: "However, no one went beyond the limitations of the immediate past and planted a banner in the realm of the imagination with more apparent ease that the most literary all the writers of the "boom", the Chilean José Donoso. No one made more apparent the rigid social hierarchies of Latin America, the cruelty of the class system in Chile. But no one also felt the terrible evidence of injustice to a more corrosive literary imagination. Donohue chose a territory, the Chilean society and destabilized from within by the suspicion that nothing is what it seems and everything is on the verge of becoming something different. Costumes, homonyms, organ transplantation: Donoso transvestites are the outward signs of a deep and fierce anarchist rebellion, but subject to a rigorous use of literary methods. Donoso's novels are written under the twin signs of destruction and recreation, the passing of all things, fiction to any alleged status quo, the complete lack of credibility of the face. "
Catalogábamos of "notable" in this book, and not fear falling into the hype: it teaches us the cream of the journalistic production Donoso, who shall as editor of the magazine Ercilla, there in the first half of the sixties. Articles of the most diverse nature, chronic around Chile and interviews with conspicuous characters of the last century, among them the poet Ezra Pound, "make up a volume that was needed between the studies devoted to unraveling the creative genius of the author of The Obscene Bird night. In 1998, Cecilia García Huidobro had already published a selection of items from the same Donoso baptized articles uncertain necessity, but those, preferably, had been published by EFE.
The compiler divides the book into seven themes, which are not chronological order or gender. The part with these original designs, "Portrait of a generation", where the litter of 50 Chilean is analyzed through articles on some of its members: Enrique Lihn, Alejandro Jodorowsky and Enrique Lafourcade, "Fans and reserves, highlighting the pleasant conversations with the anti-poet Nicanor Parra and essayist Benjamin Subercaseaux, halfway between the article and the interview, "Some tracks literary, artistic judgments Donoso deploying about contemporary novelists such as Americans John Steinbeck, Norman Mailer, and Europeans Ivy Compton-Burnett, Robert Musil and Isaac Babel; "Ventures in Italy" written germinated after an extensive tour of the peninsula, a journey that allows them the said Ezra Pound and hear the voice of the soprano Maria Callas at La Scala impressive, "Journey to the back of book ", pages mainstream taste and book learning, to record dedicated to the" exile "Fernando Alegría and then Novísima Generation (Juan Agustin Palazuelos, Mauricio Wacquez)," De trades and disappointments, which account for a "profound Chile "in definition of Cecilia García Huidobro and" From the sidelines, insisting that a country seeking is stated in the mountains to avoid falling into the abyss of the ocean.
For reasons of space and of interest to our readers, confine your eyes on the little-known record of the meeting between José Donoso and Ezra Pound, after Brunnenburg the castle, which is built in the Italian Tyrol and never recovered in another publication, except for that comment, "since its initial appearance in Ercilla on 8 March 1961.
From the first line, it is evident respect and admiration for the Chilean he calls "the most influential poet of our time." After recounting the humiliating treatment received by Pound from the U.S. Army in Pisa, and his confinement "Legal" for twelve years in a psychiatric hospital in Washington, Donoso, transcribed in their own language, excerpts from his conversation with Irish descent. Pound attributed to the following sayings: "For me, as I remember, because I read it long ago, Perez Galdos is the most interesting of the English writers. Do not be surprised, as he knows no language, "and can not write a novel without knowing the language as a poet." Asked the reason for their animosity with the Americans, reflects: "I can not forget the war, Roosevelt was a poliomelítico be fooled by Stalin at Yalta, and so gave free hand to invade Europe. I am the son of Erasmus of Rotterdam, Europe, the cradle and source of all civilization. Defend Europe from Russia barbaric, I was defending my country. I am not the traitor, was Roosevelt, who left civilization to Europe and Communism. This is what I wanted to make Americans understand with my radio broadcasts from Rome. He had to beat Russia. Strategy was not a poet. But beat the loan sharks, because usury is the patron saint of the world ...". And about poetry, states: "I do not think that today can write poetry without a great culture. Culture in all fields: politics, mathematics ..., economy, yes, mostly economy. Can not write poetry without knowing the economy, as claimed by a young man poet who visited me recently. What people call "poetic" is not just a mental habit that we have inherited romanticism. We must overcome the romance, get back to a classicism that stage where the language itself, the form, complete in itself a burden of knowledge. That's the inspiration does not exist: the best poems are written in cold. Sometimes it carried in it something of an eternal truth, great. Sometimes, they are not only good exercise, but the good poet must always be able to write good verses, but no significance in terms of content. "
An important section of the book, composed a brief photo album of Donovan in the period of writing of the pages gathered here, taken together highlight Pound Brunnenburg Castle, and one in Rome to accompany the painter de Chirico.
