What do you think?
Rate this book
袚谢邪蟹邪 谐芯谢褍斜芯泄 褋芯斜邪泻懈
袟邪褔械屑 泻褉邪褋懈胁邪褟 卸械薪褖懈薪邪 锌褉械胁褉邪褌懈谢邪褋褜 胁 泻芯褕泻褍? 袩芯褔械屑褍 薪械谐褉懈褌械薪芯泻 袧邪斜芯 蟹邪褋褌邪胁懈谢 邪薪谐械谢芯胁 卸写邪褌褜? 效褌芯 褍斜懈胁邪械褌 褔械谢芯胁械泻邪 鈥� 褋屑械褉褌械谢褜薪邪褟 斜芯谢械蟹薪褜 懈谢懈 谐芯褌芯胁薪芯褋褌褜 锌褉懈薪褟褌褜 褋屑械褉褌褜? 效褌芯 锌褉芯懈褋褏芯写懈褌 胁 褋褌邪褉懈薪薪芯屑 谐芯褉芯写泻械 袦邪泻芯薪写芯 褋 锌褉懈褏芯写芯屑 褋械蟹芯薪邪 写芯卸写械泄? 袠 褔褌芯 胁褋械-褌邪泻懈 褋谢褍褔懈谢芯褋褜 褋 褌褉械屑褟 锌褜褟薪懈褑邪屑懈 胁 写械褕械胁芯屑 斜邪褉械, 谐写械 褏芯蟹褟泄薪懈褔邪谢懈 胁褘锌懈? 袪邪褋褋泻邪蟹褘 袚邪斜褉懈褝谢褟 袚邪褉褋懈邪 袦邪褉泻械褋邪, 胁 泻芯褌芯褉褘褏 芯薪 懈谐褉邪械褌 褋芯 褋褌懈谢褟屑懈 懈 锌褉芯斜褍械褌 褋械斜褟 胁 褉邪蟹薪褘褏 谢懈褌械褉邪褌褍褉薪褘褏 薪邪锌褉邪胁谢械薪懈褟褏. 袨薪 芯褖褍锌褜褞 懈褖械褌 褌芯, 褔褌芯 褋褌邪薪械褌 胁锌芯褋谢械写褋褌胁懈懈 械谐芯 褌胁芯褉褔械褋泻懈屑 泻褉械写芯. 袗 褔懈褌邪褌械谢褜 锌褉芯褋谢械卸懈胁邪械褌 械谐芯 锌褍褌褜 鈥� 芯褌 锌褉芯褋褌芯 褏芯褉芯褕械谐芯 锌懈褋邪褌械谢褟 写芯 懈褋褌懈薪薪芯谐芯 屑邪褋褌械褉邪 褋谢芯胁邪!
160 pages, Paperback
First published January 1, 1974
373 people are currently reading
5011 people want to read
About the author
Gabriel Garc铆a M谩rquez
921听books39.8k听followersGabriel Jos茅 de la Concordia Garc铆颅a M谩rquez was a Colombian novelist, short-story writer, screenwriter and journalist. Garc铆颅a M谩rquez, familiarly known as "Gabo" in his native country, was considered one of the most significant authors of the 20th century. In 1982, he was awarded the Nobel Prize in Literature.
He studied at the University of Bogot谩 and later worked as a reporter for the Colombian newspaper El Espectador and as a foreign correspondent in Rome, Paris, Barcelona, Caracas, and New York. He wrote many acclaimed non-fiction works and short stories, but is best-known for his novels, such as One Hundred Years of Solitude (1967) and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magical realism, which uses magical elements and events in order to explain real experiences. Some of his works are set in a fictional village called Macondo, and most of them express the theme of solitude.
Having previously written shorter fiction and screenplays, Garc铆a M谩rquez sequestered himself away in his Mexico City home for an extended period of time to complete his novel Cien a帽os de soledad, or One Hundred Years of Solitude, published in 1967. The author drew international acclaim for the work, which ultimately sold tens of millions of copies worldwide. Garc铆a M谩rquez is credited with helping introduce an array of readers to magical realism, a genre that combines more conventional storytelling forms with vivid, layers of fantasy.
Another one of his novels, El amor en los tiempos del c贸lera (1985), or Love in the Time of Cholera, drew a large global audience as well. The work was partially based on his parents' courtship and was adapted into a 2007 film starring Javier Bardem. Garc铆a M谩rquez wrote seven novels during his life, with additional titles that include El general en su laberinto (1989), or The General in His Labyrinth, and Del amor y otros demonios (1994), or Of Love and Other Demons.
(Arabic: 噩丕亘乇賷賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭) (Hebrew: 讙讘专讬讗诇 讙讗专住讬讛 诪专拽住) (Ukrainian: 覑邪斜褉褨械谢褜 覑邪褉褋褨褟 袦邪褉泻械褋) (Belarussian: 袚邪斜褉褘械谢褜 袚邪褉褋褨褟 袦邪褉泻械褋) (Russian: 袚邪斜褉懈褝谢褜 袚邪褉褋懈褟 袦邪褉泻械褋)
He studied at the University of Bogot谩 and later worked as a reporter for the Colombian newspaper El Espectador and as a foreign correspondent in Rome, Paris, Barcelona, Caracas, and New York. He wrote many acclaimed non-fiction works and short stories, but is best-known for his novels, such as One Hundred Years of Solitude (1967) and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magical realism, which uses magical elements and events in order to explain real experiences. Some of his works are set in a fictional village called Macondo, and most of them express the theme of solitude.
Having previously written shorter fiction and screenplays, Garc铆a M谩rquez sequestered himself away in his Mexico City home for an extended period of time to complete his novel Cien a帽os de soledad, or One Hundred Years of Solitude, published in 1967. The author drew international acclaim for the work, which ultimately sold tens of millions of copies worldwide. Garc铆a M谩rquez is credited with helping introduce an array of readers to magical realism, a genre that combines more conventional storytelling forms with vivid, layers of fantasy.
Another one of his novels, El amor en los tiempos del c贸lera (1985), or Love in the Time of Cholera, drew a large global audience as well. The work was partially based on his parents' courtship and was adapted into a 2007 film starring Javier Bardem. Garc铆a M谩rquez wrote seven novels during his life, with additional titles that include El general en su laberinto (1989), or The General in His Labyrinth, and Del amor y otros demonios (1994), or Of Love and Other Demons.
(Arabic: 噩丕亘乇賷賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭) (Hebrew: 讙讘专讬讗诇 讙讗专住讬讛 诪专拽住) (Ukrainian: 覑邪斜褉褨械谢褜 覑邪褉褋褨褟 袦邪褉泻械褋) (Belarussian: 袚邪斜褉褘械谢褜 袚邪褉褋褨褟 袦邪褉泻械褋) (Russian: 袚邪斜褉懈褝谢褜 袚邪褉褋懈褟 袦邪褉泻械褋)
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 596 reviews
December 5, 2021
Ojos de Perro Azul = Eyes of a Blue Dog, Gabriel Garc铆颅a M谩rquez
Eyes of a Blue Dog
Then she looked at me. I thought that she was looking at me for the first time. But then, when she turned around behind the lamp and I kept feeling her slippery and oily look in back of me, over my shoulder, I understood that it was I who was looking at her for the first time. I lit a cigarette. I took a drag on the harsh, strong smoke, before spinning in the chair, balancing on one of the rear legs.
After that I saw her there, as if she'd been standing beside the lamp looking at me every night. For a few brief minutes that's all we did: look at each other. I looked from the chair, balancing on one of the rear legs. She stood, with a long and quiet hand on the lamp, looking at me. I saw her eyelids lighted up as on every night. It was then that I remembered the usual thing, when I said to her: "Eyes of a blue dog." Without taking her hand off the lamp she said to me: "That. We'll never forget that." She left the orbit, sighing: "Eyes of a blue dog. I've written it everywhere."
I saw her walk over to the dressing table. I watched her appear in the circular glass of the mirror looking at me now at the end of a back and forth of mathematical light. I watched her keep on looking at me with her great hot-coal eyes: looking at me while she opened the little box covered with pink mother of pearl.
I saw her powder her nose. When she finished, she closed the box, stood up again, and walked over to the lamp once more, saying: "I'm afraid that someone is dreaming about this room and revealing my secrets." And over the flame she held the same long and tremulous hand that she had been warming before sitting down at the mirror. And she said: "You don't feel the cold." And I said to her: "Sometimes." And she said to me: "You must feel it now." And then I understood why I couldn't have been alone in the seat. It was the cold that had been giving me the certainty of my solitude. "Now I feel it," I said. "And it's strange because the night is quiet.
Maybe the sheet fell off." She didn't answer. Again she began to move toward the mirror and I turned again in the chair, keeping my back to her. Without seeing her, I knew what she was doing. I knew that she was sitting in front of the mirror again, seeing my back, which had had time to reach the depths of the mirror and be caught by her look, which had also had just enough time to reach the depths and return--before the hand had time to start the second turn--until her lips were anointed now with crimson, from the first turn of her hand in front of the mirror.
I saw, opposite me, the smooth wall, which was like another blind mirror in which I couldn't see her--sitting behind me--but could imagine her where she probably was as if a mirror had been hung in place of the wall. "I see you," I told her. And on the wall I saw what was as if she had raised her eyes and had seen me with my back turned toward her from the chair, in the depths of the mirror, my face turned toward the wall.
Then I saw her lower her eyes again and remain with her eyes always on her brassiere, not talking. And I said to her again: "I see you." And she raised her eyes from her brassiere again. "That's impossible," she said. I asked her why. And she, with her eyes quiet and on her brassiere again: "Because your face is turned toward the wall." Then I spun the chair around.
I had the cigarette clenched in my mouth. When I stayed facing the mirror she was back by the lamp. Now she had her hands open over the flame, like the two wings of a hen, toasting herself, and with her face shaded by her own fingers. "I think I'm going to catch cold," she said. "This must be a city of ice." She turned her face to profile and her skin, from copper to red, suddenly became sad. "Do something about it," she said. And she began to get undressed, item by item, starting at the top with the brassiere. I told her: "I'm going to turn back to the wall."
She said: "No. In any case, you'll see me the way you did when your back was turned." And no sooner had she said it than she was almost completely undressed, with the flame licking her long copper skin. "I've always wanted to see you like that, with the skin of your belly full of deep pits, as if you'd been beaten." And before I realized that my words had become clumsy at the sight of her nakedness she became motionless, warming herself on the globe of the lamp, and she said: "Sometimes I think I'm made of metal." She was silent for an instant. The position of her hands over the flame varied slightly.
I said: "Sometimes in other dreams, I've thought you were only a little bronze statue in the corner of some museum. Maybe that's why you're cold." And she said: "Sometimes, when I sleep on my heart, I can feel my body growing hollow and my skin is like plate. Then, when the blood beats inside me, it's as if someone were calling by knocking on my stomach and I can feel my own copper sound in the bed. It's like--what do you call it--laminated metal." She drew closer to the lamp. "I would have liked to hear you," I said. And she said: "If we find each other sometime, put your ear to my ribs when I sleep on the left side and you'll hear me echoing.
I've always wanted you to do it sometime." I heard her breathe heavily as she talked. And she said that for years she'd done nothing different. Her life had been dedicated to finding me in reality, through that identifying phrase: "Eyes of a blue dog." And she went along the street saying it aloud, as a way of telling the only person who could have understood her:
"I'm the one who comes into your dreams every night and tells you: 'Eyes of a blue dog.'" And she said that she went into restaurants and before ordering said to the waiters: "Eyes of a blue dog." But the waiters bowed reverently, without remembering ever having said that in their dreams.
Then she would write on the napkins and scratch on the varnish of the tables with a knife: "Eyes of a blue dog." And on the steamed-up windows of hotels, stations, all public buildings, she would write with her forefinger: "Eyes of a blue dog." She said that once she went into a drugstore and noticed the same smell that she had smelled in her room one night after having dreamed about me. "He must be near," she thought, seeing the clean, new tiles of the drugstore.
Then she went over to the clerk and said to him: "I always dream about a man who says to me: 'Eyes of a blue dog.'" And she said the clerk had looked at her eyes and told her: "As a matter of fact, miss, you do have eyes like that." And she said to him: "I have to find the man who told me those very words in my dreams." And the clerk started to laugh and moved to the other end of the counter. She kept on seeing the clean tile and smelling the odor. And she opened her purse and on the tiles with her crimson lipstick, she wrote in red letters: "Eyes of a blue dog." The clerk came back from where he had been.
He told her: Madam, you have dirtied the tiles." He gave her a damp cloth, saying: "Clean it up." And she said, still by the lamp, that she had spent the whole afternoon on all fours, washing the tiles and saying: "Eyes of a blue dog," until people gathered at the door and said she was crazy.
Now, when she finished speaking, I remained in the corner, sitting, rocking in the chair. "Every day I try to remember the phrase with which I am to find you," I said. "Now I don't think I'll forget it tomorrow. Still, I've always said the same thing and when I wake up I've always forgotten what the words I can find you with are." And she said: "You invented them yourself on the first day." And I said to her: "I invented them because I saw your eyes of ash. But I never remember the next morning." And she, with clenched fists, beside the lamp, breathed deeply: "If you could at least remember now what city I've been writing it in."
Her tightened teeth gleamed over the flame. "I'd like to touch you now," I said. She raised the face that had been looking at the light; she raised her look, burning, roasting, too, just like her, like her hands, and I felt that she saw me, in the corner where I was sitting, rocking in the chair. "You'd never told me that," she said. "I tell you now and it's the truth," I said. From the other side of the lamp she asked for a cigarette. The butt had disappeared between my fingers. I'd forgotten I was smoking. She said: "I don't know why I can't remember where I wrote it." And I said to her: "For the same reason that tomorrow I won't be able to remember the words." And she said sadly: "No. It's just that sometimes I think that I've dreamed that too."
I stood up and walked toward the lamp. She was a little beyond, and I kept on walking with the cigarettes and matches in my hand, which would not go beyond the lamp. I held the cigarette out to her. She squeezed it between her lips and leaned over to reach the flame before I had time to light the match. "In some city in the world, on all the walls, those words have to appear in writing: 'Eyes of a blue dog," I said. "If I remembered them tomorrow I could find you." She raised her head again and now the lighted coal was between her lips. "Eyes of a blue dog," she sighed, remembered, with the cigarette drooping over her chin and one eye half closed.
Then she sucked in the smoke with the cigarette between her fingers and exclaimed: "This is something else now. I'm warming up." And she said it with her voice a little lukewarm and fleeting, as if she hadn't really said it, but as if she had written it on a piece of paper and had brought the paper close to the flame while I read: "I'm warming," and she had continued with the paper between her thumb and forefinger, turning it around as it was being consumed and I had just read ". . . up," before the paper was completely consumed and dropped all wrinkled to the floor, diminished, converted into light ash dust. "That's better," I said. "Sometimes it frightens me to see you that way. Trembling beside a lamp."
We had been seeing each other for several years. Sometimes, when we were already together, somebody would drop a spoon outside and we would wake up. Little by little we'd been coming to understand that our friendship was subordinated to things, to the simplest of happenings. Our meetings always ended that way, with the fall of a spoon early in the morning.
Now, next to the lamp, she was looking at me. I remembered that she had also looked at me in that way in the past, from that remote dream where I made the chair spin on its back legs and remained facing a strange woman with ashen eyes.
It was in that dream that I asked her for the first time: "Who are you?" And she said to me: "I don't remember." I said to her: "But I think we've seen each other before." And she said, indifferently: "I think I dreamed about you once, about this same room." And I told her: "That's it. I'm beginning to remember now." And she said: "How strange. It's certain that we've met in other dreams."
She took two drags on the cigarette. I was still standing, facing the lamp, when suddenly I kept looking at her. I looked her up and down and she was still copper; no longer hard and cold metal, but yellow, soft, malleable copper. "I'd like to touch you," I said again. And she said: "You'll ruin everything." I said: "It doesn't matter now. All we have to do is turn the pillow in order to meet again." And I held my hand out over the lamp. She didn't move. "You'll ruin everything," she said again before I could touch her. "Maybe, if you come around behind the lamp, we'd wake up frightened in who knows what part of the world."
But I insisted: "It doesn't matter." And she said: "If we turned over the pillow, we'd meet again. But when you wake up you'll have forgotten." I began to move toward the corner. She stayed behind, warming her hands over the flame. And I still wasn't beside the chair when I heard her say behind me: "When I wake up at midnight, I keep turning in bed, with the fringe of the pillow burning my knee, and repeating until dawn: 'Eyes of a blue dog.'"
Then I remained with my face toward the wall. "It's already dawning," I said without looking at her. "When it struck two I was awake and that was a long time back." I went to the door. When I had the knob in my hand, I heard her voice again, the same, invariable. "Don't open that door," she said. "The hallway is full of difficult dreams." And I asked her: "How do you know?" And she told me: "Because I was there a moment ago and I had to come back when I discovered I was sleeping on my heart." I had the door half opened.
I moved it a little and a cold, thin breeze brought me the fresh smell of vegetable earth, damp fields. She spoke again. I gave the turn, still moving the door, mounted on silent hinges, and I told her: "I don't think there's any hallway outside here.
I'm getting the smell of country." And she, a little distant, told me: "I know that better than you. What's happening is that there's a woman outside dreaming about the country." She crossed her arms over the flame. She continued speaking: "It's that woman who always wanted to have a house in the country and was never able to leave the city." I remembered having seen the woman in some previous dream, but I knew, with the door ajar now, that within half an hour I would have to go down for breakfast. And I said: "In any case, I have to leave here in order to wake up." ....
毓賳賵丕賳賴丕蹖 趩丕倬 卮丿賴 丿乇 丕蹖乇丕賳: 芦夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 卮卮 氐亘丨 賲蹖丌賲丿禄貨 芦趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏禄貨 賳賵蹖爻賳丿賴 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 乇賵夭 亘蹖爻鬲 賵 爻賵賲 賲丕賴 丌賵乇蹖賱 爻丕賱1993賲蹖賱丕丿蹖貨 鬲丕乇蹖禺 丿賵賲蹖賳 禺賵丕賳卮 乇賵夭 亘蹖爻鬲 賵 倬賳噩賲 賲丕賴 跇賵卅賳 爻丕賱2003賲蹖賱丕丿蹖
毓賳賵丕賳: 趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲 卮丕賴乇禺 賮乇夭丕丿貨 鬲亘乇蹖夭貙 丕蹖乇丕賳賵蹖趩貙 爻丕賱1371貨 丿乇140氐
毓賳賵丕賳: 夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 卮卮 氐亘丨 賲蹖丌賲丿貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲: 賳蹖讴蹖鬲丕 鬲蹖賲賵乇蹖貨 鬲賴乇丕賳貙 賳卮乇 卮蹖乇蹖賳貙 爻丕賱1378貨 丿乇160氐貨 卮丕亘讴9645564395貨 趩丕倬 丿賵賲 爻丕賱1379貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 丌乇蹖丕亘丕賳貙 爻丕賱1381貨 卮丕亘讴9647196156貨 趩丕倬 倬賳噩賲 爻丕賱1386貨 卮丕亘讴9789647196156貨 趩丕倬 賴賮鬲賲 爻丕賱1389貨 趩丕倬 蹖丕夭丿賴賲 爻丕賱1393貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 讴賵鬲丕賴 丕夭 賳賵蹖爻賳丿诏丕賳 讴賱賲亘蹖丕 - 爻丿賴20賲
賮賴乇爻鬲 丿丕爻鬲丕賳賴丕: 芦夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 卮卮 氐亘丨 賲蹖丕賲丿!禄貙 芦丕蹖賵丕 丿乇賵賳 诏乇亘賴 蹖 禺賵蹖卮禄貙 芦亘蹖 卮讴 卮禺氐蹖 丕蹖賳 诏賱賴丕蹖 爻乇禺 乇丕 倬乇倬乇 讴乇丿賴 丕爻鬲!禄貙 芦丌賳 乇賵蹖 丿蹖诏乇 賲乇诏禄貙 芦诏賮鬲诏賵 亘丕 丌蹖蹖賳賴禄貙 芦趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏禄貙 芦賱讴 賱讴 賴丕 丿乇 賳蹖賲賴 卮亘禄貙 芦賳丕亘爻丕賲丕賳蹖 賴丕蹖 爻賴 丕丨賲賯禄貙 芦賲卮讴賱丕鬲 丕蹖夭丕亘賱 丿乇 夭蹖乇 亘丕乇丕賳賴丕蹖 賲丕讴賵賳丿賵禄貙 芦爻賵賲蹖賳 鬲爻賱蹖賲禄貙 芦賳丕亘賵: 賲乇丿蹖 爻蹖丕賴 讴賴 賮乇卮鬲賴 賴丕 乇丕 丿乇 丕賳鬲馗丕乇 賳诏賴 丿丕卮鬲禄.貨 丿丕爻鬲丕賳賴丕 賴賲诏蹖 丿乇亘丕乇賴 蹖 芦賲乇讴禄 賴爻鬲賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 27/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 13/09/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Eyes of a Blue Dog
Then she looked at me. I thought that she was looking at me for the first time. But then, when she turned around behind the lamp and I kept feeling her slippery and oily look in back of me, over my shoulder, I understood that it was I who was looking at her for the first time. I lit a cigarette. I took a drag on the harsh, strong smoke, before spinning in the chair, balancing on one of the rear legs.
