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鬲毓賯蹖亘
鬲毓賯蹖亘 丿乇 賲蹖丕賳 丌孬丕乇 讴丕乇倬丕賳鬲蹖賴 噩丕蹖诏丕賴蹖 賵蹖跇賴 丿丕乇丿. 讴丕乇倬丕賳鬲蹖賴 讴賴 賲鬲賮讴乇蹖 倬蹖卮乇賵 亘賵丿 賵 丿乇 夭賲蹖賳賴鈥屬囏й� 诏賵賳丕诏賵賳 賴賳乇 賵 毓賱賵賲 丕噩鬲賲丕毓蹖 丕夭 氐丕丨亘鈥屬嗀肛必з� 賲毓丕氐乇 賲丕爻鬲貙 丿乇 丕蹖賳 乇賲丕賳 诏乇丕蹖卮鈥屬囏й� 賲丿乇賳蹖爻鬲蹖鈥屫ж� 乇丕 亘賴 賮乇賲蹖 丌卮讴丕乇鬲乇 丕夭 爻丕蹖乇 丌孬丕乇卮 丌賵乇丿賴 丕爻鬲. 亘禺卮鈥屬囏й屰� 丕夭 芦鬲毓賯蹖亘禄 爻丕賱 郾酃鄣鄞 丿乇 賱賴 鬲丕賳 賲丿乇賳 趩丕倬 卮丿 賵 乇賲丕賳 丿賵 爻丕賱 亘毓丿 賴賲夭賲丕賳 丿乇 賮乇丕賳爻賴 賵 丌乇跇丕賳鬲蹖賳 賲賳鬲卮乇 賵 亘丕 丕爻鬲賯亘丕賱蹖 毓馗蹖賲 乇賵亘賴鈥屫辟� 卮丿
芦鬲毓賯蹖亘禄 亘丕 賱丕蹖賴鈥屫ㄙ嗀� 乇賵丕蹖鬲 賵 亘丕夭賴鈥屬囏й� 夭賲丕賳蹖 賲賯胤毓 賵 賲胤賳胤賳卮 亘賴鈥屫簇� 爻蹖賳賲丕蹖蹖 丕爻鬲 趩賳丕賳 讴賴 丿乇亘丕乇賴鈥屰� 丌賳 诏賮鬲賴鈥屫з嗀� 禺賵丕賳賳丿賴 乇賲丕賳 乇丕 亘賴 噩丕蹖 禺賵丕賳丿賳 芦賲蹖鈥屫ㄛ屬嗀�. 讴丕乇倬丕賳鬲蹖賴 讴賴 丕夭 賲賵爻蹖賯蹖鈥屫促嗀ж池з� 亘乇噩爻鬲賴鈥屰� 賲毓丕氐乇 亘賵丿 丕蹖賳 乇賲丕賳 乇丕 亘爻蹖丕乇 賴賳乇賲賳丿丕賳賴 亘賴 賮乇賲 爻賵賳丕鬲 賲賵爻蹖賯蹖 賳賵卮鬲賴 賵 鬲賳馗蹖賲 乇禺丿丕丿賴丕蹖 丿丕爻鬲丕賳 亘賴 卮蹖賵賴鈥屫й� 丕爻鬲 讴賴 丿賯蹖賯丕賸 亘賴 丕賳丿丕夭賴鈥屰� 夭賲丕賳 賳賵丕禺鬲賳 爻賳賮賵賳蹖 丕乇賵卅蹖讴丕蹖 亘鬲賴賵賵賳 胤賵賱 亘讴卮丿貙 賯胤毓賴鈥屫й� 讴賴 丿乇 賳蹖賲賴鈥屰� 丿賵賲 讴賳爻乇鬲蹖 賲蹖鈥屬嗁堌ж操嗀� 讴賴 賲乇丿 賮乇丕乇蹖貙 卮禺氐蹖鬲 賲丨賵乇蹖 乇賲丕賳貙 亘賴 丨丕賱蹖 鬲亘鈥屫藏� 賵丕乇丿 鬲賲丕卮丕趩蹖丕賳卮 賲蹖鈥屫促堌�.
