What do you think?
Rate this book
New York Trilogy #1-3
螚 蟿蟻喂位慰纬委伪 蟿畏蟼 螡苇伪蟼 违蠈蟻魏畏蟼
螆谓伪蟼 渭蠀胃喂蟽蟿慰蟻喂慰纬蟻维蠁慰蟼 蟺慰蠀 纬蟻维蠁蔚喂 伪蟽蟿蠀谓慰渭喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼 渭蔚 蠄蔚蠀未蠋谓蠀渭慰 伪蟺慰蠁伪蟽委味蔚喂 谓伪 蟺伪蟻伪蟽蟿萎蟽蔚喂 蟿慰谓 -维纬谓蠅蟽蟿蠈 蟿慰蠀- 谓蟿蔚蟿苇魏蟿喂尾 Paul Auster. 螝伪蟿维 蟿畏 未喂维蟻魏蔚喂伪 蟿畏蟼 苇蟻蔚蠀谓维蟼 蟿慰蠀, 蟺伪蟻伪魏慰位慰蠀胃蔚委 苇谓伪谓 畏位喂魏喂蠅渭苇谓慰 魏蠉蟻喂慰 -蠂蠅蟻委蟼 谓伪 蔚委谓伪喂 尾苇尾伪喂慰蟼 蠈蟿喂 蟺蟻维纬渭伪蟿喂 蟺蟻蠈魏蔚喂蟿伪喂 纬喂鈥� 伪蠀蟿蠈谓 蟺慰蠀 胃伪 苇蟺蟻蔚蟺蔚 谓伪 蟺伪蟻伪魏慰位慰蠀胃蔚委- 蟽蟿喂蟼 尾蠈位蟿蔚蟼 蟿慰蠀 蟽蟿畏 螡苇伪 违蠈蟻魏畏, 魏伪喂 蟽畏渭蔚喂蠋谓蔚喂 渭蔚 蟺蟻慰蟽慰蠂萎 蟿喂蟼 未喂伪未蟻慰渭苇蟼 蟿慰蠀 纬喂伪 谓伪 未喂伪尾维蟽蔚喂 蟿慰 渭萎谓蠀渭伪 蟺慰蠀 纬蟻维蠁慰蠀谓 蟿伪 尾萎渭伪蟿伪 蟿慰蠀 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚谓慰蠀. 违蟺维蟻蠂蔚喂, 蠈渭蠅蟼, 蟺蟻维纬渭伪蟿喂 魏维蟺慰喂慰 渭萎谓蠀渭伪 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 未喂伪未蟻慰渭苇蟼 萎 渭萎蟺蠅蟼 慰 谓蟿蔚蟿苇魏蟿喂尾-蟺慰蠀-未蔚谓-蔚委谓伪喂-谓蟿蔚蟿苇魏蟿喂尾 未喂伪尾维味蔚喂 蠈蟺蠅蟼 胃苇位蔚喂 蟿蠀蠂伪委蔚蟼 纬蟻伪渭渭苇蟼 魏伪喂 蟽蠂萎渭伪蟿伪; 螘魏蟿蠈蟼 魏喂 伪谓 伪蟻魏蔚委 伪蠀蟿萎 蟿慰蠀 畏 伪谓维纬谓蠅蟽畏 纬喂伪 谓伪 蟺维蠄慰蠀谓 慰喂 纬蟻伪渭渭苇蟼 谓伪 蔚委谓伪喂 蟿蠀蠂伪委蔚蟼.
危蟿畏谓 蟺喂慰 蟽蠀渭尾伪蟿喂魏萎 蟿畏蟼 蔚魏未慰蠂萎, 畏 谓慰蠀维蟻 喂蟽蟿慰蟻委伪 苇蠂蔚喂 魏伪胃伪蟻维 未喂伪蟿蠀蟺蠅渭苇谓伪 蔚蟻蠅蟿萎渭伪蟿伪 -魏蟻蠀渭渭苇谓伪 蟽蟿畏谓 魏维蟺谓伪, 苇蟽蟿蠅- 蟺慰蠀 蔚谓蟿苇位蔚喂 尾蟻委蟽魏慰蠀谓 伪蟺维谓蟿畏蟽畏- 魏伪喂 慰喂 萎蟻蠅蔚蟼 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 位喂纬蠈蟿蔚蟻慰 萎 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟺慰位蠉蟺位慰魏慰喂, 蟽维蟻魏喂谓慰喂 萎 蠂维蟻蟿喂谓慰喂, 蟺维谓蟿蠅蟼 畏 蟿伪蠀蟿蠈蟿畏蟿维 蟿慰蠀蟼 -蟺伪蟻维 蟿喂蟼 蔚魏维蟽蟿慰蟿蔚 渭蔚蟿伪渭蠁喂苇蟽蔚喂蟼, 伪蟺慰蟽喂蠅蟺萎蟽蔚喂蟼, 蠀蟺蔚魏蠁蠀纬苇蟼, 蟺伪蟻维 蟿伪 蠈蟺慰喂伪 蟿蔚蠂谓维蟽渭伪蟿伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪- 蔚委谓伪喂 魏伪胃伪蟻萎 萎 尉蔚魏伪胃伪蟻委味蔚喂 蠈蟿伪谓 蟺喂伪 蠁蟿维谓慰蠀渭蔚 蟽蟿慰 蟿苇位慰蟼: 蟽蟿畏 胃苇蟽畏 蟿慰蠀 伪纬谓蠋蟽蟿慰蠀 围 渭蟺伪委谓蔚喂 苇谓伪 蟺蟻蠈蟽蠅蟺慰. 危蟿畏谓 慰蟽蟿蔚蟻喂魏萎 蔚魏未慰蠂萎 蟿慰蠀 谓慰蠀维蟻, 慰喂 蟽蠀谓畏胃喂蟽渭苇谓蔚蟼 蔚蟻蠅蟿萎蟽蔚喂蟼 未蔚谓 蟺伪委蟻谓慰蠀谓 伪蟺维谓蟿畏蟽畏 -未蔚谓 蔚委谓伪喂 魏伪谓 慰喂 魏伪蟿维位位畏位蔚蟼 蔚蟻蠅蟿萎蟽蔚喂蟼, 伪蠀蟿苇蟼 蟺慰蠀 蔚谓未喂伪蠁苇蟻慰蠀谓 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪- 蟿慰 芦蟺慰喂慰蟼 蟿慰 苇魏伪谓蔚;禄 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 芦蟿喂 蟽畏渭伪委谓蔚喂 蟺慰喂慰蟼;禄- 魏喂 委蟽蠅蟼 魏喂 伪蠀蟿蠈蟼 蟺慰蠀 蟻蠅蟿维蔚喂 谓伪 蔚委谓伪喂 慰 委未喂慰蟼 苇谓伪 蔚蟻蠅蟿畏渭伪蟿喂魏蠈. 螠蔚 维位位伪 位蠈纬喂伪, 蔚未蠋 蟿慰 渭蠀蟽蟿萎蟻喂慰 蔚委谓伪喂 畏 委未喂伪 畏 魏伪蟻未喂维 蟿畏蟼 蠉蟺伪蟻尉畏蟼 -魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀, 畏 伪谓伪味萎蟿畏蟽畏 蟿畏蟼 位蠉蟽畏蟼 蟽蠀谓蔚蠂委味蔚蟿伪喂 蟺慰位蠉 渭蔚蟿维 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟽蔚位委未伪.
螆蟿蟽喂, 伪魏蠈渭伪 魏伪喂 畏 螡苇伪 违蠈蟻魏畏, 蟽蠂蔚未蠈谓 渭蠈谓喂渭慰 蠁蠈谓蟿慰 蟽蟿慰 苇蟻纬慰 蟿慰蠀 Auster, 蔚委谓伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 渭喂伪 伪蟺蔚喂魏蠈谓喂蟽畏 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏萎蟼 蟺蠈位畏蟼, 苇谓伪 蟽魏畏谓喂魏蠈, 魏伪喂 苇谓伪 blue screen: 渭喂伪 蟻蔚蠀蟽蟿萎 蟺蠈位畏 纬喂伪 蟻蔚蠀蟽蟿慰蠉蟼 伪谓胃蟻蠋蟺慰蠀蟼 蟺慰蠀 魏位蔚喂未蠋谓慰谓蟿伪喂 蟽蔚 魏维蟺慰喂慰 伪蟺蠈 蟿伪 伪谓伪蟻委胃渭畏蟿伪 未蠅渭维蟿喂维 蟿畏蟼 萎 蟺慰蠀 蟺伪蟻伪魏慰位慰蠀胃慰蠉谓 慰 苇谓伪蟼 蟿慰谓 维位位慰谓 魏慰蟻谓喂味蠅渭苇谓慰喂 蟽蔚 伪谓蟿喂魏蟻喂蟽蟿维 蟺伪蟻维胃蠀蟻伪, 蠂蠅蟻委蟼 蟿蔚位喂魏维 谓伪 尉苇蟻慰蠀谓 蟺慰喂慰蟼 蟺伪蟻伪魏慰位慰蠀胃蔚委 蟺慰喂慰谓 -苇谓伪 蟽蠉蟽蟿畏渭伪 伪蟿蔚位蔚委蠅蟿蠅谓 伪谓蟿喂魏伪蟿慰蟺蟿蟻喂蟽渭蠋谓- 苇谓伪蟼 魏伪渭尾维蟼 纬蔚渭维蟿慰蟼 蟽蠂萎渭伪蟿伪 纬喂伪 蟿伪 慰蟺慰委伪 未蔚谓 渭蟺慰蟻蔚委蟼 谓伪 蔚委蟽伪喂 蟽委纬慰蠀蟻慰蟼 蠈蟿喂 未蔚谓 蔚委谓伪喂 蟿蠀蠂伪委蔚蟼 纬蟻伪渭渭苇蟼 蟺慰蠀 蟿喂蟼 未喂伪尾维味蔚喂蟼 蟽伪谓 蟽蠂萎渭伪蟿伪, 蠈蟺蠅蟼 慰 谓蟿蔚蟿苇魏蟿喂尾-蟺慰蠀-未蔚谓-蔚委谓伪喂-谓蟿蔚蟿苇魏蟿喂尾.
危蟿畏谓 蟺喂慰 蟽蠀渭尾伪蟿喂魏萎 蟿畏蟼 蔚魏未慰蠂萎, 畏 谓慰蠀维蟻 喂蟽蟿慰蟻委伪 苇蠂蔚喂 魏伪胃伪蟻维 未喂伪蟿蠀蟺蠅渭苇谓伪 蔚蟻蠅蟿萎渭伪蟿伪 -魏蟻蠀渭渭苇谓伪 蟽蟿畏谓 魏维蟺谓伪, 苇蟽蟿蠅- 蟺慰蠀 蔚谓蟿苇位蔚喂 尾蟻委蟽魏慰蠀谓 伪蟺维谓蟿畏蟽畏- 魏伪喂 慰喂 萎蟻蠅蔚蟼 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 位喂纬蠈蟿蔚蟻慰 萎 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟺慰位蠉蟺位慰魏慰喂, 蟽维蟻魏喂谓慰喂 萎 蠂维蟻蟿喂谓慰喂, 蟺维谓蟿蠅蟼 畏 蟿伪蠀蟿蠈蟿畏蟿维 蟿慰蠀蟼 -蟺伪蟻维 蟿喂蟼 蔚魏维蟽蟿慰蟿蔚 渭蔚蟿伪渭蠁喂苇蟽蔚喂蟼, 伪蟺慰蟽喂蠅蟺萎蟽蔚喂蟼, 蠀蟺蔚魏蠁蠀纬苇蟼, 蟺伪蟻维 蟿伪 蠈蟺慰喂伪 蟿蔚蠂谓维蟽渭伪蟿伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪- 蔚委谓伪喂 魏伪胃伪蟻萎 萎 尉蔚魏伪胃伪蟻委味蔚喂 蠈蟿伪谓 蟺喂伪 蠁蟿维谓慰蠀渭蔚 蟽蟿慰 蟿苇位慰蟼: 蟽蟿畏 胃苇蟽畏 蟿慰蠀 伪纬谓蠋蟽蟿慰蠀 围 渭蟺伪委谓蔚喂 苇谓伪 蟺蟻蠈蟽蠅蟺慰. 危蟿畏谓 慰蟽蟿蔚蟻喂魏萎 蔚魏未慰蠂萎 蟿慰蠀 谓慰蠀维蟻, 慰喂 蟽蠀谓畏胃喂蟽渭苇谓蔚蟼 蔚蟻蠅蟿萎蟽蔚喂蟼 未蔚谓 蟺伪委蟻谓慰蠀谓 伪蟺维谓蟿畏蟽畏 -未蔚谓 蔚委谓伪喂 魏伪谓 慰喂 魏伪蟿维位位畏位蔚蟼 蔚蟻蠅蟿萎蟽蔚喂蟼, 伪蠀蟿苇蟼 蟺慰蠀 蔚谓未喂伪蠁苇蟻慰蠀谓 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪- 蟿慰 芦蟺慰喂慰蟼 蟿慰 苇魏伪谓蔚;禄 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 芦蟿喂 蟽畏渭伪委谓蔚喂 蟺慰喂慰蟼;禄- 魏喂 委蟽蠅蟼 魏喂 伪蠀蟿蠈蟼 蟺慰蠀 蟻蠅蟿维蔚喂 谓伪 蔚委谓伪喂 慰 委未喂慰蟼 苇谓伪 蔚蟻蠅蟿畏渭伪蟿喂魏蠈. 螠蔚 维位位伪 位蠈纬喂伪, 蔚未蠋 蟿慰 渭蠀蟽蟿萎蟻喂慰 蔚委谓伪喂 畏 委未喂伪 畏 魏伪蟻未喂维 蟿畏蟼 蠉蟺伪蟻尉畏蟼 -魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀, 畏 伪谓伪味萎蟿畏蟽畏 蟿畏蟼 位蠉蟽畏蟼 蟽蠀谓蔚蠂委味蔚蟿伪喂 蟺慰位蠉 渭蔚蟿维 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟽蔚位委未伪.
螆蟿蟽喂, 伪魏蠈渭伪 魏伪喂 畏 螡苇伪 违蠈蟻魏畏, 蟽蠂蔚未蠈谓 渭蠈谓喂渭慰 蠁蠈谓蟿慰 蟽蟿慰 苇蟻纬慰 蟿慰蠀 Auster, 蔚委谓伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 渭喂伪 伪蟺蔚喂魏蠈谓喂蟽畏 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏萎蟼 蟺蠈位畏蟼, 苇谓伪 蟽魏畏谓喂魏蠈, 魏伪喂 苇谓伪 blue screen: 渭喂伪 蟻蔚蠀蟽蟿萎 蟺蠈位畏 纬喂伪 蟻蔚蠀蟽蟿慰蠉蟼 伪谓胃蟻蠋蟺慰蠀蟼 蟺慰蠀 魏位蔚喂未蠋谓慰谓蟿伪喂 蟽蔚 魏维蟺慰喂慰 伪蟺蠈 蟿伪 伪谓伪蟻委胃渭畏蟿伪 未蠅渭维蟿喂维 蟿畏蟼 萎 蟺慰蠀 蟺伪蟻伪魏慰位慰蠀胃慰蠉谓 慰 苇谓伪蟼 蟿慰谓 维位位慰谓 魏慰蟻谓喂味蠅渭苇谓慰喂 蟽蔚 伪谓蟿喂魏蟻喂蟽蟿维 蟺伪蟻维胃蠀蟻伪, 蠂蠅蟻委蟼 蟿蔚位喂魏维 谓伪 尉苇蟻慰蠀谓 蟺慰喂慰蟼 蟺伪蟻伪魏慰位慰蠀胃蔚委 蟺慰喂慰谓 -苇谓伪 蟽蠉蟽蟿畏渭伪 伪蟿蔚位蔚委蠅蟿蠅谓 伪谓蟿喂魏伪蟿慰蟺蟿蟻喂蟽渭蠋谓- 苇谓伪蟼 魏伪渭尾维蟼 纬蔚渭维蟿慰蟼 蟽蠂萎渭伪蟿伪 纬喂伪 蟿伪 慰蟺慰委伪 未蔚谓 渭蟺慰蟻蔚委蟼 谓伪 蔚委蟽伪喂 蟽委纬慰蠀蟻慰蟼 蠈蟿喂 未蔚谓 蔚委谓伪喂 蟿蠀蠂伪委蔚蟼 纬蟻伪渭渭苇蟼 蟺慰蠀 蟿喂蟼 未喂伪尾维味蔚喂蟼 蟽伪谓 蟽蠂萎渭伪蟿伪, 蠈蟺蠅蟼 慰 谓蟿蔚蟿苇魏蟿喂尾-蟺慰蠀-未蔚谓-蔚委谓伪喂-谓蟿蔚蟿苇魏蟿喂尾.
448 pages, Paperback
First published January 1, 1987
4,880 people are currently reading
64.4k people want to read
About the author
Paul Auster
348听books11.9k听followersPaul Auster was the bestselling author of 4 3 2 1, Bloodbath Nation, Baumgartner, The Book of Illusions, and The New York Trilogy, among many other works. In 2006 he was awarded the Prince of Asturias Prize for Literature. Among his other honors are the Prix M茅dicis 脡tranger for Leviathan, the Independent Spirit Award for the screenplay of Smoke, and the Premio Napoli for Sunset Park. In 2012, he was the first recipient of the NYC Literary Honors in the category of fiction. He was also a finalist for the International IMPAC Dublin Literary Award (The Book of Illusions), the PEN/Faulkner Award (The Music of Chance), the Edgar Award (City of Glass), and the Man Booker Prize (4 3 2 1). Auster was a member of the American Academy of Arts and Letters and a Commandeur de l鈥橭rdre des Arts et des Lettres. His work has been translated into more than forty languages. He died at age seventy-seven in 2024.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 5,292 reviews
November 17, 2017
First, a brief harangue. I can't help but noticing how often the word "pretentious" has been thrown around in the reviews for this book. What a bothersome word: pretentious. It's a lot like the word "boring," in that they both seem to fool the user into thinking that they mean something objective, when in fact they're highly subjective. Nothing is inherently boring, just as nothing is inherently pretentious. On the contrary, these words say a lot more about the speaker than they do about the thing they're supposedly describing.
What does it mean, then, when someone calls a book "pretentious"? Let's dissect it. What they really seem to be saying is this: "I didn't find meaning in this book, therefore anyone who claims to have found meaning is not telling the truth." And this boils down to the following syllogism: "I am an intelligent reader; therefore anyone who is also an intelligent reader will share my opinion of this book; anyone who doesn't share my opinion, therefore, isn't an intelligent reader." A valid inference, no doubt, but hardly sound. This is because the whole argument hinges on one unavoidable fact: that by using the word "pretentious," one is implicitly assuming that they themselves are intelligent. And everyone knows that only dumb people think they're smart.
So hate on Paul Auster all you want. Say that you found his plots predictable; say that you found his characters unsympathetic; say whatever the fuck you want. But don't call his writing鈥攐r his fans鈥�"pretentious." Because that's just being lazy. And beyond that, it only makes you sound pretentious.
City of Glass:
Speaking of coincidences:
I have this loose policy that whenever I'm reading a book of fiction, I also read something non-fiction; and in this particular instance, "City of Glass" was counterbalanced by David Hofstadter鈥檚 G枚del, Escher, Bach.
Now, it is not my aim to create a sort of synchronicity between any two books I have on the go at any certain time. In this case, my non-fiction choice was based solely on the fact that the book was immediately available.
And yet, I was surprised by a number of similarities that arose between the two. First, both books explicitly mention the Tower of Babel (in fact, if you have a copy of the Penguin Deluxe Classics edition of the trilogy, they both even display artistic renderings of it). Both books also focus extensively on language鈥攊n particular, its relation to "reality." But perhaps most importantly, both explore the notion of systems (mathematical, artistic, etc.), as well as what it means to operate outside of said system.
For Hofstadter, this means the ability to interpret a system in a way that isn't explicitly contained within that system, which is a crucial tool for any mathematician (or more specifically, any meta-mathematician). And it's a crucial tool for Paul Auster the writer too. In "City of Glass," he creates a "strange loop" (Hofstadter's term) between the world captured by the narrative and the one inhabited by the reader, with no clear line between them: the boundaries between what's real and what's fiction are masterfully blurred.
Reading the novel, you almost begin to suspect that you were meant to be a character, that Auster probably viewed our world as identical (or at least isomorphic) to the one inhabited by Quinn, Stillman, et. al. And if that's not cool enough: by the end of the novel, Auster turns the tables again, and you finish feeling like every symbol of the story has to be reinterpreted, like the entire piece has undergone a semantic shift.
Brainy, deep, fun and highly recommended.
Ghosts:
Reviewing these stories without spoiling them is kind of like trying to defuse a bomb: one with a lot of colourful and potentially unnecessary trip-wires. So in order to minimize the risk, I'm going to refrain from talking about any of the specifics of "Ghosts," and instead focus on my more general impressions of the novel.
Here we are: I think it might be even better than "City of Glass." No wait, that can't be right. Because "City of Glass" was pretty fucking amazing. Really, I don't know; I was blown away by both. Indeed, it's true that harboured the fear, from the opening few pages, that the second installment of Auster's trilogy would be perhaps a little too cutesy, with the colour-names and all ("Blue, a student of Brown, has been hired by White to spy on Black..."). But I should have by then been aware that Paul Auster does everything for a reason. Or perhaps more specifically, when he does something for no reason, it's always for a good reason.
Anyways, what I'm excited for now is finding out whether or not "The Locked Room" keeps up the trend...
The Locked Room: (???)
I forget exactly where, but I believe it's in one of his letters that Plato writes, "your best ideas you don't write down" (or something to that effect). What he means, I believe, is that truth has a tendency to avoid complete linguistic formalization, that it avoids ever being "captured." This concept鈥攐r a similar one鈥攚as at the core of "City of Glass." But with "The Locked Room," Auster seems to be actually writing it, as opposed to just writing about it.
This is because it's easy to see how things like the character of Fanshawe, his assorted sub-textual works, the "locked room, etc. all map onto aspects of the novel itself. And on a more general level, this serves to comment on our notions of self-hood, language and perception(s) of reality. In this way, The New York Trilogy is a philosophy book disguised as a piece of literature. And yet that's not entirely accurate, because it's hard鈥攊f not impossible鈥攖o imagine how it's contents could be conveyed in any other form than they are here.
As Auster himself admits, the story found in "The Locked Room" is merely a facet of a larger one, one that permeates the entire trilogy. With "City of Glass," we were taken to the limits of language. "The Locked Room" performs a similar feat鈥攍ess obviously, but perhaps more significantly. Auster gives us facts and he gives us names. And from these pieces we construct entire characters: Fanshawe, the unnamed narrator, even a Peter Stillman. But what does this mean? Who is Fanshawe? We are made aware, for instance, of a stark disjunction between pre- and post-disappearance Fanshawe. But with what authority can these two men be said to be the same person? And is anyone ever really just one person?
Whenever you read a novel鈥攁lthough perhaps this one more so than most鈥攜ou are engaged in a gathering and compiling facts. You are, for all intents and purposes, a detective: picking up clues, discarding others as irrelevant. And from these, you ultimately construct a cohesive narrative, a story. If you disagree with this sentiment, just think to the Peter Stillman who appears near the end of the novel. Who can help but wonder whether or not this is in fact the same Peter Stillman as was contained within the pages of "City of Glass"? For we, as readers, cannot help but straying from the text, escaping from its finite world. We draw connections, create links. Never is the text a self-contained entity. Ever.
And Auster, it appears, has a keen understanding of this. So the question he seems to be asking is, what is the relationship between fact and fiction? Between name and thing? And when you finish the novel (both "The Locked Room" and the trilogy as a whole), you come to realize that it (the book) is forcing you to ask the very same thing of itself.
What does it mean, then, when someone calls a book "pretentious"? Let's dissect it. What they really seem to be saying is this: "I didn't find meaning in this book, therefore anyone who claims to have found meaning is not telling the truth." And this boils down to the following syllogism: "I am an intelligent reader; therefore anyone who is also an intelligent reader will share my opinion of this book; anyone who doesn't share my opinion, therefore, isn't an intelligent reader." A valid inference, no doubt, but hardly sound. This is because the whole argument hinges on one unavoidable fact: that by using the word "pretentious," one is implicitly assuming that they themselves are intelligent. And everyone knows that only dumb people think they're smart.
So hate on Paul Auster all you want. Say that you found his plots predictable; say that you found his characters unsympathetic; say whatever the fuck you want. But don't call his writing鈥攐r his fans鈥�"pretentious." Because that's just being lazy. And beyond that, it only makes you sound pretentious.
City of Glass:
Speaking of coincidences:
I have this loose policy that whenever I'm reading a book of fiction, I also read something non-fiction; and in this particular instance, "City of Glass" was counterbalanced by David Hofstadter鈥檚 G枚del, Escher, Bach.
Now, it is not my aim to create a sort of synchronicity between any two books I have on the go at any certain time. In this case, my non-fiction choice was based solely on the fact that the book was immediately available.
And yet, I was surprised by a number of similarities that arose between the two. First, both books explicitly mention the Tower of Babel (in fact, if you have a copy of the Penguin Deluxe Classics edition of the trilogy, they both even display artistic renderings of it). Both books also focus extensively on language鈥攊n particular, its relation to "reality." But perhaps most importantly, both explore the notion of systems (mathematical, artistic, etc.), as well as what it means to operate outside of said system.
For Hofstadter, this means the ability to interpret a system in a way that isn't explicitly contained within that system, which is a crucial tool for any mathematician (or more specifically, any meta-mathematician). And it's a crucial tool for Paul Auster the writer too. In "City of Glass," he creates a "strange loop" (Hofstadter's term) between the world captured by the narrative and the one inhabited by the reader, with no clear line between them: the boundaries between what's real and what's fiction are masterfully blurred.
Reading the novel, you almost begin to suspect that you were meant to be a character, that Auster probably viewed our world as identical (or at least isomorphic) to the one inhabited by Quinn, Stillman, et. al. And if that's not cool enough: by the end of the novel, Auster turns the tables again, and you finish feeling like every symbol of the story has to be reinterpreted, like the entire piece has undergone a semantic shift.
Brainy, deep, fun and highly recommended.
Ghosts:
Reviewing these stories without spoiling them is kind of like trying to defuse a bomb: one with a lot of colourful and potentially unnecessary trip-wires. So in order to minimize the risk, I'm going to refrain from talking about any of the specifics of "Ghosts," and instead focus on my more general impressions of the novel.
Here we are: I think it might be even better than "City of Glass." No wait, that can't be right. Because "City of Glass" was pretty fucking amazing. Really, I don't know; I was blown away by both. Indeed, it's true that harboured the fear, from the opening few pages, that the second installment of Auster's trilogy would be perhaps a little too cutesy, with the colour-names and all ("Blue, a student of Brown, has been hired by White to spy on Black..."). But I should have by then been aware that Paul Auster does everything for a reason. Or perhaps more specifically, when he does something for no reason, it's always for a good reason.
Anyways, what I'm excited for now is finding out whether or not "The Locked Room" keeps up the trend...
The Locked Room: (???)
I forget exactly where, but I believe it's in one of his letters that Plato writes, "your best ideas you don't write down" (or something to that effect). What he means, I believe, is that truth has a tendency to avoid complete linguistic formalization, that it avoids ever being "captured." This concept鈥攐r a similar one鈥攚as at the core of "City of Glass." But with "The Locked Room," Auster seems to be actually writing it, as opposed to just writing about it.
This is because it's easy to see how things like the character of Fanshawe, his assorted sub-textual works, the "locked room, etc. all map onto aspects of the novel itself. And on a more general level, this serves to comment on our notions of self-hood, language and perception(s) of reality. In this way, The New York Trilogy is a philosophy book disguised as a piece of literature. And yet that's not entirely accurate, because it's hard鈥攊f not impossible鈥攖o imagine how it's contents could be conveyed in any other form than they are here.
As Auster himself admits, the story found in "The Locked Room" is merely a facet of a larger one, one that permeates the entire trilogy. With "City of Glass," we were taken to the limits of language. "The Locked Room" performs a similar feat鈥攍ess obviously, but perhaps more significantly. Auster gives us facts and he gives us names. And from these pieces we construct entire characters: Fanshawe, the unnamed narrator, even a Peter Stillman. But what does this mean? Who is Fanshawe? We are made aware, for instance, of a stark disjunction between pre- and post-disappearance Fanshawe. But with what authority can these two men be said to be the same person? And is anyone ever really just one person?
Whenever you read a novel鈥攁lthough perhaps this one more so than most鈥攜ou are engaged in a gathering and compiling facts. You are, for all intents and purposes, a detective: picking up clues, discarding others as irrelevant. And from these, you ultimately construct a cohesive narrative, a story. If you disagree with this sentiment, just think to the Peter Stillman who appears near the end of the novel. Who can help but wonder whether or not this is in fact the same Peter Stillman as was contained within the pages of "City of Glass"? For we, as readers, cannot help but straying from the text, escaping from its finite world. We draw connections, create links. Never is the text a self-contained entity. Ever.
And Auster, it appears, has a keen understanding of this. So the question he seems to be asking is, what is the relationship between fact and fiction? Between name and thing? And when you finish the novel (both "The Locked Room" and the trilogy as a whole), you come to realize that it (the book) is forcing you to ask the very same thing of itself.
August 13, 2021
(Book 219 from 1001 books) - The New York Trilogy (New York Trilogy #1-3), Paul Auster
The New York Trilogy is a series of novels by Paul Auster. Originally published sequentially as City of Glass (1985), Ghosts (1986) and The Locked Room (1986), it has since been collected into a single volume.
The first story, City of Glass, features a detective-fiction writer become private investigator who descends into madness as he becomes embroiled in a case. It explores layers of identity and reality, from Paul Auster the writer of the novel to the unnamed "author" who reports the events as reality to "Paul Auster the writer", a character in the story, to "Paul Auster the detective", who may or may not exist in the novel, to Peter Stillman the younger, to Peter Stillman the elder and, finally, to Daniel Quinn, protagonist. "City of Glass" has an intertextual relationship with Cervantes' Don Quixote. Not only does the protagonist Daniel Quinn share his initials with the knight, but when Quinn finds "Paul Auster the writer," Auster is in the midst of writing an article about the authorship of Don Quixote. Auster calls his article an "imaginative reading," and in it he examines possible identities of Cide Hamete Benengeli, the narrator of the Quixote.
The second story, Ghosts, is about a private eye called Blue, trained by Brown, who is investigating a man named Black on Orange Street for a client named White. Blue writes written reports to White who in turn pays him for his work. Blue becomes frustrated and loses himself as he becomes immersed in the life of Black.
The Locked Room is the story of a writer who lacks the creativity to produce fiction. Fanshawe, his childhood friend, has produced creative work, and when he disappears the writer publishes his work and replaces him in his family. The title is a reference to a "locked room mystery", a popular form of early detective fiction.
爻賴 诏丕賳賴 賳蹖賵蹖賵乇讴 - 倬賱 丕爻鬲乇 (丕賮賯) 丕丿亘蹖丕鬲貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 丕賵賱 丕讴鬲亘乇 爻丕賱 2010賲蹖賱丕丿蹖
毓賳賵丕賳: 爻賴 诏丕賳賴 賳蹖賵蹖賵乇讴: 爻賴 乇賲丕賳 倬爻鬲 賲丿乇賳: 卮賴乇賽 卮蹖卮賴 丕蹖貨 丕乇賵丕丨貨 丕鬲丕賯 丿乇亘爻鬲賴貨 賳賵蹖爻賳丿賴: 倬賱 丌爻鬲乇貨 賲鬲乇噩賲: 卮賴乇夭丕丿 賱賵賱丕趩蹖貨 禺噩爻鬲賴 讴蹖賴丕賳貨 鬲賴乇丕賳貙 賳卮乇 丕賮賯貨 1384貨 丿乇 455氐貨 卮丕亘讴 9643691578貨 趩丕倬 丿賵賲 1386貨 趩丕倬 爻賵賲 1387貨 趩丕倬 卮卮賲 1392貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖丕賱丕鬲 賲鬲丨丿賴 丌賲乇蹖讴丕 - 爻丿賴 20賲
賲噩賲賵毓賴 丕蹖 丕夭 爻賴 乇賲丕賳 賳賵蹖爻賳丿賴 蹖 芦倬爻鬲鈥� 賲丿乇賳禄 芦丌賲乇蹖讴丕蹖蹖禄貙 芦倬賱 丕爻鬲乇禄 丕爻鬲貨 丕蹖賳 爻賴 乇賲丕賳 讴賴 賴乇 蹖讴 丿丕爻鬲丕賳 噩賳丕蹖蹖 賵 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳蹖 賲噩夭丕蹖蹖 丕夭 賴賲 丿丕乇賳丿貙 鬲賳賴丕 亘賴 爻亘亘 賲讴丕賳 賲卮鬲乇讴貙 爻賴 诏丕賳賴 乇丕 鬲卮讴蹖賱 丿丕丿賴 丕賳丿貨 毓賳賵丕賳賴丕蹖 丕蹖賳 爻賴 乇賲丕賳貙 芦卮賴乇 卮蹖卮賴 丕蹖禄貙 芦丕乇賵丕丨禄 賵 芦丕鬲丕賯 丿乇亘爻鬲賴禄 賴爻鬲賳丿
乇賲丕賳 芦卮賴乇 卮蹖卮賴 丕蹖禄 賳賵卮鬲賴 蹖 芦倬賱 丕爻鬲乇禄 蹖讴蹖 丕夭 乇賲丕賳賴丕蹖 芦爻賴 诏丕賳賴 蹖 賳蹖賵蹖賵乇讴禄 丕爻鬲貨 丿乇 丕蹖賳 丿丕爻鬲丕賳: 芦倬爻 丕夭 蹖讴 鬲賱賮賳 毓噩蹖亘 丿乇 賳蹖賲賴 卮亘貙 丿丕賳蹖賱 讴賵蹖蹖賳 賳賵蹖爻賳丿賴 丿丕爻鬲丕賳賴丕蹖 倬賱蹖爻蹖 丿乇诏蹖乇 倬乇賵賳丿賴 丕蹖 賲蹖卮賵丿 讴賴 丕夭 鬲賲丕賲 讴鬲丕亘賴丕蹖蹖 讴賴 鬲丕 亘賴 丨丕賱 賳賵卮鬲賴 丕爻鬲 倬蹖趩蹖丿賴 鬲乇 丕爻鬲貨 丿丕賳蹖賱 讴賴 丿乇诏蹖乇 倬乇賵賳丿賴 丕爻鬲蹖賱賲賳 卮丿賴貙 鬲丕 亘賴 丌賳噩丕 倬蹖卮 賲蹖乇賵丿 讴賴 诏匕卮鬲賴 蹖 禺賵蹖卮 乇丕 賮乇丕賲賵卮貙 賵 鬲賲丕賲 賴爻鬲蹖 禺賵蹖卮 乇丕 賵賯賮 賳诏賴亘丕賳蹖 丕夭 丕爻鬲蹖賱賲賳 賲蹖讴賳丿貨
賳賯賱 賳賲賵賳賴 賲鬲賳: 芦卮亘 亘賵丿貨 乇賵蹖 鬲禺鬲 丿乇丕夭 讴卮蹖丿賴 亘賵丿貙 亘賴 氐丿丕蹖 亘丕乇丕賳 亘乇 倬賳噩乇賴 诏賵卮 賲蹖丿丕丿 賵 爻蹖诏丕乇 賲蹖讴卮蹖丿貙 丿乇 賮讴乇 亘賵丿 讴賴 亘丕乇丕賳 讴蹖 亘賳丿 賲蹖丌蹖丿 賵 氐亘丨 亘賴 倬蹖丕丿賴 乇賵蹖 胤賵賱丕賳蹖 禺賵丕賴丿 乇賮鬲貨 讴鬲丕亘 亘丕夭 卮丿賴 蹖 爻賮乇賴丕蹖 賲丕乇讴賵倬賵賱賵 乇賵蹖 亘丕賱卮 讴賳丕乇卮 亘賵丿貨 丕夭 賵賯鬲蹖 讴賴 丿賵 賴賮鬲賴 倬蹖卮 丌禺乇蹖賳 乇賲丕賳 賵蹖賱蹖丕賲 賵蹖賱爻賵賳 乇丕 鬲賲丕賲 讴乇丿賴 亘賵丿貙 賵賯鬲 诏匕乇丕賳蹖 賲蹖讴乇丿貨 乇丕賵蹖 賵 讴丕乇丌诏丕賴 丿丕爻鬲丕賳卮貙 芦賲丕讴爻 賵乇讴禄 賲毓賲丕蹖 噩賳丕蹖丕鬲 賲賮氐賱蹖 乇丕 丨賱 讴乇丿賴貙 亘丕乇賴丕 讴鬲讴 禺賵乇丿賴 賵 丿乇 賱丨馗賴 蹖 丌禺乇 噩丕賳 爻丕賱賲 亘賴 丿乇 亘乇丿賴 亘賵丿貙 賵 丕賳诏丕乇 芦讴賵卅蹖賳禄 賴賲 丕夭 鬲賱丕卮賴丕蹖 丕賵 丨爻丕亘蹖 禺爻鬲賴 卮丿賴 亘賵丿貨 芦賵乇讴禄 丿乇 胤蹖 爻丕賱賴丕 亘賴 芦讴賵卅蹖賳禄 禺蹖賱蹖 賳夭丿蹖讴 賲蹖卮丿貨 亘乇禺賱丕賮 芦賵蹖賱蹖丕賲 賵蹖賱爻賵賳禄 讴賴 賴賳賵夭 賳丕賲蹖 亘蹖卮 賳亘賵丿賴貙 芦賵乇讴禄 亘蹖卮 丕夭 倬蹖卮 亘賴 丨賯蹖賯鬲 賳夭丿蹖讴 賲蹖卮丿貨 丿乇 卮禺氐蹖鬲賴丕蹖 爻賴 诏丕賳賴 丕蹖 讴賴 芦讴賵卅蹖賳禄 倬蹖丿丕 讴乇丿賴 亘賵丿貙 芦賵蹖賱爻賵賳賽禄 蹖丕賵賴 诏賵貙 芦讴賵卅蹖賳賽禄 丌賱鬲 丿爻鬲貙 賵 芦賵乇讴禄 氐丿丕蹖 噩丕賳丿丕乇蹖 亘賵丿貙 讴賴 亘賴 鬲賲丕賲 賯囟丕蹖丕 賲毓賳蹖 賲蹖亘禺卮蹖丿貨 芦賵蹖賱爻賵賳禄 丨鬲蹖 丕诏乇 鬲賵賴賲 賴賲 亘賵丿貙 丨蹖丕鬲 丌賳 丿賵 丿蹖诏乇 乇丕 鬲賵噩蹖賴 賲蹖讴乇丿.禄貨 倬丕蹖丕賳 賳賯賱
乇賲丕賳 芦丕乇賵丕丨禄 賳賵卮鬲賴 蹖 芦倬賱 丕爻鬲乇禄貙 丿賵賲蹖賳 乇賲丕賳 讴賵鬲丕賴貙 丕夭 賲噩賲賵毓賴 蹖 爻賴 诏丕賳賴 蹖 丕蹖卮丕賳 丕爻鬲貙 讴賴 亘蹖賳 爻丕賱賴丕蹖 1985賲蹖賱丕丿蹖 鬲丕 爻丕賱 1987賲蹖賱丕丿蹖 賲賳鬲卮乇 卮丿賴 丕爻鬲貨 芦倬賱 丕爻鬲乇禄 賳賵蹖爻賳丿賴 蹖 倬爻鬲 賲丿乇賳 芦丌賲乇蹖讴丕蹖蹖禄 亘丕乇 丿蹖诏乇貙 賲丕噩乇丕蹖蹖 倬賱蹖爻蹖 賲蹖丌賮乇蹖賳丿 讴賴 丿乇 亘爻鬲乇 賳诏丕賴蹖 賮賱爻賮蹖 鬲丨賯賯 賲蹖蹖丕亘丿貨 芦丕爻鬲乇禄 賲賵賯毓蹖鬲賴丕蹖 禺賱丕賯丕賳賴 丕蹖 乇丕貙 丿乇 乇賵賳丿 丿丕爻鬲丕賳 倬蹖卮 賲蹖诏蹖乇丿貨 丕賵 賳賴 鬲賳賴丕貙 賲卮丕亘賴 丿蹖诏乇 丿丕爻鬲丕賳賴丕蹖 讴丕乇诏丕賴蹖-倬賱蹖爻蹖貙 讴丕乇丌诏丕賴 禺氐賵氐蹖 乇丕貙 亘賴 毓賳賵丕賳 賲睾夭 賲鬲賮讴乇 賲胤乇丨 賳賲蹖讴賳丿 鬲丕 賲毓賲丕蹖 丿丕爻鬲丕賳 乇丕 讴卮賮 讴賳丿貙 亘賱讴賴 丕夭 丌賳 卮禺氐蹖鬲蹖 賲蹖丌賮乇蹖賳丿貙 讴賴 賴賲夭賲丕賳貙 亘丕賴賵卮貙 賵 亘丕 丿乇丕蹖鬲 丕爻鬲貙 禺賵丿 丕賵 賳蹖夭 氐乇賮丕 亘賴 噩夭卅蹖 丕夭 賲丕噩乇丕蹖 賲毓賲丕 亘丿賱 卮丿賴貙 賵 丿乇 丌賳 丨賱 賲蹖卮賵丿 賵 丕蹖賳诏賵賳賴 鬲乇丕跇丿蹖 丿丕爻鬲丕賳 乇丕 乇賯賲 賲蹖夭賳丿貨 丿乇 丕蹖賳 丿丕爻鬲丕賳 賮賱爻賮蹖貨 亘丕 芦丌亘蹖 (讴丕乇丕诏丕賴 禺氐賵氐蹖)禄 賲丕賴乇蹖 賲賵丕噩賴蹖賲貙 讴賴 丕夭 爻賵蹖 芦爻賮蹖丿禄 賲丕賲賵乇 賲蹖卮賵丿貙 卮禺氐蹖 亘賴 賳丕賲 芦爻蹖丕賴禄 乇丕 鬲丨鬲 賳馗乇 亘诏蹖乇丿貙 賵 賴乇 賴賮鬲賴 诏夭丕乇卮蹖 丕夭 讴丕乇賴丕蹖 丕賵 鬲賳馗蹖賲 讴賳丿貙 賵 亘乇丕蹖 芦爻賮蹖丿禄 亘賮乇爻鬲丿貨 芦丌亘蹖禄 丿乇 乇賵賳丿 賲丕賲賵乇蹖鬲 禺賵丿貙 乇賮鬲賴 乇賮鬲賴 丿乇賲蹖蹖丕亘丿 亘丕 倬乇賵賳丿賴 丕蹖 乇丕讴丿貙 賵 睾蹖乇毓丕丿蹖 賲賵丕噩賴 丕爻鬲貙 讴賴 丿乇 丌賳 賴蹖趩 乇賵蹖丿丕丿蹖 乇禺 賳賲蹖丿賴丿貨 芦爻蹖丕賴禄 賴乇 乇賵夭 倬卮鬲 賲蹖夭卮 賲蹖賳卮蹖賳丿貙 賵 賲蹖禺賵丕賳丿 賵 賲蹖賳賵蹖爻丿貨 賲丕賴賴丕 賲蹖诏匕乇賳丿 賵 芦丌亘蹖禄 丌賳賯丿乇 芦爻蹖丕賴禄 乇丕 夭蹖乇 賳馗乇 诏乇賮鬲賴貙 讴賴 丿蹖诏乇 乇賮鬲丕乇卮 卮亘蹖賴 丕賵 卮丿賴貙 賵 賳蹖丕夭蹖 亘賴 賲乇丕賯亘鬲 丕夭 丕賵貙 丿乇 禺賵丿 賳賲蹖亘蹖賳丿貨 诏夭丕乇卮賴丕 乇丕 胤亘賯 賳馗賲 賴賲蹖卮诏蹖 賲蹖賳賵蹖爻丿貙 賵 亘乇丕蹖 芦丌亘蹖禄 賲蹖賮乇爻鬲丿貙 賵 丿乇 匕賴賳卮貙 禺蹖丕賱倬乇丿丕夭蹖賴丕蹖蹖 丿乇亘丕乇賴 蹖 芦爻蹖丕賴禄 賲蹖讴賳丿貨 芦爻賮蹖丿禄 诏夭丕乇卮賴丕 乇丕 賲蹖禺賵丕賳丿 賵 丿爻鬲賲夭丿 芦丌亘蹖禄 乇丕 亘丿賵賳 賴蹖趩 鬲賵囟蹖丨貙 蹖丕 氐丨亘鬲蹖 亘乇丕蹖卮 倬爻鬲 賲蹖讴賳丿貨
賳賵蹖爻賳丿賴 丿乇 丌禺乇蹖賳 讴鬲丕亘 丕夭 爻乇蹖 芦爻賴 诏丕賳賴 賳蹖賵蹖賵乇讴禄 禺賵蹖卮貙 亘丕 賵丕乇賵賳賴 讴乇丿賳 丿丕爻鬲丕賳賴丕蹖 賲毓賲丕蹖蹖貙 賳賵毓 鬲丕夭賴 丕蹖 丕夭 賴賳乇 乇賵丕蹖鬲 乇丕 丌賮乇蹖丿賴 丕爻鬲貨 丕蹖卮丕賳 丿乇 乇賲丕賳 芦丕鬲丕賯 丿乇 亘爻鬲賴禄貙 讴賳噩讴丕賵蹖 禺賵丕賳卮诏乇 丕賳丿蹖卮賲賳丿 禺賵蹖卮 乇丕貙 亘乇賲蹖丕賳诏蹖夭丿貙 賵 噩爻鬲噩賵蹖 倬賱蹖爻蹖貙 賵 讴丕乇丌诏丕賴蹖貙 亘乇丕蹖 蹖丕賮鬲賳 丨賯蹖賯鬲 乇丕 亘賴 噩爻鬲噩賵蹖 賳丕亘鬲乇 賵 賮賱爻賮蹖鬲乇 讴丕賵卮 丿乇 賴賵蹖鬲貙 亘丿賱 賲蹖爻丕夭丿貨 芦賮賳卮丕賵禄 賳丕倬丿蹖丿 卮丿賴 丕爻鬲貙 賵 丕夭 丕賵 賴賲爻乇貙 賮乇夭賳丿 賵 賲噩賲賵毓賴 丕蹖 丿丕爻鬲丕賳貙 賵 卮毓乇 賳賲丕蹖卮賳丕賲賴 亘乇 噩丕蹖 賲丕賳丿賴 丕爻鬲貨 丕賲丕 趩乇丕 乇丕賵蹖 趩賳蹖賳 賵爻賵丕爻 丌賲蹖夭貙 夭賳丿诏蹖 芦賮賳卮丕賵禄 氐賲蹖賲蹖 鬲乇蹖賳 丿賵爻鬲 丿賵乇丕賳 讴賵丿讴蹖 禺賵蹖卮 乇丕 賲蹖讴丕賵丿責 丿乇 芦丕鬲丕賯 丿乇亘爻鬲賴禄貙 丿丕爻鬲丕賳 丕夭 夭亘丕賳 丕賵賱 卮禺氐 (賳賵蹖爻賳丿賴) 乇賵丕蹖鬲 賲蹖卮賵丿貨 芦賮丕賳 卮丕賵禄 讴賴 丕夭 丿賵爻鬲丕賳 賯丿蹖賲蹖 乇丕賵蹖 讴鬲丕亘 丕爻鬲貙 亘賴 卮讴賱 毓噩蹖亘蹖 賳丕倬丿蹖丿 卮丿賴貨 賴賲爻乇 芦卮丕賵禄 讴賴 丕夭 倬蹖丿丕 卮丿賳 丕賵 賳丕丕賲蹖丿 卮丿賴貙 賵 賲蹖倬賳丿丕乇丿 讴賴 卮賵賴乇卮 賲乇丿賴 丕爻鬲貙 丕夭 乇丕賵蹖 丿丕爻鬲丕賳貙 讴賴 丕賵 賳蹖夭 賳賵蹖爻賳丿賴 丕爻鬲貙 賲蹖禺賵丕賴丿 鬲丕 丿爻鬲 賳賵卮鬲賴 賴丕貙 賵 丌孬丕乇 亘乇 噩丕蹖 賲丕賳丿賴 丕夭 賴賲爻乇 賲賮賯賵丿 卮丿賴 乇丕 賲賳鬲卮乇 讴賳丿貨 丕丿丕賲賴 蹖 丌卮賳丕蹖蹖 賳賵蹖爻賳丿賴 亘丕 賴賲爻乇 芦賮賳 卮丕賵禄貙 亘賴 丕夭丿賵丕噩 丌賳 丿賵 賲蹖丕賳噩丕賲丿貙 丕賲丕 亘丕 乇賵卮賳 卮丿賳 丕蹖賳 丨賯蹖賯鬲貙 讴賴 芦賮賳 卮丕賵禄 夭賳丿賴 丕爻鬲貙 丿丕爻鬲丕賳 賲爻蹖乇 丿蹖诏乇蹖 倬蹖丿丕 賲蹖讴賳丿貨 乇丕賵蹖 鬲賱丕卮 禺賵丿 乇丕 亘乇丕蹖 蹖丕賮鬲賳 賵蹖 丌睾丕夭 賲蹖讴賳丿貙 賵 丿乇 丌賳 賲爻蹖乇貙 亘丕 夭賵丕蹖丕蹖 卮禺氐蹖鬲蹖貙 賵 夭賳丿诏蹖 丕賵 亘蹖卮鬲乇 丌卮賳丕 賲蹖卮賵丿貨 乇賵賳丿蹖 讴賴 亘賴 蹖讴 倬丕蹖丕賳 賳爻亘鬲丕 睾蹖乇賲賳鬲馗乇賴 賲蹖丕賳噩丕賲丿. 丿乇 丌孬丕乇 丕爻鬲乇貙 鬲乇讴蹖亘蹖 丕夭 鬲賮讴乇丕鬲 乇賵丕賳卮賳丕禺鬲蹖 賵 乇诏賴 賴丕蹖蹖 丕夭 倬賵趩 诏乇丕蹖蹖 賵 亘丿亘蹖賳蹖 丿蹖丿賴 賲蹖 卮賵丿貨 亘丕 丕蹖賳丨丕賱 賵蹖 丿乇 丕蹖賳 夭賲蹖賳賴 乇丕賴 丕賮乇丕胤 乇丕 賳倬蹖賲賵丿賴貙 賵 禺賵丕賳卮诏乇 亘丕 禺賵丕賳丿賳 芦丕鬲丕賯 丿乇亘爻鬲賴禄 丿趩丕乇 丌卮賮鬲诏蹖 賵 丿賱夭丿诏蹖 賳賲蹖卮賵丿貙 丕诏乇趩賴 賲賲讴賳 丕爻鬲 丿乇 亘禺卮賴丕蹖蹖 丕夭 丿丕爻鬲丕賳 賵 丿乇 賲賵丕噩賴 亘丕 亘乇禺蹖 倬蹖趩蹖丿诏蹖賴丕 丕賳丿讴蹖 爻乇丿乇诏賲 卮賵丿貨 芦丕鬲丕賯 丿乇亘爻鬲賴禄 丿丕爻鬲丕賳 爻賵賲 爻賴 诏丕賳賴 賳蹖賵蹖賵乇讴 亘卮賲丕乇 賲蹖丌蹖丿貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 20/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 21/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The New York Trilogy is a series of novels by Paul Auster. Originally published sequentially as City of Glass (1985), Ghosts (1986) and The Locked Room (1986), it has since been collected into a single volume.
The first story, City of Glass, features a detective-fiction writer become private investigator who descends into madness as he becomes embroiled in a case. It explores layers of identity and reality, from Paul Auster the writer of the novel to the unnamed "author" who reports the events as reality to "Paul Auster the writer", a character in the story, to "Paul Auster the detective", who may or may not exist in the novel, to Peter Stillman the younger, to Peter Stillman the elder and, finally, to Daniel Quinn, protagonist. "City of Glass" has an intertextual relationship with Cervantes' Don Quixote. Not only does the protagonist Daniel Quinn share his initials with the knight, but when Quinn finds "Paul Auster the writer," Auster is in the midst of writing an article about the authorship of Don Quixote. Auster calls his article an "imaginative reading," and in it he examines possible identities of Cide Hamete Benengeli, the narrator of the Quixote.
