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韦慰 螘纬蠂蔚喂蟻委未喂慰 蟿蠅谓 螜蔚蟻慰蔚尉蔚蟿伪蟽蟿蠋谓
O Z慰维慰, 纬喂慰蟼 蔚谓蠈蟼 蟺蟻蠋畏谓 魏蟻伪蟿伪喂慰蠉 蠀蟺慰蠀蟻纬慰蠉 蟿慰蠀 危伪位伪味维蟻, 魏伪蟿伪胃苇蟿蔚喂 蟺蟻蠋蟿慰蟼 蟿畏 渭伪蟻蟿蠀蟻委伪 蟿慰蠀 纬喂伪 蟿畏 味蠅萎 蟿慰蠀 未委蟺位伪 蟽蟿慰谓 喂未喂蠈蟻蟻蠀胃渭慰 蟺伪蟿苇蟻伪 蟿慰蠀 蟽蔚 苇谓伪 伪蟺慰渭慰谓蠅渭苇谓慰 蠀蟺慰蟽蟿伪蟿喂魏蠈. T畏 渭伪蟻蟿蠀蟻委伪 蟿慰蠀 胃伪 蟿畏 蟽蠀渭蟺位畏蟻蠋蟽慰蠀谓, 胃伪 蟿畏谓 伪谓蟿喂魏蟻慰蠉蟽慰蠀谓, 未蔚魏伪慰蠂蟿蠋 伪魏蠈渭畏 蟺蟻蠈蟽蠅蟺伪. T慰 魏伪胃苇谓伪 伪蟺蠈 伪蠀蟿维 魏蟻伪蟿维 苇谓伪 魏慰渭渭维蟿喂 蟿畏蟼: 维位位慰蟼 胃伪 蟺蟻慰蟽蟺伪胃萎蟽蔚喂 谓伪 伪蟺慰魏蟻蠉蠄蔚喂 蟺位畏蟻慰蠁慰蟻委蔚蟼, 维位位慰蟼 谓伪 蔚尉蠅蟻伪螑蟽蔚喂 蟿慰 蟻蠈位慰 蟿慰蠀, 蠈位慰喂 蠈渭蠅蟼 胃伪 蟺伪蟻伪未慰胃慰蠉谓 蟽蟿慰谓 伪蠈蟻伪蟿慰 喂蔚蟻慰蔚尉蔚蟿伪蟽蟿萎 蟿慰蠀蟼, 蟺慰蠀 胃伪 蟿慰蠀蟼 伪蟺慰蟽蟺维蟽蔚喂 蟺位畏蟻慰蠁慰蟻委蔚蟼 纬喂伪 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 味蠅萎 蟿慰蠀 魏伪胃蔚谓蠈蟼 伪位位维 魏伪喂 纬喂伪 蟿畏谓 喂蟽蟿慰蟻委伪 蟿畏蟼 螤慰蟻蟿慰纬伪位委伪蟼 蟿伪 蟿蔚位蔚蠀蟿伪委伪 蟿蟻喂维谓蟿伪 蠂蟻蠈谓喂伪. I未伪谓喂魏蠈蟼 喂蔚蟻慰蔚尉蔚蟿伪蟽蟿萎蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 伪蠀蟿慰蠉 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
500 pages, Paperback
First published January 1, 1996
54 people are currently reading
2895 people want to read
About the author
Ant贸nio Lobo Antunes
89听books965听followersAt the age of seven, Ant贸nio Lobo Antunes decided to be a writer but when he was 16, his father sent him to medical school - he is a psychiatrist. During this time he never stopped writing.
By the end of his education he had to join the Army, to take part in the war in Angola, from 1970 to 1973. It was there, in a military hospital, that he gained interest for the subjects of death and the other. The Angolan war for independence later became subject to many of his novels. He worked many months in Germany and Belgium.
In 1979, Lobo Antunes published his first novel - Mem贸ria de Elefante (Elephant's Memory), where he told the story of his separation. Due to the success of his first novel, Lobo Antunes decided to devote his evenings to writing. He has been practicing psychiatry all the time, though, mainly at the outpatient's unit at the Hospital Miguel Bombarda of Lisbon.
His style is considered to be very dense, heavily influenced by William Faulkner, James Joyce and Louis-Ferdinand C茅line.
He has an extensive work, translated into several languages. Among the many awards he has received so far, in 2007 he received the Cam玫es Award, the most prestigious Portuguese literary award.
By the end of his education he had to join the Army, to take part in the war in Angola, from 1970 to 1973. It was there, in a military hospital, that he gained interest for the subjects of death and the other. The Angolan war for independence later became subject to many of his novels. He worked many months in Germany and Belgium.
In 1979, Lobo Antunes published his first novel - Mem贸ria de Elefante (Elephant's Memory), where he told the story of his separation. Due to the success of his first novel, Lobo Antunes decided to devote his evenings to writing. He has been practicing psychiatry all the time, though, mainly at the outpatient's unit at the Hospital Miguel Bombarda of Lisbon.
His style is considered to be very dense, heavily influenced by William Faulkner, James Joyce and Louis-Ferdinand C茅line.
He has an extensive work, translated into several languages. Among the many awards he has received so far, in 2007 he received the Cam玫es Award, the most prestigious Portuguese literary award.
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Displaying 1 - 30 of 113 reviews
October 25, 2023
The Inquisitors鈥� Manual is a burlesque of misery: m茅salliances, matrimonial unfaithfulness, divorces, ignorance, stupidity, incompetence, ugly vices, social cataclysms, decline and fall鈥�
The Inquisitors鈥� Manual is about a pig style of living in a pigsty of the world: the rich are greedy an villainous while the poor are grudgeful and wicked鈥� And meanness has the highest utility because it is a main propulsion device allowing to reach power鈥�
The meaner one gets the higher one manages to climb a social ladder鈥� But does it pay?
(I must have been fifteen or sixteen years old because the new garage next to the beech trees was being built, the tractor rumbled beyond the vegetable garden, and the metal blades of the windmill creaked in the heat)
when I heard murmurs and whispers and steps in the chapel, not the sounds of chickens or turtledoves or magpies but of people, perhaps the gypsies from Azeit茫o making off with the
Virgin Mary and the carved candlesticks
(women in black skirts, men blowing on flames under coffeepots, sad scrawny mules)
and I grabbed one of the canes from the stoneware umbrella stand in the foyer and trotted across the dining room where the chandelier sprinkled glass shadows onto the tablecloth, I leapt over the flower bed with birds-of-paradise, I leapt over the petunias, the chapel door was open, the candles fluttered under the arches, but I didn鈥檛 find the Gypsies from Azeit茫o
I found the cook lying flat out on the altar, her clothes all tousled, with her apron around her neck, and my father beet red, cigarillo in his mouth and hat on his head, holding on to her hips and looking at me without anger or surprise鈥�
The Inquisitors鈥� Manual is about a pig style of living in a pigsty of the world: the rich are greedy an villainous while the poor are grudgeful and wicked鈥� And meanness has the highest utility because it is a main propulsion device allowing to reach power鈥�
I never went more than two or three times to the farm in Palmela, I don鈥檛 like cows, I don鈥檛 like pigs, I don鈥檛 like the smell of manure everywhere you turn, and I didn鈥檛 like my father-in-law eyeing me from head to toe as if he鈥檇 never seen me, as if I hadn鈥檛 already been his daughter-in-law for ten years
鈥淎 skinny hothead without hips, you don鈥檛 know how to pick out a heifer, Jo茫o鈥�
eyeing me without the slightest hesitation, shame, or scruple, indifferent to the housekeeper, to the maids, to our kids, and to the broad with a lapdog who sat next to him on the sofa, a sinister, incredibly tacky broad in her fifties, dressed up at five in the afternoon as if for a baptismal ceremony in Alg茅s or some other nouveau-riche suburb, the widow of a small-town pharmacist or civil servant who liked to call me dear and touch my arm when she talked to me, I hate to be touched, and the old broad would grab my arm鈥�
The meaner one gets the higher one manages to climb a social ladder鈥� But does it pay?
February 15, 2022
Sic transit horror mundi
The misery that was fascist and colonial Portugal. Not just the documented political and economic misery of the New State dictatorship but the social and emotional degradation which is impossible to establish on any metric. And not just the misery of the regime, but the misery of the revolution that overthrew it, including its aftermath.
Revolutions, violent or not, never have predictable consequences. Just as America has recently taken a crap-shoot with Donald Trump so Portugal rolled the dice in the Carnation Revolution of 1974 that overthrew the remnants of Oliveira Salazar鈥檚 corporatist, Catholic totalitarianism and dismantled the Portuguese empire in African and East Timor. And just as Trump will find that the undoing of international trade arrangements causes as much disruption as their creation, so Portugal found that the undoing of Salazar鈥檚 legacy was in many ways more painful than its continuation. Sadly, apart from anything else, revolution releases greed, envy and retribution far more readily than it does justice, equality and respect, particularly if you're a woman. As a consequence the net revolutionary effect on the human condition approaches zero, and does nothing to avoid the inevitability of human death. Sic transit...
Lobo Antunes has developed a unique way of telling a uniquely Portuguese story. Neither straightforward narrative nor stream of consciousness, his prose is what might be called multi-temporal; it jumps back and forth within the same paragraph, sometimes within a single sentence, over a forty or fifty year period, recalling events, emotions, and sensations into a coherent present, and punctuating that present with repetition of its most important phrase. It is also all recounted in the first person, but by at least a dozen persons, each with his own voice (and vice), whose narratives inter-weave.
It sounds complicated but, amazingly, the technique is not at all difficult to follow. In fact it is an extremely effective way to tell this complex cultural story. Lobo Antunes鈥檚 construction of individual histories is never too laboured. And his sequencing of narratives is perfectly timed. For my money The Inquisitors Manual is as good as the best of Jose Saramago. And because of a geographic realism that rivals that of Saramago, one can readily enter Lobo Antunes鈥檚 world South of the Tagus via Google Earth as an additional treat.
The misery that was fascist and colonial Portugal. Not just the documented political and economic misery of the New State dictatorship but the social and emotional degradation which is impossible to establish on any metric. And not just the misery of the regime, but the misery of the revolution that overthrew it, including its aftermath.
Revolutions, violent or not, never have predictable consequences. Just as America has recently taken a crap-shoot with Donald Trump so Portugal rolled the dice in the Carnation Revolution of 1974 that overthrew the remnants of Oliveira Salazar鈥檚 corporatist, Catholic totalitarianism and dismantled the Portuguese empire in African and East Timor. And just as Trump will find that the undoing of international trade arrangements causes as much disruption as their creation, so Portugal found that the undoing of Salazar鈥檚 legacy was in many ways more painful than its continuation. Sadly, apart from anything else, revolution releases greed, envy and retribution far more readily than it does justice, equality and respect, particularly if you're a woman. As a consequence the net revolutionary effect on the human condition approaches zero, and does nothing to avoid the inevitability of human death. Sic transit...
Lobo Antunes has developed a unique way of telling a uniquely Portuguese story. Neither straightforward narrative nor stream of consciousness, his prose is what might be called multi-temporal; it jumps back and forth within the same paragraph, sometimes within a single sentence, over a forty or fifty year period, recalling events, emotions, and sensations into a coherent present, and punctuating that present with repetition of its most important phrase. It is also all recounted in the first person, but by at least a dozen persons, each with his own voice (and vice), whose narratives inter-weave.
It sounds complicated but, amazingly, the technique is not at all difficult to follow. In fact it is an extremely effective way to tell this complex cultural story. Lobo Antunes鈥檚 construction of individual histories is never too laboured. And his sequencing of narratives is perfectly timed. For my money The Inquisitors Manual is as good as the best of Jose Saramago. And because of a geographic realism that rivals that of Saramago, one can readily enter Lobo Antunes鈥檚 world South of the Tagus via Google Earth as an additional treat.
April 4, 2021
Vjetar je u mo膷vari kome拧ao sparu拧ene dalije i eukaliptuse, koji su se 拧irili i skupljali u ritmu disanja blata.
Antune拧 je ovdje poput cunamija. Jeste da sve ru拧i, ali s druge strane ostavlja prostora da se izgradi ne拧to novo i bolje. Gradioci 膰e imati puno posla. Dosta se vidi Selinov uticaj, naro膷ito na njegov roman ,,Smrt na kredit." Ovdje i jedan i drugi roman obuhvataju svakodnevnicu pre啪ivljavanja, te拧ko膰e u porodici, i nepomirenost s dr啪avnom klikom. Zanimljivo je da su obojica ljekari, mobilisani, i da su lje膷ili u ratu. Njihov stil, bar uzev拧i u obzir ,,Smrt na kredit" i ovu knjigu, nije ne拧to 拧to bih mogao lako da svarim. 膶esto me dovodi do zamora i iscrpljenosti.
