If there is anything I miss in literary criticism, perhaps in all critical-care is more productive as a category error, ie error interesting, capable of writing voltage or open doors that no one suspected, the failure that is worth less because it does or does not do that because it promises. Some pages are flawed, yes, but its failure is more fruitful and amazing that many so-called successes, these stories or poems or novels that simply reproduce what has been done cleverly, you know, I kneaded until boredom. It is true that those who see writing as a branch of the decorative arts only have eyes for this kind of 'hits', they are the only ones who can be prosecuted as an evaluation criterion, say, an objective: it all depends on whether it has faithfully followed the previous pattern, the rhetorical and formal scheme which is associated with longstanding such exercises.
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In this light, some kind of errors are worse or different than a demonstration of stupidity: it is a lack of decorum, a breach of the tacit consensus that allows practitioners to recognize publicly under the same shows, create a guild, straining. Aesthetic censorship very soon becomes moral censure. These errors mean that you have exceeded the limits of the playing field where writing, that is, stepping on a land unlimited in the literal sense of the term. Since all social contract is, first, a setting of limits, drawing a line on the ground that separates themselves from strangers, the unlimited search is becoming stranger, stranger, traitor. It is, in fact, banished to conscience, ignore or even violate laws and customs shared common codes. Committing an error: err: lost in the world without anyone or anything make sure you return. The loss is interpreted in the same spatial sense ( not know where his head is , took the wrong way) that social / moral: he does not know what it does, to see what has been believed, and we will pay, as pointed out, exaggerating a bit, the old familiar expression "every pig she gets her San Martín", ie the day of slaughter.
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Such sentences are said and think every day anywhere in the world. Part of enforcement strategies that the group submit or attempt to drive the individual. And many Sometimes, indeed, almost always, they succeed. Perhaps, in a primitive stage of the socialization process, it is good so, in order to strengthen community ties, ties of mutual obligation. But the collective health depends ultimately on the existence of emissaries to jump the walls and return with news from beyond, that which has no limits because it has not been mapped and no one has a clear idea of \u200b\u200bits extent, its nature. The word "idiot" comes from the Greek word idios , which translates roughly to "particular", "private" (the one who was only interested in their private business was therefore a idiotes ). When a community refuses to recognize the foreign, different, becomes idiot in the broad sense of the word and sentence does not grow, stagnate. This ability to recognize and accept what is different, the Other, depend our mental balance and our survival. Hence the need to translate, to code-ideas in signs, signs, signs of another nature, to explore, to question, to create. And the creation necessarily involves a trip outside the walls, a round trip that displays in the public square the spoils gained, the treasures brought from remote locations to the astonishment of their own and foreign . Of themselves they feel strange, who feel strange at the novelty, the (bad or good) new.
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The error (to err ) is therefore a vital need of the group, a survival mechanism, not a narcissistic whim he decided to abandon. The confusion, suspicion, is perhaps due to the lack of pretense or sense of calculating the traveler who often run freely for the task, presenting its mission as a requirement of the selfish. It is he who is responsible for infusing new life into the community, to transfer the blood necessary for its development. What is to say, of course, that the value of their treasures, the customs arrest has been to make known-that is, the value of their errors - is historically determined, that were novelty has ceased to be, the old bug has become routine, something familiar.
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| Northrop Frye |
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remember, in this regard, the words with which the Canadian critic Northrop Frye closed one of his essays on Blake: 'Othello was a mere farce bloody eyes what erudite and insightful knew Thomas Rymer theater. Rymer was right, within its limitations, it's like people who say that Blake was mad. You can not refute them, but his conception of sanity lost all interest ... I wonder if we are facing critical judgments or to simple aberration in the history of taste. " If Blake made numerous errors committed, as perhaps the century and a half later, Hughes Cuervo - is productive error however, that open doors and allow us to think or imagine a line of writing. Following Frye, the ironic sense that the writer Ian Hamilton literally brought down Hughes's book is not without grace or force of argument, but it makes me lose interest in what he meant by irony and common sense, at least as critical of the trial arms. I understand immediately that any tool used exclusively, condemns us to be servants of their blind spots.
