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賲丕乇賰賵賮丕賱丿賵
鬲賯毓 兀丨丿丕孬 賴匕賴 丕賱賯氐氐 賮賷 賲丿賷賳丞 氐賳丕毓賷丞 賮賷 丕賱卮賲丕賱 丕賱廿賷胤丕賱賷貙 賵賯丿 賰鬲亘鬲 丕賱賲噩賲賵毓丞 丕賱兀賵賱賶 賲賳賴丕 賮賷 亘丿丕賷丞 丕賱禺賲爻賷賳丕鬲貙 賵賱匕丕 賮賯丿 氐賵乇鬲 廿賷胤丕賱賷丕 丕賱賮賯賷乇丞貙 廿賷胤丕賱賷丕 丕賱兀賮賱丕賲 丕賱賵丕賯毓賷丞 丕賱噩丿賷丿丞. 兀賲丕 丕賱賯氐氐 丕賱兀禺賷乇丞 賮賯丿 賰鬲亘鬲 賮賷 賲賳鬲氐賮 丕賱爻鬲賷賳丕鬲 亘毓丿 兀賳 丕賳鬲毓卮鬲 丕賱丌賲丕賱 亘丕賱丕夭丿賴丕乇 丕賱丕賯鬲氐丕丿賷.
146 pages, Paperback
First published January 1, 1963
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About the author
Italo Calvino
539听books8,669听followersItalo Calvino was born in Cuba and grew up in Italy. He was a journalist and writer of short stories and novels. His best known works include the Our Ancestors trilogy (1952-1959), the Cosmicomics collection of short stories (1965), and the novels Invisible Cities (1972) and If On a Winter's Night a Traveler (1979).
His style is not easy to classify; much of his writing has an air reminiscent to that of fantastical fairy tales (Our Ancestors, Cosmicomics), although sometimes his writing is more "realistic" and in the scenic mode of observation (Difficult Loves, for example). Some of his writing has been called postmodern, reflecting on literature and the act of reading, while some has been labeled magical realist, others fables, others simply "modern". He wrote: "My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language."
His style is not easy to classify; much of his writing has an air reminiscent to that of fantastical fairy tales (Our Ancestors, Cosmicomics), although sometimes his writing is more "realistic" and in the scenic mode of observation (Difficult Loves, for example). Some of his writing has been called postmodern, reflecting on literature and the act of reading, while some has been labeled magical realist, others fables, others simply "modern". He wrote: "My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language."
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Displaying 1 - 30 of 1,070 reviews
September 10, 2024
See my full list of Favorite Cinnamon Rolls in SFF Novels at .
Marcovaldo is a pure and innocent man, captivated by the simple things in life. In this collection of short stories, Italo Calvino tells the tales of Marcovaldo as he experiences the four seasons living in a city somewhere in northern Italy, where the people of the city are more streetsmart and cynical than the innocent Marcovaldo, who always finds a way to turn an ordinary day into a magical fairytale.
Italo Calvino constructs this book to cycle through each of the seasons, with stories focusing on spring, summer, autumn, and winter, and then continuing on to the next year.
Each season, Marcovaldo is enraptured by one of life鈥檚 simple pleasures, often relating to unexpected natural beauty or delicious food. Marcovaldo is viewed as a simpleton by the more jaded people of the city. But he finds pure joy in the simplicity of seeing wild mushrooms growing by the street, country birds flocking around his urban dwelling, or sharing his delicious sausage with a young boy who doesn鈥檛 like his fancy but bland lunch.
Each story ends with a plot twist, very much in the style of a folk tale or fable, and Marcovaldo always proves to be a bit too naive for this cynical world. Still, his innocence is uncompromised by the time we start the next season.
This is such a delightful collection of stories, all written with simplicity and beauty. Marcovaldo is a wonderful and loveable character, and the writing style perfectly matches his innocent personality. Marcovaldo is my favorite Italian cinnamon roll. And if he had one, I鈥檓 sure he鈥檇 share it with all of us.
Marcovaldo is a pure and innocent man, captivated by the simple things in life. In this collection of short stories, Italo Calvino tells the tales of Marcovaldo as he experiences the four seasons living in a city somewhere in northern Italy, where the people of the city are more streetsmart and cynical than the innocent Marcovaldo, who always finds a way to turn an ordinary day into a magical fairytale.
Italo Calvino constructs this book to cycle through each of the seasons, with stories focusing on spring, summer, autumn, and winter, and then continuing on to the next year.
Each season, Marcovaldo is enraptured by one of life鈥檚 simple pleasures, often relating to unexpected natural beauty or delicious food. Marcovaldo is viewed as a simpleton by the more jaded people of the city. But he finds pure joy in the simplicity of seeing wild mushrooms growing by the street, country birds flocking around his urban dwelling, or sharing his delicious sausage with a young boy who doesn鈥檛 like his fancy but bland lunch.
Each story ends with a plot twist, very much in the style of a folk tale or fable, and Marcovaldo always proves to be a bit too naive for this cynical world. Still, his innocence is uncompromised by the time we start the next season.
This is such a delightful collection of stories, all written with simplicity and beauty. Marcovaldo is a wonderful and loveable character, and the writing style perfectly matches his innocent personality. Marcovaldo is my favorite Italian cinnamon roll. And if he had one, I鈥檓 sure he鈥檇 share it with all of us.
January 8, 2016
Calvino has been on my radar for a long time, and I think I made a good choice in picking Marcovaldo for a first try. This is a small book, but it has a big heart. The stories are set in the poverty ridden early 1950's and follow up to the relative abundance of the 1960's. The immediate connections that spring to mind are the grand masters of Italian neo-realism: de Sica in "The Bycicle Thieves", Fellini in "Amarcord" and "Roma - Citta Apperta", Visconti in "Rocco and his Brothers" or "White Nights". Going further afield, similar explorations of the condition of the less fortunates members of society, I could mention Truffaut or Kurosawa in their contemporary films. What they share with Italo Calvino is the poetry angle, "diamonds in the rust" and all that jazz, the hope that springs eternal when you are down and the only way is up. If we take the quote by Thoreau about "the mass of men that live lives of quiet desperation and go to the grave with the song still in them" , it becomes clear that Calvino has taken this singing responsibility upon his shoulders, as he follows his Marcovaldo in his ordinary dreams of improving his life by outsmarting the system and in his stubborn perseverence to keep trying despite countless defeats. The book could be classed as comedy, the kind that made Chaplin famous for getting us to laugh and cry at the same time at the tragic clown who walks into the sunset with his too short, patched pants and his oversized shoes.
Subtitled "Seasons in the City", this collection of 20 short stories is tied together by the protagonists and the setting: Marcovaldo is a handyman (unskilled worker) in a big city, burdened by low pay, a querulous wife and six children. His background is not explicitly given, but he must have been born somewhere in the countryside and transplanted to the concrete jungle of big city. Witness his eternal fascination with nature:
This Marcovaldo possessed an eye ill-suited to city life: billboards, traffic-lights, shop-windows, neon signs, posters, no matter how carefully devised to catch the attention, never arrested his gaze, which might have been running over the desert sands. Instead, he would never miss a leaf yellowing on a branch, a feather trapped by a roof tile; there was no horsefly on a horse's back, no worm-hole in a plank, or fig-peel squashed on the sidewalk that Marcovaldo didn't remark and ponder over, discovering the changes of season, the yearnings of his heart, and the woes of his existence.
The first story sets the tone and the format for all the rest: the alienation of living in the big city, the poverty, the sudden glimpse of an opportunity for improvement (in this case a row of mushrooms appearing in the gutters of a tramway station), the enthusiasm and the impulsive action ( To Marcovaldo the gray and wretched world surrounding him seemed suddenly generous with hidden riches; something could still be expected of life, beyond the hourly wage of his stipulated salary, with inflation index, family grant and cost-of-living allowance.), followed by the Irony of Fate when his plans are crushed by the steamroller of Reality. From free-of-charge mushrooms, to a quiet night sleeping on a park bench, trapping birds on rooftops or stealing rabbits from a hospital, bee venom or sand baths treatments for arthritic pains, excursions in search of clean air or clean fish - everything poor Marcovaldo plans turns to dust in his hands. His children are not excluded from the family curse, I especially liked the one story when his older boy runs from home to spend a summer in the mountains with a herd of cattle. For all his poverty and bad luck, Marcovaldo is not a revolutionary, he doesn't plan to overturn the social order and he doesn't rant about the general injustice of life. Mostly he is sad and tired, his dreams mostly trivial and his moments of happiness cheap and fleeting. Here's an example:
He is sitted on a bench by an avenue, near the place where he works; since his house is far away and to go there at noon costs time and tram tickets, he brings his lunch in the box, bought for the purpose, and he eats in the open air, watching the people go by, and then refreshes himself at a drinking fountain. If it's autumn and the sun is out, he chooses places where an occasional ray strikes; the shiny red leaves that fall from the trees serve him as napkins; the salami skins go to stray dogs, who are quick to become his friends; and the sparrows collect the bread crumbs, at a moment when no one is going past in the avenue.
As he eats, he thinks: "Why am I so happy to taste the flavor of my wife's cooking here, when at home, among the quarells and tears, the debts that crop up in every conversation, I can't enjoy it?"
I found it easy to identify with the main character, not only because I'm a big fan of the Italian school of cinema: I grew up in a big industrial town, playing around construction sites and unfinished appartment blocks, craving a green park or a holiday by the seaside, alternatively freezing in winter and stifling hot in summer: In every human presence Marcovaldo recognized sadly a brother, stuck like him, even in vacation time, to that oven of cooked and dusty cement, by debts, by the burden of the family, by the meagerness of his wages. . Like him, I sought refuge from reality in the magic of the silver screen : For anyone who dislikes his home and finds it inhospitable, the favorite refuge on cold evenings is the movies. . As an Easter Egg for filmgoers, Calvino inserts in one of his stories a homage to one of the most famous cuts from La Dolce Vita , making Marcovaldo hold the lights for the filming of a scene with a diva splashing in a fountain at night.
As summer follows spring and winter follows autumn and Italian economy slowly gathers steam, Marcovaldo moves from a basement room to a rooftop one, acquires a motorcycle and starts going to the movies or to the supermarkets. The tone of the stories changes slightly, to a more overt condemnation of consummerism, city alienation and inequality: billboard signs that hide the stars and keep the family from sleeping, supermarkets full of products they can't afford and yet couldn't help coveting, Christmas holidays marketed to death, free samples of shady products that they don't really need, luxury restaurants with restricted access, and so on. But through all these stories of woe and sadness, Calvino manages to find a glimpse of beauty, a lyrical touch, a good word or a kind gesture. His development as a writer was also evident as I progressed through these seasons in the city, starting with stark, elegant neo-realism and later flirting with magical realism, supra-realism, urban fables and a few closing paragraphs that are an allegorical poem of the fight between light and darkness, life and death. Simply beautiful.
I guess I'll have to read now my other two books by him that are waiting on my shelves : Cosmicomiche and If On a Winter Night a Traveller.
[edit for spelling - 2016]
July 15, 2022
賵丕丨丿丞 賲賳 兀賰孬乇 丕賱乇賵丕賷丕鬲 丕賱鬲賷 兀爻鬲賲鬲毓鬲 亘賯乇丕卅鬲賴丕 賵兀賳丕 賲賳睾賲爻 鬲賲丕賲丕賸 賮賷 兀爻賱賵亘 賰丕賱賮賷賳賵 丕賱賴丕丿卅 丕賱亘爻賷胤 , 睾賷乇 丕賱賲鬲賰賱賮 賮賷 爻禺乇賷鬲賴 賵丕賱鬲賷 賰丕賳鬲 亘賲孬丕亘丞 噩賵賴乇 丕賱乇賵丕賷丞貙 賰丕賱賮賷賳賵 賷爻鬲禺丿賲 兀爻賱賵亘 賮賳丕賳, 賷乇爻賲 乇賵丕賷丞 毓賱賶 賴賷卅丞 賯氐氐 賲鬲毓丿丿丞 鬲鬲禺匕 賲賳 賮氐賵賱 丕賱爻賳丞 毓賳賵丕賳丕賸 賱賱賵丨鬲賴丕 賱鬲乇爻賲 賮賷 丕賱賵丕噩賴丞 賲卮賴丿丕賸 胤乇賷賮丕賸 賵爻禺乇賷丞 賱丕匕毓丞 鬲賳鬲賯丿 丕賱丨賷丕丞 丕賱毓氐乇賷丞 丕賱噩丕賲丿丞 賵丕賱賲毓賷卮丞 丕賱廿爻鬲賴賱丕賰賷丞 賱賱賲噩鬲賲毓 賵毓氐乇 丕賱丌賱丕鬲 賵丕賱囟噩賷噩 賵丕賱氐禺亘 ..
賲丕乇賰賵 賮丕賱丿賵 賷鬲賲乇丿 毓賱賶 兀爻賱賵亘 丕賱丨賷丕丞 匕丕賰貙 賷賮乇 賲賳 噩丨賷賲 丕賱毓丕賱賲 丕賱賲丕丿賷 丕賱賯丕爻賷 貙 賷丨丕賵賱 兀賳 賷賯鬲亘爻 賲賳 丕賱亘爻丕胤丞 賮賳丕賸 噩丿賷丿丕賸 賱丨賷丕鬲賴 亘兀丿賵丕鬲 亘爻賷胤丞 鬲胤睾賶 毓賱賷賴丕 爻匕丕噩丞 賲購乇丞 賵毓賮賵賷丞 賳丕囟噩丞 , 鬲丨丕賵賱 兀賳 鬲乇爻賲 氐賵乇丞 丕賱廿賳爻丕賳 丕賱丨丕賱賷 丕賱賲丨丕氐乇 亘賷賳 兀賳賷丕亘 丕賱丨賷丕丞 丕賱噩丿賷丿丞 丕賱賲賵丨卮丞...
廿賳賴 賱賷爻 鬲賱丕毓亘 亘丕賱賵丕賯毓 亘賱 賴賵 賴乇賵亘 賲賳 賯賮氐 丨丿賷丿賷 噩丕賲丿 氐賳毓鬲賴 賱賳丕 丕賱丨賷丕丞 丕賱噩丿賷丿丞貙 兀爻賱賵亘 丕賱毓賷卮 亘亘爻丕胤丞, 丕賱毓賵丿丞 廿賱賶 兀丨囟丕賳 丕賱胤亘賷毓丞 賵丕賱廿賳爻丕賳賷丞貙 噩爻丿賴丕 賰丕賱賮賷賳賵 亘賭 乇賵丕賷丞-賯氐氐賷丞 亘丿賷毓丞 賱賱睾丕賷丞..
賲丕乇賰賵 賮丕賱丿賵 賷鬲賲乇丿 毓賱賶 兀爻賱賵亘 丕賱丨賷丕丞 匕丕賰貙 賷賮乇 賲賳 噩丨賷賲 丕賱毓丕賱賲 丕賱賲丕丿賷 丕賱賯丕爻賷 貙 賷丨丕賵賱 兀賳 賷賯鬲亘爻 賲賳 丕賱亘爻丕胤丞 賮賳丕賸 噩丿賷丿丕賸 賱丨賷丕鬲賴 亘兀丿賵丕鬲 亘爻賷胤丞 鬲胤睾賶 毓賱賷賴丕 爻匕丕噩丞 賲購乇丞 賵毓賮賵賷丞 賳丕囟噩丞 , 鬲丨丕賵賱 兀賳 鬲乇爻賲 氐賵乇丞 丕賱廿賳爻丕賳 丕賱丨丕賱賷 丕賱賲丨丕氐乇 亘賷賳 兀賳賷丕亘 丕賱丨賷丕丞 丕賱噩丿賷丿丞 丕賱賲賵丨卮丞...
廿賳賴 賱賷爻 鬲賱丕毓亘 亘丕賱賵丕賯毓 亘賱 賴賵 賴乇賵亘 賲賳 賯賮氐 丨丿賷丿賷 噩丕賲丿 氐賳毓鬲賴 賱賳丕 丕賱丨賷丕丞 丕賱噩丿賷丿丞貙 兀爻賱賵亘 丕賱毓賷卮 亘亘爻丕胤丞, 丕賱毓賵丿丞 廿賱賶 兀丨囟丕賳 丕賱胤亘賷毓丞 賵丕賱廿賳爻丕賳賷丞貙 噩爻丿賴丕 賰丕賱賮賷賳賵 亘賭 乇賵丕賷丞-賯氐氐賷丞 亘丿賷毓丞 賱賱睾丕賷丞..
