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袚邪谢懈褑褜泻褨 芯锌芯胁褨写邪薪薪褟
芦袚邪谢懈褑褜泻褨 芯锌芯胁褨写邪薪薪褟禄 鈥� 褑械 泻薪懈卸泻邪 锌褉芯 写械胁鈥櫻徯叫狙佈傃� 褉芯泻懈, 锌械褉械褏褨写颅薪懈泄 褔邪褋 褨 胁械谢懈褔械蟹薪懈泄 褋褍褋锌褨谢褜薪芯-褨褋褌芯褉懈褔薪懈泄 锌械褉械胁芯褉芯褌, 褖芯 胁褨写斜褍胁褋褟 锌芯 褌芯屑褍, 褟泻 蟹邪胁邪谢懈谢邪褋褟 胁褋褟 锌邪褉邪写懈谐屑邪 褋芯褑褨邪谢褨蟹屑褍, 袧邪褉芯写薪芯褩 袩芯谢褜褖褨 褌邪 小袪小袪. 袦褨褋褑械屑 写褨褩 褦 褋褏褨写薪褨 锌芯谢褜褋褜泻褨 蟹械屑谢褨 鈥� 褌邪 褔邪褋褌懈薪邪 袚邪谢懈褔懈薪懈, 褟泻邪 蟹邪 屑褨褎芯谢芯谐褨褦褞 褨 蟹胁懈褔邪褟屑懈 写褍卸械 斜谢懈蟹褜泻邪 校泻褉邪褩薪褨. 袚械褉芯褩 泻薪懈卸泻懈 鈥� 褌褉邪写懈褑褨泄薪芯 写谢褟 小褌邪褋褞泻邪 鈥� 谢褞写懈, 褟泻褨 褦 锌芯褉褍褔: 写褍卸械 蟹胁懈褔邪泄薪褨, 蟹斜褨写芯胁邪薪褨, 邪谢械 胁褋褨 褩褏薪褨 卸懈褌褌褦胁褨 褨褋褌芯褉褨褩 胁邪卸谢懈胁褨 泄 褑褨薪薪褨. 笑械 芯写薪邪 蟹 褉邪薪薪褨褏 小褌邪褋褞泻芯胁懈褏 泻薪懈卸芯泻 褔邪褋褍 蟹邪褏芯锌谢械薪薪褟 邪胁褌芯褉邪 袘褉褍薪芯 楔褍谢褜褑芯屑 褨 屑邪谐褨褦褞 泄芯谐芯 锌懈褋褜屑邪. 袙褨薪 褖械 薪械 褦 褋褌褉懈屑邪薪懈屑 褨 谢邪泻芯薪褨褔薪懈屑, 邪 锌械褉械卸懈胁邪褦 蟹邪褏胁邪褌 蟹褨 褋锌褉芯斜懈 锌懈褋邪褌懈 锌褉芯 锌褉芯褋褌褨 褉械褔褨 写懈胁芯胁懈卸薪芯褞 屑芯胁芯褞.
120 pages, Hardcover
First published January 1, 1995
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1061 people want to read
About the author
Andrzej Stasiuk
66听books308听followersAndrzej Stasiuk is one of the most successful and internationally acclaimed contemporary Polish writers, journalists and literary critics. He is best known for his travel literature and essays that describe the reality of Eastern Europe and its relationship with the West.
After being dismissed from secondary school, Stasiuk dropped out also from a vocational school and drifted aimlessly, became active in the Polish pacifist movement and spent one and a half years in prison for deserting the army - as legend has it, in a tank. His experiences in prison provided him with the material for the stories in his literary debut in 1992. Titled Mury Hebronu ("The Walls of Hebron"), it instantly established him as a premier literary talent. After a collection of poems Wiersze mi艂osne i nie, 1994 ("Love and non-love poems"), Stasiuk's bestselling first full-length novel Bia艂y kruk (English translation as "White Raven" in 2000) appeared in 1995 and consolidated his position among the most successful authors in post-communist Poland.
Long before his literary breakthrough, in 1986, Stasiuk had left his native Warsaw and withdrew to the seclusion of the small hamlet of Czarne in the Beskids, a secluded part of the Carpathian mountain range in the south of Poland. Outside writing, he spends his time breeding sheep. Together with his wife, he also runs his own tiny but, by now, prestigious publishing business Wydawnictwo Czarne, named after its seat. Apart from his own books, Czarne also publishes other East European authors. Czarne also re-published works by the 茅migr茅 Polish author Zygmunt Haupt, thus initiating Haupt's rediscovery in Poland.
While White Raven had a straight adventure plot, Stasiuk's subsequent writing has become increasingly impressionistic and concentrated on atmospheric descriptions of his adopted mental home, the provincial south-east of Poland and Europe, and the lives of its inhabitants. Opowie艣ci Galicyjskie ("Tales of Galicia"), one of several works available in English (among the others are "White Raven", "Nine", "Dukla," "Fado," and "On the Road to Babadag") conveys a good impression of the specific style developed by Stasiuk. A similar text is Dukla (1997), named after a small town near his home. Dukla achieved Stasiuk's breakthrough in Germany and helped built him the most appreciative reader-base outside of Poland, although a number of Stasiuk's books have been translated into several other languages.
After being dismissed from secondary school, Stasiuk dropped out also from a vocational school and drifted aimlessly, became active in the Polish pacifist movement and spent one and a half years in prison for deserting the army - as legend has it, in a tank. His experiences in prison provided him with the material for the stories in his literary debut in 1992. Titled Mury Hebronu ("The Walls of Hebron"), it instantly established him as a premier literary talent. After a collection of poems Wiersze mi艂osne i nie, 1994 ("Love and non-love poems"), Stasiuk's bestselling first full-length novel Bia艂y kruk (English translation as "White Raven" in 2000) appeared in 1995 and consolidated his position among the most successful authors in post-communist Poland.
Long before his literary breakthrough, in 1986, Stasiuk had left his native Warsaw and withdrew to the seclusion of the small hamlet of Czarne in the Beskids, a secluded part of the Carpathian mountain range in the south of Poland. Outside writing, he spends his time breeding sheep. Together with his wife, he also runs his own tiny but, by now, prestigious publishing business Wydawnictwo Czarne, named after its seat. Apart from his own books, Czarne also publishes other East European authors. Czarne also re-published works by the 茅migr茅 Polish author Zygmunt Haupt, thus initiating Haupt's rediscovery in Poland.
While White Raven had a straight adventure plot, Stasiuk's subsequent writing has become increasingly impressionistic and concentrated on atmospheric descriptions of his adopted mental home, the provincial south-east of Poland and Europe, and the lives of its inhabitants. Opowie艣ci Galicyjskie ("Tales of Galicia"), one of several works available in English (among the others are "White Raven", "Nine", "Dukla," "Fado," and "On the Road to Babadag") conveys a good impression of the specific style developed by Stasiuk. A similar text is Dukla (1997), named after a small town near his home. Dukla achieved Stasiuk's breakthrough in Germany and helped built him the most appreciative reader-base outside of Poland, although a number of Stasiuk's books have been translated into several other languages.
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February 16, 2017
Andrzej Stasiuk, leaving to others charms and glamour of all Londons, Romes or Parises, is a bard of the other Europe, this minor and poorer one, with its provincial towns, petrified silence and bygone glory. Instead of popular places he chooses small corners of the world which modernness never fully touched and where time seems to stop in some other era.
Stasiuk likes to roam the dusty roads and impenetrable off-roads; he can enthuse about play of lights, fogbound mountains and cavernous darkness falling over the earth; he likes to watching people, but not with the curiosity of a scientist observing a savage, not condescending superiority of someone from a big city, not with greed of the conqueror but with this ancient attitude that makes wanderers to sit by the fire and listen to the local legends. His sensitivity to the surrounding world can not be overestimated and his admiration for the beauty of the landscape infects the reader.
Galicia from Stasiuk鈥榮 writing feels like a place beyond the time, like a country forgotten by God and civilization. Small villages or maybe hamlets with ruined habitations and neglected farmyards, where even crows would turn around and fly back where they came from and people, marked with poverty, drunkenness and helplessness, more or less trying to deal with post communist reality, form a new tribe after all, a people who hadn鈥檛 been reached by any good news or apostle Paul . Life takes its unchangeable course and concentrates around invariable landmarks church and shop, pub and bus stop.
This collection could easily be read in one evening but instead I preferred to dose myself the pleasure of staying in the Galician little town, in a place where the earth and the sky seem to be stitched with invisible thread; to know the locals and experience that something what makes a color and spirit of this land.
Look at J贸zek, as innocent as an angel, like a child, like a creature from the time when God had only begun to contemplate the notion of sin ; he often sleeps in places when sleep just found him and when he goes off the pub does not part with a knife since one can not know everyone there. Here is W艂adek, whose soul seems to be too light to help him in the fight with heavy matter. And there again is Janek, looking like a forest kobold with dark, nomadic essences flowing under his skin, every year leaving behind house and village, that turbulent kingdom of women and children to get lost in the woods for some months. There is Ko艣ciejny, pallid, anguished creature who killed his wife鈥檚 lover and froze to death some years later to wander now about and be visible only to nonbeliever policeman. And there ...
Tale spins lazily like a smoke over autumn fields leaving in your nostrils scent of wind and damp soil, conjuring images of green pastures, distant hills and an old Greek church which used to stay there. Tales of Galicia is a small collection of miniatures where lyricism naturally interweaves with brutality. It's beautiful evocation of people and places, meditation on nature of time and memory because as writer said himself time and memory were his homeland.
June 20, 2024
Der Erz盲hlband "Galizische Geschichten" von Andrzej Stasiuk stammt aus dem Jahr 1995. In 15 Geschichten wird das Leben in Polen an der Grenze zur Slowakei beschrieben. Im Zentrum steht die Welt der Arbeiter in der Landwirtschaft nach dem Zusammenbruch des Kommunismus.
Alles neigt "ganz nat眉rlich zum Verfall". "Die H盲user sind vom Gebr眉ll der Kinder erf眉llt. Es ist noch kein Hungergeschrei, aber keiner wei脽, was die Zukunft bringen wird." Die Kneipe ist der Mittelpunkt der M盲nner, Ort der "mystischen Kontemplation" und zugleich "stinkiges Fegefeuer". Der Traktor, ihr wichtigstes Arbeitsger盲t, ist immer am Rande des Zusammenbruchs. Die LPG ist bereits zusammengebrochen. Nur eine der 15 Geschichten beschreibt einen wirtschaftlichen Aufstieg. In zwei Geschichten gibt es weibliche Protagonistinnen. Ansonsten ist es eine M盲nnerwelt, die Stasiuk hier schildert.
Die Geschichten beschreiben alle eine spezifische Welt. Heute w眉rde man das Buch vermutlich als "Roman in Geschichten" bewerben, da sich Romane in Deutschland besser verkaufen. Ganz falsch w盲re das nicht. Die Konzentration auf eine spezifische Welt und das Auftreten einiger Charaktere in mehreren Geschichten w眉rden dieses rechtfertigen.
Obwohl das hier beschriebene Leben trostlos und monoton ist, habe ich die Geschichten gerne gelesen. Nach der Bewertung der einzelnen Geschichten (Details s.u.) komme ich auf einen Schnitt von 3,9 Sternen.
1. J贸zek ****
2. W艂adek ****
3. Kruk, der Schmied ****
4. Janek
5. Der Ort ***
6. Ko艣ciejny ****
7. Lewandowski ***
8. Die Kneipe ****
9. Die Oma ****
10. Der rotblonde Feldwebel ****
11. Die Nacht ****
12. Mary艣ka
13. Die Beichte ***
14. Die zweite Nacht ****
15. Ende ***
Alles neigt "ganz nat眉rlich zum Verfall". "Die H盲user sind vom Gebr眉ll der Kinder erf眉llt. Es ist noch kein Hungergeschrei, aber keiner wei脽, was die Zukunft bringen wird." Die Kneipe ist der Mittelpunkt der M盲nner, Ort der "mystischen Kontemplation" und zugleich "stinkiges Fegefeuer". Der Traktor, ihr wichtigstes Arbeitsger盲t, ist immer am Rande des Zusammenbruchs. Die LPG ist bereits zusammengebrochen. Nur eine der 15 Geschichten beschreibt einen wirtschaftlichen Aufstieg. In zwei Geschichten gibt es weibliche Protagonistinnen. Ansonsten ist es eine M盲nnerwelt, die Stasiuk hier schildert.
Die Geschichten beschreiben alle eine spezifische Welt. Heute w眉rde man das Buch vermutlich als "Roman in Geschichten" bewerben, da sich Romane in Deutschland besser verkaufen. Ganz falsch w盲re das nicht. Die Konzentration auf eine spezifische Welt und das Auftreten einiger Charaktere in mehreren Geschichten w眉rden dieses rechtfertigen.
Obwohl das hier beschriebene Leben trostlos und monoton ist, habe ich die Geschichten gerne gelesen. Nach der Bewertung der einzelnen Geschichten (Details s.u.) komme ich auf einen Schnitt von 3,9 Sternen.
1. J贸zek ****
2. W艂adek ****
3. Kruk, der Schmied ****
4. Janek
5. Der Ort ***
6. Ko艣ciejny ****
7. Lewandowski ***
8. Die Kneipe ****
9. Die Oma ****
10. Der rotblonde Feldwebel ****
11. Die Nacht ****
12. Mary艣ka
13. Die Beichte ***
14. Die zweite Nacht ****
15. Ende ***
December 10, 2015
[4.5] The darker side of the beautiful nature-writing and psychogeography of , perhaps. A slightly earlier book set in Stasiuk's adopted home in the Beskid mountains near the Polish-Slovak border, where Dukla concentrated on place, Tales of Galicia is about people. Before writing about the ethereal sense of place two years later, he based this novella on the lives of locals, people with tougher, less mobile existences than his own. This was the mid-1990s after the collapse of Communist collective farming - probably near rock-bottom for villages like these, before capitalism and tourism improved prospects again. (There are some gorgeous recent photographs of the area, , the title a pun on the original Polish title of this book).
I'd been interested in this book for a long time; it's been out of print for years and the second hand price has now shot up to 拢100. Kicking myself for not getting it when it was nearer 拢20, I'd accepted I may never read it. Then after reading Agnieszka's post, I was browsing the publisher's website and idly clicked the link to their : and there was Tales of Galicia as a free PDF download. (I'm a subscriber on Scribd, but it looks like you can get this PDF without subscribing to the main ebook service.)
I loved Tales of Galicia in much the same way as I loved Dukla, though when the narrative was in close third-person, I wasn't always sure the intense, metaphysical style rang true to some villagers' personalities. With some it does, whilst with some characters Stasiuk uses simpler phrasing; but others I imagined them having the same ideas in different words, or feeling these things almost wordlessly. The kneejerk contemporary reaction might be to call the characterisation essentialist or romanticised - an author from the city - albeit a self-taught author without a degree - moves to a rural area and sees people as having simple, hard lives only partly touched by technology. Yet these places were certainly more isolated and less mechanised than West European rural areas at the same time; and it would be impossible to judge without knowing them (and the period) for oneself...I get the feeling he's pretty accurate, except, crucially, humour is almost absent. But I would love to know the opinions of people who grew up in villages like this one.
There was a phrase either in Tess of the d'Urbervilles, or the Penguin introduction - a quote I spent hours trying to find again in my teens - that succinctly and perfectly described something about remote places that seem always to have been as they are, for good and bad. In some ways beautiful, others awful. The village in Tales of Galicia is like that, a beautiful place with little of the noise of city life, more or less close-knit, but but with undercurrents of violence and abuse, more recent norms more established in cities not having spread to somewhere so isolated, where no-one can hear you scream.
It was a village like any other. A snaking three-kilometer chain of buildings scattering, splitting off, and then clustering densely together again. The concrete, wood, sagging roofs, relics of fences, and iron balustrades produced a fallen cake of poverty and a yearning for the world as seen on tv. The asphalt road barely grazed the outskirts of the area of densest settlement, barely brushed against it. Which was probably all for the best, since kids and dogs had taken possession of the pot-holed gravel road that served as the main artery.
his fertility was of almost biblical proportions, although not too much out of the ordinary around here.
About the guy who had been sleeping with his own daughter for years, and how people had already gotten used to it and forgotten about it. He told me who had bought himself a fourteen-year-old girl for money and was waiting for the girl to grow up so he could marry her and for now he was just keeping her in the house for work of one kind or another.
The fall of communism has allowed that yearning for the world as seen on TV to manifest physically; now everything is changing so much now that you wouldn鈥檛 recognize it a week later. As the afterword says, The action of the book takes place a few years after 1989, and this peripheral setting offers a prime vantage point from which to view the effects of transition spreading out from the center.
In the pub they are all ears listening to Edek鈥檚 niuyorks, grinpoynts, djobs, blaks and kadylaks
the waitress appeared from behind a curtain of colorful plastic strips in makeup, jewelry and stretch pants covered with clusters of grape vines, her gold earrings in a duet with the tape player, just like the dreamily yawning, final lazy aamoorree.
The girl looked at his broad shoulders in a parrot-green American Kick Boxer jacket, at his rear end in purple Gladiator sweat pants, at his whole figure, which iridesced and phosphoresced from his feet on up to his lemon-colored Yellowstone cap.
Whilst Stasiuk has an eye for the metaphysical and for the beauty of nature, I think he realises that what most middle-class outsiders regard as tackiness is also an essential part of working-class and rural life: surely it comes from the same impulse which has always led people to innovate regardless of poverty or of not having all the same information sources as "tastemakers". (Around the same time I was reading this book, I browsed a website for something I'd regard as pretty much a dream holiday if I were fit & healthy - working holidays on traditionally run E. European farms - and noticed an aesthetic criterion for traditional, touristique villages. Essentialist, yet likely also sensible and realistic in order to keep the greatest number of customers happy and therefore to break even: Unfortunately and relatively counterintuitively for those not closely acquainted to the Romanian village situation, our criteria are not easy to meet, mainly because of a recent invasion of kitsch in rural areas.)
Describing the new consumerist novelties, Stasiuk's writing edged towards the pseudishly earnest. I'm reminded of a friend's opinion that English is worse-suited to poetic seriousness than continental languages, and that may be the problem here. Although I like the underlying intention, blending old religious fervour with the idolisation of these new products, I think it could do with a dash of humorous exaggeration or irony:
Blue Ocean Deodorant 鈥� this is the color of the Mother of God, of the firmament, and like white it represents purity. Red 鈥� Fort Moka Desert 鈥� this is the color of the Holy Ghost which kindles the flames of love and bursts forth as tongues of flame. It is also the color of Christ鈥檚 Passion, of the cross and of all those travelers who spilled blood on the road to faith. Black 鈥� John Players Stuyvesant 鈥� this is death, mourning, grief and conciliation but also contempt for the world, repudiation and darkness which only divine light can dispel.
With Stasiuk's writing, it's easy to concentrate on description because of its richness, yet it's characters who structure this novella. Having a chapter per person means it's also been described as a short story collection - although it's more cohesive than that suggests. I found it a more natural way of getting to know a place than standard narratives: as you would often in a new place, you meet people one by one, observe what is around at the time, gradually learn more about that person and aspects of life to which they're connected. Some of these characters are rather similar: most are tough working-class men hewn from the same stone, though a few have distinctive jobs or histories. 'Grandma' in some ways is a storybook babushka, yet her story becomes a little more complex and fleshed-out; the other woman who has her own chapter would have to be described as a force of nature, someone perhaps too beautiful and strange to do well in such a place, an archetype whose name I don't know; yet she and those who fit in better are alike in having substantial tragedy attached.
It is the ancient and transcendent rather than the modern on which Stasiuk is most enchanting, and which makes this book beautiful alongside the hardships it details, reflecting a harsh life in a lovely landscape:
rooted in some primordial time when nouns, verbs and adjectives were firmly bound to objects, events and attributes, in a time when language was only a mirror reflection of the world
Janek lived according to the clock of the sun, whose adaptability was more compatible with a nature immersed in the cosmos.
When the black windows paled to blue and the light of dawn drew out their transparency and grime, the men would get up, one waking up the other, muttering the same curses their fathers had used.
when they woke up on all of the dawns that had been allotted to them.
Or on landscape: Winter ends late here. There are blizzards even in April, and the nights are frosty. The arrival of spring is preceded by a muddy season when colors run together. White struggles with black, with grayness, with the first green. The slopes and valleys continually change their appearance.
They all emerged from winter white and to it they returned, as if December actually had the power to abolish time. On a snowy night, when the fluorescent lights glowed with a quiet hum, it always looked like the start of eternity. [I love reading that in December; it seems unusual to love being in the burrow of all this darkness, a longed for yet involuntary pause in self and world regardless of what noisy customs have been laid on top - I suppose I have something of the physical stasis associated with winter SAD, whilst tending not to sadness but to an almost stubborn contentment and entrenchment, unlike the dissatisfied restlessness of lighter times of the year. In Stasiuk, I see someone else understands it and words it so beautifully, elucidating ideas I had never verbalised.]
His rural environment is clearly not the pretty chocolate-box village, and there was this visceral reminder of how draughty daily life at home in little wooden houses would have been - still will be somewhere - which if I ever knew it before, I'd forgotten: Its whistlings penetrated right through Grandma鈥檚 shack, swept the dust from the floor, whipped the gray, braided straw ropes up the chimney and flung them into the sky,
In two or three [Nordic & Baltic] novels & old stories of rural life I've read over the past couple of years, people have been reluctant to slaughter their own livestock, because they were too attached to the animals, and a neighbour had to do it instead. (Something which contemporary urban people perhaps don't realise, assuming that they were emotionally cold, or knowing only about TV chefs who have raised and slaughtered their own livestock.) The same situation crops up again here: a man gets a fellow villager to do slaughtering, and the one doing the killing makes the additional more detached point: The most important thing is that the little beast doesn鈥檛 get scared. Makes a bad job of it, and the meat鈥檚 no good. Stinks of fear. It鈥檚 worst with a pig. You can鈥檛 fool a pig, it鈥檚 smart.
