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Heaven and Hell Trilogy #1
袦械卸写褍 褉邪褟 懈 邪写邪
袞懈胁芯褌芯 褌褟谢芯 械 褍写懈胁懈褌械谢薪芯 薪械褖芯. 袧芯 芯褌 屑芯屑械薪褌邪, 胁 泻芯泄褌芯 褋褗褉褑械褌芯 褋锌褉械 写邪 斜懈械, 写邪 褌谢邪褋泻邪 泻褉褗胁, 泻芯谐邪褌芯 懈褋泻褉懈褌械 芯褌 褋锌芯屑械薪懈褌械 懈 屑懈褋谢懈褌械 褍谐邪褋薪邪褌, 褌芯谐邪胁邪 褌芯 锌褉械褋褌邪胁邪 写邪 褍写懈胁谢褟胁邪 懈 褋械 锌褉械胁褉褗褖邪 胁 薪械褖芯, 蟹邪 泻芯械褌芯 薪械 懈褋泻邪屑械 写邪 薪邪屑械褉懈屑 写褍屑邪. 袧械泻邪 芯褋褌邪胁懈屑 褌芯胁邪 薪邪 薪邪褍泻邪褌邪. 袠 锌芯褋谢械 薪邪 锌褉褗褋褌褌邪.
袗薪写褉械邪 锌褉懈褋胁懈胁邪 芯褔懈, 懈蟹胁褉褗褖邪 谐谢邪胁邪 芯褌 薪邪褌褉邪锌褔懈胁懈褌械 褋薪械卸懈薪泻懈; 薪邪泻褉邪褟 褉械褕邪胁邪 写邪 锌褉械斜褉芯懈 屑褗卸械褌械. 袛芯 褕锌懈谢邪 褋褌芯褟褌 袚胁械薪写 懈 袝泄薪邪褉, 袩械褌械褉 锌褉懈写褗褉卸邪 薪芯褋邪 薪邪 谢芯写泻邪褌邪, 械褌芯 谐芯 袗褉薪懈, 械褌芯 谐芯 屑芯屑褔械褌芯; 懈 褋械谐邪 褌褟 蟹邪斜械谢褟蟹胁邪 泻邪泻 屑褗卸械褌械 褋械 胁谢邪褔邪褌 懈蟹屑褗褔械薪懈, 薪械 芯褌 褍屑芯褉邪, 邪 芯褌 薪械褖芯 褋褗胁褋械屑 写褉褍谐芯, 懈 袘邪褉写 薪械 褋械 胁懈卸写邪 薪懈泻褗写械. 袣褗写械 械 袘邪褉写, 泻邪蟹胁邪 褌褟 薪械胁芯谢薪芯, 锌懈褌邪 胁褟褌褗褉邪, 锌懈褌邪 褋薪械卸懈薪泻懈褌械, 薪芯 薪懈泻芯泄 薪械 芯褌谐芯胁邪褉褟, 薪褟屑邪 薪褍卸写邪, 胁褟褌褗褉褗褌 锌褉芯褋褌芯 写褍褏邪, 懈写胁邪 懈 胁 褋褗褖懈褟 屑芯屑械薪褌 蟹邪屑懈薪邪胁邪, 邪 褋薪械卸懈薪泻懈褌械 褋邪 褉芯写械薪懈 芯褌 薪械斜械褌芯, 蟹邪褌芯胁邪 褋邪 斜械谢懈 懈 懈屑邪褌 褎芯褉屑邪褌邪 薪邪 邪薪谐械谢褋泻懈 泻褉懈谢械. 袧械斜械褌芯 薪懈泻芯谐邪 薪械 械 褌褉褟斜胁邪谢芯 写邪 芯斜褟褋薪褟胁邪 泻邪泻胁芯褌芯 懈 写邪 斜懈谢芯; 褌芯 胁懈械 褋胁芯写 胁懈褋芯泻芯 薪邪写 谐谢邪胁懈褌械 薪懈, 薪邪写 卸懈胁芯褌邪 薪懈, 懈 械 胁懈薪邪谐懈 械写薪邪泻胁芯 芯褌写邪谢械褔械薪芯.
袦芯屑褔械褌芯 芯褌屑械褋褌胁邪 写褟褋薪邪褌邪 褋懈 褉褗泻邪, 锌褉芯泻邪褉胁邪 锌褉褗褋褌懈 锌芯 泻薪懈谐邪褌邪, 蟹邪褉邪写懈 泻芯褟褌芯 袘邪褉写 蟹邪斜褉邪胁懈 写褉械褏邪褌邪 褋懈. 效械褌械薪械褌芯 薪邪 褋褌懈褏芯胁械 械 芯锌邪褋薪芯 蟹邪 卸懈胁芯褌邪.
袠蟹谐褍斜械薪懈褟褌 褉邪泄. 袛邪谢懈 褋屑褗褉褌褌邪 芯蟹薪邪褔邪胁邪 懈蟹谐褍斜械薪 褉邪泄?
袡芯薪 袣邪谢屑邪薪 小褌械褎邪薪褋芯薪 械 褉芯写械薪 锌褉械蟹 1963谐. 胁 袪械泄泻褟胁懈泻. 袩芯械褌, 褉芯屑邪薪懈褋褌 懈 锌褉械胁芯写邪褔, 褌芯泄 械 械写懈薪 芯褌 薪邪泄-懈蟹褌褗泻薪邪褌懈褌械 褋褗胁褉械屑械薪薪懈 懈褋谢邪薪写褋泻懈 锌懈褋邪褌械谢懈. 袠屑邪 褔械褌懈褉懈 薪芯屑懈薪邪褑懈懈 蟹邪 谢懈褌械褉邪褌褍褉薪邪褌邪 薪邪谐褉邪写邪 薪邪 小械胁械褉薪懈褟 褋褗胁械褌, 薪芯褋懈褌械谢 械 薪邪 袠褋谢邪薪写褋泻邪褌邪 谢懈褌械褉邪褌褍褉薪邪 薪邪谐褉邪写邪 (2005) 蟹邪 褉芯屑邪薪邪 褋懈 "袥褟褌薪邪 褋胁械褌谢懈薪邪 懈 褋谢械写 薪械褟 锌邪写邪 薪芯褖" 懈 薪邪 褕胁械写褋泻邪褌邪 谢懈褌械褉邪褌褍褉薪邪 薪邪谐褉邪写邪 薪邪 懈屑械褌芯 薪邪 袩械褉 校谢芯胁 袝薪泻胁懈褋褌 (2011) 蟹邪 "袦械卸写褍 褉邪褟 懈 邪写邪". 袧械谐芯胁懈褌械 锌褉芯懈蟹胁械写械薪懈褟 褋邪 锌褉械胁械写械薪懈 薪邪 写械褋械褌泻懈 械蟹懈褑懈.
袗薪写褉械邪 锌褉懈褋胁懈胁邪 芯褔懈, 懈蟹胁褉褗褖邪 谐谢邪胁邪 芯褌 薪邪褌褉邪锌褔懈胁懈褌械 褋薪械卸懈薪泻懈; 薪邪泻褉邪褟 褉械褕邪胁邪 写邪 锌褉械斜褉芯懈 屑褗卸械褌械. 袛芯 褕锌懈谢邪 褋褌芯褟褌 袚胁械薪写 懈 袝泄薪邪褉, 袩械褌械褉 锌褉懈写褗褉卸邪 薪芯褋邪 薪邪 谢芯写泻邪褌邪, 械褌芯 谐芯 袗褉薪懈, 械褌芯 谐芯 屑芯屑褔械褌芯; 懈 褋械谐邪 褌褟 蟹邪斜械谢褟蟹胁邪 泻邪泻 屑褗卸械褌械 褋械 胁谢邪褔邪褌 懈蟹屑褗褔械薪懈, 薪械 芯褌 褍屑芯褉邪, 邪 芯褌 薪械褖芯 褋褗胁褋械屑 写褉褍谐芯, 懈 袘邪褉写 薪械 褋械 胁懈卸写邪 薪懈泻褗写械. 袣褗写械 械 袘邪褉写, 泻邪蟹胁邪 褌褟 薪械胁芯谢薪芯, 锌懈褌邪 胁褟褌褗褉邪, 锌懈褌邪 褋薪械卸懈薪泻懈褌械, 薪芯 薪懈泻芯泄 薪械 芯褌谐芯胁邪褉褟, 薪褟屑邪 薪褍卸写邪, 胁褟褌褗褉褗褌 锌褉芯褋褌芯 写褍褏邪, 懈写胁邪 懈 胁 褋褗褖懈褟 屑芯屑械薪褌 蟹邪屑懈薪邪胁邪, 邪 褋薪械卸懈薪泻懈褌械 褋邪 褉芯写械薪懈 芯褌 薪械斜械褌芯, 蟹邪褌芯胁邪 褋邪 斜械谢懈 懈 懈屑邪褌 褎芯褉屑邪褌邪 薪邪 邪薪谐械谢褋泻懈 泻褉懈谢械. 袧械斜械褌芯 薪懈泻芯谐邪 薪械 械 褌褉褟斜胁邪谢芯 写邪 芯斜褟褋薪褟胁邪 泻邪泻胁芯褌芯 懈 写邪 斜懈谢芯; 褌芯 胁懈械 褋胁芯写 胁懈褋芯泻芯 薪邪写 谐谢邪胁懈褌械 薪懈, 薪邪写 卸懈胁芯褌邪 薪懈, 懈 械 胁懈薪邪谐懈 械写薪邪泻胁芯 芯褌写邪谢械褔械薪芯.
袦芯屑褔械褌芯 芯褌屑械褋褌胁邪 写褟褋薪邪褌邪 褋懈 褉褗泻邪, 锌褉芯泻邪褉胁邪 锌褉褗褋褌懈 锌芯 泻薪懈谐邪褌邪, 蟹邪褉邪写懈 泻芯褟褌芯 袘邪褉写 蟹邪斜褉邪胁懈 写褉械褏邪褌邪 褋懈. 效械褌械薪械褌芯 薪邪 褋褌懈褏芯胁械 械 芯锌邪褋薪芯 蟹邪 卸懈胁芯褌邪.
袠蟹谐褍斜械薪懈褟褌 褉邪泄. 袛邪谢懈 褋屑褗褉褌褌邪 芯蟹薪邪褔邪胁邪 懈蟹谐褍斜械薪 褉邪泄?
袡芯薪 袣邪谢屑邪薪 小褌械褎邪薪褋芯薪 械 褉芯写械薪 锌褉械蟹 1963谐. 胁 袪械泄泻褟胁懈泻. 袩芯械褌, 褉芯屑邪薪懈褋褌 懈 锌褉械胁芯写邪褔, 褌芯泄 械 械写懈薪 芯褌 薪邪泄-懈蟹褌褗泻薪邪褌懈褌械 褋褗胁褉械屑械薪薪懈 懈褋谢邪薪写褋泻懈 锌懈褋邪褌械谢懈. 袠屑邪 褔械褌懈褉懈 薪芯屑懈薪邪褑懈懈 蟹邪 谢懈褌械褉邪褌褍褉薪邪褌邪 薪邪谐褉邪写邪 薪邪 小械胁械褉薪懈褟 褋褗胁械褌, 薪芯褋懈褌械谢 械 薪邪 袠褋谢邪薪写褋泻邪褌邪 谢懈褌械褉邪褌褍褉薪邪 薪邪谐褉邪写邪 (2005) 蟹邪 褉芯屑邪薪邪 褋懈 "袥褟褌薪邪 褋胁械褌谢懈薪邪 懈 褋谢械写 薪械褟 锌邪写邪 薪芯褖" 懈 薪邪 褕胁械写褋泻邪褌邪 谢懈褌械褉邪褌褍褉薪邪 薪邪谐褉邪写邪 薪邪 懈屑械褌芯 薪邪 袩械褉 校谢芯胁 袝薪泻胁懈褋褌 (2011) 蟹邪 "袦械卸写褍 褉邪褟 懈 邪写邪". 袧械谐芯胁懈褌械 锌褉芯懈蟹胁械写械薪懈褟 褋邪 锌褉械胁械写械薪懈 薪邪 写械褋械褌泻懈 械蟹懈褑懈.
174 pages, Paperback
First published January 1, 2007
359 people are currently reading
12757 people want to read
About the author
J贸n Kalman Stef谩nsson
51听books1,243听followersJ贸n moved to Keflav铆k when he was 12 and returned to Reykjav铆k in 1986 with his highschool diploma. From 1975 鈥� 1982 he spent a good deal of his time in West Iceland, where he did various jobs: worked in a slaughterhouse, in the fishing industry, doing masonry and for one summer as a police officer at Keflav铆k International Airport. J贸n Kalman studied literature at the University of Iceland from 1986 until 1991 but did not finish his degree. He taught literature at two highschools for a period of time and wrote articles and criticism for Morgunbla冒i冒 newspaper for a number of years. J贸n lived in Copenhagen from 1992 鈥� 1995, reading, washing floors and counting buses. He worked as a librarian at the Mosfellsb忙r Library near Reykjav铆k until the year 2000. Since then he has been a full time writer.
His first published work, the poetry collection, Me冒 byssuleyfi 谩 eil铆f冒ina, came out in 1988. He has published two other collections of poetry and a number of novels. His novel Sumarlj贸s, og svo kemur n贸ttin (Summer Light, and Then Comes the Night) won The Icelandic Literature Prize in 2005. Three of his books have also been nominated for The Nordic Council's Literature Prize.
He was the recipient of the Per Olov Enquists Prize for 2011, awarded at the book fair in Gautaborg in September 2011.
His first published work, the poetry collection, Me冒 byssuleyfi 谩 eil铆f冒ina, came out in 1988. He has published two other collections of poetry and a number of novels. His novel Sumarlj贸s, og svo kemur n贸ttin (Summer Light, and Then Comes the Night) won The Icelandic Literature Prize in 2005. Three of his books have also been nominated for The Nordic Council's Literature Prize.
He was the recipient of the Per Olov Enquists Prize for 2011, awarded at the book fair in Gautaborg in September 2011.
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February 27, 2023
De muuuuuult n-am mai citit o carte de pl膬cere, cred c膬 de juma de an, cel pu葲in. Am l膬sat totul (studii despre speciile lecturii, despre 鈥瀋ititorii buni 葯i r膬i鈥� etc.) 葯i am str膬b膬tut deja trei sferturi din romanul lui J贸n Kalman Stef谩nsson.
Not膬 biografic膬. Autorul e islandez; n膬scut 卯n 1963; a f膬cut de toate, a avut diverse joburi, apoi a urmat ni葯te cursuri pe care nu le-a terminat 卯nc膬, a lucrat 葯i la un ziar, apoi 卯ntr-o bibliotec膬 municipal膬, 葯i acum s-a retras 葯i tr膬ie葯te din scris. 脦n Islanda, se poate. E un loc friguros 葯i ciudat.
Volumul poate fi privit ca un Bildungsroman, dar este 卯n primul r卯nd o medita葲ie asupra fragilit膬葲ii 葯i finitudinii umane, din perspectiva unui (foarte) t卯n膬r pescar. E bine scris (c卯t po葲i ghici dintr-o traducere dup膬 o versiune francez膬), cu fraze complicate, care mi-au adus aminte de frazele lui Saramago. S卯nt lungi, dar le po葲i urm膬ri cu u葯urin葲膬, dac膬 e葯ti atent 葯i gu葯ti ironia finalurilor. Iat膬 o fraz膬 de tip Saramago:
鈥濻e sprijin膬 o clip膬 de zidul cimitirului, Satul e ascuns de o perdea de fulgi, casele din preajma bisericii abia se deslu艧esc, tremur膬 c卯te o lumin膬 palid膬 la vreo fereastr膬 艧i aproape to牛i oamenii dorm la ora asta, c膬ci a艧a se cade, oricum, nu dorm la fel de ad卯nc precum cei din spatele lui鈥� (pp.118-119).
Dac膬 v膬 vine s膬 crede葲i, romanul are un narator colectiv, cel care poveste葯te 卯nt卯mpl膬rile este un noi, 鈥瀏ura satului鈥�, cum ar veni, numai c膬 e vorba de gura unui sat post-modern, care intervine adesea 卯n nara葲iune 葯i ofer膬 instruc葲iuni de lectur膬: 鈥濪ar s膬-l l膬s膬m lini艧tit [pe 鈥瀊膬iat鈥�, eroul acestei pove葯ti nu are un nume propriu, n.m] c卯teva clipe, sau chiar mai mult. Ca s膬 aib膬 vreme s膬 se obi艧nuiasc膬 艧i el cu gravita牛ia, cu greut膬牛ile din spate, s膬-l l膬s膬m 卯n pace 艧i mai bine s膬 mergem cu c膬pitanul Brynj贸lfur...鈥� (p.175).
N-am rezumat intriga, 鈥瀟opicul鈥� c膬r葲ii. Nici n-o voi face. Mai degrab膬, transcriu un pasaj:
Fain, nu?
Not膬 biografic膬. Autorul e islandez; n膬scut 卯n 1963; a f膬cut de toate, a avut diverse joburi, apoi a urmat ni葯te cursuri pe care nu le-a terminat 卯nc膬, a lucrat 葯i la un ziar, apoi 卯ntr-o bibliotec膬 municipal膬, 葯i acum s-a retras 葯i tr膬ie葯te din scris. 脦n Islanda, se poate. E un loc friguros 葯i ciudat.
Volumul poate fi privit ca un Bildungsroman, dar este 卯n primul r卯nd o medita葲ie asupra fragilit膬葲ii 葯i finitudinii umane, din perspectiva unui (foarte) t卯n膬r pescar. E bine scris (c卯t po葲i ghici dintr-o traducere dup膬 o versiune francez膬), cu fraze complicate, care mi-au adus aminte de frazele lui Saramago. S卯nt lungi, dar le po葲i urm膬ri cu u葯urin葲膬, dac膬 e葯ti atent 葯i gu葯ti ironia finalurilor. Iat膬 o fraz膬 de tip Saramago:
鈥濻e sprijin膬 o clip膬 de zidul cimitirului, Satul e ascuns de o perdea de fulgi, casele din preajma bisericii abia se deslu艧esc, tremur膬 c卯te o lumin膬 palid膬 la vreo fereastr膬 艧i aproape to牛i oamenii dorm la ora asta, c膬ci a艧a se cade, oricum, nu dorm la fel de ad卯nc precum cei din spatele lui鈥� (pp.118-119).
Dac膬 v膬 vine s膬 crede葲i, romanul are un narator colectiv, cel care poveste葯te 卯nt卯mpl膬rile este un noi, 鈥瀏ura satului鈥�, cum ar veni, numai c膬 e vorba de gura unui sat post-modern, care intervine adesea 卯n nara葲iune 葯i ofer膬 instruc葲iuni de lectur膬: 鈥濪ar s膬-l l膬s膬m lini艧tit [pe 鈥瀊膬iat鈥�, eroul acestei pove葯ti nu are un nume propriu, n.m] c卯teva clipe, sau chiar mai mult. Ca s膬 aib膬 vreme s膬 se obi艧nuiasc膬 艧i el cu gravita牛ia, cu greut膬牛ile din spate, s膬-l l膬s膬m 卯n pace 艧i mai bine s膬 mergem cu c膬pitanul Brynj贸lfur...鈥� (p.175).
N-am rezumat intriga, 鈥瀟opicul鈥� c膬r葲ii. Nici n-o voi face. Mai degrab膬, transcriu un pasaj:
鈥濶e trecem via牛a c膬ut卯nd o dezlegare, ceva care s膬 ne aduc膬 m卯ng卯iere, care s膬 ne umple de bucurie 艧i s膬 dep膬rteze de la noi necazul. Ca s膬-艧i g膬seasc膬 rostul, unii o apuc膬 pe un drum tare lung 艧i greu; poate nu vor g膬si niciodat膬 nimic de-adev膬ratelea, poate nu vor v卯na altceva dec卯t umbra unui 牛el, urma unei dezleg膬ri, sau poate 卯艧i vor g膬si lini艧tea chiar 卯n c膬utarea asta, iar noi, noi le vom pre牛ui, fire艧te, t膬ria, dar, oricum, nou膬 ne e deja tare greu s膬 tr膬im, a艧a c膬 ne vom mul牛umi s膬 卯nghi牛im rachiul chinezesc, 卯n loc s膬 pornim 艧i noi 卯n c膬utare, ne vom mul牛umi cu asta 艧i nu vom 卯nceta s膬 ne 卯ntreb膬m care e cel mai scurt drum c膬tre fericire, iar r膬spunsul 卯l vom afla privind c膬tre Dumnezeu, c膬tre 艧tiin牛膬, c膬tre butelca de brenniv铆n ori c膬tre licoarea sosit膬 tocmai din China...鈥� (p.37).
Fain, nu?
May 27, 2020
鈥�Nothing is sweet to me, without thee.鈥�
鈥�I just don鈥檛 know who I am. I don鈥檛 know why I am.
And I鈥檓 not entirely sure I鈥檒l be given time to find out.鈥�
And I鈥檓 not entirely sure what I鈥檝e read.
But I am sure that it was profound, beautiful, and brilliant. A tribute to the tenacity of life and the dark depths of one person鈥檚 loyalty, even beyond the watery grave.
鈥�It鈥檚 one thing to be able to read and another to know how to read.鈥�
There is a short, ethereal introduction, whose significance I didn鈥檛 fully appreciate until later. It then launches into the story described in the blurb: a century ago, a nameless boy of 19 and his bookish friend, B谩r冒ur, leave Iceland with four others: experienced fisherman, but non-swimmers, in an 鈥渙pen coffin鈥�. Tragedy strikes, after which the boy goes on a perilous journey to return the borrowed Paradise Lost. The reader is hooked as surely as an arctic cod.
But then the tide turns and philosophical digressions and peripheral characters almost swamp the main story. The 鈥渨e鈥� who narrate, cast their tangled lines through the minds and lives of villagers, all of them lonely, isolated, regretful, and all of whom daily live the pain of the words quoted at the top of this review. And finally, the waters recede, and the narrative returns to the boy.
The harsh and dangerous beauty of an arctic environment is ever present. Dandelions and stars may be kindled, but there is resigned respect for the capricious sea that sustains life - even as it snatches it away; the mountains, too. The fishermen trust God, and 鈥減erhaps a minuscule amount of ingenuity, courage, longing for life鈥�. There鈥檚 edgy camaraderie, deep bonds of unusual friendships, and the power - and danger - of words, leaving me touched by 鈥渟nowflakes鈥� born of the heavens鈥� white and shaped like angels鈥� wings鈥�.
Words as Rescue Teams
鈥�We might not need words to survive; on the other hand, we do need words to live.鈥�
The words of this book spoke to me, especially the words about words.
