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The Holocaust
袘械蟹 褋褍写褜斜褘 (啸芯谢芯泻芯褋褌. 袩褉邪胁写懈胁邪褟 懈褋褌芯褉懈褟)
芦袘械蟹 褋褍写褜斜褘禄 鈥� 懈褋锌芯胁械写褜 胁械薪谐械褉褋泻芯谐芯 锌懈褋邪褌械谢褟, 谢邪褍褉械邪褌邪 袧芯斜械谢械胁褋泻芯泄 锌褉械屑懈懈 锌芯 谢懈褌械褉邪褌褍褉械 袠屑褉械 袣械褉褌械褋邪, 泻芯褌芯褉褘泄 锌芯锌邪谢 胁 泻芯薪褑谢邪谐械褉褜 胁 胁芯蟹褉邪褋褌械 15 谢械褌, 褋屑芯谐 锌褉芯泄褌懈 胁褋械 褍卸邪褋褘 蟹邪泻谢褞褔械薪懈褟 懈 芯褋褌邪褌褜褋褟 胁 卸懈胁褘褏. 袧械胁蟹懈褉邪褟 薪邪 褌褉邪谐械写懈褞, 屑褍泻懈 谐芯谢芯写邪, 锌芯褌械褉褞 褉芯写薪褘褏
懈 斜谢懈蟹泻懈褏, 谐械褉芯泄 褍褔懈褌褋褟 锌褉懈薪懈屑邪褌褜 褋胁芯褞 褋褍写褜斜褍 懈 写邪卸械 胁 卸械褋褌芯泻懈褏 懈 薪械褔械谢芯胁械褔械褋泻懈褏 褍褋谢芯胁懈褟褏 芯薪 锌褘褌邪械褌褋褟 芯斜褉械褋褌懈 薪邪写械卸写褍: 芦鈥ρ� 芯褖褍褌懈谢, 泻邪泻 褉邪褋褌械褌, 泻邪泻 泻芯锌懈褌褋褟 胁芯 屑薪械
谐芯褌芯胁薪芯褋褌褜: 褟 斜褍写褍 锌褉芯写芯谢卸邪褌褜 褋胁芯褞, 薪械 锌芯写谢械卸邪褖褍褞 锌褉芯写芯谢卸械薪懈褞, 卸懈蟹薪褜. 鈥π澬笛� 胁 屑懈褉械 褌邪泻芯谐芯, 褔械谐芯 斜褘 屑褘 薪械 锌械褉械卸懈谢懈 泻邪泻 薪械褔褌芯 褋芯胁械褉褕械薪薪芯 械褋褌械褋褌胁械薪薪芯械; 懈 薪邪 锌褍褌懈 屑芯械屑, 褟 蟹薪邪褞, 屑械薪褟 锌芯写褋褌械褉械谐邪械褌, 褋谢芯胁薪芯 泻邪泻邪褟-褌芯 薪械懈蟹斜械卸薪邪褟 蟹邪锌邪写薪褟 鈥� 褋褔邪褋褌褜械禄.
懈 斜谢懈蟹泻懈褏, 谐械褉芯泄 褍褔懈褌褋褟 锌褉懈薪懈屑邪褌褜 褋胁芯褞 褋褍写褜斜褍 懈 写邪卸械 胁 卸械褋褌芯泻懈褏 懈 薪械褔械谢芯胁械褔械褋泻懈褏 褍褋谢芯胁懈褟褏 芯薪 锌褘褌邪械褌褋褟 芯斜褉械褋褌懈 薪邪写械卸写褍: 芦鈥ρ� 芯褖褍褌懈谢, 泻邪泻 褉邪褋褌械褌, 泻邪泻 泻芯锌懈褌褋褟 胁芯 屑薪械
谐芯褌芯胁薪芯褋褌褜: 褟 斜褍写褍 锌褉芯写芯谢卸邪褌褜 褋胁芯褞, 薪械 锌芯写谢械卸邪褖褍褞 锌褉芯写芯谢卸械薪懈褞, 卸懈蟹薪褜. 鈥π澬笛� 胁 屑懈褉械 褌邪泻芯谐芯, 褔械谐芯 斜褘 屑褘 薪械 锌械褉械卸懈谢懈 泻邪泻 薪械褔褌芯 褋芯胁械褉褕械薪薪芯 械褋褌械褋褌胁械薪薪芯械; 懈 薪邪 锌褍褌懈 屑芯械屑, 褟 蟹薪邪褞, 屑械薪褟 锌芯写褋褌械褉械谐邪械褌, 褋谢芯胁薪芯 泻邪泻邪褟-褌芯 薪械懈蟹斜械卸薪邪褟 蟹邪锌邪写薪褟 鈥� 褋褔邪褋褌褜械禄.
272 pages, Kindle Edition
First published January 1, 1975
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15680 people want to read
About the author
Imre Kert茅sz
78听books373听followersBorn in Budapest in 1929, during World War II Imre Kert茅sz was imprisoned at Auschwitz in 1944 and later at Buchenwald. After the war and repatriation, Kert茅sz soon ended his brief career as a journalist and turned to translation, specializing in German language works. He later emigrated to Berlin. Kert茅sz was awarded the Nobel Prize for literature in 2002 for "writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history".
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Displaying 1 - 30 of 1,111 reviews
May 8, 2021
Han pasado ya unos cuantos d铆as desde que termin茅 esta novela y todav铆a me estoy preguntando por qu茅 no me gust贸 m谩s, por qu茅 no le he otorgado las cinco estrellas. Aunque la parte final de la novela, la estancia en el hospital, se me hizo algo pesada, pienso que la raz贸n fundamental de ello es esa de la que ya habl茅 recientemente en otra rese帽a: el hartazgo que tengo sobre el tema del holocausto. Esta raz贸n, que en aquella novela perdi贸 peso en favor de otras m谩s poderosas, parece superar aqu铆 a los argumentos favorables que he encontrado, y no son pocos.
Uno de los grandes aciertos de la novela es el estilo. El tono ligero, fr铆o y distante llama mucho la atenci贸n en una novela testimonio como es esta (aunque el autor siempre ha mantenido que se trata de ficci贸n, el fondo tiene un claro car谩cter autobiogr谩fico). Imposible saber cu谩les ser铆an nuestras sensaciones ante la primera parte del relato, previo al campo de concentraci贸n, si no supi茅ramos en todo momento cu谩l ser谩 su destino. La lectura est谩 marcada por ese conocimiento que dota de una especial fuerza dram谩tica, un dramatismo triste y cruel, toda esa ligereza a la que antes me refer铆a. Un efecto paralelo al horror que se desprende de, seg煤n nos cuenta Gy眉rgy K眉ves, el adolescente que nos relata en primera persona su experiencia, la relativa educaci贸n y amabilidad con la que los alemanes dirig铆an a los jud铆os a los horrores que les estaban destinados. Unos horrores que se iban produciendo e intensificando paso a paso y que eran asimilados e integrados en la vida cotidiana de los jud铆os mientras intentaban permanentemente dotar de l贸gica y normalidad a todo aquello que les iba sucediendo con la esperanza, en contra de toda raz贸n, de que cada cambio fuera para mejor o, en el peor de los casos, terminara pronto.
Esta es una de las grandes originalidades de la novela y la que da significado al t铆tulo. Todo lo ocurrido no fue parte del destino que Dios ten铆a reservado al pueblo jud铆o, como muchos de ellos pensaban. Ocurri贸 porque unos alemanes as铆 lo quisieron y perpetraron y porque otros muchos, jud铆os y no jud铆os, permitieron o, al menos, no combatieron con la suficiente determinaci贸n. Es m谩s, la admiraci贸n que en varias ocasiones siente el adolescente jud铆o por el orden, la marcialidad, la educaci贸n de los nazis parece sugerir que los papeles podr铆an ser perfectamente intercambiables si otras hubieran sido las circunstancias.
Esto constituye una parte del sentimiento de culpa que, una vez terminado el conflicto, embargaba a muchos de los supervivientes y que incluso empuj贸 a algunos de ellos al suicidio. Esa culpa por el 鈥渃onformismo鈥� con el que se enfrentaron a los horrores se une al hecho de haber sobrevivido. Como dec铆a Primo Levi 芦Sobreviv铆an los peores, es decir, los m谩s aptos; los mejores han muerto todos禄. El preso se convert铆a en una m谩quina de supervivencia que no respond铆a a ning煤n escr煤pulo 茅tico. Quiz谩s esto explique otra de las cuestiones que llaman la atenci贸n en la novela: la nostalgia del campo que en ocasiones siente el protagonista tras su liberaci贸n y hasta el recuerdo de ciertos momentos felices. En aquellas circunstancias todo era m谩s f谩cil: vivir o morir.
Uno de los grandes aciertos de la novela es el estilo. El tono ligero, fr铆o y distante llama mucho la atenci贸n en una novela testimonio como es esta (aunque el autor siempre ha mantenido que se trata de ficci贸n, el fondo tiene un claro car谩cter autobiogr谩fico). Imposible saber cu谩les ser铆an nuestras sensaciones ante la primera parte del relato, previo al campo de concentraci贸n, si no supi茅ramos en todo momento cu谩l ser谩 su destino. La lectura est谩 marcada por ese conocimiento que dota de una especial fuerza dram谩tica, un dramatismo triste y cruel, toda esa ligereza a la que antes me refer铆a. Un efecto paralelo al horror que se desprende de, seg煤n nos cuenta Gy眉rgy K眉ves, el adolescente que nos relata en primera persona su experiencia, la relativa educaci贸n y amabilidad con la que los alemanes dirig铆an a los jud铆os a los horrores que les estaban destinados. Unos horrores que se iban produciendo e intensificando paso a paso y que eran asimilados e integrados en la vida cotidiana de los jud铆os mientras intentaban permanentemente dotar de l贸gica y normalidad a todo aquello que les iba sucediendo con la esperanza, en contra de toda raz贸n, de que cada cambio fuera para mejor o, en el peor de los casos, terminara pronto.
Esta es una de las grandes originalidades de la novela y la que da significado al t铆tulo. Todo lo ocurrido no fue parte del destino que Dios ten铆a reservado al pueblo jud铆o, como muchos de ellos pensaban. Ocurri贸 porque unos alemanes as铆 lo quisieron y perpetraron y porque otros muchos, jud铆os y no jud铆os, permitieron o, al menos, no combatieron con la suficiente determinaci贸n. Es m谩s, la admiraci贸n que en varias ocasiones siente el adolescente jud铆o por el orden, la marcialidad, la educaci贸n de los nazis parece sugerir que los papeles podr铆an ser perfectamente intercambiables si otras hubieran sido las circunstancias.
Esto constituye una parte del sentimiento de culpa que, una vez terminado el conflicto, embargaba a muchos de los supervivientes y que incluso empuj贸 a algunos de ellos al suicidio. Esa culpa por el 鈥渃onformismo鈥� con el que se enfrentaron a los horrores se une al hecho de haber sobrevivido. Como dec铆a Primo Levi 芦Sobreviv铆an los peores, es decir, los m谩s aptos; los mejores han muerto todos禄. El preso se convert铆a en una m谩quina de supervivencia que no respond铆a a ning煤n escr煤pulo 茅tico. Quiz谩s esto explique otra de las cuestiones que llaman la atenci贸n en la novela: la nostalgia del campo que en ocasiones siente el protagonista tras su liberaci贸n y hasta el recuerdo de ciertos momentos felices. En aquellas circunstancias todo era m谩s f谩cil: vivir o morir.
October 24, 2018
Fatelessness, the quasi-autobiographical novel and reworking of Kertesz's own experiences at Auschwitz and other camps during WW2 is narrated by Gyuri, an awkward, and I have to say not fully likeable 14-year-old Jewish boy from Budapest, who suffers from the usual teenage sensations of estrangement and diffidence, and is at a highly sensitive age to endure such tyranny and his response is to rationalise everything. His tone is formal, dispassionate, his story peppered with evasions and disclaimers such as 'naturally' and 'in all fairness'. Despite the gravity of its heavy subject, the narrative is punctuated with bursts of adolescent facetiousness, and is almost told as if he were still in total denial of what's going on around him. After his father is taken away, he would take his own train ride into a hellish world he doesn't yet realise.
Gyuri arrives at Auschwitz deluded that it will be a normal work camp and marvels at the emaciated criminals. Before noticing strange chimneys, and a smell in the air he can't quite make out. He describes his situation almost scientifically, and there is a marked lack of compassion to his thinking. There is even the argument he would have made a good Nazi. He sizes up fellow inmates with disgust and feels no affinity what so ever with other Hungarians, and even less so with other Jews. He simply does what is necessary to endure and survive. In places though it felt more like a holiday camp to him than one run by the Nazi regime, and apart from hunger pains, and the time he got some wounds infected whilst at Buchenwald, there was little else that made me feel the plight of his ordeal. Gyuri's tragedy is his failure to fully accept the meaninglessness of Nazi brutality. But then this could also be seen as his triumph. By focusing perversely, on the so called 'happiness' of the camps, rather than on the atrocities, he is somehow victorious in winning the battle of the mind, leaving him less traumatized when he finally returned home.
Considering this was Kertesz's debut novel, it was an accomplished piece of writing. However, and disappointingly for me, as a piece of Holocaust literature, it didn't hurt, and struggled to really get under my skin. I expected to pained by the horrors, haunted by the suffering, kicked where it hurts, have my blood chilled, make me feel something at least. But no, hardly anything . On a harrowing level compared to other books I have read on the same subject (including Tadeusz Borowski's 'This Way for the Gas, Ladies and Gentlemen') it all came across as pretty tame. Maybe he witnessed such horrors but chose to exclude the worst bits from his novel. I would rather they would have been included. As there is nothing comfortable about Holocaust experiences, and yet I sat there, comfortable. Through the middle sections based at the camps I never truly got the sense that right around the corner mass exterminations were being carried out.
There is no denying this is a work worthy of merit, but it wasn't the book I was hoping for, as it never really hit me with any real significant power. But at least it's another unread Nobel laureate I can now tick of the list.
Gyuri arrives at Auschwitz deluded that it will be a normal work camp and marvels at the emaciated criminals. Before noticing strange chimneys, and a smell in the air he can't quite make out. He describes his situation almost scientifically, and there is a marked lack of compassion to his thinking. There is even the argument he would have made a good Nazi. He sizes up fellow inmates with disgust and feels no affinity what so ever with other Hungarians, and even less so with other Jews. He simply does what is necessary to endure and survive. In places though it felt more like a holiday camp to him than one run by the Nazi regime, and apart from hunger pains, and the time he got some wounds infected whilst at Buchenwald, there was little else that made me feel the plight of his ordeal. Gyuri's tragedy is his failure to fully accept the meaninglessness of Nazi brutality. But then this could also be seen as his triumph. By focusing perversely, on the so called 'happiness' of the camps, rather than on the atrocities, he is somehow victorious in winning the battle of the mind, leaving him less traumatized when he finally returned home.
Considering this was Kertesz's debut novel, it was an accomplished piece of writing. However, and disappointingly for me, as a piece of Holocaust literature, it didn't hurt, and struggled to really get under my skin. I expected to pained by the horrors, haunted by the suffering, kicked where it hurts, have my blood chilled, make me feel something at least. But no, hardly anything . On a harrowing level compared to other books I have read on the same subject (including Tadeusz Borowski's 'This Way for the Gas, Ladies and Gentlemen') it all came across as pretty tame. Maybe he witnessed such horrors but chose to exclude the worst bits from his novel. I would rather they would have been included. As there is nothing comfortable about Holocaust experiences, and yet I sat there, comfortable. Through the middle sections based at the camps I never truly got the sense that right around the corner mass exterminations were being carried out.
There is no denying this is a work worthy of merit, but it wasn't the book I was hoping for, as it never really hit me with any real significant power. But at least it's another unread Nobel laureate I can now tick of the list.
March 7, 2025
Cynically, this could be recommended as a handbook for survival should you find yourself arrested one fine morning thanks to your offensive identity or favoriting a thousand #resist-related tweets in a single week. I don't think expert knowledge (eg, it's best to be toward the end of the soup line so the ladle is filled with weightier chunks of veggies and maybe some meat) will really come in handy any time soon, but this does have an important function now, the same as it always has, in that it shows how things can escalate step by step -- and all along the way human nature acclimates to whatever happens, gets used to/regulates whatever horror comes next, makes it so you become accustomed to seeing carts filled with body parts or even seeing three Latvian escapees caught and displayed as a lesson not to run, for example -- and all of it somehow doesn't blot out the ability of the sun as it sets to memorably illuminate the world, even when that bit of the world is Buchenwald. The image of the Auschwitz crematorium chimneys (at first they thought the nasty smell was coming from a nearby leather factory) stretching into the distance made me say aloud on the subway something like whoa dude fuck.
For the first few chapters it functions like a suspense thriller in that the reader knows more about the horrors up ahead than the narrator, but after a while rumors start to circulate and they have a better idea about what's going on, not that such knowledge changes anything for them really. All the minor instances of luck and goodwill that kept the narrator alive. All the facial features distorted by time spent as a prisoner. ("Lager" means "camp" in German -- didn't know that and will remember it forever after and associate it with this book whenever I drink that style of beer.)
Loved isn't the right word but I laughed out loud when he made it back to Budapest and someone asked what he felt and he said hatred and when asked who he hated he said everyone. Loved the last parts where he's trying to describe what it was really like, how it wasn't all horror all the time, or hell, as everyone wants him to say, but that it was boring everyday life, a twisted cousin of freedom in that he was living a fate imposed on him, as though he had no fate (hence the title), and now that he was actually free he felt homesick for when he had no choices to make.
Note that this is about FATELESS, the original translation published by Northwestern University Press, not FATELESSNESS, the newer translation published by Vintage. I bought both and A/B'd them before choosing which one to read -- after the first paragraph it was clear that I preferred FATELESS. I just tried to read FATELESSNESS, thinking I'd read it again in a different translation but I couldn't make it very far -- the new translation seems maybe too loyal to the original Hungarian, too often it offers up awkward English phrases and switches tenses oddly. The first translation may have regulated the text a bit and, to me, it reads better, without a doubt.
Anyway, this is the third Kert茅sz novel I've read ( a few years ago by the translator of FATELESSNESS and more recently by the couple who translated FATELESS) and this one is clearly the strongest and most significant of these three, although the other two are definitely worth it. If you're interested in giving this writer a try, this (his first novel) is probably the one to start with.
For interesting takes on Kert茅sz-related translation issues, see this review by Joshua Cohen and scroll down about midway:
For the first few chapters it functions like a suspense thriller in that the reader knows more about the horrors up ahead than the narrator, but after a while rumors start to circulate and they have a better idea about what's going on, not that such knowledge changes anything for them really. All the minor instances of luck and goodwill that kept the narrator alive. All the facial features distorted by time spent as a prisoner. ("Lager" means "camp" in German -- didn't know that and will remember it forever after and associate it with this book whenever I drink that style of beer.)
Loved isn't the right word but I laughed out loud when he made it back to Budapest and someone asked what he felt and he said hatred and when asked who he hated he said everyone. Loved the last parts where he's trying to describe what it was really like, how it wasn't all horror all the time, or hell, as everyone wants him to say, but that it was boring everyday life, a twisted cousin of freedom in that he was living a fate imposed on him, as though he had no fate (hence the title), and now that he was actually free he felt homesick for when he had no choices to make.
Note that this is about FATELESS, the original translation published by Northwestern University Press, not FATELESSNESS, the newer translation published by Vintage. I bought both and A/B'd them before choosing which one to read -- after the first paragraph it was clear that I preferred FATELESS. I just tried to read FATELESSNESS, thinking I'd read it again in a different translation but I couldn't make it very far -- the new translation seems maybe too loyal to the original Hungarian, too often it offers up awkward English phrases and switches tenses oddly. The first translation may have regulated the text a bit and, to me, it reads better, without a doubt.
Anyway, this is the third Kert茅sz novel I've read ( a few years ago by the translator of FATELESSNESS and more recently by the couple who translated FATELESS) and this one is clearly the strongest and most significant of these three, although the other two are definitely worth it. If you're interested in giving this writer a try, this (his first novel) is probably the one to start with.
For interesting takes on Kert茅sz-related translation issues, see this review by Joshua Cohen and scroll down about midway:
March 22, 2018
丨鬲賶 毓賳丿賲丕 噩丕亍鬲 丕賱兀禺亘丕乇 亘丕賳賴丕亍 丕賱廿毓鬲賯丕賱 賵丕賱丨乇賷賾丞 賱賲 賷卮毓乇 亘賴丕 賮賯丿 賰丕賳 亘丕賳鬲馗丕乇 賵噩亘丞 丕賱丨爻丕亍. 賵毓賳丿賲丕 噩丕亍 丕賱禺亘乇 亘兀賳 賴賳丕賰 賲賳 賷氐賳毓 丕賱丨爻丕亍 卮毓乇 亘丕賱丨乇賷丞.
丕購爻賱賵亘 賴丕丿賷丕 賵賲賯鬲賳毓 亘丕賱賵丕賯毓 賷毓丕賱噩 丕賱賲丐賱賮 馗乇賵賮 丕毓鬲賯丕賱賴 賮賷 賲毓爻賰乇丕鬲 丕賱賳丕夭賷丞.
賵賷賵囟丨 賰賷賮 丕賳 丕賱丕賳爻丕賳 賷賲賰賳 丕賳 賷鬲兀賯賱賲 賲毓 丕賱賵丕賯毓 賵鬲丨鬲 丕賻賷 馗乇賮 賵匕賱賰 亘丕賱鬲賯丿賲 禺胤賵丞 禺胤賵丞 賵丕賱丕賴丿丕賮 鬲鬲睾賷乇 丨爻亘 胤亘賷毓丞 丕賱賲乇丨賱丞.
賮賷 丕賱亘丿丕賷丞 賰丕賳 丕賱丕賳鬲馗丕乇 丕賱賶 賲鬲賶 爻賷亘賯賵賳 亘丕賱睾乇賮丞. 賵亘毓丿 賳賯賱賴賲 亘丕賱賯胤丕乇 賲鬲賶 爻鬲賳鬲賴賷 丕賱乇丨賱丞. 賵亘毓丿 匕賱賰 賮賷 丕賻賷 賲賰丕賳 爻賳乇丨賱 丕賱賷賴. 賵丨鬲賶 毓賳丿賲丕 賰丕賳 賷毓賲賱 賲鬲賶 爻賷賳鬲賴賷 賴匕丕 丕賱毓賲賱 賲毓 丕賳 賴賳丕賰 丕毓賲丕賱 丕禺乇賶.
賮兀賴丿丕賮 丕賱賲毓鬲賯賱 鬲鬲睾賷乇 賲賳 賵賯鬲 丕賱賶 丕禺乇 賵丨爻亘 丕賱賵丕賯毓 丕賱匕賷 賷毓賷卮 賮賷賴.
賵毓賳丿 賳賴丕賷丞 丕賱廿毓鬲賯丕賱 賱賲 賷亘丕賱睾 亘賲丕 賷丨丿孬 賮賷 丕賱賲毓爻賰乇丕鬲 賵乇賮囟 丕賳 賷氐賮賴丕 亘丕賱噩丨賷賲 賮賴賵 賱賲 賷乇賶 丕賱噩丨賷賲 丨鬲賶 賷賯丕乇賳賴 亘賴丕.
丕購爻賱賵亘 賴丕丿賷亍 亘丿賵賳 丕賻賷 賲亘丕賱睾丕鬲 賮賷 卮賴丕丿鬲賴 毓賱賶 賮鬲乇丞 賲賳 丕賰孬乇 丕賱賮鬲乇丕鬲 賲兀爻丕賵賷丞 賮賷 鬲丕乇賷禺 丕賱亘卮乇賷丞.
丕購爻賱賵亘 賴丕丿賷丕 賵賲賯鬲賳毓 亘丕賱賵丕賯毓 賷毓丕賱噩 丕賱賲丐賱賮 馗乇賵賮 丕毓鬲賯丕賱賴 賮賷 賲毓爻賰乇丕鬲 丕賱賳丕夭賷丞.
賵賷賵囟丨 賰賷賮 丕賳 丕賱丕賳爻丕賳 賷賲賰賳 丕賳 賷鬲兀賯賱賲 賲毓 丕賱賵丕賯毓 賵鬲丨鬲 丕賻賷 馗乇賮 賵匕賱賰 亘丕賱鬲賯丿賲 禺胤賵丞 禺胤賵丞 賵丕賱丕賴丿丕賮 鬲鬲睾賷乇 丨爻亘 胤亘賷毓丞 丕賱賲乇丨賱丞.
賮賷 丕賱亘丿丕賷丞 賰丕賳 丕賱丕賳鬲馗丕乇 丕賱賶 賲鬲賶 爻賷亘賯賵賳 亘丕賱睾乇賮丞. 賵亘毓丿 賳賯賱賴賲 亘丕賱賯胤丕乇 賲鬲賶 爻鬲賳鬲賴賷 丕賱乇丨賱丞. 賵亘毓丿 匕賱賰 賮賷 丕賻賷 賲賰丕賳 爻賳乇丨賱 丕賱賷賴. 賵丨鬲賶 毓賳丿賲丕 賰丕賳 賷毓賲賱 賲鬲賶 爻賷賳鬲賴賷 賴匕丕 丕賱毓賲賱 賲毓 丕賳 賴賳丕賰 丕毓賲丕賱 丕禺乇賶.
賮兀賴丿丕賮 丕賱賲毓鬲賯賱 鬲鬲睾賷乇 賲賳 賵賯鬲 丕賱賶 丕禺乇 賵丨爻亘 丕賱賵丕賯毓 丕賱匕賷 賷毓賷卮 賮賷賴.
賵毓賳丿 賳賴丕賷丞 丕賱廿毓鬲賯丕賱 賱賲 賷亘丕賱睾 亘賲丕 賷丨丿孬 賮賷 丕賱賲毓爻賰乇丕鬲 賵乇賮囟 丕賳 賷氐賮賴丕 亘丕賱噩丨賷賲 賮賴賵 賱賲 賷乇賶 丕賱噩丨賷賲 丨鬲賶 賷賯丕乇賳賴 亘賴丕.
丕購爻賱賵亘 賴丕丿賷亍 亘丿賵賳 丕賻賷 賲亘丕賱睾丕鬲 賮賷 卮賴丕丿鬲賴 毓賱賶 賮鬲乇丞 賲賳 丕賰孬乇 丕賱賮鬲乇丕鬲 賲兀爻丕賵賷丞 賮賷 鬲丕乇賷禺 丕賱亘卮乇賷丞.
July 6, 2012
Nobel prize-winner Imre Kert茅sz survived stays in both the Auschwitz and Buchenwald concentration camps. While he was there, I have no doubt that he suffered a great deal鈥攂oth physically and psychologically鈥攕o I was (understandably, I think) hesitant to dislike his semi-autobiographical Holocaust novel Fatelessness. It seems (at the very least) very inconsiderate of me to criticize his book for failing to 'entertain' me.
Entertainment is a strange, nebulous word. Are we entertained (in whatever sense) when we watch The Sorrow and the Pity? How about when we read Elie Wiesel's Night? I would argue that, yes, we are. Admittedly this is an entertainment only dimly related to that (alleged) enjoyment afforded by a rerun of The King of Queens, but it is a diversion that intends to please its audience. Now don't only think of pleasing as giving an audience what it asks for, but also think of it as giving an audience what it didn't even know it wanted to begin with.
When we think about the Holocaust, unless we are aberrant or sadistic, we are unlikely to be pleased by it, in and of itself, but when we read a text (in the postmodern sense of texts, including films and art, etc.) concerning the Holocaust, if it is well-done, we will be pleased by it. Why? Because it gives us insight into human experience (even of the horrific kind) or it helps us to understand our world in some small way (or, alternately, it helps us to experience what is incomprehensible about our world) or it offers a critique or diagnosis of the systems in our culture which enable things like Holocausts which may inform our future actions or behavior. And of course there are other possibilities of pleasures we might derive from unpleasant subjects鈥攕ome certainly less honorable.
It isn't without an acute awareness of how it sounds that I claim that Imre Kert茅sz's Fatelessness didn't please me. It sounds terrible, doesn't it? As if I asked for the monkey to dance for me and it failed to dance? But don't confuse these pleasures with the baser forms. Fatelessness is unsuccessful because it has nothing much to say, but it manages nevertheless to say it at great length. It's little more than a neutered story of a boy spending time in concentration camps. There's no insight; there's no emotional weight; there's no humanity鈥攂esides which, stylistically speaking, the Wilkinson translation of Kert茅sz is a mess. The sentences are long, dissected by countless clauses, phrases, and parenthetical asides, and often pointless. They accumulate detail but not purpose. Perhaps this is a commentary on life鈥攁n existential grammar鈥攂ut if so, how trite. Our suffering is long and meaningless. At only 260 pages, this book feels long and meaningless itself. An efficacious art.
Entertainment is a strange, nebulous word. Are we entertained (in whatever sense) when we watch The Sorrow and the Pity? How about when we read Elie Wiesel's Night? I would argue that, yes, we are. Admittedly this is an entertainment only dimly related to that (alleged) enjoyment afforded by a rerun of The King of Queens, but it is a diversion that intends to please its audience. Now don't only think of pleasing as giving an audience what it asks for, but also think of it as giving an audience what it didn't even know it wanted to begin with.
When we think about the Holocaust, unless we are aberrant or sadistic, we are unlikely to be pleased by it, in and of itself, but when we read a text (in the postmodern sense of texts, including films and art, etc.) concerning the Holocaust, if it is well-done, we will be pleased by it. Why? Because it gives us insight into human experience (even of the horrific kind) or it helps us to understand our world in some small way (or, alternately, it helps us to experience what is incomprehensible about our world) or it offers a critique or diagnosis of the systems in our culture which enable things like Holocausts which may inform our future actions or behavior. And of course there are other possibilities of pleasures we might derive from unpleasant subjects鈥攕ome certainly less honorable.