There is an excellent afterword by the translator (from 2003), which among other things, gives national context to the book, and mentions what has been lost in translation.
Political, social and economic changes set in motion in 1989 created a climate much more open to new and experimental literary voices, and Stasiuk, along with his contemporaries (among them Stefan Chwin, Natasza Goerke, Pawe艂 Huelle, Jerzy Pilch, Olga Tokarczuk, and Magdalena Tulli), responded by creating a literature that engaged both Poland鈥檚 past and recent Western literary, cultural and critical preoccupations. Among other things, the new Polish prose is characterized by a strong centrifugal tendency and a corresponding rootedness in so-called 鈥渓ittle homelands.鈥�... Stasiuk鈥檚 Beskid Mountains, the Gda艅sk of Huelle and Chwin, the Silesia of Pilch and Tokarczuk 鈥� all are essentially as far away from Warsaw as one can be without crossing the border...
A strong inclination toward generic experimentation is also characteristic, manifesting itself, for example, in Goerke鈥檚 rejection of conventional, realistic, cause-and-effect narrative structure; in Tokarczuk鈥檚 mosaics of voices and styles; and in Stasiuk鈥檚 continual interrogation of canonical textual boundaries.
As I've mentioned, Stasiuk lives near the Slovak border - and borders, boundaries and their fluidity are a common theme in his writing:
鈥渇issure in existence,鈥� where boundaries dissolve between the natural and the supernatural, and where passage can be made from one side to another... Kosciejny [who becomes a ghost] becomes the embodiment (and disembodiment) of the tension between matter and spirit that lies at the core of Stasiuk鈥檚 metaphysics. Other significant vehicles for expressing this tension include television, dreams, alcohol, forces of nature, and time, all of which have the power to suspend Stasiuk鈥檚 characters for at least a moment over the fissure in existence that makes death, as well as life, less certain.
The narrator is not only semi-autobiographical, but he simultaneously assumes two roles: he is an outsider to the villagers, but a local to tourists. In constructing the book鈥檚 narrative trajectory, Stasiuk deliberately plays with the limits between fallibility and omniscience, several times surrendering the narrative (to a greater or lesser degree) to another persona altogether...
Not having a degree, having been in prison, preferring to live hundreds of miles from urban literary centres - yet also being one of Poland's most respected authors - he seems like a figure who is always both and neither: establishment and outsider.
The liminality of his adopted home is also cultural: the region as a centuries-old palimpsest created by a succession of migrating (or invading) cultures. A prominent theme is the cyclical efflorescence and decay of a series of belief systems brought from over the border: the migrant Lemko population brought their own Greek Catholic, or Uniate, church observing the rites of Eastern Orthodoxy but looking to the Pope in Rome). Stasiuk had looked after an old wooden Greek Catholic church in a forest, which was later taken down and transported piece by piece to a museum. Its site is also a kind of ghost, present and absent at once.
Perhaps the most fascinating thing about this commentary was to learn how the original language facilitates this sense of fading in and out of time and of crossing and hovering around borders:
English verbs do not have the same nuanced possibilities of motion, quantity, and force offered by Polish affixes. Verb tense shifts back and forth easily in the original 鈥� this is allowable, even neutral in Polish, but Stasiuk knowingly exploits its potential to efface boundaries between past, present, and future. The translator is faced with the task of marking this purposefully constructed synchronicity without offending the sensibilities of readers accustomed to narratives in a uniformly past tense.
Stasiuk makes use of several different language registers simultaneously, and this signals both his narrator鈥檚 otherness and his gradually acquired status as local, but this idiom is exceedingly difficult to render in a translation.
The translator was still studying at the time she worked on this book; I wondered if someone more experienced and more avant-garde might have managed to transpose this tense-play more effectively into English - that surely would have been a full-five-star book. Still, the overall tone in the prose is very similar to that in the translation of Dukla by Bill Johnson, considered one of the most accomplished Polish-English literary translators - and quotes from that captured the feel of Stasiuk's writing for a GR friend who's a native Polish speaker - so something substantial must be right here.
I'd been interested in this book for a long time; it's been out of print for years and the second hand price has now shot up to 拢100. Kicking myself for not getting it when it was nearer 拢20, I'd accepted I may never read it. Then after reading Agnieszka's post, I was browsing the publisher's website and idly clicked the link to their : and there was Tales of Galicia as a free PDF download. (I'm a subscriber on Scribd, but it looks like you can get this PDF without subscribing to the main ebook service.)
I loved Tales of Galicia in much the same way as I loved Dukla, though when the narrative was in close third-person, I wasn't always sure the intense, metaphysical style rang true to some villagers' personalities. With some it does, whilst with some characters Stasiuk uses simpler phrasing; but others I imagined them having the same ideas in different words, or feeling these things almost wordlessly. The kneejerk contemporary reaction might be to call the characterisation essentialist or romanticised - an author from the city - albeit a self-taught author without a degree - moves to a rural area and sees people as having simple, hard lives only partly touched by technology. Yet these places were certainly more isolated and less mechanised than West European rural areas at the same time; and it would be impossible to judge without knowing them (and the period) for oneself...I get the feeling he's pretty accurate, except, crucially, humour is almost absent. But I would love to know the opinions of people who grew up in villages like this one.
There was a phrase either in Tess of the d'Urbervilles, or the Penguin introduction - a quote I spent hours trying to find again in my teens - that succinctly and perfectly described something about remote places that seem always to have been as they are, for good and bad. In some ways beautiful, others awful. The village in Tales of Galicia is like that, a beautiful place with little of the noise of city life, more or less close-knit, but but with undercurrents of violence and abuse, more recent norms more established in cities not having spread to somewhere so isolated, where no-one can hear you scream.
It was a village like any other. A snaking three-kilometer chain of buildings scattering, splitting off, and then clustering densely together again. The concrete, wood, sagging roofs, relics of fences, and iron balustrades produced a fallen cake of poverty and a yearning for the world as seen on tv. The asphalt road barely grazed the outskirts of the area of densest settlement, barely brushed against it. Which was probably all for the best, since kids and dogs had taken possession of the pot-holed gravel road that served as the main artery.
his fertility was of almost biblical proportions, although not too much out of the ordinary around here.
About the guy who had been sleeping with his own daughter for years, and how people had already gotten used to it and forgotten about it. He told me who had bought himself a fourteen-year-old girl for money and was waiting for the girl to grow up so he could marry her and for now he was just keeping her in the house for work of one kind or another.
The fall of communism has allowed that yearning for the world as seen on TV to manifest physically; now everything is changing so much now that you wouldn鈥檛 recognize it a week later. As the afterword says, The action of the book takes place a few years after 1989, and this peripheral setting offers a prime vantage point from which to view the effects of transition spreading out from the center.
In the pub they are all ears listening to Edek鈥檚 niuyorks, grinpoynts, djobs, blaks and kadylaks
the waitress appeared from behind a curtain of colorful plastic strips in makeup, jewelry and stretch pants covered with clusters of grape vines, her gold earrings in a duet with the tape player, just like the dreamily yawning, final lazy aamoorree.
The girl looked at his broad shoulders in a parrot-green American Kick Boxer jacket, at his rear end in purple Gladiator sweat pants, at his whole figure, which iridesced and phosphoresced from his feet on up to his lemon-colored Yellowstone cap.
Whilst Stasiuk has an eye for the metaphysical and for the beauty of nature, I think he realises that what most middle-class outsiders regard as tackiness is also an essential part of working-class and rural life: surely it comes from the same impulse which has always led people to innovate regardless of poverty or of not having all the same information sources as "tastemakers". (Around the same time I was reading this book, I browsed a website for something I'd regard as pretty much a dream holiday if I were fit & healthy - working holidays on traditionally run E. European farms - and noticed an aesthetic criterion for traditional, touristique villages. Essentialist, yet likely also sensible and realistic in order to keep the greatest number of customers happy and therefore to break even: Unfortunately and relatively counterintuitively for those not closely acquainted to the Romanian village situation, our criteria are not easy to meet, mainly because of a recent invasion of kitsch in rural areas.)
Describing the new consumerist novelties, Stasiuk's writing edged towards the pseudishly earnest. I'm reminded of a friend's opinion that English is worse-suited to poetic seriousness than continental languages, and that may be the problem here. Although I like the underlying intention, blending old religious fervour with the idolisation of these new products, I think it could do with a dash of humorous exaggeration or irony:
Blue Ocean Deodorant 鈥� this is the color of the Mother of God, of the firmament, and like white it represents purity. Red 鈥� Fort Moka Desert 鈥� this is the color of the Holy Ghost which kindles the flames of love and bursts forth as tongues of flame. It is also the color of Christ鈥檚 Passion, of the cross and of all those travelers who spilled blood on the road to faith. Black 鈥� John Players Stuyvesant 鈥� this is death, mourning, grief and conciliation but also contempt for the world, repudiation and darkness which only divine light can dispel.
With Stasiuk's writing, it's easy to concentrate on description because of its richness, yet it's characters who structure this novella. Having a chapter per person means it's also been described as a short story collection - although it's more cohesive than that suggests. I found it a more natural way of getting to know a place than standard narratives: as you would often in a new place, you meet people one by one, observe what is around at the time, gradually learn more about that person and aspects of life to which they're connected. Some of these characters are rather similar: most are tough working-class men hewn from the same stone, though a few have distinctive jobs or histories. 'Grandma' in some ways is a storybook babushka, yet her story becomes a little more complex and fleshed-out; the other woman who has her own chapter would have to be described as a force of nature, someone perhaps too beautiful and strange to do well in such a place, an archetype whose name I don't know; yet she and those who fit in better are alike in having substantial tragedy attached.
It is the ancient and transcendent rather than the modern on which Stasiuk is most enchanting, and which makes this book beautiful alongside the hardships it details, reflecting a harsh life in a lovely landscape:
rooted in some primordial time when nouns, verbs and adjectives were firmly bound to objects, events and attributes, in a time when language was only a mirror reflection of the world
Janek lived according to the clock of the sun, whose adaptability was more compatible with a nature immersed in the cosmos.
When the black windows paled to blue and the light of dawn drew out their transparency and grime, the men would get up, one waking up the other, muttering the same curses their fathers had used.
when they woke up on all of the dawns that had been allotted to them.
Or on landscape: Winter ends late here. There are blizzards even in April, and the nights are frosty. The arrival of spring is preceded by a muddy season when colors run together. White struggles with black, with grayness, with the first green. The slopes and valleys continually change their appearance.
They all emerged from winter white and to it they returned, as if December actually had the power to abolish time. On a snowy night, when the fluorescent lights glowed with a quiet hum, it always looked like the start of eternity. [I love reading that in December; it seems unusual to love being in the burrow of all this darkness, a longed for yet involuntary pause in self and world regardless of what noisy customs have been laid on top - I suppose I have something of the physical stasis associated with winter SAD, whilst tending not to sadness but to an almost stubborn contentment and entrenchment, unlike the dissatisfied restlessness of lighter times of the year. In Stasiuk, I see someone else understands it and words it so beautifully, elucidating ideas I had never verbalised.]
His rural environment is clearly not the pretty chocolate-box village, and there was this visceral reminder of how draughty daily life at home in little wooden houses would have been - still will be somewhere - which if I ever knew it before, I'd forgotten: Its whistlings penetrated right through Grandma鈥檚 shack, swept the dust from the floor, whipped the gray, braided straw ropes up the chimney and flung them into the sky,
In two or three [Nordic & Baltic] novels & old stories of rural life I've read over the past couple of years, people have been reluctant to slaughter their own livestock, because they were too attached to the animals, and a neighbour had to do it instead. (Something which contemporary urban people perhaps don't realise, assuming that they were emotionally cold, or knowing only about TV chefs who have raised and slaughtered their own livestock.) The same situation crops up again here: a man gets a fellow villager to do slaughtering, and the one doing the killing makes the additional more detached point: The most important thing is that the little beast doesn鈥檛 get scared. Makes a bad job of it, and the meat鈥檚 no good. Stinks of fear. It鈥檚 worst with a pig. You can鈥檛 fool a pig, it鈥檚 smart.
There is an excellent afterword by the translator (from 2003), which among other things, gives national context to the book, and mentions what has been lost in translation.
Political, social and economic changes set in motion in 1989 created a climate much more open to new and experimental literary voices, and Stasiuk, along with his contemporaries (among them Stefan Chwin, Natasza Goerke, Pawe艂 Huelle, Jerzy Pilch, Olga Tokarczuk, and Magdalena Tulli), responded by creating a literature that engaged both Poland鈥檚 past and recent Western literary, cultural and critical preoccupations. Among other things, the new Polish prose is characterized by a strong centrifugal tendency and a corresponding rootedness in so-called 鈥渓ittle homelands.鈥�... Stasiuk鈥檚 Beskid Mountains, the Gda艅sk of Huelle and Chwin, the Silesia of Pilch and Tokarczuk 鈥� all are essentially as far away from Warsaw as one can be without crossing the border...
A strong inclination toward generic experimentation is also characteristic, manifesting itself, for example, in Goerke鈥檚 rejection of conventional, realistic, cause-and-effect narrative structure; in Tokarczuk鈥檚 mosaics of voices and styles; and in Stasiuk鈥檚 continual interrogation of canonical textual boundaries.
As I've mentioned, Stasiuk lives near the Slovak border - and borders, boundaries and their fluidity are a common theme in his writing:
鈥渇issure in existence,鈥� where boundaries dissolve between the natural and the supernatural, and where passage can be made from one side to another... Kosciejny [who becomes a ghost] becomes the embodiment (and disembodiment) of the tension between matter and spirit that lies at the core of Stasiuk鈥檚 metaphysics. Other significant vehicles for expressing this tension include television, dreams, alcohol, forces of nature, and time, all of which have the power to suspend Stasiuk鈥檚 characters for at least a moment over the fissure in existence that makes death, as well as life, less certain.
The narrator is not only semi-autobiographical, but he simultaneously assumes two roles: he is an outsider to the villagers, but a local to tourists. In constructing the book鈥檚 narrative trajectory, Stasiuk deliberately plays with the limits between fallibility and omniscience, several times surrendering the narrative (to a greater or lesser degree) to another persona altogether...
Not having a degree, having been in prison, preferring to live hundreds of miles from urban literary centres - yet also being one of Poland's most respected authors - he seems like a figure who is always both and neither: establishment and outsider.
The liminality of his adopted home is also cultural: the region as a centuries-old palimpsest created by a succession of migrating (or invading) cultures. A prominent theme is the cyclical efflorescence and decay of a series of belief systems brought from over the border: the migrant Lemko population brought their own Greek Catholic, or Uniate, church observing the rites of Eastern Orthodoxy but looking to the Pope in Rome). Stasiuk had looked after an old wooden Greek Catholic church in a forest, which was later taken down and transported piece by piece to a museum. Its site is also a kind of ghost, present and absent at once.
Perhaps the most fascinating thing about this commentary was to learn how the original language facilitates this sense of fading in and out of time and of crossing and hovering around borders:
English verbs do not have the same nuanced possibilities of motion, quantity, and force offered by Polish affixes. Verb tense shifts back and forth easily in the original 鈥� this is allowable, even neutral in Polish, but Stasiuk knowingly exploits its potential to efface boundaries between past, present, and future. The translator is faced with the task of marking this purposefully constructed synchronicity without offending the sensibilities of readers accustomed to narratives in a uniformly past tense.
Stasiuk makes use of several different language registers simultaneously, and this signals both his narrator鈥檚 otherness and his gradually acquired status as local, but this idiom is exceedingly difficult to render in a translation.
The translator was still studying at the time she worked on this book; I wondered if someone more experienced and more avant-garde might have managed to transpose this tense-play more effectively into English - that surely would have been a full-five-star book. Still, the overall tone in the prose is very similar to that in the translation of Dukla by Bill Johnson, considered one of the most accomplished Polish-English literary translators - and quotes from that captured the feel of Stasiuk's writing for a GR friend who's a native Polish speaker - so something substantial must be right here.
February 12, 2015
* 12.02.
袠蟹褑褟谢芯 褟 锌褉芯褔械褌芯褏 懈 胁褌芯褉懈褟 锌褗褌, 薪械 褋邪屑芯 芯褌褌褍泻-芯褌褌邪屑. 袦懈褋谢械褏 写邪 械 褋谢械写 薪褟泻芯谢泻芯 屑械褋械褑邪, 薪芯 薪械 屑芯卸邪褏 写邪 锌褉懈斜械褉邪 泻薪懈谐邪褌邪 胁 斜懈斜谢懈芯褌械泻邪褌邪. 袗屑懈 邪泻芯 褋褗屑 懈蟹锌褍褋薪邪谢邪 薪械褖芯 锌芯写芯斜薪芯:
鈥炩€π狙囆秆傂� 屑褍 斜褟褏邪 锌芯泻褉懈褌懈 褋 械屑邪泄谢邪 薪邪 谢褍写芯褋褌褌邪, 泻芯褟褌芯 褋械 泻褉懈械 胁褗褌褉械, 褑懈褉泻褍谢懈褉邪 胁褗胁 胁械薪懈褌械, 芯褌褗褉泻胁邪 褋械 芯 胁褗褌褉械褕薪芯褋褌懈褌械, 写褗谢斜邪械 褌褟谢芯褌芯 泻邪泻褌芯 泻褗褉褌懈褑邪褌邪 蟹械屑褟褌邪 懈 薪懈泻芯谐邪 薪械 懈蟹谢懈蟹邪 薪邪 斜褟谢 褋胁褟褌 锌褉械卸写械胁褉械屑械薪薪芯, 褋邪屑芯 褋胁械褌懈 胁 蟹械薪懈褑懈褌械. 袗 泻芯谐邪褌芯 懈蟹谢械蟹械, 褌芯 褌芯胁邪 胁懈薪邪谐懈 械 泻褉邪褟褌, 芯褋褌邪胁邪 锌褉邪蟹薪邪 芯斜胁懈胁泻邪 懈 谢褍写芯褋褌褌邪 褌褉褗谐胁邪 薪邪褌邪褌褗泻, 蟹邪褖芯褌芯, 泻邪泻胁芯褌芯 懈 写邪 褋褌邪胁邪, 褏芯褉邪 薪邪 褋胁械褌邪 屑薪芯谐芯.鈥�
鈥炐浶敌残靶叫葱拘惭佇盒� 褏褗褉泻邪. 袨褌 薪芯褋邪 屑褍 褋械 褌芯褔邪褌 褋褗薪懈褖邪. 袠蟹锌褗谢胁邪褌 褋褌邪褟褌邪, 锌褉懈褋褟写邪褌 薪邪 褋褌芯谢芯胁械褌械 芯泻芯谢芯 屑邪褋邪褌邪 懈 褋械 锌褉械锌懈褉邪褌 蟹邪 写褍褕邪褌邪 屑褍: 鈥炐愋� 褖械 褟 胁蟹械屑邪, 泻芯谐邪褌芯 写芯泄写械 胁褉械屑械褌芯.鈥�, 鈥� 袧械, 屑芯褟 械.鈥� 鈥炐澬�, 邪蟹 谐芯 屑褗褔懈褏 薪邪泄-写褗谢谐芯.鈥� 鈥炐� 邪泻芯 薪褟屑邪 写褍褕邪?鈥� 鈥炐捬佇敌盒� 懈屑邪. 孝邪泻邪 锌懈褕械.鈥� 袩芯褋谢械 褋械 褌芯锌褟褌 胁褗胁 胁褗蟹写褍褏邪, 蟹邪 写邪 薪邪锌褉邪胁褟褌 屑褟褋褌芯 薪邪 褋谢械写胁邪褖懈褌械, 蟹邪褖芯褌芯 袥械胁邪薪写芯胁褋泻懈 薪邪 薪芯褖 褋褗薪褍胁邪 写胁邪写械褋械褌懈薪邪, 褋褌芯褌懈褑懈 蟹邪 谐芯写懈薪邪 卸懈胁芯褌, 蟹邪 胁褋械泻懈 写械薪 芯褌 卸懈胁芯褌邪 褋懈.鈥�
袦懈褋谢懈褌械 屑懈 褋谢械写 胁褌芯褉懈褟 锌褉芯褔懈褌:
- 褋懈谐褍褉薪芯 锌芯胁械褔械 褖械 蟹邪斜械谢褟蟹胁邪屑 胁褋懈褔泻懈 蟹邪芯斜懈泻邪谢褟褖懈 屑械 写械褌邪泄谢懈, 芯褋芯斜械薪芯 薪邪胁褗薪 鈥� 锌褗褌, 薪械斜械, 锌芯谢械, 褋褌邪褉邪 褋谐褉邪写邪, 褔芯胁械褕泻懈 械屑芯褑懈懈 (胁 泻薪懈谐邪褌邪 褋邪屑芯 蟹邪 薪械斜械褌芯 懈屑邪褕械 薪邪写 10-15 芯锌懈褋邪薪懈褟 胁 褉邪蟹谢懈褔薪懈褌械 屑褍 褋褗褋褌芯褟薪懈褟 懈 鈥炑勓冃叫貉喰感糕€�).
