Li o “Manual para Mulheres de Limpeza” nas férias de natal. Não se tratou de uma leitura vulgar, havia sofreguidão e dor — usei o livro como paliativo. Até resultou bem, algumas das frases pareciam ora flechas ora bálsamos e por isso estarei sempre grata a Lucia Berlin. Mas consolo e reconhecimento não servem para escrever uma crítica. Na altura rabisquei apenas uma nota zangada sobre os textos da contracapa e ainda não sei quando regressarei a Lucia Berlin.
Apenas para lhe dar mais espaço do que uma fotografia, porque ela merece tanto, fica a ligação para esta entrevista onde Lucia explica melhor essa coisa das influências (mais subtil do que a chapa cinco dos editores e de alguns críticos).
KP: But many of the people you talk about that you’ve read don’t really seem to have influenced your writing.
LB: No, influences were young poets like Ed Dorn and Robert Creeley. In the years when I was young, the emphasis was on writers like William Carlos Williams, writing in the clearest, simplest American speech. Writing out of real life, and taking from real life, not embellishing but being as open-eyed and level as possible. I think that was the biggest influence, that was how I learned. It helped me as a young writer to not show off and not try to be romantic, or try to be funny, but to let the story be itself. And I did write to him [Williams] in my head for a long time, questioning whether he’d think something was arch or cute or showing off.
KP: So you knew most of your influences.
LB: Sure. But also William Carlos Williams, in his prose, his short stories. And the Black Mountain poets, whom I did know, had that clarity and simplicity that I looked for.
Apenas para lhe dar mais espaço do que uma fotografia, porque ela merece tanto, fica a ligação para esta entrevista onde Lucia explica melhor essa coisa das influências (mais subtil do que a chapa cinco dos editores e de alguns críticos).
KP: But many of the people you talk about that you’ve read don’t really seem to have influenced your writing.
LB: No, influences were young poets like Ed Dorn and Robert Creeley. In the years when I was young, the emphasis was on writers like William Carlos Williams, writing in the clearest, simplest American speech. Writing out of real life, and taking from real life, not embellishing but being as open-eyed and level as possible. I think that was the biggest influence, that was how I learned. It helped me as a young writer to not show off and not try to be romantic, or try to be funny, but to let the story be itself. And I did write to him [Williams] in my head for a long time, questioning whether he’d think something was arch or cute or showing off.
KP: So you knew most of your influences.
LB: Sure. But also William Carlos Williams, in his prose, his short stories. And the Black Mountain poets, whom I did know, had that clarity and simplicity that I looked for.
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