Life goes on; life stays the same; everything changes (с)
Али Смит. Пусть я знаю ее только года три или четыре, но сейчас это Али Смит. Прочла три ее романа и одну книгу рассказов. И это настолько восхитительно чудесно и тем, как написано, и о чем написано, и зачем написано.
Из статьи про нее:
In Hotel World, Ali Smith went for the big themes, love and death, and made us confront them differently. 'The big themes are never finished. You begin again for each generation.' Her particular beginning again is, of course, the voice, authentically hers, and a refusal of sentimentality at a time when we are drowning in the stuff. From adverts to happy endings, we risk losing tough emotion - call it real feeling. Soap operas and reality TV, popular novels and trendy politics depend on the sentimental gene. Smith's genius is an antidote to this. She pushes us into a situation and gives us no way out. Her work is cathartic because it is painful in the proper sense. Our feelings are engaged, measured, challenged, and released. This is what art is supposed to do, and still does, far away from phoney violence or bathos.
Her new collection of short stories The Whole Story, is an extended play on how none of us ever can know the whole story. We see by glimpses, feed on fragments, and our love-affair with narrative is a kind of self-defence. There is no narrative.
Ali Smith doesn't experiment by refusing us our stories; she tells them vividly, beautifully, but without letting us fool ourselves that the shape made is complete. The stories in her new collection defy the rules of closure; their endings open into an unknown landscape.
Вот именно то, как и есть. Читать истории из этих самых "The whole story and other stories" - это словно обрывки каких-то жизней, какие-то моменты, которые никак не явялются историями с началом и концом. Когда женщина влюбилась в дерево, когда девушку преследует неведимый оркестр, когда героиня встретила на вокзале смерть. И оно просто такое необыденно-обыденное. А вообще чем она прекрасна - каждую ее книгу хочется разрезать на мелкие части и разбирать, разбирать, разбирать.
Из статьи про нее:
In Hotel World, Ali Smith went for the big themes, love and death, and made us confront them differently. 'The big themes are never finished. You begin again for each generation.' Her particular beginning again is, of course, the voice, authentically hers, and a refusal of sentimentality at a time when we are drowning in the stuff. From adverts to happy endings, we risk losing tough emotion - call it real feeling. Soap operas and reality TV, popular novels and trendy politics depend on the sentimental gene. Smith's genius is an antidote to this. She pushes us into a situation and gives us no way out. Her work is cathartic because it is painful in the proper sense. Our feelings are engaged, measured, challenged, and released. This is what art is supposed to do, and still does, far away from phoney violence or bathos.
Her new collection of short stories The Whole Story, is an extended play on how none of us ever can know the whole story. We see by glimpses, feed on fragments, and our love-affair with narrative is a kind of self-defence. There is no narrative.
Ali Smith doesn't experiment by refusing us our stories; she tells them vividly, beautifully, but without letting us fool ourselves that the shape made is complete. The stories in her new collection defy the rules of closure; their endings open into an unknown landscape.
Вот именно то, как и есть. Читать истории из этих самых "The whole story and other stories" - это словно обрывки каких-то жизней, какие-то моменты, которые никак не явялются историями с началом и концом. Когда женщина влюбилась в дерево, когда девушку преследует неведимый оркестр, когда героиня встретила на вокзале смерть. И оно просто такое необыденно-обыденное. А вообще чем она прекрасна - каждую ее книгу хочется разрезать на мелкие части и разбирать, разбирать, разбирать.