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Heaven and Hell Trilogy #2
丨夭賳 丕賱賲賱丕卅賰丞
乇賵丕賷丞 毓賲賷賯丞 賵禺丕賱丿丞 鬲爻鬲毓乇囟 亘氐賵乇丞 賳丕亘囟丞 亘丕賱丨賷丕丞 氐乇丕毓 丕賱廿賳爻丕賳 賲毓 賯賵賶 丕賱胤亘賷毓丞 丕賱賲賴賷亘丞. 丕爻鬲賵丨丕賴丕 爻鬲賷賮賳爻賳 賰賲丕 氐乇丨 賱氐丨賷賮丞 "匕丕 丕賳丿賷亘賳丿賳鬲" 賲賳 夭賷丕乇鬲賴 賱禺賱噩丕賳 兀賷爻賱賳丿丕 丕賱睾乇亘賷丞 亘賯賵賱賴 "...賰丕賳鬲 賲孬賱 賱賰賲丞 毓賱賶 兀毓氐丕亘 丕賱賲毓丿丞...賵亘丿鬲 丕賱噩亘丕賱 賰兀賳賴丕 鬲賯賵賱 賱賷: 賱賲丕匕丕 賱丕 鬲賰鬲亘 毓賳丕責"
丕賱賲賲賷夭 噩丿丕賸 賮賷 賴匕賴 丕賱乇賵丕賷丞 賱賷爻 丕賱賯氐丞 亘賯丿乇 賲丕 賴賵 丕賱賱睾丞: 賰賱賲丕鬲 亘爻賷胤丞 賲乇鬲亘丞 亘胤乇賷賯丞 爻丕丨乇丞. 賰賱賲丕鬲 賳孬乇賷丞 鬲噩賵賱 廿賱賶 賱賵丨丞 賮賳賷丞 賲匕賴賱丞貙 賵賰賱 賲賯胤毓 賮賷賴丕 賷賳囟丨 亘丕賱卮毓乇 丕賱禺丕賱氐貙 賵賷噩丿 丕賱賯丕乇卅 賳賮爻賴 賲囟胤乇丕賸 廿賱賶 丕賱鬲賵賯賮 毓賳 丕賱賯乇丕亍丞 亘賷賳 氐賮丨丞 賵兀禺乇賶 賱賷鬲卮乇亘 賲丕 噩丕亍 賮賷賴丕.
丕賳鬲賴賶 賲胤丕賮 丕賱賮鬲賶 丕賱匕賷 兀賮賯丿鬲賴 廿賲亘乇丕胤賵乇賷丞 丕賱亘丨乇 丕賱賲丕賱丨 毓丕卅賱鬲賴 賵乇賮賷賯 乇賵丨賴 廿賱賶 毓卮賯 丕賱兀丿亘貙 毓賱賶 丕賱乇睾賲 賲賳 廿丿乇丕賰賴 兀賳 爻賲賰 丕賱賯丿 賵丕賱卮毓乇 毓賱賶 胤乇賮賷 賳賯賷囟貙 賵兀賳 丕賱兀丨賱丕賲 賱丕 鬲爻丿 噩賵毓 兀丨丿. 賵賴匕丕 丕賱毓卮賯 賷丨賲賱賴 賲毓賴 毓賳丿賲丕 賷乇爻賱 賮賷 賲賴賲丞 賲毓 爻丕毓賷 丕賱亘乇賷丿 丕賱匕賷 賷禺丕賮 賲賳 丕賱亘丨乇貙 丨賷孬 賷賳胤賱賯丕賳 賮賷 賲賴賲鬲賴賲丕 丕賱毓爻賷乇丞 賵賴賲丕 賷乇夭丨丕賳 鬲丨鬲 孬賯賱 丨賯丕卅亘 丕賱亘乇賷丿貙 賵鬲丨鬲 孬賯賱 丨賵丕乇 丕賱匕丕鬲 丕賱賲賱睾夭貙 賵丕賱孬賱噩 丕賱賲丿賵賲 賷鬲乇亘氐 亘賴賲丕. 賱賰賳賴賲丕 賮賷 賴匕賴 丕賱乇丨賱丞 賷賰鬲卮賮丕賳 丕賱賰孬賷乇 毓賳 丕賱丨賷丕丞 賵毓賳 兀毓賲丕賯賴丕 丕賱禺賮賷丞.
賷賵賳 賰丕賱賲丕賳 爻鬲賷賮賳爻賳 丕賱丨丕卅夭 毓賱賶 噩丕卅夭丞 丕賱兀丿亘 丕賱丕賷爻賱賳丿賷丞. 丨夭賳 丕賱賲賱丕卅賰丞 丨賰丕賷丞 毓賳 丕賱丨亘 賵丕賱賲賵鬲 賮賷 鬲囟丕乇賷爻 賵毓乇丞 鬲噩賲毓 亘胤乇賷賯丞 爻丨乇賷丞 亘賷賳 丕賱賷兀爻 賵丕賱鬲爻丕賲賷
丕賱賲賲賷夭 噩丿丕賸 賮賷 賴匕賴 丕賱乇賵丕賷丞 賱賷爻 丕賱賯氐丞 亘賯丿乇 賲丕 賴賵 丕賱賱睾丞: 賰賱賲丕鬲 亘爻賷胤丞 賲乇鬲亘丞 亘胤乇賷賯丞 爻丕丨乇丞. 賰賱賲丕鬲 賳孬乇賷丞 鬲噩賵賱 廿賱賶 賱賵丨丞 賮賳賷丞 賲匕賴賱丞貙 賵賰賱 賲賯胤毓 賮賷賴丕 賷賳囟丨 亘丕賱卮毓乇 丕賱禺丕賱氐貙 賵賷噩丿 丕賱賯丕乇卅 賳賮爻賴 賲囟胤乇丕賸 廿賱賶 丕賱鬲賵賯賮 毓賳 丕賱賯乇丕亍丞 亘賷賳 氐賮丨丞 賵兀禺乇賶 賱賷鬲卮乇亘 賲丕 噩丕亍 賮賷賴丕.
丕賳鬲賴賶 賲胤丕賮 丕賱賮鬲賶 丕賱匕賷 兀賮賯丿鬲賴 廿賲亘乇丕胤賵乇賷丞 丕賱亘丨乇 丕賱賲丕賱丨 毓丕卅賱鬲賴 賵乇賮賷賯 乇賵丨賴 廿賱賶 毓卮賯 丕賱兀丿亘貙 毓賱賶 丕賱乇睾賲 賲賳 廿丿乇丕賰賴 兀賳 爻賲賰 丕賱賯丿 賵丕賱卮毓乇 毓賱賶 胤乇賮賷 賳賯賷囟貙 賵兀賳 丕賱兀丨賱丕賲 賱丕 鬲爻丿 噩賵毓 兀丨丿. 賵賴匕丕 丕賱毓卮賯 賷丨賲賱賴 賲毓賴 毓賳丿賲丕 賷乇爻賱 賮賷 賲賴賲丞 賲毓 爻丕毓賷 丕賱亘乇賷丿 丕賱匕賷 賷禺丕賮 賲賳 丕賱亘丨乇貙 丨賷孬 賷賳胤賱賯丕賳 賮賷 賲賴賲鬲賴賲丕 丕賱毓爻賷乇丞 賵賴賲丕 賷乇夭丨丕賳 鬲丨鬲 孬賯賱 丨賯丕卅亘 丕賱亘乇賷丿貙 賵鬲丨鬲 孬賯賱 丨賵丕乇 丕賱匕丕鬲 丕賱賲賱睾夭貙 賵丕賱孬賱噩 丕賱賲丿賵賲 賷鬲乇亘氐 亘賴賲丕. 賱賰賳賴賲丕 賮賷 賴匕賴 丕賱乇丨賱丞 賷賰鬲卮賮丕賳 丕賱賰孬賷乇 毓賳 丕賱丨賷丕丞 賵毓賳 兀毓賲丕賯賴丕 丕賱禺賮賷丞.
賷賵賳 賰丕賱賲丕賳 爻鬲賷賮賳爻賳 丕賱丨丕卅夭 毓賱賶 噩丕卅夭丞 丕賱兀丿亘 丕賱丕賷爻賱賳丿賷丞. 丨夭賳 丕賱賲賱丕卅賰丞 丨賰丕賷丞 毓賳 丕賱丨亘 賵丕賱賲賵鬲 賮賷 鬲囟丕乇賷爻 賵毓乇丞 鬲噩賲毓 亘胤乇賷賯丞 爻丨乇賷丞 亘賷賳 丕賱賷兀爻 賵丕賱鬲爻丕賲賷
314 pages, Hardcover
First published January 1, 2009
168 people are currently reading
3,926 people want to read
About the author
J贸n Kalman Stef谩nsson
51听books1,237听followersJ贸n moved to Keflav铆k when he was 12 and returned to Reykjav铆k in 1986 with his highschool diploma. From 1975 鈥� 1982 he spent a good deal of his time in West Iceland, where he did various jobs: worked in a slaughterhouse, in the fishing industry, doing masonry and for one summer as a police officer at Keflav铆k International Airport. J贸n Kalman studied literature at the University of Iceland from 1986 until 1991 but did not finish his degree. He taught literature at two highschools for a period of time and wrote articles and criticism for Morgunbla冒i冒 newspaper for a number of years. J贸n lived in Copenhagen from 1992 鈥� 1995, reading, washing floors and counting buses. He worked as a librarian at the Mosfellsb忙r Library near Reykjav铆k until the year 2000. Since then he has been a full time writer.
His first published work, the poetry collection, Me冒 byssuleyfi 谩 eil铆f冒ina, came out in 1988. He has published two other collections of poetry and a number of novels. His novel Sumarlj贸s, og svo kemur n贸ttin (Summer Light, and Then Comes the Night) won The Icelandic Literature Prize in 2005. Three of his books have also been nominated for The Nordic Council's Literature Prize.
He was the recipient of the Per Olov Enquists Prize for 2011, awarded at the book fair in Gautaborg in September 2011.
His first published work, the poetry collection, Me冒 byssuleyfi 谩 eil铆f冒ina, came out in 1988. He has published two other collections of poetry and a number of novels. His novel Sumarlj贸s, og svo kemur n贸ttin (Summer Light, and Then Comes the Night) won The Icelandic Literature Prize in 2005. Three of his books have also been nominated for The Nordic Council's Literature Prize.
He was the recipient of the Per Olov Enquists Prize for 2011, awarded at the book fair in Gautaborg in September 2011.
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August 22, 2023
B膬iatul 卯l 卯nso葲e葯te pe domnul Po葯ta葯 Jens s膬 duc膬 ve葯tile 葯i scrisorile 卯n c膬tunele din Islanda, str膬bat furtuni de z膬pad膬, noiane de 卯ntuneric, 葯i, 卯ntr-un final, se pr膬bu葯esc 卯ntr-o pr膬pastie. Drumul celor doi seam膬n膬 cu o c膬l膬torie la iad. Mai mult nu am voie s膬 spun. Citi葲i 葯i ultimul volum al trilogiei lui Stef谩nsson, Inima omului, ca s膬 vede葲i dac膬 au supravie葲uit.
Nu cred c膬 v-am spus p卯n膬 acum. Dar nu mai pot 葲ine acest secret 卯nfipt ca un piron 卯nro葯it 卯n inima mea. M-am 卯ndr膬gostit de Geir镁r煤冒ur. Da, de fatala Geir镁r煤冒ur. P卯n膬 aici mi-a fost. C膬ci Geir镁r煤冒ur are din plin tot ceea ce trebuie s膬 aib膬 o femeie ca s膬 fascineze definitiv un b膬rbat sensibil ca mine. 葮i anume:
1. 35 de ani cu aproxima葲ie, hai, 40 (脦ntre cer 葯i p膬m卯nt,Triste葲ea 卯ngerilor, passim).
2. P膬rul negru-negru (罢谤颈蝉迟别葲别补..., p.14), doi ochi scrut膬tori, buze orgolioase, b膬rbia ascu葲it膬, pistrui (脦ntre p膬m卯nt 葯i cer, p.134). 脦n leg膬tur膬 cu p膬rul, adaug o scen膬 de voyeurism pentru amatori. B膬iatul trebuie s-o anun葲e ceva, intr膬 卯n camer膬 葯i, piei drace: 鈥濷 vede pe Geir镁r煤冒ur [卯n cad膬, n. m.], plete negre corb 葯i un um膬r dalb, pome葲ii 卯nal葲i, o jum膬tate de s卯n [nu-i nevoie de mai mult, se-n葲elege, n. m.] 葯i c卯teva pic膬turi de ap膬 prelinse pe piele鈥� (罢谤颈蝉迟别葲别补..., p.13).
2. Dezinvoltur膬, umor, lipsa inhibi葲iilor puritane, con葯tiin葲a propriei frumuse葲i triumf膬toare: 鈥濸o葲i foarte bine s膬 te 卯ntorci cu fa葲a, s卯nt chiar at卯t de ur卯t膬? 卯ntreab膬 Geir镁r煤冒ur. Nu-l mai chinui pe b膬iat, se aude vocea Helg膬i. Dar ce r膬u poate s膬 i se 卯nt卯mple dac膬 vede o femeie b膬tr卯n膬 dezbr膬cat膬? r膬spunde Geir镁r煤冒ur, 葯i b膬iatul [are 卯n totul vreo 15 ani 葯i, uneori, vise erotice de care se ru葯ineaz膬, n. m.] o aude ie葯ind din cad膬鈥� (罢谤颈蝉迟别葲别补..., p.14).
3. Din葲i str膬lucitori 葯i 鈥瀋anini ascu葲i葲i, ca de pr膬d膬tor鈥�. Numai din葲ii de jos, chiar cei din fa葲膬, s卯nt pu葲in str卯mbi, des膬v卯r葯irea plictise葯te. 葮i, 卯n orice caz, 鈥瀎膬r膬 p膬cate via葲a nu-i via葲膬鈥� (脦ntre cer 葯i p膬m卯nt, p.222).
4. 葰inuta dreapt膬, m卯ndr膬, nesupus膬 (脦ntre cer 葯i p膬m卯nt, Triste葲ea 卯ngerilor, passim).
5. 鈥濭lasul pu葲in r膬gu葯it, 卯ntunecat鈥� (脦ntre cer 葯i p膬m卯nt, p.201).
6. Ironia, tonul franc, lipsit de orice iluzie, o nobil膬 nep膬sare. Vorbe葯te b膬tr卯nul Gu冒j贸n, so葲ul ei: 鈥濫ram singur 艧i am 卯ntrebat-o dac膬 vrea s膬 vad膬 lumea, e ceva de v膬zut, m-a 卯ntrebat, papa de la Roma, i-am zis eu atunci, nu-i dec卯t un b膬tr卯nel plin de pofte 艧i de supersti牛ii, mi-a r膬spuns ea鈥� (脦ntre cer 葯i p膬m卯nt, p.134).
6. Echitate cu privire la pre葲ul omului 葯i al vie葲ii. Tot b膬tr卯nul Gu冒j贸n spune unui martor: 鈥濾ia牛a nu mai avea nici un farmec nici pentru ea, nici pentru mine, era logic s膬 ne c膬s膬torim, diferen牛a de v卯rst膬 n-are a face鈥� (脦ntre cer 葯i p膬m卯nt, p.135).
7. Patima cititului pasiv (aural, cu urechea), gustul poeziei, sim葲ul spectacolului. 脦i plac piesele lui Shakespeare, Hamlet, Othello, 卯n lectura b膬iatului (罢谤颈蝉迟别葲别补..., pp.26-27).
8. Geir镁r煤冒ur fusese slujnic膬 la un hotel din Reykjav铆k, poate curtezan膬, mai mult nu 葯tim despre trecutul ei (脦ntre cer 葯i p膬m卯nt, p.134, 138, passim). Acolo o 卯nt卯lnise Gu冒j贸n, acolo o 卯ntrebase despre papa de la Roma 葯i tot acolo primise r膬spunsul blazat, citat mai sus.
9. F膬ptura ei p膬streaz膬, bine卯n葲eles, 鈥瀋eva care nu poate fi prins 卯n cuvinte鈥� (脦ntre p膬m卯nt 葯i cer, p.134).
10. 脦n fine, de葯i n-ar mai fi nevoie s膬 precizez, Geir镁r煤冒ur nu este o femeie 卯ntru totul aievea, se ive葯te din 卯nchipuirile cititorilor 葯i pune st膬p卯nire pe ei. Pe mine m-a sedus instantaneu...
Nu cred c膬 v-am spus p卯n膬 acum. Dar nu mai pot 葲ine acest secret 卯nfipt ca un piron 卯nro葯it 卯n inima mea. M-am 卯ndr膬gostit de Geir镁r煤冒ur. Da, de fatala Geir镁r煤冒ur. P卯n膬 aici mi-a fost. C膬ci Geir镁r煤冒ur are din plin tot ceea ce trebuie s膬 aib膬 o femeie ca s膬 fascineze definitiv un b膬rbat sensibil ca mine. 葮i anume:
1. 35 de ani cu aproxima葲ie, hai, 40 (脦ntre cer 葯i p膬m卯nt,Triste葲ea 卯ngerilor, passim).
2. P膬rul negru-negru (罢谤颈蝉迟别葲别补..., p.14), doi ochi scrut膬tori, buze orgolioase, b膬rbia ascu葲it膬, pistrui (脦ntre p膬m卯nt 葯i cer, p.134). 脦n leg膬tur膬 cu p膬rul, adaug o scen膬 de voyeurism pentru amatori. B膬iatul trebuie s-o anun葲e ceva, intr膬 卯n camer膬 葯i, piei drace: 鈥濷 vede pe Geir镁r煤冒ur [卯n cad膬, n. m.], plete negre corb 葯i un um膬r dalb, pome葲ii 卯nal葲i, o jum膬tate de s卯n [nu-i nevoie de mai mult, se-n葲elege, n. m.] 葯i c卯teva pic膬turi de ap膬 prelinse pe piele鈥� (罢谤颈蝉迟别葲别补..., p.13).
2. Dezinvoltur膬, umor, lipsa inhibi葲iilor puritane, con葯tiin葲a propriei frumuse葲i triumf膬toare: 鈥濸o葲i foarte bine s膬 te 卯ntorci cu fa葲a, s卯nt chiar at卯t de ur卯t膬? 卯ntreab膬 Geir镁r煤冒ur. Nu-l mai chinui pe b膬iat, se aude vocea Helg膬i. Dar ce r膬u poate s膬 i se 卯nt卯mple dac膬 vede o femeie b膬tr卯n膬 dezbr膬cat膬? r膬spunde Geir镁r煤冒ur, 葯i b膬iatul [are 卯n totul vreo 15 ani 葯i, uneori, vise erotice de care se ru葯ineaz膬, n. m.] o aude ie葯ind din cad膬鈥� (罢谤颈蝉迟别葲别补..., p.14).
3. Din葲i str膬lucitori 葯i 鈥瀋anini ascu葲i葲i, ca de pr膬d膬tor鈥�. Numai din葲ii de jos, chiar cei din fa葲膬, s卯nt pu葲in str卯mbi, des膬v卯r葯irea plictise葯te. 葮i, 卯n orice caz, 鈥瀎膬r膬 p膬cate via葲a nu-i via葲膬鈥� (脦ntre cer 葯i p膬m卯nt, p.222).
4. 葰inuta dreapt膬, m卯ndr膬, nesupus膬 (脦ntre cer 葯i p膬m卯nt, Triste葲ea 卯ngerilor, passim).
5. 鈥濭lasul pu葲in r膬gu葯it, 卯ntunecat鈥� (脦ntre cer 葯i p膬m卯nt, p.201).
6. Ironia, tonul franc, lipsit de orice iluzie, o nobil膬 nep膬sare. Vorbe葯te b膬tr卯nul Gu冒j贸n, so葲ul ei: 鈥濫ram singur 艧i am 卯ntrebat-o dac膬 vrea s膬 vad膬 lumea, e ceva de v膬zut, m-a 卯ntrebat, papa de la Roma, i-am zis eu atunci, nu-i dec卯t un b膬tr卯nel plin de pofte 艧i de supersti牛ii, mi-a r膬spuns ea鈥� (脦ntre cer 葯i p膬m卯nt, p.134).
