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Satantango
Il comunismo 猫 ormai al tramonto e nella fangosa campagna ungherese quel che resta di una comunit脿 di individui abbrutiti vive una vita senza speranza in una cooperativa agricola ormai in sfacelo. Tutti vogliono andarsene e sperano in un futuro migliore grazie al denaro che riceveranno dalla chiusura della loro fattoria collettiva. Quando all'improvviso si diffonde la notizia che il carismatico Irimi谩s, sparito due anni prima e dato ormai da tutti per morto, 猫 stato visto sulla strada che porta al villaggio e sta per tornare pare un miracolo. 脠 l'inizio dell'attesa, dell'avvento incombente di qualcosa che li pu貌 liberare ma che avr脿 pesanti conseguenze sulle loro vite disperate. Si troveranno infatti a far fronte non solo alle astuzie di Irimi谩s, ma anche ai conflitti che li dividono. Questo capolavoro dark, primo libro di Krasznahorkai pubblicato nel 1985 in Ungheria, 猫 ormai considerato un vero e proprio classico contemporaneo.
316 pages, Paperback
First published January 1, 1985
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26.7k people want to read
About the author
L谩szl贸 Krasznahorkai
47听books1,829听followersL谩szl贸 Krasznahorkai is a Hungarian novelist and screenwriter who is known for critically difficult and demanding novels, often labelled as postmodern, with dystopian and bleak melancholic themes.
He is probably best known through the oeuvre of the director B茅la Tarr, who has collaborated with him on several movies.
Krasznahorkai has been honored with numerous literary prizes, among them the highest award of the Hungarian state, the Kossuth Prize, and the 2015 Man Booker International Prize for his English-translated oeuvre.
He is probably best known through the oeuvre of the director B茅la Tarr, who has collaborated with him on several movies.
Krasznahorkai has been honored with numerous literary prizes, among them the highest award of the Hungarian state, the Kossuth Prize, and the 2015 Man Booker International Prize for his English-translated oeuvre.
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Displaying 1 - 30 of 1,417 reviews
October 22, 2023
The tale begins with prophetic visions鈥�
Dilapidated remnants of the forsaken village are a strictly apocalyptic environment: desolation, despondency, destitution, despair鈥� A bunch of vulgar rubes, a couple of malicious swindlers, a pair of indifferent sluts, a squalid drunken doctor, a former headmaster, a greedy landlord, a witless punk and a young retarded girl鈥� And everything happens in the Kafkian atmosphere of surreal wretchedness鈥�
When the social order gets imbued with stagnation and society starts rotting human beings turn into swarming cockroaches.
He gazed sadly at the threatening sky, at the burned-out remnants of a locust-plagued summer, and suddenly saw on the twig of an acacia, as in a vision, the progress of spring, summer, fall and winter, as if the whole of time were a frivolous interlude in the much greater spaces of eternity, a brilliant conjuring trick to produce something apparently orderly out of chaos, to establish a vantage point from which chance might begin to look like necessity鈥� and he saw himself nailed to the cross of his own cradle and coffin, painfully trying to tear his body away, only, eventually, to deliver himself 鈥� utterly naked, without identifying mark, stripped down to essentials 鈥� into the care of the people whose duty it was to wash the corpses, people obeying an order snapped out in the dry air against a background loud with torturers and flayers of skin, where he was obliged to regard the human condition without a trace of pity, without a single possibility of any way back to life, because by then he would know for certain that all his life he had been playing with cheaters who had had marked the cards and who would, in the end, strip him even of his last means of defense, of that hope of someday finding his way back home.
Dilapidated remnants of the forsaken village are a strictly apocalyptic environment: desolation, despondency, destitution, despair鈥� A bunch of vulgar rubes, a couple of malicious swindlers, a pair of indifferent sluts, a squalid drunken doctor, a former headmaster, a greedy landlord, a witless punk and a young retarded girl鈥� And everything happens in the Kafkian atmosphere of surreal wretchedness鈥�
鈥淭hey are slaves who have lost their master but can鈥檛 live without what they call pride, honor and courage. That鈥檚 what keeps their souls in place even if at the back of their thick skulls they sense these qualities aren鈥檛 their own, that they鈥檝e simply enjoyed living in the shadow of their masters鈥� Then, wherever the shadow falls they follow, like a flock of sheep, because they can鈥檛 do without a shadow鈥︹€�
When the social order gets imbued with stagnation and society starts rotting human beings turn into swarming cockroaches.
December 27, 2014
I am reading Satantango at my parents' house. A communist block of flats, tiny cubicles with thin walls, through which the noise of a Tv set penetrates from my neighbor upstairs. Later on, my mother comes in my room and falls asleep on my bed. Poor mom, she is always so tired... Soon, the muffled noise of the Tv intermingles with my mother's snores. I am expelled from the depths of evil; I leave behind the colony, the putrid rooms, the decay. I come back to my banal reality. I glimpse at the half-eaten cake, the orderly room, my warm feet. I hold the book open with my toes, fingers plucked deep in my ears. Slowly, word upon word, I can hear once again the rumbling of thunder, the incessant tapping of rain. Shadowy hands pull me once more inside the sickening gloom and despair. I am back in the colony, caught up in a maddening Satan's tango.
Back to Bucharest, I finish the novel. Rain has followed me around, accompanying my reading of Satantango. I couldn't have arranged for a better setting for this bleak, absurd novel, which dragged me through a world in a deepening state of decay. Civilization seems to have been erased, people decimated by an unknown plague, with only an isolated community which survived an apocalypse.
For a long time, I had no notion of time and space, nor of the purpose of me being there. No explanations, no causes, only a sour taste in one's mouth, as a sign of impending death. The few people left in the colony retreat, powerless, in the face of an abstract disease, incapable of defending or saving themselves. Everything around them crumbles and rots. Paint flakes, roofs collapse, mold creeps along walls, furniture and clothes. Unseen spiders weave their cobwebs in silence, trapping objects and beings alike in silvery cocoons, in an attempt to preserve, to hold the world still.
It is a life adrift, Sodom and Gomorrah on a smaller scale - men crave for their neighbors' wives, young girls sell their bodies, the school master no longer teaches the young, the doctor no longer heals the sick. Nothing works anymore - the mill and the shops are deserted, the fields are abandoned. The only one standing is the tavern, where people gather to drink and dance madly until dawn.
The inhabitants dream of escaping, of leaving their colony behind. Thoughts of starting a better life elsewhere fade away the minute they take shape. They place their hopes in an outward salvation. One day, a tragedy befalls them, followed by a miracle witnessed by few, but they can't read the signs; their minds are too numbed, their souls too hardened to understand. And when the much awaited savior arrives, they abandon every shred of reason and follow him blindly. In his hands, the once hopeless puppets return to life, as he infuses them with hope and renewed energy. Docile, they walk the road their master puppeteer has chosen for them.
Krasznahorkai's prose has a hypnotic, overwhelming power. I allowed myself to be carried away by his words, by the rhythm of his long, winding phrases. Slowly, I immersed into the suffocating world of the colony; I could sense the moans of collapsing houses, the lament of an eternal rain, the weaving of cobwebs, the advancing of mold. I could almost smell the heavy stench of mud and putrefaction, oozing from the crumbling walls and the skin of their helpless inhabitants.
In twelve steps of a dance executed in circle, the narrative opens and closes with the mysterious ringing of bells. Behind a window, safely tucked under blankets, there is a hand that writes in notebooks. Reality and imagination commence to overlap; it is either a descent into madness or an ascent towards truth.
*Spoilers below, most likely*
In so many ways, Satantango is not a dystopia. It is, in effect, real life. Crude, unforgiving life, in which we can bring the apocalypse onto ourselves through our ignorance, indolence and depravity.
Page after page, I started to realize that the unnamed plague, the unmentioned disaster did not happen from external causes. The so-called catastrophe was brought by the people themselves, through their laziness, vice and fatality. Dehumanized, hopeless, they linger in a state of lethargy; their will is paralyzed. It is the kind of disease that is eating them from the inside; they have condemned themselves. Instead of relying on their own powers, they hope for salvation from elsewhere; they ultimately subject to a higher will, because it is always easier to be led than to lead. Ironically, the salvation they await for could mean, in the end, a further downfall.
Back to Bucharest, I finish the novel. Rain has followed me around, accompanying my reading of Satantango. I couldn't have arranged for a better setting for this bleak, absurd novel, which dragged me through a world in a deepening state of decay. Civilization seems to have been erased, people decimated by an unknown plague, with only an isolated community which survived an apocalypse.
For a long time, I had no notion of time and space, nor of the purpose of me being there. No explanations, no causes, only a sour taste in one's mouth, as a sign of impending death. The few people left in the colony retreat, powerless, in the face of an abstract disease, incapable of defending or saving themselves. Everything around them crumbles and rots. Paint flakes, roofs collapse, mold creeps along walls, furniture and clothes. Unseen spiders weave their cobwebs in silence, trapping objects and beings alike in silvery cocoons, in an attempt to preserve, to hold the world still.
It is a life adrift, Sodom and Gomorrah on a smaller scale - men crave for their neighbors' wives, young girls sell their bodies, the school master no longer teaches the young, the doctor no longer heals the sick. Nothing works anymore - the mill and the shops are deserted, the fields are abandoned. The only one standing is the tavern, where people gather to drink and dance madly until dawn.
The inhabitants dream of escaping, of leaving their colony behind. Thoughts of starting a better life elsewhere fade away the minute they take shape. They place their hopes in an outward salvation. One day, a tragedy befalls them, followed by a miracle witnessed by few, but they can't read the signs; their minds are too numbed, their souls too hardened to understand. And when the much awaited savior arrives, they abandon every shred of reason and follow him blindly. In his hands, the once hopeless puppets return to life, as he infuses them with hope and renewed energy. Docile, they walk the road their master puppeteer has chosen for them.
Krasznahorkai's prose has a hypnotic, overwhelming power. I allowed myself to be carried away by his words, by the rhythm of his long, winding phrases. Slowly, I immersed into the suffocating world of the colony; I could sense the moans of collapsing houses, the lament of an eternal rain, the weaving of cobwebs, the advancing of mold. I could almost smell the heavy stench of mud and putrefaction, oozing from the crumbling walls and the skin of their helpless inhabitants.
In twelve steps of a dance executed in circle, the narrative opens and closes with the mysterious ringing of bells. Behind a window, safely tucked under blankets, there is a hand that writes in notebooks. Reality and imagination commence to overlap; it is either a descent into madness or an ascent towards truth.
*Spoilers below, most likely*
In so many ways, Satantango is not a dystopia. It is, in effect, real life. Crude, unforgiving life, in which we can bring the apocalypse onto ourselves through our ignorance, indolence and depravity.
Page after page, I started to realize that the unnamed plague, the unmentioned disaster did not happen from external causes. The so-called catastrophe was brought by the people themselves, through their laziness, vice and fatality. Dehumanized, hopeless, they linger in a state of lethargy; their will is paralyzed. It is the kind of disease that is eating them from the inside; they have condemned themselves. Instead of relying on their own powers, they hope for salvation from elsewhere; they ultimately subject to a higher will, because it is always easier to be led than to lead. Ironically, the salvation they await for could mean, in the end, a further downfall.
July 7, 2021
鈥淔ar surpasses all the lesser concerns of contemporary writing.鈥�
-W. G. Sebald.
"In that case, I鈥檒l miss the thing by waiting for it.鈥�
- Franz Kafka.
As I step out of the world of Krasznahorkai, I feel a deep hollowness inside my heart as if there is some force which is wrenching it, for I am leaving the dark Hungarian countryside where the Satantango- the dance of devil, took place. It is like I've been always on the verge of entering into the world of Satantango itself (like living on the brane of a universe as they call it), the distresses and dilemmas of the villagers have been stronger than gravity and they kept pulling me into hole where their universe exist, however, the outrageously shifting narrative always kept me on verge but never really allowed me to enter it as if I鈥檝e been trapped in an impenetrable eternal bubble of time. And when the circle eventually stops you feel a potential loss in your mental space for there is so much more which could have done with the terrifying but mesmerizing pen of fate, the author was holding. A feeling of eerie creeps up from the background of sensations and engulfs your den of consciousness in the misty atmosphere rising from the your eternal witness of damnation of humanity. Satantano -the dance of devil who is looking around for us or perhaps emanating from our own being, the dark, bizarre and chilling landscape of the Hungarian village represents the bubble of universe where in even time seems to be stuck in the devilish curse of immobility, with the cruel autumn rain acting as the only symbol of its somewhat ticking along. The strange events of the dystopian village make way through twelve chapters arranged in elliptical pattern to represents episodes of just a few days (which in fact represents a long book about a short event), each chapter consists of single paragraph but each paragraph unfolds a cosmic web of possibilities in which acts unfold themselves to intertwined advents of catastrophic prospects, which may put even a spider web to shame. These sentences are strange, elusive, frighteningly radioactive, they seek to replicate the entropic whirl of consciousness itself, as if they have being of their own and stand on themselves in the cruel world, wherein people are being exploited for their innocence, defenselessness or perhaps foolish-lessness until they met their ultimate fate. The dance with devil, embodies Krasznahorkai鈥檚 mix of dark comedy and crippling sense of anxiety: the dance is celebratory and funeral, hopeful and despairing, Satantango as we know it, involves peasants, a mechanic, a headmaster, a doctor, a couple of teenage whores, their drunken mother, vicious younger brother, and demented little sister, who are being twirled, to tune of hope (which acts like a drug to keep people under hallucinatory bout) great, false promises, naivety of them to understand their fates, by secret agents of the state- the charismatic, biblical and polemic but underneath their appearance having eternal marriage to the devil, Irimias and Petrina, who gave spellbinding speech about bringing the community together to cast an enigmatic spell of seemingly utopian existence which engulfed drunken and desperate villagers. Depravity abounds; the young girls living there have taken to prostitution; getting drunk and swindling one鈥檚 neighbors are the only ways to pass the time. And yet, everyone is waiting for something without knowing it, whether an end or a new beginning. The epigraph of the novel is from Kafka鈥檚 The Castle: 鈥淚n that case, I鈥檒l miss the thing by waiting for it鈥� set the tone of the book towards absurdist, perverse humanity staring at you through the existential angst of the villagers making their way into lonely and desolate world of Krasznahorkai built upon the influence of Beckett and Kafka, the author making this cryptic world lively through the prose which is actually a long hellish poem, drawing out music from the bleak, exhilarating vagaries of humanity- a black poetic comedy perhaps. What counts most, in the end, though, is not so much Krasznahorkai鈥檚 plot as a subject for study, or his astonishing use of language, or even his cosmology. The long poetic sentences of Krasznahorkai serve multiple ends, they allow him to burrow down from the self-deceiving consciousnesses of his characters into feelings and thoughts that they cannot acknowledge or express, however we go underneath the mystifying prose of Satantango we may find that it embodies the ability of the creator (author of the book) to create an inimitable and enigmatic example of art out of the poverty stricken, condemned inherently meaningless world, which perhaps represents a deep psychological study of human beings in personal and as a society. And it may not be as disastrous as it may appear at onset, for the world of Satantango may not represent a peculiar dystopian world rather it may be horrific to realize that this masterpiece perhaps represents every society or humanity in general wherein lazy people, who drunk off false hopes and stupidity, are being churned in the cruel jaws of exploitation, politics and power till their last breadth or till they realize and revolt, which, of course, sometimes lead to same soup again (and perhaps book鈥檚 elliptical structure also coveys), as we have witnessed in the history too. And as I am leaving this damned, devil- stricken write-up, I鈥檓 feeling a deep hollowness inside my heart (perhaps the devil unclasping its jaws off me), for now I鈥檝e to move on, since even this vague and foolish idea to talk about the charismatic world of Laszlo Krasznahorkai can鈥檛 be lingered upon perpetually.
"They're dead, all of them," the doctor wrote. "Or they're sitting at the kitchen table leaning on their elbows. Not even a broken door and window can rouse the headmaster. Come winter he'll freeze his ass off." Suddenly he sat up straight up in his chair as a new thought dawned on him. He raised his head and stared at the ceiling, gasping for breath, then gripped his pencil... "Now he is standing up", he wrote in a deepning reverie, pressing the pencil lightly in case he tore the paper. "He scratched his groin and stretched. He walks around the room and sits down again. He goes out for a piss and returns. Sits down. Stands up." He scribbled feverishly and was practically seeing everything that was happening over there, and he knew, was deadly certain, that from then on this was how it would be. He realized that all those years of arduous, painstaking work had finally borne fruit: he had become the master of a singular art that enabled him not only to describe a world whose eternal unremitting progress in one direction required such mastery but also- to certain extent- he could even intervene in the mechanism behind an apparently chaotic swirl of events!
A modern masterpiece, highly recommended.
4.5
-W. G. Sebald.
"In that case, I鈥檒l miss the thing by waiting for it.鈥�
- Franz Kafka.
As I step out of the world of Krasznahorkai, I feel a deep hollowness inside my heart as if there is some force which is wrenching it, for I am leaving the dark Hungarian countryside where the Satantango- the dance of devil, took place. It is like I've been always on the verge of entering into the world of Satantango itself (like living on the brane of a universe as they call it), the distresses and dilemmas of the villagers have been stronger than gravity and they kept pulling me into hole where their universe exist, however, the outrageously shifting narrative always kept me on verge but never really allowed me to enter it as if I鈥檝e been trapped in an impenetrable eternal bubble of time. And when the circle eventually stops you feel a potential loss in your mental space for there is so much more which could have done with the terrifying but mesmerizing pen of fate, the author was holding. A feeling of eerie creeps up from the background of sensations and engulfs your den of consciousness in the misty atmosphere rising from the your eternal witness of damnation of humanity. Satantano -the dance of devil who is looking around for us or perhaps emanating from our own being, the dark, bizarre and chilling landscape of the Hungarian village represents the bubble of universe where in even time seems to be stuck in the devilish curse of immobility, with the cruel autumn rain acting as the only symbol of its somewhat ticking along. The strange events of the dystopian village make way through twelve chapters arranged in elliptical pattern to represents episodes of just a few days (which in fact represents a long book about a short event), each chapter consists of single paragraph but each paragraph unfolds a cosmic web of possibilities in which acts unfold themselves to intertwined advents of catastrophic prospects, which may put even a spider web to shame. These sentences are strange, elusive, frighteningly radioactive, they seek to replicate the entropic whirl of consciousness itself, as if they have being of their own and stand on themselves in the cruel world, wherein people are being exploited for their innocence, defenselessness or perhaps foolish-lessness until they met their ultimate fate. The dance with devil, embodies Krasznahorkai鈥檚 mix of dark comedy and crippling sense of anxiety: the dance is celebratory and funeral, hopeful and despairing, Satantango as we know it, involves peasants, a mechanic, a headmaster, a doctor, a couple of teenage whores, their drunken mother, vicious younger brother, and demented little sister, who are being twirled, to tune of hope (which acts like a drug to keep people under hallucinatory bout) great, false promises, naivety of them to understand their fates, by secret agents of the state- the charismatic, biblical and polemic but underneath their appearance having eternal marriage to the devil, Irimias and Petrina, who gave spellbinding speech about bringing the community together to cast an enigmatic spell of seemingly utopian existence which engulfed drunken and desperate villagers. Depravity abounds; the young girls living there have taken to prostitution; getting drunk and swindling one鈥檚 neighbors are the only ways to pass the time. And yet, everyone is waiting for something without knowing it, whether an end or a new beginning. The epigraph of the novel is from Kafka鈥檚 The Castle: 鈥淚n that case, I鈥檒l miss the thing by waiting for it鈥� set the tone of the book towards absurdist, perverse humanity staring at you through the existential angst of the villagers making their way into lonely and desolate world of Krasznahorkai built upon the influence of Beckett and Kafka, the author making this cryptic world lively through the prose which is actually a long hellish poem, drawing out music from the bleak, exhilarating vagaries of humanity- a black poetic comedy perhaps. What counts most, in the end, though, is not so much Krasznahorkai鈥檚 plot as a subject for study, or his astonishing use of language, or even his cosmology. The long poetic sentences of Krasznahorkai serve multiple ends, they allow him to burrow down from the self-deceiving consciousnesses of his characters into feelings and thoughts that they cannot acknowledge or express, however we go underneath the mystifying prose of Satantango we may find that it embodies the ability of the creator (author of the book) to create an inimitable and enigmatic example of art out of the poverty stricken, condemned inherently meaningless world, which perhaps represents a deep psychological study of human beings in personal and as a society. And it may not be as disastrous as it may appear at onset, for the world of Satantango may not represent a peculiar dystopian world rather it may be horrific to realize that this masterpiece perhaps represents every society or humanity in general wherein lazy people, who drunk off false hopes and stupidity, are being churned in the cruel jaws of exploitation, politics and power till their last breadth or till they realize and revolt, which, of course, sometimes lead to same soup again (and perhaps book鈥檚 elliptical structure also coveys), as we have witnessed in the history too. And as I am leaving this damned, devil- stricken write-up, I鈥檓 feeling a deep hollowness inside my heart (perhaps the devil unclasping its jaws off me), for now I鈥檝e to move on, since even this vague and foolish idea to talk about the charismatic world of Laszlo Krasznahorkai can鈥檛 be lingered upon perpetually.
"They're dead, all of them," the doctor wrote. "Or they're sitting at the kitchen table leaning on their elbows. Not even a broken door and window can rouse the headmaster. Come winter he'll freeze his ass off." Suddenly he sat up straight up in his chair as a new thought dawned on him. He raised his head and stared at the ceiling, gasping for breath, then gripped his pencil... "Now he is standing up", he wrote in a deepning reverie, pressing the pencil lightly in case he tore the paper. "He scratched his groin and stretched. He walks around the room and sits down again. He goes out for a piss and returns. Sits down. Stands up." He scribbled feverishly and was practically seeing everything that was happening over there, and he knew, was deadly certain, that from then on this was how it would be. He realized that all those years of arduous, painstaking work had finally borne fruit: he had become the master of a singular art that enabled him not only to describe a world whose eternal unremitting progress in one direction required such mastery but also- to certain extent- he could even intervene in the mechanism behind an apparently chaotic swirl of events!
A modern masterpiece, highly recommended.
4.5
January 24, 2013
krasznahorkai's hard at work on the next few in the series:
#2 Beezelbuballet
#3 Mephistophelesamba
#4 Azazelambada
#5 Antichristarantella
#6 Luciferumba
#7 Belialimbo
#8 Asmodeusalsa
#2 Beezelbuballet
#3 Mephistophelesamba
#4 Azazelambada
#5 Antichristarantella
#6 Luciferumba
#7 Belialimbo
#8 Asmodeusalsa
October 14, 2021
Lunatics in Charge of the Asylum
Satantango is an allegory of the decline of the Communist state into a sort of primitive capitalism. The mouldering, almost derelict estate with its confused and despairing residents, looking toward a de-industrialized East, all hoping to move West as soon as they scrape the funds together. The remnants of a police state that is no longer subject to the authority of the police but to its former informers. The drunken villagers who desperately desire a messiah in whom they can believe.
The new regime is established by 鈥淭he law of relative power鈥� This literal pecking order is now 鈥淭he law of the land. The people鈥檚 law.鈥� 鈥淵ou are to adapt yourselves to the new situation! Is that clear?!,鈥� commands the Orban-like (or Putin-like) figure of the secret policeman. The populace are helpless: 鈥淭hey are slaves who have lost their master but can鈥檛 live without what they call pride, honor and courage.鈥� So 鈥淭hey are waiting. They鈥檙e waiting patiently, like the long-suffering lot they are, in the firm conviction that someone has conned them.鈥� But they ain鈥檛 seen nothin鈥� yet.
The Laurel and Hardy duo of Irimias and Petrina are the new entrepreneurial hucksters, the corporate pioneers, fledgling merchant bankers facilitating the transition to 鈥榝reedom.鈥� They don鈥檛 know much about anything but they know the right people. The Captain of the Secret Police gives them their special mandate: 鈥淵ou鈥檝e been summoned because you have endangered the project by your absence. No doubt you have noticed I鈥檝e not given precise details. The nature of the project has nothing to do with you.鈥� Their job is to execute, not to plan; but their discretionary power is effectively unlimited. The 鈥榩roject鈥� itself remains mysterious, just another long con perhaps.
Irimias and Petrina are the influence-peddlers who threaten to blow everything up piece by piece if their influence is ignored. They are irrational, hair-trigger bullies. Yet they are idolized by the country-folk who are willing to sacrifice their meager (mostly ill-gotten) gains to these characters who appear resurrected from the long dead. They may be anachronistic jokes, but they鈥檙e all that鈥檚 available. In the land of the blind... etc. This new regime is one of numbers rather than ideology, or is it an ideology of numbers? In any case, the landlord of the bar knows the score: 鈥淭he greater the significance of the numbers the greater my own significance.鈥�
And so the satanic dance begins in all its gauche splendor within the village bar. Meanwhile, outside in reality, it continues to rain and the world turns to yellow mud. But that doesn鈥檛 compare with 鈥渢he rain of death in the heart.鈥� Consequently everyone stays drunk as long as possible. It鈥檚 a strategy which makes a great deal of sense in the circumstances. It helps to mitigate the pervasive stench.
If you think you鈥檇 like a spicy allegorical goulash of Samuel Beckett and Tennessee Williams with a soup莽on of Kafka, this might be your cup of tea... or bowl of paprika as the case may be.
Satantango is an allegory of the decline of the Communist state into a sort of primitive capitalism. The mouldering, almost derelict estate with its confused and despairing residents, looking toward a de-industrialized East, all hoping to move West as soon as they scrape the funds together. The remnants of a police state that is no longer subject to the authority of the police but to its former informers. The drunken villagers who desperately desire a messiah in whom they can believe.
The new regime is established by 鈥淭he law of relative power鈥� This literal pecking order is now 鈥淭he law of the land. The people鈥檚 law.鈥� 鈥淵ou are to adapt yourselves to the new situation! Is that clear?!,鈥� commands the Orban-like (or Putin-like) figure of the secret policeman. The populace are helpless: 鈥淭hey are slaves who have lost their master but can鈥檛 live without what they call pride, honor and courage.鈥� So 鈥淭hey are waiting. They鈥檙e waiting patiently, like the long-suffering lot they are, in the firm conviction that someone has conned them.鈥� But they ain鈥檛 seen nothin鈥� yet.
The Laurel and Hardy duo of Irimias and Petrina are the new entrepreneurial hucksters, the corporate pioneers, fledgling merchant bankers facilitating the transition to 鈥榝reedom.鈥� They don鈥檛 know much about anything but they know the right people. The Captain of the Secret Police gives them their special mandate: 鈥淵ou鈥檝e been summoned because you have endangered the project by your absence. No doubt you have noticed I鈥檝e not given precise details. The nature of the project has nothing to do with you.鈥� Their job is to execute, not to plan; but their discretionary power is effectively unlimited. The 鈥榩roject鈥� itself remains mysterious, just another long con perhaps.
Irimias and Petrina are the influence-peddlers who threaten to blow everything up piece by piece if their influence is ignored. They are irrational, hair-trigger bullies. Yet they are idolized by the country-folk who are willing to sacrifice their meager (mostly ill-gotten) gains to these characters who appear resurrected from the long dead. They may be anachronistic jokes, but they鈥檙e all that鈥檚 available. In the land of the blind... etc. This new regime is one of numbers rather than ideology, or is it an ideology of numbers? In any case, the landlord of the bar knows the score: 鈥淭he greater the significance of the numbers the greater my own significance.鈥�
And so the satanic dance begins in all its gauche splendor within the village bar. Meanwhile, outside in reality, it continues to rain and the world turns to yellow mud. But that doesn鈥檛 compare with 鈥渢he rain of death in the heart.鈥� Consequently everyone stays drunk as long as possible. It鈥檚 a strategy which makes a great deal of sense in the circumstances. It helps to mitigate the pervasive stench.
If you think you鈥檇 like a spicy allegorical goulash of Samuel Beckett and Tennessee Williams with a soup莽on of Kafka, this might be your cup of tea... or bowl of paprika as the case may be.
January 1, 2016
For a rainbow-chaser and flower-collector, satan-tango is not exactly the kind of event to spend an many evenings on. The brightness is pleasing odour and the not-so-brightness is forever under verdict. But there I stayed; lurking under the disturbing, frequently tingling, always jagging edges of this strange melody oozing from the tango being played in a far land in Hungary.
In an unknown, abandoned terrain, the devil strikes my world with a soft morning hoot, a touch so ethereal, so cajoling that I should have upped my antennae at that very instant. But instead, I treaded idly on his tune; I had nothing to worry, my strong mind for support. Extending my hand and touching a dilapidated dream, trudging on the solidified ground of incurable despair and casting a long glance on overstretched alliances, I jingled along the bewitching tune wherever it took me. Like a seasoned Pied Piper, the all-powerful Irimi谩s suspended the bleak kaleidoscope of life with the vigor of a rising sun and I stood, peeping into the rustic juxtaposition of synthetic hopes, unaware of the shaking soil beneath my hoisted feet. The satan-tango was leaving rapidly changing colors on the bodies of all under its hypnotic vibration, a few villagers with unusually twinkling eyes to be precise.
But I was definitely not getting swayed in the virulent air engulfing the invisible specks of remnant desires. The villagers fought and prayed condemnation, they drank and hoped redemption, they cheated and bargained life, they suspected and ordained clarity, they voyaged and visualized tomorrow. And all this while, I walked safely on a parallel track, overseeing their devious twitches enraptured by the tango鈥檚 strings, smirking at their unbelievable gullibility rupturing their faint blue veins. I knew the tango was going to recede after spraying a noxious plume of immobilizing staccato , sucking all the music from their souls and then, perhaps, I might serve as a timely messenger in curtailing Irimi谩s鈥� similar tango sessions in the fertile vicinity of other vulnerable simpletons.
But that tango鈥� something about it was anomalous. The dark rhythm, the haunting splendor, everything decomposing yet rising in penultimate glory. The unknown, like a blithe promise, was finding its pieces in the grey outlines of life; a life weeping to shed pungent rashes from its skin, both self-inflicted and gifted on the occasions of experiment and discovery. Whyi sthat tunequali fying to be strungona guitarand played atthe resurrection? Whyist he shrillvoiceevo king a suppressedmelodyenwrapped deepwithin me; one thatis anoutcomeo f a beingunbiasedly erected, letting goodandsat an settle like sandandwaterin a mortalcontainer? WhenIrefuset oletgo something uncomfortable in my heart simplybecauseIha vegotten usedtothedev iation andthe ludicrousmusicarran gementofthe tangoreinforcesth ose aberrationslike theywereasprec iousas conformities? We havereachedajun ctionand I cannotseet hevillagers anymore. But I run into a path whichthrowsme back sinceit isamirror. Nothingisvis ibleinitswomb exceptforareflection. Andthatdoes looklikesome thingI know - ameshoffine whitelines, criss-crossingth ebareblack background, drawingvarioussub lime andgrot esqueimageswith itssliveringbrush, fillingthemir rorasfastason ecanimagine, constructing anmulti-dimensionalpic turethat I am abouttoenterin to beforetheweb鈥�..
In an unknown, abandoned terrain, the devil strikes my world with a soft morning hoot, a touch so ethereal, so cajoling that I should have upped my antennae at that very instant. But instead, I treaded idly on his tune; I had nothing to worry, my strong mind for support. Extending my hand and touching a dilapidated dream, trudging on the solidified ground of incurable despair and casting a long glance on overstretched alliances, I jingled along the bewitching tune wherever it took me. Like a seasoned Pied Piper, the all-powerful Irimi谩s suspended the bleak kaleidoscope of life with the vigor of a rising sun and I stood, peeping into the rustic juxtaposition of synthetic hopes, unaware of the shaking soil beneath my hoisted feet. The satan-tango was leaving rapidly changing colors on the bodies of all under its hypnotic vibration, a few villagers with unusually twinkling eyes to be precise.
But I was definitely not getting swayed in the virulent air engulfing the invisible specks of remnant desires. The villagers fought and prayed condemnation, they drank and hoped redemption, they cheated and bargained life, they suspected and ordained clarity, they voyaged and visualized tomorrow. And all this while, I walked safely on a parallel track, overseeing their devious twitches enraptured by the tango鈥檚 strings, smirking at their unbelievable gullibility rupturing their faint blue veins. I knew the tango was going to recede after spraying a noxious plume of immobilizing staccato , sucking all the music from their souls and then, perhaps, I might serve as a timely messenger in curtailing Irimi谩s鈥� similar tango sessions in the fertile vicinity of other vulnerable simpletons.
But that tango鈥� something about it was anomalous. The dark rhythm, the haunting splendor, everything decomposing yet rising in penultimate glory. The unknown, like a blithe promise, was finding its pieces in the grey outlines of life; a life weeping to shed pungent rashes from its skin, both self-inflicted and gifted on the occasions of experiment and discovery. Whyi sthat tunequali fying to be strungona guitarand played atthe resurrection? Whyist he shrillvoiceevo king a suppressedmelodyenwrapped deepwithin me; one thatis anoutcomeo f a beingunbiasedly erected, letting goodandsat an settle like sandandwaterin a mortalcontainer? WhenIrefuset oletgo something uncomfortable in my heart simplybecauseIha vegotten usedtothedev iation andthe ludicrousmusicarran gementofthe tangoreinforcesth ose aberrationslike theywereasprec iousas conformities? We havereachedajun ctionand I cannotseet hevillagers anymore. But I run into a path whichthrowsme back sinceit isamirror. Nothingisvis ibleinitswomb exceptforareflection. Andthatdoes looklikesome thingI know - ameshoffine whitelines, criss-crossingth ebareblack background, drawingvarioussub lime andgrot esqueimageswith itssliveringbrush, fillingthemir rorasfastason ecanimagine, constructing anmulti-dimensionalpic turethat I am abouttoenterin to beforetheweb鈥�..
December 9, 2018
A Tale of Prophesy, Foreshadowing, Coming, Death, Resurrection, and Testament - and it is not the Bible.
But scary and dark as it is, Satantango got many points right that the Bible didn't (because it is told in too many contradictory voices, like a random stampede).
A tango is danced with structure, with different orchestrated movements leading in one direction, even though the dancers step back occasionally, following the music of the Pied Piper summoning humanity to create a meaningless yet passionate act of artistic performance.
The true power is in the discovery that words can interfere with reality. Charismatic leaders can wake up the dull sleepers of a village and stir its inhabitants into action. It creates sexual desire and violent needs, it is a source of confidence and humiliation. Following the storyteller, history moves forwards and backwards until the circle closes ... but it never really does, even though the book closes on that note. And it is not a circle at all, but a spiral, and it keeps winding its path around and around, to the tune of the tango.
Satan is a brilliant dancer.
Satantango reminded me of my favourite ABBA song when I was a child, addictive and fairylike, only it lacks the passionate eros of a Latin dance. Krasznahorkai added that flavour in Satantango:
They came from the hills
And they came from the valleys and the plains
They struggled in the cold
In the heat and the snow and in the rain
Came to hear him play
Play their minds away
We're all following a strange melody
We're all summoned by a tune
We're following the piper
And we dance beneath the moon
We're following the piper
And we dance beneath the moon for him
And we dance beneath the moon
Sub luna saltamus
They came from the south
From the west and the north and from the east
They waited for the man
Like a parish is waiting for the priest
Longed to hear him play
Play their minds away
We're all following a strange melody
We're all summoned by a tune
We're following the piper
And we dance beneath the moon
We're following the piper
But scary and dark as it is, Satantango got many points right that the Bible didn't (because it is told in too many contradictory voices, like a random stampede).
A tango is danced with structure, with different orchestrated movements leading in one direction, even though the dancers step back occasionally, following the music of the Pied Piper summoning humanity to create a meaningless yet passionate act of artistic performance.
The true power is in the discovery that words can interfere with reality. Charismatic leaders can wake up the dull sleepers of a village and stir its inhabitants into action. It creates sexual desire and violent needs, it is a source of confidence and humiliation. Following the storyteller, history moves forwards and backwards until the circle closes ... but it never really does, even though the book closes on that note. And it is not a circle at all, but a spiral, and it keeps winding its path around and around, to the tune of the tango.
Satan is a brilliant dancer.
Satantango reminded me of my favourite ABBA song when I was a child, addictive and fairylike, only it lacks the passionate eros of a Latin dance. Krasznahorkai added that flavour in Satantango:
They came from the hills
And they came from the valleys and the plains
They struggled in the cold
In the heat and the snow and in the rain
Came to hear him play
Play their minds away
We're all following a strange melody
We're all summoned by a tune
We're following the piper
And we dance beneath the moon
We're following the piper
And we dance beneath the moon for him
And we dance beneath the moon
Sub luna saltamus
They came from the south
From the west and the north and from the east
They waited for the man
Like a parish is waiting for the priest
Longed to hear him play
Play their minds away
We're all following a strange melody
We're all summoned by a tune
We're following the piper
And we dance beneath the moon
We're following the piper
March 28, 2019
Bu kitaba ba艧lamadan 枚nce hakk谋nda bildi臒im tek 艧ey Bela Tarr鈥櫮眓 y枚netti臒i ve 7,5 saatlik s眉resiyle k眉lt olmu艧 filmiydi ki onu da izlememi艧tim. A莽谋k莽as谋 kitap kul眉b眉n眉n bu ayki okuma program谋nda olmasayd谋 radar谋ma girer miydi bilmiyorum. Yay谋mland谋臒谋 g眉nden bu yana hakk谋nda hi莽bir 艧ey okumam谋艧 olmak benim kabahatim de臒il zira hakk谋nda olumlu olumsuz bir ele艧tiri g枚rmek neredeyse imkans谋z. Sanki b枚yle bir kitap hi莽 yay谋mlanmam谋艧 gibi T眉rk莽ede. Umar谋m Gr鈥檇e ki okunurlu臒u ve yorumlarla bir nebze ilgisini 莽ekmi艧tir okurun.
艦eytan Tangosu, Bereket Denizi Serisi ve B眉y眉l眉 Da臒鈥檒a birlikte 2018鈥檌n en iyi kitaplar谋 oldu benim i莽in ve belki de 眉st眉ne konu艧mas谋 en zor kitab谋. Eserin t眉m眉ne hakim olmak, g枚ndermelerin, metaforlar谋n i艧aret ettiklerini kavrayabilmek m眉mk眉n de臒il. Yani konusunu anlat deseler bir 莽谋rp谋da sayar d枚kerim lakin bunu yaparken muhtemelen kitab谋n derdinin yan谋na bile yakla艧amam. G枚z korkutmak gibi olmas谋n ama 艦eytan Tangosu鈥檔u 枚nerebilece臒im pek fazla ki艧i tan谋m谋yorum. 脰nereceklerim ise buradan sonras谋nda bol spoilera maruz kalacaklar, 艧imdiden uyaray谋m.