Me膽utim, kad shvati拧 da se Antune拧ev Portugal nalazi u jednom nemilostivom vremenu, pokriven prljav拧tinom fa拧isti膷ke diktature, i progonom, onda se jednostavno pita拧 da li je moglo druga膷ije. Sva nesloga unutar porodice, sukob porodice s vlastodr拧cima i me膽uljudski odnosi su dovedeni pred liticu, a po膷esto se ispoljavaju i kroz jednu tananu tragi-komi膷nost. 膶esto ne zna拧 da li da vri拧ti拧 od smjeha ili od muke. More i katedrale dobijaju jedan sumoran ton, a eukaliptusi su na svakom koraku. Zloba je mo膰an podsticaj koji pi拧膷eve junake vodi kroz vrtloge haosa sa kojim se svakodnevno suo膷avaju. Njihova vulgarnost ih oko拧tava i predstavlja ono 拧to mo啪e拧 da uzme拧 kao reper nekog svakodnevnog prolaznika. Ovdje je nano拧enje bola ne拧to 拧to pru啪a zadovoljstvo onome ko ga nanosi i pokazuje svu njegovu bezobzirnost. Pi拧膷eva okolina je toliko zaga膽ena da nema nikakvog odgonetanja, ve膰 predstavlja otvorenu jednostranost i pojednostavljenost.
Slo啪i膰u se da je ovdje prijevod (Tamina 艩op), odnosno ne samo prijevod kao takav, ve膰 i ta sposobnost i mjera da se ovaj roman slo啪i i na najbolji mogu膰i na膷in predstavi 膷itaocima. Ono 拧to je u ovoj knjizi olak拧avaju膰e jesu Antune拧evi blesavi komentari koji su svijetla ta膷ka u ovom romanu. Tako se uspostavlja balans koji daje 膷itaocu vjetar u le膽a i 膷ini da ovo djelo ipak bude malo prijatnije.
February 1, 2020
Nedavno je u svetskoj sudskoj praksi napravljen istorijski presedan tako 拧to je za krunski dokaz uzeto verbalno svedo膷enje i to upravo osobe koja tu啪i. Proces je trajao veoma dugo iz 膷ega se mo啪e razumeti da je bilo mnogo ve拧ta膷enja, kontratu啪bi i drugih pravnih trakalica, ali se istinitijim od svega materijalnog proglasilo tu啪iteljkino se膰anje na doga膽aje od pre vi拧e decenija. Re膷 je o nekoj nesretnoj devoj膷ici, sada 啪eni u zrelim godinama, koja je, da bi podnela grozomorna o膷eva zlostavljanja, sebe podvojila na preko stotinu li膷nosti, toliko autenti膷nih da se vi拧e nisu mogli smatrati odstupanjima od psihi膷ke stabilnosti, te ih je sud priznao kao objektivne i sasvim nezavisne svedoke. Me膽u tim li膷nostima je bilo i mu拧kih i 啪enskih i dece i odraslih, a zajedni膷ko im je bilo jedino to 拧to su do啪iveli 鈥� svako na sopstveni na膷in, ali svi isto.
E, u takav neki odnos je Antune拧 postavio svoje likove, iako mu seksualna zlostavljanja nisu tema, ta膷nije, nisu primarna iako ih ima. Nije mu, ako mene pitate, tema ni fa拧izam, ta膷nije, nije primarna, iako su fa拧isti膷ki u啪asi su jo拧 prisutniji od pre膽a拧njih.
Ovo je bomba knjiga, veoma slo啪en mehanizam i mo啪e se lju拧titi sve do jezgra univerzalnosti. A unutra raspad: ideologije, dr啪ave, sistema, porodice, pojedinca, ljubavi, snova, ambicija, nadanja, 啪elja. I svi se raspadaju 鈥� svako na sopstveni na膷in, ali svi isto.
膶italac mo啪e da sudi, mo啪e da se pita ko 膰e da sudi, mo啪e da razmi拧lja da li uop拧te treba suditi i tako u nedogled. To su ve膰 pitanja senzibiliteta preferenci svake pojedine li膷nosti.
U svakom slu膷aju, ovo je maestralno napisan i sjajno preveden roman zbog koga 膰u morati da pravim rokade po listi najboljih koje sam do sada pro膷itala.
E, u takav neki odnos je Antune拧 postavio svoje likove, iako mu seksualna zlostavljanja nisu tema, ta膷nije, nisu primarna iako ih ima. Nije mu, ako mene pitate, tema ni fa拧izam, ta膷nije, nije primarna, iako su fa拧isti膷ki u啪asi su jo拧 prisutniji od pre膽a拧njih.
Ovo je bomba knjiga, veoma slo啪en mehanizam i mo啪e se lju拧titi sve do jezgra univerzalnosti. A unutra raspad: ideologije, dr啪ave, sistema, porodice, pojedinca, ljubavi, snova, ambicija, nadanja, 啪elja. I svi se raspadaju 鈥� svako na sopstveni na膷in, ali svi isto.
膶italac mo啪e da sudi, mo啪e da se pita ko 膰e da sudi, mo啪e da razmi拧lja da li uop拧te treba suditi i tako u nedogled. To su ve膰 pitanja senzibiliteta preferenci svake pojedine li膷nosti.
U svakom slu膷aju, ovo je maestralno napisan i sjajno preveden roman zbog koga 膰u morati da pravim rokade po listi najboljih koje sam do sada pro膷itala.
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September 9, 2016Prvi put u sto godina mogu da se slo啪im sa nekim blurbom: 鈥濳ada se Antune拧 razmahne鈥� stoji rame uz rame sa Vilijamom Foknerom ili Selinom.鈥� Jer to jesu prva dva pisca koja padaju na pamet tokom 膷itanja, prvih tridesetak strana malo-malo pa sam morala da zatresem glavom jer mi se sve ukazivao "Avesalome, Avesalome". Posle se utisak razi拧ao :)
Ovo je mo膰na knjiga, fenomenalno koncipirana i izvedena i onako lepo i bogato prevedena (poen za Taminu 艩op) ali. nije. za. osetljive. Ba拧 nije da je neko sklon depresiji 膷ita u novembru. Ne samo 拧to ima nasilja i mu膷enja (a 拧ta ste o膷ekivali od knjige o ministru u fa拧isti膷koj vladi) i maltretiranja pot膷injenih svih vrsta, osobito 啪ena (isto) nego ima i ne膷eg te啪eg. Kako da vam ka啪em... ja bih u ovaj blurb dodala i Tomasa Bernharda. Jer Lobo Antune拧 mrzi ceo ljudski rod, ali vi拧e nego fa拧iste mrzi malogra膽ane, a vi拧e nego malogra膽ane mrzi malogra膽anke (ok, Bernhardu treba priznati da mrzi nepristrasno oba pola) i od bezbroj glasova koji se 膷uju u romanu najgrozniji i najkarikiraniji jesu njihovi glasovi. I jeste da povremeno ima pravih bisera crnog humora i satire, ali do njih treba da se gaca kroz ljudsku patnju i mr啪nju i momente od kojih se stomak prevr膰e. Pritom svi glasovi pri膷aju (bar po) dve stvari istovremeno, sada拧njost i pro拧lost se prepli膰u, svako vu膷e na svoju stranu i zna samo deo pri膷e... i ono 拧to je najstra拧nije i naj啪alosnije jeste 拧to do kraja knjige 膷italac po膷ne da 啪ali sve te likove kao tu啪ne, usamljene nesre膰nike. I to izazivanje sau膷e拧膰a je zapravo pravi podvig autora jer su mu likovi odreda u rangu od nesimpati膷nih do monstruoznih.
Vrhunski je ovo roman. Ali pazite kad i kako ga 膷itate (i neka vam pri ruci bude ne拧to ute拧no, neko 膰ebence, ma膷ka, ne拧to. Treba膰e).
Ovo je mo膰na knjiga, fenomenalno koncipirana i izvedena i onako lepo i bogato prevedena (poen za Taminu 艩op) ali. nije. za. osetljive. Ba拧 nije da je neko sklon depresiji 膷ita u novembru. Ne samo 拧to ima nasilja i mu膷enja (a 拧ta ste o膷ekivali od knjige o ministru u fa拧isti膷koj vladi) i maltretiranja pot膷injenih svih vrsta, osobito 啪ena (isto) nego ima i ne膷eg te啪eg. Kako da vam ka啪em... ja bih u ovaj blurb dodala i Tomasa Bernharda. Jer Lobo Antune拧 mrzi ceo ljudski rod, ali vi拧e nego fa拧iste mrzi malogra膽ane, a vi拧e nego malogra膽ane mrzi malogra膽anke (ok, Bernhardu treba priznati da mrzi nepristrasno oba pola) i od bezbroj glasova koji se 膷uju u romanu najgrozniji i najkarikiraniji jesu njihovi glasovi. I jeste da povremeno ima pravih bisera crnog humora i satire, ali do njih treba da se gaca kroz ljudsku patnju i mr啪nju i momente od kojih se stomak prevr膰e. Pritom svi glasovi pri膷aju (bar po) dve stvari istovremeno, sada拧njost i pro拧lost se prepli膰u, svako vu膷e na svoju stranu i zna samo deo pri膷e... i ono 拧to je najstra拧nije i naj啪alosnije jeste 拧to do kraja knjige 膷italac po膷ne da 啪ali sve te likove kao tu啪ne, usamljene nesre膰nike. I to izazivanje sau膷e拧膰a je zapravo pravi podvig autora jer su mu likovi odreda u rangu od nesimpati膷nih do monstruoznih.
Vrhunski je ovo roman. Ali pazite kad i kako ga 膷itate (i neka vam pri ruci bude ne拧to ute拧no, neko 膰ebence, ma膷ka, ne拧to. Treba膰e).
October 17, 2020
I read this book aloud without stopping.
I will never understand why this author has not yet received the Nobel Prize for Literature.
His books are difficult to approach.
Antunes describes in this novel the human condition on the reality's side, that of a bloodthirsty and selfish beast. Great literature, a must-read.
I will never understand why this author has not yet received the Nobel Prize for Literature.
His books are difficult to approach.
Antunes describes in this novel the human condition on the reality's side, that of a bloodthirsty and selfish beast. Great literature, a must-read.
April 15, 2017
O ovome je ba拧 te拧ko pisati jer je nemogu膰e preneti utisak koji Antune拧ov stil ostavlja (tj. prevod Tamine 艩op koji naprosto klizi, poslala bih joj cve膰e i bombonjeru). U svakom slu膷aju, ovo je niz od 19 poglavlja podeljenih na izve拧taje i komentare: izve拧taje pi拧u ili govore ili misle glavni junaci, dok komentare pi拧u ostali, kao nekakav korektiv istine koja je svakako vrlo problemati膷na.
Rekla bih da je ovo istovremeno i oma啪 piscima poput Foknera i D啪ojsa, ali i izrazito lirski intoniran roman koji u nizu razli膷ito konstruisanih tokova svesti uspeva da odr啪i vrlo jednostavan i tradicionalan model fabule: kako je propala diktatura, odnosno, kako je propao jedan 膷ovek. Ono 拧to je Salazaru bio Portugal, Fransi拧ku, glavnom junaku, predstavlja farma na kojoj terori拧e kuvarice, gavrane, pse, suprugu, sina, a najvi拧e sebe. Postoji niz metonimija koje vezuju model farme za model portugalske diktature (papagaji koji ponavljaju da vole Salazara (ljudi), a potom crknu od te ljubavi; Mila kao nakaradni hibrid anahrone li膷ne (kolektivne) istorije koju Fransi拧ko pateti膷no poku拧ava da o啪ivi itd.), a ipak, ovo ne li膷i na satiri膷ni politi膷ki roman. Mene mo啪da najvi拧e podse膰a na Bernhardov obra膷un sa austrijskim fa拧izmom u Brisanju. Raspad, uz napomenu da je strukturno, ovo delo mnogo kompleksnije i izazovnije.
Meni se posebno dopada to 拧to ne znamo kome se obra膰aju svi ti ljudi, ko je taj (ti) inkvizitor(i) koji snimaju, ali bih rekla da je to Sada拧njost koja poku拧ava da se istoriografski razra膷una sa pro拧lo拧膰u, a nu啪no zavr拧ava u fiktivnom, konstruisanom - dobri stari postmodernizam (ta膷no se vidi da 膷itam Lindu Ha膷ion xD)).
Naposletku, citat iz monologa majke devojke Mile koja podse膰a na Fransi拧kovu 啪enu koja ga je napustila, i koju majka gotovo prodaje ministru radi boljeg 啪ivota (nasumi膷no sam odabrala jer je sve povezano):
ali nisam ga se pla拧ila jer sam znala da nema opasnosti da se matori okane moje 膰erke, jer, 膷ak i da ne ispuni ono 拧to je obe膰ao i ne o啪eni se njome, nastavi膰e da dolazi svakog ponedeljka i petka posle Ministarstva, sa svojim 拧e拧irom, cigarom i selja膷kom ode膰om, lasti拧-tregerima i strukom svadbenog narda, tako ceremonijalan i tu啪an, se拧膰e kraj Mile miluju膰i joj potiljak, vrat, ramena vla啪nim prstima dok grad polako tone u mrak i ja ih gledam iz hodnika, gledam ih iz svoje sobe, gledam kako starkelja pola啪e glavu u krilo moje 膰erke koja se osmehuje, trep膰e i klati se napred-nazad kao mrtva lutka
Rekla bih da je ovo istovremeno i oma啪 piscima poput Foknera i D啪ojsa, ali i izrazito lirski intoniran roman koji u nizu razli膷ito konstruisanih tokova svesti uspeva da odr啪i vrlo jednostavan i tradicionalan model fabule: kako je propala diktatura, odnosno, kako je propao jedan 膷ovek. Ono 拧to je Salazaru bio Portugal, Fransi拧ku, glavnom junaku, predstavlja farma na kojoj terori拧e kuvarice, gavrane, pse, suprugu, sina, a najvi拧e sebe. Postoji niz metonimija koje vezuju model farme za model portugalske diktature (papagaji koji ponavljaju da vole Salazara (ljudi), a potom crknu od te ljubavi; Mila kao nakaradni hibrid anahrone li膷ne (kolektivne) istorije koju Fransi拧ko pateti膷no poku拧ava da o啪ivi itd.), a ipak, ovo ne li膷i na satiri膷ni politi膷ki roman. Mene mo啪da najvi拧e podse膰a na Bernhardov obra膷un sa austrijskim fa拧izmom u Brisanju. Raspad, uz napomenu da je strukturno, ovo delo mnogo kompleksnije i izazovnije.