- 泻邪泻胁芯 蟹薪邪褟 蟹邪 褋胁械褌邪 懈 褏芯褉邪褌邪, 褋谢械写 泻邪褌芯 薪械 锌芯蟹薪邪胁邪屑 鈥炑傂敌盒敌沸笛佇把€懈鈥�, 写褗褉胁芯褋械泻邪褔懈, 鈥炐拘毙感盒叫拘残敌叫糕€� 斜械蟹写械谢薪懈褑懈, 懈褋褌懈薪褋泻懈 鈥炐垦€械褋褌褗锌薪懈褑懈鈥�
- 褉邪蟹谐谢械写邪褏 锌褉械写锌芯谢邪谐邪械屑懈褟 褉邪泄芯薪 胁 袩芯谢褕邪 褋 google street view 鈥� 褋锌芯屑械薪邪褌芯褌芯 谐褉邪写褔械 Krosno (泻邪褌芯 袣邪胁邪褉薪邪, 薪芯 斜械蟹 屑芯褉械 懈 屑邪谢泻芯 锌芯-褋锌褉械褌薪邪褌芯); 芯褖械 锌芯-屑邪谢泻芯褌芯 谐褉邪写褔械 Zag贸rz (锌褉芯褋褌芯 蟹邪褖芯褌芯 薪褟屑邪褕械 google street view 胁 锌芯-屑邪谢泻芯 褋械谢芯, 蟹邪 写邪 褋懈 锌褉械写褋褌邪胁褟 薪邪锌褗谢薪芯 懈蟹屑懈褋谢械薪芯褌芯 芯褌 小褌邪褕褍泻 褋械谢芯 袞谢芯斜懈褋泻邪)
- 芯褌写邪胁薪邪 薪械 斜褟褏 褋械 懈薪褌械褉械褋褍胁邪谢邪 芯褌 薪械褖邪 泻邪褌芯 褑褗褉泻胁懈 懈 褋械谢褋泻懈 泻褗褖懈, 薪芯 锌褉械写懈屑薪芯 蟹邪褉邪写懈 褉邪蟹泻邪蟹邪 鈥炐溠徰佈傂狙傂锯€� 褋褌懈谐薪邪褏 写芯 写褗褉胁械薪邪褌邪 褑褗褉泻胁邪 胁 谐褉邪写褔械褌芯 Sanok
- 泻芯褉懈褑邪褌邪 屑懈 锌褉懈谢懈褔邪 薪邪 鈥炐囱娧€胁械薪邪褌邪 屑邪褌械褉懈褟鈥� 薪邪 褋械谢芯褌芯 芯褌 泻薪懈谐邪褌邪 懈 锌芯薪褟泻芯谐邪 褟 锌芯锌懈锌胁邪屑 鈥� 写邪谢懈 薪械 械 芯褌 写褗褉胁芯 懈 褌褟
- 胁械褔械 薪褟屑邪屑 褋邪屑芯 械写懈薪 谢褞斜懈屑 鈥炐承狙€褋泻懈/褋械谢褋泻懈鈥� 锌懈褋邪褌械谢 (小械谢懈薪写卸褗褉); 泻褗屑 薪械谐芯 褋械 锌褉懈褋褗械写懈薪懈褏邪 袗褉褌芯 袩邪邪褋懈谢懈薪邪 懈 袗薪写卸械泄 小褌邪褕褍泻
- 蟹邪 写邪 薪械 蟹邪锌芯褔薪邪 写褉褍谐邪 泻薪懈谐邪, 胁褗胁 胁褉械屑械褌芯 蟹邪 胁械褔械褉薪芯 褔械褌械薪械 懈蟹胁褗褉褕懈褏 泻褉邪泄薪芯 薪械锌褉懈胁懈褔薪懈 蟹邪 屑械薪 写芯屑邪泻懈薪褋泻懈 写械泄薪芯褋褌懈, 芯褌谢邪谐邪薪懈 褋 屑械褋械褑懈
- 芯褌薪芯胁芯 懈屑邪屑 薪械褍写褗褉卸懈屑芯 卸械谢邪薪懈械 写邪 锌褉械锌懈褕邪 褌褍泻 锌褉械写锌芯褋谢械写薪懈褟 锌邪褉邪谐褉邪褎. 袧芯 薪邪谢懈 胁褋械 锌邪泻 械 芯褌 泻褉邪褟 薪邪 泻薪懈谐邪褌邪, 褌褉褟斜胁邪 写邪 褋械 胁褗蟹写褗褉卸邪
- 胁 鈥炐盒谎幮盒把€薪懈泻邪鈥� 褋懈 蟹邪锌懈褋邪褏: 褎械胁褉褍邪褉褋泻芯 褖邪褋褌懈械 = 137 褋褌褉邪薪懈褑懈
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* 10.02.
袨褌褋械谐邪 屑芯谐邪 写邪 泻邪卸邪 鈥� 薪邪泄-谢褞斜懈屑邪 泻薪懈谐邪 蟹邪 2015 谐. 袛邪薪芯 懈屑邪 懈 写褉褍谐懈 褉邪蟹斜懈褉邪 褋械, 薪芯 薪懈褖芯 薪械 屑芯卸械 写邪 褟 懈蟹屑械褋褌懈, 泻邪泻胁芯褌芯 懈 写邪 锌褉芯褔械褌邪 锌芯-薪邪褌邪褌褗泻. 袙屑械褋褌芯 写械褋械褌泻懈褌械 褋褌褉邪薪懈褑懈 芯褌泻褗褋懈, 泻芯懈褌芯 锌褉械锌懈褋邪褏, 锌褗褉胁芯褌芯, 泻芯械褌芯 屑懈 懈写胁邪 薪邪褍屑 蟹邪 鈥炐撔靶恍秆喰感寡佇盒� 懈褋褌芯褉懈懈鈥�, 械 芯褌 写褉褍谐 褉芯屑邪薪:
鈥炩€π啃拘窖徯盒拘承� 褌芯蟹懈 卸懈胁芯褌 械 褋锌芯褋芯斜械薪 薪邪 锌芯胁械褔械 泻褉邪褋芯褌邪, 芯褌泻芯谢泻芯褌芯 褋胁械褌褗褌 屑芯卸械 写邪 锌芯薪械褋械.鈥� (鈥炐澬敌盒� 谐芯谢械屑懈褟褌 褋胁褟褌 褋械 胁褗褉褌懈鈥�, 袣. 袦邪泻泻邪薪).
鈥炐⑿拘沸� 卸懈胁芯褌鈥�, 褌邪蟹懈 褌褉褍写薪邪 泻褉邪褋芯褌邪, 胁 褋谢褍褔邪褟 械 泻薪懈谐邪褌邪 薪邪 小褌邪褕褍泻. 袛芯 胁褔械褉邪 锌芯褔褌懈 薪械 斜褟褏 褔褍胁邪谢邪 蟹邪 邪胁褌芯褉邪, 邪 褋械谐邪 谐芯 薪邪褉懈褔邪屑 袗薪写卸械泄, 褋褟泻邪褕 屑懈 械 写芯斜褗褉 褋褌邪褉 锌褉懈褟褌械谢. 袨褌泻芯谐邪 褋懈 褌褗褉褋褟 薪芯胁 谢褞斜懈屑 锌芯谢褋泻懈 邪胁褌芯褉 褋谢械写 袨谢谐邪 孝芯泻邪褉褔褍泻. 小褌邪褕褍泻 薪褟屑邪 薪懈褖芯 芯斜褖芯 褋 薪械褟 鈥� 褋懈 锌芯屑懈褋谢懈褏 胁 薪邪褔邪谢芯褌芯, 邪 胁 泻褉邪褟 鈥� 懈屑邪 屑薪芯谐芯 芯斜褖芯 褋 薪械褟 (薪械 褋邪屑芯 蟹邪褖芯褌芯 褌褟 褋褗褖芯 锌懈褕械 蟹邪 锌芯谐褉邪薪懈褔薪懈 褉邪泄芯薪懈). 袠 锌褉懈 写胁邪屑邪褌邪 褏邪褉械褋胁邪屑 褌芯胁邪, 褔械 芯褋胁械薪 胁懈写懈屑懈褌械 薪械褖邪, 芯锌懈褋胁邪褌 懈 鈥炐惭傂狙€懈褔薪懈褌械鈥�, 薪邪锌褉懈屑械褉 鈥炐葱拘啃秆傂把傂� 褔邪褕邪 褋 胁懈薪芯 鈥炐毿靶沸把囆拘衡€�, 锌褉芯薪懈蟹邪薪邪 芯褌 褋胁械褌谢懈褟 锌芯谐谢械写 薪邪 褌械谢械胁懈蟹芯褉邪鈥�. 袠 锌褉懈 写胁邪屑邪褌邪 (懈 薪械 褋邪屑芯) 鈥� 芯薪芯胁邪 薪械褍谢芯胁懈屑芯, 薪芯 薪械写邪胁邪褖芯 屑懈褉邪 薪械褖芯, 薪邪褉械褔械薪芯 鈥炑佈娦残笛佈傗€�.
小谢械写 泻邪褌芯 薪械 屑芯卸邪褏 写邪 蟹邪胁褗褉褕邪 泻薪懈谐邪褌邪 锌褉械蟹 薪芯褖褌邪 蟹邪褉邪写懈 褍屑懈褕谢械薪芯褌芯 斜邪胁薪芯 褔械褌械薪械, 褉邪薪芯-褉邪薪芯 胁 7 褔. 锌褉芯写褗谢卸懈褏, 邪 薪邪 芯斜褟写 褋褌芯屑邪褏褗褌 屑懈 褋褗褌胁芯褉懈 褑褟谢邪 褋懈屑褎芯薪懈褟 芯褌 谐谢邪写, 薪芯 薪械 屑褍 芯斜褗褉薪邪褏 胁薪懈屑邪薪懈械. 袛芯泻邪褌芯 锌褉械写薪邪褌邪 泻薪懈谐邪 懈蟹谐褗谢褌邪褏 薪邪胁械写薪褗卸, 蟹邪褖芯褌芯 懈褋褌芯褉懈褟褌邪 薪械 锌芯蟹胁芯谢懈 写邪 褟 芯褋褌邪胁褟, 褋械谐邪 褔械褌芯褏 褌邪蟹懈 芯褖械 锌芯-泻褉邪褌泻邪 泻薪懈谐邪 屑薪芯谐芯 斜邪胁薪芯. 袩褗褉胁芯, 蟹邪褖芯褌芯 褉械写芯胁薪芯 褋锌懈褉邪褏 蟹邪 锌褉械锌懈褋胁邪薪械 薪邪 芯褌泻褗褋懈. 袙褌芯褉芯, 蟹邪褖芯褌芯 薪邪 薪褟泻芯懈 屑械褋褌邪 薪械 屑懈 褋械 懈褋泻邪褕械 写邪 锌褉芯写褗谢卸邪 鈥� 谐谢械写邪褏 谐懈 芯褌薪芯胁芯 懈 芯褌薪芯胁芯, 薪邪 褋褌褉. 33 斜褟褏 蟹邪褋械写薪邪谢邪 写褗谢谐芯, 锌褉械锌褉芯褔懈褌邪泄泻懈 胁褋褟泻邪 写褍屑邪, 斜械蟹 写邪 蟹薪邪屑, 褔械 薪邪 褋褌褉. 34 褖械 薪邪锌褉邪胁褟 褋褗褖芯褌芯, 锌芯褋谢械 锌邪泻, 写芯 锌褉械锌懈褋邪薪邪褌邪 懈蟹褑褟谢芯 褋褌褉. 123. 袠 褎懈薪邪谢褗褌 褋懈 蟹邪谢褍卸邪胁邪 锌褉械锌懈褋胁邪薪械 懈 薪邪褍褔邪胁邪薪械. 袩芯谢褍褔懈 褋械 锌邪褉邪写芯泻褋 鈥� 褏械屑 斜褟褏 褖邪褋褌谢懈胁邪, 褔械 锌芯锌邪写薪邪褏 薪邪 褌邪蟹懈 泻薪懈谐邪, 褔械 薪械 褋褗屑 褟 锌褉芯锌褍褋薪邪谢邪, 褏械屑 屑邪谢泻芯 褋褗卸邪谢褟胁邪褏, 褔械 胁械褔械 械 锌褉芯褔械褌械薪邪. 袦邪谢泻芯 锌褉械褋懈谢械薪芯, 薪芯 械写懈薪 胁懈写 泻邪褌芯 屑械褔褌邪褌邪, 泻芯褟褌芯 锌芯褋褌懈谐薪械褕 懈 胁械褔械 薪褟屑邪 泻褗屑 泻邪泻胁芯 写邪 褋械 褋褌褉械屑懈褕 懈 薪邪褋褌褗锌胁邪 懈蟹胁械褋褌薪邪 锌褉邪蟹薪芯褌邪鈥� 袝, 锌芯薪械 屑懈 芯褋褌邪胁邪褌 芯褌泻褗褋懈褌械 懈 芯褖械 械写薪邪 泻薪懈谐邪 薪邪 小褌邪褕褍泻 褋谢械写 懈蟹胁械褋褌薪芯 胁褉械屑械. 鈥炐撔狙€泻懈褟褌鈥� 袗薪写卸械泄 鈥� 褋邪屑芯 褋褉械写薪芯 芯斜褉邪蟹芯胁邪薪懈械 懈屑邪谢鈥�
鈥炐毿拘承把傂� 褋邪 褋械 褉邪蟹写邪胁邪谢懈 写褍褕懈褌械, 褌褉褟斜胁邪 写邪 械 褋褌邪薪邪谢邪 薪褟泻邪泻胁邪 谐褉械褕泻邪, 蟹邪褖芯褌芯 褌褟谢芯褌芯 薪邪 袙谢邪写械泻, 褉芯写械薪芯 懈 蟹邪褋械谢械薪芯 薪邪 褌邪蟹懈 蟹械屑褟, 锌芯谢褍褔懈谢芯 薪褟泻邪泻褗胁 谢械泻, 薪褟泻邪泻 锌褉械泻邪谢械薪芯 写褍褏芯胁械薪 芯褉谐邪薪, 泻芯泄褌芯 薪械 褍褋锌褟胁邪褕械 写邪 褋械 褋锌褉邪胁懈 褋 褌械卸械褋褌褌邪 薪邪 屑邪褌械褉懈褟褌邪. 小褗褋 褋芯斜褋褌胁械薪懈褌械 泻褉邪泄薪懈褑懈, 褋褗褋 褋褗薪褟, 褋 芯褌谢懈褌邪薪械褌芯 薪邪 胁褉械屑械褌芯, 褋 褌械卸械褋褌褌邪 薪邪 泻邪屑械薪薪邪褌邪 锌芯褔胁邪. 袩褉邪褋褌邪褉懈褟褌 褉懈褌褗屑, 泻芯泄褌芯 锌芯写谐芯薪胁邪 褋褗褋械写懈褌械 薪邪锌褉芯谢械褌 泻褗屑 锌芯谢械褌芯, 谢械褌械 泻褗屑 锌芯谢褟薪懈褌械, 邪 薪邪械褋械薪 泻褗屑 泻邪褉褌芯褎械薪懈褌械 薪懈胁懈, 械写胁邪 谐芯 斜械褕械 写芯泻芯褋薪邪谢. 袟邪褌芯胁邪 袙谢邪写械泻, 屑邪泻邪褉 褔械 锌懈械褕械 褍屑械锟斤拷械薪芯 懈 斜械褕械 锌芯褉褟写褗褔械薪 褔芯胁械泻, 胁 褋械谢芯褌芯 斜械褕械 薪邪 芯锌邪褕泻邪褌邪, 邪 锌芯 写芯褏芯写 薪邪 谐谢邪胁邪 芯褌 褋械屑械泄褋褌胁芯褌芯 蟹邪械屑邪褕械 锌芯褋谢械写薪芯褌芯 屑褟褋褌芯. [鈥 ... 袙谢邪写械泻 斜械褕械 写芯斜褗褉 斜邪褖邪 懈 薪邪泄-谐芯谢褟屑邪 褉邪写芯褋褌 屑褍 写芯褋褌邪胁褟褕械, 泻芯谐邪褌芯 写械褔褍褉谢懈谐邪褌邪 谐芯 薪邪泻邪褔褍谢胁邪褏邪 芯褌 谐谢邪胁邪褌邪 写芯 泻褉邪泻邪褌邪. 孝芯谐邪胁邪 褋械写械褕械 写芯胁芯谢械薪 泻邪褌芯 屑芯褉屑芯薪, 邪 卸械薪邪 屑褍 芯褌懈胁邪褕械 写邪 褉邪斜芯褌懈 胁 谐芯褉邪褌邪.鈥�
袩械褉懈芯写褗褌 械 鈥炐啃狙佈�-褋芯褑鈥�, 薪芯 胁 褌芯蟹懈 芯褌写邪谢械褔械薪 褋械谢褋泻懈 褉邪泄芯薪 懈蟹谐谢械卸写邪 褋褟泻邪褕 械 褋 薪褟泻芯谢泻芯 写械褋械褌懈谢械褌懈褟 锌芯-褉邪薪芯, 蟹邪 褏褍斜邪胁芯 懈谢懈 谢芯褕芯鈥� 小械谢芯褌芯 械 泻邪褌芯 懈蟹屑芯褉械薪 芯褉谐邪薪懈蟹褗屑 褋 褉邪蟹褏谢邪斜械薪懈 褋褌邪胁薪懈 胁褉褗蟹泻懈, 泻芯懈褌芯 胁褋械 锌邪泻 褋械 写褗褉卸邪褌 薪褟泻邪泻 - 锌芯 褋懈谢邪褌邪 薪邪 芯薪械蟹懈 屑薪芯谐芯 写芯斜褉械 芯锌懈褋邪薪懈 胁 泻薪懈谐邪褌邪 锌褉懈褉芯写薪懈 蟹邪泻芯薪懈. 袠 薪邪泄-胁械褔械 蟹邪褉邪写懈 褋褗褌胁芯褉械薪芯褌芯 芯褌 褔芯胁械泻邪. 袣褗屑 锌芯褋谢械写薪懈褌械 褉邪蟹泻邪蟹懈 (懈谢懈 谐谢邪胁懈?) 胁褉褗蟹泻懈褌械 芯斜邪褔械 褋褟泻邪褕 褋械 鈥炑佇逞娧佈傃徯残把傗€�, 蟹邪褖芯褌芯 褌邪泄薪懈褌械 懈 锌褉械谐褉械褕械薪懈褟褌邪 褋锌芯褟胁邪褌 褏芯褉邪褌邪, 薪械 谐懈 锌褍褋泻邪褌 写邪 褋邪 芯褌写械谢械薪懈. 袠 褌械 胁褋械 锌芯胁械褔械 蟹邪锌芯褔胁邪褌 写邪 胁懈褌邪褟褌 胁 械写薪邪 薪械芯锌褉械写械谢械薪邪 褉械邪谢薪芯褋褌 鈥� 鈥炐毙敌� 懈屑械薪邪 懈 褎芯褉屑懈鈥�.
袟邪褉邪写懈 褌邪蟹懈 邪屑邪谢谐邪屑邪 褋械 褉邪蟹褏芯卸写邪褏 薪邪锌褉械写-薪邪蟹邪写 胁 泻薪懈谐邪褌邪. 袙 褉邪蟹泻邪蟹邪 蟹邪 袦邪褉懈褕泻邪 褋械 胁褗褉薪邪褏 薪邪 褉邪蟹泻邪蟹邪 蟹邪 袘邪斜懈褔泻邪褌邪, 袣芯褕褔械泄薪懈 谐芯 锌褉芯褋谢械写懈褏 褋 谐芯谢褟屑芯 胁薪懈屑邪薪懈械. 袗 蟹邪褉邪写懈 褋胁芯斜芯写薪芯-褋胁褗褉蟹邪薪邪褌邪 褋褌褉褍泻褌褍褉邪 薪邪 鈥炐撔靶恍秆喰感寡佇盒� 懈褋褌芯褉懈懈鈥� 褋懈 褋锌芯屑薪懈褏 蟹邪 鈥炐溞敌缎囱� 锌褉懈褟褌械谢懈鈥� 薪邪 袗屑芯蟹 袨蟹. 袠 褌邪屑 泻懈斜褍褑褗褌 斜械褕械 褋锌械褑懈褎懈褔薪芯 屑褟褋褌芯, 懈 褌褍泻 械 屑薪芯谐芯 褋锌械褑懈褎懈褔械薪 褉邪泄芯薪褗褌 (锌芯-褋泻芯褉芯 薪邪 屑芯屑械薪褌懈 薪邪 薪褟泻芯懈 褉褍褋泻懈 泻薪懈谐懈 屑懈 薪邪锌芯屑薪褟褕械), 薪芯 屑芯卸械 谢懈 写邪 薪械 褋懈 锌芯屑懈褋谢懈屑 懈 蟹邪 锌芯褔褌懈 胁褋褟泻芯 斜褗谢谐邪褉褋泻芯 褋械谢芯 锌褉懈 褌芯胁邪 芯锌懈褋邪薪懈械:
鈥炐⌒谎娦窖囆敌残秆徰� 褑懈褎械褉斜谢邪褌 薪邪 锌谢芯褖邪写邪, 泻褗写械褌芯 褑褗褉泻胁邪褌邪 芯斜芯蟹薪邪褔邪胁邪 写胁邪薪邪写械褋械褌, 泻褉褗褔屑邪褌邪 鈥� 褕械褋褌 褔邪褋邪, 薪邪 褌褉懈 械 屑邪谐邪蟹懈薪褗褌, 邪 芯褌 写械胁械褌 褌褉褗谐胁邪褌 邪胁褌芯斜褍褋懈褌械.鈥�
袣芯谢械斜邪褟 褋械 写邪谢懈 褑褗褉泻胁邪褌邪 懈谢懈 泻褉褗褔屑邪褌邪 械 锌芯-褑械薪褌褉邪谢械薪 谐械褉芯泄 胁 褌邪蟹懈 泻薪懈谐邪. 袧芯 胁褋褗褖薪芯褋褌 蟹邪褖芯 褌褉褟斜胁邪 写邪 懈屑邪 鈥炐啃锯€�.