After that I saw her there, as if she'd been standing beside the lamp looking at me every night. For a few brief minutes that's all we did: look at each other. I looked from the chair, balancing on one of the rear legs. She stood, with a long and quiet hand on the lamp, looking at me. I saw her eyelids lighted up as on every night. It was then that I remembered the usual thing, when I said to her: "Eyes of a blue dog." Without taking her hand off the lamp she said to me: "That. We'll never forget that." She left the orbit, sighing: "Eyes of a blue dog. I've written it everywhere."
I saw her walk over to the dressing table. I watched her appear in the circular glass of the mirror looking at me now at the end of a back and forth of mathematical light. I watched her keep on looking at me with her great hot-coal eyes: looking at me while she opened the little box covered with pink mother of pearl.
I saw her powder her nose. When she finished, she closed the box, stood up again, and walked over to the lamp once more, saying: "I'm afraid that someone is dreaming about this room and revealing my secrets." And over the flame she held the same long and tremulous hand that she had been warming before sitting down at the mirror. And she said: "You don't feel the cold." And I said to her: "Sometimes." And she said to me: "You must feel it now." And then I understood why I couldn't have been alone in the seat. It was the cold that had been giving me the certainty of my solitude. "Now I feel it," I said. "And it's strange because the night is quiet.
Maybe the sheet fell off." She didn't answer. Again she began to move toward the mirror and I turned again in the chair, keeping my back to her. Without seeing her, I knew what she was doing. I knew that she was sitting in front of the mirror again, seeing my back, which had had time to reach the depths of the mirror and be caught by her look, which had also had just enough time to reach the depths and return--before the hand had time to start the second turn--until her lips were anointed now with crimson, from the first turn of her hand in front of the mirror.
I saw, opposite me, the smooth wall, which was like another blind mirror in which I couldn't see her--sitting behind me--but could imagine her where she probably was as if a mirror had been hung in place of the wall. "I see you," I told her. And on the wall I saw what was as if she had raised her eyes and had seen me with my back turned toward her from the chair, in the depths of the mirror, my face turned toward the wall.
Then I saw her lower her eyes again and remain with her eyes always on her brassiere, not talking. And I said to her again: "I see you." And she raised her eyes from her brassiere again. "That's impossible," she said. I asked her why. And she, with her eyes quiet and on her brassiere again: "Because your face is turned toward the wall." Then I spun the chair around.
I had the cigarette clenched in my mouth. When I stayed facing the mirror she was back by the lamp. Now she had her hands open over the flame, like the two wings of a hen, toasting herself, and with her face shaded by her own fingers. "I think I'm going to catch cold," she said. "This must be a city of ice." She turned her face to profile and her skin, from copper to red, suddenly became sad. "Do something about it," she said. And she began to get undressed, item by item, starting at the top with the brassiere. I told her: "I'm going to turn back to the wall."
She said: "No. In any case, you'll see me the way you did when your back was turned." And no sooner had she said it than she was almost completely undressed, with the flame licking her long copper skin. "I've always wanted to see you like that, with the skin of your belly full of deep pits, as if you'd been beaten." And before I realized that my words had become clumsy at the sight of her nakedness she became motionless, warming herself on the globe of the lamp, and she said: "Sometimes I think I'm made of metal." She was silent for an instant. The position of her hands over the flame varied slightly.
I said: "Sometimes in other dreams, I've thought you were only a little bronze statue in the corner of some museum. Maybe that's why you're cold." And she said: "Sometimes, when I sleep on my heart, I can feel my body growing hollow and my skin is like plate. Then, when the blood beats inside me, it's as if someone were calling by knocking on my stomach and I can feel my own copper sound in the bed. It's like--what do you call it--laminated metal." She drew closer to the lamp. "I would have liked to hear you," I said. And she said: "If we find each other sometime, put your ear to my ribs when I sleep on the left side and you'll hear me echoing.
I've always wanted you to do it sometime." I heard her breathe heavily as she talked. And she said that for years she'd done nothing different. Her life had been dedicated to finding me in reality, through that identifying phrase: "Eyes of a blue dog." And she went along the street saying it aloud, as a way of telling the only person who could have understood her:
"I'm the one who comes into your dreams every night and tells you: 'Eyes of a blue dog.'" And she said that she went into restaurants and before ordering said to the waiters: "Eyes of a blue dog." But the waiters bowed reverently, without remembering ever having said that in their dreams.
Then she would write on the napkins and scratch on the varnish of the tables with a knife: "Eyes of a blue dog." And on the steamed-up windows of hotels, stations, all public buildings, she would write with her forefinger: "Eyes of a blue dog." She said that once she went into a drugstore and noticed the same smell that she had smelled in her room one night after having dreamed about me. "He must be near," she thought, seeing the clean, new tiles of the drugstore.
Then she went over to the clerk and said to him: "I always dream about a man who says to me: 'Eyes of a blue dog.'" And she said the clerk had looked at her eyes and told her: "As a matter of fact, miss, you do have eyes like that." And she said to him: "I have to find the man who told me those very words in my dreams." And the clerk started to laugh and moved to the other end of the counter. She kept on seeing the clean tile and smelling the odor. And she opened her purse and on the tiles with her crimson lipstick, she wrote in red letters: "Eyes of a blue dog." The clerk came back from where he had been.
He told her: Madam, you have dirtied the tiles." He gave her a damp cloth, saying: "Clean it up." And she said, still by the lamp, that she had spent the whole afternoon on all fours, washing the tiles and saying: "Eyes of a blue dog," until people gathered at the door and said she was crazy.
Now, when she finished speaking, I remained in the corner, sitting, rocking in the chair. "Every day I try to remember the phrase with which I am to find you," I said. "Now I don't think I'll forget it tomorrow. Still, I've always said the same thing and when I wake up I've always forgotten what the words I can find you with are." And she said: "You invented them yourself on the first day." And I said to her: "I invented them because I saw your eyes of ash. But I never remember the next morning." And she, with clenched fists, beside the lamp, breathed deeply: "If you could at least remember now what city I've been writing it in."
Her tightened teeth gleamed over the flame. "I'd like to touch you now," I said. She raised the face that had been looking at the light; she raised her look, burning, roasting, too, just like her, like her hands, and I felt that she saw me, in the corner where I was sitting, rocking in the chair. "You'd never told me that," she said. "I tell you now and it's the truth," I said. From the other side of the lamp she asked for a cigarette. The butt had disappeared between my fingers. I'd forgotten I was smoking. She said: "I don't know why I can't remember where I wrote it." And I said to her: "For the same reason that tomorrow I won't be able to remember the words." And she said sadly: "No. It's just that sometimes I think that I've dreamed that too."
I stood up and walked toward the lamp. She was a little beyond, and I kept on walking with the cigarettes and matches in my hand, which would not go beyond the lamp. I held the cigarette out to her. She squeezed it between her lips and leaned over to reach the flame before I had time to light the match. "In some city in the world, on all the walls, those words have to appear in writing: 'Eyes of a blue dog," I said. "If I remembered them tomorrow I could find you." She raised her head again and now the lighted coal was between her lips. "Eyes of a blue dog," she sighed, remembered, with the cigarette drooping over her chin and one eye half closed.
Then she sucked in the smoke with the cigarette between her fingers and exclaimed: "This is something else now. I'm warming up." And she said it with her voice a little lukewarm and fleeting, as if she hadn't really said it, but as if she had written it on a piece of paper and had brought the paper close to the flame while I read: "I'm warming," and she had continued with the paper between her thumb and forefinger, turning it around as it was being consumed and I had just read ". . . up," before the paper was completely consumed and dropped all wrinkled to the floor, diminished, converted into light ash dust. "That's better," I said. "Sometimes it frightens me to see you that way. Trembling beside a lamp."
We had been seeing each other for several years. Sometimes, when we were already together, somebody would drop a spoon outside and we would wake up. Little by little we'd been coming to understand that our friendship was subordinated to things, to the simplest of happenings. Our meetings always ended that way, with the fall of a spoon early in the morning.
Now, next to the lamp, she was looking at me. I remembered that she had also looked at me in that way in the past, from that remote dream where I made the chair spin on its back legs and remained facing a strange woman with ashen eyes.
It was in that dream that I asked her for the first time: "Who are you?" And she said to me: "I don't remember." I said to her: "But I think we've seen each other before." And she said, indifferently: "I think I dreamed about you once, about this same room." And I told her: "That's it. I'm beginning to remember now." And she said: "How strange. It's certain that we've met in other dreams."
She took two drags on the cigarette. I was still standing, facing the lamp, when suddenly I kept looking at her. I looked her up and down and she was still copper; no longer hard and cold metal, but yellow, soft, malleable copper. "I'd like to touch you," I said again. And she said: "You'll ruin everything." I said: "It doesn't matter now. All we have to do is turn the pillow in order to meet again." And I held my hand out over the lamp. She didn't move. "You'll ruin everything," she said again before I could touch her. "Maybe, if you come around behind the lamp, we'd wake up frightened in who knows what part of the world."
But I insisted: "It doesn't matter." And she said: "If we turned over the pillow, we'd meet again. But when you wake up you'll have forgotten." I began to move toward the corner. She stayed behind, warming her hands over the flame. And I still wasn't beside the chair when I heard her say behind me: "When I wake up at midnight, I keep turning in bed, with the fringe of the pillow burning my knee, and repeating until dawn: 'Eyes of a blue dog.'"
Then I remained with my face toward the wall. "It's already dawning," I said without looking at her. "When it struck two I was awake and that was a long time back." I went to the door. When I had the knob in my hand, I heard her voice again, the same, invariable. "Don't open that door," she said. "The hallway is full of difficult dreams." And I asked her: "How do you know?" And she told me: "Because I was there a moment ago and I had to come back when I discovered I was sleeping on my heart." I had the door half opened.
I moved it a little and a cold, thin breeze brought me the fresh smell of vegetable earth, damp fields. She spoke again. I gave the turn, still moving the door, mounted on silent hinges, and I told her: "I don't think there's any hallway outside here.
I'm getting the smell of country." And she, a little distant, told me: "I know that better than you. What's happening is that there's a woman outside dreaming about the country." She crossed her arms over the flame. She continued speaking: "It's that woman who always wanted to have a house in the country and was never able to leave the city." I remembered having seen the woman in some previous dream, but I knew, with the door ajar now, that within half an hour I would have to go down for breakfast. And I said: "In any case, I have to leave here in order to wake up." ....
毓賳賵丕賳賴丕蹖 趩丕倬 卮丿賴 丿乇 丕蹖乇丕賳: 芦夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 卮卮 氐亘丨 賲蹖丌賲丿禄貨 芦趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏禄貨 賳賵蹖爻賳丿賴 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 乇賵夭 亘蹖爻鬲 賵 爻賵賲 賲丕賴 丌賵乇蹖賱 爻丕賱1993賲蹖賱丕丿蹖貨 鬲丕乇蹖禺 丿賵賲蹖賳 禺賵丕賳卮 乇賵夭 亘蹖爻鬲 賵 倬賳噩賲 賲丕賴 跇賵卅賳 爻丕賱2003賲蹖賱丕丿蹖
毓賳賵丕賳: 趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲 卮丕賴乇禺 賮乇夭丕丿貨 鬲亘乇蹖夭貙 丕蹖乇丕賳賵蹖趩貙 爻丕賱1371貨 丿乇140氐
毓賳賵丕賳: 夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 卮卮 氐亘丨 賲蹖丌賲丿貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲: 賳蹖讴蹖鬲丕 鬲蹖賲賵乇蹖貨 鬲賴乇丕賳貙 賳卮乇 卮蹖乇蹖賳貙 爻丕賱1378貨 丿乇160氐貨 卮丕亘讴9645564395貨 趩丕倬 丿賵賲 爻丕賱1379貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 丌乇蹖丕亘丕賳貙 爻丕賱1381貨 卮丕亘讴9647196156貨 趩丕倬 倬賳噩賲 爻丕賱1386貨 卮丕亘讴9789647196156貨 趩丕倬 賴賮鬲賲 爻丕賱1389貨 趩丕倬 蹖丕夭丿賴賲 爻丕賱1393貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 讴賵鬲丕賴 丕夭 賳賵蹖爻賳丿诏丕賳 讴賱賲亘蹖丕 - 爻丿賴20賲
賮賴乇爻鬲 丿丕爻鬲丕賳賴丕: 芦夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 卮卮 氐亘丨 賲蹖丕賲丿!禄貙 芦丕蹖賵丕 丿乇賵賳 诏乇亘賴 蹖 禺賵蹖卮禄貙 芦亘蹖 卮讴 卮禺氐蹖 丕蹖賳 诏賱賴丕蹖 爻乇禺 乇丕 倬乇倬乇 讴乇丿賴 丕爻鬲!禄貙 芦丌賳 乇賵蹖 丿蹖诏乇 賲乇诏禄貙 芦诏賮鬲诏賵 亘丕 丌蹖蹖賳賴禄貙 芦趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏禄貙 芦賱讴 賱讴 賴丕 丿乇 賳蹖賲賴 卮亘禄貙 芦賳丕亘爻丕賲丕賳蹖 賴丕蹖 爻賴 丕丨賲賯禄貙 芦賲卮讴賱丕鬲 丕蹖夭丕亘賱 丿乇 夭蹖乇 亘丕乇丕賳賴丕蹖 賲丕讴賵賳丿賵禄貙 芦爻賵賲蹖賳 鬲爻賱蹖賲禄貙 芦賳丕亘賵: 賲乇丿蹖 爻蹖丕賴 讴賴 賮乇卮鬲賴 賴丕 乇丕 丿乇 丕賳鬲馗丕乇 賳诏賴 丿丕卮鬲禄.貨 丿丕爻鬲丕賳賴丕 賴賲诏蹖 丿乇亘丕乇賴 蹖 芦賲乇讴禄 賴爻鬲賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 27/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 13/09/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
July 21, 2023
- 賲賳 丕賮囟賱 丕賱賯氐氐 丕賱賯氐賷乇丞 丕賱乇賲夭賷丞 丕賱鬲賷 賯乇兀鬲賴丕. 賯氐丞 鬲賯毓 賮賷 丕丨賱丕賲 乇噩賱 賵丕賲乇兀丞 (亘丕賱賲胤賱賯) 賲賳 丿賵賳 丕爻賲丕亍 (賱鬲賳胤亘賯 毓賱賶 丕賱噩賲賷毓)貙 乇噩賱 賵丕賲乇兀丞 賲鬲丨丕亘丕賳貙 賷乇睾亘丕賳 亘亘毓囟賴賲丕 賱賰賳賴賲丕 賷禺丕賮丕賳 丕賱廿賯鬲乇丕亘 禺卮賷丞 丕賱廿爻鬲賷賯丕馗! 賵丕賱禺賵賮 賲賳 丕賱廿爻鬲賷賯丕馗 賱賷爻 鬲乇賰 丕賱丨賱賲 賵鬲乇賰 亘毓囟賴賲丕 賮賯胤貙 亘賱 丕賱毓賵丿丞 丕賱賶 丕賱賵丨丿丞 賵丕賱廿賳毓夭丕賱 丕賱賱匕賷 賷毓賷卮丕賳 亘賴 賮賷 丨賷丕鬲賴賲 丕賱丨賯賷賯賷丞 賵匕賱賰 賷鬲囟丨 賲賳 賳馗乇賴 賱賱丨丕卅胤 賵賰鬲丕亘鬲賴丕 丕賱賵賴賲賷丞 "毓賷賳丕 賰賱亘 丕夭乇賯".
- 丕賱卮賲毓丿丕賳 賷乇賲夭 賱賱丨乇丕乇丞貙 丨乇丕乇丞 丕賱卮睾賮 賵丕賱乇睾亘丞 丕賱鬲賷 鬲囟噩 亘賴賲丕貙 丕賱賲乇丌丞 鬲乇賲夭 丕賱賶 丕賱賲乇丕賯亘丞貙 丕賱丨丕卅胤 賷乇賲夭 賱賱毓夭賱丞貙 丕賱爻賷噩丕乇丞 賵乇賲丕丿賴丕 賷乇賲夭丕賳 賱賱廿賳鬲馗丕乇 丕賱匕賷 賷毓鬲乇賷賴 丕賱禺賵賮 賲賳 丕賱賮賯丿 賱賰賳賴 賲胤毓賾賲 亘兀賲賱 丕賱賱賯丕亍 賮賷 丕賱丨賱賲 丕賱賯丕丿賲.
- 丕賱卮賲毓丿丕賳 賷乇賲夭 賱賱丨乇丕乇丞貙 丨乇丕乇丞 丕賱卮睾賮 賵丕賱乇睾亘丞 丕賱鬲賷 鬲囟噩 亘賴賲丕貙 丕賱賲乇丌丞 鬲乇賲夭 丕賱賶 丕賱賲乇丕賯亘丞貙 丕賱丨丕卅胤 賷乇賲夭 賱賱毓夭賱丞貙 丕賱爻賷噩丕乇丞 賵乇賲丕丿賴丕 賷乇賲夭丕賳 賱賱廿賳鬲馗丕乇 丕賱匕賷 賷毓鬲乇賷賴 丕賱禺賵賮 賲賳 丕賱賮賯丿 賱賰賳賴 賲胤毓賾賲 亘兀賲賱 丕賱賱賯丕亍 賮賷 丕賱丨賱賲 丕賱賯丕丿賲.
June 13, 2024
賵賱賳丕 賮賷 丕賱禺賷丕賱 丨賷丕丞..
丕賱禺賷丕賱 賵丕賱兀丨賱丕賲 爻丕毓丕鬲 亘賷賰賵賳賵丕 毓丕賲賱賷賳 夭賷 丕賱亘賵丕亘丞 丕賱爻丨乇賷丞 賱丨賷丕丞 鬲丕賳賷丞 賳賮爻賳丕 賳毓賷卮賴丕..
丨賷丕丞 賲毓 卮禺氐 亘賳丨賱賲 賳賰賵賳 賲毓丕賴...丨賷丕丞 亘賳丿賵乇 毓賱賷賴丕 賮賷 丕賱賵丕賯毓 賵 賲卮 毓丕乇賮賷賳 賳賱丕賯賷賴丕 兀賵 賲賲賰賳 爻丕毓丕鬲 亘賷賰賵賳賵丕 賲噩乇丿 賴乇賵亘 賲賳 丨賷丕鬲賳丕 丕賱丨賯賷賯賷丞 亘賰賱 賲丕 賮賷賴丕 賲賳 賲卮丕賰賱...
賲丕乇賰賷夭 毓亘乇 毓賳 賰賱 丿丞 亘賲賳鬲賴賷 丕賱乇賯丞 賵丕賱噩賲丕賱 賮賷 賴匕賴 丕賱賯氐丞 丕賱賯氐賷乇丞..馃槏
亘丿兀鬲 兀丨亘賰 賷丕 賲丕乇賰賷夭 賵丕賱賱賴:)
丕賱禺賷丕賱 賵丕賱兀丨賱丕賲 爻丕毓丕鬲 亘賷賰賵賳賵丕 毓丕賲賱賷賳 夭賷 丕賱亘賵丕亘丞 丕賱爻丨乇賷丞 賱丨賷丕丞 鬲丕賳賷丞 賳賮爻賳丕 賳毓賷卮賴丕..