Meni se posebno dopada to 拧to ne znamo kome se obra膰aju svi ti ljudi, ko je taj (ti) inkvizitor(i) koji snimaju, ali bih rekla da je to Sada拧njost koja poku拧ava da se istoriografski razra膷una sa pro拧lo拧膰u, a nu啪no zavr拧ava u fiktivnom, konstruisanom - dobri stari postmodernizam (ta膷no se vidi da 膷itam Lindu Ha膷ion xD)).
Naposletku, citat iz monologa majke devojke Mile koja podse膰a na Fransi拧kovu 啪enu koja ga je napustila, i koju majka gotovo prodaje ministru radi boljeg 啪ivota (nasumi膷no sam odabrala jer je sve povezano):
ali nisam ga se pla拧ila jer sam znala da nema opasnosti da se matori okane moje 膰erke, jer, 膷ak i da ne ispuni ono 拧to je obe膰ao i ne o啪eni se njome, nastavi膰e da dolazi svakog ponedeljka i petka posle Ministarstva, sa svojim 拧e拧irom, cigarom i selja膷kom ode膰om, lasti拧-tregerima i strukom svadbenog narda, tako ceremonijalan i tu啪an, se拧膰e kraj Mile miluju膰i joj potiljak, vrat, ramena vla啪nim prstima dok grad polako tone u mrak i ja ih gledam iz hodnika, gledam ih iz svoje sobe, gledam kako starkelja pola啪e glavu u krilo moje 膰erke koja se osmehuje, trep膰e i klati se napred-nazad kao mrtva lutka
Read
May 1, 2023Kad sam zavr拧io Foknerovu Buku i bes, mislio sam da ove godine ne膰u 膷itati romane toka svesti, ali na sre膰u to se nije desilo. Ova pri膷a je takva da sam sebi u jednom trenutku rekao da je samo psihijatar mogao da je napi拧e, a Antune拧 je to po zanimanju. Njegovi precizni opisi 拧to du拧evnih stanja, 拧to najstinijih, skoro neprimetnih pokreta tela, uvla膷e 膷itaoca u jednu gorku pri膷u i imao sam ose膰aj da gledam neku seriju ili film. O啪ivotvorenost likova nas tera na poistove膰ivanje sa njima. Surovost 啪ivota se oseti na svakoj stranici i sam naslov koji ukazuje na sadizam je sasvim opravdan. Jedna od stvari koja mi se ne svi膽a u ovakvim delima je me拧anje fle拧bekova i toka svesti, tj pro拧losti i sada拧njosti, ali kad sam bolje razmislio to je verovatno potrebno radi postizanja odre膽enih efekata kod 膷italaca.
Pri膷a prati sudbinu preko 10 likova koji su iz razli膷itih miljea, a 膷ije su sudbine nepovratno povezane, 拧to me je podsetilo na Hakslijev Kontrapunkt. U centru je Salazarov ministar, tipi膷an diktatorski funkcioner, sadista, 膷ovek koji je u su拧tini zasi膰en 啪ivotom i tra啪i objekte za svoja uglavnom seksualna i啪ivljavanja. Kroz njega je opisan fa拧isti膷ki re啪im u Portugalu, da jedna 啪elja mo膰nika menja 啪ivot obi膷nog 膷oveka, ne obaziru膰i se ni na 拧ta, ni na kakve vrednosti, prava...
U romanu se dobro vidi kako degradiranost pojedinca i uni拧tavanje njegove moralne autonomije, dovodi do odr啪avanja totalitarnog re啪ima, kako jedna vlast stvara za膷arani krug zla strahom. Nema otpora nasilju, silovanjima, to je svakodnevica, u svesti tih ljudi je usa膽eno da je to uzaludno.
Ali iza sve te surovosti krije se 膶ovek, kakvo takvo, ali ljudsko bi膰e sa svim svojim manama i vrlinama. Antune拧 ih podrobno analizira, daje obja拧njenja za njihove postupke i dosta likova nije manihejski prikazano.
Pri膷a prati sudbinu preko 10 likova koji su iz razli膷itih miljea, a 膷ije su sudbine nepovratno povezane, 拧to me je podsetilo na Hakslijev Kontrapunkt. U centru je Salazarov ministar, tipi膷an diktatorski funkcioner, sadista, 膷ovek koji je u su拧tini zasi膰en 啪ivotom i tra啪i objekte za svoja uglavnom seksualna i啪ivljavanja. Kroz njega je opisan fa拧isti膷ki re啪im u Portugalu, da jedna 啪elja mo膰nika menja 啪ivot obi膷nog 膷oveka, ne obaziru膰i se ni na 拧ta, ni na kakve vrednosti, prava...
U romanu se dobro vidi kako degradiranost pojedinca i uni拧tavanje njegove moralne autonomije, dovodi do odr啪avanja totalitarnog re啪ima, kako jedna vlast stvara za膷arani krug zla strahom. Nema otpora nasilju, silovanjima, to je svakodnevica, u svesti tih ljudi je usa膽eno da je to uzaludno.
Ali iza sve te surovosti krije se 膶ovek, kakvo takvo, ali ljudsko bi膰e sa svim svojim manama i vrlinama. Antune拧 ih podrobno analizira, daje obja拧njenja za njihove postupke i dosta likova nije manihejski prikazano.
September 19, 2018
I鈥檝e heard about The Inquisitors鈥� Manual from a number of my GR friends. They warned me that this wasn鈥檛 a book for the sensitive people. That is why I saved my read to September, the month when I usually feel harmonious and balanced, and the nature is melancholic but beautiful. Smart move, because it was a journey through a dark and unfavourable landscape.
Salazar鈥檚 Portugal is the world of dictatorship, corruption, torture and blood. Add lost love, incapability to love, abandoned children, abuse of women and plenty of evil and misery of all kinds, to get the picture of which subjects are brought up in the book. Not an easy read, thematically , and I disliked most of the characters yet cried tears for them.
Stylistically, it was brilliant and powerful writing. Several different narrators told the story in reports, minor characters filled out the gaps in commentaries. Change of perspective, playing with reality, cryptic and poetic language made all this book a unique experience. That being said I need to add that I鈥檓 not sure how much I got from the book, nor did I try too hard to understand everything. I simply went with the magnificent flow of beautiful words. I enjoyed the book as the melody and that鈥檚 maybe odd to state about a book of fallen humanity, but this is how it was for me.
I鈥檓 grateful to Tamina 艩op, whose brilliant translation to Serbian made it possible for me to discover the book and the author.
Salazar鈥檚 Portugal is the world of dictatorship, corruption, torture and blood. Add lost love, incapability to love, abandoned children, abuse of women and plenty of evil and misery of all kinds, to get the picture of which subjects are brought up in the book. Not an easy read, thematically , and I disliked most of the characters yet cried tears for them.
Stylistically, it was brilliant and powerful writing. Several different narrators told the story in reports, minor characters filled out the gaps in commentaries. Change of perspective, playing with reality, cryptic and poetic language made all this book a unique experience. That being said I need to add that I鈥檓 not sure how much I got from the book, nor did I try too hard to understand everything. I simply went with the magnificent flow of beautiful words. I enjoyed the book as the melody and that鈥檚 maybe odd to state about a book of fallen humanity, but this is how it was for me.
I鈥檓 grateful to Tamina 艩op, whose brilliant translation to Serbian made it possible for me to discover the book and the author.
August 5, 2017
meu Deus como tudo 茅 claro agora.
Everything is now clear. Or not. We are driven into the story of Francisco, a high ranking minister in the Salazar dictatorship who wants it all but things happen.
His wife Isabel leaves him. He pines for her and takes a mistress, Mil谩 whom he dresses after his ex-wife. Gostas de mim n茫o gostas Isabel? Creepy.
Politically he loses and he retreats to his farm remembering the days when the professor Salazar visited him. He remembers his past during the Carnation Revolution. THere are so many memories; so much time lost. Love and loss. The Angolan war. His farm with the cypress-treed lane. As the title suggests, an interrogation.
Chichi senhor doutor chichi quem fez um chichi lindo chem foi?
Francisco is not a nice man. Ambitious, cruel, harsh and driven. His son Jo茫o is not like him. He treats women very poorly. He gets what he deserves. Maybe?
Morreu assim que tocou na cal莽ada senhor ministro.
Francisco's life is recounted by many narratives. This is the poetic, cryptic and powerful language of Portugal's Antonio Lobo Antunes. To be honest, this is challenging material. Lobo Antunes divides the book into five chapters; within each chapter is a story (relato) and a commentary by others. His language jumps around and plays on repetitive sentence structures that makes the entire narrative possibly one of the most unique voices in literature. Similar and yet different to his companion Jose Saramago, it can evoke and puzzle you all at the same time. One needs to read passages out loud to clarify. To get the whole story, we need many voices. This is ambitious stuff but reading it I was mesmerized by the flow.
This is not a flattering view of this man and the people around him. It is a snapshot of a time in Portugal's history that changed completely. Francisco, or people like him were caught up and left out. Reality. Very much reality.
Without a doubt, Powerful stuff.
Everything is now clear. Or not. We are driven into the story of Francisco, a high ranking minister in the Salazar dictatorship who wants it all but things happen.
His wife Isabel leaves him. He pines for her and takes a mistress, Mil谩 whom he dresses after his ex-wife. Gostas de mim n茫o gostas Isabel? Creepy.
Politically he loses and he retreats to his farm remembering the days when the professor Salazar visited him. He remembers his past during the Carnation Revolution. THere are so many memories; so much time lost. Love and loss. The Angolan war. His farm with the cypress-treed lane. As the title suggests, an interrogation.
Chichi senhor doutor chichi quem fez um chichi lindo chem foi?
Francisco is not a nice man. Ambitious, cruel, harsh and driven. His son Jo茫o is not like him. He treats women very poorly. He gets what he deserves. Maybe?
Morreu assim que tocou na cal莽ada senhor ministro.
Francisco's life is recounted by many narratives. This is the poetic, cryptic and powerful language of Portugal's Antonio Lobo Antunes. To be honest, this is challenging material. Lobo Antunes divides the book into five chapters; within each chapter is a story (relato) and a commentary by others. His language jumps around and plays on repetitive sentence structures that makes the entire narrative possibly one of the most unique voices in literature. Similar and yet different to his companion Jose Saramago, it can evoke and puzzle you all at the same time. One needs to read passages out loud to clarify. To get the whole story, we need many voices. This is ambitious stuff but reading it I was mesmerized by the flow.
This is not a flattering view of this man and the people around him. It is a snapshot of a time in Portugal's history that changed completely. Francisco, or people like him were caught up and left out. Reality. Very much reality.
Without a doubt, Powerful stuff.
Read
March 16, 2025Fragmentaryczna, polifoniczna narracja, kt贸ra p艂ynie jak strumie艅 艣wiadomo艣ci 鈥� a mo偶e lepszym okre艣leniem by艂aby wielotemporalno艣膰? Przeskoki w czasie, mieszanie perspektyw i przeplatanie wspomnie艅 z tera藕niejszo艣ci膮 sprawiaj膮, 偶e czytelnik zanurza si臋 w kilkudziesi臋ciu latach historii, czasem w obr臋bie jednego zdania.
Antunes buduje swoj膮 opowie艣膰 na powracaj膮cych frazach, kt贸re niczym echo wybrzmiewaj膮 w ka偶dym rozdziale, podkre艣laj膮c najwa偶niejsze emocje i idee. To styl wymagaj膮cy, ale hipnotyzuj膮cy. Jak w Chwale Portugalii, tak偶e tutaj autor stosuje narracyjny kalejdoskop, kt贸ry dla jednych oka偶e si臋 zbyt hermetyczny, dla innych 鈥� fascynuj膮c膮 literack膮 uk艂adank膮. Jego spos贸b pisania mo偶na por贸wna膰 do Fossego czy Evaristo, ale nie przez styl, a przez spos贸b anga偶owania czytelnika 鈥� wymaga intuicyjnego, skojarzeniowego odbioru, pe艂nego oddania si臋 rytmowi prozy.
Na osi tej narracyjnej mozaiki rozpi臋ta jest opowie艣膰 o dyktaturze Estado Novo 鈥� systemie, kt贸ry przez dekady kszta艂towa艂 Portugali臋 i jej spo艂ecze艅stwo. 艢ledzimy losy by艂ego oficera tajnej policji PIDE, cz艂owieka, kt贸ry by艂 trybikiem w machinie opresji. W jego wspomnieniach odbija si臋 przemoc, manipulacja i moralna pustka. Antunes nie daje 艂atwych odpowiedzi: czytamy o cz艂owieku, kt贸ry uosabia bezwzgl臋dno艣膰 systemu, a jednocze艣nie 鈥� kim艣, kto pr贸buje zmierzy膰 si臋 z w艂asn膮 przesz艂o艣ci膮 i cieniem historii.
