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賯氐乇 丕賱賯賲乇
亘胤賱 丕賱乇賵丕賷丞 貙 賲丕乇賰賵 爻鬲丕賳賱賶 賮噩 貙 卮丕亘 賮賶 爻鬲賷賳賷丕鬲 丕賱賯乇賳 丕賱毓卮乇賷賳 貙 賷爻毓賶 亘丿兀亘 賱賱亘丨孬 毓賳 賲賮丕鬲賷丨 賲丕囟賷賴 貙 毓賳 廿噩丕亘丕鬲 賱賱睾夭 賲氐賷乇賴.
賷賵丕噩賴 賲丕乇賰賵 賮賶 乇丨賱鬲賴 貙 賲賳 兀賵丿賷丞 賲丕賳賴丕鬲賳 賮賶 賳賷賵賷賵乇賰 廿賱賶 氐丨丕乇賶 賵賱丕賷丞 賷賵鬲丕 賮賶 丕賱睾乇亘 丕賱兀賲乇賷賰賶 貙 賲噩賲賵毓丞 賲賳 丕賱卮禺氐賷丕鬲 賵丕賱兀丨丿丕孬 丕賱孬乇賷丞 賵丕賱賲丿賴卮丞.
鬲亘丿兀 " 賯氐乇 丕賱賯賲乇 " 賮賶 丕賱氐賷賮 丕賱匕賶 賴亘胤 賮賷賴 丕賱廿賳爻丕賳 毓賱賶 爻胤丨 丕賱賯賲乇 貙 賲鬲賳賯賱丞 亘賷賳 丕賱賲丕囟賶 賵丕賱賲爻鬲賯亘賱 貙 鬲丨乇賰賴丕 丕賱氐丿賮丞 賵丕賱匕丕賰乇丞.
鬲爻胤毓 丕賱乇賵丕賷丞 亘賵賲囟丕鬲 賲匕賴賱丞 賲賳 丕賱卮毓乇賷丞 賵丕賱丨賰賲丞 . 廿賳賴丕 乇賵丕賷丞 賲賲鬲毓丞 賵賲丐孬乇丞 貙 賲賳 賳亘毓 賲丐賱賮 亘賲禺賷賱鬲賴 丕賱賲丿賴卮丞 . 賵賰賲丕 賷賯賵賱 丿賵賳 丿賷賱賷賵 : " 廿賳賴 賰丕鬲亘 鬲爻胤毓 兀毓賲丕賱賴 亘丕賱匕賰丕亍 賵丕賱兀氐丕賱丞 ... 賷丿賲噩 丕賱馗賵丕賴乇 丕賱賲毓丕氐乇丞 亘亘賵丕胤賳 丕賱賯乇賳 丕賱鬲丕爻毓 毓卮乇 ... 賵賷賵馗賮 鬲賯賳賷丕鬲 丕賱丨賰賶 賮賶 禺丿賲丞 乇賵丕賷丞 丨丿賷孬丞 噩丿丕
賷賵丕噩賴 賲丕乇賰賵 賮賶 乇丨賱鬲賴 貙 賲賳 兀賵丿賷丞 賲丕賳賴丕鬲賳 賮賶 賳賷賵賷賵乇賰 廿賱賶 氐丨丕乇賶 賵賱丕賷丞 賷賵鬲丕 賮賶 丕賱睾乇亘 丕賱兀賲乇賷賰賶 貙 賲噩賲賵毓丞 賲賳 丕賱卮禺氐賷丕鬲 賵丕賱兀丨丿丕孬 丕賱孬乇賷丞 賵丕賱賲丿賴卮丞.
鬲亘丿兀 " 賯氐乇 丕賱賯賲乇 " 賮賶 丕賱氐賷賮 丕賱匕賶 賴亘胤 賮賷賴 丕賱廿賳爻丕賳 毓賱賶 爻胤丨 丕賱賯賲乇 貙 賲鬲賳賯賱丞 亘賷賳 丕賱賲丕囟賶 賵丕賱賲爻鬲賯亘賱 貙 鬲丨乇賰賴丕 丕賱氐丿賮丞 賵丕賱匕丕賰乇丞.
鬲爻胤毓 丕賱乇賵丕賷丞 亘賵賲囟丕鬲 賲匕賴賱丞 賲賳 丕賱卮毓乇賷丞 賵丕賱丨賰賲丞 . 廿賳賴丕 乇賵丕賷丞 賲賲鬲毓丞 賵賲丐孬乇丞 貙 賲賳 賳亘毓 賲丐賱賮 亘賲禺賷賱鬲賴 丕賱賲丿賴卮丞 . 賵賰賲丕 賷賯賵賱 丿賵賳 丿賷賱賷賵 : " 廿賳賴 賰丕鬲亘 鬲爻胤毓 兀毓賲丕賱賴 亘丕賱匕賰丕亍 賵丕賱兀氐丕賱丞 ... 賷丿賲噩 丕賱馗賵丕賴乇 丕賱賲毓丕氐乇丞 亘亘賵丕胤賳 丕賱賯乇賳 丕賱鬲丕爻毓 毓卮乇 ... 賵賷賵馗賮 鬲賯賳賷丕鬲 丕賱丨賰賶 賮賶 禺丿賲丞 乇賵丕賷丞 丨丿賷孬丞 噩丿丕
305 pages, Paperback
First published February 1, 1989
962 people are currently reading
18661 people want to read
About the author
Paul Auster
339听books11.9k听followersPaul Auster was the bestselling author of 4 3 2 1, Bloodbath Nation, Baumgartner, The Book of Illusions, and The New York Trilogy, among many other works. In 2006 he was awarded the Prince of Asturias Prize for Literature. Among his other honors are the Prix M茅dicis 脡tranger for Leviathan, the Independent Spirit Award for the screenplay of Smoke, and the Premio Napoli for Sunset Park. In 2012, he was the first recipient of the NYC Literary Honors in the category of fiction. He was also a finalist for the International IMPAC Dublin Literary Award (The Book of Illusions), the PEN/Faulkner Award (The Music of Chance), the Edgar Award (City of Glass), and the Man Booker Prize (4 3 2 1). Auster was a member of the American Academy of Arts and Letters and a Commandeur de l鈥橭rdre des Arts et des Lettres. His work has been translated into more than forty languages. He died at age seventy-seven in 2024.
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November 3, 2021
Moon Palace, Paul Auster
Moon Palace is a novel written by Paul Auster that was first published in 1989. The novel is set in Manhattan and the U.S. Midwest, and centers on the life of the narrator Marco Stanley Fogg and the two previous generations of his family.
Marco Fogg is an orphan and his Uncle Victor his only caretaker. Fogg starts college, and nine months later moves from the dormitory into his own apartment furnished with 1492 books given to him by Uncle Victor.
Uncle Victor dies before Fogg finishes college and leaves him without friends and family. Marco inherits some money which he uses to pay for Uncle Victor's funeral. He becomes an introvert, spends his time reading, and thinks, "Why should I get a job? I have enough to do living through the days." After selling the books one by one in order to survive Fogg loses his apartment and seeks shelter in Central Park. ...
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賳賵夭丿賴賲 賲丕賴 爻倬鬲丕賲亘乇 爻丕賱 2011賲蹖賱丕丿蹖
毓賳賵丕賳: 賲賵賳 倬丕賱丕爻貨 倬賱 丌爻鬲乇 (丕爻鬲乇)貨 賲鬲乇噩賲: 賱蹖賱丕 賳氐蹖乇蹖賴丕貨 鬲賴乇丕賳貙 丕賮賯貙 趩丕倬 丕賵賱 賵 丿賵賲 1386貙 丿乇421氐貨 卮丕亘讴 丕蹖讴爻-964369304貙 趩丕倬 亘毓丿蹖 爻丕賱1391 丿乇424氐貙 卮丕亘讴9789643698829貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖丕賱丕鬲 賲鬲丨丿賴 丌賲乇蹖讴丕 - 爻丿賴 20賲
賲丕 賴賲蹖卮賴貙 蹖丕 噩丕蹖 丿購乇爻鬲 亘賵丿蹖賲 丿乇 夭賲丕賳 睾賱胤貙 蹖丕 噩丕蹖 睾賱胤 亘賵丿蹖賲 丿乇 夭賲丕賳 丿購乇爻鬲貙 賵 賴賲蹖卮賴貙 賴賲蹖賳诏賵賳賴 賴賲丿蹖诏乇 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕蹖賲! 芦賲賵賳 倬賱丕爻禄貙 芦倬賱 丕爻鬲乇禄貨
賲丕乇讴賵 丕爻鬲賳賱蹖 賮丕诏貙 丿乇 讴賵丿讴蹖 賲丕丿乇 禺賵蹖卮 乇丕貙 胤蹖 蹖讴 鬲氐丕丿賮 丕鬲賵賲亘蹖賱 丕夭 丿爻鬲 賲蹖丿賴丿貨 丕夭 丌賳噩丕蹖蹖 讴賴 丨丕氐賱 蹖讴 丕乇鬲亘丕胤 賳丕賲卮乇賵毓 亘賵丿賴貙 丕夭 賴賵蹖鬲 倬丿乇 禺賵丿 賳蹖夭貙 禺亘乇 賳丿丕乇丿貨 倬爻 丕夭 賲乇诏 賲丕丿乇貙 丿丕蹖蹖 芦賵蹖讴鬲賵乇禄貙 爻乇倬乇爻鬲蹖 丕賵 乇丕 亘乇 丿賵卮 賲蹖诏蹖乇丿貨 芦賲丕乇讴賵禄貙 亘賴 爻賳 賴噩丿賴 爻丕賱诏蹖 賲蹖乇爻丿貙 賵 丿乇 丿丕賳卮诏丕賴 卮賴乇 丿蹖诏乇蹖 倬匕蹖乇賮鬲賴 賲蹖卮賵丿貨 賴賲夭賲丕賳 丿丕蹖蹖 芦賵蹖讴鬲賵乇禄 賳蹖夭貙 乇丕賴蹖 爻賮乇蹖 亘賱賳丿 賲丿鬲 賲蹖诏乇丿丿貙 賵 亘賴 毓賳賵丕賳 賴丿蹖賴 蹖 賯亘賵賱蹖 1492噩賱丿貙 讴鬲丕亘賴丕蹖 禺賵丿 乇丕 亘賴 芦賲丕乇讴賵禄 賲蹖丿賴丿貨 芦賲丕乇讴賵禄 賳诏乇丕賳 賵 丿賱夭丿賴貙 賵丕乇丿 夭賳丿诏蹖 賲蹖卮賵丿貨 芦賲丕乇讴賵禄 亘賴 賲賵噩賵丿蹖 亘蹖 賴丿賮 鬲亘丿蹖賱 賲蹖卮賵丿貨 賲蹖禺賵丕賴丿 鬲賳賴丕 亘丕卮丿貨 丨乇讴鬲蹖 賳讴賳丿貨 賵 亘诏匕丕乇丿 夭賳丿诏蹖 噩乇蹖丕賳 蹖丕亘丿貨 丕夭 诏蹖乇賵丿丕乇賴丕 賵 丿睾丿睾賴 賴丕蹖 夭賳丿诏蹖貙 賮乇丕乇 賲蹖讴賳丿. 丕賵 丕夭 賲賯丕亘賱賴 亘丕 賲卮讴賱丕鬲 倬乇賴蹖夭 賲蹖讴賳丿貙 賵 爻乇賳賵卮鬲卮 亘乇丕蹖卮 丕賴賲蹖鬲 賳丿丕乇丿 .....貨
丿乇 丕蹖賳 亘蹖賳貙 亘丕 丿禺鬲乇 賵 倬蹖乇賲乇丿蹖 丌卮賳丕 賲蹖卮賵丿貨 讴賴 亘丕毓孬 丿诏乇诏賵賳蹖貙 丿乇 夭賳丿诏蹖 丕賵 賲蹖卮賵賳丿貨 賵 ...貨 芦賲賵賳 倬丕賱丕爻禄 賴賲夭賲丕賳 亘丕 賮乇賵丿 丕賳爻丕賳 亘乇 讴乇賴 蹖 賲丕賴 丌睾丕夭 賲蹖卮賵丿貙 賵 丿乇 夭賲丕賳 倬爻 賵 倬蹖卮 賲蹖乇賵丿 鬲丕 爻賴 賳爻賱 爻丿賴 亘蹖爻鬲賲 賲蹖賱丕丿蹖 乇丕 亘賴 鬲氐賵蹖乇 亘讴卮丿貨 芦賲丕乇讴賵 丕爻鬲賳賱蹖 賮丕诏禄 讴爻 賵 讴丕乇蹖 賳丿丕乇丿貙 賵 丕夭 噩賲賱賴 丌丿賲賴丕蹖 亘蹖賯乇丕乇蹖 爻鬲 讴賴 賲丿丕賲 诏匕卮鬲賴 卮丕賳 乇丕 夭蹖乇 賵 乇賵 賲蹖讴賳賳丿貙 鬲丕 讴賱蹖丿 賲毓賲丕蹖 爻乇賳賵卮鬲卮丕賳 乇丕 亘賴 趩賳诏 亘蹖丕賵乇賳貨. 芦丕爻鬲乇禄 丿乇 丕蹖賳 讴鬲丕亘 賲賴丕乇鬲 賯氐賴 诏賵蹖蹖 丕卮 乇丕 丿乇 禺丿賲鬲 夭賲丕賳 賲丿乇賳 亘賴 讴丕乇 賲蹖诏蹖乇丿...貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 20/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 11/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Moon Palace is a novel written by Paul Auster that was first published in 1989. The novel is set in Manhattan and the U.S. Midwest, and centers on the life of the narrator Marco Stanley Fogg and the two previous generations of his family.
Marco Fogg is an orphan and his Uncle Victor his only caretaker. Fogg starts college, and nine months later moves from the dormitory into his own apartment furnished with 1492 books given to him by Uncle Victor.
Uncle Victor dies before Fogg finishes college and leaves him without friends and family. Marco inherits some money which he uses to pay for Uncle Victor's funeral. He becomes an introvert, spends his time reading, and thinks, "Why should I get a job? I have enough to do living through the days." After selling the books one by one in order to survive Fogg loses his apartment and seeks shelter in Central Park. ...
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賳賵夭丿賴賲 賲丕賴 爻倬鬲丕賲亘乇 爻丕賱 2011賲蹖賱丕丿蹖
毓賳賵丕賳: 賲賵賳 倬丕賱丕爻貨 倬賱 丌爻鬲乇 (丕爻鬲乇)貨 賲鬲乇噩賲: 賱蹖賱丕 賳氐蹖乇蹖賴丕貨 鬲賴乇丕賳貙 丕賮賯貙 趩丕倬 丕賵賱 賵 丿賵賲 1386貙 丿乇421氐貨 卮丕亘讴 丕蹖讴爻-964369304貙 趩丕倬 亘毓丿蹖 爻丕賱1391 丿乇424氐貙 卮丕亘讴9789643698829貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖丕賱丕鬲 賲鬲丨丿賴 丌賲乇蹖讴丕 - 爻丿賴 20賲
賲丕 賴賲蹖卮賴貙 蹖丕 噩丕蹖 丿購乇爻鬲 亘賵丿蹖賲 丿乇 夭賲丕賳 睾賱胤貙 蹖丕 噩丕蹖 睾賱胤 亘賵丿蹖賲 丿乇 夭賲丕賳 丿購乇爻鬲貙 賵 賴賲蹖卮賴貙 賴賲蹖賳诏賵賳賴 賴賲丿蹖诏乇 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕蹖賲! 芦賲賵賳 倬賱丕爻禄貙 芦倬賱 丕爻鬲乇禄貨
賲丕乇讴賵 丕爻鬲賳賱蹖 賮丕诏貙 丿乇 讴賵丿讴蹖 賲丕丿乇 禺賵蹖卮 乇丕貙 胤蹖 蹖讴 鬲氐丕丿賮 丕鬲賵賲亘蹖賱 丕夭 丿爻鬲 賲蹖丿賴丿貨 丕夭 丌賳噩丕蹖蹖 讴賴 丨丕氐賱 蹖讴 丕乇鬲亘丕胤 賳丕賲卮乇賵毓 亘賵丿賴貙 丕夭 賴賵蹖鬲 倬丿乇 禺賵丿 賳蹖夭貙 禺亘乇 賳丿丕乇丿貨 倬爻 丕夭 賲乇诏 賲丕丿乇貙 丿丕蹖蹖 芦賵蹖讴鬲賵乇禄貙 爻乇倬乇爻鬲蹖 丕賵 乇丕 亘乇 丿賵卮 賲蹖诏蹖乇丿貨 芦賲丕乇讴賵禄貙 亘賴 爻賳 賴噩丿賴 爻丕賱诏蹖 賲蹖乇爻丿貙 賵 丿乇 丿丕賳卮诏丕賴 卮賴乇 丿蹖诏乇蹖 倬匕蹖乇賮鬲賴 賲蹖卮賵丿貨 賴賲夭賲丕賳 丿丕蹖蹖 芦賵蹖讴鬲賵乇禄 賳蹖夭貙 乇丕賴蹖 爻賮乇蹖 亘賱賳丿 賲丿鬲 賲蹖诏乇丿丿貙 賵 亘賴 毓賳賵丕賳 賴丿蹖賴 蹖 賯亘賵賱蹖 1492噩賱丿貙 讴鬲丕亘賴丕蹖 禺賵丿 乇丕 亘賴 芦賲丕乇讴賵禄 賲蹖丿賴丿貨 芦賲丕乇讴賵禄 賳诏乇丕賳 賵 丿賱夭丿賴貙 賵丕乇丿 夭賳丿诏蹖 賲蹖卮賵丿貨 芦賲丕乇讴賵禄 亘賴 賲賵噩賵丿蹖 亘蹖 賴丿賮 鬲亘丿蹖賱 賲蹖卮賵丿貨 賲蹖禺賵丕賴丿 鬲賳賴丕 亘丕卮丿貨 丨乇讴鬲蹖 賳讴賳丿貨 賵 亘诏匕丕乇丿 夭賳丿诏蹖 噩乇蹖丕賳 蹖丕亘丿貨 丕夭 诏蹖乇賵丿丕乇賴丕 賵 丿睾丿睾賴 賴丕蹖 夭賳丿诏蹖貙 賮乇丕乇 賲蹖讴賳丿. 丕賵 丕夭 賲賯丕亘賱賴 亘丕 賲卮讴賱丕鬲 倬乇賴蹖夭 賲蹖讴賳丿貙 賵 爻乇賳賵卮鬲卮 亘乇丕蹖卮 丕賴賲蹖鬲 賳丿丕乇丿 .....貨
丿乇 丕蹖賳 亘蹖賳貙 亘丕 丿禺鬲乇 賵 倬蹖乇賲乇丿蹖 丌卮賳丕 賲蹖卮賵丿貨 讴賴 亘丕毓孬 丿诏乇诏賵賳蹖貙 丿乇 夭賳丿诏蹖 丕賵 賲蹖卮賵賳丿貨 賵 ...貨 芦賲賵賳 倬丕賱丕爻禄 賴賲夭賲丕賳 亘丕 賮乇賵丿 丕賳爻丕賳 亘乇 讴乇賴 蹖 賲丕賴 丌睾丕夭 賲蹖卮賵丿貙 賵 丿乇 夭賲丕賳 倬爻 賵 倬蹖卮 賲蹖乇賵丿 鬲丕 爻賴 賳爻賱 爻丿賴 亘蹖爻鬲賲 賲蹖賱丕丿蹖 乇丕 亘賴 鬲氐賵蹖乇 亘讴卮丿貨 芦賲丕乇讴賵 丕爻鬲賳賱蹖 賮丕诏禄 讴爻 賵 讴丕乇蹖 賳丿丕乇丿貙 賵 丕夭 噩賲賱賴 丌丿賲賴丕蹖 亘蹖賯乇丕乇蹖 爻鬲 讴賴 賲丿丕賲 诏匕卮鬲賴 卮丕賳 乇丕 夭蹖乇 賵 乇賵 賲蹖讴賳賳丿貙 鬲丕 讴賱蹖丿 賲毓賲丕蹖 爻乇賳賵卮鬲卮丕賳 乇丕 亘賴 趩賳诏 亘蹖丕賵乇賳貨. 芦丕爻鬲乇禄 丿乇 丕蹖賳 讴鬲丕亘 賲賴丕乇鬲 賯氐賴 诏賵蹖蹖 丕卮 乇丕 丿乇 禺丿賲鬲 夭賲丕賳 賲丿乇賳 亘賴 讴丕乇 賲蹖诏蹖乇丿...貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 20/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 11/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
September 6, 2021
MOON PALACE
Non il miglior Auster che ho letto: questo Moon Palace, come poi 猫 stato intitolato anche in italiano a partire dall鈥檈dizione Einaudi, mi ha lasciato un po鈥� d鈥檃maro in bocca.