remember, in this regard, the words with which the Canadian critic Northrop Frye closed one of his essays on Blake: 'Othello was a mere farce bloody eyes what erudite and insightful knew Thomas Rymer theater. Rymer was right, within its limitations, it's like people who say that Blake was mad. You can not refute them, but his conception of sanity lost all interest ... I wonder if we are facing critical judgments or to simple aberration in the history of taste. " If Blake made numerous errors committed, as perhaps the century and a half later, Hughes Cuervo - is productive error however, that open doors and allow us to think or imagine a line of writing. Following Frye, the ironic sense that the writer Ian Hamilton literally brought down Hughes's book is not without grace or force of argument, but it makes me lose interest in what he meant by irony and common sense, at least as critical of the trial arms. I understand immediately that any tool used exclusively, condemns us to be servants of their blind spots.
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return to top of these lines. What do you mean, in fact, a successful writer has , or X's book is a success, an achievement, as they say sometimes-not many, of course, critics of the cultural supplements? Not the real success, in fact, a force error of insisting that transcends or redeems its sad origin, poor initial seed? Usually assumed that writing say or can say exactly what we mean . Our skill level would be measured and, by our ability to hit the target, nailing the butterfly with a pin idea precise wording and more or less suggestive. My experience, however, reminds me that only rarely has the white so visible. One type of trial and error, groping for words to ideas whose meaning only understands, properly, when he finds the words that seem to sound better or more fair. I never know quite what that meant until I said, as evidenced by these lines. So a walk and is trying, weighs, tests, delete and try again. Yerra , yes, mistakes, and continues to wander until it reaches its destination, which is never anticipated, or not at all, then emerge as going to a catching up. "Right" would not, therefore, but the result of avoiding the errors that plague the way, solve the problems that occur almost every line. Or, in the form of statement: "right" in the end, is only a variant of resignation.
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Jordi Doce (Gijón, 1967) is author of the poems remain Lesson (Pre-Textos, 2000), Other moons (Premio Ciudad de Burgos, 2002) and Wide (2005), the latter two DVD editions. Has led to WH Auden, William Blake, TS Eliot, Ted Hughes, Charles Simic and Charles Tomlinson, among others. Coordinator of the volumes of essays contemporary English poetry (with AS Robayna; Galaxia Gutenberg, 2005) and Poetry in Translation (Círculo de Bellas Artes, 2007), has published prose Beasts of the nomad (Aeneid, 2001), the book of notes and aphorisms white ants (Bartleby, 2005), Imam trials and challenges. Presence of English Romanticism in contemporary English poetry (IV Essay Prize American House; Peninsula, 2005) and conscious city. On TS Eliot and WH Auden (Broken Glass, 2010), the book of articles Contours (Sage, 2005) and the daily ice Vibration (Littera Books, 2008). For four years have an active blog Dogs on the beach .
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Jordi Doce (Gijón, 1967) is author of the poems remain Lesson (Pre-Textos, 2000), Other moons (Premio Ciudad de Burgos, 2002) and Wide (2005), the latter two DVD editions. Has led to WH Auden, William Blake, TS Eliot, Ted Hughes, Charles Simic and Charles Tomlinson, among others. Coordinator of the volumes of essays contemporary English poetry (with AS Robayna; Galaxia Gutenberg, 2005) and Poetry in Translation (Círculo de Bellas Artes, 2007), has published prose Beasts of the nomad (Aeneid, 2001), the book of notes and aphorisms white ants (Bartleby, 2005), Imam trials and challenges. Presence of English Romanticism in contemporary English poetry (IV Essay Prize American House; Peninsula, 2005) and conscious city. On TS Eliot and WH Auden (Broken Glass, 2010), the book of articles Contours (Sage, 2005) and the daily ice Vibration (Littera Books, 2008). For four years have an active blog Dogs on the beach .
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