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袛械褉胁懈褕 懈 褋屑褉褌
Ahmed Nuruddin is sheikh of a tekke, the head of a small religious order in an Ottoman Bosnian town. Forty, he's a settled, respected member of the community, until pushed onto a new path by successive shocks: the arrest of his brother & an encounter with a fugitive from justice. These lead him to question previous certainties & bring him into conflict with local authorities. He becomes part of the political system himself. Ill-suited to that, he comes to an unhappy end.
Death & the Dervish follows the 1st-person perspective of Nuruddin, with little dialog & much introspective soul-searching. It isn't difficult to read. Tho superficially sparse, it maintains continuous suspense. There's a fascinating array of other characters, seen thru Nuruddin's sometimes insightful, sometimes naive eyes: his fellow dervishes; his friend Hassan, the unsettled black sheep of his family, in love with a Dalmatian Christian; Hassan's father & sister; townspeople; & religious & secular officials. Nuruddin also looks back at his experiences as a soldier.
Nuruddin's angst is often philosophical, his thinking foreign, convincingly that of a Muslim religious recluse, in many ways narrow & parochial. But his quandries are universal. Death & the Dervish is an evocation of Ottoman Bosnia, of a world now past, but above all the story of an individual struggling to find himself & maintain his integrity & dignity in a hostile political landscape. (Parts were inspired by events in Selimovic's life & in modern Yugoslavian history.) Nuruddin isn't an antihero. He's a man profoundly troubled, a thinker rather than a doer, ill-equipped for the challenges he faces.
Death & the Dervish is a masterfully compelling psychological study & a spell-binding novel which approaches poetry in the intensity of its language. It's hard to believe it took 30 years for an English translation to appear.--Danny Yee (edited)
Death & the Dervish follows the 1st-person perspective of Nuruddin, with little dialog & much introspective soul-searching. It isn't difficult to read. Tho superficially sparse, it maintains continuous suspense. There's a fascinating array of other characters, seen thru Nuruddin's sometimes insightful, sometimes naive eyes: his fellow dervishes; his friend Hassan, the unsettled black sheep of his family, in love with a Dalmatian Christian; Hassan's father & sister; townspeople; & religious & secular officials. Nuruddin also looks back at his experiences as a soldier.
Nuruddin's angst is often philosophical, his thinking foreign, convincingly that of a Muslim religious recluse, in many ways narrow & parochial. But his quandries are universal. Death & the Dervish is an evocation of Ottoman Bosnia, of a world now past, but above all the story of an individual struggling to find himself & maintain his integrity & dignity in a hostile political landscape. (Parts were inspired by events in Selimovic's life & in modern Yugoslavian history.) Nuruddin isn't an antihero. He's a man profoundly troubled, a thinker rather than a doer, ill-equipped for the challenges he faces.
Death & the Dervish is a masterfully compelling psychological study & a spell-binding novel which approaches poetry in the intensity of its language. It's hard to believe it took 30 years for an English translation to appear.--Danny Yee (edited)
First published January 1, 1966
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About the author
Me拧a Selimovi膰
31听books843听followersMehmed "Me拧a" Selimovi膰 was a Yugoslav and a Bosnian writer from Bosnia and Herzegovina and one of the greatest Bosnian writers of the 20th century. His most famous works deal with Bosnia and Herzegovina and the culture of the Bosniak inhabitants of the Ottoman province of Bosnia.
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February 10, 2025
Guilt, law, justice: I鈥檝e already read two grand books about law, justice and guilt 鈥� by and by 鈥� and Death and the Dervish by Me拧a Selimovi膰 surely belongs in this fine row of masterpieces.
The hero wants to pass his time in prayers and the passive contemplation of divinity and the world but to live is to take sides, and taking sides is dangerous鈥�
Everything that happens is ambiguous and ambivalent鈥� Justice belongs to those who wield power鈥� Culprits are those whom the endued with power name guilty鈥�
And the moral is the most ambiguous of all things. There are plenty levels of morality for everyone鈥� Moral is layered like onion skin鈥�
He who walks the path of moral compromises inevitably turns into an instrument of evil.
The hero wants to pass his time in prayers and the passive contemplation of divinity and the world but to live is to take sides, and taking sides is dangerous鈥�
I do not yet know what will be written here. But in the strokes of these letters at least some of what was in me will remain, no longer to perish in eddies of mist as if it had never been, or as if I had never known what happened. In this way I will come to see how I became what I am 鈥� this self that is a mystery even to me. And yet it is a mystery to me that I have not always been what I am now. I know these lines are muddled; my hand trembles at the task of disentanglement that I face, at the trial I now commence. Here I am everything: judge, witness, and accused.
Everything that happens is ambiguous and ambivalent鈥� Justice belongs to those who wield power鈥� Culprits are those whom the endued with power name guilty鈥�
鈥淚f you don鈥檛 think blackly, things can get blacker. Nothing depends on you. It doesn鈥檛 help to be either brave or cowardly, neither to curse nor to weep; nothing can help you. So sit and wait for your lot, and it鈥檚 already black since you鈥檙e here. That鈥檚 what I think: if you鈥檙e not guilty, then it鈥檚 their mistake. If you are guilty, then it鈥檚 your mistake. If you鈥檙e innocent, then misfortune has struck you, as if you鈥檝e fallen into a deep whirlpool. And if you鈥檙e not innocent, you鈥檝e earned it, nothing more.鈥�
And the moral is the most ambiguous of all things. There are plenty levels of morality for everyone鈥� Moral is layered like onion skin鈥�
They dreamed of rulers who were good, but who was that? As far as he was concerned, he dreamed of bribable ones, he liked them the most because there was a way to them. Worst are the honest ones, who need nothing, who have no human weaknesses, and know only about some higher law, which is almost incomprehensible to ordinary men. No one can do more evil than they can. They create enough hatred to last for a hundred years.
He who walks the path of moral compromises inevitably turns into an instrument of evil.
March 11, 2013
Imagine a bag of candy with 455 pieces of the most delicious pieces of candy inside. Each is so delicate and mouth-watering that you feel the need to expand the joy to as many minutes as possible, and it sweetens the soul, just like it does the tongue.
This is basically what this book was like to me. It's not an easy read (and thank God for that), but it's great literature. Such great literature.
The book (written 1962-66 and a classic in Yugoslav literature) is set in Sarajevo under Ottoman rule (18th century) and has often been compared to by , which is quite obvious when you think of the plot (man vs. system). I would, personally, describe it as a combination of both The Trial and by , based on the fact that the protagonist has long conversations with himself, mostly on doubt and indecisiveness. It's so riveting.
The book is incredibly slow in its storyteling, so if you haven't got the patience (or attention span) for that, I pity you - and think you should read something else. Maybe a magazine, or the subtitles to a Hollywood action movie.
This is basically what this book was like to me. It's not an easy read (and thank God for that), but it's great literature. Such great literature.
The book (written 1962-66 and a classic in Yugoslav literature) is set in Sarajevo under Ottoman rule (18th century) and has often been compared to by , which is quite obvious when you think of the plot (man vs. system). I would, personally, describe it as a combination of both The Trial and by , based on the fact that the protagonist has long conversations with himself, mostly on doubt and indecisiveness. It's so riveting.
The book is incredibly slow in its storyteling, so if you haven't got the patience (or attention span) for that, I pity you - and think you should read something else. Maybe a magazine, or the subtitles to a Hollywood action movie.
January 17, 2018
芦螠畏谓 蟺伪委味蔚喂蟼 渭蔚 蟿伪
蟽魏慰蟿维未喂伪 渭慰蠀...
螘魏蔚委... 慰蠉蟿蔚 蔚纬蠋 蟺伪蟿维蠅禄
螤蟻喂谓 尉蔚魏喂谓萎蟽蠅 蟿慰 蟽蠂慰位喂伪蟽渭蠈 蟽蠂蔚蟿喂魏维 渭蔚 伪蠀蟿蠈 蟿慰 蟽蟺慰蠀未伪委慰 尾喂尾位委慰, 胃伪 萎胃蔚位伪 谓伪 魏维谓蠅 渭喂伪 蟺蟻慰蟽蠅蟺喂魏萎 未喂蔚蠀魏蟻喂谓喂蟽蟿喂魏萎 未萎位蠅蟽畏.
(螛伪 萎蟿伪谓 蔚尉伪喂蟻蔚蟿喂魏维 伪谓伪魏蟻喂尾苇蟼, 伪谓慰蠉蟽喂慰 魏伪喂 蟺蟻慰蟽尾位畏蟿喂魏蠈 伪谓 蟺蟻慰蟽蟺伪胃萎蟽蔚喂 慰蟺慰喂慰蟽未萎蟺慰蟿蔚
谓伪 蟿慰蟺慰胃蔚蟿萎蟽蔚喂 蟿畏 渭蔚纬伪位慰蠁蠀螑伪 伪蠀蟿慰蠉 蟿慰蠀 纬蟻伪蟺蟿慰蠉
魏维蟿蠅 伪蟺慰 蟿畏 蟽魏喂维 蟺慰位喂蟿喂魏萎蟼 萎 胃蟻畏蟽魏蔚蠀蟿喂魏萎蟼 尾伪蟻蠉蟿畏蟿伪蟼.
螝维胃蔚 蟺蟻蠈胃蔚蟽畏 纬喂伪 蟺慰位喂蟿喂魏慰蠉蟼 蟺伪蟻伪位位畏位喂蟽渭慰蠉蟼 萎 胃蟻畏蟽魏蔚蠀蟿喂魏苇蟼 渭喂蟽伪位位慰未慰尉委蔚蟼 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 蠅蟼 喂蔚蟻慰蟽蠀位委伪 萎 蟺谓蔚蠀渭伪蟿喂魏萎 伪谓蔚蟺维蟻魏蔚喂伪.
韦伪 渭畏谓蠉渭伪蟿伪 魏伪喂 蟿伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿伪 伪蟺慰 伪蠀蟿蠈 蟿慰 纬蟻伪蟺蟿蠈 蔚委谓伪喂 蟺伪谓伪谓胃蟻蠋蟺喂谓伪, 慰喂魏慰蠀渭蔚谓喂魏维,
蔚蟺慰渭苇谓蠅蟼 伪蟺苇蠂慰蠀谓 苇蟿畏 蠁蠅蟿蠈蟼 伪蟺慰 魏维胃蔚 渭喂魏蟻蠈蠄蠀蠂畏 蟽魏慰蟺喂渭蠈蟿畏蟿伪, 伪蟺慰 魏维胃蔚 伪喂蟻蔚蟿喂魏萎 魏伪喂 蠁伪谓伪蟿喂魏萎 蟺蟻慰魏伪蟿维位畏蠄畏).
芦 螕喂伪蟿委 慰 胃维谓伪蟿慰蟼 蔚委谓伪喂 蠂蠅蟻委蟼 谓蠈畏渭伪, 蠈蟺蠅蟼 魏伪喂 畏 味蠅萎禄
螒蠀蟿萎, 畏 蟿蔚位蔚蠀蟿伪委伪 蠁蟻维蟽畏 蟿慰蠀 尾喂尾位委慰蠀 蔚委谓伪喂 蟺蟻伪纬渭伪蟿喂魏维 胃位喂尾蔚蟻萎 伪位位维 魏伪喂 蔚尉伪喂蟻蔚蟿喂魏维 蟺蟻慰魏位畏蟿喂魏萎 纬喂伪 蟺蟻慰尾位畏渭伪蟿喂蟽渭蠈.
螤伪纬魏蠈蟽渭喂慰 伪谓胃蟻蠋蟺喂谓慰 渭萎谓蠀渭伪 纬喂伪 蟿慰谓 蠀蟺伪蟻尉喂蟽渭蠈 魏伪喂 蟿喂蟼 伪尉委蔚蟼 蟺慰蠀 蟺蟻慰蠅胃慰蠉渭蔚 蟺喂蟽蟿维 魏伪喂 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿蠀蠁位维 渭苇蠂蟻喂 蟽萎渭蔚蟻伪.
螒蟺慰 蟿畏谓 伪蟻蠂萎 苇蠅蟼 蟿慰 蟿苇位慰蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 慰 伪谓伪纬谓蠋蟽蟿畏蟼 尾蠀胃委味蔚蟿伪喂 魏伪喂 蠁蠀位伪魏委味蔚蟿伪喂 蟽蟿喂蟼 伪谓伪蟿蟻慰蟺苇蟼 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏蟼 蔚谓蠈蟼 伪蟿蠈渭慰蠀 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰谓 维纬谓蠅蟽蟿慰 蔚伪蠀蟿蠈 蟿慰蠀 魏伪喂 蟿慰谓 蟺伪蟻维未慰尉慰 魏蠈蟽渭慰 纬蠉蟻蠅 蟿慰蠀.
螚 蠄蠀蠂慰位慰纬喂魏萎 蟺蠀魏谓蠈蟿畏蟿伪 伪蠀蟿慰蠉 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 魏伪蟿伪纬蟻维蠁蔚喂 渭蔚 蔚尉伪喂蟻蔚蟿喂魏蠈 蟿蟻蠈蟺慰 蟿喂蟼 蟺慰位蠀蟺位慰魏蠈蟿畏蟿蔚蟼
魏伪喂 蟿喂蟼 伪喂蠋谓喂蔚蟼 伪谓蟿喂胃苇蟽蔚喂蟼 蟽蟿畏谓 魏伪蟻未喂维 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蔚渭蟺蔚喂蟻委伪蟼.
螖蔚谓 蔚委谓伪喂 魏伪胃蠈位慰蠀 未蠉蟽魏慰位慰 伪谓维纬谓蠅蟽渭伪, 蔚委谓伪喂 尾伪胃蠀蟽蟿蠈蠂伪蟽蟿慰 渭蔚 蟺慰位位苇蟼 未喂伪胃苇蟽蔚喂蟼 魏伪喂 魏伪蟿伪蟽蟿维蟽蔚喂蟼. 螁纬蠂慰蟼, 伪谓畏蟽蠀蠂委伪, 蠁蠈尾慰蟼, 谓慰蟽蟿伪位纬委伪, 渭慰谓伪尉喂维, 维纬谓慰喂伪, 蟺委蟽蟿畏, 伪蟺蠈纬谓蠅蟽畏, 蔚委谓伪喂 渭蔚蟻喂魏苇蟼 伪蟺慰 伪蠀蟿苇蟼.
螚 喂蟽蟿慰蟻委伪 魏蠀渭伪蟿委味蔚喂 伪谓维渭蔚蟽伪 蟽蟿畏 位伪蠆魏萎 蟽慰蠁委伪
- 蟺慰蠀 渭蟺慰蟻蔚委 蔚蠉魏慰位伪 谓伪 蟺伪蟻伪蟽蠀蟻胃蔚委 魏伪喂 谓伪 蔚谓未蠋蟽蔚喂 蟽蟿畏 尾委伪 蟿慰蠀 蠈蠂位慰蠀 -
魏伪喂 蟽蔚 苇谓伪谓 畏胃喂魏蠈 魏蠋未喂魏伪 胃蟻畏蟽魏蔚蠀蟿喂魏萎蟼 伪蟻蠂萎蟼, 慰 慰蟺慰委慰蟼 蟺伪蟻伪尾喂维味蔚蟿伪喂 魏伪喂 魏伪蟿伪蟺伪蟿蔚委蟿伪喂 蔚蠉魏慰位伪 蠈蟿伪谓 畏 伪纬维蟺畏, 蟿慰 伪蟿慰渭喂魏蠈 蟽蠀渭蠁苇蟻慰谓, 畏 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿畏蟼 未蠉谓伪渭畏蟼 蟿慰蠀 魏伪魏慰蠉 魏伪喂 畏 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 苇魏蟻畏尉畏 蟺慰蠀 蟺蟻慰魏伪位蔚委蟿伪喂 伪蟺慰 尾委伪 魏伪喂 伪未喂魏委伪 慰未畏纬慰蠉谓 蟽蔚 未蟻维蟽蔚喂蟼 伪蟺蟻蠈尾位蔚蟺蟿蔚蟼 魏伪喂 蔚蟺喂魏委谓未蠀谓蔚蟼.
螒蠀蟿苇蟼 慰喂 未蠀谓畏蟿喂魏维 蟿蟻慰渭蔚蟻苇蟼 未蟻维蟽蔚喂蟼 魏伪喂 伪谓蟿喂未蟻维蟽蔚喂蟼 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠄蠀蠂萎蟼 蔚喂谓伪喂 蟿慰 魏蔚谓蟿蟻喂魏蠈 畏胃喂魏蠈 味萎蟿畏渭伪 蟺慰蠀 伪蠁慰蟻维 慰蟺慰喂伪未萎蟺慰蟿蔚 蔚蟺慰蠂萎 魏伪喂 魏维胃蔚 蟿蠈蟺慰 蟿畏蟼 纬畏蟼 蟺慰蠀 魏伪蟿慰喂魏慰蠉谓 伪谓胃蟻蠋蟺喂谓伪 蠈谓蟿伪.
螔伪蟽喂魏维 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 伪魏慰位慰蠀胃蔚委 苇谓伪 蟽蠀谓畏胃喂蟽渭苇谓慰 渭伪 蟽蟺慰蠀未伪委慰 渭慰蟿委尾慰 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼, 蟿慰谓 伪谓胃蟻蠋蟺喂谓慰 渭蔚蟿伪蟽蠂畏渭伪蟿喂蟽渭蠈.
螌蟿伪谓 魏维蟿蠅 伪蟺慰 喂未喂伪委蟿蔚蟻蔚蟼 魏伪喂 尉蔚蠂蠅蟻喂蟽蟿苇蟼 -纬喂伪 魏维胃蔚 维蟿慰渭慰- 蟽蠀谓胃萎魏蔚蟼 伪谓伪蟺蟿蠉蟽蟽蔚蟿伪喂 畏 未蠉谓伪渭畏 魏伪喂 畏 胃苇位畏蟽畏 蔚谓蠈蟼 蠂伪蟻伪魏蟿萎蟻伪 谓伪 魏维谓蔚喂 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 蟺蟻维尉蔚喂蟼, 尉蔚蟺蔚蟻谓蠋谓蟿伪蟼 魏维胃蔚 喂蟽蠂蠀蟻萎 蔚蟽蠅蟿蔚蟻喂魏萎 未蠉谓伪渭畏 伪谓伪尾慰位萎蟼 萎 蟽蠀纬魏蟻维蟿畏蟽畏蟼 蟺慰蠀 蔚委蠂伪谓 蔚蟺喂尾位畏胃蔚委 伪蟺慰 蟺蟻喂谓 魏伪喂 苇蟽尾畏谓伪谓 魏维胃蔚 蠁位蠈纬伪 纬喂伪 蔚蟺伪谓维蟽蟿伪蟽畏.
芦螣 螖蔚蟻尾委蟽畏蟼 魏伪喂 慰 胃维谓伪蟿慰蟼禄 蔚尉喂蟽蟿慰蟻蔚委 伪蟺慰 蟿畏谓 蟺位蔚蠀蟻维 蟿慰蠀 伪蠁畏纬畏蟿萎 渭喂伪 蟿苇蟿慰喂伪 蟺蟻慰蟽蠅蟺喂魏萎 蔚蟺伪谓维蟽蟿伪蟽畏.
螣 螒蠂渭苇谓蟿 螡慰蠀蟻慰蠀谓蟿委谓 蔚委谓伪喂 蟽蔚螑蠂畏蟼 蟽蔚 苇谓伪 渭慰蠀蟽慰蠀位渭伪谓喂魏蠈 渭慰谓伪蟽蟿萎蟻喂, 蟽蟿畏谓 魏伪蟿蔚蠂蠈渭蔚谓畏 伪蟺慰 蟿畏谓 慰胃蠅渭伪谓喂魏萎 伪蠀蟿慰魏蟻伪蟿慰蟻委伪 螔慰蟽谓委伪.
螣 螡慰蠀蟻慰蠀谓蟿委谓 蔚委谓伪喂 苇谓伪蟼 40蠂蟻慰谓慰蟼 蟽蔚渭谓蠈蟼, 纬位蠀魏蠈蟼, 魏伪蟿伪胃位喂蟺蟿喂魏蠈蟼 魏伪喂 蟽慰蠁蠈蟼 维谓未蟻伪蟼.
螣 伪蟽魏畏蟿喂蟽渭蠈蟼 蟿慰蠀 蟽蟿慰谓 慰蟺慰委慰 苇蠂蔚喂 蟿伪蠂胃蔚委 伪纬蠈纬纬蠀蟽蟿伪 魏伪喂 伪蠀蟿慰魏伪蟿伪蟽蟿蟻慰蠁喂魏维 胃蟻蠀渭渭伪蟿委味蔚蟿伪喂 渭蔚蟿维 伪蟺慰 苇谓伪 蟿蟻伪纬喂魏蠈 纬蔚纬慰谓蠈蟼.
螣 伪未蔚位蠁蠈蟼 蟿慰蠀 蟽蠀位位伪渭尾维谓蔚蟿伪喂 魏伪喂 未慰位慰蠁慰谓蔚委蟿伪喂 伪谓蔚尉萎纬畏蟿伪 魏伪喂 渭蠀蟽蟿畏蟻喂蠅未蠋蟼 伪蟺慰 蟿喂蟼 伪蟻蠂苇蟼 蟿畏蟼 蔚尉慰蠀蟽委伪蟼.
螣 螡慰蠀蟻慰蠀谓蟿委谓 未蔚谓 苇蠂蔚喂 魏伪渭委伪 魏慰蟽渭喂魏萎 蔚渭蟺蔚喂蟻委伪 魏伪喂 渭蔚蟿维 蟿慰 胃维谓伪蟿慰 蟿慰蠀 伪未蔚位蠁慰蠉 蟿慰蠀 尾蟻委蟽魏蔚蟿伪喂 伪谓蟿喂渭苇蟿蠅蟺慰蟼 渭蔚 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪, 苇尉蠅 伪蟺慰 蟿畏谓 蟺蠈蟻蟿伪 蟿慰蠀 渭慰谓伪蟽蟿畏蟻喂慰蠉.
螢伪蠁谓喂魏维 伪谓伪魏伪位蠉蟺蟿蔚喂 蟺蠅蟼 味蔚喂 苇谓伪 蔚蠁喂维位蟿畏 蠂伪渭苇谓蠅谓 伪喂蠋谓蠅谓.
危蟿畏谓 蟺伪蟿蟻委未伪 蟿慰蠀 魏伪蟿慰喂魏蔚委 苇谓伪蟼 位畏胃伪蟻纬喂魏蠈蟼 位伪蠈蟼, 未蔚谓 蠀蟺维蟻蠂蔚喂 蟿委蟺慰蟿伪 蟺慰蠀 谓伪 蟺位畏蟽喂维味蔚喂 蟿畏谓 苇谓谓慰喂伪 蟿畏蟼 未喂魏伪喂慰蟽蠉谓畏蟼, 蠈位慰喂 纬蠉蟻蠅 蟿慰蠀 魏喂谓慰蠉谓蟿伪喂 渭苇蟽伪 蟽蟿畏谓 未喂伪未蔚未慰渭苇谓畏 未喂伪蠁胃慰蟻维 魏伪喂 蟿畏谓 蟺蟻慰未慰蟽委伪,
慰蟺慰喂伪未萎蟺慰蟿蔚 未喂蔚魏未委魏畏蟽畏 伪蠀蟿慰谓蠈畏蟿蠅谓 未喂魏伪喂蠅渭维蟿蠅谓 慰未畏纬蔚委 蟽蟿畏谓 蟿蠀蟻蟻伪谓委伪 魏伪喂 蟿慰 胃维谓伪蟿慰.
危魏苇蠁蟿蔚蟿伪喂, 蟺蟻慰蟽蔚蠉蠂蔚蟿伪喂, 蟺伪蟻伪魏伪位蔚委 谓伪 渭维胃蔚喂 纬喂伪 蟿慰谓 伪未蔚位蠁蠈 蟿慰蠀.
韦伪蟺蔚喂谓蠋谓蔚蟿伪喂, 蔚尉蔚蠀蟿蔚位委味蔚蟿伪喂 魏伪喂 魏伪蟿伪蟻蟻苇蔚喂 蠈蟿伪谓 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 渭维胃蔚喂 蟺蠅蟼 慰 伪未蔚位蠁蠈蟼 蟿慰蠀 蠁蠀位伪魏委蟽蟿畏魏蔚 魏伪喂 未慰位慰蠁慰谓萎胃畏魏蔚 位蠈纬蠅 蟿畏蟼 蔚蟻纬伪蟽委伪蟼 蟺慰蠀 苇魏伪谓蔚 魏伪喂 蟿蠀蠂伪委伪 苇纬喂谓蔚 纬谓蠋蟽蟿畏蟼 魏维蟺慰喂蠅谓 纬蔚纬慰谓蠈蟿蠅谓.
螚 蟿蠀蠂伪委伪 蔚谓畏渭苇蟻蠅蟽畏 蟺慰蠀 蟺蟻慰萎位胃蔚 伪蟺慰 蔚纬纬蠉蟿畏蟿伪 蠈蠂喂 伪蟺慰 蔚渭蟺位慰魏萎 蟺位畏蟻蠋胃畏魏蔚 渭蔚 蟿畏 味蠅萎 蟿慰蠀.
螝伪喂 蔚未蠅 尉蔚魏喂谓维蔚喂 畏 蔚蟽蠅蟿蔚蟻喂魏萎 渭维蠂畏 蟿慰蠀 螡慰蠀蟻慰蠀谓蟿委谓, 慰 蟽蠀谓蔚蠂萎蟼 未喂维位慰纬慰蟼 渭蔚 蟿慰谓 伪谓蠋蟿蔚蟻慰 蔚伪蠀蟿蠈 蟿慰蠀 魏伪喂 畏 未喂蔚尉伪纬蠅纬萎 蟽蠀渭蟺蔚蟻伪蟽渭维蟿蠅谓 魏伪喂 蔚蟺喂蠂蔚喂蟻畏渭维蟿蠅谓.
螚 魏伪蟻未喂维 魏伪喂 畏 位慰纬喂魏萎 蟺伪位蔚蠉慰蠀谓,蔚魏蠁蟻维味慰谓蟿伪蟼 尾伪胃喂维 伪纬伪谓维魏蟿畏蟽畏, 伪蟺蠈纬谓蠅蟽畏, 蟺蠈谓慰, 渭委蟽慰蟼, 魏伪魏委伪 魏伪喂 未喂维胃蔚蟽畏 蔚魏未委魏畏蟽畏蟼.
螔伪蟽伪谓委味蔚蟿伪喂, 蠀蟺慰蠁苇蟻蔚喂, 蠂维谓蔚喂 蟿慰 尾维蟻慰蟼 蟿畏蟼 蔚蟽蠅蟿蔚蟻喂魏萎蟼 慰渭慰蟻蠁喂维蟼 蟿慰蠀 魏伪喂 渭蔚蟿伪蟽蠂畏渭伪蟿委味蔚蟿伪喂 蟽蔚 胃畏蟻委慰 蟺慰蠀 蟺蟻慰蟽蟺慰喂蔚委蟿伪喂 畏蟻蔚渭委伪 魏维蟿蠅 伪蟺慰 蟿蟻慰渭伪魏蟿喂魏苇蟼 蟽蠀谓胃萎魏蔚蟼 魏伪喂 蟺蔚蟻喂渭苇谓蔚喂, 魏伪喂蟻慰蠁蠀位伪魏蟿蔚委 蟿畏 蟽蟿喂纬渭萎 蟿畏蟼 蔚蟺委胃蔚蟽畏蟼.
螠喂伪 蔚尉伪喂蟻蔚蟿喂魏萎 伪蟺蔚喂魏蠈谓喂蟽畏 蟿慰蠀 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀 伪纬蠅谓委味蔚蟿伪喂 渭维蟿伪喂伪 纬喂伪 未喂魏伪喂慰蟽蠉谓畏.
螚 蟺苇谓伪 蟿慰蠀 危蔚位委渭慰尾喂蟿蟼 未蔚谓 伪蠁萎谓蔚喂 蟽蟿喂纬渭萎 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 谓伪 尉蔚蠁蠉纬蔚喂 伪蟺慰 蟿畏谓 蠄蠀蠂慰位慰纬喂魏萎 苇谓蟿伪蟽畏 魏伪喂 蟿畏谓 蔚蟽蠅蟿蔚蟻喂魏萎 慰未蠉蟽蟽蔚喂伪 蟿慰蠀 螡慰蠀蟻慰蠀谓蟿委谓.
