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Sunday, October 14, 2018

Borges On Turning Trauma, Misfortune, And Humiliation Into Raw Material For Art

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Borges On Turning Trauma, Misfortune, And Humiliation Into Raw Material For Art

Maria Popova, Brain Pickings

“Forget your personal tragedy,” Ernest Hemingway exhorted his dear friend F. Scott Fitzgerald in a tough-love letter of advice“Good writers always come back. Always.”It is an insight as true of writers as it is of all artists and of human beings in general, as true of personal tragedy as it is of collective tragedy — something Toni Morrison articulated in her mobilizing manifesto for the writer’s task in troubled times: “There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.”
That is what Jorge Luis Borges (August 24, 1899–June 14, 1986) — born the same year as Hemingway, writing two decades before Morrison — conveys with uncommon splendor of sentiment in Twenty-Four Conversations with Borges: Including a Selection of Poems (public library) — the record of his dialogues with the Argentine journalist and poet Roberto Alifano, conducted in the final years of Borges’s life, by which point he had been blind for almost thirty years.
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Jorge Luis Borges
In a passage Susan Sontag would come to quote in her magnificent letter to Borgescomposed on the tenth anniversary of his death, he reflects:
2e292385-dc1c-4cfe-b95e-845f6f98c2ec.pngA writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art.



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