Σάββατο, 20 Αυγούστου 2016

Η "Ζωή μεθόρια" στην Θεσσαλονίκη



«Βαλκανική Πλατεία 2016» από την Δευτέρα 29 Αυγούστου έως Κυριακή 4 Σεπτεμβρίου 2016 
Τη σκυτάλη από τα ΜΕΡΚΟΥΡΕΙΑ παίρνει την αμέσως  επόμενη μέρα  Δευτέρα 29 Αυγούστου, το φεστιβάλ  «Βαλκανική Πλατεία» που θα διαρκέσει μέχρι και την Κυριακή 4 Σεπτεμβρίου 2016.  Για 17η χρονιά, με «ουρανό» τον πολιτισμό και την ελεύθερη έκφραση, αναζητά και παρουσιάζει ακούσματα, γεύσεις, εμπνεύσεις και δημιουργίες, από αυτές που χαρίζουν στα Βαλκάνια τη μοναδικότητά τους.
«Ταξιδεύουμε» και πάλι στα Βαλκάνια, επιμένοντας να δημιουργούμε ψηφίδα-ψηφίδα αυτό το πολύχρωμο μωσαϊκό ανθρώπων, πολιτισμών και ιδεών, να συνεχίζουμε έναν αέναο διάλογο (που άλλοτε με εντάσεις και άλλοτε με ηρεμία) μοιάζει να έχει ριζώσει σε αυτό το κομμάτι της Ευρώπης. Πυξίδα μας η συνεργασία, η αλληλεπίδραση, η διάδραση, το αντάμωμα, ο διάλογος και η επικοινωνία. Μοναδικός και σταθερός στόχος είναι η ενίσχυση της φιλίας και συνεργασίας των λαών, η ειρήνη στην περιοχή μας και η ανάπτυξη σε όλα τα επίπεδα προς όφελος των ανθρώπων και των λαών», τονίζει ο δήμαρχος, Σίμος Δανιηλίδης.
Γιώργος Νταλάρας και Άλκηστις Πρωτοψάλτη είναι δύο μόνο από τους κορυφαίους καλλιτέχνες που φέτος θα εμφανιστούν σε αυτή την Πλατεία του Πολιτισμού των Βαλκανίων, ενώ και αυτή τη χρονιά η παιδική Βαλκανική Πλατεία θα αφήσει τις καλύτερες εντυπώσεις στους λιλιπούτειους επισκέπτες της.
Πρόγραμμα Βαλκανικής Πλατείας 2016
  • Δευτέρα 29 Αυγούστου 2016
    Προάγγελος
    -Χορευτικά συγκροτήματα -Ρολόι
    -Παράσταση καραγκιόζη-πάρκο Αναγεννήσεως
  • Τετάρτη 31 Αυγούστου 2016
    «Ίχνη της απεραντοσύνης» Έκθεση φωτογραφίας των Damir Buzurovic και Bojan Petrovitc
    Εκθεσιακός χώροςπεριοχής Στρεμπενιώτη
    ΣΥΝΑΥΛΙΑ ΜΕ ΤΟΝ ΠΑΝΟ ΜΟΥΖΟΥΡΑΚΗ
    Support group: NEOZBILJNI PESIMISTI
    Ανοιχτό Θέατρο Νεάπολης, Περιοχή Στρεμπενιώτη – 9 μ.μ.
  • Πέμπτη 1 Σεπτεμβρίου 2016
    Παρουσίαση βιβλίου («ζωή μεθόρια») του Θεόδωρου Γρηγοριάδη
    Εκθεσιακός χώρος περιοχής Στρεμπενιώτη, 7:30 μ.μ.