鈥炐ρ娧€泻胁邪褌邪 薪邪 褏褗谢屑邪, 胁 泻芯褟褌芯 懈写胁邪褕械 胁 薪械写械谢褟, 斜械褕械 褋胁懈写械褌械谢褋褌胁芯 蟹邪 写胁芯泄褋褌胁械薪芯褋褌褌邪 薪邪 褋胁械褌邪. 效芯胁械泻 屑芯卸械褕械 写邪 胁谢械蟹械 胁 薪械褟, 写邪 褋械 褍屑懈械 芯褌 谐褉械褏芯胁械褌械, 蟹邪 写邪 褋械 锌芯褌芯锌懈 芯斜褉邪褌薪芯 胁 写械泄褋褌胁懈褌械谢薪芯褋褌褌邪, 胁 泻芯褟褌芯 泻邪褌械谐芯褉懈懈褌械 写芯斜褉芯写械褌械谢 懈 谐褉褟褏 斜褟褏邪 薪械锌褉芯蟹褉邪褔薪懈, 胁蟹邪懈屑薪芯 褋械 锌褉芯褋屑褍泻胁邪褏邪, 褋褗胁褋械屑 泻邪褌芯 褌褗屑薪懈薪邪褌邪 懈 褋胁械褌谢懈薪邪褌邪 锌褉械写懈 锌褗褉胁懈褟 写械薪 芯褌 小褗褌胁芯褉械薪懈械褌芯. 袛邪谢懈 胁 褍屑邪 薪邪 挟蟹械泻 薪械 褋械 械 锌芯褟胁懈谢邪 懈薪褌褍懈褑懈褟褌邪, 褔械 褏褉邪屑褗褌 械 谢懈褑械薪蟹懈褉邪薪 芯褌 芯斜谐褉邪卸写邪褖懈褟 谐芯 褏邪芯褋?鈥�
袟邪 泻褉褗褔屑邪褌邪 懈屑邪 懈 芯褌写械谢械薪 褉邪蟹泻邪蟹, 芯褋胁械薪 褔械 胁 屑薪芯谐芯 写褉褍谐懈 写械泄褋褌胁懈械褌芯 褋褗褖芯 褋械 褉邪蟹胁懈胁邪 褌邪屑. 袧芯 懈 褌芯蟹懈 邪胁褌芯斜褍褋 械 屑薪芯谐芯 锌芯泻邪蟹邪褌械谢械薪 蟹邪 卸懈胁芯褌邪 胁 褋械谢芯褌芯.
鈥炐熜狙佇恍敌葱叫秆徰� 邪胁褌芯斜褍褋 胁懈薪邪谐懈 械 锌懈褟薪褋泻懈. 袦褗卸械褌械 褋械 褌褗褉泻邪谢褟褌 屑械卸写褍 褋械写邪谢泻懈褌械 泻邪褌芯 斜懈谢褟褉写薪懈 褌芯锌泻懈 懈 褏谢褗褌胁邪褌 胁 褋谢褍褔邪泄薪懈 屑械褋褌邪, 泻邪褌芯 蟹邪锌芯褔胁邪褌 褉邪蟹谐芯胁芯褉 褋褗褋 褋褗褋械写懈褌械, 褋 卸械薪懈, 锌芯薪褟泻芯谐邪 褉邪蟹谐芯胁邪褉褟褌 褋褗褋 褋褟薪泻邪褌邪. 袙 写械胁械褌 胁械褔械褉褌邪 锌褉械蟹 蟹懈屑邪褌邪 械 胁褋械 褌邪褟 褋 泻芯谐芯 褖械 谐芯胁芯褉懈褕.鈥�
袦芯卸械屑 械写胁邪 谢懈 薪械 写邪 芯锌褉邪胁写邪械屑 锌懈褟薪懈褑懈褌械 胁 锌芯写芯斜薪懈 鈥炐啃狙佈�-褋芯褑鈥� 褍褋谢芯胁懈褟, 写邪 芯斜胁懈薪懈屑 芯斜褋褌芯褟褌械谢褋褌胁邪褌邪, 胁 褋谢褍褔邪褟 蟹邪锌邪写邪褖芯褌芯 孝袣袟小 褋褗褋 褋褗芯褌胁械褌薪芯褌芯 薪邪褋谢械写褋褌胁芯 芯褌 泻褍褏芯褌芯 屑懈薪邪谢芯. 袠 写芯泻邪褌芯 褌芯胁邪 屑邪谢泻芯 屑懈 薪邪锌芯屑薪褟 薪邪 褋械褉谐械泄-写芯胁谢邪褌芯胁褋泻懈褌械 锌懈褟薪懈褑懈 芯褌 鈥炐犘敌沸笛€胁邪褌鈥�,
鈥炐捫敌葱窖娦� 谐芯 薪邪屑械褉懈褏 胁 械写懈薪 褉芯胁. 袩褉芯褋褌芯 褋懈 褋锌械褕械 胁 锌褉械芯斜褗褉薪邪褌懈褟 褌褉邪泻褌芯褉. 袨斜褖芯 胁蟹械褌芯, 褔械褋褌芯 蟹邪褋锌懈胁邪褕械 褌邪屑, 泻褗写械褌芯 褋褗薪褟褌 谐芯 蟹邪胁邪褉懈.鈥�
褌褍泻 褋械 褋械褌懈褏 蟹邪 鈥炐啃�-锌芯械褌懈褔薪芯褌芯 懈 褎懈谢芯褋芯褎褋泻芯鈥� 锌懈褟薪褋褌胁邪薪械 薪邪 薪褟泻芯懈 芯褌谢械褌械谢懈 褉芯泻 蟹胁械蟹写懈.
鈥炐熜狙佇恍敌葱拘残把傂敌恍叫狙佈傃傂� 薪邪 褋褗斜懈褌懈褟褌邪 懈蟹褔械蟹胁邪, 懈蟹褔械蟹胁邪褌 锌褉懈褔懈薪懈褌械 懈 锌芯褋谢械写懈褑懈褌械 懈 谐褉械褏褗褌 懈蟹褔械蟹胁邪 蟹邪械写薪芯 褋 懈褋褌芯褉懈褟褌邪. 袙褋懈褔泻芯 褋械 褋谢褍褔胁邪 械写薪芯胁褉械屑械薪薪芯, 蟹邪锌芯褔胁邪 锌褉械卸写械胁褉械屑械薪薪芯 懈 褋胁褗褉褕胁邪, 锌褉械写懈 写邪 械 蟹邪锌芯褔薪邪谢芯. 小 锌芯褉械写薪懈褌械 褔邪褕懈 挟蟹械泻 褍褋屑褗褉褌褟胁邪 胁褉械屑械褌芯, 懈蟹胁褗褉褕胁邪 薪褟泻邪泻胁邪 斜械蟹褍屑薪邪 邪褍褌芯锌褋懈褟, 泻芯褟褌芯 芯谐芯谢胁邪 褏懈谢邪胁懈褟 褋泻械谢械褌, 胁褗褉褏褍 泻芯泄褌芯 薪邪褋谢邪谐胁邪屑械 褍褋懈谢懈褟, 锌芯褋褌懈卸械薪懈褟, 锌谢邪薪芯胁械 懈 薪邪写械卸写懈. 袙 褌芯蟹懈 锌芯褌芯泻 懈蟹褔械蟹胁邪 懈 褋邪屑懈褟褌 挟蟹械泻, 泻邪褌芯 谐褉邪薪懈褑邪 屑械卸写褍 褌芯胁邪, 泻芯械褌芯 械 斜懈谢芯 懈 褌芯胁邪, 泻芯械褌芯 褌械锌褗褉胁邪 褖械 斜褗写械. 袪邪蟹斜懈褉邪 褋械, 褋褌褗褉褔懈 薪邪 屑邪褋邪褌邪 褋 薪邪褉邪褋褌胁邪褖邪 薪械斜褉械卸薪芯褋褌, 芯斜谢褟谐邪 褋械 薪邪 锌芯写谢邪泻褗褌薪懈泻邪 懈 褋褗褖芯 褋 薪邪褉邪褋褌胁邪褖邪 褋褌褉邪褋褌 写褗褉锌邪 芯褌 褑懈谐邪褉邪褌邪 褋懈 褌邪泻邪, 褔械 斜褍蟹懈褌械 屑褍 褋褟泻邪褕 褋械 写芯锌懈褉邪褌 芯褌 胁褗褌褉械褕薪邪褌邪 褋褌褉邪薪邪. 袧械谐芯胁芯褌芯 褋褗褖械褋褌胁褍胁邪薪械 芯斜邪褔械 褋械 锌褉械胁褉褗褖邪 胁 锌褉芯斜谢械屑. 袨褌 芯褋褌邪 薪邪 胁褉械屑械褌芯 懈蟹褔械蟹胁邪 褌芯褔泻邪 薪褍谢邪. 小谢械写 褔邪褋, 褋谢械写 泻邪褌芯 斜褍褌懈谢泻邪褌邪 械 懈蟹锌褉邪蟹薪械薪邪, 胁 锌褉芯褑械褋邪 薪邪 锌芯谐谢褗褖邪薪械 薪邪 屑懈蟹械褉懈泻芯褉写懈邪谢薪懈 斜懈褉懈, 褋屑械薪褟 懈屑械褌芯 屑懈 褋 薪褟泻邪泻胁芯 写褉褍谐芯, 薪褟泻芯谐邪褕薪芯 懈屑械, 泻芯械褌芯 械 褍褔邪褋褌胁邪谢芯 胁 卸懈胁芯褌邪 屑褍. 小谢械写 屑邪谢泻芯 芯褌薪芯胁芯 谐芯 薪邪屑懈褉邪 懈 屑械 泻邪薪懈 胁 斜褗写械褖械褌芯, 薪邪 谢芯胁 蟹邪 锌褗褋褌褗褉胁懈 锌褉械蟹 锌褉芯谢械褌褌邪, 邪 褉懈斜懈褌械 褋械 锌芯褟胁褟胁邪褌 胁 褋褗蟹薪邪薪懈械褌芯 屑褍 泻邪褌芯 写邪谢械褔薪邪 褉械屑懈薪懈褋褑械薪褑懈褟 芯褌 写械褌褋褌胁芯褌芯, 褌械谐谢械褖邪 薪邪 斜褍泻褋懈褉 薪褟泻芯谢泻芯 写褉褍谐懈 褉邪蟹泻邪蟹邪. 孝芯胁邪 械 锌谢械褌械薪懈褑邪 芯褌 褉邪蟹泻谢芯薪褟胁邪褖懈 褋械 锌褗褌械褔泻懈. 挟蟹械泻 薪械 懈蟹斜懈褉邪 锌褗褌褟. 孝褉褗谐胁邪 薪邪褌邪屑, 薪邪泻褗写械褌芯 谐芯 锌芯薪械褋邪褌 褍写芯斜薪懈褌械 褋褉懈褔泻懈, 锌褉懈谢懈泻邪褌邪 胁 懈屑械薪邪褌邪 懈谢懈 褋谢褍褔邪泄薪懈褟褌 锌懈褟薪 锌芯谐谢械写.鈥�
袧褟屑邪 褋屑懈褋褗谢 写邪 谐芯胁芯褉褟 锌芯胁械褔械 (写邪 薪械 芯褋褌邪薪邪 懈 斜械蟹 胁械褔械褉褟). 小谢械写胁邪褌 泻褍锌懈褖邪 芯褌泻褗褋懈, 懈褋泻邪屑 褑械谢懈褟褌 褋胁褟褌 写邪 胁懈写懈 褌邪蟹懈 泻薪懈谐邪. :). 袟邪写薪邪褌邪 泻芯褉懈褑邪 褋褗褖芯 写邪胁邪 芯褌谢懈褔薪邪 锌褉械写褋褌邪胁邪 蟹邪 薪械褟 - 褉褟写泻芯 胁 邪薪芯褌邪褑懈懈褌械 胁懈卸写邪屑 褌芯胁邪, 泻芯械褌芯 胁褋褗褖薪芯褋褌 薪邪屑懈褉邪屑 胁 泻薪懈谐懈褌械. 袙 褋谢褍褔邪褟 懈蟹胁邪写泻懈 芯褌 泻薪懈谐邪褌邪 褋邪 芯褎芯褉屑械薪懈 胁 懈写械邪谢薪芯 芯锌懈褋邪薪懈械 薪邪 褋褗写褗褉卸邪薪懈械褌芯.
袧械 屑芯谐邪 写邪 薪械 褋锌芯屑械薪邪 懈 锌褉械胁芯写邪褔泻邪褌邪. 袧械 褋邪屑芯 蟹邪褉邪写懈 懈蟹褉邪蟹懈 泻邪褌芯 鈥炑呅靶狙傂秆囆叫� 褋锌谢械褌械薪懈褌械 谐褗褋褌邪褑懈鈥�; 鈥炐貉娦葱� 褋械 写褟胁邪 褋胁褉褗褏械褋褌械褋褌胁械薪懈褟褌 褋胁械褌谢懈泻鈥�, 鈥炐惭€械屑械褌芯, 泻芯械褌芯 褋械 胁谐薪械蟹写褟胁邪 胁褗胁 胁械薪懈褌械 懈屑鈥�. 袠蟹芯斜褖芯 褑褟谢芯褋褌薪芯 械 胁谢褟蟹谢邪 胁 写褍褏邪 薪邪 泻薪懈谐邪褌邪 袛懈谢褟薪邪 袛械薪褔械胁邪. 袝褌芯 谐芯 褌芯蟹懈 写褍褏:
袠蟹褑褟谢芯 褟 锌褉芯褔械褌芯褏 懈 胁褌芯褉懈褟 锌褗褌, 薪械 褋邪屑芯 芯褌褌褍泻-芯褌褌邪屑. 袦懈褋谢械褏 写邪 械 褋谢械写 薪褟泻芯谢泻芯 屑械褋械褑邪, 薪芯 薪械 屑芯卸邪褏 写邪 锌褉懈斜械褉邪 泻薪懈谐邪褌邪 胁 斜懈斜谢懈芯褌械泻邪褌邪. 袗屑懈 邪泻芯 褋褗屑 懈蟹锌褍褋薪邪谢邪 薪械褖芯 锌芯写芯斜薪芯:
鈥炩€π狙囆秆傂� 屑褍 斜褟褏邪 锌芯泻褉懈褌懈 褋 械屑邪泄谢邪 薪邪 谢褍写芯褋褌褌邪, 泻芯褟褌芯 褋械 泻褉懈械 胁褗褌褉械, 褑懈褉泻褍谢懈褉邪 胁褗胁 胁械薪懈褌械, 芯褌褗褉泻胁邪 褋械 芯 胁褗褌褉械褕薪芯褋褌懈褌械, 写褗谢斜邪械 褌褟谢芯褌芯 泻邪泻褌芯 泻褗褉褌懈褑邪褌邪 蟹械屑褟褌邪 懈 薪懈泻芯谐邪 薪械 懈蟹谢懈蟹邪 薪邪 斜褟谢 褋胁褟褌 锌褉械卸写械胁褉械屑械薪薪芯, 褋邪屑芯 褋胁械褌懈 胁 蟹械薪懈褑懈褌械. 袗 泻芯谐邪褌芯 懈蟹谢械蟹械, 褌芯 褌芯胁邪 胁懈薪邪谐懈 械 泻褉邪褟褌, 芯褋褌邪胁邪 锌褉邪蟹薪邪 芯斜胁懈胁泻邪 懈 谢褍写芯褋褌褌邪 褌褉褗谐胁邪 薪邪褌邪褌褗泻, 蟹邪褖芯褌芯, 泻邪泻胁芯褌芯 懈 写邪 褋褌邪胁邪, 褏芯褉邪 薪邪 褋胁械褌邪 屑薪芯谐芯.鈥�
鈥炐浶敌残靶叫葱拘惭佇盒� 褏褗褉泻邪. 袨褌 薪芯褋邪 屑褍 褋械 褌芯褔邪褌 褋褗薪懈褖邪. 袠蟹锌褗谢胁邪褌 褋褌邪褟褌邪, 锌褉懈褋褟写邪褌 薪邪 褋褌芯谢芯胁械褌械 芯泻芯谢芯 屑邪褋邪褌邪 懈 褋械 锌褉械锌懈褉邪褌 蟹邪 写褍褕邪褌邪 屑褍: 鈥炐愋� 褖械 褟 胁蟹械屑邪, 泻芯谐邪褌芯 写芯泄写械 胁褉械屑械褌芯.鈥�, 鈥� 袧械, 屑芯褟 械.鈥� 鈥炐澬�, 邪蟹 谐芯 屑褗褔懈褏 薪邪泄-写褗谢谐芯.鈥� 鈥炐� 邪泻芯 薪褟屑邪 写褍褕邪?鈥� 鈥炐捬佇敌盒� 懈屑邪. 孝邪泻邪 锌懈褕械.鈥� 袩芯褋谢械 褋械 褌芯锌褟褌 胁褗胁 胁褗蟹写褍褏邪, 蟹邪 写邪 薪邪锌褉邪胁褟褌 屑褟褋褌芯 薪邪 褋谢械写胁邪褖懈褌械, 蟹邪褖芯褌芯 袥械胁邪薪写芯胁褋泻懈 薪邪 薪芯褖 褋褗薪褍胁邪 写胁邪写械褋械褌懈薪邪, 褋褌芯褌懈褑懈 蟹邪 谐芯写懈薪邪 卸懈胁芯褌, 蟹邪 胁褋械泻懈 写械薪 芯褌 卸懈胁芯褌邪 褋懈.鈥�
袦懈褋谢懈褌械 屑懈 褋谢械写 胁褌芯褉懈褟 锌褉芯褔懈褌:
- 褋懈谐褍褉薪芯 锌芯胁械褔械 褖械 蟹邪斜械谢褟蟹胁邪屑 胁褋懈褔泻懈 蟹邪芯斜懈泻邪谢褟褖懈 屑械 写械褌邪泄谢懈, 芯褋芯斜械薪芯 薪邪胁褗薪 鈥� 锌褗褌, 薪械斜械, 锌芯谢械, 褋褌邪褉邪 褋谐褉邪写邪, 褔芯胁械褕泻懈 械屑芯褑懈懈 (胁 泻薪懈谐邪褌邪 褋邪屑芯 蟹邪 薪械斜械褌芯 懈屑邪褕械 薪邪写 10-15 芯锌懈褋邪薪懈褟 胁 褉邪蟹谢懈褔薪懈褌械 屑褍 褋褗褋褌芯褟薪懈褟 懈 鈥炑勓冃叫貉喰感糕€�).
- 泻邪泻胁芯 蟹薪邪褟 蟹邪 褋胁械褌邪 懈 褏芯褉邪褌邪, 褋谢械写 泻邪褌芯 薪械 锌芯蟹薪邪胁邪屑 鈥炑傂敌盒敌沸笛佇把€懈鈥�, 写褗褉胁芯褋械泻邪褔懈, 鈥炐拘毙感盒叫拘残敌叫糕€� 斜械蟹写械谢薪懈褑懈, 懈褋褌懈薪褋泻懈 鈥炐垦€械褋褌褗锌薪懈褑懈鈥�
- 褉邪蟹谐谢械写邪褏 锌褉械写锌芯谢邪谐邪械屑懈褟 褉邪泄芯薪 胁 袩芯谢褕邪 褋 google street view 鈥� 褋锌芯屑械薪邪褌芯褌芯 谐褉邪写褔械 Krosno (泻邪褌芯 袣邪胁邪褉薪邪, 薪芯 斜械蟹 屑芯褉械 懈 屑邪谢泻芯 锌芯-褋锌褉械褌薪邪褌芯); 芯褖械 锌芯-屑邪谢泻芯褌芯 谐褉邪写褔械 Zag贸rz (锌褉芯褋褌芯 蟹邪褖芯褌芯 薪褟屑邪褕械 google street view 胁 锌芯-屑邪谢泻芯 褋械谢芯, 蟹邪 写邪 褋懈 锌褉械写褋褌邪胁褟 薪邪锌褗谢薪芯 懈蟹屑懈褋谢械薪芯褌芯 芯褌 小褌邪褕褍泻 褋械谢芯 袞谢芯斜懈褋泻邪)
- 芯褌写邪胁薪邪 薪械 斜褟褏 褋械 懈薪褌械褉械褋褍胁邪谢邪 芯褌 薪械褖邪 泻邪褌芯 褑褗褉泻胁懈 懈 褋械谢褋泻懈 泻褗褖懈, 薪芯 锌褉械写懈屑薪芯 蟹邪褉邪写懈 褉邪蟹泻邪蟹邪 鈥炐溠徰佈傂狙傂锯€� 褋褌懈谐薪邪褏 写芯 写褗褉胁械薪邪褌邪 褑褗褉泻胁邪 胁 谐褉邪写褔械褌芯 Sanok
- 泻芯褉懈褑邪褌邪 屑懈 锌褉懈谢懈褔邪 薪邪 鈥炐囱娧€胁械薪邪褌邪 屑邪褌械褉懈褟鈥� 薪邪 褋械谢芯褌芯 芯褌 泻薪懈谐邪褌邪 懈 锌芯薪褟泻芯谐邪 褟 锌芯锌懈锌胁邪屑 鈥� 写邪谢懈 薪械 械 芯褌 写褗褉胁芯 懈 褌褟
- 胁械褔械 薪褟屑邪屑 褋邪屑芯 械写懈薪 谢褞斜懈屑 鈥炐承狙€褋泻懈/褋械谢褋泻懈鈥� 锌懈褋邪褌械谢 (小械谢懈薪写卸褗褉); 泻褗屑 薪械谐芯 褋械 锌褉懈褋褗械写懈薪懈褏邪 袗褉褌芯 袩邪邪褋懈谢懈薪邪 懈 袗薪写卸械泄 小褌邪褕褍泻
- 蟹邪 写邪 薪械 蟹邪锌芯褔薪邪 写褉褍谐邪 泻薪懈谐邪, 胁褗胁 胁褉械屑械褌芯 蟹邪 胁械褔械褉薪芯 褔械褌械薪械 懈蟹胁褗褉褕懈褏 泻褉邪泄薪芯 薪械锌褉懈胁懈褔薪懈 蟹邪 屑械薪 写芯屑邪泻懈薪褋泻懈 写械泄薪芯褋褌懈, 芯褌谢邪谐邪薪懈 褋 屑械褋械褑懈
- 芯褌薪芯胁芯 懈屑邪屑 薪械褍写褗褉卸懈屑芯 卸械谢邪薪懈械 写邪 锌褉械锌懈褕邪 褌褍泻 锌褉械写锌芯褋谢械写薪懈褟 锌邪褉邪谐褉邪褎. 袧芯 薪邪谢懈 胁褋械 锌邪泻 械 芯褌 泻褉邪褟 薪邪 泻薪懈谐邪褌邪, 褌褉褟斜胁邪 写邪 褋械 胁褗蟹写褗褉卸邪
- 胁 鈥炐盒谎幮盒把€薪懈泻邪鈥� 褋懈 蟹邪锌懈褋邪褏: 褎械胁褉褍邪褉褋泻芯 褖邪褋褌懈械 = 137 褋褌褉邪薪懈褑懈
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* 10.02.
