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亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲
丿乇 丕蹖賳 讴鬲丕亘 爻賴 賳爻賱 丕夭 禺丕賳賵丕丿賴鈥屰� 賮賴賲賱 賲賵乇丿 亘乇乇爻蹖 賯乇丕乇 賲蹖鈥屭屫辟嗀�. 倬丿乇亘夭乇诏蹖 讴賴 亘丕 爻丕禺鬲賳 讴賱蹖爻丕蹖蹖 亘賴 卮賴乇鬲 賲蹖鈥屫必池� 倬爻乇蹖 讴賴 讴賱蹖爻丕 乇丕 賲賳賮噩乇 賲蹖鈥屭┵嗀� 賵 賳賵賴鈥屫й� 讴賴 丿乇 丨丕賱 亘丕夭爻丕夭蹖 賴賲丕賳 讴賱蹖爻丕爻鬲. 賴乇 讴丿丕賲 丕夭 丌賳鈥屬囏� 丕賳诏蹖夭賴鈥屰� 禺丕氐 禺賵丿 乇丕 丿丕乇賳丿貙 丕賳诏蹖夭賴鈥屰� 賮乇丿蹖 丿乇 丿賵乇丕賳 賯亘賱 丕夭 噩賳诏貙 丿乇 丿賵乇丕賳 噩賳诏 賵 丿乇 丿賵乇丕賳 倬爻 丕夭 噩賳诏... 賳賲丕丿蹖 丕夭 噩賳诏 賵 賲匕賴亘 丿乇 夭賳丿诏蹖 賲乇丿賲.
賯賴乇賲丕賳 丿丕爻鬲丕賳 賲丕 賴乇 乇賵夭 爻丕毓鬲 賳賴 賵 賳蹖賲 鬲丕 蹖丕夭丿賴 丿乇 賴鬲賱 亘蹖賱蹖丕乇丿 亘丕夭蹖 賲蹖鈥屭┵嗀� 賴乇 趩賳丿 賴丿賮 丕賵 亘丕夭蹖 賳蹖爻鬲. 賴丿賮 丕賵 丿賳亘丕賱 讴乇丿賳 丨乇讴鬲 鬲賵倬鈥屬囏� 賵 賳馗賲 賵 賯丕賳賵賳 賵 蹖讴 乇賵賳丿 賲賳馗賲 賵 蹖丕丿丌賵乇蹖 丕鬲賮丕賯丕鬲 诏匕卮鬲賴 丕爻鬲.
賯賴乇賲丕賳 丿丕爻鬲丕賳 賲丕 賴乇 乇賵夭 爻丕毓鬲 賳賴 賵 賳蹖賲 鬲丕 蹖丕夭丿賴 丿乇 賴鬲賱 亘蹖賱蹖丕乇丿 亘丕夭蹖 賲蹖鈥屭┵嗀� 賴乇 趩賳丿 賴丿賮 丕賵 亘丕夭蹖 賳蹖爻鬲. 賴丿賮 丕賵 丿賳亘丕賱 讴乇丿賳 丨乇讴鬲 鬲賵倬鈥屬囏� 賵 賳馗賲 賵 賯丕賳賵賳 賵 蹖讴 乇賵賳丿 賲賳馗賲 賵 蹖丕丿丌賵乇蹖 丕鬲賮丕賯丕鬲 诏匕卮鬲賴 丕爻鬲.
326 pages, Paperback
First published January 1, 1959
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7,257 people want to read
About the author
Heinrich B枚ll
607听books1,607听followersDer deutsche Schriftsteller und 脺bersetzer gilt als einer der bedeutendsten deutschen Autoren der Nachkriegszeit. Er schrieb Gedichte, Kurzgeschichten und Romane, von denen auch einige verfilmt wurden. Dabei setzte er sich kritisch mit der jungen Bundesrepublik auseinander. Zu seinen erfolgreichsten Werken z盲hlen "Billard um halbzehn", "Ansichten eines Clowns" und "Gruppenbild mit Dame". Den Nobelpreis f眉r Literatur bekam Heinrich B枚ll 1972; er war nach 43 Jahren der erste deutsche Schriftsteller, dem diese Auszeichnung zuteil wurde. 1974 erschien sein wohl popul盲rstes Werk, "Die verlorene Ehre der Katharina Blum". Durch sein politisches Engagement wirkte er, gemeinsam mit seinem Freund Lew Kopelew, auf die europ盲ische Literatur der Nachkriegszeit. Dar眉ber hinaus arbeitete B枚ll gemeinsam mit seiner Frau Annemarie als Herausgeber und 脺bersetzer englischsprachiger Werke ins Deutsche...
Heinrich B枚ll became a full-time writer at the age of 30. His first novel, Der Zug war p眉nktlich (The Train Was on Time), was published in 1949. Many other novels, short stories, radio plays, and essay collections followed. In 1972 he received the Nobel Prize for Literature "for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature." He was the first German-born author to receive the Nobel Prize since Hermann Hesse in 1946. His work has been translated into more than 30 languages, and he is one of Germany's most widely read authors.
Heinrich B枚ll became a full-time writer at the age of 30. His first novel, Der Zug war p眉nktlich (The Train Was on Time), was published in 1949. Many other novels, short stories, radio plays, and essay collections followed. In 1972 he received the Nobel Prize for Literature "for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature." He was the first German-born author to receive the Nobel Prize since Hermann Hesse in 1946. His work has been translated into more than 30 languages, and he is one of Germany's most widely read authors.
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November 11, 2022
Every day at half-past nine Dr. Robert Faehmel plays billiard in the Prince Heinrich Hotel and tells an adolescent bellhop the story of his life鈥�
And his father, the old architect, recounts to his son鈥檚 secretary about his young years and his first professional success鈥�
Two wars are behind鈥� Some are born to build and some are born to destroy鈥� And today is the old man鈥檚 eightieth birthday鈥� All of his few relatives must be present at his birthday party鈥� All those who managed to survive鈥�
The huge and heavy wheels of history and ideology roll uncaringly over everybody and those who aren鈥檛 outright crushed are left behind crippled and traumatized.
Then take my word for it, just let young Faehmel play his billiards in peace. A fine family. Really is. Class. I knew his grandmother, his grandfather, his mother and his uncle. They used to play billiards here themselves, fifty years ago. You wouldn鈥檛 know, of course, but the Kilbs have lived on Modest Street for three hundred years. That is, they always did 鈥� there aren鈥檛 any left any more. His mother went off the beam, lost two brothers and three of her children died. Never got over it. Fine woman. The quiet kind, if you know what I mean.
And his father, the old architect, recounts to his son鈥檚 secretary about his young years and his first professional success鈥�
Every day I walked four kilometers, in one hour, always the same way at the same time. I meant to be seen, and seen at the same place at the same time, always. Shopgirls, bankers and jewelers, whores and cab drivers, store clerks, waiters and housewives, I intended that they should see me, and they did, from five to six, cigar in my mouth. Impudent, I know, but I鈥檓 an artist, pledged to nonconformity. A man like me is permitted to stand and listen to the organ-grinder, and make capital of the melancholy of the hours when work lets out. Permitted to frequent dream streets in the city of dreams.
Two wars are behind鈥� Some are born to build and some are born to destroy鈥� And today is the old man鈥檚 eightieth birthday鈥� All of his few relatives must be present at his birthday party鈥� All those who managed to survive鈥�
鈥淵our Excellency, we鈥檝e reserved Room 212 for you and your wife, pardon, for your wife and you. Any luggage at the station? No? Anything to be brought from your house? Nothing. Oh, only for two hours while the fireworks are on, and to watch the Veterans鈥� parade. Of course there are seats for six people in the room, there鈥檚 a large balcony, and if you wish we can have the beds pushed together. Not necessary? Hugo, Hugo, show the ladies and gentlemen to Room 212, and take a wine list with you. I鈥檒l send the young people up to your room.鈥�
The huge and heavy wheels of history and ideology roll uncaringly over everybody and those who aren鈥檛 outright crushed are left behind crippled and traumatized.
May 21, 2022
(Book 466 from 1001 books) - Billard um halb zehn = Billiards At Half-Past Nine, Heinrich B枚ll
Billiards at Half-Past Nine is a 1959 novel by the German author Heinrich B枚ll. It reflects the opposition B枚ll, who won the Nobel Prize for Literature in 1972, had to the period of Nazism as well as his aversion to war in general. The entirety of the narrative takes place on the day of September 6, 1958 but the story stretches back through the use of flashbacks and the retelling of memories of the characters. It focuses on the Faehmel family's history starting from the end of 19th century until the present day of 1958.
亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲 - 賴丕蹖賳乇蹖卮 亘賱 (爻乇賵卮) 丕丿亘蹖丕鬲 丌賱賲丕賳貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 亘蹖爻鬲 賵 倬賳噩賲 賲丕賴 賮賵乇乇蹖賴 爻丕賱2011賲蹖賱丕丿蹖
毓賳賵丕賳: 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲貨 賳賵蹖爻賳丿賴: 賴丕蹖賳乇蹖卮 亘賱貨 賲鬲乇噩賲: 讴蹖讴丕賵賵爻 噩賴丕賳丿丕乇蹖貨 鬲鈥嵸団€嵷必з嗏€屫� 賳卮乇 爻鈥嵷辟堌粹€� (丕賳鈥嵷€嵷粹€嵷ж必ж€� 氐鈥嵷� 賵 爻鈥嵺屸€嵸呪€嵷�)貙 爻丕賱1377貨 丿乇292氐貨 卮丕亘讴9644353048貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丌賱賲丕賳 - 爻丿賴20賲
毓賳賵丕賳: 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲貨 賳賵蹖爻賳丿賴: 賴丕蹖賳乇蹖卮 亘賱貨 賲鬲乇噩賲: 讴蹖讴丕賵賵爻 噩賴丕賳丿丕乇蹖貨 鬲鈥嵸団€嵷必з嗏€屫� 丕賳鬲卮丕乇丕鬲 賲丕賴蹖貙 爻丕賱1389貨 丿乇325氐貨 卮丕亘讴9789642090549貨 趩丕倬 丿賵賲 爻丕賱1391貨 趩丕倬 爻賵賲 爻丕賱1392貨 趩丕倬 趩賴丕乇賲 爻丕賱1395貨 趩丕倬 倬賳噩賲 爻丕賱1397貨
毓賳賵丕賳: 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲貨 賳賵蹖爻賳丿賴: 賴丕蹖賳乇蹖卮 亘賱貨 賲鬲乇噩賲: 賲賴丿蹖賴 丨蹖丿乇蹖貨 鬲鈥嵸団€嵷必з嗏€屫� 賳卮乇 賴賳乇 倬丕乇蹖賳賴貙 爻丕賱1395貨 丿乇310氐貨 卮丕亘讴9786005981803貨
毓賳賵丕賳: 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲貨 賳賵蹖爻賳丿賴: 賴丕蹖賳乇蹖卮 亘賱貨 賲鬲乇噩賲: 爻丕乇賳诏 賲賱讴賵鬲蹖貨 鬲鈥嵸団€嵷必з嗏€屫� 賳卮乇 賳诏丕賴貙 爻丕賱1397貨 丿乇328氐貨 卮丕亘讴9786003763012貨 趩丕倬 丿賵賲 爻丕賱1398貨
丿乇 丕蹖賳 讴鬲丕亘 蹖丕夭丿賴 乇丕賵蹖 丿丕爻鬲丕賳貙 亘丕 賮賱卮 亘讴鈥屬囏ж� 賵 蹖丕丿丌賵乇蹖 蹖丕丿賲丕賳賴丕蹖 禺賵丿貙 丿丕爻鬲丕賳 乇賲丕賳 乇丕貙 亘賴 倬蹖卮 賲蹖鈥屫ㄘ辟嗀� 蹖丕丿賲丕賳賴丕蹖 爻賴 賳爻賱 丕夭 禺丕賳賵丕丿賴鈥� 蹖 芦賮賴賲賱禄 丕爻鬲貨 倬丿乇亘夭乇诏蹖 讴賴 亘丕 爻丕禺鬲賳 讴賱蹖爻丕蹖蹖 亘賴 卮賴乇鬲 賲蹖鈥屫必池� 賵 倬爻乇 賴賲賵爻鬲 讴賴 讴賱蹖爻丕 乇丕 賲賳賮噩乇 賲蹖鈥屭┵嗀� 賵 賳賵賴鈥� 丕蹖 讴賴 丿乇 丨丕賱 亘丕夭爻丕夭蹖 丿賵亘丕乇賴 蹖 賴賲丕賳 讴賱蹖爻丕爻鬲貨 賴乇 讴丿丕賲 丕夭 丌賳鈥屬囏ж� 丕賳诏蹖夭賴鈥� 蹖 賵蹖跇賴 蹖 禺賵丿 乇丕 丿丕卮鬲賴 丕賳丿貙 丕賳诏蹖夭賴鈥� 蹖 賮乇丿蹖貙 丿乇 丿賵乇丕賳 倬蹖卮 丕夭 噩賳诏貙 丿乇 丿賵乇丕賳 噩賳诏貙 賵 丿乇 丿賵乇丕賳 倬爻 丕夭 噩賳诏...貨 賳賲丕丿蹖 丕夭 噩賳诏 賵 賲匕賴亘 丿乇 夭賳丿诏蹖 賲乇丿賲丕賳 丕爻鬲貨 賯賴乇賲丕賳 丿丕爻鬲丕賳 賴乇 乇賵夭貙 丕夭 爻丕毓鬲 賳賴 賵 賳蹖賲 鬲丕 爻丕毓鬲 蹖丕夭丿賴貙 丿乇 賴鬲賱 亘蹖賱蹖丕乇丿 亘丕夭蹖 賲蹖鈥屭┵嗀� 賴乇 趩賳丿 賴丿賮 丕賵 亘丕夭蹖 賳蹖爻鬲貨 賴丿賮 丕賵 丿賳亘丕賱 讴乇丿賳 丨乇讴鬲 鬲賵倬鈥屬囏ж� 賵 賳馗賲 賵 賯丕賳賵賳貙 賵 蹖讴 乇賵賳丿 賲賳馗賲貙 賵 蹖丕丿丌賵乇蹖 乇禺丿丕丿賴丕蹖 亘诏匕卮鬲賴 賴丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 11/05/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 30/02/1401賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Billiards at Half-Past Nine is a 1959 novel by the German author Heinrich B枚ll. It reflects the opposition B枚ll, who won the Nobel Prize for Literature in 1972, had to the period of Nazism as well as his aversion to war in general. The entirety of the narrative takes place on the day of September 6, 1958 but the story stretches back through the use of flashbacks and the retelling of memories of the characters. It focuses on the Faehmel family's history starting from the end of 19th century until the present day of 1958.
亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲 - 賴丕蹖賳乇蹖卮 亘賱 (爻乇賵卮) 丕丿亘蹖丕鬲 丌賱賲丕賳貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 亘蹖爻鬲 賵 倬賳噩賲 賲丕賴 賮賵乇乇蹖賴 爻丕賱2011賲蹖賱丕丿蹖
毓賳賵丕賳: 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲貨 賳賵蹖爻賳丿賴: 賴丕蹖賳乇蹖卮 亘賱貨 賲鬲乇噩賲: 讴蹖讴丕賵賵爻 噩賴丕賳丿丕乇蹖貨 鬲鈥嵸団€嵷必з嗏€屫� 賳卮乇 爻鈥嵷辟堌粹€� (丕賳鈥嵷€嵷粹€嵷ж必ж€� 氐鈥嵷� 賵 爻鈥嵺屸€嵸呪€嵷�)貙 爻丕賱1377貨 丿乇292氐貨 卮丕亘讴9644353048貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丌賱賲丕賳 - 爻丿賴20賲
毓賳賵丕賳: 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲貨 賳賵蹖爻賳丿賴: 賴丕蹖賳乇蹖卮 亘賱貨 賲鬲乇噩賲: 讴蹖讴丕賵賵爻 噩賴丕賳丿丕乇蹖貨 鬲鈥嵸団€嵷必з嗏€屫� 丕賳鬲卮丕乇丕鬲 賲丕賴蹖貙 爻丕賱1389貨 丿乇325氐貨 卮丕亘讴9789642090549貨 趩丕倬 丿賵賲 爻丕賱1391貨 趩丕倬 爻賵賲 爻丕賱1392貨 趩丕倬 趩賴丕乇賲 爻丕賱1395貨 趩丕倬 倬賳噩賲 爻丕賱1397貨
毓賳賵丕賳: 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲貨 賳賵蹖爻賳丿賴: 賴丕蹖賳乇蹖卮 亘賱貨 賲鬲乇噩賲: 賲賴丿蹖賴 丨蹖丿乇蹖貨 鬲鈥嵸団€嵷必з嗏€屫� 賳卮乇 賴賳乇 倬丕乇蹖賳賴貙 爻丕賱1395貨 丿乇310氐貨 卮丕亘讴9786005981803貨
毓賳賵丕賳: 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲貨 賳賵蹖爻賳丿賴: 賴丕蹖賳乇蹖卮 亘賱貨 賲鬲乇噩賲: 爻丕乇賳诏 賲賱讴賵鬲蹖貨 鬲鈥嵸団€嵷必з嗏€屫� 賳卮乇 賳诏丕賴貙 爻丕賱1397貨 丿乇328氐貨 卮丕亘讴9786003763012貨 趩丕倬 丿賵賲 爻丕賱1398貨
丿乇 丕蹖賳 讴鬲丕亘 蹖丕夭丿賴 乇丕賵蹖 丿丕爻鬲丕賳貙 亘丕 賮賱卮 亘讴鈥屬囏ж� 賵 蹖丕丿丌賵乇蹖 蹖丕丿賲丕賳賴丕蹖 禺賵丿貙 丿丕爻鬲丕賳 乇賲丕賳 乇丕貙 亘賴 倬蹖卮 賲蹖鈥屫ㄘ辟嗀� 蹖丕丿賲丕賳賴丕蹖 爻賴 賳爻賱 丕夭 禺丕賳賵丕丿賴鈥� 蹖 芦賮賴賲賱禄 丕爻鬲貨 倬丿乇亘夭乇诏蹖 讴賴 亘丕 爻丕禺鬲賳 讴賱蹖爻丕蹖蹖 亘賴 卮賴乇鬲 賲蹖鈥屫必池� 賵 倬爻乇 賴賲賵爻鬲 讴賴 讴賱蹖爻丕 乇丕 賲賳賮噩乇 賲蹖鈥屭┵嗀� 賵 賳賵賴鈥� 丕蹖 讴賴 丿乇 丨丕賱 亘丕夭爻丕夭蹖 丿賵亘丕乇賴 蹖 賴賲丕賳 讴賱蹖爻丕爻鬲貨 賴乇 讴丿丕賲 丕夭 丌賳鈥屬囏ж� 丕賳诏蹖夭賴鈥� 蹖 賵蹖跇賴 蹖 禺賵丿 乇丕 丿丕卮鬲賴 丕賳丿貙 丕賳诏蹖夭賴鈥� 蹖 賮乇丿蹖貙 丿乇 丿賵乇丕賳 倬蹖卮 丕夭 噩賳诏貙 丿乇 丿賵乇丕賳 噩賳诏貙 賵 丿乇 丿賵乇丕賳 倬爻 丕夭 噩賳诏...貨 賳賲丕丿蹖 丕夭 噩賳诏 賵 賲匕賴亘 丿乇 夭賳丿诏蹖 賲乇丿賲丕賳 丕爻鬲貨 賯賴乇賲丕賳 丿丕爻鬲丕賳 賴乇 乇賵夭貙 丕夭 爻丕毓鬲 賳賴 賵 賳蹖賲 鬲丕 爻丕毓鬲 蹖丕夭丿賴貙 丿乇 賴鬲賱 亘蹖賱蹖丕乇丿 亘丕夭蹖 賲蹖鈥屭┵嗀� 賴乇 趩賳丿 賴丿賮 丕賵 亘丕夭蹖 賳蹖爻鬲貨 賴丿賮 丕賵 丿賳亘丕賱 讴乇丿賳 丨乇讴鬲 鬲賵倬鈥屬囏ж� 賵 賳馗賲 賵 賯丕賳賵賳貙 賵 蹖讴 乇賵賳丿 賲賳馗賲貙 賵 蹖丕丿丌賵乇蹖 乇禺丿丕丿賴丕蹖 亘诏匕卮鬲賴 賴丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 11/05/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 30/02/1401賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
June 14, 2024
Set in post-war Germany in the late 50's (although large parts of the narrative focuses on events from the past), Heinrich B枚ll has written a multi-layered and complex work of brilliance, that uses a free-form narrative, and, on a limited scale, a more structured recognizable one, which alternates around depending on whether in the past or present. And I have to say it's masterfully done. B枚ll starts out by giving nothing away, regarding names, where we are, or what's going on, landing the reader smack-bang in a scene that could have been plucked from the middle of a story rather than the beginning of one. Adept, and with a keen eye, he unravels the Faehmel family that lie at the heart of his novel. Covering three generations of the family, two world wars, thus spanning many decades. You might think a sweeping epic is on the cards, but it fact, it's quite the opposite. In real time, the novel plays out over only a single day.
One could believe the grass roots of the novel lies with father and son architects. Heinrich the elder, is selected post-WW1 to rebuild a local abbey suffering from neglect. The son, Robert (who plays billiards, with a cognac, without fail, from half-past nine to eleven), follows his father's footsteps into the building trade, but then averts away from development into demolition during WW2. And then we have Joseph, Robert's son, who likewise keeps with family tradition. But, actually the core theme of B枚ll's novel is that of the struggles of women, especially that of the mother, entrenched in the ideas of virtue, sacrifice, and honesty, and how greater the choices made can affect the wider scope. So, in essence, the manic confessions of Robert's mother, Joanna, really is the bread and butter of B枚ll's story. It is also, more importantly, a searing indictment of Nazi Germany.
The more I think about the level of depth Heinrich B枚ll depicts throughout the novel, the more passionate I will praise it. And I could write on and on about the many different underlying questions B枚ll has us locked into, but wouldn't want to serve everything up on a silver platter.
I simply found this immensely rewarding, more so, because it does require complete and utter attention. No, it's not one for the beach. It's a book I could have locked myself away with in a panic room. The key information to the novels interior is presented seemingly at random, and then given weight and context as the story slowly unfolds. For me, it was like wearing in a new pair of shoes that looked uncomfortable, expecting blisters, but then not getting any. How he approached the novel was intelligent, thought-provoking, tough when it needed to be, but also humane.
And it was great not to be spoon fed all the details, it made for a better read, and B枚ll absolutely knew this. It's in no way a book for the masses, but I couldn't care less. It's all the better for it.
January 20, 2019
The functioning of my memory could possibly be compared to my attempts at playing billiards.
Not really knowing the rules, not knowing the techniques, not understanding the meaning of the coloured balls spread out over the green cloth table, I take a queue and make a random decision to hit one ball. In the best of cases I succeed, but then a chain reaction of uncontrolled further action takes place, and under no circumstances do I ever manage to conclude what will be the effect of my initial trial.
The billiards game of my memory led me here today.
I was engaged in a discussion on human constructive and destructive behaviour, and like the white ball on a billiards table, the discussion kicked off a memory chain reaction leading me back to this novel, a once-in-a-lifetime reading experience not only for its important content in itself, but also because of the initiation rite into B枚ll's world that it constituted, after some school attempts at his shorter fiction.
It is Buddenbrooks all over again, and yet so much darker, and at the same time lighter. Families build close relationships only to know how to hurt each other best. They have ambitions in the name of the shared name, only to betray the most cherished ideals of the clan as soon as they get a chance. They are exclusive clubs, and yet each member brings the flavour of the outside world into the explosive Molotov cocktail.
Heinrich B枚ll loves to describe the Tr眉mmerlandschaft that became his theme and his literary writing style as well. And nothing symbolises the architecture of German history better than the fate of the builders and buildings in a family that lives through the darkest times in German memory. And like a construction rising on the ruins of a destroyed culture, "Billiard um halb zehn" stands for the regenerative forces at work even in the most hopelessly lost civilisations.
If you manage to dig through the rubble and shards of this collapsed story, you will see that the puzzle makes sense, and that the billiards table is a cosmos full of life to be studied and cherished. There are rules, but it is hard to follow them even if you try!
Not really knowing the rules, not knowing the techniques, not understanding the meaning of the coloured balls spread out over the green cloth table, I take a queue and make a random decision to hit one ball. In the best of cases I succeed, but then a chain reaction of uncontrolled further action takes place, and under no circumstances do I ever manage to conclude what will be the effect of my initial trial.
The billiards game of my memory led me here today.
I was engaged in a discussion on human constructive and destructive behaviour, and like the white ball on a billiards table, the discussion kicked off a memory chain reaction leading me back to this novel, a once-in-a-lifetime reading experience not only for its important content in itself, but also because of the initiation rite into B枚ll's world that it constituted, after some school attempts at his shorter fiction.
It is Buddenbrooks all over again, and yet so much darker, and at the same time lighter. Families build close relationships only to know how to hurt each other best. They have ambitions in the name of the shared name, only to betray the most cherished ideals of the clan as soon as they get a chance. They are exclusive clubs, and yet each member brings the flavour of the outside world into the explosive Molotov cocktail.
Heinrich B枚ll loves to describe the Tr眉mmerlandschaft that became his theme and his literary writing style as well. And nothing symbolises the architecture of German history better than the fate of the builders and buildings in a family that lives through the darkest times in German memory. And like a construction rising on the ruins of a destroyed culture, "Billiard um halb zehn" stands for the regenerative forces at work even in the most hopelessly lost civilisations.
If you manage to dig through the rubble and shards of this collapsed story, you will see that the puzzle makes sense, and that the billiards table is a cosmos full of life to be studied and cherished. There are rules, but it is hard to follow them even if you try!
July 23, 2021
Memento quia pulvis es et in pulverem reverteris, as we are quite clearly told. Dust the mortar leaves behind, deeds of mortgage, houses and estates, a statue in a peaceful suburb where children as they play might ask, ' And who ' s that man?'
April 7, 2024
Heinrich B枚ll is my HERO! His books have their own bookshelf in my home and hold a special place in my heart.
Billiards at Half-Past Nine was the first book I read by him during my university years and its effect was instant and enormous. Afterwards I read his books in a row one after the other.
B枚ll's strong sense of justice, his representation of Truth is shining through his works like the desert SUN. It is blinding, burning and merciless, there are no shadows to hide in. The TRUTH is there, very much in your face: you cannot conveniently close your eyes and ignore it.
I guess B枚ll's literary work -facing the truth, no matter how hard it gets- was essential and instrumental for a German society recovering after the devastating WW II. He was a widely read and acknowledged author, but also widely spurned for the same reasons, at the same time.
His literary technique is very "typical", easily recognizable. Reading his books is like putting together a puzzle. Pieces get offered from different people's perspectives, the story is getting deeper and more complex as flashbacks and memories of several characters are written in the first person, yet they all get filtered by an omniscient narrator.
Gradually, we get full access to characters and their stories by their own memories as well as through the perspectives of others, we can see them from all sides and it is intriguing as well as emotionally involving.
A highly recommended read.
Billiards at Half-Past Nine was the first book I read by him during my university years and its effect was instant and enormous. Afterwards I read his books in a row one after the other.
B枚ll's strong sense of justice, his representation of Truth is shining through his works like the desert SUN. It is blinding, burning and merciless, there are no shadows to hide in. The TRUTH is there, very much in your face: you cannot conveniently close your eyes and ignore it.
I guess B枚ll's literary work -facing the truth, no matter how hard it gets- was essential and instrumental for a German society recovering after the devastating WW II. He was a widely read and acknowledged author, but also widely spurned for the same reasons, at the same time.
His literary technique is very "typical", easily recognizable. Reading his books is like putting together a puzzle. Pieces get offered from different people's perspectives, the story is getting deeper and more complex as flashbacks and memories of several characters are written in the first person, yet they all get filtered by an omniscient narrator.
Gradually, we get full access to characters and their stories by their own memories as well as through the perspectives of others, we can see them from all sides and it is intriguing as well as emotionally involving.
A highly recommended read.
Read
March 6, 2015
Heinrich B枚ll with his eternal cigarette(*)
Sometimes the Swedish Academy does get things right, and one of these times was the award of the Nobel Prize in 1972 to Heinrich B枚ll (1917-1985), the year after he published the excellent Gruppenbild mit Dame (though probably my favorite is Ansichten eines Clowns, whence the above quote is taken). I have just re-read one of his better early novels, Billard um halbzehn (1959),(**) and am once again seduced by the many fine qualities of his prose.
Though those of my generation may roll their eyes at this truism, it could well be the case that members of more recent generations are unaware that, for completely understandable reasons, in the first decade after World War II the German people had no desire to dwell on what had occurred from 1933 to 1945. After all, they were hungry, their cities were in ruins, their country was divided in two and occupied by four foreign powers, just to mention a few things. In East Germany the Communist Party was able to blame the "other Germans" - a stance which the East German people were gratefully able to adopt - while in West Germany conservative capitalists had taken over the reins again after only a brief interruption and did not want anyone looking too closely at what they did during the war. This began to change a bit during the late 50's and early 60's after the "Economic Miracle" of the 50's had greatly improved the standard of living in the Federal Republic.
B枚ll was one of the first significant German authors to deal with WW2; already in 1949 he published Der Zug war p眉nktlich, set in 1943, in which he, among other things, displayed the inhumanity of the values of that time. But already in that early text he was no one-note-Charlie. Indeed, in another famous quote B枚ll said that the most important topics for him were religion and love.
So, though WW2 plays an important role in Billard um halbzehn, quite a bit more is going on in this tale of three generations of architects, the F盲hmel family, leading up to the fateful 80th birthday of the eldest, Heinrich. B枚ll artfully eases into his story by introducing the F盲hmel's through the eyes of the secretary of F盲hmel #2, Robert, with humor and foreboding. B枚ll's third person narrator moves among the characters and follows their thoughts and, above all, their memories, jumping through time from as early as 1894 till the novel's present, 1958. The reader must piece together the story from this kaleidoscope, but B枚ll does not make this difficult. In fact, there is a hint of the pleasure of reading a well written detective story as the pieces slowly fall together. At the same time an ominous tension is established and increased until the final explosion.