Troppo arzigogolato, trama forzata e troppo elaborata al limite dell鈥檌nverosimile.
Il che 猫 tutto dire riferendosi a uno come Auster che delle trame che giocano tra casualit脿 e assurdo ha fatto la sua filosofia ed estetica narrativa.
Con una madre che muore sotto le ruote di un autobus quando lui ha undici anni, un padre mai conosciuto 鈥� gli 猫 stato detto che 猫 morto prima della sua nascita, ma sar脿 poi vero 鈥� cresciuto dallo zio Victor, fratello della rimpianta madre defunta, zio musicista girovago sempre in viaggio per concerti e serate, locali e piccoli palcoscenici, ma anche angoli di strada, che ovviamente muore prima che il protagonista, M.S.Fogg, che sta per Marcus Stanley Fogg, prima che lui possa sentirsi affrancato e indipendente.
Come eredit脿 zio Victor gli lascia 1492 libri 鈥� che sembrano tanti, ma tanti non sono 鈥� 1492 come l鈥檃nno in cui Cristoforo Colombo approd貌 in America e che da allora si chiama 鈥榮coperta dell鈥橝merica鈥�, e si festeggia ogni 12 ottobre alias Columbus Day 鈥� e insieme ai libri, zio Victor lascia al nipote il suo clarino.
Ma M.S. avrebbe bisogno di soldi per proseguire gli studi. Per non finire clochard a Central Park, come invece succede.
Nonostante abbia venduto i 1492 libri, per i quali, presumo sia riuscito al massimo, ma proprio con generosit脿, a incassare qualche centinaio di dollari.
Arriva l鈥檃mico a salvarlo dalla strada (dal parco, che comunque 猫 altrettanto freddo e ostico), e una ragazza sino-americana, che ovviamente si chiama Kitti Wu, e con la quale ovviamente scatta storia di sensi e sentimento.
A questo punto M.S. pu貌 iniziare a risorgere, come piace tanto agli americani convincerci che a casa loro succeda un giorno s矛 e l鈥檃ltro pure: incontra un ottantenne su sedia a rotelle che gli offre lavoro, e che a me evoca tanto Mr Arkadin di Orson Welles: questo vecchiarello, tale Mr Effing, 猫 fissato e afflitto dai ricordi. Cos矛 incarica M.S.Fogg di seguirli e inseguirli, ricostruirli e verificarli, chiarirglieli.
Al che M.S. avr脿 modo di scoprire verit脿 insospettate sul suo passato e le sue origini.
Ho letto che alcuni personaggi di questo romanzo ritornano in opere successive di Auster: David Zimmer, amico di M.S., diventa il protagonista di Il libro delle illusioni, e la donna di cui 猫 innamorato, a causa della quale ogni giorno apre la cassetta delle lettere in attesa di una sua lettera, Anne Blume, sar脿 la narratrice di Nel paese delle ultime cose. Rimandi e richiami, giochini letterari, che sicuramente appassionano i suoi fan: io invece, mhhh鈥�
Trovo che ci sia pi霉 che sufficiente mondo 脿 la Auster nel concatenarsi di storie diverse, autonome e separate come connesse e intrecciate 鈥� nel ruolo del caso - nella solitudine del protagonista - nella sua ricerca d鈥檌dentit脿 (qui, e altrove, non solo sua, non appannaggio unicamente del protagonista). Come dicevo, non 猫 il miglior Auster che ho letto. E credo sia tra quelli che mi hanno spinto ad abbandonarlo dopo averlo frequentato piuttosto intensamente (sette libri letti nell鈥檃rco di cinque anni. Poi pi霉 niente.)
Non il miglior Auster che ho letto: questo Moon Palace, come poi 猫 stato intitolato anche in italiano a partire dall鈥檈dizione Einaudi, mi ha lasciato un po鈥� d鈥檃maro in bocca.
Troppo arzigogolato, trama forzata e troppo elaborata al limite dell鈥檌nverosimile.
Il che 猫 tutto dire riferendosi a uno come Auster che delle trame che giocano tra casualit脿 e assurdo ha fatto la sua filosofia ed estetica narrativa.
Con una madre che muore sotto le ruote di un autobus quando lui ha undici anni, un padre mai conosciuto 鈥� gli 猫 stato detto che 猫 morto prima della sua nascita, ma sar脿 poi vero 鈥� cresciuto dallo zio Victor, fratello della rimpianta madre defunta, zio musicista girovago sempre in viaggio per concerti e serate, locali e piccoli palcoscenici, ma anche angoli di strada, che ovviamente muore prima che il protagonista, M.S.Fogg, che sta per Marcus Stanley Fogg, prima che lui possa sentirsi affrancato e indipendente.
Come eredit脿 zio Victor gli lascia 1492 libri 鈥� che sembrano tanti, ma tanti non sono 鈥� 1492 come l鈥檃nno in cui Cristoforo Colombo approd貌 in America e che da allora si chiama 鈥榮coperta dell鈥橝merica鈥�, e si festeggia ogni 12 ottobre alias Columbus Day 鈥� e insieme ai libri, zio Victor lascia al nipote il suo clarino.
Ma M.S. avrebbe bisogno di soldi per proseguire gli studi. Per non finire clochard a Central Park, come invece succede.
Nonostante abbia venduto i 1492 libri, per i quali, presumo sia riuscito al massimo, ma proprio con generosit脿, a incassare qualche centinaio di dollari.
Arriva l鈥檃mico a salvarlo dalla strada (dal parco, che comunque 猫 altrettanto freddo e ostico), e una ragazza sino-americana, che ovviamente si chiama Kitti Wu, e con la quale ovviamente scatta storia di sensi e sentimento.
A questo punto M.S. pu貌 iniziare a risorgere, come piace tanto agli americani convincerci che a casa loro succeda un giorno s矛 e l鈥檃ltro pure: incontra un ottantenne su sedia a rotelle che gli offre lavoro, e che a me evoca tanto Mr Arkadin di Orson Welles: questo vecchiarello, tale Mr Effing, 猫 fissato e afflitto dai ricordi. Cos矛 incarica M.S.Fogg di seguirli e inseguirli, ricostruirli e verificarli, chiarirglieli.
Al che M.S. avr脿 modo di scoprire verit脿 insospettate sul suo passato e le sue origini.
Ho letto che alcuni personaggi di questo romanzo ritornano in opere successive di Auster: David Zimmer, amico di M.S., diventa il protagonista di Il libro delle illusioni, e la donna di cui 猫 innamorato, a causa della quale ogni giorno apre la cassetta delle lettere in attesa di una sua lettera, Anne Blume, sar脿 la narratrice di Nel paese delle ultime cose. Rimandi e richiami, giochini letterari, che sicuramente appassionano i suoi fan: io invece, mhhh鈥�
Trovo che ci sia pi霉 che sufficiente mondo 脿 la Auster nel concatenarsi di storie diverse, autonome e separate come connesse e intrecciate 鈥� nel ruolo del caso - nella solitudine del protagonista - nella sua ricerca d鈥檌dentit脿 (qui, e altrove, non solo sua, non appannaggio unicamente del protagonista). Come dicevo, non 猫 il miglior Auster che ho letto. E credo sia tra quelli che mi hanno spinto ad abbandonarlo dopo averlo frequentato piuttosto intensamente (sette libri letti nell鈥檃rco di cinque anni. Poi pi霉 niente.)
June 20, 2024
The narrator, M.S. Fogg, was not spared his life. He lost his mother in a traffic accident when he was still a child. Having no idea of 鈥嬧€媓is father's identity (is he still alive?), He leaves to live with his uncle. While entering the university, his musician uncle sets out again on the roads with his group. A trip from which he will not return. M.S. Fogg then found himself alone in the world. His savings are melting faster than expected, and he is on the streets.
Nevertheless, thanks to a friend from college, Zimmer and a young woman met by chance, Kitty Wu, who will manage to get out of this mess; he starts looking for a job and finds a place with an old disabled man looking for someone to write his memoirs. Julian Barber is a harsh and sometimes tyrannical older man. His life's story and imposture are about an older man who wishes to leave an inheritance to his son, who believed him dead for many years. M.S. Fogg lets himself embark on the life of this older man and respects his last wishes by coming into contact with his son, Solomon. A meeting should allow the latter to learn the truth about his father, ultimately enabling M.S. Fogg to discover his identity.
It is a book in which personal stories mix and where the pasts of some join that of others鈥攁 novel about the search for identity and the initiatory journey.
It is a delightful novel to discover. However, I found the story's coincidences a bit big, preventing me from buying into it.
Nevertheless, thanks to a friend from college, Zimmer and a young woman met by chance, Kitty Wu, who will manage to get out of this mess; he starts looking for a job and finds a place with an old disabled man looking for someone to write his memoirs. Julian Barber is a harsh and sometimes tyrannical older man. His life's story and imposture are about an older man who wishes to leave an inheritance to his son, who believed him dead for many years. M.S. Fogg lets himself embark on the life of this older man and respects his last wishes by coming into contact with his son, Solomon. A meeting should allow the latter to learn the truth about his father, ultimately enabling M.S. Fogg to discover his identity.
It is a book in which personal stories mix and where the pasts of some join that of others鈥攁 novel about the search for identity and the initiatory journey.
It is a delightful novel to discover. However, I found the story's coincidences a bit big, preventing me from buying into it.
July 11, 2012
This is a book about gettin' nekkid.
I discovered Paul Auster through the 1001 books list and then went on a big PA binge. I suppose I should have been more restrained because very soon all the PA plots and machinations and convoluted po-mo madness was churning in my brain. I'd given myself PAP. Yes, that well know literary syndrome, Paul Auster Poisoning.
This was my third consecutive read and I believe it can be directly attributed to the onset of a severe case of PAP. But I did enjoy this book (therefore equating PAP to eating too much cotton candy but still feeling compelled to go on eating more despite what various parts of your body are telling you). Moon Palace is weighty with symbolism and duality and as usual there is a synchronisty between a lot of his stories. But so are many of his books. Hence the PAP.
Protagonists Fogg , Effing and Barber all try at some point to reduce their lives to the most distilled essence possible. A bit like putting yourself through a life juicer in order to be left with only the purest extract. Fogg does this by relinquishing all of his possessions and becoming homeless, Effing by renouncing his past and creating a new one for himself and then later by distributing his wealth and Barber does a similar thing by relinquishing his home. Maybe its a form of unburdening as well as reduction.
All of the people in this book were seeking something and in each of their stories they seem to believe that by peeling off all the outer trappings of possession and wealth will they expose the core of themselves to world. They will be naked. See, I told you this was a book about being nekkid. Apologies if you were expecting a more titilating variety of nekkidity.
Ultimately making themselves as vulnerable as possible leads to their undoing either physically or emotionally. All in all a very satisfying novel, but let this be a warning to you all. Paul Auster should only be taken in small doses and be sure to let one plot settle before you gorge yourself on another.
I discovered Paul Auster through the 1001 books list and then went on a big PA binge. I suppose I should have been more restrained because very soon all the PA plots and machinations and convoluted po-mo madness was churning in my brain. I'd given myself PAP. Yes, that well know literary syndrome, Paul Auster Poisoning.
This was my third consecutive read and I believe it can be directly attributed to the onset of a severe case of PAP. But I did enjoy this book (therefore equating PAP to eating too much cotton candy but still feeling compelled to go on eating more despite what various parts of your body are telling you). Moon Palace is weighty with symbolism and duality and as usual there is a synchronisty between a lot of his stories. But so are many of his books. Hence the PAP.
Protagonists Fogg , Effing and Barber all try at some point to reduce their lives to the most distilled essence possible. A bit like putting yourself through a life juicer in order to be left with only the purest extract. Fogg does this by relinquishing all of his possessions and becoming homeless, Effing by renouncing his past and creating a new one for himself and then later by distributing his wealth and Barber does a similar thing by relinquishing his home. Maybe its a form of unburdening as well as reduction.
All of the people in this book were seeking something and in each of their stories they seem to believe that by peeling off all the outer trappings of possession and wealth will they expose the core of themselves to world. They will be naked. See, I told you this was a book about being nekkid. Apologies if you were expecting a more titilating variety of nekkidity.
Ultimately making themselves as vulnerable as possible leads to their undoing either physically or emotionally. All in all a very satisfying novel, but let this be a warning to you all. Paul Auster should only be taken in small doses and be sure to let one plot settle before you gorge yourself on another.
August 14, 2020
兀賰鬲乇 賲賳 300 氐賮丨丞 賲賳 丕賱丨賰賷 丕賱賲賲鬲毓
亘賵賱 兀賵爻鬲乇 兀爻賱賵亘賴 噩賲賷賱 賮賷 丕賱爻乇丿 賵賯丕丿乇毓賱賶 噩匕亘 丕賱賯丕乇卅 賲賳 丕賱亘丿丕賷丞 廿賱賶 丕賱賳賴丕賷丞
賷丨賰賷 賲丕乇賰賵 乇丕賵賷 丕賱乇賵丕賷丞 毓賳 丨賷丕鬲賴 亘賰賱 鬲賮丕氐賷賱賴丕 賵鬲爻丕丐賱丕鬲賴丕 賵卮禺氐賷丕鬲賴丕 丕賱賲鬲卮丕亘賰丞
爻賱爻賱丞 睾乇賷亘丞 賲賳 丕賱兀丨丿丕孬 賵丕賱氐丿賮 賵丕賱丕禺鬲賷丕乇丕鬲, 賵毓乇囟 賱丨丕賱丕鬲 賵賲卮丕毓乇 丕賳爻丕賳賷丞 賲禺鬲賱賮丞 賲賳 丕賱賷兀爻 賵丕賱賵丨丿丞 賵丕賱毓亘孬 賵丕賱爻毓丕丿丞 賵丕賱丨亘 賵丕賱氐丿丕賯丞
噩賵賱丕鬲 賮賷 毓丕賱賲 丕賱賰鬲亘, 賵乇丨賱丕鬲 賱賵賱丕賷丕鬲 賰孬賷乇丞 賮賷 兀賲乇賷賰丕 賵賲賱丕賲丨 賲賳 丕賱丨賷丕丞 賵丕賱兀丨丿丕孬 丕賱毓丕賲丞 賮賷 丕賱賳氐賮 丕賱兀賵賱 賲賳 丕賱賯乇賳 丕賱毓卮乇賷賳 賵丨鬲賶 亘丿丕賷丞 丕賱爻亘毓賷賳賷丕鬲.
丕賱爻乇丿 丕賱賲賲鬲毓 賴賵 兀噩賲賱 賲丕 賮賷 丕賱乇賵丕賷丞, 丕賱兀丨丿丕孬 賲鬲丿賮賯丞, 鬲賮丕氐賷賱 丕賱卮禺氐賷丕鬲 賲賰鬲賵亘丞 亘賲賴丕乇丞 賵禺丕氐丞賸 丕賱鬲丨賵賱丕鬲 賮賷 卮禺氐賷丞 丕賱乇丕賵賷 賵鬲賯賱亘丕鬲 毓賯賱賴 賵兀賮賰丕乇賴
賵丕賱鬲乇噩賲丞 爻賱爻丞 噩丿丕 賱賱卮丕毓乇 毓亘丿 丕賱賲賯氐賵丿 毓亘丿 丕賱賰乇賷賲
亘賵賱 兀賵爻鬲乇 兀爻賱賵亘賴 噩賲賷賱 賮賷 丕賱爻乇丿 賵賯丕丿乇毓賱賶 噩匕亘 丕賱賯丕乇卅 賲賳 丕賱亘丿丕賷丞 廿賱賶 丕賱賳賴丕賷丞
賷丨賰賷 賲丕乇賰賵 乇丕賵賷 丕賱乇賵丕賷丞 毓賳 丨賷丕鬲賴 亘賰賱 鬲賮丕氐賷賱賴丕 賵鬲爻丕丐賱丕鬲賴丕 賵卮禺氐賷丕鬲賴丕 丕賱賲鬲卮丕亘賰丞
爻賱爻賱丞 睾乇賷亘丞 賲賳 丕賱兀丨丿丕孬 賵丕賱氐丿賮 賵丕賱丕禺鬲賷丕乇丕鬲, 賵毓乇囟 賱丨丕賱丕鬲 賵賲卮丕毓乇 丕賳爻丕賳賷丞 賲禺鬲賱賮丞 賲賳 丕賱賷兀爻 賵丕賱賵丨丿丞 賵丕賱毓亘孬 賵丕賱爻毓丕丿丞 賵丕賱丨亘 賵丕賱氐丿丕賯丞
噩賵賱丕鬲 賮賷 毓丕賱賲 丕賱賰鬲亘, 賵乇丨賱丕鬲 賱賵賱丕賷丕鬲 賰孬賷乇丞 賮賷 兀賲乇賷賰丕 賵賲賱丕賲丨 賲賳 丕賱丨賷丕丞 賵丕賱兀丨丿丕孬 丕賱毓丕賲丞 賮賷 丕賱賳氐賮 丕賱兀賵賱 賲賳 丕賱賯乇賳 丕賱毓卮乇賷賳 賵丨鬲賶 亘丿丕賷丞 丕賱爻亘毓賷賳賷丕鬲.
丕賱爻乇丿 丕賱賲賲鬲毓 賴賵 兀噩賲賱 賲丕 賮賷 丕賱乇賵丕賷丞, 丕賱兀丨丿丕孬 賲鬲丿賮賯丞, 鬲賮丕氐賷賱 丕賱卮禺氐賷丕鬲 賲賰鬲賵亘丞 亘賲賴丕乇丞 賵禺丕氐丞賸 丕賱鬲丨賵賱丕鬲 賮賷 卮禺氐賷丞 丕賱乇丕賵賷 賵鬲賯賱亘丕鬲 毓賯賱賴 賵兀賮賰丕乇賴
賵丕賱鬲乇噩賲丞 爻賱爻丞 噩丿丕 賱賱卮丕毓乇 毓亘丿 丕賱賲賯氐賵丿 毓亘丿 丕賱賰乇賷賲
January 30, 2008
What on earth?
This book was recommended to me by a person whose taste in literature I hold in high regard. That's why I was surprised to discover, halfway through the book, that it's a really terrible piece of pretentious writing. I felt no empathy with the main character -- a really spoiled, pretentiously "eccentric" kid with an Asian fetish trying to revel in the black aethetic of his free-fall into poverty. He's saved by Kitty Wu, the sexually precocious daughter of Chinese royalty or some such nonsense. She falls for the narrator for no other reason than the author apparently wanting her to do so. She seduces him with the line "Here comes the dragon lady" or thereabouts, which made me bristle to say the least. Then he dumps her and meets an old dude, and the old dude tells him some stories about the past. Then the book ends.
This story felt like three stories sloppily sewn together into some terrible Frankenstein's monster. Kitty Wu is the most Orientalist character I've encountered in a book post-WW2. I came to think of the narrator as more and more of an asshole as the story went on.
People go nuts over this guy, Paul Auster. I just don't get it. Maybe this wasn't the right book, but I have a feeling the problem lies deeper, with the author. I certainly won't be picking up another of his books anytime soon.
