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賯氐赖鈥屭�
丌賳鈥屭嗁� 丿乇 倬蹖 诏賮鬲賳卮 賴爻鬲賲貙 賳賴 鬲睾蹖蹖乇 賵丕賯毓蹖鬲 丕爻鬲 賵 賳賴 丨丕氐賱 丨丕賮馗賴鈥屫й� 賳爻蹖丕賳鈥屫藏�. 鬲賯乇賷亘丕賸 賲胤賲卅賳賲 賰賴 倬爻 丕夭 丿賷丿賳 賴乇 毓賰爻貙 亘丕 丕卮鬲賷丕賯 鬲賲丕賲 亘賴 爻乇丕睾 毓賰爻 亘毓丿賷 賲賷鈥屫辟佖� 賵 诏賴鈥屭з� 丕賷賳 丕卮鬲賷丕賯 亘賴 丕囟馗乇丕亘 鬲亘丿賷賱 賲賷鈥屫簇�. 趩賴鈥屭嗁娯操� 鬲賵 乇丕 趩賳賷賳 倬乇賷卮丕賳 賰乇丿賴 丕爻鬲責 丿乇 丕賷賳 毓賰爻鈥屬囏� 趩賴鈥屭嗁娯操� 賳賴賮鬲賴 賰賴 趩賳賷賳 鬲賵 乇丕 賲囟胤乇亘 賰乇丿賴 丕爻鬲責 丕夭 賴賲丕賳 丕亘鬲丿丕 賵 亘丕 丿賷丿賳 丕賵賱賷賳 毓賰爻 賲鬲賵噩賴 卮丿賲 丿賯賷賯丕賸 賲丨賱賷 乇丕 賰賴 賳卅亘丕 賱賵夭 賵 賳卅亘丕 賲賵賳丿賵 丿乇 丌賳 爻丕禺鬲賴鈥屫з嗀� 賲賷鈥屫促嗀ж迟�. (倬卮鬲 噩賱丿 賰鬲丕亘) 賭
280 pages, Paperback
First published January 1, 1987
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About the author
Mario Vargas Llosa
559听books9,018听followersJorge Mario Pedro Vargas Llosa, 1st Marquess of Vargas Llosa, more commonly known as Mario Vargas Llosa, was a Peruvian novelist, journalist, essayist, and politician. Vargas Llosa was one of the Spanish language and Latin America's most significant novelists and essayists and one of the leading writers of his generation. Some critics consider him to have had a more substantial international impact and worldwide audience than any other writer of the Latin American Boom. In 2010, he won the Nobel Prize in Literature "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat".
Vargas Llosa rose to international fame in the 1960s with novels such as The Time of the Hero (La ciudad y los perros, 1963/1966), The Green House (La casa verde, 1965/1968), and the monumental Conversation in The Cathedral (Conversaci贸n en La Catedral, 1969/1975). He wrote prolifically across various literary genres, including literary criticism and journalism. His novels include comedies, murder mysteries, historical novels, and political thrillers. He won the 1967 R贸mulo Gallegos Prize and the 1986 Prince of Asturias Award. Several of his works have been adopted as feature films, such as Captain Pantoja and the Special Service (1973/1978) and Aunt Julia and the Scriptwriter (1977/1982). Vargas Llosa's perception of Peruvian society and his experiences as a native Peruvian influenced many of his works. Increasingly, he expanded his range and tackled themes from other parts of the world. In his essays, Vargas Llosa criticized nationalism in different parts of the world.
Like many Latin American writers, Vargas Llosa was politically active. While he initially supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa later became disenchanted with its policies, particularly after the imprisonment of Cuban poet Heberto Padilla in 1971, and later identified as a liberal and held anti-left-wing ideas. He ran for the presidency of Peru in 1990 with the center-right Frente Democr谩tico coalition, advocating for liberal reforms, but lost the election to Alberto Fujimori in a landslide.
Vargas Llosa continued his literary career while advocating for right-wing activists and candidates internationally following his exit from direct participation in Peruvian politics. He was awarded the 1994 Miguel de Cervantes Prize, the 1995 Jerusalem Prize, the 2010 Nobel Prize in Literature, the 2012 Carlos Fuentes International Prize, and the 2018 Pablo Neruda Order of Artistic and Cultural Merit. In 2011, Vargas Llosa was made the Marquess of Vargas Llosa by Spanish king Juan Carlos I. In 2021, he was elected to the Acad茅mie fran莽aise.
Vargas Llosa rose to international fame in the 1960s with novels such as The Time of the Hero (La ciudad y los perros, 1963/1966), The Green House (La casa verde, 1965/1968), and the monumental Conversation in The Cathedral (Conversaci贸n en La Catedral, 1969/1975). He wrote prolifically across various literary genres, including literary criticism and journalism. His novels include comedies, murder mysteries, historical novels, and political thrillers. He won the 1967 R贸mulo Gallegos Prize and the 1986 Prince of Asturias Award. Several of his works have been adopted as feature films, such as Captain Pantoja and the Special Service (1973/1978) and Aunt Julia and the Scriptwriter (1977/1982). Vargas Llosa's perception of Peruvian society and his experiences as a native Peruvian influenced many of his works. Increasingly, he expanded his range and tackled themes from other parts of the world. In his essays, Vargas Llosa criticized nationalism in different parts of the world.
Like many Latin American writers, Vargas Llosa was politically active. While he initially supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa later became disenchanted with its policies, particularly after the imprisonment of Cuban poet Heberto Padilla in 1971, and later identified as a liberal and held anti-left-wing ideas. He ran for the presidency of Peru in 1990 with the center-right Frente Democr谩tico coalition, advocating for liberal reforms, but lost the election to Alberto Fujimori in a landslide.
Vargas Llosa continued his literary career while advocating for right-wing activists and candidates internationally following his exit from direct participation in Peruvian politics. He was awarded the 1994 Miguel de Cervantes Prize, the 1995 Jerusalem Prize, the 2010 Nobel Prize in Literature, the 2012 Carlos Fuentes International Prize, and the 2018 Pablo Neruda Order of Artistic and Cultural Merit. In 2011, Vargas Llosa was made the Marquess of Vargas Llosa by Spanish king Juan Carlos I. In 2021, he was elected to the Acad茅mie fran莽aise.
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September 10, 2023
We choose who we are.
In the depths of the peruvian jungle inhabit, among others, the Machiguenga tribe. This novel progresses between two timelines, with the first steps of an incipient writer and, on the other side, with the narrations of the storyteller, a mysterious figure within the indigenous machiguenga culture. The two timeless advance independently and between intervals, until they merge towards the end.
I liked it and I didn鈥檛. Sometimes interesting, sometimes not. It has its pros and cons. Overall I rescue from it the author's great hability to transmit the rawness of the life of that primitive tribe that dwells in a lost part of the world, with all its animism and magical beliefs. Must be noted that it is also written in a much friendlier style of writing than the one used in 鈥淭he Leaders鈥�, 鈥淭he Cubs鈥� or 鈥淭he Green House鈥�, which found all terribly unpleasant. Definitely the best of Vargas Llosa I read to this day.
An interesting reading, but not especially memorable, except for a few particular parts that are and very . Personally I don鈥檛 know if I would recommend it, although I鈥檓 sure this could greatly appeal to certain palates, maybe more refined than mine. It certainly has its value, for those lucky enough to appreciate it.
-----------------------------------------------
PERSONAL NOTE :
[1987] [237p] [Fiction] [3.5] [Conditional Recommendable]
-----------------------------------------------
鈽呪槄鈽呪槅鈽� El Hablador [3.5]
鈽呪槄鈽嗏槅鈽� Los jefes y Los cachorros [1.5]
鈽呪槅鈽嗏槅鈽� The Green House
-----------------------------------------------
Eleg铆mos lo que somos.
En las profundidades de la selva peruana habita, entre otras, la tribu Machiguenga. Esta novela progresa a trav茅s de dos l铆neas de tiempo, con los primeros pasos de un incipiente escritor y, por otro lado, con las narraciones del hablador, una figura misteriosa dentro de la cultura ind铆gena machiguenga. Las dos l铆neas temporales se desarrollan independientemente y a intervalos, para confluir llegando al final.
Me gust贸 y no me gust贸. A veces interesante, a veces no. Tiene sus pros y sus contras. Dentro de todo rescato una genial capacidad del autor para transmitir con crudeza la vida de ese primitivo pueblo tribal perdido del mundo, con todo su animismo y creencias m谩gicas. Cabe destacar tambi茅n que est谩 escrito en un estilo literario mucho m谩s amigable que el de "Los jefes", "Los cachorros" o "La casa verde", los cuales me desagradaron terriblemente. Definitivamente el mejor de Vargas Llosa que le铆 hasta el d铆a de hoy.
Una lectura interesante, pero no especialmente memorable, a excepci贸n de algunas partes particulares que s铆 lo son y mucho . Personalmente no s茅 si lo recomendar铆a, aunque estoy seguro que podr铆a gustar much铆simo para ciertos paladares. tal vez m谩s refinados que el m铆o. Ciertamente tiene su valor, para aquellos suficientemente afortunados de poder apreciarlo.
-----------------------------------------------
NOTA PERSONAL :
[1987] [237p] [Ficci贸n] [3.5] [Recomendable Condicional]
-----------------------------------------------
In the depths of the peruvian jungle inhabit, among others, the Machiguenga tribe. This novel progresses between two timelines, with the first steps of an incipient writer and, on the other side, with the narrations of the storyteller, a mysterious figure within the indigenous machiguenga culture. The two timeless advance independently and between intervals, until they merge towards the end.
I liked it and I didn鈥檛. Sometimes interesting, sometimes not. It has its pros and cons. Overall I rescue from it the author's great hability to transmit the rawness of the life of that primitive tribe that dwells in a lost part of the world, with all its animism and magical beliefs. Must be noted that it is also written in a much friendlier style of writing than the one used in 鈥淭he Leaders鈥�, 鈥淭he Cubs鈥� or 鈥淭he Green House鈥�, which found all terribly unpleasant. Definitely the best of Vargas Llosa I read to this day.
An interesting reading, but not especially memorable, except for a few particular parts that are and very . Personally I don鈥檛 know if I would recommend it, although I鈥檓 sure this could greatly appeal to certain palates, maybe more refined than mine. It certainly has its value, for those lucky enough to appreciate it.
-----------------------------------------------
PERSONAL NOTE :
[1987] [237p] [Fiction] [3.5] [Conditional Recommendable]
-----------------------------------------------
鈽呪槄鈽呪槅鈽� El Hablador [3.5]
鈽呪槄鈽嗏槅鈽� Los jefes y Los cachorros [1.5]
鈽呪槅鈽嗏槅鈽� The Green House
-----------------------------------------------
Eleg铆mos lo que somos.
En las profundidades de la selva peruana habita, entre otras, la tribu Machiguenga. Esta novela progresa a trav茅s de dos l铆neas de tiempo, con los primeros pasos de un incipiente escritor y, por otro lado, con las narraciones del hablador, una figura misteriosa dentro de la cultura ind铆gena machiguenga. Las dos l铆neas temporales se desarrollan independientemente y a intervalos, para confluir llegando al final.
Me gust贸 y no me gust贸. A veces interesante, a veces no. Tiene sus pros y sus contras. Dentro de todo rescato una genial capacidad del autor para transmitir con crudeza la vida de ese primitivo pueblo tribal perdido del mundo, con todo su animismo y creencias m谩gicas. Cabe destacar tambi茅n que est谩 escrito en un estilo literario mucho m谩s amigable que el de "Los jefes", "Los cachorros" o "La casa verde", los cuales me desagradaron terriblemente. Definitivamente el mejor de Vargas Llosa que le铆 hasta el d铆a de hoy.
Una lectura interesante, pero no especialmente memorable, a excepci贸n de algunas partes particulares que s铆 lo son y mucho . Personalmente no s茅 si lo recomendar铆a, aunque estoy seguro que podr铆a gustar much铆simo para ciertos paladares. tal vez m谩s refinados que el m铆o. Ciertamente tiene su valor, para aquellos suficientemente afortunados de poder apreciarlo.
-----------------------------------------------
NOTA PERSONAL :
[1987] [237p] [Ficci贸n] [3.5] [Recomendable Condicional]
-----------------------------------------------
January 15, 2020
Two strands make up this phantasmagorical... braid. One, a contemporary search for the truth behind the mythical "hablador" of the Machiguengas, an Amazonian tribe forgotten and lost in time; the other, the stories of the storyteller (or "el hablador") himself--all of them incredibly fantastical & brilliant, origin stories & adventure stories, together glued to "the oral tradition."
MVL is definitely using the technique he so articulately defined in "Letters to a Young Novelist" as communicating vessels. These, only part of the added element to the overall fantasia, are responsible for the magical osmosis that occurs when two different styles are interwoven, their overlap signifying a chemical reaction which elevates the work wholly to a new level of genius. Without all the pieces glued together, decoupaged, it would all have been a completely failed attempt (well, at least two half-stories, with no synthesis between them).
There is no other way to have told this story, which vacillates between times and styles, fictional characters & non- (although, this being a novel, they are ALL fictional [can you tell how much realism there is amidst all this fantasy?]). I had a great time figuring out why this was being told, and why in this way and then it dawned on me: it HAS to exist, otherwise it would be forever lost. & I am really glad I found it! A must!
MVL is definitely using the technique he so articulately defined in "Letters to a Young Novelist" as communicating vessels. These, only part of the added element to the overall fantasia, are responsible for the magical osmosis that occurs when two different styles are interwoven, their overlap signifying a chemical reaction which elevates the work wholly to a new level of genius. Without all the pieces glued together, decoupaged, it would all have been a completely failed attempt (well, at least two half-stories, with no synthesis between them).
There is no other way to have told this story, which vacillates between times and styles, fictional characters & non- (although, this being a novel, they are ALL fictional [can you tell how much realism there is amidst all this fantasy?]). I had a great time figuring out why this was being told, and why in this way and then it dawned on me: it HAS to exist, otherwise it would be forever lost. & I am really glad I found it! A must!
May 18, 2020
The Snares of Grace
What attracts us to a certain kind of life? To a place? To another person? Obviously it is not the bare facts of their existence. Our emotional calculus is subjective. We select the facts that matter to us (or perhaps they are selected for us). We weave these facts into stories to which we then mysteriously become committed. Our lives take on a direction, spiritually as well as geographically. We become devoted to a cause, to something that we come to consider part of ourselves. We fall in love.
Religious people call this process being touched by grace. And certainly it feels as if one has been affected by an alien presence, something entirely outside of oneself. And there is some truth in this feeling because the stories we concoct are never ours alone. No story rises up without a history like Venus from the sea. All stories are to some extent 鈥榓lready there鈥� waiting to be heard and then retold with the emotion we have attached to them.
Some stories are attractive because they are familiar. But others are compelling because they are so different from any we have heard before. The key difference need not be in the story itself but in the unstated presumptions about what is important in life, about what should be noticed, even about what it means to be human. These are the stories that provoke 鈥榗onversion,鈥� that is to say, the stepping beyond the normal, the conventional, the expected.
Conversion implies a loss of oneself, or at least the self one has been. The new self is only incipient in the stories in which one has enmeshed oneself. It emerges fully only through the unique re-telling of these stories. Vargas-Llosa understands the process: 鈥淭he sort of decision arrived at by saints and madmen is not revealed to others. It is forged little by little, in the folds of the spirit, tangential to reason, shielded from indiscreet eyes, not seeking the approval of others鈥攚ho would never grant it鈥攗ntil it is at last put into practice.鈥�
If the story and the speaker of the story are very good, important things make sense, things like the origins of suffering and disappointment and the meaning of the feelings of isolation and loss. The best stories are those that include other stories (those 0f other animals as well as humans). And the most inclusive story has incredible value: 鈥淲hoever knows all the stories has wisdom.鈥� At this point the story becomes a religion and the storyteller a prophet.* And the world changes, at least for a time. If the story is good enough for those who hear it, it can unify them against stories (and religions) from elsewhere that have nothing to do with their own experience.
*Several people have been in touch to ask how stories include one another. Vargas-Llosa demonstrates how explicitly in his alternate chapters on the tales of the hablador. His stories start out modestly about a single tribe and their origins and responsibilities. The stories gradually expand to include all the 鈥榤en who walk鈥� in the forests below the Great Gorge of the River. They then extend further up into the Andes to incorporate Inca and other mountain traditions, including those of the Sky gods. Ultimately the stories extend to a re-telling of Judaic persecution and diaspora and of Christian accounts of the birth and death of Jesus. There is even an intriguing digression into the nature of language and its dangers that is worthy of Wittgenstein (or the Kabbalah). The hablador forgets nothing and ensures everything fits in a coherent narrative whole. This syncretistic innovation is its strength. The story rejects nothing; yet it insists on nothing. It鈥檚 elements are 鈥渨hat I have been told.鈥� It would presumably continue to grow as it encounters new elements, at least as long as the people of the hablador continue to exist.
Postscript: As yet there has been no story told that is compelling enough to stop the exploitation of the Amazonian jungle or its inhabitants more than a half century after the events in The Storyteller. A more powerful religion is apparently required:
What attracts us to a certain kind of life? To a place? To another person? Obviously it is not the bare facts of their existence. Our emotional calculus is subjective. We select the facts that matter to us (or perhaps they are selected for us). We weave these facts into stories to which we then mysteriously become committed. Our lives take on a direction, spiritually as well as geographically. We become devoted to a cause, to something that we come to consider part of ourselves. We fall in love.
Religious people call this process being touched by grace. And certainly it feels as if one has been affected by an alien presence, something entirely outside of oneself. And there is some truth in this feeling because the stories we concoct are never ours alone. No story rises up without a history like Venus from the sea. All stories are to some extent 鈥榓lready there鈥� waiting to be heard and then retold with the emotion we have attached to them.
Some stories are attractive because they are familiar. But others are compelling because they are so different from any we have heard before. The key difference need not be in the story itself but in the unstated presumptions about what is important in life, about what should be noticed, even about what it means to be human. These are the stories that provoke 鈥榗onversion,鈥� that is to say, the stepping beyond the normal, the conventional, the expected.