賲毓賳丕蹖 芦夭賲丕賳禄 丌賳鈥屫� 丌卮讴丕乇 賲蹖鈥屫促堌� 讴賴 賲蹖鈥屫ㄛ屬嗃屬� 讴丕乇倬丕賳鬲蹖賴 丕夭 丕賳賵丕毓 诏賵賳丕诏賵賳 鬲讴賳蹖讴鈥屬囏й� 乇賵丕蹖蹖 噩乇蹖丕賳 爻蹖丕賱 匕賴賳 亘賴乇賴 亘乇丿賴 丕爻鬲. 賲丨丕爻亘賴鈥屰� 夭賲丕賳 丿乇 丕蹖賳 爻亘讴 乇賵丕蹖鬲 亘爻蹖丕乇 賲賴賲 丕爻鬲 賵 讴賲丕賱 禺賱丕賯蹖鬲 讴丕乇倬丕賳鬲蹖賴 亘丕 讴賳丕乇 賴賲 诏匕丕卮鬲賳 爻亘讴 乇賵丕蹖鬲 賵 賵氐賮鈥屬囏й� 芦爻蹖賳賲丕蹖蹖禄丕卮 賳賲丕蹖丕賳 賲蹖鈥屫促堌�.
跇丕賳鈥屬举� 爻丕乇鬲乇 芦鬲毓賯蹖亘禄 乇丕 亘賴鬲乇蹖賳 丕孬乇 讴丕乇倬丕賳鬲蹖賴 賵 讴丕亘乇乇丕 丕蹖賳賮丕賳鬲賴 丌賳 乇丕 丕夭 丕賳诏卮鬲鈥屫促呚ж� 乇賲丕賳鈥屬囏й� 讴賵鬲丕賴 亘蹖鈥屬嗁傌� 丕丿亘蹖丕鬲 丕爻倬丕賳蹖丕蹖蹖鈥屫藏ㄘз� 賳丕賲蹖丿賴 丕爻鬲.
芦鬲毓賯蹖亘禄 亘丕 賱丕蹖賴鈥屫ㄙ嗀� 乇賵丕蹖鬲 賵 亘丕夭賴鈥屬囏й� 夭賲丕賳蹖 賲賯胤毓 賵 賲胤賳胤賳卮 亘賴鈥屫簇� 爻蹖賳賲丕蹖蹖 丕爻鬲 趩賳丕賳 讴賴 丿乇亘丕乇賴鈥屰� 丌賳 诏賮鬲賴鈥屫з嗀� 禺賵丕賳賳丿賴 乇賲丕賳 乇丕 亘賴 噩丕蹖 禺賵丕賳丿賳 芦賲蹖鈥屫ㄛ屬嗀�. 讴丕乇倬丕賳鬲蹖賴 讴賴 丕夭 賲賵爻蹖賯蹖鈥屫促嗀ж池з� 亘乇噩爻鬲賴鈥屰� 賲毓丕氐乇 亘賵丿 丕蹖賳 乇賲丕賳 乇丕 亘爻蹖丕乇 賴賳乇賲賳丿丕賳賴 亘賴 賮乇賲 爻賵賳丕鬲 賲賵爻蹖賯蹖 賳賵卮鬲賴 賵 鬲賳馗蹖賲 乇禺丿丕丿賴丕蹖 丿丕爻鬲丕賳 亘賴 卮蹖賵賴鈥屫й� 丕爻鬲 讴賴 丿賯蹖賯丕賸 亘賴 丕賳丿丕夭賴鈥屰� 夭賲丕賳 賳賵丕禺鬲賳 爻賳賮賵賳蹖 丕乇賵卅蹖讴丕蹖 亘鬲賴賵賵賳 胤賵賱 亘讴卮丿貙 賯胤毓賴鈥屫й� 讴賴 丿乇 賳蹖賲賴鈥屰� 丿賵賲 讴賳爻乇鬲蹖 賲蹖鈥屬嗁堌ж操嗀� 讴賴 賲乇丿 賮乇丕乇蹖貙 卮禺氐蹖鬲 賲丨賵乇蹖 乇賲丕賳貙 亘賴 丨丕賱蹖 鬲亘鈥屫藏� 賵丕乇丿 鬲賲丕卮丕趩蹖丕賳卮 賲蹖鈥屫促堌�.