Hikayemiz Macaristan鈥櫮眓 bir k枚y眉nde ge莽iyor. Kitapta buradan 鈥榮ite鈥� diye bahsediliyor. Bu adland谋rmay谋, Sovyetlerdeki kolektif tar谋m 莽iflikleri (kolhoz) ya da 陌srail鈥檇eki Kibultz benzeri olarak d眉艧眉nmektense Antik Yunandaki siteler gibi d眉艧眉nmek daha i艧levsel geliyor. B枚ylece k枚y眉 mikro devlet olarak kodlayabilir ve anlat谋y谋 evrenselle艧tirebiliriz. Bir 莽枚k眉艧 toplumu ile kar艧谋 kar艧谋yay谋z, asl谋nda biz onlarla tan谋艧t谋臒谋m谋zda tamamlanm谋艧 bir 莽枚k眉艧 bu. Ahlaki olarak yozla艧m谋艧, pratik olarak i艧levsiz, hareketsiz, 眉zerinde 枚r眉mceklerin a臒lar谋n谋 dola艧t谋rd谋臒谋 bir yap谋. Herkesin birbirini g枚zetledi臒i, birbirlerinin e艧leriyle yatt谋臒谋 ya da yatmay谋 d眉艧ledi臒i, okulun 枚臒rencisiz, doktorun hastas谋z, makinelerin kad眉k, ailelerin 莽ocuksuz oldu臒u bu mekanda hikaye nereden geldi臒i belli olmayan 莽an sesleriyle ba艧lar, zaten o seslerle de bitecektir. 脟an sesleri alt谋nda 陌ncil鈥檌n 7 b眉y眉k g眉nah谋ndan K谋skan莽l谋k, 艦ehvet, Tembellik, A莽g枚zl眉l眉k icra edilirken, toplumsal ili艧kiler a臒谋n谋n d谋艧谋na 莽谋k谋艧 yasad谋艧谋 bir edimde, di臒er k枚yl眉lerin paras谋na el konmada bulunur. Tam da bu planlar tart谋艧谋l谋rken 鈥榞eldiklerinin haberi鈥� ni kitab谋n tek inan莽l谋 karakteri Bayan Halisc鈥檇en al谋rlar. 1,5 y谋l 枚nce 枚l眉m haberini ald谋klar谋 陌rimais ve Petrina dirilmi艧 ve k枚ye d枚nmektedir. 鈥溎皊terse bir s谋臒谋r bokundan 艧ato bile yapar鈥� denilen kurtar谋c谋n谋n geli艧iyle planlar ertelenir, umutlar kurtar谋c谋ya devredilir. Kitap boyunca hepsini anlamland谋ramad谋臒谋m谋z 陌ncil g枚ndermeleriyle kar艧谋la艧maya devam edece臒iz ve bu referanslar谋 g枚rd眉臒眉m眉z her sahne ideolojik manip眉lasyonun a艧ikar oldu臒u hallerde ortaya 莽谋kacak. Bu yan谋yla Tolstoy鈥檜n Dirili艧i a艧谋lm谋艧 ve o inan莽 d眉nyas谋 maddi d眉nyan谋n i艧leyi艧ine kurban edilmi艧tir (biraz tan谋d谋k geldi bu). Ayn谋 nehirde iki kez y谋kanamad谋臒谋m谋z gibi ayn谋 inan莽 d眉zeyine de iki kez 莽谋k谋lam谋yor, ge莽elim bu fasl谋.
艦eytan Tangosu 2 kitap, toplam 12 b枚l眉mden olu艧uyor. 1. kitapta okur, ayn谋 g眉n i莽inde ya艧anan olaylar谋 s眉rekli geri d枚n眉艧ler, perspektif kaymalar谋, bir olay谋 birka莽 a臒谋zdan dinlemeyle debelenir durur. Sanki bu cehennemvari iklim taraf谋ndan sarmalanm谋艧, her edimde en ba艧a at谋lm谋艧 buluruz kendimizi.
Diriliyoruz b枚l眉m眉nde kendimizi ayn谋 g眉n眉n sabah谋 bir polis, istihbarat merkezinde buluruz. K枚yl眉n眉n kurtar谋c谋 olarak bekledi臒i 陌rimais ve Petrina zaten en ba艧ta devlet dairesi koridorlar谋nda do臒maktad谋rlar. Burada 艧枚yle bir parantez a莽ay谋m, 艦eytan Tangosu 1985 y谋l谋nda bir do臒u bloku 眉lkesinde yaz谋l谋yor, duvar谋n y谋k谋l谋艧谋na 4 y谋l var ve yazar istese bu anlat谋y谋 ucuzundan bir reel sosyalizm ele艧tirisi 眉zerine kurar ve daha b眉y眉k bir prim yapabilirdi. Oysa kitap boyunca bize Macaristan鈥檇a ve 1985鈥檇e oldu臒umuzu sezdiren sadece 2 b枚l眉m (1.kitap 2.b枚l眉m ve 2.kitap 2.b枚l眉m) var ve i艧leni艧i itibariyle meselenin evrenselli臒ine halel getirmeden anlat谋yor derdini. B枚l眉m 鈥淏a艧lar谋n谋 眉zerindeki saat, dokuz 莽eyre臒i g枚steriyordu, ba艧ka ne bekleyebilirdi ki zaten鈥� c眉mlesi ile a莽谋l谋yor, hemen ard谋nda 枚r眉mcek a臒lar谋 geliyor. Bu a臒lara gelece臒iz ama 谋skalamam谋z gereken 鈥渂a艧ka ne beklenebilirdi ki zaten鈥漝ir. Hemen 1 sayfa sonra muhta莽l谋臒谋n s眉reklili臒ini sa臒layan ( hep geri kalm谋艧) bir saatin bahsi olunur ve bizim o saatin 枚n眉nde ya臒mur taneleri kar艧谋s谋ndaki filizin kaderine ortakl谋臒谋m谋z 鈥渆limiz kolumuz ba臒l谋d谋r鈥� ile vurgulan谋r. Buray谋 tam da yazar谋n dedi臒i gibi anlamal谋y谋z, elimiz kolumuz ba臒l谋. Determinst olma tehlikesi bir tarafa, bizim 眉zerinde h眉km眉m眉z眉n olmad谋臒谋 bir hakikat var, biz ona tabiiyizdir ve her edimimiz zaman谋n ruhu taraf谋ndan belirlenmi艧tir. Bu zaman谋n d谋艧谋na, bu zaman谋n kurallar谋yla oynayarak 莽谋kamay谋z. Ol sebepten yasan谋n d谋艧谋na 莽谋k谋艧 bi莽imimiz yasa taraf谋ndan belirlenmi艧se elimizdeki tek alternatif 鈥� ne kadar rezil olursak o kadar iyidir.鈥� Bu anlamda 陌rimais 鈥渒urtar谋c谋鈥� de臒il, edebiyat tarihinin en 枚nemli siniklerindendir. (bkz Sinik akl谋n ele艧tirisi) Toplumsal ili艧kiler a臒谋n谋n 莽枚pl眉臒眉n眉 bilir ama yine de o a臒谋n i莽inde i艧lemeye devam eder. Fantezi d眉nyas谋ndaki t眉m o patlay谋c谋lar, her yeri y谋kaca臒谋m, bombalayaca臒谋m koflu臒una buradan bakmak laz谋m. Bu b枚l眉mdeki her 艧ey mu臒lakt谋r, ikilinin muhbirli臒i d谋艧谋nda. Ne oldu臒unu bilmedi臒imiz bir g枚revleri vard谋r, orada bir s谋k谋nt谋 do臒mu艧tur ve y眉zba艧谋 d谋艧 mihraklar谋n tehdidi alt谋ndaki bu zor g眉nlerde onlardan yeni ve yine ne oldu臒unu anlamad谋臒谋m谋z g枚revler beklemektedir. 陌kili binadan 莽谋kar, rotalar谋n谋 siteye 莽evirir ve 鈥� mutfakta oturur, k枚艧elere s谋莽ar ve arada d谋艧ar谋 bakarlar鈥� diye tarif etti臒i k枚yl眉leri doland谋rmak 眉zere yola 莽谋kar. ( tam da burada K枚yl眉leri Neden 脰ld眉rmeliyiz 艧iiri 陌brahim Sadri sesiyle arka fonda 莽alar.)
Site鈥檔in 莽眉r眉y眉艧眉, 莽枚z眉l眉艧眉n眉n her 艧eyi bilen 枚zne taraf谋ndan kay谋t alt谋na al谋nd谋臒谋 3.b枚l眉mde, masas谋n谋n ba艧谋nda Macaristan ovas谋n谋n co臒rafi olu艧um s眉recini okuyan doktorla tan谋艧谋r谋z. Ama bu bir 眉nvandan fazlas谋 de臒ildir, onu da di臒erleri gibi 鈥榠艧lerken鈥� hi莽 g枚rmeyiz. Kendini, k枚y眉 g枚zetleme, kay谋t alt谋na alma ve herkes hakk谋nda notlar tutmaya adam谋艧t谋r, g眉nl眉k ya艧am谋n谋 da buna g枚re organize eder. Bu ve son b枚l眉m bence kitab谋n en temel dertlerinin a莽谋臒a 莽谋kt谋臒谋, yazar谋n d眉艧眉n d眉nyas谋n谋 okura a莽谋k etti臒i b枚l眉mleri olu艧turuyor. B枚l眉m眉n ba艧l谋臒谋 bir 艧eyler bilmek ancak bilmek de bir i艧e yaram谋yor. 艦枚yle a莽ay谋m; doktorun pencere 枚n眉ne kurulmaya karar vermesi 鈥榥afileli臒in鈥� fark谋na varmas谋yla oluyor. Sitenin i莽ten i莽e 莽眉r眉d眉臒眉n眉 anlad谋臒谋 an 鈥渟眉rekli olarak in艧a edilen bu 艧eytani d眉zenin鈥� i莽inde 鈥渒endisi her ne kadar 莽谋rp谋nsa da bu muzaffer y谋k谋m谋n 枚n眉ne ge莽ebilmek i莽in fazlas谋yla g眉莽s眉z oldu臒unu鈥� fark etti. Nas谋l ki kitaplardan okudu臒u co臒rafi 艧ekillenme onun d谋艧谋nda ve m眉dahalesine a莽谋k olmayan do臒al bir olguysa, kay谋t alt谋na ald谋臒谋 莽枚z眉lme de onun m眉dahalesinin d谋艧谋ndad谋r ve 鈥渋stese dahi en k眉莽眉k bir de臒i艧ikli臒i bile yapamayaca臒谋n谋n ay谋rt谋na varm谋艧t谋; de臒i艧ikliklerin bariz bir 艧ekilde olumlu sonu莽 verdi臒i kan谋tlanam谋yordu.鈥� Madem, bizim d谋艧谋m谋zda i艧leyen ve bize muhta莽 olmayan bir d眉zen var ve madem ki o 鈥渁臒lar谋n鈥� i莽inde tango ad谋mlar谋yla ileri geri geziyor ve en ba艧a d枚n眉yoruz, 鈥渋ki kere banyo yapman谋n da bir anlam谋 kalm谋yordu.鈥� Edebiyat谋n g眉c眉 bu olsa gerek, 莽emberin i莽inde kalma halini bu kadar iyi anlatabilecek ba艧ka bir ara莽 tan谋m谋yorum. Bartleby, yapmamay谋 tercih ediyordu, doktor ise yap谋p yapmama aras谋nda bir fark谋n olmad谋臒谋 bir mekanizmay谋 imliyerek el art谋r谋yor, belle臒in ve hat谋rlaman谋n g眉c眉ne s谋臒谋narak. Lakin, b枚l眉m眉n sonundaki k枚yl眉n眉n 鈥渄oktor bey bunu yapmayacakt谋n谋z. Yapmayacakt谋n谋z bunu鈥� serzeni艧i neye vurgu yap谋yor anlam谋艧 de臒ilim.
1.kitap boyunca 莽izgisel bir anlat谋 olmad谋臒谋ndan bahsetmi艧tim, her b枚l眉mde bazen en ba艧a d枚nerek o bir g眉n眉 ve olaylar谋n谋 farkl谋 bak谋艧 a莽谋lar谋yla g枚r眉yoruz. Bu g眉n眉n olaylar谋n谋n birle艧ti臒i yer, meyhanedeki tango sahnesi. Doktor evinden i莽ki almak i莽in 莽谋kt谋臒谋nda Ersike鈥檡i meyhaneden i莽eri bakarken g枚r眉r ve burada ne arad谋臒谋n谋 sorar, Ersike doktora ( bir gece ba艧谋nda sabahlad谋臒谋 i莽in) kurtar谋c谋 g枚z眉yle sar谋l谋r ve doktor onu iter. Ard谋ndan k谋z谋n pe艧ine d眉艧se de yakalayamaz, yere devrilir ve b枚l眉m yapmayacakt谋n谋z bunu ile sona erer.
Yerimiz dar, h谋zl谋 gitmeye 莽al谋艧谋yorum yoksa bu kitab谋n ben de edebi, politik, teolojik 莽a臒r谋艧谋mlar谋 derya deniz ve 艧imdiden 2019 okumalar谋m谋n aras谋nda ( Sava艧 ve Sava艧 ve yeni 莽谋kacak kitab谋yla birlikte) yer alaca臒谋n谋 s枚yleyebilirim.
Geldik, sitenin tek i艧ler mekan谋na, Meyhane. 脰r眉mce臒in i艧i: Sekiz 艧eklinde b枚l眉m眉nde kurtar谋c谋n谋n d枚n眉艧 haberiyle k枚yl眉ler meyhanede toplanmaya ba艧lam谋艧 g枚r眉r眉z. Bayan Halisc鈥檌n jargonuyla s枚ylersek; 鈥溎皀cil zamanlar谋 geldi 莽att谋.鈥� Kitab谋n ger莽ekten inan莽l谋 tek karakteri Bayan Halisc ise tek materyalist karakteri de meyhanecidir. Buradaki materyalist vurgusu olduk莽a meta a臒谋rl谋kl谋 olsa da en az谋ndan bilimsel bilgiye abart谋l谋 bir h眉rmeti olan bir karakter. Can谋 s谋k谋ld谋k莽a toplama 莽谋karma i艧lemleri yap谋yor ve 艧u sahtekar 陌rimais鈥檇en onlar谋 kurtaracak bir say谋 dizini ar谋yor. Amma ve lakin, o bir kez bile g枚r眉nmeden ortal谋臒谋 a臒larla ku艧atan, her temizlikten sonra yeniden ortaya 莽谋kan idealist 枚r眉mceklerde bu mekanda i艧 tutuyor. Kitap boyunca farkl谋 yerlerde ortaya 莽谋kan, iki b枚l眉me de ad谋n谋 veren bu 枚r眉mcek a臒lar谋 eserde ne i艧e yar谋yor ya da neyi sembolize ediyor ona gelece臒im ama bu b枚l眉me ad谋n谋 veren 8 艧eklindeyi mota mot, 艧ekil 眉zerinden d眉艧眉nmekte fayda var. 8 rakam谋, yan 莽evrildi臒inde sonsuzlu臒u, iki par莽aya b枚l眉nd眉臒眉nde ise 莽ember anlam谋n谋 verir bize, sonsuza kadar uzayan bir 莽ember, her g眉n en ba艧tan tekrarlanan bir rit眉el. A臒lar谋 temizledik莽e yeniden kurulan ama kurucusunu bir t眉rl眉 g枚rmedi臒imiz, bizim m眉dahalemizle ortadan kalkmayan bir yap谋. 艦unu art谋k s枚yleyelim, kitab谋n ba艧谋ndaki 1.5 sayfal谋k b枚l眉m ile sonu bire bir ayn谋. Biz bir s眉r眉 艧ey oldu臒unu san谋rken ki olurken her 艧eyi yine en ba艧a sar谋yor. Evet, en ba艧a sar谋yoruz ama art谋k en ba艧ta oldu臒umuz umutsuzluk d眉zeyinden daha derin bir umutsuzluk d眉zlemine ge莽iyoruz ve belki de sonsuza kadar gidecek bu sarmal her tamamland谋臒谋nda biraz daha dibe bataca臒谋z. Kurguda kullan谋lan modernist m眉dahaleye besledi臒im hayranl谋k, derindeki anlamla da 枚rt眉艧眉nce ortaya 枚vmelere doyamad谋臒谋m bir eser 莽谋k谋yor.( 艧u saatte 艧ahs谋ma bir mikrofon uzat谋lsa ve 20. Y眉zy谋l谋n en iyi 100 eseri sorulsa 艦eytan Tangosu鈥檔u da kesin eklerim listeye)
Geldik 1.kitab谋n ge莽ti臒i g眉n眉 ba艧tan sona ku艧atan, S枚k眉l眉yor yani Estike鈥檔in hikayesine. 陌艧levsiz k枚y眉n 鈥渁ile鈥� olma 艧erefine nail tek evinin ( hayat kad谋n谋 Bayan Horgos ve 莽ocuklar谋) en k眉莽眉k k谋z谋 olan Estike, k枚yl眉lerin ifadesiyle akl谋 melekeleri yerinde olmayan bir k谋z ama biz o ak谋ll谋 k枚yl眉lerin ne mal oldu臒unu biliyoruz zaten. Ya艧ad谋臒谋 艧iddet, a艧a臒谋lanma ve zorbal谋ktan ( git oyun oyna!) ka莽谋艧谋n pe艧inde ilk olarak k枚r olmaya 莽al谋艧谋yor, herkesin birbirini g枚zetledi臒i yerde g枚rmemeyi se莽iyor. Bu giri艧iminde ba艧ar谋l谋 olamay谋nca ise kimsenin onu g枚remeyece臒i kutusuna s谋臒谋n谋yor. G枚rmeme- G枚r眉nmeme 莽abalar谋n谋 ger莽ekli臒i a艧ma, d谋艧谋na 莽谋kma iste臒i olarak okumak laz谋m ve ama onu da kutusundan 莽谋kart谋p m眉dahaleye a莽谋k hale getiren 艧ey para a臒ac谋 oluyor. Hayalini kurdu臒u a臒a莽 hayallerde kal谋nca kendini sokaklara at谋yor, meyhanedeki Tango鈥檡u camdan izlerken doktorla kar艧谋la艧谋yor, o da onu tersleyince 鈥渕eleklerin aras谋na giden yolu鈥� irade bir m眉dahaleyle k谋salt谋p bir 鈥樑焌to鈥檔un i莽inde huzurla uyuyarak melekleri beklemeye ba艧lar. Eh art谋k kitab谋n tek masumu da olmad谋臒谋n谋 g枚re, b眉y眉k 艧eytan谋 da sahne alabilir.
T眉m g眉n眉 ku艧atan, hikayesi 眉莽 ayr谋 anlat谋da kesi艧en ve anlat谋n谋n dram 枚臒esinin en g眉莽l眉 hissedildi臒i Estike鈥檔in hikayesi olmasayd谋 ne olurdu peki? Asl谋nda hi莽, yani kitab谋n konusu diyece臒imiz olaya do臒rudan bir etkisi yok bu hikayenin. Ne k枚yl眉 gitmekten, ne 陌rimais plan谋ndan ne de olaylar sonsuz bir girdap halinde boka sarmaktan ba艧ka bir u臒ra臒a ge莽ecekti. Hikayenin devam谋 a莽谋s谋ndan sahip oldu臒u temel i艧lev; 陌rimais鈥檌n manip眉lasyonuna kurban gitmek, k枚yl眉lerin ikna olma s眉recini k谋saltmaktan 枚tesi de臒il. Ama belki de masum 枚l眉ler 眉zerinden yap谋lan ideolojik m眉dahale ve y枚nlendirme 艧eytan谋n kurtar谋c谋 pozisyonu i莽in evrensel bir ihtiya莽 olsa gerek, ge莽elim.
脰r眉mcekler i艧 tutmaya devam ediyor. Mekan meyhane, ki艧iler k枚y halk谋, durum berbat, 鈥渙nlar谋 bir arada tutan dur durak bilmeden t眉kenen umutlar谋鈥�. 鈥淯mutsuz insanlar谋n 莽oban谋鈥� 陌rimais yani Mesih, onlar谋 Kenan 眉lkesine g枚t眉recek kurtar谋c谋y谋 bekliyorlar. Bekleyi艧, 莽eli艧kiden azade de臒il, neyi bekledikleri de siliniyor bazen. 陌莽iyor, dans ediyor ama yine de hareketsizler. 脰r眉mcekler a臒lar谋n谋 枚rmeye devam ediyor, bekleyi艧 uzuyor, 艦eytan Tangosu鈥檔a ba艧l谋yorlar, Estike camdan onlar谋 izliyor, g枚rm眉yorlar ve kurtar谋c谋n谋 geldi臒ini bilmekten 莽ok tahmin ediyorlar.
鈥淪anki bu kusursuz, 莽ok 枚zel ve g枚r眉lmesi neredeyse olanaks谋z a臒 zarar g枚rmedi臒i s眉rece ke艧fedilmesi m眉mk眉n olmayan sakl谋 izbelerinde yere yap谋艧m谋艧 halde her k谋p谋rdan谋艧tan, her 莽谋t谋rt谋dan haberdar olmalar谋 枚nemliymi艧cesine..鈥� De臒indik biraz, bitirelim. Kitap boyunca etraf谋m谋z谋 saran metaforlar谋n ba艧谋nda 枚r眉mcek a臒lar谋 geliyor ve bu bizi birka莽 okumaya g枚nderiyor. Evvela, site ve insanlar谋 g枚r眉nmez a臒larla d眉zene ba臒lanm谋艧, ku艧at谋lm谋艧, k谋st谋r谋lm谋艧 varl谋klard谋r. Bu a臒谋n nas谋l kuruldu臒unu g枚rmez, hatta kurucular谋 da ortada yoktur ama o a臒 yerli yerindedir. Y谋k谋m谋n ve 莽眉r眉menin fark谋ndad谋rlar ( bu ne kokusu b枚yle) kurtulmak isterler ancak bunun i莽in sergiledikleri her y谋rtma 莽abas谋 a臒谋n i莽inde ger莽ekle艧tirildi臒i i莽in asl谋nda k谋p谋rt谋s谋z ve hareketsizidir, bir yan谋lsamad谋r. 陌kinci olarak bu a臒dan ka莽arak, yeni bir site arayarak kurtulamay谋z zira a臒 esnektir, onu her alt etti臒imizde yeniden kurulur ve bu da bizi sonsuz bir 莽emberin i莽ine hapseder orada eyler dururuz ve trajedi olarak ba艧layan trajedi olarak sona erer. A臒lar ayn谋 zamanda hakikatle aram谋zda perde i艧levi g枚r眉r, g枚r眉艧 a莽谋m谋z谋 bozar ve 艧eytanlar kurtar谋c谋, g枚臒e y眉kselen masumlar sakat olur. Yanl谋艧 anla艧谋lmas谋n, dini bir s眉r眉 g枚r眉nen ve g枚r眉nmeyen metafora ra臒men bu bir ahlak hikayesi de臒il, ahlaki yarg谋lar谋n, yarg谋lamalar谋n bu tangoda yeri yok, bu tam da bug眉nde i莽inde bunald谋臒谋m谋z, ka莽amad谋臒谋m谋z, punduna getirip aldatamad谋臒谋m谋z, her sabah ba艧tan kurulan kaderimizin hikayesidir. Ve elbette yanl谋艧 anla艧谋lmas谋n, bu her sat谋r谋na kefil oldu臒um bir edebiyat olay谋, y眉zy谋l谋n ba艧yap谋tlar谋ndan biridir, meselesini anlama, anlatmaya 莽al谋艧谋rken muazzaml谋臒谋n谋 谋skalamak istemem.
Yorulmaya ba艧lad谋m, h谋zlanay谋m ki yazarda h谋zlan谋yor 2.kitapla birlikte. Geri d枚n眉艧ler, dola艧malar son buluyor ve o m眉kemmel sona do臒ru fora yelken gidiyoruz.
2.kitap, 6.b枚l眉m 陌rimais鈥檌n, 鈥渢anr谋n谋n defterden sildi臒i kuzusu鈥� hakk谋nda yapt谋臒谋 konu艧ma ile ba艧l谋yor. Konu艧man谋n b眉t眉n眉, demagoji tarihine alt谋n harflerle ge莽ecek cinsten, neler s枚ylenmiyor ki ama biz 艧uraya dikkat kesilelim, 鈥測谋ld谋z谋m谋z谋n en sonunda y眉kselmeye ba艧lamas谋 i莽in sonsuza kadar i莽imizde duracak.鈥� 陌rimais zeki adam, k枚t眉n眉n zaferinin ko艧ulunun iyinin yoklu臒u oldu臒unu o bilmeyecek de biz mi bilece臒iz.
5.b枚l眉m, hicret haz谋rl谋臒谋. K枚yl眉 evleri bo艧alt谋yor, e艧yalar谋n谋 topluyor ve geriye kalanlardan kimse faydalanmas谋n diye her 艧eyi y谋k谋yorlar. Ama hal, gemileri yakt谋k geri d枚n眉艧 yok hali de臒il. 陌rimais; 鈥渟iz dostlar谋m bu saatten sonra 枚zg眉rs眉n眉z鈥� dese de daha derine bir a臒a ba臒lanacaklard谋r.
Laszlo, bir r枚portaj谋nda 鈥淜afka olmasayd谋 yazar olmazd谋m,鈥漝iyor. Yolculu臒un istikameti olan 鈥樑焌to鈥檔un s眉rekli t谋rnak i莽inde olmas谋 bu sevginin en g枚r眉n眉r hali. Kafka鈥檔谋n 鈥樑焌to鈥檚u s眉rekli etraf谋nda dola艧谋lan ama bir t眉rl眉 i莽ine girip huzura eremedi臒imiz yerken burada 鈥樑焌to鈥� kap谋lar谋n谋 hemen a莽谋yor ama huzur hak getire. Umudun 鈥樑焌to鈥檚u, siteden farkl谋 de臒ildir, 莽枚k眉艧 ve 莽眉r眉meden pay谋n谋 d眉艧eni alm谋艧t谋r ve a臒dan ka莽arak 枚zg眉rle艧emeyen k枚yl眉ler a臒daki fantezi d眉nyalar谋n谋 yeni mekanlar谋na ta艧谋r. R眉yalar ve sanr谋lar e艧li臒inde biten b枚l眉m, kitapta en sevdi臒im yerlerden biri oldu. Kar艧谋m谋zda sadece hakikati de臒il fantazma d眉nyalar谋 da 莽枚km眉艧, orada dahi mutlulu臒u bulamayan bir topluluk var, g眉莽l眉 Halisc鈥檌 su kenar谋nda kambur bir c眉ce koval谋yor, Schmidt kar谋s谋na 鈥榮ahip olmak鈥� i莽in sald谋r谋p avucunu yal谋yor, okul m眉d眉r眉 bir erkekle 枚p眉艧眉yor, bayan Halisc hafif me艧rep Bayan Schmidt鈥檌 y谋k谋yor ve nesabaholuyorduneak艧amsadecebite viye艧afaks枚k眉yoryadag眉nbat谋yordu.
4.b枚l眉m, hicret eden k枚yl眉lerin ard谋ndan yola d眉艧en irimais, Petrina ve sanyi鈥檔in cennete gitmek mi kabus g枚rmek mi karar veremedikleri, Estike鈥檔in g枚臒e y眉kseli艧i ve olay谋n inkar谋n谋 i莽eriyor, kabusa s谋臒谋n谋p planlar谋na devam ediyorlar.
3.b枚l眉m de kabusun sabah谋nda k枚yl眉leri 陌rimais鈥檌 beklerken y谋k谋lm谋艧 halde buluyoruz. Doland谋r谋ld谋klar谋ndan emin olduklar谋 an kurtar谋c谋 geliyor, Kafka鈥檔谋n dedi臒i gibi Mesih geli艧i beklenmedi臒i andan sonraki anda zuhur ediyor. Umutlar ye艧eriyor lakin Futaki鈥檇e her 艧eyin 鈥榥afileli臒ine鈥� uyan谋yor, zaten ikinci b枚l眉mde ad谋n谋n yan谋na tehlikeli ibaresi bu y眉zden vuruluyor. Bo艧unal谋臒谋n fark谋nda pe艧ine d眉艧眉yor kurtar谋c谋n di臒erleriyle birlikte ve bir bir veda ediyoruz hepsine, umudun uzatt谋臒谋 i艧kenceleriyle ba艧a ba艧a b谋rakarak. 鈥溎芭焧e elde edebilecekleri tek Kenan!鈥�
2.b枚l眉m, yine polis merkezindeyiz. 陌rimais鈥檌n raporuyla cebelle艧iyor memurlar. Genel 莽眉r眉me, yozla艧ma ve 莽枚k眉艧ten muhbirlerin dil bilgisi de pay谋n谋 al谋yor; 鈥渋艧te, i莽 karart谋c谋 bir s眉ratle d眉艧en genel seviyenin su g枚t眉rmez yeni bir kan谋t谋鈥� olarak kar艧谋lan谋yor rapor. 陌rimais鈥檌n ihbar raporuyla birlikte site halk谋 devletin kay谋tlar谋na da ge莽iyor ve a臒 g枚r眉nmez kalmaya devam ederek biraz daha s谋k谋la艧谋yor. Site halk谋 y谋rtmak (a臒谋 y谋rtmak) i莽in 莽谋kt谋klar谋 yolun sonunda denetlenebilir nesnelere d枚n眉艧眉yorlar. Bu b枚l眉m眉 ayn谋 zamanda Lucas鈥櫮眓 kemiklerini s谋zlatan resmi- kurumsal edebiyat谋n bir parodisi olarak okumak da m眉mk眉n. Raporun diline dair memurlarca yap谋lan 鈥榖ulan谋kl谋k, anla艧谋lmazl谋k, sallapatilik, kas谋tl谋 ya da bilmeyerek yap谋lan 眉st眉n眉 枚rtmeler鈥� d枚nemde ger莽ek莽i ( ki olsa olsa resmi rapor ger莽ek莽ili臒i olur) merkezler taraf谋ndan edebiyat d谋艧谋 g枚r眉l眉p sadelik ve anla艧谋l谋rl谋k ad谋na edebiyat谋n ruhuna el Fatiha okunmu艧tur. Memurlar谋n, raporu sadele艧tirme 莽abalar谋 bu anlay谋艧谋n tipik bir taklididir ki asl谋nda yapt谋klar谋n谋n bir i艧e yaramayaca臒谋 en 莽ok da onu d眉zeltenler taraf谋ndan bilinmektedir.
Ve geldik sona, tur tamamlan谋yor, 莽ember kapan谋yor ve ba艧a d枚n眉yoruz. Site鈥檡e d谋艧ar谋dan bakan, 莽眉r眉meyi kay谋t alt谋na al谋p, belle臒e s谋臒谋nan doktorun evindeyiz. 脰r眉mcek a臒lar谋 oraya da sirayet etmi艧 yoklu臒unda. Site bo艧alm谋艧, kap谋lar s枚k眉lm眉艧 ve ortalarda kimseler yok. 陌艧te tam bu esnada, kimseler g枚r眉nmezken defterini a莽谋yor ve not d眉艧meye ba艧l谋yor: 鈥淜as谋臒谋n谋 ka艧谋yor, geriniyor. Odada geziniyor, yerine oturuyor.鈥� Delirmeyle tanr谋 olma aras谋nda karars谋z, 鈥渁ncak ve ancak ifadesini bulan 艧eyler meydana gelir鈥� diyerek tanr谋 anlat谋c谋 konumunu i艧gal ediyor. Neyin oldu臒unu de臒il neyin olmas谋 gerekti臒inden bahsetti臒i bu hal, o m眉kemmel sondan 枚nce beni 莽arpan 艧ey oldu. Burada yine 莽an sesleri duyuyoruz, en ba艧ta 莽alan m谋 yeni bir 莽an m谋 bilmiyoruz bir 枚nemi de yok. D谋艧ar谋 莽谋k谋yor, ba艧tan beri duydu臒umuz 莽an seslerinin geldi臒i yerde bir delinin 鈥淭眉rkler geliyi鈥� 莽谋臒l谋klar谋 ile 莽an 莽al谋艧谋n谋 duyuyor. Macar tarihinde T眉rk imgesi hakk谋nda konu艧man谋n gere臒i yok san谋r谋m. Evine d枚n眉yor, d谋艧ar谋da g枚r眉lecek bir 艧ey yok, tahtayla kap谋lar谋 莽ivileyip ka臒谋d谋n ba艧谋na ge莽iyor ve kitap bitti臒i yerde yeniden ba艧l谋yor. Na莽izane fikrim, ayn谋 yere d枚nsek de bunun sonsuz bir d枚ng眉 oldu臒u ve her seferinde daha da d眉艧t眉臒眉m眉z y枚n眉nde.
Ama bo艧 verelim 艧imdi bunlar谋, umar谋m kitab谋 okumadan bu yaz谋y谋 okumazs谋n谋z, umar谋m elinizdeki i艧i, g眉c眉, kitab谋 b谋rak谋p hemen okursunuz ve kitab谋 okuduysan谋z e臒er s枚yledi臒im her 艧eyin 莽ok 枚znel bir bak谋艧 a莽谋s谋n谋n 眉r眉n眉 oldu臒unu bu kitaba ba艧lamadan 枚nce hakk谋nda bildi臒im tek 艧ey Bela Tarr
艦eytan Tangosu, Bereket Denizi Serisi ve B眉y眉l眉 Da臒鈥檒a birlikte 2018鈥檌n en iyi kitaplar谋 oldu benim i莽in ve belki de 眉st眉ne konu艧mas谋 en zor kitab谋. Eserin t眉m眉ne hakim olmak, g枚ndermelerin, metaforlar谋n i艧aret ettiklerini kavrayabilmek m眉mk眉n de臒il. Yani konusunu anlat deseler bir 莽谋rp谋da sayar d枚kerim lakin bunu yaparken muhtemelen kitab谋n derdinin yan谋na bile yakla艧amam. G枚z korkutmak gibi olmas谋n ama 艦eytan Tangosu鈥檔u 枚nerebilece臒im pek fazla ki艧i tan谋m谋yorum. 脰nereceklerim ise buradan sonras谋nda bol spoilera maruz kalacaklar, 艧imdiden uyaray谋m.
Hikayemiz Macaristan鈥櫮眓 bir k枚y眉nde ge莽iyor. Kitapta buradan 鈥榮ite鈥� diye bahsediliyor. Bu adland谋rmay谋, Sovyetlerdeki kolektif tar谋m 莽iflikleri (kolhoz) ya da 陌srail鈥檇eki Kibultz benzeri olarak d眉艧眉nmektense Antik Yunandaki siteler gibi d眉艧眉nmek daha i艧levsel geliyor. B枚ylece k枚y眉 mikro devlet olarak kodlayabilir ve anlat谋y谋 evrenselle艧tirebiliriz. Bir 莽枚k眉艧 toplumu ile kar艧谋 kar艧谋yay谋z, asl谋nda biz onlarla tan谋艧t谋臒谋m谋zda tamamlanm谋艧 bir 莽枚k眉艧 bu. Ahlaki olarak yozla艧m谋艧, pratik olarak i艧levsiz, hareketsiz, 眉zerinde 枚r眉mceklerin a臒lar谋n谋 dola艧t谋rd谋臒谋 bir yap谋. Herkesin birbirini g枚zetledi臒i, birbirlerinin e艧leriyle yatt谋臒谋 ya da yatmay谋 d眉艧ledi臒i, okulun 枚臒rencisiz, doktorun hastas谋z, makinelerin kad眉k, ailelerin 莽ocuksuz oldu臒u bu mekanda hikaye nereden geldi臒i belli olmayan 莽an sesleriyle ba艧lar, zaten o seslerle de bitecektir. 脟an sesleri alt谋nda 陌ncil鈥檌n 7 b眉y眉k g眉nah谋ndan K谋skan莽l谋k, 艦ehvet, Tembellik, A莽g枚zl眉l眉k icra edilirken, toplumsal ili艧kiler a臒谋n谋n d谋艧谋na 莽谋k谋艧 yasad谋艧谋 bir edimde, di臒er k枚yl眉lerin paras谋na el konmada bulunur. Tam da bu planlar tart谋艧谋l谋rken 鈥榞eldiklerinin haberi鈥� ni kitab谋n tek inan莽l谋 karakteri Bayan Halisc鈥檇en al谋rlar. 1,5 y谋l 枚nce 枚l眉m haberini ald谋klar谋 陌rimais ve Petrina dirilmi艧 ve k枚ye d枚nmektedir. 鈥溎皊terse bir s谋臒谋r bokundan 艧ato bile yapar鈥� denilen kurtar谋c谋n谋n geli艧iyle planlar ertelenir, umutlar kurtar谋c谋ya devredilir. Kitap boyunca hepsini anlamland谋ramad谋臒谋m谋z 陌ncil g枚ndermeleriyle kar艧谋la艧maya devam edece臒iz ve bu referanslar谋 g枚rd眉臒眉m眉z her sahne ideolojik manip眉lasyonun a艧ikar oldu臒u hallerde ortaya 莽谋kacak. Bu yan谋yla Tolstoy鈥檜n Dirili艧i a艧谋lm谋艧 ve o inan莽 d眉nyas谋 maddi d眉nyan谋n i艧leyi艧ine kurban edilmi艧tir (biraz tan谋d谋k geldi bu). Ayn谋 nehirde iki kez y谋kanamad谋臒谋m谋z gibi ayn谋 inan莽 d眉zeyine de iki kez 莽谋k谋lam谋yor, ge莽elim bu fasl谋.
艦eytan Tangosu 2 kitap, toplam 12 b枚l眉mden olu艧uyor. 1. kitapta okur, ayn谋 g眉n i莽inde ya艧anan olaylar谋 s眉rekli geri d枚n眉艧ler, perspektif kaymalar谋, bir olay谋 birka莽 a臒谋zdan dinlemeyle debelenir durur. Sanki bu cehennemvari iklim taraf谋ndan sarmalanm谋艧, her edimde en ba艧a at谋lm谋艧 buluruz kendimizi.
