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螙蠅萎: 螣未畏纬委蔚蟼 蠂蟻萎蟽蔚蠅蟼
"螒蠀蟿蠈 蟿慰 蟺位畏胃蠅蟻喂魏蠈, 蟺慰位蠉 伪蟽蟿蔚委慰 魏伪喂 蟺慰位蠉 渭蔚位伪纬蠂慰位喂魏蠈 尾喂尾位委慰 蔚委谓伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟽蠉谓胃蔚蟿慰 魏伪喂 蠂伪渭畏位蠈蠁蠅谓慰 - 苇谓伪 渭伪纬喂魏蠈 蟽蔚谓蟿慰蠉魏喂 纬蔚渭维蟿慰 喂蟽蟿慰蟻委蔚蟼, 蟺慰蠀 胃伪 蟿喂蟼 蠂伪蟻慰蠉谓 蠈蟽慰喂 蔚谓蟿蟻蠀蠁慰蠉谓 渭蔚 伪蟺蠈位伪蠀蟽畏 蟽蟿喂蟼 伪谓维位慰纬蔚蟼 蟽蔚位委未蔚蟼 蟿慰蠀 巍伪渭蟺蔚位伪委, 蟿慰蠀 韦蟽蠋蟽蔚蟻 魏伪喂 蟿慰蠀 螞蠋蟻蔚谓蟼 危蟿蔚蟻谓... 螘委谓伪喂 蟿慰 蟺蟻蠋蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 渭蔚蟿维 蟿慰谓 "螣未蠀蟽蟽苇伪", 蟺慰蠀 魏伪蟿慰蟻胃蠋谓蔚喂 蟿蠈蟽伪 蟺慰位位维 伪蟺' 蟿慰 蟿委蟺慰蟿伪 - 魏伪喂, 渭' 伪蠀蟿蠈 蟿慰 蟺谓蔚蠉渭伪, 谓慰渭委味蠅 蟺蠅蟼 未喂魏伪喂慰蠉蟿伪喂 谓伪 胃蔚蠅蟻蔚委蟿伪喂 喂蟽维尉喂慰 渭蔚 蟿慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 蟿慰蠀 韦味蠈蠀蟼..." (巍蠈渭蟺蔚蟻蟿 螡伪蠆 (Scotsman) 伪蟺蠈 蟿畏谓 蟺伪蟻慰蠀蟽委伪蟽畏 蟽蟿慰 慰蟺喂蟽胃蠈蠁蠀位位慰 蟿慰蠀 尾喂尾位委慰蠀)
"螞蔚蟺蟿慰渭蔚蟻蔚委蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 未蠅渭伪蟿委蠅谓, 蟿慰委蠂蠅谓, 伪谓蟿喂魏蔚喂渭苇谓蠅谓, 蠁蠉位位蠅谓 蔚蠁畏渭蔚蟻委未蠅谓, 蟺蔚蟻喂慰未喂魏蠋谓, 伪谓胃蟻蠋蟺蠅谓 魏.伪., 渭蔚 蠁蠅蟿慰纬蟻伪蠁喂魏萎 位蔚蟺蟿慰渭苇蟻蔚喂伪 蟺慰蠀 胃蠀渭委味蔚喂 蟽蠀位位苇魏蟿畏, 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蟽蟿畏谓 慰未蠈 危喂渭蠈谓-螝蟻蠀渭蟺蔚位位喂苇 蟿慰蠀 螤伪蟻喂蟽喂慰蠉.
螣喂 喂蟽蟿慰蟻委蔚蟼 魏伪喂 慰喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿蠅谓 伪谓蟿喂魏蔚喂渭苇谓蠅谓 伪谓蟿伪纬蠅谓委味慰谓蟿伪喂 蔚蟺维尉喂伪 伪蠀蟿苇蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 螙慰蟻味 螤蔚蟻苇魏 (1936-1982), 芦螙蠅萎: 螣未畏纬委蔚蟼 围蟻萎蟽蔚蠅蟼禄. 螕慰畏蟿蔚蠀蟿喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼 蟽伪谓 蟺伪蟻伪渭蠉胃喂伪, 蟺慰蠀 蟽蠂蔚蟿委味慰谓蟿伪喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 萎 位喂纬蠈蟿蔚蟻慰 蠂伪位伪蟻维 渭蔚 蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼, 蠈蟺蠅蟼 畏 伪谓伪味萎蟿畏蟽畏 蟿慰蠀 螝蠀蟺苇位位慰蠀, 蟽蟿慰 慰蟺慰委慰 慰 螜蠅蟽萎蠁 伪蟺蠈 螒蟻喂渭伪胃伪委伪蟼 蟽蠀谓苇位蔚尉蔚 蟿慰 伪委渭伪 伪蟺蠈 蟿喂蟼 蟺位畏纬苇蟼 蟿慰蠀 螜畏蟽慰蠉 萎 蟿畏谓 蟺蟻慰蟽蟺维胃蔚喂伪 蟿慰蠀 谓蔚伪蟻慰蠉 蔚胃谓慰位蠈纬慰蠀 螠伪蟻蟽苇位 螁蟺蟺蔚谓蟿蟽蔚位 谓伪 味萎蟽蔚喂 渭蔚 蟿畏 蠁蠀位萎 蟿蠅谓 螝慰蠀渭蟺慰蠉 蟿畏蟼 危慰蠀渭维蟿蟻伪蟼. 韦慰 尾喂尾位委慰 伪蟺慰蟿蔚位蔚委 渭喂伪 蟺慰位蠀蠁蠅谓喂魏萎 蟽蠉谓胃蔚蟽畏, 伪蟺蠈 蟿喂蟼 渭喂魏蟻蠈蟿蔚蟻蔚蟼 蠅蟼 蟿喂蟼 渭蔚纬伪位蠉蟿蔚蟻蔚蟼 蠈蠄蔚喂蟼 蟿慰蠀 魏伪胃畏渭蔚蟻喂谓慰蠉. 螚 味蠅萎 蔚委谓伪喂 蟿蔚位喂魏维 慰 魏慰喂谓蠈蟼 蟿蠈蟺慰蟼, 伪位位维 魏伪喂 蟿慰 渭苇蟽慰 蟺慰蠀 尾蟻委蟽魏慰蠀谓 苇魏蠁蟻伪蟽畏, 伪谓伪蟺蟿蠉蟽蟽慰谓蟿伪喂 魏伪喂 渭蔚蟿伪尾维位位慰谓蟿伪喂 慰喂 喂未苇蔚蟼 魏伪喂 慰喂 渭慰蟻蠁苇蟼. 螚 味蠅萎 蟿蠅谓 蔚魏维蟽蟿慰蟿蔚 魏伪蟿慰委魏蠅谓 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 伪谓伪渭喂纬谓蠉慰谓蟿伪喂 蟽蟿畏谓 蟺伪位苇蟿伪 蟿慰蠀 螤蔚蟻苇魏, 蠁蠅蟿委味慰谓蟿伪喂 慰喂 蟽魏慰蟿蔚喂谓苇蟼 纬蠅谓喂苇蟼 蟿慰蠀蟼, 蠁蠅蟿委味慰谓蟿伪喂 未喂伪蠁慰蟻蔚蟿喂魏维 慰喂 蟺伪蟻伪渭蔚位畏渭苇谓蔚蟼 蠈蠄蔚喂蟼 蟿畏蟼 味蠅萎蟼 魏伪喂 伪蠀蟿蠈 蟽蠀谓喂蟽蟿维 蟿喂蟼 芦螣未畏纬委蔚蟼 围蟻萎蟽蔚蠅蟼禄. 螝伪蟿伪魏蔚蟻渭伪蟿委味慰谓蟿伪蟼 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟽伪谓 蟺伪味位, 畏 伪谓伪蟽蠉谓胃蔚蟽萎 蟿畏蟼 蟺蟻苇蟺蔚喂 谓伪 伪谓伪魏伪位蠉蠄蔚喂 蟿喂蟼 魏蟻蠀蠁苇蟼 喂未喂慰蟻蟻蠀胃渭委蔚蟼 蟿畏蟼 蟽蠉谓胃蔚蟽畏蟼, 谓伪 伪蟺慰蠁蠉纬蔚喂 蟿喂蟼 蟺伪纬委未蔚蟼 蟿慰蠀 伪蟺慰蟺蟻慰蟽伪谓伪蟿慰位喂蟽渭慰蠉 魏伪喂 蟿畏蟼 渭慰谓慰渭苇蟻蔚喂伪蟼 蟿畏蟼 蟽蠀谓萎胃蔚喂伪蟼. 螠喂伪 蟺维位畏 渭苇蠂蟻喂 蟿慰 蟿苇位慰蟼, 渭蔚 蟿慰 蟿蔚位蔚蠀蟿伪委慰 魏慰渭渭维蟿喂 谓伪 渭苇谓蔚喂 蟽蟿伪 蠂苇蟻喂伪 蟿慰蠀 螠蟺维蟻蟿蔚位渭蟺慰蠀胃 魏伪喂 谓伪 渭畏谓 蔚委谓伪喂 伪蠀蟿蠈 蟺慰蠀 蟿伪喂蟻喂维味蔚喂.
螚 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠀 螒蠂喂位位苇伪 螝蠀蟻喂伪魏委未畏 伪谓蟿维尉喂伪 蟿慰蠀 蟺蟻蠅蟿慰蟿蠉蟺慰蠀."
(螖畏渭萎蟿蟻畏蟼 螤伪位维味畏蟼, critique. gr)
"螞蔚蟺蟿慰渭蔚蟻蔚委蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 未蠅渭伪蟿委蠅谓, 蟿慰委蠂蠅谓, 伪谓蟿喂魏蔚喂渭苇谓蠅谓, 蠁蠉位位蠅谓 蔚蠁畏渭蔚蟻委未蠅谓, 蟺蔚蟻喂慰未喂魏蠋谓, 伪谓胃蟻蠋蟺蠅谓 魏.伪., 渭蔚 蠁蠅蟿慰纬蟻伪蠁喂魏萎 位蔚蟺蟿慰渭苇蟻蔚喂伪 蟺慰蠀 胃蠀渭委味蔚喂 蟽蠀位位苇魏蟿畏, 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蟽蟿畏谓 慰未蠈 危喂渭蠈谓-螝蟻蠀渭蟺蔚位位喂苇 蟿慰蠀 螤伪蟻喂蟽喂慰蠉.
螣喂 喂蟽蟿慰蟻委蔚蟼 魏伪喂 慰喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿蠅谓 伪谓蟿喂魏蔚喂渭苇谓蠅谓 伪谓蟿伪纬蠅谓委味慰谓蟿伪喂 蔚蟺维尉喂伪 伪蠀蟿苇蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 螙慰蟻味 螤蔚蟻苇魏 (1936-1982), 芦螙蠅萎: 螣未畏纬委蔚蟼 围蟻萎蟽蔚蠅蟼禄. 螕慰畏蟿蔚蠀蟿喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼 蟽伪谓 蟺伪蟻伪渭蠉胃喂伪, 蟺慰蠀 蟽蠂蔚蟿委味慰谓蟿伪喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 萎 位喂纬蠈蟿蔚蟻慰 蠂伪位伪蟻维 渭蔚 蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼, 蠈蟺蠅蟼 畏 伪谓伪味萎蟿畏蟽畏 蟿慰蠀 螝蠀蟺苇位位慰蠀, 蟽蟿慰 慰蟺慰委慰 慰 螜蠅蟽萎蠁 伪蟺蠈 螒蟻喂渭伪胃伪委伪蟼 蟽蠀谓苇位蔚尉蔚 蟿慰 伪委渭伪 伪蟺蠈 蟿喂蟼 蟺位畏纬苇蟼 蟿慰蠀 螜畏蟽慰蠉 萎 蟿畏谓 蟺蟻慰蟽蟺维胃蔚喂伪 蟿慰蠀 谓蔚伪蟻慰蠉 蔚胃谓慰位蠈纬慰蠀 螠伪蟻蟽苇位 螁蟺蟺蔚谓蟿蟽蔚位 谓伪 味萎蟽蔚喂 渭蔚 蟿畏 蠁蠀位萎 蟿蠅谓 螝慰蠀渭蟺慰蠉 蟿畏蟼 危慰蠀渭维蟿蟻伪蟼. 韦慰 尾喂尾位委慰 伪蟺慰蟿蔚位蔚委 渭喂伪 蟺慰位蠀蠁蠅谓喂魏萎 蟽蠉谓胃蔚蟽畏, 伪蟺蠈 蟿喂蟼 渭喂魏蟻蠈蟿蔚蟻蔚蟼 蠅蟼 蟿喂蟼 渭蔚纬伪位蠉蟿蔚蟻蔚蟼 蠈蠄蔚喂蟼 蟿慰蠀 魏伪胃畏渭蔚蟻喂谓慰蠉. 螚 味蠅萎 蔚委谓伪喂 蟿蔚位喂魏维 慰 魏慰喂谓蠈蟼 蟿蠈蟺慰蟼, 伪位位维 魏伪喂 蟿慰 渭苇蟽慰 蟺慰蠀 尾蟻委蟽魏慰蠀谓 苇魏蠁蟻伪蟽畏, 伪谓伪蟺蟿蠉蟽蟽慰谓蟿伪喂 魏伪喂 渭蔚蟿伪尾维位位慰谓蟿伪喂 慰喂 喂未苇蔚蟼 魏伪喂 慰喂 渭慰蟻蠁苇蟼. 螚 味蠅萎 蟿蠅谓 蔚魏维蟽蟿慰蟿蔚 魏伪蟿慰委魏蠅谓 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 伪谓伪渭喂纬谓蠉慰谓蟿伪喂 蟽蟿畏谓 蟺伪位苇蟿伪 蟿慰蠀 螤蔚蟻苇魏, 蠁蠅蟿委味慰谓蟿伪喂 慰喂 蟽魏慰蟿蔚喂谓苇蟼 纬蠅谓喂苇蟼 蟿慰蠀蟼, 蠁蠅蟿委味慰谓蟿伪喂 未喂伪蠁慰蟻蔚蟿喂魏维 慰喂 蟺伪蟻伪渭蔚位畏渭苇谓蔚蟼 蠈蠄蔚喂蟼 蟿畏蟼 味蠅萎蟼 魏伪喂 伪蠀蟿蠈 蟽蠀谓喂蟽蟿维 蟿喂蟼 芦螣未畏纬委蔚蟼 围蟻萎蟽蔚蠅蟼禄. 螝伪蟿伪魏蔚蟻渭伪蟿委味慰谓蟿伪蟼 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟽伪谓 蟺伪味位, 畏 伪谓伪蟽蠉谓胃蔚蟽萎 蟿畏蟼 蟺蟻苇蟺蔚喂 谓伪 伪谓伪魏伪位蠉蠄蔚喂 蟿喂蟼 魏蟻蠀蠁苇蟼 喂未喂慰蟻蟻蠀胃渭委蔚蟼 蟿畏蟼 蟽蠉谓胃蔚蟽畏蟼, 谓伪 伪蟺慰蠁蠉纬蔚喂 蟿喂蟼 蟺伪纬委未蔚蟼 蟿慰蠀 伪蟺慰蟺蟻慰蟽伪谓伪蟿慰位喂蟽渭慰蠉 魏伪喂 蟿畏蟼 渭慰谓慰渭苇蟻蔚喂伪蟼 蟿畏蟼 蟽蠀谓萎胃蔚喂伪蟼. 螠喂伪 蟺维位畏 渭苇蠂蟻喂 蟿慰 蟿苇位慰蟼, 渭蔚 蟿慰 蟿蔚位蔚蠀蟿伪委慰 魏慰渭渭维蟿喂 谓伪 渭苇谓蔚喂 蟽蟿伪 蠂苇蟻喂伪 蟿慰蠀 螠蟺维蟻蟿蔚位渭蟺慰蠀胃 魏伪喂 谓伪 渭畏谓 蔚委谓伪喂 伪蠀蟿蠈 蟺慰蠀 蟿伪喂蟻喂维味蔚喂.
螚 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠀 螒蠂喂位位苇伪 螝蠀蟻喂伪魏委未畏 伪谓蟿维尉喂伪 蟿慰蠀 蟺蟻蠅蟿慰蟿蠉蟺慰蠀."
(螖畏渭萎蟿蟻畏蟼 螤伪位维味畏蟼, critique. gr)
620 pages, Paperback
First published May 15, 1978
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About the author
Georges Perec
138听books1,577听followersGeorges Perec was a highly-regarded French novelist, filmmaker, and essayist. He was a member of the Oulipo group. Many of his novels and essays abound with experimental wordplay, lists, and attempts at classification, and they are usually tinged with melancholy.
Born in a working-class district of Paris, Perec was the only son of Icek Judko and Cyrla (Schulewicz) Peretz, Polish Jews who had emigrated to France in the 1920s. He was a distant relative of the Yiddish writer Isaac Leib Peretz.
Perec's first novel, Les Choses (Things: A Story of the Sixties) was awarded the Prix Renaudot in 1965.
In 1978, Perec won the prix M茅dicis for Life: A User's Manual (French title, La Vie mode d'emploi), possibly his best-known work. The 99 chapters of this 600 page piece move like a knight's tour of a chessboard around the room plan of a Paris apartment building, describing the rooms and stairwell and telling the stories of the inhabitants.
Cantatrix Sopranica L. is a spoof scientific paper detailing experiments on the "yelling reaction" provoked in sopranos by pelting them with rotten tomatoes. All the references in the paper are multi-lingual puns and jokes, e.g. "(Karybb et Scyla, 1973)".
Perec is also noted for his constrained writing: his 300-page novel La disparition (1969) is a lipogram, written without ever using the letter "e". It has been translated into English by Gilbert Adair under the title A Void (1994). The silent disappearance of the letter might be considered a metaphor for the Jewish experience during the Second World War. Since the name 'Georges Perec' is full of 'e's, the disappearance of the letter also ensures the author's own 'disappearance'.
His novella Les revenentes (1972) is a complementary univocalic piece in which the letter "e" is the only vowel used. This constraint affects even the title, which would conventionally be spelt Revenantes. An English translation by Ian Monk was published in 1996 as The Exeter Text: Jewels, Secrets, Sex in the collection Three.
It has been remarked by Jacques Roubaud that these two novels draw words from two disjoint sets of the French language, and that a third novel would be possible, made from the words not used so far (those containing both "e" and a vowel other than "e").
W ou le souvenir d'enfance, (W, or, the Memory of Childhood, 1975) is a semi-autobiographical work which is hard to classify. Two alternating narratives make up the volume: one, a fictional outline of a totalitarian island country called "W", patterned partly on life in a concentration camp; and the second, descriptions of childhood. Both merge towards the end when the common theme of the Holocaust is explained.
Perec was a heavy smoker throughout his life, and was diagnosed with lung cancer in 1981. He died the following year in Ivry-sur-Seine at only forty-five-years old. His ashes are held at the columbarium of the P猫re Lachaise Cemetery.
David Bellos wrote an extensive biography of Perec: Georges Perec: A Life in Words, which won the Acad茅mie Goncourt's bourse for biography in 1994.
Born in a working-class district of Paris, Perec was the only son of Icek Judko and Cyrla (Schulewicz) Peretz, Polish Jews who had emigrated to France in the 1920s. He was a distant relative of the Yiddish writer Isaac Leib Peretz.
Perec's first novel, Les Choses (Things: A Story of the Sixties) was awarded the Prix Renaudot in 1965.
In 1978, Perec won the prix M茅dicis for Life: A User's Manual (French title, La Vie mode d'emploi), possibly his best-known work. The 99 chapters of this 600 page piece move like a knight's tour of a chessboard around the room plan of a Paris apartment building, describing the rooms and stairwell and telling the stories of the inhabitants.
Cantatrix Sopranica L. is a spoof scientific paper detailing experiments on the "yelling reaction" provoked in sopranos by pelting them with rotten tomatoes. All the references in the paper are multi-lingual puns and jokes, e.g. "(Karybb et Scyla, 1973)".
Perec is also noted for his constrained writing: his 300-page novel La disparition (1969) is a lipogram, written without ever using the letter "e". It has been translated into English by Gilbert Adair under the title A Void (1994). The silent disappearance of the letter might be considered a metaphor for the Jewish experience during the Second World War. Since the name 'Georges Perec' is full of 'e's, the disappearance of the letter also ensures the author's own 'disappearance'.
His novella Les revenentes (1972) is a complementary univocalic piece in which the letter "e" is the only vowel used. This constraint affects even the title, which would conventionally be spelt Revenantes. An English translation by Ian Monk was published in 1996 as The Exeter Text: Jewels, Secrets, Sex in the collection Three.
It has been remarked by Jacques Roubaud that these two novels draw words from two disjoint sets of the French language, and that a third novel would be possible, made from the words not used so far (those containing both "e" and a vowel other than "e").
W ou le souvenir d'enfance, (W, or, the Memory of Childhood, 1975) is a semi-autobiographical work which is hard to classify. Two alternating narratives make up the volume: one, a fictional outline of a totalitarian island country called "W", patterned partly on life in a concentration camp; and the second, descriptions of childhood. Both merge towards the end when the common theme of the Holocaust is explained.
Perec was a heavy smoker throughout his life, and was diagnosed with lung cancer in 1981. He died the following year in Ivry-sur-Seine at only forty-five-years old. His ashes are held at the columbarium of the P猫re Lachaise Cemetery.
David Bellos wrote an extensive biography of Perec: Georges Perec: A Life in Words, which won the Acad茅mie Goncourt's bourse for biography in 1994.
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January 10, 2022
Riddles, conundrums, charades, puzzles鈥�
Life: A User鈥檚 Manual is a highly intellectual, absolute and fundamental treatise on the theme of jigsaw puzzles where every chapter is a piece in a puzzle 鈥� a fragment of a house, a tessera of the cosmic mosaic鈥�
Infinity: stairs and rooms, furniture and articles, pictures inside pictures, stories within stories, epistles, fables, lists of anything that can ever be listed, tableaux vivants and still lifes constructed out of words鈥�
The whole is always more than the simple sum of its parts and by this metaphysical law, the tiny and miscellaneous elements of narration finally add up into the extravagant encyclopedia of life and art and fate.
Life: A User鈥檚 Manual is a highly intellectual, absolute and fundamental treatise on the theme of jigsaw puzzles where every chapter is a piece in a puzzle 鈥� a fragment of a house, a tessera of the cosmic mosaic鈥�
The room鈥檚 walls are painted in white gloss. Several framed posters are hanging on them. One of them depicts four greedy-looking monks sitting at table around a Camembert cheese on the label of which four greedy-looking monks 鈥� the very same 鈥� are again at table around, etc. The scene is repeated distinctly four times over.
Infinity: stairs and rooms, furniture and articles, pictures inside pictures, stories within stories, epistles, fables, lists of anything that can ever be listed, tableaux vivants and still lifes constructed out of words鈥�
To begin with, the art of jigsaw puzzles seems of little substance, easily exhausted, wholly dealt with by a basic introduction to Gestalt: the perceived object 鈥� we may be dealing with a perceptual act, the acquisition of a skill, a physiological system, or, as in the present case, a wooden jigsaw puzzle 鈥� is not a sum of elements to be distinguished from each other and analysed discretely, but a pattern, that is to say a form, a structure: the element鈥檚 existence does not precede the existence of the whole, it comes neither before nor after it, for the parts do not determine the pattern, but the pattern determines the parts: knowledge of the pattern and of its laws, of the set and its structure, could not possibly be derived from discrete knowledge of the elements that compose it.
The whole is always more than the simple sum of its parts and by this metaphysical law, the tiny and miscellaneous elements of narration finally add up into the extravagant encyclopedia of life and art and fate.
September 27, 2021
'Look with all your eyes, look.'
鈥擩ules Verne
The first time I laid eyes on Georges Perec (not too dissimilar from his profile photo) many wild thoughts went through my head, a former child genius maybe, who had a nervous breakdown, ran away from home and was taken in by a religious cult that wore white robes and worshipped the moons of Jupiter, or a crazy scientist who spent far too much time in a dingy basement playing around with bunsen-burners and messing with chemical formulas, or how about a quite brilliant eccentric piano player who was kidnapped by a Colombian drug cartel and forced to play a birthday concert for the wife of a cartel boss in a hidden mansion, only to develop a seriously bad coke habit before being released.
Sometimes our minds wonder here, there and everywhere!, in the case of Perec, he takes the concept of an imaginative mindset but rises to a whole other level. Paul Auster who was a big fan is quoted as saying 'a dazzling, crazy-quilt monument to the imagination', well, it's every bit dazzling, monumental in size, and as for imagination it's simply like nothing else I have ever come across. From the opening few chapters, right through to it's end, Perec's ingenious novel is complex, puzzling, serious, side-splitting funny and wholly original.
So, ever looked up at an apartment building and wondered what goes on in there? Ever looked at a lit window across the street and wanted to know what the person inside was getting up to? Ever seen an old lady, dressed in expensive clothes, walking her dog up the front steps of a grand town house and thought, just what her life has been like? All the things she has seen and done, her lost loves, the family that are no longer alive, where did she holiday?, does she have children? her whole existence echoing down the years?. Well Perec obviously did. Chapter by Chapter we are taken over by the many different lives that have inhabited a Parisian apartment block spanning sixty years. As Serge Valene (who is at the center of the novel) contemplates the lives of people he has seen come and go over the years, revealing the most diverse, marvelous, outrageous and strangest bunch of characters I can think of. The sheer quantity of them is nothing short of phenomenal! sometimes we are taken not just through the lives of residents, but also the history of their families as well, each and every tale within are, shall we say, never conventional and most border on damn right lunacy!, as for any plot, forget it.
Travelling around rooms, floor by floor, entering through each door, we get a low down of the furniture, what type?, what colour?, is it old?, is it new? What's hung on walls?, what's the carpet like?, how's the bed?, what personal items are lying around?, what food is in the kitchen?, is there pets?, is the place tidy, messy, smelly?. And this only touches the surface!, as the attention to detail walking around these apartment rooms is so thorough, it feels as if you are trapped inside one gigantic department store showroom!, so the building itself becomes a living, breathing part of the jigsaw, just as much as the actual residents. We don't just get the occupants of each room, but previous occupants as well, and their life experiences, ups and downs, tears and laughter.
'Under the eaves, between Hutting's studio and Jane Sutton's room, the room of Mortimer Smautf, Bartlebooth's aged butler. The Room is empty. With eyes half-closed, with its front legs tucked in a sphynx-like posture, a white-furred cat drowses on the orange bedspread. Beside the bed, on a small bedside table, lie a cut-glass ashtray, with the words "guinness" engraved on it, and a detective story entitled The Seven Crimes of Azincourt.
Smauft has been in Bartlebooth's service for more than fifty years. Although he calls himself a butler, his services have been more those of a gentleman's gentleman or secretary; or, to be even more precise, both at the same time: in fact, he was above all his master's travelling companion, his factotum, and if not his Sancho Panza at least his Passepartout (for there was indeed a touch of Phileas Fogg in Bartlebooth), in turns porter, clothes valet, barber, driver, guide, treasurer, travel agent, and umbrella holder'
There is a voyeuristic thrill the further we journey around the building, it grows on us, it becomes our home as much as theirs. And as various events overlap and interact with others, making Life feel more of a montage than a formal portrait, and geographically as well as historically leaves the reader completely bedazzled, but of course I have been so overly enthusiastic in my positives here, there must be negatives right? yes, there is.
For a start navigating around over 100 rooms was always going to reach a point where possible boredom sets in, as the excess of descriptive narration throughout the whole book is er...excessive.
Also with whole pages within chapters that contain various different lists, BIG ones!, it's quite easy to just skip through 2-3 pages and not really miss a thing. In fact I could see many people just skip whole chapters. Don't get me wrong , these lists are interesting, but do become tedious and reveal very little regarding the actual occupant of that particular room. However there is the bonus of drawings and extra textual material, some of which is genuinely useful for the overall reading process. Perec is also a bit of a showoff regarding his vast knowledge of the possibilities of consumerism in 70's Paris. But I guess in a way he has every right to feel overly confident.
Just so much I loved about it. It's between this and C茅line's Journey to the End of the Night as my fave French novel.
March 6, 2012
Last night after I had finished reading this book, there still lingered a smile on my face. I had read last 100-ish pages in a rush. It was only after I finished reading and put the book down that I realized that I was going to miss this charming book.
After hearing out little anecdotes and life stories of a multitude of characters, after reliving moments of their lives through their stories, it is now time to say our goodbyes. I stand at the doorstep waving my hand and watching those figures shrink in the distance. I already miss them. Long after the last one of them has gone past the horizon, one would see me still leaning against the door-frame, lost in my thoughts and smiling to myself. Someone gently touches my shoulder and wakes me up from daydreams. I go back inside to get back to my daily responsibilities, but today it is somehow different. Today is different because I carry this refreshing and heartwarming feeling within me.
Now I am having a hard time figuring out what book to read after this while I go through a Perec withdrawal. I certainly don't want a book to punch me in the gut with its 'life is harsh' or 'the world and its people are going to the dogs' messages right now. Perec's is uplifting and pro-life. Perec daubs the canvas with uncountable shades, from humorous to heart-breaking. But he is never pessimistic. I wouldn't want its refreshing fragrance to fade away too fast.
The novel has been written following several constraints. But it in no way alienates the reader. The reader is warmly welcomed with open arms and made to feel at home. This book is best read slowly over a couple of weeks while savoring little moments and several lives you encounter through this.
May 5, 2020
Let鈥檚 be clear from the outset, 鈥楲ife a User鈥檚 Manual鈥� is my favourite book of all time. It's everything a novel should or ever could be. Big characters, ripping yarns, wonderful descriptions, word play, structural experimentation and a sad truth at its heart...
It鈥檚 an existentialist work, in essence, tempered by its humanitarian outlook, but a book nonetheless about the pointlessness of human endeavour. The labours of the many characters contained here generally come to naught.
And it鈥檚 a book about entropy. At its core is the tale of Bartlebooth, his project of a lifetime and those whose services he enlists to enable him to bring about its completion. As a young man with a private income, he conceives a fifty year plan to fill his days: ten years to become a watercolourist, twenty years travelling the world to paint five hundred harbour scenes, twenty years to complete the jigsaw puzzles he will have made from them. Entropy enters when each re-assembled seascape is glued back together then rinsed of its colour and returned to a blank sheet of paper.
Entropy ripples out from Bartlebooth, from the pointlessness of his life鈥檚 work to the retinue he employs. Winckler is the jigsaw-maker who turns Bartlebooth鈥檚 paintings into puzzles. Thirty years in, with his part in the plan complete, Winckler must fill his days too. A prodigiously gifted craftsman, he wastes away his time making devil鈥檚 rings then witch鈥檚 mirrors, until at last housebound, he re-arranges the collection of hotel labels Bartlebooth鈥檚 butler, Smautf, has sent him. 鈥淚t鈥檚 not just hard鈥� it鈥檚 useless,鈥� he comments. Morrelet, whose job it is to glue the jigsaws back together, claims to have worked in many capacities previously. When he loses three fingers in an experiment and can no longer work for Bartlebooth, he carries out experiments to make remedies, none of which work. The highlight now of his and Winckler鈥檚 day is the belligerent game of Backgammon they contest at Riri鈥檚 caf茅-tabac.
As far as possible, Bartlebooth seeks to install his helpers in the apartment building where he lives. And so, arguably, 11 Rue Simon-Crubellier is the novel鈥檚 other principal character. Val猫ne is the artist who teaches Bartlebooth to paint. He is also Perec鈥檚 conduit, to an extent. He conceives of a painting that will show all of the rooms at the front of No. 11, a sort of cutaway revealing the lives of the residents therein. And this is what Perec seeks to achieve in the novel, succeeding spectacularly, in my view. It seems that while entropy affects its inhabitants, the building is immune 鈥� the Plassaerts buy Morrelet鈥檚 apartment to improve their pied-a-terre, Winckler鈥檚 apartment is about to be renovated as a des-res鈥� But Val猫ne moves from his reflection on removal men and undertakers to imagining the building鈥檚 eventual demolition to make way for a vast residential/commercial development with no trace remaining. In the end, everything returns to dust.
Cinoc is another cypher for Perec. No one knows how to pronounce his surname (in the absence of diacritics) and he works for Larousse, keeping dictionaries/encyclopaedias up to date by 鈥渒illing鈥� words rather than looking for neologisms, consigning entries to oblivion/extinction. Thus his life鈥檚 work is the inverse of Bartlebooth鈥檚, and by extension that of Perec. He starts with encyclopaedia entries, spending 53 years erasing them, then spends ten years going through old books compiling 8000 potential entries of lost esoterica for a 鈥渄ictionary of forgotten words鈥�.
The story of Carel van Loorens seems, to me, emblematic of the intertextuality at work within the novel. It鈥檚 a digression that has nothing to do with No. 11 and its story. It just so happens that a boy is reading Loorens鈥� biography on the stairs. It tips the nod to Calvino, having van Loorens tell his Barbary pirate host, Hokab el-Ouakt, about the cities he has visited in return for his hospitality in his palace. It鈥檚 a ripping yarn set in Arabia, reminiscent of 鈥楾he 1001 Arabian Nights鈥�, which of course 鈥楲ife a User鈥檚 Manual鈥� resembles.
Fans of the book like to list their favourite digressions. Why should I be an exception? So among others, there鈥檚 Blunt Stanley, Ingeborg Skrifter and the 83 appearances of Mephisto; the anthropologist, Marcel Appenzzell, and his doomed quest to live with the Orang-Kubu; the diplomat, Sven Ericsson, and his all-consuming thirst for revenge on Elizabeth de Beaumont; the acrobat who wouldn鈥檛 come down from his perch (The Baron on Trapeze?); Carel van Loorens seeking to rescue Ursula von Littau from the harem of the Barbary pirate, Hokab el-Ouakt. These tales are forever mirroring one another, casting their mutual light and reflecting the author鈥檚 project and the methods he employs.
Sometimes it鈥檚 hard to articulate why a book resonates with you so much. For me, it鈥檚 the vast reach of the imagination at work here and the depth of its creativity, the extent to which Perec realises his imaginary world, his vaulting ambition. There鈥檚 the humour and also its humanity and human insights. Then there鈥檚 the brilliance of the storytelling 鈥� and some of the digressions are fantastic in both senses 鈥� and the evocation of place. The story behind its construction - the knight鈥檚 tour and so on - adds another layer of enjoyment.
It鈥檚 hard not to feel put out when others dismiss a book you value, or in this case, value most of all. And so I understand the indignation of admirers when they see 鈥楰afka on the Shore鈥�, say, or 鈥楲ord of the Rings鈥� under attack, even though I have little time for either book. Yes, the relentless microscopic descriptions in 鈥楲ife a User鈥檚 Manual鈥� can sometimes be boring and there are so many characters that it鈥檚 sometimes difficult to remember who鈥檚 who鈥� It can appear pedantic and obscure. Word of the book is undoubtedly 鈥渉eteroclite鈥�. Its use once in an oeuvre would be enough, but three times in one novel? And some of the punning isn鈥檛 funny at all, but I suspect this is a reflection of the difficulties of translation.
鈥楲ife a User鈥檚 Manual鈥� can be seen as a novella about Bartlebooth and his project with an essentially unrelated series of short stories and apartment descriptions bolted on. But since the book is also the story of the building, it coheres. And after all, Perec subtitles his work 鈥楴ovels鈥� or 鈥楩ictions鈥�, depending on your chosen translation. Overall, it鈥檚 a towering achievement, a Santa鈥檚 grotto full of treats to which you can return time and again, never exhausting its possibilities. RIP, GP.
- - - - -
Update 鈥� May 2020
Life is a long book and this is the fourth (and a half) time I鈥檝e read it. It gives rise to a question, pertinent here on 欧宝娱乐. When I was around twenty I read a book about reading. The author鈥檚 name eludes me now but he argued that readers divide into two sorts 鈥� those who read a smaller number of books deeply and those who read widely. Which sort of reader should one be, then? If like me you have to earn a living - I like to write a little too - then time is constrained. Life is the sort of book that asks much from the reader, demanding that you spend less time with other books if the two of you are really going to get to know each other. But there鈥檚 a whole constellation of books out there just waiting to be read! I'm tending towards the former, at present. Such a dilemma鈥�
The vignettes scrolled past me with that delightful familiarity, fulfilling anticipation鈥� James Sherwood and the quest for the Holy Vase containing Jesus鈥檚 blood, Marcel Appenzzel and the search for the Orang-Kubus, Paul H茅bert and his doomed love for Laetizia Grifalconi鈥� Another reviewer here describes Life as his desert island read (a reference to Desert Island Discs, I鈥檓 assuming). As I mentioned in one of my updates, in French editions the subtitle romans is employed, translating as either fictions or novels. And that鈥檚 the point here; with Perec鈥檚 masterwork, you get many books for the price of one. That reviewer has skewered the truth of it; Life is the perfect book should you happen to find yourself shipwrecked on Tetepare or Aldabra.
This time around, it seemed that all of Perec鈥檚 industry pointed to the futility of artistic endeavour. Serge Val猫ne took on a central role through the painting of 11 Rue Simon-Crubellier he plans to execute with the fa莽ade removed, showing each apartment and its occupants concerned with their daily existence (inevitably, the old painter has barely begun the enterprise when death takes him). It鈥檚 Perec鈥檚 own project too, of course. Val猫ne imagines the life of the building and its impermanence, how it might be razed/erased to make way for a new luxury development. And this brings to mind the futility of Bartlebooth鈥檚 project. But Perec鈥檚 labours were not in vain. In his meditation on mortality and meaninglessness, he has left us his ageless book. Thirty-eight years after his death, his masterwork lives on. It leads me to a melancholy thought of sorts. Both Bartlebooth and Val猫ne die with their projects incomplete. Did Perec have some kind of intimation that he wouldn鈥檛 be given the time to complete the works he had planned for us?
It鈥檚 an existentialist work, in essence, tempered by its humanitarian outlook, but a book nonetheless about the pointlessness of human endeavour. The labours of the many characters contained here generally come to naught.
And it鈥檚 a book about entropy. At its core is the tale of Bartlebooth, his project of a lifetime and those whose services he enlists to enable him to bring about its completion. As a young man with a private income, he conceives a fifty year plan to fill his days: ten years to become a watercolourist, twenty years travelling the world to paint five hundred harbour scenes, twenty years to complete the jigsaw puzzles he will have made from them. Entropy enters when each re-assembled seascape is glued back together then rinsed of its colour and returned to a blank sheet of paper.
Entropy ripples out from Bartlebooth, from the pointlessness of his life鈥檚 work to the retinue he employs. Winckler is the jigsaw-maker who turns Bartlebooth鈥檚 paintings into puzzles. Thirty years in, with his part in the plan complete, Winckler must fill his days too. A prodigiously gifted craftsman, he wastes away his time making devil鈥檚 rings then witch鈥檚 mirrors, until at last housebound, he re-arranges the collection of hotel labels Bartlebooth鈥檚 butler, Smautf, has sent him. 鈥淚t鈥檚 not just hard鈥� it鈥檚 useless,鈥� he comments. Morrelet, whose job it is to glue the jigsaws back together, claims to have worked in many capacities previously. When he loses three fingers in an experiment and can no longer work for Bartlebooth, he carries out experiments to make remedies, none of which work. The highlight now of his and Winckler鈥檚 day is the belligerent game of Backgammon they contest at Riri鈥檚 caf茅-tabac.
As far as possible, Bartlebooth seeks to install his helpers in the apartment building where he lives. And so, arguably, 11 Rue Simon-Crubellier is the novel鈥檚 other principal character. Val猫ne is the artist who teaches Bartlebooth to paint. He is also Perec鈥檚 conduit, to an extent. He conceives of a painting that will show all of the rooms at the front of No. 11, a sort of cutaway revealing the lives of the residents therein. And this is what Perec seeks to achieve in the novel, succeeding spectacularly, in my view. It seems that while entropy affects its inhabitants, the building is immune 鈥� the Plassaerts buy Morrelet鈥檚 apartment to improve their pied-a-terre, Winckler鈥檚 apartment is about to be renovated as a des-res鈥� But Val猫ne moves from his reflection on removal men and undertakers to imagining the building鈥檚 eventual demolition to make way for a vast residential/commercial development with no trace remaining. In the end, everything returns to dust.
Cinoc is another cypher for Perec. No one knows how to pronounce his surname (in the absence of diacritics) and he works for Larousse, keeping dictionaries/encyclopaedias up to date by 鈥渒illing鈥� words rather than looking for neologisms, consigning entries to oblivion/extinction. Thus his life鈥檚 work is the inverse of Bartlebooth鈥檚, and by extension that of Perec. He starts with encyclopaedia entries, spending 53 years erasing them, then spends ten years going through old books compiling 8000 potential entries of lost esoterica for a 鈥渄ictionary of forgotten words鈥�.
The story of Carel van Loorens seems, to me, emblematic of the intertextuality at work within the novel. It鈥檚 a digression that has nothing to do with No. 11 and its story. It just so happens that a boy is reading Loorens鈥� biography on the stairs. It tips the nod to Calvino, having van Loorens tell his Barbary pirate host, Hokab el-Ouakt, about the cities he has visited in return for his hospitality in his palace. It鈥檚 a ripping yarn set in Arabia, reminiscent of 鈥楾he 1001 Arabian Nights鈥�, which of course 鈥楲ife a User鈥檚 Manual鈥� resembles.
Fans of the book like to list their favourite digressions. Why should I be an exception? So among others, there鈥檚 Blunt Stanley, Ingeborg Skrifter and the 83 appearances of Mephisto; the anthropologist, Marcel Appenzzell, and his doomed quest to live with the Orang-Kubu; the diplomat, Sven Ericsson, and his all-consuming thirst for revenge on Elizabeth de Beaumont; the acrobat who wouldn鈥檛 come down from his perch (The Baron on Trapeze?); Carel van Loorens seeking to rescue Ursula von Littau from the harem of the Barbary pirate, Hokab el-Ouakt. These tales are forever mirroring one another, casting their mutual light and reflecting the author鈥檚 project and the methods he employs.
Sometimes it鈥檚 hard to articulate why a book resonates with you so much. For me, it鈥檚 the vast reach of the imagination at work here and the depth of its creativity, the extent to which Perec realises his imaginary world, his vaulting ambition. There鈥檚 the humour and also its humanity and human insights. Then there鈥檚 the brilliance of the storytelling 鈥� and some of the digressions are fantastic in both senses 鈥� and the evocation of place. The story behind its construction - the knight鈥檚 tour and so on - adds another layer of enjoyment.
It鈥檚 hard not to feel put out when others dismiss a book you value, or in this case, value most of all. And so I understand the indignation of admirers when they see 鈥楰afka on the Shore鈥�, say, or 鈥楲ord of the Rings鈥� under attack, even though I have little time for either book. Yes, the relentless microscopic descriptions in 鈥楲ife a User鈥檚 Manual鈥� can sometimes be boring and there are so many characters that it鈥檚 sometimes difficult to remember who鈥檚 who鈥� It can appear pedantic and obscure. Word of the book is undoubtedly 鈥渉eteroclite鈥�. Its use once in an oeuvre would be enough, but three times in one novel? And some of the punning isn鈥檛 funny at all, but I suspect this is a reflection of the difficulties of translation.
鈥楲ife a User鈥檚 Manual鈥� can be seen as a novella about Bartlebooth and his project with an essentially unrelated series of short stories and apartment descriptions bolted on. But since the book is also the story of the building, it coheres. And after all, Perec subtitles his work 鈥楴ovels鈥� or 鈥楩ictions鈥�, depending on your chosen translation. Overall, it鈥檚 a towering achievement, a Santa鈥檚 grotto full of treats to which you can return time and again, never exhausting its possibilities. RIP, GP.