6. Echitate cu privire la pre葲ul omului 葯i al vie葲ii. Tot b膬tr卯nul Gu冒j贸n spune unui martor: 鈥濾ia牛a nu mai avea nici un farmec nici pentru ea, nici pentru mine, era logic s膬 ne c膬s膬torim, diferen牛a de v卯rst膬 n-are a face鈥� (脦ntre cer 葯i p膬m卯nt, p.135).
7. Patima cititului pasiv (aural, cu urechea), gustul poeziei, sim葲ul spectacolului. 脦i plac piesele lui Shakespeare, Hamlet, Othello, 卯n lectura b膬iatului (罢谤颈蝉迟别葲别补..., pp.26-27).
8. Geir镁r煤冒ur fusese slujnic膬 la un hotel din Reykjav铆k, poate curtezan膬, mai mult nu 葯tim despre trecutul ei (脦ntre cer 葯i p膬m卯nt, p.134, 138, passim). Acolo o 卯nt卯lnise Gu冒j贸n, acolo o 卯ntrebase despre papa de la Roma 葯i tot acolo primise r膬spunsul blazat, citat mai sus.
9. F膬ptura ei p膬streaz膬, bine卯n葲eles, 鈥瀋eva care nu poate fi prins 卯n cuvinte鈥� (脦ntre p膬m卯nt 葯i cer, p.134).
10. 脦n fine, de葯i n-ar mai fi nevoie s膬 precizez, Geir镁r煤冒ur nu este o femeie 卯ntru totul aievea, se ive葯te din 卯nchipuirile cititorilor 葯i pune st膬p卯nire pe ei. Pe mine m-a sedus instantaneu...
August 25, 2023
The boy becomes a village dweller鈥�
The Sorrow of Angels is a metaphor for snow 鈥� it is as white as feathers of their wings and it wraps the earth鈥� And the real sorrow wraps those who inhabit the earth鈥� The boy lives among them and he observes their lives and their grief鈥� And he falls for a girl鈥�
The boy gets a dangerous assignment to help a postman to deliver the post to the fishing village in the far north鈥� They are caught in the blizzard that turns into the real snowstorm鈥� And the boy must pass through this deadly snowy ordeal鈥�
When you鈥檙e young the door is open and the entire world is waiting.
The struggle for life and dreams don鈥檛 go together, poetry and salt fish are irreconcilable, and no-one eats his own dreams.
That鈥檚 how we live.
The Sorrow of Angels is a metaphor for snow 鈥� it is as white as feathers of their wings and it wraps the earth鈥� And the real sorrow wraps those who inhabit the earth鈥� The boy lives among them and he observes their lives and their grief鈥� And he falls for a girl鈥�
And he watched.
But why watch a girl; what use is that, what does it do for the heart, uncertainty; does life become better in some way, more beautiful?
The boy gets a dangerous assignment to help a postman to deliver the post to the fishing village in the far north鈥� They are caught in the blizzard that turns into the real snowstorm鈥� And the boy must pass through this deadly snowy ordeal鈥�
Hopefully he鈥檒l be buried in snow and the Devil will take his remains at the first opportunity. The boy looks around but sees nothing through the blowing snow, the snowfall, knows nothing but his own fatigue鈥�
When you鈥檙e young the door is open and the entire world is waiting.
May 27, 2020
Impressions through the clouded lens of snowflakes, the eponymous sorrow of angels
Death, ever present, death.
Lurking in the murderous winter landscape, the roof of Hell.
Lurking in empty bellies and a cough that won鈥檛 stop.
Lingering in memories, dreams, and visions.
The dead, entwine with the living, urging some to live, but luring others towards death.
鈥淒oes one betray the dead by continuing to live?鈥�
How to bear 鈥渢he guilt of being alive and desiring life.鈥�
By the anchoring bonds with family and friends who live.
By the power of promises, carried in hopeful hearts.
Life, tenacious but ephemeral, battles relentless hardship across the barren snow.
For what? Delivering letters. Letters. And the dead.
Optimism or idiocy - what鈥檚 the real difference?
Because 鈥淲ords are the seventh wonder of the world.鈥�
Words from one soul to another.
Words to change the world.
Assassins or saviours? Bullets or rescue teams?
Words from beyond the grave.
Words that may take postman Jens and the boy to theirs.
And then, after agonising survival, an oddly comic, but possibly deadly descent.
At the end of the world, coffee 鈥渨arm as Heaven, black as Hell鈥� may save, but liquor can slay.
There鈥檚 a fiercely independent woman serving both, her generosity hidden beneath the wings of her raven鈥檚 heart.
And a boy, who doesn鈥檛 want physical strength or reckless masculinity, but words and education.
If he lives.
Bodies: dead bodies, lost bodies, bodies reaching out, bodies making love.
A wet, glistening sweet, from one mouth to another and 鈥淎 thousand years passed鈥�.
Body parts:
鈥淭he heart is a muscle.鈥�
鈥淪houlders of moonlight.鈥�
And eyes.
So many eyes of every colour and kind: blue, flint-coloured, pearls, bulging boils, black... frozen puddles of death.
A tentative, tender kiss on the eyes.
Blind eyes that penetrate and see more than sighted eyes. One of many reasons not to judge from afar.
And yet 鈥淵ou can always know a person by where he or she looks鈥� Eyes don鈥檛 lie.鈥�
Snow blind, blind drunk, dead drunk, blindsight, snow.
But blind from lack of love? If love returns, will sight?
"And then the world goes out."
Stunning. Literally and literarily.
I was left snow blind; fed, but still hungry.
I crawled out of the shelter of my snow-cave, craving more.
More words. Words to change the world, to change me.
The world went out, and so did I - straight to The Heart of Man.
Quotes
No plot spoilers. They鈥檙e hidden for brevity and easy scrolling.
Words and Books
Life and Death
Weather
The Sea
Love
Eyes, Sight, Blindness
Dreams
Miscellaneous
鈥淣othing is sweet to me, without you.鈥�
Three-Volume Novel
This is not a trilogy; it鈥檚 one novel in three, very closely-related parts, covering just a few weeks:
1. Heaven and Hell, reviewed HERE.
2. The Sorrow of Angels, this book.
3. The Heart of Man, review HERE.
For a more concrete idea of setting, plot, characters, and writing style, see my overview HERE.
Image of snowflake contact lens:
October 22, 2017
The epic journey of survival against all odds that moulds the identity of the nameless boy continues in this second installment of St茅fansson鈥檚 trilogy, setting the perfect foreground tone for the fiercest struggle between man and the hostile wilderness of the Icelandic remote lands.
Divided in two main sections; the youthful main character ponders about the value of literature, getting more acquainted with it in the first part of the narration and missing it acutely in the second one, where the extreme weather conditions become the main protagonist of the story, befogging the voice of the omniscient narrator with inner monologue, tragicomic dialogue and the incantatory poetry that breathes life into the menacing yet wondrous presence of the landscape that consumes it all.
The boundaries separating Heaven and Hell, Sky and Earth, the Living and the Dead, dissipate into a muddled blankness that evokes the oblivion of non-being.
What is the use of printed pages in the face of the unbearable iciness that benumbs hearts and drowns men in the depths of the Polar Sea? Why read Milton, Shakespeare or Dickens if the whiteness of the snow will end up blinding those who dare to question, who dare to look out?
And yet Jens the postman puts his life in danger to deliver letters, written words, at the end of the world, where angels weep tears of sorrow that coat slopes, gullies and ridges with whitewash made of gelid blizzards and biting snowflakes. Humanity is reduced to nothingness in front of the inexorable forces of nature that create and destroy in their wake.
Surely, the hazardous trip that boy and man embark on together to make a special delivery is a metaphor for mankind's pursuit of answers to fight against absurdity, to infuse meaning into a seemingly pointless existence, presented through the dual prism of St茅fansson鈥檚 artistry.
The inquisitive boy, whose unquenchable doubts nudge him to speak out, and the grumpy postman, who avoids words as if they were summoned by the same devil, will see their destinies irremediably intertwined in a mission that might shake the ground of their deeply rooted beliefs not only about the importance of words, but also about the fine line separating life from death, lust from love and reality from hallucination.
St茅fansson is a poet, but the lyrical hues of his darkly sensuous prose is aerated with an outstanding understanding of the human psyche, moving shrewdly between realistic narrative, folklore and myth, blending the moralistic tale with the archetypal existentialist coming-of-age story. His painstaking eye for detail draws an incredibly nuanced portrait of the Icelandic people, their precarious life conditions and the unusual mixture of coarseness and sensitivity that constitutes their collective ethos.
In a place where man鈥檚 angst, fear and impotence mean nothing against the undaunted harshness of nature, a place where his dreams, yearnings and minuscule joys don鈥檛 have the slightest impact on his untamable habitat; words might be futile or they might be the rescue team that melts petrified souls lost in the maelstrom of existence back into the throbbing pain of being alive. It鈥檚 only a matter of finding the courage to give them free entrance into the core of what makes us human.
Divided in two main sections; the youthful main character ponders about the value of literature, getting more acquainted with it in the first part of the narration and missing it acutely in the second one, where the extreme weather conditions become the main protagonist of the story, befogging the voice of the omniscient narrator with inner monologue, tragicomic dialogue and the incantatory poetry that breathes life into the menacing yet wondrous presence of the landscape that consumes it all.
The boundaries separating Heaven and Hell, Sky and Earth, the Living and the Dead, dissipate into a muddled blankness that evokes the oblivion of non-being.
What is the use of printed pages in the face of the unbearable iciness that benumbs hearts and drowns men in the depths of the Polar Sea? Why read Milton, Shakespeare or Dickens if the whiteness of the snow will end up blinding those who dare to question, who dare to look out?
And yet Jens the postman puts his life in danger to deliver letters, written words, at the end of the world, where angels weep tears of sorrow that coat slopes, gullies and ridges with whitewash made of gelid blizzards and biting snowflakes. Humanity is reduced to nothingness in front of the inexorable forces of nature that create and destroy in their wake.
Surely, the hazardous trip that boy and man embark on together to make a special delivery is a metaphor for mankind's pursuit of answers to fight against absurdity, to infuse meaning into a seemingly pointless existence, presented through the dual prism of St茅fansson鈥檚 artistry.
The inquisitive boy, whose unquenchable doubts nudge him to speak out, and the grumpy postman, who avoids words as if they were summoned by the same devil, will see their destinies irremediably intertwined in a mission that might shake the ground of their deeply rooted beliefs not only about the importance of words, but also about the fine line separating life from death, lust from love and reality from hallucination.
St茅fansson is a poet, but the lyrical hues of his darkly sensuous prose is aerated with an outstanding understanding of the human psyche, moving shrewdly between realistic narrative, folklore and myth, blending the moralistic tale with the archetypal existentialist coming-of-age story. His painstaking eye for detail draws an incredibly nuanced portrait of the Icelandic people, their precarious life conditions and the unusual mixture of coarseness and sensitivity that constitutes their collective ethos.
In a place where man鈥檚 angst, fear and impotence mean nothing against the undaunted harshness of nature, a place where his dreams, yearnings and minuscule joys don鈥檛 have the slightest impact on his untamable habitat; words might be futile or they might be the rescue team that melts petrified souls lost in the maelstrom of existence back into the throbbing pain of being alive. It鈥檚 only a matter of finding the courage to give them free entrance into the core of what makes us human.
December 20, 2016
鈥徹辟堌з娯� 鈦р€�#丨夭賳_丕賱賲賱丕卅賰丞鈥仼 賲孬賱 賯氐賷丿丞 鬲禺鬲乇賯 丕賱氐賯賷毓貙 丕賱賯氐賷丿丞 - 廿賷丕賴丕 - 丕賱鬲賷 賱丕 賳乇賷丿 賱賴丕 兀賳 鬲賳鬲賴賷. 賲睾乇賲丞 兀賳丕 亘賰賱 氐賮丨丞 賲賳 賴匕賴 丕賱賰鬲丕亘丞 丕賱爻賲丕賵賷丞.
賮賷 丕賳鬲馗丕乇 丕賱噩夭亍 丕賱兀禺賷乇 賲賳 丕賱孬賱丕孬賷丞 丕賱亘丿賷毓丞. 卮賰乇賸丕 丿丕乇 丕賱賲賳賶.
賮賷 丕賳鬲馗丕乇 丕賱噩夭亍 丕賱兀禺賷乇 賲賳 丕賱孬賱丕孬賷丞 丕賱亘丿賷毓丞. 卮賰乇賸丕 丿丕乇 丕賱賲賳賶.
August 22, 2020
At many times in this book I knew I was reading simply beautiful writing. Writing that I appreciated. Prose that I knew made this author an extraordinary writer. And no doubt because this was originally in Icelandic the translator contributed to my appreciation of the written word.
So I can say that this was a solid 3 star book.
So there has to be a 鈥渂ut鈥︹€�. Why wasn鈥檛 this 4 or 5 stars? I gave the first book in the trilogy 鈥淗eaven and Hell鈥� 4 stars.
But I鈥檓 not done writing down what impressed me or what stuck with me after reading this book, set in rural Iceland in the late 19th century. Among the more salient things:
鈥� I always thought if one was in a blinding snowstorm that at least you would not be wanting for water. You could stuff your mouth with snow and eventually 鈥nstant water. Well, Jens and the boy for most of the book were in horrendous snowstorms and I guess because the temperature was so cold and the wind was so fierce that putting the snow in their numbed lips and into their mouths actually hurt and so they did not do that. So they were at times very thirsty. How ironic鈥t was the same as if they were in a desert 鈥� they lacked water in a snowstorm.
鈥� I figured that if this book was about snow that I would enjoy the read because living in the midwestern United States I love when it snows. Last winter it snowed a bit less than usual and I think we had two decent sized snows (4-6 inches/10-15 cm) 鈥� I love watching snow come down. After a while when into this book and by the book鈥檚 end I was sick of, and sickened and fearful of snow. Jens and the boy nearly died several times in the snow. Up to their armpits in snow. Digging out a mule that accompanies them on part of the trip hundreds of times. The boy on more than one occasion in a snow storm (unrelenting for hours) lay down in the snow and a sleepy warmth was close to overtaking him when Jens roughly shook him awake鈥ecause the boy would be dead probably within 30 minutes had he fallen asleep in the snow. In the same way that the character in 鈥淭o Build a Fire鈥� in Jack London鈥檚 classic short story died. All warm and cozy as he went to sleep in the snow鈥e only felt warm and cozy because he was near death鈥is body was shutting down鈥e was dying.
鈥� The impoverished farmers and their families they met in their sojourn in the snow (this wasn鈥檛 the dead of winter by the way鈥t was near the end of April) and the conditions in which they lived was actually hard to read. I know this was fiction but it鈥檚 not hard to understand the situations he made up were close to reality. The humans had bags under their eyes so Jens and the boy realized they were starving. Reading about children who are starving is not a pleasant read. A father cannot have the family recite the Lord鈥檚 prayer because the children will start crying after they recite the word 鈥渂read鈥� in the prayer (..give us this day our daily bread鈥�). One little boy had such a bad cough his lips were blue. And they were living in decrepit conditions in very small spaces. Jens took pity on one family they shared the night with and left a blank sheet of paper for the children. And this was like manna from heaven to the children 鈥� they would debate whether to use if to writing or drawing鈥� Like "oh my God"! Hopefully the winter storms would abate and summer would come and the children would no longer be hungry鈥ut only for a while for the weather would set in again.
鈥� 鈥淭he boy鈥� was somebody I would like to meet. He is given no name in that book as well as in this 鈥� he I simply referred to as 鈥渢he boy鈥�. We know in the first book of the trilogy he has lost his entire family and only had one best friend left, Bardour鈥nd Bardour died during a fishing expedition in the winter 鈥� he died because he was not wearing protective raingear as he forgot to bring it with him on the boat because he was too busy reading Paradise Lost by Milton (he was a book lover). The boy returns the book to its original owner, a blind boat captain who live with two women, Helga and Geirprudur, who take pity on the boy and take him into their lives. He is employed to read to the blind captain for he shares a love of reading with his best friend Bardour. I鈥檓 not sure they ever state the age of the boy in either that novel or this novel鈥 would guess he was late in his teenage years. He is wise for his age and just a decent human being 鈥� you can tell.
Something struck me as funny (one is not going to come across a lot of yuck-yucks in this novel) and profound: 鈥溾€jartan would course roundly if he dared, but God is, despite all else, higher than all storms and men; he hears everything, forgets nothing and collects his dues from us on the final day for every thought, every word, every touch, every detail. It can be tedious and downright depressing to have such a God hanging over one; we鈥檒l likely exchange him as soon as something better is available.鈥�
I took 3 pages of notes while reading this book. Because sometimes I was captivated by the writing. Because sometimes I needed/wanted to write something down because I knew if I did not odds are whatever I just wrote down would be referred to later on鈥he act of writing down the note enabled me to keep that in my short-term memory so I could appreciate a passage later on in the book. Without writing down my notes, some of the significance of the book would have been lost.
By writing all of this stuff down, I realize that I have twisted my arm to change my rating to 4 stars. 馃槉
So now I can briefly state what is my main gripe about the book:
鈥� Imagine reading a >300-page book and the ending is a gunfight between the good guy and the bad guy, and it is just as likely one will triumph over the other. A gunshot rings out and one falls to the ground. The End. WTF? Who fell to the ground鈥�.who won the gunfight? Such an ending occurs in this book. The only saving grace is that this is the second book of a trilogy, so I can find out how it ends in the third and final book of the trilogy. But is that the way books in a trilogy are supposed to end? The first book, Heaven and Hell, ended where it was somewhat of a self-contained unit 鈥� it had an ending. Are trilogies structured sometimes so that one book ends with a cliffhanger ending鈥nd you have to wait to buy/read the next book to find out the answer? I hope not鈥 just finished a first book of a trilogy by Joyce Cary, Herself Surprised, and I believe each of the three books have an ending. Perhaps my GR friends can enlighten me about the structure of trilogies. 馃え
Reviews:
From a blog site (and a GR member) that I like very much based on reading her other reviews:
Jim: none of the reviews above mentioned the lack of an ending (or what I perceive as such) so once again I prove myself to be the lonesome outlier.
So I can say that this was a solid 3 star book.
So there has to be a 鈥渂ut鈥︹€�. Why wasn鈥檛 this 4 or 5 stars? I gave the first book in the trilogy 鈥淗eaven and Hell鈥� 4 stars.
But I鈥檓 not done writing down what impressed me or what stuck with me after reading this book, set in rural Iceland in the late 19th century. Among the more salient things:
鈥� I always thought if one was in a blinding snowstorm that at least you would not be wanting for water. You could stuff your mouth with snow and eventually 鈥nstant water. Well, Jens and the boy for most of the book were in horrendous snowstorms and I guess because the temperature was so cold and the wind was so fierce that putting the snow in their numbed lips and into their mouths actually hurt and so they did not do that. So they were at times very thirsty. How ironic鈥t was the same as if they were in a desert 鈥� they lacked water in a snowstorm.
鈥� I figured that if this book was about snow that I would enjoy the read because living in the midwestern United States I love when it snows. Last winter it snowed a bit less than usual and I think we had two decent sized snows (4-6 inches/10-15 cm) 鈥� I love watching snow come down. After a while when into this book and by the book鈥檚 end I was sick of, and sickened and fearful of snow. Jens and the boy nearly died several times in the snow. Up to their armpits in snow. Digging out a mule that accompanies them on part of the trip hundreds of times. The boy on more than one occasion in a snow storm (unrelenting for hours) lay down in the snow and a sleepy warmth was close to overtaking him when Jens roughly shook him awake鈥ecause the boy would be dead probably within 30 minutes had he fallen asleep in the snow. In the same way that the character in 鈥淭o Build a Fire鈥� in Jack London鈥檚 classic short story died. All warm and cozy as he went to sleep in the snow鈥e only felt warm and cozy because he was near death鈥is body was shutting down鈥e was dying.
鈥� The impoverished farmers and their families they met in their sojourn in the snow (this wasn鈥檛 the dead of winter by the way鈥t was near the end of April) and the conditions in which they lived was actually hard to read. I know this was fiction but it鈥檚 not hard to understand the situations he made up were close to reality. The humans had bags under their eyes so Jens and the boy realized they were starving. Reading about children who are starving is not a pleasant read. A father cannot have the family recite the Lord鈥檚 prayer because the children will start crying after they recite the word 鈥渂read鈥� in the prayer (..give us this day our daily bread鈥�). One little boy had such a bad cough his lips were blue. And they were living in decrepit conditions in very small spaces. Jens took pity on one family they shared the night with and left a blank sheet of paper for the children. And this was like manna from heaven to the children 鈥� they would debate whether to use if to writing or drawing鈥� Like "oh my God"! Hopefully the winter storms would abate and summer would come and the children would no longer be hungry鈥ut only for a while for the weather would set in again.