The second story, Ghosts, is about a private eye called Blue, trained by Brown, who is investigating a man named Black on Orange Street for a client named White. Blue writes written reports to White who in turn pays him for his work. Blue becomes frustrated and loses himself as he becomes immersed in the life of Black.
The Locked Room is the story of a writer who lacks the creativity to produce fiction. Fanshawe, his childhood friend, has produced creative work, and when he disappears the writer publishes his work and replaces him in his family. The title is a reference to a "locked room mystery", a popular form of early detective fiction.
爻賴 诏丕賳賴 賳蹖賵蹖賵乇讴 - 倬賱 丕爻鬲乇 (丕賮賯) 丕丿亘蹖丕鬲貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 丕賵賱 丕讴鬲亘乇 爻丕賱 2010賲蹖賱丕丿蹖
毓賳賵丕賳: 爻賴 诏丕賳賴 賳蹖賵蹖賵乇讴: 爻賴 乇賲丕賳 倬爻鬲 賲丿乇賳: 卮賴乇賽 卮蹖卮賴 丕蹖貨 丕乇賵丕丨貨 丕鬲丕賯 丿乇亘爻鬲賴貨 賳賵蹖爻賳丿賴: 倬賱 丌爻鬲乇貨 賲鬲乇噩賲: 卮賴乇夭丕丿 賱賵賱丕趩蹖貨 禺噩爻鬲賴 讴蹖賴丕賳貨 鬲賴乇丕賳貙 賳卮乇 丕賮賯貨 1384貨 丿乇 455氐貨 卮丕亘讴 9643691578貨 趩丕倬 丿賵賲 1386貨 趩丕倬 爻賵賲 1387貨 趩丕倬 卮卮賲 1392貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖丕賱丕鬲 賲鬲丨丿賴 丌賲乇蹖讴丕 - 爻丿賴 20賲
賲噩賲賵毓賴 丕蹖 丕夭 爻賴 乇賲丕賳 賳賵蹖爻賳丿賴 蹖 芦倬爻鬲鈥� 賲丿乇賳禄 芦丌賲乇蹖讴丕蹖蹖禄貙 芦倬賱 丕爻鬲乇禄 丕爻鬲貨 丕蹖賳 爻賴 乇賲丕賳 讴賴 賴乇 蹖讴 丿丕爻鬲丕賳 噩賳丕蹖蹖 賵 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳蹖 賲噩夭丕蹖蹖 丕夭 賴賲 丿丕乇賳丿貙 鬲賳賴丕 亘賴 爻亘亘 賲讴丕賳 賲卮鬲乇讴貙 爻賴 诏丕賳賴 乇丕 鬲卮讴蹖賱 丿丕丿賴 丕賳丿貨 毓賳賵丕賳賴丕蹖 丕蹖賳 爻賴 乇賲丕賳貙 芦卮賴乇 卮蹖卮賴 丕蹖禄貙 芦丕乇賵丕丨禄 賵 芦丕鬲丕賯 丿乇亘爻鬲賴禄 賴爻鬲賳丿
乇賲丕賳 芦卮賴乇 卮蹖卮賴 丕蹖禄 賳賵卮鬲賴 蹖 芦倬賱 丕爻鬲乇禄 蹖讴蹖 丕夭 乇賲丕賳賴丕蹖 芦爻賴 诏丕賳賴 蹖 賳蹖賵蹖賵乇讴禄 丕爻鬲貨 丿乇 丕蹖賳 丿丕爻鬲丕賳: 芦倬爻 丕夭 蹖讴 鬲賱賮賳 毓噩蹖亘 丿乇 賳蹖賲賴 卮亘貙 丿丕賳蹖賱 讴賵蹖蹖賳 賳賵蹖爻賳丿賴 丿丕爻鬲丕賳賴丕蹖 倬賱蹖爻蹖 丿乇诏蹖乇 倬乇賵賳丿賴 丕蹖 賲蹖卮賵丿 讴賴 丕夭 鬲賲丕賲 讴鬲丕亘賴丕蹖蹖 讴賴 鬲丕 亘賴 丨丕賱 賳賵卮鬲賴 丕爻鬲 倬蹖趩蹖丿賴 鬲乇 丕爻鬲貨 丿丕賳蹖賱 讴賴 丿乇诏蹖乇 倬乇賵賳丿賴 丕爻鬲蹖賱賲賳 卮丿賴貙 鬲丕 亘賴 丌賳噩丕 倬蹖卮 賲蹖乇賵丿 讴賴 诏匕卮鬲賴 蹖 禺賵蹖卮 乇丕 賮乇丕賲賵卮貙 賵 鬲賲丕賲 賴爻鬲蹖 禺賵蹖卮 乇丕 賵賯賮 賳诏賴亘丕賳蹖 丕夭 丕爻鬲蹖賱賲賳 賲蹖讴賳丿貨
賳賯賱 賳賲賵賳賴 賲鬲賳: 芦卮亘 亘賵丿貨 乇賵蹖 鬲禺鬲 丿乇丕夭 讴卮蹖丿賴 亘賵丿貙 亘賴 氐丿丕蹖 亘丕乇丕賳 亘乇 倬賳噩乇賴 诏賵卮 賲蹖丿丕丿 賵 爻蹖诏丕乇 賲蹖讴卮蹖丿貙 丿乇 賮讴乇 亘賵丿 讴賴 亘丕乇丕賳 讴蹖 亘賳丿 賲蹖丌蹖丿 賵 氐亘丨 亘賴 倬蹖丕丿賴 乇賵蹖 胤賵賱丕賳蹖 禺賵丕賴丿 乇賮鬲貨 讴鬲丕亘 亘丕夭 卮丿賴 蹖 爻賮乇賴丕蹖 賲丕乇讴賵倬賵賱賵 乇賵蹖 亘丕賱卮 讴賳丕乇卮 亘賵丿貨 丕夭 賵賯鬲蹖 讴賴 丿賵 賴賮鬲賴 倬蹖卮 丌禺乇蹖賳 乇賲丕賳 賵蹖賱蹖丕賲 賵蹖賱爻賵賳 乇丕 鬲賲丕賲 讴乇丿賴 亘賵丿貙 賵賯鬲 诏匕乇丕賳蹖 賲蹖讴乇丿貨 乇丕賵蹖 賵 讴丕乇丌诏丕賴 丿丕爻鬲丕賳卮貙 芦賲丕讴爻 賵乇讴禄 賲毓賲丕蹖 噩賳丕蹖丕鬲 賲賮氐賱蹖 乇丕 丨賱 讴乇丿賴貙 亘丕乇賴丕 讴鬲讴 禺賵乇丿賴 賵 丿乇 賱丨馗賴 蹖 丌禺乇 噩丕賳 爻丕賱賲 亘賴 丿乇 亘乇丿賴 亘賵丿貙 賵 丕賳诏丕乇 芦讴賵卅蹖賳禄 賴賲 丕夭 鬲賱丕卮賴丕蹖 丕賵 丨爻丕亘蹖 禺爻鬲賴 卮丿賴 亘賵丿貨 芦賵乇讴禄 丿乇 胤蹖 爻丕賱賴丕 亘賴 芦讴賵卅蹖賳禄 禺蹖賱蹖 賳夭丿蹖讴 賲蹖卮丿貨 亘乇禺賱丕賮 芦賵蹖賱蹖丕賲 賵蹖賱爻賵賳禄 讴賴 賴賳賵夭 賳丕賲蹖 亘蹖卮 賳亘賵丿賴貙 芦賵乇讴禄 亘蹖卮 丕夭 倬蹖卮 亘賴 丨賯蹖賯鬲 賳夭丿蹖讴 賲蹖卮丿貨 丿乇 卮禺氐蹖鬲賴丕蹖 爻賴 诏丕賳賴 丕蹖 讴賴 芦讴賵卅蹖賳禄 倬蹖丿丕 讴乇丿賴 亘賵丿貙 芦賵蹖賱爻賵賳賽禄 蹖丕賵賴 诏賵貙 芦讴賵卅蹖賳賽禄 丌賱鬲 丿爻鬲貙 賵 芦賵乇讴禄 氐丿丕蹖 噩丕賳丿丕乇蹖 亘賵丿貙 讴賴 亘賴 鬲賲丕賲 賯囟丕蹖丕 賲毓賳蹖 賲蹖亘禺卮蹖丿貨 芦賵蹖賱爻賵賳禄 丨鬲蹖 丕诏乇 鬲賵賴賲 賴賲 亘賵丿貙 丨蹖丕鬲 丌賳 丿賵 丿蹖诏乇 乇丕 鬲賵噩蹖賴 賲蹖讴乇丿.禄貨 倬丕蹖丕賳 賳賯賱
乇賲丕賳 芦丕乇賵丕丨禄 賳賵卮鬲賴 蹖 芦倬賱 丕爻鬲乇禄貙 丿賵賲蹖賳 乇賲丕賳 讴賵鬲丕賴貙 丕夭 賲噩賲賵毓賴 蹖 爻賴 诏丕賳賴 蹖 丕蹖卮丕賳 丕爻鬲貙 讴賴 亘蹖賳 爻丕賱賴丕蹖 1985賲蹖賱丕丿蹖 鬲丕 爻丕賱 1987賲蹖賱丕丿蹖 賲賳鬲卮乇 卮丿賴 丕爻鬲貨 芦倬賱 丕爻鬲乇禄 賳賵蹖爻賳丿賴 蹖 倬爻鬲 賲丿乇賳 芦丌賲乇蹖讴丕蹖蹖禄 亘丕乇 丿蹖诏乇貙 賲丕噩乇丕蹖蹖 倬賱蹖爻蹖 賲蹖丌賮乇蹖賳丿 讴賴 丿乇 亘爻鬲乇 賳诏丕賴蹖 賮賱爻賮蹖 鬲丨賯賯 賲蹖蹖丕亘丿貨 芦丕爻鬲乇禄 賲賵賯毓蹖鬲賴丕蹖 禺賱丕賯丕賳賴 丕蹖 乇丕貙 丿乇 乇賵賳丿 丿丕爻鬲丕賳 倬蹖卮 賲蹖诏蹖乇丿貨 丕賵 賳賴 鬲賳賴丕貙 賲卮丕亘賴 丿蹖诏乇 丿丕爻鬲丕賳賴丕蹖 讴丕乇诏丕賴蹖-倬賱蹖爻蹖貙 讴丕乇丌诏丕賴 禺氐賵氐蹖 乇丕貙 亘賴 毓賳賵丕賳 賲睾夭 賲鬲賮讴乇 賲胤乇丨 賳賲蹖讴賳丿 鬲丕 賲毓賲丕蹖 丿丕爻鬲丕賳 乇丕 讴卮賮 讴賳丿貙 亘賱讴賴 丕夭 丌賳 卮禺氐蹖鬲蹖 賲蹖丌賮乇蹖賳丿貙 讴賴 賴賲夭賲丕賳貙 亘丕賴賵卮貙 賵 亘丕 丿乇丕蹖鬲 丕爻鬲貙 禺賵丿 丕賵 賳蹖夭 氐乇賮丕 亘賴 噩夭卅蹖 丕夭 賲丕噩乇丕蹖 賲毓賲丕 亘丿賱 卮丿賴貙 賵 丿乇 丌賳 丨賱 賲蹖卮賵丿 賵 丕蹖賳诏賵賳賴 鬲乇丕跇丿蹖 丿丕爻鬲丕賳 乇丕 乇賯賲 賲蹖夭賳丿貨 丿乇 丕蹖賳 丿丕爻鬲丕賳 賮賱爻賮蹖貨 亘丕 芦丌亘蹖 (讴丕乇丕诏丕賴 禺氐賵氐蹖)禄 賲丕賴乇蹖 賲賵丕噩賴蹖賲貙 讴賴 丕夭 爻賵蹖 芦爻賮蹖丿禄 賲丕賲賵乇 賲蹖卮賵丿貙 卮禺氐蹖 亘賴 賳丕賲 芦爻蹖丕賴禄 乇丕 鬲丨鬲 賳馗乇 亘诏蹖乇丿貙 賵 賴乇 賴賮鬲賴 诏夭丕乇卮蹖 丕夭 讴丕乇賴丕蹖 丕賵 鬲賳馗蹖賲 讴賳丿貙 賵 亘乇丕蹖 芦爻賮蹖丿禄 亘賮乇爻鬲丿貨 芦丌亘蹖禄 丿乇 乇賵賳丿 賲丕賲賵乇蹖鬲 禺賵丿貙 乇賮鬲賴 乇賮鬲賴 丿乇賲蹖蹖丕亘丿 亘丕 倬乇賵賳丿賴 丕蹖 乇丕讴丿貙 賵 睾蹖乇毓丕丿蹖 賲賵丕噩賴 丕爻鬲貙 讴賴 丿乇 丌賳 賴蹖趩 乇賵蹖丿丕丿蹖 乇禺 賳賲蹖丿賴丿貨 芦爻蹖丕賴禄 賴乇 乇賵夭 倬卮鬲 賲蹖夭卮 賲蹖賳卮蹖賳丿貙 賵 賲蹖禺賵丕賳丿 賵 賲蹖賳賵蹖爻丿貨 賲丕賴賴丕 賲蹖诏匕乇賳丿 賵 芦丌亘蹖禄 丌賳賯丿乇 芦爻蹖丕賴禄 乇丕 夭蹖乇 賳馗乇 诏乇賮鬲賴貙 讴賴 丿蹖诏乇 乇賮鬲丕乇卮 卮亘蹖賴 丕賵 卮丿賴貙 賵 賳蹖丕夭蹖 亘賴 賲乇丕賯亘鬲 丕夭 丕賵貙 丿乇 禺賵丿 賳賲蹖亘蹖賳丿貨 诏夭丕乇卮賴丕 乇丕 胤亘賯 賳馗賲 賴賲蹖卮诏蹖 賲蹖賳賵蹖爻丿貙 賵 亘乇丕蹖 芦丌亘蹖禄 賲蹖賮乇爻鬲丿貙 賵 丿乇 匕賴賳卮貙 禺蹖丕賱倬乇丿丕夭蹖賴丕蹖蹖 丿乇亘丕乇賴 蹖 芦爻蹖丕賴禄 賲蹖讴賳丿貨 芦爻賮蹖丿禄 诏夭丕乇卮賴丕 乇丕 賲蹖禺賵丕賳丿 賵 丿爻鬲賲夭丿 芦丌亘蹖禄 乇丕 亘丿賵賳 賴蹖趩 鬲賵囟蹖丨貙 蹖丕 氐丨亘鬲蹖 亘乇丕蹖卮 倬爻鬲 賲蹖讴賳丿貨
賳賵蹖爻賳丿賴 丿乇 丌禺乇蹖賳 讴鬲丕亘 丕夭 爻乇蹖 芦爻賴 诏丕賳賴 賳蹖賵蹖賵乇讴禄 禺賵蹖卮貙 亘丕 賵丕乇賵賳賴 讴乇丿賳 丿丕爻鬲丕賳賴丕蹖 賲毓賲丕蹖蹖貙 賳賵毓 鬲丕夭賴 丕蹖 丕夭 賴賳乇 乇賵丕蹖鬲 乇丕 丌賮乇蹖丿賴 丕爻鬲貨 丕蹖卮丕賳 丿乇 乇賲丕賳 芦丕鬲丕賯 丿乇 亘爻鬲賴禄貙 讴賳噩讴丕賵蹖 禺賵丕賳卮诏乇 丕賳丿蹖卮賲賳丿 禺賵蹖卮 乇丕貙 亘乇賲蹖丕賳诏蹖夭丿貙 賵 噩爻鬲噩賵蹖 倬賱蹖爻蹖貙 賵 讴丕乇丌诏丕賴蹖貙 亘乇丕蹖 蹖丕賮鬲賳 丨賯蹖賯鬲 乇丕 亘賴 噩爻鬲噩賵蹖 賳丕亘鬲乇 賵 賮賱爻賮蹖鬲乇 讴丕賵卮 丿乇 賴賵蹖鬲貙 亘丿賱 賲蹖爻丕夭丿貨 芦賮賳卮丕賵禄 賳丕倬丿蹖丿 卮丿賴 丕爻鬲貙 賵 丕夭 丕賵 賴賲爻乇貙 賮乇夭賳丿 賵 賲噩賲賵毓賴 丕蹖 丿丕爻鬲丕賳貙 賵 卮毓乇 賳賲丕蹖卮賳丕賲賴 亘乇 噩丕蹖 賲丕賳丿賴 丕爻鬲貨 丕賲丕 趩乇丕 乇丕賵蹖 趩賳蹖賳 賵爻賵丕爻 丌賲蹖夭貙 夭賳丿诏蹖 芦賮賳卮丕賵禄 氐賲蹖賲蹖 鬲乇蹖賳 丿賵爻鬲 丿賵乇丕賳 讴賵丿讴蹖 禺賵蹖卮 乇丕 賲蹖讴丕賵丿責 丿乇 芦丕鬲丕賯 丿乇亘爻鬲賴禄貙 丿丕爻鬲丕賳 丕夭 夭亘丕賳 丕賵賱 卮禺氐 (賳賵蹖爻賳丿賴) 乇賵丕蹖鬲 賲蹖卮賵丿貨 芦賮丕賳 卮丕賵禄 讴賴 丕夭 丿賵爻鬲丕賳 賯丿蹖賲蹖 乇丕賵蹖 讴鬲丕亘 丕爻鬲貙 亘賴 卮讴賱 毓噩蹖亘蹖 賳丕倬丿蹖丿 卮丿賴貨 賴賲爻乇 芦卮丕賵禄 讴賴 丕夭 倬蹖丿丕 卮丿賳 丕賵 賳丕丕賲蹖丿 卮丿賴貙 賵 賲蹖倬賳丿丕乇丿 讴賴 卮賵賴乇卮 賲乇丿賴 丕爻鬲貙 丕夭 乇丕賵蹖 丿丕爻鬲丕賳貙 讴賴 丕賵 賳蹖夭 賳賵蹖爻賳丿賴 丕爻鬲貙 賲蹖禺賵丕賴丿 鬲丕 丿爻鬲 賳賵卮鬲賴 賴丕貙 賵 丌孬丕乇 亘乇 噩丕蹖 賲丕賳丿賴 丕夭 賴賲爻乇 賲賮賯賵丿 卮丿賴 乇丕 賲賳鬲卮乇 讴賳丿貨 丕丿丕賲賴 蹖 丌卮賳丕蹖蹖 賳賵蹖爻賳丿賴 亘丕 賴賲爻乇 芦賮賳 卮丕賵禄貙 亘賴 丕夭丿賵丕噩 丌賳 丿賵 賲蹖丕賳噩丕賲丿貙 丕賲丕 亘丕 乇賵卮賳 卮丿賳 丕蹖賳 丨賯蹖賯鬲貙 讴賴 芦賮賳 卮丕賵禄 夭賳丿賴 丕爻鬲貙 丿丕爻鬲丕賳 賲爻蹖乇 丿蹖诏乇蹖 倬蹖丿丕 賲蹖讴賳丿貨 乇丕賵蹖 鬲賱丕卮 禺賵丿 乇丕 亘乇丕蹖 蹖丕賮鬲賳 賵蹖 丌睾丕夭 賲蹖讴賳丿貙 賵 丿乇 丌賳 賲爻蹖乇貙 亘丕 夭賵丕蹖丕蹖 卮禺氐蹖鬲蹖貙 賵 夭賳丿诏蹖 丕賵 亘蹖卮鬲乇 丌卮賳丕 賲蹖卮賵丿貨 乇賵賳丿蹖 讴賴 亘賴 蹖讴 倬丕蹖丕賳 賳爻亘鬲丕 睾蹖乇賲賳鬲馗乇賴 賲蹖丕賳噩丕賲丿. 丿乇 丌孬丕乇 丕爻鬲乇貙 鬲乇讴蹖亘蹖 丕夭 鬲賮讴乇丕鬲 乇賵丕賳卮賳丕禺鬲蹖 賵 乇诏賴 賴丕蹖蹖 丕夭 倬賵趩 诏乇丕蹖蹖 賵 亘丿亘蹖賳蹖 丿蹖丿賴 賲蹖 卮賵丿貨 亘丕 丕蹖賳丨丕賱 賵蹖 丿乇 丕蹖賳 夭賲蹖賳賴 乇丕賴 丕賮乇丕胤 乇丕 賳倬蹖賲賵丿賴貙 賵 禺賵丕賳卮诏乇 亘丕 禺賵丕賳丿賳 芦丕鬲丕賯 丿乇亘爻鬲賴禄 丿趩丕乇 丌卮賮鬲诏蹖 賵 丿賱夭丿诏蹖 賳賲蹖卮賵丿貙 丕诏乇趩賴 賲賲讴賳 丕爻鬲 丿乇 亘禺卮賴丕蹖蹖 丕夭 丿丕爻鬲丕賳 賵 丿乇 賲賵丕噩賴 亘丕 亘乇禺蹖 倬蹖趩蹖丿诏蹖賴丕 丕賳丿讴蹖 爻乇丿乇诏賲 卮賵丿貨 芦丕鬲丕賯 丿乇亘爻鬲賴禄 丿丕爻鬲丕賳 爻賵賲 爻賴 诏丕賳賴 賳蹖賵蹖賵乇讴 亘卮賲丕乇 賲蹖丌蹖丿貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 20/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 21/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
May 10, 2024
Where does it all begin and where does it all end?
To seek we must have an object we want to find. To quest we must have a goal we want to achieve. But even if we don鈥檛 have an objective we seek and quest anyway because we want to penetrate into the future.
How often pursuing a certain purpose we are on a wild goose chase. And even if we find something how often it turns out to be not a thing we were looking for.
Every tale of the trilogy is an existential quest, embarking on which one must find one鈥檚 own ego.
There are the watched and there are the watchers and there are those who watch the watchers鈥�
But perhaps he would be able to make up for the past by plunging forward. By coming to the end, perhaps he could intuit the beginning.
To seek we must have an object we want to find. To quest we must have a goal we want to achieve. But even if we don鈥檛 have an objective we seek and quest anyway because we want to penetrate into the future.
Listen carefully, and perhaps you will learn something. In his little speech to Alice, Humpty Dumpty sketches the future of human hopes and gives the clue to our salvation: to become masters of the words we speak, to make language answer our needs. Humpty Dumpty was a prophet, a man who spoke truths the world was not ready for.
How often pursuing a certain purpose we are on a wild goose chase. And even if we find something how often it turns out to be not a thing we were looking for.
Every tale of the trilogy is an existential quest, embarking on which one must find one鈥檚 own ego.
There are the watched and there are the watchers and there are those who watch the watchers鈥�
December 17, 2022
NULLA 脠 REALE FUORCH脡 IL CASO
Disegno dalla graphic novel 鈥滳itt脿 di vetro鈥� di Davide Mazzucchelli (1994).
Nulla 猫 reale fuorch茅 il caso 猫 scritto nel primo romanzo della trilogia, Citt脿 di vetro, e mi pare una summa della poetica austeriana.
Il mio primo incontro con Paul Auster 猫 stato circa trent鈥檃nni fa (1990) quando Guanda pubblic貌 La musica del caso (e si da il caso che il 鈥渃aso鈥� ritorna). Fu subito amore. Amore grande.
La libreria dove mi rifornivo allora non esiste pi霉 da tempo, adesso 猫 un Ferrari Store.
Anche il mio amore per Paul Auster adesso non esiste pi霉.
Disegno dalla graphic novel 鈥滳itt脿 di vetro鈥� di Davide Mazzucchelli (1994).
Dopo il primo libro cercai altro. Ma altro non c鈥檈ra.
Avrebbe potuto esserci, ma era fuori catalogo: si trattava proprio di questa trilogia. Fu pubblicata da Rizzoli lo stesso anno della sua prima uscita in US, ma nel 1990 era gi脿 fuori catalogo. Ho dovuto aspettare sei anni, finch茅 non 猫 stata ripubblicata da Einaudi.
Se avessi dato il voto quando ho letto il libro sarebbero state sicuramente cinque stelle. Adesso quattro vanno bene.
Nel frattempo ho letto anche una versione graphic novel.
Jim Jarmush recita insieme a Harvey Keitel nel film scritto e diretto da Paula Auster 鈥淏lue in the Face鈥�, 1995.
Si chiama trilogia di NY perch茅 sono tre storie, tre romanzi diversi, pubblicati in US separatamente (1985, 1986 e 1987) e poi riediti insieme sempre nel 1987.
Citt脿 di vetro, Fantasmi, La stanza chiusa sono i titoli delle tre storie.
E New York 猫 il set di tutte e tre. E probabilmente il vero protagonista, anche se sembra una citt脿 non-luogo.
In ogni storia il protagonista 猫 impegnato in una specie di indagine, come se fosse un detective. Ma sono inchieste immerse nell鈥檃llucinazione, nel surreale, perfino nell鈥檃ssurdo, dove tutto 猫 sfocato, sfumato. Ma il senso di mistero e attesa 猫 forte, insistente, serra l鈥檃nima. Auster gioca col genere thriller, o forse sarebbe meglio dire col genere giallo, poliziesco, ma 猫 ben altro che gli interessa.
Ancora Harvey Keitel, qui insieme a Mira Sorvino, in 鈥淟ulu on the Bridge鈥�, scritto e diretto da Paul Auster, 1998.
脠 un gioco di incastri e scatole cinesi e specchi e matrioske, dove per esempio, il primo detective 猫 uno scrittore di romanzi polizieschi e un altro personaggio centrale si chiama guarda caso proprio Paul Auster. Che anche nel romanzo 猫 uno scrittore di romanzi, ma invece lo becchiamo che sta scrivendo un saggio su don Quixote, le cui iniziali, D e Q, sono le stesse del protagonista, Daniel Quinn.
Daniel Quinn assume l鈥檌dentit脿 di Paul Auster. Alla fine Daniel Quinn sparisce, ma lascia un manoscritto dove racconta tutta la vicenda: manoscritto che qualcuno ritrova nella stanza dalla quale Quinn scompare, e che diventa il primo romanzo della trilogia, Citt脿 di vetro
Nella seconda storia i personaggi si chiama Blue, Black, Brown, White, senza ancora anteporre il Mr che qualche anno dopo (1992) Tarantino rese celebri col suo fulminante esordio Reservoir Dogs 鈥� Le iene.
Il terzo e ultimo film scritto e diretto da Paul Auster, 鈥淭he Inner Life of Martin Frost (2007) Qui i protagonisti: David Thwelis e Ir猫ne Jacob.
In generale, ci sono scrittori che diventano investigatori, o viceversa. Si indaga, si cerca, non si trova, e pi霉 si procede nell鈥檌nchiesta pi霉 ci si smarrisce. La citt脿 猫 un labirinto. Si perde l鈥檌dentit脿, si assume quella di un altro, ci si sdoppia, il caso (caos?) regna sovrano.
La ricerca dell鈥檌dentit脿 猫 una costante, ma altrettanto costante 猫 il mutare dell鈥檌dentit脿 perch茅 nulla e nessuno 猫 quello che sembra e appare.
脠 l鈥檌ntera poetica di Auster per come ho imparato a percepirla, temi che si ritrovano anche nelle sue opere seguenti.
Sono stato un gran fan di Auster. Poi, qualcosa s鈥櫭� spezzato. Forse una certa ripetitivit脿, che si trasforma in monotonia, e quindi noia. Forse questi personaggi smarriti che si cercano per smarrirsi ancora di pi霉, che perdono i riferimenti e li tolgono anche al lettore, alla fine m鈥檋anno confuso e smarrito.
Fatto sta che mi 猫 sceso l鈥檌nteresse mentre lui 猫 diventato sempre pi霉 intervistato, sempre pi霉 fico, sempre pi霉 familista, ha cominciato a non perdersi un party, di quelli con intellettuali & modelle鈥�
Disegno dalla graphic novel 鈥滳itt脿 di vetro鈥� di Davide Mazzucchelli (1994).
Disegno dalla graphic novel 鈥滳itt脿 di vetro鈥� di Davide Mazzucchelli (1994).
Nulla 猫 reale fuorch茅 il caso 猫 scritto nel primo romanzo della trilogia, Citt脿 di vetro, e mi pare una summa della poetica austeriana.
Il mio primo incontro con Paul Auster 猫 stato circa trent鈥檃nni fa (1990) quando Guanda pubblic貌 La musica del caso (e si da il caso che il 鈥渃aso鈥� ritorna). Fu subito amore. Amore grande.
La libreria dove mi rifornivo allora non esiste pi霉 da tempo, adesso 猫 un Ferrari Store.
Anche il mio amore per Paul Auster adesso non esiste pi霉.
Disegno dalla graphic novel 鈥滳itt脿 di vetro鈥� di Davide Mazzucchelli (1994).
Dopo il primo libro cercai altro. Ma altro non c鈥檈ra.
Avrebbe potuto esserci, ma era fuori catalogo: si trattava proprio di questa trilogia. Fu pubblicata da Rizzoli lo stesso anno della sua prima uscita in US, ma nel 1990 era gi脿 fuori catalogo. Ho dovuto aspettare sei anni, finch茅 non 猫 stata ripubblicata da Einaudi.
Se avessi dato il voto quando ho letto il libro sarebbero state sicuramente cinque stelle. Adesso quattro vanno bene.
Nel frattempo ho letto anche una versione graphic novel.
Jim Jarmush recita insieme a Harvey Keitel nel film scritto e diretto da Paula Auster 鈥淏lue in the Face鈥�, 1995.
Si chiama trilogia di NY perch茅 sono tre storie, tre romanzi diversi, pubblicati in US separatamente (1985, 1986 e 1987) e poi riediti insieme sempre nel 1987.
Citt脿 di vetro, Fantasmi, La stanza chiusa sono i titoli delle tre storie.
E New York 猫 il set di tutte e tre. E probabilmente il vero protagonista, anche se sembra una citt脿 non-luogo.
In ogni storia il protagonista 猫 impegnato in una specie di indagine, come se fosse un detective. Ma sono inchieste immerse nell鈥檃llucinazione, nel surreale, perfino nell鈥檃ssurdo, dove tutto 猫 sfocato, sfumato. Ma il senso di mistero e attesa 猫 forte, insistente, serra l鈥檃nima. Auster gioca col genere thriller, o forse sarebbe meglio dire col genere giallo, poliziesco, ma 猫 ben altro che gli interessa.
Ancora Harvey Keitel, qui insieme a Mira Sorvino, in 鈥淟ulu on the Bridge鈥�, scritto e diretto da Paul Auster, 1998.
脠 un gioco di incastri e scatole cinesi e specchi e matrioske, dove per esempio, il primo detective 猫 uno scrittore di romanzi polizieschi e un altro personaggio centrale si chiama guarda caso proprio Paul Auster. Che anche nel romanzo 猫 uno scrittore di romanzi, ma invece lo becchiamo che sta scrivendo un saggio su don Quixote, le cui iniziali, D e Q, sono le stesse del protagonista, Daniel Quinn.
Daniel Quinn assume l鈥檌dentit脿 di Paul Auster. Alla fine Daniel Quinn sparisce, ma lascia un manoscritto dove racconta tutta la vicenda: manoscritto che qualcuno ritrova nella stanza dalla quale Quinn scompare, e che diventa il primo romanzo della trilogia, Citt脿 di vetro
Nella seconda storia i personaggi si chiama Blue, Black, Brown, White, senza ancora anteporre il Mr che qualche anno dopo (1992) Tarantino rese celebri col suo fulminante esordio Reservoir Dogs 鈥� Le iene.
Il terzo e ultimo film scritto e diretto da Paul Auster, 鈥淭he Inner Life of Martin Frost (2007) Qui i protagonisti: David Thwelis e Ir猫ne Jacob.
In generale, ci sono scrittori che diventano investigatori, o viceversa. Si indaga, si cerca, non si trova, e pi霉 si procede nell鈥檌nchiesta pi霉 ci si smarrisce. La citt脿 猫 un labirinto. Si perde l鈥檌dentit脿, si assume quella di un altro, ci si sdoppia, il caso (caos?) regna sovrano.
La ricerca dell鈥檌dentit脿 猫 una costante, ma altrettanto costante 猫 il mutare dell鈥檌dentit脿 perch茅 nulla e nessuno 猫 quello che sembra e appare.
脠 l鈥檌ntera poetica di Auster per come ho imparato a percepirla, temi che si ritrovano anche nelle sue opere seguenti.
Sono stato un gran fan di Auster. Poi, qualcosa s鈥櫭� spezzato. Forse una certa ripetitivit脿, che si trasforma in monotonia, e quindi noia. Forse questi personaggi smarriti che si cercano per smarrirsi ancora di pi霉, che perdono i riferimenti e li tolgono anche al lettore, alla fine m鈥檋anno confuso e smarrito.
Fatto sta che mi 猫 sceso l鈥檌nteresse mentre lui 猫 diventato sempre pi霉 intervistato, sempre pi霉 fico, sempre pi霉 familista, ha cominciato a non perdersi un party, di quelli con intellettuali & modelle鈥�
Disegno dalla graphic novel 鈥滳itt脿 di vetro鈥� di Davide Mazzucchelli (1994).
October 11, 2020
鈥淗e venido a Nueva York porque es el m谩s desolado de los lugares, el m谩s abyecto. La decrepitud est谩 en todas partes, el desorden es universal. Basta con abrir los ojos para verlo. La gente rota, las cosas rotas, los pensamientos rotos. Toda la ciudad es un mont贸n de basura.鈥�En una entrevista se ofreci贸 a la consideraci贸n del autor una interpretaci贸n de 鈥淭rilog铆a de Nueva York鈥�, esta fue su respuesta:
鈥淟o que sea que digas probablemente ser谩 interesante y tal vez no se aleje demasiado de la verdad, pero no significa que sea consciente de ello cuando escribo. Todo surge de un zumbido inconsciente y realmente no s茅 lo que estoy haciendo. Si suena bien, lo hago, y si suena mal, lo rompo y empiezo de nuevo. Todo tiene que ver con un estado emocional en el que te encuentras, ciertos tipos de im谩genes que te atrapan y se sienten poderosas y convincentes.鈥�Interpretaciones aparte, ese zumbido inconsciente es lo 煤nico que realmente importa, lo tiene que o铆r el autor pero tambi茅n lo oye el lector cuando entra en ese estado emocional, cuando consigue esa conexi贸n con el texto, que hace tan especial el encuentro con algunos libros. Un zumbido siempre muy personal, pero que en el caso de libros tan abiertos y sugerentes como este lo hacen a煤n m谩s propio e intransferible. Como dice un personaje en 鈥淟a habitaci贸n cerrada鈥�:
鈥淟as historias s贸lo suceden a quienes son capaces de contarlas鈥� las experiencias s贸lo se presentaban a quienes eran capaces de tenerlas.鈥�Yo he tenido la suerte de o铆r el zumbido, de tener una experiencia con 鈥淭rilog铆a de Nueva York鈥�, tres experiencias, de hecho, distintas y parecidas pues las tres historias vienen a decir cosas muy similares y pr谩cticamente con los mismos elementos. Escritores metidos a detectives y detectives que parecen escritores (no es una novela de detectives, s铆 de escritores) que en un momento de sus vidas se dan cuenta de que no son ellos quienes las dirigen y se rebelan de la mejor forma que pueden. Personas que dejan de vivir para centrarse en la vida de otros, uno para autodisolverse en otros yoes, otro inocentemente y sin pretenderlo, el 煤ltimo para borrar su influjo.
鈥淓scribir es una actividad solitaria. Se apodera de tu vida. En cierto sentido, un escritor no tiene vida propia. Incluso cuando est谩 ah铆, no est谩 realmente ah铆.鈥�La identidad, el gran tema de Auster, m谩s relevante para alguien como 茅l que en cada libro tiene que desdoblarse en un sinf铆n de personajes 驴Qui茅nes somos? 驴Podemos estar seguros de lo que creemos que somos? 驴Llegamos a conocernos alguna vez o nos vamos haciendo cada d铆a m谩s opacos? 驴Pudimos ser otra cosa, nuestra vida podr铆a haber discurrido por otros caminos, c贸mo de distintos podr铆amos haber sido, somos solo fruto del azar? 驴Hasta qu茅 punto podemos rechazar las imposiciones que nos vienen de fuera e imponer nuestra voluntad? 驴Hasta qu茅 punto nuestro propio pasado nos empuja en una direcci贸n?
鈥淓n general, las vidas parecen virar bruscamente de una cosa a otra, moverse a empellones y trompicones, serpentear. Una persona va en una direcci贸n, gira abruptamente a mitad de camino, da un rodeo, se detiene, echa a andar de nuevo. Nunca se sabe nada, e inevitablemente llegamos a un sitio completamente diferente de aquel al que quer铆amos llegar.鈥�Pero tambi茅n hay infinidad de otras cuestiones. No pocas tratan sobre el lenguaje, la relaci贸n entre las cosas y las palabras que las nombran, una m铆tica lengua natural, las limitaciones que el lenguaje nos impone鈥� Sobre el escritor y la literatura, sobre el escritor y su oficio, el amor que deben sentir por las palabras, la necesidad que tienen de creer en el poder de los libros, la confusi贸n entre narrador, personaje y autor, la posibilidad o no de retratar la realidad, de representarla, de fijarla, de ser su espejo, la oscuridad como causa y fuente del escritor, la necesidad imperiosa de escribir, la necesidad imperiosa de ser le铆dos, la forma en la que les gustar铆a ser le铆dos鈥� No est谩 la historia en las palabras, sino en la lucha, y鈥�
鈥溾€� si significa algo o no significa nada no es la historia quien ha de decirlo鈥�.Sea como sea, la novela es intensa, desconcertante, contradictoria, autodestructiva incluso, y hermosa. Bien puedo hacer m铆as, para cada una de las novelas y para todas en su conjunto, las palabras de uno de sus personajes:
鈥淭odas las palabras me eran conocidas, y sin embargo parec铆an juntadas de un modo extra帽o, como si su prop贸sito final fuese anularse unas a otras. No se me ocurre ninguna otra manera de expresarlo. Cada frase borraba la frase anterior, cada p谩rrafo hac铆a imposible el siguiente. Es extra帽o, entonces, que la sensaci贸n que sobrevive de ese cuaderno sea de gran lucidez.鈥�
POSTDATA
July 7, 2024
Mi-am propus s膬 recitesc din romanul lui Paul Auster (3 februarie 1947 - 30 aprilie 2024) doar ceea ce subliniasem (cu pix ro葯u) la prima lectur膬 din 2007. Am sf卯r葯it 卯ns膬 prin a citi toat膬 cartea, fiindc膬 nu mai 葲ineam minte mare lucru din ea, nici m膬car 卯mprejur膬rile primei lecturi, aproape nimic.
Trilogia... e un roman artificios, 卯n linia povestirilor lui Henry James. Un personaj porne葯te 卯n c膬utarea altuia, al doilea se ascunde at卯t de bine 卯nc卯t nu poate fi g膬sit, fiindc膬 nu vrea dec卯t s膬-l chinuie pe primul (e un pervers, a葯adar). Am卯ndoi s卯nt excesiv de nervo葯i. Primul face o obsesie, cade 卯n alcoolism 葯i erotomanie, ajunge 卯n preajma nebuniei 葯i doar un noroc 卯l fere葯te de disolu葲ia nervilor. Dar, 卯n realitate, se poate presupune c膬 personajul cu adev膬rat nebun 葯i cu psihicul 卯n descompunere e al doilea. Nu 葯tim foarte sigur (葯i nci nu ne-ar folosi la nimic) dac膬 primul nu e cumva al doilea 葯i nici dac膬 al doilea nu e cumva primul. 葮i nu e deloc limpede nici dac膬 nu cumva 卯ntreaga anchet膬 se petrece doar 卯n mintea unuia dintre cei doi, nu 葯tim care, dar asta nu mai conteaz膬. Precum scrie 卯n acest pasaj:
Subiectul celor trei povestiri e greu de precizat. A葯 spune 葯i eu ca recenzen葲ii la mod膬: e o carte cu privire la neputin葲a principial膬 a individului de a stabili cine este 葯i 卯ncotro se 卯ndreapt膬. 葮i bine卯n葲eles despre imposibilitatea de a g膬si / de a da un sens vie葲ii noastre:
Nu mai trebuie s膬 spun c膬 am g膬sit digresiunile eseistice mult mai interesante dec卯t ac葲iunea 鈥瀙oli葲ist膬鈥�. Astfel, o ipotez膬 cu privire la adev膬ratul autor al romanului Don Quijote pute葲i citi la pp.104-105.
Chiar dac膬 Trilogia New York-ului nu mi-a pl膬cut, am devenit curios. M膬 apuc chiar acum s膬 citesc Cartea iluziilor.
Trilogia... e un roman artificios, 卯n linia povestirilor lui Henry James. Un personaj porne葯te 卯n c膬utarea altuia, al doilea se ascunde at卯t de bine 卯nc卯t nu poate fi g膬sit, fiindc膬 nu vrea dec卯t s膬-l chinuie pe primul (e un pervers, a葯adar). Am卯ndoi s卯nt excesiv de nervo葯i. Primul face o obsesie, cade 卯n alcoolism 葯i erotomanie, ajunge 卯n preajma nebuniei 葯i doar un noroc 卯l fere葯te de disolu葲ia nervilor. Dar, 卯n realitate, se poate presupune c膬 personajul cu adev膬rat nebun 葯i cu psihicul 卯n descompunere e al doilea. Nu 葯tim foarte sigur (葯i nci nu ne-ar folosi la nimic) dac膬 primul nu e cumva al doilea 葯i nici dac膬 al doilea nu e cumva primul. 葮i nu e deloc limpede nici dac膬 nu cumva 卯ntreaga anchet膬 se petrece doar 卯n mintea unuia dintre cei doi, nu 葯tim care, dar asta nu mai conteaz膬. Precum scrie 卯n acest pasaj:
鈥濵膬 卯n艧elasem. Fanshawe era exact unde eram 艧i eu 艧i fusese acolo 卯nc膬 de la bun 卯nceput. Din momentul 卯n care sosise scrisoarea lui, eu m膬 str膬duisem s膬 mi-l 卯nchipui, s膬-l v膬d a艧a cum ar fi putut s膬 fie, dar mintea mea vizualiza 卯ntotdeauna un vid imens, 卯n cel mai bun caz, reu艧eam s膬 creez o imagine destul de s膬rac膬: u艧a unei camere 卯ncuiate. Asta era tot: Fanshawe se afla singur 卯n acea camer膬, condamnat la o singur膬tate mitic膬, poate 卯n via牛膬, poate respir卯nd, vis卯nd la Dumnezeu 艧tie ce. Acea camer膬, mi-am dat eu seama atunci, se afla 卯n膬untrul craniului meu鈥� (p.311).
Subiectul celor trei povestiri e greu de precizat. A葯 spune 葯i eu ca recenzen葲ii la mod膬: e o carte cu privire la neputin葲a principial膬 a individului de a stabili cine este 葯i 卯ncotro se 卯ndreapt膬. 葮i bine卯n葲eles despre imposibilitatea de a g膬si / de a da un sens vie葲ii noastre:
鈥濼o牛i vrem s膬 ni se spun膬 pove艧ti, pe care le ascult膬m la fel ca atunci c卯nd eram copii. Ne imagin膬m adev膬rata poveste 卯n v卯rtejul cuvintelor 艧i pentru a face asta ne punem 卯n locul personajelor din poveste, pref膬c卯ndu-ne c膬 putem s膬-l 卯n牛elegem pentru c膬 ne 卯n牛elegem pe noi 卯n艧ine. Asta e o am膬gire. Poate c膬 exist膬m pentru noi 卯n艧ine, iar uneori chiar reu艧im s膬 卯ntrez膬rim cine s卯ntem, dar la urma urmei nu putem fi niciodat膬 siguri, 艧i pe m膬sur膬 ce vie牛ile noastre merg mai departe, devenim din ce 卯n ce mai opaci fa牛膬 de noi 卯n艧ine, din ce 卯n ce mai con艧tien牛i de propria noastr膬 incoeren牛膬鈥� (p.264).
Nu mai trebuie s膬 spun c膬 am g膬sit digresiunile eseistice mult mai interesante dec卯t ac葲iunea 鈥瀙oli葲ist膬鈥�. Astfel, o ipotez膬 cu privire la adev膬ratul autor al romanului Don Quijote pute葲i citi la pp.104-105.
Chiar dac膬 Trilogia New York-ului nu mi-a pl膬cut, am devenit curios. M膬 apuc chiar acum s膬 citesc Cartea iluziilor.
September 11, 2023
危蔚 伪蠀蟿萎 蟿畏谓 蟿蟻喂位慰纬委伪 胃伪 维位位伪味伪 蟿委蟿位慰. 螛伪 蟿畏谓 慰谓蠈渭伪味伪
" 螆蟿蟽喂 蔚喂谓伪喂 畏 味蠅萎" 魏伪喂 伪蠁慰蠉 蔚喂谓伪喂 苇蟿蟽喂,渭蟺慰蟻蔚委 谓伪 纬委谓蔚喂 魏伪喂 魏维蟺蠅蟼 蔚蟿蟽喂 魏伪喂 伪位位喂蠋蟼 魏伪喂 未喂伪蠁慰蟻蔚蟿喂魏萎 魏伪喂 蟺维位喂 委未喂伪 魏伪喂 尉伪谓维 伪位位喂蠋蟿喂魏畏.
螖蔚谓 蔚委渭伪喂 蟽委纬慰蠀蟻畏 蟿喂 谓伪 纬蟻维蠄蠅 纬喂伪 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 螖蔚谓 胃伪 萎胃蔚位伪 谓伪 渭蟺蠅 蟽蔚 蟽蟿蔚蟻蔚蠈蟿蠀蟺伪 魏伪喂 魏慰喂谓维 位蠈纬喂伪. 螁位位蠅蟽蟿蔚 伪蠀蟿蠈蟼 蔚喂谓伪喂 魏伪喂 慰 蟽魏慰蟺蠈蟼 蟿慰蠀 尾喂尾位委慰蠀, 未蔚谓 蠂蠅蟻维蔚喂 蟽蔚 蟺位伪委蟽喂伪,蟽蔚 蟽蠀谓畏胃喂蟽渭苇谓蔚蟼 蟺位慰魏苇蟼 渭蔚 伪蟻蠂萎-渭苇蟽畏-蟿苇位慰蟼. 螒蟺慰蟿蔚位蔚委 伪蟺慰 渭慰谓慰 蟿慰蠀"蔚委未慰蟼",蠀蟺畏蟻蔚蟿蔚委 未喂魏慰蠉蟼 蟿慰蠀 魏伪谓蠈谓蔚蟼 蟻蔚伪位喂蟽渭慰蠉,蠅渭蠈蟿畏蟿伪蟼,蠁伪谓蟿伪蟽委伪蟼 魏伪喂 喂蟽蠅蟼 伪蠀蟿慰纬谓蠅蟽委伪蟼 萎 伪蟺蔚位蟺喂蟽渭苇谓畏蟼 蟺蟻慰蟽蟺维胃蔚喂伪蟼 蟺蟻慰蟼 蟿畏谓 伪蠀蟿慰纬谓蠅蟽委伪.
螝伪喂 蟽蟿喂蟼 蟿蟻蔚喂蟼 喂蟽蟿慰蟻委蔚蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚喂谓伪喂 慰喂 萎蟻蠅蔚蟼 蟿慰蠀 魏伪喂 慰喂 萎蟻蠅蔚蟼 蟿慰蠀 -未位未 慰 委未喂慰蟼- 蔚喂谓伪喂 蠀蟺维蟻尉蔚喂蟼 蟺慰蠀 味慰蠀谓, 蔚尉蔚位委蟽蟽慰谓蟿伪喂,渭蔚蟿伪位位维蟽蟽慰谓蟿伪喂, 蠄维蠂谓慰谓蟿伪喂,未喂伪渭慰蟻蠁蠋谓慰谓蟿伪喂 渭蟺蔚蟻未蔚蠉慰谓蟿伪喂 魏伪喂 魏蟻伪蟿慰蠉谓 蟽畏渭蔚喂蠋蟽蔚喂蟼 蟽蔚 苇谓伪 蠀蟺苇蟻慰蠂慰 魏蠈魏魏喂谓慰 蟽蟺喂蟻维位 蟽畏渭蔚喂蠅渭伪蟿维蟻喂慰.(苇谓伪 蟿苇蟿慰喂慰 蟺蟻苇蟺蔚喂 谓伪 蟺维蟻慰蠀渭蔚 蠈位慰喂 胃伪蟻蟻蠋).
螒蠀蟿苇蟼 位慰喂蟺蠈谓 慰喂 蠀蟺维蟻尉蔚喂蟼 蟺蟻慰蟽蟺伪胃慰蠉谓 渭蔚 伪蠀蟿慰胃蠀蟽委伪 谓伪 渭畏谓 蟺伪蟻蔚魏魏位委谓慰蠀谓 伪蟺慰 蟿慰蠀蟼 蟺蟻伪纬渭伪蟿喂魏慰蠉蟼 蟿慰蠀蟼 蔚伪蠀蟿慰蠉蟼 慰喂 慰蟺慰委慰喂-蠈蟺蠅蟼 魏伪喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼-未蔚谓 蟺蟻苇蟺蔚喂 谓伪 蠂维蟽慰蠀谓 蟿畏谓 伪位萎胃蔚喂伪 蟿慰蠀蟼 渭苇蟽伪 蟽蟿慰 蠄苇渭渭伪 蟺慰蠀 未畏渭喂慰蠀蟻纬慰蠉谓 慰喂 委未喂慰喂 伪谓维渭蔚蟽伪 蟽蔚 伪蠀蟿蠈谓 蟿慰谓 魏蠈蟽渭慰 魏伪喂 蟿慰谓 魏蠈蟽渭慰 蟿畏蟼 蠁伪谓蟿伪蟽委伪蟼. 螖蔚谓 蟺蟻苇蟺蔚喂 谓伪 蠂伪胃慰蠉谓,未蔚谓 蟺蟻苇蟺蔚喂 谓伪 蠂维蟽慰蠀谓 蟿慰 谓蠈畏渭伪. 螒螤螣韦螘螞螘危螠螒: 伪蟻谓畏蟿喂魏蠈. 螖蔚谓 蟿伪 魏伪蟿伪蠁苇蟻谓慰蠀谓.
螌位慰喂 伪蠀蟿慰委 慰喂 萎蟻蠅蔚蟼 渭蟺慰蟻蔚委 魏伪喂 谓伪 蔚委渭伪蟽蟿蔚 蔚渭蔚委蟼 慰喂 委未喂慰喂 萎 魏维蟺慰喂慰喂 蟺慰蠀 蟺蟻慰蟽蟺慰喂慰蠉谓蟿伪喂 蟺蠅蟼 蔚喂谓伪喂 蔚渭蔚委蟼.
[螒蟼 渭畏谓 蟿蟻蔚位伪胃慰蠉渭蔚 维位位慰 ...]
螝慰谓蟿慰位慰纬委蟼, 伪谓 蠄维蠂谓蔚蟿伪喂 纬喂伪蟿委 魏伪喂 蟺蠅蟼 魏伪胃伪蟻慰纬蟻伪渭渭苇谓伪 魏伪喂 伪蠀蟿慰谓蠈畏蟿伪, 伪谓 胃苇位蔚蟿蔚 伪谓伪纬谓蠅蟻委蟽喂渭慰 魏伪喂 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蟿蟻慰蟺慰 纬蟻伪蠁萎蟼 渭蔚 伪谓伪位蠉蟽蔚喂蟼 魏伪喂 渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏萎 蟺位慰魏萎 魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 苇谓伪 魏伪蟺慰喂慰 蟿苇位慰蟼, 螠螚螡 蟿慰 未喂伪尾维蟽蔚蟿蔚.
螒蠀蟿萎 尾蔚尾伪委蠅蟼 魏伪蟿伪 蟿畏谓 纬谓蠋渭畏 渭慰蠀 蔚喂谓伪喂 魏伪喂 畏 渭伪纬蔚委伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪. 螒蟺苇蟻喂蟿蟿畏,伪谓蔚蟺喂蟿萎未蔚蠀蟿畏, 蠂伪慰蟿喂魏萎. 螠喂伪 渭伪纬蔚委伪 蟺慰蠀 蟽蔚 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蔚 维位位畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟽蔚 未喂蟿蟿萎 魏伪喂 蟽蠀渭尾慰位喂魏萎 慰渭慰蟻蠁喂维 渭蔚 渭喂伪 伪蟺慰纬慰畏蟿蔚蠀蟿喂魏萎 魏慰蟽渭慰胃蔚蠅蟻委伪.
螝伪位萎 伪谓维纬谓蠅蟽畏;
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼!!