- - - - -
Update 鈥� May 2020
Life is a long book and this is the fourth (and a half) time I鈥檝e read it. It gives rise to a question, pertinent here on 欧宝娱乐. When I was around twenty I read a book about reading. The author鈥檚 name eludes me now but he argued that readers divide into two sorts 鈥� those who read a smaller number of books deeply and those who read widely. Which sort of reader should one be, then? If like me you have to earn a living - I like to write a little too - then time is constrained. Life is the sort of book that asks much from the reader, demanding that you spend less time with other books if the two of you are really going to get to know each other. But there鈥檚 a whole constellation of books out there just waiting to be read! I'm tending towards the former, at present. Such a dilemma鈥�
The vignettes scrolled past me with that delightful familiarity, fulfilling anticipation鈥� James Sherwood and the quest for the Holy Vase containing Jesus鈥檚 blood, Marcel Appenzzel and the search for the Orang-Kubus, Paul H茅bert and his doomed love for Laetizia Grifalconi鈥� Another reviewer here describes Life as his desert island read (a reference to Desert Island Discs, I鈥檓 assuming). As I mentioned in one of my updates, in French editions the subtitle romans is employed, translating as either fictions or novels. And that鈥檚 the point here; with Perec鈥檚 masterwork, you get many books for the price of one. That reviewer has skewered the truth of it; Life is the perfect book should you happen to find yourself shipwrecked on Tetepare or Aldabra.
This time around, it seemed that all of Perec鈥檚 industry pointed to the futility of artistic endeavour. Serge Val猫ne took on a central role through the painting of 11 Rue Simon-Crubellier he plans to execute with the fa莽ade removed, showing each apartment and its occupants concerned with their daily existence (inevitably, the old painter has barely begun the enterprise when death takes him). It鈥檚 Perec鈥檚 own project too, of course. Val猫ne imagines the life of the building and its impermanence, how it might be razed/erased to make way for a new luxury development. And this brings to mind the futility of Bartlebooth鈥檚 project. But Perec鈥檚 labours were not in vain. In his meditation on mortality and meaninglessness, he has left us his ageless book. Thirty-eight years after his death, his masterwork lives on. It leads me to a melancholy thought of sorts. Both Bartlebooth and Val猫ne die with their projects incomplete. Did Perec have some kind of intimation that he wouldn鈥檛 be given the time to complete the works he had planned for us?
September 5, 2012
Another example of one of those rare works that seemingly contain Everything, Life does not lend itself to brief summation. Like one of those tiny foam dinosaurs that grow to a humongous size when soaked in water (is that really the best simile I can come up with? jesus...), after closing the last of its 600 pages I still feel it expanding. Just look at the appendices. Hundreds of characters, over hundreds of years, hundreds of stories, hundreds of interconnections, all planned down to the centimeter using . If Perec wrote no other book than this he would deservedly be considered a genius. The best novel of the 1970鈥檚? Last half of the 20th century? I don鈥檛 know, but I鈥檇 put it in the running. Let鈥檚 argue about this heatedly in a 5 page comment thread. Or not. But there is an entire world come to life in these 600 pages, heavily populated, intricate, seething, over-full, all generated from the minute exploration of the individual living quarters in an apartment building on a fictional street in Paris. 11 Rue Simon-Crubellier, imaginary Paris, arrondissment Georges Perec.
One of my absolute favorite films is Stanley Kubrick鈥檚 Barry Lyndon. The main cinematic technique that lends the film its particular rhythm is the 鈥渟low zoom out鈥�. A scene begins with the camera focused very closely on one or two subjects or objects, and then is slowly pulled back, maintaining a deep-field focus, deliberately and quietly minimizing the subjects within the frame of the screen, showing the size and composition of the world in which they are contained. There is a similar literary strategy at play in Life. Chapters usually begin with a few paragraphs describing in great detail objects in a particular room- paintings, furniture, appliances, clothing, knick-knacks, etc.- and then those objects are slowly 鈥渮oomed鈥� away from, and the story is told of the inhabitants of those rooms, or of someone associated with those objects or the place in which those objects rest. The feeling evoked is similar in Barry Lyndon and Life, the tight focus on minutiae and then the slow revealing of its place in an immense story. Though there is a crucial difference. Kubrick鈥檚 technique was employed to show a thing鈥檚 limitations within a space; Perec鈥檚 technique is employed to show their resonance; how these small, almost indifferent things are the clues left behind that, when worked through, piece together immense worlds.
So much of this book is lists of objects, beautifully described. Objects, which so readily accumulate the patina of time, which often outlive us, which stay where we leave them, signifiers of who we are, were, wanted to be- those versions of ourselves we discarded out of need or necessity or on a whim, what we sloughed off but couldn鈥檛 bring ourselves to throw away. Keepsakes of our affinities. Objects, whose arrangement in our lives is like the finger trace left in a film of dust on an old desk, the proof we came this way, did this or that. These can be things as simple as our socks and old photographs, souvenirs of voyages, or as complex as novels we write, the family trees we form a branch of. The way we arrange objects, and the objects we choose to keep around us, speak volumes of our interior lives. These lists of objects that make up so much of Life are the great part the characterizations of the people who make up this book. But lists of objects work in another way, too. Lists draw attention only to themselves. They leave the signifier untouched by a narrative purpose. Purposeless, they speak to the meaning of the word as it is written, and give only that meaning. By serving no purpose in a narrative, an object of pure description survives the various ways a story can be dragged into oblivion by the words employed in its telling. It is the thing itself. A book made up of lists is therefore an undying book, giving meaning only in and of itself and the objects it names. However, the objects in Life don鈥檛 sit there unattached to narrative, they initiate the endless narratives. Apart and interwoven, Perec has reconciled the solitary object with the relic of time (its 鈥渟tory鈥�), by leaving the things accumulated as starting points of their own histories. So Life is both Flaubert鈥檚 ideal 鈥渂ook about nothing鈥�, while simultaneously satisfying Queneau鈥檚 idea that all novels reflect either the Iliad or the Odyssey. A book of nothings and everythings; of things immobile as well as lives unfurling.
Life is such a generous book, it gives so much, its complexities always yielding to some basic joy, its ironies giving insights, its tragedies so beautiful, its mysteries so delightful, its intelligence steeped in playfulness, its erudition serving such human ends. 1,001 Parisian Nights. Another infinite novel.
鈥淪ometimes Val猫ne had the feeling that time had been stopped, suspended, frozen around he didn鈥檛 know what expectation. The very idea of the picture he planned to do and whose laid-out, broken-up images had begun to haunt every second of his life, furnishing his dreams, squeezing his memories, the very idea of this shattered building laying bare the cracks of its past, the crumbling of the present, this unordered amassing of stories grandiose and trivial, frivolous and pathetic, gave him the impression of a grotesque mausoleum raised in the memory of companions petrified in terminal postures as insignificant in their solemnity as they were in their ordinariness, as if he had wanted both to warn of and to delay these slow or quick deaths which seemed to be engulfing the entire building storey by storey. Monsieur Marcia, Madame Moreau, Madame de Beaumont, Bartlebooth, Rorschach, Mademoiselle Crespi, Madame Albin, Smautf. And himself, of course, Val猫ne himself, the longest inhabitant of the house.鈥�
One of my absolute favorite films is Stanley Kubrick鈥檚 Barry Lyndon. The main cinematic technique that lends the film its particular rhythm is the 鈥渟low zoom out鈥�. A scene begins with the camera focused very closely on one or two subjects or objects, and then is slowly pulled back, maintaining a deep-field focus, deliberately and quietly minimizing the subjects within the frame of the screen, showing the size and composition of the world in which they are contained. There is a similar literary strategy at play in Life. Chapters usually begin with a few paragraphs describing in great detail objects in a particular room- paintings, furniture, appliances, clothing, knick-knacks, etc.- and then those objects are slowly 鈥渮oomed鈥� away from, and the story is told of the inhabitants of those rooms, or of someone associated with those objects or the place in which those objects rest. The feeling evoked is similar in Barry Lyndon and Life, the tight focus on minutiae and then the slow revealing of its place in an immense story. Though there is a crucial difference. Kubrick鈥檚 technique was employed to show a thing鈥檚 limitations within a space; Perec鈥檚 technique is employed to show their resonance; how these small, almost indifferent things are the clues left behind that, when worked through, piece together immense worlds.
So much of this book is lists of objects, beautifully described. Objects, which so readily accumulate the patina of time, which often outlive us, which stay where we leave them, signifiers of who we are, were, wanted to be- those versions of ourselves we discarded out of need or necessity or on a whim, what we sloughed off but couldn鈥檛 bring ourselves to throw away. Keepsakes of our affinities. Objects, whose arrangement in our lives is like the finger trace left in a film of dust on an old desk, the proof we came this way, did this or that. These can be things as simple as our socks and old photographs, souvenirs of voyages, or as complex as novels we write, the family trees we form a branch of. The way we arrange objects, and the objects we choose to keep around us, speak volumes of our interior lives. These lists of objects that make up so much of Life are the great part the characterizations of the people who make up this book. But lists of objects work in another way, too. Lists draw attention only to themselves. They leave the signifier untouched by a narrative purpose. Purposeless, they speak to the meaning of the word as it is written, and give only that meaning. By serving no purpose in a narrative, an object of pure description survives the various ways a story can be dragged into oblivion by the words employed in its telling. It is the thing itself. A book made up of lists is therefore an undying book, giving meaning only in and of itself and the objects it names. However, the objects in Life don鈥檛 sit there unattached to narrative, they initiate the endless narratives. Apart and interwoven, Perec has reconciled the solitary object with the relic of time (its 鈥渟tory鈥�), by leaving the things accumulated as starting points of their own histories. So Life is both Flaubert鈥檚 ideal 鈥渂ook about nothing鈥�, while simultaneously satisfying Queneau鈥檚 idea that all novels reflect either the Iliad or the Odyssey. A book of nothings and everythings; of things immobile as well as lives unfurling.
Life is such a generous book, it gives so much, its complexities always yielding to some basic joy, its ironies giving insights, its tragedies so beautiful, its mysteries so delightful, its intelligence steeped in playfulness, its erudition serving such human ends. 1,001 Parisian Nights. Another infinite novel.
鈥淪ometimes Val猫ne had the feeling that time had been stopped, suspended, frozen around he didn鈥檛 know what expectation. The very idea of the picture he planned to do and whose laid-out, broken-up images had begun to haunt every second of his life, furnishing his dreams, squeezing his memories, the very idea of this shattered building laying bare the cracks of its past, the crumbling of the present, this unordered amassing of stories grandiose and trivial, frivolous and pathetic, gave him the impression of a grotesque mausoleum raised in the memory of companions petrified in terminal postures as insignificant in their solemnity as they were in their ordinariness, as if he had wanted both to warn of and to delay these slow or quick deaths which seemed to be engulfing the entire building storey by storey. Monsieur Marcia, Madame Moreau, Madame de Beaumont, Bartlebooth, Rorschach, Mademoiselle Crespi, Madame Albin, Smautf. And himself, of course, Val猫ne himself, the longest inhabitant of the house.鈥�
September 13, 2016
By about page 200, this was firmly in my top 10 fave books. By the end, it seemed to me like a clear-cut canonical biggie (eg, Moby Dick, Infinite Jest, 2666, Ulysses), but better natured than these -- also, it didn't seem like much of a chip was trying to be knocked off the authorial shoulder. Joyce took on Shakespeare, DFW tried to depose the postmodernist phallocracy, but Perec seems more at peace. It's like Beckett's sucking stones section in Molloy: elaborate, infinitely detailed processes eventually reduced to nothing, but not with semi-suspicious "creative writing 101" poignancy -- here it's a celebration of the word in this book's title. Not much dialogue, mostly summarized scenes, short chapters, stories within stories within stories, a cast of hundreds. The Bartlebooth section, even if published alone, probably would have won the author the Nobel Prize if he'd lived into his sixties. Highly recommended to people who like to read, especially those readers into towering literary artistry (ie, audacious, original, extraordinarily well-executed, life-affirming, good-natured, inspiring masterpieces).
February 9, 2021
猸愶笍猸愶笍猸愶笍猸愶笍猸愶笍
螤蔚谓蟿维蟽蟿蔚蟻畏 魏蟻喂蟿喂魏萎 伪尉喂慰位蠈纬畏蟽畏 魏伪喂 蠈位伪 蟿伪 伪蟽蟿蔚蟻慰魏慰蟺蔚委伪 渭伪味委 蟽慰蠀, 伪纬伪蟺畏渭苇谓蔚, 蟺蔚喂蟻伪渭伪蟿喂魏苇 魏伪喂 蟺蟻蠅蟿蠈蟿蠀蟺蔚, 伪蟻蠂喂蟽伪未喂蟽蟿萎, 螙蠅蟻味 螤蔚蟻苇魏, 未喂蠈蟿喂 蟽慰蠀 蟺伪蟻伪未委谓慰渭伪喂
- 蠈蠂喂 伪渭伪蠂畏蟿委 - 伪蠁慰蠉 未蔚谓 魏伪蟿维蠁蔚蟻伪 渭蔚蟿维 伪蟺慰 蟺慰位位苇蟼 渭苇蟻蔚蟼 魏伪喂 谓蠉蠂蟿蔚蟼 蟺慰蠀 蟺蔚蟻维蟽伪渭蔚 渭伪味委 谓伪 苇蠂蠅 蟿畏 未蠀谓伪蟿蠈蟿畏蟿伪 谓伪 渭蔚蟿伪蠁苇蟻蠅 蟿畏 纬慰畏蟿蔚委伪 魏伪喂 蟿畏谓 蔚蠀蠁蠀蠆苇蟽蟿伪蟿畏 蟺慰谓畏蟻喂维 蟿畏蟼 喂未喂慰蠁蠀螑伪蟼 蟿畏蟼 纬蟻伪蠁萎蟼 魏伪喂 蟿畏蟼 未畏渭喂慰蠀蟻纬喂魏萎蟼 魏伪蟿伪蟽魏蔚蠀萎蟼 蟿畏蟼 伪蟻蠂喂蟿蔚魏蟿慰谓喂魏萎蟼 蟽慰蠀 蟺蔚味慰纬蟻伪蠁委伪蟼.
韦蔚魏蟿慰谓喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼 蠂蟿喂蟽委渭伪蟿慰蟼 尾维蟽蔚喂 蔚纬蠂蔚喂蟻喂未委慰蠀 蠂蟻萎蟽蟿畏 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 渭维胃蔚喂 伪蟺位维, 位喂蟿维, 伪蟺苇蟻喂蟿蟿伪 谓伪 味蔚喂, 蔚委蟿蔚 蠀蟺维蟻蠂蔚喂 蔚委蟿蔚 蠈蠂喂.
螝维蟺慰蠀 蔚未蠋 慰喂 慰未畏纬委蔚蟼 蠂蟻萎蟽畏蟼 蠁伪委谓慰谓蟿伪喂 魏维蟿喂 蟺伪蟻伪蟺维谓蠅 伪蟺慰 伪谓伪纬魏伪委蔚蟼 未喂蠈蟿喂 渭伪蟼 蟺蟻慰蟽蠁苇蟻蔚喂蟼 蟺慰位位维 蟿伪尉委未喂伪 蠂蠅蟻委蟼 维蠁喂尉畏.
螝伪喂 苇蠄伪尉伪 魏伪喂 尾蟻萎魏伪 :
韦慰 Oulipo (Ouvroir de litt茅rature potentielle) 喂未蟻蠉胃畏魏蔚 蟿慰 1960 蠅蟼 渭喂伪 慰渭维未伪 螕维位位蠅谓 蟽蠀纬纬蟻伪蠁苇蠅谓 魏伪喂 渭伪胃畏渭伪蟿喂魏蠋谓 蟺慰蠀 蔚谓未喂伪蠁苇蟻胃畏魏伪谓 谓伪 纬蟻维蠄慰蠀谓 魏维蟿喂 蟺慰蠀 萎蟿伪谓 蟺蔚蟻喂慰蟻喂蟽渭苇谓慰. 螠蟺慰蟻慰蠉渭蔚 谓伪 尉蔚蠂蠅蟻委蟽慰蠀渭蔚 未蠉慰 尾伪蟽喂魏苇蟼 蟿维蟽蔚喂蟼 蟿慰蠀 魏喂谓萎渭伪蟿慰蟼. 螚 渭委伪 蔚委谓伪喂 蟺蟻慰蟼 蟿畏谓 螒谓维位蠀蟽畏 魏伪喂 畏 维位位畏 蟺蟻慰蟼 蟿畏 危蠉谓胃蔚蟽畏.
危蟿畏谓 蟺蟻蠋蟿畏 蟺蔚蟻委蟺蟿蠅蟽畏, 尉伪谓伪未慰蠀位蔚蠉慰谓蟿伪喂 苇蟻纬伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 渭蔚 蟽魏慰蟺蠈 谓伪 尾蟻蔚胃慰蠉谓 未蠀谓伪蟿蠈蟿畏蟿蔚蟼 蟺慰蠀 蟽蠀蠂谓维 蠀蟺蔚蟻尾伪委谓慰蠀谓 蟿伪 蠈蟽伪 蟺蟻慰蟽未慰魏慰蠉蟽伪谓 慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼 蟿慰蠀蟼.
危蟿畏 未蔚蠉蟿蔚蟻畏 蟺蔚蟻委蟺蟿蠅蟽畏 -蟺慰蠀 蔚委谓伪喂 魏伪喂 畏 蟺喂慰 蠁喂位蠈未慰尉畏- 蟽蟿蠈蠂慰蟼 蔚委谓伪喂 畏 未畏渭喂慰蠀蟻纬委伪 谓苇蠅谓 位慰纬慰蟿蔚蠂谓喂魏蠋谓 魏伪蟿蔚蠀胃蠉谓蟽蔚蠅谓.
韦伪 渭伪胃畏渭伪蟿喂魏维 -蟺喂慰 蟽蠀纬魏蔚魏蟻喂渭苇谓伪, 慰喂 伪蠁畏蟻畏渭苇谓蔚蟼 未慰渭苇蟼 蟿蠅谓 蟽蠉纬蠂蟻慰谓蠅谓 渭伪胃畏渭伪蟿喂魏蠋谓- 蟺蟻慰蟽蠁苇蟻慰蠀谓 蠂喂位喂维未蔚蟼 魏伪蟿蔚蠀胃蠉谓蟽蔚喂蟼 未喂蔚蟻蔚蠉谓畏蟽畏蟼 蟿蠈蟽慰 渭苇蟽蠅 蟿畏蟼 螁位纬蔚尾蟻伪蟼 (谓苇慰喂 魏伪谓蠈谓蔚蟼 蟽蠉谓胃蔚蟽畏蟼) 蠈蟽慰 魏伪喂 渭苇蟽蠅 蟿畏蟼 韦慰蟺慰位慰纬委伪蟼 (谓苇慰喂 蟿蟻蠈蟺慰喂 伪谓慰委纬渭伪蟿慰蟼 魏伪喂 魏位蔚喂蟽委渭伪蟿慰蟼 蔚谓蠈蟼 魏蔚喂渭苇谓慰蠀). 螡苇慰喂 蟿蟻蠈蟺慰喂 谓伪 尾伪蟽伪谓委味蔚蟽伪喂 未喂伪尾维味慰谓蟿伪蟼 苇谓伪 蟿苇蟿慰喂慰 苇蟻纬慰 魏伪喂 谓伪 蟽鈥櫸毕佄兾滴�.
螒蠀蟿慰委 慰喂 蟺蔚蟻喂慰蟻喂蟽渭慰委 蟺蔚蟻喂蔚位维渭尾伪谓伪谓 位喂蟺慰纬蟻维渭渭伪蟿伪 (蔚魏蟿蠈蟼 伪蟺蠈 苇谓伪 萎 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 纬蟻维渭渭伪蟿伪), palindromes (蠈蟺慰蠀 蟿慰 魏蔚委渭蔚谓慰 未喂伪尾维味蔚喂 蟿慰 委未喂慰 蟺蟻慰蟼 蟿伪 蟺委蟽蠅 萎 蟺蟻慰蟼 蟿伪 蔚渭蟺蟻蠈蟼) 魏伪喂 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 蟿喂蟼 魏喂谓萎蟽蔚喂蟼 蟿慰蠀 喂蟺蟺蠈蟿畏 蟽蟿慰 蟽魏维魏喂. 螤蟻慰蠁伪谓蠋蟼 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 尾伪蟽委味蔚蟿伪喂 蟽蔚 蟺位苇纬渭伪 10 苇蠅蟼 10 蟺慰蠀 伪谓蟿喂蟽蟿慰喂蠂蔚委 蟽蟿畏谓 蟺慰位蠀魏伪蟿慰喂魏委伪 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂. 螒蠀蟿蠈 蟽蠀谓未蠀维味蔚蟿伪喂 渭蔚 苇谓伪 蟽蠉谓慰位慰 位喂蟽蟿蠋谓 伪蟺蠈 渭喂伪 渭伪胃畏渭伪蟿喂魏萎 蔚尉委蟽蠅蟽畏 蟺慰蠀 慰谓慰渭维味蔚蟿伪喂
Graeco-Latin square禄.
违蟺维蟻蠂蔚喂 苇谓伪 蟽蠂畏渭伪蟿喂魏蠈 蟽蠂苇未喂慰 渭喂伪蟼 蟽蔚位委未伪蟼, 蟿慰蠀 魏蟿喂蟻委慰蠀, 蟽蟿畏 蟽蔚位委未伪 541 蟿慰 慰蟺慰委慰 蔚委谓伪喂 渭喂伪 蠂蟻萎蟽喂渭畏 伪谓伪蠁慰蟻维. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 蟽蠂蔚未喂维纬蟻伪渭渭伪 锟斤拷慰蠀 魏蟿喂蟻委慰蠀 蠈蟺慰蠀 慰喂 蟺蟻慰畏纬慰蠉渭蔚谓慰喂 苇谓慰喂魏慰喂 蟽畏渭蔚喂蠋谓慰谓蟿伪喂 渭蔚 蟺位维纬喂伪 纬蟻维渭渭伪蟿伪.
螤蠈蟽伪 苇蟻纬伪 渭蠀胃慰蟺位伪蟽委伪蟼 苇蠂慰蠀谓 苇谓伪 蔚蠀蟻蔚蟿萎蟻喂慰, 蟺蠈蟽慰 渭维位位慰谓 苇谓伪 蔚蠀蟻蔚蟿萎蟻喂慰 59 蟺蔚蟻委蟺慰蠀 蟽蔚位委未蠅谓; 螝维胃蔚 魏蔚蠁维位伪喂慰 蟺蔚蟻喂纬蟻维蠁蔚喂 渭喂伪 蟿慰蟺慰胃蔚蟽委伪 魏伪喂 苇蠂蔚喂 蟿慰 蠈谓慰渭伪 蟿慰蠀 魏伪蟿慰委魏慰蠀 蟿慰蠀 未喂伪渭蔚蟻委蟽渭伪蟿慰蟼 蟽蟿慰 蟺伪蟻蔚位胃蠈谓, 蟿慰 蟺伪蟻蠈谓 魏伪喂 蟿慰 渭苇位位慰谓.
螚 蟺慰位蠀魏伪蟿慰喂魏委伪 蟺慰蠀 伪谓伪蠁苇蟻蔚蟿伪喂 蔚委谓伪喂 蟽伪谓 蠈谓蔚喂蟻慰 渭苇蟽伪 蟽蔚 蠈谓蔚喂蟻慰 慰谓蔚委蟻慰蠀, 蟺慰蠀 慰谓蔚喂蟻蔚蠉慰谓蟿伪喂 蠈蟽慰喂 魏慰喂渭慰蠉谓蟿伪喂, 魏伪喂 尾位苇蟺慰蠀谓, 味慰蠀谓, 蔚渭蟺蔚喂蟻喂魏维 魏伪喂 尾喂蠅渭伪蟿喂魏维, 蟺蟻伪纬渭伪蟿喂魏维, 蠈蟽慰喂 尉蠀蟺谓慰蠉谓.
螌蟽慰喂 未蔚谓 蟺喂蟽蟿蔚蠉慰蠀谓 蟽蟿伪 伪蠁喂蔚蟻蠅渭苇谓伪 魏伪蟿维蟽蟿喂蠂伪.
螌蟽慰喂 蠁位蔚蟻蟿维蟻慰蠀谓 渭蠈谓慰 渭蔚 蟿慰蠀蟼 蠀蟺苇蟻渭伪蠂慰蠀蟼 蟺慰蠀 未蔚谓 蟽蠀谓伪喂谓慰蠉谓 谓伪 蠀蟺维蟻蠂蔚喂 位慰纬慰蟿蔚蠂谓委伪 渭蔚 蟺蔚蟻喂慰蟻喂蟽渭慰蠉蟼
萎 伪谓 蠀蟺维蟻尉蔚喂 谓伪 伪谓萎魏蔚喂 蟽蔚 魏伪胃喂蔚蟻蠅渭苇谓蔚蟼 渭慰蟻蠁苇蟼 纬蟻伪蠁萎蟼.
螠慰喂维味蔚喂 蟽蟿伪 伪位萎胃蔚喂伪 渭蔚 苇谓伪 蠀蟺蔚蟻蟿苇位蔚喂伪蟼 纬位蠀蟺蟿喂魏萎蟼 蟺伪纬蠈尾慰蠀谓慰.
危蟿畏谓 蔚喂魏蠈谓伪 蟺维谓蠅 伪蟺慰 蟿畏谓 蟽蟿维胃渭畏 蟿慰蠀 谓蔚蟻慰蠉 渭蟺慰蟻蔚委蟼 谓伪 未蔚喂蟼, 谓伪 蠁伪谓蟿伪蟽蟿蔚委蟼, 谓伪 蟽魏蔚蠁蟿蔚委蟼, 谓伪 慰谓蔚喂蟻蔚蠀蟿蔚委蟼,
谓伪 蟽蠀纬魏蟻委谓蔚喂蟼, 谓伪 胃伪蠀渭维蟽蔚喂蟼, 谓伪 蟽蠀谓畏胃委蟽蔚喂蟼 蠈位蔚蟼 蟿喂蟼 伪谓胃蟻蠋蟺喂谓蔚蟼 渭喂魏蟻慰蟺蟻苇蟺蔚喂蔚蟼.
螌位伪 蟿伪 蠀蟺伪蟻尉喂伪魏维, - 魏维蟿蠅 伪蟺蠈 蟿畏 蟽蟿维胃渭畏 蟿慰蠀 谓蔚蟻慰蠉-蟺慰位喂蟿喂魏维, 蟿伪尉喂魏维, 慰喂魏慰蠀渭蔚谓喂魏维, 魏伪位位喂蟿蔚蠂谓喂魏维, 慰喂魏慰纬蔚谓蔚喂伪魏维, 蔚蟻蠅蟿喂魏维, 蠁喂位喂魏维, 蟺蔚喂蟻伪渭伪蟿喂魏维, 蟺蟻伪纬渭伪蟿喂魏维, 位蔚蟺蟿慰渭蔚蟻蔚喂伪魏维, 蟺蔚蟻喂纬蟻伪蠁喂魏维, 未喂伪蟽蟿蟻慰蠁喂魏维, 蟽蔚尉慰蠀伪位喂魏维, 蟽蠀纬纬蔚谓喂魏维, 伪蟿伪尾喂蟽蟿喂魏维, 蔚尉伪魏慰位慰蠀胃畏蟿喂魏维 纬蔚纬慰谓蠈蟿伪 萎 蟽蟿喂纬渭喂伪委伪 位维胃畏 魏伪喂 蟺维胃畏, 味蠅苇蟼 蟺慰蠀 未蔚谓 蟿喂蟼 苇味畏蟽伪谓, 胃伪谓维蟿慰蠀蟼 蟺慰蠀 未蔚谓 蟿慰蠀蟼 伪蟺慰位蠉蟿蟻蠅蟽伪谓 伪蟺慰 蟿喂蟼 蟿蟻伪纬喂魏苇蟼 蠁蠀位伪魏委蟽蔚喂蟼 蟿畏蟼 味蠅萎蟼.
螡伪喂, 渭蔚 味蠈蟻喂蟽蔚蟼, 蟽蔚 味蠈蟻喂蟽伪, 渭蔚 味蠈蟻喂蟽蔚蟼, 伪位位维 谓喂魏维蔚喂 蟺维谓蟿伪 慰 蔚蟺喂渭苇谓蠅谓. 螘蟺苇渭蔚谓伪 谓伪 蠀蟺慰渭蔚委谓蠅 谓伪 蟿慰 味萎蟽蠅 渭蔚 蠈位蔚蟼 蟿喂蟼 伪喂蟽胃萎蟽蔚喂蟼 渭慰蠀 苇谓伪 蟽蠉纬蠂蟻慰谓慰 1001 螡蠉蠂蟿蔚蟼 蟽蔚 伪蠀蟿蠈 蟿慰 苇蟻纬慰 蟿慰蠀 Perec.
螘未蠋 蟺慰蠀 慰 未畏渭喂慰蠀蟻纬蠈蟼 蠂蟻畏蟽喂渭慰蟺慰喂蔚委 蟿畏 未慰渭萎 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿蠈蟼 蟿慰蠀 纬喂伪 未蔚魏维未蔚蟼 未喂畏纬萎渭伪蟿伪 蟽蠂蔚蟿喂魏维 渭蔚 苇谓伪 蔚魏蟺位畏魏蟿喂魏蠈 魏伪蟽蟿 蠂伪蟻伪魏蟿萎蟻蠅谓, 蠈位慰喂 蔚蟺喂魏蔚谓蟿蟻蠅渭苇谓慰喂 蟽蔚 渭喂伪 渭慰谓伪未喂魏萎 蠁伪谓蟿伪蟽蟿喂魏萎 蟺慰位蠀魏伪蟿慰喂魏委伪 蟽蟿慰 螤伪蟻委蟽喂 蟽蔚 渭喂伪 蟽蠀纬魏蔚魏蟻喂渭苇谓畏 蟽蟿喂纬渭萎, 位委纬慰 蟺蟻喂谓 伪蟺蠈 蟿喂蟼 8 渭.渭. 蟽蟿喂蟼 23 螜慰蠀谓委慰蠀, 1975.
螡伪喂. 螒蠀蟿蠈 蔚委谓伪喂. 螒蟺委蟽蟿蔚蠀蟿慰; 螡伪喂.
螠伪 蟿蠈蟽慰 蠁伪谓蟿伪蟽渭伪纬慰蟻喂魏蠈 魏伪喂 蟿伪尉喂未喂维蟻喂魏慰. 韦蠈蟽慰 蟺慰位蠉 伪蟺位蠈 蟺慰蠀 纬委谓蔚蟿伪喂 蟺慰位蠀蟽蠉谓胃蔚蟿慰 魏伪喂 尾伪蟽伪谓委味蔚喂 渭蠀伪位维 魏伪喂 蟺谓蔚蠉渭伪蟿伪.
芦螚 蟽蟿蟻慰蠁萎 苇纬喂谓蔚 蟿慰 1966 渭蔚 蟿慰 魏维位蔚蟽渭伪 蟿慰蠀听 Jacques Roubaud 伪蟺蠈 蟿慰谓 Queneau. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 渭委伪 蟽蠀渭尾慰位喂魏萎 蔚蟺喂位慰纬萎 伪蠁慰蠉 慰 蟺蟻蠋蟿慰蟼, 蟽蟿畏谓 蟺蟻蠋蟿畏 蟿慰蠀 蟽蠀位位慰纬萎 蟺慰蠀 蔚魏未蠈胃畏魏蔚 渭蔚 蟿慰谓 蟿委蟿位慰:?, 蔚委蠂蔚 魏伪蟿伪蠁苇蟻蔚喂 谓伪 胃苇蟽蔚喂 蠈位蔚蟼 蟿喂蟼 渭伪胃畏渭伪蟿喂魏苇蟼 蟿慰蠀 纬谓蠋蟽蔚喂蟼 蟽蟿畏谓 蠀蟺畏蟻蔚蟽委伪 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼;禄
芦韦伪 蔚蟺蠈渭蔚谓伪 未蠋未蔚魏伪 蠂蟻蠈谓喂伪 蟺慰蠀 伪魏慰位慰蠉胃畏蟽伪谓 蟿慰 蔚蟻纬伪蟽蟿萎蟻喂 伪蟺慰蟻蟻慰蠁慰蠉蟽蔚 蟽蠀谓苇蠂蔚喂伪 魏蠈蟽渭慰. 螣蠁蔚委位慰蠀渭蔚 谓伪 伪谓伪蠁苇蟻慰蠀渭蔚 蟿慰蠀蟼: Georges Perec 蟺慰蠀 蔚谓蟿维蠂胃畏魏蔚 蟽蟿慰 魏委谓畏渭伪 蟿慰 1967,蟿慰 Marcel Benabou 魏伪喂 蟿慰 Luc Etienne 蟿慰 1969, 蟿慰谓 Paul Fournel 蟿慰 1971, 蟿慰 Harry Mathews 魏伪喂 蟿慰谓 Italo Calvino 蟿慰 1973 魏伪喂 蟿苇位慰蟼 畏 Michele听Metail 蟿慰 1975禄.
芦螒谓伪味畏蟿蠋 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟿慰 伪喂蠋谓喂慰 魏伪喂 蟿慰 蔚蠁萎渭蔚蟻慰禄.
螣 蠂蟻慰谓慰位慰纬喂魏蠈蟼 蟺委谓伪魏伪蟼 蟿慰蠉蟿慰蠀 蟿慰蠀 苇蟺慰蠀蟼 伪蟻蠂委味蔚喂 蟿慰 1833. 韦慰 1875 纬委谓蔚蟿伪喂 畏 魏伪蟿维蟿渭畏蟽畏 蟽蔚 慰喂魏蠈蟺蔚未伪 蟿畏蟼 慰未慰蠉 危喂渭蠈谓-螝蟻蠀渭蟺蔚位位喂苇 魏伪喂 蟿慰 1885 慰 螞蠀渭蟺苇谓 惟味苇蟻 蟿蔚位蔚喂蠋谓蔚喂 蟿畏谓 伪谓苇纬蔚蟻蟽畏 伪蠀蟿萎蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蟺慰蠀 蟽蟿慰喂蠂蔚喂蠋谓蔚喂 渭苇蠂蟻喂 蟿慰 1975 味蠋谓蟿蔚蟼 魏伪喂 蟿蔚胃谓蔚蠈蟿蔚蟼 蠁蠅谓维味蠅谓蟿伪蟼 渭蔚 蟺蔚喂蟻伪渭伪蟿喂魏维 魏伪喂 蟺伪喂纬谓喂蠋未畏 渭苇蟽伪 伪谓伪渭蔚蟿维未慰蟽畏蟼 渭喂伪 渭伪纬喂魏萎 螒蠁喂苇蟻蠅蟽畏 蠂蠅蟻委蟼 伪蠁喂苇蟻蠅蟽畏,
芦螝慰委蟿伪 渭蔚 蠈位伪 蟽慰蠀 蟿伪 渭维蟿喂伪, 螝慰委蟿伪禄
螝伪喂 萎蟿伪谓 蠁慰蟻苇蟼 蟺慰蠀 蔚委蠂蔚蟼 蟿畏谓 蔚谓蟿蠉蟺蠅蟽畏 蟺蠅蟼 慰 蠂蟻蠈谓慰蟼 伪谓蔚蟽蟿维位畏, 蟺苇蟿蟻蠅蟽蔚 纬蠉蟻蠅 伪蟺慰 魏维蟺慰喂伪 蟺蟻慰蟽未慰魏委伪 蟺慰蠀 未蔚谓 蟺蟻慰蟽未喂慰蟻委味蔚蟿伪喂 蟺喂伪. 危伪谓 苇谓伪蟼 蟺委谓伪魏伪蟼 味蠅纬蟻伪蠁喂魏萎蟼 渭蔚 蟺蔚蟻委慰蟺蟿伪 胃蟻伪蠉蟽渭伪蟿伪 蔚喂魏蠈谓蠅谓. 螘喂魏蠈谓蔚蟼 蟺慰蠀 蟽蟿慰委蠂蔚喂蠅谓伪谓 魏维胃蔚 蟽蟿喂纬渭萎 蟿畏蟼 味蠅萎蟼 蔚谓慰喂魏蠋谓蟿伪蟼 蟿伪 蠈谓蔚喂蟻伪, 蔚魏渭伪喂蔚蠉慰谓蟿伪谓 渭谓萎渭蔚蟼, 渭伪 蟺维谓蟿伪 畏 魏蔚谓蟿蟻喂魏萎 喂未苇伪 萎蟿伪谓 蟿慰 蟺位伪委蟽喂慰 渭喂伪蟼 尉蔚魏慰喂位喂伪蟽渭苇谓畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蟺慰蠀 伪谓伪未蔚喂魏谓蠉蔚喂 蟿喂蟼 蟺伪蟻蔚位胃慰谓蟿喂魏苇蟼 蟻蠅纬渭苇蟼 蟿畏蟼 魏伪喂 蟿畏谓 蟿蠅蟻喂谓萎 蟿畏蟼 魏伪蟿维蟻蟻蔚蠀蟽畏, 渭喂伪蟼 蟽蠀蟽蟽蠋蟻蔚蠀蟽畏蟼 喂蟽蟿慰蟻喂蠋谓 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蠅谓, 蠁伪喂谓慰渭蔚谓喂魏维 蟺蟻慰蠁伪谓蠋蟼 蠂蠅蟻委蟼 伪位位畏位慰蠀蠂委伪, 伪蟽萎渭伪谓蟿蠅谓 渭伪喂 渭蔚纬伪位蠈蟺蟻蔚蟺蠅谓 蟽蟿喂纬渭蠋谓, 纬喂伪 纬苇位喂伪, 纬喂伪 魏位维渭伪蟿伪, 蟽伪谓 蟿畏谓 蔚喂魏蠈谓伪 蔚谓蠈蟼 纬魏蟻慰蟿苇蟽魏慰蠀 渭伪蠀蟽蠅位蔚委慰蠀, 蠂蟿喂蟽渭苇谓慰 蟽蟿畏谓 渭谓萎渭畏 魏慰渭蟺维蟻蟽蠅谓 蟿畏蟼 蠉蟺伪蟻尉畏 蟿慰蠀蟼.
螝慰渭蟺维蟻蟽蠅谓 蟺慰蠀 伪蟺慰位喂胃蠋胃畏魏伪谓 蟽蔚 蟿蔚位蔚蠀蟿伪委蔚蟼 蟽蟿维蟽蔚喂蟼 蟿慰 委未喂慰 伪蟽萎渭伪谓蟿蔚蟼 渭蔚 蟿畏谓 蔚蟺喂蟽畏渭蠈蟿畏蟿伪 蟿慰蠀蟼 蠈蟽慰 魏伪喂 蟽蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪. 螠喂伪 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪 蟺慰蠀 苇蟺伪蟽蠂蔚 纬喂伪 谓伪 蟺蟻慰位维尾蔚喂 魏伪喂 谓伪 魏伪胃蠀蟽蟿蔚蟻萎蟽蔚喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟿慰谓 胃维谓伪蟿慰 蟺慰蠀 伪蟻纬维 萎 纬蟻萎纬慰蟻伪 胃伪 魏伪蟿伪尾蟻蠈蠂胃喂味蔚 蠈蟻慰蠁慰 蟿慰谓 蠈蟻慰蠁慰 蠈位畏 蟿畏谓 蟺慰位蠀魏伪蟿慰喂魏委伪 渭蔚 蟿慰蠀蟼 蔚谓慰委魏慰蠀蟼 蟿畏蟼 螝伪喂 蟿蠈蟿蔚 蟺位畏渭渭蠉蟻喂味蔚 渭喂伪 伪尾维蟽蟿伪蠂蟿畏 胃位委蠄畏 纬喂伪 蔚魏蔚委谓慰蠀蟼 蟺慰蠀 蔚委蠂伪谓 萎未畏 蠁蠉纬蔚喂, 蟺慰蠀 蟿慰蠀蟼 蔚委蠂蔚 魏伪蟿伪蟺喂蔚委 畏 味蠅萎 萎 慰 胃维谓伪蟿慰蟼.
猸愶笍猸愶笍猸愶笍猸愶笍猸愶笍
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 魏伪喂 蟽蔚渭谓慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
螤蔚谓蟿维蟽蟿蔚蟻畏 魏蟻喂蟿喂魏萎 伪尉喂慰位蠈纬畏蟽畏 魏伪喂 蠈位伪 蟿伪 伪蟽蟿蔚蟻慰魏慰蟺蔚委伪 渭伪味委 蟽慰蠀, 伪纬伪蟺畏渭苇谓蔚, 蟺蔚喂蟻伪渭伪蟿喂魏苇 魏伪喂 蟺蟻蠅蟿蠈蟿蠀蟺蔚, 伪蟻蠂喂蟽伪未喂蟽蟿萎, 螙蠅蟻味 螤蔚蟻苇魏, 未喂蠈蟿喂 蟽慰蠀 蟺伪蟻伪未委谓慰渭伪喂
- 蠈蠂喂 伪渭伪蠂畏蟿委 - 伪蠁慰蠉 未蔚谓 魏伪蟿维蠁蔚蟻伪 渭蔚蟿维 伪蟺慰 蟺慰位位苇蟼 渭苇蟻蔚蟼 魏伪喂 谓蠉蠂蟿蔚蟼 蟺慰蠀 蟺蔚蟻维蟽伪渭蔚 渭伪味委 谓伪 苇蠂蠅 蟿畏 未蠀谓伪蟿蠈蟿畏蟿伪 谓伪 渭蔚蟿伪蠁苇蟻蠅 蟿畏 纬慰畏蟿蔚委伪 魏伪喂 蟿畏谓 蔚蠀蠁蠀蠆苇蟽蟿伪蟿畏 蟺慰谓畏蟻喂维 蟿畏蟼 喂未喂慰蠁蠀螑伪蟼 蟿畏蟼 纬蟻伪蠁萎蟼 魏伪喂 蟿畏蟼 未畏渭喂慰蠀蟻纬喂魏萎蟼 魏伪蟿伪蟽魏蔚蠀萎蟼 蟿畏蟼 伪蟻蠂喂蟿蔚魏蟿慰谓喂魏萎蟼 蟽慰蠀 蟺蔚味慰纬蟻伪蠁委伪蟼.
韦蔚魏蟿慰谓喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼 蠂蟿喂蟽委渭伪蟿慰蟼 尾维蟽蔚喂 蔚纬蠂蔚喂蟻喂未委慰蠀 蠂蟻萎蟽蟿畏 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 渭维胃蔚喂 伪蟺位维, 位喂蟿维, 伪蟺苇蟻喂蟿蟿伪 谓伪 味蔚喂, 蔚委蟿蔚 蠀蟺维蟻蠂蔚喂 蔚委蟿蔚 蠈蠂喂.
螝维蟺慰蠀 蔚未蠋 慰喂 慰未畏纬委蔚蟼 蠂蟻萎蟽畏蟼 蠁伪委谓慰谓蟿伪喂 魏维蟿喂 蟺伪蟻伪蟺维谓蠅 伪蟺慰 伪谓伪纬魏伪委蔚蟼 未喂蠈蟿喂 渭伪蟼 蟺蟻慰蟽蠁苇蟻蔚喂蟼 蟺慰位位维 蟿伪尉委未喂伪 蠂蠅蟻委蟼 维蠁喂尉畏.
螝伪喂 苇蠄伪尉伪 魏伪喂 尾蟻萎魏伪 :
韦慰 Oulipo (Ouvroir de litt茅rature potentielle) 喂未蟻蠉胃畏魏蔚 蟿慰 1960 蠅蟼 渭喂伪 慰渭维未伪 螕维位位蠅谓 蟽蠀纬纬蟻伪蠁苇蠅谓 魏伪喂 渭伪胃畏渭伪蟿喂魏蠋谓 蟺慰蠀 蔚谓未喂伪蠁苇蟻胃畏魏伪谓 谓伪 纬蟻维蠄慰蠀谓 魏维蟿喂 蟺慰蠀 萎蟿伪谓 蟺蔚蟻喂慰蟻喂蟽渭苇谓慰. 螠蟺慰蟻慰蠉渭蔚 谓伪 尉蔚蠂蠅蟻委蟽慰蠀渭蔚 未蠉慰 尾伪蟽喂魏苇蟼 蟿维蟽蔚喂蟼 蟿慰蠀 魏喂谓萎渭伪蟿慰蟼. 螚 渭委伪 蔚委谓伪喂 蟺蟻慰蟼 蟿畏谓 螒谓维位蠀蟽畏 魏伪喂 畏 维位位畏 蟺蟻慰蟼 蟿畏 危蠉谓胃蔚蟽畏.