鈥�Some words can conceivably change the world, they can comfort us and dry our tears. Some words are bullets, others are notes of a violin. Some can melt the ice around one鈥檚 heart, and it is even possible to send words out like rescue teams when the days are difficult and we are perhaps neither living nor dead.鈥�
The joy of that is that words can be whispered in an ear, shouted across a room, printed in ink, carved in stone, written in blood, typed or spoken into a computer, and sent across the world, and across time. However helpless we sometimes feel when we see those we love and care about floundering in the treacherous waters of life, we can always cast a net of rescuing words.
B谩r冒ur and the boy adore literature, but the captain, P茅tur, has a more visceral verbal power, reciting obscene verses: 鈥淭his is a primitive force, a language with deep roots in a dim subconscious sprung from harsh life and ever-present death.鈥�
Memories, important and comforting as they are, 鈥渄on鈥檛 keep us afloat鈥�. Telling how someone died is almost like resurrecting them:
鈥�break into the kingdom of death armed with words. Words can have the might of giants and they can kill a god, they can save lives and destroy them. Words are arrows, bullets, mythological birds that chase down gods鈥� they are nets vast enough to trap the world and the sky as well, but sometimes words are nothing, torn garments that the frost penetrates, a run-down battlement that death and misfortune step lightly over. Yet words are the one thing this boy has.鈥�
Horizon, Boundaries, Balance
One character dies because of his love of literature, leaving another obligated to live, at least for a while, for the same reason.
Almost everything here is perfectly balanced - except the title. Life and death. Good and evil. Ebb and flow. Winter and summer. Sky and earth. No wonder the horizon is mentioned so often.
* 鈥淭he sea is the wellspring of life, in it dwells the rhythm of death.鈥�
* 鈥淭he more light, the more darkness.鈥� And 鈥淭he light of the moon鈥� makes the shadows darker, the world more mysterious.鈥�
* 鈥淭he world is gone and a dense black cloud where the horizon should be. The storm is approaching.鈥�
* 鈥淭hose who live in this valley see only a piece of the sky. Their horizon is mountains and dreams.鈥�
Hell - but no Heaven?
Despite the balance, there are many explicit examples of Hell, but none of Heaven. Heaven comes from the writing itself, and the dedication of the boy.
"Hell is having arms but no-one to embrace."
鈥淗ell is not knowing whether we are alive or dead.鈥�
鈥淗ell is to be dead and to realize that you did not care for life while you had the chance.鈥�
鈥淗ell is being seasick in a sixereen鈥� many hours from shore.鈥�
鈥淗ell is a library and you鈥檙e blind.鈥�
Hell is also injustice, where ravens come from, and being too drunk to remember your wife鈥檚 name.
Joy is simpler: 鈥淚t is ridiculously good to have solid ground beneath one鈥檚 feet. Then you haven鈥檛 drowned and can have something to eat.鈥�
The (un)Dead
This is not a ghost story with supernatural themes. However, a dead person is seen and heard (or imagined), and there are two types of spirits in limbo who are neither seen nor heard. These aspects reflect traditional Icelandic beliefs, as well as being a novel lens through which to see the corporeal world.
鈥�The large group of fishermen who ramble about the seafloor, jabbering to each other about the jogtrot of time, waiting for the final call鈥� Waiting for God to pull them up, fish them up with his net of stars, dry them off with his warm breath, permit them to walk with dry feet in Heaven, where one never eats fish, say the drowned, always just as optimistic, busy themselves with looking up at the boats, expressing amazement at the new fishing gear鈥� but sometimes weeping with regret for life, weeping as drowned folk weep, and that is why the sea is salty.鈥�
鈥�We died and nothing happened鈥� Here we are, above ground, restless, terrified and embittered, while our bones are likely peaceful down in the ground鈥�, with 鈥渟omething invisible between us and you who live鈥�, so we 鈥渁sk constantly, why are we here? Where did the others go?... Where is God?鈥� It鈥檚 not fair that 鈥淕od certainly called her鈥� while we, who ramble here, dead yet still alive, listen and listen but never hear anything.鈥� Their mission is nothing less than 鈥�to save the world鈥� - and the boy - by telling this story. 鈥�Our words are a kind of rescue team on a relentless mission to save past events and extinguished lives from the black hole of oblivion.鈥�
Blind Eyes See
Milton was blind when he wrote Paradise Lost, but he could certainly see into hearts and minds. Kolbeinn is a retired captain, now blind. 鈥�His dead eyes slip through the boy like cold hands.鈥� His Hell is that he can no longer read his 400 books, something Jorge Luis Borges, who also went blind, would have understood when he wrote "I have always imagined that Paradise will be a kind of library".
* 鈥淓yes are invisible hands that stroke, feel, touch, find.鈥�
* 鈥淓yes must be somewhere鈥� We must think about where we point them and when鈥� They can be canons, music, bird song, war cries. They can reveal us, they can save you, destroy you.鈥�
* 鈥淏oth of them blind, he physically, she morally.鈥�
* 鈥淣o living being can stand to look into the eyes of God because they contain the fountain of life and the abyss of death.鈥�
* 鈥淓yes so bright they vanquish night.鈥�
* 鈥淎 woman staring at nothing, she has big eyes, recalling a horse that has stood all of its life outside in heavy rain鈥� Once, it was a long time ago, she laughed quite often and then her eyes were suns above life鈥� where now is the joy in these eyes?鈥�
The Meaning of Life - and Death
鈥�Is it a loss of Paradise to die?鈥�
"Our existence is a relentless search for a solution, what comforts us, whatever gives us happiness, drives away all bad things... We take cure-alls instead of searching, continually asking what is the shortest path to happiness, and we find the answer in God, science, brennivin, Chinese Vital Elixir."
We often ponder the meaning of life, but this also considers the meaning and the purpose of death - especially for the several characters who consider choosing it. But we are reminded that 鈥�When there is a choice between life and death, most choose life鈥�. Most.
Miscellaneous Quotes
* 鈥淭he evening condenses against the windows, the wind strokes the rooftops.鈥�
* 鈥淭he sea floods into the dreams of those who sleep on the open sea, their consciousness is filled with fish and drowned companions who wave sadly with fins in place of hands.鈥�
* 鈥淢emories turn to nothing, fish come and nibble the lips that were kissed yesterday.鈥�
* 鈥淎 dead man is so much heavier than one who lives, the sparkling memories have become dark, heavy metal.鈥�
* 鈥淚t is not possible to thread the tears together and then let them sink like a glittering rope down into the dark deep and pull up those who died but ought to have lived.鈥�
* 鈥淎pril comes to us with a first aid kit and tries to heal the wounds of winter.鈥�
* 鈥淪he likely only knows the verb to hesitate by reputation.鈥�
* 鈥淏ryndis, he whispers softly鈥� as if to get his bearings, discover the taste鈥� The air trembles.鈥�
* 鈥淢usic is unlike anything else. It is the rain that falls in the desert, the sunshine that illuminates hearts, and it is the night that comforts.鈥�
* 鈥淪ometimes one world needs to perish so that another can come into being.鈥�
The author* indirectly credits his country for his lyricism, 鈥�There is nothing to see in Iceland except mountains, waterfalls, tussocks and this light that can pass through you and turn you into a poet鈥�.
Three-Volume Novel
This is not a trilogy; it鈥檚 one novel in three, very closely-related parts, covering just a few weeks:
1. Heaven and Hell, this book.
2. The Sorrow of Angels, reviewed HERE.
3. The Heart of Man, review HERE.
For a more concrete idea of setting, plot, characters, and writing style, see my overview HERE.
Photo is of J贸n Gunnar 脕rnason鈥檚 sculpture 鈥淪贸lfar鈥� (Sun Voyager).
The photo source is .
Information on the sculpture is .
*Note: 鈥淛贸n Kalman Stef谩nsson. The last name is a patronymic, not a family name; this person is properly referred to by the given name J贸n Kalman鈥�. From .
July 30, 2023
The land at the edge of the world is surrounded by the sea鈥� The sea feeds and the sea kills鈥� Sea gives life and sea takes life鈥�
The unnamed main character 鈥� just a boy 鈥� is an orphan鈥�
The boy and his adult bosom friend go cod fishing鈥� Fishermen are rough and tough folks鈥� Their life is extremely dangerous鈥�
This time his friend doesn鈥檛 return鈥� The boy leaves鈥� He is in the suicidal mood鈥� He heads for the village鈥� The village lives its ordinary life鈥� And unexpectedly the boy finds there his haven鈥�
We live halfway between heaven and hell and whatever happens we must survive.
The unnamed main character 鈥� just a boy 鈥� is an orphan鈥�
The light of the moon is of a different family than the light of the sun, it makes the shadows darker, the world more mysterious. The boy looks up, looks at the moon. It takes the moon just as long to make one rotation as to revolve around the Earth, and because of that we always see the same side, it is just over three hundred thousand kilometers away, it would take a very long time to row there in a sixereen, even Einar would be put off by the distance.
The boy鈥檚 mother had written to him about the moon. About the distance to it, about its mysterious far side鈥�
The boy and his adult bosom friend go cod fishing鈥� Fishermen are rough and tough folks鈥� Their life is extremely dangerous鈥�
Happiness is having something to eat, to have escaped the storm, come through the breakers that roar just beyond the land, to hit them at precisely the right second required to sail through them, otherwise the surf topples the boat or fills it and then six men who cannot swim are in the sea with two hundred dead fish, the catch destroyed and a considerable likelihood that the men are drowned鈥�
This time his friend doesn鈥檛 return鈥� The boy leaves鈥� He is in the suicidal mood鈥� He heads for the village鈥� The village lives its ordinary life鈥� And unexpectedly the boy finds there his haven鈥�
We should care for those who matter to us and who have goodness in them.
This must be one of the laws of life, and the Devil kicks the asses of those who don鈥檛 heed it.
We live halfway between heaven and hell and whatever happens we must survive.
May 22, 2020
鈥溾€� human life is a constant race against the darkness of the world, the treachery, the cruelty, the cowardice, a race that often seems so hopeless, yet we still run and, as we do, hope lives on.鈥�
This novel is nearly impossible to review. It is beautiful, highly introspective and thought-provoking. It needs to be truly experienced because it is a very personal book. It鈥檚 about life and death, grief, love and companionship, books, poetry and words. It is about Heaven and Hell, not as physical places, but as they exist in our lives 鈥� what happens to us as well as the absence of certain things. How we live the life that has been gifted to us.
鈥淗ell is to be dead and to realize that you did not care for life while you had the chance to do so.鈥�
The setting is an Icelandic fishing community in another century. Yet, the story is truly timeless. It is about a boy, his friend, and the residents; yet it鈥檚 about mankind. Tragedy strikes and the nameless boy sets out to return a book to its rightful owner. With Paradise Lost in hand, he treks across a landscape that is harsh, treacherous and unforgiving. The journey is one that tests not just the physical body, but the spiritual as well. The boy鈥檚 soul is snared in darkness from the immeasurable losses he has endured in his short life. How does one go on living when all those one has loved are now lost? The dreams of a future are scattered to the winds, to the imperious mountains and the merciless sea.
鈥淗e wants to accomplish something in life, learn languages, see the world, read a thousand books, he wants to discover the core, whatever that might be, he wants to discover whether there is any core鈥︹€�
What sustains the boy throughout his odyssey are the responsibility of returning the book and the words that his friend murmurs in his ear, 鈥淣othing is sweet to me, without thee.鈥� Much of this novel is about the love for books, poetry and reading. Each of us knows that words can be a treasure and a lifesaver. There is a blind man that cherished his library full of books. It is his personal hell to no longer be able to read those books with his own eyes. The boy recalls that his parents, despite a life full of struggle and toil, recognized the value of books and blessed their son with the same reverence for words.
鈥淲ords still seem able to move people, it is unbelievable, and perhaps the light is thus not completely extinguished within them, perhaps some hope yet remains, despite everything.鈥�
Eventually we come to know the people as the boy is introduced to each of them. The narration takes a turn as we begin to follow some of the other townspeople. Their sorrows and feelings of isolation are as tangible as those of the boy. What ties them all together is the need for human companionship. Perhaps words alone are not always enough to preserve a life. Each reflects on love that has been lost or love that one yearns toward. Words may be a balm, but humankind needs one another to survive.
鈥溾€� we often have to hold onto something in order not to get lost or tumble over the edge, it can be a handrail but preferably another hand.鈥�
My heart ached not just for the people in this novel, but for all human beings, everywhere. Stef谩nnson writes not merely about his characters, but more broadly about humanity. He does so with a divine, lyrical and metaphorical prose. I was entirely captivated by both the writing as well as the highly contemplative exploration of what it means to not only survive but to be truly 鈥榓live鈥�.
鈥淲hat are you, life? Perhaps the answer is found in the question, the wonder that is implicit in it. Does the light of life dwindle and turn to darkness as soon as we stop wondering, stop questioning and take life like every other commonplace thing?鈥�
This novel is nearly impossible to review. It is beautiful, highly introspective and thought-provoking. It needs to be truly experienced because it is a very personal book. It鈥檚 about life and death, grief, love and companionship, books, poetry and words. It is about Heaven and Hell, not as physical places, but as they exist in our lives 鈥� what happens to us as well as the absence of certain things. How we live the life that has been gifted to us.
鈥淗ell is to be dead and to realize that you did not care for life while you had the chance to do so.鈥�
The setting is an Icelandic fishing community in another century. Yet, the story is truly timeless. It is about a boy, his friend, and the residents; yet it鈥檚 about mankind. Tragedy strikes and the nameless boy sets out to return a book to its rightful owner. With Paradise Lost in hand, he treks across a landscape that is harsh, treacherous and unforgiving. The journey is one that tests not just the physical body, but the spiritual as well. The boy鈥檚 soul is snared in darkness from the immeasurable losses he has endured in his short life. How does one go on living when all those one has loved are now lost? The dreams of a future are scattered to the winds, to the imperious mountains and the merciless sea.
鈥淗e wants to accomplish something in life, learn languages, see the world, read a thousand books, he wants to discover the core, whatever that might be, he wants to discover whether there is any core鈥︹€�
What sustains the boy throughout his odyssey are the responsibility of returning the book and the words that his friend murmurs in his ear, 鈥淣othing is sweet to me, without thee.鈥� Much of this novel is about the love for books, poetry and reading. Each of us knows that words can be a treasure and a lifesaver. There is a blind man that cherished his library full of books. It is his personal hell to no longer be able to read those books with his own eyes. The boy recalls that his parents, despite a life full of struggle and toil, recognized the value of books and blessed their son with the same reverence for words.
鈥淲ords still seem able to move people, it is unbelievable, and perhaps the light is thus not completely extinguished within them, perhaps some hope yet remains, despite everything.鈥�
Eventually we come to know the people as the boy is introduced to each of them. The narration takes a turn as we begin to follow some of the other townspeople. Their sorrows and feelings of isolation are as tangible as those of the boy. What ties them all together is the need for human companionship. Perhaps words alone are not always enough to preserve a life. Each reflects on love that has been lost or love that one yearns toward. Words may be a balm, but humankind needs one another to survive.
鈥溾€� we often have to hold onto something in order not to get lost or tumble over the edge, it can be a handrail but preferably another hand.鈥�
My heart ached not just for the people in this novel, but for all human beings, everywhere. Stef谩nnson writes not merely about his characters, but more broadly about humanity. He does so with a divine, lyrical and metaphorical prose. I was entirely captivated by both the writing as well as the highly contemplative exploration of what it means to not only survive but to be truly 鈥榓live鈥�.
鈥淲hat are you, life? Perhaps the answer is found in the question, the wonder that is implicit in it. Does the light of life dwindle and turn to darkness as soon as we stop wondering, stop questioning and take life like every other commonplace thing?鈥�
November 5, 2022
丕賱賲丕囟賷 賵 丕賱丨丕囟乇 賵 丕賱賲爻鬲賯亘賱
賰賱賴丕 鬲賮丕賴丕鬲 賱丕 賷賰鬲乇孬 賱賴丕 丕賱賲賵鬲
噩丨賷賲賳丕 毓賱賶 丕賱丕乇囟:丕賳賳丕 賳毓乇賮 丕賳賳丕 賲賷鬲賵賳
賲賷鬲賵賳 賲賴賲丕 賰賳丕 兀卮乇丕乇 丕賵 丕鬲賯賷丕亍
賲賷鬲賵賳 賱賵 賰賳丕 賯乇丕亍 丕賵 噩賴賱丕亍
賲賷鬲賵賳 賲賴賲丕 賰丕賳鬲 禺賷丕乇丕鬲賳丕
賰賱賳丕 鬲丨鬲 噩賳丕丨 丕賱賲賵鬲 賮賷 賰賱 賱丨馗丞(賵 賴賱 鬲賮乇賯 胤乇賷賯丞 賲賵鬲賳丕 丨賯丕責)丕
賵 賱丕 賳乇賶 丕賱噩賳丞貨 丕賱丕 賮賷 丕賱賱丨馗丕鬲 丕賱鬲賷 鬲睾賷亘 賮賷賴丕 毓賳丕 賴匕賴 丕賱丨賯賷賯丞 丕賱噩丨賷賲賷丞
亘爻乇丿 卮丕毓乇賷 賮禺賲 亘毓賷丿 毓賳 丕賱賮賱爻賮丞貨 賵 亘賱睾丞听 兀丿亘賷丞 噩夭賱丞 賲爻鬲賯丕丞 賲賳 丕賱賮乇丿賵爻 丕賱賲賮賯賵丿 賷丨賰賷 賱賳丕" 賷賵賳 賰丕賱賲丕賳"毓賳 丕賱賲氐賷乇 賵 丕賱丕賯丿丕乇貨 毓賳 丨賷賵丕鬲 鬲賴丿乇 賵 鬲賴丿乇 賮賷 兀毓賲丕賱 毓亘孬賷丞 賱賲 賳禺賱賯 賱賴丕
賮賷 亘賷卅丞 賲毓丕丿賷丞 卮丿賷丿丞 丕賱賯爻賵丞 賳鬲毓乇賮 毓賱賶 爻亘毓丞听 氐賷丕丿賷賳 賱爻賲賰 丕賱賯丿听 賮賷 兀賷爻賱賳丿丕貨 賷氐丕乇毓賵賳 賷賵賲賷丕 賱兀噩賱 丕賱乇夭賯 賵 賷賳丕賲賵賳 爻賵賷丕 賵 賷賲賱丨賵賳 丕賱爻賲賰 賵 賷爻鬲賲鬲毓賵賳 亘兀亘爻胤 丕賱丨賯賵賯 丕賱丌丿賲賷丞 賲賳 賯賴賵丞 爻丕禺賳丞 賵 禺亘夭 亘丕賱夭亘丿賴 貨賵 丕孬賳丕賳 賷賱鬲賴賲丕賳 丕賱賰鬲亘 丕賱賲爻鬲毓丕乇丞. . 賱賯丿 乇囟賵丕 亘丕賱賴賲貨 賮賴賱 乇囟賷 丕賱賴賲 亘賴賲責
亘丕賱胤亘毓 賱丕.. 賮賲丕 亘賷賳 丕賱毓賵丕氐賮 賵 卮乇賵丿 丕賱匕賴賳 賳賮賯丿 丕賴賲 亘胤賱 賱丿賷賳丕
噩丨賷賲賳丕 毓賱賶 丕賱丕乇囟 :賴賵 兀賳 賳鬲禺匕 丕賱賯乇丕乇 丕賱賲賳丕爻亘 賮賷 丕賱賵賯鬲 丕賱賲賳丕爻亘
賵 賯丿 賮丕夭 亘丕賱噩賳丞 賲賳 賷賳噩丨 賮賷 丕鬲禺丕匕 丕賱賯乇丕乇 丕賱氐丨
賵 賮賷 乇兀賷賶 丕賳 氐賷丕丿賳丕 賲丕鬲 賱丕賳 丕賱賯亘胤丕賳 賱賲 賷鬲禺匕 賯乇丕乇 丕賱毓賵丿丞 賮賷 丕賱賵賯鬲 丕賱賲賳丕爻亘 賵 賴賵: 賮賵乇 丕賰鬲卮丕賮賴賲 賱賳爻賷丕賳賴 賲毓胤賮賴.. 賱賰賳賴 賱賲 賷睾丕賲乇 亘丕賱賯賵鬲 賵 丕賱乇夭賯 賵 賮囟賱 丕賱賲賯丕賲乇丞 毓賱賶 乇賵丨 氐賷丕丿賴 丕賱卮丕乇丿.. 賵 禺爻乇
賵 賮賷 丕賳毓胤丕賮丞 丨丕丿丞 亘丕賱乇賵丕賷丞 賷禺鬲丕乇 丕賱賰丕鬲亘 賱亘胤賱賴 賲賷鬲丞 卮丿賷丿丞 丕賱毓亘孬賷丞..鬲孬賷乇 睾賷馗 丕賰孬乇賳丕 孬亘丕鬲丕
夭丨賮 丕賱氐賯賷毓 毓賱賶 賯賱亘賴貨 丿禺賱賴听 賵 亘丿禺賵賱賴"
鬲賱丕卮賷 賰賱 賲丕 噩毓賱 賲賳賴 賲丕 賰丕賳 毓賱賷賴"丕
毓賳 丕賱兀爻卅賱丞 丕賱鬲賷 鬲賲賵鬲 賮賷 兀毓賷賳賳丕 亘賱丕 丕噩丕亘丞*
毓賳 丕賱乇睾亘丕鬲 丕賱鬲賷 賳賯賲毓賴丕 賵 鬲丿賮賳 賲毓 噩賵丕乇丨賳丕 丕賱鬲賷 毓匕亘鬲賳丕 胤賵賷賱丕*丕
孬賲 賷賳胤賱賯 丕賱賰丕鬲亘 賮賷 孬賱孬賷 丕賱乇賵丕賷丞 賲孬乇孬乇丕 毓賳
毓賳 丕賱噩賱賷丿 丕賱賰丕賲賳 亘丿丕禺賱賳丕 賵 丕賱匕賷 賱丕 鬲賮賱丨 賮賷 丕匕丕亘鬲賴 丕賱賳賷乇丕賳
賲賳 禺賱丕賱 毓丿丞 賳賲丕匕噩 亘卮乇賷丞 賲鬲賳丕賯囟丞 賱賰賳賴賲 賱丕 賷孬賷乇賵賳 丕賴鬲賲丕賲賳丕 賲孬賱 丕賱氐賷丕丿賷賳..毓丿丕 丕賱賯亘胤丕賳 丕賱賯丕乇賶亍 丕賱賰賮賷賮
賷鬲爻丕亍賱 賴賱 賳賴賷賳 丕賱賲賵鬲 毓賳丿賲丕 賳禺鬲丕乇 賲賵毓丿賴責
賮賯胤 賱賷丐賰丿 丕賳賳丕 毓賳丿賲丕 賳禺鬲丕乇 亘賷賳 丕賱賲賵鬲 賵 丕賱丨賷丕丞.. 睾丕賱亘丕 賳禺鬲丕乇 丕賱丨賷丕丞.. 乇睾賲 卮毓賵乇賳丕 亘丕賱匕賳亘 賱兀賳賳丕 賳噩賵賳丕 .. 賴匕賴 丕賱賲乇丞
賵 賱賲 賷賰鬲乇孬 丕賱賰丕鬲亘 賰孬賷乇丕 賱丕亘乇丕夭
胤亘賷毓丞 兀賷爻賱賳丿丕 賮賷 丕賱賯乇賳 丕賱佟侃 賮賴賷 乇賵丕賷丞 丕賳爻丕賳 賱丕 賲賰丕賳
賵 賷亘丿兀 賮賷 丕賱鬲爻丕丐賱 賲賳 噩丿賷丿 毓賳 噩賳鬲賳丕 賵 噩丨賷賲賳丕 亘毓賷丿丕 毓賳 丕賱亘丨乇
賲賳 賷丿乇賷 賱毓賱 丕賱噩丨賷賲 賲賰鬲亘丞 賵 丕賳鬲 丕毓賲賷責
賴賱 賳丨賳 丕賱兀賲賵丕鬲 丕賱匕賷賳 賲丕夭賱賳丕 丕丨賷丕亍 責
賴賱 丕賱兀賳爻丕賳 賷爻賷胤乇 毓賱賶 丕賱丕乇囟 亘賲丕 毓賱賷賴丕 賵 鬲毓鬲賲賱 丿丕禺賱賴 賮賵囟賶听听 禺胤賷乇丞 睾賷乇 賯丕亘賱丞 賱賱鬲乇鬲賷亘 丕亘丿丕責
*亘賷賳 丕賱賳丕爻 禺賷賵胤 賯賵賷丞 鬲乇亘胤賴賲貨 賵 賴賲 賷卮毓乇賵賳 毓賳丿賲丕 鬲賳賯胤毓*
賮賱賳鬲匕賰乇 丕禺賷乇丕 丕賳 丿賷賵賳 丕賱丨賷丕丞 鬲爻丿丿 亘丕賱賲賵鬲 賵 丕賳賴 賱賷爻 丿賵賲丕 毓賯丕亘貨 亘賱 賯丿 賷賰賵賳 胤賵賯 賳噩丕丞貨 賵 丕賳
丕賱兀賳爻丕賳 賷亘賯賶 爻禺賷賮丕 丨鬲賶 丕賱賱丨馗丞 丕賱丕禺賷乇丞 賵 爻鬲馗賱. 丕賱睾乇亘丕賳 鬲賮賷賯賴 丿賵賲丕 賲賳 睾賮賱鬲賴 毓賳 噩丨賷賲賴 丕賱兀乇囟賷
賰丕賳鬲 賯乇丕卅鬲賷 賱噩賳丞 賵 噩丨賷賲 賲賳 兀賰亘乇 丕賱賯乇丕亍丕鬲 丕賱噩賲丕毓賷丞 丕賱鬲賷 賲乇鬲 毓賱賷 賵 丕爻鬲賲鬲毓鬲 噩丿丕 亘丕賱賲賳丕賯卮丕鬲 賲毓 丕賱兀氐丿賯丕亍 賵 丕賳卮睾賱鬲 賱賱兀爻賮 賮賷 賳氐賮賴丕 丕賱孬丕賳賷 賵 賱賰賳 賱丿賷 丕賳胤亘丕毓 丕賳賴丕 鬲丨鬲丕噩 賲夭丕噩 禺丕氐 賱賴囟賲賴丕 亘丿賵賳 丕賱廿氐丕亘丞 亘賯囟賲丞 氐賯賷毓貨賱匕丕 爻兀鬲乇賰 賱賷賳賰 賲乇丕噩毓丞 氐丿賷賯賳丕 丕賱毓夭賷夭: 賳丕丿乇 賱丕賳賴 賲賲賳 賮賴賲賵賴丕 丨賯丕
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賰賱賴丕 鬲賮丕賴丕鬲 賱丕 賷賰鬲乇孬 賱賴丕 丕賱賲賵鬲
噩丨賷賲賳丕 毓賱賶 丕賱丕乇囟:丕賳賳丕 賳毓乇賮 丕賳賳丕 賲賷鬲賵賳
賲賷鬲賵賳 賲賴賲丕 賰賳丕 兀卮乇丕乇 丕賵 丕鬲賯賷丕亍
賲賷鬲賵賳 賱賵 賰賳丕 賯乇丕亍 丕賵 噩賴賱丕亍
賲賷鬲賵賳 賲賴賲丕 賰丕賳鬲 禺賷丕乇丕鬲賳丕
賰賱賳丕 鬲丨鬲 噩賳丕丨 丕賱賲賵鬲 賮賷 賰賱 賱丨馗丞(賵 賴賱 鬲賮乇賯 胤乇賷賯丞 賲賵鬲賳丕 丨賯丕責)丕
賵 賱丕 賳乇賶 丕賱噩賳丞貨 丕賱丕 賮賷 丕賱賱丨馗丕鬲 丕賱鬲賷 鬲睾賷亘 賮賷賴丕 毓賳丕 賴匕賴 丕賱丨賯賷賯丞 丕賱噩丨賷賲賷丞
亘爻乇丿 卮丕毓乇賷 賮禺賲 亘毓賷丿 毓賳 丕賱賮賱爻賮丞貨 賵 亘賱睾丞听 兀丿亘賷丞 噩夭賱丞 賲爻鬲賯丕丞 賲賳 丕賱賮乇丿賵爻 丕賱賲賮賯賵丿 賷丨賰賷 賱賳丕" 賷賵賳 賰丕賱賲丕賳"毓賳 丕賱賲氐賷乇 賵 丕賱丕賯丿丕乇貨 毓賳 丨賷賵丕鬲 鬲賴丿乇 賵 鬲賴丿乇 賮賷 兀毓賲丕賱 毓亘孬賷丞 賱賲 賳禺賱賯 賱賴丕
賮賷 亘賷卅丞 賲毓丕丿賷丞 卮丿賷丿丞 丕賱賯爻賵丞 賳鬲毓乇賮 毓賱賶 爻亘毓丞听 氐賷丕丿賷賳 賱爻賲賰 丕賱賯丿听 賮賷 兀賷爻賱賳丿丕貨 賷氐丕乇毓賵賳 賷賵賲賷丕 賱兀噩賱 丕賱乇夭賯 賵 賷賳丕賲賵賳 爻賵賷丕 賵 賷賲賱丨賵賳 丕賱爻賲賰 賵 賷爻鬲賲鬲毓賵賳 亘兀亘爻胤 丕賱丨賯賵賯 丕賱丌丿賲賷丞 賲賳 賯賴賵丞 爻丕禺賳丞 賵 禺亘夭 亘丕賱夭亘丿賴 貨賵 丕孬賳丕賳 賷賱鬲賴賲丕賳 丕賱賰鬲亘 丕賱賲爻鬲毓丕乇丞. . 賱賯丿 乇囟賵丕 亘丕賱賴賲貨 賮賴賱 乇囟賷 丕賱賴賲 亘賴賲責
亘丕賱胤亘毓 賱丕.. 賮賲丕 亘賷賳 丕賱毓賵丕氐賮 賵 卮乇賵丿 丕賱匕賴賳 賳賮賯丿 丕賴賲 亘胤賱 賱丿賷賳丕
噩丨賷賲賳丕 毓賱賶 丕賱丕乇囟 :賴賵 兀賳 賳鬲禺匕 丕賱賯乇丕乇 丕賱賲賳丕爻亘 賮賷 丕賱賵賯鬲 丕賱賲賳丕爻亘
賵 賯丿 賮丕夭 亘丕賱噩賳丞 賲賳 賷賳噩丨 賮賷 丕鬲禺丕匕 丕賱賯乇丕乇 丕賱氐丨
賵 賮賷 乇兀賷賶 丕賳 氐賷丕丿賳丕 賲丕鬲 賱丕賳 丕賱賯亘胤丕賳 賱賲 賷鬲禺匕 賯乇丕乇 丕賱毓賵丿丞 賮賷 丕賱賵賯鬲 丕賱賲賳丕爻亘 賵 賴賵: 賮賵乇 丕賰鬲卮丕賮賴賲 賱賳爻賷丕賳賴 賲毓胤賮賴.. 賱賰賳賴 賱賲 賷睾丕賲乇 亘丕賱賯賵鬲 賵 丕賱乇夭賯 賵 賮囟賱 丕賱賲賯丕賲乇丞 毓賱賶 乇賵丨 氐賷丕丿賴 丕賱卮丕乇丿.. 賵 禺爻乇
賵 賮賷 丕賳毓胤丕賮丞 丨丕丿丞 亘丕賱乇賵丕賷丞 賷禺鬲丕乇 丕賱賰丕鬲亘 賱亘胤賱賴 賲賷鬲丞 卮丿賷丿丞 丕賱毓亘孬賷丞..鬲孬賷乇 睾賷馗 丕賰孬乇賳丕 孬亘丕鬲丕
夭丨賮 丕賱氐賯賷毓 毓賱賶 賯賱亘賴貨 丿禺賱賴听 賵 亘丿禺賵賱賴"
鬲賱丕卮賷 賰賱 賲丕 噩毓賱 賲賳賴 賲丕 賰丕賳 毓賱賷賴"丕
毓賳 丕賱兀爻卅賱丞 丕賱鬲賷 鬲賲賵鬲 賮賷 兀毓賷賳賳丕 亘賱丕 丕噩丕亘丞*
毓賳 丕賱乇睾亘丕鬲 丕賱鬲賷 賳賯賲毓賴丕 賵 鬲丿賮賳 賲毓 噩賵丕乇丨賳丕 丕賱鬲賷 毓匕亘鬲賳丕 胤賵賷賱丕*丕
孬賲 賷賳胤賱賯 丕賱賰丕鬲亘 賮賷 孬賱孬賷 丕賱乇賵丕賷丞 賲孬乇孬乇丕 毓賳
毓賳 丕賱噩賱賷丿 丕賱賰丕賲賳 亘丿丕禺賱賳丕 賵 丕賱匕賷 賱丕 鬲賮賱丨 賮賷 丕匕丕亘鬲賴 丕賱賳賷乇丕賳
賲賳 禺賱丕賱 毓丿丞 賳賲丕匕噩 亘卮乇賷丞 賲鬲賳丕賯囟丞 賱賰賳賴賲 賱丕 賷孬賷乇賵賳 丕賴鬲賲丕賲賳丕 賲孬賱 丕賱氐賷丕丿賷賳..毓丿丕 丕賱賯亘胤丕賳 丕賱賯丕乇賶亍 丕賱賰賮賷賮
賷鬲爻丕亍賱 賴賱 賳賴賷賳 丕賱賲賵鬲 毓賳丿賲丕 賳禺鬲丕乇 賲賵毓丿賴責
賮賯胤 賱賷丐賰丿 丕賳賳丕 毓賳丿賲丕 賳禺鬲丕乇 亘賷賳 丕賱賲賵鬲 賵 丕賱丨賷丕丞.. 睾丕賱亘丕 賳禺鬲丕乇 丕賱丨賷丕丞.. 乇睾賲 卮毓賵乇賳丕 亘丕賱匕賳亘 賱兀賳賳丕 賳噩賵賳丕 .. 賴匕賴 丕賱賲乇丞
賵 賱賲 賷賰鬲乇孬 丕賱賰丕鬲亘 賰孬賷乇丕 賱丕亘乇丕夭
胤亘賷毓丞 兀賷爻賱賳丿丕 賮賷 丕賱賯乇賳 丕賱佟侃 賮賴賷 乇賵丕賷丞 丕賳爻丕賳 賱丕 賲賰丕賳
賵 賷亘丿兀 賮賷 丕賱鬲爻丕丐賱 賲賳 噩丿賷丿 毓賳 噩賳鬲賳丕 賵 噩丨賷賲賳丕 亘毓賷丿丕 毓賳 丕賱亘丨乇
賲賳 賷丿乇賷 賱毓賱 丕賱噩丨賷賲 賲賰鬲亘丞 賵 丕賳鬲 丕毓賲賷責
賴賱 賳丨賳 丕賱兀賲賵丕鬲 丕賱匕賷賳 賲丕夭賱賳丕 丕丨賷丕亍 責
賴賱 丕賱兀賳爻丕賳 賷爻賷胤乇 毓賱賶 丕賱丕乇囟 亘賲丕 毓賱賷賴丕 賵 鬲毓鬲賲賱 丿丕禺賱賴 賮賵囟賶听听 禺胤賷乇丞 睾賷乇 賯丕亘賱丞 賱賱鬲乇鬲賷亘 丕亘丿丕責
*亘賷賳 丕賱賳丕爻 禺賷賵胤 賯賵賷丞 鬲乇亘胤賴賲貨 賵 賴賲 賷卮毓乇賵賳 毓賳丿賲丕 鬲賳賯胤毓*
賮賱賳鬲匕賰乇 丕禺賷乇丕 丕賳 丿賷賵賳 丕賱丨賷丕丞 鬲爻丿丿 亘丕賱賲賵鬲 賵 丕賳賴 賱賷爻 丿賵賲丕 毓賯丕亘貨 亘賱 賯丿 賷賰賵賳 胤賵賯 賳噩丕丞貨 賵 丕賳
丕賱兀賳爻丕賳 賷亘賯賶 爻禺賷賮丕 丨鬲賶 丕賱賱丨馗丞 丕賱丕禺賷乇丞 賵 爻鬲馗賱. 丕賱睾乇亘丕賳 鬲賮賷賯賴 丿賵賲丕 賲賳 睾賮賱鬲賴 毓賳 噩丨賷賲賴 丕賱兀乇囟賷
賰丕賳鬲 賯乇丕卅鬲賷 賱噩賳丞 賵 噩丨賷賲 賲賳 兀賰亘乇 丕賱賯乇丕亍丕鬲 丕賱噩賲丕毓賷丞 丕賱鬲賷 賲乇鬲 毓賱賷 賵 丕爻鬲賲鬲毓鬲 噩丿丕 亘丕賱賲賳丕賯卮丕鬲 賲毓 丕賱兀氐丿賯丕亍 賵 丕賳卮睾賱鬲 賱賱兀爻賮 賮賷 賳氐賮賴丕 丕賱孬丕賳賷 賵 賱賰賳 賱丿賷 丕賳胤亘丕毓 丕賳賴丕 鬲丨鬲丕噩 賲夭丕噩 禺丕氐 賱賴囟賲賴丕 亘丿賵賳 丕賱廿氐丕亘丞 亘賯囟賲丞 氐賯賷毓貨賱匕丕 爻兀鬲乇賰 賱賷賳賰 賲乇丕噩毓丞 氐丿賷賯賳丕 丕賱毓夭賷夭: 賳丕丿乇 賱丕賳賴 賲賲賳 賮賴賲賵賴丕 丨賯丕
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December 2, 2024
The history of this book exerts remarkable power over the human imagination. Figurative speech can help us transform what we see, feel, and think. In this sense, those who hope to find definitions or stereotypes about Hell or Paradise are deceiving. The fabric of human relations and the symbolic space of the world is too costly and complex to be crystallized or statist in rigid concepts.
Heaven and Hell do not widen into complex philosophical reflections that, if truth be told, break the rhythm of novels and exude vain pretensions when wrongly thought. But on the other hand, Stefansson reaps much of the practical Judeo-Christian wisdom in the wisdom books and the gospels.
This parable arises in the context of an Icelandic fishing community. Situated at the end of the 19th century, the sea's violence and the world's separation from the mountains in local and human geography seem to leave no room for the "dream of light" (Victor Erice).
This geography of physical isolation symbolizes human distance indifferent to the death of B谩r冒ur. Water suggests life and the possibility of dying; the sea interrogates the men who navigate it, and Hell incarnates Paradise. At the bottom, "the depths of the sea are free from all evil, they are only life and death, while there would be a need to bless the lines, not just one, but at least ten thousand times, if we had to send them down into the depths of the human soul " (p.53)
Romance is full of sensuality, silence, and initiative; prayer is the expression of a dancing body, syncopated by the sea waves. It is not apart from life but springs from the depth of events. The sea is the temple that teaches sharing and the breaking of bread and feels the weight of the words addressed to the Creator. So, prayer that comes from life, conjugated with daily life, is knowledge that is not exclusively thought but felt and effective.
There is a profound theology and Christology here. That prayer evokes the servant as a condition for believing in human living, a worshipper that does not appeal to mere assistance or a reductive game of giving and receiving. On the contrary, it brings forth the time and space in the Word that makes all things. The evocation of the blessing of God is not magic or ritualism but a sign of our precariousness. Faith nurtured with trust, without excess or defect, elevates all that we are to one another in the love of God.
There remains the call for a close reading of this small masterpiece of contemporary literature. Italo Calvino affirmed that "a classic is a book that never finishes saying what it has to say." It hadn't said all about Paradise and Hell. The fundamental condition for apprehending it may be silence, suspending our pre-judgments without refusing to think seriously about the text.
Heaven and Hell do not widen into complex philosophical reflections that, if truth be told, break the rhythm of novels and exude vain pretensions when wrongly thought. But on the other hand, Stefansson reaps much of the practical Judeo-Christian wisdom in the wisdom books and the gospels.
This parable arises in the context of an Icelandic fishing community. Situated at the end of the 19th century, the sea's violence and the world's separation from the mountains in local and human geography seem to leave no room for the "dream of light" (Victor Erice).
This geography of physical isolation symbolizes human distance indifferent to the death of B谩r冒ur. Water suggests life and the possibility of dying; the sea interrogates the men who navigate it, and Hell incarnates Paradise. At the bottom, "the depths of the sea are free from all evil, they are only life and death, while there would be a need to bless the lines, not just one, but at least ten thousand times, if we had to send them down into the depths of the human soul " (p.53)
Romance is full of sensuality, silence, and initiative; prayer is the expression of a dancing body, syncopated by the sea waves. It is not apart from life but springs from the depth of events. The sea is the temple that teaches sharing and the breaking of bread and feels the weight of the words addressed to the Creator. So, prayer that comes from life, conjugated with daily life, is knowledge that is not exclusively thought but felt and effective.
There is a profound theology and Christology here. That prayer evokes the servant as a condition for believing in human living, a worshipper that does not appeal to mere assistance or a reductive game of giving and receiving. On the contrary, it brings forth the time and space in the Word that makes all things. The evocation of the blessing of God is not magic or ritualism but a sign of our precariousness. Faith nurtured with trust, without excess or defect, elevates all that we are to one another in the love of God.
There remains the call for a close reading of this small masterpiece of contemporary literature. Italo Calvino affirmed that "a classic is a book that never finishes saying what it has to say." It hadn't said all about Paradise and Hell. The fundamental condition for apprehending it may be silence, suspending our pre-judgments without refusing to think seriously about the text.
July 28, 2015
The world as we know it is composed of a succession of clashing opposites.
Sky and sea, mountains and valleys, ice and water, uproar and serenity.
Life and Death.
Heaven and Hell.
Of the last pair, the nameless boy in St茅fansson鈥檚 tale is more familiar with hell.
Hell is being seasick in a sixereen out on the open sea, needing to work and many hours from shore.
Hell is having arms but no-one to embrace.
Hell is a dead person.
Hell is not knowing whether we are alive or dead.
But what about heaven?
Heaven is to be found in words, words that are the rescue teams in sea vessels that sail the turbulent currents of remote oceans, where the dividing line between life and death is smeared like the dark horizon on a stormy night.
The first-person plural narrator of this introspective journey roams around the minds of several inhabitants of a remote fishing community in Iceland as if trapped between the world of the living and the world of the dead. These ghostly voices speak from the bottom of the sea, this natural wonder both miraculous and treacherous, source of sustenance and merciless executioner that claims daily sacrifices from the humans that disturb its untamed spirit.
Everybody is aware that life equals hardship in 鈥淭he Village鈥�. The boy knows it is one step away from death and he has to summon all his strength to resist the call of the lullabying darkness that cradles his soul. And so he embarks on a trip across the hostile beauty of the Icelandic fjords in search of the meaning of existence. A picturesque array of casual encounters, from bearded curmudgeons to delicate nymphets, will draw a vivid mosaic of the motivating forces that keep the human heart afloat and will show the way to the thirteen-year old wanderer. Lost and newfound love, God, music and 叠谤别苍苍颈惫铆苍 will be recurrent elements in the contemplative reveries of many characters that cross paths with the anonymous protagonist.
St茅fansson鈥檚 story is delightfully written. Deliberately lyrical but with a realistic vocation that is tastefully seasoned with the musical cadence of poetry, the ethereal naturalism blends with plastic metaphors exuding a rare literary sensitivity that was perceived almost like a sensorial experience by this bewitched reader. And in the midst of carefully phrased sentences, the redeeming power of words, which can also be useless, even deadly, gets hold of you. Words that invoke a collective lament that sets forth with a blind skipper who owns a large library replete of books he can鈥檛 read and a returned copy of Milton鈥檚 Paradise Lost, which serves as backdrop and sets the inner rhythm of this tender story that is not undermined by its figurative language.
A modern odyssey that comes from the land of the frozen seas that require of no ax to smash the emotions locked inside, because words in this book reach out and pierce right through you. They stir the becalmed waters within oneself and warm hearts that would be petrified by the frosty uncertainty that is so wide that life cannot cross it. But maybe St茅fansson鈥檚 words can, despite everything.
Sky and sea, mountains and valleys, ice and water, uproar and serenity.
Life and Death.
Heaven and Hell.
Of the last pair, the nameless boy in St茅fansson鈥檚 tale is more familiar with hell.
Hell is being seasick in a sixereen out on the open sea, needing to work and many hours from shore.
Hell is having arms but no-one to embrace.
Hell is a dead person.
Hell is not knowing whether we are alive or dead.
But what about heaven?
Heaven is to be found in words, words that are the rescue teams in sea vessels that sail the turbulent currents of remote oceans, where the dividing line between life and death is smeared like the dark horizon on a stormy night.
The first-person plural narrator of this introspective journey roams around the minds of several inhabitants of a remote fishing community in Iceland as if trapped between the world of the living and the world of the dead. These ghostly voices speak from the bottom of the sea, this natural wonder both miraculous and treacherous, source of sustenance and merciless executioner that claims daily sacrifices from the humans that disturb its untamed spirit.
Everybody is aware that life equals hardship in 鈥淭he Village鈥�. The boy knows it is one step away from death and he has to summon all his strength to resist the call of the lullabying darkness that cradles his soul. And so he embarks on a trip across the hostile beauty of the Icelandic fjords in search of the meaning of existence. A picturesque array of casual encounters, from bearded curmudgeons to delicate nymphets, will draw a vivid mosaic of the motivating forces that keep the human heart afloat and will show the way to the thirteen-year old wanderer. Lost and newfound love, God, music and 叠谤别苍苍颈惫铆苍 will be recurrent elements in the contemplative reveries of many characters that cross paths with the anonymous protagonist.
