tag:blogger.com,1999:blog-52162666689805065412024-03-06T03:23:50.795-03:00emilio fraiaUnknownnoreply@blogger.comBlogger294125tag:blogger.com,1999:blog-5216266668980506541.post-89958173929859854552024-01-07T21:53:00.002-03:002024-01-07T21:57:57.348-03:00in a sleepy, blue, sort of phosphorescent way. Conversa com a tradutora Zoë Perry sobre o Sebastopol, na revista inglesa Partisan Hotel. Edição de Dominic Jaeckle..Emilio FRAIA’s SEVASTOPOL (a novel translated from the Portuguese by Zoë PERRY) contains three distinct narratives, each burrowing into a crucial turning point in a person’s life: a young woman gives a melancholy account of her obsession with climbing Mount Everest; a Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-74210319206165138802024-01-05T15:36:00.002-03:002024-01-07T21:12:13.750-03:00porque são impossíveis de serem ditas.Entrevista sobre o Sebastopol para o World Literature Today.Emilio Fraia’s Sevastopol, out this summer from New Directions, is the sort of book that beguiles and dazzles in equal measure. Consisting of three disparate stories—of a mountain climber attempting to scale Mt. Everest, a mysterious loner who vanishes into the Brazilian countryside, and an avant-garde production set during the Crimean Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-30431720934513752712023-03-05T19:19:00.000-03:002023-03-05T19:19:08.793-03:00a bit gloomy, desolate, styled in a color palette that includes grays, greens, and violets.Texto da Melanie Broder na Public Books sobre o Sebastopol.“Trunov was always breathing the leaden air of war—he was up to his neck in it—but war, the war itself,” Emilio Fraia writes, “never appeared in his paintings.” The line is a mini-essay on atmosphere, and a compelling case for the kind of fiction Fraia writes. As with other elements throughout his new collection, Sevastopol, the Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-27076991366478320342022-08-08T23:41:00.006-03:002022-08-08T23:46:27.426-03:00onetti, mergulhador. Ensaio publicado na The Paris Review. Sobre Juan Carlos Onetti, Michel Leiris, mergulho, Ubatuba e vida submarina. Tradução da Zoë Perry.
I first read the Uruguayan writer Juan Carlos Onetti in December 2007, when I spent three weeks in the hospital due to an appendectomy gone wrong. Between doses of antibiotics, I asked my father to bring me a book that had just been published, of Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-52368511750394256802022-06-03T06:57:00.012-03:002022-06-03T07:04:31.389-03:00sevastopol (4).
Este mês, na Noruega, pela Solum Bokvennen.
.Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-31071648283833719102021-11-29T20:57:00.008-03:002021-11-29T20:59:33.696-03:00vírgula, uma controvérsia. Na World Literature Today, escrevi sobre a vírgula: "For linguist and Columbia University professor, John McWhorter, the comma is becoming redundant in the digital age. According to him, we could take commas out most of the texts we read “and would probably suffer so little loss of clarity that there could even be a case made for not using commas at all”. But it’s not just the internet Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-60926703655588591482021-11-08T21:04:00.003-03:002021-11-08T21:06:53.202-03:00anti-story.Erin Bloom sobre o Sevastopol, na Full Stop Magazine..“People always tell the same stories, even when they try to tell new stories." Ironically, or not, this memorable line appears in the third and final story of Sevastopol, Emilio Fraia’s collection of short fiction. In an interview about the collection, Fraia, a Brazil native, explained he is “less interested in the reality of objects Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-19282067665374350322021-10-19T13:01:00.005-03:002021-10-19T13:17:25.097-03:00um tapete . "Outro dia, lembrei-me de uma vez em que você veio aqui e, logo que chegou, pôs-se a vasculhar todos os armários à procura de um tapete sardo que queria pendurar na parede do seu porão. Deve ter sido a última vez que o vi. Eu estava nesta casa havia poucos dias. Era novembro. Você zanzava pelos aposentos e vasculhava todos os armários, que tinham acabado de montar, e eu andava atrás de Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-55536492289552378142021-08-07T13:56:00.002-03:002021-08-07T13:56:45.155-03:00sevastopol (3).