危蟿畏谓 蟺蟻蠋蟿畏 蟺蔚蟻委蟺蟿蠅蟽畏, 尉伪谓伪未慰蠀位蔚蠉慰谓蟿伪喂 苇蟻纬伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 渭蔚 蟽魏慰蟺蠈 谓伪 尾蟻蔚胃慰蠉谓 未蠀谓伪蟿蠈蟿畏蟿蔚蟼 蟺慰蠀 蟽蠀蠂谓维 蠀蟺蔚蟻尾伪委谓慰蠀谓 蟿伪 蠈蟽伪 蟺蟻慰蟽未慰魏慰蠉蟽伪谓 慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼 蟿慰蠀蟼.
危蟿畏 未蔚蠉蟿蔚蟻畏 蟺蔚蟻委蟺蟿蠅蟽畏 -蟺慰蠀 蔚委谓伪喂 魏伪喂 畏 蟺喂慰 蠁喂位蠈未慰尉畏- 蟽蟿蠈蠂慰蟼 蔚委谓伪喂 畏 未畏渭喂慰蠀蟻纬委伪 谓苇蠅谓 位慰纬慰蟿蔚蠂谓喂魏蠋谓 魏伪蟿蔚蠀胃蠉谓蟽蔚蠅谓.
韦伪 渭伪胃畏渭伪蟿喂魏维 -蟺喂慰 蟽蠀纬魏蔚魏蟻喂渭苇谓伪, 慰喂 伪蠁畏蟻畏渭苇谓蔚蟼 未慰渭苇蟼 蟿蠅谓 蟽蠉纬蠂蟻慰谓蠅谓 渭伪胃畏渭伪蟿喂魏蠋谓- 蟺蟻慰蟽蠁苇蟻慰蠀谓 蠂喂位喂维未蔚蟼 魏伪蟿蔚蠀胃蠉谓蟽蔚喂蟼 未喂蔚蟻蔚蠉谓畏蟽畏蟼 蟿蠈蟽慰 渭苇蟽蠅 蟿畏蟼 螁位纬蔚尾蟻伪蟼 (谓苇慰喂 魏伪谓蠈谓蔚蟼 蟽蠉谓胃蔚蟽畏蟼) 蠈蟽慰 魏伪喂 渭苇蟽蠅 蟿畏蟼 韦慰蟺慰位慰纬委伪蟼 (谓苇慰喂 蟿蟻蠈蟺慰喂 伪谓慰委纬渭伪蟿慰蟼 魏伪喂 魏位蔚喂蟽委渭伪蟿慰蟼 蔚谓蠈蟼 魏蔚喂渭苇谓慰蠀). 螡苇慰喂 蟿蟻蠈蟺慰喂 谓伪 尾伪蟽伪谓委味蔚蟽伪喂 未喂伪尾维味慰谓蟿伪蟼 苇谓伪 蟿苇蟿慰喂慰 苇蟻纬慰 魏伪喂 谓伪 蟽鈥櫸毕佄兾滴�.
螒蠀蟿慰委 慰喂 蟺蔚蟻喂慰蟻喂蟽渭慰委 蟺蔚蟻喂蔚位维渭尾伪谓伪谓 位喂蟺慰纬蟻维渭渭伪蟿伪 (蔚魏蟿蠈蟼 伪蟺蠈 苇谓伪 萎 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 纬蟻维渭渭伪蟿伪), palindromes (蠈蟺慰蠀 蟿慰 魏蔚委渭蔚谓慰 未喂伪尾维味蔚喂 蟿慰 委未喂慰 蟺蟻慰蟼 蟿伪 蟺委蟽蠅 萎 蟺蟻慰蟼 蟿伪 蔚渭蟺蟻蠈蟼) 魏伪喂 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 蟿喂蟼 魏喂谓萎蟽蔚喂蟼 蟿慰蠀 喂蟺蟺蠈蟿畏 蟽蟿慰 蟽魏维魏喂. 螤蟻慰蠁伪谓蠋蟼 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 尾伪蟽委味蔚蟿伪喂 蟽蔚 蟺位苇纬渭伪 10 苇蠅蟼 10 蟺慰蠀 伪谓蟿喂蟽蟿慰喂蠂蔚委 蟽蟿畏谓 蟺慰位蠀魏伪蟿慰喂魏委伪 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂. 螒蠀蟿蠈 蟽蠀谓未蠀维味蔚蟿伪喂 渭蔚 苇谓伪 蟽蠉谓慰位慰 位喂蟽蟿蠋谓 伪蟺蠈 渭喂伪 渭伪胃畏渭伪蟿喂魏萎 蔚尉委蟽蠅蟽畏 蟺慰蠀 慰谓慰渭维味蔚蟿伪喂
Graeco-Latin square禄.
违蟺维蟻蠂蔚喂 苇谓伪 蟽蠂畏渭伪蟿喂魏蠈 蟽蠂苇未喂慰 渭喂伪蟼 蟽蔚位委未伪蟼, 蟿慰蠀 魏蟿喂蟻委慰蠀, 蟽蟿畏 蟽蔚位委未伪 541 蟿慰 慰蟺慰委慰 蔚委谓伪喂 渭喂伪 蠂蟻萎蟽喂渭畏 伪谓伪蠁慰蟻维. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 蟽蠂蔚未喂维纬蟻伪渭渭伪 锟斤拷慰蠀 魏蟿喂蟻委慰蠀 蠈蟺慰蠀 慰喂 蟺蟻慰畏纬慰蠉渭蔚谓慰喂 苇谓慰喂魏慰喂 蟽畏渭蔚喂蠋谓慰谓蟿伪喂 渭蔚 蟺位维纬喂伪 纬蟻维渭渭伪蟿伪.
螤蠈蟽伪 苇蟻纬伪 渭蠀胃慰蟺位伪蟽委伪蟼 苇蠂慰蠀谓 苇谓伪 蔚蠀蟻蔚蟿萎蟻喂慰, 蟺蠈蟽慰 渭维位位慰谓 苇谓伪 蔚蠀蟻蔚蟿萎蟻喂慰 59 蟺蔚蟻委蟺慰蠀 蟽蔚位委未蠅谓; 螝维胃蔚 魏蔚蠁维位伪喂慰 蟺蔚蟻喂纬蟻维蠁蔚喂 渭喂伪 蟿慰蟺慰胃蔚蟽委伪 魏伪喂 苇蠂蔚喂 蟿慰 蠈谓慰渭伪 蟿慰蠀 魏伪蟿慰委魏慰蠀 蟿慰蠀 未喂伪渭蔚蟻委蟽渭伪蟿慰蟼 蟽蟿慰 蟺伪蟻蔚位胃蠈谓, 蟿慰 蟺伪蟻蠈谓 魏伪喂 蟿慰 渭苇位位慰谓.
螚 蟺慰位蠀魏伪蟿慰喂魏委伪 蟺慰蠀 伪谓伪蠁苇蟻蔚蟿伪喂 蔚委谓伪喂 蟽伪谓 蠈谓蔚喂蟻慰 渭苇蟽伪 蟽蔚 蠈谓蔚喂蟻慰 慰谓蔚委蟻慰蠀, 蟺慰蠀 慰谓蔚喂蟻蔚蠉慰谓蟿伪喂 蠈蟽慰喂 魏慰喂渭慰蠉谓蟿伪喂, 魏伪喂 尾位苇蟺慰蠀谓, 味慰蠀谓, 蔚渭蟺蔚喂蟻喂魏维 魏伪喂 尾喂蠅渭伪蟿喂魏维, 蟺蟻伪纬渭伪蟿喂魏维, 蠈蟽慰喂 尉蠀蟺谓慰蠉谓.
螌蟽慰喂 未蔚谓 蟺喂蟽蟿蔚蠉慰蠀谓 蟽蟿伪 伪蠁喂蔚蟻蠅渭苇谓伪 魏伪蟿维蟽蟿喂蠂伪.
螌蟽慰喂 蠁位蔚蟻蟿维蟻慰蠀谓 渭蠈谓慰 渭蔚 蟿慰蠀蟼 蠀蟺苇蟻渭伪蠂慰蠀蟼 蟺慰蠀 未蔚谓 蟽蠀谓伪喂谓慰蠉谓 谓伪 蠀蟺维蟻蠂蔚喂 位慰纬慰蟿蔚蠂谓委伪 渭蔚 蟺蔚蟻喂慰蟻喂蟽渭慰蠉蟼
萎 伪谓 蠀蟺维蟻尉蔚喂 谓伪 伪谓萎魏蔚喂 蟽蔚 魏伪胃喂蔚蟻蠅渭苇谓蔚蟼 渭慰蟻蠁苇蟼 纬蟻伪蠁萎蟼.
螠慰喂维味蔚喂 蟽蟿伪 伪位萎胃蔚喂伪 渭蔚 苇谓伪 蠀蟺蔚蟻蟿苇位蔚喂伪蟼 纬位蠀蟺蟿喂魏萎蟼 蟺伪纬蠈尾慰蠀谓慰.
危蟿畏谓 蔚喂魏蠈谓伪 蟺维谓蠅 伪蟺慰 蟿畏谓 蟽蟿维胃渭畏 蟿慰蠀 谓蔚蟻慰蠉 渭蟺慰蟻蔚委蟼 谓伪 未蔚喂蟼, 谓伪 蠁伪谓蟿伪蟽蟿蔚委蟼, 谓伪 蟽魏蔚蠁蟿蔚委蟼, 谓伪 慰谓蔚喂蟻蔚蠀蟿蔚委蟼,
谓伪 蟽蠀纬魏蟻委谓蔚喂蟼, 谓伪 胃伪蠀渭维蟽蔚喂蟼, 谓伪 蟽蠀谓畏胃委蟽蔚喂蟼 蠈位蔚蟼 蟿喂蟼 伪谓胃蟻蠋蟺喂谓蔚蟼 渭喂魏蟻慰蟺蟻苇蟺蔚喂蔚蟼.
螌位伪 蟿伪 蠀蟺伪蟻尉喂伪魏维, - 魏维蟿蠅 伪蟺蠈 蟿畏 蟽蟿维胃渭畏 蟿慰蠀 谓蔚蟻慰蠉-蟺慰位喂蟿喂魏维, 蟿伪尉喂魏维, 慰喂魏慰蠀渭蔚谓喂魏维, 魏伪位位喂蟿蔚蠂谓喂魏维, 慰喂魏慰纬蔚谓蔚喂伪魏维, 蔚蟻蠅蟿喂魏维, 蠁喂位喂魏维, 蟺蔚喂蟻伪渭伪蟿喂魏维, 蟺蟻伪纬渭伪蟿喂魏维, 位蔚蟺蟿慰渭蔚蟻蔚喂伪魏维, 蟺蔚蟻喂纬蟻伪蠁喂魏维, 未喂伪蟽蟿蟻慰蠁喂魏维, 蟽蔚尉慰蠀伪位喂魏维, 蟽蠀纬纬蔚谓喂魏维, 伪蟿伪尾喂蟽蟿喂魏维, 蔚尉伪魏慰位慰蠀胃畏蟿喂魏维 纬蔚纬慰谓蠈蟿伪 萎 蟽蟿喂纬渭喂伪委伪 位维胃畏 魏伪喂 蟺维胃畏, 味蠅苇蟼 蟺慰蠀 未蔚谓 蟿喂蟼 苇味畏蟽伪谓, 胃伪谓维蟿慰蠀蟼 蟺慰蠀 未蔚谓 蟿慰蠀蟼 伪蟺慰位蠉蟿蟻蠅蟽伪谓 伪蟺慰 蟿喂蟼 蟿蟻伪纬喂魏苇蟼 蠁蠀位伪魏委蟽蔚喂蟼 蟿畏蟼 味蠅萎蟼.
螡伪喂, 渭蔚 味蠈蟻喂蟽蔚蟼, 蟽蔚 味蠈蟻喂蟽伪, 渭蔚 味蠈蟻喂蟽蔚蟼, 伪位位维 谓喂魏维蔚喂 蟺维谓蟿伪 慰 蔚蟺喂渭苇谓蠅谓. 螘蟺苇渭蔚谓伪 谓伪 蠀蟺慰渭蔚委谓蠅 谓伪 蟿慰 味萎蟽蠅 渭蔚 蠈位蔚蟼 蟿喂蟼 伪喂蟽胃萎蟽蔚喂蟼 渭慰蠀 苇谓伪 蟽蠉纬蠂蟻慰谓慰 1001 螡蠉蠂蟿蔚蟼 蟽蔚 伪蠀蟿蠈 蟿慰 苇蟻纬慰 蟿慰蠀 Perec.
螘未蠋 蟺慰蠀 慰 未畏渭喂慰蠀蟻纬蠈蟼 蠂蟻畏蟽喂渭慰蟺慰喂蔚委 蟿畏 未慰渭萎 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿蠈蟼 蟿慰蠀 纬喂伪 未蔚魏维未蔚蟼 未喂畏纬萎渭伪蟿伪 蟽蠂蔚蟿喂魏维 渭蔚 苇谓伪 蔚魏蟺位畏魏蟿喂魏蠈 魏伪蟽蟿 蠂伪蟻伪魏蟿萎蟻蠅谓, 蠈位慰喂 蔚蟺喂魏蔚谓蟿蟻蠅渭苇谓慰喂 蟽蔚 渭喂伪 渭慰谓伪未喂魏萎 蠁伪谓蟿伪蟽蟿喂魏萎 蟺慰位蠀魏伪蟿慰喂魏委伪 蟽蟿慰 螤伪蟻委蟽喂 蟽蔚 渭喂伪 蟽蠀纬魏蔚魏蟻喂渭苇谓畏 蟽蟿喂纬渭萎, 位委纬慰 蟺蟻喂谓 伪蟺蠈 蟿喂蟼 8 渭.渭. 蟽蟿喂蟼 23 螜慰蠀谓委慰蠀, 1975.
螡伪喂. 螒蠀蟿蠈 蔚委谓伪喂. 螒蟺委蟽蟿蔚蠀蟿慰; 螡伪喂.
螠伪 蟿蠈蟽慰 蠁伪谓蟿伪蟽渭伪纬慰蟻喂魏蠈 魏伪喂 蟿伪尉喂未喂维蟻喂魏慰. 韦蠈蟽慰 蟺慰位蠉 伪蟺位蠈 蟺慰蠀 纬委谓蔚蟿伪喂 蟺慰位蠀蟽蠉谓胃蔚蟿慰 魏伪喂 尾伪蟽伪谓委味蔚喂 渭蠀伪位维 魏伪喂 蟺谓蔚蠉渭伪蟿伪.
芦螚 蟽蟿蟻慰蠁萎 苇纬喂谓蔚 蟿慰 1966 渭蔚 蟿慰 魏维位蔚蟽渭伪 蟿慰蠀听 Jacques Roubaud 伪蟺蠈 蟿慰谓 Queneau. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 渭委伪 蟽蠀渭尾慰位喂魏萎 蔚蟺喂位慰纬萎 伪蠁慰蠉 慰 蟺蟻蠋蟿慰蟼, 蟽蟿畏谓 蟺蟻蠋蟿畏 蟿慰蠀 蟽蠀位位慰纬萎 蟺慰蠀 蔚魏未蠈胃畏魏蔚 渭蔚 蟿慰谓 蟿委蟿位慰:?, 蔚委蠂蔚 魏伪蟿伪蠁苇蟻蔚喂 谓伪 胃苇蟽蔚喂 蠈位蔚蟼 蟿喂蟼 渭伪胃畏渭伪蟿喂魏苇蟼 蟿慰蠀 纬谓蠋蟽蔚喂蟼 蟽蟿畏谓 蠀蟺畏蟻蔚蟽委伪 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼;禄
芦韦伪 蔚蟺蠈渭蔚谓伪 未蠋未蔚魏伪 蠂蟻蠈谓喂伪 蟺慰蠀 伪魏慰位慰蠉胃畏蟽伪谓 蟿慰 蔚蟻纬伪蟽蟿萎蟻喂 伪蟺慰蟻蟻慰蠁慰蠉蟽蔚 蟽蠀谓苇蠂蔚喂伪 魏蠈蟽渭慰. 螣蠁蔚委位慰蠀渭蔚 谓伪 伪谓伪蠁苇蟻慰蠀渭蔚 蟿慰蠀蟼: Georges Perec 蟺慰蠀 蔚谓蟿维蠂胃畏魏蔚 蟽蟿慰 魏委谓畏渭伪 蟿慰 1967,蟿慰 Marcel Benabou 魏伪喂 蟿慰 Luc Etienne 蟿慰 1969, 蟿慰谓 Paul Fournel 蟿慰 1971, 蟿慰 Harry Mathews 魏伪喂 蟿慰谓 Italo Calvino 蟿慰 1973 魏伪喂 蟿苇位慰蟼 畏 Michele听Metail 蟿慰 1975禄.
芦螒谓伪味畏蟿蠋 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟿慰 伪喂蠋谓喂慰 魏伪喂 蟿慰 蔚蠁萎渭蔚蟻慰禄.
螣 蠂蟻慰谓慰位慰纬喂魏蠈蟼 蟺委谓伪魏伪蟼 蟿慰蠉蟿慰蠀 蟿慰蠀 苇蟺慰蠀蟼 伪蟻蠂委味蔚喂 蟿慰 1833. 韦慰 1875 纬委谓蔚蟿伪喂 畏 魏伪蟿维蟿渭畏蟽畏 蟽蔚 慰喂魏蠈蟺蔚未伪 蟿畏蟼 慰未慰蠉 危喂渭蠈谓-螝蟻蠀渭蟺蔚位位喂苇 魏伪喂 蟿慰 1885 慰 螞蠀渭蟺苇谓 惟味苇蟻 蟿蔚位蔚喂蠋谓蔚喂 蟿畏谓 伪谓苇纬蔚蟻蟽畏 伪蠀蟿萎蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蟺慰蠀 蟽蟿慰喂蠂蔚喂蠋谓蔚喂 渭苇蠂蟻喂 蟿慰 1975 味蠋谓蟿蔚蟼 魏伪喂 蟿蔚胃谓蔚蠈蟿蔚蟼 蠁蠅谓维味蠅谓蟿伪蟼 渭蔚 蟺蔚喂蟻伪渭伪蟿喂魏维 魏伪喂 蟺伪喂纬谓喂蠋未畏 渭苇蟽伪 伪谓伪渭蔚蟿维未慰蟽畏蟼 渭喂伪 渭伪纬喂魏萎 螒蠁喂苇蟻蠅蟽畏 蠂蠅蟻委蟼 伪蠁喂苇蟻蠅蟽畏,
芦螝慰委蟿伪 渭蔚 蠈位伪 蟽慰蠀 蟿伪 渭维蟿喂伪, 螝慰委蟿伪禄
螝伪喂 萎蟿伪谓 蠁慰蟻苇蟼 蟺慰蠀 蔚委蠂蔚蟼 蟿畏谓 蔚谓蟿蠉蟺蠅蟽畏 蟺蠅蟼 慰 蠂蟻蠈谓慰蟼 伪谓蔚蟽蟿维位畏, 蟺苇蟿蟻蠅蟽蔚 纬蠉蟻蠅 伪蟺慰 魏维蟺慰喂伪 蟺蟻慰蟽未慰魏委伪 蟺慰蠀 未蔚谓 蟺蟻慰蟽未喂慰蟻委味蔚蟿伪喂 蟺喂伪. 危伪谓 苇谓伪蟼 蟺委谓伪魏伪蟼 味蠅纬蟻伪蠁喂魏萎蟼 渭蔚 蟺蔚蟻委慰蟺蟿伪 胃蟻伪蠉蟽渭伪蟿伪 蔚喂魏蠈谓蠅谓. 螘喂魏蠈谓蔚蟼 蟺慰蠀 蟽蟿慰委蠂蔚喂蠅谓伪谓 魏维胃蔚 蟽蟿喂纬渭萎 蟿畏蟼 味蠅萎蟼 蔚谓慰喂魏蠋谓蟿伪蟼 蟿伪 蠈谓蔚喂蟻伪, 蔚魏渭伪喂蔚蠉慰谓蟿伪谓 渭谓萎渭蔚蟼, 渭伪 蟺维谓蟿伪 畏 魏蔚谓蟿蟻喂魏萎 喂未苇伪 萎蟿伪谓 蟿慰 蟺位伪委蟽喂慰 渭喂伪蟼 尉蔚魏慰喂位喂伪蟽渭苇谓畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蟺慰蠀 伪谓伪未蔚喂魏谓蠉蔚喂 蟿喂蟼 蟺伪蟻蔚位胃慰谓蟿喂魏苇蟼 蟻蠅纬渭苇蟼 蟿畏蟼 魏伪喂 蟿畏谓 蟿蠅蟻喂谓萎 蟿畏蟼 魏伪蟿维蟻蟻蔚蠀蟽畏, 渭喂伪蟼 蟽蠀蟽蟽蠋蟻蔚蠀蟽畏蟼 喂蟽蟿慰蟻喂蠋谓 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蠅谓, 蠁伪喂谓慰渭蔚谓喂魏维 蟺蟻慰蠁伪谓蠋蟼 蠂蠅蟻委蟼 伪位位畏位慰蠀蠂委伪, 伪蟽萎渭伪谓蟿蠅谓 渭伪喂 渭蔚纬伪位蠈蟺蟻蔚蟺蠅谓 蟽蟿喂纬渭蠋谓, 纬喂伪 纬苇位喂伪, 纬喂伪 魏位维渭伪蟿伪, 蟽伪谓 蟿畏谓 蔚喂魏蠈谓伪 蔚谓蠈蟼 纬魏蟻慰蟿苇蟽魏慰蠀 渭伪蠀蟽蠅位蔚委慰蠀, 蠂蟿喂蟽渭苇谓慰 蟽蟿畏谓 渭谓萎渭畏 魏慰渭蟺维蟻蟽蠅谓 蟿畏蟼 蠉蟺伪蟻尉畏 蟿慰蠀蟼.
螝慰渭蟺维蟻蟽蠅谓 蟺慰蠀 伪蟺慰位喂胃蠋胃畏魏伪谓 蟽蔚 蟿蔚位蔚蠀蟿伪委蔚蟼 蟽蟿维蟽蔚喂蟼 蟿慰 委未喂慰 伪蟽萎渭伪谓蟿蔚蟼 渭蔚 蟿畏谓 蔚蟺喂蟽畏渭蠈蟿畏蟿伪 蟿慰蠀蟼 蠈蟽慰 魏伪喂 蟽蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪. 螠喂伪 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪 蟺慰蠀 苇蟺伪蟽蠂蔚 纬喂伪 谓伪 蟺蟻慰位维尾蔚喂 魏伪喂 谓伪 魏伪胃蠀蟽蟿蔚蟻萎蟽蔚喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟿慰谓 胃维谓伪蟿慰 蟺慰蠀 伪蟻纬维 萎 纬蟻萎纬慰蟻伪 胃伪 魏伪蟿伪尾蟻蠈蠂胃喂味蔚 蠈蟻慰蠁慰 蟿慰谓 蠈蟻慰蠁慰 蠈位畏 蟿畏谓 蟺慰位蠀魏伪蟿慰喂魏委伪 渭蔚 蟿慰蠀蟼 蔚谓慰委魏慰蠀蟼 蟿畏蟼 螝伪喂 蟿蠈蟿蔚 蟺位畏渭渭蠉蟻喂味蔚 渭喂伪 伪尾维蟽蟿伪蠂蟿畏 胃位委蠄畏 纬喂伪 蔚魏蔚委谓慰蠀蟼 蟺慰蠀 蔚委蠂伪谓 萎未畏 蠁蠉纬蔚喂, 蟺慰蠀 蟿慰蠀蟼 蔚委蠂蔚 魏伪蟿伪蟺喂蔚委 畏 味蠅萎 萎 慰 胃维谓伪蟿慰蟼.
猸愶笍猸愶笍猸愶笍猸愶笍猸愶笍
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 魏伪喂 蟽蔚渭谓慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
June 17, 2008
i may have mentioned this before, but i had an ephiphanal reader experience last fall. last fall i was lucky enough to score a ticket to hear salman rushdie read at cornell. the experience left me not only with a hankering to read sir rushdie, but also to make a solemn promise to myself to read "less crap." a disclaimer: i don't think that any of what i read is actually "crap" but that my promise to myself was invoking rather a desire to put myself forward at least a fraction of the distance that a truly gifted writer extends themselves when creating a masterful piece of literature.
listening to rushdie, i realized i'd been having flings with lots of small novellas that required really nothing of me as a reader. they were passably enjoyable, in many cases i had become familiar with the writer's style and their cadence and this familiarity is pleasing to a reader, but i really hadn't sunk my teeth into anything that required of me any more than an ability to read. not that i needed to tackle the canon, whatever that was, but that life is short, man, and there are some amazing, nuanced, change-your-life tomes out there and i'd been avoiding them.
so that in mind, i tore through rushdie's midnight's children (which entirely delivered on that front), and then cast about looking for the "what next."
having a partner that majored in french literature is always handy in such situations. he recommended this novel. i let it fester on my bookshelf for a while (if 600 pages isn't intimidating, i don't know what is), and then finally put it in my suitcase to take back with me to berlin (where i am living/working remotely for a stretch).
the novel is honestly, one of the most amazing things i have ever read. you are given many stories within the bindings, and many lifetimes. the novel takes you through the lives of all the inhabitants in an 1960's walk-up flat in paris, but with a difference. the rooms, the ephemera and the stories of each of these people carry equal importance throughout the novel, and while epic, it is not the traditional epic narrative of one or two family's lives. in the back of the book, preceding a rather fantastic index, is an architectural floorplan of the building, to which i found myself referring to in every story. each block stands for one person's abode, and often in italics above the current resident is the name of the previous long-term tenant. the stories of the lives of those in the building will leave you slack-jawed. you will wonder about the lives of those you know passingly or not at all, those that you encounter closely or obliquely in your everyday life. there are no morals or moralizing in this tome, and you will find yourself often on the heels of yet another impossibly captivating read about the details of one of the tenant's lives, and then immediately be cast into three pages discussing three paintings hanging on a wall in another apartment.
this last artifact is something that exasperated my boyfriend, r., who has read it twice in the original french. perec once worked as an archivist at a neurophysiological research laboratory, which may account for his vast interest in the kinds of minutae described in the book (minutae which, in the original french, accounts for some pretty wacky and often anachronistic language that isn't always found in french-english dictionaries). you will find yourself encountering lists upon lists, and wondering what it all means, or worse, tempted to skim ahead to the next great story. DON'T. skim the lists, that is. as you read on, you will come to understand that the intention of the author both towards the novel and towards you, the reader, is to understand that the ephemera, the lists, the lives of things are every bit as important as the impossibly fantastic stories told side-by-side about the characters inhabiting the building. that while experiences gives these characters meaning in our eyes, these people's possessions, ephemera and clutter give meaning to theirs. you will find that they are given equal consideration and measure. you may further find yourself being surprised to agree with perec on his choosing and understanding of this matter.
there is a kind of loose narrative thread in the novel, a few characters you are made to care about more than others. i don't want to give it away, but suffice it to say that each night that i sat down to read another 10, 20, or 100 pages of this novel, ryan was enjoying reliving his reading through my retelling of some little gem that i had just gotten to, or expanded my understanding of something that had occurred 200 pages earlier, or what-have-you. another note about reading it: it's not the kind of novel that you necessarily feel compelled to read straight through in a compressed amount of time. at least i didn't. i took a few months with this novel, and the pacing and manner of storytelling in it is such that it can be picked up and left off reasonably at most places in the book.
when you finally finish it, i don't doubt that you will be left with the feeling that you have just had a once-in-a-lifetime reading experience, and that you are a better person for it.
listening to rushdie, i realized i'd been having flings with lots of small novellas that required really nothing of me as a reader. they were passably enjoyable, in many cases i had become familiar with the writer's style and their cadence and this familiarity is pleasing to a reader, but i really hadn't sunk my teeth into anything that required of me any more than an ability to read. not that i needed to tackle the canon, whatever that was, but that life is short, man, and there are some amazing, nuanced, change-your-life tomes out there and i'd been avoiding them.
so that in mind, i tore through rushdie's midnight's children (which entirely delivered on that front), and then cast about looking for the "what next."
having a partner that majored in french literature is always handy in such situations. he recommended this novel. i let it fester on my bookshelf for a while (if 600 pages isn't intimidating, i don't know what is), and then finally put it in my suitcase to take back with me to berlin (where i am living/working remotely for a stretch).
the novel is honestly, one of the most amazing things i have ever read. you are given many stories within the bindings, and many lifetimes. the novel takes you through the lives of all the inhabitants in an 1960's walk-up flat in paris, but with a difference. the rooms, the ephemera and the stories of each of these people carry equal importance throughout the novel, and while epic, it is not the traditional epic narrative of one or two family's lives. in the back of the book, preceding a rather fantastic index, is an architectural floorplan of the building, to which i found myself referring to in every story. each block stands for one person's abode, and often in italics above the current resident is the name of the previous long-term tenant. the stories of the lives of those in the building will leave you slack-jawed. you will wonder about the lives of those you know passingly or not at all, those that you encounter closely or obliquely in your everyday life. there are no morals or moralizing in this tome, and you will find yourself often on the heels of yet another impossibly captivating read about the details of one of the tenant's lives, and then immediately be cast into three pages discussing three paintings hanging on a wall in another apartment.
this last artifact is something that exasperated my boyfriend, r., who has read it twice in the original french. perec once worked as an archivist at a neurophysiological research laboratory, which may account for his vast interest in the kinds of minutae described in the book (minutae which, in the original french, accounts for some pretty wacky and often anachronistic language that isn't always found in french-english dictionaries). you will find yourself encountering lists upon lists, and wondering what it all means, or worse, tempted to skim ahead to the next great story. DON'T. skim the lists, that is. as you read on, you will come to understand that the intention of the author both towards the novel and towards you, the reader, is to understand that the ephemera, the lists, the lives of things are every bit as important as the impossibly fantastic stories told side-by-side about the characters inhabiting the building. that while experiences gives these characters meaning in our eyes, these people's possessions, ephemera and clutter give meaning to theirs. you will find that they are given equal consideration and measure. you may further find yourself being surprised to agree with perec on his choosing and understanding of this matter.
there is a kind of loose narrative thread in the novel, a few characters you are made to care about more than others. i don't want to give it away, but suffice it to say that each night that i sat down to read another 10, 20, or 100 pages of this novel, ryan was enjoying reliving his reading through my retelling of some little gem that i had just gotten to, or expanded my understanding of something that had occurred 200 pages earlier, or what-have-you. another note about reading it: it's not the kind of novel that you necessarily feel compelled to read straight through in a compressed amount of time. at least i didn't. i took a few months with this novel, and the pacing and manner of storytelling in it is such that it can be picked up and left off reasonably at most places in the book.
when you finally finish it, i don't doubt that you will be left with the feeling that you have just had a once-in-a-lifetime reading experience, and that you are a better person for it.
January 29, 2010
List of items in my bathroom: abacus, bouzouki once strummed by Warren Ellis, cauliflowers in brocade, Dungeons & Dragoons strategy wargame for Windows 鈥�95, elf ears, Farsi medical dictionary, gorgonzola, Hunter S. Thompson commemorative pineapple, inkwell, Jenga set, knitting needle made from yarn, Lemsip in cherry and chocolate flavours, mangle, nachos, octopus-patterned duvet cover, Peter Andre poster circa Mysterious Girl, quicksand, rum, salsa shoes, Total Recall 4-DVD set, Ulysses in Everyman鈥檚 Library hardback, voles, wisteria, yarmulke, zebra named Francine Prose.
Reader reactions to this list: astounding apathy, broken bladder, cauterised callipers, damaged dingbats, execrated excrement, futzed forceps, grazed gnocchi, hurt hamstrings, injured ionosphere, jerked jew鈥檚 harp, kinked knee, licked lemon, mangled mangle, nastied nipples, ouched ostriches, pricked pips, quacked quays, ripped rumps, singed songsheets, touched tympani, undergone uvula, vuvvered vuvvers, wankered wimps, yooplop yimplam, zingzam zoomsung, etc, repeat for whole book but with French eccentrics and whimsical bourgeois.
Reader reactions to this list: astounding apathy, broken bladder, cauterised callipers, damaged dingbats, execrated excrement, futzed forceps, grazed gnocchi, hurt hamstrings, injured ionosphere, jerked jew鈥檚 harp, kinked knee, licked lemon, mangled mangle, nastied nipples, ouched ostriches, pricked pips, quacked quays, ripped rumps, singed songsheets, touched tympani, undergone uvula, vuvvered vuvvers, wankered wimps, yooplop yimplam, zingzam zoomsung, etc, repeat for whole book but with French eccentrics and whimsical bourgeois.
May 30, 2020
Perec鈥檌n bu ba艧yap谋t谋 莽ok sevilerek okunabilir, muazzam keyif al谋nabilir, hayran olunabilir. Ya da hi莽 ho艧lan谋lmaz, yar谋m b谋rak谋l谋r hatta absurd bulunabilir. Deneysel, modern bir roman denilirse de 眉yesi oldu臒u Oulipo grubunun etkisinde yazd谋臒谋n谋 d眉艧眉n眉rsek deneyselden 莽ok 鈥渘ev-i 艧ahs谋na m眉nhas谋r鈥� bir Oulipo yap谋t谋 olarak de臒erlendirmek daha do臒ru olur.
Nedir Oulipo ak谋m谋? Oulipo yani 鈥淧otansiyel Edebiyat 陌艧li臒i鈥� (ouvroir:i艧lik, litterature:edebiyat, potentielle:potansiyel) kelimelerinden olu艧mu艧tur. Buna 鈥淕izil Edebiyat At枚lyesi鈥� de denebilir. Bu topluluk 1960 y谋l谋nda edebiyat merakl谋s谋 bir matematik莽i olan Le Lionnais ve matematik merakl谋s谋 olan bir edebiyat莽谋 Queneau taraf谋ndan kurulmu艧tur. 陌莽inde Perec ve Calvino gibi isimlerin de yer ald谋臒谋 Oulipo鈥檆ular harf ve rakamlar谋n kar艧谋l谋kl谋 etkile艧imlerini saptamak, yaz谋 ile metamati臒in i艧birli臒ini sa臒lamak i莽in u臒ra艧谋yorlard谋. Bu nedenle polindromlar yani ters-d眉z okunu艧lar谋 ayn谋 olan kelimeler (tra艧-艧art), lipogramlar yani bir harfin hi莽 kullan谋lmad谋臒谋 metinler (Perec鈥檌n hi莽 鈥榚鈥� harfi kullanmadan yazd谋臒谋 鈥淜aybolu艧鈥� roman谋), akro艧ti艧ler yani c眉mle ba艧谋ndaki harflerle bir kelime veya c眉mle olu艧turma, anagramlar yani bir kelimenin harflerini de臒i艧tirerek yeni bir kelime olu艧turmak (ihbar-bahri) ve daha bir莽ok farkl谋 teknikler kullan谋lmaktad谋r. 脰rne臒in hi莽 noktalama i艧areti kullan谋lmadan yazmak, bir harfi bir ba艧ka harfle de臒i艧tirerek (s yerine t kullanmak) metni tamamlamak, s枚zc眉k say谋s谋n谋 s谋n谋rland谋rmak, tamamiyle bo艧luksuz yazmak gibi. Bu roman谋nda matematikten de yararlan谋yor Perec;
99 b枚l眉m+sondeyi艧 b枚l眉m眉 ile 100 b枚l眉ml眉k bir roman, yani 10x10鈥檒uk, y眉z adet k眉莽眉k kare olu艧turan bir esas kare. B枚ylesi bir kitap nas谋l yaz谋labilir sorusuna cevab谋 Oulipo tarz谋 d眉艧眉nmek diye cevaplayabiliriz, ya nas谋l okunabilmesi gereklidir diye d眉艧眉nmek daha zor bir sorudur.
Perec roman谋n谋n bir yapboz yani puzzle roman谋 oldu臒unu belirterek kitab谋n ba艧谋nda yapboz鈥檜 yani puzzle鈥櫮� 艧枚yle tan谋ml谋yor. 鈥淧uzzle 枚nce ayr谋艧t谋r谋l谋p sonra incelenecek bir par莽alar toplam谋 de臒ildir, bir b眉t眉nd眉r鈥� Bir puzzle hi莽bir zaman onu olu艧turan 艧eylerin tek tek irdelenmesiyle anla艧谋lamaz ve b眉t眉n hakk谋nda bir fikir veremez.鈥�
艦imdi romana biraz de臒inelim. Ana roman i莽inde bir莽ok 枚yk眉 ve novella bar谋nd谋r谋yor. Bunlar bir kuyumcu titizli臒iyle birbirine ba臒lan谋yor. Paris鈥檛e, Simon-Crubellier Soka臒谋, No. 11 adresindeki on katl谋 bir apartman谋n i莽inde 1883-1975 y谋llar谋 aras谋nda 92 y谋l ya艧ayan bina sakinleri ve onlar谋n hayatlar谋na kat谋lan ki艧iler, e艧yalar, anlat谋lar, an谋lar ve apartman谋n b枚l眉mleri 眉zerine yaz谋lm谋艧 枚yk眉ler kurgulanarak d眉nyadaki ya艧am, insanlar谋n hayat谋 anlat谋l谋yor. Apartman d眉nyan谋n bir k眉莽眉k maketi gibi.
Roman谋n 眉莽 ana ki艧isi Percival Bartlebooth, Gaspard Winckler ve Serge Valene鈥檇ir. Kitab谋 okursan谋z yard谋mc谋 olmas谋 a莽谋s谋ndan bir iki noktaya de臒inmekte yarar var. Bartlebooth ad谋 iki kurmaca ki艧iden al谋nm谋艧t谋r, ilki Bartleby (H. Mellville鈥檔in Katip Bartleby鈥檌), ikincisi ise Barnabooth (V. Larbaud鈥檜n yaratt谋臒谋 kendisini tan谋mlad谋臒谋 bir kitap kahraman谋). G. Winckler ise yazar谋n ilk roman谋 olup bir t眉rl眉 bast谋ramad谋臒谋 ve arada kaybolan ancak 枚l眉m眉nden sonra bulunup bas谋lan 鈥淧aral谋 Asker鈥� roman谋n谋n ana kahraman谋 olan sahte resim yap谋mc谋s谋d谋r.
Romanda zengin bir 陌ngiliz olan Bartlebooth, ya艧am谋n谋 tek bir 艧eye, bir yapboz (puzzle) projesine adam谋艧t谋r. Bu nedenle yirmi y谋l boyunca Valene鈥檇en suluboya resim dersi al谋r, sonraki yirmi y谋l s眉resince d眉nyay谋 gezerek limandan limana u臒rayarak 15 g眉nde bir suluboya resim yapar. Bunlar谋 Fransa'daki yapboz ustas谋 Winckler鈥檈 g枚nderir. Fransa'ya d枚n眉nce Winckler鈥檌n yapt谋臒谋 750 par莽al谋k yapbozlar谋 her 15 g眉nde bir tane olmak 眉zere 莽枚zmeyi planlar. Sonra 枚zel bir ka臒谋da yap谋lan bu yapbozlar tekrar ilk yap谋ld谋klar谋 yerlere g枚t眉r眉l眉p 枚zel bir kimyasal maddeye bat谋r谋larak tamamen silinecek ve yok edileceklerdir. Perec burada b眉y眉k bir projenin bir d枚ng眉 olarak yapbozlar谋 yerle艧tirerek ba艧lad谋臒谋 yere gelmesi ve yokolmas谋n谋 kurgularken san谋r谋m hi莽li臒i, 鈥渉i莽鈥漣 vurgulamak istemi艧tir. 陌nsan hayat谋nda 莽okca yer tutan 鈥渉i莽鈥漣.
Kitab谋n kurgusu ola臒an眉st眉 g眉zel, sizi i莽ine 莽eken, merak谋n谋z谋 s眉rekli ayakta tutan bir anlat谋ma sahip. Sakin d眉md眉z akan bir nehirde de臒il, 枚n眉nde setler, k眉莽眉k b眉y眉k 莽a臒layanlar, k枚pr眉ler, k谋vr谋mlar, kayalar, suya d眉艧m眉艧 k眉t眉kler bulunan bir nehirde suyun i莽inde ak谋艧a b谋rak谋p gidiyorsunuz kendinizi. Su devaml谋 ak谋yor. Bu kurgu sizi bir bulmacan谋n i莽inde oldu臒unuzu hissettiriyor, ama bulmacay谋 莽枚zmeye 莽al谋艧m谋yorsunuz aksine bu bulmacay谋, burada yapbozu yerle艧tirmeye 莽al谋艧an yazara teslim oluyorsunuz. Kurguda bir ilgin莽 nokta da Perec bu kitab谋nda diyaloglara hi莽 yer vermemi艧, karakterler aras谋nda hi莽 bir konu艧ma ge莽miyor. Sadece 31. b枚l眉mde yer alan bir 枚yk眉de mektup yoluyla bir diyalog var ama y眉zy眉ze de臒il. 陌ki ki艧inin polisiye bir 枚yk眉 nedeniyle birbirlerine yazd谋klar谋 mektuplarda hitap var ancak canl谋 konu艧ma yok.
Perec inan谋lmaz birikimi ile tarih, t谋p, sinema, edebiyat, bisiklet, spor nerdeyse her alanda raks ederek kah apartman谋n dairelerinde, kah merdivenlerde ve mahzenlerde dola艧谋p, 枚yk眉lerini anlat谋yor. Detaylar insan谋 b眉y眉l眉yor, duvarlarda as谋l谋 resimler, haritalar, yemek men眉leri ve tarifleri, afi艧ler, eski kitaplar, kartpostallar, faturalar, makbuzlar, ilanlar, b眉sk眉vi ve kahve kutular谋, avizeler, oyuncaklar, antika e艧yalar, mobilyalar, mutfak malzemeleri, denizcilikle ilgili e艧yalar ve burada saymakla bitiremeyece臒im ilgin莽 ve 艧a艧谋rtan binlerce e艧yay谋 hi莽 s谋k谋lmadan okuyorsunuz. Bir oda ya da mahzen en ince ayr谋nt谋s谋na kadar anlat谋lm谋艧. Yer karosundan duvardaki lekeye, kap谋 kulpundan odadaki kedinin g枚z rengine kadar. Buna bir de 179 farkl谋 ki艧inin romanda yer ald谋臒谋n谋 da eklersek kitab谋n zenginli臒ini tahmin edebilirsiniz.
Tabii ba艧tada belirtti臒im gibi 莽ok sevseniz de sevmeseniz de okumas谋 zor bir kitap, 莽眉nk眉 枚ncelikle hacimli bir kitap, indeksleri, zaman dizimi, hikaye hat谋rlatmalar谋yla 600 k眉s眉r sayfay谋 buluyor 眉stelik k眉莽眉k puntoyla bas谋lm谋艧 ve en 枚nemlisi her b枚l眉mden sonra bir bo艧luk kal谋yor, bo艧luklar谋 doldurmaya kalkarsan谋z Perec鈥檌n ba艧ta dedi臒i gibi b眉t眉n hakk谋nda fikir sahibi olman谋z zor, kitab谋n bitmesini beklemeniz gerek. B枚yle bir kitap yazabilmek i莽in insan谋n kendisine inanmas谋 g眉venmesi gerek. 46 ya艧谋nda olduk莽a erken bir ya艧ta 枚len G. Perec belki de Gaspard Winckler鈥檒i ba艧ka ka莽 eser verecekti ? Mutlaka okunmal谋 derim, be臒enilmemesini riskini g枚z 枚n眉ne alarak.