This book was recommended to me by a person whose taste in literature I hold in high regard. That's why I was surprised to discover, halfway through the book, that it's a really terrible piece of pretentious writing. I felt no empathy with the main character -- a really spoiled, pretentiously "eccentric" kid with an Asian fetish trying to revel in the black aethetic of his free-fall into poverty. He's saved by Kitty Wu, the sexually precocious daughter of Chinese royalty or some such nonsense. She falls for the narrator for no other reason than the author apparently wanting her to do so. She seduces him with the line "Here comes the dragon lady" or thereabouts, which made me bristle to say the least. Then he dumps her and meets an old dude, and the old dude tells him some stories about the past. Then the book ends.
This story felt like three stories sloppily sewn together into some terrible Frankenstein's monster. Kitty Wu is the most Orientalist character I've encountered in a book post-WW2. I came to think of the narrator as more and more of an asshole as the story went on.
People go nuts over this guy, Paul Auster. I just don't get it. Maybe this wasn't the right book, but I have a feeling the problem lies deeper, with the author. I certainly won't be picking up another of his books anytime soon.
January 22, 2020
鬲爻鬲丨賯 乇賵丕賷丞 賯氐乇 丕賱賯賲乇 丕賱賰孬賷乇 賲賳 丕賱鬲賯丿賷乇 賮賶 賳爻禺鬲賴丕 丕賱毓乇亘賷丞 亘鬲乇噩賲鬲賴丕 丕賱乇丕卅毓丞 賵丕賱爻賱爻丞.
賵毓賳 丕賱乇賵丕賷丞 賳賮爻賴丕 丨丿孬 賵賱丕 丨乇噩: 賮丕賱賰丕鬲亘 賷鬲賳賯賱 亘丨乇賮賷丞 卮丿賷丿丞 亘賷賳 丕賱丕丨丿丕孬 亘丿賵賳 廿夭毓丕噩 兀賵 囟賵囟丕亍 廿賳鬲賯丕賱 爻賱爻 賵賲乇賳 亘賷賳 氐賷睾丞 丕賱賲鬲賰賱賲 賵丕賱賲鬲賰賱賲 毓賳賴/丕賱乇丕賵賶 賵丕賱賲乇賵賶 毓賳賴 賮賶 孬賱丕孬 丨賰丕賷丕鬲 賲禺鬲賱賮丞 賵賲鬲乇丕亘胤丞 丕賱丕亘賳 賵丕賱噩丿 賵丕賱兀亘 賵丕賱兀賲 賮賶 噩賵 賲購賱賴賲 賵噩匕丕亘 賷噩毓賱賰 賱丕 鬲賳賯賱 毓賷賳賰 毓賳 丕賱乇賵丕賷丞 賱丨賷賳 丕賱丕賳鬲賴丕亍 賲賳賴丕.
賲賳 兀賲鬲毓 丕賱乇賵丕賷丕鬲 丕賱鬲賶 賯乇兀鬲賴丕 賵賲賳 兀孬賯賱賴丕 賮賱爻賮丞賸 賵毓賲賯丕賸 鬲睾賵氐 賮賶 兀毓賲丕賯 丕賱賳賮爻 丕賱亘卮乇賷丞 賵鬲賯賱亘丕鬲賴丕 賵廿賴鬲賲丕賲丕鬲賴丕 賵賳賵丕夭毓賴丕 賷購賱賯賶 丕賱賰丕鬲亘 賳馗乇丞 毓賱賶 鬲丕乇賷禺 兀賲乇賷賰丕 賲賳匕 丕賱亘丿亍 亘丨乇賵亘 丕賱廿亘丕丿丞 賱賱爻賰丕賳 丕賱兀氐賱賷賷賳 賵氐乇丕毓丕鬲 丕賱鬲賯丿賲 丕賱丨囟丕乇賶 賰賲丕 賮賶 氐乇丕毓 廿丿賷爻賵賳 賵鬲賷爻賱丕 賵丨乇賵亘 丕賱毓氐丕亘丕鬲 丕賱亘丕丨孬丞 毓賳 丕賱賲丕賱 賵丕賱孬乇丕亍 賮賶 丕賱賯丕乇丞 丕賱賳丕卮卅丞.
賳賴丕賷丞 丕賱乇賵丕賷丞 毓亘賯乇賷丞 賱賲丕匕丕責: 賰賱 賴匕賴 丕賱氐乇丕毓丕鬲 丕賱鬲賶 賱禺氐 丕賱賰丕鬲亘 賳賴丕賷鬲賴丕 賵夭賵丕賱賴丕 賵毓丿賲 賵噩賵丿 兀賶 兀孬丕乇 賱賴丕 亘賳賴丕賷丞 丕賱乇賵丕賷丞 丕賱毓亘賯乇賷丞 亘睾乇賯 丕賱賰賴賮 鬲丨鬲 亘丨賷乇丞 賰亘賷乇丞 賱鬲毓賱賳 賳賴丕賷丞 毓氐乇 丕賱氐乇丕毓丕鬲 賵亘丿丕賷丞 毓賴丿 噩丿賷丿 賲賳 乇兀爻賲丕賱賷丞 丕賱乇賮丕賴丞 賵賲丨賵 噩夭亍 賰亘賷乇 賲賳 鬲丕乇賷禺 丕賱賵賱丕賷丕鬲 丕賱賲鬲丨丿丞 賱賲 賷毓丿 賷鬲賰賱賲 毓賳賴 兀丨丿..
卮禺氐賷丕鬲 丕賱乇賵丕賷丞: 爻兀鬲賰賱賲 賮賯胤 毓賳 卮禺氐賷鬲賷賳
1- 丕賱丕亘賳 賲丕乇賰賵 爻鬲丕賳賱賶 賮噩 賴賵 卮禺氐賷丞 丕賱乇賵丕賷丞 丕賱賲丨賵乇賷丞 賵兀賴賲 兀亘胤丕賱賴丕 毓乇賮 賲賳匕 丕賱氐睾乇 丕賱賮賯丿 賵毓丕賷卮賴 (賮賯丿 丕賱丕亘 賵丕賱丕賲 賵丕賱禺丕賱 賵丕賱噩丿 賵兀禺賷乇丕賸 丕賱丨亘賷亘丞 賵丕賱胤賮賱) 賮兀氐亘丨 亘丕賱賳爻亘丞 賱賴 亘賱丕 賲毓賳賶. 毓丕卮 丕賱丕爻鬲睾賳丕亍 賵賱賲 賷亘匕賱 噩賴丿丕賸 賱賷鬲睾賷乇 亘賱 馗賱 賰賲丕 賴賵 賲爻鬲睾賳賶 毓賳 丕賱賲丕賱 丕賱丕 賲丕 賷賰賮賶 丕賱丨丕噩丞.
兀囟丨鬲 丨亘賷亘鬲賴 噩夭亍 賲賳 丨賷丕鬲賴 丕毓鬲丕丿 毓賱賶 賵噩賵丿賴 賵賰匕賱賰 禺丕賱賴 丨鬲賶 兀賳賴 賱賲 賷丨鬲賮馗 亘賲丕 鬲亘賯賶 賱賴 賲賳 匕賰乇賶 禺丕賱賴 (賲賰鬲亘丞 禺丕賱賴 賵丕賱鬲賶 鬲噩丕賵夭鬲 丕賱丕賱賮 賰鬲丕亘) 亘丕毓賴丕 賱賷胤毓賲 賳賮爻賴, 廿禺鬲氐丕乇丕賸 賱賲 賷賮毓賱 賮噩 卮賷卅丕賸 賱賷賮賷丿 賳賮爻賴 賱賲 賷毓賲賱 賱兀噩賱 丕賱毓賲賱 賵丕爻鬲賲乇丕乇 丕賱丨賷丕丞 亘賱 賰丕丿鬲 鬲賰賵賳 丨賷丕鬲賴 孬賲賳丕賸 賱賱丕 賲亘丕賱鬲賴 賵毓丿賲 丕賰鬲乇丕孬賴.
2- 丕賱噩丿: 賷丨鬲賱 丕賱噩丿 噩夭亍 賲賴賲 賵賰亘賷乇 賮賶 丕賱乇賵丕賷丞 賯丿乇 賲丕 賱賲丕囟賶 丕賱賵賱丕賷丕鬲 丕賱賲鬲丨丿丞 賲賳 兀賴賲賷丞 賵丕賳毓賰丕爻 賮賶 丨丕囟乇賳丕 賮賴賵 丕賱賲丕囟賶 (賲丕囟賶 丕賱廿亘丕丿丞 賵氐乇丕毓丕鬲 丕賱鬲賯丿賲 丕賱賲丕丿賶 丕賱丨囟丕乇賶 賵丨乇賵亘 丕賱毓氐丕亘丕鬲 (毓氐丕亘丕鬲 賯購胤丕毓 丕賱胤乇賯 賵 毓氐丕亘丕鬲 丕賱丕爻鬲丨賵丕匕 毓賱賶 乇丐爻 丕賱兀賲賵丕賱) ) 丕賱匕賶 賱丕 賲賮乇 賲賳賴 丕賱賲丕囟賶 丕賱匕賶 賷卮賰賱 毓賯賱賷丞 丕賱丨丕囟乇 賵禺胤胤 丕賱賲爻鬲賯亘賱.
賵毓賳 丕賱乇賵丕賷丞 賳賮爻賴丕 丨丿孬 賵賱丕 丨乇噩: 賮丕賱賰丕鬲亘 賷鬲賳賯賱 亘丨乇賮賷丞 卮丿賷丿丞 亘賷賳 丕賱丕丨丿丕孬 亘丿賵賳 廿夭毓丕噩 兀賵 囟賵囟丕亍 廿賳鬲賯丕賱 爻賱爻 賵賲乇賳 亘賷賳 氐賷睾丞 丕賱賲鬲賰賱賲 賵丕賱賲鬲賰賱賲 毓賳賴/丕賱乇丕賵賶 賵丕賱賲乇賵賶 毓賳賴 賮賶 孬賱丕孬 丨賰丕賷丕鬲 賲禺鬲賱賮丞 賵賲鬲乇丕亘胤丞 丕賱丕亘賳 賵丕賱噩丿 賵丕賱兀亘 賵丕賱兀賲 賮賶 噩賵 賲購賱賴賲 賵噩匕丕亘 賷噩毓賱賰 賱丕 鬲賳賯賱 毓賷賳賰 毓賳 丕賱乇賵丕賷丞 賱丨賷賳 丕賱丕賳鬲賴丕亍 賲賳賴丕.
賲賳 兀賲鬲毓 丕賱乇賵丕賷丕鬲 丕賱鬲賶 賯乇兀鬲賴丕 賵賲賳 兀孬賯賱賴丕 賮賱爻賮丞賸 賵毓賲賯丕賸 鬲睾賵氐 賮賶 兀毓賲丕賯 丕賱賳賮爻 丕賱亘卮乇賷丞 賵鬲賯賱亘丕鬲賴丕 賵廿賴鬲賲丕賲丕鬲賴丕 賵賳賵丕夭毓賴丕 賷購賱賯賶 丕賱賰丕鬲亘 賳馗乇丞 毓賱賶 鬲丕乇賷禺 兀賲乇賷賰丕 賲賳匕 丕賱亘丿亍 亘丨乇賵亘 丕賱廿亘丕丿丞 賱賱爻賰丕賳 丕賱兀氐賱賷賷賳 賵氐乇丕毓丕鬲 丕賱鬲賯丿賲 丕賱丨囟丕乇賶 賰賲丕 賮賶 氐乇丕毓 廿丿賷爻賵賳 賵鬲賷爻賱丕 賵丨乇賵亘 丕賱毓氐丕亘丕鬲 丕賱亘丕丨孬丞 毓賳 丕賱賲丕賱 賵丕賱孬乇丕亍 賮賶 丕賱賯丕乇丞 丕賱賳丕卮卅丞.
賳賴丕賷丞 丕賱乇賵丕賷丞 毓亘賯乇賷丞 賱賲丕匕丕責: 賰賱 賴匕賴 丕賱氐乇丕毓丕鬲 丕賱鬲賶 賱禺氐 丕賱賰丕鬲亘 賳賴丕賷鬲賴丕 賵夭賵丕賱賴丕 賵毓丿賲 賵噩賵丿 兀賶 兀孬丕乇 賱賴丕 亘賳賴丕賷丞 丕賱乇賵丕賷丞 丕賱毓亘賯乇賷丞 亘睾乇賯 丕賱賰賴賮 鬲丨鬲 亘丨賷乇丞 賰亘賷乇丞 賱鬲毓賱賳 賳賴丕賷丞 毓氐乇 丕賱氐乇丕毓丕鬲 賵亘丿丕賷丞 毓賴丿 噩丿賷丿 賲賳 乇兀爻賲丕賱賷丞 丕賱乇賮丕賴丞 賵賲丨賵 噩夭亍 賰亘賷乇 賲賳 鬲丕乇賷禺 丕賱賵賱丕賷丕鬲 丕賱賲鬲丨丿丞 賱賲 賷毓丿 賷鬲賰賱賲 毓賳賴 兀丨丿..
卮禺氐賷丕鬲 丕賱乇賵丕賷丞: 爻兀鬲賰賱賲 賮賯胤 毓賳 卮禺氐賷鬲賷賳
1- 丕賱丕亘賳 賲丕乇賰賵 爻鬲丕賳賱賶 賮噩 賴賵 卮禺氐賷丞 丕賱乇賵丕賷丞 丕賱賲丨賵乇賷丞 賵兀賴賲 兀亘胤丕賱賴丕 毓乇賮 賲賳匕 丕賱氐睾乇 丕賱賮賯丿 賵毓丕賷卮賴 (賮賯丿 丕賱丕亘 賵丕賱丕賲 賵丕賱禺丕賱 賵丕賱噩丿 賵兀禺賷乇丕賸 丕賱丨亘賷亘丞 賵丕賱胤賮賱) 賮兀氐亘丨 亘丕賱賳爻亘丞 賱賴 亘賱丕 賲毓賳賶. 毓丕卮 丕賱丕爻鬲睾賳丕亍 賵賱賲 賷亘匕賱 噩賴丿丕賸 賱賷鬲睾賷乇 亘賱 馗賱 賰賲丕 賴賵 賲爻鬲睾賳賶 毓賳 丕賱賲丕賱 丕賱丕 賲丕 賷賰賮賶 丕賱丨丕噩丞.
兀囟丨鬲 丨亘賷亘鬲賴 噩夭亍 賲賳 丨賷丕鬲賴 丕毓鬲丕丿 毓賱賶 賵噩賵丿賴 賵賰匕賱賰 禺丕賱賴 丨鬲賶 兀賳賴 賱賲 賷丨鬲賮馗 亘賲丕 鬲亘賯賶 賱賴 賲賳 匕賰乇賶 禺丕賱賴 (賲賰鬲亘丞 禺丕賱賴 賵丕賱鬲賶 鬲噩丕賵夭鬲 丕賱丕賱賮 賰鬲丕亘) 亘丕毓賴丕 賱賷胤毓賲 賳賮爻賴, 廿禺鬲氐丕乇丕賸 賱賲 賷賮毓賱 賮噩 卮賷卅丕賸 賱賷賮賷丿 賳賮爻賴 賱賲 賷毓賲賱 賱兀噩賱 丕賱毓賲賱 賵丕爻鬲賲乇丕乇 丕賱丨賷丕丞 亘賱 賰丕丿鬲 鬲賰賵賳 丨賷丕鬲賴 孬賲賳丕賸 賱賱丕 賲亘丕賱鬲賴 賵毓丿賲 丕賰鬲乇丕孬賴.
2- 丕賱噩丿: 賷丨鬲賱 丕賱噩丿 噩夭亍 賲賴賲 賵賰亘賷乇 賮賶 丕賱乇賵丕賷丞 賯丿乇 賲丕 賱賲丕囟賶 丕賱賵賱丕賷丕鬲 丕賱賲鬲丨丿丞 賲賳 兀賴賲賷丞 賵丕賳毓賰丕爻 賮賶 丨丕囟乇賳丕 賮賴賵 丕賱賲丕囟賶 (賲丕囟賶 丕賱廿亘丕丿丞 賵氐乇丕毓丕鬲 丕賱鬲賯丿賲 丕賱賲丕丿賶 丕賱丨囟丕乇賶 賵丨乇賵亘 丕賱毓氐丕亘丕鬲 (毓氐丕亘丕鬲 賯購胤丕毓 丕賱胤乇賯 賵 毓氐丕亘丕鬲 丕賱丕爻鬲丨賵丕匕 毓賱賶 乇丐爻 丕賱兀賲賵丕賱) ) 丕賱匕賶 賱丕 賲賮乇 賲賳賴 丕賱賲丕囟賶 丕賱匕賶 賷卮賰賱 毓賯賱賷丞 丕賱丨丕囟乇 賵禺胤胤 丕賱賲爻鬲賯亘賱.
February 8, 2025
賱賵賱丕 丕賱丨馗乇貙 賲丕 賰賳鬲 丕爻鬲賲鬲毓鬲 亘賯乇丕亍丞 鬲賱賰 丕賱毓賲賱. 賮賴賶 賳賵毓 賲賳 丕賱乇賵賷 丕賱賯氐氐賷 丕賱睾賷乇 丕賱賲毓鬲丕丿 亘丕賱賳爻亘丞 賱賷貙 賵丕賱匕賷 賱賲 兀賰賳 賱兀氐亘乇 毓賱賶 賯乇丕亍鬲賴 賮賷 賳馗丕賲 丨賷丕鬲賷 丕賱賲鬲毓噩賱 賮賷 丕賱兀賷丕賲 丕賱毓丕丿賷丞.
賯乇兀鬲賴 賲乇鬲丕賳..賵亘噩丕賳亘 丕爻鬲賲鬲丕毓賷 丕賱卮丿賷丿 亘賴貙 乇兀賷鬲 亘毓囟 "丕賱孬睾乇丕鬲" 賮賷 丕賱丨亘賰丞 丕賱鬲賷 兀噩丕丿 兀賵爻鬲乇 鬲睾胤賷鬲賴丕 亘亘乇丕毓丞. 賮丕賱丨賰丕賷丞 賯丕卅賲丞 毓賱賶 爻賱爻賱丞 賲賳 丕賱賲氐丕丿賮丕鬲 丕賱亘丨鬲丞 丕賱鬲賷 賱賲 鬲賰賳 賱鬲氐丿賯賴丕 廿匕丕 爻賲毓鬲 毓賳賴丕 賮賷 丕賱賵丕賯毓. 賵賱賰賳 賴賳丕 賰丕賳 賵丕賯毓丕賸 兀卮亘賴 亘丕賱禺賷丕賱. 乇購賵賷鬲 丕賱丨賰丕賷丞 賵賰兀賳賴丕 丨賱賲. 賰賱 爻胤乇 賲賳 丕賱乇賵丕賷丞 賯丿 賷賰賵賳 賵丕賯毓丕 賵賯丿 賷賰賵賳 禺賷丕賱丕.
丕賱賳賯胤丞 丕賱鬲賷 兀噩賴丿鬲 毓賯賱賷 賮賷 賲丨丕賵賱丞 賮賴賲賴丕貙 賵賱賱兀爻賮 賱賲 兀爻鬲胤毓. 賴賶 毓賱丕賯丞 丕賱賯賲乇 亘兀丨丿丕孬 丕賱乇賵丕賷丞. 賴賱 賰丕賳 丕賱兀亘胤丕賱 丕賱孬賱丕孬丞 賷賲孬賱賵賳 "丕賱賯賲乇-丕賱兀乇囟-丕賱卮賲爻"責 兀賲 賴賶 毓賱丕賯丞 "丕賱賲丕囟賷-丕賱丨丕囟乇-丕賱賲爻鬲賯亘賱" 賰賲丕 鬲賲 賵氐賮賴丕 賮賷 廿丨丿賶 噩賲賱 丕賱乇賵丕賷丞責 賱賲 兀賮賴賲 賴匕賴 丕賱賳賯胤丞 賱賱兀爻賮.