By way of concluding this review, we will say that in his journalistic side, we observe a wholly owned Donoso its narrative powers, which glow the minute detail of the descriptions and a taste for sober and precise language to portray their impressions a complex and evanescent. Recommended reading, we must not forget that we face the intruder Scriptwriter a reporter informal letters, and thus, a manifestation "Different" from a sensibility that privileges the artistic temperament of its essence, not indifferent and distant lens the mere reporting.
• - • - • - • • • • • • - • Lastra Vicente
The intruder Scriptwriter (news, features and interviews) José Donoso
Ediciones Universidad Diego Portales, Santiago, 2004, 382 pages.
This remarkable compilation work was conducted by journalist Cecilia MA García Huidobro, who in the past, we were pleasantly surprised with the publication of interviews and forgotten texts and Joaquín Vicente Huidobro Edwards Bello. Vaya entonces nuestro reconocimiento para una labor que, sin lugar a dudas, se afianza en el rescate de los sólidos edificios de la literatura chilena.
El volumen analizado en esta oportunidad, posee el agregado de contar con un prólogo nacido de la siempre erudita pluma del novelista mexicano Carlos Fuentes, uno de los entrañables amigos generacionales de José Donoso.
Antes de avanzar en nuestro comentario, repararemos en el prefacio escrito por Fuentes para la presente obra -pieza de indudable factura- que nos entregará mayores luces al instante de observar el itinerario de Donoso en el mapa de las letras hispanoamericanas. En el citado exordio, titulado “José Donoso: Maestro de un irrealismo prodigioso”, the author of The Death of Artemio Cruz ponders the art of using national writer of the following words: "However, no one went beyond the limitations of the immediate past and planted a banner in the realm of the imagination with more apparent ease that the most literary all the writers of the "boom", the Chilean José Donoso. No one made more apparent the rigid social hierarchies of Latin America, the cruelty of the class system in Chile. But no one also felt the terrible evidence of injustice to a more corrosive literary imagination. Donohue chose a territory, the Chilean society and destabilized from within by the suspicion that nothing is what it seems and everything is on the verge of becoming something different. Costumes, homonyms, organ transplantation: Donoso transvestites are the outward signs of a deep and fierce anarchist rebellion, but subject to a rigorous use of literary methods. Donoso's novels are written under the twin signs of destruction and recreation, the passing of all things, fiction to any alleged status quo, the complete lack of credibility of the face. "
Catalogábamos of "notable" in this book, and not fear falling into the hype: it teaches us the cream of the journalistic production Donoso, who shall as editor of the magazine Ercilla, there in the first half of the sixties. Articles of the most diverse nature, chronic around Chile and interviews with conspicuous characters of the last century, among them the poet Ezra Pound, "make up a volume that was needed between the studies devoted to unraveling the creative genius of the author of The Obscene Bird night. In 1998, Cecilia García Huidobro had already published a selection of items from the same Donoso baptized articles uncertain necessity, but those, preferably, had been published by EFE.
