Deborah Levy (63 years old), the daughter of several South African anti-apartheid activists, a dissatisfied thinker and a diver who specializes in female subjectivity in her writings, is one of the leading figures in the world today. Britain’s most respected literary voices. He spent the 1980s writing risky plays—charismatic queer filmmaker Derek Jarman gave him a stage error—and by the end of the decade Levy had turned to narrative. He received his first nomination in 2011 with ‘Nadando a casa’. bookstore, a reward fixed on him two more times. the last ‘the all-seeing man(Random House/Angle) is an enigmatic tale of addictive reading, a barely formed age group, written at the same time as the famous ‘Autobiography in the Making’, a foundational work to explore women aged 40 to 60 in literature.
also a great pleasure from lifeis the perfect counterpoint to his rainy days in London, as evidenced by his fondness for Greece, where he spent a long time. “Greece is a very humane place where people live more slowly and life is simpler. You sit under that blue sky with a nice piece of bread, a juicy tomato, some feta cheese, some olives and a glass of local wine, and it’s all worth it. I don’t know of a better place to read or write,” she says, her eyes blazing. He also assures that he loves swimming in those waters. This week I would have done it in Barcelona if it weren’t for a significant increase these days. He makes no comment about possible icy waters.
“Literature should serve to take our eyes off the cell phone and we can slow down the human rhythm”
Written in 2016 and currently being published, ‘The All-Seeing Man’ is linked to the author’s need to stop this low-intensity anxiety that seems to have left a mark on our society. “Writers should write differently from what newspapers write.. Of course, we have to keep an eye on what’s going on around us on the outside, but what matters is how we internalize that look that should help us move away from that news wheel that drags us along and doesn’t allow us to move. away. mobile view. Literature should serve to slow down the human rhythm.”
as David Lynch
The ‘man’ of the novel’s title is the extraordinarily beautiful young bisexual British historian Saul, who, after breaking up with his photographer girlfriend, went to East Germany in 1988, just one year before the wall fell. ‘Everything’ is History The second half of the 20th century, the point at which different authoritarianism. The devilish structure will delight David Lynch of Lost Highway‘, this is how it is told: the reader can never be sure whether one of the most important moments of the novel is the crushing of the protagonist by the protagonist. legendary Abbey Road crosswalk It will happen in 1988 or 2016. And the job is to mix and use all tenses at the same time. “I like the idea of playing around with the Abbey Road intersection because today it’s a place where tourists reinterpret their own history, very similar to what I did in the book.”
“It seems important to me to say that the personal is not only political but also historical”
Another of the landmarks of the book is Berlin Wall, it is shown as both about to fall and already demolished. “In the novel, Saul gets the feeling that his father is building a wall between them. this wall is masculinity as it was traditionally conceived. It’s a way for me to connect the little personal anecdote with the big History. It seems important to me to say that the personal is not only political but also historical. The concept of the wall has been very much in the minds of the most populist politicians, who see it best in Trump: “We see this with Brexit, which advocates closing borders and ending the free movement of people. This made me think of East Germany, whose citizens were confined to walls built with fear. It is impossible to maintain a wall supported by fear in the long run”.
“With all our contradictions and inconsistencies, we do not envision ourselves as ‘it’ or ‘it’, we are all ‘it’”
In Deborah Levy’s case it could not have been otherwise, the work makes accusations against traditional gender stereotypes. “I wanted to reverse the idea that the thinker is male and the feeler is female.. I’m not interested in a binary world, the less binary the better. It’s true that young people are paying less and less attention to the masculine / feminine dichotomy, and that’s great, but I go a little further: in our inner self, with all our contradictions and inconsistencies, we don’t see ourselves as ‘it’. ‘ or ‘it’ we are all ‘it’. I am interested in the ability to imagine that we are more free than we are.”