Dialogues That Are Intent On

What to do after a big hit? How to deal with high expectations and eyes on the new work, which is expected to have an effect equal to or greater than the previous one? In music, the tension is known as the “second album syndrome” but in literature the success and recognition often come after many years of career.

For writer Christopher Tezza, came to national prominence in two moments: in 1988 with the book Rag, who placed his name among the then new generation of writers in the country, and in 2007, with the Eternal Son, drama sensitive and delicate, autobiographical background on his life after the birth of her first child, carrier of Down Syndrome.

But who thinks that the success of the eternal child disturbed the peace and work Tezza, is mistaken. The writer continues strong and faithful to his writing, changing voices and themes. His latest book, An Emotional error, is a love story between a writer and an editor, and jars and style of their biggest publishing successes. In the interview below, the writer comments on the emotional resources of an error, its characters and the task of text editing. Check out:

Paradox – This is the first book you write devoting himself exclusively to literature after his first and most successful publishing. The emotional moment of an error within your literary journey weighed on some aspect of the design work?

Cristóvão Tezza – not in any way. I have projects that have been developing for many years, and the stories with the character Beatrice (formerly Alice) are examples. One of the tales eventually became the novel An error emotional. After the book was finished, then it gave me some butterflies in my stomach, waiting for the reception of the readers and critics after the success of the eternal child. But the book was finished. When I write, I go through a process autistic. Do not think of anything off the written page.

P – The writing style of this book comes close in many aspects of the photographer, another important book of his career, but stylistically it is a little out of his other books. He believes his voice has reached the final of emotional writer with an error?

CT – I do not believe in “definitive voice.” I feel my job as a perpetual transformation, for different times of my life. All my novels, from The test of passion, technical and thematic aspects add to my literature. In fact, A has an error emotional stylistic kinship with the photographer – somewhat radicalized some techniques that I have experienced in this novel, but the “exercise of intimacy” which meant writing The Eternal Son was another salient factor.

P – Paul Donetti is one of the few fictional characters in his work as a writer but does not write the book we are reading. In his work, first-person narrative ‘justifies’ the existence of the book. So what led him to create a more protagonist writer? Do you prefer writing in first or third person?

CT – The Donetti is a sort of “archetype” of writer who has been haunting me ever since. Interestingly, there is a Donetti Antonio, writer, in the Passion Test. Maybe Uncle Paul … The theme of someone who writes always interested me – writing necessarily creates a parallel world where it is moving both writer and reader. Trying to understand how this machine is a fascinating process. The Matozo, The smoothness of the wind, is a writer, but does not write the book. I do not give any importance to the point of view, it is at first or third person, because they are purely grammatical details. The first person, directly, tends to give a greater illusion of reality, or maybe likelihood (creating some specific requirements, such as A Night in Curitiba or Pavollini Julian), but this is all very vague. Lately, I’ve done well with this false third-person narrator, which is present in my last three books.

P – An error of this emotional love story between two people already charged with personal stories and, of course, hardened by them. In addition, Donetti have in the past a solid literary career. The past weighs on the characters of his books in the actions taken by them? (As Julian Pavollini / Andrew Devine, Professor Rennon, etc?)

CT – Faulkner said that the past is not dead, indeed, is neither past – an observation that wonderful quote from memory now, is something. Well, I think every present moment there is only a function of its past, what actually creates time, the weight of memory.
P – The omniscient narrator of the work moves between the dialogue and the thoughts of the two protagonists. What, for you, the biggest challenge surrounding this movement?

CT – This “false narrator” in the third person, as I said, it came up naturally in my text. Contrary to what some people may think, because I have an academic background, having taught and eventually write literary criticism, I have a clear conscience and clear in my writing process. It is a mistake. When analyzing a work, as a critic, the work is already an object ready. But when writing fiction, nothing is done anywhere. We are completely in the dark to write. Thus, intuition has a large weight. I am always surprised with the direction that my books make when writing.

P – The unspoken dialogue, those who remain in intention, are important part of the story, and makes room for a multitude of endings for the book. How was it for you to find the right tone of the dialogue, knowing of his ‘issues’ by the characters, so that the outcome of the story did not run away?

CT – It was an intuitive result. I finished the book without knowing that he was finished. The other day, while trying to pursue – when Paul will play Beatrice – I felt that there was nothing else to say. I rip all the work is trying to “close” anything. And I think this suspension gave a unity to the book, is the exact match of their “breathing”, so to speak.

Q – you compare this edition of the dialogue editing process performed by the writer (fictional or not) and your reviewer?

CT – I am a fierce editor of my own writing. The simplest is published by chronic ten readings, cuts, additions, moments of insecurity, until I feel that the text is ready. In literary texts, this process becomes overwhelming at times. I never wrote with ease. But see An error in the writing of emotional, as all my books, intuition plays a big role. I’ll cut and adding more “the nose” than by a rationalization of the text. But, of course, we know that literature is not a naive art: a thirty-year experience weighs heavily when you write. How many times is the hand he knew more than his head and felt the way without the help of the writer.

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