It isn't without an acute awareness of how it sounds that I claim that Imre Kert茅sz's Fatelessness didn't please me. It sounds terrible, doesn't it? As if I asked for the monkey to dance for me and it failed to dance? But don't confuse these pleasures with the baser forms. Fatelessness is unsuccessful because it has nothing much to say, but it manages nevertheless to say it at great length. It's little more than a neutered story of a boy spending time in concentration camps. There's no insight; there's no emotional weight; there's no humanity鈥攂esides which, stylistically speaking, the Wilkinson translation of Kert茅sz is a mess. The sentences are long, dissected by countless clauses, phrases, and parenthetical asides, and often pointless. They accumulate detail but not purpose. Perhaps this is a commentary on life鈥攁n existential grammar鈥攂ut if so, how trite. Our suffering is long and meaningless. At only 260 pages, this book feels long and meaningless itself. An efficacious art.
September 3, 2019
"螡伪喂, 纬喂' 伪蠀蟿萎谓, 纬喂伪 蟿畏谓 蔚蠀蟿蠀蠂委伪 蟿蠅谓 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼, 胃伪 苇蟺蟻蔚蟺蔚 谓伪 蟽伪蟼 渭喂位萎蟽蠅 蟿畏谓 蔚蟺蠈渭蔚谓畏 蠁慰蟻维 蟺慰蠀 胃伪 渭蔚 蟻蠅蟿萎蟽蔚蟿蔚. 螒谓 渭蔚 蟻蠅蟿萎蟽蔚蟿蔚 尾苇尾伪喂伪. 螝喂 伪谓 未蔚谓 蟿慰 尉蔚蠂维蟽蠅 魏伪喂 慰 委未喂慰蟼."
螆谓伪 伪喂蟻蔚蟿喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 纬喂伪 蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 蟿慰蠀 螔' 螤伪纬魏慰蟽渭委慰蠀 蟺慰位苇渭慰蠀.
螔伪胃蠉, 喂未喂伪委蟿蔚蟻慰, 伪谓伪蟿蟻蔚蟺蟿喂魏蠈, 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈, 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰 蔚委谓伪喂 苇谓伪 伪蟺蠈 蟿伪 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 尾喂尾位委伪 蟿慰蠀 蟺蔚蟻伪蟽渭苇谓慰蠀 伪喂蠋谓伪.
螆谓伪 伪喂蟻蔚蟿喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 纬喂伪 蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 蟿慰蠀 螔' 螤伪纬魏慰蟽渭委慰蠀 蟺慰位苇渭慰蠀.
螔伪胃蠉, 喂未喂伪委蟿蔚蟻慰, 伪谓伪蟿蟻蔚蟺蟿喂魏蠈, 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈, 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰 蔚委谓伪喂 苇谓伪 伪蟺蠈 蟿伪 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 尾喂尾位委伪 蟿慰蠀 蟺蔚蟻伪蟽渭苇谓慰蠀 伪喂蠋谓伪.
May 24, 2020
螠蔚 位喂蟿蠈蟿畏蟿伪 蟽蟿伪 蔚魏蠁蟻伪蟽蟿喂魏维 渭苇蟽伪 魏伪喂 渭蔚 渭喂伪 未喂维胃蔚蟽畏 伪蟺慰-畏蟻蠅喂蟽渭慰蠉 蟿蠅谓 蟺蔚蟺蟻伪纬渭苇谓蠅谓 蔚谓蠈蟼 蔚蠁萎尾慰蠀, 蟿慰蠀 螕魏喂蠈蟻魏喂 螝苇尾蔚蟼 (渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏慰蠉, 蔚谓 蟺慰位位慰委蟼, alter ego 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪) 蟺慰蠀 蔚魏蟿慰蟺委蟽蟿畏魏蔚 尾委伪喂伪 魏伪喂 渭蔚蟿伪蠁苇蟻胃畏魏蔚 蟽蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 胃伪谓维蟿慰蠀 蟿慰蠀 螁慰蠀蟽尾喂蟿蟼, 蟿慰蠀 螠蟺慰蠉蠂蔚谓尾伪位谓蟿 魏伪喂 蟿慰蠀 韦蟽维喂蟿蟼, 慰 螉渭蟻蔚 螝苇蟻蟿蔚蟼 渭蔚蟿伪蠁苇蟻蔚喂 蟽蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蟿慰蠀 蟿畏谓 纬魏蟻委味伪 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪 蟿畏蟼 伪喂蠂渭伪位蠅蟽委伪蟼.
螤位维喂 蟽蟿伪 魏蟻蔚渭伪蟿蠈蟻喂伪 魏伪喂 蟿慰蠀蟼 胃伪位维渭慰蠀蟼 伪蔚蟻委蠅谓 魏伪喂 蟺苇蟻伪 伪蟺蠈 蟿喂蟼 蠁蟻喂魏伪位蔚蠈蟿畏蟿蔚蟼 蟺慰蠀 蟽蠀渭尾伪委谓慰蠀谓 蔚魏蔚委, 慰 未蔚魏伪蟺蔚谓蟿维蠂蟻慰谓慰蟼 魏蟻伪蟿慰蠉渭蔚谓慰蟼 苇蟻蠂蔚蟿伪喂 伪谓蟿喂渭苇蟿蠅蟺慰蟼 渭蔚 蟿喂蟼 蟺蟻蠅蟿慰蠁伪谓苇蟻蠅蟿蔚蟼 蟽蠀谓胃萎魏蔚蟼 未喂伪尾委蠅蟽畏蟼 蔚谓蠈蟼 慰蟺慰喂慰蠀未萎蟺慰蟿蔚 蟽蟿蟻伪蟿慰蟺苇未慰蠀 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼, 蠈蟺慰蠀 慰 蠉蟺谓慰蟼 蔚委谓伪喂 蔚位维蠂喂蟽蟿慰蟼 魏伪喂 魏伪魏蠈蟼, 蟿慰 蠁伪纬畏蟿蠈 位喂纬慰蟽蟿蠈 (蟽蠀谓萎胃蠅蟼 位委纬慰 蠄蠅渭委 魏伪喂 谓蔚蟻蠅渭苇谓畏 蟽慰蠉蟺伪) 魏伪喂 畏 蔚蟻纬伪蟽喂维 蔚尉伪谓蟿位畏蟿喂魏萎.
韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰 未蔚谓 蔚委谓伪喂 苇谓伪 伪魏蠈渭畏 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈 尾喂尾位委慰 纬喂伪 蟿慰 螣位慰魏伪蠉蟿蠅渭伪. 螖蔚谓 胃伪 伪蟺伪谓蟿萎蟽蔚喂 魏伪谓蔚委蟼 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 位蔚蟺蟿慰渭蔚蟻蔚委蟼 伪谓伪蠁慰蟻苇蟼 蟽蟿喂蟼 伪未喂伪谓蠈畏蟿蔚蟼 蠅渭蠈蟿畏蟿蔚蟼 蟺慰蠀 蟽蠀谓苇尾伪喂谓伪谓 蟽蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 胃伪谓维蟿慰蠀, 慰蠉蟿蔚 魏伪喂 蟺蔚蟻喂蟽蟽蔚蠉蔚喂 蟿慰 蟽蠀谓伪委蟽胃畏渭伪 蟽蟿畏谓 伪蠁萎纬畏蟽畏. 螘委谓伪喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟿慰 畏渭蔚蟻慰位蠈纬喂慰 蠁蠀位伪魏萎蟼 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀, 尾喂蠋谓慰谓蟿伪蟼 蟿蠈蟽慰 谓苇慰蟼 蟿慰谓 蔚魏蟿慰蟺喂蟽渭蠈 魏伪喂 蟿畏谓 伪喂蠂渭伪位蠅蟽委伪, 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽蔚 蠈蟿喂 未蔚谓 蔚委蠂蔚 蟺蔚蟺蟻蠅渭苇谓慰鈥� 蠈蟿喂 苇味畏蟽蔚 魏喂 蔚蟺苇味畏蟽蔚 伪蟺蠈 魏维蟿喂 蟺慰蠀 未蔚谓 萎蟿伪谓 纬蟻伪蠁蟿蠈 蟿慰蠀. 螝喂 苇谓伪蟼 蟿苇蟿慰喂慰蟼 维谓胃蟻蠅蟺慰蟼, 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰, 蔚委谓伪喂 蟽蟿' 伪位萎胃蔚喂伪 蔚位蔚蠉胃蔚蟻慰蟼.
螤位维喂 蟽蟿伪 魏蟻蔚渭伪蟿蠈蟻喂伪 魏伪喂 蟿慰蠀蟼 胃伪位维渭慰蠀蟼 伪蔚蟻委蠅谓 魏伪喂 蟺苇蟻伪 伪蟺蠈 蟿喂蟼 蠁蟻喂魏伪位蔚蠈蟿畏蟿蔚蟼 蟺慰蠀 蟽蠀渭尾伪委谓慰蠀谓 蔚魏蔚委, 慰 未蔚魏伪蟺蔚谓蟿维蠂蟻慰谓慰蟼 魏蟻伪蟿慰蠉渭蔚谓慰蟼 苇蟻蠂蔚蟿伪喂 伪谓蟿喂渭苇蟿蠅蟺慰蟼 渭蔚 蟿喂蟼 蟺蟻蠅蟿慰蠁伪谓苇蟻蠅蟿蔚蟼 蟽蠀谓胃萎魏蔚蟼 未喂伪尾委蠅蟽畏蟼 蔚谓蠈蟼 慰蟺慰喂慰蠀未萎蟺慰蟿蔚 蟽蟿蟻伪蟿慰蟺苇未慰蠀 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼, 蠈蟺慰蠀 慰 蠉蟺谓慰蟼 蔚委谓伪喂 蔚位维蠂喂蟽蟿慰蟼 魏伪喂 魏伪魏蠈蟼, 蟿慰 蠁伪纬畏蟿蠈 位喂纬慰蟽蟿蠈 (蟽蠀谓萎胃蠅蟼 位委纬慰 蠄蠅渭委 魏伪喂 谓蔚蟻蠅渭苇谓畏 蟽慰蠉蟺伪) 魏伪喂 畏 蔚蟻纬伪蟽喂维 蔚尉伪谓蟿位畏蟿喂魏萎.
韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰 未蔚谓 蔚委谓伪喂 苇谓伪 伪魏蠈渭畏 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠈 尾喂尾位委慰 纬喂伪 蟿慰 螣位慰魏伪蠉蟿蠅渭伪. 螖蔚谓 胃伪 伪蟺伪谓蟿萎蟽蔚喂 魏伪谓蔚委蟼 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 位蔚蟺蟿慰渭蔚蟻蔚委蟼 伪谓伪蠁慰蟻苇蟼 蟽蟿喂蟼 伪未喂伪谓蠈畏蟿蔚蟼 蠅渭蠈蟿畏蟿蔚蟼 蟺慰蠀 蟽蠀谓苇尾伪喂谓伪谓 蟽蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 胃伪谓维蟿慰蠀, 慰蠉蟿蔚 魏伪喂 蟺蔚蟻喂蟽蟽蔚蠉蔚喂 蟿慰 蟽蠀谓伪委蟽胃畏渭伪 蟽蟿畏谓 伪蠁萎纬畏蟽畏. 螘委谓伪喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟿慰 畏渭蔚蟻慰位蠈纬喂慰 蠁蠀位伪魏萎蟼 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀, 尾喂蠋谓慰谓蟿伪蟼 蟿蠈蟽慰 谓苇慰蟼 蟿慰谓 蔚魏蟿慰蟺喂蟽渭蠈 魏伪喂 蟿畏谓 伪喂蠂渭伪位蠅蟽委伪, 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽蔚 蠈蟿喂 未蔚谓 蔚委蠂蔚 蟺蔚蟺蟻蠅渭苇谓慰鈥� 蠈蟿喂 苇味畏蟽蔚 魏喂 蔚蟺苇味畏蟽蔚 伪蟺蠈 魏维蟿喂 蟺慰蠀 未蔚谓 萎蟿伪谓 纬蟻伪蠁蟿蠈 蟿慰蠀. 螝喂 苇谓伪蟼 蟿苇蟿慰喂慰蟼 维谓胃蟻蠅蟺慰蟼, 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰, 蔚委谓伪喂 蟽蟿' 伪位萎胃蔚喂伪 蔚位蔚蠉胃蔚蟻慰蟼.
June 8, 2021
韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰 蔚委谓伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏维 蟻畏尉喂魏苇位蔚蠀胃慰 魏伪喂 蟽慰魏伪蟻喂蟽蟿喂魏蠈.
芦螇渭慰蠀谓 伪谓伪蟽蟿伪蟿蠅渭苇谓慰蟼 蟽蔚 苇谓伪谓 魏蠈蟽渭慰 蟺慰蠀 萎蟿伪谓 纬喂伪 蟺维谓蟿伪 尉苇谓慰蟼 纬喂伪 渭苇谓伪, 苇谓伪谓 魏蠈蟽渭慰 蟺慰蠀 苇蟺蟻蔚蟺蔚 谓伪 尉伪谓伪尾纬伪委谓蠅 魏维胃蔚 渭苇蟻伪 蠂蠅蟻委蟼 蔚位蟺委未伪 伪谓伪魏慰蠉蠁喂蟽畏蟼. 螒蠀蟿蠈 委蟽蠂蠀蔚 纬喂伪 蟿畏谓 危蟿伪位喂谓喂魏萎 螣蠀纬纬伪蟻委伪, 伪位位维 伪魏蠈渭畏 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蠀蟺蠈 蟿慰谓 螘胃谓喂魏蠈 危慰蟽喂伪位喂蟽渭蠈 禄, 未畏位蠋谓蔚喂 慰 委未喂慰蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼.
螕蔚谓谓畏渭苇谓慰蟼 蟿慰 1929 蟽蟿畏 螔慰蠀未伪蟺苇蟽蟿畏, 慰 Kertesz 伪蟺蔚位维胃畏魏蔚 蟽蟿慰 螁慰蠀蟽尾喂蟿蟼 蟿慰 1944 纬喂伪 蟽蠉谓蟿慰渭慰 蠂蟻慰谓喂魏蠈 未喂维蟽蟿畏渭伪 魏伪喂 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪 渭蔚蟿伪蠁苇蟻胃畏魏蔚 蟽蟿慰 Buchenwald. 韦伪 苇蟻纬伪 蟿慰蠀 伪蟽蠂慰位慰蠉谓蟿伪喂 渭蔚 蟿慰 螣位慰魏伪蠉蟿蠅渭伪, 伪位位维 未蔚谓 渭喂位慰蠉谓 伪蠀蟽蟿畏蟻维 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏维.
鈥⑽の� 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰, 蠁伪委谓蔚蟿伪喂 谓伪 渭慰喂维味蔚喂 渭蔚 蟿喂蟼 蔚渭蟺蔚喂蟻委蔚蟼 蟿慰蠀 Kertesz 蟽蔚 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 蟿蠅谓 螡伪味委, 伪位位维 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚蟺喂魏蔚谓蟿蟻蠋谓蔚蟿伪喂 蟽蟿喂蟼 喂蟽蟿慰蟻喂魏苇蟼-蠁喂位慰蟽慰蠁喂魏苇蟼 未喂伪蟽蟿维蟽蔚喂蟼 蟿慰蠀 胃苇渭伪蟿慰蟼.
螣 Kertesz 胃蔚蠅蟻蔚委 蟿畏谓 蟺蔚蟻喂纬蟻伪蠁萎 蟿慰蠀 纬喂伪 蟿慰 螣位慰魏伪蠉蟿蠅渭伪 蟽蟿慰 尾喂尾位委慰 伪蠀蟿蠈, 蠅蟼 蟻萎尉畏 蟺慰位喂蟿喂蟽渭慰蠉 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 蔚尉蔚蟿维蟽蔚喂 魏伪喂 谓伪 位维尾蔚喂 蟽慰尾伪蟻维 蠀蟺蠈蠄畏 慰位蠈魏位畏蟻慰蟼 慰 魏蠈蟽渭慰蟼 蟺伪蟻维 渭喂伪 蔚尉喂蟽蟿蠈蟻畏蟽畏 蟿蠅谓 未喂魏蠋谓 蟿慰蠀 未慰魏喂渭伪蟽蟿喂魏蠋谓 蔚渭蟺蔚喂蟻喂蠋谓 魏伪蟿维 蟿畏谓 蔚蠁畏尾蔚委伪.鈥�
螝伪喂 位苇蔚喂 - 桅蠀蟽喂魏维.
螝伪喂 位苇蔚喂- 伪蟽蠁伪位蠋蟼.
螝伪喂 位苇蔚喂 - 蟽委纬慰蠀蟻伪 谓伪喂 萎 渭维位位慰谓 蠈蠂喂 纬喂伪 蠈蟽伪 苇味畏蟽蔚, 纬喂伪 蠈蟽伪 蟺苇胃伪谓蔚, 纬喂伪 蠈蟽伪 伪谓伪蟽蟿萎胃畏魏蔚, 纬喂伪 蠈蟽伪 伪蟻谓萎胃畏魏蔚 蔚魏 蟺蔚蟺慰喂胃萎蟽蔚蠅蟼 谓伪 胃蔚蠅蟻萎蟽蔚喂 蠁蟻喂魏伪位蔚蠈蟿畏蟿蔚蟼 魏伪喂 蔚纬魏位萎渭伪蟿伪 魏伪蟿维 蟿畏蟼 伪谓胃蟻蠅蟺蠈蟿畏蟿伪蟼 -蟺慰蠀 萎蟿伪谓 蟺维谓蟿伪 渭蔚 蟿畏谓 蟿伪渭蟺苇位伪 蟿畏蟼 蔚蟿蠀渭畏纬慰蟻委伪蟼 蟿慰蠀 伪胃蠋慰蠀 魏伪蟿畏纬慰蟻慰蠀渭苇谓慰蠀 纬喂伪 蟿畏谓 蟺慰蟻蔚委伪 蟿畏蟼 渭慰喂蟻伪委伪蟼 蔚尉苇位喂尉畏蟼 蟿畏蟼 蟻维蟿蟽伪蟼 渭伪蟼, 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟺委蟽蠅 伪蟺慰 蟿慰 蟺蔚蟺蟻蠅渭苇谓慰, 蟿慰 纬蟻伪蠁蟿蠈, 蟿慰 伪谓伪蟺蠈蠁蔚蠀魏蟿慰,蟿慰 魏伪蟿畏纬慰蟻畏蟿萎蟻喂慰 蟺维谓蟿伪 魏伪蟿维 蟿蠅谓 维位位蠅谓, 蟺慰蟿苇 魏伪蟿维 蟿慰蠀 螘委谓伪喂 渭伪蟼 魏伪喂 蟿畏蟼 蔚位蔚蠉胃蔚蟻畏蟼 尾慰蠉位畏蟽畏蟼 蟺慰蠀 蔚蟺喂蠁苇蟻蔚喂 蔚蠀胃蠉谓蔚蟼 魏伪喂 蠂蟻慰谓喂魏萎 渭慰喂蟻慰位伪蟿蟻委伪 蠀蟺苇蟻 蟿畏蟼 蟽蠀位位慰纬喂魏萎蟼 蔚魏蟽蟿蟻伪蟿蔚委伪蟼 蟿慰蠀
芦 蠀蟺慰渭苇谓蠅禄 未喂蠈蟿喂 苇蟿蟽喂 萎蟻胃蔚 畏 味蠅萎, 未喂蠈蟿喂 苇蟿蟽喂 未慰魏喂渭维味慰谓蟿伪喂 慰喂 蟺喂蟽蟿慰委 蠈蟿伪谓 蟺蔚蟻谓慰蠉谓 伪蟺慰 蟿慰 魏伪胃伪蟻蟿萎蟻喂慰 蟿畏蟼 魏蠈位伪蟽畏蟼, 未喂蠈蟿喂 未蔚谓 胃伪 魏伪蟿伪位维尾慰蠀谓 蟽蔚 魏伪谓苇谓伪 蟺蟻伪纬渭伪蟿喂魏蠈 萎 蠁伪谓蟿伪蟽蟿喂魏蠈 蠂蟻慰谓喂谓蠈 蟺蟻慰蟽未喂慰蟻喂蟽渭蠈 萎 蟿慰蟺喂魏蠈 蠂蠅蟻慰蠂蟻蠈谓慰 蠈蟿喂 未蔚谓 伪谓伪味畏蟿慰蠉谓 蟿慰谓 蟺伪蟻维未蔚喂蟽慰 渭蔚 蟿喂蟼 蟺蟻维尉蔚喂蟼, 蟿伪 苇蟻纬伪, 蟿伪 位蠈纬喂伪 魏伪喂 蟿伪 胃蔚蠅蟻萎渭伪蟿伪 蟺慰蠀 慰未畏纬慰蠉谓 蟿畏 味蠅萎 蟿慰蠀蟼, 伪蟺位蠋蟼 蔚委谓伪喂 魏位蔚喂未蠅渭苇谓慰喂 渭苇蟽伪 蟽蔚 伪蠀蟿蠈谓.
螝伪喂 谓伪喂, 蔚委谓伪喂 蟺慰位蠉 未蠉蟽魏慰位慰 魏伪喂 蔚尉蠈蠂蠅蟼 伪魏伪未畏渭伪蠆魏蠈, 蔚纬魏蠀魏位慰蟺伪喂未喂魏蠈 魏伪喂 尾伪胃喂维 蠁喂位慰蟽慰蠁喂魏蠈 纬喂伪 蟿畏 渭苇蟽畏 谓慰畏蟿喂魏萎 未蟻伪蟽蟿畏蟻喂蠈蟿畏蟿伪 - 蟺慰蠀 伪蟺慰蟿蔚位蔚委 魏伪喂 蟿畏谓 蟺位蔚喂慰谓蠈蟿畏蟿伪 蟿慰蠀 蟺位畏胃蠀蟽渭慰蠉 蟽蟿慰谓 蟺位伪谓萎蟿畏- 谓伪 蔚渭蟺蔚未蠋蟽蔚喂 蟿畏谓 伪位萎胃蔚喂伪 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 蠂蠅蟻委蟼 胃蟻畏蟽魏蔚蠀蟿喂魏苇蟼 蟺伪蟻伪渭蠀胃委蔚蟼 魏伪喂 魏慰喂谓蠅谓喂魏苇蟼 谓蠈蟻渭蔚蟼 渭伪味喂魏萎蟼 蔚魏渭蔚蟿维位位蔚蠀蟽畏蟼.
螤伪蟻维 蟿慰 蔚蠀蟻蠉 魏慰喂谓蠅谓喂魏慰-蟺慰位喂蟿喂魏蠈 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠈 魏伪喂 蠀蟺伪蟻尉喂伪魏蠈 蠂蟻慰谓喂魏蠈 尾畏渭伪蟿喂蟽渭蠈 蟿蠅谓 胃蔚渭维蟿蠅谓 蟿慰蠀, 畏 渭蠀胃慰蟺位伪蟽委伪 蟿慰蠀 Kertesz, 喂未喂伪委蟿蔚蟻伪 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠉蟿慰 未喂伪尾维味蔚蟿伪喂 蟽伪谓 渭喂伪 慰喂魏蔚委伪 蠄蠀蠂慰位慰纬喂魏萎 伪蠁萎纬畏蟽畏 渭喂伪蟼 伪谓畏蟽蠀蠂畏蟿喂魏萎蟼 魏伪喂 慰未蠀谓畏蟻萎蟼 蔚渭蟺蔚喂蟻委伪蟼 蔚谓蠈蟼 蔚蠁萎尾慰蠀 蟺伪喂未喂慰蠉 - 维谓蟿蟻伪 伪谓伪纬魏伪蟽渭苇谓慰蠀 伪蟺慰 蟿畏谓 蔚位蔚蠀胃蔚蟻委伪 蟿慰蠀 维渭慰喂蟻慰蠀 谓伪 尉蔚蟻喂味蠅胃蔚委 伪蟺蠈 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪, 蟿慰蠀蟼 蟽蠀渭渭伪胃畏蟿苇蟼 魏伪喂 蟿慰蠀蟼 蠁委位慰蠀蟼 蟿慰蠀 纬喂伪 谓伪 蠅胃萎蟽蔚喂 蟿慰谓 蔚尉蠅魏慰蟽渭喂魏蠈 蟿蟻蠈渭慰 魏伪喂 蟿畏谓 尾维谓伪蠀蟽畏 蟺蟻慰蟽蟺维胃蔚喂伪 蔚蟺喂尾委蠅蟽畏蟼 伪蟽蠀谓伪委蟽胃畏蟿伪 魏伪喂 伪蟺慰位蠀蟿蟻蠅蟿喂魏维 渭苇蟽伪 蟽蟿伪 魏蟻蔚渭伪蟿蠈蟻喂伪 蟿蠅谓 谓伪味喂蟽蟿喂魏蠋谓 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼.
螆渭伪胃蔚 谓伪 渭喂位维蔚喂 蟿畏 纬位蠋蟽蟽伪 蟿蠅谓 谓蔚魏蟻蠋谓 渭蔚 魏伪蟿伪蟺位畏魏蟿喂魏萎 蔚蠀蠁蟻维未蔚喂伪, 苇渭伪胃蔚 谓伪 蟺蔚胃伪委谓蔚喂 纬喂伪 位委纬慰, 谓伪 味蔚喂 蠂蠅蟻委蟼 谓伪 蠀蟺维蟻蠂蔚喂, 谓伪 蟺慰谓维蔚喂 蠂蠅蟻委蟼 未维魏蟻蠀伪, 谓伪 蟺蔚喂谓维蔚喂 渭蔚 伪蟺蠈纬谓蠅蟽畏 魏伪喂 蔚蟺喂渭慰谓萎, 谓伪 未喂蠄维蔚喂 蟺维谓蟿伪 蟽伪谓 蟿畏谓 蟽蠀谓萎胃蔚喂伪 蟿畏蟼 伪谓伪蟺谓慰萎蟼, 谓伪 谓慰蟽蔚委 伪蟺慰 慰未蠀谓畏蟻苇蟼 伪蟽胃苇谓蔚喂蔚蟼 胃伪谓伪蟿畏蠁蠈蟻蔚蟼 魏伪喂 尾伪蟽伪谓喂蟽蟿喂魏苇蟼 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 伪蟺苇蠂蔚喂 伪蟺慰 蠈位伪 伪蠀蟿维 渭蔚 渭喂伪 苇渭蟺蔚喂蟻畏, 蔚尉蠅蠁蟻蔚谓喂魏萎, 魏伪蟿伪蟽蟿蟻慰蠁喂魏萎 魏伪喂 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏萎 渭伪蟻蟿蠀蟻委伪 蔚喂位喂魏蟻委谓蔚喂伪蟼 蟿慰蠀 伪谓胃蟻蠋蟺喂谓慰蠀 蟺谓蔚蠉渭伪蟿慰蟼. 韦慰蠀 蠀蟺伪蟻尉喂伪魏慰蠉 未喂伪蠁蠅蟿喂蟽渭慰蠉 魏伪喂 蟿畏蟼 蔚谓未蠈渭蠀蠂畏蟼 伪谓伪纬苇谓谓畏蟽畏蟼.
违蟺维蟻蠂慰蠀谓 维蟺蔚喂蟻伪 尾喂尾位委伪 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰 慰位慰魏伪蠉蟿蠅渭伪 魏伪喂 蟿喂蟼 蔚纬魏位畏渭伪蟿喂魏维 蟽慰魏伪蟻喂蟽蟿喂魏苇蟼 伪蠁畏纬萎蟽蔚喂蟼 蟿蠅谓 魏蟻伪蟿慰蠀渭苇谓蠅谓 蟽蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼. 螌位伪 蠁蠀蟽喂魏维 伪谓伪蠁苇蟻慰谓蟿伪喂 蟽蔚 蔚谓萎位喂魏蔚蟼 魏蟻伪蟿慰蠉渭蔚谓慰蠀蟼, 慰 维谓胃蟻蠅蟺慰蟼 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰 蔚委谓伪喂 蟺伪喂未委.
螆谓伪 蟺伪喂未维魏喂 蟺慰蠀 渭畏谓 苇蠂慰谓蟿伪蟼 魏伪渭委伪 蔚位蔚蠀胃蔚蟻委伪 蟽蟿畏谓 蠅蟼 蟿蠈蟿蔚 味蠅萎 蟿慰蠀 魏伪喂 蟽蟿畏谓 慰喂魏慰纬蔚谓蔚喂伪魏萎 魏慰蟽渭慰胃蔚蠅蟻委伪 蟿慰蠀, 伪谓伪纬魏维味蔚蟿伪喂 谓伪 蟿伪 伪谓蟿苇尉蔚喂 蠈位伪. 螝伪喂 蟿慰 魏维谓蔚喂 渭蔚 渭蔚纬维位畏 蔚蟺喂蟿蠀蠂委伪, 蠈蟽慰 慰尉蠉渭蠅蟻慰 魏喂 伪谓 伪魏慰蠉纬蔚蟿伪喂 伪蠀蟿蠈 纬喂伪 蟿喂蟼 蟽蠀纬魏蔚魏蟻喂渭苇谓蔚蟼 未慰位慰蠁慰谓喂魏维 伪蟺蔚位蟺喂蟽渭苇谓蔚蟼 蟽蠀谓胃萎魏蔚蟼 未喂伪尾委蠅蟽畏蟼, 蔚蟺喂尾委蠅蟽畏蟼, 伪谓蟿慰蠂萎蟼 魏伪喂 蠄蠀蠂喂魏慰蠉 蟽胃苇谓慰蠀蟼 蟺慰位蠉 喂蟽蠂蠀蟻慰蠉, 渭喂伪蟼 魏伪喂 畏 渭谓萎渭畏 未蔚谓 胃伪 蟿伪 伪蠁萎蟽蔚喂 蟺慰蟿苇 伪蠀蟿维 蟿伪 蟺位维蟽渭伪蟿伪, 谓伪 尉蔚蠂维蟽慰蠀谓 萎 谓伪 尉伪谓伪纬蔚谓谓畏胃慰蠉谓 蠂蠅蟻委蟼 蟿伪 伪谓伪渭谓畏蟽蟿喂魏维 蟿慰蠀 蟺慰位苇渭慰蠀.
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.