August 10, 2018
Calvino's ecological allegories in the form of magical urban tales, takes a snippet of a story belonging to a season, and binds them into shape together to form the cycle of the seasons. Since all twenty of these very short stories feature the same character - Marcovaldo, you might just as well be reading a novella. Marcovaldo lives through the stories as the double of the writer, observing, reflecting and comparing in a perfectly detached way. He is a humble and romantic blue-collar worker lost in the big city, which perverts rhythms and obfuscates cycles. He is trapped in the unreality of this modern city and longs for nature, and nature rewards him in surprising ways. Mushrooms sprout out of the cement in 'Mushrooms in the City, the sky suddenly opens wide in 'Park-Bench Vacation', the moon shines brighter than the neon signs in 'The Moon and GNAC.' to name but a few.
Economic fragility and the shift from rural to urban life are the threads that tie each story together, with his strength being able to take the most mundane situations and put a fantastical spin on them. Not many others writers could pull off Calvino's intent. He has the style as well as the substance. What I admire with Marcovaldo is Calvino simply following his instincts as a storyteller and achieves a durable balance between the heritage of 20th-century Italian neorealism and a fabulous vision of reality. He truly believes reality is fabulous, but also likes to believe fables are true, put these two together, and it results in some wonderful and dreamlike episodes where he shines in a clever and witty way. There is also a cartoon element to these, with Calvino himself saying he borrowed some of the techniques from a comic strip.
Up until now I have found Calvino a bit of a mixed bag, loved 'Invisible Cities', but didn't care much for 'If on a Winter's Night a Traveler', with a few others in-between. Marcovaldo sits somewhere near the top of the middleground. It's better than I expected, but always carried with it a few niggles. Still, a decent read, and one that would especially suit the Calvino enthusiast. 3.5/5
Economic fragility and the shift from rural to urban life are the threads that tie each story together, with his strength being able to take the most mundane situations and put a fantastical spin on them. Not many others writers could pull off Calvino's intent. He has the style as well as the substance. What I admire with Marcovaldo is Calvino simply following his instincts as a storyteller and achieves a durable balance between the heritage of 20th-century Italian neorealism and a fabulous vision of reality. He truly believes reality is fabulous, but also likes to believe fables are true, put these two together, and it results in some wonderful and dreamlike episodes where he shines in a clever and witty way. There is also a cartoon element to these, with Calvino himself saying he borrowed some of the techniques from a comic strip.
Up until now I have found Calvino a bit of a mixed bag, loved 'Invisible Cities', but didn't care much for 'If on a Winter's Night a Traveler', with a few others in-between. Marcovaldo sits somewhere near the top of the middleground. It's better than I expected, but always carried with it a few niggles. Still, a decent read, and one that would especially suit the Calvino enthusiast. 3.5/5
May 7, 2023
First impressions matter.
For instance, my first impression of Calvino鈥檚 Difficult Loves was that I鈥檇 blindly stumbled into an experience I鈥檇 never forget. I was right: that book wrecked me a hundred times in eleven short stories. So many secret, achingly intimate moments.
In contrast, my first impression of Marcovaldo was that it was written by an entirely different author. Perhaps P. G. Wodehouse.
Please don鈥檛 get me wrong, I love me some Jeeves.
I just didn鈥檛 expect slapstick from Calvino, and I don鈥檛 like it from him, either.
Book/Song Pairing:
For instance, my first impression of Calvino鈥檚 Difficult Loves was that I鈥檇 blindly stumbled into an experience I鈥檇 never forget. I was right: that book wrecked me a hundred times in eleven short stories. So many secret, achingly intimate moments.
In contrast, my first impression of Marcovaldo was that it was written by an entirely different author. Perhaps P. G. Wodehouse.
Please don鈥檛 get me wrong, I love me some Jeeves.
I just didn鈥檛 expect slapstick from Calvino, and I don鈥檛 like it from him, either.
Book/Song Pairing:
April 23, 2017
C鈥櫭� una leggera brezza, un vento che viene da lontano, in cielo una luna splendente e Venere lontana, da sola, che esplode di luce; il vento si trasforma, diventa violento e strappa le foglie dagli alberi, le fa volteggiare mescolate con la pioggia, tanta acqua che rid脿 vita alle piante, fa crescere funghi e alla fine il vento conduce le foglie verso l鈥檃rcobaleno. Sono le ultime giornate di autunno, arriva l鈥檌nverno, la neve ricopre il mondo esterno e gli d脿 una forma strana, diversa, si crea una realt脿 difforme, un sogno che 猫 fantasia. Qui vive Marcovaldo, che cammina sempre con il naso per aria, in compagnia della meraviglia e della curiosit脿 per ci貌 che lo circonda, e con lui il lettore volteggia tra la musicalit脿 dello stile e le invenzioni fantastiche, sempre con storie avventurose soffici e ovattate, delicate come seta, in cui le avventure si concludono con tragicomiche disavventure: perch茅 l鈥檃vventura 猫 vivere col naso per aria guardando le bolle di sapone o l鈥檃rcobaleno, le vespe o le beccacce, i gatti o un coniglio che scappa sui tetti; la disavventura 猫 un lavoro da operaio, una famiglia da sfamare, una moglie che si lagna sempre, i debiti, la grande citt脿 industriale inquinata e gi脿 rovinata dal consumismo imperante, la malattia. Forse il libro non 猫 pi霉 attuale come all鈥檈poca in cui fu scritto, oltre 50 anni fa, ma鈥on 猫 forse vero che siamo tutti dei Marcovaldo?
November 9, 2024
Marcovaldo is a book that I read for the first time when I was 8 years old and then, at intervals of about 10 years, I have always gladly reread. I would say that it is therefore a book that has marked my career as a reader. At the age of 8, I saw things there, which although not the ones that hit me when I matured, remained impressed and I still feel them today. Calvino is a writer of the rare ones, of those who write profound and timeless stories, but with the style of fairy tales, so that his books can be read by both children and adults, sure that both will like them and sure at the same time that they will see different things, but always important and above all always current, just like all the books of the great writers. The issues that Calvino deals with are the hectic and dehumanizing life of the city, urbanization without rationality, without control, without order, growing industrialization and at the same time the poverty of the lower sections of the population, the difficulty of human relationships, all themes still very valid today. The complete title is "Marcovaldo, or the seasons in the city" and speaks of a common man, a worker from a city that is never said (but in those years the working city par excellence was Turin) who works for a company called SBAV, we will never know producer of what. Marcovaldo is in this urban context, but he is a Dreamer, one who observes the typical objects of the city but sees other things in them: the traffic lights, the billboards, the posters, the windows for him are other things, and instead the small manifestations of nature in the city attract him like magnets: the skinny birds, the dried leaves, an ant, an earthworm, a mushroom under a tree, for him are the signs that the seasons change and are the reason for great internal reasoning, which often lead him to reflect on his desires and his miseries. An ante-litteram Fantozzi, a non-adapted in the modern world, victim of everything and who therefore becomes in the eyes of the reader a loser, an anti-hero, or a hero like the Charlot of Modern Times. Marcovaldo's adventures are surreal, but always contain an element of reality; reality that is always the initial element of each chapter, that is Marcovaldo observes the change of seasons in the atmospheric signals and in the very small signs of animal and vegetable life that the city allows to survive and from there he starts with his dreams of a return to Nature, to then be unfailingly disappointed. It is certainly a melancholy book, just like Fantozzi's films and Charlot's stories. But it is also a humorous book, which uses humor to make you want to read the story to the end, to make you smile a little, but above all to reflect. Marcovaldo in his own way is a poet, bewildered, out of this world, but he is a poet: he tells us ecological poems, very current after fifty years, when for example he describes the beauty of the starry sky to his children, blinded instead by the intrusive luminous signs of the city, or as when, happy as a child, he tells us about the snowfall in the city. And Calvino (a true precursor of the times) also finds a way to insert the theme of DIY health cures, so current today, when in the episode "The care of the wasps" he describes us a Marcovaldo who discovered how to treat his rheumatism with bee venom and who, improvised as a doctor, instructs all his children to catch as many as possible wasps and to put them in some jars, until his son breaks one and all of them end up in hospital for the bites. A book that for me was, and is, a milestone.
December 2, 2014
Italo Calvino is always fun to read. While Marcovaldo does not have the Borgesian or post-modern tropes of Invisible Cities or If on a winter's night a traveller, it is a heart-warming collection of brilliantly crafted stories, the pinnacle achievement being the lovable naivete and inventive imagination of the titular Italian, Marcovaldo. The whimsy and lyricism of Calvino's prose is worthwhile enough to embark on the too-short modern voyage of this short book, though it has much else to offer as well.
The character of Marcovaldo is a man caught between two abysses. He lives in a northern industrial city of Italy in the postwar 1950's through 1960's (though the particular city is never mentioned, and likely is an imagined city, I imagined it as loosely based on the industrialized city of Turin) which bridged the eras of poverty with economic boom. Marcovaldo is the lovable-loser, a character trope very popular in post-modern/post-modern fiction, as a break with the great thinkers and heroes of previous literary movements and from the classical characters of Hamlet, Odysseus, etc. He works at a shipping firm, doing menial work which he does not enjoy but which puts meager food on his family's table. He has a wife and five children which share his whimsy and naivete, though they are much more accustomed to the modern world in which they live. Marcovaldo is torn between the world of beauty which he feels is impossible in city life, the beauty of nature and of romantic notions, and the world, the reality, which constantly makes demands on him, awakes him rudely from his reveries.
Each story represents a short aphoristic anecdote, taking place in one season of one of the five-years encompassed in the collection (spring-summer-autumn-winter). Most stories are very short, and every one is charming in a whimsical if not magical way. A number of the stories stand out to me after having finished: Marcovaldo dreams of sleeping out beneath the stars, among nature, but after sneaking out with his pillow, he is held at bay by an arguing couple, then is distracted by a traffic light, the smell of a cabbage truck, etc. until he finally can get to sleep only to moments later be woken at dawn. Another story has him jealously hoarding the secret of some wild mushrooms growing along the road, only to find another has discovered them as well - he relents and invites everyone to join in picking them, only for everyone to get sick from the poisonous fungi. Marcovaldo's romantic imagination is constantly foiled by the reality in which he lives. Where he sees fresh, wild mushrooms he finds poisonous ones, where he sees a river surfeit with fish he finds them poisoned by an upstream paint company, a mountain escape is the grounds of a sanatorium, the romantic sleep beneath the stars: no sleep at all.
There are two layers to the message of Marcovaldo: on the one hand, Marcovaldo is representative of a flawed view of the world, and the unhappiness and disappointment inherent in unreasonable attachment to the past, or out of reach ideals. Sometimes I wish I had been born in 1900, gone to literary salons and fashionable soirees, rode in hansom cabs. But that is an overly romanticized vision of a past era, and era gone. And it is gone because the world I live in now is better, much more accommodating, far fairer, and people in general are better off. Sure I may never know what it's like to collect love letters in a small gilt-rim cigar box, or go to an illustrious debutante ball and gossip in the corner beside a girandola mirror, but on the other hand, t-shirts are so much more comfortable than those starchy collared shirts and breast-coats, so, there's that. While Marcovaldo's attachment to a natural world which is far beyond the city limits, and beyond his practical grasp, he is never disheartened, and that is what makes him so lovable. He is a fool, but a very lovable fool.
On the other hand, there is a tension between the advantages of industrialization and the beauty and benefits of naturalization. Calvino is far from supporting an unindustrialized world, one without cities, one made for the Marcovaldos of the world; but he is also condemnatory of the excesses in industrial cities: pollution, traffic, waste, blind consumerism. The character of Marcovaldo is deliberate in his ridiculousness, but so are the many citizens of the silly city somewhere in Northern Italy. Those who resist industrialization seem as ridiculous as those who violently support it. Calvino sees it as an inevitablity, though one which requires a better balance. Cannibalistic consumerism infringes on the natural beauty, but it is capable of a beauty of its own, and the urban images which Calvino fills these pages with illustrate that potential beauty.
The character of Marcovaldo is a man caught between two abysses. He lives in a northern industrial city of Italy in the postwar 1950's through 1960's (though the particular city is never mentioned, and likely is an imagined city, I imagined it as loosely based on the industrialized city of Turin) which bridged the eras of poverty with economic boom. Marcovaldo is the lovable-loser, a character trope very popular in post-modern/post-modern fiction, as a break with the great thinkers and heroes of previous literary movements and from the classical characters of Hamlet, Odysseus, etc. He works at a shipping firm, doing menial work which he does not enjoy but which puts meager food on his family's table. He has a wife and five children which share his whimsy and naivete, though they are much more accustomed to the modern world in which they live. Marcovaldo is torn between the world of beauty which he feels is impossible in city life, the beauty of nature and of romantic notions, and the world, the reality, which constantly makes demands on him, awakes him rudely from his reveries.
This Marcovaldo possessed an eye ill-suited to city-life: billboards, traffic-lights, shop-windows, neon signs, posters, no matter how carefully devised to catch the attention, never arrested his gaze, which might have been running over the desert sands. Instead he would never miss a leaf yellowing on a branch, a feather trapped by a roof-tile; there was no horsefly on a horse's back, no worm-hole in a plank, or fig-peel squashed on the sidewalk that Marcovaldo didn't remark and ponder over, discovering the changes of the season, the yearnings of his heart, and the woes of his existence.
Each story represents a short aphoristic anecdote, taking place in one season of one of the five-years encompassed in the collection (spring-summer-autumn-winter). Most stories are very short, and every one is charming in a whimsical if not magical way. A number of the stories stand out to me after having finished: Marcovaldo dreams of sleeping out beneath the stars, among nature, but after sneaking out with his pillow, he is held at bay by an arguing couple, then is distracted by a traffic light, the smell of a cabbage truck, etc. until he finally can get to sleep only to moments later be woken at dawn. Another story has him jealously hoarding the secret of some wild mushrooms growing along the road, only to find another has discovered them as well - he relents and invites everyone to join in picking them, only for everyone to get sick from the poisonous fungi. Marcovaldo's romantic imagination is constantly foiled by the reality in which he lives. Where he sees fresh, wild mushrooms he finds poisonous ones, where he sees a river surfeit with fish he finds them poisoned by an upstream paint company, a mountain escape is the grounds of a sanatorium, the romantic sleep beneath the stars: no sleep at all.
There are two layers to the message of Marcovaldo: on the one hand, Marcovaldo is representative of a flawed view of the world, and the unhappiness and disappointment inherent in unreasonable attachment to the past, or out of reach ideals. Sometimes I wish I had been born in 1900, gone to literary salons and fashionable soirees, rode in hansom cabs. But that is an overly romanticized vision of a past era, and era gone. And it is gone because the world I live in now is better, much more accommodating, far fairer, and people in general are better off. Sure I may never know what it's like to collect love letters in a small gilt-rim cigar box, or go to an illustrious debutante ball and gossip in the corner beside a girandola mirror, but on the other hand, t-shirts are so much more comfortable than those starchy collared shirts and breast-coats, so, there's that. While Marcovaldo's attachment to a natural world which is far beyond the city limits, and beyond his practical grasp, he is never disheartened, and that is what makes him so lovable. He is a fool, but a very lovable fool.
On the other hand, there is a tension between the advantages of industrialization and the beauty and benefits of naturalization. Calvino is far from supporting an unindustrialized world, one without cities, one made for the Marcovaldos of the world; but he is also condemnatory of the excesses in industrial cities: pollution, traffic, waste, blind consumerism. The character of Marcovaldo is deliberate in his ridiculousness, but so are the many citizens of the silly city somewhere in Northern Italy. Those who resist industrialization seem as ridiculous as those who violently support it. Calvino sees it as an inevitablity, though one which requires a better balance. Cannibalistic consumerism infringes on the natural beauty, but it is capable of a beauty of its own, and the urban images which Calvino fills these pages with illustrate that potential beauty.
Marcovaldo went back to look at the moon, then he went to look at a traffic light, a bit farther on. The light flashed yellow, yellow, yellow, constantly blinking on and off. Marcovaldo compared the moon with the traffic-light. The moon with her mysterious pallor, also yellow, but also green, in its depths, and even blue; the traffic-light with its common little yellow. And the moon, all calm, casting her light without haste, streaked now and then by fine wisps of clouds, which she majestically allowed to fall around her shoulders; and the traffic-light meanwhile, always there, on and off, on and off, throbbing with a false vitality, but actually weary and enslaved.The city has a coldly modern art to it, a "false vitality" - it is art, it can only imitate life. To Marcovaldo there is not value to this false beauty, it is unnatural and mechanical. But Calvino's descriptions of it show that though it does not fit the ideal, there is some art to be had in the man made world. Man is like the traffic light in the city, morning:on, evening:off, in to work then back to home, enslaved to routine, chained to the consumerism which drives him. The city is not an ugly place, but rather is the prison of a stifling life. Marcovaldo, for all his dislike of the city, is not an unhappy man, though he is plagued by modern troubles, and though he is constantly made the fool of his own gambits, he is a many happy in his childhood-in-middle-age. He has not lost the innocence of youth, not lost that vitality or winsome hope for adventure, invention, imagination. Though Calvino supports a sojourn in nature, he does not completely condemn the world which is reality, the world with winking traffic lights. More important that escaping the city is escaping routine, being spontaneous, being enthusiastic, loving life for what it has to offer and not grudging it for what it lacks.
