miércoles, 10 de abril de 2024

Sedatephobia

 

Bring the noise: has technology made us scared of silence?


“When there is no noise in my room it scares me”, emails one of my undergraduate students. “It seems I can’t stand silence”, writes another.

The noise the first student is referring to is the background noise of television, radio and music, plus a multitude of social media and online curiosities. And the silence the second student refers to is a world devoid of such background noise.

Drawing on six years (2007-12) of observations from 580 undergraduate students, it can be reasonably argued that their need for noise and their struggle with silence is a learnt behaviour.

The desire for media-generated background noise is acquired more from parents and grandparents than from my students’ newfound relationship with social media.

To that extent, Larry D. Rosen’s excellent advice on how teachers can address student social media anxiety – such as by introducing one-minute technology breaks – shouldn’t be confused with issues surrounding the same students’ need for background noise.

With obvious exceptions, mum and dad also inherited this need for background noise: “My grandparents have the television on practically all the time in the background”, observes one student.

It is not surprising then when another writes, “the television was switched on by my parents earlier in the morning for the news and left on … even when no-one was watching”.

For all but one of the 580 students, television and radio was in the home prior to their birth. For most students, the family home also had at least one computer before they were born. Indeed, this year we had our first student that can’t remember her family’s first mobile phone.

Beginning at infancy, the constant media soundscape has provided the background noise either side of bassinet, kindergarten, school and university. It is little wonder many of my students feel agitated and ill-at-ease when there is not at least one portal providing background noise.

Such background noise speaks to Bill McKibben’s observations of the Third Parent.

More often than not, a student’s third parent (whether that be analogue or digital media) speaks to them more often than their biological parents. As one participant noted, “the noise of the TV and the communication on Facebook helps me feel more in touch with people”.

By and large my students report they can’t function in silence. As one explained, “I actually began doing this assignment in the library and had to return to my room minutes later to get my iPod as I found the library was so quiet that I couldn’t concentrate properly!”

It’s not just the silence of a library that students report as disturbing. Having gone home to the farm, one student observed how she found it hard to walk down to the dam without an iPod.

When the students were provided with the tools to reflect on their media consumption they began to recognise the nature of background noise. Having filled in their spreadsheets, they were asked to spend one hour walking, sitting and/or reading in a quiet place. This is the moment in the assignment when students tend to discover their relationship with silence:

“The lack of noise made me uncomfortable, it actually seemed foreboding”, observed one student. Another said “perhaps, because media consistently surrounds us today, we have a fear of peace and quiet”.

Could it be that it’s the background noise and not the discrete content of each media portal that creates the perception of well-being my students write about?

Either way, it’s clear that students (and doubtless many others) have become accustomed to the background noise that’s become such a feature of modern life.

So what about you: are you scared of silence?

I am.


SEDATEPHOBIA 

The fear of silence, sometimes described as sedatephobia (sedatus is ‘calmed’ in Latin), is becoming more prevalent as the world grows noisier. We are accustomed to a background buzz – the burble of digitised music and chatter. Silence can feel unsettling, even unbearable. Some of us panic when we try to sleep in a noiseless room. Others are set on edge by the peace of a country lane.

In 2012 Bruce Fell, a lecturer at Charles Sturt University in Australia, reported that many of his students struggled to tolerate silence. Over six years, he had asked 580 of them to complete questionnaires on the subject.

One wrote: ‘I actually began doing this assignment in the library and had to return to my room minutes later to get my iPod as I found the library was so quiet that I couldn’t concentrate properly!’ Fell believed that many of them had been conditioned by the constant noise of televisions in their childhood homes, and that new technologies had made it all the easier to shut out the quiet. An undergraduate told him that when she returned to her family farm, she found it hard to walk down to a nearby dam without listening to music on her headphones. Fell asked the students to spend an hour either reading, walking, or just sitting in silence. Most of them found this difficult. ‘The lack of noise made me uncomfortable,’ said one. ‘It actually seemed foreboding.’ For this student, silence was an ominous pause, a state of suspense, a prelude to danger.

MONOPHOBIA

Monophobia, or the fear of being alone, was identified as a specific phobia in 1880 by George Miller Beard. In 1897 Granville Stanley Hall diagnosed the condition in a woman who loathed being at home by herself. Everything felt gloomy and awful, she reported, the silence of her farmhouse broken only by the loud ticking of a clock. ‘It felt as if everybody was dead,’ she said.‘I would sing and do the most unusual things, watch the clock, the approach of night, dread every preposterous accident, seek companionship with the animals in the barn, and even with the flowers in the garden.’