芦螇渭慰蠀谓 伪谓伪蟽蟿伪蟿蠅渭苇谓慰蟼 蟽蔚 苇谓伪谓 魏蠈蟽渭慰 蟺慰蠀 萎蟿伪谓 纬喂伪 蟺维谓蟿伪 尉苇谓慰蟼 纬喂伪 渭苇谓伪, 苇谓伪谓 魏蠈蟽渭慰 蟺慰蠀 苇蟺蟻蔚蟺蔚 谓伪 尉伪谓伪尾纬伪委谓蠅 魏维胃蔚 渭苇蟻伪 蠂蠅蟻委蟼 蔚位蟺委未伪 伪谓伪魏慰蠉蠁喂蟽畏蟼. 螒蠀蟿蠈 委蟽蠂蠀蔚 纬喂伪 蟿畏谓 危蟿伪位喂谓喂魏萎 螣蠀纬纬伪蟻委伪, 伪位位维 伪魏蠈渭畏 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蠀蟺蠈 蟿慰谓 螘胃谓喂魏蠈 危慰蟽喂伪位喂蟽渭蠈 禄, 未畏位蠋谓蔚喂 慰 委未喂慰蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼.
螕蔚谓谓畏渭苇谓慰蟼 蟿慰 1929 蟽蟿畏 螔慰蠀未伪蟺苇蟽蟿畏, 慰 Kertesz 伪蟺蔚位维胃畏魏蔚 蟽蟿慰 螁慰蠀蟽尾喂蟿蟼 蟿慰 1944 纬喂伪 蟽蠉谓蟿慰渭慰 蠂蟻慰谓喂魏蠈 未喂维蟽蟿畏渭伪 魏伪喂 蟽蟿畏 蟽蠀谓苇蠂蔚喂伪 渭蔚蟿伪蠁苇蟻胃畏魏蔚 蟽蟿慰 Buchenwald. 韦伪 苇蟻纬伪 蟿慰蠀 伪蟽蠂慰位慰蠉谓蟿伪喂 渭蔚 蟿慰 螣位慰魏伪蠉蟿蠅渭伪, 伪位位维 未蔚谓 渭喂位慰蠉谓 伪蠀蟽蟿畏蟻维 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏维.
鈥⑽の� 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰, 蠁伪委谓蔚蟿伪喂 谓伪 渭慰喂维味蔚喂 渭蔚 蟿喂蟼 蔚渭蟺蔚喂蟻委蔚蟼 蟿慰蠀 Kertesz 蟽蔚 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 蟿蠅谓 螡伪味委, 伪位位维 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚蟺喂魏蔚谓蟿蟻蠋谓蔚蟿伪喂 蟽蟿喂蟼 喂蟽蟿慰蟻喂魏苇蟼-蠁喂位慰蟽慰蠁喂魏苇蟼 未喂伪蟽蟿维蟽蔚喂蟼 蟿慰蠀 胃苇渭伪蟿慰蟼.
螣 Kertesz 胃蔚蠅蟻蔚委 蟿畏谓 蟺蔚蟻喂纬蟻伪蠁萎 蟿慰蠀 纬喂伪 蟿慰 螣位慰魏伪蠉蟿蠅渭伪 蟽蟿慰 尾喂尾位委慰 伪蠀蟿蠈, 蠅蟼 蟻萎尉畏 蟺慰位喂蟿喂蟽渭慰蠉 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 蔚尉蔚蟿维蟽蔚喂 魏伪喂 谓伪 位维尾蔚喂 蟽慰尾伪蟻维 蠀蟺蠈蠄畏 慰位蠈魏位畏蟻慰蟼 慰 魏蠈蟽渭慰蟼 蟺伪蟻维 渭喂伪 蔚尉喂蟽蟿蠈蟻畏蟽畏 蟿蠅谓 未喂魏蠋谓 蟿慰蠀 未慰魏喂渭伪蟽蟿喂魏蠋谓 蔚渭蟺蔚喂蟻喂蠋谓 魏伪蟿维 蟿畏谓 蔚蠁畏尾蔚委伪.鈥�
螝伪喂 位苇蔚喂 - 桅蠀蟽喂魏维.
螝伪喂 位苇蔚喂- 伪蟽蠁伪位蠋蟼.
螝伪喂 位苇蔚喂 - 蟽委纬慰蠀蟻伪 谓伪喂 萎 渭维位位慰谓 蠈蠂喂 纬喂伪 蠈蟽伪 苇味畏蟽蔚, 纬喂伪 蠈蟽伪 蟺苇胃伪谓蔚, 纬喂伪 蠈蟽伪 伪谓伪蟽蟿萎胃畏魏蔚, 纬喂伪 蠈蟽伪 伪蟻谓萎胃畏魏蔚 蔚魏 蟺蔚蟺慰喂胃萎蟽蔚蠅蟼 谓伪 胃蔚蠅蟻萎蟽蔚喂 蠁蟻喂魏伪位蔚蠈蟿畏蟿蔚蟼 魏伪喂 蔚纬魏位萎渭伪蟿伪 魏伪蟿维 蟿畏蟼 伪谓胃蟻蠅蟺蠈蟿畏蟿伪蟼 -蟺慰蠀 萎蟿伪谓 蟺维谓蟿伪 渭蔚 蟿畏谓 蟿伪渭蟺苇位伪 蟿畏蟼 蔚蟿蠀渭畏纬慰蟻委伪蟼 蟿慰蠀 伪胃蠋慰蠀 魏伪蟿畏纬慰蟻慰蠀渭苇谓慰蠀 纬喂伪 蟿畏谓 蟺慰蟻蔚委伪 蟿畏蟼 渭慰喂蟻伪委伪蟼 蔚尉苇位喂尉畏蟼 蟿畏蟼 蟻维蟿蟽伪蟼 渭伪蟼, 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟺委蟽蠅 伪蟺慰 蟿慰 蟺蔚蟺蟻蠅渭苇谓慰, 蟿慰 纬蟻伪蠁蟿蠈, 蟿慰 伪谓伪蟺蠈蠁蔚蠀魏蟿慰,蟿慰 魏伪蟿畏纬慰蟻畏蟿萎蟻喂慰 蟺维谓蟿伪 魏伪蟿维 蟿蠅谓 维位位蠅谓, 蟺慰蟿苇 魏伪蟿维 蟿慰蠀 螘委谓伪喂 渭伪蟼 魏伪喂 蟿畏蟼 蔚位蔚蠉胃蔚蟻畏蟼 尾慰蠉位畏蟽畏蟼 蟺慰蠀 蔚蟺喂蠁苇蟻蔚喂 蔚蠀胃蠉谓蔚蟼 魏伪喂 蠂蟻慰谓喂魏萎 渭慰喂蟻慰位伪蟿蟻委伪 蠀蟺苇蟻 蟿畏蟼 蟽蠀位位慰纬喂魏萎蟼 蔚魏蟽蟿蟻伪蟿蔚委伪蟼 蟿慰蠀
芦 蠀蟺慰渭苇谓蠅禄 未喂蠈蟿喂 苇蟿蟽喂 萎蟻胃蔚 畏 味蠅萎, 未喂蠈蟿喂 苇蟿蟽喂 未慰魏喂渭维味慰谓蟿伪喂 慰喂 蟺喂蟽蟿慰委 蠈蟿伪谓 蟺蔚蟻谓慰蠉谓 伪蟺慰 蟿慰 魏伪胃伪蟻蟿萎蟻喂慰 蟿畏蟼 魏蠈位伪蟽畏蟼, 未喂蠈蟿喂 未蔚谓 胃伪 魏伪蟿伪位维尾慰蠀谓 蟽蔚 魏伪谓苇谓伪 蟺蟻伪纬渭伪蟿喂魏蠈 萎 蠁伪谓蟿伪蟽蟿喂魏蠈 蠂蟻慰谓喂谓蠈 蟺蟻慰蟽未喂慰蟻喂蟽渭蠈 萎 蟿慰蟺喂魏蠈 蠂蠅蟻慰蠂蟻蠈谓慰 蠈蟿喂 未蔚谓 伪谓伪味畏蟿慰蠉谓 蟿慰谓 蟺伪蟻维未蔚喂蟽慰 渭蔚 蟿喂蟼 蟺蟻维尉蔚喂蟼, 蟿伪 苇蟻纬伪, 蟿伪 位蠈纬喂伪 魏伪喂 蟿伪 胃蔚蠅蟻萎渭伪蟿伪 蟺慰蠀 慰未畏纬慰蠉谓 蟿畏 味蠅萎 蟿慰蠀蟼, 伪蟺位蠋蟼 蔚委谓伪喂 魏位蔚喂未蠅渭苇谓慰喂 渭苇蟽伪 蟽蔚 伪蠀蟿蠈谓.
螝伪喂 谓伪喂, 蔚委谓伪喂 蟺慰位蠉 未蠉蟽魏慰位慰 魏伪喂 蔚尉蠈蠂蠅蟼 伪魏伪未畏渭伪蠆魏蠈, 蔚纬魏蠀魏位慰蟺伪喂未喂魏蠈 魏伪喂 尾伪胃喂维 蠁喂位慰蟽慰蠁喂魏蠈 纬喂伪 蟿畏 渭苇蟽畏 谓慰畏蟿喂魏萎 未蟻伪蟽蟿畏蟻喂蠈蟿畏蟿伪 - 蟺慰蠀 伪蟺慰蟿蔚位蔚委 魏伪喂 蟿畏谓 蟺位蔚喂慰谓蠈蟿畏蟿伪 蟿慰蠀 蟺位畏胃蠀蟽渭慰蠉 蟽蟿慰谓 蟺位伪谓萎蟿畏- 谓伪 蔚渭蟺蔚未蠋蟽蔚喂 蟿畏谓 伪位萎胃蔚喂伪 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 蠂蠅蟻委蟼 胃蟻畏蟽魏蔚蠀蟿喂魏苇蟼 蟺伪蟻伪渭蠀胃委蔚蟼 魏伪喂 魏慰喂谓蠅谓喂魏苇蟼 谓蠈蟻渭蔚蟼 渭伪味喂魏萎蟼 蔚魏渭蔚蟿维位位蔚蠀蟽畏蟼.
螤伪蟻维 蟿慰 蔚蠀蟻蠉 魏慰喂谓蠅谓喂魏慰-蟺慰位喂蟿喂魏蠈 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠈 魏伪喂 蠀蟺伪蟻尉喂伪魏蠈 蠂蟻慰谓喂魏蠈 尾畏渭伪蟿喂蟽渭蠈 蟿蠅谓 胃蔚渭维蟿蠅谓 蟿慰蠀, 畏 渭蠀胃慰蟺位伪蟽委伪 蟿慰蠀 Kertesz, 喂未喂伪委蟿蔚蟻伪 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠉蟿慰 未喂伪尾维味蔚蟿伪喂 蟽伪谓 渭喂伪 慰喂魏蔚委伪 蠄蠀蠂慰位慰纬喂魏萎 伪蠁萎纬畏蟽畏 渭喂伪蟼 伪谓畏蟽蠀蠂畏蟿喂魏萎蟼 魏伪喂 慰未蠀谓畏蟻萎蟼 蔚渭蟺蔚喂蟻委伪蟼 蔚谓蠈蟼 蔚蠁萎尾慰蠀 蟺伪喂未喂慰蠉 - 维谓蟿蟻伪 伪谓伪纬魏伪蟽渭苇谓慰蠀 伪蟺慰 蟿畏谓 蔚位蔚蠀胃蔚蟻委伪 蟿慰蠀 维渭慰喂蟻慰蠀 谓伪 尉蔚蟻喂味蠅胃蔚委 伪蟺蠈 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪, 蟿慰蠀蟼 蟽蠀渭渭伪胃畏蟿苇蟼 魏伪喂 蟿慰蠀蟼 蠁委位慰蠀蟼 蟿慰蠀 纬喂伪 谓伪 蠅胃萎蟽蔚喂 蟿慰谓 蔚尉蠅魏慰蟽渭喂魏蠈 蟿蟻蠈渭慰 魏伪喂 蟿畏谓 尾维谓伪蠀蟽畏 蟺蟻慰蟽蟺维胃蔚喂伪 蔚蟺喂尾委蠅蟽畏蟼 伪蟽蠀谓伪委蟽胃畏蟿伪 魏伪喂 伪蟺慰位蠀蟿蟻蠅蟿喂魏维 渭苇蟽伪 蟽蟿伪 魏蟻蔚渭伪蟿蠈蟻喂伪 蟿蠅谓 谓伪味喂蟽蟿喂魏蠋谓 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼.
螆渭伪胃蔚 谓伪 渭喂位维蔚喂 蟿畏 纬位蠋蟽蟽伪 蟿蠅谓 谓蔚魏蟻蠋谓 渭蔚 魏伪蟿伪蟺位畏魏蟿喂魏萎 蔚蠀蠁蟻维未蔚喂伪, 苇渭伪胃蔚 谓伪 蟺蔚胃伪委谓蔚喂 纬喂伪 位委纬慰, 谓伪 味蔚喂 蠂蠅蟻委蟼 谓伪 蠀蟺维蟻蠂蔚喂, 谓伪 蟺慰谓维蔚喂 蠂蠅蟻委蟼 未维魏蟻蠀伪, 谓伪 蟺蔚喂谓维蔚喂 渭蔚 伪蟺蠈纬谓蠅蟽畏 魏伪喂 蔚蟺喂渭慰谓萎, 谓伪 未喂蠄维蔚喂 蟺维谓蟿伪 蟽伪谓 蟿畏谓 蟽蠀谓萎胃蔚喂伪 蟿畏蟼 伪谓伪蟺谓慰萎蟼, 谓伪 谓慰蟽蔚委 伪蟺慰 慰未蠀谓畏蟻苇蟼 伪蟽胃苇谓蔚喂蔚蟼 胃伪谓伪蟿畏蠁蠈蟻蔚蟼 魏伪喂 尾伪蟽伪谓喂蟽蟿喂魏苇蟼 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 伪蟺苇蠂蔚喂 伪蟺慰 蠈位伪 伪蠀蟿维 渭蔚 渭喂伪 苇渭蟺蔚喂蟻畏, 蔚尉蠅蠁蟻蔚谓喂魏萎, 魏伪蟿伪蟽蟿蟻慰蠁喂魏萎 魏伪喂 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏萎 渭伪蟻蟿蠀蟻委伪 蔚喂位喂魏蟻委谓蔚喂伪蟼 蟿慰蠀 伪谓胃蟻蠋蟺喂谓慰蠀 蟺谓蔚蠉渭伪蟿慰蟼. 韦慰蠀 蠀蟺伪蟻尉喂伪魏慰蠉 未喂伪蠁蠅蟿喂蟽渭慰蠉 魏伪喂 蟿畏蟼 蔚谓未蠈渭蠀蠂畏蟼 伪谓伪纬苇谓谓畏蟽畏蟼.
违蟺维蟻蠂慰蠀谓 维蟺蔚喂蟻伪 尾喂尾位委伪 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰 慰位慰魏伪蠉蟿蠅渭伪 魏伪喂 蟿喂蟼 蔚纬魏位畏渭伪蟿喂魏维 蟽慰魏伪蟻喂蟽蟿喂魏苇蟼 伪蠁畏纬萎蟽蔚喂蟼 蟿蠅谓 魏蟻伪蟿慰蠀渭苇谓蠅谓 蟽蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼. 螌位伪 蠁蠀蟽喂魏维 伪谓伪蠁苇蟻慰谓蟿伪喂 蟽蔚 蔚谓萎位喂魏蔚蟼 魏蟻伪蟿慰蠉渭蔚谓慰蠀蟼, 慰 维谓胃蟻蠅蟺慰蟼 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰 蔚委谓伪喂 蟺伪喂未委.
螆谓伪 蟺伪喂未维魏喂 蟺慰蠀 渭畏谓 苇蠂慰谓蟿伪蟼 魏伪渭委伪 蔚位蔚蠀胃蔚蟻委伪 蟽蟿畏谓 蠅蟼 蟿蠈蟿蔚 味蠅萎 蟿慰蠀 魏伪喂 蟽蟿畏谓 慰喂魏慰纬蔚谓蔚喂伪魏萎 魏慰蟽渭慰胃蔚蠅蟻委伪 蟿慰蠀, 伪谓伪纬魏维味蔚蟿伪喂 谓伪 蟿伪 伪谓蟿苇尉蔚喂 蠈位伪. 螝伪喂 蟿慰 魏维谓蔚喂 渭蔚 渭蔚纬维位畏 蔚蟺喂蟿蠀蠂委伪, 蠈蟽慰 慰尉蠉渭蠅蟻慰 魏喂 伪谓 伪魏慰蠉纬蔚蟿伪喂 伪蠀蟿蠈 纬喂伪 蟿喂蟼 蟽蠀纬魏蔚魏蟻喂渭苇谓蔚蟼 未慰位慰蠁慰谓喂魏维 伪蟺蔚位蟺喂蟽渭苇谓蔚蟼 蟽蠀谓胃萎魏蔚蟼 未喂伪尾委蠅蟽畏蟼, 蔚蟺喂尾委蠅蟽畏蟼, 伪谓蟿慰蠂萎蟼 魏伪喂 蠄蠀蠂喂魏慰蠉 蟽胃苇谓慰蠀蟼 蟺慰位蠉 喂蟽蠂蠀蟻慰蠉, 渭喂伪蟼 魏伪喂 畏 渭谓萎渭畏 未蔚谓 胃伪 蟿伪 伪蠁萎蟽蔚喂 蟺慰蟿苇 伪蠀蟿维 蟿伪 蟺位维蟽渭伪蟿伪, 谓伪 尉蔚蠂维蟽慰蠀谓 萎 谓伪 尉伪谓伪纬蔚谓谓畏胃慰蠉谓 蠂蠅蟻委蟼 蟿伪 伪谓伪渭谓畏蟽蟿喂魏维 蟿慰蠀 蟺慰位苇渭慰蠀.
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.
January 29, 2021
Grazie, piccolo Gyurka di quindici anni di non aver disimparato a sognare anche quando hanno portato via il tuo pap脿 da Budapest per portarlo ad un campo di lavoro dal quale non far脿 ritorno.
Di aver sognato anche quando i nazisti ti hanno mentito, anche quando ti sei accorto che dietro quella bella stazioncina piena di fiori che recava la scritta "Auschwitz" c'era un camino il cui fumo puzzava di carne arrosto. Umana.
Grazie, piccolo Gyurka sedicenne che a Buchenwald pesavi trenta chili, di aver capito che c'era un modo di uscire che nessuna sentinella avrebbe potuto fermare: il sogno. Grazie di esserti rifiutato di "organizzare" la sopravvivenza a spese del vicino, di non aver ridotto i rapporti umani a reazioni chimiche, di esserti ostinato a considerare il futuro come qualcosa di libero e non fatale anche quando eri ridotto a Musselmann. Grazie di avere scelto di consegnare al ricordo non la bestialit脿 delle SS ma l'affannoso sforzo dei medici di strapparvi al camino, il quotidiano rischio mortale degli infermieri per portarvi qualcosa da mangiare, ma soprattutto quella carezza e quella parola di conforto (detta a rischio della vita) in una lingua incomprensibile, ma che era il nutrimento dell'anima che vi serviva per sfuggire alla rassegnazione.
Grazie giovane uomo tornato in Ungheria di esserti rifiutato di dimenticare, di aver accusato persino gli ebrei come te (che non parli una parola di yiddisch)delle loro colpe. Non si pu貌 dimenticare l'Olocausto, cos矛 ci insegni, perch猫 non 猫 stato il frutto del destino: L'essere 猫 senza destino sempre ed 猫 il risultato di miliardi di piccole scelte di adeguarsi , di evitare lo scontro, di fare un altro piccolo passo verso l'abiezione. Non si possono dimenticare quelle scelte perch猫 esse segnano il tempo della nostra vita e sono quelle scelte che contengono in s猫 il senso di quello che 猫 accaduto.
Grazie giovane settantenne Gyurka di aver tenuto dentro di te il tuo meraviglioso segreto per tanti anni e quando sorridente col tuo premio Nobel avrai a disposizione il tuo palcoscenico sul mondo ce lo ricorderai: non esiste nessun destino cui rassegnarsi, l'inevitabile 猫 il perverso frutto della pigrizia e della mancanza di coraggio. Perch猫 l'essere di ogni uomo 猫 in s猫 libero e senza destino, e l'unica cosa davvero inevitabile, per la quale si pu貌 guardare al futuro con sicurezza, e che ci verr脿 incontro persino nell'abisso, persino in Lager, 猫 la felicit脿.
Un giorno incontrerai un piccolo vecchio ebreo italiano, giovane Gyurka, che si chiama Primo Levi. Non ha avuto la tua fortuna, 猫 entrato in Lager gi脿 adulto e disincantato, per di pi霉 laureato in chimica: 猫 sopravvissuto riducendo l'essere umano a elemento chimico, ed i rapporti umani a reazioni chimiche. E' arrivato in fondo Gyurka, ma quello che ha trovato non 猫 stata la pace, ma solo una tregua: mi piace pensare che quando lo incontrerai gli darai una pacca sulla spalla e gli spiegherai che anche per lui come per ogni uomo, il finale, inevitabile destino dell'essere sar脿 solo la felicit脿.
Di aver sognato anche quando i nazisti ti hanno mentito, anche quando ti sei accorto che dietro quella bella stazioncina piena di fiori che recava la scritta "Auschwitz" c'era un camino il cui fumo puzzava di carne arrosto. Umana.
Grazie, piccolo Gyurka sedicenne che a Buchenwald pesavi trenta chili, di aver capito che c'era un modo di uscire che nessuna sentinella avrebbe potuto fermare: il sogno. Grazie di esserti rifiutato di "organizzare" la sopravvivenza a spese del vicino, di non aver ridotto i rapporti umani a reazioni chimiche, di esserti ostinato a considerare il futuro come qualcosa di libero e non fatale anche quando eri ridotto a Musselmann. Grazie di avere scelto di consegnare al ricordo non la bestialit脿 delle SS ma l'affannoso sforzo dei medici di strapparvi al camino, il quotidiano rischio mortale degli infermieri per portarvi qualcosa da mangiare, ma soprattutto quella carezza e quella parola di conforto (detta a rischio della vita) in una lingua incomprensibile, ma che era il nutrimento dell'anima che vi serviva per sfuggire alla rassegnazione.
Grazie giovane uomo tornato in Ungheria di esserti rifiutato di dimenticare, di aver accusato persino gli ebrei come te (che non parli una parola di yiddisch)delle loro colpe. Non si pu貌 dimenticare l'Olocausto, cos矛 ci insegni, perch猫 non 猫 stato il frutto del destino: L'essere 猫 senza destino sempre ed 猫 il risultato di miliardi di piccole scelte di adeguarsi , di evitare lo scontro, di fare un altro piccolo passo verso l'abiezione. Non si possono dimenticare quelle scelte perch猫 esse segnano il tempo della nostra vita e sono quelle scelte che contengono in s猫 il senso di quello che 猫 accaduto.
Grazie giovane settantenne Gyurka di aver tenuto dentro di te il tuo meraviglioso segreto per tanti anni e quando sorridente col tuo premio Nobel avrai a disposizione il tuo palcoscenico sul mondo ce lo ricorderai: non esiste nessun destino cui rassegnarsi, l'inevitabile 猫 il perverso frutto della pigrizia e della mancanza di coraggio. Perch猫 l'essere di ogni uomo 猫 in s猫 libero e senza destino, e l'unica cosa davvero inevitabile, per la quale si pu貌 guardare al futuro con sicurezza, e che ci verr脿 incontro persino nell'abisso, persino in Lager, 猫 la felicit脿.
Un giorno incontrerai un piccolo vecchio ebreo italiano, giovane Gyurka, che si chiama Primo Levi. Non ha avuto la tua fortuna, 猫 entrato in Lager gi脿 adulto e disincantato, per di pi霉 laureato in chimica: 猫 sopravvissuto riducendo l'essere umano a elemento chimico, ed i rapporti umani a reazioni chimiche. E' arrivato in fondo Gyurka, ma quello che ha trovato non 猫 stata la pace, ma solo una tregua: mi piace pensare che quando lo incontrerai gli darai una pacca sulla spalla e gli spiegherai che anche per lui come per ogni uomo, il finale, inevitabile destino dell'essere sar脿 solo la felicit脿.
November 18, 2016
(4,5*) 螣 位蠈纬慰蟼 蟿慰蠀 Imre Kertesz 蔚委谓伪喂 蟺慰位蠉 喂未喂伪委蟿蔚蟻慰蟼, 苇蠂蔚喂 渭委伪 渭慰谓伪未喂魏萎 蟺蟻慰蟽蠅蟺喂魏萎 纬蟻伪蠁萎 蟺慰蠀 未委谓蔚喂 苇谓伪 蟺蔚蟻委蔚蟻纬伪 慰喂魏蔚委慰 蟿蠈谓慰 蟽蟿畏谓 伪蠁萎纬畏蟽畏. 螆蠂蔚喂 伪魏蠈渭畏 苇谓伪 蔚尉伪喂蟻蔚蟿喂魏维 渭畏-蟺蟻慰尾位苇蠄喂渭慰 蟿蟻蠈蟺慰 谓伪 伪谓蟿喂魏蟻委味蔚喂 蟿伪 纬蔚纬慰谓蠈蟿伪...魏维蟿喂 蟺慰蠀 蟽蔚 伪蠁慰蟺位委味蔚喂 伪蟺蠈 蟿喂蟼 蟺蟻蠋蟿蔚蟼 伪魏蠈渭畏 蟽蔚位委未蔚蟼...渭蟺慰蟻蔚委 谓伪 蟽蔚 蟺伪蟻伪尉蔚谓苇蠄蔚喂, 谓伪 蟽蔚 蟺蟻慰尾位畏渭伪蟿委蟽蔚喂...伪魏蠈渭畏 魏伪喂 谓伪 蟽蔚 蔚魏谓蔚蠀蟻委蟽蔚喂...伪位位维 蟿蔚位喂魏维, 蟿喂 位蠈纬慰 苇蠂慰蠀渭蔚 蔚渭蔚委蟼 渭蟺蟻慰蟽蟿维 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 尾喂蠅渭苇谓蔚蟼 蔚渭蟺蔚喂蟻委蔚蟼;
"伪蠀蟿维 蠈渭蠅蟼 未蔚谓 萎蟿伪谓 蟺伪蟻维 畏 未喂魏萎 渭慰蠀 蔚谓蟿蠉蟺蠅蟽畏 魏伪喂 魏伪蟿维 尾维胃慰蟼, 苇蟿蟽喂 蟿慰蠀位维蠂喂蟽蟿慰谓 蟿慰 蠁伪谓蟿伪味蠈渭慰蠀谓, 蟿伪 蟺蟻维纬渭伪蟿伪 未蔚谓 渭蟺慰蟻蔚委 谓伪 蔚委蠂伪谓 纬委谓蔚喂 未喂伪蠁慰蟻蔚蟿喂魏维." (蟽蔚位.89)
螚 伪蠁萎纬畏蟽畏 魏蠀位维蔚喂 慰渭伪位维, 魏蠀蟻委蠅蟼 蠅蟼 蟺蟻慰蟼 蟿畏谓 蠄蠀蠂慰蟽蠉谓胃蔚蟽畏 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎-伪蠁畏纬畏蟿萎. 螢蔚魏喂谓蠋谓蟿伪蟼 伪蟺蠈 蟿畏谓 伪胃蠋伪 伪谓蟿委位畏蠄畏 魏伪喂 伪谓蟿喂渭蔚蟿蠋蟺喂蟽畏 蟿慰蠀 苇蠁畏尾慰蠀 螣蠉纬纬蟻慰蠀, 蟽蟿畏谓 蟽蟿伪未喂伪魏萎 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿畏蟼 魏伪蟿维蟽蟿伪蟽畏蟼 魏伪喂 蟿畏谓 蟺蟻慰蟽伪蟻渭慰纬萎 蟽蔚 伪蠀蟿萎 渭蔚 渭委伪 蟽蠂蔚蟿喂魏萎 蟺蟻慰胃蠀渭委伪. 螣 谓蔚伪蟻蠈蟼 伪蠁畏纬畏蟿萎蟼 苇蠂蔚喂 苇谓伪谓 渭慰谓伪未喂魏蠈 蟿蟻蠈蟺慰 谓伪 魏伪蟿伪谓慰蔚委 魏伪喂 谓伪 渭蔚蟿伪蠁蟻维味蔚喂 蟿喂蟼 魏伪蟿伪蟽蟿维蟽蔚喂蟼 魏伪喂 蟿伪 纬蔚纬慰谓蠈蟿伪, 苇谓伪谓 蟿蟻蠈蟺慰 蟺慰蠀 蟽蔚 尾维味蔚喂 蟽蔚 蟽魏苇蠄蔚喂蟼.
"螚 伪谓委伪 渭伪味委 渭'伪蠀蟿萎谓 蟿畏谓 蟺伪蟻维尉蔚谓畏 蟺蟻慰蟽渭慰谓萎: 伪蠀蟿蠈, 伪蠀蟿萎 蟺蔚蟻委蟺慰蠀 畏 蔚谓蟿蠉蟺蠅蟽畏, 谓慰渭委味蠅, 谓伪喂, 蠈蟿喂 萎蟿伪谓 蟿慰 螁慰蠀蟽尾喂蟿蟼 - 蟿慰蠀位维蠂喂蟽蟿慰谓 蟽蟿伪 未喂魏维 渭慰蠀 渭维蟿喂伪." (蟽蔚位.96)
桅伪委谓蔚蟿伪喂 蟽伪谓 慰 伪蠁畏纬畏蟿萎蟼 谓伪 维蟻纬畏蟽蔚 蟺慰位蠉 谓伪 魏伪蟿伪位维尾蔚喂 蟿畏谓 伪喂蠂渭伪位蠅蟽委伪 蟿慰蠀, 纬蔚纬慰谓蠈蟼 蟺慰蠀 尾慰萎胃畏蟽蔚 蟿畏谓 蟺谓蔚蠀渭伪蟿喂魏萎 魏伪喂 蟽蠅渭伪蟿喂魏萎 蔚蟺喂尾委蠅蟽萎 蟿慰蠀. 韦畏谓 渭蔚位苇蟿畏蟽蔚 蠈渭蠅蟼 蟽蔚 蠈位蔚蟼 蟿喂蟼 蟿喂蟼 蔚魏蠁维谓蟽蔚喂蟼, 蟿畏 尾委蠅蟽蔚, 蟿畏谓 蟺蔚蟻喂蔚蟻纬维蟽蟿畏魏蔚 魏伪喂 蟿蔚位喂魏维 蟿畏谓 蔚蟻渭萎谓蔚蠀蟽蔚 渭苇蟽伪 伪蟺蠈 蟿畏 未喂魏萎 蟿慰蠀 喂未喂慰蟽蠀纬魏蟻伪蟽委伪.
