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賯氐丞 丨氐丕乇 賱卮亘賵賳丞
鬲毓鬲亘乇 賴匕賴 丕賱乇賵丕賷丞 賲賳 兀賴賲 兀毓賲丕賱 丕賱賰丕鬲亘 丕賱亘乇鬲睾丕賱賷 禺賵爻賷賴 爻丕乇丕賲丕噩賵貙 丕賱丨丕卅夭 毓賱賶 噩丕卅夭丞 賳賵亘賱 賮賷 丕賱丌丿丕亘 毓丕賲 1998賲貙 賵賮賷賴丕 賷爻鬲毓賷丿 丕賱賰丕鬲亘 亘鬲賴賰賲 丿賯賷賯 賵丨賽乇賮賷丞 賮賳賷丞 賲丿賴卮丞 噩丕賳亘賸丕 賲賳 丕賱鬲丕乇賷禺貙 兀賱丕 賵賴賵 丕賱丨氐丕乇 丕賱匕賷 賮乇囟賴 丕賱亘乇鬲睾丕賱賷賵賳 賮賷 毓丕賲 1147賲 毓賱賶 賱卮亘賵賳丞 丕賱毓乇亘賷丞 賵丕賳鬲賴賶 亘爻賯賵胤賴丕 賮賷 兀賷丿賷賴賲 賵胤乇丿 丕賱賲爻賱賲賷賳 賲賳賴丕貙 賵鬲賰賲賳 兀賴賲賷丞 丕賱乇賵丕賷丞 賮賷賲丕 鬲丨賮賱 亘賴 賲賳 鬲賯賳賷丕鬲 丨丿賷孬丞 賵禺氐丕卅氐 兀爻賱賵亘賷丞 賲鬲賲賷夭丞貙 賮賴賷 賲噩丕賱 禺氐亘 賱賱丿乇丕爻丕鬲 丕賱賳賯丿賷丞 丕賱賲鬲毓丿丿丞貙 丨鬲賶 賵廿賳 賰丕賳鬲 賲鬲亘丕賷賳丞 丕賱乇丐賶貙 賱兀賳 賳氐賵氐賴丕 賯丕亘賱丞 賱賱鬲兀賵賷賱丕鬲 丕賱賲鬲賳賵毓丞 賵丕賱鬲賮爻賷乇丕鬲
483 pages, Hardcover
First published January 1, 1989
552 people are currently reading
9,589 people want to read
About the author
Jos茅 Saramago
282听books15.9k听followersJos茅 de Sousa Saramago (16 November 1922 鈥� 18 June 2010) was a Portuguese novelist and recipient of the 1998 Nobel Prize in Literature, for his "parables sustained by imagination, compassion and irony [with which he] continually enables us once again to apprehend an elusory reality." His works, some of which have been seen as allegories, commonly present subversive perspectives on historic events, emphasizing the theopoetic. In 2003 Harold Bloom described Saramago as "the most gifted novelist alive in the world today."
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Displaying 1 - 30 of 636 reviews
September 22, 2024
Historical science and the real past of the mankind鈥�
The History of the Siege of Lisbon is a spread and ironic contemplation on the theme of credibility of history as science. Indeed, it is enough to change, delete or add a single word in some historical manuscript and the entire described event will be seen in a different light or will turn into its own opposite鈥�
And how often, copying original texts in their scriptoriums, did monastic scribes change them to their own liking or adjust them according to the current beliefs and religious fashions?
Jos茅 Saramago wrote this novel also to illustrate such complex and nonlinear causality.
But there is more to it, The History of the Siege of Lisbon is as well the history of the siege of the female heart鈥�
Both cities and female hearts must be conquered by siege.
It has always struck me that history is not real life, literature, yes, and nothing else鈥︹€�
The History of the Siege of Lisbon is a spread and ironic contemplation on the theme of credibility of history as science. Indeed, it is enough to change, delete or add a single word in some historical manuscript and the entire described event will be seen in a different light or will turn into its own opposite鈥�
And how often, copying original texts in their scriptoriums, did monastic scribes change them to their own liking or adjust them according to the current beliefs and religious fashions?
Certain authors, perhaps out of conviction or an attitude of mind not much given to patient investigation, hate having to acknowledge that the relationship between what we call cause and what we subsequently describe as the effect is not always linear and explicit. They allege, and with some justification, that ever since the world began, although we may have no way of knowing when it began, there has never been an effect without a cause, and every cause, whether because pre-ordained or by some simple mechanism, has brought about and will go on bringing about some effect or other, which, let it be said, is produced instantly, although the transition from cause to effect may have escaped the observer or only come to be more or less reconstituted much later.
Jos茅 Saramago wrote this novel also to illustrate such complex and nonlinear causality.
But there is more to it, The History of the Siege of Lisbon is as well the history of the siege of the female heart鈥�
It would not take much learning to observe, as much today as in those medieval times, despite the Church鈥檚 disapproval of classical similes, how Eros and Thanatos were paired off鈥�
Both cities and female hearts must be conquered by siege.
August 30, 2024
This work is a pocket of 342 pages but is paved by the density of the text. Saramago is stingy with paragraphs; if there are many dialogues, they are never presented with hyphens and are always in a single section. The interventions of successive speakers are best separated by periods and capitals.
A challenge for the reader? Less than it initially appears. The difficulty is only getting used to a different presentation鈥攔ather than a way of practicing your cognitive flexibility.
The novel's starting point is an experienced proofreader who has always acted with outstanding professionalism. However, he decides to change a word in the historical story he is editing, and one word can change history.
We will have plenty of reflection on the work of the proofreader and the writer, on historical documentation, within additional touches of humor that make you smile, and even the poetry of a love story. And, of course, there is Lisbon, when it falls into the hands of those Lusitanians who will become the Portuguese.
An exciting and informative read!
A challenge for the reader? Less than it initially appears. The difficulty is only getting used to a different presentation鈥攔ather than a way of practicing your cognitive flexibility.
The novel's starting point is an experienced proofreader who has always acted with outstanding professionalism. However, he decides to change a word in the historical story he is editing, and one word can change history.
We will have plenty of reflection on the work of the proofreader and the writer, on historical documentation, within additional touches of humor that make you smile, and even the poetry of a love story. And, of course, there is Lisbon, when it falls into the hands of those Lusitanians who will become the Portuguese.
An exciting and informative read!
June 18, 2021
Ca 卯ntotdeauna la Jos茅 Saramago, personajul principal al c膬r葲ii este Naratorul, mereu inventiv, pus pe 葯otii 葯i digresiuni, plin de umor 葯i de bun膬 dispozi葲ie. Se exprim膬 numai 卯n vorbe de duh, uneori devine agasant, dar 卯i putem 卯ng膬dui orice, are farmec.
Naratorul 卯l urm膬re葯te exclusiv, obsedat, doar pe Raimundo Silva, corectorul care pune un NU 卯ntr-o cronic膬 medieval膬 葯i apoi e nevoit s膬 redacteze o istorie diferit膬 a asediului Lisabonei. Uneori, naratorul se dep膬rteaz膬 de Raimondo Silva, alteori pare a locui chiar 卯n mintea corectorului. Totul se termin膬 cu bine. Portughezii cuceresc cetatea. Raimundo Silva o cucere葯te pe Maria Sara, cea care-i sugerase ideea istoriei paralele. Nu-mi dau seama cine e mai c卯葯tigat.
Saramago a afirmat c膬 unul dintre modelele sfiosului, reticentului Raimundo a fost el 卯nsu葯i. E bine s膬-l credem pe cuv卯nt. Romanul a ap膬rut 卯n 1989. A fost primit cu elogii unanime. Criticii anglo-saxoni (cei mai influen葲i dintre to葲i) au vorbit tot mai insistent de un premiu Nobel. Saramago l-a luat 卯n 1998. Nu a fost, desigur, un premiu nemeritat.
Transcriu doar un fragment:
Corectorul consult膬 鈥濪ic牛ionarul de Rarit膬牛i, Ciud膬牛enii 艧i Curiozit膬牛i, unde, admirabil膬 coinciden牛膬 care pic膬 la 葲anc 卯n aceast膬 aventuroas膬 relatare, se d膬 ca exemplu de eroare afirma牛ia 卯n牛eleptului Aristotel c膬 musca domestic膬 obi艧nuit膬 are patru picioare, reduc牛ie aritmetic膬 pe care autorii urm膬tori au tot repetat-o veac dup膬 veac, de艧i copiii aflaser膬 de mult, datorit膬 cruzimii 艧i experimentului, c膬 picioarele mu艧tei s卯nt 艧ase la num膬r, din vremea lui Aristotel le smulgeau cu voluptate, num膬r卯nd, unu, doi, trei, patru, cinci, 艧ase, dar aceia艧i copii, c卯nd cre艧teau 艧i ajungeau s膬-l citeasc膬 pe 卯nv膬牛atul grec, 卯艧i spuneau unul altuia, Musca are patru picioare. Iat膬 de ce este capabil膬 autoritatea magistral膬鈥�.
Naratorul 卯l urm膬re葯te exclusiv, obsedat, doar pe Raimundo Silva, corectorul care pune un NU 卯ntr-o cronic膬 medieval膬 葯i apoi e nevoit s膬 redacteze o istorie diferit膬 a asediului Lisabonei. Uneori, naratorul se dep膬rteaz膬 de Raimondo Silva, alteori pare a locui chiar 卯n mintea corectorului. Totul se termin膬 cu bine. Portughezii cuceresc cetatea. Raimundo Silva o cucere葯te pe Maria Sara, cea care-i sugerase ideea istoriei paralele. Nu-mi dau seama cine e mai c卯葯tigat.
Saramago a afirmat c膬 unul dintre modelele sfiosului, reticentului Raimundo a fost el 卯nsu葯i. E bine s膬-l credem pe cuv卯nt. Romanul a ap膬rut 卯n 1989. A fost primit cu elogii unanime. Criticii anglo-saxoni (cei mai influen葲i dintre to葲i) au vorbit tot mai insistent de un premiu Nobel. Saramago l-a luat 卯n 1998. Nu a fost, desigur, un premiu nemeritat.
Transcriu doar un fragment:
Corectorul consult膬 鈥濪ic牛ionarul de Rarit膬牛i, Ciud膬牛enii 艧i Curiozit膬牛i, unde, admirabil膬 coinciden牛膬 care pic膬 la 葲anc 卯n aceast膬 aventuroas膬 relatare, se d膬 ca exemplu de eroare afirma牛ia 卯n牛eleptului Aristotel c膬 musca domestic膬 obi艧nuit膬 are patru picioare, reduc牛ie aritmetic膬 pe care autorii urm膬tori au tot repetat-o veac dup膬 veac, de艧i copiii aflaser膬 de mult, datorit膬 cruzimii 艧i experimentului, c膬 picioarele mu艧tei s卯nt 艧ase la num膬r, din vremea lui Aristotel le smulgeau cu voluptate, num膬r卯nd, unu, doi, trei, patru, cinci, 艧ase, dar aceia艧i copii, c卯nd cre艧teau 艧i ajungeau s膬-l citeasc膬 pe 卯nv膬牛atul grec, 卯艧i spuneau unul altuia, Musca are patru picioare. Iat膬 de ce este capabil膬 autoritatea magistral膬鈥�.
January 27, 2022
Un corector, Raimundo Silva, o ia razna 葯i pune un NU 卯ntr-un text despre asediul Lisabonei (1147). Crucia葲ii NU i-au ajutat pe portughezi s膬 cucereasc膬 cetatea. I-au ajutat bunul Dumnezeu 葯i Fecioara. Frauda lui e descoperit膬 葯i textul 卯ndreptat numaidec卯t printr-o errat膬. Raimundo Silva este chemat s膬 dea seama pentru blasfemia lui. Are noroc. Conducerea editurii nu vrea s膬-i taie capul.
Mai mult, la 葯edin葲a de judecat膬 o cunoa葯te pe Maria Sara, noua 葯ef膬 a corectorilor. Femeia nu arat膬 r膬u, are de toate, p卯n膬 葯i idei. 脦n consecin葲膬, 卯i sugereaz膬 s膬 scrie o istorie alternativ膬, ca 葯i cum crucia葲ii nu i-ar fi ajutat pe portughezi la asaltul ora葯ului st膬p卯nit de mauri. Bine卯n葲eles, 卯ntre cei doi are loc un coup de foudre (adic膬 iau foc pe din膬untru). Se 卯ndr膬gostesc mortal, de葯i nu-葯i pierd cu totul min葲ile. Nu mai s卯nt la prima tinere葲e. Nici m膬car la a doua. 脦n timp ce Raimundo redacteaz膬 versiunea eretic膬 a asediului, cei doi petrec ni葯te nop葲i de neuitat, descrise de narator cu sub卯n葲eleas膬 sfial膬. E de presupus c膬 totul se va sf卯r葯i cu o nunt膬.
Principalul personaj din carte r膬m卯ne - ca peste tot la Jos茅 Saramago - naratorul. Este mereu inventiv, pus pe 葯otii 葯i digresiuni, plin de umor 葯i de bun膬 dispozi葲ie. Se exprim膬 numai 卯n vorbe de duh. Naratorul 卯l urm膬re葯te exclusiv, obsedat, doar pe Raimundo Silva. Uneori, se 卯ndep膬rteaz膬 de el, alteori pare a locui chiar 卯n mintea corectorului. Saramago n-a negat c膬 unul dintre modelele sfiosului, reticentului Raimundo a fost el 卯nsu葯i. Romanul a ap膬rut 卯n 1989. A fost primit cu elogii unanime. Criticii au vorbit tot mai insistent de un premiu Nobel.
***
Ceea ce am scris mai jos se refer膬 la 鈥瀟ehicile narative鈥� ale prozatorului portughez. Pute葲i ignora...
Tot nu m-am prins de ce Saramago a ales s膬 renun葲e la paragrafe, la cratim膬, la semnele exclam膬rii 葯i 卯ntreb膬rii, la punct, virgul膬 etc. 葯i a lasat pagina cople葯it膬 de semne. O astfel de pagin膬 卯l aduce la disperare p卯n膬 葯i pe cititorul cel mai binevoitor. Saramago 葯i-a 卯ndep膬rtat printr-un gest greu de dumirit o mare parte a publicului. Mul葲i spun: 鈥濻aramago nu poate fi citit, Saramago se cite葯te greu, 脦mi d膬 dureri de cap鈥� 葯i au dreptate, probabil.
A elimina paragrafele, majusculele, liniu葲a de dialog, tot ceea ce 卯nlesne葯te lectura unui text nu mi s-a p膬rut niciodat膬 gestul cel mai prudent. O carte tip膬rit膬 卯n acest chip se cite葯te (c卯nd 葯i dac膬 se cite葯te) cu greutate, lent, anevoios.
C卯nd s-au hot膬r卯t (prin secolul IX) s膬 nu mai citeasc膬 cu voce tare, fiindc膬 卯n biblioteca m膬n膬stirii nu se mai 卯n葲elegea om cu om, c膬lug膬rii din Irlanda au inventat mijoace pentru a 卯nlesni lectura 葯i ritmul ei. Au folosit punctul pentru a marca sf卯r葯itul unei fraze. Au considerat c膬 litera primului cuv卯nt din fraz膬 trebuie s膬 se deosebeasc膬 de celelalte 葯i astfel au impus MAJUSCULA. Au creat paragrafe. Iar ini葲iala dintr-un paragraf au desenat-o mai mare dec卯t toate celelalte litere 葯i au colorat-o cu ro葯u (de unde vine termenul rubrica). Dup膬 secolul IX, viteza de lectur膬 a crescut, chiar dac膬 unii monahi au continuat s膬 citeasc膬 cu voce tare.
Saramago anuleaz膬 toate aceste achizi葲ii verificate 葯i propune un roman de peste 300 de pagini cu doar 90 de paragrafe. Proced卯nd a葯a, prozatorul impune din capul locului o lectur膬 lent膬, 卯nceat膬. Nu to葲i cititorii s卯nt dispu葯i s膬-i fac膬 pe plac. S卯nt foarte sigur de asta. Via葲a e scurt膬, num膬rul c膬r葲ilor spore葯te nemilos. Nu putem citi tot. 鈥濷 carte bun膬 este o carte care se str膬bate repede鈥�, spun 卯n葲elep葲ii. Iar dac膬 Saramago se considera un 鈥瀙ovestitior oral鈥�, cum a declarat 卯ntr-un interviu, s-ar fi cuvenit s膬 pun膬 卯n comer葲 audio-book-uri. N-a f膬cut-o. Nu 葯i-a dus nobila-i revolt膬 卯mpotriva punctua葲iei p卯n膬 la cap膬t. A fost un radical moderat.
Ca s膬 fie limpede: eu chiar cred c膬 renun葲area la punctua葲ie 葯i la paragrafe reprezint膬 un moft 葯i o gratuitate. Cu ce a revolu葲ionat poezia Edward Estlin Cummings, c卯nd a decis s膬-葯i semneze crea葲iile cu numele smerit e.e. cummings? Literatura nu poate fi renovat膬 prin mijloace grafice, sco葲卯nd punctele 葯i anul卯nd paragrafele.
Mai mult, la 葯edin葲a de judecat膬 o cunoa葯te pe Maria Sara, noua 葯ef膬 a corectorilor. Femeia nu arat膬 r膬u, are de toate, p卯n膬 葯i idei. 脦n consecin葲膬, 卯i sugereaz膬 s膬 scrie o istorie alternativ膬, ca 葯i cum crucia葲ii nu i-ar fi ajutat pe portughezi la asaltul ora葯ului st膬p卯nit de mauri. Bine卯n葲eles, 卯ntre cei doi are loc un coup de foudre (adic膬 iau foc pe din膬untru). Se 卯ndr膬gostesc mortal, de葯i nu-葯i pierd cu totul min葲ile. Nu mai s卯nt la prima tinere葲e. Nici m膬car la a doua. 脦n timp ce Raimundo redacteaz膬 versiunea eretic膬 a asediului, cei doi petrec ni葯te nop葲i de neuitat, descrise de narator cu sub卯n葲eleas膬 sfial膬. E de presupus c膬 totul se va sf卯r葯i cu o nunt膬.
Principalul personaj din carte r膬m卯ne - ca peste tot la Jos茅 Saramago - naratorul. Este mereu inventiv, pus pe 葯otii 葯i digresiuni, plin de umor 葯i de bun膬 dispozi葲ie. Se exprim膬 numai 卯n vorbe de duh. Naratorul 卯l urm膬re葯te exclusiv, obsedat, doar pe Raimundo Silva. Uneori, se 卯ndep膬rteaz膬 de el, alteori pare a locui chiar 卯n mintea corectorului. Saramago n-a negat c膬 unul dintre modelele sfiosului, reticentului Raimundo a fost el 卯nsu葯i. Romanul a ap膬rut 卯n 1989. A fost primit cu elogii unanime. Criticii au vorbit tot mai insistent de un premiu Nobel.
***
Ceea ce am scris mai jos se refer膬 la 鈥瀟ehicile narative鈥� ale prozatorului portughez. Pute葲i ignora...
Tot nu m-am prins de ce Saramago a ales s膬 renun葲e la paragrafe, la cratim膬, la semnele exclam膬rii 葯i 卯ntreb膬rii, la punct, virgul膬 etc. 葯i a lasat pagina cople葯it膬 de semne. O astfel de pagin膬 卯l aduce la disperare p卯n膬 葯i pe cititorul cel mai binevoitor. Saramago 葯i-a 卯ndep膬rtat printr-un gest greu de dumirit o mare parte a publicului. Mul葲i spun: 鈥濻aramago nu poate fi citit, Saramago se cite葯te greu, 脦mi d膬 dureri de cap鈥� 葯i au dreptate, probabil.
A elimina paragrafele, majusculele, liniu葲a de dialog, tot ceea ce 卯nlesne葯te lectura unui text nu mi s-a p膬rut niciodat膬 gestul cel mai prudent. O carte tip膬rit膬 卯n acest chip se cite葯te (c卯nd 葯i dac膬 se cite葯te) cu greutate, lent, anevoios.