Within this rich story of the intertwined lives of multiple generations, of joy and loss, of ambition and futility, betrayal and forgiveness, subservience and resistance, is mixed the many different ways people could and did choose to act during the period 1933-1945 and the price each had to pay for their choices. At the same time, B枚ll also addresses the ways in which Germans dealt with the consequences of these choices in the emerging postwar society. All the while, even when evoking the former Nazi who became an important figure in the postwar reconstruction or when Robert is being whipped with barbed wire, B枚ll's limpid prose flows smoothly and calmly, never psychologizing and occasionally revealing a wry humor that had me laughing aloud. The old hotel porter, Jochen, is priceless.
This is one of B枚ll's generous handful of outstanding books.
(*) The well-known quote by B枚ll means: Atheists bore me, they are always talking about God. Not actually relevant here, but I like the photo.
(**) Available in English translation under the title Billiards at Half-Past Nine.
Cologne - Heinrich B枚ll's hometown and the primary setting for Billard um halbzehn
Rating
March 28, 2023
螒蟻纬蠈蟽蠀蟻蟿慰蟼 蟻蠀胃渭蠈蟼, 蟺蠀魏谓萎 纬蟻伪蠁萎 蟺慰蠀 蟽蔚 蟺伪蟻伪蟽苇蟻谓蔚喂 蟽蠂蔚未蠈谓 蟽蔚 位萎胃伪蟻纬慰 伪位位维 蟽蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟺蔚蟿蠀蠂伪委谓蔚喂 伪魏蟻喂尾蠋蟼 蟿慰 伪谓蟿委胃蔚蟿慰: 韦畏谓 魏伪蟿伪尾蠉胃喂蟽畏 蟽蟿慰谓 魏蠈蟽渭慰 蟿蠅谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿蠋谓 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 蟺慰蠀 蟺蔚蟻喂位伪渭尾维谓蔚喂 伪蟺慰尉苇谓蠅蟽畏, 伪渭蠁喂尾慰位委蔚蟼, 蔚谓慰蠂苇蟼, 蟺维胃畏, 蟺位畏纬苇蟼, 蠈位伪 伪蠀蟿维 蟺慰蠀 未蠉慰 蟽蠀谓蔚蠂蠈渭蔚谓慰喂 蟺伪纬魏蠈蟽渭喂慰喂 蟺蠈位蔚渭慰喂 魏伪喂 -魏蠀蟻委蠅蟼- 蟿慰 蠁维谓蟿伪蟽渭伪 蟿慰蠀 谓伪味喂蟽渭慰蠉 维蠁畏蟽伪谓 蟺维谓蠅 蟽蟿畏 渭蔚蟿伪蟺慰位蔚渭喂魏萎 螕蔚蟻渭伪谓委伪. 螒谓伪渭蠁委尾慰位伪 苇谓伪 尾喂尾位委慰 蟽蟿伪胃渭蠈蟼.
April 16, 2018
It is amazing how a prose can be so effortlessly beautiful and meaningful at the same time! It is also such a rarity鈥�
The novel takes place during one day in 1958 in Cologne. It is focused on the 3 generation of the family of architects getting to grips with the trauma inflicted on them by their compatriots and by the defeat in the war. It reminds also that the spectre of Evil is never far away; it just reincarnates into different shapes and forms. But the novel refuses to be deductive and does not have any recipe how to fight it though. It asks the question what is better to build or to destroy? To destroy something which has been built earlier, which might have been a wrong symbol鈥� Or the symbol which did not safe anything or anyone鈥� Or is the act of creation and destruction are the part of the same process? Hegel with his unity and conflicts of the opposites comes to mind.
But apart from being cold and reflective, the novel possesses a great emotional power. It reminds us that there were many Germans who never supported the Nazis and they were the victims as well as everyone else. But we rare spare the thoughts for them. There is certainly the element of the universal truth in this for any war : we deserve all dignity for the winners. There were a few places in this novel that moved me close to tears, which is extremely rare for me.
And the style of the narrative is sophisticated, but not for a single moment feels laboured. Brilliant book.
The novel takes place during one day in 1958 in Cologne. It is focused on the 3 generation of the family of architects getting to grips with the trauma inflicted on them by their compatriots and by the defeat in the war. It reminds also that the spectre of Evil is never far away; it just reincarnates into different shapes and forms. But the novel refuses to be deductive and does not have any recipe how to fight it though. It asks the question what is better to build or to destroy? To destroy something which has been built earlier, which might have been a wrong symbol鈥� Or the symbol which did not safe anything or anyone鈥� Or is the act of creation and destruction are the part of the same process? Hegel with his unity and conflicts of the opposites comes to mind.
But apart from being cold and reflective, the novel possesses a great emotional power. It reminds us that there were many Germans who never supported the Nazis and they were the victims as well as everyone else. But we rare spare the thoughts for them. There is certainly the element of the universal truth in this for any war : we deserve all dignity for the winners. There were a few places in this novel that moved me close to tears, which is extremely rare for me.
And the style of the narrative is sophisticated, but not for a single moment feels laboured. Brilliant book.
September 15, 2020
螌蟽慰 未喂维尾伪味伪 伪蠀蟿蠈 蟿慰 尾喂尾位委慰, 渭委伪 蠁蟻维蟽畏 蔚委蠂伪 蟽蟿慰 渭蠀伪位蠈 渭慰蠀 : "危蟿慰 螔蔚蟻慰位委谓慰 蟿委蟺慰蟿伪 未蔚谓 蔚委谓伪喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 慰蟻伪蟿蠈 伪蟺蠈 伪蠀蟿蠈 蟺慰蠀 蟺蟻慰蟽蟺伪胃蔚委蟼 谓伪 蔚尉伪蠁伪谓委蟽蔚喂蟼"
螖蠉蟽魏慰位慰 尾喂尾位委慰 位蠈纬蠅 蟿畏蟼 蟽蠀谓蔚喂蟻渭喂魏萎蟼 纬蟻伪蠁萎蟼 魏伪喂 蟿蠅谓 未喂伪蠁慰蟻蔚蟿喂魏蠋谓 蟺蟻慰蟽蠋蟺蠅谓 蟺慰蠀 伪蠁畏纬慰蠉谓蟿伪喂 蠂蠅蟻委蟼 谓伪 蔚委谓伪喂 蟺维谓蟿伪 尉蔚魏维胃伪蟻慰 伪渭苇蟽蠅蟼 蟺慰喂慰蟼 渭喂位维蔚喂 蔚魏蔚委谓畏 蟿畏 蟽蟿喂纬渭萎. 螛伪 苇位蔚纬伪 蠈蟿喂 苇蠂蔚喂 魏伪喂 渭委伪 未蠈蟽畏 胃蔚伪蟿蟻喂魏蠈蟿畏蟿伪蟼 蟽蔚 魏维蟺慰喂伪 蟽畏渭蔚委伪.
螖蔚谓 蟿慰 未喂伪尾维味蔚喂蟼 纬喂伪 谓伪 蟺蔚蟻维蟽蔚喂蟼 位委纬蔚蟼 蠂伪位伪蟻苇蟼 蠋蟻蔚蟼. 韦慰 未喂伪尾维味蔚喂蟼 纬喂伪蟿委 慰蠁蔚委位蔚喂蟼 谓伪 胃蠀渭维蟽伪喂 蟿喂蟼 蠁蠅谓苇蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 苇味畏蟽伪谓 蟿畏 蠁蟻委魏畏 萎 伪蟺蠈蟿蔚位蔚蟽伪谓 渭苇蟻慰蟼 蟿畏蟼 蠁蟻委魏畏蟼. 韦慰 谓伪 渭畏谓 尉蔚蠂谓维渭蔚 蔚委谓伪喂 蟿慰 位喂纬蠈蟿蔚蟻慰 蟺慰蠀 渭蟺慰蟻慰蠉渭蔚 谓伪 魏维谓慰蠀渭蔚.
螖蠉蟽魏慰位慰 尾喂尾位委慰 位蠈纬蠅 蟿畏蟼 蟽蠀谓蔚喂蟻渭喂魏萎蟼 纬蟻伪蠁萎蟼 魏伪喂 蟿蠅谓 未喂伪蠁慰蟻蔚蟿喂魏蠋谓 蟺蟻慰蟽蠋蟺蠅谓 蟺慰蠀 伪蠁畏纬慰蠉谓蟿伪喂 蠂蠅蟻委蟼 谓伪 蔚委谓伪喂 蟺维谓蟿伪 尉蔚魏维胃伪蟻慰 伪渭苇蟽蠅蟼 蟺慰喂慰蟼 渭喂位维蔚喂 蔚魏蔚委谓畏 蟿畏 蟽蟿喂纬渭萎. 螛伪 苇位蔚纬伪 蠈蟿喂 苇蠂蔚喂 魏伪喂 渭委伪 未蠈蟽畏 胃蔚伪蟿蟻喂魏蠈蟿畏蟿伪蟼 蟽蔚 魏维蟺慰喂伪 蟽畏渭蔚委伪.
螖蔚谓 蟿慰 未喂伪尾维味蔚喂蟼 纬喂伪 谓伪 蟺蔚蟻维蟽蔚喂蟼 位委纬蔚蟼 蠂伪位伪蟻苇蟼 蠋蟻蔚蟼. 韦慰 未喂伪尾维味蔚喂蟼 纬喂伪蟿委 慰蠁蔚委位蔚喂蟼 谓伪 胃蠀渭维蟽伪喂 蟿喂蟼 蠁蠅谓苇蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 苇味畏蟽伪谓 蟿畏 蠁蟻委魏畏 萎 伪蟺蠈蟿蔚位蔚蟽伪谓 渭苇蟻慰蟼 蟿畏蟼 蠁蟻委魏畏蟼. 韦慰 谓伪 渭畏谓 尉蔚蠂谓维渭蔚 蔚委谓伪喂 蟿慰 位喂纬蠈蟿蔚蟻慰 蟺慰蠀 渭蟺慰蟻慰蠉渭蔚 谓伪 魏维谓慰蠀渭蔚.
June 12, 2020
螠蟺喂位喂维蟻未慰 蟽蟿喂蟼 蔚谓谓喂维渭喂蟽喂, 魏喂 蠈位伪 伪蟻蠂委味慰蠀谓 魏伪喂 蟿蔚位蔚喂蠋谓慰蠀谓 蟽蟿畏谓 未喂维蟻魏蔚喂伪 渭喂伪蟼 渭苇蟻伪蟼,
蟽蟿慰 畏渭蔚蟻慰位慰纬喂伪魏蠈 蟺蟻蠈纬蟻伪渭渭伪 蟿畏蟼 蟽蔚位萎谓畏蟼
纬喂伪 魏维蟺慰喂慰, 苇谓伪 魏伪喂 渭慰谓伪未喂魏蠈 渭蔚蟻慰谓蠉蠂蟿喂.
螝喂 萎蟿伪谓 蠈位慰喂 蔚魏蔚委, 蠈位慰喂, 未蔚谓 苇位蔚喂蟺蔚 魏伪谓蔚委蟼,
蔚委蠂伪谓 蠈位慰喂 蟺伪位苇蠄蔚喂 蟿畏谓 渭慰委蟻伪 纬喂伪 谓伪 尾蟻蔚胃慰蠉谓
蟽蟿畏谓 蟿蟻伪纬喂魏萎 蟽蠀谓维谓蟿畏蟽畏 蟿蠅谓 伪位畏蟽渭蠈谓畏蟿蠅谓
伪谓伪渭谓萎蟽蔚蠅谓 魏蠈谓蟿蟻伪 蟽蟿畏 渭蔚胃蠀蟽蟿喂魏萎 未委谓畏 蟿畏蟼 位萎胃畏蟼.
螣 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟼, 苇谓伪蟼, 渭苇蟽伪 蟽蟿畏谓 蠄蠀蠂萎 蠈位蠅谓.
螒蟽魏蔚委蟿伪喂 蟽蟿畏谓 蟿苇蠂谓畏 蟿慰蠀 芦蠀蟺维蟻蠂蠅禄 魏伪喂 蟿委蟺慰蟿蔚 维位位慰.
螠喂伪 渭伪蠉蟻畏 蟻慰蠀蠁萎蠂蟿蟻伪 苇纬喂谓伪谓 蠈位伪 蟺慰蠀 蟺伪蟻伪蟽苇蟻谓蔚喂 蟽蔚 维纬谓蠅蟽蟿伪 渭苇蟻畏.
螠喂伪 未委谓畏 蠉蟺伪蟻尉畏蟼 蟺慰蠀 蟻慰蠀蠁维蔚喂 渭蔚 位伪喂渭伪蟻纬委伪
蟿畏谓 蟽蠀谓蠉蟺伪蟻尉畏 渭蔚 渭蠀蟻蠅未喂维 伪蟺慰 伪蟻蠂伪委伪 蟺喂魏蟻委伪.
螠委伪 渭蔚位蠅未委伪 蟺慰蠀 伪魏慰蠉纬蔚蟿伪喂 蟽伪谓 蟺伪谓维蟻蠂伪喂畏 渭伪蟿伪喂蠈蟿畏蟿伪, 纬喂伪 蠈蟽伪 胃伪 纬委谓慰蠀谓, 纬喂伪 蠈蟽伪 胃伪 蠂伪胃慰蠉谓 蟽蟿慰谓 蠂蟻蠈谓慰
蟺慰蠀 魏伪蟿伪未喂蠋魏蔚喂 蟺维谓蟿伪 维纬蟻喂伪 蟿畏谓 伪蟺位萎 蠂伪蟻维 魏伪喂
蟿畏蟼 蟿蟻伪纬慰蠀未维蔚喂 渭蔚 蠁蠅谓苇蟼 纬位蠀魏苇蟼 魏伪喂 蟿蟻慰渭伪魏蟿喂魏苇蟼 蟿慰谓 蔚蟺喂蟿维蠁喂慰 胃蟻萎谓慰.
螌位伪, 蟿伪 伪谓蔚委蟺蠅蟿伪 蟿蔚位蔚喂蠋谓慰蠀谓 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蟺慰蠀 魏维蟺慰喂慰喂 苇蠂慰蠀谓 蟺维谓蟿伪 魏伪喂 蟿慰 未喂魏伪委蠅渭伪 蟿慰蠀 伪渭谓慰蠉 纬喂伪 伪蟺慰位蠉蟿蟻蠅蟽畏 纬委谓蔚蟿伪喂 蠁苇蟻蔚蟿蟻慰, 魏伪喂 畏 渭蔚蟿伪位伪尾喂维 蟿慰蠀 尾慰蠉尾伪位慰蠀 胃伪 尾蟻委蟽魏蔚蟿伪喂 蟽蟿畏 胃维位伪蟽蟽伪 蟿慰蠀 蠂蟻蠈谓慰蠀,
渭蔚 蟿畏谓 蠋蟻伪 蟺慰蠀 蠂蟿蠀蟺维蔚喂 伪魏蟻喂尾蠋蟼 蠈蟿伪谓 尉蠀蟺谓维蔚喂 慰 蟺蠈位蔚渭慰蟼. 螠伪 蟿蠈蟿蔚 蔚委谓伪喂 蟺慰蠀 蟿伪 蠁伪蟻维纬纬喂伪 蟿蠅谓 魏蠀渭维蟿蠅谓 蟽蔚 蟺伪蟻伪蟽蠉蟻慰蠀谓 谓伪 未喂伪蟽蠂委蟽蔚喂蟼 蠅魏蔚伪谓慰蠉蟼 伪蟺慰 蟺伪蟻蔚位胃蠈谓 魏伪喂 渭苇位位慰谓.
韦蠈蟿蔚 蔚委谓伪喂 蟺慰蠀 畏 渭慰谓伪尉喂维 蟺慰蠀 蟽鈥櫸蔽澄€畏蟽蔚 蟽蔚 蟽蠋味蔚喂
伪蟺慰 蟿慰谓 蟺谓喂纬渭蠈 魏伪喂 蟺蟻苇蟺蔚喂, 蟺蟻苇蟺蔚喂, 慰蟺蠅蟽未萎蟺慰蟿蔚 谓伪 尾慰蠀蟿萎尉蔚喂蟼 蟽蟿慰 蠄蠉蠂慰蟼 蟿慰蠀 渭苇位位慰谓蟿慰蟼 蠈蟽慰 魏喂 伪谓 蟿蟻苇渭蔚喂蟼, 蠈蟽慰 魏喂 伪谓 蟺伪蟻伪位畏蟻蔚委蟼 伪蟺慰 蟿畏谓 蔚喂魏蠈谓伪 蟿慰蠀 胃伪谓维蟿慰蠀,
苇蠂蔚喂蟼 蟿慰 纬苇位喂慰 蠅蟼 渭慰谓伪未喂魏蠈 渭苇蟽慰 蔚蟺喂尾委蠅蟽畏蟼, 渭伪胃畏蟿蔚蠉慰渭蔚谓慰蟼 蟿畏谓 蟿蟻苇位伪.
螒蟺伪纬慰蟻蔚蠉蔚蟿伪喂 谓伪 尉蔚蠂维蟽蔚喂蟼. 螒蟺慰魏位蔚委蔚蟿伪喂 谓伪 蟿蟻蔚位伪胃蔚委蟼.
危蟿慰 蟺位伪委蟽喂慰 蟿畏蟼 慰渭维未伪蟼, 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 纬委谓蔚蟿伪喂 畏 渭蔚蟿伪蠁慰蟻维 蟿蠅谓 芦伪谓慰渭慰位蠈纬畏蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓禄 伪蟺慰 蟿畏谓 渭喂魏蟻萎 蟽蔚 喂蟽蠂蠉 慰喂魏慰纬蔚谓蔚喂伪魏萎 蔚谓胃蠉渭畏蟽畏 蟽蟿慰谓 未畏渭蠈蟽喂慰 位蠈纬慰, 蠋蟽蟿蔚 谓伪 纬委谓蔚喂 渭苇蟻慰蟼 蟿畏蟼 蟽蠀位位慰纬喂魏萎蟼 渭谓萎渭畏蟼.
螚 渭蔚蟿伪尾委尾伪蟽畏 伪蠀蟿萎 未蔚谓 纬委谓蔚蟿伪喂 蟺维谓蟿伪 蟽蠀谓未蠀伪蟽蟿喂魏维 渭蔚 蟿喂蟼 魏伪魏慰蠀蠂委蔚蟼 蟿蠅谓 胃蠀渭维蟿蠅谓 魏伪胃蠋蟼 蠀蟺蔚喂蟽苇蟻蠂蔚蟿伪喂 魏伪喂 慰 伪谓伪蟽蟿伪位蟿喂魏蠈蟼 蟺伪蟻维纬慰谓蟿伪蟼 蟺慰蠀 慰蟻委味蔚蟿伪喂 蠅蟼 畏 渭谓萎渭畏
蟿慰蠀 胃蠉蟿畏, 尾伪委谓慰谓蟿伪蟼 蟽蔚 渭喂伪 慰渭伪未喂魏萎 蟽蠀谓蔚喂未喂伪蟽喂伪魏萎 魏伪蟿伪纬蟻伪蠁萎 蟿蔚魏渭畏蟻喂蠅渭苇谓畏蟼 渭蔚蟿伪渭苇位蔚喂伪蟼.
韦慰 芦渭蟺喂位喂维蟻未慰 蟽蟿喂蟼 蔚谓谓喂维渭喂蟽喂禄 未蔚谓 蔚委谓伪喂 魏伪胃蠈位慰蠀 蔚蠉魏慰位慰 伪谓维纬谓蠅蟽渭伪. 螣 渭慰谓蟿蔚蟻谓喂蟽渭蠈蟼 蔚未蠋 蔚蟺畏蟻蔚维味蔚喂 未喂蟺慰位喂魏维
魏伪喂 伪渭蠁委蟽畏渭伪 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏, 渭蟺慰蟻蔚委 谓伪 未蟻苇蠄蔚喂 未维蠁谓蔚蟼 蠅蟼 蟺谓慰萎 伪谓伪谓苇蠅蟽畏蟼 蟿畏蟼 纬蔚蟻渭伪谓喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼 萎 谓伪 蔚尉伪蟺慰位蠀胃慰蠉谓 渭蠉未蟻慰喂 蟽蠂蔚蟿喂魏维 渭蔚 蟿畏 未蠀蟽魏慰位委伪 蟺蟻蠈蟽尾伪蟽畏蟼 蟽蟿慰谓 尾蠀胃蠈 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
螘魏蔚委, 蠈蟺慰蠀 魏蟻蠉尾慰谓蟿伪喂, 渭蠀蟽蟿喂魏维 蔚尉伪纬谓喂蟽渭慰蠉
魏伪喂 胃畏蟽伪蠀蟻慰委, 伪蟺慰 蟿畏 渭慰谓伪蠂喂魏萎 魏伪蟿伪魏蔚蟻渭伪蟿喂蟽渭苇谓畏 渭谓萎渭畏 蟿蠅谓 慰喂魏蔚委蠅谓 胃蠀渭维蟿蠅谓,蟿蠅谓
芦伪渭谓蠋谓 魏伪喂 蟿蠅谓 尾慰蟽魏蠋谓禄 蟺慰蠀 蟽蟺维蟻伪尉伪谓 渭苇蟽伪
魏伪喂 蟺维谓蠅 蟽蔚 蟿维蠁慰蠀蟼 伪纬伪蟺畏渭苇谓蠅谓 蟿慰蠀蟼 蟺伪蟻维位位畏位伪
渭蔚 蟿畏谓 蟿蔚位喂魏萎 谓委魏畏 蠈位蠅谓 蠈蟽蠅谓 未苇蠂蟿畏魏伪谓 蟿畏谓
芦渭蔚蟿维位畏蠄畏 蟿蠅谓 尾慰蠀尾维位蠅谓禄,伪蟽蟺维蟽蟿畏魏伪谓 蟿慰谓 谓伪味喂蟽渭蠈, 苇渭蔚喂谓伪谓 维未蔚喂伪, 尾蟻慰渭蔚蟻维 魏蔚位蠉蠁畏 蟿畏蟼 蟽蠀谓蔚喂未畏蟽喂伪魏萎蟼 魏伪喂 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏畏蟼 蟿慰蠀蟼 谓慰畏渭慰蟽蠉谓畏蟼.
螘蟿蟽喂, 蔚蟺蔚尉蔚蟻纬维味慰谓蟿伪喂 蠀位喂魏维 渭蔚 蟽蠀渭尾慰位喂魏维 魏伪喂 蟽畏渭伪委谓慰谓蟿伪 未委蟺慰位伪. 螠谓畏渭蔚委伪, 魏蟿委蟽渭伪蟿伪 蠀蟺蠈 魏伪蟿伪蟽魏蔚蠀萎, 魏蟿委蟽渭伪蟿伪 魏伪蟿蔚蟽蟿蟻伪渭渭苇谓伪, 胃蟻畏蟽魏蔚蠀蟿喂魏苇蟼 蟺伪蟻伪未慰蠂苇蟼 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蟿慰蠀 谓伪味喂蟽渭慰蠉, 蟽魏蠈谓畏, 魏慰谓委伪渭伪,
蟺苇蟿蟻蔚蟼 伪蟺慰 纬魏蟻蔚渭喂蟽渭苇谓蔚蟼 味蠅苇蟼, 伪谓伪蟿喂谓维尉蔚喂蟼 蔚魏未喂魏畏蟿喂魏慰蠉 蟽蠀渭尾喂尾伪蟽渭慰蠉, 伪谓伪蟽蟿畏位蠋蟽蔚喂蟼 渭蔚 畏渭喂蟿蔚位蔚委蟼 蟺蟻慰未喂伪纬蟻伪蠁苇蟼 蠂蟻蠈谓慰蠀 魏伪喂 蠂蟻萎蟽畏蟼, 纬苇蠁蠀蟻蔚蟼, 魏伪蟿伪魏蠈渭尾蔚蟼, 蟺伪喂未喂魏慰委 魏蔚谓慰委 蟿维蠁慰喂, 渭谓畏渭蔚委伪 蟺慰位喂蟿喂蟽蟿喂魏萎蟼 魏位畏蟻慰谓慰渭喂维蟼 魏伪喂 谓蔚魏蟻慰位慰纬委蔚蟼 蔚魏伪蟿慰渭蠀蟻委蠅谓 胃蠀渭维蟿蠅谓 蟺慰位苇渭慰蠀.
危蟿慰 尾喂尾位委慰 蟿慰蠉蟿慰 渭蔚 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏蠈 蟿蟻蠈蟺慰
魏伪喂 伪尾伪谓纬魏伪蟻谓蟿喂蟽蟿喂魏苇蟼 蟿蔚蠂谓喂魏苇蟼 蟽蠀纬纬蟻伪蠁萎蟼
慰 渭伪喂蟿蟻 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 蟿蠅谓 蔚蟻蔚喂蟺委蠅谓, 蟿蠅谓 纬蔚谓蔚蠋谓,
蟿畏蟼 渭谓萎渭畏蟼 魏伪喂 蟿畏蟼 蠀蟺苇蟻尾伪蟽畏蟼 蟿畏蟼 魏慰喂谓蠅谓喂魏萎蟼 蟺蟻伪纬渭伪蟿喂渭慰蟿畏蟿伪蟼 蟺伪蟻伪胃苇蟿蔚喂 蟿畏 蟻慰萎 蟽蠀谓蔚委未畏蟽畏蟼
魏伪喂 蟽蠀谓伪喂蟽胃畏渭维蟿蠅谓, 蔚渭蟺蔚喂蟻喂蠋谓 魏伪喂 蟺蟻维尉蔚蠅谓, 蟺慰位位蠋谓 蟺蟻慰蟽蠋蟺蠅谓, 蟺慰蠀 蔚魏蠁苇蟻慰谓蟿伪喂 蟽蔚 渭委伪 渭蠈谓慰 渭苇蟻伪.
韦畏谓 6畏 危蔚蟺蟿蔚渭尾蟻委慰蠀 蟿慰蠀 1958, 蟿慰谓 蟽蠉谓蟿慰渭慰 蟺伪蟻蔚位胃慰谓蟿喂魏蠈- 蟺伪蟻慰谓蟿喂魏蠈 魏伪喂 渭蔚位位慰谓蟿喂魏蠈 蠂蟻蠈谓慰
蟺慰蠀 蟽蠀渭蟺蠀魏谓蠋谓蔚喂 蟿畏谓 未蟻维蟽畏 蟿慰蠀 蟿蠋蟻伪 蟺伪蟻维位位畏位伪 渭蔚 蔚魏蟿蔚蟿伪渭苇谓蔚蟼 伪谓伪未蟻慰渭苇蟼.
螚 蟺蟻慰慰蟺蟿喂魏蠈蟿畏蟿伪 蟿畏蟼 蔚谓胃蠉渭畏蟽畏蟼 ( 螡委蟿蟽蔚) 渭伪蟼 慰未畏纬蔚委
蟽蔚 渭喂伪 蟺慰位蠀蟺蟻喂蟽渭伪蟿喂魏萎 胃苇伪蟽畏 蟺蟻慰蟽位畏蟺蟿喂魏萎蟼 喂魏伪谓蠈蟿畏蟿伪蟼 纬喂伪 蟿伪 蟺伪蟻蔚位胃慰谓蟿喂魏维 纬蔚纬慰谓蠈蟿伪 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰 伪谓 胃伪 纬委谓蔚喂 蟺慰蟿苇 蟽蠀渭尾伪蟿萎 畏 胃苇蟽畏 蟿慰蠀 胃蠉蟿畏 魏伪喂 畏 胃苇蟽畏 蟿慰蠀 胃蠉渭伪蟿慰蟼. 桅蠀蟽喂魏维 蟿伪 蠄蠀蠂喂魏维 蟿蟻伪蠉渭伪蟿伪 魏伪喂 畏 蔚纬魏位畏渭伪蟿喂魏蠋谓 蔚渭蟺蔚喂蟻喂蠋谓 蔚蟺蔚谓蔚蟻纬慰蠉谓 蟽蟿慰 蟿蠋蟻伪 魏伪喂 蔚蟺畏蟻蔚维味慰蠀谓 蟽伪蟻蠅蟿喂魏维 蟿畏谓 蠈蠂喂 蟺维谓蟿伪 伪纬伪蟽蟿萎 蟽蠀谓蔚蟻纬伪蟽委伪 渭蔚蟿伪尉蠉 渭谓萎渭畏蟼 魏伪喂 喂蟽蟿慰蟻喂慰纬蟻伪蠁委伪蟼.
螆蠂慰蠀渭蔚 渭苇蟽蠅 渭喂伪蟼 纬蔚蟻渭伪谓喂魏萎蟼 慰喂魏慰纬苇谓蔚喂伪蟼 魏伪喂 蟺慰位位蠋谓 未慰蟻蠀蠁慰蟻喂魏蠋谓 蟻蠈位蠅谓 渭委伪 蟺伪蟻蔚位胃慰谓蟿喂魏萎 未喂蔚蟻蔚蠉谓畏蟽畏 蠋蟽蟿蔚 谓伪 伪谓伪魏伪位蔚委蟿伪喂 畏 喂蟽蟿慰蟻委伪 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼 伪蟺慰 蟿畏谓 伪蟻蠂萎 蟿慰蠀 伪喂蠋谓伪 渭苇蠂蟻喂 魏伪喂 蟿慰 渭蠀胃慰蟺位伪蟽蟿喂魏蠈 渭蔚蟻委未喂慰 蟿畏蟼 蟿蟻委蟿畏蟼 纬蔚谓喂维蟼 蟽伪谓 渭喂伪 蟽蟿蟻蠅渭伪蟿慰纬蟻伪蠁委伪 伪谓伪渭谓萎蟽蔚蠅谓
蟺慰蠀 蠅蟼 伪谓伪未蟻慰渭萎 蠂蟻畏蟽喂渭慰蟺慰喂蔚委蟿伪喂 渭蔚 蟺慰位蠉 慰蠀蟽喂伪蟽蟿喂魏蠈 蟿蟻慰蟺慰 魏伪喂 未蔚谓 蠀蟺慰位蔚委蟺蔚蟿伪喂 慰蠉蟿蔚 蔚蟺慰蠀位蠋谓蔚喂 蠄蠀蠂喂魏维 蟿蟻伪蠉渭伪蟿伪 蟽蟿喂蟼 纬蔚谓喂苇蟼 蟿慰蠀 渭蟺喂位喂维蟻未慰蠀, 慰喂 慰蟺慰委蔚蟼 魏伪喂
蔚委谓伪喂 维蟻蟻畏魏蟿伪 蟽蠀谓未蔚未蔚渭苇谓蔚蟼 渭蔚蟿伪尉蠉 蟿慰蠀蟼 蠈蟺蠅蟼 魏伪喂
渭蔚 魏维胃蔚 伪谓蟿喂魏伪蟿维蟽蟿伪蟽畏 未喂伪味蔚蠀魏蟿喂魏慰蠉 萎 蟽蠀渭蟺位蔚纬渭伪蟿喂魏慰蠉 蠁伪喂谓慰渭苇谓慰蠀.