"韦慰 蔚委蠂伪 伪魏慰蠉蟽蔚喂 魏伪喂 蟿蠋蟻伪 渭蟺慰蟻慰蠉蟽伪 谓伪 蟿慰 蔚蟺喂尾蔚尾伪喂蠋蟽蠅 魏伪喂 慰 委未喂慰蟼: 蟺蟻伪纬渭伪蟿喂魏维, 慰蠉蟿蔚 魏伪谓 蟿伪 蟽蟿蔚谓维 蟿蔚委蠂畏 蟿畏蟼 伪喂蠂渭伪位蠅蟽委伪蟼 渭蟺慰蟻慰蠉谓 谓伪 蔚渭蟺慰未委蟽慰蠀谓 蟿畏 蠁伪谓蟿伪蟽委伪 渭伪蟼 谓伪 蠁蟿蔚蟻慰蠀纬委味蔚喂" (蟽蔚位.126)
螤蟻慰蟽蠅蟺喂魏维, 胃蔚蠅蟻蠋 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 蟿慰 蟿蔚位蔚蠀蟿伪委慰 魏蔚蠁维位伪喂慰 魏伪喂 魏蠀蟻委蠅蟼 蟿喂蟼 伪蠀胃蠈蟻渭畏蟿伪 未喂伪蟿蠀蟺蠅渭苇谓蔚蟼 伪蟺蠈蠄蔚喂蟼 蟿慰蠀 蔚位蔚蠉胃蔚蟻慰蠀 蟺喂伪 谓蔚伪蟻慰蠉. 螘魏蔚委 蟽蠀谓慰蠄委味蔚蟿伪喂 委蟽蠅蟼 魏伪喂 蟿慰 蟺蔚蟻喂蔚蠂蠈渭蔚谓慰 蠈位慰 蟿蠅谓 未喂伪未蟻伪渭伪蟿喂味蠈渭蔚谓蠅谓 蟽魏畏谓蠋谓. 危魏苇蠄蔚喂蟼 蟺慰蠀 未喂伪尾维味蔚喂蟼, 蟺蟻慰尾位畏渭伪蟿委味蔚蟽伪喂 伪位位维 蠈蟽慰 魏伪喂 谓伪 蟺蟻慰蟽蟺伪胃萎蟽蔚喂蟼 未蔚谓 渭蟺慰蟻蔚委蟼 谓伪 蟽蠀渭蟺慰谓苇蟽蔚喂蟼, 谓伪 蟽蠀谓伪喂蟽胃伪谓胃蔚委蟼 魏伪喂 慰蠉蟿蔚 蟺蟻伪纬渭伪蟿喂魏维 谓伪 魏伪蟿伪位维尾蔚喂蟼. 螌,蟿喂 魏伪喂 谓伪 苇蠂慰蠀渭蔚 未蔚喂 萎 伪魏慰蠉蟽蔚喂 纬喂伪 蟿畏谓 蟽魏慰蟿蔚喂谓萎 伪蠀蟿萎 蟽蟿喂纬渭萎 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 蔚委谓伪喂 渭喂魏蟻蠈 渭蟺蟻慰蟽蟿维 蟽蟿喂蟼 伪蟺位苇蟼 未喂伪蟿蠀蟺蠋蟽蔚喂蟼 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀 蟿畏 尾委蠅蟽蔚.
"蠈蟿伪谓 蠀蟺维蟻蠂蔚喂 渭慰委蟻伪, 蟿蠈蟿蔚 畏 蔚位蔚蠀胃蔚蟻委伪 蔚委谓伪喂 伪未蠉谓伪蟿畏: 蠈蟿伪谓 蠈渭蠅蟼 蠀蟺维蟻蠂蔚喂 蔚位蔚蠀胃蔚蟻委伪, 胃伪 蟺蔚喂 蠈蟿喂 畏 渭慰委蟻伪 蔚委渭伪蟽蟿蔚 蔚渭蔚委蟼 慰喂 委未喂慰喂..." (蟽蔚位.206-207)
螤伪蟻维 蟿畏 渭伪魏蟻慰位慰纬委伪, 蟿慰 蟽蠀渭蟺苇蟻伪蟽渭伪 蔚委谓伪喂 蠈蟿喂 伪蟺慰蟿蔚位蔚委 苇谓伪 尾喂尾位委慰 蟺慰蠀 伪尉委味蔚喂 谓伪 未喂伪尾伪蟽蟿蔚委 伪蟺蠈 蟿慰谓 魏伪胃苇谓伪. 螤伪蟻维 蟿慰谓 蟿蔚蟻维蟽蟿喂慰 蠈纬魏慰 位慰纬慰蟿蔚蠂谓喂魏慰蠉 魏伪喂 魏喂谓畏渭伪蟿慰纬蟻伪蠁喂魏慰蠉 蠀位喂魏慰蠉 蟺维谓蠅 蟽蟿慰 胃苇渭伪, 苇蠂蔚喂 魏维蟿喂 魏伪喂谓慰蠉蟻纬喂慰 谓伪 未蠋蟽蔚喂, 蟺蟻慰蟽蠁苇蟻慰谓蟿伪蟼 渭喂伪 未喂伪蠁慰蟻蔚蟿喂魏萎 慰蟺蟿喂魏萎 纬蠅谓委伪!
"伪蠀蟿维 蠈渭蠅蟼 未蔚谓 萎蟿伪谓 蟺伪蟻维 畏 未喂魏萎 渭慰蠀 蔚谓蟿蠉蟺蠅蟽畏 魏伪喂 魏伪蟿维 尾维胃慰蟼, 苇蟿蟽喂 蟿慰蠀位维蠂喂蟽蟿慰谓 蟿慰 蠁伪谓蟿伪味蠈渭慰蠀谓, 蟿伪 蟺蟻维纬渭伪蟿伪 未蔚谓 渭蟺慰蟻蔚委 谓伪 蔚委蠂伪谓 纬委谓蔚喂 未喂伪蠁慰蟻蔚蟿喂魏维." (蟽蔚位.89)
螚 伪蠁萎纬畏蟽畏 魏蠀位维蔚喂 慰渭伪位维, 魏蠀蟻委蠅蟼 蠅蟼 蟺蟻慰蟼 蟿畏谓 蠄蠀蠂慰蟽蠉谓胃蔚蟽畏 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎-伪蠁畏纬畏蟿萎. 螢蔚魏喂谓蠋谓蟿伪蟼 伪蟺蠈 蟿畏谓 伪胃蠋伪 伪谓蟿委位畏蠄畏 魏伪喂 伪谓蟿喂渭蔚蟿蠋蟺喂蟽畏 蟿慰蠀 苇蠁畏尾慰蠀 螣蠉纬纬蟻慰蠀, 蟽蟿畏谓 蟽蟿伪未喂伪魏萎 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿畏蟼 魏伪蟿维蟽蟿伪蟽畏蟼 魏伪喂 蟿畏谓 蟺蟻慰蟽伪蟻渭慰纬萎 蟽蔚 伪蠀蟿萎 渭蔚 渭委伪 蟽蠂蔚蟿喂魏萎 蟺蟻慰胃蠀渭委伪. 螣 谓蔚伪蟻蠈蟼 伪蠁畏纬畏蟿萎蟼 苇蠂蔚喂 苇谓伪谓 渭慰谓伪未喂魏蠈 蟿蟻蠈蟺慰 谓伪 魏伪蟿伪谓慰蔚委 魏伪喂 谓伪 渭蔚蟿伪蠁蟻维味蔚喂 蟿喂蟼 魏伪蟿伪蟽蟿维蟽蔚喂蟼 魏伪喂 蟿伪 纬蔚纬慰谓蠈蟿伪, 苇谓伪谓 蟿蟻蠈蟺慰 蟺慰蠀 蟽蔚 尾维味蔚喂 蟽蔚 蟽魏苇蠄蔚喂蟼.
"螚 伪谓委伪 渭伪味委 渭'伪蠀蟿萎谓 蟿畏谓 蟺伪蟻维尉蔚谓畏 蟺蟻慰蟽渭慰谓萎: 伪蠀蟿蠈, 伪蠀蟿萎 蟺蔚蟻委蟺慰蠀 畏 蔚谓蟿蠉蟺蠅蟽畏, 谓慰渭委味蠅, 谓伪喂, 蠈蟿喂 萎蟿伪谓 蟿慰 螁慰蠀蟽尾喂蟿蟼 - 蟿慰蠀位维蠂喂蟽蟿慰谓 蟽蟿伪 未喂魏维 渭慰蠀 渭维蟿喂伪." (蟽蔚位.96)
桅伪委谓蔚蟿伪喂 蟽伪谓 慰 伪蠁畏纬畏蟿萎蟼 谓伪 维蟻纬畏蟽蔚 蟺慰位蠉 谓伪 魏伪蟿伪位维尾蔚喂 蟿畏谓 伪喂蠂渭伪位蠅蟽委伪 蟿慰蠀, 纬蔚纬慰谓蠈蟼 蟺慰蠀 尾慰萎胃畏蟽蔚 蟿畏谓 蟺谓蔚蠀渭伪蟿喂魏萎 魏伪喂 蟽蠅渭伪蟿喂魏萎 蔚蟺喂尾委蠅蟽萎 蟿慰蠀. 韦畏谓 渭蔚位苇蟿畏蟽蔚 蠈渭蠅蟼 蟽蔚 蠈位蔚蟼 蟿喂蟼 蟿喂蟼 蔚魏蠁维谓蟽蔚喂蟼, 蟿畏 尾委蠅蟽蔚, 蟿畏谓 蟺蔚蟻喂蔚蟻纬维蟽蟿畏魏蔚 魏伪喂 蟿蔚位喂魏维 蟿畏谓 蔚蟻渭萎谓蔚蠀蟽蔚 渭苇蟽伪 伪蟺蠈 蟿畏 未喂魏萎 蟿慰蠀 喂未喂慰蟽蠀纬魏蟻伪蟽委伪.
"韦慰 蔚委蠂伪 伪魏慰蠉蟽蔚喂 魏伪喂 蟿蠋蟻伪 渭蟺慰蟻慰蠉蟽伪 谓伪 蟿慰 蔚蟺喂尾蔚尾伪喂蠋蟽蠅 魏伪喂 慰 委未喂慰蟼: 蟺蟻伪纬渭伪蟿喂魏维, 慰蠉蟿蔚 魏伪谓 蟿伪 蟽蟿蔚谓维 蟿蔚委蠂畏 蟿畏蟼 伪喂蠂渭伪位蠅蟽委伪蟼 渭蟺慰蟻慰蠉谓 谓伪 蔚渭蟺慰未委蟽慰蠀谓 蟿畏 蠁伪谓蟿伪蟽委伪 渭伪蟼 谓伪 蠁蟿蔚蟻慰蠀纬委味蔚喂" (蟽蔚位.126)
螤蟻慰蟽蠅蟺喂魏维, 胃蔚蠅蟻蠋 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 蟿慰 蟿蔚位蔚蠀蟿伪委慰 魏蔚蠁维位伪喂慰 魏伪喂 魏蠀蟻委蠅蟼 蟿喂蟼 伪蠀胃蠈蟻渭畏蟿伪 未喂伪蟿蠀蟺蠅渭苇谓蔚蟼 伪蟺蠈蠄蔚喂蟼 蟿慰蠀 蔚位蔚蠉胃蔚蟻慰蠀 蟺喂伪 谓蔚伪蟻慰蠉. 螘魏蔚委 蟽蠀谓慰蠄委味蔚蟿伪喂 委蟽蠅蟼 魏伪喂 蟿慰 蟺蔚蟻喂蔚蠂蠈渭蔚谓慰 蠈位慰 蟿蠅谓 未喂伪未蟻伪渭伪蟿喂味蠈渭蔚谓蠅谓 蟽魏畏谓蠋谓. 危魏苇蠄蔚喂蟼 蟺慰蠀 未喂伪尾维味蔚喂蟼, 蟺蟻慰尾位畏渭伪蟿委味蔚蟽伪喂 伪位位维 蠈蟽慰 魏伪喂 谓伪 蟺蟻慰蟽蟺伪胃萎蟽蔚喂蟼 未蔚谓 渭蟺慰蟻蔚委蟼 谓伪 蟽蠀渭蟺慰谓苇蟽蔚喂蟼, 谓伪 蟽蠀谓伪喂蟽胃伪谓胃蔚委蟼 魏伪喂 慰蠉蟿蔚 蟺蟻伪纬渭伪蟿喂魏维 谓伪 魏伪蟿伪位维尾蔚喂蟼. 螌,蟿喂 魏伪喂 谓伪 苇蠂慰蠀渭蔚 未蔚喂 萎 伪魏慰蠉蟽蔚喂 纬喂伪 蟿畏谓 蟽魏慰蟿蔚喂谓萎 伪蠀蟿萎 蟽蟿喂纬渭萎 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 蔚委谓伪喂 渭喂魏蟻蠈 渭蟺蟻慰蟽蟿维 蟽蟿喂蟼 伪蟺位苇蟼 未喂伪蟿蠀蟺蠋蟽蔚喂蟼 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀 蟿畏 尾委蠅蟽蔚.
"蠈蟿伪谓 蠀蟺维蟻蠂蔚喂 渭慰委蟻伪, 蟿蠈蟿蔚 畏 蔚位蔚蠀胃蔚蟻委伪 蔚委谓伪喂 伪未蠉谓伪蟿畏: 蠈蟿伪谓 蠈渭蠅蟼 蠀蟺维蟻蠂蔚喂 蔚位蔚蠀胃蔚蟻委伪, 胃伪 蟺蔚喂 蠈蟿喂 畏 渭慰委蟻伪 蔚委渭伪蟽蟿蔚 蔚渭蔚委蟼 慰喂 委未喂慰喂..." (蟽蔚位.206-207)
螤伪蟻维 蟿畏 渭伪魏蟻慰位慰纬委伪, 蟿慰 蟽蠀渭蟺苇蟻伪蟽渭伪 蔚委谓伪喂 蠈蟿喂 伪蟺慰蟿蔚位蔚委 苇谓伪 尾喂尾位委慰 蟺慰蠀 伪尉委味蔚喂 谓伪 未喂伪尾伪蟽蟿蔚委 伪蟺蠈 蟿慰谓 魏伪胃苇谓伪. 螤伪蟻维 蟿慰谓 蟿蔚蟻维蟽蟿喂慰 蠈纬魏慰 位慰纬慰蟿蔚蠂谓喂魏慰蠉 魏伪喂 魏喂谓畏渭伪蟿慰纬蟻伪蠁喂魏慰蠉 蠀位喂魏慰蠉 蟺维谓蠅 蟽蟿慰 胃苇渭伪, 苇蠂蔚喂 魏维蟿喂 魏伪喂谓慰蠉蟻纬喂慰 谓伪 未蠋蟽蔚喂, 蟺蟻慰蟽蠁苇蟻慰谓蟿伪蟼 渭喂伪 未喂伪蠁慰蟻蔚蟿喂魏萎 慰蟺蟿喂魏萎 纬蠅谓委伪!
August 31, 2020
"螇蟿伪谓 魏蟻委渭伪, 纬喂伪蟿委 伪蠀蟿萎 畏 蟽蟿喂纬渭萎, 伪蠀蟿萎 畏 蔚蠀蠅未喂维 蟺蟻慰魏维位蔚蟽伪谓 蟽蟿慰 魏伪蟿维 蟿' 维位位伪 伪蟺伪胃苇蟼 蟽蟿萎胃慰蟼 渭慰蠀 苇谓伪 蟽蠀谓伪委蟽胃畏渭伪 蟺慰蠀, 苇蟿蟽喂 魏伪胃蠋蟼 渭蔚 蟺位畏渭渭蠉蟻喂味蔚 魏伪蟿维 魏蠉渭伪蟿伪, 伪谓维纬魏伪蟽蔚 蟿伪 魏伪蟿维蟽蟿蔚纬谓伪 渭维蟿喂伪 渭慰蠀 谓伪 蟽蟿伪尉慰蠀谓 渭蔚蟻喂魏苇蟼 味蔚蟽蟿苇蟼 蟽蟿伪纬蠈谓蔚蟼 蟺维谓蠅 蟽蟿畏谓 蟺伪纬蠅渭苇谓畏 渭蠉蟿畏 渭慰蠀. 螝伪喂 蠈蟽慰 魏伪喂 谓伪 蟺蟻慰蟽蟺伪胃慰蠉蟽伪 谓伪 味蠀纬喂蟽蠅 蟿伪 蟺蟻维纬渭伪蟿伪, 蠈蟽畏 位慰纬喂魏萎, 蠈蟽畏 蟽蠉谓蔚蟽畏, 蠈蟽畏 谓畏蠁伪位喂蠈蟿畏蟿伪 魏喂 伪谓 蟺蟻慰蟽蟺伪胃慰蠉蟽伪 谓伪 蔚蟺喂未蔚委尉蠅, 未蔚谓 尾慰畏胃慰蠉蟽蔚 蟽蔚 蟿委蟺慰蟿伪 - 未蔚谓 萎蟿伪谓 未蠀谓伪蟿蠈谓 谓伪 魏位蔚委蟽蠅 蟿' 伪蠁蟿喂维 渭慰蠀 蟽' 蔚魏蔚委谓畏 蟿畏 渭蠀蟽蟿喂魏萎 蠁蠅谓萎, 蟽' 蔚魏蔚委谓畏 蟿畏 蠁蠅谓萎 蟺慰蠀 魏伪蟿维 魏维蟺慰喂慰谓 蟿蟻蠈蟺慰 谓蟿蟻蔚蟺蠈蟿伪谓 魏喂 畏 委未喂伪 纬喂伪 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟿畏蟼 魏喂 蠅蟽蟿蠈蟽慰 纬喂谓蠈蟿伪谓 蠈位慰 魏伪喂 蟺喂慰 蔚蟺委渭慰谓畏, 蟽' 蔚魏蔚委谓畏 蟿畏 蠁蠅谓萎 渭喂伪蟼 伪渭蠀未蟻萎蟼 位伪蠂蟿维蟻伪蟼: 胃伪 萎胃蔚位伪 谓伪 味萎蟽蠅 位委纬慰 伪魏蠈渭伪 蟽蔚 蟿慰蠉蟿慰 蟿慰 蠅蟻伪委慰 蟽蟿蟻伪蟿蠈蟺蔚未慰 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼."
螒蠀蟿蠈 蔚委谓伪喂 苇谓伪 (伪魏蠈渭伪) 尾喂尾位委慰 纬喂伪 蟿慰 螣位慰魏伪蠉蟿蠅渭伪 魏伪喂 蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼, 苇谓伪 胃苇渭伪 蟺慰蠀 蠈蟽慰 魏喂 伪谓 蠂蟻畏蟽喂渭慰蟺慰喂蔚委蟿伪喂 蟽蟿畏 位慰纬慰蟿蔚蠂谓委伪 蠁伪委谓蔚蟿伪喂 蠈蟿喂 未蔚谓 渭蟺慰蟻蔚委 谓伪 魏慰蟻蔚蟽蟿蔚委, 委蟽蠅蟼 纬喂伪蟿委 未蔚谓 蟿慰 苇蠂慰蠀渭蔚 伪魏蠈渭伪 尉慰蟻魏委蟽蔚喂. 螉蟽蠅蟼 蟺慰蟿苇 谓伪 渭畏谓 蟿慰 尉慰蟻魏委蟽慰蠀渭蔚, 蔚委谓伪喂 蟺喂胃伪谓蠈谓 蠈蟿喂 蟿慰 蠁维蟽渭伪 蟿慰蠀 胃伪 伪喂蠅蟻蔚委蟿伪喂 纬喂伪 蟺慰位蠉 魏伪喂蟻蠈 伪魏蠈渭伪 伪蟺蠈 蟺维谓蠅 渭伪蟼, 蠈蟿喂 胃伪 蟿慰 尾蟻委蟽魏慰蠀渭蔚 蟽蠀谓苇蠂蔚喂伪 渭蟺蟻慰蟽蟿维 渭伪蟼 蟽伪 蟽魏慰蟿蔚喂谓萎 魏畏位委未伪 蟽蟿慰 蠂伪位委 - 蠈蟽慰 魏喂 伪谓 蟿畏谓 蟿蟻委尾慰蠀渭蔚, 蟿慰 蠂伪位委 苇蠂蔚喂 蟺慰蟿委蟽蔚喂 魏伪喂 畏 魏畏位委未伪 未蔚 蠁蔚蠉纬蔚喂.
螣 螝苇蟻蟿蔚蟼 未喂畏纬蔚委蟿伪喂 蟿畏谓 喂蟽蟿慰蟻委伪 蔚谓蠈蟼 螣蠉纬纬蟻慰蠀 螘尾蟻伪委慰蠀 蔚蠁萎尾慰蠀 蟺慰蠀 蟽蠀位位伪渭尾维谓蔚蟿伪喂 魏伪喂 慰未畏纬蔚委蟿伪喂 蟽蔚 蟽蟿蟻伪蟿蠈蟺蔚未慰 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 魏伪喂 蠈位伪 蟿伪 蟽蟿维未喂伪 伪蟺蠈 蟿伪 慰蟺慰委伪 蟺蔚蟻谓维蔚喂 蟿慰谓 魏伪喂蟻蠈 蟿畏蟼 伪喂蠂渭伪位蠅蟽委伪蟼 蟿慰蠀: 蟿畏谓 蟺蔚蟻喂苇蟻纬蔚喂伪, 蟿畏谓 蟺蔚委谓伪, 蟿畏谓 蔚尉维谓蟿位畏蟽畏, 蟿慰 胃蠀渭蠈, 蟿畏谓 蟺伪蟻伪委蟿畏蟽畏, 蟿畏谓 伪蟺维胃蔚喂伪. 螒魏慰位慰蠀胃慰蠉渭蔚 蟿畏谓 蟺慰蟻蔚委伪 蟿慰蠀 伪蟺蠈 蟿慰 螁慰蠀蟽尾喂蟿蟼 蟽蟿慰 螠蟺慰蠀蠂蔚谓尾伪位 魏伪喂 蟿喂蟼 伪位位伪纬苇蟼 蟺慰蠀 蟺蟻慰魏伪位蔚委 慰 蔚纬魏位蔚喂蟽渭蠈蟼 蟿慰蠀 蟽蟿慰 蟽蠋渭伪 魏伪喂 蟿畏谓 蠄蠀蠂慰蟽蠉谓胃蔚蟽萎 蟿慰蠀.
韦慰 尾喂尾位委慰 蔚委谓伪喂 伪蟻魏蔚蟿维 蟽蠉谓蟿慰渭慰 魏伪喂 畏 喂蟽蟿慰蟻委伪 蟿慰蠀 伪蟺位萎 - 蔚委谓伪喂 苇谓伪 蠅蟻伪委慰 尾喂尾位委慰 蠈蠂喂 纬喂伪蟿委 位苇蔚喂 渭喂伪 喂蟽蟿慰蟻委伪 蟺慰位蠉 未喂伪蠁慰蟻蔚蟿喂魏萎 伪蟺蠈 维位位蔚蟼 渭蔚 蟿慰 委未喂慰 胃苇渭伪, 伪位位维 - 魏伪蟿维 蟿畏 纬谓蠋渭畏 渭慰蠀 - 位蠈纬蠅 蟿慰蠀 伪蠁畏纬畏渭伪蟿喂魏慰蠉 蟽蟿喂位 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪, 蟿慰 慰蟺慰委慰 尾蟻萎魏伪 蟿慰蠀位维蠂喂蟽蟿慰谓 蔚谓未喂伪蠁苇蟻慰谓. 螒谓 魏伪喂 未蔚谓 苇蠂蠅 未喂伪尾维蟽蔚喂 维位位伪 苇蟻纬伪 蟿慰蠀 螉渭蟻蔚 螝苇蟻蟿蔚蟼, 蟽魏慰蟺蔚蠉蠅 谓伪 蟿伪 伪谓伪味畏蟿萎蟽蠅 魏伪喂 蟽蔚 魏维胃蔚 蟺蔚蟻委蟺蟿蠅蟽畏 谓慰渭委味蠅 蠈蟿喂 伪蠀蟿蠈 未蔚谓 萎蟿伪谓 苇谓伪 蠂伪渭苇谓慰 螡蠈渭蟺蔚位 (蠈蟺蠅蟼 魏维蟿喂 维位位伪).
韦慰 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠈 蟽蟿慰 慰蟺慰委慰 伪谓伪蠁苇蟻慰渭伪喂 蔚委谓伪喂 蠈蟿喂 蟺伪蟻维 蟿慰 胃苇渭伪 蟿慰蠀, 蟿慰 慰蟺慰委慰 蟺维谓蟿伪 蠁苇蟻蔚喂 苇谓蟿慰谓慰 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠈 蠁慰蟻蟿委慰, 畏 伪蠁萎纬畏蟽畏 苇蠂蔚喂 渭喂伪 伪蟺慰蟽蟿伪蟽喂慰蟺慰委畏蟽畏, 慰 萎蟻蠅伪蟼 蟺伪蟻伪蟿畏蟻蔚委 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 魏伪喂 尾喂蠋谓蔚喂 位喂纬蠈蟿蔚蟻慰 (尾伪胃渭喂伪委伪 伪蠀蟿蠈 伪位位维味蔚喂, 伪位位维 未蔚谓 蠂维谓蔚蟿伪喂 蟺慰蟿苇 蟿蔚位蔚委蠅蟼 畏 蠄蠀蠂蟻萎 蟺蟻慰蟽苇纬纬喂蟽畏 蟺慰蠀 蠁伪委谓蔚蟿伪喂 谓伪 苇蠂蔚喂 慰 萎蟻蠅伪蟼 蟺蟻慰蟼 蠈位伪 蠈蟽伪 蟿慰蠀 蟽蠀渭尾伪委谓慰蠀谓). 螒蠀蟿蠈 蟿慰 蟽蟿慰喂蠂蔚委慰 蟽蔚 蟽蠀谓未蠀伪蟽渭蠈 渭蔚 蟿畏谓 蟺蟻蠅蟿慰蟺蟻慰蟽蠅蟺畏 伪蠁萎纬畏蟽畏 (蟺慰蠀 伪谓蟿喂未喂伪蟽蟿蔚位位蔚喂 蟿畏谓 伪蟺慰蟽蟿伪蟽喂慰蟺慰委畏蟽畏 渭蔚 蟿畏谓 尾喂蠅渭伪蟿喂魏慰蟿畏蟿伪 魏伪喂 蟿慰 蟺蟻慰蟽蠅蟺喂魏蠈 蟽蟿慰喂蠂蔚委慰) 魏维谓蔚喂 苇谓伪 蟺慰位蠉 蠅蟻伪委慰 魏慰魏蟿苇喂位 伪蠁萎纬畏蟽畏蟼 魏伪喂 蟺蟻慰魏伪位蔚委 蟿畏 蟽蠀纬魏委谓畏蟽畏 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 (蟽蟿慰 尾伪胃渭蠈 蟺慰蠀 伪蠀蟿蠈 蟽蠀渭尾伪委谓蔚喂) 蠁蠀蟽喂魏维, 蠂蠅蟻委蟼 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏慰蠉蟼 蔚魏尾喂伪蟽渭慰蠉蟼 魏伪喂 蟺慰位位苇蟼 蠁伪谓蠁维蟻蔚蟼. 惟蟻伪委慰 尾喂尾位委慰, 蟺蟻维纬渭伪蟿喂.
螒蠀蟿蠈 蔚委谓伪喂 苇谓伪 (伪魏蠈渭伪) 尾喂尾位委慰 纬喂伪 蟿慰 螣位慰魏伪蠉蟿蠅渭伪 魏伪喂 蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼, 苇谓伪 胃苇渭伪 蟺慰蠀 蠈蟽慰 魏喂 伪谓 蠂蟻畏蟽喂渭慰蟺慰喂蔚委蟿伪喂 蟽蟿畏 位慰纬慰蟿蔚蠂谓委伪 蠁伪委谓蔚蟿伪喂 蠈蟿喂 未蔚谓 渭蟺慰蟻蔚委 谓伪 魏慰蟻蔚蟽蟿蔚委, 委蟽蠅蟼 纬喂伪蟿委 未蔚谓 蟿慰 苇蠂慰蠀渭蔚 伪魏蠈渭伪 尉慰蟻魏委蟽蔚喂. 螉蟽蠅蟼 蟺慰蟿苇 谓伪 渭畏谓 蟿慰 尉慰蟻魏委蟽慰蠀渭蔚, 蔚委谓伪喂 蟺喂胃伪谓蠈谓 蠈蟿喂 蟿慰 蠁维蟽渭伪 蟿慰蠀 胃伪 伪喂蠅蟻蔚委蟿伪喂 纬喂伪 蟺慰位蠉 魏伪喂蟻蠈 伪魏蠈渭伪 伪蟺蠈 蟺维谓蠅 渭伪蟼, 蠈蟿喂 胃伪 蟿慰 尾蟻委蟽魏慰蠀渭蔚 蟽蠀谓苇蠂蔚喂伪 渭蟺蟻慰蟽蟿维 渭伪蟼 蟽伪 蟽魏慰蟿蔚喂谓萎 魏畏位委未伪 蟽蟿慰 蠂伪位委 - 蠈蟽慰 魏喂 伪谓 蟿畏谓 蟿蟻委尾慰蠀渭蔚, 蟿慰 蠂伪位委 苇蠂蔚喂 蟺慰蟿委蟽蔚喂 魏伪喂 畏 魏畏位委未伪 未蔚 蠁蔚蠉纬蔚喂.