    ΣΥΝΑΥΛΙΑ ΜΕ ΤΟΝ ΚΩΣΤΑ ΜΑΚΕΔΟΝΑ
    Ανοιχτό Θέατρο Νεάπολης, Περιοχή Στρεμπενιώτη – 9 μ.μ.
  • Σάββατο 3 Σεπτεμβρίου 2016
    ΣΥΝΑΥΛΙΑ ΜΕ ΤΗΝ MANJOLA NALLBANI
    Ανοιχτό Θέατρο Νεάπολης, Περιοχή Στρεμπενιώτη – 9 μ.μ.
  • Κυριακή 4 Σεπτεμβρίου 2016
    ΤΕΛΕΤΗ ΛΗΞΗΣ
    ΣΥΝΑΥΛΙΑ ΟΡΧΗΣΤΡΑΣ ΠΟΙΚΙΛΗΣ ΜΟΥΣΙΚΗΣ ΔΗΜΟΤΙΚΟΥ ΩΔΕΙΟΥ ΝΕΑΠΟΛΗΣ-ΣΥΚΕΩΝ
    Ανοιχτό Θέατρο Νεάπολης, Περιοχή Στρεμπενιώτη
    ΕΙΣΟΔΟΣ ΕΛΕΥΘΕΡΗ
Παιδική Σκηνή (περιοχή Στρεμπενιώτη)
Στην παιδική σκηνή θα λειτουργούν διάφορα εργαστήρια από τις 7 μ.μ.
  • Τετάρτη 31 Αυγούστου 2016
    «Το δώρο» – ΚΘΒΕ
  • Πέμπτη 1 Σεπτεμβρίου 2016
    Παράσταση καραγκιόζη από τον Αγάπιο Αγαπίου
  • Παρασκευή  2 Σεπτεμβρίου
    «Διακοπές στο Χωριό», Μουσικό παραμύθι από το Δημοτικό Ωδείο Νεάπολης-Συκεών
  • Σάββατο 3 Σεπτεμβρίου
    «Τα τρία γουρουνάκια», Κουκλοθέατρο
  • Κυριακή 4 Σεπτεμβρίου
    Παρουσίαση βιβλίου «Τα πρέπει και τα θέλω στου σκιάχτρου το καπέλο» της Ναντίνα Κυριαζή.
    KAI
    Παράσταση σύγχρονου τσίρκου από τους Muamba show

Σάββατο, 13 Αυγούστου 2016

Teju Cole’s Essays

Photo
Teju ColeCreditChester Higgins Jr./The New York Times
KNOWN AND STRANGE THINGS
Essays
By Teju Cole
Illustrated. 393 pp. Random House. Paper, $17.
Teju Cole’s captivating and lauded novels, “Open City” and “Every Day Is for the Thief,” reflect his identity as a writer with a global perspective — born in the United States and raised in Nigeria. His international access as an author, art historian and photographer — one who also teaches and is a photography critic for The New York Times Magazine — shapes not only his obsessions but, in a chicken-and-egg sense, determines his gaze. He takes in news from African countries and American cities; but also, by necessity and interest, Asian, European and Latin American culture and history. In short, the world belongs to Cole and is thornily and gloriously allied with his curiosity and his personhood. “Known and Strange Things,” his first collection of nonfiction, journeys through all the landscapes he has access to: international, personal, cultural, technological and emotional. When he feels homesick, he informs us in this book, he “visits” his parents in Nigeria through Google maps — a sweet if distant form of connection.
In “The Anxiety of Influence,” the renowned critic Harold Bloom argued that poets, especially those in the Western tradition since the Renaissance, necessarily negotiate the work of their predecessors as they write. “The precursors flood us,” Bloom wrote, “and our imaginations can die by drowning in them, but no imaginative life is possible if such inundation is wholly evaded.” Cole shares Bloom’s interest in the fraught and burdened relationship writers and artists have to our ancestors, and he seeks to answer yet another question: How does the imagination cross and recross racial and filial boundaries, and what does this crossing mean? With our ever-enlarging global access to the visions and voices and influences of others, Cole attempts to untangle the knot of who or what belongs to us and to whom or what do we belong as artists, thinkers and, finally, human beings.
In this light, “Black Body,” the opening essay in “Known and Strange Things,” engages the “question of filiation” that tormented James Baldwin in his essay “Stranger in the Village.” Baldwin, reflecting on his stay in the white-peopled Swiss village of Leukerbad, was moved to write that “the most illiterate among them is related, in a way I am not, to Dante, Shakespeare, Michelangelo. . . . Out of their hymns and dances come Beethoven and Bach. Go back a few centuries and they are in their full glory — but I am in Africa, watching the conquerors arrive.”
Cole, revisiting the terrain of Leukerbad, pairs himself with Baldwin (also echoing, in his parenthesis, the poet Elizabeth Bishop’s “One Art”): “I am black like him; and I am slender; and have a gap in my front teeth and am not especially tall (no, write it: short) . . . and feel myself in all places, from New York City to rural Switzerland, the custodian of a black body, and have to find the language for all of what that means to me and to the people who look at me. The ancestor had briefly taken possession of the descendant.”

