Din viaţã

Faulks scriind despre marea muzicã mã face sã mã gândesc, ĩn termeni analogi, la marea literaturã. Literatura care susţine şi ĩnvioreazã viaţa şi mintea.
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Altitudinea nuvelisticii—Tolstoi, Kipling. Arta nuvelisticã. DOI NUVELIŞTI; copil, credeam cã ‚nuvelist’ e o meserie pe şantier.
Romanul poate fi enciclopedic—al acumulãrii factuale, etc.. Nuvela, nu.
ILICI; MURAD; CAZACII.
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Cârpãceala ca tendinţã—de ex., propagandismul religios, când vine vorba de artã—cârpãceala, intempestivitatea, complicitatea cu aiureala.
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Creaţii. Creaţia. Ca romane mici. Vârsta. Istoria scrierii romanelor mici, spre bãtrâneţe; rezultatul—creaţii, autonomia creaţiilor, obiectivitatea.
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Eu citesc ceva literatura contemporanã fiindcã sunt curios, sincer curios sã aflu dacã existã scriitori remarcabili, minţi capabile sã creeze ceva, sau mãcar povestitori ingenioşi—dacã astfel de oameni existã, dacã gãseşti ceva citind ceea ce se scrie astãzi.
Noţiunea existenţei unor astfel de oameni—scriitori capabili de creaţie sau cel puţin de ingeniozitate—ĩntregeşte ĩn chip decisiv reprezentarea realului.
Ceea ce mai ĩnseamnã şi cã, ĩnaintea gândului capodoperei, existã cel al aptitudinii—existã un om capabil sã creeze sau sã povesteascã sau sã fie interesant.
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Condiţia de facticitate.
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Prietenul satrapului Sf. Sinod ţarist se gãsise sã stigmatizeze ... Inchiziţia. Asta, din Imperiul Sf. Sinod.
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'A type of book which we hardly seem to produce in these days, but which flowered with great richness in the late nineteenth and early twentieth centuries, is what Chesterton called the "good bad book": that is, the kind of book that has no literary pretensions but which remains readable when more serious productions have perished. Obviously outstanding books in this line are RAFFLES and the Sherlock Holmes stories’
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Almost in the same class as these I put R. Austin Freeman’s earlier stories—"The Singing Bone" "The Eye of Osiris" and others—Ernest Bramah’s MAX CARRADOS, and, dropping the standard a bit, Guy Boothby’s Tibetan thriller, DR NIKOLA, a sort of schoolboy version of Hue’s TRAVELS IN TARTARY, which would probably make a real visit to Central Asia seem a dismal anticlimax.
But apart from thrillers, there were the minor humorous writers of the period. For example, Pett Ridge-but I admit his full-length books no longer seem readable—E. Nesbit (THE TREASURE SEEKERS), George Birmingham, who was good so long as he kept off politics, the pornographic Binstead ("Pitcher" of the PINK ‘UN), and, if American books can be included, Booth Tarkington’s Penrod stories. A cut above most of these was Barry Pain. Some of Pain’s humorous writings are, I suppose, still in print, but to anyone who comes across it I recommend what must now be a very rare book—THE OCTAVE OF CLAUDIUS, a brilliant exercise in the macabre. Somewhat later in time there was Peter Blundell, who wrote in the W.W. Jacobs vein about Far Eastern seaport towns, and who seems to be rather unaccountably forgotten, in spite of having been praised in print by H.G. Wells.
However, all the books I have been speaking of are frankly "escape" literature. They form pleasant patches in one’s memory, quiet corners where the mind can browse at odd moments, but they hardly pretend to have anything to do with real life. There is another kind of good bad book which is more seriously intended, and which tells us, I think, something about the nature of the novel and the reasons for its present decadence. During the last fifty years there has been a whole series of writers—some of them are still writing—whom it is quite impossible to call "good" by any strictly literary standard, but who are natural novelists and who seem to attain sincerity partly because they are not inhibited by good taste. In this class I put Leonard Merrick himself, W.L. George, J.D. Beresford, Ernest Raymond, May Sinclair, and—at a lower level than the others but still essentially similar—A.S.M. Hutchinson
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I am thinking in each case of one or two outstanding books: for example, Merrick’s CYNTHIA, J.D. Beresford’s A CANDIDATE FOR TRUTH, W.L. George’s CALIBAN, May Sinclair’s THE COMBINED MAZE and Ernest Raymond’s WE, THE ACCUSED. In each of these books the author has been able to identify himself with his imagined characters, to feel with them and invite sympathy on their behalf, with a kind of abandonment that cleverer people would find it difficult to achieve. They bring out the fact that intellectual refinement can be a disadvantage to a story-teller, as it would be to a music-hall comedian
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Atmosfera de inteligenţã a eseisticii literare orwelliene.
O anumitã directeţe a lui este ĩntr—adevãr cumva chestertonianã.
Pe de altã parte, e şi cam sumar.
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VICE VERSA, DRACULA, HELEN’S BABIES.
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E felul lui a vorbi despre literatura popularã—ĩn vrac, fãrã a aborda ĩn mod special literatura de aventuri.
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Mareşal; maiori, colonei.
II:--nuvele, cf. azi (luni); aflux.
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Echivalent lecturii unor capodopere filozofice—AS, IK, liga.
