terça-feira, 27 de janeiro de 2015

Forget your personal tragedy. We are all bitched from the start and you especially have to hurt like hell before you can write seriously. But when you get the damned hurt use it — don't cheat with it. Be as faithful to it as a scientist — but don't think anything is of any importance because it happens to you or anyone belonging to you. 

About this time I wouldn't blame you if you gave me a burst. Jesus it's marvellous to tell other people how to write, live, die etc.

I'd like to see you and talk about things with you sober. You were so damned stinking in N.Y. we didn't get anywhere. You see, Bo, you're not a tragic character. Neither am I. All we are is writers and what we should do is write. Of all people on earth you needed discipline in your work and instead you marry someone who is jealous of your work, wants to compete with you and ruins you. It's not as simple as that and I thought Zelda was crazy the first time I met her and you complicated it even more by being in love with her and, of course you're a rummy. But you're no more of a rummy than Joyce is and most good writers are. But Scott, good writers always come back. Always. You are twice as good now as you were at the time you think you were so marvellous. You know I never thought so much of Gatsby at the time. You can write twice as well now as you ever could. All you need to do is write truly and not care about what the fate of it is. 

Go on and write. 

Ernest Hemingway
in Selected Letters (1917-1961), ed. Carlos Baker.

sexta-feira, 16 de janeiro de 2015

From Blank to Blank —
A Threadless Way
I pushed Mechanic feet —
To stop — or perish — or advance —
Alike indifferent —

If end I gained
It ends beyond
Indefinite disclosed —
I shut my eyes — and groped as well
'Twas lighter — to be Blind —


Emily Dickinson

quarta-feira, 14 de janeiro de 2015

«Dizemos de modo vago que Shakespeare, ou Dante, ou Lucrécio é um poeta que pensa, e que Swinburne é um poeta que não pensa, mesmo que Tennyson é um poeta que não pensa. Todavia, o que queremos realmente afirmar não é uma diferença na qualidade do pensamento, mas uma diferença na qualidade da emoção. O poeta que "pensa" é, simplesmente, o poeta que é capaz de expressar o equivalente emocional do pensamento. Não está, contudo, necessariamente interessado no pensamento em si próprio. Falamos como se o pensamento fosse preciso e a emoção fosse vaga. Na realidade, há emoção precisa e há emoção vaga. Expressar emoção precisa exige capacidade intelectual tão grande como expressar pensamento preciso.»

T.S. Eliot, 'Shakespeare e o Estoicismo de Séneca' (trad. Maria Adelaide Ramos), Cotovia.