賲毓賳丕蹖 芦夭賲丕賳禄 丌賳鈥屫� 丌卮讴丕乇 賲蹖鈥屫促堌� 讴賴 賲蹖鈥屫ㄛ屬嗃屬� 讴丕乇倬丕賳鬲蹖賴 丕夭 丕賳賵丕毓 诏賵賳丕诏賵賳 鬲讴賳蹖讴鈥屬囏й� 乇賵丕蹖蹖 噩乇蹖丕賳 爻蹖丕賱 匕賴賳 亘賴乇賴 亘乇丿賴 丕爻鬲. 賲丨丕爻亘賴鈥屰� 夭賲丕賳 丿乇 丕蹖賳 爻亘讴 乇賵丕蹖鬲 亘爻蹖丕乇 賲賴賲 丕爻鬲 賵 讴賲丕賱 禺賱丕賯蹖鬲 讴丕乇倬丕賳鬲蹖賴 亘丕 讴賳丕乇 賴賲 诏匕丕卮鬲賳 爻亘讴 乇賵丕蹖鬲 賵 賵氐賮鈥屬囏й� 芦爻蹖賳賲丕蹖蹖禄丕卮 賳賲丕蹖丕賳 賲蹖鈥屫促堌�.
跇丕賳鈥屬举� 爻丕乇鬲乇 芦鬲毓賯蹖亘禄 乇丕 亘賴鬲乇蹖賳 丕孬乇 讴丕乇倬丕賳鬲蹖賴 賵 讴丕亘乇乇丕 丕蹖賳賮丕賳鬲賴 丌賳 乇丕 丕夭 丕賳诏卮鬲鈥屫促呚ж� 乇賲丕賳鈥屬囏й� 讴賵鬲丕賴 亘蹖鈥屬嗁傌� 丕丿亘蹖丕鬲 丕爻倬丕賳蹖丕蹖蹖鈥屫藏ㄘз� 賳丕賲蹖丿賴 丕爻鬲.
117 pages, Paperback
First published January 1, 1956
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476 people want to read
About the author
Alejo Carpentier
198听books501听followersWritings of Cuban author, musicologist, and diplomat Alejo Carpentier influenced the development of magical realism; his novels include
Lord, Praised Be Thou!
(1933) and
The Kingdom of This World
(1949).
Alejo Carpentier Blagoobrasoff, an essayist, greatly influenced Latin American literature during its "boom" period.
Perhaps most important intellectual figure of the 20th century, this classically trained pianist and theorist of politics and literature produced avant-garde radio programming. Best known Carpentier also collaborated with such luminaries as Igor Stravinsky, Darius Milhaud, Georges Bataille, and Antonin Artaud. With Havana, he strongly self-identified throughout his life. People jailed and exiled him, who lived for many years in France and Venezuela but after the revolution of 1959 returned. He died in Paris, but survivors buried his body in Havana.
Alejo Carpentier Blagoobrasoff, an essayist, greatly influenced Latin American literature during its "boom" period.
Perhaps most important intellectual figure of the 20th century, this classically trained pianist and theorist of politics and literature produced avant-garde radio programming. Best known Carpentier also collaborated with such luminaries as Igor Stravinsky, Darius Milhaud, Georges Bataille, and Antonin Artaud. With Havana, he strongly self-identified throughout his life. People jailed and exiled him, who lived for many years in France and Venezuela but after the revolution of 1959 returned. He died in Paris, but survivors buried his body in Havana.