丨賷丕丞 賲毓 卮禺氐 亘賳丨賱賲 賳賰賵賳 賲毓丕賴...丨賷丕丞 亘賳丿賵乇 毓賱賷賴丕 賮賷 丕賱賵丕賯毓 賵 賲卮 毓丕乇賮賷賳 賳賱丕賯賷賴丕 兀賵 賲賲賰賳 爻丕毓丕鬲 亘賷賰賵賳賵丕 賲噩乇丿 賴乇賵亘 賲賳 丨賷丕鬲賳丕 丕賱丨賯賷賯賷丞 亘賰賱 賲丕 賮賷賴丕 賲賳 賲卮丕賰賱...
賲丕乇賰賷夭 毓亘乇 毓賳 賰賱 丿丞 亘賲賳鬲賴賷 丕賱乇賯丞 賵丕賱噩賲丕賱 賮賷 賴匕賴 丕賱賯氐丞 丕賱賯氐賷乇丞..馃槏
亘丿兀鬲 兀丨亘賰 賷丕 賲丕乇賰賷夭 賵丕賱賱賴:)
January 22, 2021
"...the mistaken and absurd world of rational creatures."
These short pieces can be seen as the necessary gathering of ingredients and of the practice of perfecting their measure, which would eventually go into the making of his magnum opus, , as well as his other lesser works.
Death and decay, memory and madness, time and its passing 鈥� here, the young Marquez leads the reader away from the mistaken and absurd world of rational creatures into a world where preconceived notions about everything are shattered and dismissed as facile. And you're pulled into a fascinating maze which is scary and scintillating at the same time.
At least three stories stood out for me. The opening story The Third Resignation, with its claustrophobic ruminations of a man beyond the grave who doesn鈥檛 know he鈥檚 dead (what a premise!). In Nabo: The Black Man Who Made the Angels Wait, Marquez explores the loss of sanity of a man crushed under the twin burdens of racism and poverty, perhaps even slavery. And the third story that struck a chord was Monologue of Isabel Watching it Rain in Macondo. Yes, Macondo didn鈥檛 come into existence with One Hundred Years鈥�; it came into being the moment Marquez picked up his pen for the very first time.
One may make a case that these stories are best appreciated after you have already read Marquez鈥檚 stellar works and are well-acquainted with his major themes. For these are his earliest fictions written in the 1940s and early '50s, when hardly anyone was writing this kind of stuff.
In any case a genuine talent was in the making and the passing of time proved it.
January '21
These short pieces can be seen as the necessary gathering of ingredients and of the practice of perfecting their measure, which would eventually go into the making of his magnum opus, , as well as his other lesser works.
Death and decay, memory and madness, time and its passing 鈥� here, the young Marquez leads the reader away from the mistaken and absurd world of rational creatures into a world where preconceived notions about everything are shattered and dismissed as facile. And you're pulled into a fascinating maze which is scary and scintillating at the same time.
At least three stories stood out for me. The opening story The Third Resignation, with its claustrophobic ruminations of a man beyond the grave who doesn鈥檛 know he鈥檚 dead (what a premise!). In Nabo: The Black Man Who Made the Angels Wait, Marquez explores the loss of sanity of a man crushed under the twin burdens of racism and poverty, perhaps even slavery. And the third story that struck a chord was Monologue of Isabel Watching it Rain in Macondo. Yes, Macondo didn鈥檛 come into existence with One Hundred Years鈥�; it came into being the moment Marquez picked up his pen for the very first time.
One may make a case that these stories are best appreciated after you have already read Marquez鈥檚 stellar works and are well-acquainted with his major themes. For these are his earliest fictions written in the 1940s and early '50s, when hardly anyone was writing this kind of stuff.
In any case a genuine talent was in the making and the passing of time proved it.
January '21
July 1, 2024
- 賲噩賲賵毓丞 賲賳 丕賱賯氐氐 丕賱賯氐賷乇丞 丕賱鬲賷 賰鬲亘賴丕 睾丕乇爻賷丕 賮賷 亘丿丕賷丞 賲卮賵丕乇賴 丕賱兀丿亘賷. 丕賱賯氐氐 亘賲毓馗賲賴丕 噩賷丿丞貙 賱賰賳 丕賱鬲乇噩賲丞貙 賵賱賱兀爻賮貙 賯囟鬲 毓賱賶 賲毓馗賲 賴匕丕 丕賱噩賲丕賱 賵賴匕丕 賲爻鬲睾乇亘 噩丿丕賸 賲賳 賲鬲乇噩賲 亘賯賷賲丞 氐丕賱丨 毓賱賲丕賳賷 賵賲賳 丿丕乇 賳卮乇 亘賯賷賲丞 丿丕乇 丕賱賲丿賶.
- 鬲鬲賳賵毓 丕賱賲賵丕囟賷毓 賮賷 賴匕賴 丕賱賯氐氐貙 賱賰賳 丕賱睾丕賱亘 毓賱賷賴丕 賴賵 孬賷賲丞 丕賱賲賵鬲貙 賯賵丞 丕賱乇賵丨 賵毓賵丿鬲賴丕 賱鬲爻賰賳 丕賱兀賲賰賳丞. 鬲賲鬲丕夭 丕賱賯氐氐 亘丕賱乇賲夭賷丞 賵鬲卮賰賱 丕賵賱賶 亘匕賵乇 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 丕賱鬲賷 爻賷丿賴卮 睾丕乇爻賷丕 丕賱毓丕賱賲 亘賴丕 賮賷賲丕 亘毓丿.
- 丕賱賯氐氐:
丕賱廿匕毓丕賳 丕賱孬丕賱孬
丕賱囟賱毓 丕賱丌禺乇 賱賱賲賵鬲
丨賵丕亍 賮賷 賴乇鬲賴丕
賲乇丕乇丞 賱孬賱丕孬丞 爻丕卅乇賷賳 賳賷丕賲賸丕
丨賵丕乇 丕賱賲乇丌丞
毓賷賳丕 賰賱亘 兀夭乇賯
丕賱賲乇兀丞 丕賱鬲賷 鬲氐賱 賮賷 丕賱爻丕丿爻丞
賳丕亘賵貙 丕賱夭賳噩賷 丕賱匕賷 噩毓賱 丕賱賲賱丕卅賰丞 鬲賳鬲馗乇
丕丨丿賴賲 賷賮爻丿 鬲賳爻賷賯 賴匕賴 丕賱兀夭賴丕乇
賱賷賱丞 丕賱賰乇丕賵丕賳丕鬲
賲賵賳賵賱賵噩 廿賷夭亘賷賱 賵賴賷 鬲乇賵賷 賴胤賵賱 丕賱賲胤乇 賮賷 賲丕賰賵賳丿賵
- 鬲鬲賳賵毓 丕賱賲賵丕囟賷毓 賮賷 賴匕賴 丕賱賯氐氐貙 賱賰賳 丕賱睾丕賱亘 毓賱賷賴丕 賴賵 孬賷賲丞 丕賱賲賵鬲貙 賯賵丞 丕賱乇賵丨 賵毓賵丿鬲賴丕 賱鬲爻賰賳 丕賱兀賲賰賳丞. 鬲賲鬲丕夭 丕賱賯氐氐 亘丕賱乇賲夭賷丞 賵鬲卮賰賱 丕賵賱賶 亘匕賵乇 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 丕賱鬲賷 爻賷丿賴卮 睾丕乇爻賷丕 丕賱毓丕賱賲 亘賴丕 賮賷賲丕 亘毓丿.
- 丕賱賯氐氐:
丕賱廿匕毓丕賳 丕賱孬丕賱孬
丕賱囟賱毓 丕賱丌禺乇 賱賱賲賵鬲
丨賵丕亍 賮賷 賴乇鬲賴丕
賲乇丕乇丞 賱孬賱丕孬丞 爻丕卅乇賷賳 賳賷丕賲賸丕
丨賵丕乇 丕賱賲乇丌丞
毓賷賳丕 賰賱亘 兀夭乇賯
丕賱賲乇兀丞 丕賱鬲賷 鬲氐賱 賮賷 丕賱爻丕丿爻丞
賳丕亘賵貙 丕賱夭賳噩賷 丕賱匕賷 噩毓賱 丕賱賲賱丕卅賰丞 鬲賳鬲馗乇
丕丨丿賴賲 賷賮爻丿 鬲賳爻賷賯 賴匕賴 丕賱兀夭賴丕乇
賱賷賱丞 丕賱賰乇丕賵丕賳丕鬲
賲賵賳賵賱賵噩 廿賷夭亘賷賱 賵賴賷 鬲乇賵賷 賴胤賵賱 丕賱賲胤乇 賮賷 賲丕賰賵賳丿賵
January 5, 2022
Something is terrifying about Marquez's style.
The very worked style adapts well to the morbidity of the subjects; the stories are complex. It is a beautiful little fantastic, dreamlike novel, but it should not abuse it.
The very worked style adapts well to the morbidity of the subjects; the stories are complex. It is a beautiful little fantastic, dreamlike novel, but it should not abuse it.
December 3, 2020
賲噩賲賵毓賴 丿賴 丿丕爻鬲丕賳 讴賵鬲丕賴貙 讴賴 賴乇趩賳丿 丿乇 爻丕賱 賴丕蹖 賲鬲賮丕賵鬲蹖 賳賵卮鬲賴 卮丿賴 丕賳丿 賵賱蹖 亘賴 胤乇夭 毓噩蹖亘蹖 賲蹖卮賴 亘賴 蹖讴丿蹖诏賴 乇亘胤卮賵賳 丿丕丿!
賳賯胤賴 丕卮鬲乇丕讴 鬲賲丕賲 丿丕爻鬲丕賳 賴丕貙 賲乇诏 亘賵丿! 賲乇诏 賵 賮囟丕賴丕蹖 爻乇丿 賵 诏賳诏 賵 禺丕讴爻鬲乇蹖 賵 毓噩蹖亘!
趩賳丿 丿丕爻鬲丕賳 丕賵賱 讴鬲丕亘貙 胤賵乇蹖 倬卮鬲 爻乇 賴賲 賯乇丕乇 诏乇賮鬲賳 讴賴 賵賯鬲蹖 賲蹖 禺賵賳丿賲 賮讴乇 讴乇丿賲 亘賴 賴賲 乇亘胤 丿丕乇賳丿 賵 丕賵丕蹖賱 讴鬲丕亘 卮讴 丿丕卮鬲賲 讴賴 賳讴賳賴 丕蹖賳 讴鬲丕亘 乇賲丕賳 亘丕卮賴!
丕賲丕 賳蹖賲賴 丿賵賲 讴鬲丕亘 丕蹖賳 丕乇鬲亘丕胤 亘蹖賳 丿丕爻鬲丕賳 賴丕 讴賲鬲乇 賵 讴賲鬲乇 卮丿 鬲丕 丕蹖賳讴賴 鬲賳賴丕 賵噩賴 賲卮鬲乇讴 亘蹖賳卮賵賳貙 賴賲賵賳 噩賵 爻賳诏蹖賳蹖 亘賵丿 讴賴 亘賵蹖 賲乇诏 賲蹖丿丕丿!
鬲賵氐蹖賮 賴丕蹖 禺賵亘蹖 丕夭 賲乇诏 賵 賱丨馗賴 賲乇丿賳 賵 毓丕賱賲 賲乇丿賴 賴丕 賲蹖卮賴 鬲賵蹖 丿丕爻鬲丕賳 賴丕 倬蹖丿丕 讴乇丿...
丕夭 賲丕讴夭 賯亘賱丕 乇賲丕賳 禺賵賳丿賲 賵 丕蹖賳 賲噩賲賵毓賴 丿丕爻鬲丕賳 賲噩丿丿丕 亘賴 賲賳 孬丕亘鬲 讴乇丿 讴賴 丿乇讴 賵 賮賴賲 賳賵卮鬲賴 賴丕蹖 賲丕乇讴夭貙 丕夭 賲丨丿賵丿賴 蹖 賴賵卮 賵 匕讴丕賵鬲 賲賳 禺丕乇噩賴! :))
丕诏乇 亘诏賲 丕夭 丕蹖賳 丿賴 丿丕爻鬲丕賳貙 讴賱丕 爻蹖 丿乇氐丿 乇賵 賮賴賲蹖丿賲 丿乇賵睾 賳诏賮鬲賲! :))
賳賴 丕蹖賳讴賴 趩蹖夭 禺丕氐蹖 亘丕卮賴 賴丕貙 賳賴貙 賮賯胤 诏賳诏 賵 倬蹖趩蹖丿賴 丕爻! 賴賲蹖賳! :))
丕诏乇 賲丕乇讴夭 丿賵爻鬲 丿丕乇蹖丿貙 丕蹖賳 讴鬲丕亘卮 乇賵 賴賲 亘禺賵賳蹖丿貙 賵賱蹖 亘賴 讴爻丕蹖蹖 讴賴 丕賴賱 賲丕乇讴夭 賳蹖爻鬲賳 賳賴 倬蹖卮賳賴丕丿 賲蹖丿賲 賳賴 鬲賵氐蹖賴 賲蹖 讴賳賲! 賲乇爻蹖貙 丕賴... :))
賳賯胤賴 丕卮鬲乇丕讴 鬲賲丕賲 丿丕爻鬲丕賳 賴丕貙 賲乇诏 亘賵丿! 賲乇诏 賵 賮囟丕賴丕蹖 爻乇丿 賵 诏賳诏 賵 禺丕讴爻鬲乇蹖 賵 毓噩蹖亘!
趩賳丿 丿丕爻鬲丕賳 丕賵賱 讴鬲丕亘貙 胤賵乇蹖 倬卮鬲 爻乇 賴賲 賯乇丕乇 诏乇賮鬲賳 讴賴 賵賯鬲蹖 賲蹖 禺賵賳丿賲 賮讴乇 讴乇丿賲 亘賴 賴賲 乇亘胤 丿丕乇賳丿 賵 丕賵丕蹖賱 讴鬲丕亘 卮讴 丿丕卮鬲賲 讴賴 賳讴賳賴 丕蹖賳 讴鬲丕亘 乇賲丕賳 亘丕卮賴!
丕賲丕 賳蹖賲賴 丿賵賲 讴鬲丕亘 丕蹖賳 丕乇鬲亘丕胤 亘蹖賳 丿丕爻鬲丕賳 賴丕 讴賲鬲乇 賵 讴賲鬲乇 卮丿 鬲丕 丕蹖賳讴賴 鬲賳賴丕 賵噩賴 賲卮鬲乇讴 亘蹖賳卮賵賳貙 賴賲賵賳 噩賵 爻賳诏蹖賳蹖 亘賵丿 讴賴 亘賵蹖 賲乇诏 賲蹖丿丕丿!
鬲賵氐蹖賮 賴丕蹖 禺賵亘蹖 丕夭 賲乇诏 賵 賱丨馗賴 賲乇丿賳 賵 毓丕賱賲 賲乇丿賴 賴丕 賲蹖卮賴 鬲賵蹖 丿丕爻鬲丕賳 賴丕 倬蹖丿丕 讴乇丿...
丕夭 賲丕讴夭 賯亘賱丕 乇賲丕賳 禺賵賳丿賲 賵 丕蹖賳 賲噩賲賵毓賴 丿丕爻鬲丕賳 賲噩丿丿丕 亘賴 賲賳 孬丕亘鬲 讴乇丿 讴賴 丿乇讴 賵 賮賴賲 賳賵卮鬲賴 賴丕蹖 賲丕乇讴夭貙 丕夭 賲丨丿賵丿賴 蹖 賴賵卮 賵 匕讴丕賵鬲 賲賳 禺丕乇噩賴! :))
丕诏乇 亘诏賲 丕夭 丕蹖賳 丿賴 丿丕爻鬲丕賳貙 讴賱丕 爻蹖 丿乇氐丿 乇賵 賮賴賲蹖丿賲 丿乇賵睾 賳诏賮鬲賲! :))
賳賴 丕蹖賳讴賴 趩蹖夭 禺丕氐蹖 亘丕卮賴 賴丕貙 賳賴貙 賮賯胤 诏賳诏 賵 倬蹖趩蹖丿賴 丕爻! 賴賲蹖賳! :))
丕诏乇 賲丕乇讴夭 丿賵爻鬲 丿丕乇蹖丿貙 丕蹖賳 讴鬲丕亘卮 乇賵 賴賲 亘禺賵賳蹖丿貙 賵賱蹖 亘賴 讴爻丕蹖蹖 讴賴 丕賴賱 賲丕乇讴夭 賳蹖爻鬲賳 賳賴 倬蹖卮賳賴丕丿 賲蹖丿賲 賳賴 鬲賵氐蹖賴 賲蹖 讴賳賲! 賲乇爻蹖貙 丕賴... :))
February 22, 2022
- 兀賳丕 兀乇丕賰賽...
- 賴匕丕 賲爻鬲丨賷賱...( 爻兀賱鬲賴丕 毓賳 丕賱爻亘亘 丕賱匕賷 賷噩毓賱賴 賲爻鬲丨賷賱丕賸 貙 丕噩丕亘鬲 ) : 賱兀賳 賵噩賴賰 亘丕賱丨丕卅胤....
廿賳賴 丕賱卮禺氐 丕賱匕賷 賷夭賵乇賴丕 賮賷 兀丨賱丕賲賴丕 賰賱 賱賷賱丞 賱賷賯賵賱 賱賴丕 : 毓賷賳丕 賰賱亘 兀夭乇賯...丕賱匕賷 賷丨丕賵賱 賰賱 賷賵賲 丕賳 賷鬲匕賰乇 鬲賱賰 丕賱賰賱賲丕鬲 丕賱鬲賷 爻鬲賯賵丿賴 丕賱賷賴丕 賵毓賳丿賲丕 賷爻鬲賷賯馗 賷賳爻賶 丕賱賰賱賲丕鬲 賵賱丕 賷鬲賲賰賳 賲賳 丕賱毓孬賵乇 毓賱賷賴丕...廿賳賴 丕賱乇噩賱 丕賱賵丨賷丿 丕賱匕賷 賱丕 賷鬲匕賰乇 卮賷卅丕賸 賲賲丕 丨賱賲 亘賴 丨賷賳 賷爻鬲賷賯馗...
賷爻鬲賵賱賷 毓賱賷賴 丕賱卮毓賵乇 亘丕賱亘乇丿 丕賱亘丕毓孬 毓賱賶 丕賱賵丨丿丞....
賴賶 鬲丨丕賵賱 丕賱毓孬賵乇 毓賱賶 丕賱乇噩賱 丕賱匕賷 賯丕賱 賱賴丕 賴匕賴 丕賱賰賱賲丕鬲..賮賷 兀丨賱丕賲賴丕...丕賳賯囟鬲 丕賱爻賳賵丕鬲 賮賷 丕賱亘丨孬 毓賳賴...
賴賱 丕賱鬲賯賷丕 賮賷 丨賱賲 責
鬲乇丕賴 丕賱鬲賯丕賴丕 賯亘賱丕賸 賮賷 兀丨賱丕賲 丕禺乇賶 責
鬲乇丕亍賶 賱賷 亘兀賳 賰賱丕賴賲丕 丨賯賷賯賷 賮賷 丨購賱賲 ...賷賲賰賳賳賷 鬲賱賾賲爻賴賲丕...鬲爻丕賯胤鬲 賰賱賲丕鬲賴賲丕 毓賱賶 賯賱亘賷...胤乇賯鬲 丕賱噩丿乇丕賳..乇賳賷賳賴丕 禺丕賮鬲 賳丕毓賲....
丿賮亍 鬲爻賱賱 賱賱賮乇丕睾...鬲賱賮鬲 丨賵賱賷 賱毓賱賳賷 丕賯亘囟 毓賱賷賴賲丕..兀乇丿鬲 丕賳鬲夭丕毓賴賲丕 賲賳 丕賱丨購賱賲...丕噩賱 賱賷鬲丨乇乇丕 賲賳 丕賱丨購賱賲....