December 2, 2019
I actually really liked this one, more than I expected. This is my second from Italo Calvino, and although this is a far difference from ".... If on a Winter's Night a Traveler", it was almost as great, in different ways. Nice to find an author than can write well in multiple genres/styles.
"Morcovaldo" ["The Seasons in the City"] is a collection of vignettes, connected but separated by seasons and time.
"Marcovaldo is an unskilled worker in a drab industrial city in northern Italy. He is an irrepressible dreamer and an inveterate schemer. Much to the puzzlement of his wife, his children, his boss, and his neighbors, he chases his dreams, but the results are never the expected ones."
I especially liked that Morcovaldo was a realist, even a pessimist, as opposed to the typical Panglossian. Like me, he does not have the easiest life; after years enduring this, he has understandably become bitter at times, somewhat cynical. The important thing, however, is that every so often he has a unique ability to notice the small things in life; to zoom in on a small beauty in his surroundings and allow it to bring him as well as those around him great happiness, even if it is only temporary- until work the next day. Like me, he may not be what is defined as 'happy" overall, but definitely can be "distracted" to have frequent, significant periods of temporary happiness. Which is sometimes all we can do.
My favorite vignettes were:
Park Bench Vacation
[He sleeps on one on a summer night when he tried of the crowdedness of his own place with his wife and children. Alas, various mishaps prevent him from getting any sleep at all. Had a few laughs. Almost Charlie Chaplin style.]
The Lunch Box
[Wonderful, eloquent, tangible, descriptive personification with his lunch box/bento box. Includes more than visual; explores the nostalgia, as well as the meaning behind it (his wife makes it with love every morning for him.)]
The Wrong Stop
[Mesmerizing descriptions of seeing the city as if it came from a dream; Morcovaldo has recently seen a film delivering the beautiful scenery in Calcutta. Amidst the thick fog in his own country, he begins to see, in the nothingness, the beauty- all in his mind's eye. What do you know, at the end of his trip, he accidentally boards a plane leaving for Calcutta.]
Morcovaldo at the Supermarket
[Along with his family, they discover that it is inescapable to follow the movements exhibited by the richer, more successful class shoppers, as they are drawn to various products, ever more than they intended. Ask desire Marcovaldo's extreme lack of funds. As they float in the blue called denial, it is not until the supermarket closes that they magically find their way out, forced to pull themselves away from the items in the cart, resisting like magnets.]
"Morcovaldo" ["The Seasons in the City"] is a collection of vignettes, connected but separated by seasons and time.
"Marcovaldo is an unskilled worker in a drab industrial city in northern Italy. He is an irrepressible dreamer and an inveterate schemer. Much to the puzzlement of his wife, his children, his boss, and his neighbors, he chases his dreams, but the results are never the expected ones."
I especially liked that Morcovaldo was a realist, even a pessimist, as opposed to the typical Panglossian. Like me, he does not have the easiest life; after years enduring this, he has understandably become bitter at times, somewhat cynical. The important thing, however, is that every so often he has a unique ability to notice the small things in life; to zoom in on a small beauty in his surroundings and allow it to bring him as well as those around him great happiness, even if it is only temporary- until work the next day. Like me, he may not be what is defined as 'happy" overall, but definitely can be "distracted" to have frequent, significant periods of temporary happiness. Which is sometimes all we can do.
My favorite vignettes were:
Park Bench Vacation
[He sleeps on one on a summer night when he tried of the crowdedness of his own place with his wife and children. Alas, various mishaps prevent him from getting any sleep at all. Had a few laughs. Almost Charlie Chaplin style.]
The Lunch Box
[Wonderful, eloquent, tangible, descriptive personification with his lunch box/bento box. Includes more than visual; explores the nostalgia, as well as the meaning behind it (his wife makes it with love every morning for him.)]
The Wrong Stop
[Mesmerizing descriptions of seeing the city as if it came from a dream; Morcovaldo has recently seen a film delivering the beautiful scenery in Calcutta. Amidst the thick fog in his own country, he begins to see, in the nothingness, the beauty- all in his mind's eye. What do you know, at the end of his trip, he accidentally boards a plane leaving for Calcutta.]
Morcovaldo at the Supermarket
[Along with his family, they discover that it is inescapable to follow the movements exhibited by the richer, more successful class shoppers, as they are drawn to various products, ever more than they intended. Ask desire Marcovaldo's extreme lack of funds. As they float in the blue called denial, it is not until the supermarket closes that they magically find their way out, forced to pull themselves away from the items in the cart, resisting like magnets.]
January 17, 2023
袚褉邪写褗褌 薪械 械 蟹邪 屑械褔褌邪褌械谢懈 泻邪褌芯 袦邪褉泻芯胁邪谢写芯. 袧械斜械褌芯 械 薪懈褋泻芯, 袥褍薪邪褌邪 懈 蟹胁械蟹写懈褌械 褋邪 蟹邪谐谢褍褕械薪懈 芯褌 屑懈谐邪褖懈 薪械芯薪芯胁懈 褉械泻谢邪屑懈 懈 褋胁械褌芯褎邪褉懈, 胁 褕褍屑邪 芯褌 褌褉邪褎懈泻邪 薪械 褋械 褔褍胁邪 懈 锌褌懈褔泻邪, 斜械褌芯薪褗褌 懈 邪褋褎邪谢褌褗褌 胁芯褞胁邪褌 褋 胁褋褟泻芯 蟹械谢械薪芯 褋褌褉褗泻褔械. 袦邪褉泻芯胁邪谢写芯 薪械 械 谐褉邪写褋泻邪 锌褌懈褑邪, 薪芯 械 褏胁邪薪邪褌 胁 泻邪锌邪薪邪 屑褍, 懈 薪褟屑邪 薪懈褌芯 褋懈谢懈, 薪懈褌芯 械薪械褉谐懈褟 写邪 锌芯斜械谐薪械 懈谢懈 写邪 褋械 斜芯褉懈, 邪 薪械 懈褋泻邪 懈 写邪 褋械 锌褉懈屑懈褉懈. 袠 胁褋械 锌邪泻 泻褉芯褌泻懈褟褌, 芯褌薪械褋械薪 懈 褉邪蟹褋械褟薪 屑薪芯谐芯写械褌械薪 斜邪褖邪, 蟹邪褌褗薪邪谢 胁 写褗谢谐芯胁械, 斜械写薪芯褋褌 懈 蟹邪褌褗锌褟胁邪褖芯 械卸械写薪械胁懈械 泻邪褌芯 褉邪斜芯褌薪懈泻 胁 褋泻谢邪写 褍褋锌褟胁邪 写邪 薪邪屑械褉懈 芯斜褖 械蟹懈泻 褋褗褋 褋胁芯褟 谐褉邪写, 斜械蟹 写邪 懈褋泻邪 薪械褖芯 锌芯胁械褔械 芯褌 胁懈写邪 薪邪 写褗褉胁芯 胁 锌邪褉泻邪, 褉邪蟹褏芯卸写邪褖邪 褋械 褍谢懈褔薪邪 泻芯褌泻邪 懈谢懈 锌褗谢薪邪褌邪 谢褍薪邪. 袦邪褉泻芯胁邪谢写芯 械 锌芯械褌 薪邪 褋械泻褍薪写薪芯褌芯 褖邪褋褌懈械, 褍褋锌褟胁邪泄泻懈 写邪 谐芯 褉邪蟹褌械谐薪械 褌邪泻邪, 褔械 写邪 蟹邪锌褗谢薪锟斤拷 胁褋懈褔泻懈褌械 24 褔邪褋邪 薪邪 写械薪芯薪芯褖懈械褌芯. 袦懈谢芯, 斜械蟹锌芯屑芯褖薪芯, 薪芯 懈蟹锌褗谢薪械薪芯 褋 写芯褋褌芯泄薪褋褌胁芯 懈 写芯斜褉芯褌邪 薪械锌芯褉邪褋薪邪谢芯 写械褌械.
袠褌邪谢芯 袣邪谢胁懈薪芯 锌褉械锌谢懈褌邪 褏褍屑芯褉, 褋褞褉褉械邪谢懈蟹褗屑 懈 褉械邪谢懈蟹褗屑 褋 褌械屑懈 泻邪褌芯 斜械写薪芯褋褌褌邪, 斜褟褋薪芯褌芯 泻芯薪褋褍屑邪褌芯褉褋褌胁芯, 斜械蟹褋屑懈褋谢械薪芯 胁懈褋芯泻邪褌邪 褋褌褉械褋芯胁邪 褋泻芯褉芯褋褌 薪邪 卸懈胁芯褌, 褍薪懈褖芯卸邪胁邪薪械褌芯 薪邪 锌褉懈褉芯写邪褌邪, 谐褉邪写褋泻邪褌邪 褋邪屑芯褌邪. 袩芯写褏芯写褗褌 屑褍 薪械 械 褋芯褑懈邪谢薪芯 泻褉懈褌懈褔械薪, 邪 锌芯械褌懈褔薪芯-褋褗蟹械褉褑邪褌械谢械薪. 袙褋械泻懈 褉邪蟹泻邪蟹 薪邪胁褟胁邪 械写薪芯胁褉械屑械薪薪芯 褍褋屑懈胁泻邪, 胁褗蟹写懈褕泻邪 锌芯 薪褟泻芯褟 芯褌 胁械褔薪懈褌械 卸懈褌械泄褋泻懈 褌械屑懈, 懈 屑邪谢泻芯 褌褗谐邪.
袚械褉芯懈 泻邪褌芯 袦邪褉泻芯胁邪谢写芯 褋邪 薪械胁械褉芯褟褌薪懈. 袙 褋屑懈褋褗谢 - 薪械 械 胁械褉芯褟褌薪芯 写邪 芯褑械谢械褟褌 写褗谢谐芯 胁 写薪械褕薪懈褟 谐褉邪写 懈 写邪 蟹邪锌邪蟹褟褌 胁械写褉邪褌邪 褋懈 褍褋屑懈胁泻邪. 袧芯 械 褏褍斜邪胁芯 写邪 褋械 褔械褌械 蟹邪 褌褟褏.
***
鈻讹笍 笑懈褌邪褌懈:
馃殐 鈥溞⌒啃拘盒拘剐叫把傂� 谢褍薪邪, 泻芯褟褌芯 懈蟹谢褗褔胁邪褕械 斜械蟹屑械褌械卸薪芯 褋懈褟薪懈械 懈 芯褌 胁褉械屑械 薪邪 胁褉械屑械 胁械谢懈褔械褋褌胁械薪芯 薪邪屑褟褌邪褕械 胁褗褉褏褍 褉邪屑械薪械褌械 褋懈 褌褗薪泻懈褌械 锌械褉邪 薪邪 屑懈薪邪胁邪褖懈褌械 芯斜谢邪褑懈, 懈 薪械胁褉芯蟹薪懈褟褌 褋胁械褌芯褎邪褉, 泻芯泄褌芯 褋懈 懈谐褉邪械褕械 薪邪 胁泻谢褞褔-懈蟹泻谢褞褔, 胁泻谢褞褔-懈蟹泻谢褞褔, 锌褉械褋褌芯褉械薪芯 斜芯写褗褉, 邪 胁褋褗褖薪芯褋褌 褍屑芯褉械薪 懈 锌芯褉芯斜械薪.鈥�
馃殐 鈥溞溞把€泻芯胁邪谢写芯 薪邪斜谢褞写邪胁邪褕械 褋薪械卸薪懈褟 褔芯胁械泻. 鈥溞曆傂�, 胁 褌邪蟹懈 斜械谢芯褌邪 薪械 谢懈褔懈 泻芯械 械 芯褌 褋薪褟谐 懈 泻芯械 - 锌芯泻褉懈褌芯 褋褗褋 褋薪褟谐. 小 械写薪芯 懈蟹泻谢褞褔械薪懈械: 褔芯胁械泻褗褌. 袟邪褖芯褌芯 械 褟褋薪芯, 褔械 邪蟹 褋褗屑 邪蟹, 邪 薪械 褌芯蟹懈 褌褍泻.鈥�
馃殐 鈥溾€π狙傂承把傂叫� 胁褗胁 胁褗蟹械谢邪 芯褌 谢懈薪懈懈 写芯谢褍 褌褗屑薪懈褌械 芯褔械褉褌邪薪懈褟 薪邪 褋胁芯褟 泻胁邪褉褌邪谢 懈 褌芯泄 屑褍 蟹邪锌褉懈谢懈褔邪 薪邪 芯谢芯胁薪邪, 蟹邪屑褉褟谢邪 锌褍褋褌芯褕, 芯褋械褟薪邪 褋 谐褗褋褌懈褌械 谢褞褋锌懈 薪邪 锌芯泻褉懈胁懈褌械 懈 褋 写褉懈锌懈褌械 芯褌 锌褍褕械泻, 褉邪蟹胁械薪懈 锌芯 泻芯屑懈薪懈褌械.鈥�
馃殐 鈥溞熜拘承恍敌囱娧� 薪邪 袦邪褉泻芯胁邪谢写芯 褕邪褉械褕械 薪邪芯泻芯谢芯 懈 写懈褉械褕械 斜邪胁薪芯褌芯 懈蟹锌谢褍胁邪薪械 薪邪 械写懈薪 褉邪蟹谢懈褔械薪 谐褉邪写 - 谐褉邪写 薪邪 泻芯谢懈, 谢褞褋锌懈, 胁褗蟹谢懈 懈 卸懈谢懈 锌芯写 芯薪蟹懈 薪邪 斜芯懈褌械, 泻邪褌褉邪薪邪, 褋褌褗泻谢芯褌芯 懈 屑邪蟹懈谢泻邪褌邪."
馃殐 鈥溞歛泻胁邪 锌芯谢蟹邪 芯褌 懈蟹斜芯褉邪 薪邪 锌褗褌懈褖邪 蟹邪 褏胁邪褖邪薪械, 泻邪褌芯 薪邪胁褉械写 褋械 胁懈卸写邪褕械 胁褋械 褋褗褖芯褌芯 褉邪胁薪芯 锌芯谢械, 锌芯泻褉懈褌芯 褋 ... 屑褗谐谢邪?鈥�
馃殐 鈥溾€π佳娦承恍把傂� 斜械 蟹邪胁蟹械谢邪 谐褉邪写邪 - 谐褗褋褌邪, 屑褗褌薪邪 屑褗谐谢邪, 泻芯褟褌芯 芯斜胁懈胁邪褕械 锌褉械写屑械褌懈褌械 懈 蟹胁褍褑懈褌械, 褋屑邪褔泻胁邪褕械 褉邪蟹褋褌芯褟薪懈褟褌邪 胁 锌褉芯褋褌褉邪薪褋褌胁芯褌芯 斜械蟹 懈蟹屑械褉械薪懈褟, 褋谢懈胁邪褕械 褋胁械褌谢懈薪懈褌械 胁 褌褗屑薪芯褌芯 懈 谐懈 锌褉械胁褉褗褖邪褕械 胁 褋懈褟薪懈褟 斜械蟹 褎芯褉屑邪 懈 屑褟褋褌芯. [...] 袧械褖邪褌邪 褋褗褖械褋褌胁褍胁邪褏邪 械写胁邪 胁 薪械芯斜褏芯写懈屑懈褟 褋懈 屑懈薪褍屑褍屑."
袠褌邪谢芯 袣邪谢胁懈薪芯 锌褉械锌谢懈褌邪 褏褍屑芯褉, 褋褞褉褉械邪谢懈蟹褗屑 懈 褉械邪谢懈蟹褗屑 褋 褌械屑懈 泻邪褌芯 斜械写薪芯褋褌褌邪, 斜褟褋薪芯褌芯 泻芯薪褋褍屑邪褌芯褉褋褌胁芯, 斜械蟹褋屑懈褋谢械薪芯 胁懈褋芯泻邪褌邪 褋褌褉械褋芯胁邪 褋泻芯褉芯褋褌 薪邪 卸懈胁芯褌, 褍薪懈褖芯卸邪胁邪薪械褌芯 薪邪 锌褉懈褉芯写邪褌邪, 谐褉邪写褋泻邪褌邪 褋邪屑芯褌邪. 袩芯写褏芯写褗褌 屑褍 薪械 械 褋芯褑懈邪谢薪芯 泻褉懈褌懈褔械薪, 邪 锌芯械褌懈褔薪芯-褋褗蟹械褉褑邪褌械谢械薪. 袙褋械泻懈 褉邪蟹泻邪蟹 薪邪胁褟胁邪 械写薪芯胁褉械屑械薪薪芯 褍褋屑懈胁泻邪, 胁褗蟹写懈褕泻邪 锌芯 薪褟泻芯褟 芯褌 胁械褔薪懈褌械 卸懈褌械泄褋泻懈 褌械屑懈, 懈 屑邪谢泻芯 褌褗谐邪.
