By Kristjana Gunnars
before everything of a brand new writing project—whether it’s the 1st web page of a brand new novel or a much less bold undertaking, writers usually event excitement, worry, or dread. For Kristjana Gunnars, the decision of a brand new undertaking is “like a person you don’t recognize knocking in your door—you both decide to permit the individual in or now not. It’s either intriguing and hazardous to begin a brand new manuscript.” This publication is an engagement with that “stranger” known as writing.
artistic or innovative writing is a posh strategy that comprises greater than mind on my own. Writers utilize every thing: their sensibilities, historical past, tradition, wisdom, adventure, schooling, or even their biology. those essays hunt down, and assemble right into a dialogue, what writers have stated approximately their very own reviews in writing. even though the writers are from all over the world and of very diverse backgrounds, the commonality in their feedback brings domestic the belief that writers all over are grappling with comparable problems—with the likely uncomplicated difficulties of while, the place, why, and what to jot down, but in addition better questions comparable to the connection among author and society, or problems with privateness, appropriation, or homelessness. whereas none of those questions should be definitively responded, they are often fruitfully mentioned.
Originating as questions posed in creative-writing seminars, those essays have grown into spouse texts for either writers and readers who are looking to perform a talk approximately what writers do.
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Extra info for Stranger at the Door: Writers and the Act of Writing
Sample text
His sense of emotional dislocation is expressed in a well-chosen metaphor. He describes how he went, now and again, to the zoo at the Bois de Vincennes to look at the jungle animals. Then, he tells us in his book A Writer’s Reality, “every time I saw a puma or a vicuna, I remember what another Peruvian writer who had also lived in Paris many years wrote. This writer, Ventura Garcia Calderon, commented that when he would pass by the llama’s cage, the animal’s eyes would fill with tears of sadness upon recognizing a compatriot” (77-78).
In fact, he “celebrated the bourgeois ideals of French living” in his work (50). The other curious feature is that his life was apparently not like his portrayal of it. While his paintings show warm domesticity, his own home life was anything but serene. On that score, it seems a commonly held opinion that Bonnard was painting in order to “idealize a kind of pleasure he never knew,” and that his paintings portray “a desire to will himself into a circle of human warmth” (52). According to this article, “he painted the world he craved” (53).
This house became the house of writing. My books come from this house. From this light as well, and from the garden. (4) The freedom of working at home is very real to Duras on the political as well as the psychological level. The writer at home is the opposite of “the hell and injustice of the working world” (30). ” She points out that “We can write at any hour of the day. We are not sanctioned by orders, schedules, bosses, weapons, fines, insults, cops, bosses, and bosses” (31). So even though the solitude and aloneness a writer feels in the house can be literally maddening, Duras is convinced of the complete necessity of it.