C卯nd s-au hot膬r卯t (prin secolul IX) s膬 nu mai citeasc膬 cu voce tare, fiindc膬 卯n biblioteca m膬n膬stirii nu se mai 卯n葲elegea om cu om, c膬lug膬rii din Irlanda au inventat mijoace pentru a 卯nlesni lectura 葯i ritmul ei. Au folosit punctul pentru a marca sf卯r葯itul unei fraze. Au considerat c膬 litera primului cuv卯nt din fraz膬 trebuie s膬 se deosebeasc膬 de celelalte 葯i astfel au impus MAJUSCULA. Au creat paragrafe. Iar ini葲iala dintr-un paragraf au desenat-o mai mare dec卯t toate celelalte litere 葯i au colorat-o cu ro葯u (de unde vine termenul rubrica). Dup膬 secolul IX, viteza de lectur膬 a crescut, chiar dac膬 unii monahi au continuat s膬 citeasc膬 cu voce tare.
Saramago anuleaz膬 toate aceste achizi葲ii verificate 葯i propune un roman de peste 300 de pagini cu doar 90 de paragrafe. Proced卯nd a葯a, prozatorul impune din capul locului o lectur膬 lent膬, 卯nceat膬. Nu to葲i cititorii s卯nt dispu葯i s膬-i fac膬 pe plac. S卯nt foarte sigur de asta. Via葲a e scurt膬, num膬rul c膬r葲ilor spore葯te nemilos. Nu putem citi tot. 鈥濷 carte bun膬 este o carte care se str膬bate repede鈥�, spun 卯n葲elep葲ii. Iar dac膬 Saramago se considera un 鈥瀙ovestitior oral鈥�, cum a declarat 卯ntr-un interviu, s-ar fi cuvenit s膬 pun膬 卯n comer葲 audio-book-uri. N-a f膬cut-o. Nu 葯i-a dus nobila-i revolt膬 卯mpotriva punctua葲iei p卯n膬 la cap膬t. A fost un radical moderat.
Ca s膬 fie limpede: eu chiar cred c膬 renun葲area la punctua葲ie 葯i la paragrafe reprezint膬 un moft 葯i o gratuitate. Cu ce a revolu葲ionat poezia Edward Estlin Cummings, c卯nd a decis s膬-葯i semneze crea葲iile cu numele smerit e.e. cummings? Literatura nu poate fi renovat膬 prin mijloace grafice, sco葲卯nd punctele 葯i anul卯nd paragrafele.
November 8, 2019
In the glowing light of the day and in the rosy spirit of the present calendar week (romance in the air...) I am overwhelmed with positive emotions and declare my ever-growing admiration and respect towards the great Portuguese writer Jos茅 Saramago (1922-2010) and his golden legacy in terms of his well-known controversial, challenging, and thought-provoking novels.
I am completely and irrevocably absorbed into his works. I am jumping like a mosquito from one book to another, in a very ambitious attempt to read as much as possible, but of course I am not able to because I feel I am not grasping as much as I need in this frenzy and hectic pace, so I take one step or even two back and start anew.
I think I even firmly established my aim when reading Jose Saramago which is: to rediscover the importance and beauty of questioning; to refresh my personal writing style to the level of being able to communicate (verbally and in written) using a vocabulary that is full of savor and rhythm, as if it were not something outside the language, but intrinsic. This is a language like an uninterrupted flow, like a river, a large mass of water that slips heavy, shining, with fast forward rhythm, even if, occasionally, its course is interrupted by cataracts. I have no fear whatsoever (although pragmatically I fear water because of lack of swimming skills) to get immersed fully in this best prose (in my mind鈥檚 eyes) and to disappear there for a few days, weeks, months...maybe couple of years馃槉
The History of the Siege of Lisbon treats, within parallel plots [one set in the twelfth century, describing some key episodes of the 鈥榓lternative鈥� history of the siege of Lisbon, which our hero Raimundo Silva is asked to write; and, the other, in the twentieth century, showing the day to day routine of our proof-reader鈥檚 existence and, of course, the very important destiny encounter with a new editor who becomes his trigger for a new life鈥 an important aspect of speculating between historiography, historical novels and 鈥渟tories inserted into history鈥�, which seem the type of book that Saramago himself prefers to write, in the end history and fiction constantly overlap, or in Saramago鈥檚 own words: 鈥淭he truth is that history could have been written in many different ways and this idea of infinitude and variation are the essence of my writing. The possibility of the impossible, dreams and illusions, are the subject of my novels鈥�. And with this, fortunately, everything was almost covered as for review 馃槉馃槉馃槉
[a bit more or less extrapolating, I dare say that even myself have confronted something similar with these days. The real History is that my performance management 2018 got the final score of Exceptional which is better than Target (that I was supposed to achieve) but if/when the Grandparent (a boss of my boss, who also has a boss above his head and so on until a certain level) says that due to political-reasons, this Exceptional cannot be accepted for final/formal History, then someone enters a change in the Assessment and then the final (but no imaginary) History is that (maybe) I am just Normal,ie Target limits. ]
But, skipping over this (there is no need to leverage our satisfaction based on pecuniary ground), I am glad to acknowledge that I have thoroughly liked and loved the main male character Raimundo Benvindo Silva. In the serie of books I've read so far (luckily it seems I followed intuitively a perfect sequence, starting with Baltasar and Blimunda and then The Year of the Death of Ricardo Reis), this is number 3 novel actor, and it has had an extensively positive impact over me. Could be due to number 3 magic properties. I relish 3 and any multiples of it, including number 7.
And from here on-wards I give the word to the great voice of Saramago, this being a block of text that I have had lots of fun reading it 馃槉馃槉馃槉 reminding me of myself.
鈮� 鈥aimundo Silva must have whispered a similar plea [may God protect all of us, for we are fighting in His name], transposed into the first person singular, as he set about dialing the number of his destiny, but in a whisper so low that it scarcely passed his lips, a plea as tremulous as that of any adolescent, he himself now has more food for thought, if he thinks, whether his body is not simply one huge kettledrum where the bell of the telephone rings and rings, not the bell, the electronic signal, awaiting the sudden interruption of the call, and a voice that says, Speaking, or, What can I do for you, perhaps Hello, perhaps Who鈥檚 calling, there is no lack of possibilities amongst the conventional phrase and their modern variants, however, dazed as he was, Raimundo Silva was unable to hear what was being said, only that it was a woman speaking, so he asked disregarding any niceties, Is that Dr Maria Sara, no, it was not, Who鈥檚 speaking, it was as if Raimundo Silva wanted to know his editor鈥檚 voice, this was not a truth beyond question, but served as a simple form of identification, we are certainly not going to suggest that he introduced himself as Raimundo Benvindo Silva, proof-reader, working for the same publishing house, and even if he had, the reply would have been the same, Wait a moment, please, I鈥檒l see if Dr Maria Sara can take your call, never had a moment been so brief, Don鈥檛 ring off, I鈥檓 carrying the telephone through, then silence.
鈥ow are you, her voice taking him by surprise, Raimundo Silva, has expected to hear the maid say something more, such as, I鈥檓 passing the telephone to Dr Sara, that would have meant a further postponement of three or four seconds, but instead this direct question, How are you, reversing the situation, for surely it was up to him to express interest in her state of health, I鈥檓 fine, thank you, and quickly added, I wanted to know if you鈥檙e feeling better, How did you know I鈥檝e been ill, At the office, When, Yesterday forenoon, So you decided to ring to see how I am, Yes, Many thanks for being so thoughtful, you鈥檙e the only proof-reader to have shown any interest, Well, I felt I had to, I hope I haven鈥檛 disturbed you, On the contrary, I鈥檓 deeply grateful, I鈥檓 feeling better, I think probably tomorrow or the day after, I鈥檒l be back at the office, Well, I mustn鈥檛 tire you, I wish you a speedy recovery, Just before you ring off, how did you find my telephone number, Young Sara gave it to me, Ah, the other Sara, Yes, the telephonist, When, As I told you, yesterday forenoon, And you waited until today to call me, I was afraid of disturbing you, But you overcome your fear, I suppose so, otherwise I wouldn鈥檛 be speaking to you right now, Meantime, you should have been told that I wanted to speak to you. For two seconds, Raimundo Silva thought of pretending that he had not received the message, but before the third second passed, he found himself answering, Yes, Therefore I can assume that you couldn鈥檛 help calling me once I had taken the initiative, You may assume what you please, that鈥檚 up to you, but you must also assume that if I asked the telephonist for your number it wasn鈥檛 just to carry it around in my pocket, waiting for who knows what, there was another reason, What, Simply a lack of courage, Your courage appears to have been limited to that little proof-reading episode you don鈥檛 like me mentioning, In fact, I鈥檓 only telephoning to inquire about your state of health and to say I鈥檒l hope you鈥檒l soon be better, And don鈥檛 you think it鈥檚 time you asked me why I called you, Why did you call me, I鈥檓 not sure that I like your tone of voice, Words are more important than the way they鈥檙e spoken, I would have assumed that your experience as a proof-reader must have taught you that words mean nothing unless spoken in a certain tone of voice, The written word is mute, Reading gives it a voice, Except when read in silence, Even then, unless Senhor Raimundo Silva believes the brain is a silent organ, I鈥檓 only a proof-reader, like the shoemaker, I make do with carpet-slippers, my brain knows me, I know nothing about my brain, An interesting observation, You still haven鈥檛 answered my question, What question, Why did you telephone me, I鈥檓 no longer certain that I feel like telling you, So, I鈥檓 not the only coward, I don鈥檛 recall having said anything about cowardice, You spoke about a lack of courage, That鈥檚 not the same thing, The two sides of a coin are different, but the coin is one and the same, Valour is only to be found on one side, This conversation is getting beyond me and I suggest we drop the subject, besides it鈥檚 most unwise to argue like this, given your state of health, This cynicism doesn鈥檛 become you, I鈥檓 not being cynical, I know, so stop pretending, Seriously, I don鈥檛 think we know what we鈥檙e talking about, Speak for yourself, Then explain it to me, There鈥檚 no need for any explanations, You鈥檙e evading the question, It鈥檚 you who are evading the question, your鈥檙e hiding from yourself and want me to tell you what you already know, Please, Please what, I think we ought to ring off, this conversation has got out of hand, You鈥檙e to blame, Me, Yes, you, You鈥檙e much mistaken, I like things to be clear, Then try being clear and tell me why you are so aggressive whenever you speak to me, I鈥檓 never aggressive with anyone, I don鈥檛 have this modern vice, Then why are you aggressive with me, It isn鈥檛 true, Since the first day we met, should you need reminding, Circumstances, But those circumstances have changed yet you鈥檙e gone on being aggressive, Forgive me, that was never my intention, Now it鈥檚 my turn to ask you not to use such meaningless words, Agreed, I鈥檒l say no more, Then listen, I telephoned you because I was feeling lonely,, because I was curious to know if you were working, because I wanted you to take an interest in my health, because, Maria Sara, Don鈥檛 say my name like that, Maria Sara, I like you, a long pause, Is that so, It鈥檚 the truth, You took your sweet time before telling me, And perhaps I might never have got round to telling you, Why not, We鈥檙e different, we belong to different worlds, What do you know about all these differences between us and our worlds, I can guess, observe, draw my own conclusions, These three operations can just as easily lead us to draw the right or the wrong conclusions, Agreed, and my biggest mistake right now is to have confessed that I like you, Why, Because I know nothing about your private life, whether you are, Married, Yes, or, In any way spoken for, to use an old-fashioned expression, Yes, Well, let鈥檚 imagine that I am already married or engaged, would that prevent you from being fond of me, No, And if I really were married or engaged to someone else, should that prevent me from being fond of you, if that was how I felt, I don鈥檛 know, Then you should know that I am fond of you, a long pause, Is that true, Yes, it鈥檚 true, Listen Maria Sara, Tell me, Raimundo, but first you should know that I got divorced three years ago, that I ended an affair three months ago and haven鈥檛 had any more affairs since, that I have no children but would dearly love to have them, I live with a married brother, and the person who answered the telephone was my sister-in-law, and you don鈥檛 have to tell me who took down my message, she鈥檚 your cleaner, and now, Mr Proof-reader, you may speak, pay no attention to this wild outburst, it鈥檚 that I鈥檓 brimming over with joy, Tell me, why do you like me, What can I say, I just like you, And aren鈥檛 you afraid that once you get to know me, you won鈥檛 like me anymore, It sometimes happens, in fact, it happens quite a lot, So, So, nothing, it takes time to get to know each other, I like you, I believe you, When can we see each other, As soon as I can get up from this bed of pain, Where鈥檚 the pain, All over, What is actually wrong with you, Nothing serious, or rather, the worst flu I鈥檝e ever experienced, From where you are, you can鈥檛 see me, but I鈥檓 smiling, Now that鈥檚 really something, I don鈥檛 believe I鈥檝e ever seen a smile cross your lips, Can I confide that I love you, No, simply say that you are fond of me, I鈥檝e already said so, Then keep the rest for the day you truly love me, should that day ever come, It will come, Let鈥檚 not bank on the future, better to wait and see what it has in store for us, and now this weak, feverish woman asks to be left in peace to rest, to recover her strength in case it occurs to someone to call back again today, To speak to you, Or you, for the phrase could just as easily refer to either of us, Ambiguity isn鈥檛 always a defect, So long, Let me leave you with a kiss, The time will come for kisses, For me it has been slow in coming, One last question, Tell me, Have you started to write your 鈥楬istory of the Siege of Lisbon鈥�, Yes, I have, Good, for I鈥檓 not sure that I could have gone on liking you if you鈥檇 said no, Goodbye. 鈥︹壂
NB: Saramago acknowledged in an article that there is a lot of him in the protagonist of the novel, Raimundo Silva, a middle-aged, isolated proofreader who falls in love with his boss, an attractive, younger editor who 'saves' him from emotional mediocrity. The novel is dedicated to his wife (as are all his subsequent books), the Spanish journalist Pilar del Rio, whom he married in 1988. In other words, this is a '...and they lived happily ever after' tale.
I am completely and irrevocably absorbed into his works. I am jumping like a mosquito from one book to another, in a very ambitious attempt to read as much as possible, but of course I am not able to because I feel I am not grasping as much as I need in this frenzy and hectic pace, so I take one step or even two back and start anew.
I think I even firmly established my aim when reading Jose Saramago which is: to rediscover the importance and beauty of questioning; to refresh my personal writing style to the level of being able to communicate (verbally and in written) using a vocabulary that is full of savor and rhythm, as if it were not something outside the language, but intrinsic. This is a language like an uninterrupted flow, like a river, a large mass of water that slips heavy, shining, with fast forward rhythm, even if, occasionally, its course is interrupted by cataracts. I have no fear whatsoever (although pragmatically I fear water because of lack of swimming skills) to get immersed fully in this best prose (in my mind鈥檚 eyes) and to disappear there for a few days, weeks, months...maybe couple of years馃槉
The History of the Siege of Lisbon treats, within parallel plots [one set in the twelfth century, describing some key episodes of the 鈥榓lternative鈥� history of the siege of Lisbon, which our hero Raimundo Silva is asked to write; and, the other, in the twentieth century, showing the day to day routine of our proof-reader鈥檚 existence and, of course, the very important destiny encounter with a new editor who becomes his trigger for a new life鈥 an important aspect of speculating between historiography, historical novels and 鈥渟tories inserted into history鈥�, which seem the type of book that Saramago himself prefers to write, in the end history and fiction constantly overlap, or in Saramago鈥檚 own words: 鈥淭he truth is that history could have been written in many different ways and this idea of infinitude and variation are the essence of my writing. The possibility of the impossible, dreams and illusions, are the subject of my novels鈥�. And with this, fortunately, everything was almost covered as for review 馃槉馃槉馃槉
[a bit more or less extrapolating, I dare say that even myself have confronted something similar with these days. The real History is that my performance management 2018 got the final score of Exceptional which is better than Target (that I was supposed to achieve) but if/when the Grandparent (a boss of my boss, who also has a boss above his head and so on until a certain level) says that due to political-reasons, this Exceptional cannot be accepted for final/formal History, then someone enters a change in the Assessment and then the final (but no imaginary) History is that (maybe) I am just Normal,ie Target limits. ]
But, skipping over this (there is no need to leverage our satisfaction based on pecuniary ground), I am glad to acknowledge that I have thoroughly liked and loved the main male character Raimundo Benvindo Silva. In the serie of books I've read so far (luckily it seems I followed intuitively a perfect sequence, starting with Baltasar and Blimunda and then The Year of the Death of Ricardo Reis), this is number 3 novel actor, and it has had an extensively positive impact over me. Could be due to number 3 magic properties. I relish 3 and any multiples of it, including number 7.
And from here on-wards I give the word to the great voice of Saramago, this being a block of text that I have had lots of fun reading it 馃槉馃槉馃槉 reminding me of myself.
鈮� 鈥aimundo Silva must have whispered a similar plea [may God protect all of us, for we are fighting in His name], transposed into the first person singular, as he set about dialing the number of his destiny, but in a whisper so low that it scarcely passed his lips, a plea as tremulous as that of any adolescent, he himself now has more food for thought, if he thinks, whether his body is not simply one huge kettledrum where the bell of the telephone rings and rings, not the bell, the electronic signal, awaiting the sudden interruption of the call, and a voice that says, Speaking, or, What can I do for you, perhaps Hello, perhaps Who鈥檚 calling, there is no lack of possibilities amongst the conventional phrase and their modern variants, however, dazed as he was, Raimundo Silva was unable to hear what was being said, only that it was a woman speaking, so he asked disregarding any niceties, Is that Dr Maria Sara, no, it was not, Who鈥檚 speaking, it was as if Raimundo Silva wanted to know his editor鈥檚 voice, this was not a truth beyond question, but served as a simple form of identification, we are certainly not going to suggest that he introduced himself as Raimundo Benvindo Silva, proof-reader, working for the same publishing house, and even if he had, the reply would have been the same, Wait a moment, please, I鈥檒l see if Dr Maria Sara can take your call, never had a moment been so brief, Don鈥檛 ring off, I鈥檓 carrying the telephone through, then silence.