The compiler divides the book into seven themes, which are not chronological order or gender. The part with these original designs, "Portrait of a generation", where the litter of 50 Chilean is analyzed through articles on some of its members: Enrique Lihn, Alejandro Jodorowsky and Enrique Lafourcade, "Fans and reserves, highlighting the pleasant conversations with the anti-poet Nicanor Parra and essayist Benjamin Subercaseaux, halfway between the article and the interview, "Some tracks literary, artistic judgments Donoso deploying about contemporary novelists such as Americans John Steinbeck, Norman Mailer, and Europeans Ivy Compton-Burnett, Robert Musil and Isaac Babel; "Ventures in Italy" written germinated after an extensive tour of the peninsula, a journey that allows them the said Ezra Pound and hear the voice of the soprano Maria Callas at La Scala impressive, "Journey to the back of book ", pages mainstream taste and book learning, to record dedicated to the" exile "Fernando Alegría and then Novísima Generation (Juan Agustin Palazuelos, Mauricio Wacquez)," De trades and disappointments, which account for a "profound Chile "in definition of Cecilia García Huidobro and" From the sidelines, insisting that a country seeking is stated in the mountains to avoid falling into the abyss of the ocean.
For reasons of space and of interest to our readers, confine your eyes on the little-known record of the meeting between José Donoso and Ezra Pound, after Brunnenburg the castle, which is built in the Italian Tyrol and never recovered in another publication, except for that comment, "since its initial appearance in Ercilla on 8 March 1961.
From the first line, it is evident respect and admiration for the Chilean he calls "the most influential poet of our time." After recounting the humiliating treatment received by Pound from the U.S. Army in Pisa, and his confinement "Legal" for twelve years in a psychiatric hospital in Washington, Donoso, transcribed in their own language, excerpts from his conversation with Irish descent. Pound attributed to the following sayings: "For me, as I remember, because I read it long ago, Perez Galdos is the most interesting of the English writers. Do not be surprised, as he knows no language, "and can not write a novel without knowing the language as a poet." Asked the reason for their animosity with the Americans, reflects: "I can not forget the war, Roosevelt was a poliomelítico be fooled by Stalin at Yalta, and so gave free hand to invade Europe. I am the son of Erasmus of Rotterdam, Europe, the cradle and source of all civilization. Defend Europe from Russia barbaric, I was defending my country. I am not the traitor, was Roosevelt, who left civilization to Europe and Communism. This is what I wanted to make Americans understand with my radio broadcasts from Rome. He had to beat Russia. Strategy was not a poet. But beat the loan sharks, because usury is the patron saint of the world ...". And about poetry, states: "I do not think that today can write poetry without a great culture. Culture in all fields: politics, mathematics ..., economy, yes, mostly economy. Can not write poetry without knowing the economy, as claimed by a young man poet who visited me recently. What people call "poetic" is not just a mental habit that we have inherited romanticism. We must overcome the romance, get back to a classicism that stage where the language itself, the form, complete in itself a burden of knowledge. That's the inspiration does not exist: the best poems are written in cold. Sometimes it carried in it something of an eternal truth, great. Sometimes, they are not only good exercise, but the good poet must always be able to write good verses, but no significance in terms of content. "
An important section of the book, composed a brief photo album of Donovan in the period of writing of the pages gathered here, taken together highlight Pound Brunnenburg Castle, and one in Rome to accompany the painter de Chirico.
By way of concluding this review, we will say that in his journalistic side, we observe a wholly owned Donoso its narrative powers, which glow the minute detail of the descriptions and a taste for sober and precise language to portray their impressions a complex and evanescent. Recommended reading, we must not forget that we face the intruder Scriptwriter a reporter informal letters, and thus, a manifestation "Different" from a sensibility that privileges the artistic temperament of its essence, not indifferent and distant lens the mere reporting.
• - • - • - • • • • • • - • Lastra Vicente
The intruder Scriptwriter (news, features and interviews) José Donoso
Ediciones Universidad Diego Portales, Santiago, 2004, 382 pages.
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