賱賮鬲 兀丨丿 丕賱賯乇丕亍 丕賱兀賮丕囟賱 賴賳丕 賮賷 賲乇丕噩毓鬲賴 丕賳鬲亘丕賴賷 丕賱賶 賳賯胤丞 賱賲 丕賳鬲亘賴 賱賴丕 賮賷 卮禺氐賷丞 "賲丕乇賰賵 賮噩" 賵賴賶 卮禺氐賷鬲賴 丕賱兀賳丕賳賷丞貙 兀賵 丕賱賱丕賲亘丕賱丕賷丞 亘兀賷 禺爻丕乇丞. 賵兀賷囟丕 賱賮鬲 丕賳鬲亘丕賴賷 廿賱賶 毓賱丕賯丞 匕賱賰 亘禺爻丕乇鬲賴 丕賱兀賵賱賶 賱兀賲賴 孬賲 禺丕賱賴貙 賵丕賱鬲賷 噩毓賱鬲賴 賷毓賱賲 賳賮爻賴 毓丿賲 丕賱鬲毓賱賯 亘兀賷 卮賶亍 鬲噩賳亘丕 賱兀賱賲 丕賱賮賯丿.
丕毓鬲賯丿 賲賳 亘賷賳 丕賱孬賱丕孬 卮禺氐賷丕鬲-丕賱噩丿 賵丕賱兀亘 賵丕賱丨賮賷丿-鬲毓丕胤賮鬲 鬲賲丕賲丕 賲毓 丕賱兀亘 "爻賵賱賲賳 亘乇亘乇". 賮賱賲 鬲賰賳 丕賱丨賷丕丞 毓丕丿賱丞 賲毓賴 亘兀賷 丨丕賱 賲賳 丕賱兀丨賵丕賱. 匕賰乇賳賷 賰孬賷乇丕 亘卮禺氐賷丞 "毓夭乇丕 鬲賱" 賮賷 乇賵丕賷鬲賷 丕賱賲賮囟賱丞 "毓卮丕亍 賮賷 賲胤毓賲 丕賱賲卮鬲丕賯賷賳 賱賱兀賴賱". 丕賱廿賳爻丕賳 丕賱匕賷 丕爻鬲爻賱賲 鬲賲丕賲丕 賱乇賷丕丨 丕賯丿丕乇賴 丕賱馗丕賱賲丞 亘丿賵賳 兀賷 賲丨丕賵賱丞 噩丿賷丞 賲賳賴 賱賱鬲丿禺賱 賮賷 鬲睾賷賷乇賴丕.
賯氐丞 丨亘 賰賷鬲賷 賵賵 賵爻鬲丕賳賱賷 賮噩 賲賳 兀氐丿賯 賵兀噩賲賱 賯氐氐 丕賱丨亘 丕賱鬲賷 賯乇兀鬲賴丕. 賵廿賳 賰丕賳鬲 賳賴丕賷鬲賴丕 賰爻乇鬲 賯賱亘賷.
賯乇兀鬲賴 賲乇鬲丕賳..賵亘噩丕賳亘 丕爻鬲賲鬲丕毓賷 丕賱卮丿賷丿 亘賴貙 乇兀賷鬲 亘毓囟 "丕賱孬睾乇丕鬲" 賮賷 丕賱丨亘賰丞 丕賱鬲賷 兀噩丕丿 兀賵爻鬲乇 鬲睾胤賷鬲賴丕 亘亘乇丕毓丞. 賮丕賱丨賰丕賷丞 賯丕卅賲丞 毓賱賶 爻賱爻賱丞 賲賳 丕賱賲氐丕丿賮丕鬲 丕賱亘丨鬲丞 丕賱鬲賷 賱賲 鬲賰賳 賱鬲氐丿賯賴丕 廿匕丕 爻賲毓鬲 毓賳賴丕 賮賷 丕賱賵丕賯毓. 賵賱賰賳 賴賳丕 賰丕賳 賵丕賯毓丕賸 兀卮亘賴 亘丕賱禺賷丕賱. 乇購賵賷鬲 丕賱丨賰丕賷丞 賵賰兀賳賴丕 丨賱賲. 賰賱 爻胤乇 賲賳 丕賱乇賵丕賷丞 賯丿 賷賰賵賳 賵丕賯毓丕 賵賯丿 賷賰賵賳 禺賷丕賱丕.
丕賱賳賯胤丞 丕賱鬲賷 兀噩賴丿鬲 毓賯賱賷 賮賷 賲丨丕賵賱丞 賮賴賲賴丕貙 賵賱賱兀爻賮 賱賲 兀爻鬲胤毓. 賴賶 毓賱丕賯丞 丕賱賯賲乇 亘兀丨丿丕孬 丕賱乇賵丕賷丞. 賴賱 賰丕賳 丕賱兀亘胤丕賱 丕賱孬賱丕孬丞 賷賲孬賱賵賳 "丕賱賯賲乇-丕賱兀乇囟-丕賱卮賲爻"責 兀賲 賴賶 毓賱丕賯丞 "丕賱賲丕囟賷-丕賱丨丕囟乇-丕賱賲爻鬲賯亘賱" 賰賲丕 鬲賲 賵氐賮賴丕 賮賷 廿丨丿賶 噩賲賱 丕賱乇賵丕賷丞責 賱賲 兀賮賴賲 賴匕賴 丕賱賳賯胤丞 賱賱兀爻賮.
賱賮鬲 兀丨丿 丕賱賯乇丕亍 丕賱兀賮丕囟賱 賴賳丕 賮賷 賲乇丕噩毓鬲賴 丕賳鬲亘丕賴賷 丕賱賶 賳賯胤丞 賱賲 丕賳鬲亘賴 賱賴丕 賮賷 卮禺氐賷丞 "賲丕乇賰賵 賮噩" 賵賴賶 卮禺氐賷鬲賴 丕賱兀賳丕賳賷丞貙 兀賵 丕賱賱丕賲亘丕賱丕賷丞 亘兀賷 禺爻丕乇丞. 賵兀賷囟丕 賱賮鬲 丕賳鬲亘丕賴賷 廿賱賶 毓賱丕賯丞 匕賱賰 亘禺爻丕乇鬲賴 丕賱兀賵賱賶 賱兀賲賴 孬賲 禺丕賱賴貙 賵丕賱鬲賷 噩毓賱鬲賴 賷毓賱賲 賳賮爻賴 毓丿賲 丕賱鬲毓賱賯 亘兀賷 卮賶亍 鬲噩賳亘丕 賱兀賱賲 丕賱賮賯丿.
丕毓鬲賯丿 賲賳 亘賷賳 丕賱孬賱丕孬 卮禺氐賷丕鬲-丕賱噩丿 賵丕賱兀亘 賵丕賱丨賮賷丿-鬲毓丕胤賮鬲 鬲賲丕賲丕 賲毓 丕賱兀亘 "爻賵賱賲賳 亘乇亘乇". 賮賱賲 鬲賰賳 丕賱丨賷丕丞 毓丕丿賱丞 賲毓賴 亘兀賷 丨丕賱 賲賳 丕賱兀丨賵丕賱. 匕賰乇賳賷 賰孬賷乇丕 亘卮禺氐賷丞 "毓夭乇丕 鬲賱" 賮賷 乇賵丕賷鬲賷 丕賱賲賮囟賱丞 "毓卮丕亍 賮賷 賲胤毓賲 丕賱賲卮鬲丕賯賷賳 賱賱兀賴賱". 丕賱廿賳爻丕賳 丕賱匕賷 丕爻鬲爻賱賲 鬲賲丕賲丕 賱乇賷丕丨 丕賯丿丕乇賴 丕賱馗丕賱賲丞 亘丿賵賳 兀賷 賲丨丕賵賱丞 噩丿賷丞 賲賳賴 賱賱鬲丿禺賱 賮賷 鬲睾賷賷乇賴丕.
賯氐丞 丨亘 賰賷鬲賷 賵賵 賵爻鬲丕賳賱賷 賮噩 賲賳 兀氐丿賯 賵兀噩賲賱 賯氐氐 丕賱丨亘 丕賱鬲賷 賯乇兀鬲賴丕. 賵廿賳 賰丕賳鬲 賳賴丕賷鬲賴丕 賰爻乇鬲 賯賱亘賷.
June 6, 2017
Moon Palace is unquestionably classic Auster, and a great starting point, his writing style might not be to everyone's liking but for me he is the most natural of storytellers.This centres on Marco Stanley Fogg (another great name!) and follows him on a journey from a crummy New York apartment to the vast landscapes of the American west and beyond, after becoming intrigued by a story told to him by his old eccentric employer who he cares for. There is rarely a dull moment to be had and as storytelling goes this is seriously good. Drawing you in right from the start, you never really know where his stories are going or where they are going to end up, that's a gift worth sharing. Far accessible than say The New York Trilogy, this is a great place to start for the Auster virgin.
Moving, oddly humorous and obscure. A totally absorbing novel.
Moving, oddly humorous and obscure. A totally absorbing novel.
February 9, 2017
_Moon Palace_
Reading this books was a pleasure <3
I tried reading this in the summer but i was going out all the time and i was working and i was having so much fun (SUMMER I NEED YOU, PLZ COME BACK) so reading was not in my plans at all. I picked it up about a week ago and i must admit that i kind of fell in love with Auster's writing and Auster's story.
The way he uses the first person narrative is so well done that i started thinking all over again about narration techniques. Authors who are genuinly talented and use the first person narrative are a bliss. I loved everything that he gave in this one.
Marco Stanley Fogg. This character split me in half. Or even more pieces. I liked him in the beggining, then disliked him, then liked him again, then disliked him again. In the end i would say that i feel sorry for him but also i don't. I know i am not making any sense but that's how i feel about him. All the characters had depth, all of them seemed real, both with their sins and their virtues. The story was interesting, the stories within the story were interesting, all of it was beautifully written and given to us. I won't say anyhting more. I loved this. I want to read more of his works.
Reading this books was a pleasure <3
I tried reading this in the summer but i was going out all the time and i was working and i was having so much fun (SUMMER I NEED YOU, PLZ COME BACK) so reading was not in my plans at all. I picked it up about a week ago and i must admit that i kind of fell in love with Auster's writing and Auster's story.
The way he uses the first person narrative is so well done that i started thinking all over again about narration techniques. Authors who are genuinly talented and use the first person narrative are a bliss. I loved everything that he gave in this one.
Marco Stanley Fogg. This character split me in half. Or even more pieces. I liked him in the beggining, then disliked him, then liked him again, then disliked him again. In the end i would say that i feel sorry for him but also i don't. I know i am not making any sense but that's how i feel about him. All the characters had depth, all of them seemed real, both with their sins and their virtues. The story was interesting, the stories within the story were interesting, all of it was beautifully written and given to us. I won't say anyhting more. I loved this. I want to read more of his works.
October 10, 2024
4,5
袩芯褋褌屑芯写械褉薪懈褋褌褋泻懈泄 褌械泻褋褌 袨褋褌械褉邪 懈薪褌械褉褌械泻褋褌褍邪谢械薪, 懈薪褌械褉屑械写懈邪谢械薪 懈 褎褉邪谐屑械薪褌邪褉械薪, 泻邪泻 懈 锌芯谢芯卸械薪芯; 芯薪 薪邪锌芯谢薪械薪 褋懈屑胁芯谢懈蟹屑芯屑, 懈 谐谢邪胁薪褘屑 褋懈屑胁芯谢芯屑, 懈褋褏芯写褟 写邪卸械 懈蟹 薪邪蟹胁邪薪懈褟 褟胁谢褟械褌褋褟 袥褍薪邪. 袙 泻薪懈谐械 褌褉懈 谐械褉芯褟, 泻邪蟹邪谢芯褋褜 斜褘 薪械 褋胁褟蟹邪薪薪褘械 屑械卸写褍 褋芯斜芯泄, 薪芯 褌芯谢褜泻芯 锌芯褋谢械 褋屑械褉褌懈 谐谢邪胁薪褘泄 谐械褉芯泄 袦邪褉泻芯 小褌褝薪谢懈 肖芯谐谐 褍蟹薪邪械褌, 褔褌芯 小芯谢 袘邪褉斜械褉 懈 协褎褎懈薪谐 斜褘谢懈 械谐芯 斜懈芯谢芯谐懈褔械褋泻懈屑懈 芯褌褑芯屑 懈 写械写芯屑 褋芯芯褌胁械褌褋褌胁械薪薪芯. 袦薪械 褋芯胁褋械屑 薪械 锌芯薪褉邪胁懈谢邪褋褜 褌邪 谐谢褍斜懈薪薪邪褟 芯褌褔褍卸写褢薪薪芯褋褌褜, 泻芯褌芯褉邪褟 薪械 锌芯蟹胁芯谢褟械褌 谐械褉芯褟屑 胁褘斜褉邪褌褜褋褟 懈蟹 褋胁芯械谐芯 泻芯泻芯薪邪 芯写懈薪芯褔械褋褌胁邪, 懈 褝褌芯 薪械 褌芯谢褜泻芯 "薪邪褋谢械写褋褌胁械薪薪邪褟" 褔械褉褌邪 锌褉械写褋褌邪胁懈褌械谢械泄 谢懈薪懈懈 协褎褎懈薪谐-袘邪褉斜械褉-肖芯谐谐, 薪芯 懈 袣懈褌褌懈, 泻芯褌芯褉邪褟 锌褉械褉褘胁邪械褌 斜械褉械屑械薪薪芯褋褌褜 "褉邪写懈 谢褞斜胁懈", 薪芯 胁 写械泄褋褌胁懈褌械谢褜薪芯褋褌懈 褋褌褉邪褕邪褖邪褟褋褟 褍褋褌邪薪芯胁懈褌褜 泻褉械锌泻褍褞 褋胁褟蟹褜, 薪懈褌褜褞 泻芯褌芯褉芯泄 褋褌邪谢 斜褘 褉械斜械薪芯泻. 袠 褝褌芯, 械褋谢懈 胁写褍屑邪褌褜褋褟, 褍卸邪褋薪芯, 褔褌芯 褑械谢褘褏 褌褉懈 锌芯泻芯谢械薪懈褟 斜褉芯褕械薪薪褘褏 芯褌褑邪屑懈 写械褌械泄, 卸懈谢懈, 胁蟹褉芯褋谢械谢懈, 懈 胁褋褌褉械褌懈谢懈褋褜 斜褍泻胁邪谢褜薪芯 锌械褉械写 褋屑械褉褌褜褞, 泻邪泻 褋芯胁械褉褕械薪薪芯 褔褍卸懈械 谢褞写懈. 袠 蟹写械褋褜, 屑薪械 泻邪卸械褌褋褟, 蟹邪泻谢褞褔褢薪 褋懈屑胁芯谢懈蟹屑 袥褍薪褘. 袥褍薪邪 - 褋懈屑胁芯谢 芯写懈薪芯褔械褋褌胁邪, 褝褌芯 械写懈薪褋褌胁械薪薪褘泄 褋锌褍褌薪懈泻 袟械屑谢懈, 褋胁褟蟹邪薪薪褘泄 褋 薪械泄 薪械胁懈写懈屑褘屑懈 谐褉邪胁懈褌邪褑懈芯薪薪褘屑懈 褋懈谢邪屑懈. 袪芯屑邪薪 褍胁谢械泻邪褌械谢械薪, 胁褋褌邪胁薪褍褞 褔邪褋褌褜 芯斜 协褎褎懈薪谐械 写邪卸械 屑芯卸薪芯 褋屑械谢芯 芯褌薪械褋褌懈 泻 锌褉懈泻谢褞褔械薪褔械褋泻芯泄 谢懈褌械褉邪褌褍褉械.
袠 胁褋械 卸械, 锌芯 屑芯械屑褍 胁薪褍褌褉械薪薪械屑褍 芯褖褍褖械薪懈褞, 械褋褌褜 芯锌褉械写械谢械薪薪邪褟 薪械薪邪褌褍褉邪谢褜薪芯褋褌褜, 懈 胁芯蟹屑芯卸薪芯, 胁懈薪芯泄 褌芯屑褍 袥褍薪邪. 袣褉邪褋懈胁邪褟 邪褋褋芯褑懈邪褑懈褟 械褋褌褜, 懈 褔械谢芯胁械褔械褋泻邪褟 锌褋懈褏芯谢芯谐懈褟 胁褘褋褌褉芯械薪邪 胁 褋芯谐谢邪褋懈懈 褋 褝褌芯泄 邪褋褋芯褑懈邪褑懈械泄. 袧芯 谢褞写懈 胁褋褢-褌邪泻懈 薪械 褌邪泻懈械.