兀賱賷爻 賰賱丕賴賲丕 賷禺丕賮 丕賱賷賯馗丞 賱賰賷 賱丕 賷賳爻賶 賴賵 貙 亘賷賳賲丕 鬲亘丨孬 毓賳賴 賴賶...廿匕賳 丿毓丕賳賷 兀賮毓賱 ...賵賱賰賳 廿匕 亘毓賷賳丕 賰賱亘 丕夭乇賯 鬲乇賲賯賳賷 賮賷 賴丿賵亍 鬲丨匕乇賳賷 兀賱丕 兀賮毓賱....馃挄
- 賴匕丕 賲爻鬲丨賷賱...( 爻兀賱鬲賴丕 毓賳 丕賱爻亘亘 丕賱匕賷 賷噩毓賱賴 賲爻鬲丨賷賱丕賸 貙 丕噩丕亘鬲 ) : 賱兀賳 賵噩賴賰 亘丕賱丨丕卅胤....
廿賳賴 丕賱卮禺氐 丕賱匕賷 賷夭賵乇賴丕 賮賷 兀丨賱丕賲賴丕 賰賱 賱賷賱丞 賱賷賯賵賱 賱賴丕 : 毓賷賳丕 賰賱亘 兀夭乇賯...丕賱匕賷 賷丨丕賵賱 賰賱 賷賵賲 丕賳 賷鬲匕賰乇 鬲賱賰 丕賱賰賱賲丕鬲 丕賱鬲賷 爻鬲賯賵丿賴 丕賱賷賴丕 賵毓賳丿賲丕 賷爻鬲賷賯馗 賷賳爻賶 丕賱賰賱賲丕鬲 賵賱丕 賷鬲賲賰賳 賲賳 丕賱毓孬賵乇 毓賱賷賴丕...廿賳賴 丕賱乇噩賱 丕賱賵丨賷丿 丕賱匕賷 賱丕 賷鬲匕賰乇 卮賷卅丕賸 賲賲丕 丨賱賲 亘賴 丨賷賳 賷爻鬲賷賯馗...
賷爻鬲賵賱賷 毓賱賷賴 丕賱卮毓賵乇 亘丕賱亘乇丿 丕賱亘丕毓孬 毓賱賶 丕賱賵丨丿丞....
賴賶 鬲丨丕賵賱 丕賱毓孬賵乇 毓賱賶 丕賱乇噩賱 丕賱匕賷 賯丕賱 賱賴丕 賴匕賴 丕賱賰賱賲丕鬲..賮賷 兀丨賱丕賲賴丕...丕賳賯囟鬲 丕賱爻賳賵丕鬲 賮賷 丕賱亘丨孬 毓賳賴...
賴賱 丕賱鬲賯賷丕 賮賷 丨賱賲 責
鬲乇丕賴 丕賱鬲賯丕賴丕 賯亘賱丕賸 賮賷 兀丨賱丕賲 丕禺乇賶 責
鬲乇丕亍賶 賱賷 亘兀賳 賰賱丕賴賲丕 丨賯賷賯賷 賮賷 丨購賱賲 ...賷賲賰賳賳賷 鬲賱賾賲爻賴賲丕...鬲爻丕賯胤鬲 賰賱賲丕鬲賴賲丕 毓賱賶 賯賱亘賷...胤乇賯鬲 丕賱噩丿乇丕賳..乇賳賷賳賴丕 禺丕賮鬲 賳丕毓賲....
丿賮亍 鬲爻賱賱 賱賱賮乇丕睾...鬲賱賮鬲 丨賵賱賷 賱毓賱賳賷 丕賯亘囟 毓賱賷賴賲丕..兀乇丿鬲 丕賳鬲夭丕毓賴賲丕 賲賳 丕賱丨購賱賲...丕噩賱 賱賷鬲丨乇乇丕 賲賳 丕賱丨購賱賲....
兀賱賷爻 賰賱丕賴賲丕 賷禺丕賮 丕賱賷賯馗丞 賱賰賷 賱丕 賷賳爻賶 賴賵 貙 亘賷賳賲丕 鬲亘丨孬 毓賳賴 賴賶...廿匕賳 丿毓丕賳賷 兀賮毓賱 ...賵賱賰賳 廿匕 亘毓賷賳丕 賰賱亘 丕夭乇賯 鬲乇賲賯賳賷 賮賷 賴丿賵亍 鬲丨匕乇賳賷 兀賱丕 兀賮毓賱....馃挄
October 9, 2024
The collection Eyes of a Blue Dog (Ojos de perro azul, 1950) is an early anthology of short stories by Gabriel Garc铆a M谩rquez.
The central motif of the collection is the fragile boundary between dreams and reality, life and death. The title story, in particular, vividly illustrates this: the protagonists meet only in their dreams, yearning to find each other in reality, but their efforts are doomed to failure. The stories explore themes of loneliness, longing, and alienation, often intertwined with elements of absurdity and mystery.
Although these stories may not be as refined as his later masterpieces, the foundations of M谩rquez's future style and themes are already evident.
The central motif of the collection is the fragile boundary between dreams and reality, life and death. The title story, in particular, vividly illustrates this: the protagonists meet only in their dreams, yearning to find each other in reality, but their efforts are doomed to failure. The stories explore themes of loneliness, longing, and alienation, often intertwined with elements of absurdity and mystery.
Although these stories may not be as refined as his later masterpieces, the foundations of M谩rquez's future style and themes are already evident.
October 22, 2024
Una colecci贸n de cuentos, la primera de Garc铆a M谩rquez en la que mayormente se ve como gran protagonista la muerte entre sus distintos personajes pero igual de ca贸ticos, obsesionados y perdidos.
Muy de cerca hay cuentos sobre el amor, la obsesi贸n, lo absurdo y evidentemente ese realismo m谩gico marcado por los hechos maravillosos que ocurren. Como el fant谩stico relato Mon贸logo de Isabel viendo llover en Macondo y tambi茅n Un hombre viene bajo la lluvia que hace menci贸n a uno de los personajes m谩s importantes de Cien a帽os de soledad.
馃拃La tercera resignaci贸n 3/5
馃悎鈥嶁瑳Eva est谩 dentro de su gato 3/5
鈽狅笍Tubal-Ca铆n forja una estrella 4/5
馃懃La otra costilla de la muerte 4/5
馃獮Di谩logo del espejo 3/5
馃挙Amargura para tres son谩mbulos 3/5
馃憺De c贸mo Natanael hace una visita 3.5/5
馃憗Ojos de perro azul 4/5
馃懇La mujer que llegaba a las seis en punto 4/5
馃La noche de los alcaravanes 4/5
馃尮Alguien desordena estas rosas 3.5/5
馃懠Nabo, el negro que hizo esperar a los 谩ngeles 3.5/5
馃導Un hombre viene bajo la lluvia 3.5/5
馃寠Mon贸logo de Isabel viendo llover en Macondo 4/5
Muy de cerca hay cuentos sobre el amor, la obsesi贸n, lo absurdo y evidentemente ese realismo m谩gico marcado por los hechos maravillosos que ocurren. Como el fant谩stico relato Mon贸logo de Isabel viendo llover en Macondo y tambi茅n Un hombre viene bajo la lluvia que hace menci贸n a uno de los personajes m谩s importantes de Cien a帽os de soledad.
馃拃La tercera resignaci贸n 3/5
馃悎鈥嶁瑳Eva est谩 dentro de su gato 3/5
鈽狅笍Tubal-Ca铆n forja una estrella 4/5
馃懃La otra costilla de la muerte 4/5
馃獮Di谩logo del espejo 3/5
馃挙Amargura para tres son谩mbulos 3/5
馃憺De c贸mo Natanael hace una visita 3.5/5
馃憗Ojos de perro azul 4/5
馃懇La mujer que llegaba a las seis en punto 4/5
馃La noche de los alcaravanes 4/5
馃尮Alguien desordena estas rosas 3.5/5
馃懠Nabo, el negro que hizo esperar a los 谩ngeles 3.5/5
馃導Un hombre viene bajo la lluvia 3.5/5
馃寠Mon贸logo de Isabel viendo llover en Macondo 4/5
January 4, 2018
Ojos de Perro Azul, Gabriel Garc铆颅a M谩rquez
毓賳賵丕賳賴丕: 夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 6 氐亘丨 賲蹖丌賲丿貨 趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 亘蹖爻鬲 賵 爻賵賲 丌賵乇蹖賱 爻丕賱 1993 賲蹖賱丕丿蹖貨 鬲丕乇蹖禺 丿賵賲蹖賳 禺賵丕賳卮: 亘蹖爻鬲 賵 倬賳噩賲 跇賵卅賳 爻丕賱 2003 賲蹖賱丕丿蹖
毓賳賵丕賳: 趩卮賲丕賳 丌亘蹖鈥屫辟嗂� 爻诏貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲: 卮丕賴乇禺 賮乇夭丕丿貨 鬲亘乇蹖夭貙 丕蹖乇丕賳賵蹖趩貨 1371貨 丿乇 140 氐貨
毓賳賵丕賳: 夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 6 氐亘丨 賲蹖丌賲丿貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲: 賳蹖讴蹖鬲丕 鬲蹖賲賵乇蹖貨 鬲賴乇丕賳貙 賳卮乇 卮蹖乇蹖賳貙 1378貨 丿乇 160 氐貨 卮丕亘讴: 9645564395貨 趩丕倬 丿賵賲 1379貨 趩丕倬 丿蹖诏乇: 鬲锟斤拷乇丕賳貙 丌乇蹖丕亘丕賳貙 1381貨 卮丕亘讴: 9647196156貨 趩丕倬 倬賳噩賲 1386貨 卮丕亘讴: 9789647196156貨 趩丕倬 賴賮鬲賲 1389貨 趩丕倬 蹖丕夭丿賴賲 1393貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 讴賵鬲丕賴 丕夭 賳賵蹖爻賳丿诏丕賳 讴賱賲亘蹖丕蹖蹖 - 賯乇賳 20 賲
丕蹖賳 賲噩賲賵毓賴 丿丕爻鬲丕賳 丕夭 丌孬丕乇 賳禺爻鬲蹖賳 賲丕乇讴夭 丕爻鬲 讴賴 亘乇丕蹖 丕賵賱蹖賳 亘丕乇 亘賴鈥� 氐賵乇鬲 讴鬲丕亘蹖 丿乇 爻丕賱 1981 亘賴 夭亘丕賳 丕爻倬丕賳蹖賵賱蹖 趩丕倬 卮丿賴鈥� 賵 卮丕賲賱 丿丕爻鬲丕賳鈥屬囏й�: 芦趩卮賲丕賳 丌亘蹖鈥屫辟嗂� 爻诏禄貙 芦爻賵賲蹖賳 鬲爻賱蹖賲禄貙 芦賲爻賱賲丕賸 卮禺氐蹖 丕蹖賳 诏賱 爻乇禺鈥屬囏� 乇丕 倬乇倬乇 讴乇丿賴鈥� 丕爻鬲禄貙 芦夭賳蹖 讴賴 賴賲蹖卮賴 丿乇 爻丕毓鬲 6 賲蹖鈥屫①呚回� 芦賱讴鈥屬勞┾€屬囏� 丿乇 賳蹖賲賴鈥� 卮亘禄貙 芦賳丕亘爻丕賲丕賳蹖鈥屬囏й� 爻賴 丕丨賲賯禄貙 芦丌賳 乇賵蹖 丿蹖诏乇 賲乇诏禄貙 芦诏賮鬲鈥� 賵 诏賵 亘丕 丌蹖賳賴禄貙 芦丕蹖賵丕 丿乇 丿丕禺賱 诏乇亘賴鈥� 蹖 禺賵丿卮 丕爻鬲禄貙 芦胤賳夭賴丕蹖 丕蹖夭丕亘賱禄貙 芦賳丕亘賵: 賲乇丿蹖 爻蹖丕賴 讴賴 賮乇卮鬲賴鈥� 賴丕 乇丕 丿乇 丕賳鬲馗丕乇 賳诏賴 丿丕卮鬲禄 丕. 卮乇亘蹖丕賳蹖
毓賳賵丕賳賴丕: 夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 6 氐亘丨 賲蹖丌賲丿貨 趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 亘蹖爻鬲 賵 爻賵賲 丌賵乇蹖賱 爻丕賱 1993 賲蹖賱丕丿蹖貨 鬲丕乇蹖禺 丿賵賲蹖賳 禺賵丕賳卮: 亘蹖爻鬲 賵 倬賳噩賲 跇賵卅賳 爻丕賱 2003 賲蹖賱丕丿蹖
毓賳賵丕賳: 趩卮賲丕賳 丌亘蹖鈥屫辟嗂� 爻诏貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲: 卮丕賴乇禺 賮乇夭丕丿貨 鬲亘乇蹖夭貙 丕蹖乇丕賳賵蹖趩貨 1371貨 丿乇 140 氐貨
毓賳賵丕賳: 夭賳蹖 讴賴 賴乇 乇賵夭 乇丕爻 爻丕毓鬲 6 氐亘丨 賲蹖丌賲丿貨 賳賵蹖爻賳丿賴: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲: 賳蹖讴蹖鬲丕 鬲蹖賲賵乇蹖貨 鬲賴乇丕賳貙 賳卮乇 卮蹖乇蹖賳貙 1378貨 丿乇 160 氐貨 卮丕亘讴: 9645564395貨 趩丕倬 丿賵賲 1379貨 趩丕倬 丿蹖诏乇: 鬲锟斤拷乇丕賳貙 丌乇蹖丕亘丕賳貙 1381貨 卮丕亘讴: 9647196156貨 趩丕倬 倬賳噩賲 1386貨 卮丕亘讴: 9789647196156貨 趩丕倬 賴賮鬲賲 1389貨 趩丕倬 蹖丕夭丿賴賲 1393貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 讴賵鬲丕賴 丕夭 賳賵蹖爻賳丿诏丕賳 讴賱賲亘蹖丕蹖蹖 - 賯乇賳 20 賲
丕蹖賳 賲噩賲賵毓賴 丿丕爻鬲丕賳 丕夭 丌孬丕乇 賳禺爻鬲蹖賳 賲丕乇讴夭 丕爻鬲 讴賴 亘乇丕蹖 丕賵賱蹖賳 亘丕乇 亘賴鈥� 氐賵乇鬲 讴鬲丕亘蹖 丿乇 爻丕賱 1981 亘賴 夭亘丕賳 丕爻倬丕賳蹖賵賱蹖 趩丕倬 卮丿賴鈥� 賵 卮丕賲賱 丿丕爻鬲丕賳鈥屬囏й�: 芦趩卮賲丕賳 丌亘蹖鈥屫辟嗂� 爻诏禄貙 芦爻賵賲蹖賳 鬲爻賱蹖賲禄貙 芦賲爻賱賲丕賸 卮禺氐蹖 丕蹖賳 诏賱 爻乇禺鈥屬囏� 乇丕 倬乇倬乇 讴乇丿賴鈥� 丕爻鬲禄貙 芦夭賳蹖 讴賴 賴賲蹖卮賴 丿乇 爻丕毓鬲 6 賲蹖鈥屫①呚回� 芦賱讴鈥屬勞┾€屬囏� 丿乇 賳蹖賲賴鈥� 卮亘禄貙 芦賳丕亘爻丕賲丕賳蹖鈥屬囏й� 爻賴 丕丨賲賯禄貙 芦丌賳 乇賵蹖 丿蹖诏乇 賲乇诏禄貙 芦诏賮鬲鈥� 賵 诏賵 亘丕 丌蹖賳賴禄貙 芦丕蹖賵丕 丿乇 丿丕禺賱 诏乇亘賴鈥� 蹖 禺賵丿卮 丕爻鬲禄貙 芦胤賳夭賴丕蹖 丕蹖夭丕亘賱禄貙 芦賳丕亘賵: 賲乇丿蹖 爻蹖丕賴 讴賴 賮乇卮鬲賴鈥� 賴丕 乇丕 丿乇 丕賳鬲馗丕乇 賳诏賴 丿丕卮鬲禄 丕. 卮乇亘蹖丕賳蹖
December 10, 2018
This is a wonderful anthology containing some of the earliest short stories written by Garcia Marquez. Yes, these are some of the first stories he wrote, but that doesn't make them any less good, on the contrary, some of them are simply magic, full of his raw love for words.
The anthology was published in 1974 but the shorts stories within were all written before 1955. One of these stories, The monologue of Isabel watching the rain falling on Macondo, represents the first mention and the foundation stone to what would become 100 years of Solitude.
Along this anthology one can see Marquez's style changing, from his early stories settle in a haunting supernatural world to a more subtle kind of magic, one that almost feels like real life. Reading this book it's easy to understand how magic realism evolve to become the genre and literary current it's nowadays.
I have some favorites:
Eva is inside her cat, is a haunting, claustrophobic tale. Is she dead, alive, dreaming, sleep waking, did she kill a boy (her boy) or has he been dead for centuries, or is she really a spirit with fragmented images of what once her life now possessing a cat? You don't know and you don't need to know, because the not knowing makes reading this story all the better. And I bet you'll crave an orange after you're done reading.
Eyes of a blue dog, this one gives name to the anthology and with good reason. This is a tale of obsession and sadness and loneliness, of a woman in love with someone she dreams about every night. They are both real, she knows it, and he loves her too. But they don't know each other in real life, and everyday he forgets she exists. When awake, she can't remember how he looks or his name, she only knows what he once told her, that she has the eyes of a blue dog. This story is one that stays with me for days each time after I've read it. It has that incoherent but perfectly understandable quality dreams have, and like dreams it follows you around. If you never get to read this anthology cover to cover, at least find Eyes like a blue dog and read it, it is so worth it.
Monologue of Isabel watching the rain falling on Macondo, this one is the latest of all the stories. Here, Marquez writing is already well settled into the style of his novels. The claustrophobia and dreamy incoherence are gone, replace by a subtle pull into un-reality. This is a story that transports us to a new place, a place that may be very different from our everyday life but that through Isabel's eyes feels familiar, like a home, a magic one.
If you don't feel like taking on Marquez novels, give these stories a chance. You may get hook on magic realism.
The anthology was published in 1974 but the shorts stories within were all written before 1955. One of these stories, The monologue of Isabel watching the rain falling on Macondo, represents the first mention and the foundation stone to what would become 100 years of Solitude.
Along this anthology one can see Marquez's style changing, from his early stories settle in a haunting supernatural world to a more subtle kind of magic, one that almost feels like real life. Reading this book it's easy to understand how magic realism evolve to become the genre and literary current it's nowadays.
I have some favorites:
Eva is inside her cat, is a haunting, claustrophobic tale. Is she dead, alive, dreaming, sleep waking, did she kill a boy (her boy) or has he been dead for centuries, or is she really a spirit with fragmented images of what once her life now possessing a cat? You don't know and you don't need to know, because the not knowing makes reading this story all the better. And I bet you'll crave an orange after you're done reading.
Eyes of a blue dog, this one gives name to the anthology and with good reason. This is a tale of obsession and sadness and loneliness, of a woman in love with someone she dreams about every night. They are both real, she knows it, and he loves her too. But they don't know each other in real life, and everyday he forgets she exists. When awake, she can't remember how he looks or his name, she only knows what he once told her, that she has the eyes of a blue dog. This story is one that stays with me for days each time after I've read it. It has that incoherent but perfectly understandable quality dreams have, and like dreams it follows you around. If you never get to read this anthology cover to cover, at least find Eyes like a blue dog and read it, it is so worth it.
Monologue of Isabel watching the rain falling on Macondo, this one is the latest of all the stories. Here, Marquez writing is already well settled into the style of his novels. The claustrophobia and dreamy incoherence are gone, replace by a subtle pull into un-reality. This is a story that transports us to a new place, a place that may be very different from our everyday life but that through Isabel's eyes feels familiar, like a home, a magic one.
If you don't feel like taking on Marquez novels, give these stories a chance. You may get hook on magic realism.
November 15, 2020
Il tema della morte, la fredda solitudine, la passionalit脿 negata che sembra bloccare gran parte dei protagonisti a un passo dal realizzar antichi desideri sono alcuni dei temi portanti di questa affascinante raccolta. Un M谩rquez abbastanza insolito, che strizza l'occhio a Kafka, al mistero, al gotico, ma che non manca mai di porre a ogni riga la propria riconoscibile firma. Racconti splendidi, pur se caratterizzati da un velo di tristezza a volte quasi opprimente, che possono conceder di scoprire un nuovo lato artistico di questo grande scrittore e regalare splendide emozioni.