Nedir Oulipo ak谋m谋? Oulipo yani 鈥淧otansiyel Edebiyat 陌艧li臒i鈥� (ouvroir:i艧lik, litterature:edebiyat, potentielle:potansiyel) kelimelerinden olu艧mu艧tur. Buna 鈥淕izil Edebiyat At枚lyesi鈥� de denebilir. Bu topluluk 1960 y谋l谋nda edebiyat merakl谋s谋 bir matematik莽i olan Le Lionnais ve matematik merakl谋s谋 olan bir edebiyat莽谋 Queneau taraf谋ndan kurulmu艧tur. 陌莽inde Perec ve Calvino gibi isimlerin de yer ald谋臒谋 Oulipo鈥檆ular harf ve rakamlar谋n kar艧谋l谋kl谋 etkile艧imlerini saptamak, yaz谋 ile metamati臒in i艧birli臒ini sa臒lamak i莽in u臒ra艧谋yorlard谋. Bu nedenle polindromlar yani ters-d眉z okunu艧lar谋 ayn谋 olan kelimeler (tra艧-艧art), lipogramlar yani bir harfin hi莽 kullan谋lmad谋臒谋 metinler (Perec鈥檌n hi莽 鈥榚鈥� harfi kullanmadan yazd谋臒谋 鈥淜aybolu艧鈥� roman谋), akro艧ti艧ler yani c眉mle ba艧谋ndaki harflerle bir kelime veya c眉mle olu艧turma, anagramlar yani bir kelimenin harflerini de臒i艧tirerek yeni bir kelime olu艧turmak (ihbar-bahri) ve daha bir莽ok farkl谋 teknikler kullan谋lmaktad谋r. 脰rne臒in hi莽 noktalama i艧areti kullan谋lmadan yazmak, bir harfi bir ba艧ka harfle de臒i艧tirerek (s yerine t kullanmak) metni tamamlamak, s枚zc眉k say谋s谋n谋 s谋n谋rland谋rmak, tamamiyle bo艧luksuz yazmak gibi. Bu roman谋nda matematikten de yararlan谋yor Perec;
99 b枚l眉m+sondeyi艧 b枚l眉m眉 ile 100 b枚l眉ml眉k bir roman, yani 10x10鈥檒uk, y眉z adet k眉莽眉k kare olu艧turan bir esas kare. B枚ylesi bir kitap nas谋l yaz谋labilir sorusuna cevab谋 Oulipo tarz谋 d眉艧眉nmek diye cevaplayabiliriz, ya nas谋l okunabilmesi gereklidir diye d眉艧眉nmek daha zor bir sorudur.
Perec roman谋n谋n bir yapboz yani puzzle roman谋 oldu臒unu belirterek kitab谋n ba艧谋nda yapboz鈥檜 yani puzzle鈥櫮� 艧枚yle tan谋ml谋yor. 鈥淧uzzle 枚nce ayr谋艧t谋r谋l谋p sonra incelenecek bir par莽alar toplam谋 de臒ildir, bir b眉t眉nd眉r鈥� Bir puzzle hi莽bir zaman onu olu艧turan 艧eylerin tek tek irdelenmesiyle anla艧谋lamaz ve b眉t眉n hakk谋nda bir fikir veremez.鈥�
艦imdi romana biraz de臒inelim. Ana roman i莽inde bir莽ok 枚yk眉 ve novella bar谋nd谋r谋yor. Bunlar bir kuyumcu titizli臒iyle birbirine ba臒lan谋yor. Paris鈥檛e, Simon-Crubellier Soka臒谋, No. 11 adresindeki on katl谋 bir apartman谋n i莽inde 1883-1975 y谋llar谋 aras谋nda 92 y谋l ya艧ayan bina sakinleri ve onlar谋n hayatlar谋na kat谋lan ki艧iler, e艧yalar, anlat谋lar, an谋lar ve apartman谋n b枚l眉mleri 眉zerine yaz谋lm谋艧 枚yk眉ler kurgulanarak d眉nyadaki ya艧am, insanlar谋n hayat谋 anlat谋l谋yor. Apartman d眉nyan谋n bir k眉莽眉k maketi gibi.
Roman谋n 眉莽 ana ki艧isi Percival Bartlebooth, Gaspard Winckler ve Serge Valene鈥檇ir. Kitab谋 okursan谋z yard谋mc谋 olmas谋 a莽谋s谋ndan bir iki noktaya de臒inmekte yarar var. Bartlebooth ad谋 iki kurmaca ki艧iden al谋nm谋艧t谋r, ilki Bartleby (H. Mellville鈥檔in Katip Bartleby鈥檌), ikincisi ise Barnabooth (V. Larbaud鈥檜n yaratt谋臒谋 kendisini tan谋mlad谋臒谋 bir kitap kahraman谋). G. Winckler ise yazar谋n ilk roman谋 olup bir t眉rl眉 bast谋ramad谋臒谋 ve arada kaybolan ancak 枚l眉m眉nden sonra bulunup bas谋lan 鈥淧aral谋 Asker鈥� roman谋n谋n ana kahraman谋 olan sahte resim yap谋mc谋s谋d谋r.
Romanda zengin bir 陌ngiliz olan Bartlebooth, ya艧am谋n谋 tek bir 艧eye, bir yapboz (puzzle) projesine adam谋艧t谋r. Bu nedenle yirmi y谋l boyunca Valene鈥檇en suluboya resim dersi al谋r, sonraki yirmi y谋l s眉resince d眉nyay谋 gezerek limandan limana u臒rayarak 15 g眉nde bir suluboya resim yapar. Bunlar谋 Fransa'daki yapboz ustas谋 Winckler鈥檈 g枚nderir. Fransa'ya d枚n眉nce Winckler鈥檌n yapt谋臒谋 750 par莽al谋k yapbozlar谋 her 15 g眉nde bir tane olmak 眉zere 莽枚zmeyi planlar. Sonra 枚zel bir ka臒谋da yap谋lan bu yapbozlar tekrar ilk yap谋ld谋klar谋 yerlere g枚t眉r眉l眉p 枚zel bir kimyasal maddeye bat谋r谋larak tamamen silinecek ve yok edileceklerdir. Perec burada b眉y眉k bir projenin bir d枚ng眉 olarak yapbozlar谋 yerle艧tirerek ba艧lad谋臒谋 yere gelmesi ve yokolmas谋n谋 kurgularken san谋r谋m hi莽li臒i, 鈥渉i莽鈥漣 vurgulamak istemi艧tir. 陌nsan hayat谋nda 莽okca yer tutan 鈥渉i莽鈥漣.
Kitab谋n kurgusu ola臒an眉st眉 g眉zel, sizi i莽ine 莽eken, merak谋n谋z谋 s眉rekli ayakta tutan bir anlat谋ma sahip. Sakin d眉md眉z akan bir nehirde de臒il, 枚n眉nde setler, k眉莽眉k b眉y眉k 莽a臒layanlar, k枚pr眉ler, k谋vr谋mlar, kayalar, suya d眉艧m眉艧 k眉t眉kler bulunan bir nehirde suyun i莽inde ak谋艧a b谋rak谋p gidiyorsunuz kendinizi. Su devaml谋 ak谋yor. Bu kurgu sizi bir bulmacan谋n i莽inde oldu臒unuzu hissettiriyor, ama bulmacay谋 莽枚zmeye 莽al谋艧m谋yorsunuz aksine bu bulmacay谋, burada yapbozu yerle艧tirmeye 莽al谋艧an yazara teslim oluyorsunuz. Kurguda bir ilgin莽 nokta da Perec bu kitab谋nda diyaloglara hi莽 yer vermemi艧, karakterler aras谋nda hi莽 bir konu艧ma ge莽miyor. Sadece 31. b枚l眉mde yer alan bir 枚yk眉de mektup yoluyla bir diyalog var ama y眉zy眉ze de臒il. 陌ki ki艧inin polisiye bir 枚yk眉 nedeniyle birbirlerine yazd谋klar谋 mektuplarda hitap var ancak canl谋 konu艧ma yok.
Perec inan谋lmaz birikimi ile tarih, t谋p, sinema, edebiyat, bisiklet, spor nerdeyse her alanda raks ederek kah apartman谋n dairelerinde, kah merdivenlerde ve mahzenlerde dola艧谋p, 枚yk眉lerini anlat谋yor. Detaylar insan谋 b眉y眉l眉yor, duvarlarda as谋l谋 resimler, haritalar, yemek men眉leri ve tarifleri, afi艧ler, eski kitaplar, kartpostallar, faturalar, makbuzlar, ilanlar, b眉sk眉vi ve kahve kutular谋, avizeler, oyuncaklar, antika e艧yalar, mobilyalar, mutfak malzemeleri, denizcilikle ilgili e艧yalar ve burada saymakla bitiremeyece臒im ilgin莽 ve 艧a艧谋rtan binlerce e艧yay谋 hi莽 s谋k谋lmadan okuyorsunuz. Bir oda ya da mahzen en ince ayr谋nt谋s谋na kadar anlat谋lm谋艧. Yer karosundan duvardaki lekeye, kap谋 kulpundan odadaki kedinin g枚z rengine kadar. Buna bir de 179 farkl谋 ki艧inin romanda yer ald谋臒谋n谋 da eklersek kitab谋n zenginli臒ini tahmin edebilirsiniz.
Tabii ba艧tada belirtti臒im gibi 莽ok sevseniz de sevmeseniz de okumas谋 zor bir kitap, 莽眉nk眉 枚ncelikle hacimli bir kitap, indeksleri, zaman dizimi, hikaye hat谋rlatmalar谋yla 600 k眉s眉r sayfay谋 buluyor 眉stelik k眉莽眉k puntoyla bas谋lm谋艧 ve en 枚nemlisi her b枚l眉mden sonra bir bo艧luk kal谋yor, bo艧luklar谋 doldurmaya kalkarsan谋z Perec鈥檌n ba艧ta dedi臒i gibi b眉t眉n hakk谋nda fikir sahibi olman谋z zor, kitab谋n bitmesini beklemeniz gerek. B枚yle bir kitap yazabilmek i莽in insan谋n kendisine inanmas谋 g眉venmesi gerek. 46 ya艧谋nda olduk莽a erken bir ya艧ta 枚len G. Perec belki de Gaspard Winckler鈥檒i ba艧ka ka莽 eser verecekti ? Mutlaka okunmal谋 derim, be臒enilmemesini riskini g枚z 枚n眉ne alarak.
February 1, 2019
bir apartman谋n hikayesini anlat谋r perec. onun on y谋ll谋k haz谋rl谋臒谋n谋, iki y谋ll谋k yaz谋m s眉recini ac谋mas谋zca bir tarafa b谋rakal谋m, biz de bir apartmana bakar, kimler geldi ge莽ti diye d眉艧眉n眉r眉z bazen, kimbilir neler ya艧and谋, neler g枚rd眉 ge莽irdi bu apartman. ba艧kalar谋 i莽indir bu ama. ba艧kalar谋n谋n hayat谋 b枚yledir, biz kendimizin merkez oldu臒unu, d眉nyan谋n etraf谋m谋zda d枚nd眉臒眉n眉 d眉艧眉n眉r眉z. 莽眉nk眉 di臒er t眉rl眉 hayat谋m谋z, hayat谋m谋zdaki her 艧ey k眉莽眉lecek, de臒ersizle艧ecektir sanki. bir apartman谋n k眉莽眉k s谋n谋rlar谋, k谋sa tarihi bile insan hayat谋n谋 k眉莽眉ltecektir. hayal meyal hat谋ralar kalacakt谋r insandan, k眉莽眉k hikayeler, belki ufak tefek e艧yalar, silik izler...ve apartman, nice hayatlar谋 yutan apartman da y谋k谋l谋p gidecektir k谋sa zaman i莽inde. sonra yeni bir apartman kurulacakt谋r eskisinin y谋k谋nt谋lar谋 眉zerinde. b枚yle say谋s谋z apartman, say谋s谋z y谋k谋m, say谋s谋z ba艧lang谋莽.
perec bizi apartman谋n i莽inde gezintiye 莽谋karmadan 枚nce roman谋n bir hesab谋, t谋pk谋 apartman gibi bir mimarisi oldu臒unu bildirir. eski yeni sakinleriyle daireler, merdivenler, mahzenler aras谋nda k谋sa par莽alarla ge莽erken savrulmam谋z谋 istemez. "b眉t眉n g枚zlerimizle" bakmam谋z gerekmektedir. ipucu olarak yapbozlardan bahseder. yapbozun tek ki艧ilik bir oyun olmad谋臒谋, oyuncunun her hareketinin ve kar艧谋s谋na 莽谋kacak her ihtimalin daha 枚nce d眉艧眉n眉ld眉臒眉, hesapland谋臒谋, kararla艧t谋r谋ld谋臒谋 ortadad谋r. daha 枚nemlisi, yapboz par莽a-b眉t眉n ili艧kisini nas谋l kuraca臒谋m谋z konusunda bize 谋艧谋k tutacakt谋r. yapboz oyununda b眉t眉n par莽ay谋 belirlemektedir. par莽alar谋n tek ba艧谋na anlam谋 yoktur, par莽ay谋, hatta par莽alar谋n birbiriyle ili艧kisini bilmek bile b眉t眉n眉n bilindi臒i anlam谋na gelmemektedir.
bu sebeple gezintiyi dikkatle takip etmeye 莽al谋艧谋r谋z. notlar al谋r, apartman plan谋na tekrar tekrar bakar谋z belki. kurdu臒umuz k眉莽眉k ba臒lant谋lar bu hesab谋 莽枚zece臒imizi d眉艧眉nd眉r眉r bize ama hesap bizi a艧ar sonu莽ta. apartmanda kaybolmu艧uzdur. romanla s眉r眉kleniriz art谋k. par莽alar gittik莽e k眉莽眉lmektedir bu arada. a艧谋r谋 detayl谋 betimlemeler, listeler, kataloglar, e艧yalar, e艧yalar ve e艧yalarla sabr谋m谋z s谋nanmaktad谋r. bu romanda sayfalar谋n, b枚l眉mlerin atlanarak okunabilece臒ini g枚r眉r眉z, bazen okumay谋 tamamen b谋rakmak akl谋m谋zdan ge莽er. ama bunu yapmay谋z, yapmam谋za engel olan 艧ey, par莽alar谋n k眉莽眉ld眉k莽e anlam谋n谋-de臒erini yitirdi臒ini, hi莽bir 艧ey ifade etmedi臒ini fark etmemizdir. bunu fark etmek b眉t眉n fikrini yeniden uyand谋r谋r akl谋m谋zda. b眉t眉n眉 merak ederiz.
par莽alar aras谋nda birbirinden ilgin莽 hikayeler vard谋r ayr谋ca. bu hikayelerin 莽o臒u tuhafl谋klar谋, hatta sa莽mal谋klar谋yla roman谋n so臒uk, kat谋 ger莽ekli臒ini yumu艧atmaya, romana kar艧谋 ilgimizi korumaya y枚neliktir. baz谋 hikayeler ise roman谋n yap谋s谋yla, anlam谋yla ba臒lant谋l谋d谋r. hayat谋n谋, t眉m varl谋臒谋n谋, 莽abas谋n谋 geride hi莽bir iz b谋rakmayacak bir u臒ra艧a-sonradan silinip yok olacak yapbozlara-adayan kahraman谋n hikayesi bu anlamda bir merkez olu艧turur. d眉nyalar dola艧谋l谋p say谋s谋z maceralar ya艧ansa da nihayetinde bir apartman odas谋n谋n duvarlar谋 aras谋nda, o oday谋, apartman谋 olu艧turacak bir par莽a olarak biter hikaye. sonra apartman yeni sakinleri, yeni hikayeleriyle ba艧ka bir par莽a, sonra apartmandan sonras谋, 枚tesi yine k眉莽眉c眉k, yine tek ba艧谋na anlams谋z bir ba艧ka par莽a...zaman谋m谋z k谋sa, g眉c眉m眉z azd谋r, hayat谋m谋z k谋r谋lgand谋r. ya艧am kullanma k谋lavuzu, k眉莽眉k, basit par莽alarla anlat谋r bize. defalarca b谋rakmak isteriz roman谋, t谋pk谋 hayat gibi, sonuna geldi臒imizde ise tekrar okumak, yine ya艧amak.
perec bizi apartman谋n i莽inde gezintiye 莽谋karmadan 枚nce roman谋n bir hesab谋, t谋pk谋 apartman gibi bir mimarisi oldu臒unu bildirir. eski yeni sakinleriyle daireler, merdivenler, mahzenler aras谋nda k谋sa par莽alarla ge莽erken savrulmam谋z谋 istemez. "b眉t眉n g枚zlerimizle" bakmam谋z gerekmektedir. ipucu olarak yapbozlardan bahseder. yapbozun tek ki艧ilik bir oyun olmad谋臒谋, oyuncunun her hareketinin ve kar艧谋s谋na 莽谋kacak her ihtimalin daha 枚nce d眉艧眉n眉ld眉臒眉, hesapland谋臒谋, kararla艧t谋r谋ld谋臒谋 ortadad谋r. daha 枚nemlisi, yapboz par莽a-b眉t眉n ili艧kisini nas谋l kuraca臒谋m谋z konusunda bize 谋艧谋k tutacakt谋r. yapboz oyununda b眉t眉n par莽ay谋 belirlemektedir. par莽alar谋n tek ba艧谋na anlam谋 yoktur, par莽ay谋, hatta par莽alar谋n birbiriyle ili艧kisini bilmek bile b眉t眉n眉n bilindi臒i anlam谋na gelmemektedir.
bu sebeple gezintiyi dikkatle takip etmeye 莽al谋艧谋r谋z. notlar al谋r, apartman plan谋na tekrar tekrar bakar谋z belki. kurdu臒umuz k眉莽眉k ba臒lant谋lar bu hesab谋 莽枚zece臒imizi d眉艧眉nd眉r眉r bize ama hesap bizi a艧ar sonu莽ta. apartmanda kaybolmu艧uzdur. romanla s眉r眉kleniriz art谋k. par莽alar gittik莽e k眉莽眉lmektedir bu arada. a艧谋r谋 detayl谋 betimlemeler, listeler, kataloglar, e艧yalar, e艧yalar ve e艧yalarla sabr谋m谋z s谋nanmaktad谋r. bu romanda sayfalar谋n, b枚l眉mlerin atlanarak okunabilece臒ini g枚r眉r眉z, bazen okumay谋 tamamen b谋rakmak akl谋m谋zdan ge莽er. ama bunu yapmay谋z, yapmam谋za engel olan 艧ey, par莽alar谋n k眉莽眉ld眉k莽e anlam谋n谋-de臒erini yitirdi臒ini, hi莽bir 艧ey ifade etmedi臒ini fark etmemizdir. bunu fark etmek b眉t眉n fikrini yeniden uyand谋r谋r akl谋m谋zda. b眉t眉n眉 merak ederiz.
par莽alar aras谋nda birbirinden ilgin莽 hikayeler vard谋r ayr谋ca. bu hikayelerin 莽o臒u tuhafl谋klar谋, hatta sa莽mal谋klar谋yla roman谋n so臒uk, kat谋 ger莽ekli臒ini yumu艧atmaya, romana kar艧谋 ilgimizi korumaya y枚neliktir. baz谋 hikayeler ise roman谋n yap谋s谋yla, anlam谋yla ba臒lant谋l谋d谋r. hayat谋n谋, t眉m varl谋臒谋n谋, 莽abas谋n谋 geride hi莽bir iz b谋rakmayacak bir u臒ra艧a-sonradan silinip yok olacak yapbozlara-adayan kahraman谋n hikayesi bu anlamda bir merkez olu艧turur. d眉nyalar dola艧谋l谋p say谋s谋z maceralar ya艧ansa da nihayetinde bir apartman odas谋n谋n duvarlar谋 aras谋nda, o oday谋, apartman谋 olu艧turacak bir par莽a olarak biter hikaye. sonra apartman yeni sakinleri, yeni hikayeleriyle ba艧ka bir par莽a, sonra apartmandan sonras谋, 枚tesi yine k眉莽眉c眉k, yine tek ba艧谋na anlams谋z bir ba艧ka par莽a...zaman谋m谋z k谋sa, g眉c眉m眉z azd谋r, hayat谋m谋z k谋r谋lgand谋r. ya艧am kullanma k谋lavuzu, k眉莽眉k, basit par莽alarla anlat谋r bize. defalarca b谋rakmak isteriz roman谋, t谋pk谋 hayat gibi, sonuna geldi臒imizde ise tekrar okumak, yine ya艧amak.
March 3, 2023
Urban Legend
Soundtrack:
Let us keep things simple. What is Life: A User's Manual?
This book is a collection of sketches depicting the rooms of an apartment block, according to a set of arbitrarily set constraints. In its course, the reader explores the many oddities, drolleries, mute tragedies, temporary achievements and eloquent failures of the tenants. As the book progressed, I realised the extent of the similarities with , another story by Georges Perec, this time about a young couple planning their future matrimonial life, setting up plans, purchasing furniture, commodities... Up to a point when the items seem to have appropriated something of their lives. More accurately, that whatever life the young couple have spent in the last ten, twenty, thirty years, is condensed and, somehow, enclosed in the unfeeling, not slightly detached indifference of the items... There is something similar at work here, in Life: A User's Manual. To up the difficulty a bit, Perec chose to give an array of motley caracteristic to each of the 99 rooms explored in the course of this book. So much so that you'd feel as though you were roaming among the stalls of a second-hand bric-a-brac. Have you ever felt this impression visiting old aunts or grandparents? Well, this is it, by the power of ten! Comic, gloomy, or mind-blowing it is always provocative, a true challenge for the reader's mind, as though you were visiting another planet, all the more puzzling as it is a simulacra of planet Earth.
Layout of the building where Life A User's Manual takes place
Detailed layout
Ordering of chapters
The Doll's House at the Smithsonian, National Museum of American History
-----
Other books sharing common features with this one:
Stories within stories, metaliterature:
(certain chapters)
Inventories:
Miscellaneous:
Quotes:
'Imaginons un homme dont la fortune n'aurait d'茅gale que l'indiff茅rence 脿 ce que la fortune permet g茅n茅ralement, et dont le d茅sir serait, beaucoup plus orgueilleusement, de saisir [non la totalit茅 du monde], mais un fragment constitu茅 de celui-ci : face 脿 l'inextricable incoh茅rence du monde, il s'agira alors d'accomplir jusqu'au bout un programme, restreint sans doute, mais entier, intact, irreductible.'
'Au regard d'un individu, d'une famille, ou m锚me d'une dynastie, une ville, une rue, une maison semblent inalt茅rables, inaccessibles au temps, aux accidents de la vie humaine, 脿 tel point que l'on croit pouvoir confronter et opposer la fragilit茅 de notre condition 脿 l'invuln茅rabilit茅 de la pierre. Mais la m锚me fi猫vre qui, vers 1850 [...] a fait surgir de terre ces immeubles, s'acharnera d茅sormais 脿 les d茅truire.'
'Val猫ne, parfois, r锚vait de cataclysmes et de temp锚tes, de tourbillons qui emporteraient la maison tout enti猫re comme un f茅tu de paille et feraient d茅couvrir 脿 ses habitants naufrag茅s les merveilles infinies du syst猫me solaire ; ou bien une fissure invisible la parcourrait de haut en bas, comme un frisson, et avec un craquement prolong茅 et profond, elle s'ouvrirait en deux, s'engloutirait lentement dans une b茅ance innommable ; alors des hordes l'envahiraient, des monstres aux yeux glauques, des insectes g茅ants avec des mandibules d'acier, des termites aveugles, des gros vers blancs 脿 la bouche insatiable : le bois s'effriterait, la pierre deviendrait du sable, les armoires s'茅crouleraient sous leur propre poids, tout retomberait en poussi猫re.
Mais non. Rien que ces disputes sordides 脿 propos de baquets, d'allumettes et d'茅viers. Et, derri猫re cette porte 脿 jamais close, l'ennui morbide de cette lente vengeance, cette lourde affaire de monomanes g芒teux ressassant leurs histoires feintes et leurs pi猫ges mis茅rables.'
'Plusieurs fois, il r锚va de s'enfuir avec elle, ou loin d'elle, mais ils rest猫rent comme ils 茅taient, proches et lointains, dans la tendresse et le d茅sespoir d'une amiti茅 infranchissable.'
'Plus souvent[...] au terme de ces heures d'attente, apr猫s 锚tre pass茅 par tous les degr茅s de l'anxi茅t茅 et de l'exasp茅ration contr么l茅es, Bartlebooth atteignait une sorte d'茅tat second, une stase [...], un oubli profond du corps et du but 脿 atteindre, un esprit vide, parfaitement vide, ouvert, disponible, une attention intacte mais flottant librement au-dessus des vicissitudes de l'existence, des contingences du puzzle'
Soundtrack:
Let us keep things simple. What is Life: A User's Manual?
This book is a collection of sketches depicting the rooms of an apartment block, according to a set of arbitrarily set constraints. In its course, the reader explores the many oddities, drolleries, mute tragedies, temporary achievements and eloquent failures of the tenants. As the book progressed, I realised the extent of the similarities with , another story by Georges Perec, this time about a young couple planning their future matrimonial life, setting up plans, purchasing furniture, commodities... Up to a point when the items seem to have appropriated something of their lives. More accurately, that whatever life the young couple have spent in the last ten, twenty, thirty years, is condensed and, somehow, enclosed in the unfeeling, not slightly detached indifference of the items... There is something similar at work here, in Life: A User's Manual. To up the difficulty a bit, Perec chose to give an array of motley caracteristic to each of the 99 rooms explored in the course of this book. So much so that you'd feel as though you were roaming among the stalls of a second-hand bric-a-brac. Have you ever felt this impression visiting old aunts or grandparents? Well, this is it, by the power of ten! Comic, gloomy, or mind-blowing it is always provocative, a true challenge for the reader's mind, as though you were visiting another planet, all the more puzzling as it is a simulacra of planet Earth.
Layout of the building where Life A User's Manual takes place
Detailed layout
Ordering of chapters
The Doll's House at the Smithsonian, National Museum of American History
-----
Other books sharing common features with this one:
Stories within stories, metaliterature:
(certain chapters)
Inventories:
Miscellaneous:
Quotes:
'Imaginons un homme dont la fortune n'aurait d'茅gale que l'indiff茅rence 脿 ce que la fortune permet g茅n茅ralement, et dont le d茅sir serait, beaucoup plus orgueilleusement, de saisir [non la totalit茅 du monde], mais un fragment constitu茅 de celui-ci : face 脿 l'inextricable incoh茅rence du monde, il s'agira alors d'accomplir jusqu'au bout un programme, restreint sans doute, mais entier, intact, irreductible.'
'Au regard d'un individu, d'une famille, ou m锚me d'une dynastie, une ville, une rue, une maison semblent inalt茅rables, inaccessibles au temps, aux accidents de la vie humaine, 脿 tel point que l'on croit pouvoir confronter et opposer la fragilit茅 de notre condition 脿 l'invuln茅rabilit茅 de la pierre. Mais la m锚me fi猫vre qui, vers 1850 [...] a fait surgir de terre ces immeubles, s'acharnera d茅sormais 脿 les d茅truire.'
'Val猫ne, parfois, r锚vait de cataclysmes et de temp锚tes, de tourbillons qui emporteraient la maison tout enti猫re comme un f茅tu de paille et feraient d茅couvrir 脿 ses habitants naufrag茅s les merveilles infinies du syst猫me solaire ; ou bien une fissure invisible la parcourrait de haut en bas, comme un frisson, et avec un craquement prolong茅 et profond, elle s'ouvrirait en deux, s'engloutirait lentement dans une b茅ance innommable ; alors des hordes l'envahiraient, des monstres aux yeux glauques, des insectes g茅ants avec des mandibules d'acier, des termites aveugles, des gros vers blancs 脿 la bouche insatiable : le bois s'effriterait, la pierre deviendrait du sable, les armoires s'茅crouleraient sous leur propre poids, tout retomberait en poussi猫re.
Mais non. Rien que ces disputes sordides 脿 propos de baquets, d'allumettes et d'茅viers. Et, derri猫re cette porte 脿 jamais close, l'ennui morbide de cette lente vengeance, cette lourde affaire de monomanes g芒teux ressassant leurs histoires feintes et leurs pi猫ges mis茅rables.'
'Plusieurs fois, il r锚va de s'enfuir avec elle, ou loin d'elle, mais ils rest猫rent comme ils 茅taient, proches et lointains, dans la tendresse et le d茅sespoir d'une amiti茅 infranchissable.'
'Plus souvent[...] au terme de ces heures d'attente, apr猫s 锚tre pass茅 par tous les degr茅s de l'anxi茅t茅 et de l'exasp茅ration contr么l茅es, Bartlebooth atteignait une sorte d'茅tat second, une stase [...], un oubli profond du corps et du but 脿 atteindre, un esprit vide, parfaitement vide, ouvert, disponible, une attention intacte mais flottant librement au-dessus des vicissitudes de l'existence, des contingences du puzzle'
September 14, 2021
Retratar un trozo de vida o m谩s bien analizarlo, diseccionarlo con todos sus elementos, sin omitir nada. En concreto todo lo sucedido en un lugar determinado a lo largo del tiempo.
Espec铆ficamente un inmueble de Par铆s. Se trata de describir todos los espacios, los muebles, sus habitantes presentes y pasados, las relaciones entre ellos, en resumen, toda la vida que ha tenido lugar en ese punto. Todo ello organizado con la estructura de un puzzle y con un relato que se va moviendo entre los diferentes pisos como el caballo del juego de ajedrez.
El resultado es鈥� abrumador. Hay tanta informaci贸n que es dif铆cil de asimilarlo todo, pero, en fin, es lo que hacemos en nuestro d铆a a d铆a, 驴o no? Realmente Perec propone un desaf铆o literario del calibre del Ulises de Joyce, un desarrollo de la novela como herramienta de comprensi贸n de la realidad. El famoso espejo de Stendahl se convierte aqu铆 en un microscopio que nos quiere mostrar absolutamente todo, pero no ya los pensamientos como Joyce o Virginia Woolf, sino tambi茅n las cosas materiales.
No es una obra cualquiera. La pregunta es si la experiencia lectora es placentera. En mi caso la respuesta es dif铆cil. S铆, aprecio el m茅rito pero creo que requiere un nivel de concentraci贸n como un tratado de f铆sica y realmente para seguir bien la novela hay que consultar los planos, listas de personajes y otra informaci贸n para no perderse. O dejarse llevar por la bella prosa de Perec, aunque a veces no sepas lo que est谩s leyendo. Creo que yo no lo le铆 bien, pero pensar en una segunda lectura me asusta un poco: es que no me da la vida para tanto!
Para el que est茅 interesado, aconsejo leer la entrada de Wikipedia primero, le aportar谩 informaci贸n 煤til:
Espec铆ficamente un inmueble de Par铆s. Se trata de describir todos los espacios, los muebles, sus habitantes presentes y pasados, las relaciones entre ellos, en resumen, toda la vida que ha tenido lugar en ese punto. Todo ello organizado con la estructura de un puzzle y con un relato que se va moviendo entre los diferentes pisos como el caballo del juego de ajedrez.
El resultado es鈥� abrumador. Hay tanta informaci贸n que es dif铆cil de asimilarlo todo, pero, en fin, es lo que hacemos en nuestro d铆a a d铆a, 驴o no? Realmente Perec propone un desaf铆o literario del calibre del Ulises de Joyce, un desarrollo de la novela como herramienta de comprensi贸n de la realidad. El famoso espejo de Stendahl se convierte aqu铆 en un microscopio que nos quiere mostrar absolutamente todo, pero no ya los pensamientos como Joyce o Virginia Woolf, sino tambi茅n las cosas materiales.
No es una obra cualquiera. La pregunta es si la experiencia lectora es placentera. En mi caso la respuesta es dif铆cil. S铆, aprecio el m茅rito pero creo que requiere un nivel de concentraci贸n como un tratado de f铆sica y realmente para seguir bien la novela hay que consultar los planos, listas de personajes y otra informaci贸n para no perderse. O dejarse llevar por la bella prosa de Perec, aunque a veces no sepas lo que est谩s leyendo. Creo que yo no lo le铆 bien, pero pensar en una segunda lectura me asusta un poco: es que no me da la vida para tanto!
Para el que est茅 interesado, aconsejo leer la entrada de Wikipedia primero, le aportar谩 informaci贸n 煤til:
September 18, 2019
韦委 慰未畏纬委蔚蟼 蠂蟻萎蟽畏蟼 纬喂伪 蟿畏谓 味蠅萎 渭蟺慰蟻蔚委蟼 谓伪 尾蟻蔚喂蟼 蟽蔚 苇谓伪 尾喂尾位委慰 渭蔚 蟿委蟿位慰 芦螙蠅萎: 螣未畏纬委蔚蟼 蠂蟻萎蟽畏蟼禄; 螌蟿伪谓 蟽蠀纬纬蟻伪蠁苇伪蟼 蟿慰蠀 蔚委谓伪喂 慰 螤蔚蟻苇魏, 畏 伪蟺维谓蟿畏蟽畏 未蔚谓 蔚委谓伪喂 蟿蠈蟽慰 伪蟺位萎. 韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺蔚蟻喂蟽蟿蟻苇蠁蔚蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟿畏谓 味蠅萎 蟿蠅谓 蔚谓慰委魏蠅谓 渭喂伪蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 魏伪喂 蠂蠅蟻委味蔚蟿伪喂 蟽蔚 苇尉喂 蔚谓蠈蟿畏蟿蔚蟼. 螒谓 魏伪蟿伪蠁苇蟻蔚喂蟼 谓伪 蟺蟻慰蟽蟺蔚蟻维蟽蔚喂蟼 蟿畏谓 蟺蟻蠋蟿畏, 蠈位伪 胃伪 魏蠀位萎蟽慰蠀谓 蟺慰位蠉 魏伪位维. 危蟿畏谓 蟺蟻蠋蟿畏 蔚谓蠈蟿畏蟿伪 渭伪蟼 蟽蠀蟽蟿萎谓蔚喂 蟿慰蠀蟼 蔚谓慰委魏慰蠀蟼 蟺蔚蟻喂纬蟻维蠁慰谓蟿维蟼 渭伪蟼 渭蔚 蟿畏谓 位蔚蟺蟿慰渭苇蟻蔚喂伪 蔚谓蠈蟼 味蠅纬蟻维蠁慰蠀 渭委伪 蟽魏畏谓萎 伪蟺蠈 蟿畏谓 味蠅萎 蟿慰蠀蟼. 螚 蟽魏畏谓萎 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 渭喂伪 渭蠈谓慰 蟽蟿喂纬渭萎 伪蠁萎谓慰谓蟿伪蟼 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪, 蟿慰谓 蠂蠋蟻慰 蟿慰蠀 蔚谓慰委魏慰蠀 谓伪 渭喂位萎蟽慰蠀谓 伪蟺蠈 渭蠈谓伪 蟿慰蠀蟼. 螘委谓伪喂 渭慰谓伪未喂魏蠈 伪蠀蟿蠈 蟺慰蠀 魏维谓蔚喂, 伪位位维 伪蟺伪喂蟿蔚委 苇谓伪谓 蔚尉委蟽慰蠀 伪蠁慰蟽喂蠅渭苇谓慰 伪谓伪纬谓蠋蟽蟿畏. 螣喂 蔚蟺蠈渭蔚谓蔚蟼 蔚谓蠈蟿畏蟿蔚蟼 尉蔚未喂蟺位蠋谓慰蠀谓 蟽喂纬维 蟽喂纬维 魏伪喂 维位位蔚蟼 蟺蟿蠀蠂苇蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 伪蠀蟿萎蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 魏伪喂 魏蠀位维谓蔚 渭蔚 渭蔚纬伪位蠉蟿蔚蟻畏 蔚蠀魏慰位委伪.
螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蠈蟿喂 未蔚谓 尉苇蟻蠅 蟺蠋蟼 谓伪 蟺蟻慰蟽蔚纬纬委蟽蠅 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 螠慰喂维味蔚喂 渭蔚 渭喂伪 纬蠀维位喂谓畏 渭蟺维位伪 蟺慰蠀 尉苇蟻蔚喂蟼 蠈蟿喂 渭苇蟽伪 蟿畏蟼 渭蟺慰蟻蔚委蟼 谓伪 未蔚喂蟼 蟿伪 渭蠀蟽蟿喂魏维 蟿慰蠀 魏蠈蟽渭慰蠀, 伪位位维 蠈位慰 蟽慰蠀 纬位喂蟽蟿蟻维蔚喂 伪蟺蠈 蟿伪 蠂苇蟻喂伪. 螛伪 伪蟻蠂委蟽蠅 位慰喂蟺蠈谓 伪蟺蠈 蟿伪 尾伪蟽喂魏维, 蟿慰谓委味慰谓蟿伪蟼 蟺蠈蟽慰 伪尉喂慰胃伪蠉渭伪蟽蟿慰 蔚委谓伪喂 蟿慰 纬蔚纬慰谓蠈蟼 蠈蟿喂 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 渭蟺慰蟻蔚委蟼 谓伪 尾蟻蔚喂蟼 慰, 蟿喂 喂蟽蟿慰蟻委伪 尾维味蔚喂 蟿慰 渭蠀伪位蠈 蟽慰蠀. 螆蟻蠅蟿蔚蟼, 渭蠀蟽蟿萎蟻喂慰, 蟿伪尉委未喂伪, 魏蠅渭喂魏慰委 蠂伪蟻伪魏蟿萎蟻蔚蟼, 蟿蟻伪纬喂魏慰委 蠂伪蟻伪魏蟿萎蟻蔚蟼, 蟿伪 蟺维谓蟿伪! 螒魏蠈渭伪 魏伪喂 蟽蔚 蟽蟿喂纬渭苇蟼 蟺慰蠀 苇谓喂蠅胃伪 蠈蟿喂 苇蠂蠅 魏慰蠀蟻伪蟽蟿蔚委 (蠀蟺萎蟻尉伪谓 魏喂 伪蠀蟿苇蟼, 未蔚谓 蠂蟻蔚喂维味蔚蟿伪喂 谓伪 蔚尉喂未伪谓喂魏蔚蠉慰蠀渭蔚 蟿伪 蟺维谓蟿伪) 魏伪喂 尉蔚魏委谓伪纬蔚 渭喂伪 喂蟽蟿慰蟻委伪 蟺慰蠀 苇位蔚纬伪 渭苇蟽伪 渭慰蠀 伪蟺慰魏位蔚委蔚蟿伪喂 谓伪 渭慰蠀 伪蟻苇蟽蔚喂, 魏伪蟿维蠁蔚蟻谓蔚 蟺维谓蟿伪 谓伪 渭蔚 魏蔚蟻未委味蔚喂. 螒蠀蟿蠈 蟿慰 纬蔚纬慰谓蠈蟼 伪蟺蠈 渭蠈谓慰 蟿慰蠀 魏伪胃喂蟽蟿维 蟿慰 尾喂尾位委慰 渭慰谓伪未喂魏蠈 魏伪喂 蟿伪位苇谓蟿慰 蟿慰蠀 螤蔚蟻苇魏 伪未喂伪谓蠈畏蟿伪 渭蔚纬维位慰.
螝维胃蔚 苇谓慰喂魏慰蟼 蔚委谓伪喂 魏喂 苇谓伪 蟺伪蟻维胃蠀蟻慰 蟽蔚 渭喂伪 蔚魏未慰蠂萎 蟿畏蟼 味蠅萎蟼. 螉蟽蠅蟼, 蟽魏苇蠁蟿慰渭伪喂, 伪蠀蟿蠈 蟺蟻慰蟽蟺维胃畏蟽蔚 谓伪 魏维谓蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼. 螡伪 魏伪位蠉蠄蔚喂 魏维胃蔚 蟺喂胃伪谓萎 喂蟽蟿慰蟻委伪 渭蔚 苇谓伪谓 萎蟻蠅伪, 蠈蠂喂 蠁蠀蟽喂魏维 蟽伪谓 慰未畏纬委伪 纬喂伪 蟿慰 蟺蠋蟼 谓伪 味萎蟽蔚喂蟼 蟿畏谓 未喂魏喂维 蟽慰蠀. 螤喂慰 蟺慰位蠉 蟽伪谓 伪蟻蠂蔚委慰, 蟽伪谓 魏伪蟿伪纬蟻伪蠁萎 蟿畏蟼 委未喂伪蟼 蟿畏蟼 味蠅萎蟼. 韦喂 渭苇谓蔚喂 蠈渭蠅蟼 渭蔚蟿维 伪蟺蠈 蠈位蔚蟼 伪蠀蟿苇蟼 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼; 韦委蟺慰蟿伪. 韦慰 位苇蔚喂 渭维位喂蟽蟿伪 魏伪喂 慰 委未喂慰蟼 蟽蔚 伪谓蠉蟺慰蟺蟿慰 蠂蟻蠈谓慰 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 渭蔚蟿伪蠁慰蟻喂魏维 蟿畏谓 蟺慰位蠀魏伪蟿慰喂魏委伪. 螚 蟺慰位蠀魏伪蟿慰喂魏委伪 维位位蠅蟽蟿蔚 苇蠂蔚喂 魏伪蟿伪蠁苇蟻蔚喂 谓伪 纬委谓蔚喂 渭喂伪 渭喂魏蟻慰纬蟻伪蠁委伪 蟿畏蟼 委未喂伪蟼 蟿畏蟼 味蠅萎蟼, 苇谓伪 蟺伪味位 蟺慰蠀 魏维胃蔚 蟿慰蠀 魏慰渭渭维蟿喂 蔚委谓伪喂 魏伪喂 渭委伪 喂蟽蟿慰蟻委伪.
螉蟽蠅蟼 慰 渭慰谓伪未喂魏蠈蟼 苇谓慰喂魏慰蟼 蟺慰蠀 伪谓蟿喂位伪渭尾维谓蔚蟿伪喂 蟿慰 蟺蟻慰蟽蠅蟻喂谓蠈 蟿慰蠀 蟺蟻维纬渭伪蟿慰蟼 谓伪 蔚委谓伪喂 慰 螠蟺伪蟻蟿位蔚渭蟺慰蠀胃 慰 慰蟺慰委慰蟼 伪蠁喂蔚蟻蠋谓蔚喂 蟿畏谓 味蠅萎 蟿慰蠀 谓伪 味蠅纬蟻伪蠁委味蔚喂 伪魏慰蠀伪蟻苇位蔚蟼 伪蟺蠈 蠈位慰 蟿慰谓 魏蠈蟽渭慰, 蟿喂蟼 慰蟺慰委蔚蟼 渭蔚蟿维 蟽蟿苇位谓蔚喂 蟽蟿慰谓 纬蔚委蟿慰谓伪 蟿慰蠀 纬喂伪 谓伪 蟿喂蟼 魏维谓蔚喂 蟺伪味位, 蟿伪 慰蟺慰委伪 蟽蟿畏谓 蟽蠀谓苇蠂蔚喂伪 蟿伪 蟽蠀渭蟺位畏蟻蠋谓蔚喂 魏伪喂 畏 伪魏慰蠀伪蟻苇位伪 苇蟿蟽喂 伪蟺位维 蟺伪蠉蔚喂 谓伪 蠀蟺维蟻蠂蔚喂. 螛伪 渭蟺慰蟻慰蠉蟽蔚 伪蠀蟿蠈 谓伪 蔚委谓伪喂 苇谓伪蟼 蟽蠀渭尾慰位喂蟽渭蠈蟼, 渭喂伪 慰未畏纬委伪 纬喂伪 蟿畏谓 委未喂伪 蟿畏谓 味蠅萎;
螒蠀蟿蠈 蔚委谓伪喂 苇谓伪 蟺伪味位 蟺慰蠀 胃伪 蟺蟻苇蟺蔚喂 慰 魏维胃蔚 伪谓伪纬谓蠋蟽蟿畏蟼 谓伪 蟿慰 位蠉蟽蔚喂 渭蠈谓慰蟼 蟿慰蠀.
螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蠈蟿喂 未蔚谓 尉苇蟻蠅 蟺蠋蟼 谓伪 蟺蟻慰蟽蔚纬纬委蟽蠅 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 螠慰喂维味蔚喂 渭蔚 渭喂伪 纬蠀维位喂谓畏 渭蟺维位伪 蟺慰蠀 尉苇蟻蔚喂蟼 蠈蟿喂 渭苇蟽伪 蟿畏蟼 渭蟺慰蟻蔚委蟼 谓伪 未蔚喂蟼 蟿伪 渭蠀蟽蟿喂魏维 蟿慰蠀 魏蠈蟽渭慰蠀, 伪位位维 蠈位慰 蟽慰蠀 纬位喂蟽蟿蟻维蔚喂 伪蟺蠈 蟿伪 蠂苇蟻喂伪. 螛伪 伪蟻蠂委蟽蠅 位慰喂蟺蠈谓 伪蟺蠈 蟿伪 尾伪蟽喂魏维, 蟿慰谓委味慰谓蟿伪蟼 蟺蠈蟽慰 伪尉喂慰胃伪蠉渭伪蟽蟿慰 蔚委谓伪喂 蟿慰 纬蔚纬慰谓蠈蟼 蠈蟿喂 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 渭蟺慰蟻蔚委蟼 谓伪 尾蟻蔚喂蟼 慰, 蟿喂 喂蟽蟿慰蟻委伪 尾维味蔚喂 蟿慰 渭蠀伪位蠈 蟽慰蠀. 螆蟻蠅蟿蔚蟼, 渭蠀蟽蟿萎蟻喂慰, 蟿伪尉委未喂伪, 魏蠅渭喂魏慰委 蠂伪蟻伪魏蟿萎蟻蔚蟼, 蟿蟻伪纬喂魏慰委 蠂伪蟻伪魏蟿萎蟻蔚蟼, 蟿伪 蟺维谓蟿伪! 螒魏蠈渭伪 魏伪喂 蟽蔚 蟽蟿喂纬渭苇蟼 蟺慰蠀 苇谓喂蠅胃伪 蠈蟿喂 苇蠂蠅 魏慰蠀蟻伪蟽蟿蔚委 (蠀蟺萎蟻尉伪谓 魏喂 伪蠀蟿苇蟼, 未蔚谓 蠂蟻蔚喂维味蔚蟿伪喂 谓伪 蔚尉喂未伪谓喂魏蔚蠉慰蠀渭蔚 蟿伪 蟺维谓蟿伪) 魏伪喂 尉蔚魏委谓伪纬蔚 渭喂伪 喂蟽蟿慰蟻委伪 蟺慰蠀 苇位蔚纬伪 渭苇蟽伪 渭慰蠀 伪蟺慰魏位蔚委蔚蟿伪喂 谓伪 渭慰蠀 伪蟻苇蟽蔚喂, 魏伪蟿维蠁蔚蟻谓蔚 蟺维谓蟿伪 谓伪 渭蔚 魏蔚蟻未委味蔚喂. 螒蠀蟿蠈 蟿慰 纬蔚纬慰谓蠈蟼 伪蟺蠈 渭蠈谓慰 蟿慰蠀 魏伪胃喂蟽蟿维 蟿慰 尾喂尾位委慰 渭慰谓伪未喂魏蠈 魏伪喂 蟿伪位苇谓蟿慰 蟿慰蠀 螤蔚蟻苇魏 伪未喂伪谓蠈畏蟿伪 渭蔚纬维位慰.
螝维胃蔚 苇谓慰喂魏慰蟼 蔚委谓伪喂 魏喂 苇谓伪 蟺伪蟻维胃蠀蟻慰 蟽蔚 渭喂伪 蔚魏未慰蠂萎 蟿畏蟼 味蠅萎蟼. 螉蟽蠅蟼, 蟽魏苇蠁蟿慰渭伪喂, 伪蠀蟿蠈 蟺蟻慰蟽蟺维胃畏蟽蔚 谓伪 魏维谓蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼. 螡伪 魏伪位蠉蠄蔚喂 魏维胃蔚 蟺喂胃伪谓萎 喂蟽蟿慰蟻委伪 渭蔚 苇谓伪谓 萎蟻蠅伪, 蠈蠂喂 蠁蠀蟽喂魏维 蟽伪谓 慰未畏纬委伪 纬喂伪 蟿慰 蟺蠋蟼 谓伪 味萎蟽蔚喂蟼 蟿畏谓 未喂魏喂维 蟽慰蠀. 螤喂慰 蟺慰位蠉 蟽伪谓 伪蟻蠂蔚委慰, 蟽伪谓 魏伪蟿伪纬蟻伪蠁萎 蟿畏蟼 委未喂伪蟼 蟿畏蟼 味蠅萎蟼. 韦喂 渭苇谓蔚喂 蠈渭蠅蟼 渭蔚蟿维 伪蟺蠈 蠈位蔚蟼 伪蠀蟿苇蟼 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼; 韦委蟺慰蟿伪. 韦慰 位苇蔚喂 渭维位喂蟽蟿伪 魏伪喂 慰 委未喂慰蟼 蟽蔚 伪谓蠉蟺慰蟺蟿慰 蠂蟻蠈谓慰 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 渭蔚蟿伪蠁慰蟻喂魏维 蟿畏谓 蟺慰位蠀魏伪蟿慰喂魏委伪. 螚 蟺慰位蠀魏伪蟿慰喂魏委伪 维位位蠅蟽蟿蔚 苇蠂蔚喂 魏伪蟿伪蠁苇蟻蔚喂 谓伪 纬委谓蔚喂 渭喂伪 渭喂魏蟻慰纬蟻伪蠁委伪 蟿畏蟼 委未喂伪蟼 蟿畏蟼 味蠅萎蟼, 苇谓伪 蟺伪味位 蟺慰蠀 魏维胃蔚 蟿慰蠀 魏慰渭渭维蟿喂 蔚委谓伪喂 魏伪喂 渭委伪 喂蟽蟿慰蟻委伪.
螉蟽蠅蟼 慰 渭慰谓伪未喂魏蠈蟼 苇谓慰喂魏慰蟼 蟺慰蠀 伪谓蟿喂位伪渭尾维谓蔚蟿伪喂 蟿慰 蟺蟻慰蟽蠅蟻喂谓蠈 蟿慰蠀 蟺蟻维纬渭伪蟿慰蟼 谓伪 蔚委谓伪喂 慰 螠蟺伪蟻蟿位蔚渭蟺慰蠀胃 慰 慰蟺慰委慰蟼 伪蠁喂蔚蟻蠋谓蔚喂 蟿畏谓 味蠅萎 蟿慰蠀 谓伪 味蠅纬蟻伪蠁委味蔚喂 伪魏慰蠀伪蟻苇位蔚蟼 伪蟺蠈 蠈位慰 蟿慰谓 魏蠈蟽渭慰, 蟿喂蟼 慰蟺慰委蔚蟼 渭蔚蟿维 蟽蟿苇位谓蔚喂 蟽蟿慰谓 纬蔚委蟿慰谓伪 蟿慰蠀 纬喂伪 谓伪 蟿喂蟼 魏维谓蔚喂 蟺伪味位, 蟿伪 慰蟺慰委伪 蟽蟿畏谓 蟽蠀谓苇蠂蔚喂伪 蟿伪 蟽蠀渭蟺位畏蟻蠋谓蔚喂 魏伪喂 畏 伪魏慰蠀伪蟻苇位伪 苇蟿蟽喂 伪蟺位维 蟺伪蠉蔚喂 谓伪 蠀蟺维蟻蠂蔚喂. 螛伪 渭蟺慰蟻慰蠉蟽蔚 伪蠀蟿蠈 谓伪 蔚委谓伪喂 苇谓伪蟼 蟽蠀渭尾慰位喂蟽渭蠈蟼, 渭喂伪 慰未畏纬委伪 纬喂伪 蟿畏谓 委未喂伪 蟿畏谓 味蠅萎;
螒蠀蟿蠈 蔚委谓伪喂 苇谓伪 蟺伪味位 蟺慰蠀 胃伪 蟺蟻苇蟺蔚喂 慰 魏维胃蔚 伪谓伪纬谓蠋蟽蟿畏蟼 谓伪 蟿慰 位蠉蟽蔚喂 渭蠈谓慰蟼 蟿慰蠀.
Read
March 21, 2013A pre-review
This big novel has been on my (physical) shelf for years, it feels almost indecent to pick it up and actually begin it. Especially when I don't think I'll like it. Which is a shame, because I like the idea of Georges Perec, and I like the photo of him in the front here. I like the cut of his jib. He has a cat on his shoulder. So, I'll give it 100 pages. Then I expect I'll say something like: Georges Perec is the larval stage of the French whimsy which became the butterfly of Jean-Pierre Jeunot, who brought the interconnected magical-puzzle aspects of life to - er - life in his great movie comedies Delicatessen (the dark version) and Amelie (the light version) and Micmacs (the crazy revenge fantasy version).
***
update : yes, I thought so.
This big novel has been on my (physical) shelf for years, it feels almost indecent to pick it up and actually begin it. Especially when I don't think I'll like it. Which is a shame, because I like the idea of Georges Perec, and I like the photo of him in the front here. I like the cut of his jib. He has a cat on his shoulder. So, I'll give it 100 pages. Then I expect I'll say something like: Georges Perec is the larval stage of the French whimsy which became the butterfly of Jean-Pierre Jeunot, who brought the interconnected magical-puzzle aspects of life to - er - life in his great movie comedies Delicatessen (the dark version) and Amelie (the light version) and Micmacs (the crazy revenge fantasy version).
***
update : yes, I thought so.
December 31, 2020
Y谋l谋 b枚yle binlerce par莽al谋 bir puzzle ile bitirmek bu sene tabi oldu臒um sab谋r testinin en zevkli k谋sm谋 oldu.
Kitap 99 farkl谋 b枚l眉m眉 bir araya getirerek benzer g枚r眉n眉艧leri yan yana koyarak ya da 枚nce kenarlardan ba艧layarak yap谋lan bir puzzle gibiydi. Ya艧ama dair ne varsa 枚zellikle sanatla ve objelerle, resimlerle, ka臒谋tlarla, dekorla, mimariyle tarihle kurguyla ilgili ne varsa var i莽inde.
Yani hayat gibi acayip bi ill眉zyondu kitap, 莽枚zd眉m m眉 okudum mu belli de臒il...
Kitap 99 farkl谋 b枚l眉m眉 bir araya getirerek benzer g枚r眉n眉艧leri yan yana koyarak ya da 枚nce kenarlardan ba艧layarak yap谋lan bir puzzle gibiydi. Ya艧ama dair ne varsa 枚zellikle sanatla ve objelerle, resimlerle, ka臒谋tlarla, dekorla, mimariyle tarihle kurguyla ilgili ne varsa var i莽inde.
Yani hayat gibi acayip bi ill眉zyondu kitap, 莽枚zd眉m m眉 okudum mu belli de臒il...
January 23, 2021
螕委谓蔚蟿伪喂 蟺慰位位苇蟼 渭喂魏蟻苇蟼 伪蟺位苇蟼 喂未苇蔚蟼 谓伪 蟽蠀谓胃苇蟽慰蠀谓 魏维蟿喂 蟿慰 蔚尉伪喂蟻蔚蟿喂魏维 蟺慰位蠉蟺位慰魏慰; 螔蔚尾伪委蠅蟼 魏伪喂 纬委谓蔚蟿伪喂, 未喂伪 蠂蔚喂蟻蠈蟼 螙慰蟻味 螤蔚蟻苇魏.
韦慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 蔚委谓伪喂 苇谓伪 蟺伪味位 萎 委蟽蠅蟼 苇谓伪 蠄畏蠁喂未蠅蟿蠈 蟺慰蠀 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 苇蠁蟿喂伪尉蔚 渭蔚 伪蟺蠈位蠀蟿畏 蟺蟻慰蟽萎位蠅蟽畏 苇蟿蟽喂 蠋蟽蟿蔚 谓伪 未喂伪蟽魏蔚未维蟽蔚喂 慰 委未喂慰蟼 - 尾伪蟽喂魏萎 伪蟻蠂萎 蟿蠅谓 未畏渭喂慰蠀蟻纬蠋谓 Oulipo - 伪位位维 魏伪喂 谓伪 "蟿伪位伪喂蟺蠅蟻萎蟽蔚喂" 蟽蟿慰 未喂畏谓蔚魏苇蟼 蠈位慰蠀蟼 蟿慰蠀蟼 蔚蟺委未慰尉慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟺慰蠀 胃伪 胃蔚位萎蟽慰蠀谓 谓伪 伪谓伪渭蔚蟿蟻畏胃慰蠉谓 渭蔚 蟿慰 未畏渭喂慰蠉蟻纬畏渭维 蟿慰蠀. 螣 螤蔚蟻苇魏 魏伪蟿维蠁蔚蟻蔚 谓伪 蠂蠅蟻苇蟽蔚喂 蟽蠂蔚未蠈谓 蟿伪 蟺维谓蟿伪 渭苇蟽伪 蟽蟿慰 尾喂尾位委慰 蟿慰蠀. 螠蠉胃慰蠀蟼, 胃蟻蠉位慰蠀蟼, 喂蟽蟿慰蟻喂魏维 蟽蟿慰喂蠂蔚委伪, 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 伪谓伪蠁慰蟻苇蟼 蠂蠅蟻委蟼 谓伪 尉蔚蠂谓维蔚喂 谓伪 魏位蔚委蟽蔚喂 蟿慰 渭维蟿喂 蟽蔚 蟽蠀纬纬蟻伪蠁蔚委蟼 蟺慰蠀 蟿慰谓 蔚蟺畏蟻苇伪蟽伪谓.
螚 蟺慰位蠀魏伪蟿慰喂魏委伪 蟿畏蟼 慰未慰蠉 危喂渭蠈谓-螝蟻蠀渭蟺蔚位位喂苇 11 蟺伪蟻慰蠀蟽喂维味蔚蟿伪喂 蟽蟿伪 渭维蟿喂伪 渭伪蟼 渭蔚 苇谓伪谓 蟿蟻蠈蟺慰 渭慰谓伪未喂魏蠈. 螠伪胃伪委谓慰蠀渭蔚 蟿畏谓 喂蟽蟿慰蟻委伪 魏维胃蔚 苇谓慰喂魏慰蠀 魏伪喂 蔚谓蠋 蟺伪蟻维位位畏位伪 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺蔚蟻喂纬蟻维蠁蔚喂 渭蔚 蔚魏谓蔚蠀蟻喂蟽蟿喂魏萎 位蔚蟺蟿慰渭苇蟻蔚喂伪 魏维胃蔚 伪谓蟿喂魏蔚委渭蔚谓慰 (魏维未蟻伪, 魏慰蠉蟺蔚蟼, 谓慰渭委蟽渭伪蟿伪, 尾喂尾位委伪 魏位蟺) 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼. 螌蟽慰 畏 喂蟽蟿慰蟻委伪 蟺蟻慰蠂蠅蟻维蔚喂 蟿蠈蟽慰 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 纬喂伪 蟿慰 魏维胃蔚 蟿喂 未喂伪尾维味慰蠀渭蔚. 螣 螤蔚蟻苇魏 渭蔚 伪蠀蟿蠈谓 蟿慰谓 蟿蟻蠈蟺慰 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 蔚谓蟿蠈蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蠂蠅蟻委蟼 蠈渭蠅蟼 谓伪 渭伪蟼 伪蠁萎蟽蔚喂 谓伪 位蠉蟽慰蠀渭蔚 蟿慰谓 纬蟻委蠁慰!
桅蠀蟽喂魏维, 蠀蟺维蟻蠂蔚喂 渭喂伪 蠀蟺慰蟿蠀蟺蠋未畏蟼 尾伪蟽喂魏萎 喂蟽蟿慰蟻委伪, 蠈蟺慰蠀 慰 蔚魏魏蔚谓蟿蟻喂魏蠈蟼 螠蟺维蟻蟿位蔚渭蟺慰蠀胃 苇蠂蔚喂 尾维位蔚喂 蟽伪谓 蟽蟿蠈蠂慰 蟿畏蟼 味蠅萎蟼 蟿慰蠀 谓伪 味蠅纬蟻伪蠁委蟽蔚喂 魏伪喂 伪谓伪蟽蠀谓胃苇蟽蔚喂 渭蔚 蟺伪味位 蠈位伪 渭苇蟻畏 蟺慰蠀 蔚委蠂蔚 蔚蟺喂蟽魏蔚蠁蟿蔚委 伪谓维 蟿慰谓 魏蠈蟽渭慰 魏伪喂 蔚谓 蟿苇位蔚喂 谓伪 蟿伪 魏伪蟿伪蟽蟿蟻苇蠄蔚喂 (!), 蟿畏谓 慰蟺慰委伪 蟿畏谓 伪魏慰位慰蠀胃慰蠉谓 未蔚魏维未蔚蟼 维位位蔚蟼 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 喂蟽蟿慰蟻委蔚蟼. 螣喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 未蔚谓 蔚委谓伪喂 伪渭喂纬蠋蟼 位慰纬慰蟿蔚蠂谓喂魏慰委, 蟽蟿蔚蟻慰蠉谓蟿伪喂 尾维胃慰蠀蟼 魏维蟿喂 蟺慰蠀 委蟽蠅蟼 蟽魏蠈蟺喂渭伪 蔚蟺蔚未委蠅尉蔚 慰 螕维位位慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 蠅蟼 渭喂伪 伪位位畏纬慰蟻委伪 蟺蟻慰蟼 蟿慰 蟺伪蟻维未慰尉慰 蟿畏蟼 委未喂伪蟼 渭伪蟼 蟿畏蟼 味蠅萎蟼.
螤蟻慰蟽蠅蟺喂魏维 苇蠁蟿伪蟽伪 蠅蟼 蟿慰 蟿苇位慰蟼 蟿慰蠀 纬蟻委蠁慰蠀 魏伪喂 渭蟺慰蟻蠋 谓伪 蟺蠅 蠈蟿喂 萎蟿伪谓 伪蟻魏蔚蟿维 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 伪谓伪纬谓蠅蟽蟿喂魏萎 蔚渭蟺蔚喂蟻委伪. 螤伪蟻' 蠈位伪 伪蠀蟿维 蠀蟺萎蟻尉伪谓 蟽蟿喂纬渭苇蟼 蟺慰蠀 未喂维尾伪味伪 渭畏蠂伪谓喂魏维 蟿喂蟼 伪蟿蔚位蔚委蠅蟿蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 伪谓蟿喂魏蔚喂渭苇谓蠅谓 蔚谓蠋 未蔚谓 苇位蔚喂蟺伪谓 蟽蟿喂纬渭苇蟼 蟺慰蠀 魏慰喂蟿慰蠉蟽伪 蟺蔚蟻委蔚蟻纬伪 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪 渭苇蟽伪 蟽蟿慰 蟽蟺委蟿喂 渭慰蠀! 螝伪蟿伪位伪尾伪委谓蠅 蠈蟿喂 螤蔚蟻苇魏 萎蟿伪谓 蟺慰位蠀渭伪胃萎蟼 魏伪喂 渭蔚 苇谓伪 蔚谓蟿蔚位蠋蟼 渭蔚蟿伪渭慰谓蟿苇蟻谓慰 蟽蟿蠀位 蟺蟻慰蟽蟺维胃畏蟽蔚 谓伪 蠁蟿喂维尉蔚喂 苇谓伪 渭慰谓伪未喂魏蠈 尾喂尾位委慰, 蟿慰 慰蟺慰委慰 渭蔚谓 胃伪蠉渭伪蟽伪 伪位位维 未蔚谓 渭蟺慰蟻蠋 谓伪 蟺蠅 蠈蟿喂 位慰纬慰蟿蔚蠂谓喂魏维 - 渭蔚 蟿畏谓 魏位伪蟽喂魏萎 苇谓谓慰喂伪 蟿慰蠀 蠈蟻慰蠀 - 渭蔚 蟽蠀纬魏位蠈谓喂蟽蔚. 危蠀谓 蟿慰喂蟼 维位位慰喂蟼 蟿伪 尾喂尾位委伪 渭蔚 蟺慰位位苇蟼 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 喂蟽蟿慰蟻委蔚蟼 蠈蟺蠅蟼 韦慰 蠂蔚喂蟻蠈纬蟻伪蠁慰 蟿畏蟼 危伪蟻伪纬蠈蟽伪 魏伪喂 慰 螠苇位渭慰胃 渭蔚 伪蠁萎谓慰蠀谓 魏维蟺蠅蟼 伪未喂维蠁慰蟻慰 蟽蟿慰 蟿苇位慰蟼 魏伪喂 魏蠀蟻委蠅蟼 伪蟺慰蟽蟿伪蟽喂慰蟺慰喂畏渭苇谓慰.
螘谓 蟿苇位蔚喂 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 胃伪 蟿慰 蟺蟻蠈蟿蔚喂谓伪 蟽蔚 蠈位慰蠀蟼 蟿慰蠀蟼 尾喂尾位喂蠈蠁喂位慰蠀蟼 蠂蠅蟻委蟼 未喂蟽蟿伪纬渭蠈. 螘委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰蠀 伪魏蠈渭伪 魏喂 伪谓 未蔚谓 蟿慰 伪纬伪蟺萎蟽蔚喂蟼 蟽蔚 魏维谓蔚喂 谓伪 蟽蟿苇魏蔚蟽伪喂 伪蟺苇谓伪谓蟿喂 蟽蟿慰 蟽蠀纬纬蟻伪蠁苇伪 渭蔚 蟽蔚尾伪蟽渭蠈 魏伪喂 胃伪蠀渭伪蟽渭蠈 魏伪喂 委蟽蠅蟼 谓伪 伪谓伪蟻蠅蟿畏胃蔚委蟼 伪谓 畏 味蠅萎 渭伪蟼 蔚委谓伪喂 苇谓伪 蟿蔚蟻维蟽蟿喂慰 蟺伪味位 蟽伪谓 伪蠀蟿蠈 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蟿畏蟼 慰未慰蠉 危喂渭蠈谓-螝蟻蠀渭蟺蔚位位喂苇 11...
韦慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 蔚委谓伪喂 苇谓伪 蟺伪味位 萎 委蟽蠅蟼 苇谓伪 蠄畏蠁喂未蠅蟿蠈 蟺慰蠀 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 苇蠁蟿喂伪尉蔚 渭蔚 伪蟺蠈位蠀蟿畏 蟺蟻慰蟽萎位蠅蟽畏 苇蟿蟽喂 蠋蟽蟿蔚 谓伪 未喂伪蟽魏蔚未维蟽蔚喂 慰 委未喂慰蟼 - 尾伪蟽喂魏萎 伪蟻蠂萎 蟿蠅谓 未畏渭喂慰蠀蟻纬蠋谓 Oulipo - 伪位位维 魏伪喂 谓伪 "蟿伪位伪喂蟺蠅蟻萎蟽蔚喂" 蟽蟿慰 未喂畏谓蔚魏苇蟼 蠈位慰蠀蟼 蟿慰蠀蟼 蔚蟺委未慰尉慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟺慰蠀 胃伪 胃蔚位萎蟽慰蠀谓 谓伪 伪谓伪渭蔚蟿蟻畏胃慰蠉谓 渭蔚 蟿慰 未畏渭喂慰蠉蟻纬畏渭维 蟿慰蠀. 螣 螤蔚蟻苇魏 魏伪蟿维蠁蔚蟻蔚 谓伪 蠂蠅蟻苇蟽蔚喂 蟽蠂蔚未蠈谓 蟿伪 蟺维谓蟿伪 渭苇蟽伪 蟽蟿慰 尾喂尾位委慰 蟿慰蠀. 螠蠉胃慰蠀蟼, 胃蟻蠉位慰蠀蟼, 喂蟽蟿慰蟻喂魏维 蟽蟿慰喂蠂蔚委伪, 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 伪谓伪蠁慰蟻苇蟼 蠂蠅蟻委蟼 谓伪 尉蔚蠂谓维蔚喂 谓伪 魏位蔚委蟽蔚喂 蟿慰 渭维蟿喂 蟽蔚 蟽蠀纬纬蟻伪蠁蔚委蟼 蟺慰蠀 蟿慰谓 蔚蟺畏蟻苇伪蟽伪谓.
螚 蟺慰位蠀魏伪蟿慰喂魏委伪 蟿畏蟼 慰未慰蠉 危喂渭蠈谓-螝蟻蠀渭蟺蔚位位喂苇 11 蟺伪蟻慰蠀蟽喂维味蔚蟿伪喂 蟽蟿伪 渭维蟿喂伪 渭伪蟼 渭蔚 苇谓伪谓 蟿蟻蠈蟺慰 渭慰谓伪未喂魏蠈. 螠伪胃伪委谓慰蠀渭蔚 蟿畏谓 喂蟽蟿慰蟻委伪 魏维胃蔚 苇谓慰喂魏慰蠀 魏伪喂 蔚谓蠋 蟺伪蟻维位位畏位伪 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺蔚蟻喂纬蟻维蠁蔚喂 渭蔚 蔚魏谓蔚蠀蟻喂蟽蟿喂魏萎 位蔚蟺蟿慰渭苇蟻蔚喂伪 魏维胃蔚 伪谓蟿喂魏蔚委渭蔚谓慰 (魏维未蟻伪, 魏慰蠉蟺蔚蟼, 谓慰渭委蟽渭伪蟿伪, 尾喂尾位委伪 魏位蟺) 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼. 螌蟽慰 畏 喂蟽蟿慰蟻委伪 蟺蟻慰蠂蠅蟻维蔚喂 蟿蠈蟽慰 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 纬喂伪 蟿慰 魏维胃蔚 蟿喂 未喂伪尾维味慰蠀渭蔚. 螣 螤蔚蟻苇魏 渭蔚 伪蠀蟿蠈谓 蟿慰谓 蟿蟻蠈蟺慰 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 蔚谓蟿蠈蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蠂蠅蟻委蟼 蠈渭蠅蟼 谓伪 渭伪蟼 伪蠁萎蟽蔚喂 谓伪 位蠉蟽慰蠀渭蔚 蟿慰谓 纬蟻委蠁慰!
桅蠀蟽喂魏维, 蠀蟺维蟻蠂蔚喂 渭喂伪 蠀蟺慰蟿蠀蟺蠋未畏蟼 尾伪蟽喂魏萎 喂蟽蟿慰蟻委伪, 蠈蟺慰蠀 慰 蔚魏魏蔚谓蟿蟻喂魏蠈蟼 螠蟺维蟻蟿位蔚渭蟺慰蠀胃 苇蠂蔚喂 尾维位蔚喂 蟽伪谓 蟽蟿蠈蠂慰 蟿畏蟼 味蠅萎蟼 蟿慰蠀 谓伪 味蠅纬蟻伪蠁委蟽蔚喂 魏伪喂 伪谓伪蟽蠀谓胃苇蟽蔚喂 渭蔚 蟺伪味位 蠈位伪 渭苇蟻畏 蟺慰蠀 蔚委蠂蔚 蔚蟺喂蟽魏蔚蠁蟿蔚委 伪谓维 蟿慰谓 魏蠈蟽渭慰 魏伪喂 蔚谓 蟿苇位蔚喂 谓伪 蟿伪 魏伪蟿伪蟽蟿蟻苇蠄蔚喂 (!), 蟿畏谓 慰蟺慰委伪 蟿畏谓 伪魏慰位慰蠀胃慰蠉谓 未蔚魏维未蔚蟼 维位位蔚蟼 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 喂蟽蟿慰蟻委蔚蟼. 螣喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 未蔚谓 蔚委谓伪喂 伪渭喂纬蠋蟼 位慰纬慰蟿蔚蠂谓喂魏慰委, 蟽蟿蔚蟻慰蠉谓蟿伪喂 尾维胃慰蠀蟼 魏维蟿喂 蟺慰蠀 委蟽蠅蟼 蟽魏蠈蟺喂渭伪 蔚蟺蔚未委蠅尉蔚 慰 螕维位位慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 蠅蟼 渭喂伪 伪位位畏纬慰蟻委伪 蟺蟻慰蟼 蟿慰 蟺伪蟻维未慰尉慰 蟿畏蟼 委未喂伪蟼 渭伪蟼 蟿畏蟼 味蠅萎蟼.
螤蟻慰蟽蠅蟺喂魏维 苇蠁蟿伪蟽伪 蠅蟼 蟿慰 蟿苇位慰蟼 蟿慰蠀 纬蟻委蠁慰蠀 魏伪喂 渭蟺慰蟻蠋 谓伪 蟺蠅 蠈蟿喂 萎蟿伪谓 伪蟻魏蔚蟿维 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 伪谓伪纬谓蠅蟽蟿喂魏萎 蔚渭蟺蔚喂蟻委伪. 螤伪蟻' 蠈位伪 伪蠀蟿维 蠀蟺萎蟻尉伪谓 蟽蟿喂纬渭苇蟼 蟺慰蠀 未喂维尾伪味伪 渭畏蠂伪谓喂魏维 蟿喂蟼 伪蟿蔚位蔚委蠅蟿蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 伪谓蟿喂魏蔚喂渭苇谓蠅谓 蔚谓蠋 未蔚谓 苇位蔚喂蟺伪谓 蟽蟿喂纬渭苇蟼 蟺慰蠀 魏慰喂蟿慰蠉蟽伪 蟺蔚蟻委蔚蟻纬伪 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪 渭苇蟽伪 蟽蟿慰 蟽蟺委蟿喂 渭慰蠀! 螝伪蟿伪位伪尾伪委谓蠅 蠈蟿喂 螤蔚蟻苇魏 萎蟿伪谓 蟺慰位蠀渭伪胃萎蟼 魏伪喂 渭蔚 苇谓伪 蔚谓蟿蔚位蠋蟼 渭蔚蟿伪渭慰谓蟿苇蟻谓慰 蟽蟿蠀位 蟺蟻慰蟽蟺维胃畏蟽蔚 谓伪 蠁蟿喂维尉蔚喂 苇谓伪 渭慰谓伪未喂魏蠈 尾喂尾位委慰, 蟿慰 慰蟺慰委慰 渭蔚谓 胃伪蠉渭伪蟽伪 伪位位维 未蔚谓 渭蟺慰蟻蠋 谓伪 蟺蠅 蠈蟿喂 位慰纬慰蟿蔚蠂谓喂魏维 - 渭蔚 蟿畏谓 魏位伪蟽喂魏萎 苇谓谓慰喂伪 蟿慰蠀 蠈蟻慰蠀 - 渭蔚 蟽蠀纬魏位蠈谓喂蟽蔚. 危蠀谓 蟿慰喂蟼 维位位慰喂蟼 蟿伪 尾喂尾位委伪 渭蔚 蟺慰位位苇蟼 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 喂蟽蟿慰蟻委蔚蟼 蠈蟺蠅蟼 韦慰 蠂蔚喂蟻蠈纬蟻伪蠁慰 蟿畏蟼 危伪蟻伪纬蠈蟽伪 魏伪喂 慰 螠苇位渭慰胃 渭蔚 伪蠁萎谓慰蠀谓 魏维蟺蠅蟼 伪未喂维蠁慰蟻慰 蟽蟿慰 蟿苇位慰蟼 魏伪喂 魏蠀蟻委蠅蟼 伪蟺慰蟽蟿伪蟽喂慰蟺慰喂畏渭苇谓慰.
螘谓 蟿苇位蔚喂 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 胃伪 蟿慰 蟺蟻蠈蟿蔚喂谓伪 蟽蔚 蠈位慰蠀蟼 蟿慰蠀蟼 尾喂尾位喂蠈蠁喂位慰蠀蟼 蠂蠅蟻委蟼 未喂蟽蟿伪纬渭蠈. 螘委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰蠀 伪魏蠈渭伪 魏喂 伪谓 未蔚谓 蟿慰 伪纬伪蟺萎蟽蔚喂蟼 蟽蔚 魏维谓蔚喂 谓伪 蟽蟿苇魏蔚蟽伪喂 伪蟺苇谓伪谓蟿喂 蟽蟿慰 蟽蠀纬纬蟻伪蠁苇伪 渭蔚 蟽蔚尾伪蟽渭蠈 魏伪喂 胃伪蠀渭伪蟽渭蠈 魏伪喂 委蟽蠅蟼 谓伪 伪谓伪蟻蠅蟿畏胃蔚委蟼 伪谓 畏 味蠅萎 渭伪蟼 蔚委谓伪喂 苇谓伪 蟿蔚蟻维蟽蟿喂慰 蟺伪味位 蟽伪谓 伪蠀蟿蠈 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 蟿畏蟼 慰未慰蠉 危喂渭蠈谓-螝蟻蠀渭蟺蔚位位喂苇 11...
March 13, 2016
Recommended for: Readers looking for something 'DIFFERENT'.
Georges Perce brought his multifaceted* talent to this amazing book Life A User鈥檚 Manual . Nine years in the making, it won him the Prix M茅dicis & a solid international credential.
An offbeat, quirky tale, its cumulative effect is staggering! Approach its playful inventiveness appreciatively & it'll prove to be a rewarding read. Feel bogged down by its endless lists of objects & paraphernalia, and you won't make much headway.
An Oulipian Marvel鈥� Perec has created here an intriguing puzzle鈥� written under , it's a fitting tribute to Raymond Queneau, the grand master of the Oulipian school of writing.
From the wiki :
"Perec also wrote Life A User's Manual using the Knight's Tour method of construction. The book is set in a fictional Parisian block of flats, where Perec devises the elevation of the building as a 10脳10 grid: 10 storeys, including basements and attics and 10 rooms across, including 2 for the stairwell. Each room is assigned to a chapter, and the order of the chapters is given by the knight's moves on the grid."
Here's a visual of the 42 constraints'
The Architext* 鈥� While a knight's tour is a solitary game, the art of jigsaw puzzling is not! The latter calls for an active author-reader relationship鈥搕he epigraph taken from Jules Verne, says: "Look with all your eyes, look", 'cause "every move the puzzler makes, the puzzle-maker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other."
"What makes LAUM an exemplary architext is "its almost complete interpenetration of theme and structure, so that to describe one is to describe the other", the novel is "set" in an apartment building on Rue Simon-Crubellier (but as we read on, we realise) that the book is the apartment building itself. According to Perec, the novel was partly inspired by a Saul Steinberg drawing of a New York rooming house with its facade removed (...), Perec writes, the "mere inventory鈥� and it could never be exhaustive鈥搊f the items of furniture and the actions represented has something truly vertiginous about it" (...) (The map provided in the book) obscures as much as it reveals,for its erasure of the wall divisions within each apartment belies the fact that the building has a total of hundred rooms. Its elongated, rectangular form also disguises another crucial aspect of the book's architecture: when made square and superimposed upon the rectilinear grid of an architectural floor plan, Perec's original plan begins to resemble an enlarged ten-by-ten chessboard.(...)While the knight's tour is mapped out for the reader(...) each room visited can be placed, like pieces in a jigsaw puzzle, back within the frame of the building's architectural floor plan."
The Lives of Others :
Perec satisfies the voyeur in us: we are always interested in the lives of others. LAUM is constructed as a huge diorama, giving us a panoramic view of the lives of all the residents of 11 Rue Simon-Crubellier:
"Sometimes Val猫ne had the feeling that time had been stopped, suspended, frozen around he didn鈥檛 know what expectation. The very idea of the picture he planned to do and whose laid-out, broken-up images had begun to haunt every second of his life, furnishing his dreams, squeezing his memories, the very idea of this shattered building laying bare the cracks of its past, the crumbling of its present, this unordered amassing of stories grandiose and trivial, frivolous and pathetic, gave him the impression of a grotesque mausoleum raised in the memory of companions petrified in terminal postures as insignificant in their solemnity as they were in their ordinariness, as if he had wanted both to warn of and to delay these slow or quick deaths which seemed to be engulfing the entire building storey by storey."
The plot covers one day, nay, a single moment, in the lives of these people, frozen in time 鈥搒omething momentous has occured here but we don't know that yet. The fl芒neur-like narrator takes us on a tour of this building, room by room, place by place, using a knight's move on the chessboard. Perec brilliantly employs flashback & flash-forwarding techniques to cover in a single day, hundred years of history! 鈥� in the manner of Arabian Nights & Ovid's Metamorphoses, stories lead to stories & even more stories, thus effectively overcoming constraints of time & place. Lives intersect, sometimes casually, sometimes to damaging/lasting effect. The tenants come from different national/ethnic & socio-economic groups鈥� the house thus becomes a microcosm of the world-at-large.
Objects, objects everywhere, not a clue to be seen!
These objectives are achieved through a perusal of objects & the characters' personal histories. The objects provide the setting & help us understand the kinds of people who live/lived there. In a way, imbued with history & emotions, they seem to have assumed a life of their own, & like the entertainment cartridge in Infinite Jest, the puzzle/mystery in Life A User's Manual, becomes a mad chase towards various objects with which this book's universe is cluttered鈥� but just as IJ is infinitely more than the search for that elusive object, LAUM too is ultimately a human drama played out on a vast scale. Sometimes, the objects are like bread crumbs leaving a trail ( which might as well turn out to be a false one!)鈥� in order to arrive at the heart of the story, ultimately, you'll have to look beyond them.
A Faustian Bargain 鈥� Perec could've called Bartlebooth, Ahab, but that would've been too obvious- he settled for Bartle(by)booth. Most of the characters here are having projects of one kind or another & eventually they all end in failures.
The defeats are crushing, the victories small & ephemeral鈥搒o much so, that one is tempted to call it Life A Loser's Manual !
"There is a lot of loss in this book - lost love, lost fortunes, lost jobs, lost lives, lost hope - and what is probably the biggest loss in the book, the loss of time and evidence of existence represented by Bartlebooth's project (...) France, along with most of Europe, was torn asunder by that (world) war, split between the resistors, the collaborators, and the the not-sure-what-to-dos. In 1975, these survivors and the effects of those years were still fresh enough to account for the atmosphere found at 11 Rue Simon-Crubellier. (...)And so there is a certain pall that hung over the France of those years, and though Perec might not emphasize it too directly, there's no way his work or his characters can escape the reality of those times.
There is a gravity in Perec that comes from a deep and heavy place. I don't want to project too much, but the general scarcity of joyous and humorous moments and silver linings and so on must have history as its source.
In my edition, there is a short disclaimer from Perec right after the Contents that reads:
"Friendship, history, and literature have supplied me with some of the characters of this book. All other resemblances to living persons or to people having lived in reality or fiction can only be coincidental."
Normally, I would dismiss this as a legal requirement of the business world, but in this case, I read it as Perec acknowledging that this fiction is based on lives lived and events lived through - the good, bad, and mundane days of each of these individuals making up the mini-cosmos of the apartment building. Each of these individual stories could have taken place in any time and place - adjusted for cultural details, of course - making this more and more of a "User's Manual" for human life as each chapter rolls by.*"
Like Gray's Elegy Written in a Country Churchyard, Perec has also immortalised in words, the teeming common life鈥� their mundane, everyday concerns, their joys & sorrows, "absence of completeness, absence of perfection". And like Proust, Perec too has immersed himself in retrieving memories:
"He tried to resuscitate those imperceptible details which over the course of fifty-five years had woven the life of this house and which the years had unpicked one by one: the impeccably polished linoleum floors on which you were only allowed to walk in felt undershoes, the oiled canvas tablecloths with red and green stripes on which mother and daughter shelled peas; the dishstands that clipped together, the white porcelain counterpoise light that you could flick back up with one finger at the end of dinner; evenings by the wireless set, with the man in a flannel jacket, the woman in a flowery apron, and the slumbering cat rolled up in a ball by the fireplace; children in clogs going down for the milk with dented cans; the big old wood-stoves of which you would collect up the ashes in spread-out sheets of old newspaper 鈥here were they now, the Van Houten cocoa tins, the Banania cartons with the laughing infantryman, the turned-wood boxes of Madeleine biscuits from Commercy? "
5 shining stars for the genius, the madness, and the chutzpah! Ultimately, it's about life in all its variegated forms. A sadness permeates this celebration of life, still it's a celebration, let there be no doubt about that. A series of parables that teach us to laugh through our tears, for such is life!
References:
*1) "He composed acrostics, anagrams, autobiography, criticism, crosswords, descriptions of dreams, film scripts, heterograms, lipograms, memories, palindromes, plays, poetry, radio plays, recipes, riddles, stories short and long, travel notes, univocalics, and, of course, novels."( From the author intro)
*2) Constructing the Architext: Georges Perec's Life,A User's Manual by Peta Mitchell.
*3) This review is dedicated to Jim 鈥� at Brain Pain, for the invaluable insights he brought to this read.
September 1, 2022
鈥淣o son los elementos los que determinan el conjunto, sino el conjunto el que determina los elementos. Aisladamente, una pieza de un puzzle no quiere decir nada; es tan s贸lo pregunta imposible, reto opaco; pero no bien logramos conectarla con una de sus vecinas, desaparece, deja de existir como pieza: la intensa dificultad que precedi贸 aquel acercamiento, no s贸lo no tiene ya raz贸n de ser, sino que parece no haberla tenido nunca, hasta tal punto se ha hecho evidencia: las dos piezas milagrosamente reunidas ya s贸lo son una, a su vez fuente de error, de duda, de desaz贸n y de espera鈥�
鈥淟a vida instrucciones de uso鈥� es uno de los libros m谩s ambiciosos y excepcionales del siglo XX.
Escrito por este enorme autor franc茅s que se llam贸 Georges Perec entre 1969 y 1978, a帽o en que fue publicado, se sit煤a en el mismo pedestal que otras novelas 煤nicas en el mundo de la literatura, novela enciclop茅dica por la gran cantidad de datos e informaci贸n que posee, y construida a imagen y semejanza de un puzle o rompecabezas ya que su estructura se aparta de toda esquematizaci贸n estructural, como 鈥淩ayuela鈥� de Julio Cort谩zar, mientras que por otro lado es absolutamente vanguardista y transgresora como el 鈥淯lises鈥� de James Joyce, con la que posee varios puntos en com煤n.
La idea de Perec de narrar sobre los personajes que viven o vivieron en las habitaciones de una enorme casa es decorada por toda clase de situaciones, descripciones y saltos temporales como el autor quiere introducir.
A su vez, el narrador omnisciente nos cuenta todo lo que ocurre en un solo d铆a, el 23 de junio de 1975, antes de cumplirse las ocho de la tarde (tambi茅n en relaci贸n con 鈥淯lises鈥�, que transcurre el 16 de junio de 1904).
Para complejizar a煤n m谩s la lectura de la novela, que no respeta las normalidades usualmente impuestas para la construcci贸n narrativa, Perec explica lo siguiente:
鈥淢e imagino un inmueble parisiense cuya fachada ha desaparecido, de modo que, desde el entresuelo a las buhardillas, todas las habitaciones que se encuentran delante sean visibles instant谩nea y simult谩neamente. La novela 鈥攃uyo t铆tulo es La vida instrucciones de uso鈥� se limita a describir las habitaciones puestas al descubierto y las actividades que en ellas se desarrollan, todo ello seg煤n procesos formales poligraf铆a del caballo (y lo que es m谩s, adaptada (la novela cuenta con 99 cap铆tulos) a un tablero 100 casillas (10脳10), pseudo-quenina de orden 10, bi-cuadrado latino ortogonal de orden 10 (aquel que dijo Euler que no exist铆a, pero que fue descubierto en 1960 por Bose, Parker y Shrikande.鈥�
M谩s genial, imposible. Lo que Perec logra es salir de toda convencionalidad, desestructurando todo lo impuesto por los c谩nones literarios (renuevo la conexi贸n con Joyce y Cort谩zar) para liberar al lector, entre otras cosas, de atarse a un argumento.