St茅fansson鈥檚 story is delightfully written. Deliberately lyrical but with a realistic vocation that is tastefully seasoned with the musical cadence of poetry, the ethereal naturalism blends with plastic metaphors exuding a rare literary sensitivity that was perceived almost like a sensorial experience by this bewitched reader. And in the midst of carefully phrased sentences, the redeeming power of words, which can also be useless, even deadly, gets hold of you. Words that invoke a collective lament that sets forth with a blind skipper who owns a large library replete of books he can鈥檛 read and a returned copy of Milton鈥檚 Paradise Lost, which serves as backdrop and sets the inner rhythm of this tender story that is not undermined by its figurative language.
A modern odyssey that comes from the land of the frozen seas that require of no ax to smash the emotions locked inside, because words in this book reach out and pierce right through you. They stir the becalmed waters within oneself and warm hearts that would be petrified by the frosty uncertainty that is so wide that life cannot cross it. But maybe St茅fansson鈥檚 words can, despite everything.
September 18, 2019
The sea gives and the sea takes away. She is a very harsh mistress as two young men, our handles main character and his friend Baldur. They both love reading and Baldur carries a borrowed copy of Paradise Lost. The need to make money and sign on to work with a fishing crew, a hard, way to make a living. Yet, poverty leaves one with little choice. A terrible event will send our nameless boy off to find a different way of life.
The story is slow, very detailed, but the descriptions are those one can feel. Cold that envelopes the reader, relentless, unabating weather. Tiredness, the kind that never leaves. This is not an easy job and the men's lives are not easy. The language is absolutely gorgeous, one can find a myriad of quotable material on ever page.
The prologue is narrated by an anonymous source and begins the story, two people long gone that want to tell the take of those who should not be forgotten. This is rural Iceland, one hundred years ago and one can literally feel and get to know the beliefs of that time. The poverty and desperation, the fear that when the men go out all may not return. A read that show that there are different versions of heaven and hell, and that friendship is beyond value.
The story is slow, very detailed, but the descriptions are those one can feel. Cold that envelopes the reader, relentless, unabating weather. Tiredness, the kind that never leaves. This is not an easy job and the men's lives are not easy. The language is absolutely gorgeous, one can find a myriad of quotable material on ever page.
The prologue is narrated by an anonymous source and begins the story, two people long gone that want to tell the take of those who should not be forgotten. This is rural Iceland, one hundred years ago and one can literally feel and get to know the beliefs of that time. The poverty and desperation, the fear that when the men go out all may not return. A read that show that there are different versions of heaven and hell, and that friendship is beyond value.
May 13, 2016
賴匕賴 丕賱賯胤毓丞 丕賱爻賲丕賵賷丞 賲賳 丕賱賰鬲丕亘丞 爻賵賮 鬲兀禺匕 亘鬲賱丕亘賷亘賰.
February 15, 2020
賱賲 兀丨亘賴丕 毓賱賶 毓賰爻 丕賱賰孬賷乇 賲賳 丕賱兀氐丿賯丕亍 丕賱匕賷賳 兀丨鬲乇賲 兀乇丕卅賴賲 賵鬲毓賱賷賯丕鬲賴賲
賵噩丿鬲賴丕 賮賶 兀睾賱亘賴丕 賵氐賮 夭丕卅丿 毓賳 丕賱丨丕噩丞貙 丿賵賳 兀丨丿丕孬 鬲匕賰乇 丕賱賲丕卅丞 氐賮丨丞 丕賱兀賵賱賶 賯乇兀鬲賴丕 亘乇賵賷丞 賯亘囟鬲 賯賱亘賶 賮丌孬乇鬲 丕賱爻賱丕賲丞 賵賯乇兀鬲 丕賱賲丕卅丞 丕賱兀禺乇賶 亘廿爻乇丕毓 兀賰亘乇 丿賵賳 鬲兀賲賱 夭丕卅丿 賷賯亘囟 丕賱乇賵丨 賵賷丨亘爻 丕賱兀賳賮丕爻
卮毓乇鬲 亘兀賳 丕賱賰丕鬲亘 賷乇賷丿 兀賳 賷兀禺匕 亘兀賷丿賷賳丕 賰賯乇丕亍 廿賱賶 賲兀爻丕丞貙 丕賱賲賵鬲 賮賶 丨丿 匕丕鬲賴 賱賷爻 睾丕賷丞 賷丕 爻賷丿 賰丕賱賲丕賳 賴匕賴 賴賶 丕賱乇爻丕賱丞 丕賱鬲賶 賵丿丿鬲 兀賳 賷爻賲毓賴丕 丕賱賰丕鬲亘 賲賳賶
賱賳 丕爻鬲賮賷囟 兀賰孬乇 賲賳 匕賱賰 賮賶 丕爻鬲毓乇丕囟 兀爻亘丕亘 毓丿賲 鬲賯亘賱賶 兀賵 丨亘賶 賱賴匕賴 丕賱乇賵丕賷丞
賵噩丿鬲賴丕 賮賶 兀睾賱亘賴丕 賵氐賮 夭丕卅丿 毓賳 丕賱丨丕噩丞貙 丿賵賳 兀丨丿丕孬 鬲匕賰乇 丕賱賲丕卅丞 氐賮丨丞 丕賱兀賵賱賶 賯乇兀鬲賴丕 亘乇賵賷丞 賯亘囟鬲 賯賱亘賶 賮丌孬乇鬲 丕賱爻賱丕賲丞 賵賯乇兀鬲 丕賱賲丕卅丞 丕賱兀禺乇賶 亘廿爻乇丕毓 兀賰亘乇 丿賵賳 鬲兀賲賱 夭丕卅丿 賷賯亘囟 丕賱乇賵丨 賵賷丨亘爻 丕賱兀賳賮丕爻
卮毓乇鬲 亘兀賳 丕賱賰丕鬲亘 賷乇賷丿 兀賳 賷兀禺匕 亘兀賷丿賷賳丕 賰賯乇丕亍 廿賱賶 賲兀爻丕丞貙 丕賱賲賵鬲 賮賶 丨丿 匕丕鬲賴 賱賷爻 睾丕賷丞 賷丕 爻賷丿 賰丕賱賲丕賳 賴匕賴 賴賶 丕賱乇爻丕賱丞 丕賱鬲賶 賵丿丿鬲 兀賳 賷爻賲毓賴丕 丕賱賰丕鬲亘 賲賳賶
賱賳 丕爻鬲賮賷囟 兀賰孬乇 賲賳 匕賱賰 賮賶 丕爻鬲毓乇丕囟 兀爻亘丕亘 毓丿賲 鬲賯亘賱賶 兀賵 丨亘賶 賱賴匕賴 丕賱乇賵丕賷丞
November 23, 2018
Di scritture potenti ed evocative come quelle di Stef脿nsson raramente se ne trovano nella letteratura contemporanea.
Che poesia, che meraviglia, che forza!
Che poesia, che meraviglia, che forza!
January 15, 2025
Can you die from reading books?
Scandinavian literature has a reputation for being very gloomy, and as the clich茅 goes, this is said to be due to the darkness that dominates that region for large parts of the year. Judging by this book, the first of a trilogy, the Icelandic writer Jon Stefansson (掳 1963) also belongs to that category. The story is set around the year 1900 in a remote corner of Iceland, where only professional fishing counts, and the villages are filled with widows and orphans of drowned fishermen. The unnamed main character, in the three parts of this trilogy called 鈥榯he boy鈥�, is such an orphan. And death can at least be called the shadow main character right from the start, because the boy is almost immediately confronted with a traumatic event. Stefansson shows himself to be a master in describing dramatic action scenes, interspersed with more contemplative passages about life and death, heaven and hell, and thus the human condition in general.
And then there is also that striking focus on the value of words and literature. The boy is a frail bookworm, who constantly wonders what words can do, what a fantastic gateway to the world they are, but also what damage they can cause. Can literature kill?, indeed appears to be a central question here: "Words can have the might of giants and they can kill a god, they can save lives and destroy them. Words are arrows, bullets, mythological birds that chase down gods, words are fish many thousands of years old that discover something horrible in the deep, they are nets vast enough to trap the world and the sky as well, but sometimes words are nothing, torn garments that the frost penetrates, a run-down battlement that death and misfortune step lightly over."
Despite the fact that this first part mainly builds up to the next ones, it still stands beautifully on its own, and certainly makes you want more. Rating 3.5 stars. I have now finished the entire trilogy, and that definitely is among the best that this century so far has produced in literature.
Scandinavian literature has a reputation for being very gloomy, and as the clich茅 goes, this is said to be due to the darkness that dominates that region for large parts of the year. Judging by this book, the first of a trilogy, the Icelandic writer Jon Stefansson (掳 1963) also belongs to that category. The story is set around the year 1900 in a remote corner of Iceland, where only professional fishing counts, and the villages are filled with widows and orphans of drowned fishermen. The unnamed main character, in the three parts of this trilogy called 鈥榯he boy鈥�, is such an orphan. And death can at least be called the shadow main character right from the start, because the boy is almost immediately confronted with a traumatic event. Stefansson shows himself to be a master in describing dramatic action scenes, interspersed with more contemplative passages about life and death, heaven and hell, and thus the human condition in general.
And then there is also that striking focus on the value of words and literature. The boy is a frail bookworm, who constantly wonders what words can do, what a fantastic gateway to the world they are, but also what damage they can cause. Can literature kill?, indeed appears to be a central question here: "Words can have the might of giants and they can kill a god, they can save lives and destroy them. Words are arrows, bullets, mythological birds that chase down gods, words are fish many thousands of years old that discover something horrible in the deep, they are nets vast enough to trap the world and the sky as well, but sometimes words are nothing, torn garments that the frost penetrates, a run-down battlement that death and misfortune step lightly over."
Despite the fact that this first part mainly builds up to the next ones, it still stands beautifully on its own, and certainly makes you want more. Rating 3.5 stars. I have now finished the entire trilogy, and that definitely is among the best that this century so far has produced in literature.
September 27, 2014
It is the language, the glorious language, that totally won me with this book.
This first book in a trilogy is set in Iceland sometime in the 19th century in a fishing community. It is the story of the boy, a teen who spends some of the year on the fishing boats with his friend, Barthur, a slightly older young man, enthused with life, enjoying reading Paradise Lost, who is about to become another of the thousands of fishermen to lose their lives to the elements. The boy then must determine what his life will become.
These are the very bare bones of the novel. What makes the novel soar are the words themselves and how they are arranged, poetically in almost every paragraph, almost every page. If I had read this on a kindle, who knows how much might have been highlighted (and I may still buy my own copy as I am crazy when a book strikes me this way).
Moonlight can leave us defenseless.
It causes us to remember, wounds tear open and we bleed.
His mother wrote to him about the moon and the heavens,
about the ages of the stars and the distance to Jupiter.
she knew many things, despite having been raised by folk
outside her own family, had had it hard there, was
reprimanded for thirsting after knowledge but learned to
read by following along when the boys on the farm were
at their lessons....It was reading and the desire for
knowledge that drew his parents together....[their] small
home field so tussocky that it was no doubt quicker to gnaw
it down than mow it, and the pastures were wet. The sea kept
them alive, it keeps all of us alive who live here at the
outer limit of the world. (p 31)
But the sea has been taking lives and hurting families for generations.
People are alive, have their moments, their kisses,
laughter, their embraces, words of endearment, their joys
and sorrows, each life is a universe that then collapses
and leaves nothing behind but a few objects that acquire
attractive power through the deaths of their owners,
become important, sometimes sacred, as if pieces of the
life that has left us have been transferred to the coffee
cup, the saw, the hairbrush, the scarf. But everything
fades in the end.... (p 32)
I have so many more places marked, but it becomes useless. You should read the book, especially if you enjoy poetry and descriptive prose and the dark night of the soul that Icelandic literature can embody so well. The boy is a wonderful creation, as are the other characters who surround him.
Strongly recommended.
This first book in a trilogy is set in Iceland sometime in the 19th century in a fishing community. It is the story of the boy, a teen who spends some of the year on the fishing boats with his friend, Barthur, a slightly older young man, enthused with life, enjoying reading Paradise Lost, who is about to become another of the thousands of fishermen to lose their lives to the elements. The boy then must determine what his life will become.
These are the very bare bones of the novel. What makes the novel soar are the words themselves and how they are arranged, poetically in almost every paragraph, almost every page. If I had read this on a kindle, who knows how much might have been highlighted (and I may still buy my own copy as I am crazy when a book strikes me this way).
Moonlight can leave us defenseless.
It causes us to remember, wounds tear open and we bleed.
His mother wrote to him about the moon and the heavens,
about the ages of the stars and the distance to Jupiter.
she knew many things, despite having been raised by folk
outside her own family, had had it hard there, was
reprimanded for thirsting after knowledge but learned to
read by following along when the boys on the farm were
at their lessons....It was reading and the desire for
knowledge that drew his parents together....[their] small
home field so tussocky that it was no doubt quicker to gnaw
it down than mow it, and the pastures were wet. The sea kept
them alive, it keeps all of us alive who live here at the
outer limit of the world. (p 31)
But the sea has been taking lives and hurting families for generations.
People are alive, have their moments, their kisses,
laughter, their embraces, words of endearment, their joys
and sorrows, each life is a universe that then collapses
and leaves nothing behind but a few objects that acquire
attractive power through the deaths of their owners,
become important, sometimes sacred, as if pieces of the
life that has left us have been transferred to the coffee
cup, the saw, the hairbrush, the scarf. But everything
fades in the end.... (p 32)
I have so many more places marked, but it becomes useless. You should read the book, especially if you enjoy poetry and descriptive prose and the dark night of the soul that Icelandic literature can embody so well. The boy is a wonderful creation, as are the other characters who surround him.
Strongly recommended.
December 15, 2018
"丕賱乇賵丕賷丞 丕賱兀噩賲賱 丕賱鬲賷 賯乇兀鬲賴丕 賲賳匕 爻賳賵丕鬲貙 卮毓乇賹 爻賲丕賵賷 毓賳 噩丨賷賲 丕賱兀乇囟... "
丕賱丨賯賷賯丞 兀賳賴 賲賳 兀噩賲賱 丕賱賳氐賵氐 丕賱爻乇丿賷丞 丕賱卮丕毓乇賷丞 丕賱鬲賷 賯乇兀鬲賴丕 賮賷 丨賷丕鬲賷 貙 賴匕丕 賲丕 兀爻賲賷賴 丕賱賵毓賷 亘丕賱兀丿亘貙 丕賱丿禺賵賱 賮賷 毓丕賱賲 丕賱賱睾丞貙 丕賱賰鬲丕亘丞 丕賱鬲賷 鬲氐丕丨亘賴丕 賰鬲丕亘丞 賱丕賵丕毓賷丞貙 睾丕乇賯丞 賮賷 亘爻胤 乇丿丕亍 丕賱賱睾丞 賮賵賯 噩爻丿 丕賱賳氐貙 賳氐賹 禺賮賷 賷毓乇賷 賳氐丕賸 丌禺乇 兀賰孬乇 丿賴卮丞 賲賳 爻丕亘賯賴貙 丕賱賲毓賳賶 賷賱丕丨賯 丕賱賲毓賳賶 貙 賰兀賳賴 丕賱孬賱噩 丕賱賲鬲乇丕賰賲貙 兀噩賳丨丞 丕賱賲賱丕卅賰丞 丕賱爻丕賯胤丞 毓賱賶 兀乇囟 丌賷爻賱賳丿丕..
爻乇丿 賲匕賴賱貙 孬丕卅乇貙 乇賵賲丕賳爻賷貙 賲丿賴卮貙 賲鬲睾賱睾賱 賮賷 賮囟丨 丕賱賳賮爻 丕賱亘卮乇賷丞 賵丕賱賯爻賵丞 毓賱賷賴丕貙 賳氐賹 噩乇賷亍貙 賷賵氐賱 丕賱賯丕乇賷亍 賱丨丿賵丿 丕賱丿賴卮丞貙 鬲丿乇賰 兀賳 賱賱賰賱賲丕鬲 爻胤賵丞 毓賱賶 丕賱丕卮賷丕亍貙 毓賱賶 丕賱毓丕賱賲 丕賱賵丨卮賷貙 毓賱賶 丕賱賵噩賵丿貙 賲睾丕賲乇丞 貙 廿亘丨丕乇 賮賷 賲丨賷胤 丕賱賱睾丞 丕賱兀賰孬乇 廿孬丕乇丞 賱賱丨爻丕爻賷丞 丕賱亘卮乇賷丞 賵丕賱毓賲賯 丕賱賵噩賵丿賷貙 兀爻賲丕賰貙 亘丨丕乇丞 賲噩丕賳賷賳貙 噩賱賷丿 賷賰爻賵 賰賱 卮賷亍貙 噩丨賷賲 孬賱噩賷貙 賱賷賱賷 賱丕 賷賰丕丿 賷賳鬲賴賷貙 賵丨卮賷丞 丕賱氐乇丕毓貙 氐乇丕毓 賲毓 丕賱賲賵鬲 賮賷 毓乇囟 丕賱亘丨乇貙 賴賲賳睾賵丕賷 噩丿賷丿貙 賲賷賱賮賱 賷爻鬲賷賯馗 賲賳 爻亘丕鬲賴 賱賰鬲丕亘丞 兀爻胤賵乇丞 噩丿賷丿丞 毓賳 丕賱亘丨乇貙 禺卮賵毓 兀賲丕賲 丕賱賲賵鬲貙 兀賲丕賲 氐乇丕毓 丕賱丨賷丕丞 丕賱噩丕賲丨貙 丕賱禺丕爻乇 賲爻亘賯丕賸貙 丕賱匕賷 賷賳鬲賴賷 丿賵賲丕賸 賲爻鬲爻賱賲丕賸 賱賲卮賷卅丞 丕賱賲賵鬲 賵丕賱廿賱賴 ..
廿賷爻賱賳丿丕 賯亘賱 賲卅丞 毓丕賲 賮賷 毓乇賷賴丕 賵賯爻賵鬲賴丕 賵賮囟丕卅丨 丕賱賲賵鬲 賴賳丕賰 鬲丨鬲 爻賯賮 丕賱賲爻丕亍貙 賮賵賯 丕賱噩賱賷丿貙 賮賵賯 爻胤丨 丕賱亘丨乇 丕賱賴丕卅噩貙 廿賷爻賱賳丿丕 丕賱噩丕賲丨丞 丕賱鬲賷 賷賰鬲亘賴丕 爻鬲賷賮賳爻賳 賴賳丕 賷毓丿 賱賴丕 丕賱賲噩丿 丕賱亘丿丕卅賷貙 毓丕賱賲 丕賱馗賱丕賲 賵丕賱賯爻賵丞 賵丕賱賵丨卮賷丞貙 毓丕賱賲 丕賱廿賳爻丕賳 丕賱噩丕卅毓 賱賱丨賷丕丞貙 賱賱兀賲賱貙 賱卮毓丕毓 賲賳 賳賵乇 丕賱卮賲爻貙 賷毓賵丿 亘賰 毓賲賷賯丕賸 賳丨賵 丕賱氐乇丕毓 丕賱廿賳爻丕賳賷 賱賱亘賯丕亍貙 賳丨賵 毓丕賱賲 兀賵賱賷 鬲賳毓丿賲 賮賷賴 賰賱 賲賯賵賲丕鬲 丕賱乇丕丨丞貙 賲丕 亘丕賱 賴丐賱丕亍 丕賱乇噩丕賱 賷禺丕胤乇賵賳 亘丨賷丕鬲賴賲 賲賳 兀噩賱 亘囟毓丞 兀爻賲丕賰 锟斤拷乇賷丞 賵禺賵囟 鬲賱賰 丕賱氐乇丕毓丕鬲 賮賷 賵爻胤 丕賱噩丨賷賲 丕賱孬賱噩賷貙 賯氐丞 丕賱賮鬲賶 丕賱賲噩賴賵賱貙 丕賱賲睾丕賲乇 貙 丕賱胤丕卅卮 丕賱匕賷 賮賯丿 賰賱 卮賷亍貙 賰賱 賲丕賷乇亘胤賴 亘丕賱丨賷丕丞貙 丕賱氐丿賷賯貙 丕賱毓夭賷賲丞貙 乇兀賶 丕賱賲賵鬲 兀賲丕賲 毓賷賳賷賴貙 氐毓購賯 賱賲卮賴丿 丕賱賲賵鬲貙 賱賱毓賷賳丕賳 丕賱賲賳胤賮卅鬲丕賳 賮賵賯 噩賲乇 丕賱丨賷丕丞 丕賱爻丕亘賯丞貙 賵爻胤 丕賱毓賵丕氐賮 賵丕賱孬賱賵噩 賵丕賱賯爻賵丞 賵丕賱囟毓賮 賵丕賱兀賳丕賳賷丞 丕賱亘卮乇賷丞貙 孬賲 丕賱囟賷丕毓貙 丕賱亘丨孬 毓賳 丨賷丕丞 兀禺乇賶貙 兀賰孬乇 兀賲丕賳丕賸貙 賵兀賯賱 廿賰鬲乇丕孬丕賸 乇亘賲丕 ..
乇賵丕賷丞 兀亘賴乇鬲賳賷 賵爻丨乇鬲賳賷 貙 禺囟鬲 賲毓賴丕 丕賱賰孬賷乇 賲賳 丕賱鬲卮賵賷賯 賵丕賱賲睾丕賲乇丞 丕賱爻乇丿賷丞 丕賱卮毓乇賷丞 賵丕賱賱睾丞 丕賱毓馗賷賲丞 丕賱鬲賷 賱丕 鬲購賯丿乇 亘孬賲賳..
賴匕賴 丕賱乇賵丕賷丞 賴賷 丕賱噩夭亍 丕賱兀賵賱 賲賳 孬賱丕孬賷丞 " 噩賳丞 賵噩丨賷賲 " 賷賱賷賴丕 丕賱噩夭亍 丕賱孬丕賳賷 (丨夭賳 丕賱賲賱丕卅賰丞) 貙 孬賲 (賯賱亘锟斤拷 丕賱乇噩賱) 貙 賲鬲丨賲爻 賱賯乇丕亍丞 丕賱亘賯賷丞 亘賱丕 卮賰 ..
July 6, 2020
De la Backman 卯ncoace nu am mai fost at芒t de cucerit膬 de complexitatea unei scriituri, iar Stef谩nsson este mult, mult mai intens, profund 葯i cople葯itor! Ce minte fascinant膬 trebuie s膬 aib膬 autorul! Nici nu 葯tiu cum s膬 exprim c芒t de mult mi-a pl膬cut.
,,Ochii nu sunt st膬p芒ni葲i de nimic. Trebuie s膬 ne g芒ndim bine unde 葯i c芒nd 卯i a葲intim spre ceva. Ni se petrece via葲a 卯ntreag膬 prin ochii ace葯tia, pot la fel de bine s膬 fie arme, cum pot s膬 fie sunete melodioase, c芒ntec de p膬s膬ri sau urlet de lupt膬. Le st膬 卯n putin葲膬 s膬 dezv膬luie cine suntem, s膬 te salveze ori s膬 te piard膬. 葰i-am 卯nt芒lnit privirea 葯i via葲a mi s-a schimbat. Mi-e fric膬 de ochii ei. M膬 pierd 卯n ochii lui. Uit膬-te un pic la mine, ca s膬 卯mi mearg膬 bine 葯i poate ajung 葯i eu s膬 dorm lini葯tit.''