袚械褉芯懈 泻邪褌芯 袦邪褉泻芯胁邪谢写芯 褋邪 薪械胁械褉芯褟褌薪懈. 袙 褋屑懈褋褗谢 - 薪械 械 胁械褉芯褟褌薪芯 写邪 芯褑械谢械褟褌 写褗谢谐芯 胁 写薪械褕薪懈褟 谐褉邪写 懈 写邪 蟹邪锌邪蟹褟褌 胁械写褉邪褌邪 褋懈 褍褋屑懈胁泻邪. 袧芯 械 褏褍斜邪胁芯 写邪 褋械 褔械褌械 蟹邪 褌褟褏.
***
鈻讹笍 笑懈褌邪褌懈:
馃殐 鈥溞⌒啃拘盒拘剐叫把傂� 谢褍薪邪, 泻芯褟褌芯 懈蟹谢褗褔胁邪褕械 斜械蟹屑械褌械卸薪芯 褋懈褟薪懈械 懈 芯褌 胁褉械屑械 薪邪 胁褉械屑械 胁械谢懈褔械褋褌胁械薪芯 薪邪屑褟褌邪褕械 胁褗褉褏褍 褉邪屑械薪械褌械 褋懈 褌褗薪泻懈褌械 锌械褉邪 薪邪 屑懈薪邪胁邪褖懈褌械 芯斜谢邪褑懈, 懈 薪械胁褉芯蟹薪懈褟褌 褋胁械褌芯褎邪褉, 泻芯泄褌芯 褋懈 懈谐褉邪械褕械 薪邪 胁泻谢褞褔-懈蟹泻谢褞褔, 胁泻谢褞褔-懈蟹泻谢褞褔, 锌褉械褋褌芯褉械薪芯 斜芯写褗褉, 邪 胁褋褗褖薪芯褋褌 褍屑芯褉械薪 懈 锌芯褉芯斜械薪.鈥�
馃殐 鈥溞溞把€泻芯胁邪谢写芯 薪邪斜谢褞写邪胁邪褕械 褋薪械卸薪懈褟 褔芯胁械泻. 鈥溞曆傂�, 胁 褌邪蟹懈 斜械谢芯褌邪 薪械 谢懈褔懈 泻芯械 械 芯褌 褋薪褟谐 懈 泻芯械 - 锌芯泻褉懈褌芯 褋褗褋 褋薪褟谐. 小 械写薪芯 懈蟹泻谢褞褔械薪懈械: 褔芯胁械泻褗褌. 袟邪褖芯褌芯 械 褟褋薪芯, 褔械 邪蟹 褋褗屑 邪蟹, 邪 薪械 褌芯蟹懈 褌褍泻.鈥�
馃殐 鈥溾€π狙傂承把傂叫� 胁褗胁 胁褗蟹械谢邪 芯褌 谢懈薪懈懈 写芯谢褍 褌褗屑薪懈褌械 芯褔械褉褌邪薪懈褟 薪邪 褋胁芯褟 泻胁邪褉褌邪谢 懈 褌芯泄 屑褍 蟹邪锌褉懈谢懈褔邪 薪邪 芯谢芯胁薪邪, 蟹邪屑褉褟谢邪 锌褍褋褌芯褕, 芯褋械褟薪邪 褋 谐褗褋褌懈褌械 谢褞褋锌懈 薪邪 锌芯泻褉懈胁懈褌械 懈 褋 写褉懈锌懈褌械 芯褌 锌褍褕械泻, 褉邪蟹胁械薪懈 锌芯 泻芯屑懈薪懈褌械.鈥�
馃殐 鈥溞熜拘承恍敌囱娧� 薪邪 袦邪褉泻芯胁邪谢写芯 褕邪褉械褕械 薪邪芯泻芯谢芯 懈 写懈褉械褕械 斜邪胁薪芯褌芯 懈蟹锌谢褍胁邪薪械 薪邪 械写懈薪 褉邪蟹谢懈褔械薪 谐褉邪写 - 谐褉邪写 薪邪 泻芯谢懈, 谢褞褋锌懈, 胁褗蟹谢懈 懈 卸懈谢懈 锌芯写 芯薪蟹懈 薪邪 斜芯懈褌械, 泻邪褌褉邪薪邪, 褋褌褗泻谢芯褌芯 懈 屑邪蟹懈谢泻邪褌邪."
馃殐 鈥溞歛泻胁邪 锌芯谢蟹邪 芯褌 懈蟹斜芯褉邪 薪邪 锌褗褌懈褖邪 蟹邪 褏胁邪褖邪薪械, 泻邪褌芯 薪邪胁褉械写 褋械 胁懈卸写邪褕械 胁褋械 褋褗褖芯褌芯 褉邪胁薪芯 锌芯谢械, 锌芯泻褉懈褌芯 褋 ... 屑褗谐谢邪?鈥�
馃殐 鈥溾€π佳娦承恍把傂� 斜械 蟹邪胁蟹械谢邪 谐褉邪写邪 - 谐褗褋褌邪, 屑褗褌薪邪 屑褗谐谢邪, 泻芯褟褌芯 芯斜胁懈胁邪褕械 锌褉械写屑械褌懈褌械 懈 蟹胁褍褑懈褌械, 褋屑邪褔泻胁邪褕械 褉邪蟹褋褌芯褟薪懈褟褌邪 胁 锌褉芯褋褌褉邪薪褋褌胁芯褌芯 斜械蟹 懈蟹屑械褉械薪懈褟, 褋谢懈胁邪褕械 褋胁械褌谢懈薪懈褌械 胁 褌褗屑薪芯褌芯 懈 谐懈 锌褉械胁褉褗褖邪褕械 胁 褋懈褟薪懈褟 斜械蟹 褎芯褉屑邪 懈 屑褟褋褌芯. [...] 袧械褖邪褌邪 褋褗褖械褋褌胁褍胁邪褏邪 械写胁邪 胁 薪械芯斜褏芯写懈屑懈褟 褋懈 屑懈薪褍屑褍屑."
September 11, 2024
Beautiful collection of 20 very short stories. Tiny bits of stories. Each one is crafted special and a delicacy to savour. I am greatly impressed with the amazing turn and twist of each story at its finish. The reading reads seriously at the beginning yet by the very end of it I am bursting out in a cascade of laughter, though the seriousness does not vanish from my countenance.
The life of Marcovaldo has its seasons, same as fruits, flowers and advertising. His life and his living around it, is not new in its essence, that would be a philosophy for fools, yet it is new in the sense that it lets loose many of the things that are old.
He is really a hearty man, and I like the play of his personality, both in private with his family, and in public, within social and work environments. To put the matter wrong is to say that these tiny bits of stories are a study of human nature. Human nature is a thing that everyone can understand. What these deal with is what humans have to deal with, the differentiations, the twists and turns of this eternal play of life. The key to unlock this blockage is sympathy, but what is most important is that sympathy does not actually mean feeling with those who feel, but rather suffering with those who suffer. And it is inevitable, under such an inspiration, that more attention is given to the awkward corners of life than to its even flow.
By reading it I have gained both in sympathy and brotherhood with Marcovaldo. This is a good thing, but indeed it is not universally good 馃槈
The life of Marcovaldo has its seasons, same as fruits, flowers and advertising. His life and his living around it, is not new in its essence, that would be a philosophy for fools, yet it is new in the sense that it lets loose many of the things that are old.
He is really a hearty man, and I like the play of his personality, both in private with his family, and in public, within social and work environments. To put the matter wrong is to say that these tiny bits of stories are a study of human nature. Human nature is a thing that everyone can understand. What these deal with is what humans have to deal with, the differentiations, the twists and turns of this eternal play of life. The key to unlock this blockage is sympathy, but what is most important is that sympathy does not actually mean feeling with those who feel, but rather suffering with those who suffer. And it is inevitable, under such an inspiration, that more attention is given to the awkward corners of life than to its even flow.
By reading it I have gained both in sympathy and brotherhood with Marcovaldo. This is a good thing, but indeed it is not universally good 馃槈
May 28, 2019
Calvino'nun tarz谋n谋 莽ok oyuncu, zorlama ve yorucu bulanlar谋n (hemen s枚yleyeyim ben onlardan de臒ilim, Calvino deyince sayg谋 duru艧una ge莽enlerdenim) sevece臒ini d眉艧眉nd眉臒眉m, Calvino'yla bar谋艧malar谋n谋 sa臒layacak, sade, ak谋p giden, keyifli k谋sa 枚yk眉lerin bulundu臒u 枚yk眉 kitab谋.
Marcovaldo, 艧ehrin g眉r眉lt眉s眉nden, ko艧u艧turmas谋ndan, zorluklar谋ndan ve onun getirisi olan uykusuzluk, huzursuzluktan b谋km谋艧, sessizli臒i 枚zeleyen bir romantiktir adeta. Mevsimler ge莽er, 艧ehir d枚n眉艧眉r, sesler de臒i艧ir ama romantiklik bakidir.
Ben yine de Calvino'nun Calvinoluk yapt谋臒谋 metinleri ye臒liyorum...
Marcovaldo, 艧ehrin g眉r眉lt眉s眉nden, ko艧u艧turmas谋ndan, zorluklar谋ndan ve onun getirisi olan uykusuzluk, huzursuzluktan b谋km谋艧, sessizli臒i 枚zeleyen bir romantiktir adeta. Mevsimler ge莽er, 艧ehir d枚n眉艧眉r, sesler de臒i艧ir ama romantiklik bakidir.
Ben yine de Calvino'nun Calvinoluk yapt谋臒谋 metinleri ye臒liyorum...
March 4, 2018
螔伪胃渭慰位慰纬委伪: 9/10
螒蠀蟿萎 畏 渭喂魏蟻萎 蟽蠀位位慰纬萎 蔚委魏慰蟽喂 未喂畏纬畏渭维蟿蠅谓 伪蟺慰蟿蔚位蔚委 蟿畏谓 蟺蟻蠋蟿畏 渭慰蠀 蔚蟺伪蠁萎 渭蔚 蟿慰 苇蟻纬慰 蟿慰蠀 螉蟿伪位慰 螝伪位尾委谓慰. 韦慰 尾喂尾位委慰 蟿慰 伪纬蠈蟻伪蟽伪 蠂胃蔚蟼 渭伪味委 渭蔚 蟿慰 "螣喂 蟺蟻蠈纬慰谓慰委 渭伪蟼" (蔚委谓伪喂 苇谓伪蟼 蟿蠈渭慰蟼 蟺慰蠀 蟽蠀纬魏蔚谓蟿蟻蠋谓蔚喂 蟿蟻委伪 尾喂尾位委伪), 蔚谓蠋 蔚未蠋 魏伪喂 伪蟻魏蔚蟿蠈 魏伪喂蟻蠈 苇蠂蠅 未蠀慰 伪蟺蠈 蟿伪 蟺喂慰 蟺慰位蠀未喂伪尾伪蟽渭苇谓伪 苇蟻纬伪 蟿慰蠀, 蟿慰 "螒谓 渭喂伪 谓蠉蠂蟿伪 蟿慰蠀 围蔚喂渭蠋谓伪 苇谓伪蟼 蟿伪尉喂未喂蠋蟿畏蟼" 魏伪喂 "韦伪 螝慰蟽渭慰魏蠅渭喂魏维". 螠喂伪蟼 魏伪喂 蟺萎蟻伪 蟿畏谓 伪蟺蠈蠁伪蟽畏 谓伪 纬谓蠅蟻委蟽蠅 蔚蟺喂蟿苇位慰蠀蟼 伪蠀蟿蠈谓 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪, 蟽魏苇蠁蟿畏魏伪 蠈蟿喂 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位喂伪蟻维魏喂 胃伪 萎蟿伪谓 蟿慰 喂未伪谓喂魏蠈蟿蔚蟻慰 尉蔚魏委谓畏渭伪. 螤蠈蟽慰 蟺慰位蠉 蟿慰 蔚蠀蠂伪蟻喂蟽蟿萎胃畏魏伪! 螒蟺蠈 蟿畏谓 蟺蟻蠋蟿畏 魏喂蠈位伪蟼 喂蟽蟿慰蟻喂慰蠉位伪 蔚委蠂伪 魏伪蟿伪蟽蟿伪位维尉蔚喂 蟽蟿畏 尾伪胃渭慰位慰纬委伪 蟺慰蠀 胃伪 苇尾伪味伪 蟽蟿慰 尾喂尾位委慰: 螤苇谓蟿蔚 伪蟽蟿蔚蟻维魏喂伪! 螣 蟿蟻蠈蟺慰蟼 纬蟻伪蠁萎蟼 蟿慰蠀, 畏 渭伪纬蔚委伪 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟺委蟽蠅 伪蟺蠈 蟿畏谓 魏维胃蔚 蟺蟻蠈蟿伪蟽畏, 慰喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿慰蠀, 畏 蠈位畏 伪蟿渭蠈蟽蠁伪喂蟻伪 蟺伪蟻伪渭蠀胃喂慰蠉, 畏 蔚谓伪位位伪纬萎 蟿蠅谓 蔚蟺慰蠂蠋谓, 蟿伪 伪谓胃蟻蠋蟺喂谓伪 渭畏谓蠉渭伪蟿伪... 螘委谓伪喂 苇谓伪 尾喂尾位委慰 伪蟽蟿蔚委慰 魏伪喂 蟽蠀谓维渭伪 渭蔚位伪纬蠂慰位喂魏蠈, 蟺苇蟻伪 纬喂伪 蟺苇蟻伪 伪谓胃蟻蠋蟺喂谓慰, 纬蔚渭维蟿慰 蔚喂魏蠈谓蔚蟼 魏伪喂 蟽蠀谓伪喂蟽胃萎渭伪蟿伪. 螌位蔚蟼 慰喂 渭喂魏蟻苇蟼 喂蟽蟿慰蟻委蔚蟼 苇蠂慰蠀谓 魏维蟿喂 谓伪 蟺慰蠀谓, 魏维蟿喂 谓伪 未蔚委尉慰蠀谓, 蔚喂位喂魏蟻喂谓维 未蔚谓 尾蟻萎魏伪 慰蠉蟿蔚 渭喂伪 蟺慰蠀 谓伪 渭畏谓 渭慰蠀 伪蟻苇蟽蔚喂 苇蟽蟿蠅 魏伪喂 蔚位维蠂喂蟽蟿伪. 螝维蟿喂 渭慰蠀 位苇蔚喂 蠈蟿喂 胃伪 蟿慰谓 位伪蟿蟻苇蠄蠅 蟺蟻伪纬渭伪蟿喂魏维 蟿慰谓 螝伪位尾委谓慰...