Diriliyoruz b枚l眉m眉nde kendimizi ayn谋 g眉n眉n sabah谋 bir polis, istihbarat merkezinde buluruz. K枚yl眉n眉n kurtar谋c谋 olarak bekledi臒i 陌rimais ve Petrina zaten en ba艧ta devlet dairesi koridorlar谋nda do臒maktad谋rlar. Burada 艧枚yle bir parantez a莽ay谋m, 艦eytan Tangosu 1985 y谋l谋nda bir do臒u bloku 眉lkesinde yaz谋l谋yor, duvar谋n y谋k谋l谋艧谋na 4 y谋l var ve yazar istese bu anlat谋y谋 ucuzundan bir reel sosyalizm ele艧tirisi 眉zerine kurar ve daha b眉y眉k bir prim yapabilirdi. Oysa kitap boyunca bize Macaristan鈥檇a ve 1985鈥檇e oldu臒umuzu sezdiren sadece 2 b枚l眉m (1.kitap 2.b枚l眉m ve 2.kitap 2.b枚l眉m) var ve i艧leni艧i itibariyle meselenin evrenselli臒ine halel getirmeden anlat谋yor derdini. B枚l眉m 鈥淏a艧lar谋n谋 眉zerindeki saat, dokuz 莽eyre臒i g枚steriyordu, ba艧ka ne bekleyebilirdi ki zaten鈥� c眉mlesi ile a莽谋l谋yor, hemen ard谋nda 枚r眉mcek a臒lar谋 geliyor. Bu a臒lara gelece臒iz ama 谋skalamam谋z gereken 鈥渂a艧ka ne beklenebilirdi ki zaten鈥漝ir. Hemen 1 sayfa sonra muhta莽l谋臒谋n s眉reklili臒ini sa臒layan ( hep geri kalm谋艧) bir saatin bahsi olunur ve bizim o saatin 枚n眉nde ya臒mur taneleri kar艧谋s谋ndaki filizin kaderine ortakl谋臒谋m谋z 鈥渆limiz kolumuz ba臒l谋d谋r鈥� ile vurgulan谋r. Buray谋 tam da yazar谋n dedi臒i gibi anlamal谋y谋z, elimiz kolumuz ba臒l谋. Determinst olma tehlikesi bir tarafa, bizim 眉zerinde h眉km眉m眉z眉n olmad谋臒谋 bir hakikat var, biz ona tabiiyizdir ve her edimimiz zaman谋n ruhu taraf谋ndan belirlenmi艧tir. Bu zaman谋n d谋艧谋na, bu zaman谋n kurallar谋yla oynayarak 莽谋kamay谋z. Ol sebepten yasan谋n d谋艧谋na 莽谋k谋艧 bi莽imimiz yasa taraf谋ndan belirlenmi艧se elimizdeki tek alternatif 鈥� ne kadar rezil olursak o kadar iyidir.鈥� Bu anlamda 陌rimais 鈥渒urtar谋c谋鈥� de臒il, edebiyat tarihinin en 枚nemli siniklerindendir. (bkz Sinik akl谋n ele艧tirisi) Toplumsal ili艧kiler a臒谋n谋n 莽枚pl眉臒眉n眉 bilir ama yine de o a臒谋n i莽inde i艧lemeye devam eder. Fantezi d眉nyas谋ndaki t眉m o patlay谋c谋lar, her yeri y谋kaca臒谋m, bombalayaca臒谋m koflu臒una buradan bakmak laz谋m. Bu b枚l眉mdeki her 艧ey mu臒lakt谋r, ikilinin muhbirli臒i d谋艧谋nda. Ne oldu臒unu bilmedi臒imiz bir g枚revleri vard谋r, orada bir s谋k谋nt谋 do臒mu艧tur ve y眉zba艧谋 d谋艧 mihraklar谋n tehdidi alt谋ndaki bu zor g眉nlerde onlardan yeni ve yine ne oldu臒unu anlamad谋臒谋m谋z g枚revler beklemektedir. 陌kili binadan 莽谋kar, rotalar谋n谋 siteye 莽evirir ve 鈥� mutfakta oturur, k枚艧elere s谋莽ar ve arada d谋艧ar谋 bakarlar鈥� diye tarif etti臒i k枚yl眉leri doland谋rmak 眉zere yola 莽谋kar. ( tam da burada K枚yl眉leri Neden 脰ld眉rmeliyiz 艧iiri 陌brahim Sadri sesiyle arka fonda 莽alar.)
Site鈥檔in 莽眉r眉y眉艧眉, 莽枚z眉l眉艧眉n眉n her 艧eyi bilen 枚zne taraf谋ndan kay谋t alt谋na al谋nd谋臒谋 3.b枚l眉mde, masas谋n谋n ba艧谋nda Macaristan ovas谋n谋n co臒rafi olu艧um s眉recini okuyan doktorla tan谋艧谋r谋z. Ama bu bir 眉nvandan fazlas谋 de臒ildir, onu da di臒erleri gibi 鈥榠艧lerken鈥� hi莽 g枚rmeyiz. Kendini, k枚y眉 g枚zetleme, kay谋t alt谋na alma ve herkes hakk谋nda notlar tutmaya adam谋艧t谋r, g眉nl眉k ya艧am谋n谋 da buna g枚re organize eder. Bu ve son b枚l眉m bence kitab谋n en temel dertlerinin a莽谋臒a 莽谋kt谋臒谋, yazar谋n d眉艧眉n d眉nyas谋n谋 okura a莽谋k etti臒i b枚l眉mleri olu艧turuyor. B枚l眉m眉n ba艧l谋臒谋 bir 艧eyler bilmek ancak bilmek de bir i艧e yaram谋yor. 艦枚yle a莽ay谋m; doktorun pencere 枚n眉ne kurulmaya karar vermesi 鈥榥afileli臒in鈥� fark谋na varmas谋yla oluyor. Sitenin i莽ten i莽e 莽眉r眉d眉臒眉n眉 anlad谋臒谋 an 鈥渟眉rekli olarak in艧a edilen bu 艧eytani d眉zenin鈥� i莽inde 鈥渒endisi her ne kadar 莽谋rp谋nsa da bu muzaffer y谋k谋m谋n 枚n眉ne ge莽ebilmek i莽in fazlas谋yla g眉莽s眉z oldu臒unu鈥� fark etti. Nas谋l ki kitaplardan okudu臒u co臒rafi 艧ekillenme onun d谋艧谋nda ve m眉dahalesine a莽谋k olmayan do臒al bir olguysa, kay谋t alt谋na ald谋臒谋 莽枚z眉lme de onun m眉dahalesinin d谋艧谋ndad谋r ve 鈥渋stese dahi en k眉莽眉k bir de臒i艧ikli臒i bile yapamayaca臒谋n谋n ay谋rt谋na varm谋艧t谋; de臒i艧ikliklerin bariz bir 艧ekilde olumlu sonu莽 verdi臒i kan谋tlanam谋yordu.鈥� Madem, bizim d谋艧谋m谋zda i艧leyen ve bize muhta莽 olmayan bir d眉zen var ve madem ki o 鈥渁臒lar谋n鈥� i莽inde tango ad谋mlar谋yla ileri geri geziyor ve en ba艧a d枚n眉yoruz, 鈥渋ki kere banyo yapman谋n da bir anlam谋 kalm谋yordu.鈥� Edebiyat谋n g眉c眉 bu olsa gerek, 莽emberin i莽inde kalma halini bu kadar iyi anlatabilecek ba艧ka bir ara莽 tan谋m谋yorum. Bartleby, yapmamay谋 tercih ediyordu, doktor ise yap谋p yapmama aras谋nda bir fark谋n olmad谋臒谋 bir mekanizmay谋 imliyerek el art谋r谋yor, belle臒in ve hat谋rlaman谋n g眉c眉ne s谋臒谋narak. Lakin, b枚l眉m眉n sonundaki k枚yl眉n眉n 鈥渄oktor bey bunu yapmayacakt谋n谋z. Yapmayacakt谋n谋z bunu鈥� serzeni艧i neye vurgu yap谋yor anlam谋艧 de臒ilim.
1.kitap boyunca 莽izgisel bir anlat谋 olmad谋臒谋ndan bahsetmi艧tim, her b枚l眉mde bazen en ba艧a d枚nerek o bir g眉n眉 ve olaylar谋n谋 farkl谋 bak谋艧 a莽谋lar谋yla g枚r眉yoruz. Bu g眉n眉n olaylar谋n谋n birle艧ti臒i yer, meyhanedeki tango sahnesi. Doktor evinden i莽ki almak i莽in 莽谋kt谋臒谋nda Ersike鈥檡i meyhaneden i莽eri bakarken g枚r眉r ve burada ne arad谋臒谋n谋 sorar, Ersike doktora ( bir gece ba艧谋nda sabahlad谋臒谋 i莽in) kurtar谋c谋 g枚z眉yle sar谋l谋r ve doktor onu iter. Ard谋ndan k谋z谋n pe艧ine d眉艧se de yakalayamaz, yere devrilir ve b枚l眉m yapmayacakt谋n谋z bunu ile sona erer.
Yerimiz dar, h谋zl谋 gitmeye 莽al谋艧谋yorum yoksa bu kitab谋n ben de edebi, politik, teolojik 莽a臒r谋艧谋mlar谋 derya deniz ve 艧imdiden 2019 okumalar谋m谋n aras谋nda ( Sava艧 ve Sava艧 ve yeni 莽谋kacak kitab谋yla birlikte) yer alaca臒谋n谋 s枚yleyebilirim.
Geldik, sitenin tek i艧ler mekan谋na, Meyhane. 脰r眉mce臒in i艧i: Sekiz 艧eklinde b枚l眉m眉nde kurtar谋c谋n谋n d枚n眉艧 haberiyle k枚yl眉ler meyhanede toplanmaya ba艧lam谋艧 g枚r眉r眉z. Bayan Halisc鈥檌n jargonuyla s枚ylersek; 鈥溎皀cil zamanlar谋 geldi 莽att谋.鈥� Kitab谋n ger莽ekten inan莽l谋 tek karakteri Bayan Halisc ise tek materyalist karakteri de meyhanecidir. Buradaki materyalist vurgusu olduk莽a meta a臒谋rl谋kl谋 olsa da en az谋ndan bilimsel bilgiye abart谋l谋 bir h眉rmeti olan bir karakter. Can谋 s谋k谋ld谋k莽a toplama 莽谋karma i艧lemleri yap谋yor ve 艧u sahtekar 陌rimais鈥檇en onlar谋 kurtaracak bir say谋 dizini ar谋yor. Amma ve lakin, o bir kez bile g枚r眉nmeden ortal谋臒谋 a臒larla ku艧atan, her temizlikten sonra yeniden ortaya 莽谋kan idealist 枚r眉mceklerde bu mekanda i艧 tutuyor. Kitap boyunca farkl谋 yerlerde ortaya 莽谋kan, iki b枚l眉me de ad谋n谋 veren bu 枚r眉mcek a臒lar谋 eserde ne i艧e yar谋yor ya da neyi sembolize ediyor ona gelece臒im ama bu b枚l眉me ad谋n谋 veren 8 艧eklindeyi mota mot, 艧ekil 眉zerinden d眉艧眉nmekte fayda var. 8 rakam谋, yan 莽evrildi臒inde sonsuzlu臒u, iki par莽aya b枚l眉nd眉臒眉nde ise 莽ember anlam谋n谋 verir bize, sonsuza kadar uzayan bir 莽ember, her g眉n en ba艧tan tekrarlanan bir rit眉el. A臒lar谋 temizledik莽e yeniden kurulan ama kurucusunu bir t眉rl眉 g枚rmedi臒imiz, bizim m眉dahalemizle ortadan kalkmayan bir yap谋. 艦unu art谋k s枚yleyelim, kitab谋n ba艧谋ndaki 1.5 sayfal谋k b枚l眉m ile sonu bire bir ayn谋. Biz bir s眉r眉 艧ey oldu臒unu san谋rken ki olurken her 艧eyi yine en ba艧a sar谋yor. Evet, en ba艧a sar谋yoruz ama art谋k en ba艧ta oldu臒umuz umutsuzluk d眉zeyinden daha derin bir umutsuzluk d眉zlemine ge莽iyoruz ve belki de sonsuza kadar gidecek bu sarmal her tamamland谋臒谋nda biraz daha dibe bataca臒谋z. Kurguda kullan谋lan modernist m眉dahaleye besledi臒im hayranl谋k, derindeki anlamla da 枚rt眉艧眉nce ortaya 枚vmelere doyamad谋臒谋m bir eser 莽谋k谋yor.( 艧u saatte 艧ahs谋ma bir mikrofon uzat谋lsa ve 20. Y眉zy谋l谋n en iyi 100 eseri sorulsa 艦eytan Tangosu鈥檔u da kesin eklerim listeye)
Geldik 1.kitab谋n ge莽ti臒i g眉n眉 ba艧tan sona ku艧atan, S枚k眉l眉yor yani Estike鈥檔in hikayesine. 陌艧levsiz k枚y眉n 鈥渁ile鈥� olma 艧erefine nail tek evinin ( hayat kad谋n谋 Bayan Horgos ve 莽ocuklar谋) en k眉莽眉k k谋z谋 olan Estike, k枚yl眉lerin ifadesiyle akl谋 melekeleri yerinde olmayan bir k谋z ama biz o ak谋ll谋 k枚yl眉lerin ne mal oldu臒unu biliyoruz zaten. Ya艧ad谋臒谋 艧iddet, a艧a臒谋lanma ve zorbal谋ktan ( git oyun oyna!) ka莽谋艧谋n pe艧inde ilk olarak k枚r olmaya 莽al谋艧谋yor, herkesin birbirini g枚zetledi臒i yerde g枚rmemeyi se莽iyor. Bu giri艧iminde ba艧ar谋l谋 olamay谋nca ise kimsenin onu g枚remeyece臒i kutusuna s谋臒谋n谋yor. G枚rmeme- G枚r眉nmeme 莽abalar谋n谋 ger莽ekli臒i a艧ma, d谋艧谋na 莽谋kma iste臒i olarak okumak laz谋m ve ama onu da kutusundan 莽谋kart谋p m眉dahaleye a莽谋k hale getiren 艧ey para a臒ac谋 oluyor. Hayalini kurdu臒u a臒a莽 hayallerde kal谋nca kendini sokaklara at谋yor, meyhanedeki Tango鈥檡u camdan izlerken doktorla kar艧谋la艧谋yor, o da onu tersleyince 鈥渕eleklerin aras谋na giden yolu鈥� irade bir m眉dahaleyle k谋salt谋p bir 鈥樑焌to鈥檔un i莽inde huzurla uyuyarak melekleri beklemeye ba艧lar. Eh art谋k kitab谋n tek masumu da olmad谋臒谋n谋 g枚re, b眉y眉k 艧eytan谋 da sahne alabilir.
T眉m g眉n眉 ku艧atan, hikayesi 眉莽 ayr谋 anlat谋da kesi艧en ve anlat谋n谋n dram 枚臒esinin en g眉莽l眉 hissedildi臒i Estike鈥檔in hikayesi olmasayd谋 ne olurdu peki? Asl谋nda hi莽, yani kitab谋n konusu diyece臒imiz olaya do臒rudan bir etkisi yok bu hikayenin. Ne k枚yl眉 gitmekten, ne 陌rimais plan谋ndan ne de olaylar sonsuz bir girdap halinde boka sarmaktan ba艧ka bir u臒ra臒a ge莽ecekti. Hikayenin devam谋 a莽谋s谋ndan sahip oldu臒u temel i艧lev; 陌rimais鈥檌n manip眉lasyonuna kurban gitmek, k枚yl眉lerin ikna olma s眉recini k谋saltmaktan 枚tesi de臒il. Ama belki de masum 枚l眉ler 眉zerinden yap谋lan ideolojik m眉dahale ve y枚nlendirme 艧eytan谋n kurtar谋c谋 pozisyonu i莽in evrensel bir ihtiya莽 olsa gerek, ge莽elim.
脰r眉mcekler i艧 tutmaya devam ediyor. Mekan meyhane, ki艧iler k枚y halk谋, durum berbat, 鈥渙nlar谋 bir arada tutan dur durak bilmeden t眉kenen umutlar谋鈥�. 鈥淯mutsuz insanlar谋n 莽oban谋鈥� 陌rimais yani Mesih, onlar谋 Kenan 眉lkesine g枚t眉recek kurtar谋c谋y谋 bekliyorlar. Bekleyi艧, 莽eli艧kiden azade de臒il, neyi bekledikleri de siliniyor bazen. 陌莽iyor, dans ediyor ama yine de hareketsizler. 脰r眉mcekler a臒lar谋n谋 枚rmeye devam ediyor, bekleyi艧 uzuyor, 艦eytan Tangosu鈥檔a ba艧l谋yorlar, Estike camdan onlar谋 izliyor, g枚rm眉yorlar ve kurtar谋c谋n谋 geldi臒ini bilmekten 莽ok tahmin ediyorlar.
鈥淪anki bu kusursuz, 莽ok 枚zel ve g枚r眉lmesi neredeyse olanaks谋z a臒 zarar g枚rmedi臒i s眉rece ke艧fedilmesi m眉mk眉n olmayan sakl谋 izbelerinde yere yap谋艧m谋艧 halde her k谋p谋rdan谋艧tan, her 莽谋t谋rt谋dan haberdar olmalar谋 枚nemliymi艧cesine..鈥� De臒indik biraz, bitirelim. Kitap boyunca etraf谋m谋z谋 saran metaforlar谋n ba艧谋nda 枚r眉mcek a臒lar谋 geliyor ve bu bizi birka莽 okumaya g枚nderiyor. Evvela, site ve insanlar谋 g枚r眉nmez a臒larla d眉zene ba臒lanm谋艧, ku艧at谋lm谋艧, k谋st谋r谋lm谋艧 varl谋klard谋r. Bu a臒谋n nas谋l kuruldu臒unu g枚rmez, hatta kurucular谋 da ortada yoktur ama o a臒 yerli yerindedir. Y谋k谋m谋n ve 莽眉r眉menin fark谋ndad谋rlar ( bu ne kokusu b枚yle) kurtulmak isterler ancak bunun i莽in sergiledikleri her y谋rtma 莽abas谋 a臒谋n i莽inde ger莽ekle艧tirildi臒i i莽in asl谋nda k谋p谋rt谋s谋z ve hareketsizidir, bir yan谋lsamad谋r. 陌kinci olarak bu a臒dan ka莽arak, yeni bir site arayarak kurtulamay谋z zira a臒 esnektir, onu her alt etti臒imizde yeniden kurulur ve bu da bizi sonsuz bir 莽emberin i莽ine hapseder orada eyler dururuz ve trajedi olarak ba艧layan trajedi olarak sona erer. A臒lar ayn谋 zamanda hakikatle aram谋zda perde i艧levi g枚r眉r, g枚r眉艧 a莽谋m谋z谋 bozar ve 艧eytanlar kurtar谋c谋, g枚臒e y眉kselen masumlar sakat olur. Yanl谋艧 anla艧谋lmas谋n, dini bir s眉r眉 g枚r眉nen ve g枚r眉nmeyen metafora ra臒men bu bir ahlak hikayesi de臒il, ahlaki yarg谋lar谋n, yarg谋lamalar谋n bu tangoda yeri yok, bu tam da bug眉nde i莽inde bunald谋臒谋m谋z, ka莽amad谋臒谋m谋z, punduna getirip aldatamad谋臒谋m谋z, her sabah ba艧tan kurulan kaderimizin hikayesidir. Ve elbette yanl谋艧 anla艧谋lmas谋n, bu her sat谋r谋na kefil oldu臒um bir edebiyat olay谋, y眉zy谋l谋n ba艧yap谋tlar谋ndan biridir, meselesini anlama, anlatmaya 莽al谋艧谋rken muazzaml谋臒谋n谋 谋skalamak istemem.
Yorulmaya ba艧lad谋m, h谋zlanay谋m ki yazarda h谋zlan谋yor 2.kitapla birlikte. Geri d枚n眉艧ler, dola艧malar son buluyor ve o m眉kemmel sona do臒ru fora yelken gidiyoruz.
2.kitap, 6.b枚l眉m 陌rimais鈥檌n, 鈥渢anr谋n谋n defterden sildi臒i kuzusu鈥� hakk谋nda yapt谋臒谋 konu艧ma ile ba艧l谋yor. Konu艧man谋n b眉t眉n眉, demagoji tarihine alt谋n harflerle ge莽ecek cinsten, neler s枚ylenmiyor ki ama biz 艧uraya dikkat kesilelim, 鈥測谋ld谋z谋m谋z谋n en sonunda y眉kselmeye ba艧lamas谋 i莽in sonsuza kadar i莽imizde duracak.鈥� 陌rimais zeki adam, k枚t眉n眉n zaferinin ko艧ulunun iyinin yoklu臒u oldu臒unu o bilmeyecek de biz mi bilece臒iz.
5.b枚l眉m, hicret haz谋rl谋臒谋. K枚yl眉 evleri bo艧alt谋yor, e艧yalar谋n谋 topluyor ve geriye kalanlardan kimse faydalanmas谋n diye her 艧eyi y谋k谋yorlar. Ama hal, gemileri yakt谋k geri d枚n眉艧 yok hali de臒il. 陌rimais; 鈥渟iz dostlar谋m bu saatten sonra 枚zg眉rs眉n眉z鈥� dese de daha derine bir a臒a ba臒lanacaklard谋r.
Laszlo, bir r枚portaj谋nda 鈥淜afka olmasayd谋 yazar olmazd谋m,鈥漝iyor. Yolculu臒un istikameti olan 鈥樑焌to鈥檔un s眉rekli t谋rnak i莽inde olmas谋 bu sevginin en g枚r眉n眉r hali. Kafka鈥檔谋n 鈥樑焌to鈥檚u s眉rekli etraf谋nda dola艧谋lan ama bir t眉rl眉 i莽ine girip huzura eremedi臒imiz yerken burada 鈥樑焌to鈥� kap谋lar谋n谋 hemen a莽谋yor ama huzur hak getire. Umudun 鈥樑焌to鈥檚u, siteden farkl谋 de臒ildir, 莽枚k眉艧 ve 莽眉r眉meden pay谋n谋 d眉艧eni alm谋艧t谋r ve a臒dan ka莽arak 枚zg眉rle艧emeyen k枚yl眉ler a臒daki fantezi d眉nyalar谋n谋 yeni mekanlar谋na ta艧谋r. R眉yalar ve sanr谋lar e艧li臒inde biten b枚l眉m, kitapta en sevdi臒im yerlerden biri oldu. Kar艧谋m谋zda sadece hakikati de臒il fantazma d眉nyalar谋 da 莽枚km眉艧, orada dahi mutlulu臒u bulamayan bir topluluk var, g眉莽l眉 Halisc鈥檌 su kenar谋nda kambur bir c眉ce koval谋yor, Schmidt kar谋s谋na 鈥榮ahip olmak鈥� i莽in sald谋r谋p avucunu yal谋yor, okul m眉d眉r眉 bir erkekle 枚p眉艧眉yor, bayan Halisc hafif me艧rep Bayan Schmidt鈥檌 y谋k谋yor ve nesabaholuyorduneak艧amsadecebite viye艧afaks枚k眉yoryadag眉nbat谋yordu.
4.b枚l眉m, hicret eden k枚yl眉lerin ard谋ndan yola d眉艧en irimais, Petrina ve sanyi鈥檔in cennete gitmek mi kabus g枚rmek mi karar veremedikleri, Estike鈥檔in g枚臒e y眉kseli艧i ve olay谋n inkar谋n谋 i莽eriyor, kabusa s谋臒谋n谋p planlar谋na devam ediyorlar.
3.b枚l眉m de kabusun sabah谋nda k枚yl眉leri 陌rimais鈥檌 beklerken y谋k谋lm谋艧 halde buluyoruz. Doland谋r谋ld谋klar谋ndan emin olduklar谋 an kurtar谋c谋 geliyor, Kafka鈥檔谋n dedi臒i gibi Mesih geli艧i beklenmedi臒i andan sonraki anda zuhur ediyor. Umutlar ye艧eriyor lakin Futaki鈥檇e her 艧eyin 鈥榥afileli臒ine鈥� uyan谋yor, zaten ikinci b枚l眉mde ad谋n谋n yan谋na tehlikeli ibaresi bu y眉zden vuruluyor. Bo艧unal谋臒谋n fark谋nda pe艧ine d眉艧眉yor kurtar谋c谋n di臒erleriyle birlikte ve bir bir veda ediyoruz hepsine, umudun uzatt谋臒谋 i艧kenceleriyle ba艧a ba艧a b谋rakarak. 鈥溎芭焧e elde edebilecekleri tek Kenan!鈥�
2.b枚l眉m, yine polis merkezindeyiz. 陌rimais鈥檌n raporuyla cebelle艧iyor memurlar. Genel 莽眉r眉me, yozla艧ma ve 莽枚k眉艧ten muhbirlerin dil bilgisi de pay谋n谋 al谋yor; 鈥渋艧te, i莽 karart谋c谋 bir s眉ratle d眉艧en genel seviyenin su g枚t眉rmez yeni bir kan谋t谋鈥� olarak kar艧谋lan谋yor rapor. 陌rimais鈥檌n ihbar raporuyla birlikte site halk谋 devletin kay谋tlar谋na da ge莽iyor ve a臒 g枚r眉nmez kalmaya devam ederek biraz daha s谋k谋la艧谋yor. Site halk谋 y谋rtmak (a臒谋 y谋rtmak) i莽in 莽谋kt谋klar谋 yolun sonunda denetlenebilir nesnelere d枚n眉艧眉yorlar. Bu b枚l眉m眉 ayn谋 zamanda Lucas鈥櫮眓 kemiklerini s谋zlatan resmi- kurumsal edebiyat谋n bir parodisi olarak okumak da m眉mk眉n. Raporun diline dair memurlarca yap谋lan 鈥榖ulan谋kl谋k, anla艧谋lmazl谋k, sallapatilik, kas谋tl谋 ya da bilmeyerek yap谋lan 眉st眉n眉 枚rtmeler鈥� d枚nemde ger莽ek莽i ( ki olsa olsa resmi rapor ger莽ek莽ili臒i olur) merkezler taraf谋ndan edebiyat d谋艧谋 g枚r眉l眉p sadelik ve anla艧谋l谋rl谋k ad谋na edebiyat谋n ruhuna el Fatiha okunmu艧tur. Memurlar谋n, raporu sadele艧tirme 莽abalar谋 bu anlay谋艧谋n tipik bir taklididir ki asl谋nda yapt谋klar谋n谋n bir i艧e yaramayaca臒谋 en 莽ok da onu d眉zeltenler taraf谋ndan bilinmektedir.
Ve geldik sona, tur tamamlan谋yor, 莽ember kapan谋yor ve ba艧a d枚n眉yoruz. Site鈥檡e d谋艧ar谋dan bakan, 莽眉r眉meyi kay谋t alt谋na al谋p, belle臒e s谋臒谋nan doktorun evindeyiz. 脰r眉mcek a臒lar谋 oraya da sirayet etmi艧 yoklu臒unda. Site bo艧alm谋艧, kap谋lar s枚k眉lm眉艧 ve ortalarda kimseler yok. 陌艧te tam bu esnada, kimseler g枚r眉nmezken defterini a莽谋yor ve not d眉艧meye ba艧l谋yor: 鈥淜as谋臒谋n谋 ka艧谋yor, geriniyor. Odada geziniyor, yerine oturuyor.鈥� Delirmeyle tanr谋 olma aras谋nda karars谋z, 鈥渁ncak ve ancak ifadesini bulan 艧eyler meydana gelir鈥� diyerek tanr谋 anlat谋c谋 konumunu i艧gal ediyor. Neyin oldu臒unu de臒il neyin olmas谋 gerekti臒inden bahsetti臒i bu hal, o m眉kemmel sondan 枚nce beni 莽arpan 艧ey oldu. Burada yine 莽an sesleri duyuyoruz, en ba艧ta 莽alan m谋 yeni bir 莽an m谋 bilmiyoruz bir 枚nemi de yok. D谋艧ar谋 莽谋k谋yor, ba艧tan beri duydu臒umuz 莽an seslerinin geldi臒i yerde bir delinin 鈥淭眉rkler geliyi鈥� 莽谋臒l谋klar谋 ile 莽an 莽al谋艧谋n谋 duyuyor. Macar tarihinde T眉rk imgesi hakk谋nda konu艧man谋n gere臒i yok san谋r谋m. Evine d枚n眉yor, d谋艧ar谋da g枚r眉lecek bir 艧ey yok, tahtayla kap谋lar谋 莽ivileyip ka臒谋d谋n ba艧谋na ge莽iyor ve kitap bitti臒i yerde yeniden ba艧l谋yor. Na莽izane fikrim, ayn谋 yere d枚nsek de bunun sonsuz bir d枚ng眉 oldu臒u ve her seferinde daha da d眉艧t眉臒眉m眉z y枚n眉nde.
Ama bo艧 verelim 艧imdi bunlar谋, umar谋m kitab谋 okumadan bu yaz谋y谋 okumazs谋n谋z, umar谋m elinizdeki i艧i, g眉c眉, kitab谋 b谋rak谋p hemen okursunuz ve kitab谋 okuduysan谋z e臒er s枚yledi臒im her 艧eyin 莽ok 枚znel bir bak谋艧 a莽谋s谋n谋n 眉r眉n眉 oldu臒unu bu kitaba ba艧lamadan 枚nce hakk谋nda bildi臒im tek 艧ey Bela Tarr
March 20, 2012
Laszlo Krasznahorkai's first novel Satantango certainly plays hard-to-get. This cagey, fractal narrative鈥攄ivided upon itself and reassembled, almost like a cubist painting鈥攄elights in disorienting the reader and forcing him to roll up his intellectual sleeves and get down to business. Published originally in 1985, during the decline of European communism, and finally appearing in English translation this month, Satantango offers the story of a Hungarian collective which, despite its formal dissolution, fails to disband. Its inhabitants鈥攄ecrepit, despairing, and utterly purposeless鈥攚ait around for some sign or impetus, enduring yet another oppressive rainy season without hope or certainty.
Krasznakorkai visits a number of their stories glancingly: a reclusive, alcoholic doctor who documents the goings-on in the village from the scrupulous vantage of his window; a couple of swindlers who attempt to steal the community's profits from the sale of its livestock; an earthy, sensual wife who either beds or frustrates every man in town (if only perhaps because of her lack of any formidable competition); an abused and disturbed little girl who tortures and kills a cat in a desperate attempt to feel some mitigated sense of power; and a religious fanatic who decries the decadence of this strange, withering community.
Everything changes with the return of Irimi谩s and Petrina, two members of the collective who were reported dead eighteen months before. Their reappearance, by virtue of its mystery, signals an almost religious awakening for the villagers, who are fortified with a renewed hope for (what feels like) one last push to achieve freedom from their dismal inertia. But is Irimi谩s a savior or charlatan?
Satantango is a challenging but rewarding book. Krasznahorkai likes nothing better than obscuring certain details of the plot to reinforce the otherworldliness of the narrative. Several questions remain unanswered鈥攗ltimately to the benefit of the novel, I think鈥攂ut they will frustrate readers expecting a more forthcoming plot. The style鈥攍ong, unbroken paragraphs, without a lot of introductory exposition鈥攖ends to keep the reader off-balance and will discourage the less committed reader, but those who are in it for the long haul will find this oblique, haunting novel well worth their attention.
A gospel of despair, Satantango, I think, qualifies as a minor masterpiece. Hypnotic, bewildering, and unsettling, it nagged at me even when I was away from it. Sometimes I would wonder, Why do I feel bothered鈥攐n edge? And then I would recall a feeling or image that Krasznahorkai left me with. That's the strange power of the truly accomplished writer鈥攏ot just to tell stories, but to imprint experiences, sensations upon his readers, so that even when we forget the particulars, we remember the effect鈥攙ast and overpowering.
Krasznakorkai visits a number of their stories glancingly: a reclusive, alcoholic doctor who documents the goings-on in the village from the scrupulous vantage of his window; a couple of swindlers who attempt to steal the community's profits from the sale of its livestock; an earthy, sensual wife who either beds or frustrates every man in town (if only perhaps because of her lack of any formidable competition); an abused and disturbed little girl who tortures and kills a cat in a desperate attempt to feel some mitigated sense of power; and a religious fanatic who decries the decadence of this strange, withering community.
Everything changes with the return of Irimi谩s and Petrina, two members of the collective who were reported dead eighteen months before. Their reappearance, by virtue of its mystery, signals an almost religious awakening for the villagers, who are fortified with a renewed hope for (what feels like) one last push to achieve freedom from their dismal inertia. But is Irimi谩s a savior or charlatan?
Satantango is a challenging but rewarding book. Krasznahorkai likes nothing better than obscuring certain details of the plot to reinforce the otherworldliness of the narrative. Several questions remain unanswered鈥攗ltimately to the benefit of the novel, I think鈥攂ut they will frustrate readers expecting a more forthcoming plot. The style鈥攍ong, unbroken paragraphs, without a lot of introductory exposition鈥攖ends to keep the reader off-balance and will discourage the less committed reader, but those who are in it for the long haul will find this oblique, haunting novel well worth their attention.
A gospel of despair, Satantango, I think, qualifies as a minor masterpiece. Hypnotic, bewildering, and unsettling, it nagged at me even when I was away from it. Sometimes I would wonder, Why do I feel bothered鈥攐n edge? And then I would recall a feeling or image that Krasznahorkai left me with. That's the strange power of the truly accomplished writer鈥攏ot just to tell stories, but to imprint experiences, sensations upon his readers, so that even when we forget the particulars, we remember the effect鈥攙ast and overpowering.
February 10, 2018
Satantango by Laszlo Krasznahorkai has received numerous great reviews and write ups but for me this was a very depressing and claustrophobic read. Longlisted for the Independent Foreign Fiction Prize in 2013 but it was the cover that caught my attention as I browsed in a book shop and I am a sucker for a great cover.
In the darkening embers of a communist Utopia, life in a desolate Hungarian village has come to a virtual standstill when the charismatic Irimias long thought to dead returns home.
When I started this novel it felt like someone had torn out the first 50 pages of the book and I had to figure out who the characters were and what exactly was going and to be honest the further along I read the more frustrated I became and at the half way mark I decided I couldn't take any more of this depressing and bleak novel no mather how much of a masterpiece it is considered in Hungary.
Another major issue I had with this book was there was no paragraph breaks which makes it very difficult reading and along with poor characterization and no sense of time or place this one was a non runner for me and sadly goes on my very small DNF list.
In the darkening embers of a communist Utopia, life in a desolate Hungarian village has come to a virtual standstill when the charismatic Irimias long thought to dead returns home.
When I started this novel it felt like someone had torn out the first 50 pages of the book and I had to figure out who the characters were and what exactly was going and to be honest the further along I read the more frustrated I became and at the half way mark I decided I couldn't take any more of this depressing and bleak novel no mather how much of a masterpiece it is considered in Hungary.
Another major issue I had with this book was there was no paragraph breaks which makes it very difficult reading and along with poor characterization and no sense of time or place this one was a non runner for me and sadly goes on my very small DNF list.
May 27, 2018
First published in Hungary in 1985 this cleverly constructed, often exhilarating, but relentlessly bleak novel is now something of a cult classic. Krasznahorkai's vision is of the likes you just don't come across that often. This book stands out from the crowd, along with everything else he has written. The story centres on the arrival of a man who may or may not be a prophet, or the devil, or just a violent being, out to cause unrest in a rotting, perishing, rain-sodden Hungarian hamlet where all hope has been lost. The buildings are crumbling down, the inhabitants, a cast of semi-crazed desperate peasants who cack-handedly are trying to rip each other off while ogling each other's wives are not the kind of folk to share a joke with. A doctor obsessively watching his neighbours, young women trying to sell themselves in a depleted mill, a disabled girl ineptly attempting to kill her cat to shake off boredom. Now if this sounds like the stuff of misery, that's precisely what it is, with the exception of a few moments of strange humour. The man whom they credit with extraordinary powers, and who was supposed to have already died, is on the road to the estate, with his sidekick Petrina. The locals excitedly assemble in the spider-infested bar to await him, where they argue, drink and dance grotesquely to the accordion into the small hours.
L谩szl贸 Krasznahorkai's scenes are designed to de-familiarise with the world around us. The chapters tend to begin with some under-explained event, a strangely vehement argument about whether to turn on an oil heater, or the inhabitants trashing their homes and setting out on the open road clutching a few possessions. He writes in a high modernist style, that's vague in places and fairly abstract, and even though the writing seems out of place with the setting, it doesn't really feel like it. He cleverly weaves themes like communism and alienation into his narrative that helps the story feel that bit more realistic. But the book still carries a old folk tale sentiment, or that of somebody's nightmare. Anyone looking to feel like a summer's day whilst reading this can forget it. It's like being stuck in a world set against the darkest tones of black and white, with out of tune violins crying away slowing ready for the last day on earth.
This is no doubt a remarkable achievement, but structurally, I still preferred 'The Melancholy of Resistance' to this. Hence the four stars instead of five.
L谩szl贸 Krasznahorkai's scenes are designed to de-familiarise with the world around us. The chapters tend to begin with some under-explained event, a strangely vehement argument about whether to turn on an oil heater, or the inhabitants trashing their homes and setting out on the open road clutching a few possessions. He writes in a high modernist style, that's vague in places and fairly abstract, and even though the writing seems out of place with the setting, it doesn't really feel like it. He cleverly weaves themes like communism and alienation into his narrative that helps the story feel that bit more realistic. But the book still carries a old folk tale sentiment, or that of somebody's nightmare. Anyone looking to feel like a summer's day whilst reading this can forget it. It's like being stuck in a world set against the darkest tones of black and white, with out of tune violins crying away slowing ready for the last day on earth.
This is no doubt a remarkable achievement, but structurally, I still preferred 'The Melancholy of Resistance' to this. Hence the four stars instead of five.
December 12, 2018
础濒濒补丑谋尘!
鈥溑瀍ytan Tangosu鈥漬u biraz 枚nce bitirdim ve yazar谋n son b枚l眉mde indirdi臒i yumrukla sersemleyip, bir s眉re anlams谋zca kitab谋 bitirmi艧 olman谋n getirece臒i tatmin duygusundan da yoksun; kafamda sorularla bo艧 bo艧 etrafa bak谋nd谋m. Ne diyece臒imi bilemiyorum! Asl谋nda bu 枚yle bitirince direkt olarak yorum yapaca臒谋m eserlerden biri de臒il. Biraz 眉zerine 莽al谋艧mak gerek. Metaforlar ve ayr谋nt谋lar g枚sterdi臒inin 枚tesinde neleri anlat谋yor kafa patlatmak laz谋m. Fakat bazen bir eseri bitirdi臒inizde, onun hakk谋nda birileriyle acilen konu艧ma ihtiyac谋 hissedersiniz ya 鈥溑瀍ytan Tangosu鈥� da tam olarak onlardan biri i艧te. Biraz 莽谋rp谋n谋p 艧uan bu eseri okudu臒unu bildi臒im birka莽 arkada艧谋m谋 taciz ettim ama hen眉z sonland谋rmad谋klar谋ndan istedi臒im fikir al谋艧veri艧ini yapamad谋m. Dedim en iyisi bir kafamdakileri yazay谋m, rahatlayay谋m:)
鈥溑瀍ytan Tangosu鈥� asl谋nda yabanc谋s谋 oldu臒um bir hik芒ye de臒il. 脟眉nk眉 1994 senesinde Bela Tarr taraf谋ndan kotar谋lm谋艧 uyarlama filmi iyi bildi臒im yap谋mlardan bir tanesidir. Klasik sinema esteti臒inin son kalelerinden biri olan Bela Tarr zaten tart谋艧谋lmaz bir y枚netmendir. Onu ve filmlerini konu艧mak sineman谋n i莽erisinde olan biri olarak s谋kl谋kla ger莽ekle艧tirdi臒im bir 艧ey. Genelde 鈥淭orino At谋鈥� isimli filmiyle tan谋n谋yor ancak ba艧yap谋t谋 鈥淪atantango鈥漝ur. 7,5 saatlik s眉resiyle ve a臒谋r aksak ilerleyen devinimleriyle 莽o臒u seyirciyi korkuttu臒undan belki de, 莽ok 枚ne 莽谋kamam谋艧t谋r ama nefis bir yap谋md谋r. Yani bu filmden kaynakl谋 hik芒yeye a艧inayd谋m ve kitap T眉rk莽ede bas谋ld谋臒谋ndan beri de hep okumak i莽in bir itki ar谋yordum. Sonunda ve iyi ki okudum.