螝维蟺蠅蟼 苇蟿蟽喂, 纬委谓蔚蟿伪喂 伪蟺慰 蟿慰谓 螠蟺蔚位 苇谓伪蟼 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏蠈蟼 蟽蠀谓未蠀伪蟽渭蠈蟼 蔚喂未蠋谓.
螚 位慰纬慰蟿蔚蠂谓委伪 蟿蠅谓 芦蠂伪位伪蟽渭维蟿蠅谓 魏伪喂 蟿蠅谓 魏伪蟿伪蟽蟿蟻慰蠁蠋谓禄 蟺慰蠀 纬蔚谓谓维蔚喂 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 芦蠀蟺伪蟻尉喂伪魏慰蠉 纬蔚谓蔚伪位慰纬喂魏慰蠉禄 慰蟻委味慰谓蟿伪.
韦慰 渭蠀蟽蟿喂魏蠈 蔚蟻纬伪位蔚委慰 蟿畏蟼 谓蠈畏蟽畏蟼 纬喂伪 谓伪 未喂伪蠂蔚喂蟻喂蟽蟿蔚委
渭蔚 蔚蟺喂蟿蠀蠂委伪 蟿喂蟼 魏慰蠀位蟿慰蠉蟻蔚蟼 渭谓萎渭畏蟼 蔚委谓伪喂 畏 蟽蠅蟽蟿萎 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 蔚蟺蔚尉蔚蟻纬伪蟽委伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼,
畏 慰蟺慰委伪 苇蠂蔚喂 蟿蔚位蔚蟿慰蠀蟻纬喂魏维 伪蟻谓畏胃蔚委 蟿畏谓 蟺伪蟻伪渭蠈蟻蠁蠅蟽畏 蟺慰蠀 纬蔚谓谓维蟿伪喂 蠈蟿伪谓 蔚蠁慰蟻渭维 伪谓维渭蔚蟽伪 蟽蔚 蟺伪蟻蠈谓 魏伪喂 蟺伪蟻蔚位胃蠈谓 畏 蟺位畏渭渭蔚位萎蟼 未喂伪位蔚魏蟿喂魏萎 魏伪喂 蟽蠀谓未苇蔚喂 渭蔚 喂魏伪谓蠈蟿畏蟿伪 位萎胃畏蟼 - 伪-位萎胃蔚喂伪蟼 蟿慰谓 伪蟺慰蟽蟺伪蟽渭伪蟿喂魏蠈 蠂蟻蠈谓慰, 蟿伪 蔚蟺蔚喂蟽蠈未喂伪 蟿畏蟼 蠉蟺伪蟻尉畏蟼 蟽蔚 苇谓伪 蟽蠀谓蔚喂未畏蟿蠈 蠈位慰谓.
韦慰 渭蟺喂位喂维蟻未慰 蟽蟿喂蟼 蔚谓谓喂维渭喂蟽喂 蔚委谓伪喂
苇谓伪 苇蟻纬慰 蟺慰蠀 未委谓蔚喂 蔚谓伪蠉蟽渭伪蟿伪 纬喂伪 谓伪 纬蟻伪蠁蟿慰蠉谓 蟺慰位位维 蟽蠂蔚蟿喂魏维, 慰蠀蟽喂伪蟽蟿喂魏维, 渭蔚蟿伪蠁慰蟻喂魏维, 渭蟺蟻慰蟼, 蟺委蟽蠅
魏伪喂 纬蠉蟻蠅 伪蟺慰 伪蠀蟿蠈.
螘委谓伪喂 慰喂魏慰蠀渭蔚谓喂魏萎 蟺蟻慰蟽苇纬纬喂蟽畏 蟿畏蟼
伪蟿慰渭喂魏萎蟼- 蔚蟺喂魏慰喂谓蠅谓喂伪魏萎蟼 渭谓萎渭畏蟼, 苇谓伪 未蠀谓伪蟿蠈 蔚蟺委蟺蔚未慰 蠄畏位维 蟽蟿畏谓 喂蔚蟻伪蟻蠂委伪 伪谓维魏位畏蟽畏蟼 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 蠅蟼 蟺蟻慰蟼 蟿慰 魏慰喂谓蠅谓喂魏蠈 蔚蠉蟻慰蟼.
韦慰 魏蠉蟻喂慰 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠈 蟿慰蠀 苇纬魏蔚喂蟿伪喂 蟽蟿畏谓 尾喂蠅渭伪蟿喂魏萎 渭谓畏渭慰谓喂魏萎 魏慰喂谓蠈蟿畏蟿伪 蟿蟻喂蠋谓 纬蔚谓蔚蠋谓 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 桅伪委渭蔚位, 渭蔚 蠂蟻慰谓喂魏萎 未喂维蟻魏蔚喂伪 80 - 100 蠂蟻蠈谓喂伪.
螣 蠀蟺伪蟻尉喂伪魏蠈蟼 蠂蠅蟻慰蠂蟻慰谓喂魏蠈蟼 慰蟻委味慰谓蟿伪蟼 蟺慰蠀 蠀蟺慰纬蟻伪渭渭委味蔚喂 蟿畏谓 慰喂魏慰纬蔚谓蔚喂伪魏萎 蟽维纬魏伪 蟽蠀渭蟺委蟺蟿蔚喂 渭蔚 蟺慰位蠉 蟽蟺慰蠀未伪委伪 喂蟽蟿慰蟻喂魏维 蟿渭萎渭伪蟿伪 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼:
螘胃谓喂魏喂蟽渭蠈蟼 蟿慰蠀 螔喂位蠂蔚位渭喂谓喂蟽渭慰蠉, 螒鈥櫸犖�, 未畏渭慰魏蟻伪蟿委伪 蟿畏蟼 螔伪蠆渭维蟻畏蟼, (慰谓慰渭伪蟽委伪 蟿慰蠀 蟺慰位喂蟿蔚蠉渭伪蟿慰蟼 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼 伪蟺蠈 蟿慰 1919 苇蠅蟼 蟿畏谓 维谓慰未慰 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蟿畏蟼 螡伪味喂蟽蟿喂魏萎蟼 螕蔚蟻渭伪谓委伪蟼 蟿慰蠀 围委蟿位蔚蟻 蟿慰 1933) 蔚胃谓喂魏慰蟽慰蟽喂伪位喂蟽渭蠈蟼, 螔鈥櫸犖�, 魏伪蟿维蟻蟻蔚蠀蟽畏 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼, 渭蔚蟿伪蟺慰位蔚渭喂魏萎 蟺蔚蟻委慰未慰蟼.
螣喂 蔚蟻渭畏谓蔚委蔚蟼 蟿苇蟿慰喂蠅谓 位慰纬慰蟿蔚蠂谓喂魏蠋谓 苇蟻纬蠅谓 蟺蟻慰蠇蟺慰胃苇蟿慰蠀谓 魏慰喂谓蠅谓喂魏萎 蟽蠀谓蔚喂未畏蟿蠈蟿畏蟿伪 伪蟺苇谓伪谓蟿喂
蟽蟿畏谓 喂蟽蟿慰蟻喂魏萎 渭慰委蟻伪 魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 渭蟺慰蟻蔚委 谓伪 蟺蟻慰魏蠉蠄蔚喂 伪蟿慰渭喂魏蠈 蔚蟻渭畏谓蔚蠀蟿喂魏蠈 伪渭维位纬伪渭伪 蟽蠀谓未蠀伪蟽蟿喂魏维 渭蔚 蟿慰蠀蟼 慰蟻委味慰谓蟿蔚蟼 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 萎 蟺伪蟻伪未慰蠂萎 蟿蟻伪纬喂魏蠋谓 魏伪蟿伪蟽蟿维蟽蔚蠅谓 魏伪喂 蔚蟺慰蠂蠋谓 蟺慰蠀 蟽蟿伪渭蟺维蟻慰蠀谓 渭蔚 魏伪蠀蟿蠈 蟽委未蔚蟻慰 蠂蟻蠈谓喂伪 蟽蠉谓未蟻慰渭伪 渭蔚蟿伪蟿蟻伪蠀渭伪蟿喂魏维,
渭蔚 蟿伪 伪蟺慰蟿蠀蟺蠋渭伪蟿伪 蟿慰蠀 胃蠉蟿畏 谓伪 慰蟻委味慰蠀谓 伪谓胃蟻蠋蟺慰蠀蟼 胃蠉渭伪蟿伪 渭喂伪蟼 蟽魏位畏蟻萎蟼 渭慰委蟻伪蟼, 渭喂伪蟼 伪谓蔚位苇畏蟿畏蟼 渭谓萎渭畏蟼 魏伪喂 蔚谓蠈蟼 蟺伪蟻蔚位胃慰谓蟿喂魏慰蠉 慰位慰魏伪蠀蟿蠋渭伪蟿慰蟼 蟺慰蠀 伪蟺慰蟿蔚位蔚委 尾伪蟽喂魏蠈 慰蟻蠈蟽畏渭伪 蟽蟿伪 蟽伪胃蟻维 胃蔚渭苇位喂伪 蟿畏蟼 喂蟽蟿慰蟻委伪蟼.
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼
蟽蟿慰 畏渭蔚蟻慰位慰纬喂伪魏蠈 蟺蟻蠈纬蟻伪渭渭伪 蟿畏蟼 蟽蔚位萎谓畏蟼
纬喂伪 魏维蟺慰喂慰, 苇谓伪 魏伪喂 渭慰谓伪未喂魏蠈 渭蔚蟻慰谓蠉蠂蟿喂.
螝喂 萎蟿伪谓 蠈位慰喂 蔚魏蔚委, 蠈位慰喂, 未蔚谓 苇位蔚喂蟺蔚 魏伪谓蔚委蟼,
蔚委蠂伪谓 蠈位慰喂 蟺伪位苇蠄蔚喂 蟿畏谓 渭慰委蟻伪 纬喂伪 谓伪 尾蟻蔚胃慰蠉谓
蟽蟿畏谓 蟿蟻伪纬喂魏萎 蟽蠀谓维谓蟿畏蟽畏 蟿蠅谓 伪位畏蟽渭蠈谓畏蟿蠅谓
伪谓伪渭谓萎蟽蔚蠅谓 魏蠈谓蟿蟻伪 蟽蟿畏 渭蔚胃蠀蟽蟿喂魏萎 未委谓畏 蟿畏蟼 位萎胃畏蟼.
螣 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟼, 苇谓伪蟼, 渭苇蟽伪 蟽蟿畏谓 蠄蠀蠂萎 蠈位蠅谓.
螒蟽魏蔚委蟿伪喂 蟽蟿畏谓 蟿苇蠂谓畏 蟿慰蠀 芦蠀蟺维蟻蠂蠅禄 魏伪喂 蟿委蟺慰蟿蔚 维位位慰.
螠喂伪 渭伪蠉蟻畏 蟻慰蠀蠁萎蠂蟿蟻伪 苇纬喂谓伪谓 蠈位伪 蟺慰蠀 蟺伪蟻伪蟽苇蟻谓蔚喂 蟽蔚 维纬谓蠅蟽蟿伪 渭苇蟻畏.
螠喂伪 未委谓畏 蠉蟺伪蟻尉畏蟼 蟺慰蠀 蟻慰蠀蠁维蔚喂 渭蔚 位伪喂渭伪蟻纬委伪
蟿畏谓 蟽蠀谓蠉蟺伪蟻尉畏 渭蔚 渭蠀蟻蠅未喂维 伪蟺慰 伪蟻蠂伪委伪 蟺喂魏蟻委伪.
螠委伪 渭蔚位蠅未委伪 蟺慰蠀 伪魏慰蠉纬蔚蟿伪喂 蟽伪谓 蟺伪谓维蟻蠂伪喂畏 渭伪蟿伪喂蠈蟿畏蟿伪, 纬喂伪 蠈蟽伪 胃伪 纬委谓慰蠀谓, 纬喂伪 蠈蟽伪 胃伪 蠂伪胃慰蠉谓 蟽蟿慰谓 蠂蟻蠈谓慰
蟺慰蠀 魏伪蟿伪未喂蠋魏蔚喂 蟺维谓蟿伪 维纬蟻喂伪 蟿畏谓 伪蟺位萎 蠂伪蟻维 魏伪喂
蟿畏蟼 蟿蟻伪纬慰蠀未维蔚喂 渭蔚 蠁蠅谓苇蟼 纬位蠀魏苇蟼 魏伪喂 蟿蟻慰渭伪魏蟿喂魏苇蟼 蟿慰谓 蔚蟺喂蟿维蠁喂慰 胃蟻萎谓慰.
螌位伪, 蟿伪 伪谓蔚委蟺蠅蟿伪 蟿蔚位蔚喂蠋谓慰蠀谓 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蟺慰蠀 魏维蟺慰喂慰喂 苇蠂慰蠀谓 蟺维谓蟿伪 魏伪喂 蟿慰 未喂魏伪委蠅渭伪 蟿慰蠀 伪渭谓慰蠉 纬喂伪 伪蟺慰位蠉蟿蟻蠅蟽畏 纬委谓蔚蟿伪喂 蠁苇蟻蔚蟿蟻慰, 魏伪喂 畏 渭蔚蟿伪位伪尾喂维 蟿慰蠀 尾慰蠉尾伪位慰蠀 胃伪 尾蟻委蟽魏蔚蟿伪喂 蟽蟿畏 胃维位伪蟽蟽伪 蟿慰蠀 蠂蟻蠈谓慰蠀,
渭蔚 蟿畏谓 蠋蟻伪 蟺慰蠀 蠂蟿蠀蟺维蔚喂 伪魏蟻喂尾蠋蟼 蠈蟿伪谓 尉蠀蟺谓维蔚喂 慰 蟺蠈位蔚渭慰蟼. 螠伪 蟿蠈蟿蔚 蔚委谓伪喂 蟺慰蠀 蟿伪 蠁伪蟻维纬纬喂伪 蟿蠅谓 魏蠀渭维蟿蠅谓 蟽蔚 蟺伪蟻伪蟽蠉蟻慰蠀谓 谓伪 未喂伪蟽蠂委蟽蔚喂蟼 蠅魏蔚伪谓慰蠉蟼 伪蟺慰 蟺伪蟻蔚位胃蠈谓 魏伪喂 渭苇位位慰谓.
韦蠈蟿蔚 蔚委谓伪喂 蟺慰蠀 畏 渭慰谓伪尉喂维 蟺慰蠀 蟽鈥櫸蔽澄€畏蟽蔚 蟽蔚 蟽蠋味蔚喂
伪蟺慰 蟿慰谓 蟺谓喂纬渭蠈 魏伪喂 蟺蟻苇蟺蔚喂, 蟺蟻苇蟺蔚喂, 慰蟺蠅蟽未萎蟺慰蟿蔚 谓伪 尾慰蠀蟿萎尉蔚喂蟼 蟽蟿慰 蠄蠉蠂慰蟼 蟿慰蠀 渭苇位位慰谓蟿慰蟼 蠈蟽慰 魏喂 伪谓 蟿蟻苇渭蔚喂蟼, 蠈蟽慰 魏喂 伪谓 蟺伪蟻伪位畏蟻蔚委蟼 伪蟺慰 蟿畏谓 蔚喂魏蠈谓伪 蟿慰蠀 胃伪谓维蟿慰蠀,
苇蠂蔚喂蟼 蟿慰 纬苇位喂慰 蠅蟼 渭慰谓伪未喂魏蠈 渭苇蟽慰 蔚蟺喂尾委蠅蟽畏蟼, 渭伪胃畏蟿蔚蠉慰渭蔚谓慰蟼 蟿畏谓 蟿蟻苇位伪.
螒蟺伪纬慰蟻蔚蠉蔚蟿伪喂 谓伪 尉蔚蠂维蟽蔚喂蟼. 螒蟺慰魏位蔚委蔚蟿伪喂 谓伪 蟿蟻蔚位伪胃蔚委蟼.
危蟿慰 蟺位伪委蟽喂慰 蟿畏蟼 慰渭维未伪蟼, 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 纬委谓蔚蟿伪喂 畏 渭蔚蟿伪蠁慰蟻维 蟿蠅谓 芦伪谓慰渭慰位蠈纬畏蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓禄 伪蟺慰 蟿畏谓 渭喂魏蟻萎 蟽蔚 喂蟽蠂蠉 慰喂魏慰纬蔚谓蔚喂伪魏萎 蔚谓胃蠉渭畏蟽畏 蟽蟿慰谓 未畏渭蠈蟽喂慰 位蠈纬慰, 蠋蟽蟿蔚 谓伪 纬委谓蔚喂 渭苇蟻慰蟼 蟿畏蟼 蟽蠀位位慰纬喂魏萎蟼 渭谓萎渭畏蟼.
螚 渭蔚蟿伪尾委尾伪蟽畏 伪蠀蟿萎 未蔚谓 纬委谓蔚蟿伪喂 蟺维谓蟿伪 蟽蠀谓未蠀伪蟽蟿喂魏维 渭蔚 蟿喂蟼 魏伪魏慰蠀蠂委蔚蟼 蟿蠅谓 胃蠀渭维蟿蠅谓 魏伪胃蠋蟼 蠀蟺蔚喂蟽苇蟻蠂蔚蟿伪喂 魏伪喂 慰 伪谓伪蟽蟿伪位蟿喂魏蠈蟼 蟺伪蟻维纬慰谓蟿伪蟼 蟺慰蠀 慰蟻委味蔚蟿伪喂 蠅蟼 畏 渭谓萎渭畏
蟿慰蠀 胃蠉蟿畏, 尾伪委谓慰谓蟿伪蟼 蟽蔚 渭喂伪 慰渭伪未喂魏萎 蟽蠀谓蔚喂未喂伪蟽喂伪魏萎 魏伪蟿伪纬蟻伪蠁萎 蟿蔚魏渭畏蟻喂蠅渭苇谓畏蟼 渭蔚蟿伪渭苇位蔚喂伪蟼.
韦慰 芦渭蟺喂位喂维蟻未慰 蟽蟿喂蟼 蔚谓谓喂维渭喂蟽喂禄 未蔚谓 蔚委谓伪喂 魏伪胃蠈位慰蠀 蔚蠉魏慰位慰 伪谓维纬谓蠅蟽渭伪. 螣 渭慰谓蟿蔚蟻谓喂蟽渭蠈蟼 蔚未蠋 蔚蟺畏蟻蔚维味蔚喂 未喂蟺慰位喂魏维
魏伪喂 伪渭蠁委蟽畏渭伪 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏, 渭蟺慰蟻蔚委 谓伪 未蟻苇蠄蔚喂 未维蠁谓蔚蟼 蠅蟼 蟺谓慰萎 伪谓伪谓苇蠅蟽畏蟼 蟿畏蟼 纬蔚蟻渭伪谓喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼 萎 谓伪 蔚尉伪蟺慰位蠀胃慰蠉谓 渭蠉未蟻慰喂 蟽蠂蔚蟿喂魏维 渭蔚 蟿畏 未蠀蟽魏慰位委伪 蟺蟻蠈蟽尾伪蟽畏蟼 蟽蟿慰谓 尾蠀胃蠈 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
螘魏蔚委, 蠈蟺慰蠀 魏蟻蠉尾慰谓蟿伪喂, 渭蠀蟽蟿喂魏维 蔚尉伪纬谓喂蟽渭慰蠉
魏伪喂 胃畏蟽伪蠀蟻慰委, 伪蟺慰 蟿畏 渭慰谓伪蠂喂魏萎 魏伪蟿伪魏蔚蟻渭伪蟿喂蟽渭苇谓畏 渭谓萎渭畏 蟿蠅谓 慰喂魏蔚委蠅谓 胃蠀渭维蟿蠅谓,蟿蠅谓
芦伪渭谓蠋谓 魏伪喂 蟿蠅谓 尾慰蟽魏蠋谓禄 蟺慰蠀 蟽蟺维蟻伪尉伪谓 渭苇蟽伪
魏伪喂 蟺维谓蠅 蟽蔚 蟿维蠁慰蠀蟼 伪纬伪蟺畏渭苇谓蠅谓 蟿慰蠀蟼 蟺伪蟻维位位畏位伪
渭蔚 蟿畏谓 蟿蔚位喂魏萎 谓委魏畏 蠈位蠅谓 蠈蟽蠅谓 未苇蠂蟿畏魏伪谓 蟿畏谓
芦渭蔚蟿维位畏蠄畏 蟿蠅谓 尾慰蠀尾维位蠅谓禄,伪蟽蟺维蟽蟿畏魏伪谓 蟿慰谓 谓伪味喂蟽渭蠈, 苇渭蔚喂谓伪谓 维未蔚喂伪, 尾蟻慰渭蔚蟻维 魏蔚位蠉蠁畏 蟿畏蟼 蟽蠀谓蔚喂未畏蟽喂伪魏萎蟼 魏伪喂 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏畏蟼 蟿慰蠀蟼 谓慰畏渭慰蟽蠉谓畏蟼.
螘蟿蟽喂, 蔚蟺蔚尉蔚蟻纬维味慰谓蟿伪喂 蠀位喂魏维 渭蔚 蟽蠀渭尾慰位喂魏维 魏伪喂 蟽畏渭伪委谓慰谓蟿伪 未委蟺慰位伪. 螠谓畏渭蔚委伪, 魏蟿委蟽渭伪蟿伪 蠀蟺蠈 魏伪蟿伪蟽魏蔚蠀萎, 魏蟿委蟽渭伪蟿伪 魏伪蟿蔚蟽蟿蟻伪渭渭苇谓伪, 胃蟻畏蟽魏蔚蠀蟿喂魏苇蟼 蟺伪蟻伪未慰蠂苇蟼 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蟿慰蠀 谓伪味喂蟽渭慰蠉, 蟽魏蠈谓畏, 魏慰谓委伪渭伪,
蟺苇蟿蟻蔚蟼 伪蟺慰 纬魏蟻蔚渭喂蟽渭苇谓蔚蟼 味蠅苇蟼, 伪谓伪蟿喂谓维尉蔚喂蟼 蔚魏未喂魏畏蟿喂魏慰蠉 蟽蠀渭尾喂尾伪蟽渭慰蠉, 伪谓伪蟽蟿畏位蠋蟽蔚喂蟼 渭蔚 畏渭喂蟿蔚位蔚委蟼 蟺蟻慰未喂伪纬蟻伪蠁苇蟼 蠂蟻蠈谓慰蠀 魏伪喂 蠂蟻萎蟽畏蟼, 纬苇蠁蠀蟻蔚蟼, 魏伪蟿伪魏蠈渭尾蔚蟼, 蟺伪喂未喂魏慰委 魏蔚谓慰委 蟿维蠁慰喂, 渭谓畏渭蔚委伪 蟺慰位喂蟿喂蟽蟿喂魏萎蟼 魏位畏蟻慰谓慰渭喂维蟼 魏伪喂 谓蔚魏蟻慰位慰纬委蔚蟼 蔚魏伪蟿慰渭蠀蟻委蠅谓 胃蠀渭维蟿蠅谓 蟺慰位苇渭慰蠀.
危蟿慰 尾喂尾位委慰 蟿慰蠉蟿慰 渭蔚 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏蠈 蟿蟻蠈蟺慰
魏伪喂 伪尾伪谓纬魏伪蟻谓蟿喂蟽蟿喂魏苇蟼 蟿蔚蠂谓喂魏苇蟼 蟽蠀纬纬蟻伪蠁萎蟼
慰 渭伪喂蟿蟻 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 蟿蠅谓 蔚蟻蔚喂蟺委蠅谓, 蟿蠅谓 纬蔚谓蔚蠋谓,
蟿畏蟼 渭谓萎渭畏蟼 魏伪喂 蟿畏蟼 蠀蟺苇蟻尾伪蟽畏蟼 蟿畏蟼 魏慰喂谓蠅谓喂魏萎蟼 蟺蟻伪纬渭伪蟿喂渭慰蟿畏蟿伪蟼 蟺伪蟻伪胃苇蟿蔚喂 蟿畏 蟻慰萎 蟽蠀谓蔚委未畏蟽畏蟼
魏伪喂 蟽蠀谓伪喂蟽胃畏渭维蟿蠅谓, 蔚渭蟺蔚喂蟻喂蠋谓 魏伪喂 蟺蟻维尉蔚蠅谓, 蟺慰位位蠋谓 蟺蟻慰蟽蠋蟺蠅谓, 蟺慰蠀 蔚魏蠁苇蟻慰谓蟿伪喂 蟽蔚 渭委伪 渭蠈谓慰 渭苇蟻伪.
韦畏谓 6畏 危蔚蟺蟿蔚渭尾蟻委慰蠀 蟿慰蠀 1958, 蟿慰谓 蟽蠉谓蟿慰渭慰 蟺伪蟻蔚位胃慰谓蟿喂魏蠈- 蟺伪蟻慰谓蟿喂魏蠈 魏伪喂 渭蔚位位慰谓蟿喂魏蠈 蠂蟻蠈谓慰
蟺慰蠀 蟽蠀渭蟺蠀魏谓蠋谓蔚喂 蟿畏谓 未蟻维蟽畏 蟿慰蠀 蟿蠋蟻伪 蟺伪蟻维位位畏位伪 渭蔚 蔚魏蟿蔚蟿伪渭苇谓蔚蟼 伪谓伪未蟻慰渭苇蟼.
螚 蟺蟻慰慰蟺蟿喂魏蠈蟿畏蟿伪 蟿畏蟼 蔚谓胃蠉渭畏蟽畏蟼 ( 螡委蟿蟽蔚) 渭伪蟼 慰未畏纬蔚委
蟽蔚 渭喂伪 蟺慰位蠀蟺蟻喂蟽渭伪蟿喂魏萎 胃苇伪蟽畏 蟺蟻慰蟽位畏蟺蟿喂魏萎蟼 喂魏伪谓蠈蟿畏蟿伪蟼 纬喂伪 蟿伪 蟺伪蟻蔚位胃慰谓蟿喂魏维 纬蔚纬慰谓蠈蟿伪 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰 伪谓 胃伪 纬委谓蔚喂 蟺慰蟿苇 蟽蠀渭尾伪蟿萎 畏 胃苇蟽畏 蟿慰蠀 胃蠉蟿畏 魏伪喂 畏 胃苇蟽畏 蟿慰蠀 胃蠉渭伪蟿慰蟼. 桅蠀蟽喂魏维 蟿伪 蠄蠀蠂喂魏维 蟿蟻伪蠉渭伪蟿伪 魏伪喂 畏 蔚纬魏位畏渭伪蟿喂魏蠋谓 蔚渭蟺蔚喂蟻喂蠋谓 蔚蟺蔚谓蔚蟻纬慰蠉谓 蟽蟿慰 蟿蠋蟻伪 魏伪喂 蔚蟺畏蟻蔚维味慰蠀谓 蟽伪蟻蠅蟿喂魏维 蟿畏谓 蠈蠂喂 蟺维谓蟿伪 伪纬伪蟽蟿萎 蟽蠀谓蔚蟻纬伪蟽委伪 渭蔚蟿伪尉蠉 渭谓萎渭畏蟼 魏伪喂 喂蟽蟿慰蟻喂慰纬蟻伪蠁委伪蟼.
螆蠂慰蠀渭蔚 渭苇蟽蠅 渭喂伪蟼 纬蔚蟻渭伪谓喂魏萎蟼 慰喂魏慰纬苇谓蔚喂伪蟼 魏伪喂 蟺慰位位蠋谓 未慰蟻蠀蠁慰蟻喂魏蠋谓 蟻蠈位蠅谓 渭委伪 蟺伪蟻蔚位胃慰谓蟿喂魏萎 未喂蔚蟻蔚蠉谓畏蟽畏 蠋蟽蟿蔚 谓伪 伪谓伪魏伪位蔚委蟿伪喂 畏 喂蟽蟿慰蟻委伪 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼 伪蟺慰 蟿畏谓 伪蟻蠂萎 蟿慰蠀 伪喂蠋谓伪 渭苇蠂蟻喂 魏伪喂 蟿慰 渭蠀胃慰蟺位伪蟽蟿喂魏蠈 渭蔚蟻委未喂慰 蟿畏蟼 蟿蟻委蟿畏蟼 纬蔚谓喂维蟼 蟽伪谓 渭喂伪 蟽蟿蟻蠅渭伪蟿慰纬蟻伪蠁委伪 伪谓伪渭谓萎蟽蔚蠅谓
蟺慰蠀 蠅蟼 伪谓伪未蟻慰渭萎 蠂蟻畏蟽喂渭慰蟺慰喂蔚委蟿伪喂 渭蔚 蟺慰位蠉 慰蠀蟽喂伪蟽蟿喂魏蠈 蟿蟻慰蟺慰 魏伪喂 未蔚谓 蠀蟺慰位蔚委蟺蔚蟿伪喂 慰蠉蟿蔚 蔚蟺慰蠀位蠋谓蔚喂 蠄蠀蠂喂魏维 蟿蟻伪蠉渭伪蟿伪 蟽蟿喂蟼 纬蔚谓喂苇蟼 蟿慰蠀 渭蟺喂位喂维蟻未慰蠀, 慰喂 慰蟺慰委蔚蟼 魏伪喂
蔚委谓伪喂 维蟻蟻畏魏蟿伪 蟽蠀谓未蔚未蔚渭苇谓蔚蟼 渭蔚蟿伪尉蠉 蟿慰蠀蟼 蠈蟺蠅蟼 魏伪喂
渭蔚 魏维胃蔚 伪谓蟿喂魏伪蟿维蟽蟿伪蟽畏 未喂伪味蔚蠀魏蟿喂魏慰蠉 萎 蟽蠀渭蟺位蔚纬渭伪蟿喂魏慰蠉 蠁伪喂谓慰渭苇谓慰蠀.