鈥ow are you, her voice taking him by surprise, Raimundo Silva, has expected to hear the maid say something more, such as, I鈥檓 passing the telephone to Dr Sara, that would have meant a further postponement of three or four seconds, but instead this direct question, How are you, reversing the situation, for surely it was up to him to express interest in her state of health, I鈥檓 fine, thank you, and quickly added, I wanted to know if you鈥檙e feeling better, How did you know I鈥檝e been ill, At the office, When, Yesterday forenoon, So you decided to ring to see how I am, Yes, Many thanks for being so thoughtful, you鈥檙e the only proof-reader to have shown any interest, Well, I felt I had to, I hope I haven鈥檛 disturbed you, On the contrary, I鈥檓 deeply grateful, I鈥檓 feeling better, I think probably tomorrow or the day after, I鈥檒l be back at the office, Well, I mustn鈥檛 tire you, I wish you a speedy recovery, Just before you ring off, how did you find my telephone number, Young Sara gave it to me, Ah, the other Sara, Yes, the telephonist, When, As I told you, yesterday forenoon, And you waited until today to call me, I was afraid of disturbing you, But you overcome your fear, I suppose so, otherwise I wouldn鈥檛 be speaking to you right now, Meantime, you should have been told that I wanted to speak to you. For two seconds, Raimundo Silva thought of pretending that he had not received the message, but before the third second passed, he found himself answering, Yes, Therefore I can assume that you couldn鈥檛 help calling me once I had taken the initiative, You may assume what you please, that鈥檚 up to you, but you must also assume that if I asked the telephonist for your number it wasn鈥檛 just to carry it around in my pocket, waiting for who knows what, there was another reason, What, Simply a lack of courage, Your courage appears to have been limited to that little proof-reading episode you don鈥檛 like me mentioning, In fact, I鈥檓 only telephoning to inquire about your state of health and to say I鈥檒l hope you鈥檒l soon be better, And don鈥檛 you think it鈥檚 time you asked me why I called you, Why did you call me, I鈥檓 not sure that I like your tone of voice, Words are more important than the way they鈥檙e spoken, I would have assumed that your experience as a proof-reader must have taught you that words mean nothing unless spoken in a certain tone of voice, The written word is mute, Reading gives it a voice, Except when read in silence, Even then, unless Senhor Raimundo Silva believes the brain is a silent organ, I鈥檓 only a proof-reader, like the shoemaker, I make do with carpet-slippers, my brain knows me, I know nothing about my brain, An interesting observation, You still haven鈥檛 answered my question, What question, Why did you telephone me, I鈥檓 no longer certain that I feel like telling you, So, I鈥檓 not the only coward, I don鈥檛 recall having said anything about cowardice, You spoke about a lack of courage, That鈥檚 not the same thing, The two sides of a coin are different, but the coin is one and the same, Valour is only to be found on one side, This conversation is getting beyond me and I suggest we drop the subject, besides it鈥檚 most unwise to argue like this, given your state of health, This cynicism doesn鈥檛 become you, I鈥檓 not being cynical, I know, so stop pretending, Seriously, I don鈥檛 think we know what we鈥檙e talking about, Speak for yourself, Then explain it to me, There鈥檚 no need for any explanations, You鈥檙e evading the question, It鈥檚 you who are evading the question, your鈥檙e hiding from yourself and want me to tell you what you already know, Please, Please what, I think we ought to ring off, this conversation has got out of hand, You鈥檙e to blame, Me, Yes, you, You鈥檙e much mistaken, I like things to be clear, Then try being clear and tell me why you are so aggressive whenever you speak to me, I鈥檓 never aggressive with anyone, I don鈥檛 have this modern vice, Then why are you aggressive with me, It isn鈥檛 true, Since the first day we met, should you need reminding, Circumstances, But those circumstances have changed yet you鈥檙e gone on being aggressive, Forgive me, that was never my intention, Now it鈥檚 my turn to ask you not to use such meaningless words, Agreed, I鈥檒l say no more, Then listen, I telephoned you because I was feeling lonely,, because I was curious to know if you were working, because I wanted you to take an interest in my health, because, Maria Sara, Don鈥檛 say my name like that, Maria Sara, I like you, a long pause, Is that so, It鈥檚 the truth, You took your sweet time before telling me, And perhaps I might never have got round to telling you, Why not, We鈥檙e different, we belong to different worlds, What do you know about all these differences between us and our worlds, I can guess, observe, draw my own conclusions, These three operations can just as easily lead us to draw the right or the wrong conclusions, Agreed, and my biggest mistake right now is to have confessed that I like you, Why, Because I know nothing about your private life, whether you are, Married, Yes, or, In any way spoken for, to use an old-fashioned expression, Yes, Well, let鈥檚 imagine that I am already married or engaged, would that prevent you from being fond of me, No, And if I really were married or engaged to someone else, should that prevent me from being fond of you, if that was how I felt, I don鈥檛 know, Then you should know that I am fond of you, a long pause, Is that true, Yes, it鈥檚 true, Listen Maria Sara, Tell me, Raimundo, but first you should know that I got divorced three years ago, that I ended an affair three months ago and haven鈥檛 had any more affairs since, that I have no children but would dearly love to have them, I live with a married brother, and the person who answered the telephone was my sister-in-law, and you don鈥檛 have to tell me who took down my message, she鈥檚 your cleaner, and now, Mr Proof-reader, you may speak, pay no attention to this wild outburst, it鈥檚 that I鈥檓 brimming over with joy, Tell me, why do you like me, What can I say, I just like you, And aren鈥檛 you afraid that once you get to know me, you won鈥檛 like me anymore, It sometimes happens, in fact, it happens quite a lot, So, So, nothing, it takes time to get to know each other, I like you, I believe you, When can we see each other, As soon as I can get up from this bed of pain, Where鈥檚 the pain, All over, What is actually wrong with you, Nothing serious, or rather, the worst flu I鈥檝e ever experienced, From where you are, you can鈥檛 see me, but I鈥檓 smiling, Now that鈥檚 really something, I don鈥檛 believe I鈥檝e ever seen a smile cross your lips, Can I confide that I love you, No, simply say that you are fond of me, I鈥檝e already said so, Then keep the rest for the day you truly love me, should that day ever come, It will come, Let鈥檚 not bank on the future, better to wait and see what it has in store for us, and now this weak, feverish woman asks to be left in peace to rest, to recover her strength in case it occurs to someone to call back again today, To speak to you, Or you, for the phrase could just as easily refer to either of us, Ambiguity isn鈥檛 always a defect, So long, Let me leave you with a kiss, The time will come for kisses, For me it has been slow in coming, One last question, Tell me, Have you started to write your 鈥楬istory of the Siege of Lisbon鈥�, Yes, I have, Good, for I鈥檓 not sure that I could have gone on liking you if you鈥檇 said no, Goodbye. 鈥︹壂
NB: Saramago acknowledged in an article that there is a lot of him in the protagonist of the novel, Raimundo Silva, a middle-aged, isolated proofreader who falls in love with his boss, an attractive, younger editor who 'saves' him from emotional mediocrity. The novel is dedicated to his wife (as are all his subsequent books), the Spanish journalist Pilar del Rio, whom he married in 1988. In other words, this is a '...and they lived happily ever after' tale.
September 20, 2019
韦慰 尾喂尾位委慰 伪蠀蟿蠈 尾蟻喂蟽魏蠈蟿伪谓 伪蠁畏渭苇谓慰 蟽蟿畏 尾喂尾位喂慰胃萎魏畏 渭慰蠀 魏维渭蟺慰蟽伪 蠂蟻蠈谓喂伪. 韦慰 魏慰喂蟿慰蠉蟽伪, 渭蔚 魏慰喂蟿慰蠉蟽蔚... 螒蠁慰蠉 未蔚谓 蟽畏魏蠋胃畏魏蔚 谓伪 渭慰蠀 蟻委尉蔚喂 魏伪渭委伪, 蟺维位喂 魏伪位维.
螒蟺慰蠁维蟽喂蟽伪 蠈蟿喂 蟺位苇慰谓 萎蟿伪谓 魏伪喂蟻蠈蟼 谓伪 蟿慰 未喂伪尾维蟽蠅 魏伪喂 未蔚谓 渭蔚蟿维谓喂蠅蟽伪. 螠蔚 蟿慰谓 渭慰谓伪未喂魏蠈 蟿蟻蠈蟺慰 蟿慰蠀, 慰 危伪蟻渭维纬魏慰 渭蟺慰蟻蔚委 谓伪 魏维谓蔚喂 苇谓伪谓 渭蔚蟽蠈魏慰蟺慰 蔚蟺喂渭蔚位畏蟿萎 尾喂尾位委蠅谓, 谓伪 渭慰喂维味蔚喂 渭蔚 蟿慰谓 位伪渭蟺蔚蟻蠈蟿蔚蟻慰 喂蟺蟺蠈蟿畏, 伪蟻魏蔚委 谓伪 渭蟺慰蟻苇蟽蔚喂 魏伪谓蔚委蟼 谓伪 渭蟺蔚喂 蟽蟿畏谓 慰蠀蟽委伪 魏伪喂 蟽蟿慰 尾维胃慰蟼 蟿畏蟼 纬蟻伪蠁萎蟼 蟿慰蠀, 蟺蟻维纬渭伪 蠈蠂喂 魏伪喂 蟿蠈蟽慰 蔚蠉魏慰位慰 慰渭慰位慰纬慰蠀渭苇谓蠅蟼.
危蠀谓委蟽蟿伪蟿伪喂 纬喂伪 蠈位慰蠀蟼, 魏蠀蟻委蠅蟼 蠈渭蠅蟼 纬喂伪 蠈蟽慰蠀蟼 苇蠂慰蠀谓 未喂伪尾维蟽蔚喂 蟺蟻蠋蟿伪 维位位伪 苇蟻纬伪 蟿慰蠀 危伪蟻伪渭维纬魏慰 魏伪喂 苇蠂慰蠀谓 蟺蟻慰位维尾蔚喂 萎未畏 谓伪 蔚魏蟿喂渭萎蟽慰蠀谓 蟿慰 渭蔚纬维位慰 伪蠀蟿蠈 位慰纬慰蟿苇蠂谓畏.
螒蟺慰蠁维蟽喂蟽伪 蠈蟿喂 蟺位苇慰谓 萎蟿伪谓 魏伪喂蟻蠈蟼 谓伪 蟿慰 未喂伪尾维蟽蠅 魏伪喂 未蔚谓 渭蔚蟿维谓喂蠅蟽伪. 螠蔚 蟿慰谓 渭慰谓伪未喂魏蠈 蟿蟻蠈蟺慰 蟿慰蠀, 慰 危伪蟻渭维纬魏慰 渭蟺慰蟻蔚委 谓伪 魏维谓蔚喂 苇谓伪谓 渭蔚蟽蠈魏慰蟺慰 蔚蟺喂渭蔚位畏蟿萎 尾喂尾位委蠅谓, 谓伪 渭慰喂维味蔚喂 渭蔚 蟿慰谓 位伪渭蟺蔚蟻蠈蟿蔚蟻慰 喂蟺蟺蠈蟿畏, 伪蟻魏蔚委 谓伪 渭蟺慰蟻苇蟽蔚喂 魏伪谓蔚委蟼 谓伪 渭蟺蔚喂 蟽蟿畏谓 慰蠀蟽委伪 魏伪喂 蟽蟿慰 尾维胃慰蟼 蟿畏蟼 纬蟻伪蠁萎蟼 蟿慰蠀, 蟺蟻维纬渭伪 蠈蠂喂 魏伪喂 蟿蠈蟽慰 蔚蠉魏慰位慰 慰渭慰位慰纬慰蠀渭苇谓蠅蟼.
危蠀谓委蟽蟿伪蟿伪喂 纬喂伪 蠈位慰蠀蟼, 魏蠀蟻委蠅蟼 蠈渭蠅蟼 纬喂伪 蠈蟽慰蠀蟼 苇蠂慰蠀谓 未喂伪尾维蟽蔚喂 蟺蟻蠋蟿伪 维位位伪 苇蟻纬伪 蟿慰蠀 危伪蟻伪渭维纬魏慰 魏伪喂 苇蠂慰蠀谓 蟺蟻慰位维尾蔚喂 萎未畏 谓伪 蔚魏蟿喂渭萎蟽慰蠀谓 蟿慰 渭蔚纬维位慰 伪蠀蟿蠈 位慰纬慰蟿苇蠂谓畏.
August 22, 2018
Jose Saramago may not somebody who relies so heavily on plot. He utilizes stream-of-consciousness in "The History of the Siege of Lisbon" as a way to merge the history of the city鈥檚 past with that of the protagonist living out his life in the modern day. In the novel, conversations bear no quotations, no parentheses appear on added-on ideas/non sequiturs, nor are questions accompanied by a ?. Whole paragraphs are pages long, & it's safe to say that most of them contain a single action or noun which is then fully explored for the remainder of that paragraph: each minutiae is meticulously explained and more questions (plenty of the hypothetical kind) are added on to the subject in question. Also a heavy use of commas and lists is a way of penetrating truths in a deeper way. He's NOT MY KIND OF WRITER: he asks way too much of his readers, & one wonders what would happen if Saramago had SOMETHING going on, namely a STORY, & if he added all the flourishes that make him unique: THAT would truly grab me.
Here then (for my CONSCIOUSNESS & FICTION grad class) an attempt at a Saramagian yarn:
Montage
Lazaro has put on his contact lenses and is ready to get to work. Some saline solution still drips down the sides of his bright, bright eyes as he tidies up the bathroom a bit, dabbing the teeny puddles of water left on the rim of the faucet with the Kleenex he used previously to wipe the sides of his eyes, making perfect green vertical rectangles of the bath towels hanging on a chrome bar to his side, placing the half-empty bottle of solution, his eyeglasses which he won鈥檛 need anymore, and his contact case inside the mirror cabinet, then enters his room, his domain, his dark lair, sits still on his chair and exhales loudly. He hasn鈥檛 even looked at the posters which undoubtedly require, seek, his attention, which are the sole objects we must now devote our focus on. Let鈥檚 not look too much at this room, though there is a considerable plenty to contemplate here: books on the redwood shelf, A Confederacy of Dunces, The Corrections, White Teeth, The Secret History, The Rules of Attraction, The Blithedale Romance, all three Lord of the Rings plus The Hobbit, The Complete Short Stories of J. G. Ballard, Bel Canto, Candide, The Shining, Fear and Loathing in Las Vegas, Senor Vivo and the Coca Lord and additionally a huge array of colors, thin and almost invisible, in the form of individual DVD titles, Titanic, Cool Hand Luke, Mulholland Drive, 2001: A Space Odyssey, Halloween, Sleeping Beauty, Fellini鈥檚 La Dolce Vita, Pink Flamingoes, Lost in Translation, Before Sunrise plus some smaller slits of color nearby which conform exactly to the shapes of CDs the colors white, red, black, blue, magenta, with titles given them by the artists responsible, just as writers themselves must give names to their peculiar rowdy offspring made of ink and paper, but these music artists are more important than the forgettable titles of their work, songs played in supersonic repetition by the likes of Pink Floyd, E.L.O., Dr. Dre, NIN, Philip Glass, Black Flag, Maria Daniela y su Sonido Lasser and Britney Spears. All this is too much to see all at once but a mixture of all these catalysts and inspiring cores exists in some indiscernible form within the brain of our Lazaro. There is however a vast difference between all the inspiration found in these artistic forms of the modern age, their sheer attainability is surreal, all these masterpieces, all this plot, image and sound in a micro museum at our protagonist鈥檚 disposal, his points of reference, & the posters which are laid down like grey corpses, spread out the full length of the desk. These are definitely unfinished, unpublished, unseen by the masses, and they are precisely this way because at this point Lazaro is barely getting the courage to move his drawing pencil in concentric circles, rightward, downward, then back up again as the snake eats up its tail, as this surely will bring something out. Maybe the knife should gleam only slightly, he thinks then, at its tip, and maybe the victim鈥檚 mouth will be the circles, which can become as small or as large as the artist imagines. And words. There will be a cryptic feel to this poster, this attempt at art, attempt at permanence, just as those others are there now, looking down at him with ambiguity from their shelves, maybe even with some jealousy, and the feeling will be inspired by everything he鈥檚 ever come into contact with. He takes some certain image from a book, from a film, from the lyrics of songs and tries to do something of it, he takes it within himself to rearrange it, chip at it, add some meat to it, change its entire significance. He starts committing the pencil to the noisy endless paper, begins to think calmly, letting things displace themselves like autumn leaves from his cranium. The montage then is too much to bear, this happens when Lazaro thinks way too much on a single muchness, on one singular complexity, because everything everything has been done one or two or millions of times before and nothing is ever quite original, but only the montage will bring out something that he would have otherwise kept to himself, inside himself, entombed, and it hurts. He has, some hours later, a blueprint, an essence and sure existence, since now it is there for all to see, for there it is for Lazaro to finish off, and he is incredibly happy on many levels, one being that he has not wasted his time after all, one below that that this may actually turn out to be something, something good, and in the basement level which states that leaving things internal is just so wrong that it could lead to something bad, an overload, like cancer.
Here then (for my CONSCIOUSNESS & FICTION grad class) an attempt at a Saramagian yarn:
Montage
Lazaro has put on his contact lenses and is ready to get to work. Some saline solution still drips down the sides of his bright, bright eyes as he tidies up the bathroom a bit, dabbing the teeny puddles of water left on the rim of the faucet with the Kleenex he used previously to wipe the sides of his eyes, making perfect green vertical rectangles of the bath towels hanging on a chrome bar to his side, placing the half-empty bottle of solution, his eyeglasses which he won鈥檛 need anymore, and his contact case inside the mirror cabinet, then enters his room, his domain, his dark lair, sits still on his chair and exhales loudly. He hasn鈥檛 even looked at the posters which undoubtedly require, seek, his attention, which are the sole objects we must now devote our focus on. Let鈥檚 not look too much at this room, though there is a considerable plenty to contemplate here: books on the redwood shelf, A Confederacy of Dunces, The Corrections, White Teeth, The Secret History, The Rules of Attraction, The Blithedale Romance, all three Lord of the Rings plus The Hobbit, The Complete Short Stories of J. G. Ballard, Bel Canto, Candide, The Shining, Fear and Loathing in Las Vegas, Senor Vivo and the Coca Lord and additionally a huge array of colors, thin and almost invisible, in the form of individual DVD titles, Titanic, Cool Hand Luke, Mulholland Drive, 2001: A Space Odyssey, Halloween, Sleeping Beauty, Fellini鈥檚 La Dolce Vita, Pink Flamingoes, Lost in Translation, Before Sunrise plus some smaller slits of color nearby which conform exactly to the shapes of CDs the colors white, red, black, blue, magenta, with titles given them by the artists responsible, just as writers themselves must give names to their peculiar rowdy offspring made of ink and paper, but these music artists are more important than the forgettable titles of their work, songs played in supersonic repetition by the likes of Pink Floyd, E.L.O., Dr. Dre, NIN, Philip Glass, Black Flag, Maria Daniela y su Sonido Lasser and Britney Spears. All this is too much to see all at once but a mixture of all these catalysts and inspiring cores exists in some indiscernible form within the brain of our Lazaro. There is however a vast difference between all the inspiration found in these artistic forms of the modern age, their sheer attainability is surreal, all these masterpieces, all this plot, image and sound in a micro museum at our protagonist鈥檚 disposal, his points of reference, & the posters which are laid down like grey corpses, spread out the full length of the desk. These are definitely unfinished, unpublished, unseen by the masses, and they are precisely this way because at this point Lazaro is barely getting the courage to move his drawing pencil in concentric circles, rightward, downward, then back up again as the snake eats up its tail, as this surely will bring something out. Maybe the knife should gleam only slightly, he thinks then, at its tip, and maybe the victim鈥檚 mouth will be the circles, which can become as small or as large as the artist imagines. And words. There will be a cryptic feel to this poster, this attempt at art, attempt at permanence, just as those others are there now, looking down at him with ambiguity from their shelves, maybe even with some jealousy, and the feeling will be inspired by everything he鈥檚 ever come into contact with. He takes some certain image from a book, from a film, from the lyrics of songs and tries to do something of it, he takes it within himself to rearrange it, chip at it, add some meat to it, change its entire significance. He starts committing the pencil to the noisy endless paper, begins to think calmly, letting things displace themselves like autumn leaves from his cranium. The montage then is too much to bear, this happens when Lazaro thinks way too much on a single muchness, on one singular complexity, because everything everything has been done one or two or millions of times before and nothing is ever quite original, but only the montage will bring out something that he would have otherwise kept to himself, inside himself, entombed, and it hurts. He has, some hours later, a blueprint, an essence and sure existence, since now it is there for all to see, for there it is for Lazaro to finish off, and he is incredibly happy on many levels, one being that he has not wasted his time after all, one below that that this may actually turn out to be something, something good, and in the basement level which states that leaving things internal is just so wrong that it could lead to something bad, an overload, like cancer.
November 2, 2014
賯氐丞 丨氐丕乇 賱卮亘賵賳丞
賲毓 爻丕乇丕賲丕睾賵 兀賰賵賳 賯丿 賯乇兀鬲 賲卅丞 賰鬲丕亘 賱賴匕丕 丕賱毓丕賲貙 賵兀賳噩夭鬲 丕賱鬲丨丿賷 丕賱賯乇丕卅賷 賱賭 2014貙 胤亘毓丕賸 賱丕 賷毓賳賷 賴匕丕 兀賳賳賷 爻兀噩賱爻 亘賱丕 賯乇丕亍丕鬲 賮賷賲丕 亘賯賷 賲賳 丕賱毓丕賲貙 亘丕賱毓賰爻 丕賱乇賯賲 賲乇卮丨 賱賱夭賷丕丿丞貙 賱兀賳 丕賱賯乇丕亍丞 亘丕賱賳爻亘丞 賱賷 賱賷爻鬲 鬲丨丿賷丕賸 爻賳賵賷丕賸 賵廿賳賲丕 賴賷 賲賲丕乇爻丞 賷賵賲賷丞貙 鬲賲賱兀 乇賵丨賷 賵賯賱亘賷 賵毓賯賱賷 亘賴噩丞 賵賱匕丞.