螠蔚 伪蟺位萎 魏伪喂 蟺位慰蠉蟽喂伪 纬位蠋蟽蟽伪 伪蠁萎谓蔚喂 蟿慰蠀蟼 蠀蟺蠈位慰喂蟺慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 谓伪 伪蠀蟿慰蟺蟻慰蟽未喂慰蟻委味慰谓蟿伪喂, 蟿慰蠀蟼 伪蟺伪位蠉谓蔚喂 伪蟺慰 尾伪蟻喂维 谓慰萎渭伪蟿伪, 蟿慰蠀蟼 魏伪蟿伪蟿维蟽蟽蔚喂 蟽蔚 慰蟻喂蟽渭苇谓伪 蠀蟺伪蟻尉喂伪魏维 蔚蟺委蟺蔚未伪.
螚 慰蠀蟽委伪 尾蔚尾伪委蠅蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 蠀蟺伪蟻尉喂伪魏萎 魏伪喂 慰蠀未苇蟿蔚蟻畏. 螚 尾伪胃喂维 魏伪喂 蟿蟻慰渭伪魏蟿喂魏萎 伪谓蟿委位畏蠄畏 蟿畏蟼 蔚纬纬蔚谓慰蠉蟼 伪谓胃蟻蠋蟺喂谓畏蟼 魏伪魏委伪蟼 蟺慰蠀 蔚尉畏纬蔚委 蟺慰位位苇蟼 蟿蟻伪纬蠅未委蔚蟼 蟿慰蠀 20慰蠀 伪喂蠋谓伪 蔚委谓伪喂 蟿慰 慰喂魏慰蠀渭蔚谓喂魏蠈 渭萎谓蠀渭伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪.
螣 位蠈纬慰蟼 纬喂伪 蟿慰谓 慰蟺慰委慰 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪蟿苇魏蟿畏蟽蔚 渭喂伪 渭蠈谓喂渭畏 胃苇蟽畏 蟽蟿畏谓 魏伪蟻未喂维 渭慰蠀 蔚委谓伪喂 蠈蟿喂 蟺蔚蟻喂苇蠂蔚喂 蟺慰位位维 渭慰谓慰蟺维蟿喂伪 蠁伪谓蔚蟻维 魏伪喂 魏蟻蠀蠁维 蟿伪 慰蟺慰委伪 慰未畏纬慰蠉谓 蟽蔚 尾伪胃喂苇蟼, 蟽魏慰蟿蔚喂谓苇蟼 魏伪喂 未蠀蟽维蟻蔚蟽蟿蔚蟼 蟺蔚蟻喂慰蠂苇蟼 蟿慰蠀 蔚伪蠀蟿慰蠉 渭伪蟼.
螘委谓伪喂 畏 未喂蔚蟻蔚蠉谓畏蟽畏 伪谓维渭蔚蟽伪 蟽蟿伪 喂未伪谓喂魏维 魏伪喂 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪.
螘委谓伪喂 畏 伪谓蟿伪谓维魏位伪蟽畏 蠁蠅蟿蠈蟼 蟽蔚 渭喂伪 魏伪蟿维渭伪蠀蟻畏 蠄蠀蠂萎 蟺慰蠀 伪蟺慰蟽蠉蟻蔚蟿伪喂 魏伪喂 尾伪蟽伪谓委味蔚蟿伪喂 蠅蟼 蟿畏 位蠉蟿蟻蠅蟽畏.
螜蟽蠂蠀蟻苇蟼 喂未苇蔚蟼 蟽蔚 蟺蔚蟻喂慰蠂苇蟼 蟿慰蠀 伪谓胃蟻蠋蟺喂谓慰蠀 谓慰蠀 蟺慰位蠉 未蠉蟽尾伪蟿蔚蟼.
韦苇位慰蟼, 蔚喂谓伪喂 畏 魏伪胃慰位喂魏蠈蟿畏蟿伪 蟿畏蟼 纬蟻伪蠁萎蟼, 蟺伪蟻蠈位慰 蟺慰蠀 畏 喂蟽蟿慰蟻委伪 尾伪蟽委味蔚蟿伪喂 蟽蔚 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 魏伪喂 喂未喂伪委蟿蔚蟻慰 蟿蠈蟺慰 魏伪喂 蠂蟻蠈谓慰, 慰喂 喂未苇蔚蟼 蟺慰蠀 蟺蟻伪纬渭伪蟿蔚蠉蔚蟿伪喂 未蔚谓 蟺蔚蟻喂慰蟻委味慰谓蟿伪喂 蟽蔚 蠂蠅蟻慰蠂蟻慰谓喂魏维 魏伪位慰蠉蟺喂伪.
螠蔚 蟽蠀纬魏位蠈谓喂蟽蔚 畏 蟽蟿喂纬渭萎 蟺慰蠀 畏 伪蟽魏畏蟿喂魏萎 蠄蠀蠂萎 蟿慰蠀 螡慰蠀蟻慰蠀谓蟿委谓 蟽蟺维蔚喂 渭蔚 慰蟻渭萎 魏伪喂 慰蟻纬萎 蟿慰蠀蟼 蟺蔚蟻喂慰蟻喂蟽渭慰蠉蟼 魏伪喂 胃蟻畏谓蔚委 蟽蟺伪蟻伪魏蟿喂魏维, 慰蠀蟻位喂锟斤拷味慰谓蟿伪蟼 伪蟺慰 蟿慰谓 蟺蠈谓慰 蟿慰蠀 胃伪谓维蟿慰蠀 渭苇蟽伪 蟽蟿畏谓 蔚魏魏位畏蟽委伪.
螆谓伪 渭谓畏渭蔚喂蠋未蔚蟼 未蟻维渭伪 蟿蟻慰渭伪魏蟿喂魏萎蟼 蟽畏渭伪蟽委伪蟼.
韦慰 尾喂尾位委慰 蟿蔚位蔚喂蠋谓蔚喂 渭蔚 渭喂伪 伪蟺蟻蠈尾位蔚蟺蟿畏 渭伪 伪谓伪蟺蠈蠁蔚蠀魏蟿畏 蟽魏畏谓萎 蠁蟻委魏畏蟼.
螠喂伪 蔚尉伪委蟽喂伪 魏伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏萎 蠁蟻委魏畏 蟺慰蠀 渭蔚 苇魏伪谓蔚 谓伪 尉伪谓伪未喂伪尾维蟽蠅 伪蟻魏蔚蟿苇蟼 蠁慰蟻苇蟼 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟽蔚位委未伪...
馃懗馃徎鈥嶁檪锔忦煓忦煆烩槤馃徎馃槇
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
蟽魏慰蟿维未喂伪 渭慰蠀...
螘魏蔚委... 慰蠉蟿蔚 蔚纬蠋 蟺伪蟿维蠅禄
螤蟻喂谓 尉蔚魏喂谓萎蟽蠅 蟿慰 蟽蠂慰位喂伪蟽渭蠈 蟽蠂蔚蟿喂魏维 渭蔚 伪蠀蟿蠈 蟿慰 蟽蟺慰蠀未伪委慰 尾喂尾位委慰, 胃伪 萎胃蔚位伪 谓伪 魏维谓蠅 渭喂伪 蟺蟻慰蟽蠅蟺喂魏萎 未喂蔚蠀魏蟻喂谓喂蟽蟿喂魏萎 未萎位蠅蟽畏.
(螛伪 萎蟿伪谓 蔚尉伪喂蟻蔚蟿喂魏维 伪谓伪魏蟻喂尾苇蟼, 伪谓慰蠉蟽喂慰 魏伪喂 蟺蟻慰蟽尾位畏蟿喂魏蠈 伪谓 蟺蟻慰蟽蟺伪胃萎蟽蔚喂 慰蟺慰喂慰蟽未萎蟺慰蟿蔚
谓伪 蟿慰蟺慰胃蔚蟿萎蟽蔚喂 蟿畏 渭蔚纬伪位慰蠁蠀螑伪 伪蠀蟿慰蠉 蟿慰蠀 纬蟻伪蟺蟿慰蠉
魏维蟿蠅 伪蟺慰 蟿畏 蟽魏喂维 蟺慰位喂蟿喂魏萎蟼 萎 胃蟻畏蟽魏蔚蠀蟿喂魏萎蟼 尾伪蟻蠉蟿畏蟿伪蟼.
螝维胃蔚 蟺蟻蠈胃蔚蟽畏 纬喂伪 蟺慰位喂蟿喂魏慰蠉蟼 蟺伪蟻伪位位畏位喂蟽渭慰蠉蟼 萎 胃蟻畏蟽魏蔚蠀蟿喂魏苇蟼 渭喂蟽伪位位慰未慰尉委蔚蟼 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 蠅蟼 喂蔚蟻慰蟽蠀位委伪 萎 蟺谓蔚蠀渭伪蟿喂魏萎 伪谓蔚蟺维蟻魏蔚喂伪.
韦伪 渭畏谓蠉渭伪蟿伪 魏伪喂 蟿伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿伪 伪蟺慰 伪蠀蟿蠈 蟿慰 纬蟻伪蟺蟿蠈 蔚委谓伪喂 蟺伪谓伪谓胃蟻蠋蟺喂谓伪, 慰喂魏慰蠀渭蔚谓喂魏维,
蔚蟺慰渭苇谓蠅蟼 伪蟺苇蠂慰蠀谓 苇蟿畏 蠁蠅蟿蠈蟼 伪蟺慰 魏维胃蔚 渭喂魏蟻蠈蠄蠀蠂畏 蟽魏慰蟺喂渭蠈蟿畏蟿伪, 伪蟺慰 魏维胃蔚 伪喂蟻蔚蟿喂魏萎 魏伪喂 蠁伪谓伪蟿喂魏萎 蟺蟻慰魏伪蟿维位畏蠄畏).
芦 螕喂伪蟿委 慰 胃维谓伪蟿慰蟼 蔚委谓伪喂 蠂蠅蟻委蟼 谓蠈畏渭伪, 蠈蟺蠅蟼 魏伪喂 畏 味蠅萎禄
螒蠀蟿萎, 畏 蟿蔚位蔚蠀蟿伪委伪 蠁蟻维蟽畏 蟿慰蠀 尾喂尾位委慰蠀 蔚委谓伪喂 蟺蟻伪纬渭伪蟿喂魏维 胃位喂尾蔚蟻萎 伪位位维 魏伪喂 蔚尉伪喂蟻蔚蟿喂魏维 蟺蟻慰魏位畏蟿喂魏萎 纬喂伪 蟺蟻慰尾位畏渭伪蟿喂蟽渭蠈.
螤伪纬魏蠈蟽渭喂慰 伪谓胃蟻蠋蟺喂谓慰 渭萎谓蠀渭伪 纬喂伪 蟿慰谓 蠀蟺伪蟻尉喂蟽渭蠈 魏伪喂 蟿喂蟼 伪尉委蔚蟼 蟺慰蠀 蟺蟻慰蠅胃慰蠉渭蔚 蟺喂蟽蟿维 魏伪喂 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿蠀蠁位维 渭苇蠂蟻喂 蟽萎渭蔚蟻伪.
螒蟺慰 蟿畏谓 伪蟻蠂萎 苇蠅蟼 蟿慰 蟿苇位慰蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 慰 伪谓伪纬谓蠋蟽蟿畏蟼 尾蠀胃委味蔚蟿伪喂 魏伪喂 蠁蠀位伪魏委味蔚蟿伪喂 蟽蟿喂蟼 伪谓伪蟿蟻慰蟺苇蟼 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏蟼 蔚谓蠈蟼 伪蟿蠈渭慰蠀 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰谓 维纬谓蠅蟽蟿慰 蔚伪蠀蟿蠈 蟿慰蠀 魏伪喂 蟿慰谓 蟺伪蟻维未慰尉慰 魏蠈蟽渭慰 纬蠉蟻蠅 蟿慰蠀.
螚 蠄蠀蠂慰位慰纬喂魏萎 蟺蠀魏谓蠈蟿畏蟿伪 伪蠀蟿慰蠉 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 魏伪蟿伪纬蟻维蠁蔚喂 渭蔚 蔚尉伪喂蟻蔚蟿喂魏蠈 蟿蟻蠈蟺慰 蟿喂蟼 蟺慰位蠀蟺位慰魏蠈蟿畏蟿蔚蟼
魏伪喂 蟿喂蟼 伪喂蠋谓喂蔚蟼 伪谓蟿喂胃苇蟽蔚喂蟼 蟽蟿畏谓 魏伪蟻未喂维 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蔚渭蟺蔚喂蟻委伪蟼.
螖蔚谓 蔚委谓伪喂 魏伪胃蠈位慰蠀 未蠉蟽魏慰位慰 伪谓维纬谓蠅蟽渭伪, 蔚委谓伪喂 尾伪胃蠀蟽蟿蠈蠂伪蟽蟿慰 渭蔚 蟺慰位位苇蟼 未喂伪胃苇蟽蔚喂蟼 魏伪喂 魏伪蟿伪蟽蟿维蟽蔚喂蟼. 螁纬蠂慰蟼, 伪谓畏蟽蠀蠂委伪, 蠁蠈尾慰蟼, 谓慰蟽蟿伪位纬委伪, 渭慰谓伪尉喂维, 维纬谓慰喂伪, 蟺委蟽蟿畏, 伪蟺蠈纬谓蠅蟽畏, 蔚委谓伪喂 渭蔚蟻喂魏苇蟼 伪蟺慰 伪蠀蟿苇蟼.
螚 喂蟽蟿慰蟻委伪 魏蠀渭伪蟿委味蔚喂 伪谓维渭蔚蟽伪 蟽蟿畏 位伪蠆魏萎 蟽慰蠁委伪
- 蟺慰蠀 渭蟺慰蟻蔚委 蔚蠉魏慰位伪 谓伪 蟺伪蟻伪蟽蠀蟻胃蔚委 魏伪喂 谓伪 蔚谓未蠋蟽蔚喂 蟽蟿畏 尾委伪 蟿慰蠀 蠈蠂位慰蠀 -
魏伪喂 蟽蔚 苇谓伪谓 畏胃喂魏蠈 魏蠋未喂魏伪 胃蟻畏蟽魏蔚蠀蟿喂魏萎蟼 伪蟻蠂萎蟼, 慰 慰蟺慰委慰蟼 蟺伪蟻伪尾喂维味蔚蟿伪喂 魏伪喂 魏伪蟿伪蟺伪蟿蔚委蟿伪喂 蔚蠉魏慰位伪 蠈蟿伪谓 畏 伪纬维蟺畏, 蟿慰 伪蟿慰渭喂魏蠈 蟽蠀渭蠁苇蟻慰谓, 畏 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿畏蟼 未蠉谓伪渭畏蟼 蟿慰蠀 魏伪魏慰蠉 魏伪喂 畏 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 苇魏蟻畏尉畏 蟺慰蠀 蟺蟻慰魏伪位蔚委蟿伪喂 伪蟺慰 尾委伪 魏伪喂 伪未喂魏委伪 慰未畏纬慰蠉谓 蟽蔚 未蟻维蟽蔚喂蟼 伪蟺蟻蠈尾位蔚蟺蟿蔚蟼 魏伪喂 蔚蟺喂魏委谓未蠀谓蔚蟼.
螒蠀蟿苇蟼 慰喂 未蠀谓畏蟿喂魏维 蟿蟻慰渭蔚蟻苇蟼 未蟻维蟽蔚喂蟼 魏伪喂 伪谓蟿喂未蟻维蟽蔚喂蟼 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠄蠀蠂萎蟼 蔚喂谓伪喂 蟿慰 魏蔚谓蟿蟻喂魏蠈 畏胃喂魏蠈 味萎蟿畏渭伪 蟺慰蠀 伪蠁慰蟻维 慰蟺慰喂伪未萎蟺慰蟿蔚 蔚蟺慰蠂萎 魏伪喂 魏维胃蔚 蟿蠈蟺慰 蟿畏蟼 纬畏蟼 蟺慰蠀 魏伪蟿慰喂魏慰蠉谓 伪谓胃蟻蠋蟺喂谓伪 蠈谓蟿伪.
螔伪蟽喂魏维 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 伪魏慰位慰蠀胃蔚委 苇谓伪 蟽蠀谓畏胃喂蟽渭苇谓慰 渭伪 蟽蟺慰蠀未伪委慰 渭慰蟿委尾慰 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼, 蟿慰谓 伪谓胃蟻蠋蟺喂谓慰 渭蔚蟿伪蟽蠂畏渭伪蟿喂蟽渭蠈.
螌蟿伪谓 魏维蟿蠅 伪蟺慰 喂未喂伪委蟿蔚蟻蔚蟼 魏伪喂 尉蔚蠂蠅蟻喂蟽蟿苇蟼 -纬喂伪 魏维胃蔚 维蟿慰渭慰- 蟽蠀谓胃萎魏蔚蟼 伪谓伪蟺蟿蠉蟽蟽蔚蟿伪喂 畏 未蠉谓伪渭畏 魏伪喂 畏 胃苇位畏蟽畏 蔚谓蠈蟼 蠂伪蟻伪魏蟿萎蟻伪 谓伪 魏维谓蔚喂 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 蟺蟻维尉蔚喂蟼, 尉蔚蟺蔚蟻谓蠋谓蟿伪蟼 魏维胃蔚 喂蟽蠂蠀蟻萎 蔚蟽蠅蟿蔚蟻喂魏萎 未蠉谓伪渭畏 伪谓伪尾慰位萎蟼 萎 蟽蠀纬魏蟻维蟿畏蟽畏蟼 蟺慰蠀 蔚委蠂伪谓 蔚蟺喂尾位畏胃蔚委 伪蟺慰 蟺蟻喂谓 魏伪喂 苇蟽尾畏谓伪谓 魏维胃蔚 蠁位蠈纬伪 纬喂伪 蔚蟺伪谓维蟽蟿伪蟽畏.
芦螣 螖蔚蟻尾委蟽畏蟼 魏伪喂 慰 胃维谓伪蟿慰蟼禄 蔚尉喂蟽蟿慰蟻蔚委 伪蟺慰 蟿畏谓 蟺位蔚蠀蟻维 蟿慰蠀 伪蠁畏纬畏蟿萎 渭喂伪 蟿苇蟿慰喂伪 蟺蟻慰蟽蠅蟺喂魏萎 蔚蟺伪谓维蟽蟿伪蟽畏.
螣 螒蠂渭苇谓蟿 螡慰蠀蟻慰蠀谓蟿委谓 蔚委谓伪喂 蟽蔚螑蠂畏蟼 蟽蔚 苇谓伪 渭慰蠀蟽慰蠀位渭伪谓喂魏蠈 渭慰谓伪蟽蟿萎蟻喂, 蟽蟿畏谓 魏伪蟿蔚蠂蠈渭蔚谓畏 伪蟺慰 蟿畏谓 慰胃蠅渭伪谓喂魏萎 伪蠀蟿慰魏蟻伪蟿慰蟻委伪 螔慰蟽谓委伪.
螣 螡慰蠀蟻慰蠀谓蟿委谓 蔚委谓伪喂 苇谓伪蟼 40蠂蟻慰谓慰蟼 蟽蔚渭谓蠈蟼, 纬位蠀魏蠈蟼, 魏伪蟿伪胃位喂蟺蟿喂魏蠈蟼 魏伪喂 蟽慰蠁蠈蟼 维谓未蟻伪蟼.
螣 伪蟽魏畏蟿喂蟽渭蠈蟼 蟿慰蠀 蟽蟿慰谓 慰蟺慰委慰 苇蠂蔚喂 蟿伪蠂胃蔚委 伪纬蠈纬纬蠀蟽蟿伪 魏伪喂 伪蠀蟿慰魏伪蟿伪蟽蟿蟻慰蠁喂魏维 胃蟻蠀渭渭伪蟿委味蔚蟿伪喂 渭蔚蟿维 伪蟺慰 苇谓伪 蟿蟻伪纬喂魏蠈 纬蔚纬慰谓蠈蟼.
螣 伪未蔚位蠁蠈蟼 蟿慰蠀 蟽蠀位位伪渭尾维谓蔚蟿伪喂 魏伪喂 未慰位慰蠁慰谓蔚委蟿伪喂 伪谓蔚尉萎纬畏蟿伪 魏伪喂 渭蠀蟽蟿畏蟻喂蠅未蠋蟼 伪蟺慰 蟿喂蟼 伪蟻蠂苇蟼 蟿畏蟼 蔚尉慰蠀蟽委伪蟼.
螣 螡慰蠀蟻慰蠀谓蟿委谓 未蔚谓 苇蠂蔚喂 魏伪渭委伪 魏慰蟽渭喂魏萎 蔚渭蟺蔚喂蟻委伪 魏伪喂 渭蔚蟿维 蟿慰 胃维谓伪蟿慰 蟿慰蠀 伪未蔚位蠁慰蠉 蟿慰蠀 尾蟻委蟽魏蔚蟿伪喂 伪谓蟿喂渭苇蟿蠅蟺慰蟼 渭蔚 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪, 苇尉蠅 伪蟺慰 蟿畏谓 蟺蠈蟻蟿伪 蟿慰蠀 渭慰谓伪蟽蟿畏蟻喂慰蠉.
螢伪蠁谓喂魏维 伪谓伪魏伪位蠉蟺蟿蔚喂 蟺蠅蟼 味蔚喂 苇谓伪 蔚蠁喂维位蟿畏 蠂伪渭苇谓蠅谓 伪喂蠋谓蠅谓.
危蟿畏谓 蟺伪蟿蟻委未伪 蟿慰蠀 魏伪蟿慰喂魏蔚委 苇谓伪蟼 位畏胃伪蟻纬喂魏蠈蟼 位伪蠈蟼, 未蔚谓 蠀蟺维蟻蠂蔚喂 蟿委蟺慰蟿伪 蟺慰蠀 谓伪 蟺位畏蟽喂维味蔚喂 蟿畏谓 苇谓谓慰喂伪 蟿畏蟼 未喂魏伪喂慰蟽蠉谓畏蟼, 蠈位慰喂 纬蠉蟻蠅 蟿慰蠀 魏喂谓慰蠉谓蟿伪喂 渭苇蟽伪 蟽蟿畏谓 未喂伪未蔚未慰渭苇谓畏 未喂伪蠁胃慰蟻维 魏伪喂 蟿畏谓 蟺蟻慰未慰蟽委伪,
慰蟺慰喂伪未萎蟺慰蟿蔚 未喂蔚魏未委魏畏蟽畏 伪蠀蟿慰谓蠈畏蟿蠅谓 未喂魏伪喂蠅渭维蟿蠅谓 慰未畏纬蔚委 蟽蟿畏谓 蟿蠀蟻蟻伪谓委伪 魏伪喂 蟿慰 胃维谓伪蟿慰.
危魏苇蠁蟿蔚蟿伪喂, 蟺蟻慰蟽蔚蠉蠂蔚蟿伪喂, 蟺伪蟻伪魏伪位蔚委 谓伪 渭维胃蔚喂 纬喂伪 蟿慰谓 伪未蔚位蠁蠈 蟿慰蠀.
韦伪蟺蔚喂谓蠋谓蔚蟿伪喂, 蔚尉蔚蠀蟿蔚位委味蔚蟿伪喂 魏伪喂 魏伪蟿伪蟻蟻苇蔚喂 蠈蟿伪谓 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 渭维胃蔚喂 蟺蠅蟼 慰 伪未蔚位蠁蠈蟼 蟿慰蠀 蠁蠀位伪魏委蟽蟿畏魏蔚 魏伪喂 未慰位慰蠁慰谓萎胃畏魏蔚 位蠈纬蠅 蟿畏蟼 蔚蟻纬伪蟽委伪蟼 蟺慰蠀 苇魏伪谓蔚 魏伪喂 蟿蠀蠂伪委伪 苇纬喂谓蔚 纬谓蠋蟽蟿畏蟼 魏维蟺慰喂蠅谓 纬蔚纬慰谓蠈蟿蠅谓.
螚 蟿蠀蠂伪委伪 蔚谓畏渭苇蟻蠅蟽畏 蟺慰蠀 蟺蟻慰萎位胃蔚 伪蟺慰 蔚纬纬蠉蟿畏蟿伪 蠈蠂喂 伪蟺慰 蔚渭蟺位慰魏萎 蟺位畏蟻蠋胃畏魏蔚 渭蔚 蟿畏 味蠅萎 蟿慰蠀.
螝伪喂 蔚未蠅 尉蔚魏喂谓维蔚喂 畏 蔚蟽蠅蟿蔚蟻喂魏萎 渭维蠂畏 蟿慰蠀 螡慰蠀蟻慰蠀谓蟿委谓, 慰 蟽蠀谓蔚蠂萎蟼 未喂维位慰纬慰蟼 渭蔚 蟿慰谓 伪谓蠋蟿蔚蟻慰 蔚伪蠀蟿蠈 蟿慰蠀 魏伪喂 畏 未喂蔚尉伪纬蠅纬萎 蟽蠀渭蟺蔚蟻伪蟽渭维蟿蠅谓 魏伪喂 蔚蟺喂蠂蔚喂蟻畏渭维蟿蠅谓.
螚 魏伪蟻未喂维 魏伪喂 畏 位慰纬喂魏萎 蟺伪位蔚蠉慰蠀谓,蔚魏蠁蟻维味慰谓蟿伪蟼 尾伪胃喂维 伪纬伪谓维魏蟿畏蟽畏, 伪蟺蠈纬谓蠅蟽畏, 蟺蠈谓慰, 渭委蟽慰蟼, 魏伪魏委伪 魏伪喂 未喂维胃蔚蟽畏 蔚魏未委魏畏蟽畏蟼.
螔伪蟽伪谓委味蔚蟿伪喂, 蠀蟺慰蠁苇蟻蔚喂, 蠂维谓蔚喂 蟿慰 尾维蟻慰蟼 蟿畏蟼 蔚蟽蠅蟿蔚蟻喂魏萎蟼 慰渭慰蟻蠁喂维蟼 蟿慰蠀 魏伪喂 渭蔚蟿伪蟽蠂畏渭伪蟿委味蔚蟿伪喂 蟽蔚 胃畏蟻委慰 蟺慰蠀 蟺蟻慰蟽蟺慰喂蔚委蟿伪喂 畏蟻蔚渭委伪 魏维蟿蠅 伪蟺慰 蟿蟻慰渭伪魏蟿喂魏苇蟼 蟽蠀谓胃萎魏蔚蟼 魏伪喂 蟺蔚蟻喂渭苇谓蔚喂, 魏伪喂蟻慰蠁蠀位伪魏蟿蔚委 蟿畏 蟽蟿喂纬渭萎 蟿畏蟼 蔚蟺委胃蔚蟽畏蟼.
螠喂伪 蔚尉伪喂蟻蔚蟿喂魏萎 伪蟺蔚喂魏蠈谓喂蟽畏 蟿慰蠀 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀 伪纬蠅谓委味蔚蟿伪喂 渭维蟿伪喂伪 纬喂伪 未喂魏伪喂慰蟽蠉谓畏.
螚 蟺苇谓伪 蟿慰蠀 危蔚位委渭慰尾喂蟿蟼 未蔚谓 伪蠁萎谓蔚喂 蟽蟿喂纬渭萎 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 谓伪 尉蔚蠁蠉纬蔚喂 伪蟺慰 蟿畏谓 蠄蠀蠂慰位慰纬喂魏萎 苇谓蟿伪蟽畏 魏伪喂 蟿畏谓 蔚蟽蠅蟿蔚蟻喂魏萎 慰未蠉蟽蟽蔚喂伪 蟿慰蠀 螡慰蠀蟻慰蠀谓蟿委谓.
螠蔚 伪蟺位萎 魏伪喂 蟺位慰蠉蟽喂伪 纬位蠋蟽蟽伪 伪蠁萎谓蔚喂 蟿慰蠀蟼 蠀蟺蠈位慰喂蟺慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 谓伪 伪蠀蟿慰蟺蟻慰蟽未喂慰蟻委味慰谓蟿伪喂, 蟿慰蠀蟼 伪蟺伪位蠉谓蔚喂 伪蟺慰 尾伪蟻喂维 谓慰萎渭伪蟿伪, 蟿慰蠀蟼 魏伪蟿伪蟿维蟽蟽蔚喂 蟽蔚 慰蟻喂蟽渭苇谓伪 蠀蟺伪蟻尉喂伪魏维 蔚蟺委蟺蔚未伪.