Fears of ISOLATION and abandonment emerge in monophobia (a dread of being alone), nomophobia (a fear of being without a phone), sedatephobia (fear of silence)

PERSONALITY AND TEMPERAMENT

Extroverts, more than introverts, find that monotony, repetition, and understimulation produce discomfort, restlessness and a lack of perseverance in solving boring frustrating problems. In one simple study, students were given a difficult jigsaw puzzle to put together. The students who quit scored higher on extroversion In general, extroverts have a significantly higher need for external stimulation as measured by an individual’s need for challenge, excitement, and variety. For the same reason, they also tend to score higher on the Boredom Proneness Scale.

People who have a high need to seek sensation and novelty are more likely to get bored. We have seen this already in reference to extreme sports.

Analysis of this test in different groups of people shows that boredom may be a function of five factors. The first is the “need for external stimulation”: excitement, challenge, and often change in activities such as channel-hopping or Web-surfing, or the adrenaline rush of extreme sports. Marvin Zuckerman originally described sensation seeking as a personality trait where there is a “need for varied, novel, and complex sensations and experiences and the willingness to take physical and social risks for the sake of such experience.” Zuckerman also distinguishes curiosity from sensation seeking.

The third factor is the “affective response,” a person’s emotional reaction to boredom. One person may become irritated and restless; another will remain calm and patient. Think of the different ways in which people react to waiting in a long line at the checkout counter, for example. Another student wrote on my survey, “ I get very bored with long-term babysitting. Everyday having to be with the same children and playing their favorite game. It gets very boring always having to focus on pleasing them.” I mentioned earlier other research which found that people who are focused on pleasing themselves probably experience greater boredom than those who focus more often on meeting the needs of others.

The fourth factor, “perception of time,” relates to a person’s organization and use of time, and perception of the passage of time. The subjective sense of boredom is closely correlated with a sense of time passing very slowly and there being “nothing to do,” nothing that arouses sufficient interest. Those who never feel they have enough time to do all they have to do in life rarely experience boredom. As we say, “How time flies when you are having fun!”

Though we are tempted by the ever-present, seductive quick fix, most of us have discovered that lasting solutions to the serious problems of life usually take patience and require evaluation of some foundational principles and themes. In dealing with boredom we need to consider the importance of leisure.

CULTIVATING TRUE LEISURE

There is a time to be lazy, a time to slow down, a time to play, a time to reflect on the world around us and the world inside us. Often we are afraid to be still because the endless distractions of entertainment keep us from having to face fundamental questions about our existence and about our deeper anxieties, insecurities, and fears. We are literally running from ourselves. Josef Pieper wrote a book some years ago called Leisure: The Basis of Culture. The jacket of the current edition carries this affirmation:

This book issues a startling warning: Unless we regain the art of silence and insight, the ability for nonactivity, unless we substitute true leisure for our hectic amusements, we will destroy our culture—and ourselves.”

Pieper argues that leisure is not just distraction and entertainment but a time of withdrawal from the ordinary routines to renew our priorities and our perspective on life. Without it we will not see reality truly. Similarly, writer and lecturer Os Guinness distinguishes sloth

from idling, a state of carefree lingering that can be admirable, as in friends lingering over a meal or lovers whiling away hours in delighted enjoyment.

 In W. H. Davies’s lines, “What is this life, if full of care, / We have no time to stand and stare?” Or as George MacDonald argued, “Work is not always required ... There is such a thing as sacred idleness, the cultivation of which is now fearfully neglected.”

In this fast-paced culture we find it hard to slow down and be still. Even our leisure times often get packed with endless activities. “Perhaps you can judge the inner health of a land by the capacity of its people to do nothing,” wrote Sebastian de Grazia in 1962, “to lie abed musing, to amble about aimlessly, to sit having a coffee—because whoever can do nothing, letting one's thoughts go where they may, must be at peace with oneself.” 

We need to take time for our minds and bodies to re-create and recover from being driven so hard. This also allows time for a renewal of perspective.

The human mind is like a motion-activated camera that operates on a hair-trigger, darting around to capture any sudden movement. Scratch your arm and - swoosh - your attention is immediately drawn to the spot. Hear a loud sound outside and — swoosh — your focus swivels to the window. Your pet jumps up on the table and — swoosh — your eyes flash over to the disobedient beast. Our attention is drawn to stimuli that our brain, generally without much conscious thought, has decided are novel or salient — things we feel we need to check out urgently. This reflexive and intuitive mechanism has served us very well throughout our evolutionary history, keeping us alert to the dangers of the snake that suddenly rears out of the bushes or the crumbling path on the cliff edge. Or a surprise attack in war. Unfortunately, though, it means that we tend to categorise familiar phenomena as boring. They certainly don’t get the heart pumping and grab our attention in the same way as flashing lights and loud noises do. And yet, if you force yourself to focus on these ‘duller’ phenomena, your mind will discover the gems that lie beneath the surface, and come to appreciate their significance and meaning. You just need to stop it swivelling around like an adrenaline junkie in search of the next fix.