Conversion implies a loss of oneself, or at least the self one has been. The new self is only incipient in the stories in which one has enmeshed oneself. It emerges fully only through the unique re-telling of these stories. Vargas-Llosa understands the process: 鈥淭he sort of decision arrived at by saints and madmen is not revealed to others. It is forged little by little, in the folds of the spirit, tangential to reason, shielded from indiscreet eyes, not seeking the approval of others鈥攚ho would never grant it鈥攗ntil it is at last put into practice.鈥�
If the story and the speaker of the story are very good, important things make sense, things like the origins of suffering and disappointment and the meaning of the feelings of isolation and loss. The best stories are those that include other stories (those 0f other animals as well as humans). And the most inclusive story has incredible value: 鈥淲hoever knows all the stories has wisdom.鈥� At this point the story becomes a religion and the storyteller a prophet.* And the world changes, at least for a time. If the story is good enough for those who hear it, it can unify them against stories (and religions) from elsewhere that have nothing to do with their own experience.
*Several people have been in touch to ask how stories include one another. Vargas-Llosa demonstrates how explicitly in his alternate chapters on the tales of the hablador. His stories start out modestly about a single tribe and their origins and responsibilities. The stories gradually expand to include all the 鈥榤en who walk鈥� in the forests below the Great Gorge of the River. They then extend further up into the Andes to incorporate Inca and other mountain traditions, including those of the Sky gods. Ultimately the stories extend to a re-telling of Judaic persecution and diaspora and of Christian accounts of the birth and death of Jesus. There is even an intriguing digression into the nature of language and its dangers that is worthy of Wittgenstein (or the Kabbalah). The hablador forgets nothing and ensures everything fits in a coherent narrative whole. This syncretistic innovation is its strength. The story rejects nothing; yet it insists on nothing. It鈥檚 elements are 鈥渨hat I have been told.鈥� It would presumably continue to grow as it encounters new elements, at least as long as the people of the hablador continue to exist.
Postscript: As yet there has been no story told that is compelling enough to stop the exploitation of the Amazonian jungle or its inhabitants more than a half century after the events in The Storyteller. A more powerful religion is apparently required:
September 2, 2023
That's a fascinating story about a people from the Amazon in Peru. There's a reflection on what we have done and are still doing to assimilate people into our Western way of life. The thousand-year-old beliefs and the meaning of the daily rituals found in these individuals are rich in meaning; this is how the author reveals their essence to us. The protagonist, a marginal and eccentric man who goes to the end of his awareness, challenged me with his convictions, but above all, by his sensitivity and thirst for respect for human beings in his cultural difference.
April 6, 2022
The Storyteller by Mario Vargas Llosa is at the same time a memoir by a journalist about a friend of his that he believed dead and a joyous complex voyage through the legends and mythology of the Michiguenga tribe of the Amazonian basin in Peru. The narrator comes across a picture of an hablador (a storyteller) who he comes to recognize as his friend who, somewhat like Kurtz in Conrad's Heart of Darkness has melded with the Indian tribes and become their hablador. The book alternates between the narrator's time in Florence when he discovers the photo of his friend Sa煤l in the present and his memories of two voyages into the Amazon, and the rambling, animist legends told by the hablador night after night. It is both a slice of irreplaceable culture now most likely extinct and this also a sad reminder of how the encroachment of Western "civilizing" missionaries and later cocaine growing cartels destroyed the Amazonian tribes over several generations.
An interesting set of references back to Vargas Llosa's second book The Green House also surfaces where we see the Indian chief Jum tortured for trying organize resistance to the rape and pillage by the Viracochas (Indian name for the missionaries and soldiers of the Peruvian government).
"...to illustrate what is perhaps the very symbol of underdevelopment: the divorce between theory and practice, decisions and facts." (P. 151)
The realization at the end of the book, "Talking the way a storyteller talks means being able to feel and live the the heart of that culture, means having penetrated its essence, reached the marrow of its history and mythology, given body to its taboos, images, ancestral desires, and fears" (p. 244) is striking and to me also applies to any kind of writing.
Mario Vargas Llosa wrote a dazzling story of preservation and melancholy regret in The Storyteller which is, again, a fascinating view from the other side of the cultural divide than that he wrote in The Green House.
Fino's Mario Vargas Llosa Reviews:
Fiction
The Cubs and Other Stories (1959) TBR
The Time of the Hero (1963)
The Green House (1966)
Conversation in the Cathedral (1969)
Captain Pantoja and the Special Services (1973)
Aunt Julia and the Scriptwriter (1977)
The War of the End of the World (1981)
The Real Life of Alejandro Mayta (1985)
Who Killed Palomino Molero? (1987)
The Storyteller (1989)
In Praise of the Stepmother (1990)
Death in the Andes (1996)
The Notebooks of Don Rigoberto (1998)
The Feast of the Goat (2001)
The Way to Paradise (2003)
The Bad Girl (2007)
The Dream of the Celt (2010)
The Discrete Hero (2015)
The Neighborhood (2018)
Harsh Times (2021) TBR
Non-Fiction
The Perpetual Orgy (1975)
A Fish Out of Water (1993)
Letters to a Young Novelist (1998)
An interesting set of references back to Vargas Llosa's second book The Green House also surfaces where we see the Indian chief Jum tortured for trying organize resistance to the rape and pillage by the Viracochas (Indian name for the missionaries and soldiers of the Peruvian government).
"...to illustrate what is perhaps the very symbol of underdevelopment: the divorce between theory and practice, decisions and facts." (P. 151)
The realization at the end of the book, "Talking the way a storyteller talks means being able to feel and live the the heart of that culture, means having penetrated its essence, reached the marrow of its history and mythology, given body to its taboos, images, ancestral desires, and fears" (p. 244) is striking and to me also applies to any kind of writing.
Mario Vargas Llosa wrote a dazzling story of preservation and melancholy regret in The Storyteller which is, again, a fascinating view from the other side of the cultural divide than that he wrote in The Green House.
Fino's Mario Vargas Llosa Reviews:
Fiction
The Cubs and Other Stories (1959) TBR
The Time of the Hero (1963)
The Green House (1966)
Conversation in the Cathedral (1969)
Captain Pantoja and the Special Services (1973)
Aunt Julia and the Scriptwriter (1977)
The War of the End of the World (1981)
The Real Life of Alejandro Mayta (1985)
Who Killed Palomino Molero? (1987)
The Storyteller (1989)
In Praise of the Stepmother (1990)
Death in the Andes (1996)
The Notebooks of Don Rigoberto (1998)
The Feast of the Goat (2001)
The Way to Paradise (2003)
The Bad Girl (2007)
The Dream of the Celt (2010)
The Discrete Hero (2015)
The Neighborhood (2018)
Harsh Times (2021) TBR
Non-Fiction
The Perpetual Orgy (1975)
A Fish Out of Water (1993)
Letters to a Young Novelist (1998)
September 20, 2021
Great read. I loved the spotlight for indigenous rights in this novel, and some sections were superbly written, but the storyline was more fractured than I care for. One would have to do a close read of the entire novel and diagram the plot to remember all the nuance. Again, great read, but not one I would read again because of the complexity of the narrative.
July 20, 2017
This is the seventh MVL novel I鈥檝e read, and yet such is the man鈥檚 originality that I never know what to expect. In this one we have an unnamed narrator from Lima, telling the story of his friend Sa煤l Zuratas, who develops an intense interest in, and becomes a passionate defender of, Amazon Indian tribes. In particular Zuratas becomes immersed in the culture of a people called the Machiguenga, who live in the Peruvian Province of Madre De Dios. The time setting stretches from the 1950s to the 1980s.
The Narrator has his own interest in the Machiguenga and at one point describes his frustration at trying to present, to a modern audience 鈥渉ow a primitive man with a magico-religious mentality would go about telling his story.鈥� That neatly encapsulates one part of the novel, which is presented from the viewpoint of the Machiguenga. From my perspective MVL does an extremely good job in presenting a world view that is entirely different from mine. One example, that I initially found confusing, was that all of the male Machiguenga characters are addressed as or referred to as 鈥淭asurinchi鈥�, sometimes being distinguished by a further description such as 鈥渢he blind one鈥� or 鈥渢he herb doctor鈥�. As far as I can make out this is because the Machiguenga do not have personal names.
In this novel, the Machiguenga are presented as a timid and somewhat fatalistic people. They are continually attacked not only by the 鈥渨hite鈥� Peruvians but by other Indian tribes, and their reaction to these threats is to move away from them. The Machiguenga become 鈥渢he people who walk鈥�, and their nomadism becomes a central part of their identity. However, the modern world is closing in. At one point, the 鈥淪toryteller鈥� goes to visit a friend who lives at a particular point on a riverbank, only to find it has been taken over by gold prospectors. He eventually finds his friend living deep in the forest:
鈥淵ou鈥檝e gone so far in the Viracochas will surely never come here,鈥� I said. 鈥淭hey鈥檒l come,鈥� he answered. 鈥淚t may take a while, but they鈥檒l turn up here, too. You must learn that, Tasurinchi. They always get to where we are in the end.鈥�
Through its lead characters, the novel really poses the question of how the modern world should interact (perhaps today it would be more accurate to say 鈥渟hould have interacted鈥�) with tribal peoples. Should tribal peoples be allowed to continue with practices such as head-hunting, slavery, polygamy, and the killing of children born with 鈥渋mperfections鈥�, or would forcing them to change their customs, religion and languages constitute a form of genocide? As always with MVL, the reader is left to make up his or her own mind.
Identity and belonging are the other themes of the book. Zuratas is an outsider, not only because he is a member of Peru鈥檚 tiny Jewish community, but also because he has a disfiguring facial birthmark. His favourite novel is Kafka鈥檚 鈥淢etamorphosis鈥� and the novel contains frequent allusions to that story.
Despite its many merits, I can鈥檛 say that I found this an easy read, and I wouldn鈥檛 compare it to MVL鈥檚 very best. I was somewhere between a 3 and a 4 star marking, but have gone for 4 stars, because it鈥檚 a thought provoking read, and I think it is one that will grow on me over time.
The Narrator has his own interest in the Machiguenga and at one point describes his frustration at trying to present, to a modern audience 鈥渉ow a primitive man with a magico-religious mentality would go about telling his story.鈥� That neatly encapsulates one part of the novel, which is presented from the viewpoint of the Machiguenga. From my perspective MVL does an extremely good job in presenting a world view that is entirely different from mine. One example, that I initially found confusing, was that all of the male Machiguenga characters are addressed as or referred to as 鈥淭asurinchi鈥�, sometimes being distinguished by a further description such as 鈥渢he blind one鈥� or 鈥渢he herb doctor鈥�. As far as I can make out this is because the Machiguenga do not have personal names.
In this novel, the Machiguenga are presented as a timid and somewhat fatalistic people. They are continually attacked not only by the 鈥渨hite鈥� Peruvians but by other Indian tribes, and their reaction to these threats is to move away from them. The Machiguenga become 鈥渢he people who walk鈥�, and their nomadism becomes a central part of their identity. However, the modern world is closing in. At one point, the 鈥淪toryteller鈥� goes to visit a friend who lives at a particular point on a riverbank, only to find it has been taken over by gold prospectors. He eventually finds his friend living deep in the forest:
鈥淵ou鈥檝e gone so far in the Viracochas will surely never come here,鈥� I said. 鈥淭hey鈥檒l come,鈥� he answered. 鈥淚t may take a while, but they鈥檒l turn up here, too. You must learn that, Tasurinchi. They always get to where we are in the end.鈥�
Through its lead characters, the novel really poses the question of how the modern world should interact (perhaps today it would be more accurate to say 鈥渟hould have interacted鈥�) with tribal peoples. Should tribal peoples be allowed to continue with practices such as head-hunting, slavery, polygamy, and the killing of children born with 鈥渋mperfections鈥�, or would forcing them to change their customs, religion and languages constitute a form of genocide? As always with MVL, the reader is left to make up his or her own mind.
Identity and belonging are the other themes of the book. Zuratas is an outsider, not only because he is a member of Peru鈥檚 tiny Jewish community, but also because he has a disfiguring facial birthmark. His favourite novel is Kafka鈥檚 鈥淢etamorphosis鈥� and the novel contains frequent allusions to that story.
Despite its many merits, I can鈥檛 say that I found this an easy read, and I wouldn鈥檛 compare it to MVL鈥檚 very best. I was somewhere between a 3 and a 4 star marking, but have gone for 4 stars, because it鈥檚 a thought provoking read, and I think it is one that will grow on me over time.
December 13, 2009
i spend much time creating my own right-to-exist argument for modern civilization. can anything justify the horrors we've inflicted on the globe, on one another, on the animals? doubt it. but nobody is better. ain't no noble savage. ain't nothing. just the least of all evils. and we might be it. pathetic, huh? in feast of the goat and war of the end of the world vargas llosa lays down the evil and stupidity and fanaticism that finds its permanent residence in the human heart. similarly, the storyteller probes deep into questions of 'civilization' while wisely refusing to answer any of 'em鈥� the book falters along the way and feels somewhat unfinished, but definitely of interest.
gonna start my own political party of which i am the only member: a kind of nihilist/anarchist/humanist/fascist/far-left/far-right lunatic. morons who believe we can unring the bell of technology brutality and violence are useless; worse is the faux-provinicialism might-makes-rightism of the bomb-the-bad-guys jackasses.
the horror... the horror...
heh heh.
gonna start my own political party of which i am the only member: a kind of nihilist/anarchist/humanist/fascist/far-left/far-right lunatic. morons who believe we can unring the bell of technology brutality and violence are useless; worse is the faux-provinicialism might-makes-rightism of the bomb-the-bad-guys jackasses.
the horror... the horror...
heh heh.
April 20, 2019
"Non sempre si sa perch茅 le cose commuovono (..) ti toccano una corda segreta ed ecco fatto"
Passeggiando per il centro di Firenze un turista peruviano s'imbatte in una piccola mostra fotografica sui nativi della foresta amazzonica: fermarsi 猫 un obbligo dal momento che queste foto ritraggono i paesaggi della propria terra.
E' un attimo e la memoria prepotente torna a galla.
Cos矛 il viaggio culturale a Firenze passa in secondo piano.
Il ricordo, infatti, dimostra di essere pi霉 forte e. cos矛 Dante, Macchiavelli e qualsiasi altra tappa dell'itinerario programmato, si defilano in un angolino...
Tutto cominci貌, tanti anni prima, dall'amicizia con un compagno universitario:
Sa霉l Zuratas, detto Mascarita (potrebbe essere tradotto come Mascherina) a causa di una grossa voglia violacea che gli ricopriva met脿 viso.
Sa霉l 猫 colui che si appassioner脿 al popolo indigeno dei machiguenga.
Il romanzo da qui alterna capitoli in cui l'autore ricorda le appassionate discussioni con Mascarita, ad altri capitoli in cui una sconosciuta voce narrante immerge il lettore nella mitologia del popolo machiguenga.
Questo alternarsi strutturale ne richiama un altro concettuale che 猫 al cuore del romanzo e si racchiude in una domanda:
fino a che punto 猫 giusto conoscere questi popoli?
Quali sono le conseguenze dell'incontro tra la modernit脿 e il primitivismo che protegge la loro sopravvivenza?
Centrale 猫 la funzione dei narratori ( habladores) che prima ascoltano e poi raccontano.
Questo 猫, almeno, quanto io sono venuto a sapere
Sono l'estremo baluardo a difesa della saggezza popolare dai pericoli della dimenticanza.
Sono una prova palpabile che raccontare storie pu貌 essere qualcosa di pi霉 di un mero divertimento: Qualcosa di primordiale, qualcosa da cui dipende l'esistenza stessa di un popolo.
Passeggiando per il centro di Firenze un turista peruviano s'imbatte in una piccola mostra fotografica sui nativi della foresta amazzonica: fermarsi 猫 un obbligo dal momento che queste foto ritraggono i paesaggi della propria terra.
E' un attimo e la memoria prepotente torna a galla.
Cos矛 il viaggio culturale a Firenze passa in secondo piano.
Il ricordo, infatti, dimostra di essere pi霉 forte e. cos矛 Dante, Macchiavelli e qualsiasi altra tappa dell'itinerario programmato, si defilano in un angolino...
Tutto cominci貌, tanti anni prima, dall'amicizia con un compagno universitario:
Sa霉l Zuratas, detto Mascarita (potrebbe essere tradotto come Mascherina) a causa di una grossa voglia violacea che gli ricopriva met脿 viso.
Sa霉l 猫 colui che si appassioner脿 al popolo indigeno dei machiguenga.
Il romanzo da qui alterna capitoli in cui l'autore ricorda le appassionate discussioni con Mascarita, ad altri capitoli in cui una sconosciuta voce narrante immerge il lettore nella mitologia del popolo machiguenga.
Questo alternarsi strutturale ne richiama un altro concettuale che 猫 al cuore del romanzo e si racchiude in una domanda:
fino a che punto 猫 giusto conoscere questi popoli?
Quali sono le conseguenze dell'incontro tra la modernit脿 e il primitivismo che protegge la loro sopravvivenza?
Centrale 猫 la funzione dei narratori ( habladores) che prima ascoltano e poi raccontano.
Questo 猫, almeno, quanto io sono venuto a sapere
Sono l'estremo baluardo a difesa della saggezza popolare dai pericoli della dimenticanza.
Sono una prova palpabile che raccontare storie pu貌 essere qualcosa di pi霉 di un mero divertimento: Qualcosa di primordiale, qualcosa da cui dipende l'esistenza stessa di un popolo.
February 16, 2021
Bir mitolojik 枚yk眉 kitab谋, Amazon Ormanlar谋鈥檔谋n daha do臒rusu 鈥渃ang谋l鈥櫮眓鈥� mitolojisi. Peru cang谋llar谋nda kau莽uk, alt谋n, g眉la臒ac谋 veya tar谋msal alanlar a莽mak i莽in yerlerinden edilmi艧 ve hep daha sa臒l谋ks谋z ve verimsiz y枚relere s眉r眉lm眉艧 yerlilerin masallar谋n谋 ama hepsi de ger莽ek olan masallar谋n谋 anlat谋yor Vargas. Buralardaki ilkel kabilelerin s枚ylencelerinden, inan莽lar谋n颅dan ve t枚relerinden dillerinden bahsediyor. Bu kabileler aras谋nda yeralan Machiguengalar鈥檒a ya艧ayan gen莽lik ve 眉niversite arkada艧谋 olan Saul isimli bir habladorun 枚yk眉s眉n眉 anlat谋yor (Hablador: masalc谋).
