Mostrando postagens com marcador literatura inglesa. Mostrar todas as postagens
Mostrando postagens com marcador literatura inglesa. Mostrar todas as postagens

Silence: Its power, and its glory

By Sara Maitland *
12.11.2010
Foto - Two minutes' silence, observed at the Lloyds Building in London on Thursday, is a rarity, for we fear a world without noise - getty images

We seem embarrassed by it, but we could all do with more of the sort of respite offered by today's two-minute pause
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We have a strange love-hate relationship with silence. We believe we admire and honour it. We certainly acknowledge that silence is good for our health, not just mental but physical. For all the evidence suggests that, among other benefits, regular periods of silence lower blood pressure, reduce stress, improve concentration, aid digestion and improve memory. Too much noise is damaging to our hearing, our sleep rhythms and our ability to process information.
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More, we venerate silence as the wellspring of creativity, wisdom and profound thought – the "school of genius". That was said of solitude originally, but since the Romantic poets took to exploring their true inner selves in the most sublime places they could find, uncontaminated by the "shades of the prison house", solitude and silence have become inextricably linked. Culturally, we give full assent to Kafka's claim that "there can never be enough silence around one when one writes", and to Woolf's assertion that a woman writer needs "a room of her own". We agree with Carlyle that "under all speech lies a silence that is better. Silence is deep as Eternity; speech is shallow as time", and with Keats that "heard melodies are sweet, but those unheard are sweeter". We declare that creativity is a universal human good, and silence and solitude are needed to develop it.
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Similarly, we in the West have a respect for and fascination with the religions of the East, particularly Buddhism, and this seems to be grounded in the silence of meditation. Within the Christian tradition too, there is now a renewed interest in silence; the retreat movement is booming; the spirituality of the Desert Fathers is newly popular. In the 18th century, William Lecky wrote of them as "hideous, distorted and emaciated maniac[s], without knowledge, without patriotism, without natural affection".
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What underlies this whole strand of thought is that silence enhances self-awareness and allows us to be in touch with our "inner" (and more real) life and is therefore somehow "authentic" even if we are not all creative geniuses. We seek the silence of the wilderness, or the psychoanalyst, in a noble pursuit of our own true identity. In a slightly different way, the "proper" response to extreme feelings, positive or negative, is held to be silence. Awestruck and dumbstruck are synonymous. Whether it be the spontaneous silence before the applause when a performance deeply moves us or the banner headline about an "unspeakable crime" (which always means the newspaper is about to speak of it at great length), words are supposed to fail us at extreme moments, and only silence is appropriate.
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So, yes, we love silence. Why then do we do everything possible to avoid it? Why do we wilfully and determinedly set about eliminating it from our actual lives? There are now more mobile phones than people in Britain; instant and constant verbal communication is experienced not so much as a pleasure, but as a necessity. Background music, even in shopping malls where there is already a great deal of noise, so that no one can actually hear the music, is ubiquitous. The length of an acceptable silent pause on the radio has been reduced steadily over the last decade. Silence in public places, like libraries or churches, is increasingly considered oppressive rather than valuable. The silence of mourning is being replaced by cheering. What was being applauded at Rhys Jones's funeral? An 11-year-old was shot dead on the street. Why were we not silenced?
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Modernity is necessarily noisy, even in the simple sense that cities are noisier than villages. The progression from walking through riding and motoring to flying is a progression in volume as well as speed. A tumble dryer is noisier than a washing line; a hairdryer than a towel; a vacuum cleaner than a broom. Nothing is getting any quieter. One might somehow expect then that silence would be more valued, treated as precious, protected like a species in danger of extinction; but this is clearly not happening at any physical or social level.
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It is not happening at the cultural level, either. More and more people are urged to "talk about it". To speak out is a virtue; the oppressed must "come to voice", men must learn to "express their emotions", women to articulate their discontents. Despite the broad acceptance that quiet reduces stress, enhances and enables calm, no such peace is offered to the over-stressed. No mental hospital makes any provision for those who need some silent space – on the contrary, liberal and progressive psychiatry offers "talking cures". And indeed this may be right for many, even most, highly anxious, depressed or disconnected individuals. But it seems strange that there should be no provision for silence even for those who want it, and that solitude is seen only as an extreme punishment, amounting even to torture.
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In 1988, the psychiatrist Anthony Storr commented: "The burden with which we are at present loading personal relationships is too heavy for those fragile craft to carry.... Love and friendship are of course an important part of what makes life worthwhile. But they are not the only source of happiness." Thirty years later we have still not taken this on board, but instead seek ever more and more social connections, however thin, rather than seeking silent nourishment.
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We may believe that silence is a crucial source of creativity and strong identity, and that creativity and strong identity are good, but we do not encourage children to enjoy or use silence. Indeed, we actively prevent them from doing so. We fill their private space with noise: most teenagers have a television, as well as music in some form, in their own bedrooms. This is surely the worst of all possible worlds: the young person is neither silent alone, nor engaging in genuine social interaction. We monitor and manage their lives, filling them with social activity. A large number of adults recall times of solitude, ideally in the open air, doing "nothing" quietly, as among the most positive memories of childhood – and yet they energetically prevent their own young from experiencing these delights.
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Overall, our young people are materially better off and have a longer life expectancy than ever before, but are not happier. It does not seem extreme to wonder whether there is some link between the painful increase in both behavioural problems and depression in adolescents and the constant over-stimulation and compulsory noise that we adults force upon them.
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Silence is coming to feel sinister. Nervous chatter breaks out to cover even brief moments of social silence; "sulking" is experienced as threatening and any failure to respond as both aggressive and judgmental; "loners" are now represented as dangerous and psychopathic, and the more socially retiring as selfish or neurotic – bad or mad. All this suggests a cultural fear of silence.
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A recent manifestation of this fear is the withdrawing of the right to silence, with the presumption of innocence, from suspected criminals who do not choose to answer police questions or to take to the witness stand in their own defence. This ancient privilege, based in a Christian culture's recognition of Jesus's original refusal to answer to his court, could only be sacrificed by a society that sees silence as intrinsically dangerous, anti-social or abnormal.
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We are terrified of silence and, as with most truly frightening things, we honour it in the abstract and resist it in the quotidian. We construct silence as merely an absence, a blank, rather than an autonomous and powerful force. But I am not sure why we have become so fearful. Perhaps we are terrified of silence because we are terrified of death. Because death is silent, it is easy to believe that silence is death, so perhaps making a lot of noise is a symbolic way of denying death. Any silence becomes a reminder of the long silence of the grave.
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Yet many of the great forces by which we live, are silent. The vast immensity of space is silent, because sound waves, unlike light or radio waves, cannot travel through a vacuum. Gravity, electricity, the warmth of sunlight, the turning of the tides are all silent. Organic growth, life itself, the division of cells is silent.
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Silence creates and sustains not death, but the circumstances and possibility of being alive. Silence is a very subtle and lovely thing; it requires practice, discipline and nourishing; it gives back grace and growth and well-being. We lose it at our peril.
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* Sara Maitland is author of 'A Book of Silence'