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But Cole soon distances himself from Baldwin’s feeling of alienation. He states that Baldwin’s “self-abnegation” prevents him from embracing Bach or Rembrandt, who Cole insists do not belong to one race. He might even care more about these artists “than some white people do,” Cole writes.
The first section of the collection, “Reading Things,” has Cole claiming filiation with a number of authors (all male) who prove important to him. In the case of many of them, influence begets influence. Along with Baldwin comes V.S. Naipaul (“The benevolent rheumy-eyed old soul: so fond of the word ‘nigger,’ so aggressive in his lack of sympathy toward Africa, so brutal in his treatment of woman”); Tomas Transtromer (“It’s a good thing I’m unembarrassable about influence, because I realize now how many of Transtromer’s concepts I have hidden away in my own work”); W.G. Sebald (“This expert mixing of forms owed a great deal to his reading of the 17th-­century melancholics Robert Burton and Thomas Browne”); Derek Walcott (“He names painters as his exemplars more often than he names poets: Pissarro, Veronese, Cézanne, Manet, Gauguin and Millet roll through the ­pages”); and André Aciman (“Aciman’s debt to Proust is deep and freely acknowledged”).
This opening section concludes with “A Conversation With Aleksandar Hemon,” in which Hemon — a writer and critic and self-identified “diasporic person” — questions Cole on what Nigerian history means to him. Cole’s answer catapults him into a global context: “My identity maps onto other things: being a Lagosian (Lagos is like a city-state), being a West African, being African, being a part of the Black Atlantic. I identify strongly with the historical network that connects New York, New Orleans, Rio de Janeiro and Lagos.” Hemon is also interested in what happens when influences are constantly shaping and reshaping the imagination. For Cole, visual artists, especially painters, are least affected by that anxiety of influence and “know that everything is a combination of what’s observed, what’s imagined, what’s overheard and what’s been done before.” He argues that to acknowledge influence is to let go of notions of “literal records of reality” and cultural or racial ownership of content. All Cole wants is to be “dragged down into a space of narrative that I haven’t been in before.”
The stunning second section, “Seeing Things,” is especially captivating and reveals Cole’s voracious appetite for and love of the visual. Taken together, the essays in this section provide a comprehensive look at contemporary photography, placed within a historical framework. This approach brings forward evidence of things unseen, things, as Susan Sontag put it, “least likely to be known.” The artists who have Cole’s attention impose their individual and subjective sense on the material of the world, rejecting the notion, as most photographers do by nature, that it is possible to capture objective “records of reality.” He is drawn toward filmmakers and the visual artists who see with this photographer’s orientation. The collage work of Wangechi Mutu, described as “both easy and difficult to look at, seductive in their patterning, grotesque in their themes,” relies on actual photographic images; Cole’s favorite films by Michael Haneke and Krzysztof Kieslowski bring into view images of life so ordinary they could escape our attention. Cole believes that all of this work allows us to think with the eyes, and though the Australian composer Peter Sculthrope is also included here, his music becomes a passageway into the landscape and history of Australia.
But it’s the essays that focus explicitly on photography, especially, that demand our attention. Cole considers here the work of both well and lesser known photographers such as Seydou Keita, Malick Sidibe, J.D. ’Okhai Ojeikere, Joseph Moise Agbodjelou, Zanele Muholi, Henri ­Cartier-Bresson, Sergei Ilnitsky, Sam Abell, Glenna Gordan, Saul Leiter, Richard Renaldi, Thomas Demand, as well as Google-based photographic and filmic practitioners like Doug Rickard, Mishka Henner, Aaron Hobson, Michael Wolf and Dina Kelberman. These photographers, whether reframing “anthropological images of ‘natives’ made by Europeans in the late 19th and early 20th centuries” or applying a curatorial eye to the world around us, are democratizing the history of photography.