螣 螝苇蟻蟿蔚蟼 未喂畏纬蔚委蟿伪喂 蟿畏谓 喂蟽蟿慰蟻委伪 蔚谓蠈蟼 螣蠉纬纬蟻慰蠀 螘尾蟻伪委慰蠀 蔚蠁萎尾慰蠀 蟺慰蠀 蟽蠀位位伪渭尾维谓蔚蟿伪喂 魏伪喂 慰未畏纬蔚委蟿伪喂 蟽蔚 蟽蟿蟻伪蟿蠈蟺蔚未慰 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 魏伪喂 蠈位伪 蟿伪 蟽蟿维未喂伪 伪蟺蠈 蟿伪 慰蟺慰委伪 蟺蔚蟻谓维蔚喂 蟿慰谓 魏伪喂蟻蠈 蟿畏蟼 伪喂蠂渭伪位蠅蟽委伪蟼 蟿慰蠀: 蟿畏谓 蟺蔚蟻喂苇蟻纬蔚喂伪, 蟿畏谓 蟺蔚委谓伪, 蟿畏谓 蔚尉维谓蟿位畏蟽畏, 蟿慰 胃蠀渭蠈, 蟿畏谓 蟺伪蟻伪委蟿畏蟽畏, 蟿畏谓 伪蟺维胃蔚喂伪. 螒魏慰位慰蠀胃慰蠉渭蔚 蟿畏谓 蟺慰蟻蔚委伪 蟿慰蠀 伪蟺蠈 蟿慰 螁慰蠀蟽尾喂蟿蟼 蟽蟿慰 螠蟺慰蠀蠂蔚谓尾伪位 魏伪喂 蟿喂蟼 伪位位伪纬苇蟼 蟺慰蠀 蟺蟻慰魏伪位蔚委 慰 蔚纬魏位蔚喂蟽渭蠈蟼 蟿慰蠀 蟽蟿慰 蟽蠋渭伪 魏伪喂 蟿畏谓 蠄蠀蠂慰蟽蠉谓胃蔚蟽萎 蟿慰蠀.
韦慰 尾喂尾位委慰 蔚委谓伪喂 伪蟻魏蔚蟿维 蟽蠉谓蟿慰渭慰 魏伪喂 畏 喂蟽蟿慰蟻委伪 蟿慰蠀 伪蟺位萎 - 蔚委谓伪喂 苇谓伪 蠅蟻伪委慰 尾喂尾位委慰 蠈蠂喂 纬喂伪蟿委 位苇蔚喂 渭喂伪 喂蟽蟿慰蟻委伪 蟺慰位蠉 未喂伪蠁慰蟻蔚蟿喂魏萎 伪蟺蠈 维位位蔚蟼 渭蔚 蟿慰 委未喂慰 胃苇渭伪, 伪位位维 - 魏伪蟿维 蟿畏 纬谓蠋渭畏 渭慰蠀 - 位蠈纬蠅 蟿慰蠀 伪蠁畏纬畏渭伪蟿喂魏慰蠉 蟽蟿喂位 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪, 蟿慰 慰蟺慰委慰 尾蟻萎魏伪 蟿慰蠀位维蠂喂蟽蟿慰谓 蔚谓未喂伪蠁苇蟻慰谓. 螒谓 魏伪喂 未蔚谓 苇蠂蠅 未喂伪尾维蟽蔚喂 维位位伪 苇蟻纬伪 蟿慰蠀 螉渭蟻蔚 螝苇蟻蟿蔚蟼, 蟽魏慰蟺蔚蠉蠅 谓伪 蟿伪 伪谓伪味畏蟿萎蟽蠅 魏伪喂 蟽蔚 魏维胃蔚 蟺蔚蟻委蟺蟿蠅蟽畏 谓慰渭委味蠅 蠈蟿喂 伪蠀蟿蠈 未蔚谓 萎蟿伪谓 苇谓伪 蠂伪渭苇谓慰 螡蠈渭蟺蔚位 (蠈蟺蠅蟼 魏维蟿喂 维位位伪).
韦慰 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠈 蟽蟿慰 慰蟺慰委慰 伪谓伪蠁苇蟻慰渭伪喂 蔚委谓伪喂 蠈蟿喂 蟺伪蟻维 蟿慰 胃苇渭伪 蟿慰蠀, 蟿慰 慰蟺慰委慰 蟺维谓蟿伪 蠁苇蟻蔚喂 苇谓蟿慰谓慰 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠈 蠁慰蟻蟿委慰, 畏 伪蠁萎纬畏蟽畏 苇蠂蔚喂 渭喂伪 伪蟺慰蟽蟿伪蟽喂慰蟺慰委畏蟽畏, 慰 萎蟻蠅伪蟼 蟺伪蟻伪蟿畏蟻蔚委 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 魏伪喂 尾喂蠋谓蔚喂 位喂纬蠈蟿蔚蟻慰 (尾伪胃渭喂伪委伪 伪蠀蟿蠈 伪位位维味蔚喂, 伪位位维 未蔚谓 蠂维谓蔚蟿伪喂 蟺慰蟿苇 蟿蔚位蔚委蠅蟼 畏 蠄蠀蠂蟻萎 蟺蟻慰蟽苇纬纬喂蟽畏 蟺慰蠀 蠁伪委谓蔚蟿伪喂 谓伪 苇蠂蔚喂 慰 萎蟻蠅伪蟼 蟺蟻慰蟼 蠈位伪 蠈蟽伪 蟿慰蠀 蟽蠀渭尾伪委谓慰蠀谓). 螒蠀蟿蠈 蟿慰 蟽蟿慰喂蠂蔚委慰 蟽蔚 蟽蠀谓未蠀伪蟽渭蠈 渭蔚 蟿畏谓 蟺蟻蠅蟿慰蟺蟻慰蟽蠅蟺畏 伪蠁萎纬畏蟽畏 (蟺慰蠀 伪谓蟿喂未喂伪蟽蟿蔚位位蔚喂 蟿畏谓 伪蟺慰蟽蟿伪蟽喂慰蟺慰委畏蟽畏 渭蔚 蟿畏谓 尾喂蠅渭伪蟿喂魏慰蟿畏蟿伪 魏伪喂 蟿慰 蟺蟻慰蟽蠅蟺喂魏蠈 蟽蟿慰喂蠂蔚委慰) 魏维谓蔚喂 苇谓伪 蟺慰位蠉 蠅蟻伪委慰 魏慰魏蟿苇喂位 伪蠁萎纬畏蟽畏蟼 魏伪喂 蟺蟻慰魏伪位蔚委 蟿畏 蟽蠀纬魏委谓畏蟽畏 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 (蟽蟿慰 尾伪胃渭蠈 蟺慰蠀 伪蠀蟿蠈 蟽蠀渭尾伪委谓蔚喂) 蠁蠀蟽喂魏维, 蠂蠅蟻委蟼 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏慰蠉蟼 蔚魏尾喂伪蟽渭慰蠉蟼 魏伪喂 蟺慰位位苇蟼 蠁伪谓蠁维蟻蔚蟼. 惟蟻伪委慰 尾喂尾位委慰, 蟺蟻维纬渭伪蟿喂.
April 22, 2016
RIP Imre Kert茅sz (1929 - 2016)
Imre Kert茅sz (1929 - 2016) - em Auschwitz (com apenas quinze anos de idade) e na actualidade
Imre Kert茅sz 茅 um escritor h煤ngaro, nascido a 9 de Novembro de 1929, em Budapeste, de religi茫o judaica, sobrevivente ao holocausto nazi durante a Segunda Guerra Mundial, deportado com 14 anos de idade, juntamente com milhares de judeus h煤ngaros, para o campo de concentra莽茫o de Auschwitz e mais tarde transferido para Buchenwald.
Em 2002 Imre Kert茅sz 茅 galardoado com o Pr茅mio Nobel da Literatura 鈥漰or uma obra que fala da experi锚ncia fr谩gil do indiv铆duo contra a arbitrariedade b谩rbara da hist贸ria鈥�.
鈥漇em Destino鈥�, o primeiro romance de Imre Kert茅sz (n. 1929), foi publicado em 1975, 茅 a sua obra mais conhecida e emblem谩tica, que descreve a experi锚ncia de um rapaz h煤ngaro de quinze anos, K枚ves Gy枚rgy, nos campos de concentra莽茫o de Auschwitz, Buchenwald e Zeitz; um livro interpretado por alguns cr铆ticos liter谩rios como 鈥渜uase-autobiogr谩fico鈥�, facto que o escritor desmente.
O narrador de 鈥漇em Destino鈥� 茅 o jovem K枚ves Gy枚rgy, com catorze anos de idade, filho de uma fam铆lia judaica, de pais separados, e que vive com o seu pai e a sua madrasta em Budapeste, na Hungria, que nos relata o seguinte:鈥滺oje, n茫o fui 脿 escola. Isto 茅, fui, mas s贸 para pedir ao director de turma que me deixasse voltar para casa. Entreguei-lhe a carta do meu pai, na qual solicitava a minha dispensa, alegando 鈥渞az玫es familiares鈥�. Perguntou que raz玫es familiares eram essas. Disse-lhe que o meu pai tinha sido convocado para um campo de trabalho; e n茫o levantou mais dificuldades.鈥�.
Um almo莽o de fam铆lia, uma refei莽茫o de despedida鈥�
脡 com esta ruptura familiar que Gy枚rgy come莽a a enfrentar novos e surpreendentes desafios: 鈥濃€� os anos despreocupados e felizes da inf芒ncia鈥︹€� acabavam; que ele seria para a sua madrasta 鈥濃€� a sua principal ajuda鈥︹€� e que 鈥濃€� iria conhecer antes de tempo 鈥渙 que s茫o as preocupa莽玫es e os sacrif铆cios鈥�.鈥�; assumindo de uma forma compreensiva os 鈥濃€� sentimentos profundos e acentuada consci锚ncia das responsabilidades鈥�. (P谩g. 18)
Passados dois meses K枚ves Gy枚rgy 茅 convocado para come莽ar a trabalhar, como 鈥渏ovem aprendiz auxiliar鈥�, dando serventia a pedreiros nas Refinarias de Petr贸leo Shell em Csepel, nos arredores de Budapeste.
Um dia algo de estranho acontece. Um pol铆cia manda parar o autocarro em que seguiam para o trabalho: 鈥滲om, pensei, de certeza querem controlar os pap茅is鈥︹€�. (P谩g. 32)
Gy枚rgy foi obrigado a entrar num comb贸io, o destino era desconhecido, e decorridos v谩rios dias de viagem, em condi莽玫es desumanas, chegam a um lugar: 鈥滾谩 fora, a fresca aurora cheirava bem, espraiavam-se brumas cinzentas sobre a extens茫o dos campos, e, de repente, vindo do fundo, como um toque de clarim, um raio fino e vermelho cortou o ar e compreendi que estava a assistir ao nascer do Sol鈥� Distinguia, mesmo, duas palavras, n铆tidas na luz matinal, na parte superior do lado mais estreito do edif铆cio, contr谩rio 脿 direc莽茫o do nosso comb贸io: 鈥淎uschwitz 鈥� Birkenau鈥濃€� 鈥� (P谩g. 56)
K枚ves Gy枚rgy luta para viver e sobreviver, um adolescente c芒ndido e submisso, adepto da ordem e das regras, extremamente educado, aceita sem questionar, chegando at茅 a admirar as 鈥渆strelas amarelas鈥�, s铆mbolo m谩ximo do despotismo nazi, aguentando estoicamente a tirania e os maus tratos, isentando os carrascos de responsabilidades, racionalizando o seu comportamento, quase como que estando em nega莽茫o dos factos e da realidade, observando de uma forma minuciosa todos os detalhes, resistindo a doen莽as e ferimentos infectados, num estado f铆sico e emocional deplor谩vel, por vezes 脿 beira da morte; numa viv锚ncia onde a sorte e a amizade s茫o essenciais e determinantes, numa luta di谩ria e permanente, onde est谩 sempre presente a nostalgia e a saudade.
鈥漇em Destino鈥� de Imre Kert茅sz 茅 um romance de leitura obrigat贸ria sobre um dos per铆odos mais negros e conturbados da Hist贸ria Europeia e Mundial, a persegui莽茫o e assassinato de cerca de seis milh玫es de judeus durante a Segunda Guerra Mundial, um exterm铆nio 茅tnico perpetrado pela Alemanha Nazi, sob a lideran莽a de Adolf Hitler, numa abordagem original, a de um jovem com apenas quinze anos, K枚ves Gy枚rgy, que viveu e sobreviveu ao holocausto nazi, percorrendo tr锚s campo de concentra莽茫o Auschwitz, Buchenwald e Zeitz.
鈥滽枚ves mostra-nos a vis茫o de uma crian莽a sobre os acontecimentos, sem os compreender bem, sem os achar anormais ou revoltantes", sublinha a Academia sueca. "A faculdade de adapta莽茫o do prisioneiro em Auschwitz 茅 uma express茫o de um conformismo id锚ntico ao que domina o nosso quotidiano e a nossa vida social鈥�, acrescenta o j煤ri do Nobel.
A Academia Sueca real莽a que: "A obra de Imre Kert茅sz examina se a possibilidade da vida e do pensamento individuais ainda existem numa 茅poca onde os homens est茫o quase totalmente dominados pelo poder pol铆tico".
J谩 assinalei para uma futura leitura o livro 鈥滱 Recusa鈥�, o segundo volume protagonizado por K枚ves Gy枚rgy, que faz parte da trilogia escrita por Imre Kert茅sz.
"E, mau grado a reflex茫o, a raz茫o, o discernimento, o bom senso, eu n茫o podia desconhecer a voz de uma esp茅cie de desejo surdo, que se tinha insinuado em mim, como envergonhada de ser insensata, e, todavia, cada vez mais obstinada; eu gostaria de viver um pouco mais neste belo campo de concentra莽茫o." (P谩g. 133)
"E s贸 ent茫o compreendi que o amor-pr贸prio 茅 um sentimento que, manifestamente, nos acompanha at茅 aos 煤ltimos instantes, porquanto, ainda que eu me importunasse com esta incerteza, n茫o dirigi sequer uma pergunta, nem ora莽茫o, nem uma s贸 palavra, n茫o lancei o menor olhar para tr谩s ou sobre os que puxavam." (P谩g. 132)
"Eu e a Annam谩ria r铆amos muito.
Com esta, ali谩s, dei comigo numa situa莽茫o meio esquisita. Tudo aconteceu na noite de sexta-feira, durante o 煤ltimo alerta de ataque a茅reo, no abrigo, mais precisamente, numa das passagens subterr芒neas abandonadas e obscuras, que ali desaguam. Eu s贸 lhe queria mostrar que 茅 muito mais interessante seguir daquele s铆tio o que se passa l谩 fora. Mas quando, passado um minuto, se ouviu uma bomba explodir n茫o muito longe dali, todo o corpo dela come莽ou a tremer. Eu senti-o bem, pois, com o susto ela agarrou-se a mim: os bra莽os 脿 volta do meu pesco莽o, o rosto contra o meu ombro. Depois, s贸 me lembro de ter procurado a sua boca. Senti algo como um toque morno e h煤mido e um tudo nada pegajoso. Bom, e uma esp茅cie de sereno maravilhamento, porque aquele era o meu primeiro beijo a uma rapariga, e tamb茅m porque n茫o estava nada 脿 espera.
Ontem, no v茫o de uma escada, esclareceu que tamb茅m ela ficou muito surpreendida 鈥� Foi tudo por causa da bomba 鈥� considerou. No fundo, tinha raz茫o. Depois, volt谩mos a beijar-nos, e eu aprendi com ela como se pode tornar a experi锚ncia inesquec铆vel, como as nossas l铆nguas podem ter tamb茅m um certo papel." (P谩g. 26 - 27)
Imre Kert茅sz (1929 - 2016) - em Auschwitz (com apenas quinze anos de idade) e na actualidade
Imre Kert茅sz 茅 um escritor h煤ngaro, nascido a 9 de Novembro de 1929, em Budapeste, de religi茫o judaica, sobrevivente ao holocausto nazi durante a Segunda Guerra Mundial, deportado com 14 anos de idade, juntamente com milhares de judeus h煤ngaros, para o campo de concentra莽茫o de Auschwitz e mais tarde transferido para Buchenwald.
Em 2002 Imre Kert茅sz 茅 galardoado com o Pr茅mio Nobel da Literatura 鈥漰or uma obra que fala da experi锚ncia fr谩gil do indiv铆duo contra a arbitrariedade b谩rbara da hist贸ria鈥�.
鈥漇em Destino鈥�, o primeiro romance de Imre Kert茅sz (n. 1929), foi publicado em 1975, 茅 a sua obra mais conhecida e emblem谩tica, que descreve a experi锚ncia de um rapaz h煤ngaro de quinze anos, K枚ves Gy枚rgy, nos campos de concentra莽茫o de Auschwitz, Buchenwald e Zeitz; um livro interpretado por alguns cr铆ticos liter谩rios como 鈥渜uase-autobiogr谩fico鈥�, facto que o escritor desmente.
O narrador de 鈥漇em Destino鈥� 茅 o jovem K枚ves Gy枚rgy, com catorze anos de idade, filho de uma fam铆lia judaica, de pais separados, e que vive com o seu pai e a sua madrasta em Budapeste, na Hungria, que nos relata o seguinte:鈥滺oje, n茫o fui 脿 escola. Isto 茅, fui, mas s贸 para pedir ao director de turma que me deixasse voltar para casa. Entreguei-lhe a carta do meu pai, na qual solicitava a minha dispensa, alegando 鈥渞az玫es familiares鈥�. Perguntou que raz玫es familiares eram essas. Disse-lhe que o meu pai tinha sido convocado para um campo de trabalho; e n茫o levantou mais dificuldades.鈥�.
Um almo莽o de fam铆lia, uma refei莽茫o de despedida鈥�
脡 com esta ruptura familiar que Gy枚rgy come莽a a enfrentar novos e surpreendentes desafios: 鈥濃€� os anos despreocupados e felizes da inf芒ncia鈥︹€� acabavam; que ele seria para a sua madrasta 鈥濃€� a sua principal ajuda鈥︹€� e que 鈥濃€� iria conhecer antes de tempo 鈥渙 que s茫o as preocupa莽玫es e os sacrif铆cios鈥�.鈥�; assumindo de uma forma compreensiva os 鈥濃€� sentimentos profundos e acentuada consci锚ncia das responsabilidades鈥�. (P谩g. 18)
Passados dois meses K枚ves Gy枚rgy 茅 convocado para come莽ar a trabalhar, como 鈥渏ovem aprendiz auxiliar鈥�, dando serventia a pedreiros nas Refinarias de Petr贸leo Shell em Csepel, nos arredores de Budapeste.
Um dia algo de estranho acontece. Um pol铆cia manda parar o autocarro em que seguiam para o trabalho: 鈥滲om, pensei, de certeza querem controlar os pap茅is鈥︹€�. (P谩g. 32)
Gy枚rgy foi obrigado a entrar num comb贸io, o destino era desconhecido, e decorridos v谩rios dias de viagem, em condi莽玫es desumanas, chegam a um lugar: 鈥滾谩 fora, a fresca aurora cheirava bem, espraiavam-se brumas cinzentas sobre a extens茫o dos campos, e, de repente, vindo do fundo, como um toque de clarim, um raio fino e vermelho cortou o ar e compreendi que estava a assistir ao nascer do Sol鈥� Distinguia, mesmo, duas palavras, n铆tidas na luz matinal, na parte superior do lado mais estreito do edif铆cio, contr谩rio 脿 direc莽茫o do nosso comb贸io: 鈥淎uschwitz 鈥� Birkenau鈥濃€� 鈥� (P谩g. 56)
K枚ves Gy枚rgy luta para viver e sobreviver, um adolescente c芒ndido e submisso, adepto da ordem e das regras, extremamente educado, aceita sem questionar, chegando at茅 a admirar as 鈥渆strelas amarelas鈥�, s铆mbolo m谩ximo do despotismo nazi, aguentando estoicamente a tirania e os maus tratos, isentando os carrascos de responsabilidades, racionalizando o seu comportamento, quase como que estando em nega莽茫o dos factos e da realidade, observando de uma forma minuciosa todos os detalhes, resistindo a doen莽as e ferimentos infectados, num estado f铆sico e emocional deplor谩vel, por vezes 脿 beira da morte; numa viv锚ncia onde a sorte e a amizade s茫o essenciais e determinantes, numa luta di谩ria e permanente, onde est谩 sempre presente a nostalgia e a saudade.
鈥漇em Destino鈥� de Imre Kert茅sz 茅 um romance de leitura obrigat贸ria sobre um dos per铆odos mais negros e conturbados da Hist贸ria Europeia e Mundial, a persegui莽茫o e assassinato de cerca de seis milh玫es de judeus durante a Segunda Guerra Mundial, um exterm铆nio 茅tnico perpetrado pela Alemanha Nazi, sob a lideran莽a de Adolf Hitler, numa abordagem original, a de um jovem com apenas quinze anos, K枚ves Gy枚rgy, que viveu e sobreviveu ao holocausto nazi, percorrendo tr锚s campo de concentra莽茫o Auschwitz, Buchenwald e Zeitz.
鈥滽枚ves mostra-nos a vis茫o de uma crian莽a sobre os acontecimentos, sem os compreender bem, sem os achar anormais ou revoltantes", sublinha a Academia sueca. "A faculdade de adapta莽茫o do prisioneiro em Auschwitz 茅 uma express茫o de um conformismo id锚ntico ao que domina o nosso quotidiano e a nossa vida social鈥�, acrescenta o j煤ri do Nobel.
A Academia Sueca real莽a que: "A obra de Imre Kert茅sz examina se a possibilidade da vida e do pensamento individuais ainda existem numa 茅poca onde os homens est茫o quase totalmente dominados pelo poder pol铆tico".
J谩 assinalei para uma futura leitura o livro 鈥滱 Recusa鈥�, o segundo volume protagonizado por K枚ves Gy枚rgy, que faz parte da trilogia escrita por Imre Kert茅sz.
"E, mau grado a reflex茫o, a raz茫o, o discernimento, o bom senso, eu n茫o podia desconhecer a voz de uma esp茅cie de desejo surdo, que se tinha insinuado em mim, como envergonhada de ser insensata, e, todavia, cada vez mais obstinada; eu gostaria de viver um pouco mais neste belo campo de concentra莽茫o." (P谩g. 133)
"E s贸 ent茫o compreendi que o amor-pr贸prio 茅 um sentimento que, manifestamente, nos acompanha at茅 aos 煤ltimos instantes, porquanto, ainda que eu me importunasse com esta incerteza, n茫o dirigi sequer uma pergunta, nem ora莽茫o, nem uma s贸 palavra, n茫o lancei o menor olhar para tr谩s ou sobre os que puxavam." (P谩g. 132)
"Eu e a Annam谩ria r铆amos muito.
Com esta, ali谩s, dei comigo numa situa莽茫o meio esquisita. Tudo aconteceu na noite de sexta-feira, durante o 煤ltimo alerta de ataque a茅reo, no abrigo, mais precisamente, numa das passagens subterr芒neas abandonadas e obscuras, que ali desaguam. Eu s贸 lhe queria mostrar que 茅 muito mais interessante seguir daquele s铆tio o que se passa l谩 fora. Mas quando, passado um minuto, se ouviu uma bomba explodir n茫o muito longe dali, todo o corpo dela come莽ou a tremer. Eu senti-o bem, pois, com o susto ela agarrou-se a mim: os bra莽os 脿 volta do meu pesco莽o, o rosto contra o meu ombro. Depois, s贸 me lembro de ter procurado a sua boca. Senti algo como um toque morno e h煤mido e um tudo nada pegajoso. Bom, e uma esp茅cie de sereno maravilhamento, porque aquele era o meu primeiro beijo a uma rapariga, e tamb茅m porque n茫o estava nada 脿 espera.
Ontem, no v茫o de uma escada, esclareceu que tamb茅m ela ficou muito surpreendida 鈥� Foi tudo por causa da bomba 鈥� considerou. No fundo, tinha raz茫o. Depois, volt谩mos a beijar-nos, e eu aprendi com ela como se pode tornar a experi锚ncia inesquec铆vel, como as nossas l铆nguas podem ter tamb茅m um certo papel." (P谩g. 26 - 27)
December 17, 2015
This is when I found out that you could be bored even in Auschwitz - provided you were choosy. We waited and we waited, and as I come to think of it, we waited for nothing to happen. This boredom, combined with this strange waiting, was, I think, approximately what Auschwitz meant to me, but of course I am only speaking for myself.As he said, he's only speaking for himself. Here, I am speaking for myself, as is the case for any and all fiction, and even some of the non. What I speak involves my understanding, not my knowledge, my general aversion to gnosticism grown to unpronounceable proportions. Such as it should be with regards to the Shoah, yes? First the horror, then the silence.
Despite that, let's talk. If Kert茅sz is willing, how are we to forbear?
With a cracking voice, she desperately shouted something to the effect that if our distinctiveness was unimportant, than all this was mere chance, and that if there was the possibility of her being someone other than whom she was fated to be, then all of this was utterly without reason, and to her that idea was totally "unbearable."If you are punished, and have committed a crime, you are guilty. If you are punished, and have committed [...], ranging from birth to creed to whatever the reason one condemns another wholesale and complete, each on either side simply one of a many millions, you are innocent. A horror, the horror, your horror, or so they say. They, the bystanders, millions compounded and compounded again muttering in the stands, still capable of wanting, needing, crafting a story. They need their catharsis, especially the diffuse of responsibilities and unwitting (maybe? perhaps? they claim victimhood as well and don't want to think about it) accomplices. You will provide.
You? You lived. That length of time of your life, that skein of events and your reactions to such, the ideas and emotions filling in ever faster as all those gift baskets of audience prescribed sensibilities of disbelief, rage, terror, tears, fall by the wayside. You, a human being, lived, and made full use of your human capacity for feeling. Happiness, annoyance, puzzlement. The finding of beauty in a concentration camp.
All of this, as I said, I noticed, but not in the same way as later, when I started to fit the pieces together and could sum up and recall the events step by step. I had become used to every new step gradually, and this hadn't given me the detachment I needed to actually notice what was happening.Was there a story in there somewhere, one a little more entertaining than the fact you managed to live to this day, and all the turns and twists and often boring banalities involved in such a happenstance? That would imply a reason behind it all, when everyone knows the capriciousness of life. Far deeper down than I would have thought, this knowledge, considering how they keep insisting on the climax, the tragedy, the entertainment. And this is only one genocide out of many, only one part of one genocide if one thinks only of the six million. What of the rest of the voices? Do they not fit within the parameters of what deserves to be heard? If those who still live on refuse the title of "victim", contemplate the multifarious of their experiences within the full range of feeling and thought, grasp their memories of such a time of their life as anyone else would, are they worth the time?
Then, that day I also experienced that very same tenseness, that same itchy feeling and clumsiness that came over me when I was with them, that I had occasionally felt at home: as if I weren't entirely okay, as if I didn't entirely conform to the ideal; in other words, somehow as if I were Jewish. That was a rather strange feeling, because, after all, I was among Jews and in a concentration camp.He speaks of his lack of faith while the blood bound heritage of it couples him to a baffled mind and moldering body.
Only slowly, and not without some humorous puzzlement and wonder, did the idea dawn on me: this situation, this state of imprisonment, had to be what was causing his agony. I was almost tempted to say to him: "Don't be sad. After all, it's not important." But I was afraid to be so bold, and then I also remembered that I didn't know any French.He puzzles at the monotone view of his day to day life by others, one restricted to pity, pity, pity. As if his effort to see the worth in living had time for that, when there were so many other things to think upon.
But who can judge what is possible or believable in a concentration camp? Who could explore, exhaust all those countless ideas, inventions, games, jokes, and ponderable theories, which are easily accessible and transferable from a make-believe world of fantasy into a concentration-camp reality? You couldn't, even if you mustered the totality of your knowledge.The horror, the horror, the horror. What else?
October 29, 2021
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趩乇丕 賳賲蹖鈥屫堌з囐嗀� 亘倬匕蹖乇賳丿 讴賴 丕诏乇 趩蹖夭蹖 亘賴 賳丕賲 爻乇賳賵卮鬲 賵噩賵丿 丿丕卮鬲賴 亘丕卮丿貙 丿蹖诏乇 噩丕蹖蹖 亘乇丕蹖 丌夭丕丿蹖 賳賲蹖鈥屬呚з嗀� 丿乇 丨丕賱蹖鈥屭┵� 丿蹖诏乇 禺賵丿賲 賴賲 丕夭 丕蹖賳 賴賲賴 賴蹖噩丕賳 丨蹖乇鬲 讴乇丿賴 亘賵丿賲貙 丿丕丿 夭丿賲: 丕夭 胤乇賮蹖 丕诏乇 趩蹖夭蹖 亘賴 丕爻賲 丌夭丕丿蹖 賵噩賵丿 丿丕卮鬲賴 亘丕卮丿貙 倬爻 丿蹖诏乇 爻乇賳賵卮鬲蹖 亘丕賯蹖 賳賲蹖鈥屬呚з嗀�. 蹖毓賳蹖... 丿乇 丕蹖賳 賱丨馗賴 賲讴孬蹖 讴乇丿賲貙 丕賲丕 丿乇 賴賲丕賳 丨丿 讴賴 賮賯胤 賳賮爻蹖 鬲丕夭賴 讴賳賲 _ 蹖毓賳蹖 丕蹖賳鈥屭┵� 丿乇 丕蹖賳 氐賵乇鬲 賲丕 禺賵丿賲丕賳 爻乇賳賵卮鬲 禺賵丿賲丕賳 賴爻鬲蹖賲.