Krasznahorkai, 鈥溑瀍ytan Tangosu鈥漬u 1985 senesinde kaleme alm谋艧. 脺lkesinde 莽谋kt谋臒谋nda belli tart谋艧malar yaratm谋艧 olan kitap, Bela Tarr鈥櫮眓 uzun u臒ra艧lar谋yla film haline getirilince; 1994鈥檛e d眉nya izleyicisiyle bulu艧unca; kitap daha 莽ok tan谋nm谋艧 ve okuyucular谋n daha 莽ok ilgisine nail olmu艧. 脟ok ilgin莽 bir 艧ey belirtmek isterim ki 鈥溑瀍ytan Tangosu鈥� Krasznahorkai鈥檔in ilk roman谋. Evet, bir debut ve nas谋l bu kadar yetkin ve etkin, hayret verici do臒rusu. Roman 莽ok yo臒un, 枚zg眉n ve zeki bir akl谋n elinden 莽谋kma kurgusuyla edebi anlamda hayranl谋k uyand谋r谋c谋. Modernist roman谋n g眉zel bir 枚rne臒i olarak kabul edebilece臒imiz kitab谋n, modernist hamleleri i莽 titreten cinsten. 鈥淪es ve 脰fke鈥� mi dedik misal ya da 鈥淏enim Ad谋m K谋rm谋z谋鈥漬谋n sonunda konu艧an Orhan Pamuk mu? O hesap bir g眉zellik yap谋yor roman谋n谋n baz谋 noktalar谋nda Krasznahorkai. Ve bunu ilk eserinde yapabilmi艧 olmas谋 beni a莽谋k莽as谋 en 莽ok etkileyen 艧eylerden bir tanesi. Bir dil ustas谋n谋n yazd谋klar谋n谋 okur hissi baki ve g眉莽l眉yken; bunu bu kadar erken ba艧arabilmi艧 olmas谋 sadece hayranl谋k uyand谋r谋c谋.
Roman谋m谋z Macaristan ta艧ras谋n谋n bir k枚艧esinde kendi 莽眉r眉m眉艧l眉臒眉ne hapsolmu艧 bir 'site'de ge莽iyor. Buradaki site asl谋nda Sovyet鈥檒erdeki kolhozlara denk d眉艧en bir olu艧um. Elbette oradaki kooperatifler gibi buradaki site de i艧levini yitirmi艧, minik bir hapishaneye d枚n眉艧m眉艧, i莽inde ya艧ayanlar谋yla tam da ta艧rada bulabilece臒imiz bir devinimsizlik i莽erisinde varl谋臒谋n谋 s眉rd眉r眉yor. Bu sitenin ya艧ayanlar谋 枚zenle se莽ilmi艧, Tanr谋鈥檔谋n 艧efkatinden mahrum kalm谋艧, aciz ama bir o kadar da yozla艧m谋艧 ve daha fazla yozla艧maya a莽谋k; birey olmaya 莽ok uzak insanc谋klar: Bay ve Bayan Schmidt, Doktor, Futaki, Meyhaneci, Halicsler, Kramerlar ve di臒erleri鈥� Krasznahorkai bize ilkin bu insanlar谋n, site i莽erisindeki ya艧amlar谋n谋 anlat谋yor. Sitedeki her ayr谋nt谋s谋n谋 g枚sterdi臒i 莽眉r眉m眉艧l眉k ve koku艧mu艧lukla; bir yandan da Do臒u Avrupa alegorisi sunuyor. Birbirlerini s眉rekli evlerinin pencerelerinden izleyenler, s眉rekli olarak ba艧kas谋n谋n e艧leriyle cinsel ili艧kiye giren ya da hayalini kuran kad谋n ve erkekler, v眉cudunu satan minik k谋zlar, g眉莽 ve para (kurtulu艧) i莽in ailesi de d芒hil ait oldu臒u yeri satabilenler vs. Anlayaca臒谋n谋z son derece koku艧mu艧 biz yozla艧ma h芒kim siteye. Ve bir beklenen oldu臒unu g枚r眉yoruz: Irimias. Asl谋nda beklenen do臒ru kelime de臒il, hi莽 beklenmiyor ama yarataca臒谋 etkiyle gizliden gizliye o olsun olmas谋n bir benzeri de olsa her daim 鈥榖eklenen鈥� bir yandan da. Ba艧谋nda tac谋 dirili艧ten gelen 陌sa misali. Nihayetinde de geliyor. Kitap bu noktadan sonra ba艧ka bir ak谋艧a giriyor ve anlat谋n谋n 眉zerinden de sis perdesi bir nebze kalk谋yor. Bu sis perdesinin as谋l谋 oldu臒u ilk b枚l眉m眉n b眉y眉s眉 de temel olarak anlat谋m谋nda yat谋yor. 脟眉nk眉 burada epizotlar谋 okurken asl谋nda ayn谋 zaman谋n i莽erisinde s眉z眉ld眉臒眉m眉z眉 anl谋yoruz. Zaman belki bizim i莽in dakikalarla ilerliyor. Bir geli艧me kaydedemiyor gibi bir hissin i莽ine d眉艧眉p, Laszlo鈥檔un bizi hapsetti臒i o zaman谋n i莽erisinde sitenin ve insanlar谋n her haline ve ayr谋nt谋s谋na h芒kim oluyoruz. Irimias鈥櫮眓 geldi臒i yerden sonra hikaye daha aksiyonel. Yine kimseyi 枚l眉mc眉l bir spoiler ile 眉zmek istemedi臒imden hik芒yenin bu noktadan sonraki ilerleyi艧ine 莽ok fazla bir 艧ey s枚ylemek istemiyorum.
Ama roman ritminden hi莽bir 艧ey kaybetmiyor. Bir katran gibi yo臒un ve yava艧 akmaya devam ediyor. B眉t眉n betimlemeler bizi anlat谋lan ana, 枚znel oldu臒undan daha 莽ok nesnel bir yarg谋lar zinciriyle ta艧谋yor. G枚rselli臒e ya da eylemlere dair gri alan b谋rakm谋yor yazar. Hepsini kafam谋za 莽iziyor. Karakterin zihinlerini bize a莽mayarak bir oyun oynuyor belki de. Sadece 莽ok beylik fikirlerini hissedebiliyoruz ya da tan谋k oluyoruz. Ancak belki de yazar tam olarak da bunu istiyor. Zira kitab谋 sonland谋rd谋臒谋m谋zda bu karakterlerin yazar谋n anlatt谋臒谋ndan daha fazlas谋 olmad谋臒谋n谋 da anl谋yoruz ac谋 ac谋.
脟anlarla a莽谋lan ve 莽anlarla sonlanan roman i莽erisinde, dirili艧, melekler, 陌ncil vs 眉zerine hakikatli b枚l眉mler ayr谋ld谋臒谋n谋 g枚r眉yoruz. Bu anlamda roman 莽ok zengin. Fakat bunlar谋n do臒ru okumas谋 i莽in biraz 眉zerine d眉艧眉nmem gerekiyor, o y眉zden i艧kembeden yorumlamak istemem. Ama bu anlamda kitap Tarkovski taraf谋ndan uyarlansayd谋 鈥淪atantango鈥漝an daha g眉莽l眉 bir film ortaya 莽谋kar m谋yd谋 acaba diye de sormadan edemiyorum. Dini okumas谋n谋 bir kenara b谋rak谋rsak filmin bir de politik bir okumas谋 oldu臒unu g枚rebiliriz. Macaristan鈥檇a da t谋pk谋 kolhozlar gibi tar谋m i莽in ba艧lat谋lan reformlar谋n ve in艧alar谋n; planlan谋ld谋臒谋 gibi ba艧ar谋l谋 sonu莽 vermedi臒i bilinmekte. Krasznahorkai鈥檇e bu kitab谋yla 眉lkesinin, o zaman谋n hakim sistemi kar艧谋s谋nda kaybetmi艧 insanlar谋na muzip ve ta艧layan bir a臒谋t yak谋yor. Ne de olsa hikayenin ortas谋na kurtulu艧un ve yeniden ba艧lang谋c谋n simgesi olarak 艦ato鈥檡u koymu艧. Direkt olarak Kafka鈥檔谋n 艦ato鈥檚una gidebiliriz bu noktada zira olduk莽a a莽谋k bir metafor 艧ato. K. 艧atoya nas谋l ula艧am谋yorsa bizim karakterlerimiz de tersine bir kolayl谋kla 艧atoya ula艧谋yorlar. Ama orada beklediklerinden 莽ok daha farkl谋 bir ger莽ekle bulu艧uyorlar. K谋sa s眉ren fark谋ndal谋klar谋 s眉resince bir uyanma bekliyoruz asl谋nda ama 艦ato o noktada bir de臒i艧im noktas谋. Kurtar谋c谋 geri d枚nd眉臒眉nde ve karakterlerimizi geleceklerine teslim etti臒inde, 艦ato鈥檔un ne kadar da Kafka鈥檔谋n 艧atosuna benzedi臒ini g枚r眉yoruz. Sistemin y眉r眉t眉c眉s眉 otoritenin b眉k眉lmez g眉c眉ne bir kere daha sert bir 艧ekilde tan谋kl谋k ediyoruz. Hele ki mutlu bir 艧ekilde k枚lelik i莽in zemin haz谋rland谋ysa, o zaman her 艧ey muhte艧em bir vuru艧 ve raz谋 geli艧 dans谋na d枚n眉艧眉yor. Bundan ala sado-mazo mu var asl谋nda? Fark谋ndal谋k olmay谋nca her 艧ey do臒ru mu oluyor? G眉n眉m眉z T眉rkiye鈥檚ine de burdan baksak mesela? Cellad谋na a艧谋k garipler ve otorite, otorite, otorite.
Kitab谋n sonunda da Doktor 眉zerinden 莽ok 艧谋k bir hamle yap谋yor yazar. Bizi yeniden 莽an seslerine g枚t眉r眉yor ve orada makaray谋 ba艧a sar谋yor. Ak谋l almaz bir dekupaj yap谋yor. Son b枚l眉m beni 莽ok etkiledi. Burada ilahi bir 艧eyden gelen tokatla sersemlemi艧 hissettim. O deli ve 莽anlar鈥� Kitab谋n ortas谋nda vuku bulan ak谋l almaz olay, Eliste鈥檔in y眉kselen na艧谋ndan daha da 莽ok etkiledi. Bir 枚nceki b枚l眉mde Iramias 眉zerinden kurulan 陌sa metaforunun elimizde tuzla buz olmas谋 da ayr谋 bir g眉zellikti. Belki de 陌sa sand谋臒谋m谋z asl谋nda 艧eytan谋n ta kendisinden ba艧kas谋 de臒ildir. Roman谋n ortas谋ndan itibaren hissetti臒imiz o fenal谋k, 枚telememize ra臒men burada zalimce ger莽ekle艧ince, insan谋n umudunda bir yara a莽谋l谋yor illaki.
脟ok uzatt谋m ve karma kar谋艧谋k bir yaz谋 oldu fark谋nday谋m ama kitap da beni b枚yle bir karma艧an谋n i莽ine att谋, gitti. 脰r眉mcek a臒谋 ve tangodan bahsetmedim hen眉z ama mecalim de kalmad谋 pek. Belki daha sonra bir d眉zeltme yapar谋m.
Herkese tavsiye etmiyorum. Okumas谋 olduk莽a zor bir eserdi. Temposu d眉艧眉k, ayr谋nt谋lamas谋 莽ok fazla ve birileri i莽in 鈥榟i莽bir 艧eyin olmad谋臒谋鈥� eserlerden biri oldu臒undan herkese mutlaka okuyun demem. Ama modernist romandan ho艧lanan, biraz zaman谋 e臒mektense, zaman taraf谋ndan e臒ilmek isteyen okur kendisini biliyor, onlar sevecektir. O mutlu az谋nl谋臒a tavsiye ederim. Sonras谋nda filmi izlemenize de mutlaka tavsiye ederim.
陌yi okumalar.
9/10
鈥溑瀍ytan Tangosu鈥漬u biraz 枚nce bitirdim ve yazar谋n son b枚l眉mde indirdi臒i yumrukla sersemleyip, bir s眉re anlams谋zca kitab谋 bitirmi艧 olman谋n getirece臒i tatmin duygusundan da yoksun; kafamda sorularla bo艧 bo艧 etrafa bak谋nd谋m. Ne diyece臒imi bilemiyorum! Asl谋nda bu 枚yle bitirince direkt olarak yorum yapaca臒谋m eserlerden biri de臒il. Biraz 眉zerine 莽al谋艧mak gerek. Metaforlar ve ayr谋nt谋lar g枚sterdi臒inin 枚tesinde neleri anlat谋yor kafa patlatmak laz谋m. Fakat bazen bir eseri bitirdi臒inizde, onun hakk谋nda birileriyle acilen konu艧ma ihtiyac谋 hissedersiniz ya 鈥溑瀍ytan Tangosu鈥� da tam olarak onlardan biri i艧te. Biraz 莽谋rp谋n谋p 艧uan bu eseri okudu臒unu bildi臒im birka莽 arkada艧谋m谋 taciz ettim ama hen眉z sonland谋rmad谋klar谋ndan istedi臒im fikir al谋艧veri艧ini yapamad谋m. Dedim en iyisi bir kafamdakileri yazay谋m, rahatlayay谋m:)
鈥溑瀍ytan Tangosu鈥� asl谋nda yabanc谋s谋 oldu臒um bir hik芒ye de臒il. 脟眉nk眉 1994 senesinde Bela Tarr taraf谋ndan kotar谋lm谋艧 uyarlama filmi iyi bildi臒im yap谋mlardan bir tanesidir. Klasik sinema esteti臒inin son kalelerinden biri olan Bela Tarr zaten tart谋艧谋lmaz bir y枚netmendir. Onu ve filmlerini konu艧mak sineman谋n i莽erisinde olan biri olarak s谋kl谋kla ger莽ekle艧tirdi臒im bir 艧ey. Genelde 鈥淭orino At谋鈥� isimli filmiyle tan谋n谋yor ancak ba艧yap谋t谋 鈥淪atantango鈥漝ur. 7,5 saatlik s眉resiyle ve a臒谋r aksak ilerleyen devinimleriyle 莽o臒u seyirciyi korkuttu臒undan belki de, 莽ok 枚ne 莽谋kamam谋艧t谋r ama nefis bir yap谋md谋r. Yani bu filmden kaynakl谋 hik芒yeye a艧inayd谋m ve kitap T眉rk莽ede bas谋ld谋臒谋ndan beri de hep okumak i莽in bir itki ar谋yordum. Sonunda ve iyi ki okudum.
Krasznahorkai, 鈥溑瀍ytan Tangosu鈥漬u 1985 senesinde kaleme alm谋艧. 脺lkesinde 莽谋kt谋臒谋nda belli tart谋艧malar yaratm谋艧 olan kitap, Bela Tarr鈥櫮眓 uzun u臒ra艧lar谋yla film haline getirilince; 1994鈥檛e d眉nya izleyicisiyle bulu艧unca; kitap daha 莽ok tan谋nm谋艧 ve okuyucular谋n daha 莽ok ilgisine nail olmu艧. 脟ok ilgin莽 bir 艧ey belirtmek isterim ki 鈥溑瀍ytan Tangosu鈥� Krasznahorkai鈥檔in ilk roman谋. Evet, bir debut ve nas谋l bu kadar yetkin ve etkin, hayret verici do臒rusu. Roman 莽ok yo臒un, 枚zg眉n ve zeki bir akl谋n elinden 莽谋kma kurgusuyla edebi anlamda hayranl谋k uyand谋r谋c谋. Modernist roman谋n g眉zel bir 枚rne臒i olarak kabul edebilece臒imiz kitab谋n, modernist hamleleri i莽 titreten cinsten. 鈥淪es ve 脰fke鈥� mi dedik misal ya da 鈥淏enim Ad谋m K谋rm谋z谋鈥漬谋n sonunda konu艧an Orhan Pamuk mu? O hesap bir g眉zellik yap谋yor roman谋n谋n baz谋 noktalar谋nda Krasznahorkai. Ve bunu ilk eserinde yapabilmi艧 olmas谋 beni a莽谋k莽as谋 en 莽ok etkileyen 艧eylerden bir tanesi. Bir dil ustas谋n谋n yazd谋klar谋n谋 okur hissi baki ve g眉莽l眉yken; bunu bu kadar erken ba艧arabilmi艧 olmas谋 sadece hayranl谋k uyand谋r谋c谋.
Roman谋m谋z Macaristan ta艧ras谋n谋n bir k枚艧esinde kendi 莽眉r眉m眉艧l眉臒眉ne hapsolmu艧 bir 'site'de ge莽iyor. Buradaki site asl谋nda Sovyet鈥檒erdeki kolhozlara denk d眉艧en bir olu艧um. Elbette oradaki kooperatifler gibi buradaki site de i艧levini yitirmi艧, minik bir hapishaneye d枚n眉艧m眉艧, i莽inde ya艧ayanlar谋yla tam da ta艧rada bulabilece臒imiz bir devinimsizlik i莽erisinde varl谋臒谋n谋 s眉rd眉r眉yor. Bu sitenin ya艧ayanlar谋 枚zenle se莽ilmi艧, Tanr谋鈥檔谋n 艧efkatinden mahrum kalm谋艧, aciz ama bir o kadar da yozla艧m谋艧 ve daha fazla yozla艧maya a莽谋k; birey olmaya 莽ok uzak insanc谋klar: Bay ve Bayan Schmidt, Doktor, Futaki, Meyhaneci, Halicsler, Kramerlar ve di臒erleri鈥� Krasznahorkai bize ilkin bu insanlar谋n, site i莽erisindeki ya艧amlar谋n谋 anlat谋yor. Sitedeki her ayr谋nt谋s谋n谋 g枚sterdi臒i 莽眉r眉m眉艧l眉k ve koku艧mu艧lukla; bir yandan da Do臒u Avrupa alegorisi sunuyor. Birbirlerini s眉rekli evlerinin pencerelerinden izleyenler, s眉rekli olarak ba艧kas谋n谋n e艧leriyle cinsel ili艧kiye giren ya da hayalini kuran kad谋n ve erkekler, v眉cudunu satan minik k谋zlar, g眉莽 ve para (kurtulu艧) i莽in ailesi de d芒hil ait oldu臒u yeri satabilenler vs. Anlayaca臒谋n谋z son derece koku艧mu艧 biz yozla艧ma h芒kim siteye. Ve bir beklenen oldu臒unu g枚r眉yoruz: Irimias. Asl谋nda beklenen do臒ru kelime de臒il, hi莽 beklenmiyor ama yarataca臒谋 etkiyle gizliden gizliye o olsun olmas谋n bir benzeri de olsa her daim 鈥榖eklenen鈥� bir yandan da. Ba艧谋nda tac谋 dirili艧ten gelen 陌sa misali. Nihayetinde de geliyor. Kitap bu noktadan sonra ba艧ka bir ak谋艧a giriyor ve anlat谋n谋n 眉zerinden de sis perdesi bir nebze kalk谋yor. Bu sis perdesinin as谋l谋 oldu臒u ilk b枚l眉m眉n b眉y眉s眉 de temel olarak anlat谋m谋nda yat谋yor. 脟眉nk眉 burada epizotlar谋 okurken asl谋nda ayn谋 zaman谋n i莽erisinde s眉z眉ld眉臒眉m眉z眉 anl谋yoruz. Zaman belki bizim i莽in dakikalarla ilerliyor. Bir geli艧me kaydedemiyor gibi bir hissin i莽ine d眉艧眉p, Laszlo鈥檔un bizi hapsetti臒i o zaman谋n i莽erisinde sitenin ve insanlar谋n her haline ve ayr谋nt谋s谋na h芒kim oluyoruz. Irimias鈥櫮眓 geldi臒i yerden sonra hikaye daha aksiyonel. Yine kimseyi 枚l眉mc眉l bir spoiler ile 眉zmek istemedi臒imden hik芒yenin bu noktadan sonraki ilerleyi艧ine 莽ok fazla bir 艧ey s枚ylemek istemiyorum.
Ama roman ritminden hi莽bir 艧ey kaybetmiyor. Bir katran gibi yo臒un ve yava艧 akmaya devam ediyor. B眉t眉n betimlemeler bizi anlat谋lan ana, 枚znel oldu臒undan daha 莽ok nesnel bir yarg谋lar zinciriyle ta艧谋yor. G枚rselli臒e ya da eylemlere dair gri alan b谋rakm谋yor yazar. Hepsini kafam谋za 莽iziyor. Karakterin zihinlerini bize a莽mayarak bir oyun oynuyor belki de. Sadece 莽ok beylik fikirlerini hissedebiliyoruz ya da tan谋k oluyoruz. Ancak belki de yazar tam olarak da bunu istiyor. Zira kitab谋 sonland谋rd谋臒谋m谋zda bu karakterlerin yazar谋n anlatt谋臒谋ndan daha fazlas谋 olmad谋臒谋n谋 da anl谋yoruz ac谋 ac谋.
脟anlarla a莽谋lan ve 莽anlarla sonlanan roman i莽erisinde, dirili艧, melekler, 陌ncil vs 眉zerine hakikatli b枚l眉mler ayr谋ld谋臒谋n谋 g枚r眉yoruz. Bu anlamda roman 莽ok zengin. Fakat bunlar谋n do臒ru okumas谋 i莽in biraz 眉zerine d眉艧眉nmem gerekiyor, o y眉zden i艧kembeden yorumlamak istemem. Ama bu anlamda kitap Tarkovski taraf谋ndan uyarlansayd谋 鈥淪atantango鈥漝an daha g眉莽l眉 bir film ortaya 莽谋kar m谋yd谋 acaba diye de sormadan edemiyorum. Dini okumas谋n谋 bir kenara b谋rak谋rsak filmin bir de politik bir okumas谋 oldu臒unu g枚rebiliriz. Macaristan鈥檇a da t谋pk谋 kolhozlar gibi tar谋m i莽in ba艧lat谋lan reformlar谋n ve in艧alar谋n; planlan谋ld谋臒谋 gibi ba艧ar谋l谋 sonu莽 vermedi臒i bilinmekte. Krasznahorkai鈥檇e bu kitab谋yla 眉lkesinin, o zaman谋n hakim sistemi kar艧谋s谋nda kaybetmi艧 insanlar谋na muzip ve ta艧layan bir a臒谋t yak谋yor. Ne de olsa hikayenin ortas谋na kurtulu艧un ve yeniden ba艧lang谋c谋n simgesi olarak 艦ato鈥檡u koymu艧. Direkt olarak Kafka鈥檔谋n 艦ato鈥檚una gidebiliriz bu noktada zira olduk莽a a莽谋k bir metafor 艧ato. K. 艧atoya nas谋l ula艧am谋yorsa bizim karakterlerimiz de tersine bir kolayl谋kla 艧atoya ula艧谋yorlar. Ama orada beklediklerinden 莽ok daha farkl谋 bir ger莽ekle bulu艧uyorlar. K谋sa s眉ren fark谋ndal谋klar谋 s眉resince bir uyanma bekliyoruz asl谋nda ama 艦ato o noktada bir de臒i艧im noktas谋. Kurtar谋c谋 geri d枚nd眉臒眉nde ve karakterlerimizi geleceklerine teslim etti臒inde, 艦ato鈥檔un ne kadar da Kafka鈥檔谋n 艧atosuna benzedi臒ini g枚r眉yoruz. Sistemin y眉r眉t眉c眉s眉 otoritenin b眉k眉lmez g眉c眉ne bir kere daha sert bir 艧ekilde tan谋kl谋k ediyoruz. Hele ki mutlu bir 艧ekilde k枚lelik i莽in zemin haz谋rland谋ysa, o zaman her 艧ey muhte艧em bir vuru艧 ve raz谋 geli艧 dans谋na d枚n眉艧眉yor. Bundan ala sado-mazo mu var asl谋nda? Fark谋ndal谋k olmay谋nca her 艧ey do臒ru mu oluyor? G眉n眉m眉z T眉rkiye鈥檚ine de burdan baksak mesela? Cellad谋na a艧谋k garipler ve otorite, otorite, otorite.
Kitab谋n sonunda da Doktor 眉zerinden 莽ok 艧谋k bir hamle yap谋yor yazar. Bizi yeniden 莽an seslerine g枚t眉r眉yor ve orada makaray谋 ba艧a sar谋yor. Ak谋l almaz bir dekupaj yap谋yor. Son b枚l眉m beni 莽ok etkiledi. Burada ilahi bir 艧eyden gelen tokatla sersemlemi艧 hissettim. O deli ve 莽anlar鈥� Kitab谋n ortas谋nda vuku bulan ak谋l almaz olay, Eliste鈥檔in y眉kselen na艧谋ndan daha da 莽ok etkiledi. Bir 枚nceki b枚l眉mde Iramias 眉zerinden kurulan 陌sa metaforunun elimizde tuzla buz olmas谋 da ayr谋 bir g眉zellikti. Belki de 陌sa sand谋臒谋m谋z asl谋nda 艧eytan谋n ta kendisinden ba艧kas谋 de臒ildir. Roman谋n ortas谋ndan itibaren hissetti臒imiz o fenal谋k, 枚telememize ra臒men burada zalimce ger莽ekle艧ince, insan谋n umudunda bir yara a莽谋l谋yor illaki.
脟ok uzatt谋m ve karma kar谋艧谋k bir yaz谋 oldu fark谋nday谋m ama kitap da beni b枚yle bir karma艧an谋n i莽ine att谋, gitti. 脰r眉mcek a臒谋 ve tangodan bahsetmedim hen眉z ama mecalim de kalmad谋 pek. Belki daha sonra bir d眉zeltme yapar谋m.
Herkese tavsiye etmiyorum. Okumas谋 olduk莽a zor bir eserdi. Temposu d眉艧眉k, ayr谋nt谋lamas谋 莽ok fazla ve birileri i莽in 鈥榟i莽bir 艧eyin olmad谋臒谋鈥� eserlerden biri oldu臒undan herkese mutlaka okuyun demem. Ama modernist romandan ho艧lanan, biraz zaman谋 e臒mektense, zaman taraf谋ndan e臒ilmek isteyen okur kendisini biliyor, onlar sevecektir. O mutlu az谋nl谋臒a tavsiye ederim. Sonras谋nda filmi izlemenize de mutlaka tavsiye ederim.
陌yi okumalar.
9/10
November 12, 2019
A powerful open text, one rife with both fire and human failures. As I quipped early, it's a Faulkner noir in the Magyar mud. What ripens and stings is more akin to Beckett: a waiting for IKEA, with ideological trappings.
The novel opens essentially with a bell in the night. Then it rains.
The contemporary reader will ascribe a historical arc to the symbolism, unfortunately the novel was written in 1985. INXS didn't script the Velvet Revolution. Many phenomenon are repositioned after the fact.
The novel in translation appears in the wake of Bela Tarr's imperious adaptation. The language is a live wire amidst the sodden decay. This should be pursued at all costs.
The novel opens essentially with a bell in the night. Then it rains.
The contemporary reader will ascribe a historical arc to the symbolism, unfortunately the novel was written in 1985. INXS didn't script the Velvet Revolution. Many phenomenon are repositioned after the fact.
The novel in translation appears in the wake of Bela Tarr's imperious adaptation. The language is a live wire amidst the sodden decay. This should be pursued at all costs.
May 16, 2018
Once again, I wrote a full review and then, as I was about to save it, I accidently changed screens and deleted it. It was brilliant. It really was. I spent two hours on it.
I even made some great connections to Goethe's Faust (Easter bells announcing the resurrection and 'Walpurgisnacht') and to Nietzsche's eternal return.
I believe that I have captured the spirit of the book by deleting the review. Absurd.
I highly recommend it.
I even made some great connections to Goethe's Faust (Easter bells announcing the resurrection and 'Walpurgisnacht') and to Nietzsche's eternal return.
I believe that I have captured the spirit of the book by deleting the review. Absurd.
I highly recommend it.
September 11, 2022
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趩胤賵乇 丕蹖賳 賱毓賳鬲蹖 鬲賳賴丕 丿賵蹖爻鬲 賵 賴卮鬲丕丿 賵 賴卮鬲 氐賮丨賴 丕爻鬲責
October 31, 2022
鈥淥ne morning near the end of October not long before the first drops of the mercilessly long autumn rains began to fall鈥�, I鈥檝e finally decided to crack this book opened. And I鈥檝e been rapidly consumed by the swirl of its language, atmosphere and its characters. The bunch of desperados, all of them one buy one resurfacing from murky nothingness, sculptured by language trying to surround me and drag into the the opaque non-existence of their quite real world.
And yet, though undeniably the characterisation of this novel is darkly-brilliant, what kept me turning the pages was the language and the stylistic variety of its registers. The author could play with his sentences; he could imbed a dreadful pathetic speech into the text that would still be meaningful; he could create a whole vignette contrasting a passionate figurative Volap眉k of the one of his characters with bureaucratic dry lingo of a state; and he would make it in a such a way that it is absurd, but it is perfectly credible at the same time and grotesquely funny.
His prose is very cinematic. He changes the perspectives, swiftly moves between the scenes, zooms into details, then - out again; he uses noises and music for effect. I am not surprised that the film by B茅la Tarr based on the novel has become iconic. And that is in spite of lasting 7 hours and been shot in black and white. One does not need colours in that world. The first few chapters are quite disorienting as you are going head first into the atmosphere and it is tricky to work out what is going on around you. So you have no choice but keep reading, almost watching. This is as well a good for cinema.
As with any good book it would be quite reductive to talk about separate themes. You cannot split the whole into bits without losing something. But the main take for me was his rendering or power as a concept. It seems to be intrinsically important for the characters. It seems each of them consciously or subconsciously crave for it. For them the power is directly associated with the degree of freedom they have achieved. The power and freedom is almost equivalent. At the same time, it seems that they all accept the existence of a hierarchy without any challenge: they crave for some sort of authority which would relieve them from the responsibility to be free. Power brings some freedom to control the destiny of someone weaker; to decide whether to forgive or to punish; to be a saviour or a destroyer. But ultimately, in this system it would be always someone above you who would exercise his freedom on you not share it with you.
In the most powerful episode of the book, a little girl deprived of any love and care exercises her freedom to deal with her cat as she pleased - just to see who is more powerful. Just to establish that she can.
A doctor, in the name only though, desperately tries to fight the laws entropy:
鈥渢he best he could do was to use his memory to fend off the sinister, underhanded process of decay, trusting in the fact that since all that mason might build, carpenter might construct, woman might stitch, indeed all that men and women had brought forth with bitter tears was bound to turn to an undifferentiated, runny, underground, mysteriously ordained mush, his memory would remain lively and clear.鈥�
He also carves out a tiny island of order through arranging a small number of physical objects on his table, but letting everything else in his house to decay. Eventually, he finds his unique way how to exercise a certain power over other people too: 鈥淚 can control the flow of events around me using nothing more than the words.鈥� Writing!
Irimias, a swindler, or is he a saviour? In any case, he possesses almost unlimited power over the group of villagers. They would happily intrust him their lives. And they actually do so. But does this power makes him free or at least fearless? No. He is even more trapped than they are. He needs to serve the system above him. Moreover, in this system of hierarchies eventually it should be a something absolutely free with absolute power. Therefore, it should be God, but if not him? If 鈥淕od was a mistake鈥�, then this absolute is simply nothing. So according to Irimias, 鈥淲e think we鈥檙e breaking free but all we鈥檙e doing is readjusting the locks. We鈥檙e trapped, end of story.鈥�
So any power is meaningless at the end in that world: 鈥渋n truth he was as helpless as they were, he no longer hoped to lend meaning to the power that was strangling him as much as it was them, could not free himself from it.鈥� Any power is indeed meaningless if it is distributed in such a way that it is used solely with purpose of grabbing more freedom at the expense of others.
To some extent, this novel is an antithesis to . Like aforementioned Don, Irimias is almost always on a journey accompanied by the sidekick who is awkward, simple but more cautious and pragmatic character sincerely devoted to his lord. Cervantes鈥檚 knight of sad countenance imagines miracles where there are none, and by fighting for this imaginary reality he creates it for real. In contrast, Irimias, when faced with a proper miracle, rejects it. He explains it in a way that his imagination simply played a trick on him:
鈥淚t鈥檚 only our imaginations, not our senses, that continually confront us with failure and the false belief that we can raise ourselves by our own bootstraps from the miserable pulp of decay. There鈥檚 no escaping that, stupid.鈥�
Don Quixote鈥檚 imagination would make a Dulcinea out of a peasant girl. Through his imagination he would find a way to love, almost worship ordinary people.
The world of this book is on the contrary full of contempt for the folk. Well, at least for the characters presented in the novel. And yes, they are not the most likeable bunch. They are the ones left behind (does this expression remind you of something?) Left behind literally in their case on the remote ruined estate. They could not adapt as some other managed to. They did not leave and now they stuck with little opportunity apart from the bar and dreams of escape to the brighter future.
Irimias does not mince his words in respect of them:
鈥淭hey are slaves who have lost their master but can鈥檛 live without what they call pride, honor and courage. That鈥檚 what keeps their souls in place even if at the back of their thick skulls they sense these qualities aren鈥檛 their own, that they鈥檝e simply enjoyed living in the shadow of their masters . . .Then, wherever the shadow falls they follow, like a flock of sheep, because they can鈥檛 do without a shadow..鈥�
The Doctor gently refers to the same people as 鈥渢hese moronic nincompoops鈥�.
VS Naipaul starts his novel with the phrase:
鈥淭he world is what it is; men who are nothing allow themselves to become nothing, have no place in it鈥�.
Reading Santatango, I was constantly coming back to this sentence in my mind. And if not anything else, this novel has again made me think about this. Is it actually true? To which extent Don Quixote is right? To which extent Naipaul or Irimias is right? And does the existence of these people, 鈥渘incompoops鈥�, lead to the emergence of such Irimiases on the top of the social ladder, Irimiases who gain power, constantly hungry for more, ready to kill for it eventually if required? How do Don Quixote and Irimias co-exist?
I wish to believe Don Quixote was somewhere on the right track. But the reality intervenes. And when I see Russian soldiers being summoned into the country by their master, gruesomely murder and rape civilians and run from Ukraine with stolen washing machines and toilet sits in their hands; when I see a man attacking the husband of an older female politician with a hammer to 鈥渕ake America great again鈥�; when I see how young girls are met with the bullets on the street of Iran, fighting for their right to be free鈥� Well, then I start reluctantly to side with Naipaul because those who are potentially 鈥渟laves who cannot do without a shadow to follow鈥�, who 鈥渁llowed themselves to become nothing鈥� might suddenly become very dangerous. 鈥淭he world is what it is鈥濃€�
But the remainder of an idealist in me still cries for hope. And compared to the reality this book even might be considered somewhat reassuring. At least, there is a big element of black humour that saves the day. There is element of perseverance as well even if redemption is not on the table.
And I finished the book, and I thought about it for a few days, and I opened my laptop, and thought a bit more; and then I began to type: 鈥淥ne morning near the end of October not long before the first drops of the mercilessly long autumn rains began to fall鈥︹€�
And yet, though undeniably the characterisation of this novel is darkly-brilliant, what kept me turning the pages was the language and the stylistic variety of its registers. The author could play with his sentences; he could imbed a dreadful pathetic speech into the text that would still be meaningful; he could create a whole vignette contrasting a passionate figurative Volap眉k of the one of his characters with bureaucratic dry lingo of a state; and he would make it in a such a way that it is absurd, but it is perfectly credible at the same time and grotesquely funny.
His prose is very cinematic. He changes the perspectives, swiftly moves between the scenes, zooms into details, then - out again; he uses noises and music for effect. I am not surprised that the film by B茅la Tarr based on the novel has become iconic. And that is in spite of lasting 7 hours and been shot in black and white. One does not need colours in that world. The first few chapters are quite disorienting as you are going head first into the atmosphere and it is tricky to work out what is going on around you. So you have no choice but keep reading, almost watching. This is as well a good for cinema.
As with any good book it would be quite reductive to talk about separate themes. You cannot split the whole into bits without losing something. But the main take for me was his rendering or power as a concept. It seems to be intrinsically important for the characters. It seems each of them consciously or subconsciously crave for it. For them the power is directly associated with the degree of freedom they have achieved. The power and freedom is almost equivalent. At the same time, it seems that they all accept the existence of a hierarchy without any challenge: they crave for some sort of authority which would relieve them from the responsibility to be free. Power brings some freedom to control the destiny of someone weaker; to decide whether to forgive or to punish; to be a saviour or a destroyer. But ultimately, in this system it would be always someone above you who would exercise his freedom on you not share it with you.
In the most powerful episode of the book, a little girl deprived of any love and care exercises her freedom to deal with her cat as she pleased - just to see who is more powerful. Just to establish that she can.
A doctor, in the name only though, desperately tries to fight the laws entropy:
鈥渢he best he could do was to use his memory to fend off the sinister, underhanded process of decay, trusting in the fact that since all that mason might build, carpenter might construct, woman might stitch, indeed all that men and women had brought forth with bitter tears was bound to turn to an undifferentiated, runny, underground, mysteriously ordained mush, his memory would remain lively and clear.鈥�
He also carves out a tiny island of order through arranging a small number of physical objects on his table, but letting everything else in his house to decay. Eventually, he finds his unique way how to exercise a certain power over other people too: 鈥淚 can control the flow of events around me using nothing more than the words.鈥� Writing!
Irimias, a swindler, or is he a saviour? In any case, he possesses almost unlimited power over the group of villagers. They would happily intrust him their lives. And they actually do so. But does this power makes him free or at least fearless? No. He is even more trapped than they are. He needs to serve the system above him. Moreover, in this system of hierarchies eventually it should be a something absolutely free with absolute power. Therefore, it should be God, but if not him? If 鈥淕od was a mistake鈥�, then this absolute is simply nothing. So according to Irimias, 鈥淲e think we鈥檙e breaking free but all we鈥檙e doing is readjusting the locks. We鈥檙e trapped, end of story.鈥�
So any power is meaningless at the end in that world: 鈥渋n truth he was as helpless as they were, he no longer hoped to lend meaning to the power that was strangling him as much as it was them, could not free himself from it.鈥� Any power is indeed meaningless if it is distributed in such a way that it is used solely with purpose of grabbing more freedom at the expense of others.
