Mumi Without Memory Gabriele Clima, pictures Chiara Carrer, Necklace Libricuoriefiori - 6 editions of The Game Reading, 2010
Illustrations by Chiara Carrer are, as usual, incredibly in tune with the text: his interpretation of history to fully respect the simplicity of Mumi, says the dramatic pace of the story, mercilessly laid bare the feeling of loneliness, fear and meanness of the small villagers. The artistic sensibility of Carrer, sucking inspiration directly from the bone history, takes us fairly but also with great force and precision: a great, great artist who can dress any story that illustrates the simplicity and ease that only people they know have crystal clear.
Before the interview made with Gabriele Clima, a few words about the author and illustrator:
difficult task to speak of Chiara Carrer, first of all because it is one of my favorite illustrators, I never tire of observing his illustrations, and because his resume is really infinitely large. Clare has received important awards during his career and I think is destined to receive many more, among the awards there I quote only a few: Apel les Mestres (1994), UNICEF Award (1995), Andersen Award (1999), Bologna Ragazzi Award 2000 and to end, Golden Apple Award at the Biennale of Bratislava (2003).
His art is unmistakable, if I were to define a few adjectives I would say that is refined and pure, granite and poetic, dreamy sound. Of his works, I await the details, the extreme sensitivity with which he approaches any subject, the sense of balance and the seemingly random shots, the study and the care dedicated to each table and which is reflected in each book. I could talk about her for pages and pages but for now, I'd better stop here!
I will not go further, here's the interview:
- Telling requires experience and, usually, each book tells something of the writer: how does Mumi Without Memory?
Mumi springs from personal experience, on a train trip, during which a mother sitting in front of me did nothing but apostrophize his son for all he had left it at home. Thus was born the idea of \u200b\u200bMumi the Mumi forgetful, a motion empathic: I looked a lot like that kid. So Mumi looks like me. I also live in a world in some way in my size, I love getting lost, being under the apple tree and when I can chase the thread of my thoughts.
Of Mumi, unfortunately, I have the natural inclination to the balance that characterizes so strongly. But it is quite common that an author presents his character that in real life is not easy to conquer.
Mumi The character, however, takes its shape from the folktale, dall'idiota, by village idiot, handicapped by nature and supported by Providence intervening when needed. In the tale of Mumi, Providence replacing the achievement of a common consciousness and the most valuable corporate assets, the simplicity, sharing.
- In the history of Mumi, as for example in Queue Canterina also released recently, the story is set in a village. From where, in your opinion, the fascination with life in small communities? And how important is the nostalgia for a simpler lifestyle?
Simplicity is a basic element of the tale of Mumi, and the village or small community you refer directly. It is easier, after all, create an empathy with the little player if the world that offers itself is soft and cozy. Before a physical place, the village is a place of thought, away from the rest of the world, from the frenzy, against any interference. The rhythms of the everyday life are the sunrise and sunset, the sun and the seasons. The village draws a direct and natural that the child is in us, our most intimate and secret. In addition to the popular fable in which, for historical reasons, the village is almost a constant, I can think of some stories by Max Bolliger or Jean Giono. The village is the most genuine and polite to tell a story.
- In this book you meet important issues such as envy, mistrust, unbridled consumerism, loneliness: how important are these limitations in daily life of each one of us?
With limitations, ours or others, we fight all the time. The world, especially in big cities, draws us into a maelstrom of interests and advantages, so often do not realize that by now almost over. But no law of nature states that to be so. Mumi What we suggest is that everyone is given the opportunity to not fall into this trap. That mocked him or ruby \u200b\u200bshoes, Mumi Mumi remains, regardless of what happens around. Not sure why it is wiser or more stupid than others, simply because they enjoy every day of what life has to offer, the garden, the goat, the people around him. The limits, own and others, do not concern him. In this way, otherness becomes a gift, and thus the relationship.
- Mumi is a child who lives in a totally transparent way, with that attitude is typical of animals that Wolf Erlbruch defines: "That's The Way We Are approach", seems to have no defenses against the next ...
is true, it does not. But it is no coincidence. A Mumi, as the characters of Erlbruch, no need for defenses. For them the outside world is not something to protect themselves, as happens often to us, because nothing external can corrupt the honest simplicity of their inner world. If we read The duck, death and the tulip, we realize that the duck does not change anything about his daily habits, the arrival of death. That death is there - and be there for her - a perfect square is inscribed in the wild, life is our life. This is not wisdom or perfection, is simplicity. It is very different.
- Think Mumi that could survive in a big city?