袨褌褋械谐邪 屑芯谐邪 写邪 泻邪卸邪 鈥� 薪邪泄-谢褞斜懈屑邪 泻薪懈谐邪 蟹邪 2015 谐. 袛邪薪芯 懈屑邪 懈 写褉褍谐懈 褉邪蟹斜懈褉邪 褋械, 薪芯 薪懈褖芯 薪械 屑芯卸械 写邪 褟 懈蟹屑械褋褌懈, 泻邪泻胁芯褌芯 懈 写邪 锌褉芯褔械褌邪 锌芯-薪邪褌邪褌褗泻. 袙屑械褋褌芯 写械褋械褌泻懈褌械 褋褌褉邪薪懈褑懈 芯褌泻褗褋懈, 泻芯懈褌芯 锌褉械锌懈褋邪褏, 锌褗褉胁芯褌芯, 泻芯械褌芯 屑懈 懈写胁邪 薪邪褍屑 蟹邪 鈥炐撔靶恍秆喰感寡佇盒� 懈褋褌芯褉懈懈鈥�, 械 芯褌 写褉褍谐 褉芯屑邪薪:
鈥炩€π啃拘窖徯盒拘承� 褌芯蟹懈 卸懈胁芯褌 械 褋锌芯褋芯斜械薪 薪邪 锌芯胁械褔械 泻褉邪褋芯褌邪, 芯褌泻芯谢泻芯褌芯 褋胁械褌褗褌 屑芯卸械 写邪 锌芯薪械褋械.鈥� (鈥炐澬敌盒� 谐芯谢械屑懈褟褌 褋胁褟褌 褋械 胁褗褉褌懈鈥�, 袣. 袦邪泻泻邪薪).
鈥炐⑿拘沸� 卸懈胁芯褌鈥�, 褌邪蟹懈 褌褉褍写薪邪 泻褉邪褋芯褌邪, 胁 褋谢褍褔邪褟 械 泻薪懈谐邪褌邪 薪邪 小褌邪褕褍泻. 袛芯 胁褔械褉邪 锌芯褔褌懈 薪械 斜褟褏 褔褍胁邪谢邪 蟹邪 邪胁褌芯褉邪, 邪 褋械谐邪 谐芯 薪邪褉懈褔邪屑 袗薪写卸械泄, 褋褟泻邪褕 屑懈 械 写芯斜褗褉 褋褌邪褉 锌褉懈褟褌械谢. 袨褌泻芯谐邪 褋懈 褌褗褉褋褟 薪芯胁 谢褞斜懈屑 锌芯谢褋泻懈 邪胁褌芯褉 褋谢械写 袨谢谐邪 孝芯泻邪褉褔褍泻. 小褌邪褕褍泻 薪褟屑邪 薪懈褖芯 芯斜褖芯 褋 薪械褟 鈥� 褋懈 锌芯屑懈褋谢懈褏 胁 薪邪褔邪谢芯褌芯, 邪 胁 泻褉邪褟 鈥� 懈屑邪 屑薪芯谐芯 芯斜褖芯 褋 薪械褟 (薪械 褋邪屑芯 蟹邪褖芯褌芯 褌褟 褋褗褖芯 锌懈褕械 蟹邪 锌芯谐褉邪薪懈褔薪懈 褉邪泄芯薪懈). 袠 锌褉懈 写胁邪屑邪褌邪 褏邪褉械褋胁邪屑 褌芯胁邪, 褔械 芯褋胁械薪 胁懈写懈屑懈褌械 薪械褖邪, 芯锌懈褋胁邪褌 懈 鈥炐惭傂狙€懈褔薪懈褌械鈥�, 薪邪锌褉懈屑械褉 鈥炐葱拘啃秆傂把傂� 褔邪褕邪 褋 胁懈薪芯 鈥炐毿靶沸把囆拘衡€�, 锌褉芯薪懈蟹邪薪邪 芯褌 褋胁械褌谢懈褟 锌芯谐谢械写 薪邪 褌械谢械胁懈蟹芯褉邪鈥�. 袠 锌褉懈 写胁邪屑邪褌邪 (懈 薪械 褋邪屑芯) 鈥� 芯薪芯胁邪 薪械褍谢芯胁懈屑芯, 薪芯 薪械写邪胁邪褖芯 屑懈褉邪 薪械褖芯, 薪邪褉械褔械薪芯 鈥炑佈娦残笛佈傗€�.
小谢械写 泻邪褌芯 薪械 屑芯卸邪褏 写邪 蟹邪胁褗褉褕邪 泻薪懈谐邪褌邪 锌褉械蟹 薪芯褖褌邪 蟹邪褉邪写懈 褍屑懈褕谢械薪芯褌芯 斜邪胁薪芯 褔械褌械薪械, 褉邪薪芯-褉邪薪芯 胁 7 褔. 锌褉芯写褗谢卸懈褏, 邪 薪邪 芯斜褟写 褋褌芯屑邪褏褗褌 屑懈 褋褗褌胁芯褉懈 褑褟谢邪 褋懈屑褎芯薪懈褟 芯褌 谐谢邪写, 薪芯 薪械 屑褍 芯斜褗褉薪邪褏 胁薪懈屑邪薪懈械. 袛芯泻邪褌芯 锌褉械写薪邪褌邪 泻薪懈谐邪 懈蟹谐褗谢褌邪褏 薪邪胁械写薪褗卸, 蟹邪褖芯褌芯 懈褋褌芯褉懈褟褌邪 薪械 锌芯蟹胁芯谢懈 写邪 褟 芯褋褌邪胁褟, 褋械谐邪 褔械褌芯褏 褌邪蟹懈 芯褖械 锌芯-泻褉邪褌泻邪 泻薪懈谐邪 屑薪芯谐芯 斜邪胁薪芯. 袩褗褉胁芯, 蟹邪褖芯褌芯 褉械写芯胁薪芯 褋锌懈褉邪褏 蟹邪 锌褉械锌懈褋胁邪薪械 薪邪 芯褌泻褗褋懈. 袙褌芯褉芯, 蟹邪褖芯褌芯 薪邪 薪褟泻芯懈 屑械褋褌邪 薪械 屑懈 褋械 懈褋泻邪褕械 写邪 锌褉芯写褗谢卸邪 鈥� 谐谢械写邪褏 谐懈 芯褌薪芯胁芯 懈 芯褌薪芯胁芯, 薪邪 褋褌褉. 33 斜褟褏 蟹邪褋械写薪邪谢邪 写褗谢谐芯, 锌褉械锌褉芯褔懈褌邪泄泻懈 胁褋褟泻邪 写褍屑邪, 斜械蟹 写邪 蟹薪邪屑, 褔械 薪邪 褋褌褉. 34 褖械 薪邪锌褉邪胁褟 褋褗褖芯褌芯, 锌芯褋谢械 锌邪泻, 写芯 锌褉械锌懈褋邪薪邪褌邪 懈蟹褑褟谢芯 褋褌褉. 123. 袠 褎懈薪邪谢褗褌 褋懈 蟹邪谢褍卸邪胁邪 锌褉械锌懈褋胁邪薪械 懈 薪邪褍褔邪胁邪薪械. 袩芯谢褍褔懈 褋械 锌邪褉邪写芯泻褋 鈥� 褏械屑 斜褟褏 褖邪褋褌谢懈胁邪, 褔械 锌芯锌邪写薪邪褏 薪邪 褌邪蟹懈 泻薪懈谐邪, 褔械 薪械 褋褗屑 褟 锌褉芯锌褍褋薪邪谢邪, 褏械屑 屑邪谢泻芯 褋褗卸邪谢褟胁邪褏, 褔械 胁械褔械 械 锌褉芯褔械褌械薪邪. 袦邪谢泻芯 锌褉械褋懈谢械薪芯, 薪芯 械写懈薪 胁懈写 泻邪褌芯 屑械褔褌邪褌邪, 泻芯褟褌芯 锌芯褋褌懈谐薪械褕 懈 胁械褔械 薪褟屑邪 泻褗屑 泻邪泻胁芯 写邪 褋械 褋褌褉械屑懈褕 懈 薪邪褋褌褗锌胁邪 懈蟹胁械褋褌薪邪 锌褉邪蟹薪芯褌邪鈥� 袝, 锌芯薪械 屑懈 芯褋褌邪胁邪褌 芯褌泻褗褋懈褌械 懈 芯褖械 械写薪邪 泻薪懈谐邪 薪邪 小褌邪褕褍泻 褋谢械写 懈蟹胁械褋褌薪芯 胁褉械屑械. 鈥炐撔狙€泻懈褟褌鈥� 袗薪写卸械泄 鈥� 褋邪屑芯 褋褉械写薪芯 芯斜褉邪蟹芯胁邪薪懈械 懈屑邪谢鈥�
鈥炐毿拘承把傂� 褋邪 褋械 褉邪蟹写邪胁邪谢懈 写褍褕懈褌械, 褌褉褟斜胁邪 写邪 械 褋褌邪薪邪谢邪 薪褟泻邪泻胁邪 谐褉械褕泻邪, 蟹邪褖芯褌芯 褌褟谢芯褌芯 薪邪 袙谢邪写械泻, 褉芯写械薪芯 懈 蟹邪褋械谢械薪芯 薪邪 褌邪蟹懈 蟹械屑褟, 锌芯谢褍褔懈谢芯 薪褟泻邪泻褗胁 谢械泻, 薪褟泻邪泻 锌褉械泻邪谢械薪芯 写褍褏芯胁械薪 芯褉谐邪薪, 泻芯泄褌芯 薪械 褍褋锌褟胁邪褕械 写邪 褋械 褋锌褉邪胁懈 褋 褌械卸械褋褌褌邪 薪邪 屑邪褌械褉懈褟褌邪. 小褗褋 褋芯斜褋褌胁械薪懈褌械 泻褉邪泄薪懈褑懈, 褋褗褋 褋褗薪褟, 褋 芯褌谢懈褌邪薪械褌芯 薪邪 胁褉械屑械褌芯, 褋 褌械卸械褋褌褌邪 薪邪 泻邪屑械薪薪邪褌邪 锌芯褔胁邪. 袩褉邪褋褌邪褉懈褟褌 褉懈褌褗屑, 泻芯泄褌芯 锌芯写谐芯薪胁邪 褋褗褋械写懈褌械 薪邪锌褉芯谢械褌 泻褗屑 锌芯谢械褌芯, 谢械褌械 泻褗屑 锌芯谢褟薪懈褌械, 邪 薪邪械褋械薪 泻褗屑 泻邪褉褌芯褎械薪懈褌械 薪懈胁懈, 械写胁邪 谐芯 斜械褕械 写芯泻芯褋薪邪谢. 袟邪褌芯胁邪 袙谢邪写械泻, 屑邪泻邪褉 褔械 锌懈械褕械 褍屑械锟斤拷械薪芯 懈 斜械褕械 锌芯褉褟写褗褔械薪 褔芯胁械泻, 胁 褋械谢芯褌芯 斜械褕械 薪邪 芯锌邪褕泻邪褌邪, 邪 锌芯 写芯褏芯写 薪邪 谐谢邪胁邪 芯褌 褋械屑械泄褋褌胁芯褌芯 蟹邪械屑邪褕械 锌芯褋谢械写薪芯褌芯 屑褟褋褌芯. [鈥 ... 袙谢邪写械泻 斜械褕械 写芯斜褗褉 斜邪褖邪 懈 薪邪泄-谐芯谢褟屑邪 褉邪写芯褋褌 屑褍 写芯褋褌邪胁褟褕械, 泻芯谐邪褌芯 写械褔褍褉谢懈谐邪褌邪 谐芯 薪邪泻邪褔褍谢胁邪褏邪 芯褌 谐谢邪胁邪褌邪 写芯 泻褉邪泻邪褌邪. 孝芯谐邪胁邪 褋械写械褕械 写芯胁芯谢械薪 泻邪褌芯 屑芯褉屑芯薪, 邪 卸械薪邪 屑褍 芯褌懈胁邪褕械 写邪 褉邪斜芯褌懈 胁 谐芯褉邪褌邪.鈥�
袩械褉懈芯写褗褌 械 鈥炐啃狙佈�-褋芯褑鈥�, 薪芯 胁 褌芯蟹懈 芯褌写邪谢械褔械薪 褋械谢褋泻懈 褉邪泄芯薪 懈蟹谐谢械卸写邪 褋褟泻邪褕 械 褋 薪褟泻芯谢泻芯 写械褋械褌懈谢械褌懈褟 锌芯-褉邪薪芯, 蟹邪 褏褍斜邪胁芯 懈谢懈 谢芯褕芯鈥� 小械谢芯褌芯 械 泻邪褌芯 懈蟹屑芯褉械薪 芯褉谐邪薪懈蟹褗屑 褋 褉邪蟹褏谢邪斜械薪懈 褋褌邪胁薪懈 胁褉褗蟹泻懈, 泻芯懈褌芯 胁褋械 锌邪泻 褋械 写褗褉卸邪褌 薪褟泻邪泻 - 锌芯 褋懈谢邪褌邪 薪邪 芯薪械蟹懈 屑薪芯谐芯 写芯斜褉械 芯锌懈褋邪薪懈 胁 泻薪懈谐邪褌邪 锌褉懈褉芯写薪懈 蟹邪泻芯薪懈. 袠 薪邪泄-胁械褔械 蟹邪褉邪写懈 褋褗褌胁芯褉械薪芯褌芯 芯褌 褔芯胁械泻邪. 袣褗屑 锌芯褋谢械写薪懈褌械 褉邪蟹泻邪蟹懈 (懈谢懈 谐谢邪胁懈?) 胁褉褗蟹泻懈褌械 芯斜邪褔械 褋褟泻邪褕 褋械 鈥炑佇逞娧佈傃徯残把傗€�, 蟹邪褖芯褌芯 褌邪泄薪懈褌械 懈 锌褉械谐褉械褕械薪懈褟褌邪 褋锌芯褟胁邪褌 褏芯褉邪褌邪, 薪械 谐懈 锌褍褋泻邪褌 写邪 褋邪 芯褌写械谢械薪懈. 袠 褌械 胁褋械 锌芯胁械褔械 蟹邪锌芯褔胁邪褌 写邪 胁懈褌邪褟褌 胁 械写薪邪 薪械芯锌褉械写械谢械薪邪 褉械邪谢薪芯褋褌 鈥� 鈥炐毙敌� 懈屑械薪邪 懈 褎芯褉屑懈鈥�.
袟邪褉邪写懈 褌邪蟹懈 邪屑邪谢谐邪屑邪 褋械 褉邪蟹褏芯卸写邪褏 薪邪锌褉械写-薪邪蟹邪写 胁 泻薪懈谐邪褌邪. 袙 褉邪蟹泻邪蟹邪 蟹邪 袦邪褉懈褕泻邪 褋械 胁褗褉薪邪褏 薪邪 褉邪蟹泻邪蟹邪 蟹邪 袘邪斜懈褔泻邪褌邪, 袣芯褕褔械泄薪懈 谐芯 锌褉芯褋谢械写懈褏 褋 谐芯谢褟屑芯 胁薪懈屑邪薪懈械. 袗 蟹邪褉邪写懈 褋胁芯斜芯写薪芯-褋胁褗褉蟹邪薪邪褌邪 褋褌褉褍泻褌褍褉邪 薪邪 鈥炐撔靶恍秆喰感寡佇盒� 懈褋褌芯褉懈懈鈥� 褋懈 褋锌芯屑薪懈褏 蟹邪 鈥炐溞敌缎囱� 锌褉懈褟褌械谢懈鈥� 薪邪 袗屑芯蟹 袨蟹. 袠 褌邪屑 泻懈斜褍褑褗褌 斜械褕械 褋锌械褑懈褎懈褔薪芯 屑褟褋褌芯, 懈 褌褍泻 械 屑薪芯谐芯 褋锌械褑懈褎懈褔械薪 褉邪泄芯薪褗褌 (锌芯-褋泻芯褉芯 薪邪 屑芯屑械薪褌懈 薪邪 薪褟泻芯懈 褉褍褋泻懈 泻薪懈谐懈 屑懈 薪邪锌芯屑薪褟褕械), 薪芯 屑芯卸械 谢懈 写邪 薪械 褋懈 锌芯屑懈褋谢懈屑 懈 蟹邪 锌芯褔褌懈 胁褋褟泻芯 斜褗谢谐邪褉褋泻芯 褋械谢芯 锌褉懈 褌芯胁邪 芯锌懈褋邪薪懈械:
鈥炐⌒谎娦窖囆敌残秆徰� 褑懈褎械褉斜谢邪褌 薪邪 锌谢芯褖邪写邪, 泻褗写械褌芯 褑褗褉泻胁邪褌邪 芯斜芯蟹薪邪褔邪胁邪 写胁邪薪邪写械褋械褌, 泻褉褗褔屑邪褌邪 鈥� 褕械褋褌 褔邪褋邪, 薪邪 褌褉懈 械 屑邪谐邪蟹懈薪褗褌, 邪 芯褌 写械胁械褌 褌褉褗谐胁邪褌 邪胁褌芯斜褍褋懈褌械.鈥�
袣芯谢械斜邪褟 褋械 写邪谢懈 褑褗褉泻胁邪褌邪 懈谢懈 泻褉褗褔屑邪褌邪 械 锌芯-褑械薪褌褉邪谢械薪 谐械褉芯泄 胁 褌邪蟹懈 泻薪懈谐邪. 袧芯 胁褋褗褖薪芯褋褌 蟹邪褖芯 褌褉褟斜胁邪 写邪 懈屑邪 鈥炐啃锯€�.
鈥炐ρ娧€泻胁邪褌邪 薪邪 褏褗谢屑邪, 胁 泻芯褟褌芯 懈写胁邪褕械 胁 薪械写械谢褟, 斜械褕械 褋胁懈写械褌械谢褋褌胁芯 蟹邪 写胁芯泄褋褌胁械薪芯褋褌褌邪 薪邪 褋胁械褌邪. 效芯胁械泻 屑芯卸械褕械 写邪 胁谢械蟹械 胁 薪械褟, 写邪 褋械 褍屑懈械 芯褌 谐褉械褏芯胁械褌械, 蟹邪 写邪 褋械 锌芯褌芯锌懈 芯斜褉邪褌薪芯 胁 写械泄褋褌胁懈褌械谢薪芯褋褌褌邪, 胁 泻芯褟褌芯 泻邪褌械谐芯褉懈懈褌械 写芯斜褉芯写械褌械谢 懈 谐褉褟褏 斜褟褏邪 薪械锌褉芯蟹褉邪褔薪懈, 胁蟹邪懈屑薪芯 褋械 锌褉芯褋屑褍泻胁邪褏邪, 褋褗胁褋械屑 泻邪褌芯 褌褗屑薪懈薪邪褌邪 懈 褋胁械褌谢懈薪邪褌邪 锌褉械写懈 锌褗褉胁懈褟 写械薪 芯褌 小褗褌胁芯褉械薪懈械褌芯. 袛邪谢懈 胁 褍屑邪 薪邪 挟蟹械泻 薪械 褋械 械 锌芯褟胁懈谢邪 懈薪褌褍懈褑懈褟褌邪, 褔械 褏褉邪屑褗褌 械 谢懈褑械薪蟹懈褉邪薪 芯褌 芯斜谐褉邪卸写邪褖懈褟 谐芯 褏邪芯褋?鈥�
袟邪 泻褉褗褔屑邪褌邪 懈屑邪 懈 芯褌写械谢械薪 褉邪蟹泻邪蟹, 芯褋胁械薪 褔械 胁 屑薪芯谐芯 写褉褍谐懈 写械泄褋褌胁懈械褌芯 褋褗褖芯 褋械 褉邪蟹胁懈胁邪 褌邪屑. 袧芯 懈 褌芯蟹懈 邪胁褌芯斜褍褋 械 屑薪芯谐芯 锌芯泻邪蟹邪褌械谢械薪 蟹邪 卸懈胁芯褌邪 胁 褋械谢芯褌芯.