鈥� 鈥淭he boy鈥� was somebody I would like to meet. He is given no name in that book as well as in this 鈥� he I simply referred to as 鈥渢he boy鈥�. We know in the first book of the trilogy he has lost his entire family and only had one best friend left, Bardour鈥nd Bardour died during a fishing expedition in the winter 鈥� he died because he was not wearing protective raingear as he forgot to bring it with him on the boat because he was too busy reading Paradise Lost by Milton (he was a book lover). The boy returns the book to its original owner, a blind boat captain who live with two women, Helga and Geirprudur, who take pity on the boy and take him into their lives. He is employed to read to the blind captain for he shares a love of reading with his best friend Bardour. I鈥檓 not sure they ever state the age of the boy in either that novel or this novel鈥 would guess he was late in his teenage years. He is wise for his age and just a decent human being 鈥� you can tell.
Something struck me as funny (one is not going to come across a lot of yuck-yucks in this novel) and profound: 鈥溾€jartan would course roundly if he dared, but God is, despite all else, higher than all storms and men; he hears everything, forgets nothing and collects his dues from us on the final day for every thought, every word, every touch, every detail. It can be tedious and downright depressing to have such a God hanging over one; we鈥檒l likely exchange him as soon as something better is available.鈥�
I took 3 pages of notes while reading this book. Because sometimes I was captivated by the writing. Because sometimes I needed/wanted to write something down because I knew if I did not odds are whatever I just wrote down would be referred to later on鈥he act of writing down the note enabled me to keep that in my short-term memory so I could appreciate a passage later on in the book. Without writing down my notes, some of the significance of the book would have been lost.
By writing all of this stuff down, I realize that I have twisted my arm to change my rating to 4 stars. 馃槉
So now I can briefly state what is my main gripe about the book:
鈥� Imagine reading a >300-page book and the ending is a gunfight between the good guy and the bad guy, and it is just as likely one will triumph over the other. A gunshot rings out and one falls to the ground. The End. WTF? Who fell to the ground鈥�.who won the gunfight? Such an ending occurs in this book. The only saving grace is that this is the second book of a trilogy, so I can find out how it ends in the third and final book of the trilogy. But is that the way books in a trilogy are supposed to end? The first book, Heaven and Hell, ended where it was somewhat of a self-contained unit 鈥� it had an ending. Are trilogies structured sometimes so that one book ends with a cliffhanger ending鈥nd you have to wait to buy/read the next book to find out the answer? I hope not鈥 just finished a first book of a trilogy by Joyce Cary, Herself Surprised, and I believe each of the three books have an ending. Perhaps my GR friends can enlighten me about the structure of trilogies. 馃え
Reviews:
From a blog site (and a GR member) that I like very much based on reading her other reviews:
Jim: none of the reviews above mentioned the lack of an ending (or what I perceive as such) so once again I prove myself to be the lonesome outlier.
January 29, 2025
In this second part of the Heaven and Hell trilogy, the epic nature of the story by Icelandic author Jon Stefansson really comes to the fore. From beginning to end we find ourselves in an almost extra-terrestrial snowstorm. And for most of the story we follow the still unnamed 'boy' on a perilous journey together with the imposing but sturdy postman Jens, to remote areas in Iceland, through that hellish snowstorm. The snowflakes are constantly flying around, interpreted as 'tears鈥� or the 鈥榮orrow鈥� of the angels (hence the title), and that says enough about the gloomy nature of this novel. Jens and the boy regularly get into trouble and a few times it seems as if they are not going to survive. So, just like in the first part, death plays an important role, sometimes literally when they have to drag (on a sledge) a coffin with a deceased woman along in the last part of their journey, just as hilarious and grotesque as in the fantastic by William Faulkner.
As a reader, you become more and more intrigued by the narrative style in this second part: it is intense, descriptive, but also reflective, with humor that regularly shifts to sarcasm. Eventually, you start to wonder who is talking here (that will only become clearer in the third part). But just like in the first part, this epic story includes a lot of reflection, both from the voice-over and in the thoughts of the 鈥榖oy鈥�. A lot about death, of course, in a langurous, poetic style that often made me think of the Spanish Grandmaster Javier Marias. 鈥淭he boy thinks about B谩r冒ur and misses him. He who dies never returns, we鈥檝e lost him, no power in the universe is able to bring us the warmth of a vanished life, the sound of a voice, the hand movements, the touch of humor. All the details that comprise life and give it validity have vanished into eternity, vanished only to leave an open wound in the heart that time gradually transforms into a swollen scar. Yet he who dies never leaves us completely, which is a paradox that comforts and torments at once; he who dies is both near and far.鈥�
More and more, friendship and love also slide into the picture, as a (vain?) antidote to death: both Jens and the boy struggle with the desire for an 鈥榦ther鈥�, the first already marked by his own shortcomings and disappointments, the second still naively feeling his way in that mysterious territory. And against that background, on their hellish journey, they also regularly meet other persons, who are also marked by life, but sometimes still strive for that 鈥榤ore鈥�. And finally, like in the first part, Stefansson regularly brings up the relationship between words and life, again as a (once again vain?) antidote to death. In the end, this second, epic part of the trilogy really tends towards metafiction, a second layer next to the existential one. Very well done.
As a reader, you become more and more intrigued by the narrative style in this second part: it is intense, descriptive, but also reflective, with humor that regularly shifts to sarcasm. Eventually, you start to wonder who is talking here (that will only become clearer in the third part). But just like in the first part, this epic story includes a lot of reflection, both from the voice-over and in the thoughts of the 鈥榖oy鈥�. A lot about death, of course, in a langurous, poetic style that often made me think of the Spanish Grandmaster Javier Marias. 鈥淭he boy thinks about B谩r冒ur and misses him. He who dies never returns, we鈥檝e lost him, no power in the universe is able to bring us the warmth of a vanished life, the sound of a voice, the hand movements, the touch of humor. All the details that comprise life and give it validity have vanished into eternity, vanished only to leave an open wound in the heart that time gradually transforms into a swollen scar. Yet he who dies never leaves us completely, which is a paradox that comforts and torments at once; he who dies is both near and far.鈥�
More and more, friendship and love also slide into the picture, as a (vain?) antidote to death: both Jens and the boy struggle with the desire for an 鈥榦ther鈥�, the first already marked by his own shortcomings and disappointments, the second still naively feeling his way in that mysterious territory. And against that background, on their hellish journey, they also regularly meet other persons, who are also marked by life, but sometimes still strive for that 鈥榤ore鈥�. And finally, like in the first part, Stefansson regularly brings up the relationship between words and life, again as a (once again vain?) antidote to death. In the end, this second, epic part of the trilogy really tends towards metafiction, a second layer next to the existential one. Very well done.
April 22, 2023
To add a stone to the building of the numerous criticisms of "The Sadness of the Angels" by J贸n Kalman Stef谩nsson, I would evoke the formidable Nordic epic of this novel, where the young hero, like a new Telemachus traversing the desolate fjords of Iceland, goes from meeting to meeting, between the living almost dead and the dead still alive. Stef谩nsson, in a very Balzacian way, gives a universal dimension to the Icelandic journey through his lapidary formulas and his ability to paint, through striking portraits, an original human comedy.
June 5, 2021
Es una novela muy humana que muestra con dureza la fragilidad de quienes viven en las tierras altas y ahonda en temas tocados en el libro anterior como la muerte y la culpa que sienten aquellos que en circunstancias dif铆ciles quedan con vida pero sufren la perdida de seres cercanos.
El argumento es sencillo y pasa por una larga traves铆a que deber谩 hacer el cartero Jens junto a un desconocido muchacho cruzando fiordos, mares, monta帽as nevadas con peligrosas laderas y acantilados, y la carga constante de tormentas de nieve y viento helado.
Esta es la segunda parte de la llamada 鈥淭rilog铆a del muchacho鈥� y desde ese lugar es sin duda una continuaci贸n natural y muy solida de ; e igual que aquella tiene como uno de sus puntos mas fuertes el exquisito lenguaje del autor, quien parece elegir con un cuidado absoluto cada palabra y consigue el tono justo para una narraci贸n que hace pie fuertemente en el atractivo visual de la geograf铆a de Islandia y su dur铆simo clima.
Lo 煤nico que criticar铆a es la cantidad de nombres propios que hay y lo similares que son en muchos casos, pero es una novela muy recomendable aunque sugiero comenzar por Entre cielo y tierra y no por esta.
4,5
El argumento es sencillo y pasa por una larga traves铆a que deber谩 hacer el cartero Jens junto a un desconocido muchacho cruzando fiordos, mares, monta帽as nevadas con peligrosas laderas y acantilados, y la carga constante de tormentas de nieve y viento helado.
Esta es la segunda parte de la llamada 鈥淭rilog铆a del muchacho鈥� y desde ese lugar es sin duda una continuaci贸n natural y muy solida de ; e igual que aquella tiene como uno de sus puntos mas fuertes el exquisito lenguaje del autor, quien parece elegir con un cuidado absoluto cada palabra y consigue el tono justo para una narraci贸n que hace pie fuertemente en el atractivo visual de la geograf铆a de Islandia y su dur铆simo clima.
Lo 煤nico que criticar铆a es la cantidad de nombres propios que hay y lo similares que son en muchos casos, pero es una novela muy recomendable aunque sugiero comenzar por Entre cielo y tierra y no por esta.
4,5
February 6, 2020
賴賱 鬲亘賰賷 丕賱賲賱丕卅賰丞 毓賱賶 丨丕賱賳丕責 賴賱 鬲丨夭賳 賱賲卮賯丞 乇丨賱鬲賳丕責 兀賲 鬲卮賮賯 毓賱賶 囟賷丕毓賳丕 賮賷 賲鬲丕賴丞 兀賳賮爻賳丕責
賷兀禺匕賳丕 賰丕賱賲丕賳 賮賷 乇丨賱丞 賵爻胤 丕賱毓丕氐賮丞 丕賱孬賱噩賷丞 丕賱賲馗賱賲丞 亘丿丕禺賱賳丕.
毓丕氐賮丞 卮鬲賵賷丞 賯丕乇氐丞 丕賱亘乇賵丿丞 賵賲噩乇丿丞 賲賳 丕賱乇丨賲丞.
賷鬲噩丕匕亘賳丕 禺賷胤 丕賱賲賵鬲 賵丕賱丨賷丕丞 貙 丕賱馗賱丕賲 賵丕賱賳賵乇貙 丕賱兀乇囟 賵丕賱爻賲丕亍 賵丕賱噩賳丞 賵丕賱噩丨賷賲.
鬲賱賰 賴賷 賲毓乇賰鬲賳丕貙 廿賳賴丕 賲毓乇賰丞 丕賱廿賳禺乇丕胤 賮賷 氐乇丕毓 丕賱丨賷丕丞 賵丕賱賲賵鬲 賲毓 兀賳賮爻賳丕貙 賮乇氐 丕賱賳氐乇 賵丕賱賴夭賷賲丞 賲鬲爻丕賵賷丕賳.
賮賲丕匕丕 爻賷禺鬲丕乇 丕賱賮鬲賶責 賴賱 賷爻鬲爻賱賲 賵賷爻鬲賯乇 丕賱噩賱賷丿 毓賱賶 匕賰乇賷丕鬲賴 賰賱賴丕貙 毓賱賶 兀丨賱丕賲賴 賵賯賱亘賴 賵賮賷 丕賱賳賴丕賷丞 賷睾賷乇 毓賱賷賴 丕賱卮鬲丕亍 丕賱兀亘丿賷責
兀賲 賷禺鬲丕乇 丕賱乇亘賷毓 賱賷爻賰賳 賯賱亘賴 賵丕賱兀賲賱 賱鬲丨賯賷賯 兀丨賱丕賲賴 賵兀丨賱丕賲 賲賳 兀丨亘賴賲 賵毓丕賳賯賴賲 丕賱氐賯賷毓 責
賮賷 賴匕賴 丕賱乇丨賱丞 賷爻丕賮乇丕 賲毓丕 丕賱賮鬲賶 賵爻丕毓賷 丕賱亘乇賷丿 賷賳夭 禺賱丕賱 丕賱噩丨賷賲 廿賱賶 丕禺乇 丕賱丿賳賷丕貙 賷卮丕賴丿丕 丕賱丨賷丕丞貙 賵賷毓孬乇丕 毓賱賶 丕賱賲賵鬲.
丕賱賯丿乇 乇亘胤賴賲丕 賲毓丕 賵丕賱賵孬丕賯 丕賱匕賷 賷乇亘胤賴賲丕 賱丕 賷賳賯胤毓 兀亘丿丕.
賮賷 乇丨賱丞 亘丨孬賴 賷噩丿 丕賱賮鬲賶 丿賵賲丕 兀賳丕爻 噩丕賴夭賵賳 賱廿賷賯丕賮賴 毓賱賶 賯丿賲賷賴 (賵胤亘毓丕 賱賷爻鬲 亘賲賮丕噩兀丞 賰亘賷乇丞 兀賳 賲毓馗賲賴賲 賳爻丕亍 ): 丕賱孬丕賱賵孬 賰賵賱亘賷賳 賴賷賱睾丕 賵睾賷乇鬲乇賵丿貙 賲丕乇賷丕 丕賱兀賲 賲丨亘丞 丕賱賯乇丕亍丞 貙 丌賳丕 丕賱鬲賷 賷禺亘賵 賳賵乇 毓賷賳賷賴丕貙 丌爻鬲丕 丕賱卮亘丨 丕賱鬲賷 鬲賳賯匕賴 賲賳 丕賱賲賵鬲貙 賴賷丕賱鬲賷 毓丕賲賱 丕賱賲夭乇毓丞 丕賱毓賲賱丕賯.
丕賱噩賳丞 鬲兀鬲賷 兀丨賷丕賳丕 賮賷 賴賷卅丞 亘卮乇 賱賲 賷賮賯丿賵丕 廿賳爻丕賳賷鬲賴賲貙 賵丕賱噩丨賷賲 賷鬲賲孬賱 賮賷 兀賳丕爻 鬲噩賲丿賵丕 亘丨夭賳 丕賱賲賱丕卅賰丞.
乇丨賱鬲賷 丕賱賯胤亘賷丞 賲丕夭丕賱鬲 賲爻鬲賲乇丞 賲毓 賯賱亘 丕賱賮鬲賶.
賷兀禺匕賳丕 賰丕賱賲丕賳 賮賷 乇丨賱丞 賵爻胤 丕賱毓丕氐賮丞 丕賱孬賱噩賷丞 丕賱賲馗賱賲丞 亘丿丕禺賱賳丕.
毓丕氐賮丞 卮鬲賵賷丞 賯丕乇氐丞 丕賱亘乇賵丿丞 賵賲噩乇丿丞 賲賳 丕賱乇丨賲丞.
賷鬲噩丕匕亘賳丕 禺賷胤 丕賱賲賵鬲 賵丕賱丨賷丕丞 貙 丕賱馗賱丕賲 賵丕賱賳賵乇貙 丕賱兀乇囟 賵丕賱爻賲丕亍 賵丕賱噩賳丞 賵丕賱噩丨賷賲.
鬲賱賰 賴賷 賲毓乇賰鬲賳丕貙 廿賳賴丕 賲毓乇賰丞 丕賱廿賳禺乇丕胤 賮賷 氐乇丕毓 丕賱丨賷丕丞 賵丕賱賲賵鬲 賲毓 兀賳賮爻賳丕貙 賮乇氐 丕賱賳氐乇 賵丕賱賴夭賷賲丞 賲鬲爻丕賵賷丕賳.
賮賲丕匕丕 爻賷禺鬲丕乇 丕賱賮鬲賶責 賴賱 賷爻鬲爻賱賲 賵賷爻鬲賯乇 丕賱噩賱賷丿 毓賱賶 匕賰乇賷丕鬲賴 賰賱賴丕貙 毓賱賶 兀丨賱丕賲賴 賵賯賱亘賴 賵賮賷 丕賱賳賴丕賷丞 賷睾賷乇 毓賱賷賴 丕賱卮鬲丕亍 丕賱兀亘丿賷責
兀賲 賷禺鬲丕乇 丕賱乇亘賷毓 賱賷爻賰賳 賯賱亘賴 賵丕賱兀賲賱 賱鬲丨賯賷賯 兀丨賱丕賲賴 賵兀丨賱丕賲 賲賳 兀丨亘賴賲 賵毓丕賳賯賴賲 丕賱氐賯賷毓 責
賮賷 賴匕賴 丕賱乇丨賱丞 賷爻丕賮乇丕 賲毓丕 丕賱賮鬲賶 賵爻丕毓賷 丕賱亘乇賷丿 賷賳夭 禺賱丕賱 丕賱噩丨賷賲 廿賱賶 丕禺乇 丕賱丿賳賷丕貙 賷卮丕賴丿丕 丕賱丨賷丕丞貙 賵賷毓孬乇丕 毓賱賶 丕賱賲賵鬲.
丕賱賯丿乇 乇亘胤賴賲丕 賲毓丕 賵丕賱賵孬丕賯 丕賱匕賷 賷乇亘胤賴賲丕 賱丕 賷賳賯胤毓 兀亘丿丕.
賮賷 乇丨賱丞 亘丨孬賴 賷噩丿 丕賱賮鬲賶 丿賵賲丕 兀賳丕爻 噩丕賴夭賵賳 賱廿賷賯丕賮賴 毓賱賶 賯丿賲賷賴 (賵胤亘毓丕 賱賷爻鬲 亘賲賮丕噩兀丞 賰亘賷乇丞 兀賳 賲毓馗賲賴賲 賳爻丕亍 ): 丕賱孬丕賱賵孬 賰賵賱亘賷賳 賴賷賱睾丕 賵睾賷乇鬲乇賵丿貙 賲丕乇賷丕 丕賱兀賲 賲丨亘丞 丕賱賯乇丕亍丞 貙 丌賳丕 丕賱鬲賷 賷禺亘賵 賳賵乇 毓賷賳賷賴丕貙 丌爻鬲丕 丕賱卮亘丨 丕賱鬲賷 鬲賳賯匕賴 賲賳 丕賱賲賵鬲貙 賴賷丕賱鬲賷 毓丕賲賱 丕賱賲夭乇毓丞 丕賱毓賲賱丕賯.
丕賱噩賳丞 鬲兀鬲賷 兀丨賷丕賳丕 賮賷 賴賷卅丞 亘卮乇 賱賲 賷賮賯丿賵丕 廿賳爻丕賳賷鬲賴賲貙 賵丕賱噩丨賷賲 賷鬲賲孬賱 賮賷 兀賳丕爻 鬲噩賲丿賵丕 亘丨夭賳 丕賱賲賱丕卅賰丞.
乇丨賱鬲賷 丕賱賯胤亘賷丞 賲丕夭丕賱鬲 賲爻鬲賲乇丞 賲毓 賯賱亘 丕賱賮鬲賶.
May 3, 2025
賱賲丕匕丕 賴賵 禺胤乇責
賴賵 賷賴丿丿 亘鬲睾賷賷乇賳丕貙 賷噩毓賱賳丕 賳卮賰貙 賷乇睾賲賳丕 毓賱賶 賲乇丕噩毓丞 鬲氐賵乇賳丕 賱賱毓丕賱賲貙 賵丕賲孬丕賱 賴丐賱丕亍 丕賱乇噩丕賱 丕毓鬲亘乇賵丕 丿丕卅賲丕 禺胤賷乇賷賳. 賳丨賳 賳賮囟賱 丕賱賲賵丕賮賯丞 毓賱賶 丕賱鬲丨乇賷囟 貙 賳賮囟賱 丕賱鬲噩乇賷丿 毓賱賶 丕賱賲丨賮夭貙 賳賮囟賱 丕賱禺丿乇 毓賱賶 丕賱鬲賳亘賴. 賵賱賴匕丕 賷賱噩兀 丕賱賳丕爻 丕賱賶 丕賱丕睾丕賳賷 丕賱卮毓亘賷丞 亘丿賱丕 賲賳 丕賱卮毓乇貙 賱賴匕丕 賱丕 賷卮賰賰賵賳 賮賷 丕賱丕卮賷丕亍 丕賰孬乇 賲賲丕 鬲賮毓賱 丕賱禺乇丕賮貙
兀賲丕 丕賳鬲 賮賲禺鬲賱賮 噩丿丕..
