African-American Music Appreciation
Born June 17
|Lidia Jorge b. 1946 – Portuguese novelist – A Noite das Mulheres Cantoras / The Night of the Singing Women (2011)|
Read about Lidia Jorge here
An interview with Lidia Jorge where she describes her writing and her formation as a writer:
Do the characters in my books reflect a state of despair? I do not consciously create them as such. I always consider my fictional characters as projects of people, other people, longing for another world, demanding other types of words, other logic and other destiny. If, from this drama, what strikes the reader is a feeling of unresolved despair, this is because the human face I try to bring together through the miracle of the beauty that words are supposed to bring is not there. The truth is that, in literature, what is opposed to disorder is not necessarily order, it is beauty. In the literary universe, the quiet desperation is the attitude of humans acting under the guise of the characters’ own words in search of meanings that are denied to us by daily existence.
Read a review of The Memorables by Lidia Jorge
Lídia Jorge autopsies the military coup that brought democracy to her country but more importantly, she questions what happened to the major players of the Carnation Revolution. Her book was published in 2014, for the fortieth anniversary of the 25 of April 1974 events. Ana Maria writes her story six years after she did her documentary and what she narrates happened in 2004, for the thirtieth anniversary of the revolution. Symbolic years. Time and remembrance are important in her book.
Read windsonsdad’s review of The Painter of Birds by Lidia Jorge
Read Lidia Jorge’s thoughts about the film adaptation of her novel
A Costa dos Murmúrios
Throughout the twentieth century, literature coexisted with cinema, absorbing its narrative techniques, but it also tried to escape from it in order to survive within its own physical space… there is a strong possibility that I would not write as I do, mindful of the murmur of smaller things, if I had not seen all those Nouvelle Vague films, if I had not been drawn to Buñuel’s mystical diabolism, to Fellini’s celebration of grand feasts, or even to Visconti’s aestheticism. Later on in life, I grew closer to film directors who are capable of drawing remarkable syntheses of all of these things. Some time ago, I wrote a short story entitled O Perfume, dedicated to Yilmaz Güney, because of his unforgettable film Yol. I wanted to pay homage to him by bringing that story up to date…
Lidia Jorge talks about the female characters in her novels
I think my novels take stock of a Mediterranean image of woman. Their
strength is powerful and subversive, more invisible than socially apparent.
Politics may still pass them by. The family still seems as if a given by nature
rather than by the culture. In my novels the women complain about their lot.
As I am not a feminist writer, in the traditional sense, I don’t portray them
as victims; neither do I give them good characters to contrast the evil ones. I’m not constructing a simplistic dichotomy. Humankind has two faces—the angelic and the savage. My women have too.
Watch a short “bio pic” of Lidia Jorge (in Portuguese)
Born June 18
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