Izilungiselelo ze-Scaraffia zigcwele izinhlamvu ezikhazimulayo. Futhi nabo umgomo we-Scaraffia ukwenza i- ukuhlolwa kanye nomlando uhlobo lwensimbi lapho okungokoqobo kudlula inganekwane kwesokudla. Ngoba ukukhuluma ngezihlakaniphi kwezobuciko, izincwadi, i-cinema nanoma yimuphi omunye umkhakha wabantu ovelele ukunxephezela inganekwane ngomsebenzi, ukuqeda ukuhlela lowo mlando omunye lapho okubhekiselwe khona kwesintu njengempucuko.
Ngaphandle kokuthi esimweni se-Scaraffia kunezimo ezihlala zihlanganyelwe (eziqondakalayo ekuqeqeshweni kwakhe ezincwadini zesiFulentshi). Izikhala lapha nalaphaya zeFrance enhle kakhulu. Ngezinye izikhathi, ukuhlangana okungenakwenzeka lapho isikhathi nendawo kuhoxiswa khona ukuze kuvusane ngama-syntheses amangalisayo okungenzeka achaze okuningi okungaziwa kakhulu uma kwenzeka ngempela. Imiqondo Wide evulekile mayelana lokusungula, intelligence futhi ngamafuphi psyche.
Mhlawumbe kuyinto yesiFulentshi njengombono ozalwa phakathi kwe-melancholic kanye nothando lokusikisela kolimi lwakhe. Iphuzu liwukuthi i-Scaraffia ijabulela kulowo mbono wokumisa izikhathi eziphila ngamaphunga nokuthinta. Ngaleyo ndlela ukuzuza ukuthi umhlaba ungahlalwa uguqulwe ube yisimilo sosuku.
Izincwadi ezi-3 eziphezulu ezinconyiwe ngu-Giuseppe Scaraffia
Enye ingxenye yeParis
I-Paris ifanele inqwaba, njengoba enye inkosi ingasho, ithatha ngokuthi ukuchithwa kweParis kufaneleka noma yisiphi esinye isinqumo ngengxenye yokufundwa okungahleliwe noma kwesikhashana. I-Scaraffia ikwazi kahle lokhu ngokusekelwe ekumeleleni okungenakuqhathaniswa akwenzayo kweParis eqhelile kodwa ehlale ebambekayo emsebenzini wakhe.
Kwesinye isikhathi sidida iParis nesithombe se-bohemian sebhange elingakwesobunxele le-Seine, i-rive gauche eyaziwa kakhulu. Kodwa, enkathini yezimpi, isigaba esiyinhloko sempilo yobuciko, yokubhala kanye nevamile yeDolobha Lokukhanya kwakungolunye ugu: i-rive droite ekhohliwe. Ngemva kwenhlekelele yeMpi Enkulu, umoya wokuvukela wawuvunguza kwezamasiko nezobuciko. Leyo kwakuyiminyaka yokukhululwa kwabesifazane, imidanso enesiphithiphithi kanye nesenzo sezombangazwe, yokucasulwa kwe-surrealist nokuzalwa kwenoveli yesimanje.
Iminyaka kaHenry Miller no-Anaïs Nin, Raymond Roussel, Marcel Duchamp, Elsa Triolet, Simone de Beauvoir, André Malraux, Marcel Proust, Colette, Vita Sackville-West, Louis-Ferdinand Céline, Jean Genet, Coco Chanel, Jean Cocteau, Sonia UDelaunay, u-Marina Tsvietáeva, u-Isadora Duncan, uStefan Zweig… Kanye nabanye abaningi abaphendule ibhange elingakwesokudla laba maphakathi nezwe. Ngesakhiwo somhlahlandlela wokuhamba oyingqayizivele owembula umhlaba onyamalele.
Enye ingxenye yeParis ingena ingena emigwaqweni nasezindlini, amahhotela nezindawo zokudlela, imitapo yolwazi nama-nightclub ahlalwa yile galari edidayo yabantu baseParis (ngoba bonke babe, ngokuzalwa noma ngokuzalwa kabusha). Futhi uhlanganisa izimfanelo ezenze u-Giuseppe Scaraffia waba umbhali wehlelo obalulekile: i-erudition engavamile, i-radical vitalism, kanye ne-pulse, phakathi kokuhlekisa nokuthambile, komxoxi wezindaba omuhle. Ngamafuphi, le ncwadi ayilona nje ibalazwe ledolobha noma lesikhathi esidlule, kodwa ukumelwa okucacile kwendlela yokuqonda ubuciko njengendlela yokuphila eqinisiwe, futhi okuphambene nalokho.
Izinjabulo Ezinkulu
Nakuba ababhali abasiza ukuzisiza bazikhandla ezincwadini nasezincwadini mayelana nendlela engcono kakhulu eya enjabulweni, i-Scaraffia isiyisa kulokho abantu abakhulu abakusho njengenketho engcono kakhulu engase ifinyelele kuleyo njabulo. Ngomqondo othobekile wokuthi akekho owaziyo ngokuqinisekile.
Umlobi ongumFulentshi uJules Renard wathi okuwukuphela kwenjabulo itholakala ngokuyifuna. Ukungabibikho kwabo kuyindlela enkulu kakhulu "yokungenalutho", futhi ngamunye unakekela ukunikeza lokho buze, kokubugcwalisa, noma kanjani angakwazi. Abanye banezinto, abanye abanokuhlangenwe nakho kanye nemizwa; nangalokhu esikubiza ngokuthi uthando. Kusukela ku-mystic kuya kubalandeli bemidlalo yenhlanhla, kusukela ku-guerrilla fighter kuya kumqoqi, bonke baphishekela into efanayo; njengoba uSomerset Maugham ayazi, "izinto esizikhumbulayo zibaluleke kakhulu kunezinto esinazo."
