Stefano Victoria was born on June 21, 1940 in Italy. He graduated in Philosophy in 1962 at the Universidad Central de Venezuela (UCV).
recently over a decade, Olga Dragnic, reading of exquisite taste and, by that time, fellow Master of the UCV, asked me while we were having coffee rigorous Mall Los Chaguaramos: "Have you read Victoria Stefano? ". I said no, he did not know. Olga took time to rave about the literature of Victoria, who was also a close friend, and told me that unfortunately their books were difficult if not impossible to find in bookstores.
Within days, Olga gave me the novel The writer's place in a Mexican edition of 1993 (reissued this year by Editions Otero). I began to read immediately, and the first lines I sensed that it was these books that ask for unhurried reading. As you read poetry or essay, without impatience, with detailed tasting. A writing outside the plot and writing spasmodic rather sought a slower pace, a "listening" and a leisurely walk through meditative prose delicately wrapped ends and intelligence.
is the efficiency of the whole work of Stefano Victoria: take the reader slowly to that sounding board in which the privacy of those who read read and recognized as a neighbor. Books not to runs like a sprinter, but to move from the gaze of someone who sits in front of a window, or a screen-to observe closely what happens on the other side, and suddenly this other side becomes a mirror; in revelation.
Today his books are well visible at local bookstores, through the deserved reissues that have been made of his novels The desolved , The night calls the night , Stories walking , Rain and cited The writer's place, and their trial Poetry and modernity, Baudelaire . And since 2004, when his novel appeared too request, readers who have followed Victoria in every book, every essay, article and interview, we expected the arrival of what is now not only is his latest narrative work, but its debut on the editorial Alfaguara.
Paleography (dashed dark about blurred lines) is, in principle, history of severe depression. And this issue makes a novel deeply Venezuela. Force. Nearby. A protagonist, the painter Augustus, in his fifties into life and with a heavy balance of sacrifice, loss and frustration, he has lost the vital enthusiasm. Displays one of these crisis he fears no return. Does not already want to live, nor die. Unfortunate victim of a severe barrier that keeps the "mood of the closing foggy," Augustus, in an effort to come to the surface, decides to spend a few days at a beach hotel to mitigate-or perhaps assimilate from one angle less turbid that neutralize the memories. The sun on the coast then takes the expectation of a search of an enlightening salvation that can heal the wounds of his memory. Or maybe read that dark strokes on fuzzy lines that have become his days and nights.
But suddenly starts raining. A drop one of those showers that bring us memories so ungrateful to those who inhabit these lands where it does rain in the wet. However, the hotel is temporarily protected, even at home, and while landslides and roads are announced walled around, Augustus other unforeseen encounter. Of those who have the name and body and voice of women. He meets Gina, a translator who is also running away from what she defines as the "whims of adversity" and whose business is relevant to understanding perhaps the suggestive title of the novel. But that meeting in the history, it also corresponds to the future reader of this novel, who did not intend to disclose further details. So we run a veil and he is also a kind of paleographer of those past lives and imagined that Victoria has been designed with sensible wisdom narrative.
What I would like to emphasize is that the author offers in this book a thorough and chilling image of pain human. Reason has Diomedes Cordero when he says that deep down almost all the stories of Victoria reflect on "strategies to cope with suffering." Palaeography is no exception. Rather it is one of his novels that explore in greater depth and thickness in the sick mind of the artist depressed, and on that dive, extract pages that I think that for the first time in his work, the topic of writing that reflects on itself gives way to the artist who delves into his psyche shattered and faced with the bulk of fears and guilt that fills your memory, that is: its existence.
It is, of course, complementary areas. The relationship between depression and writing, between melancholy and artistic creation, they have covered much of the public and private history of literature. I think, to quote one of the beloved books of Victoria, The Magic Mountain by Thomas Mann, but also in the works of Virginia Woolf, Franz Kafka, Emile Cioran. I also think a few words of Roberto Bolaño, who knew, by trade and by nature, the close relationship between disease and literature: "The world is alive and nothing alive is hopeless and that is our luck." Writing then literature can not provide definitive cure. The art is not intended to cure, nor can promise as a miracle drug. Health is always a utopia that time or are responsible for the calamity to fade away.
But it is possible that art, in any branch of discourse, aware of certain strategies to prevent, as Maria Fernanda Palacios said that the world, our world, get rid of everything. That pause before the inevitable, the spiritual enrichment of the brief stay human in the world, is one of the advantages that more should we thank the artists. Paleography indelible part of these enrichment of our souls are sick, but insist, with good reason and emotions, to remain.
