dintr-un interviu cu poeta canadiana Anne Carson:
INTERVIEWER
There was a line that stopped me right in the middle of that poem: “My personal poetry is a failure.” It made me wonder two things: What do you call your personal poetry? And do you really feel it’s a failure or is that a function of the persona of the poem?
CARSON
There are different gradations of personhood in different poems. Some of them seem far away from me and some up close, and the up-close ones generally don’t say what I want them to say. And that’s true of the persona in the poem who’s lamenting this as a fact of a certain stage of life. But it’s also true of me as me.
INTERVIEWER
When you look back on ”The Glass Essay” do you consider it a personal poem? Do you see it as a failure?
CARSON
I see it as a messing around on upper levels with things that I wanted to make sense of at a deeper level. I do think I have an ability to record sensual and emotional facts and factoids, to construct a convincing surface of what life feels like, both physical life and emotional life. But when I wrote things like “The Glass Essay” I also wanted to do something that I call understanding what life feels like, and I don’t believe I did. I also don’t know what it would be to do that, but if I read Virginia Woolf or George Eliot describing emotional facts of people, it seems there’s a fragrance of understanding you come away with—this smell in your head of having gone through something that you understood with people in the story. When I think about my writing, I don’t feel that.
INTERVIEWER
Do you think you don’t feel it because even though you’ve written about it, it’s still part of your ongoing personal experience?
CARSON
Well that’s possible. But how can one ever judge those things?
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sa imi spui daca e ceva ce nu intelegi, iti traduc... mi-a placut foarte mult sinceritatea ei, cand vorbeste despre "esec", si felul cum circumscrie acel ceva inefabil despre care am vorbit de atatea ori: acea mireasma a intelegerii, zice ea, care te patrunde cand citesti o capodopera, si stii cu claritate ca asta e, e ceva foarte bun - pe cand in alte texte lipseste, si nu stii ce lipseste acolo...
RăspundețiȘtergeredar eu ma intreb: asta poate sa vada cineva vreodata in ceea ce scrie El? geroge eliot, de exemplu, simtea mireasma citindu-si randurile? nu cred ca conteaza amanuntul acesta, si totusi ma intreb: la fel cum a ajunge sa scrii o capodopera, sau, ma rog, ceva mereu si in orice circumstante valabil, inseamna munca si constienta, nu la fel se intampla cu cel care citeste, si mai important decat orice este,poate,momentul in care esti in stare sa vezi ca nu lipseste nimic si, evident, a ajunge sa scrii fara lipsuri.
RăspundețiȘtergeredar spun chestii inutile: interviul este foarte adanc, foarte sincer, foarte patrunzator, ca nu gasesc cuvinte,ma intimidez mereu in fata marilor idei:) iar esecul despre care vorbeste ea este,nu, conditia inerenta pe un drum mereu asimptotic. multumim, draga:)