螒蠀蟿萎 畏 渭喂魏蟻萎 蟽蠀位位慰纬萎 蔚委魏慰蟽喂 未喂畏纬畏渭维蟿蠅谓 伪蟺慰蟿蔚位蔚委 蟿畏谓 蟺蟻蠋蟿畏 渭慰蠀 蔚蟺伪蠁萎 渭蔚 蟿慰 苇蟻纬慰 蟿慰蠀 螉蟿伪位慰 螝伪位尾委谓慰. 韦慰 尾喂尾位委慰 蟿慰 伪纬蠈蟻伪蟽伪 蠂胃蔚蟼 渭伪味委 渭蔚 蟿慰 "螣喂 蟺蟻蠈纬慰谓慰委 渭伪蟼" (蔚委谓伪喂 苇谓伪蟼 蟿蠈渭慰蟼 蟺慰蠀 蟽蠀纬魏蔚谓蟿蟻蠋谓蔚喂 蟿蟻委伪 尾喂尾位委伪), 蔚谓蠋 蔚未蠋 魏伪喂 伪蟻魏蔚蟿蠈 魏伪喂蟻蠈 苇蠂蠅 未蠀慰 伪蟺蠈 蟿伪 蟺喂慰 蟺慰位蠀未喂伪尾伪蟽渭苇谓伪 苇蟻纬伪 蟿慰蠀, 蟿慰 "螒谓 渭喂伪 谓蠉蠂蟿伪 蟿慰蠀 围蔚喂渭蠋谓伪 苇谓伪蟼 蟿伪尉喂未喂蠋蟿畏蟼" 魏伪喂 "韦伪 螝慰蟽渭慰魏蠅渭喂魏维". 螠喂伪蟼 魏伪喂 蟺萎蟻伪 蟿畏谓 伪蟺蠈蠁伪蟽畏 谓伪 纬谓蠅蟻委蟽蠅 蔚蟺喂蟿苇位慰蠀蟼 伪蠀蟿蠈谓 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪, 蟽魏苇蠁蟿畏魏伪 蠈蟿喂 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位喂伪蟻维魏喂 胃伪 萎蟿伪谓 蟿慰 喂未伪谓喂魏蠈蟿蔚蟻慰 尉蔚魏委谓畏渭伪. 螤蠈蟽慰 蟺慰位蠉 蟿慰 蔚蠀蠂伪蟻喂蟽蟿萎胃畏魏伪! 螒蟺蠈 蟿畏谓 蟺蟻蠋蟿畏 魏喂蠈位伪蟼 喂蟽蟿慰蟻喂慰蠉位伪 蔚委蠂伪 魏伪蟿伪蟽蟿伪位维尉蔚喂 蟽蟿畏 尾伪胃渭慰位慰纬委伪 蟺慰蠀 胃伪 苇尾伪味伪 蟽蟿慰 尾喂尾位委慰: 螤苇谓蟿蔚 伪蟽蟿蔚蟻维魏喂伪! 螣 蟿蟻蠈蟺慰蟼 纬蟻伪蠁萎蟼 蟿慰蠀, 畏 渭伪纬蔚委伪 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟺委蟽蠅 伪蟺蠈 蟿畏谓 魏维胃蔚 蟺蟻蠈蟿伪蟽畏, 慰喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿慰蠀, 畏 蠈位畏 伪蟿渭蠈蟽蠁伪喂蟻伪 蟺伪蟻伪渭蠀胃喂慰蠉, 畏 蔚谓伪位位伪纬萎 蟿蠅谓 蔚蟺慰蠂蠋谓, 蟿伪 伪谓胃蟻蠋蟺喂谓伪 渭畏谓蠉渭伪蟿伪... 螘委谓伪喂 苇谓伪 尾喂尾位委慰 伪蟽蟿蔚委慰 魏伪喂 蟽蠀谓维渭伪 渭蔚位伪纬蠂慰位喂魏蠈, 蟺苇蟻伪 纬喂伪 蟺苇蟻伪 伪谓胃蟻蠋蟺喂谓慰, 纬蔚渭维蟿慰 蔚喂魏蠈谓蔚蟼 魏伪喂 蟽蠀谓伪喂蟽胃萎渭伪蟿伪. 螌位蔚蟼 慰喂 渭喂魏蟻苇蟼 喂蟽蟿慰蟻委蔚蟼 苇蠂慰蠀谓 魏维蟿喂 谓伪 蟺慰蠀谓, 魏维蟿喂 谓伪 未蔚委尉慰蠀谓, 蔚喂位喂魏蟻喂谓维 未蔚谓 尾蟻萎魏伪 慰蠉蟿蔚 渭喂伪 蟺慰蠀 谓伪 渭畏谓 渭慰蠀 伪蟻苇蟽蔚喂 苇蟽蟿蠅 魏伪喂 蔚位维蠂喂蟽蟿伪. 螝维蟿喂 渭慰蠀 位苇蔚喂 蠈蟿喂 胃伪 蟿慰谓 位伪蟿蟻苇蠄蠅 蟺蟻伪纬渭伪蟿喂魏维 蟿慰谓 螝伪位尾委谓慰...
December 19, 2021
Markovaldas - tas skurd啪ius i拧 ital懦 neorealizmo, tas t臈tis, kurio dvirat寞 pavog臈 . Bet gal dar labiau jis man primin臈 pon膮 Julo i拧 Jacques'o Tati komedij懦: jam vis nesiseka, jis da啪nai lieka toks, kaip i拧 Martinai膷io eil臈ra拧膷io, "pats sav臋s nesuprat臋s" ir visada, visada gr寞啪ta ten, i拧 kur prad臈j臋s. Gal d臈l to tie apsakymai (knygoje j懦 20, kiekvienas eina paeiliui Pavasaris-Vasara-Ruduo-沤iema ir taip pereini 5 Markovaldo ir jo 拧eimos metus) eina lengvai ir vis ratu kaip sena gera slapstick komedija.
Kita vertus, ko n臈ra slapstick komedijoje, bet kas yra grynai to meto itali拧ka - tas skurdas, tai, kad did啪iosios dalies apsakym懦 a拧is - Markovaldo bandymai susiveikt k膮 nors pavalgyti. Ar pagauti migruojant寞 pauk拧t寞, ar pavogti triu拧寞 i拧 gydytojo kabineto, ar per stog膮 susime拧keriot up臈tak寞 i拧 restorano, ar pasigaudyt 啪uv懦 ka啪kokioj nelegalioj vietoj. Graud啪iausias, kur jau vos u啪teko valios pastang懦 nemesti knygos: kaip Markovaldas, 啪mona ir visi 20 jo vaik懦 (ne 20, bet daug, nepamenu kiek) laisvadien寞 eina 寞 prekybos centr膮, seka 啪mones, kurie ka啪k膮 perka, ir patys stumdo tu拧膷ius ve啪im臈lius, nes neturi pinig懦. Ir Calvino, kaip ir turb奴t gyvenimas, nesigaili - neatsiranda niekas, kas staiga, kaip koks Dulinskas, apmok臈t懦 jiems 拧ventin寞 ve啪im臈l寞, jokia stebuklinga aplinkyb臈 i拧 pasak懦, kad jie bent k膮 nors i拧 to prekybcentrio i拧sine拧t懦. 沤iauriai neken膷iau Calvino pabaigoje, bet gal ne jo, o gyvenimo.
O mieliausias apsakymas - kaip Markovaldas pradeda r奴pintis darbe vargstan膷iu augalu ir 拧is per nakt寞 sulapoja, belekiek paauga, tampa tikru med啪iu. Skaitai ir supranti, kad 膷ia juk pats Markovaldas, tas augalas, u啪sigr奴d臋s 寞 kamp膮, am啪inai alkanas tiek maisto, tiek d臈mesio. Jie va啪in臈ja kartu per miest膮 mopedu, Markovaldas bando pagirdyti j寞 gyvu lietum ir gyvu oru. Ai拧ku, viskas baigiasi ten, kur ir prasid臈jo, o prad啪ia buvo tokia:
Kaip ir turi b奴ti (bent jau ital懦 neorealizme), Calvino ne tik socialiai skausmingas, bet ir labai poeti拧kas. Ka啪kokia teisinga literat奴ra, graudinanti, bet tarsi to nesiekianti, neu啪sibr臈啪usi spausti i拧 tav臋s kiekvieno 寞manomo a拧aros la拧elio. Kad ir tas apsakymas apie prekybos centr膮:
O 膷ia apie kal臈dines dovan臈les, aktualu :D
Kaip Undin臈 Radzevi膷i奴t臈, tik kad 60 met懦 anks膷iau. Ir ka啪kaip tikriau ir li奴dniau.
Viena vertus, ai拧ku, toks saviapgaulinis comfort-gestas: kol perki dovan臈les, vartoji, varin臈ji prekybcentry su pilnu krep拧eliu, tol 拧irdies neskauda, viskas fainai, gr寞啪ti, paskaitai "Markovald膮" ir brauki a拧ar臈l臋, o paskui v臈l planuoji, koki膮 silk臋 gaminsi. Bet vis tiek, kita vertus, n臈ra taip, kad viskas b奴t懦 kaip buv臋, vis tiek geri tekstai, kaip "Markovaldas", ka啪kaip nutarkuoja 拧ird寞. Paskui ir atsiranda dulinskai ir "Vaik懦 svajon臈s". Ne veltui ir Markovaldo vaikai paskutiniam apsakyme, pasiskait臋 knyg懦, nusprend臈 dovanoti dovan臈les vargstantiems vaikams; t臈vas i拧gird臋s galvoja: taigi j奴s patys tie vargstantys vaikai. Norisi galvot, kad yra ir gra啪i懦 kapitalizmo pusi懦 ir 啪mogus ten ka啪kur vis tiek vis dar yra. Vot kiek prisimoralizavau skaitydama ger膮, gra啪i膮, labai kal臈di拧k膮 knyg膮.
Kita vertus, ko n臈ra slapstick komedijoje, bet kas yra grynai to meto itali拧ka - tas skurdas, tai, kad did啪iosios dalies apsakym懦 a拧is - Markovaldo bandymai susiveikt k膮 nors pavalgyti. Ar pagauti migruojant寞 pauk拧t寞, ar pavogti triu拧寞 i拧 gydytojo kabineto, ar per stog膮 susime拧keriot up臈tak寞 i拧 restorano, ar pasigaudyt 啪uv懦 ka啪kokioj nelegalioj vietoj. Graud啪iausias, kur jau vos u啪teko valios pastang懦 nemesti knygos: kaip Markovaldas, 啪mona ir visi 20 jo vaik懦 (ne 20, bet daug, nepamenu kiek) laisvadien寞 eina 寞 prekybos centr膮, seka 啪mones, kurie ka啪k膮 perka, ir patys stumdo tu拧膷ius ve啪im臈lius, nes neturi pinig懦. Ir Calvino, kaip ir turb奴t gyvenimas, nesigaili - neatsiranda niekas, kas staiga, kaip koks Dulinskas, apmok臈t懦 jiems 拧ventin寞 ve啪im臈l寞, jokia stebuklinga aplinkyb臈 i拧 pasak懦, kad jie bent k膮 nors i拧 to prekybcentrio i拧sine拧t懦. 沤iauriai neken膷iau Calvino pabaigoje, bet gal ne jo, o gyvenimo.
O mieliausias apsakymas - kaip Markovaldas pradeda r奴pintis darbe vargstan膷iu augalu ir 拧is per nakt寞 sulapoja, belekiek paauga, tampa tikru med啪iu. Skaitai ir supranti, kad 膷ia juk pats Markovaldas, tas augalas, u啪sigr奴d臋s 寞 kamp膮, am啪inai alkanas tiek maisto, tiek d臈mesio. Jie va啪in臈ja kartu per miest膮 mopedu, Markovaldas bando pagirdyti j寞 gyvu lietum ir gyvu oru. Ai拧ku, viskas baigiasi ten, kur ir prasid臈jo, o prad啪ia buvo tokia:
Tai buvo vienas t懦 啪ali懦 lapuo膷i懦, laikom懦 viduje, tiesiu ir laibu kamienu, nuo kurio 寞 visas puses ant i拧stypusi懦 koteli懦 啪臈l臈 blizg奴s dideli lapai; trumpai tariant, vienas t懦 augal膮 primenan膷i懦 augal懦 su lapo formos lapais, kurie anaiptol neatrodo tikri. (p. 89)
Kaip ir turi b奴ti (bent jau ital懦 neorealizme), Calvino ne tik socialiai skausmingas, bet ir labai poeti拧kas. Ka啪kokia teisinga literat奴ra, graudinanti, bet tarsi to nesiekianti, neu啪sibr臈啪usi spausti i拧 tav臋s kiekvieno 寞manomo a拧aros la拧elio. Kad ir tas apsakymas apie prekybos centr膮:
Kiekvien膮 miel膮 dien膮 tviskan膷ios parduotuvi懦 vitrinos vos sp臈davo ver啪liai pra啪ysti: kadaruodavo rausvos de拧ros, porceliano l臈k拧膷i懦 bok拧tai siekdavo lubas, audini懦 ritiniai i拧skleisdavo 寞mantrias drapiruotes it povai uodegas ir 拧tai - vartotoj懦 minia jau ver啪臈si vidun naikinti, kapoti, maigyti ir griebti visko, kas po ranka. Visais 拧aligatviais ir portikais nusidriekdavo ilgiausios eil臈s, 寞siver啪davo pro stiklines parduotuvi懦 duris ir apraizgydavo prekystalius, stumdydavo alk奴n臈mis it st奴mokliais kaimynams 寞 拧onkaulius, vartokite! 沤mon臈s 膷iupin臈jo prekes, d臈davo atgal, v臈l paimdavo, pl臈拧davo viens kitam i拧 rank懦, vartokite! 艩okdino perbalusias pardav臈jas, versdavo i拧skleisti ant prekystali懦 baltinukus ir patalyn臋, vartokite! Spalvoti si奴l懦 kamuoliukai sukdavosi it vilkeliai, g臈l臈ti popieriaus lak拧tai gag臈dami plasnojo sparnais ir vyniojo pirkinius 寞 paket臈lius, paket臈lius 寞 paketukus, paketukus 寞 paketus, kiekvien膮 perri拧ant dailiu kaspin臈liu, ir - pirmyn! Paketai, paketukai ir paket臈liai, krep拧iai ir krep拧iukai verpetavo prie kas懦 lyg did啪iul臈je eismo sp奴styje, rankoms rankinukuose 寞nirtingai ie拧kant pinigini懦 ir pir拧tams pinigin臈se 寞nirtingai ie拧kant smulki懦, kol tankioje svetim懦 koj懦 ir palt懦 skvern懦 girioje u啪 rank懦 nebelaikomi vaikai pasiklysdavo ir paleisdavo d奴das. (p. 96-97)
O 膷ia apie kal臈dines dovan臈les, aktualu :D
Pramon臈s ir prekybos pasaulius n臈ra kito tokio palaimingo ir puikaus laikotarpio metuose kaip Kal臈dos ir prie拧kal臈din臈s savait臈s. Gatv臈mis vilnija virpantys d奴dmai拧i懦 garsai; anonimini懦 akcinink懦 bendrov臈s, dar vakar panirusios 寞 拧altus fakt奴r懦 ir dividend懦 skai膷iavimus, atlapoja 拧ird寞 jausmams ir 拧ypsenoms. Pagrindinis direktori懦 taryb懦 r奴pestis dabar - suteikti d啪iaugsmo artimui pasiun膷iant dovan懦 ir sveikinim懦 atviruk懦 tiek dukterin臈ms 寞mon臈ms, tiek pavieniams klientams. Kiekviena 寞mon臈 jau膷ia pareig膮 寞sigyti did啪iul寞 preki懦 asortiment膮 i拧 kitos 寞mon臈s, kad v臈liau padovanot懦 j寞 dar kitoms 寞mon臈ms, kurios savo ruo啪tu perka i拧 kitos 寞mon臈s dovan懦 asortimentus dar kitoms 寞mon臈ms. (p. 126)
Kaip Undin臈 Radzevi膷i奴t臈, tik kad 60 met懦 anks膷iau. Ir ka啪kaip tikriau ir li奴dniau.
Viena vertus, ai拧ku, toks saviapgaulinis comfort-gestas: kol perki dovan臈les, vartoji, varin臈ji prekybcentry su pilnu krep拧eliu, tol 拧irdies neskauda, viskas fainai, gr寞啪ti, paskaitai "Markovald膮" ir brauki a拧ar臈l臋, o paskui v臈l planuoji, koki膮 silk臋 gaminsi. Bet vis tiek, kita vertus, n臈ra taip, kad viskas b奴t懦 kaip buv臋, vis tiek geri tekstai, kaip "Markovaldas", ka啪kaip nutarkuoja 拧ird寞. Paskui ir atsiranda dulinskai ir "Vaik懦 svajon臈s". Ne veltui ir Markovaldo vaikai paskutiniam apsakyme, pasiskait臋 knyg懦, nusprend臈 dovanoti dovan臈les vargstantiems vaikams; t臈vas i拧gird臋s galvoja: taigi j奴s patys tie vargstantys vaikai. Norisi galvot, kad yra ir gra啪i懦 kapitalizmo pusi懦 ir 啪mogus ten ka啪kur vis tiek vis dar yra. Vot kiek prisimoralizavau skaitydama ger膮, gra啪i膮, labai kal臈di拧k膮 knyg膮.
February 9, 2020
袦邪谢泻懈褟褌 褔芯胁械泻 胁 谢芯褕懈褟 谐褉邪写, 泻芯泄褌芯 薪邪胁褋褟泻褗写械 胁懈卸写邪 泻褗褋褔械 蟹邪斜褉邪胁械薪邪 锌褉懈褉芯写邪. 校屑懈谢懈褌械谢薪邪 泻薪懈谐邪, 斜械蟹 写邪 械 褋邪薪褌懈屑械薪褌邪谢薪邪. 袨斜褖懈褟褌 褉邪斜芯褌薪懈泻 芯褌 褍谢懈褑邪 "袩邪薪泻褉邪褑懈芯 袩邪薪泻褉邪褑懈械褌懈"褋褗褋 褋胁邪写谢懈胁邪 卸械薪邪 懈 褕械褋褌 写械褑邪 卸懈胁械械 胁 泻芯屑懈褔薪芯 胁蟹邪懈屑芯写械泄褋褌胁懈械 褋 邪胁褌芯褉懈褌械褌懈, 锌芯 褔邪锌谢懈薪芯胁褋泻懈. 袧械 褋褗屑 褔械谢邪 薪懈褖芯 锌芯写芯斜薪芯 写芯褋械谐邪, 薪芯 薪械褖芯 芯褌 褌芯蟹懈 泻芯屑懈蟹褗屑 屑懈 薪邪锌芯屑薪褟 薪械锌芯褏胁邪褌薪懈褌械 褔褍写邪褑懈 芯褌 锌懈械褋懈褌械 薪邪 孝械写懈 袦芯褋泻芯胁.
