Resumo de Letters To A Young Writer

In this book, Llosa sample that is not enough magical fingers and nor a supreme intuition that, suddenly, the passage of the writing illuminates all. Nothing of this. To create ?the life that was not?, as Llosa defines the fiction, has a long and crooked way. One of the first steps is to retrace what the source was lived - that all irrigates the fiction. ?This does not mean, is clearly, that a romance is always a dissimulated biography of its author, but, yes, that in all the fiction (...) is possible to track a starting point, a close seed, viscerally on to the addition of experiences of who forged it?.Some similar thing what Ernesto Sabato says when affirms that, even though the expatriated ones, as Ibsen or Joyce, had lived weaveeing and destecendo the tram of the proper existences, revivendo the real dramas of its rincões.Para to explain, with mood, this theory, Llosa uses the matáfora of mysterious catoblepas - animal mythical that if it exactly feeds of itself. A writer-catoblepas example? Proust, construction weak person of ?In Search of the Lost Time?, that it excavated the proper memory to write its monumental workmanship. Curious it is as Llosa shows the concurrence of the two processes: at the same time where the authors if influence ones to the others, that exactly unconscious, them also, as a encalacrado scorpion, bites the proper tail.A writer-catoblepas example? Proust, construction weak person of ?In Search of the Lost Time?, that it excavated the proper memory to write its monumental workmanship. Curious it is as Llosa shows the concurrence of the two processes: at the same time where the authors if influence ones to the others, that exactly unconscious, them also, as a encalacrado scorpion, they bite the proper Optimum tail of ?Letters to a Young Writer? is when Llosa abandons the professoral tone of some tickets, that make the book to seem a manual, and retakes the voice of ensaísta, sharpened so well in ?the Truth of the Lies?.There, the author of ?Paradise in the Other Esquina? esmiúça the work of some of the romancistas greaters of century XX in breath texts that show the erudição of the author without the didactic commitment that folloies this cartas.Contudo, are excellent to review Llosa speaking of perpetual authors. In last analysis, a beautiful lesson of critical. Without no commitment with academicismo, only with the eyes of a reader arguto that it knows as few the substance that it manipulates. As when it writes concerning García Márquez, for example: ?Heat, flavor, music, all the textures of the perception and the appetites of the body if express of course and without pudicícia, and with the same freedom in it the fancy breathes, launching itself in containment in the land of the extraordinary one.When we read ?One hundred Years of Solitude? or ?the Love in the Times of the Cólera? we are dominated by the certainty of that only in these words, with this nature and rhythm, such histories would be credible, likely, fascinating, comovedoras; of that separated of these words they they had not obtained in enchanting them as they enchant, therefore in these histories they are the words that count them?.

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