兀賳鬲 鬲賲丿 賷丿賰 廿賱賶 丕賱賰鬲亘貙 鬲賳馗乇 賮賷賴丕
兀毓鬲賯丿 兀賳 匕賴賳賰 賱丕 賷鬲賵賯賮 毓賳丿 亘賷賵鬲 丕賱卮毓乇 丕賱爻賮賷賴丞 賵丕賱亘睾賷囟丞
兀賳鬲 鬲爻賷乇 賮賷 毓丕氐賮丞 禺丕乇噩 丕賱毓丕賱賲貙 賵鬲賰賱賲 亘丕乇丿賵乇
兀賳鬲 賲賷鬲貙 賵毓賱賶 丕賱乇睾賲 賲賳 匕賱賰貨 兀賳鬲 賴賳丕
賷亘鬲爻賲 亘丕乇丿賵乇 賵賷氐亘丨 丕賱賲卮賷 兀爻賴賱
賱賴匕丕 兀賳丕 兀丨亘 賴匕丕 丕賱賮鬲賶 丕賱丌賷爻賱賳丿賷 睾乇賷亘 丕賱兀胤賵丕乇
兀賴賵 鬲賵兀賲賷 丕賱乇賵丨賷 soulmate?
賷丨丿孬 兀賳 鬲噩丿 卮禺氐丕 賰兀賳 賵噩賵丿賴 賷毓夭賮 毓賱賶 賳睾賲 賵噩賵丿賰 匕丕鬲賴貙 兀賮囟賱 賴匕丕 丕賱鬲毓亘賷乇 丨賵賱 丕賱賮鬲賶 賵兀丿亘 爻鬲賮丕賳爻賵賳貙 賵賰賲丕 賷賯賵賱 賴丕乇賵賱丿 亘賱賵賲貙 兀卮毓乇 賰賲丕 賱賵 兀賳賷 賲賳 賰鬲亘賴丕.
賮兀噩丿 賳賮爻賷 賮賷 賴匕賴 丕賱賲賱丨賲丞 丕賱爻賲丕賵賷丞. 兀賳丕 匕丕鬲 丕賱卮毓乇 丕賱兀丨賲乇 丕賱鬲賷 鬲賰鬲亘 乇爻丕卅賱 賲鬲禺亘胤丞 賱賱賮鬲賶貙 賮賯胤 賱賱孬乇孬乇丞貙 賱賰賳 丕賱賰賱賲丕鬲 鬲禺賵賳賴丕 丿丕卅賲丕 賮鬲卮毓乇 亘丕賱丨乇噩. 賱丕 兀賲賱賰 爻賵賶 卮毓乇 兀丨賲乇 賵賮賯乇 賲丿賯毓貙 賵賲丕 兀賰鬲亘賴 賮賷 賲賳鬲賴賶 丕賱爻禺丕賮丞.
兀賳丕 賰賳鬲 賰賷丕乇鬲丕賳 賵丕賱賮鬲賶 賲毓丕貙 賮賷 匕賱賰 丕賱賲卮賴丿 丕賱亘丿賷毓 丕賱匕賷 噩賲毓賴賲丕貙 亘賲卮丕毓乇賴 賵廿乇賴丕賯賴.
賰兀賳賷 兀賳丕 賲賳 賷賯賵賱: 亘丿丕 賱賷.. 兀賳 丕賱賲乇亍 賱丕 賷賲賰賳 兀賳 賷賰賵賳 丨夭賷賳丕 賵賴賵 賲丨丕胤 亘賰賲 賴丕卅賱 賲賳 丕賱賰鬲亘..
兀賳丕 兀丨丿 鬲賱賰 丕賱兀卮亘丕丨 丕賱鬲賷 乇丕賮賯鬲 賷賳夭 賵丕賱賮鬲賶 胤賵賱 乇丨賱鬲賴賲丕
賲丕 賳毓乇賮賴貙 賲丕 鬲毓賱賲賳丕賴貙 賱賲 賷賳亘毓 賲賳 丕賱賲賵鬲貨 亘賱 賳亘毓 賲賳 賯氐賷丿丞 卮毓乇貙 賲賳 丕賱賷兀爻貙 賵兀禺賷乇丕 賲賳 匕賰乇賷丕鬲 丕賱爻毓丕丿丞
兀賳丕 賴賷丕賱鬲賷 賵賰賳丕 賮賷 丕賱毓丕氐賮丞 賮賷 鬲禺賵賲 丕賱噩亘丕賱 賳賯賳毓 賷賳夭 亘丕賱毓賵丿丞 丨賷丕 賱爻丕賱賮乇
賱賰賳 兀賳鬲 賷丕 兀禺賷貙 鬲丨鬲丕噩 兀賳 鬲賳賴賷 丕賱乇丨賱丞 丨賷丕貙 賵兀賳 鬲賴夭賲 丕賱毓丕氐賮丞 丕賱賲馗賱賲丞 丿丕禺賱賰貙 鬲賱賰 賴賷 賲毓乇賰鬲賰貙 廿賳賴丕 賲毓乇賰丞 丕賳禺乇丕胤賰 賮賷 氐乇丕毓 丕賱丨賷丕丞 賵丕賱賲賵鬲 丕賱禺丕氐 亘賰.
丕賱噩夭亍 丕賱孬丕賳賷 賲賳 孬賱丕孬賷丞 噩賳丞 賵噩丨賷賲貙 丕賱賯乇丕亍丞 丕賱孬丕賱孬丞 賱賰賳 賰賱 賲乇丞 鬲亘丿賵 賰賲丕 賱賵 兀賳賴丕 丕賱兀賵賱賶.
鬲鬲亘毓 鬲賮丕氐賷賱 乇丨賱丞 丕賱賮鬲賶 賵賷賳夭 爻丕毓賷 丕賱亘乇賷丿 賮賷 鬲禺賵賲 丌禺乇 丕賱丿賳賷丕貙 爻丕卅乇賷賳 毓賱賶 丕賱兀賯丿丕賲 貙鬲鬲賱賯賮賴賲丕 丕賱毓賵丕氐賮 賵丕賱乇賷丨 貙賵丕賱兀卮亘丕丨. 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 賱賲 鬲賯鬲氐乇 毓賱賶 丕賱亘卮乇 賵丕賱兀卮亘丕丨貙 亘賱 丕賱噩亘丕賱 賵丕賱禺賱噩丕賳 賵丕賱乇賷丕丨 卮丕乇賰鬲貙 兀賳鬲 鬲丨爻 亘賵丨丿丞 毓噩賷亘丞 亘賷賳 賰賱 賲丕 賮賷 丕賱乇賵丕賷丞 賲賳 毓賳丕氐乇貙 賰兀賳 爻鬲賮丕賳爻賵賳 賳賮禺 丕賱丨賷丕丞 賮賷 賰賱 卮賷亍 賲毓 賴賷賲賳丞 丕賱賲賵鬲 賮賷 賳賮爻 丕賱賵賯鬲.
乇亘賲丕 賱賷爻鬲 丕賱乇賵丕賷丞 鬲賲孬賷賱丕 賱氐乇丕毓 亘賷賳 丕賱廿賳爻丕賳 賵丕賱胤亘賷毓丞 亘賯丿乇 賲丕 賴賷 鬲賲孬賷賱 賱氐乇丕毓 丕賱廿賳爻丕賳 賲毓 賳賮爻賴貙 乇睾賲 毓賳賮 丕賱胤亘賷毓丞 賵賱丕 賲亘丕賱丕鬲賴丕 丕賱賲爻鬲賮夭丞. 賮丕賱賮鬲賶 賱丕 鬲賰丕丿 鬲賴賱賰賴 丕賱毓丕氐賮丞 賳賮爻賴丕 亘賱 睾賮賱鬲賴 賵鬲囟賷賷毓 胤乇賷賯賴. 賴賵 丕賱爻亘亘 丕賱賲亘丕卮乇 賵丕賱胤亘賷毓丞 爻亘亘 睾賷乇 賲亘丕卮乇
賷賲囟賷丕賳 賮賷 賴匕賴 丕賱乇丨賱丞 賱兀賳 賷賳夭 賷乇賷丿 丕賱鬲賮賰賷乇貙 賰兀賳賴丕 胤賯爻 乇賵丨賷 卮丕匕貙 鬲噩乇亘丞 丕賱丿賳賵 賲賳 丕賱賲賵鬲. 乇噩賱丕賳 毓丕賱賯丕賳 賲毓丕 禺丕乇噩 丕賱夭賲丕賳 賵丕賱賲賰丕賳貙 賱毓賱賴賲丕 賷卮亘賴丕賳 丕賱賰賷禺賵鬲賷 賵爻丕賳卮賵 賮賷 卮賷亍. 孬賳丕卅賷 丕賱賲孬丕賱賷丞 賵丕賱賵丕賯毓賷丞貙 賵丕賱賱匕丕賳 賲賳 禺賱丕賱 丕賱丨賵丕乇貙 賷鬲睾賷乇丕賳.
賱賰賳 爻鬲賷賮丕賳爻賵賳 兀乇丕丿 兀賳 賷爻乇賷 毓賳 賵丨丿鬲賴賲丕貙 賮賲賳 鬲毓鬲賯丿 兀卮乇賰 賲毓賴賲丕責
鬲丕亘賵鬲!
廿囟丕賮丞 賲孬丕賱賷丞 賱丿乇噩丞 鬲賮賵賯 丕賱鬲氐賵乇. 丕賱賲賵鬲 賷胤賵賯賴賲丕 賲賳 賰賱 噩丕賳亘貙 丨鬲賶 鬲噩爻丿 兀禺賷乇丕 -賲氐丨賵亘丕 亘乇丕卅丨丞 丕賱賱丨賲 丕賱賲丿禺賳.
賮匕賱賰 丕賱匕賷 賷噩鬲丕夭 丕賱賲乇賵噩 賮賷 賷賵賲 氐賷賮賷 賲爻丕賱賲 鬲丨鬲 賳賵乇 丕賱卮賲爻 賯丿 賷卮毓乇 賰賲丕 賱賵 兀賳賴 兀囟丨賶 賮賷 丕賱噩賳丞. 賱賰賳 噩賵丕 賰賴匕丕 賷亘賯賶 賲賳鬲賳賲賷丕 廿賱賶 毓丕賱賲 丌禺乇 賮賷 丕賱卮鬲丕亍 丕賱丕賷爻賱賳丿賷.
噩丨賷賲 賴賵 丕賱亘乇丿.
廿賳賴丕 亘亘爻丕胤丞 噩賳丞 賵噩丨賷賲.
丕賱孬賱噩 賷鬲爻丕賯胤 亘賰孬丕賮丞 毓馗賷賲丞貙 廿賱賶 丿乇噩丞 兀賳賴 賷乇亘胤 丕賱爻賲丕亍 亘丕賱兀乇囟.
丕賱賰賱賲丕鬲 賴賷 丕賱卮賷亍 丕賱賵丨賷丿 丕賱匕賷 賷亘丿賵 兀賳 丕賱夭賲賳 賱丕 賷爻鬲胤賷毓 兀賳 賷胤兀賴 亘丕爻鬲禺賮丕賮. 賴賵 賷禺鬲乇賯 丕賱丨賷丕丞 賵丕賱丨賷丕丞 鬲氐亘丨 賲賵鬲丕貙 賴賵 賷禺鬲乇賯 亘賷鬲丕 賵賷丨賵賱賴 廿賱賶 睾亘丕乇貙 亘賱 丨鬲賶 丕賱噩亘丕賱 賳賮爻賴丕 鬲賮爻丨 賱賴 丕賱賲噩丕賱 賮賷 丕賱賳賴丕賷丞貙 鬲賱賰 丕賱兀賰賵丕賲 丕賱賲賱賵賰賷丞 賲賳 丕賱氐禺乇..
廿賱丕 兀賳 亘毓囟 丕賱賰賱賲丕鬲 鬲亘丿賵 兀賳賴丕 鬲鬲丨賲賱 賯賵丞 丕賱夭賲賳 丕賱賲丿賲乇丞貙
賴匕丕 睾乇賷亘 噩丿丕貨 賮賴賷 鬲鬲丌賰賱 亘丕賱鬲兀賰賷丿貙 乇亘賲丕 鬲賮賯丿 亘乇賷賯賴丕 賯賱賷賱丕貙 亘賷丿 兀賳賴丕 鬲氐賲丿 賵鬲氐賵賳 丕賱丨賷丕丞 丕賱鬲賷 賲囟賶 毓賱賶 乇丨賷賱賴丕 夭賲賳 胤賵賷賱貙 鬲氐賵賳 丿賯丕鬲 丕賱賯賱亘 丕賱賲賳丿孬乇丞貙 兀氐賵丕鬲 丕賱兀胤賮丕賱 丕賱賲賳丿孬乇丞貙 鬲氐賵賳 丕賱賯亘賱 丕賱賲睾乇賮丞 賮賷 丕賱賯丿賲
亘毓囟 丕賱賰賱賲丕鬲 賯賵丕賯毓 賮賷 丕賱夭賲賳貙 賵囟賲賳賴丕 乇亘賲丕 匕賰乇賷丕鬲 毓賳賰賲.
乇亘賲丕 賱匕賱賰 賰鬲亘鬲 丕賱乇賵丕賷丞 賮賷 丕賱賳賴丕賷丞..
February 7, 2020
" 賱丕 卮賷亍 丨賱賵 賮賷 賳馗乇賷 亘丿賵賳賰 "
賴賱 丕賱賲賵鬲 賷賲鬲賱賰 丕賱兀噩賵亘丞責
毓賳丿賲丕 賷爻兀賱 賷賳夭 丕賱賮鬲賶 " 賲丕 丕賱匕賷 賷噩毓賱賰 鬲賴賷賲 賴賳丕 毓賱賶 賵噩賴賰責 "
賷賯賵賱 丕賱賮鬲賶 "兀丨丕賵賱 丕爻鬲賷毓丕亘 賴匕賴 丕賱丨賷丕丞 丕賱賱毓賷賳丞"
賮賷噩賷亘 賷賳夭 " 毓賱賷賰 兀賳 鬲賲賵鬲 賱鬲爻鬲賵毓亘賴丕 "
賷賳賮賷 賷賵賳 賴匕丕 賮賷 兀賵賱 丕賱乇賵丕賷丞 賮賷賯賵賱 :
"賲丕 賳毓乇賮賴 賵賲丕 鬲毓賱賲賳丕賴 賱賲 賷賳亘毓 賲賳 丕賱賲賵鬲貙 亘賱 賳亘毓 賲賳 賯氐賷丿丞 卮毓乇貙 賲賳 丕賱賷兀爻貙 賵兀禺賷乇丕 賲賳 匕賰乇賷丕鬲 丕賱爻毓丕丿丞 .. 賳丨賳 賱丕 賳鬲賲賱賰 丕賱丨賰賲丞貙 賱賰賳 賲丕 賷毓鬲賲賱 賮賷賳丕 賷鬲丨賰賲 亘賳丕貙 賵賴匕丕 乇亘賲丕 兀賮囟賱"
賱丕 兀丿乇賷 賷丕 毓賲 賷賵賳 賴賱 賴匕丕 兀賮囟賱 兀賲 賱丕 .. 賱賰賳 氐丿賯鬲 .. 賲丕 賷毓鬲賲賱 賮賷賳丕 賷鬲丨賰賲 亘賳丕貙 賮賴匕賴 乇賵丕賷丞 賮賷 氐賯賷毓 兀賷爻賱賳丿丕 賱賰賳 氐丿賯丕 賱賲賳 丕卮毓乇 亘賲孬賱 賴匕丕 丕賱丿賮亍 兀孬賳丕亍 賯乇丕亍丞 賰鬲丕亘 賲丕 賲爻亘賯丕貙
賱兀賳賷 兀丨爻爻鬲 兀賳賷 賲賳 賰鬲亘 賴匕丕 丕賱賰鬲丕亘貙 兀丨爻爻鬲 兀賳 丕賱賮鬲賶 賷賳胤賯 亘賱爻丕賳賷貙 賵兀賳 兀賴夭 乇兀爻賷 賲賳 賰賱 爻丐丕賱 賷爻兀賱賴貙 乇亘賲丕 丕賱賯氐丞 賱賷爻鬲 亘丨亘賰丞 賲賲賷夭丞 賵賱丕 賮乇賷丿丞貙 賱賰賳 丕賱鬲爻丕丐賱丕鬲 賴賷 賲丿丕乇 丕賱賰鬲丕亘貙
毓賳丿賲丕 賷卮睾賱 賮賰乇賰 賲賵囟賵毓 賲丕貙 鬲爻丕丐賱 賵噩賵丿賷 賲丕貙 賲丕匕丕 兀賮毓賱 賮賷 賴匕賴 丕賱丨賷丕丞貙 賱賲丕匕丕 兀賳丕 囟毓賷賮貙 賱賲丕匕丕 賱丕 賷丨亘賳賷 兀丨丿貙 賱賲丕匕丕 賱丕 兀鬲睾賷乇 賵兀賰賵賳 兀賮囟賱貙 賱賲丕匕丕 兀賳丕 毓丕噩夭貙 鬲噩丿 賳賮爻賰 兀賳賰 鬲賮賰乇 賲乇丕乇丕 賵鬲賰乇丕乇丕貙 兀賳鬲 賲鬲賷賯馗 賵兀賳鬲 賳丕卅賲 賵兀賳鬲 鬲毓賲賱 賵兀賳鬲 鬲兀賰賱 賵兀賳鬲 鬲賱亘賷 賳丿丕亍丕鬲 丕賱胤亘賷毓丞貙 賴賰匕丕 賷賮毓賱 賷賵賳 賮賷 丕賱賰鬲丕亘貙 兀氐丕亘賳賷 賴匕丕 亘丕賱丨賷乇丞 賮賷 丕賱噩夭亍 丕賱兀賵賱 賲賳 噩賳丞 賵噩丨賷賲 賵賱賰賳賷 賮賴賲鬲 丕賱丌賳 賱賲丕匕丕 賷賮毓賱 賴匕丕貙 賱兀賳賳丕 賮賷 丕賱賵丕賯毓 賳賮毓賱 賴匕丕貙 賱賰賳 賱丕 賳氐丿賯 毓賳丿賲丕 賳賯乇兀 匕賱賰 兀賵 毓賳丿賲丕 賳卮丕賴丿 兀丨丿 兀賲丕賲賳丕 賷賮毓賱 匕賱賰貙 賱兀賳 賴匕丕 賷氐賷亘賳丕 亘丕賱丕囟胤乇丕亘.
賷丿賳丿賳 賷賵賳 毓賳 丕賱賲賵鬲 賵毓賳 丕賱氐賯賷毓 賵毓賳 丕賱丨亘 賵毓賳 丕賱廿賱賴 賵毓賳 丕賱丨賷丕丞貙 賱賰賳 賲賳 賲賳丕 賱丕 賷賮毓賱責
賴賵 賮賯胤 賷爻兀賱 賵賱賰賳 賱丕 賷賲鬲賱賰 丕賱兀噩賵亘丞貙 丨爻賳丕貙 賲賳 賲賳丕 賷賮毓賱責
賷賯賵賱 賷賵賳 :
賱賲 兀賳丿賲 毓賱賶 丕爻鬲賰賲丕賱 賯乇丕亍丞 丕賱爻賱爻賱丞 賱兀賳賷 賵噩丿鬲 賰丕鬲亘丕 賲賮囟賱丕 噩丿賷丿丕貙 賵賱丕 兀亘丕賱睾 廿賳 賯賱鬲 兀賳 賴匕丕 丕賱賰鬲丕亘 賷賰賮賷賳賷 賱兀丨亘 賯賱賲 賷賵賳貙 賱賰賳 丕賱乇丨賱丞 賱賲 鬲賳鬲賴賷 亘毓丿.