* 螠蔚 蟽蠀纬魏位蠈谓喂蟽蔚 慰 渭慰谓蠈位慰纬慰蟼 蟿慰蠀 纬喂慰蠀 螤委蟿蔚蟻 危蟿喂位渭伪谓.
" 螆蟿蟽喂 蔚喂谓伪喂 畏 味蠅萎" 魏伪喂 伪蠁慰蠉 蔚喂谓伪喂 苇蟿蟽喂,渭蟺慰蟻蔚委 谓伪 纬委谓蔚喂 魏伪喂 魏维蟺蠅蟼 蔚蟿蟽喂 魏伪喂 伪位位喂蠋蟼 魏伪喂 未喂伪蠁慰蟻蔚蟿喂魏萎 魏伪喂 蟺维位喂 委未喂伪 魏伪喂 尉伪谓维 伪位位喂蠋蟿喂魏畏.
螖蔚谓 蔚委渭伪喂 蟽委纬慰蠀蟻畏 蟿喂 谓伪 纬蟻维蠄蠅 纬喂伪 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 螖蔚谓 胃伪 萎胃蔚位伪 谓伪 渭蟺蠅 蟽蔚 蟽蟿蔚蟻蔚蠈蟿蠀蟺伪 魏伪喂 魏慰喂谓维 位蠈纬喂伪. 螁位位蠅蟽蟿蔚 伪蠀蟿蠈蟼 蔚喂谓伪喂 魏伪喂 慰 蟽魏慰蟺蠈蟼 蟿慰蠀 尾喂尾位委慰蠀, 未蔚谓 蠂蠅蟻维蔚喂 蟽蔚 蟺位伪委蟽喂伪,蟽蔚 蟽蠀谓畏胃喂蟽渭苇谓蔚蟼 蟺位慰魏苇蟼 渭蔚 伪蟻蠂萎-渭苇蟽畏-蟿苇位慰蟼. 螒蟺慰蟿蔚位蔚委 伪蟺慰 渭慰谓慰 蟿慰蠀"蔚委未慰蟼",蠀蟺畏蟻蔚蟿蔚委 未喂魏慰蠉蟼 蟿慰蠀 魏伪谓蠈谓蔚蟼 蟻蔚伪位喂蟽渭慰蠉,蠅渭蠈蟿畏蟿伪蟼,蠁伪谓蟿伪蟽委伪蟼 魏伪喂 喂蟽蠅蟼 伪蠀蟿慰纬谓蠅蟽委伪蟼 萎 伪蟺蔚位蟺喂蟽渭苇谓畏蟼 蟺蟻慰蟽蟺维胃蔚喂伪蟼 蟺蟻慰蟼 蟿畏谓 伪蠀蟿慰纬谓蠅蟽委伪.
螝伪喂 蟽蟿喂蟼 蟿蟻蔚喂蟼 喂蟽蟿慰蟻委蔚蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚喂谓伪喂 慰喂 萎蟻蠅蔚蟼 蟿慰蠀 魏伪喂 慰喂 萎蟻蠅蔚蟼 蟿慰蠀 -未位未 慰 委未喂慰蟼- 蔚喂谓伪喂 蠀蟺维蟻尉蔚喂蟼 蟺慰蠀 味慰蠀谓, 蔚尉蔚位委蟽蟽慰谓蟿伪喂,渭蔚蟿伪位位维蟽蟽慰谓蟿伪喂, 蠄维蠂谓慰谓蟿伪喂,未喂伪渭慰蟻蠁蠋谓慰谓蟿伪喂 渭蟺蔚蟻未蔚蠉慰谓蟿伪喂 魏伪喂 魏蟻伪蟿慰蠉谓 蟽畏渭蔚喂蠋蟽蔚喂蟼 蟽蔚 苇谓伪 蠀蟺苇蟻慰蠂慰 魏蠈魏魏喂谓慰 蟽蟺喂蟻维位 蟽畏渭蔚喂蠅渭伪蟿维蟻喂慰.(苇谓伪 蟿苇蟿慰喂慰 蟺蟻苇蟺蔚喂 谓伪 蟺维蟻慰蠀渭蔚 蠈位慰喂 胃伪蟻蟻蠋).
螒蠀蟿苇蟼 位慰喂蟺蠈谓 慰喂 蠀蟺维蟻尉蔚喂蟼 蟺蟻慰蟽蟺伪胃慰蠉谓 渭蔚 伪蠀蟿慰胃蠀蟽委伪 谓伪 渭畏谓 蟺伪蟻蔚魏魏位委谓慰蠀谓 伪蟺慰 蟿慰蠀蟼 蟺蟻伪纬渭伪蟿喂魏慰蠉蟼 蟿慰蠀蟼 蔚伪蠀蟿慰蠉蟼 慰喂 慰蟺慰委慰喂-蠈蟺蠅蟼 魏伪喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼-未蔚谓 蟺蟻苇蟺蔚喂 谓伪 蠂维蟽慰蠀谓 蟿畏谓 伪位萎胃蔚喂伪 蟿慰蠀蟼 渭苇蟽伪 蟽蟿慰 蠄苇渭渭伪 蟺慰蠀 未畏渭喂慰蠀蟻纬慰蠉谓 慰喂 委未喂慰喂 伪谓维渭蔚蟽伪 蟽蔚 伪蠀蟿蠈谓 蟿慰谓 魏蠈蟽渭慰 魏伪喂 蟿慰谓 魏蠈蟽渭慰 蟿畏蟼 蠁伪谓蟿伪蟽委伪蟼. 螖蔚谓 蟺蟻苇蟺蔚喂 谓伪 蠂伪胃慰蠉谓,未蔚谓 蟺蟻苇蟺蔚喂 谓伪 蠂维蟽慰蠀谓 蟿慰 谓蠈畏渭伪. 螒螤螣韦螘螞螘危螠螒: 伪蟻谓畏蟿喂魏蠈. 螖蔚谓 蟿伪 魏伪蟿伪蠁苇蟻谓慰蠀谓.
螌位慰喂 伪蠀蟿慰委 慰喂 萎蟻蠅蔚蟼 渭蟺慰蟻蔚委 魏伪喂 谓伪 蔚委渭伪蟽蟿蔚 蔚渭蔚委蟼 慰喂 委未喂慰喂 萎 魏维蟺慰喂慰喂 蟺慰蠀 蟺蟻慰蟽蟺慰喂慰蠉谓蟿伪喂 蟺蠅蟼 蔚喂谓伪喂 蔚渭蔚委蟼.
[螒蟼 渭畏谓 蟿蟻蔚位伪胃慰蠉渭蔚 维位位慰 ...]
螝慰谓蟿慰位慰纬委蟼, 伪谓 蠄维蠂谓蔚蟿伪喂 纬喂伪蟿委 魏伪喂 蟺蠅蟼 魏伪胃伪蟻慰纬蟻伪渭渭苇谓伪 魏伪喂 伪蠀蟿慰谓蠈畏蟿伪, 伪谓 胃苇位蔚蟿蔚 伪谓伪纬谓蠅蟻委蟽喂渭慰 魏伪喂 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蟿蟻慰蟺慰 纬蟻伪蠁萎蟼 渭蔚 伪谓伪位蠉蟽蔚喂蟼 魏伪喂 渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏萎 蟺位慰魏萎 魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 苇谓伪 魏伪蟺慰喂慰 蟿苇位慰蟼, 螠螚螡 蟿慰 未喂伪尾维蟽蔚蟿蔚.
螒蠀蟿萎 尾蔚尾伪委蠅蟼 魏伪蟿伪 蟿畏谓 纬谓蠋渭畏 渭慰蠀 蔚喂谓伪喂 魏伪喂 畏 渭伪纬蔚委伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪. 螒蟺苇蟻喂蟿蟿畏,伪谓蔚蟺喂蟿萎未蔚蠀蟿畏, 蠂伪慰蟿喂魏萎. 螠喂伪 渭伪纬蔚委伪 蟺慰蠀 蟽蔚 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蔚 维位位畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟽蔚 未喂蟿蟿萎 魏伪喂 蟽蠀渭尾慰位喂魏萎 慰渭慰蟻蠁喂维 渭蔚 渭喂伪 伪蟺慰纬慰畏蟿蔚蠀蟿喂魏萎 魏慰蟽渭慰胃蔚蠅蟻委伪.
螝伪位萎 伪谓维纬谓蠅蟽畏;
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼!!
* 螠蔚 蟽蠀纬魏位蠈谓喂蟽蔚 慰 渭慰谓蠈位慰纬慰蟼 蟿慰蠀 纬喂慰蠀 螤委蟿蔚蟻 危蟿喂位渭伪谓.
December 13, 2020
Is The NYT three novels-in-one, or a single tome?
Ah, well: That's four Auster "novels" in a row for me I guess... and, (not) interestingly enough, they were ALL very much alike (Oracle Night, The Glass City, Ghosts, The Locked Room). It's becoming clear that Auster has adopted very interesting themes, such as the transitory nature of fiction and reality; the writer's world manifested in a literal form; & the double... He writes in free-flow and non sequiturs.
Yeah, I will be the first one to admit that almost always his conclusions are not concrete (and they don't have to be) and will even venture to say that with the exclusion of "Timbuktu" his endings are all incredibly inelegant. But damn if he isn't readable! Even the writer's ego, a quality I deem somewhat lame when personified in literature doesn't bother me. Yeah, Auster is in love with New York, with the writer, & obviously with himself. But doesn't the saying go "Write what you KNOW"? And Auster, perhaps not really knowing how his novels will EVER end, does do something very admirable: He keeps the reader in a trance, submerging him/her in a world completely constructed from the marriage of the writer's everyday experience and his almost-visceral psyche.
Ah, well: That's four Auster "novels" in a row for me I guess... and, (not) interestingly enough, they were ALL very much alike (Oracle Night, The Glass City, Ghosts, The Locked Room). It's becoming clear that Auster has adopted very interesting themes, such as the transitory nature of fiction and reality; the writer's world manifested in a literal form; & the double... He writes in free-flow and non sequiturs.
Yeah, I will be the first one to admit that almost always his conclusions are not concrete (and they don't have to be) and will even venture to say that with the exclusion of "Timbuktu" his endings are all incredibly inelegant. But damn if he isn't readable! Even the writer's ego, a quality I deem somewhat lame when personified in literature doesn't bother me. Yeah, Auster is in love with New York, with the writer, & obviously with himself. But doesn't the saying go "Write what you KNOW"? And Auster, perhaps not really knowing how his novels will EVER end, does do something very admirable: He keeps the reader in a trance, submerging him/her in a world completely constructed from the marriage of the writer's everyday experience and his almost-visceral psyche.
December 16, 2015
I have encountered a great many reviews that start with "I don't know how to begin this review". By this claim the reviewer expresses doubt, but the expression of these doubts is the immediate solution to the reviewer's predicament, making both the doubts and the claim kind of moot. I was thinking of starting off this review the same way, given that this book leaves you wondering about everything, but thinking about that as an option makes it also dishonest, because I would know where to start with this review. Luckily I found a way around it so ta-da, here we go, smooth sailing, no over-explanation there at all!
This book is a particular kind of great. It's unique in my view, but that's not saying much because my basis for comparison is rather small, so let me elaborate.
"The New York Trilogy" is comprised of three stories. This is not surprising. It makes sense. This is also the point where the "sense" stops. That big box of "sense" you're so comfortable in, all snug and cosy and warm? This book is a bucket of cold water poured all over that adorable situation, making you jump out of the box, into a beautiful realm of wild and wondrous thoughts.
The book starts with the quirky idea of the first story's protagonist being called up by a person looking for "Paul Auster". Hmmm, where have I seen that name? Daniel Quinn, a writer, the guy who has picked up the phone, decides to pretend he is in fact Paul Auster, a private investigator. A rather cute idea which is only the beginning of the story, and of a trilogy that becomes a very intricate riddle, with questions of identity and purpose pervading it. The author, the characters, the reader are all embroiled in these stories of stake-outs, shadowing, minicious observations and carefully planned investigations and what starts out as a seemingly cute gimmick of having the author's name as part of the story turns into an adventure you yourself become part of. You as a reader become the investigator. You'll get clues, but without the guarantee you'll get all of them. You'll get answers, but you'll have to find more by yourself.
Paul Auster in bed, reading Paul Auster's novel, "The New York Trilogy", in New York City, New York. It's a book by Paul Auster, for Paul Auster, about several Paul Austers, including himself, Paul Auster, author otherwise known for rather austere writings.
This book is immensely readable: the prose employed makes this novel a page-turner, the plot is always intriguing enough to keep one on his toes (understatement of the year). But it's difficult. It's like a Rubic's cube, only without the guarantee that it's actually solvable.
To some readers, this is frustrating. To me, the beauty of this book is that I couldn't solve its mystery, despite convincing myself I have identified some parts of answers and some threads that connect everything. Paul Auster created one of literature's most beautiful riddles. It's a bit of a magic trick and any kind of reveal "given" to you would ruin it, so I'm not going to scour the Internet for solutions. What I am going to do, is try and solve it upon a re-read, but frankly I think I'll be a bit disappointed if I can.
The only reason I didn't give this five stars is because of the slight headache it gave me. This was probably a bit self-inflicted. I always want everything to fit. This book is like a puzzle box, but the pieces inside are from several different puzzles, none of them matching the picture on the box, and none of the puzzle-sets being complete. I tried stomping the pieces together, hence the headache. I'm planning to return to it and see if I can fill in the blanks somehow, this time without stomping on the pieces and without any headaches. I know I'll enjoy it all over again, but probably a bit differently, knowing what I think I know. This riddle-nature of the book is what makes it so unique: uniquely readable, uniquely challenging, uniquely re-readable, uniquely enjoyable. And very recommendable.
All that having been said, I really don't know how to finish this review.
This book is a particular kind of great. It's unique in my view, but that's not saying much because my basis for comparison is rather small, so let me elaborate.
"The New York Trilogy" is comprised of three stories. This is not surprising. It makes sense. This is also the point where the "sense" stops. That big box of "sense" you're so comfortable in, all snug and cosy and warm? This book is a bucket of cold water poured all over that adorable situation, making you jump out of the box, into a beautiful realm of wild and wondrous thoughts.
The book starts with the quirky idea of the first story's protagonist being called up by a person looking for "Paul Auster". Hmmm, where have I seen that name? Daniel Quinn, a writer, the guy who has picked up the phone, decides to pretend he is in fact Paul Auster, a private investigator. A rather cute idea which is only the beginning of the story, and of a trilogy that becomes a very intricate riddle, with questions of identity and purpose pervading it. The author, the characters, the reader are all embroiled in these stories of stake-outs, shadowing, minicious observations and carefully planned investigations and what starts out as a seemingly cute gimmick of having the author's name as part of the story turns into an adventure you yourself become part of. You as a reader become the investigator. You'll get clues, but without the guarantee you'll get all of them. You'll get answers, but you'll have to find more by yourself.
Paul Auster in bed, reading Paul Auster's novel, "The New York Trilogy", in New York City, New York. It's a book by Paul Auster, for Paul Auster, about several Paul Austers, including himself, Paul Auster, author otherwise known for rather austere writings.
This book is immensely readable: the prose employed makes this novel a page-turner, the plot is always intriguing enough to keep one on his toes (understatement of the year). But it's difficult. It's like a Rubic's cube, only without the guarantee that it's actually solvable.
To some readers, this is frustrating. To me, the beauty of this book is that I couldn't solve its mystery, despite convincing myself I have identified some parts of answers and some threads that connect everything. Paul Auster created one of literature's most beautiful riddles. It's a bit of a magic trick and any kind of reveal "given" to you would ruin it, so I'm not going to scour the Internet for solutions. What I am going to do, is try and solve it upon a re-read, but frankly I think I'll be a bit disappointed if I can.
The only reason I didn't give this five stars is because of the slight headache it gave me. This was probably a bit self-inflicted. I always want everything to fit. This book is like a puzzle box, but the pieces inside are from several different puzzles, none of them matching the picture on the box, and none of the puzzle-sets being complete. I tried stomping the pieces together, hence the headache. I'm planning to return to it and see if I can fill in the blanks somehow, this time without stomping on the pieces and without any headaches. I know I'll enjoy it all over again, but probably a bit differently, knowing what I think I know. This riddle-nature of the book is what makes it so unique: uniquely readable, uniquely challenging, uniquely re-readable, uniquely enjoyable. And very recommendable.
All that having been said, I really don't know how to finish this review.
December 30, 2018
Ma quanto 猫 bello pedinare (e essere pedinati) da Paul Auster?
May 14, 2024
While reading this puzzling set of novels, I wondered what I could say about them. We think, of course, of the loss of reference points and the search for identity. But many people have said all of this before, much better than I could do. So? So this was my first contact with Auster, and despite the confusing universe, the three short stories take you to their worlds. Never mind the crossings of characters with different names. It is indescribable. It is a thriller without investigation, a story with white, black, and blue characters鈥攕tories in history. Characters were resuming the author's life - characters bearing the author's name. No, you can't say anything; you must read this trilogy if you are not allergic to absurdity.
January 6, 2008
I can't believe I read this all the way through, but I just kept thinking that at some point, something has to happen. I was disappointed. The writing is mechanical and boring. It's like being told a story by someone barely interested what they are saying. There is no experience to it, no stake in the characters, and like I said, nothing of note really happens. When Auster makes an attempt to wrap up the disjointed and feeble plot lines after two and three-quarter books of emptiness and abrupt endings, it feels like he is just throwing words and sentences out in order to get it over with. At this point, I didn't care. I just wanted the book finished so I could move on to something with even a little more substance.
January 9, 2020
Baudelaire cited by Paul Auster in City of Glass: "Il me semble que je serais toujours bien l脿 o霉 je ne suis pas." In other words: It seems to me that I will always be happy in the place where I am not. Or, more bluntly: Wherever I am not is the place where I am myself. Or else, taking the bull by the horns: Anywhere out of the world.
It was a wrong number that started it, the telephone ringing three times in the dead of night, and the voice on the other end asking for someone he was not....
3.5 leaning towards 4... ah, my hate-love relationship with Paul Auster...
I loved some of Auster's books, Brooklyn Follies, Book of Illusions.... but he always keeps me wondering. Like his 'Man in the Dark'. This NY Trilogy (City of Glass, Ghosts and The Locked Room)... it's a crime noire novel... and it keeps you wondering what's going on. I read ShovelMoney1's review who says, 'a study on the watched and the watcher in a sort of claustrophobic ever decreasing circles format'. Good description. Auster's writing is rather pretentious at times, sort of bothers me, but it is also poetic, mysterious and that is where he draws me in....
City of Glass was a difficult start for me, had trouble getting through, including the rather pretentious pages of theories... I read some reviews here of City of Glass which were rather aggressively negative. Putting it mildly. I even considered stopping after that first one, but decided to read on and then the book got to me.... although I'm still thinking how much I liked it and what the h*** does Auster mean with those three stories that seem to make a full circle...
Read it again maybe? Mmmmmm.... maybe. For now, Auster did get into my head, yet again.
'In three variants on the classic detective story, Paul Auster makes the well-traversed terrain of New York city his own, as it becomes a strange, compelling landscape in which identities merge or fade and questions serve only to further obscure the truth.'
I stayed on in the house for a few more days. My plan was to do nothing for as long as I could, to rest up. I was exhausted, and I need a chance to regroup before going back to Paris. A day or two went by. I walked through the fields, visited the woods, sat out in the sun reading French translations of American detective novels. It should have been the perfect cure: holing up in the middle of nowhere, letting my mind float free. But none of it really helped. The house wouldn't make room for me, and by the third day, I sensed that I was no longer alone, that I could never be alone in that place. Fanshawe was there, and no matter how hard I tried not to think of him, I couldn't escape. This was unexpected, galling. Now that I had stopped looking for him, he was more present to me than ever before. The whole process had been reversed. After all these months of trying to find him, I felt as though I was the one who had been found...
It was a wrong number that started it, the telephone ringing three times in the dead of night, and the voice on the other end asking for someone he was not....
3.5 leaning towards 4... ah, my hate-love relationship with Paul Auster...
I loved some of Auster's books, Brooklyn Follies, Book of Illusions.... but he always keeps me wondering. Like his 'Man in the Dark'. This NY Trilogy (City of Glass, Ghosts and The Locked Room)... it's a crime noire novel... and it keeps you wondering what's going on. I read ShovelMoney1's review who says, 'a study on the watched and the watcher in a sort of claustrophobic ever decreasing circles format'. Good description. Auster's writing is rather pretentious at times, sort of bothers me, but it is also poetic, mysterious and that is where he draws me in....
City of Glass was a difficult start for me, had trouble getting through, including the rather pretentious pages of theories... I read some reviews here of City of Glass which were rather aggressively negative. Putting it mildly. I even considered stopping after that first one, but decided to read on and then the book got to me.... although I'm still thinking how much I liked it and what the h*** does Auster mean with those three stories that seem to make a full circle...
Read it again maybe? Mmmmmm.... maybe. For now, Auster did get into my head, yet again.
'In three variants on the classic detective story, Paul Auster makes the well-traversed terrain of New York city his own, as it becomes a strange, compelling landscape in which identities merge or fade and questions serve only to further obscure the truth.'
I stayed on in the house for a few more days. My plan was to do nothing for as long as I could, to rest up. I was exhausted, and I need a chance to regroup before going back to Paris. A day or two went by. I walked through the fields, visited the woods, sat out in the sun reading French translations of American detective novels. It should have been the perfect cure: holing up in the middle of nowhere, letting my mind float free. But none of it really helped. The house wouldn't make room for me, and by the third day, I sensed that I was no longer alone, that I could never be alone in that place. Fanshawe was there, and no matter how hard I tried not to think of him, I couldn't escape. This was unexpected, galling. Now that I had stopped looking for him, he was more present to me than ever before. The whole process had been reversed. After all these months of trying to find him, I felt as though I was the one who had been found...
October 9, 2011
I think this was my first encounter with Paul Auster, a man who I met through the cult of the 1001 books to read before you die list. Prior to that I was vaguely aware of Auster and his peculiar brand of love/loath inciting literature which had friends alternatively raging or swooning, but had never bothered my arse to go and see what all the fuss was about.
Turns out I rather loved this - once I had progressed beyond the first forty pages. For the first forty pages I'd already rather rudely pigeon-holed the book as "arty-wank", thinking to myself, Oh dear this looks like it is entering into pretentious toss territory. When I say entering I mean approaching the door marked pretentious toss and busting its way in using a battering ram made out of glued together copies of The Body Artist by Don DeLillo, then stepping over the wreckage of the door and striding to the middle of the room to stand on the podium of arty-toss-bollocks while waving its arms over its head..... but nope, turns out it's all good.
Excellent trilogy, a study on the watched and the watcher in a sort of claustrophobic ever decreasing circles format which made my tiny mind spin, but in a good way, like the literary equivalent of an MC Escher drawing. In a complete about turn I then had to remove the book from the arty-wank pigeon hole and give it a little hug. This was followed by me then going out to purchase pretty much all of Paul Auster's books. Can't think for the life of me why I've not bothered to review more of them on 欧宝娱乐 either. This one is deserving of a place on the 1001 books to read before you die list - just don't let the first forty pages fool you.
Turns out I rather loved this - once I had progressed beyond the first forty pages. For the first forty pages I'd already rather rudely pigeon-holed the book as "arty-wank", thinking to myself, Oh dear this looks like it is entering into pretentious toss territory. When I say entering I mean approaching the door marked pretentious toss and busting its way in using a battering ram made out of glued together copies of The Body Artist by Don DeLillo, then stepping over the wreckage of the door and striding to the middle of the room to stand on the podium of arty-toss-bollocks while waving its arms over its head..... but nope, turns out it's all good.
Excellent trilogy, a study on the watched and the watcher in a sort of claustrophobic ever decreasing circles format which made my tiny mind spin, but in a good way, like the literary equivalent of an MC Escher drawing. In a complete about turn I then had to remove the book from the arty-wank pigeon hole and give it a little hug. This was followed by me then going out to purchase pretty much all of Paul Auster's books. Can't think for the life of me why I've not bothered to review more of them on 欧宝娱乐 either. This one is deserving of a place on the 1001 books to read before you die list - just don't let the first forty pages fool you.
Read
April 4, 2021
The New York Trilogy by Paul Auster - three captivating postmodern novels published back in the mid-1980s. Here's my write-up of each individually:
CITY OF GLASS - Book 1
City of Glass reads like Raymond Chandler on Derrida, that is, a hard-boiled detective novel seasoned with a healthy dose of postmodernist themes, a novel about main character Daniel Quinn as he walks the streets of uptown New York City.
I found the story and writing as compelling as Chandler's The Big Sleep or Hammett's The Maltese Falcon and as thought-provoking as reading an essay by Foucault or Barthes. By way of example, here are three quotes from the novel coupled with key concepts from the postmodern tradition along with my brief commentary.
On the first pages of the novel, the narrator conveys mystery writer Quinn's reflections on William Wilson, his literary pseudonym and Max Work, the detective in his novels. We read, "Over the years, Work had become very close to Quinn. Whereas William Wilson remained an abstract figure for him Work had increasingly come to life. In the triad of selves that Quinn had become, Wilson served as a kind of ventriloquist, Quinn himself was the dummy, and Work was the animated voice that gave purpose to the enterprise." ---------- Michel Foucault completely rejected the idea that a person has one fixed inner self or essence serving them as their individual personal identity. Rather, he saw personal identity as defined by a process of on-going, ever changing dialogue with oneself and others. ---------- And Quinn's interior dialogue with Work and Wilson is just the beginning. As the novels progresses, Quinn takes on a number of other identities.
In his role as hired detective (quite an ironic role since Quinn is a fiction writer and has zero experience as a detective), he goes to Grand Central Station to locate a man by the name of Peter Stillman, the man he will have to tail. This is what we read after Quinn spots his man, "At that moment Quinn allowed himself a glance to Stillman's right, surveying the rest of the crowd to make doubly sure he made no mistakes. What happened then defined explanation. Directly behind Stillman, heaving into view just inches behind his right shoulder, another man stopped . . . His face was the exact twin of Stillman's." ---------- The double, the original and the copy, occupies the postmodernists on a number of levels, including a double reading of any work of literature. Much technical language is employed, but the general idea is we should read a work of fiction the first time through in the conventional, traditional way, enjoying the characters and the story.
Our second reading should be more critical than the first reading we constructed; to be good postmodernists, we should `deconstruct' the text to observe and critically evaluate such things as cultural and social biases and underlying philosophic assumptions. And such a second reading should not only be applied to works of literature but to all our encounters with facets of contemporary mass-duplicated society.
"As for Quinn, it is impossible for me to say where he is now. I have followed the red notebook as closely as I could, and any inaccuracies in the story should be blamed on me." ---------- One key postmodern idea is that a book isn't so much about the world as it is about joining the conversation with other books. ---------- Turns out, the entire story here is a construction/deconstruction/reconstruction of a book: Quinn's red notebook. Life and literature living at the intersection of an ongoing conversation - Quinn's red notebook contains references to many, many other books, including Diary of Marco Polo, Robinson Caruso, Holy Bible, Don Quixote, Baudelaire. And the story the narrator relates from Quinn's red notebook is City of Glass by Paul Auster. Again, Raymond Chandler on Derrida.
One final observation. Although no details are given, Quinn tells us right at the outset he has lost his wife and son. Quinn's tragedy coats every page like a kind of film. No matter what form a story takes, modern or postmodern or anything else, tragedy is tragedy and if we empathize with Quinn at all, we feel his pain. Some things never change.
GHOSTS - Book 2
Ghosts (1983) reads like the square root of a hard-boiled detective noir novel, an off-the-wall, bizarre mystery where there is no crime and the whodunit is replaced by a meditation on the nature of identity. Here are the opening few line: "First of all there is Blue. Later there is White, and then there is Black, and before the beginning there is Brown. Brown broke him in, Brown taught him the ropes, and when Brown grew old, Blue took over." Blue is a detective and it is Blue we follow on every page of this sparse (less than 100 pages) novel set in 1947 New York City.
To gain an initial feel for the novel, please go to Youtube and watch a snippet of one of those 1940s black-and-white noir films, like The Naked City. You will see lots of hard-talking tough guys in gray suits and gray hats running around city streets socking one another in the jaw and plugging one another with bullets -- plenty of action to be sure. And that's exactly the point - a world chock-full of police, detectives, crooks and dames is a world of action.
But what happens when one of those 1940s detectives is put on a case where all action is stripped away, when the only thing the detective has to do is look out his apartment window and keep an eye on a man across the street in another apartment sitting at his desk reading or writing? This is exactly what happens in Ghosts. So, rather than providing a more detailed synopsis of the story (actually, there is some action and interaction), I will cite several of Blue's musing along with my brief comments on Blue's relationship to literary and artistic creation:
"Until now, Blue has not had much chance for sitting still, and this new idleness has left him at something of a loss. For the first time in his life, he finds that he has been thrown back on himself, with nothing to grab hold of, nothing to distinguish one moment from the next. He has never given much through to the world inside him, and through he always knew it was there, it has remained an unknown quantity, unexplored and therefore dark, even to himself." --------- So, for the first time in his life, Blue is given a taste of silence and solitude, the prime experience of someone who is a writer.
"More than just helping to pass the time, he discovers that making up stories can be a pleasure in itself." ---------- Removed from the world of action and building on his experience of silence and solitude, Blue is also given a hint of what it might mean to be a fiction writer, one who sits in isolation, exploring the inner world of imagination in order to create stories. And, on the topic of stories, the unnamed narrator conveys how Blue reflects on many stories, including the building of the Brooklyn Bridge, stories from the lives of Walk Whitman and Henry David Thoreau, and several stories Blue reads in his all-time favorite magazine: True Detective. Auster's short novel is teeming with stories.
"For the first time in his experience of writing reports, he discovers that words do not necessarily work, that it is possible for them to obscure the things they are trying to say." ---------- Blue discerns it is possible that words cannot adequately articulate the depth and full range of human experience. And what is true of a detective's report is truer for works of great literature: there is a rich, vital, vibrant world of feeling and imagination beyond the confines of words and language.
"Finally mustering the courage to act, Blue reaches into his bag of disguises and casts about for a new identity. After dismissing several possibilities, he settles on an old man who used to beg on the corner of his neighborhood when he was a bog - a local character by the name of Jimmy Rose - and decks himself out in the garb of tramphood . . ." ---------- During the course of the novel, Blue take on a number of different identities and with each new persona he experiences life with a kind of immediacy and intensity. Spending a measure of his creative life as a screenwriter and director, Paul Auster undoubtedly had many encounters with actors thriving on their roles, energized and invigorated as they performed for the camera. I suspect Auster enjoyed placing his detective main character in the role of actor at various points.
Ghosts can be read as a prompt to question how identity is molded by literature and the arts. How dependent are we on stories for an understanding of who we are? In what ways do the arts influence and expand our sense of self? Do we escape purposelessness and boredom by participating in the imaginative worlds of art and literature?
THE LOCKED ROOM - Book 3
鈥淚t seems to me now that Fanshawe was always there. He is the place where everything begins for me, and without him I would hardly know who I am.鈥� So begins The Locked Room.
We encounter the narrator, a writer by profession, navigating the choppy waters of passion and commitment, forever brooding on an entire range of topics: life and death, self and other, childhood and memory, friendship and fatherhood, love and hate, reading and writing, self-definition and self-identity.
In a strange, offbeat way, all the philosophic reflections and ruminations give Auster鈥檚 short novel an irresistible drive. Fanshawe was a writer, leaving boxes of novels, journals, poetry and plays to be read and judged. Fanshawe also leaves his beautiful wife, Sophie, and his baby boy. Sophie contacts the narrator, who was Fanshawe鈥檚 dearest friend, to do the reading and judging. To tell more than these few facts would be to tell too much. Let me simply say that once I started reading The Locked Room, I couldn鈥檛 put it down.
American author Paul Auster, born 1947
January 7, 2024
丿乇 爻賴鈥屭з嗁団€屰� 賳蹖賵蹖賵乇讴 亘丕 爻賴 讴鬲丕亘 亘丕 爻賴 丿丕爻鬲丕賳 賲噩夭丕 胤乇賮蹖賲 讴賴 丕賱賲丕賳鈥屬囏й� 賲卮鬲乇讴蹖 亘丕毓孬 卮丿賴 鬲丕 亘賴 卮讴賱 蹖讴 爻賴鈥屭з嗁� 鬲毓乇蹖賮 亘卮賳. 賲孬賱丕 丕卮鬲乇丕讴 丿乇 賲賵乇丿 卮睾賱 賳賯卮 丕氐賱蹖 讴賴 讴丕乇丌诏丕賴 禺氐賵氐蹖 賴爻鬲(亘賴 卮讴賱蹖) 賵 丕卮鬲乇丕讴 丿乇 賲賵乇丿 賮賱爻賮賴鈥屰� 賴乇 丿丕爻鬲丕賳貙 丕卮鬲乇丕讴 丿乇 亘蹖賳 丌丿賲賴丕蹖蹖 讴賴 丿乇 丿丕爻鬲丕賳賴丕 賵噩賵丿 丿丕乇賳丿貙 賳賯卮鈥屬囏й� 诏匕乇蹖 賴乇 讴鬲丕亘 賲賲讴賳賴 賳賯卮 丕氐賱蹖 讴鬲丕亘 丿蹖诏賴 亘丕卮賴 賲孬賱 讴丕乇丌诏丕賴 讴賵卅蹖賳貙 丕卮鬲乇丕讴 丿乇 亘蹖賳 賵爻丕蹖賱蹖 賲孬賱 丿賮鬲乇趩賴鈥屰� 賯乇賲夭 賵 丿乇 賳賴丕蹖鬲 丕卮鬲乇丕讴 賲讴丕賳蹖 丿乇 賳蹖賵蹖賵乇讴 讴賴 丕爻賲 爻賴鈥屭з嗁� 丕夭 丕賵賳 賵丕賲 诏乇賮鬲賴 卮丿賴. 賴乇 爻賴 讴鬲丕亘 倬丕蹖丕賳蹖 鬲賯乇蹖亘丕賸 亘丕夭 丿丕乇賴 賵 賯爻賲鬲 噩丕賱亘 讴鬲丕亘賴丕 丕蹖賳賴 讴賴 亘丕 丕蹖賳 讴賴 馗丕賴乇丕賸 亘丕 跇丕賳乇 讴丕乇丌诏丕賴蹖-噩賳丕蹖蹖 乇賵亘乇賵 賴爻鬲蹖賲 丕賲丕 丿乇 亘丕胤賳 讴鬲丕亘 亘蹖卮鬲乇 亘丕 讴鬲丕亘賴丕蹖蹖 賲毓賳丕诏乇丕 賵 賮賱爻賮蹖 賲賵丕噩賴 賲蹖卮蹖賲. 讴鬲丕亘賴丕蹖蹖 讴賴 亘賴 亘丨乇丕賳 賴賵蹖鬲蹖 賵 爻乇诏乇丿丕賳 亘賵丿賳 亘卮乇 賵 賱夭賵賲 卮賳丕禺鬲 禺賵丿 氐丨亘鬲 賲蹖鈥屭┵嗁�. 丿乇 賲噩賲賵毓 卮丕蹖丿 賲噩賲賵毓賴鈥屰� 讴賳丕乇 賴賲 丕蹖賳 爻賴 讴鬲丕亘 噩匕丕亘鈥屫� 丕夭 鬲讴鈥屫� 丕賵賳賴丕 亘丕卮賴 賵 亘乇丕蹖 賴賲蹖賳 亘丕 賵噩賵丿 丕蹖賳讴賴 亘賴 賴乇 爻賴 讴鬲丕亘 賯亘賱蹖 爻賴 爻鬲丕乇賴 丿丕丿賴 亘賵丿賲 亘賴 賲噩賲賵毓賴鈥屰� 丕蹖賳 爻賴 诏丕賳賴 趩賴丕乇 爻鬲丕乇賴 賲蹖丿賲.賴
March 14, 2025
This maybe a love letter to the city of New York, and where Auster takes classic American detective writers like Chandler and gives them a postmodern twist, but The New York Trilogy, his three early metaphysical mystery novellas, are equally fuelled by a European sensibility. There is a stark and ghostly existential tone running through the stories, through confused character identities and their reflections of one another, and where fact and fiction become progressively more difficult to isolate. Just like reading this book for the first time more than ten years ago, I was completely transfixed by these three tales again, with the obvious comparisons to both Beckett & Kafka. It's no surprise really that Auster has been more popular in Europe than in America, and I knew from my time in Paris that he is much admired there. What I loved about the trilogy is that Auster isn't really in it for the whodunnit or end result - open-ending endings here, but rather takes the unconventional approach to the classic detective set-up, by adopting the act of detecting to try and find oneself having lost oneself after keeping a close eye on somebody else. Auster really does a great job of putting the reader in the shoes of his protagonists, as they venture towards the edge of an existential abyss: we experience as they experience: the bewilderment; the feeling of despair being trapped in a maze of one's own mind; the creepy claustrophobic presence of being watched. A quite brilliant piece of work.
February 21, 2024
CRITIQUE:
Consummate Metafiction
If you鈥檙e interested in reading just one example of metafiction, I can鈥檛 think of any better work than "The New York Trilogy" (except perhaps Thomas Pynchon鈥檚 "The Crying of Lot 49").
Paul Auster mightn鈥檛 get the same accolades as other writers of post-modern fiction, if only because he has built a loyal readership that doesn鈥檛 depend on post-modern academics and spin merchants:
Paul Auster鈥檚 fiction is innovative without making ostentatious claims to either inordinate length or gratuitous experimentalism. In fact, he seems to regard experiment as a mere transitional step on the way to perfection:
A Sense of Plenitude and Economy
By these standards, the Trilogy is both beautiful and highly structured. At 314 pages, it鈥檚 totally focussed (it鈥檚 quite the opposite of chaotic maximalism or excessivism), yet, like the detective fiction or mysteries adored by the character Daniel Quinn, what appeals so much is its "sense of plenitude and economy":
An Organic Part of the Written Word
The Trilogy is also a highly philosophical work. However, unlike most post-modern fiction, the philosophy is tightly wound into the structure or narrative of the novel. The philosophy is almost inseparable from the fiction itself. It鈥檚 no mere gratuitous insertion designed to contribute to either length or literary pretension. In other words, it鈥檚 both relevant and essential to the fiction:
The Triple Meaning of the Private Eye
This applies equally to the manner in which Auster co-opts elements of detective fiction to pursue his goals. In contrast to Robert Coover, he doesn鈥檛 just exploit genre conventions to house a story or myth he has invented.
Auster sees detective fiction as related to the role of both the author and the reader. In the words of Quinn:
Each of the three novellas is a mirror image of a private eye novel (not to mention the works of Cervantes, Sterne, Poe and Hawthorne), only, this being Paul Auster, there is a "deft little twist" or reversal in the image. It can鈥檛 be and isn鈥檛 a perfect analogue of the real object. In the first story, the private eye is a crime writer who pretends to be the fictive detective Paul Auster, in order to accept an assignment. In the third story, a writer very much like the real Paul Auster becomes the literary executor of another writer who has disappeared, so the writer sets out to discover his whereabouts and for a while to write his biography. In the second novella, the real detective, Blue, progressively takes on the role of an author during the process of speculating about the reports he鈥檚 required to write for his client, White.
The Perils of Invention and Make-Believe
A detective (particularly in the police force) is a vital part of a legal process that aims to successfully prosecute the perpetrator of a crime. Thus, they must be concerned with the collection of facts that can be used to prove guilt. Paradoxically, fiction is a work of the imagination that does its best to appear real. It strives for verisimilitude and credibility:
This statement is part of an almost Nabokovian game, because we readers know and understand that the whole novel is make-believe.
Auster builds his metaphysics on the foundation of facts and empiricism, before embracing the challenge of metafiction.
Speculating on the Other
The author, the reader and the private eye alike take it upon themselves to peer into the world of the other:
Fiction is therefore a reflective process.
Blue has previously thought of his own inner life in terms of darkness. Yet his pursuit of Black (no matter how confusing) has allowed him to channel some reflected light on his own self. Nevertheless, Blue gets caught up in the persona of an other (namely Black).
Observed by Another
So we have a scene in which Black is reading a book, and Blue is watching Black reading it. Inevitably, Blue speculates:
This other other might be another character in the fiction, or it might be us the readers (who begin and end outside the realm of fiction).
Fiction entangles and ensnares the reader in a hall of mirrors, in which everybody is both watcher and watched:
The Severity of Inwardness and Solitude
Auster also approaches this dilemma from the perspective of the author, who turns their back on the real world in order to create a fictional world. A writer must learn to live with "the severity of his inwardness" and the consequences of his isolation. Perhaps the author doesn鈥檛 really exist outside the work of fiction, in that they vanish and become someone else when they鈥檙e not writing. They might also die when their writing is done:
In the third novella, the author Fanshawe disappears, leaving behind a beautiful wife and child (Daniel), allowing his childhood friend (also a budding author) to take his place as loving husband and attentive father.
Traditionally, detective fiction has reinforced the reader鈥檚 confidence in the power of logical analysis to solve a crime or understand the world (including the world within the book). Here, Auster uses the genre to create a work of fiction that questions the ability of logic and language to convey and understand the outside world and the other, not to mention oneself.
The Trilogy is a book that constantly stimulated me while I was reading it, and already beckons me toward a re-reading.
An image from the graphic novel "City of Glass" by Paul Auster, Paul Karasik and David Mazzucchelli
SOUNDTRACK:
HOMAGE:
Virginia Stillman and the Two Misses Fanshawe
[An Homage]
Let me tell you a little about myself, so I can then move on and start this story at the beginning.
When I first moved to Manhattan in 1985, I gravitated to Chelsea. This was a natural consequence of the fact that I had stayed in the Chelsea Hotel for two weeks in 1982 and had got familiar with the area.
I found a small apartment in a three-storey brownstone walk-up that didn鈥檛 eat up too much of my savings. I sub-let it from Mrs. Jane Fanshawe, an attractive widow in her early 50鈥檚, who lived in the building. Her daughter-in-law, Sophie Fanshawe, lived in her own apartment on the same floor as me. Her husband, Jane鈥檚 son, was a writer who had recently disappeared and was believed to have died. The only other tenant in the building was a woman in her late twenties called Virginia Stillman.
Sophie had originally lived in my apartment, but moved to a larger one, when it became available, which left a vacancy that I agreed to fill.
One night, soon after I moved in, I was just about to go to bed, when the phone rang. The person on the other end of the line asked, 鈥淧aul Auster?鈥� The name wasn鈥檛 familiar to me. I responded, 鈥淣o, Marvin Graye.鈥�
This happened a further three nights in a row, until finally I surrendered and said, 鈥淵es.鈥�
鈥淕ood, Paul. The board has approved your fee. It wants you to keep the man across the road under surveillance. You will receive a weekly payment of $350, upon submission of a weekly report. Do you have a pen?鈥�
I did, and then wrote down the P.O. box number he gave me.
Despite the late hour, I opened the curtain in my lounge, and used my new binoculars to spot the dark-haired man in the apartment on the third floor of the house across the road. He was sitting at a desk illuminated by an old anglepoise lamp. Unlike the previous nights I had seen him, he wasn鈥檛 writing in a red notebook. He was reading a book. When he turned the page, I could just make out that it was 鈥淒on Quixote鈥�.
My job was to document the man鈥檚 activities each week. For the first week, there was nothing much to report. I haven鈥檛 read it since school, but 鈥淒on Quixote鈥� is a pretty long book. Besides, he didn鈥檛 seem to be reading it from cover to cover. He jumped around within the book, as if he was trying to find a particular passage or was trying to check something he had remembered.
During the week, he received no visitors, nor, as far as I could tell, any phone calls. However, about 8pm on Friday night, there was a knock on the door, and an attractive woman I recognised as Virginia Stillman walked in, holding a bottle of champagne. When she handed it to him, he went to kiss her on the cheek. She moved her head, so that their lips collided in what seemed to start a passionate kiss. She nudged him towards the couch, where he spread out full-length on his back. Meanwhile, she walked over to the window and drew the curtains. I have no other verifiable facts about what happened this evening.
The next Friday, when it was still light, I was surprised to see Sophie Fanshawe visit the man, who by now I inferred was a writer, despite how little writing he seemed to be doing, even compared with the amount entailed in the reports I had committed to.
If Virginia Stillman had appeared to be forward, Sophie was even more enthusiastic. She walked into the bedroom, turned on a bedside light and started to remove her blouse. Then she looked out the window, through which it was quite possible that she could see me and my binoculars. She didn鈥檛 seem overly alarmed, although she walked over and closed the bedroom curtains.
Sophie arrived at the writer鈥檚 apartment each night until the following Thursday, when she seemed to have an argument with him. Nobody drew the curtains this time, because Sophie left the apartment and slammed the front door, leaving the writer to resume his reading.
I took this opportunity to go downstairs in the hope that I would cross paths with Sophie and see what condition she was in. I caught her just as she was entering our building. Although we hadn鈥檛 spoken much up to that point, I said I was going out for a drink at the local bar and asked if she was interested. She smiled courteously and replied that she would like to have, but she had to settle some business or other with her mother-in-law.
The following night, Friday, I was surprised to see Mrs. Fanshawe (Jane) enter the writer鈥檚 apartment with a bottle of wine and what appeared to be a book wrapped in brown paper.
The writer had set the dining table for a meal for two. He brought out a salad bowl, placed it on the table and opened the wine. It was a white, and Mrs Fanshawe seemed to drink it more voraciously than the writer, as if it was her favourite or something. As they consumed the salad, I could see that Mrs Fanshawe had placed her hand on the writer鈥檚 leg, and he had taken no steps to object, which was understandable from my point of view. Pretty soon, they too moved to the couch and drew the curtains, so that I was unable to witness what happened next, though I could and did imagine.
By this time, I had written two reports and received two payments, which I banked in my account. The cheques were drawn by a well-known publishing company. I noticed that the writer had changed his reading matter. He had received some mail, and was now busy apparently transcribing what he had read into his red notebook. A year later, when I met him at a party hosted by Mrs Fanshawe, he gave me a copy of his latest novel. I had never met a novelist before, so I devoured the book quickly, stopping only to note the resemblance of some parts to the reports I had written. But then I suppose it was his life after all (if not his fiction as well).
Consummate Metafiction
If you鈥檙e interested in reading just one example of metafiction, I can鈥檛 think of any better work than "The New York Trilogy" (except perhaps Thomas Pynchon鈥檚 "The Crying of Lot 49").
Paul Auster mightn鈥檛 get the same accolades as other writers of post-modern fiction, if only because he has built a loyal readership that doesn鈥檛 depend on post-modern academics and spin merchants:
"This recognition by a non-academic community may account for the lack of critical attention given to The New York Trilogy." ("Paul Auster: Bloom's Modern Critical Views")
Paul Auster鈥檚 fiction is innovative without making ostentatious claims to either inordinate length or gratuitous experimentalism. In fact, he seems to regard experiment as a mere transitional step on the way to perfection:
"I never experiment with anything in my books. Experimentation means you don't know what you're doing."
"When you become aware of what your limits have been so far, then you鈥檙e able to expand them. And every artist has limits. No one can do everything. It鈥檚 impossible. What鈥檚 beautiful about art is that it circumscribes a space, a physical and mental space. If you try to put the entire world into every page, you turn out chaos. Art is about eliminating almost everything in order to focus on the thing that you need to talk about."
A Sense of Plenitude and Economy
By these standards, the Trilogy is both beautiful and highly structured. At 314 pages, it鈥檚 totally focussed (it鈥檚 quite the opposite of chaotic maximalism or excessivism), yet, like the detective fiction or mysteries adored by the character Daniel Quinn, what appeals so much is its "sense of plenitude and economy":
"In the good mystery there is nothing wasted, no sentence, no word that is not significant...The world of the book comes to life, seething with possibilities, with secrets and contradictions."
An Organic Part of the Written Word
The Trilogy is also a highly philosophical work. However, unlike most post-modern fiction, the philosophy is tightly wound into the structure or narrative of the novel. The philosophy is almost inseparable from the fiction itself. It鈥檚 no mere gratuitous insertion designed to contribute to either length or literary pretension. In other words, it鈥檚 both relevant and essential to the fiction:
"Over the years, I鈥檝e been intensely interested in the artificiality of books as well. I mean, who鈥檚 kidding whom, after all. We know when we open up a book of fiction that we鈥檙e reading something that is imaginary, and I鈥檝e always been interested in exploiting that fact, using it, making it part of the work itself. Not in some dry, academic, metafictional way, but simply as an organic part of the written word."
The Triple Meaning of the Private Eye
This applies equally to the manner in which Auster co-opts elements of detective fiction to pursue his goals. In contrast to Robert Coover, he doesn鈥檛 just exploit genre conventions to house a story or myth he has invented.
Auster sees detective fiction as related to the role of both the author and the reader. In the words of Quinn:
"The detective is the one who looks, who listens, who moves through this morass of objects and events in search of thought, the idea that will pull all these things together and make sense of them. In effect, the writer and the detective are interchangeable. The reader sees the world through the detective鈥檚 eye, experiencing the proliferation of its details as if for the first time. He has become awake to the things around him, as if they might speak to him, as if, because of the attentiveness he now brings to them, they might begin to carry a meaning other than the simple fact of their existence. Private eye. The word held a triple meaning for Quinn. Not only was it the letter 鈥榠鈥�, standing for 鈥榠nvestigator鈥�, it was 鈥業鈥� in the upper case, the tiny life-bud buried in the body of the breathing self. At the same time, it was also the physical eye of the writer, the eye of the man who looks out from himself into the world and demands that the world reveal itself to him. For five years now, Quinn had been living in the grip of this pun."
Each of the three novellas is a mirror image of a private eye novel (not to mention the works of Cervantes, Sterne, Poe and Hawthorne), only, this being Paul Auster, there is a "deft little twist" or reversal in the image. It can鈥檛 be and isn鈥檛 a perfect analogue of the real object. In the first story, the private eye is a crime writer who pretends to be the fictive detective Paul Auster, in order to accept an assignment. In the third story, a writer very much like the real Paul Auster becomes the literary executor of another writer who has disappeared, so the writer sets out to discover his whereabouts and for a while to write his biography. In the second novella, the real detective, Blue, progressively takes on the role of an author during the process of speculating about the reports he鈥檚 required to write for his client, White.
The Perils of Invention and Make-Believe
A detective (particularly in the police force) is a vital part of a legal process that aims to successfully prosecute the perpetrator of a crime. Thus, they must be concerned with the collection of facts that can be used to prove guilt. Paradoxically, fiction is a work of the imagination that does its best to appear real. It strives for verisimilitude and credibility:
"Since this story is based entirely on facts, the author feels it his duty not to overstep the bounds of the verifiable, to resist at all costs the perils of invention."
This statement is part of an almost Nabokovian game, because we readers know and understand that the whole novel is make-believe.
Auster builds his metaphysics on the foundation of facts and empiricism, before embracing the challenge of metafiction.
Speculating on the Other
The author, the reader and the private eye alike take it upon themselves to peer into the world of the other:
"If thinking is perhaps too strong a word at this point, a slightly more modest term - speculation, for example - would not be far from the mark. To speculate, from the Latin speculatus, meaning mirror or looking glass. For in spying out at Black across the street, it is as though Blue were looking into a mirror, and instead of merely watching another, he finds that he is also watching himself."
Fiction is therefore a reflective process.
Blue has previously thought of his own inner life in terms of darkness. Yet his pursuit of Black (no matter how confusing) has allowed him to channel some reflected light on his own self. Nevertheless, Blue gets caught up in the persona of an other (namely Black).
Observed by Another
So we have a scene in which Black is reading a book, and Blue is watching Black reading it. Inevitably, Blue speculates:
"It seems perfectly plausible to him that he is also being watched, observed by another in the same way he has been observing Black."
This other other might be another character in the fiction, or it might be us the readers (who begin and end outside the realm of fiction).
Fiction entangles and ensnares the reader in a hall of mirrors, in which everybody is both watcher and watched:
"They have trapped Blue into doing nothing, into being so inactive as to reduce his life to almost no life at all. He feels like a man who has been condemned to sit in a room and go on reading a book for the rest of his life."
The Severity of Inwardness and Solitude
Auster also approaches this dilemma from the perspective of the author, who turns their back on the real world in order to create a fictional world. A writer must learn to live with "the severity of his inwardness" and the consequences of his isolation. Perhaps the author doesn鈥檛 really exist outside the work of fiction, in that they vanish and become someone else when they鈥檙e not writing. They might also die when their writing is done:
"What will happen when there are no more pages in the red notebook?"
In the third novella, the author Fanshawe disappears, leaving behind a beautiful wife and child (Daniel), allowing his childhood friend (also a budding author) to take his place as loving husband and attentive father.