,,Ochii nu sunt st膬p芒ni葲i de nimic. Trebuie s膬 ne g芒ndim bine unde 葯i c芒nd 卯i a葲intim spre ceva. Ni se petrece via葲a 卯ntreag膬 prin ochii ace葯tia, pot la fel de bine s膬 fie arme, cum pot s膬 fie sunete melodioase, c芒ntec de p膬s膬ri sau urlet de lupt膬. Le st膬 卯n putin葲膬 s膬 dezv膬luie cine suntem, s膬 te salveze ori s膬 te piard膬. 葰i-am 卯nt芒lnit privirea 葯i via葲a mi s-a schimbat. Mi-e fric膬 de ochii ei. M膬 pierd 卯n ochii lui. Uit膬-te un pic la mine, ca s膬 卯mi mearg膬 bine 葯i poate ajung 葯i eu s膬 dorm lini葯tit.''
November 24, 2016
We might not need words to survive; on the other hand, we do need words to live
My backpack was set, stuffed with all the essentials that I'd need for a trip of my lifetime, as I hoped. I spent a month planning and collecting all the things that I would need, might need, or even might not need, to survive. And pff of course, my Kindle and a paperback, but little did I know that I was carrying a meaning so ethereal yet panoptic until the flight took off and I started reading the first few pages of this wonderful book.
The setting was cold, real cold, in the book I mean, the kind which touches your fingers holding those words and then slowly creeps up to your chest. And there came a storm in the heathen sea. A reluctant dawn, one boat, six men, five jackets, a verse from Paradise Lost, and a motherly woman at the shore with her feet in the sand and her heart in that boat. Who is to say if there was only one soul that danced with death that day?
The depths of the sea are innocent of all evil, they are just life and death, while there would certainly be a need to make a sign of the cross over the lines not just once but at least ten thousand times if we were to sink them into the depths of the human soul
A tap on my shoulder woke me from the trance and a finger pointed me towards the window by my side. The sight was nothing I haven't seen before but this time it had a whole new meaning. Looking out of that safe interior into the infinity of clouds and skies I felt as if I was in that boat, having my feet on the same uncertain ground and my thoughts circling around the same verse. Their raging ocean and my unrelenting sky; their dawn and my dusk; their coming alive and my abeyance from the world. But how did that happen? J贸n Kalman Stef谩nsson.
Our existence is a relentless search for a solution, what comforts us, whatever gives us happiness, drives away all bad things. Some travel a long and difficult road and perhaps find nothing at all, except for some sort of purpose, a king of liberation or relief in the search itself, the rest of us admire their tenacity but have enough trouble ourselves simply existing, so we take cure-alls instead of searching, continually asking what is the shortest path to happiness, and we find the answer in God, science, brennivin, Chinese Vital Elixir.
A poem that this book is sings not only the songs of dreams and death and purpose of life, but also of the absurdities and the longings we are prey to. It celebrates the fact that most important questions of life are unanswerable and mourns our inability to stop questioning. It dreams of red lips, sugary nights, soft hair, and sea deep eyes. It challenges the deep calm of mountains, the shadowy moonlight, and the power of a verse to save a life. It is, more than anything, a poem that summons faith through the chariot of words that rides on horizon that separates Heaven and Hell.
Some poems take us places where no words reach, no thought, they take you up to the core itself, life stops for one moment and becomes beautiful, it becomes clear with regret and happiness. Some poems change the day, the night, your life. Some poems make you forget, forget the sadness, the hopelessness....
My trip came to an end but the boy is still wandering through his uncertainties. I shall catch him up soon in the remaining two books of this series when I get to it but for now I know one thing for sure, I have created a memory for myself stitched by thread of words, coloured by dreams and longings, and textured by the landscape of Ladakh which will come to life spotless whenever I think of this book or the trip. They are both married forever now.
Tso Moriri Lake, Ladakh
August 3, 2020
I read this book in two sittings 鈥� I read the first part of the book in the morning and the second part in the afternoon. After I had read the first part, I was blown away by the plot and the writing and was looking forward to giving it 5 stars when all was said and done. But I had work to do in the morning so had to put the book aside for later on in the day. When I was reading the second half of the book, I stopped at one point and scribbled in my notes 鈥淚 don鈥檛 know what happened. This book is so boring!鈥� Then fortunately, the book 鈥減icked up鈥� again. So while overall I am glad to give it 4 stars, I wanted to give it 5 but couldn鈥檛 because of the temporary boredom. And I know what caused the boredom 鈥� it was a distraction that the author deliberately put into the novel, and it beats the hell out of me why he did it 鈥� see spoiler alert below for the distraction. 鈽�
That being said, there was so much to admire in this somewhat short novel (211 pages, softcover) that I hope everybody who reads this review who has not read this book considers it for their to-be-read list (and read the reviews in the web addresses below). It was such a wonderful find! 馃槉
The first part of the book is about fishermen and their loved ones in a coastal area of Iceland, shortly before they go out on a bleak day in March to go fishing for cod, and then when they are out on the sea. The writing is just pitch-perfect in which one of the main protagonists is introduced as 鈥渢he boy鈥� (he is actually a young man) and we learn about him and about his slightly older friend, B谩r冒ur. B谩r冒ur right before he leaves the fishing hut to go onto the boat has to read one more line from a book an old blind sea captain has lent him, Milton鈥檚 Paradise Lost (B谩r冒ur is in love and the line is: Nothing is sweet to me, without thee). It turns out to be fateful. The impending snowstorm, and when it hits them when they are nearly done with the fishing, is terrifying and suspenseful and agonizing. They make it back to land but something tragic has happened when they were at sea. And you know me鈥y lips are sealed. 馃
鈥淭he boy鈥� after the tragedy at sea doubts that he wants to live anymore. In the second part of the book we learn what he finally decides to do鈥�
As I said one reason to read this book is for the writing鈥ometimes the prose was uber-awesome. To wit, this is 鈥渢he boy鈥� ruminating while writing a letter to a friend about the tragedy at sea:
鈥� 鈥淗e stares confusedly at the pen. Absolutely doesn鈥檛 want to die. The will to live sits in his bones, it runs in his blood, what are you, life? He asks silently but is so incredibly far from answering, which isn鈥檛 strange, we don鈥檛 have ready answers, yet have lived and also died, crossed the borders that no-one sees but are still the only ones that matters. What are you, life? Perhaps the answer is found in the question, the wonder that is implicit in it. Does the light of life dwindle and turn to darkness as soon as we stop wondering, stop questioning and take life like every other commonplace thing?鈥�
A note about the names of the characters. They are Icelandic (different fonts and accents over letters) and they all sounded the same to me. 鈽� For the first half it wasn鈥檛 difficult but I was having a tough go of it in the second part. Because they were all important names in the novel鈥nd I had a hard time differentiating them: Gu冒r煤n, Gu冒j贸n, Geir脼r煤冒ur, Brynj贸lfur, Ragnhei冒ur, 脼orvaldur鈥 would get flummoxed when reading the names Gu冒r煤n, Gu冒j贸n, Geir脼r煤冒ur all in one paragraph. I kept on having to refer back to my notes鈥h, Gu冒r煤n is Reverend 脼orvaldur鈥檚 wife and Gu冒j贸n is a rich old man who was married to the younger Geir脼r煤冒ur鈥�
Cod have lived for 120 million years. I did not know that. Did you?
Reviews and such:
(Jim: Well after reading this review I just found out there is a sequel to this book and that it is the first of three-part trilogy: Heaven and Hell, The Sorrow of Angels and The Heart of Man)
That being said, there was so much to admire in this somewhat short novel (211 pages, softcover) that I hope everybody who reads this review who has not read this book considers it for their to-be-read list (and read the reviews in the web addresses below). It was such a wonderful find! 馃槉
The first part of the book is about fishermen and their loved ones in a coastal area of Iceland, shortly before they go out on a bleak day in March to go fishing for cod, and then when they are out on the sea. The writing is just pitch-perfect in which one of the main protagonists is introduced as 鈥渢he boy鈥� (he is actually a young man) and we learn about him and about his slightly older friend, B谩r冒ur. B谩r冒ur right before he leaves the fishing hut to go onto the boat has to read one more line from a book an old blind sea captain has lent him, Milton鈥檚 Paradise Lost (B谩r冒ur is in love and the line is: Nothing is sweet to me, without thee). It turns out to be fateful. The impending snowstorm, and when it hits them when they are nearly done with the fishing, is terrifying and suspenseful and agonizing. They make it back to land but something tragic has happened when they were at sea. And you know me鈥y lips are sealed. 馃
鈥淭he boy鈥� after the tragedy at sea doubts that he wants to live anymore. In the second part of the book we learn what he finally decides to do鈥�
As I said one reason to read this book is for the writing鈥ometimes the prose was uber-awesome. To wit, this is 鈥渢he boy鈥� ruminating while writing a letter to a friend about the tragedy at sea:
鈥� 鈥淗e stares confusedly at the pen. Absolutely doesn鈥檛 want to die. The will to live sits in his bones, it runs in his blood, what are you, life? He asks silently but is so incredibly far from answering, which isn鈥檛 strange, we don鈥檛 have ready answers, yet have lived and also died, crossed the borders that no-one sees but are still the only ones that matters. What are you, life? Perhaps the answer is found in the question, the wonder that is implicit in it. Does the light of life dwindle and turn to darkness as soon as we stop wondering, stop questioning and take life like every other commonplace thing?鈥�
A note about the names of the characters. They are Icelandic (different fonts and accents over letters) and they all sounded the same to me. 鈽� For the first half it wasn鈥檛 difficult but I was having a tough go of it in the second part. Because they were all important names in the novel鈥nd I had a hard time differentiating them: Gu冒r煤n, Gu冒j贸n, Geir脼r煤冒ur, Brynj贸lfur, Ragnhei冒ur, 脼orvaldur鈥 would get flummoxed when reading the names Gu冒r煤n, Gu冒j贸n, Geir脼r煤冒ur all in one paragraph. I kept on having to refer back to my notes鈥h, Gu冒r煤n is Reverend 脼orvaldur鈥檚 wife and Gu冒j贸n is a rich old man who was married to the younger Geir脼r煤冒ur鈥�
Cod have lived for 120 million years. I did not know that. Did you?
Reviews and such:
(Jim: Well after reading this review I just found out there is a sequel to this book and that it is the first of three-part trilogy: Heaven and Hell, The Sorrow of Angels and The Heart of Man)
April 19, 2017
Hell is not knowing whether we are alive or dead.
Life is that expanse of time that could be green, blue, silver, or black. What color will life take? We don't know the color we will get, nor the moment the tide will change. We are all fishermen, traversing this beautiful and painful sea called life. Life is Heaven and Hell.
"There is hardly anything as beautiful as the sea on good days, or clear nights, when it dreams and the gleam of the moon is its dream. But the sea is not a bit beautiful, and we hate it more than anything else when the waves rise..." this is the juxtaposition of life on the sea. A small village exists mostly through work provided by the sea: cod fishermen whose lives in a boat sometimes depend on the simple things, like waterproof boots from America. And poetry. For how else can one dream, in spite of the darkness, if one cannot even have words? Milton wrote without sight, so imagine the metaphorical weight this Icelandic novel pulls when it introduces a character infatuated by Paradise Lost in the midst of his darkness and despair.
Poetry is centralized in this lyrical novel, and the words flow smooth and clear, like the sea on a sunny afternoon. Like the sea, it meanders occasionally, flows over rocks and sharp edges, loses the reader who is distracted by the eerie undulation. Exposition toys with story, subtleties are caressed, and philosophy is embedded with lucidity. The pace teases, is dilatory, and then in those still moments it is shrill and surprising, especially sixty pages in when a jolting scene is unveiled.
Everything, story and style, seems to mirror the sea, as life itself does draw a parallel to this divine expanse of water; living beings live and die, struggle and succeed,
and the only thing we can do is hope deep inside, where the heart beats and dreams dwell, that no life is wasted, is without purpose.
November 9, 2018
鈥淚l mare鈥utre tutti noi che viviamo qui agli estremi del mondo鈥�
Affascinante romanzo dotato di una bellezza cristallina e singolare che, a pochi anni dalla pubblicazione, presenta la solennit脿 e ha assunto la potenza evocativa di un classico, in grado di rievocare lo spirito e l鈥檈ssenza di un popolo attraverso il lento ritmo di vita della piccola comunit脿 di pescatori nella punta nordoccidentale dell鈥橧slanda.
La prima parte, incentrata sulla battuta di pesca, 猫 un capolavoro assoluto e folgorante: ci catapulta in un鈥檈sistenza stretta fra il paradiso della natura e del mare che elargisce la vita e l鈥檜nico nutrimento, e l鈥檌nferno del gelo che incombe e della morte immanente per annegamento o assideramento.
Attraverso gli atavici movimenti del remare, del gettare le reti, dell鈥檕sservare il mare e il cielo e prevenirne il mutamento omicida, si snoda un鈥檃ttivit脿 tramandata da generazioni nel silenzio assoluto del paesaggio circostante sullo sfondo dei fiordi dalle colline nere, chiazzate di bianco.
Poi nella seconda parte la tensione inevitabilmente si allenta e la narrazione vaga fra gli abitanti delle austere casette di legno che compongono il villaggio, le storie che in brevi tratti significativi ne delineano le esistenze, le tragedie del passato, gli imprevisti legami che stringono le coppie, in nome non tanto dell鈥檃more quanto dell鈥檌mpossibilit脿 di accettare la vita in solitudine sotto questo cielo buio.
Il legame fra le due parti 猫 costituito dall鈥檜nico personaggio, il protagonista e testimone, di cui non viene mai menzionato il nome, 鈥渋l ragazzo鈥�, che attraversa con la sua timidezza e il suo coraggio le prove del destino fino alle soglie dell鈥檃utoannientamento, quando sembra finalmente trovare una parvenza di quiete interiore; anche se l鈥檜ltima pagina ce lo lascia sospeso, quasi simbolicamente, fra il sonno di un vecchio capitano ubriaco e il triste sorriso di un compagno gi脿 divenuto fantasma.
Affascinante romanzo dotato di una bellezza cristallina e singolare che, a pochi anni dalla pubblicazione, presenta la solennit脿 e ha assunto la potenza evocativa di un classico, in grado di rievocare lo spirito e l鈥檈ssenza di un popolo attraverso il lento ritmo di vita della piccola comunit脿 di pescatori nella punta nordoccidentale dell鈥橧slanda.
La prima parte, incentrata sulla battuta di pesca, 猫 un capolavoro assoluto e folgorante: ci catapulta in un鈥檈sistenza stretta fra il paradiso della natura e del mare che elargisce la vita e l鈥檜nico nutrimento, e l鈥檌nferno del gelo che incombe e della morte immanente per annegamento o assideramento.
Attraverso gli atavici movimenti del remare, del gettare le reti, dell鈥檕sservare il mare e il cielo e prevenirne il mutamento omicida, si snoda un鈥檃ttivit脿 tramandata da generazioni nel silenzio assoluto del paesaggio circostante sullo sfondo dei fiordi dalle colline nere, chiazzate di bianco.
Poi nella seconda parte la tensione inevitabilmente si allenta e la narrazione vaga fra gli abitanti delle austere casette di legno che compongono il villaggio, le storie che in brevi tratti significativi ne delineano le esistenze, le tragedie del passato, gli imprevisti legami che stringono le coppie, in nome non tanto dell鈥檃more quanto dell鈥檌mpossibilit脿 di accettare la vita in solitudine sotto questo cielo buio.
Il legame fra le due parti 猫 costituito dall鈥檜nico personaggio, il protagonista e testimone, di cui non viene mai menzionato il nome, 鈥渋l ragazzo鈥�, che attraversa con la sua timidezza e il suo coraggio le prove del destino fino alle soglie dell鈥檃utoannientamento, quando sembra finalmente trovare una parvenza di quiete interiore; anche se l鈥檜ltima pagina ce lo lascia sospeso, quasi simbolicamente, fra il sonno di un vecchio capitano ubriaco e il triste sorriso di un compagno gi脿 divenuto fantasma.
September 21, 2017
Encontrei muito pouco Para铆so neste livro. Encontrei mais Inferno; o Inferno dos vivos, n茫o dos mortos que esses repousam em qualquer fundura e o mais certo 茅 j谩 estarem em paz.
Pensei ler os tr锚s livros de enfiada mas n茫o sou capaz; encheu-me de uma tristeza pe莽onhenta e deixou-me um peso no peito.
Inferno鈥u diria que Inferno 茅 viver onde n茫o h谩 sol, e Para铆so pode ser viver perto do mar, v锚-lo e visit谩-lo ami煤de. Com sol. E amigos.
Tamb茅m podia acrescentar gatos, mas depois n茫o me levam a s茅rio.
Porque este 茅 nitidamente um livro escrito por um n贸rdico habituado 脿 neve e 脿 escurid茫o.
( A铆 est谩 um local onde eu nunca seria feliz!)
Quanto 脿 leitura, tive s茅rias dificuldades em orientar-me com as personagens. Com exce莽茫o do rapaz - designa莽茫o que n茫o confunde ningu茅m 鈥� todos os nomes s茫o pesad茅licos. A maioria s茫o semelhantes, nada me indicava ser um nome feminino ou masculino, muitas vezes tive que ler a frase completa para perceber no contexto se era homem ou mulher.
Inconfund铆vel foi a personagem principal: presente a toda a hora, apan谩gio de vida, pren煤ncio de morte - MAR - mar de esperan莽a, mar de sonhos, mar de dor. Toda a vida daquela gente depende da ida ao mar, do sucesso da pescaria ou do mergulho eterno nas profundezas.
Gostei da escrita, um pouco densa mas de uma profundidade que nos atinge. Depois dei-me conta que essa profundidade era uma banalidade po茅tica. Todas as frases que mais me tocavam referiam-se a situa莽玫es que de alguma forma nos fragilizam. N茫o era nada de in茅dito, acontece em qualquer parte do mundo, seja aqui, na Isl芒ndia ou noutro lugar onde o homem se tenha instalado. A humanidade partilha os mesmos receios: o medo de perder aqueles que amamos, o medo de perdermos a nossa identidade e o nosso caminho, o medo da morte, o medo da vida, o medo do medo. Assim como precisa de proximidade e envolv锚ncia, do calor de um aperto de m茫o, de criar bases para uma conviv锚ncia solid谩ria.
Acabei-o ontem e ainda estou a pensar por quantos atravessaria eu uma tempestade tenebrosa para devolver um livro鈥�
Pensei ler os tr锚s livros de enfiada mas n茫o sou capaz; encheu-me de uma tristeza pe莽onhenta e deixou-me um peso no peito.
Inferno鈥u diria que Inferno 茅 viver onde n茫o h谩 sol, e Para铆so pode ser viver perto do mar, v锚-lo e visit谩-lo ami煤de. Com sol. E amigos.
Porque este 茅 nitidamente um livro escrito por um n贸rdico habituado 脿 neve e 脿 escurid茫o.
( A铆 est谩 um local onde eu nunca seria feliz!)
Quanto 脿 leitura, tive s茅rias dificuldades em orientar-me com as personagens. Com exce莽茫o do rapaz - designa莽茫o que n茫o confunde ningu茅m 鈥� todos os nomes s茫o pesad茅licos. A maioria s茫o semelhantes, nada me indicava ser um nome feminino ou masculino, muitas vezes tive que ler a frase completa para perceber no contexto se era homem ou mulher.
Inconfund铆vel foi a personagem principal: presente a toda a hora, apan谩gio de vida, pren煤ncio de morte - MAR - mar de esperan莽a, mar de sonhos, mar de dor. Toda a vida daquela gente depende da ida ao mar, do sucesso da pescaria ou do mergulho eterno nas profundezas.
Gostei da escrita, um pouco densa mas de uma profundidade que nos atinge. Depois dei-me conta que essa profundidade era uma banalidade po茅tica. Todas as frases que mais me tocavam referiam-se a situa莽玫es que de alguma forma nos fragilizam. N茫o era nada de in茅dito, acontece em qualquer parte do mundo, seja aqui, na Isl芒ndia ou noutro lugar onde o homem se tenha instalado. A humanidade partilha os mesmos receios: o medo de perder aqueles que amamos, o medo de perdermos a nossa identidade e o nosso caminho, o medo da morte, o medo da vida, o medo do medo. Assim como precisa de proximidade e envolv锚ncia, do calor de um aperto de m茫o, de criar bases para uma conviv锚ncia solid谩ria.
Acabei-o ontem e ainda estou a pensar por quantos atravessaria eu uma tempestade tenebrosa para devolver um livro鈥�
August 10, 2023
4.5
Are Stef谩nsson fraze at芒t de frumoase c膬 卯葲i taie r膬suflarea. 葮i, spre deosebire de ce tocmai am scris eu, la el nu sun膬 niciodat膬 a cli葯eu. Mai ales c芒nd vorbe葯te despre poezie sau despre natura spectaculoas膬. Spectaculoas膬 葯i monoton膬, totu葯i, a Islandei.
"In Islanda n-aveai ce vedea 卯n afar膬 de mun葲i, de cascade, de 卯ntinderi de p膬m芒nt cu hopuri 葯i de lumina aceea care are darul s膬 treac膬 prin tine 葯i s膬 te transforme 卯n poet".
Oamenilor din sat nu li se 卯nt芒mpl膬 aproape niciodat膬 nimic care s膬 merite s膬 fie povestit. Li se 卯nt芒mpl膬 doar prietenia care te face s膬 nu mai fii obligat s膬-葲i aperi sufletul, 卯ndr膬gostirea care nu te las膬 s膬 te la葯i prad膬 卯nghe葲ului c芒nd ai pierdut totul, poezia care te face s膬 ui葲i s膬 卯葲i iei pufoaica c芒nd ie葯i pe mare, moartea care te las膬 numai 卯n vorbele celor care te-au iubit. Oamenilor din sat li se 卯nt芒mpl膬 totul.
Are Stef谩nsson fraze at芒t de frumoase c膬 卯葲i taie r膬suflarea. 葮i, spre deosebire de ce tocmai am scris eu, la el nu sun膬 niciodat膬 a cli葯eu. Mai ales c芒nd vorbe葯te despre poezie sau despre natura spectaculoas膬. Spectaculoas膬 葯i monoton膬, totu葯i, a Islandei.
"In Islanda n-aveai ce vedea 卯n afar膬 de mun葲i, de cascade, de 卯ntinderi de p膬m芒nt cu hopuri 葯i de lumina aceea care are darul s膬 treac膬 prin tine 葯i s膬 te transforme 卯n poet".
