Not all readers are fortunate to finish with your favorite author married and being, well, a close friend and associate of the same. Among the lucky few can tell Barbara Jacobs, who in his most charming book, Life with my friend (Alfaguara, 1994), chronicles his daily life alongside one of the greatest American writers of the twentieth century, Guatemalan Augusto Monterroso ( 1921-2003). Although it seems safe to say, this work of just 105 pages containing all the love and admiration for Barbara to a man whose identity is only suggested, concerns to simply as "my friend" -, also the great lesson of an author who, in the midst of a boom of monumental novels underscores the frenzy of the immediate, fleeting eternity, the vastness of the brief, highlighting the foolishness of those who assume that a work, the more voluminous, more respect. "A book, Barbara says the friend, is a conversation, a good book, a polite conversation." Although not exactly a female version of Monterroso as it has come to say, can be considered the most advantageous student, and life with my friends is a testament to the adoption of the beloved author, who also read with devotion, accompanied in constant dialogue on a white cloth, accompanied by a bottle of wine, fits in perfectly hug sheltered by the tops of the trees: "... look to cultivate a growing resentment rather than your talent, it is foolish, to say Monterroso her friend. It is a bitter writer what he thinks is that the success of others was taken away to him, do not think he could also touch: if instead of growing resentment, cultivate her talent is there for everyone. Or almost. Deserved, undeserved (...) The Republic of Letters is a jungle (...) that talks about how the writer learns to defend or withdraw, to attack, to survive, or removed (...) all torn towards the ultimate goal; wins more enduring, that can wait. "(pp 43 and 50).
But among the lessons arising from this beautiful book is obvious the better assimilated by the author: to cultivate his own melancholy, like a flower own privacy. To Monterroso melancholy, rather than an inherent condition of the artist, is something you get by doing ... something to be earned and deserve ... and contrary to what might be expected, melancholy, far from being tragic or pathetic as the ideal romantic, acquires the ability to see the world, generating pain and disappointment, with tenderness and compassion of those who put safety before the collapse: "The closer you get to the bottom of the topic," he tells his attentive Monterroso huge student-violet eyes, most at risk of running into sadness ... "(p. 36). The work of Barbara Jacobs characterizes a deep melancholy born of misfortune but not of joy. No one said anyone but one that remains moist eyes happy. The essential in the work of Barbara, then, is a reflection of their learning Monterroso, intimate discourse that results in externalization aesthetics of real intimacy, especially in self-detachment, permanent communicating vessel between literature and life. Barbara, in fact, is personally unable to look the world through different eyes than those of the literature. Novels like dead leaves (1987), that the creditor did Villaurrutia Xavier Award, splendidly recreates that sense of the fleeting embrace that melancholy happy that disdains the healing sense of irony. Barbara viewed writing as a single conversation with someone who may not be "your friend". Rather listen than talk, as stated in its report "Response in silence", included in his 1982 book, Twelve stories against (CONACULTA / Aldus, Col. Centennial, 2005): "I am a person given to listen rather , to clap when speaking expect me clap, hold its comments and opinions (...) I write because I have something to say that is only expressed in writing. Stressed in writing (pp. 48 and 51). So, Barbara, not as direct as his friend, invites you to explore the delights of the maze, hence the difficulty to penetrate in such novels as Farewell humanity (Alfaguara, 1992), where the apparent complexity of the speech (and I say "apparent" because the tinkling of clear prose, but is obscured by intention) fascinated by the challenge of achieving an empathy between text and reader. Read Barbara Jacobs entails risks to cultivate a deep friendship in which one is shown first as it is, and then iron out differences and clarify discrepancies.