馃摑
丕蹖賲乇賴 讴乇鬲蹖爻 亘乇丕蹖 丕蹖賳 讴鬲丕亘 讴賴 賳賵卮鬲賳卮 爻蹖夭丿賴 爻丕賱 胤賵賱 讴卮蹖丿貙 亘乇賳丿賴鈥屰� 噩丕蹖夭賴鈥屰� 賳賵亘賱 爻丕賱 鄄郯郯鄄 卮丿. 丕蹖賳 讴鬲丕亘 蹖讴蹖 丕夭 賲賴賲鈥屫臂屬� 丌孬丕乇 丕丿亘蹖 噩賴丕賳 亘丕 丿乇賵賳鈥屬呚й屬団€屰� 賴賵賱賵讴丕爻鬲 丕爻鬲.
丿丕爻鬲丕賳 讴鬲丕亘 丿乇 賲賵乇丿 賳賵噩賵丕賳蹖 丕爻鬲 讴賴 亘賴 丕噩亘丕乇 禺丕賳賵丕丿賴鈥屫ж� 乇丕 鬲乇讴 賲蹖鈥屭┵嗀� 賵 亘賴 丕乇丿賵诏丕賴鈥屬囏й� 讴丕乇 丕噩亘丕乇蹖 賮乇爻鬲丕丿賴 賲蹖
卮賵丿. 禺賵丿 賳賵蹖爻賳丿賴 賴賲 丿乇 賳賵噩賵丕賳蹖 鬲噩乇亘賴鈥屫й� 睾賲鈥屫з嗂屫� 丕夭 丕蹖賳 丿賵乇丕賳 乇丕 丿丕卮鬲賴 丕爻鬲.
亘賴 賳馗乇賲 賳賯胤賴鈥屰� 賯賵鬲 讴鬲丕亘 亘蹖丕賳 乇賵卮賳 賵 卮賮丕賮 丨賯丕蹖賯 賵 丕丨爻丕爻丕鬲蹖 丕爻鬲 讴賴 蹖讴 賳賵噩賵丕賳 丕夭 丌賳趩賴 丿蹖丿賴 賵 丿乇讴 讴乇丿賴 亘丕夭诏賵 賲蹖鈥屭┵嗀�. 丿乇 丌禺乇 丕夭 丕乇丿賵诏丕賴 賳噩丕鬲 倬蹖丿丕 賲蹖鈥屭┵嗀� 賵賱蹖 趩賴 丌蹖賳丿賴鈥屫й� 丿乇 丕賳鬲馗丕乇 丕賵爻鬲責 趩诏賵賳賴 賲蹖鈥屫堌з嗀� 亘丕 诏匕卮鬲賴 讴賳丕乇 亘蹖丕蹖丿責 賵丨卮鬲 賵 鬲乇爻 丕夭 丌蹖賳丿賴鈥屫й� 賲噩賴賵賱貙 乇賵丕亘胤卮 亘丕 爻丕蹖乇蹖賳 賵...
趩乇丕 賳賲蹖鈥屫堌з囐嗀� 亘倬匕蹖乇賳丿 讴賴 丕诏乇 趩蹖夭蹖 亘賴 賳丕賲 爻乇賳賵卮鬲 賵噩賵丿 丿丕卮鬲賴 亘丕卮丿貙 丿蹖诏乇 噩丕蹖蹖 亘乇丕蹖 丌夭丕丿蹖 賳賲蹖鈥屬呚з嗀� 丿乇 丨丕賱蹖鈥屭┵� 丿蹖诏乇 禺賵丿賲 賴賲 丕夭 丕蹖賳 賴賲賴 賴蹖噩丕賳 丨蹖乇鬲 讴乇丿賴 亘賵丿賲貙 丿丕丿 夭丿賲: 丕夭 胤乇賮蹖 丕诏乇 趩蹖夭蹖 亘賴 丕爻賲 丌夭丕丿蹖 賵噩賵丿 丿丕卮鬲賴 亘丕卮丿貙 倬爻 丿蹖诏乇 爻乇賳賵卮鬲蹖 亘丕賯蹖 賳賲蹖鈥屬呚з嗀�. 蹖毓賳蹖... 丿乇 丕蹖賳 賱丨馗賴 賲讴孬蹖 讴乇丿賲貙 丕賲丕 丿乇 賴賲丕賳 丨丿 讴賴 賮賯胤 賳賮爻蹖 鬲丕夭賴 讴賳賲 _ 蹖毓賳蹖 丕蹖賳鈥屭┵� 丿乇 丕蹖賳 氐賵乇鬲 賲丕 禺賵丿賲丕賳 爻乇賳賵卮鬲 禺賵丿賲丕賳 賴爻鬲蹖賲.
馃摑
丕蹖賲乇賴 讴乇鬲蹖爻 亘乇丕蹖 丕蹖賳 讴鬲丕亘 讴賴 賳賵卮鬲賳卮 爻蹖夭丿賴 爻丕賱 胤賵賱 讴卮蹖丿貙 亘乇賳丿賴鈥屰� 噩丕蹖夭賴鈥屰� 賳賵亘賱 爻丕賱 鄄郯郯鄄 卮丿. 丕蹖賳 讴鬲丕亘 蹖讴蹖 丕夭 賲賴賲鈥屫臂屬� 丌孬丕乇 丕丿亘蹖 噩賴丕賳 亘丕 丿乇賵賳鈥屬呚й屬団€屰� 賴賵賱賵讴丕爻鬲 丕爻鬲.
丿丕爻鬲丕賳 讴鬲丕亘 丿乇 賲賵乇丿 賳賵噩賵丕賳蹖 丕爻鬲 讴賴 亘賴 丕噩亘丕乇 禺丕賳賵丕丿賴鈥屫ж� 乇丕 鬲乇讴 賲蹖鈥屭┵嗀� 賵 亘賴 丕乇丿賵诏丕賴鈥屬囏й� 讴丕乇 丕噩亘丕乇蹖 賮乇爻鬲丕丿賴 賲蹖
卮賵丿. 禺賵丿 賳賵蹖爻賳丿賴 賴賲 丿乇 賳賵噩賵丕賳蹖 鬲噩乇亘賴鈥屫й� 睾賲鈥屫з嗂屫� 丕夭 丕蹖賳 丿賵乇丕賳 乇丕 丿丕卮鬲賴 丕爻鬲.
亘賴 賳馗乇賲 賳賯胤賴鈥屰� 賯賵鬲 讴鬲丕亘 亘蹖丕賳 乇賵卮賳 賵 卮賮丕賮 丨賯丕蹖賯 賵 丕丨爻丕爻丕鬲蹖 丕爻鬲 讴賴 蹖讴 賳賵噩賵丕賳 丕夭 丌賳趩賴 丿蹖丿賴 賵 丿乇讴 讴乇丿賴 亘丕夭诏賵 賲蹖鈥屭┵嗀�. 丿乇 丌禺乇 丕夭 丕乇丿賵诏丕賴 賳噩丕鬲 倬蹖丿丕 賲蹖鈥屭┵嗀� 賵賱蹖 趩賴 丌蹖賳丿賴鈥屫й� 丿乇 丕賳鬲馗丕乇 丕賵爻鬲責 趩诏賵賳賴 賲蹖鈥屫堌з嗀� 亘丕 诏匕卮鬲賴 讴賳丕乇 亘蹖丕蹖丿責 賵丨卮鬲 賵 鬲乇爻 丕夭 丌蹖賳丿賴鈥屫й� 賲噩賴賵賱貙 乇賵丕亘胤卮 亘丕 爻丕蹖乇蹖賳 賵...
June 5, 2016
螣 Kertesz 渭蔚 未喂蠂维味蔚喂 魏伪喂 蔚委谓伪喂 苇谓伪蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺慰蠀 渭蔚 尾维味蔚喂 蟽蔚 蟺蔚喂蟻伪蟽渭蠈 谓伪 蟿慰谓 魏蟻委谓蠅. 螌,蟿喂 蔚蠂蠅 未喂伪尾维蟽蔚喂 伪蟺蠈 伪蠀蟿蠈谓 蔚委谓伪喂 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏蠈 ("螠蠀胃喂蟽蟿蠈蟻畏渭伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 未委蠂蠅蟼 蟺蔚蟺蟻蠅渭苇谓慰" 魏伪喂 "螝伪谓蟿委蟼 纬喂伪 苇谓伪 伪纬苇谓谓畏蟿慰 蟺伪喂未委"). 螉蟽蠅蟼 苇蠂蔚喂 苇谓伪谓 喂未喂伪委蟿蔚蟻慰 蟿蟻蠈蟺慰 蟽魏苇蠄畏蟼, 慰 慰蟺慰委慰蟼 渭慰蠀 蠁伪委谓蔚蟿伪喂 蟺伪蟻维未慰尉慰蟼.
危伪蠁蠋蟼 魏伪喂 未蔚谓 伪谓蟿伪蟺慰魏蟻委谓蔚蟿伪喂 蟽蟿喂蟼 蟺蟻慰蟽未慰魏委蔚蟼 蔚谓蠈蟼 伪谓伪纬谓蠋蟽蟿畏 蟺慰蠀 未喂伪尾维味蔚喂 纬喂伪 蟿慰 螁慰蠀蟽尾喂蟿蟼. 螠蔚 蟺蟻慰尾位畏渭维蟿喂蟽蔚 魏伪喂 伪谓伪蟻蠅蟿喂苇渭伪喂 蔚维谓 蠈位伪 伪蠀蟿维 蟿伪 伪蟺维谓胃蟻蠅蟺伪 蟺慰蠀 苇尾位蔚蟺蔚 谓伪 纬委谓慰谓蟿伪喂 纬蠉蟻蠅 蟿慰蠀, 蟿慰谓 维纬纬喂尉伪谓. 螉蟽蠅蟼 蔚委谓伪喂 蠄蠀蠂蟻蠈蟼 魏伪喂 未蔚谓 蟿慰谓 维纬纬喂尉伪谓, 委蟽蠅蟼 蟿慰谓 维纬纬喂尉伪谓 魏伪喂 畏 蠈位畏 伪蠀蟿萎 蟽蟿维蟽畏 蟿慰蠀 谓伪 蔚委谓伪喂 蟽蟿维蟽畏 维渭蠀谓伪蟼 纬喂伪 谓伪 渭畏谓 蟿蟻蔚位伪胃蔚委. 螉蟽蠅蟼 蟺维位喂 蔚纬蠋, 魏伪胃喂蟽渭苇谓畏 蟽蔚 苇谓伪谓 魏伪谓伪蟺苇, 谓伪 渭畏谓 苇蠂蠅 魏伪谓苇谓伪 未喂伪魏伪委蠅渭伪 谓伪 魏蟻委谓蠅 苇谓伪谓 维谓胃蟻蠅蟺慰 蟺慰蠀 苇味畏蟽蔚 伪蠀蟿维 蟺慰蠀 苇味畏蟽蔚.
韦慰 渭蠈谓慰 蟽委纬慰蠀蟻慰 蔚委谓伪喂 蠈蟿喂 伪蠀蟿蠈蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭慰蠀 伪蟽魏蔚委 渭喂伪 蟺蔚蟻委蔚蟻纬畏 魏伪喂 伪魏伪蟿伪渭维蠂畏蟿畏 苇位尉畏 魏伪喂 胃伪 萎胃蔚位伪 谓伪 未喂伪尾维蟽蠅 蠈位慰 蟿慰蠀 蟿慰 苇蟻纬慰.
危伪蠁蠋蟼 魏伪喂 未蔚谓 伪谓蟿伪蟺慰魏蟻委谓蔚蟿伪喂 蟽蟿喂蟼 蟺蟻慰蟽未慰魏委蔚蟼 蔚谓蠈蟼 伪谓伪纬谓蠋蟽蟿畏 蟺慰蠀 未喂伪尾维味蔚喂 纬喂伪 蟿慰 螁慰蠀蟽尾喂蟿蟼. 螠蔚 蟺蟻慰尾位畏渭维蟿喂蟽蔚 魏伪喂 伪谓伪蟻蠅蟿喂苇渭伪喂 蔚维谓 蠈位伪 伪蠀蟿维 蟿伪 伪蟺维谓胃蟻蠅蟺伪 蟺慰蠀 苇尾位蔚蟺蔚 谓伪 纬委谓慰谓蟿伪喂 纬蠉蟻蠅 蟿慰蠀, 蟿慰谓 维纬纬喂尉伪谓. 螉蟽蠅蟼 蔚委谓伪喂 蠄蠀蠂蟻蠈蟼 魏伪喂 未蔚谓 蟿慰谓 维纬纬喂尉伪谓, 委蟽蠅蟼 蟿慰谓 维纬纬喂尉伪谓 魏伪喂 畏 蠈位畏 伪蠀蟿萎 蟽蟿维蟽畏 蟿慰蠀 谓伪 蔚委谓伪喂 蟽蟿维蟽畏 维渭蠀谓伪蟼 纬喂伪 谓伪 渭畏谓 蟿蟻蔚位伪胃蔚委. 螉蟽蠅蟼 蟺维位喂 蔚纬蠋, 魏伪胃喂蟽渭苇谓畏 蟽蔚 苇谓伪谓 魏伪谓伪蟺苇, 谓伪 渭畏谓 苇蠂蠅 魏伪谓苇谓伪 未喂伪魏伪委蠅渭伪 谓伪 魏蟻委谓蠅 苇谓伪谓 维谓胃蟻蠅蟺慰 蟺慰蠀 苇味畏蟽蔚 伪蠀蟿维 蟺慰蠀 苇味畏蟽蔚.
韦慰 渭蠈谓慰 蟽委纬慰蠀蟻慰 蔚委谓伪喂 蠈蟿喂 伪蠀蟿蠈蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭慰蠀 伪蟽魏蔚委 渭喂伪 蟺蔚蟻委蔚蟻纬畏 魏伪喂 伪魏伪蟿伪渭维蠂畏蟿畏 苇位尉畏 魏伪喂 胃伪 萎胃蔚位伪 谓伪 未喂伪尾维蟽蠅 蠈位慰 蟿慰蠀 蟿慰 苇蟻纬慰.
September 20, 2023
Imre Kert茅sz was a translator. He translated existence in a concentration camp for those who didn't experience this existence. He did this from the perspective of a fourteen-year-old boy, who he himself was at the time when he was deported first to Auschwitz and then to Buchenwald. And in doing so, he has achieved something incredible: although we do not speak the language from which he translates, we begin - to some extent - to understand it.听
He tells the story without pointing the finger, without accusing and because of this his book develops a force that pushes us to the ground again and again. On some pages he tears our hearts out, and that alone through his modest manner, his ability to find a light somewhere even in the greatest darkness.听
Above all, his reflections on time make the generally incomprehensible more tangible. He was in Auschwitz for "only" three days, but in those days it was decided whether he would be gassed or not. In general, time passes differently in concentration camps: days become years. Just look at the children who have aged into old men.听
Kert茅sz gives the millions of victims a voice that speaks so truthfully and innocently that it hurts. He has put the incomprehensible into understandable words that resonate for a long, long time.
He tells the story without pointing the finger, without accusing and because of this his book develops a force that pushes us to the ground again and again. On some pages he tears our hearts out, and that alone through his modest manner, his ability to find a light somewhere even in the greatest darkness.听
Above all, his reflections on time make the generally incomprehensible more tangible. He was in Auschwitz for "only" three days, but in those days it was decided whether he would be gassed or not. In general, time passes differently in concentration camps: days become years. Just look at the children who have aged into old men.听
Kert茅sz gives the millions of victims a voice that speaks so truthfully and innocently that it hurts. He has put the incomprehensible into understandable words that resonate for a long, long time.
February 24, 2012
Kertesz won the Nobel prize for literature for this book and it is really not surprising, hence the five stars. I would also advocate that the book be called "Timeless" as well for it is one of those books which has an aura of being beyond time. It could have been written immediately after the end of World War II, or it could have been written yesterday, and there is little way of knowing (at least through the text) when this story was made its way onto paper because it is a single voice in the immense, faceless march of European history where annonymity became the fate of so many individuals.
While not written as an autobiographical exercise, Fateless is partly an examination of Kertesz's own experiences in both Auschwitz and Buchenwald. The introductory chapters highlight how quickly and easily Gyuri accepted the plight of the local Jewish community and while it is not upbeat it is surprisingly sanguine, and perhaps even optomistic in places. Once Gyuri arrives at the gates of Auschwitz -Birkenau however, it is easy to anticipate that the tone of the book will shift dramatically. I did not expect much happiness from there on in.
The brilliance of this book is its clarity and tone and the fact that it ascribes a voice and emotions to a series of events which are widely documented but little understood on the level of the individual. The sheer scope of the atrocity frequently annhilates the notion of "I" and replaces it with "them" or "all".
The narrator Gyuri presents an astounding first-hand account of his existance in the labour camps. Gyuri rarely mentions his family or considers the likely fate of his fellow Jews beyond the walls of whichever labour camp he is interred in at the time. This makes his experience all the more profoundly personal, showing how all his energies are focused on making sense of his own plight and ensuring that he stays alive.
The last chapter of the book also highlights in a startling way how those who were not subjected to time in the labour camps could never grasp the full scope of the horror. At a time when everything in their own world had carried on almost as before, lightly dressed in a thin veneer of normality, how could they believe that such death and suffering had found a common place just beyond the fringes of their community?
While not written as an autobiographical exercise, Fateless is partly an examination of Kertesz's own experiences in both Auschwitz and Buchenwald. The introductory chapters highlight how quickly and easily Gyuri accepted the plight of the local Jewish community and while it is not upbeat it is surprisingly sanguine, and perhaps even optomistic in places. Once Gyuri arrives at the gates of Auschwitz -Birkenau however, it is easy to anticipate that the tone of the book will shift dramatically. I did not expect much happiness from there on in.
The brilliance of this book is its clarity and tone and the fact that it ascribes a voice and emotions to a series of events which are widely documented but little understood on the level of the individual. The sheer scope of the atrocity frequently annhilates the notion of "I" and replaces it with "them" or "all".
The narrator Gyuri presents an astounding first-hand account of his existance in the labour camps. Gyuri rarely mentions his family or considers the likely fate of his fellow Jews beyond the walls of whichever labour camp he is interred in at the time. This makes his experience all the more profoundly personal, showing how all his energies are focused on making sense of his own plight and ensuring that he stays alive.
The last chapter of the book also highlights in a startling way how those who were not subjected to time in the labour camps could never grasp the full scope of the horror. At a time when everything in their own world had carried on almost as before, lightly dressed in a thin veneer of normality, how could they believe that such death and suffering had found a common place just beyond the fringes of their community?
August 3, 2020
Pre nekoliko godina jedna turisti膷ka agencija reklamirala je posetu Au拧vicu kao mestu koje je bilo 鈥瀒nspiracija mnogim poznatim filmovima鈥�.
Tako膽e je pre nekoliko godina, jedan neva啪ni glumac u jednoj isto tako neva啪noj emisiji izjavio kako je negde pro膷itao jednu re膷enicu na nema膷kom koja bi, kako se njemu 膷ini, trebalo da zna膷i 鈥� rad osloba膽a. Bio je odu拧evljen tom formulacijom.
Opet, pre nekoliko godina, jedan poznanik strastveno je govorio kako je ta pri膷a sa Jevrejima prenaduvana i kako u Au拧vicu uop拧te nisu imali gasne komore. Nije znao da sam posetio logor pre koji mesec.
Nedostatak empatije mi je nejasan. Neznanje mi je jasnije.
Ali svesni odabir da se ne zna mi je najnejasniji.
Psihologija poricanja i teorija zavera zasniva se na uverenju o posebnosti. Ono funkcioni拧e na slede膰i na膷in: neko je siguran da je u posedu informacije koju niko nema. Zbog posedovanja tajne informacije, on poseduje mo膰, koju, ironi膷no, ne mo啪e da upotrebi, jer, da mo啪e, to ne bi bila teorija zavere. Neznanje udru啪eno sa velikom samouvereno拧膰u i lepim mi拧ljenjem o sebi daje kobne rezultate. A nekad nije mogu膰a druga strana. Kada je apsolutno zlo u pitanju, stvari su veoma jednostrane. Crno-bele.
Ukoliko bismo napravili emisiju i u njoj pozvali poricatelja Holokausta i 啪rtvu, pokazali bismo kako dajemo kredibilitet onima koji to ne zaslu啪uju. Suo膷avanje izme膽u onoga ko izmi拧lja i onoga 膷iji su iskazi verodostojni i argumentovani, potpuno je nepravedno. Izmi拧ljanje uvek pobe膽uje jer pripada drugoj kategoriji. Tako mogu, oslanjaju膰i se na detalj neke informacije, da razradim 膷itavu, novu pri膷u, koja 膰e da odgovara mom svetonazoru. A ako ne拧to potpuno izmislim, to je najja膷i argument, upravo jer je neutvrdiv. Ono 拧to je izmi拧ljeno postaje smisao samo po sebi. Na primer, u nedostatku iskustva, pri膷a je podjednako Holokaust, kao i povest neke fantasti膷ne zemlje. Sam pakao, kako Kertes tvrdi, jeste pri膷a, neispri膷iva, ali postoje膰a.
Veoma je zanimljivo kako je nauka postala svojevrsna sekularna religija 鈥� teoreti膷ari zavere 膰e se prikazivati svoja 鈥瀘tkri膰a鈥� koriste膰i nau膷ni diskurs. Kao 拧to je pre neki dan jedna priu膷ena gospo膽a tvrdila u jednoj emisiji kako je objavljeno 膷ak 10 000 nau膷nih radova o 拧tetnosti 5G mre啪e. O kakvoj budala拧tini je re膷, dovoljno je re膰i kako je 2016. godine objavljeno ukupno 5052 nau膷na rada iz svih oblasti u Srbiji. A da ne pri膷am o tome kako nije znala razliku izme膽u jonizuju膰eg i nejonizuju膰eg zra膷enja.
Problem je 拧to su stvari u osnovi lo拧e postavljene. Problem je sa obrazovanjem 鈥� s time 拧to ve膰ina nas iz 拧kole iza膽e nepismena. Svet nije izdeljen na predmete 鈥� sve u istom trenutku uporedo postoji 鈥� a 拧kola treba da slu啪i kao obuka za snala啪enje u mno拧tvu, uputstvo za pre啪ivljavanje u savremenom okeanu. Sve mo啪e da se sa啪me kineskom poslovicom 鈥� daj 膷oveku ribu i nahrani膰e拧 ga jedan dan, nau膷i ga da peca i nahrani膰e拧 ga za ceo 啪ivot.
沤ivot mo啪e da se da, ali ne i 啪ivljenje.
Kako se onda formira bi膰e kada je u njegovoj sr啪i jedna rupa?
A u rupi beton patnje koja preti膷e re膷i.
Najpotresniji momenti Kertesove knjige ne ti膷u se ni kulture se膰anja, ni naturalizma, ve膰 logora kao formativnog iskustva. De膷ak je u logorima postao ono 拧to jeste. I sve mu je bilo nametnuto.
Au拧vic 鈥� Buhenvald 鈥� Cajc i u Buhenvaldu jedno od Geteovih drva, koje je slu啪ilo za likvidaciju i mu膷enje zatvorenika. Nacisti膷ko zlo nepopravljivo je zatrovalo sve ono 拧to je u samoj nema膷koj kulturi vrednost. I tu dolaze ona ve膷na pitanja o individualnoj i kolektivnoj odgovornosti 鈥� nacionalnoj krivici, sramoti i 啪rtvi.
I o potpuno u啪asavaju膰oj nostalgiji za logorom. Kertesova nostalgija ne proizlazi iz lepote, ve膰 iz granice 鈥� napora prevazila啪enja. Kertes ne misli da je ovaj svet gori od logora, on samo prime膰uje kako je samo iskustvo logora nedostupno. Na poslednjim stranicama je to o膷ito 鈥� ljudi glume razumevanje, ne zato 拧to su opaki, ve膰 zato 拧to ne mogu da se zaista sa啪ive.
Za njih, logor je uvek negde drugde, za Kertesa, logor je sve. I zato je bilo potrebno 30 godina da se ovaj roman napi拧e. Ovo je redak prvenac koji dolazi nakon svega, prva knjiga koja mora biti poslednja. A sve 拧to je Kertes napisao i mogao da napi拧e, samo je njena dopuna.
I nema boljeg 膷oveka koji bi 鈥濨esudbinstvo鈥� mogao da prevede od Aleksandra Ti拧me. To je uradio mnogo pre nego 拧to je Kertes dobio Nobela, ali prevod je decenijama trunuo u fioci, da bi ga instant objavili 2002. godine za Sajam knjiga.
Tako膽e je pre nekoliko godina, jedan neva啪ni glumac u jednoj isto tako neva啪noj emisiji izjavio kako je negde pro膷itao jednu re膷enicu na nema膷kom koja bi, kako se njemu 膷ini, trebalo da zna膷i 鈥� rad osloba膽a. Bio je odu拧evljen tom formulacijom.
Opet, pre nekoliko godina, jedan poznanik strastveno je govorio kako je ta pri膷a sa Jevrejima prenaduvana i kako u Au拧vicu uop拧te nisu imali gasne komore. Nije znao da sam posetio logor pre koji mesec.
Nedostatak empatije mi je nejasan. Neznanje mi je jasnije.
Ali svesni odabir da se ne zna mi je najnejasniji.
Psihologija poricanja i teorija zavera zasniva se na uverenju o posebnosti. Ono funkcioni拧e na slede膰i na膷in: neko je siguran da je u posedu informacije koju niko nema. Zbog posedovanja tajne informacije, on poseduje mo膰, koju, ironi膷no, ne mo啪e da upotrebi, jer, da mo啪e, to ne bi bila teorija zavere. Neznanje udru啪eno sa velikom samouvereno拧膰u i lepim mi拧ljenjem o sebi daje kobne rezultate. A nekad nije mogu膰a druga strana. Kada je apsolutno zlo u pitanju, stvari su veoma jednostrane. Crno-bele.
Ukoliko bismo napravili emisiju i u njoj pozvali poricatelja Holokausta i 啪rtvu, pokazali bismo kako dajemo kredibilitet onima koji to ne zaslu啪uju. Suo膷avanje izme膽u onoga ko izmi拧lja i onoga 膷iji su iskazi verodostojni i argumentovani, potpuno je nepravedno. Izmi拧ljanje uvek pobe膽uje jer pripada drugoj kategoriji. Tako mogu, oslanjaju膰i se na detalj neke informacije, da razradim 膷itavu, novu pri膷u, koja 膰e da odgovara mom svetonazoru. A ako ne拧to potpuno izmislim, to je najja膷i argument, upravo jer je neutvrdiv. Ono 拧to je izmi拧ljeno postaje smisao samo po sebi. Na primer, u nedostatku iskustva, pri膷a je podjednako Holokaust, kao i povest neke fantasti膷ne zemlje. Sam pakao, kako Kertes tvrdi, jeste pri膷a, neispri膷iva, ali postoje膰a.
Veoma je zanimljivo kako je nauka postala svojevrsna sekularna religija 鈥� teoreti膷ari zavere 膰e se prikazivati svoja 鈥瀘tkri膰a鈥� koriste膰i nau膷ni diskurs. Kao 拧to je pre neki dan jedna priu膷ena gospo膽a tvrdila u jednoj emisiji kako je objavljeno 膷ak 10 000 nau膷nih radova o 拧tetnosti 5G mre啪e. O kakvoj budala拧tini je re膷, dovoljno je re膰i kako je 2016. godine objavljeno ukupno 5052 nau膷na rada iz svih oblasti u Srbiji. A da ne pri膷am o tome kako nije znala razliku izme膽u jonizuju膰eg i nejonizuju膰eg zra膷enja.
Problem je 拧to su stvari u osnovi lo拧e postavljene. Problem je sa obrazovanjem 鈥� s time 拧to ve膰ina nas iz 拧kole iza膽e nepismena. Svet nije izdeljen na predmete 鈥� sve u istom trenutku uporedo postoji 鈥� a 拧kola treba da slu啪i kao obuka za snala啪enje u mno拧tvu, uputstvo za pre啪ivljavanje u savremenom okeanu. Sve mo啪e da se sa啪me kineskom poslovicom 鈥� daj 膷oveku ribu i nahrani膰e拧 ga jedan dan, nau膷i ga da peca i nahrani膰e拧 ga za ceo 啪ivot.
沤ivot mo啪e da se da, ali ne i 啪ivljenje.
Kako se onda formira bi膰e kada je u njegovoj sr啪i jedna rupa?
A u rupi beton patnje koja preti膷e re膷i.
Najpotresniji momenti Kertesove knjige ne ti膷u se ni kulture se膰anja, ni naturalizma, ve膰 logora kao formativnog iskustva. De膷ak je u logorima postao ono 拧to jeste. I sve mu je bilo nametnuto.
Au拧vic 鈥� Buhenvald 鈥� Cajc i u Buhenvaldu jedno od Geteovih drva, koje je slu啪ilo za likvidaciju i mu膷enje zatvorenika. Nacisti膷ko zlo nepopravljivo je zatrovalo sve ono 拧to je u samoj nema膷koj kulturi vrednost. I tu dolaze ona ve膷na pitanja o individualnoj i kolektivnoj odgovornosti 鈥� nacionalnoj krivici, sramoti i 啪rtvi.
I o potpuno u啪asavaju膰oj nostalgiji za logorom. Kertesova nostalgija ne proizlazi iz lepote, ve膰 iz granice 鈥� napora prevazila啪enja. Kertes ne misli da je ovaj svet gori od logora, on samo prime膰uje kako je samo iskustvo logora nedostupno. Na poslednjim stranicama je to o膷ito 鈥� ljudi glume razumevanje, ne zato 拧to su opaki, ve膰 zato 拧to ne mogu da se zaista sa啪ive.
Za njih, logor je uvek negde drugde, za Kertesa, logor je sve. I zato je bilo potrebno 30 godina da se ovaj roman napi拧e. Ovo je redak prvenac koji dolazi nakon svega, prva knjiga koja mora biti poslednja. A sve 拧to je Kertes napisao i mogao da napi拧e, samo je njena dopuna.
I nema boljeg 膷oveka koji bi 鈥濨esudbinstvo鈥� mogao da prevede od Aleksandra Ti拧me. To je uradio mnogo pre nego 拧to je Kertes dobio Nobela, ali prevod je decenijama trunuo u fioci, da bi ga instant objavili 2002. godine za Sajam knjiga.