To some extent, this novel is an antithesis to . Like aforementioned Don, Irimias is almost always on a journey accompanied by the sidekick who is awkward, simple but more cautious and pragmatic character sincerely devoted to his lord. Cervantes鈥檚 knight of sad countenance imagines miracles where there are none, and by fighting for this imaginary reality he creates it for real. In contrast, Irimias, when faced with a proper miracle, rejects it. He explains it in a way that his imagination simply played a trick on him:
鈥淚t鈥檚 only our imaginations, not our senses, that continually confront us with failure and the false belief that we can raise ourselves by our own bootstraps from the miserable pulp of decay. There鈥檚 no escaping that, stupid.鈥�
Don Quixote鈥檚 imagination would make a Dulcinea out of a peasant girl. Through his imagination he would find a way to love, almost worship ordinary people.
The world of this book is on the contrary full of contempt for the folk. Well, at least for the characters presented in the novel. And yes, they are not the most likeable bunch. They are the ones left behind (does this expression remind you of something?) Left behind literally in their case on the remote ruined estate. They could not adapt as some other managed to. They did not leave and now they stuck with little opportunity apart from the bar and dreams of escape to the brighter future.
Irimias does not mince his words in respect of them:
鈥淭hey are slaves who have lost their master but can鈥檛 live without what they call pride, honor and courage. That鈥檚 what keeps their souls in place even if at the back of their thick skulls they sense these qualities aren鈥檛 their own, that they鈥檝e simply enjoyed living in the shadow of their masters . . .Then, wherever the shadow falls they follow, like a flock of sheep, because they can鈥檛 do without a shadow..鈥�
The Doctor gently refers to the same people as 鈥渢hese moronic nincompoops鈥�.
VS Naipaul starts his novel with the phrase:
鈥淭he world is what it is; men who are nothing allow themselves to become nothing, have no place in it鈥�.
Reading Santatango, I was constantly coming back to this sentence in my mind. And if not anything else, this novel has again made me think about this. Is it actually true? To which extent Don Quixote is right? To which extent Naipaul or Irimias is right? And does the existence of these people, 鈥渘incompoops鈥�, lead to the emergence of such Irimiases on the top of the social ladder, Irimiases who gain power, constantly hungry for more, ready to kill for it eventually if required? How do Don Quixote and Irimias co-exist?
I wish to believe Don Quixote was somewhere on the right track. But the reality intervenes. And when I see Russian soldiers being summoned into the country by their master, gruesomely murder and rape civilians and run from Ukraine with stolen washing machines and toilet sits in their hands; when I see a man attacking the husband of an older female politician with a hammer to 鈥渕ake America great again鈥�; when I see how young girls are met with the bullets on the street of Iran, fighting for their right to be free鈥� Well, then I start reluctantly to side with Naipaul because those who are potentially 鈥渟laves who cannot do without a shadow to follow鈥�, who 鈥渁llowed themselves to become nothing鈥� might suddenly become very dangerous. 鈥淭he world is what it is鈥濃€�
But the remainder of an idealist in me still cries for hope. And compared to the reality this book even might be considered somewhat reassuring. At least, there is a big element of black humour that saves the day. There is element of perseverance as well even if redemption is not on the table.
And I finished the book, and I thought about it for a few days, and I opened my laptop, and thought a bit more; and then I began to type: 鈥淥ne morning near the end of October not long before the first drops of the mercilessly long autumn rains began to fall鈥︹€�
September 25, 2022
賯亘賱 鈥屫ж� 賲胤丕賱毓賴 丕蹖賳 讴鬲丕亘 乇丕 賴賲蹖卮賴 丿爻鬲 鈥屭┵� 賲蹖鈥屭辟佖� 賵 賮讴乇 賳賲蹖鈥屭┴必� 鬲丕 丕蹖賳 丨丿 禺賵亘 亘丕卮丿. 賴賲 讴鬲丕亘 賵 賴賲 賮蹖賱賲 丕賯鬲亘丕爻蹖 賴賮鬲 爻丕毓鬲賴 丌賳 亘賴 讴丕乇诏乇丿丕賳蹖 芦亘賱丕 鬲丕乇禄 乇丕 丿乇 賱蹖爻鬲鈥屬囏й� 禺賵丿 亘诏匕丕乇蹖丿. 丨蹖賳 禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘 丌賴賳诏鈥屬囏й� 芦賲蹖賴丕蹖 賵蹖诏禄 丿乇 匕賴賳賲 趩乇禺 賲蹖鈥屫藏嗀�.
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賮賵鬲丕讴蹖 亘乇丕蹖 賱丨馗賴鈥屫й� 趩卮賲丕賳卮 乇丕 亘爻鬲貙 亘丕丿賯鬲 诏賵卮 爻倬乇丿 丕賲丕 噩夭 氐丿丕蹖 禺乇賵爻蹖 賵 倬丕乇爻 爻诏蹖 丿乇 丿賵乇丿爻鬲 賵 夭賵夭賴 亘丕丿 讴賴 丕夭 趩賳丿 丿賯蹖賯賴 倬蹖卮 賵夭蹖丿賳 丌睾丕夭 讴乇丿賴 亘賵丿 鬲賳賴丕 氐丿丕蹖 禺賮蹖賮 囟乇亘丕賳 賯賱亘卮 乇丕 賲蹖鈥屫促嗃屫� 诏賵蹖蹖 讴賱 賲丕噩乇丕 亘丕夭蹖 蹖丕 倬乇賴蹖倬 蹖讴 禺賵丕亘 亘賵丿 ( 芦鈥� 卮丕蹖丿 讴爻蹖 禺賵丕爻鬲賴 賲賳賵 亘鬲乇爻賵賳賴.禄 ) 賳诏丕賴 睾賲 夭丿賴鈥屫ж� 乇丕 亘賴 丌爻賲丕賳 诏乇賮鬲賴 丿賵禺鬲貙 爻倬爻 亘賴 夭賲蹖賳鈥屬囏й� 丕胤乇丕賮 賵 丌賳趩賴 丕夭 丨賲賱賴鈥屰� 賲賱禺鈥屬囏� 丿乇 鬲丕亘爻鬲丕賳 亘丕賯蹖 鈥屬呚з嗀� 亘賵丿 賳诏丕賴蹖 丕賳丿丕禺鬲 賵 賳丕诏賴丕賳 亘乇 卮丕禺賴 亘丕乇蹖讴 蹖讴 丕賯丕賯蹖丕 诏匕乇 亘賴丕乇貙 鬲丕亘爻鬲丕賳貙 倬丕蹖蹖夭 賵 夭賲爻鬲丕賳 乇丕 丿蹖丿貙 趩賳丕賳 鈥屭┵� 诏賵蹖蹖 夭賲丕賳 鬲賳賴丕 賲蹖丕賳 倬乇丿賴鈥屫й� 亘蹖賴賵丿賴 丿乇 賮囟丕蹖蹖 賱丕蹖鬲賳丕賴蹖 丕爻鬲貙 卮毓亘丿賴 丕蹖 賲丕賴乇丕賳賴 鬲丕 丕夭 丌卮賵亘 賳馗賲蹖 馗丕賴乇蹖 亘蹖丕賮乇蹖賳丿貙 蹖丕 丕夭 賲賳馗乇蹖 讴賱蹖 丕丨鬲賲丕賱 賵賯賵毓 倬蹖卮丕賲丿賴丕 乇丕 趩賵賳 丕噩亘丕乇蹖 诏乇蹖夭賳丕倬匕蹖乇 亘賳賲丕蹖丕賳丿鈥� 禺賵丿 乇丕 賲氐賱賵亘 鬲丕亘賵鬲 賵 诏賴賵丕乇賴 丕蹖 蹖丕賮鬲 讴賴 亘丕 鬲賯賱丕蹖蹖 丿乇丿賲賳丿丕賳賴 賲蹖鈥屫堌з囏� 鬲賳 禺賵蹖卮 乇丕 丕夭 丌賳鈥屬囏� 亘乇賴丕賳丿 鬲丕 爻乇丕賳噩丕賲 丌賳 乇丕 -毓乇蹖丕賳貙 亘蹖鈥屬囒屭� 賳卮丕賳蹖 丕夭 賴賵蹖鬲貙 毓丕乇蹖 丕夭 賴乇 丌賳趩賴 賳丕亘丕蹖爻鬲 丕爻鬲- 亘賴 丿爻鬲 賲乇丿賴 卮賵乇丕賳貙 丌賳丕賳 讴賴 睾囟亘賳丕讴 賵 禺丕賲賵卮 丿乇 倬蹖卮鈥屫操呟屬嗁� 卮賱賵睾蹖 丕夭 卮讴賳噩賴鈥屭必з� 賵 丿亘丕睾丕賳 丕賵丕賲乇 乇丕 诏乇丿賳 賲蹖鈥屬嗁囐嗀� 亘乇爻丕賳丿貙 丌賳诏丕賴 丕爻鬲 讴賴 亘蹖鈥屬囒屭� 賳卮丕賳蹖 丕夭 鬲乇丨賲 賳丕趩丕乇 亘賴 賲卮丕賴丿賴鈥屰� 丨丕賱 鈥屬� 乇賵夭 丿蹖诏乇丕賳 禺賵丕賴丿 卮丿貙 亘蹖 鈥屫①� 鈥屭┵� 亘禺鬲 丌賳 乇丕 丿丕卮鬲賴 亘丕卮丿 亘丕乇 丿蹖诏乇 亘賴 夭賳丿诏蹖 亘丕夭诏乇丿丿貙 趩賵賳 爻乇丕賳噩丕賲 丿乇 丌賳 賱丨馗賴 丕爻鬲 讴賴 禺賵丕賴丿 賮賴賲蹖丿 賴賲賴 毓賲乇 亘丕 毓丿賴鈥屫й� 賲鬲賯賱亘 讴賴 賵乇賯鈥屬囏й� 卮丕賳 乇丕 丕夭 倬蹖卮 賳卮丕賳蹖 诏匕丕卮鬲賴 亘賵丿賴锟斤拷丕賳丿 胤乇賮 亘賵丿賴 賵 丌賳丕賳 賴賲丕賳鈥屬囏й屰� 賴爻鬲賳丿 讴賴 丿乇 賳賴丕蹖鬲 鬲賳賴丕 趩蹖夭蹖 乇丕 讴賴 亘乇丕蹖 賳噩丕鬲 禺賵蹖卮 丿丕乇丿 丕夭 趩賳诏卮 丿乇禺賵丕賴賳丿 丌賵乇丿: 丕賲蹖丿 蹖丕賮鬲賳 乇丕賴 亘丕夭诏卮鬲 亘賴 禺丕賳賴. 氐賮丨丕鬲 郾郯-郾郾 讴鬲丕亘
亘賴 丌爻賲丕賳 賳诏丕賴 賲蹖鈥屭┴必� 賵 亘丕 禺賵丿 丕賳丿蹖卮蹖丿 丕蹖賳 诏賳亘丿 毓馗蹖賲 亘丕蹖丿 噩丕蹖蹖 -賴乇 趩賯丿乇 賴賲 丿賵乇- 鬲賲丕賲 卮賵丿貙 芦趩賵賳 賲賯丿乇賴 讴賴 賴乇 趩蹖夭 丕賳鬲賴丕蹖蹖 丿丕卮鬲賴 亘丕卮賴.禄 賮讴乇 賵 禺蹖丕賱 丿爻鬲 丕夭 爻乇卮 亘乇 賳賲蹖鈥屫ж簇� 芦鬲賵 丕蹖賳 胤賵蹖賱賴 亘賴 丿賳蹖丕 賲蹖鈥屫③屬呚� 賲孬賱 禺賵讴 鬲賵 讴孬丕賮鬲 禺賵丿賲賵賳 睾賱鬲 賲蹖鈥屫操嗃屬呚� 丌禺乇卮 賴賲 爻乇 丿乇 賳賲蹖鈥屫⒇臂屬� 丕蹖賳 鈥屬囐呝� 丕蹖賳 賵乇 丕賵賳 鈥屬堌� 夭丿賳 賵 卮丕禺 亘賴 卮丕禺 卮丿賳 亘丕 賲卮讴賱丕鬲 讴賴 丌禺乇卮 蹖丕 亘賴 胤睾丕乇 睾匕丕 禺鬲賲 賲蹖鈥屫促� 蹖丕 亘賴 丕蹖賳鈥� 讴賴 丿賲 睾乇賵亘 賳毓卮賲賵賳 亘蹖賮鬲賴 乇賵 鬲禺鬲 趩賴 賮丕蹖丿賴鈥屫й� 丿丕乇賴.禄 氐賮丨賴 郾鄣鄹 讴鬲丕亘
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賮賵鬲丕讴蹖 亘乇丕蹖 賱丨馗賴鈥屫й� 趩卮賲丕賳卮 乇丕 亘爻鬲貙 亘丕丿賯鬲 诏賵卮 爻倬乇丿 丕賲丕 噩夭 氐丿丕蹖 禺乇賵爻蹖 賵 倬丕乇爻 爻诏蹖 丿乇 丿賵乇丿爻鬲 賵 夭賵夭賴 亘丕丿 讴賴 丕夭 趩賳丿 丿賯蹖賯賴 倬蹖卮 賵夭蹖丿賳 丌睾丕夭 讴乇丿賴 亘賵丿 鬲賳賴丕 氐丿丕蹖 禺賮蹖賮 囟乇亘丕賳 賯賱亘卮 乇丕 賲蹖鈥屫促嗃屫� 诏賵蹖蹖 讴賱 賲丕噩乇丕 亘丕夭蹖 蹖丕 倬乇賴蹖倬 蹖讴 禺賵丕亘 亘賵丿 ( 芦鈥� 卮丕蹖丿 讴爻蹖 禺賵丕爻鬲賴 賲賳賵 亘鬲乇爻賵賳賴.禄 ) 賳诏丕賴 睾賲 夭丿賴鈥屫ж� 乇丕 亘賴 丌爻賲丕賳 诏乇賮鬲賴 丿賵禺鬲貙 爻倬爻 亘賴 夭賲蹖賳鈥屬囏й� 丕胤乇丕賮 賵 丌賳趩賴 丕夭 丨賲賱賴鈥屰� 賲賱禺鈥屬囏� 丿乇 鬲丕亘爻鬲丕賳 亘丕賯蹖 鈥屬呚з嗀� 亘賵丿 賳诏丕賴蹖 丕賳丿丕禺鬲 賵 賳丕诏賴丕賳 亘乇 卮丕禺賴 亘丕乇蹖讴 蹖讴 丕賯丕賯蹖丕 诏匕乇 亘賴丕乇貙 鬲丕亘爻鬲丕賳貙 倬丕蹖蹖夭 賵 夭賲爻鬲丕賳 乇丕 丿蹖丿貙 趩賳丕賳 鈥屭┵� 诏賵蹖蹖 夭賲丕賳 鬲賳賴丕 賲蹖丕賳 倬乇丿賴鈥屫й� 亘蹖賴賵丿賴 丿乇 賮囟丕蹖蹖 賱丕蹖鬲賳丕賴蹖 丕爻鬲貙 卮毓亘丿賴 丕蹖 賲丕賴乇丕賳賴 鬲丕 丕夭 丌卮賵亘 賳馗賲蹖 馗丕賴乇蹖 亘蹖丕賮乇蹖賳丿貙 蹖丕 丕夭 賲賳馗乇蹖 讴賱蹖 丕丨鬲賲丕賱 賵賯賵毓 倬蹖卮丕賲丿賴丕 乇丕 趩賵賳 丕噩亘丕乇蹖 诏乇蹖夭賳丕倬匕蹖乇 亘賳賲丕蹖丕賳丿鈥� 禺賵丿 乇丕 賲氐賱賵亘 鬲丕亘賵鬲 賵 诏賴賵丕乇賴 丕蹖 蹖丕賮鬲 讴賴 亘丕 鬲賯賱丕蹖蹖 丿乇丿賲賳丿丕賳賴 賲蹖鈥屫堌з囏� 鬲賳 禺賵蹖卮 乇丕 丕夭 丌賳鈥屬囏� 亘乇賴丕賳丿 鬲丕 爻乇丕賳噩丕賲 丌賳 乇丕 -毓乇蹖丕賳貙 亘蹖鈥屬囒屭� 賳卮丕賳蹖 丕夭 賴賵蹖鬲貙 毓丕乇蹖 丕夭 賴乇 丌賳趩賴 賳丕亘丕蹖爻鬲 丕爻鬲- 亘賴 丿爻鬲 賲乇丿賴 卮賵乇丕賳貙 丌賳丕賳 讴賴 睾囟亘賳丕讴 賵 禺丕賲賵卮 丿乇 倬蹖卮鈥屫操呟屬嗁� 卮賱賵睾蹖 丕夭 卮讴賳噩賴鈥屭必з� 賵 丿亘丕睾丕賳 丕賵丕賲乇 乇丕 诏乇丿賳 賲蹖鈥屬嗁囐嗀� 亘乇爻丕賳丿貙 丌賳诏丕賴 丕爻鬲 讴賴 亘蹖鈥屬囒屭� 賳卮丕賳蹖 丕夭 鬲乇丨賲 賳丕趩丕乇 亘賴 賲卮丕賴丿賴鈥屰� 丨丕賱 鈥屬� 乇賵夭 丿蹖诏乇丕賳 禺賵丕賴丿 卮丿貙 亘蹖 鈥屫①� 鈥屭┵� 亘禺鬲 丌賳 乇丕 丿丕卮鬲賴 亘丕卮丿 亘丕乇 丿蹖诏乇 亘賴 夭賳丿诏蹖 亘丕夭诏乇丿丿貙 趩賵賳 爻乇丕賳噩丕賲 丿乇 丌賳 賱丨馗賴 丕爻鬲 讴賴 禺賵丕賴丿 賮賴賲蹖丿 賴賲賴 毓賲乇 亘丕 毓丿賴鈥屫й� 賲鬲賯賱亘 讴賴 賵乇賯鈥屬囏й� 卮丕賳 乇丕 丕夭 倬蹖卮 賳卮丕賳蹖 诏匕丕卮鬲賴 亘賵丿賴锟斤拷丕賳丿 胤乇賮 亘賵丿賴 賵 丌賳丕賳 賴賲丕賳鈥屬囏й屰� 賴爻鬲賳丿 讴賴 丿乇 賳賴丕蹖鬲 鬲賳賴丕 趩蹖夭蹖 乇丕 讴賴 亘乇丕蹖 賳噩丕鬲 禺賵蹖卮 丿丕乇丿 丕夭 趩賳诏卮 丿乇禺賵丕賴賳丿 丌賵乇丿: 丕賲蹖丿 蹖丕賮鬲賳 乇丕賴 亘丕夭诏卮鬲 亘賴 禺丕賳賴. 氐賮丨丕鬲 郾郯-郾郾 讴鬲丕亘
亘賴 丌爻賲丕賳 賳诏丕賴 賲蹖鈥屭┴必� 賵 亘丕 禺賵丿 丕賳丿蹖卮蹖丿 丕蹖賳 诏賳亘丿 毓馗蹖賲 亘丕蹖丿 噩丕蹖蹖 -賴乇 趩賯丿乇 賴賲 丿賵乇- 鬲賲丕賲 卮賵丿貙 芦趩賵賳 賲賯丿乇賴 讴賴 賴乇 趩蹖夭 丕賳鬲賴丕蹖蹖 丿丕卮鬲賴 亘丕卮賴.禄 賮讴乇 賵 禺蹖丕賱 丿爻鬲 丕夭 爻乇卮 亘乇 賳賲蹖鈥屫ж簇� 芦鬲賵 丕蹖賳 胤賵蹖賱賴 亘賴 丿賳蹖丕 賲蹖鈥屫③屬呚� 賲孬賱 禺賵讴 鬲賵 讴孬丕賮鬲 禺賵丿賲賵賳 睾賱鬲 賲蹖鈥屫操嗃屬呚� 丌禺乇卮 賴賲 爻乇 丿乇 賳賲蹖鈥屫⒇臂屬� 丕蹖賳 鈥屬囐呝� 丕蹖賳 賵乇 丕賵賳 鈥屬堌� 夭丿賳 賵 卮丕禺 亘賴 卮丕禺 卮丿賳 亘丕 賲卮讴賱丕鬲 讴賴 丌禺乇卮 蹖丕 亘賴 胤睾丕乇 睾匕丕 禺鬲賲 賲蹖鈥屫促� 蹖丕 亘賴 丕蹖賳鈥� 讴賴 丿賲 睾乇賵亘 賳毓卮賲賵賳 亘蹖賮鬲賴 乇賵 鬲禺鬲 趩賴 賮丕蹖丿賴鈥屫й� 丿丕乇賴.禄 氐賮丨賴 郾鄣鄹 讴鬲丕亘
April 9, 2021
Bu kitaba 莽ekinerek ba艧lad谋m, 莽眉nk眉 daha 枚nce Macar Edebiyat谋鈥檔谋n g枚zdelerinden Gyula Krudy鈥檔in 鈥淕眉nebakan鈥� isimli modernist roman谋n谋 okumu艧 ve hi莽 bir艧ey anlamam谋艧t谋m. Bu kez ArturoBelano ve Deniz Balc谋鈥檔谋n muhte艧em yorumlar谋n谋n fener 谋艧谋臒谋yla Macar Edebiyat谋鈥檔谋n bir ba艧ka 枚nemli modernist eserini okumaya 莽al谋艧t谋m. 脟al谋艧t谋m diyorum, 莽眉nk眉 iki g眉zel yorumda a莽谋klanm谋艧 olmas谋na ve bu kitab谋n zor oldu臒unun ve herkese 枚nerilmeyece臒inin a莽谋k莽a belirtilmesine ra臒men, modern roman谋 anlamak, sevmek i莽in ba艧lad谋臒谋m okumay谋 anlamaya 莽aba sarfettim. Ancak ne yorumlarda belirtilen incelikleri, simgeleri, metaforlar谋, ne de 陌ncil鈥檈 yap谋lan g枚ndermelerle verilen dini veya yaz谋ld谋臒谋 y谋l itibariyle Macaristan鈥檇aki d眉zeni hedef alan politik mesajlar谋 ben alamad谋m veya g枚remedim.
Nesnelere ve olaylara farkl谋 anlamlar y眉kleyen, estetik anlat谋ma 枚nem veren, soyut konular谋 ele alan, olay 枚rg眉s眉n眉 simgelerle, motiflerle d眉zenleyen, bi莽imsel esteti臒i 枚n plana 莽谋karan, ger莽ek莽ili臒i d谋艧layan modernist edebiyat谋n tipik bir 枚rne臒i 艦eytan Tangolar谋. K枚t眉mser bir havada yaz谋lm谋艧, 枚yk眉lerde ne/kim ger莽ek, ne/ kim de臒il karar okuyucuya b谋rak谋lm谋艧. Bu arada tangodaki 6 ileri 6 geri hareket gibi, kitaptaki b枚l眉m numaralar谋n谋n 枚nce 1鈥檇en 6鈥檡a devam etmesi sonra geriye do臒ru giderek 6鈥檇an 1鈥檈 d枚nmesi 莽ok zekice bir d眉zenleme. Keza 枚yk眉ler ba臒谋ms谋z olarak da okunabilir nitelikte, tabii sonu莽lar谋 a莽谋k olarak.
T眉m modern (hatta postmodern) romanlarda oldu臒u gibi bazen neredeyse bir paragraf tutan, birbirine noktalama i艧aretleriyle (- ve 鈥� gibi) veya parantezlerle ba臒lanan upuzun c眉mleler ger莽ekten zorluyor insan谋. Konuyla ilgisiz bir c眉mlenin damdan d眉艧erek 枚n眉n眉ze 莽谋kmas谋, yo臒un imge kullan谋mlar谋, ki kullan谋lan imgeler de ayr谋ca i莽erik olarak yo臒unlar, anlamakta zorluk 莽ekti臒im kavramlar, g枚ndermeler (枚r眉mcekler, kargalar, Macaristan鈥櫮眓 jeolojik olu艧umu, i臒di艧 kertenkeleler, tango, 莽an sesleri, 艧ato vs.) ile yazar谋n okuyucuyu d眉艧眉nmeye sevketmekten 莽ok test etmesi gibi geldi bana.
Verdi臒im puan ortalamay谋 d眉艧眉r眉yor ve bu kitaba haks谋zl谋k ediyorum belki ama benim be臒enim veya edebiyat derinli臒im d眉r眉st olmak gerekirse bu kadara izin veriyor. Yazar谋n yaratt谋臒谋 kendi deyimiyle 鈥測a艧am olan her艧eyden uzakta, bir yokolu艧un i莽inde k谋vranan鈥� karakterler ve g枚zlemleri gayet iyi, zaten ikinci y谋ld谋z谋 bu nedenle verdim. 脺莽眉nc眉 y谋ld谋z ise genel olarak 枚yk眉y眉, ve finalini sevmemden 枚t眉r眉 biraz zorlamaya verildi. Hepsi bu kadar.
Kendimi hakl谋 莽谋karmak i莽in veya gelecek tepkileri azaltmak i莽in de臒il ama 艧u c眉mleyi payla艧mak istedim, belki edebi birikimi ve be臒enileri 眉st seviyede olan 欧宝娱乐 dostlar谋m bana biraz hak verirler ;
(s.102, sat谋r 13). 鈥� .... Bu k谋sa, yolsuz yordams谋z su莽luluk duygusu elbette (ger莽ekten 枚yle miydi, 莽眉nk眉 鈥渟u莽un g眉ne艧i t谋pk谋 tapon bir armudi ampul gibi yanar鈥� ise alacakaranl谋k, vicdanda bir 莽e艧it mundarl谋kla 枚ylesine kolayl谋kla tan谋nabildi臒inde) y谋rtarak daha derinlere ula艧谋ncaya kadar art谋k ortadan kaybolup damak, bo臒az, yemek borusu ve midenin, istekleri bitmeyen histerisi de, zaman谋n 枚n眉ne kat谋p s眉rd眉臒眉 Schmidtlerin buraya ula艧arak 鈥渒endilerine d眉艧en鈥漣 pay edeceklerini ger莽ekten ummas谋ndan epey 枚nceki bu ilk ve son gereksinimde, so臒ruluvermi艧ti.鈥�
Yukar谋daki c眉mle anlamad谋臒谋m c眉mlelerden sadece biri, bunun gibi onlarca, y眉zlerce c眉mle okumak bir kitab谋 ya da edebi tarz谋 sevmek konusunda insan谋 yoku艧a s眉r眉yor. Be艧 y谋ld谋z verenleri ger莽ekten anlamak isterdim.
Ben 枚nermiyorum.
Nesnelere ve olaylara farkl谋 anlamlar y眉kleyen, estetik anlat谋ma 枚nem veren, soyut konular谋 ele alan, olay 枚rg眉s眉n眉 simgelerle, motiflerle d眉zenleyen, bi莽imsel esteti臒i 枚n plana 莽谋karan, ger莽ek莽ili臒i d谋艧layan modernist edebiyat谋n tipik bir 枚rne臒i 艦eytan Tangolar谋. K枚t眉mser bir havada yaz谋lm谋艧, 枚yk眉lerde ne/kim ger莽ek, ne/ kim de臒il karar okuyucuya b谋rak谋lm谋艧. Bu arada tangodaki 6 ileri 6 geri hareket gibi, kitaptaki b枚l眉m numaralar谋n谋n 枚nce 1鈥檇en 6鈥檡a devam etmesi sonra geriye do臒ru giderek 6鈥檇an 1鈥檈 d枚nmesi 莽ok zekice bir d眉zenleme. Keza 枚yk眉ler ba臒谋ms谋z olarak da okunabilir nitelikte, tabii sonu莽lar谋 a莽谋k olarak.
T眉m modern (hatta postmodern) romanlarda oldu臒u gibi bazen neredeyse bir paragraf tutan, birbirine noktalama i艧aretleriyle (- ve 鈥� gibi) veya parantezlerle ba臒lanan upuzun c眉mleler ger莽ekten zorluyor insan谋. Konuyla ilgisiz bir c眉mlenin damdan d眉艧erek 枚n眉n眉ze 莽谋kmas谋, yo臒un imge kullan谋mlar谋, ki kullan谋lan imgeler de ayr谋ca i莽erik olarak yo臒unlar, anlamakta zorluk 莽ekti臒im kavramlar, g枚ndermeler (枚r眉mcekler, kargalar, Macaristan鈥櫮眓 jeolojik olu艧umu, i臒di艧 kertenkeleler, tango, 莽an sesleri, 艧ato vs.) ile yazar谋n okuyucuyu d眉艧眉nmeye sevketmekten 莽ok test etmesi gibi geldi bana.
Verdi臒im puan ortalamay谋 d眉艧眉r眉yor ve bu kitaba haks谋zl谋k ediyorum belki ama benim be臒enim veya edebiyat derinli臒im d眉r眉st olmak gerekirse bu kadara izin veriyor. Yazar谋n yaratt谋臒谋 kendi deyimiyle 鈥測a艧am olan her艧eyden uzakta, bir yokolu艧un i莽inde k谋vranan鈥� karakterler ve g枚zlemleri gayet iyi, zaten ikinci y谋ld谋z谋 bu nedenle verdim. 脺莽眉nc眉 y谋ld谋z ise genel olarak 枚yk眉y眉, ve finalini sevmemden 枚t眉r眉 biraz zorlamaya verildi. Hepsi bu kadar.
Kendimi hakl谋 莽谋karmak i莽in veya gelecek tepkileri azaltmak i莽in de臒il ama 艧u c眉mleyi payla艧mak istedim, belki edebi birikimi ve be臒enileri 眉st seviyede olan 欧宝娱乐 dostlar谋m bana biraz hak verirler ;
(s.102, sat谋r 13). 鈥� .... Bu k谋sa, yolsuz yordams谋z su莽luluk duygusu elbette (ger莽ekten 枚yle miydi, 莽眉nk眉 鈥渟u莽un g眉ne艧i t谋pk谋 tapon bir armudi ampul gibi yanar鈥� ise alacakaranl谋k, vicdanda bir 莽e艧it mundarl谋kla 枚ylesine kolayl谋kla tan谋nabildi臒inde) y谋rtarak daha derinlere ula艧谋ncaya kadar art谋k ortadan kaybolup damak, bo臒az, yemek borusu ve midenin, istekleri bitmeyen histerisi de, zaman谋n 枚n眉ne kat谋p s眉rd眉臒眉 Schmidtlerin buraya ula艧arak 鈥渒endilerine d眉艧en鈥漣 pay edeceklerini ger莽ekten ummas谋ndan epey 枚nceki bu ilk ve son gereksinimde, so臒ruluvermi艧ti.鈥�
Yukar谋daki c眉mle anlamad谋臒谋m c眉mlelerden sadece biri, bunun gibi onlarca, y眉zlerce c眉mle okumak bir kitab谋 ya da edebi tarz谋 sevmek konusunda insan谋 yoku艧a s眉r眉yor. Be艧 y谋ld谋z verenleri ger莽ekten anlamak isterdim.
Ben 枚nermiyorum.
March 11, 2024
After reading a certain chapter of this book I had to put it down. I felt it would take me not a few days but a few years to recover.
And it鈥檚 not L谩szl贸 Krasznahorkai鈥檚 description of a certain thought nor its plausibility, it is a sense of mortifying realization that such a thought is inevitably real and human.
When I resumed my reading, the book informed:
What is behind me still remains ahead of me.
Written a few years before the fall of Communism, Satantango reads as a political allegory, Susan Sontag hailing Krasznahorkai 鈥渕aster of apocalypse which never happens鈥�, but despite its post or pre apocalyptic premise and bleak imagery, there is so much more beneath the surface.
A narrative permeated with rain, mud, earth and rot consolidates into familiar forms, yet it is not always clear what is going on, there is a fog. Spiders crawl through sentences and spin their webs of meaning. But meaning might not exist anymore.
There鈥檚 no sense or meaning in anything. It鈥檚 nothing but a network of dependency under enormous fluctuating pressures. It's only our imaginations, not our senses, that continually confront us with failure and the false belief that we can raise ourselves by our own bootstraps from the miserable pulp of decay.
And there is so much rain, it鈥檚 the reign of rain, rain is persistent and continuous, rain destroyed time, rain is time. The characters themselves are not interested in any kind of measure of time anymore.
Time was passing very slowly and, luckily for them, the alarm clock had long ago stopped working so there wasn鈥檛 even the sound of ticking to remind them of time.
Satantango鈥檚 characters cheat, lie, drink, debouche and wallow in their misery. They exist doing nothing in a continuous nothingness until their mate comes back from the dead. He says he can 鈥渕ake it great again鈥�, promising Eden on Earth, their Kingdom Come. Is he a savior? Is he God? Is he Elvis? Or a scam artist? Satan from the title?
The black rain come down
Oh water water everywhere
Where no bird can fly, no fish can swim
No fish can swim
Until The King is born -
The premise of this book might sound quite biblical or Faustian and while it鈥檚 not necessarily symbolist, one might spend an eternity pondering on metaphors and finding unexpected discoveries.
In addition to a literal tango there is a kind of time-image tango. Even the internal structure of Satantango is composed as a kind of dance - as I was spinning through the chapters, every time I thought I arrived at a certain destination I found myself right back at the start. And it鈥檚 the language, at least in translation, that really hits the mark. Thoughts are continuously thinking, discussing and interrupting other thoughts. Substance and style inform each other, while the author鈥檚 long looping sentences create a rather hypnotic rhythm. There is a process of continuous accumulation which reminds me of Jos茅 Saramago鈥檚 work - who needs paragraphs or punctuation when one can just go with the flow? And although it鈥檚 quite rare, Krasznahorkai doesn鈥檛 break his sentences for nothing.
Though on the surface this novel is bleak, depressing, pessimistic and even nihilistic, there is a certain solace found in the author鈥檚 humour as well a hint of hope, maybe not exactly between the lines of this novel, but in its effect after reading - in its afterglow. In addition, having previously read somewhat lighter in tone and content made me see a rather cosmological perspective to Krasznahorkai鈥檚 work. The descriptions of nature, animals, light and even rain are not necessarily those of something wicked or meaningless. All in all, I see this book as an antidote to the totalitarianism of mind. An incentive to keep on fighting against lethargy increasingly symptomatic in today鈥檚 world. And even more importantly, I feel it鈥檚 an ode to literature, poetry and art. Krasznahorkai said in an interview:
True artists, just like saints, were never 鈥榤embers鈥� of our society. So the art they create is not an integrated, clearly defined and material part of society. Such art resides in a separate spiritual space that is perceived as part of reality.
While Krasznahorkai鈥檚 Satantango is a masterpiece on its own, his narrative combined with B茅la Tarr鈥檚 incredible cinematography is pure poetry. After watching the film adaptation I rushed to re-read some parts of the book and admired it even more. Without a doubt, I will spend a long time thinking about it, unraveling its genius and dancing my life away to the rhythm of tango.
In that case, I鈥檒l miss the thing by waiting fot it. - Franz Kafka / Photography - Hiroshi Sugimoto
And it鈥檚 not L谩szl贸 Krasznahorkai鈥檚 description of a certain thought nor its plausibility, it is a sense of mortifying realization that such a thought is inevitably real and human.
When I resumed my reading, the book informed:
What is behind me still remains ahead of me.
Written a few years before the fall of Communism, Satantango reads as a political allegory, Susan Sontag hailing Krasznahorkai 鈥渕aster of apocalypse which never happens鈥�, but despite its post or pre apocalyptic premise and bleak imagery, there is so much more beneath the surface.
A narrative permeated with rain, mud, earth and rot consolidates into familiar forms, yet it is not always clear what is going on, there is a fog. Spiders crawl through sentences and spin their webs of meaning. But meaning might not exist anymore.
There鈥檚 no sense or meaning in anything. It鈥檚 nothing but a network of dependency under enormous fluctuating pressures. It's only our imaginations, not our senses, that continually confront us with failure and the false belief that we can raise ourselves by our own bootstraps from the miserable pulp of decay.
And there is so much rain, it鈥檚 the reign of rain, rain is persistent and continuous, rain destroyed time, rain is time. The characters themselves are not interested in any kind of measure of time anymore.
Time was passing very slowly and, luckily for them, the alarm clock had long ago stopped working so there wasn鈥檛 even the sound of ticking to remind them of time.
Satantango鈥檚 characters cheat, lie, drink, debouche and wallow in their misery. They exist doing nothing in a continuous nothingness until their mate comes back from the dead. He says he can 鈥渕ake it great again鈥�, promising Eden on Earth, their Kingdom Come. Is he a savior? Is he God? Is he Elvis? Or a scam artist? Satan from the title?
The black rain come down
Oh water water everywhere
Where no bird can fly, no fish can swim
No fish can swim
Until The King is born -
The premise of this book might sound quite biblical or Faustian and while it鈥檚 not necessarily symbolist, one might spend an eternity pondering on metaphors and finding unexpected discoveries.
In addition to a literal tango there is a kind of time-image tango. Even the internal structure of Satantango is composed as a kind of dance - as I was spinning through the chapters, every time I thought I arrived at a certain destination I found myself right back at the start. And it鈥檚 the language, at least in translation, that really hits the mark. Thoughts are continuously thinking, discussing and interrupting other thoughts. Substance and style inform each other, while the author鈥檚 long looping sentences create a rather hypnotic rhythm. There is a process of continuous accumulation which reminds me of Jos茅 Saramago鈥檚 work - who needs paragraphs or punctuation when one can just go with the flow? And although it鈥檚 quite rare, Krasznahorkai doesn鈥檛 break his sentences for nothing.
Though on the surface this novel is bleak, depressing, pessimistic and even nihilistic, there is a certain solace found in the author鈥檚 humour as well a hint of hope, maybe not exactly between the lines of this novel, but in its effect after reading - in its afterglow. In addition, having previously read somewhat lighter in tone and content made me see a rather cosmological perspective to Krasznahorkai鈥檚 work. The descriptions of nature, animals, light and even rain are not necessarily those of something wicked or meaningless. All in all, I see this book as an antidote to the totalitarianism of mind. An incentive to keep on fighting against lethargy increasingly symptomatic in today鈥檚 world. And even more importantly, I feel it鈥檚 an ode to literature, poetry and art. Krasznahorkai said in an interview:
True artists, just like saints, were never 鈥榤embers鈥� of our society. So the art they create is not an integrated, clearly defined and material part of society. Such art resides in a separate spiritual space that is perceived as part of reality.
While Krasznahorkai鈥檚 Satantango is a masterpiece on its own, his narrative combined with B茅la Tarr鈥檚 incredible cinematography is pure poetry. After watching the film adaptation I rushed to re-read some parts of the book and admired it even more. Without a doubt, I will spend a long time thinking about it, unraveling its genius and dancing my life away to the rhythm of tango.