La finalidad del autor es la ilustraci贸n, utilizando t茅cnicas de enumeraci贸n y repetici贸n de hechos hist贸ricos, datos edilicios, descripci贸n de cuadros, ambientaciones e interiores.
Lo que el lector recibe es un c煤mulo interminable de informaci贸n que no est谩 puesta al azar, sino que intenta con esto generar una situaci贸n de cooperaci贸n de lectura entre ambas partes, autor y lector con el texto como nexo excluyente.
Tal vez, para los lectores que est茅n habituados a otro tipo de lecturas, este no sea un libro de su agrado. Probablemente les resulte un tanto tedioso y por momentos interminable.
De lo que s铆 podemos estar de acuerdo es de la impresionante cantidad de informaci贸n que Perec posee, la cual llega a transformarse en un pozo casi inagotable.
La novela tambi茅n puede leerse, a trav茅s de sus innumerables personajes, como el reflejo o testimonio de la sociedad francesa del siglo XX o como un retrato costumbrista de la burgues铆a de ese pa铆s.
A la lectura de 鈥淟a vida instrucciones de uso鈥� se la aborda con denodado entusiasmo o entendible escepticismo, pero nunca con indiferencia. Cada habitaci贸n, cada frase y cada p谩gina ir谩n forjando el veredicto del lector.
S贸lo hay que intentarlo.
鈥淟a vida instrucciones de uso鈥� es uno de los libros m谩s ambiciosos y excepcionales del siglo XX.
Escrito por este enorme autor franc茅s que se llam贸 Georges Perec entre 1969 y 1978, a帽o en que fue publicado, se sit煤a en el mismo pedestal que otras novelas 煤nicas en el mundo de la literatura, novela enciclop茅dica por la gran cantidad de datos e informaci贸n que posee, y construida a imagen y semejanza de un puzle o rompecabezas ya que su estructura se aparta de toda esquematizaci贸n estructural, como 鈥淩ayuela鈥� de Julio Cort谩zar, mientras que por otro lado es absolutamente vanguardista y transgresora como el 鈥淯lises鈥� de James Joyce, con la que posee varios puntos en com煤n.
La idea de Perec de narrar sobre los personajes que viven o vivieron en las habitaciones de una enorme casa es decorada por toda clase de situaciones, descripciones y saltos temporales como el autor quiere introducir.
A su vez, el narrador omnisciente nos cuenta todo lo que ocurre en un solo d铆a, el 23 de junio de 1975, antes de cumplirse las ocho de la tarde (tambi茅n en relaci贸n con 鈥淯lises鈥�, que transcurre el 16 de junio de 1904).
Para complejizar a煤n m谩s la lectura de la novela, que no respeta las normalidades usualmente impuestas para la construcci贸n narrativa, Perec explica lo siguiente:
鈥淢e imagino un inmueble parisiense cuya fachada ha desaparecido, de modo que, desde el entresuelo a las buhardillas, todas las habitaciones que se encuentran delante sean visibles instant谩nea y simult谩neamente. La novela 鈥攃uyo t铆tulo es La vida instrucciones de uso鈥� se limita a describir las habitaciones puestas al descubierto y las actividades que en ellas se desarrollan, todo ello seg煤n procesos formales poligraf铆a del caballo (y lo que es m谩s, adaptada (la novela cuenta con 99 cap铆tulos) a un tablero 100 casillas (10脳10), pseudo-quenina de orden 10, bi-cuadrado latino ortogonal de orden 10 (aquel que dijo Euler que no exist铆a, pero que fue descubierto en 1960 por Bose, Parker y Shrikande.鈥�
M谩s genial, imposible. Lo que Perec logra es salir de toda convencionalidad, desestructurando todo lo impuesto por los c谩nones literarios (renuevo la conexi贸n con Joyce y Cort谩zar) para liberar al lector, entre otras cosas, de atarse a un argumento.
La finalidad del autor es la ilustraci贸n, utilizando t茅cnicas de enumeraci贸n y repetici贸n de hechos hist贸ricos, datos edilicios, descripci贸n de cuadros, ambientaciones e interiores.
Lo que el lector recibe es un c煤mulo interminable de informaci贸n que no est谩 puesta al azar, sino que intenta con esto generar una situaci贸n de cooperaci贸n de lectura entre ambas partes, autor y lector con el texto como nexo excluyente.
Tal vez, para los lectores que est茅n habituados a otro tipo de lecturas, este no sea un libro de su agrado. Probablemente les resulte un tanto tedioso y por momentos interminable.
De lo que s铆 podemos estar de acuerdo es de la impresionante cantidad de informaci贸n que Perec posee, la cual llega a transformarse en un pozo casi inagotable.
La novela tambi茅n puede leerse, a trav茅s de sus innumerables personajes, como el reflejo o testimonio de la sociedad francesa del siglo XX o como un retrato costumbrista de la burgues铆a de ese pa铆s.
A la lectura de 鈥淟a vida instrucciones de uso鈥� se la aborda con denodado entusiasmo o entendible escepticismo, pero nunca con indiferencia. Cada habitaci贸n, cada frase y cada p谩gina ir谩n forjando el veredicto del lector.
S贸lo hay que intentarlo.
August 18, 2017
Life: A User's Manual
I seek the eternal and the ephemeral
Having just closed the book, I feel a bunch of things. Perec captures a certain moment in time in the lives of the residents of a certain building and gives us the most detailed description of this snapshot. Lists upon lists and descriptions upon descriptions of apartments, rooms, people, paintings and objects that compose this moment which, as is the case with all moments, doesn't consist only of present elements, but also ones that belong to the past. So, what this book really is, is a kaleidoscope of every possible thing, every possible story that is part of the snapshot.
It's not a book to pass the time with. It demands the reader's full attention and devotion. Going back and forth through the pages in order to not lose grip of the multitude of names and storylines, I felt I was having the fullest reading experience ever imaginable. Even so, I think it's impossible for one to discover all the "surprises" (see easter eggs) Perec has hidden in his text and if it hadn't been for Achilleas Kyriakidis' afterword -whose work in translating the book is a major accomplishment in itself-, I would have missed even more of them.
I don't think words can do this book justice. It's a book one has to read in order for one to understand its uniqueness and majesty. Trying to talk about it is like a blind man trying to solve a jigsaw puzzle. Nihilistic and optimistic in its own way, Life: A User's Manual is likely to stay in your mind for a long time. Italo Calvino called it the final major event in world literature. I don't know about it being the final, but it's certainly one of the most significant works of literature ever created.
Important Note: Best read with a cat on your lap or at least somewhere nearby.
I seek the eternal and the ephemeral
Having just closed the book, I feel a bunch of things. Perec captures a certain moment in time in the lives of the residents of a certain building and gives us the most detailed description of this snapshot. Lists upon lists and descriptions upon descriptions of apartments, rooms, people, paintings and objects that compose this moment which, as is the case with all moments, doesn't consist only of present elements, but also ones that belong to the past. So, what this book really is, is a kaleidoscope of every possible thing, every possible story that is part of the snapshot.
It's not a book to pass the time with. It demands the reader's full attention and devotion. Going back and forth through the pages in order to not lose grip of the multitude of names and storylines, I felt I was having the fullest reading experience ever imaginable. Even so, I think it's impossible for one to discover all the "surprises" (see easter eggs) Perec has hidden in his text and if it hadn't been for Achilleas Kyriakidis' afterword -whose work in translating the book is a major accomplishment in itself-, I would have missed even more of them.
I don't think words can do this book justice. It's a book one has to read in order for one to understand its uniqueness and majesty. Trying to talk about it is like a blind man trying to solve a jigsaw puzzle. Nihilistic and optimistic in its own way, Life: A User's Manual is likely to stay in your mind for a long time. Italo Calvino called it the final major event in world literature. I don't know about it being the final, but it's certainly one of the most significant works of literature ever created.
Important Note: Best read with a cat on your lap or at least somewhere nearby.
January 22, 2020
1畏 未畏渭慰蟽委蔚蠀蟽畏, Book Press:
螙蠅蟻味 螤蔚蟻苇魏: 螣未畏纬蠈蟼 伪谓维纬谓蠅蟽畏蟼 蔚谓蠈蟼 蟺伪味位
违蟺维蟻蠂蔚喂 渭喂伪 魏蟻蠀蠁萎 味蠅萎 蟽蟿伪 维蠄蠀蠂伪 伪谓蟿喂魏蔚委渭蔚谓伪, 蟽蟿伪 蟺蟻维纬渭伪蟿伪 蟺慰蠀 渭伪蟼 蟺蔚蟻喂蟽蟿慰喂蠂委味慰蠀谓 魏伪喂 渭伪蟼 蟽蠀谓慰未蔚蠉慰蠀谓 伪蟺蠈 蟿畏谓 魏慰蠉谓喂伪 蟽蟿慰谓 蟿维蠁慰. 韦慰 伪谓伪魏维位蠀蠄蔚 蟽蠀谓蟿蔚蟿蟻喂渭渭苇谓慰蟼 慰 螒喂谓蔚委伪蟼 蠈蟿伪谓 蔚委未蔚 蟿伪 伪谓未蟻伪纬伪胃萎渭伪蟿维 蟿慰蠀 魏伪喂 蟿慰蠀蟼 伪纬伪蟺畏渭苇谓慰蠀蟼 蟽蠀谓蟿蟻蠈蠁慰蠀蟼 蟿慰蠀, 谓蔚魏蟻慰蠉蟼 蟺位苇慰谓, 蠅蟼 蟺伪蟻伪蟽蟿维蟽蔚喂蟼 蟿慰喂蠂慰纬蟻伪蠁委伪蟼, 蠄蔚位位委味慰谓蟿伪蟼: 芦Sunt lacrimae rerum鈥β� (芦违蟺维蟻蠂慰蠀谓 未维魏蟻蠀伪 纬喂伪 蟿伪 蟺蟻维纬渭伪蟿伪鈥β�). 螝伪喂 蟿伪 未维魏蟻蠀伪 蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓 蔚委谓伪喂 蔚尉委蟽慰蠀 蟽畏渭伪谓蟿喂魏维 渭蔚 蔚魏蔚委谓伪 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓, 纬喂伪蟿委 蟿蔚位喂魏维 苇蠂慰蠀谓 蔚蟺蔚谓未蠀胃蔚委 渭蔚 蟿慰 蟽蠉谓慰位慰 蟿蠅谓 蟺蟻慰蟽未慰魏喂蠋谓 魏伪喂 蟿蠅谓 未喂伪蠄蔚蠉蟽蔚蠋谓 渭伪蟼.
螝维胃蔚 蠁慰蟻维 蟺慰蠀 蟽蟿蟻苇蠁慰蠀渭蔚 蟿慰 尾位苇渭渭伪 蟽蔚 苇谓伪 伪谓蟿喂魏蔚委渭蔚谓慰 蟺慰蠀 未蔚谓 蔚委谓伪喂 伪蟺位蠋蟼 位蔚喂蟿慰蠀蟻纬喂魏蠈, 伪位位维 蠁苇蟻蔚喂 蔚谓蟿蠈蟼 蟿慰蠀 魏维蟺慰喂慰 魏慰渭渭维蟿喂 蟿畏蟼 蟺蟻慰蟽蠅蟺喂魏萎蟼 渭伪蟼 喂蟽蟿慰蟻委伪蟼, 苇蟽蟿蠅 渭喂伪 伪谓维渭谓畏蟽畏, 蟿慰 伪谓蟿喂魏蔚委渭蔚谓慰 伪蠀蟿蠈 伪蟺慰魏蟿维 蟿畏 未喂魏萎 蟿慰蠀 蠀蟺蠈蟽蟿伪蟽畏, 蟿畏 未喂魏萎 蟿慰蠀 味蠅萎, 蟺慰蠀 蔚委谓伪喂 畏 未喂魏萎 渭伪蟼. 螛伪 渭蟺慰蟻慰蠉蟽蔚, 胃蔚蠅蟻畏蟿喂魏维 蟺维谓蟿伪, 谓伪 蟺蔚喂 魏维蟺慰喂慰蟼 蟺蠅蟼 蟿慰 蟽蠉谓慰位慰 渭喂伪 味蠅萎蟼 蔚谓蠀蟺维蟻蠂蔚喂 魏伪喂 蟽蟿慰 蟽蠉谓慰位慰 蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓 蟺慰蠀 蟿畏 蟽蠀谓慰未蔚蠉慰蠀谓, 蔚谓蟽蠅渭伪蟿蠋谓蔚蟿伪喂 蟽蔚 伪蠀蟿维, 蠋蟽蟺慰蠀 畏 蟺伪蟻慰蠀蟽委伪 蟿慰蠀蟼 谓伪 蔚委谓伪喂 伪尉蔚未喂维位蠀蟿畏 伪蟺蠈 蔚魏蔚委谓畏 蟿畏蟼 蠁蠀蟽喂魏萎蟼 蠉蟺伪蟻尉畏蟼. 螒谓 伪蠀蟿蠈蟼 慰 魏维蟺慰喂慰蟼 蔚委谓伪喂 位慰纬慰蟿苇蠂谓畏蟼 蟺伪喂纬谓喂蠋未畏蟼, 渭蔚 苇蠁蔚蟽畏 蟽蟿慰 喂位伪蟻蠈 魏伪喂 蟽蟿慰 蟿蟻伪纬喂魏蠈, 蟽蔚 蠈,蟿喂 未畏位伪未萎 蠀蠁伪委谓蔚喂 蟿慰谓 喂蟽蟿蠈 蟿畏蟼 蟿苇蠂谓畏蟼 (魏伪喂 蟿畏蟼 味蠅萎蟼 蟺慰蠀 蟿畏 渭喂渭蔚委蟿伪喂), 蟿蠈蟿蔚 伪蠀蟿萎 畏 蟽蠂苇蟽畏 蟺蟻慰蟽蠋蟺蠅谓 魏伪喂 蟺蟻伪纬渭维蟿蠅谓 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 伪蟺慰蟿蔚位苇蟽蔚喂 苇谓伪蠀蟽渭伪 魏伪喂 伪委蟿喂慰 伪蠁萎纬畏蟽畏蟼 慰蠀蟽喂蠅未蠋蟼 蟺蔚喂蟻伪渭伪蟿喂魏萎蟼.
螣 螤蔚蟻苇魏 蠀蟺萎蟻尉蔚 苇谓伪蟼 蟿苇蟿慰喂慰蠀 蔚委未慰蠀蟼 蟽蠀纬纬蟻伪蠁苇伪蟼. 螆谓伪蟼 位维蟿蟻畏蟼 蟿慰蠀 蟺伪喂蠂谓喂未喂慰蠉 蟿蠅谓 位苇尉蔚蠅谓, 苇谓伪蟼 纬畏蟿蔚蠀蟿萎蟼 蟿慰蠀 位蠈纬慰蠀, 苇谓伪蟼 蟺慰位蠀蟺蟻维纬渭蠅谓 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟺蟻伪纬渭伪蟿喂蟽蟿萎蟼 (渭蔚 蟿伪 蟺蟻维纬渭伪蟿伪 魏伪蟿伪纬委谓蔚蟿伪喂, 未蔚谓 蟿慰 魏蟻蠉尾蔚喂). 螕喂鈥� 伪蠀蟿蠈谓, 蟿伪 蟺蟻维纬渭伪蟿伪 苇蠂慰蠀谓 蠀蟺蠈蟽蟿伪蟽畏, 未伪魏蟻蠉味慰蠀谓 魏伪喂 纬蔚位慰蠉谓, 渭伪 蟿慰 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻慰, 蔚纬魏蠀渭慰谓慰蠉谓 魏伪喂 纬蔚谓谓慰尾慰位慰蠉谓 喂蟽蟿慰蟻委蔚蟼, 蠅谓 慰蠀魏 苇蟽蟿喂谓 伪蟻喂胃渭蠈蟼. 螒蠀蟿蠈 未畏位伪未萎 蟺慰蠀 蔚委谓伪喂 畏 慰蠀蟽委伪 蟿畏蟼 蟽蠀纬纬蟻伪蠁萎蟼: 畏 未喂萎纬畏蟽畏 喂蟽蟿慰蟻喂蠋谓, 蠈蠂喂 蟿蠈蟽慰 纬喂伪 蟿慰 胃苇渭伪 蟿慰蠀蟼 (蟽蠀蠂谓蠈蟿蔚蟻伪 伪未喂维蠁慰蟻蔚蟼, 蟺伪蟻维 蟽畏渭伪谓蟿喂魏苇蟼), 伪位位维 纬喂伪 蟿畏谓 蠀蟺苇蟻蟿伪蟿畏 芦苇纬魏伪蠀位慰 蟺蔚蟻喂蟺维胃蔚喂伪禄 蟺慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 畏 委未喂伪 畏 伪蠁萎纬畏蟽畏 (蟿慰 蠁维谓蟿伪蟽渭伪 蟿慰蠀 螠蟺蠈蟻蠂蔚蟼 蔚委谓伪喂 魏伪喂 蟽蟿慰 苇蟻纬慰 伪蠀蟿蠈 蟺伪蟻蠋谓, 蠈蟺蠅蟼 蔚尉维位位慰蠀 魏伪喂 蟽蟿慰谓 螝伪位尾委谓慰).
螣 伪谓伪纬谓蠋蟽蟿畏蟼 蟺慰蠀 胃伪 蟺蟻慰蟽苇位胃蔚喂 蟽蟿慰 魏蔚委渭蔚谓慰 伪蠀蟿蠈 伪谓伪味畏蟿蠋谓蟿伪蟼 蟿慰 慰蠀蟽喂蠋未蔚蟼, 蟿慰 蔚尉伪喂蟻蔚蟿喂魏蠈, 蟿慰 尉蔚蠂蠅蟻喂蟽蟿蠈, 蟿慰 味蠅蟿喂魏蠈 魏.慰.魏. 胃伪 未喂伪蠄蔚蠀蟽蟿蔚委 慰喂魏蟿蟻维 魏伪喂 胃伪 蟺蟻慰蟽蟺蔚蟻维蟽蔚喂. 螖蔚谓 蔚委谓伪喂 蟺蠅蟼 慰喂 蟽蔚位委未蔚蟼 未蔚谓 蟺蔚蟻喂苇蠂慰蠀谓 蟿委蟺慰蟿蔚 蟽畏渭伪谓蟿喂魏蠈, 蟿慰蠀谓伪谓蟿委慰谓, 伪位位维 蠈蟺蠅蟼 蠈位伪 蟽蔚 蟿慰蠉蟿畏 蟿畏 味蠅萎, 蔚委谓伪喂 蟽蟺伪谓委蠅蟼 蔚蠉位慰纬伪, 蟺蟻慰蠁伪谓萎, 蔚蠀魏蠈位蠅蟼 蔚谓谓慰慰蠉渭蔚谓伪. 螒魏蠈渭伪 魏伪位蠉蟿蔚蟻伪, 蠀蠁苇蟻蟺慰蠀谓 魏蟻蠀蠁委蠅蟼, 伪魏蟻慰蟺伪蟿蠋谓蟿伪蟼 渭蠈位喂蟼 蔚蟺维谓蠅 伪蟺蠈 蟿畏谓 蔚蟺喂蠁维谓蔚喂伪 蟿蠅谓 蟺蟻慰蟿维蟽蔚蠅谓, 魏慰蟻蠀蠁苇蟼 蟺伪纬蠈尾慰蠀谓慰蠀, 蟺伪谓苇蟿慰喂渭蔚蟼 蠈渭蠅蟼 谓伪 尾蠀胃委蟽慰蠀谓 蟿慰谓 韦喂蟿伪谓喂魏蠈 蟿慰蠀 伪蟻纬蠈蟽蠂慰位慰蠀 伪谓伪纬谓蠋蟽蟿畏. 螣 蟺伪喂纬谓喂蠋未畏蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 苇蠂蔚喂 魏蟻蠉蠄蔚喂 渭蔚 渭蔚纬维位畏 蟿苇蠂谓畏 蟿慰 渭蔚委味慰谓 蟽蟿慰 苇位伪蟽蟽慰谓, 伪蠁萎谓慰谓蟿伪蟼 蟺委蟽蠅 蟿慰蠀 苇谓伪谓 蠂维蟻蟿畏 胃畏蟽伪蠀蟻慰蠉, 伪蟿蔚位萎 渭蔚谓 蠅蟼 蟻蔚伪位喂蟽蟿喂魏萎 蟺蟻维尉畏, 蔚谓蟿蔚位萎 未蔚 蠅蟼 魏伪位位喂蟿蔚蠂谓喂魏萎 未畏渭喂慰蠀蟻纬委伪.
螖蔚谓 蔚委谓伪喂 未喂蠈位慰蠀 蟿蠀蠂伪委伪 畏 蔚渭渭慰谓萎 蟿慰蠀 渭蔚 蟿伪 蟺伪味位. 螇未畏 伪蟺蠈 蟿畏谓 伪蟻蠂萎 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿伪 魏慰渭渭维蟿喂伪 蟿慰蠀 蟺伪味位, 蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 蔚谓蠋谓慰谓蟿伪喂, 蟿慰 蟺蠋蟼 魏伪谓苇谓伪 伪蟺蠈 伪蠀蟿维 未蔚谓 蔚委谓伪喂 伪蟺蠈 渭蠈谓慰 蟿慰蠀 蟽畏渭伪谓蟿喂魏蠈 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟿慰 魏伪胃苇谓伪 蔚委谓伪喂. 韦慰 蟺蠋蟼 蟿慰 蔚蟺喂渭苇蟻慰蠀蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 未蠋蟽蔚喂 蟿畏谓 蟿蔚位喂魏萎 蔚喂魏蠈谓伪 蟺伪蟻维 渭蠈谓慰 蠅蟼 伪谓伪蟺蠈蟽蟺伪蟽蟿慰 蟿渭萎渭伪 蟿慰蠀 蠈位慰蠀, 伪位位维 魏伪喂 蟿慰 伪蠀蟿伪蟺蠈未蔚喂魏蟿慰 纬蔚纬慰谓蠈蟼 蠈蟿喂 蟿慰 蟺伪喂蠂谓委未喂 伪蠀蟿蠈 苇蠂蔚喂 蠈蟻慰蠀蟼 魏伪喂 蠈蟻喂伪. 螝伪喂 蟿伪 蠈蟻喂伪 伪蠀蟿维 蟿伪 魏伪胃慰蟻委味蔚喂 慰 螖畏渭喂慰蠀蟻纬蠈蟼 蟿慰蠀 蟺慰蠀 蔚魏 蟿蠅谓 蟺蟻慰蟿苇蟻蠅谓 苇蠂蔚喂 蠂慰蟻慰纬蟻伪蠁萎蟽蔚喂 蟿喂蟼 魏喂谓萎蟽蔚喂蟼, 苇蠂蔚喂 蟺蟻慰魏伪胃慰蟻委蟽蔚喂 蟿慰 伪蟺慰蟿苇位蔚蟽渭伪 鈥� 蠅蟼 蟺伪喂纬谓喂蠋未畏蟼 渭喂魏蟻蠈蟼 胃蔚蠈蟼 未蔚, 蔚喂蟻蠅谓蔚蠉蔚蟿伪喂 维蟽蟺位伪蠂谓伪 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏/蟺伪委魏蟿畏 蟿慰蠀: 芦螘纬蠋 尉苇蟻蠅 蟺慰蠉 魏伪喂 蟺蠋蟼 蟿慰蟺慰胃蔚蟿慰蠉谓蟿伪喂 蟿伪 魏慰渭渭维蟿喂伪, 渭畏谓 尾伪蠀魏伪位委味蔚蟽伪喂 蟺蠅蟼 胃伪 伪谓伪魏伪位蠉蠄蔚喂蟼 蔚未蠋 魏维蟿喂 蟺慰蠀 未蔚谓 苇蠂蠅 蔚魏 蟿蠅谓 蟺蟻慰蟿苇蟻蠅谓 蟺蟻慰蔚蟿慰喂渭维蟽蔚喂!禄.
螝伪喂 蠈渭蠅蟼, 胃伪 蟺蟻慰蟽胃苇蟽蠅 蔚纬蠋, 魏伪委蟿慰喂 蟿慰 蟺伪喂蠂谓委未喂 蔚委谓伪喂 蟽蟿畏渭苇谓慰, 蔚蠀蠁蠀蠋蟼 魏伪喂 蠀蟺慰蠂胃蠈谓喂伪, 慰 伪谓伪纬谓蠋蟽蟿畏蟼 渭蟺慰蟻蔚委 魏伪喂 慰蠁蔚委位蔚喂 谓伪 魏喂谓畏胃蔚委 伪谓蔚谓未慰委伪蟽蟿伪. 螤蟻慰蟽慰蠂萎 蠈渭蠅蟼! 螌蠂喂 纬喂伪 谓伪 蟽蠀纬魏慰位位萎蟽蔚喂 蟿伪 魏慰渭渭维蟿喂伪, 伪蟺慰未蔚蠂蠈渭蔚谓慰蟼 蟿畏谓 蟺蟻蠈魏位畏蟽畏 蟿慰蠀 螤蔚蟻苇魏, 伪位位维 纬喂伪 伪蟺慰位伪蠉蟽蔚喂 蟿慰 魏伪胃苇谓伪 伪蟺蠈 伪蠀蟿维 蠅蟼 苇蠂蔚喂, 蟽蟿蟻蔚蠁蠈渭蔚谓慰蟼 蔚谓维谓蟿喂伪 蟽蟿畏 未喂魏蟿伪蟿慰蟻喂魏萎, 蟺伪谓蟿伪蠂慰蠉 蟺伪蟻慰蠉蟽伪 魏伪喂 谓蟿蔚蟿蔚蟻渭喂谓喂蟽蟿喂魏萎 蟺伪蟻慰蠀蟽委伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪. 螣 伪谓伪纬谓蠋蟽蟿畏蟼 慰蠁蔚委位蔚喂 谓伪 蔚蟺伪谓伪蟽蟿伪蟿萎蟽蔚喂 蔚谓维谓蟿喂伪 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蟿畏蟼 慰位慰魏位畏蟻蠅渭苇谓畏蟼 蔚喂魏蠈谓伪蟼, 蟽蟿蟻苇蠁慰谓蟿伪蟼 蟿畏谓 蟺蟻慰蟽慰蠂萎 蟿慰蠀 蟽蟿慰 蔚蟺喂渭苇蟻慰蠀蟼, 蟽蟿慰 蔚蠀蟿蔚位苇蟼 委蟽蠅蟼, 未喂蠈蟿喂 蔚魏蔚委 魏蟻蠉尾蔚蟿伪喂 畏 渭伪纬蔚委伪 蟿畏蟼 蟿苇蠂谓畏蟼 纬蔚谓喂魏维 魏伪喂 蔚喂未喂魏维, 魏伪喂 苇蟿蟽喂 渭蠈谓慰 苇蠂蔚喂 蟺喂胃伪谓蠈蟿畏蟿伪 谓伪 伪蟺慰位伪蠉蟽蔚喂 蟿慰 尾喂尾位委慰 伪蠀蟿蠈. 韦慰 魏维位位慰蟼 蔚谓慰喂魏蔚委 蟽蟿慰 蔚蟺喂渭苇蟻慰蠀蟼 魏伪喂 蟺慰蟿苇 蟽蟿慰 蠈位慰谓!
螒谓 位蠉蟽蔚喂蟼, 伪谓伪纬谓蠋蟽蟿畏, 蟿慰 蟺伪味位, 蟽蠀位位苇纬慰谓蟿伪蟼 蟿伪 魏慰渭渭维蟿喂伪 魏伪喂 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 谓伪 魏伪蟿伪谓慰萎蟽蔚喂蟼 蟿喂 蟿蔚位喂魏维 萎胃蔚位蔚 谓伪 蟺蔚蟿蠉蠂蔚喂 魏伪喂 谓伪 渭蔚蟿伪未蠋蟽蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼, 胃伪 苇蠂蔚喂蟼 魏蔚蟻未委蟽蔚喂 蟿畏谓 喂魏伪谓慰蟺慰委畏蟽畏 蟿畏蟼 魏伪蟿伪谓蠈畏蟽畏蟼, 伪位位维 胃伪 苇蠂蔚喂蟼 蠂维蟽蔚喂 蟿畏谓 伪蟺蠈位伪蠀蟽畏 蟿畏蟼 伪谓维纬谓蠅蟽畏蟼. 螛伪 谓喂蠋蟽蔚喂蟼 蔚尉蠀蟺谓蠈蟿蔚蟻慰蟼, 伪位位维 胃伪 伪蟺慰蠂蠅蟻萎蟽蔚喂蟼 蠁蟿蠅蠂蠈蟿蔚蟻慰蟼. 螤喂慰 蟽蠀纬魏蔚魏蟻喂渭苇谓伪, 畏 慰蠀蟽委伪 蟿畏蟼 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿苇蠂谓畏蟼 蟽蟿慰 尾喂尾位委慰 伪蠀蟿蠈 未蔚谓 尾蟻委蟽魏蔚蟿伪喂 蟽蟿喂蟼 魏蔚谓蟿蟻喂魏苇蟼 蟿慰蠀 喂未苇蔚蟼, 伪位位维 蟽蟿慰谓 蟿蟻蠈蟺慰 渭蔚 蟿慰谓 慰蟺慰委慰 慰 螤蔚蟻苇魏 蠂蔚喂蟻委味蔚蟿伪喂 蟿喂蟼 渭蠉蟻喂蔚蟼 蠈蟽蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟽蠀谓胃苇蟿慰蠀谓 蟿慰谓 魏伪渭尾维 蟿畏蟼 未畏渭喂慰蠀蟻纬委伪蟼 鈥� 魏伪喂, 尾蔚尾伪委蠅蟼, 蟽蟿伪 蟺蟻维纬渭伪蟿伪, 蠈蟺蠅蟼 伪谓苇蠁蔚蟻伪 蟽蟿畏谓 伪蟻蠂萎 蟿慰蠀 魏蔚喂渭苇谓慰蠀.
螣喂 喂蟽蟿慰蟻委蔚蟼 蟿蠅谓 蔚谓慰委魏蠅谓 (蟺伪蟻蠈谓蟿蠅谓 魏伪喂 蟺伪蟻蔚位胃蠈谓蟿蠅谓) 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼, 畏 慰蟺慰委伪 伪蟺慰蟿蔚位蔚委 蟿慰谓 魏蔚谓蟿蟻喂魏蠈 魏慰蟻渭蠈 蟿慰蠀 苇蟻纬慰蠀, 伪位位畏位慰未喂伪未苇蠂慰谓蟿伪喂 畏 渭委伪 蟿畏谓 维位位畏, 维位位蔚蟼 渭蔚 蟺蔚蟻委蟽蟽喂慰 维位位蔚蟼 渭蔚 位喂纬蠈蟿蔚蟻慰 蔚谓未喂伪蠁苇蟻慰谓, 蠈位蔚蟼 蠈渭蠅蟼 伪蟺伪蟻伪委蟿畏蟿蔚蟼. 螠苇蟽伪 伪蟺蠈 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 伪蠀蟿苇蟼 蔚蟻蠂蠈渭伪蟽蟿蔚 蟽蔚 蔚蟺伪蠁萎 渭蔚 蟿慰蠀蟼 萎蟻蠅蔚蟼 魏伪喂 蔚谓慰委魏慰蠀蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 伪蠀蟿萎蟼, 渭蔚 蟿畏 味蠅萎 蟿慰蠀蟼, 渭蔚 蟿畏谓 蟺伪蟻慰蠀蟽委伪 蟿慰蠀蟼, 蟿慰 蟽蟿委纬渭伪 蟿慰蠀蟼. 螣喂 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 喂蟽蟿慰蟻委蔚蟼 蔚委谓伪喂 伪蟺慰蟽蟺伪蟽渭伪蟿喂魏苇蟼 尾蔚尾伪委蠅蟼, 胃蟻伪蠉蟽渭伪蟿伪, 渭喂魏蟻维 魏慰渭渭维蟿喂伪 蟿慰蠀 蟺伪味位 蟿畏蟼 委未喂伪蟼 蟿慰蠀蟼 蟿畏蟼 味蠅萎蟼 渭伪 魏伪喂 蟿慰蠀 委未喂慰蠀 蟿慰蠀 尾喂尾位委慰蠀 蔚谓蟿苇位蔚喂 鈥� 魏伪渭委伪 伪蟺蠈 渭蠈谓畏 蟿畏蟼 未蔚谓 伪蟻魏蔚委 纬喂伪 谓伪 蔚尉畏纬萎蟽蔚喂 蟿慰 蟽蠉谓慰位慰, 魏伪胃蔚渭喂维 伪蟺蠈 伪蠀蟿苇蟼 蔚委谓伪喂 伪蟺伪蟻伪委蟿畏蟿畏 纬喂伪 蟿畏谓 蠉蟺伪蟻尉萎 蟿慰蠀.
螝伪喂 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪; 韦慰 魏蔚委渭蔚谓慰 尾蟻委胃蔚喂 伪谓蟿喂魏蔚喂渭苇谓蠅谓, 蟺维蟽畏蟼 蠁蠉蟽蔚蠅蟼, 蠂蟻畏蟽喂渭蠈蟿畏蟿伪蟼, 蠈蠄畏蟼 魏伪喂 蠂蟻蠋渭伪蟿慰蟼. 螛伪蟻蟻蔚委蟼, 喂未委蠅蟼 蟽蟿伪 蟺蟻蠋蟿伪 伪蟺伪喂蟿畏蟿喂魏维 魏伪喂鈥� 未蠀蟽魏慰委位喂伪 魏蔚蠁维位伪喂伪, 蟺蠅蟼 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪 蔚委谓伪喂 慰喂 苇谓慰喂魏慰喂 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 伪蠀蟿萎蟼, 蟺蠅蟼 苇蠂慰蠀谓 蟺维蟻蔚喂 蟿畏 胃苇蟽畏 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 鈥� 苇蠂慰谓蟿伪蟼 伪蟺慰蟽蠉蟻蔚喂 蟿慰蠀蟼 魏蟿萎蟿慰蟻苇蟼 蟿慰蠀蟼, 伪谓伪位伪渭尾维谓慰蠀谓 谓伪 蟺慰蠀谓 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀蟼 伪谓蟿鈥� 伪蠀蟿蠋谓. 韦伪 伪谓蟿喂魏蔚委渭蔚谓伪 蟺蔚蟻喂纬蟻维蠁慰谓蟿伪喂 伪蟺蠈 蟿慰谓 螤蔚蟻苇魏 伪谓畏位蔚蠋蟼, 伪魏伪蟿维蟽蠂蔚蟿伪, 尾慰蠀位喂渭喂魏维, 蟽蟿伪 蠈蟻喂伪 蟿慰蠀 蠁蔚蟿喂蠂喂蟽渭慰蠉, 魏伪蟿伪位伪渭尾维谓慰谓蟿伪蟼 蟺慰位蠉蟿喂渭慰 蠂蠋蟻慰 渭蔚蟿伪尉蠉 蟿蠅谓 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蠅谓 喂蟽蟿慰蟻喂蠋谓, 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀.
螌蟺慰喂慰蟼 蟺蔚蟻喂渭苇谓蔚喂 蟽魏喂伪纬蟻维蠁畏蟽畏 蠂伪蟻伪魏蟿萎蟻蠅谓, 蠄蠀蠂慰纬蟻伪蠁萎渭伪蟿伪 魏伪喂 伪谓伪位蠉蟽蔚喂蟼 蟺蔚蟻委 蟿蠅谓 魏位伪蟽喂魏蠋谓 胃蔚渭维蟿蠅谓 蟺慰蠀 伪蟺伪蟽蠂蠈位畏蟽伪谓 魏伪喂 伪蟺伪蟽蠂慰位慰蠉谓 蟿畏谓 蟺蔚味慰纬蟻伪蠁委伪 伪蟺蠈 魏伪蟿伪尾慰位萎蟼 蟿畏蟼, 未蔚谓 胃伪 蟿伪 尾蟻蔚喂 蔚未蠋. 螣 螤蔚蟻苇魏 蔚委谓伪喂 苇谓伪蟼 芦蟿味喂蠂伪谓蟿喂蟽蟿萎蟼禄 蟿慰蠀 蟺蔚喂蟻伪渭伪蟿喂魏慰蠉 渭蔚蟿伪渭慰谓蟿苇蟻谓慰蠀 位蠈纬慰蠀, 魏伪喂 蠂伪蟻喂蟽渭伪蟿喂魏维 谓伪蟻魏慰胃蔚蟿蔚委 蟿畏谓 伪蟽蠁伪位萎 渭蔚蟿维尾伪蟽畏 伪蟺蠈 蟿慰 伪蟻魏蟿喂魏蠈 蟽蟿慰 魏伪蟿伪位畏魏蟿喂魏蠈 魏蔚蠁维位伪喂慰 渭蔚 蟺位畏胃蠋蟻伪鈥� 伪谓蟿喂魏蔚喂渭苇谓蠅谓. 螝伪喂 蠈渭蠅蟼, 蔚委谓伪喂 蟿苇蟿慰喂伪 畏 蟺谓慰萎 蟺慰蠀 蔚渭蠁蠀蟽维 蟽蟿慰 魏伪胃苇谓伪 伪蟺蠈 伪蠀蟿维, 蠋蟽蟿蔚 慰位慰魏位畏蟻蠋谓慰谓蟿伪蟼 苇蠂慰蠀渭蔚 蟿畏 渭伪纬喂魏萎 蔚谓蟿蠉蟺蠅蟽畏 蟺蠅蟼 味萎蟽伪渭蔚 蟿畏 味蠅萎, 蟺蠅蟼 纬谓蠅蟻委蟽伪渭蔚 伪蟺蠈 魏慰谓蟿维 蠈位慰蠀蟼 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿蠅谓 慰蟺慰委蠅谓 畏 蠁伪蟽渭伪蟿喂魏萎 蠉蟺伪蟻尉畏 蟺蔚蟻喂未喂伪尾伪委谓蔚喂 蟿喂蟼 蟽蔚位委未蔚蟼.
螒谓 蠀蟺慰胃苇蟽慰蠀渭蔚 蟺蠅蟼 蟿慰鈥� 蠁蔚谓蟿蔚蟻伪位喂蟽蟿喂魏蠈 伪蠀蟿蠈 魏蔚委渭蔚谓慰 苇蠂蔚喂 魏维蟺慰喂慰 魏苇谓蟿蟻慰 魏伪喂 魏维蟺慰喂慰谓 魏蔚谓蟿蟻喂魏蠈 萎蟻蠅伪, 伪蠀蟿蠈蟼 蔚委谓伪喂 慰 渭伪谓喂蠋未畏蟼 未畏渭喂慰蠀蟻纬蠈蟼/蟺伪委魏蟿畏蟼 /魏伪蟿伪蟽蟿蟻慰蠁苇伪蟼 蟺伪味位 螠蟺维蟿蔚蟻位渭蟺慰蠀胃, 慰 慰蟺慰委慰蟼 伪蟺慰未委未蔚蟿伪喂 渭蔚 渭伪谓委伪 蟽蔚 渭喂伪 蟺伪谓蟿蔚位蠋蟼 渭维蟿伪喂畏 蔚谓伪蟽蠂蠈位畏蟽畏, 苇蠂慰谓蟿伪蟼 胃苇蟽蔚喂 蟿慰谓 伪蟺伪蟻维尾伪蟿慰 蠈蟻慰 蟺蠅蟼 蟿委蟺慰蟿伪 伪蟺蠈 蟿慰 蟿喂蟿维谓喂慰 苇蟻纬慰 蟿慰蠀 未蔚谓 渭蟺慰蟻蔚委 谓伪 未喂伪蟽蠅胃蔚委. 螣 蟽蠀纬纬蟻伪蠁苇伪蟼 尉喂蠁慰蠀位魏蔚委 渭蔚 蟿慰 魏位伪蟽喂魏蠈 胃苇渭伪 蟿畏蟼 渭伪蟿伪喂蠈蟿畏蟿伪蟼 蟿蠅谓 伪谓胃蟻蠅蟺委谓蠅谓 蔚纬蠂蔚喂蟻畏渭维蟿蠅谓, 蟿伪 慰蟺慰委伪 蟺伪蟻伪未委未慰谓蟿伪喂 伪谓蠀蟺蔚蟻胃苇蟿蠅蟼 蟽蟿畏 位萎胃畏. 芦螝伪喂 胃伪 苇蟻胃蔚喂 渭喂伪 渭苇蟻伪 蟺慰蠀 胃伪 蔚尉伪蠁伪谓喂蟽蟿蔚委 蠈位慰 蟿慰 蟽蟺委蟿喂, 蟺慰蠀 蠈位慰蟼 慰 未蟻蠈渭慰蟼 魏伪喂 蠈位畏 畏 纬蔚喂蟿慰谓喂维 胃伪 蟺蔚胃维谓慰蠀谓禄. 螝喂 蠈渭蠅蟼, 伪蠀蟿蠈 蔚委谓伪喂 畏 味蠅萎: 苇谓伪 蟺伪喂蠂谓委未喂 蠂蠅蟻委蟼 谓蠈畏渭伪, 维蠂蟻慰谓慰 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟺蔚蟺蔚蟻伪蟽渭苇谓慰. 螝伪喂 蔚渭蔚委蟼 蟺蟻慰蟽蠅蟻喂谓慰委 苇谓慰喂魏慰喂 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼, 伪蟻喂胃渭蠈蟼 11 蟿畏蟼 慰未慰蠉 危喂渭蠈谓-螝蟻蠀渭蟺蔚位喂苇, 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿畏 味蠅萎 蟿蠅谓 畏蟻蠋蠅谓, 渭蔚蟿苇蠂慰谓蟿伪蟼 蟿蠅谓 蟽蟿喂纬渭蠋谓, 蠈蟽慰 蟿慰蠀位维蠂喂蟽蟿慰谓 未喂伪蟻魏蔚委 蟿慰 纬蠉蟻喂蟽渭伪 渭喂伪 蟽蔚位委未伪蟼, 蟿慰 蟿蔚位蔚委蠅渭伪 蔚谓蠈蟼 魏蔚蠁伪位伪委慰蠀, 畏 慰位慰魏位萎蟻蠅蟽畏 蟿慰蠀 尾喂尾位委慰蠀.
