ABRIR 3.2. La adolescencia - Biblioteca de la Universidad ...

Ficción y Realidad en la obra de Traman (Yayote
Japanese and Western decoration — tite one seeking to
impress by a lack of display, and absence of possessxon-
exhibiting, the otiter intent on precisely the reverse — could
both be observed for Brando seemed unwilling to make use
of tite appartment’s storage space, concealed beitind sliding
paper doors. Ml that he owned seemed to be out in the
open. Sitirts, read>’ for tite laundry; socks too; shoes and
sweaters and jackets and hats and ties, flung around like tite
costume of a dismantíed scarecrow. And cameras, a
typewriter, a tape recorder, an electric heater that
performed with stifling competence. Here, titere, pieces of
partí>’ nibbled througit it; a box of the famous Japanese
strawberries, each berry tite size of an egg. Aud books, a
deep-thought cascade, among which one saw calling
Wilson’s ¡‘he Onisider and various works on Budditist
prayer, Zen meditation, Yogi breathing and Hindu
misticism, but no fiction, for Brando reads none. He itas
never, he professes, opened a novel since April 3, 1924, tite
da>’ he was born, in Omaha, Nebraska.” (Capote 1973:310-
311)
Siguiendo un orden que podríamos calificar de lógico, Capote
cuenta a su lector la imagen que recibe del actor a través del estudio o de
la observación de sus pertenencias, de sus palabras y de las opiniones de
los demás miembros del equipo. Así el lector conocerá que Mr. Brando es
“amiable” y que “was always read>’ to cooperate” y que a pesar del buen
ambiente “Afier tite day’s work, he usualí>’ returned to his hotel and stayed
titere.” Incluso el director de la película, según recoge Truman Capote
decía que “Marlon’s the most exciting person I’ve ever met since Garbo. A
genius. But 1 don’t know what he’s like. 1 dont know anything about
him.” (Capote 1973:313)
Página 492