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Prefácio - s -
Pelo caminho da floresta chegamos a ‘O
Pretendente Americano’- The American Claimant , (1).
Por um atalho desaguamos no vale do Mississipi e
cruzamo-nos com Hukleberry Finn.(1884)
Por um acaso feliz (anteriormente previsto) os
dois textos de Twain têm dois prefácios raros,
que desfamiliarizam a usual relação
leitor | texto | autor , e que permitem uma
abordagem ao presente do texto (tempo
abstracto). O verosímil é transportado para um
novo plano – e o leitor flutua ente a
ordem do discurso e a proposição do autor.
Ler o livro de uma forma “branca” – sem
preconceitos – será o que nos propõe o prefácio de
Hukleberry? Motivo | Moral | Enredo |
Mas, igualmente atento ao ‘Explanatory’ o
leitor hesita – será que Twain duvida da nossa
inteligência?
Coisas que o leitor sabe. Hukleberry Finn é
uma narrativa. Coisas que o leitor não sabe : Como
será processado, como será banido, como será morto >
O que cria uma alternativa interessante ao Como |
quem | porquê Ou seja, ao que ao leitor pode
dizer respeito nada se sabe. A não ser
que talvez fosse melhor não ler o livro.
Se Hukleberry está aqui incluído, a prejudicar
o acesso ao cerne desta comunicação – a
enunciação sobre o tempo atmosférico
no ‘Pretendente .. de Twain -, é porque
a marca dialogante de ambos autor | leitor é
expressa numa interpelação – o que, se não nos
confunde, introduz um novo elemento (de
abstracção temporal) e, da mesma forma, apela à
inclusão da literatura sujeita a esta marca,
saltando para fora do texto. Uma ética
transgressora.
Por outro lado refira-se uma dupla, tripla …
dificuldade, desta vez associada à tradução e
entendimento de weather. Claro que sem dúvida
é tempo atmosférico. Mas por outro lado o detalhe da
introdução de ‘The Claimant … e o remeter para o
anexo (com a admitida inclusão dos Genesis – acima
referido como Tempo abstracto ou (e vírgula),
símbólico transforma a ironia sobre as
atmosferas em algo mais … a ver J
Figuras saídas da ironia – o mesmo e o seu
contrário, param por momentos, a apreciar o efeito.
Cf. os textos incluídos por Mark Twain no seu
anexo ao Pretendente Americano e, de seguida,
far-se-á um pequeno comentário, relativo a
Hukleberry e livros censurados.
THE WEATHER IN THIS BOOK.
No
weather will be found in this book. This is an
attempt to pull a book through without weather. It
being the first attempt of the kind in fictitious
literature, it may prove a failure, but it seemed
worth the while of some dare-devil person to try it,
and the author was in just the mood. Many a reader
who wanted to read a tale through was not able to do
it because of delays on account of the weather.
Nothing breaks up an author's progress like having
to stop every few pages to fuss-up the weather. Thus
it is plain that persistent intrusions of weather
are bad for both reader and author. Of course
weather is necessary to a narrative of human
experience. That is conceded. But it ought to be put
where it will not be in the way; where it will not
interrupt the flow of the narrative. And it ought to
be the ablest weather that can be had, not ignorant,
poor-quality, amateur weather. Weather is a literary
specialty, and no untrained hand can turn out a good
article of it. The present author can do only a few
trifling ordinary kinds of weather, and he cannot do
those very good. So it has seemed wisest to borrow
such weather as is necessary for the book from
qualified and recognized experts--giving credit, of
course. This weather will be found over in the back
part of the book, out of the way. See Appendix. The
reader is requested to turn over and help himself
from time to time as he goes
along.
Tradução a partir do Google (extracto)
O TEMPO NESTE LIVRO.
Nenhum tempo atmosférico será encontrado neste
livro. Esta é uma tentativa de elaborar um livro
sem condições meteorológicas. Sendo um primeiro
ensaio ´deste género em literatura, pode revelar-se
um fracasso, mas pareceu ser a forma mais indicada
para lidar com o problema. …
APPENDIX. WEATHER FOR USE IN THIS
BOOK.
Selected from the Best
Authorities.
A brief though violent
thunderstorm which had raged over the city was
passing away; but still, though the rain had ceased
more than an hour before, wild piles of dark and
coppery clouds, in which a fierce and rayless glow
was laboring, gigantically overhung the grotesque
and huddled vista of dwarf houses, while in the
distance, sheeting high over the low, misty
confusion of gables and chimneys, spread a pall of
dead, leprous blue, suffused with blotches of dull,
glistening yellow, and with black plague-spots of
vapor floating and faint lightnings crinkling on its
surface. Thunder, still muttering in the close and
sultry air, kept the scared dwellers in the street
within, behind their closed shutters; and all
deserted, cowed, dejected, squalid, like poor,
stupid, top-heavy things that had felt the wrath of
the summer tempest, stood the drenched structures on
either side of the narrow and crooked way, ghastly
and picturesque, under the giant canopy. Rain
dripped wretchedly in slow 299 drops of melancholy
sound from their projecting eaves upon the
broken flagging, lay there in pools or trickled into
the swollen drains, where the fallen torrent
sullenly gurgled on its way to the river.
"The Brazen Android."- W. D.
O'Connor. (2)
The fiery mid-March sun a moment
hung
Above the bleak Judean
wilderness;
Then darkness swept upon us, and
't was night.
"Easter-Eve at Kerak-Moab."--Clinton Scollard. (3)
The quick-coming winter twilight
was already at hand. Snow was again falling, sifting
delicately down, incidentally as it were.