丕禺鬲乇鬲 爻丕乇丕賲丕睾賵 賱兀賳賷 兀乇丿鬲 禺鬲丕賲丕賸 賷賱賷賯 亘毓丕賲 賯乇丕卅賷 丨丕賮賱 賵賲孬賷乇貙 賯乇兀鬲 賮賷賴 毓賳丕賵賷賳 賰丕賳鬲 鬲賳鬲馗乇 賲賳匕 夭賲賳貙 賵賱賲 賷禺賷亘賳賷 丕賱賳賵亘賱賷 丕賱亘乇鬲睾丕賱賷貙 賮賯丿賲 乇賵丕賷丞 賷賲鬲夭噩 賮賷賴丕 丕賱鬲丕乇賷禺 鈥� 爻賯賵胤 賱卮亘賵賳丞 亘賷丿 丕賱亘乇鬲睾丕賱賷賷賳 賵鬲兀爻賷爻 丕賱亘乇鬲睾丕賱 亘毓丿 胤乇丿 丕賱賲爻賱賲賷賳 賲賳賴丕 - 亘丕賱賵丕賯毓 - 賲賳 禺賱丕賱 锟斤拷氐丨丨 賷毓賲賱 毓賱賶 賲禺胤賵胤丞 鬲鬲丨丿孬 毓賳 丨氐丕乇 賱卮亘賵賳丞 賷賯乇乇 兀賳 賷毓賷丿 賰鬲丕亘丞 丕賱鬲丕乇賷禺 丕賳胤賱丕賯丕賸 賲賳 鬲睾賷賷乇 胤賮賷賮貙 賰賱賲丞 賵丕丨丿丞 - 賵賰匕賱賰 亘丕賱丨亘 - 賲賳 禺賱丕賱 毓賱丕賯丞 丕賱賲氐丨丨 亘丕賲乇兀丞 賷鬲毓乇賮 毓賱賷賴丕 賵鬲賳賲賵 毓賱丕賯鬲賴賲丕 爻乇賷毓丕賸 -.
丕賱乇賵丕賷丞 乇睾賲 兀爻賱賵亘 爻丕乇丕賲丕睾賵 丕賱賲賲賷夭 賵胤乇賷賯鬲賴 丕賱賲乇賴賯丞 賮賷 丕賱賰鬲丕亘丞貙 廿賱丕 兀賳賴丕 鬲亘丿賵 賲禺鬲賱賮丞 賳賵毓丕賸 賲丕貙 賲禺鬲賱賮丞 毓賳 賲丕 賯乇兀鬲賴 賱爻丕乇丕賲丕睾賵 丨鬲賶 丕賱丌賳貙 賮賮賷 丨賷賳 鬲鬲卮丕亘賴 丕賱毓賲賶 賵丕賱胤賵賮 丕賱丨噩乇賷貙 鬲亘丿賵 賴匕賴 丕賱乇賵丕賷丞 兀賯乇亘 賱乇賵丕賷丞 (賰賱 丕賱兀爻賲丕亍).
賲毓 爻丕乇丕賲丕睾賵 兀賰賵賳 賯丿 賯乇兀鬲 賲卅丞 賰鬲丕亘 賱賴匕丕 丕賱毓丕賲貙 賵兀賳噩夭鬲 丕賱鬲丨丿賷 丕賱賯乇丕卅賷 賱賭 2014貙 胤亘毓丕賸 賱丕 賷毓賳賷 賴匕丕 兀賳賳賷 爻兀噩賱爻 亘賱丕 賯乇丕亍丕鬲 賮賷賲丕 亘賯賷 賲賳 丕賱毓丕賲貙 亘丕賱毓賰爻 丕賱乇賯賲 賲乇卮丨 賱賱夭賷丕丿丞貙 賱兀賳 丕賱賯乇丕亍丞 亘丕賱賳爻亘丞 賱賷 賱賷爻鬲 鬲丨丿賷丕賸 爻賳賵賷丕賸 賵廿賳賲丕 賴賷 賲賲丕乇爻丞 賷賵賲賷丞貙 鬲賲賱兀 乇賵丨賷 賵賯賱亘賷 賵毓賯賱賷 亘賴噩丞 賵賱匕丞.
丕禺鬲乇鬲 爻丕乇丕賲丕睾賵 賱兀賳賷 兀乇丿鬲 禺鬲丕賲丕賸 賷賱賷賯 亘毓丕賲 賯乇丕卅賷 丨丕賮賱 賵賲孬賷乇貙 賯乇兀鬲 賮賷賴 毓賳丕賵賷賳 賰丕賳鬲 鬲賳鬲馗乇 賲賳匕 夭賲賳貙 賵賱賲 賷禺賷亘賳賷 丕賱賳賵亘賱賷 丕賱亘乇鬲睾丕賱賷貙 賮賯丿賲 乇賵丕賷丞 賷賲鬲夭噩 賮賷賴丕 丕賱鬲丕乇賷禺 鈥� 爻賯賵胤 賱卮亘賵賳丞 亘賷丿 丕賱亘乇鬲睾丕賱賷賷賳 賵鬲兀爻賷爻 丕賱亘乇鬲睾丕賱 亘毓丿 胤乇丿 丕賱賲爻賱賲賷賳 賲賳賴丕 - 亘丕賱賵丕賯毓 - 賲賳 禺賱丕賱 锟斤拷氐丨丨 賷毓賲賱 毓賱賶 賲禺胤賵胤丞 鬲鬲丨丿孬 毓賳 丨氐丕乇 賱卮亘賵賳丞 賷賯乇乇 兀賳 賷毓賷丿 賰鬲丕亘丞 丕賱鬲丕乇賷禺 丕賳胤賱丕賯丕賸 賲賳 鬲睾賷賷乇 胤賮賷賮貙 賰賱賲丞 賵丕丨丿丞 - 賵賰匕賱賰 亘丕賱丨亘 - 賲賳 禺賱丕賱 毓賱丕賯丞 丕賱賲氐丨丨 亘丕賲乇兀丞 賷鬲毓乇賮 毓賱賷賴丕 賵鬲賳賲賵 毓賱丕賯鬲賴賲丕 爻乇賷毓丕賸 -.
丕賱乇賵丕賷丞 乇睾賲 兀爻賱賵亘 爻丕乇丕賲丕睾賵 丕賱賲賲賷夭 賵胤乇賷賯鬲賴 丕賱賲乇賴賯丞 賮賷 丕賱賰鬲丕亘丞貙 廿賱丕 兀賳賴丕 鬲亘丿賵 賲禺鬲賱賮丞 賳賵毓丕賸 賲丕貙 賲禺鬲賱賮丞 毓賳 賲丕 賯乇兀鬲賴 賱爻丕乇丕賲丕睾賵 丨鬲賶 丕賱丌賳貙 賮賮賷 丨賷賳 鬲鬲卮丕亘賴 丕賱毓賲賶 賵丕賱胤賵賮 丕賱丨噩乇賷貙 鬲亘丿賵 賴匕賴 丕賱乇賵丕賷丞 兀賯乇亘 賱乇賵丕賷丞 (賰賱 丕賱兀爻賲丕亍).
July 29, 2020
A delightful, mature and sensitive love story surrounded by a bizarre fictionalized narrative of the bloody and violent expulsion by Portuguese Christians of the Islamic Moors from Lisbon in 1174. A simple quiet 50 year old bachelor meets an attractive and successful 40 year old divorc茅. She likes him and politely seduces him. He likes her. They鈥檙e happy together. The intimacy of the bedroom scenes is touching and sincere. A beautiful feel good story oddly surrounded by hatred and death, but also accomplishment, as Lisbon does become Portuguese. Cool book. Fun to read. My new favorite Saramago. Five stars!
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November 19, 2020Odavno nisam 膷itala ne拧to ovako kvalitetno i lepo napisano.
Saramago je odabrao najnevidljiviju mogu膰u profesiju za svog junaka: on je, naime, korektor i ceo 啪ivot je proveo ispravljaju膰i gre拧ke u tu膽im knjigama i... to je sve, ni拧ta drugo nije radio. Ni拧ta 啪ena, deca, ku膰ni ljubimci. Ali roman zapo膷inje u trenutku kad korektor, iznerviran osrednjo拧膰u istorijske knjige koju pregleda i povremenim materijalnim gre拧kama koje nalazi (ali ne sme da ih ispravlja), jednu potvrdnu re膷enicu pretvori u odri膷nu. Nikad jadnije pobune nije bilo, ali kako to ve膰 biva, uhvate ga, dobro ga izgrde, i postave mu novu 拧eficu 膷iji je posao od sada da nadgleda korektore.
Me膽utim, nova urednica je zapravo odu拧evljena njegovim blesavim potezom i predlo啪i mu da napi拧e celu knjigu koja bi po膷ela od te re膷enice: da su krsta拧i re拧ili da NE pomognu u opsadi Lisabona.
I to je to. Ali kako Saramago od te gotovo socrealisti膷ke anegdote (nek digne ruku ko se se膰a scene s lektorkama u filmu Ogledalo) ispreda roman, to treba stati pa gledati. U svojim tradicionalno bezobalnim re膷enicama, on uz finu ironiju i mnogo ne啪nosti ismejava svoje junake, knji啪evnost kojoj su posve膰eni, istoriju sa kojom se rvu, ismejava i versku mr啪nju i samu religiju, ali istovremeno lagano vu膷e zaplet u smeru retko jednostavne i ljupke ljubavne pri膷e.
A na膷in na koji razvija roman-u-romanu je domi拧ljat i ekspeditivan - posle prvog ve膰eg segmenta nam sam pripoveda膷 skre膰e pa啪nju na to da jedan pisac-po膷etnik nikad ne bi mogao da ispi拧e ovoliko pa jo拧 sre膽enog teksta za samo dan i po i da ovo treba da posmatramo vi拧e kao aproksimaciju romana u nastajanju tako da se time prakti膷no obezbe膽uje od mehani膷kog uklapanja dva razli膷ita narativa (i ostavlja sebi prostor da zajedljivo komentari拧e op拧ta mesta istorijskog romana). Umesto toga imamo istinski uspe拧no pretapanje dve ravni pripovedanja koje ni u jednom trenutku ne ode u jeftine paralele.
Jedina mana ovog izdanja jeste prevod, i to ka啪em uz veliku ogradu da portugalski ne znam i ne poznajem original pa se moj sud a priori ne ra膷una, i jo拧 ve膰u, da dobro znam pod kakvim pritiskom i kakvim uslovima prevodioci danas kod nas rade. Iako bih rekla da se prevoditeljka potrudila koliko god je mogla (na po膷etku navodi i saradnike koji su je savetovali) i da su pojedina re拧enja uspela, malo-malo pa tekst negde isklizne, re膷enica se pokarabasi, pojavi se moreuz u Lisabonu (?) ili tako 拧togod i onda sve vreme 膷itam pitaju膰i se 拧ta sam jo拧 propustila. I to je 拧teta jer je ovo zaista dobra knjiga i po meni ide odmah uz Godinu smrti Rikarda Rei拧a po kvalitetu.
Saramago je odabrao najnevidljiviju mogu膰u profesiju za svog junaka: on je, naime, korektor i ceo 啪ivot je proveo ispravljaju膰i gre拧ke u tu膽im knjigama i... to je sve, ni拧ta drugo nije radio. Ni拧ta 啪ena, deca, ku膰ni ljubimci. Ali roman zapo膷inje u trenutku kad korektor, iznerviran osrednjo拧膰u istorijske knjige koju pregleda i povremenim materijalnim gre拧kama koje nalazi (ali ne sme da ih ispravlja), jednu potvrdnu re膷enicu pretvori u odri膷nu. Nikad jadnije pobune nije bilo, ali kako to ve膰 biva, uhvate ga, dobro ga izgrde, i postave mu novu 拧eficu 膷iji je posao od sada da nadgleda korektore.
Me膽utim, nova urednica je zapravo odu拧evljena njegovim blesavim potezom i predlo啪i mu da napi拧e celu knjigu koja bi po膷ela od te re膷enice: da su krsta拧i re拧ili da NE pomognu u opsadi Lisabona.
I to je to. Ali kako Saramago od te gotovo socrealisti膷ke anegdote (nek digne ruku ko se se膰a scene s lektorkama u filmu Ogledalo) ispreda roman, to treba stati pa gledati. U svojim tradicionalno bezobalnim re膷enicama, on uz finu ironiju i mnogo ne啪nosti ismejava svoje junake, knji啪evnost kojoj su posve膰eni, istoriju sa kojom se rvu, ismejava i versku mr啪nju i samu religiju, ali istovremeno lagano vu膷e zaplet u smeru retko jednostavne i ljupke ljubavne pri膷e.
A na膷in na koji razvija roman-u-romanu je domi拧ljat i ekspeditivan - posle prvog ve膰eg segmenta nam sam pripoveda膷 skre膰e pa啪nju na to da jedan pisac-po膷etnik nikad ne bi mogao da ispi拧e ovoliko pa jo拧 sre膽enog teksta za samo dan i po i da ovo treba da posmatramo vi拧e kao aproksimaciju romana u nastajanju tako da se time prakti膷no obezbe膽uje od mehani膷kog uklapanja dva razli膷ita narativa (i ostavlja sebi prostor da zajedljivo komentari拧e op拧ta mesta istorijskog romana). Umesto toga imamo istinski uspe拧no pretapanje dve ravni pripovedanja koje ni u jednom trenutku ne ode u jeftine paralele.
Jedina mana ovog izdanja jeste prevod, i to ka啪em uz veliku ogradu da portugalski ne znam i ne poznajem original pa se moj sud a priori ne ra膷una, i jo拧 ve膰u, da dobro znam pod kakvim pritiskom i kakvim uslovima prevodioci danas kod nas rade. Iako bih rekla da se prevoditeljka potrudila koliko god je mogla (na po膷etku navodi i saradnike koji su je savetovali) i da su pojedina re拧enja uspela, malo-malo pa tekst negde isklizne, re膷enica se pokarabasi, pojavi se moreuz u Lisabonu (?) ili tako 拧togod i onda sve vreme 膷itam pitaju膰i se 拧ta sam jo拧 propustila. I to je 拧teta jer je ovo zaista dobra knjiga i po meni ide odmah uz Godinu smrti Rikarda Rei拧a po kvalitetu.
October 18, 2023
鈥淟鈥檈sperienza della comunicazione ha infine provato che questa abbondanza apparente di visualizzazioni non ha diminuito il bisogno delle parole. Ogni parola 猫 un pericoloso apprendista stregone鈥�.
Scrittori come Saramago riportano al centro la letteratura come arte unica, come esperienza diversa da tutto il resto, proprio nell鈥檈ra della convergenza in cui tutti vogliono semplificare la prosa per renderla vicina alle sequenze delle serie tv o alla rapidit脿 e all鈥檌stantaneit脿 dei social. Al contrario, in questo Autore le parole non sono mai isolate, non c鈥櫭� la ricerca a tutti i costi dell鈥檌mmagine, della scena iconica. I suoi romanzi si avviluppano attorno a una cascata di parole, andando a formare testi che quasi non hanno pause, dialoghi senza virgolette, pagine che racchiudono pensieri, azioni, fantasie, presente, passato, futuro, tutto mescolato, tutto elevato a Letteratura.
Questa 猫 la semplice storia di un revisore, Raimundo Silva: un tipo di mezz鈥檈t脿, magro e impettito, con i capelli malamente tinti, che vive chiuso in casa, triste come un cane senza padrone. A un certo punto Raimundo decide 鈥� mentre sta revisionando un romanzo storico sull鈥檃ssedio di Lisbona che avrebbe portato alla cacciata dei Mori e al trono il primo re del Portogallo, Alfonso 鈥� di commettere deliberatamente un errore dov鈥檈ra invece suo dovere correggerlo. Decide di aggiungere una sola parola, un 鈥渘on鈥� nel passaggio in cui si dice che i Crociati aiutarono i portoghesi nella liberazione della citt脿. Ecco, allora che la Storia con la s maiuscola viene cambiata. I crociati non aiutarono i portoghesi. Ma perch茅? Questa 猫 solo la prima di una delle tante domande che assediano il romanzo. Apparentemente il racconto iperbolico di un assurdo storico, nella sostanza una provocazione politica: un insolente attentato contro la solidit脿 dei fatti storici che deve essere continuamente strombazzata e propagandata, difesa dagli eventi esterni, altrimenti si rischia di perdere il significato della nostra attualit脿 con grave turbamento delle opinioni che ci guidano e delle convinzioni che sorreggono l鈥檌mpalcatura sociale.
Ma c鈥櫭� della nobilt脿 nel fatto che un uomo normale assurga al ruolo di oppositore e si metta nella posizione scomoda di mettere in dubbio ogni cosa e reinventare la realt脿. Raimundo, un comune revisore, si prende la libert脿 di dire no, di resistere a una Realt脿 bigia e assediante. All鈥檌nterno di questa storia di ribellione si innesta la storia reinventata dell鈥檃ssedio di Lisbona, creando un intreccio fatto di corrispondenze continue tra presente e passato, un gioco di composizione, una storia nella storia. In nuce ci sarebbero tutti i temi presenti anche in un altro romanzo straordinario che celebra un singolo atto di ribellione, un canto di felicit脿 e amore contro i compiti ottusi a cui ci piega l鈥檕mologante disciplina del Reale ovvero 鈥淚l Maestro e Margherita鈥�. Anche qui, tra le righe di un racconto meraviglioso, leggiamo una riflessione metaletteraria sul perch茅 si scrive: 鈥淥gni romanzo consiste in questo, disperazione, tentativo frustrato che il passato non sia una cosa definitivamente perduta. L鈥檜nica cosa che non si 猫 ancora appurata 猫 se sia il romanzo che impedisce all鈥檜omo di dimenticarsi, o se sia l鈥檌mpossibilit脿 dell鈥檕blio che lo porta a scrivere romanzi鈥�.
Scrittori come Saramago riportano al centro la letteratura come arte unica, come esperienza diversa da tutto il resto, proprio nell鈥檈ra della convergenza in cui tutti vogliono semplificare la prosa per renderla vicina alle sequenze delle serie tv o alla rapidit脿 e all鈥檌stantaneit脿 dei social. Al contrario, in questo Autore le parole non sono mai isolate, non c鈥櫭� la ricerca a tutti i costi dell鈥檌mmagine, della scena iconica. I suoi romanzi si avviluppano attorno a una cascata di parole, andando a formare testi che quasi non hanno pause, dialoghi senza virgolette, pagine che racchiudono pensieri, azioni, fantasie, presente, passato, futuro, tutto mescolato, tutto elevato a Letteratura.
Questa 猫 la semplice storia di un revisore, Raimundo Silva: un tipo di mezz鈥檈t脿, magro e impettito, con i capelli malamente tinti, che vive chiuso in casa, triste come un cane senza padrone. A un certo punto Raimundo decide 鈥� mentre sta revisionando un romanzo storico sull鈥檃ssedio di Lisbona che avrebbe portato alla cacciata dei Mori e al trono il primo re del Portogallo, Alfonso 鈥� di commettere deliberatamente un errore dov鈥檈ra invece suo dovere correggerlo. Decide di aggiungere una sola parola, un 鈥渘on鈥� nel passaggio in cui si dice che i Crociati aiutarono i portoghesi nella liberazione della citt脿. Ecco, allora che la Storia con la s maiuscola viene cambiata. I crociati non aiutarono i portoghesi. Ma perch茅? Questa 猫 solo la prima di una delle tante domande che assediano il romanzo. Apparentemente il racconto iperbolico di un assurdo storico, nella sostanza una provocazione politica: un insolente attentato contro la solidit脿 dei fatti storici che deve essere continuamente strombazzata e propagandata, difesa dagli eventi esterni, altrimenti si rischia di perdere il significato della nostra attualit脿 con grave turbamento delle opinioni che ci guidano e delle convinzioni che sorreggono l鈥檌mpalcatura sociale.
