Fórum Fantástico


O Pássaro Pintado ilustrado by Safaa Dib
Outubro 28, 2006, 11:01 am
Filed under: Fórum Fantástico 2006

passaropintado_novo.gif

@ 2006 João Maio Pinto. Exibido com a autorização do autor.

Eis uma das ilustrações que irão compor o conteúdo da edição de O Pássaro Pintado, sob chancela da editora Livros de Areia. Através do traço descolorido de João Maio Pinto, entra-se no mundo de Jerzy Kosinski.

E para os interessados em desfrutar de mais aperitivos, poderão agora, através da página principal do site da editora, visualizar e ouvir um trailer de O Pássaro Pintado.

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O mais fantástico de tudo é que ainda se possam fazer cerimónias para festejar o lançamento de livros que já foram expostos como refinadas vigarices, escritas por aldrabões profissionais como Jerzy Kosinski…

Refiro-me, é claro, a “O Pássaro Pintado”, que vai ser lançado na 5ª feira. Vejam por favor as duas pequenas citações que rapidamente pesquisei na internet, uma de fonte revisionista (o excelente Arthur Butz de cujo artigo recomendo a leitura completa) e outra absolutamente “mainstream”…

A.S.Marques

Quoting: Historical Past vs. Political Present (Arthur R. Butz)
http://www.ihr.org/jhr/v19/v19n6p12_Butz.html

There was no attempt to rescind his [Wilkomirsky’s] National Jewish Book Award. Norman Finkelstein has discussed this phenomenon recently, recalling Elie Wiesel’s earlier obstinate loyalty to Jerzy Kosinski long after his 1965 “basic Holocaust text,” The Painted Bird, was exposed as a fraud. (Kosinski committed suicide in 1991, perhaps because his fraud had been exposed a few years before by Polish journalist Johanna Siedlecka.) Finkelstein noted that Yisrael Gutman, a director of the Yad Vashem center in Jerusalem, has said it isn’t important that the Wilkomirski yarn is a fraud: “Wilkomirski has written a story which he has experienced deeply; that’s for sure… He is not a fake. He is someone who lives this story very deeply in his soul. The pain is authentic.”[note 39] Another Yad Vashem official who defended the Wilkomirski book when the controversy erupted was Lea Balint.[note 40] Bear in mind that Yad Vashem holds itself to be the central and official repository of “survivor” accounts.
[…]
The complication is that we think of religion as universal and other worldly. Judaism, by contrast, is a tribal religion of this world, in which contention with gentiles is a major ingredient, both in practice and in myth (for example, their “cheerfully reported genocidal wars”, as Wilson puts it [note 52]. As Kevin MacDonald writes, Judaism is among other things “a group evolutionary (and) reproductive strategy that facilitates resource competition by Jews with the gentile host society.”[note 53] We have nothing in our religious experiences that begins to resemble those of a Jew in relation to Judaism. I believe that, excluding from consideration some idiots, their idea of what it means for something to happen is about the same as ours, but there is a paucity of evidence for what they want to claim happened. As shown by the Laqueur book, the facts of the past do not support them, and they will avoid Laqueur’s path henceforth. However they do possess the present, politically. That is emphatically expressed in the Berenbaum outburst that opened this paper. A cold calculation shows that a strong weapon in promoting the legend is bawling “survivors” who will not be challenged because to do so would only increase the hurt to them.[note 54] Kosinski and Wilkomirski may be frauds but, hey, we don’t want people to develop a habit of reading such writings critically. That concern simmered, not very well hidden, in the defense of the “Ortho” award to Wilkomirski. People may even start wondering about Elie Wiesel, as did Alfred Kazin, who accused Wiesel, Primo Levi and Jerzy Kosinski “of ‘making a fortune off the Holocaust’ and inventing atrocities.”[note 55] They may even start wondering about those Auschwitz alleged eye witness testimonies, and the Auschwitz legend doesn’t have much else.

