Archived entries for crimescapes

Instead we are in the green and pleasant land of a satirical utopia for our times, where recycling and organics abound, people keep saying how much they like each another, and the brave new world of virtual sharing and caring breeds monsters.

Some will call The Circle a “dystopia,” but there’s no sadistic slave-whipping tyranny on view in this imaginary America: indeed, much energy is expended on world betterment by its earnest denizens. Plagues are not raging, nor is the planet blowing up or even warming noticeably. Instead we are in the green and pleasant land of a satirical utopia for our times, where recycling and organics abound, people keep saying how much they like each another, and the brave new world of virtual sharing and caring breeds monsters.

via When Privacy Is Theft,
a review of Dave Eggers’ “The Circle”
by Margaret Atwood @The New York Review of Books
.

small fates | TEJU COLE (II)

But the key aspect of the experience for the non-Nigerian is the cascade of names and places, both the names in traditional Nigerian languages, or the unexpected incursion of English-language names. Some of these “English” names would not be borne by anyone in England: Miracle, Precious, Gift, Sunday. The non-English names, on the other hand, place you deep inside a world that might, at first, feel hard to understand, or even to pronounce. But even for those who can’t tell an Igbo name from a Yoruba one, or what makes the culture of Bauchi state different from that of Edo, the stories remain poignant. They are human stories. There are crimes of passion, inexplicable murders, courtroom outbursts, and moments of greed.

via small fates | TEJU COLE.

Nijuman no borei / 200000 Phantoms / 200000 fantômes (2007)

La literatura policial se funda (como lo han notado Chesterton, Borges y Butor y lo ha esquematizado Todorov) en la tensión insalvable entre el crimen y el relato. En realidad es una diferencia esencial: el crimen tiende al secreto, al silencio, a la huella borrada y está fuera del lenguaje mientras que el relato hace hablar lo que se mantiene oculto, dice de más, revela y delata. En este sentido el gé­nero se funda en una paradoja: cuando el crimen es perfecto es invisible y es abstracto y por lo tanto no se lo puede reconstruir. Están sus huellas, pero sus huellas no llevan a ningún lado. (…) El crimen perfecto só­lo puede ser escrito desde la óptica del asesino. De lo contrario es só­lo un“caso”, una historia abierta y sin sentido como las que proliferan en la cró­nica roja de los diarios.

Ricardo Piglia en su prefacio a Crímenes perfectos


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