螝伪喂 蟺慰喂伪 畏 魏伪蟿维位畏尉畏; 螛伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蔚委谓伪喂 渭喂伪 喂未苇伪 蟿慰蠀 螠蟺蠈蟻蠂蔚蟼: 螣 伪谓伪纬谓蠋蟽蟿畏蟼 蟽畏魏蠋谓蔚蟿伪喂 伪蟻纬维 伪蟺蠈 蟿畏谓 伪谓伪蟺伪蠀蟿喂魏萎 蟿慰蠀 胃苇蟽畏, 蟺伪蟻伪蟿畏蟻蔚委 蟿慰谓 蠂蠋蟻慰 慰位蠈纬蠀蟻维 蟿慰蠀, 锟斤拷伪 伪谓蟿喂魏蔚委渭蔚谓伪 蟺慰蠀 蠀蟺慰蟿慰谓胃慰蟻蠉味慰蠀谓 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 蟿慰蠀 喂蟽蟿慰蟻委伪, 尾伪未委味蔚喂 蟺蟻慰蟼 蟿畏 尾喂尾位喂慰胃萎魏畏 魏伪喂 蟿慰蟺慰胃蔚蟿蔚委 蔚魏蔚委 蟿畏 螙蠅萎 鈥� 渭苇蟻慰蟼 蟿畏蟼 味蠅萎蟼 蟿慰蠀 蟺位苇慰谓 魏喂 伪蠀蟿萎. 危蟿畏 蟽蠀谓苇蠂蔚喂伪, 蟽蟿苇魏蔚喂 蟽蟿慰蠂伪蟽蟿喂魏蠈蟼, 蟽蟿蟻苇蠁慰谓蟿伪蟼 蟿畏 渭伪蟿喂维 蟿慰蠀 蟺蟻慰蟼 蟿伪 蟺维谓蠅, 蟺蟻慰蟼 蟿伪 苇尉蠅. 螉蟽蠅蟼 魏维蟺慰喂慰蟼 维位位慰蟼 (伪谓伪纬谓蠋蟽蟿畏蟼 魏喂 伪蠀蟿蠈蟼 萎 未畏渭喂慰蠀蟻纬蠈蟼;) 蔚魏蔚委谓畏 蟿畏 蟽蟿喂纬渭萎 尉蔚蠁蠀位位委味蔚喂 蟿慰 未喂魏蠈 蟿慰蠀 尾喂尾位委慰 (蟿慰 未喂魏蠈 蟽慰蠀, 伪谓伪纬谓蠋蟽蟿畏!), 魏伪蟿伪渭蔚蟿蟻维 蟿伪 伪谓蟿喂魏蔚委渭蔚谓维 蟿慰蠀, 蟿喂蟼 蟽蟿喂纬渭苇蟼 蟿畏蟼 味蠅萎蟼 蟿慰蠀 鈥撐晃晃迪� 蔚谓未喂伪蠁苇蟻慰蠀蟽蔚蟼, 慰喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蠈蠂喂鈥�, 苇蠅蟼 蠈蟿慰蠀 畏 伪谓委伪 蟿慰谓 慰未畏纬萎蟽蔚喂 蟽蟿畏谓 伪蟺蠈蠁伪蟽畏 谓伪 蟿慰(谓) 蔚蟺喂蟽蟿蟻苇蠄蔚喂 蟽蟿畏 位萎胃畏 蟿蠅谓 未喂伪尾伪蟽渭苇谓蠅谓 尾喂尾位委蠅谓, 蟿蠅谓 蟽蟺伪蟿伪位畏渭苇谓蠅谓 味蠅蠋谓鈥� ad infinitum.
违.螕. 螒蟺位维 纬喂伪 谓伪 尉蔚魏伪胃伪蟻委味慰蠀渭蔚 位委纬慰 蟿伪 蟺蟻维纬渭伪蟿伪: 螣 螤蔚蟻苇魏 慰蠉蟿蔚 魏伪蟿维 未喂维谓慰喂伪 未蔚谓 蔚委谓伪喂 韦味蠈蠀蟼 (蟽蠉渭蠁蠅谓伪 渭蔚 蟿喂蟼 蠀蟺蔚蟻尾慰位喂魏苇蟼 魏蟻喂蟿喂魏苇蟼 蟿慰蠀 慰蟺喂蟽胃蠈蠁蠀位位慰蠀). 螌位慰 蟿慰 尾喂尾位委慰 胃伪 渭蟺慰蟻慰蠉蟽蔚 委蟽蠅蟼 谓伪 蔚委谓伪喂 苇谓伪 渭喂魏蟻蠈 伪蟺蠈蟽蟺伪蟽渭伪 蔚谓蠈蟼 魏蔚蠁伪位伪委慰蠀 蟿慰蠀 芦螣未蠀蟽蟽苇伪禄. 围蟻蠅蟽蟿维蔚喂 蟺慰位蠉 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 蟽蟿慰谓 螠蟺蠈蟻蠂蔚蟼 (蠈蟺蠅蟼 魏喂 蠈位畏 畏 慰渭维未伪 Oulipo, 蔚尉维位位慰蠀), 伪位位维 慰蠉蟿蔚 魏伪喂 渭蔚 伪蠀蟿蠈谓 渭蟺慰蟻蔚委 谓伪 蟽蠀纬魏蟻喂胃蔚委 慰 螕维位位慰蟼.
违.螕. 2 螕喂伪 谓伪 蔚委渭伪喂 伪蟺蠈位蠀蟿伪 蔚喂位喂魏蟻喂谓萎蟼, 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 尾喂尾位委慰 蟺慰蠀 胃伪蠉渭伪蟽伪 蔚纬魏蔚蠁伪位喂魏维, 伪位位维 未蔚谓 渭蟺慰蟻蠋 谓伪 蟺蠅 蟺蠅蟼 伪蟺蠈位伪蠀蟽伪 伪谓伪纬谓蠅蟽蟿喂魏维 (蟺伪蟻维 渭蠈谓慰 蟽蔚 蟽蟿喂纬渭苇蟼 魏伪喂 伪蠁慰蠉 蟿慰 蟿蔚位蔚委蠅蟽伪). 危蔚 魏维胃蔚 蟺蔚蟻委蟺蟿蠅蟽畏, 未蔚谓 谓慰渭委味蠅 蟺蠅蟼 胃伪 蔚蟺伪谓苇位胃蠅 蟽蔚 伪蠀蟿蠈 (伪蠁慰蠉 慰位慰魏位萎蟻蠅蟽伪 蔚蟺喂蟿蠀蠂蠋蟼 蟿慰 蟺伪味位, 未蔚谓 苇蠂蔚喂 谓蠈畏渭伪 谓伪 蟿慰 尉伪谓伪蠁蟿喂维尉蠅), 蠈蟺蠅蟼 蟽魏慰蟺蔚蠉蠅 谓伪 魏维谓蠅, 伪蟼 蟺慰蠉渭蔚, 蟽蟿畏谓 蟺蔚蟻委蟺蟿蠅蟽畏 蟿慰蠀 芦螣未蠀蟽蟽苇伪禄, 苇谓伪 魏蔚委渭蔚谓慰 蟺慰蠀 蟿伪 蔚渭蟺蔚蟻喂苇蠂蔚喂 蠈位伪.
螙蠅蟻味 螤蔚蟻苇魏: 螣未畏纬蠈蟼 伪谓维纬谓蠅蟽畏蟼 蔚谓蠈蟼 蟺伪味位
违蟺维蟻蠂蔚喂 渭喂伪 魏蟻蠀蠁萎 味蠅萎 蟽蟿伪 维蠄蠀蠂伪 伪谓蟿喂魏蔚委渭蔚谓伪, 蟽蟿伪 蟺蟻维纬渭伪蟿伪 蟺慰蠀 渭伪蟼 蟺蔚蟻喂蟽蟿慰喂蠂委味慰蠀谓 魏伪喂 渭伪蟼 蟽蠀谓慰未蔚蠉慰蠀谓 伪蟺蠈 蟿畏谓 魏慰蠉谓喂伪 蟽蟿慰谓 蟿维蠁慰. 韦慰 伪谓伪魏维位蠀蠄蔚 蟽蠀谓蟿蔚蟿蟻喂渭渭苇谓慰蟼 慰 螒喂谓蔚委伪蟼 蠈蟿伪谓 蔚委未蔚 蟿伪 伪谓未蟻伪纬伪胃萎渭伪蟿维 蟿慰蠀 魏伪喂 蟿慰蠀蟼 伪纬伪蟺畏渭苇谓慰蠀蟼 蟽蠀谓蟿蟻蠈蠁慰蠀蟼 蟿慰蠀, 谓蔚魏蟻慰蠉蟼 蟺位苇慰谓, 蠅蟼 蟺伪蟻伪蟽蟿维蟽蔚喂蟼 蟿慰喂蠂慰纬蟻伪蠁委伪蟼, 蠄蔚位位委味慰谓蟿伪蟼: 芦Sunt lacrimae rerum鈥β� (芦违蟺维蟻蠂慰蠀谓 未维魏蟻蠀伪 纬喂伪 蟿伪 蟺蟻维纬渭伪蟿伪鈥β�). 螝伪喂 蟿伪 未维魏蟻蠀伪 蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓 蔚委谓伪喂 蔚尉委蟽慰蠀 蟽畏渭伪谓蟿喂魏维 渭蔚 蔚魏蔚委谓伪 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓, 纬喂伪蟿委 蟿蔚位喂魏维 苇蠂慰蠀谓 蔚蟺蔚谓未蠀胃蔚委 渭蔚 蟿慰 蟽蠉谓慰位慰 蟿蠅谓 蟺蟻慰蟽未慰魏喂蠋谓 魏伪喂 蟿蠅谓 未喂伪蠄蔚蠉蟽蔚蠋谓 渭伪蟼.
螝维胃蔚 蠁慰蟻维 蟺慰蠀 蟽蟿蟻苇蠁慰蠀渭蔚 蟿慰 尾位苇渭渭伪 蟽蔚 苇谓伪 伪谓蟿喂魏蔚委渭蔚谓慰 蟺慰蠀 未蔚谓 蔚委谓伪喂 伪蟺位蠋蟼 位蔚喂蟿慰蠀蟻纬喂魏蠈, 伪位位维 蠁苇蟻蔚喂 蔚谓蟿蠈蟼 蟿慰蠀 魏维蟺慰喂慰 魏慰渭渭维蟿喂 蟿畏蟼 蟺蟻慰蟽蠅蟺喂魏萎蟼 渭伪蟼 喂蟽蟿慰蟻委伪蟼, 苇蟽蟿蠅 渭喂伪 伪谓维渭谓畏蟽畏, 蟿慰 伪谓蟿喂魏蔚委渭蔚谓慰 伪蠀蟿蠈 伪蟺慰魏蟿维 蟿畏 未喂魏萎 蟿慰蠀 蠀蟺蠈蟽蟿伪蟽畏, 蟿畏 未喂魏萎 蟿慰蠀 味蠅萎, 蟺慰蠀 蔚委谓伪喂 畏 未喂魏萎 渭伪蟼. 螛伪 渭蟺慰蟻慰蠉蟽蔚, 胃蔚蠅蟻畏蟿喂魏维 蟺维谓蟿伪, 谓伪 蟺蔚喂 魏维蟺慰喂慰蟼 蟺蠅蟼 蟿慰 蟽蠉谓慰位慰 渭喂伪 味蠅萎蟼 蔚谓蠀蟺维蟻蠂蔚喂 魏伪喂 蟽蟿慰 蟽蠉谓慰位慰 蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓 蟺慰蠀 蟿畏 蟽蠀谓慰未蔚蠉慰蠀谓, 蔚谓蟽蠅渭伪蟿蠋谓蔚蟿伪喂 蟽蔚 伪蠀蟿维, 蠋蟽蟺慰蠀 畏 蟺伪蟻慰蠀蟽委伪 蟿慰蠀蟼 谓伪 蔚委谓伪喂 伪尉蔚未喂维位蠀蟿畏 伪蟺蠈 蔚魏蔚委谓畏 蟿畏蟼 蠁蠀蟽喂魏萎蟼 蠉蟺伪蟻尉畏蟼. 螒谓 伪蠀蟿蠈蟼 慰 魏维蟺慰喂慰蟼 蔚委谓伪喂 位慰纬慰蟿苇蠂谓畏蟼 蟺伪喂纬谓喂蠋未畏蟼, 渭蔚 苇蠁蔚蟽畏 蟽蟿慰 喂位伪蟻蠈 魏伪喂 蟽蟿慰 蟿蟻伪纬喂魏蠈, 蟽蔚 蠈,蟿喂 未畏位伪未萎 蠀蠁伪委谓蔚喂 蟿慰谓 喂蟽蟿蠈 蟿畏蟼 蟿苇蠂谓畏蟼 (魏伪喂 蟿畏蟼 味蠅萎蟼 蟺慰蠀 蟿畏 渭喂渭蔚委蟿伪喂), 蟿蠈蟿蔚 伪蠀蟿萎 畏 蟽蠂苇蟽畏 蟺蟻慰蟽蠋蟺蠅谓 魏伪喂 蟺蟻伪纬渭维蟿蠅谓 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 伪蟺慰蟿蔚位苇蟽蔚喂 苇谓伪蠀蟽渭伪 魏伪喂 伪委蟿喂慰 伪蠁萎纬畏蟽畏蟼 慰蠀蟽喂蠅未蠋蟼 蟺蔚喂蟻伪渭伪蟿喂魏萎蟼.
螣 螤蔚蟻苇魏 蠀蟺萎蟻尉蔚 苇谓伪蟼 蟿苇蟿慰喂慰蠀 蔚委未慰蠀蟼 蟽蠀纬纬蟻伪蠁苇伪蟼. 螆谓伪蟼 位维蟿蟻畏蟼 蟿慰蠀 蟺伪喂蠂谓喂未喂慰蠉 蟿蠅谓 位苇尉蔚蠅谓, 苇谓伪蟼 纬畏蟿蔚蠀蟿萎蟼 蟿慰蠀 位蠈纬慰蠀, 苇谓伪蟼 蟺慰位蠀蟺蟻维纬渭蠅谓 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟺蟻伪纬渭伪蟿喂蟽蟿萎蟼 (渭蔚 蟿伪 蟺蟻维纬渭伪蟿伪 魏伪蟿伪纬委谓蔚蟿伪喂, 未蔚谓 蟿慰 魏蟻蠉尾蔚喂). 螕喂鈥� 伪蠀蟿蠈谓, 蟿伪 蟺蟻维纬渭伪蟿伪 苇蠂慰蠀谓 蠀蟺蠈蟽蟿伪蟽畏, 未伪魏蟻蠉味慰蠀谓 魏伪喂 纬蔚位慰蠉谓, 渭伪 蟿慰 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻慰, 蔚纬魏蠀渭慰谓慰蠉谓 魏伪喂 纬蔚谓谓慰尾慰位慰蠉谓 喂蟽蟿慰蟻委蔚蟼, 蠅谓 慰蠀魏 苇蟽蟿喂谓 伪蟻喂胃渭蠈蟼. 螒蠀蟿蠈 未畏位伪未萎 蟺慰蠀 蔚委谓伪喂 畏 慰蠀蟽委伪 蟿畏蟼 蟽蠀纬纬蟻伪蠁萎蟼: 畏 未喂萎纬畏蟽畏 喂蟽蟿慰蟻喂蠋谓, 蠈蠂喂 蟿蠈蟽慰 纬喂伪 蟿慰 胃苇渭伪 蟿慰蠀蟼 (蟽蠀蠂谓蠈蟿蔚蟻伪 伪未喂维蠁慰蟻蔚蟼, 蟺伪蟻维 蟽畏渭伪谓蟿喂魏苇蟼), 伪位位维 纬喂伪 蟿畏谓 蠀蟺苇蟻蟿伪蟿畏 芦苇纬魏伪蠀位慰 蟺蔚蟻喂蟺维胃蔚喂伪禄 蟺慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 畏 委未喂伪 畏 伪蠁萎纬畏蟽畏 (蟿慰 蠁维谓蟿伪蟽渭伪 蟿慰蠀 螠蟺蠈蟻蠂蔚蟼 蔚委谓伪喂 魏伪喂 蟽蟿慰 苇蟻纬慰 伪蠀蟿蠈 蟺伪蟻蠋谓, 蠈蟺蠅蟼 蔚尉维位位慰蠀 魏伪喂 蟽蟿慰谓 螝伪位尾委谓慰).
螣 伪谓伪纬谓蠋蟽蟿畏蟼 蟺慰蠀 胃伪 蟺蟻慰蟽苇位胃蔚喂 蟽蟿慰 魏蔚委渭蔚谓慰 伪蠀蟿蠈 伪谓伪味畏蟿蠋谓蟿伪蟼 蟿慰 慰蠀蟽喂蠋未蔚蟼, 蟿慰 蔚尉伪喂蟻蔚蟿喂魏蠈, 蟿慰 尉蔚蠂蠅蟻喂蟽蟿蠈, 蟿慰 味蠅蟿喂魏蠈 魏.慰.魏. 胃伪 未喂伪蠄蔚蠀蟽蟿蔚委 慰喂魏蟿蟻维 魏伪喂 胃伪 蟺蟻慰蟽蟺蔚蟻维蟽蔚喂. 螖蔚谓 蔚委谓伪喂 蟺蠅蟼 慰喂 蟽蔚位委未蔚蟼 未蔚谓 蟺蔚蟻喂苇蠂慰蠀谓 蟿委蟺慰蟿蔚 蟽畏渭伪谓蟿喂魏蠈, 蟿慰蠀谓伪谓蟿委慰谓, 伪位位维 蠈蟺蠅蟼 蠈位伪 蟽蔚 蟿慰蠉蟿畏 蟿畏 味蠅萎, 蔚委谓伪喂 蟽蟺伪谓委蠅蟼 蔚蠉位慰纬伪, 蟺蟻慰蠁伪谓萎, 蔚蠀魏蠈位蠅蟼 蔚谓谓慰慰蠉渭蔚谓伪. 螒魏蠈渭伪 魏伪位蠉蟿蔚蟻伪, 蠀蠁苇蟻蟺慰蠀谓 魏蟻蠀蠁委蠅蟼, 伪魏蟻慰蟺伪蟿蠋谓蟿伪蟼 渭蠈位喂蟼 蔚蟺维谓蠅 伪蟺蠈 蟿畏谓 蔚蟺喂蠁维谓蔚喂伪 蟿蠅谓 蟺蟻慰蟿维蟽蔚蠅谓, 魏慰蟻蠀蠁苇蟼 蟺伪纬蠈尾慰蠀谓慰蠀, 蟺伪谓苇蟿慰喂渭蔚蟼 蠈渭蠅蟼 谓伪 尾蠀胃委蟽慰蠀谓 蟿慰谓 韦喂蟿伪谓喂魏蠈 蟿慰蠀 伪蟻纬蠈蟽蠂慰位慰蠀 伪谓伪纬谓蠋蟽蟿畏. 螣 蟺伪喂纬谓喂蠋未畏蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 苇蠂蔚喂 魏蟻蠉蠄蔚喂 渭蔚 渭蔚纬维位畏 蟿苇蠂谓畏 蟿慰 渭蔚委味慰谓 蟽蟿慰 苇位伪蟽蟽慰谓, 伪蠁萎谓慰谓蟿伪蟼 蟺委蟽蠅 蟿慰蠀 苇谓伪谓 蠂维蟻蟿畏 胃畏蟽伪蠀蟻慰蠉, 伪蟿蔚位萎 渭蔚谓 蠅蟼 蟻蔚伪位喂蟽蟿喂魏萎 蟺蟻维尉畏, 蔚谓蟿蔚位萎 未蔚 蠅蟼 魏伪位位喂蟿蔚蠂谓喂魏萎 未畏渭喂慰蠀蟻纬委伪.
螖蔚谓 蔚委谓伪喂 未喂蠈位慰蠀 蟿蠀蠂伪委伪 畏 蔚渭渭慰谓萎 蟿慰蠀 渭蔚 蟿伪 蟺伪味位. 螇未畏 伪蟺蠈 蟿畏谓 伪蟻蠂萎 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿伪 魏慰渭渭维蟿喂伪 蟿慰蠀 蟺伪味位, 蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 蔚谓蠋谓慰谓蟿伪喂, 蟿慰 蟺蠋蟼 魏伪谓苇谓伪 伪蟺蠈 伪蠀蟿维 未蔚谓 蔚委谓伪喂 伪蟺蠈 渭蠈谓慰 蟿慰蠀 蟽畏渭伪谓蟿喂魏蠈 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟿慰 魏伪胃苇谓伪 蔚委谓伪喂. 韦慰 蟺蠋蟼 蟿慰 蔚蟺喂渭苇蟻慰蠀蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 未蠋蟽蔚喂 蟿畏谓 蟿蔚位喂魏萎 蔚喂魏蠈谓伪 蟺伪蟻维 渭蠈谓慰 蠅蟼 伪谓伪蟺蠈蟽蟺伪蟽蟿慰 蟿渭萎渭伪 蟿慰蠀 蠈位慰蠀, 伪位位维 魏伪喂 蟿慰 伪蠀蟿伪蟺蠈未蔚喂魏蟿慰 纬蔚纬慰谓蠈蟼 蠈蟿喂 蟿慰 蟺伪喂蠂谓委未喂 伪蠀蟿蠈 苇蠂蔚喂 蠈蟻慰蠀蟼 魏伪喂 蠈蟻喂伪. 螝伪喂 蟿伪 蠈蟻喂伪 伪蠀蟿维 蟿伪 魏伪胃慰蟻委味蔚喂 慰 螖畏渭喂慰蠀蟻纬蠈蟼 蟿慰蠀 蟺慰蠀 蔚魏 蟿蠅谓 蟺蟻慰蟿苇蟻蠅谓 苇蠂蔚喂 蠂慰蟻慰纬蟻伪蠁萎蟽蔚喂 蟿喂蟼 魏喂谓萎蟽蔚喂蟼, 苇蠂蔚喂 蟺蟻慰魏伪胃慰蟻委蟽蔚喂 蟿慰 伪蟺慰蟿苇位蔚蟽渭伪 鈥� 蠅蟼 蟺伪喂纬谓喂蠋未畏蟼 渭喂魏蟻蠈蟼 胃蔚蠈蟼 未蔚, 蔚喂蟻蠅谓蔚蠉蔚蟿伪喂 维蟽蟺位伪蠂谓伪 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏/蟺伪委魏蟿畏 蟿慰蠀: 芦螘纬蠋 尉苇蟻蠅 蟺慰蠉 魏伪喂 蟺蠋蟼 蟿慰蟺慰胃蔚蟿慰蠉谓蟿伪喂 蟿伪 魏慰渭渭维蟿喂伪, 渭畏谓 尾伪蠀魏伪位委味蔚蟽伪喂 蟺蠅蟼 胃伪 伪谓伪魏伪位蠉蠄蔚喂蟼 蔚未蠋 魏维蟿喂 蟺慰蠀 未蔚谓 苇蠂蠅 蔚魏 蟿蠅谓 蟺蟻慰蟿苇蟻蠅谓 蟺蟻慰蔚蟿慰喂渭维蟽蔚喂!禄.
螝伪喂 蠈渭蠅蟼, 胃伪 蟺蟻慰蟽胃苇蟽蠅 蔚纬蠋, 魏伪委蟿慰喂 蟿慰 蟺伪喂蠂谓委未喂 蔚委谓伪喂 蟽蟿畏渭苇谓慰, 蔚蠀蠁蠀蠋蟼 魏伪喂 蠀蟺慰蠂胃蠈谓喂伪, 慰 伪谓伪纬谓蠋蟽蟿畏蟼 渭蟺慰蟻蔚委 魏伪喂 慰蠁蔚委位蔚喂 谓伪 魏喂谓畏胃蔚委 伪谓蔚谓未慰委伪蟽蟿伪. 螤蟻慰蟽慰蠂萎 蠈渭蠅蟼! 螌蠂喂 纬喂伪 谓伪 蟽蠀纬魏慰位位萎蟽蔚喂 蟿伪 魏慰渭渭维蟿喂伪, 伪蟺慰未蔚蠂蠈渭蔚谓慰蟼 蟿畏谓 蟺蟻蠈魏位畏蟽畏 蟿慰蠀 螤蔚蟻苇魏, 伪位位维 纬喂伪 伪蟺慰位伪蠉蟽蔚喂 蟿慰 魏伪胃苇谓伪 伪蟺蠈 伪蠀蟿维 蠅蟼 苇蠂蔚喂, 蟽蟿蟻蔚蠁蠈渭蔚谓慰蟼 蔚谓维谓蟿喂伪 蟽蟿畏 未喂魏蟿伪蟿慰蟻喂魏萎, 蟺伪谓蟿伪蠂慰蠉 蟺伪蟻慰蠉蟽伪 魏伪喂 谓蟿蔚蟿蔚蟻渭喂谓喂蟽蟿喂魏萎 蟺伪蟻慰蠀蟽委伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪. 螣 伪谓伪纬谓蠋蟽蟿畏蟼 慰蠁蔚委位蔚喂 谓伪 蔚蟺伪谓伪蟽蟿伪蟿萎蟽蔚喂 蔚谓维谓蟿喂伪 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蟿畏蟼 慰位慰魏位畏蟻蠅渭苇谓畏蟼 蔚喂魏蠈谓伪蟼, 蟽蟿蟻苇蠁慰谓蟿伪蟼 蟿畏谓 蟺蟻慰蟽慰蠂萎 蟿慰蠀 蟽蟿慰 蔚蟺喂渭苇蟻慰蠀蟼, 蟽蟿慰 蔚蠀蟿蔚位苇蟼 委蟽蠅蟼, 未喂蠈蟿喂 蔚魏蔚委 魏蟻蠉尾蔚蟿伪喂 畏 渭伪纬蔚委伪 蟿畏蟼 蟿苇蠂谓畏蟼 纬蔚谓喂魏维 魏伪喂 蔚喂未喂魏维, 魏伪喂 苇蟿蟽喂 渭蠈谓慰 苇蠂蔚喂 蟺喂胃伪谓蠈蟿畏蟿伪 谓伪 伪蟺慰位伪蠉蟽蔚喂 蟿慰 尾喂尾位委慰 伪蠀蟿蠈. 韦慰 魏维位位慰蟼 蔚谓慰喂魏蔚委 蟽蟿慰 蔚蟺喂渭苇蟻慰蠀蟼 魏伪喂 蟺慰蟿苇 蟽蟿慰 蠈位慰谓!
螒谓 位蠉蟽蔚喂蟼, 伪谓伪纬谓蠋蟽蟿畏, 蟿慰 蟺伪味位, 蟽蠀位位苇纬慰谓蟿伪蟼 蟿伪 魏慰渭渭维蟿喂伪 魏伪喂 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 谓伪 魏伪蟿伪谓慰萎蟽蔚喂蟼 蟿喂 蟿蔚位喂魏维 萎胃蔚位蔚 谓伪 蟺蔚蟿蠉蠂蔚喂 魏伪喂 谓伪 渭蔚蟿伪未蠋蟽蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼, 胃伪 苇蠂蔚喂蟼 魏蔚蟻未委蟽蔚喂 蟿畏谓 喂魏伪谓慰蟺慰委畏蟽畏 蟿畏蟼 魏伪蟿伪谓蠈畏蟽畏蟼, 伪位位维 胃伪 苇蠂蔚喂蟼 蠂维蟽蔚喂 蟿畏谓 伪蟺蠈位伪蠀蟽畏 蟿畏蟼 伪谓维纬谓蠅蟽畏蟼. 螛伪 谓喂蠋蟽蔚喂蟼 蔚尉蠀蟺谓蠈蟿蔚蟻慰蟼, 伪位位维 胃伪 伪蟺慰蠂蠅蟻萎蟽蔚喂蟼 蠁蟿蠅蠂蠈蟿蔚蟻慰蟼. 螤喂慰 蟽蠀纬魏蔚魏蟻喂渭苇谓伪, 畏 慰蠀蟽委伪 蟿畏蟼 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿苇蠂谓畏蟼 蟽蟿慰 尾喂尾位委慰 伪蠀蟿蠈 未蔚谓 尾蟻委蟽魏蔚蟿伪喂 蟽蟿喂蟼 魏蔚谓蟿蟻喂魏苇蟼 蟿慰蠀 喂未苇蔚蟼, 伪位位维 蟽蟿慰谓 蟿蟻蠈蟺慰 渭蔚 蟿慰谓 慰蟺慰委慰 慰 螤蔚蟻苇魏 蠂蔚喂蟻委味蔚蟿伪喂 蟿喂蟼 渭蠉蟻喂蔚蟼 蠈蟽蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟽蠀谓胃苇蟿慰蠀谓 蟿慰谓 魏伪渭尾维 蟿畏蟼 未畏渭喂慰蠀蟻纬委伪蟼 鈥� 魏伪喂, 尾蔚尾伪委蠅蟼, 蟽蟿伪 蟺蟻维纬渭伪蟿伪, 蠈蟺蠅蟼 伪谓苇蠁蔚蟻伪 蟽蟿畏谓 伪蟻蠂萎 蟿慰蠀 魏蔚喂渭苇谓慰蠀.
螣喂 喂蟽蟿慰蟻委蔚蟼 蟿蠅谓 蔚谓慰委魏蠅谓 (蟺伪蟻蠈谓蟿蠅谓 魏伪喂 蟺伪蟻蔚位胃蠈谓蟿蠅谓) 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼, 畏 慰蟺慰委伪 伪蟺慰蟿蔚位蔚委 蟿慰谓 魏蔚谓蟿蟻喂魏蠈 魏慰蟻渭蠈 蟿慰蠀 苇蟻纬慰蠀, 伪位位畏位慰未喂伪未苇蠂慰谓蟿伪喂 畏 渭委伪 蟿畏谓 维位位畏, 维位位蔚蟼 渭蔚 蟺蔚蟻委蟽蟽喂慰 维位位蔚蟼 渭蔚 位喂纬蠈蟿蔚蟻慰 蔚谓未喂伪蠁苇蟻慰谓, 蠈位蔚蟼 蠈渭蠅蟼 伪蟺伪蟻伪委蟿畏蟿蔚蟼. 螠苇蟽伪 伪蟺蠈 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 伪蠀蟿苇蟼 蔚蟻蠂蠈渭伪蟽蟿蔚 蟽蔚 蔚蟺伪蠁萎 渭蔚 蟿慰蠀蟼 萎蟻蠅蔚蟼 魏伪喂 蔚谓慰委魏慰蠀蟼 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 伪蠀蟿萎蟼, 渭蔚 蟿畏 味蠅萎 蟿慰蠀蟼, 渭蔚 蟿畏谓 蟺伪蟻慰蠀蟽委伪 蟿慰蠀蟼, 蟿慰 蟽蟿委纬渭伪 蟿慰蠀蟼. 螣喂 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 喂蟽蟿慰蟻委蔚蟼 蔚委谓伪喂 伪蟺慰蟽蟺伪蟽渭伪蟿喂魏苇蟼 尾蔚尾伪委蠅蟼, 胃蟻伪蠉蟽渭伪蟿伪, 渭喂魏蟻维 魏慰渭渭维蟿喂伪 蟿慰蠀 蟺伪味位 蟿畏蟼 委未喂伪蟼 蟿慰蠀蟼 蟿畏蟼 味蠅萎蟼 渭伪 魏伪喂 蟿慰蠀 委未喂慰蠀 蟿慰蠀 尾喂尾位委慰蠀 蔚谓蟿苇位蔚喂 鈥� 魏伪渭委伪 伪蟺蠈 渭蠈谓畏 蟿畏蟼 未蔚谓 伪蟻魏蔚委 纬喂伪 谓伪 蔚尉畏纬萎蟽蔚喂 蟿慰 蟽蠉谓慰位慰, 魏伪胃蔚渭喂维 伪蟺蠈 伪蠀蟿苇蟼 蔚委谓伪喂 伪蟺伪蟻伪委蟿畏蟿畏 纬喂伪 蟿畏谓 蠉蟺伪蟻尉萎 蟿慰蠀.
螝伪喂 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪; 韦慰 魏蔚委渭蔚谓慰 尾蟻委胃蔚喂 伪谓蟿喂魏蔚喂渭苇谓蠅谓, 蟺维蟽畏蟼 蠁蠉蟽蔚蠅蟼, 蠂蟻畏蟽喂渭蠈蟿畏蟿伪蟼, 蠈蠄畏蟼 魏伪喂 蠂蟻蠋渭伪蟿慰蟼. 螛伪蟻蟻蔚委蟼, 喂未委蠅蟼 蟽蟿伪 蟺蟻蠋蟿伪 伪蟺伪喂蟿畏蟿喂魏维 魏伪喂鈥� 未蠀蟽魏慰委位喂伪 魏蔚蠁维位伪喂伪, 蟺蠅蟼 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪 蔚委谓伪喂 慰喂 苇谓慰喂魏慰喂 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼 伪蠀蟿萎蟼, 蟺蠅蟼 苇蠂慰蠀谓 蟺维蟻蔚喂 蟿畏 胃苇蟽畏 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 鈥� 苇蠂慰谓蟿伪蟼 伪蟺慰蟽蠉蟻蔚喂 蟿慰蠀蟼 魏蟿萎蟿慰蟻苇蟼 蟿慰蠀蟼, 伪谓伪位伪渭尾维谓慰蠀谓 谓伪 蟺慰蠀谓 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀蟼 伪谓蟿鈥� 伪蠀蟿蠋谓. 韦伪 伪谓蟿喂魏蔚委渭蔚谓伪 蟺蔚蟻喂纬蟻维蠁慰谓蟿伪喂 伪蟺蠈 蟿慰谓 螤蔚蟻苇魏 伪谓畏位蔚蠋蟼, 伪魏伪蟿维蟽蠂蔚蟿伪, 尾慰蠀位喂渭喂魏维, 蟽蟿伪 蠈蟻喂伪 蟿慰蠀 蠁蔚蟿喂蠂喂蟽渭慰蠉, 魏伪蟿伪位伪渭尾维谓慰谓蟿伪蟼 蟺慰位蠉蟿喂渭慰 蠂蠋蟻慰 渭蔚蟿伪尉蠉 蟿蠅谓 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蠅谓 喂蟽蟿慰蟻喂蠋谓, 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀.
螌蟺慰喂慰蟼 蟺蔚蟻喂渭苇谓蔚喂 蟽魏喂伪纬蟻维蠁畏蟽畏 蠂伪蟻伪魏蟿萎蟻蠅谓, 蠄蠀蠂慰纬蟻伪蠁萎渭伪蟿伪 魏伪喂 伪谓伪位蠉蟽蔚喂蟼 蟺蔚蟻委 蟿蠅谓 魏位伪蟽喂魏蠋谓 胃蔚渭维蟿蠅谓 蟺慰蠀 伪蟺伪蟽蠂蠈位畏蟽伪谓 魏伪喂 伪蟺伪蟽蠂慰位慰蠉谓 蟿畏谓 蟺蔚味慰纬蟻伪蠁委伪 伪蟺蠈 魏伪蟿伪尾慰位萎蟼 蟿畏蟼, 未蔚谓 胃伪 蟿伪 尾蟻蔚喂 蔚未蠋. 螣 螤蔚蟻苇魏 蔚委谓伪喂 苇谓伪蟼 芦蟿味喂蠂伪谓蟿喂蟽蟿萎蟼禄 蟿慰蠀 蟺蔚喂蟻伪渭伪蟿喂魏慰蠉 渭蔚蟿伪渭慰谓蟿苇蟻谓慰蠀 位蠈纬慰蠀, 魏伪喂 蠂伪蟻喂蟽渭伪蟿喂魏维 谓伪蟻魏慰胃蔚蟿蔚委 蟿畏谓 伪蟽蠁伪位萎 渭蔚蟿维尾伪蟽畏 伪蟺蠈 蟿慰 伪蟻魏蟿喂魏蠈 蟽蟿慰 魏伪蟿伪位畏魏蟿喂魏蠈 魏蔚蠁维位伪喂慰 渭蔚 蟺位畏胃蠋蟻伪鈥� 伪谓蟿喂魏蔚喂渭苇谓蠅谓. 螝伪喂 蠈渭蠅蟼, 蔚委谓伪喂 蟿苇蟿慰喂伪 畏 蟺谓慰萎 蟺慰蠀 蔚渭蠁蠀蟽维 蟽蟿慰 魏伪胃苇谓伪 伪蟺蠈 伪蠀蟿维, 蠋蟽蟿蔚 慰位慰魏位畏蟻蠋谓慰谓蟿伪蟼 苇蠂慰蠀渭蔚 蟿畏 渭伪纬喂魏萎 蔚谓蟿蠉蟺蠅蟽畏 蟺蠅蟼 味萎蟽伪渭蔚 蟿畏 味蠅萎, 蟺蠅蟼 纬谓蠅蟻委蟽伪渭蔚 伪蟺蠈 魏慰谓蟿维 蠈位慰蠀蟼 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿蠅谓 慰蟺慰委蠅谓 畏 蠁伪蟽渭伪蟿喂魏萎 蠉蟺伪蟻尉畏 蟺蔚蟻喂未喂伪尾伪委谓蔚喂 蟿喂蟼 蟽蔚位委未蔚蟼.
螒谓 蠀蟺慰胃苇蟽慰蠀渭蔚 蟺蠅蟼 蟿慰鈥� 蠁蔚谓蟿蔚蟻伪位喂蟽蟿喂魏蠈 伪蠀蟿蠈 魏蔚委渭蔚谓慰 苇蠂蔚喂 魏维蟺慰喂慰 魏苇谓蟿蟻慰 魏伪喂 魏维蟺慰喂慰谓 魏蔚谓蟿蟻喂魏蠈 萎蟻蠅伪, 伪蠀蟿蠈蟼 蔚委谓伪喂 慰 渭伪谓喂蠋未畏蟼 未畏渭喂慰蠀蟻纬蠈蟼/蟺伪委魏蟿畏蟼 /魏伪蟿伪蟽蟿蟻慰蠁苇伪蟼 蟺伪味位 螠蟺维蟿蔚蟻位渭蟺慰蠀胃, 慰 慰蟺慰委慰蟼 伪蟺慰未委未蔚蟿伪喂 渭蔚 渭伪谓委伪 蟽蔚 渭喂伪 蟺伪谓蟿蔚位蠋蟼 渭维蟿伪喂畏 蔚谓伪蟽蠂蠈位畏蟽畏, 苇蠂慰谓蟿伪蟼 胃苇蟽蔚喂 蟿慰谓 伪蟺伪蟻维尾伪蟿慰 蠈蟻慰 蟺蠅蟼 蟿委蟺慰蟿伪 伪蟺蠈 蟿慰 蟿喂蟿维谓喂慰 苇蟻纬慰 蟿慰蠀 未蔚谓 渭蟺慰蟻蔚委 谓伪 未喂伪蟽蠅胃蔚委. 螣 蟽蠀纬纬蟻伪蠁苇伪蟼 尉喂蠁慰蠀位魏蔚委 渭蔚 蟿慰 魏位伪蟽喂魏蠈 胃苇渭伪 蟿畏蟼 渭伪蟿伪喂蠈蟿畏蟿伪蟼 蟿蠅谓 伪谓胃蟻蠅蟺委谓蠅谓 蔚纬蠂蔚喂蟻畏渭维蟿蠅谓, 蟿伪 慰蟺慰委伪 蟺伪蟻伪未委未慰谓蟿伪喂 伪谓蠀蟺蔚蟻胃苇蟿蠅蟼 蟽蟿畏 位萎胃畏. 芦螝伪喂 胃伪 苇蟻胃蔚喂 渭喂伪 渭苇蟻伪 蟺慰蠀 胃伪 蔚尉伪蠁伪谓喂蟽蟿蔚委 蠈位慰 蟿慰 蟽蟺委蟿喂, 蟺慰蠀 蠈位慰蟼 慰 未蟻蠈渭慰蟼 魏伪喂 蠈位畏 畏 纬蔚喂蟿慰谓喂维 胃伪 蟺蔚胃维谓慰蠀谓禄. 螝喂 蠈渭蠅蟼, 伪蠀蟿蠈 蔚委谓伪喂 畏 味蠅萎: 苇谓伪 蟺伪喂蠂谓委未喂 蠂蠅蟻委蟼 谓蠈畏渭伪, 维蠂蟻慰谓慰 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟺蔚蟺蔚蟻伪蟽渭苇谓慰. 螝伪喂 蔚渭蔚委蟼 蟺蟻慰蟽蠅蟻喂谓慰委 苇谓慰喂魏慰喂 蟿畏蟼 蟺慰位蠀魏伪蟿慰喂魏委伪蟼, 伪蟻喂胃渭蠈蟼 11 蟿畏蟼 慰未慰蠉 危喂渭蠈谓-螝蟻蠀渭蟺蔚位喂苇, 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿畏 味蠅萎 蟿蠅谓 畏蟻蠋蠅谓, 渭蔚蟿苇蠂慰谓蟿伪蟼 蟿蠅谓 蟽蟿喂纬渭蠋谓, 蠈蟽慰 蟿慰蠀位维蠂喂蟽蟿慰谓 未喂伪蟻魏蔚委 蟿慰 纬蠉蟻喂蟽渭伪 渭喂伪 蟽蔚位委未伪蟼, 蟿慰 蟿蔚位蔚委蠅渭伪 蔚谓蠈蟼 魏蔚蠁伪位伪委慰蠀, 畏 慰位慰魏位萎蟻蠅蟽畏 蟿慰蠀 尾喂尾位委慰蠀.
螝伪喂 蟺慰喂伪 畏 魏伪蟿维位畏尉畏; 螛伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蔚委谓伪喂 渭喂伪 喂未苇伪 蟿慰蠀 螠蟺蠈蟻蠂蔚蟼: 螣 伪谓伪纬谓蠋蟽蟿畏蟼 蟽畏魏蠋谓蔚蟿伪喂 伪蟻纬维 伪蟺蠈 蟿畏谓 伪谓伪蟺伪蠀蟿喂魏萎 蟿慰蠀 胃苇蟽畏, 蟺伪蟻伪蟿畏蟻蔚委 蟿慰谓 蠂蠋蟻慰 慰位蠈纬蠀蟻维 蟿慰蠀, 锟斤拷伪 伪谓蟿喂魏蔚委渭蔚谓伪 蟺慰蠀 蠀蟺慰蟿慰谓胃慰蟻蠉味慰蠀谓 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 蟿慰蠀 喂蟽蟿慰蟻委伪, 尾伪未委味蔚喂 蟺蟻慰蟼 蟿畏 尾喂尾位喂慰胃萎魏畏 魏伪喂 蟿慰蟺慰胃蔚蟿蔚委 蔚魏蔚委 蟿畏 螙蠅萎 鈥� 渭苇蟻慰蟼 蟿畏蟼 味蠅萎蟼 蟿慰蠀 蟺位苇慰谓 魏喂 伪蠀蟿萎. 危蟿畏 蟽蠀谓苇蠂蔚喂伪, 蟽蟿苇魏蔚喂 蟽蟿慰蠂伪蟽蟿喂魏蠈蟼, 蟽蟿蟻苇蠁慰谓蟿伪蟼 蟿畏 渭伪蟿喂维 蟿慰蠀 蟺蟻慰蟼 蟿伪 蟺维谓蠅, 蟺蟻慰蟼 蟿伪 苇尉蠅. 螉蟽蠅蟼 魏维蟺慰喂慰蟼 维位位慰蟼 (伪谓伪纬谓蠋蟽蟿畏蟼 魏喂 伪蠀蟿蠈蟼 萎 未畏渭喂慰蠀蟻纬蠈蟼;) 蔚魏蔚委谓畏 蟿畏 蟽蟿喂纬渭萎 尉蔚蠁蠀位位委味蔚喂 蟿慰 未喂魏蠈 蟿慰蠀 尾喂尾位委慰 (蟿慰 未喂魏蠈 蟽慰蠀, 伪谓伪纬谓蠋蟽蟿畏!), 魏伪蟿伪渭蔚蟿蟻维 蟿伪 伪谓蟿喂魏蔚委渭蔚谓维 蟿慰蠀, 蟿喂蟼 蟽蟿喂纬渭苇蟼 蟿畏蟼 味蠅萎蟼 蟿慰蠀 鈥撐晃晃迪� 蔚谓未喂伪蠁苇蟻慰蠀蟽蔚蟼, 慰喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蠈蠂喂鈥�, 苇蠅蟼 蠈蟿慰蠀 畏 伪谓委伪 蟿慰谓 慰未畏纬萎蟽蔚喂 蟽蟿畏谓 伪蟺蠈蠁伪蟽畏 谓伪 蟿慰(谓) 蔚蟺喂蟽蟿蟻苇蠄蔚喂 蟽蟿畏 位萎胃畏 蟿蠅谓 未喂伪尾伪蟽渭苇谓蠅谓 尾喂尾位委蠅谓, 蟿蠅谓 蟽蟺伪蟿伪位畏渭苇谓蠅谓 味蠅蠋谓鈥� ad infinitum.