螚 慰蠀蟽委伪 尾蔚尾伪委蠅蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 蠀蟺伪蟻尉喂伪魏萎 魏伪喂 慰蠀未苇蟿蔚蟻畏. 螚 尾伪胃喂维 魏伪喂 蟿蟻慰渭伪魏蟿喂魏萎 伪谓蟿委位畏蠄畏 蟿畏蟼 蔚纬纬蔚谓慰蠉蟼 伪谓胃蟻蠋蟺喂谓畏蟼 魏伪魏委伪蟼 蟺慰蠀 蔚尉畏纬蔚委 蟺慰位位苇蟼 蟿蟻伪纬蠅未委蔚蟼 蟿慰蠀 20慰蠀 伪喂蠋谓伪 蔚委谓伪喂 蟿慰 慰喂魏慰蠀渭蔚谓喂魏蠈 渭萎谓蠀渭伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪.
螣 位蠈纬慰蟼 纬喂伪 蟿慰谓 慰蟺慰委慰 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪蟿苇魏蟿畏蟽蔚 渭喂伪 渭蠈谓喂渭畏 胃苇蟽畏 蟽蟿畏谓 魏伪蟻未喂维 渭慰蠀 蔚委谓伪喂 蠈蟿喂 蟺蔚蟻喂苇蠂蔚喂 蟺慰位位维 渭慰谓慰蟺维蟿喂伪 蠁伪谓蔚蟻维 魏伪喂 魏蟻蠀蠁维 蟿伪 慰蟺慰委伪 慰未畏纬慰蠉谓 蟽蔚 尾伪胃喂苇蟼, 蟽魏慰蟿蔚喂谓苇蟼 魏伪喂 未蠀蟽维蟻蔚蟽蟿蔚蟼 蟺蔚蟻喂慰蠂苇蟼 蟿慰蠀 蔚伪蠀蟿慰蠉 渭伪蟼.
螘委谓伪喂 畏 未喂蔚蟻蔚蠉谓畏蟽畏 伪谓维渭蔚蟽伪 蟽蟿伪 喂未伪谓喂魏维 魏伪喂 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪.
螘委谓伪喂 畏 伪谓蟿伪谓维魏位伪蟽畏 蠁蠅蟿蠈蟼 蟽蔚 渭喂伪 魏伪蟿维渭伪蠀蟻畏 蠄蠀蠂萎 蟺慰蠀 伪蟺慰蟽蠉蟻蔚蟿伪喂 魏伪喂 尾伪蟽伪谓委味蔚蟿伪喂 蠅蟼 蟿畏 位蠉蟿蟻蠅蟽畏.
螜蟽蠂蠀蟻苇蟼 喂未苇蔚蟼 蟽蔚 蟺蔚蟻喂慰蠂苇蟼 蟿慰蠀 伪谓胃蟻蠋蟺喂谓慰蠀 谓慰蠀 蟺慰位蠉 未蠉蟽尾伪蟿蔚蟼.
韦苇位慰蟼, 蔚喂谓伪喂 畏 魏伪胃慰位喂魏蠈蟿畏蟿伪 蟿畏蟼 纬蟻伪蠁萎蟼, 蟺伪蟻蠈位慰 蟺慰蠀 畏 喂蟽蟿慰蟻委伪 尾伪蟽委味蔚蟿伪喂 蟽蔚 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 魏伪喂 喂未喂伪委蟿蔚蟻慰 蟿蠈蟺慰 魏伪喂 蠂蟻蠈谓慰, 慰喂 喂未苇蔚蟼 蟺慰蠀 蟺蟻伪纬渭伪蟿蔚蠉蔚蟿伪喂 未蔚谓 蟺蔚蟻喂慰蟻委味慰谓蟿伪喂 蟽蔚 蠂蠅蟻慰蠂蟻慰谓喂魏维 魏伪位慰蠉蟺喂伪.
螠蔚 蟽蠀纬魏位蠈谓喂蟽蔚 畏 蟽蟿喂纬渭萎 蟺慰蠀 畏 伪蟽魏畏蟿喂魏萎 蠄蠀蠂萎 蟿慰蠀 螡慰蠀蟻慰蠀谓蟿委谓 蟽蟺维蔚喂 渭蔚 慰蟻渭萎 魏伪喂 慰蟻纬萎 蟿慰蠀蟼 蟺蔚蟻喂慰蟻喂蟽渭慰蠉蟼 魏伪喂 胃蟻畏谓蔚委 蟽蟺伪蟻伪魏蟿喂魏维, 慰蠀蟻位喂锟斤拷味慰谓蟿伪蟼 伪蟺慰 蟿慰谓 蟺蠈谓慰 蟿慰蠀 胃伪谓维蟿慰蠀 渭苇蟽伪 蟽蟿畏谓 蔚魏魏位畏蟽委伪.
螆谓伪 渭谓畏渭蔚喂蠋未蔚蟼 未蟻维渭伪 蟿蟻慰渭伪魏蟿喂魏萎蟼 蟽畏渭伪蟽委伪蟼.
韦慰 尾喂尾位委慰 蟿蔚位蔚喂蠋谓蔚喂 渭蔚 渭喂伪 伪蟺蟻蠈尾位蔚蟺蟿畏 渭伪 伪谓伪蟺蠈蠁蔚蠀魏蟿畏 蟽魏畏谓萎 蠁蟻委魏畏蟼.
螠喂伪 蔚尉伪委蟽喂伪 魏伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏萎 蠁蟻委魏畏 蟺慰蠀 渭蔚 苇魏伪谓蔚 谓伪 尉伪谓伪未喂伪尾维蟽蠅 伪蟻魏蔚蟿苇蟼 蠁慰蟻苇蟼 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟽蔚位委未伪...
馃懗馃徎鈥嶁檪锔忦煓忦煆烩槤馃徎馃槇
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
July 27, 2020
"賰賳鬲 兀毓鬲賯丿 兀賳 丕賱毓丿賱 囟乇賵乇丞"
賴匕丕 賲丕 賰丕賳 賷毓鬲賯丿賴 丕賱卮賷禺 兀丨賲丿 賳賵乇 丕賱丿賷賳 丕賱丿乇賵賷卮
丕賱匕賷 賷毓乇賮 丕賱丨賯 賱賰賳賴 賱丕 賷毓乇賮 賰賷賮 賷丿丕賮毓 毓賳賴
賵賷丨夭賳 賱賱馗賱賲 賵賱丕 賷毓乇賮 賰賷賮 賷爻毓賶 賱賱丨氐賵賱 毓賱賶 丕賱毓丿賱
鬲丨鬲噩夭 丕賱爻賱胤丞 兀禺賵賴 亘丿賵賳 賵噩賴 丨賯, 賵賷鬲乇丿丿 賮賷 毓賲賱 賲丕 賷噩亘 毓賱賷賴 毓賲賱賴 賱廿賳賯丕匕賴
賮賴賱 丕賱毓丿丕賱丞 賱丕亘丿 兀賳 鬲鬲丨賯賯 亘賵爻丕卅賱 賵兀爻丕賱賷亘 賳夭賷賴丞 賵爻賱賷賲丞責
賷亘丿兀 賮賷 丕賰鬲卮丕賮 丨賯賷賯丞 丕賱丨賷丕丞 賵丕賱賳丕爻, 賵丕賱兀賴賲 丕賰鬲卮丕賮 賳賮爻賴 亘賰賱 賲丕 賮賷賴丕 賲賳 囟毓賮 賵丨賷乇丞 賵鬲爻丕丐賱丕鬲
賲丕匕丕 賷丨丿孬 亘毓丿 兀賳 賷氐賱 丕賱丿乇賵賷卮 賱賱爻賱胤丞責 賴賱 賷丨賰賲 賱氐丕賱丨 賳賮爻賴 兀賲 賷丨鬲賰賲 賱賱毓丿丕賱丞 賵丕賱囟賲賷乇
兀賮賰丕乇 賵賲賵囟賵毓丕鬲 賰孬賷乇丞 鬲毓乇囟賴丕 丕賱乇賵丕賷丞, 丕賱毓丿賱, 鬲亘乇賷乇 丕賱爻賱胤丞 賱賱馗賱賲, 丕賱氐丿丕賯丞, 丕賱禺賷丕賳丞, 丕賱囟毓賮 丕賱丕賳爻丕賳賷, 賴賱 丕賱兀賮囟賱 賲毓乇賮丞 丕賱丨賯丕卅賯 兀賲 丕賱噩賴賱 亘賴丕責
丕賱賰丕鬲亘 賷乇賰夭 毓賱賶 丕賱賳賮爻 亘賰賱 兀丨賵丕賱賴丕 賵鬲賯賱亘丕鬲賴丕, 賵丕毓鬲乇丕賮 丕賱丕賳爻丕賳 亘兀禺胤丕丐賴 賵夭賱丕鬲賴 亘賵囟賵丨 賵亘丿賵賳 鬲噩賲購賱
毓賲賱 睾賷乇 毓丕丿賷 賱賰丕鬲亘 賲賳 丕賱亘賵爻賳丞 賲丨賲丿 賲賷卮丕 爻賱賷賲賵賮賷鬲卮
噩賲丕賱 賮賷 丕賱賱睾丞 賵丕賱兀爻賱賵亘, 賵丕賱鬲乇噩賲丞 乇丕卅毓丞
賴匕丕 賲丕 賰丕賳 賷毓鬲賯丿賴 丕賱卮賷禺 兀丨賲丿 賳賵乇 丕賱丿賷賳 丕賱丿乇賵賷卮
丕賱匕賷 賷毓乇賮 丕賱丨賯 賱賰賳賴 賱丕 賷毓乇賮 賰賷賮 賷丿丕賮毓 毓賳賴
賵賷丨夭賳 賱賱馗賱賲 賵賱丕 賷毓乇賮 賰賷賮 賷爻毓賶 賱賱丨氐賵賱 毓賱賶 丕賱毓丿賱
鬲丨鬲噩夭 丕賱爻賱胤丞 兀禺賵賴 亘丿賵賳 賵噩賴 丨賯, 賵賷鬲乇丿丿 賮賷 毓賲賱 賲丕 賷噩亘 毓賱賷賴 毓賲賱賴 賱廿賳賯丕匕賴
賮賴賱 丕賱毓丿丕賱丞 賱丕亘丿 兀賳 鬲鬲丨賯賯 亘賵爻丕卅賱 賵兀爻丕賱賷亘 賳夭賷賴丞 賵爻賱賷賲丞責
賷亘丿兀 賮賷 丕賰鬲卮丕賮 丨賯賷賯丞 丕賱丨賷丕丞 賵丕賱賳丕爻, 賵丕賱兀賴賲 丕賰鬲卮丕賮 賳賮爻賴 亘賰賱 賲丕 賮賷賴丕 賲賳 囟毓賮 賵丨賷乇丞 賵鬲爻丕丐賱丕鬲
賲丕匕丕 賷丨丿孬 亘毓丿 兀賳 賷氐賱 丕賱丿乇賵賷卮 賱賱爻賱胤丞責 賴賱 賷丨賰賲 賱氐丕賱丨 賳賮爻賴 兀賲 賷丨鬲賰賲 賱賱毓丿丕賱丞 賵丕賱囟賲賷乇
兀賮賰丕乇 賵賲賵囟賵毓丕鬲 賰孬賷乇丞 鬲毓乇囟賴丕 丕賱乇賵丕賷丞, 丕賱毓丿賱, 鬲亘乇賷乇 丕賱爻賱胤丞 賱賱馗賱賲, 丕賱氐丿丕賯丞, 丕賱禺賷丕賳丞, 丕賱囟毓賮 丕賱丕賳爻丕賳賷, 賴賱 丕賱兀賮囟賱 賲毓乇賮丞 丕賱丨賯丕卅賯 兀賲 丕賱噩賴賱 亘賴丕責
丕賱賰丕鬲亘 賷乇賰夭 毓賱賶 丕賱賳賮爻 亘賰賱 兀丨賵丕賱賴丕 賵鬲賯賱亘丕鬲賴丕, 賵丕毓鬲乇丕賮 丕賱丕賳爻丕賳 亘兀禺胤丕丐賴 賵夭賱丕鬲賴 亘賵囟賵丨 賵亘丿賵賳 鬲噩賲購賱
毓賲賱 睾賷乇 毓丕丿賷 賱賰丕鬲亘 賲賳 丕賱亘賵爻賳丞 賲丨賲丿 賲賷卮丕 爻賱賷賲賵賮賷鬲卮
噩賲丕賱 賮賷 丕賱賱睾丞 賵丕賱兀爻賱賵亘, 賵丕賱鬲乇噩賲丞 乇丕卅毓丞
June 5, 2021
Najljep拧e bi bilo ono 拧to je nemogu膰e, vratiti se u taj san, u nesaznano djetinjstvo, u za拧ti膰eno bla啪enstvo toplog i tamnog praizvora.
Kada jednom Selimovi膰ev brat bude uhap拧en i izru膷en od strane okupatorskih snaga, Selimovi膰a vi拧e ni拧ta ne膰e zaustaviti da u trojakoj ulozi (sudija, svjedok i tu啪eni) pomogne bratu i sazna njegovu ili sopstvenu krivicu. Od tada on ulazi u kovitlac obmane, u jedno 啪ivotno okru啪enje sa svim njegovim pojavama i promjenama. Tokom 膷itanja ove knjige imao sam osje膰aj da je Selimovi膰evo djelo jedna stijena koja se uru拧ava, a 膷ije komadi膰e on sakuplja, ne bi li ih takve uklopio u supstancu svijeta. Ideal romana naginje ka nihilizmu i kroz vjeru utire put ka istinskom 啪ivotu. Njegov junak Ahmed Nurudin, koji u sebi nosi bratovljevu i ljudsku 啪al, poput Antigone se bori izme膽u bo啪anskih i ljudskih zakona. On uvi膽a i拧膷a拧enost svijeta i 膷esto sebe nalazi u moralnoj dilemi. Selimovi膰 sa jednom pedantno拧膰u isti膷e psiholo拧ko-analiti膷ki odnos glavnog junaka prema svijetu, prosu膽uju膰i njegove vrijednosti i manifestacije. Sklon introspekciji, Selimovi膰 preispituje ljudska srca, saznanje i pravi put. 鈥淒ervi拧 i smrt鈥� sa sobom nosi tanane peripetije i zahtjeva strpljenje, nagra膽uju膰i 膷itaoca promi拧ljenim sentencama.
March 6, 2017
I opet 5+
Svaki put na膽em novi smisao i svaki put me jo拧 vi拧e odu拧evi ovo maestralno djelo.
Svaki put na膽em novi smisao i svaki put me jo拧 vi拧e odu拧evi ovo maestralno djelo.
August 24, 2020
賷購毓乇賮 毓賳 丕賱丿賾乇丕賵賷卮賽 賰孬乇丞購 氐賲鬲賽賴賽賲 賵禺賮賾丞 馗賱賾賴賲, 賵賰孬乇丞賻 爻丕毓丕鬲賽 爻賰賵賳賽賴賲 賵賵賻賮乇丞購 鬲兀賲賾賱丕鬲賽賴賲 賵氐賱賵丕鬲賽賴賲, 廿賱賾丕 兀賳賾賴 賲賳 丕賱賲賻卮賴賵乇賽 賳賽爻賷丕賳購
丕賱丨賽賰賲丞 丕賱賯丕卅賱丞賽 亘兀賳賾 丕賱廿賳爻丕賳賻 丕亘賳購 丕賱賵賯鬲賽, 賵 兀賳賻賾 賲賻丕 賷購馗賴賽乇購賴購 丕賱廿賳爻丕賳購 丕賱爻賾丕賰賳 毓賱賶 噩賵丕乇丨賽賴賽 賲賳 爻賱丕賲賺 賵丕胤賲卅賳丕賳賺 賲丕 賴賵賻 廿賱賾丕 丿賱賷賱賹 毓賱賶 睾賽賳賶賸 賵毓購賲賯賺 丿丕禺賱賷賺賾 賯賱賾賲丕 賷乇丕賴購 賲賳 賷賻賯賮賽 毓賱賶 毓丕賱賲賽 丕賱鬲賾丨乇賾賰丕鬲 丕賱毓囟賱賷賾丞 賵丕賱毓購賳賮賵丕賳賽 丕賱禺丕乇噩賷賾.
賮丕丨匕賻乇 賲賽賲賾賳 賷購亘賴賽乇購賰 亘賽爻賰賵賳賽 丨乇賻賰鬲賽賴賽 賵乇賯賾丞賽 賳馗賻乇丕鬲賽賴, 賮賯賻丿 賷賰賵賳購 匕丕賰賻 賲賳 丿賻賵丕賴賷 丕賱禺賻賱賯賽!
睾賻乇賻亘賻鬲 丕賱卮賾賲爻購 毓賱賶 賲丿賷賳丞賽 丕賱賯氐亘丞, 賯乇賷丞賹 賲賳 賯乇賶 丕賱賲毓賲賵乇丞賽 丕賱亘賵卮賳丕賯賷賾丞, 丨賷孬購 賷賲乇賾 賴賵丕亍 賳賴乇賽 丕賱爻丕賮丕 賵鬲購賲胤乇 賯胤乇丕鬲賽 亘丨乇 丕賱亘賻賳賻丕丿賯丞 亘賻毓丿賻 鬲亘禺賾乇賴丕 氐毓賵丿丕賸 丕賱賶 爻賲丕亍賽 丕賱兀乇囟賺, 氐毓賵丿丕賸 賷購卮丕亘賴 賮賷 氐賵乇鬲賽賴賽 賵馗賱賾賴 氐購毓賵丿賻 丕賱兀乇賵丕丨賽 丕賱賲毓匕賾亘丞 賱兀賴賱 丕賱亘賻賱賯丕賳賽 賮賷 匕丕賰賻 丕賱夭賾賲賳, 賮兀丨丿丕孬購 乇賵丕賷鬲賳丕 賮賷 丕賱賯乇賳 丕賱鬲丕爻毓 毓卮乇 丕賱丿賾賲賵賷, 鬲丨鬲 爻購賱胤丕賳賽 丌賱 毓購孬賲丕賳 賵毓賱賶 丨丿賵丿賽 丌賱 丕賱賴丕亘爻亘賵乇睾 丨購賰賾丕賲 丕賱賳賾賲爻丕, 賮賲丕 賴匕丕 丕賱夭賾賲賳 賵賲丕 賴匕丕 丕賱賲賰丕賳購 廿賱賾丕 賲賵囟賽毓丕賸 丨賯賷賯賷賾丕賸 賱毓氐乇賽 "丕賱丨購亘賾 賵丕賱丨乇亘".
廿賳賾賴 丕賱卮賾賷禺 兀丨賲賻丿 賳賵乇購 丕賱丿賾賷賳, 卮賷禺購 丕賱鬲賾賰賷丞 丕賱賲賵賱賵賷賾丞, 丕賱賾丿乇賵賷卮購 賮賷 賱亘賾賴 賵賯丕賱亘賽賴賽 賵乇噩購賱購 丕賱丿賷賳賽 丕賱兀賵賾賱 (賲乇鬲亘丞賸 賱丕 乇賯賻賲賻丕賸) 賮賷 賲丿賷賳丞賽 丕賱賯氐亘丞, 丕賱乇賾噩賱 丕賱匕賷 賲賳 禺賱丕賱賽賴 賷丨賰賷 丕賱賰丕鬲賽亘購 乇賵丕賷賻鬲賴 賵賷賯購氐賾 亘賴丕 賯氐賾鬲賴, 毓賱賶 胤乇賷賯丞 丕賱賲賵賳賵賱賵噩 賷匕賵亘購 丕賱賰丕鬲亘購 賮賷 卮禺氐賷賾丞 丕賱丿乇賵賷卮 賵賷購丿禺賱購 丕賱賯丕乇卅賻 賮賷 毓丕賱賻賲賽賴賽 丕賱丿賾丕禺賱賷賾.
賲賳 賳丕丨賷丞 丕賱卮禺氐賷賾丕鬲 賮丕賱乇賾賵丕賷丞 賵丕賯毓賷賾丞賹 兀卮丿賾 丕賱賵丕賯毓賷賾丞, 亘丿亍丕賸 賲賳 丕賱卮賷禺賽 兀丨賲丿 賳賵乇 丕賱丿賾賷賳 丨鬲賶 兀賰孬乇 丕賱卮賾禺氐賷賾丕鬲 賴丕賲卮賷賾丞賸, 賮兀賻賴賱購 賲丿賷賳丞"丕賱賯氐亘丞" 賷購賲賻孬賾賱賵賳 賮卅丕鬲丕賸 丕噩鬲賲丕毓賷賾丞賸 賳毓乇賮購賴丕 賮賷 丨賷丕鬲賳丕 丕賱賷賵賲賷賾丞, 賮丕賱鬲賾丕噩乇購 賵丕賱賯丕囟賷 賵丕賱卮賷禺購 賵丕賱賲購賳賮鬲丨購 毓賱賶 睾賷乇賴賽 賵丕賱賲購賳睾賱賯賽 毓賱賶 賳賮爻賽賴, 賰賱賾賴賲 賲賳 賵噩賴丞 賳馗乇賽 丕賱卮禺氐賷賾丞 丕賱丕賳胤賵丕卅賷賾丞 丕賱卮賷禺 兀丨賲丿 賳賵乇 丕賱丿賷賳.
賴賷 鬲乇丕噩賷丿賷丕 丕賱廿賳爻賻丕賳 丕賱賲購賳胤賵賷, 兀賵 賮賻賯購賱, 鬲乇丕噩賷丿賷丕 丕賱廿賳爻丕賳賽 丕賱毓丕卅卮購 毓賱賶 亘乇夭禺賽 丕賱賵丕賯毓賷賾丞 賵丕賱賯賽賷賻賲, 賴賷 亘丨賯賾 鬲賮氐賷賱賹 亘丿賷毓賹 賱賽賲丕 賷毓丕賳賷賴賽 丕賱廿賳爻丕賳購 丕賱匕賷 賷賻爻毓賶 賱賱兀禺賱丕賯賷賾丞, 賵賱賰賳 兀賷囟丕賸 賱賱丨賷丕丞賽 賲賳 鬲賻賯賻賱賾亘丕鬲賺 賵賲購毓囟賱丕鬲賺 賷賵賲賷賾丞
丕賱卮賾賷禺 兀丨賲丿購 賳賵乇賽 丕賱丿賾賷賳 賴賵 乇賲夭賹 賱賴匕賴 丕賱賲毓乇賰丞 丕賱丿賾丕禺賱賷賾丞 丕賱鬲賷 匕賰賾乇鬲賳賷 亘丕爻鬲賲乇丕乇賽 亘卮禺氐賷賾丕鬲 丿賵爻鬲賵賷賮爻賰賷 賵賲丕 賷亘乇夭賵賳賴購 賲賳 鬲毓賯賷丿賺 賴賵 賲購鬲兀氐賾賱 賮賷 匕丕鬲賽 賲賳 賷爻毓賶 賱賱鬲賾賲爻賾賰 亘賳馗丕賲賺 兀禺賱丕賯賷賾, 兀賵 賮賷 賲賻賳 賷毓賷卮購 賲毓 囟賲賷乇賺 丨賷賾.
賰賲丕 賱丕 賷購賳爻賶 兀賷囟丕賸 毓購賳氐購乇 丕賱丨亘賰丞 丕賱匕賷 賰丕賳 丕賱賳賾賯胤丞 丕賱兀賰孬賻乇 賳噩丕丨丕賸 賱丿賶 丕賱賰丕鬲亘, 賵賮賷賴丕 賲賳 丕賱鬲賾睾賷賾乇丕鬲賽 賵丕賱鬲賯賱賾亘丕鬲 賲丕 賷購賮丕噩卅 丕賱賯丕乇卅 賵賷爻鬲丿毓賷 丕賴鬲賲丕賲賻賴 禺氐賵氐丕賸 賮賷 丕賱賲卅丞 氐賮丨丞賺 丕賱兀禺賷乇丞賽 丕賱鬲賷 賰丕賳鬲 乇購亘賾賲丕 賲賳 兀賲鬲毓賽 賲丕 賯乇兀鬲購 賮賷 丕賱丌賵賳丞 丕賱兀禺賷乇丞!
乇賵丕賷丞賹 毓賳 丕賱丿賾賷賳賽, 毓賳 丕賱賳賮爻賽, 毓賳 丕賱氐丿丕賯丞賽 賵毓賳 丕賱毓丿丕賵丞, 乇購亘賾賲丕 賮賷賴丕 賲丕 賮賷賴丕 賲賳
鬲賻亘乇賷乇賽 丕賱賰乇丕賴賷賾丞", 賵乇亘賾賲丕 賮賷賴丕 卮賷亍賹 毓賳 毓丿賲賽 鬲亘乇賷乇賽 兀賷賾 卮賷亍, 賵兀賯賵賶 賲丕 賮賷賴丕 賴賷 兀賳賾賴丕 鬲購匕賰賾乇 亘丕賱丌賷丞 丕賱賯乇丌賳賷丞 丕賱禺丕賱丿丞賽"
"賵賻賰丕賳賻 丕賱廿賳爻丕賳購 兀賰孬賻乇賻 卮賷亍賺 噩丿賱丕賸"
賴丕 賯賻丿 鬲賻丨丿賾鬲賳丕 毓賳賽 丕賱丿賾乇賵賷卮賽, 賵賻賱賰賳, 賲賻丕匕丕 毓賳賽 丕賱賲賻賵鬲責
October 25, 2020
Ovaj roman sam 膷itala vi拧e od mjesec dana, ali sam u啪ivala u svakoj njegovoj stranici. Ovaj je roman kao tamna 膷okolada najvi拧e kvalitete, gorka, predivne arome, koju ne mo啪ete pro啪drijeti u jednom trpanju usta. Ovo nije pre拧e膰erena Milka 膷okolada koju se pro啪dre u dva zagriza. Ovo je kvaliteta koja se ku拧a zagriz po zagriz, koja ispunjava usta i nosnice svojom aromom u jednom zagrizu.
Ali dosta analogije s 膷okoladom.
Ulaze膰i u ovaj roman, nisam znala kako 膰e me se dojmiti. Toliko sam citata nailazila na internetu Selimovi膰evih i vidim da su mnogi od njih bili i potpuno iskrivljeni bez konteksta. Ipak, mogu re膰i da Selimovi膰 zaslu啪uje sve hvale na koje sam ikada nai拧la i da je ovo djelo predivno, duboko, istran膷ano istra啪ivanje psihe jednoga lika koji propada, koji gubi slojeve nevinosti i dobrote i postaje sve nesretniji i hladniji. Ovo je dubina, slojevitost, a pro拧lost lika saznajemo na samome kraju. Upoznali smo ga, pratili kroz njegov 啪ivot, a na samome kraju otkrivamo njegove po膷etke. I 啪alimo ga jer u njemu prepoznajemo sebe i kamo i nas 啪ivot mo啪e odvesti, koliko 啪ivotne prilike ni拧te 膷ovjekovu dobrotu i 膷ine ga hladnim, te拧kim i nezainteresiranim.
Mislim da je ovo roman koji bi ba拧 svatko trebao pro膷itati.
Ali dosta analogije s 膷okoladom.
Ulaze膰i u ovaj roman, nisam znala kako 膰e me se dojmiti. Toliko sam citata nailazila na internetu Selimovi膰evih i vidim da su mnogi od njih bili i potpuno iskrivljeni bez konteksta. Ipak, mogu re膰i da Selimovi膰 zaslu啪uje sve hvale na koje sam ikada nai拧la i da je ovo djelo predivno, duboko, istran膷ano istra啪ivanje psihe jednoga lika koji propada, koji gubi slojeve nevinosti i dobrote i postaje sve nesretniji i hladniji. Ovo je dubina, slojevitost, a pro拧lost lika saznajemo na samome kraju. Upoznali smo ga, pratili kroz njegov 啪ivot, a na samome kraju otkrivamo njegove po膷etke. I 啪alimo ga jer u njemu prepoznajemo sebe i kamo i nas 啪ivot mo啪e odvesti, koliko 啪ivotne prilike ni拧te 膷ovjekovu dobrotu i 膷ine ga hladnim, te拧kim i nezainteresiranim.