When the occasional essay fails to hold interest it’s because the connections Cole draws to some European lineage remain tenuous. This is the case, for example, with Cole’s meditation on death through the woodcuts entitled “Pictures of Death,” by Hans Holbein the Younger, which brings him to the killing of the African-­American Walter Scott by a South Carolina police officer in 2015, which in turn makes him think about the writer Sir Walter Scott and one of his short stories, about a premeditated murder, “The Two Drovers.” This associative style enables Cole to move across disciplines and through time, but in this case seems tendentious.
In the third section, “Being There,” photography’s ability as a discipline to present a unique archive of reality comes most clearly into light. These essays track Cole’s journeys around an explosive world of drones, wars and diseases, including the kidnappings of young girls in Chibok and assassinations of terror suspects by drone warfare. Cole happens to be streets away when the poet Kofi Awoonor is killed in a terrorist massacre in a Nairobi mall. He finds in Awoonor’s work some echoes of T.S. Eliot, but Cole ends his essay with a line from Awoonor, himself quoting “an ancient poet from my tradition”: “I will say it before death comes. And if I don’t say it, let no one say it for me. I will be the one who will say it.” Even as Cole positions Awoonor relative to the European tradition, he also allows Awoonor to have the last word.
One of the most resonant and powerful essays in “Being There” is “The White Savior Industrial Complex,” an expansion of Cole’s seven-part-Twitter-feed response to “Kony 2012,” a video calling for the arrest of the Ugandan rebel leader Joseph Kony. He meditates more fully here on the interconnectivity of American political polices to their outcome. Activist philanthropy that begins in amnesia lacks, in Cole’s words, “constellational thinking.” He lays bear the relationship among sentimentality, ignorance, corruption, pillage and complicity within our global communities. Under Cole’s watchful eye the world shrinks into a network of countries, communities and individuals influenced by, dependent on and affected by other countries, communities and individuals.
This brilliant collection closes with an epilogue, “Blind Spot,” in which Cole recounts the time he first had an episode of papillophlebitis, or “big blind spot syndrome.” If epilogues benefit from hindsight, it’s difficult not to feel the piece is intended by Cole to be read diagnostically, beyond its autobiographical content. In the essay, Cole admits to feeling shame as he worries that a waitress in a Hudson, N.Y., cafe he stumbles into might not interpret his inability to read a menu as eye trouble but assume instead that he was “illiterate.” This use of the word “illiterate” is an echo of the James Baldwin quotation in the first essay in the collection, “Black Body.” Suddenly the essays endeavoring to connect and build lines of influence between the canon of Western and African literature and art tremble as they stand in relation to the strange and surprising feeling of being misread. How quickly the black body can be thrown out of its cosmopolitanism and literacy, as the author’s own anxieties overtake him sitting at a counter in that cafe next to “two blond women and two men, also fair haired.”
Cole’s global perspective hits its limit here. History — literary, political, social or personal — offers us a vast archive of knowledge that both influences and challenges the definitions we construct for ourselves. On every level of engagement and critique, “Known and Strange Things” is an essential and scintillating journey.

