Counterpoint, by Don DeLillo 
Ramón Buenaventura says in the introduction to this book by Don DeLillo that he translated that Counterpoint is a poem of modern art where there is not a single sentence unfair, that the full text to us in a meditation meeting outside the logic, just stick to the logic natural feelings, the only true, the only "Apostille, which works in real life. Immediately after you finish reading this booklet an American teacher finds it fitting that English was the teacher's observations. Counterpoint In DeLillo subtly presents and reflects on the exaggerated "autism" of three of the "monsters" artistic highlights of the last century, on the indispensable and sometimes terrible and perhaps its inevitable tendency to isolation and introspection that undoubtedly led to some of the highest peaks of art of our time (all time, come on). He speaks three real characters in Thomas Bernhard, Glenn Gould and Thelonious Monk, and we also speaks of Atanarjuat, the counterpoint in fiction of all. I swear I got sick to see such a cast assembled here: the geniuses who attends DeLillo, the author of this book (himself a genius) and the protagonist of one of the most exciting films I've seen in recent years, and on which I have spoken already here . And catches the eye as it relates to them not directly, but to provide his own fictions. Use The late to track Bernhard himself in the narrator's voice, or Wertheimer, the friend killed by the genius of Gould (when he says Bernhard on one of his misfortune Graciet "Twenty eight years ago to move around the room 33 of the second floor of the Mozarteum, as I recall, just four in the afternoon and listen to the Aria of the Goldberg Variations ), or the Gould character. When referring to the other two will DeLillo through fiction that they build on the documentary (almost) Thirty-two Short Films About Glenn Gould and Straight No Chaser
, where we see Thelonius Monk to a madman running around on itself in "a variant of bop of dance dervish ", hearing what others may not hear (known Monk, Monk knows, say whispered behind these Ecstasy)." DeLillo is for this, paradoxically, the only way to achieve its objective, to capture the elusive truth and the whole creative force to withdraw into themselves geniuses of that caliber? They all go in one way or another to the Arctic (could be that by art and beauty unattainable killers ... come to DeLillo say), to the land of ice which is perhaps nothing. We give up trying to restore his extreme sense of isolation, they leave. Bernhard, or the unnamed narrator of his novel, and Wertheimer, its star has risen ever the snowy summit of Mount Monk to rush into the void from its height. Glenn Gould stopped giving public concerts and retreated to Canada near the Arctic, but never crossed the line as delimited by a fear of flying. There experimenting with the possibilities of recorded music, filmed a documentary entitled The idea of \u200b\u200bNorth , where "five people speak in counterpoint on the power and isolation Canada deep" . Thelonius Monk to look like polar caps in his playing and one day, six years before his death, stopped playing ... Geniuses all of which are entrenched to the world, says Vila-Matas article about this dazzling ensayito
. A Atanarjuat instead see it "really" running desperately to escape the Arctic ice to himself and hunted by death, annihilation ... And there is a significant moment in this part about the movie Eskimo, she did a fiction itself, unlike previous fictions about fiction. In one comment DeLillo regrets that in the final sequence displayed the entire film crew doing their job, as if he had taken all the mystery "real" has been experimenting with the show and they had stripped it of its essential function, as if this return to "reality" would have caused a nasty fall in the account of the fiction in which until then had remained willingly immersed ... Anyway, about all this that said, DeLillo Counterpoint formula in several key issues scattered throughout its pages and to provide the halo poematic he referred Ramón Buenaventura:
- What happens when introspection develops a density that clears the world around them?
- How can we approach the self without losing everything?
- What can we leave behind to hold on to earthly memory?
And another wonderful counterpoint added to the end, when the author evokes the Voyager I and II ships sailing the deep space and carrying, among other items, a recording of Glenn Gould playing a short prelude of Bach. A message also:
We are intelligent beings, versed in mathematics and capable of organizing a coherent sequence of sounds in time, to create a unified composition, called music, an art form whose truth, craft, originality, and untold other properties provide a quality of transcendent pleasure, called beauty, mind and senses of the listener.
This is the message to those who are out there, at a distance that only death can be measured, DeLillo says in its race to the Arctic in the dilemma between staying or going extinct ...