Mislim da je ovo roman koji bi ba拧 svatko trebao pro膷itati.
February 27, 2022
Do sada sam od Selimovi膰a 膷itao samo Za i protiv Vuka (dva puta) i mnogo volim tu knjigu.
"Dervi拧 i smrt" sam poku拧avao da 膷itam u srednjoj - nisam prebacio ni 30 strana. Bilo mi je te拧ko, sporo, tra啪io sam akciju koju nisam pronalazio - a u romanu je zapravo ima koliko ho膰e拧! Generalno smatram da mnoga dela iz kanona nisu pogodna za 膷itanje u periodu izme膽u 14 i 18 godina, kad ste jo拧 uvek dete i stvarno mnoge ina膷e vrhunske knjige mogu da vam ne zna膷e apsolutno ni拧ta, pa da 膷ak steknete i averziju prema mnogim autorima i delima ako ne i prema 膷itavoj knji啪evnosti.
Pogo膽en li膷nom tragedijom, smr膰u mog dede, kada sam do拧ao u rodni grad, uzeo sam ovu knjigu sa police da vidim kako je Me拧a tugovao za svojim bratom i prona膽em neke odgovore i utehu za sebe.
Knjiga je neverovatna. Jedna od retkih koje kao da se ti膷u celog sveta. Poput svetih spisa. Mo啪da tome poma啪e i podtekst iz Kurana, ali imamo tolike primere knjiga sa tematikom iz svetih knjiga koje ipak nisu ni blizu takve sakralne snage kao Dervi拧 i smrt.
Tokom 膷itanja prvih stotinak strana, sru拧en mi je stereotip o radnji u romanu koji nekako 啪ivi za sebe, a to je da se knjiga bavi samo filozofskim razmatranjima, preispitivanjima i previranjima u jednom 膷oveku i da je spora. U samom delu ima toliko 膷iste radnje radnje i spolja拧njih doga膽aja koji se odvijaju uporedo sa samom "radnjom" i preumljenjima u svesti Ahmeda Nurudina, da ovo prvo mo啪e da tvrdi samo onaj ko knjigu nikada nije pro膷itao.
Knjiga je tako膽e puna humora svake vrste. Jedan od najja膷ih momenata je kada se kadija i Ahmed Nurudin ga膽aju citatima iz Kurana gde Ahmed Nurudin ka啪e kako se ose膰ao kao da su sve te svete re膷i postojale hiljadu godina samo da bi njih dvojica mogli njima me膽usobno da se bore: "Onda sam i ja zaronio u Kur-an, moj je koliko i njegov, poznajem ga koliko i on, i po膷eo je megdan hiljadu godina starih rije膷i, koje su zamijenile na拧e, sada拧nje, i koje su stvorene zbog mog zatvorenog brata...", a kadija mu na kraju celog tog mu膷nog kuran-dijaloga doda: "- Svrati opet - rekao je ljubazno - Ne vi膽amo se 膷esto."
Sam jezik dela je neverovatan. Kao da nijedna re膷 nije suvi拧na, 拧to je za romane stvarno retka stvar i prosto kao da je moralo ili samo tako da se napi拧e ili uop拧te da ne postoji. Ok, to mo啪e da se ka啪e i za druge velike knjige, ali ovde mi tekst izgleda i odaje utisak kao da stvarno imamo posla sa nekim spoljnim, bo啪anskim nadahnu膰em.
Ovo je i roman o krajnostima i proma拧ajima, o 膷emu govori 膷uveni fejsbuk citat o me膽uprostoru izme膽u starosti i mladosti, koji Ahmed Nurudin sme拧ta u 膷etrdesetu godinu, koliko ih ima on. On ne razume ni stare ni mlade, ali ne razume ni druge dervi拧e. On je onaj koji neposredno komunicira sa bogom, kako i sama njegova titula ka啪e, ali kada je jednom vra膰en u ovozemaljski 啪ivot, on je 膷ovek koji mora ponovo da se rodi i nau膷i sve o svetu ispo膷etka. Tabula rasa ali sa sve拧膰u o gubitku najbli啪e osobe.
U jednom momentu u romanu Ahmed Nurudin govori o sebi i svojim mislima i namerama u mno啪ini i taj deo izgleda mi kao jedno od najstra拧nijih podvajanja, ili je bolje re膰i umno啪avanja identiteta, za koje sam ikada 膷uo. (ne mogu sad da na膽em mesto) Jeza.
Ovo je knjiga o 膷ovekovom odnosu sa drugim pojedincima - bratom, ocem, izma拧tanim ili pravim Ishakom, Hasanom - koji je mo啪da i glavni lik romana, Mula-Jusufom, ali i o nemogu膰nosti 膷ovekovog odnosa sa apstrakcijama kao 拧to su dru拧tvo, pravda, zakon, totalitarni sistem (ovu poslednju sintagmu ne nalazimo tako nazvanu u romanu). 膶ovek je monolo拧ko i dijalo拧ko bi膰e - sve drugo, sve 拧to zahteva odnos vi拧e od dve osobe nepojmljivo je i nemogu膰e za 膷oveka.
Na kraju, prelep je momenat u kojem se Ahmed Nurudin dervi拧-kadija-smrtnik prise膰a devojke iz mladosti i stvara je od prirode kako bi poslednji put razgovarao sa njom:
"Ne 啪alim, svejedno je, a dozivam njenu sjenu, njen nestali lik, da se oprostim, posljednji put, da je ostavim jo拧 jednom.
I uspio sam da je prizovem, da je stvorim od zelenog 拧iblja, od odsjaja vode, od sun膷eva svjetla.
Stajala je, daleka, sva od sjena. Ako se da拧ak vetra javi, nesta膰e."
Poezija. To su svi odgovori i sva uteha koju sam na拧ao.
Ne znam da li ima 5 knjiga ovakve snage da sam ih pro膷itao u 啪ivotu, ali ako budem nai拧ao na jo拧 5 ovakvih knjiga, smatra膰u da sam prona拧ao svoju zlatnu pticu.
"Dervi拧 i smrt" sam poku拧avao da 膷itam u srednjoj - nisam prebacio ni 30 strana. Bilo mi je te拧ko, sporo, tra啪io sam akciju koju nisam pronalazio - a u romanu je zapravo ima koliko ho膰e拧! Generalno smatram da mnoga dela iz kanona nisu pogodna za 膷itanje u periodu izme膽u 14 i 18 godina, kad ste jo拧 uvek dete i stvarno mnoge ina膷e vrhunske knjige mogu da vam ne zna膷e apsolutno ni拧ta, pa da 膷ak steknete i averziju prema mnogim autorima i delima ako ne i prema 膷itavoj knji啪evnosti.
Pogo膽en li膷nom tragedijom, smr膰u mog dede, kada sam do拧ao u rodni grad, uzeo sam ovu knjigu sa police da vidim kako je Me拧a tugovao za svojim bratom i prona膽em neke odgovore i utehu za sebe.
Knjiga je neverovatna. Jedna od retkih koje kao da se ti膷u celog sveta. Poput svetih spisa. Mo啪da tome poma啪e i podtekst iz Kurana, ali imamo tolike primere knjiga sa tematikom iz svetih knjiga koje ipak nisu ni blizu takve sakralne snage kao Dervi拧 i smrt.
Tokom 膷itanja prvih stotinak strana, sru拧en mi je stereotip o radnji u romanu koji nekako 啪ivi za sebe, a to je da se knjiga bavi samo filozofskim razmatranjima, preispitivanjima i previranjima u jednom 膷oveku i da je spora. U samom delu ima toliko 膷iste radnje radnje i spolja拧njih doga膽aja koji se odvijaju uporedo sa samom "radnjom" i preumljenjima u svesti Ahmeda Nurudina, da ovo prvo mo啪e da tvrdi samo onaj ko knjigu nikada nije pro膷itao.
Knjiga je tako膽e puna humora svake vrste. Jedan od najja膷ih momenata je kada se kadija i Ahmed Nurudin ga膽aju citatima iz Kurana gde Ahmed Nurudin ka啪e kako se ose膰ao kao da su sve te svete re膷i postojale hiljadu godina samo da bi njih dvojica mogli njima me膽usobno da se bore: "Onda sam i ja zaronio u Kur-an, moj je koliko i njegov, poznajem ga koliko i on, i po膷eo je megdan hiljadu godina starih rije膷i, koje su zamijenile na拧e, sada拧nje, i koje su stvorene zbog mog zatvorenog brata...", a kadija mu na kraju celog tog mu膷nog kuran-dijaloga doda: "- Svrati opet - rekao je ljubazno - Ne vi膽amo se 膷esto."
Sam jezik dela je neverovatan. Kao da nijedna re膷 nije suvi拧na, 拧to je za romane stvarno retka stvar i prosto kao da je moralo ili samo tako da se napi拧e ili uop拧te da ne postoji. Ok, to mo啪e da se ka啪e i za druge velike knjige, ali ovde mi tekst izgleda i odaje utisak kao da stvarno imamo posla sa nekim spoljnim, bo啪anskim nadahnu膰em.
Ovo je i roman o krajnostima i proma拧ajima, o 膷emu govori 膷uveni fejsbuk citat o me膽uprostoru izme膽u starosti i mladosti, koji Ahmed Nurudin sme拧ta u 膷etrdesetu godinu, koliko ih ima on. On ne razume ni stare ni mlade, ali ne razume ni druge dervi拧e. On je onaj koji neposredno komunicira sa bogom, kako i sama njegova titula ka啪e, ali kada je jednom vra膰en u ovozemaljski 啪ivot, on je 膷ovek koji mora ponovo da se rodi i nau膷i sve o svetu ispo膷etka. Tabula rasa ali sa sve拧膰u o gubitku najbli啪e osobe.
U jednom momentu u romanu Ahmed Nurudin govori o sebi i svojim mislima i namerama u mno啪ini i taj deo izgleda mi kao jedno od najstra拧nijih podvajanja, ili je bolje re膰i umno啪avanja identiteta, za koje sam ikada 膷uo. (ne mogu sad da na膽em mesto) Jeza.
Ovo je knjiga o 膷ovekovom odnosu sa drugim pojedincima - bratom, ocem, izma拧tanim ili pravim Ishakom, Hasanom - koji je mo啪da i glavni lik romana, Mula-Jusufom, ali i o nemogu膰nosti 膷ovekovog odnosa sa apstrakcijama kao 拧to su dru拧tvo, pravda, zakon, totalitarni sistem (ovu poslednju sintagmu ne nalazimo tako nazvanu u romanu). 膶ovek je monolo拧ko i dijalo拧ko bi膰e - sve drugo, sve 拧to zahteva odnos vi拧e od dve osobe nepojmljivo je i nemogu膰e za 膷oveka.
Na kraju, prelep je momenat u kojem se Ahmed Nurudin dervi拧-kadija-smrtnik prise膰a devojke iz mladosti i stvara je od prirode kako bi poslednji put razgovarao sa njom:
"Ne 啪alim, svejedno je, a dozivam njenu sjenu, njen nestali lik, da se oprostim, posljednji put, da je ostavim jo拧 jednom.
I uspio sam da je prizovem, da je stvorim od zelenog 拧iblja, od odsjaja vode, od sun膷eva svjetla.
Stajala je, daleka, sva od sjena. Ako se da拧ak vetra javi, nesta膰e."
Poezija. To su svi odgovori i sva uteha koju sam na拧ao.
Ne znam da li ima 5 knjiga ovakve snage da sam ih pro膷itao u 啪ivotu, ali ako budem nai拧ao na jo拧 5 ovakvih knjiga, smatra膰u da sam prona拧ao svoju zlatnu pticu.
December 2, 2011
Svjesna sam da ce ovaj osvrt biti u potpunoj opreci ocjeni 鈽呪槄鈽呪槄鈽� koja je navedena povi拧e, ali samo vrhunska knjiga mo啪e potresti osjecaje toliko da je zavolis ili zamrzis.
Citajuci pocetak i primjecujuci gotovo ludjacku opsjednutost grijehom koja je izvirala iz glevnog lika, sjetila sam se svih ljudi koji su mi knjigu preporucili ili pohvalili. Tko je tu lud? Pisac, oni ili ja? Toliko je realno lik docaran.
Realan ili ne, prezirem ga svakom strunom svog, nadam se, zdravog razuma. Optereceno, nezahvalno djubre i izdajica, daleko od svecane andjeoske slike koju stavlja predase i njome se opravdava. "...moj moral..." Pih! Da nije strahovao od osude, ne bi djelovao. Pustio bi svijet da trune. I takav se, svejedno, smatrao visim od drugih, trazeci dokaze u trenucima svoje lucidnosti. Dragi, to sto si jednom duboko udahnuo i svatio da je zrak hladan, ne daje ti dovoljno da opises kakva je zima bila.
I onda se zaplece u vlastite misli, jer, tesko je mrziti kukavice i biti jedna, tesko je prezirati nasilnike i takvim se pokazati. Tesko je sebe razocarati. I onda se zaplice u misli umjesto da se mijenja.
Zar nismo svi?
Ne razumijem ga, ne opravdavam ga, prezirem ga s gadjenjem. Ne prepoznajem njegove strahove i ne prepoznajem njegove misli kao svoje. Ali isto me potresaju i ne daju mi mira.
Vrhunski pisac, vrhunska knjiga. Mrzit cu je dugo.
Citajuci pocetak i primjecujuci gotovo ludjacku opsjednutost grijehom koja je izvirala iz glevnog lika, sjetila sam se svih ljudi koji su mi knjigu preporucili ili pohvalili. Tko je tu lud? Pisac, oni ili ja? Toliko je realno lik docaran.
Realan ili ne, prezirem ga svakom strunom svog, nadam se, zdravog razuma. Optereceno, nezahvalno djubre i izdajica, daleko od svecane andjeoske slike koju stavlja predase i njome se opravdava. "...moj moral..." Pih! Da nije strahovao od osude, ne bi djelovao. Pustio bi svijet da trune. I takav se, svejedno, smatrao visim od drugih, trazeci dokaze u trenucima svoje lucidnosti. Dragi, to sto si jednom duboko udahnuo i svatio da je zrak hladan, ne daje ti dovoljno da opises kakva je zima bila.
I onda se zaplece u vlastite misli, jer, tesko je mrziti kukavice i biti jedna, tesko je prezirati nasilnike i takvim se pokazati. Tesko je sebe razocarati. I onda se zaplice u misli umjesto da se mijenja.
Zar nismo svi?
Ne razumijem ga, ne opravdavam ga, prezirem ga s gadjenjem. Ne prepoznajem njegove strahove i ne prepoznajem njegove misli kao svoje. Ali isto me potresaju i ne daju mi mira.
Vrhunski pisac, vrhunska knjiga. Mrzit cu je dugo.
April 19, 2024
孬賲丞 亘匕乇丞 卮乇 賮賷 賰賱 賲賳丕貙 鬲賳賲賵 賵鬲夭丿賴乇 賰賱賲丕 爻賯丕賴丕 丕賱兀卮禺丕氐 賵丕賱馗乇賵賮 亘賲丕 賷乇賵賷賴丕 賲賳 丕賱兀賱賲 賵丕賱兀丨賯丕丿. 賵賷亘賯賶 丕賱爻丐丕賱: 賴賱 丕賱亘卮乇 禺賷乇賵賳 亘胤亘賷毓鬲賴賲 兀賲 兀卮乇丕乇 賷丨丕賵賱賵賳 丕賱賲囟賷 賮賷 胤乇賷賯 丕賱氐賵丕亘責
丕賱丿乇賵賷卮 賵丕賱賲賵鬲 乇賵丕賷丞 賱賲賷卮丕 爻賱賷賲賵賮賷鬲卮貙 亘丨孬鬲 毓賳賴丕 胤賵賷賱丕賸 賳馗乇丕賸 賱噩丕匕亘賷丞 丕賱丕爻賲 賵賰賵賳賴丕 鬲賳鬲賲賷 賱丿賵賱丞 賱賲 兀賯乇兀 毓賳 兀丿亘賴丕 賲賳 賯亘賱. 鬲丿賵乇 兀丨丿丕孬 丕賱乇賵丕賷丞 丨賵賱 丿乇賵賷卮 賷賵丕噩賴 氐毓賵亘丞 賮賷 丕賱鬲賲爻賰 亘賲亘丕丿卅賴 毓賳丿 賵賯賵毓 兀禺賷賴 賮賷 丕賱兀爻乇 賵鬲氐丕丿賲賴 賲毓 丕賱爻賱胤丕鬲 丕賱賲丨賱賷丞. 賮丕噩卅鬲賳賷 丕賱賳爻禺丞 丕賱鬲賷 丨氐賱鬲 毓賱賷賴丕 亘丨噩賲賴丕 丕賱睾乇賷亘 -鬲賯乇賷亘丕 賵乇賯 賲賯丕爻 A4- 賵丕賱胤亘丕毓丞 丕賱賯丿賷賲丞 賵丕賱氐賮丨丕鬲 丕賱鬲賷 鬲賱鬲賴賲 丕賱賴賵丕賲卮 賲賳賴丕 丨賷夭丕賸 賰亘賷乇丕賸. 賯乇乇鬲 兀賳賴丕 鬲囟賷賮 賱鬲賳賵毓 賲賰鬲亘鬲賷 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴丕 賰丕賳鬲 孬賯賷賱丞 賵賲乇賴賯丞 毓賳丿 丕賱賯乇丕亍丞.
賮賷 丕賱賵丕賯毓 賱賲 鬲賰賳 孬賯賷賱丞 賮賯胤 亘爻亘亘 丨噩賲 丕賱賳爻禺丞貙 賱賰賳賴丕 賰丕賳鬲 賰匕賱賰 兀賷囟丕賸 賱亘胤亍 兀丨丿丕孬賴丕 賵毓丕丿賷丞 丨賵丕乇丕鬲賴丕貙 廿賳 氐丨 丕賱鬲毓亘賷乇. 丕爻鬲睾乇賯鬲 賲賳賷 賵賯鬲丕賸 兀胤賵賱 賲賳 丕賱賱丕夭賲貙 賱賰賳賳賷 賱賲 兀賮賰乇 賮賷 丕賱鬲禺賱賷 毓賳賴丕貙 賮賰賱賲丕 卮毓乇鬲 亘丕賱賲賱賱 賵丕噩賴鬲賳賷 兀丨丿丕孬 賲孬賷乇丞 兀賵 丨賵丕乇 賲賴賲. 賵賴賰匕丕 賵丕氐賱鬲 丨鬲賶 丕賱賳賴丕賷丞.
賴匕丕 賱丕 賷毓賳賷 亘兀賳 丕賱乇賵丕賷丞 賱丕 鬲爻鬲丨賯 丕賱賯乇丕亍丞貙 廿賱丕 兀賳賴丕 鬲鬲胤賱亘 廿賱賶 賯丿乇 賲毓賷賳 賲賳 丕賱氐亘乇. 賵賲丕 賷爻丕毓丿 毓賱賶 匕賱賰 賴賵 丕賱兀噩賵丕亍 丕賱賲賲賷夭丞 賲丕 亘賷賳 丕賱鬲賰賷丞 丕賱氐賵賮賷丞貙 丕賱賲賳丕夭賱 丕賱亘賵爻賳賷丞 賵丕賱賲賳丕馗乇 丕賱乇賷賮賷丞 丕賱賲賵氐賵賮丞. 賴賳丕賰 卮禺氐賷丞 丕賱丿乇賵賷卮 丕賱鬲賷 鬲賯丿賲 賲孬丕賱丕賸 乇丕卅毓丕賸 賱鬲胤賵乇 -兀賵 鬲丿賴賵乇- 丕賱卮禺氐賷丞 毓賱賶 賲丿賶 丕賱賳氐. 兀囟賮 廿賱賶 匕賱賰 卮禺氐賷丞 丨爻賳貙 丕賱毓丕亘孬 丕賱丨賰賷賲 賵丕賱氐丿賷賯 丕賱賵賮賷 丕賱匕賷 賱丕 賷囟乇 兀丨丿丕賸 爻賵賶 賳賮爻賴. 孬賲丞 賲丨丕丿孬丕鬲 噩賷丿丞 毓賳 賵囟毓 丕賱亘賵爻賳丞 賵丕賱亘賵爻賳賷賷賳 賮賷 鬲賱賰 丕賱丨賯亘丞 賲賳 丕賱鬲丕乇賷禺貙 卮匕乇丕鬲 賵噩賵丿賷丞 賵亘毓囟 丕賱鬲兀賲賱丕鬲 賮賷 丕賱賳丕爻 賵丿賵丕賮毓賴賲 賵賳賵丕賷丕賴賲.
賲賳 賵噩賴丞 賳馗乇賷 賱賷爻 孬賲丞 乇丕亘胤 賯賵賷 賲丕 亘賷賳 丕賱毓賳賵丕賳 賵丕賱賳氐. 賮丕賱賯丕乇卅 賯丿 賷鬲賵賯毓 兀賳 丕賱賳氐 賲鬲乇毓 亘丕賱鬲兀賲賱丕鬲 丕賱氐賵賮賷丞 丨賵賱 丕賱賲賵鬲貙 賵毓賱賶 丕賱兀賯賱 賴匕丕 賲丕 丿丕乇 亘禺賱丿賷. 乇亘賲丕 賰丕賳 毓賳賵丕賳 丕賱丿乇賵賷卮 賵丕賱丕賳鬲賯丕賲 兀賰孬乇 賲賱丕卅賲丞 賱賱賳氐 賲賳 丨賷孬 鬲胤賵乇 丕賱兀丨丿丕孬.
丕賱丿乇賵賷卮 賵丕賱賲賵鬲 乇賵丕賷丞 賱賲賷卮丕 爻賱賷賲賵賮賷鬲卮貙 亘丨孬鬲 毓賳賴丕 胤賵賷賱丕賸 賳馗乇丕賸 賱噩丕匕亘賷丞 丕賱丕爻賲 賵賰賵賳賴丕 鬲賳鬲賲賷 賱丿賵賱丞 賱賲 兀賯乇兀 毓賳 兀丿亘賴丕 賲賳 賯亘賱. 鬲丿賵乇 兀丨丿丕孬 丕賱乇賵丕賷丞 丨賵賱 丿乇賵賷卮 賷賵丕噩賴 氐毓賵亘丞 賮賷 丕賱鬲賲爻賰 亘賲亘丕丿卅賴 毓賳丿 賵賯賵毓 兀禺賷賴 賮賷 丕賱兀爻乇 賵鬲氐丕丿賲賴 賲毓 丕賱爻賱胤丕鬲 丕賱賲丨賱賷丞. 賮丕噩卅鬲賳賷 丕賱賳爻禺丞 丕賱鬲賷 丨氐賱鬲 毓賱賷賴丕 亘丨噩賲賴丕 丕賱睾乇賷亘 -鬲賯乇賷亘丕 賵乇賯 賲賯丕爻 A4- 賵丕賱胤亘丕毓丞 丕賱賯丿賷賲丞 賵丕賱氐賮丨丕鬲 丕賱鬲賷 鬲賱鬲賴賲 丕賱賴賵丕賲卮 賲賳賴丕 丨賷夭丕賸 賰亘賷乇丕賸. 賯乇乇鬲 兀賳賴丕 鬲囟賷賮 賱鬲賳賵毓 賲賰鬲亘鬲賷 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴丕 賰丕賳鬲 孬賯賷賱丞 賵賲乇賴賯丞 毓賳丿 丕賱賯乇丕亍丞.
賮賷 丕賱賵丕賯毓 賱賲 鬲賰賳 孬賯賷賱丞 賮賯胤 亘爻亘亘 丨噩賲 丕賱賳爻禺丞貙 賱賰賳賴丕 賰丕賳鬲 賰匕賱賰 兀賷囟丕賸 賱亘胤亍 兀丨丿丕孬賴丕 賵毓丕丿賷丞 丨賵丕乇丕鬲賴丕貙 廿賳 氐丨 丕賱鬲毓亘賷乇. 丕爻鬲睾乇賯鬲 賲賳賷 賵賯鬲丕賸 兀胤賵賱 賲賳 丕賱賱丕夭賲貙 賱賰賳賳賷 賱賲 兀賮賰乇 賮賷 丕賱鬲禺賱賷 毓賳賴丕貙 賮賰賱賲丕 卮毓乇鬲 亘丕賱賲賱賱 賵丕噩賴鬲賳賷 兀丨丿丕孬 賲孬賷乇丞 兀賵 丨賵丕乇 賲賴賲. 賵賴賰匕丕 賵丕氐賱鬲 丨鬲賶 丕賱賳賴丕賷丞.
賴匕丕 賱丕 賷毓賳賷 亘兀賳 丕賱乇賵丕賷丞 賱丕 鬲爻鬲丨賯 丕賱賯乇丕亍丞貙 廿賱丕 兀賳賴丕 鬲鬲胤賱亘 廿賱賶 賯丿乇 賲毓賷賳 賲賳 丕賱氐亘乇. 賵賲丕 賷爻丕毓丿 毓賱賶 匕賱賰 賴賵 丕賱兀噩賵丕亍 丕賱賲賲賷夭丞 賲丕 亘賷賳 丕賱鬲賰賷丞 丕賱氐賵賮賷丞貙 丕賱賲賳丕夭賱 丕賱亘賵爻賳賷丞 賵丕賱賲賳丕馗乇 丕賱乇賷賮賷丞 丕賱賲賵氐賵賮丞. 賴賳丕賰 卮禺氐賷丞 丕賱丿乇賵賷卮 丕賱鬲賷 鬲賯丿賲 賲孬丕賱丕賸 乇丕卅毓丕賸 賱鬲胤賵乇 -兀賵 鬲丿賴賵乇- 丕賱卮禺氐賷丞 毓賱賶 賲丿賶 丕賱賳氐. 兀囟賮 廿賱賶 匕賱賰 卮禺氐賷丞 丨爻賳貙 丕賱毓丕亘孬 丕賱丨賰賷賲 賵丕賱氐丿賷賯 丕賱賵賮賷 丕賱匕賷 賱丕 賷囟乇 兀丨丿丕賸 爻賵賶 賳賮爻賴. 孬賲丞 賲丨丕丿孬丕鬲 噩賷丿丞 毓賳 賵囟毓 丕賱亘賵爻賳丞 賵丕賱亘賵爻賳賷賷賳 賮賷 鬲賱賰 丕賱丨賯亘丞 賲賳 丕賱鬲丕乇賷禺貙 卮匕乇丕鬲 賵噩賵丿賷丞 賵亘毓囟 丕賱鬲兀賲賱丕鬲 賮賷 丕賱賳丕爻 賵丿賵丕賮毓賴賲 賵賳賵丕賷丕賴賲.
賲賳 賵噩賴丞 賳馗乇賷 賱賷爻 孬賲丞 乇丕亘胤 賯賵賷 賲丕 亘賷賳 丕賱毓賳賵丕賳 賵丕賱賳氐. 賮丕賱賯丕乇卅 賯丿 賷鬲賵賯毓 兀賳 丕賱賳氐 賲鬲乇毓 亘丕賱鬲兀賲賱丕鬲 丕賱氐賵賮賷丞 丨賵賱 丕賱賲賵鬲貙 賵毓賱賶 丕賱兀賯賱 賴匕丕 賲丕 丿丕乇 亘禺賱丿賷. 乇亘賲丕 賰丕賳 毓賳賵丕賳 丕賱丿乇賵賷卮 賵丕賱丕賳鬲賯丕賲 兀賰孬乇 賲賱丕卅賲丞 賱賱賳氐 賲賳 丨賷孬 鬲胤賵乇 丕賱兀丨丿丕孬.
December 17, 2018
Real Rating: 3.5* of five
An intense read. Beautiful translated words confronting and comforting the human fear of love by the means of examining the easier-to-grasp fear of death.
I've chosen some favorite phrases and liked them from the quotes. They appear below the review. I think the patience required to read a footnoted and glossary'd read won't allow its subtleties and tremendous pleasures to spread widely among US English-speaking readers.
Make no mistake: Ahmed Nuruddin is you, reader, a man whose loves and One True Love don't mark him out from the herd but place him in the center of it. He doesn't do a single thing that any one of us couldn't do, be it generous or cowardly or divinely inspired. It is simply that we wouldn't tread in his footsteps, wouldn't elect to give ourselves to an ideal in a world without respect for them.