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March 7, 2015
I鈥檓 not often proud of my brother. Much of the time, and in most circumstances, our personalities and values are very different. However, some time ago a friend of his tried to get him to watch one of those execution videos, in which some poor sod gets his head lopped off. And he refused, quite aggressively so, he told me; he wanted nothing to do with it. It occurred to me then that one thing my brother and I do have in common is an aversion to violence and suffering. Hold on, you鈥檒l say, doesn鈥檛 everyone? No, I don鈥檛 think they do. Or certainly only an aversion to that which is directed at themselves. I believe that many normally functioning people 鈥� by which I mean people who are not dangerous criminals 鈥� are drawn to violence and other people鈥檚 suffering, they seek them out, at least at a safe distance. I鈥檓 sure there are complex reasons for why this is the case 鈥� most of which are, in my opinion, based around power and sex. I can imagine many of you shaking your head as you read this; I accept that this is not a popular view; yet to me it is undeniable; one only needs to look at the popularity of certain kinds of TV programmes, or films or books. Take the recent torture porn craze, films that amount to nothing more than 90 mins of people being butchered. And why do more people tune into the news the more horrific, the bigger the tragedy? Who, likewise, is watching all those murder documentaries? Murderers? Maniacs? I don鈥檛 think so. Who is reading all those brutal crime novels? The evidence is overwhelming, despite how uncomfortable the reality of it makes people feel. We 鈥� human beings 鈥� haven鈥檛 changed since large crowds gathered to watch public hangings, we just get our kicks in more subtle ways these days.
I think that this attraction to violence and suffering accounts for why many people appear to find Imre Kertesz鈥檚 Fateless [or Fatelessness, in another translation] boring or disappointing. Very few people will admit it, of course, but, in a number of the reviews I have read, there is a very real sense of expectations not having been met, without anyone actually truly giving voice to what these expectations were. I can tell you: these people expected grand horror. Fateless is a book about the holocaust, it is a partially autobiographical account of a young man鈥檚 experiences in some of the worst concentration camps. These disappointed readers wanted, perhaps sub-consciously, to read about the boy鈥檚 suffering, they wanted him to be severely psychologically and physically oppressed. Yet the book lacks these things, in large part, and therefore it is, I believe, for a certain kind of reader, a huge let-down.
For me, however, Fateless is one of the most extraordinary books I have ever read. Indeed, one of the things I like about it is how novel it is, how, in essence, it does not conform to expectations. The horror is there, of course, because the holocaust was absolutely, undeniably horrific, so to side-step it completely is impossible, but it is nearly always in the background, is not lingered over. The book is a first person narrative, and the boy鈥檚 voice is detached, relentlessly ironic, and this creates a weird form of tension, because you know precisely what kind of awful things are happening around him, and to him, but he seems, at least for the first two-thirds of the book, unable to see them himself. The boy isn鈥檛 stupid, nor particularly na茂ve, he just appears to take everything in his stride, to see the common-sense in, the rationale behind, everything. For example, one of the most powerful, poignant and moving scenes takes place as Gyorgy and his friends arrive at Auschwitz and are seen by a doctor who divides the inmates into two groups on the basis of who is fit for work and who isn鈥檛. The reader knows what this process is really about, of course, we know what the outcome will be for those unable to work, but Gyorgy, who at this stage does not, mentally joins in the selection process, justifying to himself or questioning the doctor鈥檚 decisions to pass or condemn his fellow man. Even when confronted by officers with whips he feels little more than discomforted or wary; and when he finally comes to understand what the crematoriums are for he takes this in his stride too.
Kertesz apparently once said that it was important to him that he did not present the holocaust as something in retrospect, as something that has already happened and is being commented on, but rather as something happening, as something being revealed bit by bit to the people involved [by which I mean the victims]. However, while I think that is both an interesting approach and one the author makes good use of, I don鈥檛 believe that it explains why this book is special. It suggests that Gyorgy would behave as expected [i.e. wringing his hands, beating his chest and wailing at the stars] once he understands what is happening, but he doesn鈥檛. It is the boy鈥檚 voice, his take on events, that makes Fateless something of a masterpiece for me. Until I read the book I thought it impossible that anyone could bring a freshness to a subject I already knew a great deal about, but Kertesz does exactly that.
Fateless is, it is worth pointing out, also strangely funny. I have seen it compared to Candide by Voltaire, in which a character attempts to keep a sunny, positive outlook in the face of every kind of disaster, and while I can see some of that in Kertesz鈥檚 novel, the humour is less slap-stick, is darker, more subtle and sophisticated; indeed, in tone it reminded me more of Gulliver鈥檚 Travels, or Kafka, it is similarly deadpan, so that one isn鈥檛 sure, at certain moments, whether one is meant to laugh or not. For example, when Gyorgy is moved to Buchenwald he sets off on a long description of the place, which sounds eerily like a holiday brochure or the script used by an estate agent who is showing you around a property you may wish to purchase, a property that isn鈥檛 of the highest calibre, of course. It would be possible to read this description and be slightly bewildered, because it is absurd, yet there is no doubt in my mind that the author is playing for laughs, albeit bitter laughs. There are, however, more obviously comedic moments, although these too are shot through with bitterness and a kind of searing irony, like when Gyorgy鈥檚 father is taken away:
Or when the boy describes one of the concentration camps as golden days indeed, or when he states, perhaps most movingly of all:
In terms of style the novel is written in Kertesz鈥檚 recognisably overly-precise manner. He is a fan of clauses, that鈥檚 for sure, some of which do not make a great deal of sense to me, although you could put this down to a translation issue. The narrator is also, as with the author鈥檚 other work, pedantic, and partly because of this the sentences are inelegant, ugly even. Furthermore, Kertesz, much like Dostovesky, uses repeated words or phrases, such as 'so to say' and 'somehow,' which can make reading him laborious. However, lyrical is certainly not what the writer was gunning for here, so none of this is intended critically. One thing I would like to say, before I finish, is in response to the review by the usually excellent The Complete Review, which called Fateless something like the autobiography before the art [the art being Kertesz鈥檚 later novels]. I don鈥檛 agree with that at all. In fact, i think the opposite. Kertesz鈥檚 other novels 鈥� including Fiasco and Kaddish for an Unborn Child 鈥� despite many qualities to recommend them, are the imitation after the art. Fiasco is one part Beckett, one part Kafka and one part Bernhard; Kaddish is Beckett and Bernhard; Fateless, on the other hand, is all Kertesz, it is a singular vision.
I think that this attraction to violence and suffering accounts for why many people appear to find Imre Kertesz鈥檚 Fateless [or Fatelessness, in another translation] boring or disappointing. Very few people will admit it, of course, but, in a number of the reviews I have read, there is a very real sense of expectations not having been met, without anyone actually truly giving voice to what these expectations were. I can tell you: these people expected grand horror. Fateless is a book about the holocaust, it is a partially autobiographical account of a young man鈥檚 experiences in some of the worst concentration camps. These disappointed readers wanted, perhaps sub-consciously, to read about the boy鈥檚 suffering, they wanted him to be severely psychologically and physically oppressed. Yet the book lacks these things, in large part, and therefore it is, I believe, for a certain kind of reader, a huge let-down.
For me, however, Fateless is one of the most extraordinary books I have ever read. Indeed, one of the things I like about it is how novel it is, how, in essence, it does not conform to expectations. The horror is there, of course, because the holocaust was absolutely, undeniably horrific, so to side-step it completely is impossible, but it is nearly always in the background, is not lingered over. The book is a first person narrative, and the boy鈥檚 voice is detached, relentlessly ironic, and this creates a weird form of tension, because you know precisely what kind of awful things are happening around him, and to him, but he seems, at least for the first two-thirds of the book, unable to see them himself. The boy isn鈥檛 stupid, nor particularly na茂ve, he just appears to take everything in his stride, to see the common-sense in, the rationale behind, everything. For example, one of the most powerful, poignant and moving scenes takes place as Gyorgy and his friends arrive at Auschwitz and are seen by a doctor who divides the inmates into two groups on the basis of who is fit for work and who isn鈥檛. The reader knows what this process is really about, of course, we know what the outcome will be for those unable to work, but Gyorgy, who at this stage does not, mentally joins in the selection process, justifying to himself or questioning the doctor鈥檚 decisions to pass or condemn his fellow man. Even when confronted by officers with whips he feels little more than discomforted or wary; and when he finally comes to understand what the crematoriums are for he takes this in his stride too.
Kertesz apparently once said that it was important to him that he did not present the holocaust as something in retrospect, as something that has already happened and is being commented on, but rather as something happening, as something being revealed bit by bit to the people involved [by which I mean the victims]. However, while I think that is both an interesting approach and one the author makes good use of, I don鈥檛 believe that it explains why this book is special. It suggests that Gyorgy would behave as expected [i.e. wringing his hands, beating his chest and wailing at the stars] once he understands what is happening, but he doesn鈥檛. It is the boy鈥檚 voice, his take on events, that makes Fateless something of a masterpiece for me. Until I read the book I thought it impossible that anyone could bring a freshness to a subject I already knew a great deal about, but Kertesz does exactly that.
Fateless is, it is worth pointing out, also strangely funny. I have seen it compared to Candide by Voltaire, in which a character attempts to keep a sunny, positive outlook in the face of every kind of disaster, and while I can see some of that in Kertesz鈥檚 novel, the humour is less slap-stick, is darker, more subtle and sophisticated; indeed, in tone it reminded me more of Gulliver鈥檚 Travels, or Kafka, it is similarly deadpan, so that one isn鈥檛 sure, at certain moments, whether one is meant to laugh or not. For example, when Gyorgy is moved to Buchenwald he sets off on a long description of the place, which sounds eerily like a holiday brochure or the script used by an estate agent who is showing you around a property you may wish to purchase, a property that isn鈥檛 of the highest calibre, of course. It would be possible to read this description and be slightly bewildered, because it is absurd, yet there is no doubt in my mind that the author is playing for laughs, albeit bitter laughs. There are, however, more obviously comedic moments, although these too are shot through with bitterness and a kind of searing irony, like when Gyorgy鈥檚 father is taken away:
All the same, I thought, at least we were able to send him off to the labor camp, poor man, with memories of a nice day.
Or when the boy describes one of the concentration camps as golden days indeed, or when he states, perhaps most movingly of all:
I would like to live a little bit longer in this beautiful concentration camp.
In terms of style the novel is written in Kertesz鈥檚 recognisably overly-precise manner. He is a fan of clauses, that鈥檚 for sure, some of which do not make a great deal of sense to me, although you could put this down to a translation issue. The narrator is also, as with the author鈥檚 other work, pedantic, and partly because of this the sentences are inelegant, ugly even. Furthermore, Kertesz, much like Dostovesky, uses repeated words or phrases, such as 'so to say' and 'somehow,' which can make reading him laborious. However, lyrical is certainly not what the writer was gunning for here, so none of this is intended critically. One thing I would like to say, before I finish, is in response to the review by the usually excellent The Complete Review, which called Fateless something like the autobiography before the art [the art being Kertesz鈥檚 later novels]. I don鈥檛 agree with that at all. In fact, i think the opposite. Kertesz鈥檚 other novels 鈥� including Fiasco and Kaddish for an Unborn Child 鈥� despite many qualities to recommend them, are the imitation after the art. Fiasco is one part Beckett, one part Kafka and one part Bernhard; Kaddish is Beckett and Bernhard; Fateless, on the other hand, is all Kertesz, it is a singular vision.
August 12, 2018
" 危蟿慰 蟿苇位慰蟼 胃伪 蠁蟿伪委渭蔚 魏喂 伪蟺蠈 蟺维谓蠅, 蔚渭蔚委蟼 蟿伪 胃蠉渭伪蟿伪; - 魏喂 蔚纬蠋 蟺蟻慰蟽蟺维胃畏蟽伪 谓伪 蟿慰蠀 蔚尉畏纬萎蟽蠅 蠈蟿喂 蟿慰 胃苇渭伪 未蔚谓 蔚委谓伪喂 蟺慰喂慰蟼 蠁蟿伪委蔚喂, 蟿慰 胃苇渭伪 蔚委谓伪喂 谓伪 魏伪蟿伪位维尾慰蠀渭蔚 魏维蟿喂, 蟺慰位蠉 伪蟺位维, 纬喂伪 蠂维蟻畏 蟿畏蟼 位慰纬喂魏萎蟼, 伪蟺蠈 蔚蠀蟺蟻苇蟺蔚喂伪, 胃伪 苇位蔚纬伪. 螖蔚谓 渭蟺慰蟻蔚委 魏伪谓蔚委蟼, 伪蟼 蟺蟻慰蟽蟺伪胃萎蟽慰蠀谓 谓伪 蟿慰 魏伪蟿伪位维尾慰蠀谓, 未蔚谓 渭蟺慰蟻蔚委 魏伪谓蔚委蟼 谓伪 渭慰蠀 蟺维蟻蔚喂 蟿伪 蟺维谓蟿伪. 螖蔚谓 纬委谓蔚蟿伪喂 谓伪 渭畏谓 渭慰蠀 蔚蟺喂蟿蟻伪蟺蔚委 谓伪 蔚委渭伪喂 慰蠉蟿蔚 谓喂魏畏蟿萎蟼 慰蠉蟿蔚 谓喂魏畏渭苇谓慰蟼, 慰蠉蟿蔚 畏 伪喂蟿委伪 慰蠉蟿蔚 蟿慰 伪蟺慰蟿苇位蔚蟽渭伪, 慰蠉蟿蔚 谓伪 纬蔚位喂苇渭伪喂 慰蠉蟿蔚 谓伪 苇蠂蠅 未委魏喂慰. 螠蟺慰蟻蠋 - 蟽蠂蔚未蠈谓 蟿慰蠀蟼 喂魏苇蟿蔚蠀伪 蟺喂伪 谓伪 蟺蟻慰蟽蟺伪胃萎蟽慰蠀谓 谓伪 魏伪蟿伪位维尾慰蠀谓: 未蔚谓 渭蟺慰蟻蠋 谓伪 魏伪蟿伪蟺喂蠋 苇蟿蟽喂 伪蟺位维 蟿畏谓 伪谓蠈畏蟿畏 蟺喂魏蟻委伪 蟿慰蠀 谓伪 蟺蟻苇蟺蔚喂 谓伪 蔚委蟽伪喂 伪蟺位蠋蟼 伪胃蠋慰蟼. "
危蟿慰 苇蟻纬慰 蟺蔚蟻喂纬蟻维蠁蔚蟿伪喂 蟿慰 蟺蠅蟼 慰 畏 味蠅萎 蟿慰蠀 谓苇慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 伪谓伪蟿蟻苇蟺蔚蟿伪喂, 魏伪胃蠋蟼 渭蔚蟿伪蠁苇蟻蔚蟿伪喂 蟽蔚 蟽蟿蟻伪蟿蠈蟺蔚未慰 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼, 蟿畏谓 蟺伪蟻伪渭慰谓萎 蟿慰蠀 蟽蟿慰 Auschwitz 魏伪喂 蟿慰 Buchenwald, 蟿畏谓 伪蟺蔚位蔚蠀胃苇蟻蠅蟽畏 魏伪喂 蟿畏谓 蔚蟺喂蟽蟿蟻慰蠁萎 蟿慰蠀 蟽蟿慰 蟽蟺委蟿喂.
韦慰 喂未喂伪委蟿蔚蟻慰 蟿慰蠀 蟽蠀纬魏蔚魏蟻喂渭苇谓慰蠀 尾喂尾位委慰蠀 蔚委谓伪喂 蠈蟿喂 慰 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟼 伪谓蟿喂渭蔚蟿蠅蟺委味蔚喂 蟿喂蟼 蠁蟻喂魏伪位蔚蠈蟿畏蟿蔚蟼 魏伪喂 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟿蠅谓 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 渭蔚 伪蟺维胃蔚喂伪. 螛蔚蠅蟻蔚委 蠁蠀蟽喂慰位慰纬喂魏蠈 谓伪 蟽蠀渭尾伪委谓蔚喂 魏维蟿喂 蟿苇蟿慰喂慰, 蠈蟿喂 蟿伪 尾伪蟽伪谓喂蟽蟿萎蟻喂伪 魏伪喂 慰喂 蔚魏蟿蔚位苇蟽蔚喂蟼, 畏 蔚尉蠈谓蟿蠅蟽畏, 蔚委谓伪喂 魏维蟿喂 蟿慰 蠁蠀蟽喂慰位慰纬喂魏蠈 蟽蔚 魏维蟿喂 渭畏 蠁蠀蟽喂慰位慰纬喂魏蠈, 蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 未畏位伪未萎. 惟蟽蟿蠈蟽慰, 伪蠀蟿萎 畏 伪蟺维胃蔚喂伪 未蔚谓 蟽蟿蔚蟻蔚委 伪蟺蠈 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 谓伪 谓喂蠋蟽蔚喂 蟿畏谓 蠁蟻委魏畏 魏伪喂 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟺慰蠀 蔚蟺喂魏蟻伪蟿慰蠉蟽蔚, 伪蠁慰蠉 慰喂 苇谓蟿慰谓蔚蟼 魏伪喂 纬蟻伪蠁喂魏苇蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 未蔚谓 蔚委谓伪喂 魏维蟿喂 伪蟺伪蟻伪委蟿畏蟿慰 纬喂伪 谓伪 蟽蠀谓蔚喂未畏蟿慰蟺慰喂萎蟽蔚喂 魏伪谓蔚委蟼 蟿喂 蟽蠀谓苇尾伪喂谓蔚 蟿蠈蟿蔚.
韦慰 蟿苇位慰蟼 蟿慰蠀 苇蟻纬慰蠀, 蟺伪蟻维 蟿慰 纬蔚纬慰谓蠈蟼 蠈蟿喂 苇蠂蔚喂 苇蟻胃蔚喂 畏 蔚位蔚蠀胃蔚蟻委伪 魏伪喂 慰 萎蟻蠅伪蟼 蔚蟺喂蟽蟿蟻苇蠁蔚喂 蟽蟿慰 蟽蟺委蟿喂 蟿慰蠀, 蔚委谓伪喂 蟽蟿蔚谓维蠂蠅蟻慰, 伪蠁慰蠉 未蔚委蠂谓蔚喂 蠈蟿喂 蟿委蟺慰蟿伪 未蔚谓 蔚委谓伪喂 委未喂慰 蟽蟿慰 蟽蟺委蟿喂 魏伪喂 蠈蟿喂 魏伪谓蔚委蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 魏伪蟿伪位维尾蔚喂 蟿慰蠀蟼 蔚蟺喂味萎蟽伪谓蟿蔚蟼 蟿蠅谓 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼. 螚 味蠅萎 未蔚谓 蔚委谓伪喂 魏伪喂 未蔚谓 胃伪 蔚委谓伪喂 畏 委未喂伪 慰蠉蟿蔚 纬喂伪 蠈蟽慰蠀蟼 萎蟿伪谓 蟽蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪, 慰蠉蟿蔚 纬喂伪 蠈蟽慰蠀蟼 苇渭蔚喂谓伪谓 蟺委蟽蠅. 螣喂 纬谓蠅蟽蟿慰委 魏伪喂 蟽蠀纬纬蔚谓蔚委蟼 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 蟺蔚蟻喂渭苇谓慰蠀谓 谓伪 伪魏慰蠉蟽慰蠀谓 蟺蔚蟻喂纬蟻伪蠁苇蟼 蠁蟻委魏畏蟼, 伪位位维 伪蠀蟿蠈蟼 蟿慰蠀蟼 渭喂位维蔚喂 纬喂伪 蟺蟻维纬渭伪蟿伪 蟺慰蠀 "蠁蠀蟽喂魏维" 魏伪喂 胃伪 蟽蠀谓苇尾伪喂谓伪谓 蟽蔚 苇谓伪 蟿苇蟿慰喂慰 渭苇蟻慰蟼, 蟿慰蠀蟼 渭喂位维蔚喂 纬喂伪 蔚蟺喂尾委蠅蟽畏, 蠂蠅蟻委蟼 伪蠀蟿慰委 谓伪 蟿慰谓 魏伪蟿伪位伪尾伪委谓慰蠀谓.
螕喂伪蟿委 蠈蟺蠅蟼 伪谓伪蠁苇蟻蔚蟿伪喂 魏伪喂 蟽蟿慰 尾喂尾位委慰:
" 螌蟿伪谓 畏 渭苇蟻伪 蔚魏蔚委谓畏 蟿蔚位蔚委蠅蟽蔚, 苇谓喂蠅蟽伪 蠈蟿喂 魏维蟿喂 渭苇蟽伪 渭慰蠀 蔚委蠂蔚 蠂伪胃蔚委 伪谓蔚蟺喂蟽蟿蟻蔚蟺蟿委, 蟽蟿慰 蔚尉萎蟼 谓蠈渭喂味伪 魏维胃蔚 蟺蟻蠅委 蠈蟿喂 蔚委谓伪喂 蟿慰 蟿蔚位蔚蠀蟿伪委慰 蟺蟻蠅委 蟺慰蠀 胃伪 蟽畏魏蠅谓蠈渭慰蠀谓, 蟽蔚 魏维胃蔚 渭慰蠀 尾萎渭伪 谓蠈渭喂味伪 蠈蟿喂 蟿慰 蔚蟺蠈渭蔚谓慰 未蔚谓 胃伪 蟿慰 苇魏伪谓伪, 蟽蔚 魏维胃蔚 渭慰蠀 魏委谓畏蟽畏 蠈蟿喂 蟿畏谓 蔚蟺蠈渭蔚谓畏 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 蟿畏谓 魏伪蟿维蠁蔚蟻谓伪. 螤蟻慰蟼 蟿慰 蟺伪蟻蠈谓 蠈渭蠅蟼 蟿伪 魏伪蟿维蠁蔚蟻谓伪 魏维胃蔚 蠁慰蟻维. "
" 螝伪喂 蠈蟽慰 魏伪喂 谓伪 蟺蟻慰蟽蟺伪胃慰蠉蟽伪 谓伪 味蠀纬委蟽蠅 蟿伪 蟺蟻维纬渭伪蟿伪, 蠈蟽畏 位慰纬喂魏萎, 蠈蟽畏 蟽蠉谓蔚蟽畏, 蠈蟽畏 谓畏蠁伪位喂蠈蟿畏蟿伪 魏喂 伪谓 蟺蟻慰蟽蟺伪胃慰蠉蟽伪 谓伪 蔚蟺喂未蔚委尉蠅, 未蔚谓 尾慰畏胃慰蠉蟽蔚 蟽蔚 蟿委蟺慰蟿伪 - 未蔚谓 萎蟿伪谓 未蠀谓伪蟿蠈 谓伪 魏位蔚委蟽蠅 蟿'伪蠀蟿喂维 渭慰蠀 蟽' 蔚魏蔚委谓畏 蟿畏 渭蠀蟽蟿喂魏萎 蠁蠅谓萎, 蟽' 蔚魏蔚委谓畏 蟿畏 蠁蠅谓萎 蟺慰蠀 魏伪蟿维 魏维蟺慰喂慰谓 蟿蟻蠈蟺慰 谓蟿蟻蔚蟺蠈蟿伪谓 魏喂 畏 委未喂伪 纬喂伪 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟿畏蟼 魏喂 蠅蟽蟿蠈蟽慰 纬喂谓蠈蟿伪谓 蠈位慰 魏伪喂 蔚蟺委渭慰谓畏, 蟽' 蔚魏蔚委谓畏 蟿畏 蠁蠅谓萎 渭喂伪蟼 伪渭蠀未蟻萎蟼 位伪蠂蟿维蟻伪蟼: 胃伪 萎胃蔚位伪 谓伪 味萎蟽蠅 位委纬慰 伪魏蠈渭伪 蟽蔚 蟿慰蠉蟿慰 蟿慰 蠅蟻伪委慰 蟽蟿蟻伪蟿蠈蟺蔚未慰 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼. "
危蟿慰 苇蟻纬慰 蟺蔚蟻喂纬蟻维蠁蔚蟿伪喂 蟿慰 蟺蠅蟼 慰 畏 味蠅萎 蟿慰蠀 谓苇慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 伪谓伪蟿蟻苇蟺蔚蟿伪喂, 魏伪胃蠋蟼 渭蔚蟿伪蠁苇蟻蔚蟿伪喂 蟽蔚 蟽蟿蟻伪蟿蠈蟺蔚未慰 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼, 蟿畏谓 蟺伪蟻伪渭慰谓萎 蟿慰蠀 蟽蟿慰 Auschwitz 魏伪喂 蟿慰 Buchenwald, 蟿畏谓 伪蟺蔚位蔚蠀胃苇蟻蠅蟽畏 魏伪喂 蟿畏谓 蔚蟺喂蟽蟿蟻慰蠁萎 蟿慰蠀 蟽蟿慰 蟽蟺委蟿喂.
韦慰 喂未喂伪委蟿蔚蟻慰 蟿慰蠀 蟽蠀纬魏蔚魏蟻喂渭苇谓慰蠀 尾喂尾位委慰蠀 蔚委谓伪喂 蠈蟿喂 慰 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟼 伪谓蟿喂渭蔚蟿蠅蟺委味蔚喂 蟿喂蟼 蠁蟻喂魏伪位蔚蠈蟿畏蟿蔚蟼 魏伪喂 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟿蠅谓 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 渭蔚 伪蟺维胃蔚喂伪. 螛蔚蠅蟻蔚委 蠁蠀蟽喂慰位慰纬喂魏蠈 谓伪 蟽蠀渭尾伪委谓蔚喂 魏维蟿喂 蟿苇蟿慰喂慰, 蠈蟿喂 蟿伪 尾伪蟽伪谓喂蟽蟿萎蟻喂伪 魏伪喂 慰喂 蔚魏蟿蔚位苇蟽蔚喂蟼, 畏 蔚尉蠈谓蟿蠅蟽畏, 蔚委谓伪喂 魏维蟿喂 蟿慰 蠁蠀蟽喂慰位慰纬喂魏蠈 蟽蔚 魏维蟿喂 渭畏 蠁蠀蟽喂慰位慰纬喂魏蠈, 蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼 未畏位伪未萎. 惟蟽蟿蠈蟽慰, 伪蠀蟿萎 畏 伪蟺维胃蔚喂伪 未蔚谓 蟽蟿蔚蟻蔚委 伪蟺蠈 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 谓伪 谓喂蠋蟽蔚喂 蟿畏谓 蠁蟻委魏畏 魏伪喂 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟺慰蠀 蔚蟺喂魏蟻伪蟿慰蠉蟽蔚, 伪蠁慰蠉 慰喂 苇谓蟿慰谓蔚蟼 魏伪喂 纬蟻伪蠁喂魏苇蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 未蔚谓 蔚委谓伪喂 魏维蟿喂 伪蟺伪蟻伪委蟿畏蟿慰 纬喂伪 谓伪 蟽蠀谓蔚喂未畏蟿慰蟺慰喂萎蟽蔚喂 魏伪谓蔚委蟼 蟿喂 蟽蠀谓苇尾伪喂谓蔚 蟿蠈蟿蔚.
韦慰 蟿苇位慰蟼 蟿慰蠀 苇蟻纬慰蠀, 蟺伪蟻维 蟿慰 纬蔚纬慰谓蠈蟼 蠈蟿喂 苇蠂蔚喂 苇蟻胃蔚喂 畏 蔚位蔚蠀胃蔚蟻委伪 魏伪喂 慰 萎蟻蠅伪蟼 蔚蟺喂蟽蟿蟻苇蠁蔚喂 蟽蟿慰 蟽蟺委蟿喂 蟿慰蠀, 蔚委谓伪喂 蟽蟿蔚谓维蠂蠅蟻慰, 伪蠁慰蠉 未蔚委蠂谓蔚喂 蠈蟿喂 蟿委蟺慰蟿伪 未蔚谓 蔚委谓伪喂 委未喂慰 蟽蟿慰 蟽蟺委蟿喂 魏伪喂 蠈蟿喂 魏伪谓蔚委蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 魏伪蟿伪位维尾蔚喂 蟿慰蠀蟼 蔚蟺喂味萎蟽伪谓蟿蔚蟼 蟿蠅谓 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼. 螚 味蠅萎 未蔚谓 蔚委谓伪喂 魏伪喂 未蔚谓 胃伪 蔚委谓伪喂 畏 委未喂伪 慰蠉蟿蔚 纬喂伪 蠈蟽慰蠀蟼 萎蟿伪谓 蟽蟿伪 蟽蟿蟻伪蟿蠈蟺蔚未伪, 慰蠉蟿蔚 纬喂伪 蠈蟽慰蠀蟼 苇渭蔚喂谓伪谓 蟺委蟽蠅. 螣喂 纬谓蠅蟽蟿慰委 魏伪喂 蟽蠀纬纬蔚谓蔚委蟼 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 蟺蔚蟻喂渭苇谓慰蠀谓 谓伪 伪魏慰蠉蟽慰蠀谓 蟺蔚蟻喂纬蟻伪蠁苇蟼 蠁蟻委魏畏蟼, 伪位位维 伪蠀蟿蠈蟼 蟿慰蠀蟼 渭喂位维蔚喂 纬喂伪 蟺蟻维纬渭伪蟿伪 蟺慰蠀 "蠁蠀蟽喂魏维" 魏伪喂 胃伪 蟽蠀谓苇尾伪喂谓伪谓 蟽蔚 苇谓伪 蟿苇蟿慰喂慰 渭苇蟻慰蟼, 蟿慰蠀蟼 渭喂位维蔚喂 纬喂伪 蔚蟺喂尾委蠅蟽畏, 蠂蠅蟻委蟼 伪蠀蟿慰委 谓伪 蟿慰谓 魏伪蟿伪位伪尾伪委谓慰蠀谓.
