sábado, 29 de novembro de 2008

A conversation with Toni Morrison

Toni Morrison é uma de minhas autoras preferidas. Li meu primeiro romance dela quando tinha uns 18 anos e literalmente me apaixonei pelo seu estilo elegante, complexo e muitas vezes difícil. Ela acaba de lançar um novo romance, "A Mercy". No endereço abaixo é possível assistir uma entrevista com a escritora gravada para o New York Times e na sequência segue parte do primeiro capítulo do livro...


First Chapter

‘A Mercy’

Published: November 28, 2008

Don't be afraid. My telling can't hurt you in spite of what I have done and I promise to lie quietly in the dark — weeping perhaps or occasionally seeing the blood once more — but I will never again unfold my limbs to rise up and bare teeth. I explain. You can think what I tell you a confession, if you like, but one full of curiosities familiar only in dreams and during those moments when a dog's profile plays in the steam of a kettle. Or when a corn-husk doll sitting on a shelf is soon splaying in the corner of a room and the wicked of how it got there is plain. Stranger things happen all the time everywhere. You know. I know you know. One question is who is responsible? Another is can you read? If a pea hen refuses to brood I read it quickly and, sure enough, that night I see a minha mãe standing hand in hand with her little boy, my shoes jamming the pocket of her apron. Other signs need more time to understand. Often there are too many signs, or a bright omen clouds up too fast. I sort them and try to recall, yet I know I am missing much, like not reading the garden snake crawling up to the door saddle to die. Let me start with what I know for certain.

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Damon Winter/The New York Times

Toni Morrison

The beginning begins with the shoes. When a child I am never able to abide being barefoot and always beg for shoes, anybody's shoes, even on the hottest days. My mother, a minha mãe, is frowning, is angry at what she says are my prettify ways. Only bad women wear high heels. I am dangerous, she says, and wild but she relents and lets me wear the throwaway shoes from Senhora's house, pointy-toe, one raised heel broke, the other worn and a buckle on top. As a result, Lina says, my feet are useless, will always be too tender for life and never have the strong soles, tougher than leather, that life requires. Lina is correct. Florens, she says, it's 1690. Who else these days has the hands of a slave and the feet of a Portuguese lady? So when I set out to find you, she and Mistress give me Sir's boots that fit a man not a girl. They stuff them with hay and oily corn husks and tell me to hide the letter inside my stocking — no matter the itch of the sealing wax. I am lettered but I do not read what Mistress writes and Lina and Sorrow cannot. But I know what it means to say to any who stop me.