Ma c鈥櫭� della nobilt脿 nel fatto che un uomo normale assurga al ruolo di oppositore e si metta nella posizione scomoda di mettere in dubbio ogni cosa e reinventare la realt脿. Raimundo, un comune revisore, si prende la libert脿 di dire no, di resistere a una Realt脿 bigia e assediante. All鈥檌nterno di questa storia di ribellione si innesta la storia reinventata dell鈥檃ssedio di Lisbona, creando un intreccio fatto di corrispondenze continue tra presente e passato, un gioco di composizione, una storia nella storia. In nuce ci sarebbero tutti i temi presenti anche in un altro romanzo straordinario che celebra un singolo atto di ribellione, un canto di felicit脿 e amore contro i compiti ottusi a cui ci piega l鈥檕mologante disciplina del Reale ovvero 鈥淚l Maestro e Margherita鈥�. Anche qui, tra le righe di un racconto meraviglioso, leggiamo una riflessione metaletteraria sul perch茅 si scrive: 鈥淥gni romanzo consiste in questo, disperazione, tentativo frustrato che il passato non sia una cosa definitivamente perduta. L鈥檜nica cosa che non si 猫 ancora appurata 猫 se sia il romanzo che impedisce all鈥檜omo di dimenticarsi, o se sia l鈥檌mpossibilit脿 dell鈥檕blio che lo porta a scrivere romanzi鈥�.
January 25, 2019
194. Hist贸ria do Cerco de Lisboa = The history of the siege of Lisbon, Jos茅 Saramago
The History of the Siege of Lisbon is a novel by Portuguese author Jos茅 Saramago, first published in 1989. Raimundo Silva, assigned to correct a book entitled "The History of Siege of Lisbon" by his publishing house, decides to alter the meaning of a crucial sentence by inserting the word "not" in the text, so that the book now claims that the Crusaders did not come to the aid of the Portuguese king in taking Lisbon from the Moors. This has repercussions both for himself and for the historical profession. The second plot is Saramago's simultaneous recounting of the siege in the style of a historical romance.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 倬賳噩賲 賲丕賴 丌诏賵爻鬲 爻丕賱 2012 賲蹖賱丕丿蹖
毓賳賵丕賳: 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳貨 賳賵蹖爻賳丿賴: 禺賵夭賴 (跇賵夭賴) 爻丕乇丕賲丕诏賵貙 賲鬲乇噩賲: 毓亘丕爻 倬跇賲丕賳貨 鬲賴乇丕賳貙 賳卮乇 賲乇讴夭貨 1380貙 丿乇 丿賵丕夭丿賴 賵 444 氐貨 卮丕亘讴: 9643056287鈥� 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 倬乇鬲賯丕賱蹖 - 爻丿賴 20 賲
毓賳賵丕賳: 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳貨 賳賵蹖爻賳丿賴: 禺賵夭賴 (跇賵夭賴) 爻丕乇丕賲丕诏賵貙 賲鬲乇噩賲: 讴蹖賵賲乇孬 倬丕乇爻丕蹖貨 鬲賴乇丕賳貙 毓賱賲貨 1384貙 丿乇 436 氐貨 卮丕亘讴: 644055462貨
乇賲丕賳 鬲丕乇蹖禺蹖 賭 毓丕卮賯丕賳賴 芦鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳禄 丿丕爻鬲丕賳 賲丨丕氐乇賴 蹖 卮賴乇 賱蹖爻亘賵賳貙 鬲賵爻胤 倬乇鬲睾丕賱蹖賴丕 丿乇 爻丿賴 蹖 丿賵丕夭丿賴 賲蹖賱丕丿蹖 爻鬲貙 卮賴乇 趩賴丕乇 爻丿賴 丿乇 丿爻鬲 賲爻賱賲丕賳丕賳 賲睾乇亘蹖 亘賵丿賴貙 讴賴 倬爻 丕夭 趩賳丿 賲丕賴 爻賯賵胤 賲蹖讴賳丿貙 乇賵丕蹖鬲蹖 毓丕卮賯丕賳賴 賳蹖夭貙 (亘乇诏乇賮鬲賴 丕夭 丿丕爻鬲丕賳 夭賳丿诏蹖 賳賵蹖爻賳丿賴 賵 賴賲爻乇卮) 賴賲乇丕賴 丿丕爻鬲丕賳 丕爻鬲. 丕. 卮乇亘蹖丕賳蹖
The History of the Siege of Lisbon is a novel by Portuguese author Jos茅 Saramago, first published in 1989. Raimundo Silva, assigned to correct a book entitled "The History of Siege of Lisbon" by his publishing house, decides to alter the meaning of a crucial sentence by inserting the word "not" in the text, so that the book now claims that the Crusaders did not come to the aid of the Portuguese king in taking Lisbon from the Moors. This has repercussions both for himself and for the historical profession. The second plot is Saramago's simultaneous recounting of the siege in the style of a historical romance.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 倬賳噩賲 賲丕賴 丌诏賵爻鬲 爻丕賱 2012 賲蹖賱丕丿蹖
毓賳賵丕賳: 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳貨 賳賵蹖爻賳丿賴: 禺賵夭賴 (跇賵夭賴) 爻丕乇丕賲丕诏賵貙 賲鬲乇噩賲: 毓亘丕爻 倬跇賲丕賳貨 鬲賴乇丕賳貙 賳卮乇 賲乇讴夭貨 1380貙 丿乇 丿賵丕夭丿賴 賵 444 氐貨 卮丕亘讴: 9643056287鈥� 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 倬乇鬲賯丕賱蹖 - 爻丿賴 20 賲
毓賳賵丕賳: 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳貨 賳賵蹖爻賳丿賴: 禺賵夭賴 (跇賵夭賴) 爻丕乇丕賲丕诏賵貙 賲鬲乇噩賲: 讴蹖賵賲乇孬 倬丕乇爻丕蹖貨 鬲賴乇丕賳貙 毓賱賲貨 1384貙 丿乇 436 氐貨 卮丕亘讴: 644055462貨
乇賲丕賳 鬲丕乇蹖禺蹖 賭 毓丕卮賯丕賳賴 芦鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳禄 丿丕爻鬲丕賳 賲丨丕氐乇賴 蹖 卮賴乇 賱蹖爻亘賵賳貙 鬲賵爻胤 倬乇鬲睾丕賱蹖賴丕 丿乇 爻丿賴 蹖 丿賵丕夭丿賴 賲蹖賱丕丿蹖 爻鬲貙 卮賴乇 趩賴丕乇 爻丿賴 丿乇 丿爻鬲 賲爻賱賲丕賳丕賳 賲睾乇亘蹖 亘賵丿賴貙 讴賴 倬爻 丕夭 趩賳丿 賲丕賴 爻賯賵胤 賲蹖讴賳丿貙 乇賵丕蹖鬲蹖 毓丕卮賯丕賳賴 賳蹖夭貙 (亘乇诏乇賮鬲賴 丕夭 丿丕爻鬲丕賳 夭賳丿诏蹖 賳賵蹖爻賳丿賴 賵 賴賲爻乇卮) 賴賲乇丕賴 丿丕爻鬲丕賳 丕爻鬲. 丕. 卮乇亘蹖丕賳蹖
September 20, 2019
丕蹖 讴丕卮 亘乇丕蹖 丕賲鬲蹖丕夭 丿丕丿賳 爻鬲丕乇賴鈥屬囏й� 亘蹖卮鬲乇蹖 賵噩賵丿 丿丕卮鬲 賲孬賱丕賸 丿賴 蹖丕 氐丿 爻鬲丕乇賴 (丕賲鬲蹖丕夭 丕夭 丿賴 蹖丕 氐丿 爻鬲丕乇賴) 蹖丕 丕诏乇 賴賲蹖賳 倬賳噩 爻鬲丕乇賴 亘賵丿 賲蹖鈥屫簇� 亘丕 丿賯鬲 丿賵 乇賯賲 丕毓卮丕乇 爻鬲丕乇賴 丿丕丿. 丿乇 丨賯蹖賯鬲 丕賲鬲蹖丕夭 賵丕賯毓蹖 賲賳 亘賴 丕蹖賳 讴鬲丕亘 爻賴 賵 賳蹖賲 丕爻鬲. 丕诏乇 賲蹖鈥屫堌з囒屫� 讴鬲丕亘 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳 乇丕 亘禺賵丕賳蹖丿 亘丿丕賳蹖丿 讴賴 亘丕 讴鬲丕亘 讴賵乇蹖 禺蹖賱蹖 賮丕氐賱賴 丿丕乇丿 賵 賳亘丕蹖丿 鬲賵賯毓 夭蹖丕丿蹖 丕夭 丕蹖賳 讴鬲丕亘 丿丕卮鬲賴 亘丕卮蹖丿. 賲賳 鬲乇噩賲賴 讴蹖賵賲乇孬 倬丕乇爻丕蹖貙 賳卮乇 毓賱賲 乇丕 禺賵丕賳丿賲 讴賴 賲鬲兀爻賮丕賳賴 倬乇 丕夭 睾賱胤鈥屬囏й� 丕賲賱丕蹖蹖 賵 賳诏丕乇卮蹖 亘賵丿. 丕夭 胤乇賮蹖 丕爻丕賲蹖 禺丕氐 賴蹖趩 讴丿丕賲 亘賴 夭亘丕賳 丕氐賱蹖 倬丕賳賵蹖爻 賳卮丿賴 亘賵丿賳丿 賵 讴賱丕賸 讴鬲丕亘 賴蹖趩 倬丕賳賵蹖爻 蹖丕 鬲賵囟蹖丨蹖 丕夭 胤乇賮 賲鬲乇噩賲 賳丿丕卮鬲 (卮丕蹖丿 賵丕賯毓丕 賳蹖丕夭 賳丿丕卮鬲賴貙 丕賱亘鬲賴 亘賴 賳馗乇 賲賳 賳蹖丕夭 丿丕卮鬲).
夭賳丿诏蹖 賴賲蹖賳 丕爻鬲貙 賳賲蹖鈥屫堌з� 丕夭 賴賲賴 乇賵蹖丿丕丿賴丕 噩賱賵诏蹖乇蹖 讴乇丿. 賴乇诏夭 賳賲蹖鈥屫堌з嗃屬� 丕夭 鬲賵氐蹖賴 丿丕丿賳 亘賴 禺丿丕賵賳丿貙 丕噩鬲賳丕亘 讴賳蹖賲! 賵賱蹖 胤亘蹖毓鬲貙 賯賵丕毓丿蹖 丕賳毓胤丕賮 賳丕倬匕蹖乇 丿丕乇丿 賵 睾丕賱亘丕賸 賳鬲丕蹖噩蹖 睾蹖乇賲賳鬲馗乇賴 賵 賴賳乇賲賳丿丕賳賴 亘賴 亘丕乇 賲蹖鈥屫①堌必�. 氐 24 讴鬲丕亘
丕賳爻丕賳鈥屬囏� 丌賴賳 诏丿丕禺鬲賴鈥屫й� 賴爻鬲賳丿 讴賴 亘丕蹖丿 乇賵蹖 爻賳丿丕賳 趩讴卮 亘禺賵乇賳丿 賵 卮讴賱 亘诏蹖乇賳丿. 亘賳丕亘乇丕蹖賳 丕诏乇 诏賳丕賴 賳亘丕卮丿貙 丕賳爻丕賳 賲毓賳丕蹖蹖 倬蹖丿丕 賳賲蹖鈥屭┵嗀�. 氐 26 讴鬲丕亘
丌丿賲 乇丕丨鬲鈥屫� 賲蹖鈥屫堌з嗀� 讴爻蹖 乇丕 丿賵爻鬲 亘丿丕乇丿 鬲丕 丕蹖賳讴賴 讴爻蹖 丌丿賲 乇丕 丿賵爻鬲 丿丕卮鬲賴 亘丕卮丿. 氐 41 讴鬲丕亘
亘賴 賴乇 丨丕賱 賲丕 卮賴丕賲鬲 丨匕賮 讴乇丿賳 丿乇賵睾鈥屬囏� 乇丕 丕夭 讴鬲丕亘鈥屬囏� 賳丿丕乇蹖賲 賵 賳賲蹖鈥屫堌з嗃屬� 賵丕賯毓蹖鬲 乇丕 噩丕蹖诏夭蹖賳 丌賳鈥屬囏� 讴賳蹖賲. 氐 51 讴鬲丕亘
賵爻賵爻賴 亘丕夭诏卮鬲 亘賴 丿賵乇丕賳 讴賵丿讴蹖貙 丕夭 賵蹖跇诏蹖鈥屬囏й� 睾蹖乇賯丕亘賱 賲賯丕賵賲鬲 賵 賴賲蹖卮诏蹖 賳賵毓 亘卮乇 丕爻鬲. 氐 84 讴鬲丕亘
丕诏乇 亘丕 倬丿蹖丿賴鈥屫й� 亘乇禺賵乇丿 讴賳蹖賲 讴賴 亘乇 丕爻丕爻 馗賵丕賴乇貙 賲毓賱賵賱 亘賴 賳馗乇 亘乇爻丿 賵 毓賱鬲 賲爻鬲賯蹖賲 賵 賵丕囟丨蹖 賴賲 賳丿丕卮鬲賴 亘丕卮丿 乇丕賴讴丕乇 丕蹖賳 丕爻鬲 讴賴 丌賳 乇丕 亘賴 诏匕乇 夭賲丕賳 賵丕诏匕丕乇 讴賳蹖賲. 夭蹖乇丕 鬲賯丿蹖乇 亘卮乇 丕蹖賳 诏賵賳賴 丕爻鬲 讴賴 亘丕蹖丿 鬲丕 丕亘丿 丿乇 丕賳鬲馗丕乇 賲毓賱賵賱鈥屬囏� 亘賲丕賳丿 賵 鬲丕 丕亘丿 毓賱鬲鈥屬囏� 乇丕 噩爻鬲噩賵 讴賳丿貙 蹖毓賳蹖 賴賲丕賳 讴丕乇蹖 讴賴 鬲丕 讴賳賵賳 讴乇丿賴 丕爻鬲. 氐 160 讴鬲丕亘
賴賲蹖卮賴 賴賲蹖賳 胤賵乇 丕爻鬲 賴賲賴 趩蹖夭 乇丕 诏乇丿賳 禺丿丕賵賳丿 賲蹖鈥屫з嗀ж槽屬呚� 丿乇丨丕賱蹖鈥屭┵� 禺賵丿 丌賳鈥屬囏� 乇丕 亘賴 賵噩賵丿 丌賵乇丿賴鈥屫й屬�. 氐 212 讴鬲丕亘
爻賳 賵 爻丕賱 賴乇 讴爻 賴賳诏丕賲蹖 賲毓賳丕 賵 賲賮賴賵賲 賵蹖跇賴 丿丕乇丿 讴賴 爻賳 賵 爻丕賱 丿蹖诏乇丕賳 賲胤乇丨 卮賵丿. 賮讴乇 賲蹖鈥屭┵嗁� 丕夭 賳馗乇 倬蹖乇賲乇丿蹖 賴賮鬲丕丿 爻丕賱賴貙 賲乇丿 噩賵丕賳蹖 賴爻鬲賲 賵賱蹖 亘丿賵賳 鬲乇丿蹖丿 丕夭 賳馗乇 噩賵丕賳蹖 亘蹖爻鬲 爻丕賱賴 倬蹖乇賲乇丿 亘賴 丨爻丕亘 賲蹖鈥屫③屬�. 氐 331 讴鬲丕亘
夭賳丿诏蹖 賴賲蹖賳 丕爻鬲貙 賳賲蹖鈥屫堌з� 丕夭 賴賲賴 乇賵蹖丿丕丿賴丕 噩賱賵诏蹖乇蹖 讴乇丿. 賴乇诏夭 賳賲蹖鈥屫堌з嗃屬� 丕夭 鬲賵氐蹖賴 丿丕丿賳 亘賴 禺丿丕賵賳丿貙 丕噩鬲賳丕亘 讴賳蹖賲! 賵賱蹖 胤亘蹖毓鬲貙 賯賵丕毓丿蹖 丕賳毓胤丕賮 賳丕倬匕蹖乇 丿丕乇丿 賵 睾丕賱亘丕賸 賳鬲丕蹖噩蹖 睾蹖乇賲賳鬲馗乇賴 賵 賴賳乇賲賳丿丕賳賴 亘賴 亘丕乇 賲蹖鈥屫①堌必�. 氐 24 讴鬲丕亘
丕賳爻丕賳鈥屬囏� 丌賴賳 诏丿丕禺鬲賴鈥屫й� 賴爻鬲賳丿 讴賴 亘丕蹖丿 乇賵蹖 爻賳丿丕賳 趩讴卮 亘禺賵乇賳丿 賵 卮讴賱 亘诏蹖乇賳丿. 亘賳丕亘乇丕蹖賳 丕诏乇 诏賳丕賴 賳亘丕卮丿貙 丕賳爻丕賳 賲毓賳丕蹖蹖 倬蹖丿丕 賳賲蹖鈥屭┵嗀�. 氐 26 讴鬲丕亘
丌丿賲 乇丕丨鬲鈥屫� 賲蹖鈥屫堌з嗀� 讴爻蹖 乇丕 丿賵爻鬲 亘丿丕乇丿 鬲丕 丕蹖賳讴賴 讴爻蹖 丌丿賲 乇丕 丿賵爻鬲 丿丕卮鬲賴 亘丕卮丿. 氐 41 讴鬲丕亘
亘賴 賴乇 丨丕賱 賲丕 卮賴丕賲鬲 丨匕賮 讴乇丿賳 丿乇賵睾鈥屬囏� 乇丕 丕夭 讴鬲丕亘鈥屬囏� 賳丿丕乇蹖賲 賵 賳賲蹖鈥屫堌з嗃屬� 賵丕賯毓蹖鬲 乇丕 噩丕蹖诏夭蹖賳 丌賳鈥屬囏� 讴賳蹖賲. 氐 51 讴鬲丕亘
賵爻賵爻賴 亘丕夭诏卮鬲 亘賴 丿賵乇丕賳 讴賵丿讴蹖貙 丕夭 賵蹖跇诏蹖鈥屬囏й� 睾蹖乇賯丕亘賱 賲賯丕賵賲鬲 賵 賴賲蹖卮诏蹖 賳賵毓 亘卮乇 丕爻鬲. 氐 84 讴鬲丕亘
丕诏乇 亘丕 倬丿蹖丿賴鈥屫й� 亘乇禺賵乇丿 讴賳蹖賲 讴賴 亘乇 丕爻丕爻 馗賵丕賴乇貙 賲毓賱賵賱 亘賴 賳馗乇 亘乇爻丿 賵 毓賱鬲 賲爻鬲賯蹖賲 賵 賵丕囟丨蹖 賴賲 賳丿丕卮鬲賴 亘丕卮丿 乇丕賴讴丕乇 丕蹖賳 丕爻鬲 讴賴 丌賳 乇丕 亘賴 诏匕乇 夭賲丕賳 賵丕诏匕丕乇 讴賳蹖賲. 夭蹖乇丕 鬲賯丿蹖乇 亘卮乇 丕蹖賳 诏賵賳賴 丕爻鬲 讴賴 亘丕蹖丿 鬲丕 丕亘丿 丿乇 丕賳鬲馗丕乇 賲毓賱賵賱鈥屬囏� 亘賲丕賳丿 賵 鬲丕 丕亘丿 毓賱鬲鈥屬囏� 乇丕 噩爻鬲噩賵 讴賳丿貙 蹖毓賳蹖 賴賲丕賳 讴丕乇蹖 讴賴 鬲丕 讴賳賵賳 讴乇丿賴 丕爻鬲. 氐 160 讴鬲丕亘
賴賲蹖卮賴 賴賲蹖賳 胤賵乇 丕爻鬲 賴賲賴 趩蹖夭 乇丕 诏乇丿賳 禺丿丕賵賳丿 賲蹖鈥屫з嗀ж槽屬呚� 丿乇丨丕賱蹖鈥屭┵� 禺賵丿 丌賳鈥屬囏� 乇丕 亘賴 賵噩賵丿 丌賵乇丿賴鈥屫й屬�. 氐 212 讴鬲丕亘
爻賳 賵 爻丕賱 賴乇 讴爻 賴賳诏丕賲蹖 賲毓賳丕 賵 賲賮賴賵賲 賵蹖跇賴 丿丕乇丿 讴賴 爻賳 賵 爻丕賱 丿蹖诏乇丕賳 賲胤乇丨 卮賵丿. 賮讴乇 賲蹖鈥屭┵嗁� 丕夭 賳馗乇 倬蹖乇賲乇丿蹖 賴賮鬲丕丿 爻丕賱賴貙 賲乇丿 噩賵丕賳蹖 賴爻鬲賲 賵賱蹖 亘丿賵賳 鬲乇丿蹖丿 丕夭 賳馗乇 噩賵丕賳蹖 亘蹖爻鬲 爻丕賱賴 倬蹖乇賲乇丿 亘賴 丨爻丕亘 賲蹖鈥屫③屬�. 氐 331 讴鬲丕亘
May 5, 2017
Encontrei na escrita o cunho de Saramago, mas n茫o a superioridade habitual das personagens.