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March 9, 2025
"鬲毓賯蹖亘" 亘乇丕蹖 賲賳 卮亘蹖賴 蹖 讴賵蹖乇 亘蹖 丌亘 賵 毓賱賮蹖 亘賵丿 讴賴 丿乇 賲乇讴夭卮 蹖 丿卮鬲 倬乇 丕夭 诏賱 丌賮鬲丕亘诏乇丿賵賳 倬乇賵乇卮 丿丕丿賳 讴賴 氐亘丨 賴丕 爻乇卮賵賳 乇賵 亘賴 爻賵蹖 賲丕賴 亘賱賳丿 賲蹖讴賳賳 賵 亘丕 乇蹖鬲賲 賮丕賱卮 賵 睾賲诏蹖賳貙 亘丕 丨乇讴丕鬲蹖 賲賵夭賵賳 賵 卮丕丿貙 亘丕 讴賱賲丕鬲蹖 丌卮賳丕 賵 噩賲賱丕鬲蹖 賳賲丕丿蹖賳貙 卮毓乇 賲亘賴賲蹖 乇賵 賲蹖禺賵賳賳 讴賴 賴乇趩賯丿乇 亘賴 丕賳鬲賴丕蹖 丕蹖賳 卮毓乇 賳夭丿蹖讴 鬲乇 賲蹖卮賳貙 賲丨鬲賵丕蹖 丕賵賳 賵丕囟丨 鬲乇 賵 賯丕亘賱 丿乇讴 鬲乇 賲蹖卮賴貙 鬲丕 亘蹖 毓丿丕賱鬲蹖 賵 噩賳丕蹖丕鬲蹖 乇賵 亘賴 鬲氐賵蹖乇 亘讴卮賴 讴賴 亘乇诏乇賮鬲賴 丕夭 噩乇蹖丕賳丕鬲蹖 爻蹖丕爻蹖 賵 丕毓鬲乇丕囟蹖賴...
鬲毓賯蹖亘貙 賴賲蹖賳 賯丿乇 賲亘賴賲 賵 爻禺鬲 賵 亘蹖 乇亘胤貙 丕賲丕 賯丕亘賱 丿乇讴賴!
" 丿賵乇丕賳 丨讴賲 賴丕蹖 丕毓丿丕賲蹖 亘賵丿 讴賴 丕夭 丿賵乇 賯乇丕卅鬲 賲蹖 卮丿貙 丿賵乇丕賳 卮噩丕毓鬲 賮乇賵鬲賳丕賳賴貙 丿賵乇丕賳 亘丕夭蹖 賲乇诏 賵 夭賳丿诏蹖. 丿賵乇丕賳 丕毓丿丕賲 丨蹖乇鬲 丕賳诏蹖夭 亘賵丿 讴賴 賲丕賲賵乇蹖 亘賴 賱亘禺賳丿蹖 爻賳诏丿賱丕賳賴 鬲丿丕乇讴卮 賲蹖 丿蹖丿 賵 丨讴賲貙 亘賴 亘丕夭 讴乇丿賳 讴鬲丕亘蹖 蹖丕 丿乇蹖丕賮鬲 賴丿蹖賴 丕蹖 丿乇 毓蹖丿 倬丕讴貙 丿乇 賱賮丕賮賴 蹖 讴丕睾匕 讴丕睾匕乇賳诏蹖 賲夭蹖賳 亘賴 賳賯卮 丿丕乇賵丕卮 賵 賳丕賯賵爻貙 噩丕乇蹖 賲蹖 卮丿. 丿賵乇丕賳 賲丨丕讴賲賴 亘賵丿...."
"丕噩乇丕 讴賳賳丿诏丕賳 丨讴賲 爻賱丕丨 賴丕卮丕賳 乇丕 賲蹖 丌賵乇賳丿 賵 丕賳丿讴蹖 亘毓丿 氐丿丕蹖 卮賱蹖讴 丕夭 倬丕蹖 鬲賳賵賲賳丿鬲乇蹖賳 丿乇禺鬲 亘賱賳丿 賲蹖 卮賵丿. 丕讴賳賵賳 丿乇 亘乇丕亘乇 讴爻蹖 讴賴 賮乇賵丕賮鬲丕丿賴 丕爻鬲貙 爻丕丿诏蹖 丕夭 亘蹖賳 亘乇丿賳 賴爻鬲蹖 睾乇賯賴 蹖 丨蹖乇鬲賲 賲蹖 讴賳丿. 