Traditionally, detective fiction has reinforced the reader鈥檚 confidence in the power of logical analysis to solve a crime or understand the world (including the world within the book). Here, Auster uses the genre to create a work of fiction that questions the ability of logic and language to convey and understand the outside world and the other, not to mention oneself.
The Trilogy is a book that constantly stimulated me while I was reading it, and already beckons me toward a re-reading.
An image from the graphic novel "City of Glass" by Paul Auster, Paul Karasik and David Mazzucchelli
SOUNDTRACK:
HOMAGE:
Virginia Stillman and the Two Misses Fanshawe
[An Homage]
Let me tell you a little about myself, so I can then move on and start this story at the beginning.
When I first moved to Manhattan in 1985, I gravitated to Chelsea. This was a natural consequence of the fact that I had stayed in the Chelsea Hotel for two weeks in 1982 and had got familiar with the area.
I found a small apartment in a three-storey brownstone walk-up that didn鈥檛 eat up too much of my savings. I sub-let it from Mrs. Jane Fanshawe, an attractive widow in her early 50鈥檚, who lived in the building. Her daughter-in-law, Sophie Fanshawe, lived in her own apartment on the same floor as me. Her husband, Jane鈥檚 son, was a writer who had recently disappeared and was believed to have died. The only other tenant in the building was a woman in her late twenties called Virginia Stillman.
Sophie had originally lived in my apartment, but moved to a larger one, when it became available, which left a vacancy that I agreed to fill.
One night, soon after I moved in, I was just about to go to bed, when the phone rang. The person on the other end of the line asked, 鈥淧aul Auster?鈥� The name wasn鈥檛 familiar to me. I responded, 鈥淣o, Marvin Graye.鈥�
This happened a further three nights in a row, until finally I surrendered and said, 鈥淵es.鈥�
鈥淕ood, Paul. The board has approved your fee. It wants you to keep the man across the road under surveillance. You will receive a weekly payment of $350, upon submission of a weekly report. Do you have a pen?鈥�
I did, and then wrote down the P.O. box number he gave me.
Despite the late hour, I opened the curtain in my lounge, and used my new binoculars to spot the dark-haired man in the apartment on the third floor of the house across the road. He was sitting at a desk illuminated by an old anglepoise lamp. Unlike the previous nights I had seen him, he wasn鈥檛 writing in a red notebook. He was reading a book. When he turned the page, I could just make out that it was 鈥淒on Quixote鈥�.
My job was to document the man鈥檚 activities each week. For the first week, there was nothing much to report. I haven鈥檛 read it since school, but 鈥淒on Quixote鈥� is a pretty long book. Besides, he didn鈥檛 seem to be reading it from cover to cover. He jumped around within the book, as if he was trying to find a particular passage or was trying to check something he had remembered.
During the week, he received no visitors, nor, as far as I could tell, any phone calls. However, about 8pm on Friday night, there was a knock on the door, and an attractive woman I recognised as Virginia Stillman walked in, holding a bottle of champagne. When she handed it to him, he went to kiss her on the cheek. She moved her head, so that their lips collided in what seemed to start a passionate kiss. She nudged him towards the couch, where he spread out full-length on his back. Meanwhile, she walked over to the window and drew the curtains. I have no other verifiable facts about what happened this evening.
The next Friday, when it was still light, I was surprised to see Sophie Fanshawe visit the man, who by now I inferred was a writer, despite how little writing he seemed to be doing, even compared with the amount entailed in the reports I had committed to.
If Virginia Stillman had appeared to be forward, Sophie was even more enthusiastic. She walked into the bedroom, turned on a bedside light and started to remove her blouse. Then she looked out the window, through which it was quite possible that she could see me and my binoculars. She didn鈥檛 seem overly alarmed, although she walked over and closed the bedroom curtains.
Sophie arrived at the writer鈥檚 apartment each night until the following Thursday, when she seemed to have an argument with him. Nobody drew the curtains this time, because Sophie left the apartment and slammed the front door, leaving the writer to resume his reading.
I took this opportunity to go downstairs in the hope that I would cross paths with Sophie and see what condition she was in. I caught her just as she was entering our building. Although we hadn鈥檛 spoken much up to that point, I said I was going out for a drink at the local bar and asked if she was interested. She smiled courteously and replied that she would like to have, but she had to settle some business or other with her mother-in-law.
The following night, Friday, I was surprised to see Mrs. Fanshawe (Jane) enter the writer鈥檚 apartment with a bottle of wine and what appeared to be a book wrapped in brown paper.
The writer had set the dining table for a meal for two. He brought out a salad bowl, placed it on the table and opened the wine. It was a white, and Mrs Fanshawe seemed to drink it more voraciously than the writer, as if it was her favourite or something. As they consumed the salad, I could see that Mrs Fanshawe had placed her hand on the writer鈥檚 leg, and he had taken no steps to object, which was understandable from my point of view. Pretty soon, they too moved to the couch and drew the curtains, so that I was unable to witness what happened next, though I could and did imagine.
By this time, I had written two reports and received two payments, which I banked in my account. The cheques were drawn by a well-known publishing company. I noticed that the writer had changed his reading matter. He had received some mail, and was now busy apparently transcribing what he had read into his red notebook. A year later, when I met him at a party hosted by Mrs Fanshawe, he gave me a copy of his latest novel. I had never met a novelist before, so I devoured the book quickly, stopping only to note the resemblance of some parts to the reports I had written. But then I suppose it was his life after all (if not his fiction as well).
June 25, 2024
孝褉懈 薪械斜芯谢褜褕懈褏 褉芯屑邪薪邪, 泻芯褌芯褉褘械 屑芯谐褍褌 胁芯褋锌褉懈薪懈屑邪褌褜褋褟 褋邪屑芯褋褌芯褟褌械谢褜薪褘屑懈, 薪芯 胁 泻芯褌芯褉褘褏 懈屑械褞褌褋褟 芯斜褖懈械 谐械褉芯懈, 懈 泻芯褌芯褉褘械, 泻邪泻 谢褢谐泻懈屑懈 褋褌械卸泻邪屑懈, 褋胁褟蟹褘胁邪褞褌 褝褌懈 懈褋褌芯褉懈懈 胁 械写懈薪芯械 褑械谢芯械.
袠褏 胁褋械褏 芯斜褗械写懈薪褟械褌 写械褌械泻褌懈胁薪邪褟 褋芯褋褌邪胁谢褟褞褖邪褟, 泻芯褌芯褉邪褟 褋泻芯褉械械 褋谢褍卸懈褌 锌褉懈屑邪薪泻芯泄 褔懈褌邪褌械谢褜褋泻芯谐芯 胁薪懈屑邪薪懈褟, 锌芯褋泻芯谢褜泻褍 芯褌胁械褌芯胁 胁 褉芯屑邪薪邪褏 薪械褌. 袨斜褗械写懈薪褟褞褖械泄 懈 芯斜褉邪蟹褍褞褖械泄 褑械谢芯褋褌薪芯褋褌褜 褌褉懈谢芯谐懈懈 褟胁谢褟械褌褋褟 懈写械褟 芯褌褉邪卸械薪懈褟 薪邪斜谢褞写邪械屑芯泄 谢懈褔薪芯褋褌懈 胁 薪邪斜谢褞写邪褌械谢械, 薪械泻邪褟 蟹械褉泻邪谢褜薪芯褋褌褜, 懈 锌芯褋褌褉芯械薪薪邪褟 薪邪斜谢褞写邪褌械谢械屑 胁褋褌褉械褔邪 褋 薪邪斜谢褞写邪械屑褘屑 写邪褢褌 褝褎褎械泻褌 懈谢懈 懈谢谢褞蟹懈褞 芯褌褉邪卸械薪懈褟.
袧邪懈斜芯谢械械 懈薪褌械褉械褋械薪 "小褌械泻谢褟薪薪褘泄 谐芯褉芯写".
袟邪 写械褌械泻褌懈胁薪褘屑懈 褏懈褌褉芯褋锌谢械褌械薪懈褟屑懈 褋泻褉褘胁邪械褌褋褟 褉芯屑邪薪-褉邪蟹屑褘褕谢械薪懈械, 锌褉懈褔械屑 薪邪 褕懈褉芯褔邪泄褕懈泄 褋锌械泻褌褉 胁芯锌褉芯褋芯胁. 袩褉械卸写械 褔械屑 泻 薪懈屑 锌械褉械泄褌懈, 褏芯褌械谢芯褋褜 斜褘 芯斜褉邪褌懈褌褜 胁薪懈屑邪薪懈械 薪邪 褎芯褉屑褍 鈥� 褝褌芯 屑械褌邪褉芯屑邪薪, 薪芯 芯褔械薪褜 褋胁芯械芯斜褉邪蟹薪褘泄, 薪械褌懈锌懈褔薪褘泄. 袙 褝褌芯屑 屑薪芯谐芯 薪芯胁邪褌芯褉褋泻芯谐芯, 薪邪锌褉懈屑械褉, 屑薪芯卸械褋褌胁械薪薪芯褋褌褜 邪胁褌芯褉芯胁, 芯蟹胁褍褔懈胁邪褞褖懈褏 邪胁褌芯褉褋泻褍褞 褉械褔褜 鈥� 懈 袣褍懈薪, 懈 袩芯谢 袨褋褌械褉, 懈 写邪卸械 小褌懈谢屑邪薪.
袩褉懈 褝褌芯屑, 谐械褉芯懈 芯斜褋褍卸写邪褞褌 屑薪芯卸械褋褌胁械薪薪芯褋褌褜 邪胁褌芯褉芯胁, 胁 褔邪褋褌薪芯褋褌懈, 褉芯屑邪薪邪 芦袛芯薪-袣懈褏芯褌禄. 袩械褉褋芯薪邪卸 袩芯谢 袨褋褌械褉, 锌褉懈胁芯写懈褌 蟹邪薪懈屑邪褌械谢褜薪褘械 褎邪泻褌褘 懈蟹 褋胁芯械谐芯 褝褋褋械: 芦袙褋械 芯褔械薪褜 锌褉芯褋褌芯. 小械褉胁邪薪褌械褋, 械褋谢懈 锌芯屑薪懈褌械, 懈蟹芯 胁褋械褏 褋懈谢 锌褘褌邪械褌褋褟 褍斜械写懈褌褜 褔懈褌邪褌械谢褟, 褔褌芯 邪胁褌芯褉 泻薪懈谐懈 薪械 芯薪. 袣薪懈谐邪, 褍褌胁械褉卸写邪械褌 小械褉胁邪薪褌械褋, 斜褘谢邪 薪邪锌懈褋邪薪邪 锌芯-邪褉邪斜褋泻懈 小懈写芯屑 啸邪屑械褌械 袘械薪械薪谐械谢懈. 小械褉胁邪薪褌械褋 芯锌懈褋褘胁邪械褌, 泻邪泻 芯写薪邪卸写褘 械屑褍 锌芯 褔懈褋褌芯泄 褋谢褍褔邪泄薪芯褋褌懈 锌芯锌邪谢邪褋褜 褉褍泻芯锌懈褋褜 薪邪 褉褘薪泻械 胁 孝芯谢械写芯. 袨薪 薪邪薪懈屑邪械褌 褔械谢芯胁械泻邪 写谢褟 锌械褉械胁芯写邪 褉褍泻芯锌懈褋懈 薪邪 懈褋锌邪薪褋泻懈泄, 褋械斜褟 卸械 胁褘写邪械褌 谢懈褕褜 蟹邪 褉械写邪泻褌芯褉邪 锌械褉械胁芯写邪. 袩芯 褋褍褌懈 写械谢邪, 小械褉胁邪薪褌械褋 薪械 褉褍褔邪械褌褋褟 写邪卸械 蟹邪 械谐芯 褌芯褔薪芯褋褌褜鈥�.袙 褋胁芯械屑 褝褋褋械 褟 胁褘写胁懈谐邪褞 谐懈锌芯褌械蟹褍, 褔褌芯 小懈写 啸邪屑械褌械 褋芯褔械褌邪械褌 胁 褋械斜械 褔械褉褌褘 褔械褌褘褉械褏 褉邪蟹薪褘褏 谢褞写械泄. 小邪薪褔芯 袩邪薪褋邪 鈥� 褝褌芯, 褉邪蟹褍屑械械褌褋褟, 褋胁懈写械褌械谢褜. 袛褉褍谐芯谐芯 泻邪薪写懈写邪褌邪 薪邪 褝褌褍 褉芯谢褜 薪械褌, 胁械写褜 褌芯谢褜泻芯 芯薪 褋芯锌褉芯胁芯卸写邪械褌 袛芯薪 袣懈褏芯褌邪 胁 械谐芯 褋褌褉邪薪褋褌胁懈褟褏. 袧芯 小邪薪褔芯 袩邪薪褋邪 薪械 褍屑械械褌 薪懈 褔懈褌邪褌褜, 薪懈 锌懈褋邪褌褜. 小谢械写芯胁邪褌械谢褜薪芯, 邪胁褌芯褉芯屑 芯薪 斜褘褌褜 薪械 屑芯卸械褌. 小 写褉褍谐芯泄 褋褌芯褉芯薪褘, 屑褘 蟹薪邪械屑, 褔褌芯 褍 薪械谐芯 胁械谢懈泻芯谢械锌薪芯械 褔褍胁褋褌胁芯 褟蟹褘泻邪. 袧械褋屑芯褌褉褟 薪邪 褋邪屑褘械 薪械谢械锌褘械 芯褕懈斜泻懈, 泻芯褌芯褉褘械 胁褘蟹褘胁邪褞褌 褍 褔懈褌邪褌械谢褟 锌芯褋褌芯褟薪薪褘泄 褋屑械褏, 锌械褉械谐芯胁芯褉懈褌褜 胁 褉芯屑邪薪械 芯薪 屑芯卸械褌 谢褞斜芯谐芯. 袙锌芯谢薪械 胁芯蟹屑芯卸薪芯, 褔褌芯 芯薪 锌褉芯写懈泻褌芯胁邪谢 褝褌褍 懈褋褌芯褉懈褞 泻芯屑褍-褌芯 写褉褍谐芯屑褍, 邪 懈屑械薪薪芯 褑懈褉褞谢褜薪懈泻褍 懈 褋胁褟褖械薪薪懈泻褍, 写芯斜褉褘屑 写褉褍蟹褜褟屑 袛芯薪 袣懈褏芯褌邪. 袨薪懈 蟹邪锌懈褋邪谢懈 械械 谢懈褌械褉邪褌褍褉薪褘屑 鈥� 懈褋锌邪薪褋泻懈屑 鈥� 褟蟹褘泻芯屑, 锌芯褋谢械 褔械谐芯 锌械褉械写邪谢懈 褉褍泻芯锌懈褋褜 小邪屑褋芯薪褍 袣邪褉褉邪褋泻芯, 斜邪泻邪谢邪胁褉褍 懈蟹 小邪谢邪屑邪薪泻懈, 泻芯褌芯褉褘泄 胁蟹褟谢褋褟 锌械褉械胁械褋褌懈 械械 薪邪 邪褉邪斜褋泻懈泄. 小械褉胁邪薪褌械褋 薪邪褕械谢 褝褌芯褌 锌械褉械胁芯写, 薪邪薪褟谢 锌械褉械胁芯写褔懈泻邪, 泻芯褌芯褉褘泄 锌械褉械谢芯卸懈谢 褌械泻褋褌 芯斜褉邪褌薪芯 薪邪 懈褋锌邪薪褋泻懈泄, 邪 蟹邪褌械屑 懈蟹写邪谢 泻薪懈谐褍 锌芯写 薪邪蟹胁邪薪懈械屑 芦啸懈褌褉芯褍屑薪褘泄 懈写邪谢褜谐芯 袛芯薪 袣懈褏芯褌 袥邪屑邪薪褔褋泻懈泄禄.禄 袩芯谢 袨褋褌械褉 懈 锌械褉褋芯薪邪卸, 懈 褋邪屑 邪胁褌芯褉 芯锌褉械写械谢褟械褌 褉芯谢褜 褝褌芯泄 泻薪懈谐懈 芦褍褋褌邪薪芯胁懈褌褜, 械褋褌褜 谢懈 锌褉械写械谢 褔械谢芯胁械褔械褋泻芯泄 写芯胁械褉褔懈胁芯褋褌懈禄. 袨薪 谐芯胁芯褉懈褌, 械褋谢懈 薪邪屑 懈薪褌械褉械褋薪芯, 屑褘 谐芯褌芯胁褘 褋谢褍褕邪褌褜 胁褋械, 褔褌芯 褍谐芯写薪芯.
袝褖械 芯写薪邪 褌械屑邪 褉芯屑邪薪邪 - 芯 褟蟹褘泻邪褏, 袙邪胁懈谢芯薪褋泻芯泄 斜邪褕薪械. 小 芯写薪芯泄 褋褌芯褉芯薪褘, 芯薪邪 写邪械褌 锌芯薪懈屑邪薪懈械 褍屑芯锌芯屑褉邪褔械薪懈褟 袩懈褌械褉邪 小褌懈谢屑械薪邪-褋褌邪褉褕械谐芯, 蟹邪褌芯褔懈胁褕械谐芯 褋胁芯械谐芯 褋褘薪邪 胁 泻芯屑薪邪褌械, 褔褌芯斜褘 锌褉芯胁械褉懈褌褜 褋胁芯褞 褌械芯褉懈褞. 小 写褉褍谐芯泄, 芯薪邪 写邪械褌 懈薪懈褑懈邪谢褘 楔.袘. (楔械褉胁褍写邪 袘谢褝泻邪, 锌褉懈写褍屑邪薪薪芯谐芯 小褌懈谢屑械薪芯屑) 写谢褟 褉邪蟹胁懈褌懈褟 械谐芯 褌械芯褉懈懈 芯 褋谢芯胁械 芦袙 褋胁芯械泄 泻芯褉芯褌泻芯泄 褉械褔懈 楔邪谢褌邪泄-袘芯谢褌邪泄 褉懈褋褍械褌 斜褍写褍褖械械 褔械谢芯胁械褔械褋泻懈褏 褔邪褟薪懈泄 懈 褍泻邪蟹褘胁邪械褌, 褔褌芯 薪邪褕械 褋锌邪褋械薪懈械 胁 褌芯屑, 褔褌芯斜褘 褋褌邪褌褜 褏芯蟹褟械胁邪屑懈 褋谢芯胁, 泻芯褌芯褉褘械 屑褘 褍锌芯褌褉械斜谢褟械屑, 褔褌芯斜褘 锌芯写褔懈薪懈褌褜 褟蟹褘泻 薪邪褕懈屑 褋 胁邪屑懈 薪褍卸写邪屑. 楔邪谢褌邪泄-袘芯谢褌邪泄 斜褘谢 锌褉芯褉芯泻芯屑, 褔械谢芯胁械泻芯屑, 懈蟹褉械泻邪胁褕懈屑 懈褋褌懈薪褘, 泻 泻芯褌芯褉褘屑 屑懈褉 斜褘谢 械褖械 薪械 谐芯褌芯胁.禄 小邪屑邪 褌械芯褉懈褟 小褌懈谢屑械薪邪, 斜械蟹褍褋谢芯胁薪芯, 胁械褋褜屑邪 懈 胁械褋褜屑邪 褋锌芯褉薪邪, 薪芯 芯薪邪 锌褉懈胁谢械泻邪褌械谢褜薪邪 谢懈褌械褉邪褌褍褉薪褘屑懈 芯褌褋褘谢泻邪屑懈.
袙 "袩褉懈蟹褉邪泻邪褏" 小懈薪褜泻懈薪 (袘谢褞) 褋谢械写懈褌 蟹邪 效械褉薪懈 (袘谢褝泻芯屑) (胁 褉褍褋褋泻芯屑 锌械褉械胁芯写械 褎邪屑懈谢懈懈 锌械褉褋芯薪邪卸械泄 斜褘谢懈 褌邪泻卸械 锌械褉械胁械写械薪褘, 褌邪泻 褔褌芯 懈薪芯褋褌褉邪薪薪褘械 褔懈褌邪褌械谢懈, 懈褋锌芯谢褜蟹褍褞褖懈械 袚褍谐谢 懈 褔懈褌邪褞褖懈械 屑芯泄 芯斜蟹芯褉, 薪械 锌芯泄屑褍褌.) 懈 芯斜薪邪褉褍卸懈胁邪械褌, 褔褌芯 芯薪, 薪邪斜谢褞写邪褌械谢褜, 斜褘谢 褋邪屑 芯斜褗械泻褌芯屑 薪邪斜谢褞写械薪懈褟.
"袟邪锌械褉褌邪褟 泻芯屑薪邪褌邪" 锌褉芯写芯谢卸邪械褌 懈 褉邪褋褋屑邪褌褉懈胁邪械褌 懈写械褞 芯褌褉邪卸械薪懈褟 谢懈褔薪芯褋褌懈 胁 写褉褍谐芯泄, 泻邪泻 胁 蟹械褉泻邪谢械 褍卸械 胁 斜芯谢械械 锌谢芯褌薪芯屑 锌褉懈泻芯褋薪芯胁械薪懈懈 泻 褔褍卸芯泄 卸懈蟹薪懈. 袪邪褋褋泻邪蟹褔懈泻, 懈褖褍褖懈泄 褋胁芯械谐芯 写褉褍谐邪 写械褌褋褌胁邪 肖械薪褕芯, 卸械薪懈褌褋褟 薪邪 械谐芯 卸械薪械, 锌懈褕械褌 芯 薪械屑 泻薪懈谐褍 懈 褎邪泻褌懈褔械褋泻懈 屑械薪褟械褌褋褟 褋 薪懈屑 褉芯谢褟屑懈.
袙芯 胁褋械褏 褌褉褢褏 褔邪褋褌褟褏 褌褉懈谢芯谐懈懈 褉邪褋褋屑邪褌褉懈胁邪械褌褋褟 锌褉芯斜谢械屑邪 褋邪屑芯懈写械薪褌懈褔薪芯褋褌懈. 袧邪斜谢褞写械薪懈械 蟹邪 卸懈蟹薪褜褞 写褉褍谐芯谐芯 芯褌褉邪卸邪械褌 胁薪褍褌褉械薪薪械械 "褟" 薪邪斜谢褞写邪褌械谢褟, 锌芯蟹胁芯谢褟械褌 锌芯褋屑芯褌褉械褌褜 薪邪 褋械斜褟 懈 薪邪 屑懈褉 谐谢邪蟹邪屑懈 写褉褍谐芯谐芯.
袠褏 胁褋械褏 芯斜褗械写懈薪褟械褌 写械褌械泻褌懈胁薪邪褟 褋芯褋褌邪胁谢褟褞褖邪褟, 泻芯褌芯褉邪褟 褋泻芯褉械械 褋谢褍卸懈褌 锌褉懈屑邪薪泻芯泄 褔懈褌邪褌械谢褜褋泻芯谐芯 胁薪懈屑邪薪懈褟, 锌芯褋泻芯谢褜泻褍 芯褌胁械褌芯胁 胁 褉芯屑邪薪邪褏 薪械褌. 袨斜褗械写懈薪褟褞褖械泄 懈 芯斜褉邪蟹褍褞褖械泄 褑械谢芯褋褌薪芯褋褌褜 褌褉懈谢芯谐懈懈 褟胁谢褟械褌褋褟 懈写械褟 芯褌褉邪卸械薪懈褟 薪邪斜谢褞写邪械屑芯泄 谢懈褔薪芯褋褌懈 胁 薪邪斜谢褞写邪褌械谢械, 薪械泻邪褟 蟹械褉泻邪谢褜薪芯褋褌褜, 懈 锌芯褋褌褉芯械薪薪邪褟 薪邪斜谢褞写邪褌械谢械屑 胁褋褌褉械褔邪 褋 薪邪斜谢褞写邪械屑褘屑 写邪褢褌 褝褎褎械泻褌 懈谢懈 懈谢谢褞蟹懈褞 芯褌褉邪卸械薪懈褟.
袧邪懈斜芯谢械械 懈薪褌械褉械褋械薪 "小褌械泻谢褟薪薪褘泄 谐芯褉芯写".
袟邪 写械褌械泻褌懈胁薪褘屑懈 褏懈褌褉芯褋锌谢械褌械薪懈褟屑懈 褋泻褉褘胁邪械褌褋褟 褉芯屑邪薪-褉邪蟹屑褘褕谢械薪懈械, 锌褉懈褔械屑 薪邪 褕懈褉芯褔邪泄褕懈泄 褋锌械泻褌褉 胁芯锌褉芯褋芯胁. 袩褉械卸写械 褔械屑 泻 薪懈屑 锌械褉械泄褌懈, 褏芯褌械谢芯褋褜 斜褘 芯斜褉邪褌懈褌褜 胁薪懈屑邪薪懈械 薪邪 褎芯褉屑褍 鈥� 褝褌芯 屑械褌邪褉芯屑邪薪, 薪芯 芯褔械薪褜 褋胁芯械芯斜褉邪蟹薪褘泄, 薪械褌懈锌懈褔薪褘泄. 袙 褝褌芯屑 屑薪芯谐芯 薪芯胁邪褌芯褉褋泻芯谐芯, 薪邪锌褉懈屑械褉, 屑薪芯卸械褋褌胁械薪薪芯褋褌褜 邪胁褌芯褉芯胁, 芯蟹胁褍褔懈胁邪褞褖懈褏 邪胁褌芯褉褋泻褍褞 褉械褔褜 鈥� 懈 袣褍懈薪, 懈 袩芯谢 袨褋褌械褉, 懈 写邪卸械 小褌懈谢屑邪薪.
袩褉懈 褝褌芯屑, 谐械褉芯懈 芯斜褋褍卸写邪褞褌 屑薪芯卸械褋褌胁械薪薪芯褋褌褜 邪胁褌芯褉芯胁, 胁 褔邪褋褌薪芯褋褌懈, 褉芯屑邪薪邪 芦袛芯薪-袣懈褏芯褌禄. 袩械褉褋芯薪邪卸 袩芯谢 袨褋褌械褉, 锌褉懈胁芯写懈褌 蟹邪薪懈屑邪褌械谢褜薪褘械 褎邪泻褌褘 懈蟹 褋胁芯械谐芯 褝褋褋械: 芦袙褋械 芯褔械薪褜 锌褉芯褋褌芯. 小械褉胁邪薪褌械褋, 械褋谢懈 锌芯屑薪懈褌械, 懈蟹芯 胁褋械褏 褋懈谢 锌褘褌邪械褌褋褟 褍斜械写懈褌褜 褔懈褌邪褌械谢褟, 褔褌芯 邪胁褌芯褉 泻薪懈谐懈 薪械 芯薪. 袣薪懈谐邪, 褍褌胁械褉卸写邪械褌 小械褉胁邪薪褌械褋, 斜褘谢邪 薪邪锌懈褋邪薪邪 锌芯-邪褉邪斜褋泻懈 小懈写芯屑 啸邪屑械褌械 袘械薪械薪谐械谢懈. 小械褉胁邪薪褌械褋 芯锌懈褋褘胁邪械褌, 泻邪泻 芯写薪邪卸写褘 械屑褍 锌芯 褔懈褋褌芯泄 褋谢褍褔邪泄薪芯褋褌懈 锌芯锌邪谢邪褋褜 褉褍泻芯锌懈褋褜 薪邪 褉褘薪泻械 胁 孝芯谢械写芯. 袨薪 薪邪薪懈屑邪械褌 褔械谢芯胁械泻邪 写谢褟 锌械褉械胁芯写邪 褉褍泻芯锌懈褋懈 薪邪 懈褋锌邪薪褋泻懈泄, 褋械斜褟 卸械 胁褘写邪械褌 谢懈褕褜 蟹邪 褉械写邪泻褌芯褉邪 锌械褉械胁芯写邪. 袩芯 褋褍褌懈 写械谢邪, 小械褉胁邪薪褌械褋 薪械 褉褍褔邪械褌褋褟 写邪卸械 蟹邪 械谐芯 褌芯褔薪芯褋褌褜鈥�.袙 褋胁芯械屑 褝褋褋械 褟 胁褘写胁懈谐邪褞 谐懈锌芯褌械蟹褍, 褔褌芯 小懈写 啸邪屑械褌械 褋芯褔械褌邪械褌 胁 褋械斜械 褔械褉褌褘 褔械褌褘褉械褏 褉邪蟹薪褘褏 谢褞写械泄. 小邪薪褔芯 袩邪薪褋邪 鈥� 褝褌芯, 褉邪蟹褍屑械械褌褋褟, 褋胁懈写械褌械谢褜. 袛褉褍谐芯谐芯 泻邪薪写懈写邪褌邪 薪邪 褝褌褍 褉芯谢褜 薪械褌, 胁械写褜 褌芯谢褜泻芯 芯薪 褋芯锌褉芯胁芯卸写邪械褌 袛芯薪 袣懈褏芯褌邪 胁 械谐芯 褋褌褉邪薪褋褌胁懈褟褏. 袧芯 小邪薪褔芯 袩邪薪褋邪 薪械 褍屑械械褌 薪懈 褔懈褌邪褌褜, 薪懈 锌懈褋邪褌褜. 小谢械写芯胁邪褌械谢褜薪芯, 邪胁褌芯褉芯屑 芯薪 斜褘褌褜 薪械 屑芯卸械褌. 小 写褉褍谐芯泄 褋褌芯褉芯薪褘, 屑褘 蟹薪邪械屑, 褔褌芯 褍 薪械谐芯 胁械谢懈泻芯谢械锌薪芯械 褔褍胁褋褌胁芯 褟蟹褘泻邪. 袧械褋屑芯褌褉褟 薪邪 褋邪屑褘械 薪械谢械锌褘械 芯褕懈斜泻懈, 泻芯褌芯褉褘械 胁褘蟹褘胁邪褞褌 褍 褔懈褌邪褌械谢褟 锌芯褋褌芯褟薪薪褘泄 褋屑械褏, 锌械褉械谐芯胁芯褉懈褌褜 胁 褉芯屑邪薪械 芯薪 屑芯卸械褌 谢褞斜芯谐芯. 袙锌芯谢薪械 胁芯蟹屑芯卸薪芯, 褔褌芯 芯薪 锌褉芯写懈泻褌芯胁邪谢 褝褌褍 懈褋褌芯褉懈褞 泻芯屑褍-褌芯 写褉褍谐芯屑褍, 邪 懈屑械薪薪芯 褑懈褉褞谢褜薪懈泻褍 懈 褋胁褟褖械薪薪懈泻褍, 写芯斜褉褘屑 写褉褍蟹褜褟屑 袛芯薪 袣懈褏芯褌邪. 袨薪懈 蟹邪锌懈褋邪谢懈 械械 谢懈褌械褉邪褌褍褉薪褘屑 鈥� 懈褋锌邪薪褋泻懈屑 鈥� 褟蟹褘泻芯屑, 锌芯褋谢械 褔械谐芯 锌械褉械写邪谢懈 褉褍泻芯锌懈褋褜 小邪屑褋芯薪褍 袣邪褉褉邪褋泻芯, 斜邪泻邪谢邪胁褉褍 懈蟹 小邪谢邪屑邪薪泻懈, 泻芯褌芯褉褘泄 胁蟹褟谢褋褟 锌械褉械胁械褋褌懈 械械 薪邪 邪褉邪斜褋泻懈泄. 小械褉胁邪薪褌械褋 薪邪褕械谢 褝褌芯褌 锌械褉械胁芯写, 薪邪薪褟谢 锌械褉械胁芯写褔懈泻邪, 泻芯褌芯褉褘泄 锌械褉械谢芯卸懈谢 褌械泻褋褌 芯斜褉邪褌薪芯 薪邪 懈褋锌邪薪褋泻懈泄, 邪 蟹邪褌械屑 懈蟹写邪谢 泻薪懈谐褍 锌芯写 薪邪蟹胁邪薪懈械屑 芦啸懈褌褉芯褍屑薪褘泄 懈写邪谢褜谐芯 袛芯薪 袣懈褏芯褌 袥邪屑邪薪褔褋泻懈泄禄.禄 袩芯谢 袨褋褌械褉 懈 锌械褉褋芯薪邪卸, 懈 褋邪屑 邪胁褌芯褉 芯锌褉械写械谢褟械褌 褉芯谢褜 褝褌芯泄 泻薪懈谐懈 芦褍褋褌邪薪芯胁懈褌褜, 械褋褌褜 谢懈 锌褉械写械谢 褔械谢芯胁械褔械褋泻芯泄 写芯胁械褉褔懈胁芯褋褌懈禄. 袨薪 谐芯胁芯褉懈褌, 械褋谢懈 薪邪屑 懈薪褌械褉械褋薪芯, 屑褘 谐芯褌芯胁褘 褋谢褍褕邪褌褜 胁褋械, 褔褌芯 褍谐芯写薪芯.
袝褖械 芯写薪邪 褌械屑邪 褉芯屑邪薪邪 - 芯 褟蟹褘泻邪褏, 袙邪胁懈谢芯薪褋泻芯泄 斜邪褕薪械. 小 芯写薪芯泄 褋褌芯褉芯薪褘, 芯薪邪 写邪械褌 锌芯薪懈屑邪薪懈械 褍屑芯锌芯屑褉邪褔械薪懈褟 袩懈褌械褉邪 小褌懈谢屑械薪邪-褋褌邪褉褕械谐芯, 蟹邪褌芯褔懈胁褕械谐芯 褋胁芯械谐芯 褋褘薪邪 胁 泻芯屑薪邪褌械, 褔褌芯斜褘 锌褉芯胁械褉懈褌褜 褋胁芯褞 褌械芯褉懈褞. 小 写褉褍谐芯泄, 芯薪邪 写邪械褌 懈薪懈褑懈邪谢褘 楔.袘. (楔械褉胁褍写邪 袘谢褝泻邪, 锌褉懈写褍屑邪薪薪芯谐芯 小褌懈谢屑械薪芯屑) 写谢褟 褉邪蟹胁懈褌懈褟 械谐芯 褌械芯褉懈懈 芯 褋谢芯胁械 芦袙 褋胁芯械泄 泻芯褉芯褌泻芯泄 褉械褔懈 楔邪谢褌邪泄-袘芯谢褌邪泄 褉懈褋褍械褌 斜褍写褍褖械械 褔械谢芯胁械褔械褋泻懈褏 褔邪褟薪懈泄 懈 褍泻邪蟹褘胁邪械褌, 褔褌芯 薪邪褕械 褋锌邪褋械薪懈械 胁 褌芯屑, 褔褌芯斜褘 褋褌邪褌褜 褏芯蟹褟械胁邪屑懈 褋谢芯胁, 泻芯褌芯褉褘械 屑褘 褍锌芯褌褉械斜谢褟械屑, 褔褌芯斜褘 锌芯写褔懈薪懈褌褜 褟蟹褘泻 薪邪褕懈屑 褋 胁邪屑懈 薪褍卸写邪屑. 楔邪谢褌邪泄-袘芯谢褌邪泄 斜褘谢 锌褉芯褉芯泻芯屑, 褔械谢芯胁械泻芯屑, 懈蟹褉械泻邪胁褕懈屑 懈褋褌懈薪褘, 泻 泻芯褌芯褉褘屑 屑懈褉 斜褘谢 械褖械 薪械 谐芯褌芯胁.禄 小邪屑邪 褌械芯褉懈褟 小褌懈谢屑械薪邪, 斜械蟹褍褋谢芯胁薪芯, 胁械褋褜屑邪 懈 胁械褋褜屑邪 褋锌芯褉薪邪, 薪芯 芯薪邪 锌褉懈胁谢械泻邪褌械谢褜薪邪 谢懈褌械褉邪褌褍褉薪褘屑懈 芯褌褋褘谢泻邪屑懈.
袙 "袩褉懈蟹褉邪泻邪褏" 小懈薪褜泻懈薪 (袘谢褞) 褋谢械写懈褌 蟹邪 效械褉薪懈 (袘谢褝泻芯屑) (胁 褉褍褋褋泻芯屑 锌械褉械胁芯写械 褎邪屑懈谢懈懈 锌械褉褋芯薪邪卸械泄 斜褘谢懈 褌邪泻卸械 锌械褉械胁械写械薪褘, 褌邪泻 褔褌芯 懈薪芯褋褌褉邪薪薪褘械 褔懈褌邪褌械谢懈, 懈褋锌芯谢褜蟹褍褞褖懈械 袚褍谐谢 懈 褔懈褌邪褞褖懈械 屑芯泄 芯斜蟹芯褉, 薪械 锌芯泄屑褍褌.) 懈 芯斜薪邪褉褍卸懈胁邪械褌, 褔褌芯 芯薪, 薪邪斜谢褞写邪褌械谢褜, 斜褘谢 褋邪屑 芯斜褗械泻褌芯屑 薪邪斜谢褞写械薪懈褟.
"袟邪锌械褉褌邪褟 泻芯屑薪邪褌邪" 锌褉芯写芯谢卸邪械褌 懈 褉邪褋褋屑邪褌褉懈胁邪械褌 懈写械褞 芯褌褉邪卸械薪懈褟 谢懈褔薪芯褋褌懈 胁 写褉褍谐芯泄, 泻邪泻 胁 蟹械褉泻邪谢械 褍卸械 胁 斜芯谢械械 锌谢芯褌薪芯屑 锌褉懈泻芯褋薪芯胁械薪懈懈 泻 褔褍卸芯泄 卸懈蟹薪懈. 袪邪褋褋泻邪蟹褔懈泻, 懈褖褍褖懈泄 褋胁芯械谐芯 写褉褍谐邪 写械褌褋褌胁邪 肖械薪褕芯, 卸械薪懈褌褋褟 薪邪 械谐芯 卸械薪械, 锌懈褕械褌 芯 薪械屑 泻薪懈谐褍 懈 褎邪泻褌懈褔械褋泻懈 屑械薪褟械褌褋褟 褋 薪懈屑 褉芯谢褟屑懈.
袙芯 胁褋械褏 褌褉褢褏 褔邪褋褌褟褏 褌褉懈谢芯谐懈懈 褉邪褋褋屑邪褌褉懈胁邪械褌褋褟 锌褉芯斜谢械屑邪 褋邪屑芯懈写械薪褌懈褔薪芯褋褌懈. 袧邪斜谢褞写械薪懈械 蟹邪 卸懈蟹薪褜褞 写褉褍谐芯谐芯 芯褌褉邪卸邪械褌 胁薪褍褌褉械薪薪械械 "褟" 薪邪斜谢褞写邪褌械谢褟, 锌芯蟹胁芯谢褟械褌 锌芯褋屑芯褌褉械褌褜 薪邪 褋械斜褟 懈 薪邪 屑懈褉 谐谢邪蟹邪屑懈 写褉褍谐芯谐芯.
September 6, 2019
I'm surprised by some of the low and middling ratings this book and its three stories (City of Glass, Ghosts, The Locked Room) have received. Some characterise the stories as boring, derivative, simplistic, pretentious, or pointless. But for me, this is exactly the kind of book I love to stumble upon: one that surprises, and that seeks new and unconventional paths to expression. To me the writing suggests Calvino, Kafka, Borges, perhaps even Beckett and Sartre, without being derivative. This is not to say that The New York Trilogy stands beside Beckett鈥檚 trilogy in terms of literary achievement - indeed much of the ground it treads has already been broken - but I believe that novels should be judged on their own merits, on the basis their own peculiar mix of intentions, constraints and products, without necessarily having to justify their existence by comparison to other works. I think this novel stands as an exceptional work in its own right.
The New York Trilogy consists of three stories, which are distinct from each other but interact in direct and indirect, linear and nonlinear ways. There is a lot of thematic overlap between the stories, and even a fair amount of repetition. Each story could be thought of as a parallel retelling of the same story, or perhaps an examination of the same set of questions from a related viewpoint.
At the core of the stories is a questioning of identity. What does it mean to exist as an individual, separate from others? What does it mean to be oneself and not someone else? What, if anything, can it mean to live a meaningful life? There is an examination of the limitations of literature and the written record. The novel compares accounts of real and fictitious lives, and demonstrates more similarity than difference between the two, revealing a reflective quality to what is real and not real, a determination based more on perception than objective truth. It's an interesting perspective.
The stories develop so as to always avoid the next logical narrative step. There is a subversion of purpose, of cause and effect, and loss of natural sequence (which I expect is a cause of frustration for some readers). Yet in this absence of narrative logic, these stories latch on to something else, a more intuitive and direct kind of logic. I would characterise them less as coherent narratives than as meditations. The experience is one of detached observation and interpretation, like allowing one's thoughts to arise and pass, or dropping a pebble into a pond and watching the ways the ripples distort the reflection. The prose is direct and unspectacular, which supports this kind of reading, as do the dark and ambiguous thematic implications; the lack of resolution or redemption.
I was surprised by this novel - it was not at all what I had expected - and I thoroughly enjoyed reading it. At the very least it inspired me to finally pick up a copy of Don Quixote and add it to my reading list.
The New York Trilogy consists of three stories, which are distinct from each other but interact in direct and indirect, linear and nonlinear ways. There is a lot of thematic overlap between the stories, and even a fair amount of repetition. Each story could be thought of as a parallel retelling of the same story, or perhaps an examination of the same set of questions from a related viewpoint.
At the core of the stories is a questioning of identity. What does it mean to exist as an individual, separate from others? What does it mean to be oneself and not someone else? What, if anything, can it mean to live a meaningful life? There is an examination of the limitations of literature and the written record. The novel compares accounts of real and fictitious lives, and demonstrates more similarity than difference between the two, revealing a reflective quality to what is real and not real, a determination based more on perception than objective truth. It's an interesting perspective.
The stories develop so as to always avoid the next logical narrative step. There is a subversion of purpose, of cause and effect, and loss of natural sequence (which I expect is a cause of frustration for some readers). Yet in this absence of narrative logic, these stories latch on to something else, a more intuitive and direct kind of logic. I would characterise them less as coherent narratives than as meditations. The experience is one of detached observation and interpretation, like allowing one's thoughts to arise and pass, or dropping a pebble into a pond and watching the ways the ripples distort the reflection. The prose is direct and unspectacular, which supports this kind of reading, as do the dark and ambiguous thematic implications; the lack of resolution or redemption.
I was surprised by this novel - it was not at all what I had expected - and I thoroughly enjoyed reading it. At the very least it inspired me to finally pick up a copy of Don Quixote and add it to my reading list.
April 30, 2012
孬賱丕孬賷丞 賳賷賵賷賵乇賰
賯乇兀鬲 賴匕賴 丕賱孬賱丕孬賷丞 賯亘賱 爻賳賵丕鬲貙 賵禺乇亘卮鬲 賵賯鬲賴丕 亘毓囟 丕賱兀賮賰丕乇 丨賵賱賴丕貙 賵賱賰賳 賱兀賳賳賷 賱賲 兀賰賳 丨賷賳賴丕 賲賴鬲賲 亘賳卮乇 賲乇丕噩毓丕鬲賷 賱賱賰鬲亘貙 賮亘賯賷鬲 賴匕賴 丕賱兀賮賰丕乇 賮賷 丨丕賱丞 睾賷乇 賲賰鬲賲賱丞 賮賷 賲賱賮 賳氐賷 賲賴賲賱貙 賮賱匕丕 兀毓鬲匕乇 賲賯丿賲丕賸 毓賳 丕賱丨丕賱丞 丕賱睾乇賷亘丞 丕賱鬲賷 賯丿 鬲亘丿賵 亘賴丕 賴匕賴 丕賱賲乇丕噩毓丞貙 丕毓鬲亘乇賵賴丕 賲乇丕噩毓丞 賲毓鬲賯丞 賳賵毓丕賸 賲丕.
氐丿乇 丕賱噩夭亍 丕賱兀賵賱 賲賳 孬賱丕孬賷丞 賳賷賵賷賵乇賰 (賲丿賷賳丞 丕賱夭噩丕噩) 爻賳丞 1985 賲貙 孬賲 氐丿乇 丕賱噩夭亍丕賳 丕賱鬲丕賱賷丕賳 (丕賱兀卮亘丕丨) 賵(丕賱睾乇賮丞 丕賱賲賵氐丿丞) 賮賷 丕賱爻賳丞 丕賱鬲丕賱賷丞貙 賵氐丕乇鬲 丕賱乇賵丕賷丕鬲 丕賱孬賱丕孬 賲賳匕 匕賱賰 丕賱丨賷賳 鬲氐丿乇 賲毓丕 賸貙 鬲賯丿賲 丕賱孬賱丕孬賷丞 毓丕丿丞 毓賱賶 兀賳賴丕 乇賵丕賷丞 鬲丨乇賷貙 賵賷賲賰賳賳丕 賮賴賲 賴匕丕 亘爻賴賵賱丞 丨丕賱賲丕 賳賯乇兀賴丕.
丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞 賯丕賲 亘賴丕 賰丕賲賱 賷賵爻賮 丨爻賷賳貙 氐丿乇 賰丕賲賱 鬲乇噩賲鬲賴 亘賲賯丿賲丞 乇賰夭 賮賷賴丕 毓賱賶 賲賰丕賳丞 兀賵爻鬲乇 賮賷 丕賱兀丿亘 丕賱兀賲乇賷賰賷貙 賵兀亘毓丕丿 毓丕賱賲賴 丕賱乇賵丕卅賷貙 賵噩賲丕賱賷丕鬲 丕賱賲賰丕賳 賮賷 孬賱丕孬賷丞 賳賷賵賷賵乇賰.
賯亘賱 兀賳 賳亘丿兀 賮賷 鬲賳丕賵賱 丕賱乇賵丕賷丕鬲貙賰賱 乇賵丕賷丞 毓賱賶 丨丿丞貙 賲賳 丕賱賲賴賲 兀賳 賳丨丿丿 丕賱賲賵囟賵毓丕鬲 (丕賱孬賷賲丕鬲) 丕賱鬲賷 鬲賳鬲馗賲 丕賱孬賱丕孬賷丞貙 爻賳丨丿丿賴丕 亘卮賰賱 毓丕賲貙 孬賲 爻賳乇賶 賲丿賶 丕賳胤亘丕賯 賰賱 賲賵囟賵毓丞 毓賱賶 賰賱 乇賵丕賷丞.
丕賱賲賵囟賵毓丞 丕賱兀賵賱賶: 賮鬲卮 毓賳 丕賱賰鬲丕亘 !!
賴賳丕賰 賰鬲丕亘 賲丕貙 賰鬲丕亘 丨賯賷賯賷 賮賷 賰賱 乇賵丕賷丞 賲賳 乇賵丕賷丕鬲 丕賱孬賱丕孬賷丞貙 賴匕丕 丕賱賰鬲丕亘 賲賮鬲丕丨 賲賳 賲賮丕鬲賷丨 丕賱乇賵丕賷丞貙 兀賷 兀賳賴 賷毓亘乇 毓賳 賮賰乇鬲賴丕.
丕賱賲賵囟賵毓丞 丕賱孬丕賳賷丞: 丕賱氐丿賮丞 !!
兀賵賱 賲丕 賳賱丕丨馗賴 賮賷 毓丕賱賲 兀賵爻鬲乇 賴賵 賮賰乇丞 丕賱氐丿賮丞 賱丿賷賴貙 賮賮賷 丕賱氐賮丨丞 丕賱兀賵賱賶 賲賳 丕賱孬賱丕孬賷丞 賷賯賵賱 丕賱乇丕賵賷: "賵毓賯亘 匕賱賰 亘賵賯鬲 胤賵賷賱貙 毓賳丿賲丕 睾丿丕 亘賲賯丿賵乇賴 丕賱鬲賮賰賷乇 亘丕賱兀賲賵乇 丕賱鬲賷 賵賯毓鬲 賱賴貙 賰丕賳 賯丿 鬲賵氐賱 廿賱賶 兀賳賴 賲丕 賲賳 卮賷亍 丨賯賷賯賷 廿賱丕 丕賱氐丿賮丞"貙 賵爻賳賱丕丨馗 賳賵毓賷賳 賲賳 丕賱氐丿賮丞 賱丿賷賴貙 丕賱氐丿賮丞 丕賱鬲賷 鬲賳胤賱賯 賰賰乇丞 丕賱孬賱噩 賮鬲噩乇賮 賰賱 賲丕 賷兀鬲賷 亘毓丿賴丕貙 賵丕賱氐丿賮丞 丕賱鬲賷 賱丕 賷丨丿孬 賲賳 賵乇丕卅賴丕 卮賷亍貙 氐丿賮丞 鬲賯毓 賮賳鬲毓噩亘 賲賳 賵賯賵毓賴丕貙 賵賱賰賳賳丕 賳賲囟賷 亘毓丿賴丕 賰賲丕 賰賳丕.
丕賱賲賵囟賵毓丞 丕賱孬丕賱孬丞: 兀丨丿丕孬 睾乇賷亘丞 亘賱丕 鬲賮爻賷乇 !!!
賮賮賷 賰賱 乇賵丕賷丞 賳噩丿 兀丨丿丕孬 睾乇賷亘丞貙 賱丕 鬲賮爻賷乇 賲賳胤賯賷 賱賴丕貙 乇亘賲丕 賷賰賵賳 賱賴丕 鬲賮爻賷乇丕鬲 乇賲夭賷丞貙 賵賱賰賳賴丕 賮賷 兀丨賷丕賳 兀禺乇賶 鬲亘丿賵 賰鬲丨丿賷 賱賱賯丕乇卅 !!!
丕賱賲賵囟賵毓丞 丕賱乇丕亘毓丞: 賱毓亘丞 丕賱兀爻賲丕亍.
賱丿賶 兀賵爻鬲乇 賴賵爻 賰亘賷乇 亘丕賱兀爻賲丕亍 賵鬲卮丕亘賴丕鬲賴丕貙 賵賯丿 鬲毓賵丿賳丕 賲賳 丕賱乇賵丕卅賷賷賳 丕賱丨匕乇 賮賷 鬲毓丕賲賱賴賲 賲毓 丕賱兀爻賲丕亍貙 賵賲丨丕賵賱鬲賴賲 丕賱丿丕卅賲丞 丕亘鬲賰丕乇 兀爻賲丕亍 鬲亘毓丿賴賲 毓賳 丕賱賲卮丕賰賱貙 賵兀賷囟丕 賸 毓丿賲 鬲賰乇丕乇 丕賱兀爻賲丕亍 丿丕禺賱 丕賱乇賵丕賷丞 丨鬲賶 賱丕 賷乇鬲亘賰 丕賱賯丕乇卅貙 賵賱賰賳 賱兀賵爻鬲乇 卮兀賳 丌禺乇.
鬲賳亘賷賴: 賲丕 爻賷兀鬲賷 賷賰卮賮 丨亘賰丞 賰賱 乇賵丕賷丞 賲賳 丕賱乇賵丕賷丕鬲 丕賱孬賱丕孬丞.