-賵賱丕 卮賷亍 丨賱賵 賮賷 賳馗乇賷 亘丿賵賳賰.-
賴賱 丕賱賲賵鬲 賷賲鬲賱賰 丕賱兀噩賵亘丞責
毓賳丿賲丕 賷爻兀賱 賷賳夭 丕賱賮鬲賶 " 賲丕 丕賱匕賷 賷噩毓賱賰 鬲賴賷賲 賴賳丕 毓賱賶 賵噩賴賰責 "
賷賯賵賱 丕賱賮鬲賶 "兀丨丕賵賱 丕爻鬲賷毓丕亘 賴匕賴 丕賱丨賷丕丞 丕賱賱毓賷賳丞"
賮賷噩賷亘 賷賳夭 " 毓賱賷賰 兀賳 鬲賲賵鬲 賱鬲爻鬲賵毓亘賴丕 "
賷賳賮賷 賷賵賳 賴匕丕 賮賷 兀賵賱 丕賱乇賵丕賷丞 賮賷賯賵賱 :
"賲丕 賳毓乇賮賴 賵賲丕 鬲毓賱賲賳丕賴 賱賲 賷賳亘毓 賲賳 丕賱賲賵鬲貙 亘賱 賳亘毓 賲賳 賯氐賷丿丞 卮毓乇貙 賲賳 丕賱賷兀爻貙 賵兀禺賷乇丕 賲賳 匕賰乇賷丕鬲 丕賱爻毓丕丿丞 .. 賳丨賳 賱丕 賳鬲賲賱賰 丕賱丨賰賲丞貙 賱賰賳 賲丕 賷毓鬲賲賱 賮賷賳丕 賷鬲丨賰賲 亘賳丕貙 賵賴匕丕 乇亘賲丕 兀賮囟賱"
賱丕 兀丿乇賷 賷丕 毓賲 賷賵賳 賴賱 賴匕丕 兀賮囟賱 兀賲 賱丕 .. 賱賰賳 氐丿賯鬲 .. 賲丕 賷毓鬲賲賱 賮賷賳丕 賷鬲丨賰賲 亘賳丕貙 賮賴匕賴 乇賵丕賷丞 賮賷 氐賯賷毓 兀賷爻賱賳丿丕 賱賰賳 氐丿賯丕 賱賲賳 丕卮毓乇 亘賲孬賱 賴匕丕 丕賱丿賮亍 兀孬賳丕亍 賯乇丕亍丞 賰鬲丕亘 賲丕 賲爻亘賯丕貙
賱兀賳賷 兀丨爻爻鬲 兀賳賷 賲賳 賰鬲亘 賴匕丕 丕賱賰鬲丕亘貙 兀丨爻爻鬲 兀賳 丕賱賮鬲賶 賷賳胤賯 亘賱爻丕賳賷貙 賵兀賳 兀賴夭 乇兀爻賷 賲賳 賰賱 爻丐丕賱 賷爻兀賱賴貙 乇亘賲丕 丕賱賯氐丞 賱賷爻鬲 亘丨亘賰丞 賲賲賷夭丞 賵賱丕 賮乇賷丿丞貙 賱賰賳 丕賱鬲爻丕丐賱丕鬲 賴賷 賲丿丕乇 丕賱賰鬲丕亘貙
毓賳丿賲丕 賷卮睾賱 賮賰乇賰 賲賵囟賵毓 賲丕貙 鬲爻丕丐賱 賵噩賵丿賷 賲丕貙 賲丕匕丕 兀賮毓賱 賮賷 賴匕賴 丕賱丨賷丕丞貙 賱賲丕匕丕 兀賳丕 囟毓賷賮貙 賱賲丕匕丕 賱丕 賷丨亘賳賷 兀丨丿貙 賱賲丕匕丕 賱丕 兀鬲睾賷乇 賵兀賰賵賳 兀賮囟賱貙 賱賲丕匕丕 兀賳丕 毓丕噩夭貙 鬲噩丿 賳賮爻賰 兀賳賰 鬲賮賰乇 賲乇丕乇丕 賵鬲賰乇丕乇丕貙 兀賳鬲 賲鬲賷賯馗 賵兀賳鬲 賳丕卅賲 賵兀賳鬲 鬲毓賲賱 賵兀賳鬲 鬲兀賰賱 賵兀賳鬲 鬲賱亘賷 賳丿丕亍丕鬲 丕賱胤亘賷毓丞貙 賴賰匕丕 賷賮毓賱 賷賵賳 賮賷 丕賱賰鬲丕亘貙 兀氐丕亘賳賷 賴匕丕 亘丕賱丨賷乇丞 賮賷 丕賱噩夭亍 丕賱兀賵賱 賲賳 噩賳丞 賵噩丨賷賲 賵賱賰賳賷 賮賴賲鬲 丕賱丌賳 賱賲丕匕丕 賷賮毓賱 賴匕丕貙 賱兀賳賳丕 賮賷 丕賱賵丕賯毓 賳賮毓賱 賴匕丕貙 賱賰賳 賱丕 賳氐丿賯 毓賳丿賲丕 賳賯乇兀 匕賱賰 兀賵 毓賳丿賲丕 賳卮丕賴丿 兀丨丿 兀賲丕賲賳丕 賷賮毓賱 匕賱賰貙 賱兀賳 賴匕丕 賷氐賷亘賳丕 亘丕賱丕囟胤乇丕亘.
賷丿賳丿賳 賷賵賳 毓賳 丕賱賲賵鬲 賵毓賳 丕賱氐賯賷毓 賵毓賳 丕賱丨亘 賵毓賳 丕賱廿賱賴 賵毓賳 丕賱丨賷丕丞貙 賱賰賳 賲賳 賲賳丕 賱丕 賷賮毓賱責
賴賵 賮賯胤 賷爻兀賱 賵賱賰賳 賱丕 賷賲鬲賱賰 丕賱兀噩賵亘丞貙 丨爻賳丕貙 賲賳 賲賳丕 賷賮毓賱責
賷賯賵賱 賷賵賳 :
賱賲 兀賳丿賲 毓賱賶 丕爻鬲賰賲丕賱 賯乇丕亍丞 丕賱爻賱爻賱丞 賱兀賳賷 賵噩丿鬲 賰丕鬲亘丕 賲賮囟賱丕 噩丿賷丿丕貙 賵賱丕 兀亘丕賱睾 廿賳 賯賱鬲 兀賳 賴匕丕 丕賱賰鬲丕亘 賷賰賮賷賳賷 賱兀丨亘 賯賱賲 賷賵賳貙 賱賰賳 丕賱乇丨賱丞 賱賲 鬲賳鬲賴賷 亘毓丿.
-賵賱丕 卮賷亍 丨賱賵 賮賷 賳馗乇賷 亘丿賵賳賰.-
March 11, 2020
At芒t de tare m膬 r膬scole葯te povestea asta 葯i nu vreau s膬 se termine! Dulce agonie! Mai multe citate aici: .
,,Timpul trece prin via葲膬 葯i o preschimb膬 卯n moarte, trece prin case 葯i le preface 卯n pulbere, chiar 葯i mun葲ii, m膬re葲e lan葲uri de piatr膬, se 卯nclin膬 卯n fa葲a lui. Doar unele cuvinte par s膬 葲in膬 piept puterii lui distrug膬toare, tare ciudat, 卯ntr-adev膬r, cuvintele se uzeaz膬 pu葲in, suprafa葲a lor cap膬t膬 o patin膬 anume, dar rezist膬 p芒n膬 la sf芒r葯it, p膬str芒nd 卯n ele vie葲ile 卯nghi葲ite de timp, b膬t膬ile inimilor disp膬rute, ecoul unui glas de copil, cuvintele sunt paznicii s膬ruturilor din vremuri de mult trecute. 脦n miezul timpului cuvintele se rotunjesc ca ni葯te 卯nveli葯uri, 葯i 卯n ele se afl膬 poate amintirea ta. Andrea, scrie b膬iatul, timpul poate s膬 fie at芒t de crud, nu ne d膬 ceva dec芒t ca s膬 ni-l smulg膬 mai repede. At芒tea lucruri pierdem noi. Pentru c膬 n-avem curaj, oare? Mama spunea c膬 puterea cea mai de pre葲 a omului e curajul de a te 卯ndoi.''
,,Timpul trece prin via葲膬 葯i o preschimb膬 卯n moarte, trece prin case 葯i le preface 卯n pulbere, chiar 葯i mun葲ii, m膬re葲e lan葲uri de piatr膬, se 卯nclin膬 卯n fa葲a lui. Doar unele cuvinte par s膬 葲in膬 piept puterii lui distrug膬toare, tare ciudat, 卯ntr-adev膬r, cuvintele se uzeaz膬 pu葲in, suprafa葲a lor cap膬t膬 o patin膬 anume, dar rezist膬 p芒n膬 la sf芒r葯it, p膬str芒nd 卯n ele vie葲ile 卯nghi葲ite de timp, b膬t膬ile inimilor disp膬rute, ecoul unui glas de copil, cuvintele sunt paznicii s膬ruturilor din vremuri de mult trecute. 脦n miezul timpului cuvintele se rotunjesc ca ni葯te 卯nveli葯uri, 葯i 卯n ele se afl膬 poate amintirea ta. Andrea, scrie b膬iatul, timpul poate s膬 fie at芒t de crud, nu ne d膬 ceva dec芒t ca s膬 ni-l smulg膬 mai repede. At芒tea lucruri pierdem noi. Pentru c膬 n-avem curaj, oare? Mama spunea c膬 puterea cea mai de pre葲 a omului e curajul de a te 卯ndoi.''
February 7, 2020
鈥庂囐嗀з� 兀丨夭丕賳 亘丕乇丿賴
鈥庁Ｘ藏з� 賲禺賮賷賴
鈥庁Ｘ藏з� 鬲丿賵乇 鬲賮丕氐賷賱賴丕 賮賷 丕賱禺賮丕亍
鈥庂勜з� 丕賱毓賱丕賳賷賴 賱丕 鬲鬲爻毓 賱賴丕
鈥庂嗀官�
鈥庂佖ㄘ关� 丕賱丕丨夭丕賳 賱丕 鬲賵孬賯 亘兀賵乇丕賯 乇爻賲賷賴
鈥庂堎勜� 賷爻鬲禺乇噩 賱賴丕 卮賴丕丿賴 丨賰賵賲賷賴
鈥庂堎勜� 賷賯丕賲 賱賴丕 賲乇丕爻賲 亘賰丕卅賷賴
鈥庂堎勜� 鬲賰乇賲 亘 胤賯賵爻 毓夭丕卅賷賴
鈥庁ж藏з� 賱丕 鬲賲鬲 賱 毓丕賱賲賳丕 賳丨賳 亘氐賱賴
鈥庁ж藏з� 兀賵丕禺乇 丕賱賰乇賴 丕賱丕乇囟賷賴
鈥庁ж藏з� 亘毓賷丿賴 亘亘毓丿 丕賱丿賵賱 丕賱丕爻賰賳丿賮丕賳賷賴
鈥庂嗀官� ..... 丕賳賴丕 丕丨夭丕賳 丕賱賲賱丕卅賰賴
鈥�"丕賱賲賵鬲 賱丕 賷賵噩毓 丕賱賲賵鬲賶貙 丕賱賲賵鬲 賷賵噩毓 丕賱兀丨賷丕亍"
鈥庂囐冐柏� 賵氐賮 丕賱賲賵鬲 丕賱卮丕毓乇 丕賱賰亘賷乇 賲丨賲賵丿 丿乇賵賷卮貙 賱賰賳 賴賳丕賰 卮禺氐 丕禺乇 賮賷 兀賵丕禺乇 丕賱賰乇賴 丕賱丕乇囟賷賴 賲賳 賷丐賲賳 丕賳 賴賳丕賰 賲乇丨賱賴 兀禺乇賶 賱賲丕 亘毓丿 丕賱賲賵鬲
鈥庁з� 賴賳丕賰 毓丕賱賲 丕禺乇 賷毓賷卮 亘賴 丕賱賲賵鬲卅 毓丕賱賲賴賲 丕賱禺丕氐 貙 丨賷孬 賷爻鬲卮毓乇賵賳 亘賴 丕賱賵噩毓 貙 毓丕賱賲 丕禺乇 賷毓賷卮 亘賴 丕賱廿賳爻丕賳 丨賷丕賴 賱丕 鬲卮亘賴 爻丕卅乇 賲禺賱賵賯丕鬲 丕賱丕乇囟貙 毓丕賱賲 賷毓賷卮 亘賴 丕賱亘卮乇 孬賲 賷賲賵鬲賵賳 亘賴 賲乇賴 孬丕賳賷賴 睾賷乇 丕賱賲賷鬲賴 丕賱丕賵賱賶 貙 賷賯賵賱 賷賵賳 賰丕賱賲丕賳 賮賷 丨夭賳 丕賱賲賱丕卅賰賴 .. " 賴賳丕賰 賲賵鬲 賵亘毓丿 匕賱賰 賲賵鬲 丌禺乇貙 賳賵毓丕賳 賲禺鬲賱賮丕賳 噩丿丕貙 賮丕賱禺乇丕賮 丕賱賲賷鬲賴 賲賷鬲賴 貙 賵賰匕賱賰 丕賱丨丕賱 亘 丕賱賳爻亘賴 丕賱賶 丕賱爻賲賰 貙 兀賲丕 丕賱廿賳爻丕賳 賮賱丕 賷鬲丕丨 賱賴 兀賳 賷賲賵鬲 亘 丕賱爻賴賵賱賴 匕丕鬲賴丕.
鈥庂佡� 丨夭賳 丕賱賲賱丕卅賰賴 賵賴賷 丕賱噩夭亍 丕賱孬丕賳賷 賲賳 丕賱孬賱丕孬賷賴 丕賱丕賷爻賱賳丿賷賴 噩賳賴 賵噩丨賷賲 貙 賷爻鬲賲乇 賰丕賱賲丕賳 賮賷 鬲爻胤賷乇 賱賳丕 乇丨賱賴 丕賱亘賯丕亍 毓賱賶 賯賷丿 丕賱丨賷丕丞 囟丿 賰賱 丕賱氐毓丕亘貙 亘賱睾鬲賴 丕賱賲亘賴乇賴 賷毓乇賮賳丕 丕賱賰丕鬲亘 丕賰孬乇 毓賱賶 賴賵賷丞 丕賱氐亘賷 丕賱賲噩賴賵賱 丕爻賲賴 丨鬲賶 丕賱兀賳.
鈥庂娰傌迟� 丕賱賰丕鬲亘 丕賱乇賵丕賷賴 亘賷賳 卮禺氐賷鬲丕賳 乇卅賷爻賷鬲丕賳 丕賱卮禺氐賷丞 丕賱乇卅賷爻賷丞 丕賱丕賵賱賶 賴賵 丕賱卮丕亘 丕賱賲鬲爻丕亍賱 丿丕卅賲丕 毓賳 賯賷賲丞 丕賱兀丿亘 貙 賵賴賷 丕賱卮禺氐賷賴 丕賱乇卅賷爻賷賴 賳賮爻賴丕 賲賳 丕賱噩夭亍 丕賱丕賵賱 "噩賳賴 賵噩丨賷賲" 賳鬲毓乇賮 毓賱賷賴 賯賱賷賱丕 賮賷 丕賱乇賵丕賷賴 丕賱丕賵賱賶 賵賳賮賴賲賴 丕賰孬乇 賮賷 丕賱乇賵丕賷賴 丕賱孬丕賳賷賴 貙 丨賷孬 鬲氐亘丨 丕賱馗乇賵賮 丕賱賲賳丕禺賷丞 丕賱賯丕爻賷丞 賴賷 丕賱毓賳氐乇 丕賱兀賴賲 賱賱賯氐丞貙 丕賲丕 丕賱卮禺氐賷賴 丕賱乇卅賷爻賷賴 丕賱孬丕賳賷賴 賴賷 "賷賳夭" 乇噩賱 丕賱亘乇賷丿 丕賱匕賷 爻賷禺賵囟 賲毓 丕賱賮鬲賶 乇丨賱賴 賲賱丨賲賷賴 賲賰鬲馗賴 亘 丕賱亘乇丿 賵丕賱賮賱爻賮丞 貙 丕賱賮賱爻賮賴 丕賱賵噩賵丿賷賴 丕賱鬲賷 鬲亘丨孬 毓賳 丕賱丨丿賵丿 丕賱鬲賷 鬲賮氐賱 亘賷賳 丕賱噩賳賴 賵丕賱噩丨賷賲 貙 丕賱爻賲丕亍 賵丕賱兀乇囟 貙 丕賱兀丨賷丕亍 賵丕賱兀賲賵丕鬲 丕賱賵噩賵丿 賵丕賱毓丿賲.
鈥庁必勝� 賲賱丨賲賷賴 賯丿 鬲賰賱賮 丕賱賲乇亍 丨賷丕鬲賴 賵兀賰孬乇貙 賲毓 匕賱賰 賮廿賳 爻丕毓賷 丕賱亘乇賷丿 "賷賳夭" 賵丕賱賮鬲賶 賷毓乇囟丕賳 丨賷丕鬲賴賲丕 賱賱禺胤乇 賲賳 兀噩賱 鬲爻賱賷賲 鬲賱賰 丕賱乇爻丕卅賱 賵丕賱賰賱賲丕鬲 丕賱賲賰鬲賵亘丞 賮賷 氐賮丨丕鬲 賷鬲爻賱賱 丕賱賷賴丕 丕賱氐賯賷毓 賮賷 賳賴丕賷丞 丕賱毓丕賱賲貙 賳賴丕賷賴 丕賱毓丕賱賲 丨賷孬 鬲亘賰賷 丕賱賲賱丕卅賰丞 丿賲賵毓 丕賱丨夭賳 丕賱鬲賷 鬲賱胤禺 丕賱賲賳丨丿乇丕鬲 賵丕賱兀禺丕丿賷丿 賵丕賱賲乇鬲賮毓丕鬲 賲毓 毓賵丕氐賮 孬賱噩賷丞 噩賱賷丿賷丞 亘賷囟丕亍
鈥庁� 賳賴丕賷賴 丕賱毓丕賱賲 丨賷孬 鬲賯賱 丿乇噩丕鬲 丕賱廿賳爻丕賳賷丞 丨鬲賶 鬲賰丕丿 鬲氐賱 廿賱賶 丕賱毓丿賲.
鈥庂嗀官� "賰丕賱賲丕賳" 卮丕毓乇 貙 賱賰賳 丕賱兀卮賰丕賱 丕賱睾賳丕卅賷丞 賲賳 賳孬乇賴 丕賱丨爻賷 鬲孬亘鬲 賱賳丕 丕賳 賴匕賴 丕賱卮禺氐 賱賴 賮賴賲 毓賲賷賯 丕賰亘乇 賱賱賳賮爻賷丞 丕賱廿賳爻丕賳賷丞 貙 賯丿 賷賰賵賳 賴匕丕 丕賱乇噩賱 賲鬲賲賰賳 賲賳 丕賱賱睾賴 賰孬賷乇丕 賱賰賳賴 亘丕乇毓 賮賷 丕爻鬲禺丿丕賲賴丕 丕賰孬乇貙 丕賱鬲丨乇賰 亘亘乇丕毓丞 亘賷賳 丕賱爻乇丿 丕賱賵丕賯毓賷 賵丕賱賮賵賱賰賱賵乇 賵丕賱兀爻胤賵乇丞 貙 丕賱賲夭噩 亘賷賳 丕賱賯氐丞 丕賱兀禺賱丕賯賷丞 賲毓 賯氐賴 亘丿亍 丕賱賵噩賵丿貙丕賱乇爻賲 丕賱賲囟賳賷 賱鬲賮丕氐賷賱 氐賵乇丞 卮毓亘賴 丕賱廿賷爻賱賳丿賷 賵馗乇賵賮 丨賷丕鬲賴賲 丕賱賲丨賮賵賮丞 亘丕賱賲禺丕胤乇貙 賰賱 匕賱賰 丕賱爻乇丿 賵丕賱廿亘丿丕毓 丕賱賰鬲丕亘賷 噩毓賱賳賷 兀鬲賮賳賳 賮賷 丕賱賯乇丕亍賴 賱賴匕丕 丕賱賰丕鬲亘貙 "丨夭賳 丕賱賲賱丕卅賰賴" 賰丕賳 鬲丨賮賴 賮賳賷賴 賲丿乇丕乇賴 ...賵廿賳丕 賲鬲丨賲爻 賱 丕賱噩夭亍 丕賱兀禺賷乇 賲賳 丕賱乇賵丕賷賴 丕賱鬲賷 爻鬲賰賵賳 鬲丨鬲 丕爻賲 "賯賱亘 丕賱乇噩賱" 賲鬲丨賲爻 賱賴丕 賱毓賱 賲毓賴丕 賷毓賵丿 賱賷 丿賮卅 丕賱氐賷賮.