July 23, 2019
袦邪褉泻芯胁邪谢写芯, 褋懈屑锌邪褌懈褔薪懈褟褌 薪械褍写邪褔薪懈泻, 泻芯泄褌芯 胁懈卸写邪 褋胁械褌邪 锌褉械蟹 写褉褍谐懈 芯褔懈 懈 薪褟泻邪泻 褋懈 褍褋锌褟胁邪 写邪 薪邪屑械褉懈 屑邪谢泻懈 锌褗褋褌褉懈 锌褉芯蟹芯褉褔械褌邪 薪邪褋褉械写 褋懈胁懈褌械 褋褌械薪懈 懈 械写薪芯芯斜褉邪蟹懈械褌芯. 袦邪褉泻芯胁邪谢写芯, 泻芯泄褌芯 褍屑械械 写邪 褑械薪懈 屑邪谢泻懈褌械 褉邪写芯褋褌懈 - 褕械锌邪褌邪 谐褗斜懈, 锌芯薪懈泻薪邪谢懈 泻芯泄 蟹薪邪泄 泻邪泻 写芯 褋锌懈褉泻邪褌邪, 谢褞斜懈屑邪褌邪 锌械泄泻邪 胁 斜谢懈蟹泻邪褌邪 谐褉邪写懈薪泻邪, 锌褍褏泻邪胁懈褟 薪芯胁 褋薪褟谐, 蟹胁械蟹写薪芯褌芯 薪械斜械 薪芯褖械屑, 褋邪泻褋懈泄薪芯褌芯 褉邪褋褌械薪懈械 蟹邪 泻芯械褌芯 褋械 谐褉懈卸懈 胁褋械泻懈 写械薪. 袦邪褉泻芯胁邪谢写芯, 褋 泻芯谐芯褌芯 薪械锌褉械屑械薪薪芯 褌褉褟斜胁邪 写邪 褋械 蟹邪锌芯蟹薪邪械褌械, 芯褋芯斜械薪芯 泻芯谐邪褌芯 袧械胁邪 袦懈褔械胁邪 褌芯谢泻芯胁邪 褋械 械 锌芯褋褌邪褉邪谢邪 写邪 薪懈 谐芯 锌褉械写褋褌邪胁懈 胁 褑械谢懈褟 屑褍 褋泻褉芯屑械薪 斜谢褟褋褗泻.
孝芯胁邪 斜械褕械 械写薪邪 屑薪芯谐芯 锌褉懈褟褌薪邪 锌褗褉胁邪 褋褉械褖邪 褋 袣邪谢胁懈薪芯 懈 褋褗褋 褋懈谐褍褉薪芯褋褌 薪褟屑邪 写邪 斜褗写械 锌芯褋谢械写薪邪褌邪.
孝芯胁邪 斜械褕械 械写薪邪 屑薪芯谐芯 锌褉懈褟褌薪邪 锌褗褉胁邪 褋褉械褖邪 褋 袣邪谢胁懈薪芯 懈 褋褗褋 褋懈谐褍褉薪芯褋褌 薪褟屑邪 写邪 斜褗写械 锌芯褋谢械写薪邪褌邪.
November 20, 2009
I was trying to write about cold weather. Since I was struggling, I set down my pen and opened this book and was amazed to read this:
"Cold has a thousand shapes and a thousand ways of moving in the world: on the sea it gallops like a troop of horses, on the countryside it falls like a swarm of locusts, in the cities like a knife-blade it slashes the streets and penetrates the chinks of unheated houses."
There! Simultaneously familiar and new. That is how it is done, Calvino. No wonder I read you with such delight!
Here is the beginning of another story in this book:
"The city of cats and the city of men exist one inside the other, but they are not the same city."
What a marvelous opening!
You are a joyful writer Calvino, because you never fail to be excited by common things.
"Cold has a thousand shapes and a thousand ways of moving in the world: on the sea it gallops like a troop of horses, on the countryside it falls like a swarm of locusts, in the cities like a knife-blade it slashes the streets and penetrates the chinks of unheated houses."
There! Simultaneously familiar and new. That is how it is done, Calvino. No wonder I read you with such delight!
Here is the beginning of another story in this book:
"The city of cats and the city of men exist one inside the other, but they are not the same city."
What a marvelous opening!
You are a joyful writer Calvino, because you never fail to be excited by common things.
January 3, 2020
Una lunga favola, creata da venti piccoli episodi per raccontare Marcovaldo, uomo buffo e il suo rapporto con la natura e la citt脿, con una famiglia altrettanto curiosa.
Storie tenere che regalano un sorriso, insieme alla meraviglia di sentirsi di nuovo bambini. Calvino parla alla parte pi霉 piccola di noi, per riscoprirla, a fondo, intera.
Storie tenere che regalano un sorriso, insieme alla meraviglia di sentirsi di nuovo bambini. Calvino parla alla parte pi霉 piccola di noi, per riscoprirla, a fondo, intera.
November 22, 2020
A series of eccentric and unfortunate events...
October 7, 2021
Here's a book I knew I would like the minute I held it in my hot little hands. For one thing, it's short - 120 pages, fairly large print. For another, it's symmetrical - 20 stories, 5 for each season of the year. And finally, having read one story from it in a seasonal collection already, I knew it was both magical and sarcastic, a combination as golden as snide and abstract are shit. (Ok, it could be argued magical and sarcastic and snide and abstract are po-tay-to and po-tah-to, but let's not split hairs here.)
It took me three weeks to read Marcovaldo, because almost every story made me want to go back and read it again, not because it was hard to understand but because I wanted to experience the reading of it again. This is truly a book to savor. Some of the short stories (none are over 10 pages, most clocking in under 5) are merely funny in a subtle way, like "The Wasp Treatment" and "The Lunch-Box." Some, like "The Forest on the Superhighway" and "Smoke, Wind, and Soap-Bubbles," are caustic commentaries on industrialized society. Others - "The Good Air" and "The Wrong Stop" come to mind - are visceral, haunting journeys of Marcovaldo, a man who wants to see through the churning gears into a natural world that he's never seen except in fancy, and his family into a consumer culture they don't understand but charge dutifully into. Some reach almost terrifying levels of dementia, when the line between romantic idealism and harsh reality blur with Marcovaldo and his already-jaded family stuck at the borderland - see "A Saturday of Sun, Sand and Sleep" and "Marcovaldo at the Supermarket."
And then there are "The Moon and GNAC," "The Rain and the Leaves," and "Santas Children," the centerpieces of the book which do all of these things. All three come toward the end of the book, after the tone, setting, and characters have been subtly put into place. They have a few things in common - all have a conflict between the family unit and corporate culture, with the same winner each time; they each reflect an urbanization of myth, with neon lights and potted plants replacing cosmos and beanstalks; and each presents a subtle, heartbreaking moral judgment on the society they are set in and the losses man has swallowed in achieving it.
It took me three weeks to read Marcovaldo, because almost every story made me want to go back and read it again, not because it was hard to understand but because I wanted to experience the reading of it again. This is truly a book to savor. Some of the short stories (none are over 10 pages, most clocking in under 5) are merely funny in a subtle way, like "The Wasp Treatment" and "The Lunch-Box." Some, like "The Forest on the Superhighway" and "Smoke, Wind, and Soap-Bubbles," are caustic commentaries on industrialized society. Others - "The Good Air" and "The Wrong Stop" come to mind - are visceral, haunting journeys of Marcovaldo, a man who wants to see through the churning gears into a natural world that he's never seen except in fancy, and his family into a consumer culture they don't understand but charge dutifully into. Some reach almost terrifying levels of dementia, when the line between romantic idealism and harsh reality blur with Marcovaldo and his already-jaded family stuck at the borderland - see "A Saturday of Sun, Sand and Sleep" and "Marcovaldo at the Supermarket."
And then there are "The Moon and GNAC," "The Rain and the Leaves," and "Santas Children," the centerpieces of the book which do all of these things. All three come toward the end of the book, after the tone, setting, and characters have been subtly put into place. They have a few things in common - all have a conflict between the family unit and corporate culture, with the same winner each time; they each reflect an urbanization of myth, with neon lights and potted plants replacing cosmos and beanstalks; and each presents a subtle, heartbreaking moral judgment on the society they are set in and the losses man has swallowed in achieving it.
March 15, 2015
Non sono una estimatrice di Calvino, ma a Marcovaldo sono davvero affezionata. L鈥檋o letto a scuola, la prima volta, accompagnata, nel mio procedere, dal puntuale, quieto e preciso commentare della mia insegnante di letteratura italiana delle medie. Grande donna. La persona giusta al posto giusto, mi sento di dire. L鈥檋o ripensata spesso. Credo di doverle molto in termini di amore per la letteratura. Temo sia ormai morta, ma non ho modo di sapere cosa ne sia, oggi, di lei. La ricorder貌 sempre con grande affetto, perch茅 猫 stata, senza alcun dubbio, uno dei riferimenti pi霉 importanti nella mia vita scolastica.
Tornando a Marcovaldo, 猫 un libro che non posso definire 鈥渂ello鈥�, letterariamente parlando, ma che ha un suo fascino. Questo strano personaggio, un po鈥� ingenuo, un po鈥� malinconico, un po鈥� favolistico, ci racconta di cosa sia l鈥檌nsoddisfazione. Non ambisce, no, a fare rivoluzioni, a cambiare le cose, a rivoltare la vita. Ci racconta delle sue inquietudini, che, a volte, sono quasi un nulla 鈥� impalpabili come ali di farfalla. E鈥� inadeguato, Marcovaldo, a vivere, per貌 vive. Subisce, ma 猫 sempre pronto a ricominciare. Non si sa da dove venga, n茅, esattamente, dove voglia andare. Ma intanto viaggia. Non so se, leggendolo ai giorni nostri, sia ancora possibile trovarne la magia. Non ha effetti speciali da proporci, n茅 risposte precise al 鈥渕ale di vivere鈥�. E鈥� anche parecchio 鈥渄atato鈥�, direi. Per貌 la scrittura 猫 impeccabile. E鈥� riposto nel mio cuore come quelle vecchie fotografie in bianco e nero, ed un po鈥� ingiallite, che ti ricordano un tempo ormai scomparso. E che, quando le guardi, sorridi.
Tornando a Marcovaldo, 猫 un libro che non posso definire 鈥渂ello鈥�, letterariamente parlando, ma che ha un suo fascino. Questo strano personaggio, un po鈥� ingenuo, un po鈥� malinconico, un po鈥� favolistico, ci racconta di cosa sia l鈥檌nsoddisfazione. Non ambisce, no, a fare rivoluzioni, a cambiare le cose, a rivoltare la vita. Ci racconta delle sue inquietudini, che, a volte, sono quasi un nulla 鈥� impalpabili come ali di farfalla. E鈥� inadeguato, Marcovaldo, a vivere, per貌 vive. Subisce, ma 猫 sempre pronto a ricominciare. Non si sa da dove venga, n茅, esattamente, dove voglia andare. Ma intanto viaggia. Non so se, leggendolo ai giorni nostri, sia ancora possibile trovarne la magia. Non ha effetti speciali da proporci, n茅 risposte precise al 鈥渕ale di vivere鈥�. E鈥� anche parecchio 鈥渄atato鈥�, direi. Per貌 la scrittura 猫 impeccabile. E鈥� riposto nel mio cuore come quelle vecchie fotografie in bianco e nero, ed un po鈥� ingiallite, che ti ricordano un tempo ormai scomparso. E che, quando le guardi, sorridi.
July 28, 2021
Ho incontrato Marcovaldo a scuola, come tanti di noi, e mai dimenticato.
Questo sognatore, malinconico il giusto, che cerca di sfangare le giornate barcamenandosi in una citt脿 ostica dalla quale cerca sempre di fuggire con la fantasia e l'amore per la natura e le cose semplici.
Ma si sa che anche la natura ha i suoi risvolti amari e non tutte le buone intenzioni n茅 le idee originali vanno a buon fine.
Tutti questo fa di questi racconti di vita una lettura divertente e disincantata, un buon approccio con Calvino e il suo stile.
Questo sognatore, malinconico il giusto, che cerca di sfangare le giornate barcamenandosi in una citt脿 ostica dalla quale cerca sempre di fuggire con la fantasia e l'amore per la natura e le cose semplici.
Ma si sa che anche la natura ha i suoi risvolti amari e non tutte le buone intenzioni n茅 le idee originali vanno a buon fine.
Tutti questo fa di questi racconti di vita una lettura divertente e disincantata, un buon approccio con Calvino e il suo stile.
October 9, 2018
袦邪褉泻芯胁邪谢写芯 褋褌邪薪邪 懈 褋懈 芯斜谢械褔械 褉懈蟹邪褌邪 懈 锌邪薪褌邪谢芯薪懈褌械.
鈥� 袣褗写械 褌褉褗谐薪邪? 鈥� 锌芯锌懈褌邪 谐芯 卸械薪邪 屑褍, 斜写懈褌械谢薪邪 写芯褉懈 薪邪褋褗薪.
鈥� 袩芯 褍谢懈褑邪褌邪 屑懈薪邪胁邪褌 泻褉邪胁懈. 袨褌懈胁邪屑 写邪 胁懈写褟.
袟谢邪褌芯! 袟谢邪褌械薪 褔芯胁械泻 械 褔芯胁械泻褗褌, 泻芯泄褌芯 褔褍胁邪 泻褉邪胁懈 胁 锌褉芯褋褗薪懈褑邪 懈 褌褉褗谐胁邪 褋谢械写 褌褟褏. 袠 泻芯泄褌芯 褋械 褋械褖邪 褋 褍屑懈谢械薪懈械 蟹邪 写芯屑邪 懈 卸械薪邪 褋懈, 写芯泻邪褌芯 芯褌胁邪褉褟 泻邪薪褔械褌芯 褋 芯斜褟写邪, 泻芯泄褌芯 褌褟 屑褍 械 褋懈锌邪谢邪. 袠 泻芯泄褌芯, 褉邪蟹芯褔邪褉芯胁邪薪, 褔械 薪械 械 褍褋锌褟谢 写邪 芯褋懈谐褍褉懈 薪邪 写械褑邪褌邪 褋懈 胁褗谢薪褍胁邪褖邪 懈蟹薪械薪邪写邪, 褉械褕邪胁邪 锌芯薪械 写邪 锌芯褉邪蟹褏芯写懈 薪褟泻芯械 芯褌 褌褟褏 褋 褌褉懈泻芯谢泻邪褌邪 泻邪褌芯 懈蟹胁懈薪械薪懈械.
袦邪谢褗泻 褔芯胁械泻, 褋懈胁 谐褉邪写, 褋泻褍褔薪芯, 斜械写薪芯, 斜械蟹褋屑懈褋谢械薪芯 斜懈褌懈械 鈥� 薪懈褖芯 锌芯写芯斜薪芯. 袩褉懈泻谢褞褔械薪懈械 褋谢械写 锌褉懈泻谢褞褔械薪懈械, 胁褗谢薪褍胁邪褖懈 褋褉械褖懈, 褌褉褗锌泻懈 薪邪 胁褋褟泻邪 泻褉邪褔泻邪 鈥撗傂靶貉娦� 械 卸懈胁芯褌褗褌, 褋褌懈谐邪 褋邪屑芯 写邪 谐芯 胁懈卸写邪褕 褌邪泻褗胁.
袟谢邪褌械薪 袠褌邪谢芯 袣邪谢胁懈薪芯 褋 薪械谐芯胁懈褌械 泻褍褔械褌邪, "薪邪 泻芯懈褌芯 薪懈褖芯 褔芯胁械褕泻芯 薪械 械 褔褍卸写芯", 懈 "薪械卸薪懈褟 锌芯谐谢械写 薪邪 卸懈胁芯褌薪芯胁褗写邪, 泻芯泄褌芯 褍褋锌械褕薪芯 褋褗褔械褌邪胁邪 胁 械写懈薪 懈 褋褗褖 写褍褕械胁械薪 锌芯褉懈胁 芯斜懈褔褌邪 褋懈 泻褗屑 卸懈胁芯褌薪芯褌芯 懈 锌褉械写胁泻褍褋胁邪薪械褌芯 薪邪 锌械褔械薪芯" 懈 "袪邪褋褌械薪懈械褌芯 (胁懈泻邪褏邪 屑褍 锌褉芯褋褌芯 褌邪泻邪, 泻邪褌芯 褔械 谢懈 泻邪泻胁芯褌芯 懈 写邪 械 锌芯-泻芯薪泻褉械褌薪芯 懈屑械 斜械 懈蟹谢懈褕薪芯 胁 褋褉械写邪, 泻褗写械褌芯 褋邪屑芯 薪邪 薪械谐芯 褋械 锌芯谢邪谐邪褕械 写邪 锌褉械写褋褌邪胁谢褟胁邪 褉邪褋褌懈褌械谢薪芯褌芯 褑邪褉褋褌胁芯)",
鈥� 啸邪褉械褋胁邪 谢懈 胁懈 褌褍泻?