In this regard, I remember a few words to me a few months ago Victoria said when asked what she considered a priority value. She replied integrity. And it is true, considering that all his work is a human landscape in which it can not be many joys, but there is no despair. There is something that lies rather in an intermediate zone, that strength without fuss that offers a second wind, and even a third, not to forget that life is full of pain, but not is a pain. This modest courage that prevents the urge to disappear beauty and justice, but also of freedom and love that dwells in its characters, although they in some cases.
imaginary Because writing is not only weight but lightness , and at times, manages to remove some stones from the pockets of depressed and return of those black waters that could not leave the beloved Virginia Woolf. It is the awareness that failure, suffering, fear, loneliness often put us in a perspective that does not have the winner, or what society understands about winning. That is one reason that more rescue, I feel closest to the Victoria de Stefano's work. The script to recreate the suffering of disappointment and defeat, even creation itself, but in which his characters, although they lose their balance and mislead the center, make an effort to stand by through the dark passage of their lives to look more lucid hallucination. Beings for whom integrity is sometimes a cause, and others, a measured target.
why I believe that, not coincidentally, this writer's books are as signing the name of Victoria. It is not random: it is justice and nothing poética.vivo vivo is hopeless and that is our luck. " Then literary writing can not offer a cure final. The art is not intended to cure, nor can promise as a miracle drug. Health is always a utopia that time or are responsible for the calamity to fade away. But it is possible that art, in any branch of discourse, aware of certain strategies to prevent, as pointed out by Maria Fernanda Palacios, the world, our world, get rid of everything.
That pause before the inevitable, the spiritual enrichment of the brief stay human in the world, is one of the advantages that more should we thank the artists. Palaeography is part of These indelible enrichment of our souls are sick, but insist, with good reason and emotions, to remain.
In this regard, I remember a few words to me a few months ago Victoria said when asked what she considered a priority value. She replied integrity. And it is true, considering that all his work is a human landscape in which it can not be many joys, but there is no despair. There is something that lies rather in an intermediate zone, that strength without fuss that offers a second wind, and even a third, not to forget that life is full of pain, but it is a pain. This modest courage that keeps disappearing the desire of beauty and justice, but also of freedom and love that dwells in its characters, although they in some cases.
imaginary Because writing is not only weight but lightness, and in some cases, achieved remove stones from the pockets of depressed and return of those black waters that could not leave the beloved Virginia Woolf. It is the awareness that failure, suffering, fear, loneliness often put us in a perspective that does not have the winner, or what society understands about winning. That is one reason that more rescue, I feel closest to the work of Victoria's Stefano.
The script that recreates the suffering of disappointment and defeat, even creation itself, but in which his characters, although they lose their balance and mislead the center, make an effort to stand by through the dark passage of their lives with more lucid look amazed. Beings for whom integrity is sometimes a cause, and others, a measured target. So I think that, not coincidentally, this writer's books as a signature have the name of Victoria. It is not random: it is poetic justice.
VICTORIA DE STEFANO :
Victoria De Stefano was born on 21 Viserba June 1940, Italy. His parents, Italian, brought it to Venezuela in 1946. In the sixties studying philosophy at the Universidad Central de Venezuela (UCV), in which Philosophy Center began working with Professor García Bacca since 1962, when he obtained his BA in Philosophy.
At that time she was married to Pedro Duno and her two children were born. As political activities her husband often kept him prisoner and others, in hiding, the writer since 1962, frequently traveled abroad on a continuous wandering five: Cuba, Algeria, France, Italy and Spain. When he returned to Caracas in the year 67, her husband was arrested again and after a short period of legality and a new arrest, exiled in Chile from 1970 to 71.
In 1971, he published his first novel deSolve (Duno, 1971), under the imprint "Barbara." From this period also is his essay "Sartre and Marxism," published years later (Duno, 1975). Victoria De Stefano has said in an interview with López Santos (1984. Sep, 8), the need to write fiction and nonfiction at once: "I could never write fiction without writing test. My first novel, The desolved (1970), simultaneously to the test I wrote Sartre and Marxism (1971). Task is a kind of compensation between imagination and intellect "(C-2).
VICTORIA DE STEFANO :
Victoria De Stefano was born on 21 Viserba June 1940, Italy. His parents, Italian, brought it to Venezuela in 1946. In the sixties studying philosophy at the Universidad Central de Venezuela (UCV), in which Philosophy Center began working with Professor García Bacca since 1962, when he obtained his BA in Philosophy.
At that time she was married to Pedro Duno and her two children were born. As political activities her husband often kept him prisoner and others, in hiding, the writer since 1962, frequently traveled abroad on a continuous wandering five: Cuba, Algeria, France, Italy and Spain. When he returned to Caracas in the year 67, her husband was arrested again and after a short period of legality and a new arrest, exiled in Chile from 1970 to 71.
In 1971, he published his first novel deSolve (Duno, 1971), under the imprint "Barbara." From this period also is his essay "Sartre and Marxism," published years later (Duno, 1975). Victoria De Stefano has said in an interview with López Santos (1984. Sep, 8), the need to write fiction and nonfiction at once: "I could never write fiction without writing test. My first novel, The desolved (1970), simultaneously to the test I wrote Sartre and Marxism (1971). Task is a kind of compensation between imagination and intellect "(C-2).
http://www.sololiteratura.com/vict/victsemblanza.htm
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