"Felicia." Fanny N. D. Murfree.
(4)
Merciful heavens!
The whole west, from right to left, blazes up with a
fierce light, and next instant the earth reels and
quivers with the awful shock of ten thousand
batteries of artillery. It is the signal for the
Fury to spring--for a thousand demons to scream and
shriek--for innumerable serpents of fire to writhe
and light up the blackness. Now the rain falls--now
the wind is let loose with a terrible shriek--now
the lightning is so constant that the eyes burn, and
the thunder-claps merge into an awful roar, as did
the 800 cannon at Gettysburg. Crash! 300 Crash!
Crash! It is the cottonwood trees falling to earth.
Shriek! Shriek! Shriek! It is the Demon racing along
the plain and uprooting even the blades of grass.
Shock! Shock! Shock! It is the Fury flinging his
fiery bolts into the bosom of the earth.
"The Demon and the Fury." M.
Quad. (5)
Away up the gorge all diurnal
fancies trooped into the wide liberties of endless
luminous vistas of azure sunlit mountains beneath
the shining azure heavens. The sky, looking down in
deep blue placidities, only here and there smote the
water to azure emulations of its tint.
"In the Stranger's Country."
Charles Egbert Craddock. (6)
There was every indication of a
dust-storm, though the sun still shone brilliantly.
The hot wind had become wild and rampant. It was
whipping up the sandy coating of the plain in every
direction. High in the air were seen whirling spires
and cones of sand--a curious effect against the
deep-blue sky. Below, puffs of sand were breaking
out of the plain in every direction, as though the
plain were alive with invisible horsemen. These
sandy cloudlets were instantly dissipated by the
wind; it was the larger clouds that were lifted
whole into the air, and the larger clouds of sand
were becoming more and more the rule. Alfred's eye,
quickly scanning the horizon, descried the roof of
the boundary-rider's hut still gleaming in the
sunlight. He remembered the hut well.
It could not be farther than four miles, if as much
as that, from this point of the track. He also knew
these dust-storms of old; Bindarra was notorious for
them: Without thinking twice, Alfred put spurs to
his horse and headed for the hut. Before he had
ridden half the distance the detached clouds of sand
banded together in one dense whirlwind, and it was
only owing to his horse's instinct that he did not
ride wide of the hut altogether; for during the last
half-mile he never saw the hut, until its outline
loomed suddenly over his horse's ears; and by then
the sun was invisible.
"A Bride from the Bush."
E. W. Hornung (7)
It rained forty days and forty
nights.
Genesis (8)
The Adventures of Huckleberry
Finn, Mark Twain, 1884
Notice
PERSONS attempting to
find a motive in this narrative will be prosecuted;
persons attempting to find a moral in it will be
banished; persons attempting to find a plot in it
will be shot.
BY ORDER OF THE AUTHOR,
Per G.G., Chief of Ordenance.
Explanatory
In this book a number of
dialects are used, to wit: the Missouri negro
dialect; the extremest form of the backwoods
Southwestern dialect; the ordinary “Pike County”
dialect; and four modified varieties of this last.
The shadings have not been done in a haphazard
fashion, or by guesswork; but painstakingly, and
with the trustworthy guidance and support of
personal familiarity with these several forms of
speech.
I make this
explanation for the reason that without it many
readers would suppose that all these characters were
trying to talk alike and not succeeding .
THE AUTHOR.
Sobre Censura e Livros Banidos:
Huckleberry Finn
Scene:
The Mississippi Valley Time: Forty to fifty years
ago
“The first ban of Mark Twain’s
American classic in Concord, MA in 1885 called it
“trash and suitable only for the slums.” Objections
to the book have evolved, but only marginally.
Twain’s book is one of the most-challenged of all
time and is frequently challenged even today because
of its frequent use of the word “nigger.” Otherwise
it is alleged the book is “racially insensitive,”
“oppressive,” and “perpetuates racism.”
(9)
Mesmo link outro exemplo:
Fahrenheit 451, Ray Bradbury,
1953
Rather than ban the book about
book-banning outright, Venado Middle school in
Irvine, CA utilized an expurgated version of the
text in which all the “hells” and “damns” were
blacked out. Other complaints have said the book
went against objectors religious beliefs.
(9)
(cf. Colección de documentos inéditos para
la historia de España - capítulos relativos a
António Perez > comentário sobre censura) (10)
E voltemos ao Milton.
A discussão em torno da censura à literatura é
antiga e, neste momento, actual
No século XVII, John Milton (1608-1674) já
denunciava a censura prévia instituída na
Grã-Bretanha através de seu célebre Areopagitica (1644).
O autor de Paradise
Lost (1667)
insurgia-se contra a Licensing
Order (1643),
argumentando que todos os livros deveriam ser lidos,
mesmo os livros “maus” e heréticos. Tal manifesto
tornou-se um dos mais importantes textos
jurídico-filosóficos sobre a liberdade de expressão
e a liberdade de imprensa.
(11)
EMAIL de Recusa automática
(qd o prefácio do
Hukleberry Finn foi enviado para de mim para mim)
“The IT department has
automatically stopped an email sent by you to
MARIAJOSECAMECELHA@gmail.com because it contained
profanity. The use of profane language contravenes
the company’s email Acceptable Usage Policy.
If you require further
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Stopped message details:
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Date
sent: Mon, 19 Dec 2016 14:46:03 +0000
Subject: tw
Thank You”
“A ética começa quando o outro entra em cena”
(in Em que Crêem os que nao Crêem?
Autores : Carlo Maria Martini , Umberto Ecco, 1996)
(12)
É tempo, não é clima
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