鈥� 袛邪.
鈥� 袟邪褖芯?
鈥� 袧褟屑邪 锌邪蟹邪褔懈. 袦芯卸械屑 写邪 泻褗褋邪屑械 褑胁械褌褟, 写邪 褏胁褗褉谢褟屑械 泻邪屑褗薪懈.
鈥� 袗 写懈褕邪褌械 谢懈, 写懈褕邪褌械 谢懈?
鈥� 袧械.
鈥� 袧芯 胁褗蟹写褍褏褗褌 薪邪泄-褋械褌薪械 械 锌褉械褋械薪...
袠蟹屑谢褟褋泻邪褏邪:
鈥� 袣褗写械 褌懈. 袧褟屑邪 胁泻褍褋...
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袟谢邪褌薪邪 懈 袧械胁邪 袦懈褔械胁邪, 褋 薪械泄薪懈褌械 "蟹械谢械薪懈褕" 懈 "褋械 胁褗胁懈褉邪", 懈 "褕褍屑芯谢", 懈 "袦邪褉泻芯胁邪谢写芯 蟹邪褋谢械写懈 懈 薪邪褋褌懈谐薪邪 械写薪芯 芯褌 褌褟褏, 薪芯 蟹邪斜械谢褟蟹邪, 褔械 薪械 械 芯写械胁械褕薪芯褌芯", 懈 "袥褍泻褋芯锌械褉", "效懈褋褌芯褌懈薪" 懈 "袩谢邪泻薪懈斜褉褗蟹"...
袘谢邪谐芯写邪褉褟!
鈥� 袣褗写械 褌褉褗谐薪邪? 鈥� 锌芯锌懈褌邪 谐芯 卸械薪邪 屑褍, 斜写懈褌械谢薪邪 写芯褉懈 薪邪褋褗薪.
鈥� 袩芯 褍谢懈褑邪褌邪 屑懈薪邪胁邪褌 泻褉邪胁懈. 袨褌懈胁邪屑 写邪 胁懈写褟.
袟谢邪褌芯! 袟谢邪褌械薪 褔芯胁械泻 械 褔芯胁械泻褗褌, 泻芯泄褌芯 褔褍胁邪 泻褉邪胁懈 胁 锌褉芯褋褗薪懈褑邪 懈 褌褉褗谐胁邪 褋谢械写 褌褟褏. 袠 泻芯泄褌芯 褋械 褋械褖邪 褋 褍屑懈谢械薪懈械 蟹邪 写芯屑邪 懈 卸械薪邪 褋懈, 写芯泻邪褌芯 芯褌胁邪褉褟 泻邪薪褔械褌芯 褋 芯斜褟写邪, 泻芯泄褌芯 褌褟 屑褍 械 褋懈锌邪谢邪. 袠 泻芯泄褌芯, 褉邪蟹芯褔邪褉芯胁邪薪, 褔械 薪械 械 褍褋锌褟谢 写邪 芯褋懈谐褍褉懈 薪邪 写械褑邪褌邪 褋懈 胁褗谢薪褍胁邪褖邪 懈蟹薪械薪邪写邪, 褉械褕邪胁邪 锌芯薪械 写邪 锌芯褉邪蟹褏芯写懈 薪褟泻芯械 芯褌 褌褟褏 褋 褌褉懈泻芯谢泻邪褌邪 泻邪褌芯 懈蟹胁懈薪械薪懈械.
袦邪谢褗泻 褔芯胁械泻, 褋懈胁 谐褉邪写, 褋泻褍褔薪芯, 斜械写薪芯, 斜械蟹褋屑懈褋谢械薪芯 斜懈褌懈械 鈥� 薪懈褖芯 锌芯写芯斜薪芯. 袩褉懈泻谢褞褔械薪懈械 褋谢械写 锌褉懈泻谢褞褔械薪懈械, 胁褗谢薪褍胁邪褖懈 褋褉械褖懈, 褌褉褗锌泻懈 薪邪 胁褋褟泻邪 泻褉邪褔泻邪 鈥撗傂靶貉娦� 械 卸懈胁芯褌褗褌, 褋褌懈谐邪 褋邪屑芯 写邪 谐芯 胁懈卸写邪褕 褌邪泻褗胁.
袟谢邪褌械薪 袠褌邪谢芯 袣邪谢胁懈薪芯 褋 薪械谐芯胁懈褌械 泻褍褔械褌邪, "薪邪 泻芯懈褌芯 薪懈褖芯 褔芯胁械褕泻芯 薪械 械 褔褍卸写芯", 懈 "薪械卸薪懈褟 锌芯谐谢械写 薪邪 卸懈胁芯褌薪芯胁褗写邪, 泻芯泄褌芯 褍褋锌械褕薪芯 褋褗褔械褌邪胁邪 胁 械写懈薪 懈 褋褗褖 写褍褕械胁械薪 锌芯褉懈胁 芯斜懈褔褌邪 褋懈 泻褗屑 卸懈胁芯褌薪芯褌芯 懈 锌褉械写胁泻褍褋胁邪薪械褌芯 薪邪 锌械褔械薪芯" 懈 "袪邪褋褌械薪懈械褌芯 (胁懈泻邪褏邪 屑褍 锌褉芯褋褌芯 褌邪泻邪, 泻邪褌芯 褔械 谢懈 泻邪泻胁芯褌芯 懈 写邪 械 锌芯-泻芯薪泻褉械褌薪芯 懈屑械 斜械 懈蟹谢懈褕薪芯 胁 褋褉械写邪, 泻褗写械褌芯 褋邪屑芯 薪邪 薪械谐芯 褋械 锌芯谢邪谐邪褕械 写邪 锌褉械写褋褌邪胁谢褟胁邪 褉邪褋褌懈褌械谢薪芯褌芯 褑邪褉褋褌胁芯)",
鈥� 啸邪褉械褋胁邪 谢懈 胁懈 褌褍泻?
鈥� 袛邪.
鈥� 袟邪褖芯?
鈥� 袧褟屑邪 锌邪蟹邪褔懈. 袦芯卸械屑 写邪 泻褗褋邪屑械 褑胁械褌褟, 写邪 褏胁褗褉谢褟屑械 泻邪屑褗薪懈.
鈥� 袗 写懈褕邪褌械 谢懈, 写懈褕邪褌械 谢懈?
鈥� 袧械.
鈥� 袧芯 胁褗蟹写褍褏褗褌 薪邪泄-褋械褌薪械 械 锌褉械褋械薪...
袠蟹屑谢褟褋泻邪褏邪:
鈥� 袣褗写械 褌懈. 袧褟屑邪 胁泻褍褋...
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袟谢邪褌薪邪 懈 袧械胁邪 袦懈褔械胁邪, 褋 薪械泄薪懈褌械 "蟹械谢械薪懈褕" 懈 "褋械 胁褗胁懈褉邪", 懈 "褕褍屑芯谢", 懈 "袦邪褉泻芯胁邪谢写芯 蟹邪褋谢械写懈 懈 薪邪褋褌懈谐薪邪 械写薪芯 芯褌 褌褟褏, 薪芯 蟹邪斜械谢褟蟹邪, 褔械 薪械 械 芯写械胁械褕薪芯褌芯", 懈 "袥褍泻褋芯锌械褉", "效懈褋褌芯褌懈薪" 懈 "袩谢邪泻薪懈斜褉褗蟹"...
袘谢邪谐芯写邪褉褟!
May 8, 2016
螘委谓伪喂 渭喂伪 蟽蔚喂蟻维 伪蟺蠈 蠈渭慰蟻蠁蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟺慰蠀 蟿喂蟼 胃蠀渭维渭伪喂 渭蔚 渭喂伪 纬位蠀魏喂维 谓慰蟽蟿伪位纬委伪. 螘委谓伪喂 蟺伪喂未喂魏维 蟺伪蟻伪渭蠀胃维魏喂伪 蟺慰蠀 畏 伪尉委伪 蟿慰蠀蟼 苇纬魏蔚喂蟿伪喂 蟽蟿畏谓 伪蟺位蠈蟿畏蟿维 蟿慰蠀蟼 魏伪喂 蟽蟿畏谓 苇位位蔚喂蠄畏 蔚蟺喂蟿萎未蔚蠀蟽畏蟼 蟽蟿慰 蠉蠁慰蟼.
螒蠀蟿蠈 蔚委谓伪喂 蟺慰蠀 渭慰蠀 维蟻蔚蟽蔚 蟽蟿慰谓 Italo Calvino, 伪蠀蟿蠈 伪魏蟻喂尾蠋蟼 蟺慰蠀 渭伪蟻蟿蠀蟻维 魏伪喂 蟿慰 渭喂魏蟻蠈 蟿慰蠀 蠈谓慰渭伪. 螒蠀蟿萎谓 蟿畏 纬位蠀魏喂维 伪蟺位蠈蟿畏蟿伪 蟺慰蠀 尾蟻委蟽魏蔚喂 魏伪谓蔚委蟼 蟽蠀谓萎胃蠅蟼 蟽蔚 喂蟿伪位喂魏维 魏伪位位喂蟿蔚蠂谓喂魏维 未畏渭喂慰蠀蟻纬萎渭伪蟿伪, 蔚委蟿蔚 伪蠀蟿维 蔚委谓伪喂 蟽蠀纬纬蟻维渭伪蟿伪, 蔚委蟿蔚 蟿伪喂谓委蔚蟼. 螠蔚 蟿慰谓 委未喂慰 蟿蟻蠈蟺慰 蟺慰蠀 渭蠈谓慰 苇谓伪蟼 螜蟿伪位蠈蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蟽蠀位位维尾蔚喂 蟿慰 蟽蔚谓维蟻喂慰 纬喂伪 蟿畏谓 蟿伪喂谓委伪 "螚 味蠅萎 蔚委谓伪喂 蠅蟻伪委伪", 渭蠈谓慰 苇谓伪蟼 螜蟿伪位蠈蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 纬蟻维蠄蔚喂 蟿苇蟿慰喂伪 未喂畏纬萎渭伪蟿伪 伪谓维位慰纬畏蟼 慰渭慰蟻蠁喂维蟼.
螞维蟿蟻蔚蠄伪 蟿慰 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 螠伪蟻魏慰尾维位谓蟿慰, 蟿畏谓 伪蠁苇位蔚喂维 蟿慰蠀 魏伪喂 蟿畏谓 伪纬伪胃蠈蟿畏蟿维 蟿慰蠀. 螠蔚 纬慰萎蟿蔚蠀蟽蔚 畏 伪纬维蟺畏 蟿慰蠀 纬喂伪 蟿畏 蠁蠉蟽畏 魏伪喂 渭蔚 蟽蠀纬魏委谓畏蟽伪谓 慰喂 蟺蟻慰蟽蟺维胃蔚喂蔚蟼 蔚蠉蟻蔚蟽畏蟼 蟿畏蟼 蠁蠉蟽畏蟼 苇蟽蟿蠅 魏伪喂 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 蟺慰位蠉 渭喂魏蟻苇蟼 蔚魏蠁维谓蟽蔚喂蟼 伪蠀蟿畏蟼 蟽蔚 渭喂伪 渭蔚纬维位畏 魏伪喂 蠂伪慰蟿喂魏萎 蟺蠈位畏. 螌位伪 伪蠀蟿维 蟿伪 魏伪渭蠋渭伪蟿维 蟿慰蠀 渭慰蠀 未畏渭喂慰蠀蟻纬慰蠉蟽伪谓 苇谓伪 蠂伪渭蠈纬蔚位慰 蟽蟿伪 蠂蔚委位畏 蟽蟿畏 未喂维蟻魏蔚喂伪 蟿畏蟼 伪谓维纬谓蠅蟽畏蟼, 蠈蠂喂 渭蠈谓慰 蔚蟺蔚喂未萎 魏维蟺慰喂伪 伪蟺蠈 伪蠀蟿维 蔚委谓伪喂 伪蟽蟿蔚委伪, 伪位位维 蔚蟺蔚喂未萎 伪尾委伪蟽蟿伪 蠂伪渭慰纬蔚位维 魏伪谓蔚委蟼 未喂伪蟺喂蟽蟿蠋谓慰谓蟿伪蟼 蟿畏谓 伪蠁苇位蔚喂伪 魏伪喂 蟿慰谓 伪蠀胃慰蟻渭畏蟿喂蟽渭蠈 蟽蟿伪 魏伪渭蠋渭伪蟿伪 蔚谓蠈蟼 渭喂魏蟻慰蠉 蟺伪喂未慰蠉.
韦慰 蟺喂慰 蟺喂胃伪谓蠈, 位慰喂蟺蠈谓, 蔚委谓伪喂 蠈蟿喂 蠈蠂喂 渭蠈谓慰 苇谓伪 蟺伪喂未委, 伪位位维 魏伪喂 蠈蟺慰喂慰蟼 魏蟻蠉尾蔚喂 渭苇蟽伪 蟿慰蠀 苇谓伪 蟺伪喂未委 渭蟺慰蟻蔚委 蟺慰位蠉 蔚蠉魏慰位伪 谓伪 伪纬伪蟺萎蟽蔚喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰.
螒蠀蟿蠈 蔚委谓伪喂 蟺慰蠀 渭慰蠀 维蟻蔚蟽蔚 蟽蟿慰谓 Italo Calvino, 伪蠀蟿蠈 伪魏蟻喂尾蠋蟼 蟺慰蠀 渭伪蟻蟿蠀蟻维 魏伪喂 蟿慰 渭喂魏蟻蠈 蟿慰蠀 蠈谓慰渭伪. 螒蠀蟿萎谓 蟿畏 纬位蠀魏喂维 伪蟺位蠈蟿畏蟿伪 蟺慰蠀 尾蟻委蟽魏蔚喂 魏伪谓蔚委蟼 蟽蠀谓萎胃蠅蟼 蟽蔚 喂蟿伪位喂魏维 魏伪位位喂蟿蔚蠂谓喂魏维 未畏渭喂慰蠀蟻纬萎渭伪蟿伪, 蔚委蟿蔚 伪蠀蟿维 蔚委谓伪喂 蟽蠀纬纬蟻维渭伪蟿伪, 蔚委蟿蔚 蟿伪喂谓委蔚蟼. 螠蔚 蟿慰谓 委未喂慰 蟿蟻蠈蟺慰 蟺慰蠀 渭蠈谓慰 苇谓伪蟼 螜蟿伪位蠈蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蟽蠀位位维尾蔚喂 蟿慰 蟽蔚谓维蟻喂慰 纬喂伪 蟿畏谓 蟿伪喂谓委伪 "螚 味蠅萎 蔚委谓伪喂 蠅蟻伪委伪", 渭蠈谓慰 苇谓伪蟼 螜蟿伪位蠈蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 纬蟻维蠄蔚喂 蟿苇蟿慰喂伪 未喂畏纬萎渭伪蟿伪 伪谓维位慰纬畏蟼 慰渭慰蟻蠁喂维蟼.
螞维蟿蟻蔚蠄伪 蟿慰 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 螠伪蟻魏慰尾维位谓蟿慰, 蟿畏谓 伪蠁苇位蔚喂维 蟿慰蠀 魏伪喂 蟿畏谓 伪纬伪胃蠈蟿畏蟿维 蟿慰蠀. 螠蔚 纬慰萎蟿蔚蠀蟽蔚 畏 伪纬维蟺畏 蟿慰蠀 纬喂伪 蟿畏 蠁蠉蟽畏 魏伪喂 渭蔚 蟽蠀纬魏委谓畏蟽伪谓 慰喂 蟺蟻慰蟽蟺维胃蔚喂蔚蟼 蔚蠉蟻蔚蟽畏蟼 蟿畏蟼 蠁蠉蟽畏蟼 苇蟽蟿蠅 魏伪喂 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 蟺慰位蠉 渭喂魏蟻苇蟼 蔚魏蠁维谓蟽蔚喂蟼 伪蠀蟿畏蟼 蟽蔚 渭喂伪 渭蔚纬维位畏 魏伪喂 蠂伪慰蟿喂魏萎 蟺蠈位畏. 螌位伪 伪蠀蟿维 蟿伪 魏伪渭蠋渭伪蟿维 蟿慰蠀 渭慰蠀 未畏渭喂慰蠀蟻纬慰蠉蟽伪谓 苇谓伪 蠂伪渭蠈纬蔚位慰 蟽蟿伪 蠂蔚委位畏 蟽蟿畏 未喂维蟻魏蔚喂伪 蟿畏蟼 伪谓维纬谓蠅蟽畏蟼, 蠈蠂喂 渭蠈谓慰 蔚蟺蔚喂未萎 魏维蟺慰喂伪 伪蟺蠈 伪蠀蟿维 蔚委谓伪喂 伪蟽蟿蔚委伪, 伪位位维 蔚蟺蔚喂未萎 伪尾委伪蟽蟿伪 蠂伪渭慰纬蔚位维 魏伪谓蔚委蟼 未喂伪蟺喂蟽蟿蠋谓慰谓蟿伪蟼 蟿畏谓 伪蠁苇位蔚喂伪 魏伪喂 蟿慰谓 伪蠀胃慰蟻渭畏蟿喂蟽渭蠈 蟽蟿伪 魏伪渭蠋渭伪蟿伪 蔚谓蠈蟼 渭喂魏蟻慰蠉 蟺伪喂未慰蠉.
