Stories by Horacio Quiroga
€15.41 IVA incluido
Illustrated rustic ISBN: 9788498974317
Hardcover ISBN: 9788411260060
Horacio Quiroga is, for many, the Spanish-speaking Edgar Allan Poe. However, unlike Edgar Allan Poe, who influenced him so much, Quiroga soon stopped looking for the extraordinary in the realm of the phantasmagorical and the grotesque to pursue it in the field of the real, of the everyday. Their stories were always characterized by reflecting tragic lives, with great losses of loved ones and love stories without happy endings.
Quiroga’s style is at the service of brevity, intensity and tension. The Uruguayan writer argued that the story should be:
“An arrow that, carefully aimed, starts from the bow to hit the target. How many butterflies will try to land on it to
to adorn its flight, they would only hinder it.”
In Decalogue of the perfect storyteller, published in this volume of Stories by Horacio Quiroga, Quiroga applies his ten commandments that define, in a blunt way, how one becomes unsurpassed in the art of producing or rather creating, as he himself says, stories.
Quiroga himself points out the importance of the brevity of the story and his conception of the importance of writing with a clear objective and a defined goal about the content of the story itself. Inspiration goes into the background, to give way to production, to the writer’s ability to elaborate textual worlds, already preconceived. It also points out that each story must have prefixed what it must contain, since every term must have a specific function.
For Quiroga, the story is a perfectly structured machine, in which there are no excess or missing pieces.
In this edition of Relatos de Horacio Quiroga, together with Decalogue of the perfect storyteller , we have included other narratives with the purpose of offering the widest possible sample of Quiroguian production. We leave you a comment from some of them:
“The Slaughtered Hen” tells the story of a married couple, Mazzini-Ferraz, who have four children who, after suffering from meningitis as children, are affected with severe physical and mental disabilities. The unhappy marriage is fortunate to have a healthy daughter, but happiness is short-lived at home. The possibility that biological inheritance could have been the reason for the disability of their children, causes in the relationship between the two spouses a progressive deterioration. Behind this history is latent the deterministic naturalism of the late nineteenth century, a literary current to which Quiroga did not remain alien.
“The Desert” contains numerous autobiographical elements. The situation of the protagonist, a man who after being widowed is left in charge of his young children in a jungle environment, is analogous to the one Quiroga lived after the suicide of his first wife.
“The Dead Man” an anonymous character refuses to admit his end with an attitude of mental rebellion.
Manual of the perfect storyteller
A long attendance of persons dedicated among us to writing stories, and some personal experience in this regard, have suggested to me more than once the suspicion of whether there are not, in the art of writing stories, some tricks of trade, some recipes of comfortable use and safe effect, and if they could not be formulated for the pastime of the many people whose serious occupations do not allow them to perfect themselves in a profession poorly paid by what they do. general and not always well seen.
This frequentation of the storytellers, the comments heard, having been a confidant of their struggles, concerns and despair, have brought to my mind the conviction that, with few exceptions in which a story goes well without any recourse, all the rest are made by means of recipes or procedural tricks available to everyone, Provided, of course, that its location and purpose are known.
Several friends have encouraged me to undertake this work, which we could call literary popularization, if literary were not a very advanced term for an elementary anagnosia.
One day, then, I will undertake this altruistic work, on either side, and pious, from other points of view.
Today I will point out some of the tricks that have seemed to me to be more at the top of the eye. It would have been my wish to cite the national tales whose paragraphs I extract below. It will be again. Let us content ourselves for now with exposing three or four recipes of the most usual and safe, convinced that they will facilitate the comfortable and homemade practice of what has come to be called the most difficult of literary genres.
We’ll start at the end. I have become convinced that, as in the sonnet, the story begins at the end. Nothing in the world would seem easier than finding the final sentence for a story that, precisely, has just concluded. Nothing, however, is more difficult.
I once found a friend of mine, an excellent storyteller, crying, elbows over a story he couldn’t finish. He was missing only the final sentence. But I didn’t see her, I sobbed, without being able to see her like that either.
I have observed that crying usually serves in literature to live the story, in the Russian way; but not to write it. It could be assured with closed eyes that every story that makes its author sob when writing it, mathematically admits this final sentence:
“She was dead!”Fragment of the work
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