A Look at the Portuguese World

 

h facebook h twitter h pinterest

My simon of that afternoon

Written by 

It is the ghost of a love lost in the mists of time. It's a story recalled with some bitterness, fruit of a maturity and a certain detachment that is told by the writer, Grace Alves.

In his first novel I was amused by the fact that the main character goes reviewing the ghost of a past love, the one he felt by Ines and what he did not do for her.
Grace Alves: This book has two parts, first is an old love for this Ines, and at the same time, is a more or less failed love, let's call it that. That person turns out to be a character in itself and that voice, that consciousness, the voice of whatever we want, is an ancient voice that he carries within.

In the great novels there are always two characters who meet, fall in love and then there are a series of adventures around that love. Why you did not chose this scenario?
GA: The love here is a pretext; I wanted to defend a thesis for this novel, to know where these stories come from? Where are they born? Where the stories begin that the authors describe in the books? It has always been a question that fascinated me. What is this of inspiration? What is a narrator? Is there a moment when the narrator, the author, everything is mixed? That's what I tried to defend here and therefore the love of Simon, the poet for Ines, the woman is a teenage love, frozen in time, or not solved, or solved the wrong way, as desired. What was intended was to work the author, writer, narrative, character, the people who inspire him and the life stories that inspire the novels.

You chose an unresolved love, a teen, why? They are always stories we bring with us?
GA: We always bring us stories badly finished. Of love, of loneliness and other feelings. This is a teen love story because I think, is and I'm from another time, a more pure love, a love with illusions and dreams. I like to think in this teenage love resolved or not. Love is love, it's an angel love, who believes in the future.

The writing has a confessional tone that passes through a diary, it is a way of expression of more intimacy?
GA: I needed a concrete support for the story of the author, of that Simon was feeling and he is also the narrator, the story of man, the person and the diary was the ideal vehicle.

But a diary is normally written by women, yet is a man who writes.
GA: This is also an exercise I did in this book. The almost all the characters of my stories are women, it is easier for me. This novel turns out to be almost an exercise in this direction, trying to put myself in the skin, head and feeling of a man who is a poet, who has a different sensibility. This was also an exercise on my part and why men cannot write every day? And suffer love alone? I made me this question too.

There are critics who say that the great female characters are often written by men and vice versa.
GA: It happens often. It's usually easier for me to write about women. A male character requires a greater effort, a redoubled work, and another type of thinking, reading other things. I often use in my writing a woman narrator who speaks in the first person, it's easier for me, it seems that the pen runs faster. Here was an exercise.

You often write short stories. These texts were a rehearsal for the novel, or you like to develop the stories?
GA: I struggle with what many authors have also that it is lack of time. I have to work, earn a living because I do not live of the writing. It is a matter of time, a novel requires a lot of availability, read, much thinking about the characters and the text itself. The tales are shorter narrative, more concise writing that is faster and comes more quickly. This book is almost a romance and I steal that expression of Miguel Sousa Tavares. When I go to schools to speak and they call me a writer, I think I'm still little. This may not be my novel. I think each book is an essay for one that is either better, because then its worth.

Are you already preparing another work?
GA: Every day I write and not necessarily for a novel. I have a text, another novel almost done, has been done according to the available time, because life has other requests and therefore is something almost ready. I do not say it's done, because nothing is done if I do not deliver to the editor and only then do not touch it anymore, because while it is in my drawer I keep thinking about it.

Let us take another work, you wrote the "counter current"? It was a necessity?
GA: It was. A necessity. Contrary to what one might think, I had no problems, did not suffer in the skin the tragedy, have not lost anything, or none of my closest relationships suffered nothing in the face of what happened. I was one week at home because the school was closed, I am a teacher. I had no television, no telephone and only thing I had was one radio with batteries, and we even had no light for a few hours, because I live near the river of Joao Gomes. I did not know about what was happening during that time and had a need to release this anxiety. On one hand, wanted to help, on the other I had the notion that would be unhelpful and I also had people with me. That week I wrote because I needed to free myself. I decided I would not do it to own benefit and then I donated the copyright to the volunteer firefighters of Madeira. I decided it would be them, because they were those who were closest to me.

The short tales were the stories you heard?
GA: I did not go out, I not did field work, even. The characters do not exist. The story of the saint is true and I happened to tell this beautiful miracle, this myth, because of its inner beauty and that people will take what in a search for hope. The fact is that the chapel collapsed. There are actual facts in these tales; the stories themselves are not real. If it happened was a coincidence.

Leave a comment

Make sure you enter the (*) required information where indicated. HTML code is not allowed.

FaLang translation system by Faboba

Podcast

 

 

 

 

Eventos