Esta necesidad de llenar nuestro tiempo y este miedo a no hacer nada, puede ser una señal que indica que estamos evitando estar a solas con nuestros pensamientos. Y es que, cuando nos mantenemos ocupadas con tareas, no tenemos tiempo para pararnos a escuchar nuestros pensamientos. Además, la tecnología actual y la concepción de persona exitosa que se tiene actualmente, hace mucho más sencillo que no paremos. 

Una técnica poco adaptativa para lidiar con nuestras emociones

La realidad es que todo el mundo tiene emociones, pensamientos, miedos y angustias que nos hacen sentir mal, nos preocupan y nos agobian. Por desgracia, no siempre se nos enseña a lidiar bien con ellos y cada uno de nosotros desarrollamos diferentes técnicas. 

En muchos casos, estas técnicas no son del todo adaptativas: la necesidad excesiva de control, la pasivo-agresividad, la negación o la represión son algunas de ellas. En el caso de las personas que llenan su tiempo constantemente, la evitación es la técnica que estarían utilizando.

El problema es que las emociones siempre acaban saliendo a flote y si las intentamos tapar de manera poco adaptativa, es más que probable que cuando aparezcan sea de una manera que no podamos controlar, como en forma de ansiedad, por ejemplo. 

Para algunas personas, esta necesidad de estar constantemente ocupado puede acabar suponiendo un problema de salud. En parte, porque intentar tapar nuestros pensamientos y miedos no va a hacer que desaparezcan. Por ello, la única solución real que tenemos es parar. Y es que, en ocasiones, ser capaces de parar a tiempo y dedicarnos un rato a nosotras mismas es nuestra gran victoria.  https://www.trendencias.com/psicologia-1/cuando-fue-ultima-vez-que-estuviste-solas-contigo-desconecta-pruebalo-te-va-sentar-genial

Es importante que nos demos el tiempo de escuchar esos pensamientos que tanto miedo nos dan y de aprender a conocernos y a saber qué es eso que estamos queriendo evitar y tapar. En ocasiones podremos hacerlo solas y, en otras, necesitaremos la ayuda de un profesional que nos ofrezca herramientas más adaptativas para tratar con todas nuestras emociones: las consideradas buenas y las consideradas malas. 

Piensa en alguna de las cosas que haces que no te hagan sentir especialmente bien y "tira" de ella: ¿te lleva hasta el miedo a quedarte solo? Si es así, es el momento de cuestionar ese miedo.

La soledad no es nada malo, de hecho aquellos que saben estar a solas, los que disfrutan de la soledad, suelen tener, paradójicamente, más y mejores relaciones sociales.

Nos cuesta concentrarnos en una sola cosa, ver una película sin mirar ni una vez las redes sociales, estar en una conversación con alguien y no comprobar si nos han escrito... Buscamos inmediatez, información, contacto y conexión constantes.

#thaasophobia


The boredom associated with being left alone, or not having much to do, is a reason why people eat too much chocolate, drink too much alcohol, write too many posts on LinkedIn (guilty!) and watch too many funny cat videos. Naturally, in the wake of Corona, there are viral videos showing people going crazy with their own company or that of their family. Thaasophobia is the fear of idleness. It can lead to anxiety, but also riches. Micro-moments of boredom are one reason why Mark Zuckerberg and Jack Dorsey and Jeff Bezos are billionaires.

But boredom avoidance platforms like Facebook and TikTok and Instagram come at a cost. Boredom is a function of attention and the more we satisfy our desire to be distracted the less we simply look around and observe the world around us.

We like ‘doing’ or what might nowadays be referred to as being ‘message-orientated’ because this removes the necessity of being with oneself. It also covers up any fears we may have of feeling alone. Being busy is directly correlated with boredom, but also with a desire to absent oneself from oneself, to not fully inhabit the present.


Much of the current research on boredom focusses on situational or state boredom. Fahlman et al. (2013) outlined five different elements to situational boredom that have garnered significant interests: one of which is slow passage of time.

In situational boredom there is common experience of time moving slowly. People oftenreport a distorted sense of how much time has passed on a given activity (Danckert and Allman, 2005). If time flies when you are having fun, then time drags when you are bored. Individuals are more likely to focus on temporal information (i.e., stare at the clock) when they are not meaningfully engaged in an activity (Chaston and Kingstone, 2004). This practice likely adds to the experience of boredom.

-Danckert, J. A., and Allman, A. A. (2005). Time Flies When You’re Having Fun: Temporal Estimation and the Experience of Boredom. Brain Cognition, 59, 236–245.

-Chaston, A., and Kingstone, A. (2004). Time Estimation: The Effect of Cortically Mediated Attention. Brain and Cognition, 55(2), 286–289.


The first category is what I will term as general boredom; this is brought about by the lack of immediate stimulus, think of waiting in a doctor’s office in an age before the smartphone where you might find yourself looking at the wall for twenty minutes. This type is highly situation and necessarily transient. While elimination of this type of boredom would certainly be desired in the moment, it is not necessary in terms of the greater contest of life; it is by no means permanent. In today’s world there is incredible potential to occupy our time, nigh unlimited truth be told. Situational boredom can be solved by looking up the news or reading a free copy of “The Complete Works of Sir Arthur Conan Doyle” on a Kindle app.