U莽suz bucaks谋z Amazon Ormanlar谋鈥檔da bir Machiguenga toplulu臒undan 枚b眉r眉ne s眉r眉klenerek masal颅lar, destanlar derleyen, uyduran, sonra da bunlar谋 gittik颅leri yerlerde anlatan habladorlarla ilgili heyecan verici bir anlat谋m. Bu yerlilerin k眉lt眉rlerini ve kimliklerini yok ettikleri i莽in, ara艧t谋rma yapan dilbilimci veya etnologlara, misyonerlere d眉艧man olan, her艧eyi geride b谋rakarak kendini bu yerlilere ad谋yan Saul鈥檜n 枚yk眉s眉.
Otobiyografik bir roman olan 鈥淢asalc谋鈥漬谋n anlat谋c谋s谋 yazar谋n kendisi, ancak anlatt谋klar谋 ne kadar谋 ger莽ek ne kadar谋 kurmaca bilemedim. Arada masalc谋 Saul s枚ze giriyor ve yerlilerin bilge ki艧isi olan bir 鈥渟eripigari鈥漝en, art谋k ya艧amayan 鈥淭asurinchi鈥� adl谋 bir seripigari鈥檇en 枚臒rendiklerini ve masallar谋n谋 anlat谋yor.
Vargas di臒er Latin Amerika鈥檒谋 yazarlar谋n aksine sola d眉艧man bir neoliberal. Gen莽li臒inde sol d眉艧眉ncedeymi艧 sonra liberalizme d枚nm眉艧 ancak 枚zg眉rl眉kler konusunda hassas, diktat枚rl眉k kar艧谋t谋 ve hayrettir antiemperyalist. San谋r谋m 眉lkemizde d眉nyaya soldan bakanlar谋n kapsama alan谋na girmemesinde Vargas鈥檔谋n sola kar艧谋 sert s枚ylemlerde bulunmas谋 rol oynuyor. Siyasi d眉艧眉ncesi ne olursa olsun 莽ok iyi bir yazar. Ger莽ek莽i 莽izgide ve titiz tarihi ara艧t谋rmalarla yaz谋yor, kalemi 莽ok kuvvetli. 鈥淕regor-Tasurinchi鈥� ile Kafka鈥檡a selam 莽akan bir Peru鈥檒u yazar.
Vargas bu kitab谋, daha do臒rusu bu masallar谋 yazmaya 1950鈥檒i y谋llar谋n sonlar谋nda niyetlenmi艧 ancak 莽eyrek as谋r sonra 1980鈥檒erin ba艧lar谋nda yazabilmi艧. 脟ok keyifle okudum, hem de masalc谋n谋n masallar谋n谋n birbirine 莽ok benzemesi, hatta tekrar duygusu uyand谋rmas谋na ra臒men. 鈥淵眉r眉yen adamlar鈥� ile y眉r眉mek iyi geldi bana. 脰neririm.
U莽suz bucaks谋z Amazon Ormanlar谋鈥檔da bir Machiguenga toplulu臒undan 枚b眉r眉ne s眉r眉klenerek masal颅lar, destanlar derleyen, uyduran, sonra da bunlar谋 gittik颅leri yerlerde anlatan habladorlarla ilgili heyecan verici bir anlat谋m. Bu yerlilerin k眉lt眉rlerini ve kimliklerini yok ettikleri i莽in, ara艧t谋rma yapan dilbilimci veya etnologlara, misyonerlere d眉艧man olan, her艧eyi geride b谋rakarak kendini bu yerlilere ad谋yan Saul鈥檜n 枚yk眉s眉.
Otobiyografik bir roman olan 鈥淢asalc谋鈥漬谋n anlat谋c谋s谋 yazar谋n kendisi, ancak anlatt谋klar谋 ne kadar谋 ger莽ek ne kadar谋 kurmaca bilemedim. Arada masalc谋 Saul s枚ze giriyor ve yerlilerin bilge ki艧isi olan bir 鈥渟eripigari鈥漝en, art谋k ya艧amayan 鈥淭asurinchi鈥� adl谋 bir seripigari鈥檇en 枚臒rendiklerini ve masallar谋n谋 anlat谋yor.
Vargas di臒er Latin Amerika鈥檒谋 yazarlar谋n aksine sola d眉艧man bir neoliberal. Gen莽li臒inde sol d眉艧眉ncedeymi艧 sonra liberalizme d枚nm眉艧 ancak 枚zg眉rl眉kler konusunda hassas, diktat枚rl眉k kar艧谋t谋 ve hayrettir antiemperyalist. San谋r谋m 眉lkemizde d眉nyaya soldan bakanlar谋n kapsama alan谋na girmemesinde Vargas鈥檔谋n sola kar艧谋 sert s枚ylemlerde bulunmas谋 rol oynuyor. Siyasi d眉艧眉ncesi ne olursa olsun 莽ok iyi bir yazar. Ger莽ek莽i 莽izgide ve titiz tarihi ara艧t谋rmalarla yaz谋yor, kalemi 莽ok kuvvetli. 鈥淕regor-Tasurinchi鈥� ile Kafka鈥檡a selam 莽akan bir Peru鈥檒u yazar.
Vargas bu kitab谋, daha do臒rusu bu masallar谋 yazmaya 1950鈥檒i y谋llar谋n sonlar谋nda niyetlenmi艧 ancak 莽eyrek as谋r sonra 1980鈥檒erin ba艧lar谋nda yazabilmi艧. 脟ok keyifle okudum, hem de masalc谋n谋n masallar谋n谋n birbirine 莽ok benzemesi, hatta tekrar duygusu uyand谋rmas谋na ra臒men. 鈥淵眉r眉yen adamlar鈥� ile y眉r眉mek iyi geldi bana. 脰neririm.
December 13, 2023
蹖賵爻丕 讴賴 亘乇丕蹖 诏匕乇丕賳丿賳 丕蹖丕賲 賮乇丕睾鬲 賵 丕夭 蹖丕丿 亘乇丿賳 倬乇賵 (丨鬲蹖 亘乇丕蹖 賲丿鬲蹖 讴賵鬲丕賴) 爻乇蹖 亘賴 賮賱賵乇丕賳爻 夭丿賴 亘賴 賵丕爻胤賴 亘丕夭丿蹖丿 丕夭 蹖讴 诏丕賱乇蹖 讴賵趩讴 讴賴 丌孬丕乇蹖 丕夭 亘賵賲蹖丕賳 丌賲丕夭賵賳蹖 乇丕 亘賴 賳賲丕蹖卮 诏匕丕卮鬲賴 賵 賴賲趩賳蹖賳 賲卮丕賴丿賴 毓讴爻蹖 丕夭 亘賵賲蹖丕賳 讴賴 丿賵乇 賲乇丿蹖 丨賱賯賴 夭丿賴 賵 诏賵卮 亘賴 爻禺賳丕賳 賲乇丿蹖 爻倬乇丿賴 丕賳丿貙 亘賴 賳賵毓蹖 丕夭 禺賵丿 亘蹖 禺賵丿 賲蹖鈥屫促堌� 賵 蹖丕丿 賵 禺丕胤乇賴 蹖讴 丿賵爻鬲 賯丿蹖賲蹖 讴賴 賲丿鬲鈥屬囏� 丕夭 丕賵 亘蹖 禺亘乇 亘賵丿賴 丿乇 丕賵 夭賳丿賴 賲蹖鈥屫促堌� 賵 賴賲蹖賳 賲賵囟賵毓 夭賲蹖賳賴 賳賵卮鬲賳 丕蹖賳 丕孬乇 卮丿賴 丕爻鬲. 賲賵囟賵毓 丕氐賱蹖 讴鬲丕亘 丿乇 禺氐賵氐 丕賮乇丕丿蹖 丕爻鬲 讴賴 丿乇 賲蹖丕賳 亘賵賲蹖丕賳 丌賲丕夭賵賳蹖 賵馗蹖賮賴鈥屫й� 睾乇蹖亘 亘乇 毓賴丿賴 丿丕卮鬲賳丿 讴賴 賴賲丕賳丕 "爻禺賳 诏賮鬲賳" 亘賵丿 丕蹖賳 丕賮乇丕丿 賴蹖趩 噩丕蹖诏丕賴 孬丕亘鬲蹖 乇丕 賲讴丕賳 夭賳丿诏蹖 禺賵丿 賯乇丕乇 賳賲蹖 丿丕丿賳丿 亘賱讴賴 亘丕 丨乇讴鬲 丿乇 噩賳诏賱鈥屬囏� 賵 丕賳鬲賯丕賱 丌賳趩賴 亘乇 丌賳鈥屬囏� 诏匕卮鬲賴 丿蹖诏乇 亘賵賲蹖丕賳 乇丕 丕夭 卮乇丨 丕丨賵賱 賴賲賳賵毓丕賳 禺賵丿 丿乇 丿蹖诏乇 賳賯丕胤 噩賳诏賱 丌诏丕賴 賲蹖鈥屭┴必嗀�. 讴鬲丕亘 丕夭 讴卮卮 賳爻亘鬲丕賸 賯丕亘賱 賯亘賵賱蹖 亘乇禺賵乇丿丕乇 丕爻鬲 賴乇趩賳丿 亘賴 賳爻亘鬲 丿蹖诏乇 丌孬丕乇 蹖賵爻丕 丌賳賯丿乇 賲鬲丕孬乇 讴賳賳丿賴 賳蹖爻鬲. 囟賲賳 丌賳讴賴 丌賳趩賴 蹖賵爻丕 乇丕 鬲乇睾蹖亘 亘賴 賳賵卮鬲賳 丕蹖賳 丕孬乇 讴乇丿賴貙 賵爻賵爻賴 賵 卮讴蹖 亘賵丿賴 讴賴 亘丕 丿蹖丿賳 丌賳 毓讴爻 丿趩丕乇卮 卮丿賴貙 讴賴 丌蹖丕 丌賳 賮乇丿 爻禺賳 诏賵 丿乇 毓讴爻 蹖丕丿 卮丿賴貙 賴賲丕賳 丿賵爻鬲 诏賲 卮丿賴 蹖賵爻丕 賳蹖爻鬲 讴賴 爻丕賱鈥屬囏� 讴爻蹖 丕夭 丕賵 禺亘乇蹖 賳丿丕乇丿.
September 4, 2017
蹖讴蹖 丕夭 丨爻乇鬲鈥屬囏й� 賲賳 丿乇 夭賳丿诏蹖 丕蹖賳 丕爻鬲 讴賴 趩乇丕 爻乇禺倬賵爻鬲 賳卮丿賴鈥屫з呚� 卮丕蹖丿 賴賲蹖賳 讴丕賮蹖 亘賵丿 讴賴 賲賳 丕夭 禺賵丕賳丿賳 讴鬲丕亘 禺蹖賱蹖 賱匕鬲 亘亘乇賲 丕賲丕 亘丕蹖丿 亘诏賵蹖賲 讴賴 丕蹖賳胤賵乇 賳卮丿! 讴鬲丕亘 亘賴 乇賲丕賳 讴賲鈥屫� 卮亘丕賴鬲 丿丕卮鬲貙 诏夭丕乇卮 賵 鬲丨賯蹖賯 賴賲 賳亘賵丿 丕賱亘鬲賴. 胤賵乇蹖 賳亘賵丿 讴賴 丌丿賲 乇丕 亘丕 禺賵丿卮 亘讴卮丕賳丿. 倬乇 亘賵丿 丕夭 丕賮爻丕賳賴鈥屬囏� 賵 鬲禺蹖賱丕鬲 丌丿賲鈥屬囏� 賵 亘丕賵乇賴丕蹖 賯亘丕蹖賱蹖 讴賴 賴賳賵夭 鬲賲丿賳 亘賴 丌鈥屬嗁囏� 乇丕賴 賳蹖丕賮鬲賴. 亘丕 丕蹖賳鈥屬囐呝� 亘乇丕蹖 賲賳 讴賲 亘賵丿. 趩蹖夭蹖 讴賲 丿丕卮鬲.
May 12, 2015
丨蹖賮 賳蹖爻鬲 丌丿賲 氐乇賮丕 亘乇丕蹖 丕蹖賳鈥屭┵� 亘賴 蹖賴 丨賵夭賴鈥屫й� 毓賱丕賯賴 賳丿丕乇賴 蹖賴 丿丕爻鬲丕賳 禺賵亘 乇賵 乇賴丕 讴賳賴責
賮讴 讴賳賲 丕賵賳 讴丕乇 丨蹖賮 乇賵 丕賳噩丕賲 丿丕丿賲. 乇賲丕賳 卮乇賵毓卮 禺蹖賱蹖 禺賵亘賴. 賵丕賯毓丕 毓丕賱蹖賴. 賯氐賴鈥屰� 蹖賴 丿賵爻鬲蹖 禺賵亘 賵 氐賲蹖賲丕賳賴 賵 丨丕賱鈥屫堌ㄢ€屭┵� 丕賵賳 賴賲 丿乇 毓蹖賳 丨丕賱 讴賴 亘蹖賳 丿賵 丿賵爻鬲 鬲賮丕賵鬲鈥屬囏й� 夭蹖丕丿蹖 賴爻鬲. 丕賲丕 乇賲丕賳 鬲賵蹖 賮氐賱 亘毓丿蹖 賲蹖乇賴 鬲賵蹖 賵丕丿蹖鈥屫й� 讴賴 賮賯胤 賲蹖鈥屫堎嗁� 亘诏賲 丨蹖賮 讴賴 丿賵爻卮 賳丿丕乇賲. 賲蹖乇賴 鬲賵蹖 丿賳蹖丕蹖 爻乇禺鈥屬举堌池€屬囏� 賵 禺丿丕賴丕卮賵賳. 亘丕 丕蹖賳鈥屭┵� 賴賲蹖卮賴 賮蹖賱賲鈥屬囏й� 爻乇禺鈥屬举堌池� 乇賵 丿賵爻鬲 丿丕卮鬲賲 丕賲丕 賳賲蹖鈥屫堎嗁� 趩乇丕 丌丿賲 讴鬲丕亘鈥屬囏й� 丕蹖賳 賯亘丕蹖賱 賳蹖爻鬲賲. 賮讴乇 賲蹖鈥屭┵嗁� 丿丕乇賲 蹖賴 丨賵夭賴鈥屰� 賲胤丕賱毓丕鬲蹖 禺蹖賱蹖 噩匕丕亘 乇賵 丕夭 丿爻鬲 賲蹖丿賲貨 丕賲丕 鬲乇噩蹖丨 賲蹖丿賲 賮毓賱丕 賵賯鬲 賲丨丿賵丿賲 乇賵 亘匕丕乇賲 亘乇丕蹖 讴鬲丕亘鈥屬囏й屰� 讴賴 丿賵爻鬲 丿丕乇賲
爻賵倬乇賲丕乇蹖賵蹖 毓夭蹖夭
亘亘禺卮蹖丿
丕蹖賳 讴鬲丕亘鬲 賮毓賱丕 亘乇丕蹖 賲賳 賳蹖爻鬲. 賵賱蹖 蹖丕丿賲 賲蹖鈥屬呝堎嗁� 讴賴 丕诏賴 乇賵夭蹖 亘賴 賯賵賲鈥屫促嗀ж驰� 毓賱丕賯賴鈥屬呝嗀� 卮丿賲 亘乇诏乇丿賲 爻乇丕睾 丕蹖賳 讴鬲丕亘鬲
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賮讴 讴賳賲 丕賵賳 讴丕乇 丨蹖賮 乇賵 丕賳噩丕賲 丿丕丿賲. 乇賲丕賳 卮乇賵毓卮 禺蹖賱蹖 禺賵亘賴. 賵丕賯毓丕 毓丕賱蹖賴. 賯氐賴鈥屰� 蹖賴 丿賵爻鬲蹖 禺賵亘 賵 氐賲蹖賲丕賳賴 賵 丨丕賱鈥屫堌ㄢ€屭┵� 丕賵賳 賴賲 丿乇 毓蹖賳 丨丕賱 讴賴 亘蹖賳 丿賵 丿賵爻鬲 鬲賮丕賵鬲鈥屬囏й� 夭蹖丕丿蹖 賴爻鬲. 丕賲丕 乇賲丕賳 鬲賵蹖 賮氐賱 亘毓丿蹖 賲蹖乇賴 鬲賵蹖 賵丕丿蹖鈥屫й� 讴賴 賮賯胤 賲蹖鈥屫堎嗁� 亘诏賲 丨蹖賮 讴賴 丿賵爻卮 賳丿丕乇賲. 賲蹖乇賴 鬲賵蹖 丿賳蹖丕蹖 爻乇禺鈥屬举堌池€屬囏� 賵 禺丿丕賴丕卮賵賳. 亘丕 丕蹖賳鈥屭┵� 賴賲蹖卮賴 賮蹖賱賲鈥屬囏й� 爻乇禺鈥屬举堌池� 乇賵 丿賵爻鬲 丿丕卮鬲賲 丕賲丕 賳賲蹖鈥屫堎嗁� 趩乇丕 丌丿賲 讴鬲丕亘鈥屬囏й� 丕蹖賳 賯亘丕蹖賱 賳蹖爻鬲賲. 賮讴乇 賲蹖鈥屭┵嗁� 丿丕乇賲 蹖賴 丨賵夭賴鈥屰� 賲胤丕賱毓丕鬲蹖 禺蹖賱蹖 噩匕丕亘 乇賵 丕夭 丿爻鬲 賲蹖丿賲貨 丕賲丕 鬲乇噩蹖丨 賲蹖丿賲 賮毓賱丕 賵賯鬲 賲丨丿賵丿賲 乇賵 亘匕丕乇賲 亘乇丕蹖 讴鬲丕亘鈥屬囏й屰� 讴賴 丿賵爻鬲 丿丕乇賲
爻賵倬乇賲丕乇蹖賵蹖 毓夭蹖夭
亘亘禺卮蹖丿
丕蹖賳 讴鬲丕亘鬲 賮毓賱丕 亘乇丕蹖 賲賳 賳蹖爻鬲. 賵賱蹖 蹖丕丿賲 賲蹖鈥屬呝堎嗁� 讴賴 丕诏賴 乇賵夭蹖 亘賴 賯賵賲鈥屫促嗀ж驰� 毓賱丕賯賴鈥屬呝嗀� 卮丿賲 亘乇诏乇丿賲 爻乇丕睾 丕蹖賳 讴鬲丕亘鬲
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February 23, 2021
Un roman altfel din toate punctele de vedere. Bine documentat, Llosa creaz膬 o lume fantastica pe care o descoperi doar cu r膬bdare 葯i pl膬cerea cititului 卯ncet. Nu este o lectur膬 u葯oar膬 - aviz amatorilor de chilipiruri. 馃檪
March 23, 2025
Prossigo neste meu garimpo de culturas, estilos e geografias. Nunca tinha lido esta p茅rola de Vargas Llosa : El Hablador.