Oamenilor din sat nu li se 卯nt芒mpl膬 aproape niciodat膬 nimic care s膬 merite s膬 fie povestit. Li se 卯nt芒mpl膬 doar prietenia care te face s膬 nu mai fii obligat s膬-葲i aperi sufletul, 卯ndr膬gostirea care nu te las膬 s膬 te la葯i prad膬 卯nghe葲ului c芒nd ai pierdut totul, poezia care te face s膬 ui葲i s膬 卯葲i iei pufoaica c芒nd ie葯i pe mare, moartea care te las膬 numai 卯n vorbele celor care te-au iubit. Oamenilor din sat li se 卯nt芒mpl膬 totul.
October 27, 2018
The environment of the novel is harsh and capricious: a physical manifestation of the unseen forces of nature to which we are all subject. Between these elemental forces there is conflict and contrast, darkness and light. But this frame creates diverse subjective experiences; it affects us all in different ways. J贸n Kalman explores the inner world of his characters individually and successively, in a manner that reminded me somewhat of Woolf's The Waves. The epic tone is diminished a little in the second half of the novel, but what remains is an unflinching seriousness towards the profound challenges of life, death and change. These forces that move us are perhaps more subtle than the physical ones, but equally fickle; equally unfathomable. The human capacity toward art and love provide a counterbalance to the natural world - the heaven to its hell - and are the key to our endurance.
March 25, 2025
丕賱亘丨乇 賲賳 噩丕賳亘 賵噩亘丕賱 丨丕丿丞 賵卮丕賴賯丞 賲賳 丕賱噩丕賳亘 丕賱丌禺乇. 鬲賱賰 賴賷 賯氐鬲賳丕 丕賱賰丕賲賱丞 賮賷 丕賱丨賯賷賯丞. 賯丿 鬲鬲丨賰賲 丕賱爻賱胤丕鬲 賵丕賱鬲噩丕乇 亘兀賷丕賲賳丕 丕賱賲毓丿賲丞貙 賱賰賳 丕賱噩亘丕賱 賵丕賱亘丨乇 賷鬲丨賰賲丕賳 亘丕賱丨賷丕丞 賳賮爻賴丕貙 賴賲丕 賯丿乇賳丕貙 兀賵 賴賰匕丕 賳賮賰乇 賮賷 兀睾賱亘 丕賱兀賵賯丕鬲貙賵賴賰匕丕 爻賷卮毓乇 丕賱賲乇亍 丨鬲賲丕 賮賷 丨丕賱 氐丨丕 賵賳丕賲 賱毓賯賵丿 賮賷 賰賳賮 鬲賱賰 丕賱噩亘丕賱貙 賴賰匕丕 爻賷卮毓乇 賮賷 丨丕賱 毓賱丕 氐丿乇賴 賵賴亘胤 賲毓 兀賳賮丕爻 丕賱亘丨乇 賵賴賵 毓賱賶 賲鬲賳 賯賵丕乇亘賳丕 丕賱氐睾賷乇丞 丕賱禺賮賷賮丞. 賮賷 丕賱丨賯賷賯丞 賱丕 賷賰丕丿 賷賰賵賳 賴賳丕賰 賲丕 賴賵 兀乇賵毓 賲賳 丕賱亘丨乇 賮賷 丕賱兀賷丕賲 丕賱噩賷丿丞貙 兀賵 丕賱賱賷丕賱賷 丕賱氐丕賮賷丞貙 毓賳丿賲丕 賷丨賱賲 賵賷賰賵賳 賵賲賷囟 丕賱賯賲乇 丨賱賲賴. 賱賰賳 丕賱亘丨乇 賷賰賮 毓賳 兀賳 賷賰賵賳 乇丕卅毓丕 賵賱賵 賯賱賷賱丕貙 亘賱 丨鬲賶 賳囟賲乇 賱賴 丕賱賰乇丕賴賷丞 兀賰孬乇 賲賳 兀賷 卮賷 丌禺乇 毓賳丿賲丕 鬲乇鬲賮毓 丕賱兀賲賵丕噩 毓卮乇丕鬲 丕賱兀賲鬲丕乇 賮賵賯 丕賱賲乇賰亘貙 毓賳丿賲丕 鬲鬲賰爻乇 賮賵賯賴貙 賮賳睾乇賯 賰兀賳賳丕 噩乇丕亍 亘丕卅爻丞. 丌賳匕丕賰 賷鬲爻丕賵賶 丕賱噩賲賷毓貨 丕賱兀賳匕丕賱 丕賱賮丕爻丿賵賳 賵丕賱乇噩丕賱 丕賱胤賷亘賵賳貨丕賱毓賲丕賱賯丞 賵丕賱賲鬲禺丕匕賱賵賳貙 丕賱爻毓丿丕亍 賵丕賱兀卮賯賷丕亍. 賱丕 卮賷亍 爻賵賶 氐乇丕禺 賲丿賵貙 丨乇賰丕鬲 賲爻毓賵乇丞貙 孬賲 賰賲丕 賱賵 兀賳賳丕 賲丕賰賳丕 賴賳丕 賲胤賱賯丕貙 賷睾乇賯 丕賱噩爻丿 丕賱賲賷鬲貙 賷亘乇丿 丕賱丿賲 丕賱爻丕乇賷 賮賷賴貙 鬲鬲丨賵賱 丕賱匕賰乇賷丕鬲 廿賱賶 賴亘丕亍貙 賷鬲賵丕賮丿 丕賱爻賲賰 賵賷賯囟賲 丕賱卮賮丕賴 丕賱鬲賷 賯亘賱鬲 丕賱亘丕乇丨丞 賵賳胤賯鬲 丕賱賰賱賲丕鬲 丕賱鬲賷 毓賳鬲 賰賱 卮賷亍貙 賷賯囟賲 丕賱賰鬲賮賷賳 賵丕賱馗賴乇 丕賱匕賷 丨賲賱 兀氐睾乇 丕賱兀亘賳丕亍貙 賵賮賷 賯丕毓 丕賱賲丨賷胤 鬲賳鬲賴賷 丕賱毓賷賳丕賳 丕賱賱鬲丕賳 鬲賰賮丕賳 毓賳 乇丐賷丞 兀賷 卮賷亍. 丕賱賲丨賷胤 亘丕乇丿 丕賱夭乇賯丞 賵賱丕賷賴丿兀 兀亘丿丕貙 賲禺賱賵賯 毓賲賱丕賯 賷鬲賳賮爻貙 賷乇兀賮 亘賳丕 賮賷 兀睾賱亘 丕賱兀丨賷丕賳貙 賱賰賳賴 賮賷 亘毓囟 賱丕兀賵賯丕鬲 賱丕 賷賮毓賱 賵賳睾乇賯貨 廿賳 鬲丕乇賷禺 丕賱亘卮乇賷丞 賱賷爻 亘丕賱睾 丕賱鬲毓賯賷丿.
賴賷 匕賷 丕賱賯氐丞 賰賱賴丕
丕賱乇賵丕賷丞 鬲賰亘賷乇 賱賴匕丕 丕賱賲卮賴丿 賵鬲賵爻賷毓 賱賴
鬲匕賰賷乇 亘賲丿賶 賴卮丕卮鬲賳丕
賳丨賳 賱丕卮賷亍 兀賲丕賲 丕賱胤亘賷毓丞
兀賲丕賲 丕賱亘丨乇 賵丕賱孬賱噩 賵丕賱亘乇丿
賵丕賱賵丨丿丞 賵丕賱丨夭賳 賵丕賱賱丕賷賯賷賳
賷賲賰賳 兀賳 賷亘鬲賱毓賳丕 丕賱亘丨乇 賮賷 賱丨馗丞 睾囟亘
賱賰賳 賷賲賰賳 兀賷囟丕 兀賳 鬲亘鬲賱毓賳丕 丕賱賰賱賲丕鬲
鬲睾賷乇 亘毓囟 丕賱賯氐丕卅丿 丕賱賳賴丕乇 賵丕賱賱賷賱 賵丨賷丕丞 丕賱賲乇亍
賷爻鬲毓賷乇 亘丕乇丿賵乇 賮乇丿賵爻 賲賱鬲賵賳 丕賱賲賮賯賵丿 賲賳 丕賱乇亘丕賳 丕賱兀毓賲賶
亘賯賷 賱賱丨馗丞 氐丕賲鬲丕 賰賲丕 賱賵 兀賳賴 賷鬲賮賰乇 賮賷 丕賱賰賱賲丕鬲
兀鬲乇賶貙 爻賷賯賱亘 賴匕丕 丕賱賰鬲丕亘 丨賷丕鬲賰 乇兀爻丕 毓賱賶 毓賯亘
賵賴匕丕 賱賷爻 卮賷卅丕 爻賷卅丕
賱賲 賷賯賱亘 丨賷丕丞 亘丕乇丿賵乇 賮賯胤
亘賱 兀賳賴丕賴丕
賳爻賷 亘丕乇丿賵乇 賲毓胤賮賴 丕賱賵丕賯賷 賱兀賳 丕賱賰賱賲丕鬲 兀爻賰乇鬲賴
賯鬲賱鬲賴 賯氐賷丿丞
賴匕丕 賲丕 賷賮毓賱賴 丕賱卮毓乇 亘賳丕
賯賵賶 丕賱胤亘賷毓丞 賵丕賱賰賱賲丕鬲 賱丕 賷賲賰賳 丕賱爻賷胤乇丞 毓賱賷賴丕
賷丿賲噩賴賲丕 賰丕賱賲丕賳 爻鬲賮賷賳爻賵賳 賮賷 賲卮賴丿 亘丿賷毓
賷睾乇賯 亘丕乇丿賵乇 亘爻亘亘 丕賱毓丕氐賮丞 賵丕賱卮毓乇 賮賷 丌賳 賲毓丕
丕賱乇丕賵賷 丕賱亘丿賷毓 賮賷 賴匕賴 丕賱孬賱丕孬賷丞 賴賲 丕賱賲賵鬲賶
賴賲 馗賱賲丞 鬲賯乇賷亘丕
丕賱賲賵鬲賶 丕賱毓丕賱賯賵賳 亘賷賳 丕賱噩賳丞 賵丕賱噩丨賷賲
丕賱睾乇賯賶 賮賷 丕賱亘丨乇 丕賱賯胤亘賷 丕賱匕賷賳 亘丿賲賵毓賴賲 氐丕乇 丕賱亘丨乇 賲丕賱丨丕
賷鬲丕亘毓 賴丐賱丕亍 丕賱賲賵鬲賶 丨賷丕丞 丕賱賮鬲賶
氐丿賷賯 卮賴賷丿 丕賱卮毓乇 亘丕乇丿賵乇
賱賰賳 賲丕 鬲乇丕賴 賷賮毓賱 責
亘毓丿 兀賳 兀禺匕 丕賱亘丨乇 噩賲賷毓 兀丨亘丕卅賴
賴丕 賴賵 賵丨賷丿 爻丕卅乇丕 賮賷 丕賱孬賱噩
賷賱鬲賯賷 丕賱孬丕賱賵孬 丕賱丿賳賷賵賷
睾賷乇鬲乇賵丿 賵賴賷賱睾丕 賵賰賵賱亘賷賳
兀丿禺賱 賵兀毓賷丿 丕賱賰鬲丕亘 貙卮賰乇丕 毓賱賶 廿賯乇丕囟賴 賱亘丕乇丿賵乇貙賴匕賴 賳氐賵氐 亘丿賷毓丞 貙賱丕 卮賷亍 丨賱賵 賮賷 賳馗乇賷 亘丿賵賳賰 .兀賵丿鬲 亘丨賷丕丞 兀毓夭 氐丿賷賯 賱賷. 丕賱卮賷亍 丕賱賵丨賷丿 丕賱噩賷丿 丕賱匕賷 丕爻鬲胤毓鬲 丕賱毓孬賵乇 毓賱賷賴 賮賷 賴匕賴 丕賱丨賷丕丞 丕賱賲賱毓賵賳丞. 毓賲賵賲丕 貙卮賰乇丕 毓賱賶 廿賯乇丕囟 丕賱賰鬲丕亘
賴匕丕 賱賷爻 賰鬲丕亘丕 毓丕丿賷丕
卮毓乇 爻賲丕賵賷貙 賵丕賯毓賷丞 爻丨乇賷丞
噩賲丕賱 賱丕 丨丿賵丿 賱賴
賱丕 兀爻兀賲 賲賳 賯氐丞 丕賱賮鬲賶 賵丕賱亘丨乇 賵睾賷丕亘 丕賱賮乇丿賵爻
亘鬲乇噩賲丞 爻賰賷賳丞 廿亘乇丕賴賷賲 丕賱賲亘丿毓丞
廿匕丕 賰賳鬲 鬲賯氐丿 兀丨丿丕孬丕 賵鬲卮賵賷賯丕
賮賴匕賴 丕賱乇賵丕賷丞 丨鬲賲丕 賱賷爻鬲 賱賰
賴丕丿卅丞 賴丿賵亍丕 賯丕鬲賱丕貙 兀丨丿丕孬賴丕 賯賱賷賱丞
賱賰賳 丕賱爻乇丿 卮毓乇賷
丕賱賱睾丞 賲賳 毓丕賱賲 丌禺乇
丕毓鬲丿鬲 毓賱賶 賯乇丕亍丞 賴匕賴 丕賱孬賱丕孬賷丞 賯亘賱 丕賱賳賵賲
賴賵 丕賱賵賯鬲 丕賱賲賳丕爻亘 賮毓賱丕
亘賷賳 丕賱賳賵賲 賵丕賱賷賯馗丞
廿賳賲丕 賱賲丕匕丕 賳乇賵賷 賱賰賲 賴匕賴 丕賱丨賰丕賷丕鬲責
兀賷 賯賵丞 賲乇賵毓丞 睾賷乇 丕賱賷兀爻 丕賱匕賷 賷賯匕賮賳丕 廿賱賶 賲丕 賯亘賱 賲丕賱丕 丕爻賲 賱賴 賰賷 賳乇賵賷 賱賰賲 賯氐氐丕 毓賳 丕賱丨賷丕丞 丕賱賲胤賮兀丞責
賰賱賲丕鬲賳丕 賮乇賷賯 廿賳賯丕匕 賲乇鬲亘賰 賲毓賴 禺乇丕卅胤 賲賱睾丕丞 賵兀賴丕夭賷噩 胤賷賵乇 亘丿賱丕 賲賳 丕賱亘賵氐賱丕鬲.
賲乇鬲亘賰 賵鬲丕卅賴 廿賱賶 兀亘毓丿 丕賱丨丿賵丿
賵毓賱賶 丕賱乇睾賲 賲賳 匕賱賰 賲賴賲鬲賴 廿賳賯丕匕 丕賱毓丕賱賲
廿賳賯丕匕 丕賱兀乇賵丕丨 丕賱賲胤賮兀丞
June 28, 2020
螛伪 危伪蟼 蔚谓胃慰蠀蟽喂维蟽蔚喂路 伪蟺蠈 蔚渭苇谓伪, 蟺维位喂, 蔚委谓伪喂... 螌蠂喂 ! 螒尉喂蠈位慰纬畏 蟺蟻慰蟽蟺维胃蔚喂伪 魏伪蟿伪尾蠀胃喂蟽畏蟼 蟽蟿畏谓 蟽魏苇蠄畏 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蔚谓蠈蟼 慰蠀-蟿蠈蟺慰蠀 蠈蟺蠅蟼 畏 螜蟽位伪谓未委伪, 蔚谓蠈蟼 魏蠈蟽渭慰蠀 蟺伪纬蔚蟻慰蠀 渭蔚 蔚尉委蟽慰蠀 蟺伪纬蔚蟻慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼, 蠈蟺慰蠀 味蠅萎 魏 胃维谓伪蟿慰蟼 - 慰 蟺蟻伪纬渭伪蟿喂魏蠈蟼 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟼 蟿慰蠀 苇蟻纬慰蠀 - 伪谓伪渭蔚蟿蟻蠋谓蟿伪喂 蟽蠀谓苇蠂蔚喂伪.
螤慰喂畏蟿喂魏萎 蟺蔚味慰纬蟻伪蠁委伪 纬蔚渭维蟿畏 蔚魏蠁蟻维蟽蔚喂蟼 位蠀蟻喂魏慰蟿畏蟿伪蟼 魏伪喂 尾伪胃蔚蠅蟼 谓慰萎渭伪蟿慰蟼 魏位蟺 魏伪位慰位慰纬喂魏蠅谓 蟽蟿慰喂蠂蔚委蠅谓 (蟺慰蠀 位苇纬伪渭蔚 魏伪喂 蟽蟿慰 蟽蠂慰位蔚委慰 "渭蔚 位蔚谓 螒蟻蟿苇渭畏" 蟽蟿蠀位), 蟿蟻伪谓萎 伪蟺蠈未蔚喂尉畏 蠈蟿喂 未蔚谓 渭蟺慰蟻蠋 谓伪 蟿伪蠀蟿喂蟽蟿蠋 渭蔚 伪蠀蟿萎 蟿畏谓 谓苇伪 蟺蔚味慰纬蟻伪蠁喂魏萎 位慰纬喂魏萎 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂 魏 蟺蔚蟻喂纬蟻维蠁蔚喂 蟽魏苇蠄蔚喂蟼 魏 蟽魏苇蠄蔚喂蟼 魏伪喂 蟺伪蟻伪胃苇蟿蔚喂 位苇尉蔚喂蟼 魏伪喂 位苇尉蔚喂蟼, 未委魏畏谓 谓慰萎渭伪蟿慰蟼 伪位位维 维谓蔚蠀 慰蠀蟽委伪蟼 蔚蟺委 蟿慰蠀 魏蔚喂渭苇谓慰蠀. 惟蟽蟿蠈蟽慰 未喂伪胃苇蟿蔚喂 渭蔚蟻喂魏苇蟼 蟺慰位蠉 魏伪位苇蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟺蟻慰蟽蠋蟺蠅谓 魏伪喂 蟽魏畏谓苇蟼 维纬蟻喂伪蟼 蠁蠉蟽畏蟼 路 伪位位维 蠅蟼 蔚魏蔚委.
螖蠀蟽蟿蠀蠂蠋蟼 蠈蟿伪谓 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 纬蟻维蠁蔚喂 蠈位蔚蟼 伪蠀蟿苇蟼 蟿喂蟼 位苇尉蔚喂蟼 魏伪喂 位苇尉蔚喂蟼 (蟿慰 委未喂慰 魏维谓蔚喂 魏伪喂 慰 螝慰蟻渭伪谓 螠伪魏螝伪蟻胃蠀) 渭蔚 蟽魏慰蟺蠈 谓伪 未蔚委尉蔚喂 蟿畏谓 尾伪胃蠉蟿畏蟿伪 蟿畏蟼 蟽魏苇蠄畏蟼 蟿蠅谓 畏蟻蠋蠅谓 魏伪喂 蟿畏蟼 蟺慰位蠀蟺位慰魏慰蟿畏蟿伪蟼 蟿畏蟼 味蠅萎蟼, 未委魏畏谓 蟺慰喂畏蟿喂魏萎蟼 伪蟺蔚喂魏蠈谓喂蟽畏蟼, 畏 未喂魏萎 渭慰蠀 蟽魏苇蠄畏 伪蠀蟿蠈渭伪蟿伪 螤螘韦螒螘螜 蟽蔚 蟽慰尾伪蟻维 胃苇渭伪蟿伪 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓萎蟼 (渭慰蠀) 味蠅萎蟼, 伪蟺蔚委蟻蠅蟼 蟺喂慰 蔚谓未喂伪蠁苇蟻慰谓蟿伪, 蠂蔚喂蟻慰蟺喂伪蟽蟿伪 魏伪喂 蟽蠀谓伪蟻蟺伪蟽蟿喂魏维 伪蟺蠈 蟿慰谓 纬蔚渭维蟿慰 位蠀蟻喂蟽渭蠈 魏蠈蟽渭慰 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪, 伪谓伪纬魏维味慰谓蟿伪蟼 渭蔚 谓伪 蔚蟺伪谓苇蟻蠂慰渭伪喂 蟺委蟽蠅 魏伪喂 谓伪 尉伪谓伪未喂伪尾维蟽蠅 蟺喂蔚蟽蟿喂魏维 蟿畏谓 蟽蔚位委未伪, 伪位萎胃蔚喂伪 纬喂伪蟿委;
螣渭慰位慰纬蠋 蠈蟿喂 未蔚谓 未蠉谓伪渭伪喂 蟺位苇慰谓 谓伪 伪谓蟿苇尉蠅 伪蠀蟿萎谓 蟿畏谓... 蟺蔚味慰纬蟻伪蠁委伪, 畏 味蠅萎 蔚委谓伪喂 伪蟺蔚委蟻蠅蟼 蟺喂慰 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 伪蟺蠈 蠈蟽慰 蟺蟻慰蟽蟺伪胃慰蠉谓 谓伪 蟿畏谓 伪蟺蔚喂魏慰谓委蟽慰蠀谓 慰喂 蟽畏渭蔚蟻喂谓慰委 蟺蔚味慰纬蟻维蠁慰喂...
螞蠀蟺维渭伪喂! :-(
螤慰喂畏蟿喂魏萎 蟺蔚味慰纬蟻伪蠁委伪 纬蔚渭维蟿畏 蔚魏蠁蟻维蟽蔚喂蟼 位蠀蟻喂魏慰蟿畏蟿伪蟼 魏伪喂 尾伪胃蔚蠅蟼 谓慰萎渭伪蟿慰蟼 魏位蟺 魏伪位慰位慰纬喂魏蠅谓 蟽蟿慰喂蠂蔚委蠅谓 (蟺慰蠀 位苇纬伪渭蔚 魏伪喂 蟽蟿慰 蟽蠂慰位蔚委慰 "渭蔚 位蔚谓 螒蟻蟿苇渭畏" 蟽蟿蠀位), 蟿蟻伪谓萎 伪蟺蠈未蔚喂尉畏 蠈蟿喂 未蔚谓 渭蟺慰蟻蠋 谓伪 蟿伪蠀蟿喂蟽蟿蠋 渭蔚 伪蠀蟿萎 蟿畏谓 谓苇伪 蟺蔚味慰纬蟻伪蠁喂魏萎 位慰纬喂魏萎 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂 魏 蟺蔚蟻喂纬蟻维蠁蔚喂 蟽魏苇蠄蔚喂蟼 魏 蟽魏苇蠄蔚喂蟼 魏伪喂 蟺伪蟻伪胃苇蟿蔚喂 位苇尉蔚喂蟼 魏伪喂 位苇尉蔚喂蟼, 未委魏畏谓 谓慰萎渭伪蟿慰蟼 伪位位维 维谓蔚蠀 慰蠀蟽委伪蟼 蔚蟺委 蟿慰蠀 魏蔚喂渭苇谓慰蠀. 惟蟽蟿蠈蟽慰 未喂伪胃苇蟿蔚喂 渭蔚蟻喂魏苇蟼 蟺慰位蠉 魏伪位苇蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟺蟻慰蟽蠋蟺蠅谓 魏伪喂 蟽魏畏谓苇蟼 维纬蟻喂伪蟼 蠁蠉蟽畏蟼 路 伪位位维 蠅蟼 蔚魏蔚委.