Τρίτη, 9 Αυγούστου 2016

Οι αναγνώστες ζούνε περισσότερο

Flaubert had it that “the one way of tolerating existence is to lose oneself in literature as in a perpetual orgy”. It turns out that reading doesn’t only help us to tolerate existence, but actually prolongs it, after a new study found that people who read books for 30 minutes a day lived longer than those who didn’t read at all.
The study, which is published in the September issue of the journal Social Science & Medicine, looked at the reading patterns of 3,635 people who were 50 or older. On average, book readers were found to live for almost two years longer than non-readers.
Respondents were separated into those who read for 3.5 hours or more a week, those who read for up to 3.5 hours a week, and those who didn’t read at all, controlling for factors such as gender, race and education. The researchers discovered that up to 12 years on, those who read for more than 3.5 hours a week were 23% less likely to die, while those who read for up to 3.5 hours a week were 17% less likely to die
“When readers were compared to non-readers at 80% mortality (the time it takes 20% of a group to die), non-book readers lived 85 months (7.08 years), whereas book readers lived 108 months (9.00 years) after baseline,” write the researchers. “Thus, reading books provided a 23 month survival advantage.”Overall, during follow-up, 33% of non-book readers died, compared to 27% of book readers, write the academics Avni Bavishi, Martin Slade and Becca Levy from the Yale University School of Public Health, in their paper A Chapter a Day: Association of Book Reading With Longevity.
Bavishi said that the more that respondents read, the longer they lived, but that “as little as 30 minutes a day was still beneficial in terms of survival”.
The paper also specifically links the reading of books, rather than periodicals, to a longer life. “We found that reading books provided a greater benefit than reading newspapers or magazines. We uncovered that this effect is likely because books engage the reader’s mind more – providing more cognitive benefit, and therefore increasing the lifespan,” Bavishi said.
In the paper, the academics write that there are two cognitive processes involved in reading books that could create a “survival advantage”. First, reading books promote the “slow, immersive process” of “deep reading”, a cognitive engagement that “occurs as the reader draws connections to other parts of the material, finds applications to the outside world, and asks questions about the content present.
“We had seen some mixed effects in previous literature that seemed to indicate that there may be a survival advantage to general reading; however, we were impressed with the magnitude of the difference of effect between reading books and reading newspapers/magazines,” said Bavishi.“Cognitive engagement may explain why vocabulary, reasoning, concentration, and critical thinking skills are improved by exposure to books,” they write. Second, books “can promote empathy, social perception, and emotional intelligence, which are cognitive processes that can lead to greater survival”, they say.
Although respondents to the survey did not specify the genre of the books they were reading, the paper says it is likely that most of the people they surveyed were reading fiction, pointing to a survey from the National Endowment for the Arts in 2009 that found that 87% of book readers choose fiction. They suggest that future analysis could look at “whether there are additional health benefits from book reading, other than extended survival; whether there are similar effects reading ebooks and audiobooks, which may be more likely to be read in a non-sedentary manner; and whether nonfiction vs fiction, as well as various genres, have different effects”.
The academics point to previous research which found that people over 65 spend an average of 4.4 hours a day watching television, and say that “efforts to redirect leisure time into reading books could prove to be beneficial in terms of survival for this population”. The researchers also point out that their study participants spent “considerably” more time reading periodicals than books – on average, 3.92 hours for books and 6.10 hours for periodicals – and suggest they switch to books, because “the survival advantage is significantly stronger for book reading”.
They conclude that “the benefits of reading books include a longer life in which to read them … The robustness of our findings suggests that reading books may not only introduce some interesting ideas and characters, it may also give more years of reading.”

Τετάρτη, 27 Ιουλίου 2016

Man Booker Prize announces 2016 longlist

The longlist, or ‘Man Booker Dozen’, for the £50,000 Man Booker Prize is announced today.
This year’s longlist of 13 books was selected by a panel of five judges: Amanda Foreman (Chair);Jon DayAbdulrazak GurnahDavid Harsent and Olivia Williams. It was chosen from 155 submissions published in the UK between 1 October 2015 and 30 September 2016.
The Man Booker Prize for Fiction, first awarded in 1969, is open to writers of any nationality, writing originally in English and published in the UK. 

2016 Man Booker Dozen
The 2016 longlist, or Man Booker ‘Dozen’, of 13 novels, is:
Author (nationality) - Title (imprint)
Paul Beatty (US) - The Sellout (Oneworld)
J.M. Coetzee (South African-Australian) - The Schooldays of Jesus (Harvill Secker)
A.L. Kennedy (UK) - Serious Sweet (Jonathan Cape)
Deborah Levy (UK) - Hot Milk (Hamish Hamilton)
Graeme Macrae Burnet (UK) - His Bloody Project (Contraband)
Ian McGuire (UK) - The North Water (Scribner UK)
David Means (US) - Hystopia (Faber & Faber)
Wyl Menmuir (UK) -The Many (Salt)
Ottessa Moshfegh (US) - Eileen (Jonathan Cape)
Virginia Reeves (US) - Work Like Any Other (Scribner UK)
Elizabeth Strout (US) - My Name Is Lucy Barton (Viking)
David Szalay (Canada-UK) - All That Man Is (Jonathan Cape)
Madeleine Thien (Canada) - Do Not Say We Have Nothing (Granta Books)