螕喂伪蟿委 蠈蟺蠅蟼 伪谓伪蠁苇蟻蔚蟿伪喂 魏伪喂 蟽蟿慰 尾喂尾位委慰:
" 螌蟿伪谓 畏 渭苇蟻伪 蔚魏蔚委谓畏 蟿蔚位蔚委蠅蟽蔚, 苇谓喂蠅蟽伪 蠈蟿喂 魏维蟿喂 渭苇蟽伪 渭慰蠀 蔚委蠂蔚 蠂伪胃蔚委 伪谓蔚蟺喂蟽蟿蟻蔚蟺蟿委, 蟽蟿慰 蔚尉萎蟼 谓蠈渭喂味伪 魏维胃蔚 蟺蟻蠅委 蠈蟿喂 蔚委谓伪喂 蟿慰 蟿蔚位蔚蠀蟿伪委慰 蟺蟻蠅委 蟺慰蠀 胃伪 蟽畏魏蠅谓蠈渭慰蠀谓, 蟽蔚 魏维胃蔚 渭慰蠀 尾萎渭伪 谓蠈渭喂味伪 蠈蟿喂 蟿慰 蔚蟺蠈渭蔚谓慰 未蔚谓 胃伪 蟿慰 苇魏伪谓伪, 蟽蔚 魏维胃蔚 渭慰蠀 魏委谓畏蟽畏 蠈蟿喂 蟿畏谓 蔚蟺蠈渭蔚谓畏 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 蟿畏谓 魏伪蟿维蠁蔚蟻谓伪. 螤蟻慰蟼 蟿慰 蟺伪蟻蠈谓 蠈渭蠅蟼 蟿伪 魏伪蟿维蠁蔚蟻谓伪 魏维胃蔚 蠁慰蟻维. "
" 螝伪喂 蠈蟽慰 魏伪喂 谓伪 蟺蟻慰蟽蟺伪胃慰蠉蟽伪 谓伪 味蠀纬委蟽蠅 蟿伪 蟺蟻维纬渭伪蟿伪, 蠈蟽畏 位慰纬喂魏萎, 蠈蟽畏 蟽蠉谓蔚蟽畏, 蠈蟽畏 谓畏蠁伪位喂蠈蟿畏蟿伪 魏喂 伪谓 蟺蟻慰蟽蟺伪胃慰蠉蟽伪 谓伪 蔚蟺喂未蔚委尉蠅, 未蔚谓 尾慰畏胃慰蠉蟽蔚 蟽蔚 蟿委蟺慰蟿伪 - 未蔚谓 萎蟿伪谓 未蠀谓伪蟿蠈 谓伪 魏位蔚委蟽蠅 蟿'伪蠀蟿喂维 渭慰蠀 蟽' 蔚魏蔚委谓畏 蟿畏 渭蠀蟽蟿喂魏萎 蠁蠅谓萎, 蟽' 蔚魏蔚委谓畏 蟿畏 蠁蠅谓萎 蟺慰蠀 魏伪蟿维 魏维蟺慰喂慰谓 蟿蟻蠈蟺慰 谓蟿蟻蔚蟺蠈蟿伪谓 魏喂 畏 委未喂伪 纬喂伪 蟿慰谓 蟺伪蟻伪位慰纬喂蟽渭蠈 蟿畏蟼 魏喂 蠅蟽蟿蠈蟽慰 纬喂谓蠈蟿伪谓 蠈位慰 魏伪喂 蔚蟺委渭慰谓畏, 蟽' 蔚魏蔚委谓畏 蟿畏 蠁蠅谓萎 渭喂伪蟼 伪渭蠀未蟻萎蟼 位伪蠂蟿维蟻伪蟼: 胃伪 萎胃蔚位伪 谓伪 味萎蟽蠅 位委纬慰 伪魏蠈渭伪 蟽蔚 蟿慰蠉蟿慰 蟿慰 蠅蟻伪委慰 蟽蟿蟻伪蟿蠈蟺蔚未慰 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼. "
July 30, 2020
"Nikada ne mo啪emo zapo膷eti nov 啪ivot, uvijek smo u mogu膰nosti jedino da nastavimo stari."
"Besudbinstvo" je moj prvi susret sa Kertesom i uop拧teno sa ma膽arskom knji啪evno拧膰u. Pored interesantnog naslova, privukle su me i grandiozne pohvale prire膽iva膷a - navodi se da je "Besudbinstvo" jedno od najve膰ih ostvarenja moderne literature, ravno Kafkinom "Procesu"!
Roman opisuje iskustva 膷etrnaestogodi拧njeg dje膷aka iz Budimpe拧te, koji je zbog 啪idovskog porijekla deportovan u Au拧vic, da bi svoju odiseju zavr拧io u radnim logorima Buhenvalda i Cajca. Kertes je svoja logora拧ka iskustva opisao na sli膷an na膷in na koji su to uradili Karlo 艩tajner u svojim memoarima ili Aleksandar Sol啪enjicin u "Jednom danu Ivana Denisovi膷a" - u smislu da je pisao jednostavno i hladnokrvno, vje拧to izbjegavaju膰i dodir etike i estetike, prepu拧taju膰i 膷itaocima da donose sudove, a tek na kraju daju膰i malo odu拧ka svojoj ljudskoj i kontemplativnoj strani. Ono po 膷emu se "Besudbinstvo" u pripovjeda膷kom smislu razlikuje od pomenutih djela, jeste to 拧to je napisano iz ugla djeteta. Pisac je u potpunosti isklju膷io sva ona saznanja do kojih 膰e do膰i u zrelijim godinama i sve emocionalne tunele kroz koje 膰e kasnije prolaziti, prenose膰i 膷itaocu samo one utiske kojima je svijest njegovog fiktivnog junaka bila zapljuskivana u trenucima kada su se svi ti doga膽aji odvijali pred njim.
Rekao bih da ovo nije toliko pri膷a o logoru samom, niti je to na prvom mjestu potreba da se 膷itaocima predo膷i 拧ta su sve Jevreji tamo pro啪ivljavali - postoje tone takvih knjiga i bez ove Kertesove - nego je pisac, u skladu sa svojom umjetni膷kom prirodom, poku拧ao da prije svega sebi, a onda i drugima, na jedan dublji na膷in rasvijetli neprebol i vivisecira 啪ig koji 膰e nositi do kraja 啪ivota. Ipak, logora拧ko iskustvo nije jedno od onih iskustava, gdje se jednom knjigom ili pjesmom stavi ta膷ka i krene dalje: Kertes se nikada nije oslobodio svog 啪iga i nikada nije prestao pisati o njemu. U tom smislu su posebno upe膷atljive scene u kojima se prikazuje povratak u Budimpe拧tu i opisuje susret sa ljudima koji su mu nekada bili tako bliski, a koje nikada vi拧e ne膰e mo膰i gledati istim o膷ima; trenuci u kojima postaje svijestan da njegov svijet nikada vi拧e ne膰e biti isti, jer nastojanja drugih da sve zaborave i da se opet sve vrati na staro i njegova nesposobnost, ne da oprosti, nego da prihvati svoj boravak u logoru kao ne膷iju gre拧ku i da ga naprosto izbri拧e iz sje膰anja, stvaraju nepremostivi jaz izme膽u njega i okoline (tu bi se mogle povu膰i jake paralele sa Ki拧ovom dramom "No膰 i magla").
Jo拧 jedna va啪na crta ovog romana jeste i apsurdnost. Kertes je 膷esto isticao sopstvena anacionalna i arelegiozna stanovi拧ta (膷ak nije poznavao ni hebrejski jezik), pa mu je dolaskom u logor prakti膷no nametnut sasvim nov identitet: "U stanju sam da shvatim jevrejstvo kao simbol, kao 啪ivotnu situaciju, kao eti膷ki zadatak; da u njemu vidim mogu膰nost spoznavanja, visoku 拧kolu pre啪ivljavanja potla膷enosti, moderne bijede, izop拧tenosti. Ali, jevrejstvo kao narod, kao religija, kao istorija - 拧ta ja imam sa tim?" Da sumiramo: Ma膽ari ga deportovali, Njemci ga zlostavljali, a mnogi Jevreji ga ignorisali - tako prolaze oni koji nikome ne pripadaju.
Nije isklju膷eno da mi trenutno nedostaje odre膽ena vrsta estetskog senzibiliteta za jednu ovakvu knjigu i da 膰u kroz nekoliko godina imati puno bolje mi拧ljenje o ovom romanu.
Za kraj, preporu膷ujem svima koji su 膷itali ovaj roman, da pro膷itaju i "Dnevnik galiota" (meni puno dra啪a knjiga) u kome se Kertes na nekoliko mjesta osvr膰e na "Besudbinstvo", razja拧njavaju膰i njegove 膷vorove na vrlo zanimljiv na膷in. Evo jednog stra拧no bitnog odlomka odatle:
"艩ta nazivam sudbinom? U svakom slu膷aju, mogu膰nost tragedije. Spolja拧nja determinacija, me膽utim, ona stigma koja sabija na拧 啪ivot u jednu od situacija datog totalitarizma, djeluje kao zapreka: ako, dakle, na nas odmjerenu determinaciju do啪ivljavamo u punoj mjeri kao stvarnost, umjesto nu啪nosti koja slijedi iz vlastite - relativne - slobode, to ja nazivam besudbinstvom.
Bitno je da na拧a determinacija bude uvijek u suprotnosti s na拧im prirodnim shvatanjima, na拧im sklonostima, na taj na膷in nastaje besudbinstvo u svom naj膷istijem obliku.
Odbrana mo啪e da bude dvojaka: preobra啪avamo se u vlastitu determinaciju (u stonogu Franca Kafke), takore膰i dobrovoljno, poku拧av拧i da na taj na膷in pretvorimo na拧u determinaciju u vlastitu sudbinu; ili 膰emo se pobuniti protiv nje i tako postati 啪rtva svoje determinacije. Ni jedna varijanta nije, zapravo, zadovoljavaju膰e rje拧enje: naime, u oba slu膷aja bili smo prinu膽eni da svoju determinaciju shvatimo kao stvarnost (dakle, kao jednu u potpunosti spolja nametnutu samovolju koju moramo prihvatiti kao ne拧to posve prirodno, znaju膰i pri svemu tome da je ona teoretski podre膽ena na拧oj ljudskoj mo膰i, i da jo拧 nismo u stanju, nemamo takvu mo膰 da je promijenimo), dok determiniraju膰a sila, ta besmislena mo膰, posve jednostavno trijumfuje nad nama: pronalazi za nas ime, koje nije na拧e ime, i pretvara nas u svoj predmet, premda smo ro膽eni za ne拧to drugo."
"Besudbinstvo" je moj prvi susret sa Kertesom i uop拧teno sa ma膽arskom knji啪evno拧膰u. Pored interesantnog naslova, privukle su me i grandiozne pohvale prire膽iva膷a - navodi se da je "Besudbinstvo" jedno od najve膰ih ostvarenja moderne literature, ravno Kafkinom "Procesu"!
Roman opisuje iskustva 膷etrnaestogodi拧njeg dje膷aka iz Budimpe拧te, koji je zbog 啪idovskog porijekla deportovan u Au拧vic, da bi svoju odiseju zavr拧io u radnim logorima Buhenvalda i Cajca. Kertes je svoja logora拧ka iskustva opisao na sli膷an na膷in na koji su to uradili Karlo 艩tajner u svojim memoarima ili Aleksandar Sol啪enjicin u "Jednom danu Ivana Denisovi膷a" - u smislu da je pisao jednostavno i hladnokrvno, vje拧to izbjegavaju膰i dodir etike i estetike, prepu拧taju膰i 膷itaocima da donose sudove, a tek na kraju daju膰i malo odu拧ka svojoj ljudskoj i kontemplativnoj strani. Ono po 膷emu se "Besudbinstvo" u pripovjeda膷kom smislu razlikuje od pomenutih djela, jeste to 拧to je napisano iz ugla djeteta. Pisac je u potpunosti isklju膷io sva ona saznanja do kojih 膰e do膰i u zrelijim godinama i sve emocionalne tunele kroz koje 膰e kasnije prolaziti, prenose膰i 膷itaocu samo one utiske kojima je svijest njegovog fiktivnog junaka bila zapljuskivana u trenucima kada su se svi ti doga膽aji odvijali pred njim.
Rekao bih da ovo nije toliko pri膷a o logoru samom, niti je to na prvom mjestu potreba da se 膷itaocima predo膷i 拧ta su sve Jevreji tamo pro啪ivljavali - postoje tone takvih knjiga i bez ove Kertesove - nego je pisac, u skladu sa svojom umjetni膷kom prirodom, poku拧ao da prije svega sebi, a onda i drugima, na jedan dublji na膷in rasvijetli neprebol i vivisecira 啪ig koji 膰e nositi do kraja 啪ivota. Ipak, logora拧ko iskustvo nije jedno od onih iskustava, gdje se jednom knjigom ili pjesmom stavi ta膷ka i krene dalje: Kertes se nikada nije oslobodio svog 啪iga i nikada nije prestao pisati o njemu. U tom smislu su posebno upe膷atljive scene u kojima se prikazuje povratak u Budimpe拧tu i opisuje susret sa ljudima koji su mu nekada bili tako bliski, a koje nikada vi拧e ne膰e mo膰i gledati istim o膷ima; trenuci u kojima postaje svijestan da njegov svijet nikada vi拧e ne膰e biti isti, jer nastojanja drugih da sve zaborave i da se opet sve vrati na staro i njegova nesposobnost, ne da oprosti, nego da prihvati svoj boravak u logoru kao ne膷iju gre拧ku i da ga naprosto izbri拧e iz sje膰anja, stvaraju nepremostivi jaz izme膽u njega i okoline (tu bi se mogle povu膰i jake paralele sa Ki拧ovom dramom "No膰 i magla").
Jo拧 jedna va啪na crta ovog romana jeste i apsurdnost. Kertes je 膷esto isticao sopstvena anacionalna i arelegiozna stanovi拧ta (膷ak nije poznavao ni hebrejski jezik), pa mu je dolaskom u logor prakti膷no nametnut sasvim nov identitet: "U stanju sam da shvatim jevrejstvo kao simbol, kao 啪ivotnu situaciju, kao eti膷ki zadatak; da u njemu vidim mogu膰nost spoznavanja, visoku 拧kolu pre啪ivljavanja potla膷enosti, moderne bijede, izop拧tenosti. Ali, jevrejstvo kao narod, kao religija, kao istorija - 拧ta ja imam sa tim?" Da sumiramo: Ma膽ari ga deportovali, Njemci ga zlostavljali, a mnogi Jevreji ga ignorisali - tako prolaze oni koji nikome ne pripadaju.
Nije isklju膷eno da mi trenutno nedostaje odre膽ena vrsta estetskog senzibiliteta za jednu ovakvu knjigu i da 膰u kroz nekoliko godina imati puno bolje mi拧ljenje o ovom romanu.
Za kraj, preporu膷ujem svima koji su 膷itali ovaj roman, da pro膷itaju i "Dnevnik galiota" (meni puno dra啪a knjiga) u kome se Kertes na nekoliko mjesta osvr膰e na "Besudbinstvo", razja拧njavaju膰i njegove 膷vorove na vrlo zanimljiv na膷in. Evo jednog stra拧no bitnog odlomka odatle:
"艩ta nazivam sudbinom? U svakom slu膷aju, mogu膰nost tragedije. Spolja拧nja determinacija, me膽utim, ona stigma koja sabija na拧 啪ivot u jednu od situacija datog totalitarizma, djeluje kao zapreka: ako, dakle, na nas odmjerenu determinaciju do啪ivljavamo u punoj mjeri kao stvarnost, umjesto nu啪nosti koja slijedi iz vlastite - relativne - slobode, to ja nazivam besudbinstvom.
Bitno je da na拧a determinacija bude uvijek u suprotnosti s na拧im prirodnim shvatanjima, na拧im sklonostima, na taj na膷in nastaje besudbinstvo u svom naj膷istijem obliku.
Odbrana mo啪e da bude dvojaka: preobra啪avamo se u vlastitu determinaciju (u stonogu Franca Kafke), takore膰i dobrovoljno, poku拧av拧i da na taj na膷in pretvorimo na拧u determinaciju u vlastitu sudbinu; ili 膰emo se pobuniti protiv nje i tako postati 啪rtva svoje determinacije. Ni jedna varijanta nije, zapravo, zadovoljavaju膰e rje拧enje: naime, u oba slu膷aja bili smo prinu膽eni da svoju determinaciju shvatimo kao stvarnost (dakle, kao jednu u potpunosti spolja nametnutu samovolju koju moramo prihvatiti kao ne拧to posve prirodno, znaju膰i pri svemu tome da je ona teoretski podre膽ena na拧oj ljudskoj mo膰i, i da jo拧 nismo u stanju, nemamo takvu mo膰 da je promijenimo), dok determiniraju膰a sila, ta besmislena mo膰, posve jednostavno trijumfuje nad nama: pronalazi za nas ime, koje nije na拧e ime, i pretvara nas u svoj predmet, premda smo ro膽eni za ne拧to drugo."
April 7, 2014
I read Fatelessness for the first time not long after Kert茅sz won the Nobel Prize, and without knowing much about Hungarian history or Hungarian writers. I will admit, I was mystified by its tone, which veered back and forth between a disarming intimacy (where the reader is invited to share the naive perspective of the 15-year-old narrator, Gyorgy, on his experiences in the lagers) and the ironic detachment of the narrator's adult self. It was more layered than a work of witness testimony, such as Primo Levi's first book, If This Is a Man, yet less "literary" than Elie Wiesel's Night.
The book left a bitter taste in my mouth, reminding me of how I felt after reading Tadeusz Borowski鈥檚 This Way for the Gas, Ladies and Gentlemen or some of the essays in Jean Am茅ry's unsettling collection, At the Mind's Limits. Behind Gyorgy's naivet茅 is quite a bit of rage--not unwarranted, mind you--but it's directed everywhere, almost at random.
At one point Gyorgy describes Buchenwald as if he were writing a tourist brochure:
I also see Kert茅sz in dialogue with Sartre, who claimed, in Anti-Semite and Jew that the Jew is wholly defined by others. Although he wore the yellow star and was persecuted on account of his (supposed) race, Gyorgy does not feel Jewish. The devout, Yiddish-speaking Jews in the lager consider him a goy, he thinks of himself as a Hungarian. And yet, he will not deny his Jewish heritage now that he has been punished for it. Another statement by Levi comes to mind: "They [the Nazis] sewed the Star of David on me, and not only onto my clothes."
But the underlying dialogue in Fatelessness is with Communism. The Stalinist regime under which Kert茅sz came of age, with its torturers, its secret prisons and work camps, its network of informers and the pervasive atmosphere of fear, resembled the world into which Kert茅sz himself was thrust at age fifteen.
鈥淚t revived the tastes of Auschwitz,鈥� he said in an interview in Haaretz, allowing him to understand as an adult what he experienced as a child.
I'm still pondering this book, and will have more to say about it when I review the film version (Kert茅sz wrote the screenplay) in my monthly column for 3 Quarks Daily. But I've read so many wonderful reviews by my friends here lately that I wanted to offer something in return.
The book left a bitter taste in my mouth, reminding me of how I felt after reading Tadeusz Borowski鈥檚 This Way for the Gas, Ladies and Gentlemen or some of the essays in Jean Am茅ry's unsettling collection, At the Mind's Limits. Behind Gyorgy's naivet茅 is quite a bit of rage--not unwarranted, mind you--but it's directed everywhere, almost at random.
"Have you come from Germany, son?" "Yes." "From the concentration camps?" "Naturally." "Which one?" "Buchenwald." Yes, he had heard of it; he knew it was "one of the pits of the Nazi hell," as he put it. "Where did they carry you off from?" "From Budapest." "How long were you there?" "A year in total." "You must have seen a lot, young fellow, a lot of terrible things," he rejoined, but I said nothing. "Still," he continued, "the main thing is that it's over, in the past," and, his face brightening, he gestured to the houses that we happened to be rumbling past and inquired what I was feeling now, back home again and seeing the city that I had left. "Hatred," I told him.Now I know more, and it strikes me that Kert茅sz is in dialogue with all the writers I've mentioned. He's picking up Levi's statement about Auschwitz--"Here there is no why,"--but Kert茅sz doesn't leave it there. Gyorgy insists on trying to see things from the point of view of his persecutors. He is too weak to work, which "understandably" irritates the guards. He must smell disgusting, having diarrhea. The lice must eat too, how can he blame them for feasting on him? Naturally he had been starved and beaten.
At one point Gyorgy describes Buchenwald as if he were writing a tourist brochure:
Buchenwald lies on the crest of one of the elevations in a region of hills and dales. Its air is clear, the countryside varied, with woods all around and the red-tiled roofs of the village houses in the valleys down below delightful to the eye. The bathhouse is situated off to the left. The prisoners are mostly friendly, though somehow in a different way than in Auschwitz.Heavily ironic, to be sure, but the reader understands that the fifteen-year-old narrator wants desperately to believe that he has come to a better place and, strange as it sounds, he has a favorite moment, dusk, when he is at peace with his surroundings.
I also see Kert茅sz in dialogue with Sartre, who claimed, in Anti-Semite and Jew that the Jew is wholly defined by others. Although he wore the yellow star and was persecuted on account of his (supposed) race, Gyorgy does not feel Jewish. The devout, Yiddish-speaking Jews in the lager consider him a goy, he thinks of himself as a Hungarian. And yet, he will not deny his Jewish heritage now that he has been punished for it. Another statement by Levi comes to mind: "They [the Nazis] sewed the Star of David on me, and not only onto my clothes."
But the underlying dialogue in Fatelessness is with Communism. The Stalinist regime under which Kert茅sz came of age, with its torturers, its secret prisons and work camps, its network of informers and the pervasive atmosphere of fear, resembled the world into which Kert茅sz himself was thrust at age fifteen.
鈥淚t revived the tastes of Auschwitz,鈥� he said in an interview in Haaretz, allowing him to understand as an adult what he experienced as a child.
I'm still pondering this book, and will have more to say about it when I review the film version (Kert茅sz wrote the screenplay) in my monthly column for 3 Quarks Daily. But I've read so many wonderful reviews by my friends here lately that I wanted to offer something in return.
April 18, 2018
Ba艧谋ndan ge莽en b枚yle bir tecr眉beyi bu kadar donuk , bu kadar s谋radan bir hikayeymi艧 gibi anlatabilmesi beni 莽ok 艧a艧谋rtt谋. 脺zerinde d眉艧眉nd眉k莽e, ba艧谋ndan ge莽enleri y谋llar sonra art谋k olgun bir birey olarak yaz谋yor gibi de臒il de , toplama kamplar谋na d眉艧t眉臒眉 ve bir y谋l ge莽irdi臒i 16 ya艧谋ndaki halindeki g枚zlemlerini, o ya艧谋n谋n verdi臒i bak谋艧 a莽谋s谋yla anlatmak istedi臒i kan谋s谋na vard谋m. Yani oldu臒u gibi , fazladan ac谋nd谋rmaya gerek duymadan ve zaten 莽ok ac谋 olan an谋lar谋n谋n inand谋r谋c谋l谋k kazanmas谋 i莽in ekstra bir 莽aba harcamadan. K谋rm谋z谋n谋n k谋rm谋z谋 oldu臒una inand谋rmak i莽in k谋pk谋rm谋z谋 demeden yani.
Ba艧larda s谋radan bir 2. D眉nya Sava艧谋 zulm眉 gibi ba艧lasa da son 10 -15 sayfal谋k k谋sm谋 diyebilece臒imiz son b枚l眉m眉nden kitap ezber bozan bir duru艧 sergiliyor ve kitab谋n ad谋n谋 ta艧谋yan kadersizli臒in as谋l su莽lular谋n谋 ar谋yor. 脺stelik bunu hen眉z bir ergenken yap谋yor.
Ba艧larda s谋radan bir 2. D眉nya Sava艧谋 zulm眉 gibi ba艧lasa da son 10 -15 sayfal谋k k谋sm谋 diyebilece臒imiz son b枚l眉m眉nden kitap ezber bozan bir duru艧 sergiliyor ve kitab谋n ad谋n谋 ta艧谋yan kadersizli臒in as谋l su莽lular谋n谋 ar谋yor. 脺stelik bunu hen眉z bir ergenken yap谋yor.
September 30, 2016
"even in Auschwitz, it seems, it is possible to be bored鈥攁ssuming one is privileged."
IK was in concentration camp himself for a year at an age of around 15 and this novel is semi-autobiographical. Instead of usual double-quotation marks, the protagonist is using reported speech which seems to make the whole thing read more like a confession than a novel. Such things might seem as defects at first sight but, as in case of 'The Bell Jar', they just serve to show how difficult it is for a suffering soul to give their experience a popular form. May be novel as an art is still developing. The author also discussed the difficulty faced in this transition in his Nobel prize accepting speech too.
Another thing worth noticing in the speech was that IK used the pronoun 'we' while discussing what brought Holocausts. He refused to think of it as something brought down on people by some outlandish demons that probably won't happen again. And let us face it - we are still very much the same people who gave power to Nazis, we still love psychopaths, we still vote according to whom we hate and we still need scapegoats and easily learn to hate first the things we wish to harm:
"Somehow, from his angry look and his deft sleight of hand, I suddenly understood why his train of thought would make it impossible to abide Jews, for otherwise he might have had the unpleasant feeling that he was cheating them."
What makes this book stand out is that it is not the big atrocities like ones showed in Schindler's Camp that are described in detail but rather the general experience - not only boredom but amid never ending hunger constantly stocking his consciousness, injuries, suicidal thoughts camps there were still happy moments:
" 鈥�...I would like to live a little bit longer in this beautiful concentration camp.鈥�
Another thing, and one that I like to see in protagonists, is the kafkaesque efforts made by the fifteen-year old protagonist to understand the world around him and to speculate how it come out to be such - how they must have come up with all those ideas to make such a brilliant camp. His position is further worsened and made absurd by his lack of significant desire to identify himself as a Jew. He isn't very religious (" I yearned more for sleep than prayers") and doesn't know Hebrew - this attracts disgust from some of his fellow prisoners who claim that he is no Jew. At one point, he retorts by calling one of them 'lousy Jew'.
And yet, it is because he is a Jew, he is forced to suffer. The whole novel is about his coming to terms with his fate. In the very beginning, he gives an impression as if he is an outsider (like those Kafka characters) who is suddenly made to accept a role he doesn't understand:
"You too," he said, "are now a part of the shared Jewish fate,"
In the end, he does come to terms with it - and, no it didn't mean to forget the whole thing as a bad incidence in his life (a whole year)
" we can never start a new life, only ever carry on the old one."
Nor he would be pittied, but still he is sure he will find happinness:
" I already know there will be happiness. For even there, next to the chimneys, in the intervals between the torments, there was something that resembled happiness. Everyone asks only about the hardships and the "atrocities," whereas for me perhaps it is that experience which will remain the most memorable. Yes, the next time I am asked, I ought to speak about that, the happiness of the concentration camps."
June 29, 2023
"At the age of 14 Georg Koves is plucked from his home in a Jewish section of Budapest and without any particular malice, placed on a train to Auschwitz. He does not understand the reason for his fate. He doesn鈥檛 particularly think of himself as Jewish. And his fellow prisoners, who decry his lack of Yiddish, keep telling him, 鈥淵ou are no Jew.鈥�
Thought this was a terrific book.
February 25, 2022
Bewegend und teilweise hart an der Grenze des Ertr盲glichen. Zu Recht ausgezeichnet!
January 20, 2020
螖蔚魏伪蟺蔚谓蟿维蟻畏蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 苇渭蔚喂谓蔚 蠁蠀位伪魏喂蟽渭苇谓慰蟼 苇谓伪 蠂蟻蠈谓慰 蟽蟿伪 纬蔚蟻渭伪谓喂魏维 蟽蟿蟻伪蟿蠈蟺蔚未伪. 螕谓蠋蟻喂蟽伪 魏伪喂 尾委蠅蟽蔚 蟿畏 蠁蟻委魏畏 蟿慰蠀蟼. 螌位伪 伪蠀蟿维 未委魏畏谓 谓蟿慰魏慰蠀渭苇谓蟿慰 魏伪蟿伪纬蟻维蠁慰谓蟿伪喂 蟽蟿慰 尾喂尾位委慰. 螠喂伪 伪魏蠈渭伪 蟿蟻伪纬喂魏萎 魏伪蟿维胃蔚蟽畏 蠄蠀蠂萎蟼 蟿蠅谓 魏伪蟿伪谓伪纬魏伪蟽蟿喂魏蠋谓 蟽蟿蟻伪蟿慰蟺苇未蠅谓.
August 13, 2015
螒谓慰蟻胃蠈未慰尉慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 伪喂蟻蔚蟿喂魏蠈 胃伪 苇位蔚纬蔚 魏伪谓蔚委蟼.
螚 纬蟻伪蠁萎 蟿慰蠀 螝苇蟻蟿蔚蟼 渭慰蠀 维蟻蔚蟽蔚 蟺慰位蠉. 4,5 伪蟽蟿蔚蟻维魏喂伪 纬喂伪 蟿畏谓 伪魏蟻委尾蔚喂伪.
螚 纬蟻伪蠁萎 蟿慰蠀 螝苇蟻蟿蔚蟼 渭慰蠀 维蟻蔚蟽蔚 蟺慰位蠉. 4,5 伪蟽蟿蔚蟻维魏喂伪 纬喂伪 蟿畏谓 伪魏蟻委尾蔚喂伪.
January 6, 2018
賰賱 丕賱兀賱賲 丕賱匕賷 賷氐賳毓賴 丕賱賰丕鬲亘 亘丕丨鬲乇丕賮 賮匕 賱賱丿乇噩丞 丕賱鬲賷 丕亘賰丕賳賷 賮賷賴丕 賵賴賵 賷乇賵賷 乇賵丕賷鬲賴 毓賳 丕賱賲丨乇賯丞 丕賱賳丕夭賷丞 賱賱賷賴賵丿 賷丿賮毓賳賷 賱賱鬲賮賰賷乇 賮賷 毓丿丿 丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲丨賰賷 亘氐丿賯 賲毓丕賳丕丞 丕賱賮賱爻胤賷賳賷賷賳 賵賯囟賷鬲賴賲 賵賴賱 鬲乇噩賲鬲 賱賱睾丕鬲 兀禺乇賶責賱賵 賰賳丕 賮毓賱賳丕 兀賱賷爻鬲 賴匕賴 亘兀氐丿賯 賲賯丕賵賲丞 兀賷賴丕 丕賱賰購鬲賾丕亘 丕賱毓乇亘責
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