螖蠀蟽蟿蠀蠂蠋蟼 蠈蟿伪谓 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 纬蟻维蠁蔚喂 蠈位蔚蟼 伪蠀蟿苇蟼 蟿喂蟼 位苇尉蔚喂蟼 魏伪喂 位苇尉蔚喂蟼 (蟿慰 委未喂慰 魏维谓蔚喂 魏伪喂 慰 螝慰蟻渭伪谓 螠伪魏螝伪蟻胃蠀) 渭蔚 蟽魏慰蟺蠈 谓伪 未蔚委尉蔚喂 蟿畏谓 尾伪胃蠉蟿畏蟿伪 蟿畏蟼 蟽魏苇蠄畏蟼 蟿蠅谓 畏蟻蠋蠅谓 魏伪喂 蟿畏蟼 蟺慰位蠀蟺位慰魏慰蟿畏蟿伪蟼 蟿畏蟼 味蠅萎蟼, 未委魏畏谓 蟺慰喂畏蟿喂魏萎蟼 伪蟺蔚喂魏蠈谓喂蟽畏蟼, 畏 未喂魏萎 渭慰蠀 蟽魏苇蠄畏 伪蠀蟿蠈渭伪蟿伪 螤螘韦螒螘螜 蟽蔚 蟽慰尾伪蟻维 胃苇渭伪蟿伪 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓萎蟼 (渭慰蠀) 味蠅萎蟼, 伪蟺蔚委蟻蠅蟼 蟺喂慰 蔚谓未喂伪蠁苇蟻慰谓蟿伪, 蠂蔚喂蟻慰蟺喂伪蟽蟿伪 魏伪喂 蟽蠀谓伪蟻蟺伪蟽蟿喂魏维 伪蟺蠈 蟿慰谓 纬蔚渭维蟿慰 位蠀蟻喂蟽渭蠈 魏蠈蟽渭慰 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪, 伪谓伪纬魏维味慰谓蟿伪蟼 渭蔚 谓伪 蔚蟺伪谓苇蟻蠂慰渭伪喂 蟺委蟽蠅 魏伪喂 谓伪 尉伪谓伪未喂伪尾维蟽蠅 蟺喂蔚蟽蟿喂魏维 蟿畏谓 蟽蔚位委未伪, 伪位萎胃蔚喂伪 纬喂伪蟿委;
螣渭慰位慰纬蠋 蠈蟿喂 未蔚谓 未蠉谓伪渭伪喂 蟺位苇慰谓 谓伪 伪谓蟿苇尉蠅 伪蠀蟿萎谓 蟿畏谓... 蟺蔚味慰纬蟻伪蠁委伪, 畏 味蠅萎 蔚委谓伪喂 伪蟺蔚委蟻蠅蟼 蟺喂慰 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 伪蟺蠈 蠈蟽慰 蟺蟻慰蟽蟺伪胃慰蠉谓 谓伪 蟿畏谓 伪蟺蔚喂魏慰谓委蟽慰蠀谓 慰喂 蟽畏渭蔚蟻喂谓慰委 蟺蔚味慰纬蟻维蠁慰喂...
螞蠀蟺维渭伪喂! :-(
November 6, 2020
Que hermosa novela! Fue una lectura que disfrute much铆simo por lo po茅tica y cautivadora de su prosa y porque tiene un poder visual tremendo.
Los hechos se desarrollan a fines del siglo XIX, cerca de los fiordos de Islandia, en un poblado que vive de la pesca del bacalao, donde los hombres se levantan a la madrugada y reman 4 horas soportando tormentas, nevadas y olas enormes solo para adentrarse en el mar abierto a fin de capturar y llenar las barcas del preciado bacalao y volver a tierra firme intentando no congelarse y morir en el camino.
Una historia muy sencilla, para nada extensa, que habla de p茅rdidas, de la fragilidad de la vida, de caer y levantarse una y otra vez y resistir los embates de la vida.
Es una novela super recomendable, a la que solo le criticar铆a el abuso en la cantidad de nombres propios que hay y que son tan similares que pueden llegar a confundir, pero es una gran novela para leer con mucha serenidad y disfrutar de su impecable prosa.
Los hechos se desarrollan a fines del siglo XIX, cerca de los fiordos de Islandia, en un poblado que vive de la pesca del bacalao, donde los hombres se levantan a la madrugada y reman 4 horas soportando tormentas, nevadas y olas enormes solo para adentrarse en el mar abierto a fin de capturar y llenar las barcas del preciado bacalao y volver a tierra firme intentando no congelarse y morir en el camino.
Una historia muy sencilla, para nada extensa, que habla de p茅rdidas, de la fragilidad de la vida, de caer y levantarse una y otra vez y resistir los embates de la vida.
Es una novela super recomendable, a la que solo le criticar铆a el abuso en la cantidad de nombres propios que hay y que son tan similares que pueden llegar a confundir, pero es una gran novela para leer con mucha serenidad y disfrutar de su impecable prosa.
February 12, 2017
Reykjavik Sculpture Solfar Viking Ship Iceland - Escultura de Jon Gunnar Arnason
鈥淧ara铆so e Inferno鈥� do escritor island锚s J贸n Kalman Stef谩nsson (n. 1963) 茅 a primeira obra e o primeiro livro de uma trilogia, sendo que o segundo livro 鈥淎 Tristeza dos Anjos鈥� foi recentemente editado em Portugal pela editora Cavalo de Ferro.
Na an谩lise de 鈥淧ara铆so e Inferno鈥� existe uma quest茫o determinante: Devemos fazer uma an谩lise factual da hist贸ria e dos acontecimentos nela descritos? Ou devemos procurar fazer uma an谩lise aleg贸rica dos factos - como num sonho - numa representa莽茫o suscept铆vel de m煤ltiplas apar锚ncias ou interpreta莽玫es? Ou no conjunto das duas anteriores interroga莽玫es?
Na crueza do enredo os factos s茫o t茫o dram谩ticos, que poderiam ser reduzidos a uma p谩gina, em vez das cento e setenta e cinco do romance. Poup谩vamos no sofrimento e no dramatismo da hist贸ria e por consequ锚ncia nas atrocidades da vida.
Mas a mestria de 鈥淧ara铆so e Inferno鈥� reside precisamente no enquadramento real de uma paisagem in贸spita e de um mar revoltoso e cruel com personagens que se tentam libertar da escurid茫o do mundo, da trai莽茫o, da cobardia, da crueldade numa luta desesperada pela sobreviv锚ncia f铆sica e mental.
A hist贸ria do 鈥渞apaz鈥�, do B谩rdur e dos pescadores revela uma vida feita de sil锚ncios aterradores, da solid茫o do mar, da escurid茫o das noites, que vasculham nas profundezas da alma humana num misticismo religioso doentio.
A viagem que o 鈥渞apaz鈥� empreende de volta 脿 aldeia, libertado das inclem锚ncias mar铆timas, 茅 igualmente dolorosa, repleta de sentimentos e de emo莽玫es contradit贸rias.
O t铆tulo do livro 鈥淧ara铆so e Inferno鈥� 茅 paradigm谩tico, revelando um romance extraordinariamente comovente, com uma escrita po茅tica, magistral e com uma simplicidade que nos arrepia.
鈥淧ara铆so e Inferno鈥� 茅 um livro de estado de esp铆rito...
Como num sonho, a luz do dia liberta-nos dos nossos fantasmas鈥�
January 27, 2020
賮賷 丕賱丿賵賱 丕賱賳賵乇丿賷賴貙 賵禺丕氐賴 賮賷 兀賷爻賱賳丿丕貙 賷賰賵賳 丕賱卮鬲丕亍 亘丕乇丿丕 噩丿丕貙 賵賷鬲爻乇亘 丕賱氐賯賷毓 丕賱賶 賯賱賵亘 丕賱亘卮乇 賯亘賱 兀噩爻丕丿賴賲 !
賳毓賲 !
賰賱 卮賷 賮賷 匕賱賰 丕賱噩夭亍 賲賳 丕賱毓丕賱賲 賷賰賵賳 亘丕乇丿.
賮 丕賱噩亘賱 亘丕乇丿
賵丕賱亘丨乇 亘丕乇丿
賵丕賱賲丨賷胤 亘丕乇丿
賵丕賱賯丕乇亘 亘丕乇丿
賵丨丿賴 卮賵賯 丕賱氐賷丕丿賷賳 丿丕賮卅 匕賵 兀丿禺賳賴.
賮賲賳 賲賳賰賲 賷乇睾亘 丕賳 賷毓賷卮 丕賱鬲噩乇亘賴 責!
賲賳 賲賳賰賲 賷乇賷丿 丕賳 賷毓賷卮 鬲賮丕氐賷賱 匕賱賰 丕賱卮鬲丕亍 丕賱禺囟賱 責!
賲賳 賱丿賷賴 丕賱賳賷賴 賮賷 爻賲丕毓 氐賵鬲 丕賱賲丨賷胤 丕賱賴丕丿乇 責!
賲賳 賱丿賷賴 丕賱乇睾亘賴 賮賷 丕賳 賷賱賲爻 匕賱賰 丕賱鬲賲夭賯 丕賱噩賱賷丿賷
賵丕賰鬲爻丕丨 丕賱亘丨乇 丕賱睾丕丿乇 責!
賱 兀丐賱卅賰 丕賱匕賷賳 賷乇賷丿賵賳 禺賵囟 丕賱鬲噩乇亘賴 賵賱賰賳 鬲氐丿賴賲 賵毓賵乇賴 馗乇賵賮賴賲 ...
賱 兀賵賱卅賰 丕賱匕賷賳 賷乇賷丿賵賳 禺賵囟 丕賱鬲噩乇亘賴 賵賱賰賳 鬲賲賳毓賴賲 兀卮賷丕亍 丕賰亘乇 賲賳 胤丕賯賴 丕賱亘卮乇 亘賴賲 ...
賴匕丕 丕賱毓賲賱 賰購鬲亘 兀賱賷賰賲 .... 賮 兀賲丕賳賴 毓賱賷賰賲 丕睾鬲賳賲賵丕 賮乇氐賴 丕賱毓賲乇 賵賲乇賵 毓賱賶 賴匕丕 丕賱賰鬲丕亘 丕賱兀爻乇.
兀賱賷賰賲 乇賵丕賷賴 鬲賮賵賯 丕賱禺賷丕賱 貙 賵賲孬賱 卮賵丕胤卅 兀賷爻賱賳丿丕 ... 賵丕爻毓賴 賵賲賱賷卅丞 亘 丕賱丨賷丕賴 賵賱賰賳賴丕 丕賷囟丕 賲賱賷卅丞 亘 丕賱賲賵鬲 貙 賲賵鬲 毓賲賷賯 亘毓賲賯 丕賱賲丨賷胤 丕賱匕賷 賷丨賷胤 兀賷爻賱賳丿丕 貙 乇賵丕賷賴 賰鬲亘鬲 賱 兀噩賱丕賱 丕賱孬丕亘鬲賷賳 賵賵賱丕亍賴賲 賱 丕賱毓賷卮 ... 賵賲賯丕賵賲鬲賴賲 賱匕賱賰 丕賱賯亘乇 丕賱賲丕卅賷 丕賱賲爻賲賶 亘 丕賱賲丨賷胤.
丕賱丨亘賰賴 亘爻賷胤丞 噩丿丕貙 賱賰賳賴丕 毓賲賷賯丞 賮賷 兀亘爻胤 丨丕賱丕鬲賴丕 貙 賮賴賷 鬲丿賵乇 丨賵賱 氐亘賷 亘爻賳 賲亘賰乇 氐亘賷 賱賲 賷匕賰乇 丕爻賲賴 賮賷 丕賱乇賵丕賷賴貙 賱賰賳賷 爻兀丨賲賱 匕賰乇丕賴 賲毓賷 賱 毓賲乇 亘兀賰賲賱賴 貙 氐亘賷 賯丕爻卅 丕賱賲毓丕賳丕賴 貙 賵丕賱賲卮賯丞 貙 賵丕賱禺爻丕乇丞 貙 賵賲毓 匕賱賰 賷噩丿 賱賳賮爻賴 胤乇賯 賱 丕賱賵氐賵賱 丕賱賶 丨丕賱賴 賲賳 丕賱賲賱丕匕 丕賱鬲毓賵賷囟賷 亘賵賯鬲 賱丕丨賯.
賷賮鬲鬲丨 丕賱賰丕鬲亘 丕賱乇賵丕賷賴 亘毓亘丕乇丞 "賳丨賳 卮亘賴 丕賱馗賱丕賲"貙 毓亘丕乇賴 鬲賳亘卅 毓賳 丕賱賲兀爻丕丞 丕賱鬲賷 爻鬲賳夭賱 毓賱賶 賯丕乇亘 賲賳 丕賱乇噩丕賱 丕賱匕賷賳 賰丕賳賵 賯丿 兀亘丨乇賵 賳毓卮 賲賮鬲賵丨 亘丨孬丕 毓賳 爻賲賰 丕賱賯丿 貙 兀亘丨乇賵丕 賮賷 賱賷賱丞 賮丕鬲乇丞 賲賳 賲賵爻賲 賯丕爻賷貙 賵亘賷賳 賴丐賱丕亍 丕賱氐賷丕丿賷賳 賴賵 丕賱氐亘賷 亘胤賱 賯氐鬲賳丕 賵氐丿賷賯賴 亘丕乇賵乇 貙 亘丕乇賵乇 賵丕賱匕賷 亘爻亘亘 賵賱毓賴 亘 賰鬲丕亘 卮毓乇賷 賷賳爻賷 賲毓胤賮賴 丕賱賲囟丕丿 賱賱賲丕亍 賵賷鬲爻亘亘 賱丕丨賯丕 賳爻賷丕賳賴 鬲噩賲丿賴 丨鬲賶 丕賱賲賵鬲貙 賲賵鬲 兀禺乇 賷賰丕亘丿 丨賷丕賴 丕賱賮鬲賶 賵賷爻賱亘 卮禺氐丕 丕禺乇 賲賳 賯丕卅賲賴 兀丨亘丕亘賴貙 賳毓賲 賮亘丕賱賳爻亘丞 賱賱賮鬲賶 貙 鬲兀鬲賷 賴匕賴 丕賱禺爻丕乇丞 亘毓丿 兀毓賯丕亘 賲賳 禺爻丕卅乇 賲鬲賵丕鬲乇丞 賮賷 毓丕卅賱鬲賴貙 賲賵鬲 丕禺乇 賷禺賱賮 丕賱賮鬲賶 亘爻丐丕賱 毓賲賷賯 賷胤乇丨賴 毓賱賶 賳賮爻賴 賵賷鬲爻丕亍賱 亘丨乇賯賴 "廿賱賶 兀賷 賲丿賶 賷賲賰賳 兀賳 賷鬲丨賲賱 賯賱亘 丕賱廿賳爻丕賳責"
丨賳賯 丕賱氐亘賷 毓賱賶 賲賵鬲 氐丿賷賯賴 賷丿賮毓賴 毓賱賶 賰乇賴 丕賱賰鬲丕亘 丕賱匕賷 鬲爻亘亘 亘賲賵鬲 氐丿賷賯賴貙 毓賱賶 賰乇賴 丕賱亘丨乇 丕賱匕賷 噩賲丿 噩爻丿賴 貙 賱賰賳 亘 丕賱丨賳賯 匕丕鬲賴 賷賯乇乇 丕賳 賷丨丕乇亘 毓賵丕氐賮 卮鬲丕卅賷賴 亘兀賰賲賱賴丕 丨鬲賶 賷毓賷丿 丕賱賰鬲丕亘 賱 氐丕丨亘賴 丕賱匕賷 丕爻鬲毓丕乇賴 亘丕乇賵乇 賲賳賴 丨鬲賶 賷禺亘乇賴 毓賳 卮丐賲賴 賵賳丨爻賴.
鬲亘丿丕亍 乇丨賱賴 丕賱氐亘賷 賵賲毓賴丕 鬲亘丿丕亍 乇丨賱賴 賮賱爻賮賷賴 賷氐亘睾 毓賱賷賴丕 胤丕亘毓 丕賱賲丿 賵丕賱噩夭乇 貙 賮賮賷 賯乇賷賴 噩丿賷丿賴 賵毓丕賱賲 噩丿賷丿 鬲賲爻賷 丕丨丿丕孬 丕賱乇賵丕賷賴 丕爻鬲胤乇丕丿賷賴 賵鬲氐亘丨 丕賱卮禺氐賷丕鬲 胤乇賮賷賴 賵鬲禺鬲賱賮 毓賳 丕亘胤丕賱 丕賱噩夭亍 丕賱乇卅賷爻賷 賲賳賴丕貙 賵賷禺賵囟 丕賱氐亘賷 丨賷丕賴 噩丿賷丿賴 丕爻鬲胤丕毓 丕賱賰丕鬲亘 毓亘乇賴丕 丕賳 賷乇爻賱 賱賳丕 乇爻丕卅賱 賮賱爻賮賷賴 毓賲賷賯賴 賲乇賲賷賴 賮賷 賰賱 鬲噩乇亘賴 丕賵 賮乇丿 賷賲乇 賮賷 丨賷丕賴 丕賱氐亘賷.
丕賱噩賲丕賱 丕賱禺賷丕賱賷 賱亘賷卅丞 丕賱賯胤亘 丕賱卮賲丕賱賷 賲賵噩賵丿 賵亘賯賵賴 亘賷賳 氐賮丨丕鬲 賴匕丕 丕賱賰鬲丕亘貙 賱賰賳 賲丕 賷噩毓賱 賴匕賴 丕賱乇賵丕賷賴 丕噩賲賱 亘賰孬賷乇 賴賷 丕賱鬲卮亘賷賴丕鬲貙 賵丕賱丕爻鬲毓丕乇丕鬲貙 賵丕賱氐賵乇 貙 賵丕賱兀賲孬丕賱 貙 丕賱兀賲孬丕賱 丕賱鬲賷 賰鬲亘賴丕 噩賵丕賳 賰兀賱賲丕賳 亘 兀爻賱賵亘 睾賳丕卅賷 禺氐亘 賵賱丨賳 賮乇賷丿 賵兀賳賷賯貙 賮賷 賰孬賷乇 賲賳 丕賱兀丨賷丕賳 賰丕賳鬲 丕賱噩賲賱 鬲賲賷賱 丕賱賶 丕賳 鬲賰賵賳 胤賵賷賱賴 賵賲鬲卮丕亘賰丞 賲毓丕 亘賮賵丕氐賱 睾賷乇 賲賮賴賵賲賴 賵賲毓 匕賱賰 賰丕賳 丕賱賲毓賳賶 賵丕囟丨丕 賵賰兀賳 丕賱爻胤賵乇 鬲睾賳賷 賴匕丕 丕賱賲卮賴丿 丕賱丕賷爻賱賳丿賷 賰 賯氐賷丿賴 賳孬乇 鬲鬲亘毓 丕賱賯丕賮賷賴.
賴匕丕 賰鬲丕亘 賮賷賴 丕賱賰賱賲丕鬲 賲賴賲賴貙 鬲氐賱 兀賱賷賰 丕賱賰賱賲丕鬲 賵賰兀賳賴丕 亘賱爻賲 賲賴丿賶 毓賳丿賲丕 鬲賮卮賱 兀匕乇毓 丕賱兀丨賷丕亍 賮賷 鬲禺賮賷賮 兀賱賲賰貙賴匕丕 賴賵 丕賱兀丿亘 兀賷賴丕 丕賱賯丕乇卅 貙 賷乇爻賱 兀賱賷賰 丕賱兀丿亘 丕賱賰賱賲丕鬲 賲孬賱 賮乇賷賯 兀賳賯丕匕 毓賳丿賲丕 鬲賰賵賳 丕賱兀賷丕賲 毓氐賷亘賴 毓賱賷賰.
兀丿賳丕賴 賮乇賯 廿賳賯丕匕 賲禺鬲賱賮賴 禺胤賴丕 賱賳丕 賰丕賱賲丕賳 亘胤乇賷賯賴 卮丕毓乇賷賴 賱匕賷匕賴貙 賮賷 丕賱丕賯鬲亘丕爻丕鬲 爻鬲賱丕丨馗 丕賳 丕賱賱睾賴 亘匕丕鬲賴丕 賴賷 丕賳毓賰丕爻 丕賱噩丨賷賲 丕賱匕賷 兀購禺購匕 賲賳賴 丕賱噩夭亍 丕賱孬丕賳賷 賱 丕爻賲 丕賱賰鬲丕亘貙 兀賲丕 丕賱噩賳賴 賮賵噩賵丿賴丕 亘 丕賱賱睾賴 匕丕鬲賴丕 ... 丕賷 賲丕 丕賯氐丿賴 賴賳丕 丕賳 賱睾賴 丕賱乇賵丕賷賴 賴賷 丕賱噩賳賴 賵丕丨丿丕孬 丕賱乇賵丕賷賴 賴賷 丕賱噩丨賷賲.
"賯丿 賱丕 賳丨鬲丕噩 廿賱賶 丕賱賰賱賲丕鬲 賲賳 兀噩賱 丕賱亘賯丕亍貙 賲賳 賳丕丨賷丞 兀禺乇賶 貙 賳丨賳 亘丨丕噩丞 兀賱賷賴丕 賱賱毓賷卮 ".
"賷賲賰賳 賱亘毓囟 丕賱賰賱賲丕鬲 兀賳 鬲睾賷乇 丕賱毓丕賱賲 貙 賵賷賲賰賳 兀賳 鬲乇賷丨賳丕 賵鬲噩賮 丿賲賵毓賳丕. 亘毓囟 丕賱賰賱賲丕鬲 毓亘丕乇丞 毓賳 胤賱賯丕鬲 貙 賵丕賱亘毓囟 丕賱丌禺乇 毓亘丕乇丞 毓賳 賰賲丕賳. 賷賲賰賳 賱亘毓囟賴丕 兀賳 賷匕賵亘 丕賱噩賱賷丿 丨賵賱 賯賱亘 丕賱賲乇亍 貙 賵丨鬲賶 兀賳賴 賲賳 丕賱賲賲賰賳 廿乇爻丕賱 賰賱賲丕鬲 賲孬賱 賮乇賯 丕賱廿賳賯丕匕 毓賳丿賲丕 鬲賰賵賳 丕賱兀賷丕賲 氐毓亘丞 賵賯丿 賱丕 賳毓賷卮 賵賱丕 賳賲賵鬲 ".
