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Rosa Montero Books

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Tears in Rain

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La buena suerte

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La carne

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“¿No son precisamente esos muros invisibles de cosas silenciadas uno de los elementos más habituales de la vida en común? Con los años, las parejas se van llenando de pequeñas desilusiones, de divergencias del proyecto amoroso que creyeron entrever en la primera pasión, de fallos propios y ajenos, rendiciones, aceptación acomodaticia de sus egoísmos y su cobardía. Con los años, el otro o la otra cada vez está más cerca en las rutinas pero más lejos en lo esencial. Hasta llegar a convertirse, en ocasiones, en perfectos extraños. Y los peores son los extraños bien sincronizados, aquellos que entran y salen juntos, que van de vacaciones, que cenan con los amigos y jamás discuten, pero que luego, cuando están los dos solos, ni se miran a los ojos, sideralmente separados por el telón de hierro de todo lo que han dejado de compartir y decirse.”

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Book:La buena suerte
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“Não sei se você já perdeu alguém muito próximo e querido. Quando uma pessoa morre, leva junto um mundo. O sentido de um mundo. Sua roupa deixa de ter utilidade. Esse casaco que lhe caía tão bem e de que ela tanto gostava não passa agora de um trapo pendurado em um cabide. Seus objetos emudecem: agora ninguém mais sabe o que significava essa xícara de porcelana com a qual sempre tomava chá, em que época foi comprada, que lembranças despertava. Ou essa pequena pedra polida que sempre trazia junto ao computador: de que montanha a trouxe, de que rio, por quê. As coisas se esvaziam de história e de essência e se convertem em lixo. Os mortos nunca vão sós: levam junto um pedaço do universo.”

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Book:La buena suerte
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“Aunque dos personas de la clase alta no se conocieran, podían pasarse media tarde enhebrando nombres de amigos comunes, parientes, concuñados y compañeros de colegio o de consejo de administración, cosa que venía a ser lo mismo, porque las relaciones empezaban en el parvulario y terminaban en la cúpula de las grandes empresas. Y así iba transmitiéndose el poder real de una generación a otra de primos y tíos verdaderos o falsos, mientras los demás mortales no pertenecientes a la familia daban vueltas como cometas por los confines”.”

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Book:La carne
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“Ser maldito es saber que tu discurso no puede tener eco, porque no hay oídos que lleguen a entenderte. En esto se parece a la locura. Ser maldito es no coincidir con tu tiempo, con tu clase, con tu entorno, con tu lengua, con la cultura a la que se supone que perteneces. Ser maldito es desear ser como los demás pero no poder. Y querer que te quieran pero sólo producir miedo o quizá risa. Ser maldito es no soportar la vida y sobre todo no soportarte a ti mismo.”

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Book:La carne
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“The flesh is what traps us, because no one has ever chosen his or her body to live in, has he? It's the flesh that makes us sick, that makes us old and that eventually ends up killing us. But at the same time, it's that glorious flesh that enables us to scratch heaven through sensuality, through passion. Paradoxically, the flesh that kills us will also make us feel eternal for a brief moment because that's what we are in passion, eternal - we abandon ourselves, we give ourselves to the other, so much that when we are loving passionately, death doesn't exist.”

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Author:Rosa Montero
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“The truth about being a writer is you do not choose the stories you tell, but stories choose you. You do not choose, therefore, characters either. Novels are like dreams you dream with your eyes open; they are books which appear in your head with the same apparent immediateness as they appear in your dreams at night. A writer always writes their obsessions and the truth is that all throughout life we end up writing the same thing in different ways.”

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Author:Rosa Montero
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“One of the things that troubles me the most in life, that upsets all of us, is that we reach this world with the capability to be anything. But then life starts to confine us inside our small realities. And then, the shadow of those other possible lives stays to lurk us and you can't shake it off, since it was so easy, it'd have been so easy to lead another life. We make twenty thousand small choices a day, and maybe one of those choices is the one that will take us to a completely different life. If you stop to think about it, it is vertiginous, hypnotizing and distressing.”

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“The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.”

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“The art path leads you to be increasingly free. And what does "because of being increasingly free" mean? Julio Ramón Ribeyro used to say a mature novel demands the author's death, not literal death but metaphoric death, which is the author has to truly erase himself. Therefore, to be truly free, you have to break free from internal and external pressures, to erase the self completely and become a sort of medium, let the story pass through yourself and let the story dance with you.”

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Author:Rosa Montero
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