To nie tyle klasyczna powie艣膰, co literacki labirynt, pe艂en aluzji do portugalskiej historii i psychologicznego studium w艂adzy, sumienia oraz przemocy. Rewolucja Go藕dzik贸w w 1974 roku zako艅czy艂a dyktatur臋, inicjuj膮c demokratyzacj臋 i dekolonizacj臋, ale jej duchowe i spo艂eczne konsekwencje nadal s膮 odczuwalne.
Nie by艂a to lektura 艂atwa 鈥� wymaga艂a ode mnie zg艂臋bienia kontekstu, powolnego uk艂adania element贸w tej skomplikowanej uk艂adanki. Ale z ka偶d膮 kolejn膮 ksi膮偶k膮 Antunesa Portugalia w mojej g艂owie staje si臋 coraz bardziej wyrazista, a jego opowie艣ci 鈥� cennym kluczem do zrozumienia jej historii. I za to jestem wdzi臋czny.
Antunes buduje swoj膮 opowie艣膰 na powracaj膮cych frazach, kt贸re niczym echo wybrzmiewaj膮 w ka偶dym rozdziale, podkre艣laj膮c najwa偶niejsze emocje i idee. To styl wymagaj膮cy, ale hipnotyzuj膮cy. Jak w Chwale Portugalii, tak偶e tutaj autor stosuje narracyjny kalejdoskop, kt贸ry dla jednych oka偶e si臋 zbyt hermetyczny, dla innych 鈥� fascynuj膮c膮 literack膮 uk艂adank膮. Jego spos贸b pisania mo偶na por贸wna膰 do Fossego czy Evaristo, ale nie przez styl, a przez spos贸b anga偶owania czytelnika 鈥� wymaga intuicyjnego, skojarzeniowego odbioru, pe艂nego oddania si臋 rytmowi prozy.
Na osi tej narracyjnej mozaiki rozpi臋ta jest opowie艣膰 o dyktaturze Estado Novo 鈥� systemie, kt贸ry przez dekady kszta艂towa艂 Portugali臋 i jej spo艂ecze艅stwo. 艢ledzimy losy by艂ego oficera tajnej policji PIDE, cz艂owieka, kt贸ry by艂 trybikiem w machinie opresji. W jego wspomnieniach odbija si臋 przemoc, manipulacja i moralna pustka. Antunes nie daje 艂atwych odpowiedzi: czytamy o cz艂owieku, kt贸ry uosabia bezwzgl臋dno艣膰 systemu, a jednocze艣nie 鈥� kim艣, kto pr贸buje zmierzy膰 si臋 z w艂asn膮 przesz艂o艣ci膮 i cieniem historii.
To nie tyle klasyczna powie艣膰, co literacki labirynt, pe艂en aluzji do portugalskiej historii i psychologicznego studium w艂adzy, sumienia oraz przemocy. Rewolucja Go藕dzik贸w w 1974 roku zako艅czy艂a dyktatur臋, inicjuj膮c demokratyzacj臋 i dekolonizacj臋, ale jej duchowe i spo艂eczne konsekwencje nadal s膮 odczuwalne.
Nie by艂a to lektura 艂atwa 鈥� wymaga艂a ode mnie zg艂臋bienia kontekstu, powolnego uk艂adania element贸w tej skomplikowanej uk艂adanki. Ale z ka偶d膮 kolejn膮 ksi膮偶k膮 Antunesa Portugalia w mojej g艂owie staje si臋 coraz bardziej wyrazista, a jego opowie艣ci 鈥� cennym kluczem do zrozumienia jej historii. I za to jestem wdzi臋czny.
May 7, 2022
Reflections in the wind
I have a little box of reinforcements in my desk drawer. You pull a strip out and all the round, white reinforcements are stuck on there in an endless row of circles. You can wish forever that one day you鈥檒l pull the strip out a bit more and there will be a purple one, one the color of a ripe tangerine or one with a tiny picture of a jaguar on it, but no, they鈥檙e all white, boring, sitting there waiting for me to need them to fix the ripped holes of pages in a two-ring or three-ring folder. Reading THE INQUISITOR鈥橲 MANUAL is entirely a different kettle of fish. Different box of reinforcements? You read each page and different images flash by, endlessly poetic, sad, wonderful. You are glued to the page like a reinforcement (what is this hang-up I have today about reinforcements?). You don鈥檛 want to stop the flow of words, the flashing of dream-like pictures that, like a pointillist painting, slowly create lasting feelings of a crushed, injured family and those connected to one evil man, a Senhor Francisco. They are all destroyed in different ways by fascism, by the brutality of a regime and that man who supported it, who even advised Salazar. He let his ego run amok and, complicit in torture, murder, and jailing of countless unlucky citizens, eventually crashed to earth when the Revolution overtook Portugal. It is not Beethoven鈥檚 Ninth Symphony that you hear as the dictatorship collapses, it鈥檚 the running of rats in the attic and the near-moronic conversations of the feeble and demented. Yes, it's a dark novel.
If you thought the title would lead to some story about the Inquisition of long ago centuries, think again. It is a modern inquisition into what fascism can do to a society, what it does to all the people who have to live under it, and in particular, what it did to Portugal before 1974, and the effects it had even after that. Because if we inquire into life and history, we find that we are living with the deeds committed in the past, which as Faulkner said, is not even past. All the myriad pictures of Life, moving on the face of the Waters, reflect an ever-changing panorama of past and present. Their reflected shapes and colors never remain the same, they shift according to current, wind and the eyes with which you see them. The whole picture is a portrait, slowly, like the growing of mold in a closet, put together while you, fascinated by events, by personalities, and by the unbelievable skill of the author, continue reading unable to stop. Wives, girlfriends, sons, illegitimate daughters, lovers of illegitimate daughters, cops, servants, nurses, cooks, sons of servants, an obese imbecile---an endless parade of people pour their thoughts out to the author, who never reveals himself. Their thoughts are wildly interrupted at nearly every moment, by other thoughts. Reality is so irregular in just that way and that鈥檚 how Lobo Antunes writes this incredible novel, the story of a cruel, twisted fascist close to the top and all those who had the misfortune to work for him, be born to him, or attract his attention in any way. But it is not only about Portugal, it is the story of the corruption of power. The banality of evil, as Hannah Arendt put it, was never more perfectly illustrated than here. The inquisition must lead to an indictment in a reader鈥檚 mind. Senhor Francisco has all too many modern clones.
I have a little box of reinforcements in my desk drawer. You pull a strip out and all the round, white reinforcements are stuck on there in an endless row of circles. You can wish forever that one day you鈥檒l pull the strip out a bit more and there will be a purple one, one the color of a ripe tangerine or one with a tiny picture of a jaguar on it, but no, they鈥檙e all white, boring, sitting there waiting for me to need them to fix the ripped holes of pages in a two-ring or three-ring folder. Reading THE INQUISITOR鈥橲 MANUAL is entirely a different kettle of fish. Different box of reinforcements? You read each page and different images flash by, endlessly poetic, sad, wonderful. You are glued to the page like a reinforcement (what is this hang-up I have today about reinforcements?). You don鈥檛 want to stop the flow of words, the flashing of dream-like pictures that, like a pointillist painting, slowly create lasting feelings of a crushed, injured family and those connected to one evil man, a Senhor Francisco. They are all destroyed in different ways by fascism, by the brutality of a regime and that man who supported it, who even advised Salazar. He let his ego run amok and, complicit in torture, murder, and jailing of countless unlucky citizens, eventually crashed to earth when the Revolution overtook Portugal. It is not Beethoven鈥檚 Ninth Symphony that you hear as the dictatorship collapses, it鈥檚 the running of rats in the attic and the near-moronic conversations of the feeble and demented. Yes, it's a dark novel.
If you thought the title would lead to some story about the Inquisition of long ago centuries, think again. It is a modern inquisition into what fascism can do to a society, what it does to all the people who have to live under it, and in particular, what it did to Portugal before 1974, and the effects it had even after that. Because if we inquire into life and history, we find that we are living with the deeds committed in the past, which as Faulkner said, is not even past. All the myriad pictures of Life, moving on the face of the Waters, reflect an ever-changing panorama of past and present. Their reflected shapes and colors never remain the same, they shift according to current, wind and the eyes with which you see them. The whole picture is a portrait, slowly, like the growing of mold in a closet, put together while you, fascinated by events, by personalities, and by the unbelievable skill of the author, continue reading unable to stop. Wives, girlfriends, sons, illegitimate daughters, lovers of illegitimate daughters, cops, servants, nurses, cooks, sons of servants, an obese imbecile---an endless parade of people pour their thoughts out to the author, who never reveals himself. Their thoughts are wildly interrupted at nearly every moment, by other thoughts. Reality is so irregular in just that way and that鈥檚 how Lobo Antunes writes this incredible novel, the story of a cruel, twisted fascist close to the top and all those who had the misfortune to work for him, be born to him, or attract his attention in any way. But it is not only about Portugal, it is the story of the corruption of power. The banality of evil, as Hannah Arendt put it, was never more perfectly illustrated than here. The inquisition must lead to an indictment in a reader鈥檚 mind. Senhor Francisco has all too many modern clones.
September 3, 2017
Ovo je jedno od onih pripovedanja u kojima ne smete da preska膷ete re膷enice i pasuse, ne zato 拧to 膰ete propustiti va啪ne detalje i izgubiti se u daljoj pri膷i, ne, pri膷a je svakako jednostavna samo razbacana, ve膰 zato 拧to je svaka re膷enica tako bogata re膷ima, tako bogata opisima, tako bogata smislom, tako mo膰na i tako unikatna. Kakva ambicioznost, kakva megalomanska hrabrost da se ovako pi拧e.
A ukoliko postoje ikakve dileme kako prepoznati dobro preveden roman, ma 拧ta dobro- kako prepoznati savr拧eno preveden roman, ovo bi valjalo 膷itati na studijama jezika, davati na analizu svakom ko po啪eli da se bavi tim pozivom i freneti膷no i dugotrajno aplaudirati prevoditeljki koja je omogu膰ila doma膰oj publici da u啪iva u punokrvnosti kvaliteta ovog pripovedanja.
A ukoliko postoje ikakve dileme kako prepoznati dobro preveden roman, ma 拧ta dobro- kako prepoznati savr拧eno preveden roman, ovo bi valjalo 膷itati na studijama jezika, davati na analizu svakom ko po啪eli da se bavi tim pozivom i freneti膷no i dugotrajno aplaudirati prevoditeljki koja je omogu膰ila doma膰oj publici da u啪iva u punokrvnosti kvaliteta ovog pripovedanja.
October 4, 2018
"O Manual dos Inquisidores" (1996) surpreendeu-me, agarrou-me desde o in铆cio e foi subindo em envolvimento at茅 bem perto do final. Na forma, temos o virtuosismo impar谩vel de ALA que n茫o escreve hist贸rias, modula mundos-hist贸ria para os quais nos transporta. O tema 茅 o Estado Novo, ou melhor, o povo portugu锚s e a sua rela莽茫o com a ditadura e seus principais atores, como via e sentia, como moldava os seus pr贸prios seres e costumes na submiss茫o 脿quela realidade pol铆tica. Ajuda o facto de Antunes ter optado por um registo de com茅dia, ainda que muito negra, que contribui para criar um olhar distanciado sobre uma realidade muitas vezes impr贸pria para os mais sens铆veis.
Come莽ando pela forma, o mais impactante do livro tem que ver com a dimens茫o tempo que est谩 praticamente ausente. Existe enquanto cronologia, marcos temporais que oferecem b贸ias a que nos podemos agarrar de tempos a tempos, mas os discursos surgem independentemente destes, podem come莽ar num passado e a seguir j谩 estarem no futuro, e depois no presente, trocam de lugar como quem sai de casa ou olha pela janela. E ao mesmo tempo, ainda que possa causar alguma fric莽茫o, n茫o deixa de se conseguir assimilar, n茫o deixa de conseguir fazer-nos sentir, porque os 铆ndices e os informantes, assim como as suas redund芒ncias, est茫o l谩, s茫o continuamente agitados por Antunes para nos manter no trilho, ou melhor, nos m煤ltiplos trilhos. Porque Antunes n茫o conta uma hist贸ria, ele cria um universo com o seu texto, para onde nos transporta, nos faz viver e sentir, e encarrega-nos de decidir o que retirar da experi锚ncia. A moral, a li莽茫o, o mote da leitura da obra n茫o 茅 saber o que aconteceu a A ou B, n茫o s茫o as consequ锚ncias ou os efeitos das causas, dos conflitos infligidos. N茫o 茅 o fim, porque 茅 o processo, porque 茅 do processo que se cria mundo, mundo-hist贸ria, que nos envolve e nos faz sentir naquela realidade, como se por l谩 tiv茅ssemos passado, como se tudo fossem mem贸rias guardadas, em parte esquecidas ou apagadas pelo tempo, fiapos de vis玫es de uma realidade hist贸rica, que para muitos de n贸s s贸 faz parte do imagin谩rio.
[imagem]
A obra de ALA nunca fala da Inquisi莽茫o, e no entanto o t铆tulo 茅 uma alus茫o direta 脿 mesma.