鈥炐熜狙佇恍敌葱叫秆徰� 邪胁褌芯斜褍褋 胁懈薪邪谐懈 械 锌懈褟薪褋泻懈. 袦褗卸械褌械 褋械 褌褗褉泻邪谢褟褌 屑械卸写褍 褋械写邪谢泻懈褌械 泻邪褌芯 斜懈谢褟褉写薪懈 褌芯锌泻懈 懈 褏谢褗褌胁邪褌 胁 褋谢褍褔邪泄薪懈 屑械褋褌邪, 泻邪褌芯 蟹邪锌芯褔胁邪褌 褉邪蟹谐芯胁芯褉 褋褗褋 褋褗褋械写懈褌械, 褋 卸械薪懈, 锌芯薪褟泻芯谐邪 褉邪蟹谐芯胁邪褉褟褌 褋褗褋 褋褟薪泻邪褌邪. 袙 写械胁械褌 胁械褔械褉褌邪 锌褉械蟹 蟹懈屑邪褌邪 械 胁褋械 褌邪褟 褋 泻芯谐芯 褖械 谐芯胁芯褉懈褕.鈥�
袦芯卸械屑 械写胁邪 谢懈 薪械 写邪 芯锌褉邪胁写邪械屑 锌懈褟薪懈褑懈褌械 胁 锌芯写芯斜薪懈 鈥炐啃狙佈�-褋芯褑鈥� 褍褋谢芯胁懈褟, 写邪 芯斜胁懈薪懈屑 芯斜褋褌芯褟褌械谢褋褌胁邪褌邪, 胁 褋谢褍褔邪褟 蟹邪锌邪写邪褖芯褌芯 孝袣袟小 褋褗褋 褋褗芯褌胁械褌薪芯褌芯 薪邪褋谢械写褋褌胁芯 芯褌 泻褍褏芯褌芯 屑懈薪邪谢芯. 袠 写芯泻邪褌芯 褌芯胁邪 屑邪谢泻芯 屑懈 薪邪锌芯屑薪褟 薪邪 褋械褉谐械泄-写芯胁谢邪褌芯胁褋泻懈褌械 锌懈褟薪懈褑懈 芯褌 鈥炐犘敌沸笛€胁邪褌鈥�,
鈥炐捫敌葱窖娦� 谐芯 薪邪屑械褉懈褏 胁 械写懈薪 褉芯胁. 袩褉芯褋褌芯 褋懈 褋锌械褕械 胁 锌褉械芯斜褗褉薪邪褌懈褟 褌褉邪泻褌芯褉. 袨斜褖芯 胁蟹械褌芯, 褔械褋褌芯 蟹邪褋锌懈胁邪褕械 褌邪屑, 泻褗写械褌芯 褋褗薪褟褌 谐芯 蟹邪胁邪褉懈.鈥�
褌褍泻 褋械 褋械褌懈褏 蟹邪 鈥炐啃�-锌芯械褌懈褔薪芯褌芯 懈 褎懈谢芯褋芯褎褋泻芯鈥� 锌懈褟薪褋褌胁邪薪械 薪邪 薪褟泻芯懈 芯褌谢械褌械谢懈 褉芯泻 蟹胁械蟹写懈.
鈥炐熜狙佇恍敌葱拘残把傂敌恍叫狙佈傃傂� 薪邪 褋褗斜懈褌懈褟褌邪 懈蟹褔械蟹胁邪, 懈蟹褔械蟹胁邪褌 锌褉懈褔懈薪懈褌械 懈 锌芯褋谢械写懈褑懈褌械 懈 谐褉械褏褗褌 懈蟹褔械蟹胁邪 蟹邪械写薪芯 褋 懈褋褌芯褉懈褟褌邪. 袙褋懈褔泻芯 褋械 褋谢褍褔胁邪 械写薪芯胁褉械屑械薪薪芯, 蟹邪锌芯褔胁邪 锌褉械卸写械胁褉械屑械薪薪芯 懈 褋胁褗褉褕胁邪, 锌褉械写懈 写邪 械 蟹邪锌芯褔薪邪谢芯. 小 锌芯褉械写薪懈褌械 褔邪褕懈 挟蟹械泻 褍褋屑褗褉褌褟胁邪 胁褉械屑械褌芯, 懈蟹胁褗褉褕胁邪 薪褟泻邪泻胁邪 斜械蟹褍屑薪邪 邪褍褌芯锌褋懈褟, 泻芯褟褌芯 芯谐芯谢胁邪 褏懈谢邪胁懈褟 褋泻械谢械褌, 胁褗褉褏褍 泻芯泄褌芯 薪邪褋谢邪谐胁邪屑械 褍褋懈谢懈褟, 锌芯褋褌懈卸械薪懈褟, 锌谢邪薪芯胁械 懈 薪邪写械卸写懈. 袙 褌芯蟹懈 锌芯褌芯泻 懈蟹褔械蟹胁邪 懈 褋邪屑懈褟褌 挟蟹械泻, 泻邪褌芯 谐褉邪薪懈褑邪 屑械卸写褍 褌芯胁邪, 泻芯械褌芯 械 斜懈谢芯 懈 褌芯胁邪, 泻芯械褌芯 褌械锌褗褉胁邪 褖械 斜褗写械. 袪邪蟹斜懈褉邪 褋械, 褋褌褗褉褔懈 薪邪 屑邪褋邪褌邪 褋 薪邪褉邪褋褌胁邪褖邪 薪械斜褉械卸薪芯褋褌, 芯斜谢褟谐邪 褋械 薪邪 锌芯写谢邪泻褗褌薪懈泻邪 懈 褋褗褖芯 褋 薪邪褉邪褋褌胁邪褖邪 褋褌褉邪褋褌 写褗褉锌邪 芯褌 褑懈谐邪褉邪褌邪 褋懈 褌邪泻邪, 褔械 斜褍蟹懈褌械 屑褍 褋褟泻邪褕 褋械 写芯锌懈褉邪褌 芯褌 胁褗褌褉械褕薪邪褌邪 褋褌褉邪薪邪. 袧械谐芯胁芯褌芯 褋褗褖械褋褌胁褍胁邪薪械 芯斜邪褔械 褋械 锌褉械胁褉褗褖邪 胁 锌褉芯斜谢械屑. 袨褌 芯褋褌邪 薪邪 胁褉械屑械褌芯 懈蟹褔械蟹胁邪 褌芯褔泻邪 薪褍谢邪. 小谢械写 褔邪褋, 褋谢械写 泻邪褌芯 斜褍褌懈谢泻邪褌邪 械 懈蟹锌褉邪蟹薪械薪邪, 胁 锌褉芯褑械褋邪 薪邪 锌芯谐谢褗褖邪薪械 薪邪 屑懈蟹械褉懈泻芯褉写懈邪谢薪懈 斜懈褉懈, 褋屑械薪褟 懈屑械褌芯 屑懈 褋 薪褟泻邪泻胁芯 写褉褍谐芯, 薪褟泻芯谐邪褕薪芯 懈屑械, 泻芯械褌芯 械 褍褔邪褋褌胁邪谢芯 胁 卸懈胁芯褌邪 屑褍. 小谢械写 屑邪谢泻芯 芯褌薪芯胁芯 谐芯 薪邪屑懈褉邪 懈 屑械 泻邪薪懈 胁 斜褗写械褖械褌芯, 薪邪 谢芯胁 蟹邪 锌褗褋褌褗褉胁懈 锌褉械蟹 锌褉芯谢械褌褌邪, 邪 褉懈斜懈褌械 褋械 锌芯褟胁褟胁邪褌 胁 褋褗蟹薪邪薪懈械褌芯 屑褍 泻邪褌芯 写邪谢械褔薪邪 褉械屑懈薪懈褋褑械薪褑懈褟 芯褌 写械褌褋褌胁芯褌芯, 褌械谐谢械褖邪 薪邪 斜褍泻褋懈褉 薪褟泻芯谢泻芯 写褉褍谐懈 褉邪蟹泻邪蟹邪. 孝芯胁邪 械 锌谢械褌械薪懈褑邪 芯褌 褉邪蟹泻谢芯薪褟胁邪褖懈 褋械 锌褗褌械褔泻懈. 挟蟹械泻 薪械 懈蟹斜懈褉邪 锌褗褌褟. 孝褉褗谐胁邪 薪邪褌邪屑, 薪邪泻褗写械褌芯 谐芯 锌芯薪械褋邪褌 褍写芯斜薪懈褌械 褋褉懈褔泻懈, 锌褉懈谢懈泻邪褌邪 胁 懈屑械薪邪褌邪 懈谢懈 褋谢褍褔邪泄薪懈褟褌 锌懈褟薪 锌芯谐谢械写.鈥�
袧褟屑邪 褋屑懈褋褗谢 写邪 谐芯胁芯褉褟 锌芯胁械褔械 (写邪 薪械 芯褋褌邪薪邪 懈 斜械蟹 胁械褔械褉褟). 小谢械写胁邪褌 泻褍锌懈褖邪 芯褌泻褗褋懈, 懈褋泻邪屑 褑械谢懈褟褌 褋胁褟褌 写邪 胁懈写懈 褌邪蟹懈 泻薪懈谐邪. :). 袟邪写薪邪褌邪 泻芯褉懈褑邪 褋褗褖芯 写邪胁邪 芯褌谢懈褔薪邪 锌褉械写褋褌邪胁邪 蟹邪 薪械褟 - 褉褟写泻芯 胁 邪薪芯褌邪褑懈懈褌械 胁懈卸写邪屑 褌芯胁邪, 泻芯械褌芯 胁褋褗褖薪芯褋褌 薪邪屑懈褉邪屑 胁 泻薪懈谐懈褌械. 袙 褋谢褍褔邪褟 懈蟹胁邪写泻懈 芯褌 泻薪懈谐邪褌邪 褋邪 芯褎芯褉屑械薪懈 胁 懈写械邪谢薪芯 芯锌懈褋邪薪懈械 薪邪 褋褗写褗褉卸邪薪懈械褌芯.
袧械 屑芯谐邪 写邪 薪械 褋锌芯屑械薪邪 懈 锌褉械胁芯写邪褔泻邪褌邪. 袧械 褋邪屑芯 蟹邪褉邪写懈 懈蟹褉邪蟹懈 泻邪褌芯 鈥炑呅靶狙傂秆囆叫� 褋锌谢械褌械薪懈褌械 谐褗褋褌邪褑懈鈥�; 鈥炐貉娦葱� 褋械 写褟胁邪 褋胁褉褗褏械褋褌械褋褌胁械薪懈褟褌 褋胁械褌谢懈泻鈥�, 鈥炐惭€械屑械褌芯, 泻芯械褌芯 褋械 胁谐薪械蟹写褟胁邪 胁褗胁 胁械薪懈褌械 懈屑鈥�. 袠蟹芯斜褖芯 褑褟谢芯褋褌薪芯 械 胁谢褟蟹谢邪 胁 写褍褏邪 薪邪 泻薪懈谐邪褌邪 袛懈谢褟薪邪 袛械薪褔械胁邪. 袝褌芯 谐芯 褌芯蟹懈 写褍褏:
February 14, 2019
袨锌褍褋褌芯褕械薪懈械.
孝邪泻邪 写芯斜褉械 锌懈褕械 袗薪写卸械泄 小褌邪褕褍泻 蟹邪 褌械蟹懈 芯锌褍褋褌芯褕械薪懈 芯褌 "锌褉械褏芯写懈" 褏芯褉邪 懈 泻褗褖懈, 写邪 懈 泻褗褖懈. 袦邪泻邪褉 胁 褉邪蟹谢懈褔薪芯 胁褉械屑械, 薪邪锌芯屑薪褟 褋 薪械褖芯 薪邪 袘邪斜械谢. 袦芯卸械 斜懈 褋 锌谢褗褌薪芯褋褌褌邪 薪邪 屑械褌邪褎芯褉懈褌械, 懈 芯锌褍褋褌芯褕械薪懈械褌芯.
袚邪谢懈褑懈泄褋泻懈 懈褋褌芯褉懈懈 芯斜褏胁邪褖邪褌 薪褟泻芯谢泻芯 褋械谢褑邪 懈 薪褟泻芯谢泻芯 芯褌 褌械褏薪懈褌械 械屑斜谢械屑邪褌懈褔薪懈 卸懈褌械谢懈, 锌谢褞褋 写胁邪 锌褉懈蟹褉邪泻邪. 袩芯 薪褟泻芯械 胁褉械屑械 褋械 蟹邪褎芯褉屑褟 泻褉懈屑懈薪邪谢薪邪 褋谢褍褔泻邪, 薪芯 胁 锌芯写芯斜薪懈 芯锌褍褋褌芯褕械薪懈 芯褌 胁褉械屑械褌芯 懈 邪谢泻芯褏芯谢邪 屑械褋褌邪 胁懈薪邪谐懈 懈屑邪 泻褉懈屑懈薪邪谢械薪 薪褞邪薪褋.
袦械褌邪褎芯褉懈褌械 懈 懈蟹褉邪蟹懈褌械 薪邪 小褌邪褕褍泻 褋邪 褋褌褉邪褏芯褌薪芯 锌芯械褌懈锟斤拷薪懈 懈 胁 懈蟹芯斜懈谢懈械. 孝械卸泻懈, 懈蟹褉芯薪械薪懈, 泻邪谢薪懈, 屑褗谐谢懈胁懈, 写褍褕薪懈, 芯锌械褔械薪懈 芯褌 褋谢褗薪褑械褌芯, 蟹邪屑褉褗蟹薪邪谢懈 薪邪 斜褍褑懈 胁 写懈屑薪邪 蟹邪胁械褋邪 芯褌 褑懈谐邪褉懈 懈 邪谢泻芯褏芯谢, 懈 懈蟹屑械卸写褍 胁褋懈褔泻芯 褌芯胁邪 薪邪写薪懈褔邪褌 褔芯胁械褕泻懈 谢懈褑邪.
小谢械写 胁褋械泻懈 褉邪蟹泻邪蟹 懈褋泻邪褏 写邪 懈蟹斜褟谐邪屑 胁 锌褉懈褉芯写邪褌邪 薪邪 袪邪写懈褔泻芯胁. 袛邪 褋械 屑褍褕薪邪 胁 谐芯褉邪褌邪 懈 写邪 屑懈 芯谢械泻薪械.
(7 谐芯写懈薪懈 褋褗屑 褉邪斜芯褌懈谢 胁 褉邪泄芯薪邪 薪邪 袣褉械屑懈泻芯胁褑懈 懈 邪褌屑芯褋褎械褉邪褌邪 薪邪 褌械蟹懈 褉邪蟹泻邪蟹懈 褋邪 屑懈 褍卸邪褋薪芯 锌芯蟹薪邪褌懈. (袘芯卸械, 蟹胁褍褔懈 泻邪褌芯 7 谐芯写懈薪懈 胁 孝械斜械褌, 褏邪褏邪褏邪.) 孝邪蟹懈 懈薪写褍褋褌褉懈邪谢薪邪 褔邪褋褌 械 胁 褋谢芯卸械薪 褋锌谢懈褌 褋 薪邪褋械谢械薪芯褌芯 屑褟褋褌芯. 袠屑邪 芯褌 胁褋懈褔泻芯 芯褌 胁褉械屑械褌芯 薪邪 "锌褉械褏芯写邪", 褉邪蟹褉褍褏邪, 屑懈蟹械褉懈褟... 懈 泻褉邪褋懈胁邪 锌褉懈褉芯写邪. 袚芯褉邪 懈 屑薪芯谐芯, 屑薪芯谐芯 斜械蟹锌谢邪褌薪芯 薪械斜械. 袣邪褌芯 胁 褉邪蟹泻邪蟹懈褌械, 薪芯 褋 械写薪芯 屑械谐邪-"孝袣袟小".)
孝芯谢泻芯胁邪 械 屑懈蟹械褉薪芯, 褔械 械 锌芯褔褌懈 屑懈褋褌懈褔薪芯, 薪邪锌芯写芯斜褟胁邪 袟芯薪邪褌邪 芯褌 "袩懈泻薪懈泻 泻褉邪泄 锌褗褌褟" 薪邪 斜褉邪褌褟 小褌褉褍谐邪褑泻懈. 袙褋械泻懈 褋 屑邪谢泻芯 锌芯胁械褔械 褎邪薪褌邪蟹懈褟 斜懈 锌褉械写锌芯褔械谢 写邪 褋械 锌褉械胁褉薪械 胁 小褌邪谢泻械褉 薪邪 锌芯写芯斜薪懈 屑械褋褌邪. 袩芯-芯锌褌懈屑懈褋褌懈褔薪芯 械.
袨褌泻褗褋懈:
小谢械写 褔邪褋, 褋谢械写 泻邪褌芯 斜褍褌懈谢泻邪褌邪 械 懈蟹锌褉邪蟹薪械薪邪, 胁 锌褉芯褑械褋邪 薪邪 锌芯谐谢褗褖邪薪械 薪邪 屑懈蟹械褉懈泻芯褉写懈邪谢薪懈 斜懈褉懈 (袦懈蟹械泻芯褉写懈褟 - 泻褗褋 屑械褔 褋 褎芯褉屑邪褌邪 薪邪 泻褉褗褋褌, 褋 泻芯泄褌芯 锌褉械蟹 小褉械写薪芯胁械泻芯胁懈械褌芯 褋邪 写芯褍斜懈胁邪谢懈 锌芯 胁褉械屑械 薪邪 胁芯泄薪邪 褌械卸泻芯 褉邪薪械薪懈褌械 胁芯泄薪懈褑懈), 褋屑械薪褟 懈屑械褌芯 屑懈 褋 薪褟泻邪泻胁芯 写褉褍谐芯, 薪褟泻芯谐邪褕薪芯 懈屑械, 泻芯械褌芯 械 褍褔邪胁褋褌胁邪谢芯 胁 卸懈胁芯褌邪 屑褍. 小谢械写 屑邪谢泻芯 芯褌薪芯胁芯 谐芯 薪邪屑懈褉邪 懈 屑械 泻邪薪懈 胁 斜褗写械褖械褌芯, 薪邪 谢芯胁 蟹邪 锌褗褋褌褗褉胁懈 锌褉械蟹 锌褉芯谢械褌褌邪, 邪 褉懈斜懈褌械 褋械 锌芯褟胁褟胁邪褌 胁 褋褗蟹薪邪薪懈械褌芯 屑褍 泻邪褌芯 写邪谢械褔薪邪 褉械屑懈薪懈褋褑械薪褑懈褟 芯褌 写械褌褋褌胁芯褌芯, 褌械谐谢械褖邪 薪邪 斜褍泻褋懈褉 薪褟泻芯谢泻芯 写褉褍谐懈 褉邪蟹泻邪蟹邪.
袙芯写懈褌械 薪邪 锌芯褌芯锌邪 褋械 芯褌写褉褗锌胁邪褌, 锌芯褋谢械写薪懈褌械 锌邪褉褌懈泄薪懈 褋械泻褉械褌邪褉懈 褋邪 懈蟹写邪胁械薪懈 懈谢懈 褋邪 褋械 褋锌邪褋懈谢懈 褋 斜褟谐褋褌胁芯, 蟹谢芯褌芯 械 懈蟹褌褉械斜械薪芯, 邪 薪邪 薪械斜械褌芯 懈蟹谐褉褟胁邪 薪芯胁邪 写褗谐邪, 蟹薪邪泻 薪邪 锌芯屑懈褉械薪懈械.
袛械褑邪褌邪 芯褌 孝袣袟小-褌芯 褋邪 薪邪泻邪褔褍褉懈谢懈 谢褞谢泻邪褌邪. 袧邪芯泻芯谢芯 胁褋懈褔泻芯 锌芯褌褗胁邪 懈 褋邪屑芯 谢褞谢泻邪褌邪 褋械 懈蟹写懈谐邪 薪邪谐芯褉械 懈 薪邪谐芯褉械, 邪 泻芯胁邪褔褗褌 袣褉褍泻, 芯斜褗褉薪邪褌 泻褗屑 褋谢褗薪褑械褌芯, 谐谢械写邪 褏胁褗褉褔邪褖懈褌械 写械褔褍褉谢懈谐邪 懈 谢懈褑械褌芯 屑褍 褋械 锌褉械胁褉褗褖邪 胁 芯谐谢械写邪谢芯 薪邪 写械褌褋泻懈褌械 褋屑械褏芯胁械. 小斜褉褗褔泻邪薪芯 懈 薪械斜褉褗褋薪邪褌芯, 薪芯 胁褟褉薪芯 芯谐谢械写邪谢芯.
袩褉邪褋械褌芯 薪械 屑芯卸械褕 写邪 谐芯 懈蟹谢褗卸械褕, 褍屑薪芯 械.
袙 写械胁械褌 胁械褔械褉褌邪 锌褉械蟹 蟹懈屑邪褌邪 械 胁褋械 褌邪褟 褋 泻芯谐芯 谐芯胁芯褉懈褕.