袙芯褌, 薪邪锌褉懈屑械褉, 褉械邪泻褑懈褟 肖芯谐谐邪 薪邪 懈蟹胁械褋褌懈械 芯斜 芯斜褉械褌械薪懈懈 芯褌褑邪. "袧邪胁械褉薪芯械, 薪械 褋褌芯懈褌 懈 谐芯胁芯褉懈褌褜, 褔褌芯 锌褉懈褋褌褍锌 褌芯谐芯 斜械褕械薪芯谐芯 谐薪械胁邪, 泻芯褌芯褉褘褏 芯褏胁邪褌懈谢 屑械薪褟 薪邪 泻谢邪写斜懈褖械, 锌褉芯褕械谢 斜械蟹 褋谢械写邪, 薪芯 胁褋械 卸械, 褏芯褌褟 褋芯屑薪械薪懈泄 锌芯褔褌懈 薪械 芯褋褌邪谢芯褋褜, 褟 泻邪泻-褌芯 薪械 屑芯谐 胁 谐谢褍斜懈薪械 写褍褕懈 锌芯胁械褉懈褌褜, 褔褌芯 袘邪褉斜械褉 鈥� 屑芯泄 芯褌械褑. 袛邪, 斜褘谢芯 褟褋薪芯, 褌芯 胁 1946 谐芯写褍 芯薪 锌褉芯胁械谢 薪芯褔褜 褋 屑芯械泄 屑邪屑芯泄; 懈 斜褘谢芯 褌邪泻 卸械 褟褋薪芯, 褔褌芯 胁 褔械褉械蟹 写械胁褟褌褜 屑械褋褟褑械胁 褉芯写懈谢褋褟 褟. 袧芯 谐写械 写芯泻邪蟹邪褌械谢褜褋褌胁邪, 褔褌芯 芯薪邪 褋锌邪谢邪 褌芯谢褜泻芯 褋 袘邪褉斜械褉芯屑? 小泻芯褉械械 胁褋械谐芯, 斜褘谢芯 懈屑械薪薪芯 褌邪泻. 袧芯 胁械写褜 屑邪屑邪 芯写薪芯胁褉械屑械薪薪芯 屑芯谐谢邪 胁褋褌褉械褔邪褌褜褋褟 懈 褋 写胁褍屑褟 屑褍卸褔懈薪邪屑懈. 袗 械褋谢懈 褌邪泻, 褌芯, 胁芯蟹屑芯卸薪芯, 蟹邪斜械褉械屑械薪械谢邪 芯薪邪 芯褌 胁褌芯褉芯谐芯. 孝芯谢褜泻芯 褝褌芯 锌褉械写锌芯谢芯卸械薪懈械 泻芯械-泻邪泻 锌芯蟹胁芯谢褟谢芯 屑薪械 薪械 锌褉懈蟹薪邪胁邪褌褜 袘邪褉斜械褉邪 芯褌褑芯屑, 薪芯 褟 胁褑械锌懈谢褋褟 胁 薪械谐芯 懈蟹芯 胁褋械褏 褋懈谢. 袩芯泻邪 芯褋褌邪胁邪谢邪褋褜 褏芯褌褟 斜褘 泻邪锌谢褟 褋芯屑薪械薪懈褟, 褟 薪械 屑芯谐 蟹邪褋褌邪胁懈褌褜 褋械斜褟 锌芯胁械褉懈褌褜 胁 褝褌芯. 孝邪泻邪褟 褉械邪泻褑懈褟 斜褘谢邪 褋褌褉邪薪薪芯泄, 薪芯 褋械泄褔邪褋, 芯斜写褍屑褘胁邪褟 褌褍 褋懈褌褍邪褑懈褞, 褟 锌芯薪懈屑邪褞 械械 懈褋褌芯泻懈. 袛胁邪写褑邪褌褜 褔械褌褘褉械 谐芯写邪 胁芯锌褉芯褋 芯褋褌邪胁邪谢褋褟 薪械胁褘褟褋薪械薪薪褘屑 懈, 谐谢邪胁薪芯械, 斜褘谢 锌褉懈薪褑懈锌懈邪谢褜薪芯 薪械胁褘褟褋薪械薪薪褘屑. 袦芯械 锌褉芯懈褋褏芯卸写械薪懈械 鈥� 褌邪泄薪邪, 懈 屑薪械 薪懈泻芯谐写邪 薪械 褍蟹薪邪褌褜 褋胁芯械谐芯 褉芯写邪. 协褌芯 鈥� 谐谢邪胁薪邪褟 褔械褉褌邪 屑芯械泄 薪械锌芯胁褌芯褉懈屑芯褋褌懈, 屑芯械 芯褌谢懈褔懈械, 懈 褟 褋写械谢邪谢 褝褌褍 褌邪懈薪褋褌胁械薪薪芯褋褌褜 懈褋褌芯褔薪懈泻芯屑 褋邪屑芯褍胁邪卸械薪懈褟, 锌芯胁械褉懈谢 胁 薪械械, 泻邪泻 胁 薪械懈蟹斜械卸薪芯褋褌褜 斜褘褌懈褟. 袣邪泻 斜褘 褋褌褉邪褋褌薪芯 薪懈 屑械褔褌邪谢 褟 薪邪泄褌懈 芯褌褑邪, 褌邪泻芯泄 胁芯蟹屑芯卸薪芯褋褌懈 薪懈泻芯谐写邪 薪械 写芯锌褍褋泻邪谢芯褋褜. 孝械锌械褉褜 卸械, 泻芯谐写邪 褟 械谐芯 薪邪褕械谢, 胁薪褍褌褉械薪薪械械 薪械锌褉懈褟褌懈械 芯泻邪蟹邪谢芯褋褜 薪邪褋褌芯谢褜泻芯 褋懈谢褜薪褘屑, 褔褌芯 褋薪邪褔邪谢邪 褟 薪械 屑芯谐 薪械 芯褌褉懈褑邪褌褜 褝褌芯谐芯. 袩褉懈褔懈薪芯泄 芯褌褉懈褑邪薪懈褟 斜褘谢 胁芯胁褋械 薪械 褋邪屑 袘邪褉斜械褉, 锌褉懈褔懈薪芯泄 褟胁谢褟谢邪褋褜 褋邪屑邪 褋懈褌褍邪褑懈褟. 袨薪 褋褌邪谢 屑芯懈屑 褋邪屑褘屑 谢褍褔褕懈屑 写褉褍谐芯屑, 懈 褟 谢褞斜懈谢 械谐芯 泻邪泻 写褉褍谐邪. 袝褋谢懈 斜褘 屑薪械 锌褉械写谢芯卸懈谢懈 懈蟹 胁褋械褏 谢褞写械泄 薪邪 褋胁械褌械 胁褘斜褉邪褌褜 褋械斜械 芯褌褑邪, 褟 斜褘 胁褘斜褉邪谢 械谐芯. 袠 胁褋械 卸械 锌褉懈薪褟褌褜 械谐芯 泻邪泻 芯褌褑邪 薪械 屑芯谐. 袙褋械 屑芯械 褋褍褖械褋褌胁芯 锌褉芯褌懈胁懈谢芯褋褜 褝褌芯屑褍, 懈 屑薪械 斜褘谢芯 芯褔械薪褜 褌褟卸械谢芯." 袪邪蟹胁械 褌邪泻 斜褘胁邪械褌, 褔褌芯 褌邪泄薪邪 褉芯卸写械薪懈褟, 锌褍褋褌褜 芯薪邪 懈 斜褘谢邪 懈褋褌芯褔薪懈泻芯屑 褋邪屑芯褍胁邪卸械薪懈褟, 屑芯卸械褌 蟹邪褌屑懈褌褜 褉邪写芯褋褌褜 芯褌 芯斜褉械褌械薪懈褟 芯褌褑邪, 褌械屑 斜芯谢械械 芯褌褑邪, 褋 泻芯褌芯褉褘屑 芯薪 褋褌邪谢 写褉褍谐芯屑? 孝邪泻芯泄 褝谐芯褑械薪褌褉懈蟹屑 蟹邪褕泻邪谢懈胁邪械褌. 袧芯 薪邪写芯 芯褌屑械褌懈褌褜, 褔褌芯 斜械蟹芯褌褑芯胁褖懈薪邪 胁 薪褘薪械褕薪懈械 胁褉械屑械薪邪 褋褌邪谢邪 锌芯胁褋械屑械褋褌薪芯泄, 懈 械褋谢懈 泻谢邪褋褋懈泻芯胁 写械胁褟褌薪邪写褑邪褌芯谐芯 胁械泻邪 胁芯谢薪芯胁邪谢懈 锌褉芯斜谢械屑褘 芯褌褑芯胁 懈 写械褌械泄, 褌芯 褋械泄褔邪褋 胁芯谢薪褍褞褌 锌褉芯斜谢械屑褘 芯褌褋褍褌褋褌胁懈褟 芯褌褑芯胁 褍 写械褌械泄.
袦薪械 锌芯薪褉邪胁懈谢懈褋褜 写械褌邪谢懈 懈蟹 斜懈芯谐褉邪褎懈懈 袧懈泻泻芯谢芯 孝械褋谢褘, 袪邪谢褜褎邪 袘谢褝泄泻谢芯泻邪.
袩芯褋褌屑芯写械褉薪懈褋褌褋泻懈泄 褌械泻褋褌 袨褋褌械褉邪 懈薪褌械褉褌械泻褋褌褍邪谢械薪, 懈薪褌械褉屑械写懈邪谢械薪 懈 褎褉邪谐屑械薪褌邪褉械薪, 泻邪泻 懈 锌芯谢芯卸械薪芯; 芯薪 薪邪锌芯谢薪械薪 褋懈屑胁芯谢懈蟹屑芯屑, 懈 谐谢邪胁薪褘屑 褋懈屑胁芯谢芯屑, 懈褋褏芯写褟 写邪卸械 懈蟹 薪邪蟹胁邪薪懈褟 褟胁谢褟械褌褋褟 袥褍薪邪. 袙 泻薪懈谐械 褌褉懈 谐械褉芯褟, 泻邪蟹邪谢芯褋褜 斜褘 薪械 褋胁褟蟹邪薪薪褘械 屑械卸写褍 褋芯斜芯泄, 薪芯 褌芯谢褜泻芯 锌芯褋谢械 褋屑械褉褌懈 谐谢邪胁薪褘泄 谐械褉芯泄 袦邪褉泻芯 小褌褝薪谢懈 肖芯谐谐 褍蟹薪邪械褌, 褔褌芯 小芯谢 袘邪褉斜械褉 懈 协褎褎懈薪谐 斜褘谢懈 械谐芯 斜懈芯谢芯谐懈褔械褋泻懈屑懈 芯褌褑芯屑 懈 写械写芯屑 褋芯芯褌胁械褌褋褌胁械薪薪芯. 袦薪械 褋芯胁褋械屑 薪械 锌芯薪褉邪胁懈谢邪褋褜 褌邪 谐谢褍斜懈薪薪邪褟 芯褌褔褍卸写褢薪薪芯褋褌褜, 泻芯褌芯褉邪褟 薪械 锌芯蟹胁芯谢褟械褌 谐械褉芯褟屑 胁褘斜褉邪褌褜褋褟 懈蟹 褋胁芯械谐芯 泻芯泻芯薪邪 芯写懈薪芯褔械褋褌胁邪, 懈 褝褌芯 薪械 褌芯谢褜泻芯 "薪邪褋谢械写褋褌胁械薪薪邪褟" 褔械褉褌邪 锌褉械写褋褌邪胁懈褌械谢械泄 谢懈薪懈懈 协褎褎懈薪谐-袘邪褉斜械褉-肖芯谐谐, 薪芯 懈 袣懈褌褌懈, 泻芯褌芯褉邪褟 锌褉械褉褘胁邪械褌 斜械褉械屑械薪薪芯褋褌褜 "褉邪写懈 谢褞斜胁懈", 薪芯 胁 写械泄褋褌胁懈褌械谢褜薪芯褋褌懈 褋褌褉邪褕邪褖邪褟褋褟 褍褋褌邪薪芯胁懈褌褜 泻褉械锌泻褍褞 褋胁褟蟹褜, 薪懈褌褜褞 泻芯褌芯褉芯泄 褋褌邪谢 斜褘 褉械斜械薪芯泻. 袠 褝褌芯, 械褋谢懈 胁写褍屑邪褌褜褋褟, 褍卸邪褋薪芯, 褔褌芯 褑械谢褘褏 褌褉懈 锌芯泻芯谢械薪懈褟 斜褉芯褕械薪薪褘褏 芯褌褑邪屑懈 写械褌械泄, 卸懈谢懈, 胁蟹褉芯褋谢械谢懈, 懈 胁褋褌褉械褌懈谢懈褋褜 斜褍泻胁邪谢褜薪芯 锌械褉械写 褋屑械褉褌褜褞, 泻邪泻 褋芯胁械褉褕械薪薪芯 褔褍卸懈械 谢褞写懈. 袠 蟹写械褋褜, 屑薪械 泻邪卸械褌褋褟, 蟹邪泻谢褞褔褢薪 褋懈屑胁芯谢懈蟹屑 袥褍薪褘. 袥褍薪邪 - 褋懈屑胁芯谢 芯写懈薪芯褔械褋褌胁邪, 褝褌芯 械写懈薪褋褌胁械薪薪褘泄 褋锌褍褌薪懈泻 袟械屑谢懈, 褋胁褟蟹邪薪薪褘泄 褋 薪械泄 薪械胁懈写懈屑褘屑懈 谐褉邪胁懈褌邪褑懈芯薪薪褘屑懈 褋懈谢邪屑懈. 袪芯屑邪薪 褍胁谢械泻邪褌械谢械薪, 胁褋褌邪胁薪褍褞 褔邪褋褌褜 芯斜 协褎褎懈薪谐械 写邪卸械 屑芯卸薪芯 褋屑械谢芯 芯褌薪械褋褌懈 泻 锌褉懈泻谢褞褔械薪褔械褋泻芯泄 谢懈褌械褉邪褌褍褉械.
袠 胁褋械 卸械, 锌芯 屑芯械屑褍 胁薪褍褌褉械薪薪械屑褍 芯褖褍褖械薪懈褞, 械褋褌褜 芯锌褉械写械谢械薪薪邪褟 薪械薪邪褌褍褉邪谢褜薪芯褋褌褜, 懈 胁芯蟹屑芯卸薪芯, 胁懈薪芯泄 褌芯屑褍 袥褍薪邪. 袣褉邪褋懈胁邪褟 邪褋褋芯褑懈邪褑懈褟 械褋褌褜, 懈 褔械谢芯胁械褔械褋泻邪褟 锌褋懈褏芯谢芯谐懈褟 胁褘褋褌褉芯械薪邪 胁 褋芯谐谢邪褋懈懈 褋 褝褌芯泄 邪褋褋芯褑懈邪褑懈械泄. 袧芯 谢褞写懈 胁褋褢-褌邪泻懈 薪械 褌邪泻懈械.
袙芯褌, 薪邪锌褉懈屑械褉, 褉械邪泻褑懈褟 肖芯谐谐邪 薪邪 懈蟹胁械褋褌懈械 芯斜 芯斜褉械褌械薪懈懈 芯褌褑邪. "袧邪胁械褉薪芯械, 薪械 褋褌芯懈褌 懈 谐芯胁芯褉懈褌褜, 褔褌芯 锌褉懈褋褌褍锌 褌芯谐芯 斜械褕械薪芯谐芯 谐薪械胁邪, 泻芯褌芯褉褘褏 芯褏胁邪褌懈谢 屑械薪褟 薪邪 泻谢邪写斜懈褖械, 锌褉芯褕械谢 斜械蟹 褋谢械写邪, 薪芯 胁褋械 卸械, 褏芯褌褟 褋芯屑薪械薪懈泄 锌芯褔褌懈 薪械 芯褋褌邪谢芯褋褜, 褟 泻邪泻-褌芯 薪械 屑芯谐 胁 谐谢褍斜懈薪械 写褍褕懈 锌芯胁械褉懈褌褜, 褔褌芯 袘邪褉斜械褉 鈥� 屑芯泄 芯褌械褑. 袛邪, 斜褘谢芯 褟褋薪芯, 褌芯 胁 1946 谐芯写褍 芯薪 锌褉芯胁械谢 薪芯褔褜 褋 屑芯械泄 屑邪屑芯泄; 懈 斜褘谢芯 褌邪泻 卸械 褟褋薪芯, 褔褌芯 胁 褔械褉械蟹 写械胁褟褌褜 屑械褋褟褑械胁 褉芯写懈谢褋褟 褟. 袧芯 谐写械 写芯泻邪蟹邪褌械谢褜褋褌胁邪, 褔褌芯 芯薪邪 褋锌邪谢邪 褌芯谢褜泻芯 褋 袘邪褉斜械褉芯屑? 小泻芯褉械械 胁褋械谐芯, 斜褘谢芯 懈屑械薪薪芯 褌邪泻. 袧芯 胁械写褜 屑邪屑邪 芯写薪芯胁褉械屑械薪薪芯 屑芯谐谢邪 胁褋褌褉械褔邪褌褜褋褟 懈 褋 写胁褍屑褟 屑褍卸褔懈薪邪屑懈. 袗 械褋谢懈 褌邪泻, 褌芯, 胁芯蟹屑芯卸薪芯, 蟹邪斜械褉械屑械薪械谢邪 芯薪邪 芯褌 胁褌芯褉芯谐芯. 孝芯谢褜泻芯 褝褌芯 锌褉械写锌芯谢芯卸械薪懈械 泻芯械-泻邪泻 锌芯蟹胁芯谢褟谢芯 屑薪械 薪械 锌褉懈蟹薪邪胁邪褌褜 袘邪褉斜械褉邪 芯褌褑芯屑, 薪芯 褟 胁褑械锌懈谢褋褟 胁 薪械谐芯 懈蟹芯 胁褋械褏 褋懈谢. 袩芯泻邪 芯褋褌邪胁邪谢邪褋褜 褏芯褌褟 斜褘 泻邪锌谢褟 褋芯屑薪械薪懈褟, 褟 薪械 屑芯谐 蟹邪褋褌邪胁懈褌褜 褋械斜褟 锌芯胁械褉懈褌褜 胁 褝褌芯. 孝邪泻邪褟 褉械邪泻褑懈褟 斜褘谢邪 褋褌褉邪薪薪芯泄, 薪芯 褋械泄褔邪褋, 芯斜写褍屑褘胁邪褟 褌褍 褋懈褌褍邪褑懈褞, 褟 锌芯薪懈屑邪褞 械械 懈褋褌芯泻懈. 袛胁邪写褑邪褌褜 褔械褌褘褉械 谐芯写邪 胁芯锌褉芯褋 芯褋褌邪胁邪谢褋褟 薪械胁褘褟褋薪械薪薪褘屑 懈, 谐谢邪胁薪芯械, 斜褘谢 锌褉懈薪褑懈锌懈邪谢褜薪芯 薪械胁褘褟褋薪械薪薪褘屑. 袦芯械 锌褉芯懈褋褏芯卸写械薪懈械 鈥� 褌邪泄薪邪, 懈 屑薪械 薪懈泻芯谐写邪 薪械 褍蟹薪邪褌褜 褋胁芯械谐芯 褉芯写邪. 协褌芯 鈥� 谐谢邪胁薪邪褟 褔械褉褌邪 屑芯械泄 薪械锌芯胁褌芯褉懈屑芯褋褌懈, 屑芯械 芯褌谢懈褔懈械, 懈 褟 褋写械谢邪谢 褝褌褍 褌邪懈薪褋褌胁械薪薪芯褋褌褜 懈褋褌芯褔薪懈泻芯屑 褋邪屑芯褍胁邪卸械薪懈褟, 锌芯胁械褉懈谢 胁 薪械械, 泻邪泻 胁 薪械懈蟹斜械卸薪芯褋褌褜 斜褘褌懈褟. 袣邪泻 斜褘 褋褌褉邪褋褌薪芯 薪懈 屑械褔褌邪谢 褟 薪邪泄褌懈 芯褌褑邪, 褌邪泻芯泄 胁芯蟹屑芯卸薪芯褋褌懈 薪懈泻芯谐写邪 薪械 写芯锌褍褋泻邪谢芯褋褜. 孝械锌械褉褜 卸械, 泻芯谐写邪 褟 械谐芯 薪邪褕械谢, 胁薪褍褌褉械薪薪械械 薪械锌褉懈褟褌懈械 芯泻邪蟹邪谢芯褋褜 薪邪褋褌芯谢褜泻芯 褋懈谢褜薪褘屑, 褔褌芯 褋薪邪褔邪谢邪 褟 薪械 屑芯谐 薪械 芯褌褉懈褑邪褌褜 褝褌芯谐芯. 袩褉懈褔懈薪芯泄 芯褌褉懈褑邪薪懈褟 斜褘谢 胁芯胁褋械 薪械 褋邪屑 袘邪褉斜械褉, 锌褉懈褔懈薪芯泄 褟胁谢褟谢邪褋褜 褋邪屑邪 褋懈褌褍邪褑懈褟. 袨薪 褋褌邪谢 屑芯懈屑 褋邪屑褘屑 谢褍褔褕懈屑 写褉褍谐芯屑, 懈 褟 谢褞斜懈谢 械谐芯 泻邪泻 写褉褍谐邪. 袝褋谢懈 斜褘 屑薪械 锌褉械写谢芯卸懈谢懈 懈蟹 胁褋械褏 谢褞写械泄 薪邪 褋胁械褌械 胁褘斜褉邪褌褜 褋械斜械 芯褌褑邪, 褟 斜褘 胁褘斜褉邪谢 械谐芯. 袠 胁褋械 卸械 锌褉懈薪褟褌褜 械谐芯 泻邪泻 芯褌褑邪 薪械 屑芯谐. 袙褋械 屑芯械 褋褍褖械褋褌胁芯 锌褉芯褌懈胁懈谢芯褋褜 褝褌芯屑褍, 懈 屑薪械 斜褘谢芯 芯褔械薪褜 褌褟卸械谢芯." 袪邪蟹胁械 褌邪泻 斜褘胁邪械褌, 褔褌芯 褌邪泄薪邪 褉芯卸写械薪懈褟, 锌褍褋褌褜 芯薪邪 懈 斜褘谢邪 懈褋褌芯褔薪懈泻芯屑 褋邪屑芯褍胁邪卸械薪懈褟, 屑芯卸械褌 蟹邪褌屑懈褌褜 褉邪写芯褋褌褜 芯褌 芯斜褉械褌械薪懈褟 芯褌褑邪, 褌械屑 斜芯谢械械 芯褌褑邪, 褋 泻芯褌芯褉褘屑 芯薪 褋褌邪谢 写褉褍谐芯屑? 孝邪泻芯泄 褝谐芯褑械薪褌褉懈蟹屑 蟹邪褕泻邪谢懈胁邪械褌. 袧芯 薪邪写芯 芯褌屑械褌懈褌褜, 褔褌芯 斜械蟹芯褌褑芯胁褖懈薪邪 胁 薪褘薪械褕薪懈械 胁褉械屑械薪邪 褋褌邪谢邪 锌芯胁褋械屑械褋褌薪芯泄, 懈 械褋谢懈 泻谢邪褋褋懈泻芯胁 写械胁褟褌薪邪写褑邪褌芯谐芯 胁械泻邪 胁芯谢薪芯胁邪谢懈 锌褉芯斜谢械屑褘 芯褌褑芯胁 懈 写械褌械泄, 褌芯 褋械泄褔邪褋 胁芯谢薪褍褞褌 锌褉芯斜谢械屑褘 芯褌褋褍褌褋褌胁懈褟 芯褌褑芯胁 褍 写械褌械泄.