Mas n茫o 茅 s贸 de forma que vive este livro de Antunes, 茅 do muito que tem para dizer e do modo como indicia, desde o t铆tulo aos personagens e seus adjetivos, o assunto que tem para revelar. Antunes parece com este livro querer dar uma aula a tantos portugueses que insistem em ver em Salazar e no seu tempo como o melhor de Portugal, como apesar da falta de liberdade, 茅ramos t茫o mais felizes, e acima de tudo t铆nhamos um Estado rico. Antunes leva-nos pela m茫o at茅 ao marco temporal do Estado Novo portugu锚s, assistimos ao antes, depois e sua queda, vemos personagens do antes a viverem no depois, vemos as diferentes classes caricaturadas que formaram e ainda formam um povo. O ditador passa ao largo e ALA d谩-o a sentir como se estivesse distante e ao mesmo tempo sempre presente. Se o t铆tulo da obra quer ligar Salazar 脿 Inquisi莽茫o, n茫o sou eu quem o questionar谩 tal, e n茫o podendo dizer melhor sobre a compara莽茫o, deixo um par谩grafo de um artigo escrito para uma revista brasileira de Estudos em Literatura, por Melo (2008):
鈥淟obo Antunes toca na ferida e desmascara toda a mediocridade moral da sociedade portuguesa contempor芒nea ao relatar que, mesmo com toda a repress茫o e autoritarismo de uma ditadura que cerceou toda a liberdade civil e intelectual da na莽茫o, o submisso povo lusitano aceitou ou, como vimos, idolatrou o regime salazarista, personificado em Francisco. Sobre esta passividade de aceita莽茫o de uma autorit谩ria administra莽茫o, podemos tra莽ar outro paralelo com a Inquisi莽茫o, quando Saraiva argumenta que: 鈥楢 actividade inquisitorial p么de exercer-se sem fortes reac莽玫es internas, porque n茫o existia uma classe m茅dia com independ锚ncia econ贸mica e mental, e tamb茅m esta situa莽茫o lhe 茅 anterior.鈥� (Saraiva, 1993:132)鈥� Melo, 2008
Nota: Francisco, 茅 um dos principais protagonistas, no papel de um poderoso ministro de Salazar.
Publicado no VI:
Come莽ando pela forma, o mais impactante do livro tem que ver com a dimens茫o tempo que est谩 praticamente ausente. Existe enquanto cronologia, marcos temporais que oferecem b贸ias a que nos podemos agarrar de tempos a tempos, mas os discursos surgem independentemente destes, podem come莽ar num passado e a seguir j谩 estarem no futuro, e depois no presente, trocam de lugar como quem sai de casa ou olha pela janela. E ao mesmo tempo, ainda que possa causar alguma fric莽茫o, n茫o deixa de se conseguir assimilar, n茫o deixa de conseguir fazer-nos sentir, porque os 铆ndices e os informantes, assim como as suas redund芒ncias, est茫o l谩, s茫o continuamente agitados por Antunes para nos manter no trilho, ou melhor, nos m煤ltiplos trilhos. Porque Antunes n茫o conta uma hist贸ria, ele cria um universo com o seu texto, para onde nos transporta, nos faz viver e sentir, e encarrega-nos de decidir o que retirar da experi锚ncia. A moral, a li莽茫o, o mote da leitura da obra n茫o 茅 saber o que aconteceu a A ou B, n茫o s茫o as consequ锚ncias ou os efeitos das causas, dos conflitos infligidos. N茫o 茅 o fim, porque 茅 o processo, porque 茅 do processo que se cria mundo, mundo-hist贸ria, que nos envolve e nos faz sentir naquela realidade, como se por l谩 tiv茅ssemos passado, como se tudo fossem mem贸rias guardadas, em parte esquecidas ou apagadas pelo tempo, fiapos de vis玫es de uma realidade hist贸rica, que para muitos de n贸s s贸 faz parte do imagin谩rio.
[imagem]
A obra de ALA nunca fala da Inquisi莽茫o, e no entanto o t铆tulo 茅 uma alus茫o direta 脿 mesma.
Mas n茫o 茅 s贸 de forma que vive este livro de Antunes, 茅 do muito que tem para dizer e do modo como indicia, desde o t铆tulo aos personagens e seus adjetivos, o assunto que tem para revelar. Antunes parece com este livro querer dar uma aula a tantos portugueses que insistem em ver em Salazar e no seu tempo como o melhor de Portugal, como apesar da falta de liberdade, 茅ramos t茫o mais felizes, e acima de tudo t铆nhamos um Estado rico. Antunes leva-nos pela m茫o at茅 ao marco temporal do Estado Novo portugu锚s, assistimos ao antes, depois e sua queda, vemos personagens do antes a viverem no depois, vemos as diferentes classes caricaturadas que formaram e ainda formam um povo. O ditador passa ao largo e ALA d谩-o a sentir como se estivesse distante e ao mesmo tempo sempre presente. Se o t铆tulo da obra quer ligar Salazar 脿 Inquisi莽茫o, n茫o sou eu quem o questionar谩 tal, e n茫o podendo dizer melhor sobre a compara莽茫o, deixo um par谩grafo de um artigo escrito para uma revista brasileira de Estudos em Literatura, por Melo (2008):
鈥淟obo Antunes toca na ferida e desmascara toda a mediocridade moral da sociedade portuguesa contempor芒nea ao relatar que, mesmo com toda a repress茫o e autoritarismo de uma ditadura que cerceou toda a liberdade civil e intelectual da na莽茫o, o submisso povo lusitano aceitou ou, como vimos, idolatrou o regime salazarista, personificado em Francisco. Sobre esta passividade de aceita莽茫o de uma autorit谩ria administra莽茫o, podemos tra莽ar outro paralelo com a Inquisi莽茫o, quando Saraiva argumenta que: 鈥楢 actividade inquisitorial p么de exercer-se sem fortes reac莽玫es internas, porque n茫o existia uma classe m茅dia com independ锚ncia econ贸mica e mental, e tamb茅m esta situa莽茫o lhe 茅 anterior.鈥� (Saraiva, 1993:132)鈥� Melo, 2008
Nota: Francisco, 茅 um dos principais protagonistas, no papel de um poderoso ministro de Salazar.
Publicado no VI:
March 29, 2017
This is my third book by Ant贸nio Lobo Antunes. My third book of human depredation and horror. My third book of alienation and lost love. Unloved children ... corruption ... blood ... rutting in place of love.
Lobo Antunes paints a disturbing view of the world - but he never seems to get beyond what is real. He is always within reach of the believable. No matter how far he goes in his infernal travels, the reader, at least this reader, cannot get off. Human existence is always the topic of discussion.
The technique in The Inquisitors Manual is one of report and commentary by numerous witnesses to the events. Everyone has a point of view - everyone suffers. Everyone loses.
The topic is power and loss in the time of the Salazar dictatorship in Portugal. Power is abused. The central character, the Minister, takes everything he wants, brutally and sadistically. But he possesses none of it. The one thing he wants most, the love of his wife, escapes him.
And so he abuses the women around him ... treats them like slaves:
'"You there"
I'd make as if to escape too, heading to the pantry to hide among the pots of jam and sacks of rice, and Senhor Francisco would cross my path, with his cigarillo almost touching my nose
"Be still"
and it was me, not his wife, that he bent over the sink, me whom he grabbed by the hair as I pleaded
"Don't hurt me"
And then:
"You there"
a child I buried with my own hands down by the river, she and I sticky wet with each other, bleeding the same blood, it was me whose thighs Senhor Francisco wrenched open with his fingers, ordering
"Be still"
The inhumanity of power and frustration of power. And then comes the loss of power, complete loss of power:
'... my father who at night is dragged off to bed by two female staff workers in an agony of shuffling slippers
"Who's the good little boy who goes to bed when it's time for beddy-bye?"
they undo the string on his pajamas, unbutton his fly, place a bedpan under his scrawny legs, all bones and hair
"Time to go wee-wee, Senhor Francisco, time for wee-wee, come on, there you go, that's a good boy, tonight you're not going to be naughty and wet your nice clean sheets, are you?"'
"I do everything a woman wants except take my hat off, so she knows who's boss."
Humanity is what it is. Flesh and blood, sweat and urine and shit. We like to pretend that we are strong; that we are rational; that we are good. It's always a struggle. It's so easy to slip and fall into the muck we have made with our own bodies.
Ant贸nio Lobo Antunes describes a world that is much like that of Cormac McCarthy and Samuel Beckett, except it's more real. It's not really a work of the imagination. This is Dante's Inferno brought to the surface and made real.
I shall continue to read Lobo Antunes. I suppose I want to see his world, our human world, from all of the angles.
Lobo Antunes paints a disturbing view of the world - but he never seems to get beyond what is real. He is always within reach of the believable. No matter how far he goes in his infernal travels, the reader, at least this reader, cannot get off. Human existence is always the topic of discussion.
The technique in The Inquisitors Manual is one of report and commentary by numerous witnesses to the events. Everyone has a point of view - everyone suffers. Everyone loses.
The topic is power and loss in the time of the Salazar dictatorship in Portugal. Power is abused. The central character, the Minister, takes everything he wants, brutally and sadistically. But he possesses none of it. The one thing he wants most, the love of his wife, escapes him.
And so he abuses the women around him ... treats them like slaves:
'"You there"
I'd make as if to escape too, heading to the pantry to hide among the pots of jam and sacks of rice, and Senhor Francisco would cross my path, with his cigarillo almost touching my nose
"Be still"
and it was me, not his wife, that he bent over the sink, me whom he grabbed by the hair as I pleaded
"Don't hurt me"
And then:
"You there"
a child I buried with my own hands down by the river, she and I sticky wet with each other, bleeding the same blood, it was me whose thighs Senhor Francisco wrenched open with his fingers, ordering
"Be still"
The inhumanity of power and frustration of power. And then comes the loss of power, complete loss of power:
'... my father who at night is dragged off to bed by two female staff workers in an agony of shuffling slippers
"Who's the good little boy who goes to bed when it's time for beddy-bye?"
they undo the string on his pajamas, unbutton his fly, place a bedpan under his scrawny legs, all bones and hair
"Time to go wee-wee, Senhor Francisco, time for wee-wee, come on, there you go, that's a good boy, tonight you're not going to be naughty and wet your nice clean sheets, are you?"'
"I do everything a woman wants except take my hat off, so she knows who's boss."
Humanity is what it is. Flesh and blood, sweat and urine and shit. We like to pretend that we are strong; that we are rational; that we are good. It's always a struggle. It's so easy to slip and fall into the muck we have made with our own bodies.
Ant贸nio Lobo Antunes describes a world that is much like that of Cormac McCarthy and Samuel Beckett, except it's more real. It's not really a work of the imagination. This is Dante's Inferno brought to the surface and made real.
I shall continue to read Lobo Antunes. I suppose I want to see his world, our human world, from all of the angles.
Read
April 5, 2025Nie wiem jak j膮 oceni膰, bo to by艂a trudna przeprawa, ale sama ksi膮偶ka niezwykle misterna i intryguj膮ca. Co艣 niezwyk艂ego
August 20, 2018
Knjiga koju sam zaista 啪elela da uvrstim u favorite.
Mogu da razumem hvalospeve,
ovo je jedna od onih knjiga koju uzme拧 i ima拧 ose膰aj da 膷ita拧 ne拧to veliko,zna膷ajno i uvu膷e te u taj ose膰aj posebnosti.
Ali iz ugla
jednog te拧kog minimaliste,
koji uvek voli kada se zaljubi u baroknu poeti膷nost - ceo tok naracije mi je bio vrlo odbojan.
Rasko拧an ali ne i bogat, nedovoljno fokusiran, neopipljiv.
Gotovo pre膷esto suvi拧an.
Kao i koli膷ina zareza u mom dosada拧njem tekstu.
Ovo 拧to smatram manjkom je zaista subjektivno jer
iskreno, smatram da je knjiga izvrsno napisana i naracija joj vrlo prili膷i, Lobo拧 se igra sa perspektivama,
pro啪ivaljavamo iste doga膽aje iz razli膷itih uglova, istina nam se daje kroz mnogostruke prizme, na ka拧iku, iz (ne)pouzdanih izvora koji nam ne otkrivaju svoje namere.
沤vot je mra膷an i konfuzan lavirint, ali ja volim svoj da o膷istim i da numeri拧em hodnike po拧to sam smara膷.
Lobo拧 nije.
I pored toga, svima bih preporu膷ila knjigu. I ako Vam se ne svidi toliko, dobi膰ete ne拧to vredno.
Mogu da razumem hvalospeve,
ovo je jedna od onih knjiga koju uzme拧 i ima拧 ose膰aj da 膷ita拧 ne拧to veliko,zna膷ajno i uvu膷e te u taj ose膰aj posebnosti.
Ali iz ugla
jednog te拧kog minimaliste,
koji uvek voli kada se zaljubi u baroknu poeti膷nost - ceo tok naracije mi je bio vrlo odbojan.
Rasko拧an ali ne i bogat, nedovoljno fokusiran, neopipljiv.
Gotovo pre膷esto suvi拧an.
Kao i koli膷ina zareza u mom dosada拧njem tekstu.
Ovo 拧to smatram manjkom je zaista subjektivno jer
iskreno, smatram da je knjiga izvrsno napisana i naracija joj vrlo prili膷i, Lobo拧 se igra sa perspektivama,
pro啪ivaljavamo iste doga膽aje iz razli膷itih uglova, istina nam se daje kroz mnogostruke prizme, na ka拧iku, iz (ne)pouzdanih izvora koji nam ne otkrivaju svoje namere.