My head is light with the confusion of two things, hunger for you and scare if I am lost. Nothing frights me more than this errand and nothing is more temptation. From the day you disappear I dream and plot. To learn where you are and how to be there. I want to run across the trail through the beech and white pine but I am asking myself which way? Who will tell me? Who lives in the wilderness between this farm and you and will they help me or harm me? What about the boneless bears in the valley? Remember? How when they move their pelts sway as though there is nothing underneath? Their smell belying their beauty, their eyes knowing us from when we are beasts also. You telling me that is why it is fatal to look them in the eye. They will approach, run to us to love and play which we misread and give back fear and anger. Giant birds also are nesting out there bigger than cows, Lina says, and not all natives are like her, she says, so watch out. A praying savage, neighbors call her, because she is once churchgoing yet she bathes herself every day and Christians never do. Underneath she wears bright blue beads and dances in secret at first light when the moon is small. More than fear of loving bears or birds bigger than cows, I fear pathless night. How, I wonder, can I find you in the dark? Now at last there is a way. I have orders. It is arranged. I will see your mouth and trail my fingers down. You will rest your chin in my hair again while I breathe into your shoulder in and out, in and out. I am happy the world is breaking open for us, yet its newness trembles me. To get to you I must leave the only home, the only people I know. Lina says from the state of my teeth I am maybe seven or eight when I am brought here. We boil wild plums for jam and cake eight times since then, so I must be sixteen. Before this place I spend my days picking okra and sweeping tobacco sheds, my nights on the floor of the cookhouse with a minha mãe. We are baptized and can have happiness when this life is done. The Reverend Father tells us that. Once every seven days we learn to read and write. We are forbidden to leave the place so the four of us hide near the marsh. My mother, me, her little boy and Reverend Father. He is forbidden to do this but he teaches us anyway watching out for wicked Virginians and Protestants who want to catch him. If they do he will be in prison or pay money or both. He has two books and a slate. We have sticks to draw through sand, pebbles to shape words on smooth flat rock. When the letters are memory we make whole words. I am faster than my mother and her baby boy is no good at all. Very quickly I can write from memory the Nicene Creed including all of the commas. Confession we tell not write as I am doing now. I forget almost all of it until now. I like talk. Lina talk, stone talk, even Sorrow talk. Best of all is your talk. At first when I am brought here I don't talk any word. All of what I hear is different from what words mean to a minha mãe and me. Lina's words say nothing I know. Nor Mistress's. Slowly a little talk is in my mouth and not on stone. Lina says the place of my talking on stone is Mary's Land where Sir does business. So that is where my mother and her baby boy are buried. Or will be if they ever decide to rest. Sleeping on the cookhouse floor with them is not as nice as sleeping in the broken sleigh with Lina. In cold weather we put planks around our part of the cowshed and wrap our arms together under pelts. We don't smell the cow flops because they are frozen and we are deep under fur. In summer if our hammocks are hit by mosquitoes Lina makes a cool place to sleep out of branches. You never like a hammock and prefer the ground even in rain when Sir offers you the storehouse. Sorrow no more sleeps near the fireplace. The men helping you, Will and Scully, never live the night here because their master does not allow it. You remember them, how they would not take orders from you until Sir makes them? He could do that since they are exchange for land under lease from Sir. Lina says Sir has a clever way of getting without giving. I know it is true because I see it forever and ever. Me watching, my mother listening, her baby boy on her hip. Senhor is not paying the whole amount he owes to Sir. Sir saying he will take instead the woman and the girl, not the baby boy and the debt is gone. A minha mãe begs no. Her baby boy is still at her breast. Take the girl, she says, my daughter, she says. Me. Me. Sir agrees and changes the balance due. As soon as tobacco leaf is hanging to dry Reverend Father takes me on a ferry, then a ketch, then a boat and bundles me between his boxes of books and food. The second day it becomes hurting cold and I am happy I have a cloak however thin. Reverend Father excuses himself to go elsewhere on the boat and tells me to stay exact where I am. A woman comes to me and says stand up. I do and she takes my cloak from my shoulders. Then my wooden shoes. She walks away. Reverend Father turns a pale red color when he returns and learns what happens. He rushes all about asking where and who but can find no answer. Finally he takes rags, strips of sailcloth lying about and wraps my feet. Now I am knowing that unlike with Senhor, priests are unlove here. A sailor spits into the sea when Reverend Father asks him for help. Reverend Father is the only kind man I ever see. When I arrive here I believe it is the place he warns against. The freezing in hell that comes before the everlasting fire where sinners bubble and singe forever. But the ice comes first, he says. And when I see knives of it hanging from the houses and trees and feel the white air burn my face I am certain the fire is coming. Then Lina smiles when she looks at me and wraps me for warmth. Mistress looks away. Nor is Sorrow happy to see me. She flaps her hand in front of her face as though bees are bothering her. She is ever strange and Lina says she is once more with child. Father still not clear and Sorrow does not say. Will and Scully laugh and deny. Lina believes it is Sir's. Says she has her reason for thinking so. When I ask what reason she says he is a man. Mistress says nothing. Neither do I. But I have a worry. Not because our work is more, but because mothers nursing greedy babies scare me. I know how their eyes go when they choose. How they raise them to look at me hard, saying something I cannot hear. Saying something important to me, but holding the little boy's hand.