Escrito em dois planos temporais perfeitamente interligados, o livro reescreve a hist贸ria do cerco de Lisboa e, simultaneamente, d谩-nos a conhecer as personagens atuais num enredo que mistura Hist贸ria e fic莽茫o.
Sem grande for莽a ou carisma e com um desenrolar calcul谩vel, reinventa um novo cerco para um mesmo desfecho.
Ainda assim, vale sempre a pena ler Saramago e admirar a sua arte de escrever como quem conta hist贸rias 脿 lareira, repletas de sat铆rico bom humor e a fineza do costume.
Escrito em dois planos temporais perfeitamente interligados, o livro reescreve a hist贸ria do cerco de Lisboa e, simultaneamente, d谩-nos a conhecer as personagens atuais num enredo que mistura Hist贸ria e fic莽茫o.
Sem grande for莽a ou carisma e com um desenrolar calcul谩vel, reinventa um novo cerco para um mesmo desfecho.
Ainda assim, vale sempre a pena ler Saramago e admirar a sua arte de escrever como quem conta hist贸rias 脿 lareira, repletas de sat铆rico bom humor e a fineza do costume.
November 1, 2014
- 賴賱 賰賱 丕賱丨乇賵亘 丕賱鬲丕乇賷禺賷丞 賯丕卅賲丞 毓锟斤拷賶 兀爻亘丕亘 丿賷賳賷丞 兀賵 兀爻亘丕亘 賲賲噩丿丞 賱賱兀賵胤丕賳 責 賴賱 兀乇囟賷丞 丕賱賲氐丕賱丨 丕賱卮禺氐賷丞 賱賲 鬲賰賳 賯賵丕賲 賰賱 鬲賱賰 丕賱丨乇賵亘 責
( 賯氐丞 丨氐丕乇 賱卮亘賵賳賴 )
賱卮賷禺 丕賱乇賵丕丞 / 丕賱亘乇鬲睾丕賱賷 噩賵夭賷賴 爻丕乇丕賲丕睾賵
賴匕丕 丕賱賯賮賱 丕賱兀丿亘賷 丕賱賲丨賰賲 賰賱賴 孬賯丞 亘兀賳 丕賱乇賵丕賷丞 丕賱賲乇賷丨丞 賱丕 鬲爻鬲丨賯 毓賳丕亍 賯乇丕卅鬲賴丕!..
丕賳胤賱丕賯賸丕 賲賳 毓賳賵丕賳 丕賱乇賵丕賷丞 鬲噩丿 廿夭丿賵丕噩賷丞 丕賱鬲乇賰賷亘 ( 賯氐丞 ( 賲乇賰亘 鬲禺賷賷賱賷 ) 丨氐丕乇 賱卮亘賵賳賴 ( 賲乇賰亘 鬲丕乇賷禺賷 ) ) 亘匕賱賰 賷鬲噩賱賶 賲賰乇 爻丕乇丕賲丕睾賵 亘賴匕丕 丕賱賲夭賷噩 丕賱匕賷 賷丨丕氐乇 丕賱賯丕乇卅 .. 爻丕乇丕賲丕睾賵 賴匕丕 丕賱卮賷禺 賷丨丕賵乇 卮賷禺賸丕 丌禺乇 兀丿賴賶 賲賳賴 / 丕賱鬲丕乇賷禺 / 亘賱 賵賷爻丕賵賲賴 毓賱賶 亘毓囟 丨賯丕卅賯賴 亘廿賮鬲乇丕囟丕鬲賴 丕賱賲鬲卮毓亘丞 丕賱賲亘鬲睾賷丕鬲 貙 賲丨丕賵乇丞 噩丕丿丞 賱賱睾丕賷丞 賵 丕賱賲丨丕賵乇丞 亘賷賳 卮賷禺賷賳 賮賳 毓鬲賷賯 .. 賳丕鬲噩賴購 賱丕 賷胤賵賶 賵賱丕 賷乇賵賶 賰賲丕 賷購賯丕賱 .. 賮丕賱兀賲乇 卮禺氐賷 賱賱睾丕賷丞 亘賷賳賴賲丕..
賵噩賴丞 賳馗乇 爻丕乇丕賲丕睾賵 丕賱兀丿亘賷丞 丕賱廿賮鬲乇丕囟賷丞 V 丕賱丨賯賷賯丞 丕賱鬲丕乇賷禺賷丞
賮賷 丨賷賳 兀賳 丕賱鬲丕乇賷禺 賷禺亘乇賳丕 毓賳 賯氐丞 丕賱丨氐丕乇 丕賱卮賴賷乇丞 賱賱卮亘賵賳賴 兀賳 丕賱氐賱賷亘賷賳 爻丕毓丿賵丕 丕賱亘乇鬲睾丕賱賷賷賳 賮賷 廿賳噩丕丨 丕賱丨氐丕乇 賵 丕爻鬲毓丕丿丞 賱卮亘賵賳賴 亘毓丿 賯乇賵賳 賲賳 丕賱丨賰賲 丕賱毓乇亘賷 賱賴丕 賵賴匕丕 亘賳丿 鬲丕乇賷禺賷 賱丕 噩丿丕賱 賮賷賴 貙 爻丕乇丕賲丕睾賵 賷賯賵賱 : 賰賷賮 賳鬲兀賰丿 賲賳 匕賱賰 責 丕賱賲氐丿乇 丕賱鬲丕乇賷禺賷 丕賱賵丕丨丿 亘丕鬲 賲賵囟丞 丕賱毓氐賵乇 丕賱睾丕亘乇丞 貙 賵 賲丕賲賳 賲氐丿乇 鬲丕乇賷禺賷 賱賲 鬲禺賳賴 賵賱賶 賯賱賷賱 賲賳 丕賱鬲賮丕氐賷賱 噩毓賱鬲 乇賵丕賷鬲賴 賲鬲夭毓夭毓丞 賳丕賴賷賰 丨賷賳 鬲氐丿乇 兀賵丕賲乇 毓丕噩賱丞 亘乇賮毓 丕賱兀賯賱丕賲 丿賵賳 噩丿賱 賲賳 賯亘賱 丕賱噩賴丕鬲 丕賱毓賱賷丕:) .. 賮賴賱 爻賷禺囟毓 丕賱鬲丕乇賷禺 賱賲禺丕囟 噩丿賷丿 毓賱賶 賷丿賷賾 爻丕乇丕賲丕睾賵 責
兀孬賳丕亍 鬲氐丨賷丨 乇賵丕賷丞 鬲丕乇賷禺賷丞 賱賲丐賱賮 鬲賯賱賷丿賷 賱丕 賷丨賷丿 毓賳 丕賱廿乇孬 丕賱鬲丕乇賷禺賷 賯賷丿 兀賳賲賱丞 貙 賵 亘睾賷丞 鬲噩賴賷夭 丕賱乇賵丕賷丞 丕賱鬲丕乇賷禺賷丞 賱賱賳卮乇 賳噩丿 丕賱賲氐丨丨 -丕賱賲丨亘 賱毓賲賱賴 - 乇丕賷賲賳丿賵 爻賷賱亘丕 賷囟賷賯 匕乇毓丕賸 亘 賳毓賲 丕賱鬲賷 鬲孬亘鬲 丕賱賲爻丕毓丿丞 丕賱氐賱賷亘賷丞 賱賱噩賷賵卮 丕賱亘乇鬲睾丕賱賷丞 賮賷 丨氐丕乇 賱卮亘賵賳賴 賮賷 毓賴丿 丕賱賲賱賰 丕賱亘乇鬲睾丕賱賷 兀賮賵賳爻賵 貙 賮賷賯乇乇 丕爻鬲亘丿丕賱賴丕 亘賱丕 賵 賰卮胤 夭賷賮 賱丕 賷鬲賯亘賱賴 賲賳胤賯賴 ! 賴匕丕 丕賱毓賲賱 丕賱噩乇賷亍 賷噩毓賱 賲賴賳鬲賴 賮賷 賲賴亘 丕賱乇賷丨 丨賷孬 鬲賯乇乇 丿丕乇 丕賱賳卮乇 - 賲賲鬲賳丞 賱禺丿賲丕鬲賴 丕賱噩賱賷賱丞 - 賲賳丨賴 賮乇氐丞 兀禺乇賶 鬲丨鬲 廿卮乇丕賮 丕賱爻賷丿丞 賲丕乇賷丕 爻丕乇丞 貙 丕賱鬲賷 爻賵賮 鬲卮噩毓賴 毓賱賶 丕賱鬲賲爻賰 亘 賱丕 賰丨賯 賲賵丕胤賳 亘賲賯丿賵乇賴 丕賱爻亘丕丨丞 囟丿 丕賱鬲賷丕乇 賵 廿賳 賰丕賳 丕賱鬲賷丕乇 爻賷噩乇賮賴 賮賷 丕賱賳賴丕賷丞 貙 賱丕 亘兀爻 亘卮乇賮 丕賱賲丨丕賵賱丞 .. 鬲亘丿兀 丕賱乇賵丕賷丞 丕賱鬲賷 爻賷賰鬲亘賴丕 乇丕賷賲賳丿賵 賵亘鬲卮噩賷毓 賲賳 賲丕乇賷丕 爻丕乇丞 亘- 丕賱賮噩乇 丕賱爻賾賱賲賷 丕賱兀禺賷乇 賵 丕賱賲丐匕賳 賷乇賮毓 氐賵鬲賴 亘丕胤賲卅賳丕賳 賲賳丕丿賷賸丕 賱氐賱丕丞 丕賱賮噩乇 賵鬲賳鬲賴賷 乇賵丕賷鬲賴 亘 賮噩乇 毓亘孬賷 鬲購丨夭賾 賮賷賴 乇賯亘丞 丕賱賲丐匕賳 賯亘賱 廿胤賱丕賯 氐賵鬲賴 丕賱賲丿賵賷 亘丕賱廿匕丕賳 - 賵 丕賱賮噩乇 賮賷 丕賱丨丕賱鬲賷賳 賷乇賲夭 賱賱賵囟賵丨 賵 丕賱禺賱賵丿 乇睾賲 睾賮賱丞 丕賱鬲丕乇賷禺 賱賴匕丕 .
賯乇丕亍丞 賴匕賴 丕賱乇賵丕賷丞 賯乇丕亍丞 鬲丕乇賷禺賷丞 亘丨鬲丞 賴賵 丕賱馗賱賲 亘毓賷賳賴 賮賱丕 兀丨丿 賷夭丕賷丿 毓賱賶 匕丕賰乇丞 丕賱鬲丕乇賷禺 賮賲丕亘丕賱賰 亘賲賳 賷丨丕賵賱 廿賮賯丕丿賴丕 廿賷丕賴 毓賲丿賸丕 . 賵賱賰賳 賲賴賱丕賸 賮丕賱亘毓丿 丕賱丕賮鬲乇丕囟賷 丕賱匕賷 兀囟丕賮賴 爻丕乇丕賲丕睾賵 毓賱賷賴 賱賲 賷睾賷乇 丕賱賲毓丕丿賱丞 丕賱鬲丕乇賷禺賷丞 ( 賮丕賱賳氐乇 賲丨鬲賵賲 亘賲爻丕毓丿丞 丕賱亘乇鬲睾丕賱賷賵賳 兀賵 亘丿賵賳賴丕 / 賳丕賴賷賰 兀賳 丕賱氐賱賷亘賷賵賳 丕賳賯爻賲賵丕 賵 卮乇賷丨丞 賲賳賴賲 亘賯鬲 賵爻丕毓丿鬲 賮賷 丕賱丨氐丕乇 ) 賮賲丕 賮丕卅丿丞 廿爻鬲亘丿丕賱 丕賱賲氐丨丨 乇賷賲賳丿賵 爻賷賱亘丕 ( 賳毓賲 亘 賱丕 ) 貙 丕賱亘毓丿 丕賱丕賮鬲乇丕囟賷 亘 賴賵 賲丨丕賵賱丞 賱廿丿丕乇丞 毓噩賱丞 丕賱賯丿乇 賵賲賳丨賴 丕爻鬲丿丕乇丞 丕賱賲丨丕乇亘 丕賱賲乇丕賵睾丞 責 賱廿賱賯丕亍 丕賱囟賵亍 毓賱賶 丕賱賳賵丕賷丕 賵 丕賱丿賵丕賮毓 賰賱 賲賳 / 丕賱賲賱賰 - 丕賱氐賱賷亘賷賵賳 - 丕賱亘乇鬲睾丕賱賷賵賳 / 爻亘乇 賲賱毓賵賳 賲賳 爻丕乇丕賲丕睾賵 賱亘賵丕胤賳賴賲 賵 賵爻丕賵爻賴賲 貙 -賲孬賱丕賸 -
丕賱氐賱賷亘賷賵賳 賰鬲噩賲毓 丿賷賳賷 賲鬲毓丿丿 丕賱賯賵賲賷丕鬲 賱丕 賷賲賰賳 兀賳 賷噩鬲賲毓 毓賱賶 乇兀賷 賵丕丨丿 爻賵丕亍賸丕 丕賱賲賯丕胤毓丞 兀賵 丕賱廿賳禺乇丕胤 賮賷 丕賱丨氐丕乇 賲毓 賲賱賰 丕賱亘乇鬲睾丕賱 賵 賴賳丕 賷賯丿賲 爻丕乇丕賲丕睾賵 賯乇丕亍丞 丿賯賷賯丞 賱賮賰乇 丕賱賲卮丕乇賰賷賳 賵 丕賱賲賯丕胤毓賷賳 貙 賵丕賱禺夭丕卅賳 丕賱禺丕賱賷丞 賱賲賱賰 丕賱亘乇鬲睾丕賱 兀賮賵賳爻賵 賱賲 鬲賰賳 丨丕賮夭 丨賯賷賯賷 賱賱氐賱賷亘賷賳 賱賲爻丕毓丿丞 丕賱亘乇鬲睾丕賱賷賷賳 賮賱匕賱賰 鬲噩丿賴 賷毓賵賾賱 毓賱賶 丕賱乇丕亘胤 丕賱丿賷賳賷 亘賷賳賴賲 亘廿爻鬲丿毓丕亍賴 丕賱丨孬賷孬 賱賱乇賲賵夭 丕賱丿賷賳賷丞 賰賲丨乇賰 賲卮鬲乇賰 賱賮乇囟 丕賱丨氐丕乇 毓賱賶 丕賱賲爻賱賲賷賳 貙 賵丕賱鬲亘丕賴賷 亘鬲兀賷賷丿 丕賱賲爻賷丨 亘賳賮爻賴 賱賱亘乇鬲睾丕賱賷賷賳 賵 丕賱匕賷 噩丕亍 賮賷 禺胤亘丞 丕賱賲賱賰 賰丕賳 爻亘亘 乇賮囟 噩夭亍 賰亘賷乇 賲賳 丕賱氐賱賷亘賷賵賳 賱賲爻丕毓丿鬲賴賲 貙 亘賷賳賲丕 鬲亘賯賶 卮乇賷丨丞 賯賱賷賱丞 賲賳賴賲 亘毓丿 鬲胤賲賷毓 丕賱賲賱賰 賱賴賲 亘丕賱丨氐賵賱 毓賱賶 丨氐丞 丕賱兀爻丿 賲賳 丕賱睾賳丕卅賲 丕賱鬲賷 爻賷睾賳賲賵賳賴丕 亘毓丿 丕賱丨氐丕乇 貙 賵賱毓賱賰 鬲爻鬲卮賮 賲賳 丕賳鬲賴丕夭賷丞 丕賱賲賵賯賮 丕賱爻丕亘賯 賲賳 賯亘賱 賰賱 賲賳 丕賱賲賱賰 賵丕賱氐賱賷亘賷賳 .. 兀賳 賴匕丕 爻賷兀鬲賷 毓賱賶 丨爻丕亘 丕賱亘乇鬲睾丕賱賷賷賳 賵 爻鬲鬲爻丕卅賱 賲丕賴賵 丕賱丿丕賮毓 丕賱匕賷 丨乇賰 丕賱亘乇鬲睾丕賱賷賵賳 賱賮乇囟 丕賱丨氐丕乇 責 賱賲 賷賰賳 丕賱丿賮丕毓 毓賳 丕賱賯賵賲賷丞 丕賱亘乇鬲睾丕賱賷丞 賵 廿賱丕 賱賰丕賳鬲 賲丨乇賰賴賲 賲賳匕 夭賲賳 毓卮卮 賮賷賴丕 丕賱兀爻賱丕賲 賱毓丿丞 賯乇賵賳 賮賷 賱卮亘賵賳丞責
亘賱 賴賵 兀賳 賲爻賱賲賵 賱卮亘賵賳賴 賲丨丿賵丿賵 丕賱孬乇丕亍 賲賯丕乇賳丞 亘睾賷乇賴賲 賲賳 丕賱賲爻賱賲賷賳 賮賷 丕賱賲賳丕胤賯 丕賱賲噩丕賵乇丞 賰兀卮亘賷賱賷賴 賵 睾乇賳丕胤丞 ! 賲丕 丿丕賲 丕賱亘乇鬲睾丕賱賷賵賳 賴賲 丕賱噩賷卮 丕賱丨賯賷賯賷 - 丕賱匕賷 賱賲 賷丨乇賰賴 丕爻鬲毓丕丿丞 賲噩丿 賵胤賳賴 賲賳 丕賱亘丿丕賷丞 - 賮賱賳 賷乇囟賶 亘廿卮乇丕賮 賲丿毓賵賲 賲賳 賯亘賱 丕賱氐賱賷亘賷賳 丿賵賳 丕鬲賮丕賯 賲爻亘賯 賱賲賳丕氐賮丞 丕賱睾賳丕卅賲 賲毓賴賲 .. 賮賷 丕賱賳賴丕賷丞 鬲亘丿賵 丕賱 ( 賱丕 )丕賱鬲賷 禺胤賾賴丕 爻丕乇丕賲丕睾賵 兀賯乇亘 賱 賰賲賷賳 賷賳鬲賯丿 賲賳 禺賱丕賱賴 丕賱乇賵丨 丕賱亘乇鬲睾丕賱賷丞 丕賱禺丕卅乇丞 賮賷 賳馗乇 爻丕乇丕賲丕睾賵兀賵賱丕賸 ... 孬賲 賱賲賳丨賴丕 丨賯賴丕 丕賱鬲丕乇賷禺賷 賮賷 丕賱廿爻鬲賯賱丕賱 亘賳氐乇賴丕 丿賵賳 賲爻丕毓丿丞 賲賳 兀丨丿 .. 丕賱賳氐乇 = 丕賱亘賯丕亍 .. 賱賲 賷丨乇賰賴賲 賲噩丿 丕賱賵胤賳 賵 賱賲 賷胤賲丨賵丕 賱賳氐乇 丿賷賳賷 .. 賮賯胤 丕賱乇睾亘丞 賮賷 丕賱亘賯丕亍 .. 賵 丕賱亘賯丕亍 鬲丕乇賷禺賷賸丕 賴賵 丕賱鬲賴賲賷卮 賵 賴匕丕 賲丕 賱賲 賷賯賱亘賴 爻丕乇丕賲丕睾賵 賮鬲丨丿賶 亘賴乇噩丞 丕賱鬲丕乇賷禺 賵賲賳丨賴 賱賱賳氐乇 丕毓鬲亘丕乇丕鬲 胤賳丕賳丞 兀賰孬乇 賲賳 丕賱丨賯賷賯丞
..