Encontro na hist贸ria qualquer coisa que me recorda Torga. A terra, o tel煤rico, at茅 mesmo a figura do Hablador me fez recordar personagens de alguns contos 鈥� por exemplo, o Abafador, que investiguei, para desconstruir, no meu terceiro romance.
Incr铆vel a t茅cnica de Vargas Llosa, escrevendo esta hist贸ria a duas vozes, completamente distintas que v茫o alternadamente contrapondo-se 脿 medida que nos conduz ao desfecho em que (previsivelmente, mas n茫o menos excitantemente) se juntam.
Nesta antifonia come莽ada algures 脿 beira das margens do Arno (n茫o poderia ter elegido um lugar mais significativo), desenvolve uma hist贸ria, em analepse, em que nos apresenta os questionamentos de dois jovens peruanos (um deles parece profundamente autobiogr谩fico) e um homem 鈥榩rimitivo鈥� que evolui numa amaz贸nia encurralada, h谩 d茅cadas sob a press茫o da modernidade, portadora do bem, do mal e do execr谩vel. 脡 assim que Vargas Llosa nos traz a sua obsess茫o fundamental: o papel da fic莽茫o na vida dos homens.
Encontro na hist贸ria qualquer coisa que me recorda Torga. A terra, o tel煤rico, at茅 mesmo a figura do Hablador me fez recordar personagens de alguns contos 鈥� por exemplo, o Abafador, que investiguei, para desconstruir, no meu terceiro romance.
Incr铆vel a t茅cnica de Vargas Llosa, escrevendo esta hist贸ria a duas vozes, completamente distintas que v茫o alternadamente contrapondo-se 脿 medida que nos conduz ao desfecho em que (previsivelmente, mas n茫o menos excitantemente) se juntam.
Nesta antifonia come莽ada algures 脿 beira das margens do Arno (n茫o poderia ter elegido um lugar mais significativo), desenvolve uma hist贸ria, em analepse, em que nos apresenta os questionamentos de dois jovens peruanos (um deles parece profundamente autobiogr谩fico) e um homem 鈥榩rimitivo鈥� que evolui numa amaz贸nia encurralada, h谩 d茅cadas sob a press茫o da modernidade, portadora do bem, do mal e do execr谩vel. 脡 assim que Vargas Llosa nos traz a sua obsess茫o fundamental: o papel da fic莽茫o na vida dos homens.
June 7, 2016
丕蹖賳 讴鬲丕亘 禺蹖賱蹖 亘乇丕賲 噩丕賱亘 亘賵丿 賵 丕賱亘鬲賴 禺蹖賱蹖 賲鬲賮丕賵鬲 賳爻亘鬲 亘賴 讴鬲丕亘丕蹖蹖 讴賴 鬲丕 亘賴 丨丕賱 禺賵賳丿賲. 賵 丿乇 鬲毓噩亘 亘賵丿賲 讴賴 趩乇丕 鬲丕 丨丕賱丕 丕夭 丕蹖賳 賳賵蹖爻賳丿賴 讴鬲丕亘蹖 賳禺賵賳丿賲 趩賵賳 賵丕賯毓丕 賲賵乇丿 毓賱丕賯賴 賲 亘賵丿.
丕夭 賲鬲賳 讴鬲丕亘:
倬蹖卮 丕夭 丌賳讴賴 賲鬲賵賱丿 卮賵賲 賮讴乇 賲蹖讴乇丿賲 賴乇 賯賵賲蹖 亘丕蹖丿 毓賵囟 卮賵丿. 毓丕丿丕鬲 貙 賲賲賳賵毓蹖鬲 賴丕 貙 噩丕丿賵賴丕 蹖 丕賯賵丕賲 賯賵蹖 鬲乇 乇丕 亘倬匕蹖乇丿. 禺丿丕蹖丕賳 賵 賮乇卮鬲诏丕賳貙 卮蹖胤丕賳 賴丕 賵 卮蹖胤丕賳讴 賴丕 蹖 丕賯賵丕賲 賮乇夭丕賳賴 乇丕 丕夭 丌賳 禺賵丿卮 讴賳丿. 亘賴 丕蹖賳 鬲乇鬲蹖亘 賲丕 倬丕讴 鬲乇 賲蹖卮賵蹖賲. 丕賲丕 丿乇爻鬲 賳亘賵丿. 丨丕賱丕 賲蹖丿丕賳賲 讴賴 丕蹖賳胤賵乇 賳蹖爻鬲. 丌乇蹖 丕蹖賳 乇丕 丕夭 卮賲丕 蹖丕丿 诏乇賮鬲賴 丕賲. 趩賴 讴爻蹖 亘丕 氐乇賮 賳馗乇 讴乇丿賳 丕夭 鬲賯丿蹖乇 禺賵丿卮 貙 賲蹖鬲賵丕賳丿 倬丕讴 鬲乇 賵 禺賵卮亘禺鬲 鬲乇 亘丕卮丿責 賴蹖趩 讴爻. 賲丕 賴賲丕賳 讴賴 賴爻鬲蹖賲 亘丕賯蹖 禺賵丕賴蹖賲 賲丕賳丿 . 丕蹖賳 胤賵乇 亘賴鬲乇 丕爻鬲. 丕诏乇 讴爻蹖 丕夭 賵馗蹖賮賴 丕蹖 讴賴 亘賴 毓賴丿賴 丕卮 诏匕丕卮鬲賴 卮丿賴 丕爻鬲 丿爻鬲 亘乇丿丕乇丿 賵 亘賴 賵馗蹖賮賴 蹖 丿蹖诏乇蹖 毓賲賱 讴賳丿 乇賵丨 禺賵丿卮 乇丕 丕夭 丿爻鬲 賲蹖丿賴丿. 卮丕蹖丿 讴丕賱亘丿 禺賵丿卮 乇丕 丕夭 丿爻鬲 亘丿賴丿 賵 亘丿賵賳 卮讴 賵賯鬲蹖 乇賵丨卮 乇丕 丕夭 丿爻鬲 丿丕丿 貙 賳賮乇鬲 丕賳诏蹖夭鬲乇蹖賳 賲賵噩賵丿丕鬲貙丌夭丕乇丿賴賳丿賴 鬲乇蹖賳 丨蹖賵丕賳丕鬲 丿乇 倬蹖讴乇 禺丕賱蹖 丕賵 噩丕蹖 賲蹖诏蹖乇賳丿.
丕夭 賲鬲賳 讴鬲丕亘:
倬蹖卮 丕夭 丌賳讴賴 賲鬲賵賱丿 卮賵賲 賮讴乇 賲蹖讴乇丿賲 賴乇 賯賵賲蹖 亘丕蹖丿 毓賵囟 卮賵丿. 毓丕丿丕鬲 貙 賲賲賳賵毓蹖鬲 賴丕 貙 噩丕丿賵賴丕 蹖 丕賯賵丕賲 賯賵蹖 鬲乇 乇丕 亘倬匕蹖乇丿. 禺丿丕蹖丕賳 賵 賮乇卮鬲诏丕賳貙 卮蹖胤丕賳 賴丕 賵 卮蹖胤丕賳讴 賴丕 蹖 丕賯賵丕賲 賮乇夭丕賳賴 乇丕 丕夭 丌賳 禺賵丿卮 讴賳丿. 亘賴 丕蹖賳 鬲乇鬲蹖亘 賲丕 倬丕讴 鬲乇 賲蹖卮賵蹖賲. 丕賲丕 丿乇爻鬲 賳亘賵丿. 丨丕賱丕 賲蹖丿丕賳賲 讴賴 丕蹖賳胤賵乇 賳蹖爻鬲. 丌乇蹖 丕蹖賳 乇丕 丕夭 卮賲丕 蹖丕丿 诏乇賮鬲賴 丕賲. 趩賴 讴爻蹖 亘丕 氐乇賮 賳馗乇 讴乇丿賳 丕夭 鬲賯丿蹖乇 禺賵丿卮 貙 賲蹖鬲賵丕賳丿 倬丕讴 鬲乇 賵 禺賵卮亘禺鬲 鬲乇 亘丕卮丿責 賴蹖趩 讴爻. 賲丕 賴賲丕賳 讴賴 賴爻鬲蹖賲 亘丕賯蹖 禺賵丕賴蹖賲 賲丕賳丿 . 丕蹖賳 胤賵乇 亘賴鬲乇 丕爻鬲. 丕诏乇 讴爻蹖 丕夭 賵馗蹖賮賴 丕蹖 讴賴 亘賴 毓賴丿賴 丕卮 诏匕丕卮鬲賴 卮丿賴 丕爻鬲 丿爻鬲 亘乇丿丕乇丿 賵 亘賴 賵馗蹖賮賴 蹖 丿蹖诏乇蹖 毓賲賱 讴賳丿 乇賵丨 禺賵丿卮 乇丕 丕夭 丿爻鬲 賲蹖丿賴丿. 卮丕蹖丿 讴丕賱亘丿 禺賵丿卮 乇丕 丕夭 丿爻鬲 亘丿賴丿 賵 亘丿賵賳 卮讴 賵賯鬲蹖 乇賵丨卮 乇丕 丕夭 丿爻鬲 丿丕丿 貙 賳賮乇鬲 丕賳诏蹖夭鬲乇蹖賳 賲賵噩賵丿丕鬲貙丌夭丕乇丿賴賳丿賴 鬲乇蹖賳 丨蹖賵丕賳丕鬲 丿乇 倬蹖讴乇 禺丕賱蹖 丕賵 噩丕蹖 賲蹖诏蹖乇賳丿.
November 20, 2014
The story's narrator visits an art gallery where there is an exhibit of photographs of the Machiguenga, an indigenous Amazonian tribe living in southeastern Peru. The Machiguenga are gathered around a storyteller who looks like Saul Zuratas, his friend when he was a university student. Zuratas had been called Mascarita (Mask face) because he had a port wine birthmark covering half his face. The narrator realizes that Mascarita had left the modern world to live with the Machiguenga. Although the native tribe killed babies born with physical problems, they were very accepting of adults with deformities.
The narrator tells about the discussions that he and Mascarita, an ethnology student, had about the effects of modern civilization on the native tribes in the 1950s. Should the Machiguengas be kept away from Western ideas, or would they have a better life if they could form villages and become part of the modern world? The indigenous tribes had often been exploited, especially by the rubber industry. Missionaries were destroying native cultures. Linguists and anthropologists were exposing them to Western ideas. Is a hybrid culture impossible to avoid? The narrator tells about the controversy surrounding the interaction of Western and indigenous peoples in half the chapters of the book.
The alternating chapters of the book are set in the Amazon basin as Mascarita, the storyteller, visits small groups of the Machiguenga. At first, he just tells stories of their traditions and history that he learned during his travels. Many of the stories are fables full of taboos and superstition. They often revolve around gods like the sun, moon, and other forces of nature. Eventually Mascarita incorporates Western ideas such as stories from the Bible, and even Kafka's "Metamorphosis" into his stories. Although Mascarita wanted to completely leave the modern world to live with the indigenous people, he unconsciously started practicing cultural hybridism in his storytelling. Mascarita comes from a Jewish family, and there are parallels between the Exodus of the Jews, and the walking of the Machiguenga further into the Amazon jungle as they are displaced by modern civilization.
Mario Vargas Llosa gives the reader lots to think about as he shows both sides of the controversy concerning modern influences on native cultures. The sections of the book with the fables could have been shortened a bit while still giving the reader a good idea of the lives of the Machiguenga. Overall, the book presented a cultural controversy in an interesting, original story.
The narrator tells about the discussions that he and Mascarita, an ethnology student, had about the effects of modern civilization on the native tribes in the 1950s. Should the Machiguengas be kept away from Western ideas, or would they have a better life if they could form villages and become part of the modern world? The indigenous tribes had often been exploited, especially by the rubber industry. Missionaries were destroying native cultures. Linguists and anthropologists were exposing them to Western ideas. Is a hybrid culture impossible to avoid? The narrator tells about the controversy surrounding the interaction of Western and indigenous peoples in half the chapters of the book.
The alternating chapters of the book are set in the Amazon basin as Mascarita, the storyteller, visits small groups of the Machiguenga. At first, he just tells stories of their traditions and history that he learned during his travels. Many of the stories are fables full of taboos and superstition. They often revolve around gods like the sun, moon, and other forces of nature. Eventually Mascarita incorporates Western ideas such as stories from the Bible, and even Kafka's "Metamorphosis" into his stories. Although Mascarita wanted to completely leave the modern world to live with the indigenous people, he unconsciously started practicing cultural hybridism in his storytelling. Mascarita comes from a Jewish family, and there are parallels between the Exodus of the Jews, and the walking of the Machiguenga further into the Amazon jungle as they are displaced by modern civilization.
Mario Vargas Llosa gives the reader lots to think about as he shows both sides of the controversy concerning modern influences on native cultures. The sections of the book with the fables could have been shortened a bit while still giving the reader a good idea of the lives of the Machiguenga. Overall, the book presented a cultural controversy in an interesting, original story.
May 3, 2025
Non so se rientri a pieno titolo nel romanzo, o se sia un romanzo saggio o magari la definizione pi霉 giusta 猫 un romanzo che contiene favole, miti e leggende ed 猫 proprio questo aspetto che gli conferisce tanto fascino.
Nel libro due voci si alternano, una 猫 il narratore principale della storia, alter ego di Vargas Llosa, che per caso, trovandosi in giro per Firenze scopre una mostra fotografica su una popolazione dell鈥橝mazzonia peruviana, i machiguenga. Tra gli scatti esposti riconosce la foto di un amico che conosceva a Lima, quando studiava all鈥檜niversit脿, un compagno di origine ebrea, detto Mascarita per una grande voglia sul volto, studente di etnologia鈥�; l鈥檃ltro 猫 lui, il narratore ambulante, l鈥檜omo che vaga da una trib霉 all鈥檃ltra nella foresta amazzonica per raccontare senza sosta agli indios (e a noi lettori, catturandoci con grande abilit脿) storie e leggende che i machiguenga si trasmettono di generazione in generazione. Una figura mitica, simile ai trovatori provenzali, la memoria collettiva di una comunit脿 destinata a scomparire per opera della 鈥渃ivilt脿鈥�.
I toni malinconici e fantastici del racconto fanno sentire il lettore a proprio agio, le leggende che il narratore ambulante racconta sono ricolme di fascino, di fantasia e di saggezza. Magari Vargas Llosa, prima di diventare uno scrittore, avrebbe voluto essere lui un cantastorie, o forse vuole dirci che l鈥檃ltra faccia dello scrittore 猫 quella del 鈥渘arratore ambulante鈥�, che in un mondo primitivo sopravvive soltanto grazie alla fantasia e all鈥檃scolto e che nel mondo di oggi passa attraverso le serie tv, i videogiochi e, ultimi in ordine temporale, gli influencer.
Nel libro due voci si alternano, una 猫 il narratore principale della storia, alter ego di Vargas Llosa, che per caso, trovandosi in giro per Firenze scopre una mostra fotografica su una popolazione dell鈥橝mazzonia peruviana, i machiguenga. Tra gli scatti esposti riconosce la foto di un amico che conosceva a Lima, quando studiava all鈥檜niversit脿, un compagno di origine ebrea, detto Mascarita per una grande voglia sul volto, studente di etnologia鈥�; l鈥檃ltro 猫 lui, il narratore ambulante, l鈥檜omo che vaga da una trib霉 all鈥檃ltra nella foresta amazzonica per raccontare senza sosta agli indios (e a noi lettori, catturandoci con grande abilit脿) storie e leggende che i machiguenga si trasmettono di generazione in generazione. Una figura mitica, simile ai trovatori provenzali, la memoria collettiva di una comunit脿 destinata a scomparire per opera della 鈥渃ivilt脿鈥�.
I toni malinconici e fantastici del racconto fanno sentire il lettore a proprio agio, le leggende che il narratore ambulante racconta sono ricolme di fascino, di fantasia e di saggezza. Magari Vargas Llosa, prima di diventare uno scrittore, avrebbe voluto essere lui un cantastorie, o forse vuole dirci che l鈥檃ltra faccia dello scrittore 猫 quella del 鈥渘arratore ambulante鈥�, che in un mondo primitivo sopravvive soltanto grazie alla fantasia e all鈥檃scolto e che nel mondo di oggi passa attraverso le serie tv, i videogiochi e, ultimi in ordine temporale, gli influencer.
May 1, 2025
亘賴 丿賱蹖賱 丿乇诏匕卮鬲 蹖賵爻丕 鬲氐賲蹖賲 诏乇賮鬲賲 蹖讴蹖 丕夭 讴鬲丕亘鈥屬囏й� 賳禺賵賳丿賴鈥屫� 乇賵 亘禺賵賳賲. 亘蹖賳 趩賳丿鬲丕 讴鬲丕亘 卮讴 丿丕卮鬲賲 讴賴 丿乇賳賴丕蹖鬲 賯氐赖鈥屭� 乇賵 禺賵賳丿賲 讴賴 賲丿鬲蹖 賴賲 亘賵丿 鬲賵蹖 賱蹖爻鬲 讴鬲丕亘鈥屬囏з� 亘賵丿.