What about TOO MUCH EXCITEMENT IS POISONOUS?


The unprejudiced observer finds it hard to understand why these people should set such store by consistency of thought and action. Because oysters are occasionally pleasant, it does not follow that one should make of oysters one’s exclusive diet. Nor should one take castor oil every day because castor oil is occasionally good for one. Too much consistency is as bad for the mind as it is for the body. Consistency is contrary to nature, contrary to life. The only completely consistent people are the dead. Consistent intellectualism and spirituality may be socially valuable, up to a point; but they make, gradually, for individual death. And individual death, when the slow murder has been consummated, is finally social death. So that the social utility of pure intellectualism and pure spirituality is only apparent and temporary.


Aldous Huxley, "Wordsworth in the Tropics" #enneatype7 #thaasophobia


The human mind is both complex and precarious as it never remains in the same state. Being busy a person can keep themself obsessed with some work; during work the mind often digresses somewhere . However , the mind becomes devilish when one is without any work. One resists boredom, sense of sin and unwanted feeling in state of jobless or deprivation of activity. If such hollowness continues for a long time one faces boredom.


There are two types of boredom namely one of which is situational boredom.


2) Situational boredom: this boredom is common that every normal human can perceive. It takes its essence from situation. We are situationally bored when we want to escape some unfavourable situation that makes us bored. 


Components of situational boredom are: 1) monotony . 2) lack of concentration 3) waiting. 4 solitude.


These four components are causes of situational boredom.


Importance of boredom:


To be bored is necessary for not only creativity but also for avoidance of some feeling . It follows that humans will constantly try to bring new ways of excitements and changes to invade boredom .The outcome of boredom thus leads to success. 


On the other hand , humans kill their inner world and extirpate their ways of happiness by much involvement in work; some freedom from work is vital to extinguish negativity of work so as to attain spirituality. Unending involvement with work destroys the essence of existence as we feel no boredom and find no way to bring a feeling of novelty and creativity. Too much excitement is poisonous.


Boredom is the main cause of every evil and misfortune that has occurred in the human history. Nevertheless, boredom is also the main cause of masterpieces in literature ,science, art...


What about TOO MUCH EXCITEMENT IS POISONOUS?


The first category is what I will term as general boredom; this is brought about by the lack of immediate stimulus, think of waiting in a doctor’s office in an age before the smartphone where you might find yourself looking at the wall for twenty minutes. This type is highly situation and necessarily transient. While elimination of this type of boredom would certainly be desired in the moment, it is not necessary in terms of the greater contest of life; it is by no means permanent. In today’s world there is incredible potential to occupy our time, nigh unlimited truth be told. Situational boredom can be solved by looking up the news or reading a free copy of “The Complete Works of Sir Arthur Conan Doyle” on a Kindle app.


Much of the current research on boredom focusses on situational or state boredom. Fahlman et al. (2013) outlined five different elements to situational boredom that have garnered significant interests: one of which is slow passage of time.


In situational boredom there is common experience of time moving slowly. People often report a distorted sense of how much time has passed on a given activity (Danckert and Allman, 2005). If time flies when you are having fun, then time drags when you are bored. Individuals are more likely to focus on temporal information (i.e., stare at the clock) when they are not meaningfully engaged in an activity (Chaston and Kingstone, 2004). This practice likely adds to the experience of boredom.


-Danckert, J. A., and Allman, A. A. (2005). Time Flies When You’re Having Fun: Temporal Estimation and the Experience of Boredom. Brain Cognition, 59, 236–245.


-Chaston, A., and Kingstone, A. (2004). Time Estimation: The Effect of Cortically Mediated Attention. Brain and Cognition, 55(2), 286–289.


Like line 36, lines 37-38, ‘Joy’s cheerful madness does perplex/ Or sorrow’s other

madness vex’, in addition to personification, have two interpretations:

EMOTION IS INSANITY and EMOTION IS ILLNESS. Each of JOY and SORROW, which are antonyms, is understood in terms of madness and disease, in the same breath. Each of perplex and vex denotes the fact that the body gets perplexed as well as vexed when the soul is joyful as well as sorrowful.

According to Kövecses’ (1990, p. 167) idea, this can be conceived in terms of EMOTIONAL DISTURBANCE IS PHYSICAL DISTURBANCE metaphor.