* 賲丿賷賳丞 丕賱夭噩丕噩
賲賱禺氐 丕賱乇賵丕賷丞:
鬲亘丿兀 丕賱賯氐丞 賵丕賱鬲賷 鬲乇賵賶 毓賱賶 賱爻丕賳 乇丕賵 賺 賱丕 賳鬲毓乇賮 毓賱賷賴 賮賷 丕賱亘丿丕賷丞貙 亘丕鬲氐丕賱 禺丕胤卅 賷乇丿 廿賱賶 丿丕賳賷賷賱 賰賵賷賳貙 賰丕鬲亘 丕賱乇賵丕賷丕鬲 丕賱亘賵賱賷爻賷丞貙 賵丕賱匕賷 賱丕 賷賰鬲亘賴丕 亘丕爻賲賴 丕賱氐乇賷丨 賵廿賳賲丕 亘丕爻賲 (賵賱賷丕賲 賵賱爻賵賳)貙 賵亘胤賱賴 賮賷賴丕 鬲丨乇賷 丕爻賲賴 賲丕賰爻 賵乇賰貙 丕賱賲鬲氐賱 亘賰賵賷賳 賷胤賱亘 賲丨丕丿孬丞 (亘賵賱 兀賵爻鬲乇) !!! 賵賴賵 乇噩賱 賲鬲禺氐氐 亘丕賱鬲丨乇賷丕鬲貙 賮賷丿毓賷 賰賵賷賳 兀賳賴 賴賵 兀賵爻鬲乇 賵賷匕賴亘 賱賱賯丕亍 丕賱賲鬲氐賱 丕賱睾丕賲囟貙 賮賷噩丿 兀賲丕賲賴 卮丕亘 兀卮賯乇 賷乇鬲丿賷 賲賱丕亘爻 亘賷囟丕亍 亘丕賱賰丕賲賱 賵賷鬲丨丿孬 亘胤乇賷賯丞 睾乇賷亘丞貙 賴匕丕 丕賱卮丕亘 賷丿毓賶 亘賷鬲乇 爻鬲賷賱賲丕賳 賵賷賮賴賲 賲賳 賰賱丕賲賴 兀賳賴 賰丕賳 賲丨亘賵爻丕 賸 賮賷 丕賱馗賱丕賲 賱賲丿丞 13 毓丕賲丕 賸 毓賱賶 賷丿 賵丕賱丿賴貙 賵鬲賰賲賱 賮賷賲丕 亘毓丿 夭賵噩丞 爻鬲賷賱賲丕賳 丕賱賯氐丞 賮鬲禺亘乇 賰賵賷賳 毓賳 賵丕賱丿 亘賷鬲乇貙 丕賱丿賰鬲賵乇 丕賱噩丕賲毓賷 丕賱賲鬲賮賵賯 賵丕賱匕賷 丨亘爻賴 賱爻賳賵丕鬲 胤賵賷賱丞 丨鬲賶 鬲爻亘亘 丨乇賷賯 賮賷 賰卮賮 賲丕 賮毓賱賴 亘丕亘賳賴 賮兀賵丿毓 毓賳丿賴丕 丕賱爻噩賳貙 賵賴丕 賴賵 賯丿 禺乇噩 丕賱丌賳 賵賷賴丿丿 丕亘賳賴 亘丕賱賲賵鬲貙 賮賱匕丕 賷丨鬲丕噩 丕賱夭賵噩丕賳 廿賱賶 鬲丨乇賷 禺丕氐 賷賯賵賲 亘賲鬲丕亘毓丞 丕賱兀亘 丨丕賱 賵氐賵賱賴 廿賱賶 丕賱賲丿賷賳丞 賵賷乇丕賯亘 爻賱賵賰賴貙 賷爻鬲毓乇囟 賰賵賷賳 丨丕賱 毓賵丿鬲賴 廿賱賶 丕賱賲賳夭賱 亘毓囟 賯氐氐 丕賱兀胤賮丕賱 丕賱匕賷賳 鬲毓乇囟賵丕 賱鬲噩乇亘丞 賲賲丕孬賱丞貙 賵賷賱賮鬲 丕賳鬲亘丕賴賳丕 廿賱賶 兀賳 丕爻賲 丕亘賳賴 丕賱賲鬲賵賮賶 賴賵 亘賷鬲乇 兀賷囟丕 賸貙 亘毓丿 毓卮丕亍 賵孬乇孬乇丞 賷卮鬲乇賷 賰賵賷賳 丿賮鬲乇丕 賸 兀丨賲乇貙 孬賲 賷匕賴亘 亘毓丿 賴匕丕 廿賱賶 賲賰鬲亘丞 噩丕賲毓丞 賰賵賱賵賲亘賷丕 丨賷孬 賷丨氐賱 毓賱賶 賰鬲丕亘 兀賱賮賴 爻鬲賷賱賲丕賳 丕賱兀亘貙 丕賱賰鬲丕亘 賷鬲賳丕賵賱 賮賰乇丞 丕賱賮乇丿賵爻 賵亘乇噩 亘丕亘賱貙 賵賷乇賶 賮賷賴 兀賳 丕賱廿賳爻丕賳 爻賯胤 賲賳 丕賱賮乇丿賵爻 賵爻賵賮 賷爻鬲毓賷丿賴 亘亘賳丕亍 亘丕亘賱 丕賱噩丿賷丿丞貙 賵賴賷 兀賲乇賷賰丕 丨爻亘 乇丐賷丞 賴賳乇賷 丿丕乇賰貙 賵賴賵 賯爻 廿賳噩賱賷夭賷 噩丕亍 廿賱賶 兀賲乇賷賰丕 賵兀賱賮 賰鬲丕亘丕 賸 丕爻賲賴 (亘丕亘賱 丕賱噩丿賷丿丞) 賵賴賵 賰鬲丕亘 丕丨鬲乇賯鬲 賳爻禺賴 賵賵噩丿 爻鬲賷賱賲丕賳 賳爻禺丞 賵丨賷丿丞 賳丕噩賷丞 賲賳賴 賮賷 毓賱賷丞 兀賴賱賴 賮賷 賰丕賲亘乇丿噩貙 丕賱賰鬲丕亘 賷丨賲賱 乇丐賷丞 鬲賳亘丐賷丞 亘兀賳 兀賲乇賷賰丕 爻鬲亘丿兀 賮賷 丕賱鬲氐丕毓丿 丕亘鬲丿丕亍 賸 賲賳 毓丕賲 1960 賲貙 賱鬲賰賵賳 亘丕亘賱 丕賱噩丿賷丿丞 丕賱鬲賷 爻鬲賵丨丿 丕賱賳丕爻 毓賱賶 賱睾丞 賵丕丨丿丞貙 賱賷毓賵丿賵丕 廿賱賶 丕賱賮乇丿賵爻貙 賷鬲賳亘賴 賰賵賷賳 兀賳 賴匕丕 賴賵 賳賮爻 丕賱毓丕賲 丕賱匕賷 丨亘爻 賮賷賴 爻鬲賷賱賲丕賳 丕亘賳賴貙 賷匕賴亘 賰賵賷賳 亘毓丿 賴匕丕 廿賱賶 賲丨胤丞 丕賱賯胤丕乇 賱賲乇丕賯亘丞 賵氐賵賱 爻鬲賷賱賲丕賳貙 賵賴賳丕賰 鬲丨丿孬 賲氐丕丿賮丞 賵丨丕丿孬丞 睾乇賷亘丞貙 丕賱賲氐丕丿賮丞 賴賷 兀賳 賷噩賱爻 廿賱賶 噩賵丕乇 賮鬲丕丞 鬲賯乇兀 賰鬲丕亘賴貙 賵賱賰賳賴 賱丕 賷爻鬲胤賷毓 廿禺亘丕乇賴丕 亘匕賱賰 賱兀賳賴 賲鬲賳賰乇 亘丕爻賲 亘賵賱 兀賵爻鬲乇貙 兀賲丕 丕賱丨丕丿孬 丕賱睾乇賷亘 賮賴賵 毓賳丿賲丕 賷氐賱 爻鬲賷賱賲丕賳 丕賱毓噩賵夭貙 丨賷孬 賷乇賶 賰賵賷賳 爻鬲賷賱賲丕賳 丌禺乇 卮丕亘 賵匕賵 丨丕賱丞 噩賷丿丞貙 賵賷丨鬲丕乇 賲賳 賷鬲亘毓 賲賳賴賲丕 賵賱賰賳賴 賮賷 丕賱賳賴丕賷丞 賷鬲亘毓 丕賱毓噩賵夭 廿賱賶 丕賱賮賳丿賯 丕賱匕賷 賷爻賰賳 賮賷賴貙 賵毓賱賶 丕賲鬲丿丕丿 兀爻亘賵毓賷賳 賷鬲鬲亘毓 賰賵賷賳 爻鬲賷賱賲丕賳 賮賷 噩賵賱丕鬲賴 丿丕禺賱 賳賷賵賷賵乇賰貙 賵賷賰鬲亘 賰賱 賲丕 賷賮毓賱賴 賮賷 賰乇丕爻鬲賴 丕賱丨賲乇丕亍貙 賵賳賰鬲卮賮 兀賳 爻鬲賷賱賲丕賳 賷賲賱賰 賴賵 亘丿賵乇賴 賰乇丕爻丞 丨賲乇丕亍貙 禺賱丕賱 賴匕賴 丕賱兀賷丕賲 賷賰鬲卮賮 賰賵賷賳 兀賳 噩賵賱丕鬲 爻鬲賷賱賲丕賳 鬲卮賰賱 賮賷 賰賱 賷賵賲 丨乇賮丕 賸貙 賱鬲賰賵賳 賮賷 丕賱賳賴丕賷丞 賰賱賲丞 (亘乇噩 亘丕亘賱) !!! 賷賯乇乇 賰賵賷賳 丕賱丕賯鬲乇丕亘 賲賳 爻鬲賷賱賲丕賳 賮賷噩賱爻 廿賱賶 噩丕賳亘賴 賮賷 丨丿賷賯丞貙 賵賷賯丿賲 賳賮爻賴 毓賱賶 兀賳賴 丿丕賳賷賷賱 賰賵賷賳 鈥� 賱丕 賳賳爻賶 兀賳賴 丕賱丌賳 賲鬲賳賰乇 亘丕爻賲 亘賵賱 兀賵爻鬲乇貙 賮賰兀賳 兀賵爻鬲乇 氐丕乇 丕爻賲賴 丕賱丨賯賷賯賷貙 賵賰賵賷賳 卮禺氐賷鬲賴 丕賱鬲賷 賷禺鬲賮賷 賵乇丕卅賴丕 -貙 賵賷鬲丨丕賵乇丕賳 賮賷禺亘乇賴 爻鬲賷賱賲丕賳 亘賲卮乇賵毓賴 賱丕禺鬲乇丕毓 賱睾丞 鬲毓亘乇 毓賳 丕賱廿賳爻丕賳 鬲賲丕賲丕 賸貙 賮賷 丕賱賱賯丕亍 丕賱孬丕賳賷 賷丿毓賷 賰賵賷賳 兀賳賴 賴賳乇賷 丿丕乇賰貙 賮賷禺亘乇賴 爻鬲賷賱賲丕賳 亘兀賳 賴匕丕 睾賷乇 賲賲賰賳貙 賱兀賳 卮禺氐賷丞 賴賳乇賷 丿丕乇賰 賵賴賲賷丞 丕禺鬲乇毓賴丕 賴賵 賱賷囟毓 毓賱賶 賱爻丕賳賴 亘毓囟 兀賮賰丕乇賴貙 賮賷 丕賱賱賯丕亍 丕賱孬丕賱孬 賷丿毓賷 賰賵賷賳 兀賳賴 亘賷鬲乇 丕亘賳 爻鬲賷賱賲丕賳貙 亘毓丿 賴匕賴 丕賱賱賯丕亍丕鬲 丕賱孬賱丕孬 賷禺鬲賮賷 丕賱毓噩賵夭 賲賳 丕賱賮賳丿賯貙 賷匕賴亘 賰賵賷賳 賱賱賯丕亍 亘賵賱 兀賵爻鬲乇貙 賵賱賰賳賴 賷賰鬲卮賮 兀賳 亘賵賱 兀賵爻鬲乇 丕賱匕賷 賷賱鬲賯賷 亘賴 賱賷爻 廿賱丕 賰丕鬲亘貙 賵賱丕 毓賱丕賯丞 賱賴 亘亘賵賱 兀賵爻鬲乇 丕賱鬲丨乇賷貙 賮賷鬲丨丿孬丕賳 毓賳 乇賵丕賷丞 丿賵賳 賰賷卮賵鬲貙 孬賲 鬲兀鬲賷 夭賵噩丞 亘賵賱 兀賵爻鬲乇 爻賷乇賷 賵丕亘賳賴 丿丕賳賷賷賱貙 賮賷睾丕丿乇 賰賵賷賳 亘毓丿賲丕 賷賱賮鬲 丕賳鬲亘丕賴賳丕 廿賱賶 鬲卮丕亘賴 丕爻賲賴 賲毓 丕爻賲 丕亘賳 兀賵爻鬲乇貙 賷丨丕賵賱 賰賵賷賳 丕賱丌賳 丕賱鬲禺賱賷 毓賳 丕賱賲賴賲丞 毓賳 胤乇賷賯 丕賱丕鬲氐丕賱 亘夭賵噩丞 爻鬲賷賱賲丕賳貙 賵賱賰賳賴 賷噩丿 丕賱禺胤 賲卮睾賵賱丕 賸 胤賷賱丞 丕賱賵賯鬲貙 賷鬲噩賵賱 賰賵賷賳 毓賳丿賴丕 賮賷 賳賷賵賷賵乇賰 亘噩賵賱丕鬲 賷氐賮賴丕 丕賱賰丕鬲亘 亘丿賯丞 鈥� 賵賱丕 兀丿乇賷 賴賱 賴賷 鬲賰賵賳 賰賱賲丞 兀賵 丨乇賮丕 賸 亘丿賵乇賴丕 !!! -貙 孬賲 賷爻鬲賯乇 賮賷 丕賱賳賴丕賷丞 兀賲丕賲 丕賱亘賳丕賷丞 丕賱鬲賷 賷爻賰賳賴丕 亘賷鬲乇 賵夭賵噩鬲賴貙 賵賷賰乇爻 賳賮爻賴 賱賱賲乇丕賯亘丞 亘卮賰賱 噩賳賵賳賷貙 賵鬲賲乇 卮賴賵乇 毓賱賷賴 賵賴賵 亘賴匕賴 丕賱丨丕賱 !!! 賵毓賳丿賲丕 賷賳賮丿 賲丕賱賴 賷丨丕賵賱 丕賱丕鬲氐丕賱 亘亘賵賱 兀賵爻鬲乇 賱賱丨氐賵賱 賲賳賴 毓賱賶 卮賷賰 兀鬲毓丕亘賴 丕賱匕賷 兀毓胤丕賴 賱兀賵爻鬲乇 賱兀賳 夭賵噩丞 爻鬲賷賱賲丕賳 爻噩賱鬲賴 亘丕爻賲賴貙 賷禺亘乇賴 兀賵爻鬲乇 毓賳丿賴丕 亘兀賲乇賷賳 丕賱兀賵賱 兀賳 丕賱卮賷賰 鬲賲 乇丿賴 賲賳 丕賱亘賳賰貙 賵丕賱兀賲乇 丕賱丌禺乇 兀賳 爻鬲賷賱賲丕賳 賯丿 丕賳鬲丨乇貙 賷匕賴亘 賰賵賷賳 毓賳丿賴丕 廿賱賶 卮賯鬲賴 賱賷噩丿 兀賳賴丕 賯丿 兀噩乇鬲 賱睾賷乇賴貙 賵兀賳 兀睾乇丕囟賴 賰賱賴丕 賯丿 丕禺鬲賮鬲貙 賮賷匕賴亘 廿賱賶 賲賳夭賱 爻鬲賷賱賲丕賳 賱賷賰鬲卮賮 兀賳賴 禺丕賱 賺 鬲賲丕賲丕 賸貙 賮賷匕賴亘 毓賳丿賴丕 廿賱賶 睾乇賮丞 賯氐賷丞 賵賷鬲毓乇賶 賱賷賳丕賲 賲毓 賰乇丕爻鬲賴 丕賱丨賲乇丕亍貙 毓賳丿賲丕 賷賳賴囟 賷噩丿 胤毓丕賲丕 賸 賮賷兀賰賱 賵賷亘丿兀 賮賷 丕賱賰鬲丕亘丞貙 賵賷亘丿兀 丕賱馗賱丕賲 賮賷 丕賱鬲夭丕賷丿 賰賱 賷賵賲 丨鬲賶 鬲賳鬲賴賷 丕賱賰乇丕爻丞貙 賷禺亘乇賳丕 丕賱乇丕賵賷 毓賳丿賴丕 毓賳 毓賵丿鬲賴 廿賱賶 賳賷賵賷賵乇賰 賵匕賴丕亘賴 賲毓 氐丿賷賯賴 亘賵賱 兀賵爻鬲乇 廿賱賶 賲賳夭賱 爻鬲賷賱賲丕賳 丨賷孬 賷賰鬲卮賮丕賳 丕賱賰乇丕爻丞貙 賵賱丕 兀孬乇 賱賰賵賷賳.
兀爻卅賱丞 賵廿噩丕亘丕鬲:
賱丕 兀馗賳 兀丨丿丕 賸 賯乇兀 賴匕賴 丕賱乇賵丕賷丞 廿賱丕 賵禺乇噩 賲賳賴丕 亘丨夭賲丞 賱丕 亘兀爻 亘賴丕 賲賳 丕賱兀爻卅賱丞貙 賵亘賯賱賷賱 賲賳 丕賱廿噩丕亘丕鬲貙 賵兀馗賳 兀賳 賴匕賴 爻賲丞 賲賳 爻賲丕鬲 丕賱乇賵丕賷丞 丕賱噩賷丿丞貙 兀賷 兀賳賴丕 鬲孬賷乇 賮賷賳丕 丕賱兀爻卅賱丞貙 賵賱賰賳 亘卮乇胤 兀賳 鬲賰賵賳 兀爻卅賱丞 賲賳氐乇賮丞 廿賱賶 賲毓賳賶 賵賲睾夭賶 丕賱乇賵丕賷丞貙 賱丕 兀爻卅賱丞 鬲丨丕賵賱 賮賰 乇賲賵夭 睾丕賲囟丞貙 賱丕 賲毓賳賶 賷乇噩賶 賵乇丕卅賴丕.
賱丕 賷賲賰賳賳賷 鬲氐賳賷賮 賰鬲丕亘丕鬲 兀賵爻鬲乇 廿賱賶 兀賷 丕賱賳賵毓賷賳 鬲賳鬲賲賷貙 賵廿賳 賰丕賳鬲 丕賱毓亘丕乇丞 丕賱鬲賷 乇氐丿賴丕 丕賱賲鬲乇噩賲 賮賷 賲賯丿賲鬲賴 賳賯賱丕 賸 毓賳 丕賱賳丕賯丿 丕賱兀丿亘賷 賱氐丨賷賮丞 丕賱丕賳丿亘賳丿賳鬲貙 賵丕賱鬲賷 賷賯賵賱 賮賷賴丕 "鬲賰賲賳 賯賵丞 兀賵爻鬲乇 賮賷 兀賳賴 賷賱胤賲 丕賱賯氐氐 賲毓丕 賸貙 賰丕賱丨氐賶 丕賱氐賱丿 賮鬲賯毓賯毓 賵鬲賯丿丨 卮乇乇丕 賸貙 賵鬲鬲乇丿丿 兀氐丿丕亍 丕賱丕乇鬲胤丕賲貙 賵賱賰賳賴丕 賱丕 鬲禺乇噩 卮賷卅丕 賷爻賴賱 丕賳鬲夭丕毓賴 賵賷賲賰賳 兀賳 賳爻賲賷賴 丕賱賲毓賳賶"貙 賴匕賴 丕賱毓亘丕乇丞 氐丿賲鬲賳賷貙 賵噩毓賱鬲賳賷 兀鬲賵噩爻 賲賳 丕賱賵賱賵噩 廿賱賶 毓丕賱賲 乇賵丕卅賷 睾丕賲囟貙 鬲鬲賵丕賱丿 賮賷賴 丕賱睾乇丕卅亘 賵丕賱兀丨噩賷丕鬲.
賮賱賳賮鬲卮 毓賳 丕賱賰鬲丕亘:
匕賰乇鬲 兀賳賴 賮賷 賰賱 乇賵丕賷丞 賷賵噩丿 賰鬲丕亘貙 賴匕丕 丕賱賰鬲丕亘 賲乇鬲亘胤 亘賮賰乇丞 丕賱乇賵丕賷丞貙 亘丨賷孬 賷賲賰賳賳丕 賮賴賲 爻亘亘 賵乇賵丿賴 賮賷賴丕貙 賮賷 (賲丿賷賳丞 丕賱夭噩丕噩) 賰丕賳 丕賱賰鬲丕亘 (丿賵賳 賰賷禺賵鬲) 賱爻賷乇賮丕賳鬲爻貙 賵賰丕賳鬲 丕賱賮賰乇丞 賲胤丕乇丿丞 丕賱廿賳爻丕賳 賱兀丨賱丕賲賴貙 賮毓賳丿賲丕 匕賴亘 賰賵賷賳 賱賱賯丕亍 亘賵賱 兀賵爻鬲乇 丿丕乇 亘賷賳賴賲丕 丨賵丕乇 丨賵賱 賰鬲丕亘 丿賵賳 賰賷禺賵鬲貙 賲睾夭賶 匕賱賰賲 丕賱丨賵丕乇 賴賵 兀賳 丿賵賳 賰賷禺賵鬲 賴賵 賰丕鬲亘 丨賰丕賷鬲賴貙 賴賵 丕賱匕賷 乇鬲亘 賱兀賳 賷乇賵賷賴丕 丕賱丌禺乇賵賳 亘丕賱胤乇賷賯丞 丕賱鬲賷 賷乇賷丿賴丕貙 賴匕賴 丕賱賮賰乇丞 丕爻鬲禺丿賲賴丕 亘賵賱 兀賵爻鬲乇 賱賷賰鬲亘 乇賵丕賷鬲賴貙 賵爻賳賯賵賲 丕賱丌賳 亘鬲賵夭賷毓 丕賱兀丿賵丕乇 賱賳乇賶 賰賷賮 鬲鬲胤丕亘賯 丕賱賮賰乇鬲丕賳.
爻賷乇賮丕賳鬲爻 賮賷 乇賵丕賷鬲賴 賷丨丕賵賱 廿賯賳丕毓 丕賱賯丕乇卅 亘兀賳 丕賱賲丐賱賮 賴賵 丕賱爻賷丿 丨賲賷丿 亘賳 賳噩賱賷貙 賵兀賳賴 賵噩丿 丕賱賲禺胤賵胤 賮賷 爻賵賯 胤賱賷胤賱丞 賮丕爻鬲毓丕賳 亘賲賳 賷鬲乇噩賲賴 賲賳 丕賱毓乇亘賷丞 廿賱賶 丕賱兀爻亘丕賳賷丞貙 賲賳 賴賵 丨賲賷丿 亘賳 賳噩賱賷責 賴賵 鬲噩賲賷毓 賱兀乇亘毓丞 兀卮禺丕氐貙 兀丨丿賴賲 爻丕賳卮賵 鬲丕亘毓 丿賵賳 賰賷禺賵鬲貙 賵丕賱匕賷 兀賲賱賶 丨賰丕賷丕鬲 爻賷丿賴 毓賱賶 丌禺乇賷賳貙 賮賰鬲亘賵賴丕 亘丕賱兀爻亘丕賳賷丞 孬賲 鬲乇噩賲鬲 廿賱賶 丕賱毓乇亘賷丞貙 丨賷孬 賷毓孬乇 爻賷乇賮丕賳鬲爻 毓賱賶 丕賱賲禺胤賵胤貙 賮賷賯賵賲 亘鬲乇噩賲鬲賴 賲賳 噩丿賷丿 廿賱賶 丕賱兀爻亘丕賳賷丞貙 賵賴匕丕 賷賯賵丿賳丕 廿賱賶 兀賳 爻賷乇賮丕賳鬲爻 賴賵 丿賵賳 賰賷禺賵鬲.
亘賵賱 兀賵爻鬲乇 丕賱賲丐賱賮 賷丨丕賵賱 廿賯賳丕毓賳丕 亘賵噩賵丿 乇丕賵 賺 賱賱乇賵丕賷丞貙 賵賴賵 乇丕賵 賺 賱丕 賳毓乇賮 兀賷 卮賷亍 毓賳賴貙 賴匕丕 丕賱乇丕賵賷 丕爻鬲毓丕賳 亘賲禺胤賵胤 賱賷丨賰賷 賱賳丕 丕賱丨賰丕賷丞貙 兀賷 丕賱賰乇丕爻丞 丕賱丨賲乇丕亍 賱丿丕賳賷賷賱 賰賵賷賳 鈥� 賱賳賱丕丨馗 丕賱丨乇賮賷賳 丕賱兀賵賱賷賳 賲賳 丕爻賲賴 賵丕賱鬲賷 鬲鬲卮丕亘賴 賲毓 丕賱丨乇賮賷賳 丕賱兀賵賱賷賳 賲賳 丕爻賲 丿賵賳 賰賷卮賵鬲 -貙 丿丕賳賷賷賱 賰賵賷賳 賴賵 丿賵賳 賰賷禺賵鬲 丕賱乇賵丕賷丞貙 賱賴 匕丕鬲 丕賱卮睾賮 亘賯氐氐 丕賱鬲丨乇賷 丕賱鬲賷 賰丕賳 賷賰鬲亘賴丕 鈥� 賰賲丕 卮睾賮鬲 丿賵賳 賰賷禺賵鬲 賯氐氐 丕賱亘胤賵賱丕鬲 賵丕賱賮乇爻丕賳 -貙 賵賱賴 匕丕鬲 丕賱噩賳賵賳 丕賱匕賷 賷丿賮毓賴 廿賱賶 丕賱賴賵爻 賵丕賱丕賳睾賲丕爻 賮賷 丕賱鬲丨乇賷貙 賵亘賲丕 兀賳 爻賷乇賮丕賳鬲爻 賴賵 丿賵賳 賰賷禺賵鬲貙 賮賱匕丕 兀賵爻鬲乇 賴賵 丿丕賳賷賷賱 賰賵賷賳貙 賵賯丿 氐乇丨 兀賵爻鬲乇 賮賷 賱賯丕卅賴 賲毓 噩賲丕賳丞 賲乇丕丿貙 兀賳 賮賰乇丞 丕賱乇賵丕賷丞 噩丕亍鬲賴 毓賳丿賲丕 鬲賱賯賶 丕鬲氐丕賱丕 賸 丨賯賷賯賷丕 賸 賷爻兀賱 賮賷賴 兀丨丿賴賲 毓賳 賵賰丕賱丞 鬲丨乇賷貙 賮賱匕丕 賮賷 丕賱賵丕賯毓 丕爻鬲賯亘賱 丕賱賲賰丕賱賲丞 亘賵賱 兀賵爻鬲乇貙 賵賱賰賳 賮賷 丕賱乇賵丕賷丞 賰丕賳 丿丕賳賷賷賱 賰賵賷賳貙 賵丕賱匕賷 丕賳賯賱亘鬲 丨賷丕鬲賴 乇兀爻 毓賱賶 毓賯亘 亘爻亘亘 賴匕丕 丕賱丕鬲氐丕賱貙 賵丕賳丿賲噩 賮賷 卮睾賮賴 丕賱匕賷 賰丕賳 賷賲丕乇爻賴 賰鬲丕亘賷丕 賸貙 兀賷 丕賱鬲丨乇賷貙 賱賷賯賵賲 亘丕賱鬲丨乇賷 亘賳賮爻賴貙 賵賳賱丕丨馗 賰賷賮 賷賳噩乇賮 賰賵賷賳 賮賷 賴匕丕貙 丨鬲賶 賷禺鬲賮賷.
賲氐丕丿賮丞 兀賲 賯丿乇責
匕賰乇鬲 兀賳 賴賳丕賰 賳賵毓賷賳 賲賳 丕賱賲氐丕丿賮丕鬲 賱丿賶 兀賵爻鬲乇貙 丕賱氐丿賮丞 丕賱鬲賷 鬲賳胤賱賯 賰賰乇丞 丕賱孬賱噩 賮鬲噩乇賮 賰賱 賲丕 賷兀鬲賷 亘毓丿賴丕貙 賴賰匕丕 賰丕賳 丕鬲氐丕賱 爻鬲賷賱賲丕賳 亘賰賵賷賳貙 賵賴賳丕賰 丕賱氐丿賮丞 丕賱鬲賷 賱丕 賷丨丿孬 賲賳 賵乇丕卅賴丕 卮賷亍貙 賵賴匕賴 鬲賲孬賱賴丕 賮賷 丕賱乇賵丕賷丞 氐丿賮丞 丕賱賮鬲丕丞 丕賱鬲賷 賷噩賱爻 廿賱賶 噩丕賳亘賴丕 賰賵賷賳 賵賷賰鬲卮賮 兀賳賴丕 鬲賯乇兀 賰鬲丕亘丕 賸 賱賴貙 賵賰匕丕 丕賲鬲賱丕賰 賰賵賷賳 賵爻鬲賷賱賲丕賳 賱賰乇丕爻鬲賷賳 丨賲乇丕賵賷賳.
兀丨丿丕孬 睾乇賷亘丞 賵乇賲賵夭:
鬲兀鬲賷 亘毓丿 賴匕丕 賲爻兀賱丞 丕賱兀丨丿丕孬 丕賱睾乇賷亘丞 賮賷 丕賱乇賵丕賷丞貙 賲孬賱 乇丐賷丞 賰賵賷賳 賱賳爻禺鬲賷賳 賲賳 爻鬲賷賱賲丕賳貙 兀丨丿賴賲丕 毓噩賵夭 賵丕賱丌禺乇 卮丕亘貙 賲丕 鬲賮爻賷乇 賴匕丕責 兀賳丕 賱賲 兀氐賱 賱卮賷亍 丨賵賱 賴匕賴 丕賱丨丕丿孬丞貙 賵賰匕丕 鬲丨乇賰丕鬲 爻鬲賷賱賲丕賳 丕賱毓噩賵夭 丕賱鬲賷 鬲乇爻賲 丨乇賵賮丕 賸貙 賵賲孬賱賴 丕賱丕禺鬲賮丕亍 丕賱睾丕賲囟 賱亘賷鬲乇 爻鬲賷賱賲丕賳 賵夭賵噩鬲賴貙兀賲丕 丕賱丨丕賱丞 丕賱鬲賷 賷氐亘丨 毓賱賷賴丕 賰賵賷賳 賵賴賵爻賴 亘丕賱賲乇丕賯亘丞 賱兀卮賴乇貙 孬賲 賳賴丕賷鬲賴 丕賱睾乇賷亘丞貙 兀賷 鬲毓乇賷賴 賵亘賯丕卅賴 賮賷 鬲賱賰 丕賱睾乇賮丞貙 賵丕賱胤毓丕賲 丕賱匕賷 賰丕賳 賷賵囟毓 亘賷賳 賷丿賷賴貙 孬賲 丕賱馗賱丕賲 丕賱匕賷 氐丕乇 賷鬲賰丕孬賮 丨鬲賶 丕禺鬲賮賶 賰賵賷賳貙 賮賴匕賴 賮爻乇鬲賴丕 兀賵賱丕 賸 亘丿禺賵賱賴 賮賷 丨丕賱丞 賲賳 丕賱丕賳丿賲丕噩 賲毓 丕賱卮禺氐賷丞 丕賱鬲賷 賷賯賵賲 亘賴丕貙 兀賷 丕賱鬲丨乇賷貙 亘丨賷孬 賷鬲禺賱賶 毓賳 丨賷丕鬲賴 丕賱胤亘賷毓賷丞貙 賵賷氐亘丨 賰亘胤賱賴 賲丕賰爻 賵乇賰貙 兀賲丕 賳賴丕賷鬲賴 賮賴賳丕賰 鬲卮丕亘賴 賰亘賷乇 亘賷賳賴丕 賵亘賷賳 丨丕賱丞 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱丕亘賳貙 賮亘賷鬲乇 爻鬲賷賱賲丕賳 賰丕賳 賲丨亘賵爻丕 賸 賮賷 丕賱馗賱丕賲 賷囟毓 賱賴 賵丕賱丿賴 丕賱胤毓丕賲貙 孬賲 禺乇噩 賲賳 匕丕賰 丕賱馗賱丕賲 廿賱賶 丕賱賳賵乇貙 賰賵賷賳 賰丕賳 賷毓賷卮 賮賷 丕賱賳賵乇 孬賲 丿賱賮 廿賱賶 鬲賱賰 丕賱丨丕賱丞 丕賱鬲賷 鬲卮亘賴 丕賱毓賵丿丞 廿賱賶 丕賱乇丨賲貙 丨賷孬 賷鬲毓乇賶貙 孬賲 賷亘丿兀 賮賷 丕賱丿禺賵賱 丕賱賲鬲賯胤毓 賮賷 丨丕賱丕鬲 廿馗賱丕賲 賲鬲夭丕賷丿丞貙 丨鬲賶 賷禺鬲賮賷貙 賵賴賳丕賰 賲賳 賷囟毓 賱賴 丕賱胤毓丕賲貙 賵賱賰賳賳丕 賱丕 賳丿乇賷 賲賳 賷賰賵賳.
鬲丨鬲賵賷 丕賱乇賵丕賷丞 毓賱賶 乇賲賵夭 兀賷囟丕 賸貙 賲孬賱 丕賱賰乇丕爻丞 丕賱丨賲乇丕亍鈥� 亘丕賱賲賳丕爻亘丞 賯丕賲 兀賵爻鬲乇 賮賷賲丕 亘毓丿 亘廿氐丿丕乇 賰鬲丕亘 賲匕賰乇丕鬲 賮賷 丕賱鬲爻毓賷賳丕鬲 賵丕爻賲丕賴 (丕賱賰乇丕爻丞 丕賱丨賲乇丕亍) -貙 兀賷囟丕 賸 乇賲夭賷丞 丕賱亘賷囟 鈥� 丕賱氐賮丨丕鬲 148貙 173 -貙 丕賱賯賲乇鈥撠� 150-貙 丕賱賮乇丿賵爻 賵亘丕亘賱 丕賱噩丿賷丿丞貙 賵賴賷 兀卮賷丕亍 鬲鬲賰乇乇 賮賷 乇賵丕賷丕鬲 兀賵爻鬲乇 丕賱鬲丕賱賷丞 賰賲丕 爻賳乇賶.
賱毓亘丞 丕賱兀爻賲丕亍:
兀賲丕 賲丕 賳爻賲賷賴 鬲噩賵夭丕 賸 賲爻兀賱丞 丕賱賴賵賷丞 賮賷 乇賵丕賷丕鬲 兀賵爻鬲乇貙 賮賴匕賴 賲爻兀賱丞 兀賵爻毓 賵兀毓賯丿貙 賮丕賱乇丕賵賷 賲孬賱丕 賸 賲胤賱毓 毓賱賶 賰賱 卮賷亍 鬲賯乇賷亘丕 賸貙 賵賱賰賳賳丕 賱丕 賳丿乇賷 賲賳 賷賰賵賳 !!! 賮賴賵 賱賷爻 乇丕賵 賺 毓賱賷賲貙 賱兀賳賴 賲賵噩賵丿 賮賷 丕賱乇賵丕賷丞貙 賵禺丕氐丞 賮賷 氐賮丨丕鬲賴丕 丕賱兀禺賷乇丞貙 賴匕丕 丕賱乇丕賵賷 氐丿賷賯 賱亘賵賱 兀賵爻鬲乇 丕賱賰丕鬲亘貙賱丿賶 兀賵爻鬲乇 丕亘賳 丕爻賲賴 丿丕賳賷賷賱貙 亘胤賱 丕賱乇賵丕賷丞 丕爻賲賴 丿丕賳賷賷賱 賰賵賷賳 賵賴賵 賰丕鬲亘 乇賵丕賷丕鬲 鬲丨乇賷貙 賷賰鬲亘賴丕 亘丕爻賲 賲爻鬲毓丕乇 賴賵 (賵賱賷丕賲 賵賱爻賵賳) 賵賴賵 丕賱丕爻賲 丕賱丨賯賷賯賷 賱賱丕毓亘 亘賷爻亘賵賱 賰賲丕 爻賳毓乇賮鈥� 賵丕爻賲 賯氐丞 賯氐賷乇丞 賱廿丿睾丕乇 丌賱丕賳 亘賵 兀賷囟丕 賸-貙 賱賰賵賷賳 丕亘賳 賲賷鬲 丕爻賲賴 亘賷鬲乇貙 賵賴匕丕 賴賵 丕賱丕爻賲 丕賱兀賵賱 賱毓賲賷賱賴 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱丕亘賳貙 賵丕賱匕賷 賷賱鬲賯賷 亘賴 賰賵賷賳 賲丿毓賷丕 賸 兀賳賴 丕賱賲丨賯賯 亘賵賱 兀賵爻鬲乇貙 賰賲丕 爻賷丿毓賷 賮賷 丨丕賱丞 兀禺乇賶 兀賳賴 亘賷鬲乇 爻鬲賷賱賲丕賳 匕丕鬲賴貙 賵爻賷丿毓賷 兀賳賴 賴賳乇賷 丿丕乇賰貙 賵賴賳乇賷 丿丕乇賰 卮禺氐賷丞 賵賴賲賷丞 氐賳毓賴丕 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱兀亘 賱賷囟毓 毓賱賶 賱爻丕賳賴丕 亘毓囟 兀賮賰丕乇賴貙 賵賴賰匕丕 賳乇賶 賰賱 賴匕賴 丕賱賵氐賱丕鬲 丕賱氐睾賷乇丞 亘賷賳 卮禺氐賷丕鬲 丕賱乇賵丕賷丞.
賰賲丕 兀賳賳丕 賲毓 卮賷亍 賲賳 丕賱鬲兀賲賱 賮賷 丕賱卮禺氐賷丕鬲 爻賳賰鬲卮賮 兀賳賳丕 賱丕 賳毓乇賮 兀賷 卮賷亍 毓賳 丕賱乇丕賵賷貙 賮賱匕丕 賵噩賵丿賴 亘丕賱賳爻亘丞 賱賳丕 賳丕賯氐貙 兀賵 賱賳賯賱 賵噩賵丿 睾賷乇 賲鬲丨賯賯貙 丿丕賳賷賷賱 賰賵賷賳 賵乇睾賲 兀賳賴 亘胤賱 丕賱乇賵丕賷丞 廿賱丕 兀賳賴 賷禺鬲賮賷 賲禺賱賮丕 賸 賰乇丕爻丞 丨賲乇丕亍貙 賵賴匕丕 賷噩毓賱賳丕 賳卮賰 賮賷 賵噩賵丿賴貙 亘賵賱 兀賵爻鬲乇 亘丿賵乇賴 賲賵噩賵丿 賰賰丕鬲亘 賵賱賴 賲賳夭賱 賵夭賵噩丞 賵胤賮賱貙 賵賱賰賳 賴賳丕賰 亘賵賱 兀賵爻鬲乇 丌禺乇貙 賲丨賯賯 賱丕 賳毓乇賮 毓賳賴 卮賷卅丕 賸貙 爻賷賳鬲丨賱 賰賵賷賳 卮禺氐賷鬲賴貙 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱丕亘賳 賷禺鬲賮賷 賴賵 丕賱丌禺乇貙 賵賰匕丕 夭賵噩鬲賴 賮賷乇噩賷賳賷丕貙 賵賷禺鬲賮賷 賰賱 賲丕 賷乇鬲亘胤 亘賴賲丕貙 賴匕丕 睾賷乇 鬲乇丿賷丿賴 胤賷賱丞 丨賵丕乇賴 賲毓 賰賵賷賳 兀賳 亘賷鬲乇 爻鬲賷賱賲丕賳 賱賷爻 丕爻賲賴 丕賱丨賯賷賯賷貙 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱兀亘 賷禺鬲賮賷 賵賳毓乇賮 賲賳 兀賵爻鬲乇 兀賳賴 丕賳鬲丨乇貙 賴賳乇賷 丿丕乇賰 賳賰鬲卮賮 兀賳賴 卮禺氐賷丞 禺賷丕賱賷丞貙 賷亘丿賵 丕賱兀賲乇 賵賰兀賳 賰賱 卮禺氐賷丞 賱賴丕 賵噩賵丿貙 賵賱賴丕 賲丕 賷賳賯囟 賴匕丕 丕賱賵噩賵丿 賵賷賱睾賷賴.
* 丕賱兀卮亘丕丨
賲賱禺氐 丕賱乇賵丕賷丞:
鬲丿賵乇 兀丨丿丕孬 賴匕賴 丕賱乇賵丕賷丞 賮賷 賳賷賵賷賵乇賰貙 賮賷 爻賳丞 1947 賲貙 丨賷孬 賷賰賱賮 乇噩賱 賷丿毓賶 賵丕賷鬲貙 鬲丨乇賷丕 賸 賷丿毓賶 亘賱賵 亘鬲鬲亘毓 賵賲乇丕賯亘丞 乇噩賱 賷丿毓賶 亘賱丕賰貙 賷爻鬲賯乇 亘賱賵 賮賷 丕賱卮賯丞 丕賱賲賯丕亘賱丞 賱亘賱丕賰 亘丨賷孬 鬲爻賴賱 毓賱賷賴 賲乇丕賯亘鬲賴貙 丨賷孬 賷賱丕丨馗 兀賳賴 賷賯囟賷 賵賯鬲賴 賮賷 丕賱賰鬲丕亘丞 賵丕賱賯乇丕亍丞 賮賷 賰鬲丕亘 (賵丕賱丿賳) 賱賴賳乇賷 丿丕賷賮丿 孬賵乇賵貙 賮賷賲丕 賷賯囟賷 亘賱賵 賵賯鬲賴 賮賷 鬲匕賰乇 賮鬲乇丞 毓賲賱賴 賲毓 賲毓賱賲賴 賮賷 賮賳 丕賱鬲丨乇賷 丕賱爻賷丿 亘乇丕賵賳貙 賵丕賱賯囟丕賷丕 丕賱鬲賷 賯丕賲丕 亘丨賱賴丕 賲孬賱 賯囟賷丞 丕賱爻賷丿 噩乇丕賷 丕賱匕賷 賮賯丿 匕丕賰乇鬲賴 賵氐丕乇 丕賱爻賷丿 噩乇賷賳貙 賷賰鬲亘 亘賱賵 亘毓丿 賴匕丕 鬲賯乇賷乇賴 丕賱兀賵賱 賵賷乇爻賱賴 廿賱賶 丕賱爻賷丿 賵丕賷鬲貙 賵賷賵丕氐賱 鬲鬲亘毓賴 賱亘賱丕賰 賮賷 噩賵賱丕鬲賴 賵丕賱鬲賷 鬲賯賵丿賴賲丕 廿賱賶 賲賰鬲亘丞 賷噩丿 亘賱賵 賮賷賴丕 亘丕賱氐丿賮丞 賰鬲丕亘 賵丕賱丿賳貙 賵賷賰鬲卮賮 兀賳 賳丕卮乇 丕賱賰鬲丕亘 賷丿毓賶 賵丕賱鬲乇 亘賱丕賰貙 賵賱賰賳賴 亘丕賱鬲兀賰賷丿 賱賷爻 丕賱爻賷丿 亘賱丕賰 丕賱匕賷 賷鬲鬲亘毓賴貙 賷卮鬲乇賷 亘賱賵 丕賱賰鬲丕亘貙 賵賷賰賲賱 鬲鬲亘毓賴 丨賷孬 賷丿禺賱 亘賱丕賰 廿賱賶 賲胤毓賲 賵賷賱鬲賯賷 亘爻賷丿丞 鬲亘賰賷 禺賱丕賱 丕賱賱賯丕亍貙 賵賷賮鬲乇賯 丕賱丕孬賳丕賳貙 賮賷 賴匕丕 丕賱賵賯鬲 亘丿兀 亘賱賵 賷卮毓乇 亘賳賵毓 賲賳 丕賱鬲賵丨丿 賲毓 亘賱丕賰 亘丨賷孬 氐丕乇 賷賴賲賱 賲乇丕賯亘鬲賴貙 賷匕賴亘 亘賱賵 賱賲亘丕乇賷丕鬲 丕賱亘賷爻亘賵賱 賵丕賱爻賷賳賲丕貙 賵賷乇賶 賮賷 廿丨丿賶 噩賵賱丕鬲賴 丨亘賷亘鬲賴 賲鬲毓賱賯丞 亘匕乇丕毓 乇噩賱貙 賵毓賳丿賲丕 鬲乇丕賴 兀賲丕賲賴丕 鬲囟乇亘賴貙 賷鬲賱丕毓亘 亘賱賵 亘丕賱鬲賯乇賷乇 丕賱匕賷 賷賰鬲亘賴 賱賱爻賷丿 賵丕賷鬲 賵賷乇丕賯亘 賲賰鬲亘 丕賱亘乇賷丿 賱賷乇賶 賲賳 爻賷爻鬲賱賲 丕賱亘乇賷丿貙 丨賷孬 賷爻鬲賱賲賴 乇噩賱 賲賯賳毓 賷胤丕乇丿賴 亘賱賵 賵賱賰賳賴 賷賮乇貙 賵毓賳丿賲丕 賷兀鬲賷 丕賱卮賷賰 賲賳 丕賱爻賷丿 亘乇丕賵賳 亘毓丿 兀賷丕賲 賷丨賲賱 毓亘丕乇丞 鬲兀賳賷亘賷丞貙 賷鬲賳賰乇 亘賱賵 賮賷 氐賵乇丞 賲鬲爻賵賱 毓噩賵夭 賵賷鬲丨丕賵乇 賲賳 亘賱丕賰 丨賵賱 賵丕賱鬲 賵賷鬲賲丕賳貙 賵賴賳乇賷 丿丕賷賮丿 孬賵乇賵貙 賵丌賱賷賰 賴丕賵孬賵乇賳 丕賱匕賷 兀睾賱賯 毓賱賶 賳賮爻賴 賱賭 12 毓丕賲丕 賸 賷賰鬲亘 賮賷賴丕 丕賱賯氐氐 丕賱賯氐賷乇丞貙 賲賳賴丕 賯氐丞 丕賱爻賷丿 賵賷賰賮賷賱丿 丕賱匕賷 賷丿亘乇 賲賯賱亘 賱夭賵噩鬲賴 亘兀賳 賷禺鬲賮賷貙 賵賱賰賳賴 賱丕 賷乇噩毓 賱賱賲賳夭賱 賵鬲賲乇 毓卮乇賷賳 毓丕賲 賯亘賱 兀賳 賷胤乇賯 亘丕亘 賲賳夭賱賴貙 賵賷禺亘乇 亘賱丕賰 亘賱賵 兀賳 丕賱賰鬲丕亘 兀卮亘丕丨 賱兀賳 丕賱賰鬲丕亘丞 鬲爻鬲賵賱賷 毓賱賷賴賲貙 賵賷乇爻賱 亘賱賵 鬲賯乇賷乇賴 丕賱噩丿賷丿 賵賱賰賳賴 賱丕 賷匕賰乇 兀賷 卮賷亍 毓賳 丨賵丕乇賴 賲毓 亘賱丕賰貙 賮賷賰鬲亘 賱賴 丕賱爻賷丿 賵丕賷鬲: 賱賲丕匕丕 鬲賰匕亘責 賷鬲亘毓 亘賱賵 亘毓丿 賴匕丕 亘賱丕賰 廿賱賶 賮賳丿賯 賵賷噩賱爻 賲毓賴 賲丿毓賷丕 賸 兀賳賴 亘丕卅毓 賵孬丕卅賯 丕賱鬲兀賲賷賳貙 賮賷禺亘乇賴 亘賱丕賰 兀賳賴 鬲丨乇賷貙 賵兀賳 賲賴賲鬲賴 賲乇丕賯亘丞 卮禺氐 賲丕貙 賷鬲賳賰乇 亘賱賵 賮賷 卮賰賱 亘丕卅毓 賮乇丕卮賷 賵賷丿禺賱 廿賱賶 卮賯丞 亘賱丕賰貙 孬賲 賷丿禺賱賴丕 賲乇丞 兀禺乇賶 賵賱賰賳 賮賷 睾賷丕亘 亘賱丕賰貙 賵賷爻鬲賵賱賷 毓賱賶 兀賵乇丕賯賴貙 賱賷賰鬲卮賮 兀賳賴丕 鬲賯丕乇賷乇賴 賴賵貙 賷匕賴亘 亘賱賵 廿賱賶 卮賯丞 亘賱丕賰 賮賷賵丕噩賴賴 亘賲爻丿爻貙 賵亘毓丿 丨賵丕乇 賯氐賷乇 賷賴丕噩賲 亘賱賵 亘賱丕賰 賵賷囟乇亘賴 丨鬲賶 丕賱賲賵鬲貙 賵賷兀禺匕 丕賱賲禺胤賵胤 丕賱匕賷 賷毓賲賱 毓賱賷賴 亘賱丕賰 賱賷賯乇卅賴 毓賳丿賴丕 賷賮賴賲 賵賷睾丕丿乇 丕賱睾乇賮丞 !!!
賰鬲丕亘 賵丕賱丿賳 賵丕賱丨丕賱丞 丕賱卮亘丨賷丞 !!!
丕賱賰鬲丕亘 丕賱匕賷 鬲丿賵乇 丨賵賱賴 丕賱乇賵丕賷丞 賴賵 (賵丕賱丿賳) 賱賴賳乇賷 丿丕賷賮丿 孬賵乇賵貙 丨賷孬 賷賯乇兀賴 丕賱爻賷丿 亘賱丕賰貙 賵賷卮鬲乇賷賴 亘賱賵 賮賷賲丕 亘毓丿貙 賵賷鬲丨丕賵乇丕賳 丨賵賱賴貙 賵丕賱賮賰乇丞 丕賱鬲賷 鬲乇亘胤 亘賷賳 丕賱賰鬲丕亘 賵丕賱乇賵丕賷丞 丕賱鬲賷 亘賷賳 兀賷丿賷賳丕 賴賷 毓夭賱丞 丕賱賰丕鬲亘貙 丨賷孬 賷禺亘乇 丕賱爻賷丿 亘賱丕賰 丕賱爻賷丿 亘賱賵 丕賱賲鬲賳賰乇 賮賷 夭賷 賲鬲爻賵賱 兀孬賳丕亍 丨賵丕乇賴賲丕 丕賱兀賵賱 兀賳 丕賱賰鬲丕亘 兀卮亘丕丨貙 賱兀賳 丕賱賰鬲丕亘丞 鬲爻鬲賵賱賷 毓賱賷賴賲貙 賵鬲噩毓賱賴賲 賷毓賷卮賵賳 賮賷 賳賵毓 賲賳 丕賱毓夭賱丞貙 丨丕賱丞 卮亘丨賷丞貙 賷賰賵賳 賮賷賴丕 丕賱賰丕鬲亘 賲賵噩賵丿丕 賸 賵睾賷乇 賲賵噩賵丿貙 賳卮丕賴丿 賴匕丕 賷丨丿孬 賱亘賱丕賰 丕賱匕賷 賷賯囟賷 賵賯鬲賴 賮賷 丕賱賰鬲丕亘丞 賵丕賱賯乇丕亍丞貙 賲丕匕丕 賷賯乇兀責 賷賯乇兀 賰鬲丕亘 (賵丕賱丿賳) 賵賴賵 賰鬲丕亘 丕賳毓夭丕賱 賲丐賱賮賴 賴賳乇賷 丿丕賷賮丿 孬賵乇賵貙 賰賲丕 賷卮賷乇 亘賱丕賰 廿賱賶 丕賳毓夭丕賱 廿賱賷賰 賴丕賵孬賵乇賳 氐丿賷賯 孬賵乇賵貙 賵爻賳賱丕丨馗 兀賳 亘賱賵 賷賳毓夭賱 亘丿賵乇賴 賱丕 賱賷賰鬲亘 賵廿賳賲丕 賱賷乇丕賯亘 亘賱丕賰貙 賮賱匕丕 鬲亘丿賵 賱賳丕 賳賴丕賷丞 丕賱賯氐丞 毓賳丿賲丕 賷睾丕丿乇 亘賱賵 丕賱睾乇賮丞貙 賰賳賵毓 賲賳 賰爻乇 丕賱丨丕賱丞 丕賱卮亘丨賷丞貙 賵賱賰賳 丕賱噩賲賱丞 丕賱兀禺賷乇丞 賵丕賱禺亘賷孬丞 "賵賲賳 賴匕賴 丕賱賱丨馗丞 賮氐丕毓丿丕 賸 賱丕 賳毓乇賮 卮賷卅丕 賸"貙 鬲賰卮賮 賱賳丕 兀賳 丕賱賰丕鬲亘 賷賮賯丿 丨丕賱鬲賴 丕賱卮亘丨賷丞 毓賳丿賲丕 賷鬲禺賱賶 毓賳 賴匕賴 丕賱毓夭賱丞貙 賵賱賰賳賴 賱丕 賷賰鬲爻亘 賵噩賵丿丕 賸貙 賵廿賳賲丕 賴賵 賷賮賯丿 賵噩賵丿賴 鬲賲丕賲丕 賸貙 丕賱丨丕賱丞 丕賱卮亘丨賷丞 毓賱賶 丕賱兀賯賱 賰丕賳鬲 亘賷賳 亘賷賳貙 賵賱賰賳 丕賱禺乇賵噩 賲賳賴丕 賴賵 禺乇賵噩 丕禺鬲賮丕亍貙 賮丕賱爻賷丿 亘賱賵 亘賰賱 亘爻丕胤丞 禺乇噩 賱賷氐賷乇 賱丕 卮賷亍貙 賰丕賳 賴賳丕貙 賰賳丕 賳賯乇兀 毓賳賴貙 賵賱賰賳賴 丕賱丌賳 丕賳鬲賴賶 賮賯丿 賵噩賵丿賴 丕賱卮亘丨賷 賵丕賳鬲賴賶.
