欧宝娱乐

鈥淚 don鈥檛 trust Catholics,鈥� I said, 鈥渂ecause they take advantage of you.鈥�
鈥淎nd Protestants?鈥� he asked with a laugh.
鈥淚 loathe the way they fumble around with their consciences.鈥�
鈥淎nd atheists?鈥� He was still laughing.
鈥淭hey bore me because all they ever talk about is God.鈥�
鈥淭hen what are you?鈥�
鈥淚 am a clown,鈥� I said鈥�

They also know perfectly well that even an unscrupulous artist has a thousand times more conscience than a scrupulous manager, and they possess one all-conquering weapon: the sheer knowledge of the fact that an artist simply cannot help doing what he does: painting pictures, traveling up and down the country as a clown, singing songs, carving something 鈥渆nduring鈥� out of stone or granite. An artist is like a woman who can do nothing but love, and who succumbs to every stray male jackass. The easiest people to exploit are artists and women, and every manager is from one to ninety-nine per cent a pimp.

芦It was dark by the time I reached Bonn, and I forced myself not to succumb to the series of mechanical actions which had taken hold of me in five years of traveling back and forth: down the station steps, up the station steps, put down my suitcase, take my ticket out of my coat pocket, pick up my suitcase, hand in my ticket, cross over to the newsstand, buy the evening papers, go outside, and signal for a taxi. Almost every day for five years I had left for somewhere and arrived somewhere; in the morning I had gone up station steps and down again, in the afternoon down the steps and up again, signaled for a taxi, felt in my pockets for money to pay for my ticket, bought evening papers at kiosks, and savored in a corner of my mind the studied casualness of these mechanical actions. Ever since Marie left me to marry Z眉pfner, that Catholic, these actions have become more mechanical than ever, but without losing any of their casualness禄

Feature of the novel: every character is guilty of something. All is mean. This helps to frame the misery of the post-Nazi Germany.

Vote: 8

芦Era gi脿 buio quando arrivai a Bonn. Feci uno sforzo per non dare al mio arrivo quel ritmo di automaticit脿 che si 猫 venuto a creare in cinque anni di continuo viaggiare: scendere le scale della stazione, risalire altre scale, deporre la borsa da viaggio, levare il biglietto dalla tasca del soprabito, consegnare il biglietto, dirigersi verso l'edicola dei giornali, comprare le edizioni della sera, uscire, far cenno a un tass矛. Per cinque anni quasi ogni giorno sono partito da qualche luogo, la mattina ho disceso e salito scale di stazioni, il pomeriggio ho disceso e risalito scale di stazioni, ho chiamato un tass矛, ho cercato la moneta nella tasca della giacca per pagare la corsa, ho comperato giornali della sera alle edicole e, in un angolo riposto del mio io, ho gustato la scioltezza perfettamente studiata di questo automatismo. Da quando Maria mi ha lasciato per sposare Z眉pfner, quel cattolico, il ritmo 猫 diventato ancor pi霉 meccanico, senza perdere in scioltezza禄

Caratteristica del romanzo: ogni personaggio 猫 colpevole di qualcosa. Tutto 猫 meschino. Questo aiuta ad inquadrare meglio la miseria della Germania post-nazista.

Voto: 8

鈥淯na tristeza como al pensar en los besos dados a muchachas que se han casado con otros.鈥