违.螕. 螒蟺位维 纬喂伪 谓伪 尉蔚魏伪胃伪蟻委味慰蠀渭蔚 位委纬慰 蟿伪 蟺蟻维纬渭伪蟿伪: 螣 螤蔚蟻苇魏 慰蠉蟿蔚 魏伪蟿维 未喂维谓慰喂伪 未蔚谓 蔚委谓伪喂 韦味蠈蠀蟼 (蟽蠉渭蠁蠅谓伪 渭蔚 蟿喂蟼 蠀蟺蔚蟻尾慰位喂魏苇蟼 魏蟻喂蟿喂魏苇蟼 蟿慰蠀 慰蟺喂蟽胃蠈蠁蠀位位慰蠀). 螌位慰 蟿慰 尾喂尾位委慰 胃伪 渭蟺慰蟻慰蠉蟽蔚 委蟽蠅蟼 谓伪 蔚委谓伪喂 苇谓伪 渭喂魏蟻蠈 伪蟺蠈蟽蟺伪蟽渭伪 蔚谓蠈蟼 魏蔚蠁伪位伪委慰蠀 蟿慰蠀 芦螣未蠀蟽蟽苇伪禄. 围蟻蠅蟽蟿维蔚喂 蟺慰位蠉 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 蟽蟿慰谓 螠蟺蠈蟻蠂蔚蟼 (蠈蟺蠅蟼 魏喂 蠈位畏 畏 慰渭维未伪 Oulipo, 蔚尉维位位慰蠀), 伪位位维 慰蠉蟿蔚 魏伪喂 渭蔚 伪蠀蟿蠈谓 渭蟺慰蟻蔚委 谓伪 蟽蠀纬魏蟻喂胃蔚委 慰 螕维位位慰蟼.
违.螕. 2 螕喂伪 谓伪 蔚委渭伪喂 伪蟺蠈位蠀蟿伪 蔚喂位喂魏蟻喂谓萎蟼, 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 尾喂尾位委慰 蟺慰蠀 胃伪蠉渭伪蟽伪 蔚纬魏蔚蠁伪位喂魏维, 伪位位维 未蔚谓 渭蟺慰蟻蠋 谓伪 蟺蠅 蟺蠅蟼 伪蟺蠈位伪蠀蟽伪 伪谓伪纬谓蠅蟽蟿喂魏维 (蟺伪蟻维 渭蠈谓慰 蟽蔚 蟽蟿喂纬渭苇蟼 魏伪喂 伪蠁慰蠉 蟿慰 蟿蔚位蔚委蠅蟽伪). 危蔚 魏维胃蔚 蟺蔚蟻委蟺蟿蠅蟽畏, 未蔚谓 谓慰渭委味蠅 蟺蠅蟼 胃伪 蔚蟺伪谓苇位胃蠅 蟽蔚 伪蠀蟿蠈 (伪蠁慰蠉 慰位慰魏位萎蟻蠅蟽伪 蔚蟺喂蟿蠀蠂蠋蟼 蟿慰 蟺伪味位, 未蔚谓 苇蠂蔚喂 谓蠈畏渭伪 谓伪 蟿慰 尉伪谓伪蠁蟿喂维尉蠅), 蠈蟺蠅蟼 蟽魏慰蟺蔚蠉蠅 谓伪 魏维谓蠅, 伪蟼 蟺慰蠉渭蔚, 蟽蟿畏谓 蟺蔚蟻委蟺蟿蠅蟽畏 蟿慰蠀 芦螣未蠀蟽蟽苇伪禄, 苇谓伪 魏蔚委渭蔚谓慰 蟺慰蠀 蟿伪 蔚渭蟺蔚蟻喂苇蠂蔚喂 蠈位伪.
January 20, 2016
George Perec鈥檚 novel was published in French in 1978 and first published in English in 1987. This could not have been an easy assignment for the translator.
The opening quotation, 'Look with all your eyes, look.鈥� 鈥攓uoting Jules Verne鈥� is both an allusion to the wonder of both deciphering how we see the world and how we remember what we have seen. Or think we have seen...
This glorious, delectable visual feast of a novel, is constructed in the manner of an elaborate jigsaw puzzle. Perec鈥檚 canvas and construct is a single Parisian apartment building and across 99 episodic chapters he describes in meticulous and often intricate detail each and every room. And we the viewer are transplanted from apartment-to-apartment (if one were to view the building front on like a Chess board) via a single knight's move.
A knight moves two squares parallel to one side of the board and one square parallel to the other side. Any such move always takes the knight to a square of the opposite colour. In 99 moves the knight can move across every square on the board...
Ostensibly, as we traverse the building and the matrix of descriptive details within, we are watching the creation of a painting by Serge Valene, an old artist who has lived in the building for 55 years.
A novel of such intense descriptive writing, you might think, would collapse in on itself under relentless documenting of detail. The opposite is true, for Perec also expresses the humanity in the heartfelt life stories 鈥攖hrough the ages鈥� of every inhabitant of the building. This array of ornate detail serves to amplify each person's story. The macro details lead us down into the elliptical narratives of each inhabitant in sweeping cinematic style: through elaborate vintage keyholes, ascending up into antique chandeliers to look down upon classical sheet music atop a rare Steinway piano to traverse the musical staves and begin learning of the history of each note鈥檚 inscription and the hand that wrote them; and the train they were on; and the train passenger鈥檚 neighbour鈥檚 hat鈥� and the story behind the hat maker鈥� and on, and up and diagonally across鈥� through time and memory... from apartment-to-apartment... piece-by-piece鈥� the jigsaw... the picture...
Life: A User's Manual can be read as a parable about the efforts of the human mind to impose an arbitrary order on the world. Or a meditation on memory... even the act of writing itself. This is a glorious book in both its inventive structure and its rich visual descriptions.
The opening quotation, 'Look with all your eyes, look.鈥� 鈥攓uoting Jules Verne鈥� is both an allusion to the wonder of both deciphering how we see the world and how we remember what we have seen. Or think we have seen...
This glorious, delectable visual feast of a novel, is constructed in the manner of an elaborate jigsaw puzzle. Perec鈥檚 canvas and construct is a single Parisian apartment building and across 99 episodic chapters he describes in meticulous and often intricate detail each and every room. And we the viewer are transplanted from apartment-to-apartment (if one were to view the building front on like a Chess board) via a single knight's move.
A knight moves two squares parallel to one side of the board and one square parallel to the other side. Any such move always takes the knight to a square of the opposite colour. In 99 moves the knight can move across every square on the board...
Ostensibly, as we traverse the building and the matrix of descriptive details within, we are watching the creation of a painting by Serge Valene, an old artist who has lived in the building for 55 years.
A novel of such intense descriptive writing, you might think, would collapse in on itself under relentless documenting of detail. The opposite is true, for Perec also expresses the humanity in the heartfelt life stories 鈥攖hrough the ages鈥� of every inhabitant of the building. This array of ornate detail serves to amplify each person's story. The macro details lead us down into the elliptical narratives of each inhabitant in sweeping cinematic style: through elaborate vintage keyholes, ascending up into antique chandeliers to look down upon classical sheet music atop a rare Steinway piano to traverse the musical staves and begin learning of the history of each note鈥檚 inscription and the hand that wrote them; and the train they were on; and the train passenger鈥檚 neighbour鈥檚 hat鈥� and the story behind the hat maker鈥� and on, and up and diagonally across鈥� through time and memory... from apartment-to-apartment... piece-by-piece鈥� the jigsaw... the picture...
Life: A User's Manual can be read as a parable about the efforts of the human mind to impose an arbitrary order on the world. Or a meditation on memory... even the act of writing itself. This is a glorious book in both its inventive structure and its rich visual descriptions.
November 18, 2013
I used to be able to file a book without a rating: what happened? I don't want to give this book one or any stars: its not that its a bad book, its just not for me. I never liked Gabriel Garcia's 100 years nor Robert Altman's Short Cuts: the formula just doesn't do it for me: I can't take multiple narrative threads, hundreds of characters, all running around hither and thither like headless chickens till it does my head in and I don't know whats what, objects and stories and protags multiplying like a bad case of clap, nothing interconnects properly and you need a site map of whos who and his cat. Sheesh. I'm a bread and butter kind of girl, gots to pass on the narrative gourmet on offer here: theres too many dips to dunk.
September 21, 2019
螖蔚谓 苇蠂蠅 喂未苇伪 蟺蠈蟽蔚蟼 蠁慰蟻苇蟼 渭慰谓慰位蠈纬畏蟽伪 芦蔚委谓伪喂 蟿蟻蔚位蠈蟼 慰 蟿蠉蟺慰蟼, 蔚委谓伪喂 蟿蟻蔚位蠈蟼禄 (渭蔚 蟿畏谓 魏伪位萎 蟿畏谓 苇谓谓慰喂伪). 螚 伪谓维纬谓蠅蟽畏 (蔚谓委慰蟿蔚 蔚尉慰蠀胃蔚谓蠅蟿喂魏萎, 蟺维谓蟿伪 蠈渭蠅蟼 伪蟺慰位伪蠀蟽蟿喂魏萎) 萎蟿伪谓 蔚渭蟺蔚喂蟻委伪 味蠅萎蟼.
December 25, 2019
Life, a never ending puzzle
A manual of a machine usually begins with the description of the parts and then shows how the machine works. The French writer Georges Perec (1936-1982) does more or less the same in this voluminous book. In each chapter he describes a room in a big house in Paris, starting with a detailed account of the objects in the room and then zooming in on the resident(s); often their story is more explicitly told.
In his foreword Perec offers a key to read this book: to look at it as a puzzle, beforehand constructed by someone, and to reconstruct it with the use of some techniques. This is in line with Perec's literary experiments and the Oulipo-group he was part of. It also suggests this book is no more than a kind of game, with no existential message.
I have some problem with this: implicitly in all the stories and lists there is a message. I read this as follows: men isn't capable to get a global look on the puzzle of life and detect a meaning, but nevertheless he strives (some more passionately than others) to fill out his life, to give it meaning; this results in a network of traces and objects (I refer to the lists of content of the rooms), and very often (almost always) in a sense of dissapointment and frustration.
Perec has created a tremendous work of art, very ingenious and intelligent, and also very erudite and encyclopedic. Furthermore some of his little stories are really beautiful; they tend to give this book the character of a new "1001-nights". But nevertheless, it doesn't convince me all the way: the endless lists, though they illustrate the richness and labyrinthic character of human life, are very dispiriting (I confess I read them rather diagonal in the second half of the book); above all I was very disappointed Perec always looks at the outside of objects and people, never disclosing the inside (which of course is much more difficult), and this explains why he misses the essence of life; his puzzle always remains but a puzzle, never more.
A manual of a machine usually begins with the description of the parts and then shows how the machine works. The French writer Georges Perec (1936-1982) does more or less the same in this voluminous book. In each chapter he describes a room in a big house in Paris, starting with a detailed account of the objects in the room and then zooming in on the resident(s); often their story is more explicitly told.
In his foreword Perec offers a key to read this book: to look at it as a puzzle, beforehand constructed by someone, and to reconstruct it with the use of some techniques. This is in line with Perec's literary experiments and the Oulipo-group he was part of. It also suggests this book is no more than a kind of game, with no existential message.
I have some problem with this: implicitly in all the stories and lists there is a message. I read this as follows: men isn't capable to get a global look on the puzzle of life and detect a meaning, but nevertheless he strives (some more passionately than others) to fill out his life, to give it meaning; this results in a network of traces and objects (I refer to the lists of content of the rooms), and very often (almost always) in a sense of dissapointment and frustration.
Perec has created a tremendous work of art, very ingenious and intelligent, and also very erudite and encyclopedic. Furthermore some of his little stories are really beautiful; they tend to give this book the character of a new "1001-nights". But nevertheless, it doesn't convince me all the way: the endless lists, though they illustrate the richness and labyrinthic character of human life, are very dispiriting (I confess I read them rather diagonal in the second half of the book); above all I was very disappointed Perec always looks at the outside of objects and people, never disclosing the inside (which of course is much more difficult), and this explains why he misses the essence of life; his puzzle always remains but a puzzle, never more.
January 8, 2023
Una grata sorpresa haber le铆do esta obra, gran puzzle donde nos inmiscuimos en la vida de los habitantes presentes y pasados de un edificio parisino.
Cada apartamento tiene no s贸lo la descripci贸n al detalle de su decorado, cuadros y muebles, sino que ahondamos en el microcosmos de sus habitantes y sus vidas.
Los distintos lugarares del edificio nos lleva a historias extravagantes, a f谩bulas, a cat谩logos. Ficci贸n y realidad se mezclan en los 99 cap铆tulos y los cerca de 1500 personajes que aparecen. El tono general es melanc贸lico, y el autor logra transmitir los sentimientos de los protagonistas.
La edici贸n cuenta con un par de 铆ndices muy 煤tiles para no perderse. Es muy agradable dejarse llevar y extraviarse en este universo m谩gico de Perec.
Un must read de los buenos. No lo dejen pasar.
Cada apartamento tiene no s贸lo la descripci贸n al detalle de su decorado, cuadros y muebles, sino que ahondamos en el microcosmos de sus habitantes y sus vidas.
Los distintos lugarares del edificio nos lleva a historias extravagantes, a f谩bulas, a cat谩logos. Ficci贸n y realidad se mezclan en los 99 cap铆tulos y los cerca de 1500 personajes que aparecen. El tono general es melanc贸lico, y el autor logra transmitir los sentimientos de los protagonistas.
La edici贸n cuenta con un par de 铆ndices muy 煤tiles para no perderse. Es muy agradable dejarse llevar y extraviarse en este universo m谩gico de Perec.
Un must read de los buenos. No lo dejen pasar.
May 15, 2023
Non ha una trama ha tante trame... 脠 un romanzo di romanzi... Biografie di precedenti abitanti degli appartamenti... E poi lui l'infinite jest francese che 猫 sia finito che non finito... Puoi pianificare tutto ma se alla fine al posto di una X hai una W cosa 猫 servito pianificare... Cosa sei disposto a rinunciare per quella X che ti manca?
questo romanzo 猫 il TARDIS
questo romanzo 猫 il TARDIS
January 29, 2014
Simultaneously so massive and yet so minute, allow a quick consulting of your Anti-Oedipus and then bring this to resolution. This novel brought considerable warmth and a curious attention to matters. Much like black bean hummus. Don't eat this book. Such requires a chuckle as I type.
September 3, 2021
TL;DR: PERECO "GYVENIME" VISKO LABAI DAUG
Pereco "Gyvenim膮" vietomis maniau, kad numesiu, o vietomis svajojau, kaip nusiperku lietuvi拧k膮 (leid啪ia "Lapas", tikiuos neu啪truks) ir skaitau v臈l, o tada v臈l angli拧kai. Ne啪inau, ar tam u啪teks nuosavo gyvenimo, ir dar nuostabiau, kad pats Perecas, gyven臋s ne taip jau ilgai, sugeb臈jo 拧it膮 "Gyvenim膮" sukurti. Ir dar daug kit懦 dalyk懦 - jau laukiu skaityti.
Mane nupirko jau pati "Gyvenimo" intro, nes ji visa yra apie puzlus: apie tai, kokios b奴na detali懦 formos, kaip skiriasi vaizdas, kai tu d臈lioji, kai interpretuoji ma啪膮 fragment臈l寞 kaip, pvz, pastato sienos dal寞, o paskui jis atranda viet膮 啪mogaus veide; kaip tie fragmentai beveik neegzistuoja, kol n臈ra didesnio paveikslo dalis, arba kitaip - egzistuoja, bet tik visi拧kai nepa啪in奴s ir nesuprantami, ir tik sud臈liodami mes juos "sur奴拧iuojam" ir taip patys nusiraminam. Taip ir b奴na d臈liojant, tik ka啪kaip apie tai negalvoji...
Taip yra ir Pereco knygoje. J膮 sudaro 100 skyri懦, visus juos jungia vienas pastatas ir viena diena: 1975 m. bir啪elio 23 d., Pary啪iaus daugiabutis. Skyriai turi daugiabu膷io gyventoj懦 pavardes, ne po vien膮 kart膮: pvz pradedi su Gratiolet 1, tada, po 拧imto psl, jau Gratiolet 2. Kiekvienas skyrius tarsi apra拧o, kas vyksta atitinkamame kambaryje 拧iuo metu (1975-06-23), ir 寞 tai 寞eina: kokie paveikslai ten kabo, o jei paveikslai - tai kas vaizduojama, kas nutap臈, o gal dar su tapytoju yra susijusi istorija, tai j膮 ir pasakoja... I拧 prad啪i懦 - ne寞veikiamo chaoso 寞sp奴dis, kur tiesiog iriesi per tekst膮 ir nieko neatsimeni. Bet paskui, 寞veikus 100 ar 200 psl, pajunti, kad jau jau, viskas: tos visi拧kai chaoti拧kos istorijos prad臈jo d臈liotis, kaip puzlas. Prisimeni, kad apie t膮 jau ka啪k膮 skaitei (d臈liojai), tai jo vaizd膮 dar papildai kitu vaizdu... ir taip toliau. Labai laimingas 'inis chaosas.
沤iauriai gra啪i pagrindin臈 istorija ir tai, kaip ji u啪sibaigia: 啪mogus nelabai k膮 veikia gyvenime, sugalvoja, kad jam reikia i拧mokti tapyti ir 500-uose pasaulio uost懦 nutapyt po akvarel臋. Tada pradeda mokytis pas tapytoj膮, po ka啪kiek met懦 i拧moksta tapyt, tada dar galyb臋 met懦 keliauja ir tapo. Nutap臋s jis siun膷ia savo akvarel臋 tam pa膷iam name gyvenan膷iam 啪aislininkui, o tas, j膮 priklijav臋s prie med啪io plok拧tel臈s, i拧pjauna puzl膮. Rank懦 darbo, su 寞domiausiom detali懦 formom! Ir dar savoti拧kai 啪aid啪ia: i拧pjauna apgaulingas detales, labirintines d臈liojimo formas. Tada naujasis tapytojas, pabaig臋s tapyti, gr寞啪ta ir paeiliui d臈lioja savo paties jau nutapytas akvareles. O galiausiai su sud臈liota keliauja 寞 jos nutapymo viet膮 ir j膮 nutrina su r奴g拧tim, kad v臈l likt懦 tik baltas lapas. Visi拧kas performansas, ilgametis ir grandiozinis, ir labai gra啪us - grynas procesas, kur ilgi metai ir 寞d臈tas rank懦 darbas, k奴rimas ir i拧naikinimas, yra svarbiau u啪 pat寞 atlikimo fakt膮 (kaip da啪nai b奴na performansuose).
Ir 啪iauriai gra啪iai baigiasi - ir istorija, ir visa knyga. 沤mogus jau senas, dal寞 akvareli懦 sud臈lioj臋s ir sunaikin臋s, beveik aklas (nepaisydamas gydytoj懦 rekoomendacij懦, vis nub臈ga pad臈liot, galiausiai jau tik apgraibom d臈lioja). Ir mir拧ta d臈liodamas vien膮 i拧 j懦 (tik paskutiniam puslapyje t膮 ir suprantam, kad 1975-06-23 ir buvo apie tai), kai liko 寞d臈t tik paskutin臋 detal臋:
W - nes tai kita ab臈c臈l臈s raid臈? O gal nes kita Pereco knyga vadinasi , ir 膷ia yra tas vaikyst臈s prisiminimas, galb奴t vienintelis lik臋s Bartleboothui pasiekiamas? Jau 啪inau, k膮 toliau skaitysiu 拧itam Pereco labirinte.
Bet ir 拧iaip - ta daugyb臈 istorij懦: netikra medium臈, vyro 啪udik懦 啪udik臈, nuo uo拧vio rankos 啪monos netek臋s vyras su dukra, kleptoman懦 pora, 啪aisl懦 ir visokiausi懦 keis膷iausi懦 smulkmen懦 dirb臈jas su be galo mylima 啪mona, paslaptinga operos solist臈, gydytojas, kelet膮 met懦 kruop拧膷iai reng臋s savo prot臈vio mediko studij膮 apie inkstus, kuri膮 v臈liau nup_zdino ir i拧publikavo 啪ymus profesorius, netikra i拧galvota giminait臈, apie kurios 啪ygius ra拧omos knygos, 啪mogus, renkantis i拧 啪odyn懦 mirusius (nebevartojamus) 啪od啪ius, - 膷ia visko tiek daug, n臈 ne寞manoma prisimint, ir vis d臈lto Perecas - nors absoliuti dauguma jo istorij懦 yra apie apgavystes, neteisybes ir skriaudas - sugeba nesukurti dramos, likti vos ne gryname apra拧ymo lygmenyje. Taigi beveik jokie persona啪ai nenuspalvinami nei dideli懦 dram懦, nei tuo labiau melodram懦, - tiesiog susipa啪寞sti su jais, bet nei gyveni, nei verki u啪 juos. Toks tobulas miesto, kur visi atskiri ir kiekvienas su savo ne寞tik臈tinais pasauliais, romanas. Sykiu romanas apie nam膮, kuris tuo pat metu yra ir miestas, ir pasaulis (ir puzlas): labai gra啪us 74 skyrius "Lift Machinery 2", kur pasakoja kas yra leid啪iantis vis 寞 啪emesn寞 sluoksn寞. Vienam sluoksny 拧iaip r奴siai su chlamu, kitam vamzd啪iai ir ma拧inos, toliau - sm臈lio kalnai, toliau uostai, toliau kanalai su bar啪omis, toliau 拧achtos, kur akli arkliai traukia angli懦 ve啪imus, tada v臈l vamzd啪iai, buldozeriai, o pa膷iam dugne - juodos olos, po kurias klaid啪ioja beak臈s pabaisos.
Turiu knyg膮 , taip niekada visos ir neperskai膷iau, ka啪kaip vis atrodydavo, kad tie visi tekstiniai 啪aidimai - tokie 拧alti, reikia jiems atitinkamos nuotaikos. Bet su Perecu ne, jis ne寞tik臈tinai 拧iltas, nors ir sud臈tingas, ir li奴dnas - nu grynai kaip gyvenimas :))
TOLIAU BELEKOKIO ILGIO CITATOS:
膶ia subjektyvus favoritas apie puzlus, nes nor臈josi skaityt ir skaityt tas vietas (gaila, neturiu n臈 vieno medinio, ka啪i ar dar b奴na toki懦 dirb臈j懦? 啪inau, kad yra vieni amerikieti拧ki, kuri懦 kiekvienas d臈liojimo 啪ingsnis yra naujas galvos奴kis, gal kada pavyks i拧bandyti):
Bet 拧iaip "Gyvenimas" yra ne tik 寞mantrus, bet ir tiesiog linksmas, labai 拧iltai linksmas. Va pvz istorikas ginasi diser寞 apie "prieskoni懦 keli膮":
膶ia dailininkas Val猫ne, mok臋s Bartlebooth膮 tapyti: jis yra nutap臋s visus namo gyventojus, j懦 istorijas, praeit寞 ir ateit寞 - kitaip tariant, visa regintis. Taip pat nutap臋s 拧iuos persona啪us ir j懦 istorijas (179 pozicij懦 s膮ra拧as, kur kiekviena pozicija, jei naudoji reikiam膮 拧rift膮 - pvz Notepade, kur nusira拧in臈jau citat膮, - identi拧ko ilgio):
Ir galiausiai 啪od啪i懦 啪udikas (jis skaito 啪odyn膮 ir turi i拧mesti senus 啪od啪ius, o paskui pradeda sudarin臈ti savo mirusi懦 啪od啪i懦 啪odynus):
Pereco "Gyvenim膮" vietomis maniau, kad numesiu, o vietomis svajojau, kaip nusiperku lietuvi拧k膮 (leid啪ia "Lapas", tikiuos neu啪truks) ir skaitau v臈l, o tada v臈l angli拧kai. Ne啪inau, ar tam u啪teks nuosavo gyvenimo, ir dar nuostabiau, kad pats Perecas, gyven臋s ne taip jau ilgai, sugeb臈jo 拧it膮 "Gyvenim膮" sukurti. Ir dar daug kit懦 dalyk懦 - jau laukiu skaityti.
Mane nupirko jau pati "Gyvenimo" intro, nes ji visa yra apie puzlus: apie tai, kokios b奴na detali懦 formos, kaip skiriasi vaizdas, kai tu d臈lioji, kai interpretuoji ma啪膮 fragment臈l寞 kaip, pvz, pastato sienos dal寞, o paskui jis atranda viet膮 啪mogaus veide; kaip tie fragmentai beveik neegzistuoja, kol n臈ra didesnio paveikslo dalis, arba kitaip - egzistuoja, bet tik visi拧kai nepa啪in奴s ir nesuprantami, ir tik sud臈liodami mes juos "sur奴拧iuojam" ir taip patys nusiraminam. Taip ir b奴na d臈liojant, tik ka啪kaip apie tai negalvoji...
Taip yra ir Pereco knygoje. J膮 sudaro 100 skyri懦, visus juos jungia vienas pastatas ir viena diena: 1975 m. bir啪elio 23 d., Pary啪iaus daugiabutis. Skyriai turi daugiabu膷io gyventoj懦 pavardes, ne po vien膮 kart膮: pvz pradedi su Gratiolet 1, tada, po 拧imto psl, jau Gratiolet 2. Kiekvienas skyrius tarsi apra拧o, kas vyksta atitinkamame kambaryje 拧iuo metu (1975-06-23), ir 寞 tai 寞eina: kokie paveikslai ten kabo, o jei paveikslai - tai kas vaizduojama, kas nutap臈, o gal dar su tapytoju yra susijusi istorija, tai j膮 ir pasakoja... I拧 prad啪i懦 - ne寞veikiamo chaoso 寞sp奴dis, kur tiesiog iriesi per tekst膮 ir nieko neatsimeni. Bet paskui, 寞veikus 100 ar 200 psl, pajunti, kad jau jau, viskas: tos visi拧kai chaoti拧kos istorijos prad臈jo d臈liotis, kaip puzlas. Prisimeni, kad apie t膮 jau ka啪k膮 skaitei (d臈liojai), tai jo vaizd膮 dar papildai kitu vaizdu... ir taip toliau. Labai laimingas 'inis chaosas.
沤iauriai gra啪i pagrindin臈 istorija ir tai, kaip ji u啪sibaigia: 啪mogus nelabai k膮 veikia gyvenime, sugalvoja, kad jam reikia i拧mokti tapyti ir 500-uose pasaulio uost懦 nutapyt po akvarel臋. Tada pradeda mokytis pas tapytoj膮, po ka啪kiek met懦 i拧moksta tapyt, tada dar galyb臋 met懦 keliauja ir tapo. Nutap臋s jis siun膷ia savo akvarel臋 tam pa膷iam name gyvenan膷iam 啪aislininkui, o tas, j膮 priklijav臋s prie med啪io plok拧tel臈s, i拧pjauna puzl膮. Rank懦 darbo, su 寞domiausiom detali懦 formom! Ir dar savoti拧kai 啪aid啪ia: i拧pjauna apgaulingas detales, labirintines d臈liojimo formas. Tada naujasis tapytojas, pabaig臋s tapyti, gr寞啪ta ir paeiliui d臈lioja savo paties jau nutapytas akvareles. O galiausiai su sud臈liota keliauja 寞 jos nutapymo viet膮 ir j膮 nutrina su r奴g拧tim, kad v臈l likt懦 tik baltas lapas. Visi拧kas performansas, ilgametis ir grandiozinis, ir labai gra啪us - grynas procesas, kur ilgi metai ir 寞d臈tas rank懦 darbas, k奴rimas ir i拧naikinimas, yra svarbiau u啪 pat寞 atlikimo fakt膮 (kaip da啪nai b奴na performansuose).
Ir 啪iauriai gra啪iai baigiasi - ir istorija, ir visa knyga. 沤mogus jau senas, dal寞 akvareli懦 sud臈lioj臋s ir sunaikin臋s, beveik aklas (nepaisydamas gydytoj懦 rekoomendacij懦, vis nub臈ga pad臈liot, galiausiai jau tik apgraibom d臈lioja). Ir mir拧ta d臈liodamas vien膮 i拧 j懦 (tik paskutiniam puslapyje t膮 ir suprantam, kad 1975-06-23 ir buvo apie tai), kai liko 寞d臈t tik paskutin臋 detal臋:
It is the twenty-third of June nineteen seventy-five, and it is eight o'clock in the evening. Seated at his jigsaw puzzle, Bartlebooth has just died. On the tablecloth, somewhere in the crepuscular sky of the four hundred and thirty-ninth puzzle, the black hole of the sole piece not yet filled in has the almost perfect shape of an X. But the ironical thing, which could have been foreseen long ago, is that the piece the dead man holds between his fingers is shaped like a W. (p. 565)
W - nes tai kita ab臈c臈l臈s raid臈? O gal nes kita Pereco knyga vadinasi , ir 膷ia yra tas vaikyst臈s prisiminimas, galb奴t vienintelis lik臋s Bartleboothui pasiekiamas? Jau 啪inau, k膮 toliau skaitysiu 拧itam Pereco labirinte.
Bet ir 拧iaip - ta daugyb臈 istorij懦: netikra medium臈, vyro 啪udik懦 啪udik臈, nuo uo拧vio rankos 啪monos netek臋s vyras su dukra, kleptoman懦 pora, 啪aisl懦 ir visokiausi懦 keis膷iausi懦 smulkmen懦 dirb臈jas su be galo mylima 啪mona, paslaptinga operos solist臈, gydytojas, kelet膮 met懦 kruop拧膷iai reng臋s savo prot臈vio mediko studij膮 apie inkstus, kuri膮 v臈liau nup_zdino ir i拧publikavo 啪ymus profesorius, netikra i拧galvota giminait臈, apie kurios 啪ygius ra拧omos knygos, 啪mogus, renkantis i拧 啪odyn懦 mirusius (nebevartojamus) 啪od啪ius, - 膷ia visko tiek daug, n臈 ne寞manoma prisimint, ir vis d臈lto Perecas - nors absoliuti dauguma jo istorij懦 yra apie apgavystes, neteisybes ir skriaudas - sugeba nesukurti dramos, likti vos ne gryname apra拧ymo lygmenyje. Taigi beveik jokie persona啪ai nenuspalvinami nei dideli懦 dram懦, nei tuo labiau melodram懦, - tiesiog susipa啪寞sti su jais, bet nei gyveni, nei verki u啪 juos. Toks tobulas miesto, kur visi atskiri ir kiekvienas su savo ne寞tik臈tinais pasauliais, romanas. Sykiu romanas apie nam膮, kuris tuo pat metu yra ir miestas, ir pasaulis (ir puzlas): labai gra啪us 74 skyrius "Lift Machinery 2", kur pasakoja kas yra leid啪iantis vis 寞 啪emesn寞 sluoksn寞. Vienam sluoksny 拧iaip r奴siai su chlamu, kitam vamzd啪iai ir ma拧inos, toliau - sm臈lio kalnai, toliau uostai, toliau kanalai su bar啪omis, toliau 拧achtos, kur akli arkliai traukia angli懦 ve啪imus, tada v臈l vamzd啪iai, buldozeriai, o pa膷iam dugne - juodos olos, po kurias klaid啪ioja beak臈s pabaisos.
Turiu knyg膮 , taip niekada visos ir neperskai膷iau, ka啪kaip vis atrodydavo, kad tie visi tekstiniai 啪aidimai - tokie 拧alti, reikia jiems atitinkamos nuotaikos. Bet su Perecu ne, jis ne寞tik臈tinai 拧iltas, nors ir sud臈tingas, ir li奴dnas - nu grynai kaip gyvenimas :))
TOLIAU BELEKOKIO ILGIO CITATOS:
膶ia subjektyvus favoritas apie puzlus, nes nor臈josi skaityt ir skaityt tas vietas (gaila, neturiu n臈 vieno medinio, ka啪i ar dar b奴na toki懦 dirb臈j懦? 啪inau, kad yra vieni amerikieti拧ki, kuri懦 kiekvienas d臈liojimo 啪ingsnis yra naujas galvos奴kis, gal kada pavyks i拧bandyti):
The art of jigsaw puzzling begins with wooden puzzles cut by hand, whose maker undertakes to ask himself all the questions the player will have to solve, and, instead of allowing chance to cover his tracks, aims to replace it with cunning, trickery, and subterfuge. All the elements occurring in the image to be reassembled - this armchair covered in gold brocade, that three-pointed black hat with its rather ruined black plume, or that silver-braided bright yellow livery - serve by design as points of departure for trails that lead to false information. The organised, coherent, structured signifying space of the picture is cut up not only into inert, formless elements containing little information or signifying power, but also into falsified elements, carrying false information; two fragments of cornice made to fit each other perfectly when they belong in fact to two quite separate sections of the ceiling, the belt buckle of a uniform which turns out in extremis to be a metal clasp holding the chandelier, several almost identically cut pieces belonging, for one part, to a dwarf orange tree placed on a mantelpiece and, for the other part, to its scarcely attenuated reflection in a mirror, are classic examples of the types of traps puzzle-lovers come across.
From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzle-maker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other. (p. 218-219)
Bet 拧iaip "Gyvenimas" yra ne tik 寞mantrus, bet ir tiesiog linksmas, labai 拧iltai linksmas. Va pvz istorikas ginasi diser寞 apie "prieskoni懦 keli膮":
Since he wanted to show that the introduction into Europe of those small dried pimentos called "bird pepper" corresponded to a real transformation in the way game was prepared for cooking, at his examination he did not hesitate to make the three old professors who constituted the board of examiners taste the marinades he had made up himself. (p. 232)
膶ia dailininkas Val猫ne, mok臋s Bartlebooth膮 tapyti: jis yra nutap臋s visus namo gyventojus, j懦 istorijas, praeit寞 ir ateit寞 - kitaip tariant, visa regintis. Taip pat nutap臋s 拧iuos persona啪us ir j懦 istorijas (179 pozicij懦 s膮ra拧as, kur kiekviena pozicija, jei naudoji reikiam膮 拧rift膮 - pvz Notepade, kur nusira拧in臈jau citat膮, - identi拧ko ilgio):
21 The daughter's sad reveries, at the side of her father's bed
22 Austrian customers getting just the steamiest "Turkish Bath"
23 The Paraguayan odd-job man, getting ready to ignite a letter
24 The billionaire sporting knickerbockers to practice painting
25 The Woods & Water Dept. official opens a sanctuary for birds
26 The widow with her souvenirs wrapped in old weekly magazines
27 An international thief taken to be a high-ranking magistrate
28 Robinson Crusoe leading a very decent life style on his isle
29 The domino-playing rodent who feasted on dried-out Edam rind
30 The suffering "word-snuffer" messing around in old bookshops
[...]
170 The man who saw his own death warrant in a newspaper cutting
171 The emperor thinking of the "Eagle" to attack the Royal Navy
172 Famous works improved by a celebrated artist's layer of haze
173 Eugene of Savoy having a list made of the relics of Golgotha
174 In a polka-dot dress, a woman who knitted beside the seaside
175 The Tommies enjoying girls' gym practices on a Pacific beach
176 Gedeon Spilett locating the last match in his trouser pocket
177 A young trapeze artist refusing to climb down from his perch
178 Woodworms' hollow honeycombs solidified by an Italian artist
179 Lonely Val猫ne putting every bit of the block onto his canvas (p. 260, 265)
Ir galiausiai 啪od啪i懦 啪udikas (jis skaito 啪odyn膮 ir turi i拧mesti senus 啪od啪ius, o paskui pradeda sudarin臈ti savo mirusi懦 啪od啪i懦 啪odynus):
When he retired in nineteen sixty-five, after fifty-three years of scrupulous service, he had disposed of hundreds and thousands of tools, techniques, customs, beliefs, sayings, dishes, games, nicknames, weights and measures; he had wiped dozens of islands, hundreds of cities and rivers, and thousands of townships off the map; he had returned to taxonomic anonymity hundreds of varieties of cattle, species of birds, insects, and snakes, rather special sorts of fish, kinds of crustaceans, slightly dissimilar plants and particular breeds of vegetables and fruit; and cohorts of geographers, missionaries, entomologists, Church Fathers, men of letters, generals, Gods & Demons had been swept by his hand into eternal obscurity. (p. 327)
May 3, 2014
Sometimes you read a book at the perfect time. This is simultaneously the perfect book for winter binge reading and also the perfect book for fifteen minutes bus rides at the beginning and end of the day.
One could argue that there is some overarching/subterranean narrative tying this whole behemoth of a novel together - people grab onto the Bartlebooth saga with the jigsaw puzzles and the landscape water colors - but in truth this book is a compendium of wide-ranging stories all containing some varying kernel of truth concerning the collective human experience. There's an index in the back of my volume of this book of just some of the innumerable stories contained therein. Upon perusing the index it's hard for me to imagine anyone coming away with a clear sense of exactly what this book is about (The Tale of the acrobat who did not want to get off his trapeze ever again, the Tale of the Designer who had to dismantle the kitchen he was so proud of, the Tale of the Hampster deprived of his favourite game, the Tale of the Lord who hid his secret passions beneath sham crazes, the Man who bought the Vase of the Passion, the Thrice-Murdered Jeweller....)
You'd think this all would be too much but, despite the scattered variety - a veritable freakshow - the novel feels whole and every character and every story seems to have found its place. This is not entirely due to the elaborate apartment block schema which so many other reviewers have shed immensely useful light on. It also has to do with the consistency of Perec's voice, filled with compassion for the vagaries of human life and a curiosity about all of the things of the world.
Throw on top of all of this the innumerable references to Perec's literary favorites littered through the book, we have something that is hard to put down. Apparently, every chapter has both a direct and veiled reference to or quotation of one of approximately twenty authors, including crowd favorites such as Joyce, Borges, Proust, and Kafka. (For a useful user's manual to Life a User's Manual visit: )
I thought it would be fascinating to map out all of the hidden references in the novel - sort of like assembling a bunch of completely white jigsaw puzzles for the thrill of it. I gave it a shot figuring that I would have the best chance of picking up on either the Kafka or the Nabokov allusions. I quickly became exhausted though I did have a little success.
For example, from the above site I learned that Chapter 69 contained some form of hidden Nabokov reference, so I took up the very Nabokovian task of discerning that hidden reference with my bare hands and a large stack of Nabokov sitting nearby.
This first one was pretty easy, I opened to Chapter 69 and (bam!) right in the middle of the page is a diagram of a chess problem. In my mind that alone would have sufficed as evidence of a hidden Nabokov reference - but I kept digging anyway for the fun of it. A couple paragraphs in Perec describes in detail three pictures hanging on a wall (not the first or last time this happens). The second is by the American artist Organ Trapp - hmm Trapp, I've seen that name before, doesn't Humbert Humbert have some distant relative named Trapp who looks strikingly like Quilty? Humbert remembers this relative one day when he notices a man in his rear-view mirror following in a car behind him as he and Lolita make their escape across the country. The picture described by Perec depicts a gas station in Wyoming so we're definitely narrowing in on the road-trip chapters of Lolita where Nabokov really drums up his best roadside Americana. Perec lists the details of the gas station: "a green garbage can, very black, very whitewalled tyres for sale, bright cans of motor oil, a red icebox with assorted drinks." That rainbow of assorted junk has to be Nabokov. I got lucky on this one and knew roughly where to turn in Lolita and found the exact phrase about two pages into the 16th chapter of Part Two. My luck sort of ended there and I resorted to just googling particularly colorful passages in the other chapters I knew were supposed to contain Nabokov references.
I scoured through chapter 28 for a while since that is the first of the Nabokov chapters. A little snippet caught my eye, set off in italics at the bottom of a page - bleak walls, vacant eye-like windows. I threw this into my search bar and, lo and behold, a hit, but not what I am looking for. Turns out this little ditty comes from Poe's "Fall of the House of Usher." Poe isn't even on the cheat sheet chart! This is just a bonus Perec threw in for lonely little enchanted reference hunters like myself.
It's easy for me to get carried away with this sort of thing. I'd like to think that the social power of goodreads could somehow manage to unearth all of these little hidden gems and collect them all in one space because that would be awesome. If you have stumbled across any of the other hidden literary allusions let me know!
Anyway, this is a great book and it is amazing how Perec managed to pack in so much stuff (the references, the Knight's tour schema, etc) and still somehow manage to create and tie together so many far-flung and interesting stories about people who all lived in the same apartment block in Paris during one moment in time.
One could argue that there is some overarching/subterranean narrative tying this whole behemoth of a novel together - people grab onto the Bartlebooth saga with the jigsaw puzzles and the landscape water colors - but in truth this book is a compendium of wide-ranging stories all containing some varying kernel of truth concerning the collective human experience. There's an index in the back of my volume of this book of just some of the innumerable stories contained therein. Upon perusing the index it's hard for me to imagine anyone coming away with a clear sense of exactly what this book is about (The Tale of the acrobat who did not want to get off his trapeze ever again, the Tale of the Designer who had to dismantle the kitchen he was so proud of, the Tale of the Hampster deprived of his favourite game, the Tale of the Lord who hid his secret passions beneath sham crazes, the Man who bought the Vase of the Passion, the Thrice-Murdered Jeweller....)
You'd think this all would be too much but, despite the scattered variety - a veritable freakshow - the novel feels whole and every character and every story seems to have found its place. This is not entirely due to the elaborate apartment block schema which so many other reviewers have shed immensely useful light on. It also has to do with the consistency of Perec's voice, filled with compassion for the vagaries of human life and a curiosity about all of the things of the world.
Throw on top of all of this the innumerable references to Perec's literary favorites littered through the book, we have something that is hard to put down. Apparently, every chapter has both a direct and veiled reference to or quotation of one of approximately twenty authors, including crowd favorites such as Joyce, Borges, Proust, and Kafka. (For a useful user's manual to Life a User's Manual visit: )
I thought it would be fascinating to map out all of the hidden references in the novel - sort of like assembling a bunch of completely white jigsaw puzzles for the thrill of it. I gave it a shot figuring that I would have the best chance of picking up on either the Kafka or the Nabokov allusions. I quickly became exhausted though I did have a little success.
For example, from the above site I learned that Chapter 69 contained some form of hidden Nabokov reference, so I took up the very Nabokovian task of discerning that hidden reference with my bare hands and a large stack of Nabokov sitting nearby.
This first one was pretty easy, I opened to Chapter 69 and (bam!) right in the middle of the page is a diagram of a chess problem. In my mind that alone would have sufficed as evidence of a hidden Nabokov reference - but I kept digging anyway for the fun of it. A couple paragraphs in Perec describes in detail three pictures hanging on a wall (not the first or last time this happens). The second is by the American artist Organ Trapp - hmm Trapp, I've seen that name before, doesn't Humbert Humbert have some distant relative named Trapp who looks strikingly like Quilty? Humbert remembers this relative one day when he notices a man in his rear-view mirror following in a car behind him as he and Lolita make their escape across the country. The picture described by Perec depicts a gas station in Wyoming so we're definitely narrowing in on the road-trip chapters of Lolita where Nabokov really drums up his best roadside Americana. Perec lists the details of the gas station: "a green garbage can, very black, very whitewalled tyres for sale, bright cans of motor oil, a red icebox with assorted drinks." That rainbow of assorted junk has to be Nabokov. I got lucky on this one and knew roughly where to turn in Lolita and found the exact phrase about two pages into the 16th chapter of Part Two. My luck sort of ended there and I resorted to just googling particularly colorful passages in the other chapters I knew were supposed to contain Nabokov references.
I scoured through chapter 28 for a while since that is the first of the Nabokov chapters. A little snippet caught my eye, set off in italics at the bottom of a page - bleak walls, vacant eye-like windows. I threw this into my search bar and, lo and behold, a hit, but not what I am looking for. Turns out this little ditty comes from Poe's "Fall of the House of Usher." Poe isn't even on the cheat sheet chart! This is just a bonus Perec threw in for lonely little enchanted reference hunters like myself.
It's easy for me to get carried away with this sort of thing. I'd like to think that the social power of goodreads could somehow manage to unearth all of these little hidden gems and collect them all in one space because that would be awesome. If you have stumbled across any of the other hidden literary allusions let me know!
Anyway, this is a great book and it is amazing how Perec managed to pack in so much stuff (the references, the Knight's tour schema, etc) and still somehow manage to create and tie together so many far-flung and interesting stories about people who all lived in the same apartment block in Paris during one moment in time.
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