In that case, I鈥檒l miss the thing by waiting fot it. - Franz Kafka / Photography - Hiroshi Sugimoto
June 29, 2020
The Hungarian 鈥渆state鈥� in which most of Satantango takes place is a desperate, squalid, and miserable place. Its inhabitants have given up, more or less. Their despair is ubiquitous: It practically shimmers off the walls of the buildings. On the morning in which the novel begins, the narrator tells us that it 'was hard to know whether the gently vibrating patches on the wall were merely shadows or the symptoms of the despair underlying their faintly hopeful thoughts.' The sense of their despair is so palpable that it almost spills into the supernatural.
This is a novel about hope and hopelessness. It is a novel about cruelty and neglect. Perhaps it is a novel about communist Hungary, but my sense is that Krasznahorkai's vision here is much bigger than that. The novel is, ostensibly, about a bunch of decrepit, deceitful, and bickering drunks putting their hopes on a man who had paid a local boy, previously, to tell them he was dead. This man, at one point, is called 'an angel of hope to hopeless people with hopeless difficulties.' He appears at various times to be a prophet, a criminal, a rebel, a bully, and a saint. Always, he is a mystery.
This is a slippery, elusive, dreamlike novel, often reaching towards the mystical. Essential information is withheld. Time leaps between chapters, leaving key events shrouded in mystery. We often enter into the minds of its characters but are rarely given to understand them. Miracles occur, but without explanation or consequence. (Or are they hallucinations? Whatever the case, the story moves on.) Spiders weave webs with preternatural pace. And the ending, which is one of the novel's greatest graces, and which I won't spoil, certainly deepens the sense of mystery and mysticism that makes this novel so powerful.
It is a novel notable for the variety of techniques that Krasznahorkai deploys for its atmosphere. Each chapter is a full paragraph in length, and there is a tremendous amount of stylistic variety among the chapters. In one chapter, for example, as we drift from narration into dream sequence, punctuation disappears and the words on the page literally start to merge. The first six chapters are counted in ascending order, the next six in descending order. While some chapters follow a character in a close third person, others jump into omniscience, or else move swiftly across the minds of a group.
And while the third person prose often brings us close to a character's consciousness, Krasznahorkai also deploys quotation marks to capture the characters' thoughts - collective, individual, and typical: we can鈥檛 always be sure. Sometimes the quotation marks don鈥檛 seem to capture anyone鈥檚 thoughts in particular, and seem rather to be used for comic effect, such as when the phrase 'billiards table' never appears without them.
Then there is the squalor, the endless squalor:
'The smell of mould rising from the floor at the corners of the room surrounded the vanguard of cockroaches working their way down the back walls...鈥�
'Autumnal horse-flies were buzzing round the cracked lampshade, describing drowsy figures of eight in its weak light, time and again colliding with filthy porcelain....'
'The stench of sewers mixed with mud, puddles, the smell of the odd crack of lightning, wind tugging at tiles, power lines, empty nests...'
Yet in spite of all this, the novel is full of so much life and energy. It is often very funny. The aura of mystery is thick and wonderful and totally unique. The closest touchpoint is Kafka, whose words provide its epigraph ('In that case, I鈥檒l miss the thing by waiting for it'). Another, more recent touchpoint, is Fernanda Melchor's Hurricane Season, which is perhaps even more squalid, darker, and which shares a lot of similarities to Satantango in structure, perspective, and setting. Of course, there are similarities too with Thomas Bernhard - in the darkness of the vision, the long paragraphs, the way the prose tends to loop and lap like criss-crossing waves over a small variety of themes. And also to other heirs of the Kafka-Beckett-Bernhard lineage, such as Mathias Enard and W. G. Sebald, who himself said that the 'universality of Krasznahorkai鈥檚 vision... far surpasses all the lesser concerns of contemporary writing.'
I have kept this review as abstract as possible, because I don鈥檛 want to give too much away. I would not recommend this for someone who is not in the mood for squalor. But when you think you can handle it, it will be a small price to pay for a great piece of literature.
This is a novel about hope and hopelessness. It is a novel about cruelty and neglect. Perhaps it is a novel about communist Hungary, but my sense is that Krasznahorkai's vision here is much bigger than that. The novel is, ostensibly, about a bunch of decrepit, deceitful, and bickering drunks putting their hopes on a man who had paid a local boy, previously, to tell them he was dead. This man, at one point, is called 'an angel of hope to hopeless people with hopeless difficulties.' He appears at various times to be a prophet, a criminal, a rebel, a bully, and a saint. Always, he is a mystery.
This is a slippery, elusive, dreamlike novel, often reaching towards the mystical. Essential information is withheld. Time leaps between chapters, leaving key events shrouded in mystery. We often enter into the minds of its characters but are rarely given to understand them. Miracles occur, but without explanation or consequence. (Or are they hallucinations? Whatever the case, the story moves on.) Spiders weave webs with preternatural pace. And the ending, which is one of the novel's greatest graces, and which I won't spoil, certainly deepens the sense of mystery and mysticism that makes this novel so powerful.
It is a novel notable for the variety of techniques that Krasznahorkai deploys for its atmosphere. Each chapter is a full paragraph in length, and there is a tremendous amount of stylistic variety among the chapters. In one chapter, for example, as we drift from narration into dream sequence, punctuation disappears and the words on the page literally start to merge. The first six chapters are counted in ascending order, the next six in descending order. While some chapters follow a character in a close third person, others jump into omniscience, or else move swiftly across the minds of a group.
And while the third person prose often brings us close to a character's consciousness, Krasznahorkai also deploys quotation marks to capture the characters' thoughts - collective, individual, and typical: we can鈥檛 always be sure. Sometimes the quotation marks don鈥檛 seem to capture anyone鈥檚 thoughts in particular, and seem rather to be used for comic effect, such as when the phrase 'billiards table' never appears without them.
Then there is the squalor, the endless squalor:
'The smell of mould rising from the floor at the corners of the room surrounded the vanguard of cockroaches working their way down the back walls...鈥�
'Autumnal horse-flies were buzzing round the cracked lampshade, describing drowsy figures of eight in its weak light, time and again colliding with filthy porcelain....'
'The stench of sewers mixed with mud, puddles, the smell of the odd crack of lightning, wind tugging at tiles, power lines, empty nests...'
Yet in spite of all this, the novel is full of so much life and energy. It is often very funny. The aura of mystery is thick and wonderful and totally unique. The closest touchpoint is Kafka, whose words provide its epigraph ('In that case, I鈥檒l miss the thing by waiting for it'). Another, more recent touchpoint, is Fernanda Melchor's Hurricane Season, which is perhaps even more squalid, darker, and which shares a lot of similarities to Satantango in structure, perspective, and setting. Of course, there are similarities too with Thomas Bernhard - in the darkness of the vision, the long paragraphs, the way the prose tends to loop and lap like criss-crossing waves over a small variety of themes. And also to other heirs of the Kafka-Beckett-Bernhard lineage, such as Mathias Enard and W. G. Sebald, who himself said that the 'universality of Krasznahorkai鈥檚 vision... far surpasses all the lesser concerns of contemporary writing.'
I have kept this review as abstract as possible, because I don鈥檛 want to give too much away. I would not recommend this for someone who is not in the mood for squalor. But when you think you can handle it, it will be a small price to pay for a great piece of literature.
July 11, 2023
3.5 猸�
鬲丕賳诏賵蹖 卮蹖胤丕賳 讴鬲丕亘 毓噩蹖亘蹖賴. 賲亘賴賲 賵 乇丕夭丌賱賵丿貙 賵 丕丨鬲賲丕賱丕賸 亘丕 賳賲丕丿賴丕蹖蹖 讴賴 亘賴 乇丕丨鬲蹖 賳賲蹖卮賴 賲胤賲卅賳 亘賵丿 丌蹖丕 卮賲丕 亘賴 賴丿賮 賳賵蹖爻賳丿賴 倬蹖 亘乇丿蹖 蹖丕 賳賴. 賲讴丕賳 丿丕爻鬲丕賳 賲噩丕乇爻鬲丕賳 賵 卮賴乇讴/乇賵爻鬲丕蹖蹖 賴爻鬲 讴賴 亘丿賵賳 賵賯賮賴 亘丕乇賵賳 賲蹖丕丿 亘丕 賲乇丿賲蹖 賮賯蹖乇 賵 鬲賯乇蹖亘丕賸 賮丕爻丿! 亘賴 丕蹖賳 禺丕胤乇 讴賴 丕賳诏丕乇 賴賲賴 丕蹖賳噩丕 丿乇 丨丕賱 賮讴乇 讴乇丿賳 亘乇丕蹖 讴賱丕賴亘乇丿丕乇蹖 賴爻鬲賳丿 蹖丕 乇丕亘胤賴 亘丕 夭賳 丿蹖诏乇蹖! 賵 丕賱亘鬲賴 趩賳丿鬲丕蹖蹖 丿禺鬲乇 噩賵丕賳 賴賲 賲卮睾賵賱 鬲賳 賮乇賵卮蹖. 禺賱丕氐賴 丿乇 賴賲蹖賳 丕賵囟丕毓 賵 丕丨賵丕賱 诏賵蹖丕 賲賳噩蹖 丿乇 丨丕賱 亘乇诏卮鬲賳賴! 賲賳噩蹖 亘乇丕蹖 毓亘賵乇 丕夭 丕蹖賳 夭賳丿诏蹖 蹖讴賳賵丕禺鬲 乇禺賵鬲 丌賵乇 爻丕讴賳. 丌蹖丕 丕蹖賳 賲賳噩蹖 賮乇卮鬲賴 丕爻鬲 蹖丕 卮蹖胤丕賳責 趩蹖夭蹖 讴賴 賳馗乇賲 乇賵 噩賱亘 讴乇丿 賳丨賵賴鈥屰� 卮賲丕乇賴 诏匕丕乇蹖 賮氐賵賱 讴鬲丕亘 亘賵丿貙 讴鬲丕亘 丿乇 丿賵 亘禺卮 賳賵卮鬲賴 卮丿賴 讴賴 亘禺卮 丕賵賱 丕夭 卮賲丕乇賴 郾 鬲丕 鄱 卮賲丕乇賴 诏匕丕乇蹖 卮丿賴 賵 亘禺卮 丿賵賲 丕夭 卮賲丕乇賴 鄱 鬲丕 郾 亘賴 胤賵乇 賲毓讴賵爻 丕賳诏丕乇 讴賴 丿賳蹖丕 丿乇 丨丕賱 趩乇禺蹖丿賳 丿賵乇 禺賵丿卮 賵 丿賵乇 亘丕胤賱蹖 丕爻鬲 丕夭 蹖讴 賲賳噩蹖 亘賴 賲賳噩蹖 丿蹖诏乇. 趩乇禺賴鈥屰� 丕賲蹖丿貙 鬲賱丕卮貙 賳丕丕賲蹖丿蹖 賵 丕賳鬲馗丕乇. 丌蹖丕 賲賳噩蹖 丿乇 讴丕乇 賳蹖爻鬲 蹖丕 丕賳爻丕賳賴丕 賲賳噩蹖 丕氐賱蹖 乇賵 诏賲 讴乇丿賳責 夭賲丕賳 賲卮禺氐 禺賵丕賴丿 讴乇丿.賴
倬.賳: 丕诏乇 丿賳亘丕賱 丕賳鬲賴丕蹖 丿丕爻鬲丕賳 賴爻鬲蹖丿貙 讴鬲丕亘 賲賳丕爻亘蹖 亘乇丕蹖 卮賲丕 賳蹖爻鬲貙 丕蹖賳 讴鬲丕亘 賲亘賴賲賴 賵 賮賯胤 胤乇丨 賲爻卅賱賴 賲蹖讴賳賴貙 丕夭 噩賵丕亘 禺亘乇蹖 賳蹖爻鬲.賴
倬.賳鄄: 賮蹖賱賲蹖 丕夭 丕蹖賳 乇賲丕賳 爻丕禺鬲賴 卮丿賴 讴賴 亘賴 賳馗乇賲 賲蹖鈥屫堎嗁� 胤賵賱丕賳蹖鈥屫臂屬� 賮蹖賱賲 噩賴丕賳 亘丕卮賴貙 賳夭丿蹖讴 亘賴 鄹 爻丕毓鬲. 丕賲丕 趩蹖夭蹖 丕夭 讴鬲丕亘 亘蹖卮鬲乇 賳丿丕乇賴鈥� 噩夭 賲賵爻蹖賯蹖 賲鬲賳. 賲賵爻蹖賯蹖 賮蹖賱賲 賵丕賯毓丕 禺蹖賱蹖 禺賵亘賴 丕賲丕 亘賴 賳馗乇賲 丕诏乇 讴卮鬲賴 賲乇丿賴鈥屰� 爻蹖賳賲丕 賳蹖爻鬲蹖丿貙 禺賵賳丿賳 讴鬲丕亘 讴賮丕蹖鬲 賲蹖鈥屭┵嗁�. 賴
倬.賳鄢: 亘丕 丕蹖賳讴賴 倬丕蹖丕賳 讴鬲丕亘 讴丕賲賱丕 賲賳胤亘賯 亘丕 爻亘讴 賵 賴丿賮 賳賵蹖爻賳丿賴 賴爻鬲 賵 賲蹖鈥屫堎嗁� 丿乇 賳賵毓 禺賵丿卮 卮丕賴讴丕乇 亘丕卮賴貙 丕賲丕 賲賳 丿賵爻鬲 賳丿丕卮鬲賲! 丕诏賴 倬丕蹖丕賳 賲鬲賮丕賵鬲蹖 丿丕卮鬲 丕賲鬲蹖丕夭 亘蹖卮鬲乇蹖 賲蹖丿丕丿賲.賴
鬲丕賳诏賵蹖 卮蹖胤丕賳 讴鬲丕亘 毓噩蹖亘蹖賴. 賲亘賴賲 賵 乇丕夭丌賱賵丿貙 賵 丕丨鬲賲丕賱丕賸 亘丕 賳賲丕丿賴丕蹖蹖 讴賴 亘賴 乇丕丨鬲蹖 賳賲蹖卮賴 賲胤賲卅賳 亘賵丿 丌蹖丕 卮賲丕 亘賴 賴丿賮 賳賵蹖爻賳丿賴 倬蹖 亘乇丿蹖 蹖丕 賳賴. 賲讴丕賳 丿丕爻鬲丕賳 賲噩丕乇爻鬲丕賳 賵 卮賴乇讴/乇賵爻鬲丕蹖蹖 賴爻鬲 讴賴 亘丿賵賳 賵賯賮賴 亘丕乇賵賳 賲蹖丕丿 亘丕 賲乇丿賲蹖 賮賯蹖乇 賵 鬲賯乇蹖亘丕賸 賮丕爻丿! 亘賴 丕蹖賳 禺丕胤乇 讴賴 丕賳诏丕乇 賴賲賴 丕蹖賳噩丕 丿乇 丨丕賱 賮讴乇 讴乇丿賳 亘乇丕蹖 讴賱丕賴亘乇丿丕乇蹖 賴爻鬲賳丿 蹖丕 乇丕亘胤賴 亘丕 夭賳 丿蹖诏乇蹖! 賵 丕賱亘鬲賴 趩賳丿鬲丕蹖蹖 丿禺鬲乇 噩賵丕賳 賴賲 賲卮睾賵賱 鬲賳 賮乇賵卮蹖. 禺賱丕氐賴 丿乇 賴賲蹖賳 丕賵囟丕毓 賵 丕丨賵丕賱 诏賵蹖丕 賲賳噩蹖 丿乇 丨丕賱 亘乇诏卮鬲賳賴! 賲賳噩蹖 亘乇丕蹖 毓亘賵乇 丕夭 丕蹖賳 夭賳丿诏蹖 蹖讴賳賵丕禺鬲 乇禺賵鬲 丌賵乇 爻丕讴賳. 丌蹖丕 丕蹖賳 賲賳噩蹖 賮乇卮鬲賴 丕爻鬲 蹖丕 卮蹖胤丕賳責 趩蹖夭蹖 讴賴 賳馗乇賲 乇賵 噩賱亘 讴乇丿 賳丨賵賴鈥屰� 卮賲丕乇賴 诏匕丕乇蹖 賮氐賵賱 讴鬲丕亘 亘賵丿貙 讴鬲丕亘 丿乇 丿賵 亘禺卮 賳賵卮鬲賴 卮丿賴 讴賴 亘禺卮 丕賵賱 丕夭 卮賲丕乇賴 郾 鬲丕 鄱 卮賲丕乇賴 诏匕丕乇蹖 卮丿賴 賵 亘禺卮 丿賵賲 丕夭 卮賲丕乇賴 鄱 鬲丕 郾 亘賴 胤賵乇 賲毓讴賵爻 丕賳诏丕乇 讴賴 丿賳蹖丕 丿乇 丨丕賱 趩乇禺蹖丿賳 丿賵乇 禺賵丿卮 賵 丿賵乇 亘丕胤賱蹖 丕爻鬲 丕夭 蹖讴 賲賳噩蹖 亘賴 賲賳噩蹖 丿蹖诏乇. 趩乇禺賴鈥屰� 丕賲蹖丿貙 鬲賱丕卮貙 賳丕丕賲蹖丿蹖 賵 丕賳鬲馗丕乇. 丌蹖丕 賲賳噩蹖 丿乇 讴丕乇 賳蹖爻鬲 蹖丕 丕賳爻丕賳賴丕 賲賳噩蹖 丕氐賱蹖 乇賵 诏賲 讴乇丿賳責 夭賲丕賳 賲卮禺氐 禺賵丕賴丿 讴乇丿.賴
倬.賳: 丕诏乇 丿賳亘丕賱 丕賳鬲賴丕蹖 丿丕爻鬲丕賳 賴爻鬲蹖丿貙 讴鬲丕亘 賲賳丕爻亘蹖 亘乇丕蹖 卮賲丕 賳蹖爻鬲貙 丕蹖賳 讴鬲丕亘 賲亘賴賲賴 賵 賮賯胤 胤乇丨 賲爻卅賱賴 賲蹖讴賳賴貙 丕夭 噩賵丕亘 禺亘乇蹖 賳蹖爻鬲.賴
倬.賳鄄: 賮蹖賱賲蹖 丕夭 丕蹖賳 乇賲丕賳 爻丕禺鬲賴 卮丿賴 讴賴 亘賴 賳馗乇賲 賲蹖鈥屫堎嗁� 胤賵賱丕賳蹖鈥屫臂屬� 賮蹖賱賲 噩賴丕賳 亘丕卮賴貙 賳夭丿蹖讴 亘賴 鄹 爻丕毓鬲. 丕賲丕 趩蹖夭蹖 丕夭 讴鬲丕亘 亘蹖卮鬲乇 賳丿丕乇賴鈥� 噩夭 賲賵爻蹖賯蹖 賲鬲賳. 賲賵爻蹖賯蹖 賮蹖賱賲 賵丕賯毓丕 禺蹖賱蹖 禺賵亘賴 丕賲丕 亘賴 賳馗乇賲 丕诏乇 讴卮鬲賴 賲乇丿賴鈥屰� 爻蹖賳賲丕 賳蹖爻鬲蹖丿貙 禺賵賳丿賳 讴鬲丕亘 讴賮丕蹖鬲 賲蹖鈥屭┵嗁�. 賴
倬.賳鄢: 亘丕 丕蹖賳讴賴 倬丕蹖丕賳 讴鬲丕亘 讴丕賲賱丕 賲賳胤亘賯 亘丕 爻亘讴 賵 賴丿賮 賳賵蹖爻賳丿賴 賴爻鬲 賵 賲蹖鈥屫堎嗁� 丿乇 賳賵毓 禺賵丿卮 卮丕賴讴丕乇 亘丕卮賴貙 丕賲丕 賲賳 丿賵爻鬲 賳丿丕卮鬲賲! 丕诏賴 倬丕蹖丕賳 賲鬲賮丕賵鬲蹖 丿丕卮鬲 丕賲鬲蹖丕夭 亘蹖卮鬲乇蹖 賲蹖丿丕丿賲.賴
November 5, 2018
"...氐丿丕蹖蹖 讴賴 蹖丕丿 丌賵乇 诏匕卮鬲賴 賴丕 賵 乇丕賵蹖 夭賵丕賱蹖 賲丿丕賲 亘賵丿"
氐94
丿乇 蹖讴 乇賵爻鬲丕蹖 丕卮鬲乇丕讴蹖 讴賲賵賳蹖爻鬲蹖 讴賴 鬲毓胤蹖賱蹖 丌賳 丕毓賱丕賲 卮丿賴貙 賴賳賵夭 丕賳诏卮鬲 卮賲丕乇蹖 丕夭 爻丕讴賳蹖賳 丿乇 禺丕賳賴 賴丕蹖 鬲賵爻乇蹖 禺賵乇丿賴 賵 乇賵 亘賴 賵蹖乇丕賳蹖 丌賳 夭賳丿诏蹖 賲蹖 讴賳賳丿 (賵 趩賯丿乇 賲乇丕 亘賴 蹖丕丿 乇賵爻鬲丕蹖"亘蹖賱" 爻丕毓丿蹖 丕賳丿丕禺鬲). 賲乇丿賲丕賳蹖 讴賴 倬卮鬲 賲蹖夭賴丕蹖 丌卮倬夭禺丕賳賴 蹖丕 丿乇 亘丕乇 賳卮爻鬲賴 賵 賲爻鬲 丕夭 卮乇丕亘貙 丕蹖賳 丕賳賴丿丕賲 賵 夭賵丕賱 乇丕 丿乇 亘丕乇丕賳 亘蹖 賵賯賮賴 蹖 倬丕蹖蹖夭蹖 亘賴 賳馗丕乇賴 賳卮爻鬲賴 丕賳丿...
丿乇 丕蹖賳 賲蹖丕賳 賳丕诏賴丕賳 禺亘乇 賲蹖 乇爻丿 讴賴 丕蹖乇蹖賲蹖丕卮 丿丕乇丿 亘賴 乇賵爻鬲丕 賲蹖 丌蹖丿. 丕蹖賳 賲乇丿 倬蹖丕賲亘乇 丕爻鬲 蹖丕 卮蹖丕丿責 賴乇趩賴 賴爻鬲貙 丕賳丿讴 丕賲蹖丿蹖 乇丕 亘賴 乇禺賵鬲 賵 賲賱丕賱 爻丕讴賳蹖賳 乇賵爻鬲丕 亘丕夭賲蹖 诏乇丿丕賳丿.
賳賵蹖爻賳丿賴 賲噩丕乇爻鬲丕賳蹖 丿乇 丕蹖賳 讴鬲丕亘 鬲賵丕賳爻鬲賴 丕爻鬲 亘丕 丿丕爻鬲丕賳蹖 禺賱賵鬲 賵 讴賲 丕賮鬲 賵 禺蹖夭貙 乇賵丕蹖鬲蹖 賲丕賴乇丕賳賴 丕夭 夭賵丕賱 丕蹖賳 賲乇丿賲丕賳 乇丕 亘賴 鬲氐賵蹖乇 讴卮蹖丿賴 丕爻鬲.
丕賵 亘乇丕蹖 賳卮丕賳 丿丕丿賳 丕蹖賳 夭賵丕賱 亘賴 禺賵亘蹖 丕夭 毓賳氐乇 亘丕乇丕賳 丕爻鬲賮丕丿賴 讴乇丿賴 丕爻鬲貨 亘丕乇丕賳蹖 讴賴 诏賵蹖蹖 爻乇 爻丕夭诏丕乇蹖 賳丿丕乇丿 賵 賯乇丕乇 丕爻鬲 鬲丕 倬丕蹖丕賳 丿賳蹖丕 亘亘丕乇丿貙 賵 賵 趩賴 賴賵賱賳丕讴 丕爻鬲 丕蹖賳 亘丕乇丕賳 賮乇賵 亘賱毓賳丿賴 賵 賵蹖乇丕賳 讴賳賳丿賴.
"胤賵乇蹖 亘賵丿 讴賴 诏賵蹖蹖 賴乇 賯胤乇賴 亘丕乇丕賳 亘丕 賳蹖鬲蹖 卮賵賲 賯氐丿 丿丕乇丿 禺丕賳賴 乇丕 丕夭 夭賲蹖賳 賴丕蹖 丕胤乇丕賮 丨丿丕 爻丕夭丿 賵 爻丕讴賳丕賳卮 乇丕 丕夭 丿賳蹖丕蹖 禺丕乇噩 丿賵乇 丕賳丿丕夭丿... 賵 亘賴 卮丕賱賵丿賴 丿蹖賵丕乇賴丕 賵 倬蹖 禺丕賳賴 賳賮賵匕 讴賳丿貙 鬲丕 亘賴 賲乇賵乇 賵 匕乇賴 匕乇賴 丿蹖賵丕乇賴丕 鬲乇讴 亘乇丿丕乇賳丿... 賵 讴賱 丌賲 賵蹖乇丕賳賴 賲丕賳賳丿 賯丕蹖賯蹖 讴賴 爻賵乇丕禺 卮丿賴 亘丕卮丿貙 夭蹖乇 丌亘 賳丕倬丿蹖丿 卮賵丿 鬲丕 亘蹖賴賵丿诏蹖 賴賵賱賳丕讴 賳亘乇丿蹖 賮賱丕讴鬲 亘丕乇 賲蹖丕賳 亘丕乇丕賳貙 夭賲蹖賳 賵 丕賳爻丕賳 賴丕蹖 丿乇丿賲賳丿 賵 賲賮賱賵讴蹖 乇丕 讴賴 夭蹖乇 爻賯賮 禺丕賳賴 賴丕蹖卮丕賳 倬賳丕賴 诏乇賮鬲賴 丕賳丿貙 丕毓賱丕賲 讴賳丿".
氐 127
賵 丕賲丕 爻亘讴 賳賵蹖爻賳丿诏蹖 丌賯丕蹖 賳賵蹖爻賳丿賴:
賳賵蹖爻賳丿賴 亘乇丕蹖 丕蹖賳讴賴 丿丕爻鬲丕賳 蹖讴 禺胤蹖 賵 鬲購賳讴 賵 讴賲 丕賮鬲 賵 禺蹖夭卮 乇丕 丕夭 蹖讴賳賵丕禺鬲蹖 賵 禺爻鬲賴 讴賳賳丿诏蹖 丿賵乇 讴賳丿貙 亘丕 賴賵卮賲賳丿蹖 鬲賲丕賲 丕夭鬲讴賳蹖讴 乇賵丕蹖蹖 "爻亘讴 睾蹖乇賲爻鬲賯蹖賲 丌夭丕丿丕賳賴" 亘賴乇賴 亘乇丿賴 丕爻鬲. 丿乇 丕蹖賳 爻亘讴貙 乇丕賵蹖 爻賵賲 卮禺氐貙 賴乇 趩賳丿 氐賮丨賴 蹖丕 賴乇 趩賳丿 倬丕乇丕诏乇丕賮貙 丿乇 倬爻 趩卮賲丕賳 蹖讴蹖 丕夭 卮禺氐蹖鬲 賴丕蹖 丿丕爻鬲丕賳 賯乇丕乇 賲蹖 诏蹖乇丿 賵 乇賵丕賱 丿丕爻鬲丕賳 乇丕 丕夭 夭丕賵蹖賴 賳诏丕賴 丕賵 賵 诏丕賴丕賻 亘丕 讴賱賲丕鬲 丕賵 乇賵丕蹖鬲 賲蹖 讴賳丿.
丕蹖賳 鬲讴賳蹖讴 賲賵噩亘 卮丿賴 讴賴 賳賵蹖爻賳丿賴 亘鬲賵丕賳丿丿乇 毓蹖賳 丕蹖賳讴賴 爻賵賲 卮禺氐 亘賵丿賳 禺賵丿卮 (賯丕亘賱 丕毓鬲賲丕丿 亘賵丿賳 賵 丕鬲賵乇蹖鬲賴 丕卮 亘乇 乇賵丕蹖鬲) 乇丕 丨賮馗 賲蹖 讴賳丿貙 亘賴 丿賳蹖丕蹖 卮禺氐蹖鬲 賴丕蹖 丿蹖诏乇 賴賲 爻乇讴 讴卮蹖丿賴 賵 丿丕爻鬲丕賳 乇丕 亘賴 丕氐胤賱丕丨 丿乇 毓乇囟 倬蹖卮 亘亘乇丿.
蹖讴蹖 丕夭 卮禺氐蹖鬲 賴丕蹖 丿丕爻鬲丕賳貙 丿讴鬲乇蹖 爻鬲 讴賴 爻乇丕爻乇 卮亘丕賳賴 乇賵夭 倬卮鬲 倬賳噩乇賴 蹖 禺丕賳賴 丕卮 賳卮爻鬲賴 賵 亘賴 孬亘鬲 賴賲賴 噩夭卅蹖丕鬲 賵 賵賯丕蹖毓 讴賵趩讴 賵 亘夭乇诏 乇賵爻鬲丕 賲蹖 倬乇丿丕夭丿:
"趩賵賳 鬲賳賴丕 亘丕 丕蹖賳 讴丕乇 亘賵丿 讴賴 丕賲蹖丿卮 乇丕 丨賮馗 賲蹖 讴乇丿 鬲丕 乇賵夭蹖 賳蹖爻鬲 賵 賳丕亘賵丿 賵 丕爻蹖乇賽 禺丕賲賵卮 賯賵賱 賵 賯乇丕乇賴丕蹖 卮乇蹖乇丕賳賴 丕蹖 賳卮賵丿 讴賴 亘賴 賲賵噩亘 卮丕賳 丿賳蹖丕 乇賵 亘賴 賵蹖乇丕賳蹖 賲蹖 诏匕丕乇丿 鬲丕 亘丕夭 丕夭 賳賵 禺賵丿 乇丕 亘爻丕夭丿".
賳賵蹖爻賳丿賴/乇丕賵蹖 賴賲 丕賳诏丕乇 賴賲蹖賳 賵爻賵丕爻 乇丕 亘賴 讴丕乇 亘乇丿賴 丕爻鬲 賵 丿乇 丨蹖賳 乇賵丕蹖鬲 賵賯丕蹖毓 丿丕爻鬲丕賳蹖 賵 讴賳卮 賴丕蹖 卮禺氐蹖鬲 賴丕貙 亘丕 噩賲賱丕鬲 倬蹖趩蹖丿賴 賵 賲胤賵賱蹖 讴賴 诏丕賴蹖 蹖讴 倬丕乇丕诏乇丕賮 胤賵賱 賲蹖 讴卮賳丿貙 亘賴 鬲氐賵蹖乇 讴乇丿賳 賲丨蹖胤 賵 噩夭卅蹖丕鬲 亘賴 馗丕賴乇 亘蹖 丕賴賲蹖鬲 丿丕爻鬲丕賳蹖 賲蹖 倬乇丿丕夭丿
卮丕蹖丿 丕蹖賳 鬲氐賲蹖賲 賵 鬲讴賳蹖讴 讴賴 丕賳丿讴蹖 賲賵噩亘 丿卮賵丕乇禺賵丕賳蹖 讴鬲丕亘 卮丿賴貙 蹖讴蹖 亘乇丕蹖 賳卮丕賳 丿丕丿賳 乇賵丨蹖丕鬲 卮禺氐蹖鬲 賴丕 亘丕 讴賲讴 鬲賵氐蹖賮 噩夭卅蹖丕鬲 丕胤乇丕賮 賵 馗丕賴乇蹖 禺賵丿卮丕賳 丕爻鬲. 賵 丿蹖诏乇蹖 丕蹖賳讴賴 鬲丕丨丿賵丿蹖 賯乇丕乇 丕爻鬲 賲禺丕胤亘 賳蹖夭 亘丕 禺賵丕賳丿賳 丕蹖賳 鬲賵氐蹖賮丕鬲 賲賮氐賱貙 丕賳丿讴蹖 丕夭 賲賱丕賱 爻丕讴賳丕賳 乇賵爻鬲丕 乇丕 鬲噩乇亘賴 讴賳丿.
趩賳丿 鬲賵氐蹖賴:
1.
禺賵丕賳丿賳 蹖讴蹖 丿賵 賮氐賱 丕賵賱 讴鬲丕亘貙 亘賴 禺丕胤乇 噩賲賱丕鬲 亘賱賳丿 賵 鬲賵丿乇鬲賵 賵 鬲賵氐蹖賮丕鬲 賲賮氐賱貙 卮丕蹖丿 丕賳丿讴蹖 禺爻鬲賴 讴賳賳丿賴 亘丕卮丿. 丕賲丕 讴賲 讴賲 亘丕 亘丕夭 卮丿賳 讴賱丕賮 乇賵丕蹖鬲貙 乇蹖鬲賲 賵 爻乇毓鬲 賵 乇睾亘鬲 亘蹖卮 鬲乇蹖 亘乇丕蹖 禺賵丕賳丿賳 倬蹖丿丕 賲蹖 讴賳蹖丿.
2.
賲鬲賳 爻鬲賵丿賴 卮丿賴 蹖 鬲乇噩賲賴 蹖 丕賳诏賱蹖爻蹖 讴鬲丕亘 (讴賴 鬲乇噩賲賴 賮丕乇爻蹖 丕夭 丌賳 丕賳噩丕賲 卮丿賴)貙 賴賲丕賳胤賵乇 讴賴 诏賮鬲賴 卮丿 亘賴 鬲亘毓蹖鬲 丕夭 賳爻禺賴 蹖 丕氐賱蹖 讴鬲丕亘貙 噩賲賱丕鬲蹖 亘賱賳丿 賵 賳賮爻诏蹖乇 賵 鬲賵丿乇鬲賵 丿丕乇丿. 賲鬲乇噩賲 (爻倬賳丿 爻丕毓丿蹖) 亘賴 賳馗乇賲 鬲丕丨丿賵丿蹖 賵 丿乇 亘蹖卮 鬲乇 賯爻賲鬲 賴丕蹖 讴鬲丕亘 鬲賵丕賳爻鬲賴 丕夭 倬爻 鬲乇噩賲賴 蹖 丿卮賵丕乇 讴鬲丕亘 亘乇亘蹖丕蹖丿 賵 鬲乇噩賲賴 丕蹖 賯丕亘賱 賯亘賵賱 丕乇丕卅賴 丿賴丿.
倬 賳: 蹖讴蹖 賴賵賱賳丕讴 鬲乇蹖賳 鬲賵氐蹖賮丕鬲 賵 鬲噩乇亘蹖丕鬲 丕夭 亘丕乇丕賳 丿乇 丕丿亘蹖丕鬲 噩賴丕賳 乇丕 賲蹖 鬲賵丕賳蹖丿 丿乇 丕蹖賳 讴鬲丕亘 鬲噩乇亘賴 讴賳蹖丿 (亘丕乇丕賳蹖 倬丕蹖蹖夭蹖 讴賴 丕賳诏丕乇 丿乇 賲睾夭 丕爻鬲禺賵丕賳 賵 丿乇 倬蹖 爻丕禺鬲賲丕賳 賴丕 丌賳賯丿乇 賮乇賵 賲蹖 乇賵丿 鬲丕 丿乇 賳賴丕蹖鬲 丌丿賲蹖 賵 賴乇 丌賳趩賴 丿乇 丕胤乇丕賮卮 丕爻鬲 乇丕 亘倬賵爻丕賳丿).
氐94
丿乇 蹖讴 乇賵爻鬲丕蹖 丕卮鬲乇丕讴蹖 讴賲賵賳蹖爻鬲蹖 讴賴 鬲毓胤蹖賱蹖 丌賳 丕毓賱丕賲 卮丿賴貙 賴賳賵夭 丕賳诏卮鬲 卮賲丕乇蹖 丕夭 爻丕讴賳蹖賳 丿乇 禺丕賳賴 賴丕蹖 鬲賵爻乇蹖 禺賵乇丿賴 賵 乇賵 亘賴 賵蹖乇丕賳蹖 丌賳 夭賳丿诏蹖 賲蹖 讴賳賳丿 (賵 趩賯丿乇 賲乇丕 亘賴 蹖丕丿 乇賵爻鬲丕蹖"亘蹖賱" 爻丕毓丿蹖 丕賳丿丕禺鬲). 賲乇丿賲丕賳蹖 讴賴 倬卮鬲 賲蹖夭賴丕蹖 丌卮倬夭禺丕賳賴 蹖丕 丿乇 亘丕乇 賳卮爻鬲賴 賵 賲爻鬲 丕夭 卮乇丕亘貙 丕蹖賳 丕賳賴丿丕賲 賵 夭賵丕賱 乇丕 丿乇 亘丕乇丕賳 亘蹖 賵賯賮賴 蹖 倬丕蹖蹖夭蹖 亘賴 賳馗丕乇賴 賳卮爻鬲賴 丕賳丿...
丿乇 丕蹖賳 賲蹖丕賳 賳丕诏賴丕賳 禺亘乇 賲蹖 乇爻丿 讴賴 丕蹖乇蹖賲蹖丕卮 丿丕乇丿 亘賴 乇賵爻鬲丕 賲蹖 丌蹖丿. 丕蹖賳 賲乇丿 倬蹖丕賲亘乇 丕爻鬲 蹖丕 卮蹖丕丿責 賴乇趩賴 賴爻鬲貙 丕賳丿讴 丕賲蹖丿蹖 乇丕 亘賴 乇禺賵鬲 賵 賲賱丕賱 爻丕讴賳蹖賳 乇賵爻鬲丕 亘丕夭賲蹖 诏乇丿丕賳丿.
賳賵蹖爻賳丿賴 賲噩丕乇爻鬲丕賳蹖 丿乇 丕蹖賳 讴鬲丕亘 鬲賵丕賳爻鬲賴 丕爻鬲 亘丕 丿丕爻鬲丕賳蹖 禺賱賵鬲 賵 讴賲 丕賮鬲 賵 禺蹖夭貙 乇賵丕蹖鬲蹖 賲丕賴乇丕賳賴 丕夭 夭賵丕賱 丕蹖賳 賲乇丿賲丕賳 乇丕 亘賴 鬲氐賵蹖乇 讴卮蹖丿賴 丕爻鬲.
丕賵 亘乇丕蹖 賳卮丕賳 丿丕丿賳 丕蹖賳 夭賵丕賱 亘賴 禺賵亘蹖 丕夭 毓賳氐乇 亘丕乇丕賳 丕爻鬲賮丕丿賴 讴乇丿賴 丕爻鬲貨 亘丕乇丕賳蹖 讴賴 诏賵蹖蹖 爻乇 爻丕夭诏丕乇蹖 賳丿丕乇丿 賵 賯乇丕乇 丕爻鬲 鬲丕 倬丕蹖丕賳 丿賳蹖丕 亘亘丕乇丿貙 賵 賵 趩賴 賴賵賱賳丕讴 丕爻鬲 丕蹖賳 亘丕乇丕賳 賮乇賵 亘賱毓賳丿賴 賵 賵蹖乇丕賳 讴賳賳丿賴.