In this same stanza, specifically in line 32, we say that the body accuses the soul of its being the body’s teacher of emotions (viz., hope, love, joy)  which are considered as incurable diseases. Lines 39-40 reinforce the fact that the knowledge the soul forcefully teaches the body allows the body to forget. 

lunes, 1 de abril de 2024

JUPITER ON A COLLISION COURSE

Observatories in Cape Cañaveral, Florida, USA, have noted how the Jupiter system (the massive gas giant, known for its Red Spot, and its over fifty moons, the largest of which, Ganymede, is way larger than Mercury) has begun moving into the Asteroid Belt and the massive gravity of Jupiter begins to absorb asteroids, left, right, and cenre.

Astronomer Uno de Abril predicts that, within five or six years, Jupiter will have left the Asteroid Belt and swallowed up Mars, with its two potato-like moons, and our Earth, with its single Moon. 

"We have very little time, our priority will be to settle other terraform planets in other star systems, in order to survive this cataclysm," Uno de Abril explains.

viernes, 8 de marzo de 2024

LA HACEDORA DE VELAS

 

N.º 63

SEPTIEMBRE-OCTUBRE 2009

9

  

GIBRALFARO

  

LITERATURA DIDÁCTICA

  

  

  

  

  

LA HACEDORA DE VELAS

  

Por Elena Ortiz Muñiz

  

  

A

na siempre fue una persona feliz, que tuvo la suerte de contar con unos padres maravillosos que hicieron de su infancia un remanso de paz, una época llena de fantasía, sueños, ilusiones y juegos. Al ser hija única, vio volcados en su persona todos los afectos, atenciones y afanes. Su padre, empresario exitoso, se empeñó en llenar su existencia de luz. Y vaya si lo logró: la iluminó por completo.

  
     

 

Gracias a ello, Ana aprendió, desde edad muy temprana, a amar ese maravilloso mundo lleno de cera, parafinas, pabilos, aditivos, fragan-cias, láminas de sebo, colores y moldes.

  

Comenzó por permitirle la entrada sin restricciones a la fábrica de velas de la cual era propietario. Gracias a ello, Ana aprendió, desde edad muy temprana, a amar ese maravilloso mundo lleno de cera, parafinas, pabilos, aditivos, fragancias, láminas de sebo, colores y moldes. Simplemente, le parecía fascinante todo aquello. Participar en ese acto maravilloso que implicaba utilizar los materiales disponibles en el planeta para transformarlos en pequeñas obras de arte capaces de dar luz, era tanto como ser testigo de un milagro divino.

Desde muy pequeña, comenzó con sus primeros experimentos. Al principio, le explicaron cómo concebir velas de gel y parafina líquida, que no representaban ningún peligro para ella; luego, las que se hacían con placas de cera; después, las que se moldeaban como si se tratara de una escultura. Y, finalmente, pudo crear un cirio de verdad, con todas las fases de creación que implicaban y le fueron revelados los secretos del derretido de la cera, la pigmentación, el lograr encapsular el aroma para que se desprendiera delicadamente mientras el fuego abrazaba la vela, la elección del pabilo, el llenado del molde, el vaciado, el lograr un acabado perfecto y, finalmente, la presentación. Ana se sentía arrobada ante aquel mundo insólito y apasionante que se abría ante sus ojos aún candorosos. Le gustaba sentirse una diosa creadora de criaturas luminosas.

Cada vela que realizaba era empacada primorosamente para que pudiera llevársela a casa y encenderla con tranquilidad comprobando la combustión de la misma. Sin embargo, Ana no quería ver el producto de sus esfuerzos consumirse hasta quedar convertido en nada, y así, en cuanto llegaban, eran guardadas con sumo cuidado en un armario de su habitación destinado a ese fin: atesorar sus creaciones.

Don Clemente la reñía intentando hacerla entrar en razón:

—Por Dios, criatura, si todas las personas guardaran las velas sin encender, no tendríamos ni un mendrugo de pan que llevarnos a la boca. Enciende tus velas, por favor; ésa es su finalidad: ¡dar luz!, y no, permanecer en el fondo de un armario envueltas en papel de colores.

Pero para Ana, nada importaban estas advertencias ni consejos.

Una tarde, sentada en la sala de su casa, hojeando con indiferencia una revista, se detuvo a mirar las expresiones de los rostros infantiles retratados en ella. De pronto, una duda la asaltó. Corrió para preguntarle a su mamá:

—¿Todos los niños en el mundo son tan felices como yo?

Doña Silvia guardó silencio al tiempo que su rostro se volvió serio y pensativo. ¿Cómo explicarle a una pequeña de diez años escasos que hay más niños infelices que felices sobre el planeta? Pensó en las decenas de ellos, incluso recién nacidos, que eran negociados y vendidos al mejor postor para luego ser utilizados como señuelos y obtener limosnas más jugosas a través de ellos, o los otros que eran manejados para realizar trabajos pesados y que vivían en condiciones infrahumanas, sin saber lo que era una caricia o una palabra de afecto.

Pero también estaban los rostros anónimos de ojillos tristes que aparecían en las fotografías bélicas con fusiles en la mano. Y los que servían como carne de cañón para explorar territorios dudosos y comprobar que no hay minas terrestres por donde van a pasar los soldados.

