I can Write BookCan I write a book?
From Anonymous: Can a Writer Escape a Vulnerability?
" Hello! - You just have to be mediocre to find a dozen of them; only a few of us are wealthy by typing. So many other good things to say: vengeance, passions, purifying sorrow or desperation. Inclusion of a (personal or foreign) existence for conservation.
And how many do not work in the hope of arousing the amazement of a faraway afterlife? At least one kind of author is resistant to the temptation of fame: the anonymies. Who would have someone who takes all the effort to create a textbook and then doesn't take a lot of praise for it?
Anonym is more than a pen name. This is a clear statement of intent: a barrier raised not only between the author and the readers, but also between the writer's work and his work. One thing is his work and another is his "real" existence, and the latter is completely taboo not only for you, the readers, but probably for almost everyone.
He sometimes wrote about something too personal, too frightening, too realistic to endure an open examination. As soon as the link is known, what he has wrote will indelibly shape his normal being. Every section is sorted in alphabetical order of authors. At the beginning of each book, in front of the actual script, the hiker might come across a few of Anonymous' many.
A true darling, a life-long book: an original 1955 edition of "A Women In Berlin", a true work of memoirs; a few years later, this volume was reissued and also filmed. This is our first reference to the possible motives of Anon: In an unsigned textbook, a female could find a way to openly debate sex without having to be assessed in the open or by her relatives or comrades.
Ultimately exposed as a Ursula Parrott, the writer gives a sorry, open portrayal of the Jazz Age Hookup cult, which was the same as today, minus the smart phones. This injustice of hypocrisy for men and woman in terms of freedom of sex (which today would be ridiculed as "slut-shaming") takes place above all in the drunken, strangely gentle tale of Patricia, who drifts purposelessly through a lifetime of joy after her 24 years of separation, but it is not really as pleasurable as all this.
The clear and passionless depiction of an anonym ized lady who was half-fallen hungry and violated several occasions during the 1945 Berlin invasion represented a thousand -fold danger to her in the case of "Eine Frau in Berlin". Besides the danger of being labelled a "corrupt" lady because she was violated - a subject extensively covered in the textbook - it was very risky to keep a journal in this fragile period and at this place (she was writing in a mixture of stenography, long hand and code).
Everyone who reads her work knows much more about this courageous and intelligent writer than anyone but her close friend, colleague or acquaintance could know. However, when she showed her friend the journal on his comeback from the fighting, as she wrote in the memoirs, he was appalled.
While there are many different ways to divorce people from work, it is not at all clear that such a divorce is possible at last. If it were possible to stay anonymous, as the writer of "A Women In Berlin" has done all her live, would "real" living look less like this?
In other words, did she have the feeling that she played a role with all those who knew nothing of her experience or of her writings for this celebrated work? To what degree a writer's published associations with his work can have a high price is shown by the case of Karl Ove Knausgaard, the NORWAY WORLD of "Min Kamp" (My Struggle), a serial of six very murky autobiographic books depicting the novelist and his wife and daughter - their depression s, anger, urinary retention, alcoholics, dementia, all in horribly trivial but strange details.
In Norway alone, the novel has already sells half a million books; Knausgaard's father's wife has had a break with him, his brothers won't talk to him, and his wife has almost completely collapsed because he wrote it. It' another to have it recorded. I couldn't bear that son of a bitch when I began a more systematic approach to his work.
I found this later when I wrote my first novel, when the parts I had wrote like a puppy were the same ones my journalist always pointed out and said: "This is really good! The sense of peril, the sense of true embarrassment, the sense of embarrassment that comes from a denominational painter like Knausgaard, is something like a harness performer who flies around without a net.
It' s as horrible as it is thrilling, probably more for the writer than for the readers. I can' even reread a very good critique. There is no such thing as a danger in itself. It is just a set of words in a certain order, pages, monitors, a series of thoughts.
Humans only make an idea perilous by frightening and abhorring it, and by denigrating and pursuing those who do not agree with it. This way, a writer's associations with his own thoughts can be very perilous, even deathsome. They have a pretty good shot at ever reading a textbook, but it's much more difficult to avoid hiding from writing one.
But beyond that, the deepest difficulty for those who envision being able to type and still avoid payoff. Authors are usually meant to bring the true parts of themselves to the site, whether or not they own their works in general or not. Bustillos is a Los Angeles-based author and a regular Page-Turner author.