September 26, 2023
禺亘 乇丕爻鬲卮 賵 亘禺賵丕賲 亘诏賲 讴鬲丕亘 乇賵 夭蹖丕丿 丿賵爻鬲 賳丿丕卮鬲賲貙禺蹖賱蹖 丿丕爻鬲丕賳 賴丕蹖 賲毓賲賵賱蹖 丿丕卮鬲 讴鬲丕亘貙 趩蹖夭 禺丕氐蹖 賴賲 賳丿丕卮鬲賳 丿丕爻鬲丕賳 賴丕貙 丕蹖賳 讴鬲丕亘 丕夭 趩賳丿 丿丕爻鬲丕賳 讴賵鬲丕賴 鬲卮讴蹖賱 卮丿賴 丿丕爻鬲丕賳鈥屬囏й� 丕蹖賳 賲噩賲賵毓賴 毓亘丕乇鬲鈥屫з嗀� 丕夭: 芦鬲爻賱蹖賲 爻賵賲禄貙 芦丿賳丿賴 丿蹖诏乇 賲乇诏禄貙 芦丨賵丕 亘賴 噩爻賲 诏乇亘賴鈥屫ж� 賮乇賵 乇賮鬲賴 丕爻鬲禄貙 芦睾賲 賵 丕賳丿賵賴 亘乇丕蹖 爻賴 禺賵丕亘诏乇丿禄貙 芦诏賮鬲诏賵蹖蹖 丿乇 丌蹖賳賴禄貙 芦趩卮賲鈥屬囏й� 爻诏 丌亘蹖 乇賳诏禄貙 芦賳丕亘賵 爻蹖丕賴 倬賵卮蹖 讴賴 賮乇卮鬲诏丕賳 乇丕 賲毓胤賱 诏匕丕卮鬲賴 亘賵丿禄貙 芦讴爻蹖 賳馗賲 丕蹖賳 诏賱鈥屬囏й� 乇夭 乇丕 亘乇賴賲 賲蹖鈥屫操嗀回� 芦卮亘 卮丕賴蹖賳鈥屬囏� 賵 芦丕蹖夭丕亘賱丕 丿乇 鬲賲丕卮丕蹖 亘丕乇丕賳 丿乇 賲丕讴賵賳丿賵禄.
丿丕爻鬲丕賳 賴丕 賴賵賱 賲丨賵乇 賲乇诏 賲蹖趩乇禺賴 賵 亘賴 氐賵乇鬲 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 賳賵卮鬲賴 卮丿賴.
賯亘賱丕 丕夭 賲丕乇讴夭 氐丿 爻丕賱 鬲賳賴丕蹖蹖 乇賵 禺賵賳丿賴 亘賵丿賲 讴賴 禺蹖賱蹖 丿賵爻鬲 丿丕卮鬲賲 丕賵賳 讴鬲丕亘 乇賵 賵 毓卮賯 爻丕賱 賴丕蹖 賵亘丕 乇賵 賴賲 禺賵賳丿賴 亘賵丿賲 讴賴 丿乇 丨丿 蹖賴 乇賲丕賳 毓丕卮賯丕賳賴 禺賵亘 亘賵丿貙 賵賱蹖 鬲賳賴丕 蹖賴 乇賲丕賳 禺賵亘 亘賵丿 丿乇賵賳 賲丕蹖賴 蹖 禺丕氐蹖 亘賴 賳馗乇賲 賳丿丕卮鬲貙 丕蹖賳 讴鬲丕亘 丿丕爻鬲丕賳 賴丕蹖 讴賵鬲丕賴 丿丕卮鬲 讴賴 丨鬲蹖 丿丕爻鬲丕賳 賴丕卮賲 禺蹖賱蹖 賲毓賲賵賱蹖 亘賵丿 賵 丿乇賵賳 賲丕蹖蹖賴 禺蹖賱蹖 睾賳蹖 丕蹖 賴賲 賳丿丕卮鬲.
丿丕爻鬲丕賳 賴丕 賴賵賱 賲丨賵乇 賲乇诏 賲蹖趩乇禺賴 賵 亘賴 氐賵乇鬲 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 賳賵卮鬲賴 卮丿賴.
賯亘賱丕 丕夭 賲丕乇讴夭 氐丿 爻丕賱 鬲賳賴丕蹖蹖 乇賵 禺賵賳丿賴 亘賵丿賲 讴賴 禺蹖賱蹖 丿賵爻鬲 丿丕卮鬲賲 丕賵賳 讴鬲丕亘 乇賵 賵 毓卮賯 爻丕賱 賴丕蹖 賵亘丕 乇賵 賴賲 禺賵賳丿賴 亘賵丿賲 讴賴 丿乇 丨丿 蹖賴 乇賲丕賳 毓丕卮賯丕賳賴 禺賵亘 亘賵丿貙 賵賱蹖 鬲賳賴丕 蹖賴 乇賲丕賳 禺賵亘 亘賵丿 丿乇賵賳 賲丕蹖賴 蹖 禺丕氐蹖 亘賴 賳馗乇賲 賳丿丕卮鬲貙 丕蹖賳 讴鬲丕亘 丿丕爻鬲丕賳 賴丕蹖 讴賵鬲丕賴 丿丕卮鬲 讴賴 丨鬲蹖 丿丕爻鬲丕賳 賴丕卮賲 禺蹖賱蹖 賲毓賲賵賱蹖 亘賵丿 賵 丿乇賵賳 賲丕蹖蹖賴 禺蹖賱蹖 睾賳蹖 丕蹖 賴賲 賳丿丕卮鬲.
February 16, 2019
丿丕爻鬲丕賳鈥屬囏� 賴賲賴 丿乇賲賵乇丿 賲乇诏鈥屫з嗀�. 賲乇诏鈥屬囏й� 噩丕丿賵蹖蹖. 賲乇诏鈥屬囏й� 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳蹖. 賲乇诏鈥屬囏й� 毓噩蹖亘.
讴鬲丕亘 丕夭 毓噩蹖亘蹖 讴賲 賳丿丕卮鬲貙 賵 诏乇趩賴 賴蹖 鬲毓噩亘 賲蹖鈥屭┴必� 賵 亘丕賵乇賲 賳賲蹖鈥屫簇� 丕蹖賳 丨噩賲 丕夭 睾乇蹖亘蹖貙 丕賲丕 丕夭 讴賱賲賴鈥屬囏ж� 噩賲賱賴鈥屬囏ж� 賵 賴賳乇賲賳丿蹖 賲丕乇讴夭 賴賲 丕賳诏卮鬲 亘賴 丿賴賳 賲蹖鈥屬呝堎嗀�. 讴賴 丕氐賱丕 趩胤賵乇 賴賲趩蹖賳 趩蹖夭賴丕蹖蹖 賳賵卮鬲賴貙 趩胤賵乇 丕蹖賳賯丿乇 賯卮賳诏 讴賱賲賴鈥屬囏� 乇賵 丕賳鬲禺丕亘 讴乇丿賴責 鬲氐賵蹖乇賴丕蹖 夭賳丿賴 爻丕禺鬲賴責
讴鬲丕亘 丕夭 毓噩蹖亘蹖 讴賲 賳丿丕卮鬲貙 賵 诏乇趩賴 賴蹖 鬲毓噩亘 賲蹖鈥屭┴必� 賵 亘丕賵乇賲 賳賲蹖鈥屫簇� 丕蹖賳 丨噩賲 丕夭 睾乇蹖亘蹖貙 丕賲丕 丕夭 讴賱賲賴鈥屬囏ж� 噩賲賱賴鈥屬囏ж� 賵 賴賳乇賲賳丿蹖 賲丕乇讴夭 賴賲 丕賳诏卮鬲 亘賴 丿賴賳 賲蹖鈥屬呝堎嗀�. 讴賴 丕氐賱丕 趩胤賵乇 賴賲趩蹖賳 趩蹖夭賴丕蹖蹖 賳賵卮鬲賴貙 趩胤賵乇 丕蹖賳賯丿乇 賯卮賳诏 讴賱賲賴鈥屬囏� 乇賵 丕賳鬲禺丕亘 讴乇丿賴責 鬲氐賵蹖乇賴丕蹖 夭賳丿賴 爻丕禺鬲賴責
October 4, 2018
Se帽ora, su ni帽o tiene una enfermedad grave: est谩 muerto
Tu chiamale se vuoi 鈥�
Raccolta dei primi racconti giovanili di Garcia Marquez, Nobel per la Letteratura nel 1982, scritti tra il 1947 ed il 1955, anno, quest鈥檜ltimo, fondamentale nel percorso evolutivo del genere umano.
Riporto maldestramente da Wikipedia:
1. La terza rassegnazione. Un bambino morto all'et脿 di 7 anni continua a crescere per altri 18 nel feretro che la madre gli ha fatto costruire su misure da adulto, disteso su un tavolo in una stanza di casa.
2. L'altra costola della morte. Il protagonista si sveglia spaventato per aver sognato il fratello gemello appena morto di cancro.
3. Eva sta dentro il suo gatto. Immobile nel suo letto, una bambina pensa forse al fratello/doppio morto e sepolto in giardino.
4. Amarezza per tre sonnambuli. Tre fratelli osservano, forse, la madre perseguitata dal sonnambulismo, che hanno ospitato in casa.
5. Dialogo dello specchio. Un uomo al risveglio si guarda allo specchio mentre si rade, ricorda il fratello gemello morto.
6. Occhi di cane azzurro. 脠 il resoconto di un sogno. Nel vedere la bellezza degli occhi grigi di una donna chiusa in una stanza, sola con lui, un uomo dice: Occhi di cane azzurro.
7. La donna che arrivava alle sei. Ogni giorno una donna non pi霉 giovane entra alle sei in punto del pomeriggio nel bar di Jos茅, mangia un piatto che lui non le fa pagare, quindi se ne va ogni volta con un uomo diverso.
8. Nabo, il negro che fece aspettare gli angeli. Un giovane manovale nero che ha l'incarico di badare ai cavalli del padrone, e di manovrare il grammofono per la bambina autistica di casa, riceve un violento calcio in fronte da un cavallo. Perde il senno e il senso della realt脿.
9. Qualcuno scompiglia queste rose. Il fantasma di un bambino morto continua a frequentare la casa dove visse, e dove nel frattempo 猫 tornata a abitare la sua compagna di giochi di quarant'anni prima.
10. La notte dei pivieri. Tre uomini ciechi si trovano in una casa dove sentono la voce e la presenza di una donna, alla quale raccontano che i pivieri hanno strappato i loro occhi perch茅, mentre erano ubriachi, hanno tentato di fare il verso al loro canto.
11. Monologo di Isabel mentre vede piovere su Macondo. La giovane sposa Isabel, in attesa di un bambino, assiste all'arrivo dell'inverno (che ai Caraibi 猫 la stagione delle piogge) dalla veranda della casa familiare.
Atmosfere cupe, ambientazioni dove Nuestra Se帽ora de la Santa Muerte la fa da padrona, Atmosfere allucinanti, personaggi allucinati, che neanche Poe 鈥�
Comprensione? Zero. Emozioni? Oltre ogni dire. Tanto da rileggere e rileggere ancora, per cercare un senso, un fil rouge 鈥� Risultato? N茅ant 鈥�
Ma il coinvolgimento, il nodo allo stomaco, il senso di smarrimento mi accompagnano da un episodio all鈥檃ltro. Forse anche perch茅 Nuestra Se帽ora, con le sue veglie notturne, 猫 stata presenza costante nella mia vita. Impalpabili, oscuri sogni che penetrano nell鈥檃bisso del mio animo.
Quando cade la tristezza in fondo al cuore, come la neve, non fa rumore...
dehorsmaisdedans, je vous remercie beaucoup.
Albus le Magicien
Tu chiamale se vuoi 鈥�
Raccolta dei primi racconti giovanili di Garcia Marquez, Nobel per la Letteratura nel 1982, scritti tra il 1947 ed il 1955, anno, quest鈥檜ltimo, fondamentale nel percorso evolutivo del genere umano.
Riporto maldestramente da Wikipedia:
1. La terza rassegnazione. Un bambino morto all'et脿 di 7 anni continua a crescere per altri 18 nel feretro che la madre gli ha fatto costruire su misure da adulto, disteso su un tavolo in una stanza di casa.
2. L'altra costola della morte. Il protagonista si sveglia spaventato per aver sognato il fratello gemello appena morto di cancro.
3. Eva sta dentro il suo gatto. Immobile nel suo letto, una bambina pensa forse al fratello/doppio morto e sepolto in giardino.
4. Amarezza per tre sonnambuli. Tre fratelli osservano, forse, la madre perseguitata dal sonnambulismo, che hanno ospitato in casa.
5. Dialogo dello specchio. Un uomo al risveglio si guarda allo specchio mentre si rade, ricorda il fratello gemello morto.
6. Occhi di cane azzurro. 脠 il resoconto di un sogno. Nel vedere la bellezza degli occhi grigi di una donna chiusa in una stanza, sola con lui, un uomo dice: Occhi di cane azzurro.
7. La donna che arrivava alle sei. Ogni giorno una donna non pi霉 giovane entra alle sei in punto del pomeriggio nel bar di Jos茅, mangia un piatto che lui non le fa pagare, quindi se ne va ogni volta con un uomo diverso.
8. Nabo, il negro che fece aspettare gli angeli. Un giovane manovale nero che ha l'incarico di badare ai cavalli del padrone, e di manovrare il grammofono per la bambina autistica di casa, riceve un violento calcio in fronte da un cavallo. Perde il senno e il senso della realt脿.
9. Qualcuno scompiglia queste rose. Il fantasma di un bambino morto continua a frequentare la casa dove visse, e dove nel frattempo 猫 tornata a abitare la sua compagna di giochi di quarant'anni prima.
10. La notte dei pivieri. Tre uomini ciechi si trovano in una casa dove sentono la voce e la presenza di una donna, alla quale raccontano che i pivieri hanno strappato i loro occhi perch茅, mentre erano ubriachi, hanno tentato di fare il verso al loro canto.
11. Monologo di Isabel mentre vede piovere su Macondo. La giovane sposa Isabel, in attesa di un bambino, assiste all'arrivo dell'inverno (che ai Caraibi 猫 la stagione delle piogge) dalla veranda della casa familiare.
Atmosfere cupe, ambientazioni dove Nuestra Se帽ora de la Santa Muerte la fa da padrona, Atmosfere allucinanti, personaggi allucinati, che neanche Poe 鈥�
Comprensione? Zero. Emozioni? Oltre ogni dire. Tanto da rileggere e rileggere ancora, per cercare un senso, un fil rouge 鈥� Risultato? N茅ant 鈥�
Ma il coinvolgimento, il nodo allo stomaco, il senso di smarrimento mi accompagnano da un episodio all鈥檃ltro. Forse anche perch茅 Nuestra Se帽ora, con le sue veglie notturne, 猫 stata presenza costante nella mia vita. Impalpabili, oscuri sogni che penetrano nell鈥檃bisso del mio animo.
Quando cade la tristezza in fondo al cuore, come la neve, non fa rumore...
dehorsmaisdedans, je vous remercie beaucoup.
Albus le Magicien
October 15, 2015
賴賲賴 蹖 丿丕爻鬲丕賳 賴丕蹖 讴賵鬲丕賴 倬蹖賵賳丿蹖 亘丕 賲乇诏 丿丕乇賳丿. 噩夭 丿丕爻鬲丕賳 丕賵賱 蹖毓賳蹖 賴賲丕賳 "夭賳蹖 讴賴 賴乇 乇賵夭 乇兀爻 爻丕毓鬲 6 氐亘丨 賲蹖 丌賲丿" 亘丕賯蹖 丿丕爻鬲丕賳 賴丕 丕亘賴丕賲 丌賲蹖夭 賵 诏賳诏 丕賳丿. 鬲乇噩賲賴貙 丕賱亘鬲賴 亘丕 賳馗乇 氐乇賮 亘賴 賲鬲賳 賮丕乇爻蹖 ( 趩賵賳 賲賳 亘丕 鬲乇噩賲賴 蹖 丿蹖诏乇蹖 - 趩賴 賮丕乇爻蹖 趩賴 丕賳诏賱蹖爻蹖 - 賲賯丕蹖爻賴 丕蹖 賳讴乇丿賴 丕賲 ) 鬲乇噩賲賴 蹖 禺賵亘蹖 賳蹖爻鬲. 趩賴 亘爻丕 亘鬲賵丕賳 诏賮鬲 夭蹖乇 賲鬲賵爻胤 丕爻鬲
鬲賯乇蹖亘丕 丿乇 賴賲賴 蹖 丿丕爻鬲丕賳 賴丕 噩夭 丿丕爻鬲丕賳 丕賵賱 賳賵毓蹖 夭丿诏蹖 亘賴 賲賳 丿爻鬲 賲蹖 丿丕丿 亘賴 丿賱蹖賱 賮囟丕蹖 诏賳诏 丿丕爻鬲丕賳 賵 丕鬲賮丕賯丕鬲 賵 丨乇賮 賴丕 - 讴賴 丕丨鬲賲丕賱丕 鬲乇讴蹖亘 賮囟丕蹖 丕亘賴丕賲 丌賲蹖夭 禺賵丿 丿丕爻鬲丕賳 賵 鬲乇噩賲賴 蹖 賳丕賲賳丕爻亘 賲鬲乇噩賲 丕爻鬲. 丕賲丕 蹖讴 賵蹖跇诏蹖 丕蹖賳 丿丕爻鬲丕賳 賴丕蹖 賲亘賴賲 亘乇丕蹖 賲賳 噩丕賱亘 亘賵丿: 丕蹖賳讴賴 賲毓賲賵賱丕 賵賯鬲蹖 丌禺乇 丿丕爻鬲丕賳蹖 乇丕 賲蹖 禺賵丕賳丿賲 蹖讴 賳賵毓 賱匕鬲蹖 亘乇丕蹖賲 倬丿蹖丿 賲蹖 丌賲丿貙 丕賳诏丕乇 丌禺乇 丿丕爻鬲丕賳 賴丕 賮囟丕蹖蹖 倬丿蹖丿 賲蹖 丌賲丿 讴賴 丕亘賴丕賲 丿乇 丌賳 賮囟丕 蹖丕 乇賳诏 賲蹖 亘丕禺鬲 蹖丕 亘乇毓讴爻 毓賳氐乇 讴賱蹖丿蹖 賵 睾蹖乇 賯丕亘賱 丕睾賲丕囟 賲蹖 卮丿
讴賱丕 亘賴 賳馗乇賲 賲蹖 丌蹖丿 丕诏乇 鬲乇噩賲賴 蹖 禺賵亘蹖 丿丕卮鬲 賲蹖 鬲賵丕賳爻鬲 爻賴 爻鬲丕乇賴 乇丕 亘诏蹖乇丿. 馗丕賴乇丕 趩賳丿 鬲乇噩賲賴 蹖 丿蹖诏乇 賴賲 丕夭 丕蹖賳 讴鬲丕亘 賴爻鬲
亘蹖卮 丕夭 賴賲賴 "賲卮讴賱丕鬲 丕蹖夭丕亘賱貙 丿乇 夭蹖乇 亘丕乇丕賳 賴丕蹖 賲丕讴賵賳丿賵" 乇賵 丿賵爻鬲 丿丕卮鬲賲. 丿乇 賲乇鬲亘賴 蹖 亘毓丿 "夭賳蹖 讴賴 賴乇 乇賵夭 乇兀爻 爻丕毓鬲 6 氐亘丨 賲蹖 丌賲丿"貙 "趩卮賲丕賳 丌亘蹖 乇賳诏 爻诏" 賵 "賱讴 賱讴 賴丕 丿乇 賳蹖賲賴 卮亘" 賴賲 噩丕賱亘 亘賵丿賳丿. 丕賲丕 讴賱丕 賮囟丕蹖 丕亘賴丕賲 丌賲蹖夭 賵 亘賴 鬲氐賵蹖乇 讴卮蹖丿賳 "鬲噩乇亘賴 蹖 賲乇诏" 噩丕賱亘 亘賵丿 鬲賵 賴賲賴 蹖 丿丕爻鬲丕賳 賴丕
April 24, 2017
Siento una profunda fascinaci贸n por la pluma de Garc铆a M谩rquez. M谩s que admiraci贸n, creo que se ha convertido en un cari帽o tremendo por lo magn铆fico de cada l铆nea. Cada cuento dejaba en evidencia la autenticidad de todo lo que este hombre hac铆a, y lo 煤nico de su persona. Es una manera de decir que su esencia se ha convertido en un punto de referencia y tiene un nivel de excelencia al que todos los autores deber铆an aspirar.