袦薪械 锌芯薪褉邪胁懈谢懈褋褜 写械褌邪谢懈 懈蟹 斜懈芯谐褉邪褎懈懈 袧懈泻泻芯谢芯 孝械褋谢褘, 袪邪谢褜褎邪 袘谢褝泄泻谢芯泻邪.
June 26, 2024
I think this might be my favorite Auster yet.... though it might be tied with . Both are written so well and so invitingly and I loved every moment I spent in this book.
This was published in 1989 and made me realize there is one thing I liked about "the good ol' days" and that is: "the paid announcements that appeared in fine print at the bottom of the page".
These days you can hardly see internet pages with ads popping up all over the place. Why can't we go back to ads being discreet and non-invasive? How about it Google?
This was published in 1989 and made me realize there is one thing I liked about "the good ol' days" and that is: "the paid announcements that appeared in fine print at the bottom of the page".
These days you can hardly see internet pages with ads popping up all over the place. Why can't we go back to ads being discreet and non-invasive? How about it Google?
September 26, 2020
CRITIQUE:
A Novel Which is its Own Critique
You can normally rely on authors of metafiction to set out their agenda in the text itself. Here, Paul Auster has his protagonist (M.S. [Marco Stanley] Fogg) say:
"The moments unfurled one after the other, and at each moment the future stood before me as a blank, a white page of uncertainty. If life was a story...and each man was the author of his own story, then I was making it up as I went along..." (41)
A Series of Improbable Occurrences
Making it up doesn't mean it will seem logical in retrospect. Fogg engages probability, improbability and coincidence:
"If I had any thought at all, it was to let chance determine what happened, to follow the path of impulse and arbitrary events." (51)
"The point was to accept things as they were, to drift along with the flow of the universe." (80)
"Trusting in blind dumb luck would be sufficient..." (54)
It's no wonder that "an improbable occurrence took place..." (54)
Just Another Story
What then is a story?
"The story became just another story, a chronology of facts and events, a tale of time passing." (190)
The Imperceptible Momentum of a Dream
Early in the novel, I felt that the narrative progressed so subtly that a change of season might occur without a recognisable period of transition between the two seasons. One moment you would be in one season, the next you would have moved imperceptibly into another.
"Part Western and part science fiction, the story lurched from one improbability to the next, churning forward with the implacable momentum of a dream." (253)
Only there was more search than lurch.
Farfetched and Convincing Nonsense
Marco says of another character's story that "it was all so farfetched, and yet the very outrageousness of the story was probably its most convincing element." (183)
"It sounds to me as though you've created an elaborate hoax." (231)
"Nonsense of this sort could continue only if we all pretended to believe in it." (209)
You could probably say the same thing about Marco's own story, except that it is at heart a very human story, even sentimental. Marco is on a quest to discover his own father, who as chance would have it finally learns the identity of his own father (so we see three lost generations find themselves), while Marco also heads West in search of America and then ultimately China (like his namesake, Marco Polo).
In Your Head
As does Paul Auster, Marco enters "far-flung and abstract territory" (233).
Yet, ultimately, Marco's quest occurs inside the book that is his mind: "The only place you exist is in your head." (156)
The characters have a role in this creative space: together, they're "a phantom comedy team performing their little act for me in the projection room of my skull." (245)
"I was both perpetrator and witness, both actor and audience in a theatre of one." (24)
Shared Mental Space
Paradoxically, Marco's world and Auster's novel become the reader's world as well, through the process of reading.
As Marco says with respect to his Uncle Victor, "I was occupying the same mental space that Victor had once occupied 鈥� reading the same words, living in the same stories, perhaps thinking the same thoughts." (22)
JUST ANOTHER STORY (AS TOLD BY LILLY WU):
[Another Girl, Another Planet]
I had no idea when I went to the University of Hong Kong on an exchange program that I would encounter my father for the first time. As far as my mother and I were concerned, he was dead, and as far as he was concerned, I had never been born. He didn't even know he had a daughter.
It turned out my father hadn't died in an accident in Utah. He had survived and made his way from San Francisco to Hong Kong before I was born, and worked his way up the University hierarchy until eventually he became Pro Vice Chancellor (International), a position which made him responsible for the welfare of international students (mainly from the rest of Asia; I was the first American for more than a decade).
My father sought me out at an introductory cocktail party. He already knew from my file that I was born in New York in 1998, and my surname (Wu), though not uncommon, prompted him to say that he had once known a dancer in New York called Kitty Wu. Was I any relation?
When I responded that that was my mother's name and that she was now a dance teacher, his face went pale, and he went silent, although he seemed to be thinking deeply.
"What is your father's name?" He eventually asked me.
"I've never known. My mother always said that he died before I was born, and I adopted her surname."
"You look so much like your mother when I knew her." He said. "We were very much in love, until we had a disagreement and I left New York and came to Hong Kong, though I don't think Kitty knew I had left America. She mustn't if she thinks I鈥檓 dead."
"Not you. My father."
"Of course."
I phoned my mother that night after the party ended, and told her I had met Professor Fogg, who said he might have known her. She, too, was taken aback. She said that she had had a relationship with a Marco Fogg, but that he had left New York after they had a big argument.
I asked, "What was the argument about?"
"I was pregnant, and I wanted to have an abortion. He wanted to have the child, but I didn't."
"What did you do?"
"I went ahead with the abortion, but it was only partly successful."
"What do you mean. How could it only be partly successful?"
"You see, I was pregnant with twins, a boy and a girl. Only your brother was terminated, and you were born."
"So, Professor Fogg is my father?"
"Yes, I guess so, but he has never known until today that you existed. He would so much love to have known that you were born. He doesn't realise that he would have had what he always wanted, if only we'd stayed together. Which didn't happen, obviously."
"Did you love him?"
"More than anything else in the world...other than you."
"Do you still love him?"
"I have no reason not to."
"But he left you...on the basis of a misunderstanding?"
"Yes."
"So he lost the two things that would have mattered most to him?"
"I guess so...but things have changed, and we've all had to move on with our lives."
"Poor dad!" was all I could think to say.
SOUNDTRACK:
A Novel Which is its Own Critique
You can normally rely on authors of metafiction to set out their agenda in the text itself. Here, Paul Auster has his protagonist (M.S. [Marco Stanley] Fogg) say:
"The moments unfurled one after the other, and at each moment the future stood before me as a blank, a white page of uncertainty. If life was a story...and each man was the author of his own story, then I was making it up as I went along..." (41)
A Series of Improbable Occurrences
Making it up doesn't mean it will seem logical in retrospect. Fogg engages probability, improbability and coincidence:
"If I had any thought at all, it was to let chance determine what happened, to follow the path of impulse and arbitrary events." (51)
"The point was to accept things as they were, to drift along with the flow of the universe." (80)
"Trusting in blind dumb luck would be sufficient..." (54)
It's no wonder that "an improbable occurrence took place..." (54)
Just Another Story
What then is a story?
"The story became just another story, a chronology of facts and events, a tale of time passing." (190)
The Imperceptible Momentum of a Dream
Early in the novel, I felt that the narrative progressed so subtly that a change of season might occur without a recognisable period of transition between the two seasons. One moment you would be in one season, the next you would have moved imperceptibly into another.
"Part Western and part science fiction, the story lurched from one improbability to the next, churning forward with the implacable momentum of a dream." (253)
Only there was more search than lurch.
Farfetched and Convincing Nonsense
Marco says of another character's story that "it was all so farfetched, and yet the very outrageousness of the story was probably its most convincing element." (183)
"It sounds to me as though you've created an elaborate hoax." (231)
"Nonsense of this sort could continue only if we all pretended to believe in it." (209)
You could probably say the same thing about Marco's own story, except that it is at heart a very human story, even sentimental. Marco is on a quest to discover his own father, who as chance would have it finally learns the identity of his own father (so we see three lost generations find themselves), while Marco also heads West in search of America and then ultimately China (like his namesake, Marco Polo).
In Your Head
As does Paul Auster, Marco enters "far-flung and abstract territory" (233).
Yet, ultimately, Marco's quest occurs inside the book that is his mind: "The only place you exist is in your head." (156)
The characters have a role in this creative space: together, they're "a phantom comedy team performing their little act for me in the projection room of my skull." (245)
"I was both perpetrator and witness, both actor and audience in a theatre of one." (24)
Shared Mental Space
Paradoxically, Marco's world and Auster's novel become the reader's world as well, through the process of reading.
As Marco says with respect to his Uncle Victor, "I was occupying the same mental space that Victor had once occupied 鈥� reading the same words, living in the same stories, perhaps thinking the same thoughts." (22)
JUST ANOTHER STORY (AS TOLD BY LILLY WU):
[Another Girl, Another Planet]
I had no idea when I went to the University of Hong Kong on an exchange program that I would encounter my father for the first time. As far as my mother and I were concerned, he was dead, and as far as he was concerned, I had never been born. He didn't even know he had a daughter.
It turned out my father hadn't died in an accident in Utah. He had survived and made his way from San Francisco to Hong Kong before I was born, and worked his way up the University hierarchy until eventually he became Pro Vice Chancellor (International), a position which made him responsible for the welfare of international students (mainly from the rest of Asia; I was the first American for more than a decade).
My father sought me out at an introductory cocktail party. He already knew from my file that I was born in New York in 1998, and my surname (Wu), though not uncommon, prompted him to say that he had once known a dancer in New York called Kitty Wu. Was I any relation?
When I responded that that was my mother's name and that she was now a dance teacher, his face went pale, and he went silent, although he seemed to be thinking deeply.
"What is your father's name?" He eventually asked me.
"I've never known. My mother always said that he died before I was born, and I adopted her surname."
"You look so much like your mother when I knew her." He said. "We were very much in love, until we had a disagreement and I left New York and came to Hong Kong, though I don't think Kitty knew I had left America. She mustn't if she thinks I鈥檓 dead."
"Not you. My father."
"Of course."
I phoned my mother that night after the party ended, and told her I had met Professor Fogg, who said he might have known her. She, too, was taken aback. She said that she had had a relationship with a Marco Fogg, but that he had left New York after they had a big argument.
I asked, "What was the argument about?"
"I was pregnant, and I wanted to have an abortion. He wanted to have the child, but I didn't."
"What did you do?"
"I went ahead with the abortion, but it was only partly successful."
"What do you mean. How could it only be partly successful?"
"You see, I was pregnant with twins, a boy and a girl. Only your brother was terminated, and you were born."
"So, Professor Fogg is my father?"
"Yes, I guess so, but he has never known until today that you existed. He would so much love to have known that you were born. He doesn't realise that he would have had what he always wanted, if only we'd stayed together. Which didn't happen, obviously."
"Did you love him?"
"More than anything else in the world...other than you."
"Do you still love him?"
"I have no reason not to."
"But he left you...on the basis of a misunderstanding?"
"Yes."
"So he lost the two things that would have mattered most to him?"
"I guess so...but things have changed, and we've all had to move on with our lives."
"Poor dad!" was all I could think to say.
SOUNDTRACK:
December 28, 2016
In terms of flow of language, this book was quite good. Paul Auster has a way with words. The coincidences he appeals to however are way too much . The main character goes through despair, a state of balance, happiness and then he loses everything, but he finds out the key to his past. I didn't really understand the point of this book: was it that everything in life is transient, was it that life is full of coincidences, was it that in the end you lose everything and you have to deal with it one way or another? I am not sure. So, here's an example of a well-written book about a really far-fetched series of coincidences. Intriguing. Good, but not so good...
October 5, 2015
While this book starts well, it soon goes downhill.
The central character in the beginning is Marco Stanley Fogg. He drew my attention. What happens to him gives the reader a lot to think about. He is an orphan and has no relatives. He is totally alone, or so he thinks. Until..... Well, I am not going to tell you. And he is broke. When? 1969. Where? Brooklyn. I liked the writing. I liked the philosophical thoughts, his thoughts about writing, about travel, about how people interact and our need for connection with other human beings. All of this I found interesting! Then he meets Kitty. I liked her too.
However, the further you proceed the further the focus shifts from Marco to others and the weaker the story becomes. Mostly the book follows an elderly man, Effing. He is 84 in 1969. But who is Effing? First their stories are woven together, but then the Effing personality takes over. His story? Well it is crazy, as far as I am concerned. His story goes on and on, and on and on. It鈥榮 too long, goes off on all different tangents, none of which were either credible or interesting. One example, to be specific, are Yes, there is a connection between Effing and Marco, but that connection is in no way credible. At least two thirds of the entire book left me totally unengaged. Little to think about. How is it possible to be engaged in a story that is beyond belief? In addition, this part of the book turns into a movie script.
The narration by Joe Barrett is absolutely excellent.
I enjoyed very much, but is unwieldy.
The central character in the beginning is Marco Stanley Fogg. He drew my attention. What happens to him gives the reader a lot to think about. He is an orphan and has no relatives. He is totally alone, or so he thinks. Until..... Well, I am not going to tell you. And he is broke. When? 1969. Where? Brooklyn. I liked the writing. I liked the philosophical thoughts, his thoughts about writing, about travel, about how people interact and our need for connection with other human beings. All of this I found interesting! Then he meets Kitty. I liked her too.
However, the further you proceed the further the focus shifts from Marco to others and the weaker the story becomes. Mostly the book follows an elderly man, Effing. He is 84 in 1969. But who is Effing? First their stories are woven together, but then the Effing personality takes over. His story? Well it is crazy, as far as I am concerned. His story goes on and on, and on and on. It鈥榮 too long, goes off on all different tangents, none of which were either credible or interesting. One example, to be specific, are Yes, there is a connection between Effing and Marco, but that connection is in no way credible. At least two thirds of the entire book left me totally unengaged. Little to think about. How is it possible to be engaged in a story that is beyond belief? In addition, this part of the book turns into a movie script.
The narration by Joe Barrett is absolutely excellent.
I enjoyed very much, but is unwieldy.
July 18, 2021
Moon Palace is an intense and engrossing narrative that interweaves an intergenerational saga with the mutation of identities. Auster's preoccupation with the coincidences and chance encounters steer the plot and the destinies of the unforgettable and intriguing characters. The epiphanic revelations, the tenuous threads of intersubjectivity and shared memories, and the coming to terms with the decisions that reverberate across time and space are delineated in a characteristic and poetic prose style. Auster also reiterates the potency of art to salvage the soul from the depths of despair and redeem oneself.
The true purpose of art was not to create beautiful objects, he discovered. It was a method of understanding, a way of penetrating the world and finding one's place in it...
The true purpose of art was not to create beautiful objects, he discovered. It was a method of understanding, a way of penetrating the world and finding one's place in it...
December 30, 2021
毓賳丿賲丕 丕丨鬲丕噩 丕賱賶 賯丕氐 賲丿賴卮 賵爻乇丿 賲賲鬲毓 亘賲毓賳賶 兀禺乇 丨賰丕賷丞 賵丨賵丕丿賷鬲 貙 丕賱噩兀 丕賱賶 丕賷夭丕亘賷賱 丕賱賱賷賳丿賷 丕賵 亘賵賱 丕賵爻鬲乇
丕賱乇賵丕賷丞 賱丕鬲爻鬲胤賷毓 賮氐賱賴丕 毓賳 丕賱賵丕賯毓 丕賱丕賲乇賷賰賷 亘賲丕囟賷賴 丕賱賲鬲賵丨卮 丕賱睾丕乇賯 賮賷 丕賱丿賲 賵丕賱賮乇氐 賵丨丕囟乇賴 丕賱賲孬賯賱 亘丕賱丨噩賲 賵丕賱匕賳亘 賵 賲爻鬲賯亘賱賴 丕賱賲亘賴賲 貙 乇亘賲丕 賲賳 賰丕賳 毓賱賶 丿乇丕賷丞 亘鬲丕锟斤拷賷禺 丕賲乇賷賰丕 賵賵丕賯毓賴丕 賯丕丿乇 毓賱賶 賯乇丕亍丞 鬲丨賱賷賱賷丞 丕丿賯 賱賱乇賵丕賷丞 貙 賱賰賳 匕賱賰 賱丕 賷賲賳毓 丕賲孬丕賱賷 賲賲賳 賷丨亘賵賳 賮賳 丕賱賯氐氐 賵丕賱乇亘丕亘丞 毓賱賶 丕賱丕爻鬲賲鬲丕毓 賵 鬲賯丿賷乇 丨賰賵丕鬲賷 亘丕乇毓 賲孬賱 亘賵賱 丕賵爻鬲乇
丕賱乇賵丕賷丞 賱丕鬲爻鬲胤賷毓 賮氐賱賴丕 毓賳 丕賱賵丕賯毓 丕賱丕賲乇賷賰賷 亘賲丕囟賷賴 丕賱賲鬲賵丨卮 丕賱睾丕乇賯 賮賷 丕賱丿賲 賵丕賱賮乇氐 賵丨丕囟乇賴 丕賱賲孬賯賱 亘丕賱丨噩賲 賵丕賱匕賳亘 賵 賲爻鬲賯亘賱賴 丕賱賲亘賴賲 貙 乇亘賲丕 賲賳 賰丕賳 毓賱賶 丿乇丕賷丞 亘鬲丕锟斤拷賷禺 丕賲乇賷賰丕 賵賵丕賯毓賴丕 賯丕丿乇 毓賱賶 賯乇丕亍丞 鬲丨賱賷賱賷丞 丕丿賯 賱賱乇賵丕賷丞 貙 賱賰賳 匕賱賰 賱丕 賷賲賳毓 丕賲孬丕賱賷 賲賲賳 賷丨亘賵賳 賮賳 丕賱賯氐氐 賵丕賱乇亘丕亘丞 毓賱賶 丕賱丕爻鬲賲鬲丕毓 賵 鬲賯丿賷乇 丨賰賵丕鬲賷 亘丕乇毓 賲孬賱 亘賵賱 丕賵爻鬲乇
July 31, 2012
I'd give this book one star only, but I feel maybe (though I'm not thoroughly convinced) that somewhere under all the awful, pretentious drivel there's a kernel of something interesting. I mean - by itself - the plot elements have the makings of something to pique the interest of even a casual reader; curious characters, strange happenings, wordplay and symbolism. And maybe I'm missing something others can see in this book. Apparently it's pretty well received overall. I feel, however, that this book is flawed, if not just outright bad.
One problem is that despite Auster's attempts to imbue his characters with interesting characteristics, he fails miserably at expounding on these qualities in the actual narrative. Let me elaborate: he doesn't describe people through their actions or interactions. Not even through dialogue. He just whips up an adjective and expects you to buy it. Sol has great "wit and charm", Auster (or rather, Fogg) informs us, but I cannot recall a single instance of this wit or charm actually occurring in the book. It feels stumblingly awkward, and on several occasions exasperatingly lazy.
Halfway through the book I actually threw up my head and groaned loudly at the quality of the writing. I think it was during introduction of Kitty - a character and plot line so weak you could use it to dilute water. She's probably the least believable female stereotype I've ever had the misfortune to encounter. And also so obviously the writers personal fantasy that's it's embarrassing. At one point Auster (oops, I mean Fogg) candidly tells us "I pulled down Kitty's jeans and panties and brought her to orgasm with my tounge". I would have winced but for the sad inadequacy of the text at producing arousal of any kind.
And it's not just the ennui of the sex scenes or the morbidly one-dimensional characters either. The way he writes dialogue is just astoundingly bad. Not a single one of his characters has a unique voice, they all sound like the same person when they speak. He might as well have skipped the dialogue all together, as it only functions to forward plot, and often only in only the most rudimentary way.
Another huge problem is that the protagonist is not only a shallow, self absorbed sociopath with no redeeming qualities whatsoever, he's not even interesting. I had absolutely no interest in finding out anything about his intentions or plans, motives or history. I didn't care one way or another about whether he starved or got laid or found out who his father was. He leaves this Kitty character and then wallows in misery like it's somehow not his own fault. He shows no empathy or interest towards anyone apart from himself.