鈥庁Ｘ嗀з� 丕賯鬲亘丕爻丕鬲 乇丕賯鬲 賱賷 賰孬賷乇丕 .
鈥�"賴賳丕賰 賰鬲亘 鬲爻賱賷賰 賵賱賰賳 賱丕 鬲孬賷乇 兀賮賰丕乇賰 丕賱毓賲賷賯丞 貙 孬賲 賴賳丕賰 賰鬲亘 兀禺乇賶 鬲孬賷乇 鬲爻丕丐賱賰 貙 鬲賲賳丨賰 丕賱兀賲賱 貙 賵鬲賵爻毓 賲丿丕乇賰 丕賱毓丕賱賲 毓賱賷賰 貙 賵乇亘賲丕 鬲毓乇賾賮賰 毓賱賶 丕賱賯賲賴 丕賷囟丕貙 亘毓囟 丕賱賰鬲亘 囟乇賵乇賷丞 貙 賵亘毓囟賴丕 鬲爻賱賷賴"
鈥�"賲丕 賷賴賲 賯賱賲丕 賲丕 賷賰賵賳 賲毓賯丿丕貙 賵賲毓 匕賱賰 賲丕夭賱賳丕 亘丨丕噩賴 丕賱賶 丕賱賲賵鬲 賲賳 丕噩賱 丕賳 賳氐賱 丕賱賶 丕爻鬲賳鬲丕噩 賵丕囟丨"
鈥�"丕賱卮毓乇 賮賷 兀毓賲丕賯賴 賷鬲馗賲賳 噩賵賴乇貙 噩賲丕賱 賵爻禺賮 兀賲賴 亘兀賰賲賱賴丕貙 賱賰賳 爻亘毓賲丕卅丞 爻賳賴 賲賳 丕賱賰賮丕丨 卮賰賱鬲賳丕 賵賳賯丨鬲賳丕貙 賵賮賷 賲丨胤賴 賲賳 胤乇賷賯賳丕 丕賱胤賵賷賱 賮賯丿賳丕 丕賱孬賯賴 亘兀賴賲賷賴 丕賱卮毓乇"
鈥�"賲賳 丕賱噩賷丿 兀賳 賷賰賵賳 丨賵賱賳丕 兀賳丕爻 賴卮賴 丨賵賱賳丕 貙 廿賳賴賲 賷爻丕毓丿賵賳丕 毓賱賶 賮賴賲 賴匕丕 丕賱毓丕賱賲 亘卮賰賱 兀賮囟賱 貙賲毓 兀賳賷 賱丕 丕毓乇賮 丕賷囟丕 賰賷賮 賱賳丕 丕賳 賳爻鬲賮賷丿 賲賳 賴匕丕 丕賱丕爻鬲賷毓丕亘"
鈥�"鬲爻乇賷 丕賱爻禺賵賳丞 賮賷 賰丕賮賴 兀毓囟丕亍 噩爻賲賴貙 賷鬲爻丕乇毓 噩乇賷丕賳 丿賲賴貙 賷賲賵噩 賮賷 毓乇賵賯賴貙 賵賷亘賯賶 賵丕賯賮丕 孬丕亘鬲丕 亘賱丕 丨乇丕賰貙 賷賳馗乇 丕賱賶 丕賱兀賲丕賳 賲亘丕卮乇賴 貙 亘賱丕 鬲毓亘賷乇 賵噩賴 貙 賰賲丕 賱賵 兀賳賴 賱丕賷賮賰乇 賮賷 卮賷卅 毓賱賶 丕賱廿胤賱丕賯"
鈥�"賷賳賰賲卮 丕賱亘卮乇 賲毓 丕賱鬲賯丿賲 賮賷 丕賱爻賳 貙 兀賳賴 丕賱夭賲賳 丕賱匕賷 賷賮毓賱 賴匕丕 亘 丕賱丨賷丕賴 貙 丕賱賵夭賳 丕賱賴丕卅賱 丕賱匕賷 賷囟睾胤 丕賱賲乇亍貙 賷賲賰賳 丕賳 賷氐亘丨 丕賱廿賳爻丕賳 兀賯氐乇 毓丿賴 爻賳鬲賷賲鬲乇丕鬲 賮賷 丕賱爻賳賵丕鬲 丕賱丕禺賷乇賴 賲賳 毓賲乇賴貙 賵兀賳 毓丕卮 賲丿賴 胤賵賷賱賴 賰丕賮賷賴 貙 毓丿賴 賲卅丕鬲 丕賱爻賳賷賳 貙 賷賲丨賵賴 丕賱夭賲賳 亘賰賱 亘爻丕胤賴 貙 賷囟睾胤賴 丨鬲賶 賷鬲丨賵賱 丕賱賶 毓丿賲"
鈥�"丕賱丨賷丕賴 爻賴賱賴 毓賱賶 兀賵賱卅賰 丕賱賲噩乇丿賷賳 賲賳 丕賱兀禺賱丕賯 貙 賮賴賲 賷鬲丿亘乇賵賳 兀賲賵乇賴賲 噩賷丿丕 賵賷毓賷卮賵賳 賮賷 亘賷賵鬲 賰亘賷乇賴"
鈥�"賱丕 賷睾丕丿乇 丕賱賲賳夭賱 賯胤 丿賵賳 丕賳 賷兀禺匕 賲毓賴 毓賱賶 丕賱兀賯賱 賰鬲丕亘丕 賵丕丨丿丕賸 丨鬲賶 賷丨賲賷賴 賲賳 囟噩乇 丕賱毓丕賱賲"
鈥�"賷鬲賵賯賮 賱丕賳 丕賱賰賱賲丕鬲 丕爻鬲毓氐鬲 毓賱賷賴 賮噩兀丞貙 賱睾賴 賰丕賲賱賴 鬲賱丕卮鬲 貙 鬲丕乇賰賴 禺賱賮賴丕 丕賱氐賲鬲 賮賯胤貙 丨鬲賶 丕賱賲爻丕賮賴 亘賷賳賴賲 兀賲爻鬲 賲毓丿賵賲賴. "
鈥�"丕賱丨賷丕賴 毓賱賶 賰賱 丨丕賱 亘爻賷胤賴 賳賵毓丕 賲丕貙 兀賵賱卅賰 丕賱匕賷賳 賷囟毓賵賳 賯丿賲丕 兀賲丕賲 兀禺乇卅貙 孬賲 賷毓賰爻賵賳 丕賱丌賷賴 賵賷賰乇乇賵賳 匕賱賰 亘賲丕 賷賰賮賷 賷氐賱賵賳 賮賷 丕賱賳賴丕賷賴 丕賱賶 賵噩賴鬲賴賲"
鈥�"賮 丕賱乇亘 毓賱賶 丕賱乇睾賲 賲賳 賰賱 卮賷 兀爻賲賶 賲賳 丕賱毓賵丕氐賮 賵丕賱亘卮乇 貙 賷爻賲毓 賰賱 卮賷 貙 賵賱丕賷賳爻卅 卮賷卅丕 貙 賵賮賷 丕賱廿禺乇賴 賷噩賲毓 賲爻鬲丨賯丕鬲賴 賲賳丕 毓賱賶 賰賱 賮賰乇賴 賵賰賱 賰賱賲賴 賵 賱賲爻賴 賵賰賱 卮丕乇丿賴 賵賵丕乇丿賴 貙 賵噩賵丿 賲孬賱 賴匕丕 丕賱廿賱賴 丕賱賲鬲乇亘氐 亘丕賱賲乇亍 賷賲賰賳 兀賳 賷賰賵賳 賲囟噩乇丕賸 賵賲丿毓丕賴 賰丌亘賴 禺丕賱氐賴貙 賵乇亘賲丕 賳賯丕賷囟賴 亘卮卅 兀禺乇 丨丕賱賲丕 賷鬲賵丕賮乇 賱丿賷賳丕 賲丕賴賵 丕賮囟賱"
鈥�"兀賷賳 賷匕賴亘 兀賵賱卅賰 丕賱匕賷賳 賷賲賵鬲賵賳 兀賷賲賰賳 亘賱賵睾 匕賱賰 丕賱賲賰丕賳貙 兀賷賳鬲馗乇賳丕 賮噩乇 噩丿賷丿 賴賳丕賰 賵乇丕亍 丕賱毓賵丕氐賮 賰賱賴丕貙 賵乇丕亍 丕賱丨賷丕賴 賵乇丕亍 丕賱賲賵鬲貙 賮噩乇 噩丿賷丿 貙 兀賮賯 爻丕胤毓 賵賳睾賲 賵丿賷毓 賷爻賰賳 兀賱賲賳丕 亘毓丿 丕賱丨賷丕賴責"
鈥�"匕丕賰 丕賱匕賷 賷賲賵鬲 賱丕 賷毓賵丿 兀亘丿丕 貙 賮賯丿賳丕賴 賵賱丕賯賵賴 賮賷 丕賱賰賵賳 賯丕丿乇賴 毓賱賶 兀賳 鬲毓賷丿 賱賳丕 丿賮亍 丨賷丕賴 鬲賱丕卮鬲貙 賱丕 賵賯毓 丕賱氐賵鬲 賵賱丕 丨乇賰丕鬲 丕賱賷丿 賵丨爻 丕賱賮賰丕賴丞貙 噩賲賷毓 丕賱鬲賮丕氐賷賱 丕賱鬲賷 鬲丨鬲賵賷 毓賱賶 丕賱丨賷丕賴 賵鬲賲賳丨賴丕 丕賱氐賱丕丨賷丞 鬲鬲賱丕卮賶 賮賷 丨賳丕賷丕 丕賱丕亘丿賷賴 貙 鬲鬲賱丕卮賶 賲賳 睾賷乇 丕賳 鬲禺賱賮 賵乇丕亍賴丕 丕賱丕 噩乇丨丕 賲賮鬲賵丨丕 賮賷 丕賱賯賱亘 賷鬲丨賵賱 賲毓 丕賱夭賲賳 丕賱賶 賳丿亘賴 賲鬲賵乇賲賴"
February 9, 2017
脦n 鈥濼riste葲ea 卯ngerilor鈥�, Stef谩nsson continu膬 povestea b膬iatului f膬r膬 nume, la c芒teva s膬pt膬m芒ni dup膬 ce a str膬b膬tut mun葲ii pentru a 卯napoia 鈥濸aradisul pierdut鈥� al lui Milton. El pleac膬 卯ntr-o c膬l膬torie p芒n膬 la marginea lumii, acolo unde 卯ncepe t膬r芒mul iernii ve葯nice, 卯n tov膬r膬葯ia unui b膬rbat c芒t se poate de diferit: Jens po葯ta葯ul, un munte de om moroc膬nos 葯i scump la vorb膬, care ia 卯n piept landele cele mai primejdioase, dar se teme de mare, de sl膬biciune, de a fi el 卯nsu葯i.
Stef谩nsson ne poart膬 spre nordul Islandei, care pentru unii reprezint膬 cap膬tul lumii, iar pentru al葲ii 卯nseamn膬 acas膬, chiar dac膬 lungul anotimp hibernal 卯i izoleaz膬 aproape zece luni pe an, iar existen葲a se dovede葯te o continu膬 lupt膬 pentru supravie葲uire. Te 卯ntrebi cum de aleg unii oamenii s膬 tr膬iasc膬 aici, 卯ntr-un 葲inut at芒t de dur 葯i neprimitor, unde nu sunt nici muzee, nici bulevarde, iar vremea transform膬 totul, m膬rind distan葲a dintre suflete 葯i reduc芒nd fiin葲a uman膬 la propor葲ii insignifiante.
Aici, ceea ce se nume葯te var膬 trece 卯ntr-o clipit膬, iar z膬pada gone葯te prea iute iarba, florile, c芒ntecul 葯i susurul de ape, 卯nvelind p膬m芒ntul 卯ntr-o t膬cere morm芒ntal膬, spart膬 doar de 葯uierul v芒ntului 葯i de vuietul M膬rii 脦nghe葲ate. Aici, un c膬l膬tor neatent poate c膬lca peste acoperi葯ul unei biserici micu葲e, cu totul scufundat膬 卯n n膬me葲i, sau poate trece pe l芒ng膬 o ferm膬 izolat膬, f膬r膬 a b膬nui c膬 sub stratul gros de z膬pad膬 respir膬 c芒teva suflete. Din tr芒mbele de fulgi strunji葲i dup膬 aripi de 卯nger, apar uneori oameni despre care nu se 葯tie prea sigur dac膬 sunt vii sau au murit demult, poate c膬 sunt strigoii care 卯i ademenesc pe cei r膬t膬ci葲i spre t膬r芒mul de dincolo. Aici, 卯n 卯mbr膬葲i葯area frigului n膬ucitor, vie葲ile se pierd ca fl膬c膬ruia stins膬 de v芒nt, de葯i e mai 卯n葲elept s膬-葲i am芒ni moartea p芒n膬 la prim膬var膬, altfel n-are cine s膬-葲i care sicriul peste landele cuprinse de viscol, p芒n膬 la cea mai apropiat膬 parohie.
Stef谩nsson construie葯te ne卯ncetat paralele 卯ntre 卯nt芒mpl膬rile prin care trec eroii s膬i 葯i fiin葲a uman膬, cu toate sl膬biciunile 葯i defectele care-i z膬d膬rnicesc 葯ansele la o existen葲膬 卯mplinit膬 葯i fericit膬. Este o dojan膬 uneori bl芒nd膬, alteori ustur膬toare, pres膬rat膬 cu ironie 葯i umor, dar ceea ce am observat, 卯nainte de toate, este faptul c膬 din cartea aceasta se desprinde o imens膬 dragoste de oameni 葯i de via葲膬, laolalt膬 cu o mare iubire pentru c膬r葲i 葯i cuvinte. Cuvintele par a fi singurele lucruri de pe lume pe care timpul n-are puterea s膬 le calce 卯n picioare.
Pute葲i citi aici recenzia mai lung膬, scris膬 pentru blog:
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Stef谩nsson ne poart膬 spre nordul Islandei, care pentru unii reprezint膬 cap膬tul lumii, iar pentru al葲ii 卯nseamn膬 acas膬, chiar dac膬 lungul anotimp hibernal 卯i izoleaz膬 aproape zece luni pe an, iar existen葲a se dovede葯te o continu膬 lupt膬 pentru supravie葲uire. Te 卯ntrebi cum de aleg unii oamenii s膬 tr膬iasc膬 aici, 卯ntr-un 葲inut at芒t de dur 葯i neprimitor, unde nu sunt nici muzee, nici bulevarde, iar vremea transform膬 totul, m膬rind distan葲a dintre suflete 葯i reduc芒nd fiin葲a uman膬 la propor葲ii insignifiante.
Aici, ceea ce se nume葯te var膬 trece 卯ntr-o clipit膬, iar z膬pada gone葯te prea iute iarba, florile, c芒ntecul 葯i susurul de ape, 卯nvelind p膬m芒ntul 卯ntr-o t膬cere morm芒ntal膬, spart膬 doar de 葯uierul v芒ntului 葯i de vuietul M膬rii 脦nghe葲ate. Aici, un c膬l膬tor neatent poate c膬lca peste acoperi葯ul unei biserici micu葲e, cu totul scufundat膬 卯n n膬me葲i, sau poate trece pe l芒ng膬 o ferm膬 izolat膬, f膬r膬 a b膬nui c膬 sub stratul gros de z膬pad膬 respir膬 c芒teva suflete. Din tr芒mbele de fulgi strunji葲i dup膬 aripi de 卯nger, apar uneori oameni despre care nu se 葯tie prea sigur dac膬 sunt vii sau au murit demult, poate c膬 sunt strigoii care 卯i ademenesc pe cei r膬t膬ci葲i spre t膬r芒mul de dincolo. Aici, 卯n 卯mbr膬葲i葯area frigului n膬ucitor, vie葲ile se pierd ca fl膬c膬ruia stins膬 de v芒nt, de葯i e mai 卯n葲elept s膬-葲i am芒ni moartea p芒n膬 la prim膬var膬, altfel n-are cine s膬-葲i care sicriul peste landele cuprinse de viscol, p芒n膬 la cea mai apropiat膬 parohie.
Stef谩nsson construie葯te ne卯ncetat paralele 卯ntre 卯nt芒mpl膬rile prin care trec eroii s膬i 葯i fiin葲a uman膬, cu toate sl膬biciunile 葯i defectele care-i z膬d膬rnicesc 葯ansele la o existen葲膬 卯mplinit膬 葯i fericit膬. Este o dojan膬 uneori bl芒nd膬, alteori ustur膬toare, pres膬rat膬 cu ironie 葯i umor, dar ceea ce am observat, 卯nainte de toate, este faptul c膬 din cartea aceasta se desprinde o imens膬 dragoste de oameni 葯i de via葲膬, laolalt膬 cu o mare iubire pentru c膬r葲i 葯i cuvinte. Cuvintele par a fi singurele lucruri de pe lume pe care timpul n-are puterea s膬 le calce 卯n picioare.
Pute葲i citi aici recenzia mai lung膬, scris膬 pentru blog:
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December 4, 2024
鈥淟ife is quite simple, but a person is not; what we call the puzzles of life are our own complications and murky depths鈥�. p9
I recently read Heaven and Hell by J贸n Kalman Stef谩nsson, the first book in a series of three. Someone urged me to read the second and third in the trilogy while it was fresh in my mind, and while that is not my usual habit, I鈥檓 so pleased I followed that advice. The Sorrow of Angels is is epic and Stef谩nsson proves himself again as one of the most unique, poetic and profound writers I have come across.
The themes of life and death continue to permeate this work, as we follow the boy, three weeks after the death of his closest friend B谩r冒ur, questioning and pondering the complexities of existence, the power of words, the relentlessness of time, the interplay between death and life, the implication of fate, and the power of the poetic. It鈥檚 all rather profound, and Stef谩nsson has a way of weaving words together that build a narrative that is not only an epic story but also a deep commentary on the complications of life. The journey of grief is clear in this work, and the connection between the one who has died and the one who lives is a recurring theme.
Set against the backdrop of the northern Icelandic winter, The Sorrow of Angels somehow epitomises the landscape of life, a life, many lives, the terrain that is all to evident externally, in some ways metaphorical for the internal landscape of every human who has walked the face of earth. Stef谩nsson beautifully captures this thought鈥�
鈥淭here can be such a gulf between one鈥檚 exterior and interior lives, and this should tell us something, it should teach us not to trust appearances too much; he who does so misses the essence.鈥� p57/8
The boy finds himself accompanying Jens, the postman, on a monumental journey against the harshest of the winter elements to deliver the mail to remote farming and fishing villages. This is a story about a journey yet it is not a story about a journey. The journey is life and the Icelandic winter elements serve to accentuate the depths that Jens and the boy must plumb as they navigate their own internal work. The relationship that is forged is authentic and absolutely beautiful, raw and real.
鈥淭hey plough their way onward through snow and wind, two men in search of themselves; will they find gold or just dull stones.鈥� p225
I found this book utterly mesmerising. I was present on every page. The last page left me desperate for more鈥� 5 stars.
I recently read Heaven and Hell by J贸n Kalman Stef谩nsson, the first book in a series of three. Someone urged me to read the second and third in the trilogy while it was fresh in my mind, and while that is not my usual habit, I鈥檓 so pleased I followed that advice. The Sorrow of Angels is is epic and Stef谩nsson proves himself again as one of the most unique, poetic and profound writers I have come across.
The themes of life and death continue to permeate this work, as we follow the boy, three weeks after the death of his closest friend B谩r冒ur, questioning and pondering the complexities of existence, the power of words, the relentlessness of time, the interplay between death and life, the implication of fate, and the power of the poetic. It鈥檚 all rather profound, and Stef谩nsson has a way of weaving words together that build a narrative that is not only an epic story but also a deep commentary on the complications of life. The journey of grief is clear in this work, and the connection between the one who has died and the one who lives is a recurring theme.
Set against the backdrop of the northern Icelandic winter, The Sorrow of Angels somehow epitomises the landscape of life, a life, many lives, the terrain that is all to evident externally, in some ways metaphorical for the internal landscape of every human who has walked the face of earth. Stef谩nsson beautifully captures this thought鈥�
鈥淭here can be such a gulf between one鈥檚 exterior and interior lives, and this should tell us something, it should teach us not to trust appearances too much; he who does so misses the essence.鈥� p57/8
The boy finds himself accompanying Jens, the postman, on a monumental journey against the harshest of the winter elements to deliver the mail to remote farming and fishing villages. This is a story about a journey yet it is not a story about a journey. The journey is life and the Icelandic winter elements serve to accentuate the depths that Jens and the boy must plumb as they navigate their own internal work. The relationship that is forged is authentic and absolutely beautiful, raw and real.