韦慰 蟺喂慰 蟺喂胃伪谓蠈, 位慰喂蟺蠈谓, 蔚委谓伪喂 蠈蟿喂 蠈蠂喂 渭蠈谓慰 苇谓伪 蟺伪喂未委, 伪位位维 魏伪喂 蠈蟺慰喂慰蟼 魏蟻蠉尾蔚喂 渭苇蟽伪 蟿慰蠀 苇谓伪 蟺伪喂未委 渭蟺慰蟻蔚委 蟺慰位蠉 蔚蠉魏慰位伪 谓伪 伪纬伪蟺萎蟽蔚喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰.
March 22, 2022
Kadaise galvojau, kas b奴t懦, jeigu kas nors animacin寞 veiksm膮 perkelt懦 寞 literat奴r膮? O Calvino 鈥濵arkovalde鈥� b奴tent tok寞 ir suk奴r臈. Patenkame 寞 laik膮 ir erdv臋, kur niekas neprasideda ir nesibaigia, kur n臈ra mirties, o i拧 auk拧tai krit臋s v臈l gali pakilti ir eiti lyg niekur nieko. Ir tai 拧itaip skiriasi nuo literat奴rini懦 stebukl懦! Ir principas dar visai kitas: it komi拧kame Jacques'o Tati pasaulyje dar 拧ypsom臈s ne i拧 gera拧ird啪io neprisitaik臈lio tipa啪o, bet i拧 to, kokioje absurdi拧kai bruzdan膷ioje realyb臈je jis veikia, kaip iliuzi拧ka apsvaigti nuo mies膷ioni拧kos gerov臈s. Markovaldo pasaulis nepritampa prie neonin臈s modernizacijos ir fabrik懦 rutinos, nostalgi拧kai ir graud啪iai primena paprast懦 dalyk臈li懦 prasm臋.
Gra啪u ir li奴dna skaityti. Markovald懦 nuotyki懦 gal臈t懦 b奴ti begalyb臈.
Gra啪u ir li奴dna skaityti. Markovald懦 nuotyki懦 gal臈t懦 b奴ti begalyb臈.
February 2, 2018
Ma esiste ancora la natura?
Venti racconti uniti dallo stesso protagonista: un uomo semplice con una famiglia numerosa e una vita grama. Ma Marcovaldo 猫 un sognatore con un cuore di bambino: trova la bellezza e la poesia nelle piccole cose, quelle nascoste dal caos cittadino e invisibili ai pi霉.
I racconti affascinano per l'atmosfera sospesa da favola, per la magia, per la tenerezza e la malinconia, per la capacit脿 di fermarsi a guardare le foglie che cadono, uno spicchio di luna, un arcobaleno dopo la pioggia.
Venti racconti uniti dallo stesso protagonista: un uomo semplice con una famiglia numerosa e una vita grama. Ma Marcovaldo 猫 un sognatore con un cuore di bambino: trova la bellezza e la poesia nelle piccole cose, quelle nascoste dal caos cittadino e invisibili ai pi霉.
I racconti affascinano per l'atmosfera sospesa da favola, per la magia, per la tenerezza e la malinconia, per la capacit脿 di fermarsi a guardare le foglie che cadono, uno spicchio di luna, un arcobaleno dopo la pioggia.
August 11, 2017
Da piccola piangevo spesso per cose che gli altri consideravano poetiche o divertenti, tipo il circo, i film di Charlot o i fumetti di Paperino. Con Marcovaldo and貌 allo stesso modo: troppo forte l'aura di povert脿, le minime vicende da umiliati e offesi, quel sentore di cavolo bollito e stanzette stipate di figli con il bagno in fondo al ballatoio che trasudavano da ogni pagina. Mi disperavo per le sue disavventure, sentivo il peso di quell'ingiustizia esistenziale, avrei voluto salvarlo da quella citt脿 orribile e grigia piena di rumore, picchiare il vigile, la padrona di casa, il caporeparto, il commendatore e gli altri prepotenti che lo vessavano quotidianamente. Insomma, io questo libro l'ho odiato a pugni stretti, come solo sanno fare i bambini. Maledissi la maestra che ce l'aveva appioppato e tutti quei piccoli bugiardi leccaculo che scrivevano chebellomarcovaldo! nei temi, mentivano e lo sapevo. Speravo di rileggerlo con gli occhi della saggezza, del disincanto e della maturit脿 ma purtroppo le reazioni sono state identiche ad allora, con l'aggravante che nel frattempo i commendatori sono ormai praticamente estinti (un po' anche i capireparto, a pensarci bene). Adesso esco e vedo se riesco a picchiare almeno un vigile.
October 23, 2017
袩芯褉械写薪芯褌芯 斜懈卸褍 胁 锌芯褉械写懈褑邪褌邪 蟹邪 泻褉邪褌泻懈 褉邪蟹泻邪蟹懈 薪邪 谢褞斜懈屑芯褌芯 懈蟹写邪褌械谢褋褌胁芯 袞邪薪械褌-45 褋 胁械谢懈泻芯谢械锌薪懈褟 锌褉械胁芯写 薪邪 斜械蟹褍锌褉械褔薪邪褌邪 袧械胁邪 袦懈褔械胁邪. 小斜芯褉薪懈泻褗褌 褋 褉邪蟹泻邪蟹懈 薪懈 褋褉械褖邪 褋 褔邪褉芯胁薪懈褟 薪械褍写邪褔薪懈泻 袦邪褉泻芯胁邪谢写芯 懈 屑薪芯谐芯褔懈褋谢械薪芯褌芯 屑褍 褋械屑械泄褋褌胁芯, 泻芯泄褌芯 胁褋械泻懈写薪械胁薪芯 褋械 斜芯褉懈 褋 薪械胁芯谢懈褌械, 写褗谢谐芯胁械褌械, 褋懈胁芯褌邪褌邪 薪邪 谐芯谢械屑懈褟 谐褉邪写 懈 械写薪芯芯斜褉邪蟹薪邪褌邪 褋懈 褉邪斜芯褌邪. 袙褗锌褉械泻懈 邪斜褋褍褉写薪懈褌械 褋懈褌褍邪褑懈懈, 胁 泻芯懈褌芯 懈蟹锌邪写邪, 锌械褔械谢懈 褋懈屑锌邪褌懈懈褌械 褋 锌芯 写械褌褋泻懈 薪邪懈胁薪懈褟 褋懈 懈 褔懈褋褌 锌芯谐谢械写 泻褗屑 褋胁械褌邪. 袨褔邪褉芯胁邪褌 谐芯 锌褉懈胁懈写薪芯 芯斜懈泻薪芯胁械薪懈 懈 薪械蟹薪邪褔懈褌械谢薪懈 薪械褖邪 泻邪褌芯 谐褗斜懈褌械, 锌芯薪懈泻薪邪谢懈 胁 芯褋泻褗写薪邪褌邪 褌褉械胁邪 薪邪 褋锌懈褉泻邪褌邪, 谢褍薪邪褌邪, 蟹邪泻褉懈胁邪薪邪 芯褌 褉械泻谢邪屑薪芯 锌邪薪芯, 褋邪泻褋懈械薪芯褌芯 褉邪褋褌械薪懈械 薪邪 褉邪斜芯褌薪芯褌芯 屑褟褋褌芯. 效芯胁械泻褗褌, 芯褌泻褗褋薪邪褌 芯褌 锌褉懈褉芯写邪褌邪, 泻褉邪褔械褖 写械薪 褋谢械写 写械薪 褋褉械写 斜械薪蟹懈薪芯胁懈 懈蟹锌邪褉械薪懈褟, 斜械褌芯薪, 薪械斜芯褋褌褗褉谐邪褔懈 懈 褋懈薪褌械褌懈褔薪懈 屑邪褌械褉懈懈. 袩芯蟹薪邪褌芯, 薪邪谢懈? 袗 械 锌懈褋邪薪芯 锌褉械蟹 60-褌械 谐芯写. 薪邪 屑懈薪邪谢懈褟 胁械泻. 袦薪芯谐芯 褌芯锌谢懈 懈 褌褉芯谐邪褌械谢薪懈 懈褋褌芯褉懈懈, 褋 泻芯懈褌芯 袣邪谢胁懈薪芯 屑械 褋锌械褔械谢懈 懈 褋械 薪邪褉械卸写邪 写芯 谢褞斜懈屑懈褟 袘褍写蟹邪褌懈. 袪邪蟹泻邪蟹褗褌 "袥褍薪邪 懈 薪褟泻" 械 械写懈薪 芯褌 薪邪泄-褋懈谢薪懈褌械, 泻芯懈褌芯 褋褗屑 褔械谢邪 懈蟹芯斜褖芯. 袣邪谢胁懈薪芯 懈 袘褍写蟹邪褌懈 芯褌泻褉懈褏 懈 芯锌芯蟹薪邪褏 斜谢邪谐芯写邪褉械薪懈械 薪邪 袧械胁邪 袦懈褔械胁邪, 蟹邪 泻芯械褌芯 屑薪芯谐芯 褲 斜谢邪谐芯写邪褉褟.
June 5, 2018
效褍写褟 褋械 褋 泻邪泻褗胁 褋褍锌械褉谢邪褌懈胁 写邪 蟹邪锌芯褔薪邪... 袚械薪懈邪谢薪邪!
袦邪谢泻芯 褋邪 泻薪懈谐懈褌械, 泻芯懈褌芯 屑芯谐邪褌 写邪 褌械 褉邪蟹褋屑懈胁邪褌 褌邪泻邪. 袦邪褉泻芯胁邪谢写芯 褍褋锌褟胁邪 写邪 芯褌泻褉懈械 锌褉懈褉芯写邪褌邪 懈 褑褟谢芯褌芯 褔褍写芯 薪邪 袙褋械谢械薪邪褌邪 胁 褉邪屑泻懈褌械 薪邪 械写懈薪 谐褉邪写. 小屑芯谐胁邪 写邪 褍写胁芯谢械褌胁芯褉褟胁邪 薪械芯斜褏芯写懈屑芯褋褌懈褌械 薪邪 褋械屑械泄褋褌胁芯褌芯 懈 写邪 卸懈胁械械 褌芯谢泻芯胁邪 褋胁械卸芯, 胁褗锌褉械泻懈 褍卸邪褋薪芯褌芯 懈屑 懈泻芯薪芯屑懈褔械褋泻芯 褋褗褋褌芯褟薪懈械.
袩械褉褎械泻褌薪芯 褋械 写芯锌褗谢胁邪褌 "袩芯谐褉械褕薪邪褌邪 褋锌懈褉泻邪" 褋 "袥褞斜芯胁褌邪 械 褋谢褟锌邪" 芯褌 效芯胁械泻褗褌 胁褗谢泻 - 袘芯褉懈褋 袙懈邪薪 懈 "袦邪褉泻芯胁邪谢写芯 胁 褋褍锌械褉屑邪褉泻械褌邪" 褋 "袝泻褋褌邪蟹" 芯褌 袝写薪芯屑懈薪褍褌薪懈 薪芯胁械谢懈 - 袠褖胁邪薪 袡芯褉泻械薪.
袩袩. 袙 写械褋械褌泻邪褌邪 褋褉械写 褋胁械卸懈褌械 泻薪懈谐懈. 袩褉邪胁褟 邪褋芯褑懈邪褑懈褟 褋褗褋 "小胁邪褌芯胁薪懈泻褗褌 芯褌 袩械褉懈谐芯褉". 袦邪泻邪褉 写邪 褋邪 褌芯谢泻芯胁邪 褉邪蟹谢懈褔薪懈 械写薪邪 芯褌 写褉褍谐邪, 屑懈褋谢褟 褔械 写胁械褌械 泻薪懈谐懈 谐懈 褋胁褗褉蟹胁邪 谐械薪懈邪谢薪懈褟 褏褍屑芯褉 懈 卸懈胁芯褌邪 胁 "懈蟹芯谢邪褑懈褟" :)
袦邪谢泻芯 褋邪 泻薪懈谐懈褌械, 泻芯懈褌芯 屑芯谐邪褌 写邪 褌械 褉邪蟹褋屑懈胁邪褌 褌邪泻邪. 袦邪褉泻芯胁邪谢写芯 褍褋锌褟胁邪 写邪 芯褌泻褉懈械 锌褉懈褉芯写邪褌邪 懈 褑褟谢芯褌芯 褔褍写芯 薪邪 袙褋械谢械薪邪褌邪 胁 褉邪屑泻懈褌械 薪邪 械写懈薪 谐褉邪写. 小屑芯谐胁邪 写邪 褍写胁芯谢械褌胁芯褉褟胁邪 薪械芯斜褏芯写懈屑芯褋褌懈褌械 薪邪 褋械屑械泄褋褌胁芯褌芯 懈 写邪 卸懈胁械械 褌芯谢泻芯胁邪 褋胁械卸芯, 胁褗锌褉械泻懈 褍卸邪褋薪芯褌芯 懈屑 懈泻芯薪芯屑懈褔械褋泻芯 褋褗褋褌芯褟薪懈械.
袩械褉褎械泻褌薪芯 褋械 写芯锌褗谢胁邪褌 "袩芯谐褉械褕薪邪褌邪 褋锌懈褉泻邪" 褋 "袥褞斜芯胁褌邪 械 褋谢褟锌邪" 芯褌 效芯胁械泻褗褌 胁褗谢泻 - 袘芯褉懈褋 袙懈邪薪 懈 "袦邪褉泻芯胁邪谢写芯 胁 褋褍锌械褉屑邪褉泻械褌邪" 褋 "袝泻褋褌邪蟹" 芯褌 袝写薪芯屑懈薪褍褌薪懈 薪芯胁械谢懈 - 袠褖胁邪薪 袡芯褉泻械薪.
袩袩. 袙 写械褋械褌泻邪褌邪 褋褉械写 褋胁械卸懈褌械 泻薪懈谐懈. 袩褉邪胁褟 邪褋芯褑懈邪褑懈褟 褋褗褋 "小胁邪褌芯胁薪懈泻褗褌 芯褌 袩械褉懈谐芯褉". 袦邪泻邪褉 写邪 褋邪 褌芯谢泻芯胁邪 褉邪蟹谢懈褔薪懈 械写薪邪 芯褌 写褉褍谐邪, 屑懈褋谢褟 褔械 写胁械褌械 泻薪懈谐懈 谐懈 褋胁褗褉蟹胁邪 谐械薪懈邪谢薪懈褟 褏褍屑芯褉 懈 卸懈胁芯褌邪 胁 "懈蟹芯谢邪褑懈褟" :)
November 8, 2017
袣邪褌芯 褋械 蟹邪屑懈褋谢懈褏 泻邪泻 写邪 芯锌褉械写械谢褟 褌芯胁邪, 泻芯械褌芯 械 薪邪锌褉邪胁懈谢 袣邪谢胁懈薪芯, 写芯泻邪褌芯 械 锌褉邪胁懈谢 "袦邪褉泻芯胁邪谢写芯", 褋械 褋械褌懈褏 蟹邪 锌芯褋谢械写薪芯褌芯 懈蟹褉械褔械薪懈械 芯褌 : "孝褉褟斜胁邪 写邪 褋械 芯斜懈褔邪". 袧械 "薪械 斜懈 斜懈谢芯 蟹谢械 写邪 褋械 芯斜懈褔邪", "锌褉械锌芯褉褗褔懈褌械谢薪芯 械...", "屑芯卸械...", "褋谢褍褔胁邪 褋械...", 邪 "褌褉褟斜胁邪". 袦邪褉泻芯胁邪谢写芯 蟹薪邪械. 袨褋胁械薪 褌芯胁邪: 懈 邪蟹 泻邪褌芯 薪械谐芯 屑芯屑械薪褌邪谢薪芯 胁懈卸写邪屑 谐褗斜懈褌械, 芯谐谢械卸写邪屑 褋械 蟹邪 褋褗蟹胁械蟹写懈褟褌邪, 谢械卸邪 锌芯 锌械泄泻懈褌械, 褉褗褋褟 械褋械薪薪懈 谢懈褋褌邪, 谐芯胁芯褉褟 褋懈 褋 泻芯褌泻懈褌械 懈 芯斜懈褔邪屑 屑芯蟹褗泻 锌邪薪械.
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