I give the book a paltry rating, based on those comments; I found it necessary to break my reading into smaller bites than I would have liked to do. The feast is so rich, satisfying my word-lust in such short order, that I ended up feeling disconnected by the enforced consumption of many amuse-bouche reads between this book's courses.
I suspect many readers will be defeated by that very need. This is a book that, due to its own delights, ends up unfinished, bookmark poking the piles of paperbacks athwart its spine, a guilty glance sliding past it as the New Year's Resolution cry "I WILL FINISH THIS SHELF!" rings its falsely sincere echoes into our shared shame.
An intense read. Beautiful translated words confronting and comforting the human fear of love by the means of examining the easier-to-grasp fear of death.
I've chosen some favorite phrases and liked them from the quotes. They appear below the review. I think the patience required to read a footnoted and glossary'd read won't allow its subtleties and tremendous pleasures to spread widely among US English-speaking readers.
Make no mistake: Ahmed Nuruddin is you, reader, a man whose loves and One True Love don't mark him out from the herd but place him in the center of it. He doesn't do a single thing that any one of us couldn't do, be it generous or cowardly or divinely inspired. It is simply that we wouldn't tread in his footsteps, wouldn't elect to give ourselves to an ideal in a world without respect for them.
I give the book a paltry rating, based on those comments; I found it necessary to break my reading into smaller bites than I would have liked to do. The feast is so rich, satisfying my word-lust in such short order, that I ended up feeling disconnected by the enforced consumption of many amuse-bouche reads between this book's courses.
I suspect many readers will be defeated by that very need. This is a book that, due to its own delights, ends up unfinished, bookmark poking the piles of paperbacks athwart its spine, a guilty glance sliding past it as the New Year's Resolution cry "I WILL FINISH THIS SHELF!" rings its falsely sincere echoes into our shared shame.
September 19, 2022
This is why I love translated fiction: a book written in the 1960s, which took 30 years to be translated into English and has languished in relative obscurity since, but an outstanding read.
The plot of the Death and the Dervish is relatively straightforward. The narrator, a Dervish living in Ottoman-ruled Bosnia, has his life turned upside down when his brother is arrested. The novel tells of his Kafkesque struggles with the authorities to discover of what his brother id accused, his desparate attempts to save him, his revenge when he fails to do so, and how this ultimately harms both him and his friends. While set in the c17th Century (no date is ever given) Ottoman Empire, the plot is actually based on an incident from the author's own life in Post-WW2 Communist Yugoslavia.
However, the key interest of the novel - told as a first-person interior monologue - is primarily in the pyschology and philosophy of the narrator.
We follow the journey of his life through three phases, firstly as an idealistic young soldier, then, after his chosen love gets married whilst he is away on military duty, his withdrawal from the world as a deeply religious Muslim ascetic.
However, following his brother's arrest he decides that he cannot remain detached from the world and must get involved in the politics and intrigues of both the Empire and organised religious life. Hatred and revenge become his new guiding force.
"I wish you eternal piece, you inexperienced young man of long ago, who burned with pure flames and a need for sacrifice. And I wish eternal piece to you, honorable and noble Sheikh-Nuruddin, who believed in the power of gentleness and God's word. I light a candle to each of you in my memory and in my heart, you who were kind and na茂ve."
This realisation comes to him only very gradually, and this part of the book is deliberately very drawn out - indeed the narrator admits:
"A reader with good intentions might tell me: you're dragging things out too much; you're philosophising too much. I would respond immediately: I know. I'm spinnig this meager thought out to a great length, shaking it like an empty jug when you cannot get another drop out of it. But I am doing that on purpose, to delay telling what upsets me even today, several months after it all happened. However, beating around the bush will not help, I cannot avoid it, and I will not stop it."
The latter part - as he comes to realise, in both senses of the word, the personal compromises required for involvement in political life and the unsecure nature of being in power - is told at a deliberately much faster pace and becomes almost thrilleresque.
The book also gives, indirectly, a fascinating insight into Ottoman Bosnia, a world where e.g. Christianity is treated as an old, pagan, religion, as well as 20th Century Yugoslavia.
And the 30 year wait for the translation was worth it, given the beautiful effort by Bogdan Rakic and Stephen Dickey.
Strongly recommended.
The plot of the Death and the Dervish is relatively straightforward. The narrator, a Dervish living in Ottoman-ruled Bosnia, has his life turned upside down when his brother is arrested. The novel tells of his Kafkesque struggles with the authorities to discover of what his brother id accused, his desparate attempts to save him, his revenge when he fails to do so, and how this ultimately harms both him and his friends. While set in the c17th Century (no date is ever given) Ottoman Empire, the plot is actually based on an incident from the author's own life in Post-WW2 Communist Yugoslavia.
However, the key interest of the novel - told as a first-person interior monologue - is primarily in the pyschology and philosophy of the narrator.
We follow the journey of his life through three phases, firstly as an idealistic young soldier, then, after his chosen love gets married whilst he is away on military duty, his withdrawal from the world as a deeply religious Muslim ascetic.
However, following his brother's arrest he decides that he cannot remain detached from the world and must get involved in the politics and intrigues of both the Empire and organised religious life. Hatred and revenge become his new guiding force.
"I wish you eternal piece, you inexperienced young man of long ago, who burned with pure flames and a need for sacrifice. And I wish eternal piece to you, honorable and noble Sheikh-Nuruddin, who believed in the power of gentleness and God's word. I light a candle to each of you in my memory and in my heart, you who were kind and na茂ve."
This realisation comes to him only very gradually, and this part of the book is deliberately very drawn out - indeed the narrator admits:
"A reader with good intentions might tell me: you're dragging things out too much; you're philosophising too much. I would respond immediately: I know. I'm spinnig this meager thought out to a great length, shaking it like an empty jug when you cannot get another drop out of it. But I am doing that on purpose, to delay telling what upsets me even today, several months after it all happened. However, beating around the bush will not help, I cannot avoid it, and I will not stop it."
The latter part - as he comes to realise, in both senses of the word, the personal compromises required for involvement in political life and the unsecure nature of being in power - is told at a deliberately much faster pace and becomes almost thrilleresque.
The book also gives, indirectly, a fascinating insight into Ottoman Bosnia, a world where e.g. Christianity is treated as an old, pagan, religion, as well as 20th Century Yugoslavia.
And the 30 year wait for the translation was worth it, given the beautiful effort by Bogdan Rakic and Stephen Dickey.
Strongly recommended.
January 19, 2019
篓蝿螚渭伪蟽蟿伪谓 蟿苇蟽蟽蔚蟻伪 伪未苇蟻蠁喂伪,魏伪喂 慰喂 蟿苇蟽蟽蔚蟻喂蟼 纬蠉蟻蔚蠀伪谓 蟿慰 蠂蟻蠀蟽蠈 蟺慰蠀位委 蟿畏蟼 蔚蠀蟿蠀蠂委伪蟼.螆谓伪蟼 蟽魏慰蟿蠋胃畏魏蔚 蟽蟿慰谓 蟺蠈位蔚渭慰,苇谓伪蟼 蟺苇胃伪谓蔚 伪蟺慰 蠁胃喂蟽畏,苇谓伪谓 蟿慰谓 蟽魏蠈蟿蠅蟽伪谓 蟽蟿慰 蠁蟻慰蠉蟻喂慰.螘纬蠋 蟿慰 未喂魏蠈 渭慰蠀 蟺喂伪 未蔚谓 蟿慰 蠄维蠂谓蠅."
"螕喂伪 谓伪 伪蟽蠂慰位畏胃蔚委蟼 渭蔚 蟿畏 蟽蠀纬纬蟻伪蠁萎 蟺蟻苇蟺蔚喂 谓伪 苇蠂蔚喂蟼 蠁喂位慰未慰尉委伪,蟺慰蠀 蔚纬蠋 未蔚谓 苇蠂蠅,萎 谓伪 苇蠂蔚喂蟼 谓伪 蔚魏蠁蟻维蟽蔚喂蟼 苇谓伪 蟿蟻伪蠀渭伪蟿喂魏蠈 纬蔚纬慰谓蠈蟼 蟺慰蠀 蟽畏渭维未蔚蠄蔚 蟿畏 味蠅萎 蟽慰蠀" 位苇蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼.
韦慰 纬蔚纬慰谓蠈蟼 蟺慰蠀 蟽畏渭维未蔚蠄蔚 蟿畏 未喂魏萎 蟿慰蠀 味蠅萎 魏伪喂 胃苇位畏蟽蔚 谓伪 蟿慰 蔚魏蠁蟻维蟽蔚喂 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 ,萎蟿伪谓 慰 胃维谓伪蟿慰蟼 蟿慰蠀 伪未蔚蟻蠁慰蠉 蟿慰蠀 蟺慰蠀 蔚魏蟿蔚位苇蟽蟿畏魏蔚 伪蟺慰 蟿慰蠀蟼 蟽蠀谓蟿蟻蠈蠁慰蠀蟼 蟿慰蠀 蟿慰 1944 渭蔚 伪蟺蠈蠁伪蟽畏 蟽蟿蟻伪蟿慰未喂魏蔚委慰蠀 ,位蠈纬蠅 魏位慰蟺萎蟼.螘委蠂蔚 蟺维蟻蔚喂 伪蟺慰 蟿畏谓 伪蟺慰胃萎魏畏 蟿畏蟼 螝蔚谓蟿蟻喂魏萎蟼 未喂慰委魏畏蟽畏蟼 位伪蠆魏蠋谓 伪纬伪胃蠋谓 魏维蟺慰喂伪 蔚喂未畏 慰喂魏慰蟽魏蔚蠀萎蟼(魏蟻蔚尾维蟿喂,魏慰渭慰未委谓慰,魏伪蟻苇魏位伪).螘魏蟿蠈蟼 伪蟺慰 蟿慰谓 蟺蠈谓慰 纬喂伪 蟿慰 胃维谓伪蟿慰 蟿慰蠀 伪未蔚蟻蠁慰蠉,苇谓喂蠅胃蔚 魏喂 蔚谓慰蠂苇蟼 纬喂伪蟿委 未蔚谓 苇魏伪谓蔚 蟿委蟺慰蟿伪,纬喂伪蟿委 未蔚谓 蔚尉蔚纬苇蟻胃畏魏蔚 蔚谓维谓蟿喂伪 蟽蟿慰 魏蠈渭渭伪,纬喂伪蟿委 位委纬蔚蟼 渭苇蟻蔚蟼 渭蔚蟿维 蟿慰 胃维谓伪蟿慰 蟿慰蠀 伪未蔚蟻蠁慰蠉 渭委位畏蟽蔚 蟽蔚 蟺蟻慰纬蟻伪渭渭伪蟿喂蟽渭苇谓畏 蔚魏未萎位蠅蟽畏 蟿蠅谓 蟺伪蟻蟿喂味维谓蠅谓 蟽伪谓 谓伪 渭畏谓 蟿蟻蔚蠂蔚喂 蟿委蟺慰蟿伪.
"螚 尾伪蟽喂魏萎 蟽魏苇蠄畏 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 魏伪喂 畏 渭慰谓伪未喂魏萎 慰渭慰喂蠈蟿畏蟿伪,伪谓维渭蔚蟽伪 蟽蟿畏 味蠅萎 渭慰蠀 魏伪喂 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪,蠀蟺萎蟻蠂蔚 蟽蟿慰 蔚蟻蠋蟿畏渭伪:蟿喂 蔚委渭伪喂 蔚纬蠋 渭蔚蟿维 伪蟺慰 伪蠀蟿萎谓 蟿畏谓 魏伪蟿伪未委魏畏;危蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 伪蠀蟿蠈 蔚魏蠁蟻维蟽蟿畏魏蔚 苇蟿蟽喂:韦喂 蔚委渭伪喂 蔚纬蠋 蟿蠋蟻伪;螘魏蠁蠀位喂蟽渭苇谓慰蟼 伪未蔚蟻蠁蠈蟼 萎 伪尾苇尾伪喂慰蟼 未蔚蟻尾委蟽畏蟼;"
螣 螖蔚蟻尾委蟽畏蟼 螡慰蠀蟻慰蠀谓蟿委谓 蟺伪位蔚蠉蔚喂 蟽蔚 慰位慰 蟿慰 尾喂尾位委慰 渭蔚 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀,渭蔚 蟿畏谓 蔚尉慰蠀蟽委伪,渭蔚 蟿喂蟼 蟿蠀蠄蔚喂蟼,渭蔚 蟿喂蟼 伪未蠀谓伪渭委蔚蟼 蟿慰蠀.螤蟻慰蟽蟺伪胃蔚委 谓伪 蟿伪 尾维位蔚喂 渭蔚 蟿慰 蟽蠉蟽蟿畏渭伪,谓伪 蔚魏未喂魏畏胃蔚委,伪位位维 蟿慰 蟽蠉蟽蟿畏渭伪 蔚委谓伪喂 伪蟺蟻蠈蟽蠅蟺慰,伪谓委魏畏蟿慰 魏伪喂 蟿慰谓 魏伪蟿伪蟺委谓蔚喂.To 渭蔚纬伪位蠉蟿蔚蟻慰 渭苇蟻慰蟼 蟿畏蟼 伪蠁萎纬畏蟽畏蟼 蔚委谓伪喂 畏 蔚蟽蠅蟿蔚蟻喂魏萎 蟺维位畏 蟿慰蠀 未蔚蟻尾委蟽畏,慰喂 未喂维位慰纬慰喂 蔚委谓伪喂 位委纬慰喂 魏伪喂 畏 未蟻维蟽畏 蔚位维蠂喂蟽蟿畏.螝蠀位维蔚喂 伪蟻纬维 魏伪喂 未喂伪尾维味蔚蟿伪喂 魏伪喂 伪蟻纬维.螖蔚谓 蔚委谓伪喂 蠈渭蠅蟼 尾伪蟻蔚蟿蠈.螠蟺伪委谓蔚喂 蟽蟿伪 尾维胃畏 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀 伪谓胃蟻蠋蟺慰蠀 魏伪喂 蟽蠀纬魏位慰谓委味蔚喂.
"螣喂 味蠅谓蟿伪谓慰委 未蔚谓 尉苇蟻慰蠀谓 蟿委蟺慰蟿蔚.螖喂未维尉蟿蔚 渭蔚,谓蔚魏蟻慰委,蟺蠋蟼 渭蟺慰蟻蔚委 谓伪 蟺蔚胃维谓蔚喂 魏伪谓蔚委蟼 蠂蠅蟻委蟼 蠁蠈尾慰 萎 蟿慰蠀位维蠂喂蟽蟿慰谓 蠂蠅蟻委蟼 蠁蟻委魏畏.螕喂伪蟿委 慰 胃维谓伪蟿慰蟼 蔚委谓伪喂 蠂蠅蟻委蟼 谓蠈畏渭伪,蠈蟺蠅蟼 魏伪喂 畏 味蠅萎."
"螕喂伪 谓伪 伪蟽蠂慰位畏胃蔚委蟼 渭蔚 蟿畏 蟽蠀纬纬蟻伪蠁萎 蟺蟻苇蟺蔚喂 谓伪 苇蠂蔚喂蟼 蠁喂位慰未慰尉委伪,蟺慰蠀 蔚纬蠋 未蔚谓 苇蠂蠅,萎 谓伪 苇蠂蔚喂蟼 谓伪 蔚魏蠁蟻维蟽蔚喂蟼 苇谓伪 蟿蟻伪蠀渭伪蟿喂魏蠈 纬蔚纬慰谓蠈蟼 蟺慰蠀 蟽畏渭维未蔚蠄蔚 蟿畏 味蠅萎 蟽慰蠀" 位苇蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼.
韦慰 纬蔚纬慰谓蠈蟼 蟺慰蠀 蟽畏渭维未蔚蠄蔚 蟿畏 未喂魏萎 蟿慰蠀 味蠅萎 魏伪喂 胃苇位畏蟽蔚 谓伪 蟿慰 蔚魏蠁蟻维蟽蔚喂 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 ,萎蟿伪谓 慰 胃维谓伪蟿慰蟼 蟿慰蠀 伪未蔚蟻蠁慰蠉 蟿慰蠀 蟺慰蠀 蔚魏蟿蔚位苇蟽蟿畏魏蔚 伪蟺慰 蟿慰蠀蟼 蟽蠀谓蟿蟻蠈蠁慰蠀蟼 蟿慰蠀 蟿慰 1944 渭蔚 伪蟺蠈蠁伪蟽畏 蟽蟿蟻伪蟿慰未喂魏蔚委慰蠀 ,位蠈纬蠅 魏位慰蟺萎蟼.螘委蠂蔚 蟺维蟻蔚喂 伪蟺慰 蟿畏谓 伪蟺慰胃萎魏畏 蟿畏蟼 螝蔚谓蟿蟻喂魏萎蟼 未喂慰委魏畏蟽畏蟼 位伪蠆魏蠋谓 伪纬伪胃蠋谓 魏维蟺慰喂伪 蔚喂未畏 慰喂魏慰蟽魏蔚蠀萎蟼(魏蟻蔚尾维蟿喂,魏慰渭慰未委谓慰,魏伪蟻苇魏位伪).螘魏蟿蠈蟼 伪蟺慰 蟿慰谓 蟺蠈谓慰 纬喂伪 蟿慰 胃维谓伪蟿慰 蟿慰蠀 伪未蔚蟻蠁慰蠉,苇谓喂蠅胃蔚 魏喂 蔚谓慰蠂苇蟼 纬喂伪蟿委 未蔚谓 苇魏伪谓蔚 蟿委蟺慰蟿伪,纬喂伪蟿委 未蔚谓 蔚尉蔚纬苇蟻胃畏魏蔚 蔚谓维谓蟿喂伪 蟽蟿慰 魏蠈渭渭伪,纬喂伪蟿委 位委纬蔚蟼 渭苇蟻蔚蟼 渭蔚蟿维 蟿慰 胃维谓伪蟿慰 蟿慰蠀 伪未蔚蟻蠁慰蠉 渭委位畏蟽蔚 蟽蔚 蟺蟻慰纬蟻伪渭渭伪蟿喂蟽渭苇谓畏 蔚魏未萎位蠅蟽畏 蟿蠅谓 蟺伪蟻蟿喂味维谓蠅谓 蟽伪谓 谓伪 渭畏谓 蟿蟻蔚蠂蔚喂 蟿委蟺慰蟿伪.
"螚 尾伪蟽喂魏萎 蟽魏苇蠄畏 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 魏伪喂 畏 渭慰谓伪未喂魏萎 慰渭慰喂蠈蟿畏蟿伪,伪谓维渭蔚蟽伪 蟽蟿畏 味蠅萎 渭慰蠀 魏伪喂 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪,蠀蟺萎蟻蠂蔚 蟽蟿慰 蔚蟻蠋蟿畏渭伪:蟿喂 蔚委渭伪喂 蔚纬蠋 渭蔚蟿维 伪蟺慰 伪蠀蟿萎谓 蟿畏谓 魏伪蟿伪未委魏畏;危蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 伪蠀蟿蠈 蔚魏蠁蟻维蟽蟿畏魏蔚 苇蟿蟽喂:韦喂 蔚委渭伪喂 蔚纬蠋 蟿蠋蟻伪;螘魏蠁蠀位喂蟽渭苇谓慰蟼 伪未蔚蟻蠁蠈蟼 萎 伪尾苇尾伪喂慰蟼 未蔚蟻尾委蟽畏蟼;"
螣 螖蔚蟻尾委蟽畏蟼 螡慰蠀蟻慰蠀谓蟿委谓 蟺伪位蔚蠉蔚喂 蟽蔚 慰位慰 蟿慰 尾喂尾位委慰 渭蔚 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀,渭蔚 蟿畏谓 蔚尉慰蠀蟽委伪,渭蔚 蟿喂蟼 蟿蠀蠄蔚喂蟼,渭蔚 蟿喂蟼 伪未蠀谓伪渭委蔚蟼 蟿慰蠀.螤蟻慰蟽蟺伪胃蔚委 谓伪 蟿伪 尾维位蔚喂 渭蔚 蟿慰 蟽蠉蟽蟿畏渭伪,谓伪 蔚魏未喂魏畏胃蔚委,伪位位维 蟿慰 蟽蠉蟽蟿畏渭伪 蔚委谓伪喂 伪蟺蟻蠈蟽蠅蟺慰,伪谓委魏畏蟿慰 魏伪喂 蟿慰谓 魏伪蟿伪蟺委谓蔚喂.To 渭蔚纬伪位蠉蟿蔚蟻慰 渭苇蟻慰蟼 蟿畏蟼 伪蠁萎纬畏蟽畏蟼 蔚委谓伪喂 畏 蔚蟽蠅蟿蔚蟻喂魏萎 蟺维位畏 蟿慰蠀 未蔚蟻尾委蟽畏,慰喂 未喂维位慰纬慰喂 蔚委谓伪喂 位委纬慰喂 魏伪喂 畏 未蟻维蟽畏 蔚位维蠂喂蟽蟿畏.螝蠀位维蔚喂 伪蟻纬维 魏伪喂 未喂伪尾维味蔚蟿伪喂 魏伪喂 伪蟻纬维.螖蔚谓 蔚委谓伪喂 蠈渭蠅蟼 尾伪蟻蔚蟿蠈.螠蟺伪委谓蔚喂 蟽蟿伪 尾维胃畏 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀 伪谓胃蟻蠋蟺慰蠀 魏伪喂 蟽蠀纬魏位慰谓委味蔚喂.
"螣喂 味蠅谓蟿伪谓慰委 未蔚谓 尉苇蟻慰蠀谓 蟿委蟺慰蟿蔚.螖喂未维尉蟿蔚 渭蔚,谓蔚魏蟻慰委,蟺蠋蟼 渭蟺慰蟻蔚委 谓伪 蟺蔚胃维谓蔚喂 魏伪谓蔚委蟼 蠂蠅蟻委蟼 蠁蠈尾慰 萎 蟿慰蠀位维蠂喂蟽蟿慰谓 蠂蠅蟻委蟼 蠁蟻委魏畏.螕喂伪蟿委 慰 胃维谓伪蟿慰蟼 蔚委谓伪喂 蠂蠅蟻委蟼 谓蠈畏渭伪,蠈蟺蠅蟼 魏伪喂 畏 味蠅萎."
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- Otvorenijeg pisanja PROTIV SEBE kao uslova bez kojeg nema bilo kojeg JA narativa (religijska demagogi膷nost i dru拧tvena maska) i
hermeti膷nijeg pisanja PROTIV SEBE u kome provejava razlaz izme膽u javnog i privatnog a u kome se pone拧to i pre膰utalo. Nurudinovo zapisivanje umnogome ni膷e iz tog raskola. Hermeti膷nijeg, jer se izgledno namerno ispu拧ta neposredniji govor o ta膷nom trenutku kada 拧ejh postaje glumac i politi膷ar, dota膷inju膰i se i sa pilatovskim - dinamika narativa i struktura li膷nosti su takve da vi拧e nema ni vremena ni prostora za takvo samopromi拧ljanje - i opetuju膰i sagre拧enja u druga膷ijem profesionalnom svetlu...
- Vi拧eslojne ironije kraj koje se obi膷no nezametno pro膽e a u tome je da je tekija nekada bila harem u vlasni拧tvu Hasanove porodice, a darovana je "da bude stjeci拧te dervi拧a i skloni拧te siromaha 'jer su oni slomljena srca'", 拧to mnogo mo啪e iskazati i o dervi拧ima i o D啪ani膰ima...
- Pone拧to i o prozi hodanja i o mimici kada misli ujedaju, a na ljudskim tvr膽avama se o膷ituju pukotine, o podvodnim blokovima ispod oskudnijih dijalo拧kih particija...
- Intimna i istodobno op拧ta drama. Intimna jer uvodi u unutarnje i jer se vodi, bori i koleba u duhovnom naporu jednog junaka koji bi njome da maskira ose膰ajnost i zauzda 啪ivot. [Andri膰eva "Smrt u Sinanovoj tekiji" tu je izvanredan podsticaj] Op拧ta jer se, osim dru拧tvene paraboli膷nosti [Kafka svakako i Andri膰 potrebito onaj iz "Pri膷e o vezirovom slonu" i "Proklete avlije" svakako] prelazi iz kamernog koje je kolebljivo i odla啪u膰e, pa je paradigma ishodovanja dubinski psihologizovane hamletov拧tine u 膷in koji je javan te (uvek) ima i nosi dru拧tvene reperkusije...
- Onog upripovedanog obrtnog momenta kada istina postaje la啪 i kada u Jusufovom slu膷aju la啪 kao kaligrafsko-falsifikatorsko ume膰e postaje dostojna istine i dostojnom iskupljenja za izdaju i sopstveni proma拧aj. Ukoliko smo se pitali 膷ija bi to mogla biti prva sve膰a i 膷ijim je to voskom pokapan Harunov grob, eto blagog i mogu膰eg nagove拧taja, jer "svetlo vere " gasne...
- A potom i od SMRTI... Harunove, 艩efkijine, kadijine,..,听 pa i vlastite Nurudinove, one ZA 沤IVOTA, jer sve vreme svedo膷imo mrtvom 膷oveku koji u razabiranju i svo膽enju ra膷una samo i拧膷ekuje i onaj fakti膷ki zavr拧ni udarac...
- Provalije izme膽u BELINE, ome膽ene zavr拧nim recima kojima se hotimi膷no krivotvori izvornik Kurana [Nikola Milo拧evi膰 ima izvanredne napise o tome], u 膷emu je i priznanje vlastite proma拧enosti, sa kona膷nim odmakom od verskog predlo拧ka da je svaki 膷ovek svakida拧nji gubitnik i onih redaka koji svedo膷e o听 intervalima nastajanja Nurudinovih zapisa, o njihovom posredovanju iz privatnog u javno, jer su dospeli u ruke prvog 膷itaoca koji o tome ostavlja pomiriteljnu zabele拧ku, jer su, mogu膰no je i to, adresovani njemu kao IZVINJENJE I MOLBA ZA OPRO艩TAJ, a to se ne mora napisati, naposletku i o intervalu PREKIDA u koji je upisana SMRT... upravo kao BELINA...
Tako nam je knji啪evnost bolja nego 拧to zaslu啪ujemo.
A sa strane ponovnog povratka u ovu parabolu o mo膰i i vlasti, odnosno u kamerno egzistencijalnu (jer Nurudin je izrazito reljefan sklop, i infantilan i intelektualan, i to nije nau拧trb ponavljati) i egzistencijalisti膷ku dramu (jer alijenacija, apsurd i izbor), uprkos podlo啪nosti utisaka iz ove gornje alineje, po膽imo od:
- 膶itala膷kog privatizovanja teksta, od premeta sa dru拧tvenog na individualno, u korespondentnim dozivanjima ispisni膷ke dobi:"膶etrdeset mi je godina, ru啪no doba: 膷ovjek je jo拧 mlad da bi imao 啪elja a ve膰 star da ih ostvaruje. Tada se u svakome gase nemiri, da bi postao jak navikom i ste膷enom sigurno拧膰u u nemo膰i 拧to dolazi." ili onih trenutaka kada mulj i guje provale iz Nurudina na belinu hartije... Crn je to mure膰ep...
- Podudarnosti 膷ina samosvesti onda kada se ova kona膷no promoli iz ideologije (ovde podrazumevane kao la啪ne svesti i pogubnosti uop拧tavanja:"Toliko sam svijet uop拧tavao, da sam ga ubio.") i 膷ina pisanja kao opre膷ne mo膰i razotkrivanja i razobli膷avanja...
- Pisanja kao testamentarnog izazova, kao muke i sumnje, kao su膽enja samom sebi, kao poku拧aja rasplitanja 啪ivotnih 膷vorova, kao oklevanja i odlaganja, kao na膷ina da se iza膽e na videlo sa stvarnosnom traumom...
- Otvorenijeg pisanja PROTIV SEBE kao uslova bez kojeg nema bilo kojeg JA narativa (religijska demagogi膷nost i dru拧tvena maska) i
hermeti膷nijeg pisanja PROTIV SEBE u kome provejava razlaz izme膽u javnog i privatnog a u kome se pone拧to i pre膰utalo. Nurudinovo zapisivanje umnogome ni膷e iz tog raskola. Hermeti膷nijeg, jer se izgledno namerno ispu拧ta neposredniji govor o ta膷nom trenutku kada 拧ejh postaje glumac i politi膷ar, dota膷inju膰i se i sa pilatovskim - dinamika narativa i struktura li膷nosti su takve da vi拧e nema ni vremena ni prostora za takvo samopromi拧ljanje - i opetuju膰i sagre拧enja u druga膷ijem profesionalnom svetlu...