丕賱氐丿賮丞:
賵賴賷 賲賵噩賵丿丞 賮賷 賴匕賴 丕賱乇賵丕賷丞 賮賷 丕賰鬲卮丕賮 亘賱賵 賱賰鬲丕亘 (賵丕賱丿賳) 兀賲丕賲賴 賮賷 賲賰鬲亘丞 賷丿禺賱賴丕 賵賴賵 賷鬲鬲亘毓 亘賱丕賰貙 賵賰匕丕 賰賵賳 賳丕卮乇 賰鬲丕亘 賵丕賱丿賳 丕爻賲賴 丕賱兀禺賷乇 亘賱丕賰貙 貙 賵賰賲丕 賳賱丕丨馗 賰賱丕 丕賱氐丿賮鬲賷賳 賲賳 丕賱賳賵毓 丕賱孬丕賳賷.
兀丨丿丕孬 亘賱丕 鬲賮爻賷乇:
賱丕 賷賵噩丿 兀丨丿丕孬 睾乇賷亘丞 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘丕賱賲毓賳賶 丕賱匕賷 丕爻鬲禺丿賲賳丕賴貙 氐丨賷丨 兀賳賳丕 賱丕 賳毓乇賮 賲賳 賴賵 丕賱爻賷丿 賵丕賷鬲責 賵賱賲 賻 賰丕賳鬲 丕賱鬲賯丕乇賷乇 丕賱鬲賷 賷乇爻賱賴丕 亘賱賵 廿賱賷賴 鬲賳鬲賴賷 廿賱賶 丕賱爻賷丿 亘賱丕賰責 賴賱 賰丕賳 賵丕賷鬲 賲賰賱賮 賲賳 賯亘賱 亘賱丕賰 賲孬賱丕 賸責 賴賱 毓亘丕乇丞 亘賱丕賰 "賱丕 賷丕 亘賱賵貙 賰賳鬲 亘丨丕噩丞 廿賱賷賰 賲賳匕 丕賱亘丿丕賷丞貙 賵賱賵賱丕 賵噩賵丿賰 賱賲丕 兀賳噩夭鬲 卮賷卅丕 賸" 鬲丿賱 毓賱賶 賴匕丕責 乇亘賲丕.
丕賱賯氐丞 賮賷 鬲賮爻賷乇賷 丕賱賳賴丕卅賷 毓亘丕乇丞 毓賳 丨賱賯丞 賲鬲氐賱丞貙 賵丕賷鬲 賷賰賱賮 亘賱賵 亘賲乇丕賯亘丞 亘賱丕賰貙 賷乇丕賯亘賴 亘賱賵 賵賷乇爻賱 鬲賯丕乇賷乇賴 賱賵丕賷鬲貙 兀孬賳丕亍 丨賵丕乇 賱亘賱賵 賲毓 亘賱丕賰 賷禺亘乇賴 亘賱丕賰 兀賳賴 鬲丨乇賷 賵兀賳賴 賲賰賱賮 亘賲乇丕賯亘丞 卮禺氐 賲丕 胤賷賱丞 丕賱賵賯鬲貙 賵賮賷賲丕 亘毓丿 賷賰鬲卮賮 亘賱賵 兀賳 亘賱丕賰 賱丿賷賴 賰賱 鬲賯丕乇賷乇賴貙 賮賰兀賳 亘賱丕賰 氐丕乇 賲乇丕賯亘丕 賸 賱亘賱賵貙 賮賷賲丕 亘賱賵 賷乇丕賯亘賴貙 賵毓賳丿賲丕 賷鬲賵丕噩賴丕賳 賮賷 賳賴丕賷丞 丕賱賯氐丞 賷丐賰丿 亘賱丕賰 賱亘賱賵 兀賳賴 丕爻鬲禺丿賲賴 賵兀賳賴 賰丕賳 賷丨鬲丕噩 廿賱賷賴 賵賱賰賳賴 丕賱丌賳 賱賲 賷毓丿 亘丨丕噩丞 廿賱賷賴貙 賵兀禺賷乇丕 賸 賱丕 兀賳爻賶 兀賳 丕賱兀丨丿丕孬 賮賷 丕賱乇賵丕賷丞 鬲亘丿兀 賮賷 鬲丕乇賷禺 賲丨丿丿 賴賵 丕賱孬丕賱孬 賲賳 賮亘乇丕賷乇 爻賳丞 1947 賲貙 賵賴賵 鬲丕乇賷禺 賲賷賱丕丿 亘賵賱 兀賵爻鬲乇.
賱毓亘丞 丕賱兀爻賲丕亍 賵丕賱乇賲賵夭:
賳賱丕丨馗 賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲禺賱賷 兀賵爻鬲乇 毓賳 丕賱兀爻賲丕亍 賵丕毓鬲賲丕丿賴 毓賱賶 丕賱兀賱賵丕賳貙 賵賱丕 兀噩丿 鬲賮爻賷乇丕 賸 賱匕賱賰貙 賱兀賳賴 賷毓卮賯 賱毓亘丞 丕賱兀爻賲丕亍貙 賮賱匕丕 亘丿賶 賱賷 賵賰兀賳賴 賷乇賰夭 賴賳丕 毓賱賶 丕賱賮賰乇丞 賵賷鬲禺賱賶 毓賳 賲賵囟賵毓丞 丕賱賴賵賷丞.
* 丕賱睾乇賮丞 丕賱賲賵氐丿丞
賲賱禺氐 丕賱乇賵丕賷丞:
賷氐賮 賱賳丕 丕賱乇丕賵賷 賮賷 丕賱亘丿丕賷丞 毓賱丕賯鬲賴 亘賮丕賳卮賵 氐丿賷賯 胤賮賵賱鬲賴貙 賵賷乇賵賷 鬲賱賯賷賴 乇爻丕賱丞 賲賳 夭賵噩丞 賮丕賳卮賵 丕賱噩賲賷賱丞 氐賵賮賷 鬲胤賱亘 賮賷賴丕 賱賯丕卅賴貙 賵毓賳丿賲丕 賷賱鬲賯賷 亘賴丕 賷賰鬲卮賮 丕禺鬲賮丕亍 賮丕賳卮賵 賲賳匕 爻鬲丞 兀卮賴乇貙 賵賮卮賱 鬲丨乇賷 賷丿毓賶 賰賵賷賳 賮賷 丕賱毓孬賵乇 毓賱賷賴貙 賰賲丕 賷賰鬲卮賮 賵氐賷丞 賮丕賳卮賵 賱氐賵賮賷 亘兀賳 鬲毓胤賷 賰鬲丕亘丕鬲賴 賱氐丿賷賯賴 鈥� 乇丕賵賷賳丕 丕賱匕賷 賱丕 賳毓乇賮 丕爻賲賴 -貙 亘丨賷孬 賷賯乇乇 賲丕 賴賵 氐丕賱丨 賲賳賴丕 賱賱賳卮乇貙 賰賲丕 賳毓乇賮 兀賳 氐賵賮賷 賵賱丿鬲 賮賷 睾賷丕亘 賮丕賳卮賵 丕亘賳丕 賸 爻賲鬲賴 亘賳貙 賷禺亘乇賳丕 丕賱乇丕賵賷 賮賷 丕爻鬲毓丕丿丞 賱賱匕丕賰乇丞 丨賰丕賷丕鬲 賲賳 胤賮賵賱鬲賴 賲毓 賮丕賳卮賵貙 賰乇賲賴 丕賱匕賷 賷噩毓賱賴 賷鬲禺賱賶 毓賳 賴丿賷鬲賴 賱氐丿賷賯賴賲丕 丕賱賮賯賷乇 丿賳賷爻 賵丕賱丿賳貙 賵賴賵 丕亘賳 賱兀亘 爻賰賷乇 賵兀賲 賲噩賳賵賳丞 鬲賵氐丿 毓賱賶 賳賮爻賴丕 睾乇賮鬲賴丕貙 賰賲丕 賷禺亘乇賳丕 毓賳 賯氐丞 丕賱鬲丨乇賷 丕賱鬲賷 賰鬲亘賴丕 賮丕賳卮賵貙 鬲噩乇亘鬲賴賲丕 丕賱噩賳爻賷丞 丕賱兀賵賱賶 賲毓丕 賸貙 丕賳毓夭丕賱 賮丕賳卮賵 賮賷 丕賱孬丕賳賵賷丞貙 賵鬲賮賰賰 兀爻乇鬲賴 亘毓丿 廿氐丕亘丞 賵丕賱丿賴 亘丕賱爻乇胤丕賳 賵賵賮丕鬲賴 賮賷 丕賱賳賴丕賷丞貙 賷賳卮睾賱 丕賱乇丕賵賷 亘毓丿 賴匕丕 亘鬲乇鬲賷亘 兀賵乇丕賯 賮丕賳卮賵 鬲兀賴亘丕 賸 賱賳卮乇賴丕貙 賵鬲鬲賵孬賯 毓賱丕賯鬲賴 亘氐賵賮賷貙 賰賲丕 賷賳卮乇 兀賵賱 乇賵丕賷丞 賱賮丕賳卮賵貙 賵鬲氐亘丨 毓賱丕賯鬲賴 亘氐賵賮賷 兀賯賵賶貙 賵鬲氐賱賴 乇爻丕賱丞 賲賳 賮丕賳卮賵貙 賷胤丕賱亘賴 賮賷賴丕 亘丕賱夭賵丕噩 賲賳 氐賵賮賷 賵鬲亘賳賷 丕亘賳賴 亘賳貙 賵賷丨匕乇賴 賲賳 鬲鬲亘毓賴貙 賷鬲夭賵噩 丕賱乇丕賵賷 氐賵賮賷貙 賵賷亘丿兀 亘丕賱鬲賮賰賷乇 賮賷 賰鬲丕亘丞 爻賷乇丞 毓賳 賮丕賳卮賵貙 賵丕賱鬲賷 爻乇毓丕賳 賲丕 鬲鬲賰卮賮 兀賳賴丕 賲噩乇丿 賮賰乇丞 賷禺鬲賮賷 賵乇丕卅賴丕 毓夭賲 毓賱賶 鬲鬲亘毓 賮丕賳卮賵 賵丕賱賵氐賵賱 廿賱賷賴貙 賷亘丿兀 丕賱乇丕賵賷 亘賱賯丕亍 兀賲 賮丕賳卮賵 賱鬲爻丕毓丿賴 賮賷 丕賱賰鬲丕亘丞 毓賳 丕亘賳賴丕貙 賵賱賰賳賴賲丕 賷賲丕乇爻丕賳 丕賱噩賳爻 賮賷 丕賱賳賴丕賷丞貙 孬賲 賷爻鬲丨賵匕 丕賱亘丨孬 毓賳 賮丕賳卮賵 毓賱賶 丕賱乇丕賵賷 賵賷丐丿賷 賴匕丕 廿賱賶 鬲賵鬲乇 毓賱丕賯鬲賴 亘氐賵賮賷貙 賵馗賴賵乇 賳夭毓丞 賮賷 丿丕禺賱賴 廿賱賶 賯鬲賱 賮丕賳卮賵 賵丕賱賯囟丕亍 毓賱賷賴貙 賷賯賵賲 丕賱乇丕賵賷 亘賲乇丕噩毓丞 乇爻丕卅賱 賮丕賳卮賵 廿賱賶 兀禺鬲賴 廿賷賱賷賳 毓賱賴丕 鬲丿賱賴 毓賱賷賴貙 丨賷孬 賷賰鬲卮賮 丕賳毓夭丕賱 賮丕賳卮賵 賮賷 賲夭乇毓丞 賮賷 賮乇賳爻丕 賱賲丿丞 毓丕賲 賰丕賲賱貙 賷亘丨孬 丕賱乇丕賵賷 亘毓丿 賴匕丕 毓賳 丕賱鬲丨乇賷 賰賵賷賳貙 孬賲 賷爻丕賮乇 廿賱賶 亘丕乇賷爻 賱丕爻鬲賰賲丕賱 鬲丨乇賷丕鬲賴貙 賵賴賳丕賰 賷賱鬲賯賷 亘丌賳 氐丿賷賯丞 賮丕賳卮賵 丕賱鬲賷 鬲禺亘乇賴 兀賵賱 賲丕 賷賱鬲賯賷丕賳 亘兀賳賴丕 馗賳鬲賴 賮賷 丕賱亘丿丕賷丞 賮丕賳卮賵貙 賷毓丕賳賷 丕賱乇丕賵賷 賮賷 賴匕賴 丕賱賮鬲乇丞 賲賳 賳賵毓 賲賳 賮賯丿丕賳 丕賱夭賲賳貙 賵賷禺亘乇賳丕 亘胤乇賷賯丞 睾乇賷亘丞 賵賱丨馗丞 毓噩賷亘丞 兀賳 丕賱賳賴丕賷丞 賴賷 丕賱鬲賷 噩毓賱鬲賴 賷賰鬲亘 賴匕丕 丕賱賰鬲丕亘貙 賵兀賳 (賲丿賷賳丞 丕賱夭噩丕噩) 賵(丕賱兀卮亘丕丨) 賴賷 丕賱賯氐丞 賳賮爻賴丕貙 賷匕賴亘 丕賱乇丕賵賷 亘毓丿 賴匕丕 廿賱賶 亘丕乇 賵賴賳丕賰 賷賱鬲賯賷 亘卮丕亘 兀賲乇賷賰賷 賷禺丕胤亘賴 毓賱賶 兀賳賴 賮丕賳卮賵 賵賱賰賳 丕賱卮丕亘 賷禺亘乇賴 兀賳賴 亘賷鬲乇 爻鬲賷賱賲丕賳貙 賵亘毓丿 賲胤丕乇丿丞 賷毓鬲丿賷 爻鬲賷賱賲丕賳 毓賱賶 丕賱乇丕賵賷 賵賷囟乇亘賴 亘賯賵丞貙 賷毓賵丿 丕賱乇丕賵賷 廿賱賶 賳賷賵賷賵乇賰貙 賵賷賳賮氐賱 毓賳 氐賵賮賷 賱毓丕賲 賵賲賳 孬賲 賷毓賵丿丕賳 廿賱賶 亘毓囟賴賲丕 賵賷乇夭賯丕賳 亘胤賮賱 賷爻賲賷丕賳賴 亘賵賱貙 賵賮賷 爻賳丞 1982 賲 鬲兀鬲賷 丕賱乇丕賵賷 乇爻丕賱丞 賲賳 賮丕賳卮賵 賷丿毓賵賴 賮賷賴丕 廿賱賶 夭賷丕乇鬲賴 賮賷 亘賵爻胤賳貙 賮賷匕賴亘 廿賱賶 賴賳丕賰 賵賷丿禺賱 亘賳丕賷丞 賲鬲丿丕毓賷丞 丨賷孬 賷噩丿 賮丕賳卮賵 賲禺鬲賮賷丕 賸 賮賷 睾乇賮丞 賲丐氐丿丞貙 賵賯丿 賲乇 毓賱賷賴 毓丕賲賷賳 賴賳丕賰貙 賵賷禺亘乇賴 兀賳 賰賵賷賳 賰丕賳 賷胤丕乇丿賴 賵兀賳賴 賵噩丿賴 賲乇鬲賷賳貙 廿丨丿丕賴賲丕 賮賷 賳賷賵賷賵乇賰 賵丕賱兀禺乇賶 賮賷 丕賱噩賳賵亘貙 賵賷禺亘乇賴 兀賳賴 賰丕賳 賷鬲賳賯賱 鬲丨鬲 丕爻賲 賴賳乇賷 丿丕乇賰貙 孬賲 賷胤賱亘 賲賳賴 兀賳 賷兀禺匕 賰乇丕爻丞 丨賲乇丕亍貙 賮賷兀禺匕賴丕 丕賱乇丕賵賷 賵賷禺乇噩 賵賷賯賵賲 亘鬲賲夭賷賯賴丕 亘毓丿 賯乇丕亍鬲賴丕.
賮丕賳卮賵... 丕賱賰鬲丕亘 丕賱賲賮賯賵丿:
賮賷 爻賳丞 1828 賲 賳卮乇 丕賱乇賵丕卅賷 丕賱兀賲乇賷賰賷 賳丕孬丕賳賷賱 賴丕賵孬賵乇賳 兀賵賱 賲丨丕賵賱丞 乇賵丕卅賷丞 賱賴貙 賰丕賳 賯丿 賰鬲亘 賯亘賱賴丕 毓丿丿丕 賸 賲賳 丕賱賯氐氐 丕賱氐睾賷乇丞貙 賵賱賰賳 (賮丕賳卮賵) 賰丕賳鬲 乇賵丕賷鬲賴 丕賱兀賵賱賶貙 賵賷亘丿賵 兀賳賴 賰丕賳 賲鬲禺賵賮丕 賸 噩丿丕 賸 賲賳 丕賱鬲噩乇亘丞貙 賮賱匕丕 賯丕賲 亘賳卮乇賴丕 賲睾賮賱丞 丕爻賲 丕賱賲丐賱賮貙 丕賱乇賵丕賷丞 賮卮賱鬲 賳賯丿賷丕 賸 賵鬲噩丕乇賷丕 賸 賵賱賲 賷賱鬲賮鬲 賱賴丕 兀丨丿貙 賵賱賲 鬲亘毓 廿賱丕 賳爻禺丕 賸 賲丨丿賵丿丞貙 賮賱匕丕 賯丕賲 賴丕賵孬賵乇賳 亘廿胤毓丕賲 丕賱賳丕乇 亘賯賷丞 丕賱賳爻禺 睾賷乇 丕賱賲亘丕毓丞貙 賵氐丕乇鬲 丕賱乇賵丕賷丞 賮賷 丨賰賲 丕賱賲賮賯賵丿丞貙 賮賷 馗賱 丕禺鬲賮丕亍 丕賱賳爻禺 丕賱賯賱賷賱丞 丕賱鬲賷 亘賷毓鬲 賵丕賱鬲賷 丿賲乇 亘毓囟賴丕 賮賷 馗乇賵賮 賲禺鬲賱賮丞貙 丕丨鬲賮馗 賴丕賵孬賵乇賳 賱賳賮爻賴 亘爻乇 賴匕丕 丕賱賰鬲丕亘 丕賱賲賵亍賵丿貙 丨鬲賶 兀賳 夭賵噩鬲賴 氐賵賮賷丕 賱賲 鬲丿乇賷 亘賴匕賴 丕賱乇賵丕賷丞 丕賱鬲賷 賰鬲亘賴丕 夭賵噩賴丕 賯亘賱 夭賵丕噩賴賲丕 亘爻賳賵丕鬲 胤賵賷賱丞貙 鬲賵賮賷 賴丕賵孬賵乇賳 爻賳丞 1864 賲 亘毓丿賲丕 賳卮乇 毓丿丿丕 賸 賲賳 丕賱乇賵丕賷丕鬲 賵丕賱賯氐氐 丕賱賯氐賷乇丞貙 賵亘毓丿 賵賮丕鬲賴 亘兀毓賵丕賲 毓孬乇 毓賱賶 賳爻禺丞 賲賳 丕賱賰鬲丕亘 賵兀毓賷丿 胤亘毓賴 賲賳 噩丿賷丿.
賴匕丕 賴賵 丕賱賰鬲丕亘 丕賱匕賷 鬲丿賵乇 丨賵賱賴 賴匕賴 丕賱乇賵丕賷丞貙 兀賲丕 丕賱賮賰乇丞 賮賴賷 乇賮囟 丕賱賰丕鬲亘 賱兀毓賲丕賱賴 賵賲丨丕賵賱鬲賴 丕賱賯囟丕亍 毓賱賷賴丕貙 賮賰賲丕 乇兀賷賳丕 賰丕賳 賮丕賳卮賵 賰鬲丕亘丕 賸 賲乇賮賵囟丕 賸 乇賮囟賴 氐丕丨亘賴貙 賵丨丕賵賱 丕賱賯囟丕亍 毓賱賷賴貙 賵賱賰賳賴 毓丕卮 兀胤賵賱 賲賳 氐丕丨亘賴 賵毓丕丿 賱賱馗賴賵乇 亘毓丿 賲賵鬲賴貙 賮賷 毓丕賱賲 兀賵爻鬲乇 賷鬲丨賵賱 賮丕賳卮賵 丕賱賰鬲丕亘 廿賱賶 賰丕鬲亘 賷乇賮囟 兀毓賲丕賱賴貙 賵賷鬲禺賱賶 毓賳賴丕貙 亘賱 賷鬲禺賱賶 毓賳 夭賵噩鬲賴 賵丕亘賳賴貙 賵賷丿禺賱 丨丕賱丞 賲賳 丕賱賴乇賵亘 丕賱丿丕卅賲貙 賵丕賱毓夭賱丞 丕賱睾乇賷亘丞.
賱丕 氐丿賮丞:
賷亘丿賵 兀賳 兀賵爻鬲乇 鬲禺賱賶 毓賳 卮睾賮賴 亘丕賱氐丿賮丞 賮賷 賴匕賴 丕賱乇賵丕賷丞貙 賮賴賷 亘賱丕 賲氐丕丿賮丕鬲 賲賳 兀賷 賳賵毓.
丕賱兀丨丿丕孬 丕賱睾乇亘賷丞 賵丕賱乇賲賵夭:
丕賱睾乇丕亘丞 賮賷 丕賱乇賵丕賷丞 鬲亘丿賵 賱賳丕 亘毓丿 賯乇丕亍丞 丕賱乇賵丕賷鬲賷賳 丕賱爻丕亘賯鬲賷賳 兀賯賱貙 賵賰兀賳賳丕 氐乇賳丕 賳鬲賯亘賱 賰賱 賲丕 賷賲賰賳 兀賳 賷丨丿孬貙 賮鬲禺賱賷 賮丕賳卮賵 毓賳 夭賵噩鬲賴 賵丕亘賳賴 賵兀毓賲丕賱賴 賵丕賳毓夭丕賱賴貙 乇兀賷賳丕賴丕 賮賷 乇賵丕賷丞 丕賱兀卮亘丕丨貙 賮賷 毓夭賱丞 丕賱賰丕鬲亘 賵卮亘丨賷鬲賴貙 賴賵爻 丕賱乇丕賵賷 亘鬲鬲亘毓 氐丿賷賯賴 賮丕賳卮賵貙 乇兀賷賳丕賴 賮賷 賴賵爻 賰賵賷賳 賵賰匕丕 賴賵爻 丕賱爻賷丿 亘賱賵貙 丨丕賱丞 賮賯丿丕賳 丕賱匕丕賰乇丞 兀賵 賱賳賯賱 丕賱賵噩賵丿 丕賱鬲賷 賷丿禺賱 廿賱賷賴丕 丕賱乇丕賵賷 乇兀賷賳丕 卮亘賷賴丕 賸 賱賴丕 賮賷 丨丕賱丞 賰賵賷賳貙 亘賱 丨鬲賶 馗賴賵乇 爻鬲賷賱賲丕賳 賵賰賵賷賳 賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲亘丿賵 賱賳丕 賵賰兀賳賴丕 賲賳 胤乇丕卅賮 兀賵爻鬲乇貙 賵賱賷爻 賱賴丕 匕賱賰 丕賱鬲兀孬賷乇 丕賱賰亘賷乇貙 賵賰匕丕 丕爻賲 賴賳乇賷 丿丕乇賰貙 賵亘丕賱胤亘毓 馗賴乇鬲 乇賲賵夭 兀賵爻鬲乇 丕賱毓鬲賷丿丞貙 丕賱賰乇丕爻丞 丕賱丨賲乇丕亍貙 賵丕賱賯賲乇 鈥� 氐 480 -.
賯乇兀鬲 賴匕賴 丕賱孬賱丕孬賷丞 賯亘賱 爻賳賵丕鬲貙 賵禺乇亘卮鬲 賵賯鬲賴丕 亘毓囟 丕賱兀賮賰丕乇 丨賵賱賴丕貙 賵賱賰賳 賱兀賳賳賷 賱賲 兀賰賳 丨賷賳賴丕 賲賴鬲賲 亘賳卮乇 賲乇丕噩毓丕鬲賷 賱賱賰鬲亘貙 賮亘賯賷鬲 賴匕賴 丕賱兀賮賰丕乇 賮賷 丨丕賱丞 睾賷乇 賲賰鬲賲賱丞 賮賷 賲賱賮 賳氐賷 賲賴賲賱貙 賮賱匕丕 兀毓鬲匕乇 賲賯丿賲丕賸 毓賳 丕賱丨丕賱丞 丕賱睾乇賷亘丞 丕賱鬲賷 賯丿 鬲亘丿賵 亘賴丕 賴匕賴 丕賱賲乇丕噩毓丞貙 丕毓鬲亘乇賵賴丕 賲乇丕噩毓丞 賲毓鬲賯丞 賳賵毓丕賸 賲丕.
氐丿乇 丕賱噩夭亍 丕賱兀賵賱 賲賳 孬賱丕孬賷丞 賳賷賵賷賵乇賰 (賲丿賷賳丞 丕賱夭噩丕噩) 爻賳丞 1985 賲貙 孬賲 氐丿乇 丕賱噩夭亍丕賳 丕賱鬲丕賱賷丕賳 (丕賱兀卮亘丕丨) 賵(丕賱睾乇賮丞 丕賱賲賵氐丿丞) 賮賷 丕賱爻賳丞 丕賱鬲丕賱賷丞貙 賵氐丕乇鬲 丕賱乇賵丕賷丕鬲 丕賱孬賱丕孬 賲賳匕 匕賱賰 丕賱丨賷賳 鬲氐丿乇 賲毓丕 賸貙 鬲賯丿賲 丕賱孬賱丕孬賷丞 毓丕丿丞 毓賱賶 兀賳賴丕 乇賵丕賷丞 鬲丨乇賷貙 賵賷賲賰賳賳丕 賮賴賲 賴匕丕 亘爻賴賵賱丞 丨丕賱賲丕 賳賯乇兀賴丕.
丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞 賯丕賲 亘賴丕 賰丕賲賱 賷賵爻賮 丨爻賷賳貙 氐丿乇 賰丕賲賱 鬲乇噩賲鬲賴 亘賲賯丿賲丞 乇賰夭 賮賷賴丕 毓賱賶 賲賰丕賳丞 兀賵爻鬲乇 賮賷 丕賱兀丿亘 丕賱兀賲乇賷賰賷貙 賵兀亘毓丕丿 毓丕賱賲賴 丕賱乇賵丕卅賷貙 賵噩賲丕賱賷丕鬲 丕賱賲賰丕賳 賮賷 孬賱丕孬賷丞 賳賷賵賷賵乇賰.
賯亘賱 兀賳 賳亘丿兀 賮賷 鬲賳丕賵賱 丕賱乇賵丕賷丕鬲貙賰賱 乇賵丕賷丞 毓賱賶 丨丿丞貙 賲賳 丕賱賲賴賲 兀賳 賳丨丿丿 丕賱賲賵囟賵毓丕鬲 (丕賱孬賷賲丕鬲) 丕賱鬲賷 鬲賳鬲馗賲 丕賱孬賱丕孬賷丞貙 爻賳丨丿丿賴丕 亘卮賰賱 毓丕賲貙 孬賲 爻賳乇賶 賲丿賶 丕賳胤亘丕賯 賰賱 賲賵囟賵毓丞 毓賱賶 賰賱 乇賵丕賷丞.
丕賱賲賵囟賵毓丞 丕賱兀賵賱賶: 賮鬲卮 毓賳 丕賱賰鬲丕亘 !!
賴賳丕賰 賰鬲丕亘 賲丕貙 賰鬲丕亘 丨賯賷賯賷 賮賷 賰賱 乇賵丕賷丞 賲賳 乇賵丕賷丕鬲 丕賱孬賱丕孬賷丞貙 賴匕丕 丕賱賰鬲丕亘 賲賮鬲丕丨 賲賳 賲賮丕鬲賷丨 丕賱乇賵丕賷丞貙 兀賷 兀賳賴 賷毓亘乇 毓賳 賮賰乇鬲賴丕.
丕賱賲賵囟賵毓丞 丕賱孬丕賳賷丞: 丕賱氐丿賮丞 !!
兀賵賱 賲丕 賳賱丕丨馗賴 賮賷 毓丕賱賲 兀賵爻鬲乇 賴賵 賮賰乇丞 丕賱氐丿賮丞 賱丿賷賴貙 賮賮賷 丕賱氐賮丨丞 丕賱兀賵賱賶 賲賳 丕賱孬賱丕孬賷丞 賷賯賵賱 丕賱乇丕賵賷: "賵毓賯亘 匕賱賰 亘賵賯鬲 胤賵賷賱貙 毓賳丿賲丕 睾丿丕 亘賲賯丿賵乇賴 丕賱鬲賮賰賷乇 亘丕賱兀賲賵乇 丕賱鬲賷 賵賯毓鬲 賱賴貙 賰丕賳 賯丿 鬲賵氐賱 廿賱賶 兀賳賴 賲丕 賲賳 卮賷亍 丨賯賷賯賷 廿賱丕 丕賱氐丿賮丞"貙 賵爻賳賱丕丨馗 賳賵毓賷賳 賲賳 丕賱氐丿賮丞 賱丿賷賴貙 丕賱氐丿賮丞 丕賱鬲賷 鬲賳胤賱賯 賰賰乇丞 丕賱孬賱噩 賮鬲噩乇賮 賰賱 賲丕 賷兀鬲賷 亘毓丿賴丕貙 賵丕賱氐丿賮丞 丕賱鬲賷 賱丕 賷丨丿孬 賲賳 賵乇丕卅賴丕 卮賷亍貙 氐丿賮丞 鬲賯毓 賮賳鬲毓噩亘 賲賳 賵賯賵毓賴丕貙 賵賱賰賳賳丕 賳賲囟賷 亘毓丿賴丕 賰賲丕 賰賳丕.
丕賱賲賵囟賵毓丞 丕賱孬丕賱孬丞: 兀丨丿丕孬 睾乇賷亘丞 亘賱丕 鬲賮爻賷乇 !!!
賮賮賷 賰賱 乇賵丕賷丞 賳噩丿 兀丨丿丕孬 睾乇賷亘丞貙 賱丕 鬲賮爻賷乇 賲賳胤賯賷 賱賴丕貙 乇亘賲丕 賷賰賵賳 賱賴丕 鬲賮爻賷乇丕鬲 乇賲夭賷丞貙 賵賱賰賳賴丕 賮賷 兀丨賷丕賳 兀禺乇賶 鬲亘丿賵 賰鬲丨丿賷 賱賱賯丕乇卅 !!!
丕賱賲賵囟賵毓丞 丕賱乇丕亘毓丞: 賱毓亘丞 丕賱兀爻賲丕亍.
賱丿賶 兀賵爻鬲乇 賴賵爻 賰亘賷乇 亘丕賱兀爻賲丕亍 賵鬲卮丕亘賴丕鬲賴丕貙 賵賯丿 鬲毓賵丿賳丕 賲賳 丕賱乇賵丕卅賷賷賳 丕賱丨匕乇 賮賷 鬲毓丕賲賱賴賲 賲毓 丕賱兀爻賲丕亍貙 賵賲丨丕賵賱鬲賴賲 丕賱丿丕卅賲丞 丕亘鬲賰丕乇 兀爻賲丕亍 鬲亘毓丿賴賲 毓賳 丕賱賲卮丕賰賱貙 賵兀賷囟丕 賸 毓丿賲 鬲賰乇丕乇 丕賱兀爻賲丕亍 丿丕禺賱 丕賱乇賵丕賷丞 丨鬲賶 賱丕 賷乇鬲亘賰 丕賱賯丕乇卅貙 賵賱賰賳 賱兀賵爻鬲乇 卮兀賳 丌禺乇.
鬲賳亘賷賴: 賲丕 爻賷兀鬲賷 賷賰卮賮 丨亘賰丞 賰賱 乇賵丕賷丞 賲賳 丕賱乇賵丕賷丕鬲 丕賱孬賱丕孬丞.
* 賲丿賷賳丞 丕賱夭噩丕噩
賲賱禺氐 丕賱乇賵丕賷丞:
鬲亘丿兀 丕賱賯氐丞 賵丕賱鬲賷 鬲乇賵賶 毓賱賶 賱爻丕賳 乇丕賵 賺 賱丕 賳鬲毓乇賮 毓賱賷賴 賮賷 丕賱亘丿丕賷丞貙 亘丕鬲氐丕賱 禺丕胤卅 賷乇丿 廿賱賶 丿丕賳賷賷賱 賰賵賷賳貙 賰丕鬲亘 丕賱乇賵丕賷丕鬲 丕賱亘賵賱賷爻賷丞貙 賵丕賱匕賷 賱丕 賷賰鬲亘賴丕 亘丕爻賲賴 丕賱氐乇賷丨 賵廿賳賲丕 亘丕爻賲 (賵賱賷丕賲 賵賱爻賵賳)貙 賵亘胤賱賴 賮賷賴丕 鬲丨乇賷 丕爻賲賴 賲丕賰爻 賵乇賰貙 丕賱賲鬲氐賱 亘賰賵賷賳 賷胤賱亘 賲丨丕丿孬丞 (亘賵賱 兀賵爻鬲乇) !!! 賵賴賵 乇噩賱 賲鬲禺氐氐 亘丕賱鬲丨乇賷丕鬲貙 賮賷丿毓賷 賰賵賷賳 兀賳賴 賴賵 兀賵爻鬲乇 賵賷匕賴亘 賱賱賯丕亍 丕賱賲鬲氐賱 丕賱睾丕賲囟貙 賮賷噩丿 兀賲丕賲賴 卮丕亘 兀卮賯乇 賷乇鬲丿賷 賲賱丕亘爻 亘賷囟丕亍 亘丕賱賰丕賲賱 賵賷鬲丨丿孬 亘胤乇賷賯丞 睾乇賷亘丞貙 賴匕丕 丕賱卮丕亘 賷丿毓賶 亘賷鬲乇 爻鬲賷賱賲丕賳 賵賷賮賴賲 賲賳 賰賱丕賲賴 兀賳賴 賰丕賳 賲丨亘賵爻丕 賸 賮賷 丕賱馗賱丕賲 賱賲丿丞 13 毓丕賲丕 賸 毓賱賶 賷丿 賵丕賱丿賴貙 賵鬲賰賲賱 賮賷賲丕 亘毓丿 夭賵噩丞 爻鬲賷賱賲丕賳 丕賱賯氐丞 賮鬲禺亘乇 賰賵賷賳 毓賳 賵丕賱丿 亘賷鬲乇貙 丕賱丿賰鬲賵乇 丕賱噩丕賲毓賷 丕賱賲鬲賮賵賯 賵丕賱匕賷 丨亘爻賴 賱爻賳賵丕鬲 胤賵賷賱丞 丨鬲賶 鬲爻亘亘 丨乇賷賯 賮賷 賰卮賮 賲丕 賮毓賱賴 亘丕亘賳賴 賮兀賵丿毓 毓賳丿賴丕 丕賱爻噩賳貙 賵賴丕 賴賵 賯丿 禺乇噩 丕賱丌賳 賵賷賴丿丿 丕亘賳賴 亘丕賱賲賵鬲貙 賮賱匕丕 賷丨鬲丕噩 丕賱夭賵噩丕賳 廿賱賶 鬲丨乇賷 禺丕氐 賷賯賵賲 亘賲鬲丕亘毓丞 丕賱兀亘 丨丕賱 賵氐賵賱賴 廿賱賶 丕賱賲丿賷賳丞 賵賷乇丕賯亘 爻賱賵賰賴貙 賷爻鬲毓乇囟 賰賵賷賳 丨丕賱 毓賵丿鬲賴 廿賱賶 丕賱賲賳夭賱 亘毓囟 賯氐氐 丕賱兀胤賮丕賱 丕賱匕賷賳 鬲毓乇囟賵丕 賱鬲噩乇亘丞 賲賲丕孬賱丞貙 賵賷賱賮鬲 丕賳鬲亘丕賴賳丕 廿賱賶 兀賳 丕爻賲 丕亘賳賴 丕賱賲鬲賵賮賶 賴賵 亘賷鬲乇 兀賷囟丕 賸貙 亘毓丿 毓卮丕亍 賵孬乇孬乇丞 賷卮鬲乇賷 賰賵賷賳 丿賮鬲乇丕 賸 兀丨賲乇貙 孬賲 賷匕賴亘 亘毓丿 賴匕丕 廿賱賶 賲賰鬲亘丞 噩丕賲毓丞 賰賵賱賵賲亘賷丕 丨賷孬 賷丨氐賱 毓賱賶 賰鬲丕亘 兀賱賮賴 爻鬲賷賱賲丕賳 丕賱兀亘貙 丕賱賰鬲丕亘 賷鬲賳丕賵賱 賮賰乇丞 丕賱賮乇丿賵爻 賵亘乇噩 亘丕亘賱貙 賵賷乇賶 賮賷賴 兀賳 丕賱廿賳爻丕賳 爻賯胤 賲賳 丕賱賮乇丿賵爻 賵爻賵賮 賷爻鬲毓賷丿賴 亘亘賳丕亍 亘丕亘賱 丕賱噩丿賷丿丞貙 賵賴賷 兀賲乇賷賰丕 丨爻亘 乇丐賷丞 賴賳乇賷 丿丕乇賰貙 賵賴賵 賯爻 廿賳噩賱賷夭賷 噩丕亍 廿賱賶 兀賲乇賷賰丕 賵兀賱賮 賰鬲丕亘丕 賸 丕爻賲賴 (亘丕亘賱 丕賱噩丿賷丿丞) 賵賴賵 賰鬲丕亘 丕丨鬲乇賯鬲 賳爻禺賴 賵賵噩丿 爻鬲賷賱賲丕賳 賳爻禺丞 賵丨賷丿丞 賳丕噩賷丞 賲賳賴 賮賷 毓賱賷丞 兀賴賱賴 賮賷 賰丕賲亘乇丿噩貙 丕賱賰鬲丕亘 賷丨賲賱 乇丐賷丞 鬲賳亘丐賷丞 亘兀賳 兀賲乇賷賰丕 爻鬲亘丿兀 賮賷 丕賱鬲氐丕毓丿 丕亘鬲丿丕亍 賸 賲賳 毓丕賲 1960 賲貙 賱鬲賰賵賳 亘丕亘賱 丕賱噩丿賷丿丞 丕賱鬲賷 爻鬲賵丨丿 丕賱賳丕爻 毓賱賶 賱睾丞 賵丕丨丿丞貙 賱賷毓賵丿賵丕 廿賱賶 丕賱賮乇丿賵爻貙 賷鬲賳亘賴 賰賵賷賳 兀賳 賴匕丕 賴賵 賳賮爻 丕賱毓丕賲 丕賱匕賷 丨亘爻 賮賷賴 爻鬲賷賱賲丕賳 丕亘賳賴貙 賷匕賴亘 賰賵賷賳 亘毓丿 賴匕丕 廿賱賶 賲丨胤丞 丕賱賯胤丕乇 賱賲乇丕賯亘丞 賵氐賵賱 爻鬲賷賱賲丕賳貙 賵賴賳丕賰 鬲丨丿孬 賲氐丕丿賮丞 賵丨丕丿孬丞 睾乇賷亘丞貙 丕賱賲氐丕丿賮丞 賴賷 兀賳 賷噩賱爻 廿賱賶 噩賵丕乇 賮鬲丕丞 鬲賯乇兀 賰鬲丕亘賴貙 賵賱賰賳賴 賱丕 賷爻鬲胤賷毓 廿禺亘丕乇賴丕 亘匕賱賰 賱兀賳賴 賲鬲賳賰乇 亘丕爻賲 亘賵賱 兀賵爻鬲乇貙 兀賲丕 丕賱丨丕丿孬 丕賱睾乇賷亘 賮賴賵 毓賳丿賲丕 賷氐賱 爻鬲賷賱賲丕賳 丕賱毓噩賵夭貙 丨賷孬 賷乇賶 賰賵賷賳 爻鬲賷賱賲丕賳 丌禺乇 卮丕亘 賵匕賵 丨丕賱丞 噩賷丿丞貙 賵賷丨鬲丕乇 賲賳 賷鬲亘毓 賲賳賴賲丕 賵賱賰賳賴 賮賷 丕賱賳賴丕賷丞 賷鬲亘毓 丕賱毓噩賵夭 廿賱賶 丕賱賮賳丿賯 丕賱匕賷 賷爻賰賳 賮賷賴貙 賵毓賱賶 丕賲鬲丿丕丿 兀爻亘賵毓賷賳 賷鬲鬲亘毓 賰賵賷賳 爻鬲賷賱賲丕賳 賮賷 噩賵賱丕鬲賴 丿丕禺賱 賳賷賵賷賵乇賰貙 賵賷賰鬲亘 賰賱 賲丕 賷賮毓賱賴 賮賷 賰乇丕爻鬲賴 丕賱丨賲乇丕亍貙 賵賳賰鬲卮賮 兀賳 爻鬲賷賱賲丕賳 賷賲賱賰 賴賵 亘丿賵乇賴 賰乇丕爻丞 丨賲乇丕亍貙 禺賱丕賱 賴匕賴 丕賱兀賷丕賲 賷賰鬲卮賮 賰賵賷賳 兀賳 噩賵賱丕鬲 爻鬲賷賱賲丕賳 鬲卮賰賱 賮賷 賰賱 賷賵賲 丨乇賮丕 賸貙 賱鬲賰賵賳 賮賷 丕賱賳賴丕賷丞 賰賱賲丞 (亘乇噩 亘丕亘賱) !!! 賷賯乇乇 賰賵賷賳 丕賱丕賯鬲乇丕亘 賲賳 爻鬲賷賱賲丕賳 賮賷噩賱爻 廿賱賶 噩丕賳亘賴 賮賷 丨丿賷賯丞貙 賵賷賯丿賲 賳賮爻賴 毓賱賶 兀賳賴 丿丕賳賷賷賱 賰賵賷賳 鈥� 賱丕 賳賳爻賶 兀賳賴 丕賱丌賳 賲鬲賳賰乇 亘丕爻賲 亘賵賱 兀賵爻鬲乇貙 賮賰兀賳 兀賵爻鬲乇 氐丕乇 丕爻賲賴 丕賱丨賯賷賯賷貙 賵賰賵賷賳 卮禺氐賷鬲賴 丕賱鬲賷 賷禺鬲賮賷 賵乇丕卅賴丕 -貙 賵賷鬲丨丕賵乇丕賳 賮賷禺亘乇賴 爻鬲賷賱賲丕賳 亘賲卮乇賵毓賴 賱丕禺鬲乇丕毓 賱睾丞 鬲毓亘乇 毓賳 丕賱廿賳爻丕賳 鬲賲丕賲丕 賸貙 賮賷 丕賱賱賯丕亍 丕賱孬丕賳賷 賷丿毓賷 賰賵賷賳 兀賳賴 賴賳乇賷 丿丕乇賰貙 賮賷禺亘乇賴 爻鬲賷賱賲丕賳 亘兀賳 賴匕丕 睾賷乇 賲賲賰賳貙 賱兀賳 卮禺氐賷丞 賴賳乇賷 丿丕乇賰 賵賴賲賷丞 丕禺鬲乇毓賴丕 賴賵 賱賷囟毓 毓賱賶 賱爻丕賳賴 亘毓囟 兀賮賰丕乇賴貙 賮賷 丕賱賱賯丕亍 丕賱孬丕賱孬 賷丿毓賷 賰賵賷賳 兀賳賴 亘賷鬲乇 丕亘賳 爻鬲賷賱賲丕賳貙 亘毓丿 賴匕賴 丕賱賱賯丕亍丕鬲 丕賱孬賱丕孬 賷禺鬲賮賷 丕賱毓噩賵夭 賲賳 丕賱賮賳丿賯貙 賷匕賴亘 賰賵賷賳 賱賱賯丕亍 亘賵賱 兀賵爻鬲乇貙 賵賱賰賳賴 賷賰鬲卮賮 兀賳 亘賵賱 兀賵爻鬲乇 丕賱匕賷 賷賱鬲賯賷 亘賴 賱賷爻 廿賱丕 賰丕鬲亘貙 賵賱丕 毓賱丕賯丞 賱賴 亘亘賵賱 兀賵爻鬲乇 丕賱鬲丨乇賷貙 賮賷鬲丨丿孬丕賳 毓賳 乇賵丕賷丞 丿賵賳 賰賷卮賵鬲貙 孬賲 鬲兀鬲賷 夭賵噩丞 亘賵賱 兀賵爻鬲乇 爻賷乇賷 賵丕亘賳賴 丿丕賳賷賷賱貙 賮賷睾丕丿乇 賰賵賷賳 亘毓丿賲丕 賷賱賮鬲 丕賳鬲亘丕賴賳丕 廿賱賶 鬲卮丕亘賴 丕爻賲賴 賲毓 丕爻賲 丕亘賳 兀賵爻鬲乇貙 賷丨丕賵賱 賰賵賷賳 丕賱丌賳 丕賱鬲禺賱賷 毓賳 丕賱賲賴賲丞 毓賳 胤乇賷賯 丕賱丕鬲氐丕賱 亘夭賵噩丞 爻鬲賷賱賲丕賳貙 賵賱賰賳賴 賷噩丿 丕賱禺胤 賲卮睾賵賱丕 賸 胤賷賱丞 丕賱賵賯鬲貙 賷鬲噩賵賱 賰賵賷賳 毓賳丿賴丕 賮賷 賳賷賵賷賵乇賰 亘噩賵賱丕鬲 賷氐賮賴丕 丕賱賰丕鬲亘 亘丿賯丞 鈥� 賵賱丕 兀丿乇賷 賴賱 賴賷 鬲賰賵賳 賰賱賲丞 兀賵 丨乇賮丕 賸 亘丿賵乇賴丕 !!! -貙 孬賲 賷爻鬲賯乇 賮賷 丕賱賳賴丕賷丞 兀賲丕賲 丕賱亘賳丕賷丞 丕賱鬲賷 賷爻賰賳賴丕 亘賷鬲乇 賵夭賵噩鬲賴貙 賵賷賰乇爻 賳賮爻賴 賱賱賲乇丕賯亘丞 亘卮賰賱 噩賳賵賳賷貙 賵鬲賲乇 卮賴賵乇 毓賱賷賴 賵賴賵 亘賴匕賴 丕賱丨丕賱 !!! 賵毓賳丿賲丕 賷賳賮丿 賲丕賱賴 賷丨丕賵賱 丕賱丕鬲氐丕賱 亘亘賵賱 兀賵爻鬲乇 賱賱丨氐賵賱 賲賳賴 毓賱賶 卮賷賰 兀鬲毓丕亘賴 丕賱匕賷 兀毓胤丕賴 賱兀賵爻鬲乇 賱兀賳 夭賵噩丞 爻鬲賷賱賲丕賳 爻噩賱鬲賴 亘丕爻賲賴貙 賷禺亘乇賴 兀賵爻鬲乇 毓賳丿賴丕 亘兀賲乇賷賳 丕賱兀賵賱 兀賳 丕賱卮賷賰 鬲賲 乇丿賴 賲賳 丕賱亘賳賰貙 賵丕賱兀賲乇 丕賱丌禺乇 兀賳 爻鬲賷賱賲丕賳 賯丿 丕賳鬲丨乇貙 賷匕賴亘 賰賵賷賳 毓賳丿賴丕 廿賱賶 卮賯鬲賴 賱賷噩丿 兀賳賴丕 賯丿 兀噩乇鬲 賱睾賷乇賴貙 賵兀賳 兀睾乇丕囟賴 賰賱賴丕 賯丿 丕禺鬲賮鬲貙 賮賷匕賴亘 廿賱賶 賲賳夭賱 爻鬲賷賱賲丕賳 賱賷賰鬲卮賮 兀賳賴 禺丕賱 賺 鬲賲丕賲丕 賸貙 賮賷匕賴亘 毓賳丿賴丕 廿賱賶 睾乇賮丞 賯氐賷丞 賵賷鬲毓乇賶 賱賷賳丕賲 賲毓 賰乇丕爻鬲賴 丕賱丨賲乇丕亍貙 毓賳丿賲丕 賷賳賴囟 賷噩丿 胤毓丕賲丕 賸 賮賷兀賰賱 賵賷亘丿兀 賮賷 丕賱賰鬲丕亘丞貙 賵賷亘丿兀 丕賱馗賱丕賲 賮賷 丕賱鬲夭丕賷丿 賰賱 賷賵賲 丨鬲賶 鬲賳鬲賴賷 丕賱賰乇丕爻丞貙 賷禺亘乇賳丕 丕賱乇丕賵賷 毓賳丿賴丕 毓賳 毓賵丿鬲賴 廿賱賶 賳賷賵賷賵乇賰 賵匕賴丕亘賴 賲毓 氐丿賷賯賴 亘賵賱 兀賵爻鬲乇 廿賱賶 賲賳夭賱 爻鬲賷賱賲丕賳 丨賷孬 賷賰鬲卮賮丕賳 丕賱賰乇丕爻丞貙 賵賱丕 兀孬乇 賱賰賵賷賳.
兀爻卅賱丞 賵廿噩丕亘丕鬲:
賱丕 兀馗賳 兀丨丿丕 賸 賯乇兀 賴匕賴 丕賱乇賵丕賷丞 廿賱丕 賵禺乇噩 賲賳賴丕 亘丨夭賲丞 賱丕 亘兀爻 亘賴丕 賲賳 丕賱兀爻卅賱丞貙 賵亘賯賱賷賱 賲賳 丕賱廿噩丕亘丕鬲貙 賵兀馗賳 兀賳 賴匕賴 爻賲丞 賲賳 爻賲丕鬲 丕賱乇賵丕賷丞 丕賱噩賷丿丞貙 兀賷 兀賳賴丕 鬲孬賷乇 賮賷賳丕 丕賱兀爻卅賱丞貙 賵賱賰賳 亘卮乇胤 兀賳 鬲賰賵賳 兀爻卅賱丞 賲賳氐乇賮丞 廿賱賶 賲毓賳賶 賵賲睾夭賶 丕賱乇賵丕賷丞貙 賱丕 兀爻卅賱丞 鬲丨丕賵賱 賮賰 乇賲賵夭 睾丕賲囟丞貙 賱丕 賲毓賳賶 賷乇噩賶 賵乇丕卅賴丕.
賱丕 賷賲賰賳賳賷 鬲氐賳賷賮 賰鬲丕亘丕鬲 兀賵爻鬲乇 廿賱賶 兀賷 丕賱賳賵毓賷賳 鬲賳鬲賲賷貙 賵廿賳 賰丕賳鬲 丕賱毓亘丕乇丞 丕賱鬲賷 乇氐丿賴丕 丕賱賲鬲乇噩賲 賮賷 賲賯丿賲鬲賴 賳賯賱丕 賸 毓賳 丕賱賳丕賯丿 丕賱兀丿亘賷 賱氐丨賷賮丞 丕賱丕賳丿亘賳丿賳鬲貙 賵丕賱鬲賷 賷賯賵賱 賮賷賴丕 "鬲賰賲賳 賯賵丞 兀賵爻鬲乇 賮賷 兀賳賴 賷賱胤賲 丕賱賯氐氐 賲毓丕 賸貙 賰丕賱丨氐賶 丕賱氐賱丿 賮鬲賯毓賯毓 賵鬲賯丿丨 卮乇乇丕 賸貙 賵鬲鬲乇丿丿 兀氐丿丕亍 丕賱丕乇鬲胤丕賲貙 賵賱賰賳賴丕 賱丕 鬲禺乇噩 卮賷卅丕 賷爻賴賱 丕賳鬲夭丕毓賴 賵賷賲賰賳 兀賳 賳爻賲賷賴 丕賱賲毓賳賶"貙 賴匕賴 丕賱毓亘丕乇丞 氐丿賲鬲賳賷貙 賵噩毓賱鬲賳賷 兀鬲賵噩爻 賲賳 丕賱賵賱賵噩 廿賱賶 毓丕賱賲 乇賵丕卅賷 睾丕賲囟貙 鬲鬲賵丕賱丿 賮賷賴 丕賱睾乇丕卅亘 賵丕賱兀丨噩賷丕鬲.