Apart from these things Auster writes OK. He's never brilliant, often adequate, sometimes quite awful. There's a lot of symbolism, mainly revolving (ha!) around the moon. But it doesn't feel significant to the story, and it fails to deliver anything more than shallow connections and musings on the themes of the book - much like the characters, the setting and the dialogue. I had no idea what this book was trying to tell me, and I would venture to say that neither does Auster.
I finished Moon Palace on principle, because I don't like to judge a book unless I've read the whole thing. And for sure, there are some qualities in this book, particularly the story about Effing in the desert and the cave. But the qualities of the main story are sadly buried underneath a heap of purple prose, anemic characterization and bland dialogue. I was recommended this book, but I will sadly not be recommending it to anyone, ever.
One problem is that despite Auster's attempts to imbue his characters with interesting characteristics, he fails miserably at expounding on these qualities in the actual narrative. Let me elaborate: he doesn't describe people through their actions or interactions. Not even through dialogue. He just whips up an adjective and expects you to buy it. Sol has great "wit and charm", Auster (or rather, Fogg) informs us, but I cannot recall a single instance of this wit or charm actually occurring in the book. It feels stumblingly awkward, and on several occasions exasperatingly lazy.
Halfway through the book I actually threw up my head and groaned loudly at the quality of the writing. I think it was during introduction of Kitty - a character and plot line so weak you could use it to dilute water. She's probably the least believable female stereotype I've ever had the misfortune to encounter. And also so obviously the writers personal fantasy that's it's embarrassing. At one point Auster (oops, I mean Fogg) candidly tells us "I pulled down Kitty's jeans and panties and brought her to orgasm with my tounge". I would have winced but for the sad inadequacy of the text at producing arousal of any kind.
And it's not just the ennui of the sex scenes or the morbidly one-dimensional characters either. The way he writes dialogue is just astoundingly bad. Not a single one of his characters has a unique voice, they all sound like the same person when they speak. He might as well have skipped the dialogue all together, as it only functions to forward plot, and often only in only the most rudimentary way.
Another huge problem is that the protagonist is not only a shallow, self absorbed sociopath with no redeeming qualities whatsoever, he's not even interesting. I had absolutely no interest in finding out anything about his intentions or plans, motives or history. I didn't care one way or another about whether he starved or got laid or found out who his father was. He leaves this Kitty character and then wallows in misery like it's somehow not his own fault. He shows no empathy or interest towards anyone apart from himself.
Apart from these things Auster writes OK. He's never brilliant, often adequate, sometimes quite awful. There's a lot of symbolism, mainly revolving (ha!) around the moon. But it doesn't feel significant to the story, and it fails to deliver anything more than shallow connections and musings on the themes of the book - much like the characters, the setting and the dialogue. I had no idea what this book was trying to tell me, and I would venture to say that neither does Auster.
I finished Moon Palace on principle, because I don't like to judge a book unless I've read the whole thing. And for sure, there are some qualities in this book, particularly the story about Effing in the desert and the cave. But the qualities of the main story are sadly buried underneath a heap of purple prose, anemic characterization and bland dialogue. I was recommended this book, but I will sadly not be recommending it to anyone, ever.
March 20, 2012
This book is about writing and observations and hardship. This book is my first introduction to Auster. After reading this book, I went to the university library to look up obscure writers. One of the writers is Giordano Bruno who believed that there was a parallel universe back in medieval times. There is the theme of journey, travel and exploration into other worlds. The narrator has a name inspired by Phileas Fogg, the fictional character in Jules Verns 鈥楢round the World in Eighty Days鈥�.
The Moon Landing represents a journey into another world. Moon Palace is a Chinese restaurant.
One of the most interesting tasks is for the narrator to describe the world to the Blind man. This is a metaphor for the task of writing. We the reader is blind to the world that is being created by the author. We are guided into his alternative world of fiction, the everyday strangeness of the world, not a world created by science fiction. It is in the ordinary that can be rendered extraordinary.
The Moon Landing represents a journey into another world. Moon Palace is a Chinese restaurant.
One of the most interesting tasks is for the narrator to describe the world to the Blind man. This is a metaphor for the task of writing. We the reader is blind to the world that is being created by the author. We are guided into his alternative world of fiction, the everyday strangeness of the world, not a world created by science fiction. It is in the ordinary that can be rendered extraordinary.
May 21, 2023
Primul meu Auster si simt ca am dat peste o comoara nebanuita...
O poveste duce la o alta, nu te astepti la nimic din ce urmeaza, personajele sunt fascinante (Thomas Effing va ramane pentru mine unul dintre cele mai reusite). Am simtit ceva din armosfera "Marilor sperante" a lui Dickens.
Mi-a placut cadenta frazelor, asa cum o iubesc la Saramago si Marias.
Iar felul in care scrie Auster este coplesitor, mi se pare perfect, inteligent, cursiv, acaparant.
"Odata ce ajungeam la capatul continentului, simteam ca am sa gasesc raspuns unei intrebari importante. Habar n-aveam despre ce intrebare e vorba, dar raspunsul se conturase deja in urma mea in timp ce mergeam, asa ca nu-mi ramanea decat sa continui sa merg ca sa aflu ca ma lasasem in urma, ca nu mai eram deloc cel de odinioara."
O poveste duce la o alta, nu te astepti la nimic din ce urmeaza, personajele sunt fascinante (Thomas Effing va ramane pentru mine unul dintre cele mai reusite). Am simtit ceva din armosfera "Marilor sperante" a lui Dickens.
Mi-a placut cadenta frazelor, asa cum o iubesc la Saramago si Marias.
Iar felul in care scrie Auster este coplesitor, mi se pare perfect, inteligent, cursiv, acaparant.
"Odata ce ajungeam la capatul continentului, simteam ca am sa gasesc raspuns unei intrebari importante. Habar n-aveam despre ce intrebare e vorba, dar raspunsul se conturase deja in urma mea in timp ce mergeam, asa ca nu-mi ramanea decat sa continui sa merg ca sa aflu ca ma lasasem in urma, ca nu mai eram deloc cel de odinioara."
April 6, 2010
I loved it. I loved reading this book, but I wish I hadn't read it so fast. I read it because of someone, and I can't thank him enough.
I put myself in M.S's shoes, and I cried, I laughed, I dreamt.
Paul has a poetic use of language, that's sure.
I put myself in M.S's shoes, and I cried, I laughed, I dreamt.
Paul has a poetic use of language, that's sure.
August 1, 2022
Ha az ember bel茅p egy lak谩sba, 茅s azt l谩tja, hogy a k枚nyvespolc tele van Austerekkel, akkor nagyj谩b贸l biztos lehet benne, hogy egy felett茅bb j贸 铆zl茅s疟 egy茅n l谩tja 艖t vend茅g眉l. Enn茅l az egy茅nn茅l aj谩nd茅k lehorgonyozni, 茅s id艖nk茅nt megpend铆teni, hogy 鈥瀔hm, nocsak, ez itt a Holdpalota? nem k茅rhetn茅m k枚lcs枚n?鈥� Azt谩n persze 贸vjuk-v茅dj眉k a k枚lcs枚nk枚nyvet a sz茅lt艖l is, ha elolvastuk, helyezz眉k vissza finoman a t枚bbi Auster k枚z茅, mert a j贸 铆zl茅s疟 egy茅nekkel a szoros viszonyt mi sem erod谩lhatja jobban, mint ha szam谩rf眉lekkel, ne adj Isten: k谩v茅pac谩kkal (!!!) cs煤f铆tott reg茅nyeket adunk vissza nekik. 脡s ezt sz谩mos okb贸l igyeksz眉nk elker眉lni.
Ebben a k枚nyvben moment谩n az ragadott meg legink谩bb, hogy egyszerre tud az amerikai epikus hagyom谩ny kiteljesed茅se 茅s felbont谩sa lenni. Az ifj煤 谩rva, M. S. Fogg pikareszk elemekkel s煤lyosb铆tott sz茅thull谩sa, talpra谩ll谩sa 茅s egy茅b kalandjai egyfel艖l sz铆ntiszta t枚rt茅netmes茅l艖 pr贸za, ami minden alapvet艖 epikus jegyet mag谩n visel. A szerepl艖k tele vannak vitalit谩ssal, a pezsg艖 New York mint sz铆npad csod谩san m疟k枚dik, az apr贸 r茅szletek a hely眉k枚n vannak, t茅gl谩nk茅nt 茅p铆tik fel azt a pazar kulissz谩t, amiben az olvas贸 otthonosan 茅rzi mag谩t. Ugyanakkor a sz枚veget jellemzi valami hektikuss谩g, valami zs煤folts谩g is, mintha az eg茅sz sz茅t akarna robbanni. Ha k枚zelebbr艖l megvizsg谩ljuk, nem is egy reg茅nyt olvasunk, hanem t枚bbet, el艖bb Fogg茅t, azt谩n a v茅n Effing茅t, v茅g眉l a drab谩lis Barber茅t 鈥� 茅s ezek a reg茅nyek, 煤gy fest, csak az 铆r贸i 枚nk茅ny parancs谩ra hajland贸ak egym谩sba kapcsol贸dni, magyar谩n: a kozmikus v茅letlenek 谩ltal. Ami lehetne er艖ltetett, de valahogy itt nem annak 茅rzem 鈥� sokkal ink谩bb misztikusnak. Mintha lenne valami m茅lyebb, m谩gikus logika, ami 枚sszer谩ntja a sz茅ttart贸 sz谩lakat - tal谩n ugyanaz az er艖, ami k茅pes sz茅tszedni 茅s 枚sszer谩ntani (茅s megint: sz茅tszedni 茅s 枚sszer谩ntani) Fogg 茅let茅t. Ha a 鈥瀗orm谩l鈥� epika egy utaz谩s a sztr谩d谩n, mik枚zben a vil谩g elsuhan mellett眉nk, akkor a Holdpalota ugyanez, csak 茅jszaka: a reflektor f茅ny茅ben kirajzol贸d贸 dolgok (stopposok, benzinkutak) egym谩sut谩nja, amelyek a maguk esetlegess茅g茅ben szakadnak ki a s枚t茅ts茅gb艖l, hogy megmutass谩k magukat.
Ebben a k枚nyvben moment谩n az ragadott meg legink谩bb, hogy egyszerre tud az amerikai epikus hagyom谩ny kiteljesed茅se 茅s felbont谩sa lenni. Az ifj煤 谩rva, M. S. Fogg pikareszk elemekkel s煤lyosb铆tott sz茅thull谩sa, talpra谩ll谩sa 茅s egy茅b kalandjai egyfel艖l sz铆ntiszta t枚rt茅netmes茅l艖 pr贸za, ami minden alapvet艖 epikus jegyet mag谩n visel. A szerepl艖k tele vannak vitalit谩ssal, a pezsg艖 New York mint sz铆npad csod谩san m疟k枚dik, az apr贸 r茅szletek a hely眉k枚n vannak, t茅gl谩nk茅nt 茅p铆tik fel azt a pazar kulissz谩t, amiben az olvas贸 otthonosan 茅rzi mag谩t. Ugyanakkor a sz枚veget jellemzi valami hektikuss谩g, valami zs煤folts谩g is, mintha az eg茅sz sz茅t akarna robbanni. Ha k枚zelebbr艖l megvizsg谩ljuk, nem is egy reg茅nyt olvasunk, hanem t枚bbet, el艖bb Fogg茅t, azt谩n a v茅n Effing茅t, v茅g眉l a drab谩lis Barber茅t 鈥� 茅s ezek a reg茅nyek, 煤gy fest, csak az 铆r贸i 枚nk茅ny parancs谩ra hajland贸ak egym谩sba kapcsol贸dni, magyar谩n: a kozmikus v茅letlenek 谩ltal. Ami lehetne er艖ltetett, de valahogy itt nem annak 茅rzem 鈥� sokkal ink谩bb misztikusnak. Mintha lenne valami m茅lyebb, m谩gikus logika, ami 枚sszer谩ntja a sz茅ttart贸 sz谩lakat - tal谩n ugyanaz az er艖, ami k茅pes sz茅tszedni 茅s 枚sszer谩ntani (茅s megint: sz茅tszedni 茅s 枚sszer谩ntani) Fogg 茅let茅t. Ha a 鈥瀗orm谩l鈥� epika egy utaz谩s a sztr谩d谩n, mik枚zben a vil谩g elsuhan mellett眉nk, akkor a Holdpalota ugyanez, csak 茅jszaka: a reflektor f茅ny茅ben kirajzol贸d贸 dolgok (stopposok, benzinkutak) egym谩sut谩nja, amelyek a maguk esetlegess茅g茅ben szakadnak ki a s枚t茅ts茅gb艖l, hogy megmutass谩k magukat.
November 8, 2020
Auster e genial!
May 7, 2025
Free Will and Blind Luck
I find it very difficult to review a book I am so emotionally attached to. Even after a third read, I still feel so strongly that rational words struggle to reach the surface. I confessed this to GR friend, Violeta the other day. She is an Auster fan and wanted to read my thoughts on this one. Perhaps, a few personal touches and anecdotes will help get me from point A to B in this review.
Then I read an essay that explains how no scholar believes in free will anymore. Free Will is an illusion. Basically, our choices are predetermined by so many factors, neurology, the laws of physics, genes etc. Of course this upsets our sense of ourselves as agents of our destiny, perhaps we are more likely pushed into the choices we seem to think belong to us alone.
I pause while writing this to make my son dinner after he came home from coaching 12 year olds on our coldest wettest day so far. I am predetermined to do this even though I know he is 20 years old and capable of doing it himself. He of course is doing what I was doing for him 8 years ago, that is coaching a 12-year-old soccer team (his as it happens) and so it goes on.
This lead me to Moon Palace and the problem of chance. Chance events are the building blocks of the novel. Chance determines everything, but in a fatalistic way, except that fate isn't predestiny but a story written by an author at his typewriter following the permutations and combinations of the character's possibilities. Fogg, the narrator came from a family of immigrants whose name was changed on arrival at Ellis island from Fogelman. Fogg鈥檚 mother dies in an accident when he is nine. His uncle Victor adores him as the only family he has left. When he departs this world, he wills nephew Fogg with 1492 books, which he starts reading in a completely random way, box by box to honour his last family member, and stick to a predetermined path. This fatalism overwhelms Fogg and almost kills him since he gives himself over completely to chance and nearly starves to death. These elements would be spoilers if only the book was poorly written. But it is so beautifully done, you don鈥檛 care about the number of books corresponding to the year of Columbus鈥� discovery or any one of the many details that Fogg is clueless about his past. You stop caring about chance, time and destiny when you are in self-destructive mode. The past Fogg is about to encounter contains the big sprawling story of America 鈥� as big as the wild west and manifest destiny or the rise and fall of corporate empires. Chance encounters, experiences, events, signs and symbols act as the narrative glue in this story. How Auster pulls off the plausibility of the events is the spectacle. Fogg just happens to be in the middle of it all trying to see it all.
Personal anecdote spoiler: Books were randomly assigned to me as a child, since my parents could not read English. Even to poorly educated people like my parents, books still contained mystery and wonder. How did I come by books? My father worked in various jobs at a hospital. Books were left about in either the emergency department or outpatient appointment waiting room. Everyone knows to bring a book, or perhaps the nuns who originally ran this hospital believed it right to put books out for people to read, perhaps as a distraction from the anxiety of waiting for bad news. My father, perhaps realising his limitations as a reader and provider of educational support brought some of them home with him once in a while. So books randomly appeared at our home some mornings after one of my father鈥檚 night shifts. I got Gogol鈥檚 Dead Souls, David Copperfield, Vol 2, Anna Karenina Vol 1, War and Peace among many others like these as a twelve-year-old. Luck, chance, fathers. That鈥檚 what Moon Palace is all about. Lost fathers in novels are like lost fathers on night shifts.
Chance in an Auster novel is like a secret language of the universe. Without it, there is no meaning to the random elements of the lives of its characters. A bit like a novel, eh! I only read this book by chance too. I hung around in my 20s with a bunch of people who we鈥檇 now call geeks. These friends all loved Auster鈥檚 New York Trilogy. I didn鈥檛. Perhaps it was the way they dissected it like a sci-fi movie hunt for George Lucas鈥� cultish hidden fanboy tributes that bothered me. Anyway, one day at a friend鈥檚 place I was bored and found Moon Palace on the shelf and started reading it. The friend said he didn鈥檛 like it and gave it to me. I lend it out often and it never seems to come back, requiring me to find a replacement copy every so often.
I like Auster鈥檚 take on America鈥檚 foundational myths, too. It鈥檚 full of stories of people setting off to find their destiny, down on luck, seeking truth, the Pacific Ocean, dramatic western vistas, enduring, surviving, left for dead, defying the odds. Only this time, the story involves one of the recent generation from a boatload of immigrants telling the story rather than some robber baron, plantation owning, corporate magnate with a string of newspapers.
Character isn鈥檛 Auster鈥檚 strong point. No one is deeply drawn. The old man Effing, who Fogg goes to work for is easily recognisable as any old rich easterner, cantankerous, moody, self-important mostly an a***hole. At times he seems to hold the destiny of young Fogg in his hands. Effing believes he is an agent of his own destiny, defying chance after a freak fall as he journeys across the continent seeking the aesthetic of the old west as a painter. Chance drives Effing鈥檚 own story, but he chooses to tell Fogg he has the mythical power of telekinesis. Old men of wealth will believe in their own power over life. This can only be a counterpoint to the element of chance, an irony of the passing of the old. Voice is a character in American fiction. I am convinced of it. So much so, that an American voiced character can only behave like an American. And Auster does something very interesting here, he reminds that this fast talking self-determining being is none other than a victim of chance, too. But you want to hear his story first. After all, even Odysseus was an a***hole at times.
By the end of it, each character in this book loses everyone they are close to. More like a melodrama than an earnest piece of literature. Fogg鈥檚 mother and uncle, eventually his father and even the grandfather he didn鈥檛 know about. He loses his lover Kitty Wu (three reads and I still will them to continue) and Zimmerman his old college buddy who saved his life when he went homeless. Loss is inevitable, like chance. The only point of loss is that it is a point along the way in a story that leads to another. Like a refutation of free will, there are elements at work leading from one point to the next that we cannot fully know until they are revealed.
I find it very difficult to review a book I am so emotionally attached to. Even after a third read, I still feel so strongly that rational words struggle to reach the surface. I confessed this to GR friend, Violeta the other day. She is an Auster fan and wanted to read my thoughts on this one. Perhaps, a few personal touches and anecdotes will help get me from point A to B in this review.
Then I read an essay that explains how no scholar believes in free will anymore. Free Will is an illusion. Basically, our choices are predetermined by so many factors, neurology, the laws of physics, genes etc. Of course this upsets our sense of ourselves as agents of our destiny, perhaps we are more likely pushed into the choices we seem to think belong to us alone.
I pause while writing this to make my son dinner after he came home from coaching 12 year olds on our coldest wettest day so far. I am predetermined to do this even though I know he is 20 years old and capable of doing it himself. He of course is doing what I was doing for him 8 years ago, that is coaching a 12-year-old soccer team (his as it happens) and so it goes on.
This lead me to Moon Palace and the problem of chance. Chance events are the building blocks of the novel. Chance determines everything, but in a fatalistic way, except that fate isn't predestiny but a story written by an author at his typewriter following the permutations and combinations of the character's possibilities. Fogg, the narrator came from a family of immigrants whose name was changed on arrival at Ellis island from Fogelman. Fogg鈥檚 mother dies in an accident when he is nine. His uncle Victor adores him as the only family he has left. When he departs this world, he wills nephew Fogg with 1492 books, which he starts reading in a completely random way, box by box to honour his last family member, and stick to a predetermined path. This fatalism overwhelms Fogg and almost kills him since he gives himself over completely to chance and nearly starves to death. These elements would be spoilers if only the book was poorly written. But it is so beautifully done, you don鈥檛 care about the number of books corresponding to the year of Columbus鈥� discovery or any one of the many details that Fogg is clueless about his past. You stop caring about chance, time and destiny when you are in self-destructive mode. The past Fogg is about to encounter contains the big sprawling story of America 鈥� as big as the wild west and manifest destiny or the rise and fall of corporate empires. Chance encounters, experiences, events, signs and symbols act as the narrative glue in this story. How Auster pulls off the plausibility of the events is the spectacle. Fogg just happens to be in the middle of it all trying to see it all.