I think so. I, as I said, I used the village as a convenience, because, as author for children, seeking the most direct way to establish communication. But the world is a world of universal Mumi. His ways of relating work anywhere (which is basically the message of the book), city or village that is. Mumi would live in the same way everywhere.
is more difficult for us, people of the city, able to live in the manner of Mumi. We have much to lose, our modernity, our intellectual achievements. Often, unfortunately, we identify modernity with our time, myself, everybody is a mistake when you fall easily. But modernity is something else: it is able to retrieve the Mumi in us without necessarily losing cable TV.
- Mumi bamino is that, at least at the beginning of the book, live on the margins of society, robbed and ridiculed by his fellow citizens, at the end wins for his honesty and good heart. Do you think that people are still willing to learn from the most simple?
I think so, is why I continue to write. It is said that children are better fathers. Maybe our children will know better than we recognize the value of simplicity. I trust in the books, the example and all the saints of Paradise.
- The thread that binds Mumi ankle is the same thread that is linked to the life of us all?
wire in history is what binds Mumi to the real world and allows him not to lose its references newspapers, places, home, away. If we, as Mumi, could be linked to our inner world, perhaps not lose your way so often. From what
sensitive artist, Chiara Carrer has realized the great importance of this link. The common thread appears from the title page, is inserted once into each other on a physical and tangible, almost become a way of singing.
In this regard I am reminded There is a thread, just come out with Sao Paulo, a beautiful story of Manuela Monari where, in a more targeted Christian metaphor, it is a wire to give the sense and the key to the whole story.
- How can rely, for children and adults, able to live freeing herself from the conventions?
We live in the agreements, the company is a convention. But I do not see it as a bad thing. In itself, the conventions are an opportunity, a way to build thoughts and methods che possano essere comuni. È quello che sta alla base di qualunque società. Se ci pensiamo, sono proprio le convenzioni a permetterci di sperimentare ogni giorno il nostro grado di civiltà. Del resto anche il regno animale si fonda sulle convenzioni; non esiste individuo, all'interno di un branco o di una famiglia, che possa prescinderne o farne a meno. Quasi che la convenzione sia una legge di natura, che permette l'aggregazione e dunque la sopravvivenza della specie.
Tornando alla storia, neanche Mumi prescinde dalle convenzioni. Non ne è schiavo ma nemmeno cerca di svincolarsene. Come nei libri di Erlbruch, le abita, semplicemente, bilanciando esigenze e necessità con invidiabile naturalezza. È la forza della semplicità.
- The illustrations accompanying the text by Chiara Carrer forcefully emphasize carefully the most poetic and dramatic moments, how did your collaboration on this project?
I have always admired the work of Chiara Carrer, especially his ability to interpret, the eye which observes the folds of reality shows and on the page. Clare is an interpreter, is not merely an illustrator. Its design is full of echoes and transparency, but sincere and genuine, who calls a spade a spade. Clare has the ability to illustrate a story emerge, making the silences, the subtext, with a sign that the shape and fails to compel which the reader can assign your own emotional code, whatever it is. It is a rare gift.
- How important in a book, telling the story in all honesty and seriousness?
I think that a book is always honest. Tell us about much, as you said, of the writer, therefore, be it fact or fiction, however, says things are true. Similarly, a book is a serious matter, not only when it leads to reflection, but also when offering simple entertainment. Behind a book there is a soul, and soul is always a serious matter.
There is, in any text, a large component of fiction, deception or if you prefer. The same, more or less, which is in the acting, the author is very similar to the actor. It is an essential element in the process of writing and personally is one of the most fascinating aspects of this work. In a book you can wear a mask (usually more than one) behind the screen perfect and unbreakable literary invention. It's wonderful. The same thing in the real world, we would call hypocrisy.
- What role does the text in a children's book?
depends. Beyond the books for educational purposes, whose aim is to teach and clarify, the text is an expressive instrument in the same image. The value of a children's book lies in its ability to tell and so text and images are for use exclusively by the common objective. A book, after all, is a system of communicating vessels, in which the relationship between text and image exists only in a mutual exchange. There are stories that give up completely to the text but no loss of efficacy. I think the recent migrating of Mariana Church, published by Ear Acerbo, in which the story is left entirely to the images. The text is missing, but the story is clear, because the image flows into the page all you need to understand the story. The text is there invisible text is envisioned, narrated voice. This shows that have a story to be told many ways and not always the most suitable text is the narrator.
Erlbruch Still, that does not give the words to tell us, however, shows very well this relationship of dependency. It 's hard to say, reading his books, from what is born, between text or image, the poetry of his characters so peculiar.
The reality is that a children's book has its own language, which is neither the image nor the word. It is a union of ideas and perceptions and, therefore, it seems to me that looks like a lot of thought.
GC
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