賮賱賳賮鬲卮 毓賳 丕賱賰鬲丕亘:
匕賰乇鬲 兀賳賴 賮賷 賰賱 乇賵丕賷丞 賷賵噩丿 賰鬲丕亘貙 賴匕丕 丕賱賰鬲丕亘 賲乇鬲亘胤 亘賮賰乇丞 丕賱乇賵丕賷丞貙 亘丨賷孬 賷賲賰賳賳丕 賮賴賲 爻亘亘 賵乇賵丿賴 賮賷賴丕貙 賮賷 (賲丿賷賳丞 丕賱夭噩丕噩) 賰丕賳 丕賱賰鬲丕亘 (丿賵賳 賰賷禺賵鬲) 賱爻賷乇賮丕賳鬲爻貙 賵賰丕賳鬲 丕賱賮賰乇丞 賲胤丕乇丿丞 丕賱廿賳爻丕賳 賱兀丨賱丕賲賴貙 賮毓賳丿賲丕 匕賴亘 賰賵賷賳 賱賱賯丕亍 亘賵賱 兀賵爻鬲乇 丿丕乇 亘賷賳賴賲丕 丨賵丕乇 丨賵賱 賰鬲丕亘 丿賵賳 賰賷禺賵鬲貙 賲睾夭賶 匕賱賰賲 丕賱丨賵丕乇 賴賵 兀賳 丿賵賳 賰賷禺賵鬲 賴賵 賰丕鬲亘 丨賰丕賷鬲賴貙 賴賵 丕賱匕賷 乇鬲亘 賱兀賳 賷乇賵賷賴丕 丕賱丌禺乇賵賳 亘丕賱胤乇賷賯丞 丕賱鬲賷 賷乇賷丿賴丕貙 賴匕賴 丕賱賮賰乇丞 丕爻鬲禺丿賲賴丕 亘賵賱 兀賵爻鬲乇 賱賷賰鬲亘 乇賵丕賷鬲賴貙 賵爻賳賯賵賲 丕賱丌賳 亘鬲賵夭賷毓 丕賱兀丿賵丕乇 賱賳乇賶 賰賷賮 鬲鬲胤丕亘賯 丕賱賮賰乇鬲丕賳.
爻賷乇賮丕賳鬲爻 賮賷 乇賵丕賷鬲賴 賷丨丕賵賱 廿賯賳丕毓 丕賱賯丕乇卅 亘兀賳 丕賱賲丐賱賮 賴賵 丕賱爻賷丿 丨賲賷丿 亘賳 賳噩賱賷貙 賵兀賳賴 賵噩丿 丕賱賲禺胤賵胤 賮賷 爻賵賯 胤賱賷胤賱丞 賮丕爻鬲毓丕賳 亘賲賳 賷鬲乇噩賲賴 賲賳 丕賱毓乇亘賷丞 廿賱賶 丕賱兀爻亘丕賳賷丞貙 賲賳 賴賵 丨賲賷丿 亘賳 賳噩賱賷責 賴賵 鬲噩賲賷毓 賱兀乇亘毓丞 兀卮禺丕氐貙 兀丨丿賴賲 爻丕賳卮賵 鬲丕亘毓 丿賵賳 賰賷禺賵鬲貙 賵丕賱匕賷 兀賲賱賶 丨賰丕賷丕鬲 爻賷丿賴 毓賱賶 丌禺乇賷賳貙 賮賰鬲亘賵賴丕 亘丕賱兀爻亘丕賳賷丞 孬賲 鬲乇噩賲鬲 廿賱賶 丕賱毓乇亘賷丞貙 丨賷孬 賷毓孬乇 爻賷乇賮丕賳鬲爻 毓賱賶 丕賱賲禺胤賵胤貙 賮賷賯賵賲 亘鬲乇噩賲鬲賴 賲賳 噩丿賷丿 廿賱賶 丕賱兀爻亘丕賳賷丞貙 賵賴匕丕 賷賯賵丿賳丕 廿賱賶 兀賳 爻賷乇賮丕賳鬲爻 賴賵 丿賵賳 賰賷禺賵鬲.
亘賵賱 兀賵爻鬲乇 丕賱賲丐賱賮 賷丨丕賵賱 廿賯賳丕毓賳丕 亘賵噩賵丿 乇丕賵 賺 賱賱乇賵丕賷丞貙 賵賴賵 乇丕賵 賺 賱丕 賳毓乇賮 兀賷 卮賷亍 毓賳賴貙 賴匕丕 丕賱乇丕賵賷 丕爻鬲毓丕賳 亘賲禺胤賵胤 賱賷丨賰賷 賱賳丕 丕賱丨賰丕賷丞貙 兀賷 丕賱賰乇丕爻丞 丕賱丨賲乇丕亍 賱丿丕賳賷賷賱 賰賵賷賳 鈥� 賱賳賱丕丨馗 丕賱丨乇賮賷賳 丕賱兀賵賱賷賳 賲賳 丕爻賲賴 賵丕賱鬲賷 鬲鬲卮丕亘賴 賲毓 丕賱丨乇賮賷賳 丕賱兀賵賱賷賳 賲賳 丕爻賲 丿賵賳 賰賷卮賵鬲 -貙 丿丕賳賷賷賱 賰賵賷賳 賴賵 丿賵賳 賰賷禺賵鬲 丕賱乇賵丕賷丞貙 賱賴 匕丕鬲 丕賱卮睾賮 亘賯氐氐 丕賱鬲丨乇賷 丕賱鬲賷 賰丕賳 賷賰鬲亘賴丕 鈥� 賰賲丕 卮睾賮鬲 丿賵賳 賰賷禺賵鬲 賯氐氐 丕賱亘胤賵賱丕鬲 賵丕賱賮乇爻丕賳 -貙 賵賱賴 匕丕鬲 丕賱噩賳賵賳 丕賱匕賷 賷丿賮毓賴 廿賱賶 丕賱賴賵爻 賵丕賱丕賳睾賲丕爻 賮賷 丕賱鬲丨乇賷貙 賵亘賲丕 兀賳 爻賷乇賮丕賳鬲爻 賴賵 丿賵賳 賰賷禺賵鬲貙 賮賱匕丕 兀賵爻鬲乇 賴賵 丿丕賳賷賷賱 賰賵賷賳貙 賵賯丿 氐乇丨 兀賵爻鬲乇 賮賷 賱賯丕卅賴 賲毓 噩賲丕賳丞 賲乇丕丿貙 兀賳 賮賰乇丞 丕賱乇賵丕賷丞 噩丕亍鬲賴 毓賳丿賲丕 鬲賱賯賶 丕鬲氐丕賱丕 賸 丨賯賷賯賷丕 賸 賷爻兀賱 賮賷賴 兀丨丿賴賲 毓賳 賵賰丕賱丞 鬲丨乇賷貙 賮賱匕丕 賮賷 丕賱賵丕賯毓 丕爻鬲賯亘賱 丕賱賲賰丕賱賲丞 亘賵賱 兀賵爻鬲乇貙 賵賱賰賳 賮賷 丕賱乇賵丕賷丞 賰丕賳 丿丕賳賷賷賱 賰賵賷賳貙 賵丕賱匕賷 丕賳賯賱亘鬲 丨賷丕鬲賴 乇兀爻 毓賱賶 毓賯亘 亘爻亘亘 賴匕丕 丕賱丕鬲氐丕賱貙 賵丕賳丿賲噩 賮賷 卮睾賮賴 丕賱匕賷 賰丕賳 賷賲丕乇爻賴 賰鬲丕亘賷丕 賸貙 兀賷 丕賱鬲丨乇賷貙 賱賷賯賵賲 亘丕賱鬲丨乇賷 亘賳賮爻賴貙 賵賳賱丕丨馗 賰賷賮 賷賳噩乇賮 賰賵賷賳 賮賷 賴匕丕貙 丨鬲賶 賷禺鬲賮賷.
賲氐丕丿賮丞 兀賲 賯丿乇責
匕賰乇鬲 兀賳 賴賳丕賰 賳賵毓賷賳 賲賳 丕賱賲氐丕丿賮丕鬲 賱丿賶 兀賵爻鬲乇貙 丕賱氐丿賮丞 丕賱鬲賷 鬲賳胤賱賯 賰賰乇丞 丕賱孬賱噩 賮鬲噩乇賮 賰賱 賲丕 賷兀鬲賷 亘毓丿賴丕貙 賴賰匕丕 賰丕賳 丕鬲氐丕賱 爻鬲賷賱賲丕賳 亘賰賵賷賳貙 賵賴賳丕賰 丕賱氐丿賮丞 丕賱鬲賷 賱丕 賷丨丿孬 賲賳 賵乇丕卅賴丕 卮賷亍貙 賵賴匕賴 鬲賲孬賱賴丕 賮賷 丕賱乇賵丕賷丞 氐丿賮丞 丕賱賮鬲丕丞 丕賱鬲賷 賷噩賱爻 廿賱賶 噩丕賳亘賴丕 賰賵賷賳 賵賷賰鬲卮賮 兀賳賴丕 鬲賯乇兀 賰鬲丕亘丕 賸 賱賴貙 賵賰匕丕 丕賲鬲賱丕賰 賰賵賷賳 賵爻鬲賷賱賲丕賳 賱賰乇丕爻鬲賷賳 丨賲乇丕賵賷賳.
兀丨丿丕孬 睾乇賷亘丞 賵乇賲賵夭:
鬲兀鬲賷 亘毓丿 賴匕丕 賲爻兀賱丞 丕賱兀丨丿丕孬 丕賱睾乇賷亘丞 賮賷 丕賱乇賵丕賷丞貙 賲孬賱 乇丐賷丞 賰賵賷賳 賱賳爻禺鬲賷賳 賲賳 爻鬲賷賱賲丕賳貙 兀丨丿賴賲丕 毓噩賵夭 賵丕賱丌禺乇 卮丕亘貙 賲丕 鬲賮爻賷乇 賴匕丕責 兀賳丕 賱賲 兀氐賱 賱卮賷亍 丨賵賱 賴匕賴 丕賱丨丕丿孬丞貙 賵賰匕丕 鬲丨乇賰丕鬲 爻鬲賷賱賲丕賳 丕賱毓噩賵夭 丕賱鬲賷 鬲乇爻賲 丨乇賵賮丕 賸貙 賵賲孬賱賴 丕賱丕禺鬲賮丕亍 丕賱睾丕賲囟 賱亘賷鬲乇 爻鬲賷賱賲丕賳 賵夭賵噩鬲賴貙兀賲丕 丕賱丨丕賱丞 丕賱鬲賷 賷氐亘丨 毓賱賷賴丕 賰賵賷賳 賵賴賵爻賴 亘丕賱賲乇丕賯亘丞 賱兀卮賴乇貙 孬賲 賳賴丕賷鬲賴 丕賱睾乇賷亘丞貙 兀賷 鬲毓乇賷賴 賵亘賯丕卅賴 賮賷 鬲賱賰 丕賱睾乇賮丞貙 賵丕賱胤毓丕賲 丕賱匕賷 賰丕賳 賷賵囟毓 亘賷賳 賷丿賷賴貙 孬賲 丕賱馗賱丕賲 丕賱匕賷 氐丕乇 賷鬲賰丕孬賮 丨鬲賶 丕禺鬲賮賶 賰賵賷賳貙 賮賴匕賴 賮爻乇鬲賴丕 兀賵賱丕 賸 亘丿禺賵賱賴 賮賷 丨丕賱丞 賲賳 丕賱丕賳丿賲丕噩 賲毓 丕賱卮禺氐賷丞 丕賱鬲賷 賷賯賵賲 亘賴丕貙 兀賷 丕賱鬲丨乇賷貙 亘丨賷孬 賷鬲禺賱賶 毓賳 丨賷丕鬲賴 丕賱胤亘賷毓賷丞貙 賵賷氐亘丨 賰亘胤賱賴 賲丕賰爻 賵乇賰貙 兀賲丕 賳賴丕賷鬲賴 賮賴賳丕賰 鬲卮丕亘賴 賰亘賷乇 亘賷賳賴丕 賵亘賷賳 丨丕賱丞 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱丕亘賳貙 賮亘賷鬲乇 爻鬲賷賱賲丕賳 賰丕賳 賲丨亘賵爻丕 賸 賮賷 丕賱馗賱丕賲 賷囟毓 賱賴 賵丕賱丿賴 丕賱胤毓丕賲貙 孬賲 禺乇噩 賲賳 匕丕賰 丕賱馗賱丕賲 廿賱賶 丕賱賳賵乇貙 賰賵賷賳 賰丕賳 賷毓賷卮 賮賷 丕賱賳賵乇 孬賲 丿賱賮 廿賱賶 鬲賱賰 丕賱丨丕賱丞 丕賱鬲賷 鬲卮亘賴 丕賱毓賵丿丞 廿賱賶 丕賱乇丨賲貙 丨賷孬 賷鬲毓乇賶貙 孬賲 賷亘丿兀 賮賷 丕賱丿禺賵賱 丕賱賲鬲賯胤毓 賮賷 丨丕賱丕鬲 廿馗賱丕賲 賲鬲夭丕賷丿丞貙 丨鬲賶 賷禺鬲賮賷貙 賵賴賳丕賰 賲賳 賷囟毓 賱賴 丕賱胤毓丕賲貙 賵賱賰賳賳丕 賱丕 賳丿乇賷 賲賳 賷賰賵賳.
鬲丨鬲賵賷 丕賱乇賵丕賷丞 毓賱賶 乇賲賵夭 兀賷囟丕 賸貙 賲孬賱 丕賱賰乇丕爻丞 丕賱丨賲乇丕亍鈥� 亘丕賱賲賳丕爻亘丞 賯丕賲 兀賵爻鬲乇 賮賷賲丕 亘毓丿 亘廿氐丿丕乇 賰鬲丕亘 賲匕賰乇丕鬲 賮賷 丕賱鬲爻毓賷賳丕鬲 賵丕爻賲丕賴 (丕賱賰乇丕爻丞 丕賱丨賲乇丕亍) -貙 兀賷囟丕 賸 乇賲夭賷丞 丕賱亘賷囟 鈥� 丕賱氐賮丨丕鬲 148貙 173 -貙 丕賱賯賲乇鈥撠� 150-貙 丕賱賮乇丿賵爻 賵亘丕亘賱 丕賱噩丿賷丿丞貙 賵賴賷 兀卮賷丕亍 鬲鬲賰乇乇 賮賷 乇賵丕賷丕鬲 兀賵爻鬲乇 丕賱鬲丕賱賷丞 賰賲丕 爻賳乇賶.
賱毓亘丞 丕賱兀爻賲丕亍:
兀賲丕 賲丕 賳爻賲賷賴 鬲噩賵夭丕 賸 賲爻兀賱丞 丕賱賴賵賷丞 賮賷 乇賵丕賷丕鬲 兀賵爻鬲乇貙 賮賴匕賴 賲爻兀賱丞 兀賵爻毓 賵兀毓賯丿貙 賮丕賱乇丕賵賷 賲孬賱丕 賸 賲胤賱毓 毓賱賶 賰賱 卮賷亍 鬲賯乇賷亘丕 賸貙 賵賱賰賳賳丕 賱丕 賳丿乇賷 賲賳 賷賰賵賳 !!! 賮賴賵 賱賷爻 乇丕賵 賺 毓賱賷賲貙 賱兀賳賴 賲賵噩賵丿 賮賷 丕賱乇賵丕賷丞貙 賵禺丕氐丞 賮賷 氐賮丨丕鬲賴丕 丕賱兀禺賷乇丞貙 賴匕丕 丕賱乇丕賵賷 氐丿賷賯 賱亘賵賱 兀賵爻鬲乇 丕賱賰丕鬲亘貙賱丿賶 兀賵爻鬲乇 丕亘賳 丕爻賲賴 丿丕賳賷賷賱貙 亘胤賱 丕賱乇賵丕賷丞 丕爻賲賴 丿丕賳賷賷賱 賰賵賷賳 賵賴賵 賰丕鬲亘 乇賵丕賷丕鬲 鬲丨乇賷貙 賷賰鬲亘賴丕 亘丕爻賲 賲爻鬲毓丕乇 賴賵 (賵賱賷丕賲 賵賱爻賵賳) 賵賴賵 丕賱丕爻賲 丕賱丨賯賷賯賷 賱賱丕毓亘 亘賷爻亘賵賱 賰賲丕 爻賳毓乇賮鈥� 賵丕爻賲 賯氐丞 賯氐賷乇丞 賱廿丿睾丕乇 丌賱丕賳 亘賵 兀賷囟丕 賸-貙 賱賰賵賷賳 丕亘賳 賲賷鬲 丕爻賲賴 亘賷鬲乇貙 賵賴匕丕 賴賵 丕賱丕爻賲 丕賱兀賵賱 賱毓賲賷賱賴 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱丕亘賳貙 賵丕賱匕賷 賷賱鬲賯賷 亘賴 賰賵賷賳 賲丿毓賷丕 賸 兀賳賴 丕賱賲丨賯賯 亘賵賱 兀賵爻鬲乇貙 賰賲丕 爻賷丿毓賷 賮賷 丨丕賱丞 兀禺乇賶 兀賳賴 亘賷鬲乇 爻鬲賷賱賲丕賳 匕丕鬲賴貙 賵爻賷丿毓賷 兀賳賴 賴賳乇賷 丿丕乇賰貙 賵賴賳乇賷 丿丕乇賰 卮禺氐賷丞 賵賴賲賷丞 氐賳毓賴丕 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱兀亘 賱賷囟毓 毓賱賶 賱爻丕賳賴丕 亘毓囟 兀賮賰丕乇賴貙 賵賴賰匕丕 賳乇賶 賰賱 賴匕賴 丕賱賵氐賱丕鬲 丕賱氐睾賷乇丞 亘賷賳 卮禺氐賷丕鬲 丕賱乇賵丕賷丞.
賰賲丕 兀賳賳丕 賲毓 卮賷亍 賲賳 丕賱鬲兀賲賱 賮賷 丕賱卮禺氐賷丕鬲 爻賳賰鬲卮賮 兀賳賳丕 賱丕 賳毓乇賮 兀賷 卮賷亍 毓賳 丕賱乇丕賵賷貙 賮賱匕丕 賵噩賵丿賴 亘丕賱賳爻亘丞 賱賳丕 賳丕賯氐貙 兀賵 賱賳賯賱 賵噩賵丿 睾賷乇 賲鬲丨賯賯貙 丿丕賳賷賷賱 賰賵賷賳 賵乇睾賲 兀賳賴 亘胤賱 丕賱乇賵丕賷丞 廿賱丕 兀賳賴 賷禺鬲賮賷 賲禺賱賮丕 賸 賰乇丕爻丞 丨賲乇丕亍貙 賵賴匕丕 賷噩毓賱賳丕 賳卮賰 賮賷 賵噩賵丿賴貙 亘賵賱 兀賵爻鬲乇 亘丿賵乇賴 賲賵噩賵丿 賰賰丕鬲亘 賵賱賴 賲賳夭賱 賵夭賵噩丞 賵胤賮賱貙 賵賱賰賳 賴賳丕賰 亘賵賱 兀賵爻鬲乇 丌禺乇貙 賲丨賯賯 賱丕 賳毓乇賮 毓賳賴 卮賷卅丕 賸貙 爻賷賳鬲丨賱 賰賵賷賳 卮禺氐賷鬲賴貙 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱丕亘賳 賷禺鬲賮賷 賴賵 丕賱丌禺乇貙 賵賰匕丕 夭賵噩鬲賴 賮賷乇噩賷賳賷丕貙 賵賷禺鬲賮賷 賰賱 賲丕 賷乇鬲亘胤 亘賴賲丕貙 賴匕丕 睾賷乇 鬲乇丿賷丿賴 胤賷賱丞 丨賵丕乇賴 賲毓 賰賵賷賳 兀賳 亘賷鬲乇 爻鬲賷賱賲丕賳 賱賷爻 丕爻賲賴 丕賱丨賯賷賯賷貙 亘賷鬲乇 爻鬲賷賱賲丕賳 丕賱兀亘 賷禺鬲賮賷 賵賳毓乇賮 賲賳 兀賵爻鬲乇 兀賳賴 丕賳鬲丨乇貙 賴賳乇賷 丿丕乇賰 賳賰鬲卮賮 兀賳賴 卮禺氐賷丞 禺賷丕賱賷丞貙 賷亘丿賵 丕賱兀賲乇 賵賰兀賳 賰賱 卮禺氐賷丞 賱賴丕 賵噩賵丿貙 賵賱賴丕 賲丕 賷賳賯囟 賴匕丕 丕賱賵噩賵丿 賵賷賱睾賷賴.
* 丕賱兀卮亘丕丨
賲賱禺氐 丕賱乇賵丕賷丞:
鬲丿賵乇 兀丨丿丕孬 賴匕賴 丕賱乇賵丕賷丞 賮賷 賳賷賵賷賵乇賰貙 賮賷 爻賳丞 1947 賲貙 丨賷孬 賷賰賱賮 乇噩賱 賷丿毓賶 賵丕賷鬲貙 鬲丨乇賷丕 賸 賷丿毓賶 亘賱賵 亘鬲鬲亘毓 賵賲乇丕賯亘丞 乇噩賱 賷丿毓賶 亘賱丕賰貙 賷爻鬲賯乇 亘賱賵 賮賷 丕賱卮賯丞 丕賱賲賯丕亘賱丞 賱亘賱丕賰 亘丨賷孬 鬲爻賴賱 毓賱賷賴 賲乇丕賯亘鬲賴貙 丨賷孬 賷賱丕丨馗 兀賳賴 賷賯囟賷 賵賯鬲賴 賮賷 丕賱賰鬲丕亘丞 賵丕賱賯乇丕亍丞 賮賷 賰鬲丕亘 (賵丕賱丿賳) 賱賴賳乇賷 丿丕賷賮丿 孬賵乇賵貙 賮賷賲丕 賷賯囟賷 亘賱賵 賵賯鬲賴 賮賷 鬲匕賰乇 賮鬲乇丞 毓賲賱賴 賲毓 賲毓賱賲賴 賮賷 賮賳 丕賱鬲丨乇賷 丕賱爻賷丿 亘乇丕賵賳貙 賵丕賱賯囟丕賷丕 丕賱鬲賷 賯丕賲丕 亘丨賱賴丕 賲孬賱 賯囟賷丞 丕賱爻賷丿 噩乇丕賷 丕賱匕賷 賮賯丿 匕丕賰乇鬲賴 賵氐丕乇 丕賱爻賷丿 噩乇賷賳貙 賷賰鬲亘 亘賱賵 亘毓丿 賴匕丕 鬲賯乇賷乇賴 丕賱兀賵賱 賵賷乇爻賱賴 廿賱賶 丕賱爻賷丿 賵丕賷鬲貙 賵賷賵丕氐賱 鬲鬲亘毓賴 賱亘賱丕賰 賮賷 噩賵賱丕鬲賴 賵丕賱鬲賷 鬲賯賵丿賴賲丕 廿賱賶 賲賰鬲亘丞 賷噩丿 亘賱賵 賮賷賴丕 亘丕賱氐丿賮丞 賰鬲丕亘 賵丕賱丿賳貙 賵賷賰鬲卮賮 兀賳 賳丕卮乇 丕賱賰鬲丕亘 賷丿毓賶 賵丕賱鬲乇 亘賱丕賰貙 賵賱賰賳賴 亘丕賱鬲兀賰賷丿 賱賷爻 丕賱爻賷丿 亘賱丕賰 丕賱匕賷 賷鬲鬲亘毓賴貙 賷卮鬲乇賷 亘賱賵 丕賱賰鬲丕亘貙 賵賷賰賲賱 鬲鬲亘毓賴 丨賷孬 賷丿禺賱 亘賱丕賰 廿賱賶 賲胤毓賲 賵賷賱鬲賯賷 亘爻賷丿丞 鬲亘賰賷 禺賱丕賱 丕賱賱賯丕亍貙 賵賷賮鬲乇賯 丕賱丕孬賳丕賳貙 賮賷 賴匕丕 丕賱賵賯鬲 亘丿兀 亘賱賵 賷卮毓乇 亘賳賵毓 賲賳 丕賱鬲賵丨丿 賲毓 亘賱丕賰 亘丨賷孬 氐丕乇 賷賴賲賱 賲乇丕賯亘鬲賴貙 賷匕賴亘 亘賱賵 賱賲亘丕乇賷丕鬲 丕賱亘賷爻亘賵賱 賵丕賱爻賷賳賲丕貙 賵賷乇賶 賮賷 廿丨丿賶 噩賵賱丕鬲賴 丨亘賷亘鬲賴 賲鬲毓賱賯丞 亘匕乇丕毓 乇噩賱貙 賵毓賳丿賲丕 鬲乇丕賴 兀賲丕賲賴丕 鬲囟乇亘賴貙 賷鬲賱丕毓亘 亘賱賵 亘丕賱鬲賯乇賷乇 丕賱匕賷 賷賰鬲亘賴 賱賱爻賷丿 賵丕賷鬲 賵賷乇丕賯亘 賲賰鬲亘 丕賱亘乇賷丿 賱賷乇賶 賲賳 爻賷爻鬲賱賲 丕賱亘乇賷丿貙 丨賷孬 賷爻鬲賱賲賴 乇噩賱 賲賯賳毓 賷胤丕乇丿賴 亘賱賵 賵賱賰賳賴 賷賮乇貙 賵毓賳丿賲丕 賷兀鬲賷 丕賱卮賷賰 賲賳 丕賱爻賷丿 亘乇丕賵賳 亘毓丿 兀賷丕賲 賷丨賲賱 毓亘丕乇丞 鬲兀賳賷亘賷丞貙 賷鬲賳賰乇 亘賱賵 賮賷 氐賵乇丞 賲鬲爻賵賱 毓噩賵夭 賵賷鬲丨丕賵乇 賲賳 亘賱丕賰 丨賵賱 賵丕賱鬲 賵賷鬲賲丕賳貙 賵賴賳乇賷 丿丕賷賮丿 孬賵乇賵貙 賵丌賱賷賰 賴丕賵孬賵乇賳 丕賱匕賷 兀睾賱賯 毓賱賶 賳賮爻賴 賱賭 12 毓丕賲丕 賸 賷賰鬲亘 賮賷賴丕 丕賱賯氐氐 丕賱賯氐賷乇丞貙 賲賳賴丕 賯氐丞 丕賱爻賷丿 賵賷賰賮賷賱丿 丕賱匕賷 賷丿亘乇 賲賯賱亘 賱夭賵噩鬲賴 亘兀賳 賷禺鬲賮賷貙 賵賱賰賳賴 賱丕 賷乇噩毓 賱賱賲賳夭賱 賵鬲賲乇 毓卮乇賷賳 毓丕賲 賯亘賱 兀賳 賷胤乇賯 亘丕亘 賲賳夭賱賴貙 賵賷禺亘乇 亘賱丕賰 亘賱賵 兀賳 丕賱賰鬲丕亘 兀卮亘丕丨 賱兀賳 丕賱賰鬲丕亘丞 鬲爻鬲賵賱賷 毓賱賷賴賲貙 賵賷乇爻賱 亘賱賵 鬲賯乇賷乇賴 丕賱噩丿賷丿 賵賱賰賳賴 賱丕 賷匕賰乇 兀賷 卮賷亍 毓賳 丨賵丕乇賴 賲毓 亘賱丕賰貙 賮賷賰鬲亘 賱賴 丕賱爻賷丿 賵丕賷鬲: 賱賲丕匕丕 鬲賰匕亘責 賷鬲亘毓 亘賱賵 亘毓丿 賴匕丕 亘賱丕賰 廿賱賶 賮賳丿賯 賵賷噩賱爻 賲毓賴 賲丿毓賷丕 賸 兀賳賴 亘丕卅毓 賵孬丕卅賯 丕賱鬲兀賲賷賳貙 賮賷禺亘乇賴 亘賱丕賰 兀賳賴 鬲丨乇賷貙 賵兀賳 賲賴賲鬲賴 賲乇丕賯亘丞 卮禺氐 賲丕貙 賷鬲賳賰乇 亘賱賵 賮賷 卮賰賱 亘丕卅毓 賮乇丕卮賷 賵賷丿禺賱 廿賱賶 卮賯丞 亘賱丕賰貙 孬賲 賷丿禺賱賴丕 賲乇丞 兀禺乇賶 賵賱賰賳 賮賷 睾賷丕亘 亘賱丕賰貙 賵賷爻鬲賵賱賷 毓賱賶 兀賵乇丕賯賴貙 賱賷賰鬲卮賮 兀賳賴丕 鬲賯丕乇賷乇賴 賴賵貙 賷匕賴亘 亘賱賵 廿賱賶 卮賯丞 亘賱丕賰 賮賷賵丕噩賴賴 亘賲爻丿爻貙 賵亘毓丿 丨賵丕乇 賯氐賷乇 賷賴丕噩賲 亘賱賵 亘賱丕賰 賵賷囟乇亘賴 丨鬲賶 丕賱賲賵鬲貙 賵賷兀禺匕 丕賱賲禺胤賵胤 丕賱匕賷 賷毓賲賱 毓賱賷賴 亘賱丕賰 賱賷賯乇卅賴 毓賳丿賴丕 賷賮賴賲 賵賷睾丕丿乇 丕賱睾乇賮丞 !!!
賰鬲丕亘 賵丕賱丿賳 賵丕賱丨丕賱丞 丕賱卮亘丨賷丞 !!!
丕賱賰鬲丕亘 丕賱匕賷 鬲丿賵乇 丨賵賱賴 丕賱乇賵丕賷丞 賴賵 (賵丕賱丿賳) 賱賴賳乇賷 丿丕賷賮丿 孬賵乇賵貙 丨賷孬 賷賯乇兀賴 丕賱爻賷丿 亘賱丕賰貙 賵賷卮鬲乇賷賴 亘賱賵 賮賷賲丕 亘毓丿貙 賵賷鬲丨丕賵乇丕賳 丨賵賱賴貙 賵丕賱賮賰乇丞 丕賱鬲賷 鬲乇亘胤 亘賷賳 丕賱賰鬲丕亘 賵丕賱乇賵丕賷丞 丕賱鬲賷 亘賷賳 兀賷丿賷賳丕 賴賷 毓夭賱丞 丕賱賰丕鬲亘貙 丨賷孬 賷禺亘乇 丕賱爻賷丿 亘賱丕賰 丕賱爻賷丿 亘賱賵 丕賱賲鬲賳賰乇 賮賷 夭賷 賲鬲爻賵賱 兀孬賳丕亍 丨賵丕乇賴賲丕 丕賱兀賵賱 兀賳 丕賱賰鬲丕亘 兀卮亘丕丨貙 賱兀賳 丕賱賰鬲丕亘丞 鬲爻鬲賵賱賷 毓賱賷賴賲貙 賵鬲噩毓賱賴賲 賷毓賷卮賵賳 賮賷 賳賵毓 賲賳 丕賱毓夭賱丞貙 丨丕賱丞 卮亘丨賷丞貙 賷賰賵賳 賮賷賴丕 丕賱賰丕鬲亘 賲賵噩賵丿丕 賸 賵睾賷乇 賲賵噩賵丿貙 賳卮丕賴丿 賴匕丕 賷丨丿孬 賱亘賱丕賰 丕賱匕賷 賷賯囟賷 賵賯鬲賴 賮賷 丕賱賰鬲丕亘丞 賵丕賱賯乇丕亍丞貙 賲丕匕丕 賷賯乇兀責 賷賯乇兀 賰鬲丕亘 (賵丕賱丿賳) 賵賴賵 賰鬲丕亘 丕賳毓夭丕賱 賲丐賱賮賴 賴賳乇賷 丿丕賷賮丿 孬賵乇賵貙 賰賲丕 賷卮賷乇 亘賱丕賰 廿賱賶 丕賳毓夭丕賱 廿賱賷賰 賴丕賵孬賵乇賳 氐丿賷賯 孬賵乇賵貙 賵爻賳賱丕丨馗 兀賳 亘賱賵 賷賳毓夭賱 亘丿賵乇賴 賱丕 賱賷賰鬲亘 賵廿賳賲丕 賱賷乇丕賯亘 亘賱丕賰貙 賮賱匕丕 鬲亘丿賵 賱賳丕 賳賴丕賷丞 丕賱賯氐丞 毓賳丿賲丕 賷睾丕丿乇 亘賱賵 丕賱睾乇賮丞貙 賰賳賵毓 賲賳 賰爻乇 丕賱丨丕賱丞 丕賱卮亘丨賷丞貙 賵賱賰賳 丕賱噩賲賱丞 丕賱兀禺賷乇丞 賵丕賱禺亘賷孬丞 "賵賲賳 賴匕賴 丕賱賱丨馗丞 賮氐丕毓丿丕 賸 賱丕 賳毓乇賮 卮賷卅丕 賸"貙 鬲賰卮賮 賱賳丕 兀賳 丕賱賰丕鬲亘 賷賮賯丿 丨丕賱鬲賴 丕賱卮亘丨賷丞 毓賳丿賲丕 賷鬲禺賱賶 毓賳 賴匕賴 丕賱毓夭賱丞貙 賵賱賰賳賴 賱丕 賷賰鬲爻亘 賵噩賵丿丕 賸貙 賵廿賳賲丕 賴賵 賷賮賯丿 賵噩賵丿賴 鬲賲丕賲丕 賸貙 丕賱丨丕賱丞 丕賱卮亘丨賷丞 毓賱賶 丕賱兀賯賱 賰丕賳鬲 亘賷賳 亘賷賳貙 賵賱賰賳 丕賱禺乇賵噩 賲賳賴丕 賴賵 禺乇賵噩 丕禺鬲賮丕亍貙 賮丕賱爻賷丿 亘賱賵 亘賰賱 亘爻丕胤丞 禺乇噩 賱賷氐賷乇 賱丕 卮賷亍貙 賰丕賳 賴賳丕貙 賰賳丕 賳賯乇兀 毓賳賴貙 賵賱賰賳賴 丕賱丌賳 丕賳鬲賴賶 賮賯丿 賵噩賵丿賴 丕賱卮亘丨賷 賵丕賳鬲賴賶.
丕賱氐丿賮丞:
賵賴賷 賲賵噩賵丿丞 賮賷 賴匕賴 丕賱乇賵丕賷丞 賮賷 丕賰鬲卮丕賮 亘賱賵 賱賰鬲丕亘 (賵丕賱丿賳) 兀賲丕賲賴 賮賷 賲賰鬲亘丞 賷丿禺賱賴丕 賵賴賵 賷鬲鬲亘毓 亘賱丕賰貙 賵賰匕丕 賰賵賳 賳丕卮乇 賰鬲丕亘 賵丕賱丿賳 丕爻賲賴 丕賱兀禺賷乇 亘賱丕賰貙 貙 賵賰賲丕 賳賱丕丨馗 賰賱丕 丕賱氐丿賮鬲賷賳 賲賳 丕賱賳賵毓 丕賱孬丕賳賷.
兀丨丿丕孬 亘賱丕 鬲賮爻賷乇:
賱丕 賷賵噩丿 兀丨丿丕孬 睾乇賷亘丞 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘丕賱賲毓賳賶 丕賱匕賷 丕爻鬲禺丿賲賳丕賴貙 氐丨賷丨 兀賳賳丕 賱丕 賳毓乇賮 賲賳 賴賵 丕賱爻賷丿 賵丕賷鬲責 賵賱賲 賻 賰丕賳鬲 丕賱鬲賯丕乇賷乇 丕賱鬲賷 賷乇爻賱賴丕 亘賱賵 廿賱賷賴 鬲賳鬲賴賷 廿賱賶 丕賱爻賷丿 亘賱丕賰責 賴賱 賰丕賳 賵丕賷鬲 賲賰賱賮 賲賳 賯亘賱 亘賱丕賰 賲孬賱丕 賸責 賴賱 毓亘丕乇丞 亘賱丕賰 "賱丕 賷丕 亘賱賵貙 賰賳鬲 亘丨丕噩丞 廿賱賷賰 賲賳匕 丕賱亘丿丕賷丞貙 賵賱賵賱丕 賵噩賵丿賰 賱賲丕 兀賳噩夭鬲 卮賷卅丕 賸" 鬲丿賱 毓賱賶 賴匕丕責 乇亘賲丕.
丕賱賯氐丞 賮賷 鬲賮爻賷乇賷 丕賱賳賴丕卅賷 毓亘丕乇丞 毓賳 丨賱賯丞 賲鬲氐賱丞貙 賵丕賷鬲 賷賰賱賮 亘賱賵 亘賲乇丕賯亘丞 亘賱丕賰貙 賷乇丕賯亘賴 亘賱賵 賵賷乇爻賱 鬲賯丕乇賷乇賴 賱賵丕賷鬲貙 兀孬賳丕亍 丨賵丕乇 賱亘賱賵 賲毓 亘賱丕賰 賷禺亘乇賴 亘賱丕賰 兀賳賴 鬲丨乇賷 賵兀賳賴 賲賰賱賮 亘賲乇丕賯亘丞 卮禺氐 賲丕 胤賷賱丞 丕賱賵賯鬲貙 賵賮賷賲丕 亘毓丿 賷賰鬲卮賮 亘賱賵 兀賳 亘賱丕賰 賱丿賷賴 賰賱 鬲賯丕乇賷乇賴貙 賮賰兀賳 亘賱丕賰 氐丕乇 賲乇丕賯亘丕 賸 賱亘賱賵貙 賮賷賲丕 亘賱賵 賷乇丕賯亘賴貙 賵毓賳丿賲丕 賷鬲賵丕噩賴丕賳 賮賷 賳賴丕賷丞 丕賱賯氐丞 賷丐賰丿 亘賱丕賰 賱亘賱賵 兀賳賴 丕爻鬲禺丿賲賴 賵兀賳賴 賰丕賳 賷丨鬲丕噩 廿賱賷賴 賵賱賰賳賴 丕賱丌賳 賱賲 賷毓丿 亘丨丕噩丞 廿賱賷賴貙 賵兀禺賷乇丕 賸 賱丕 兀賳爻賶 兀賳 丕賱兀丨丿丕孬 賮賷 丕賱乇賵丕賷丞 鬲亘丿兀 賮賷 鬲丕乇賷禺 賲丨丿丿 賴賵 丕賱孬丕賱孬 賲賳 賮亘乇丕賷乇 爻賳丞 1947 賲貙 賵賴賵 鬲丕乇賷禺 賲賷賱丕丿 亘賵賱 兀賵爻鬲乇.
賱毓亘丞 丕賱兀爻賲丕亍 賵丕賱乇賲賵夭:
賳賱丕丨馗 賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲禺賱賷 兀賵爻鬲乇 毓賳 丕賱兀爻賲丕亍 賵丕毓鬲賲丕丿賴 毓賱賶 丕賱兀賱賵丕賳貙 賵賱丕 兀噩丿 鬲賮爻賷乇丕 賸 賱匕賱賰貙 賱兀賳賴 賷毓卮賯 賱毓亘丞 丕賱兀爻賲丕亍貙 賮賱匕丕 亘丿賶 賱賷 賵賰兀賳賴 賷乇賰夭 賴賳丕 毓賱賶 丕賱賮賰乇丞 賵賷鬲禺賱賶 毓賳 賲賵囟賵毓丞 丕賱賴賵賷丞.
* 丕賱睾乇賮丞 丕賱賲賵氐丿丞
賲賱禺氐 丕賱乇賵丕賷丞:
賷氐賮 賱賳丕 丕賱乇丕賵賷 賮賷 丕賱亘丿丕賷丞 毓賱丕賯鬲賴 亘賮丕賳卮賵 氐丿賷賯 胤賮賵賱鬲賴貙 賵賷乇賵賷 鬲賱賯賷賴 乇爻丕賱丞 賲賳 夭賵噩丞 賮丕賳卮賵 丕賱噩賲賷賱丞 氐賵賮賷 鬲胤賱亘 賮賷賴丕 賱賯丕卅賴貙 賵毓賳丿賲丕 賷賱鬲賯賷 亘賴丕 賷賰鬲卮賮 丕禺鬲賮丕亍 賮丕賳卮賵 賲賳匕 爻鬲丞 兀卮賴乇貙 賵賮卮賱 鬲丨乇賷 賷丿毓賶 賰賵賷賳 賮賷 丕賱毓孬賵乇 毓賱賷賴貙 賰賲丕 賷賰鬲卮賮 賵氐賷丞 賮丕賳卮賵 賱氐賵賮賷 亘兀賳 鬲毓胤賷 賰鬲丕亘丕鬲賴 賱氐丿賷賯賴 鈥� 乇丕賵賷賳丕 丕賱匕賷 賱丕 賳毓乇賮 丕爻賲賴 -貙 亘丨賷孬 賷賯乇乇 賲丕 賴賵 氐丕賱丨 賲賳賴丕 賱賱賳卮乇貙 賰賲丕 賳毓乇賮 兀賳 氐賵賮賷 賵賱丿鬲 賮賷 睾賷丕亘 賮丕賳卮賵 丕亘賳丕 賸 爻賲鬲賴 亘賳貙 賷禺亘乇賳丕 丕賱乇丕賵賷 賮賷 丕爻鬲毓丕丿丞 賱賱匕丕賰乇丞 丨賰丕賷丕鬲 賲賳 胤賮賵賱鬲賴 賲毓 賮丕賳卮賵貙 賰乇賲賴 丕賱匕賷 賷噩毓賱賴 賷鬲禺賱賶 毓賳 賴丿賷鬲賴 賱氐丿賷賯賴賲丕 丕賱賮賯賷乇 丿賳賷爻 賵丕賱丿賳貙 賵賴賵 丕亘賳 賱兀亘 爻賰賷乇 賵兀賲 賲噩賳賵賳丞 鬲賵氐丿 毓賱賶 賳賮爻賴丕 睾乇賮鬲賴丕貙 賰賲丕 賷禺亘乇賳丕 毓賳 賯氐丞 丕賱鬲丨乇賷 丕賱鬲賷 賰鬲亘賴丕 賮丕賳卮賵貙 鬲噩乇亘鬲賴賲丕 丕賱噩賳爻賷丞 丕賱兀賵賱賶 賲毓丕 賸貙 丕賳毓夭丕賱 賮丕賳卮賵 賮賷 丕賱孬丕賳賵賷丞貙 賵鬲賮賰賰 兀爻乇鬲賴 亘毓丿 廿氐丕亘丞 賵丕賱丿賴 亘丕賱爻乇胤丕賳 賵賵賮丕鬲賴 賮賷 丕賱賳賴丕賷丞貙 賷賳卮睾賱 丕賱乇丕賵賷 亘毓丿 賴匕丕 亘鬲乇鬲賷亘 兀賵乇丕賯 賮丕賳卮賵 鬲兀賴亘丕 賸 賱賳卮乇賴丕貙 賵鬲鬲賵孬賯 毓賱丕賯鬲賴 亘氐賵賮賷貙 賰賲丕 賷賳卮乇 兀賵賱 乇賵丕賷丞 賱賮丕賳卮賵貙 賵鬲氐亘丨 毓賱丕賯鬲賴 亘氐賵賮賷 兀賯賵賶貙 賵鬲氐賱賴 乇爻丕賱丞 賲賳 賮丕賳卮賵貙 賷胤丕賱亘賴 賮賷賴丕 亘丕賱夭賵丕噩 賲賳 氐賵賮賷 賵鬲亘賳賷 丕亘賳賴 亘賳貙 賵賷丨匕乇賴 賲賳 鬲鬲亘毓賴貙 賷鬲夭賵噩 丕賱乇丕賵賷 氐賵賮賷貙 賵賷亘丿兀 亘丕賱鬲賮賰賷乇 賮賷 賰鬲丕亘丞 爻賷乇丞 毓賳 賮丕賳卮賵貙 賵丕賱鬲賷 爻乇毓丕賳 賲丕 鬲鬲賰卮賮 兀賳賴丕 賲噩乇丿 賮賰乇丞 賷禺鬲賮賷 賵乇丕卅賴丕 毓夭賲 毓賱賶 鬲鬲亘毓 賮丕賳卮賵 賵丕賱賵氐賵賱 廿賱賷賴貙 賷亘丿兀 丕賱乇丕賵賷 亘賱賯丕亍 兀賲 賮丕賳卮賵 賱鬲爻丕毓丿賴 賮賷 丕賱賰鬲丕亘丞 毓賳 丕亘賳賴丕貙 賵賱賰賳賴賲丕 賷賲丕乇爻丕賳 丕賱噩賳爻 賮賷 丕賱賳賴丕賷丞貙 孬賲 賷爻鬲丨賵匕 丕賱亘丨孬 毓賳 賮丕賳卮賵 毓賱賶 丕賱乇丕賵賷 賵賷丐丿賷 賴匕丕 廿賱賶 鬲賵鬲乇 毓賱丕賯鬲賴 亘氐賵賮賷貙 賵馗賴賵乇 賳夭毓丞 賮賷 丿丕禺賱賴 廿賱賶 賯鬲賱 賮丕賳卮賵 賵丕賱賯囟丕亍 毓賱賷賴貙 賷賯賵賲 丕賱乇丕賵賷 亘賲乇丕噩毓丞 乇爻丕卅賱 賮丕賳卮賵 廿賱賶 兀禺鬲賴 廿賷賱賷賳 毓賱賴丕 鬲丿賱賴 毓賱賷賴貙 丨賷孬 賷賰鬲卮賮 丕賳毓夭丕賱 賮丕賳卮賵 賮賷 賲夭乇毓丞 賮賷 賮乇賳爻丕 賱賲丿丞 毓丕賲 賰丕賲賱貙 賷亘丨孬 丕賱乇丕賵賷 亘毓丿 賴匕丕 毓賳 丕賱鬲丨乇賷 賰賵賷賳貙 孬賲 賷爻丕賮乇 廿賱賶 亘丕乇賷爻 賱丕爻鬲賰賲丕賱 鬲丨乇賷丕鬲賴貙 賵賴賳丕賰 賷賱鬲賯賷 亘丌賳 氐丿賷賯丞 賮丕賳卮賵 丕賱鬲賷 鬲禺亘乇賴 兀賵賱 賲丕 賷賱鬲賯賷丕賳 亘兀賳賴丕 馗賳鬲賴 賮賷 丕賱亘丿丕賷丞 賮丕賳卮賵貙 賷毓丕賳賷 丕賱乇丕賵賷 賮賷 賴匕賴 丕賱賮鬲乇丞 賲賳 賳賵毓 賲賳 賮賯丿丕賳 丕賱夭賲賳貙 賵賷禺亘乇賳丕 亘胤乇賷賯丞 睾乇賷亘丞 賵賱丨馗丞 毓噩賷亘丞 兀賳 丕賱賳賴丕賷丞 賴賷 丕賱鬲賷 噩毓賱鬲賴 賷賰鬲亘 賴匕丕 丕賱賰鬲丕亘貙 賵兀賳 (賲丿賷賳丞 丕賱夭噩丕噩) 賵(丕賱兀卮亘丕丨) 賴賷 丕賱賯氐丞 賳賮爻賴丕貙 賷匕賴亘 丕賱乇丕賵賷 亘毓丿 賴匕丕 廿賱賶 亘丕乇 賵賴賳丕賰 賷賱鬲賯賷 亘卮丕亘 兀賲乇賷賰賷 賷禺丕胤亘賴 毓賱賶 兀賳賴 賮丕賳卮賵 賵賱賰賳 丕賱卮丕亘 賷禺亘乇賴 兀賳賴 亘賷鬲乇 爻鬲賷賱賲丕賳貙 賵亘毓丿 賲胤丕乇丿丞 賷毓鬲丿賷 爻鬲賷賱賲丕賳 毓賱賶 丕賱乇丕賵賷 賵賷囟乇亘賴 亘賯賵丞貙 賷毓賵丿 丕賱乇丕賵賷 廿賱賶 賳賷賵賷賵乇賰貙 賵賷賳賮氐賱 毓賳 氐賵賮賷 賱毓丕賲 賵賲賳 孬賲 賷毓賵丿丕賳 廿賱賶 亘毓囟賴賲丕 賵賷乇夭賯丕賳 亘胤賮賱 賷爻賲賷丕賳賴 亘賵賱貙 賵賮賷 爻賳丞 1982 賲 鬲兀鬲賷 丕賱乇丕賵賷 乇爻丕賱丞 賲賳 賮丕賳卮賵 賷丿毓賵賴 賮賷賴丕 廿賱賶 夭賷丕乇鬲賴 賮賷 亘賵爻胤賳貙 賮賷匕賴亘 廿賱賶 賴賳丕賰 賵賷丿禺賱 亘賳丕賷丞 賲鬲丿丕毓賷丞 丨賷孬 賷噩丿 賮丕賳卮賵 賲禺鬲賮賷丕 賸 賮賷 睾乇賮丞 賲丐氐丿丞貙 賵賯丿 賲乇 毓賱賷賴 毓丕賲賷賳 賴賳丕賰貙 賵賷禺亘乇賴 兀賳 賰賵賷賳 賰丕賳 賷胤丕乇丿賴 賵兀賳賴 賵噩丿賴 賲乇鬲賷賳貙 廿丨丿丕賴賲丕 賮賷 賳賷賵賷賵乇賰 賵丕賱兀禺乇賶 賮賷 丕賱噩賳賵亘貙 賵賷禺亘乇賴 兀賳賴 賰丕賳 賷鬲賳賯賱 鬲丨鬲 丕爻賲 賴賳乇賷 丿丕乇賰貙 孬賲 賷胤賱亘 賲賳賴 兀賳 賷兀禺匕 賰乇丕爻丞 丨賲乇丕亍貙 賮賷兀禺匕賴丕 丕賱乇丕賵賷 賵賷禺乇噩 賵賷賯賵賲 亘鬲賲夭賷賯賴丕 亘毓丿 賯乇丕亍鬲賴丕.
賮丕賳卮賵... 丕賱賰鬲丕亘 丕賱賲賮賯賵丿:
賮賷 爻賳丞 1828 賲 賳卮乇 丕賱乇賵丕卅賷 丕賱兀賲乇賷賰賷 賳丕孬丕賳賷賱 賴丕賵孬賵乇賳 兀賵賱 賲丨丕賵賱丞 乇賵丕卅賷丞 賱賴貙 賰丕賳 賯丿 賰鬲亘 賯亘賱賴丕 毓丿丿丕 賸 賲賳 丕賱賯氐氐 丕賱氐睾賷乇丞貙 賵賱賰賳 (賮丕賳卮賵) 賰丕賳鬲 乇賵丕賷鬲賴 丕賱兀賵賱賶貙 賵賷亘丿賵 兀賳賴 賰丕賳 賲鬲禺賵賮丕 賸 噩丿丕 賸 賲賳 丕賱鬲噩乇亘丞貙 賮賱匕丕 賯丕賲 亘賳卮乇賴丕 賲睾賮賱丞 丕爻賲 丕賱賲丐賱賮貙 丕賱乇賵丕賷丞 賮卮賱鬲 賳賯丿賷丕 賸 賵鬲噩丕乇賷丕 賸 賵賱賲 賷賱鬲賮鬲 賱賴丕 兀丨丿貙 賵賱賲 鬲亘毓 廿賱丕 賳爻禺丕 賸 賲丨丿賵丿丞貙 賮賱匕丕 賯丕賲 賴丕賵孬賵乇賳 亘廿胤毓丕賲 丕賱賳丕乇 亘賯賷丞 丕賱賳爻禺 睾賷乇 丕賱賲亘丕毓丞貙 賵氐丕乇鬲 丕賱乇賵丕賷丞 賮賷 丨賰賲 丕賱賲賮賯賵丿丞貙 賮賷 馗賱 丕禺鬲賮丕亍 丕賱賳爻禺 丕賱賯賱賷賱丞 丕賱鬲賷 亘賷毓鬲 賵丕賱鬲賷 丿賲乇 亘毓囟賴丕 賮賷 馗乇賵賮 賲禺鬲賱賮丞貙 丕丨鬲賮馗 賴丕賵孬賵乇賳 賱賳賮爻賴 亘爻乇 賴匕丕 丕賱賰鬲丕亘 丕賱賲賵亍賵丿貙 丨鬲賶 兀賳 夭賵噩鬲賴 氐賵賮賷丕 賱賲 鬲丿乇賷 亘賴匕賴 丕賱乇賵丕賷丞 丕賱鬲賷 賰鬲亘賴丕 夭賵噩賴丕 賯亘賱 夭賵丕噩賴賲丕 亘爻賳賵丕鬲 胤賵賷賱丞貙 鬲賵賮賷 賴丕賵孬賵乇賳 爻賳丞 1864 賲 亘毓丿賲丕 賳卮乇 毓丿丿丕 賸 賲賳 丕賱乇賵丕賷丕鬲 賵丕賱賯氐氐 丕賱賯氐賷乇丞貙 賵亘毓丿 賵賮丕鬲賴 亘兀毓賵丕賲 毓孬乇 毓賱賶 賳爻禺丞 賲賳 丕賱賰鬲丕亘 賵兀毓賷丿 胤亘毓賴 賲賳 噩丿賷丿.
