Birds that don’t read | chiapas parallel

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Birds that don’t read

Hector Cortes Mandujano

a fantastic world (Culture and Progress, SA, 1971) is part of an encyclopedia of animals; in this case on bird and eel migration. Many birds migrate, small and large, fleeing the cold and rain (eels also do so over great distances). The theme is beautifully and richly illustrated. Pages are not numbered and authors are not listed. They write on the subject: “However birds navigate, their migratory flight is a miracle of nature that science has not yet resolved. Some authorities have said that some of the small migratory birds could not fly the distances that have been established for some trips, and one scientist even wrote a scientific book to show that it could not be done. But since the little birds have never read the book, they continue to perform their fearful and almost unbelievable flights.

in voices from the jungle, from the same collection, I read this data: “The serpent has no eyelids; sternum missing; the pupil is usually vertical; nostrils separate; they have no eardrums and their ears have no holes. Snakes certainly don’t hear like we do. They notice the very slight tremor that occurs in the ground when something moves.

in How are they and how do they live?another volume, write: “With the sole exception of the bat, there is no four-legged animal that can fly like a bird by flapping its wings.”


In one of the extravagant scenes of Japanese anime Sound and fury (2019, directed by Junpel Mizusaki and based on the songs of Sturgill Simpson), a figure skater dressed almost like an astronaut walks down a street where there is a sign that says, “Make art, not friends.”

Illustration: HCM


I bought The girls’ schoolby André Gide (Editions of reason, 1981), for a few coins: it cost me 15 pesos.

The translation was made by two characters: Xavier Villaurrutia and Antonieta Rivas Mercado. A Jew invents a narrator who sends his mother’s diary to be printed. He tells the editor (p. 7): “The girls’ school That would be the title I should very much like, if you do not think it out of place for me to use it after Moliere,” who has a famous work of the same title.

Divided into two parts, the first is the stage of falling in love with a young girl. She loves Roberto, even though he tells her that (p. 13) “the man is nothing but an old child.”

The second part takes place twenty years later and shows us how the woman falls out of love (p. 59): “The only way to stop hating him is to stop seeing him. oh! And above all, not to hear it.

He cannot bear what he loved (p. 62): “Why have Roberto’s defects become unbearable by this point? Why am I now angry with the same thing that possessed me yesterday? What did I love, what seemed to me most praiseworthy?… Oh! I am forced to admit it; It is not he who has changed: I have”.

Of course, he has some pretensions to the man (pp. 64-65): “Roberto thinks he knows me completely; he doesn’t suspect that I might have a life of my own outside of him. He only thinks of me as his dependency. I am part of your comfort. I am his wife.”

However, Roberto is neither a villain nor a monster, but an ordinary person who also says and shows that he loves her. She does not find how to explain her feelings to him (p. 100): “I would feel relieved if I could reproach you for something concrete”; he can only say clearly: “I can’t live with you, that’s all.”

Eventually, she leaves home, her husband, and her daughter. She leaves her diary to teach her daughter not to live by appearances to learn from this “women’s school”.


Gustave Flaubert. a story of a bed (Panamericana Editorial, 2004), by Azriel Bibliowicz, is a biography of the renowned author of, among others, Madame Bovary. Flaubert says of Shakespeare in a letter to Louise Collett, his famous lover (p. 23): “When I read Shakespeare, I find myself greater, more intelligent, purer. Reaching the top of one of his works, I feel like I’m on a high mountain. Everything disappears and everything appears. A man is no longer a man. It is eye“.

In Flaubert’s letters to Collet, which Bibliowich constantly quotes, Gustave says (p. 34): “My flesh loves yours.”

Asriel says that (p. 43) “Flaubert’s life was surrounded by salons and brothels” and that it was during one of these erotic encounters that he contracted syphilis, from which he suffered for the rest of his days. By the way, there was a saying back then (p. 43): “If you don’t fear God, fear syphilis.”

[En Más allá del bien y del mal (Obras maestras, Editores Mexicanos Unidos, 2015), Federico Nietzsche habla de la vida de burgués de Flaubert, quien nunca trabajó más que en sus libros, nunca se casó, no tuvo privaciones (p. 94): “Flaubert, por ejemplo, el honrado burgués de Ruán, no vio, ni oyó, ni saboreó en última instancia más que esto: constituía su especie propia de atormentarse con sutil crueldad”.]

As I have written elsewhere, storytellers (with exceptions), even brilliant ones like Flaubert, fail in the theater. Wrote candida and (p. 59) “it was a resounding failure. The actors in the play leave it with tears in their eyes. It was only on the billboard for two days.

in my novel drinking from the mirror I used as an epigraph one of Flaubert’s phrases about beloved dead people. He says (p. 75): “Ah, what a necropolis is the human heart!”.

He failed to post “goof” which is the nonsense or commonplaces he heard or wrote down in alphabetical order. He says in “erections” (p. 81): “Used only when speaking of monuments.”


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