乇丕爻鬲卮 亘賴 丕賳丿丕夭賴 讴丕乇賴丕蹖 丿蹖诏賴鈥屰� 蹖賵爻丕 亘乇丕蹖 賲賳 噩匕丕亘 賳亘賵丿. 讴鬲丕亘 禺賵亘 卮乇賵毓 賲蹖卮賴 賵 乇賵賳丿 爻乇蹖毓蹖 賴賲 丿丕乇賴 賵 卮禺氐蹖鬲鈥屬囏й� 夭蹖丕丿蹖 鬲賵蹖 讴鬲丕亘 賳蹖爻鬲賳 亘乇丕蹖 賴賲蹖賳 禺賵賳丿賳卮 丕氐賱丕 爻禺鬲蹖 賳丿丕乇賴. 賲賵囟賵毓 丕氐賱蹖 讴鬲丕亘 丿乇 賲賵乇丿 亘賵賲蹖丕賳 爻丕讴賳 噩賳诏賱鈥屬囏й� 丌賲丕夭賵賳 賴爻鬲卮 賵 亘丨孬鈥屬囏й屰� 讴賴 亘蹖賳 丕賮乇丕丿 丿乇 禺氐賵氐 賳丨賵賴 亘乇禺賵乇丿 亘丕 丕賵賳鈥屬囏ж� 丨賯 賵 丨賯賵賯鈥屫促堎� 賵 賳賯丿 乇賮鬲丕乇賴丕蹖 丕爻鬲毓賲丕乇蹖 賵 鬲亘賱蹖睾 賲匕賴亘 賲爻蹖丨蹖鬲 亘蹖賳 丕賵賳丕 卮讴賱 賲蹖鈥屭屫辟�. 賴賲賴 趩蹖夭 诏賱 賵 亘賱亘賱 賴爻鬲賳卮 鬲丕 丕蹖賳讴賴 蹖讴 丿賮毓賴 賴賲賴 趩蹖夭 亘賴賲 賲蹖乇蹖夭賴 賵 夭亘丕賳 讴鬲丕亘 賵 讴賱賲丕鬲 賵 夭賲丕賳 鬲睾蹖蹖乇 賲蹖鈥屭┵嗁� 賵 丿丕爻鬲丕賳 丕夭 夭亘丕賳 亘賵賲蹖丕賳 賳賯賱 賲蹖卮賴. 丿丕爻鬲丕賳 趩賳丿蹖賳 亘丕乇 亘蹖賳 賳賯賱 賯賵賱 毓丕丿蹖 賳賵蹖爻賳丿賴 賵 賳賯賱 賯賵賱 亘賵賲蹖鈥屬囏� 噩丕亘噩丕 賲蹖卮賴 賵 賵丕賯毓丕 禺賵賳丿賳 亘禺卮鈥屬囏й屰� 丕夭 讴鬲丕亘 爻禺鬲 賵 亘爻蹖丕乇 丿乇賴賲 賵 亘乇賴賲 倬蹖卮 賲蹖乇賴貙 丕賵賳賯丿乇蹖 讴賴 賲賲讴賳賴 賴乇賱丨馗賴 讴鬲丕亘 乇賵 亘匕丕乇蹖丿 讴賳丕乇. 賵賱蹖 亘丕 氐亘乇 賵 鬲丨賲賱 丿乇 丕賳鬲賴丕 禺蹖賱蹖 噩丕賱亘 鬲賵噩賴 鬲賲賵賲 賲蹖卮賴. 丨鬲蹖 禺賵丕賳賳丿賴 亘丕 丿賱丕蹖賱 丕蹖賳 倬蹖趩蹖丿诏蹖 賵 丿乇賴賲 賵 亘乇賴賲蹖 倬蹖 賲蹖鈥屫ㄘ辟� 賵 趩賯丿乇 禺賵亘 丿睾丿睾賴鈥屬呝嗀� 賲爻丕卅賱 賲乇亘賵胤 亘賴 噩賵丕賲毓 亘賵賲蹖丕賳 乇賵 賲胤乇丨 賲蹖讴賳賴. 蹖賴 噩丕賴丕蹖蹖 賴賲 禺蹖賱蹖 賯卮賳诏 亘賴 亘丨孬 賲匕賴亘 賵 噩丕賲毓賴鈥屫促嗀ж驰� 賵乇賵丿 賲蹖讴賳賴 賵 丨乇賮鈥屬囏й� 賯丕亘賱鈥屫з呝勠� 乇賵 賲蹖夭賳賴. 丕賱亘鬲賴 蹖賴 噩丕賴丕蹖蹖 賴賲 丿乇 禺氐賵氐 賮賱爻賮賴 賲賵囟賵毓丕鬲 賲禺鬲賱賮 丕夭 丿蹖丿诏丕賴 亘賵賲蹖丕賳 賲蹖鈥屬矩必ж操� 讴賴 亘乇丕蹖 賲賳 禺蹖賱蹖 讴賳丿 賵 禺爻鬲賴鈥屭┵嗁嗀� 亘賵丿 (趩賳丿蹖賳 丿丕爻鬲丕賳 丕爻胤賵乇賴鈥屫й� 賲禺鬲賱賮 丿乇 禺氐賵氐 亘賴卮鬲 賵 噩賴賳賲 賵 倬蹖丿丕蹖卮 賲丕賴 賵 禺賵乇卮蹖丿 賵 睾蹖乇賴 鬲毓乇蹖賮 賲蹖讴賳賴).
丿乇 讴賱 讴鬲丕亘 噩丕賱亘蹖 賴爻鬲卮 丕诏乇 亘賴 丌賲丕夭賵賳貙 賯亘丕蹖賱 賵 乇爻賲 賵 乇爻賵賲鈥屬囏ж促堎� 毓賱丕賯賴鈥屬呝嗀屫� 賵賱蹖 讴鬲丕亘 乇丕丨鬲蹖 賳蹖爻鬲 賵 亘賴 賴乇 讴爻蹖 倬蹖卮賳賴丕丿 賳賲蹖讴賳賲.
乇丕爻鬲卮 亘賴 丕賳丿丕夭賴 讴丕乇賴丕蹖 丿蹖诏賴鈥屰� 蹖賵爻丕 亘乇丕蹖 賲賳 噩匕丕亘 賳亘賵丿. 讴鬲丕亘 禺賵亘 卮乇賵毓 賲蹖卮賴 賵 乇賵賳丿 爻乇蹖毓蹖 賴賲 丿丕乇賴 賵 卮禺氐蹖鬲鈥屬囏й� 夭蹖丕丿蹖 鬲賵蹖 讴鬲丕亘 賳蹖爻鬲賳 亘乇丕蹖 賴賲蹖賳 禺賵賳丿賳卮 丕氐賱丕 爻禺鬲蹖 賳丿丕乇賴. 賲賵囟賵毓 丕氐賱蹖 讴鬲丕亘 丿乇 賲賵乇丿 亘賵賲蹖丕賳 爻丕讴賳 噩賳诏賱鈥屬囏й� 丌賲丕夭賵賳 賴爻鬲卮 賵 亘丨孬鈥屬囏й屰� 讴賴 亘蹖賳 丕賮乇丕丿 丿乇 禺氐賵氐 賳丨賵賴 亘乇禺賵乇丿 亘丕 丕賵賳鈥屬囏ж� 丨賯 賵 丨賯賵賯鈥屫促堎� 賵 賳賯丿 乇賮鬲丕乇賴丕蹖 丕爻鬲毓賲丕乇蹖 賵 鬲亘賱蹖睾 賲匕賴亘 賲爻蹖丨蹖鬲 亘蹖賳 丕賵賳丕 卮讴賱 賲蹖鈥屭屫辟�. 賴賲賴 趩蹖夭 诏賱 賵 亘賱亘賱 賴爻鬲賳卮 鬲丕 丕蹖賳讴賴 蹖讴 丿賮毓賴 賴賲賴 趩蹖夭 亘賴賲 賲蹖乇蹖夭賴 賵 夭亘丕賳 讴鬲丕亘 賵 讴賱賲丕鬲 賵 夭賲丕賳 鬲睾蹖蹖乇 賲蹖鈥屭┵嗁� 賵 丿丕爻鬲丕賳 丕夭 夭亘丕賳 亘賵賲蹖丕賳 賳賯賱 賲蹖卮賴. 丿丕爻鬲丕賳 趩賳丿蹖賳 亘丕乇 亘蹖賳 賳賯賱 賯賵賱 毓丕丿蹖 賳賵蹖爻賳丿賴 賵 賳賯賱 賯賵賱 亘賵賲蹖鈥屬囏� 噩丕亘噩丕 賲蹖卮賴 賵 賵丕賯毓丕 禺賵賳丿賳 亘禺卮鈥屬囏й屰� 丕夭 讴鬲丕亘 爻禺鬲 賵 亘爻蹖丕乇 丿乇賴賲 賵 亘乇賴賲 倬蹖卮 賲蹖乇賴貙 丕賵賳賯丿乇蹖 讴賴 賲賲讴賳賴 賴乇賱丨馗賴 讴鬲丕亘 乇賵 亘匕丕乇蹖丿 讴賳丕乇. 賵賱蹖 亘丕 氐亘乇 賵 鬲丨賲賱 丿乇 丕賳鬲賴丕 禺蹖賱蹖 噩丕賱亘 鬲賵噩賴 鬲賲賵賲 賲蹖卮賴. 丨鬲蹖 禺賵丕賳賳丿賴 亘丕 丿賱丕蹖賱 丕蹖賳 倬蹖趩蹖丿诏蹖 賵 丿乇賴賲 賵 亘乇賴賲蹖 倬蹖 賲蹖鈥屫ㄘ辟� 賵 趩賯丿乇 禺賵亘 丿睾丿睾賴鈥屬呝嗀� 賲爻丕卅賱 賲乇亘賵胤 亘賴 噩賵丕賲毓 亘賵賲蹖丕賳 乇賵 賲胤乇丨 賲蹖讴賳賴. 蹖賴 噩丕賴丕蹖蹖 賴賲 禺蹖賱蹖 賯卮賳诏 亘賴 亘丨孬 賲匕賴亘 賵 噩丕賲毓賴鈥屫促嗀ж驰� 賵乇賵丿 賲蹖讴賳賴 賵 丨乇賮鈥屬囏й� 賯丕亘賱鈥屫з呝勠� 乇賵 賲蹖夭賳賴. 丕賱亘鬲賴 蹖賴 噩丕賴丕蹖蹖 賴賲 丿乇 禺氐賵氐 賮賱爻賮賴 賲賵囟賵毓丕鬲 賲禺鬲賱賮 丕夭 丿蹖丿诏丕賴 亘賵賲蹖丕賳 賲蹖鈥屬矩必ж操� 讴賴 亘乇丕蹖 賲賳 禺蹖賱蹖 讴賳丿 賵 禺爻鬲賴鈥屭┵嗁嗀� 亘賵丿 (趩賳丿蹖賳 丿丕爻鬲丕賳 丕爻胤賵乇賴鈥屫й� 賲禺鬲賱賮 丿乇 禺氐賵氐 亘賴卮鬲 賵 噩賴賳賲 賵 倬蹖丿丕蹖卮 賲丕賴 賵 禺賵乇卮蹖丿 賵 睾蹖乇賴 鬲毓乇蹖賮 賲蹖讴賳賴).
丿乇 讴賱 讴鬲丕亘 噩丕賱亘蹖 賴爻鬲卮 丕诏乇 亘賴 丌賲丕夭賵賳貙 賯亘丕蹖賱 賵 乇爻賲 賵 乇爻賵賲鈥屬囏ж促堎� 毓賱丕賯賴鈥屬呝嗀屫� 賵賱蹖 讴鬲丕亘 乇丕丨鬲蹖 賳蹖爻鬲 賵 亘賴 賴乇 讴爻蹖 倬蹖卮賳賴丕丿 賳賲蹖讴賳賲.
March 28, 2007
When ever I come to names such as 鈥淟losa鈥�, 鈥淏orges鈥�, 鈥淐ortazar鈥�, 鈥淔uentes鈥�... I wish I knew Spanish language, as I鈥檓 sure works by these authors would have a different aroma and melody in their own tongues. Llosa is, for me, one of the greatest story tellers, whose works give me deliciousness in Persian as well, (if it鈥檚 translated by Abdollah Kowsari, for example). Mario Bargas Llosa uses a highly sophisticated techniques with a very delicate language in multiple viewpoint, as if I鈥檓 listening to 鈥淪are鈥�, my childhood story tellers whom supposed to drown me in sleep, but was keeping me awake instead. Llosa takes you to a place, and while you get used to the situation, become a bit relax, he leaves you for another situation, another character in another place, force you to follow him as a sleepwalker, burning of curiosity, apprehension and restlessness, while he continue to make new situations with new chracters out of nothing, absolutely relax with a smile on his lips. He doesn鈥檛 explain the characters, but procreates them and leave them on your lap, and disappears鈥�
亘爻蹖丕乇蹖 丕夭 丌孬丕乇 賲丕乇蹖賵 亘丕乇诏丕爻 蹖賵爻丕 亘賴 賮丕乇爻蹖 亘乇诏乇丿丕賳丿賴 卮丿賴. 丌賳賴丕 讴賴 賲賳 丿蹖丿賴 丕賲貨 "夭賳丿诏蹖 賵丕賯毓蹖 丌賱禺丕賳丿乇賵 賲丕蹖鬲丕" / 丨爻賳 賲乇鬲囟賵蹖 (鬲乇噩賲賴 蹖 亘丿蹖 賳蹖爻鬲)貙 "爻丕賱 賴丕蹖 爻诏蹖" / 丕丨賲丿 诏賱卮蹖乇蹖 (鬲乇噩賲賴 蹖 禺賵亘蹖 爻鬲)貙 "毓氐乇 賯賴乇賲丕賳" / 賴賵卮賳诏 丕爻丿蹖 (鬲乇噩賲賴 蹖 禺賵亘蹖 爻鬲)貙 "賲乇丿蹖 讴賴 丨乇賮 賲蹖 夭賳丿"(賯氐賴 诏賵) / 賯丕爻賲 氐賳毓賵蹖貙 "賲賵噩 丌賮乇蹖賳蹖"/ 賲賴丿蹖 睾亘乇丕卅蹖 (鬲乇噩賲賴 蹖 乇賵丕賳蹖 爻鬲)貙 "噩賳诏 丌禺乇 夭賲丕賳"/ 毓亘丿丕賱賱賴 讴賵孬乇蹖(鬲乇噩賲賴 亘爻蹖丕乇 禺賵亘蹖 爻鬲)貙 "诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱"/ 毓亘丿丕賱賱賴 讴賵孬乇蹖 (鬲乇噩賲賴 蹖 卮丕賴讴丕乇蹖 爻鬲) 賵... 亘乇禺蹖 丕夭 丕蹖賳 丌孬丕乇 乇丕 丕亘鬲丿丕 亘賴 賮丕乇爻蹖 禺賵丕賳丿賴 丕賲貙 賵 丿蹖诏乇 丌孬丕乇 乇丕 亘乇丕蹖 亘丕夭禺賵丕賳蹖 亘賴 鬲乇噩賲賴 蹖 丌賳賴丕 亘賴 賮丕乇爻蹖 乇噩賵毓 讴乇丿賴 丕賲. 鬲噩乇亘賴 賳卮丕賳 丿丕丿賴 讴賴 丨丕賱 賵 賴賵丕蹖 鬲乇噩賲賴 蹖 賮丕乇爻蹖貙 亘賴乇乇賵 亘丕 鬲乇噩賲賴 亘賴 夭亘丕賳 賴丕蹖 丕賳诏賱蹖爻蹖貙 賮乇丕賳爻賴 賵 丿丕賳賲丕乇讴蹖 賲鬲賮丕賵鬲 丕爻鬲. 丿乇 禺賵丕賳丿賳 丌孬丕乇 亘丕乇诏丕爻 蹖賵爻丕貙 亘賵乇禺爻貙 爻乇賵丕賳鬲爻貙 賮賵卅賳鬲爻貙 讴賵乇鬲丕夭丕乇... 丨爻乇鬲 賳丿丕賳爻鬲賳 夭亘丕賳 丕爻倬丕賳蹖賵賱蹖 丿乇 賲賳 亘蹖丿丕乇 賲蹖 卮賵丿 趩乇丕 讴賴 亘賴 禺賵亘蹖 丨爻 賲蹖 讴賳賲 丕蹖賳 丌孬丕乇 亘賴 夭亘丕賳 丕氐賱蹖 賲賵爻蹖賯蹖 賲鬲賮丕賵鬲蹖 丿丕乇賳丿. 亘丕 丕蹖賳 賵噩賵丿貙 乇賵丕蹖鬲 賴丕蹖 賲丕乇蹖賵 亘丕乇诏丕爻 蹖賵爻丕 亘賴乇 夭亘丕賳蹖 賱匕鬲 亘禺卮 丕爻鬲. 乇賵丕蹖鬲 賴丕蹖 蹖賵爻丕 亘賵蹖 "賯氐賴 诏賵蹖蹖" 賲蹖 丿賴丿. 丕賵 毓丕丿鬲 丿丕乇丿 丕夭 噩丕蹖蹖 亘賴 噩丕蹖 丿蹖诏乇 亘乇賵丿 賵 賴賲蹖賳 讴賴 亘賴 氐丨賳賴 丕蹖 毓丕丿鬲 賲蹖 讴賳蹖貙 蹖賵爻丕 亘賴 賲丨賱 賵 卮禺氐蹖鬲蹖 丿蹖诏乇 賲蹖 诏乇蹖夭丿貙 丿乇 氐賳丿賱蹖 賴賳賵夭 噩丕 賳蹖賮鬲丕丿賴 丕蹖 讴賴 鬲賵 乇丕 丕夭 噩丕 亘賱賳丿 賲蹖 讴賳丿 賵 亘賴 氐丨賳賴 蹖 丿蹖诏乇 賲蹖 讴卮丕賳丿貙 乇賵蹖 氐賳丿賱蹖 爻乇丿 鬲丕夭賴 丕蹖 亘賳卮蹖賳蹖 鬲丕 丕丿丕賲賴 蹖 乇賵丕蹖鬲 蹖賵爻丕 丿賵亘丕乇賴 诏乇賲鬲 讴賳丿. 蹖賵爻丕 賯氐賴 诏賵蹖蹖 爻鬲 丨乇賮賴 丕蹖 讴賴 诏丕賴 丕夭 賴蹖趩貙 賴賲賴 趩蹖夭 賲蹖 爻丕夭丿. 亘丕 蹖賵爻丕 亘爻蹖丕乇 噩丕賴丕蹖 賳丿蹖丿賴 乇丕 丿蹖丿賴 丕賲貨 亘乇夭蹖賱 乇丕貙 倬乇賵 乇丕 賵... 亘爻蹖丕乇 噩丕賴丕 讴賴 丿蹖丿賴 丕賲貨 賵蹖賳貙 乇賲貙 丌賲爻鬲乇丿丕賲 乇丕 乇丕 亘賴 诏賵賳賴 丕蹖 丿蹖诏乇 鬲賲丕卮丕 讴乇丿賴 丕賲... 丿乇 讴賵趩賴 賴丕 賵 禺蹖丕亘丕賳 賴丕 賵 乇爻鬲賵乇丕賳 賴丕 賵 賯賴賵賴 禺丕賳賴 賴丕蹖 亘爻蹖丕乇蹖 賳卮爻鬲賴 丕賲貙 诏丕賴 丌賳賯丿乇 賳夭丿蹖讴 賵 丌卮賳丕 讴賴 丕賳诏丕乇蹖 丿乇 賴賲丕賳 禺丕賳賴 丕蹖 讴賴 蹖賵爻丕 賵氐賮 讴乇丿賴. 乇賵丕蹖鬲 蹖賵爻丕 夭賳丿賴 賲蹖 卮賵丿 賵 丿乇 噩丕賳 賲蹖 賳卮蹖賳丿. 賵賯鬲蹖 乇賲丕賳蹖 丕夭 蹖賵爻丕 乇丕 卮乇賵毓 賲蹖 讴賳蹖 亘丕蹖丿 賵賯丕蹖毓 賵 卮禺氐蹖鬲 賴丕 乇丕 丿乇 丕賵賱蹖賳 氐賮丨賴 賴丕 亘賴 禺丕胤乇 亘爻倬丕乇蹖 賵 丕夭 賳丕賲 賵 賲卮禺氐丕鬲 賴蹖趩 讴丿丕賲卮丕賳 賳诏匕乇蹖. 卮禺氐蹖鬲 賴丕 賵 賲賵賯毓蹖鬲 賴丕 丿乇 賴賲丕賳 賮氐賱 丕賵賱 賵 丿賵賲 賲孬賱 乇诏亘丕乇蹖 賮乇賵 賲蹖 乇蹖夭賳丿貙 賵 丿乇 賮氐賵賱 亘毓丿蹖 丌賳賴丕 乇丕 毓蹖賳 倬丕夭賱蹖 讴賳丕乇 賴賲 賲蹖 賳卮丕賳丿 賵 鬲丕亘賱賵蹖 亘蹖 賳馗蹖乇卮 乇丕 賲蹖 爻丕夭丿. 夭亘丕賳 卮禺氐蹖鬲 賴丕 丕夭 蹖讴蹖 亘賴 丿蹖诏乇蹖貙 賴賲乇丕賴 亘丕 乇賵丨蹖賴 賵 讴丕乇 賵 亘丕乇 賵 夭賳丿诏蹖 卮丕賳貙 鬲睾蹖蹖乇 賲蹖 讴賳丿. 蹖賵爻丕 丿爻鬲鬲 乇丕 賲蹖 诏蹖乇丿 賵 鬲賵 乇丕 亘丕 禺賵丿 賵丕乇丿 賯氐賴 賲蹖 讴賳丿貙 賴賲蹖賳 讴賴 丿乇诏蹖乇 賮囟丕 賵 丌丿賲 賴丕 卮丿蹖貙 睾蹖亘卮 賲蹖 夭賳丿貙 鬲賳賴丕蹖鬲 賲蹖 诏匕丕乇丿 鬲丕 丕賳鬲賴丕蹖 乇賵丕蹖鬲 賴賲倬丕蹖 卮禺氐蹖鬲 賴丕 亘賴 爻賮乇 丕丿丕賲賴 丿賴蹖. 丕夭 蹖讴 賲賵賯毓蹖鬲 亘賴 丿蹖诏乇蹖貙 亘賴 丿賮鬲乇蹖貙 乇爻鬲賵乇丕賳蹖貙 禺丕賳賴 丕蹖 賵 亘爻鬲乇蹖貙 亘丕 丌丿賲 賴丕蹖蹖 讴賴 丿乇 賳賴丕蹖鬲 禺卮賲 賵 禺卮賵賳鬲貙 亘賴 讴賵丿讴丕賳蹖 賲毓氐賵賲 賲蹖 賲丕賳賳丿. 诏丕賴 賳卮爻鬲賴 丕賲 賵 賲丿鬲 賴丕 亘賴 毓讴爻 蹖賵爻丕 賳诏丕賴 讴乇丿賴 丕賲貨 丕蹖賳 賲毓氐賵賲蹖鬲 賱亘禺賳丿 蹖賵爻丕爻鬲 讴賴 賴賲賴 蹖 賯氐賴 賴丕蹖卮 乇丕 倬乇 讴乇丿賴責