袠蟹泻褉懈胁懈 谢懈褑械褌芯 褋懈 褋褗谐谢邪褋薪芯 薪褟泻邪泻胁邪 褋谢芯卸薪邪 锌褉械写褋褌邪胁邪 蟹邪 褍褋屑懈胁泻邪. 袙 褌芯胁邪 薪褟屑邪褕械 薪懈褖芯 写褉褍谐芯, 芯褋胁械薪 褍褋懈谢懈械.
袟谢邪褌芯褌芯 薪邪 芯斜械褑懈褌械 褲 斜谢械褋褌懈 泻邪褌芯 锌褉芯蟹褟胁泻邪, 蟹邪胁褗褉褕胁邪褖邪 褋 谢械薪懈胁芯, 锌芯谢褍褋褗薪薪芯 "邪邪屑芯褉械械械" 胁 写褍械褌 褋 泻邪褋械褌芯褎芯薪邪.
袩褉懈蟹芯褉懈 械 褌褉褍写薪芯 写邪 谐懈 褉邪蟹谢懈褔懈褕: 卸懈胁芯褌薪懈, 褋褗斜懈褌懈褟, 屑械褔褌懈.
袩袩. 袧邪 锌褉械写锌芯褋谢械写薪邪褌邪 - 135 褋褌褉. 懈屑邪 械写薪邪 锌械褔邪褌薪邪 谐褉械褕泻邪: "袞械薪懈褌械 屑芯卸械 蟹邪 锌芯锌械褟褌."
孝邪泻邪 写芯斜褉械 锌懈褕械 袗薪写卸械泄 小褌邪褕褍泻 蟹邪 褌械蟹懈 芯锌褍褋褌芯褕械薪懈 芯褌 "锌褉械褏芯写懈" 褏芯褉邪 懈 泻褗褖懈, 写邪 懈 泻褗褖懈. 袦邪泻邪褉 胁 褉邪蟹谢懈褔薪芯 胁褉械屑械, 薪邪锌芯屑薪褟 褋 薪械褖芯 薪邪 袘邪斜械谢. 袦芯卸械 斜懈 褋 锌谢褗褌薪芯褋褌褌邪 薪邪 屑械褌邪褎芯褉懈褌械, 懈 芯锌褍褋褌芯褕械薪懈械褌芯.
袚邪谢懈褑懈泄褋泻懈 懈褋褌芯褉懈懈 芯斜褏胁邪褖邪褌 薪褟泻芯谢泻芯 褋械谢褑邪 懈 薪褟泻芯谢泻芯 芯褌 褌械褏薪懈褌械 械屑斜谢械屑邪褌懈褔薪懈 卸懈褌械谢懈, 锌谢褞褋 写胁邪 锌褉懈蟹褉邪泻邪. 袩芯 薪褟泻芯械 胁褉械屑械 褋械 蟹邪褎芯褉屑褟 泻褉懈屑懈薪邪谢薪邪 褋谢褍褔泻邪, 薪芯 胁 锌芯写芯斜薪懈 芯锌褍褋褌芯褕械薪懈 芯褌 胁褉械屑械褌芯 懈 邪谢泻芯褏芯谢邪 屑械褋褌邪 胁懈薪邪谐懈 懈屑邪 泻褉懈屑懈薪邪谢械薪 薪褞邪薪褋.
袦械褌邪褎芯褉懈褌械 懈 懈蟹褉邪蟹懈褌械 薪邪 小褌邪褕褍泻 褋邪 褋褌褉邪褏芯褌薪芯 锌芯械褌懈锟斤拷薪懈 懈 胁 懈蟹芯斜懈谢懈械. 孝械卸泻懈, 懈蟹褉芯薪械薪懈, 泻邪谢薪懈, 屑褗谐谢懈胁懈, 写褍褕薪懈, 芯锌械褔械薪懈 芯褌 褋谢褗薪褑械褌芯, 蟹邪屑褉褗蟹薪邪谢懈 薪邪 斜褍褑懈 胁 写懈屑薪邪 蟹邪胁械褋邪 芯褌 褑懈谐邪褉懈 懈 邪谢泻芯褏芯谢, 懈 懈蟹屑械卸写褍 胁褋懈褔泻芯 褌芯胁邪 薪邪写薪懈褔邪褌 褔芯胁械褕泻懈 谢懈褑邪.
小谢械写 胁褋械泻懈 褉邪蟹泻邪蟹 懈褋泻邪褏 写邪 懈蟹斜褟谐邪屑 胁 锌褉懈褉芯写邪褌邪 薪邪 袪邪写懈褔泻芯胁. 袛邪 褋械 屑褍褕薪邪 胁 谐芯褉邪褌邪 懈 写邪 屑懈 芯谢械泻薪械.
(7 谐芯写懈薪懈 褋褗屑 褉邪斜芯褌懈谢 胁 褉邪泄芯薪邪 薪邪 袣褉械屑懈泻芯胁褑懈 懈 邪褌屑芯褋褎械褉邪褌邪 薪邪 褌械蟹懈 褉邪蟹泻邪蟹懈 褋邪 屑懈 褍卸邪褋薪芯 锌芯蟹薪邪褌懈. (袘芯卸械, 蟹胁褍褔懈 泻邪褌芯 7 谐芯写懈薪懈 胁 孝械斜械褌, 褏邪褏邪褏邪.) 孝邪蟹懈 懈薪写褍褋褌褉懈邪谢薪邪 褔邪褋褌 械 胁 褋谢芯卸械薪 褋锌谢懈褌 褋 薪邪褋械谢械薪芯褌芯 屑褟褋褌芯. 袠屑邪 芯褌 胁褋懈褔泻芯 芯褌 胁褉械屑械褌芯 薪邪 "锌褉械褏芯写邪", 褉邪蟹褉褍褏邪, 屑懈蟹械褉懈褟... 懈 泻褉邪褋懈胁邪 锌褉懈褉芯写邪. 袚芯褉邪 懈 屑薪芯谐芯, 屑薪芯谐芯 斜械蟹锌谢邪褌薪芯 薪械斜械. 袣邪褌芯 胁 褉邪蟹泻邪蟹懈褌械, 薪芯 褋 械写薪芯 屑械谐邪-"孝袣袟小".)
孝芯谢泻芯胁邪 械 屑懈蟹械褉薪芯, 褔械 械 锌芯褔褌懈 屑懈褋褌懈褔薪芯, 薪邪锌芯写芯斜褟胁邪 袟芯薪邪褌邪 芯褌 "袩懈泻薪懈泻 泻褉邪泄 锌褗褌褟" 薪邪 斜褉邪褌褟 小褌褉褍谐邪褑泻懈. 袙褋械泻懈 褋 屑邪谢泻芯 锌芯胁械褔械 褎邪薪褌邪蟹懈褟 斜懈 锌褉械写锌芯褔械谢 写邪 褋械 锌褉械胁褉薪械 胁 小褌邪谢泻械褉 薪邪 锌芯写芯斜薪懈 屑械褋褌邪. 袩芯-芯锌褌懈屑懈褋褌懈褔薪芯 械.
袨褌泻褗褋懈:
小谢械写 褔邪褋, 褋谢械写 泻邪褌芯 斜褍褌懈谢泻邪褌邪 械 懈蟹锌褉邪蟹薪械薪邪, 胁 锌褉芯褑械褋邪 薪邪 锌芯谐谢褗褖邪薪械 薪邪 屑懈蟹械褉懈泻芯褉写懈邪谢薪懈 斜懈褉懈 (袦懈蟹械泻芯褉写懈褟 - 泻褗褋 屑械褔 褋 褎芯褉屑邪褌邪 薪邪 泻褉褗褋褌, 褋 泻芯泄褌芯 锌褉械蟹 小褉械写薪芯胁械泻芯胁懈械褌芯 褋邪 写芯褍斜懈胁邪谢懈 锌芯 胁褉械屑械 薪邪 胁芯泄薪邪 褌械卸泻芯 褉邪薪械薪懈褌械 胁芯泄薪懈褑懈), 褋屑械薪褟 懈屑械褌芯 屑懈 褋 薪褟泻邪泻胁芯 写褉褍谐芯, 薪褟泻芯谐邪褕薪芯 懈屑械, 泻芯械褌芯 械 褍褔邪胁褋褌胁邪谢芯 胁 卸懈胁芯褌邪 屑褍. 小谢械写 屑邪谢泻芯 芯褌薪芯胁芯 谐芯 薪邪屑懈褉邪 懈 屑械 泻邪薪懈 胁 斜褗写械褖械褌芯, 薪邪 谢芯胁 蟹邪 锌褗褋褌褗褉胁懈 锌褉械蟹 锌褉芯谢械褌褌邪, 邪 褉懈斜懈褌械 褋械 锌芯褟胁褟胁邪褌 胁 褋褗蟹薪邪薪懈械褌芯 屑褍 泻邪褌芯 写邪谢械褔薪邪 褉械屑懈薪懈褋褑械薪褑懈褟 芯褌 写械褌褋褌胁芯褌芯, 褌械谐谢械褖邪 薪邪 斜褍泻褋懈褉 薪褟泻芯谢泻芯 写褉褍谐懈 褉邪蟹泻邪蟹邪.
袙芯写懈褌械 薪邪 锌芯褌芯锌邪 褋械 芯褌写褉褗锌胁邪褌, 锌芯褋谢械写薪懈褌械 锌邪褉褌懈泄薪懈 褋械泻褉械褌邪褉懈 褋邪 懈蟹写邪胁械薪懈 懈谢懈 褋邪 褋械 褋锌邪褋懈谢懈 褋 斜褟谐褋褌胁芯, 蟹谢芯褌芯 械 懈蟹褌褉械斜械薪芯, 邪 薪邪 薪械斜械褌芯 懈蟹谐褉褟胁邪 薪芯胁邪 写褗谐邪, 蟹薪邪泻 薪邪 锌芯屑懈褉械薪懈械.
袛械褑邪褌邪 芯褌 孝袣袟小-褌芯 褋邪 薪邪泻邪褔褍褉懈谢懈 谢褞谢泻邪褌邪. 袧邪芯泻芯谢芯 胁褋懈褔泻芯 锌芯褌褗胁邪 懈 褋邪屑芯 谢褞谢泻邪褌邪 褋械 懈蟹写懈谐邪 薪邪谐芯褉械 懈 薪邪谐芯褉械, 邪 泻芯胁邪褔褗褌 袣褉褍泻, 芯斜褗褉薪邪褌 泻褗屑 褋谢褗薪褑械褌芯, 谐谢械写邪 褏胁褗褉褔邪褖懈褌械 写械褔褍褉谢懈谐邪 懈 谢懈褑械褌芯 屑褍 褋械 锌褉械胁褉褗褖邪 胁 芯谐谢械写邪谢芯 薪邪 写械褌褋泻懈褌械 褋屑械褏芯胁械. 小斜褉褗褔泻邪薪芯 懈 薪械斜褉褗褋薪邪褌芯, 薪芯 胁褟褉薪芯 芯谐谢械写邪谢芯.
袩褉邪褋械褌芯 薪械 屑芯卸械褕 写邪 谐芯 懈蟹谢褗卸械褕, 褍屑薪芯 械.
袙 写械胁械褌 胁械褔械褉褌邪 锌褉械蟹 蟹懈屑邪褌邪 械 胁褋械 褌邪褟 褋 泻芯谐芯 谐芯胁芯褉懈褕.
袠蟹泻褉懈胁懈 谢懈褑械褌芯 褋懈 褋褗谐谢邪褋薪芯 薪褟泻邪泻胁邪 褋谢芯卸薪邪 锌褉械写褋褌邪胁邪 蟹邪 褍褋屑懈胁泻邪. 袙 褌芯胁邪 薪褟屑邪褕械 薪懈褖芯 写褉褍谐芯, 芯褋胁械薪 褍褋懈谢懈械.
袟谢邪褌芯褌芯 薪邪 芯斜械褑懈褌械 褲 斜谢械褋褌懈 泻邪褌芯 锌褉芯蟹褟胁泻邪, 蟹邪胁褗褉褕胁邪褖邪 褋 谢械薪懈胁芯, 锌芯谢褍褋褗薪薪芯 "邪邪屑芯褉械械械" 胁 写褍械褌 褋 泻邪褋械褌芯褎芯薪邪.
袩褉懈蟹芯褉懈 械 褌褉褍写薪芯 写邪 谐懈 褉邪蟹谢懈褔懈褕: 卸懈胁芯褌薪懈, 褋褗斜懈褌懈褟, 屑械褔褌懈.
袩袩. 袧邪 锌褉械写锌芯褋谢械写薪邪褌邪 - 135 褋褌褉. 懈屑邪 械写薪邪 锌械褔邪褌薪邪 谐褉械褕泻邪: "袞械薪懈褌械 屑芯卸械 蟹邪 锌芯锌械褟褌."
February 27, 2016
A pitch-perfect genre-bending tale of an eroded village limping along in post-communist Poland, at the southern border with Slovakia. The initial connected story-portraits of individual characters eventually give way to a more unified narrative imbued with mystery and the supernatural. An itinerant narrator ducks in and out of a river of fluid time, moving seamlessly between past and present. Stasiuk's prose is slow but uncluttered, allowing space to take in his descriptions of the natural world and the sometimes ambiguous human connection to it. If the book were longer I'd be more than pleased to still be reading it...
Nothing felt like happening, nothing, nothing. The stream of time slipped between the houses, rolled through the market square, and passed the two benches set crosswise. It flowed over the ruins of the town-hall tower, which over the past two hundred years it had managed to erode, infect with rot, and wash clean of plaster, and which it would certainly overcome in the end, like a flood carries away things that are light, unnecessary, and forgotten. Time also flowed from the sky, poured out like slow molasses and sloshed against the pavement's metallic shell. But neither its stream nor a single splash could manage to pull any greater event behind it.
November 27, 2016
Andrzej Stasiuk again :) Tym razem moim 艂upem pad艂 zbi贸r opowiada艅 o ma艂ej miejscowo艣ci w Beskidzie Niskim, kt贸rej mieszka艅cy zmagaj膮 si臋 z upiorami przesz艂o艣ci w trakcie przemian ustrojowych. Cie艅 PRL-u, a nawet czas贸w jeszcze bardziej odleg艂ych ci膮偶y na ludziach, kt贸rzy tu mieszkaj膮 i uniemo偶liwia im powstanie na nogi z marazmu, apatii i zawieszenia. Przyznam, 偶e do tej pory nie trafi艂em jeszcze na ksi膮偶k臋 Andrzeja Stasiuka, kt贸ra by mi si臋 nie spodoba艂a, aczkolwiek "Opowie艣ci galicyjskie" mimo, 偶e s膮 uznawane za jedn膮 z najwa偶niejszych jego dzie艂, a nawet dorobi艂y si臋 adaptacji filmowej, nie chwyci艂y mnie za gard艂o tak mocno jak dotychczasowe pozycje kt贸re wysz艂y z pod jego r臋ki.
Atmosfera opowiada艅, kt贸re znajdziemy w niniejszej ksi膮偶ce jest mocno do艂uj膮ca, co nie dziwi wcale zwa偶ywszy na tw贸rczo艣膰 Stasiuka, kt贸ra wcale przecie偶 nie nale偶y do lekkich, 艂atwych i przyjemnych, a ponadto trudno oczekiwa膰 motywacyjnej, optymistycznej literatury w historii tocz膮cej si臋 w cieniu PGR-贸w. W oparach alkoholu, w towarzystwie biedy i bezrobocia, 偶ycie toczy si臋 sm臋tnie, a klaustrofobia charakterystyczna dla spo艂eczno艣ci tu 偶yj膮cej i bezsensowno艣膰 egzystencji jest a偶 nadto zauwa偶alna. Po艣r贸d tego wszystkiego kr膮偶y zagubiony pomi臋dzy 艣wiatami wiecznymi duch, staraj膮cy si臋 unikn膮膰 pot臋pienia, kt贸ry doprasza si臋 o uwag臋 i modlitw臋. Czy natomiast uda mu si臋 kogo艣 przebudzi膰 swym wo艂aniem przypominaj膮cym wo艂anie na pustyni? - kwestia nad wyraz w膮tpliwa jak szybko mo偶na si臋 zorientowa膰.
Nie potrafi臋 okre艣li膰 czy w opowie艣ciach Stasiuka czu膰 klimat charakterystyczny dla Galicji, bo nie bardzo wiem jaki to mia艂by by膰 klimat. Wiem natomiast, 偶e zar贸wno krajobrazy jakie kre艣li tutaj Andrzej Stasiuk jak i mentalno艣膰 ludzi 偶yj膮cych w tej wsi to rzecz charakterystyczna nie tylko dla Polski z czas贸w transformacji ustrojowej, ale do dzi艣 widoczna w r贸偶nych miejscach naszego kraju. Przyt艂aczaj膮cy wyd藕wi臋k tych opowiada艅, b臋d膮cych raczej rozdzia艂ami jednej historii ni偶 samodzielnymi utworami, jest okraszony mistycyzmem i jak to bywa u tego autora - egzystencjalnymi rozwa偶aniami na temat roli pami臋ci, czasu i dziedzictwa. Te ostatnie elementy nale偶膮 do moich ulubionych w tw贸rczo艣ci Stasiuka i dlatego troch臋 ich jak dla mnie by艂o tutaj jakby ma艂o. Z tego te偶 chyba wzgl臋du "Opowie艣ci galicyjskie" nie b臋d膮 nale偶e膰 do moich ulubionych ksi膮偶ek jego autorstwa. Nie oznacza to jednak wcale, 偶e ta ksi膮偶ka nie zach臋ca do refleksji i nie wnosi nic dla wra偶liwego i otwartego czytelnika. Jest tylko troch臋 trudno dotrze膰 do tych w膮tk贸w po艣r贸d tego przygn臋bienia i depresji.
Ko艅cz膮c ju偶 opini臋 na temat tej ksi膮偶ki ( bo nie bardzo wypada si臋 bez ko艅ca rozpisywa膰 nad ksi膮偶k膮 niezbyt przecie偶 obszern膮, kt贸r膮 ka偶dy mo偶e przeczyta膰 w wolnej chwili) chcia艂bym zaznaczy膰, 偶e niewielu jest pisarzy, kt贸rzy tak jak Andrzej Stasiuk oddaj膮 emocje i za ich pomoc膮 oddzia艂ywuj膮 na czytelnika a偶 tak wyra藕nie. Czytaj膮c "Opowie艣ci galicyjskie" cz艂owiek ma wra偶enie, 偶e m臋czy si臋 na kacu wraz z bohaterami tej opowie艣ci, zapomina 偶e ma cel w 偶yciu i prac臋 i momentami oddaje si臋 atmosferze beznadziejno艣ci nawet je艣li perspektywa bohater贸w tej opowie艣ci jest mu zupe艂nie obca. Cho膰by ta umiej臋tno艣膰 autora zas艂uguje na to, aby po艣wi臋ci膰 te par臋 chwil na lektur臋 ksi膮偶ek takich jak ta. Przecie偶 to mi臋dzy innymi jest nieocenion膮 warto艣ci膮 literatury, 偶e mo偶emy wchodzi膰 w r贸偶ne sk贸ry, niekoniecznie sprawdzaj膮c wszystko w realu. Ja natomiast bardzo si臋 ciesz臋, 偶e mam przed sob膮 jeszcze wiele ksi膮偶ek Andrzeja Stasiuka. A mo偶e polecicie mi po kt贸r膮 si臋gn膮膰 w pierwszej kolejno艣ci? :)
osinskipoludzku.blogspot.com
Atmosfera opowiada艅, kt贸re znajdziemy w niniejszej ksi膮偶ce jest mocno do艂uj膮ca, co nie dziwi wcale zwa偶ywszy na tw贸rczo艣膰 Stasiuka, kt贸ra wcale przecie偶 nie nale偶y do lekkich, 艂atwych i przyjemnych, a ponadto trudno oczekiwa膰 motywacyjnej, optymistycznej literatury w historii tocz膮cej si臋 w cieniu PGR-贸w. W oparach alkoholu, w towarzystwie biedy i bezrobocia, 偶ycie toczy si臋 sm臋tnie, a klaustrofobia charakterystyczna dla spo艂eczno艣ci tu 偶yj膮cej i bezsensowno艣膰 egzystencji jest a偶 nadto zauwa偶alna. Po艣r贸d tego wszystkiego kr膮偶y zagubiony pomi臋dzy 艣wiatami wiecznymi duch, staraj膮cy si臋 unikn膮膰 pot臋pienia, kt贸ry doprasza si臋 o uwag臋 i modlitw臋. Czy natomiast uda mu si臋 kogo艣 przebudzi膰 swym wo艂aniem przypominaj膮cym wo艂anie na pustyni? - kwestia nad wyraz w膮tpliwa jak szybko mo偶na si臋 zorientowa膰.
