Lima Barreto is one of the most commented Brazilian authors. And practically everything that is said about his work is false, or at least we have a radically different view of it when we simply read it, without the intermediaries. To say so would seem idle, were there not so many authors who survive on a fabricated image. With regard to Lima Barreto’s work, the alleged virtues are all designed to fit it into a simulated worldview; the defects serve no purpose other than to hide what is significant in it. Even his biography is falsified, which leaves no doubt as to the authenticity of his literary motivation, despite what else can be said. In the end, what needs to be done is to analyze what is sincere in his work; and when we do that, the conclusion is only one: Lima Barreto honors his profession as a writer.
Tag: literature
Anything From an Author Is Tolerated
Anything from an author is tolerated, except dishonesty. To fail on this point is to nullify everything that is produced. As readers, the mere feeling that there are hidden intentions in a work and that we are being deceived is reason enough to throw it away; after all, how can we willingly play the clown? If we cannot, safeguarded by the sincerity of the author, give it the credit it needs to be worth reading, it is best to abandon it. There are, of course, countless other authors who fulfill this requirement and have a lot to teach us.
It Is Well Known That, From Birth to Adulthood….
It is well known that, from birth to adulthood, we are all subjected to a succession of phases, or problems, which can be schematized, from awareness of the environment and individuality, to more complex problems such as the rationalization of emotions or social integration. We all experience it, although perhaps at different ages and certainly in different circumstances. In this, we realize that a hierarchy of problems can also be established, from the most basic to the most complex, generally linked to age groups, so that in order to deal with problems higher up the hierarchy, it is necessary to have overcome, albeit temporarily, the previous problems. This progress involves a gradual change in the focus of interest, a natural and necessary change, required by maturing itself. It is inappropriate for an adult to still be fighting over self-affirmation, for example, as this is a characteristic problem of adolescence. Likewise, a real existential crisis is characteristic of a mature, well-formed adult. From all this, we can see the following, which is rarely observed by literary critics: if an artist, no matter how skillful, concentrates on more basic and universal problems, he will certainly reach a larger audience and be better understood; however, his work simply will not be able to sustain the interest of someone who is aware of the relevance of such problems and their position in the general hierarchy, someone for whom such problems have long since been overcome, and whose interest therefore soars to much higher altitudes. That is why there is no escaping it: to be truly great, an artist cannot limit himself to serving the general public.
Publicity, Like Polemics, Is Dispensable…
Publicity, like polemics, is dispensable in literature and requires a predisposition. From the moment one enters this game, one has to have the talent not to stray and not become corrupted. To imagine a Kafka, for example, dealing with such protocols is impossible. When he thought of his writings in the hands of the general public, Kafka thought it would be more convenient to burn them, and this shows that if publicity were forced upon him, he would never have written what he wrote. It is really a matter of vocation to remain serious and sincere in front of any audience.