亘爻蹖丕乇蹖 丕夭 丌孬丕乇 賲丕乇蹖賵 亘丕乇诏丕爻 蹖賵爻丕 亘賴 賮丕乇爻蹖 亘乇诏乇丿丕賳丿賴 卮丿賴. 丌賳賴丕 讴賴 賲賳 丿蹖丿賴 丕賲貨 "夭賳丿诏蹖 賵丕賯毓蹖 丌賱禺丕賳丿乇賵 賲丕蹖鬲丕" / 丨爻賳 賲乇鬲囟賵蹖 (鬲乇噩賲賴 蹖 亘丿蹖 賳蹖爻鬲)貙 "爻丕賱 賴丕蹖 爻诏蹖" / 丕丨賲丿 诏賱卮蹖乇蹖 (鬲乇噩賲賴 蹖 禺賵亘蹖 爻鬲)貙 "毓氐乇 賯賴乇賲丕賳" / 賴賵卮賳诏 丕爻丿蹖 (鬲乇噩賲賴 蹖 禺賵亘蹖 爻鬲)貙 "賲乇丿蹖 讴賴 丨乇賮 賲蹖 夭賳丿"(賯氐賴 诏賵) / 賯丕爻賲 氐賳毓賵蹖貙 "賲賵噩 丌賮乇蹖賳蹖"/ 賲賴丿蹖 睾亘乇丕卅蹖 (鬲乇噩賲賴 蹖 乇賵丕賳蹖 爻鬲)貙 "噩賳诏 丌禺乇 夭賲丕賳"/ 毓亘丿丕賱賱賴 讴賵孬乇蹖(鬲乇噩賲賴 亘爻蹖丕乇 禺賵亘蹖 爻鬲)貙 "诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱"/ 毓亘丿丕賱賱賴 讴賵孬乇蹖 (鬲乇噩賲賴 蹖 卮丕賴讴丕乇蹖 爻鬲) 賵... 亘乇禺蹖 丕夭 丕蹖賳 丌孬丕乇 乇丕 丕亘鬲丿丕 亘賴 賮丕乇爻蹖 禺賵丕賳丿賴 丕賲貙 賵 丿蹖诏乇 丌孬丕乇 乇丕 亘乇丕蹖 亘丕夭禺賵丕賳蹖 亘賴 鬲乇噩賲賴 蹖 丌賳賴丕 亘賴 賮丕乇爻蹖 乇噩賵毓 讴乇丿賴 丕賲. 鬲噩乇亘賴 賳卮丕賳 丿丕丿賴 讴賴 丨丕賱 賵 賴賵丕蹖 鬲乇噩賲賴 蹖 賮丕乇爻蹖貙 亘賴乇乇賵 亘丕 鬲乇噩賲賴 亘賴 夭亘丕賳 賴丕蹖 丕賳诏賱蹖爻蹖貙 賮乇丕賳爻賴 賵 丿丕賳賲丕乇讴蹖 賲鬲賮丕賵鬲 丕爻鬲. 丿乇 禺賵丕賳丿賳 丌孬丕乇 亘丕乇诏丕爻 蹖賵爻丕貙 亘賵乇禺爻貙 爻乇賵丕賳鬲爻貙 賮賵卅賳鬲爻貙 讴賵乇鬲丕夭丕乇... 丨爻乇鬲 賳丿丕賳爻鬲賳 夭亘丕賳 丕爻倬丕賳蹖賵賱蹖 丿乇 賲賳 亘蹖丿丕乇 賲蹖 卮賵丿 趩乇丕 讴賴 亘賴 禺賵亘蹖 丨爻 賲蹖 讴賳賲 丕蹖賳 丌孬丕乇 亘賴 夭亘丕賳 丕氐賱蹖 賲賵爻蹖賯蹖 賲鬲賮丕賵鬲蹖 丿丕乇賳丿. 亘丕 丕蹖賳 賵噩賵丿貙 乇賵丕蹖鬲 賴丕蹖 賲丕乇蹖賵 亘丕乇诏丕爻 蹖賵爻丕 亘賴乇 夭亘丕賳蹖 賱匕鬲 亘禺卮 丕爻鬲. 乇賵丕蹖鬲 賴丕蹖 蹖賵爻丕 亘賵蹖 "賯氐賴 诏賵蹖蹖" 賲蹖 丿賴丿. 丕賵 毓丕丿鬲 丿丕乇丿 丕夭 噩丕蹖蹖 亘賴 噩丕蹖 丿蹖诏乇 亘乇賵丿 賵 賴賲蹖賳 讴賴 亘賴 氐丨賳賴 丕蹖 毓丕丿鬲 賲蹖 讴賳蹖貙 蹖賵爻丕 亘賴 賲丨賱 賵 卮禺氐蹖鬲蹖 丿蹖诏乇 賲蹖 诏乇蹖夭丿貙 丿乇 氐賳丿賱蹖 賴賳賵夭 噩丕 賳蹖賮鬲丕丿賴 丕蹖 讴賴 鬲賵 乇丕 丕夭 噩丕 亘賱賳丿 賲蹖 讴賳丿 賵 亘賴 氐丨賳賴 蹖 丿蹖诏乇 賲蹖 讴卮丕賳丿貙 乇賵蹖 氐賳丿賱蹖 爻乇丿 鬲丕夭賴 丕蹖 亘賳卮蹖賳蹖 鬲丕 丕丿丕賲賴 蹖 乇賵丕蹖鬲 蹖賵爻丕 丿賵亘丕乇賴 诏乇賲鬲 讴賳丿. 蹖賵爻丕 賯氐賴 诏賵蹖蹖 爻鬲 丨乇賮賴 丕蹖 讴賴 诏丕賴 丕夭 賴蹖趩貙 賴賲賴 趩蹖夭 賲蹖 爻丕夭丿. 亘丕 蹖賵爻丕 亘爻蹖丕乇 噩丕賴丕蹖 賳丿蹖丿賴 乇丕 丿蹖丿賴 丕賲貨 亘乇夭蹖賱 乇丕貙 倬乇賵 乇丕 賵... 亘爻蹖丕乇 噩丕賴丕 讴賴 丿蹖丿賴 丕賲貨 賵蹖賳貙 乇賲貙 丌賲爻鬲乇丿丕賲 乇丕 乇丕 亘賴 诏賵賳賴 丕蹖 丿蹖诏乇 鬲賲丕卮丕 讴乇丿賴 丕賲... 丿乇 讴賵趩賴 賴丕 賵 禺蹖丕亘丕賳 賴丕 賵 乇爻鬲賵乇丕賳 賴丕 賵 賯賴賵賴 禺丕賳賴 賴丕蹖 亘爻蹖丕乇蹖 賳卮爻鬲賴 丕賲貙 诏丕賴 丌賳賯丿乇 賳夭丿蹖讴 賵 丌卮賳丕 讴賴 丕賳诏丕乇蹖 丿乇 賴賲丕賳 禺丕賳賴 丕蹖 讴賴 蹖賵爻丕 賵氐賮 讴乇丿賴. 乇賵丕蹖鬲 蹖賵爻丕 夭賳丿賴 賲蹖 卮賵丿 賵 丿乇 噩丕賳 賲蹖 賳卮蹖賳丿. 賵賯鬲蹖 乇賲丕賳蹖 丕夭 蹖賵爻丕 乇丕 卮乇賵毓 賲蹖 讴賳蹖 亘丕蹖丿 賵賯丕蹖毓 賵 卮禺氐蹖鬲 賴丕 乇丕 丿乇 丕賵賱蹖賳 氐賮丨賴 賴丕 亘賴 禺丕胤乇 亘爻倬丕乇蹖 賵 丕夭 賳丕賲 賵 賲卮禺氐丕鬲 賴蹖趩 讴丿丕賲卮丕賳 賳诏匕乇蹖. 卮禺氐蹖鬲 賴丕 賵 賲賵賯毓蹖鬲 賴丕 丿乇 賴賲丕賳 賮氐賱 丕賵賱 賵 丿賵賲 賲孬賱 乇诏亘丕乇蹖 賮乇賵 賲蹖 乇蹖夭賳丿貙 賵 丿乇 賮氐賵賱 亘毓丿蹖 丌賳賴丕 乇丕 毓蹖賳 倬丕夭賱蹖 讴賳丕乇 賴賲 賲蹖 賳卮丕賳丿 賵 鬲丕亘賱賵蹖 亘蹖 賳馗蹖乇卮 乇丕 賲蹖 爻丕夭丿. 夭亘丕賳 卮禺氐蹖鬲 賴丕 丕夭 蹖讴蹖 亘賴 丿蹖诏乇蹖貙 賴賲乇丕賴 亘丕 乇賵丨蹖賴 賵 讴丕乇 賵 亘丕乇 賵 夭賳丿诏蹖 卮丕賳貙 鬲睾蹖蹖乇 賲蹖 讴賳丿. 蹖賵爻丕 丿爻鬲鬲 乇丕 賲蹖 诏蹖乇丿 賵 鬲賵 乇丕 亘丕 禺賵丿 賵丕乇丿 賯氐賴 賲蹖 讴賳丿貙 賴賲蹖賳 讴賴 丿乇诏蹖乇 賮囟丕 賵 丌丿賲 賴丕 卮丿蹖貙 睾蹖亘卮 賲蹖 夭賳丿貙 鬲賳賴丕蹖鬲 賲蹖 诏匕丕乇丿 鬲丕 丕賳鬲賴丕蹖 乇賵丕蹖鬲 賴賲倬丕蹖 卮禺氐蹖鬲 賴丕 亘賴 爻賮乇 丕丿丕賲賴 丿賴蹖. 丕夭 蹖讴 賲賵賯毓蹖鬲 亘賴 丿蹖诏乇蹖貙 亘賴 丿賮鬲乇蹖貙 乇爻鬲賵乇丕賳蹖貙 禺丕賳賴 丕蹖 賵 亘爻鬲乇蹖貙 亘丕 丌丿賲 賴丕蹖蹖 讴賴 丿乇 賳賴丕蹖鬲 禺卮賲 賵 禺卮賵賳鬲貙 亘賴 讴賵丿讴丕賳蹖 賲毓氐賵賲 賲蹖 賲丕賳賳丿. 诏丕賴 賳卮爻鬲賴 丕賲 賵 賲丿鬲 賴丕 亘賴 毓讴爻 蹖賵爻丕 賳诏丕賴 讴乇丿賴 丕賲貨 丕蹖賳 賲毓氐賵賲蹖鬲 賱亘禺賳丿 蹖賵爻丕爻鬲 讴賴 賴賲賴 蹖 賯氐賴 賴丕蹖卮 乇丕 倬乇 讴乇丿賴責
February 5, 2012
I am a great fan of Mario Vargas Llosa but I was disappointed in this book, not so much for its subject matter but in the way it was presented.
In the opening chapter, the unknown narrator (Llosa?) who is only referred to as 鈥減al鈥� or 鈥渙ld boy,鈥� comes across a painting in Florence depicting the Machiguenga Indians of Peru. The painting portrays a white-skinned oral storyteller with red hair, a disfiguring birthmark on his face, sitting in the middle of a circle of Machiguenga. The narrator wonders if this his old friend from university, Saul Zuratas, Mascarita as he was nicknamed, a Jew, who supposedly vanished to Israel after rejecting a post-graduate scholarship in ethnological studies.
This intriguing opening then departs along two story lines, each with its own style: one depicts the narrator鈥檚 journalistic account of his hunt for Mascarita by embarking on various expeditions into the Amazon, the other is a profusion of mythological tales about the origins of the Machiguenga, which appear to be coming from the mysterious storyteller himself. Llosa used this dual narrative approach in his previous novel Aunt Julia and the Scriptwriter to much greater effect by converging them in the end, but in this novel the two threads do not quite meet.
The journalistic narrative is flat and lacks conflict and is full of extraneous detail. The mythological one is dreamlike and merges one story into another; mixed in is the story of Creation, the story of Jesus, the coming of the white man to South America and bits of Dante鈥檚 Inferno, and one wonders 鈥� given this is being narrated by a red haired white man 鈥� if the storyteller is cloaking western mythology in Amazonian imagery. The storyteller is colourful in his descriptions of earthquakes, plague, gods, slitting of bellies to pluck out babies, women bearing fish from their loins, shit fights and the constant migration that the Machiguenga are consigned to. 鈥淒iaspora is survival,鈥� seems to be the lot of the Amazonian tribes and of the storyteller as he wanders the Amazon forests telling his tales. The imagery of the mythological narrative is graphic at times: 鈥渉is farts were like thunder, his belches like the jaguar鈥檚 roar...鈥� Despite these colourful visuals however, one wonders if it is hubris on the part of the author or the translator鈥檚 lack of skill for why there are so many native words in the storyteller鈥檚 recounting; it is quite disruptive to the flow of this English translation and does not in any way enhance its uniqueness.
Mascarita鈥檚 voluntary conversion to the Amazonian way of life is his act of total rejection of Western civilization and its technology. His assimilation into a pre-historic lifestyle is indicative of our ability to delayer as humans and return to our origins. His affinity to the Machiguenga is reflective of his being Jewish and living with the badge of persecution just as his new hosts do. Llosa makes some insightful connections here.
And yet for all its profundity, I wish this book had been written differently. Some fundamental principles of the novel 鈥� character, conflict and story 鈥� are sacrificed in favour of giving us the grand panorama of Machiguenga legend, leaving me with a question: would this narrative have been better written as a no-nonsense, non-fiction history of the indigenous tribes of the Peruvian Amazon, instead of as a flat novel with a jumble of myths?