Nie potrafi臋 okre艣li膰 czy w opowie艣ciach Stasiuka czu膰 klimat charakterystyczny dla Galicji, bo nie bardzo wiem jaki to mia艂by by膰 klimat. Wiem natomiast, 偶e zar贸wno krajobrazy jakie kre艣li tutaj Andrzej Stasiuk jak i mentalno艣膰 ludzi 偶yj膮cych w tej wsi to rzecz charakterystyczna nie tylko dla Polski z czas贸w transformacji ustrojowej, ale do dzi艣 widoczna w r贸偶nych miejscach naszego kraju. Przyt艂aczaj膮cy wyd藕wi臋k tych opowiada艅, b臋d膮cych raczej rozdzia艂ami jednej historii ni偶 samodzielnymi utworami, jest okraszony mistycyzmem i jak to bywa u tego autora - egzystencjalnymi rozwa偶aniami na temat roli pami臋ci, czasu i dziedzictwa. Te ostatnie elementy nale偶膮 do moich ulubionych w tw贸rczo艣ci Stasiuka i dlatego troch臋 ich jak dla mnie by艂o tutaj jakby ma艂o. Z tego te偶 chyba wzgl臋du "Opowie艣ci galicyjskie" nie b臋d膮 nale偶e膰 do moich ulubionych ksi膮偶ek jego autorstwa. Nie oznacza to jednak wcale, 偶e ta ksi膮偶ka nie zach臋ca do refleksji i nie wnosi nic dla wra偶liwego i otwartego czytelnika. Jest tylko troch臋 trudno dotrze膰 do tych w膮tk贸w po艣r贸d tego przygn臋bienia i depresji.
Ko艅cz膮c ju偶 opini臋 na temat tej ksi膮偶ki ( bo nie bardzo wypada si臋 bez ko艅ca rozpisywa膰 nad ksi膮偶k膮 niezbyt przecie偶 obszern膮, kt贸r膮 ka偶dy mo偶e przeczyta膰 w wolnej chwili) chcia艂bym zaznaczy膰, 偶e niewielu jest pisarzy, kt贸rzy tak jak Andrzej Stasiuk oddaj膮 emocje i za ich pomoc膮 oddzia艂ywuj膮 na czytelnika a偶 tak wyra藕nie. Czytaj膮c "Opowie艣ci galicyjskie" cz艂owiek ma wra偶enie, 偶e m臋czy si臋 na kacu wraz z bohaterami tej opowie艣ci, zapomina 偶e ma cel w 偶yciu i prac臋 i momentami oddaje si臋 atmosferze beznadziejno艣ci nawet je艣li perspektywa bohater贸w tej opowie艣ci jest mu zupe艂nie obca. Cho膰by ta umiej臋tno艣膰 autora zas艂uguje na to, aby po艣wi臋ci膰 te par臋 chwil na lektur臋 ksi膮偶ek takich jak ta. Przecie偶 to mi臋dzy innymi jest nieocenion膮 warto艣ci膮 literatury, 偶e mo偶emy wchodzi膰 w r贸偶ne sk贸ry, niekoniecznie sprawdzaj膮c wszystko w realu. Ja natomiast bardzo si臋 ciesz臋, 偶e mam przed sob膮 jeszcze wiele ksi膮偶ek Andrzeja Stasiuka. A mo偶e polecicie mi po kt贸r膮 si臋gn膮膰 w pierwszej kolejno艣ci? :)
osinskipoludzku.blogspot.com
July 25, 2011
This is a lovely novel from one of the 'new school' of Polish writers (see Natasza Goerke elsewhere in this list) set in a fictitious village in the Beskid Mountains or nearby, close to the Polish-Slovak border. Initially seeming to be a short story collection, the tales start to weave together to become a touching and quite poignant novel of being on the edge 鈥� of Poland, of social change, of life/death, and several other sorts of marginality. Even marginal characters, some of whom appear for little more that couple of lines, seem to layer and build up a moving sense of life in the once-was-a-collective-farm/village.
I'd never read Stasiuk before 鈥� but once again Prague's Twisted Spoon Press has come through with a fine piece of central European fiction to remind me that there is really good work being done that seldom if ever makes its way into English.
I'd never read Stasiuk before 鈥� but once again Prague's Twisted Spoon Press has come through with a fine piece of central European fiction to remind me that there is really good work being done that seldom if ever makes its way into English.
Currently reading
January 13, 2018I am in the middle of this one and not sure I am going to finish it. I learned of it through another goodreads person who also included the link. (It had been available on Scribd but isn't any longer.)
I found that some of the stories really drew me in and some were less accessible. More than that, each time I began to feel like I was really entering the world of a story it ended and I had to start all over again. So it was a lot of effort and hard to connect. That said, I do hope to finish it at some point. And I especially liked the story or chapter called Kosciejny (this is one of those books that feels like it could be a story collection, a novel, a bit of contemporary historical fiction with a little magical realism, some combination of all three.)
Here are some quotes:
And even though it was cold, Blacksmith Kruk didn鈥檛 move, didn鈥檛 hunch his shoulders, didn鈥檛 try to button up his denim shirt. H continued his story mindful not to leave anything out, and everything had its own weight, everything had its own proper place in the story, as if memory and speech were gifts he was not allowed to waste. (30 from Kruk)
Dark, nomadic essences flowed under Janek鈥檚 kobold skin. But they had been watered down by alcohol the blood of sedentary generations, and the hopelessness of a limited horizon, where the sun rose behind a picket fence hung with babies鈥� diapers and women鈥檚 cottons and linens. The houses were filled with children鈥檚 shrieking. Not wails of hunger yet, but then again, nobody knew what the future had in store. In the guise of springtime, it would reveal the deterioration. Old people would die as usual. And the vanishing snow would expose the slow gangrene in the fields and buildings and in the piles of laboriously collected things, rotting and leaning to one side only to collapse and return once again to the somnolent and sluggish earth. (34)
Kosciejny looked like he usually did, a little like a scarecrow that had just escaped from the garden. That鈥檚 exactly how skinny, forty-year-old men in overalls look. Time rubs their features away, and it鈥檚 only in old age, when they have come reconciled with it, that they get their own one-of-a-kind faces back. Maybe so death can tell them apart. (51)
(From Kosciejny)
He cut off the head with short, quick strokes. Two mongrels were hanging around nearby. Then the tip of the knife slipped along the belly, along the legs, and the skin came off like a stocking. Steam was rising in the cold morning air. It was already over鈥� skin, carcass, entrails, everything neatly separated. A simple and precise dissection of existence. (52) (From Kosciejny)
Then K continued on his journey out. Peaceful, drowsing, just like the horses, one foot after the other to the edge of night, where darkness flowed over the mountains like rich, black milk. (53)
鈥溾€irt and freedom always intermingle.鈥� (53)
鈥淚 don鈥檛 feel sorry for you, I just pity the horses.鈥� (53)
I found that some of the stories really drew me in and some were less accessible. More than that, each time I began to feel like I was really entering the world of a story it ended and I had to start all over again. So it was a lot of effort and hard to connect. That said, I do hope to finish it at some point. And I especially liked the story or chapter called Kosciejny (this is one of those books that feels like it could be a story collection, a novel, a bit of contemporary historical fiction with a little magical realism, some combination of all three.)
Here are some quotes:
And even though it was cold, Blacksmith Kruk didn鈥檛 move, didn鈥檛 hunch his shoulders, didn鈥檛 try to button up his denim shirt. H continued his story mindful not to leave anything out, and everything had its own weight, everything had its own proper place in the story, as if memory and speech were gifts he was not allowed to waste. (30 from Kruk)
Dark, nomadic essences flowed under Janek鈥檚 kobold skin. But they had been watered down by alcohol the blood of sedentary generations, and the hopelessness of a limited horizon, where the sun rose behind a picket fence hung with babies鈥� diapers and women鈥檚 cottons and linens. The houses were filled with children鈥檚 shrieking. Not wails of hunger yet, but then again, nobody knew what the future had in store. In the guise of springtime, it would reveal the deterioration. Old people would die as usual. And the vanishing snow would expose the slow gangrene in the fields and buildings and in the piles of laboriously collected things, rotting and leaning to one side only to collapse and return once again to the somnolent and sluggish earth. (34)
Kosciejny looked like he usually did, a little like a scarecrow that had just escaped from the garden. That鈥檚 exactly how skinny, forty-year-old men in overalls look. Time rubs their features away, and it鈥檚 only in old age, when they have come reconciled with it, that they get their own one-of-a-kind faces back. Maybe so death can tell them apart. (51)
(From Kosciejny)
He cut off the head with short, quick strokes. Two mongrels were hanging around nearby. Then the tip of the knife slipped along the belly, along the legs, and the skin came off like a stocking. Steam was rising in the cold morning air. It was already over鈥� skin, carcass, entrails, everything neatly separated. A simple and precise dissection of existence. (52) (From Kosciejny)
Then K continued on his journey out. Peaceful, drowsing, just like the horses, one foot after the other to the edge of night, where darkness flowed over the mountains like rich, black milk. (53)
鈥溾€irt and freedom always intermingle.鈥� (53)
鈥淚 don鈥檛 feel sorry for you, I just pity the horses.鈥� (53)
June 4, 2019
Mocne 3,5 * Piekny jezyk, jak to u Stasiuka. Wspaniale opisy postaci. Poezja. Jednak zabraklo mi jakiegos dalszego ciagu. Mialam wrazenie, ze ta, dosc krotka, ksiazka, a w zasadzie zbior opowiadan, jest niedokonczona.
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March 8, 2024calkiem cool
nawet buja
ale pojecia nie mam po co mi to bylo
nawet buja
ale pojecia nie mam po co mi to bylo
March 27, 2025
W tym przyoadku tak偶e przeczytali艣my kr贸tki fragmet "Miejsca" i jestem zakochana w tym utworze, i w tym fragmencie. Mo偶e te偶 dlatego 偶e m贸j tata mieszka艂 w Czarnym (czarne idk im sorry) i jest pochodzenia ukrai艅skiego. Czuje przywi膮zanie do tego miejsca w pewien spos贸b. Ogromnie pragn臋 przeczyta膰 ca艂y zbu贸r opowiada艅 馃挆馃槶
February 12, 2025
Pi臋kny j臋zyk, ale tematyka nie przypad艂a mi do gustu. Troch臋 przypomina艂a mi ta ksi膮偶ka film "Pieni膮dze to nie wszystko". Tylko to nie by艂a komedia. W sumie by艂a bardzo smutna.
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March 17, 2024przeczyta艂am tylko miejsce ale chce mie膰 kolejn膮 pozycj臋 w rocznym wyzwaniu
July 16, 2017
袧械褋锌芯写褨胁邪薪薪芯 褔褍写芯胁芯. 效懈褌邪谢邪 斜 褨 褔懈褌邪谢邪 写邪谢褨.
December 30, 2018
"... en de oude man wees op de plekken waar huizen hadden gestaan, hij noemde namen, vertelde stukjes van allerlei gebeurtenissen. Hij reed door het dorp dat in zijn geheugen bestond. Tijd noch vuur noch breekbaarheid had er toegang. Ten slotte glimlachte hij bij ons afscheid een beetje spottend. Zijn gezicht deed denken aan een door vorst aangetaste appel. En hij zei met een bijna vrolijke schittering in zijn ogen: 'Zo, nu kan ik net zo goed doodgaan.'"
September 20, 2024
Przygn臋biaj膮ca, ale pi臋knie, poetycko napisana ksi膮偶ka. Na pewno si臋gn臋 po kolejne pozycje autora.
" Z jego nozdrzy snuj膮 si臋 sny. Wype艂niaj膮 pok贸j, przysiadaj膮 na krzes艂ach wok贸艂 sto艂u i spieraj膮 si臋 o dusz臋"
" Z jego nozdrzy snuj膮 si臋 sny. Wype艂niaj膮 pok贸j, przysiadaj膮 na krzes艂ach wok贸艂 sto艂u i spieraj膮 si臋 o dusz臋"
April 18, 2024
Zieeeeew
April 22, 2025
鈥瀖iejsce鈥� - 3,5 鉁�
February 10, 2023
Fajna w sumie
May 20, 2024
Opowie艣ci przypominaj膮ce troch臋 fragmentami 鈥淏a艣艅 o w臋偶owym sercu鈥�, ale z pi臋kniejszym j臋zykiem, lu藕no powi膮zane ze sob膮 opowiadania o wiejskiej codzienno艣ci, mega mega j臋zyk, moim ulubionym pozostaje chyba 鈥渕iejsce鈥�
March 13, 2025
"lecz miejsca nie mo偶na przenie艣膰. miejsce nie ma wymiar贸w. jest punktem i nieuchwytn膮 przestrzeni膮."
March 12, 2023
poetycki obraz n臋dzy w miejscu gdzie czas sie zatrzyma艂
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March 20, 2024tylko opowiadanie ,,Miejsce" 馃憤馃憤
May 3, 2024
ewangelia galicji
March 27, 2018
袨锌芯胁褨写邪薪薪褟 锌褉芯 锌褉芯褋褌芯褌褍 褨 斜褨写薪芯褌褍. 袉 锌褉芯 锌褉芯褋褌芯褌褍, 褟泻邪 屑芯卸谢懈胁邪 谢懈褕械 胁 斜褨写薪芯(褋)褌褨, 褟泻邪 谢懈褕械 褌邪屑, 褍 褌邪泻懈褏 屑褨褋褑褟褏 芯谐芯谢褞褦 褋褍褌薪褨褋褌褜 谢褞写懈薪懈, 褖芯 卸懈胁械 胁 锌芯褌芯褑褨 蟹胁懈褔薪懈褏 褉懈褌屑褨胁 褨 褉邪蟹褞褔芯褩 锌芯胁褌芯褉褞胁邪薪芯褩 胁褨写 褋械蟹芯薪褍 写芯 褋械蟹芯薪褍 斜褍写械薪薪芯褋褌褨. 小邪屑械 褌芯屑褍 薪邪 褌谢褨 褌芯谐芯, 褖芯 薪褨褔芯谐芯 薪械 胁褨写斜褍胁邪褦褌褜褋褟 泻芯卸薪邪 薪邪胁褨褌褜 薪邪泄写褉褨斜薪褨褕邪 锌芯写褨褟 芯斜褉芯褋褌邪褦 斜褨斜谢褨泄薪懈屑 械锌芯褋芯屑. 袦芯卸谢懈胁芯 褌邪泻芯卸 泄 锌邪褎芯褋芯屑, 邪谢械 胁褨薪 芯写褉邪蟹褍 卸 谐褍斜懈褌褜褋褟 褍 谐褨锌械褉褉械邪谢褜薪芯褋褌褨 褨 褋褞褉褉械邪谢褨褋褌懈褔薪芯褋褌褨 屑芯薪芯褌芯薪薪芯谐芯 褨薪械褉褌薪芯谐芯 褋胁褨褌褍, 锌芯胁薪褨褋褌褞 邪胁褌芯薪芯屑薪芯谐芯,听听蟹邪泻褉懈褌芯谐芯 泄 褋邪屑芯写芯褋褌邪褌薪褜芯谐芯 褟泻, 斜褍写褜 褟泻械, 褌褉邪写懈褑褨泄薪械 褋褍褋锌褨谢褜褋褌胁芯, 褟泻 斜褍写褜-褟泻械 褋械谢芯.
听
校 褑褜芯屑褍 褋胁褨褌褨 泻芯卸械薪 锌械褉褋芯薪邪卸 - 褌懈锌邪卸 褨 邪褉褏械褌懈锌. 校薪褨泻邪谢褜薪邪 写芯谢褟 褨 褌邪泻邪 锌芯胁褌芯褉褞胁邪薪邪 泻邪褉褌邪 褋胁褨褌褍 褨 卸懈褌褌褦胁邪 写褉邪屑邪. "袚邪谢懈褑褜泻褨 芯锌芯胁褨写邪薪薪褟" 褑褨谢泻芯屑 屑芯谐谢懈 斜 斜褍褌懈 褉芯屑邪薪芯屑, 褟泻斜懈 薪械 斜褍谢懈 芯锌芯胁褨写邪薪薪褟屑懈, 写械 锌械褉褋芯薪邪卸褨 屑邪薪写褉褍褞褌褜 蟹 芯写薪褨褦褩 芯锌芯胁褨写褨 胁 褨薪褕褍, 褋泻褍褌褨 写芯泻褍锌懈 屑褨褋褑械屑, 褔邪褋芯屑 褨 胁芯谢械褞 薪邪褉邪褌芯褉邪, 褖芯 薪邪褔械 锌褉懈胁懈写 斜邪褔懈褌褜 泻褉褨蟹褜 褋褌褨薪懈, 褔褍褦 谐芯谢芯褋懈 褨 蟹薪邪褦 胁褋械, 邪谢械 薪械 锌褉芯 胁褋械 谐芯胁芯褉懈褌褜. 袩褉懈薪邪泄屑薪褨 薪械 芯写褉邪蟹褍.
听
袦芯褟 锌械褉褕邪 泻薪懈卸泻邪 袗薪写卸械褟 小褌邪褋褞泻邪. 效褍写芯胁懈泄 褋褌懈谢褜, 褔褨褌泻褨 屑械褌邪褎芯褉懈, 褎褨谢芯褋芯褎褨褔薪褨 蟹胁芯褉芯褌懈 褨 褋懈谢褜薪械 胁褨写褔褍褌褌褟 褑褨谢褨褋薪芯褋褌褨 屑邪谢械薪褜泻芯谐芯 褋胁褨褌褍 蟹 锌芯蟹懈褑褨褩 写械屑褨褍褉谐邪, 褟泻懈泄 胁懈褉褨褕懈胁, 屑芯胁 锌褉懈胁懈写 薪械锌芯屑褨褌薪芯 薪邪胁褨褌褜 写谢褟 褋邪屑芯谐芯 褋械斜械 锌褉芯谐褍谢褟褌懈褋褜 褋胁芯褩屑 褌胁芯褉褨薪薪褟屑. 袘邪谐邪褌懈泄 锌械褉械泻谢邪写 袩褉芯褏邪褋褜泻邪 谢懈褕械 锌褨写褋懈谢褞褦 谐邪褉薪褨 胁褉邪卸械薪薪褟 胁褨写 泻薪懈谐懈.
听
校 褑褜芯屑褍 褋胁褨褌褨 泻芯卸械薪 锌械褉褋芯薪邪卸 - 褌懈锌邪卸 褨 邪褉褏械褌懈锌. 校薪褨泻邪谢褜薪邪 写芯谢褟 褨 褌邪泻邪 锌芯胁褌芯褉褞胁邪薪邪 泻邪褉褌邪 褋胁褨褌褍 褨 卸懈褌褌褦胁邪 写褉邪屑邪. "袚邪谢懈褑褜泻褨 芯锌芯胁褨写邪薪薪褟" 褑褨谢泻芯屑 屑芯谐谢懈 斜 斜褍褌懈 褉芯屑邪薪芯屑, 褟泻斜懈 薪械 斜褍谢懈 芯锌芯胁褨写邪薪薪褟屑懈, 写械 锌械褉褋芯薪邪卸褨 屑邪薪写褉褍褞褌褜 蟹 芯写薪褨褦褩 芯锌芯胁褨写褨 胁 褨薪褕褍, 褋泻褍褌褨 写芯泻褍锌懈 屑褨褋褑械屑, 褔邪褋芯屑 褨 胁芯谢械褞 薪邪褉邪褌芯褉邪, 褖芯 薪邪褔械 锌褉懈胁懈写 斜邪褔懈褌褜 泻褉褨蟹褜 褋褌褨薪懈, 褔褍褦 谐芯谢芯褋懈 褨 蟹薪邪褦 胁褋械, 邪谢械 薪械 锌褉芯 胁褋械 谐芯胁芯褉懈褌褜. 袩褉懈薪邪泄屑薪褨 薪械 芯写褉邪蟹褍.
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袦芯褟 锌械褉褕邪 泻薪懈卸泻邪 袗薪写卸械褟 小褌邪褋褞泻邪. 效褍写芯胁懈泄 褋褌懈谢褜, 褔褨褌泻褨 屑械褌邪褎芯褉懈, 褎褨谢芯褋芯褎褨褔薪褨 蟹胁芯褉芯褌懈 褨 褋懈谢褜薪械 胁褨写褔褍褌褌褟 褑褨谢褨褋薪芯褋褌褨 屑邪谢械薪褜泻芯谐芯 褋胁褨褌褍 蟹 锌芯蟹懈褑褨褩 写械屑褨褍褉谐邪, 褟泻懈泄 胁懈褉褨褕懈胁, 屑芯胁 锌褉懈胁懈写 薪械锌芯屑褨褌薪芯 薪邪胁褨褌褜 写谢褟 褋邪屑芯谐芯 褋械斜械 锌褉芯谐褍谢褟褌懈褋褜 褋胁芯褩屑 褌胁芯褉褨薪薪褟屑. 袘邪谐邪褌懈泄 锌械褉械泻谢邪写 袩褉芯褏邪褋褜泻邪 谢懈褕械 锌褨写褋懈谢褞褦 谐邪褉薪褨 胁褉邪卸械薪薪褟 胁褨写 泻薪懈谐懈.
September 18, 2009
A lovely selection of short poetic stories based in Poland
May 8, 2016
A very quick but still enchanting through and through read.
February 27, 2021
Es stand lange ungelesen im Regal, dieses schmale Buch von Stasiuk, den ich doch eigentlich sehr mag. Irgendwie fand ich den Zugang nicht, fand nicht hinein in die Geschichten um J贸zek, Wladek, Janek und all die anderen traurig trinkenden M盲nner. Jetzt ist es gelungen und ich habe sie als Gutenachtgeschichten gelesen, langsam zwar, aber gerne. - Erst scheint es, als erz盲hle Stasiuk in sich geschlossene Episoden, doch mit der Zeit zeigt sich, wie alles zusammenh盲ngt, Orte und Figuren, ein kleines Universum im S眉dosten Polens, einem Landstrich, in dem es insgesamt wenig Freude gibt, was Stasiuk zugewandt und in teils sehr sch枚nen S盲tzen beschreibt: 鈥�(...) taub und blind f眉r die Welt lagen die Toten unter der Erde.鈥�
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