The Desperate Romantics
– as never seen before

14.11.2010
Foto - Dante Gabriel Rossetti: Study of Jane Morris for Mnemosyne, 1876

The largest exhibition of Pre-Raphaelite drawings ever held includes unseen works and highlights the movement's extraordinary legacy. Terry Kirby has a sneak preview

Victorian society was outraged by their rejection of convention, but the Pre-Raphaelites became one the most influential art movements in British history. Now many of their works – most never or rarely seen in public – are to feature in an exhibition of almost 300 works at the Birmingham Museum and Art Gallery.

The movement's leading artists were racked by sexual obsession, tragedy and drug addiction. Yet using models discovered from among the poor, they created an accepted ideal of English feminine beauty.

In a special preview of The Poetry of Drawing, The Independent on Sunday was shown the largest exhibition of Pre-Raphaelite drawings and watercolours ever staged, taken from the 2,000-plus works in the gallery's archive.

Colin Cruise, the exhibition's curator, said the show would reinforce the image of the Brotherhood as both "revolutionary and traditional". He said: "We have fallen in love with their story because they were anti-establishment and reacted against the prevailing artistic orthodoxy. Yet they have become revered as symbols of a uniquely British art movement.''
The Brotherhood was formed in 1848 by Dante Gabriel Rossetti, William Holman Hunt and John Everett Millais. "They rejected the highly stylised attitude of the Royal Academy, and wanted a more fundamental true-to-life approach," said Mr Cruise, who teaches art at the University of Aberystwyth. Despite this, most of their work was highly romantic and drew on imagery from mythology, Arthurian legends, the Bible and medieval history.