In the opening chapter, the unknown narrator (Llosa?) who is only referred to as 鈥減al鈥� or 鈥渙ld boy,鈥� comes across a painting in Florence depicting the Machiguenga Indians of Peru. The painting portrays a white-skinned oral storyteller with red hair, a disfiguring birthmark on his face, sitting in the middle of a circle of Machiguenga. The narrator wonders if this his old friend from university, Saul Zuratas, Mascarita as he was nicknamed, a Jew, who supposedly vanished to Israel after rejecting a post-graduate scholarship in ethnological studies.
This intriguing opening then departs along two story lines, each with its own style: one depicts the narrator鈥檚 journalistic account of his hunt for Mascarita by embarking on various expeditions into the Amazon, the other is a profusion of mythological tales about the origins of the Machiguenga, which appear to be coming from the mysterious storyteller himself. Llosa used this dual narrative approach in his previous novel Aunt Julia and the Scriptwriter to much greater effect by converging them in the end, but in this novel the two threads do not quite meet.
The journalistic narrative is flat and lacks conflict and is full of extraneous detail. The mythological one is dreamlike and merges one story into another; mixed in is the story of Creation, the story of Jesus, the coming of the white man to South America and bits of Dante鈥檚 Inferno, and one wonders 鈥� given this is being narrated by a red haired white man 鈥� if the storyteller is cloaking western mythology in Amazonian imagery. The storyteller is colourful in his descriptions of earthquakes, plague, gods, slitting of bellies to pluck out babies, women bearing fish from their loins, shit fights and the constant migration that the Machiguenga are consigned to. 鈥淒iaspora is survival,鈥� seems to be the lot of the Amazonian tribes and of the storyteller as he wanders the Amazon forests telling his tales. The imagery of the mythological narrative is graphic at times: 鈥渉is farts were like thunder, his belches like the jaguar鈥檚 roar...鈥� Despite these colourful visuals however, one wonders if it is hubris on the part of the author or the translator鈥檚 lack of skill for why there are so many native words in the storyteller鈥檚 recounting; it is quite disruptive to the flow of this English translation and does not in any way enhance its uniqueness.
Mascarita鈥檚 voluntary conversion to the Amazonian way of life is his act of total rejection of Western civilization and its technology. His assimilation into a pre-historic lifestyle is indicative of our ability to delayer as humans and return to our origins. His affinity to the Machiguenga is reflective of his being Jewish and living with the badge of persecution just as his new hosts do. Llosa makes some insightful connections here.
And yet for all its profundity, I wish this book had been written differently. Some fundamental principles of the novel 鈥� character, conflict and story 鈥� are sacrificed in favour of giving us the grand panorama of Machiguenga legend, leaving me with a question: would this narrative have been better written as a no-nonsense, non-fiction history of the indigenous tribes of the Peruvian Amazon, instead of as a flat novel with a jumble of myths?
September 1, 2024
In 2013 I tried to read this novel and quickly put it aside. Structurally, there are two lines of narration in the novel. The first comes from a student in Lima, Peru going to university in the latter half of the 1950鈥檚. He has a very bright Jewish friend who begins to study ethnology and has a birthmark covering half his face. The friend is nicknamed Mascarita (the Mask), and his physical deformity sets him apart from his peers. As part of his studies Saul Curates, Mascarita, visits the Amazonian jungle tribes and begins to learn their beliefs, customs and ways of life. But the story begins many years later with the narrator in Florence, Italy in the 1980鈥檚 looking back at Mascarita becoming an accepted part of the Machiguenga people as one of their storytellers. The second narrative line is Mascarita telling stories as a Machiguenga storyteller. His stories evolve over time.
I admire how this novel was constructed and understand why it was put together in this way. As purely a reading experience, I enjoyed the first narrative very much and often found the second tedious and boring. My initial failure in reading this novel happened when I encountered the first section narrated by the storyteller, found myself confused and just could not muscle through. On my second attempt I was more persistent and in a better state of mind to understand what the author was doing and why. I also learned that the two narratives were interleaved, so that my frustrations with the second narrative were relieved periodically by a return to the first. I even found that the second narrative improved as it progressed. I finished the novel this time and enjoyed it, but there were still those intervals where I struggled.
I was impressed by the novel and by Mario Vargas Llosa as a writer. This was an ambitious and complex project. In previewing his other novels, I see that several of them are rated much higher than this one. It was clear to me from this novel that Llosa can tell an engaging story, so I am looking forward to trying something else by him.
First Attempt - 2013
I did something with this book that I can't remember last doing: I stopped reading partway through the book. The first section of the book was decent. The second section, for me, was unintelligible. What I did understand of it, I was not enjoying. It was painful, and there was no enjoyment mixed with the pain. Life is too short. I have read other reviewers who raved about how unique the voices in the story are. Perhaps I will go back and try again at some point. I don't know. Once the memory of the pain has faded.
I admire how this novel was constructed and understand why it was put together in this way. As purely a reading experience, I enjoyed the first narrative very much and often found the second tedious and boring. My initial failure in reading this novel happened when I encountered the first section narrated by the storyteller, found myself confused and just could not muscle through. On my second attempt I was more persistent and in a better state of mind to understand what the author was doing and why. I also learned that the two narratives were interleaved, so that my frustrations with the second narrative were relieved periodically by a return to the first. I even found that the second narrative improved as it progressed. I finished the novel this time and enjoyed it, but there were still those intervals where I struggled.
I was impressed by the novel and by Mario Vargas Llosa as a writer. This was an ambitious and complex project. In previewing his other novels, I see that several of them are rated much higher than this one. It was clear to me from this novel that Llosa can tell an engaging story, so I am looking forward to trying something else by him.
First Attempt - 2013
I did something with this book that I can't remember last doing: I stopped reading partway through the book. The first section of the book was decent. The second section, for me, was unintelligible. What I did understand of it, I was not enjoying. It was painful, and there was no enjoyment mixed with the pain. Life is too short. I have read other reviewers who raved about how unique the voices in the story are. Perhaps I will go back and try again at some point. I don't know. Once the memory of the pain has faded.
December 20, 2021
Llosa'n谋n 艧uana kadar okudu臒um en g眉zel kitab谋. Amazon Ormanlar谋n谋n cang谋llar谋na gittik bu kitapla. Mitolojik 枚yk眉lerle 莽ok leziz bir metin olmu艧. Tavsiye ederim.
'G眉ne艧e, 谋rmaklara nas谋l yard谋m ederiz? Bu d眉nyaya, b眉t眉n canl谋lara nas谋l yard谋m ederiz? Y眉r眉yerek. Y眉k眉ml眉l眉臒眉m眉 yerine getirdim san谋r谋m. Bak, daha 艧imdiden belli oluyor. Ayaklar谋n谋n alt谋ndaki topra臒a kulak ver, masalc谋, y眉r眉 眉st眉nde. Ne kadar g眉莽l眉 ve dingin! Yeniden 眉st眉nde y眉r眉d眉臒眉m眉z眉 duyumsuyor ya, 脟ok mutlu'
'Bunlar谋n hepsini sizden 枚臒rendim. Do臒madan 枚nce, bir halk de臒i艧meli, diye d眉艧眉n眉rd眉m. G眉莽l眉 halklar谋n t枚relerini, tabular谋n谋, b眉y眉lerini benimsemeli. Daha ak谋ll谋 halklar谋n tanr谋 ve tanr谋c谋klar谋n谋, 艧eytan ve 艧eytanc谋klar谋n谋 kabullenmeli. O zaman herkes k枚t眉l眉klerden daha bir ar谋nm谋艧, daha mutlu olur, derdim kendi kendime. Yan谋lm谋艧谋m me臒er. Art谋k do臒ru olmad谋臒谋n谋 biliyorum. Bunu sizden 枚臒rendim. Sorar谋m size, kim yazg谋s谋n谋 yads谋y谋p da k枚t眉l眉klerden daha bir ar谋nm谋艧, daha mutlu olmu艧? Hi莽 kimse. En iyisi kendimiz olmak. Kendi y眉k眉m眉n眉 yerine getirmekten vazge莽ip ba艧kalar谋n谋n y眉k眉m眉n眉 yerine getirmeye kalkan ruhunu yitirir. O k枚t眉 esrime s谋ras谋nda c谋rc谋rb枚ce臒ine d枚n眉艧en Gregor-Tasurinchi gibi kal谋ptan kal谋ba girer belki de. Insan ruhunu yitirmeyeg枚rs眉n, en i臒ren莽 yarat谋klar, en yaban谋l hayvanlar gelir bo艧 bedenine yerle艧irler. Atsine臒i sivrsine臒i yutar, ku艧 atsine臒ini, y谋lan da ku艧u. Biz yutulmak istiyor muyuz? Hay谋r. 陌z b谋rakmadan yokolup gitmek istiyor muyuz? Hay谋r. Bizim sonumuz gelirse, d眉nyan谋n da sonu gelir. Demek en iyisi, y眉r眉yedurmak. G眉ne艧in g枚ky眉z眉ndeki yerinde, 谋rma臒谋n yata臒谋nda, a臒ac谋n topraktaki k枚k眉nde, orman谋n yery眉z眉nde kalmas谋n谋 sa臒lamak'
'G眉ne艧e, 谋rmaklara nas谋l yard谋m ederiz? Bu d眉nyaya, b眉t眉n canl谋lara nas谋l yard谋m ederiz? Y眉r眉yerek. Y眉k眉ml眉l眉臒眉m眉 yerine getirdim san谋r谋m. Bak, daha 艧imdiden belli oluyor. Ayaklar谋n谋n alt谋ndaki topra臒a kulak ver, masalc谋, y眉r眉 眉st眉nde. Ne kadar g眉莽l眉 ve dingin! Yeniden 眉st眉nde y眉r眉d眉臒眉m眉z眉 duyumsuyor ya, 脟ok mutlu'
'Bunlar谋n hepsini sizden 枚臒rendim. Do臒madan 枚nce, bir halk de臒i艧meli, diye d眉艧眉n眉rd眉m. G眉莽l眉 halklar谋n t枚relerini, tabular谋n谋, b眉y眉lerini benimsemeli. Daha ak谋ll谋 halklar谋n tanr谋 ve tanr谋c谋klar谋n谋, 艧eytan ve 艧eytanc谋klar谋n谋 kabullenmeli. O zaman herkes k枚t眉l眉klerden daha bir ar谋nm谋艧, daha mutlu olur, derdim kendi kendime. Yan谋lm谋艧谋m me臒er. Art谋k do臒ru olmad谋臒谋n谋 biliyorum. Bunu sizden 枚臒rendim. Sorar谋m size, kim yazg谋s谋n谋 yads谋y谋p da k枚t眉l眉klerden daha bir ar谋nm谋艧, daha mutlu olmu艧? Hi莽 kimse. En iyisi kendimiz olmak. Kendi y眉k眉m眉n眉 yerine getirmekten vazge莽ip ba艧kalar谋n谋n y眉k眉m眉n眉 yerine getirmeye kalkan ruhunu yitirir. O k枚t眉 esrime s谋ras谋nda c谋rc谋rb枚ce臒ine d枚n眉艧en Gregor-Tasurinchi gibi kal谋ptan kal谋ba girer belki de. Insan ruhunu yitirmeyeg枚rs眉n, en i臒ren莽 yarat谋klar, en yaban谋l hayvanlar gelir bo艧 bedenine yerle艧irler. Atsine臒i sivrsine臒i yutar, ku艧 atsine臒ini, y谋lan da ku艧u. Biz yutulmak istiyor muyuz? Hay谋r. 陌z b谋rakmadan yokolup gitmek istiyor muyuz? Hay谋r. Bizim sonumuz gelirse, d眉nyan谋n da sonu gelir. Demek en iyisi, y眉r眉yedurmak. G眉ne艧in g枚ky眉z眉ndeki yerinde, 谋rma臒谋n yata臒谋nda, a臒ac谋n topraktaki k枚k眉nde, orman谋n yery眉z眉nde kalmas谋n谋 sa臒lamak'
December 29, 2022
Dou膬 pove葯ti principale alc膬tuiesc ,,Povesta葯ul鈥欌€�, 卯n aparen葲膬 sunt dou膬 fire narative f膬r膬 nici o leg膬tur膬, lucru ce se dovede葯te fals p芒n膬 la final, dar ambele 卯葯i p膬streaz膬 autenticitatea 葯i frumuse葲ea.
Per total putem defini cartea, ca fiind o fresc膬 social膬 葯i civiliza葲ional膬, ambele istorii prezent芒nd probleme sociale, prejudec膬葲i, schimb膬rile prin care trece o civiliza葲ie 葯i mai ales dispari葲ia unor 卯ntregi popula葲ii.
Llosa r膬m芒ne pentru mine unul dintre cei mai buni 葯i talenta葲i scriitori contemporani, iar aceast膬 carte 卯mi 卯nt膬re葯te acest crez.
Per total putem defini cartea, ca fiind o fresc膬 social膬 葯i civiliza葲ional膬, ambele istorii prezent芒nd probleme sociale, prejudec膬葲i, schimb膬rile prin care trece o civiliza葲ie 葯i mai ales dispari葲ia unor 卯ntregi popula葲ii.
Llosa r膬m芒ne pentru mine unul dintre cei mai buni 葯i talenta葲i scriitori contemporani, iar aceast膬 carte 卯mi 卯nt膬re葯te acest crez.
September 28, 2024
賴丕亘賱丕丿賵乇鈥屬囏� 蹖丕 賴賲丕賳 賯氐赖鈥屭堐屫з� 丨丕賮馗賴鈥屬� 噩丕賲毓賴 亘賵丿賳丿貙 鬲賳賴丕 賵馗蹖賮賴鈥屬� 丌賳鈥屬囏� 丕賳鬲賯丕賱 丕禺亘丕乇 賳亘賵丿. 丌賳鈥屬囏� 丕夭 诏匕卮鬲賴 丨乇賮 賲蹖鈥屫藏嗀� 賵 禺乇丿賵乇夭蹖 賲蹖鈥屭┴必嗀�. 丿賴丕賳鈥� 丌賳鈥屬囏� 乇丕亘胤蹖 丕爻鬲 賲蹖丕賳 噩丕賲毓賴鈥屫й� 讴賴 丿乇 讴卮賲讴卮 亘乇丕蹖 夭賳丿賴 賲丕賳丿賳 丕爻鬲 賵 賯氐赖鈥屭� 亘丕 丨讴丕蹖鬲鈥屸€屬囏й屫� 丿乇 蹖讴 丿賵乇 丿丕蹖乇賴鈥屫й� 卮讴賱 诏匕卮鬲賴 賵 丨丕賱 乇丕 亘丕 丌蹖賳丿賴 亘賴 賴賲鈥屫屭� 賲蹖鈥屫堌藏�.
丨丕賱丕 亘賴 诏賲鈥屫簇� 賮讴乇 賲蹖鈥屭┵嗁呚� 诏賲鈥屫簇嗃� 讴賴 亘賴鈥屬嗀肛� 賲蹖鈥屫必池� 卮讴丕賮 賲蹖丕賳 噩丕賲毓賴鈥屰� 亘丿賵蹖 賵 賲丿乇賳 倬乇賵 乇丕 倬乇 賲蹖鈥屭┵嗀�. 蹖丕 卮丕蹖丿 賴賲 蹖讴 爻賵丕賱貙 噩丕蹖诏丕賴 诏賲鈥屫簇� 賲蹖丕賳 丕蹖賳 丿賵 丕爻鬲責 芦诏賲禄 賳賴 亘賴 賲毓賳丕蹖 毓丕賲 丌賳貨 亘賱讴賴 跇乇賮鈥屫�. 鬲賳丕夭毓蹖 賲蹖丕賳 蹖讴 诏乇賵賴 賵 诏乇賵賴 丿蹖诏乇貙 讴賴 丿蹖诏乇蹖 賴蹖趩 丿乇讴蹖 賳丿丕卮鬲 讴賴 丨賯蹖賯鬲丕 讴噩丕爻鬲 賵 亘賴 鬲丕乇蹖禺趩賴鈥屰� 丌賳鈥屫� 賵 胤亘蹖毓鬲卮 丕賴賲蹖鬲蹖 賳賲蹖鈥屫ж� 丕爻鬲. 丿乇毓賵囟 賲賵丕噩賴鈥屰� 诏乇賵賴蹖 讴賴 鬲賱丕卮 讴乇丿賳丿 卮賳丕禺鬲卮丕賳 丕夭 丌賳 賲讴丕賳 乇丕 亘乇 賲亘賳丕蹖 卮賳丕禺鬲 禺賵丿卮丕賳 丕爻鬲賵丕乇 讴賳賳丿 賵 乇爻賲鈥屬堚€屫必迟堎� 賵 丨鬲蹖 丕爻丕賲蹖蹖 賳賵 亘爻丕夭賳丿.