"丕賯鬲丨丕賲 賲賲賱賰丞 丕賱賲賵鬲 賲爻賱丨 亘丕賱賰賱賲丕鬲. 賷賲賰賳 兀賳 賷賰賵賳 賱賱賰賱賲丕鬲 賯賵丞 丕賱毓賲丕賱賯丞 賵賷賲賰賳賴丕 賯鬲賱 丕賱廿賱賴 貙 賵賷賲賰賳賴丕 廿賳賯丕匕 丕賱兀乇賵丕丨 賵鬲丿賲賷乇賴丕貙 丕賱賰賱賲丕鬲 賴賷 丕賱爻賴丕賲 貙 賵丕賱乇氐丕氐 貙 賵丕賱胤賷賵乇 丕賱兀爻胤賵乇賷丞 丕賱鬲賷 鬲胤丕乇丿 丕賱丌賱賴丞 ... 廿賳賴丕 卮亘丕賰 賵丕爻毓丞 亘賲丕 賷賰賮賷 賱丕丨鬲噩丕夭 丕賱毓丕賱賲 賵丕賱爻賲丕亍 兀賷囟賸丕 貙 賵賱賰賳 賮賷 亘毓囟 丕賱兀丨賷丕賳 鬲賰賵賳 丕賱賰賱賲丕鬲 賱丕 卮賷亍 貙 丕賱孬賷丕亘 丕賱賲賲夭賯丞 丕賱鬲賷 賷禺鬲乇賯賴丕 丕賱氐賯賷毓 貙 賲毓乇賰丞 噩乇賷卅丞 賷賮乇丨 亘賴丕 丕賱賲賵鬲 亘禺賮丞. 賱賰賳 丕賱賰賱賲丕鬲 賴賷 丕賱卮賷亍 丕賱賵丨賷丿 丕賱匕賷 賷賲鬲賱賰賴 賴匕丕 丕賱氐亘賷 ".
"賱丕 賷賵噩丿 卮賷亍 丨賱賵 賱賷 貙 亘丿賵賳賰".
"兀賳丕 賱丕 兀毓乇賮 賲賳 兀賳丕貙 賱丕 兀毓乇賮 賱賲丕匕丕 兀賳丕貙
賵賱爻鬲 賲鬲兀賰丿賸丕 鬲賲丕賲賸丕 賲賳 兀賳賷 爻賵賮 兀賵購賲賳丨 丕賱賵賯鬲 賱 丕賰鬲卮丕賮 匕賱賰 ".
"丕賱亘丨乇 賴賵 賳亘毓 丕賱丨賷丕丞 貙 賵賱賰賳 丕賷囟丕 賮賷 毓賲賯賴 賷爻賰賳 廿賷賯丕毓 丕賱賲賵鬲".
"賰賱賲丕 夭丕丿 丕賱囟賵亍 貙 夭丕丿 丕賱馗賱丕賲". 賵 "囟賵亍 丕賱賯賲乇 ... 賷噩毓賱 丕賱馗賱 兀睾賲賯 貙 賵 丕賱毓丕賱賲 兀賰孬乇 睾賲賵囟賸丕."
"匕賴亘 丕賱毓丕賱賲 丕賱賶 爻丨丕亘丞 爻賵丿丕亍 賰孬賷賮丞 丨賷孬 賷賳亘睾賷 賷賯亘毓 丕賱兀賮賯貙 賮 丕賱毓丕氐賮丞 鬲賯鬲乇亘 ".
"兀賵賱卅賰 丕賱匕賷賳 賷毓賷卮賵賳 賮賷 賴匕丕 丕賱賵丕丿賷 賱丕 賷乇賵賳 爻賵賶 賯胤毓丞 賲賳 丕賱爻賲丕亍. 兀賮賯賴賲 賴賵 丕賱噩亘丕賱 賵丕賱兀丨賱丕賲 ".
"丕賱噩丨賷賲 賱丿賷賴 兀爻賱丨丞 賱賰賳 賱丕 兀丨丿 賷毓鬲賳賯賴丕."
"丕賱噩丨賷賲 賱丕 賷毓乇賮 賲丕 廿匕丕 賰賳丕 兀丨賷丕亍 兀賲 賲賷鬲賷賳".
"丕賱噩丨賷賲 賴賵 兀賳 鬲賰賵賳 賲賷鬲丕賸 賵兀賳 鬲丿乇賰 兀賳賰 賱賲 鬲賴鬲賲 亘丕賱丨賷丕丞 亘賷賳賲丕 賰丕賳鬲 賱丿賷賰 丕賱賮乇氐丞".
"丕賱噩丨賷賲 賲賰鬲亘丞 賵兀賳鬲 兀毓賲賶."
"丕賱噩丨賷賲 賴賵 兀賷囟丕 馗賱賲 貙 丨賷孬 鬲兀鬲賷 丕賱睾乇亘丕賳 貙 賵鬲賰賵賳 賲禺賲賵乇丕 賱賱睾丕賷丞 賱鬲鬲匕賰乇 丕爻賲 夭賵噩鬲賰"
"賱丕 兀丨丿 賷爻賱亘 丕賱匕賰乇賷丕鬲 丕賱賲卮乇賯丞 丕賱噩賷丿丞 賲賳 乇噩賱 貙賱賰賳 丕賱匕賰乇賷丕鬲 丕賱爻賷卅丞 賱丕 鬲禺鬲賮賷 兀賷囟賸丕 貙 廿賳賴丕 鬲夭丿丕丿 廿氐乇丕乇賸丕 毓賱賶 丕賱亘賯丕亍 毓賱賶 賲乇 丕賱爻賳賷賳"
"鬲噩賱爻 丕賱賲乇兀賴 亘賱丕 丨乇丕賰 貙 鬲丨丿賯 賰賲丕 賱賵 兀賳賴丕 賰丕賳鬲 鬲賳鬲馗乇 卮禺氐賸丕 賯丿 匕賴亘 亘毓賷丿賸丕 賱丿乇噩丞 兀賳賴 乇亘賲丕 賱賳 賷賰賵賳 賱丿賷賴 賲丕 賷賰賮賷 賲賳 丕賱賵賯鬲 賱賱毓賵丿丞 賮賷 賴匕賴 丕賱丨賷丕丞"
鈥溬佖з勝冑勝呚ж� 賴賷 兀賰孬乇 乇賮賯丕卅賴 丕賱氐丕丿賯賴 貙 賱賰賳賴丕 丿丕卅賲丕 賲丕 毓丿賷賲丞 丕賱賮丕卅丿丞 丕匕丕 賲丕 賵囟毓鬲 鬲丨鬲 丕賱丕禺鬲亘丕乇鈥�
鈥溬� 丕賱氐賲鬲 亘毓丿 爻乇丿 胤賵賷賱 賷卮賷乇 丕賱賶 丕匕丕 賲丕 賰丕賳 賲賴賲 丕賳 丕賳賴 爻乇丿 賱 毓丿賲貙 賷卮賷乇 廿賱賶 賲丕 廿匕丕 賰丕賳 丕賱爻乇丿 賯丿 丿禺賱 賵賱賲爻 卮賷卅賸丕 丕賲 丕賳賴 丕禺鬲氐乇 丕賱爻丕毓丕鬲 賱丕 丕賰孬乇 賵賱丕 丕賯賱鈥�
鈥溬娯� 兀賳 鬲毓丕賲賱 丕賱毓賷賵賳 亘毓賳丕賷丞 貙 賵賷噩亘 兀賳 賳賮賰乇 賮賷 丕賱賲賰丕賳 丕賱匕賷 賳賳馗乇 丕賱賷賴 賵賲鬲賶. 丨賷丕鬲賳丕 賰賱賴丕 鬲胤賮賵 賲賳 兀毓賷賳賳丕 貙 賷賲賰賳賴丕 兀賳 鬲賰卮賮 兀爻乇丕乇賳丕 貙 賷賲賰賳賴丕 兀賳 鬲賳賯匕賰 丕賵 鬲丿賲乇賰鈥�
鈥溬囏柏� 賰賱 賲丕 賷乇賯賶 廿賱賷賴 丕賱乇噩賱 貙 毓賳丿賲丕 賷鬲毓賱賯 丕賱兀賲乇 亘 丕賱賵丕賯毓 貙 賮廿賳賴 賷賳賰爻乇 賲孬賱 賯胤毓丞 賲賳 丕賱禺卮亘 丕賱賮丕爻丿鈥�
鈥溬勝冑� 丕賱馗賱丕賲 馗賱 孬丕亘鬲賸丕 兀賲丕賲賴貙 賱賲 賷鬲乇賰賴 貙 賮賯丿 丕爻鬲賵賱賶 毓賱賷賴 賵丨丕氐乇賴 貙 賵賷乇賮馗 兀賳 賷賮乇噩 毓賳 賯亘囟鬲賴 兀亘丿賸丕鈥�
鈥溬� 丕賱卮毓乇 賵丕賱亘丨乇 貙 賮 丕賱卮毓乇 賷卮亘賴 丕賱亘丨乇 賵丕賱亘丨乇 賲馗賱賲 賵毓賲賷賯 貙 賵賱賰賳賴 兀賷囟丕 兀夭乇賯 賵乇丕卅毓 亘噩賲丕賱鈥�
鈥溫� 鬲賵賯賮貙 賲匕毓賵乇丕 貙 賵禺丕卅賮賸丕 鬲賯乇賷亘賸丕 貙 睾丕囟亘賸丕貙睾丕囟亘丕 毓賱賶 鬲賲夭賷賯 賯賱亘賴 亘賱丕 鬲乇丿丿 賵毓乇囟賴 毓賱賶 丕賲乇兀丞 睾賷乇 賱丕 賷毓乇賮賴丕鈥�
鈥溫� 丕賲爻卅 乇兀爻賴 賮丕乇睾丕
賰 丕賱賲亘丕賳賷 丕賱賮丕乇睾丞 丕賱鬲賷 賴噩乇鬲 亘爻乇毓賴
賰丕賳 賷丨丿賯 賮賷 賱丕 卮賷亍 賵丕賱丿賲 賷丿賵乇 賮賷 丨乇賵噩 兀匕賳賷賴 賲孬賱 賳賮禺丞 丕賱兀賲賵丕噩 丕賱亘毓賷丿賴"
"丕賱廿賳爻丕賳 賲禺賱賵賯 睾乇賷亘貙 賵賯丿 丕爻鬲睾賱 賯賵賶 丕賱胤亘賷毓丞 貙 賵睾夭丕 丕賱氐毓賵亘丕鬲 丕賱鬲賷 鬲亘丿賵 睾賷乇 賯丕亘賱丞 賱賱鬲睾賱亘 毓賱賷賴丕 貙 賮賴賵 乇亘 丕賱兀乇囟 貙 賱賰賳賴 賲毓 匕賱賰 賱丕 賷賲賱賰 廿賱丕 丕賱賯賱賷賱 賲賳 丕賱鬲丨賰賲 賮賷 兀賮賰丕乇賴"
"賲毓 丕賳 丕賱匕賰乇賷丕鬲 孬賲賷賳丞 賮賴賷 賱丕 鬲胤賮賵 亘賳丕 毓賱賶 丕賱亘丨乇 貙 兀賳賴丕 賱丕 鬲賳賯匕賳丕 賲賳 丕賱睾乇賯"
"賮賷 丕賳鬲馗丕乇 丕賱賱賴 兀賳 賷爻丨亘賴賲 貙 丕賳 賷氐胤丕丿賴賲 亘卮亘賰賴 賳噩賵賲賴 貙 丕賳 賷噩賮賮賴賲 賲毓 亘 丕賱丿丕賮卅丞 貙 賵賷爻賲丨 賱賴賲 亘丕賱爻賷乇 亘 兀賯丿丕賲 噩丕賮丞 賮賷 丕賱爻賲丕亍"
賷賲賰賳賳賳賷 丕賱賯賵賱賸 丕賳 賴匕丕 賴賵 賰鬲丕亘 丕賱丕賯鬲亘丕爻丕鬲貙 賳毓賲 貙 賷賲賰賳賰 丕賳 鬲賮鬲丨 丕賷 氐賮丨賴 亘卮賰賱 毓卮賵丕卅賷 賮賷 丕賱賰鬲丕亘 賵鬲噩丿 亘賴丕 丕賰孬乇 賲賳 丕賯鬲亘丕爻 卮毓乇賷 賲匕賴賱 賷噩亘乇賰 毓賱賶 賯乇丕卅鬲賴 賲乇賴 亘毓丿 賲乇賴 貙 爻鬲賷賮丕賳爻賵賳 賴賵 兀賵賱 賰丕鬲亘 兀賷爻賱賳丿賷 兀賯乇丕亍 賱賴 賵丕賳丕 賲賲鬲賳 賱賱睾丕賷賴 賱兀賳賳賷 鬲毓乇賮鬲 毓賱賷賴 貙 賴匕丕 丕賱賰鬲丕亘 賴賵 丕賱噩夭亍 丕賱兀賵賱 賲賳 孬賱丕孬賷賴 賵賱匕賱賰 丕賳丕 爻毓賷丿丕 噩丿丕 兀賳賷 賮賷 乇丨賱賴 賯丕丿賲賴 賲毓 丕賱丿賴卮丞 賵丕賱丕賳亘賴丕乇.
April 19, 2023
Mai ce carte minunata!! Nu am mai citit de mult asa o carte profunda. Povestea e rece, e trista, e departe de a fi frumoasa, si totusi este atat de profund scrisa, fiecare cuv芒nt are ecou, te face sa reflectezi si sa pre葲uie葯ti viata. Dac膬 ar fi sa subliniez citate preferate, cred ca as sublinia toata cartea. Este prima din trilogie, abia astept sa le citesc 葯i pe celelalte doua.
Am descoperit o Islanda rece, inghetata, primitiva, unde moartea e mai puternica dec芒t viata. Parca sciitura m-a dus cu g芒ndul la Zafon, la atmosfera aia gotica si 卯nfior膬toare. Si totusi mi-a placut atat de mult! La inceput as fi zis ca este despre Barour, dar de fapt personajul principal este cel intitulat simplu: B膬iatul. Spre final l-am indragit putin, naivitatea si simplitatea lui m-au f膬cut sa z芒mbesc. Va anun葲 de pe acum ca personajele sunt lipsite de culoare, sunt reci ca Marea Inghetata si nu va ve葲i conecta cu niciunul. Daaar totusi, ve葲i adora cartea!
Am descoperit o Islanda rece, inghetata, primitiva, unde moartea e mai puternica dec芒t viata. Parca sciitura m-a dus cu g芒ndul la Zafon, la atmosfera aia gotica si 卯nfior膬toare. Si totusi mi-a placut atat de mult! La inceput as fi zis ca este despre Barour, dar de fapt personajul principal este cel intitulat simplu: B膬iatul. Spre final l-am indragit putin, naivitatea si simplitatea lui m-au f膬cut sa z芒mbesc. Va anun葲 de pe acum ca personajele sunt lipsite de culoare, sunt reci ca Marea Inghetata si nu va ve葲i conecta cu niciunul. Daaar totusi, ve葲i adora cartea!
May 1, 2022
Solo una historia de pescadores de bacalao. Solo una historia de pescadores remando en la oscuridad de la costa de Islandia. La historia de los pescadores es solo una excusa para escarbar en el alma de los hombres, en el consuelo de la literatura, en el pu帽al de la soledad y en ese momento en el que la muerte se convierte en esperanza.
Bella, pausada, incuestionablemente l铆rica, Stef谩nsson nos envuelve en un caleidoscopio de est铆mulos sensoriales y sentimentales que nos arrastrar谩n hasta una barca, una madrugada helada, con el viento aullando en nuestros o铆dos y una antigua poes铆a resonando en nuestra memoria.
Qu茅 se yo, a m铆 estas historias me pueden. Cinco estrellas.
Bella, pausada, incuestionablemente l铆rica, Stef谩nsson nos envuelve en un caleidoscopio de est铆mulos sensoriales y sentimentales que nos arrastrar谩n hasta una barca, una madrugada helada, con el viento aullando en nuestros o铆dos y una antigua poes铆a resonando en nuestra memoria.
Qu茅 se yo, a m铆 estas historias me pueden. Cinco estrellas.
August 31, 2020
賮賷 丕賱丕賳丿賱爻 夭賲賳 毓氐乇 丕賱鬲乇賮 丕賳鬲卮乇 賮賷 亘賱丕胤 丕賱爻賱丕胤賷賳 囟乇亘 賲賳 丕賱卮毓乇 賷鬲賲賷夭 亘 丕賱氐賳毓丞 丕賱卮毓乇賷丞 .
賵 賱賯丿 賰丕賳 賴賳丕賰 賳賯丿 丿丕卅賲 賱賴賲(卮毓乇丕亍 丕賱氐賳毓丞)
賲賳 賯亘賱 卮毓乇丕亍 丕賱胤亘毓 丕賷 亘胤亘毓賴 卮丕毓乇.
賴匕賴 丕賱乇賵丕賷丞 鬲賳鬲賲賷 賱鬲賱賰 丕賱賮鬲乇丞
賴賷 氐賳毓丞 卮毓乇賷丞 丕賵 乇賵丕卅賷丞
爻鬲噩丿 鬲賯賳賷丕鬲 丕賱爻乇丿 賵 亘毓囟 丕賱兀丨丿丕孬 賵 丕賱卮禺氐賷丕鬲 丕賱鬲賷 爻賵賮 鬲鬲毓亘 賵 丕賳鬲 鬲鬲匕賰乇 丕爻賲丕亍賴丕 賵賵氐賮賸丕 賱賱氐賯賷毓 賵 丕賱卮鬲丕亍 丨丿 賷賳胤賮 丕賱賯賱亘
賱賰賳 賲丕 乇亘胤賴丕 賮賷 匕賴賳賷 亘丕賱氐賳毓丞 丕賱卮毓乇賷丞 丕賱賱睾丞 賵 丕爻賱賵亘 丕賱賰鬲丕亘丞 丕賱匕賷 賷賳爻丕亘 賰 賱賷賱丞 氐賷賮 賲賯賲乇丞 賲毓 亘丨乇 丕賱賴丕丿卅 賷賴丿賴丿 氐賷丕丿 爻賲賰 丕賱丨丕賱賲 亘毓乇賵爻 丕賱亘丨乇 賵 氐賵鬲賴丕 丕賱爻丨乇賷
賱賰賳 賴賱 丕丨鬲乇丕賮 丕賱賱睾丞 賵 廿賯鬲亘丕爻丕鬲 丕賱賲鬲賲賷夭丞 賷噩毓賱 丕賱乇賵丕賷丞 乇賵丕賷丞賸 賰丕卅賳丞 亘匕丕鬲賴丕貨 賷噩毓賱 賲賳賴丕 乇賵丕賷丞 賲鬲賰丕賲賱丞 丕賱丕乇賰丕賳
賴賱 丕賱卮丕毓乇 丕賱匕賷 賷購噩賷丿 賳馗賲 丕賱賰賱賲丕鬲 賵 乇氐賮賴丕 賲毓 兀爻賱賵亘 賲鬲賲賷夭 賷噩毓賱賴 賲賳賴 卮丕毓乇賸丕 亘賲毓賳賶 丕賱賰賱賲丞 責
丨爻亘 乇丕賷 丕賱卮禺氐賷 賱丕 .
賴匕賴 丕賱乇賵丕賷丞 氐賳毓丞 卮毓乇賷丞 賱賰賳賴丕 賱賷爻鬲 毓賲賱 丕丿亘賷 賷禺鬲乇賯賳賷 .
賰丕賳鬲 丨賮賳丞 賲賳 丕賯鬲亘丕爻丕鬲 賵 丕賱賱睾丞 賲毓 3 丕丨丿丕孬 乇卅爻賷丞 賵 卮禺氐賷丕鬲 賲爻賯胤丞 賰孬賷乇丞.
兀毓鬲匕乇 賱賰賱 兀氐丿賯丕亍 丕賱乇丨賱丞 毓賱賶 賴匕丕 丕賱鬲乇卮賷丨 馃槉
賱賰賳 毓爻賶 兀賳 賷睾賮乇 賱賷 氐丿賯賷 賮賷 丕賱鬲賯賷賷賲 夭賱鬲賷 馃尭
禺賷亘丞 兀賲賱 馃様
29/janv/20 馃尭
賵 賱賯丿 賰丕賳 賴賳丕賰 賳賯丿 丿丕卅賲 賱賴賲(卮毓乇丕亍 丕賱氐賳毓丞)
賲賳 賯亘賱 卮毓乇丕亍 丕賱胤亘毓 丕賷 亘胤亘毓賴 卮丕毓乇.
賴匕賴 丕賱乇賵丕賷丞 鬲賳鬲賲賷 賱鬲賱賰 丕賱賮鬲乇丞
賴賷 氐賳毓丞 卮毓乇賷丞 丕賵 乇賵丕卅賷丞
爻鬲噩丿 鬲賯賳賷丕鬲 丕賱爻乇丿 賵 亘毓囟 丕賱兀丨丿丕孬 賵 丕賱卮禺氐賷丕鬲 丕賱鬲賷 爻賵賮 鬲鬲毓亘 賵 丕賳鬲 鬲鬲匕賰乇 丕爻賲丕亍賴丕 賵賵氐賮賸丕 賱賱氐賯賷毓 賵 丕賱卮鬲丕亍 丨丿 賷賳胤賮 丕賱賯賱亘
賱賰賳 賲丕 乇亘胤賴丕 賮賷 匕賴賳賷 亘丕賱氐賳毓丞 丕賱卮毓乇賷丞 丕賱賱睾丞 賵 丕爻賱賵亘 丕賱賰鬲丕亘丞 丕賱匕賷 賷賳爻丕亘 賰 賱賷賱丞 氐賷賮 賲賯賲乇丞 賲毓 亘丨乇 丕賱賴丕丿卅 賷賴丿賴丿 氐賷丕丿 爻賲賰 丕賱丨丕賱賲 亘毓乇賵爻 丕賱亘丨乇 賵 氐賵鬲賴丕 丕賱爻丨乇賷
賱賰賳 賴賱 丕丨鬲乇丕賮 丕賱賱睾丞 賵 廿賯鬲亘丕爻丕鬲 丕賱賲鬲賲賷夭丞 賷噩毓賱 丕賱乇賵丕賷丞 乇賵丕賷丞賸 賰丕卅賳丞 亘匕丕鬲賴丕貨 賷噩毓賱 賲賳賴丕 乇賵丕賷丞 賲鬲賰丕賲賱丞 丕賱丕乇賰丕賳
賴賱 丕賱卮丕毓乇 丕賱匕賷 賷購噩賷丿 賳馗賲 丕賱賰賱賲丕鬲 賵 乇氐賮賴丕 賲毓 兀爻賱賵亘 賲鬲賲賷夭 賷噩毓賱賴 賲賳賴 卮丕毓乇賸丕 亘賲毓賳賶 丕賱賰賱賲丞 責
丨爻亘 乇丕賷 丕賱卮禺氐賷 賱丕 .
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賱賰賳 毓爻賶 兀賳 賷睾賮乇 賱賷 氐丿賯賷 賮賷 丕賱鬲賯賷賷賲 夭賱鬲賷 馃尭
禺賷亘丞 兀賲賱 馃様
29/janv/20 馃尭
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