The thread of the story | The home of suspended time
What is it about a story that ends in failure? We could say: the concrete form of an illusion. The illusion of what has become, in the hands of the characters, in space and time: the substance it is made of their lives. In other words, precisely, of their "ordeal".
In an essay in 1899 entitled How to tell a story, shopkeepers bell Mark Twain observed that, unlike shopkeepers bell the comic story or that witty (which can be told by anyone) the humorous story is "essentially a work of art," as such established on a series of subtle and compelling formal gimmicks whose knowledge and mastery define, in addition to the quality of the work, also the stature of the author. While the narrator of a comical story, in fact, assures the public that now that it is going to listen is one of the funniest things I've ever heard him, the narrator must ignore humorous or "pretend not suspect" the implications of what is telling, leaving the attention and intelligence of the reader. For this reason - continues Twain - while just two minutes to tell the comic version of a story, that it requires a lot more humorous, because in the latter that matters is the fact that the comic version excludes: digressions, encumbrances, errors , corrections, interruptions of the story, details, apparently out of place, simplicity, innocence, sincerity, naivety of the narrator, or narrators. The humorous story brings out what the simple exposition of the fable, as comic, leaves in the shade. To get even more in detail in the art "sublime and elegant" of this type of story, Twain lists four technical devices, which he saw in use at the great oral storytellers, and then employed shopkeepers bell in their own business:
"Telling a slew of nonsense without any connection, in a rambling and often free, while maintaining an air of innocent and pretending to be unconscious and unaware of the absurdity of what you're saying is the true foundation of American art. Another trick for the success of the story is sputter the crux of the matter. Yet another, the third, is to drop a remark casually studied shopkeepers bell in truth, pretending not to realizing even realize, as if thinking aloud. The fourth and final technical solution is a masterful use of the pause. "
It seems superfluous to note that all these indications could apply to many great novels, in which the technical devices are used in a complex composition, shopkeepers bell which allows multiple use and just as effective. If there is something in the novel that goes beyond the genre (and that comes from another source) perhaps it is this mode of expression, this attitude shopkeepers bell of the narrator that Twain comes from the story humorous. From the speech of the American writer emerges, then, that in a humorous story the reader has to trust not so much of the simplicity and ingenuity of the narrator - often, in fact, simulated (with a simulation of what the reader shopkeepers bell is aware) - and the expertise of the author ( the implied author) that you can not argue, worth the abandonment of reading. In oral humorous story, the author sets the scene as the narrator: it is the competence that the listener recognizes in its fake innocence, awkwardness, pauses, digressions, shots that move the story forward. In the novel, is that the narrator appears clearly, is that it does not decline, the narrative is often "staged" shopkeepers bell by the author to facilitate the understanding of elements that are silenced. Consider, for staying in well-known shopkeepers bell books, the reticence of Marlow at the end of Conrad's Heart of Darkness, or the story The Turn of the Screw by Henry James, or even to some famous ellipses of the novels, from the Charterhouse of Parma by Stendhal the, famous, marriage Swann in Proust shopkeepers bell (for which most scrupulous critics speak of parallissi). shopkeepers bell
The first part of the novel by Roberto Bolaño's The Savage Detectives, released in Spain in 1998, is told in diary form by Juan García Madero, seventeen-year law student and aspiring poet, whose life changes suddenly after meeting Alberto Belano and Ulises Lima, the greatest exponents of the literary movement of the "visceral realism". These diary pages following the first experiences of the narrator, an expert in terms of skills metrics, but much less on the level of expression and especially on that of existence. The story then proceeds with attempts poetic, literary discussions and the first erotic experiences of the narrator, whose paths through the streets of Mexico City only rarely intersect with those of Belano and Lima, the real protagonists of the novel, which speak especially through the voices of others. Nu
What is it about a story that ends in failure? We could say: the concrete form of an illusion. The illusion of what has become, in the hands of the characters, in space and time: the substance it is made of their lives. In other words, precisely, of their "ordeal".
In an essay in 1899 entitled How to tell a story, shopkeepers bell Mark Twain observed that, unlike shopkeepers bell the comic story or that witty (which can be told by anyone) the humorous story is "essentially a work of art," as such established on a series of subtle and compelling formal gimmicks whose knowledge and mastery define, in addition to the quality of the work, also the stature of the author. While the narrator of a comical story, in fact, assures the public that now that it is going to listen is one of the funniest things I've ever heard him, the narrator must ignore humorous or "pretend not suspect" the implications of what is telling, leaving the attention and intelligence of the reader. For this reason - continues Twain - while just two minutes to tell the comic version of a story, that it requires a lot more humorous, because in the latter that matters is the fact that the comic version excludes: digressions, encumbrances, errors , corrections, interruptions of the story, details, apparently out of place, simplicity, innocence, sincerity, naivety of the narrator, or narrators. The humorous story brings out what the simple exposition of the fable, as comic, leaves in the shade. To get even more in detail in the art "sublime and elegant" of this type of story, Twain lists four technical devices, which he saw in use at the great oral storytellers, and then employed shopkeepers bell in their own business:
"Telling a slew of nonsense without any connection, in a rambling and often free, while maintaining an air of innocent and pretending to be unconscious and unaware of the absurdity of what you're saying is the true foundation of American art. Another trick for the success of the story is sputter the crux of the matter. Yet another, the third, is to drop a remark casually studied shopkeepers bell in truth, pretending not to realizing even realize, as if thinking aloud. The fourth and final technical solution is a masterful use of the pause. "
It seems superfluous to note that all these indications could apply to many great novels, in which the technical devices are used in a complex composition, shopkeepers bell which allows multiple use and just as effective. If there is something in the novel that goes beyond the genre (and that comes from another source) perhaps it is this mode of expression, this attitude shopkeepers bell of the narrator that Twain comes from the story humorous. From the speech of the American writer emerges, then, that in a humorous story the reader has to trust not so much of the simplicity and ingenuity of the narrator - often, in fact, simulated (with a simulation of what the reader shopkeepers bell is aware) - and the expertise of the author ( the implied author) that you can not argue, worth the abandonment of reading. In oral humorous story, the author sets the scene as the narrator: it is the competence that the listener recognizes in its fake innocence, awkwardness, pauses, digressions, shots that move the story forward. In the novel, is that the narrator appears clearly, is that it does not decline, the narrative is often "staged" shopkeepers bell by the author to facilitate the understanding of elements that are silenced. Consider, for staying in well-known shopkeepers bell books, the reticence of Marlow at the end of Conrad's Heart of Darkness, or the story The Turn of the Screw by Henry James, or even to some famous ellipses of the novels, from the Charterhouse of Parma by Stendhal the, famous, marriage Swann in Proust shopkeepers bell (for which most scrupulous critics speak of parallissi). shopkeepers bell
The first part of the novel by Roberto Bolaño's The Savage Detectives, released in Spain in 1998, is told in diary form by Juan García Madero, seventeen-year law student and aspiring poet, whose life changes suddenly after meeting Alberto Belano and Ulises Lima, the greatest exponents of the literary movement of the "visceral realism". These diary pages following the first experiences of the narrator, an expert in terms of skills metrics, but much less on the level of expression and especially on that of existence. The story then proceeds with attempts poetic, literary discussions and the first erotic experiences of the narrator, whose paths through the streets of Mexico City only rarely intersect with those of Belano and Lima, the real protagonists of the novel, which speak especially through the voices of others. Nu
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