One of the most striking images was found by Mr Cruise in a private collection. Rossetti's study for his painting Mnemosyne is a drawing of a Jane Morris, one of two muses who help define the "Pre-Raphaelite look". Painted in 1876, it has never been shown in public.

From a poor background, Morris entranced the Brotherhood and she married the designer William Morris. Rossetti became obsessed with her, painting her many times."She was the mother of all muses,'' Mr Cruise said.

Rossetti had earlier married Elizabeth Siddal, the Brotherhood's other great model, a milliner who went on to paint and write. She was the model for Millais' painting of Ophelia's suicide. The exhibition features a pencil study of Siddal's head for the painting. Mr Cruise added: ''It is one of the most beautiful British drawings.''

Despite the success of their artistic union, the marriage collapsed under the weight of drug addictions: Siddal died from a laudanum overdose after giving birth to a second stillborn child.
As well as the Brotherhood's works, the exhibition features followers – such as Morris, founder of the Arts and Crafts movement, and the designer Edward Burne-Jones – and those who were later influenced by them, such as the illustrator Aubrey Beardsley.

After a few brief tumultuous years, the Brotherhood burned itself out – Rossetti declining into decadence, Hunt pursuing religion and Millais taking the route into portrait-painting respectability. "Their lasting legacy," Mr Cruise said, "is that you can rebel against convention, and yet, like the Beatles, still remain widely loved."

The Poetry of Drawing runs from 29 January to 15 May
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Edward Burne-Jones
Phyllis and Demophoon, 1870
This watercolour, inspired by Chaucer and ancient mythology, depicts Phyllis, Queen of Thrace, emerging from the almond tree she has been turned into when her lover, Demophoon, returns
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John Everett Millais
The Head of Elizabeth Siddal, 1852. Ophelia, 1852
Millais' Ophelia is possibly the best known of the Brotherhood's works. Siddal had to lie in the bath for Millais to capture the correct lie of her head
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Dante Gabriel Rossetti
Study of Jane Morris for Mnemosyne, 1876. Mnemosyne, 1881
The model for the Greek goddess was William Morris's wife, Jane, who modelled often for the Brotherhood. Rossetti wrote to his mother that the head was particularly important
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William Morris
Design for a printed textile, 1882-83
Morris's Arts and Crafts movement relied on traditional craftsmanship and materials to bring the beauty of exceptional design into the everyday. Thus he created wallpaper, tile and textile designs, such as this typical example
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John Everett Millais
Retribution, 1854
Millais ignored the romantic past for a series of 11 contemporary scenes illustrating sin and temptation. This shows a man being caught out in an attempt at bigamy
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Edward Burne-Jones
Study of a seraph for Le Chant d'Amour, 1868. Le Chant d'Amour, 1877
The title comes from an old Breton song collected by Burne-Jones's wife, Georgiana. This painting was a great success when first exhibited in 1878
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Edward Burne-Jones
The Knight's Farewell, 1858
One of several intricate pen and ink drawings which marked Burne-Jones's development as an artist. The drawing was made after a collaboration with Rossetti on the Morte d'Arthur
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Aubrey Beardsley
Young Knight, c1892
Beardsley was deeply influenced by the Pre-Raphaelites and looked to the romantic past for inspiration. This pen and ink drawing shows an idealised knight and owes more to medieval romance than Victorian industrialism
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Ford Maddox Brown
Study for The Last of England, 1852. The Last of England, 1855
Maddox Brown was closely associated with the Pre-Raphaelites – Rossetti had asked him to be his tutor. This painting shows an emigration to Australia. The models are Brown himself, his wife Emma, and their children
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William Holman Hunt

Study for the heads of Christ and Mary for The Finding of the Saviour in the Temple, 1856
A Brotherhood founder, Hunt wanted to revitalise religious art by looking back at the early Renaissance. This painting shows Christ teaching as a child
www.independent.co.uk/

LIBRO

Rachel Cusk: «Sí, mis novelas, como la vida,
no tienen argumento»

La autora inglesa publica «Las variaciones Bradshaw», nueva inmersión en las retorcidas entrañas de una familia de clase alta