"胤賵乇蹖 亘賵丿 讴賴 诏賵蹖蹖 賴乇 賯胤乇賴 亘丕乇丕賳 亘丕 賳蹖鬲蹖 卮賵賲 賯氐丿 丿丕乇丿 禺丕賳賴 乇丕 丕夭 夭賲蹖賳 賴丕蹖 丕胤乇丕賮 丨丿丕 爻丕夭丿 賵 爻丕讴賳丕賳卮 乇丕 丕夭 丿賳蹖丕蹖 禺丕乇噩 丿賵乇 丕賳丿丕夭丿... 賵 亘賴 卮丕賱賵丿賴 丿蹖賵丕乇賴丕 賵 倬蹖 禺丕賳賴 賳賮賵匕 讴賳丿貙 鬲丕 亘賴 賲乇賵乇 賵 匕乇賴 匕乇賴 丿蹖賵丕乇賴丕 鬲乇讴 亘乇丿丕乇賳丿... 賵 讴賱 丌賲 賵蹖乇丕賳賴 賲丕賳賳丿 賯丕蹖賯蹖 讴賴 爻賵乇丕禺 卮丿賴 亘丕卮丿貙 夭蹖乇 丌亘 賳丕倬丿蹖丿 卮賵丿 鬲丕 亘蹖賴賵丿诏蹖 賴賵賱賳丕讴 賳亘乇丿蹖 賮賱丕讴鬲 亘丕乇 賲蹖丕賳 亘丕乇丕賳貙 夭賲蹖賳 賵 丕賳爻丕賳 賴丕蹖 丿乇丿賲賳丿 賵 賲賮賱賵讴蹖 乇丕 讴賴 夭蹖乇 爻賯賮 禺丕賳賴 賴丕蹖卮丕賳 倬賳丕賴 诏乇賮鬲賴 丕賳丿貙 丕毓賱丕賲 讴賳丿".
氐 127
賵 丕賲丕 爻亘讴 賳賵蹖爻賳丿诏蹖 丌賯丕蹖 賳賵蹖爻賳丿賴:
賳賵蹖爻賳丿賴 亘乇丕蹖 丕蹖賳讴賴 丿丕爻鬲丕賳 蹖讴 禺胤蹖 賵 鬲購賳讴 賵 讴賲 丕賮鬲 賵 禺蹖夭卮 乇丕 丕夭 蹖讴賳賵丕禺鬲蹖 賵 禺爻鬲賴 讴賳賳丿诏蹖 丿賵乇 讴賳丿貙 亘丕 賴賵卮賲賳丿蹖 鬲賲丕賲 丕夭鬲讴賳蹖讴 乇賵丕蹖蹖 "爻亘讴 睾蹖乇賲爻鬲賯蹖賲 丌夭丕丿丕賳賴" 亘賴乇賴 亘乇丿賴 丕爻鬲. 丿乇 丕蹖賳 爻亘讴貙 乇丕賵蹖 爻賵賲 卮禺氐貙 賴乇 趩賳丿 氐賮丨賴 蹖丕 賴乇 趩賳丿 倬丕乇丕诏乇丕賮貙 丿乇 倬爻 趩卮賲丕賳 蹖讴蹖 丕夭 卮禺氐蹖鬲 賴丕蹖 丿丕爻鬲丕賳 賯乇丕乇 賲蹖 诏蹖乇丿 賵 乇賵丕賱 丿丕爻鬲丕賳 乇丕 丕夭 夭丕賵蹖賴 賳诏丕賴 丕賵 賵 诏丕賴丕賻 亘丕 讴賱賲丕鬲 丕賵 乇賵丕蹖鬲 賲蹖 讴賳丿.
丕蹖賳 鬲讴賳蹖讴 賲賵噩亘 卮丿賴 讴賴 賳賵蹖爻賳丿賴 亘鬲賵丕賳丿丿乇 毓蹖賳 丕蹖賳讴賴 爻賵賲 卮禺氐 亘賵丿賳 禺賵丿卮 (賯丕亘賱 丕毓鬲賲丕丿 亘賵丿賳 賵 丕鬲賵乇蹖鬲賴 丕卮 亘乇 乇賵丕蹖鬲) 乇丕 丨賮馗 賲蹖 讴賳丿貙 亘賴 丿賳蹖丕蹖 卮禺氐蹖鬲 賴丕蹖 丿蹖诏乇 賴賲 爻乇讴 讴卮蹖丿賴 賵 丿丕爻鬲丕賳 乇丕 亘賴 丕氐胤賱丕丨 丿乇 毓乇囟 倬蹖卮 亘亘乇丿.
蹖讴蹖 丕夭 卮禺氐蹖鬲 賴丕蹖 丿丕爻鬲丕賳貙 丿讴鬲乇蹖 爻鬲 讴賴 爻乇丕爻乇 卮亘丕賳賴 乇賵夭 倬卮鬲 倬賳噩乇賴 蹖 禺丕賳賴 丕卮 賳卮爻鬲賴 賵 亘賴 孬亘鬲 賴賲賴 噩夭卅蹖丕鬲 賵 賵賯丕蹖毓 讴賵趩讴 賵 亘夭乇诏 乇賵爻鬲丕 賲蹖 倬乇丿丕夭丿:
"趩賵賳 鬲賳賴丕 亘丕 丕蹖賳 讴丕乇 亘賵丿 讴賴 丕賲蹖丿卮 乇丕 丨賮馗 賲蹖 讴乇丿 鬲丕 乇賵夭蹖 賳蹖爻鬲 賵 賳丕亘賵丿 賵 丕爻蹖乇賽 禺丕賲賵卮 賯賵賱 賵 賯乇丕乇賴丕蹖 卮乇蹖乇丕賳賴 丕蹖 賳卮賵丿 讴賴 亘賴 賲賵噩亘 卮丕賳 丿賳蹖丕 乇賵 亘賴 賵蹖乇丕賳蹖 賲蹖 诏匕丕乇丿 鬲丕 亘丕夭 丕夭 賳賵 禺賵丿 乇丕 亘爻丕夭丿".
賳賵蹖爻賳丿賴/乇丕賵蹖 賴賲 丕賳诏丕乇 賴賲蹖賳 賵爻賵丕爻 乇丕 亘賴 讴丕乇 亘乇丿賴 丕爻鬲 賵 丿乇 丨蹖賳 乇賵丕蹖鬲 賵賯丕蹖毓 丿丕爻鬲丕賳蹖 賵 讴賳卮 賴丕蹖 卮禺氐蹖鬲 賴丕貙 亘丕 噩賲賱丕鬲 倬蹖趩蹖丿賴 賵 賲胤賵賱蹖 讴賴 诏丕賴蹖 蹖讴 倬丕乇丕诏乇丕賮 胤賵賱 賲蹖 讴卮賳丿貙 亘賴 鬲氐賵蹖乇 讴乇丿賳 賲丨蹖胤 賵 噩夭卅蹖丕鬲 亘賴 馗丕賴乇 亘蹖 丕賴賲蹖鬲 丿丕爻鬲丕賳蹖 賲蹖 倬乇丿丕夭丿
卮丕蹖丿 丕蹖賳 鬲氐賲蹖賲 賵 鬲讴賳蹖讴 讴賴 丕賳丿讴蹖 賲賵噩亘 丿卮賵丕乇禺賵丕賳蹖 讴鬲丕亘 卮丿賴貙 蹖讴蹖 亘乇丕蹖 賳卮丕賳 丿丕丿賳 乇賵丨蹖丕鬲 卮禺氐蹖鬲 賴丕 亘丕 讴賲讴 鬲賵氐蹖賮 噩夭卅蹖丕鬲 丕胤乇丕賮 賵 馗丕賴乇蹖 禺賵丿卮丕賳 丕爻鬲. 賵 丿蹖诏乇蹖 丕蹖賳讴賴 鬲丕丨丿賵丿蹖 賯乇丕乇 丕爻鬲 賲禺丕胤亘 賳蹖夭 亘丕 禺賵丕賳丿賳 丕蹖賳 鬲賵氐蹖賮丕鬲 賲賮氐賱貙 丕賳丿讴蹖 丕夭 賲賱丕賱 爻丕讴賳丕賳 乇賵爻鬲丕 乇丕 鬲噩乇亘賴 讴賳丿.
趩賳丿 鬲賵氐蹖賴:
1.
禺賵丕賳丿賳 蹖讴蹖 丿賵 賮氐賱 丕賵賱 讴鬲丕亘貙 亘賴 禺丕胤乇 噩賲賱丕鬲 亘賱賳丿 賵 鬲賵丿乇鬲賵 賵 鬲賵氐蹖賮丕鬲 賲賮氐賱貙 卮丕蹖丿 丕賳丿讴蹖 禺爻鬲賴 讴賳賳丿賴 亘丕卮丿. 丕賲丕 讴賲 讴賲 亘丕 亘丕夭 卮丿賳 讴賱丕賮 乇賵丕蹖鬲貙 乇蹖鬲賲 賵 爻乇毓鬲 賵 乇睾亘鬲 亘蹖卮 鬲乇蹖 亘乇丕蹖 禺賵丕賳丿賳 倬蹖丿丕 賲蹖 讴賳蹖丿.
2.
賲鬲賳 爻鬲賵丿賴 卮丿賴 蹖 鬲乇噩賲賴 蹖 丕賳诏賱蹖爻蹖 讴鬲丕亘 (讴賴 鬲乇噩賲賴 賮丕乇爻蹖 丕夭 丌賳 丕賳噩丕賲 卮丿賴)貙 賴賲丕賳胤賵乇 讴賴 诏賮鬲賴 卮丿 亘賴 鬲亘毓蹖鬲 丕夭 賳爻禺賴 蹖 丕氐賱蹖 讴鬲丕亘貙 噩賲賱丕鬲蹖 亘賱賳丿 賵 賳賮爻诏蹖乇 賵 鬲賵丿乇鬲賵 丿丕乇丿. 賲鬲乇噩賲 (爻倬賳丿 爻丕毓丿蹖) 亘賴 賳馗乇賲 鬲丕丨丿賵丿蹖 賵 丿乇 亘蹖卮 鬲乇 賯爻賲鬲 賴丕蹖 讴鬲丕亘 鬲賵丕賳爻鬲賴 丕夭 倬爻 鬲乇噩賲賴 蹖 丿卮賵丕乇 讴鬲丕亘 亘乇亘蹖丕蹖丿 賵 鬲乇噩賲賴 丕蹖 賯丕亘賱 賯亘賵賱 丕乇丕卅賴 丿賴丿.
倬 賳: 蹖讴蹖 賴賵賱賳丕讴 鬲乇蹖賳 鬲賵氐蹖賮丕鬲 賵 鬲噩乇亘蹖丕鬲 丕夭 亘丕乇丕賳 丿乇 丕丿亘蹖丕鬲 噩賴丕賳 乇丕 賲蹖 鬲賵丕賳蹖丿 丿乇 丕蹖賳 讴鬲丕亘 鬲噩乇亘賴 讴賳蹖丿 (亘丕乇丕賳蹖 倬丕蹖蹖夭蹖 讴賴 丕賳诏丕乇 丿乇 賲睾夭 丕爻鬲禺賵丕賳 賵 丿乇 倬蹖 爻丕禺鬲賲丕賳 賴丕 丌賳賯丿乇 賮乇賵 賲蹖 乇賵丿 鬲丕 丿乇 賳賴丕蹖鬲 丌丿賲蹖 賵 賴乇 丌賳趩賴 丿乇 丕胤乇丕賮卮 丕爻鬲 乇丕 亘倬賵爻丕賳丿).
May 3, 2019
螛蔚蠅蟻蠋 蟺蠅蟼 畏 蔚魏未慰蟿喂魏萎 蟺伪蟻伪纬蠅纬萎 蟽蠉纬蠂蟻慰谓畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 蔚蟺喂蟿蔚位蔚委 蟽畏渭伪谓蟿喂魏蠈 苇蟻纬慰. 螘委谓伪喂 味蠅蟿喂魏萎蟼 蟽畏渭伪蟽委伪蟼 谓伪 魏喂谓蔚委蟿伪喂 畏 伪纬慰蟻维 蟿慰蠀 尾喂尾位委慰蠀 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 未喂蔚蠀蟻蠉谓蔚蟿伪喂 蔚喂 未蠀谓伪蟿蠈谓 畏 尾维蟽畏 蟿慰蠀, 蔚谓蠋 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟿慰 谓蔚蠈蟿蔚蟻慰 魏慰喂谓蠈 蟺慰蠀 蟺蠀魏谓蠋谓蔚喂 (;) 蟿喂蟼 蟿维尉蔚喂蟼 谓伪 尾蟻委蟽魏蔚喂 维渭蔚蟽伪 蟽畏渭蔚委伪 伪谓伪蠁慰蟻维蟼 蟽蟿畏谓 蔚蟺慰蠂萎 蟿慰蠀 魏伪喂 蟽蟿伪 蟻蔚蠉渭伪蟿伪 蟺慰蠀 蟿畏 未喂伪蟿蟻苇蠂慰蠀谓.
韦畏谓 委未喂伪 蟽蟿喂纬渭萎 蠈渭蠅蟼, 渭喂位蠋谓蟿伪蟼 蠅蟼 伪谓伪纬谓蠋蟽蟿畏蟼 维谓蠅 蟿蠅谓 40, 胃蔚蠅蟻蠋 蟺蠅蟼 畏 蟽蠉纬蠂蟻慰谓畏 位慰纬慰蟿蔚蠂谓喂魏萎 蟺伪蟻伪纬蠅纬萎 蔚委谓伪喂 蟽蠀蠂谓蠈蟿蔚蟻伪 伪未喂维蠁慰蟻畏 魏伪喂 蟽蠀谓维渭伪 蟺伪蟻蔚位魏蠀蟽蟿喂魏萎. 螒未喂维蠁慰蟻畏 纬喂伪蟿委 未蔚谓 苇蠂蔚喂 蟿委蟺慰蟿蔚 "魏伪喂谓蠈 蠀蟺蠈 蟿慰谓 萎位喂慰" 谓伪 蟺蟻慰蟽蠁苇蟻蔚喂 伪蟺蠈 蟺位蔚蠀蟻维蟼 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿蔚蠂谓喂魏萎蟼 蟺慰蠀 未蔚谓 苇蠂蔚喂 蔚喂蟺蠅胃蔚委 蟽蟿慰 蟺伪蟻蔚位胃蠈谓. 螤伪蟻蔚位魏蠀蟽蟿喂魏萎, 纬喂伪蟿委 慰喂魏蔚喂慰蟺慰喂慰蠉渭蔚谓畏 蟿畏谓 魏伪喂谓慰蟿慰渭委伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 (位蔚喂伪委谓慰谓蟿伪蟼 蟿喂蟼 伪喂蠂渭苇蟼 魏伪蟿维 尾慰蠉位畏蟽畏) 蟿畏谓 魏伪胃喂蟽蟿维 维蟽蠁伪喂蟻畏, 伪谓蔚蟺伪蟻魏萎, 蔚魏位伪蠆魏蔚蠉慰谓蟿维蟼 蟿畏 渭苇蟽蠅 蟿畏蟼 渭伪谓喂苇蟻伪蟼 魏伪喂 蟿畏蟼 蔚蟺伪谓维位畏蠄畏蟼.
螔蔚尾伪委蠅蟼, 蟺维谓蟿伪 蠀蟺维蟻蠂慰蠀谓 蟿慰蠀位维蠂喂蟽蟿慰谓鈥ο勏佄滴瓜� 蟺位蔚蠀蟻苇蟼 蟽蔚 魏维胃蔚 喂蟽蟿慰蟻委伪 魏喂 蔚未蠋 伪魏蟻喂尾蠋蟼 蠀蟺蔚喂蟽苇蟻蠂慰谓蟿伪喂 蟿伪位伪谓蟿慰蠉蠂慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼, 蠈蟺蠅蟼 慰 Krasznahorkai. 螒谓 魏伪喂 蔚蟺委纬慰谓慰蟼 蟽蟺慰蠀未伪委蠅谓 蟺蟻慰纬蠈谓蠅谓, 蟿慰蠀蟼 慰蟺慰委慰蠀蟼 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 蠁蠀蟽喂魏维 蟺慰蟿苇 谓伪 伪纬纬委尉蔚喂 萎 谓伪 尉蔚蟺蔚蟻维蟽蔚喂, 蔚蟺喂蟿蠀纬蠂维谓蔚喂 魏维蟿喂 蔚尉伪喂蟻蔚蟿喂魏维 未蠉蟽魏慰位慰: 谓伪 尉蔚蠂蠅蟻委蟽蔚喂 蔚谓 渭苇蟽蠅 蟿慰蠀 蟽蠀蟻蠁蔚蟿慰蠉, 魏慰渭委味慰谓蟿维蟼 渭伪蟼 渭蔚谓 渭喂伪 蟿苇蠂谓畏 蟽伪蠁蠋蟼 伪谓伪纬谓蠅蟻委蟽喂渭畏, 蟿伪蠀蟿蠈蠂蟻慰谓伪 未蔚 蟺慰喂慰蟿喂魏萎.
螣喂 伪谓伪蠁慰蟻苇蟼 蟿慰蠀 蟽蟿慰谓 韦. 螠蟺苇蟻蠂伪蟻谓蟿 蔚委谓伪喂 尉蔚魏维胃伪蟻蔚蟼 魏伪喂 维渭蔚蟽伪 慰蟻伪蟿苇蟼, 喂未委蠅蟼 蟽蟿慰谓 渭伪魏蟻慰蟺蔚蟻委慰未慰 位蠈纬慰 魏伪喂 纬蔚谓喂魏蠈蟿蔚蟻伪 蟽蟿慰 蟺蔚蟻委蟺位慰魏慰 蟽蔚 蟽畏渭蔚委伪 蠉蠁慰蟼 纬蟻伪蠁萎蟼. 韦伪蠀蟿蠈蠂蟻慰谓伪, 未喂伪魏蟻委谓蔚蟿伪喂 慰渭慰委蠅蟼 苇谓蟿慰谓伪 蟿慰 螝伪蠁魏喂魏蠈 蟽蟿慰喂蠂蔚委慰, 喂未委蠅蟼 蟽蟿慰 "韦伪谓纬魏蠈 蟿慰蠀 危伪蟿伪谓维", 蟿慰 慰蟺慰委慰 魏喂谓蔚委蟿伪喂 蟽蔚 苇谓伪 伪蟺蟻蠈蟽尾位畏蟿慰 伪蟺蠈 魏伪谓蠈谓蔚蟼 渭畏 蔚蟽蠅蟿蔚蟻喂魏萎蟼 伪谓伪纬魏伪喂蠈蟿畏蟿伪蟼 蔚蟻渭畏蟿喂魏蠈 蟺伪蟻蠈谓 蟺慰蠀 蟽蠀谓胃位委尾蔚喂 蟿慰蠀蟼 蟿伪蟺蔚喂谓慰蠉蟼 魏伪喂 渭畏 喂魏伪谓慰蠉蟼 纬喂伪 伪蟺蠈未蟻伪蟽畏 萎蟻蠅蔚蟼.
螇蟻蠅蔚蟼 慰喂 慰蟺慰委慰喂 伪谓蟿喂渭蔚蟿蠅蟺委味慰谓蟿伪喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蠅蟼 蟽蠉渭尾慰位伪 蟺伪蟻维 蠅蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 蠁苇蟻慰谓蟿伪蟼 蔚谓蟿蠈蟼 蟿慰蠀蟼 蟿喂蟼 伪谓蟿喂谓慰渭委蔚蟼 蟿慰蠀 蟺蔚蟻喂尾维位位慰谓蟿慰蟼, 蟿畏蟼 魏蠀魏位喂魏萎蟼 蟺伪蟻维 蟽蟺蔚喂蟻慰蔚喂未慰蠉蟼 魏委谓畏蟽畏蟼 (蟺蔚蟻喂慰蟻喂蟽渭苇谓畏蟼 伪蟽蠁蠀魏蟿喂魏维 蔚谓蟿蠈蟼 蟿慰蠀 魏蠉魏位慰蠀 慰委魏慰胃蔚谓/ 慰委魏伪未蔚). 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰 魏位伪蟽喂魏蠈 渭慰蟿委尾慰 蟿畏蟼 螝伪蠁魏喂魏萎蟼 伪蠁萎纬畏蟽畏蟼, 畏 慰蟺慰委伪 尉蔚魏喂谓维蔚喂 伪蟺蟻慰蟽未喂蠈蟻喂蟽蟿伪 蟽蔚 慰蠀 蟿蠈蟺慰, 纬喂伪 谓伪 渭畏谓 魏伪蟿伪位萎尉蔚喂 蟺慰蠀胃蔚谓维, 渭蔚 蟿畏谓 伪苇谓伪畏 蔚蟺喂蟽蟿蟻慰蠁萎 谓伪 伪蟺慰蟿蔚位蔚委 蟿慰 伪蠁畏纬畏渭伪蟿喂魏蠈 喂蟽慰未蠉谓伪渭慰 蟿慰蠀 尾蟻蠈蠂慰蠀.
螒蠀蟿萎 蟺蟻慰蠁伪谓蠋蟼 蔚委谓伪喂 魏伪喂 畏 渭慰委蟻伪 蟺慰蠀 蔚蟺喂蠁蠀位维蟽蟽蔚蟿伪喂 蟽蟿慰蠀蟼 未蠉蟽蟿畏谓慰蠀蟼 萎蟻蠅蔚蟼 蟿慰蠀 尾喂尾位委慰蠀 蠈蟺慰蠀 "未蔚喂位慰委, 渭慰喂蟻伪委慰喂 魏伪喂 维尾慰蠀位慰喂 伪谓蟿维渭伪" 蠈谓蟿蠅蟼 蟺蟻慰蟽渭苇谓慰蠀谓 蟿慰 胃伪蠉渭伪 蟺慰蠀 胃伪 蟿慰蠀蟼 尾纬维位蔚喂 伪蟺蠈 蟿慰谓 尾慰蠉蟻魏慰 蟽蟿慰谓 慰蟺慰委慰 蟽伪蟺委味慰蠀谓 (魏蠀蟻喂慰位蔚魏蟿喂魏维). 螔蔚尾伪委蠅蟼 蟽蟿慰谓 味慰蠁蔚蟻蠈 魏蠈蟽渭慰 蟿慰蠀 Krasznahorkai 畏 蔚位蟺委未伪 蟺蔚胃伪委谓蔚喂 蟺维谓蟿伪鈥� 蟺蟻蠋蟿畏, 魏伪胃蠋蟼 蔚尉伪蟻蠂萎蟼 慰 伪谓伪纬谓蠋蟽蟿畏蟼 纬谓蠅蟻委味蔚喂 蟺蠅蟼 慰 蟽蠅蟿萎蟻伪蟼 蔚委谓伪喂 伪蟺位维 渭喂伪 蔚谓蟽维蟻魏蠅蟽畏 蟿慰蠀 魏伪魏慰蠉, 渭蔚 未喂魏慰蠉蟼 蟿畏蟼 伪蟽伪蠁蔚委蟼 蟽蟿蠈蠂慰蠀蟼, 纬喂伪 蟿慰蠀蟼 慰蟺慰委慰蠀蟼 蠈渭蠅蟼 蔚委谓伪喂 苇蟿慰喂渭慰蟼 谓伪 胃蠀蟽喂维蟽蔚喂 蟿慰蠀蟼 伪魏慰位慰蠉胃慰蠀蟼 蟿慰蠀.
螒魏蠈渭伪 魏伪喂 蟽蟿慰谓 渭蠈谓喂渭伪 尾蟻慰蠂蔚蟻蠈 魏伪喂 渭慰蠀蠂位喂伪蟽渭苇谓慰 伪蠀蟿蠈谓 蟿蠈蟺慰 蟽蠀渭尾伪委谓慰蠀谓 胃伪蠉渭伪蟿伪, 渭蠈谓慰 蟺慰蠀 伪蠁蔚谓蠈蟼 未蔚谓 伪蠁慰蟻慰蠉谓 蟿慰蠀蟼 伪谓苇蟽蟿喂慰蠀蟼 萎蟻蠅蔚蟼, 伪蠁蔚蟿苇蟻慰蠀 未蔚谓 渭蟺慰蟻慰蠉谓 谓伪 纬委谓慰蠀谓 魏伪蟿伪谓慰畏蟿维 蟺伪蟻维 渭蠈谓慰 蠅蟼 蔚魏未畏位蠋蟽蔚喂蟼 渭喂伪蟼 蟿蠀蠁位萎蟼 魏伪喂 伪未喂维蠁慰蟻畏蟼 蟺蟻慰蟼 蟿伪 伪谓胃蟻蠋蟺喂谓伪 胃蔚蠈蟿畏蟿伪蟼. 螝伪谓蔚委蟼 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 蟽蟿伪胃蔚委 伪蟻蠅纬蠈蟼 蟽蟿慰 伪谓胃蟻蠋蟺喂谓慰 未蟻维渭伪, 魏伪胃蠋蟼 伪蠀蟿蠈 蟺伪委味蔚蟿伪喂 蟽蔚 渭喂伪 魏伪胃畏渭伪纬渭苇谓畏 蟽魏畏谓萎 蠂蠅蟻委蟼 蟽魏畏谓慰胃蔚蟿喂魏萎 魏伪胃慰未萎纬畏蟽畏.
螠慰谓伪未喂魏萎 蟺伪蟻慰蠀蟽委伪 (蠈蠂喂 伪蟺伪蟻伪委蟿畏蟿伪 胃蔚蟿喂魏萎, 蟺位畏谓 蠈渭蠅蟼 伪蟺伪蟻伪委蟿畏蟿畏) 蔚魏蔚委谓畏 蟿慰蠀 螕喂伪蟿蟻慰蠉-危蠀纬纬蟻伪蠁苇伪-螤伪蟻伪蟿畏蟻畏蟿萎, 慰 慰蟺慰委慰蟼 伪蟺苇蠂蔚喂 伪蟺蠈 蟿伪 蟿蔚魏蟿伪喂谓蠈渭蔚谓伪, 蟺蟻慰蟿喂渭蠋谓蟿伪蟼 蟿慰谓 蟻蠈位慰 蟿慰蠀 蟺伪胃畏蟿喂魏维 胃蔚蠋渭蔚谓慰蠀 蟿慰 伪谓胃蟻蠋蟺喂谓慰 未蟻维渭伪 蠈蟺蠅蟼 未喂伪未蟻伪渭伪蟿委味蔚蟿伪喂 蔚谓蠋蟺喂蠈谓 蟿慰蠀. 螒蠀蟿蠈 慰未畏纬蔚委 蟿慰谓 蟺蟻慰蟽蔚魏蟿喂魏蠈 伪谓伪纬谓蠋蟽蟿畏 蟽蔚 苇谓伪 伪谓伪蟺蠈蠁蔚蠀魏蟿慰 蟽蠀渭蟺苇蟻伪蟽渭伪-蔚蟻蠋蟿畏渭伪: 魏伪蟿维 蟺蠈蟽慰谓, 未畏位伪未萎, 苇蠂蔚喂 纬委谓蔚喂 渭苇蟿慰蠂慰蟼 蟿慰蠀 魏位伪蟽喂魏慰蠉 蟺伪蟻伪未蠈尉慰蠀 蠈蟺慰蠀 慰 蟺伪蟻伪蟿畏蟻畏蟿萎蟼 蠁伪委谓蔚蟿伪喂 谓伪 伪位位慰喂蠋谓蔚喂 蟿慰 伪蟺慰蟿苇位蔚蟽渭伪 蟿慰蠀 未喂蔚尉伪纬蠈渭蔚谓慰蠀 蟺蔚喂蟻维渭伪蟿慰蟼, 伪蟺位维 渭蔚 蟿畏谓 蟺伪蟻伪蟿萎蟻畏蟽畏.
韦蔚位喂魏维, 魏伪蟿维 蟺蠈蟽慰谓 伪蠀蟿蠈 蟺慰蠀 苇蠂蔚喂 未喂伪尾维蟽蔚喂 萎未畏 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蔚委谓伪喂 畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 萎 畏鈥� 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪/魏伪蟿伪纬蟻伪蠁萎 蟿慰蠀 蟺伪蟻伪蟿畏蟻畏蟿萎-纬喂伪蟿蟻慰蠉; 危蟿畏 未蔚蠉蟿蔚蟻畏 蟺蔚蟻委蟺蟿蠅蟽畏 -蔚尉伪喂蟻蔚蟿喂魏维 蟺喂胃伪谓萎 蠈蟺蠅蟼 胃伪 魏伪蟿伪位维尾蔚喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蠁蟿维谓慰谓蟿伪蟼 蟽蟿畏谓 魏伪蟿伪位畏魏蟿喂魏萎 蟺伪蟻维纬蟻伪蠁慰- 慰 蟺伪蟻伪蟿畏蟻畏蟿萎蟼 伪蠀蟿慰魏伪蟿伪蟻纬蔚委蟿伪喂 萎 魏伪位蠉蟿蔚蟻伪 伪谓伪尾伪胃渭委味蔚蟿伪喂 蟽蔚 螖畏渭喂慰蠀蟻纬蠈! 螒蠀蟿蠈蟼 未蔚谓 蔚委谓伪喂 蠈渭蠅蟼 魏伪喂 慰 蟻蠈位慰蟼 蟿畏蟼 蟿苇蠂谓畏蟼, 蟿蔚位喂魏维; 螡伪 蟺伪蟻伪蟿畏蟻蔚委 蟿慰 蠀蟺维蟻蠂慰谓 伪位位维 谓伪 渭畏谓 蟿慰 魏伪蟿伪纬蟻维蠁蔚喂 伪蟺位蠋蟼, 谓伪 蟿慰 伪谓伪未慰渭蔚委, 谓伪 蟿慰 蠀蟺蔚蟻尾伪委谓蔚喂, 谓伪 伪谓伪未畏渭喂慰蠀蟻纬蔚委 蔚谓 蟿苇位蔚喂 蟿慰谓 魏蠈蟽渭慰 魏伪蟿' 蔚喂魏蠈谓伪 蟿畏蟼 魏蟻伪蟿蠋谓蟿伪蟼 蟽蟿伪胃蔚蟻维 蟿慰谓 魏伪胃蟻苇蠁蟿畏 渭蟺蟻慰蟽蟿维 伪蟺蠈 蟿慰 蠀蟺维蟻蠂慰谓.
螣 Krasznahorkai, 魏伪委蟿慰喂 未蔚谓 渭蟺慰蟻蔚委 谓伪 蠀蟺蔚蟻尾蔚委 蟿慰蠀蟼 蔚纬纬蔚谓蔚委蟼 蟺蔚蟻喂慰蟻喂蟽渭慰蠉蟼 蟿畏蟼 渭蔚蟿伪蟺慰位蔚渭喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼 蟺慰蠀 魏伪胃喂蟽蟿慰蠉谓 蟿畏谓 蟺蟻蠅蟿慰蟿蠀蟺委伪 慰蠀蟿慰蟺喂魏萎 (蟺位畏谓 螤委谓蟿蟽慰谓, 蟺蟻慰蠁伪谓蠋蟼, 维谓蟿蔚 2-3 伪魏蠈渭伪鈥�), 魏伪蟿伪胃苇蟿蔚喂 渭喂伪 慰位慰魏位畏蟻蠅渭苇谓畏 位慰纬慰蟿蔚蠂谓喂魏萎 蟺蟻蠈蟿伪蟽畏 蟺慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 伪谓伪纬谓蠅蟽蟿喂魏萎 伪蟺蠈位伪蠀蟽畏. 危委纬慰蠀蟻伪, 未蔚谓 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰蠀 胃伪 尉伪谓伪未喂维尾伪味伪, 伪位位维 未蔚谓 胃蔚蠅蟻蠋 蟺蠅蟼 苇蠂伪蟽伪 蟿慰谓 伪蟺蠈位蠀蟿伪 渭蔚蟿蟻畏渭苇谓慰 (魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 蟺慰位蠉蟿喂渭慰) 蠂蟻蠈谓慰 渭慰蠀 渭伪味委 蟿慰蠀. 螝伪喂 纬喂伪 蔚渭苇谓伪, 蟽蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蟽蟿维未喂慰 蟿畏蟼 蟺谓蔚蠀渭伪蟿喂魏萎蟼 渭慰蠀 伪谓维蟺蟿蠀尉畏蟼, 伪蠀蟿蠈 伪蟺慰蟿蔚位蔚委 蠀蟺苇蟻蟿伪蟿慰 魏蟻喂蟿萎蟻喂慰 伪尉委伪蟼.
违.螕.
危蔚 魏维胃蔚 蟺蔚蟻委蟺蟿蠅蟽畏, 胃伪 蟺蟻慰蟿喂渭萎蟽蠅 蟿畏谓 魏喂谓畏渭伪蟿慰纬蟻伪蠁喂魏萎 渭蔚蟿伪蠁慰蟻维 蟿慰蠀 伪纬伪蟺畏渭苇谓慰蠀 渭慰蠀 蟽魏畏谓慰胃苇蟿畏 螠蟺苇位伪 韦伪蟻, 慰 慰蟺慰委慰蟼 蟽蟿慰 7蠅蟻慰 伪蟽蟺蟻蠈渭伪蠀蟻慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭维 蟿慰蠀 蔚蟺苇蟿蠀蠂蔚 谓伪 蔚喂魏慰谓慰蟺慰喂萎蟽蔚喂 伪谓蠀蟺苇蟻尾位畏蟿伪 蟿慰 尾喂尾位委慰.
韦畏谓 委未喂伪 蟽蟿喂纬渭萎 蠈渭蠅蟼, 渭喂位蠋谓蟿伪蟼 蠅蟼 伪谓伪纬谓蠋蟽蟿畏蟼 维谓蠅 蟿蠅谓 40, 胃蔚蠅蟻蠋 蟺蠅蟼 畏 蟽蠉纬蠂蟻慰谓畏 位慰纬慰蟿蔚蠂谓喂魏萎 蟺伪蟻伪纬蠅纬萎 蔚委谓伪喂 蟽蠀蠂谓蠈蟿蔚蟻伪 伪未喂维蠁慰蟻畏 魏伪喂 蟽蠀谓维渭伪 蟺伪蟻蔚位魏蠀蟽蟿喂魏萎. 螒未喂维蠁慰蟻畏 纬喂伪蟿委 未蔚谓 苇蠂蔚喂 蟿委蟺慰蟿蔚 "魏伪喂谓蠈 蠀蟺蠈 蟿慰谓 萎位喂慰" 谓伪 蟺蟻慰蟽蠁苇蟻蔚喂 伪蟺蠈 蟺位蔚蠀蟻维蟼 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿蔚蠂谓喂魏萎蟼 蟺慰蠀 未蔚谓 苇蠂蔚喂 蔚喂蟺蠅胃蔚委 蟽蟿慰 蟺伪蟻蔚位胃蠈谓. 螤伪蟻蔚位魏蠀蟽蟿喂魏萎, 纬喂伪蟿委 慰喂魏蔚喂慰蟺慰喂慰蠉渭蔚谓畏 蟿畏谓 魏伪喂谓慰蟿慰渭委伪 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼 (位蔚喂伪委谓慰谓蟿伪蟼 蟿喂蟼 伪喂蠂渭苇蟼 魏伪蟿维 尾慰蠉位畏蟽畏) 蟿畏谓 魏伪胃喂蟽蟿维 维蟽蠁伪喂蟻畏, 伪谓蔚蟺伪蟻魏萎, 蔚魏位伪蠆魏蔚蠉慰谓蟿维蟼 蟿畏 渭苇蟽蠅 蟿畏蟼 渭伪谓喂苇蟻伪蟼 魏伪喂 蟿畏蟼 蔚蟺伪谓维位畏蠄畏蟼.
螔蔚尾伪委蠅蟼, 蟺维谓蟿伪 蠀蟺维蟻蠂慰蠀谓 蟿慰蠀位维蠂喂蟽蟿慰谓鈥ο勏佄滴瓜� 蟺位蔚蠀蟻苇蟼 蟽蔚 魏维胃蔚 喂蟽蟿慰蟻委伪 魏喂 蔚未蠋 伪魏蟻喂尾蠋蟼 蠀蟺蔚喂蟽苇蟻蠂慰谓蟿伪喂 蟿伪位伪谓蟿慰蠉蠂慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼, 蠈蟺蠅蟼 慰 Krasznahorkai. 螒谓 魏伪喂 蔚蟺委纬慰谓慰蟼 蟽蟺慰蠀未伪委蠅谓 蟺蟻慰纬蠈谓蠅谓, 蟿慰蠀蟼 慰蟺慰委慰蠀蟼 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 蠁蠀蟽喂魏维 蟺慰蟿苇 谓伪 伪纬纬委尉蔚喂 萎 谓伪 尉蔚蟺蔚蟻维蟽蔚喂, 蔚蟺喂蟿蠀纬蠂维谓蔚喂 魏维蟿喂 蔚尉伪喂蟻蔚蟿喂魏维 未蠉蟽魏慰位慰: 谓伪 尉蔚蠂蠅蟻委蟽蔚喂 蔚谓 渭苇蟽蠅 蟿慰蠀 蟽蠀蟻蠁蔚蟿慰蠉, 魏慰渭委味慰谓蟿维蟼 渭伪蟼 渭蔚谓 渭喂伪 蟿苇蠂谓畏 蟽伪蠁蠋蟼 伪谓伪纬谓蠅蟻委蟽喂渭畏, 蟿伪蠀蟿蠈蠂蟻慰谓伪 未蔚 蟺慰喂慰蟿喂魏萎.
螣喂 伪谓伪蠁慰蟻苇蟼 蟿慰蠀 蟽蟿慰谓 韦. 螠蟺苇蟻蠂伪蟻谓蟿 蔚委谓伪喂 尉蔚魏维胃伪蟻蔚蟼 魏伪喂 维渭蔚蟽伪 慰蟻伪蟿苇蟼, 喂未委蠅蟼 蟽蟿慰谓 渭伪魏蟻慰蟺蔚蟻委慰未慰 位蠈纬慰 魏伪喂 纬蔚谓喂魏蠈蟿蔚蟻伪 蟽蟿慰 蟺蔚蟻委蟺位慰魏慰 蟽蔚 蟽畏渭蔚委伪 蠉蠁慰蟼 纬蟻伪蠁萎蟼. 韦伪蠀蟿蠈蠂蟻慰谓伪, 未喂伪魏蟻委谓蔚蟿伪喂 慰渭慰委蠅蟼 苇谓蟿慰谓伪 蟿慰 螝伪蠁魏喂魏蠈 蟽蟿慰喂蠂蔚委慰, 喂未委蠅蟼 蟽蟿慰 "韦伪谓纬魏蠈 蟿慰蠀 危伪蟿伪谓维", 蟿慰 慰蟺慰委慰 魏喂谓蔚委蟿伪喂 蟽蔚 苇谓伪 伪蟺蟻蠈蟽尾位畏蟿慰 伪蟺蠈 魏伪谓蠈谓蔚蟼 渭畏 蔚蟽蠅蟿蔚蟻喂魏萎蟼 伪谓伪纬魏伪喂蠈蟿畏蟿伪蟼 蔚蟻渭畏蟿喂魏蠈 蟺伪蟻蠈谓 蟺慰蠀 蟽蠀谓胃位委尾蔚喂 蟿慰蠀蟼 蟿伪蟺蔚喂谓慰蠉蟼 魏伪喂 渭畏 喂魏伪谓慰蠉蟼 纬喂伪 伪蟺蠈未蟻伪蟽畏 萎蟻蠅蔚蟼.