*********
Quoting: A Life Beyond Repair, Jerzy Kosinski: A Biography. By James Park Sloan. Reviewed by D. G. Myers
http://www.leaderu.com/ftissues/ft9610/myers.html

A fitting end, some might say, to a literary life that was built upon lies. For years Kosinski passed off The Painted Bird as the true story of his own experience during the Holocaust. Long before writing it he regaled friends and dinner parties with macabre tales of a childhood spent in hiding among the Polish peasantry. Among those who were fascinated was Dorothy de Santillana, a senior editor at Houghton Mifflin, to whom Kosinski confided that he had a manuscript based on his experiences. Upon accepting the book for publication Santillana said, “It is my understanding that, fictional as the material may sound, it is straight autobiography.” Although he backed away from this claim, Kosinski never wholly disavowed it. He described the book as an “auto-fiction,” explaining that it “draws upon a childhood spent, by the casual chances of war, in the remotest villages of Eastern Europe.” Although it is not “easily justified,” he said, it is nonetheless “convenient” to classify The Painted Bird as nonfiction.

And so it was widely received. Reviewing the book for the New York Times Book Review, Elie Wiesel said, “It is as a chronicle that The Painted Bird . . . achieves its unusual power.” Other critics described it as “semi-autobiographical” or a “testament,” praising its historical value. As late as 1976, in a preface to the second edition, Kosinski continued to prevaricate. He never said outright that the book was not an autobiography. The reason he rejected the label, he said, was that he did not wish to be cast “in the role of spokesman for my generation, especially for those who survived the war.” Even so, anyone who “bothered to refer to actual source materials” would find that he “was not overstating the brutality and cruelty that characterized the war years in Eastern Europe.” He even quoted a death camp commandant to establish that the theme of his book was true to the experience of all Jewish children under the Nazis: “The rule was to kill children right away.” And then he repeated the story he had told so many times before: to save him, his own parents had sent him away to live among strangers, just like the unnamed boy in The Painted Bird.

The trouble is, it wasn’t true. And yet the truth about Jerzy Kosinski, as set forth in this new biography by James Park Sloan, may be even more fascinating. For though he disclaimed the role of spokesman for his generation, he was representative of it in many ways. A creature of postmodernity, he suffered-and celebrated-some of the most destructive pathologies of the age. It was as if he were hellbent on acting out the rupture in human values caused by the Holocaust. That was the central theme of his novels, and of his own life.

Comentar por A.S.Marques

O mais fantástico de tudo é que ainda se possam fazer cerimónias para festejar o lançamento de livros que já foram expostos como refinadas vigarices, escritas por aldrabões profissionais como Jerzy Kosinski…

Refiro-me, é claro, a “O Pássaro Pintado”, que vai ser lançado na 5ª feira. Vejam por favor as duas pequenas citações que rapidamente pesquisei na internet, uma de fonte revisionista (o excelente Arthur Butz de cujo artigo recomendo a leitura completa) e outra absolutamente “mainstream”…

A.S.Marques

Quoting: Historical Past vs. Political Present (Arthur R. Butz)
http://www.ihr.org/jhr/v19/v19n6p12_Butz.html

There was no attempt to rescind his [Wilkomirsky’s] National Jewish Book Award. Norman Finkelstein has discussed this phenomenon recently, recalling Elie Wiesel’s earlier obstinate loyalty to Jerzy Kosinski long after his 1965 “basic Holocaust text,” The Painted Bird, was exposed as a fraud. (Kosinski committed suicide in 1991, perhaps because his fraud had been exposed a few years before by Polish journalist Johanna Siedlecka.) Finkelstein noted that Yisrael Gutman, a director of the Yad Vashem center in Jerusalem, has said it isn’t important that the Wilkomirski yarn is a fraud: “Wilkomirski has written a story which he has experienced deeply; that’s for sure… He is not a fake. He is someone who lives this story very deeply in his soul. The pain is authentic.”[note 39] Another Yad Vashem official who defended the Wilkomirski book when the controversy erupted was Lea Balint.[note 40] Bear in mind that Yad Vashem holds itself to be the central and official repository of “survivor” accounts.
[…]
The complication is that we think of religion as universal and other worldly. Judaism, by contrast, is a tribal religion of this world, in which contention with gentiles is a major ingredient, both in practice and in myth (for example, their “cheerfully reported genocidal wars”, as Wilson puts it [note 52]. As Kevin MacDonald writes, Judaism is among other things “a group evolutionary (and) reproductive strategy that facilitates resource competition by Jews with the gentile host society.”[note 53] We have nothing in our religious experiences that begins to resemble those of a Jew in relation to Judaism. I believe that, excluding from consideration some idiots, their idea of what it means for something to happen is about the same as ours, but there is a paucity of evidence for what they want to claim happened. As shown by the Laqueur book, the facts of the past do not support them, and they will avoid Laqueur’s path henceforth. However they do possess the present, politically. That is emphatically expressed in the Berenbaum outburst that opened this paper. A cold calculation shows that a strong weapon in promoting the legend is bawling “survivors” who will not be challenged because to do so would only increase the hurt to them.[note 54] Kosinski and Wilkomirski may be frauds but, hey, we don’t want people to develop a habit of reading such writings critically. That concern simmered, not very well hidden, in the defense of the “Ortho” award to Wilkomirski. People may even start wondering about Elie Wiesel, as did Alfred Kazin, who accused Wiesel, Primo Levi and Jerzy Kosinski “of ‘making a fortune off the Holocaust’ and inventing atrocities.”[note 55] They may even start wondering about those Auschwitz alleged eye witness testimonies, and the Auschwitz legend doesn’t have much else.