Abanye, njengoVoltaire, bayavuma ukuthi ngokuyisisekelo okumelwe ukwenze nje ukulima ingadi: lapho sizothola uhlobo olumsulwa lwenjabulo; abanye bayokuthola ezintweni ezithile, kungakhathaliseki ukuthi zithobeke kangakanani, lapho ubuhle bubonakala bufakwe emzimbeni. Wonke umuntu unendlela yakhe yokupheka futhi ngokuvamile ehlakazeka kakhulu ibonakala ihlakaniphe kakhulu. Kunabaningi abakholelwa, futhi abakholelwa, ukuthi injabulo enkulu (ngisho “intokozo “elula” yokufuna) isinikeza uhlobo olukhulu kakhulu lwenjabulo, okuwukuphela kwendlela eqinisweni.
Kunezinkomba eziningi kule ncwadi kanye nezingcaphuno eziningi, kokubili kwabesifazane abakhulu namadoda amakhulu (ababhali, abaculi, abenzi befilimu ...). Ezinye zezinjabulo zalo kakade zingezesikhathi esidlule, nakuba sizokujabulela ukufunda ngazo; kodwa iningi, ngenhlanhla, alinalo usuku lokuphelelwa yisikhathi. Njengokuqabula namabhayisikili, ikhofi noshokoledi, uhambo nezimbali.
Inoveli yaseCôte d'Azur
I-microcosm elandisayo kule noveli iba indawo yonke egcwele izinkanyezi. Asikhathali ngokuthola okukhazimulayo lapha nalaphaya phakathi kwabalingisi abaningi abashiye indlela yabo emhlabeni njengomzila ohehayo wenkanyezi edubulayo.
Lena indaba ethokozisayo yendawo eyinganekwane neyabalingiswa bezinganekwane abangaphezu kwekhulu abahlala kuyo isikhathi esithile. Kusukela ku-Anton Chekhov kuya kuStefan Zweig, kusukela eScott noZelda Fitzgerald kuya kuCoco Chanel; ngidlula ngoGuy de Maupassant, uFriedrich Nietzsche, uPablo Picasso, u-Alma Mahler, u-Aldous Huxley, uKatherine Mansfield, uWalter Benjamin, u-Anaïs Nin, uSomerset Maugham noma uVladimir Nabokov, phakathi kwabanye abaningi.
Emakhulwini eminyaka, i-Côte d'Azur yayingeyona nje ugu, indawo yokugibela noma yokwehla. Eqinisweni, ekupheleni kwekhulu le-XNUMX, kwakunabahlali abangamaNgisi abangamashumi amahlanu nesikhombisa kuphela eNice. Nokho, kakade ekuqaleni kwekhulu lama-XNUMX, uJean Lorrain wabhala okulandelayo: «Bonke abantu abahlanyayo emhlabeni bahlangana lapha... Bavela eRussia, bevela eMelika, bevela eningizimu ye-Afrika. Yeka isigejane sezikhulu namakhosazana, ama-marquises namaduna, amaqiniso noma amanga... Amakhosi alambile nezindlovukazi ezingenamali...
Imishado enqatshelwe, ama-ex-mistress ababusi, yonke ikhathalogu etholakalayo yezintandokazi zangaphambili, zama-croupies ashade nosozigidi baseMelika ... Wonke umuntu, wonke umuntu ulapha». Kodwa-ke, iningi lababhali nabaculi, i-Côte d'Azur yayiphambene nje: indawo yokuba yedwa, yokudala, yokucabangela; Indawo yokuphumula edolobheni elikhulu. "Ugu", kusho uCocteau, "yindlu yokushisa lapho kuvela khona izimpande; I-Paris yisitolo lapho kuthengiswa khona izimbali."
Nanamuhla, lelo khadi leposi lepharadesi eliyinganekwane alisikhumbuzi nje kuphela ngezikhangiso eziyinkimbinkimbi kakhulu zeMartini noma iCampari, kodwa futhi nokunethezeka okuhle kwamabhulukwe e-palazzo ane-espadrilles (lawa aphefumulelwe, njengezikibha ezinemigqa nesigqoko esimhlophe, ezingutsheni zamatilosi. nabadobi endaweni).
Kulowo mbono ofanayo, intsha "ehlakazekile futhi ekhaliphile" kaFrançoise Sagan noBrigitte Bardot ngezinye izikhathi inqoba inkumbulo kaSimone de Beauvoir nezithandwa zakhe noma phezu kukaMarlene Dietrich owafunda amanoveli kamakhelwane wakhe uThomas Mann khona lapho. UGeorges Simenon, ngokuqonda kwakhe okungenakuphutha, waveza kahle ukuthi iCôte d'Azur yayinjani ngesikhathi sakhe: «I-boulevard ende eqala eCannes futhi iphele eMenton; ibhuloho elingamakhilomitha angamashumi amane eligcwele ama-villas, amakhasino namahhotela aphambili».
Okunye kwavela kunoma iyiphi incwajana yokukhangisa: ilanga, ulwandle oludumile oluluhlaza okwesibhakabhaka, izintaba; izihlahla zamawolintshi, ama-mimosa, amasundu namaphayini. Izinkundla zayo zethenisi nezinkundla zegalofu; izindawo zayo zokudlela eziminyene, amabha kanye namakamelo etiye.