The artistic vocation can mean a curse in a society like ours. The artist is becoming more aware of their uniqueness from an early age when he realizes that the world is composed, in their overwhelming majority, crazy crazy line ... because you have to be to adapt without fuss to a world that forced to give up being who you really are, and Barbara's work is imbued with this feeling of not belonging to the world that accompanies it since I was a little girl writer whose first book was destroyed by the School Sisters of Canada shocked me to write compositions in class time. Born into a family of Lebanese immigrants, on 9 October 1947 in Mexico City, with a name that still mortified and even seriously considered changing, Barbara is a deliciously eccentric being, a beautiful and shy girl who preferred among all her suitors the South American small stature that gave her a frog, and who would marry in 1970, a girl like her story Carol "Carol says," Twelve stories including ... also, bring a pencil between the teeth for not thinking in kisses. In a world where private solemnity and pretense, the likes of Nijinsky, Eric Satie, Horacio Quiroga, Juan Rulfo, Van Gogh, Cesare Pavese and William Faulkner beyond its desire to be who they are. Each took his art to knowing that the price was high not only isolation and misery, but in some cases up to discredit and life itself. Barbara could not find a better title for the book that gathers all: Tormented (Alfaguara, 2002), and the triumph of art at the expense of the artist is the focus of the thirty texts ranging essay, and chat , this hybrid that we have happily used Barbara through his Sunday column for the newspaper La Jornada. Not limited to coldly analyze the work of their authors. It goes much further by digging their own emotions as a reader and writer before reading them, as familiarly as in life with my friend. Who read what Barbara says, for example, Rulfo, will not read another essay about an author Rulfo but exotic and unknown fed Scandinavian influences. Each text comes into play the exquisite sensitivity of the author that, beyond the aesthetic pleasure, has been profound, irreparably shaken. "People who cultivates the intelligence is careful to admit being touched or being touched by simple things." (P.78). In a couple of pages accumulates Barbara emotions and tears of a life as rich as that of Hart Crane, whom the finding of true love rescues of pedophilia but not the world (who will save the world?), And achieved thanks to its talent to focus on the essentials and discard the bombast, the generator which, in view of its own Monterroso, is the worst enemy of the writer: the solemnity. In the words of his friend Barbara: "(...) people really is not very subtle and secretly respects the solemn, if not respect or at least fear them and fear to reverence there is only one step ". Barbara crying without restraint by their authors, not only that, he declares his desire to hug and comfort them, as with Coleridge: "A desabrazado can go for a hug constantly: in fact, constantly seek a hug, and in that embrace the confirmation of own existence, perhaps their own value. "(p. 33). Robert Walser also embraces and Walter Benjamin ... Walser, who languished almost starving, as the archetype of the imaginary writer technocrat, "the perennially unemployed Benjamin, now considered an apostle of the lucidity and intelligence. These are the recurrent paradoxes facing the artist, although there as Thomas Mann, Shakespeare and Monterroso himself in life were recognized. The majority seems to say Barbara, we feel more identified with Walser, with Benjamin ... even Cézanne, sublime painter in his time was rejected even in the Hall of Rejected. "You there-seems-in therefore represents the roles that others expect that represents but is invisible if only sticks to be himself. "
Florence Nightingale (Alfaguara, 2006) is the novel that helped to alleviate their pain over the loss of his friend who still refers to as "my life ... he is my life." This novel seems to gather again into two friends of Life with my friend but in a sieve of clinical madness not cease to be poetic. Again, two desabrazados fit perfectly in their arms. Nadia comes to the asylum to become the student, the old philosopher friend of Nightingale. Both have many things in common, two in particular: a Nano to miss it and wanted to write a book. Nadia, in fact, already has a novel draft submitted to very strict supervision of Nightingale, who insisted on transforming the nanny Nadia (the protagonist of the manuscript) in his, renaming Florence. Through the figure of the nanny, essential within Mexican families (Barbara itself which had a miss yet), is exemplified by the creation of a literary character and also pays homage to Flaubert, creator of the most beloved servants of the nineteenth century literature, particularly in the story that Barbara considers her favorite: "A simple soul:" ... before Flaubert Nightingale says on page 46 - the servants in literature and music were only males, at least as protagonists or, at most, secondary characters. I'm pretty sure that in the world literature, including East, congratulated the first character is female servant (...). " This novel brings together the elements that characterize the work of Barbara Jacobs: creative writing, friendship, intimacy, melancholy and madness. Why develop this literary conversation between two crazy?, Perhaps because an asylum is the only place that can accommodate two people so utterly alienated from the world and as close to ideal of true intimacy, "There is no writer who does not live on an island! Another reason why conducive to his fantasy monsters frighten "(p. 53). It is likely that only the use of the insanity let the characters talk about their vital need to make literature without seeming out of focus and again the implicit message seems to be that they are more mad out there. The novel is peppered with hints concerning the literary world, including the critical bias against female authorship books, said Barbara, continues to affect him. There is also the need for Nadia Karam to change its name, which the author could not do: "I will not stain the name of Nadia. How will call? "NK? "Eneco? Thus, at least they avoid facing the second evil of his condition: not to be born, but had not been born male. The third, do not know when deal if I do. "Author? Why enter the world of authors, ie hombresmujeres, mujereshombres? So that's restricted to be no exit author among authors "(p. 57).