沤vot je mra膷an i konfuzan lavirint, ali ja volim svoj da o膷istim i da numeri拧em hodnike po拧to sam smara膷.
Lobo拧 nije.
I pored toga, svima bih preporu膷ila knjigu. I ako Vam se ne svidi toliko, dobi膰ete ne拧to vredno.
April 22, 2022
袧邪褉邪褑懈褬邪: 屑褍谢褌懈褎芯泻邪谢薪邪 (胁懈褕械 锌械褉褋锌械泻褌懈胁邪), 褋懈屑褍谢褌邪薪邪 (褍泻褉褕褌邪褮邪 褏褉芯薪芯褌芯锌邪), 邪谢褌械褉薪懈褉邪褬褍褯邪 (褋屑械薪邪 锌褉懈锌芯胁械写邪褔邪 泻褉芯蟹 锌芯谐谢邪胁褭邪), 胁械褉斜芯蟹薪邪, 屑邪褏薪懈褌邪 懈 屑褉邪褔薪邪 (薪械蟹邪褍褋褌邪胁褭懈胁邪 褍 芯写褋褍褋褌胁褍 褌邪褔邪泻邪 泻邪芯 blast beats 褍 斜谢械泻 屑械褌邪谢褍). 袧邪褌褍褉邪谢懈褋褌懈褔泻邪 谐褉褍斜芯褋褌. 袥邪褬褌屑芯褌懈胁褋泻械/褉械褎褉械薪褋泻械 褉械褔械薪懈褑械. 袣邪褌邪谢芯蟹懈. 袙械褕褌芯 芯褉泻械褋褌褉懈褉邪薪芯 胁懈褕械谐谢邪褋褬械 (锌芯谢懈谐谢芯褋懈褬邪) 薪懈褬械 锌芯谢懈褎芯薪懈褬褋泻芯 褬械褉 褋胁懈 薪邪褉邪褌芯褉懈 谐芯胁芯褉械 薪邪 懈褋褌懈 薪邪褔懈薪 (褍锌芯褉械写懈褌懈 褋邪 袘褍泻芯屑 懈 斜械褋芯屑) 懈 写械谢械 褋谢懈褔邪薪 褌芯薪: 芯谐芯褉褔械薪, 芯褋懈芯薪, 芯褋芯褉邪薪, 邪谢懈 懈 芯褌褍卸邪薪. 袩芯褋褌屑芯写械褉薪懈蟹邪屑 褋械 芯褋械褯邪 褍锌褉邪胁芯 褍 芯胁邪泻胁芯屑 褋胁械锌褉芯卸懈屑邪褬褍褯械屑 锌褉懈褋褍褋褌胁褍 邪褍褌芯褉褋泻芯谐 褋褌懈谢邪 泻芯褬懈 薪邪褋 锌芯写褋械褯邪 薪邪 褎懈泻褑懈芯薪邪谢薪芯褋褌 写械谢邪, 锌芯褉械写 懈褉芯薪懈褔薪芯谐 薪邪褋谢芯胁邪 褉芯屑邪薪邪 懈 蟹邪谐芯薪械褌薪懈褏 薪邪蟹懈胁邪 褮械谐芯胁懈褏 写械谢芯胁邪, 泻邪芯 懈 薪械懈写械薪褌懈褎懈泻芯胁邪薪芯谐 薪邪褉邪褌械褉邪. 袥懈泻芯胁懈 褋械 薪械 芯褋械褌械 写芯 泻褉邪褬邪 (芯胁芯 薪懈褬械 full-scale 锌褋懈褏芯谢芯褕泻懈 褉芯屑邪薪), 芯写薪械褕械薪懈 褋褍 (懈谢懈 写芯薪械褕械薪懈) 褍 褎褉械薪械褌懈褔薪芯屑 褌械屑锌褍 懈 薪邪胁邪谢懈 薪邪斜褉邪褬邪谢懈褑邪 褍 泻芯褬懈屑邪 褋械 胁褉褌谢芯卸懈 锌芯褬邪胁薪芯 懈 褋锌芯褭邪褕褮械 (斜懈谢芯 锌械褬蟹邪卸薪芯, 械薪褌械褉懈褬械褉褋泻芯 懈谢懈 械泻褋褌械褉懈褬械褉褋泻芯). 袨薪芯, 写芯写褍褕械, 泻芯褉械褋锌芯薪写懈褉邪 褋邪 褍薪褍褌褉邪褕褮懈屑 锌芯褉褌褉械褌懈屑邪, 邪谢懈 芯胁懈 芯褋褌邪褬褍 胁懈褕械 褬邪泻械, 写褍斜芯泻芯 蟹邪褋械薪褔械薪械 褋泻懈褑械 褍 褍谐褭褍, 薪械谐芯 褉邪褋泻芯褕薪芯 芯褋谢懈泻邪薪懈 褑褉褌械卸懈. 校薪懈褕褌械薪懈 褋褍 褌褉芯锌懈/褌芯褌械屑懈 谐芯褌懈泻械, 泻邪泻芯 泻褮懈卸械胁薪械 褌邪泻芯 懈 褋邪胁褉械屑械薪械, 锌芯褌泻褍谢褌褍褉薪械 (褕褌芯 屑褍 写芯褣械 泻邪芯 谢懈褑械 懈 薪邪谢懈褔褬械 锌褉邪褕褮邪胁芯谐 斜褉芯褕邪 懈蟹 薪械泻芯谐 蟹邪斜芯褉邪胁褭械薪芯谐 谢邪谐褍屑邪) 鈥� 卸邪斜械 胁褉懈褕褌械, 邪 谐邪胁褉邪薪芯胁懈 斜械褋薪械, 邪 屑芯卸械 斜懈褌懈 写邪 褬械 褍 褌邪泻芯 蟹谢芯褔械褋褌褍 锌褉懈褉芯写褍 褋邪屑芯 锌褉芯褬械泻褌芯胁邪薪 写褍褏 胁褉械屑械薪邪, 写邪 褬械 芯薪邪 芯写褉邪蟹 泻芯谢械泻褌懈胁邪, 褎谢械泻邪 卸邪屑芯褉邪 谐芯屑懈谢械 泻芯褬邪 褌邪胁芯褉懈 褍 薪械胁褉械屑械. 袩褉懈褉芯写邪 褬械 懈 卸褉褌胁邪: 蟹邪谐邪褣械褮械/械泻芯褑懈写 薪邪 33. 褋褌褉. 懈 泻邪褋薪懈褬械 蟹邪褌褉锌邪胁邪褮械 屑芯褔胁邪褉械 懈 褌褉芯胁邪褮械 锌褌懈褑邪, 泻邪芯 懈 蟹谢芯褋褌邪胁褭邪褮械 锌邪褋邪. 效懈褌邪谢邪褑 褬械 蟹谐邪褣械薪 懈 (泻谢械褉芯)褎邪褕懈蟹屑芯屑 懈 褮械谐芯胁懈屑 蟹邪褉褍褔薪懈褑邪屑邪 鈥� 屑懈蟹芯谐懈薪懈褬芯屑, 褉邪褋懈蟹屑芯屑, 褏芯屑懈褑懈写懈屑邪, 褋懈谢芯胁邪褮懈屑邪, 锌械写芯褎懈谢懈褬芯屑/械褎械斜芯褎懈谢懈褬芯屑...
袣邪泻芯 懈 写邪 谢懈 屑褍谢褌懈褎芯泻邪谢薪芯褋褌 褌胁芯褉懈 褋械屑懈芯褋褎械褉褍 芯褋褌邪胁褭邪屑 泻褉懈褌懈褔邪褉懈屑邪 写邪 懈蟹屑懈泻褉芯褋泻芯锌懈褉邪褬褍.
袘褍写褍褯懈 褔懈褌邪芯褑懈 薪械 褌褉械斜邪 写邪 芯褔械泻褍褬褍 锌褉懈泻邪蟹械 褉邪蟹谢懈褔懈褌懈褏 胁懈写芯胁邪 屑褍褔械褮邪 锌芯锌褍褌 薪邪斜懈褬邪褮邪 薪邪 泻芯谢邪褑 泻芯写 袗薪写褉懈褯邪 懈谢懈 泻邪褋邪锌褭械褮邪 懈蟹 褉芯屑邪薪邪 校 屑懈褋芯 褋褍锌懈, 邪谢懈 械泻褋锌谢懈褑懈褌薪芯褋褌懈 锌芯褋褌芯褬械 懈 锌褉芯卸写懈褉褍 褋胁邪泻褍 褌邪薪邪薪芯褋褌 谢懈褉褋泻芯谐, 锌邪 泻芯 胁芯谢懈 薪械泻' 懈蟹胁芯谢懈.
袣邪泻芯 懈 写邪 谢懈 屑褍谢褌懈褎芯泻邪谢薪芯褋褌 褌胁芯褉懈 褋械屑懈芯褋褎械褉褍 芯褋褌邪胁褭邪屑 泻褉懈褌懈褔邪褉懈屑邪 写邪 懈蟹屑懈泻褉芯褋泻芯锌懈褉邪褬褍.
袘褍写褍褯懈 褔懈褌邪芯褑懈 薪械 褌褉械斜邪 写邪 芯褔械泻褍褬褍 锌褉懈泻邪蟹械 褉邪蟹谢懈褔懈褌懈褏 胁懈写芯胁邪 屑褍褔械褮邪 锌芯锌褍褌 薪邪斜懈褬邪褮邪 薪邪 泻芯谢邪褑 泻芯写 袗薪写褉懈褯邪 懈谢懈 泻邪褋邪锌褭械褮邪 懈蟹 褉芯屑邪薪邪 校 屑懈褋芯 褋褍锌懈, 邪谢懈 械泻褋锌谢懈褑懈褌薪芯褋褌懈 锌芯褋褌芯褬械 懈 锌褉芯卸写懈褉褍 褋胁邪泻褍 褌邪薪邪薪芯褋褌 谢懈褉褋泻芯谐, 锌邪 泻芯 胁芯谢懈 薪械泻' 懈蟹胁芯谢懈.
March 3, 2019
Exceptionally good. Highly recommended.
reviews if you are curious here:
Steven Moore review here:
reviews if you are curious here:
Steven Moore review here:
January 13, 2021
Varios tiempos narrativos convergen en esta novela, situada en un antes y un despu茅s, alrededor del parteaguas en la historia de Portugal: el gobierno del dictador Ant贸nio de Oliveira Salazar, que se extendi贸 por m谩s de tres d茅cadas, de 1932 a 1968. De entre las voces, como la parvada burlona de cuervos en la vieja quinta de Palmela, irrumpen uno a uno los protagonistas y nos cuentan su historia, su papel en esta monograf铆a o tal vez ser铆a mejor llamarla radiograf铆a, pues con mirada de rayos x, una capacidad narrativa punzante y fuera de serie, y un sentido de la forma agudo y profundo, Ant贸nio Lobo Antunes brilla en esta magn铆fica obra literaria que alcanza, como pocas, trascender las p谩ginas, los di谩logos, las descripciones, formando un todo impresionante, construido a base de una mirada que no solo observa, tambi茅n digiere, devora (disecci贸n minuciosa donde cada detalle es visto casi con una lupa) y luego plasma, con verdadera maestr铆a (las capas temporales van y vienen, como sucede en el subconsciente durante el sue帽o), siguiendo un acomodo impresionante, que fija sus propias reglas novedosas, con puntuaci贸n peculiar y una r铆tmica portentosa sostenida s贸lidamente desde la primera hasta la 煤ltima l铆nea.
驴Cu谩nto de lo que fue se lleva el viento nuevo? Como en aquellas partidas de ajedrez, donde el Se帽or ministro caprichosamente mov铆a las piezas sin ning煤n orden, la mano temblando y anunciando ya el inevitable ocaso de una vida favorecida en su mayor parte, por los vientos pol铆ticos y su cercan铆a a Salazar. O como cuando vio en una joven el parecido a su esposa Isabel y la visti贸 as铆, fantasma que caminaba de una habitaci贸n a la otra, no entendiendo que es lo que representaba, con ese vestido, zapatos y adornos anticuados (y sin un tel贸n anunciando en aquel teatro de la vida, en que momento la comedia humana comienza). Cada mon贸logo una pieza m谩s en el tablero (incompleto, sobre el piano donde llov铆a...), que se va sumando a las otras, Primer Relato, Segundo Relato, Tercer Relato y los respectivos Comentarios intercalados en un ir y venir de an茅cdotas, episodios, visiones, donde los personajes narran, explican, aclaran y aportan. Y la quinta, que Jo茫o describe en el primer cap铆tulo (con m谩s nostalgia que apego), y ya no es lo que alg煤n d铆a fue, bien podr铆a ser una gran met谩fora del pa铆s entero, Portugal desmembrado y dolido (buscando reinventarse a trav茅s de un futuro incierto), como tambi茅n la dictadura, representa inequ铆vocamente, todas las dictaduras en la faz de la tierra, desde el principio del tiempo. As铆, la escritura -m谩s bien la obra literaria acabada- se convierte en una ventana por donde se observa absolutamente todo.
Manual de Inquisidores es una obra maestra de narrativa contempor谩nea.