Em novembro, na Suécia, pela Bokförlaget Tranan.
.Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-12977952170485623002021-07-02T14:06:00.002-03:002021-07-02T14:06:19.329-03:00três leituras. Benjamin Moser na newsletter Urubuquaquá: "I’m excited to announce that New Directions, where I’ve been publishing the works of Clarice Lispector for all these years, has just published Sevastopol by Emilio Fraia. If Graciliano Ramos describes the old, romantic Brazil of a century ago, Emilio Fraia describes something much more like the country that exists today—the country and peopleEmilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-56106708750250697502021-06-27T18:43:00.002-03:002021-06-27T18:44:28.748-03:00ceticismo metaficcional. Ensaio de Lucas Bandeira de Melo Carvalho sobre o "Sebastopol", na Z Cultural, revista do Programa Avançado de Cultura Contemporânea da Universidade Federal do Rio de Janeiro (UFRJ).“O fundo daquela história […] era verdade; mas, ao transmitir os detalhes, o junker inventava e se vangloriava.” Liev Tolstói, “Sebastopol em agosto de 1855” Entre 17 de outubro de 1854 e 11 de Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-40620007979291838742021-06-21T13:03:00.002-03:002021-06-21T13:27:17.512-03:00seis leituras. Na Tank Magazine, Barbara Epler: A remarkable debut: three highly atmospheric and super-saturated stories feature characters yearning, striving and coming apart at the seams: emotions are let loose, and roll off independently like potatoes when their burlap sack moulders away. There is at once a weight and a phosphorescent brightness too (like Dickens’ description of Marley’s ghost Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-77803203974357174652021-06-20T19:16:00.006-03:002021-06-21T13:16:42.997-03:00estruturas que podem desabar a qualquer momento. Entrevista para Rosie Ellison-Balaam, no site da Lolli..Sevastopol is divided into three distinct stories, each with their own characters and plot, but there are similarities. Why did the novel take this form? What did you want the reader to get from them collectively? I wanted to write stories that stood on their own, but, at the same time, when set side by side, could be connected Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-71729890886718793942021-05-29T18:12:00.005-03:002021-06-21T13:16:15.526-03:00quatro leituras. Na Kirkus: Three snapshots of lives spent striving but ultimately falling short.On the surface, these stories have little in common: Each is titled by a month—December, May, August; each takes place in Brazil—the first and last in São Paulo, the second in “the middle of nowhere.” In the first, Lena writes to the creator of a short film playing on a loop in an art gallery near her homeEmilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-33693703303969100682021-04-18T13:18:00.002-03:002021-04-18T13:18:22.946-03:00imagens na cabeça. “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear. Why did the oil refineries around Carquinez Strait seem sinister to me in the summer of 1956? Why have the night lights in the Bevatron burned in my mind for twenty years? What is going on in these pictures in my mind? [...] Many people know about camera angles Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-84408380509091821852021-03-31T16:51:00.000-03:002021-03-31T16:51:10.010-03:00wounded comrades. Madeline Beach Carey, no The Commom Breath, sobre o Sevastopol..I first came across Emilio Fraia what seems like a lifetime ago. It was December
2019, just a few months before time slowed and then stopped for so many of us. I was
on my lunch break, eating in a crowded vegetarian self-service cafeteria in the centre
of Barcelona. A man from Nepal asked if he could share my table. I nodded, Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-11264382104782440092021-01-22T15:29:00.014-03:002021-01-22T15:58:51.357-03:00sevastopol (2)
.Na Inglaterra, em junho, pela Lolli Editions.Capa do Oskar Kohnen Studio.
.Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-6327702139248366322021-01-08T12:06:00.001-03:002021-01-08T12:07:07.780-03:00sevastopol
.
Em junho, nos Estados Unidos, pela New Directions. Capa do Oliver Munday.
.Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-18441953822061187892020-12-22T13:51:00.003-03:002020-12-22T13:53:16.125-03:00deve ser suficiente. "Quando Baal Schem, fundador do hassidismo, tinha uma tarefa difícil pela frente, ia a certo lugar no bosque, acendia um fogo, fazia uma prece, e o que ele queria se realizava. Quando, uma geração depois, o Maguid de Mesritsch viu-se diante do mesmo problema, foi ao mesmo lugar do bosque e disse: 'Já não sabemos acender o fogo, mas podemos proferir as preces', e tudo aconteceu segundo seusEmilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-10697380289756458512020-08-31T11:44:00.002-03:002020-08-31T11:46:46.271-03:00suécia & uk. Sobre o Sebastopol, no site do Brazilian Publishers:The year of 2020 has been a great year for Emilio Fraia so far. After having the rights of his book Sebastopol sold for an adaptation to the big screen, the Brazilian writer now has his work arriving on the shelves of Swedish bookshops. The title is being released in that country by Tranan, a traditional publisher. The company has alreadyEmilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-71292351907468355142020-07-09T09:37:00.002-03:002020-07-09T09:37:27.939-03:00em que montanha azul a nossa meta?
.
"Estuários freqüentes
Desviam nossas velas.
E de que lado, onde
Uma visão mais bela
Se o único prazer
É ter o mar, o vento
E naufrágios além
E descobertas
E permanências veladas...
Muita ausência...
Em que montanha azul a nossa meta?"
Hilda Hilst, "Ode Fragmentária", Exercícios, 2002
.
Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-69129528083632154262020-06-29T13:46:00.001-03:002020-06-30T20:15:38.720-03:00é difícil falar de si
.
Sobre Natalia Ginzburg e o lançamento de Todos os nossos ontens pela TAG Livros, entrevista para a Fernanda Grabauska.
No prefácio à edição da Companhia das Letras de Léxico familiar, Alejandro Zambra enumera uma série de razões para ler Natalia Ginzburg. Uma delas é que seus relatos são tão inspiradores que, ao terminar o livro, o leitor tem vontade de escrever o seu próprio relato Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-38935635234347259372020-06-04T11:05:00.000-03:002020-06-04T11:07:20.698-03:00a um velho poeta no peru
.
"Porque nos conhecemos no entardecer
Debaixo da sombra do relógio da estação
de trens
Enquanto minha sombra estava visitando Lima
E o seu fantasma estava morrendo em Lima
uma cara velha precisando ser barbeada
E minha jovem barba que brotava
magnífica como cabelo morto
nas areias de Chancay
Porque pensei equivocadamente
que você
estava melancólico
Cumprimentando seus pés de 60 anos
que Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-45072145937775873622020-05-21T14:28:00.005-03:002020-10-27T23:06:38.165-03:00uma luz muito forte de repente
.
Então você conta uma história a si mesma. Ela fica ali por umas horas, se fixando. Primeiro, parece que a história poderia ter sido contada de um outro jeito. Mas logo você se surpreende com a ideia de que não, talvez não exista nenhum outro jeito de contar aquilo. Você bem que tentou, você tentou, sim. Alguns dias se passam e agora, para dizer a verdade, você não quer contar a Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.comtag:blogger.com,1999:blog-5216266668980506541.post-78475005582039566572020-05-20T09:56:00.004-03:002022-01-13T23:16:44.074-03:00da série personagens horríveis
.
ZOOM
Mas minha cena preferida é uma cena de sexo em que o sexo não existe, está num conto do Tchékhov, é quando o Gurov seduz a Ana. Eles vão para a casa dela, e entram no quarto, e em vez de narrar o que acontece na cama, Tchékhov leva a gente pra dentro da cabeça desse homem, Gurov, e ele passa a lembrar e a fazer uma lista de outras mulheres com quem saiu e trepou. Tchékhov narra a cena Emilio Fraiahttp://www.blogger.com/profile/03467910949952597215noreply@blogger.com