诏賲 卮丿賳 賲蹖鈥屫堌з嗀� 诏賲鈥屫簇嗃� 丕夭 乇蹖卮賴 賵 丕氐賱蹖 亘丕卮丿 讴賴 禺賵丿賲丕賳 乇丕 亘賴 丌賳 诏乇賴 賲蹖鈥屫操嗃屬� 賵 亘丕 丌賳 鬲毓乇蹖賮 賲蹖鈥屭┵嗃屬�. 賲孬賱 讴丕亘爻丕 丿賵丕讴丕蹖蹖 讴賴 乇亘讴丕 爻賵賱賳蹖鬲 丿乇 噩爻鬲丕乇卮 丕賵 乇丕 亘賴 賲丕 賲毓乇賮蹖 賲蹖鈥屭┵嗀� 賵 賲乇丿丕賳卮 讴賴 賵賯鬲蹖 亘毓丿 丕夭 丿賴 爻丕賱 趩乇禺蹖丿賳 丿乇 賲蹖丕賳 賯亘丕蹖賱 賲禺鬲賱賮 亘賴鈥屸€屫蒂堌必� 丕鬲賮丕賯蹖 亘丕 爻賵丕乇丕賳 丕爻倬丕賳蹖丕蹖蹖 賲賵丕噩賴 卮丿賳丿貙 賮丕氐賱賴鈥屫й� 賲蹖丕賳 賴賲丿蹖诏乇 丨爻 讴乇丿賳丿. 丕賵 趩蹖夭蹖 賳夭丿蹖讴 亘賴 蹖讴 丿賴賴 亘賵丿 讴賴 賲蹖鈥屫堌ж池� 亘賴 丌睾賵卮 賲乇丿賲 禺賵丿卮 亘丕夭诏乇丿丿貙 丕賲丕 丕鬲賮丕賯丕鬲 亘賴鈥� 丌賳鈥屫蒂堌必� 讴賴 賲蹖鈥屫堌ж池� 倬蹖卮 賳乇賮鬲 賵 丕賵賱蹖賳 賲賵丕噩賴賴 亘丕 賴賲鈥屬堌焚嗀з嗀� 丌爻丕賳 賳亘賵丿 賵 亘毓丿 讴賴 亘賴 丕爻倬丕賳蹖丕 亘丕夭诏卮鬲 禺蹖賱蹖 趩蹖夭賴丕 丿蹖诏乇 诏賲 賳亘賵丿貙 賳賴 亘賴鈥屫ж坟� 亘丕夭诏卮鬲卮 讴賴 亘賴鈥屫ж坟� 鬲亘丿蹖賱 卮丿賳丿卮 亘賴 趩蹖夭蹖 丿蹖诏乇.
丿丕爻鬲丕賳 讴丕亘爻丕 丿賵丕讴丕 丿乇 賯乇賵賳 郾鄣 賵 郾鄱 噩乇蹖丕賳 丿丕卮鬲貨 丿丕爻鬲丕賳 亘賴 丕爻丕乇鬲 诏乇賮鬲賳 讴丕卮賮丕賳 賵 毓丕亘乇丕賳蹖 讴賴 賲爻蹖乇卮丕賳 亘賴 爻乇夭賲蹖賳鈥屬囏й� 鬲丕夭賴 讴卮賮 卮丿賴 賲蹖鈥屫з佖ж�. 丕賲丕 亘丕 賮乇丕 乇爻蹖丿賳 賯乇賳 郾酃 賵 倬蹖卮 乇賮鬲賳 爻丕賱鈥屬囏� 丕蹖賳 乇賵丕賱 亘乇毓讴爻 卮丿 賵 賲乇丿賲丕賳 亘賵賲蹖 丿蹖诏乇 丿乇 爻乇夭賲蹖賳 禺賵丿卮丕賳 丌夭丕丿 賳亘賵丿賳丿貨 丿蹖诏乇 禺賵丿 丌賳鈥屬囏� 亘賵丿賳丿 讴賴 丿丕卮鬲賳丿 丕爻蹖乇 賮乇賴賳诏 睾丕賱亘 賵 賴賲賴鈥屭屫� 賲蹖鈥屫簇嗀�. 丕蹖賳噩丕 丿蹖诏乇 賮賯胤 倬丕蹖 丕賮乇丕丿 丿乇 賲蹖丕賳 賳亘賵丿貙 亘賱讴賴 賮乇賴賳诏鈥屬囏� 亘賵丿賳丿 讴賴 賳丕睾丕賮賱 亘賴 賲賵丕噩賴賴 賵 亘乇禺賵乇丿 亘丕 賲賵乇丿 賲鬲賮丕賵鬲 讴卮蹖丿賴 賲蹖鈥屫簇嗀� 賵 賮丕氐賱賴鈥屰� 亘蹖賳 丿賵乇丿爻鬲鈥屬囏� 賵賳夭丿蹖讴蹖鈥屬囏� 乇丕 丿乇 賲蹖鈥屬嗁堌必屫嗀�. 诏匕丕乇蹖 亘賴 賲孬丕亘賴鈥屰� 丿诏乇丿蹖爻蹖 賮乇賴賳诏蹖 賲爻兀賱賴鈥屫й� 噩丿蹖 丕爻鬲.
賯氐赖鈥屭� 亘乇丕蹖 賲賳 乇賮鬲鈥屬堚€屫ㄘ壁簇� 賲丿丕賲 亘蹖賳 诏賲 卮丿賳 亘賵丿貙 诏賲鈥屫簇� 賮乇賴賳诏鈥屬囏й屰� 讴賴 賲賵乇丿 丕爻鬲孬賲丕乇 賵 丕爻鬲毓賲丕乇 賯乇丕乇 诏乇賮鬲賳丿 賵 賮乇賴賳诏鈥屬囏й屰� 讴賴 蹖賵乇卮 亘乇丿賳丿 賵 禺賵丕爻鬲賳丿 鬲丕 賴蹖趩 賯賵賲 賵 賯亘蹖賱賴鈥屫й� 賳亘丕卮丿 讴賴 卮亘蹖賴 丌賳鈥屬囏� 賳蹖爻鬲.
丨丕賱丕 亘賴 诏賲鈥屫簇� 賮讴乇 賲蹖鈥屭┵嗁呚� 诏賲鈥屫簇嗃� 讴賴 亘賴鈥屬嗀肛� 賲蹖鈥屫必池� 卮讴丕賮 賲蹖丕賳 噩丕賲毓賴鈥屰� 亘丿賵蹖 賵 賲丿乇賳 倬乇賵 乇丕 倬乇 賲蹖鈥屭┵嗀�. 蹖丕 卮丕蹖丿 賴賲 蹖讴 爻賵丕賱貙 噩丕蹖诏丕賴 诏賲鈥屫簇� 賲蹖丕賳 丕蹖賳 丿賵 丕爻鬲責 芦诏賲禄 賳賴 亘賴 賲毓賳丕蹖 毓丕賲 丌賳貨 亘賱讴賴 跇乇賮鈥屫�. 鬲賳丕夭毓蹖 賲蹖丕賳 蹖讴 诏乇賵賴 賵 诏乇賵賴 丿蹖诏乇貙 讴賴 丿蹖诏乇蹖 賴蹖趩 丿乇讴蹖 賳丿丕卮鬲 讴賴 丨賯蹖賯鬲丕 讴噩丕爻鬲 賵 亘賴 鬲丕乇蹖禺趩賴鈥屰� 丌賳鈥屫� 賵 胤亘蹖毓鬲卮 丕賴賲蹖鬲蹖 賳賲蹖鈥屫ж� 丕爻鬲. 丿乇毓賵囟 賲賵丕噩賴鈥屰� 诏乇賵賴蹖 讴賴 鬲賱丕卮 讴乇丿賳丿 卮賳丕禺鬲卮丕賳 丕夭 丌賳 賲讴丕賳 乇丕 亘乇 賲亘賳丕蹖 卮賳丕禺鬲 禺賵丿卮丕賳 丕爻鬲賵丕乇 讴賳賳丿 賵 乇爻賲鈥屬堚€屫必迟堎� 賵 丨鬲蹖 丕爻丕賲蹖蹖 賳賵 亘爻丕夭賳丿.
诏賲 卮丿賳 賲蹖鈥屫堌з嗀� 诏賲鈥屫簇嗃� 丕夭 乇蹖卮賴 賵 丕氐賱蹖 亘丕卮丿 讴賴 禺賵丿賲丕賳 乇丕 亘賴 丌賳 诏乇賴 賲蹖鈥屫操嗃屬� 賵 亘丕 丌賳 鬲毓乇蹖賮 賲蹖鈥屭┵嗃屬�. 賲孬賱 讴丕亘爻丕 丿賵丕讴丕蹖蹖 讴賴 乇亘讴丕 爻賵賱賳蹖鬲 丿乇 噩爻鬲丕乇卮 丕賵 乇丕 亘賴 賲丕 賲毓乇賮蹖 賲蹖鈥屭┵嗀� 賵 賲乇丿丕賳卮 讴賴 賵賯鬲蹖 亘毓丿 丕夭 丿賴 爻丕賱 趩乇禺蹖丿賳 丿乇 賲蹖丕賳 賯亘丕蹖賱 賲禺鬲賱賮 亘賴鈥屸€屫蒂堌必� 丕鬲賮丕賯蹖 亘丕 爻賵丕乇丕賳 丕爻倬丕賳蹖丕蹖蹖 賲賵丕噩賴 卮丿賳丿貙 賮丕氐賱賴鈥屫й� 賲蹖丕賳 賴賲丿蹖诏乇 丨爻 讴乇丿賳丿. 丕賵 趩蹖夭蹖 賳夭丿蹖讴 亘賴 蹖讴 丿賴賴 亘賵丿 讴賴 賲蹖鈥屫堌ж池� 亘賴 丌睾賵卮 賲乇丿賲 禺賵丿卮 亘丕夭诏乇丿丿貙 丕賲丕 丕鬲賮丕賯丕鬲 亘賴鈥� 丌賳鈥屫蒂堌必� 讴賴 賲蹖鈥屫堌ж池� 倬蹖卮 賳乇賮鬲 賵 丕賵賱蹖賳 賲賵丕噩賴賴 亘丕 賴賲鈥屬堌焚嗀з嗀� 丌爻丕賳 賳亘賵丿 賵 亘毓丿 讴賴 亘賴 丕爻倬丕賳蹖丕 亘丕夭诏卮鬲 禺蹖賱蹖 趩蹖夭賴丕 丿蹖诏乇 诏賲 賳亘賵丿貙 賳賴 亘賴鈥屫ж坟� 亘丕夭诏卮鬲卮 讴賴 亘賴鈥屫ж坟� 鬲亘丿蹖賱 卮丿賳丿卮 亘賴 趩蹖夭蹖 丿蹖诏乇.
丿丕爻鬲丕賳 讴丕亘爻丕 丿賵丕讴丕 丿乇 賯乇賵賳 郾鄣 賵 郾鄱 噩乇蹖丕賳 丿丕卮鬲貨 丿丕爻鬲丕賳 亘賴 丕爻丕乇鬲 诏乇賮鬲賳 讴丕卮賮丕賳 賵 毓丕亘乇丕賳蹖 讴賴 賲爻蹖乇卮丕賳 亘賴 爻乇夭賲蹖賳鈥屬囏й� 鬲丕夭賴 讴卮賮 卮丿賴 賲蹖鈥屫з佖ж�. 丕賲丕 亘丕 賮乇丕 乇爻蹖丿賳 賯乇賳 郾酃 賵 倬蹖卮 乇賮鬲賳 爻丕賱鈥屬囏� 丕蹖賳 乇賵丕賱 亘乇毓讴爻 卮丿 賵 賲乇丿賲丕賳 亘賵賲蹖 丿蹖诏乇 丿乇 爻乇夭賲蹖賳 禺賵丿卮丕賳 丌夭丕丿 賳亘賵丿賳丿貨 丿蹖诏乇 禺賵丿 丌賳鈥屬囏� 亘賵丿賳丿 讴賴 丿丕卮鬲賳丿 丕爻蹖乇 賮乇賴賳诏 睾丕賱亘 賵 賴賲賴鈥屭屫� 賲蹖鈥屫簇嗀�. 丕蹖賳噩丕 丿蹖诏乇 賮賯胤 倬丕蹖 丕賮乇丕丿 丿乇 賲蹖丕賳 賳亘賵丿貙 亘賱讴賴 賮乇賴賳诏鈥屬囏� 亘賵丿賳丿 讴賴 賳丕睾丕賮賱 亘賴 賲賵丕噩賴賴 賵 亘乇禺賵乇丿 亘丕 賲賵乇丿 賲鬲賮丕賵鬲 讴卮蹖丿賴 賲蹖鈥屫簇嗀� 賵 賮丕氐賱賴鈥屰� 亘蹖賳 丿賵乇丿爻鬲鈥屬囏� 賵賳夭丿蹖讴蹖鈥屬囏� 乇丕 丿乇 賲蹖鈥屬嗁堌必屫嗀�. 诏匕丕乇蹖 亘賴 賲孬丕亘賴鈥屰� 丿诏乇丿蹖爻蹖 賮乇賴賳诏蹖 賲爻兀賱賴鈥屫й� 噩丿蹖 丕爻鬲.
賯氐赖鈥屭� 亘乇丕蹖 賲賳 乇賮鬲鈥屬堚€屫ㄘ壁簇� 賲丿丕賲 亘蹖賳 诏賲 卮丿賳 亘賵丿貙 诏賲鈥屫簇� 賮乇賴賳诏鈥屬囏й屰� 讴賴 賲賵乇丿 丕爻鬲孬賲丕乇 賵 丕爻鬲毓賲丕乇 賯乇丕乇 诏乇賮鬲賳丿 賵 賮乇賴賳诏鈥屬囏й屰� 讴賴 蹖賵乇卮 亘乇丿賳丿 賵 禺賵丕爻鬲賳丿 鬲丕 賴蹖趩 賯賵賲 賵 賯亘蹖賱賴鈥屫й� 賳亘丕卮丿 讴賴 卮亘蹖賴 丌賳鈥屬囏� 賳蹖爻鬲.
December 12, 2022
Urm芒nd tehnica vaselor comunicante descris膬 卯n 饾悞饾悳饾惈饾悽饾惉饾惃饾惈饾悽 饾悳膬饾惌饾惈饾悶 饾惍饾惂 饾惌芒饾惂膬饾惈 饾惈饾惃饾惁饾悮饾惂饾悳饾悽饾悶饾惈, Llosa urm膬re葯te, cu stiluri narative diferite,destinul unui prieten din studen葲ie 卯n paralel cu pove葯tile habladorilor dintr-un trib amazonian, disp膬rut de acum, care purtau numele de 饾櫌饾櫀饾櫂饾櫇饾櫈饾櫆饾櫔饾櫄饾櫍饾櫆饾櫀饾櫒. Stilul lui Llosa este cople葯itor, ca de obicei, din toate punctele de vedere, iar povestea este, cum s膬 spun, 卯n膬l葲膬toare prin mesaj dar 葯i tragic膬 葯i 卯n continuare mai actual膬 ca oric芒nd. Ca 葯i majoritatea romanelor sale nici acesta nu este o carte de weekend,dar frumuse葲ea frazelor dep膬葯e葯te cu mult parcursul labirintic al pove葯tilor 卯ntrep膬trunse.
November 30, 2019
蹖賵爻丕 亘蹖鈥屫蹿� 賳賵蹖爻賳丿賴 賲丨亘賵亘賲賴. 丕爻鬲丕丿 丿丕爻鬲丕賳鈥屭堐屰�!
亘賴 賵噩丿 丕賵賲丿賲 丕夭 禺賵賳丿賳卮.
亘賴 賵噩丿 丕賵賲丿賲 丕夭 禺賵賳丿賳卮.
January 28, 2025
La de puede gustar o no. A menudo y con frecuencia sus historias tiende a ser o est谩n basadas sobre , sin embargo la propia tierra natal. La primera vez que le铆 este libro fue hace m谩s de diez a帽os, por trabajo estaba en el centro comercial del del la isala , y por la noche ten铆a varias horas听libre que he gastado con la lectura: he pasado un a帽o y medio sin televisi贸n o radio, eran tres a帽os que me solt茅 de una sociedad con Pol Mourani Achi, un chico de Sriria. Por no hablar con alguien, al pasar de una biblioteca he sido fascinado por el t铆tulo: . Pero qui茅n sabe qu茅 diablos me imaginaba de leer. En general el mensaje es interesante, pero no se puede decir que el libro es de los mejores.
El Hablador es un libro que se centra principalmente en las tribus peruanas, los , y su forma de ver el mundo que es lleno de supersticiones. Rico de y la estrecha relaci贸n que las personas tienen con la naturaleza del mismo lugar: a lo largo del cuento existe la presencia y el trabajo de diversas instituciones y organizaciones, incluso con buenas intenciones. Eso para cambiar las armas y el equipaje de las tribus que es en busca de ayuda. Naturalmente, algunas de estas organizaciones aprovechan la oportunidad para difundir la palabra de entre las , en manera que se vayan de sus propias para encontrar el camino correcto de la salvaci贸n.
El Hablador es un libro que se centra principalmente en las tribus peruanas, los , y su forma de ver el mundo que es lleno de supersticiones. Rico de y la estrecha relaci贸n que las personas tienen con la naturaleza del mismo lugar: a lo largo del cuento existe la presencia y el trabajo de diversas instituciones y organizaciones, incluso con buenas intenciones. Eso para cambiar las armas y el equipaje de las tribus que es en busca de ayuda. Naturalmente, algunas de estas organizaciones aprovechan la oportunidad para difundir la palabra de entre las , en manera que se vayan de sus propias para encontrar el camino correcto de la salvaci贸n.
September 22, 2013
I kept asking myself as I read , "Is this really fiction or non-fiction?" The author, , is a character in the story. At first, we learn of his fascination with the Machighuenga, an Amazonian people of the Upper Urubamba, and specifically of the role of storytellers (habladores) in their culture.
For good measure, he includes several large chunks of Machiguenga myth, mostly featuring the adventures of one Tasurinchi, and later of an actual storyteller, who seems to merge with the character of Vargas Llosa's friend Saul Zaratas, a Peruvian Jew with a dark birthmark on his face and a similar fascination with the Amazonian tribes. He muses:
Although I have read several Vargas Llosa novels to date, I seem to have some difficulty in drawing a bead on him. Each of the novels I have read seems so very different from all the others that I cannot see any main themes emerge. Yet each book has been excellent in its own right.
Over the next year, I plan to read several more and see where they lead me.
For good measure, he includes several large chunks of Machiguenga myth, mostly featuring the adventures of one Tasurinchi, and later of an actual storyteller, who seems to merge with the character of Vargas Llosa's friend Saul Zaratas, a Peruvian Jew with a dark birthmark on his face and a similar fascination with the Amazonian tribes. He muses:
Talking the way a storyteller talks means being able to feel and live in the very heart of that culture, means having penetrated its essence, reached the marrow of its history and mythology, given body to its taboos, images, ancestral desires, and terrors. It means being, in the most profound way possible, a rooted Machiguenga....It is while he is visiting Florence, Italy, that Vargas Llosa sees a photographic exposition that shows a Machiguenga storyteller.
Although I have read several Vargas Llosa novels to date, I seem to have some difficulty in drawing a bead on him. Each of the novels I have read seems so very different from all the others that I cannot see any main themes emerge. Yet each book has been excellent in its own right.
Over the next year, I plan to read several more and see where they lead me.
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