螝维蟺蠅蟼 苇蟿蟽喂, 纬委谓蔚蟿伪喂 伪蟺慰 蟿慰谓 螠蟺蔚位 苇谓伪蟼 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏蠈蟼 蟽蠀谓未蠀伪蟽渭蠈蟼 蔚喂未蠋谓.
螚 位慰纬慰蟿蔚蠂谓委伪 蟿蠅谓 芦蠂伪位伪蟽渭维蟿蠅谓 魏伪喂 蟿蠅谓 魏伪蟿伪蟽蟿蟻慰蠁蠋谓禄 蟺慰蠀 纬蔚谓谓维蔚喂 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 芦蠀蟺伪蟻尉喂伪魏慰蠉 纬蔚谓蔚伪位慰纬喂魏慰蠉禄 慰蟻委味慰谓蟿伪.
韦慰 渭蠀蟽蟿喂魏蠈 蔚蟻纬伪位蔚委慰 蟿畏蟼 谓蠈畏蟽畏蟼 纬喂伪 谓伪 未喂伪蠂蔚喂蟻喂蟽蟿蔚委
渭蔚 蔚蟺喂蟿蠀蠂委伪 蟿喂蟼 魏慰蠀位蟿慰蠉蟻蔚蟼 渭谓萎渭畏蟼 蔚委谓伪喂 畏 蟽蠅蟽蟿萎 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 蔚蟺蔚尉蔚蟻纬伪蟽委伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼,
畏 慰蟺慰委伪 苇蠂蔚喂 蟿蔚位蔚蟿慰蠀蟻纬喂魏维 伪蟻谓畏胃蔚委 蟿畏谓 蟺伪蟻伪渭蠈蟻蠁蠅蟽畏 蟺慰蠀 纬蔚谓谓维蟿伪喂 蠈蟿伪谓 蔚蠁慰蟻渭维 伪谓维渭蔚蟽伪 蟽蔚 蟺伪蟻蠈谓 魏伪喂 蟺伪蟻蔚位胃蠈谓 畏 蟺位畏渭渭蔚位萎蟼 未喂伪位蔚魏蟿喂魏萎 魏伪喂 蟽蠀谓未苇蔚喂 渭蔚 喂魏伪谓蠈蟿畏蟿伪 位萎胃畏蟼 - 伪-位萎胃蔚喂伪蟼 蟿慰谓 伪蟺慰蟽蟺伪蟽渭伪蟿喂魏蠈 蠂蟻蠈谓慰, 蟿伪 蔚蟺蔚喂蟽蠈未喂伪 蟿畏蟼 蠉蟺伪蟻尉畏蟼 蟽蔚 苇谓伪 蟽蠀谓蔚喂未畏蟿蠈 蠈位慰谓.
韦慰 渭蟺喂位喂维蟻未慰 蟽蟿喂蟼 蔚谓谓喂维渭喂蟽喂 蔚委谓伪喂
苇谓伪 苇蟻纬慰 蟺慰蠀 未委谓蔚喂 蔚谓伪蠉蟽渭伪蟿伪 纬喂伪 谓伪 纬蟻伪蠁蟿慰蠉谓 蟺慰位位维 蟽蠂蔚蟿喂魏维, 慰蠀蟽喂伪蟽蟿喂魏维, 渭蔚蟿伪蠁慰蟻喂魏维, 渭蟺蟻慰蟼, 蟺委蟽蠅
魏伪喂 纬蠉蟻蠅 伪蟺慰 伪蠀蟿蠈.
螘委谓伪喂 慰喂魏慰蠀渭蔚谓喂魏萎 蟺蟻慰蟽苇纬纬喂蟽畏 蟿畏蟼
伪蟿慰渭喂魏萎蟼- 蔚蟺喂魏慰喂谓蠅谓喂伪魏萎蟼 渭谓萎渭畏蟼, 苇谓伪 未蠀谓伪蟿蠈 蔚蟺委蟺蔚未慰 蠄畏位维 蟽蟿畏谓 喂蔚蟻伪蟻蠂委伪 伪谓维魏位畏蟽畏蟼 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 蠅蟼 蟺蟻慰蟼 蟿慰 魏慰喂谓蠅谓喂魏蠈 蔚蠉蟻慰蟼.
韦慰 魏蠉蟻喂慰 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠈 蟿慰蠀 苇纬魏蔚喂蟿伪喂 蟽蟿畏谓 尾喂蠅渭伪蟿喂魏萎 渭谓畏渭慰谓喂魏萎 魏慰喂谓蠈蟿畏蟿伪 蟿蟻喂蠋谓 纬蔚谓蔚蠋谓 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 桅伪委渭蔚位, 渭蔚 蠂蟻慰谓喂魏萎 未喂维蟻魏蔚喂伪 80 - 100 蠂蟻蠈谓喂伪.
螣 蠀蟺伪蟻尉喂伪魏蠈蟼 蠂蠅蟻慰蠂蟻慰谓喂魏蠈蟼 慰蟻委味慰谓蟿伪蟼 蟺慰蠀 蠀蟺慰纬蟻伪渭渭委味蔚喂 蟿畏谓 慰喂魏慰纬蔚谓蔚喂伪魏萎 蟽维纬魏伪 蟽蠀渭蟺委蟺蟿蔚喂 渭蔚 蟺慰位蠉 蟽蟺慰蠀未伪委伪 喂蟽蟿慰蟻喂魏维 蟿渭萎渭伪蟿伪 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼:
螘胃谓喂魏喂蟽渭蠈蟼 蟿慰蠀 螔喂位蠂蔚位渭喂谓喂蟽渭慰蠉, 螒鈥櫸犖�, 未畏渭慰魏蟻伪蟿委伪 蟿畏蟼 螔伪蠆渭维蟻畏蟼, (慰谓慰渭伪蟽委伪 蟿慰蠀 蟺慰位喂蟿蔚蠉渭伪蟿慰蟼 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼 伪蟺蠈 蟿慰 1919 苇蠅蟼 蟿畏谓 维谓慰未慰 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蟿畏蟼 螡伪味喂蟽蟿喂魏萎蟼 螕蔚蟻渭伪谓委伪蟼 蟿慰蠀 围委蟿位蔚蟻 蟿慰 1933) 蔚胃谓喂魏慰蟽慰蟽喂伪位喂蟽渭蠈蟼, 螔鈥櫸犖�, 魏伪蟿维蟻蟻蔚蠀蟽畏 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼, 渭蔚蟿伪蟺慰位蔚渭喂魏萎 蟺蔚蟻委慰未慰蟼.
螣喂 蔚蟻渭畏谓蔚委蔚蟼 蟿苇蟿慰喂蠅谓 位慰纬慰蟿蔚蠂谓喂魏蠋谓 苇蟻纬蠅谓 蟺蟻慰蠇蟺慰胃苇蟿慰蠀谓 魏慰喂谓蠅谓喂魏萎 蟽蠀谓蔚喂未畏蟿蠈蟿畏蟿伪 伪蟺苇谓伪谓蟿喂
蟽蟿畏谓 喂蟽蟿慰蟻喂魏萎 渭慰委蟻伪 魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 渭蟺慰蟻蔚委 谓伪 蟺蟻慰魏蠉蠄蔚喂 伪蟿慰渭喂魏蠈 蔚蟻渭畏谓蔚蠀蟿喂魏蠈 伪渭维位纬伪渭伪 蟽蠀谓未蠀伪蟽蟿喂魏维 渭蔚 蟿慰蠀蟼 慰蟻委味慰谓蟿蔚蟼 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 萎 蟺伪蟻伪未慰蠂萎 蟿蟻伪纬喂魏蠋谓 魏伪蟿伪蟽蟿维蟽蔚蠅谓 魏伪喂 蔚蟺慰蠂蠋谓 蟺慰蠀 蟽蟿伪渭蟺维蟻慰蠀谓 渭蔚 魏伪蠀蟿蠈 蟽委未蔚蟻慰 蠂蟻蠈谓喂伪 蟽蠉谓未蟻慰渭伪 渭蔚蟿伪蟿蟻伪蠀渭伪蟿喂魏维,
渭蔚 蟿伪 伪蟺慰蟿蠀蟺蠋渭伪蟿伪 蟿慰蠀 胃蠉蟿畏 谓伪 慰蟻委味慰蠀谓 伪谓胃蟻蠋蟺慰蠀蟼 胃蠉渭伪蟿伪 渭喂伪蟼 蟽魏位畏蟻萎蟼 渭慰委蟻伪蟼, 渭喂伪蟼 伪谓蔚位苇畏蟿畏蟼 渭谓萎渭畏蟼 魏伪喂 蔚谓蠈蟼 蟺伪蟻蔚位胃慰谓蟿喂魏慰蠉 慰位慰魏伪蠀蟿蠋渭伪蟿慰蟼 蟺慰蠀 伪蟺慰蟿蔚位蔚委 尾伪蟽喂魏蠈 慰蟻蠈蟽畏渭伪 蟽蟿伪 蟽伪胃蟻维 胃蔚渭苇位喂伪 蟿畏蟼 喂蟽蟿慰蟻委伪蟼.
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼
January 10, 2022
螒谓伪渭蠁委尾慰位伪 苇谓伪 尾喂尾位委慰 蟽蟿伪胃渭蠈蟼 渭蔚 蟺慰位位慰蠉蟼 蟺伪蟻维纬慰谓蟿蔚蟼, 蟿慰蠀 蟺蠈蟿蔚 纬蟻维蠁蟿畏魏蔚, 渭蔚 蟺慰喂蠈谓 蟿蟻蠈蟺慰 纬蟻维蠁蟿畏魏蔚 魏伪喂 蟿慰 蟺蠈蟽慰 蔚蟺委魏伪喂蟻慰 渭慰喂维味蔚喂 蟿蠋蟻伪 伪位位维 魏伪喂 蟿喂蟼 蟺蟻慰畏纬慰蠉渭蔚谓蔚蟼 未蔚魏伪蔚蟿委蔚蟼. 螛伪 蟿慰 伪蟺慰位伪蠉蟽蠅 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蠈蟿伪谓 蟿慰 未喂伪尾维蟽蠅 尉伪谓维 纬喂伪 未蔚蠉蟿蔚蟻畏蟼 蠁慰蟻维. 螒纬伪蟺畏渭苇谓畏 畏 伪蠁萎纬畏蟽畏 蟿畏蟼 螕喂慰蠂维谓伪 桅伪委渭蔚位.
July 19, 2016
Some of the most beautiful writing ever in this book: "Don't encourage the frozen memory to thaw; such frost flowers would only turn into dull dirty water and run down the pane. Evoke nothing, never expect to bring back childhood's austerity of feeling in adult souls grown soft..."
Memory can be messy. What a father remembers may look completely different from how a son remembers it. This is especially true with a war thrown into the mix because suddenly the world stands on it's head and spins backwards - especially if that war took place in Germany. Billiards is about one German family, specifically three generations of men in the family- all architects- who build, demolish, and rebuild over the course of the war. However, don't be fooled by simple explanations. this book is SO much more than the actual events that took place because the story unravels as each of the characters take their turn to detail the inner ramblings of their mind's past. Each point of view tells part of the past which becomes relevant on one present day and centers around St. Anthony Abbey.
Billiards is one of the most stylistically brilliant books I have ever read. Read this book like you would eat an expensive fillet. Boll's sentences must be chewed thoroughly and savored. Throughout this book I was slightly confused trying to piece the names, places and events together. Do not read this book if you enjoy being told EXACTLY what to think by an author. Instead, this book does an excellent job making you feel like a confused outsider- much like the characters felt surviving in Nazi Germany. The story starts to make sense a little more than halfway through. Read this book if you enjoyed Memento.
Memory can be messy. What a father remembers may look completely different from how a son remembers it. This is especially true with a war thrown into the mix because suddenly the world stands on it's head and spins backwards - especially if that war took place in Germany. Billiards is about one German family, specifically three generations of men in the family- all architects- who build, demolish, and rebuild over the course of the war. However, don't be fooled by simple explanations. this book is SO much more than the actual events that took place because the story unravels as each of the characters take their turn to detail the inner ramblings of their mind's past. Each point of view tells part of the past which becomes relevant on one present day and centers around St. Anthony Abbey.
Billiards is one of the most stylistically brilliant books I have ever read. Read this book like you would eat an expensive fillet. Boll's sentences must be chewed thoroughly and savored. Throughout this book I was slightly confused trying to piece the names, places and events together. Do not read this book if you enjoy being told EXACTLY what to think by an author. Instead, this book does an excellent job making you feel like a confused outsider- much like the characters felt surviving in Nazi Germany. The story starts to make sense a little more than halfway through. Read this book if you enjoyed Memento.
October 8, 2020
亘賴 賳丕賲 丕賵
馃敼锔徹и� 丕夭 賲賳 亘倬乇爻賳丿 讴賴 丌蹖丕 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲 亘乇丕蹖 賵乇賵丿 亘賴 丿賳蹖丕蹖 賴丕蹖賳乇蹖卮 亘賱 -丕蹖賳 賳賵蹖爻賳丿賴 亘夭乇诏 賲毓丕氐乇- 賲賳丕爻亘 丕爻鬲責 賲蹖鈥屭堐屬�: 亘賴 賴蹖趩鈥屬堌�
馃敻锔徹ㄛ屬勠屫ж必� 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲 乇賲丕賳 禺賵亘蹖鈥屫池� 賵賱蹖 賲毓乇賾賮 禺賵亘蹖 亘乇丕蹖 賴丕蹖賳乇蹖卮 亘購賱 賳蹖爻鬲. 鬲噩乇亘賴 賲鬲賮丕賵鬲蹖 丿乇 讴丕乇賳丕賲賴 丕蹖賳 丿丕爻鬲丕賳诏賵蹖賽 丌賱賲丕賳蹖鈥屫池� 賵 丕夭 賱丨丕馗 賮乇賲蹖 亘丕 丿蹖诏乇 丌孬丕乇丕卮 鬲賮丕賵鬲 丿丕乇丿貙 丕賱亘鬲賴 亘購賱 丿乇 讴購賱 鬲噩乇亘賴鈥屭必ж池� 賵 鬲賯乇蹖亘丕賸 丿乇 賴乇 丕孬乇卮 賮乇賲 賵 跇丕賳乇賽 賲鬲賮丕賵鬲蹖 乇丕 鬲噩乇亘賴 賲蹖鈥屭┵嗀� 賮蹖鈥屫з勝呚� 亘賴 爻禺鬲蹖 賲蹖鈥屫堌з� 倬匕蹖乇賮鬲 讴賴 賳賵蹖爻賳丿賴 毓賯丕蹖丿 蹖讴 丿賱賯讴 賵 爻蹖賲丕蹖 夭賳蹖 丿乇 賲蹖丕賳 噩賲毓 蹖讴 賳賮乇 丕爻鬲. 蹖讴蹖 亘丕 囟乇亘丕賴賳诏蹖 購讴賳丿 賵 鬲丕 丨丿賵丿 夭蹖丕丿蹖 賲賱丕賱鈥屫①堌� (讴賴 丕賱亘鬲賴 丿乇 賮乇賲 噩賵丕亘 丿丕丿賴 賵 噩夭賵 賴賳乇賳賲丕蹖蹖鈥屬囏й� 亘購賱 亘賴 丨爻丕亘 賲蹖鈥屫③屫�) 賵 亘丕 卮禺氐蹖鬲賴丕蹖蹖 讴賲 賵 丿丕爻鬲丕賳蹖 丕亘夭賵乇丿 賵 丿蹖诏乇蹖 亘丕 囟乇亘丕賴賳诏蹖 爻乇蹖毓 賵 乇賵蹖丿丕丿賴丕蹖蹖 賲鬲賵丕賱蹖貙 卮禺氐蹖鬲賴丕蹖 賮乇丕賵丕賳 讴賴 亘丕 胤賳夭蹖 賴賳乇賲賳丿丕賳賴 乇賵丕蹖鬲 賲蹖鈥屫促堌�. 亘丕 丕蹖賳 賵噩賵丿 "亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲" 賲鬲賮丕賵鬲鈥屫臂屬� 丕孬乇 丿乇 亘蹖賳 卮丕賴讴丕乇賴丕蹖 丕賵爻鬲
馃敻锔徹ж池з� 丕夭 賱丨丕馗 鬲毓丿丿 卮禺氐蹖鬲賴丕 賵 囟乇亘丕賴賳诏 爻乇蹖毓 亘賴 爻蹖賲丕蹖 夭賳蹖 ... 卮亘丕賴鬲 丿丕乇丿 賵賱蹖 丕夭 賱丨丕馗 乇賵丕蹖蹖 亘賴 讴賱 賲鬲賮丕賵鬲 丕爻鬲 賵 賲蹖鈥屫堌з� 丿乇 诏賵賳賴 乇賲丕賳 倬爻鬲 賲丿乇賳 讴賴 亘賴 卮蹖賵賴 睾蹖乇禺胤蹖 賵 爻蹖丕賱 匕賴賳 乇賵丕蹖鬲 賲蹖鈥屫促堌� 噩丕蹖卮 丿丕丿. 丿乇 亘爻蹖丕乇蹖 丕夭 噩丕賴丕 亘賴 爻禺鬲蹖 賲蹖鈥屫堌з� 爻乇賳禺 乇賵丕蹖蹖 丿丕爻鬲丕賳 乇丕 诏賲 賳讴乇丿 賵 亘丕 丌賳 賴賲乇丕賴 卮丿 禺氐賵氐丕 丿乇 賳蹖賲賴 丕賵賾賱 丿丕爻鬲丕賳 讴賴 趩賴 亘爻丕 亘乇丕蹖 匕賵賯鈥屬囏й� 鬲乇亘蹖鬲 賳蹖丕賮鬲賴 禺爻鬲賴鈥屭┵嗁嗀� 丕爻鬲鈥�. 賵 趩賳蹖賳 讴爻丕賳蹖 亘賴 丕丨鬲賲丕賱 夭蹖丕丿 丕夭 丕蹖賳 賳蹖賲賴 賳诏匕卮鬲賴 賵 讴鬲丕亘 乇丕 乇賴丕 賲蹖鈥屭┵嗁嗀�. 亘賴 賴賲蹖賳 禺丕胤乇 丕爻鬲 讴賴 賲蹖鈥屭堐屬� 亘蹖賱蹖丕乇丿 ... 讴鬲丕亘 禺賵亘蹖 亘乇丕蹖 賵乇賵丿 亘賴 丿賳蹖丕蹖 亘購賱 賳蹖爻鬲.
丕蹖賳 讴鬲丕亘 乇丕 讴賴 夭賵丿鬲乇 丕夭 鬲賲丕賲蹖 丌孬丕乇 賲胤乇丨 丕蹖賳 賳賵蹖爻賳丿賴貙 賳賵卮鬲賴 卮丿賴 丕爻鬲 亘賴 賳賵毓蹖 賲蹖鈥屫堌з� 倬賳噩賴 丿乇 倬賳噩賴 丕賮讴賳丿賳 亘購賱 亘丕 賮購乇賲 丿丕賳爻鬲. 賵 亘賴 賳馗乇 賲賳 趩賳蹖賳 鬲噩乇亘賴鈥屫й� 亘丕毓孬 卮丿賴 讴賴 丕賵 讴鬲丕亘賴丕蹖 亘毓丿蹖卮 亘賴 鬲賵賮蹖賯 亘乇爻丿 賵 卮丕賴讴丕乇賴丕蹖卮 乇丕 禺賱賯 讴賳丿.
馃敻锔徹з勝傌蒂� 丕诏乇 丌孬丕乇 賲賴賲 亘購賱 賲孬賱賽 毓賯丕蹖丿 蹖讴 丿賱賯讴貙 爻蹖賲丕蹖 夭賳蹖 丿乇 賲蹖丕賳 噩賲毓 賵 丌亘乇賵蹖 丕夭 丿爻鬲 乇賮鬲賴 讴丕鬲乇蹖賳丕 亘賱賵賲 乇丕 禺賵丕賳丿賴鈥屫й屫� 丕蹖賳 讴鬲丕亘 乇丕 丕夭 丿爻鬲 賳丿賴蹖丿. 鬲丕 亘丕 鬲氐賵蹖乇爻丕夭蹖鈥屬囏й� 蹖讴 賳丕亘睾賴 丌賱賲丕賳蹖 丕夭 爻丕賱賴丕蹖 倬爻 丕夭 噩賳诏 噩賴丕賳蹖 乇賵亘乇賵 卮賵蹖丿.
丿乇 丌禺乇 丕蹖賳讴賴 鬲乇噩賲賴 賲乇丨賵賲 讴蹖讴丕賵爻 噩賴丕賳丿丕乇蹖 賳蹖夭 亘爻蹖丕乇 丿賱賳卮蹖賳 賵 禺賵丕賳丿賳蹖鈥屫池�.
馃敼锔徹и� 丕夭 賲賳 亘倬乇爻賳丿 讴賴 丌蹖丕 亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲 亘乇丕蹖 賵乇賵丿 亘賴 丿賳蹖丕蹖 賴丕蹖賳乇蹖卮 亘賱 -丕蹖賳 賳賵蹖爻賳丿賴 亘夭乇诏 賲毓丕氐乇- 賲賳丕爻亘 丕爻鬲責 賲蹖鈥屭堐屬�: 亘賴 賴蹖趩鈥屬堌�
馃敻锔徹ㄛ屬勠屫ж必� 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲 乇賲丕賳 禺賵亘蹖鈥屫池� 賵賱蹖 賲毓乇賾賮 禺賵亘蹖 亘乇丕蹖 賴丕蹖賳乇蹖卮 亘購賱 賳蹖爻鬲. 鬲噩乇亘賴 賲鬲賮丕賵鬲蹖 丿乇 讴丕乇賳丕賲賴 丕蹖賳 丿丕爻鬲丕賳诏賵蹖賽 丌賱賲丕賳蹖鈥屫池� 賵 丕夭 賱丨丕馗 賮乇賲蹖 亘丕 丿蹖诏乇 丌孬丕乇丕卮 鬲賮丕賵鬲 丿丕乇丿貙 丕賱亘鬲賴 亘購賱 丿乇 讴購賱 鬲噩乇亘賴鈥屭必ж池� 賵 鬲賯乇蹖亘丕賸 丿乇 賴乇 丕孬乇卮 賮乇賲 賵 跇丕賳乇賽 賲鬲賮丕賵鬲蹖 乇丕 鬲噩乇亘賴 賲蹖鈥屭┵嗀� 賮蹖鈥屫з勝呚� 亘賴 爻禺鬲蹖 賲蹖鈥屫堌з� 倬匕蹖乇賮鬲 讴賴 賳賵蹖爻賳丿賴 毓賯丕蹖丿 蹖讴 丿賱賯讴 賵 爻蹖賲丕蹖 夭賳蹖 丿乇 賲蹖丕賳 噩賲毓 蹖讴 賳賮乇 丕爻鬲. 蹖讴蹖 亘丕 囟乇亘丕賴賳诏蹖 購讴賳丿 賵 鬲丕 丨丿賵丿 夭蹖丕丿蹖 賲賱丕賱鈥屫①堌� (讴賴 丕賱亘鬲賴 丿乇 賮乇賲 噩賵丕亘 丿丕丿賴 賵 噩夭賵 賴賳乇賳賲丕蹖蹖鈥屬囏й� 亘購賱 亘賴 丨爻丕亘 賲蹖鈥屫③屫�) 賵 亘丕 卮禺氐蹖鬲賴丕蹖蹖 讴賲 賵 丿丕爻鬲丕賳蹖 丕亘夭賵乇丿 賵 丿蹖诏乇蹖 亘丕 囟乇亘丕賴賳诏蹖 爻乇蹖毓 賵 乇賵蹖丿丕丿賴丕蹖蹖 賲鬲賵丕賱蹖貙 卮禺氐蹖鬲賴丕蹖 賮乇丕賵丕賳 讴賴 亘丕 胤賳夭蹖 賴賳乇賲賳丿丕賳賴 乇賵丕蹖鬲 賲蹖鈥屫促堌�. 亘丕 丕蹖賳 賵噩賵丿 "亘蹖賱蹖丕乇丿 丿乇 爻丕毓鬲 賳賴 賵 賳蹖賲" 賲鬲賮丕賵鬲鈥屫臂屬� 丕孬乇 丿乇 亘蹖賳 卮丕賴讴丕乇賴丕蹖 丕賵爻鬲
馃敻锔徹ж池з� 丕夭 賱丨丕馗 鬲毓丿丿 卮禺氐蹖鬲賴丕 賵 囟乇亘丕賴賳诏 爻乇蹖毓 亘賴 爻蹖賲丕蹖 夭賳蹖 ... 卮亘丕賴鬲 丿丕乇丿 賵賱蹖 丕夭 賱丨丕馗 乇賵丕蹖蹖 亘賴 讴賱 賲鬲賮丕賵鬲 丕爻鬲 賵 賲蹖鈥屫堌з� 丿乇 诏賵賳賴 乇賲丕賳 倬爻鬲 賲丿乇賳 讴賴 亘賴 卮蹖賵賴 睾蹖乇禺胤蹖 賵 爻蹖丕賱 匕賴賳 乇賵丕蹖鬲 賲蹖鈥屫促堌� 噩丕蹖卮 丿丕丿. 丿乇 亘爻蹖丕乇蹖 丕夭 噩丕賴丕 亘賴 爻禺鬲蹖 賲蹖鈥屫堌з� 爻乇賳禺 乇賵丕蹖蹖 丿丕爻鬲丕賳 乇丕 诏賲 賳讴乇丿 賵 亘丕 丌賳 賴賲乇丕賴 卮丿 禺氐賵氐丕 丿乇 賳蹖賲賴 丕賵賾賱 丿丕爻鬲丕賳 讴賴 趩賴 亘爻丕 亘乇丕蹖 匕賵賯鈥屬囏й� 鬲乇亘蹖鬲 賳蹖丕賮鬲賴 禺爻鬲賴鈥屭┵嗁嗀� 丕爻鬲鈥�. 賵 趩賳蹖賳 讴爻丕賳蹖 亘賴 丕丨鬲賲丕賱 夭蹖丕丿 丕夭 丕蹖賳 賳蹖賲賴 賳诏匕卮鬲賴 賵 讴鬲丕亘 乇丕 乇賴丕 賲蹖鈥屭┵嗁嗀�. 亘賴 賴賲蹖賳 禺丕胤乇 丕爻鬲 讴賴 賲蹖鈥屭堐屬� 亘蹖賱蹖丕乇丿 ... 讴鬲丕亘 禺賵亘蹖 亘乇丕蹖 賵乇賵丿 亘賴 丿賳蹖丕蹖 亘購賱 賳蹖爻鬲.
丕蹖賳 讴鬲丕亘 乇丕 讴賴 夭賵丿鬲乇 丕夭 鬲賲丕賲蹖 丌孬丕乇 賲胤乇丨 丕蹖賳 賳賵蹖爻賳丿賴貙 賳賵卮鬲賴 卮丿賴 丕爻鬲 亘賴 賳賵毓蹖 賲蹖鈥屫堌з� 倬賳噩賴 丿乇 倬賳噩賴 丕賮讴賳丿賳 亘購賱 亘丕 賮購乇賲 丿丕賳爻鬲. 賵 亘賴 賳馗乇 賲賳 趩賳蹖賳 鬲噩乇亘賴鈥屫й� 亘丕毓孬 卮丿賴 讴賴 丕賵 讴鬲丕亘賴丕蹖 亘毓丿蹖卮 亘賴 鬲賵賮蹖賯 亘乇爻丿 賵 卮丕賴讴丕乇賴丕蹖卮 乇丕 禺賱賯 讴賳丿.
馃敻锔徹з勝傌蒂� 丕诏乇 丌孬丕乇 賲賴賲 亘購賱 賲孬賱賽 毓賯丕蹖丿 蹖讴 丿賱賯讴貙 爻蹖賲丕蹖 夭賳蹖 丿乇 賲蹖丕賳 噩賲毓 賵 丌亘乇賵蹖 丕夭 丿爻鬲 乇賮鬲賴 讴丕鬲乇蹖賳丕 亘賱賵賲 乇丕 禺賵丕賳丿賴鈥屫й屫� 丕蹖賳 讴鬲丕亘 乇丕 丕夭 丿爻鬲 賳丿賴蹖丿. 鬲丕 亘丕 鬲氐賵蹖乇爻丕夭蹖鈥屬囏й� 蹖讴 賳丕亘睾賴 丌賱賲丕賳蹖 丕夭 爻丕賱賴丕蹖 倬爻 丕夭 噩賳诏 噩賴丕賳蹖 乇賵亘乇賵 卮賵蹖丿.
丿乇 丌禺乇 丕蹖賳讴賴 鬲乇噩賲賴 賲乇丨賵賲 讴蹖讴丕賵爻 噩賴丕賳丿丕乇蹖 賳蹖夭 亘爻蹖丕乇 丿賱賳卮蹖賳 賵 禺賵丕賳丿賳蹖鈥屫池�.
February 15, 2021
TL;DR: It's a family reunion for Grandpa's birthday party despite the trauma of Nazi Germany.
I think it's best we start with my copy of the book itself.
I read the 1961 First Edition translation of this book, on library loan. You'll see from the image above, a set of pages at the end have been torn out, very cleanly. This is very odd. I've read about a hundred, much older First edition books from McGill University library and this has never happened before. If pages are torn, it is not directly from the spine, and someone usually tapes them back in.
There's a funny and sad explanation to these torn pages. Those pages happen to be the only action scene in this book. Right at the end, a bullet is fired. The funny explanation is that the reader, much like I did, read those pages so frantically they accidentally tore the pages out! The sad explanation is that because the Nazis were on one side of that bullet (I shan't say which side), this was of outrage.
