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"Tales for The Ones in Love"

An international blog about literature and ecocriticism. Here I include my own lyrics, by Rui M. and also the work of others, from 4 to 24 each month 2018: new contributions sent to blogsnat@gmail.com Periodical Art contests and Critics. Thanks. Arigatou

"Tales for The Ones in Love"

An international blog about literature and ecocriticism. Here I include my own lyrics, by Rui M. and also the work of others, from 4 to 24 each month 2018: new contributions sent to blogsnat@gmail.com Periodical Art contests and Critics. Thanks. Arigatou

30
Jun19

A Sonnet 20 by WILLIAM SHAKESPEARE and sustainability

talesforlove

Often we do not think about how sustainability and solidarity are intertwined. The inclusion of all human beings in society allows them to live better and share the effort to preserve the environment and realize that they are benefited in this process.

This sonnet is very illustrative of this fact, because the woman's face is painted with a part of nature and becomes an element of the nature, or that becomes even more obvious. Poetry is a tool of nature's aspiration to be considered our "real material" our real essencial element. In this Sonnet even passion can be considered a part of nature.

 

Sonnet 20: A woman’s face with nature’s own hand painted

 
 
A woman’s face with nature’s own hand painted
Hast thou, the master-mistress of my passion;
A woman’s gentle heart, but not acquainted
With shifting change as is false women’s fashion;
An eye more bright than theirs, less false in rolling,
Gilding the object whereupon it gazeth;
A man in hue, all hues in his controlling,
Which steals men’s eyes and women’s souls amazeth.
And for a woman wert thou first created,
Till nature as she wrought thee fell a-doting,
And by addition me of thee defeated
By adding one thing to my purpose nothing.
      But since she pricked thee out for women's pleasure,
      Mine be thy love and thy love’s use their treasure.
 
Enjoy.
19
Jul17

interview... Paula Hawkins

talesforlove

During the Book Market Fair in Lisbon (2017) it was possible to interview Paula Hawkins. It was a very exciting experience and a privilege to speak with a writer with such a big success in thriller novels. Her answers were very important to us in order to better understand who is a writer and how life influences their work.

 

 

What does being a writer mean to you?

Writing is more a vocation than a profession: I’m lucky enough to be able to earn a living by doing it, but I think I would write – just as I always have written – even if I wasn’t published.  Since childhood I have relished making up stories: it took until I was in my thirties to find the confidence to show those stories to others, but the urge to create fiction has never left me.

 

Which season of your life do you think had the most influence on your writing?

Possibly my late teens/early twenties, which was the time at which I left Zimbabwe, where I grew up, and moved to London, where I live now. Those years were turbulent, and often lonely – I wrote a great deal at the time. At nineteen, I moved to Paris and lived there for a year. That was the first time I had lived alone, in a foreign city, speaking a language I struggled to master. It was lonely, again, but exciting too.

 

Is it possible for a writer to create their work without consideration for the feelings of the people around them?

I think perhaps it is possible, though I’m not sure that it should be. Writing is, for me, an exercise in empathy, in understanding others, in being able to place yourself in the position of another and imagine their thoughts and feelings. It would be strange then if while imagining the thoughts and feelings of fictional characters, one were to ignore the feelings of the real people in the society we live in.

26
Abr13

The work of a writer

talesforlove

A writer is not an actor. His work pretends to be a portrait of the most profound feelings of all the characters that live inside the tales he imagines. It is not an objective to see a face that really shows something that is strange to the hart of the person who is an actor. To write is to go hand in hand with the reader; not in a path of "real" landscapes, made of sand and stones, trees and grass, but of smiles, praies and weeping or tears, praies and busts of laughter's, with happy sounds together with them. The landscape of the writer is painted with words and letter, open and closed vowels, consonants and brain signals. Everything is like a group of small drops of electricity that combined create an illusion almost as real as reality. All this can happen during the night:  the writer doesn't have a brush or a palette. His most important instrument are his glasses, not to look to the piece of paper in front of him but to see (and think about) the world and the social movement that happens... everyday. Nevertheless, he is an ordinary man. If he wasn't he wouldn't be able to understand the reasons that explain the movements of woman and men in a complex society. You must believe that the human society is more complex than a society of monkeys! And you may smile thinking about this comparison but the truth is that they are our friends and we all together are a family: the cell of my novel, the piece of flesh the writer sees with the help of his microscope. It is marvelous to understand the machinery of the human reality, especially when we are a part of it.

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