No es para menos que al terminar cada obra suya quede tan admirada como si fuera la primera vez que lo leo, y eso que estamos hablando de cuentos de entre los cuarenta y cincuenta, cuando a煤n no hab铆a sido publicada la obra que le har铆a notable (aunque s铆 el mon贸logo que le dio origen), y es que su esplendidez ya era evidente en este tiempo. No es para menos, claro que no, que al terminar cualquier cosa suya, por corta que sea, acabe admirada y casi extasiada por lo que acabo de leer.
Di谩logo del espejo me gust贸 bastante.
Es curioso que en tan tempranas obras se halle tanta inclinaci贸n hacia la muerte, pero sobre todo al extra帽o desconocimiento de la misma, como si fuese una presencia m谩s, como si se tratara de un amigo que ha de sentarse a tu lado a observar c贸mo intentas seguir con una vida que ya no tienes, o a verte experimentar c贸mo reaccionar谩s ante el inminente fin. Es una manera de explorar mundos que no existen y de mezclarlo con el volver a las ra铆ces de los personajes en s铆.
No es para menos que al terminar cada obra suya quede tan admirada como si fuera la primera vez que lo leo, y eso que estamos hablando de cuentos de entre los cuarenta y cincuenta, cuando a煤n no hab铆a sido publicada la obra que le har铆a notable (aunque s铆 el mon贸logo que le dio origen), y es que su esplendidez ya era evidente en este tiempo. No es para menos, claro que no, que al terminar cualquier cosa suya, por corta que sea, acabe admirada y casi extasiada por lo que acabo de leer.
Di谩logo del espejo me gust贸 bastante.
Es curioso que en tan tempranas obras se halle tanta inclinaci贸n hacia la muerte, pero sobre todo al extra帽o desconocimiento de la misma, como si fuese una presencia m谩s, como si se tratara de un amigo que ha de sentarse a tu lado a observar c贸mo intentas seguir con una vida que ya no tienes, o a verte experimentar c贸mo reaccionar谩s ante el inminente fin. Es una manera de explorar mundos que no existen y de mezclarlo con el volver a las ra铆ces de los personajes en s铆.
August 11, 2020
賯氐丞 乇賲夭賷丞 賯氐賷乇丞 毓賳 丨賱賲 賲鬲賰乇乇 賱乇噩賱 賵丕賲乇兀丞 賮 丕賲丕賰賳 賲禺鬲賱賮丞 賲賳 丕賱毓丕賱賲 ....丨亘賷鬲 丕賱賮賰乇丞 賵丕賱賲卮賴丿 丕賱賴丕丿卅 匕賵 丕賱兀囟丕亍丞 丕賱禺丕賮鬲丞 賵乇賲夭賷丞 丕賱丕卮賷丕亍 丕賱亘爻賷胤丞 賮 丕賱賲卮賴丿 馃挀 賲丕乇賰賷夭 賵氐賮賴 賵禺賷丕賱賴 爻丕丨乇 賵賲賲鬲毓 .
" - 兀賵丿 兀賳 丕賱賲爻賰 丕賱丌賳 .
-爻鬲賮爻丿 賰賱 卮卅.
-賱賲 賷毓丿 賲賴賲丕賸 貙 賰賱 賲丕 毓賱賷賳丕 賮毓賱賴 賴賵 賯賱亘 丕賱賲禺丿丞 賱賷鬲爻賳賷 賱賳丕 丕賱賱賯丕亍 孬丕賳賷丞 . "
" - 兀賵丿 兀賳 丕賱賲爻賰 丕賱丌賳 .
-爻鬲賮爻丿 賰賱 卮卅.
-賱賲 賷毓丿 賲賴賲丕賸 貙 賰賱 賲丕 毓賱賷賳丕 賮毓賱賴 賴賵 賯賱亘 丕賱賲禺丿丞 賱賷鬲爻賳賷 賱賳丕 丕賱賱賯丕亍 孬丕賳賷丞 . "
Read
January 30, 20234 賳噩賵賲
賯氐丞 噩賲賷賱丞 噩丿賸丕 賵 毓匕亘賴 噩丿賸丕 賵 賮賰乇鬲賴丕 噩賲賷賱丞.
賵 賲卮 賲丨鬲丕噩 丕賯賵賱 丨丕噩丞 毓賳 丕爻賱賵亘 賲丕乇賰賷夭 丕賱賯賵賷 丕賱賲賲鬲毓
兀賳锟斤拷 丕賱乇噩賱 丕賱賵丨賷丿 丕賱匕賷 賱丕 賷鬲匕賰乇 丨賷賳 賷爻鬲賷賯馗 兀賷 卮卅 賲賲丕 丨賱賲 亘賴
賯氐丞 噩賲賷賱丞 噩丿賸丕 賵 毓匕亘賴 噩丿賸丕 賵 賮賰乇鬲賴丕 噩賲賷賱丞.
賵 賲卮 賲丨鬲丕噩 丕賯賵賱 丨丕噩丞 毓賳 丕爻賱賵亘 賲丕乇賰賷夭 丕賱賯賵賷 丕賱賲賲鬲毓
July 29, 2013
讴鬲丕亘 卮丕賲賱 12 丿丕爻鬲丕賳 讴賵鬲丕賴 丕爻鬲 賵 賳丕賲 丕氐賱蹖 讴鬲丕亘 丕夭 乇賵蹖 賳丕賲 蹖讴蹖 丕夭 賴賲蹖賳 丿丕爻鬲丕賳賴丕 讴賴 卮丕蹖丿 亘鬲賵丕賳 诏賮鬲 鬲賳賴丕 丿丕爻鬲丕賳 禺賵亘 賵 賯丕亘賱 丿乇讴 讴鬲丕亘 丕爻鬲 诏乇賮鬲賴 卮丿賴. 丕卮讴丕賱 丕夭 夭亘丕賳 賳賵蹖爻賳丿賴 亘丕卮丿 蹖丕 賲卮讴賱 乇丕 亘賴 诏乇丿賳 鬲乇噩賲賴 蹖 亘丿 丕蹖賳 丕孬乇 亘蹖賳丿丕夭蹖賲貙 丕蹖賳 讴鬲丕亘貙 賲噩賲賵毓賴 丿丕爻鬲丕賳 禺賵卮 禺賵丕賳蹖 亘賴 賳馗乇 賳賲蹖乇爻丿.
丿丕爻鬲丕賳 "夭賳蹖 讴賴 賴乇 乇賵夭貙 乇丕爻 爻丕毓鬲 6 氐亘丨 賲蹖 丌賲丿" 丿丕爻鬲丕賳 夭賳蹖 丕爻鬲 讴賴 蹖讴 乇賵夭 氐亘丨 胤亘賯 毓丕丿鬲 賴乇 乇賵夭賴 丕卮 亘賴 乇爻鬲賵乇丕賳 "禺賵夭賴" 賲蹖 乇賵丿 賵賱蹖 丿乇 丕蹖賳 乇賵夭 禺丕氐 趩蹖夭蹖 丿乇 乇賮鬲丕乇 夭賳 鬲睾蹖蹖乇 讴乇丿賴 丕爻鬲 讴賴 賳丕卮蹖 丕夭 丕鬲賮丕賯丕鬲 卮亘 诏匕卮鬲賴 丕爻鬲. 夭賳 丕爻乇丕乇 丿丕乇丿 禺賵夭賴 亘賴 蹖丕丿 亘蹖丕賵乇丿 讴賴 賵蹖 倬蹖卮 丕夭 爻丕毓鬲 6 氐亘丨 賵丕乇丿 乇爻鬲賵乇丕賳 卮丿賴貙 丿乇 丨丕賱蹖 讴賴 禺賵夭賴 賲胤賲卅賳 丕爻鬲 賲胤丕亘賯 賴乇 乇賵夭 夭賳 乇丕爻 爻丕毓鬲 6 亘賴 乇爻鬲賵乇丕賳 丌賲丿賴 丕爻鬲. 丿乇 胤蹖 丿丕爻鬲丕賳 賲鬲賵噩賴 賲蹖卮賵蹖賲 賯鬲賱蹖 鬲賵爻胤 夭賳 氐賵乇鬲 诏乇賮鬲賴 丕爻鬲 賵 丕蹖賳 夭賲丕賳 亘賳丿蹖 賵乇賵丿 亘賴 乇爻鬲賵乇丕賳 亘賴 賳賵毓蹖 賲蹖鬲賵丕賳丿 夭賳 乇丕 丕夭 丕乇鬲讴丕亘 丌賳 賯鬲賱 鬲亘乇卅賴 爻丕夭丿.
賲孬賱 丕蹖賳 賲蹖賲丕賳丿 讴賴 丕讴孬乇 丿丕爻鬲丕賳賴丕蹖 丕蹖賳 賲噩賲賵毓賴 丕夭 夭亘丕賳 丕乇賵丕丨 诏賮鬲賴 賲蹖卮賵丿貙 丿乇 賵丕賯毓 丕夭 夭亘丕賳 丌丿賲賴丕蹖蹖 讴賴 賲乇丿賴 丕賳丿 賵賱蹖 禺賵丿卮丕賳 丕蹖賳 賲乇诏 乇丕 亘丕賵乇 賳丿丕乇賳丿. 賴賳賵夭 賲丨蹖胤 丕胤乇丕賮 乇丕 丿乇讴 賲蹖讴賳賳丿貙 丨乇賮賴丕 乇丕 賲蹖卮賳賵賳丿 賵 賳爻亘鬲 亘賴 賴賲賴 蹖 丕鬲賮丕賯丕鬲 賵 诏賮鬲賴 賴丕 賵丕讴賳卮 賳卮丕賳 賲蹖丿賴賳丿 賵 亘丕賵乇 丿丕乇賳丿 丿蹖丿賴 賲蹖卮賵賳丿 賵 賴賳賵夭 夭賳丿賴 丕賳丿.
賲卮睾賵賱 诏卮鬲賳 丿乇賲賵乇丿 丕胤賱丕毓丕鬲蹖 倬蹖乇丕賲賵賳 丕蹖賳 賲噩賲賵毓賴 丿丕爻鬲丕賳 亘賵丿賲 讴賴 亘丕 蹖讴 噩賲賱賴 丕夭 賲丕乇讴夭 丿乇 賲賵乇丿 夭賳丿诏蹖 亘乇禺賵乇丿 讴乇丿賲 讴賴 禺賵丕賳丿賳卮 禺丕賱蹖 丕夭 賱胤賮 賳蹖爻鬲:
"丿乇 郾鄣 爻丕賱诏蹖 丌賲賵禺鬲賲 讴賴 賲丕丿乇丕賳 丕夭 賴賲賴 亘賴鬲乇 賲蹖 丿丕賳賳丿 賵 诏丕賴蹖 丕賵賯丕鬲 倬丿乇丕賳 賴賲.
丿乇 鄄郯 爻丕賱诏蹖 蹖丕丿 诏乇賮鬲賲 讴賴 讴丕乇 禺賱丕賮 賮丕蹖丿賴 丕蹖 賳丿丕乇丿貙 丨鬲蹖 丕诏乇 亘丕 賲賴丕乇鬲 丕賳噩丕賲 卮賵丿. 丿乇 鄄鄣 爻丕賱诏蹖 丿丕賳爻鬲賲 讴賴 蹖讴 賳賵夭丕丿貙 賲丕丿乇 乇丕 丕夭 丿丕卮鬲賳 蹖讴 乇賵夭 賴卮鬲 爻丕毓鬲賴 賵 倬丿乇 乇丕 丕夭 丿丕卮鬲賳 蹖讴 卮亘 賴卮鬲 爻丕毓鬲賴貙 賲丨乇賵賲 賲蹖 讴賳丿. 丿乇 鄢郯爻丕賱诏蹖 倬蹖 亘乇丿賲 讴賴 賯丿乇鬲貙 噩丕匕亘賴 賲乇丿 丕爻鬲 賵 噩丕匕亘賴貙 賯丿乇鬲 夭賳. 丿乇 鄢鄣 爻丕賱诏蹖 賲鬲賵噩賴 卮丿賲 讴賴 丌蹖賳丿賴 趩蹖夭蹖 賳蹖爻鬲 讴賴 丕賳爻丕賳 亘賴 丕乇孬 亘亘乇丿貨 亘賱讴賴 趩蹖夭蹖 丕爻鬲 讴賴 禺賵丿 賲蹖 爻丕夭丿. 丿乇 鄞郯 爻丕賱诏蹖 丌賲賵禺鬲賲 讴賴 乇賲夭 禺賵卮亘禺鬲 夭蹖爻鬲賳貙 丿乇 丌賳 賳蹖爻鬲 讴賴 讴丕乇蹖 乇丕 讴賴 丿賵爻鬲 丿丕乇蹖賲 丕賳噩丕賲 丿賴蹖賲貨 亘賱讴賴 丿乇 丕蹖賳 丕爻鬲 讴賴 讴丕乇蹖 乇丕 讴賴 丕賳噩丕賲 賲蹖 丿賴蹖賲 丿賵爻鬲 丿丕卮鬲賴 亘丕卮蹖賲.
丿乇 鄞鄣 爻丕賱诏蹖 蹖丕丿 诏乇賮鬲賲 讴賴 郾郯 丿乇氐丿 丕夭 夭賳丿诏蹖 趩蹖夭賴丕蹖蹖 丕爻鬲 讴賴 亘乇丕蹖 丕賳爻丕賳 丕鬲賮丕賯 賲蹖 丕賮鬲丿 賵 酃郯 丿乇氐丿 丌賳 丕爻鬲 讴賴 趩诏賵賳賴 賳爻亘鬲 亘賴 丌賳 賵丕讴賳卮 賳卮丕賳 賲蹖 丿賴賳丿. 丿乇 鄣郯 爻丕賱诏蹖 倬蹖 亘乇丿賲 讴賴 讴鬲丕亘 亘賴鬲乇蹖賳 丿賵爻鬲 丕賳爻丕賳 賵 倬蹖乇賵蹖 讴賵乇讴賵乇丕賳賴 亘丿鬲乇蹖賳 丿卮賲賳 賵蹖 丕爻鬲. 丿乇 鄣鄣 爻丕賱诏蹖 倬蹖 亘乇丿賲 讴賴 鬲氐賲蹖賲丕鬲 讴賵趩讴 乇丕 亘丕蹖丿 亘丕 賲睾夭 诏乇賮鬲 賵 鬲氐賲蹖賲丕鬲 亘夭乇诏 乇丕 亘丕 賯賱亘. 丿乇 鄱郯 爻丕賱诏蹖 賲鬲賵噩賴 卮丿賲 讴賴 亘丿賵賳 毓卮賯 賲蹖 鬲賵丕賳 丕蹖孬丕乇 讴乇丿 丕賲丕 亘丿賵賳 丕蹖孬丕乇 賴乇诏夭 賳賲蹖 鬲賵丕賳 毓卮賯 賵乇夭蹖丿. 丿乇 鄱鄣爻丕賱诏蹖 丌賲賵禺鬲賲 讴賴 丕賳爻丕賳 亘乇丕蹖 賱匕鬲 亘乇丿賳 丕夭 毓賲乇蹖 丿乇丕夭貙 亘丕蹖丿 亘毓丿 丕夭 禺賵乇丿賳 丌賳趩賴 賱丕夭賲 丕爻鬲貙 丌賳趩賴 乇丕 賳蹖夭 讴賴 賲蹖賱 丿丕乇丿 亘禺賵乇丿. 丿乇 鄯郯 爻丕賱诏蹖 蹖丕丿 诏乇賮鬲賲 讴賴 夭賳丿诏蹖 賲爻丕賱賴 丿乇 丕禺鬲蹖丕乇 丿丕卮鬲賳 讴丕乇鬲 賴丕蹖 禺賵亘 賳蹖爻鬲貨 亘賱讴賴 禺賵亘 亘丕夭蹖 讴乇丿賳 亘丕 讴丕乇鬲 賴丕蹖 亘丿 丕爻鬲. 丿乇 鄯鄣 爻丕賱诏蹖 丿丕賳爻鬲賲 讴賴 丕賳爻丕賳 鬲丕 賵賯鬲蹖 賮讴乇 賲蹖 讴賳丿 賳丕乇爻 丕爻鬲貙 亘賴 乇卮丿 賵 讴賲丕賱 禺賵丿 丕丿丕賲賴 賲蹖 丿賴丿 賵 亘賴 賲丨囟 丌賳讴賴 诏賲丕賳 讴乇丿 乇爻蹖丿賴 卮丿賴 丕爻鬲貙 丿趩丕乇 丌賮鬲 賲蹖 卮賵丿. 丿乇 鄹郯 爻丕賱诏蹖 倬蹖 亘乇丿賲 讴賴 丿賵爻鬲 丿丕卮鬲賳 賵 賲賵乇丿 賲丨亘鬲 賯乇丕乇 诏乇賮鬲賳 亘夭乇诏鬲乇蹖賳 賱匕鬲 丿賳蹖丕 丕爻鬲. 丿乇 鄹鄣 爻丕賱诏蹖 丿乇蹖丕賮鬲賲 讴賴 賴賲丕賳丕 夭賳丿诏蹖 夭蹖亘丕爻鬲. "
丿丕爻鬲丕賳 "夭賳蹖 讴賴 賴乇 乇賵夭貙 乇丕爻 爻丕毓鬲 6 氐亘丨 賲蹖 丌賲丿" 丿丕爻鬲丕賳 夭賳蹖 丕爻鬲 讴賴 蹖讴 乇賵夭 氐亘丨 胤亘賯 毓丕丿鬲 賴乇 乇賵夭賴 丕卮 亘賴 乇爻鬲賵乇丕賳 "禺賵夭賴" 賲蹖 乇賵丿 賵賱蹖 丿乇 丕蹖賳 乇賵夭 禺丕氐 趩蹖夭蹖 丿乇 乇賮鬲丕乇 夭賳 鬲睾蹖蹖乇 讴乇丿賴 丕爻鬲 讴賴 賳丕卮蹖 丕夭 丕鬲賮丕賯丕鬲 卮亘 诏匕卮鬲賴 丕爻鬲. 夭賳 丕爻乇丕乇 丿丕乇丿 禺賵夭賴 亘賴 蹖丕丿 亘蹖丕賵乇丿 讴賴 賵蹖 倬蹖卮 丕夭 爻丕毓鬲 6 氐亘丨 賵丕乇丿 乇爻鬲賵乇丕賳 卮丿賴貙 丿乇 丨丕賱蹖 讴賴 禺賵夭賴 賲胤賲卅賳 丕爻鬲 賲胤丕亘賯 賴乇 乇賵夭 夭賳 乇丕爻 爻丕毓鬲 6 亘賴 乇爻鬲賵乇丕賳 丌賲丿賴 丕爻鬲. 丿乇 胤蹖 丿丕爻鬲丕賳 賲鬲賵噩賴 賲蹖卮賵蹖賲 賯鬲賱蹖 鬲賵爻胤 夭賳 氐賵乇鬲 诏乇賮鬲賴 丕爻鬲 賵 丕蹖賳 夭賲丕賳 亘賳丿蹖 賵乇賵丿 亘賴 乇爻鬲賵乇丕賳 亘賴 賳賵毓蹖 賲蹖鬲賵丕賳丿 夭賳 乇丕 丕夭 丕乇鬲讴丕亘 丌賳 賯鬲賱 鬲亘乇卅賴 爻丕夭丿.
賲孬賱 丕蹖賳 賲蹖賲丕賳丿 讴賴 丕讴孬乇 丿丕爻鬲丕賳賴丕蹖 丕蹖賳 賲噩賲賵毓賴 丕夭 夭亘丕賳 丕乇賵丕丨 诏賮鬲賴 賲蹖卮賵丿貙 丿乇 賵丕賯毓 丕夭 夭亘丕賳 丌丿賲賴丕蹖蹖 讴賴 賲乇丿賴 丕賳丿 賵賱蹖 禺賵丿卮丕賳 丕蹖賳 賲乇诏 乇丕 亘丕賵乇 賳丿丕乇賳丿. 賴賳賵夭 賲丨蹖胤 丕胤乇丕賮 乇丕 丿乇讴 賲蹖讴賳賳丿貙 丨乇賮賴丕 乇丕 賲蹖卮賳賵賳丿 賵 賳爻亘鬲 亘賴 賴賲賴 蹖 丕鬲賮丕賯丕鬲 賵 诏賮鬲賴 賴丕 賵丕讴賳卮 賳卮丕賳 賲蹖丿賴賳丿 賵 亘丕賵乇 丿丕乇賳丿 丿蹖丿賴 賲蹖卮賵賳丿 賵 賴賳賵夭 夭賳丿賴 丕賳丿.