Chair of the 2016 judges, Amanda Foreman, comments:
‘This is a very exciting year. The range of books is broad and the quality extremely high. Each novel provoked intense discussion and, at times, passionate debate, challenging our expectations of what a novel is and can be...From the historical to the contemporary, the satirical to the polemical, the novels in this list come from both established writers and new voices. The writing is uniformly fresh, energetic and important. It is a longlist to be relished.’
Former double winner J.M. Coetzee makes the list with The Schooldays of Jesus. He won the then Booker Prize in 1983 with Life & Times of Michael K and then again with Disgrace in 1999, making him the first writer to win the prize twice. Deborah Levy was shortlisted for the prize in 2012 forSwimming Home. A.L. Kennedy was a judge for the prize in 1996, the year Graham Swift won withLast Orders.
Four debut novels make the longlist: Hystopia by David Means; The Many by Wyl Menmuir; Eileenby Ottessa Moshfegh and Work Like Any Other by Virginia Reeves.
Publishers large and small are represented with six titles from Penguin Random House imprints (Harvill Secker, Jonathan Cape, Hamish Hamilton, Viking); two from Simon & Schuster’s Scribner UK imprint; and five from independent publishers, including Saraband, Faber & Faber, Salt, Granta and Oneworld. Oneworld celebrated its first Man Booker success last year, when Marlon James won the prize with A Brief History of Seven Killings.

The shortlist and winner announcements
The shortlist of six books will be announced on Tuesday 13 September at a press conference at the London offices of Man Group, the prize’s sponsor. The shortlisted authors each receive £2,500 and a specially bound edition of their book.
The 2016 winner will then be announced on Tuesday 25 October in London’s Guildhall at a black-tie dinner, one of the highlights of the publishing year. The ceremony will be broadcast by the BBC.
The winner of the 2016 Man Booker Prize will receive a further £50,000 and can expect international recognition. Last year’s winning novel, A Brief History of Seven Killings by Marlon James, has sold over 315,000 copies to date in the UK and Commonwealth and is available in 20 languages.
On winning, James commented: ‘I just met Ben Okri and it just reminded me of how much my literary sensibilities were shaped by the Man Booker Prize.’
HBO has optioned screen rights to the novel for a series adaptation and, since winning, James has spent the year travelling around the globe, speaking at festivals as diverse as the Jaipur Festival, the Auckland Writers’ Festival, the Sydney Writers Festival, the Hay, Manchester and Brighton Festivals in the UK, the Calabash International Literary Festival in Jamaica and the Bocas Lit Fest in Trinidad and Tobago.

The leading prize for quality fiction in English
First awarded in 1969, the Man Booker Prize is recognised as the leading prize for high quality literary fiction written in English. Its list of winners features many of the literary giants of the last four decades: from Iris Murdoch to Salman RushdieIan McEwan to Dame Hilary Mantel
The rules of the prize were changed at the end of 2013 to embrace the English language ‘in all its vigour, its vitality, its versatility and its glory’, opening up to writers beyond the UK and Commonwealth.
The Man Booker Prize is sponsored by Man Group, one of the world’s largest independent alternative investment managers.
Join the conversation on TwitterFacebook and Instagram with #ManBooker2016 and #FinestFiction.
                                   