驴Cu谩nto de lo que fue se lleva el viento nuevo? Como en aquellas partidas de ajedrez, donde el Se帽or ministro caprichosamente mov铆a las piezas sin ning煤n orden, la mano temblando y anunciando ya el inevitable ocaso de una vida favorecida en su mayor parte, por los vientos pol铆ticos y su cercan铆a a Salazar. O como cuando vio en una joven el parecido a su esposa Isabel y la visti贸 as铆, fantasma que caminaba de una habitaci贸n a la otra, no entendiendo que es lo que representaba, con ese vestido, zapatos y adornos anticuados (y sin un tel贸n anunciando en aquel teatro de la vida, en que momento la comedia humana comienza). Cada mon贸logo una pieza m谩s en el tablero (incompleto, sobre el piano donde llov铆a...), que se va sumando a las otras, Primer Relato, Segundo Relato, Tercer Relato y los respectivos Comentarios intercalados en un ir y venir de an茅cdotas, episodios, visiones, donde los personajes narran, explican, aclaran y aportan. Y la quinta, que Jo茫o describe en el primer cap铆tulo (con m谩s nostalgia que apego), y ya no es lo que alg煤n d铆a fue, bien podr铆a ser una gran met谩fora del pa铆s entero, Portugal desmembrado y dolido (buscando reinventarse a trav茅s de un futuro incierto), como tambi茅n la dictadura, representa inequ铆vocamente, todas las dictaduras en la faz de la tierra, desde el principio del tiempo. As铆, la escritura -m谩s bien la obra literaria acabada- se convierte en una ventana por donde se observa absolutamente todo.
Manual de Inquisidores es una obra maestra de narrativa contempor谩nea.
September 18, 2019
I have discovered a new favourite author. Fantastic kaleidoscopic array of voices swirling around the end days of a deposed Minister from Salazar's dictatorship.
June 17, 2021
Da imam listu "10 najboljih knjiga koje sam pro膷itala", verovatno bih ovaj roman stavila na jedno od prva tri mesta.
September 13, 2023
Mul葲i l-au comparat pe extraordinarul scriitor portughez Antonio Lobo-Antunes (a c膬rui scriitur膬 m-a impresionat chiar mai mult dec卯t cea a lui Saramago) cu Faulkner 葯i cu Joyce, probabil datorit膬 faptului c膬 卯nt卯lnim la to葲i trei aceea葯i nara葲iune discontinuat膬 de fluxul con葯tiin葲ei, dar mie romanul s膬u Manualul inchizitorilor mi-a amintit mai ales de Llosa cu a lui Feast of the Goat (despre care am scris 卯n englez膬 aici). 葮i aceasta nu numai pentru c膬 regimul dictatorial al lui Rafael Leonidas Trujillo se aseam膬n膬 cu acela al profesorului Oliveira Salazar (la urma urmelor, cam toate dictaturile se aseam膬n膬), ci mai ales pentru c膬 istoria terorii se recreeaz膬 卯n ambele romane fragmentar, din spusele unor martori care se completeaz膬 sau se contrazic.
Desigur, asem膬n膬rile se opresc aici. Cele cinci voci principale din Manualul inchizitorilor 卯葯i amintesc, se repet膬, 卯ncurc膬 planurile temporale, dezmint informa葲iile celorlal葲i, se justific膬 sau pur 葯i simplu mistific膬 adev膬rul 卯ntr-o 卯nv膬lm膬葯eal膬 de vorbe care sufoc膬 auditoriul cu redundan葲e, ticuri verbale, incoeren葲e, provoc卯ndu-l s膬 recompun膬 firul narativ, dac膬 poate, dintr-o multitudine de cioburi 卯mpr膬葯tiate peste tot. Mai mult, cele cinci 鈥瀝apoarte鈥�, compuse pentru ni葯te 鈥瀒nchizitori鈥� pe care cititorul 卯i b膬nuie葯te doar, pentru c膬 nu p膬葯esc niciodat膬 卯n text, s卯nt 卯ntrerupte de comentarii 葯i note ale altor personaje, la fel de confuze 葯i de contradictorii.
Personajul 卯n jurul c膬ruia se 葲ese, cu multe noduri 葯i sc膬p膬ri de ochiuri, cum spuneam, nara葲iunea, nu este Salazar, ci un ministru 葯i apropiat al s膬u, senhor Francisco, st膬p卯nul mo葯iei Palmela, a c膬rui personalitate, 卯n acela葯i timp grotesc膬 葯i intimidant膬, 卯葯i pune amprenta asupra copiilor, servitorilor, amantelor.
Exist膬, 卯n capitolul al XIV-lea 葯i ultimul, o scen膬 aparent f膬r膬 leg膬tur膬 cu restul romanului, povestea mor葲ii unei de葲inute, o amintire de tinere葲e a lui Francisco, care ar putea fi 卯n acela葯i timp o ilustrare a aparatului represiv al dictaturii salazariene 葯i o explica葲ie a comportamentului brutal ulterior al personajului. Nu s卯nt sigur膬 dac膬 asta e cheia de lectur膬, pentru c膬 episodul flutur膬, cum spuneam, precar printre celelalte fire narative, cruzimea scenei complet卯nd cinic acest manual al ororilor.
Romanul lui Lobo Antunes m-a f膬cut s膬 r膬sfoiesc netul 卯n c膬utarea mai multor informa葲ii despre Salazar, 葯i uite-a葯a am dat peste o c膬r葲ulie publicat膬 de Mircea Eliade 卯n 1942, Salazar 葯i Revolu葲ia din Portugalia(c卯teva note despre ea aici), un omagiu pios adus dictatorului, figur膬 romantic膬 葯i misterioas膬 鈥灻畁 pelerina lui neagr膬, de student, care-i at卯rna pe umerii firavi, p卯n膬 aproape de c膬lc卯ie鈥�, c膬ruia Portugalia 卯i datoreaz膬 鈥瀖膬re葲ia sa de ast膬zi鈥� 葯i care 鈥瀉 f膬cut din dictatur膬 ceea ce f膬cuse p卯n膬 atunci din profesorat: un instrument de des膬v卯r葯ire moral膬 葯i intelectual膬 a tinerelor genera葲ii鈥�. V膬 scutesc de alte citate la fel de exaltate, 卯n contrast strident cu ceea ce se 葯tie despre regimul salazarian, a c膬rui 鈥瀌es膬v卯r葯ire moral膬鈥� s-a remarcat mai ales 卯n reprimarea drepturilor civile 葯i politice, 卯n torturile 卯n mas膬, 卯n arest膬ri, 卯n fraude electorale, ini葲iative pe care istoricul rom芒n sau le-a justificat ca forme de ap膬rare 卯mpotriva celor care voiau 鈥瀞膬 saboteze opera revolu葲iei na葲ionale鈥� sau le-a ignorat pur 葯i simplu, c膬 de, nu se potriveau cu imaginea omului creator al unui 鈥瀞tat cre葯tin 葯i totalitar鈥�, care 鈥瀞e 卯ntemeiaz膬, 卯nainte de toate, pe dragoste鈥�.
Nu pot 卯ncheia f膬r膬 s膬 men葲ionez excelenta lectur膬 a Ginei Georgescu, a c膬rei voce mi-a u葯urat c膬l膬toria prin desi葯ul acestei nara葲iuni, uneori destul de 卯nc卯lcit, 卯ntruc卯t, a葯a cum ne previne Dinu Fl膬m卯nd 卯n Prefa葲膬, 鈥瀖emoria fermentat膬鈥� a personajelor 鈥瀗u face nimic s膬-l c卯葯tige pe cititorul superficial鈥�.
Desigur, asem膬n膬rile se opresc aici. Cele cinci voci principale din Manualul inchizitorilor 卯葯i amintesc, se repet膬, 卯ncurc膬 planurile temporale, dezmint informa葲iile celorlal葲i, se justific膬 sau pur 葯i simplu mistific膬 adev膬rul 卯ntr-o 卯nv膬lm膬葯eal膬 de vorbe care sufoc膬 auditoriul cu redundan葲e, ticuri verbale, incoeren葲e, provoc卯ndu-l s膬 recompun膬 firul narativ, dac膬 poate, dintr-o multitudine de cioburi 卯mpr膬葯tiate peste tot. Mai mult, cele cinci 鈥瀝apoarte鈥�, compuse pentru ni葯te 鈥瀒nchizitori鈥� pe care cititorul 卯i b膬nuie葯te doar, pentru c膬 nu p膬葯esc niciodat膬 卯n text, s卯nt 卯ntrerupte de comentarii 葯i note ale altor personaje, la fel de confuze 葯i de contradictorii.
Personajul 卯n jurul c膬ruia se 葲ese, cu multe noduri 葯i sc膬p膬ri de ochiuri, cum spuneam, nara葲iunea, nu este Salazar, ci un ministru 葯i apropiat al s膬u, senhor Francisco, st膬p卯nul mo葯iei Palmela, a c膬rui personalitate, 卯n acela葯i timp grotesc膬 葯i intimidant膬, 卯葯i pune amprenta asupra copiilor, servitorilor, amantelor.
Exist膬, 卯n capitolul al XIV-lea 葯i ultimul, o scen膬 aparent f膬r膬 leg膬tur膬 cu restul romanului, povestea mor葲ii unei de葲inute, o amintire de tinere葲e a lui Francisco, care ar putea fi 卯n acela葯i timp o ilustrare a aparatului represiv al dictaturii salazariene 葯i o explica葲ie a comportamentului brutal ulterior al personajului. Nu s卯nt sigur膬 dac膬 asta e cheia de lectur膬, pentru c膬 episodul flutur膬, cum spuneam, precar printre celelalte fire narative, cruzimea scenei complet卯nd cinic acest manual al ororilor.
Romanul lui Lobo Antunes m-a f膬cut s膬 r膬sfoiesc netul 卯n c膬utarea mai multor informa葲ii despre Salazar, 葯i uite-a葯a am dat peste o c膬r葲ulie publicat膬 de Mircea Eliade 卯n 1942, Salazar 葯i Revolu葲ia din Portugalia(c卯teva note despre ea aici), un omagiu pios adus dictatorului, figur膬 romantic膬 葯i misterioas膬 鈥灻畁 pelerina lui neagr膬, de student, care-i at卯rna pe umerii firavi, p卯n膬 aproape de c膬lc卯ie鈥�, c膬ruia Portugalia 卯i datoreaz膬 鈥瀖膬re葲ia sa de ast膬zi鈥� 葯i care 鈥瀉 f膬cut din dictatur膬 ceea ce f膬cuse p卯n膬 atunci din profesorat: un instrument de des膬v卯r葯ire moral膬 葯i intelectual膬 a tinerelor genera葲ii鈥�. V膬 scutesc de alte citate la fel de exaltate, 卯n contrast strident cu ceea ce se 葯tie despre regimul salazarian, a c膬rui 鈥瀌es膬v卯r葯ire moral膬鈥� s-a remarcat mai ales 卯n reprimarea drepturilor civile 葯i politice, 卯n torturile 卯n mas膬, 卯n arest膬ri, 卯n fraude electorale, ini葲iative pe care istoricul rom芒n sau le-a justificat ca forme de ap膬rare 卯mpotriva celor care voiau 鈥瀞膬 saboteze opera revolu葲iei na葲ionale鈥� sau le-a ignorat pur 葯i simplu, c膬 de, nu se potriveau cu imaginea omului creator al unui 鈥瀞tat cre葯tin 葯i totalitar鈥�, care 鈥瀞e 卯ntemeiaz膬, 卯nainte de toate, pe dragoste鈥�.
Nu pot 卯ncheia f膬r膬 s膬 men葲ionez excelenta lectur膬 a Ginei Georgescu, a c膬rei voce mi-a u葯urat c膬l膬toria prin desi葯ul acestei nara葲iuni, uneori destul de 卯nc卯lcit, 卯ntruc卯t, a葯a cum ne previne Dinu Fl膬m卯nd 卯n Prefa葲膬, 鈥瀖emoria fermentat膬鈥� a personajelor 鈥瀗u face nimic s膬-l c卯葯tige pe cititorul superficial鈥�.
August 27, 2023
This novel very effectively peels back the layers of Portugal under Salazar and immediately post-Salazar. It is Portugal through and through (or as much as I can surmise it to be not being myself a native), but the struggles of the characters within can apply to citizens of any country either that is under direct oppression or deals with serious class disparity (namely, all of them).
What I鈥檓 saying is that power and authority, and the abuse of both is universal and has touched most of us in some way regardless of what period of time we have lived in. And the author does a masterful job of illustrating this theme in the context of Portugal, the pain and suffering brought to its people in all of its various forms, the paranoia inherent in an oppressed society, the spurned hopes and dreams of so many men and women (especially women) spurned through enforced submission.
The most powerful part of the novel to me was seeing the futility of it all; how unnecessary all this suffering was, and how fleeting all this power really is. The degeneration of the central character and the regime he represents into irrelevance is particularly upsetting to me, not for their sake but for that of the lives they ruined. Reminds me of Shelley鈥檚 Ozymandias, or Garc铆a M谩rquez鈥檚 One Hundred Years of Solitude. Definitely Faulknerian in narration as well. This was an enjoyable and moving read.
What I鈥檓 saying is that power and authority, and the abuse of both is universal and has touched most of us in some way regardless of what period of time we have lived in. And the author does a masterful job of illustrating this theme in the context of Portugal, the pain and suffering brought to its people in all of its various forms, the paranoia inherent in an oppressed society, the spurned hopes and dreams of so many men and women (especially women) spurned through enforced submission.
