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reads.

We take a chance until it works
"We take a chance until it works"

"Jack Hilden on poesidebatten, the criticism – and the machinery behind the"

"This is a kulturartikel which is a part of Aftonbladet's opinionsjournalistik."

"Everyone who participated in the latest poesidebatten is my buddies. Or yes, familiar, perhaps, as in years guppat around like I on the various readings and events."

"Nowadays we write, apparently in the newspapers. Dictates in a way the conditions for the Swedish contemporary literature, and what is visible, what is forgotten. Many also write fiction."

"well It's a sign that we started to grow up, that we have been with for a while. Those who were interested then, interested now and have made some karriärsmässiga progress. We are interested because we live in the reality of the situation. That so few others are there. So was it then also. In small källarlokaler and egenstartade online forums. Now is the scenes bigger, but can be experienced as as internal."

"One thing that we have perhaps begun to learn is that debates such as these flare up sometimes. What IS poetry? What IS the criticism? So which is it, of course, has flared up long before we even existed. And I presume that the questions and the answers are pretty equal through time. Still completely different, just as it is a matter of interpretation whether the actual literature always repeat or create new."

"Nevertheless, we are going to give us on to try again, draw in again the machinery, to find new definitions. In the meantime, the poets give out the books, which are considered benign or as obegripligau002Ftråkiga, depending on which side you take."

"So it has at least allowed. I don't know how this debate looks to anyone without transparency in the journalistic and literary industry. Probably in total -irrelevant, perhaps even irrelevant for the familiar. I have half-heartedly read the texts and each time have felt: that's Right! SO, it is of course. But without the euphoria, as it will not lead to anything. The area is too large, and surrounded by difficult to interpret, the dark – as difficult to interpret, darkness is what both literature and criticism."

"nMånga writers have attended some form of training in writing. That people insist that you ”can't learn”. Of course you can! Something I remember from the courses is textsamtalen – bråddjupet opened, just at the realization that a small, small text could be discussed in the fan for an hour or more."

"It differs from the specific to humans. Nothing short of the history of literature (well, a little), but it was not there I started to learn to think about texts in a way that could be useful to write criticism in a tabloid newspaper. It was through text messages that I knew what it could be to really try to read the text. And, as with everything else one learns, it becomes more difficult when you get a glimpse of how deep the potential is there to drill."

"nVisst the man becomes careless of the critic. Or, I have been there. I'm probably not alone in the disappointment over the reception you receive as an author is so väsensskilt from the long textsamtalen. Where all equally seriously even when it is obvious that a student had a better week than another."

"So it does not work in the press, in which various texts are to be fed into and fill the pages. The author is waiting nervously and eagerly. Then there are little reviewed there. Almost regardless of if the receipt is positive or negative – oh well? Was this ALL you had to say? It is inherent in the nature of things for those who dedicated so much time and heart to a book with (according to yourself) so much depth and meaning. ”This augurs well for the next book”. Are you fucking kidding me?"

"On the other side stands the critic. That received a certain number of characters of a team that is too stressed to respond more than ”yes” or ”no” on the e-mails, which had a deadline, and have a life that consists of other than to write reviews (a fee is not IRRELEVANT here) with dental and pub-crawls or what people are now doing."

"no matter, I sit in the end with a review that never are representative. A disappointment similar to the emptiness I can feel the face of a prewritten book. It was not more than this?"

"And what kind of reading the critic chooses to do. Much of the poesidebatten has been about it. I can feel so much sympathy with the issue, partly because the author is asking themselves the same question when the hen begins to write his book. I have something to tell, an idea that has taken shape. But HOW should it be told? With what voice, what is the tone? It is the woman because the options are endless. You take a chance until it works somewhat. Actually have no idea."

"nJag can have the same input to start writing a review. Recently I would write about one, in fact, objectively speaking, difficult book of an acknowledged difficult author. The first reading was also such – severe. The panic is already there. What should I say? I don't understand. A fear that is partly bad conscience against the fact that you can't do it justice. But also, because it unfortunately is what it is-a fear to seem silly. That is to say, how I as a reviewer will appear in front of others."

"There is something with the fear. It is irrelevant that I, as a critic and, you still assume, other prospective readers, feel that you simply do not understand? It also says something about the deeply human in the interaction between writers and critics, who are always there, not at least in such a small world that the Swedish samtidspoesin."

"nJag will never forget Jonas Thentes review of the debutante writer Susanna lundin's Swedish Hindenburg: ”... this short novel is like a soap in my incompetent and clumsy hands”. Refreshing to read. Any one who dares to say it as, frankly, a lot of critics are so afraid to reveal. But respectful to the author? Respectful to the BOOK? To my refreshed sense be prio here?"

"Maybe it is actually fair, if it is possible to argue that the Hindenburg is a book that does not succeed in grabbing the reader, it closes out. It is a way to respond to the book, perhaps just as legitimate as pat kindly on the head. "

"at the same time consists question of whether it really is författarkåren who are to blame for that the critics are not sufficiently maintained."

"the Point is, in all cases that there are different ways to describe a reading. Lustsågningen is, handlingsreferatet without score is, score but act likewise, the interpretation that takes freedoms are. Aprikosträden. And so on and so on with lots of variations and degrees."

"nOavsett I sit in the end with a review that never are representative. A disappointment similar to the emptiness I can feel the face of a prewritten book. It was not more than this? In the meantime, sit poets and writes. They glow to tell you something new and exciting. And the machinery keep on working."

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