- Vi拧eslojne ironije kraj koje se obi膷no nezametno pro膽e a u tome je da je tekija nekada bila harem u vlasni拧tvu Hasanove porodice, a darovana je "da bude stjeci拧te dervi拧a i skloni拧te siromaha 'jer su oni slomljena srca'", 拧to mnogo mo啪e iskazati i o dervi拧ima i o D啪ani膰ima...
- Pone拧to i o prozi hodanja i o mimici kada misli ujedaju, a na ljudskim tvr膽avama se o膷ituju pukotine, o podvodnim blokovima ispod oskudnijih dijalo拧kih particija...
- Intimna i istodobno op拧ta drama. Intimna jer uvodi u unutarnje i jer se vodi, bori i koleba u duhovnom naporu jednog junaka koji bi njome da maskira ose膰ajnost i zauzda 啪ivot. [Andri膰eva "Smrt u Sinanovoj tekiji" tu je izvanredan podsticaj] Op拧ta jer se, osim dru拧tvene paraboli膷nosti [Kafka svakako i Andri膰 potrebito onaj iz "Pri膷e o vezirovom slonu" i "Proklete avlije" svakako] prelazi iz kamernog koje je kolebljivo i odla啪u膰e, pa je paradigma ishodovanja dubinski psihologizovane hamletov拧tine u 膷in koji je javan te (uvek) ima i nosi dru拧tvene reperkusije...
- Onog upripovedanog obrtnog momenta kada istina postaje la啪 i kada u Jusufovom slu膷aju la啪 kao kaligrafsko-falsifikatorsko ume膰e postaje dostojna istine i dostojnom iskupljenja za izdaju i sopstveni proma拧aj. Ukoliko smo se pitali 膷ija bi to mogla biti prva sve膰a i 膷ijim je to voskom pokapan Harunov grob, eto blagog i mogu膰eg nagove拧taja, jer "svetlo vere " gasne...
- A potom i od SMRTI... Harunove, 艩efkijine, kadijine,..,听 pa i vlastite Nurudinove, one ZA 沤IVOTA, jer sve vreme svedo膷imo mrtvom 膷oveku koji u razabiranju i svo膽enju ra膷una samo i拧膷ekuje i onaj fakti膷ki zavr拧ni udarac...
- Provalije izme膽u BELINE, ome膽ene zavr拧nim recima kojima se hotimi膷no krivotvori izvornik Kurana [Nikola Milo拧evi膰 ima izvanredne napise o tome], u 膷emu je i priznanje vlastite proma拧enosti, sa kona膷nim odmakom od verskog predlo拧ka da je svaki 膷ovek svakida拧nji gubitnik i onih redaka koji svedo膷e o听 intervalima nastajanja Nurudinovih zapisa, o njihovom posredovanju iz privatnog u javno, jer su dospeli u ruke prvog 膷itaoca koji o tome ostavlja pomiriteljnu zabele拧ku, jer su, mogu膰no je i to, adresovani njemu kao IZVINJENJE I MOLBA ZA OPRO艩TAJ, a to se ne mora napisati, naposletku i o intervalu PREKIDA u koji je upisana SMRT... upravo kao BELINA...
Tako nam je knji啪evnost bolja nego 拧to zaslu啪ujemo.
July 6, 2015
There's only one word I can use for this book - MASTERPIECE!!!
June 4, 2018
袘芯褋薪褨褟, 18 褋褌., 袨褋屑邪薪褋褜泻邪 褨屑锌械褉褨褟. 袗褏屑械写 袧褍褉褍写懈薪, 褕械泄褏 芯褋械褉械写泻褍 写械褉胁褨褕褨胁, 写褨蟹薪邪褦褌褜褋褟, 褖芯 泄芯谐芯 斜褉邪褌邪 邪褉械褕褌芯胁邪薪芯 鈥� 薪械褟褋薪芯, 蟹邪 褖芯. 袩芯褔懈薪邪褦 褋褟泻-褌邪泻 蟹鈥櫻徰佇拘惭冃残把傂�, 褔芯屑褍 褨 褖芯 褌褍褌 褨褖械 屑芯卸薪邪 胁写褨褟褌懈, 锌邪褉邪谢械谢褜薪芯 芯锌褉懈褟胁薪褞褞褔懈 谢褞写褋褜泻懈泄 胁懈屑褨褉 邪胁褌芯褉懈褌邪褉懈蟹屑褍 鈥� 蟹邪 褟泻懈屑 薪械褨谢褞蟹芯褉薪芯 锌褉芯褋褌褍锌邪褦 挟谐芯褋谢邪胁褨褟 泻芯屑褍薪褨褋褌懈褔薪懈褏 褔邪褋褨胁, 邪 薪械 袨褋屑邪薪褋褜泻邪 褨屑锌械褉褨褟: 鈥溞⌒秆佈傂敌夹� 锌芯谢褨褑械泄褋褜泻芯谐芯 褌械褉芯褉褍, 蟹胁褨褋薪芯, 屑褍褋懈谢邪 锌械褉械褌胁芯褉懈褌懈 袘芯褋薪褨褞 薪邪 屑械褉褌胁褍 泻褨薪褑褨胁泻褍 褨屑锌械褉褨褩, 斜芯 写褉褍蟹褨 胁卸械 薪械 写芯胁褨褉褟褞褌褜 芯写薪械 芯写薪芯屑褍, 斜邪褌褜泻芯 薪械 胁褨褉懈褌褜 褋懈薪芯胁褨, 斜褉邪褌 鈥� 斜褉邪褌芯胁褨, 锌褉懈褟褌械谢褜 鈥� 锌褉懈褟褌械谢械胁褨, 泻芯卸械薪 斜芯褩褌褜褋褟 褔芯褉薪懈褏 褕锌懈谐褍薪褨胁 芯褋屑邪薪褋褜泻懈褏 褨 褖邪褋谢懈胁懈泄, 褟泻褖芯 泄芯谐芯 胁 褑褨屑 泻褉邪褞 薪械 胁懈写薪芯 泄 薪械 褔褍褌懈鈥�. (肖褨谐邪褋芯斜褨 锌芯褖邪褋褌懈谢芯 泻褉邪褩薪邪屑 褋芯褑褌邪斜芯褉褍, 褍 薪邪褋, 褟泻斜懈 褏褌芯褋褜 褌邪泻械 胁 60-褌褨 薪邪锌懈褋邪胁, 谐薪懈胁 斜懈 褋芯斜褨 谢褞斜褨褋褨薪褜泻芯 胁 褌邪斜芯褉邪褏, 邪 褌褍褌 鈥� 薪褨褔芯, 蟹褨泄褕谢芯 蟹 褉褍泻, 泻谢邪褋懈泻邪 褨 谢褨褌械褉邪褌褍褉薪懈泄 泻邪薪芯薪: 褟泻褖芯 褌懈 屑芯卸械褕 褋芯斜褨 写芯蟹胁芯谢懈褌懈 褌邪泻械 锌懈褋邪褌懈, 褌芯 胁 褌械斜械 褖械 薪械 胁褋械 薪邪褋褌褨谢褜泻懈 锌芯谐邪薪芯, 褟泻 薪邪锌懈褋邪薪芯.) (笑械泄 褉芯屑邪薪 写褍卸械 谢褞斜懈谢懈 薪邪褕褨 褋褨屑写械褋褟褌薪懈泻懈, 泻芯谢懈 胁卸械 锌褨褕谢芯 蟹邪泻褉褍褔褍胁邪薪薪褟 谐邪泄芯泻. 袙谢邪褋薪械, 褖械 薪褨泻芯谢懈, 屑邪斜褍褌褜, 薪械 胁褨写褔褍胁邪谢邪 褌邪泻芯褩 胁械谢懈泻芯褩 褋锌芯褉褨写薪械薪芯褋褌褨 蟹 谢褞写褜屑懈 蟹 褌懈屑 卸械 褔懈褌邪褑褜泻懈屑 锌邪褋锌芯褉褌芯屑, 褖芯 胁 屑械薪械, 褟泻 褔懈褌邪褞褔懈 褑械泄 褉芯屑邪薪: 屑芯胁斜懈 胁芯薪懈 褔懈褌邪褞褌褜 褔械褉械蟹 锌谢械褔械, 邪 胁 屑械薪械 胁褨写 薪懈褏 薪邪胁懈泻 褔懈褌邪褌懈, 胁懈褕褍泻褍褞褔懈 锌芯谢褨褌懈褔薪褨 锌褨写褌械泻褋褌懈.)
袉 锌褉械泻褉邪褋薪懈泄 锌械褉械泻谢邪写 袣邪褌械褉懈薪懈 袣邪谢懈褌泻芯, 写褍卸械 泻褉邪褋懈胁懈泄, 褨 写褨蟹薪邪谢邪褋褟 泻褨谢褜泻邪 薪芯胁懈褏 屑邪谢芯胁卸懈胁邪薪懈褏 褋谢褨胁, 褖芯 蟹邪胁卸写懈 锌谢褞褋!
袉 锌褉械泻褉邪褋薪懈泄 锌械褉械泻谢邪写 袣邪褌械褉懈薪懈 袣邪谢懈褌泻芯, 写褍卸械 泻褉邪褋懈胁懈泄, 褨 写褨蟹薪邪谢邪褋褟 泻褨谢褜泻邪 薪芯胁懈褏 屑邪谢芯胁卸懈胁邪薪懈褏 褋谢褨胁, 褖芯 蟹邪胁卸写懈 锌谢褞褋!
October 27, 2023
鈥淲hat if writing, in some inexplicable way, draws from me even things that I do not want to say, things that I have no intended, or that have hidden in the darkest depths of me, just waiting to be stirred up by my present agitation, a feeling that is hardly likely to obey me?
Can anything that happens between people remain a complete mystery?
Vuelvo a encontrarme en mi camino un texto que me ha ido envolviendo mientras lo le铆a, y digo 鈥渆nvolver鈥� en todo el sentido del t茅rmino, sobre todo atm贸sferico y la fluidez narrativa de Selimovic ha sido un impacto en este senido, porque es de esas veces que eres perfectamente consciente de que el texto te va calando de una forma que llega a ser capaz de revolverte por dentro. Mesa Selimovic construye en Ahmed a un narrador que sufre una revoluci贸n personal en todo el sentido de la palabra y 驴qui茅n no ha tenido una etapa decisiva en su vida en la que no tiene m谩s remedio que enfrentarse a s铆 mismo y cuestionar los cimientos en los que tenia construida una vida?? El derviche y la muerte es una novela contada desde lo m谩s 铆ntimo de un hombre que llevaba una existencia perfectamente estructurada, acomodada en su pasividad,, en su casi invisibilidad, cuando llegado un punto, todo se viene abajo鈥� algo ocurre y tanto su entorno como el deber moral le obligan a tomar partido, cuando 茅l realmente no quer铆a definirse, ni salir de su status quo, ni siquiera, tomar decisiones que le hicieran exponerse: 鈥淎 man is not what he thinks, but what he does.鈥�, es quiz谩s la frase m谩s lapidaria de este texto maravilloso porque lo que hab铆a definido la vida de Ahmed hab铆a sido precisamente ese sobrepensar y no actuar as铆 que durante todo este recorrido por la mente de Ahmed, Mesa Selimovic no da puntada sin hilo a la hora afinar en los recovecos escondidos de la mente de Ahmed.
"I am forty years old, an ugly age: one is still young enough to have dreams, but already to old to fulfill any of them. This is the age when the restlessness in every man subsides so he can become strong by habit and by the certainty he has acquired of the infirmity to come. (鈥�) What a pity that I am not ten years older, then old age would protect me from rebellion; or ten years younger, since then nothing would matter.鈥�
Ambientada en la Bosnia entre el siglo XVII y XVIII, la novela se centra en Ahmed Nuruddin, jeque o derviche en un modesto monasterio de Sarajevo. En este periodo hist贸rico, Bosnia se encuentra bajo el yugo del imperio otomano, un dominio opresivo sobre todo en lo que se refer铆a a la corrupci贸n burocr谩tica y politica, ejerciendo un control absoluto y total sobre los bosnios. Ahmed es un hombre sin ambiciones, modesto, tranquilo, que arrastra un pasado que no nos ser谩 desvelado hasta el final, un pasado en el que s铆 lleg贸 a brillar, pero por cuestiones de la vida, decidi贸 adoptar una postura pasiva ante su destino. 鈥淵ou鈥檙e a strange man, he told me. You don麓t say very much, you鈥檙e secretive. You鈥檙e hidding behind words. I can麓t see whats inside you. So tragedy has struck you. They couldn麓t have hit you any harder, but I didn麓t hear a word of either condemnation or grief from you". Un hombre asc茅tico y modesto que aspira a la perfecci贸n moral en la que Dios ser谩 la respuesta a todas sus preguntas. Esta vida de refugio tras las puertas del monasterio se ver谩 trastocada cuando su hermano es arrestado y condenado a pena de muerte, en una primera instancia de manera inexplicable, y luego se ira desvelando que se debe a motivos pol铆ticos. No sabremos el motivo exacto del arresto de Harun pero el lector ir谩 percibiendo que debido al conflictivo clima pol铆tico, conspiraciones, traiciones y control de unos pocos, su hermano Harun deb铆a estar totalmente en contra del dominio turco.
"It seems that life is unjust to him, but thats just a prejudice; life is life one is just like another, everyone seeks happiness, but troubles come on their own. His happiness was books, just as for others it is love. His troubles was sickness, just as for others It is poverty, or banishment. We all walk from one bank to another, on the thin ropes of our lives, and each of our ends is known; they are all the same."
Est谩 claro que Ahmed no tiene el perfil de antisistema e incluso si la tragedia le agarra por el cuello y azota su vida siente terror a exponerse, y hasta ahora hab铆a estado refugiado tras los muros del monasterio, sin ser consciente de lo que se coc铆a en el mundo real. El arresto de su hermano le hace salir al mundo, casi como un ni帽o peque帽o que est谩 aprendiendo a andar obligado moralmente a 鈥渉acer algo鈥�, no sabe extactamente qu茅 puede hacer para salvarlo, pero moralmente entiende que debe moverse. Ahmed en un principio busca una audiencia con el suegro del cadi (juez) que es qui茅n debe decidir el destino de su hermano, y en vez de ser recibido por el anciano, es su hija, la esposa del cadi quien le recibe ya que su padre est谩 enfermo, en el colmo por la indiferencia por el problema que le arrastra hasta all铆. Es interesante la manera en la que Mesa Selimovic nos va sumergiendo en esta primera fase de una b煤squeda de una soluci贸n por parte de Ahmed, porque 茅l, que tan confiado estaba debido a su estatus, en que el anciano iba a interceder en favor de su hermano, se encuentra con que es su hija quien le recibe empezando un parloteo incesante sobre sus propios problemas dom茅sticos. Ahmed, es casi incapaz de poder articular palabra en defensa de su hermano鈥�, y desconecta de su problema centr谩ndose en ella: se sumerge en una especie de enso帽aci贸n que le sirve de liberaci贸n a su angustia existencial.
"But I could not hide from myself the fact that I watched her with pleasure, with a deep and peaceful enjoyment, with which one watches a calm river, the evening sky, the moon at midnight, a tree in bloom, the lake of my childhood at dawn. Without a desire to posess her, without the possibility of experiencing her completely, without the strength to leave. It was pleasant to watch her lively hands chase one another, forgetting themselves in the game. It was pleasant to hear her speak. No, she did not have to say anything, it was enough that she existed."
A partir de este momento, Ahmed visita a otros miembros con poder de la comunidad, pero nadie le ayuda. Ni siquiera ser谩 capaz de conseguir informaci贸n sobre lo qu茅 le paso realmente a su hermano, todos son rumores, divagaciones, el silencio del estado totalitario, mientras tanto su hermano sigue en el calabozo. A medida que Ahmed se mueve, ya digo que como un ni帽o peque帽o, confundido y no del todo motivado, nadie es capaz de mover un dedo. Desinformaci贸n, deshumanizaci贸n, falsos rumores, conspiraciones鈥� el sistema se presenta frente a Ahmed como una gran m谩quina que lo agota y al mismo tiempo intenta analizar. En varios momentos en los que tiene que tomar decisiones, siempre acaba optando por la m谩s f谩cil, siempre pasando la responsabilidad a otra persona鈥�, la pusilanimidad, y la cobard铆a de Ahmed se van revelando a medida que el entorno le se帽ala con el dedo a la hora de relacionarlo con su hermano. El conflicto que tiene Ahmed entre la realidad pura y dura y el ideal forjado en su mente que se tambalea a medida que va identificando la corrupci贸n del mundo real, es quiz谩s el dilema m谩s potente al que se enfrenta Ahmed鈥�, y hay momentos en los que en sus reflexiones sale a relucir c贸mo es realmente Ahmed...
"I was struck by the strange, discouraging thought of how a man who is spiritually more developed than others is in difficult situation, unless he is protected by his position and the fear that position instills. Such a man becomes a loner; his standards are different, useless to others, but they still set him apart. So most of the time I stayed alone with a book or with my thoughts. I did not succeed in finding a single one of the men I wanted to befriend. I saw them all together as a whole, as a multitude, odd, cruel, strong, and even interesting. As individuals they were unimaginably insignificant. I did not despise the thought of them as a group, but could not stand them as individuals."
[...]
鈥淚t only seems to me that they鈥檝e all inflicted evil on me, almost equally, they鈥檝e disturbed me, forced me to confront a life beyond my own. They鈥檝e forced me to take a side. What I am now? Some twisted kind of brother, or an unsteady dervish? Have I lost my love for mankind, or weakened the faith, thus losing everything? Have I lost my human face, or my faith? Or both? Fear has sttled inside me, Is-haq, fear and confusi贸n; I no longer dare to do anything for either side. I鈥檒ose my way and perish.鈥�
Tengo que reconocer que me ha fascinado el retrato psicol贸gico que hace Mesa Selimovic de este hombre, multidimensional, siempre atormentado por sus elecciones morales, siempre justificando sus actos o responsabilizando a los demas, atormentado por la culpa, por lo que est谩 bien o est谩 mal, por las apariencias, por su conciencia: 鈥淏ecause a man changes constantly, and it is a sin to ignore your conscience when it speaks.鈥� Es tan indeciso y tan inseguro que est谩 continuamente en conflicto consigo mismo entre hacer lo correcto o sentirse atormentado por la culpa鈥�, es una pusilanimidad y una cobard铆a que puede exasperar, pero entiendo que el ser humano est谩 formado de una gran gama de matices y son los embates de la vida los que van conformando sus decisiones ante la vida y exponiendo su verdadero car谩cter. Poco a poco se va haciendo evidente que la necesidad de salvar a su hermano proviene m谩s de lo que se espera de 茅l como hermano, y del deber, m谩s que sentirse motivado por la causa. Continuamente anda autojustific谩ndose porque tiene un estatus que mantener pero realmente 驴a qu茅 coste debe exponerse frente al sistema???
鈥淏ut there could be no new beginning, nor would one be important. We are not aware when new beginnings arrive; we only discover them later when they have already engulfed us, when everything merely continues. Then we believe that everything could have been different, but it could not have, and so we rush into springtime, so as not to think about nonexistent beginnings or unpleasant continuations.鈥�
Es una novela casi completamente narrada en primera persona, estamos dentro del conflicto 铆ntimo de Ahmed, somos testigos de sus reflexiones, de sus dudas, y la manera en la que Selimovic me ha gu铆ado a trav茅s de este texto, me ha emocionado en muchos momentos, una emoci贸n que tiene mucho que ver con su estilo y con la vulnerabilidad de un hombre aterrado ante su propia cobard铆a. En un principio pensaba que podr铆a ser una novela compleja y puede serlo por los dilemas morales a los que se enfrenta Ahmed, pero Selimovic transmite con tanta fluidez y sencillez lo complejo que me parece una novela muy accesible, y siento que esta novela se ha convertido ya en uno de mis cl谩sicos favoritos. Hay momentos realmente maravillosos, muchos de ellos aquellos en los que Selimovic embarca a Ahmed en conversaciones con el que se convierte en su mejor amigo, Hasan, su polo opuesto, el 煤nico amigo, la 煤nica persona con la que se sentir谩 de verdad conectado a lo largo de su vida. Hasan ser谩 la luz que le har谩 enfrentarse a sus propios dilemas. Una amistad que adem谩s, pasar谩 por varias fases:
"Our conversations were largely reduced to general, familiar phrases that others had used before us, phrases that were tried and safe, because they protected us from surprises and misunderstandings. A personal tone is poetry, an opportunity for distortion, or arbitrariness, and to leave the realm of general though is to doubt it. Therefore, we knew each other only according to what was unimportant, or what was identical in each of us. In other words, we did not know each other at all; nor was that necessary. To know each other meant to know what we should not."
鈥淥nce I asked him how was it that he had bestowed his friendship on me, of all people. Friendship is not chosen, he said, it happens, who knows, why, like love. And I haven麓t bestowed anything on you, but on myself; I respect men who remain magnanimous even in their misfortune.鈥�
鈥淎ll of this remained in my memory, because of something powerful, yet no entirely tangible. Maybe becase it suddenly seemed to me, quite unexpectedly, that I saw a man show a side of himself that no one before me had seen.鈥�
Con El derviche y la muerte, Mesa Selimovic se adentra en lo m谩s 铆ntimo del alma, creando un texto casi enteramente formado por el mon贸logo interior de Ahmed, sin apenas di谩logos ni acci贸n. La novela est谩 dividida en dos partes, quiz谩s la primera parte sea m谩s 铆ntrospectiva en este aspecto en el sentido de que ser谩 esencial para que nos hagamos una idea de los matices de un personaje como Ahmed y ya en la segunda parte, los di谩logos se ampl铆an y hay m谩s acci贸n, pero confieso que esta primera es la que de verdad me ha hechizado. La mayor parte de los personajes secundarios completar谩n este retrato de Ahmed, oblig谩ndolo a exponerse en el mejor sentido y en el peor. Est谩 clar铆simo que Mesa Selimovic entend铆a como nadie los misterios de la condici贸n humano. Una joya exquisita.
鈥� Why are you constantly going away? To mantain the illusion of freedom? Does that mean that freedom doesnt exist?
It does and doesn麓t. I go in circles, I go away and come back. Free and bound.
"-Then should I go or stay? Because apparently It doesn't matter. If I'm bound, then I'm not free. And if the goal is to come back, then why go away?
- But thats the point of it all: to come back. To long for someplace else, to leave and to arrive again at the place where you started. You need to think, to long for something, to love. So get ready to go."
铀櫕铀� 铀櫕铀�
February 13, 2012
Me拧a Selimovi膰 je bio genije. Dostojevski na拧ih krajeva, definitivno. Kako je uspio tako uvjerljivo do膷arati 膷ovjeka toliko nabijenog emocijama, strahovima i obzirima, i usput nam otkrivati tako divne, tu啪ne i istinite misli o 啪ivotu! U啪ivala sam u svakoj toj misli...
Bilo je te拧ko gledati sa strane kako se taj dervi拧 uni拧tava, kako sve one iluzije koje je imao o 啪ivotu i ljudima propadaju u vodu i on sam postaje ono 拧to je prezirao. Bilo je tako tu啪no to promatrati i znati da ne mo啪e拧 ni拧ta u膷initi, da je on to sam 膷inio svojim postupcima, svojim oklijevanjem, svojim zaziranjem od ljudi, a opet, i kad se promijenio, pogazio sve svoje nazore, zbog te se promjene i dogodilo sve zlo, zbog toga ga i zadesio takav kraj... Uh, kako me sve to ljuti, kad se sve doga膽a naopako, protivno onome 拧to bih voljela! Da je Ahmed bar slijedio Hasana jednako kao 拧to ga je volio, Hasan je bio ljudina od 膷ovjeka koja me odmah osvojila... Ali na啪alost o膷ito nije mogao. I kako ga ne 啪aliti?
Bilo je te拧ko gledati sa strane kako se taj dervi拧 uni拧tava, kako sve one iluzije koje je imao o 啪ivotu i ljudima propadaju u vodu i on sam postaje ono 拧to je prezirao. Bilo je tako tu啪no to promatrati i znati da ne mo啪e拧 ni拧ta u膷initi, da je on to sam 膷inio svojim postupcima, svojim oklijevanjem, svojim zaziranjem od ljudi, a opet, i kad se promijenio, pogazio sve svoje nazore, zbog te se promjene i dogodilo sve zlo, zbog toga ga i zadesio takav kraj... Uh, kako me sve to ljuti, kad se sve doga膽a naopako, protivno onome 拧to bih voljela! Da je Ahmed bar slijedio Hasana jednako kao 拧to ga je volio, Hasan je bio ljudina od 膷ovjeka koja me odmah osvojila... Ali na啪alost o膷ito nije mogao. I kako ga ne 啪aliti?
July 25, 2020
Wow ! One of my masterpieces 馃挏
" 廿賳 丕賱兀丨賷丕亍 賱丕 賷毓乇賮賵賳 卮賷卅丕賸貙 賮毓賱賲賵賳賷 兀賷賴丕 丕賱賲賵鬲賷 賰賷賮 賷賲賰賳 丕賱賲賵鬲 亘賱丕 禺賵賮 丕賵 毓賱賷 丕賱兀賯賱 亘賱丕 賮夭毓 丕匕 丕賱賲賵鬲 賱丕 賲賮賴賵賲 賱賴 賰賲丕 賴賵 丕賱丨丕賱 亘丕賱賳爻亘丞 賱賱丨賷丕丞 "
乇賵丕賷丞 毓馗賷賲丞 毓亘丕乇丞 毓賳 鬲丨賱賷賱 賳賮爻賷 賲購乇鬲亘 賵 賲匕賴賱 貙 賲賳賵賱賵噩 丕賱丿乇賵賷卮 胤賵賱 丕賱乇賵丕賷丞 賯賵賷 噩丿丕 ...丕賱賱睾丞 賵丕賱鬲乇噩賲丞 毓馗賷賲丞 貙 兀爻賱賵亘 丕賱爻乇丿 賵丕賱丨賵丕乇 乇丕賯賷 賵賲賲鬲毓 乇睾賲 賰賲賷丞 丕賱丨夭賳 賵丕賱兀賱賲 丕賱賱賷 賮賷賴丕 貙 丕毓噩亘賳賷 賰孬賷乇丕賸 亘丿亍 丕賱賰丕鬲亘 丕賱亘賵爻賳賷 賲丨賲丿 賲賷爻丕 爻賱賷賲賵賮賷鬲卮 亘丿丕賷丞 賰賱 賮氐賱 亘兀賷丞 賯乇丌賳賷賴 鬲購賲孬賱 丕賱丕丨丿丕孬 賵鬲乇賲夭 賱賱兀亘毓丕丿 丕賱賳賮爻賷丞 禺賱丕賱 丕賱賮氐賱 亘丿兀鬲 亘 " 賳賵賳 賵丕賱賯賱賲 賵賲丕 賷爻胤乇賵賳" 賵丕賳鬲賴鬲 亘 "賵丕賱毓氐乇 廿賳 丕賱丕賳爻丕賳 賱賮賷 禺購爻乇 "
爻兀爻鬲毓賷乇 賲賯賵賱丞 丨爻賳 亘賳 毓賱賷 丕賱丕禺賷乇丞 :
"賱賲 兀賰賳 丕毓乇賮 兀賳賴 賰丕賳 鬲毓賷爻丕賸 廿賱賷 賴匕丕 丕賱丨丿 貙 乇丨賲丞 賵爻賱丕賲丕賸 毓賱賷 乇賵丨賴 丕賱鬲賷 鬲毓匕亘鬲 " .