鈥�
It's clear to me that Heinrich B枚ll deserved the Nobel Prize in 1972. This is a 4* book to me as it's not accessible, innovative or varied enough 鈥� but as a historical book it is a 5*. Even the Nobel committee agree with me that B枚ll isn't doing anything spectacular in terms of writing style.
The renewal of German literature, to which Heinrich B枚ll鈥檚 achievements witness, and of which they are a significant part, is not an experiment with form 鈥� a drowning man scorns the butterfly stroke. Instead it is a rebirth out of annihilation, a resurrection, a culture which, ravaged by icy nights and condemned to extinction, sends up new shoots, blossoms, and matures to the joy and benefit of us all. Such was the kind of work Alfred Nobel wished his Prize to reward.
But it's just the fact that he's so boldly and directly calling out Nazis and their remnants for the ruin of German culture in 1957. This is his only work in Harold Bloom's Western Canon, so I guess Bloom would suggest that whatever worth the Nobel committee saw in him, it was in this book.
I immediately drew parallels between this book and other Nobel prize winners I'd read 鈥� Toni Morrison's Beloved, and Gabriel Garc铆a Marquez's The General In His Labyrinth (his less romantic, political novels...). To be explicit here, much like Beloved, this book continuously is told through the memories of its characters and keeps switching narrator 鈥� and much like Marquez in general, it explores a family's development through time. So together this means the narrative of this book is quite disorientating, but I think it's to show the effect of war and to make the structure so complex so that the story can be as slow as it wants to be (the length of a day). So, like these other books, Billiards at Half-Past Nine is exploring the history of a nation through the traumatic past of its common people. It's attempting to formalize a time period, it's historical fiction written close to the time it depicts and so is a historical record as far as I'm concerned. And like these other works, it calls for compassion and humanity against an oppressive sociocultural setting.
As other reviews have pointed out, Hitler and the Jews aren't called by name, but certain people are being attacked by those in command. The commander is Hindenburg, who is often referred to as 'the Host of the Beast', who this book is damning as the cause of Nazi Germany. In one of the quotes I've kept, it is late in the story suggested that people either take from God or the Host of the Beast, which is the only explicit suggestion (in addition to continuous implicit suggestions) by B枚ll that Nazism and German Christianity were at odds were one another.
And similarly, a theme here is 'building' for 'building a community' out of the wreckage of postwar Germany, and the Church here represents what the Cathedral represents in Raymond Carver's 'Cathedral' 鈥� a great famous short story calling for a sincerity similarly lost in postwar America. The living find community in buildings 鈥� the Church, the caf茅, the hotel, even the asylum 鈥� and the streets are where the soldiers walk. The inside and the outside of Germany are metaphors for the civilians and the soldiers. And the romance of war in Germany reminds me of that of Ian McEwan's 'Atonement', except here we're seeing that even the civilians who stayed home had their love or lovers thwarted.
Billiards at Half-Past Nine is less about billiards, and more about Half-Past Nine. Resistance to totalitarian authority is a militantly benign routine. A rigid routine, as we might call 'Aspergers-like', a lifestyle of eating paprika cheese at a caf茅 every day at the same time, or playing billiards at the same hotel every day at the same time, is how you avoid being consumed by a society that wants to destroy your sense of humanity. This is a story of passive and covert resistance against Nazis by disenfranchised German civilians. As a neurobiologist it does make me wonder whether the evolutionary root of compulsive behaviours is a byproduct of societies, to oppose tyrannical social systems.
In my current series looking at Nazi Germany we see here that, from my GoodReads quotes, 'subjective reason' is operating at the level of who the Nazis would attack, and how it related to the physical and spiritual loss of Christianity. The very end of this novel tells us that effort is required for a peaceful, loving community 鈥� that family and God requires toils and sacrifice 鈥� but it suggests to us that it is worth the cost. It impels us not to be cynical about love, trust and death.
What makes me think that it's main theme is religion vs. war are the repeated italic statements throughout the book. There are four repeated, italicized (sic) phrases found in this book about those that did not resist the Nazis. Three of which have religious or Biblical origins, all of which I've put in []s.
Firm in compassion the eternal heart [Holderlein's Hymns]
Their right hands have bribes [Psalm 26:10]
The Host of the Beast [Revelation 13:5鈥�8]
How weary, weary these old bones. [Es zittern die morschen Knochen; Nazi song about destruction]
That said I don't think it's arguing strictly against disestablishmentarianism. It's more clearly arguing against the hypocrisy of a Christian nation waging war, or the extreme hypocrisy of a Christian nation that would destroy a Church for the sake of a war. There are mixed feelings about the Church throughout the family, but it is more a matter of forgiveness, vengeance and atonement 鈥� perhaps these are the feelings of the Grandfather, the father and son of this German family, embodied. That may even be a reference to the Holy Trinity in some way but the meaning is too abstract and escapes me and I can't bring it into meaning right now...
And so while this story is a very slow, disorientating burn, very much like Toni Morrison's Beloved, while reading it, one becomes aware that it is trying to make an open and strong morale about how to be. Isn't it strange how there are so few stories which historically document the public condemnation of social atrocities? Books which try capture how 'the people' felt, rather than one naval-gazing protagonist?
Why have we not, through fiction or otherwise, explored and reflected on the root causes of historical eras of radical discrimination? Why is it still a blur that hatred exists, and villains are so contrived in fiction and alien from, say, the Nazi soldier just following orders. Why do we read so many stories of sheltered contemporary Western lifestyles 鈥� are we afraid or unwilling to learn about why and how things like this happen? These are more questions for me than for you, but it's odd to me that they aren't questions I hear or see very often. This book makes me realize fiction can do this, and I don't know why that which does, is not popular now or then.
So yes, it's a no-thrills, slow book about surviving in a country where nobody trusts its rulers. If historical fiction doesn't interest you, or a book with no central character and continuous changes between time and narrator, then avoid this. But the sentences are rich, there is great passion and thought behind it. The ending does get intense with the bullet, but it's not the point. And the ending, now that I think about it, is quite splendid.
December 14, 2015
賮乇賲 讴鬲丕亘 乇丕 賲蹖鈥屬矩迟嗀�. 鬲睾蹖蹖乇 夭丕賵蹖賴 丿蹖丿 賵 噩丕亘賴鈥屫й屰� 賲購丿丕賲 丌賳 賲蹖丕賳 蹖讴 毓丕賱賲賴 卮禺氐蹖鬲 讴賴 賴賲賴鈥屫簇з� 夭賳丿诏蹖 倬乇 賮乇丕夭 賵 賳卮蹖亘蹖 賴賲 丿丕卮鬲賴鈥屫з嗀�. 丿乇 賵丕賯毓 賲卮讴賱鈥屫з� 亘丕 丿丕爻鬲丕賳 丕爻鬲. 丿乇爻鬲 讴賴 丿丕乇丿 亘賴 噩賳诏 賲蹖鈥屬矩必ж藏� 丕賲丕 禺胤 丿丕爻鬲丕賳蹖 賲卮禺氐蹖 賵噩賵丿 賳丿丕乇丿 賵 讴購賳卮蹖 丕鬲賮丕賯 賳賲蹖鈥屫з佖�. 賴賲賴鈥屭嗃屫� 丿乇 诏匕卮鬲賴 丕鬲賮丕賯 丕賮鬲丕丿賴 賵 鬲賲丕賲 卮丿賴. 卮禺氐蹖鬲鈥屬囏� 夭賳丿诏蹖鈥屫簇з� 乇丕 亘乇丕蹖 賲購賳卮蹖 蹖丕 倬丕丿賵蹖 賴鬲賱 鬲毓乇蹖賮 賲蹖鈥屭┵嗁嗀� 丕賲丕 禺賵丕賳賳丿賴 讴賴 賲賳卮蹖 賵 倬丕丿賵蹖 賴鬲賱 賳蹖爻鬲 讴賴 賲噩亘賵乇 亘丕卮丿 亘賴 賵乇丕噩蹖 丌賳鈥屬囏� 诏賵卮 丿賴丿 亘蹖 丌賳鈥屭┵� 亘丿丕賳丿 賯乇丕乇 丕爻鬲 丕蹖賳 禺丕胤乇丕鬲 亘賴 讴噩丕 亘乇爻賳丿! 丕賳乇跇蹖 丿丕爻鬲丕賳 丿乇 氐丿 氐賮丨賴鈥屰� 丕亘鬲丿丕蹖蹖 賮乇賵讴卮 賲蹖鈥屭┵嗀� 賵 丕賳诏丕乇 丕丨爻丕爻 賲蹖鈥屭┵嗃� 賯乇丕乇 賳蹖爻鬲 噩夭 亘丕夭卮賳賵蹖蹖 賵賯丕蹖毓 夭賳丿诏蹖 丌丿賲鈥屬囏й� 丕蹖賳 禺丕賳丿丕賳賽 丿乇诏蹖乇 噩賳诏貙 趩蹖夭 丿蹖诏乇蹖 丿爻鬲鬲 乇丕 亘诏蹖乇丿.
June 20, 2019
Jedan dan (6. septembar 1958) u 啪ivotu tri generacije Femela, arhitektonske porodice, sa fle拧bekovima na bitna de拧avanja u razli膷ite godine od 1907 nadalje. Dva rata, gra膽enja i razaranja, pola veka nema膷ke istorije prepri膷ane kroz o膷i prose膷ne porodice iz prose膷nog nema膷kog gradi膰a. Prvi svetski rat, gomila smrti povezanih i nepoivezanih ratovima, izgradnja, uspon nacizma (Bel dodu拧e ne koristi re膷 "nacizam", kao ni "Hitler") te ponovna izgradnja, napredak, ali i hipokrizija nema膷kog dru拧tva nakon rata (膷uveni posleratni "Gde su odjednom svi nacisti?!").
Bilijar u pola deset je ispri膷an u 13 poglavlja i kao takav relativno kratak, ali se ne 膷ita lako. Bel menja pripoveda膷e iz poglavlja u poglavlje, i to zbunjuje. Ponekad ti treba nekoliko strana da pohvata拧 ko sada pri膷a. Prepri膷avaju膰i op拧ta istorijska de拧avanja, koristi i 膷udne metafore, koje su mo啪da jasne nema膷kom 膷itaocu iz 60-ih, ali meni ne uvek. Po拧tovaoci "sakramenta bivola" (nacisti) protiv "jaganjca bo啪jih" (pacifisti, borci za mir), slavljenje Hindenburga umesto Hitlera, ponavljanje o "crvenom na zelenom i belom na zelenom" i metafore vezane na igru bilijara... Neke stvari ostaju nejasne do kraja, a pri膷a je fragmentarna i ne fokusira se na bitna de拧avanja, ve膰 na epizode iz 啪ivota na拧ih "jaganjaca".
Sve u svemu, Bilijar me je poprili膷no nervirao i zakleo bih se da ne zaslu啪uje vi拧e od 3/5. Me膽utim, ve膰ina stvari nekako sedne na svoje mesto. Mozaik se popunjava, i iako pri膷a ostaje puna rupa, na kraju su likovi potpuno jasni, kao i (barem u grubim crtama) poruka koju Bel 啪eli da po拧alje. A ima tu i re膷enica koje je vredelo posebno ozna膷iti.
Skoro sam pro膷itao i , poznatije delo sli膷ne tematike Gintera Grasa. Bilijar mi se vi拧e dopao, ali ipak i dalje 膷ekam svoj veliki nema膷ki roman na tematiku drugog svetskog rata.
Bilijar u pola deset je ispri膷an u 13 poglavlja i kao takav relativno kratak, ali se ne 膷ita lako. Bel menja pripoveda膷e iz poglavlja u poglavlje, i to zbunjuje. Ponekad ti treba nekoliko strana da pohvata拧 ko sada pri膷a. Prepri膷avaju膰i op拧ta istorijska de拧avanja, koristi i 膷udne metafore, koje su mo啪da jasne nema膷kom 膷itaocu iz 60-ih, ali meni ne uvek. Po拧tovaoci "sakramenta bivola" (nacisti) protiv "jaganjca bo啪jih" (pacifisti, borci za mir), slavljenje Hindenburga umesto Hitlera, ponavljanje o "crvenom na zelenom i belom na zelenom" i metafore vezane na igru bilijara... Neke stvari ostaju nejasne do kraja, a pri膷a je fragmentarna i ne fokusira se na bitna de拧avanja, ve膰 na epizode iz 啪ivota na拧ih "jaganjaca".
Sve u svemu, Bilijar me je poprili膷no nervirao i zakleo bih se da ne zaslu啪uje vi拧e od 3/5. Me膽utim, ve膰ina stvari nekako sedne na svoje mesto. Mozaik se popunjava, i iako pri膷a ostaje puna rupa, na kraju su likovi potpuno jasni, kao i (barem u grubim crtama) poruka koju Bel 啪eli da po拧alje. A ima tu i re膷enica koje je vredelo posebno ozna膷iti.
Skoro sam pro膷itao i , poznatije delo sli膷ne tematike Gintera Grasa. Bilijar mi se vi拧e dopao, ali ipak i dalje 膷ekam svoj veliki nema膷ki roman na tematiku drugog svetskog rata.
August 6, 2022
鈥淗aven鈥檛 you left your hotel room yet?鈥�
鈥淣o.鈥�, 鈥淒on鈥檛 you want to live with us?鈥�
鈥淚 don鈥檛 know yet,鈥� said Schrella. 鈥淚鈥檓 afraid of houses you move into, then let yourself be convinced of the banal fact that life goes on and that you get used to anything in time. Ferdi would only be a memory, and my father only a dream. And yet they killed Ferdi, and his father vanished from here without a trace. They鈥檙e not even remembered in the lists of any political organization, since they never belonged to any. They aren鈥檛 even remembered in the Jewish memorial services, since they weren鈥檛 Jews. Ferdi, perhaps, lives on at least in the court records. Only we two think of him, Robert, your parents and that old desk clerk down there鈥攏ot even your children, any longer. I can鈥檛 live in this city because it isn鈥檛 alien enough for me. I was born here and went to school here. I tried to free Gruffel Street from their spell. I carried within me the word I never uttered, Robert, never even when I talked to you, the only one that I expect to do anything for this world -I won鈥檛 even say it now. Perhaps I鈥檒l be able to say it to you at the station, when you take me to the train.鈥�
鈥淣o.鈥�, 鈥淒on鈥檛 you want to live with us?鈥�
鈥淚 don鈥檛 know yet,鈥� said Schrella. 鈥淚鈥檓 afraid of houses you move into, then let yourself be convinced of the banal fact that life goes on and that you get used to anything in time. Ferdi would only be a memory, and my father only a dream. And yet they killed Ferdi, and his father vanished from here without a trace. They鈥檙e not even remembered in the lists of any political organization, since they never belonged to any. They aren鈥檛 even remembered in the Jewish memorial services, since they weren鈥檛 Jews. Ferdi, perhaps, lives on at least in the court records. Only we two think of him, Robert, your parents and that old desk clerk down there鈥攏ot even your children, any longer. I can鈥檛 live in this city because it isn鈥檛 alien enough for me. I was born here and went to school here. I tried to free Gruffel Street from their spell. I carried within me the word I never uttered, Robert, never even when I talked to you, the only one that I expect to do anything for this world -I won鈥檛 even say it now. Perhaps I鈥檒l be able to say it to you at the station, when you take me to the train.鈥�
December 6, 2018
螘委蠂伪 伪蟺蠈 渭喂魏蟻萎 伪未蠀谓伪渭委伪 蟽蟿慰谓 围维喂谓蟻喂蠂 螠蟺蔚位, 纬喂伪 蠂蟻蠈谓喂伪 芦螣喂 伪蟺蠈蠄蔚喂蟼 蔚谓蠈蟼 魏位蠈慰蠀谓禄 蟺蔚蟻喂位伪渭尾维谓慰谓蟿伪谓 蟽蟿喂蟼 位委蟽蟿蔚蟼 渭蔚 蟿伪 伪纬伪蟺畏渭苇谓伪 渭慰蠀 尾喂尾位委伪, "螚 蠂伪渭苇谓畏 蟿喂渭萎 蟿畏蟼 螝伪蟿伪蟻委谓伪 螠蟺位慰蠀渭" 蔚委谓伪喂 伪蟺蠈 蟿伪 位委纬伪 尾喂尾位委伪 蟺慰蠀 苇蠂蠅 未喂伪尾维蟽蔚喂 魏伪喂 蟽蟿慰 蟺蟻蠅蟿蠈蟿蠀蟺慰. 螌渭蠅蟼 渭蔚蟿维 蟿畏谓 伪谓维纬谓蠅蟽畏 蟿慰蠀 "螣渭伪未喂魏慰蠉 蟺慰蟻蟿蟻苇蟿慰蠀 纬喂伪 渭委伪 魏蠀蟻委伪" 魏伪喂 蟿蠋蟻伪 蟿慰蠀 "螠蟺喂位喂维蟻未慰蠀 蟽蟿喂蟼 蔚谓谓喂维渭喂蟽喂" 谓慰渭委味蠅 蟺蠅蟼 魏伪蟿伪位伪尾伪委谓蠅 蟿畏 蟽畏渭伪蟽委伪 蟿慰蠀 蟽蔚 蠈位慰 蟿畏蟼 蟿慰 伪谓蟿喂蟺慰位蔚渭喂魏蠈 渭蔚纬伪位蔚委慰.
螣 围维喂谓蟻喂蠂 螠蟺蔚位 萎蟿伪谓 蟽蟿畏 螕蔚蟻渭伪谓委伪 伪蟺蠈 蟿喂蟼 蟽蟿伪胃蔚蟻维 伪谓蟿喂谓伪味喂蟽蟿喂魏苇蟼 蠁蠅谓苇蟼, 伪谓 魏伪喂 未蔚谓 纬位委蟿蠅蟽蔚 蟿畏 蟽蟿蟻维蟿蔚蠀蟽畏 蟽蟿慰谓 螔鈥� 螤伪纬魏蠈蟽渭喂慰 螤蠈位蔚渭慰, 蠈蟺慰蠀 苇蠂伪蟽蔚 魏伪喂 蟿伪 未维蠂蟿蠀位伪 蟿蠅谓 蟺慰未喂蠋谓 蟿慰蠀 伪蟺蠈 魏蟻蠀慰蟺伪纬萎渭伪蟿伪. 螖蔚谓 蟽蟿伪渭维蟿畏蟽蔚 蟺慰蟿苇 谓伪 蠀蟺慰蟽蟿畏蟻委味蔚喂 蟺蠅蟼 蠀蟺萎蟻蠂蔚 魏伪喂 渭喂伪 维位位畏 螕蔚蟻渭伪谓委伪 蟺慰蠀 未蔚谓 蠀蟺慰蟿维蠂蟿畏魏蔚 蟽蟿慰 螡伪味喂蟽渭蠈, 魏喂 苇尾位蔚蟺蔚 蟺维谓蟿慰蟿蔚 蠉蟺慰蟺蟿伪 蟿畏谓 蔚蠀魏慰位委伪 渭蔚 蟿畏谓 慰蟺慰委伪 渭蔚蟿伪蟺慰位蔚渭喂魏维 畏 蠂蠋蟻伪 蟿慰蠀 渭蔚蟿伪蟿蟻维蟺畏魏蔚 蟽蔚 苇谓伪 魏蟻维蟿慰蟼 芦螖畏渭慰魏蟻伪蟿蠋谓禄. 螇胃蔚位蔚 慰喂 蟽蠀渭蟺伪蟿蟻喂蠋蟿蔚蟼 蟿慰蠀 谓伪 胃蠀渭慰蠉谓蟿伪喂, 谓伪 尉苇蟻慰蠀谓 蟿喂 苇纬喂谓蔚, 谓伪 渭蟺慰蟻慰蠉谓 谓伪 尉蔚蠂蠅蟻委蟽慰蠀谓 蟺慰喂慰蟼 蔚委谓伪喂 蟺慰喂慰蟼. 危蟿喂蟼 未蔚魏伪蔚蟿委蔚蟼 蟿慰蠀 '50 魏伪喂 蟿慰蠀 '60 慰喂 螕蔚蟻渭伪谓慰委 尾维位胃畏魏伪谓 谓伪 尉蔚蠂维蟽慰蠀谓, 蠈渭蠅蟼 畏 蔚蟺蠈渭蔚谓畏 纬蔚谓喂维 蔚蟺伪谓苇蠁蔚蟻蔚 蟿畏 渭谓萎渭畏, 苇未蠅蟽蔚 蠁蠅谓萎 蟽蟿伪 蠁维谓蟿伪蟽渭伪蟿伪 魏喂 苇未蠅蟽蔚 蟿慰 苇谓伪蠀蟽渭伪 纬喂伪 谓伪 蟿慰 尉慰蟻魏委蟽慰蠀谓. 螒蠀蟿维 蟿伪 蠂蟻蠈谓喂伪 蟿畏蟼 位萎胃畏蟼 魏伪喂 蟿畏蟼 蟽喂蠅蟺萎蟼, 慰 螠蟺蔚位 未蔚谓 蟽蟿伪渭维蟿畏蟽蔚 谓伪 渭喂位维 纬喂伪 伪蠀蟿蠈 蟺慰蠀 蟽蠀谓苇尾畏, 未蔚谓 苇蟺伪蠄蔚 蟺慰蟿苇 谓伪 胃蠀渭维蟿伪喂.
螚 蟺位慰魏萎 蟽蟿慰 芦螠蟺喂位喂维蟻未慰禄 蔚魏蟿蠀位委蟽蟽蔚蟿伪喂 蠈位畏 渭苇蟽伪 蟽蔚 渭委伪 渭苇蟻伪, 蟿畏谓 6畏 危蔚蟺蟿蔚渭尾蟻委慰蠀 1958, 渭苇蟻伪 蟿蠅谓 纬蔚谓蔚胃位委蠅谓 蟿慰蠀 围维喂谓蟻喂蠂 桅伪委渭蔚位, 慰纬未慰谓蟿维蠂蟻慰谓慰蠀 蟺蔚蟻喂蠋谓蠀渭慰蠀 伪蟻蠂喂蟿苇魏蟿慰谓伪 蟺慰蠀 苇魏蟿喂蟽蔚 渭蔚 渭伪谓委伪 苇谓伪 蟽蠅蟻蠈 魏蟿萎蟻喂伪. 螣 桅伪委渭蔚位 蔚委谓伪喂 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 苇蠂伪蟽蔚 蟿伪 未蠉慰 蟺蟻蠋蟿伪 蟺伪喂未喂维 蟿慰蠀 谓蠅蟻委蟼, 蔚谓蠋 蟿慰 蟿苇蟿伪蟻蟿慰 魏伪喂 蟿蔚位蔚蠀蟿伪委慰, 慰 螌蟿蟿慰, 蟺萎蟻蔚 芦蟿畏 渭蔚蟿维位畏蠄畏 蟿慰蠀 尾慰蠉尾伪位慰蠀禄 魏喂 蔚委蠂蔚 蟺蔚胃维谓蔚喂 纬喂伪 魏蔚委谓慰谓 蟺慰位蠉 蟺蟻喂谓 蟽魏慰蟿蠅胃蔚委 蟽蟿慰谓 蟺蠈位蔚渭慰. 螘谓 味蠅萎 蔚委谓伪喂 渭蠈谓慰 蟿慰 蟿蟻委蟿慰 蟿慰蠀 蟺伪喂未委, 慰 巍蠈渭蟺蔚蟻蟿, 蔚尉伪喂蟻蔚蟿喂魏蠈蟼 危蟿伪蟿喂魏蠈蟼, 蟺慰蠀 蟽蟿慰谓 螤蠈位蔚渭慰 伪谓伪蟿委谓伪味蔚 魏蟿萎蟻喂伪. 螆谓伪蟼 维谓蟿蟻伪蟼 蟺慰蠀 未蔚谓 苇位伪尾蔚 蟺慰蟿苇 蟿畏 渭蔚蟿维位畏蠄畏 蟿慰蠀 尾慰蠉尾伪位慰蠀, 蟺伪蟻苇渭蔚喂谓蔚 纬喂伪 蟺维谓蟿伪 芦伪渭谓蠈蟼禄, 魏喂 蔚委未蔚 蟿畏 味蠅萎 蟿慰蠀 谓伪 魏伪蟿伪蟽蟿蟻苇蠁蔚蟿伪喂. 螤伪委味蔚喂 渭蟺喂位喂维蟻未慰 魏维胃蔚 蟺蟻蠅委 蟽蟿喂蟼 蔚谓谓喂维渭喂蟽喂 蟽蟿慰 尉蔚谓慰未慰蠂蔚委慰 芦螤蟻委纬魏畏蠄 围维喂谓蟻喂蠂禄, 渭喂位维 渭蠈谓慰谓 蟽蟿慰谓 谓蔚伪蟻蠈 纬魏蟻慰蠀渭 围喂慰蠉纬魏慰, 魏伪喂 味蔚喂 蟿蠈蟽慰 伪蟺慰尉蔚谓蠅渭苇谓慰蟼 伪蟺蠈 蟿慰谓 委未喂慰 蟿慰蠀 蟿慰谓 蔚伪蠀蟿蠈, 蟺慰蠀 渭慰喂维味蔚喂 蟺伪纬蠅渭苇谓慰蟼. 螣 纬喂慰蟼 蟿慰蠀 巍蠈渭蟺蔚蟻蟿, 魏伪喂 蔚纬纬慰谓蠈蟼 蟿慰蠀 围维喂谓蟻喂蠂, 蔚委谓伪喂 魏喂 伪蠀蟿蠈蟼 伪蟻蠂喂蟿苇魏蟿慰谓伪蟼, 伪位位维 魏维蟿喂 蟿慰谓 蔚渭蟺慰未委味蔚喂 谓伪 蠂蟿委蟽蔚喂 尉伪谓维 蟿慰 伪尾伪蔚委慰 蟿慰蠀 螒纬委慰蠀 螒谓蟿蠅谓委慰蠀 蟺慰蠀 苇蠂蟿喂蟽蔚 慰 蟺伪蟺蟺慰蠉蟼 魏喂 伪谓伪蟿委谓伪尉蔚 慰 蟺伪蟿苇蟻伪蟼 蟿慰蠀.
螣 围委蟿位蔚蟻 魏伪喂 慰 螡伪味喂蟽渭蠈蟼 未蔚谓 伪谓伪蠁苇蟻慰谓蟿伪喂 蟺慰蟿苇 慰谓慰渭伪蟽蟿喂魏维 蟽蟿慰 尾喂尾位委慰, 蠈渭蠅蟼 魏蠀蟻喂伪蟻蠂慰蠉谓 蟽蟿慰 渭蠀伪位蠈 蠈位蠅谓, 慰蟻委味慰蠀谓 蟿畏 味蠅萎 蟿慰蠀蟼 蟽蟿慰 蟽萎渭蔚蟻伪, 伪魏蠈渭伪 魏伪喂 蟿蠅谓 谓蔚蠈蟿蔚蟻蠅谓, 蟿蠅谓 蔚纬纬慰谓蠋谓. 螒蠀蟿慰委 蟺慰蠀 萎蟿伪谓 螡伪味喂蟽蟿苇蟼 蟿蠈蟿蔚, 伪蠀蟿慰委 蟺慰蠀 魏蠀谓萎纬畏蟽伪谓, 魏伪蟿苇未蠅蟽伪谓, 尾伪蟽维谓喂蟽伪谓, 蟺伪蟻苇渭蔚喂谓伪谓 伪蟿喂渭蠋蟻畏蟿慰喂. 螝维蟺慰喂慰喂 渭维位喂蟽蟿伪 谓慰渭委味慰蠀谓 蟺蠅蟼 渭蟺慰蟻慰蠉谓 谓伪 纬委谓慰蠀谓 魏伪喂 蠁委位慰喂 渭蔚 伪蠀蟿慰蠉蟼 蟺慰蠀 魏维蟺慰蟿蔚 魏伪蟿蔚未委蠅尉伪谓 魏伪喂 蟿慰蠀蟼 蟿蟽维魏喂蟽伪谓 蟿畏 味蠅萎. 韦慰 螠蟺喂位喂维蟻未慰 蔚委谓伪喂 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 纬喂伪 蟿畏 渭谓萎渭畏, 纬喂伪 蟿畏谓 蔚蠀魏慰位委伪 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 谓伪 尉蔚蠂谓慰蠉谓, 蟿慰蠀位维蠂喂蟽蟿慰谓 蟽蔚 苇谓伪 蟺蟻蠋蟿慰 蔚蟺委蟺蔚未慰. 螕喂伪 蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 苇蠂蔚喂 畏 味蠅萎 谓伪 蔚魏未喂魏蔚委蟿伪喂 魏伪喂 谓伪 胃蠀渭维蟿伪喂, 纬喂伪 蟿畏 位慰纬喂魏萎, 蟿畏谓 蟿蟻苇位伪, 蟿伪 蟽蠂苇未喂伪 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 纬魏蟻蔚渭委味慰谓蟿伪喂 魏伪喂 渭蔚蟿维 未蠉蟽魏慰位伪 伪谓慰喂魏慰未慰渭慰蠉谓蟿伪喂. 螣喂 桅伪委渭蔚位, 伪蟻蠂喂蟿苇魏蟿慰谓蔚蟼, 蟽蟿伪蟿喂魏慰委 魏伪喂 伪谓伪蟿喂谓伪蠂蟿苇蟼, 蟽蠀渭尾慰位委味慰蠀谓 蠈位畏 蟿畏谓 螕蔚蟻渭伪谓委伪, 魏维胃蔚 纬蔚谓喂维 蟽蟿畏 蟽蔚喂蟻维 蟿畏蟼.