  

     

Cada noche, fabricaba una vela, y, mientras derretía la parafina en la estufa, oraba con toda el alma para que esos desdichados encontraran la luz.

 
  

Ante la mirada inquisidora de su hija, Silvia bajó la mirada avergonzada, no porque ella personalmente hubiera realizado acciones deplorables en detrimento de la infancia, sino porque guardaba silencio. Todas las noches, al apagar la luz de su habitación, pensaba en aquellos niños que con terror esperan dentro de una estancia inhóspita y gris la llegada de aquel que profanaría su cuerpo con infrahumana lascivia, que borraría con golpes y caricias malsanas todo rastro de inocencia que pudiera haber resistido el infierno vivido desde que fueron secuestrados, entregados, comerciados o sacrificados, o todas esas cosas a la vez.

¿Y qué decir de aquellos que saltaban a la fama de la inmoralidad como protagonistas de filmes pornográficos, obligados a realizar acciones infamantes y pervertidas a través de las cuales, además de la ropa, les arrancaban la dignidad?

No, exponerle a su hija cada una de estas cosas era como robarle la inocencia y la felicidad. Había mucha maldad y porquería en todos lados, sin distinción de extractos sociales, países, continentes o nivel cultural.

¡Eran tantas las atrocidades cometidas cada día...! ¡Y tantas las criaturas que vivían en un terror constante, sin conocer la felicidad, la paz, el cariño...! Sólo por dinero... el mal del mundo y de los hombres.

Silvia, con lágrimas en los ojos, miró a su pequeña, que permanecía frente a ella totalmente confundida, y, al advertir en su inocente rostro una repentina tristeza, la abrazó fuertemente para consolarla.

—¿Por qué lloras? —le preguntó la chiquilla.

—Lloro, porque no todos los niños del mundo son tan felices como tú. En este mismo momento, decenas de ellos están padeciendo un verdadero infierno sin tener el más mínimo resquicio de salvación.

—¿Ellos no tienen una mamá y un papá que los protejan?

—Algunos los tienen. Muchos están siendo buscados por mar y tierra con desesperación por ellos, otros no... Están solos.

—Vaya, ahora entiendo por qué el mar es salado, las lágrimas de Dios han de ser constantes. ¿Es cierto que cuando una persona muere se debe encender una vela para que su alma encuentre el camino hacia el cielo?

—Bueno, ya sabes lo que dice tu papá: la luz de una vela es una esperanza que renace.

La conversación terminó. Pero las palabras de Silvia se quedaron en el corazón de Ana toda su vida. Siempre agradeció su honestidad al hablarle de la realidad del mundo en el que estaban viviendo, porque, al paso de los años, había aprendido que lo correcto no era ignorar para no sufrir, sino saber para corregir.

Sabía que ella sola no podía acabar con las injusticias de un planeta que carecía de ecuanimidad; sin embargo, continuó con la misma labor que inició aquella tarde después de conversar con su madre. Cada noche, fabricaba una vela, y, mientras derretía la parafina en la estufa, oraba con toda el alma para que esos desdichados encontraran la luz. Por la mañana, vaciaba el molde y, camino a la escuela, se detenía en la iglesia para dejarla encendida con una dedicatoria pintada sobre su superficie:

«Para que los niños recobren su libertad y dejen de ser esclavos.

Para que los niños recuperen su dignidad.

Para los niños que padecen la guerra y sus horrores.

Para los niños cuya inocencia fue mancillada.

Para que los niños perdidos sean rescatados.»

  
     

 

La “Hacedora de Velas” conseguía, cada vez que encendía una luz, que el mar dejara de ser tan salado y que el silencio fuera rasgado con menos frecuencia por un grito infantil ate-rrador.

  

Con el paso del tiempo, la gente llegó a conocerla como la “Hacedora de Velas”. Muchas personas le escribían cartas pidiéndole que fabricara y encendiera una vela por sus hijos desaparecidos. De esta manera, sus creaciones comenzaron a tener personalidad, rostro y nombre. Las miradas, que casi siempre permanecían indiferentes, comenzaron a voltear. Se hizo más pausible la presencia de alguna mujer en la calle con un niño aparentemente dormido en brazos, pero, en realidad, drogado, pidiendo limosna. El reproche las hizo huir. Gracias a los medios de comunicación que periódicamente comentaban la misión autoimpuesta de la “Hacedora de Velas”, mostrando los rostros y nombres de niños desaparecidos que ella misma pintaba con maestría en la superficie de sus velas éstos se volvieron, de pronto, conocidos, entorpeciendo el tráfico de infantes.

A sus velas, se sumaron las de otras de personas que deseaban ayudar en su labor, cansadas de su propia indiferencia. La solidaridad ante el sufrimiento ajeno fue más común y el respeto a la infancia, una exigencia popular. Mujeres irresponsables que dieron vida a un nuevo ser sin desearlo dejaron de abandonarlos, pararon de entregarlos a cualquiera que se ofreciera a liberarlas de la carga incómoda que suponía el recién llegado.