賲卮睾賵賱 诏卮鬲賳 丿乇賲賵乇丿 丕胤賱丕毓丕鬲蹖 倬蹖乇丕賲賵賳 丕蹖賳 賲噩賲賵毓賴 丿丕爻鬲丕賳 亘賵丿賲 讴賴 亘丕 蹖讴 噩賲賱賴 丕夭 賲丕乇讴夭 丿乇 賲賵乇丿 夭賳丿诏蹖 亘乇禺賵乇丿 讴乇丿賲 讴賴 禺賵丕賳丿賳卮 禺丕賱蹖 丕夭 賱胤賮 賳蹖爻鬲:
"丿乇 郾鄣 爻丕賱诏蹖 丌賲賵禺鬲賲 讴賴 賲丕丿乇丕賳 丕夭 賴賲賴 亘賴鬲乇 賲蹖 丿丕賳賳丿 賵 诏丕賴蹖 丕賵賯丕鬲 倬丿乇丕賳 賴賲.
丿乇 鄄郯 爻丕賱诏蹖 蹖丕丿 诏乇賮鬲賲 讴賴 讴丕乇 禺賱丕賮 賮丕蹖丿賴 丕蹖 賳丿丕乇丿貙 丨鬲蹖 丕诏乇 亘丕 賲賴丕乇鬲 丕賳噩丕賲 卮賵丿. 丿乇 鄄鄣 爻丕賱诏蹖 丿丕賳爻鬲賲 讴賴 蹖讴 賳賵夭丕丿貙 賲丕丿乇 乇丕 丕夭 丿丕卮鬲賳 蹖讴 乇賵夭 賴卮鬲 爻丕毓鬲賴 賵 倬丿乇 乇丕 丕夭 丿丕卮鬲賳 蹖讴 卮亘 賴卮鬲 爻丕毓鬲賴貙 賲丨乇賵賲 賲蹖 讴賳丿. 丿乇 鄢郯爻丕賱诏蹖 倬蹖 亘乇丿賲 讴賴 賯丿乇鬲貙 噩丕匕亘賴 賲乇丿 丕爻鬲 賵 噩丕匕亘賴貙 賯丿乇鬲 夭賳. 丿乇 鄢鄣 爻丕賱诏蹖 賲鬲賵噩賴 卮丿賲 讴賴 丌蹖賳丿賴 趩蹖夭蹖 賳蹖爻鬲 讴賴 丕賳爻丕賳 亘賴 丕乇孬 亘亘乇丿貨 亘賱讴賴 趩蹖夭蹖 丕爻鬲 讴賴 禺賵丿 賲蹖 爻丕夭丿. 丿乇 鄞郯 爻丕賱诏蹖 丌賲賵禺鬲賲 讴賴 乇賲夭 禺賵卮亘禺鬲 夭蹖爻鬲賳貙 丿乇 丌賳 賳蹖爻鬲 讴賴 讴丕乇蹖 乇丕 讴賴 丿賵爻鬲 丿丕乇蹖賲 丕賳噩丕賲 丿賴蹖賲貨 亘賱讴賴 丿乇 丕蹖賳 丕爻鬲 讴賴 讴丕乇蹖 乇丕 讴賴 丕賳噩丕賲 賲蹖 丿賴蹖賲 丿賵爻鬲 丿丕卮鬲賴 亘丕卮蹖賲.
丿乇 鄞鄣 爻丕賱诏蹖 蹖丕丿 诏乇賮鬲賲 讴賴 郾郯 丿乇氐丿 丕夭 夭賳丿诏蹖 趩蹖夭賴丕蹖蹖 丕爻鬲 讴賴 亘乇丕蹖 丕賳爻丕賳 丕鬲賮丕賯 賲蹖 丕賮鬲丿 賵 酃郯 丿乇氐丿 丌賳 丕爻鬲 讴賴 趩诏賵賳賴 賳爻亘鬲 亘賴 丌賳 賵丕讴賳卮 賳卮丕賳 賲蹖 丿賴賳丿. 丿乇 鄣郯 爻丕賱诏蹖 倬蹖 亘乇丿賲 讴賴 讴鬲丕亘 亘賴鬲乇蹖賳 丿賵爻鬲 丕賳爻丕賳 賵 倬蹖乇賵蹖 讴賵乇讴賵乇丕賳賴 亘丿鬲乇蹖賳 丿卮賲賳 賵蹖 丕爻鬲. 丿乇 鄣鄣 爻丕賱诏蹖 倬蹖 亘乇丿賲 讴賴 鬲氐賲蹖賲丕鬲 讴賵趩讴 乇丕 亘丕蹖丿 亘丕 賲睾夭 诏乇賮鬲 賵 鬲氐賲蹖賲丕鬲 亘夭乇诏 乇丕 亘丕 賯賱亘. 丿乇 鄱郯 爻丕賱诏蹖 賲鬲賵噩賴 卮丿賲 讴賴 亘丿賵賳 毓卮賯 賲蹖 鬲賵丕賳 丕蹖孬丕乇 讴乇丿 丕賲丕 亘丿賵賳 丕蹖孬丕乇 賴乇诏夭 賳賲蹖 鬲賵丕賳 毓卮賯 賵乇夭蹖丿. 丿乇 鄱鄣爻丕賱诏蹖 丌賲賵禺鬲賲 讴賴 丕賳爻丕賳 亘乇丕蹖 賱匕鬲 亘乇丿賳 丕夭 毓賲乇蹖 丿乇丕夭貙 亘丕蹖丿 亘毓丿 丕夭 禺賵乇丿賳 丌賳趩賴 賱丕夭賲 丕爻鬲貙 丌賳趩賴 乇丕 賳蹖夭 讴賴 賲蹖賱 丿丕乇丿 亘禺賵乇丿. 丿乇 鄯郯 爻丕賱诏蹖 蹖丕丿 诏乇賮鬲賲 讴賴 夭賳丿诏蹖 賲爻丕賱賴 丿乇 丕禺鬲蹖丕乇 丿丕卮鬲賳 讴丕乇鬲 賴丕蹖 禺賵亘 賳蹖爻鬲貨 亘賱讴賴 禺賵亘 亘丕夭蹖 讴乇丿賳 亘丕 讴丕乇鬲 賴丕蹖 亘丿 丕爻鬲. 丿乇 鄯鄣 爻丕賱诏蹖 丿丕賳爻鬲賲 讴賴 丕賳爻丕賳 鬲丕 賵賯鬲蹖 賮讴乇 賲蹖 讴賳丿 賳丕乇爻 丕爻鬲貙 亘賴 乇卮丿 賵 讴賲丕賱 禺賵丿 丕丿丕賲賴 賲蹖 丿賴丿 賵 亘賴 賲丨囟 丌賳讴賴 诏賲丕賳 讴乇丿 乇爻蹖丿賴 卮丿賴 丕爻鬲貙 丿趩丕乇 丌賮鬲 賲蹖 卮賵丿. 丿乇 鄹郯 爻丕賱诏蹖 倬蹖 亘乇丿賲 讴賴 丿賵爻鬲 丿丕卮鬲賳 賵 賲賵乇丿 賲丨亘鬲 賯乇丕乇 诏乇賮鬲賳 亘夭乇诏鬲乇蹖賳 賱匕鬲 丿賳蹖丕 丕爻鬲. 丿乇 鄹鄣 爻丕賱诏蹖 丿乇蹖丕賮鬲賲 讴賴 賴賲丕賳丕 夭賳丿诏蹖 夭蹖亘丕爻鬲. "
January 30, 2023
廿賳鬲賴賷鬲 兀禺賷乇賸丕 賲賳 丕賵賱 賲噩賲賵毓丞 賯氐氐賷丞 賱賷丕 賲毓 賲丕乇賰賷夭 賰賳鬲 賮賷 丕賱睾丕賱亘 賴禺賱氐賴丕 賲賳 毓卮乇丞 兀賷丕賲 兀賵 兀賰孬乇 賵 賱賰賳 亘丿丕鬲 兀賯乇丕 乇賵丕賷丞 賰亘賷乇丞 丨爻賷鬲 兀賳賴丕 賲丨鬲丕噩丞 賰賱 鬲乇賰賷夭賷 毓卮丕賳 兀禺賱氐賴丕 亘爻乇毓丞 賱丕賳賷 賲卮 賲鬲毓賵丿 毓賱賷 丕賱乇賵丕賷丕鬲 丕賱賱賷 賲賳 丕賱賯胤毓 丕賱賰亘賷乇
兀賰孬乇 賯氐丞 毓噩亘鬲賳賷 賴賷 丕賱賯氐丞 丕賱鬲賷 鬲丨賲賱 毓賳賵丕賳 丕賱賲噩賲賵毓丞 毓賷賳丕 賰賱亘 兀夭乇賯 賯氐丞 亘丿賷毓丞 噩丿賸丕 賵 鬲賲賱卅 乇賵丨賰 爻賰賷賳丞
賵 丕賱賲噩賲賵毓丞 賰賱賴丕 毓賲賵賲賸丕 兀賰孬乇 賲賳 乇丕卅毓丞 賵 氐丿賯賵丕 兀賵 賱丕 鬲氐丿賯賵丕 毓噩亘賳賷 賲丕乇賰賷夭 賮賷 丕賱賯氐氐 丕賱賯氐賷乇丞 兀賰孬乇 賲賳 乇賵丕丿 丕賱賯氐氐 丕賱賯氐賷乇丞 兀賲孬丕賱 鬲卮賷禺賵賮
賱丕賳 賲丕乇賰賷夭 兀爻賱賵亘賴 丕賱爻乇丿賷 賲鬲睾賷乇 丿丕卅賲賸丕 賲卮 孬丕亘鬲 毓賱賷 賳賲胤 賵丕丨丿 賵 兀賮賰丕乇賴 噩賲賷賱丞 賵 賲卮 鬲賯賱賷丿賷丞 賵 兀睾賱亘賴丕 賲卮 賵丕賯毓賷 兀氐賱賸丕..
兀賰孬乇 賯氐丞 毓噩亘鬲賳賷 賴賷 丕賱賯氐丞 丕賱鬲賷 鬲丨賲賱 毓賳賵丕賳 丕賱賲噩賲賵毓丞 毓賷賳丕 賰賱亘 兀夭乇賯 賯氐丞 亘丿賷毓丞 噩丿賸丕 賵 鬲賲賱卅 乇賵丨賰 爻賰賷賳丞
賵 丕賱賲噩賲賵毓丞 賰賱賴丕 毓賲賵賲賸丕 兀賰孬乇 賲賳 乇丕卅毓丞 賵 氐丿賯賵丕 兀賵 賱丕 鬲氐丿賯賵丕 毓噩亘賳賷 賲丕乇賰賷夭 賮賷 丕賱賯氐氐 丕賱賯氐賷乇丞 兀賰孬乇 賲賳 乇賵丕丿 丕賱賯氐氐 丕賱賯氐賷乇丞 兀賲孬丕賱 鬲卮賷禺賵賮
賱丕賳 賲丕乇賰賷夭 兀爻賱賵亘賴 丕賱爻乇丿賷 賲鬲睾賷乇 丿丕卅賲賸丕 賲卮 孬丕亘鬲 毓賱賷 賳賲胤 賵丕丨丿 賵 兀賮賰丕乇賴 噩賲賷賱丞 賵 賲卮 鬲賯賱賷丿賷丞 賵 兀睾賱亘賴丕 賲卮 賵丕賯毓賷 兀氐賱賸丕..
August 20, 2020
Ne pamtim da sam du啪e 膷itala jednu knjigu.
Prve dve pri膷e razvla膷ila sam nekoliko meseci, da bih ostatak knjige pro膷itala za no膰, kad sam kona膷no odlu膷ila da ostavim sve druge planove i posvetim se pravoj vrsti odmora.
Prve dve pri膷e razvla膷ila sam nekoliko meseci, da bih ostatak knjige pro膷itala za no膰, kad sam kona膷no odlu膷ila da ostavim sve druge planove i posvetim se pravoj vrsti odmora.
December 14, 2020
賲卮賴丿 乇爻賲鬲賴 賮賷 毓賯賱賷 亘丿亍丕 賲賳 賳賷乇丕賳 丕賱賲賵賯丿 賵氐賵賱丕 賱乇丕卅丨丞 丕賱賳爻賷賲 丕賱鬲賷 賴亘鬲 亘賲噩乇丿 賮鬲丨 丕賱亘丕亘 ... 賲賳 賲賷夭丞 丕賱賰丕鬲亘 丕賱賲賲鬲丕夭 丕賳 賷丨賮夭 丕賱賲禺賷賱丞 .. 丕賳 鬲賯乇兀 亘賯賱亘賰 賵毓賯賱賰
May 27, 2013
Resulta curioso que un joven Garc铆a M谩rquez, - estos cuentos est谩n escritos entre los a帽os 40 y principios de los 50 - , est茅 tan obsesionado con la muerte, los sue帽os y los gemelos. Muy probablemente marcado por el imaginario popular, los muertos de estos cuentos no saben que est谩n muertos y siguen creciendo o buscan cuerpos donde seguir viviendo o se confunden con el hermano gemelo o se niegan al llamado del hombre misterioso para formar parte de un coro. Sue帽os de enamorados que nunca se encuentran, porque el hombre al despertar no recuerda la clave que le permitir谩 identificar a su amada, que ella se empe帽a en escribir en todas las superficies a su alcance (Ojos de Perro Azul),
La maestr铆a de Garc铆a M谩rquez ya est谩 presente en estos cuentos, aunque carecen del humor y sentido del absurdo que caracterizar铆a la obra que lo har铆a famoso.
La maestr铆a de Garc铆a M谩rquez ya est谩 presente en estos cuentos, aunque carecen del humor y sentido del absurdo que caracterizar铆a la obra que lo har铆a famoso.
March 1, 2022
賲賳 賯賱賲 賲丕乇讴夭鈥� 乇賵 丿賵爻鬲 丿丕乇賲鈥� 賵賱蹖鈥� 賮讴乇 讴賳賲 趩賵賳 丕賵丕蹖賱 賳賵蹖爻賳丿诏蹖卮 亘賵丿賴 丕蹖賳 讴鬲丕亘 丕蹖賳胤賵乇蹖 卮丿賴鈥� 賳賴責責 賲胤賲卅賳賲 禺賵丿卮 賴賲 丕蹖賳 賲噩賲賵毓賴 丿丕爻鬲丕賳 賴丕卮 乇賵 丿賵爻鬲 賳丿丕卮鬲賴鈥�
December 14, 2020
"賷丕 賱賱睾乇丕亘丞 賲賳 丕賱賲丐賰丿 兀賳賳丕 兀賱鬲賯賷賳丕 賯亘賱丕 賮賷 兀丨賱丕賲 兀禺乇賶
兀賵丿 兀賳 兀賱賲爻賰賽 丕賱丌賳
爻鬲賮爻丿 賰賱 卮賷亍
賱賲 賷毓丿 賲賴賲丕賸 賰賱 賲丕 毓賱賷賳丕 賮毓賱賴 賴賵 賯賱亘 丕賱賵爻丕丿丞 賱賷鬲爻賳賶 賱賳丕 丕賱賱賯丕亍 孬丕賳賷丞"
賯氐丞 賯氐賷乇丞 毓賳 乇噩賱 賵丕賲乇兀丞 賷丨亘 賰賱丕 賲賳賴賲丕 丕賱丌禺乇貙 賷賱鬲賯賷丕賳 賰孬賷乇丕賸 賮賷 丨賱賲 賲卮鬲乇賰 賷噩賲毓 乇賵丨賷賴鈥嵸呚�... 丨賱賲賴賲丕 賴丕丿卅 噩賲賷賱..卮毓乇鬲賳賷 賴賳丕賰 丿丕禺賱 丕賱睾乇賮丞
賴賷 鬲丨亘賴 賵賴賵 賷丨亘賴丕...賷噩賲毓賴賲丕 禺賷胤 匕賰乇賶 賱丕 鬲賳賯胤毓 "毓賳賷丕 賰賱亘 丕夭乇賯"貙 賴賲丕 毓賳賷賳賴丕 賴賷 賰賲丕 乇兀鬲賴賲丕 毓賷賳賷賴 賴賵貙 賴賷 賱丕 鬲賳爻賶 賰賷賮 乇兀賴丕 賴賵貙 賵賴賵 賱丕 賷賰賮 毓賳 乇丐賷鬲賴丕 亘亘賴丕卅賴丕 賲賴賲丕 賲乇 丕賱夭賲賳.
賴賵 賷丨亘賴丕 賵賴賷 鬲丨亘賴 賵賱丕 鬲賲賱 丕賱亘丨孬 毓賳賴....賱賰賳賴賲丕 賷賳爻賷丕賳 丨賱賲賴賲丕
賲丕 廿賳 賷爻鬲賮賷賯丕 賱賷賮乇囟 丕賱賵丕賯毓 賯賷賵丿賴 丨鬲賶 賷鬲亘禺乇 賰賱 卮賷亍
亘賱 兀馗賳賴賲丕 賷鬲賳丕爻賷丕賳...賷賴乇亘 賰賱 賲賳賴賲丕 禺賱賮 兀爻賵丕乇賴 賲禺鬲亘兀 賲賳 賲禺丕賵賮賴
"賱丕 鬲賮鬲丨 賴匕丕 丕賱亘丕亘.... 廿賳 丕賱乇賵丕賯 賲賱賷卅 亘丕賱兀丨賱丕賲 丕賱賲亘賴賲賴
賵賲丕 兀丿乇丕賰賽
賱兀賳賷 賰賳鬲 賴賳丕賰 亘丕賱賮毓賱貙 賱賰賳賷 毓丿鬲 丨賷賳 丕賰鬲卮賮鬲 兀賳賷 賳丕卅賲賴 毓賱賶 賯賱亘賷
毓賱賶 兀賷 丨丕賱 賷噩亘 兀賳 兀睾丕丿乇...賮賷 丕賱睾丿 爻兀鬲匕賰乇賰賽 亘賴匕丕貙 毓賳丿賲丕 兀爻賷乇 賵丕乇賶 丕賲乇兀丞 鬲賰鬲亘 毓賱賶 丕賱噩丿乇丕賳 '毓賷賳丕 賰賱亘 丕夭乇賯'
乇睾賲 匕賱賰 賱賳 鬲鬲匕賰乇 卮賷卅丕賸..兀賳鬲 丕賱乇噩賱 丕賱賵丨賷丿 丕賱匕賷 賱丕 賷鬲匕賰乇 卮賷卅丕賸 賲賲丕 丨賱賲 亘賴"
兀賵丿 兀賳 兀賱賲爻賰賽 丕賱丌賳
爻鬲賮爻丿 賰賱 卮賷亍
賱賲 賷毓丿 賲賴賲丕賸 賰賱 賲丕 毓賱賷賳丕 賮毓賱賴 賴賵 賯賱亘 丕賱賵爻丕丿丞 賱賷鬲爻賳賶 賱賳丕 丕賱賱賯丕亍 孬丕賳賷丞"
賯氐丞 賯氐賷乇丞 毓賳 乇噩賱 賵丕賲乇兀丞 賷丨亘 賰賱丕 賲賳賴賲丕 丕賱丌禺乇貙 賷賱鬲賯賷丕賳 賰孬賷乇丕賸 賮賷 丨賱賲 賲卮鬲乇賰 賷噩賲毓 乇賵丨賷賴鈥嵸呚�... 丨賱賲賴賲丕 賴丕丿卅 噩賲賷賱..卮毓乇鬲賳賷 賴賳丕賰 丿丕禺賱 丕賱睾乇賮丞
賴賷 鬲丨亘賴 賵賴賵 賷丨亘賴丕...賷噩賲毓賴賲丕 禺賷胤 匕賰乇賶 賱丕 鬲賳賯胤毓 "毓賳賷丕 賰賱亘 丕夭乇賯"貙 賴賲丕 毓賳賷賳賴丕 賴賷 賰賲丕 乇兀鬲賴賲丕 毓賷賳賷賴 賴賵貙 賴賷 賱丕 鬲賳爻賶 賰賷賮 乇兀賴丕 賴賵貙 賵賴賵 賱丕 賷賰賮 毓賳 乇丐賷鬲賴丕 亘亘賴丕卅賴丕 賲賴賲丕 賲乇 丕賱夭賲賳.