Παρασκευή, 22 Ιουλίου 2016

Διεθνές Λογοτεχνικό Φεστιβάλ Τήνου



Η Τήνος από το 2010 έχει το προνόμιο να είναι το νησί ενός σημαντικού διεθνούς λογοτεχνικού φεστιβάλ κύρους, μοναδικού στην Ελλάδα, με περίπου 100 συγγραφείς παγκόσμιας αναγνώρισης, από όλες τις ηπείρους, να έχουν περάσει τον κάβο του. Εφέτος, το τριήμερο 28 με 30 Ιουλίου, 16 πεζογράφοι και ποιητές από οκτώ χώρες θα μας ξεναγήσουν στον κόσμο της γραφής τους. Στα κείμενά τους, που θα ακούσουμε στη γλώσσα τους, δεν θα διαβάσουμε μόνο τους ίδιους τους συγγραφείς αλλά τον ίδιο μας τον εαυτό. Γιατί η λογοτεχνία δημιουργεί πιθανότητες που οδηγούν στην αναζήτηση της ανθρώπινης ψυχής. Ταυτόχρονα η Τήνος, με το Διεθνές Λογοτεχνικό της Φεστιβάλ, θέλει να μας θυμίσει ότι υπάρχει ένας κόσμος, μια Ελλάδα, που μέσω της λογοτεχνίας αντιστέκεται και που μας λέει πως τίποτε δεν είναι πιο σπουδαίο από την ανάκτηση της συλλογικής αξιοπρέπειας.
Οι συγγραφείς που συμμετέχουν εφέτος είναι οιAnne Helene Guddal (Νορβηγία), Nouri al-Jarrah (Συρία),Marianne Larsen (Δανία), Don Scofield (ΗΠΑ), KateNewman (Ιρλανδία), Gerhard Falkner (Γερμανία), OljaSavicevic (Κροατία) και από την Ελλάδα οι Δημήτρης Αθηνάκης, Θεόδωρος Γρηγοριάδης, Σοφία Διονυσοπούλου, Πέτρος Μάρκαρης, Χάρης Μελιτάς, Χρύσα Φάντη, Αλέκος Φλωράκης, Δημήτρης Χουλιαράκης, Δήμητρα Χριστοδούλου.  (Οι πέντε από τις εννέα ελληνικές συμμετοχές είναι μέλη της Εταιρείας Συγγραφέων.)
Το Διεθνές Λογοτεχνικό Φεστιβάλ Τήνου είναι μία αμιγώς ιδιωτική πρωτοβουλία χωρίς καμία κρατική συμμετοχή και από το 2010 το οργανώνει ο Ντίνος Σιώτης συνεπικουρούμενος από  τον Δήμο Τήνου, το Πανελλήνιο Ιερό Ίδρυμα Ευαγγελιστρίας Τήνου και το Ίδρυμα Τηνιακού Πολιτισμού. Επίσημος χορηγός ακτοπλοϊκών εισιτηρίων η Fast Ferries.