賴匕丕 賴賵 丕賱賰鬲丕亘 丕賱匕賷 鬲丿賵乇 丨賵賱賴 賴匕賴 丕賱乇賵丕賷丞貙 兀賲丕 丕賱賮賰乇丞 賮賴賷 乇賮囟 丕賱賰丕鬲亘 賱兀毓賲丕賱賴 賵賲丨丕賵賱鬲賴 丕賱賯囟丕亍 毓賱賷賴丕貙 賮賰賲丕 乇兀賷賳丕 賰丕賳 賮丕賳卮賵 賰鬲丕亘丕 賸 賲乇賮賵囟丕 賸 乇賮囟賴 氐丕丨亘賴貙 賵丨丕賵賱 丕賱賯囟丕亍 毓賱賷賴貙 賵賱賰賳賴 毓丕卮 兀胤賵賱 賲賳 氐丕丨亘賴 賵毓丕丿 賱賱馗賴賵乇 亘毓丿 賲賵鬲賴貙 賮賷 毓丕賱賲 兀賵爻鬲乇 賷鬲丨賵賱 賮丕賳卮賵 丕賱賰鬲丕亘 廿賱賶 賰丕鬲亘 賷乇賮囟 兀毓賲丕賱賴貙 賵賷鬲禺賱賶 毓賳賴丕貙 亘賱 賷鬲禺賱賶 毓賳 夭賵噩鬲賴 賵丕亘賳賴貙 賵賷丿禺賱 丨丕賱丞 賲賳 丕賱賴乇賵亘 丕賱丿丕卅賲貙 賵丕賱毓夭賱丞 丕賱睾乇賷亘丞.
賱丕 氐丿賮丞:
賷亘丿賵 兀賳 兀賵爻鬲乇 鬲禺賱賶 毓賳 卮睾賮賴 亘丕賱氐丿賮丞 賮賷 賴匕賴 丕賱乇賵丕賷丞貙 賮賴賷 亘賱丕 賲氐丕丿賮丕鬲 賲賳 兀賷 賳賵毓.
丕賱兀丨丿丕孬 丕賱睾乇亘賷丞 賵丕賱乇賲賵夭:
丕賱睾乇丕亘丞 賮賷 丕賱乇賵丕賷丞 鬲亘丿賵 賱賳丕 亘毓丿 賯乇丕亍丞 丕賱乇賵丕賷鬲賷賳 丕賱爻丕亘賯鬲賷賳 兀賯賱貙 賵賰兀賳賳丕 氐乇賳丕 賳鬲賯亘賱 賰賱 賲丕 賷賲賰賳 兀賳 賷丨丿孬貙 賮鬲禺賱賷 賮丕賳卮賵 毓賳 夭賵噩鬲賴 賵丕亘賳賴 賵兀毓賲丕賱賴 賵丕賳毓夭丕賱賴貙 乇兀賷賳丕賴丕 賮賷 乇賵丕賷丞 丕賱兀卮亘丕丨貙 賮賷 毓夭賱丞 丕賱賰丕鬲亘 賵卮亘丨賷鬲賴貙 賴賵爻 丕賱乇丕賵賷 亘鬲鬲亘毓 氐丿賷賯賴 賮丕賳卮賵貙 乇兀賷賳丕賴 賮賷 賴賵爻 賰賵賷賳 賵賰匕丕 賴賵爻 丕賱爻賷丿 亘賱賵貙 丨丕賱丞 賮賯丿丕賳 丕賱匕丕賰乇丞 兀賵 賱賳賯賱 丕賱賵噩賵丿 丕賱鬲賷 賷丿禺賱 廿賱賷賴丕 丕賱乇丕賵賷 乇兀賷賳丕 卮亘賷賴丕 賸 賱賴丕 賮賷 丨丕賱丞 賰賵賷賳貙 亘賱 丨鬲賶 馗賴賵乇 爻鬲賷賱賲丕賳 賵賰賵賷賳 賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲亘丿賵 賱賳丕 賵賰兀賳賴丕 賲賳 胤乇丕卅賮 兀賵爻鬲乇貙 賵賱賷爻 賱賴丕 匕賱賰 丕賱鬲兀孬賷乇 丕賱賰亘賷乇貙 賵賰匕丕 丕爻賲 賴賳乇賷 丿丕乇賰貙 賵亘丕賱胤亘毓 馗賴乇鬲 乇賲賵夭 兀賵爻鬲乇 丕賱毓鬲賷丿丞貙 丕賱賰乇丕爻丞 丕賱丨賲乇丕亍貙 賵丕賱賯賲乇 鈥� 氐 480 -.
June 4, 2015
乇賵丕賷丞 賲噩賳賵賳丞貙 賲孬賱 卮禺氐 賷賱毓亘 賲毓賰 賱毓亘丞貙 亘丕爻鬲孬賳丕亍 兀賳 丕賱賱毓亘丞 賴賷 賰丕亘賵爻. 賱賲 兀賯乇兀 卮賷卅賸丕 賰賴匕丕 賲賳匕 夭賲賳賺 胤賵賷賱..
Read
June 19, 2012Further update, June 19th 2012.
In response to several thoughtful comments that take issue with the nastiness of my initial review, I have come to the conclusion that the comments in question are essentially correct. Please see my own response in comment #32 in the discussion. And thanks to those who called me on this, apologies for my earlier vitriolic responses. In general, I try to acknowledge the validity of other opinions in my reviews and comments, something I notably failed to do in this discussion. I should have been more civil, initially and subsequently.
Update:
WELL, CONGRATULATIONS, PAUL AUSTER!!
I wouldn't actually have thought it possible, but with the breathtakingly sophomoric intellectual pretension of the final 30 pages of "City of Glass", you have actually managed to deepen my contempt and loathing for you, and the overweening, solipsistic, drivel that apparently passes for writing in your particular omphaloskeptic corner of the pseudo-intellectual forest in which you live, churning out your mentally masturbatory little turdlets.
Gaaaah. Upon finishing the piece of smirkingly self-referential garbage that was "City of Glass", I wanted to jump in a showever and scrub away the stinking detritus of your self-congratulatory, hypercerebral, pomo, what a clever-boy-am-I, pseudo-intellectual rubbish from my mind. But not all the perfumes of Araby would be sufficient - they don't make brain bleach strong enough to cleanse the mind of your particular kind of preening, navel-gazing idiocy.
All I can do is issue a clarion call to others who might be sucked into your idiotic, time-wasting, superficially clever fictinal voyages to nowhere. There is emphatically no there there. The intellectual vacuum at the core of Auster's fictions is finally nothing more than that - empty of content, devoid of meaning, surrounded with enough of the pomo trappings to keep the unwary reader distracted. But, if you're looking for meaning in your fiction, for God's sake look elsewhere.
And, please - spare me your pseudoprofound epiphanies of the sort that the emptiness at the core of Auster's tales is emblematic of the kind of emptiness that's at the core of modern life. Because that brand of idiocy butters no parsnips with me - I got over that kind of nonsense as a freshman in college. At this point in my life I expect a little more from anyone who aspires to be considered a writer worth taking seriously.
Which Paul Auster, though I have no doubt that he takes himself very, very seriously indeed, is not. This little emperor of Brooklyn is stark naked, intellectually speaking.
The only consolation is that I spent less than $5 for this latest instalment of Austercrap.
Gaaaah. PASS THE BRAINBLEACH.
Earlier comment begins below:
My loathing for the only other of Paul Auster's books that I had read (the Music of Chance) was so deep that it's taken me over ten years before I can bring myself to give him another chance. But finally, today, after almost three weeks of reading only short pieces in Spanish, my craving for fiction in English was irresistible, so I picked up a second-hand copy of The New York Trilogy in the English-language bookstore here in Guanajuato.
So far so good. I'm about three-quarters through the first story of the trilogy and I'm enjoying it, without actually liking it, if that makes sense. Auster seems to owe a clear debt of influence to Mamet - there's the same predilection for games, puzzles, and the influence of chance. Thankfully, the influence doesn't extend to dialog, which Mamet has always seemed to me to wield clumsily, like a blunt instrument. Auster is more subtle, but he still holds his characters at such a remote distance, it gives his writing a cerebral quality that is offputting at times. Thus, one can enjoy the situations he sets up and the intricacies of the story, without quite liking his fiction.
Who knows, maybe I will feel differently after I've read all three stories?
In response to several thoughtful comments that take issue with the nastiness of my initial review, I have come to the conclusion that the comments in question are essentially correct. Please see my own response in comment #32 in the discussion. And thanks to those who called me on this, apologies for my earlier vitriolic responses. In general, I try to acknowledge the validity of other opinions in my reviews and comments, something I notably failed to do in this discussion. I should have been more civil, initially and subsequently.
Update:
WELL, CONGRATULATIONS, PAUL AUSTER!!
I wouldn't actually have thought it possible, but with the breathtakingly sophomoric intellectual pretension of the final 30 pages of "City of Glass", you have actually managed to deepen my contempt and loathing for you, and the overweening, solipsistic, drivel that apparently passes for writing in your particular omphaloskeptic corner of the pseudo-intellectual forest in which you live, churning out your mentally masturbatory little turdlets.
Gaaaah. Upon finishing the piece of smirkingly self-referential garbage that was "City of Glass", I wanted to jump in a showever and scrub away the stinking detritus of your self-congratulatory, hypercerebral, pomo, what a clever-boy-am-I, pseudo-intellectual rubbish from my mind. But not all the perfumes of Araby would be sufficient - they don't make brain bleach strong enough to cleanse the mind of your particular kind of preening, navel-gazing idiocy.
All I can do is issue a clarion call to others who might be sucked into your idiotic, time-wasting, superficially clever fictinal voyages to nowhere. There is emphatically no there there. The intellectual vacuum at the core of Auster's fictions is finally nothing more than that - empty of content, devoid of meaning, surrounded with enough of the pomo trappings to keep the unwary reader distracted. But, if you're looking for meaning in your fiction, for God's sake look elsewhere.
And, please - spare me your pseudoprofound epiphanies of the sort that the emptiness at the core of Auster's tales is emblematic of the kind of emptiness that's at the core of modern life. Because that brand of idiocy butters no parsnips with me - I got over that kind of nonsense as a freshman in college. At this point in my life I expect a little more from anyone who aspires to be considered a writer worth taking seriously.
Which Paul Auster, though I have no doubt that he takes himself very, very seriously indeed, is not. This little emperor of Brooklyn is stark naked, intellectually speaking.
The only consolation is that I spent less than $5 for this latest instalment of Austercrap.
Gaaaah. PASS THE BRAINBLEACH.
Earlier comment begins below:
My loathing for the only other of Paul Auster's books that I had read (the Music of Chance) was so deep that it's taken me over ten years before I can bring myself to give him another chance. But finally, today, after almost three weeks of reading only short pieces in Spanish, my craving for fiction in English was irresistible, so I picked up a second-hand copy of The New York Trilogy in the English-language bookstore here in Guanajuato.
So far so good. I'm about three-quarters through the first story of the trilogy and I'm enjoying it, without actually liking it, if that makes sense. Auster seems to owe a clear debt of influence to Mamet - there's the same predilection for games, puzzles, and the influence of chance. Thankfully, the influence doesn't extend to dialog, which Mamet has always seemed to me to wield clumsily, like a blunt instrument. Auster is more subtle, but he still holds his characters at such a remote distance, it gives his writing a cerebral quality that is offputting at times. Thus, one can enjoy the situations he sets up and the intricacies of the story, without quite liking his fiction.
Who knows, maybe I will feel differently after I've read all three stories?
June 15, 2009
Life is too short to re-read a book, but someday I will give time for this one. The reason is that I assumed that the book being a trilogy is composed of 3 totally unrelated stories since I read in the write up that the stories were published one at a time in a weekly magazine in the 80s. However, to my surprise, at the end of the 3rd story 鈥� The Locked Room (which by itself was the best among the 3) 鈥� it was revealed that the detective looking for Fanshawe was the main character in the first story, The City of Glass. So, I had to think back on how the three stories relate to each other but I could not really figure out how the second 鈥� Ghosts 鈥� fit into the whole story as the main characters were named after colors 鈥� Blue, Black, Brown and White. I agree with what they say that Paul Auster contributed to American literature by having a totally different writing style 鈥� the mixed up identities, the infusion of psychological insights into the narratives (Don Quixote for example in the second story) and even witty practical advises to the reader (you have to slow down to appreciate literature 鈥� to which I am a bit guilty because I have been reading books one after the other). If you want to read a intelligent yet entertaining book, make it this one!
February 3, 2017
Na filmovima se 膷esto de拧ava da vispreni zlikovac, po拧to ispuca sve kvarnja膷ke trikove, namami heroja u nekakvu sobu sa ogledalima, kako bi ga o拧amutio sopstvenom (herojevom) sposobno拧膰u zapa啪anja i napokon ga sebi skinuo s vrata. Tako se protagonista na膽e u sasvim neprirodnom haosu: po拧to je vizualno bombardovan svojim iskrivljenim odrazima, mora da prebaci oslonac na auditivna opa啪anja, te oslu拧kuje ti拧inu, zaustavlja disanje, pa啪ljivo hoda kroz sr膷u, sve vreme kalkuli拧u膰i koliko mu jo拧 municije ostalo u 拧ar啪eru, gde 膰e i kad da opali. Tako mnogobrojni efekti napnu gledaoca do ivice stolice, ali se pravi uzrok dramati膷nosti krije u, napokon, pravednoj situaciji: zlikovac je 鈥� obrni, okreni 鈥� u istom sosu kao junak, te 膰e pobediti bolji. Tu膷e na ferku su visoko cenjene u svim krugovima, pa niko ne zamera 拧to je to malo bajata fora.
Upravo to Pol Oster radi 膷itaocu Njujor拧ke trilogije.
Najpre 膰u se malo 膷uditi nad nemalim brojem komentara da su ovo tri nezavisne pri膷e me膽u kojima je te拧ko prona膰i vezu. Smislenije bi mi bilo shvatanje da su ovo tri varijacije jedne teme i da je upravo zato Geopoetika anga啪ovala troje dobrih prevodilaca (o Zoranu i Ivani Paunovi膰 se ve膰 sve zna, a i Zorana Spai膰 ih u stopu prati). U tom smislu, naravno da se ve膰ini najvi拧e dopada poslednji deo celine u kome se sve raspli膰e, ako ovde ima mesta za pri膷u o klasi膷nom raspletu.
Negde na polovini Njujor拧ke trilogije pi拧e da je primarni cilj svake knjige da zabavi 膷itaoca. Ako je to Oster hteo, u mom slu膷aju je potpunosti ispunio cilj: silno sam se zabavljala sve vreme, malo i na bis. A kako i ne bih, kad je unutra strpao sve i sva拧ta: detektivske pri膷e od vrste misterioznih, knji啪evne aluzije, svakovrsne anegdote i zabavne pri膷ice (kako je Servantes sve hteo da nas zezne zamenom identiteta, kako je obdukciju Volta Vitmena radio jedan smotanko forenzi膷ar, kako glavni projektant Bruklin brid啪a nikad nogom nije kro膷io na svoj most), maskiranja, malo Vavilonske kule, malo Pariza, mnogo Njujorka, mnogo ispisanih svezaka, pisaca, izdava膷a, seksa, dece i beba, po拧tanskih fahova, ta拧tine, voajerske ostra拧膰enosti, zanesenja拧tva, hazarderstva,...a izme膽u 膷itaoca i sveg tog zame拧ateljstva stoji neko ko igra kolari膰u 鈥� pani膰u sa likovima i imenima, dok je Pol Oster (imenom) epizodista koji obavlja neka svoja posla, pa se zbuni (kao i 膷italac) kad 膷uje kakve se to stvari sve zbivaju na ovome svetu.
Dakle, 拧areni komadi膰i ogledala u kojima je odraz fikcije, rasuti po stvarnosti i narativu, a ti, 膷itao膷e, izvoli, prona膽i gde 拧ta pripada, lepo sve to zalepi i pogledaj veliku sliku. Kako 膰e拧 rekonstruisati tu metafikciju i da li 膰e拧 u njoj videti 拧ta je (za Pola Ostera, ovog 啪ivog, pisca) pisanje, ili muku definisanja identiteta ili apsurdnost njegovog pronala啪enja ili cenu slobode izbora ili sebe u ma kom svetlu ili 膰e拧 nau膷iti da zabijanje nosa u tu膽e stvari ne samo 拧to nije pristojno, nego nije ni malo mudro... intimno je pitanje.
Nisam se ba拧 na膷itala ameri膷ke knji啪evnosti zato 拧to mi kod ve膰ine tamo拧njih pisaca ona pomenuta zabava uvek ostane samoj sebi svrha, 拧to mi brzo dosadi, ali Oster ima malo evropejskog 拧lifa i finog francuskog glanca, pa je elemente visprenije ukrojio, 拧tepovi mu se ne vide i tako posti啪e izvesni stepen elegancije (dok ameri膷ka elegancija ostaje skoro pa oksimoron).
Nije Pol Oster kriv 拧to je do拧ao na red malo posle Havijera Marijasa, pa sad ne mo啪e i on da dobije peticu jer nema dovoljno le啪ernosti da padnem u nesvest. Da ne bude samo to, zameri膰u mu 拧to insistira na izlizanom receptu da se do samoosve拧膰enja mo啪e do膰i samo preko mosti膰a na smrt ugro啪ene egzistencije. Ne ka啪em da to nije put, mo啪da 膷ak jeste i najkra膰i, al' dobro vi拧e s tim.
Eto, summa cum laude, ali 膷etvorka.
Upravo to Pol Oster radi 膷itaocu Njujor拧ke trilogije.
Najpre 膰u se malo 膷uditi nad nemalim brojem komentara da su ovo tri nezavisne pri膷e me膽u kojima je te拧ko prona膰i vezu. Smislenije bi mi bilo shvatanje da su ovo tri varijacije jedne teme i da je upravo zato Geopoetika anga啪ovala troje dobrih prevodilaca (o Zoranu i Ivani Paunovi膰 se ve膰 sve zna, a i Zorana Spai膰 ih u stopu prati). U tom smislu, naravno da se ve膰ini najvi拧e dopada poslednji deo celine u kome se sve raspli膰e, ako ovde ima mesta za pri膷u o klasi膷nom raspletu.
Negde na polovini Njujor拧ke trilogije pi拧e da je primarni cilj svake knjige da zabavi 膷itaoca. Ako je to Oster hteo, u mom slu膷aju je potpunosti ispunio cilj: silno sam se zabavljala sve vreme, malo i na bis. A kako i ne bih, kad je unutra strpao sve i sva拧ta: detektivske pri膷e od vrste misterioznih, knji啪evne aluzije, svakovrsne anegdote i zabavne pri膷ice (kako je Servantes sve hteo da nas zezne zamenom identiteta, kako je obdukciju Volta Vitmena radio jedan smotanko forenzi膷ar, kako glavni projektant Bruklin brid啪a nikad nogom nije kro膷io na svoj most), maskiranja, malo Vavilonske kule, malo Pariza, mnogo Njujorka, mnogo ispisanih svezaka, pisaca, izdava膷a, seksa, dece i beba, po拧tanskih fahova, ta拧tine, voajerske ostra拧膰enosti, zanesenja拧tva, hazarderstva,...a izme膽u 膷itaoca i sveg tog zame拧ateljstva stoji neko ko igra kolari膰u 鈥� pani膰u sa likovima i imenima, dok je Pol Oster (imenom) epizodista koji obavlja neka svoja posla, pa se zbuni (kao i 膷italac) kad 膷uje kakve se to stvari sve zbivaju na ovome svetu.
Dakle, 拧areni komadi膰i ogledala u kojima je odraz fikcije, rasuti po stvarnosti i narativu, a ti, 膷itao膷e, izvoli, prona膽i gde 拧ta pripada, lepo sve to zalepi i pogledaj veliku sliku. Kako 膰e拧 rekonstruisati tu metafikciju i da li 膰e拧 u njoj videti 拧ta je (za Pola Ostera, ovog 啪ivog, pisca) pisanje, ili muku definisanja identiteta ili apsurdnost njegovog pronala啪enja ili cenu slobode izbora ili sebe u ma kom svetlu ili 膰e拧 nau膷iti da zabijanje nosa u tu膽e stvari ne samo 拧to nije pristojno, nego nije ni malo mudro... intimno je pitanje.
Nisam se ba拧 na膷itala ameri膷ke knji啪evnosti zato 拧to mi kod ve膰ine tamo拧njih pisaca ona pomenuta zabava uvek ostane samoj sebi svrha, 拧to mi brzo dosadi, ali Oster ima malo evropejskog 拧lifa i finog francuskog glanca, pa je elemente visprenije ukrojio, 拧tepovi mu se ne vide i tako posti啪e izvesni stepen elegancije (dok ameri膷ka elegancija ostaje skoro pa oksimoron).
Nije Pol Oster kriv 拧to je do拧ao na red malo posle Havijera Marijasa, pa sad ne mo啪e i on da dobije peticu jer nema dovoljno le啪ernosti da padnem u nesvest. Da ne bude samo to, zameri膰u mu 拧to insistira na izlizanom receptu da se do samoosve拧膰enja mo啪e do膰i samo preko mosti膰a na smrt ugro啪ene egzistencije. Ne ka啪em da to nije put, mo啪da 膷ak jeste i najkra膰i, al' dobro vi拧e s tim.
Eto, summa cum laude, ali 膷etvorka.
August 9, 2017
La trilogia di New York si compone di tre racconti: "La citt脿 di vetro", "Fantasmi" e "La stanza chiusa".
Son definite detective-stories... Mah!!! Nei racconti s矛 ci sono dei detective... ma con le affinit脿 di genere per me la finiamo l矛...
Il detective indaga s矛, ma all'interno, nella stanza privata che 猫 il suo cervello, alla ricerca di un senso della vita dell'uomo che non riesce a trovare.
Il detective chi 猫? E' lo scrittore? E' il lettore? Tale indagine ha un senso? In una ciclica rincorsa alla reciproca necessit脿 di impersonificazione tra lettore e scrittore, la risposta che d脿 Auster 猫 che un senso non c'猫, che ogni vita 猫 inspiegabile, fatta di fatti accidentali e fine a se stessa ("la morale 猫 che ogni vita 猫 fine a se stessa. Che 猫 come dire: le vite degli uomini non hanno senso"). Nessuno 猫 in grado di comprendere il prossimo (nemmeno lo scrittore che, scrivendo, tenta di indagarlo), in quanto rimane esso stesso imperscrutabile a se stesso.
I tre racconti, si comprende avanzando nella lettura, altro non sono che una storia sola, ma ad un diverso stadio di consapevolezza dell'autore (e di conseguenza del lettore che lo segue). Quindi, il lettore, arrivato alla terza lettura si 猫 talmente scervellato per capire dove volesse andare a parare quest'uomo (Auster), che la terza storia non porta alcuna sorpresa, anzi forse 猫 pure un po' troppo convenzionale con tutta la "palestra mentale" che ha fatto con i primi due racconti... :D
Ergo, di giallo a mio giudizio c'猫 poco poco, ma, in compenso, il "pipponico" e il cervellotico son dispensati a pienissime mani: in estrema sintesi definirei il romanzo un non racconto (uno e trino), in un non luogo, di non persone.
Di seguito i pensieri che mi hanno indotto i racconti da cui ho dedotto le riflessioni pi霉 sopra riportate.
"Citt脿 di vetro" --> Il significato preponderante del racconto, a mio parere, sta nel gioco di specchi che 猫 la finzione narrativa, nella necessit脿 dello scrittore di impersonificare i personaggi di cui scrive, o almeno il ruolo del personaggio di cui scrive. La risoluzione 猫 la follia in cui cade lo scrittore che ad un certo punto 猫 impossibilitato a distinguere tra finzione e realt脿. Che crede di coglierla attraverso gli appunti che prende in un taccuino rosso, ma il taccuino rosso contiene, fatalmente, solo un pezzo della storia.
("Che significa per uno scrittore firmare un libro con il proprio nome? perch猫 alcuni decidono di nascondersi dietro ad uno pseudonimo? e, in tutti i casi, uno scrittore vive davvero una vita reale?")
"Fantasmi"--> Blue investigatore, sotto commissione di White, assume l'incarico di pedinare Black. Black non fa altro che scrivere una storia, e sembra vivere (o avere scopo di vita) solo per il fatto che qualcuno lo osserva. Ma l'unico scopo di Blue 猫 osservare Black...Ma forse anche Black osserva Blue... Non succede nulla se non l'osservazione reciproca di Black e Blue. E alla fine il lettore capisce...che sta leggendo la storia di Blue che osserva Black, che a sua volta osserva Blue, e questo 猫 l'unico senso della storia... E qui emerge l'ironico e sottile sfottimento che Auster opera nei confronti del lettore, che legge per cercare un senso, ma l'unico senso che si trova 猫 costruito a tavolino...
(".. cosa ci faceva l脿 dentro? Scriveva storie. Tutto qua Scriveva e basta? Scrivere 猫 un mestiere per solitari. Ti prosciuga. In un certo senso, lo scrittore non ha una vita propria. Anche quando lo hai di fronte non c'e' veramente. Un altro fantasma. ")
"La stanza chiusa" --> L'ultimo racconto rientra un po' pi霉 nei canoni di un racconto tradizionale. C'e' una trama appena piu' sviluppata, un racconto in cui c'e' pure un amore, c'猫 pure una presunto abbandono di un uomo della moglie, c'猫 pure un accenno di sviluppo amoroso, c'猫 una indagine, c'猫 sempre uno scrittore, c'猫 sempre un detective, c'猫 sempre una ricerca di identificazione tra chi insegue e chi 猫 inseguito che porta a frustrazione per presa consapevolezza che la vita non ha senso.
Auster quindi si mette a tavolino e svela attraverso i tre racconti il raffinato processo intellettuale di costruzione in laboratorio della storia, sempre la stessa storia che si sviluppa man di mano nella testa dello scrittore. I primi due racconti pare contengano il messaggio e l'idea, mentre il terzo racconto li "veste", 猫 il racconto vero e proprio abbellito di particolari (ovviamente mia interpretazione)
Auster talentuoso 猫 talentuoso. Il romanzo cos矛 concepito e architettato per me ha del geniale. Il piacere che si trova in questa lettura non 猫 nella lettura stessa ma nelle elucubrazioni che induce nel lettore, negli arrovellamenti che ti fa fare, nel compiacimento di esserti districato in mezzo alle matasse aggrovigliate e parecchio cerebrali.
In questo romanzo ho trovato Auster forse un po' troppo compiaciuto, un po' troppo costruito...ma il grande merito che gli riconosco 猫 che, alla terza lettura di una sua opera, non ho ancora visto una ripetizione, n猫 nello stile, n猫 nel genere di romanzo. Muta. E' capace di mutare. E per farlo, per me, bisogna essere bravi.
Quattro stelle quindi ad Auster e al suo talento. Io, che ho il gusto del cervellotico durante la lettura mi son divertita, ma non 猫 sicuramente un romanzo che consiglierei a cuor leggero.
Son definite detective-stories... Mah!!! Nei racconti s矛 ci sono dei detective... ma con le affinit脿 di genere per me la finiamo l矛...
Il detective indaga s矛, ma all'interno, nella stanza privata che 猫 il suo cervello, alla ricerca di un senso della vita dell'uomo che non riesce a trovare.
Il detective chi 猫? E' lo scrittore? E' il lettore? Tale indagine ha un senso? In una ciclica rincorsa alla reciproca necessit脿 di impersonificazione tra lettore e scrittore, la risposta che d脿 Auster 猫 che un senso non c'猫, che ogni vita 猫 inspiegabile, fatta di fatti accidentali e fine a se stessa ("la morale 猫 che ogni vita 猫 fine a se stessa. Che 猫 come dire: le vite degli uomini non hanno senso"). Nessuno 猫 in grado di comprendere il prossimo (nemmeno lo scrittore che, scrivendo, tenta di indagarlo), in quanto rimane esso stesso imperscrutabile a se stesso.
I tre racconti, si comprende avanzando nella lettura, altro non sono che una storia sola, ma ad un diverso stadio di consapevolezza dell'autore (e di conseguenza del lettore che lo segue). Quindi, il lettore, arrivato alla terza lettura si 猫 talmente scervellato per capire dove volesse andare a parare quest'uomo (Auster), che la terza storia non porta alcuna sorpresa, anzi forse 猫 pure un po' troppo convenzionale con tutta la "palestra mentale" che ha fatto con i primi due racconti... :D
Ergo, di giallo a mio giudizio c'猫 poco poco, ma, in compenso, il "pipponico" e il cervellotico son dispensati a pienissime mani: in estrema sintesi definirei il romanzo un non racconto (uno e trino), in un non luogo, di non persone.
Di seguito i pensieri che mi hanno indotto i racconti da cui ho dedotto le riflessioni pi霉 sopra riportate.
"Citt脿 di vetro" --> Il significato preponderante del racconto, a mio parere, sta nel gioco di specchi che 猫 la finzione narrativa, nella necessit脿 dello scrittore di impersonificare i personaggi di cui scrive, o almeno il ruolo del personaggio di cui scrive. La risoluzione 猫 la follia in cui cade lo scrittore che ad un certo punto 猫 impossibilitato a distinguere tra finzione e realt脿. Che crede di coglierla attraverso gli appunti che prende in un taccuino rosso, ma il taccuino rosso contiene, fatalmente, solo un pezzo della storia.
("Che significa per uno scrittore firmare un libro con il proprio nome? perch猫 alcuni decidono di nascondersi dietro ad uno pseudonimo? e, in tutti i casi, uno scrittore vive davvero una vita reale?")
"Fantasmi"--> Blue investigatore, sotto commissione di White, assume l'incarico di pedinare Black. Black non fa altro che scrivere una storia, e sembra vivere (o avere scopo di vita) solo per il fatto che qualcuno lo osserva. Ma l'unico scopo di Blue 猫 osservare Black...Ma forse anche Black osserva Blue... Non succede nulla se non l'osservazione reciproca di Black e Blue. E alla fine il lettore capisce...che sta leggendo la storia di Blue che osserva Black, che a sua volta osserva Blue, e questo 猫 l'unico senso della storia... E qui emerge l'ironico e sottile sfottimento che Auster opera nei confronti del lettore, che legge per cercare un senso, ma l'unico senso che si trova 猫 costruito a tavolino...
(".. cosa ci faceva l脿 dentro? Scriveva storie. Tutto qua Scriveva e basta? Scrivere 猫 un mestiere per solitari. Ti prosciuga. In un certo senso, lo scrittore non ha una vita propria. Anche quando lo hai di fronte non c'e' veramente. Un altro fantasma. ")
"La stanza chiusa" --> L'ultimo racconto rientra un po' pi霉 nei canoni di un racconto tradizionale. C'e' una trama appena piu' sviluppata, un racconto in cui c'e' pure un amore, c'猫 pure una presunto abbandono di un uomo della moglie, c'猫 pure un accenno di sviluppo amoroso, c'猫 una indagine, c'猫 sempre uno scrittore, c'猫 sempre un detective, c'猫 sempre una ricerca di identificazione tra chi insegue e chi 猫 inseguito che porta a frustrazione per presa consapevolezza che la vita non ha senso.
Auster quindi si mette a tavolino e svela attraverso i tre racconti il raffinato processo intellettuale di costruzione in laboratorio della storia, sempre la stessa storia che si sviluppa man di mano nella testa dello scrittore. I primi due racconti pare contengano il messaggio e l'idea, mentre il terzo racconto li "veste", 猫 il racconto vero e proprio abbellito di particolari (ovviamente mia interpretazione)
Auster talentuoso 猫 talentuoso. Il romanzo cos矛 concepito e architettato per me ha del geniale. Il piacere che si trova in questa lettura non 猫 nella lettura stessa ma nelle elucubrazioni che induce nel lettore, negli arrovellamenti che ti fa fare, nel compiacimento di esserti districato in mezzo alle matasse aggrovigliate e parecchio cerebrali.
In questo romanzo ho trovato Auster forse un po' troppo compiaciuto, un po' troppo costruito...ma il grande merito che gli riconosco 猫 che, alla terza lettura di una sua opera, non ho ancora visto una ripetizione, n猫 nello stile, n猫 nel genere di romanzo. Muta. E' capace di mutare. E per farlo, per me, bisogna essere bravi.
Quattro stelle quindi ad Auster e al suo talento. Io, che ho il gusto del cervellotico durante la lettura mi son divertita, ma non 猫 sicuramente un romanzo che consiglierei a cuor leggero.
June 22, 2018
Trilogia di New York mi ha mandato in crisi durante la lettura e mi sta mandando in crisi adesso, mentre sono davanti ad uno schermo chiedendomi cosa mai potrei dire su questo libro senza risultare confusionaria. Ci provo, come sempre. Non so cosa uscir脿, siete avvisati, almeno.
Partiamo dalle basi. Si intitola Trilogia di New York perch茅 contiene tre storie, diverse per certi aspetti, ma molto simili per altri; tutte e tre le storie sono ambientate a New York, e fin qui 猫 stato semplice.
La prima storia si intitola Citt脿 di vetro. Il protagonista 猫 Daniel Quinn, uno scrittore di gialli che scrive sotto lo pseudonimo di William Wilson. Quinn ricever脿 una telefonata e in base a ci貌 che sente decide di fingersi qualcun altro, un detective, per risolvere il caso che gli 猫 stato proposto.
芦 [鈥 ciascuno diverso da tutti gli altri, ciascuno irriducibilmente se stesso.禄
La seconda storia prende il nome di Fantasmi. Anche in questo caso ci ritroviamo in presenza di una detective-story dove per貌 i ruoli (investigatore, committente, pedinato) e i colori (Blue, White, Black) si confondono.
La terza e ultima storia si intitola La stanza chiusa. Qui abbiamo uno scrittore che sostituisce il suo migliore amico (scomparso nel nulla), a sua volta scrittore, nella sua vita: sposa sua moglie e adotta suo figlio.
芦 [鈥 l鈥檌dea che qualcuno potesse comprendere i sentimenti di un altro e immedesimarvisi cos矛 totalmente da non curarsi pi霉 dei propri. Era il primo autentico atto morale cui avessi assistito, e non mi sembrava sensato parlare di nient鈥檃ltro.禄
Sembrano tre storie diverse, ma sono inevitabilmente intrecciate tra loro, e non solo per le tematiche comuni. I temi centrali affrontati da Auster nelle tre storie sono molti: identit脿 simulate e menzogne, tanto da arrivare all鈥檃nnullamento della propria individualit脿; l鈥檌ndagine poliziesca, con indizi e deduzioni, che sembra portare al colpevole, ma che in realt脿, inevitabilmente, conduce ad un fallimento; senso di confusione e di smarrimento; New York come una sorta di citt脿-labirinto; il caso che governa l鈥檈sistenza; metaletteratura, pensieri e indizi su come il linguaggio possa ingannare, una sovrapposizione tra lettura e scrittura, tra lettore e scrittore.
Sono tre storie che si ripetono e si rincorrono e non portano mai ad una fine, 猫 come essere risucchiati in una sorta di loop. Quando si legge Trilogia di New York il lettore pu貌 sentirsi catturato, smarrito, in un perenne stato confusionario, impegnato in una costante ricerca e rincorsa dell鈥檃ltro.
Paul Auster scrive il minimo indispensabile e ogni volta che sembra spiegarci qualcosa, ogni volta che sembra aiutarci nella comprensione di quello che ha scritto, capiremo che ci sta prendendo in giro, capiremo che in realt脿 ancora una volta sta complicando le cose e porta il lettore ad essere attivo: con questo romanzo la lettura non 猫 affatto un鈥檃ttivit脿 passiva, il lettore deve ricercare attivamente informazioni nel testo, deve prestare un鈥檃ttenzione maniacale ai dettagli se vuole capire qualcosa di tutta questa storia.
Trilogia di New York 猫 un libro a mio avviso complicato, difficile da capire, che lascia il lettore confuso e forse insoddisfatto (e un po鈥� scemo), ma proprio per questi motivi, a mio avviso, 猫 una lettura estremamente affascinante.
Partiamo dalle basi. Si intitola Trilogia di New York perch茅 contiene tre storie, diverse per certi aspetti, ma molto simili per altri; tutte e tre le storie sono ambientate a New York, e fin qui 猫 stato semplice.
La prima storia si intitola Citt脿 di vetro. Il protagonista 猫 Daniel Quinn, uno scrittore di gialli che scrive sotto lo pseudonimo di William Wilson. Quinn ricever脿 una telefonata e in base a ci貌 che sente decide di fingersi qualcun altro, un detective, per risolvere il caso che gli 猫 stato proposto.
芦 [鈥 ciascuno diverso da tutti gli altri, ciascuno irriducibilmente se stesso.禄
La seconda storia prende il nome di Fantasmi. Anche in questo caso ci ritroviamo in presenza di una detective-story dove per貌 i ruoli (investigatore, committente, pedinato) e i colori (Blue, White, Black) si confondono.
La terza e ultima storia si intitola La stanza chiusa. Qui abbiamo uno scrittore che sostituisce il suo migliore amico (scomparso nel nulla), a sua volta scrittore, nella sua vita: sposa sua moglie e adotta suo figlio.
芦 [鈥 l鈥檌dea che qualcuno potesse comprendere i sentimenti di un altro e immedesimarvisi cos矛 totalmente da non curarsi pi霉 dei propri. Era il primo autentico atto morale cui avessi assistito, e non mi sembrava sensato parlare di nient鈥檃ltro.禄
Sembrano tre storie diverse, ma sono inevitabilmente intrecciate tra loro, e non solo per le tematiche comuni. I temi centrali affrontati da Auster nelle tre storie sono molti: identit脿 simulate e menzogne, tanto da arrivare all鈥檃nnullamento della propria individualit脿; l鈥檌ndagine poliziesca, con indizi e deduzioni, che sembra portare al colpevole, ma che in realt脿, inevitabilmente, conduce ad un fallimento; senso di confusione e di smarrimento; New York come una sorta di citt脿-labirinto; il caso che governa l鈥檈sistenza; metaletteratura, pensieri e indizi su come il linguaggio possa ingannare, una sovrapposizione tra lettura e scrittura, tra lettore e scrittore.
Sono tre storie che si ripetono e si rincorrono e non portano mai ad una fine, 猫 come essere risucchiati in una sorta di loop. Quando si legge Trilogia di New York il lettore pu貌 sentirsi catturato, smarrito, in un perenne stato confusionario, impegnato in una costante ricerca e rincorsa dell鈥檃ltro.
Paul Auster scrive il minimo indispensabile e ogni volta che sembra spiegarci qualcosa, ogni volta che sembra aiutarci nella comprensione di quello che ha scritto, capiremo che ci sta prendendo in giro, capiremo che in realt脿 ancora una volta sta complicando le cose e porta il lettore ad essere attivo: con questo romanzo la lettura non 猫 affatto un鈥檃ttivit脿 passiva, il lettore deve ricercare attivamente informazioni nel testo, deve prestare un鈥檃ttenzione maniacale ai dettagli se vuole capire qualcosa di tutta questa storia.
Trilogia di New York 猫 un libro a mio avviso complicato, difficile da capire, che lascia il lettore confuso e forse insoddisfatto (e un po鈥� scemo), ma proprio per questi motivi, a mio avviso, 猫 una lettura estremamente affascinante.
July 2, 2019
Qu茅 lectura tan amena, tan r谩pida (estoy sacando los d铆as en que tuve que dejarlo por los estudios) y tan conflictiva. Estas tres novelas me parecieron m谩s una forma de problematizar la identidad y la literatura antes que un homenaje a New York a trav茅s de la escritura. Si la ciudad puede considerarse como un espacio inquietante y en movimiento, entonces New York es un claro ejemplo. Y Paul Auster aprovecha esa vor谩gine para mostrar tambi茅n c贸mo all铆 nadie es quien dice ser: las personas roban identidades ajenas, las absorben, las transforman, las viven. Har茅 un breve comentario sin spoilers de las tres novelas.
Ciudad de cristal (1985): un escritor de novelas polic铆acas que se apellida Quinn recibe un llamado por equivocaci贸n. El escritor usa seud贸nimo y, extra帽amente, quien lo busca lo confunde con otro escritor. Acepta el caso 驴Le servir谩 su experiencia como creador de un detective? Eso, tal vez, es lo menos importante. Porque cuando Quinn empieza a trabajar en el caso, no hay nada que indique una normalidad en el asunto. Lo cierto es que esta novela atrapa por la forma en que ahoga al personaje en su propia red, en sus obsesiones y en el hecho de 鈥渃reerse otro鈥�. Muy, muy buena y con varias referencias literarias. Las primeras p谩ginas son las mejores y revelan un estilo fluido y complicado a la vez.
Fantasmas (1986): esta es la m谩s extra帽a de las tres, la m谩s desconcertante. Eso no significa que sea mala, sino todo lo contrario: Auster parece redoblar el juego de las identidades y, para colmo, los personajes tienen nombres de colores. El estilo es parco, pero efectivo. Tambi茅n es de g茅nero policial y no termina como uno lo espera. La explicaci贸n esclarecedora que todos buscamos en el 煤ltimo cap铆tulo de una novela del g茅nero no se sirve en bandeja y resulta extra帽o. No estoy contando el final. Simplemente, estoy se帽alando su particularidad. No s茅 si me gust贸 m谩s que Ciudad de cristal, pero la am茅 (otra vez) porque toca la literatura como tema secundario, pero pone especial foco en el proceso de escritura.
La habitaci贸n cerrada (1986): creo que aqu铆 hay un problema de usurpaci贸n de vida, m谩s que nada. Una forma pr谩ctica y poco sutil del intercambio de identidad. A un hombre le piden que se encargue de los manuscritos de un escritor desaparecido. Todo lo que viene despu茅s ser铆a mucho m谩s emocionante si hubiera menos enredos con mujeres que no salen del inter茅s amoroso y/o del inter茅s sexual. El personaje principal me cans贸 con sus hormonas (y es un adulto, vale aclarar). La literatura vuelve a ocupar un plano importante, ya que las publicaciones y la escritura mueven las decisiones de un protagonista que desentierra el pasado casi para siempre. La novela est谩 narrada en primera persona, pero el personaje que narra me desagrada.
A modo general, dir铆a que Auster se siente muy c贸modo con la escritura y la literatura en estas tres novelas, a tal punto que le sirvi贸 para elaborar tres historias policiales y peculiares. Para algunos, quiz谩s, se vuelva cansador. Creo que vale la pena darle una oportunidad y seguramente es el mejor lugar para comenzar a conocer a este autor. Al menos, a m铆 me funcion贸. La trilog铆a de Nueva York, seg煤n mi parecer, apunta a un p煤blico lector de cl谩sicos que no se asuste con los spoilers y que le siga la pisada a estos personajes cultos y perdidos en una ciudad que se paraliza con sus conflictos internos.
Rese帽a en
Ciudad de cristal (1985): un escritor de novelas polic铆acas que se apellida Quinn recibe un llamado por equivocaci贸n. El escritor usa seud贸nimo y, extra帽amente, quien lo busca lo confunde con otro escritor. Acepta el caso 驴Le servir谩 su experiencia como creador de un detective? Eso, tal vez, es lo menos importante. Porque cuando Quinn empieza a trabajar en el caso, no hay nada que indique una normalidad en el asunto. Lo cierto es que esta novela atrapa por la forma en que ahoga al personaje en su propia red, en sus obsesiones y en el hecho de 鈥渃reerse otro鈥�. Muy, muy buena y con varias referencias literarias. Las primeras p谩ginas son las mejores y revelan un estilo fluido y complicado a la vez.
Fantasmas (1986): esta es la m谩s extra帽a de las tres, la m谩s desconcertante. Eso no significa que sea mala, sino todo lo contrario: Auster parece redoblar el juego de las identidades y, para colmo, los personajes tienen nombres de colores. El estilo es parco, pero efectivo. Tambi茅n es de g茅nero policial y no termina como uno lo espera. La explicaci贸n esclarecedora que todos buscamos en el 煤ltimo cap铆tulo de una novela del g茅nero no se sirve en bandeja y resulta extra帽o. No estoy contando el final. Simplemente, estoy se帽alando su particularidad. No s茅 si me gust贸 m谩s que Ciudad de cristal, pero la am茅 (otra vez) porque toca la literatura como tema secundario, pero pone especial foco en el proceso de escritura.
La habitaci贸n cerrada (1986): creo que aqu铆 hay un problema de usurpaci贸n de vida, m谩s que nada. Una forma pr谩ctica y poco sutil del intercambio de identidad. A un hombre le piden que se encargue de los manuscritos de un escritor desaparecido. Todo lo que viene despu茅s ser铆a mucho m谩s emocionante si hubiera menos enredos con mujeres que no salen del inter茅s amoroso y/o del inter茅s sexual. El personaje principal me cans贸 con sus hormonas (y es un adulto, vale aclarar). La literatura vuelve a ocupar un plano importante, ya que las publicaciones y la escritura mueven las decisiones de un protagonista que desentierra el pasado casi para siempre. La novela est谩 narrada en primera persona, pero el personaje que narra me desagrada.
A modo general, dir铆a que Auster se siente muy c贸modo con la escritura y la literatura en estas tres novelas, a tal punto que le sirvi贸 para elaborar tres historias policiales y peculiares. Para algunos, quiz谩s, se vuelva cansador. Creo que vale la pena darle una oportunidad y seguramente es el mejor lugar para comenzar a conocer a este autor. Al menos, a m铆 me funcion贸. La trilog铆a de Nueva York, seg煤n mi parecer, apunta a un p煤blico lector de cl谩sicos que no se asuste con los spoilers y que le siga la pisada a estos personajes cultos y perdidos en una ciudad que se paraliza con sus conflictos internos.
Rese帽a en
May 13, 2016
鈥淭he story is not in the words; it's in the struggle.鈥�
鈥� Paul Auster, The New York Trilogy
REVIEW 1:
An interesting PoMo novella. Auster's first novel/second book/first of his 'New York Trilogy', 'City of Glass' is simultaneously a detective novel, an exploration of the author/narrative dynamic, and a treatise on language. I liked parts, loved parts, and finished the book thinking the author had written something perhaps more interesting than important.
My favorite parts were the chapters where Auster (actual author Auster) through the narrator Quinn acting as the detective Auster explored Stillman's book: 'The Garden and the Tower: Early Visions of the New World'. I also enjoyed the chapter where Auster (character Auster) and Quinn (acting as detective Auster) explored Auster's (character Auster) Don Quixote ideas. Those chapters reminded me obliquely (everything in City of Glass is oblique) of Gaddis.
In the end, however, it all seemed like Auster had read Gaddis wanted to write a PoMo novel to reflect the confusing nature of the author/narrator/translator/editor role(s) of 'Don Quixote', set it all in Manhatten, and wanted to make the prose and story fit within the general framework of a detective novel. He pulled it off and it all kinda worked. I'll say more once I finish the next two of the 'New York Trilogy'.
REVIEW 2:
An uncanny valley of Gaddis IMHO. 'Ghosts', the second book in Auster's 'New York Trilogy' reminds me what I both like and don't like about MFA writers. Often clever and grammatically precise but they don't say so much. If they were painters their perspective would be perfect and their posters would sell, but the pigment or texture or something between the edges is just missing that undercurrent of something to give a real shit about.
REVIEW 3:
Not much to add that I haven't already written in my reviews of Auster's first two 'New York Trilogy' novels. In 'The Locked Room' Auster dances with the same themes, with slightly different variations. The novellas are more brothers to each other instead of cousins. In a lot of ways he reminds me of an earlier generations' Dave Eggers. There is definitely a lot of talent latent in the guy. He certainly can write, but unlike Fitzgerald who was able to tell a similar themed story in his novels and still provide weight. I just didn't feel the gravity. It was like Camus couldn't really decide whether to kill the Arab, didn't know if he cared or not, so he just walked around and killed himself but made the Arab watch.
I don't know. That may not be right. I'll probably just delete this review anyway. Only Otis will read it and I've asked him to delete all my reviews he doesn't like anyway. How do I guarantee this? Well, I could talk about Otis. I could tell you that there are things about author Auster, unrelated to his books I just don't like (who lives in NY Anyway?). He is a bad behaving author (untrue). He keeps sending me his manuscripts and wants me to say nice things about his work (untrue). I don't know. Is Auster married? Maybe, I'll go and console his wife now.
鈥� Paul Auster, The New York Trilogy
REVIEW 1:
An interesting PoMo novella. Auster's first novel/second book/first of his 'New York Trilogy', 'City of Glass' is simultaneously a detective novel, an exploration of the author/narrative dynamic, and a treatise on language. I liked parts, loved parts, and finished the book thinking the author had written something perhaps more interesting than important.
My favorite parts were the chapters where Auster (actual author Auster) through the narrator Quinn acting as the detective Auster explored Stillman's book: 'The Garden and the Tower: Early Visions of the New World'. I also enjoyed the chapter where Auster (character Auster) and Quinn (acting as detective Auster) explored Auster's (character Auster) Don Quixote ideas. Those chapters reminded me obliquely (everything in City of Glass is oblique) of Gaddis.
In the end, however, it all seemed like Auster had read Gaddis wanted to write a PoMo novel to reflect the confusing nature of the author/narrator/translator/editor role(s) of 'Don Quixote', set it all in Manhatten, and wanted to make the prose and story fit within the general framework of a detective novel. He pulled it off and it all kinda worked. I'll say more once I finish the next two of the 'New York Trilogy'.
REVIEW 2:
An uncanny valley of Gaddis IMHO. 'Ghosts', the second book in Auster's 'New York Trilogy' reminds me what I both like and don't like about MFA writers. Often clever and grammatically precise but they don't say so much. If they were painters their perspective would be perfect and their posters would sell, but the pigment or texture or something between the edges is just missing that undercurrent of something to give a real shit about.
REVIEW 3:
Not much to add that I haven't already written in my reviews of Auster's first two 'New York Trilogy' novels. In 'The Locked Room' Auster dances with the same themes, with slightly different variations. The novellas are more brothers to each other instead of cousins. In a lot of ways he reminds me of an earlier generations' Dave Eggers. There is definitely a lot of talent latent in the guy. He certainly can write, but unlike Fitzgerald who was able to tell a similar themed story in his novels and still provide weight. I just didn't feel the gravity. It was like Camus couldn't really decide whether to kill the Arab, didn't know if he cared or not, so he just walked around and killed himself but made the Arab watch.
I don't know. That may not be right. I'll probably just delete this review anyway. Only Otis will read it and I've asked him to delete all my reviews he doesn't like anyway. How do I guarantee this? Well, I could talk about Otis. I could tell you that there are things about author Auster, unrelated to his books I just don't like (who lives in NY Anyway?). He is a bad behaving author (untrue). He keeps sending me his manuscripts and wants me to say nice things about his work (untrue). I don't know. Is Auster married? Maybe, I'll go and console his wife now.
October 26, 2017
"螡伪 谓慰喂维味蔚蟽伪喂 纬喂伪 蟿喂蟼 位苇尉蔚喂蟼, 谓伪 蟺慰谓蟿维蟻蔚喂蟼 蟽蔚 慰, 蟿喂 纬蟻维蠁蔚蟿伪喂, 谓伪 蟺喂蟽蟿蔚蠉蔚喂蟼 蟽蟿畏 未蠉谓伪渭畏 蟿蠅谓 尾喂尾位委蠅谓. 螒蠀蟿蠈 蠀蟺蔚蟻尾伪委谓蔚喂 蠈位伪 蟿伪 蠀蟺蠈位慰喂蟺伪 魏伪喂, 蟺苇蟻伪 伪蟺蠈 伪蠀蟿蠈, 畏 味蠅萎 蟿慰蠀 伪谓胃蟻蠋蟺慰蠀 纬委谓蔚蟿伪喂 蟺慰位蠉 渭喂魏蟻萎."
螖畏位蠋谓蠅 螣蟽蟿蔚蟻喂魏畏 渭蔚蟿维 伪蟺慰 伪蠀蟿苇蟼 蟿喂蟼 3 蔚尉伪喂蟻蔚蟿喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼. 螛伪 蔚蟺伪谓苇位胃蠅 渭蔚 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 蟽蠂蠈位喂伪 蠈蟿伪谓 伪谓伪蟻蟻蠋蟽蠅 伪蟺蠈 蟿慰 未喂伪慰位蔚渭苇谓慰 蟽蠀谓维蠂喂.
螖畏位蠋谓蠅 螣蟽蟿蔚蟻喂魏畏 渭蔚蟿维 伪蟺慰 伪蠀蟿苇蟼 蟿喂蟼 3 蔚尉伪喂蟻蔚蟿喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼. 螛伪 蔚蟺伪谓苇位胃蠅 渭蔚 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 蟽蠂蠈位喂伪 蠈蟿伪谓 伪谓伪蟻蟻蠋蟽蠅 伪蟺蠈 蟿慰 未喂伪慰位蔚渭苇谓慰 蟽蠀谓维蠂喂.
Displaying 1 - 30 of 5,292 reviews
Can't find what you're looking for?
Get help and learn more about the design.