62
The Art of Fiction No. 247
1
terms
2
notes
traduce
(en)
(verb) to expose to shame or blame by means of falsehood and misrepresentation / (verb) violate betray
75
Yes, because it doesn’t traduce who I am.
in response to Q: Do you still recognize yourself in that first novel you wrote?
confirm
2 years, 11 months ago
Yes, because it doesn’t traduce who I am.
in response to Q: Do you still recognize yourself in that first novel you wrote?
confirm
2 years, 11 months ago
76
INTERVIEWER
So what, for you, is this connection between poetry and the novel? A quality of vision?
VILA-MATAS
Probably. That quality comes from some writers’ facility for what we might call perception, the art of perceiving what’s going to happen. It’s a skill, an art, that we see very acutely in Kafka, for example . . . Literature is a mirror with the capacity, like some clocks, to run ahead of time. But we mustn’t mistake perception for prophecy itself. Kafka loved that work by Flaubert, Bouvard et Pécuchet, with its assessment of how stupidity will spread, unstoppable, in the Western world. But Kafka went one step further than the rest. He went beyond his own sources of inspiration in that, unlike Flaubert, he described the very heart of the problem, the situation of total impossibility, of impotence, that the individual faces before the devastating machine of power, bureaucracy, political systems.
INTERVIEWER
So what, for you, is this connection between poetry and the novel? A quality of vision?
VILA-MATAS
Probably. That quality comes from some writers’ facility for what we might call perception, the art of perceiving what’s going to happen. It’s a skill, an art, that we see very acutely in Kafka, for example . . . Literature is a mirror with the capacity, like some clocks, to run ahead of time. But we mustn’t mistake perception for prophecy itself. Kafka loved that work by Flaubert, Bouvard et Pécuchet, with its assessment of how stupidity will spread, unstoppable, in the Western world. But Kafka went one step further than the rest. He went beyond his own sources of inspiration in that, unlike Flaubert, he described the very heart of the problem, the situation of total impossibility, of impotence, that the individual faces before the devastating machine of power, bureaucracy, political systems.
79
VILA-MATAS
I fully recognize myself in it! Today I know that the best thing about that whole experience was getting to know Duras. I arrived in Paris tired of “normal people,” and tired, too, of all the prim, proper writers that proliferated at the time—not to mention these days, today there are even more. In Paris I confirmed that the writers who appealed to me were those like Duras, the kind who don’t appear on school honors plaques and who are divisive, distinctly unedifying, full of defects, but show immense talent. I think that really terrible side of Duras—she was spectacularly brutal—had a great influence on me.
INTERVIEWER
Brutal?
VILA-MATAS
Brutal because her obsession with writing sprang from a genuine belief that she could transcend the words and reach another—inexpressible—reality. And in order to reach it she was prepared to do anything. She was, frankly, scary. To put it another way, she was a writer on a mission. If I remember correctly, she described this process of reaching “the inexpressible” as “piercing the black shadow,” an “interior” shadow. I also remember that, given her belief that absolutely everybody possesses an inner shadow, she found it strange that not everybody wrote.
VILA-MATAS
I fully recognize myself in it! Today I know that the best thing about that whole experience was getting to know Duras. I arrived in Paris tired of “normal people,” and tired, too, of all the prim, proper writers that proliferated at the time—not to mention these days, today there are even more. In Paris I confirmed that the writers who appealed to me were those like Duras, the kind who don’t appear on school honors plaques and who are divisive, distinctly unedifying, full of defects, but show immense talent. I think that really terrible side of Duras—she was spectacularly brutal—had a great influence on me.
INTERVIEWER
Brutal?
VILA-MATAS
Brutal because her obsession with writing sprang from a genuine belief that she could transcend the words and reach another—inexpressible—reality. And in order to reach it she was prepared to do anything. She was, frankly, scary. To put it another way, she was a writer on a mission. If I remember correctly, she described this process of reaching “the inexpressible” as “piercing the black shadow,” an “interior” shadow. I also remember that, given her belief that absolutely everybody possesses an inner shadow, she found it strange that not everybody wrote.