Sobre la escritura

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Notas varias

Toni Morrison, 1993, Toni Morrison, The Art of Fiction No. 134,

Sobre no contar todo... y qué cosas contar...

With Jazz, I wanted to convey the sense that a musician conveys—that he has more but he’s not gonna give it to you. It’s an exercise in restraint, a holding back—not because it’s not there, or because one had exhausted it, but because of the riches, and because it can be done again. That sense of knowing when to stop is a learned thing and I didn’t always have it. It was probably not until after I wrote Song of Solomon that I got to feeling secure enough to experience what it meant to be thrifty with images and language and so on. I was very conscious in writing Jazz of trying to blend that which is contrived and artificial with improvisation. I thought of myself as like the jazz musician—someone who practices and practices and practices in order to be able to invent and to make his art look effortless and graceful. I was always conscious of the constructed aspect of the writing process, and that art appears natural and elegant only as a result of constant practice and awareness of its formal structures. You must practice thrift in order to achieve that luxurious quality of wastefulness—that sense that you have enough to waste, that you are holding back—without actually wasting anything. You shouldn’t overgratify, you should never satiate. I’ve always felt that that peculiar sense of hunger at the end of a piece of art—a yearning for more—is really very, very powerful. But there is at the same time a kind of contentment, knowing that at some other time there will indeed be more because the artist is endlessly inventive.