螇蟻蠅蔚蟼 慰喂 慰蟺慰委慰喂 伪谓蟿喂渭蔚蟿蠅蟺委味慰谓蟿伪喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蠅蟼 蟽蠉渭尾慰位伪 蟺伪蟻维 蠅蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 蠁苇蟻慰谓蟿伪蟼 蔚谓蟿蠈蟼 蟿慰蠀蟼 蟿喂蟼 伪谓蟿喂谓慰渭委蔚蟼 蟿慰蠀 蟺蔚蟻喂尾维位位慰谓蟿慰蟼, 蟿畏蟼 魏蠀魏位喂魏萎蟼 蟺伪蟻维 蟽蟺蔚喂蟻慰蔚喂未慰蠉蟼 魏委谓畏蟽畏蟼 (蟺蔚蟻喂慰蟻喂蟽渭苇谓畏蟼 伪蟽蠁蠀魏蟿喂魏维 蔚谓蟿蠈蟼 蟿慰蠀 魏蠉魏位慰蠀 慰委魏慰胃蔚谓/ 慰委魏伪未蔚). 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰 魏位伪蟽喂魏蠈 渭慰蟿委尾慰 蟿畏蟼 螝伪蠁魏喂魏萎蟼 伪蠁萎纬畏蟽畏蟼, 畏 慰蟺慰委伪 尉蔚魏喂谓维蔚喂 伪蟺蟻慰蟽未喂蠈蟻喂蟽蟿伪 蟽蔚 慰蠀 蟿蠈蟺慰, 纬喂伪 谓伪 渭畏谓 魏伪蟿伪位萎尉蔚喂 蟺慰蠀胃蔚谓维, 渭蔚 蟿畏谓 伪苇谓伪畏 蔚蟺喂蟽蟿蟻慰蠁萎 谓伪 伪蟺慰蟿蔚位蔚委 蟿慰 伪蠁畏纬畏渭伪蟿喂魏蠈 喂蟽慰未蠉谓伪渭慰 蟿慰蠀 尾蟻蠈蠂慰蠀.
螒蠀蟿萎 蟺蟻慰蠁伪谓蠋蟼 蔚委谓伪喂 魏伪喂 畏 渭慰委蟻伪 蟺慰蠀 蔚蟺喂蠁蠀位维蟽蟽蔚蟿伪喂 蟽蟿慰蠀蟼 未蠉蟽蟿畏谓慰蠀蟼 萎蟻蠅蔚蟼 蟿慰蠀 尾喂尾位委慰蠀 蠈蟺慰蠀 "未蔚喂位慰委, 渭慰喂蟻伪委慰喂 魏伪喂 维尾慰蠀位慰喂 伪谓蟿维渭伪" 蠈谓蟿蠅蟼 蟺蟻慰蟽渭苇谓慰蠀谓 蟿慰 胃伪蠉渭伪 蟺慰蠀 胃伪 蟿慰蠀蟼 尾纬维位蔚喂 伪蟺蠈 蟿慰谓 尾慰蠉蟻魏慰 蟽蟿慰谓 慰蟺慰委慰 蟽伪蟺委味慰蠀谓 (魏蠀蟻喂慰位蔚魏蟿喂魏维). 螔蔚尾伪委蠅蟼 蟽蟿慰谓 味慰蠁蔚蟻蠈 魏蠈蟽渭慰 蟿慰蠀 Krasznahorkai 畏 蔚位蟺委未伪 蟺蔚胃伪委谓蔚喂 蟺维谓蟿伪鈥� 蟺蟻蠋蟿畏, 魏伪胃蠋蟼 蔚尉伪蟻蠂萎蟼 慰 伪谓伪纬谓蠋蟽蟿畏蟼 纬谓蠅蟻委味蔚喂 蟺蠅蟼 慰 蟽蠅蟿萎蟻伪蟼 蔚委谓伪喂 伪蟺位维 渭喂伪 蔚谓蟽维蟻魏蠅蟽畏 蟿慰蠀 魏伪魏慰蠉, 渭蔚 未喂魏慰蠉蟼 蟿畏蟼 伪蟽伪蠁蔚委蟼 蟽蟿蠈蠂慰蠀蟼, 纬喂伪 蟿慰蠀蟼 慰蟺慰委慰蠀蟼 蠈渭蠅蟼 蔚委谓伪喂 苇蟿慰喂渭慰蟼 谓伪 胃蠀蟽喂维蟽蔚喂 蟿慰蠀蟼 伪魏慰位慰蠉胃慰蠀蟼 蟿慰蠀.
螒魏蠈渭伪 魏伪喂 蟽蟿慰谓 渭蠈谓喂渭伪 尾蟻慰蠂蔚蟻蠈 魏伪喂 渭慰蠀蠂位喂伪蟽渭苇谓慰 伪蠀蟿蠈谓 蟿蠈蟺慰 蟽蠀渭尾伪委谓慰蠀谓 胃伪蠉渭伪蟿伪, 渭蠈谓慰 蟺慰蠀 伪蠁蔚谓蠈蟼 未蔚谓 伪蠁慰蟻慰蠉谓 蟿慰蠀蟼 伪谓苇蟽蟿喂慰蠀蟼 萎蟻蠅蔚蟼, 伪蠁蔚蟿苇蟻慰蠀 未蔚谓 渭蟺慰蟻慰蠉谓 谓伪 纬委谓慰蠀谓 魏伪蟿伪谓慰畏蟿维 蟺伪蟻维 渭蠈谓慰 蠅蟼 蔚魏未畏位蠋蟽蔚喂蟼 渭喂伪蟼 蟿蠀蠁位萎蟼 魏伪喂 伪未喂维蠁慰蟻畏蟼 蟺蟻慰蟼 蟿伪 伪谓胃蟻蠋蟺喂谓伪 胃蔚蠈蟿畏蟿伪蟼. 螝伪谓蔚委蟼 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 蟽蟿伪胃蔚委 伪蟻蠅纬蠈蟼 蟽蟿慰 伪谓胃蟻蠋蟺喂谓慰 未蟻维渭伪, 魏伪胃蠋蟼 伪蠀蟿蠈 蟺伪委味蔚蟿伪喂 蟽蔚 渭喂伪 魏伪胃畏渭伪纬渭苇谓畏 蟽魏畏谓萎 蠂蠅蟻委蟼 蟽魏畏谓慰胃蔚蟿喂魏萎 魏伪胃慰未萎纬畏蟽畏.
螠慰谓伪未喂魏萎 蟺伪蟻慰蠀蟽委伪 (蠈蠂喂 伪蟺伪蟻伪委蟿畏蟿伪 胃蔚蟿喂魏萎, 蟺位畏谓 蠈渭蠅蟼 伪蟺伪蟻伪委蟿畏蟿畏) 蔚魏蔚委谓畏 蟿慰蠀 螕喂伪蟿蟻慰蠉-危蠀纬纬蟻伪蠁苇伪-螤伪蟻伪蟿畏蟻畏蟿萎, 慰 慰蟺慰委慰蟼 伪蟺苇蠂蔚喂 伪蟺蠈 蟿伪 蟿蔚魏蟿伪喂谓蠈渭蔚谓伪, 蟺蟻慰蟿喂渭蠋谓蟿伪蟼 蟿慰谓 蟻蠈位慰 蟿慰蠀 蟺伪胃畏蟿喂魏维 胃蔚蠋渭蔚谓慰蠀 蟿慰 伪谓胃蟻蠋蟺喂谓慰 未蟻维渭伪 蠈蟺蠅蟼 未喂伪未蟻伪渭伪蟿委味蔚蟿伪喂 蔚谓蠋蟺喂蠈谓 蟿慰蠀. 螒蠀蟿蠈 慰未畏纬蔚委 蟿慰谓 蟺蟻慰蟽蔚魏蟿喂魏蠈 伪谓伪纬谓蠋蟽蟿畏 蟽蔚 苇谓伪 伪谓伪蟺蠈蠁蔚蠀魏蟿慰 蟽蠀渭蟺苇蟻伪蟽渭伪-蔚蟻蠋蟿畏渭伪: 魏伪蟿维 蟺蠈蟽慰谓, 未畏位伪未萎, 苇蠂蔚喂 纬委谓蔚喂 渭苇蟿慰蠂慰蟼 蟿慰蠀 魏位伪蟽喂魏慰蠉 蟺伪蟻伪未蠈尉慰蠀 蠈蟺慰蠀 慰 蟺伪蟻伪蟿畏蟻畏蟿萎蟼 蠁伪委谓蔚蟿伪喂 谓伪 伪位位慰喂蠋谓蔚喂 蟿慰 伪蟺慰蟿苇位蔚蟽渭伪 蟿慰蠀 未喂蔚尉伪纬蠈渭蔚谓慰蠀 蟺蔚喂蟻维渭伪蟿慰蟼, 伪蟺位维 渭蔚 蟿畏谓 蟺伪蟻伪蟿萎蟻畏蟽畏.
韦蔚位喂魏维, 魏伪蟿维 蟺蠈蟽慰谓 伪蠀蟿蠈 蟺慰蠀 苇蠂蔚喂 未喂伪尾维蟽蔚喂 萎未畏 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蔚委谓伪喂 畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 萎 畏鈥� 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪/魏伪蟿伪纬蟻伪蠁萎 蟿慰蠀 蟺伪蟻伪蟿畏蟻畏蟿萎-纬喂伪蟿蟻慰蠉; 危蟿畏 未蔚蠉蟿蔚蟻畏 蟺蔚蟻委蟺蟿蠅蟽畏 -蔚尉伪喂蟻蔚蟿喂魏维 蟺喂胃伪谓萎 蠈蟺蠅蟼 胃伪 魏伪蟿伪位维尾蔚喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蠁蟿维谓慰谓蟿伪蟼 蟽蟿畏谓 魏伪蟿伪位畏魏蟿喂魏萎 蟺伪蟻维纬蟻伪蠁慰- 慰 蟺伪蟻伪蟿畏蟻畏蟿萎蟼 伪蠀蟿慰魏伪蟿伪蟻纬蔚委蟿伪喂 萎 魏伪位蠉蟿蔚蟻伪 伪谓伪尾伪胃渭委味蔚蟿伪喂 蟽蔚 螖畏渭喂慰蠀蟻纬蠈! 螒蠀蟿蠈蟼 未蔚谓 蔚委谓伪喂 蠈渭蠅蟼 魏伪喂 慰 蟻蠈位慰蟼 蟿畏蟼 蟿苇蠂谓畏蟼, 蟿蔚位喂魏维; 螡伪 蟺伪蟻伪蟿畏蟻蔚委 蟿慰 蠀蟺维蟻蠂慰谓 伪位位维 谓伪 渭畏谓 蟿慰 魏伪蟿伪纬蟻维蠁蔚喂 伪蟺位蠋蟼, 谓伪 蟿慰 伪谓伪未慰渭蔚委, 谓伪 蟿慰 蠀蟺蔚蟻尾伪委谓蔚喂, 谓伪 伪谓伪未畏渭喂慰蠀蟻纬蔚委 蔚谓 蟿苇位蔚喂 蟿慰谓 魏蠈蟽渭慰 魏伪蟿' 蔚喂魏蠈谓伪 蟿畏蟼 魏蟻伪蟿蠋谓蟿伪蟼 蟽蟿伪胃蔚蟻维 蟿慰谓 魏伪胃蟻苇蠁蟿畏 渭蟺蟻慰蟽蟿维 伪蟺蠈 蟿慰 蠀蟺维蟻蠂慰谓.
螣 Krasznahorkai, 魏伪委蟿慰喂 未蔚谓 渭蟺慰蟻蔚委 谓伪 蠀蟺蔚蟻尾蔚委 蟿慰蠀蟼 蔚纬纬蔚谓蔚委蟼 蟺蔚蟻喂慰蟻喂蟽渭慰蠉蟼 蟿畏蟼 渭蔚蟿伪蟺慰位蔚渭喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼 蟺慰蠀 魏伪胃喂蟽蟿慰蠉谓 蟿畏谓 蟺蟻蠅蟿慰蟿蠀蟺委伪 慰蠀蟿慰蟺喂魏萎 (蟺位畏谓 螤委谓蟿蟽慰谓, 蟺蟻慰蠁伪谓蠋蟼, 维谓蟿蔚 2-3 伪魏蠈渭伪鈥�), 魏伪蟿伪胃苇蟿蔚喂 渭喂伪 慰位慰魏位畏蟻蠅渭苇谓畏 位慰纬慰蟿蔚蠂谓喂魏萎 蟺蟻蠈蟿伪蟽畏 蟺慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 伪谓伪纬谓蠅蟽蟿喂魏萎 伪蟺蠈位伪蠀蟽畏. 危委纬慰蠀蟻伪, 未蔚谓 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰蠀 胃伪 尉伪谓伪未喂维尾伪味伪, 伪位位维 未蔚谓 胃蔚蠅蟻蠋 蟺蠅蟼 苇蠂伪蟽伪 蟿慰谓 伪蟺蠈位蠀蟿伪 渭蔚蟿蟻畏渭苇谓慰 (魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 蟺慰位蠉蟿喂渭慰) 蠂蟻蠈谓慰 渭慰蠀 渭伪味委 蟿慰蠀. 螝伪喂 纬喂伪 蔚渭苇谓伪, 蟽蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蟽蟿维未喂慰 蟿畏蟼 蟺谓蔚蠀渭伪蟿喂魏萎蟼 渭慰蠀 伪谓维蟺蟿蠀尉畏蟼, 伪蠀蟿蠈 伪蟺慰蟿蔚位蔚委 蠀蟺苇蟻蟿伪蟿慰 魏蟻喂蟿萎蟻喂慰 伪尉委伪蟼.
违.螕.
危蔚 魏维胃蔚 蟺蔚蟻委蟺蟿蠅蟽畏, 胃伪 蟺蟻慰蟿喂渭萎蟽蠅 蟿畏谓 魏喂谓畏渭伪蟿慰纬蟻伪蠁喂魏萎 渭蔚蟿伪蠁慰蟻维 蟿慰蠀 伪纬伪蟺畏渭苇谓慰蠀 渭慰蠀 蟽魏畏谓慰胃苇蟿畏 螠蟺苇位伪 韦伪蟻, 慰 慰蟺慰委慰蟼 蟽蟿慰 7蠅蟻慰 伪蟽蟺蟻蠈渭伪蠀蟻慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭维 蟿慰蠀 蔚蟺苇蟿蠀蠂蔚 谓伪 蔚喂魏慰谓慰蟺慰喂萎蟽蔚喂 伪谓蠀蟺苇蟻尾位畏蟿伪 蟿慰 尾喂尾位委慰.
November 13, 2018
The setting was half-familiar to me from reading Polish literature recently, the run-down central European village - most like the one in Andrzej Stasiuk's Tales of Galicia (1995), but ten years earlier, as Eastern Bloc Communism crumbles, (not afterwards, as everyone looks around, bewildered, asking "what now?") As if villages in Olga Tokarczuk had fallen into disrepair, or Wioletta Greg without the Cider With Rosie glow. The German names in Satantango surprised me for a minute, but of course, this was once the Austro-Hungarian Empire too, like some of those in the the old southern partition of Poland.
Everything in Satantango is decaying and, as the autumn rains start, floods with mud. With hindsight it looks like a clear metaphor for the crumbling Communist state.In 1985 did it look in real life as if things were moribund? I don't know enough about Hungarian history to be sure, though it seems not unlikely. It's clear from (old enough that it says "Krasznahorkai is not a fashionable writer") that the book was a major event in intellectual circles in mid-80s Hungary. It was "anything but an unproblematic novel for the Communist system", and .
The use of the word "estate" instead of "collective farm" in the translation initially threw me. "Estate"? I thought this was under Communism. The first sentence of the plot summary on reorientated me, and I referred back to this summary on a few other occasions, for a handle on what was happening, making allowances for the order of some scenes being rearranged in the adaptation. (Not a purist approach to reading, to look this up, but the introductions in Penguin Classics often give more away than using Wikipedia in lieu of footnotes.)
There's nary a post about Satantango that doesn't use the word bleak. But there's bleak and there's bleak. On the scale of This Way for the Gas, Ladies and Gentlemen (which I read a couple of weeks earlier) and The Unwomanly Face of War (an audiobook I was in the middle of), most of Satantango is, 'yeah, shit happens'. So there's bleak and there's bleak. But the book well and truly has a damp problem; I could almost feel it catching and clogging in my lungs; if you put anything down for half a day in Satantango there would be mildew on it, and you'd get mud up to your knees just from going a few steps from the front door.
I was surprised to read somewhere that Krasznahorkai had written his student dissertation on S谩ndor M谩rai, although surprised only because I'd read one or two 欧宝娱乐 reviews by readers who felt Embers was middlebrow or something of that ilk. There isn't much of M谩rai in English. Among the positives I had heard about Embers was its atmosphere of decay, faded glamour and cobwebbed aristocracy. It hardly seems a stretch to consider that this miasma - perhaps from M谩rai more generally, not just that one book - probably influenced Krasznahorkai, who, with his youthful interest in transferred it instead to a different social stratum.
It was a relief to find on three of Krasznahorkai's books, including Satantango, by a bilingual critic, which observes that this, George Szirtes' version, one of his early translations of Krasznahorkai, "blur[s] or render[s] inconsistent the distinct voices and linguistic registers" of the characters. I felt a sort of flatness and sameness to many scenes, which evoked a humdrum form of bleakness (a life of boring work and meagre means that has to be got used to, with banter and dancing as periodic escapism) - but it also meant it did not usually feel like a truly spectacular novel, simply a good one. It wasn't meant to be quite like this, then. Characters who had echoes of the larger-than-life should have been bigger, more emphatically individual than I found them to be. The depth is in the occasional paragraphs of philosophical observations; as with Tokarczuk's Drive Your Plow, this is said to be one of the author's more accessible works, with a lower density of these than in their heftier books.
Where the narrative did, unquestionably, sing, was in two distinct set-piece chapters.
First, the most horrific episode, little Esti and the cat, and subsequent events. It is impossible to know for sure if it is an entirely accurate evocation of the mindset of a child like her, but it feels utterly true. Half like trying to chase down and kill mosquitoes in a bedroom before going to sleep: the declaration of battle, the dramatic arcs of the focused, sometimes frantic, sometimes exhausted endeavour, every detail of the unpredictable, protracted pursuit of the live thing and times of remorse and times of doggedness. And half like the moment within an almighty, lightheaded temper, in which the tantrum-haver realises with a sinking stomach that they've already made things this bad, very bad, and it feels as if there's no choice but to keep going, so they do, resolutely with further destruction.
The scene with the party clerks could hardly be more different: essentially a comedy sketch, as bureaucrats parse and translate into appropriate official language a report about the villagers for the secret police files - it sends up the bumbling and sinister state structures as well as the characters we've just been hearing about. There's a levity underlying it which seems to indicate these things aren't quite as much of a threat as in works from the 50s and 60s, emerging from the shadows of Stalinism. The decay of the state apparatus appears to make more humour possible, even while living conditions deteriorate.
I'd looked at Satantango a few times in August and September, feeling that I wanted to read it soon. I hadn't consciously remembered it began "One morning near the end of October", but it was just then, around the end of October when I started reading it properly. It was a few days after I finished Anna Burns' Milkman, this year's Booker winner. Previously, I had felt the tension in reading Krasznahorkai's long sentences whenever I opened Satantango. After Milkman, with its also-long sentences and lack of paragraph breaks, but easy conversational rhythm, I hardly even thought about the sentence length in Satantango except once or twice: I was acclimatised.
I was initially amazed how different it was from the only other Krasznahorkai book I'd read, Seiobo There Below (2008). But of course a gap of over 20 years, from age 30 to 50+ is going to mean some differences in a person's, a writer's outlook. Hopefully significant differences, otherwise they'd be stagnating. I was glad of this discussion which prompted me to see the "bleak" and "transcendent" worldviews of the two books (and Krasznahorkai's work generally) as the development, or two sides of, the same idea. Satantango is concerned with pointlessness and nothingness in a melancholy fashion, and with a negative view of these concepts in the European intellectual and religious tradition. It's someone still grappling with these ideas and feelings, who hasn't that's how things are and shifted focus elsewhere. (His European books tend to be 'bleak'.) Seiobo seems to arrive after a process of facing-up-to and positive deployment of nothingness, and meditation on death and decay, part of a road to awakening in Buddhist and yogic traditions; the 2008 book's focus is on a sense of the sacred and beauty predominantly in art. (His Far-Eastern books are interested in the transcendent.)
Understanding this - and also reading several interviews with Krasznahorkai, and the stories in The Last Wolf/ Herman, which I liked very much - meant I started to find Krasznahorkai more intriguing as a person and a writer, that he was a a writer whose work it felt possible to connect with. I felt I could see in the difference between Satantango and Seiobo part of the shift he describes : When I was young ... I regarded [nature] as hostility itself... Later, when I was influenced by Chinese and Japanese culture, their worldview changed my attitude completely, and I started to reckon nature as the locus of mystery and of epiphany ... And now I tend to think that the only thing that exists is nature, that nothing else is real but nature, and the reality one perceives is similarly nature itself, beyond which only void resides.
He was no longer simply a writer whom I felt I should make more effort to read, and who was vaguely interesting in a detached way. Characters in Satantango sometimes felt like archetypes or symbols more than individuals you might meet, so the underlying ideas became important in animating the narrative.
Everything in Satantango is decaying and, as the autumn rains start, floods with mud. With hindsight it looks like a clear metaphor for the crumbling Communist state.In 1985 did it look in real life as if things were moribund? I don't know enough about Hungarian history to be sure, though it seems not unlikely. It's clear from (old enough that it says "Krasznahorkai is not a fashionable writer") that the book was a major event in intellectual circles in mid-80s Hungary. It was "anything but an unproblematic novel for the Communist system", and .
The use of the word "estate" instead of "collective farm" in the translation initially threw me. "Estate"? I thought this was under Communism. The first sentence of the plot summary on reorientated me, and I referred back to this summary on a few other occasions, for a handle on what was happening, making allowances for the order of some scenes being rearranged in the adaptation. (Not a purist approach to reading, to look this up, but the introductions in Penguin Classics often give more away than using Wikipedia in lieu of footnotes.)
There's nary a post about Satantango that doesn't use the word bleak. But there's bleak and there's bleak. On the scale of This Way for the Gas, Ladies and Gentlemen (which I read a couple of weeks earlier) and The Unwomanly Face of War (an audiobook I was in the middle of), most of Satantango is, 'yeah, shit happens'. So there's bleak and there's bleak. But the book well and truly has a damp problem; I could almost feel it catching and clogging in my lungs; if you put anything down for half a day in Satantango there would be mildew on it, and you'd get mud up to your knees just from going a few steps from the front door.
I was surprised to read somewhere that Krasznahorkai had written his student dissertation on S谩ndor M谩rai, although surprised only because I'd read one or two 欧宝娱乐 reviews by readers who felt Embers was middlebrow or something of that ilk. There isn't much of M谩rai in English. Among the positives I had heard about Embers was its atmosphere of decay, faded glamour and cobwebbed aristocracy. It hardly seems a stretch to consider that this miasma - perhaps from M谩rai more generally, not just that one book - probably influenced Krasznahorkai, who, with his youthful interest in transferred it instead to a different social stratum.
It was a relief to find on three of Krasznahorkai's books, including Satantango, by a bilingual critic, which observes that this, George Szirtes' version, one of his early translations of Krasznahorkai, "blur[s] or render[s] inconsistent the distinct voices and linguistic registers" of the characters. I felt a sort of flatness and sameness to many scenes, which evoked a humdrum form of bleakness (a life of boring work and meagre means that has to be got used to, with banter and dancing as periodic escapism) - but it also meant it did not usually feel like a truly spectacular novel, simply a good one. It wasn't meant to be quite like this, then. Characters who had echoes of the larger-than-life should have been bigger, more emphatically individual than I found them to be. The depth is in the occasional paragraphs of philosophical observations; as with Tokarczuk's Drive Your Plow, this is said to be one of the author's more accessible works, with a lower density of these than in their heftier books.
Where the narrative did, unquestionably, sing, was in two distinct set-piece chapters.
First, the most horrific episode, little Esti and the cat, and subsequent events. It is impossible to know for sure if it is an entirely accurate evocation of the mindset of a child like her, but it feels utterly true. Half like trying to chase down and kill mosquitoes in a bedroom before going to sleep: the declaration of battle, the dramatic arcs of the focused, sometimes frantic, sometimes exhausted endeavour, every detail of the unpredictable, protracted pursuit of the live thing and times of remorse and times of doggedness. And half like the moment within an almighty, lightheaded temper, in which the tantrum-haver realises with a sinking stomach that they've already made things this bad, very bad, and it feels as if there's no choice but to keep going, so they do, resolutely with further destruction.
The scene with the party clerks could hardly be more different: essentially a comedy sketch, as bureaucrats parse and translate into appropriate official language a report about the villagers for the secret police files - it sends up the bumbling and sinister state structures as well as the characters we've just been hearing about. There's a levity underlying it which seems to indicate these things aren't quite as much of a threat as in works from the 50s and 60s, emerging from the shadows of Stalinism. The decay of the state apparatus appears to make more humour possible, even while living conditions deteriorate.
I'd looked at Satantango a few times in August and September, feeling that I wanted to read it soon. I hadn't consciously remembered it began "One morning near the end of October", but it was just then, around the end of October when I started reading it properly. It was a few days after I finished Anna Burns' Milkman, this year's Booker winner. Previously, I had felt the tension in reading Krasznahorkai's long sentences whenever I opened Satantango. After Milkman, with its also-long sentences and lack of paragraph breaks, but easy conversational rhythm, I hardly even thought about the sentence length in Satantango except once or twice: I was acclimatised.
I was initially amazed how different it was from the only other Krasznahorkai book I'd read, Seiobo There Below (2008). But of course a gap of over 20 years, from age 30 to 50+ is going to mean some differences in a person's, a writer's outlook. Hopefully significant differences, otherwise they'd be stagnating. I was glad of this discussion which prompted me to see the "bleak" and "transcendent" worldviews of the two books (and Krasznahorkai's work generally) as the development, or two sides of, the same idea. Satantango is concerned with pointlessness and nothingness in a melancholy fashion, and with a negative view of these concepts in the European intellectual and religious tradition. It's someone still grappling with these ideas and feelings, who hasn't that's how things are and shifted focus elsewhere. (His European books tend to be 'bleak'.) Seiobo seems to arrive after a process of facing-up-to and positive deployment of nothingness, and meditation on death and decay, part of a road to awakening in Buddhist and yogic traditions; the 2008 book's focus is on a sense of the sacred and beauty predominantly in art. (His Far-Eastern books are interested in the transcendent.)
Understanding this - and also reading several interviews with Krasznahorkai, and the stories in The Last Wolf/ Herman, which I liked very much - meant I started to find Krasznahorkai more intriguing as a person and a writer, that he was a a writer whose work it felt possible to connect with. I felt I could see in the difference between Satantango and Seiobo part of the shift he describes : When I was young ... I regarded [nature] as hostility itself... Later, when I was influenced by Chinese and Japanese culture, their worldview changed my attitude completely, and I started to reckon nature as the locus of mystery and of epiphany ... And now I tend to think that the only thing that exists is nature, that nothing else is real but nature, and the reality one perceives is similarly nature itself, beyond which only void resides.
He was no longer simply a writer whom I felt I should make more effort to read, and who was vaguely interesting in a detached way. Characters in Satantango sometimes felt like archetypes or symbols more than individuals you might meet, so the underlying ideas became important in animating the narrative.
March 13, 2023
Krasznahorkai m-a cucerit prin stilul s膬u de-a spune pove葯ti 卯n fraze 葯i paragrafe interminabile care confer膬 un ritm dr膬cesc scriiturii 葯i odat膬 intrat 卯n hor膬, pardon tango, nu mai po葲i abandona nararea disolu葲iei unei lumi at芒t de comune 葯i cunoscute de mul葲i din partea asta a Europei dar nu numai. Universalitatea lui K este dat膬 葯i de modul 卯n care construie葯te personaje arhetipale viabile dar condamnate ireversibil spre degradare. Bog膬葲ia temelor, a motivelor 葯i simbolistica romanului m-au dus cu g芒ndul la scrierile lui Kafka, Borges dar 葯i la Waiting for Godot al lui Beckett sau Sezonul uraganelor de Fernanda Melchor. Un must read pentru iubitorii de literatur膬 postmodern膬 de mare clas膬.
December 1, 2019
Satantango is a truly strange, unsettling and powerful novel. Narrated in a dense, inscrutable style, the writing is beautiful and evocative, expressing a bleak desperation in which the filth and odour are palpable. The narrative style and structure are entirely disorienting. The novel constantly shifts perspectives; its hidden intentions seeming to signify something sinister lurking beneath the surface. There is a biblical quality to the writing, which suggests an allegory, but an allegory of what? Are the connotations religious, political, or sociological? All these and more are available to the reader: the novel retains its ambiguity to the end.
January 2, 2024
Steps forward, steps backward. A plot tango. A dance of linguistic prowess. There is conspiracy bubbling on in the background鈥擨 was never at ease while reading the book. I started to understand the front cover of my New Directions paperback edition of the book; lots of random lines back and forth, connected at key points, scribbles that resemble spider webs. No linear path forward, but a mass movement, an undulating line.
I am saying nothing that really makes sense here, I get that. Those are my only thoughts so far, and I am writing this because I don鈥檛 believe they will change too much off of a first reading, no matter how much I let it stew. Jacob Silverman wrote a great review of the book for The New York Times in 2012, so I suggest taking a look there. As for me, I liked it; I didn鈥檛 love it. It made me think about story, translation, and plot orthodoxy. I will amble around and come back, eventually getting to The Melancholy of Resistance. For now, I am just relieved that I get to read paragraphs again. But man, Krasznahorkai, well done.
I am saying nothing that really makes sense here, I get that. Those are my only thoughts so far, and I am writing this because I don鈥檛 believe they will change too much off of a first reading, no matter how much I let it stew. Jacob Silverman wrote a great review of the book for The New York Times in 2012, so I suggest taking a look there. As for me, I liked it; I didn鈥檛 love it. It made me think about story, translation, and plot orthodoxy. I will amble around and come back, eventually getting to The Melancholy of Resistance. For now, I am just relieved that I get to read paragraphs again. But man, Krasznahorkai, well done.
November 12, 2019
A kind of contemporary Beckett, I guess, with shades of Danilo Kis (?) Far more detail sketched of the human being in his characters than Beckett, but that鈥檚 not what Beckett was on anyway, and LK does a more maximalist world-building. Thorough fallenness and dread. Excellent.
December 17, 2016
Ovaj roman je dokaz da je 2016. godina, sve i da ni拧ta drugo vi拧e nije bilo prevedeno, uvela u na拧 膷itala膷ki i kulturni krug neverovatno remek-delo.
Uvek imam problem sa knjigama koje su slavne jednako koliko i filmovi, ali ova knjiga je u膷inila da se prvi put zapitam 拧ta bi bilo da su Tarkovski i Felini 啪ivi, pa da i oni daju svoju filmsku verziju ovog dela. Neverovatno mi je i dalje da je ovo bilo 膷iji prvi roman (ili mi je sad ve膰 od silnih debitantskih grozota otupela 啪elja da ih 膷itam), a jo拧 vi拧e da se prevod tek sad pojavio, 30 godina nakon originala, i da je samo jo拧 Melanholija otpora prevedena, koju 膰u potra啪iti ve膰 od ponedeljka (ize拧 ispite i 拧kolu :D).
Prikaz pi拧em pre svega jer imam upozorenje za sve 膷itaoce: ne 膷itajte prvo predgovor, pa delo jer je kod nas o膷ito praksa da se brka 拧ta ide u predgovor, a 拧ta u pogovor. 膶itava 'misterija' dela, koja se otkriva na poslednjih nekoliko strana, ve膰 je na tre膰oj strani predgovora raskrinkana i ba拧 ubije u啪ivanje (sre膰a pa ja mrzim predgovore :D). Iako pozdravljam pregled Krasnahorkaijeve poetike u predgovoru Marka 膶udi膰a, toliko me je iznerviralo prepri膷avanje ovog romana, a jo拧 vi拧e ostalih dela koja nisu prevedena i sad 膰u se samo nervirati dok ih ne prevedu ili 膰u otvoriti izdava膷ku ku膰u i naterati tatu da mi ih prevodi kako zna i ume. :D (tata je Ma膽ar, prim. aut.)
Krasnahorkai ima stil koji bi bio maestralan sve i da na 500 strana opisuje 拧estostranu prizmu iz svih perspektiva, a takvi pisci su, po mom mi拧ljenju, oni koji niti povla膽uju 膷itaocu, niti su pretenciozni u meri da ni njima nije jasno 拧ta su napisali. Uvek imam problem sa autorima koji bi da se rvu sa op拧tim kategorijama i koji tekst pretrpavaju op拧tim imenicama, ali Krasnahorkai je imao sjajne u膷itelje u Beketu i Kafki (ali i u D啪ojsu, presimpati膷no je kad pominje slinavku i 拧ap o kojoj je D啪ojs pisao u nekom 膷asopisu za sto膷arstvo!) i jednu paraboli膷nu pri膷u, krcatu mitom, intertekstom, biblijskim referencama, pretvorio u fabulu koja je vrlo 膷vrsta i funkcioni拧e sama po sebi. U vezi sa tim je i 膷injenica da, bar za mene, knji啪evno delo mora samo za sebe da bude vredno, a ne samo kad ga neki kriti膷ar rastuma膷i ili kad se, da citiram Gombrovi膷a, kulturne tetke late pera da filtriraju i nametnu 膷itala膷ki do啪ivljaj. Krasnahorkai ne pi拧e za kulturne tetke.
Ne膰u da prepri膷avam radnju da ne bih nekom uni拧tila ovaj neverovatni ki拧ni svet u kojem je sve mogu膰e, a verovatno ni拧ta nije, a mo啪da vam se i u膷ini da ste videli ne拧to 膷ega nema. :)
Obavezno 拧tivo!
Uvek imam problem sa knjigama koje su slavne jednako koliko i filmovi, ali ova knjiga je u膷inila da se prvi put zapitam 拧ta bi bilo da su Tarkovski i Felini 啪ivi, pa da i oni daju svoju filmsku verziju ovog dela. Neverovatno mi je i dalje da je ovo bilo 膷iji prvi roman (ili mi je sad ve膰 od silnih debitantskih grozota otupela 啪elja da ih 膷itam), a jo拧 vi拧e da se prevod tek sad pojavio, 30 godina nakon originala, i da je samo jo拧 Melanholija otpora prevedena, koju 膰u potra啪iti ve膰 od ponedeljka (ize拧 ispite i 拧kolu :D).
Prikaz pi拧em pre svega jer imam upozorenje za sve 膷itaoce: ne 膷itajte prvo predgovor, pa delo jer je kod nas o膷ito praksa da se brka 拧ta ide u predgovor, a 拧ta u pogovor. 膶itava 'misterija' dela, koja se otkriva na poslednjih nekoliko strana, ve膰 je na tre膰oj strani predgovora raskrinkana i ba拧 ubije u啪ivanje (sre膰a pa ja mrzim predgovore :D). Iako pozdravljam pregled Krasnahorkaijeve poetike u predgovoru Marka 膶udi膰a, toliko me je iznerviralo prepri膷avanje ovog romana, a jo拧 vi拧e ostalih dela koja nisu prevedena i sad 膰u se samo nervirati dok ih ne prevedu ili 膰u otvoriti izdava膷ku ku膰u i naterati tatu da mi ih prevodi kako zna i ume. :D (tata je Ma膽ar, prim. aut.)
Krasnahorkai ima stil koji bi bio maestralan sve i da na 500 strana opisuje 拧estostranu prizmu iz svih perspektiva, a takvi pisci su, po mom mi拧ljenju, oni koji niti povla膽uju 膷itaocu, niti su pretenciozni u meri da ni njima nije jasno 拧ta su napisali. Uvek imam problem sa autorima koji bi da se rvu sa op拧tim kategorijama i koji tekst pretrpavaju op拧tim imenicama, ali Krasnahorkai je imao sjajne u膷itelje u Beketu i Kafki (ali i u D啪ojsu, presimpati膷no je kad pominje slinavku i 拧ap o kojoj je D啪ojs pisao u nekom 膷asopisu za sto膷arstvo!) i jednu paraboli膷nu pri膷u, krcatu mitom, intertekstom, biblijskim referencama, pretvorio u fabulu koja je vrlo 膷vrsta i funkcioni拧e sama po sebi. U vezi sa tim je i 膷injenica da, bar za mene, knji啪evno delo mora samo za sebe da bude vredno, a ne samo kad ga neki kriti膷ar rastuma膷i ili kad se, da citiram Gombrovi膷a, kulturne tetke late pera da filtriraju i nametnu 膷itala膷ki do啪ivljaj. Krasnahorkai ne pi拧e za kulturne tetke.
Ne膰u da prepri膷avam radnju da ne bih nekom uni拧tila ovaj neverovatni ki拧ni svet u kojem je sve mogu膰e, a verovatno ni拧ta nije, a mo啪da vam se i u膷ini da ste videli ne拧to 膷ega nema. :)
Obavezno 拧tivo!
September 21, 2020
Okurken s眉rekli akl谋m谋n Kafka鈥檔谋n 艧atosuna gitmesi bo艧una de臒ilmi艧. Yazar Kafka hayran谋ym谋艧 me臒er. Bu muazzam eseri hakk谋n谋 vererek okuyamad谋m ne yaz谋k ki.. Elimde s眉r眉n眉p durdu. Nedendir bilmiyorum y眉zeysel okumaya da a莽谋k olmas谋 okuma zevkini biraz azalt谋yor gibi geldi bana. 陌kinciye okunacaklar listesine al谋nd谋 hemen. Ke艧ke kendimi daha vererek okuyabilseydim diyorum ve 莽ubu臒u kendime b眉k眉yorum. Zaten daha bu eserle i艧im bitmedi. Haz谋r sonbahar da gelmi艧ken Bela Tarr鈥櫮眓 bu kitab谋n uyarlamas谋 ve ayn谋 isimli 艦eytan Tangosu izlenecek ve muhtemelen bir kez daha evet evet bu kitab谋 bir daha okumal谋y谋m denilecek...
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