Τρίτη, 19 Ιουλίου 2016

the books that most influenced García Márquez



Here are the books that most influenced García Márquez — beginning with his teenage years at boarding school, of which he recalls: “The best thing at the liceo were the books read aloud before we went to sleep.” — along with some of the endearing anecdotes he tells about them.
  1. The Magic Mountain (public library) by Thomas Mann
  2. The thundering success of Thomas Mann’s The Magic Mountain … required the intervention of the rector to keep us from spending the whole night awake, waiting for Hans Castorp and Clavdia Chauchat to kiss. Or the rare tension of all of us sitting up on our beds in order not to miss a word of the disordered philosophical duels between Naptha and his friend Settembrini. The reading that night lasted for more than an hour and was celebrated in the dormitory with a round of applause.
  3. The Man in the Iron Mask (free ebook | public library) by Alexandre Dumas
  4. Ulysses (free ebook | public library) by James Joyce
  5. One day Jorge Álvaro Espinosa, a law student who had taught me to navigate the Bible and made me learn by heart the complete names of Job’s companions, placed an awesome tome on the table in front of me and declared with his bishop’s authority:
    “This is the other Bible.”
    It was, of course, James Joyce’s Ulysses, which I read in bits and pieces and fits and starts until I lost all patience. It was premature brashness. Years later, as a docile adult, I set myself the task of reading it again in a serious way, and it not only was the discovery of a genuine world that I never suspected inside me, but it also provided invaluable technical help to me in freeing language and in handling time and structures in my books.
  6. The Sound and the Fury (public library) by William Faulkner
  7. I became aware that my adventure in readingUlysses at the age of twenty, and later The Sound and the Fury, were premature audacities without a future, and I decided to reread them with a less biased eye. In effect, much of what had seemed pedantic or hermetic in Joyce and Faulkner was revealed to me then with a terrifying beauty and simplicity.
  8. As I Lay Dying (public library) by William Faulkner
  9. The Wild Palms (public library) by William Faulkner
  10. Oedipus Rex (free ebook | public library) by Sophocles
  11. [The writer] Gustavo [Ibarra Merlano] brought me the systematic rigor that my improvised and scattered ideas, and the frivolity of my heart, were in real need of. And all that with great tenderness and an iron character.
    […]
    His readings were long and varied but sustained by a thorough knowledge of the Catholic intellectuals of the day, whom I had never heard of. He knew everything that one should know about poetry, in particular the Greek and Latin classics, which he read in their original versions… I found it remarkable that in addition to having so many intellectual and civic virtues, he swam like an Olympic champion and had a body trained to be one. What concerned him most about me was my dangerous contempt for the Greek and Latin classics, which seemed boring and useless to me, except for the Odyssey, which I had read and reread in bits and pieces several times at theliceo. And so before we said goodbye, he chose a leather-bound book from the library and handed it to me with a certain solemnity. “You may become a good writer,” he said, “but you’ll never become very good if you don’t have a good knowledge of the Greek classics.” The book was the complete works of Sophocles. From that moment on Gustavo was one of the decisive beings in my life, for Oedipus Rex revealed itself to me on first reading as the perfect work.
  12. The House of the Seven Gables (free ebook | public library) by Nathaniel Hawthorne
  13. [Gustavo Ibarra] lent me Nathaniel Hawthorne’sThe House of the Seven Gables, which marked me for life. Together we attempted a theory of the fatality of nostalgia in the wanderings of Ulysses Odysseus, where we became lost and never found our way out. Half a century later I discovered it resolved in a masterful text by Milan Kundera.
  14. Uncle Tom’s Cabin (free ebook | public library) byHarriet Beecher Stowe
  15. Moby-Dick (free ebook | public library) by Herman Melville
  16. Sons and Lovers (free ebook | public library) by D.H. Lawrence
  17. The Arabian Nights: Tales from a Thousand and One Nights (free ebook | public library)
  18. I even dared to think that the marvels recounted by Scheherazade really happened in the daily life of her time, and stopped happening because of the incredulity and realistic cowardice of subsequent generations. By the same token, it seemed impossible that anyone from our time would ever believe again that you could fly over cities and mountains on a carpet, or that a slave from Cartagena de Indias would live for two hundred years in a bottle as a punishment, unless the author of the story could make his readers believe it.
  19. The Metamorphosis (public library) by Franz Kafka
  20. I never again slept with my former serenity. [The book] determined a new direction for my life from its first line, which today is one of the great devices in world literature: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.” [I realized that] it was not necessary to demonstrate facts: it was enough for the author to have written something for it to be true, with no proof other than the power of his talent and the authority of his voice. It was Scheherazade all over again, not in her millenary world where everything was possible but in another irreparable world where everything had already been lost. When I finished reading The Metamorphosis I felt an irresistible longing to live in that alien paradise.
  21. The Aleph and Other Stories (public library) by Jorge Luis Borges
  22. The Collected Stories (public library) by Ernest Hemingway
  23. Point Counter Point (public library) by Aldous Huxley
  24. Of Mice and Men (public library) by John Steinbeck
  25. The Grapes of Wrath (public library) by John Steinbeck
  26. Tobacco Road (public library) by Erskine Caldwell
  27. Stories (public library) by Katherine Mansfield
  28. Manhattan Transfer (public library) by John Dos Passos
  29. Portrait of Jennie (public library) by Robert Nathan
  30. Orlando (public library) by Virginia Woolf
  31. Mrs. Dalloway (public library) by Virginia Woolf
  32. It was the first time I heard the name of Virginia Woolf, whom he [Gustavo Ibarra] called Old Lady Woolf, like Old Man Faulkner. My amazement inspired him to the point of delirium. He seized the pile of books he had shown me as his favorites and placed them in my hands.
    “Don’t be an asshole,” he said, “take them all, and when you finish reading them we’ll come get them no matter where you are.”
    For me they were an inconceivable treasure that I did not dare put at risk when I did not have even a miserable hole where I could keep them. At last he resigned himself to giving me the Spanish version of Virginia Woolf’s Mrs. Dalloway, with the unappealable prediction that I would learn it by heart.
    […]
    I went [home] with the air of someone who had discovered the world.
Living to Tell the Tale is a glorious read in its entirety — the humbling and infinitely heartening life-story of one of the greatest writers humanity ever produced. Couple it with Old Lady Woolf on how one should read a book.