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Ideea fiind cã nu le—ar repeta şi cã nu trãieşte—n osmozã cu ele.
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Subminare; parafrazã, pastişã.
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Patru romanciere victoriene; 4 x ziarele, ed.; tabelul ed.; articole.
Burse.
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Oamenii care citesc ĩn buclã alde Rabelais, Swift, Sterne, BOUVARD, Ghica,
Mirela. Prozaic. Debaraua.
Neovictorienii; ed..
Teatru. Piese.
Albumele.
Aventuri.
Clasicii; ed.; cf. sb..
Nuvelistica—altitudine.
Romane vaste.
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Neaprioric.
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Muzica bisericeascã occidentalã, mai rafinatã.
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what I'd been doing the past several years, which was mooning over the same old favorites (Bleak House, Pickwick Papers, David Copperfield). I was inspired by the excellent Jane Smiley biography of Dickens I mentioned the other week, which (among other critical points) makes a case for Our Mutual Friend as an underrated novel in the Dickens oeuvre
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Terase …. Ca scop.
Tabelele. Blogul. TT. Concludent. TT: no..
Mâncare. Tranziţia. Lit..
Tarabe; Dna. Frye; tabel—istoria, plãcere; Chartier; blogul—tabelele.
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Oameni cu puţin simţ al firescului.
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Apostatul LAB, despre caracterul naţional al ‚bisericii’ [‚eu care sunt botezat ...’]; tranşeazã care e Biserica naţionalã.
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Electrizant.
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Strierea şi nivelul de culturã.
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Un cotlet—20 pg. H de B.
O bere—100 pg. H de B.
O pizza—50 pg. H de B.
Cola—150 pg. H de B.
Tabel de conversii.
III:--pasul (8 z.)& tânãra& ca scop ....
Cele ĩncã 5 cãrţi.
Romanescul.
Romamenscul; ed..
Cãrţi—I (ed. it.; copila—luni); II (romanescul—joia; MZ, ed.); III (geometria; ed. it.; chinezii, antologia amplã; MZ ...;mail); IV (marţi, licheaua; furia; ed. fr.); V (joi); VI (vin.); VII (azi).
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JG, critic mai adânc decât AP, deasemeni mai perspicace şi mai subtil, mai priceput; ĩn rãspãrul consensurilor. AP chiar aminteşte cumva de Orwell criticul—prin muchie, prin tãietura durã.
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Purificare—ceva TAO—artã—cãrţi ....
Purificarea de porniri, nãravuri, politicã, crispare ....
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De o parte pramatiile, ghiorlanii, meltenii, etc.—de cealaltã, tabelele, complementare ..., ziarele—ed., vreun alt tabel, ziare—stil, etc..
Muzica fãcea asta pentru Engleby.
Taoism autentic, original.
Miezul taoist al creştinismului—abordare; unghi taoist.
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Clerul numãrã acelaşi regiment de javre, lichele, otrepe care existã şi ‚ĩn lume’; pe de altã parte, cu cât mai tineri, cu atât mai otrepe.
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Reticenţele lui nu le—au scãpat nici altora.
Cã pãrea cam rezervat, cam reţinut, cam mofturos.
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Ceea ce frapeazã aşa e frecventa rezonabilitate a lui ‚Engleby’, justeţea aprecierilor lui. Romanul lui Faulks dã, pe de altã parte, sentimentul unei mari cãrţi. Nu construcţia, nici concepţia—e un roman inform şi compozit, cu varieri de ton—ci amploarea materialului uman trecut ca atare—mulţumitor redactat, vreau sã spun, şi apoi trecut ca atare ĩn roman.
Şi mai e şi un roman amplu.
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Jurnalul ca monolog.
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Falsa penurie.
Mie ĩmi ajunge literatura bunã care s—a şi scris deja.
Ca o rutã de lumi vaste.
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Mãrturisesc cã ENGLEBY este o experienţã.
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Nu ca formã de narcisism, fetişism, reflectivitate.
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Diversiunea—femei—regizori—istorici—‚nu e frumoasã, e frapantã’, etc..
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Pentru un pocal de argint dãruit din toatã inima, i—a rãsplãtit cu tronul cel ĩn veci nepieritor al Bisericii romane.
Scris.
Lecturi. Nesaţ. A varia. A alterna.
EdFl.
Acord.
Ĩnariparea& doze.
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Matein—m.m. romane—considerat nãzuros, un mofturos, cârcotaş, cusurgiu, negeneros, chiar meschin, ĩngust—substrat etnic, subtext scoţian—epopeicul naţional—un nescoţian (douã cãrţi ale nescoţianului).
Romanescul; ed..
De la un nescoţian, venit de la un critic etniceşte neutru—ba chiar neĩnclinat ....
Tabelele, cãrţi ...& no., risipa ..., P.& ed..
Stil. Artã.
A testa.
Articole.
Alte romane ....
Cel mai bine a scris despre el tocmai singurul care nu era scoţian sau protestant.
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Dându—mi apodictic, ĩncântat de sine, lecţii despre piaţa de carte—lãmurindu—mã.
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Romanul, ed.—laturã—MC—sem. VI—Mirela—cãrţi ...—tabelele, ferm.
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ENGLEBY mi—a lãsat sentimentul cã e un mare roman.