*********
Quoting: A Life Beyond Repair, Jerzy Kosinski: A Biography. By James Park Sloan. Reviewed by D. G. Myers
http://www.leaderu.com/ftissues/ft9610/myers.html

A fitting end, some might say, to a literary life that was built upon lies. For years Kosinski passed off The Painted Bird as the true story of his own experience during the Holocaust. Long before writing it he regaled friends and dinner parties with macabre tales of a childhood spent in hiding among the Polish peasantry. Among those who were fascinated was Dorothy de Santillana, a senior editor at Houghton Mifflin, to whom Kosinski confided that he had a manuscript based on his experiences. Upon accepting the book for publication Santillana said, “It is my understanding that, fictional as the material may sound, it is straight autobiography.” Although he backed away from this claim, Kosinski never wholly disavowed it. He described the book as an “auto-fiction,” explaining that it “draws upon a childhood spent, by the casual chances of war, in the remotest villages of Eastern Europe.” Although it is not “easily justified,” he said, it is nonetheless “convenient” to classify The Painted Bird as nonfiction.

And so it was widely received. Reviewing the book for the New York Times Book Review, Elie Wiesel said, “It is as a chronicle that The Painted Bird . . . achieves its unusual power.” Other critics described it as “semi-autobiographical” or a “testament,” praising its historical value. As late as 1976, in a preface to the second edition, Kosinski continued to prevaricate. He never said outright that the book was not an autobiography. The reason he rejected the label, he said, was that he did not wish to be cast “in the role of spokesman for my generation, especially for those who survived the war.” Even so, anyone who “bothered to refer to actual source materials” would find that he “was not overstating the brutality and cruelty that characterized the war years in Eastern Europe.” He even quoted a death camp commandant to establish that the theme of his book was true to the experience of all Jewish children under the Nazis: “The rule was to kill children right away.” And then he repeated the story he had told so many times before: to save him, his own parents had sent him away to live among strangers, just like the unnamed boy in The Painted Bird.

The trouble is, it wasn’t true. And yet the truth about Jerzy Kosinski, as set forth in this new biography by James Park Sloan, may be even more fascinating. For though he disclaimed the role of spokesman for his generation, he was representative of it in many ways. A creature of postmodernity, he suffered-and celebrated-some of the most destructive pathologies of the age. It was as if he were hellbent on acting out the rupture in human values caused by the Holocaust. That was the central theme of his novels, and of his own life.

Comentar por A.S.Marques

Sobre a polémica acerca do suposto valor “autobiográfico” deste romance (repito: ROMANCE), e dessa obsessão americana em procurar comprovações factuais para tudo o que se lê num romance que tem uma base histórica ou biográfica (e lembramos que, de facto, Kosinski era uma criança judia que vivia na Polónia aquando da invasão Nazi: fim de base biográfica), remetemos para as excelentes anotações de Vasco Barreto, no extinto “A memória inventada”. Estão no nosso blogue, aqui: http://livrosdeareia.blogspot.com/2006/11/memria-lembrada-ii-kosinski.html. Às vezes, é mesmo necessária a mente lúcida e fria de um cientista para dissipar as patetices que se acumulam à volta da literatura e do romance.
E já agora leiam este post, onde se justifica a nossa escolha deste livro: http://livrosdeareia.blogspot.com/2006/11/memria-lembrada-i-kosinski.html.
Obrigado.

Comentar por Pedro Marques

http://20six.co.uk/ritas/

Comentar por kousxz

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Comentar por vleyimp

Howdy. Simply just planned to ask a quick problem. Now i’m gffaeedceaab

Comentar por Johne785




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