Excerpted from A Mercy by Toni Morrison Copyright © 2008 by Toni Morrison. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site

segunda-feira, 17 de novembro de 2008


23:43 de sábado. Depois de um dia totalmente zoado – produzi pouco, perdi minhas notas de leitura de Tocqueville num software novo que estava usando, minhas costas doem como resultado de carregar uma garota bêbada e desmaiada na festa na casa de um professor ontem à noite entre outras coisas menores – estou tentando voltar para casa e o metrô parou. Metrô em NYC depois da meia-noite e nos finais de semana é um saco: demora, pará no meio do caminho e os operadores pedem na maior cara de pau pelo sistema de som para os passageiros serem pacientes. Hoje estou com uma “sorte” danada, rapaz: entrei num vagão no qual um maluco tem o som do celular ligado no talo – provavelmente ele não sabe que a grande descoberta dos últimos cinqüenta anos é o headfone – e do meu lado estão três garotas (duas negras e uma latina) bêbadas, gritando palavrões – cada frase é terminada com um fuck, que nesse caso é um adjetivo e não substantivo ou verbo – e fazendo uma festinha privada dançando com a música de um iPod compartilhado por duas. Bem, não tive dúvidas: hora de sacar do laptop na backpack e escrever sobre um tema que já venho enrolando há certo tempo para botar no blog: o metrô de NYC. Pause... Nesse exato momento o vagão de trem virou um hip-hop club, as garotas dançam, mas não dá para ouvir a música que embala as quebradas de cintura. Pelos movimentos parece ser alguma canção “hot” [sexy], do tipo Nelly... “It’s getting hot in here... So take off all your clothes...”. Só falta elas levarem a sério a sugestão e começarem a se despir. 125 ST Subway Station, Harlem. Vou terminar o texto em casa, mas foi um bom começo!

117 ST, home. Num de meus cursos na New School nesse semestre estamos criando um romance de forma coletiva e orgânica. Rolaram várias discussões sobre qual seria o plot do texto e uma aluna teve a idéia de tentar retratar a cidade de NYC como um organismo vivo de forma que nossos relatos viriam sempre do metrô, como se estivéssemos no interior do mesmo. Eu gostei dessa associação do subway com a parte interior, escondida da cidade. Dessa perspectiva, NYC é uma cidade bem americana que só come junk food, uma vez que seu “interior” é velho, quente, abafado, fedorento, sujo e cheio de ratos que são perfeitamente visíveis das plataformas no seu rolêzinho básico entre os trilhos. Eis um dos motivos pelos quais adoro cidade grandes como NYC e SP e sou literalmente um tipo urbana, embora não compre todas minhas roupas na Urban Outfitters, a loja preferida dos urban hipsters de NYC (www.urbanoutfitters.com). Pois é, nada mais gostoso do que poluição, violência, motoristas estressados e barulhos de sirenes e britadeiras machucando nossos tímpanos.

Há muitos anos atrás, quando era um “aborrescente”, assisti um filme que me deixou uma péssima impressão da Big Apple. Em The Warriors (1979), dirigido por Walter Hill, você vê uma NYC bem assustadora, cheia de gangues violentas e áreas decadentes. A época não ajudava muito mesmo, já que a cidade enfrentava uma crise econômica enorme efeito do processo de desindustrialização que dava seus primeiros sinais. Outro filme que captura bem esse é Taxi Driver (1976) de Martin Scorsese. Mas voltando ao primeiro filme, The Warriors é uma gangue acusada de ter assassinado uma espécie líder dos grupos juvenis nova-iorquinos numa reunião ocorrida na Union Square numa noite quente de verão. Na confusão do tiroteio, eles pegam o metrô errado e acabam indo parar no Bronx, extremo norte da cidade. Eis o desafio: cruzar Manhattan de metrô, no meio da noite, para chegar na sua “área”, Cone Island – extremo sul da cidade –, ao mesmo tempo que são perseguidos pelas gangues rivais e a polícia. O metrô nova-iorquino serve de pano de fundo para o desenvolvimento do filme que virou cult de alguns anos pra cá. Depois de assistir várias vezes a película, virei fã antes mesmo de morar por aqui. Toda vez que pego o metrô na Grande Maçã, tenho a impressão de estar dentro desse filme, já que nada mudou nas estações e os trens ainda parecem os mesmos (com exceção de não serem grafitados). Assistam o trailer e chequem o site do filme aí embaixo. No próximo post vou contar as palhaçadas que já rolaram comigo e meus amigos no metrô das bandas de cá...
Site do filme The Warriors: http://www.warriorsmovie.co.uk

sexta-feira, 14 de novembro de 2008

Senti o drama do que foi o dia 5...