鈥淭hey plough their way onward through snow and wind, two men in search of themselves; will they find gold or just dull stones.鈥� p225
I found this book utterly mesmerising. I was present on every page. The last page left me desperate for more鈥� 5 stars.
March 7, 2024
4.5 stars.
The 鈥渂oy鈥� is back in this second entry in J贸n Kalman Stef谩nsson鈥檚 Icelandic 鈥楬eaven and Hell鈥� trilogy, He is settling into his new life in The Village after returning the fateful copy of 鈥楶aradise Lost鈥� to its owner. There is 鈥極thello鈥� to read to the blind seaman and Dickens to translate into Icelandic. There are errands to run and letters to write and dreams to ponder. Then, unexpectedly, barely into his recuperation and fragile solace, the 鈥渂oy鈥� is sent to accompany Postman Jens on an unfamiliar and dangerous postal route to the Vetrarstr枚nd coast. And here begins an epic tale of man versus nature/man versus himself, a tale of camaraderie, determination and perseverance in one of the harshest climes in the world.
It is impossible for me to describe the way
a particular author or book can sometimes resonate so perfectly with me. Stef谩nsson, along with superb translator Philip Roughton, have emotionally and intellectually transported and immersed me yet again through their powerful words, creating people and imagery that won鈥檛 be forgotten. I don鈥檛 want to read books like this all the time but for now, I鈥檓 totally invested. The only other series I鈥檝e read with this much pleasure and dedication to completion is 鈥楾he Neapolitan Novels.鈥� Despite a few niggles with repetition and some overly theatrical scenes, I鈥檓 rounding this up for all the stars. Again.
鈥淥f what other use is poetry unless it has the power to change fate? There are books that entertain you but don鈥檛 stir your deepest thoughts. Then there are others that cause you to question, that give you hope, broaden the world and possibly introduce you to precipices. Some books are essential, others diversions.鈥� ~ the 鈥渂oy鈥�
The 鈥渂oy鈥� is back in this second entry in J贸n Kalman Stef谩nsson鈥檚 Icelandic 鈥楬eaven and Hell鈥� trilogy, He is settling into his new life in The Village after returning the fateful copy of 鈥楶aradise Lost鈥� to its owner. There is 鈥極thello鈥� to read to the blind seaman and Dickens to translate into Icelandic. There are errands to run and letters to write and dreams to ponder. Then, unexpectedly, barely into his recuperation and fragile solace, the 鈥渂oy鈥� is sent to accompany Postman Jens on an unfamiliar and dangerous postal route to the Vetrarstr枚nd coast. And here begins an epic tale of man versus nature/man versus himself, a tale of camaraderie, determination and perseverance in one of the harshest climes in the world.
It is impossible for me to describe the way
a particular author or book can sometimes resonate so perfectly with me. Stef谩nsson, along with superb translator Philip Roughton, have emotionally and intellectually transported and immersed me yet again through their powerful words, creating people and imagery that won鈥檛 be forgotten. I don鈥檛 want to read books like this all the time but for now, I鈥檓 totally invested. The only other series I鈥檝e read with this much pleasure and dedication to completion is 鈥楾he Neapolitan Novels.鈥� Despite a few niggles with repetition and some overly theatrical scenes, I鈥檓 rounding this up for all the stars. Again.
鈥淥f what other use is poetry unless it has the power to change fate? There are books that entertain you but don鈥檛 stir your deepest thoughts. Then there are others that cause you to question, that give you hope, broaden the world and possibly introduce you to precipices. Some books are essential, others diversions.鈥� ~ the 鈥渂oy鈥�
February 8, 2017
滨蝉濒芒苍诲颈补 - Fotografia de Britt-Arnhild Wigum Lindland
鈥淎 Tristeza dos Anjos鈥� do escritor island锚s J贸n Kalman Stef谩nsson (n 1963) 茅 o segundo livro de uma trilogia, sendo que o primeiro livro 茅 鈥淧ara铆so e Inferno鈥�(5*).
Tal como na an谩lise de 鈥淧ara铆so e Inferno鈥� existe, igualmente, em 鈥淎 Tristeza dos Anjos鈥� uma quest茫o determinante: Devemos fazer uma an谩lise factual da hist贸ria e dos acontecimentos nela descritos? Ou devemos procurar fazer uma an谩lise aleg贸rica dos factos - como num sonho - numa representa莽茫o suscept铆vel de m煤ltiplas apar锚ncias ou interpreta莽玫es? Ou no conjunto das duas anteriores interroga莽玫es?
A estrutura de 鈥淎 Tristeza dos Anjos鈥� 茅 brilhante. Come莽a com um 鈥渃ap铆tulo鈥� intitulado 鈥淥s Nossos Olhos S茫o Como Gotas de Chuva鈥� e logo nas primeiras frases a magia liter谩ria de J贸n Kalman Stef谩nsson se evidencia: 鈥淪eria agora bom dormir at茅 os sonhos se converterem num c茅u, num calmo e silencioso c茅u, com uma ou duas penas de anjo a flutuarem, e nada mais al茅m de 锚xtase do esquecimento. O sono, contudo, ilude os mortos. Quando fechamos os nossos olhos, s茫o as recorda莽玫es que nos chegam, n茫o o sono. A princ铆pio, surgem sozinhas e t茫o bonitas quanto a prata, mas depressa se tornam uma neve escura e sufocante鈥� O tempo passa, as pessoas morrem, o corpo afunda-se no ch茫o e n贸s nada mais sabemos鈥� A vida 茅 bastante simples mas as pessoas n茫o o s茫o; aquilo a que chamamos os enigmas da vida s茫o as nossas pr贸prias complica莽玫es e profundezas sombrias.鈥� (P谩g. 7)
Hist贸rias de desespero e de desesperan莽a, dominadas pelas sombras profundas da vida e da morte, de recorda莽玫es de felicidade e de amor que s茫o apenas fragmentos de um poema e de sonhos que se afogaram h谩 muito no esquecimento.
Depois, no 鈥渟egundo cap铆tulo鈥�, com o t铆tulo 鈥淎lgumas Palavras S茫o Conchas no Tempo e Dentro Delas Est茫o Talvez Recorda莽玫es de Ti鈥�, reencontramos o 鈥渞apaz鈥� - adoptado por duas mulheres, Geirprudur e Helga, a quem 茅 atribu铆do algumas tarefas dom茅sticas e pelo velho comandante, cego, amante da poesia e da literatura, Kolbeinn, a quem l锚 Shakespeare - a viver na Aldeia, onde as agruras do in贸spito clima island锚s, com noites escuras e silenciosas, fustigadas pelas tempestades de chuva e de neve, e pelo barulho ensurdecedor do vento, que o 鈥渞apaz鈥� abre a porta ao carteiro Jens, um gigante atormentado, pela sua vida e pelos seus sonhos.
脡 nesta casa/hotel que o 鈥渞apaz鈥� dorme, h谩 tr锚s semanas, ap贸s a morte do seu amigo B谩rdur ("Para铆so e Inferno"), 鈥渃om poesia mortal 脿s suas costas鈥� e com o poder de mudar o seu destino. 鈥淨ue outro uso tem a poesia a n茫o ser ter o poder de mudar o destino? H谩 livros que te entret锚m, mas que n茫o movem os teus pensamentos mais profundos. Existem, por茅m, outros que te levam a questionar, que te d茫o esperan莽a, que alargam o teu mundo e, possivelmente, te conduzem a precip铆cios. Alguns livros s茫o essenciais, outros apenas distrac莽玫es.鈥� (P谩g. 23)
Depois segue-se o 鈥渃ap铆tulo鈥� 鈥淎 Morte N茫o Traz Paz鈥� num contradit贸rio entre a vida e a morte, nas sombras de seres invis铆veis, na procura do al铆vio, da amargura e da maldade.
E por fim surge 鈥淎 Viagem: Se o Diabo Criou Alguma Coisa Neste Mundo Al茅m do Dinheiro Foi o Vento com Neve nas Montanhas鈥�: e s茫o estas duas personagens 鈥� o 鈥渞apaz鈥� e o carteiro Jens 鈥� que nos v茫o conduzir, na inclem锚ncia do tempo, ao longo dos fiordes, da charneca e das montanhas, coberta de uma neve profunda e de um vento glaciar, numa perigosa expedi莽茫o, repleta de desafios f铆sicos e de desafios existenciais. 脡 nesta marcha, de um estoicismo atroz, com momentos dram谩ticos, de emo莽玫es fortes, onde a ternura e a intimidade se interligam, na supera莽茫o das adversidades, que se revelam dois seres na busca de um sentido para as suas vidas; entre a vida, o amor e a morte, numa tentativa de se reencontrarem consigo pr贸prios e com os seus fantasmas existenciais, e sobretudo, de expiarem o seus 鈥減ecados鈥� e das suas d煤vidas e tremores em rela莽茫o 脿s 鈥渟uas鈥� mulheres e aos seus amores.
E 茅 entre o cansa莽o e o medo, com tempestades e fantasmas, que encontramos Kjartan, o gigante Hjalti e 脕sta, onde surge, momentaneamente, alguma 鈥渃laridade鈥� no meio da escurid茫o gelada.
J贸n Kalman Stef谩nsson escreve mais um livro desesperante e divinal, com personagens inesquec铆veis e emblem谩ticas, enquadrado pelo cen谩rio das magn铆ficas paisagens islandesas, in贸spitas e mortais, numa escrita po茅tica sem limites.
Ligeiramente melhor do que "Para铆so e Inferno".
Agora s贸 falta ler 鈥淗jarta Mannsins鈥�.
鈥淎mor retribu铆do 茅 algo que n茫o te pe莽o,
- s贸 as jovens perguntam e esperam do amante. 鈥�
Conhe莽o a vida, e agora sei,
Ter j谩 dela os tristes sinais no meu semblante.
E em sil锚ncio e por palavras vens a assimilar
Que os desejos se escondem na profundeza abissal,
E sabes que nunca abri a m茫o para flores secas revelar,
Nem nunca beijei os teus l谩bios p谩lidos e frios como tal.
Mas eu ainda te amo, como uma perdi莽茫o,
Sem isso, a minha vida seria a morte.
Nem Deus nem o homem me poderiam consertar o cora莽茫o.
Tendo o meu cora莽茫o privado da sua sorte. (P谩g. 197 鈥� Poema de 脫lof de Hladir)
July 22, 2016
"It snows a great deal here and the sorrow of the heavens is beautiful, it's a cover protecting the earth from the frost and bringing light to a heavy winter, but it can also be cold and devoid of mercy." 鈥� The Sorrow of Angels, Jon K. Stefansson
鈥淭he Sorrow of Angels鈥� strikes me as a lovely, poetic title for a novel set in Iceland. In this second novel, Jon Stefansson continues the story of 鈥楬eaven and Hell鈥� during the season when winter segues into spring, and tells it with the same philosophical and lyrical elegance.
The blinding beauty of snow, the ferocity of the winds, and the pitiless and overpowering force of wintry gales envelop everything that happens in this story. I read this book while visiting Iceland this summer when the temperature hovered between 2 and at most 12 degrees Celsius. I was also thrown off my feet once by exceedingly strong winds when trying to close the car door. If this is summer, then I shudder to think what life is like in winter. I read this novel then with a heightened awareness of the sorrow of angels, a phrase Stefansson uses to refer to snow (angels weeping) in Iceland. When people live on the border of the habitable world, snow is merciless and potentially deadly. Stefansson has myriad descriptors for the harshness of the landscape where postmen can lose their lives while collecting or delivering mail: "They toil against the North wind, which is stronger than anything in this country..."; "The weather changes everything here, the north wind and cold make us huddle in our homes and increase the distance between people."
It has been three weeks since the nameless boy lost his friend, Bardur, on a fishing trip. He finds refuge in the house of three cafe owners (Helga, Geirpruour, Kolbeinn) who have extended hospitality to him. He does chores around the house and reads Shakespeare to Kolbeinn who is visually impaired. His new family recognizes his love for books and wishes to educate him, seeing he is too dreamy to become a fisherman. For the first time he has his own room, a bed, and oil lamps to read into the night. This sounds like bliss, yet the boy struggles with the guilt of living. Does one betray the dead by continuing to live? Bardur's death has led the boy to a different set of living circumstances where he has opportunities to meet learned individuals such as Gisli, the schoolmaster. Will and should Bardur鈥檚 death bring him happiness? Before long, the boy leaves the security of the cafe and embarks on a journey with Jens, the mailman, on a high-risk mail delivery assignment over a stormy fjord and windswept glacier. They are later joined by another man, Hjalti, to make a "special鈥� delivery for a grieving family. This, in sum, is the plot of this novel.
Reading their interminable hardship and continued battering by the forces of nature almost wears me out even though I marvel at the dogged perseverance of the characters. The journey through snow and frost is unimaginably arduous and I feel relief whenever the party stumbles on a turf farm shelter buried in the snow. There is some heartwarming writing in the growing closeness of the three men (鈥淎 cord of three strand is not easily broken鈥�). They begin to communicate more openly than ever before about individuals who matter to them and how they should live their lives if they have a chance to survive the tyranny of the harsh and deadly cold.
鈥淭he Sorrow of Angels鈥� pits mere mortals against the natural elements and celebrates the triumph and resilience of the human spirit. There is in each man "a light that flickers and refuses to go out, refuses to give in to the heavy darkness and suffocating death. This light nourishes us and torments us, it persuaded us to keep going instead of lying down like dumb beasts and waiting for whatever might never come."
As in its predecessor, "Heaven and Hell", this novel also celebrates the power of words as 鈥渞escue teams鈥�. The boy, previously taciturn, begins to speak much more to Jens and to recite poetry out loud when the exposed terrain threatens to overwhelm him. "Of what other use is poetry unless it has the power to change fate?" For readers who live in words, we know there is truth in this.
Beautifully written book.
June 27, 2022
鈥淎 noite 茅 escura e muito silenciosa no Inverno. Ouvimos os peixes suspirar no fundo do mar, e aqueles que sobem montanhas ou atravessam charnecas altas conseguem escutar a m煤sica das estrelas. Os velhotes, que detinham a sabedoria da experi锚ncia, disseram que n茫o havia l谩 nada excepto terreno aberto e perigo de morte. Morremos se n茫o prestarmos aten莽茫o 脿 experi锚ncia, mas apodrecemos se atentarmos demasiado na mesma.鈥�
March 4, 2025
My apologies to the Friends who have read, reviewed and enjoyed this - but I cannot force myself through any more snow, ice, cold, and helping-women who blend together into a kind of mush. I think this book is a prime example of why I avoid fiction by men.
Jens moves his right shoulder slightly, reflexively, in Sigurdur's parlour; Salvor bites it so that she can't be heard in the silent family room, in the silence that is broken by the snores and the mumbling of dreams. Entirely by accident, Jens had discovered the magical power of his fingers; they lay close together and waited for the darkness of the evening to put everyone to sleep, but of course it's impossible to be living and lie so close together and simply breathe, their hands had to do something and they started moving, all four, roaming about their bodies and quite by coincidence he placed his thumb and index finger between her legs, entered and found a place that made her gasp for breath in such a way that he could barely think of anything else over the next few weeks. I didn't know that place exited, she whispered hoarsely after the first time, and kissed the bite marks on this shoulder. What place? Where I went, whence I was coming, almost as if, I were going through the horizon! Jen looked at her in surprise and she giggled, which she likely hadn't done in fifteen years, and then grasped his penis. Come, she whispered as she spread her legs, and I'll take you there.
That, is why sex scenes are notoriously hard to write. Apart from man has to instruct woman and only man can please woman - there is so much more to cringe at. I struggled with those four hands roving - oh yes two people, four hands.
It's not the sexism and the fact it gets boring; it's also the arrogance of Jens. He's been set an impossible task by the tyrannical Sigurdur, who threatens him with the loss of his livelihood, should Jens not deliver the post on time. Many people help Jens and the boy on their journey, with food, shelter, and warmth. They are literally revitalised, brought back to life on each occasion when they arrive at a hut, or underground home in the wilderness. Each time these people advise Jens to wait, to rest, and wait out the storm and each time Jens refuses.
It's true Jens didn't ask for a companion. The two women who house and care for the boy have sent him along with Jens, but they were not to know that Jens will refuse the sensible advise of the local people; Jens who ploughs on thinking only to prove that he can do the impossible.
This is where I gave up. What is the point? Yes, an epic journey is about attempting the impossible, knowing that what you are doing is likely to end in death. But, it's a death invited: a gamble between surviving or not; a risk, creating a heightened sense of vitality, which is what Jens enjoys. But, he also plays with the boy's life. How dare he play this game with an innocent, a boy who is prepared to follow and risk everything simply because he has been told to help this other, the postman.
Does Jens think that Sigurdur will be impressed? Will he reward him for his timely return or effective delivery of the mail bags? No - it is a trap. So, what is the point of encountering almost certain death?
Are we supposed to admire these men - all the men who have set out on countless missions, across centuries and around the world? Is this the commendable and laudable way of viewing our history? Is that the point of this story? The world has to put the boy through some kind of endurance test before he can truly understand the words in the books he loves, or before he can understand the power of the word to change what is happening around him.
I'm beginning to see Stefansson's structure, but I can't get past his 2D women, and the crude male stance of women as sexualised objects.
Jens moves his right shoulder slightly, reflexively, in Sigurdur's parlour; Salvor bites it so that she can't be heard in the silent family room, in the silence that is broken by the snores and the mumbling of dreams. Entirely by accident, Jens had discovered the magical power of his fingers; they lay close together and waited for the darkness of the evening to put everyone to sleep, but of course it's impossible to be living and lie so close together and simply breathe, their hands had to do something and they started moving, all four, roaming about their bodies and quite by coincidence he placed his thumb and index finger between her legs, entered and found a place that made her gasp for breath in such a way that he could barely think of anything else over the next few weeks. I didn't know that place exited, she whispered hoarsely after the first time, and kissed the bite marks on this shoulder. What place? Where I went, whence I was coming, almost as if, I were going through the horizon! Jen looked at her in surprise and she giggled, which she likely hadn't done in fifteen years, and then grasped his penis. Come, she whispered as she spread her legs, and I'll take you there.
That, is why sex scenes are notoriously hard to write. Apart from man has to instruct woman and only man can please woman - there is so much more to cringe at. I struggled with those four hands roving - oh yes two people, four hands.
It's not the sexism and the fact it gets boring; it's also the arrogance of Jens. He's been set an impossible task by the tyrannical Sigurdur, who threatens him with the loss of his livelihood, should Jens not deliver the post on time. Many people help Jens and the boy on their journey, with food, shelter, and warmth. They are literally revitalised, brought back to life on each occasion when they arrive at a hut, or underground home in the wilderness. Each time these people advise Jens to wait, to rest, and wait out the storm and each time Jens refuses.
It's true Jens didn't ask for a companion. The two women who house and care for the boy have sent him along with Jens, but they were not to know that Jens will refuse the sensible advise of the local people; Jens who ploughs on thinking only to prove that he can do the impossible.
This is where I gave up. What is the point? Yes, an epic journey is about attempting the impossible, knowing that what you are doing is likely to end in death. But, it's a death invited: a gamble between surviving or not; a risk, creating a heightened sense of vitality, which is what Jens enjoys. But, he also plays with the boy's life. How dare he play this game with an innocent, a boy who is prepared to follow and risk everything simply because he has been told to help this other, the postman.
Does Jens think that Sigurdur will be impressed? Will he reward him for his timely return or effective delivery of the mail bags? No - it is a trap. So, what is the point of encountering almost certain death?
Are we supposed to admire these men - all the men who have set out on countless missions, across centuries and around the world? Is this the commendable and laudable way of viewing our history? Is that the point of this story? The world has to put the boy through some kind of endurance test before he can truly understand the words in the books he loves, or before he can understand the power of the word to change what is happening around him.
I'm beginning to see Stefansson's structure, but I can't get past his 2D women, and the crude male stance of women as sexualised objects.