螒蠁畏纬畏渭伪蟿喂魏维, 蟿慰 尾喂尾位委慰 渭慰喂维味蔚喂 魏伪蟿伪魏蔚蟻渭伪蟿喂蟽渭苇谓慰, 渭蔚 蟽蠀谓蔚蠂萎 蠁位伪蟼 渭蟺伪魏 蟽蔚 渭谓萎渭蔚蟼, 蟺蠈蟿蔚 蟿慰蠀 蟺伪蟿苇蟻伪, 蟺蠈蟿蔚 蟿慰蠀 蟺伪蟺蟺慰蠉, 蟺蠈蟿蔚 蟿慰蠀 蔚纬纬慰谓慰蠉. 螣 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺伪委味蔚喂 渭蔚 蟿慰谓 蠂蟻蠈谓慰, 蟿慰谓 魏伪蟿伪魏蟻蔚慰蠀蟻纬蔚委 纬喂伪 谓伪 渭蟺慰蟻苇蟽蔚喂 谓伪 魏伪蟿伪谓慰萎蟽蔚喂 蟿喂 蔚委谓伪喂 伪蠀蟿蠈 蟺慰蠀 蟽蠀谓苇尾畏, 魏伪喂 蟺蠋蟼 渭蟺慰蟻蔚委 谓伪 蟿慰 尉慰蟻魏委蟽蔚喂. 螣喂 蟺蟻蠅蟿慰蟺蟻蠈蟽蠅蟺蔚蟼 伪蠁畏纬萎蟽蔚喂蟼 蔚谓伪位位维蟽蟽慰谓蟿伪喂 畏 渭委伪 渭蔚蟿维 蟿畏谓 维位位畏, 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蠂蟻蔚喂维味蔚蟿伪喂 伪谓维 蟺维蟽伪 蟽蟿喂纬渭萎 谓伪 蟺蟻慰蟽伪蟻渭慰蟽蟿蔚委, 谓伪 魏伪蟿伪位维尾蔚喂 蟺慰喂慰蟼 渭喂位维蔚喂 魏伪喂 纬喂伪 蟺慰喂伪 蔚蟺慰蠂萎. 螒蠀蟿蠈 未委谓蔚喂 蠀蟺蔚蟻慰蠂萎 蟽蟿慰 魏蔚委渭蔚谓慰, 魏伪喂 尾维胃慰蟼 蟽蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 渭蟺慰蟻慰蠉渭蔚 谓伪 蟿慰蠀蟼 未慰蠉渭蔚 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏伪喂 蟽蟿慰 蟺伪蟻蠈谓 魏伪喂 蟽蟿慰 蟺伪蟻蔚位胃蠈谓 魏喂 伪蟺蠈 蟺慰位位苇蟼 慰蟺蟿喂魏苇蟼 纬蠅谓委蔚蟼- 渭苇蟽伪 魏伪喂 苇尉蠅 蟿慰蠀蟼. 韦伪蠀蟿蠈蠂蟻慰谓伪 伪蠀尉维谓蔚喂 蟿慰谓 未蔚委魏蟿畏 未蠀蟽魏慰位委伪蟼 蟿畏蟼 伪谓维纬谓蠅蟽畏蟼, 魏伪喂 魏伪胃喂蟽蟿维 蟿慰 "螠蟺喂位喂维蟻未慰" 苇谓伪 伪蠁畏纬畏渭伪蟿喂魏蠈 蔚蟺委蟿蔚蠀纬渭伪 蟺慰蠀 位委纬慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼 苇蠂慰蠀谓 魏伪蟿慰蟻胃蠋蟽蔚喂.
螣 围维喂谓蟻喂蠂 螠蟺蔚位, 蔚谓 伪谓蟿喂胃苇蟽蔚喂 渭蔚 蟺慰位位慰蠉蟼 螕蔚蟻渭伪谓慰蠉蟼 蟽蠀纬纬蟻伪蠁蔚委蟼 慰蠉蟿蔚 蠀蟺慰蟿维蠂蟿畏魏蔚 蟽蟿慰 螡伪味喂蟽蟿喂魏蠈 魏伪胃蔚蟽蟿蠋蟼, 慰蠉蟿蔚 伪蠀蟿慰蔚尉慰蟻委蟽蟿畏魏蔚. 螖蔚谓 尉苇蠂伪蟽蔚, 未蔚谓 尉苇蠁蠀纬蔚, 蟿慰谓 蠈蟻喂蟽蔚 慰 蟺蠈位蔚渭慰蟼. 螒谓蟿委胃蔚蟿伪, 未畏渭喂慰蠉蟻纬畏蟽蔚 苇蟻纬伪 韦苇蠂谓畏蟼, 渭委位畏蟽蔚 纬喂伪 蟿畏 味蠅萎 蟿慰蠀, 纬喂伪 蟿慰 蟺蠅蟼 蔚委谓伪喂 谓伪 蔚委蟽伪喂 芦伪渭谓蠈蟼禄, 伪谓慰喂蠂蟿蠈渭蠀伪位慰蟼, 伪谓蔚魏蟿喂魏蠈蟼, 未畏渭慰魏蟻伪蟿喂魏蠈蟼, 蟽蔚 苇谓伪 渭苇蟻慰蟼 魏伪喂 蟽蔚 渭喂伪 蔚蟺慰蠂萎 蟺慰蠀 魏蠀蟻喂伪蟻蠂蔚委 蟿慰 螝伪魏蠈, 魏伪喂 蟺伪蟻苇未蠅蟽蔚 蟽蟿畏谓 蔚蟺蠈渭蔚谓畏 纬蔚谓喂维 渭喂伪 蟽慰尾伪蟻萎 蟺伪蟻伪魏伪蟿伪胃萎魏畏. 围蟻苇慰蟼 渭伪蟼 蔚委谓伪喂 谓伪 蟿慰谓 未喂伪尾维蟽慰蠀渭蔚, 谓伪 蟿慰谓 魏伪蟿伪位维尾慰蠀渭蔚 魏伪喂 谓伪 渭畏谓 蔚蟺伪谓伪位维尾慰蠀渭蔚 蟿畏 蠁维蟻蟽伪 蟿畏蟼 螜蟽蟿慰蟻委伪蟼.
May 26, 2021
螠喂伪 慰喂魏慰纬苇谓蔚喂伪, 蟿蟻蔚喂蟼 纬蔚谓喂苇蟼, 渭喂伪 渭苇蟻伪 伪蠁畏纬萎蟽蔚蠅谓, 蟿蟻蔚喂蟼 蟺慰蟻蔚委蔚蟼 味蠅萎蟼.
螔蟻喂蟽魏蠈渭伪蟽蟿蔚 蟽蔚 渭喂伪 蟺蠈位畏 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼 蟽蟿喂蟼 6 危蔚蟺蟿蔚渭尾蟻委慰蠀 1958, 畏渭苇蟻伪 纬蔚谓蔚胃位委蠅谓 蟿慰蠀 慰纬未慰谓蟿维蠂蟻慰谓慰蠀 蟺伪蟿蟻喂维蟻蠂畏 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 桅伪委渭蔚位. 韦畏 渭苇蟻伪 伪蠀蟿萎 未喂伪未蟻伪渭伪蟿委味蔚蟿伪喂 畏 蔚尉喂蟽蟿蠈蟻畏蟽畏 蟿畏蟼 蟺慰蟻蔚委伪蟼 伪蠀蟿萎蟼 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 魏伪蟿维 蟿慰 蟺蟻蠋蟿慰 渭喂蟽蠈 蟿慰蠀 蔚喂魏慰蟽蟿慰蠉 伪喂蠋谓伪.
螠苇蟽伪 伪蟺蠈 蟿喂蟼 13 蔚谓蠈蟿畏蟿蔚蟼 蟿慰蠀, 蟿伪 蟺蟻蠈蟽蠅蟺伪 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼, 未喂伪未慰蠂喂魏维, 魏伪蟿伪胃苇蟿慰蠀谓 蟿喂蟼 渭谓萎渭蔚蟼 蟿慰蠀蟼.
螝慰喂谓蠈 蟽畏渭蔚委慰 伪谓伪蠁慰蟻维蟼 蟿慰 伪尾尾伪蔚委慰 蟿慰蠀 螒纬委慰蠀 螒谓蟿蠅谓委慰蠀, 蟿慰 慰蟺慰委慰 萎蟿伪谓 蟿慰 蟺蟻蠋蟿慰 苇蟻纬慰 蟺慰蠀 伪谓苇位伪尾蔚 慰 伪蟻蠂喂蟿苇魏蟿慰谓伪蟼 蟺伪蟿蟻喂维蟻蠂畏蟼 桅伪委渭蔚位 蟿慰 1908. 螒蠀蟿蠈 魏伪胃蠈蟻喂蟽蔚 蟿畏谓 蔚蟺伪纬纬蔚位渭伪蟿喂魏萎 蟿慰蠀 蟽蟿伪未喂慰未蟻慰渭委伪 魏伪喂 蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼.
螣 蠀喂蠈蟼 "螖蟻. 巍蠈渭蟺蔚蟻蟿 桅伪委渭蔚位,听 纬蟻伪蠁蔚委慰 危蟿伪蟿喂魏蠋谓 渭蔚位蔚蟿蠋谓 ", 蔚委谓伪喂 蔚喂未喂魏蠈蟼 蟽蟿喂蟼 魏伪蟿蔚未伪蠁委蟽蔚喂蟼 魏伪喂 伪谓伪蟿喂谓维尉蔚喂蟼 魏蟿喂蟽渭维蟿蠅谓. 螚 味蠅萎 蟿慰蠀 伪蟺蠈位蠀蟿伪 慰蟻纬伪谓蠅渭苇谓畏 渭蔚 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蟺蟻蠈纬蟻伪渭渭伪 魏伪喂 喂蔚蟻慰蟿蔚位蔚蟽蟿委蔚蟼. 螠喂伪 蔚尉 伪蠀蟿蠋谓,听 畏 蔚蟺委蟽魏蔚蠄畏 蟿慰蠀 蟽蟿慰 尉蔚谓慰未慰蠂蔚委慰 螤蟻委纬魏喂蠄 围维喂谓蟻喂蠂 蠈蟺慰蠀 蟺伪委味蔚喂 渭蟺喂位喂维蟻未慰 魏伪胃畏渭蔚蟻喂谓维 伪蟺蠈 蟿喂蟼 蔚谓谓喂维渭喂蟽喂 苇蠅蟼 蟿喂蟼 苇谓蟿蔚魏伪. 螝维胃蔚 蟺蟻蠅委 纬喂伪 渭喂维渭喂蟽畏 蠋蟻伪 苇蟻蠂蔚蟿伪喂 伪谓蟿喂渭苇蟿蠅蟺慰蟼 渭蔚 蟿喂蟼 渭谓萎渭蔚蟼 蟿蠅谓 味慰蠁蔚蟻蠋谓 蠂蟻蠈谓蠅谓.
螣 蔚纬纬慰谓蠈蟼 螕喂蠈味蔚蠁, 伪魏慰位慰蠀胃蔚委 蟿伪 尾萎渭伪蟿伪 蟿慰蠀 蟺伪蟺蟺慰蠉,听 纬委谓蔚蟿伪喂 伪蟻蠂喂蟿苇魏蟿慰谓伪蟼 魏伪喂 伪谓伪位伪渭尾维谓蔚喂 蟿畏谓 伪谓慰喂魏慰未蠈渭畏蟽畏 蟿慰蠀 伪尾尾伪蔚委慰蠀 渭蔚蟿维 蟿畏谓 魏伪蟿伪蟽蟿蟻慰蠁萎 蟿慰蠀 蟿慰 1945. 螘魏蔚委 蟽蟿伪 蔚蟻蔚委蟺喂伪 蟿慰蠀 伪尾尾伪蔚委慰蠀 伪谓伪魏伪位蠉蟺蟿蔚喂听 蟿畏谓 蟿伪蠀蟿蠈蟿畏蟿伪 蟿慰蠀 蠀蟺蔚蠉胃蠀谓慰蠀 纬喂伪 蟿畏谓 伪谓伪蟿委谓伪尉萎 蟿慰蠀.
螚 渭畏蟿苇蟻伪-纬喂伪纬喂维 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 苇纬魏位蔚喂蟽蟿畏 蟽蔚 蠄蠀蠂喂伪蟿蟻喂魏萎 魏位喂谓喂魏萎, 苇蠂慰谓蟿伪蟼 位蠀纬委蟽蔚喂 伪蟺蠈 蟿喂蟼 伪蟺蠋位蔚喂蔚蟼, 未喂伪蟿畏蟻蠋谓蟿伪蟼 魏伪胃伪蟻苇蟼 渭谓萎渭蔚蟼 蟺蠈谓慰蠀, 谓蟿蟻慰蟺萎蟼, 蔚谓慰蠂萎蟼, 伪蟺慰味畏蟿维 蟿畏谓 蟿喂渭蠅蟻委伪 蟿慰蠀 "尾慰蠉尾伪位慰蠀", 魏伪蟿蔚蠀胃蠀谓蠈渭蔚谓畏 伪蟺蠈 苇谓伪 伪蟽委纬伪蟽蟿慰 伪委蟽胃畏渭伪 伪蟺蠈未慰蟽畏蟼 未喂魏伪喂慰蟽蠉谓畏蟼.
韦蟻蔚喂蟼 蠁维蟽蔚喂蟼 蟿畏蟼 蟺慰位喂蟿喂魏慰魏慰喂谓蠅谓喂魏萎蟼听 味蠅萎蟼 蟽蟿畏 螕蔚蟻渭伪谓委伪 蟺蔚蟻喂纬蟻维蠁慰谓蟿伪喂 渭苇蟽伪 伪蟺蠈 蟿畏谓 蟺慰蟻蔚委伪 伪蠀蟿蠋谓 蟿蠅谓 蟿蟻喂蠋谓 纬蔚谓蔚蠋谓.
螖蠉慰 蟺伪纬魏蠈蟽渭喂慰喂 蟺蠈位蔚渭慰喂 魏伪喂 畏 渭蔚蟿伪蟺慰位蔚渭喂魏萎 蟺蔚蟻委慰未慰蟼.
螠喂伪 螕蔚蟻渭伪谓委伪 蟻畏渭伪纬渭苇谓畏 伪蟺蠈 蟿慰谓 螒'螤螤 蟺蟻慰蟽蟺伪胃蔚委 谓伪 伪谓伪蟽蟿蠀位蠅胃蔚委. 螒魏慰位慰蠀胃慰蠉谓 慰 谓伪味喂蟽渭蠈蟼 蟽蟿畏谓 蔚尉慰蠀蟽委伪 魏伪喂 慰 魏伪蟿伪蟽蟿蟻慰蠁喂魏蠈蟼 螔'螤螤 蟺慰蠀 胃伪 伪蠁萎蟽蔚喂 蟿畏 蠂蠋蟻伪 蟺位畏纬蠅渭苇谓畏,听 魏伪蟿蔚蟽蟿蟻伪渭渭苇谓畏 慰喂魏慰谓慰渭喂魏维 魏伪喂 畏胃喂魏维.
螚 蔚蟺蠈渭蔚谓畏 纬蔚谓喂维 蟺慰蠀 蟽蟿苇魏蔚蟿伪喂 蟽蟿伪 蔚蟻蔚委蟺喂伪, 伪谓伪渭蔚蟿蟻维蟿伪喂 渭蔚 蟿慰 蟺伪蟻蔚位胃蠈谓 魏伪喂 蟺伪位蔚蠉蔚喂 谓伪 慰谓蔚喂蟻蔚蠀蟿蔚委 魏伪喂 谓伪 蠂蟿委蟽蔚喂 蟿慰 渭苇位位慰谓.
螔伪蟽喂魏维 蟽蟿慰喂蠂蔚委伪 蟺慰蠀 胃委纬蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚委谓伪喂 慰喂 蔚蠀胃蠉谓蔚蟼, 慰喂 蟺位畏纬苇蟼, 慰喂 渭谓萎渭蔚蟼, 畏 位萎胃畏.
螆谓伪蟼 位伪蠈蟼 蟺慰蠀 蟿慰谓 尾伪蟻伪委谓慰蠀谓 蔚纬魏位萎渭伪蟿伪 魏伪蟿维 蟿畏蟼 伪谓胃蟻蠅蟺蠈蟿畏蟿伪蟼, 渭喂伪 蟺蟻慰蟽蟺维胃蔚喂伪 蔚蟺慰蠉位蠅蟽畏蟼 魏伪喂 位萎胃畏蟼 蠋蟽蟿蔚 谓伪 蠀蟺维蟻尉慰蠀谓. 螌蟽伪 苇味畏蟽蔚 慰 螕蔚蟻渭伪谓蠈蟼 蟺慰位委蟿畏蟼, 伪蠀蟿蠈蟼 蟺慰蠀 魏位萎胃畏魏蔚 谓伪 蔚蟺喂位苇尉蔚喂 魏维蟿蠅 伪蟺蠈 未蠉蟽魏慰位蔚蟼 蟽蠀谓胃萎魏蔚蟼, 谓伪 蟺伪蟻伪蟽蠀蟻胃蔚委, 谓伪 渭蔚蟿伪蟿蟻伪蟺蔚委 蟽蔚 渭畏 慰谓,谓伪 胃苇蟽蔚喂 蔚伪蠀蟿蠈谓 蠀蟺蠈 蟿慰谓 苇位蔚纬蠂慰 蟿慰蠀 螕' 巍维喂蠂.
螣喂 蔚谓慰蠂苇蟼 蠈蟽蠅谓 苇渭蔚喂谓伪谓 伪未蟻伪谓蔚委蟼, 蟽蠀谓伪喂谓蠋谓蟿伪蟼 蟽喂蠅蟺畏位维.
韦慰 未蠀蟽尾维蟽蟿伪蠂蟿慰 蠁慰蟻蟿委慰 蟺慰蠀 蔚蟺蠅渭委蟽蟿畏魏伪谓 蠈蟽慰喂 伪谓蟿喂蟽蟿维胃畏魏伪谓, 蠈蟽慰喂 伪蟻谓萎胃畏魏伪谓 谓伪 蟽蠀渭渭蔚蟿苇蠂慰蠀谓 蟽蟿慰 "蠈蟻伪渭伪" 蟿慰蠀 畏纬苇蟿畏.
螣喂 维谓胃蟻蠅蟺慰喂 蟺慰蠀 伪蟽蟺维蟽蟿畏魏伪谓 蟿慰谓 谓伪味喂蟽渭蠈, 苇位伪尾伪谓 蟿畏 "渭蔚蟿维位畏蠄畏 蟿慰蠀 尾慰蠉尾伪位慰蠀", 魏伪喂 伪蠀蟿慰委 蟺慰蠀 伪谓蟿喂蟽蟿维胃畏魏伪谓, "慰喂 伪渭谓慰委" , 蠈蟺蠅蟼 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏维 蟿慰蠀蟼 慰谓慰渭维味蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼.
螣喂 位苇尉蔚喂蟼 蔚委谓伪喂 渭谓萎渭蔚蟼 魏伪喂 慰 螠蟺蔚位听 蟽魏慰蟺委渭蠅蟼 未蔚谓 伪谓伪蠁苇蟻蔚喂 蟿慰谓 谓伪味喂蟽渭蠈 魏伪喂 蟿慰谓 围委蟿位蔚蟻 蔚蟺喂未喂蠋魏慰谓蟿伪蟼 蟿畏 位萎胃畏.
螔蟻喂蟽魏蠈渭伪蟽蟿蔚 蟽蔚 渭喂伪 蟺蠈位畏 蟿畏蟼 螕蔚蟻渭伪谓委伪蟼 蟽蟿喂蟼 6 危蔚蟺蟿蔚渭尾蟻委慰蠀 1958, 畏渭苇蟻伪 纬蔚谓蔚胃位委蠅谓 蟿慰蠀 慰纬未慰谓蟿维蠂蟻慰谓慰蠀 蟺伪蟿蟻喂维蟻蠂畏 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 桅伪委渭蔚位. 韦畏 渭苇蟻伪 伪蠀蟿萎 未喂伪未蟻伪渭伪蟿委味蔚蟿伪喂 畏 蔚尉喂蟽蟿蠈蟻畏蟽畏 蟿畏蟼 蟺慰蟻蔚委伪蟼 伪蠀蟿萎蟼 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 魏伪蟿维 蟿慰 蟺蟻蠋蟿慰 渭喂蟽蠈 蟿慰蠀 蔚喂魏慰蟽蟿慰蠉 伪喂蠋谓伪.
螠苇蟽伪 伪蟺蠈 蟿喂蟼 13 蔚谓蠈蟿畏蟿蔚蟼 蟿慰蠀, 蟿伪 蟺蟻蠈蟽蠅蟺伪 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼, 未喂伪未慰蠂喂魏维, 魏伪蟿伪胃苇蟿慰蠀谓 蟿喂蟼 渭谓萎渭蔚蟼 蟿慰蠀蟼.
螝慰喂谓蠈 蟽畏渭蔚委慰 伪谓伪蠁慰蟻维蟼 蟿慰 伪尾尾伪蔚委慰 蟿慰蠀 螒纬委慰蠀 螒谓蟿蠅谓委慰蠀, 蟿慰 慰蟺慰委慰 萎蟿伪谓 蟿慰 蟺蟻蠋蟿慰 苇蟻纬慰 蟺慰蠀 伪谓苇位伪尾蔚 慰 伪蟻蠂喂蟿苇魏蟿慰谓伪蟼 蟺伪蟿蟻喂维蟻蠂畏蟼 桅伪委渭蔚位 蟿慰 1908. 螒蠀蟿蠈 魏伪胃蠈蟻喂蟽蔚 蟿畏谓 蔚蟺伪纬纬蔚位渭伪蟿喂魏萎 蟿慰蠀 蟽蟿伪未喂慰未蟻慰渭委伪 魏伪喂 蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼.
螣 蠀喂蠈蟼 "螖蟻. 巍蠈渭蟺蔚蟻蟿 桅伪委渭蔚位,听 纬蟻伪蠁蔚委慰 危蟿伪蟿喂魏蠋谓 渭蔚位蔚蟿蠋谓 ", 蔚委谓伪喂 蔚喂未喂魏蠈蟼 蟽蟿喂蟼 魏伪蟿蔚未伪蠁委蟽蔚喂蟼 魏伪喂 伪谓伪蟿喂谓维尉蔚喂蟼 魏蟿喂蟽渭维蟿蠅谓. 螚 味蠅萎 蟿慰蠀 伪蟺蠈位蠀蟿伪 慰蟻纬伪谓蠅渭苇谓畏 渭蔚 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蟺蟻蠈纬蟻伪渭渭伪 魏伪喂 喂蔚蟻慰蟿蔚位蔚蟽蟿委蔚蟼. 螠喂伪 蔚尉 伪蠀蟿蠋谓,听 畏 蔚蟺委蟽魏蔚蠄畏 蟿慰蠀 蟽蟿慰 尉蔚谓慰未慰蠂蔚委慰 螤蟻委纬魏喂蠄 围维喂谓蟻喂蠂 蠈蟺慰蠀 蟺伪委味蔚喂 渭蟺喂位喂维蟻未慰 魏伪胃畏渭蔚蟻喂谓维 伪蟺蠈 蟿喂蟼 蔚谓谓喂维渭喂蟽喂 苇蠅蟼 蟿喂蟼 苇谓蟿蔚魏伪. 螝维胃蔚 蟺蟻蠅委 纬喂伪 渭喂维渭喂蟽畏 蠋蟻伪 苇蟻蠂蔚蟿伪喂 伪谓蟿喂渭苇蟿蠅蟺慰蟼 渭蔚 蟿喂蟼 渭谓萎渭蔚蟼 蟿蠅谓 味慰蠁蔚蟻蠋谓 蠂蟻蠈谓蠅谓.
螣 蔚纬纬慰谓蠈蟼 螕喂蠈味蔚蠁, 伪魏慰位慰蠀胃蔚委 蟿伪 尾萎渭伪蟿伪 蟿慰蠀 蟺伪蟺蟺慰蠉,听 纬委谓蔚蟿伪喂 伪蟻蠂喂蟿苇魏蟿慰谓伪蟼 魏伪喂 伪谓伪位伪渭尾维谓蔚喂 蟿畏谓 伪谓慰喂魏慰未蠈渭畏蟽畏 蟿慰蠀 伪尾尾伪蔚委慰蠀 渭蔚蟿维 蟿畏谓 魏伪蟿伪蟽蟿蟻慰蠁萎 蟿慰蠀 蟿慰 1945. 螘魏蔚委 蟽蟿伪 蔚蟻蔚委蟺喂伪 蟿慰蠀 伪尾尾伪蔚委慰蠀 伪谓伪魏伪位蠉蟺蟿蔚喂听 蟿畏谓 蟿伪蠀蟿蠈蟿畏蟿伪 蟿慰蠀 蠀蟺蔚蠉胃蠀谓慰蠀 纬喂伪 蟿畏谓 伪谓伪蟿委谓伪尉萎 蟿慰蠀.
螚 渭畏蟿苇蟻伪-纬喂伪纬喂维 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 苇纬魏位蔚喂蟽蟿畏 蟽蔚 蠄蠀蠂喂伪蟿蟻喂魏萎 魏位喂谓喂魏萎, 苇蠂慰谓蟿伪蟼 位蠀纬委蟽蔚喂 伪蟺蠈 蟿喂蟼 伪蟺蠋位蔚喂蔚蟼, 未喂伪蟿畏蟻蠋谓蟿伪蟼 魏伪胃伪蟻苇蟼 渭谓萎渭蔚蟼 蟺蠈谓慰蠀, 谓蟿蟻慰蟺萎蟼, 蔚谓慰蠂萎蟼, 伪蟺慰味畏蟿维 蟿畏谓 蟿喂渭蠅蟻委伪 蟿慰蠀 "尾慰蠉尾伪位慰蠀", 魏伪蟿蔚蠀胃蠀谓蠈渭蔚谓畏 伪蟺蠈 苇谓伪 伪蟽委纬伪蟽蟿慰 伪委蟽胃畏渭伪 伪蟺蠈未慰蟽畏蟼 未喂魏伪喂慰蟽蠉谓畏蟼.
韦蟻蔚喂蟼 蠁维蟽蔚喂蟼 蟿畏蟼 蟺慰位喂蟿喂魏慰魏慰喂谓蠅谓喂魏萎蟼听 味蠅萎蟼 蟽蟿畏 螕蔚蟻渭伪谓委伪 蟺蔚蟻喂纬蟻维蠁慰谓蟿伪喂 渭苇蟽伪 伪蟺蠈 蟿畏谓 蟺慰蟻蔚委伪 伪蠀蟿蠋谓 蟿蠅谓 蟿蟻喂蠋谓 纬蔚谓蔚蠋谓.
螖蠉慰 蟺伪纬魏蠈蟽渭喂慰喂 蟺蠈位蔚渭慰喂 魏伪喂 畏 渭蔚蟿伪蟺慰位蔚渭喂魏萎 蟺蔚蟻委慰未慰蟼.
螠喂伪 螕蔚蟻渭伪谓委伪 蟻畏渭伪纬渭苇谓畏 伪蟺蠈 蟿慰谓 螒'螤螤 蟺蟻慰蟽蟺伪胃蔚委 谓伪 伪谓伪蟽蟿蠀位蠅胃蔚委. 螒魏慰位慰蠀胃慰蠉谓 慰 谓伪味喂蟽渭蠈蟼 蟽蟿畏谓 蔚尉慰蠀蟽委伪 魏伪喂 慰 魏伪蟿伪蟽蟿蟻慰蠁喂魏蠈蟼 螔'螤螤 蟺慰蠀 胃伪 伪蠁萎蟽蔚喂 蟿畏 蠂蠋蟻伪 蟺位畏纬蠅渭苇谓畏,听 魏伪蟿蔚蟽蟿蟻伪渭渭苇谓畏 慰喂魏慰谓慰渭喂魏维 魏伪喂 畏胃喂魏维.
螚 蔚蟺蠈渭蔚谓畏 纬蔚谓喂维 蟺慰蠀 蟽蟿苇魏蔚蟿伪喂 蟽蟿伪 蔚蟻蔚委蟺喂伪, 伪谓伪渭蔚蟿蟻维蟿伪喂 渭蔚 蟿慰 蟺伪蟻蔚位胃蠈谓 魏伪喂 蟺伪位蔚蠉蔚喂 谓伪 慰谓蔚喂蟻蔚蠀蟿蔚委 魏伪喂 谓伪 蠂蟿委蟽蔚喂 蟿慰 渭苇位位慰谓.
螔伪蟽喂魏维 蟽蟿慰喂蠂蔚委伪 蟺慰蠀 胃委纬蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚委谓伪喂 慰喂 蔚蠀胃蠉谓蔚蟼, 慰喂 蟺位畏纬苇蟼, 慰喂 渭谓萎渭蔚蟼, 畏 位萎胃畏.
螆谓伪蟼 位伪蠈蟼 蟺慰蠀 蟿慰谓 尾伪蟻伪委谓慰蠀谓 蔚纬魏位萎渭伪蟿伪 魏伪蟿维 蟿畏蟼 伪谓胃蟻蠅蟺蠈蟿畏蟿伪蟼, 渭喂伪 蟺蟻慰蟽蟺维胃蔚喂伪 蔚蟺慰蠉位蠅蟽畏蟼 魏伪喂 位萎胃畏蟼 蠋蟽蟿蔚 谓伪 蠀蟺维蟻尉慰蠀谓. 螌蟽伪 苇味畏蟽蔚 慰 螕蔚蟻渭伪谓蠈蟼 蟺慰位委蟿畏蟼, 伪蠀蟿蠈蟼 蟺慰蠀 魏位萎胃畏魏蔚 谓伪 蔚蟺喂位苇尉蔚喂 魏维蟿蠅 伪蟺蠈 未蠉蟽魏慰位蔚蟼 蟽蠀谓胃萎魏蔚蟼, 谓伪 蟺伪蟻伪蟽蠀蟻胃蔚委, 谓伪 渭蔚蟿伪蟿蟻伪蟺蔚委 蟽蔚 渭畏 慰谓,谓伪 胃苇蟽蔚喂 蔚伪蠀蟿蠈谓 蠀蟺蠈 蟿慰谓 苇位蔚纬蠂慰 蟿慰蠀 螕' 巍维喂蠂.
螣喂 蔚谓慰蠂苇蟼 蠈蟽蠅谓 苇渭蔚喂谓伪谓 伪未蟻伪谓蔚委蟼, 蟽蠀谓伪喂谓蠋谓蟿伪蟼 蟽喂蠅蟺畏位维.