Barbara So far, their writing has not lost that intimate and secret, and perhaps in this lies the charm of his prose is creative window of his privacy, his soul happy: "The literature, she says with a small voice that is almost a chirp, it's my first nature. "currently writing a book about their friendship and learning with the writers of his generation.
But among the lessons arising from this beautiful book is obvious the better assimilated by the author: to cultivate his own melancholy, like a flower own privacy. To Monterroso melancholy, rather than an inherent condition of the artist, is something you get by doing ... something to be earned and deserve ... and contrary to what might be expected, melancholy, far from being tragic or pathetic as the ideal romantic, acquires the ability to see the world, generating pain and disappointment, with tenderness and compassion of those who put safety before the collapse: "The closer you get to the bottom of the topic," he tells his attentive Monterroso huge student-violet eyes, most at risk of running into sadness ... "(p. 36). The work of Barbara Jacobs characterizes a deep melancholy born of misfortune but not of joy. No one said anyone but one that remains moist eyes happy. The essential in the work of Barbara, then, is a reflection of their learning Monterroso, intimate discourse that results in externalization aesthetics of real intimacy, especially in self-detachment, permanent communicating vessel between literature and life. Barbara, in fact, is personally unable to look the world through different eyes than those of the literature. Novels like dead leaves (1987), that the creditor did Villaurrutia Xavier Award, splendidly recreates that sense of the fleeting embrace that melancholy happy that disdains the healing sense of irony. Barbara viewed writing as a single conversation with someone who may not be "your friend". Rather listen than talk, as stated in its report "Response in silence", included in his 1982 book, Twelve stories against (CONACULTA / Aldus, Col. Centennial, 2005): "I am a person given to listen rather , to clap when speaking expect me clap, hold its comments and opinions (...) I write because I have something to say that is only expressed in writing. Stressed in writing (pp. 48 and 51). So, Barbara, not as direct as his friend, invites you to explore the delights of the maze, hence the difficulty to penetrate in such novels as Farewell humanity (Alfaguara, 1992), where the apparent complexity of the speech (and I say "apparent" because the tinkling of clear prose, but is obscured by intention) fascinated by the challenge of achieving an empathy between text and reader. Read Barbara Jacobs entails risks to cultivate a deep friendship in which one is shown first as it is, and then iron out differences and clarify discrepancies.
The artistic vocation can mean a curse in a society like ours. The artist is becoming more aware of their uniqueness from an early age when he realizes that the world is composed, in their overwhelming majority, crazy crazy line ... because you have to be to adapt without fuss to a world that forced to give up being who you really are, and Barbara's work is imbued with this feeling of not belonging to the world that accompanies it since I was a little girl writer whose first book was destroyed by the School Sisters of Canada shocked me to write compositions in class time. Born into a family of Lebanese immigrants, on 9 October 1947 in Mexico City, with a name that still mortified and even seriously considered changing, Barbara is a deliciously eccentric being, a beautiful and shy girl who preferred among all her suitors the South American small stature that gave her a frog, and who would marry in 1970, a girl like her story Carol "Carol says," Twelve stories including ... also, bring a pencil between the teeth for not thinking in kisses. In a world where private solemnity and pretense, the likes of Nijinsky, Eric Satie, Horacio Quiroga, Juan Rulfo, Van Gogh, Cesare Pavese and William Faulkner beyond its desire to be who they are. Each took his art to knowing that the price was high not only isolation and misery, but in some cases up to discredit and life itself. Barbara could not find a better title for the book that gathers all: Tormented (Alfaguara, 2002), and the triumph of art at the expense of the artist is the focus of the thirty texts ranging essay, and chat , this hybrid that we have happily used Barbara through his Sunday column for the newspaper La Jornada. Not limited to coldly analyze the work of their authors. It goes much further by digging their own emotions as a reader and writer before reading them, as familiarly as in life with my friend. Who read what Barbara says, for example, Rulfo, will not read another essay about an author Rulfo but exotic and unknown fed Scandinavian influences. Each text comes into play the