Por Manuel De La Fuente, Madrid
04.11.2010
Foto - Rachel Cusk, por Victor Lerena

«En ocasiones veo muertos, parecen personas normales, pero están muertos», le dice así, como quien no quiere la cosa, el niño Haley Joel Osment a Bruce Willis en una desasosegadora escena de la no menos angustiosa película «El sexto sentido».
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En las novelas de Rachel Cusk, también hay muchas personas que parece normales (y con bastantes perras, generalmente), pero los pliegues de sus vidas están repletos de oscuros y angostos pasadizos. Si en su libro anterior, «Arlington Park», los chalés adosados se convertían en castillos llenos de extraños peligros y sortilegios, en su nueva novela «Las variaciones Bradshaw» (Lumen) una pareja más que acomodada decide cambiar sus roles famliares: ella se pondrá a trabajar; él se quedará en casa al cuidado de la hija del matrimonio.
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«Para las feministas de la clase media alta - cuenta la novelista -, puede decirse que su idea del trabajo es que casi es un placer, un medio de realización personal además de, por supuesto, un derecho y un reto frente a la política convencional. Para la mujer que necesita el dinero esto es totalmente distinto, porque tiene que defender el equilibrio entre su vida personal y su trabajo, lo que no suele ser fácil. En el pasado era prácticamente imposible, pero la mujer moderna de cierto status consigue el placer, la dignidad, la realización propia y la emancipación a través del trabajo».
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Las novelas de Cusk son como esos terrarios donde las hormigas se entregan a sus quehaceres ante nuestra vista. «Independientemente de la vida que yo lleve - continúa Rachel Cusk -, todo lo que escribo lo hago a partir de mi propio conocimiento de la existencia. Para mí, la única manera de encontrar la verdad es consultándome a mí misma y auscultando mis propias sensaciones. Me sería imposible escribir un libro, digamos que con la imaginación, un libro sobre algo distinto a lo que me ocurre y lo que conozco. A través de cosas concretas, yo quiero darle a todo una estructura, y creo que una función de la literatura también consiste en poder articular el inconsciente de la realidad, de la vida cotidiana, todo aquello que está relacionado con ser. A quienes no les gusta mi trabajo siempre dicen que mis novelas no tienen argumento. Precisamente, de eso se trata, porque la vida tampoco tiene un argumento».
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Niños clarividentes
Y no faltan, como en «El sexto sentido», niños clarividentes. «A veces, los niños son simplemente la manifestación del ego de su padre o la cruda servidumbre de sus madres, son casi sus esclavos. Por otro lado, muchas mujeres tienden a creer que los hijos son su gran creación. Pero en mis novelas, a los niños se les confiere autonomía, individualidad. En ese sentido creo que trato de mostrar lo difícil que le resulta a la gente dentro de la familia percibirse los unos a los otros como auténticos individuos».
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Sí, los personajes de Cusk parecen personas normales... pero acaban por dar mucho miedo. «Eso esta bien... no es usted el único que se siente así. En cuanto a mí, no necesito vincularme especialmente con los personajes, no necesito terminar nada, ni concluir nada, ni llevarlos hacia un final, ni que causen tal o cual emoción o sensación, lo que yo trato de hacer es captar y plasmar un fragmento de vida. Hay autores que conciben una novela como una obra de teatro en la que se llega al final, los actores hacen una reverencia y llegan los aplausos. No es mi caso, yo sólo retrato a mis actores interpretando, no esperando el final de la pieza».

www.abc.es/

LIVRO

Ken Follet. "Não tinha dinheiro para consertar o carro, escrevi um livro"
31.07. 2010

Foi um jornalista mediano até o seu carro se avariar. O autor de "Os Pilares da Terra" explica como nasceu o bestseller, agora adaptado à TV

Incluir o seu nome numa lista de bestsellers parece hoje em dia uma tarefa fácil para Ken Follett, porém só depois de várias tentativas é que este autor conseguiu lá chegar. Follett passou grande parte dos anos 70 a trabalhar como jornalista e editor de livros no Reino Unido antes de escrever os seus primeiros romances - nenhum deles vingou.

A reviravolta aconteceu em 78 com "O Buraco da Agulha", um thriller de espionagem passado na Segunda Guerra Mundial assente numa pesquisa meticulosa. "Os Pilares da Terra", o seu épico de 89 sobre a construção de uma catedral na Grã-Bretanha medieval, foi outro grande êxito, seleccionado para o Clube do Livro da Oprah e gerando uma sequela em 2007, "Um Mundo Sem Fim". "Os Pilares da Terra" também foi adaptado à televisão numa mini-série que estreou recentemente nos EUA. O elenco inclui Ian McShane, Donald Sutherland e Rufus Sewell.