Personal anecdote spoiler: Books were randomly assigned to me as a child, since my parents could not read English. Even to poorly educated people like my parents, books still contained mystery and wonder. How did I come by books? My father worked in various jobs at a hospital. Books were left about in either the emergency department or outpatient appointment waiting room. Everyone knows to bring a book, or perhaps the nuns who originally ran this hospital believed it right to put books out for people to read, perhaps as a distraction from the anxiety of waiting for bad news. My father, perhaps realising his limitations as a reader and provider of educational support brought some of them home with him once in a while. So books randomly appeared at our home some mornings after one of my father鈥檚 night shifts. I got Gogol鈥檚 Dead Souls, David Copperfield, Vol 2, Anna Karenina Vol 1, War and Peace among many others like these as a twelve-year-old. Luck, chance, fathers. That鈥檚 what Moon Palace is all about. Lost fathers in novels are like lost fathers on night shifts.
Chance in an Auster novel is like a secret language of the universe. Without it, there is no meaning to the random elements of the lives of its characters. A bit like a novel, eh! I only read this book by chance too. I hung around in my 20s with a bunch of people who we鈥檇 now call geeks. These friends all loved Auster鈥檚 New York Trilogy. I didn鈥檛. Perhaps it was the way they dissected it like a sci-fi movie hunt for George Lucas鈥� cultish hidden fanboy tributes that bothered me. Anyway, one day at a friend鈥檚 place I was bored and found Moon Palace on the shelf and started reading it. The friend said he didn鈥檛 like it and gave it to me. I lend it out often and it never seems to come back, requiring me to find a replacement copy every so often.
I like Auster鈥檚 take on America鈥檚 foundational myths, too. It鈥檚 full of stories of people setting off to find their destiny, down on luck, seeking truth, the Pacific Ocean, dramatic western vistas, enduring, surviving, left for dead, defying the odds. Only this time, the story involves one of the recent generation from a boatload of immigrants telling the story rather than some robber baron, plantation owning, corporate magnate with a string of newspapers.
Character isn鈥檛 Auster鈥檚 strong point. No one is deeply drawn. The old man Effing, who Fogg goes to work for is easily recognisable as any old rich easterner, cantankerous, moody, self-important mostly an a***hole. At times he seems to hold the destiny of young Fogg in his hands. Effing believes he is an agent of his own destiny, defying chance after a freak fall as he journeys across the continent seeking the aesthetic of the old west as a painter. Chance drives Effing鈥檚 own story, but he chooses to tell Fogg he has the mythical power of telekinesis. Old men of wealth will believe in their own power over life. This can only be a counterpoint to the element of chance, an irony of the passing of the old. Voice is a character in American fiction. I am convinced of it. So much so, that an American voiced character can only behave like an American. And Auster does something very interesting here, he reminds that this fast talking self-determining being is none other than a victim of chance, too. But you want to hear his story first. After all, even Odysseus was an a***hole at times.
By the end of it, each character in this book loses everyone they are close to. More like a melodrama than an earnest piece of literature. Fogg鈥檚 mother and uncle, eventually his father and even the grandfather he didn鈥檛 know about. He loses his lover Kitty Wu (three reads and I still will them to continue) and Zimmerman his old college buddy who saved his life when he went homeless. Loss is inevitable, like chance. The only point of loss is that it is a point along the way in a story that leads to another. Like a refutation of free will, there are elements at work leading from one point to the next that we cannot fully know until they are revealed.
January 4, 2025
驴Has tenido alguna vez la sensaci贸n de que todo en tu vida se desmorona, pero de alg煤n modo las piezas que caen terminan encajando en un puzle que ni siquiera sab铆as que estabas armando? Pues eso es El palacio de la Luna. No una novela sobre el azar, no, sino una novela que es azar puro. Es como si Paul Auster hubiese lanzado los dados, y cada n煤mero representara un giro inesperado, una conexi贸n imposible o una coincidencia que desaf铆a las probabilidades. Pero lo mejor de todo es que, cuando llegas al final, te das cuenta de que no pod铆a haber sido de otra forma.
Aqu铆 conocemos a Marco Stanley Fogg, un tipo cuyo nombre parece sacado de un diccionario de exploradores (y vaya si explora), pero que empieza en el sitio m谩s terrenal y prosaico que te puedas imaginar: un apartamento en Nueva York lleno de libros. Literalmente lleno. Vive entre monta帽as de papel porque, claro, ha heredado la biblioteca de su t铆o. Es un comienzo que promete caos y un poquito de claustrofobia. Y vaya si lo cumple. En unas pocas p谩ginas, Marco pasa de estar ahogado entre libros a literalmente caminar por el abismo, enfrent谩ndose a la pobreza, la soledad y, s铆, la locura.
La trama de El palacio de la Luna es de esas que, si las cuentas sin contexto, te miran raro. Padres desaparecidos que aparecen cuando menos te lo esperas, personajes tan exc茅ntricos que casi deber铆an pagar impuestos por ello, fortunas que llegan y se esfuman, amores destinados al naufragio y viajes que transforman a quien los emprende. Vamos, todo lo que necesitas para preguntarte: 驴c贸mo demonios encaja todo esto? La magia est谩 en que Auster consigue unir estas piezas aparentemente incompatibles con una habilidad tan hipn贸tica que, antes de darte cuenta, est谩s enganchado a una red de historias dentro de historias. Es como una matrioska literaria: abres una trama y dentro hay otra, y otra m谩s.
Pero Auster no se detiene ah铆. Te lleva por un viaje que atraviesa desiertos, recuerdos y generaciones, conectando a Marco con personajes que son tan improbables como inolvidables. Est谩 Thomas Effing, un anciano exc茅ntrico con una historia de vida que parece un western alucin贸geno. Est谩 Solomon Barber, otro hombre cuya vida parece un mosaico de tragedias y secretos. Y todo esto, por incre铆ble que suene, tiene sentido dentro de la narrativa de Auster.
El gran tema aqu铆 es el azar, pero no como una excusa para giros de trama. Es el azar como esencia de la vida misma, como ese hilo invisible que une a Marco con las estrellas, las dunas de Utah y las calles de Nueva York. Cada coincidencia en El palacio de la Luna es un recordatorio de que, por mucho que tratemos de entender nuestras vidas, siempre habr谩 algo fuera de nuestro control. Y no s茅 vosotros, pero yo encuentro algo extra帽amente reconfortante en eso.
Eso s铆, si el uso del azar te pone los ojos en blanco, prep谩rate para sorprenderte. Lo que podr铆a ser una excusa para giros inveros铆miles se convierte en el n煤cleo filos贸fico de la novela. Estos 鈥済olpes de destino鈥� no son simples accidentes narrativos; son herramientas para que Auster nos hable de identidad, prop贸sito y esa eterna b煤squeda de sentido. Y, sinceramente, lo hace de una forma que otros autores no podr铆an salirse con la suya.
Adem谩s, la estructura es un caos hermoso: una mezcla de novela de formaci贸n, odisea existencial y misterio filos贸fico. 驴Demasiado pretencioso? Puede, pero funciona. Auster juega con las expectativas del lector, y lo hace con una estructura que parece un caleidoscopio: cada giro te muestra una imagen distinta, pero todas forman parte del mismo patr贸n. La novela es muchas cosas a la vez: una historia de formaci贸n, un misterio filos贸fico, una meditaci贸n sobre la identidad, e incluso un homenaje al poder de contar historias. Hay capas y capas de significado aqu铆, pero Auster nunca se pierde en su propio laberinto. Su estilo es limpio, casi minimalista, como si quisiera dejar espacio para que las ideas respirasen.
Y luego est谩 la Luna. No es solo un adorno po茅tico; es un s铆mbolo que brilla en cada p谩gina. Representa lo inalcanzable, lo misterioso, lo que siempre est谩 ah铆 pero nunca terminamos de comprender del todo. Auster utiliza la Luna como un espejo en el que proyectar los anhelos, las p茅rdidas y las b煤squedas de sus personajes.
Cuando cerr茅 el libro, tuve la misma sensaci贸n que al salir de una charla profunda con amigos: esa mezcla de euforia y melancol铆a, como si hubieras tocado algo esencial, pero ef铆mero. El palacio de la Luna es una novela que te desaf铆a a mirar el caos de tu propia vida y encontrarle una especie de belleza.
驴Es perfecta? Claro que no. Hay momentos en los que las casualidades se estiran un poco m谩s de la cuenta, y la trama podr铆a tambalearse si no estuviera en manos de alguien tan talentoso como Auster. Pero 驴a qui茅n le importa la perfecci贸n cuando una novela consigue hacerte sentir tanto?
As铆 que, si est谩s dispuesto a dejarte llevar por el azar, si te intriga la idea de que cada decisi贸n, por peque帽a que parezca, puede llevarte a un lugar completamente inesperado, tienes que leer esto. Y, por favor, l茅elo con tiempo. No es un libro para devorar; es un libro para saborear, para dejar que sus ideas te acompa帽en mientras miras la Luna y piensas en todo lo que no sabemos sobre nuestras propias vidas.
Y puesto que hablar de Auster es hablar de azar, ha querido el azar que haya terminado la segunda lectura de esta novela justo el d铆a (1/05/2024) en que conocemos el fallecimiento de su autor. Con esta rese帽a de una de sus mejores novelas, mi modesto homenaje a uno de mis referentes literarios.
Aqu铆 conocemos a Marco Stanley Fogg, un tipo cuyo nombre parece sacado de un diccionario de exploradores (y vaya si explora), pero que empieza en el sitio m谩s terrenal y prosaico que te puedas imaginar: un apartamento en Nueva York lleno de libros. Literalmente lleno. Vive entre monta帽as de papel porque, claro, ha heredado la biblioteca de su t铆o. Es un comienzo que promete caos y un poquito de claustrofobia. Y vaya si lo cumple. En unas pocas p谩ginas, Marco pasa de estar ahogado entre libros a literalmente caminar por el abismo, enfrent谩ndose a la pobreza, la soledad y, s铆, la locura.
La trama de El palacio de la Luna es de esas que, si las cuentas sin contexto, te miran raro. Padres desaparecidos que aparecen cuando menos te lo esperas, personajes tan exc茅ntricos que casi deber铆an pagar impuestos por ello, fortunas que llegan y se esfuman, amores destinados al naufragio y viajes que transforman a quien los emprende. Vamos, todo lo que necesitas para preguntarte: 驴c贸mo demonios encaja todo esto? La magia est谩 en que Auster consigue unir estas piezas aparentemente incompatibles con una habilidad tan hipn贸tica que, antes de darte cuenta, est谩s enganchado a una red de historias dentro de historias. Es como una matrioska literaria: abres una trama y dentro hay otra, y otra m谩s.
Pero Auster no se detiene ah铆. Te lleva por un viaje que atraviesa desiertos, recuerdos y generaciones, conectando a Marco con personajes que son tan improbables como inolvidables. Est谩 Thomas Effing, un anciano exc茅ntrico con una historia de vida que parece un western alucin贸geno. Est谩 Solomon Barber, otro hombre cuya vida parece un mosaico de tragedias y secretos. Y todo esto, por incre铆ble que suene, tiene sentido dentro de la narrativa de Auster.
El gran tema aqu铆 es el azar, pero no como una excusa para giros de trama. Es el azar como esencia de la vida misma, como ese hilo invisible que une a Marco con las estrellas, las dunas de Utah y las calles de Nueva York. Cada coincidencia en El palacio de la Luna es un recordatorio de que, por mucho que tratemos de entender nuestras vidas, siempre habr谩 algo fuera de nuestro control. Y no s茅 vosotros, pero yo encuentro algo extra帽amente reconfortante en eso.
Eso s铆, si el uso del azar te pone los ojos en blanco, prep谩rate para sorprenderte. Lo que podr铆a ser una excusa para giros inveros铆miles se convierte en el n煤cleo filos贸fico de la novela. Estos 鈥済olpes de destino鈥� no son simples accidentes narrativos; son herramientas para que Auster nos hable de identidad, prop贸sito y esa eterna b煤squeda de sentido. Y, sinceramente, lo hace de una forma que otros autores no podr铆an salirse con la suya.
Adem谩s, la estructura es un caos hermoso: una mezcla de novela de formaci贸n, odisea existencial y misterio filos贸fico. 驴Demasiado pretencioso? Puede, pero funciona. Auster juega con las expectativas del lector, y lo hace con una estructura que parece un caleidoscopio: cada giro te muestra una imagen distinta, pero todas forman parte del mismo patr贸n. La novela es muchas cosas a la vez: una historia de formaci贸n, un misterio filos贸fico, una meditaci贸n sobre la identidad, e incluso un homenaje al poder de contar historias. Hay capas y capas de significado aqu铆, pero Auster nunca se pierde en su propio laberinto. Su estilo es limpio, casi minimalista, como si quisiera dejar espacio para que las ideas respirasen.
Y luego est谩 la Luna. No es solo un adorno po茅tico; es un s铆mbolo que brilla en cada p谩gina. Representa lo inalcanzable, lo misterioso, lo que siempre est谩 ah铆 pero nunca terminamos de comprender del todo. Auster utiliza la Luna como un espejo en el que proyectar los anhelos, las p茅rdidas y las b煤squedas de sus personajes.
Cuando cerr茅 el libro, tuve la misma sensaci贸n que al salir de una charla profunda con amigos: esa mezcla de euforia y melancol铆a, como si hubieras tocado algo esencial, pero ef铆mero. El palacio de la Luna es una novela que te desaf铆a a mirar el caos de tu propia vida y encontrarle una especie de belleza.
驴Es perfecta? Claro que no. Hay momentos en los que las casualidades se estiran un poco m谩s de la cuenta, y la trama podr铆a tambalearse si no estuviera en manos de alguien tan talentoso como Auster. Pero 驴a qui茅n le importa la perfecci贸n cuando una novela consigue hacerte sentir tanto?
As铆 que, si est谩s dispuesto a dejarte llevar por el azar, si te intriga la idea de que cada decisi贸n, por peque帽a que parezca, puede llevarte a un lugar completamente inesperado, tienes que leer esto. Y, por favor, l茅elo con tiempo. No es un libro para devorar; es un libro para saborear, para dejar que sus ideas te acompa帽en mientras miras la Luna y piensas en todo lo que no sabemos sobre nuestras propias vidas.
Y puesto que hablar de Auster es hablar de azar, ha querido el azar que haya terminado la segunda lectura de esta novela justo el d铆a (1/05/2024) en que conocemos el fallecimiento de su autor. Con esta rese帽a de una de sus mejores novelas, mi modesto homenaje a uno de mis referentes literarios.
June 26, 2007
Zadie Smith, in an introduction for a Nonrequired Reading Anthology brought a James Joyce quote to my attention
"That ideal reader suffering from an ideal insomnia" -Joyce
"The ideal reader cannot sleep when holding the writer he was meant to be with." - Smith
This is how I feel about Paul Auster, especially concerning Moon Palace. An odd series of events lead me to read this book at the perfect time. I was on a road trip in which the route of my companions and I followed a route traced by the protagonist of this novel, from Chicago to Utah, almost exactly. The moon landing had featured prominently in conversations with one of my fellow travelers, Charlie. In one ear was Charlie, at the peak of an obsession with Nikola Tesla as the archetypal hero of science and underdogs and Thomas Edison standing for all that is wrong and corrupt. In the other ear was a central character's retelling of chance encounters with Mr. Tesla, referring to Edison only as "That asshole from Menlo." All after this book had been sitting on my shelves unread for months, perhaps waiting for the moment to strike. When I started loaning this book out and persuading people to read it, the odd coincidences started up again.
"That ideal reader suffering from an ideal insomnia" -Joyce
"The ideal reader cannot sleep when holding the writer he was meant to be with." - Smith
This is how I feel about Paul Auster, especially concerning Moon Palace. An odd series of events lead me to read this book at the perfect time. I was on a road trip in which the route of my companions and I followed a route traced by the protagonist of this novel, from Chicago to Utah, almost exactly. The moon landing had featured prominently in conversations with one of my fellow travelers, Charlie. In one ear was Charlie, at the peak of an obsession with Nikola Tesla as the archetypal hero of science and underdogs and Thomas Edison standing for all that is wrong and corrupt. In the other ear was a central character's retelling of chance encounters with Mr. Tesla, referring to Edison only as "That asshole from Menlo." All after this book had been sitting on my shelves unread for months, perhaps waiting for the moment to strike. When I started loaning this book out and persuading people to read it, the odd coincidences started up again.
February 17, 2022
O carte greu de lasat din m芒n膬. C膬 Auster scrie excelent, o 葯tiam deja; de fapt, dac膬 nu a葯 avea Trilogia New York-ului ca reper, poate i-a葯 fi dat 5 stele. Sau poate i le-a葯 fi dat dac膬 toat膬 cartea ar fi fost ca prima parte 葯i toate personajele - de葯i chiar toate sunt incitante 葯i ingenios construite- mi-ar fi trezit aceea葯i emo葲ie ca unchiul Victor, muzicianul bibliofil.
Palatul Lunii e un local chinezesc din New York. Dar e 葯i Vestul Americii, peisajul care seam膬n膬 cel mai mult cu cel selenar 葯i 卯n care luna i葯i g膬se葯te, 卯n cele din urm膬, locul. Luna este viitorul, luna este Marco (M.S.), fiul, Soarele este trecutul (bunicul un pic narcisist, Effing) 葯i P膬m芒ntul este prezentul (Solomon, tat膬l, Sol = p膬m芒ntul solid, greoi, pe care te po葲i baza). Trilogia lui Tesla cap膬t膬 identit膬葲i umane - 葯i, de fapt, romanul despre asta este, despre construirea unei identit膬葲i pe ruinele alteia dezintegrate dup膬 pierderea oric膬rei r膬d膬cini familiale.
Palatul Lunii e un local chinezesc din New York. Dar e 葯i Vestul Americii, peisajul care seam膬n膬 cel mai mult cu cel selenar 葯i 卯n care luna i葯i g膬se葯te, 卯n cele din urm膬, locul. Luna este viitorul, luna este Marco (M.S.), fiul, Soarele este trecutul (bunicul un pic narcisist, Effing) 葯i P膬m芒ntul este prezentul (Solomon, tat膬l, Sol = p膬m芒ntul solid, greoi, pe care te po葲i baza). Trilogia lui Tesla cap膬t膬 identit膬葲i umane - 葯i, de fapt, romanul despre asta este, despre construirea unei identit膬葲i pe ruinele alteia dezintegrate dup膬 pierderea oric膬rei r膬d膬cini familiale.
November 30, 2008
Auster's poetic use of language and the supremely convincing characterization of his protagonist made this novel one that I remember not so much by plot arches [though the plot is faultless], but in very vivid images of moments or point-surveys of MS Fogg's life.
Living in an apartment furnished only with boxes of books that for his bed, chairs, table, and entertainment.
Living in a shrub-cave in Central Park.
Outlaw cave hideouts in the desert, covered in obscure paintings.
Handing out money to people on the street in New York.
Sitting in a waiting room for the Draft medical exam.
The book ends in a very Gatsby-esque sort of summation of entropy and the futility of effort in the grand scheme of things. For all the depressing quotient of that, it's a beautifully written book that I widely reccommend.
Living in an apartment furnished only with boxes of books that for his bed, chairs, table, and entertainment.
Living in a shrub-cave in Central Park.
Outlaw cave hideouts in the desert, covered in obscure paintings.
Handing out money to people on the street in New York.
Sitting in a waiting room for the Draft medical exam.
The book ends in a very Gatsby-esque sort of summation of entropy and the futility of effort in the grand scheme of things. For all the depressing quotient of that, it's a beautifully written book that I widely reccommend.
March 24, 2017
賲.爻 賮購噩 賷賲孬賱賳賷.
丨亘賷鬲赖丕.
丨亘賷鬲赖丕.
November 6, 2020
Nici nu am terminat-o bine, c膬 a葯 reciti-o. 馃挀
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