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Santiago Gamboa :: Necropolis


Later I had to deal with the question of what I call “hot and cold writing,” in other words, the way you perceive the writing as you’re doing it and the way you see it after being away from it for a few hours, when the words get cold and you can look calmly at what you did, and think about the distance between that result and the impression you had as you were doing it in the heat of the moment. It’s like the casting of the metal in the making of bells, as you see in the film Andrei Rublev, by old Tarkovsky: the tone and appearance of a cast when you put the molten steel in the mold is very different than its final form, when it’s cooled down, and the same goes for words: when they’re a flow of lava descending from the cerebral cortex to the fingers they have a shiny appearance that blinds and flatters, but their true face is the one they acquire hours later, when the smoke clears and you can see them by the light of day; they’re never as radiant as they were before, and you dither and feel lost and go back to the beginning, you stand back and redo it it or give it all up and are left with the empty space that’s the silence of writing and which, as in music, has its own value, that’s the way it is, my brothers, but anyway, let’s carry on with the story.

Necropolis, Gambao, Santiago, p144, Europa Edition, 2012
August 9, 2012 2:47 pm

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