Que conselho daria às pessoas que acham que as suas carreiras não têm segundo e terceiro actos?

Bem, para as pessoas que querem escrever bestsellers, o melhor conselho que posso dar é que o romance tem de cativar o leitor emocionalmente. Todas as coisas dramáticas que acontecem nos thrillers - perseguições, interrogatórios, engano, romance - só funcionam se os leitores se preocuparem com as pessoas envolvidas. Dois homens a lutar ao murro pode ser mecânico e aborrecido, como ver dois bêbedos a bater-se na rua.

Quando ainda era jornalista o que o levou a escrever o primeiro livro?

O estímulo foi uma crise financeira. O meu carro avariou e não podia arranjá-lo. Outro repórter do jornal tinha escrito um thriller e havia recebido um adiantamento de 200 euros, que era exactamente a quantidade de dinheiro que precisava para arranjar o carro. Não me tinha apercebido, até a vida me mostrar, que era um jornalista mediano e que podia ter qualquer coisa especial como escritor.

Não parece ter problemas em mostrar confiança no seu trabalho, o que não encaixa muito bem no estereótipo do escritor inseguro.

No princípio da carreira o meu agente disse-me: "Sabes, o teu único problema como escritor é não seres uma alma atormentada." E é verdade. Muitas pessoas escrevem a partir de uma dor interior. E eu, geralmente, sou um ser alegre.

O que o inspirou a escrever "Os Pilares da Terra", isto é, 900 páginas sobre a construção de uma catedral gótica?

Um dia fui ver uma dessas grandes catedrais e fiquei impressionado. A partir daí interessei-me pelo processo de construção das catedrais, depois interessei-me pela sociedade que construiu a catedral. A determinada altura, ocorreu-me que a história da construção de uma catedral podia ser um grande romance popular. Nem toda a gente concordou.

Quanto tempo demorou a escrevê-lo?

No total, três anos e três meses. Ao fim de dois anos só tinha 200 páginas e senti que estava em crise. E como romancista, a única coisa que se pode fazer para escrever mais depressa é trabalhar mais horas. Então comecei a escrever aos sábados e depois também aos domingos. A dificuldade é apenas a de que temos de estar sempre a inventar mais e mais coisas sobre as mesmas pessoas. Se escrevemos 100 mil palavras de um thriller, está terminado. Só que 100 mil palavras de "Os Pilares da Terra" é tanto quanto isto [abre o primeiro quarto do livro] Essa foi a grande dificuldade.

Foi difícil vender uma obra tão longa para adaptação à televisão ou ao cinema?

Estipulei que só venderia para seis ou oito horas de televisão e, na verdade, isso foi um impedimento para alguns acordos. Tivemos negociações com umas quantas pessoas sobre os direitos, em que elas diziam: "Contratualmente, para o caso das coisas darem para o torto, temos de ter o direito de fazer um telefilme de quatro horas ou mesmo de duas." Mas como é um livro tão especial para mim, estabeleci essa condição e isso impediu-nos de conseguir um acordo até o Ridley [Scott] aparecer e dizer: "Sim, comprometo-me com as oito horas."

É difícil para um autor ver o seu livro modificado e condensado no processo de adaptação?


Não é muito difícil. Olhamos para o actor e dizemos "Ó, meu Deus, não o imaginava com esse aspecto." Matthew Macfayden, por exemplo - na minha cabeça, o prior Philip é um homem pequeno, frágil. A sua força vem da determinação da sua coragem moral. E Matthew Macfayden tem o quê, 1,95 m? É extraordinariamente atraente. Por isso, inicialmente pensamos: "Matthew Macfayden?" Mas aceitamos. Não me importo nada. Diverte-me.

A seguir gostaria de escrever uma coisa um pouco mais pequena?

Tenho um novo livro que irá sair a 28 de Setembro, chamado "Fall of Giants". É um retrato de cinco famílias, uma russa, uma alemã, duas britânicas e uma americana, e segue os seus destinos durante a Primeira Guerra Mundial, a Revolução Russa e a luta pelos direitos da mulher. E é o primeiro de uma trilogia que, espero, contará a história do século XX.

Já recebeu feedback crítico dos seus editores em relação ao livro?

Peço-lhes - exijo-lhes - respostas críticas. Certamente, recebo isso do meu agente.
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