Qual é o interesse em contar histórias que nem sequer são verdadeiras?
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Data
2007
Autores
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Editora
Edições Universitárias Lusófonas
Resumo
A escrita pós-moderna de Salman Rushdie
faz confluir, de modo irónico, tradições
aparentemente incompatíveis entre si. No seu
romance Haroun and the Sea of Stories (1990),
os recursos de Rushdie a várias culturas
reúnem-se para dar origem a uma nova e
imaginativa consciência multicultural. Claro que
esta atitude é baseada na suposição de que as
tradições não devem ser rejeitadas como
irrelevantes, já que constituem aquilo que é a
nossa herança cultural.
O próprio Rushdie associa a escrita ficcional
à procura de uma noção de verdade, por muito
irónica que esta seja, defendendo que a
condição contemporânea se caracteriza pela
rejeição de explicações totalizantes. Para além
disso, Ruhdie afirma que o romance, como
forma criada para discutir a fragmentação da
verdade, se insere nesta demanda. É como se
ele, em Haroun, também quisesse recriar nos
seus leitores a desinquietante, senão exultante,
semelhança com o mundo exterior, em
constante movimento de redefinição. Neste
sentido, esta “chutnificação da história”, como
Salman Rushdie lhe chama, não nega nem a
noção do passado, nem a da identidade,
confirmando, antes pelo contrário, que tanto a
história como as identidades que cria constituem
processos intermináveis.
As a post-modern author, Salman Rushdie’s writing mirrors an ironical survey of various and seemingly incompatible traditions. In his novel Haroun and the Sea of Stories (1990), Rushdie’s resources of diverse cultures are brought together to give rise to a new imaginative and “multicultural” consciousness. This attitude is of course based on the assumption that traditions should not be dismissed as irrelevant as they constitute what is called the cultural heritage. Rushdie himself associates the writing of fiction with the search for some notion of truth, however ironic and qualified, as he claims that the rejection of totalized explanations is the modern condition. Furthermore, Rushdie states that the novel, as the form created to discuss the fragmentation of truth, comes in such quest. It is as though in Haroun Rushdie also meant to recreate for its readers the disquieting, if exhilarating, semblance of an outside world in constant flux and redefinition. Hence, this “chutnification of history” as Salman Rushdie calls it, denies neither the notion of the past, nor that of identity; on the contrary it affirms that both history and the identities it creates are a never-ending process.
As a post-modern author, Salman Rushdie’s writing mirrors an ironical survey of various and seemingly incompatible traditions. In his novel Haroun and the Sea of Stories (1990), Rushdie’s resources of diverse cultures are brought together to give rise to a new imaginative and “multicultural” consciousness. This attitude is of course based on the assumption that traditions should not be dismissed as irrelevant as they constitute what is called the cultural heritage. Rushdie himself associates the writing of fiction with the search for some notion of truth, however ironic and qualified, as he claims that the rejection of totalized explanations is the modern condition. Furthermore, Rushdie states that the novel, as the form created to discuss the fragmentation of truth, comes in such quest. It is as though in Haroun Rushdie also meant to recreate for its readers the disquieting, if exhilarating, semblance of an outside world in constant flux and redefinition. Hence, this “chutnification of history” as Salman Rushdie calls it, denies neither the notion of the past, nor that of identity; on the contrary it affirms that both history and the identities it creates are a never-ending process.
Descrição
Caleidoscópio : Revista de Comunicação e Cultura
Palavras-chave
COMUNICAÇÃO, ESCRITA, LITERATURA, COMMUNICATION, WRITING, LITERATURE