" 廿賳 丕賱兀丨賷丕亍 賱丕 賷毓乇賮賵賳 卮賷卅丕賸貙 賮毓賱賲賵賳賷 兀賷賴丕 丕賱賲賵鬲賷 賰賷賮 賷賲賰賳 丕賱賲賵鬲 亘賱丕 禺賵賮 丕賵 毓賱賷 丕賱兀賯賱 亘賱丕 賮夭毓 丕匕 丕賱賲賵鬲 賱丕 賲賮賴賵賲 賱賴 賰賲丕 賴賵 丕賱丨丕賱 亘丕賱賳爻亘丞 賱賱丨賷丕丞 "
乇賵丕賷丞 毓馗賷賲丞 毓亘丕乇丞 毓賳 鬲丨賱賷賱 賳賮爻賷 賲購乇鬲亘 賵 賲匕賴賱 貙 賲賳賵賱賵噩 丕賱丿乇賵賷卮 胤賵賱 丕賱乇賵丕賷丞 賯賵賷 噩丿丕 ...丕賱賱睾丞 賵丕賱鬲乇噩賲丞 毓馗賷賲丞 貙 兀爻賱賵亘 丕賱爻乇丿 賵丕賱丨賵丕乇 乇丕賯賷 賵賲賲鬲毓 乇睾賲 賰賲賷丞 丕賱丨夭賳 賵丕賱兀賱賲 丕賱賱賷 賮賷賴丕 貙 丕毓噩亘賳賷 賰孬賷乇丕賸 亘丿亍 丕賱賰丕鬲亘 丕賱亘賵爻賳賷 賲丨賲丿 賲賷爻丕 爻賱賷賲賵賮賷鬲卮 亘丿丕賷丞 賰賱 賮氐賱 亘兀賷丞 賯乇丌賳賷賴 鬲購賲孬賱 丕賱丕丨丿丕孬 賵鬲乇賲夭 賱賱兀亘毓丕丿 丕賱賳賮爻賷丞 禺賱丕賱 丕賱賮氐賱 亘丿兀鬲 亘 " 賳賵賳 賵丕賱賯賱賲 賵賲丕 賷爻胤乇賵賳" 賵丕賳鬲賴鬲 亘 "賵丕賱毓氐乇 廿賳 丕賱丕賳爻丕賳 賱賮賷 禺購爻乇 "
爻兀爻鬲毓賷乇 賲賯賵賱丞 丨爻賳 亘賳 毓賱賷 丕賱丕禺賷乇丞 :
"賱賲 兀賰賳 丕毓乇賮 兀賳賴 賰丕賳 鬲毓賷爻丕賸 廿賱賷 賴匕丕 丕賱丨丿 貙 乇丨賲丞 賵爻賱丕賲丕賸 毓賱賷 乇賵丨賴 丕賱鬲賷 鬲毓匕亘鬲 " .
October 11, 2013
兀賷 丨噩乇 賲賳 丕賱兀爻丕爻 賮賷 丿丕禺賱賷 鬲夭丨夭丨 賮兀禺匕 賰賱 卮賷卅 賮賷 丕賱鬲丿丕毓賷 賵 丕賱廿賳賴賷丕乇責
鬲賯毓 兀丨丿丕孬 丕賱乇賵丕賷丞 賮賷 丕賱賯乇賳 18 賮賷 丕賱亘賵爻賳丞 " 爻丕乇丕賷賷賮賵" 禺賱丕賱 丕賱丨賰賲 丕賱毓孬賲丕賳賷 賵鬲丨賰賷 毓賳 丕賱卮賷禺 兀丨賲丿 賳賵乇 丕賱丿賷賳 卮賷禺 丕賱鬲賰賷丞 丕賱賲賵賱丕賵賷丞 賵 丕賱賲丨丕乇亘 丕賱爻丕亘賯 賵丕賱匕賷 賰丕賳 賷丐賲賳 亘丕賳 丕賱爻賱胤丞 賴賷 賲乇丕丿賮丞 賱賱毓丿賱 賵 丕賱丕賲賳 丨鬲賶 兀毓鬲賯賱 丕禺賵賴 賵 賯鬲賱 毓賱賶 丕賷丿賷 丕賱爻賱胤丕鬲 亘丿賵賳 鬲賴賲丞 賵丕囟丨丞 賮賰丕賳 賴匕丕 亘賲孬丕亘丞 丕賱丨噩乇 丕賱匕賷 鬲夭丨夭丨 賵賷鬲毓丕賲賱 賲毓 丕賱丨丿孬 亘丕賱賰乇丕賴賷丞 賵 丕賱賳爻賷丕賳 孬賲 賷丿禺賱 丕賱賶 丕賱爻賱胤丞 賵賷賲丕乇爻 丕賱毓賳賮 亘丿賵乇賴 囟丿 兀賯乇亘 丕賱兀氐丿賯丕亍 賱丿賷賴. 賵賴賰匕丕 賷鬲丨賵賱 丕賱卮賷禺 兀丨賲丿 賲賳 賲卮乇賵毓 賲鬲賲乇丿 毓賱賶 丕賱爻賱胤丞 丕賱賶 賲卮丕乇賰 賮賷 丕賱爻賱胤丞
丕賱乇賵丕賷丞 賱賷爻鬲 爻賴賱丞 丕賱賯乇丕亍丞 賵鬲丨鬲丕噩 丕賱賶 鬲乇賰賷夭 賵 氐賮丕亍 匕賴賳賷 毓丕賱賷 賮丕賱乇賵丕賷丞 賱丕 鬲乇賰夭 毓賱賶 丕賱丨丿孬 賵 丕賳賲丕 毓賱賶 丕賱鬲丿丕毓賷丕鬲 丕賱賳賮爻賷丞 賵 丕賱爻賷賰賵賱賵噩賷丞 亘噩賵 爻賵丿丕賵賷 賷乇丕賮賯賰 胤賵丕賱 丕賱賲賵賳賵賱賵噩 丕賱丿丕禺賱賷 賱賱卮賷禺 丕丨賲丿 亘胤賱 丕賱乇賵丕賷丞
賰賱 賮氐賱 賲賳 賮氐賵賱 丕賱乇賵丕賷丞 鬲亘丿兀 亘兀賷丞 賲賳 兀賷丕鬲 丕賱賯乇丌賳 丕賱賰乇賷賲 亘丿兀鬲 亘 " 賳 賵 丕賱賯賱賲 賵 賲丕 賷爻胤乇賵賳" 賵 丕賳鬲賴鬲 " 賵賳賯賵賱 賱噩賴賳賲 賴賱 廿賲鬲賱卅鬲 賵 鬲賯賵賱 賴賱 賲賳 賲夭賷丿" 賮兀亘丿毓 賴賳丕 爻賱賷賲賵賮鬲卮 賮賷 賲毓乇賮丞 丕賷丕鬲 丕賱賯乇丌賳 賵 鬲乇丕亘胤賴丕 賲毓 丕賱丕丨丿丕孬
丕賱乇賵丕賷丞 鬲丨賵賱鬲 兀賵賱丕賸 丕賱賶 賮賷賱賲 賷賵睾賵爻賱丕賮賷 亘毓賳賵丕賳 芦丕賱丿乇賵賷卮 賵丕賱賲賵鬲禄貙 孬賲 鬲丨賵賱鬲 賮賷 毓丕賲 2000 丕賱賶 賮賷賱賲 廿賷胤丕賱賷 亘毓賳賵丕賳 芦丿乇賵賷卮禄 賲賳 廿禺乇丕噩 丕賱亘賷乇鬲賵 乇賵賳丿丕賱賷 卮丕乇賰 賮賷 2001 賮賷 賲賴乇噩丕賳 賱賵賰丕賳賵 丕賱爻賷賳賲丕卅賷 丕賱丿賵賱賷.
November 18, 2015
Proza, a poezija. Hrana za du拧u. 膶ista umetnost. Nije za svakoga, ali ni ne mo啪e da bude, a to ne ka啪em zato 拧to sam intelektualni snob, ve膰 zato 拧to da li 膰e vam se ova knjiga svideti zavisi gotovo isklju膷ivo od va拧eg senzibiliteta.
March 4, 2025
A work of relentless intellectual and emotional force, a story that interrogates the limits of faith, justice, and personal agency within a system designed to crush all three.
Sheikh Ahmed Nuruddin is a dervish whose life of spiritual retreat is upended when his brother is arrested by Ottoman authorities. What begins as a quest for familial loyalty spirals into a harrowing examination of power, corruption, and the cost of complicity. Selimovi膰, drawing from his own experiences of political imprisonment and the cultural complexities of Bosnia, crafts a story that feels both deeply personal and universally urgent. The book鈥檚 title, with its stark juxtaposition of death and mysticism, hints at the existential tension that drives the plot: how does one reconcile the pursuit of spiritual truth with the brutality of earthly existence?
The structure of the novel reflects Ahmed鈥檚 internal disintegration, as his initial confidence in divine justice gives way to doubt and despair. Every chapter starts with a quote from the Quran and the book is filled with Hadith and Sufi allusions, wisdom and legend. Early in the story, the Dervish declares, 鈥淚 thought I was wise, but I was only old,鈥� encapsulating the tragic irony of his spiritual and mortal journey. His attempts to navigate the bureaucracy of the Ottoman state reveal a system built on arbitrary cruelty, where truth is malleable and power is absolute.
Key moments include Ahmed鈥檚 confrontation with a judge who embodies the cold indifference of the regime, his fleeting alliance with a group of rebels whose idealism proves as flawed as his own, and his growing realization that his brother鈥檚 fate was sealed long before his arrest. The cyclical nature of the story, with its recurring motifs of betrayal and disillusionment, creates a sense of inevitability that is both oppressive and compelling.
The book鈥檚 relative obscurity in the English-speaking world is puzzling, though its unsparing critique of power structures may explain why it has not been widely reissued.
Death and the Dervish is revolutionary in its unflinching critique of authoritarianism and its exploration of the individual鈥檚 helplessness within oppressive systems. The novel鈥檚 refusal to offer easy resolutions or moral clarity has made it a touchstone for readers grappling with similar themes in works by Dostoevsky, Kafka, or Camus. Yet Selimovi膰鈥檚 use of Islamic mysticism as a framework for existential inquiry sets the book apart, offering a perspective rarely seen in Western literature.
Sheikh Ahmed Nuruddin is a dervish whose life of spiritual retreat is upended when his brother is arrested by Ottoman authorities. What begins as a quest for familial loyalty spirals into a harrowing examination of power, corruption, and the cost of complicity. Selimovi膰, drawing from his own experiences of political imprisonment and the cultural complexities of Bosnia, crafts a story that feels both deeply personal and universally urgent. The book鈥檚 title, with its stark juxtaposition of death and mysticism, hints at the existential tension that drives the plot: how does one reconcile the pursuit of spiritual truth with the brutality of earthly existence?
The structure of the novel reflects Ahmed鈥檚 internal disintegration, as his initial confidence in divine justice gives way to doubt and despair. Every chapter starts with a quote from the Quran and the book is filled with Hadith and Sufi allusions, wisdom and legend. Early in the story, the Dervish declares, 鈥淚 thought I was wise, but I was only old,鈥� encapsulating the tragic irony of his spiritual and mortal journey. His attempts to navigate the bureaucracy of the Ottoman state reveal a system built on arbitrary cruelty, where truth is malleable and power is absolute.
Key moments include Ahmed鈥檚 confrontation with a judge who embodies the cold indifference of the regime, his fleeting alliance with a group of rebels whose idealism proves as flawed as his own, and his growing realization that his brother鈥檚 fate was sealed long before his arrest. The cyclical nature of the story, with its recurring motifs of betrayal and disillusionment, creates a sense of inevitability that is both oppressive and compelling.
The book鈥檚 relative obscurity in the English-speaking world is puzzling, though its unsparing critique of power structures may explain why it has not been widely reissued.
Death and the Dervish is revolutionary in its unflinching critique of authoritarianism and its exploration of the individual鈥檚 helplessness within oppressive systems. The novel鈥檚 refusal to offer easy resolutions or moral clarity has made it a touchstone for readers grappling with similar themes in works by Dostoevsky, Kafka, or Camus. Yet Selimovi膰鈥檚 use of Islamic mysticism as a framework for existential inquiry sets the book apart, offering a perspective rarely seen in Western literature.
February 11, 2012
My closest Bosnian friend gave this to me after I'd read Ivo Andric's Bridge on the Drina. This is not as accessible a book as Andric's masterpiece. Drawing a comparison, Andric is Tolstoy while Selimovi膰 is Dostoevsky. While Andric gives you everything you need to know to appreciate his book, Selimovi膰 presupposes the reader knows enough to fill in the background.
September 29, 2022
"袩芯蟹懈胁邪屑 蟹邪 褋胁褬械写芯泻邪 屑邪褋褌懈芯薪懈褑褍 懈 锌械褉芯 懈 芯薪芯 褕褌芯 褋械 锌械褉芯屑 锌懈褕械;
袩芯蟹懈胁邪屑 蟹邪 褋胁褬械写芯泻邪 薪械褋懈谐褍褉薪褍 褌邪屑褍 褋褍屑褉邪泻邪 懈 薪芯褯 懈 褋胁械 褕褌芯 芯薪邪 芯卸懈胁懈;
袩芯蟹懈胁邪屑 蟹邪 褋胁褬械写芯泻邪 褋褍写褮懈 写邪薪, 懈 写褍褕褍 褕褌芯 褋邪屑邪 褋械斜械 泻芯褉懈;
袩芯蟹懈胁邪屑 蟹邪 褋胁褬械写芯泻邪 胁褉懈褬械屑械, 锌芯褔械褌邪泻 懈 褋胁褉褕械褌邪泻 褋胁械谐邪
写邪 褬械 褋胁邪泻懈 褔芯胁褬械泻 褍胁懈褬械泻 薪邪 谐褍斜懈褌泻褍."
袨胁邪泻芯 锌芯褔懈褮械, 邪谢懈 懈 蟹邪胁褉褕邪胁邪 芯胁邪褬 蟹邪懈褋褌邪 谐械薪懈褬邪谢邪薪 褉芯屑邪薪.
袠屑邪褬褍褯懈 褍 胁懈写褍 写邪 褬械 芯胁芯 褬械写薪芯 芯写 写褬械谢邪 薪邪褕械 泻褮懈卸械胁薪芯褋褌懈 泻芯褬械 褋锌邪写邪 褍 芯薪邪 泻芯褬邪 褋褍 薪邪褬胁懈褕械 锌褍褌邪 懈 薪邪 薪邪褬胁懈褕械 薪邪褔懈薪邪 邪薪邪谢懈蟹懈褉邪薪邪 褌械 褋胁邪泻邪泻芯 懈 褍 写褬械谢邪 芯 泻芯褬懈屑邪 褋械 懈 写邪薪 写邪薪邪褋 屑薪芯谐芯 谐芯胁芯褉懈, 褋屑邪褌褉邪屑 写邪 褬械 斜械褋锌芯褌褉械斜薪芯 写邪 懈褋褌懈褔械屑 泻芯谢懈泻芯 褬械 芯胁芯 写褬械谢芯 蟹薪邪褔邪褬薪芯 蟹邪 薪邪褕褍 邪谢懈, 褍褋褍写懈褯褍 褋械 褉械褯懈, 懈 褋胁褬械褌褋泻褍 泻褮懈卸械胁薪芯褋褌 锌邪 懈 薪械 斜懈褏 锌褉械胁懈褕械 褌褉芯褕懈芯 褉懈褬械褔懈 薪邪 褌芯 泻芯谢懈泻邪 胁械谢懈褔懈薪邪 褬械 小械谢懈屑芯胁懈褯, 褮械谐芯胁 褋褌懈谢 懈 褋锌芯褋芯斜薪芯褋褌 写邪 薪懈褬械写薪邪 褉懈褬械褔 薪械 斜褍写械 褋褍胁懈褕薪邪 胁械褯 薪邪 锌褉邪胁芯屑 屑褬械褋褌褍 邪 褋胁邪泻邪泻芯 薪懈 芯 褌芯屑械 写邪 褬械 芯胁芯 写褬械谢芯 薪械褋褍屑褮懈胁芯 泻褉褍薪邪 褮械谐芯胁芯谐 胁褉褏褍薪褋泻芯谐 褋褌胁邪褉邪谢邪褕褌胁邪.
袗泻芯 薪械泻懈屑 褔褍写芯屑 薪懈褋褌械 褔懈褌邪谢懈 袛械褉胁懈褕邪 褍 褋褉械写褮芯褬 芯薪写邪 褋褌械 褋懈谐褍褉薪芯 褔褍谢懈 薪械褕褌芯 芯 褮械屑褍 懈 褮械谐芯胁懈屑 写懈谢械屑邪屑邪 懈 锌褉芯斜谢械屑懈屑邪 褋邪 泻芯褬懈屑邪 褋械 褋褍芯褔邪胁邪.
校 谐谢邪胁薪芯屑 褎芯泻褍褋褍, 斜邪褉 褋械 褌邪泻芯 褔懈薪懈 薪邪 锌褉胁懈 锌芯谐谢械写, 褬械褋褌械 斜芯褉斜邪 袛械褉胁懈褕邪 - 袗褏屑械写 袧褍褉褍写懈薪邪 锌褉芯褌懈胁 薪械锌褉邪胁写械. 小褍芯褔械薪 褋邪 褔懈褮械薪懈褑芯屑 写邪 屑褍 褬械 斜褉邪褌 褍褏邪锌褕械薪 懈蟹 薪械芯锌褉邪胁写邪薪懈褏 褉邪蟹谢芯谐邪, 袧褍褉褍写懈薪 写芯谢邪蟹懈 褍 褋褍泻芯斜 褋邪 褋胁芯褬懈屑 屑芯褉邪谢薪懈屑 薪邪褔械谢懈屑邪 泻芯褬邪 褋褍 谐邪 胁芯写懈谢邪 泻褉芯蟹 褔懈褌邪胁 褮械谐芯胁 卸懈胁芯褌 邪 懈 褔懈褬懈 褬械 懈 褋邪屑 锌褉芯锌芯胁褬械写薪懈泻, 褬械褉 写邪 斜懈 懈 懈屑邪芯 褕邪薪褋褍 写邪 锌芯屑芯谐薪械 褋胁芯屑 斜褉邪褌褍 芯薪 屑芯褉邪 写邪 褍褉邪写懈 褋褌胁邪褉懈 泻芯褬械 褋褍, 斜邪褉 锌芯 褮械谐芯胁芯屑 屑懈褕褭械褮褍, 褍 褋褍锌褉芯褌薪芯褋褌懈 褋邪 芯薪懈屑 褍 褕褌邪 胁褬械褉褍褬械 懈 褔械屑褍 褬械 锌芯褋胁械褌懈芯 胁械谢懈泻懈 写懈芯 褋胁芯谐 卸懈胁芯褌邪. 袨胁邪褬 褍薪褍褌褉邪褕褮懈 褋褍泻芯斜, 邪 泻芯褬懈 褬械 胁懈写褭懈胁 懈 褍 芯斜褬械泻褌懈胁薪懈屑 写械褕邪胁邪褮懈屑邪 泻芯褬邪 褋械 写械褕邪胁邪褬褍 袧褍褉褍写懈薪褍, 芯锌懈褋邪薪 褬械 褌邪泻芯 写械褌邪褭薪芯, 泻芯褉邪泻 锌芯 泻芯褉邪泻, 褋邪胁褉褕械薪懈屑 锌褉懈泻邪蟹芯屑 褌芯泻邪 屑懈褋谢懈.
袠锌邪泻, 芯胁芯 写褬械谢芯 褬械 蟹薪邪褌薪芯 胁懈褕械 芯写 芯胁芯谐 褋褍泻芯斜邪. 袧邪懈屑械, 褏邪锌褕械褮械 袧褍褉褍写懈薪芯胁芯谐 斜褉邪褌邪 懈 写械褕邪胁邪褮邪 泻芯褬邪 写芯谢邪蟹械 薪械锌芯褋褉械写薪芯 锌芯褋谢械 写芯胁芯写械 写芯 屑薪芯谐芯斜褉芯褬薪懈褏 锌芯褋谢械写懈褑邪 褍 泻芯屑 褯械 芯胁邪褬 褍薪褍褌褉邪褕褮懈 褋褍泻芯斜 锌褉械褉邪褋褌懈 褍 褋褍泻芯斜 锌芯褬械写懈薪褑邪 锌褉芯褌懈胁 写褉褍褕褌胁邪, 写褉褍褕褌胁邪 泻芯褬械 屑芯褉邪谢薪芯谐 锌芯褬械写懈薪褑邪 泻邪泻邪胁 褬械 袧褍褉褍写懈薪 褍 锌芯褌锌褍薪芯褋褌懈 褍谐褮械褌邪胁邪.
袨胁邪褬 褋褍泻芯斜 斜懈 屑芯卸写邪 写芯胁械芯 写芯 褍褌懈褋泻邪 写邪 袧褍褉褍写懈薪 锌褉械写褋褌邪胁褭邪 芯写褉械褣械薪褍 胁褉褋褌褍 褏械褉芯褬邪, 蟹邪谐芯胁芯褉薪懈泻邪 写芯斜褉邪 泻芯褬懈 褬械 胁褬械褔懈褌芯 褍 褋褍泻芯斜褍 褋邪 芯薪懈屑 褕褌芯 褌芯 薪懈褬械, 邪谢懈 邪泻芯 懈 屑邪谢芯 蟹邪褋褌邪薪械屑芯 褋褏胁邪褌邪屑芯 写邪 褬械 袧褍褉褍写懈薪 褋邪屑芯 褬械写薪邪 褍 薪懈蟹褍 "卸褉褌邪胁邪" 泻芯斜薪芯谐 锌褉懈褌懈褋泻邪 写褉褍褕褌胁邪 泻芯褬械, 锌芯 屑懈褕褭械褮褍 小械谢懈屑芯胁懈褯邪, 褍胁褬械泻 褍薪懈褕褌邪胁邪 懈 蟹谢芯褍锌芯褌褉械胁邪褭邪胁邪 芯薪械 泻芯褬懈 懈屑邪褬褍 屑芯褉邪谢薪械 胁褉懈褬械写薪芯褋褌懈 懈 胁芯写械 褋械 懈褋褌懈屑邪 懈 泻芯褉懈褋褌懈 懈褏 蟹邪褉邪写 芯褋褌胁邪褉懈胁邪褮邪 褮懈褏芯胁懈褏 褑懈褭械胁邪 泻邪泻胁懈 谐芯写 芯薪懈 斜懈谢懈.
小械谢懈屑芯胁懈褯 泻芯褉懈褋褌懈 袧褍褉褍写懈薪邪 写邪 泻褉芯蟹 褮械谐邪, 泻邪芯 锌邪褋懈胁薪褍 褎懈谐褍褉褍 泻芯褬芯褬 褋械 写芯谐邪褣邪褬褍 褋胁械 芯胁械 褋褌胁邪褉懈, 锌褉懈泻邪卸械 斜械褋屑懈褋邪芯 卸懈胁芯褌邪 懈 褋屑褉褌懈 褌械 褔懈褮械薪懈褑褍 写邪 泻芯谢懈泻邪 谐芯写 斜懈谢邪 薪邪褕邪 褍薪褍褌褉邪褕褮邪 胁褉懈褬械写薪芯褋褌, 芯薪邪 蟹邪 写褬械谢懈褯 褋械泻褍薪写械 屑芯卸械 斜懈褌懈 懈蟹斜褉懈褋邪薪邪 褌械卸懈薪芯屑 褉褍泻械 写褉褍褕褌胁邪 懈 锌芯褋褌邪褌懈 斜械褋屑懈褋谢械薪邪 懈 薪械锌芯褌褉械斜薪邪.
袧邪褉邪胁薪芯, 薪械泻芯 褯械 褉械褯懈 写邪 褬械 褍薪褍褌褉邪褕褮邪 胁褉懈褬械写薪芯褋褌 芯写薪芯褋薪芯 胁芯褣械褮械 锌褉懈薪懈褑懈锌懈屑邪 懈 屑芯褉邪谢薪懈屑 胁褉懈褬械写薪芯褋褌懈屑邪 薪邪褬斜懈褌薪懈褬邪 懈蟹 褋褍斜褬械泻褌懈胁薪械 锌械褉褋锌械泻褌懈胁械 芯写薪芯褋薪芯 写邪 芯薪邪 懈 薪械 褌褉械斜邪 写邪 懈屑邪 锌芯褋械斜邪薪 蟹薪邪褔邪褬 蟹邪 褋邪屑芯 写褉褍褕褌胁芯, 锌芯褋械斜薪芯 邪泻芯 褬械 褌邪褬 薪械泻芯 胁褬械褉薪懈泻, 邪谢懈 褍锌褉邪胁芯 褌邪褬 屑芯屑械薪邪褌 懈 蟹邪锌邪卸邪 小械谢懈屑芯胁懈褯 泻芯褬懈 锌褉懈泻邪蟹褍褬械 写邪 袧褍褉褍写懈薪, 泻芯褬懈 褬械 锌褉械写褋褌邪胁薪懈泻 褉械谢懈谐懈褬械, 锌芯褕褌褍褬械 芯胁械 胁褉懈褬械写薪芯褋褌懈 懈 胁芯写懈 褋械 褮懈屑邪 褋邪屑芯 蟹斜芯谐 锌褉懈蟹薪邪褮邪 芯泻芯谢懈薪械 懈 蟹斜芯谐 锌芯褋谢械写懈褑邪 泻芯褬械 锌芯褕褌芯胁邪褮械 懈褋褌懈褏 懈蟹邪蟹懈胁邪 褍 芯泻芯谢懈薪懈 褌械 写邪 褬械 懈褋褌芯 褌邪泻芯 褋锌褉械屑邪薪 写邪 褌械 锌褉懈薪褑懈锌械 蟹邪斜芯褉邪胁懈 懈 泻褉褕懈 褋邪屑芯 芯薪写邪 泻邪写邪 褌芯 屑芯卸械 写邪 写芯锌褉懈薪械褋械 薪械褔械屑褍. 袧邪 芯胁邪褬 薪邪褔懈薪 褋械 懈 锌芯褋褌邪胁褭邪 锌懈褌邪褮械 褬邪褔懈薪械 袧褍褉褍写懈薪芯胁械 胁褬械褉械 芯写薪芯褋薪芯 褮械谐芯胁械 斜械蟹薪邪褔邪褬薪芯褋褌懈 懈 褮械谐芯胁芯谐 写懈褋泻褍褌邪斜懈谢薪芯谐 泻邪褉邪泻邪褌械褉邪 褍 锌芯褉械褣械褮褍 褋邪 屑械褏邪薪懈蟹屑芯屑 写褉褍褕褌胁邪. 校 褌芯屑 褋屑懈褋谢褍, 芯胁芯 褬械 屑褬械褋褌芯 懈 写邪 褋械 锌褉懈屑褬械褌懈 写邪 芯胁芯 写褬械谢芯 懈屑邪 锌褉械谐褉褕褌 蟹邪褬械写薪懈褔薪懈褏 懈写械褬邪 褋邪 袣邪褎泻懈薪懈屑 袩褉芯褑械褋芯屑 褍 泻芯褬芯褬 褬械 斜械蟹薪邪褔邪褬薪芯褋褌 懈薪写懈胁懈写褍械 褍 锌褉胁芯屑 锌谢邪薪褍.
小邪 褉邪蟹谢芯谐芯屑 褋邪屑 薪邪 锌芯褔械褌泻褍 褉械褑械薪蟹懈褬械 芯褋褌邪胁懈芯 褑懈褌邪褌 懈 懈褋褌邪泻邪芯 写邪 懈褋褌懈屑 锌芯褔懈褮械 懈 蟹邪胁褉褕邪胁邪 芯胁芯 写褬械谢芯.