賱賳賯賱 兀賳 爻丕乇丕賲丕睾賵 睾賷賾乇 鬲賮丕氐賷賱 丕賱賱毓亘丞 賵鬲乇賰 丕賱兀賲賵乇 賮賷 賳氐丕亘賴丕 賮賷 賳賴丕賷丞 丕賱賲胤丕賮 .
兀丨亘亘鬲 丕賱乇賵丕賷丞 亘毓賲賯 貙 賮 孬賷賲丕鬲賴丕 賲睾乇賷丞 賵 爻乇丿賴丕 丕賱賲卮賵卮 賵丕賱賲丨賮夭 賲睾乇.. 賵 鬲賯賳賷丕鬲賴丕 賲丿賲乇丞 .
December 13, 2021
脡 t茫o t茫o bom e reconfortante regressar a quem sempre nos deslumbra e delicia!!!
N茫o 茅 o meu favorito de Saramaguinho, mas tenho um carinho deveras especial pelo Raimundo revisor!
Opini茫o detalhadinha aqui:
NOTA - 09/10
N茫o 茅 o meu favorito de Saramaguinho, mas tenho um carinho deveras especial pelo Raimundo revisor!
Opini茫o detalhadinha aqui:
NOTA - 09/10
June 16, 2020
"Aslan谋 altetmek i莽in kafesine girip g眉re艧ilmez. Yeme臒i kesilir ve yava艧 yava艧 枚lmesi izlenir kenardan."
猸�
Her seferinde bu kadar harika anlatmak zorunda m谋s谋n谋z, say谋n Saramago?
Bir d眉zeltmen olan Silva'n谋n tarih kitab谋n谋n bir c眉mlesini de臒i艧tirmesiyle hayat谋n谋n da birden y枚n de臒i艧tirmesini anlat谋yor.
陌ki hikaye i莽i莽e ge莽mi艧 durumda. 脟ok ak谋c谋, heyecan verici.
猸�
Her seferinde bu kadar harika anlatmak zorunda m谋s谋n谋z, say谋n Saramago?
Bir d眉zeltmen olan Silva'n谋n tarih kitab谋n谋n bir c眉mlesini de臒i艧tirmesiyle hayat谋n谋n da birden y枚n de臒i艧tirmesini anlat谋yor.
陌ki hikaye i莽i莽e ge莽mi艧 durumda. 脟ok ak谋c谋, heyecan verici.
June 23, 2017
5 伪蟽蟿苇蟻喂伪, 蔚喂蟼 伪谓维渭谓畏蟽喂谓! 螕喂伪蟿委 慰喂 渭蔚纬维位蔚蟼 伪纬维蟺蔚蟼 螖螘螡 尉蔚蠂谓喂慰蠉谓蟿伪喂!
October 28, 2017
While typing up my brief review of , i was reminded of this book, one of my favorites of all time, because like 's book, this was beautifully written as well as an awe-inspiring translation effort.
For 15 years i was an editor of reference books. It shouldn't be a surprise, then, that a professional proofreader protagonist/narrator immediately compelled me and held my attention. The idiosyncratically minimalist punctuation and the pages-long comma-spliced sentences were so unbelievably perfect for me as a reader (and for this story) that i couldn't put it down despite the difficulties they presented for comprehension. Saramago was forcing me to read more carefully than when i was attempting to consume the entire science fiction canon in the mid-1990s.
Finally (for the time being anyway) i never would've thought that i could find so much enjoyment in what reasonably could be considered "merely" a love story. But let's not forget .
For 15 years i was an editor of reference books. It shouldn't be a surprise, then, that a professional proofreader protagonist/narrator immediately compelled me and held my attention. The idiosyncratically minimalist punctuation and the pages-long comma-spliced sentences were so unbelievably perfect for me as a reader (and for this story) that i couldn't put it down despite the difficulties they presented for comprehension. Saramago was forcing me to read more carefully than when i was attempting to consume the entire science fiction canon in the mid-1990s.
Finally (for the time being anyway) i never would've thought that i could find so much enjoyment in what reasonably could be considered "merely" a love story. But let's not forget .
October 25, 2022
Superb lucru ce reu葯e葯te Saramago 卯n aceast膬 carte. Folosindu-se de un eveniment crucial 卯n fondarea Portugaliei, practic piatra de temelie a Portugaliei 葯i istoriei sale, 卯mbin膬 trecutul 葯i prezentul 卯ntr-o manier膬 original膬 葯i autentic膬, specific膬 stilului s膬u.
Ironia fin膬, g芒ndirea analitic膬, sinceritatea 葯i cinismul, nu lipsesc, acestea f膬c芒nd parte din opera lui Saramago, dar totodat膬 am luat contact 葯i cu sensibilitatea, emo葲ia, medita葲ia 葯i filosofia.
Nu este o carte fundamental膬 葯i nu se ridic膬 la nivelul operelor clasice, dar este aparte, este o carte cu ,,parfum鈥欌€�, o carte ce te plimb膬 prin Lisabona secolului XX, dar 葯i prin Lisabona de la jum膬tatea veacului al-XII-lea. Se merit膬 a fi citit膬 din multe puncte de vedere, dar mai ales pentru punerea 卯n paralel a aceluia葯i eveniment, dar relatat diferit 葯i cum este abordat膬 problema adev膬rului, mistific膬rii 葯i falsului 卯n istorie.
4.5/5
Ironia fin膬, g芒ndirea analitic膬, sinceritatea 葯i cinismul, nu lipsesc, acestea f膬c芒nd parte din opera lui Saramago, dar totodat膬 am luat contact 葯i cu sensibilitatea, emo葲ia, medita葲ia 葯i filosofia.
Nu este o carte fundamental膬 葯i nu se ridic膬 la nivelul operelor clasice, dar este aparte, este o carte cu ,,parfum鈥欌€�, o carte ce te plimb膬 prin Lisabona secolului XX, dar 葯i prin Lisabona de la jum膬tatea veacului al-XII-lea. Se merit膬 a fi citit膬 din multe puncte de vedere, dar mai ales pentru punerea 卯n paralel a aceluia葯i eveniment, dar relatat diferit 葯i cum este abordat膬 problema adev膬rului, mistific膬rii 葯i falsului 卯n istorie.
4.5/5
October 26, 2020
What history?
In 1147, Dom Afonso Henriques and his fellow Portuguese laid siege to the Moors who had occupied Lisbon. Known as the Reconquista, Christian armies including English, French, German and Spanish, were trying to win back land from the Muslims who had taken much of Iberia and Southern Europe since the 8th century. These foreign soldiers were known as the Crusaders.
What is history?
We know our history from historians and the books handed down to us over the centuries. We also know that history is written mostly by the victors. This helps nationalism develop in countries trying to define themselves. What we did in the past is what we shall become or hopefully avoid. Are these truths, stories, hearsay, or just passing accounts?
What are the facts?
What if an editor sought to change a word in a historical tract? A simple word. 鈥淣茫o鈥� or No in English. A negative that defines what didn鈥檛 happen. Or what could have happened.
In the Saramago world, what if this editor, Raimundo Benvindo Silva claims that the Portuguese King didn鈥檛 ask the Crusaders for their help? What would be the outcome? Could the Portuguese do it on their own? Will that help their nationalism? And what of the losers, the Moors?
What does history say?
History is typically told from the view of the kings, leaders, their immediate followers and families. We don鈥檛 hear much about the common man. We don鈥檛 hear much about the other side. Except maybe in a novel, written by a certain Portuguese author.
What does love have to do with this?
The old tales of knights and their crusades were known as romances. Nothing like inserting a love story with the editor and his boss. Or how about a love story within the tales of the siege? Does it just come down to love and hate? War and peace? It all seems to fit.
What is real?
We weave ourselves into history. We are not bound by time but only by our desire to become part of our own simple history.
I leave this to Senhor Saramago to address this. 鈥淚n truth, I believe there is a great division of people who say yes or say no.鈥� You decide.
In 1147, Dom Afonso Henriques and his fellow Portuguese laid siege to the Moors who had occupied Lisbon. Known as the Reconquista, Christian armies including English, French, German and Spanish, were trying to win back land from the Muslims who had taken much of Iberia and Southern Europe since the 8th century. These foreign soldiers were known as the Crusaders.
What is history?
We know our history from historians and the books handed down to us over the centuries. We also know that history is written mostly by the victors. This helps nationalism develop in countries trying to define themselves. What we did in the past is what we shall become or hopefully avoid. Are these truths, stories, hearsay, or just passing accounts?
What are the facts?
What if an editor sought to change a word in a historical tract? A simple word. 鈥淣茫o鈥� or No in English. A negative that defines what didn鈥檛 happen. Or what could have happened.
In the Saramago world, what if this editor, Raimundo Benvindo Silva claims that the Portuguese King didn鈥檛 ask the Crusaders for their help? What would be the outcome? Could the Portuguese do it on their own? Will that help their nationalism? And what of the losers, the Moors?
What does history say?
History is typically told from the view of the kings, leaders, their immediate followers and families. We don鈥檛 hear much about the common man. We don鈥檛 hear much about the other side. Except maybe in a novel, written by a certain Portuguese author.
What does love have to do with this?
The old tales of knights and their crusades were known as romances. Nothing like inserting a love story with the editor and his boss. Or how about a love story within the tales of the siege? Does it just come down to love and hate? War and peace? It all seems to fit.
What is real?
We weave ourselves into history. We are not bound by time but only by our desire to become part of our own simple history.
I leave this to Senhor Saramago to address this. 鈥淚n truth, I believe there is a great division of people who say yes or say no.鈥� You decide.
Read
March 16, 2025些械 薪褨泻芯谢懈 褌邪泻 薪械 褉邪写褨谢邪 褎邪泻褌褍, 褖芯 泻薪懈谐邪 蟹邪泻褨薪褔懈谢邪褋褜 馃ゲ
August 9, 2018
賲賳 兀毓賱賶 丕賱賯賱毓丞 賴亘胤 賱兀賵賱 賲乇丞 賳賴丕卅賷丕 賵廿賱賶 丕賱兀亘丿貙 丕賱賴賱丕賱 丕賱廿爻賱丕賲賷 賵廿賱賶 噩賵丕乇賴 丕賱氐賱賷亘 丕賱匕賷 賷毓賱賳 賱賱毓丕賱賲 丕賱鬲毓賲賷丿 丕賱賲賯丿爻 賱賱賲丿賷賳丞 丕賱賲爻賷丨賷丞 丕賱噩丿賷丿丞貙 丕乇鬲賮毓鬲 亘亘胤亍 賮賷 夭乇賯丞 丕賱賮囟丕亍 賷賯亘賱賴丕 丕賱囟賵亍 賵賷丨乇賰賴丕 丕賱賳爻賷賲 禺賮丕賯丞 亘賰亘乇賷丕亍 丕賱賳氐乇 乇丕賷丞 賲賱賰 丕賱亘乇鬲睾丕賱 丕賱匕賷 丕爻鬲賵賱賶 毓賱賶 賱卮亘賵賳丞 賲賳 兀賷丿賷 丕賱賲爻賱賲賷賳 "丿賵賳 兀賮賵賳爻賵 賴賳乇賷賰爻" 賵毓賱賷賴丕 卮噩乇 丕賱賰賷賳丕貙 賵賴賵 賷氐丿丨: 賱丕 鬲賮乇賯賵丕 亘賷賳 毓賲乇 賵噩賳爻貙 丕賯鬲賱賵丕 丕賱胤賮賱 丕賱乇囟賷毓 賵丕賱卮賷禺 丕賱賴乇賲 賵丕賱卮丕亘丞 丕賱賷丕賮毓丞 賵丕賱毓噩賵夭 丕賱賮丕賳賷丞.
廿賳賴丕 賯氐丞 丨氐丕乇 賱卮亘賵賳丞 丕賱亘乇鬲睾丕賱賷丞貙 賵丕爻鬲爻賱丕賲 丕賱賲爻賱賲賷賳 賲賳 噩乇丕亍 丕賱噩賵毓貙 賮賴賲 賮賷 賳馗乇賴賲 賱賷爻賵丕 兀賴賱丕 賱賱卮賮賯丞 丨賷賳 毓乇囟賵丕 毓賱賷賴賲 丕賱丕賳爻丨丕亘 賮賷 爻賱丕賲 賵賲毓賴賲 兀賲鬲毓鬲賴賲 賵孬乇賵丕鬲賴賲貙 賮丕賱丿賲 賮賷 賳馗乇賴賲 賴賵 丕賱匕賷 賷爻鬲胤賷毓 睾爻賱 兀爻賵丕乇 賱卮亘賵賳丞 賲賳 丕賱丿賳爻 丕賱匕賷 馗賱 賷賱賵孬賴丕 兀賰孬乇 賲賳 孬賱丕孬賲丕卅丞 賵禺賲爻賵賳 毓丕賲丕賸貙 賵丕毓丕丿鬲賴丕 胤丕賴乇丞 賳賯賷丞 賱賱賲爻賷丨 亘賲爻丕毓丿丞 丕賱賮乇賳爻賷賷賳 賵丕賱賳賵乇賲丕賳丿賷賷賳 賱賴賲.
賮賷 丕賱禺胤 丕賱丌禺乇 賲賳 丕賱乇賵丕賷丞 賯氐丞 丨購亘 賳卮兀鬲 亘賷賳 丕賱賲氐丨丨 "乇丕賷賲賵賳丿賵 爻賷賱亘丕" 賵丕賱賲丿賷乇 丕賱兀丿亘賷 賱丿丕乇 丕賱賳卮乇 丕賱爻賷丿丞 "賲丕乇賷丕 爻丕乇丞"貙 賵賲夭噩賴丕 亘賷賳 賯氐丞 丕賱丨氐丕乇 賵鬲賮丕氐賷賱 丨賷丕鬲賴賲.
乇賵丕賷丞 匕丕鬲 鬲賮丕氐賷賱 丿賯賷賯丞貙 賰毓丕丿丞 爻丕乇丕賲丕睾賵 賵毓丕賱賲賴 丕賱匕賷 賱丕 賷賲賰賳 兀賳 賷氐賱 廿賱賷賴 禺賷丕賱賰 賲賴賲丕 亘賱睾 賲賳 丕亘丿丕毓 賵鬲賲賷夭.
廿賳賴丕 賯氐丞 丨氐丕乇 賱卮亘賵賳丞 丕賱亘乇鬲睾丕賱賷丞貙 賵丕爻鬲爻賱丕賲 丕賱賲爻賱賲賷賳 賲賳 噩乇丕亍 丕賱噩賵毓貙 賮賴賲 賮賷 賳馗乇賴賲 賱賷爻賵丕 兀賴賱丕 賱賱卮賮賯丞 丨賷賳 毓乇囟賵丕 毓賱賷賴賲 丕賱丕賳爻丨丕亘 賮賷 爻賱丕賲 賵賲毓賴賲 兀賲鬲毓鬲賴賲 賵孬乇賵丕鬲賴賲貙 賮丕賱丿賲 賮賷 賳馗乇賴賲 賴賵 丕賱匕賷 賷爻鬲胤賷毓 睾爻賱 兀爻賵丕乇 賱卮亘賵賳丞 賲賳 丕賱丿賳爻 丕賱匕賷 馗賱 賷賱賵孬賴丕 兀賰孬乇 賲賳 孬賱丕孬賲丕卅丞 賵禺賲爻賵賳 毓丕賲丕賸貙 賵丕毓丕丿鬲賴丕 胤丕賴乇丞 賳賯賷丞 賱賱賲爻賷丨 亘賲爻丕毓丿丞 丕賱賮乇賳爻賷賷賳 賵丕賱賳賵乇賲丕賳丿賷賷賳 賱賴賲.
賮賷 丕賱禺胤 丕賱丌禺乇 賲賳 丕賱乇賵丕賷丞 賯氐丞 丨購亘 賳卮兀鬲 亘賷賳 丕賱賲氐丨丨 "乇丕賷賲賵賳丿賵 爻賷賱亘丕" 賵丕賱賲丿賷乇 丕賱兀丿亘賷 賱丿丕乇 丕賱賳卮乇 丕賱爻賷丿丞 "賲丕乇賷丕 爻丕乇丞"貙 賵賲夭噩賴丕 亘賷賳 賯氐丞 丕賱丨氐丕乇 賵鬲賮丕氐賷賱 丨賷丕鬲賴賲.
乇賵丕賷丞 匕丕鬲 鬲賮丕氐賷賱 丿賯賷賯丞貙 賰毓丕丿丞 爻丕乇丕賲丕睾賵 賵毓丕賱賲賴 丕賱匕賷 賱丕 賷賲賰賳 兀賳 賷氐賱 廿賱賷賴 禺賷丕賱賰 賲賴賲丕 亘賱睾 賲賳 丕亘丿丕毓 賵鬲賲賷夭.
November 11, 2022
L'amore ai tempi dei Mori a Lisbona
Noto che ultimamente i romanzi che pi霉 mi piacciono sono spesso quelli in cui c'猫 una commistione tra antico e moderno in cui l'autore cerca di descrivere il passato, o un evento del passato, tentando di filtrarlo con occhi contemporanei, prova quanto sia sempre difficile colmare le distanze temporali.
Due narrazioni corrono intersecate: la storia dell'assedio di Lisbona nel 1147, occupata da secoli dai Mori che i portoghesi tentano di liberare, e una storia contemporanea di un amore nascente tra un revisore di testi e il suo superiore (donna).
C'猫 un equilibrio perfetto tra le due parti.
Oggi tendiamo a credere di essere pi霉 complessi dell'uomo antico perch茅 la nostra complessit脿, dal 900 in avanti 猫 stata teorizzata e vivisezionata dalle varie discipline, e nel romanzo moderno si affaccia forse per la prima volta l'uomo nel suo flusso di coscienza ed entriamo davvero nei suoi pensieri e meccanismi psicologici, non ci limitiamo a seguirne solo le azioni.
Ma 猫 davvero cos矛?
L'uomo 猫 cambiato? 脠 cambiato il suo modo, per esempio, di amare nel tempo?
Probabilmente no.
脠 cambiato il modo di esprimerlo.
Oggi c'猫 chi pensa che con un cuoricino rosso pulsante su uazap ha espresso qualcosa.
脠 cambiato il linguaggio.
E sono questioni che il nostro revisore, il protagonista del romanzo, si chiede continuamente quando da revisore diventa autore e riflette come affrontare, all'interno del romanzo che a sua volta sta scrivendo, come nasca e possa svilupparsi l'amore tra un soldato crociato e una donna del popolo, e sono pagine di una vibrante passione
Come era l'amore ai tempi dei Mori a Lisbona, parafrasando l'immenso Marquez, come un sentimento che 猫 universale abbia cavalcato le epoche.