The most powerful part of the novel to me was seeing the futility of it all; how unnecessary all this suffering was, and how fleeting all this power really is. The degeneration of the central character and the regime he represents into irrelevance is particularly upsetting to me, not for their sake but for that of the lives they ruined. Reminds me of Shelley鈥檚 Ozymandias, or Garc铆a M谩rquez鈥檚 One Hundred Years of Solitude. Definitely Faulknerian in narration as well. This was an enjoyable and moving read.
June 29, 2010
My first contribution to goodreads... I picked the last novel I've read that really wowed me.
I'd heard about Antunes from a number of people; this is the first novel I've read. Stylistically brilliant, and clearly the work of a master empathist. Postmodern techniques that I've seen many authors wear like expensive suits are the ink in his pen. The theme is weighty -- tyranny, on a large and a small scale, so not an easy book to read. I at first winced at the comparisons to Faulkner printed on the book's jacket, but he's earned them, in my opinion. Can't wait to read more of his work, and can't believe it took me this long to find my way to him : ) Highly recommended, though were I to loan this to someone I'd warn them that the journey will be one through dark places. Be prepared to navigate by touch alone, and watch out for sharp corners.
I'd heard about Antunes from a number of people; this is the first novel I've read. Stylistically brilliant, and clearly the work of a master empathist. Postmodern techniques that I've seen many authors wear like expensive suits are the ink in his pen. The theme is weighty -- tyranny, on a large and a small scale, so not an easy book to read. I at first winced at the comparisons to Faulkner printed on the book's jacket, but he's earned them, in my opinion. Can't wait to read more of his work, and can't believe it took me this long to find my way to him : ) Highly recommended, though were I to loan this to someone I'd warn them that the journey will be one through dark places. Be prepared to navigate by touch alone, and watch out for sharp corners.
August 18, 2020
Someone recently asked me if writers were evolutionary, I assume meaning that they continue to evolve. I think that suggests evolve and improve. Antunes would have to improve on South of Nowhere and Fado Alexandrino. Instead he's evolved styles to accommodate a relentlessly bleak view of civilization, the depredations of power, the utter scourging of humanity by perverse exchanges. This example provides story after story, insight after insight, misfortune after misfortune, life after ruined life.
Read
June 24, 2016Recommended. I'd be curious to hear what other people think. It didn't quite hit home for me, but then sometimes I think I've lost the ability to read novels.
I'd like to say something more interesting than just calling it Faulknerian, but well... it really was a bit like Faulkner.
Incontinence and cuckoldry, the things a man can never live down.
I'd like to say something more interesting than just calling it Faulknerian, but well... it really was a bit like Faulkner.
Incontinence and cuckoldry, the things a man can never live down.
April 3, 2025
PRIRU膶NIK ZA INKVIZITORE-ANTONIO LOBO ANTUNE艩
鉁掞笍"i delili su portfelje, sekretarijate, ambasade, zavode i odbore sve do kasno uve膷e, kada vi拧e nisu mogli ni da razaznaju jedni druge u tami, 膷ere膷e膰i Portugal kao zaklano jagnje"
鉁掞笍"ja jednako oklevam da ka啪em
鈥� Volim
kao i
鈥� Ne volim
jer su volim i ne volim samo lice i nali膷je ni拧tavila, istog onog ni拧tavila insekata koji nagrizaju temelje ku膰e sve dok se jednog dana zidovi ne obru拧e ili se pretvore u okomite senke nad vodoravnom senkom kojima tumaraju na拧e dve senke,"
馃槻Kakav roman! Ispri膷an u dahu i skoro isto tako pro膷itan.
馃槻Antune拧ovo delo bavi se stravi膷nim posledicama Salazarovog re啪ima u Portugalu. Sve je mrak, gavranovi i nasilje. Jedna skoro gotska slika potpunog bezna膽a koje je posledica represije. Bolest dru拧tva i svih njegovih 膷lanova.
馃槻Roman sastavljen od naizmeni膷nih Izve拧taja i Komentara koje likovi pri膷aju nekome-piscu, sudiji, 膷itaocu
馃槻Svako poglavlje jedna re膷enica (bukvalno-stranice i stranice s ta膷kom na kraju poglavlja, izve拧taji i komentari ispri膷ani kako se misli i se膰anja nadovezuju i kovitlaju).
馃槻Mno拧tvo razli膷itih likova, mu拧kih i 啪enskih,iz razli膷itih dru拧tvenih i porodi膷nih uloga, svi su tako savr拧eno napisani da su veoma prepoznatljivi i svi vode dijalog tokom romana.
馃槻 Roman po膷inje sin Salazarovog ministra Fransi拧ka, nakon svih stravi膷nih doga膽aja, ali zavr拧nu re膷 ima otac, u potpunom mentalnom rastrojstvu ili na ivici prosvetljenja, mora膰e 膷itala膷ka porota da odlu膷i.
馃槻Ovo je sve jo拧 jezivije iz na拧e perspektive u vremenu pro拧lom i na 啪alost sada拧njem. 馃槵
#7sensesofabook #priru膷nikzainkvizitore #antonioloboantune拧
鉁掞笍"i delili su portfelje, sekretarijate, ambasade, zavode i odbore sve do kasno uve膷e, kada vi拧e nisu mogli ni da razaznaju jedni druge u tami, 膷ere膷e膰i Portugal kao zaklano jagnje"
鉁掞笍"ja jednako oklevam da ka啪em
鈥� Volim
kao i
鈥� Ne volim
jer su volim i ne volim samo lice i nali膷je ni拧tavila, istog onog ni拧tavila insekata koji nagrizaju temelje ku膰e sve dok se jednog dana zidovi ne obru拧e ili se pretvore u okomite senke nad vodoravnom senkom kojima tumaraju na拧e dve senke,"
馃槻Kakav roman! Ispri膷an u dahu i skoro isto tako pro膷itan.
馃槻Antune拧ovo delo bavi se stravi膷nim posledicama Salazarovog re啪ima u Portugalu. Sve je mrak, gavranovi i nasilje. Jedna skoro gotska slika potpunog bezna膽a koje je posledica represije. Bolest dru拧tva i svih njegovih 膷lanova.
馃槻Roman sastavljen od naizmeni膷nih Izve拧taja i Komentara koje likovi pri膷aju nekome-piscu, sudiji, 膷itaocu
馃槻Svako poglavlje jedna re膷enica (bukvalno-stranice i stranice s ta膷kom na kraju poglavlja, izve拧taji i komentari ispri膷ani kako se misli i se膰anja nadovezuju i kovitlaju).
馃槻Mno拧tvo razli膷itih likova, mu拧kih i 啪enskih,iz razli膷itih dru拧tvenih i porodi膷nih uloga, svi su tako savr拧eno napisani da su veoma prepoznatljivi i svi vode dijalog tokom romana.
馃槻 Roman po膷inje sin Salazarovog ministra Fransi拧ka, nakon svih stravi膷nih doga膽aja, ali zavr拧nu re膷 ima otac, u potpunom mentalnom rastrojstvu ili na ivici prosvetljenja, mora膰e 膷itala膷ka porota da odlu膷i.
馃槻Ovo je sve jo拧 jezivije iz na拧e perspektive u vremenu pro拧lom i na 啪alost sada拧njem. 馃槵
#7sensesofabook #priru膷nikzainkvizitore #antonioloboantune拧
May 19, 2024
Cos'猫 la vita? Il racconto che ne fa ciascuno di noi, pi霉 le note a margine dei personaggi minori. Gli spettri.
Libro importante nella bibliografia di Lobo Antunes, Il manuale degli inquisitori si presenta al lettore con una prosa pi霉 "pulita", meno baroccheggiante e pi霉 musicale rispetto a quella dei romanzi del ciclo di Benfica. Quello che rimane immutato sono invece i salti temporali, che si ripetono a volte anche nel corso della stessa frase, perch茅 quando la memoria si inceppa passato e presente sono cos矛 vicini sulla linea del tempo da potersi scambiare di posto senza problema. Altra costante 猫 la polifonia, anche se qui la trama 猫 organizzata secondo uno schema rigoroso: cinque parti affidate alla voce dei protagonisti arricchite dal commento di personaggi minori che, come succede in gran parte della produzione dell'autore lisbonese, raccontano la disgregazione di una famiglia e quella di una nazione, temi che finiscono per intrecciarsi con un uso sapiente di metonimie e altre figure retoriche.
E cos矛, in mezzo a una selva di comprimari, caratterizzati dalla loro povert脿 emotiva e che ai sentimenti antepongono istinti, bisogni e doveri, spicca la figura di Jo茫o: figlio perenne, personalit脿 mai sbocciata perch茅 schiacciata dal padre, un inane intento a costruire una barca che non navigher脿 mai, l'uomo che guarda la vita scorrere, che assiste passivo e indifferente a quello che succede intorno a lui. E poi Titina, la governate fedele e accuditiva, che si sente rivestita di un ruolo importante nella famiglia e invidia le attenzioni che il padrone dedica alle altre donne. E ancora, Paula, un ragazza senza amore che sogna briciole di felicit脿 che non ha mai avuto e non avr脿 mai e Mil谩, un'altra vittima del padrone che cerca in lei la moglie che lo ha abbandonato e soprattutto lui, Francisco, il potente padre-padrone del quale assistiamo alla rovinosa caduta raccontata in parallelo a quella dello Estado novo portoghese, un'anima nera che finisce spezzata in due "come se met脿 di me fosse quello che credo io e gli altri credevano che fosse e l'altra met脿 ci貌 che di fatto era".
Il manuale degli inquisitori 猫 uno splendido romanzo, tanto semplice nella struttura quanto raffinato nei meccanismi che la sostengono, a iniziare dall'importanza che nella narrazione assume l'assenza (di Isabel, madre di Jo茫o), che diventa uno dei motori della trama, per proseguire a quella del non detto e che emerge dai comportamenti dei personaggi, fino ad arrivare al ruolo dello scrittore (l'inquisitore) che ha il compito di dar voce ai personaggi attraverso i loro resoconti.
Libro importante nella bibliografia di Lobo Antunes, Il manuale degli inquisitori si presenta al lettore con una prosa pi霉 "pulita", meno baroccheggiante e pi霉 musicale rispetto a quella dei romanzi del ciclo di Benfica. Quello che rimane immutato sono invece i salti temporali, che si ripetono a volte anche nel corso della stessa frase, perch茅 quando la memoria si inceppa passato e presente sono cos矛 vicini sulla linea del tempo da potersi scambiare di posto senza problema. Altra costante 猫 la polifonia, anche se qui la trama 猫 organizzata secondo uno schema rigoroso: cinque parti affidate alla voce dei protagonisti arricchite dal commento di personaggi minori che, come succede in gran parte della produzione dell'autore lisbonese, raccontano la disgregazione di una famiglia e quella di una nazione, temi che finiscono per intrecciarsi con un uso sapiente di metonimie e altre figure retoriche.
E cos矛, in mezzo a una selva di comprimari, caratterizzati dalla loro povert脿 emotiva e che ai sentimenti antepongono istinti, bisogni e doveri, spicca la figura di Jo茫o: figlio perenne, personalit脿 mai sbocciata perch茅 schiacciata dal padre, un inane intento a costruire una barca che non navigher脿 mai, l'uomo che guarda la vita scorrere, che assiste passivo e indifferente a quello che succede intorno a lui. E poi Titina, la governate fedele e accuditiva, che si sente rivestita di un ruolo importante nella famiglia e invidia le attenzioni che il padrone dedica alle altre donne. E ancora, Paula, un ragazza senza amore che sogna briciole di felicit脿 che non ha mai avuto e non avr脿 mai e Mil谩, un'altra vittima del padrone che cerca in lei la moglie che lo ha abbandonato e soprattutto lui, Francisco, il potente padre-padrone del quale assistiamo alla rovinosa caduta raccontata in parallelo a quella dello Estado novo portoghese, un'anima nera che finisce spezzata in due "come se met脿 di me fosse quello che credo io e gli altri credevano che fosse e l'altra met脿 ci貌 che di fatto era".
Il manuale degli inquisitori 猫 uno splendido romanzo, tanto semplice nella struttura quanto raffinato nei meccanismi che la sostengono, a iniziare dall'importanza che nella narrazione assume l'assenza (di Isabel, madre di Jo茫o), che diventa uno dei motori della trama, per proseguire a quella del non detto e che emerge dai comportamenti dei personaggi, fino ad arrivare al ruolo dello scrittore (l'inquisitore) che ha il compito di dar voce ai personaggi attraverso i loro resoconti.
March 16, 2020
This ultimately simply story of why a marriage fell apart is told through a complex unfolding of many and diverse narrative voices. Despite the broad scope and diversity of his narrators, Antunes is never even close to confusing an attentive reader. We always know where we are in the story; and, although it is not quite a page-turner, we are always keen to follow the tale鈥檚 next 鈥渂ut then鈥�.
One aspect deserving special mention is the author鈥檚 brilliant use of repetition 鈥� I don鈥檛 recall ever seeing so much repetitive phrasing used to such good effect. It ramps up the satirical tone a treat.
One aspect deserving special mention is the author鈥檚 brilliant use of repetition 鈥� I don鈥檛 recall ever seeing so much repetitive phrasing used to such good effect. It ramps up the satirical tone a treat.
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