韦慰 未蠀蟽尾维蟽蟿伪蠂蟿慰 蠁慰蟻蟿委慰 蟺慰蠀 蔚蟺蠅渭委蟽蟿畏魏伪谓 蠈蟽慰喂 伪谓蟿喂蟽蟿维胃畏魏伪谓, 蠈蟽慰喂 伪蟻谓萎胃畏魏伪谓 谓伪 蟽蠀渭渭蔚蟿苇蠂慰蠀谓 蟽蟿慰 "蠈蟻伪渭伪" 蟿慰蠀 畏纬苇蟿畏.
螣喂 维谓胃蟻蠅蟺慰喂 蟺慰蠀 伪蟽蟺维蟽蟿畏魏伪谓 蟿慰谓 谓伪味喂蟽渭蠈, 苇位伪尾伪谓 蟿畏 "渭蔚蟿维位畏蠄畏 蟿慰蠀 尾慰蠉尾伪位慰蠀", 魏伪喂 伪蠀蟿慰委 蟺慰蠀 伪谓蟿喂蟽蟿维胃畏魏伪谓, "慰喂 伪渭谓慰委" , 蠈蟺蠅蟼 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏维 蟿慰蠀蟼 慰谓慰渭维味蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼.
螣喂 位苇尉蔚喂蟼 蔚委谓伪喂 渭谓萎渭蔚蟼 魏伪喂 慰 螠蟺蔚位听 蟽魏慰蟺委渭蠅蟼 未蔚谓 伪谓伪蠁苇蟻蔚喂 蟿慰谓 谓伪味喂蟽渭蠈 魏伪喂 蟿慰谓 围委蟿位蔚蟻 蔚蟺喂未喂蠋魏慰谓蟿伪蟼 蟿畏 位萎胃畏.
October 16, 2018
4,5. 螝慰蟻蠀蠁伪委慰 苇蟻纬慰.
December 29, 2021
芦螠蟺喂位喂维蟻未慰 蟽蟿喂蟼 蔚谓谓喂维渭喂蟽喂禄
螚 蠂蟻慰谓喂维 魏位蔚委谓蔚喂 渭蔚 螠蟺蔚位, 苇谓伪谓 伪蟺伪喂蟿畏蟿喂魏蠈 蟽蠀纬纬蟻伪蠁苇伪 蟺慰蠀 蟺伪委味蔚喂 渭蔚 蟿畏谓 蠀蟺慰渭慰谓萎 蟽慰蠀 魏 蟿慰 渭蠀伪位蠈 蟽慰蠀.
螚 喂蟽蟿慰蟻委伪 魏喂谓蔚委蟿伪喂 蟽蟿慰 蟺伪蟻蠈谓, 蟺伪蟻蔚位胃蠈谓 魏伪喂 渭苇位位慰谓.
螚 位萎胃畏 魏伪蟿伪蟿蟻蠉蠂蔚喂 蟿慰蠀蟼 萎蟻蠅蔚蟼. 螁位位慰喂 味慰蠀谓 渭苇蟽伪 伪蟺蠈 蟿喂蟼 伪谓伪渭谓萎蟽蔚喂蟼, 维位位慰喂 味慰蠀谓 蟺伪胃畏蟿喂魏维 蟽蟿慰 蟺伪蟻蠈谓. 螤蟻蠈蟽蠅蟺伪 蟺慰蠀 蟺伪委味慰蠀谓 渭蔚蟿伪尾伪蟿喂魏蠈 蟻蠈位慰 伪蟺蠈 蟿慰 蟺伪蟻蔚位胃蠈谓 蟽蟿慰 蟺伪蟻蠈谓.
螘蟺委蟽畏蟼, 魏维蟺慰喂伪 未喂伪未蟻伪渭伪蟿委味慰蠀谓 蟿慰 蟻蠈位慰 蟿慰蠀 蔚魏未喂魏畏蟿萎. 螘谓伪谓蟿喂蠋谓慰谓蟿伪喂 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 伪未喂魏委伪.
螤伪喂未喂维 蟽蠀谓蟿维蟽蟽慰谓蟿伪喂 蟽蟿慰 谓伪味喂蟽渭蠈, 纬委谓慰谓蟿伪喂 芦尾慰蠉尾伪位慰喂禄 蟽蟺苇蟻谓慰谓蟿伪蟼 蟿畏 蠁蟻委魏畏.
螆谓伪 伪谓维纬谓蠅蟽渭伪 蟺慰蠀 蠂蟻萎味蔚喂 蟺蟻慰蟽慰蠂萎蟼. 违蟺维蟻蠂慰蠀谓 蟽蟿喂纬渭苇蟼 蟺慰蠀 蠂维谓蔚蟽伪喂. 螘委谓伪喂 蠈渭蠅蟼, 蟿蠈蟽慰 渭蔚胃蠀蟽蟿喂魏萎 畏 纬蟻伪蠁萎 蟿慰蠀 蟺慰蠀 伪未蠀谓伪蟿蔚委蟼 谓伪 蟿慰 伪蠁萎蟽蔚喂蟼.
螚 蠂蟻慰谓喂维 魏位蔚委谓蔚喂 渭蔚 螠蟺蔚位, 苇谓伪谓 伪蟺伪喂蟿畏蟿喂魏蠈 蟽蠀纬纬蟻伪蠁苇伪 蟺慰蠀 蟺伪委味蔚喂 渭蔚 蟿畏谓 蠀蟺慰渭慰谓萎 蟽慰蠀 魏 蟿慰 渭蠀伪位蠈 蟽慰蠀.
螚 喂蟽蟿慰蟻委伪 魏喂谓蔚委蟿伪喂 蟽蟿慰 蟺伪蟻蠈谓, 蟺伪蟻蔚位胃蠈谓 魏伪喂 渭苇位位慰谓.
螚 位萎胃畏 魏伪蟿伪蟿蟻蠉蠂蔚喂 蟿慰蠀蟼 萎蟻蠅蔚蟼. 螁位位慰喂 味慰蠀谓 渭苇蟽伪 伪蟺蠈 蟿喂蟼 伪谓伪渭谓萎蟽蔚喂蟼, 维位位慰喂 味慰蠀谓 蟺伪胃畏蟿喂魏维 蟽蟿慰 蟺伪蟻蠈谓. 螤蟻蠈蟽蠅蟺伪 蟺慰蠀 蟺伪委味慰蠀谓 渭蔚蟿伪尾伪蟿喂魏蠈 蟻蠈位慰 伪蟺蠈 蟿慰 蟺伪蟻蔚位胃蠈谓 蟽蟿慰 蟺伪蟻蠈谓.
螘蟺委蟽畏蟼, 魏维蟺慰喂伪 未喂伪未蟻伪渭伪蟿委味慰蠀谓 蟿慰 蟻蠈位慰 蟿慰蠀 蔚魏未喂魏畏蟿萎. 螘谓伪谓蟿喂蠋谓慰谓蟿伪喂 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 伪未喂魏委伪.
螤伪喂未喂维 蟽蠀谓蟿维蟽蟽慰谓蟿伪喂 蟽蟿慰 谓伪味喂蟽渭蠈, 纬委谓慰谓蟿伪喂 芦尾慰蠉尾伪位慰喂禄 蟽蟺苇蟻谓慰谓蟿伪蟼 蟿畏 蠁蟻委魏畏.
螆谓伪 伪谓维纬谓蠅蟽渭伪 蟺慰蠀 蠂蟻萎味蔚喂 蟺蟻慰蟽慰蠂萎蟼. 违蟺维蟻蠂慰蠀谓 蟽蟿喂纬渭苇蟼 蟺慰蠀 蠂维谓蔚蟽伪喂. 螘委谓伪喂 蠈渭蠅蟼, 蟿蠈蟽慰 渭蔚胃蠀蟽蟿喂魏萎 畏 纬蟻伪蠁萎 蟿慰蠀 蟺慰蠀 伪未蠀谓伪蟿蔚委蟼 谓伪 蟿慰 伪蠁萎蟽蔚喂蟼.
June 23, 2022
Vermutlich lie脽 sich daraus ein sehr guter Film drehen, der in klare Bilder fasste, was B枚ll im Dienste einer mir nicht ersichtlichen 脛sthetik oder Aussageabsicht in ein formales Dickicht tunkte. Immer wieder werden sch枚ne und ganz genaue Szenen aufgel枚st in lauten Leitmotiven und assoziativen Satz-Blitzen, denen ich schwer folgen konnte.
Es geht 眉brigens um eine Familien in Zeiten der Nazis und zweier Kriege, um das "Sakrament der B眉ffel", wie es hier hei脽t. Ich mag mehr B眉ffel, weniger Sakrament.
Es geht 眉brigens um eine Familien in Zeiten der Nazis und zweier Kriege, um das "Sakrament der B眉ffel", wie es hier hei脽t. Ich mag mehr B眉ffel, weniger Sakrament.
March 10, 2024
亘賴 賳馗乇賲 賴丕蹖賳乇蹖卮 亘賱 亘丕 賳賵卮鬲賳 丕蹖賳 讴鬲丕亘 乇蹖爻讴 亘夭乇诏蹖 讴乇丿 讴賴 禺亘 亘賴 賳馗乇 賲賳鬲賯丿蹖賳 禺蹖賱蹖 禺賵亘 丿乇 丕賵賲丿賴 賵賱蹖 亘乇丕蹖 賲賳 讴賴 丕夭 亘賱 讴丕乇賴丕蹖蹖 丿蹖诏乇蹖 賴賲 禺賵賳丿賴 賵 丕鬲賮丕賯丕 芦讴鬲丕亘 毓賯丕蹖丿 蹖讴 丿賱賯讴禄貙 芦賳丕賳 爻丕賱鈥屬囏й� 噩賵丕賳蹖禄 賵 芦丌亘乇賵蹖 丕夭 丿爻鬲 乇賮鬲賴 讴丕鬲乇蹖賳丕 亘賱賵賲禄 乇賵 丿賵爻鬲 丿丕卮鬲賲貙 亘蹖卮 丕夭 丨丿 夭蹖丕丿賴鈥屭堐屰� 賵 丿乇賴賲 賵 亘乇賴賲 亘賵丿 (亘賴 賳馗乇賲 丕蹖賳 讴鬲丕亘 賳亘丕蹖丿 亘賴 毓賳賵丕賳 賲毓乇賮 賴丕蹖賳乇蹖卮 亘賱 卮賳丕禺鬲賴 亘卮賴).
丕诏乇 亘禺賵丕賲 胤賵乇蹖 亘賳賵蹖爻賲 讴賴 丿丕爻鬲丕賳 讴鬲丕亘 賱賵 賳乇賴 亘丕蹖丿 亘诏賲 讴賴 丿丕爻鬲丕賳 亘賴 蹖讴 丿賵乇賴 夭賲丕賳蹖 丨丿賵丿 鄱郯 爻丕賱賴 丿乇 鬲丕乇蹖禺 丌賱賲丕賳 賲乇亘賵胤 賲蹖卮賴 賵 乇賵丕蹖鬲 爻賴 賳爻賱 丕夭 蹖讴 禺丕賳賵丕丿賴 (倬丿乇亘夭乇诏貙 倬丿乇 賵 倬爻乇) 乇賵 卮丕賲賱 賲蹖卮賴. 丕氐賱 丿丕爻鬲丕賳 禺蹖賱蹖 禺賵亘 賴爻鬲 賵 丕蹖丿賴 賯卮賳诏蹖 倬卮鬲卮 賴爻鬲 賲禺氐賵氐丕 丕蹖賳讴賴 蹖讴蹖 丕夭 丕賮乇丕丿 賲乇亘賵胤 亘賴 賳爻賱蹖 賴爻鬲 讴賴 賲蹖禺賵丕丿 倬蹖卮乇賮鬲 賵 亘夭乇诏蹖 丌賱賲丕賳 乇賵 亘亘蹖賳賴 (亘爻丕夭賳 賵 亘爻丕夭賳 賵 亘爻丕夭賳)貙 賳爻賱蹖 讴賴 蹖賴 噩賵乇丕蹖蹖 亘丕毓孬 卮丿賳 賴蹖鬲賱乇 亘賴 賯丿乇鬲 亘乇爻賴貙 賳爻賱 亘毓丿蹖 丿乇 噩賳诏 賵 丌鬲卮鈥屫з佖辟堌槽� 丕蹖賳 乇賵蹖丕 爻賵禺鬲賳 (鬲乇噩蹖賴 賲蹖丿賳 丕蹖賳 乇賵蹖丕 乇賵 禺乇丕亘 讴賳賳 賵 亘讴賵亘賳 賵 賱賴 讴賳賳) 賵 賳爻賱 亘毓丿蹖 讴賴 丿賵亘丕乇賴 賲蹖禺賵丕賳 丕夭 禺丕讴爻鬲乇賴丕貙 讴卮賵乇 噩丿蹖丿蹖 乇賵 亘爻丕夭賳.
賲噩丿丿 賲蹖诏賲 禺賵丿 丿丕爻鬲丕賳 噩匕丕亘賴貙 毓賯亘 噩賱賵 乇賮鬲賳鈥屬囏й� 夭賲丕賳蹖 賴賲 鬲丕丨丿蹖 禺賵亘賴貙 賲卮讴賱 丕夭 噩丕蹖蹖 卮乇賵毓 賲蹖卮賴 讴賴 蹖禺賵乇丿賴 丿乇 賴賲賴 趩蹖夭 夭蹖丕丿賴鈥屫辟堐� 賵 丕睾乇丕賯 賲蹖卮賴貙 乇丕賵蹖鈥屬囏� 夭蹖丕丿 賴爻鬲賳 賵 禺蹖賱蹖 噩丕賴丕 丕夭 丿爻鬲 禺賵丕賳賳丿賴 禺丕乇噩 賲蹖卮賴 讴賴 丿乇 匕賴賳 乇賵丕蹖 丕爻鬲 蹖丕 氐丨亘鬲蹖 丕夭卮 賳賯賱 賲蹖卮賴貙 噩賲賱丕鬲 賵 倬丕乇丕诏乇丕賮鈥屬囏� 亘毓囟丕 胤賵賱丕賳蹖 賲蹖卮賳貙 乇賮鬲 賵 亘乇诏卮鬲鈥屬囏й� 夭賲丕賳蹖 禺蹖賱蹖 夭蹖丕丿 賲蹖卮賳貙 丕夭 爻賲亘賱鈥屬囏� 賵 賳卮丕賳賴鈥屬囏� 亘賴 氐賵乇鬲 丕睾乇丕賯 诏賵賳賴 丕爻鬲賮丕丿賴 賲蹖卮賴 (亘乇賴鈥屬囏ж� 诏乇诏鈥屬囏ж� 爻賮蹖丿貙 賯乇賲夭) 賵 亘丕 鬲賵噩賴 亘賴 卮禺氐蹖鬲 亘賱貙 丕夭 賲鬲賵賳 賲匕賴亘蹖 賴賲 乇賮乇賳爻 丌賵乇丿賴 賲蹖卮賴. 賯胤毓丕 賴賲賴 丕蹖賳賴丕 丕夭 乇賵蹖 毓賲丿 亘賵丿賴 賵 亘賱 賲蹖禺賵丕爻鬲賴 丕蹖賳 丨爻 毓丿賲 賯胤毓蹖鬲 賵 鬲賱丕賯蹖 禺蹖丕賱 賵 賵丕賯毓蹖鬲 賵 诏匕卮鬲賴 賵 丌蹖賳丿賴 賵 诏蹖噩蹖 賵 賲賳诏蹖 乇賵 亘賴 禺賵丕賳賳丿賴 丕賱賯丕 讴賳賴貙 賴賲夭賲丕賳 賴賲 賳賯丿蹖 亘賴 賲匕賴亘貙 賮乇賴賳诏 賵 卮乇丕蹖胤 丕賵賳 丿賵乇賴 丿丕卮鬲賴 亘丕卮賴貙 讴賴 丿乇 丕蹖賳 氐賵乇鬲 亘賴 賳馗乇 賲賳 賲賵賮賯 亘賵丿賴. 卮丕蹖丿 賲賳 鬲乇噩蹖丨 賲蹖丿丕丿賲 鬲毓丿丕丿蹖 丕夭 乇丕賵蹖鈥屬囏й� 賮乇毓蹖 讴賲鬲乇 賲蹖卮丿 亘丿賵賳 丕蹖賳讴賴 賴蹖趩 丌爻蹖亘蹖 亘賴 丿丕爻鬲丕賳 賵丕乇丿 亘卮賴.
丿乇 讴賱 蹖讴 亘丕乇 禺賵賳丿賳卮 乇賵 倬蹖卮賳賴丕丿 賲蹖讴賳賲 賵賱蹖 氐丿 氐賮丨賴 丕賵賱 賳亘丕蹖丿 丿賱爻乇丿鬲賵賳 讴賳賴貙 卮丕蹖丿 鬲丕夭賴 丕夭 丕賵丕爻胤 讴鬲丕亘 賴爻鬲 讴賴 噩賵賳 賲蹖诏蹖乇賴 賵 丿丕爻鬲丕賳鈥屬囏� 亘賴 賴賲 賳夭丿蹖讴 賲蹖卮賳 賵 卮禺氐蹖鬲鈥屬囏� 賲賱賲賵爻鈥屫� 賲蹖卮賳. 倬爻 丕诏乇 卮乇賵毓 讴乇丿蹖丿 氐亘乇 丿丕卮鬲賴 亘丕卮蹖丿貙 賯胤毓丕 卮乇丕蹖胤 亘賴鬲乇 賲蹖卮賴.
丿乇 賲賵乇丿 鬲乇噩賲賴 丌賯丕蹖 噩賴丕賳丿丕乇蹖 賴賲 亘賴 賳馗乇 賲賳 讴丕乇卮賵賳 卮丕賴讴丕乇 亘賵丿賴.
丕诏乇 亘禺賵丕賲 胤賵乇蹖 亘賳賵蹖爻賲 讴賴 丿丕爻鬲丕賳 讴鬲丕亘 賱賵 賳乇賴 亘丕蹖丿 亘诏賲 讴賴 丿丕爻鬲丕賳 亘賴 蹖讴 丿賵乇賴 夭賲丕賳蹖 丨丿賵丿 鄱郯 爻丕賱賴 丿乇 鬲丕乇蹖禺 丌賱賲丕賳 賲乇亘賵胤 賲蹖卮賴 賵 乇賵丕蹖鬲 爻賴 賳爻賱 丕夭 蹖讴 禺丕賳賵丕丿賴 (倬丿乇亘夭乇诏貙 倬丿乇 賵 倬爻乇) 乇賵 卮丕賲賱 賲蹖卮賴. 丕氐賱 丿丕爻鬲丕賳 禺蹖賱蹖 禺賵亘 賴爻鬲 賵 丕蹖丿賴 賯卮賳诏蹖 倬卮鬲卮 賴爻鬲 賲禺氐賵氐丕 丕蹖賳讴賴 蹖讴蹖 丕夭 丕賮乇丕丿 賲乇亘賵胤 亘賴 賳爻賱蹖 賴爻鬲 讴賴 賲蹖禺賵丕丿 倬蹖卮乇賮鬲 賵 亘夭乇诏蹖 丌賱賲丕賳 乇賵 亘亘蹖賳賴 (亘爻丕夭賳 賵 亘爻丕夭賳 賵 亘爻丕夭賳)貙 賳爻賱蹖 讴賴 蹖賴 噩賵乇丕蹖蹖 亘丕毓孬 卮丿賳 賴蹖鬲賱乇 亘賴 賯丿乇鬲 亘乇爻賴貙 賳爻賱 亘毓丿蹖 丿乇 噩賳诏 賵 丌鬲卮鈥屫з佖辟堌槽� 丕蹖賳 乇賵蹖丕 爻賵禺鬲賳 (鬲乇噩蹖賴 賲蹖丿賳 丕蹖賳 乇賵蹖丕 乇賵 禺乇丕亘 讴賳賳 賵 亘讴賵亘賳 賵 賱賴 讴賳賳) 賵 賳爻賱 亘毓丿蹖 讴賴 丿賵亘丕乇賴 賲蹖禺賵丕賳 丕夭 禺丕讴爻鬲乇賴丕貙 讴卮賵乇 噩丿蹖丿蹖 乇賵 亘爻丕夭賳.
賲噩丿丿 賲蹖诏賲 禺賵丿 丿丕爻鬲丕賳 噩匕丕亘賴貙 毓賯亘 噩賱賵 乇賮鬲賳鈥屬囏й� 夭賲丕賳蹖 賴賲 鬲丕丨丿蹖 禺賵亘賴貙 賲卮讴賱 丕夭 噩丕蹖蹖 卮乇賵毓 賲蹖卮賴 讴賴 蹖禺賵乇丿賴 丿乇 賴賲賴 趩蹖夭 夭蹖丕丿賴鈥屫辟堐� 賵 丕睾乇丕賯 賲蹖卮賴貙 乇丕賵蹖鈥屬囏� 夭蹖丕丿 賴爻鬲賳 賵 禺蹖賱蹖 噩丕賴丕 丕夭 丿爻鬲 禺賵丕賳賳丿賴 禺丕乇噩 賲蹖卮賴 讴賴 丿乇 匕賴賳 乇賵丕蹖 丕爻鬲 蹖丕 氐丨亘鬲蹖 丕夭卮 賳賯賱 賲蹖卮賴貙 噩賲賱丕鬲 賵 倬丕乇丕诏乇丕賮鈥屬囏� 亘毓囟丕 胤賵賱丕賳蹖 賲蹖卮賳貙 乇賮鬲 賵 亘乇诏卮鬲鈥屬囏й� 夭賲丕賳蹖 禺蹖賱蹖 夭蹖丕丿 賲蹖卮賳貙 丕夭 爻賲亘賱鈥屬囏� 賵 賳卮丕賳賴鈥屬囏� 亘賴 氐賵乇鬲 丕睾乇丕賯 诏賵賳賴 丕爻鬲賮丕丿賴 賲蹖卮賴 (亘乇賴鈥屬囏ж� 诏乇诏鈥屬囏ж� 爻賮蹖丿貙 賯乇賲夭) 賵 亘丕 鬲賵噩賴 亘賴 卮禺氐蹖鬲 亘賱貙 丕夭 賲鬲賵賳 賲匕賴亘蹖 賴賲 乇賮乇賳爻 丌賵乇丿賴 賲蹖卮賴. 賯胤毓丕 賴賲賴 丕蹖賳賴丕 丕夭 乇賵蹖 毓賲丿 亘賵丿賴 賵 亘賱 賲蹖禺賵丕爻鬲賴 丕蹖賳 丨爻 毓丿賲 賯胤毓蹖鬲 賵 鬲賱丕賯蹖 禺蹖丕賱 賵 賵丕賯毓蹖鬲 賵 诏匕卮鬲賴 賵 丌蹖賳丿賴 賵 诏蹖噩蹖 賵 賲賳诏蹖 乇賵 亘賴 禺賵丕賳賳丿賴 丕賱賯丕 讴賳賴貙 賴賲夭賲丕賳 賴賲 賳賯丿蹖 亘賴 賲匕賴亘貙 賮乇賴賳诏 賵 卮乇丕蹖胤 丕賵賳 丿賵乇賴 丿丕卮鬲賴 亘丕卮賴貙 讴賴 丿乇 丕蹖賳 氐賵乇鬲 亘賴 賳馗乇 賲賳 賲賵賮賯 亘賵丿賴. 卮丕蹖丿 賲賳 鬲乇噩蹖丨 賲蹖丿丕丿賲 鬲毓丿丕丿蹖 丕夭 乇丕賵蹖鈥屬囏й� 賮乇毓蹖 讴賲鬲乇 賲蹖卮丿 亘丿賵賳 丕蹖賳讴賴 賴蹖趩 丌爻蹖亘蹖 亘賴 丿丕爻鬲丕賳 賵丕乇丿 亘卮賴.
丿乇 讴賱 蹖讴 亘丕乇 禺賵賳丿賳卮 乇賵 倬蹖卮賳賴丕丿 賲蹖讴賳賲 賵賱蹖 氐丿 氐賮丨賴 丕賵賱 賳亘丕蹖丿 丿賱爻乇丿鬲賵賳 讴賳賴貙 卮丕蹖丿 鬲丕夭賴 丕夭 丕賵丕爻胤 讴鬲丕亘 賴爻鬲 讴賴 噩賵賳 賲蹖诏蹖乇賴 賵 丿丕爻鬲丕賳鈥屬囏� 亘賴 賴賲 賳夭丿蹖讴 賲蹖卮賳 賵 卮禺氐蹖鬲鈥屬囏� 賲賱賲賵爻鈥屫� 賲蹖卮賳. 倬爻 丕诏乇 卮乇賵毓 讴乇丿蹖丿 氐亘乇 丿丕卮鬲賴 亘丕卮蹖丿貙 賯胤毓丕 卮乇丕蹖胤 亘賴鬲乇 賲蹖卮賴.
丿乇 賲賵乇丿 鬲乇噩賲賴 丌賯丕蹖 噩賴丕賳丿丕乇蹖 賴賲 亘賴 賳馗乇 賲賳 讴丕乇卮賵賳 卮丕賴讴丕乇 亘賵丿賴.
September 28, 2015
A very hard book to rate (and at times read), but in the end I felt that Billiards at Half-Past Nine promised, or suggested, more than it could ever deliver. I have no idea whether Boll had admired or read Faulkner, but 鈥淏illiards,鈥� both structurally, with its constantly changing voices, and thematically (National Sin), certainly reminded me of Absalom, Abasalom. But Faulkner hit a home run with his novel (one the greatest in American Literature), and Boll, with his attempt to reconcile the past with the present, blinked. Nothing could better capture the difference than Faulkner鈥檚 ending image of a rotting mansion, and Boll鈥檚 abbey shaped like a cake. Boll鈥檚 attempt to signal Hope doesn鈥檛 seem yet earned. In fact, far from it. Don鈥檛 get me wrong, there are soaring passages in Boll鈥檚 novel that rival anything I鈥檝e read in literature. But he has set up some interesting and inhibiting filters, the primary one being German Catholicism, which operates culturally as well as religiously throughout the novel. Both are reflected in the multi-generation fortunes of the Faehmel family. Faith, death, suicide, Nazism, madness, and, well, architecture (Romanesque or Gothic?), it鈥檚 all there. That said, the Faemels are generally good people who have had to negotiate through the dark historical waters of Germany鈥檚 militaristic past. Boll throws his net wide, covering the pre-World War I period. Interestingly, the name Hitler (as far as I can recall) is never mentioned, and the Jews only once. Instead, it鈥檚 Hindenburg, who is constantly referred to as the Beast. I鈥檓 assuming Boll sees Hindenburg as the fatal, militaristic choice of many Germans. (Boll numbingly reminds us throughout the novel of those who took the Host of the Beast.) And Hindenburg, of course, opened the political path for Hitler. It鈥檚 implicit, but perhaps too much so, given the shadows Hitler 鈥� and the Holocaust still cast.
December 29, 2024
"Billiards at Half-Past Nine" by Heinrich B枚ll is a novel that unfurls its complex tapestry over a single autumn day in 1958, deftly weaving together the present with a series of flashbacks and recollections. This remarkable narrative structure offers readers a profound exploration of the struggle between good and evil, a theme that runs like a dark undercurrent through the lives of richly drawn characters.
What makes the book truly extraordinary is its rotating first-person perspective. Eleven different characters take turns as narrators, each providing a distinct voice and viewpoint that shifts the narrative focus with every chapter. This multiplicity of perspectives offers a kaleidoscopic view of the novel's central characters and their relationships鈥攂etween fathers and sons, husbands and wives, friends, and even ideological adversaries. Each narrative voice brings with it a unique emotional filter shaped by personal history and experiences, making the reader acutely aware of how the past continues to shape and haunt the present.
B枚ll's use of flashbacks is not merely a storytelling device but an essential means of revealing the intricacies of his character's inner lives. As they recount their past experiences and memories, we see how deeply these recollections are influenced by their emotions, casting long shadows over their present actions and decisions.
The novel's structure is akin to assembling a puzzle, with each piece鈥攁 memory, a conversation, a revelation鈥攁dding depth and complexity to the overall picture. This narrative technique demands the reader's full engagement, rewarding those who approach the text with patience and attention. It is not a book for casual reading; rather, it is a profoundly rewarding literary journey that immerses the reader in its world.
B枚ll masterfully explores the relentless forces of history and ideology that impact his characters, leaving many of them either crushed under their weight or deeply scarred by their experiences. These forces are portrayed not just as external pressures but as insidious elements that infiltrate personal relationships and individual psyches.
The narrative's elegant, arcane turns of phrase only serve to heighten the intensity of these themes, with B枚ll's beautiful, humane writing shining through every page. His prose is marked by a spirit of dignity and an acute awareness of the human condition, making the reader feel both the burdens and the fleeting moments of grace that his characters experience.
Reading "Billiards at Half-Past Nine" is a unique experience, akin to looking through a multifaceted prism. The interplay of perspectives enriches the narrative, providing a textured portrayal of a post-war society grappling with its collective guilt and seeking redemption.
This novel is a tour de force that showcases Heinrich B枚ll at the height of his literary powers. It is an immensely rewarding read, not only for its complex narrative structure and rich characterisation but also for its profound philosophical insights. For those willing to give it the attention it demands, "Billiards at Half-Past Nine" offers a deeply satisfying experience, blending a compelling narrative with an exploration of humanity's most enduring conflicts.
This novel is in the running for my favourite novel.
猸� 猸� 猸� 猸� 猸�
What makes the book truly extraordinary is its rotating first-person perspective. Eleven different characters take turns as narrators, each providing a distinct voice and viewpoint that shifts the narrative focus with every chapter. This multiplicity of perspectives offers a kaleidoscopic view of the novel's central characters and their relationships鈥攂etween fathers and sons, husbands and wives, friends, and even ideological adversaries. Each narrative voice brings with it a unique emotional filter shaped by personal history and experiences, making the reader acutely aware of how the past continues to shape and haunt the present.
B枚ll's use of flashbacks is not merely a storytelling device but an essential means of revealing the intricacies of his character's inner lives. As they recount their past experiences and memories, we see how deeply these recollections are influenced by their emotions, casting long shadows over their present actions and decisions.