Come lo esprimevano un uomo e una donna del tempo.
Ma i temi che Saramago indaga in questo romanzo complesso dalla prosa sontuosa e dal periodare arduo (ma non c'猫 mai bellezza che si dia tanto facilmente) sono molti e anche altri.
C'猫 il tema dell'ecumenismo religioso.
C'猫 la bellezza della descrizione dell'assedio, i piani strategici per sfondare le mura della citt脿, i problemi organizzativi, il morale delle truppe.
E c'猫 una riflessione costante di metaletteratura sull'attivit脿 autoriale, e, in anticipo sui tempi, Saramago si fa anche carico delle fake news, soggetto cos矛 incandescente oggi, a causa del quale non riusciamo (non riesco) per esempio ad avere una lucida fotografia del conflitto ucraino.
Il romanzo infatti prende l'avvio proprio da un errore (ma fatto e voluto consapevolmente dal revisore) il quale aggiunge un NON ad una frase, venendo cos矛 a negare il contributo dei crociati alle truppe portoghesi.
Saramago riscrive la storia e d脿 forma ad un romanzo che pu貌 anche essere letto come ucronico, il romanzo dei se.
Mai avrei immaginato che Saramago fosse capace di una cos矛 grande verit脿 nel gestire in narrativa una storia d'amore (vedere le vibranti pag. 124 e125 della mia versione digitale) e mi domando sempre quando un autore descrive con un grado di veridicit脿 cos矛 geometricamente esatto qualcosa se significhi che lo ha vissuto per saperlo esprimere cos矛 bene, oppure no.
Il Saramago pi霉 cinico e fustigatore delle bassezze dell'essere umano si 猫 come addolcito.
Un Saramago che davvero ha superato se stesso, finora sono a quota 4 Saramaghi e questo 猫 il migliore letto, ma lo 猫 anche in valore assoluto, romanzo davvero straordinario.
Noto che ultimamente i romanzi che pi霉 mi piacciono sono spesso quelli in cui c'猫 una commistione tra antico e moderno in cui l'autore cerca di descrivere il passato, o un evento del passato, tentando di filtrarlo con occhi contemporanei, prova quanto sia sempre difficile colmare le distanze temporali.
Due narrazioni corrono intersecate: la storia dell'assedio di Lisbona nel 1147, occupata da secoli dai Mori che i portoghesi tentano di liberare, e una storia contemporanea di un amore nascente tra un revisore di testi e il suo superiore (donna).
C'猫 un equilibrio perfetto tra le due parti.
Oggi tendiamo a credere di essere pi霉 complessi dell'uomo antico perch茅 la nostra complessit脿, dal 900 in avanti 猫 stata teorizzata e vivisezionata dalle varie discipline, e nel romanzo moderno si affaccia forse per la prima volta l'uomo nel suo flusso di coscienza ed entriamo davvero nei suoi pensieri e meccanismi psicologici, non ci limitiamo a seguirne solo le azioni.
Ma 猫 davvero cos矛?
L'uomo 猫 cambiato? 脠 cambiato il suo modo, per esempio, di amare nel tempo?
Probabilmente no.
脠 cambiato il modo di esprimerlo.
Oggi c'猫 chi pensa che con un cuoricino rosso pulsante su uazap ha espresso qualcosa.
脠 cambiato il linguaggio.
E sono questioni che il nostro revisore, il protagonista del romanzo, si chiede continuamente quando da revisore diventa autore e riflette come affrontare, all'interno del romanzo che a sua volta sta scrivendo, come nasca e possa svilupparsi l'amore tra un soldato crociato e una donna del popolo, e sono pagine di una vibrante passione
Come era l'amore ai tempi dei Mori a Lisbona, parafrasando l'immenso Marquez, come un sentimento che 猫 universale abbia cavalcato le epoche.
Come lo esprimevano un uomo e una donna del tempo.
Ma i temi che Saramago indaga in questo romanzo complesso dalla prosa sontuosa e dal periodare arduo (ma non c'猫 mai bellezza che si dia tanto facilmente) sono molti e anche altri.
C'猫 il tema dell'ecumenismo religioso.
C'猫 la bellezza della descrizione dell'assedio, i piani strategici per sfondare le mura della citt脿, i problemi organizzativi, il morale delle truppe.
E c'猫 una riflessione costante di metaletteratura sull'attivit脿 autoriale, e, in anticipo sui tempi, Saramago si fa anche carico delle fake news, soggetto cos矛 incandescente oggi, a causa del quale non riusciamo (non riesco) per esempio ad avere una lucida fotografia del conflitto ucraino.
Il romanzo infatti prende l'avvio proprio da un errore (ma fatto e voluto consapevolmente dal revisore) il quale aggiunge un NON ad una frase, venendo cos矛 a negare il contributo dei crociati alle truppe portoghesi.
Saramago riscrive la storia e d脿 forma ad un romanzo che pu貌 anche essere letto come ucronico, il romanzo dei se.
Mai avrei immaginato che Saramago fosse capace di una cos矛 grande verit脿 nel gestire in narrativa una storia d'amore (vedere le vibranti pag. 124 e125 della mia versione digitale) e mi domando sempre quando un autore descrive con un grado di veridicit脿 cos矛 geometricamente esatto qualcosa se significhi che lo ha vissuto per saperlo esprimere cos矛 bene, oppure no.
Il Saramago pi霉 cinico e fustigatore delle bassezze dell'essere umano si 猫 come addolcito.
Un Saramago che davvero ha superato se stesso, finora sono a quota 4 Saramaghi e questo 猫 il migliore letto, ma lo 猫 anche in valore assoluto, romanzo davvero straordinario.
November 10, 2019
丕蹖賳 讴鬲丕亘 讴賴 丿乇 亘蹖賳 讴鬲丕亘鈥屬囏й� 爻丕乇丕賲丕诏賵 趩賳丿丕賳 賲卮賴賵乇 賳蹖爻鬲 丕夭 丨蹖孬 賳賵毓 乇賵丕蹖鬲 賵 夭丕賵蹖賴 丿蹖丿 乇賲丕賳蹖 賯丕亘賱 鬲丕賲賱 丕爻鬲.
丿丕爻鬲丕賳 亘賴 丿賵 亘禺卮 鬲丕乇蹖禺蹖 賲丨丕氐乇賴 賱蹖爻亘賵賳 賵 鬲賵氐蹖賮 噩夭卅蹖丕鬲 丌賳 丿賵乇賴(讴賴 丕賳氐丕賮丕賸 亘賴 夭蹖亘丕蹖蹖 倬乇丿丕禺鬲 卮丿賴) 賵 賲丕噩乇丕蹖 毓丕卮賯丕賳賴 賲氐丨丨 讴鬲丕亘 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳 鬲賯爻蹖賲 卮丿賴 讴賴 亘賴 鬲賳丕爻亘 乇賵丕蹖鬲 丿乇 賴乇 丿賵 丿賵乇賴 丿乇 噩乇蹖丕賳 丕爻鬲.
丕賲丕 賳讴鬲賴 馗乇蹖賮 賲丕噩乇丕 丕蹖賳噩丕爻鬲 讴賴 卮賲丕 賴賲夭賲丕賳 丿賵 讴鬲丕亘 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳 乇丕 賲胤丕賱毓賴 賲蹖鈥屭┵嗃屫� 讴鬲丕亘蹖 丿乇賵賳 讴鬲丕亘蹖 丿蹖诏乇!
丿丕爻鬲丕賳 亘賴 丿賵 亘禺卮 鬲丕乇蹖禺蹖 賲丨丕氐乇賴 賱蹖爻亘賵賳 賵 鬲賵氐蹖賮 噩夭卅蹖丕鬲 丌賳 丿賵乇賴(讴賴 丕賳氐丕賮丕賸 亘賴 夭蹖亘丕蹖蹖 倬乇丿丕禺鬲 卮丿賴) 賵 賲丕噩乇丕蹖 毓丕卮賯丕賳賴 賲氐丨丨 讴鬲丕亘 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳 鬲賯爻蹖賲 卮丿賴 讴賴 亘賴 鬲賳丕爻亘 乇賵丕蹖鬲 丿乇 賴乇 丿賵 丿賵乇賴 丿乇 噩乇蹖丕賳 丕爻鬲.
丕賲丕 賳讴鬲賴 馗乇蹖賮 賲丕噩乇丕 丕蹖賳噩丕爻鬲 讴賴 卮賲丕 賴賲夭賲丕賳 丿賵 讴鬲丕亘 鬲丕乇蹖禺 賲丨丕氐乇賴 賱蹖爻亘賵賳 乇丕 賲胤丕賱毓賴 賲蹖鈥屭┵嗃屫� 讴鬲丕亘蹖 丿乇賵賳 讴鬲丕亘蹖 丿蹖诏乇!
July 6, 2013
廿賳 賰賳鬲 賲爻鬲毓丿丕賸 賱廿氐丕禺丞 丕賱爻賲毓 賵丕賱亘氐乇 賵丕賱鬲乇賰賷夭 貙貙 賵賰賱 丨賵丕爻賰 丕賱賲乇卅賷丞 賵睾賷乇 丕賱賲乇卅賷丞 賲賳賴丕 貙貙
賱賱噩賱賵爻 兀賲丕賲 胤賮賱 賷丨賮馗 賰賱 丕賱賯氐氐 賵爻賷賯賵賱賴丕 賱賰 賰賱賴丕 賮賷 賯氐丞 賵丕丨丿丞 !
賮兀賳鬲 賲賴賷兀 賱亘丿丕賷丞 賯氐丞 丕賱丨氐丕乇 賴匕賴 ..!
賱爻鬲 兀毓賳賷 亘丕賱胤賮賱 貙貙 丕賱鬲賯賱賷賱 賲賳 卮兀賳 丕賱賲丐賱賮 貙貙 賱賰賳 賮毓賱丕
賰爻乇 丕賱丕丨鬲乇丕賲 丕賱匕賷 兀賵賱賷賳丕賴 賱賯氐氐賳丕 丕賱賲賴賷亘丞 貙貙 賱賳 賷賯賵賲 亘賴 廿賱丕 毓賯賱 賲鬲賲乇丿 貙貙 賰賭毓賯賵賱 丕賱丕胤賮丕賱 丕賱鬲賷 賴賷 毓賱賶 兀鬲賲 丕賱丕爻鬲毓丿丕丿 賱鬲賯賵賱 賱賰 賵賯丿 鬲氐丿賯 賲丕賯丕賱鬲賴 貙貙 亘兀賳 丕賱丕賲賷乇 賱賲 賷毓孬乇 毓賱賶 氐丕丨亘丞 丕賱丨匕丕亍 丕賱噩賲賷賱 賵賱賲 賵賱賳 賷丨丿孬 賲丕兀賳鬲 賲賵賯賳 亘賴 貙貙!
賴匕賴 丕賱賳賵毓賷丞 賲賳 丕賱鬲賲乇丿 丕賱賮賰乇賷 貙貙 賴賷 亘丿丕賷丞 賵賯丕卅毓 賴匕賴 丕賱乇賵丕賷丞
鬲睾賷賷乇 賱賲噩乇賶 丕賱丕丨丿丕孬 貙貙 賵丕爻鬲胤乇丕丿丕鬲 鬲兀禺匕賰 亘毓賷丿丕 毓賳 丨氐丕乇 賮乇囟賴 丕賱亘乇鬲睾丕賱賷賵賳 毓賱賶 賱卮亘賵賳丞 丕賱賲爻賱賲丞 貙貙
賵賮賱爻賮丕鬲 賲匕賴賱丞 賷丨丕氐乇賰 亘賴丕 爻丕乇丕賲丕噩賵 貙貙 丨賵賱 丕賱丨亘 賵丕賱毓夭賱丞 貙貙 賵丕賱孬賯丕賮丞 貙貙 賵丕賱丨乇賵亘 兀賷囟丕.
兀賷囟丕 賴賳丕賰 賰賲 賲賳 丕賱爻禺乇賷丞 貙貙 賱賷爻 亘賯賱賷賱 ! 亘賱 噩毓賱賳賷 兀鬲爻丕卅賱 貙貙 賴賱 賴賵 賲丿乇賰 兀賳 毓賳賵丕賳 丕賱賰鬲丕亘 賷卮賷乇 廿賱賶 丨乇亘 賵丨氐丕乇 貙貙 賵賱賷爻鬲 賲爻乇丨賷丞 賴夭賱賷丞 責
噩乇兀丞 賲匕賴賱丞 貙貙 賵鬲賲乇丿 毓亘賯乇賷 賷丨丿孬 賮賷 賴匕賴 丕賱賯氐丞
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丨賯賷賯丞 兀賯賵賱賴丕 : 鬲爻鬲丨賯 賰賱 賲毓丕賳賷 丕賱丨賮丕賵丞 賵丕賱鬲賰乇賷賲
賵禺賲爻丞 賳噩賵賲 賯賱賷賱丞..!!
November 17, 2024
袩褉械泻褉邪褋薪懈泄 褌械泻褋褌, 斜邪谐邪褌芯 胁 褔芯屑褍 褨褉芯薪褨褔薪懈泄 褨 褋邪褌懈褉懈褔薪懈泄, 屑褨褋褌懈褌褜 蟹邪锌懈褋懈 蟹薪邪泻芯胁懈褏 (锌褋械胁写芯)褨褋褌芯褉懈褔薪懈褏 锌芯写褨泄 啸袉袉 褋褌芯谢褨褌褌褟, 褖芯 锌械褉械薪芯褋褟褌褜 褌芯 褍 屑褨褋褌芯 屑邪胁褉褨胁, 褌芯 褍 胁褨泄褋褜泻芯胁懈泄 褌邪斜褨褉 锌芯褉褌褍谐邪谢褜褑褨胁, 锌芯锌械褉械屑褨薪薪芯 蟹 芯锌懈褋邪屑懈 褖芯写械薪薪芯谐芯 锌褉芯褋褌芯谐芯 卸懈褌褌褟 谐芯谢芯胁薪芯谐芯 谐械褉芯褟 胁 褋褍褔邪褋薪芯屑褍 袥褨褋邪斜芯薪褨, 褨 薪械芯褔褨泻褍胁邪薪芯 褋褌邪褦 锌褉懈褋褌褉邪褋褌薪芯褞 褉芯屑邪薪褌懈褔薪芯褞 褨褋褌芯褉褨褦褞.
小邪褉邪屑邪覒褨胁褋褜泻褨泄 褋褌懈谢褜 薪邪锌懈褋邪薪薪褟, 褖褨谢褜薪芯 薪邪褋懈褔械薪懈泄 屑械褌邪褎芯褉邪屑懈 褌邪 邪谢谢褞蟹褨褟屑懈, 褟泻懈泄 蟹邪胁卸写懈 蟹邪褔邪褉芯胁褍褦.
小邪褉邪屑邪覒褨胁褋褜泻褨泄 褋褌懈谢褜 薪邪锌懈褋邪薪薪褟, 褖褨谢褜薪芯 薪邪褋懈褔械薪懈泄 屑械褌邪褎芯褉邪屑懈 褌邪 邪谢谢褞蟹褨褟屑懈, 褟泻懈泄 蟹邪胁卸写懈 蟹邪褔邪褉芯胁褍褦.
December 7, 2015
The story of Raimundo Silva, a proofreader, who acts on an impulse and by adding a 鈥渘o鈥� changes the content of a book and his life too.
Same long phrases, same existential questions, same irony and humor between the lines. Really missed his style.
Same long phrases, same existential questions, same irony and humor between the lines. Really missed his style.
April 12, 2020
Literary fiction about a proofreader that significantly alters the meaning of a book by changing one word, such that his revised text states the crusaders did NOT help the Portuguese drive the Moors out of Lisbon in the year 1147. At the suggestion of his newly appointed supervisor, the proofreader then goes on to write his own version of The History of the Siege of Lisbon, using his altered text as a starting point. Since he lives in Lisbon, he can actually visit some of the locations where the Siege took place. The proofreader鈥檚 version of history is interspersed with his present-day narrative.
Saramago鈥檚 writing is lovely, but the meandering can be distracting. I often had to re-read sections to figure out where the initial thought started and how I ended up so far afield from that thought. He employs long sentences using only commas and periods. Dialogue is embedded in the prose, and there is no indication which character is speaking, so the reader will have to keep track mentally. The author does not differentiate between two story arcs, often moving between them within the same paragraph. There are long paragraphs describing a character鈥檚 internal dialogue (for example, of whether or not to make a phone call) that span several pages. The narrator goes off on many tangents, some of which are head-scratchers. In short, this book requires a great deal of patience and concentration.
I found I needed to understand more about Portuguese history to fully appreciate the storyline, so it took me a while to finish this book, since I was constantly looking up events and people that played a role in the actual Siege of Lisbon. Thus, I recommend getting an overview of the historical Siege, as well as the key players involved, before embarking on this novel.
I believe the point of this book is to show how fiction can impact the historical record. Participants often leave no written record of their thoughts and emotions, and Saramago explores whether we can truly understand the reasons behind why people acted the way they did after many years have passed.
I have read two other books by Saramago, Blindness and The Year of the Death of Ricardo Reis, and enjoyed both. As clever as it is, this one just didn鈥檛 work as well for me, primarily due to its structure. I found the present-day story more engaging than the alternate history. It isn鈥檛 necessarily fun to read this book, but it certainly engages the brain.
Saramago鈥檚 writing is lovely, but the meandering can be distracting. I often had to re-read sections to figure out where the initial thought started and how I ended up so far afield from that thought. He employs long sentences using only commas and periods. Dialogue is embedded in the prose, and there is no indication which character is speaking, so the reader will have to keep track mentally. The author does not differentiate between two story arcs, often moving between them within the same paragraph. There are long paragraphs describing a character鈥檚 internal dialogue (for example, of whether or not to make a phone call) that span several pages. The narrator goes off on many tangents, some of which are head-scratchers. In short, this book requires a great deal of patience and concentration.
I found I needed to understand more about Portuguese history to fully appreciate the storyline, so it took me a while to finish this book, since I was constantly looking up events and people that played a role in the actual Siege of Lisbon. Thus, I recommend getting an overview of the historical Siege, as well as the key players involved, before embarking on this novel.
I believe the point of this book is to show how fiction can impact the historical record. Participants often leave no written record of their thoughts and emotions, and Saramago explores whether we can truly understand the reasons behind why people acted the way they did after many years have passed.
I have read two other books by Saramago, Blindness and The Year of the Death of Ricardo Reis, and enjoyed both. As clever as it is, this one just didn鈥檛 work as well for me, primarily due to its structure. I found the present-day story more engaging than the alternate history. It isn鈥檛 necessarily fun to read this book, but it certainly engages the brain.
December 6, 2014
Come faccio a recensire un libro di Saramago? Ogni volta che termino un suo libro, non riesco mai a commentare, a descrivere le emozioni, la bellezza che questo scrittore sa regalare senza apparire banale o scontata.Ma bando alle ciance e cominciamo.
Una storia nella storia che coinvolge non solo l'assedio a questa citt脿, ma anche un correttore di bozze e decisioni che possono cambiare la sua vita. Tra fantasia e realt脿, Saramago ci accompagna in un mondo in cui la storia si fa presenza e diventa parte integrante della vita del protagonista.Un Saramago che non delude, anzi, e d'altronde come puoi deludere i tuoi lettori quando hai insito in te il DNA del genio?
Grazie per avermi regalato l'ennesima opera sublime.
Una storia nella storia che coinvolge non solo l'assedio a questa citt脿, ma anche un correttore di bozze e decisioni che possono cambiare la sua vita. Tra fantasia e realt脿, Saramago ci accompagna in un mondo in cui la storia si fa presenza e diventa parte integrante della vita del protagonista.Un Saramago che non delude, anzi, e d'altronde come puoi deludere i tuoi lettori quando hai insito in te il DNA del genio?
Grazie per avermi regalato l'ennesima opera sublime.
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