Tal vez, ni siquiera la misma Ana era conciente de lo que había logrado con su minuciosa tarea, pero lo cierto era que la “Hacedora de Velas” conseguía, cada vez que encendía una luz, que el mar dejara de ser tan salado y que el silencio fuera rasgado con menos frecuencia por un grito infantil aterrador, quizás porque las palabras de Don Clemente tenían algo de verdad: «Había que encender las velas para que se cumpliera su cometido: ¡Dar luz!».

  

  

Elena Ortiz Muñiz (México, D.F., 1971). Licenciada en Ciencias de la Comunicación egresada de la Universidad Franco Mexicana S.C. Miembro activo de las páginas literarias Escritores Latinoamericanos, Unión de Escritores Hispanoamericanos, El Rincón del Poeta y El Rincón de los Escritores. En este último ha logrado obtener algunos premios por mejores escritos del mes. Ha formado parte de la antología digital Mejores Escritos del Rincón con el poema "Un beso" y "Que no se borre la vida" y de la Antología editada por Iwith en la editorial Bubok. Ganadora de accésit y mención especial en la revista literaria Katharsis y finalista del II Certamen de microrelatos para abogados convocados por la página abogados. Ha publicado también en diferentes revistas literarias. Es subdirectora de la revista literaria Molino de Letras (www.molinodeletras.net).

jueves, 22 de febrero de 2024

TSQ-IV By Adrian Mitchell and Nilesh Mistry

 The Snow Queen Fourth Story - retelling by Adrian Mitchell

Illustrated by Nilesh Mistry

(Happy Pisces Season you all!)

::.............

This country has an amazingly clever Princess. She's read all the newspapers in the world and forgotten them all. That's how flapping clever she is.

The other day she was sitting on her throne -- and she thought to herself: I want to be married, but whom to? I want a husband with a mind of his own, not some handsome waxwork. It's all true.

Well, the newspapers printed the Princess's picture on their front pages with a frame of little hearts and announced: any good-looking young man can come to the palace and talk with the Princess. And she'll decide who is the best talker -- and marry him right away.

The Princess would marry the best talker?

Correct. Anyway, crowds of young men appeared. They could talk well enough on the street, but in the palace -- with its guards in silver armour at the door and flunkeys in gold braid on the marble stairs and diamond chandeliers glittering in the great ballroom -- well, they got flustered, flummoxed, and speechless. They all failed on the first two days.

Of course, when they were out in the street again they gabbled so fast that you couldn't hear yourself.

When did he arrive?

On the third day a little fellow strode right up to the palace, bold as a buzzard. His eyes were bright and he had fine, long hair, but his clothes were raggedy.






There was a rucksack on his back.

When he saw the guards in silver armour at the door and the flunkeys in gold braid on the marble stairs, he just gave them a friendly nod and walked on into the ballroom.

The diamond chandeliers were all ablaze. Ministers of State and Ambassadors were walking about in their bare feet, carrying golden dishes to and fro. The boy's boots squeaked dreadfully, but that didn't seem to bother him.

Well, they squeaked like a pocketful of mice! But he marched up to the Princess. She was sitting on a pearl the size of a spinning wheel.

Did he win the Princess?

He was handsome, and clever as a clarinet. He hadn't come to woo the Princess, but just to listen to her wise talking. And he liked her, and she liked him.

"Oh, please take ... to that palace."

"Easier said than done," ... "They won't let ... just walk into the palace."

"... outside, ... out ..."

It was late evening when ... returned. ... "My fiancée says she'll let ... into the palace. She knows a ljttle backstair leading to the Royal Bedroom.

So ... led ... through the palace gardens, along a mile-long avenue lined with giant trees, and round the splendid palace to a little open door at the back near the kitchens.

By the light of a small oil lamp at the bottom of the stairs ...

... "Carry the illumination, please, and I will lead the way."

... picked up the lamp and followed ... through a maze of beautiful rooms. ...

Finally ... stood in the doorway of the Royal Bedroom.

The ceiling was like a great palm-tree with leaves of crystal. In the middle of the room was a tall gold stem and from it hung two beds, like lilies. One of the beds was white; the Princess was sleeping in that one.

The other bed was crimson, and it was there ... turned back one of the crimson petals, ...

... close to his head. The boy turned woke up, and turned his head and --






"What's happening?" called the Princess.

"You poor girl!" said the Prince and Princess. They praised ... and said that they would be rewarded.

"Would you like to .., away and be free ...?" asked the Princess. "Or would you rather be appointed ... to the Court and be paid with all the scraps from the kitchen?"

...

The Prince climbed out of his bed nd let ... sleep in it. ... thought of how kind ... people are! ...