The novel's structure is akin to assembling a puzzle, with each piece鈥攁 memory, a conversation, a revelation鈥攁dding depth and complexity to the overall picture. This narrative technique demands the reader's full engagement, rewarding those who approach the text with patience and attention. It is not a book for casual reading; rather, it is a profoundly rewarding literary journey that immerses the reader in its world.
B枚ll masterfully explores the relentless forces of history and ideology that impact his characters, leaving many of them either crushed under their weight or deeply scarred by their experiences. These forces are portrayed not just as external pressures but as insidious elements that infiltrate personal relationships and individual psyches.
The narrative's elegant, arcane turns of phrase only serve to heighten the intensity of these themes, with B枚ll's beautiful, humane writing shining through every page. His prose is marked by a spirit of dignity and an acute awareness of the human condition, making the reader feel both the burdens and the fleeting moments of grace that his characters experience.
Reading "Billiards at Half-Past Nine" is a unique experience, akin to looking through a multifaceted prism. The interplay of perspectives enriches the narrative, providing a textured portrayal of a post-war society grappling with its collective guilt and seeking redemption.
This novel is a tour de force that showcases Heinrich B枚ll at the height of his literary powers. It is an immensely rewarding read, not only for its complex narrative structure and rich characterisation but also for its profound philosophical insights. For those willing to give it the attention it demands, "Billiards at Half-Past Nine" offers a deeply satisfying experience, blending a compelling narrative with an exploration of humanity's most enduring conflicts.
This novel is in the running for my favourite novel.
猸� 猸� 猸� 猸� 猸�
June 12, 2020
螖蠉蟽魏慰位慰 尾喂尾位委慰 (委蟽蠅蟼 谓伪 渭畏 尾慰萎胃畏蟽蔚 魏伪喂 畏 渭蔚蟿维蠁蟻伪蟽畏), 伪位位维 蟽蟺慰蠀未伪委慰. 螣 螠蟺蔚位 渭苇蟽伪 伪蟺蠈 渭喂伪 魏伪蟿伪魏蔚蟻渭伪蟿喂蟽渭苇谓畏 伪蠁萎纬畏蟽畏, 渭蔚 蟺慰位位苇蟼 蠁蠅谓苇蟼, 蟺慰位位苇蟼 伪谓伪未蟻慰渭苇蟼 魏伪喂 苇谓伪谓 蟽魏慰蟿蔚喂谓蠈 蔚位蔚蠉胃蔚蟻慰 蟺位维纬喂慰 位蠈纬慰, 未喂畏纬蔚委蟿伪喂 胃蟻伪蠀蟽渭伪蟿喂魏维 蟿畏谓 喂蟽蟿慰蟻委伪 蟿蟻喂蠋谓 纬蔚谓喂蠋谓 渭喂伪蟼 慰喂魏慰纬苇谓蔚喂伪蟼 伪蟻蠂喂蟿蔚魏蟿蠈谓蠅谓 蟽蟿畏 螕蔚蟻渭伪谓委伪. 螠喂伪 喂蟽蟿慰蟻委伪 畏 慰蟺慰委伪 尉蔚魏喂谓维 蟽蟿喂蟼 伪蟻蠂苇蟼 蟿慰蠀 伪喂蠋谓伪 魏伪喂 蠁蟿维谓蔚喂 渭苇蠂蟻喂 蟿慰 1958. 螣 谓伪味喂蟽渭蠈蟼 魏伪喂 慰喂 未蠉慰 蟺伪纬魏蠈蟽渭喂慰喂 蟺蠈位蔚渭慰喂, 喂未委蠅蟼 慰 未蔚蠉蟿蔚蟻慰蟼, 未蔚谓 魏伪蟿慰谓慰渭维味慰谓蟿伪喂 蟺慰蠀胃蔚谓维, 伪位位维 蔚委谓伪喂 蟺伪谓蟿伪蠂慰蠉 蟺伪蟻蠈谓蟿蔚蟼, 苇蠂慰谓蟿伪蟼 魏伪胃慰蟻委蟽蔚喂 渭蔚 蠈位慰蠀蟼 蟿慰蠀蟼 蟺喂胃伪谓慰蠉蟼 蟿蟻蠈蟺慰蠀蟼 蟿畏 味蠅萎 (魏伪喂 蟿慰谓 胃维谓伪蟿慰 蟽蔚 魏维蟺慰喂蔚蟼 蟺蔚蟻喂蟺蟿蠋蟽蔚喂蟼) 蠈位蠅谓 蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓 蟿慰蠀 尾喂尾位委慰蠀. 螣喂 萎蟻蠅蔚蟼 蟺蟻慰蟽蟺伪胃慰蠉谓 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 尉蔚蠂维蟽慰蠀谓 纬喂伪 谓伪 渭蟺慰蟻苇蟽慰蠀谓 谓伪 味萎蟽慰蠀谓, 伪位位维 魏伪喂 谓伪 胃蠀渭畏胃慰蠉谓 (萎 谓伪 魏伪蟿伪位维尾慰蠀谓), 蟺维位喂 纬喂伪 谓伪 渭蟺慰蟻苇蟽慰蠀谓 谓伪 味萎蟽慰蠀谓. 螒谓蟿喂蟺慰位蔚渭喂魏蠈 魏伪喂 蠀蟺伪蟻尉喂伪魏蠈, 伪蟺慰蟿蔚位蔚委 渭喂伪 伪蟺蠈 蟿喂蟼 蟺蟻蠋蟿蔚蟼 位慰纬慰蟿蔚蠂谓喂魏苇蟼 伪蟺蠈蟺蔚喂蟻蔚蟼 谓伪 伪谓蟿喂渭蔚蟿蠅蟺喂蟽蟿蔚委 蟿慰 蟿蟻伪蠉渭伪 蟺慰蠀 维蠁畏蟽伪谓 蟿伪 纬蔚纬慰谓蠈蟿伪 伪蠀蟿维 蟽蟿畏 纬蔚蟻渭伪谓喂魏萎 魏慰喂谓蠅谓委伪.
违螕. 螆谓伪 伪蟺蠈 蟿伪 蟺蟻蠈蟽蠅蟺伪 蟿慰蠀 尾喂尾位委慰蠀, 慰 危蟻苇位伪, 蟺慰蠀 蔚委蠂蔚 蠁蠀纬伪未蔚蠀蟿蔚委 伪蟺蠈 蟿畏 螕蔚蟻渭伪谓委伪 魏蠀谓畏纬畏渭苇谓慰蟼 伪蟺蠈 蟿慰蠀蟼 谓伪味委, 蔚蟺喂蟽蟿蟻苇蠁蔚喂 蟽蟿畏谓 蟺蠈位畏 蟿慰蠀 22 蠂蟻蠈谓喂伪 渭蔚蟿维. 危蟿畏谓 蔚蟻蠋蟿畏蟽畏 纬喂伪蟿委 未蔚谓 纬蠉蟻喂蟽蔚 谓蠅蟻委蟿蔚蟻伪 伪蟺伪谓蟿维: 芦螕喂伪蟿委 蠁慰尾蠈渭慰蠀谓 蠈蟿喂 畏 蟺蠈位畏 未蔚 胃伪 渭慰蠀 萎蟿伪谓 伪蟻魏蔚蟿维 尉苇谓畏.禄 胃蠀渭委味慰谓蟿伪蟼 蔚魏蔚委谓慰 蟿慰 蟿蟻伪纬慰蠉未喂 蟺慰蠀 苇位蔚纬伪谓 慰喂 韦蟻蠉蟺蔚蟼: 芦蟺伪蟿蟻委未伪 渭慰蠀 蔚委谓伪喂 蔚魏蔚委 蟺慰蠀 渭委蟽畏蟽伪 魏伪喂 渭蔚 渭喂蟽萎蟽伪谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 慰蟺慰蠀未萎蟺慰蟿蔚 伪位位慰蠉禄.
违螕. 螆谓伪 伪蟺蠈 蟿伪 蟺蟻蠈蟽蠅蟺伪 蟿慰蠀 尾喂尾位委慰蠀, 慰 危蟻苇位伪, 蟺慰蠀 蔚委蠂蔚 蠁蠀纬伪未蔚蠀蟿蔚委 伪蟺蠈 蟿畏 螕蔚蟻渭伪谓委伪 魏蠀谓畏纬畏渭苇谓慰蟼 伪蟺蠈 蟿慰蠀蟼 谓伪味委, 蔚蟺喂蟽蟿蟻苇蠁蔚喂 蟽蟿畏谓 蟺蠈位畏 蟿慰蠀 22 蠂蟻蠈谓喂伪 渭蔚蟿维. 危蟿畏谓 蔚蟻蠋蟿畏蟽畏 纬喂伪蟿委 未蔚谓 纬蠉蟻喂蟽蔚 谓蠅蟻委蟿蔚蟻伪 伪蟺伪谓蟿维: 芦螕喂伪蟿委 蠁慰尾蠈渭慰蠀谓 蠈蟿喂 畏 蟺蠈位畏 未蔚 胃伪 渭慰蠀 萎蟿伪谓 伪蟻魏蔚蟿维 尉苇谓畏.禄 胃蠀渭委味慰谓蟿伪蟼 蔚魏蔚委谓慰 蟿慰 蟿蟻伪纬慰蠉未喂 蟺慰蠀 苇位蔚纬伪谓 慰喂 韦蟻蠉蟺蔚蟼: 芦蟺伪蟿蟻委未伪 渭慰蠀 蔚委谓伪喂 蔚魏蔚委 蟺慰蠀 渭委蟽畏蟽伪 魏伪喂 渭蔚 渭喂蟽萎蟽伪谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 慰蟺慰蠀未萎蟺慰蟿蔚 伪位位慰蠉禄.
November 29, 2009
It has been almost a month (and seems much longer) since i finished reading this book. It has been sitting next to this keyboard ever since. I haven't discussed it with friends. I haven't been tempted to share my thoughts in any way. That's about as tepid a 4-star assessment as possible.
#1 of all #1s: completely disregard any blurbs to the effect of "The interruption of this routine by an old schoolmate and former Nazi who has become a power in German reconstruction triggers a conflict both absorbing and profound." This blurb would have you believe that's "just the beginning" and that there's a lot of "story" that follows. Completely misleading.
If possible, read the book having forgotten everything i wrote in the previous paragraph except for the part about ignoring blurbs.
Embarrassing personal revelation #1: i horribly misread Chapter 4 in which the sometimes-focused-omniscient and sometimes-1st-person narrator's perspective becomes that of papa Faehmel (aka Heinrich, aka the architect, aka the self- made man). I, however, continued to read as if in the mind of Robert, his surviving son (aka the robot, aka the destroyer, aka the ruin ed man), whose perspective held sway in Ch 3.
Embarrassing personal revelation #2: Sadly, the point-of-view in Ch 5 befuddled me even more than Ch 4's. 1st page note: "Took me forever to get that the perspective is Edith's" (Robert's wife). Bottom of 3rd page i noted, "3rd try {reading the first 3 pp} and still鈥擭OT Edith? Robert's {perspective, still}?" Top of 4th page i wrote that maybe it's Heinrich "but i must be misreading something." On the 8th page i thought it might be Robert's mom, "in hospital (& demented)?" And finally, funniest of all, at the top of the 9th page i wrote, "Okay, no, the 'narrator' in this chapter is Johanna, Robert's wife" {emphasis mine}. I was almost halfway through the novel and i still didn't know the names, family, relationships (Johanna is Robert's mother, in the hospital, and Heinrich's wife). Combine that with failing to catch that the narrative point of view shifted from Robert in Ch 3 to his father Heinrich in Ch 4, and you get an annoying confusion about the narrator in Ch 5. (Shame on me.)
After identifying Ch 5's narrator, i finally figured out this scheisse (in which i am the scheissekopf) of changing narrators with little-to-no changes in voice.
Therefore, (a) even though it's gotta be more fun to make these realizations for yourselves, (b) because it's much less fun to feel lost than it is to feel challenged (and that's what i was鈥攁lmost hopelessly lost), and (c) perhaps out of sympathy, i offer the following summary of narrators.
Ch 1: Leonore, the family architectural firm's secretary gives her view of her boss and her boss's father on the day of the boss's father's 80th birthday.
Ch 2: Strangely, told from the perspective of Jochen, an old desk clerk at the hotel where Faehmel the Younger plays billiards in strict privacy every day at the same time.
Ch 3: At last, the mysterious boss Robert Faehmel going about his secret life. Ho-fugging-hum! Sorry, folks, it's nothing scandalous or interesting. He's a regular guy except that he's a nutter for sameness and consistency.
Ch 4: Robert's father's life story. The book is "set" on his 80th birthday, so why not a little autobiography from a guy who almost literally created himself.
Ch 5: Johanna, Robert's mother, narrates from inside the sanatorium leading up to and following a visit from her son and/or husband, but not during?
Ch 6: Back to Robert.
Ch 7: Pingponging between Schrella (Robert's childhood friend finally returned from exile) and Nettlinger (the alleged "catalyst" mentioned in the blurbs that you should ignore).
Ch 8: Joseph, Robert's son, narrates鈥攁n architect in training (his father & grandfather are also architects, but of very different stripes)鈥攁s does his fianc茅e Marianne.
Ch 9: Schrella again.
Ch 10: Robert again + his daughter Ruth.
Ch 11: More from Johanna, this time she's "talking to" the general under whom her son served in World War II and narrating her plan for her husband's birthday party.
Ch 12 & 13: Narrative orgy.
Character & Plotishness Notes:
Robert Faehmel is Mr. Rigid. He does the same thing at the same place at the same time every day. He's a lot like his dad Heinrich, actually. They're both architects. They both served in World Wars. They both lost (figuratively and/or literally) children & spouses to/during/as a result of those wars. Allegedly "everything" is thrown off balance because a couple characters from his past show up today on his father's 80th birthday. One of them is Schrella, a friend he's been hoping to see ever since the Nazi era. The other is one of his childhood/adolescence's tormentors who turned into a full-blown Nazi scumbag. Robert's mom is in the nuthouse (embarrassing personal revelation #3: i didn't notice/remember why, but all the blurbs i've read say she either tried to save some Jews being forced onto trains or she tried to get on). Joseph isn't sure if he wants to be an architect and coincidentally (today) discovers a dark family secret鈥攚ill he tell his father? his mother? his grandfather? anybody? Maybe he shouldn't go to the big birthday party for grampa tonight. Maybe nobody should. Gramma's gonna be there, though, and the rest of the family. Did i mention there also happens to be a political rally right outside the very hotel where Robert plays billiards every day on the very night that the Faehmels are having a pre-birthday party at the hotel? Imagine that!
Other randumb thoughts:
Though the novel takes place in one day, there are so many flashbacks that that assessment is overly simple. It's no Seinfeld episode, let's just put it that way.
The billiards metaphor and the Naturalism color stuff (red green white white green red green red red white white green ... ad nauseam) didn't do nothin for me neither. I'll need to read what others had to say about it and rethink.
And what's with this whole The Host of the Beast thing? It really annoyed me. In German, it's probably one really cool smooshedtogetherword, but the English phrase is clunky and annoying and its "implication" leads me to utter spontaneously "Bah! Humbug!" I finally bothered to look up the phrase and found this quote from Reading with Feeling that is ironically appropriate to my reaction. "...communion, as well as background knowledge about a contrasting phrase also provided in the text, 'the lamb of God,' will likely affect how one responds to the phrase, 'the host of the beast,' and whether one responds to it at all"! Author Susan L. Feagin goes on: "These associations link the phrase 'the host of the beast' {*sigh*} with a sense of ritual, mystery, and horror, and its repetition encourages mantralike and mystical allusions that are reinforced every time the phrase is used." For me, exasperation is not ritualistic, mysterious, or horrifying. Maybe the reader must be a staunch Roman Catholic, or anybody else who's likely to revere The Host as being The Actual Christ. As a not-Lutheran, the metaphor is a dud.
The translation. Strange. Felt very slangy, very 70s (guess it would be 60s cuz it was 漏 1962), especially at the beginning. Possibly limited almost exclusively to Jochen's voice as narrator/POV in Ch 2. That, too, put me off a bit. I didn't expect the language to be so time-bound. The perfect example from Jochen's chapter is "I can tell if they're out for a shack job even before they step out of the taxi." OK, maybe that's not the perfect example because it's the working-class guy's inner monologue.
I feel concerned about translations though when i come across inscrutable sentences such as, "They had had none of the bravado of peace too long diked up." WTF is that supposed to mean, "None of the bravado of peace had been diked up in them TOO LONG"?! I honestly can't parse that sentence into something intelligible without ignoring some of its words. I won't doubt the integrity of the entire translation, but doubt crept in and made itself heard occasionally from there almost to the end.
Maybe this book deserves another reading, but i doubt i ever will bother. Maybe it would touch me more upon rereading. Maybe i would finally feel the psychological damage of being a middle-aged (or older) German in the late 1940s, cuz i think that's what he's going for. The form pushed me away from it, though. Was that the point? Was he trying to shield me from his revelation? "Psst, hey buddy, i have something incredibly important in this briefcase that you might wanna see," he says as he squirts me with mace & fits me with the world's darkest blue-blocker shades.
CONCLUSION: i wasn't man enough to think myself big enough to give this book鈥�written by a Nobel laureate!鈥�"only" 3 stars at first. I still don't feel big enough, but i'm doing it anyway. I don't think you'll hate it, but i don't want to recommend it either.
That was my original CONCLUSION, but then i leafed through the entire book looking for all my marginal notes and was reminded how redeemed everything felt by the end. I felt connected to the characters eventually. I could begin to wonder if i'd glimpsed a hint of why B枚ll wrote this novel and why he wrote it this way. And now i'm torn between 3 and 4 stars, which is a crucial distinction for me, obviously. :-)
I found in the last 25-33%(?) a semblance of understanding why these folks were so crazy and how B枚ll's saying this craziness was caused by {*sigh*} The Host of the Beast's tainting of their entire society. I almost feel willing to say 4 stars but i just don't dig me no moralist/political fiction and i can't get past either of those aspects of this novel.
Final verdict: guilty of 3 starsworthy novelty.
#1 of all #1s: completely disregard any blurbs to the effect of "The interruption of this routine by an old schoolmate and former Nazi who has become a power in German reconstruction triggers a conflict both absorbing and profound." This blurb would have you believe that's "just the beginning" and that there's a lot of "story" that follows. Completely misleading.
If possible, read the book having forgotten everything i wrote in the previous paragraph except for the part about ignoring blurbs.
Embarrassing personal revelation #1: i horribly misread Chapter 4 in which the sometimes-focused-omniscient and sometimes-1st-person narrator's perspective becomes that of papa Faehmel (aka Heinrich, aka the architect, aka the self- made man). I, however, continued to read as if in the mind of Robert, his surviving son (aka the robot, aka the destroyer, aka the ruin ed man), whose perspective held sway in Ch 3.
Embarrassing personal revelation #2: Sadly, the point-of-view in Ch 5 befuddled me even more than Ch 4's. 1st page note: "Took me forever to get that the perspective is Edith's" (Robert's wife). Bottom of 3rd page i noted, "3rd try {reading the first 3 pp} and still鈥擭OT Edith? Robert's {perspective, still}?" Top of 4th page i wrote that maybe it's Heinrich "but i must be misreading something." On the 8th page i thought it might be Robert's mom, "in hospital (& demented)?" And finally, funniest of all, at the top of the 9th page i wrote, "Okay, no, the 'narrator' in this chapter is Johanna, Robert's wife" {emphasis mine}. I was almost halfway through the novel and i still didn't know the names, family, relationships (Johanna is Robert's mother, in the hospital, and Heinrich's wife). Combine that with failing to catch that the narrative point of view shifted from Robert in Ch 3 to his father Heinrich in Ch 4, and you get an annoying confusion about the narrator in Ch 5. (Shame on me.)
After identifying Ch 5's narrator, i finally figured out this scheisse (in which i am the scheissekopf) of changing narrators with little-to-no changes in voice.
Therefore, (a) even though it's gotta be more fun to make these realizations for yourselves, (b) because it's much less fun to feel lost than it is to feel challenged (and that's what i was鈥攁lmost hopelessly lost), and (c) perhaps out of sympathy, i offer the following summary of narrators.
Ch 1: Leonore, the family architectural firm's secretary gives her view of her boss and her boss's father on the day of the boss's father's 80th birthday.
Ch 2: Strangely, told from the perspective of Jochen, an old desk clerk at the hotel where Faehmel the Younger plays billiards in strict privacy every day at the same time.
Ch 3: At last, the mysterious boss Robert Faehmel going about his secret life. Ho-fugging-hum! Sorry, folks, it's nothing scandalous or interesting. He's a regular guy except that he's a nutter for sameness and consistency.
Ch 4: Robert's father's life story. The book is "set" on his 80th birthday, so why not a little autobiography from a guy who almost literally created himself.
Ch 5: Johanna, Robert's mother, narrates from inside the sanatorium leading up to and following a visit from her son and/or husband, but not during?
Ch 6: Back to Robert.
Ch 7: Pingponging between Schrella (Robert's childhood friend finally returned from exile) and Nettlinger (the alleged "catalyst" mentioned in the blurbs that you should ignore).
Ch 8: Joseph, Robert's son, narrates鈥攁n architect in training (his father & grandfather are also architects, but of very different stripes)鈥攁s does his fianc茅e Marianne.
Ch 9: Schrella again.
Ch 10: Robert again + his daughter Ruth.
Ch 11: More from Johanna, this time she's "talking to" the general under whom her son served in World War II and narrating her plan for her husband's birthday party.
Ch 12 & 13: Narrative orgy.
Character & Plotishness Notes:
Robert Faehmel is Mr. Rigid. He does the same thing at the same place at the same time every day. He's a lot like his dad Heinrich, actually. They're both architects. They both served in World Wars. They both lost (figuratively and/or literally) children & spouses to/during/as a result of those wars. Allegedly "everything" is thrown off balance because a couple characters from his past show up today on his father's 80th birthday. One of them is Schrella, a friend he's been hoping to see ever since the Nazi era. The other is one of his childhood/adolescence's tormentors who turned into a full-blown Nazi scumbag. Robert's mom is in the nuthouse (embarrassing personal revelation #3: i didn't notice/remember why, but all the blurbs i've read say she either tried to save some Jews being forced onto trains or she tried to get on). Joseph isn't sure if he wants to be an architect and coincidentally (today) discovers a dark family secret鈥攚ill he tell his father? his mother? his grandfather? anybody? Maybe he shouldn't go to the big birthday party for grampa tonight. Maybe nobody should. Gramma's gonna be there, though, and the rest of the family. Did i mention there also happens to be a political rally right outside the very hotel where Robert plays billiards every day on the very night that the Faehmels are having a pre-birthday party at the hotel? Imagine that!
Other randumb thoughts:
Though the novel takes place in one day, there are so many flashbacks that that assessment is overly simple. It's no Seinfeld episode, let's just put it that way.
The billiards metaphor and the Naturalism color stuff (red green white white green red green red red white white green ... ad nauseam) didn't do nothin for me neither. I'll need to read what others had to say about it and rethink.
And what's with this whole The Host of the Beast thing? It really annoyed me. In German, it's probably one really cool smooshedtogetherword, but the English phrase is clunky and annoying and its "implication" leads me to utter spontaneously "Bah! Humbug!" I finally bothered to look up the phrase and found this quote from Reading with Feeling that is ironically appropriate to my reaction. "...communion, as well as background knowledge about a contrasting phrase also provided in the text, 'the lamb of God,' will likely affect how one responds to the phrase, 'the host of the beast,' and whether one responds to it at all"! Author Susan L. Feagin goes on: "These associations link the phrase 'the host of the beast' {*sigh*} with a sense of ritual, mystery, and horror, and its repetition encourages mantralike and mystical allusions that are reinforced every time the phrase is used." For me, exasperation is not ritualistic, mysterious, or horrifying. Maybe the reader must be a staunch Roman Catholic, or anybody else who's likely to revere The Host as being The Actual Christ. As a not-Lutheran, the metaphor is a dud.
The translation. Strange. Felt very slangy, very 70s (guess it would be 60s cuz it was 漏 1962), especially at the beginning. Possibly limited almost exclusively to Jochen's voice as narrator/POV in Ch 2. That, too, put me off a bit. I didn't expect the language to be so time-bound. The perfect example from Jochen's chapter is "I can tell if they're out for a shack job even before they step out of the taxi." OK, maybe that's not the perfect example because it's the working-class guy's inner monologue.
I feel concerned about translations though when i come across inscrutable sentences such as, "They had had none of the bravado of peace too long diked up." WTF is that supposed to mean, "None of the bravado of peace had been diked up in them TOO LONG"?! I honestly can't parse that sentence into something intelligible without ignoring some of its words. I won't doubt the integrity of the entire translation, but doubt crept in and made itself heard occasionally from there almost to the end.
Maybe this book deserves another reading, but i doubt i ever will bother. Maybe it would touch me more upon rereading. Maybe i would finally feel the psychological damage of being a middle-aged (or older) German in the late 1940s, cuz i think that's what he's going for. The form pushed me away from it, though. Was that the point? Was he trying to shield me from his revelation? "Psst, hey buddy, i have something incredibly important in this briefcase that you might wanna see," he says as he squirts me with mace & fits me with the world's darkest blue-blocker shades.
CONCLUSION: i wasn't man enough to think myself big enough to give this book鈥�written by a Nobel laureate!鈥�"only" 3 stars at first. I still don't feel big enough, but i'm doing it anyway. I don't think you'll hate it, but i don't want to recommend it either.
That was my original CONCLUSION, but then i leafed through the entire book looking for all my marginal notes and was reminded how redeemed everything felt by the end. I felt connected to the characters eventually. I could begin to wonder if i'd glimpsed a hint of why B枚ll wrote this novel and why he wrote it this way. And now i'm torn between 3 and 4 stars, which is a crucial distinction for me, obviously. :-)
I found in the last 25-33%(?) a semblance of understanding why these folks were so crazy and how B枚ll's saying this craziness was caused by {*sigh*} The Host of the Beast's tainting of their entire society. I almost feel willing to say 4 stars but i just don't dig me no moralist/political fiction and i can't get past either of those aspects of this novel.
Final verdict: guilty of 3 starsworthy novelty.
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May 12, 2019Hajnriha Bela danas iz nekog razloga 膷esto otpisuju kao prevazi膽enog, da li zbog religioznosti ili zbog levi膷arstva ili zbog (uslovne i povremene) vere u ljude, ne znam, ali sigurno ne zbog manjka knji啪evnih kvaliteta.
Bilijar u pola deset, dakle, sadr啪i sve ovo gore nabrojano a pritom je sjajno napisan i vo膽en roman u vi拧e glasova koji se smenjuju i dopunjuju* tako da nam jednu klasi膷no budenbrokovsku pri膷u o usponu i padu (da li?) gra膽anske porodice prikazuje na dvadesetovekovni subjektivni i fragmentisan na膷in. Tako膽e uz solidnu dozu simbolike (pre svega opozicija bivo-jagnje koja iskrsava dovoljno 膷esto da je svi utuvimo, ali i mnogo diskretnijih stvari), uz Belovu tipi膷nu zajedljivost prema 膰iftama i licemerima (koji su za njega takore膰i ve膰e zlo od ube膽enih nacista, jer ih podsti膷u iz koristi a ne iz ube膽enja) i svako malo stvarno predivno razobru膷ene opise.
Ovo ipak nije ba拧 najbolji Bel kog sam 膷itala jer kraj deluje istovremeno zbrzano i malo isforsirano, ipak sam pre za Grupni portret s damom ili Gledi拧ta jednog klauna, ali i dalje je jedna lepa, kvalitetna knjiga srednje te拧ke kategorije.
* Recepcioner Johen je klasi膷an primer lika koji je potpuno sporedan i nebitan ali se otrgne kontroli i progovori svojim glasom i na kraju njegovih desetak strana budu daleko najzabavnije u celom romanu <3
Bilijar u pola deset, dakle, sadr啪i sve ovo gore nabrojano a pritom je sjajno napisan i vo膽en roman u vi拧e glasova koji se smenjuju i dopunjuju* tako da nam jednu klasi膷no budenbrokovsku pri膷u o usponu i padu (da li?) gra膽anske porodice prikazuje na dvadesetovekovni subjektivni i fragmentisan na膷in. Tako膽e uz solidnu dozu simbolike (pre svega opozicija bivo-jagnje koja iskrsava dovoljno 膷esto da je svi utuvimo, ali i mnogo diskretnijih stvari), uz Belovu tipi膷nu zajedljivost prema 膰iftama i licemerima (koji su za njega takore膰i ve膰e zlo od ube膽enih nacista, jer ih podsti膷u iz koristi a ne iz ube膽enja) i svako malo stvarno predivno razobru膷ene opise.
Ovo ipak nije ba拧 najbolji Bel kog sam 膷itala jer kraj deluje istovremeno zbrzano i malo isforsirano, ipak sam pre za Grupni portret s damom ili Gledi拧ta jednog klauna, ali i dalje je jedna lepa, kvalitetna knjiga srednje te拧ke kategorije.
* Recepcioner Johen je klasi膷an primer lika koji je potpuno sporedan i nebitan ali se otrgne kontroli i progovori svojim glasom i na kraju njegovih desetak strana budu daleko najzabavnije u celom romanu <3
July 21, 2020
Some scenes - such as Robert explaining to his Nazi persecutor, when he comes to see him many years later, why it's OK to ask the waiter to pack up your remaining food to take away - as a metaphor for concerns about status and pride - have stayed with me.
I was so overwhelmed by the different themes and ideas that I ended up drawing a mind map of them to be able to get it straight in my head. B枚ll wants to get a very strong moral message across - that is very upfront. At times it can feel like you are being lectured to. But in the end, the force of that message, the story and the characters prevail. One of the few books I've gone back to re-read.
I was so overwhelmed by the different themes and ideas that I ended up drawing a mind map of them to be able to get it straight in my head. B枚ll wants to get a very strong moral message across - that is very upfront. At times it can feel like you are being lectured to. But in the end, the force of that message, the story and the characters prevail. One of the few books I've gone back to re-read.
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