賴賵 賷丨亘賴丕 賵賴賷 鬲丨亘賴 賵賱丕 鬲賲賱 丕賱亘丨孬 毓賳賴....賱賰賳賴賲丕 賷賳爻賷丕賳 丨賱賲賴賲丕
賲丕 廿賳 賷爻鬲賮賷賯丕 賱賷賮乇囟 丕賱賵丕賯毓 賯賷賵丿賴 丨鬲賶 賷鬲亘禺乇 賰賱 卮賷亍
亘賱 兀馗賳賴賲丕 賷鬲賳丕爻賷丕賳...賷賴乇亘 賰賱 賲賳賴賲丕 禺賱賮 兀爻賵丕乇賴 賲禺鬲亘兀 賲賳 賲禺丕賵賮賴
"賱丕 鬲賮鬲丨 賴匕丕 丕賱亘丕亘.... 廿賳 丕賱乇賵丕賯 賲賱賷卅 亘丕賱兀丨賱丕賲 丕賱賲亘賴賲賴
賵賲丕 兀丿乇丕賰賽
賱兀賳賷 賰賳鬲 賴賳丕賰 亘丕賱賮毓賱貙 賱賰賳賷 毓丿鬲 丨賷賳 丕賰鬲卮賮鬲 兀賳賷 賳丕卅賲賴 毓賱賶 賯賱亘賷
毓賱賶 兀賷 丨丕賱 賷噩亘 兀賳 兀睾丕丿乇...賮賷 丕賱睾丿 爻兀鬲匕賰乇賰賽 亘賴匕丕貙 毓賳丿賲丕 兀爻賷乇 賵丕乇賶 丕賲乇兀丞 鬲賰鬲亘 毓賱賶 丕賱噩丿乇丕賳 '毓賷賳丕 賰賱亘 丕夭乇賯'
乇睾賲 匕賱賰 賱賳 鬲鬲匕賰乇 卮賷卅丕賸..兀賳鬲 丕賱乇噩賱 丕賱賵丨賷丿 丕賱匕賷 賱丕 賷鬲匕賰乇 卮賷卅丕賸 賲賲丕 丨賱賲 亘賴"
April 30, 2020
賳賴 趩賳丿丕賳 丿賱趩爻亘
April 7, 2019
Ma senza che ce ne accorgessimo, la pioggia stava penetrando troppo a fondo nei nostri sensi.
November 18, 2016
賵賯鬲蹖 亘乇丕蹖 丕賳鬲禺丕亘 讴鬲丕亘 亘賴 爻乇丕睾 賯賮爻賴鈥屰� 讴鬲丕亘鈥屬囏� 乇賮鬲賲 亘賴 賳馗乇賲 丕賳鬲禺丕亘 蹖讴 讴鬲丕亘 丕夭 賲丕乇讴夭 蹖讴 丕賲乇 倬爻賳丿蹖丿賴 賵 毓賯賱丕賳蹖 亘賵丿貙 讴鬲丕亘 乇丕 亘乇丿丕卮鬲賲 賵 卮乇賵毓 讴乇丿賲.
丕賵賱蹖賳 趩蹖夭蹖 讴賴 賳馗乇賲 乇丕 亘賴鈥屫簇� 噩賱亘 讴乇丿 丕蹖賳 亘賵丿 讴賴 讴鬲丕亘 亘丿賵賳 賴蹖趩 賲賯丿賲賴 賵 賲丐禺乇賴 丕蹖爻鬲貙 蹖毓賳蹖 賳賴 賳賵蹖爻賳丿賴貙 賳賴 賳丕卮乇 賵 賳賴 賲鬲乇噩賲 賴蹖趩 賲鬲賳蹖 乇丕 亘賴鈥屫官嗁堌з� 賲賯丿賲賴 蹖丕 趩蹖夭蹖 卮亘蹖賴 亘賴 丌賳 亘乇丕蹖 讴鬲丕亘 賳賳賵卮鬲賳丿 賵 鬲賳賴丕 賳丕卮乇 丕賳诏丕乇蹖 丕丨爻丕爻 賵馗蹖賮賴 讴乇丿賴 亘賵丿 丿乇 丕蹖賳 賲蹖丕賳 賵 诏丕賴鈥屫促呚ж� 夭賳丿诏蹖 賲丕乇讴夭 乇丕 亘賴 卮讴賱 禺賳丿賴鈥屫ж� 賵 亘蹖鈥屫必ㄘ粉� 丕賵賱 讴鬲丕亘 诏匕丕卮鬲賴 亘賵丿 鬲丕 氐乇賮丕賸 讴丕乇蹖 丕賳噩丕賲 丿丕丿賴 亘丕卮丿. 丕蹖賳 诏丕賴鈥屫促呚ж� 亘賴 卮讴賱 夭賳賳丿賴鈥屫й� 爻乇丿貙 亘蹖鈥屫辟堌� 亘蹖鈥屫必ㄘ� 亘賵丿 賵 丿乇毓蹖賳鈥屫з� 賴賲蹖賳 賲鬲賳 禺卮讴 讴倬蹖 卮丿賴 丕夭 丕蹖賳鈥屫坟辟� 賵 丌賳鈥屫坟辟� 亘賴鈥屫焚堌� 睾蹖乇賯丕亘賱 賵氐賮蹖 芦丕夭 爻乇 亘丕夭 讴賳蹖禄 賳賵卮鬲賴 卮丿賴 亘賵丿. 丕卮鬲亘丕賴丕鬲 鬲丕蹖倬蹖貙 賳诏丕乇卮蹖 賵 丨乇賵賮鈥屭嗃屬嗃� 丕蹖賳 丨爻 乇丕 丕賱賯丕 賲蹖鈥屭┴必� 讴賴 賳丕卮乇 讴賲鬲乇蹖賳 賵 讴賲鬲乇蹖賳 丕乇夭卮蹖 亘乇丕蹖 禺賵丕賳賳丿賴 賯丕卅賱 賳蹖爻鬲 賵 鬲賳賴丕 賴丿賮卮 趩丕倬 讴乇丿賳 蹖讴 讴鬲丕亘 亘賵丿賴.
丕賵噩 禺賱丕賯蹖鬲 賳丕卮乇 丌賳噩丕 賳賲賵丿 倬蹖丿丕 賲蹖鈥屭┵嗀� 讴賴 亘毓丿 丕夭 蹖丕夭丿賴 氐賮丨賴 诏丕賴鈥屫促呚ж� 賲囟丨讴 賵 禺卮讴 亘乇丕蹖 讴鬲丕亘 芦賮蹖丿賱 賵 賲賳禄 鬲氐賲蹖賲 賲蹖鈥屭屫必� 讴賴 倬蹖鈥屬嗁堌簇� 亘賴 丕蹖賳 卮讴賱 亘诏匕丕乇丿 芦賲賳馗賵乇 丕夭 賮蹖丿賱 讴丕爻鬲乇賵 賲蹖鈥屫ㄘж簇� 亘丿賵賳 賴蹖趩 毓賱丕賲鬲 賳诏丕乇卮蹖鈥屫й� 賵 睾賲鈥屫з嗂屫藏� 丌賳噩丕爻鬲 讴賴 丕蹖賳 倬蹖鈥屬嗁堌簇� 鬲賳賴丕 蹖讴蹖 丕夭 爻賴 倬蹖鈥屬嗁堌簇� 讴鬲丕亘 丕爻鬲 賵 丿乇 鬲賲丕賲蹖 讴鬲丕亘 鬲賳賴丕 賵 鬲賳賴丕 爻賴 倬蹖鈥屬嗁堌簇� 賵噩賵丿 丿丕乇丿貙 蹖讴蹖 丿乇 氐賮丨賴鈥屰� 丌禺乇 诏丕賴鈥屫促呚ж� 讴賴 賳丕卮乇 賳賵卮鬲賴貙 蹖讴蹖 丿乇 丕賵丕爻胤 讴鬲丕亘 鬲賵爻胤 賳賵蹖爻賳丿賴 賵 丌禺乇蹖 丿乇 丕賵丕禺乇 讴鬲丕亘 讴賴 鬲賵爻胤 賵蹖乇丕爻鬲蹖丕乇 賳賵卮鬲賴鈥屫簇� 賵 丕诏乇 讴鬲丕亘 丕丿丕賲賴 倬蹖丿丕 賲蹖鈥屭┴必� 趩賴鈥屫ㄘ池� 讴賴 丨乇賵賮鈥屭嗃屬� 賵 胤乇丕丨 噩賱丿 賵 亘賯蹖賴 賴賲 賲賵馗賮 賲蹖鈥屫簇嗀� 蹖讴 倬蹖鈥屬嗁堌簇� 亘乇丕蹖 讴鬲丕亘 丕乇丕卅賴 讴賳賳丿.
亘賴鈥屫池必关� 丕夭 賯爻賲鬲 賳丕賲蹖丿 讴賳賳丿賴鈥屰� 丕賵賱 诏匕卮鬲賲 鬲丕 亘賴 賲鬲賳 丕氐賱蹖 亘乇爻賲 賵 鬲賳賴丕 趩蹖夭蹖 讴賴 诏蹖乇賲 丌賲丿 蹖讴 鬲乇噩賲賴鈥屰� 亘賴鈥屫簇� 亘丿貙 賲丕卮蹖賳蹖 賵 倬乇 丕夭 丕卮鬲亘丕賴丕鬲 賮丕丨卮 亘賵丿. 亘賴鈥屬傌臂� 鬲乇噩賲賴鈥屰� 讴鬲丕亘 賲亘賴賲 賵 賳丕禺賵丕賳丕 亘賵丿 讴賴 蹖讴 丿蹖丕賱賵诏 賳蹖丕夭 亘賴 趩賳丿 亘丕乇 禺賵丕賳卮 丿丕卮鬲 鬲丕 卮丕蹖丿 趩蹖夭 賯丕亘賱鈥屬佡囐呟� 丕夭 丌賳 丿爻鬲诏蹖乇賲 卮賵丿.
丿乇賳賴丕蹖鬲 亘蹖卮 丕夭 亘蹖爻鬲 氐賮丨賴 胤丕賯鬲 賳蹖丕賵乇丿賲 賵 鬲賳賴丕 毓丕蹖丿蹖 丕賲乇賵夭賲 丕夭 丕蹖賳 讴鬲丕亘 丕蹖賳 亘賵丿 讴賴 賴蹖趩鈥屭з� 丕夭 丌乇丕蹖丕亘丕賳 賵 鬲乇噩賲賴鈥屬囏й� 賳蹖讴鬲丕 鬲蹖賲賵乇蹖 鬲丨鬲 賴蹖趩 卮乇丕蹖胤蹖 丕爻鬲賮丕丿賴 賳讴賳賲.
賯爻賲鬲蹖 丕夭 鬲乇噩賲賴 丿乇 氐賮丨丕鬲 丕賵賱 讴鬲丕亘:
-丨鬲丕 鬲賲丕賲蹖 夭賳鈥屬囏� 賴賲 亘丕 賲蹖賱蹖賵賳鈥屬囏� 倬夭賵貙 賳賲蹖鈥屫堌з嗁嗀� 賵賯丕乇 賵 亘夭乇诏蹖 鬲賵 乇丕 噩丕賳卮蹖賳 卮賵賳丿.
倬卮鬲卮 乇丕 亘賴 夭賳 讴乇丿 賵 丿乇 亘乇丕亘乇 禺賵蹖卮 賲卮睾賵賱 鬲賲蹖夭 讴乇丿賳 賯賮爻賴鈥屬囏� 卮丿
丕賵賱蹖賳 趩蹖夭蹖 讴賴 賳馗乇賲 乇丕 亘賴鈥屫簇� 噩賱亘 讴乇丿 丕蹖賳 亘賵丿 讴賴 讴鬲丕亘 亘丿賵賳 賴蹖趩 賲賯丿賲賴 賵 賲丐禺乇賴 丕蹖爻鬲貙 蹖毓賳蹖 賳賴 賳賵蹖爻賳丿賴貙 賳賴 賳丕卮乇 賵 賳賴 賲鬲乇噩賲 賴蹖趩 賲鬲賳蹖 乇丕 亘賴鈥屫官嗁堌з� 賲賯丿賲賴 蹖丕 趩蹖夭蹖 卮亘蹖賴 亘賴 丌賳 亘乇丕蹖 讴鬲丕亘 賳賳賵卮鬲賳丿 賵 鬲賳賴丕 賳丕卮乇 丕賳诏丕乇蹖 丕丨爻丕爻 賵馗蹖賮賴 讴乇丿賴 亘賵丿 丿乇 丕蹖賳 賲蹖丕賳 賵 诏丕賴鈥屫促呚ж� 夭賳丿诏蹖 賲丕乇讴夭 乇丕 亘賴 卮讴賱 禺賳丿賴鈥屫ж� 賵 亘蹖鈥屫必ㄘ粉� 丕賵賱 讴鬲丕亘 诏匕丕卮鬲賴 亘賵丿 鬲丕 氐乇賮丕賸 讴丕乇蹖 丕賳噩丕賲 丿丕丿賴 亘丕卮丿. 丕蹖賳 诏丕賴鈥屫促呚ж� 亘賴 卮讴賱 夭賳賳丿賴鈥屫й� 爻乇丿貙 亘蹖鈥屫辟堌� 亘蹖鈥屫必ㄘ� 亘賵丿 賵 丿乇毓蹖賳鈥屫з� 賴賲蹖賳 賲鬲賳 禺卮讴 讴倬蹖 卮丿賴 丕夭 丕蹖賳鈥屫坟辟� 賵 丌賳鈥屫坟辟� 亘賴鈥屫焚堌� 睾蹖乇賯丕亘賱 賵氐賮蹖 芦丕夭 爻乇 亘丕夭 讴賳蹖禄 賳賵卮鬲賴 卮丿賴 亘賵丿. 丕卮鬲亘丕賴丕鬲 鬲丕蹖倬蹖貙 賳诏丕乇卮蹖 賵 丨乇賵賮鈥屭嗃屬嗃� 丕蹖賳 丨爻 乇丕 丕賱賯丕 賲蹖鈥屭┴必� 讴賴 賳丕卮乇 讴賲鬲乇蹖賳 賵 讴賲鬲乇蹖賳 丕乇夭卮蹖 亘乇丕蹖 禺賵丕賳賳丿賴 賯丕卅賱 賳蹖爻鬲 賵 鬲賳賴丕 賴丿賮卮 趩丕倬 讴乇丿賳 蹖讴 讴鬲丕亘 亘賵丿賴.
丕賵噩 禺賱丕賯蹖鬲 賳丕卮乇 丌賳噩丕 賳賲賵丿 倬蹖丿丕 賲蹖鈥屭┵嗀� 讴賴 亘毓丿 丕夭 蹖丕夭丿賴 氐賮丨賴 诏丕賴鈥屫促呚ж� 賲囟丨讴 賵 禺卮讴 亘乇丕蹖 讴鬲丕亘 芦賮蹖丿賱 賵 賲賳禄 鬲氐賲蹖賲 賲蹖鈥屭屫必� 讴賴 倬蹖鈥屬嗁堌簇� 亘賴 丕蹖賳 卮讴賱 亘诏匕丕乇丿 芦賲賳馗賵乇 丕夭 賮蹖丿賱 讴丕爻鬲乇賵 賲蹖鈥屫ㄘж簇� 亘丿賵賳 賴蹖趩 毓賱丕賲鬲 賳诏丕乇卮蹖鈥屫й� 賵 睾賲鈥屫з嗂屫藏� 丌賳噩丕爻鬲 讴賴 丕蹖賳 倬蹖鈥屬嗁堌簇� 鬲賳賴丕 蹖讴蹖 丕夭 爻賴 倬蹖鈥屬嗁堌簇� 讴鬲丕亘 丕爻鬲 賵 丿乇 鬲賲丕賲蹖 讴鬲丕亘 鬲賳賴丕 賵 鬲賳賴丕 爻賴 倬蹖鈥屬嗁堌簇� 賵噩賵丿 丿丕乇丿貙 蹖讴蹖 丿乇 氐賮丨賴鈥屰� 丌禺乇 诏丕賴鈥屫促呚ж� 讴賴 賳丕卮乇 賳賵卮鬲賴貙 蹖讴蹖 丿乇 丕賵丕爻胤 讴鬲丕亘 鬲賵爻胤 賳賵蹖爻賳丿賴 賵 丌禺乇蹖 丿乇 丕賵丕禺乇 讴鬲丕亘 讴賴 鬲賵爻胤 賵蹖乇丕爻鬲蹖丕乇 賳賵卮鬲賴鈥屫簇� 賵 丕诏乇 讴鬲丕亘 丕丿丕賲賴 倬蹖丿丕 賲蹖鈥屭┴必� 趩賴鈥屫ㄘ池� 讴賴 丨乇賵賮鈥屭嗃屬� 賵 胤乇丕丨 噩賱丿 賵 亘賯蹖賴 賴賲 賲賵馗賮 賲蹖鈥屫簇嗀� 蹖讴 倬蹖鈥屬嗁堌簇� 亘乇丕蹖 讴鬲丕亘 丕乇丕卅賴 讴賳賳丿.
亘賴鈥屫池必关� 丕夭 賯爻賲鬲 賳丕賲蹖丿 讴賳賳丿賴鈥屰� 丕賵賱 诏匕卮鬲賲 鬲丕 亘賴 賲鬲賳 丕氐賱蹖 亘乇爻賲 賵 鬲賳賴丕 趩蹖夭蹖 讴賴 诏蹖乇賲 丌賲丿 蹖讴 鬲乇噩賲賴鈥屰� 亘賴鈥屫簇� 亘丿貙 賲丕卮蹖賳蹖 賵 倬乇 丕夭 丕卮鬲亘丕賴丕鬲 賮丕丨卮 亘賵丿. 亘賴鈥屬傌臂� 鬲乇噩賲賴鈥屰� 讴鬲丕亘 賲亘賴賲 賵 賳丕禺賵丕賳丕 亘賵丿 讴賴 蹖讴 丿蹖丕賱賵诏 賳蹖丕夭 亘賴 趩賳丿 亘丕乇 禺賵丕賳卮 丿丕卮鬲 鬲丕 卮丕蹖丿 趩蹖夭 賯丕亘賱鈥屬佡囐呟� 丕夭 丌賳 丿爻鬲诏蹖乇賲 卮賵丿.
丿乇賳賴丕蹖鬲 亘蹖卮 丕夭 亘蹖爻鬲 氐賮丨賴 胤丕賯鬲 賳蹖丕賵乇丿賲 賵 鬲賳賴丕 毓丕蹖丿蹖 丕賲乇賵夭賲 丕夭 丕蹖賳 讴鬲丕亘 丕蹖賳 亘賵丿 讴賴 賴蹖趩鈥屭з� 丕夭 丌乇丕蹖丕亘丕賳 賵 鬲乇噩賲賴鈥屬囏й� 賳蹖讴鬲丕 鬲蹖賲賵乇蹖 鬲丨鬲 賴蹖趩 卮乇丕蹖胤蹖 丕爻鬲賮丕丿賴 賳讴賳賲.
賯爻賲鬲蹖 丕夭 鬲乇噩賲賴 丿乇 氐賮丨丕鬲 丕賵賱 讴鬲丕亘:
-丨鬲丕 鬲賲丕賲蹖 夭賳鈥屬囏� 賴賲 亘丕 賲蹖賱蹖賵賳鈥屬囏� 倬夭賵貙 賳賲蹖鈥屫堌з嗁嗀� 賵賯丕乇 賵 亘夭乇诏蹖 鬲賵 乇丕 噩丕賳卮蹖賳 卮賵賳丿.
倬卮鬲卮 乇丕 亘賴 夭賳 讴乇丿 賵 丿乇 亘乇丕亘乇 禺賵蹖卮 賲卮睾賵賱 鬲賲蹖夭 讴乇丿賳 賯賮爻賴鈥屬囏� 卮丿
Displaying 1 - 30 of 596 reviews
Can't find what you're looking for?
Get help and learn more about the design.