exquisite sensitivity of the author that, beyond the aesthetic pleasure, has been profound, irreparably shaken. "People who cultivates the intelligence is careful to admit being touched or being touched by simple things." (P.78). In a couple of pages accumulates Barbara emotions and tears of a life as rich as that of Hart Crane, whom the finding of true love rescues of pedophilia but not the world (who will save the world?), And achieved thanks to its talent to focus on the essentials and discard the bombast, the generator which, in view of its own Monterroso, is the worst enemy of the writer: the solemnity. In the words of his friend Barbara: "(...) people really is not very subtle and secretly respects the solemn, if not respect or at least fear them and fear to reverence there is only one step ". Barbara crying without restraint by their authors, not only that, he declares his desire to hug and comfort them, as with Coleridge: "A desabrazado can go for a hug constantly: in fact, constantly seek a hug, and in that embrace the confirmation of own existence, perhaps their own value. "(p. 33). Robert Walser also embraces and Walter Benjamin ... Walser, who languished almost starving, as the archetype of the imaginary writer technocrat, "the perennially unemployed Benjamin, now considered an apostle of the lucidity and intelligence. These are the recurrent paradoxes facing the artist, although there as Thomas Mann, Shakespeare and Monterroso himself in life were recognized. The majority seems to say Barbara, we feel more identified with Walser, with Benjamin ... even Cézanne, sublime painter in his time was rejected even in the Hall of Rejected. "You there-seems-in therefore represents the roles that others expect that represents but is invisible if only sticks to be himself. "
Florence Nightingale (Alfaguara, 2006) is the novel that helped to alleviate their pain over the loss of his friend who still refers to as "my life ... he is my life." This novel seems to gather again into two friends of Life with my friend but in a sieve of clinical madness not cease to be poetic. Again, two desabrazados fit perfectly in their arms. Nadia comes to the asylum to become the student, the old philosopher friend of Nightingale. Both have many things in common, two in particular: a Nano to miss it and wanted to write a book. Nadia, in fact, already has a novel draft submitted to very strict supervision of Nightingale, who insisted on transforming the nanny Nadia (the protagonist of the manuscript) in his, renaming Florence. Through the figure of the nanny, essential within Mexican families (Barbara itself which had a miss yet), is exemplified by the creation of a literary character and also pays homage to Flaubert, creator of the most beloved servants of the nineteenth century literature, particularly in the story that Barbara considers her favorite: "A simple soul:" ... before Flaubert Nightingale says on page 46 - the servants in literature and music were only males, at least as protagonists or, at most, secondary characters. I'm pretty sure that in the world literature, including East, congratulated the first character is female servant (...). " This novel brings together the elements that characterize the work of Barbara Jacobs: creative writing, friendship, intimacy, melancholy and madness. Why develop this literary conversation between two crazy?, Perhaps because an asylum is the only place that can accommodate two people so utterly alienated from the world and as close to ideal of true intimacy, "There is no writer who does not live on an island! Another reason why conducive to his fantasy monsters frighten "(p. 53). It is likely that only the use of the insanity let the characters talk about their vital need to make literature without seeming out of focus and again the implicit message seems to be that they are more mad out there. The novel is peppered with hints concerning the literary world, including the critical bias against female authorship books, said Barbara, continues to affect him. There is also the need for Nadia Karam to change its name, which the author could not do: "I will not stain the name of Nadia. How will call? "NK? "Eneco? Thus, at least they avoid facing the second evil of his condition: not to be born, but had not been born male. The third, do not know when deal if I do. "Author? Why enter the world of authors, ie hombresmujeres, mujereshombres? So that's restricted to be no exit author among authors "(p. 57).
Barbara So far, their writing has not lost that intimate and secret, and perhaps in this lies the charm of his prose is creative window of his privacy, his soul happy: "The literature, she says with a small voice that is almost a chirp, it's my first nature. "currently writing a book about their friendship and learning with the writers of his generation.
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