Next day ... was dressed by the ladies-in-waiting in silk and velvet from head to foot, with boots and a fur muff. The Prince and the Princess helped ... into a carriage of pure gold and wished ... farewell and good luck. There were four horses and a coachman, a footman, and outriders.

... stood in the palace gateway ... goodbye for as long as they could still see the coach, glittering like the sun on wheels.

.........

The Robbers' Castle



Rolling along through the heart of a dark forest, ... carriage shone so brightly that the gang of Robbers lurking in ambush were dazzled.

"Gold! Gold!" they screamed, charging out of the bushes. They grabbed the horses' reins, killed the coachman, footman, and outriders ...

...

... into the coach. The robber gang drove deeper into the forest.

...

The coach was driven right into the robbers' castle. Through ragged holes in the walls, ravens and bats flew in and out. In the middle of the floor crackled a smoky fire.

...........

... "How are the Prince and Princess?"

"Who knows?" said the robber girl. "They've gone to foreign parts."

....

Journey to the Snow Queen's Palace




....

PRINCESS' PALACE

... the amazingly clever Princess in her palace.

ROBBERS' CASTLE

... when ... is ambushed by robbers in the deep forest and taken to their ruined castle.




jueves, 8 de febrero de 2024

EL VALS DE CALE SCHEWEN

 EL VALS DE CALE SCHEWEN

de Evert Taube

traducción de Sandra Dermark

el 7 de febrero de MMXXIV, bajo el signo de Acuario

+++++++++++++++

En el mar del Norte, mi isla está en flor,

las olas se oyen chapotear,

los juncos se mecen, del heno el olor

me suele ahora en junio llegar.

Sentado en el banco de mi cenador,

observo a gaviota y charrán

que lanzan destellos al fiordo a lanzarse

para su alimento pescar.

*************

Yo me hago mis carajillos de coñac

de adecuada intensidad,

y escucho las melodías del acordeón

que vienen del salón de mi hogar.

Aunque soy abuelo, me siento chaval,

alegre es mi niño interior,

con los años todo me sienta fatal,

la danza y de ellas el amor.

¡Mirad, la gaviota un arenque pescó!

Un brazo es lo que yo pesqué...

Juventud eterna de mi corazón,

contigo este vals bailaré.

Del bosque y del lago llega una canción,

serás mi invitada de honor...

Aquí baila Cale Schewen con Rosa, su flor,

y en el noroeste se va el sol...

******************

Y reposa mi bella isla en tu seno azul,

oh fiordo cobalto y tranquilo,

y el crepúsculo de junio llega en calor

al brezo y al árbol de tilo.

Mi elfa, tú bailas escúchandome

y piensas que el hombre es un trol...

Tiembla aquella mano infantil que besé

y el vals suena un triste bemol.

^**************

Pero, ¡hey invitados y toda amistad!

Estoy sobrio y listo también...

Cuando amanezca, haré un pajar,

después, en el mar pescaré.

¡Maldito crepúsculo, vete de aquí!

Los pinos dora el arrebol...

Aquí baila Cale Schewen con Rosa, su flor,

hasta la salida del Sol

QUIERO CANTAR SOBRE KATARINA

 QUIERO CANTAR SOBRE KATARINA

Por Mats Paulson

traducción de Sandra Dermark

el 7 de febrero de MMXIV, bajo el signo de Acuario

-------

El viento peina hoy las praderas,

aletean las cortinas de tul,

quiero cantar a la primavera

con sol y flores y cielo azul.

Quiero cantar sobre Katarina,

con flauta y címbalos componer,

pero los vientos se hacen canciones

que entre abedules escucharé...

El viento peina hoy las praderas,

aletean las cortinas de tul,

quiero cantar a la primavera

con sol y flores y cielo azul.

-------++++++++++

Hay una joven entre los chopos,

tengo una foto antigua aquí,

con los años, ella se hizo un sueño,

un cuento, una leyenda al fin.

Quiero escribir una cancioncilla

y aquel instante inmortalizar,

pero callan la letra y el ritmo,

y en un secreto se trocarán...

Hay una joven entre los chopos,

tengo una foto antigua aquí,

con los años, ella se hizo un sueño,

un cuento, una leyenda al fin.

martes, 6 de febrero de 2024

TSQ-IV YOSHITANI - ESPAÑOL (DANIEL ALDEA)

 The Snow Queen Fourth Story, by Yoshi Yoshitani.

Traducción de Daniel Aldea:

... se trataba de un astuto príncipe que se había casado con una princesa muy sabia.

Yoshitani's original has, nailing these characters as told by Andersen in just two adjectives, for him and her respectively:

... a clever prince who had married a very wise princess.

Aldea translates "very wise" as "muy sabia" perfectly, but "clever" is not exactly "astuto". There is nothing sinister about the Prince (and I am talking Andersen, not Frozen). I would have translated "listo" instead.