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La autora reúne en este libro sus textos de no ficción en un diálogo con el lector sobre asuntos como la belleza, la vejez, la naturaleza, el arte o la política y la influencia en su vida y en su obra de autores como Tolstoi, Tolkien, Mark Twain o Borges. Sobre todos ellos sobrevuela la necesidad de la imaginación como supervivencia. Escrito en plena madurez creativa, la autora dibuja en este libro el resumen de un vida dedicada a la literatura y al activismo social… (más)
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
As for the mot juste, you are quite wrong. Style is a very simple matter: it is all rhythm. Once you get that, you can't use the wrong words. But on the other hand here am I sitting after half the morning, crammed with ideas, and visions, and so on, and can't dislodge them, for lack of the right rhythm. Now this is very profound, what rhythm is, and goes far deeper than words. A sight, an emotion, creates this wave in the mind, long before it makes words to fit it; and in writing (such is my present belief) one has to recapture this, and set this working (which has nothing apparently to do with words) and then, as it breaks and tumbles in the mind, it makes words to fit it. But no doubt I shall think differently next year. -- Virginia Woolf writing to Vita Sackville-West, 16 March 1926
Dedicatoria
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
In loving memory of Virginia Kidd
Primeras palabras
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
I am a man.
Citas
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
It was men who first got poetry off the page, but the act was of great importance to women. Women have a particular stake in keeping the oral functions of literature alive, since misogyny wants women to be silent, and misogynist critics and academics do not want to hear the woman's voice in literature, in any sense of the word. There is solid evidence for the fact that when women speak more than 30 percent of the time, men perceive them as dominating the conversation; well, similarly, if, say, two women in a row get one of the big annual literary awards, masculine voices start talking about feminist cabals, political correctness, and the decline of fairness in judging. The 30 percent rule is really powerful. If more than one woman out of four or five won the Pulitzer, the PEN/Faulkner, the Booker--if more than one women in ten were to win the Nobel literature prize--the ensuing masculine furore would devalue and might destroy the prize. Apparently, literary guys can only compete with each other. Put on a genuinely equal competitive footing with women, they get hysterical. They just have to have their voices heard 70 percent of the time. -- From "Off the Page: Loud Cows"
...Making female noises, shrieking and squeaking and being shrill, all those things that annoy people with longer vocal cords. Another case where the length of organs seems to be so important to men. -- From "Off the Page: Loud Cows"
The inescapable conclusion is that prize juries...through conscious or unconscious prejudice, reward men four and a half times more than women.
The escapable conclusion is that men write fiction four and a half times better than women. This conclusion appears to be acceptable to many people, so long as it goes unspoken.
Those of us who do not find it acceptable have to speak. -- From "Award and Gender"
There are a whole lot of ways to be perfect, and not one of them is attained through punishment. --- From "Dogs, Cats, and Dancers: Thoughts About Beauty"
The exercise of imagination is dangerous to those who profit from the way things are because it has the power to show that the way things are is not permanent, not universal, not necessary.
Having that real though limited power to put established institutions into question, imaginative literature has also the responsibility of power. The storyteller is the truthteller. -- From "A War Without End"
All I would ask of writers who find it hard to question the universal validity of their personal opinions and affiliations is that they consider this: Every group we belong to--by gender, sex, race, religion, age--is an in-group, surrounded by an immense out-group, living next door and all over the world, who will be alive as far into the future as humanity has a future. That out-group is called other people. It is for them that we write. -- From "Unquestioned Assumptions"
The question fiction writers get asked most often is: Where do you get your ideas from? Harlan Ellison has been saying for years that he gets ideas for his stories from a mail-order house in Schenectady.
When people ask "Where do you get your ideas from?" what some of them really want to know is the e-mail address of that company in Schenectady.
That is: they want to be writers, because they know writers are rich and famous; and they know that there are secrets that writers know; and they know if they can just learn those secrets, that mystical address in Schenectady, they will be Stephen King. -- "From "The Question I Get Asked Most Often"
For a fiction writer, a storyteller, the world is full of stories, and when a story is there, it's there, and you just reach up and pick it.
Then you have to be able to let it tell itself. -- From "The Question I Get Asked Most Often"
Últimas palabras
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
She gets up and writes it. Her work is never done.
La autora reúne en este libro sus textos de no ficción en un diálogo con el lector sobre asuntos como la belleza, la vejez, la naturaleza, el arte o la política y la influencia en su vida y en su obra de autores como Tolstoi, Tolkien, Mark Twain o Borges. Sobre todos ellos sobrevuela la necesidad de la imaginación como supervivencia. Escrito en plena madurez creativa, la autora dibuja en este libro el resumen de un vida dedicada a la literatura y al activismo social