袧邪懈屑械, 褍 褋胁邪泻芯屑 小械谢懈屑芯胁懈褯械胁芯屑 写褬械谢褍, 邪 褍 芯胁芯屑 屑芯卸写邪 懈 薪邪褬胁懈褕械, 锌芯褋褌芯褬懈 褋泻褉懈胁械薪懈 褋懈屑斜芯谢 泻褉褍谐邪. 袛邪 谢懈 褋械 褌芯 锌褉芯卸懈屑邪 泻邪芯 胁褬械褔懈褌懈 褌芯泻 斜芯褉斜械 泻邪泻芯 褍薪褍褌褉邪褕褮械 褌邪泻芯 懈 褋锌芯褭邪褕褮械 泻芯褬邪 褋械 褍胁褬械泻 褍 薪械泻芯屑 屑芯屑械薪褌褍 胁褉邪褯邪 薪邪 懈褋褌芯 屑褬械褋褌芯 懈 懈褋褌懈 锌芯褔械褌邪泻, 懈谢懈 褬械 褌芯 锌褉懈泻邪蟹 袧褍褉褍写懈薪邪 泻芯褬懈 写芯谢邪蟹懈 褍 褋懈褌褍邪褑懈褬褍 写邪 斜褍写械 锌褉械写褋褌邪胁薪懈泻 芯薪芯谐邪 锌褉芯褌懈胁 褔械谐邪 褋械 褍 锌芯褔械褌泻褍 芯褋褌褉邪褕褯械薪芯 斜芯褉懈芯, 邪谢懈 懈 褋泻褉懈胁械薪邪 褋褍谐械褋褌懈褬邪 写邪 褌芯 屑芯卸械 斜懈褌懈 褋胁邪泻芯 芯写 薪邪褋, 懈谢懈 褬械 褌芯 褋邪屑芯 小械谢懈屑芯胁懈褯械胁邪 懈写械褬邪 写邪 褬械 泻褉褍谐 褌褉邪褬邪薪, 斜械蟹 锌芯褔械褌泻邪 懈 泻褉邪褬邪 胁械褯 褋邪屑芯 胁褬械褔懈褌芯谐 锌芯屑褬械褉邪褮邪 邪谢懈 锌芯屑褬械褉邪褮邪 泻芯褬械 薪邪 泻褉邪褬褍 胁芯写懈 泻邪 懈褋褌芯屑, 泻邪芯 懈 薪邪褕 卸懈胁芯褌 ?
小胁械 褍 褋胁械屑褍, 泻邪芯 懈 褋胁邪泻芯 褉械屑械泻 写褬械谢芯, 褌邪泻芯 懈 芯胁芯 芯褋褌邪胁褭邪 薪邪屑邪 锌芯褌褉邪谐褍 蟹邪 芯写谐芯胁芯褉械 薪邪 芯胁邪 邪谢懈 懈 屑薪芯谐邪 写褉褍谐邪 锌懈褌邪褮邪.
袩芯蟹懈胁邪屑 蟹邪 褋胁褬械写芯泻邪 薪械褋懈谐褍褉薪褍 褌邪屑褍 褋褍屑褉邪泻邪 懈 薪芯褯 懈 褋胁械 褕褌芯 芯薪邪 芯卸懈胁懈;
袩芯蟹懈胁邪屑 蟹邪 褋胁褬械写芯泻邪 褋褍写褮懈 写邪薪, 懈 写褍褕褍 褕褌芯 褋邪屑邪 褋械斜械 泻芯褉懈;
袩芯蟹懈胁邪屑 蟹邪 褋胁褬械写芯泻邪 胁褉懈褬械屑械, 锌芯褔械褌邪泻 懈 褋胁褉褕械褌邪泻 褋胁械谐邪
写邪 褬械 褋胁邪泻懈 褔芯胁褬械泻 褍胁懈褬械泻 薪邪 谐褍斜懈褌泻褍."
袨胁邪泻芯 锌芯褔懈褮械, 邪谢懈 懈 蟹邪胁褉褕邪胁邪 芯胁邪褬 蟹邪懈褋褌邪 谐械薪懈褬邪谢邪薪 褉芯屑邪薪.
袠屑邪褬褍褯懈 褍 胁懈写褍 写邪 褬械 芯胁芯 褬械写薪芯 芯写 写褬械谢邪 薪邪褕械 泻褮懈卸械胁薪芯褋褌懈 泻芯褬械 褋锌邪写邪 褍 芯薪邪 泻芯褬邪 褋褍 薪邪褬胁懈褕械 锌褍褌邪 懈 薪邪 薪邪褬胁懈褕械 薪邪褔懈薪邪 邪薪邪谢懈蟹懈褉邪薪邪 褌械 褋胁邪泻邪泻芯 懈 褍 写褬械谢邪 芯 泻芯褬懈屑邪 褋械 懈 写邪薪 写邪薪邪褋 屑薪芯谐芯 谐芯胁芯褉懈, 褋屑邪褌褉邪屑 写邪 褬械 斜械褋锌芯褌褉械斜薪芯 写邪 懈褋褌懈褔械屑 泻芯谢懈泻芯 褬械 芯胁芯 写褬械谢芯 蟹薪邪褔邪褬薪芯 蟹邪 薪邪褕褍 邪谢懈, 褍褋褍写懈褯褍 褋械 褉械褯懈, 懈 褋胁褬械褌褋泻褍 泻褮懈卸械胁薪芯褋褌 锌邪 懈 薪械 斜懈褏 锌褉械胁懈褕械 褌褉芯褕懈芯 褉懈褬械褔懈 薪邪 褌芯 泻芯谢懈泻邪 胁械谢懈褔懈薪邪 褬械 小械谢懈屑芯胁懈褯, 褮械谐芯胁 褋褌懈谢 懈 褋锌芯褋芯斜薪芯褋褌 写邪 薪懈褬械写薪邪 褉懈褬械褔 薪械 斜褍写械 褋褍胁懈褕薪邪 胁械褯 薪邪 锌褉邪胁芯屑 屑褬械褋褌褍 邪 褋胁邪泻邪泻芯 薪懈 芯 褌芯屑械 写邪 褬械 芯胁芯 写褬械谢芯 薪械褋褍屑褮懈胁芯 泻褉褍薪邪 褮械谐芯胁芯谐 胁褉褏褍薪褋泻芯谐 褋褌胁邪褉邪谢邪褕褌胁邪.
袗泻芯 薪械泻懈屑 褔褍写芯屑 薪懈褋褌械 褔懈褌邪谢懈 袛械褉胁懈褕邪 褍 褋褉械写褮芯褬 芯薪写邪 褋褌械 褋懈谐褍褉薪芯 褔褍谢懈 薪械褕褌芯 芯 褮械屑褍 懈 褮械谐芯胁懈屑 写懈谢械屑邪屑邪 懈 锌褉芯斜谢械屑懈屑邪 褋邪 泻芯褬懈屑邪 褋械 褋褍芯褔邪胁邪.
校 谐谢邪胁薪芯屑 褎芯泻褍褋褍, 斜邪褉 褋械 褌邪泻芯 褔懈薪懈 薪邪 锌褉胁懈 锌芯谐谢械写, 褬械褋褌械 斜芯褉斜邪 袛械褉胁懈褕邪 - 袗褏屑械写 袧褍褉褍写懈薪邪 锌褉芯褌懈胁 薪械锌褉邪胁写械. 小褍芯褔械薪 褋邪 褔懈褮械薪懈褑芯屑 写邪 屑褍 褬械 斜褉邪褌 褍褏邪锌褕械薪 懈蟹 薪械芯锌褉邪胁写邪薪懈褏 褉邪蟹谢芯谐邪, 袧褍褉褍写懈薪 写芯谢邪蟹懈 褍 褋褍泻芯斜 褋邪 褋胁芯褬懈屑 屑芯褉邪谢薪懈屑 薪邪褔械谢懈屑邪 泻芯褬邪 褋褍 谐邪 胁芯写懈谢邪 泻褉芯蟹 褔懈褌邪胁 褮械谐芯胁 卸懈胁芯褌 邪 懈 褔懈褬懈 褬械 懈 褋邪屑 锌褉芯锌芯胁褬械写薪懈泻, 褬械褉 写邪 斜懈 懈 懈屑邪芯 褕邪薪褋褍 写邪 锌芯屑芯谐薪械 褋胁芯屑 斜褉邪褌褍 芯薪 屑芯褉邪 写邪 褍褉邪写懈 褋褌胁邪褉懈 泻芯褬械 褋褍, 斜邪褉 锌芯 褮械谐芯胁芯屑 屑懈褕褭械褮褍, 褍 褋褍锌褉芯褌薪芯褋褌懈 褋邪 芯薪懈屑 褍 褕褌邪 胁褬械褉褍褬械 懈 褔械屑褍 褬械 锌芯褋胁械褌懈芯 胁械谢懈泻懈 写懈芯 褋胁芯谐 卸懈胁芯褌邪. 袨胁邪褬 褍薪褍褌褉邪褕褮懈 褋褍泻芯斜, 邪 泻芯褬懈 褬械 胁懈写褭懈胁 懈 褍 芯斜褬械泻褌懈胁薪懈屑 写械褕邪胁邪褮懈屑邪 泻芯褬邪 褋械 写械褕邪胁邪褬褍 袧褍褉褍写懈薪褍, 芯锌懈褋邪薪 褬械 褌邪泻芯 写械褌邪褭薪芯, 泻芯褉邪泻 锌芯 泻芯褉邪泻, 褋邪胁褉褕械薪懈屑 锌褉懈泻邪蟹芯屑 褌芯泻邪 屑懈褋谢懈.
袠锌邪泻, 芯胁芯 写褬械谢芯 褬械 蟹薪邪褌薪芯 胁懈褕械 芯写 芯胁芯谐 褋褍泻芯斜邪. 袧邪懈屑械, 褏邪锌褕械褮械 袧褍褉褍写懈薪芯胁芯谐 斜褉邪褌邪 懈 写械褕邪胁邪褮邪 泻芯褬邪 写芯谢邪蟹械 薪械锌芯褋褉械写薪芯 锌芯褋谢械 写芯胁芯写械 写芯 屑薪芯谐芯斜褉芯褬薪懈褏 锌芯褋谢械写懈褑邪 褍 泻芯屑 褯械 芯胁邪褬 褍薪褍褌褉邪褕褮懈 褋褍泻芯斜 锌褉械褉邪褋褌懈 褍 褋褍泻芯斜 锌芯褬械写懈薪褑邪 锌褉芯褌懈胁 写褉褍褕褌胁邪, 写褉褍褕褌胁邪 泻芯褬械 屑芯褉邪谢薪芯谐 锌芯褬械写懈薪褑邪 泻邪泻邪胁 褬械 袧褍褉褍写懈薪 褍 锌芯褌锌褍薪芯褋褌懈 褍谐褮械褌邪胁邪.
袨胁邪褬 褋褍泻芯斜 斜懈 屑芯卸写邪 写芯胁械芯 写芯 褍褌懈褋泻邪 写邪 袧褍褉褍写懈薪 锌褉械写褋褌邪胁褭邪 芯写褉械褣械薪褍 胁褉褋褌褍 褏械褉芯褬邪, 蟹邪谐芯胁芯褉薪懈泻邪 写芯斜褉邪 泻芯褬懈 褬械 胁褬械褔懈褌芯 褍 褋褍泻芯斜褍 褋邪 芯薪懈屑 褕褌芯 褌芯 薪懈褬械, 邪谢懈 邪泻芯 懈 屑邪谢芯 蟹邪褋褌邪薪械屑芯 褋褏胁邪褌邪屑芯 写邪 褬械 袧褍褉褍写懈薪 褋邪屑芯 褬械写薪邪 褍 薪懈蟹褍 "卸褉褌邪胁邪" 泻芯斜薪芯谐 锌褉懈褌懈褋泻邪 写褉褍褕褌胁邪 泻芯褬械, 锌芯 屑懈褕褭械褮褍 小械谢懈屑芯胁懈褯邪, 褍胁褬械泻 褍薪懈褕褌邪胁邪 懈 蟹谢芯褍锌芯褌褉械胁邪褭邪胁邪 芯薪械 泻芯褬懈 懈屑邪褬褍 屑芯褉邪谢薪械 胁褉懈褬械写薪芯褋褌懈 懈 胁芯写械 褋械 懈褋褌懈屑邪 懈 泻芯褉懈褋褌懈 懈褏 蟹邪褉邪写 芯褋褌胁邪褉懈胁邪褮邪 褮懈褏芯胁懈褏 褑懈褭械胁邪 泻邪泻胁懈 谐芯写 芯薪懈 斜懈谢懈.
小械谢懈屑芯胁懈褯 泻芯褉懈褋褌懈 袧褍褉褍写懈薪邪 写邪 泻褉芯蟹 褮械谐邪, 泻邪芯 锌邪褋懈胁薪褍 褎懈谐褍褉褍 泻芯褬芯褬 褋械 写芯谐邪褣邪褬褍 褋胁械 芯胁械 褋褌胁邪褉懈, 锌褉懈泻邪卸械 斜械褋屑懈褋邪芯 卸懈胁芯褌邪 懈 褋屑褉褌懈 褌械 褔懈褮械薪懈褑褍 写邪 泻芯谢懈泻邪 谐芯写 斜懈谢邪 薪邪褕邪 褍薪褍褌褉邪褕褮邪 胁褉懈褬械写薪芯褋褌, 芯薪邪 蟹邪 写褬械谢懈褯 褋械泻褍薪写械 屑芯卸械 斜懈褌懈 懈蟹斜褉懈褋邪薪邪 褌械卸懈薪芯屑 褉褍泻械 写褉褍褕褌胁邪 懈 锌芯褋褌邪褌懈 斜械褋屑懈褋谢械薪邪 懈 薪械锌芯褌褉械斜薪邪.
袧邪褉邪胁薪芯, 薪械泻芯 褯械 褉械褯懈 写邪 褬械 褍薪褍褌褉邪褕褮邪 胁褉懈褬械写薪芯褋褌 芯写薪芯褋薪芯 胁芯褣械褮械 锌褉懈薪懈褑懈锌懈屑邪 懈 屑芯褉邪谢薪懈屑 胁褉懈褬械写薪芯褋褌懈屑邪 薪邪褬斜懈褌薪懈褬邪 懈蟹 褋褍斜褬械泻褌懈胁薪械 锌械褉褋锌械泻褌懈胁械 芯写薪芯褋薪芯 写邪 芯薪邪 懈 薪械 褌褉械斜邪 写邪 懈屑邪 锌芯褋械斜邪薪 蟹薪邪褔邪褬 蟹邪 褋邪屑芯 写褉褍褕褌胁芯, 锌芯褋械斜薪芯 邪泻芯 褬械 褌邪褬 薪械泻芯 胁褬械褉薪懈泻, 邪谢懈 褍锌褉邪胁芯 褌邪褬 屑芯屑械薪邪褌 懈 蟹邪锌邪卸邪 小械谢懈屑芯胁懈褯 泻芯褬懈 锌褉懈泻邪蟹褍褬械 写邪 袧褍褉褍写懈薪, 泻芯褬懈 褬械 锌褉械写褋褌邪胁薪懈泻 褉械谢懈谐懈褬械, 锌芯褕褌褍褬械 芯胁械 胁褉懈褬械写薪芯褋褌懈 懈 胁芯写懈 褋械 褮懈屑邪 褋邪屑芯 蟹斜芯谐 锌褉懈蟹薪邪褮邪 芯泻芯谢懈薪械 懈 蟹斜芯谐 锌芯褋谢械写懈褑邪 泻芯褬械 锌芯褕褌芯胁邪褮械 懈褋褌懈褏 懈蟹邪蟹懈胁邪 褍 芯泻芯谢懈薪懈 褌械 写邪 褬械 懈褋褌芯 褌邪泻芯 褋锌褉械屑邪薪 写邪 褌械 锌褉懈薪褑懈锌械 蟹邪斜芯褉邪胁懈 懈 泻褉褕懈 褋邪屑芯 芯薪写邪 泻邪写邪 褌芯 屑芯卸械 写邪 写芯锌褉懈薪械褋械 薪械褔械屑褍. 袧邪 芯胁邪褬 薪邪褔懈薪 褋械 懈 锌芯褋褌邪胁褭邪 锌懈褌邪褮械 褬邪褔懈薪械 袧褍褉褍写懈薪芯胁械 胁褬械褉械 芯写薪芯褋薪芯 褮械谐芯胁械 斜械蟹薪邪褔邪褬薪芯褋褌懈 懈 褮械谐芯胁芯谐 写懈褋泻褍褌邪斜懈谢薪芯谐 泻邪褉邪泻邪褌械褉邪 褍 锌芯褉械褣械褮褍 褋邪 屑械褏邪薪懈蟹屑芯屑 写褉褍褕褌胁邪. 校 褌芯屑 褋屑懈褋谢褍, 芯胁芯 褬械 屑褬械褋褌芯 懈 写邪 褋械 锌褉懈屑褬械褌懈 写邪 芯胁芯 写褬械谢芯 懈屑邪 锌褉械谐褉褕褌 蟹邪褬械写薪懈褔薪懈褏 懈写械褬邪 褋邪 袣邪褎泻懈薪懈屑 袩褉芯褑械褋芯屑 褍 泻芯褬芯褬 褬械 斜械蟹薪邪褔邪褬薪芯褋褌 懈薪写懈胁懈写褍械 褍 锌褉胁芯屑 锌谢邪薪褍.
小邪 褉邪蟹谢芯谐芯屑 褋邪屑 薪邪 锌芯褔械褌泻褍 褉械褑械薪蟹懈褬械 芯褋褌邪胁懈芯 褑懈褌邪褌 懈 懈褋褌邪泻邪芯 写邪 懈褋褌懈屑 锌芯褔懈褮械 懈 蟹邪胁褉褕邪胁邪 芯胁芯 写褬械谢芯.
袧邪懈屑械, 褍 褋胁邪泻芯屑 小械谢懈屑芯胁懈褯械胁芯屑 写褬械谢褍, 邪 褍 芯胁芯屑 屑芯卸写邪 懈 薪邪褬胁懈褕械, 锌芯褋褌芯褬懈 褋泻褉懈胁械薪懈 褋懈屑斜芯谢 泻褉褍谐邪. 袛邪 谢懈 褋械 褌芯 锌褉芯卸懈屑邪 泻邪芯 胁褬械褔懈褌懈 褌芯泻 斜芯褉斜械 泻邪泻芯 褍薪褍褌褉邪褕褮械 褌邪泻芯 懈 褋锌芯褭邪褕褮械 泻芯褬邪 褋械 褍胁褬械泻 褍 薪械泻芯屑 屑芯屑械薪褌褍 胁褉邪褯邪 薪邪 懈褋褌芯 屑褬械褋褌芯 懈 懈褋褌懈 锌芯褔械褌邪泻, 懈谢懈 褬械 褌芯 锌褉懈泻邪蟹 袧褍褉褍写懈薪邪 泻芯褬懈 写芯谢邪蟹懈 褍 褋懈褌褍邪褑懈褬褍 写邪 斜褍写械 锌褉械写褋褌邪胁薪懈泻 芯薪芯谐邪 锌褉芯褌懈胁 褔械谐邪 褋械 褍 锌芯褔械褌泻褍 芯褋褌褉邪褕褯械薪芯 斜芯褉懈芯, 邪谢懈 懈 褋泻褉懈胁械薪邪 褋褍谐械褋褌懈褬邪 写邪 褌芯 屑芯卸械 斜懈褌懈 褋胁邪泻芯 芯写 薪邪褋, 懈谢懈 褬械 褌芯 褋邪屑芯 小械谢懈屑芯胁懈褯械胁邪 懈写械褬邪 写邪 褬械 泻褉褍谐 褌褉邪褬邪薪, 斜械蟹 锌芯褔械褌泻邪 懈 泻褉邪褬邪 胁械褯 褋邪屑芯 胁褬械褔懈褌芯谐 锌芯屑褬械褉邪褮邪 邪谢懈 锌芯屑褬械褉邪褮邪 泻芯褬械 薪邪 泻褉邪褬褍 胁芯写懈 泻邪 懈褋褌芯屑, 泻邪芯 懈 薪邪褕 卸懈胁芯褌 ?
小胁械 褍 褋胁械屑褍, 泻邪芯 懈 褋胁邪泻芯 褉械屑械泻 写褬械谢芯, 褌邪泻芯 懈 芯胁芯 芯褋褌邪胁褭邪 薪邪屑邪 锌芯褌褉邪谐褍 蟹邪 芯写谐芯胁芯褉械 薪邪 芯胁邪 邪谢懈 懈 屑薪芯谐邪 写褉褍谐邪 锌懈褌邪褮邪.
May 2, 2012
This book is a huge favorite of mine and I'm quite surprised that I haven't written about it - yet.
But I'm here now to correct that and to pay homage to this unprecedented masterpiece of, I dare to say, world literature.
When I first came across this book, I was frankly very, very, unimaginably young and even more so immature. But, even at that period in my life, I din't fail to recognize that this novel is like a rare diamond that not many people are allowed to discover,understand and accept.
Not knowing where to start,and afraid I maybe won't transfer what lies in the depths of the wisdom that this book brings and gives, I would like to say what the novel is about in a couple of unpretentious sentences.
Basically, it is a quest for Justice, but the quest is doomed to fail at its very beginning. The quest is taken by a man who is not your ordinary man, but a person who lives under very strict rules of moral and divine providence, and he can never escape from what he is.
He is searching for a way to free his brother who is trapped in a tower because of some (political) offence he did. Little does the hero know that the verdict has been reached in advance, and that there is no way out not only for his lost brother, but, even more so, for him.
The novel is written in the "I - form", and the author is very skilled in connecting, contrasting, explaining and hiding his feelings through his writing, and the reader doesn't fail to utterly connect with the authors dilemmas and his enormous sadness and pain. The book speaks not only of Justice, or the nonexistence of the latter, but also of Life and Love and People and Man, and Truth and Lie, and it goes on ad infinitum.
It always seemed to me that the author writes his thoughts and makes them into sentences with such ease and fluency, and I read this text with awe even today, nearly ten years after reading it for the first time as a very silly girl. To this day, when I'm feeling perplexed about life and my existence and all those, to quote the Pythons, "meaning of life" questions, I just read a couple of sentences from here, and I immediately feel my confusion fading.
I'm grateful for that, and i think that this is definitely a must - read novel!
Start today :)
But I'm here now to correct that and to pay homage to this unprecedented masterpiece of, I dare to say, world literature.
When I first came across this book, I was frankly very, very, unimaginably young and even more so immature. But, even at that period in my life, I din't fail to recognize that this novel is like a rare diamond that not many people are allowed to discover,understand and accept.
Not knowing where to start,and afraid I maybe won't transfer what lies in the depths of the wisdom that this book brings and gives, I would like to say what the novel is about in a couple of unpretentious sentences.
Basically, it is a quest for Justice, but the quest is doomed to fail at its very beginning. The quest is taken by a man who is not your ordinary man, but a person who lives under very strict rules of moral and divine providence, and he can never escape from what he is.
He is searching for a way to free his brother who is trapped in a tower because of some (political) offence he did. Little does the hero know that the verdict has been reached in advance, and that there is no way out not only for his lost brother, but, even more so, for him.
The novel is written in the "I - form", and the author is very skilled in connecting, contrasting, explaining and hiding his feelings through his writing, and the reader doesn't fail to utterly connect with the authors dilemmas and his enormous sadness and pain. The book speaks not only of Justice, or the nonexistence of the latter, but also of Life and Love and People and Man, and Truth and Lie, and it goes on ad infinitum.
It always seemed to me that the author writes his thoughts and makes them into sentences with such ease and fluency, and I read this text with awe even today, nearly ten years after reading it for the first time as a very silly girl. To this day, when I'm feeling perplexed about life and my existence and all those, to quote the Pythons, "meaning of life" questions, I just read a couple of sentences from here, and I immediately feel my confusion fading.
I'm grateful for that, and i think that this is definitely a must - read novel!
Start today :)
April 8, 2015
ENGLISH
"People despise everyone who succeeds and hate the ones who surpass them. Get used to scorn if you want peace and hate if you agree to fight"
BOSNIAN
鈥淟judi preziru sve one koji ne uspiju, a mrze one koji se uspnu iznad njih; Navikni se na prezir ako 啪elis mir, ili na mr啪nju ako pristane拧 na borbu...鈥�
_________________________
I read this book back in high school and it was a school assignment. The writer of this book is from the city where I went to school. Our teacher urged us to read this book, not because it was a school assignment. She said this book makes you think. And I read it and it was beautiful, beyond beautiful.
_________________________
ENGLISH
"Thousand times you regret what you have said, rarely what you have not."
BOSNIAN
鈥淗iljadu puta se pokaje拧 za ono 拧to ka啪e拧, rijetko za ono 拧to pre膰uti拧.鈥�
_________________________
The writing style is complicated and not easy to read. But these quotations show you what a masterpiece this book is. I wish this book was more appreciated in the world. It is full of wisdom. I want to find an english version of this book. Sadly, this author is not well known outside the ex-Yugoslavian countries.
__________________________
ENGLISH
"Lonely, in between the graves, I forgot hate. It came back when I approached people."
BOSNIAN
鈥淯samljen me膽u grobovima, zaboravio sam na mr啪nju. Vratila mi se kad sam pri拧ao ljudima.鈥�
___________________________
VERY IMPORTANT NOTE: I translated the quotations from Bosnian to English myself. Sorry for all the mistakes that I made.
"People despise everyone who succeeds and hate the ones who surpass them. Get used to scorn if you want peace and hate if you agree to fight"
BOSNIAN
鈥淟judi preziru sve one koji ne uspiju, a mrze one koji se uspnu iznad njih; Navikni se na prezir ako 啪elis mir, ili na mr啪nju ako pristane拧 na borbu...鈥�
_________________________
I read this book back in high school and it was a school assignment. The writer of this book is from the city where I went to school. Our teacher urged us to read this book, not because it was a school assignment. She said this book makes you think. And I read it and it was beautiful, beyond beautiful.
_________________________
ENGLISH
"Thousand times you regret what you have said, rarely what you have not."
BOSNIAN
鈥淗iljadu puta se pokaje拧 za ono 拧to ka啪e拧, rijetko za ono 拧to pre膰uti拧.鈥�
_________________________
The writing style is complicated and not easy to read. But these quotations show you what a masterpiece this book is. I wish this book was more appreciated in the world. It is full of wisdom. I want to find an english version of this book. Sadly, this author is not well known outside the ex-Yugoslavian countries.
__________________________
ENGLISH
"Lonely, in between the graves, I forgot hate. It came back when I approached people."
BOSNIAN
鈥淯samljen me膽u grobovima, zaboravio sam na mr啪nju. Vratila mi se kad sam pri拧ao ljudima.鈥�
___________________________
VERY IMPORTANT NOTE: I translated the quotations from Bosnian to English myself. Sorry for all the mistakes that I made.
September 1, 2017
Bila sam skepti膷na prije po膷etka 膷itanja, 拧to zbog velikih o膷ekivanja, 拧to zbog toga 拧to su Selimovi膰evih citata pune dru拧tvene mre啪e. Tad obi膷no bje啪im glavom bez obzira. Ne 拧to citati nisu dobri, niti 拧to mi je mrsko da otkrivam ne拧to u 膷emu ve膰 gomila ljudi u啪iva, naprosto, bila sam zasi膰ena Selimovi膰em i prije nego sam ga ikad za ozbiljno uzela u ruke. Prvi puta, bilo je to sredinom srednje 拧kole, znala sam ve膰 tada da je djelo veliko i zahtjevno, me膽utim bila sam nedorasla tako ne膷emu, ali to je samo osobno iskustvo. Sada, nekih 7 godina nakon drago mi je da sam ga ostavila za kasnije. Ova je knjiga 膷ista umjetnost. Selimovi膰 pi拧e naprosto maestralno. Mo啪da bi sveukupni dojam s radnjom, likovima i dr. bila 膷etvorka, ali ovakve fantasti膷ne re膷enice, dijalozi, unutarnja previranja dervi拧a opisana tako poetski: 膷ista petica. U啪ivala sam toliko da sam vrlo 膷esto 膷itala odlomke dva ili vi拧e puta samo da 拧to vi拧e upijem.
May 1, 2016
All we try to do in life is have a congruent and balanced view about the world, people and what's happening around us. And we try to protect our safe zone often ignoring and dismissing the things that not fit in our congruent view about the life. We believe in that we live in a just world, suffering people suffer because they must have done something to deserve this (!) And, what happens if our congruent world attacks us from behind and then we become the object of injustice? Can we manage to protect our congruent and balanced view? In this thought provoking book, Selimovic questions our rigid beliefs about world, justice, relationships and what' s happening around us basing on Ahmed Nuruddin's (A Mevlevi Dervish formerly living in his world established on absolute truths) story and portrays his moral dilemmas strikingly.
May 26, 2017
(After lots of thought...) I was going to rate this book either one star or five stars. I chose to give it the five stars and to rate myself with one, for not being able to understand ANYTHING going on in it... I totally failed me, cause even I can see that this is a world masterpiece and truly about subjects that interest me immensly: the Balkans, history, religion, inner turmoils, being ethical when everyone around you isn't, moral dilemmas that break a person. But... my God, its writing style filled with endless dense internal monologues was soooo heavy that the book ended up being totally incomprehensible to me - yet I read it all.
Maybe in ten years I'll give it, me, another chance.
Maybe in ten years I'll give it, me, another chance.
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