May 9, 2016
鈥淪e il diavolo ha creato qualcosa in questo mondo, a parte il denaro, 猫 una bufera di neve sulle montagne鈥�
Si parte da dove si concludeva 鈥淧aradiso e inferno鈥�, cos矛 che 鈥淟a tristezza degli angeli鈥�, pi霉 che il secondo romanzo di una trilogia, sembra la seconda parte di un medesimo volume.
A differenza del primo libro che trovava il suo fulcro epico e narrativo nell鈥檈ccezionale episodio iniziale della battuta di pesca, qui la vicenda comincia in sordina riprendendo i legami e i personaggi della comunit脿 del villaggio posto all鈥檈stremo limite del mondo abitabile all鈥檌nsegna dell鈥檌solamento pressoch茅 totale. C鈥櫭� lo stesso protagonista senza nome, indicato per tutto il libro semplicemente come 鈥渋l ragazzo鈥� e soprattutto c鈥櫭� la natura lunare e inospitale dell鈥橧slanda di Nord-Ovest.
Poi, in crescendo, a partire da un terzo del libro quando pare che il romanzo sconti il confronto con la grandezza e le conseguenti aspettative suscitate dal capolavoro 鈥淧aradiso e inferno鈥� e ci si appresta a proseguire la lettura di nulla pi霉 che un onesto romanzo ben scritto, 鈥淟a tristezza degli angeli鈥� prende il volo.
La rampa di lancio 猫 l鈥檕ccasionale necessit脿 di aggregare 鈥渋l ragazzo鈥� al viaggio che il sostituto postino dovr脿 intraprendere per consegnare posta e giornali nelle pi霉 lontane localit脿 della regione. Ci貌 che dovrebbe risultare solo un鈥檌mpegnativa esperienza di lavoro, si riveler脿 una sfida titanica agli estremi del mondo abitabile e ai limiti della stessa capacit脿 di sopravvivenza.
Se da un lato non oso immaginare l鈥檌mpatto di questo libro sui tanti che nei commenti anobiiani esprimono lamentazioni per la 鈥渓entezza鈥� di romanzi avari di azioni adrenaliniche, per quanto mi riguarda non ho mai incontrato nella mia lunga esperienza di lettore un鈥檕pera che trasmettesse con tale efficacia il malessere fisico e il disagio psicologico di una marcia senza speranza, al limite e ben oltre le risorse umane di resistenza.
Il percorso del ragazzo e del laconico postino Jens attraverso i ghiacci, i burroni, le tormente di vento, le lande attraversate con la neve a met脿 coscia, rappresentano quasi un鈥檈sperienza fisica anche per il lettore e ci si scopre ad accogliere con percepibile sollievo il raro imbattersi in un capanno abbandonato in grado di offrire temporaneo riparo o addirittura, massima delle speranze realizzabili, nel casale di un pastore di anime o nella fattoria di un contadino che, barricati con le loro pallide famigliole e le provviste sempre pi霉 scarse, attendono da mesi la fine dell鈥檌nverno glaciale ma non lesinano un pur modesto ristoro ai viandanti.
Fra questi miseri rifugi esiste solo la distesa dei ghiacci, l鈥檃ssenza di colore, il vento sferzante, l鈥檈co e il cupo rimbombo del Mar Glaciale sullo sfondo, il latrato di cani in lontananza o forse l鈥檌mpressione, la visione di un fantasma che sembra indicare la rotta, i ricordi, le poesie e le filastrocche con cui la mente di chi cammina da giorni cerca di ingannare la consapevolezza dell鈥檌solamento estremo.
Un鈥檈sperienza indimenticabile.
Si parte da dove si concludeva 鈥淧aradiso e inferno鈥�, cos矛 che 鈥淟a tristezza degli angeli鈥�, pi霉 che il secondo romanzo di una trilogia, sembra la seconda parte di un medesimo volume.
A differenza del primo libro che trovava il suo fulcro epico e narrativo nell鈥檈ccezionale episodio iniziale della battuta di pesca, qui la vicenda comincia in sordina riprendendo i legami e i personaggi della comunit脿 del villaggio posto all鈥檈stremo limite del mondo abitabile all鈥檌nsegna dell鈥檌solamento pressoch茅 totale. C鈥櫭� lo stesso protagonista senza nome, indicato per tutto il libro semplicemente come 鈥渋l ragazzo鈥� e soprattutto c鈥櫭� la natura lunare e inospitale dell鈥橧slanda di Nord-Ovest.
Poi, in crescendo, a partire da un terzo del libro quando pare che il romanzo sconti il confronto con la grandezza e le conseguenti aspettative suscitate dal capolavoro 鈥淧aradiso e inferno鈥� e ci si appresta a proseguire la lettura di nulla pi霉 che un onesto romanzo ben scritto, 鈥淟a tristezza degli angeli鈥� prende il volo.
La rampa di lancio 猫 l鈥檕ccasionale necessit脿 di aggregare 鈥渋l ragazzo鈥� al viaggio che il sostituto postino dovr脿 intraprendere per consegnare posta e giornali nelle pi霉 lontane localit脿 della regione. Ci貌 che dovrebbe risultare solo un鈥檌mpegnativa esperienza di lavoro, si riveler脿 una sfida titanica agli estremi del mondo abitabile e ai limiti della stessa capacit脿 di sopravvivenza.
Se da un lato non oso immaginare l鈥檌mpatto di questo libro sui tanti che nei commenti anobiiani esprimono lamentazioni per la 鈥渓entezza鈥� di romanzi avari di azioni adrenaliniche, per quanto mi riguarda non ho mai incontrato nella mia lunga esperienza di lettore un鈥檕pera che trasmettesse con tale efficacia il malessere fisico e il disagio psicologico di una marcia senza speranza, al limite e ben oltre le risorse umane di resistenza.
Il percorso del ragazzo e del laconico postino Jens attraverso i ghiacci, i burroni, le tormente di vento, le lande attraversate con la neve a met脿 coscia, rappresentano quasi un鈥檈sperienza fisica anche per il lettore e ci si scopre ad accogliere con percepibile sollievo il raro imbattersi in un capanno abbandonato in grado di offrire temporaneo riparo o addirittura, massima delle speranze realizzabili, nel casale di un pastore di anime o nella fattoria di un contadino che, barricati con le loro pallide famigliole e le provviste sempre pi霉 scarse, attendono da mesi la fine dell鈥檌nverno glaciale ma non lesinano un pur modesto ristoro ai viandanti.
Fra questi miseri rifugi esiste solo la distesa dei ghiacci, l鈥檃ssenza di colore, il vento sferzante, l鈥檈co e il cupo rimbombo del Mar Glaciale sullo sfondo, il latrato di cani in lontananza o forse l鈥檌mpressione, la visione di un fantasma che sembra indicare la rotta, i ricordi, le poesie e le filastrocche con cui la mente di chi cammina da giorni cerca di ingannare la consapevolezza dell鈥檌solamento estremo.
Un鈥檈sperienza indimenticabile.
October 4, 2016
Este segundo livro da trilogia Para铆so e Inferno relata uma viagem 茅pica atrav茅s do inverno e das tempestades de neve e gelo nos fiordes do norte da 滨蝉濒芒苍诲颈补. Uma alegoria sobre as batalhas que o ser humano tem de travar com o mundo e consigo pr贸prio, e a expia莽茫o dos fardos que carrega.
A parte inicial do romance, que antecede a viagem do "rapaz" e do carteiro Jens pareceu-me estender-se em demasia, tanto em n煤mero de p谩ginas como em detalhes e sobretudo no n煤mero de personagens fugazes com nomes impronunci谩veis e sem contributo relevante para o desenrolar na narrativa. A partir do momento em que a viagem se inicia a leitura torna-se mais fluida e interessante, e as personagens que vamos encontrando pelo caminho nunca s茫o desprovidas de significado. No final o cliffhanger convida 脿 leitura do terceiro livro cuja edi莽茫o portuguesa ainda se aguarda.
A parte inicial do romance, que antecede a viagem do "rapaz" e do carteiro Jens pareceu-me estender-se em demasia, tanto em n煤mero de p谩ginas como em detalhes e sobretudo no n煤mero de personagens fugazes com nomes impronunci谩veis e sem contributo relevante para o desenrolar na narrativa. A partir do momento em que a viagem se inicia a leitura torna-se mais fluida e interessante, e as personagens que vamos encontrando pelo caminho nunca s茫o desprovidas de significado. No final o cliffhanger convida 脿 leitura do terceiro livro cuja edi莽茫o portuguesa ainda se aguarda.
"Dois homens imersos nos seus pensamentos enquanto viajam sob um temporal daqueles n茫o 茅 uma coisa simples, tendo em conta que se tem de usar toda e energia apenas para continuar a caminhar em frente, ir de um lado para o outro sem morrer, o que significa que pensar e, al茅m de tudo isso, tentar perceber a vida deve ser algo 茅pico. Eles abrem caminho atrav茅s da neve e do vento, dois homens 脿 procura de si mesmos; encontrar茫o ouro ou apenas pedras pardacentas?" (p. 191-192)
"Mas tu, irm茫o, precisas de chegar l谩 abaixo vivo e depois derrotar a tempestade escura que existe dentro de ti; 茅 essa a tua luta, 茅 onde deves travar a tua luta de vida ou de morte." (p. 261)
November 17, 2018
Beklemmend mooi. Het tweede deel van deze trilogie gaat voornamelijk over een barre tocht van de jongen met de postbode Jens, waarin hij zichzelf, de dood en het leven in allerlei facetten tegenkomt. Het boek eindigt letterlijk op een cliffhanger. Net als het eerste deel is dit weer een aanrader.
March 24, 2021
亘丿丕 賱賷 兀賳 丕賱賲乇亍 賱丕 賷賲賰賳 兀賳 賷賰賵賳 丨夭賷賳丕賸 賵賴賵 賲丨丕胤 亘賰賲賺 賴丕卅賱 賲賳 丕賱賰鬲亘."
賴匕賴 乇賵丕賷丞 爻丕丨乇丞 噩丿丕賸
賴匕賴 乇賵丕賷丞 爻丕丨乇丞 噩丿丕賸
October 19, 2019
H贸, hideg, fagy, sz茅l, feh茅r minden, 茅s csak menni, menni, 茅s k枚zben elm煤lik az idegens茅g k茅t ember k枚zt, b谩rmennyire 茅g 茅s f枚ld (menny 茅s pokol?) a kett艖. B铆zom a harmadik k枚tet tavasz谩ban.
June 9, 2020
Trilogia fiordurilor ne poveste艧te cum se tr膬ia 卯n Islanda, cu vreo sut膬 de ani 卯n urm膬, de艧i nici 卯n prezent nu cred c膬 e foarte mare diferen葲膬. 脦ntr-un 葲inut 卯n care pescarii, oamenii care habar n-aveau s膬 卯noate, ie艧eau la pescuit 卯n marea 卯nghe葲at膬, plutind pe-o sc芒ndur膬 sub葲ire de lemn 艧i pun芒ndu-艧i speran葲a doar 卯n Dumnezeu. Z膬pad膬, ger, viscol 艧i valuri 卯nalte, toate te fac s膬 te 卯ntrebi ce 卯i determin膬 pe oameni s膬 tr膬iasc膬 acolo, unde soarele e la fel de rar cum sunt eclipsele la noi, unde natura e at芒t de vitreg膬 艧i p膬m芒ntul ve艧nic 卯nghe葲at, unde ui葲i culoarea ierbii tot a艧tept芒nd ca vara s膬 se hot膬rasc膬 s膬 vin膬. Povestea ne poart膬 chiar mai departe, 卯ntr-o c膬l膬torie spre cap膬tul lumii, spre pol, unde oric芒t de surprinz膬tor ar suna, mai g膬se艧ti oameni care se simt ca acas膬, unde iarna dureaz膬 zece luni pe an 艧i unde fiecare pas e o lupt膬, unde furtuna de z膬pad膬 pare a nu se sf芒r艧i niciodat膬, unde po葲i muri de sete 卯nconjurat de o mare de fulgi.
Da. Da. Te-ar putea degusta. 葰i-ar putea inspira ceva miasme puturoase. Te-ar putea chiar revolta s膬 cite艧ti pagini 卯ntregi ce povestesc doar despre nimicnicia 艧i z膬d膬rnicia vie葲ii. Ai putea sim葲i multe, dac膬 ai citi c膬r葲ile astea. C膬ci Stef谩nsson nu scrie cu pudoare sau ipocrizie. Nici nu-l intereseaz膬 a ce-葲i miroase, c膬ci fiecare tr膬ie艧te cu nasul lui 艧i percep葲ia poate fi diferit膬 ca de la cer la p膬m芒nt. Iar, aici, 卯ntr-un sat de pescari, de la cap膬tul lumii, unde codul e via葲a, nici n-are a ce s膬-葲i miroas膬 dec芒t a pe艧te puturos 艧i 葲inut la v芒nt. Aici, nu po葲i dec芒t pescui 卯n ad芒ncuri pe艧ti 艧i vise 卯ntr-un sicriu deschis care se zbate ca o coaj膬 de nuc膬 prins膬 卯ntr-o furtun膬 ce-葲i neag膬 艧i dreptul s膬 vezi cerul sau p膬m芒ntul; doar valurile agitate ale M膬rii 脦nghe葲ate 卯葲i sunt permise.
Da. Da. Te-ar putea degusta. 葰i-ar putea inspira ceva miasme puturoase. Te-ar putea chiar revolta s膬 cite艧ti pagini 卯ntregi ce povestesc doar despre nimicnicia 艧i z膬d膬rnicia vie葲ii. Ai putea sim葲i multe, dac膬 ai citi c膬r葲ile astea. C膬ci Stef谩nsson nu scrie cu pudoare sau ipocrizie. Nici nu-l intereseaz膬 a ce-葲i miroase, c膬ci fiecare tr膬ie艧te cu nasul lui 艧i percep葲ia poate fi diferit膬 ca de la cer la p膬m芒nt. Iar, aici, 卯ntr-un sat de pescari, de la cap膬tul lumii, unde codul e via葲a, nici n-are a ce s膬-葲i miroas膬 dec芒t a pe艧te puturos 艧i 葲inut la v芒nt. Aici, nu po葲i dec芒t pescui 卯n ad芒ncuri pe艧ti 艧i vise 卯ntr-un sicriu deschis care se zbate ca o coaj膬 de nuc膬 prins膬 卯ntr-o furtun膬 ce-葲i neag膬 艧i dreptul s膬 vezi cerul sau p膬m芒ntul; doar valurile agitate ale M膬rii 脦nghe葲ate 卯葲i sunt permise.
March 23, 2020
丨夭賳 丕賱賲賱丕卅賰丞: 賵丕賳丕 賯丕毓丿 賮賷 爻乇賷乇賷 賵賲鬲睾胤賷 亘亘胤丕賳賷鬲賷 丕賱毓夭賷夭丞 賲爻鬲賲鬲毓 噩丿丕 亘乇丨賱丞 毓馗賷賲丞 賮賷 丕賷爻賱賳丿丕貙 孬丕賳賷 丕噩夭丕亍 孬賱丕孬賷丞 爻鬲賷賮賳爻賳 賵丕賱賱賷 賮賷賴丕 賲鬲毓丞 賵乇賵賯丕賳 賲丕 亘毓丿賴賲 賲鬲毓丞貙 丕賱乇賵丕賷丞 丿賷 鬲賯賮 賮賷 丕賱賲賳鬲氐賮 亘賷賳 丕賱卮毓乇 賵丕賱乇賵丕賷丞 亘禺賱賷胤 賲毓噩夭 亘賷賳 丕賱丕鬲賳賷賳貙 賰賱 噩賲賱丞 賰兀賳賴丕 亘賷鬲 卮毓乇 賲爻鬲賯賱 賷丨賲賱 亘賷賳 胤賷丕鬲賴 賲毓丕賳賷 噩賲賷賱丞貙 賵丕賱胤亘賷毓丞 賮賷賴丕 賰兀賳賴丕 乇賮賷賯 胤賷亘 賱賱乇丨賱丞貙 賵丕賱亘卮乇 賰兀賳賴賲 兀氐丿賯丕亍 丨賲賷賲賷賷賳貙 賵賮賷 丕賱賳賴丕賷丞 亘賷賰賵賳 丕賱毓賲賱 丿丕 禺賷乇 賵賳爻 丨賯賷賯賷 賱賱毓夭賱丞貙 賵鬲乇噩賲丞 爻賰賷賳丞 丕亘乇丕賴賷賲 賲賵賮賯丞 噩丿丕.
丕賯乇兀賵賴丕 丨賷孬 孬賯賮鬲賲賵賴丕 賷丕禺賵丕賳丕 賵賲卮 賴鬲賳丿賲賵丕 禺丕賱氐.
丕賯乇兀賵賴丕 丨賷孬 孬賯賮鬲賲賵賴丕 賷丕禺賵丕賳丕 賵賲卮 賴鬲賳丿賲賵丕 禺丕賱氐.
September 30, 2018
賴匕丕 丕賱噩夭亍 賲鬲毓亘 賵賲乇賴賯 賲孬賱 賰賱 丕賱兀卮賷丕亍 丕賱噩賲賷賱丞 丕賱鬲賷 鬲丿賮毓 丕賱賲乇亍 賱兀賳 賷鬲賳賴賾丿貙 賵賷賱賴孬貙 賵賱丕 賷賳丕賲 亘爻亘亘賴丕 賮賷 睾丕賱亘 丕賱兀丨賷丕賳. 賷丕 賱賴賵賱 賲丕 賯乇兀鬲貙 賴匕丕 賲丕 賷賲賰賳 賯賵賱賴 丕賱丌賳 亘毓丿 賰賱 丕賱廿囟賳丕亍 丕賱卮丕毓乇賷 丕賱匕賷 禺囟鬲賴.
August 30, 2023
The novel 'Het verdriet van de engelen' (The sorrow of angels, original Harmur englanna) is for the main part a night mary tale of an attempt to survive hardship caused by the utmost severe weather conditions at the end of winter in a remote part of Iceland, endured by the mailman Jens and the boy. You easily forget about the assignment that caused them to take on their journey. Superficially that was a bit futile: to deliver mail. As this mail, consisting of letters, magazines and newspapers are the means of communications for people who cannot be reached by using their voice, the story must be set in a time before telephone existed let alone was common. The message sent by the author Stefansson is that words are important. We already had noticed that in the first part of the novel, were the boy gets educated in reading, understanding, translating literature in his foster family. Jens is a man of not so many words; the boy however talks, recites poetry, tries to have conversations with his fellow traveler. All the contacts during the journey they have with other people show their interest in talking, getting news from elsewhere. I commented Dolors' review with: How much hardship are words worth ... It could have been the motto of the book. You can hardly reach Jens, even by shouting, when your voice is being cut away by the omnipresent snowstorms in nearly zero visibilty. In the beginning Jens even doesn't want to get distracted by the boy from fulfilling his task. Later on it seems Jens gets slightly more receptive for questions and statements of the boy. And after all, who is the mailman in the first place, who is to suffer weather conditions of the desolate wilderness for the sake of delivering words by profession? So, we can see Jens and the boy as two components necessary to bring across words, messages, news. They are eachother's complementary figures, more of a duality than apparent at first sight/ thought. By the way, not only in written form; people they meet during their journey are eager to hear all the news and smalltalk they can get out of the visitors. What further got my attention, not being familiar with Icelandic traditions and habits: the value of sticking to a time schedule for delivering the mail, even in such severe conditions. And if that's not quite possible, the mailman is expected to prove that delay is caused by external factors, e.g. by statements written by witnesses to substantiate that.
Most of the time the narration is super-realistic, literaly following the footsteps of the travellers. Sometimes supra-realistic elements enter the story, and hallucinations. That brings some episodes with extra tension and variety.
I really got captivated by the writing style of Stefansson - it breaths poetic elegance. (4,5*)
Now for me it's time to get my own breath back, and read something completely different: A young doctor's notebook by Bulgakov (while the third part of Stefansson's trilogy is waiting on one of my wooden shelves, be sure of that). JM
Most of the time the narration is super-realistic, literaly following the footsteps of the travellers. Sometimes supra-realistic elements enter the story, and hallucinations. That brings some episodes with extra tension and variety.
I really got captivated by the writing style of Stefansson - it breaths poetic elegance. (4,5*)
Now for me it's time to get my own breath back, and read something completely different: A young doctor's notebook by Bulgakov (while the third part of Stefansson's trilogy is waiting on one of my wooden shelves, be sure of that). JM
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