賴賲賴 趩蹖夭 胤亘蹖毓蹖 賲蹖 賳賲丕蹖丿: 丌賳 讴賴 丨乇讴鬲 賲蹖 讴乇丿 丿蹖诏乇 賴乇诏夭 賳禺賵丕賴丿 噩賳亘蹖丿貨 氐丿丕蹖卮 丿乇 丿賴丕賳蹖 倬乇禺賵賳 禺丕賲賵卮 卮丿 讴賴 丕讴賳賵賳 賴賲蹖賳 禺賵賳 賴賲趩賵賳 鬲讴賴 丕蹖 賲蹖賳丕讴丕乇蹖 賮卮乇丿賴 趩丕賳賴 蹖 丕氐賱丕丨 賳卮丿賴 丕卮 乇丕 賲蹖 倬賵卮丕賳丿貨 賴乇 丕丨爻丕爻 賲賲讴賳 賲丨爻賵爻 卮丿 賵 爻讴賵賳 蹖诏丕賳賴 趩乇禺賴 蹖 鬲讴乇丕乇 乇丕 卮讴爻鬲賴 丕爻鬲. 賴賲賴 賲蹖鈥屭堐屬嗀� " 賱丕夭賲 亘賵丿"貙 賵噩丿丕賳卮丕賳 亘賴 爻禺賳 丌賲丿賴 丕爻鬲貙 禺賵丿卮丕賳 乇丕 丿乇 鬲丕乇蹖禺 賲蹖 噩賵蹖賳丿. 賴賲賴 丿乇 卮亘 倬乇丕讴賳丿賴 賲蹖 卮賵賳丿 賵 丿蹖诏乇 賱丕夭賲 賳蹖爻鬲 倬賳賴丕賳 卮賵賳丿貙 賱丕夭賲 賳蹖爻鬲 亘賴 爻丕蹖賴 賴丕 賲馗賳賵賳 亘丕卮賳丿 趩賵賳 丿賵乇丕賳 毓賵囟 卮丿賴 丕爻鬲貙 賴乇亘丕乇 亘賴 氐丿丕蹖 亘賱賳丿鬲乇 鬲讴乇丕乇 賲蹖 讴賳賳丿 丕蹖賳 讴丕乇 賱丕夭賲 亘賵丿 鬲丕 賵乇賵丿卮丕賳 亘賴 丿賵乇丕賳貙 讴賴 毓賵囟 卮丿賴 丕爻鬲貙 禺丕賱氐 鬲乇 亘丕卮丿...."
趩賴 賯氐賴 蹖 丌卮賳丕蹖蹖....!
鬲毓賯蹖亘貙 賴賲蹖賳 賯丿乇 賲亘賴賲 賵 爻禺鬲 賵 亘蹖 乇亘胤貙 丕賲丕 賯丕亘賱 丿乇讴賴!
" 丿賵乇丕賳 丨讴賲 賴丕蹖 丕毓丿丕賲蹖 亘賵丿 讴賴 丕夭 丿賵乇 賯乇丕卅鬲 賲蹖 卮丿貙 丿賵乇丕賳 卮噩丕毓鬲 賮乇賵鬲賳丕賳賴貙 丿賵乇丕賳 亘丕夭蹖 賲乇诏 賵 夭賳丿诏蹖. 丿賵乇丕賳 丕毓丿丕賲 丨蹖乇鬲 丕賳诏蹖夭 亘賵丿 讴賴 賲丕賲賵乇蹖 亘賴 賱亘禺賳丿蹖 爻賳诏丿賱丕賳賴 鬲丿丕乇讴卮 賲蹖 丿蹖丿 賵 丨讴賲貙 亘賴 亘丕夭 讴乇丿賳 讴鬲丕亘蹖 蹖丕 丿乇蹖丕賮鬲 賴丿蹖賴 丕蹖 丿乇 毓蹖丿 倬丕讴貙 丿乇 賱賮丕賮賴 蹖 讴丕睾匕 讴丕睾匕乇賳诏蹖 賲夭蹖賳 亘賴 賳賯卮 丿丕乇賵丕卮 賵 賳丕賯賵爻貙 噩丕乇蹖 賲蹖 卮丿. 丿賵乇丕賳 賲丨丕讴賲賴 亘賵丿...."
"丕噩乇丕 讴賳賳丿诏丕賳 丨讴賲 爻賱丕丨 賴丕卮丕賳 乇丕 賲蹖 丌賵乇賳丿 賵 丕賳丿讴蹖 亘毓丿 氐丿丕蹖 卮賱蹖讴 丕夭 倬丕蹖 鬲賳賵賲賳丿鬲乇蹖賳 丿乇禺鬲 亘賱賳丿 賲蹖 卮賵丿. 丕讴賳賵賳 丿乇 亘乇丕亘乇 讴爻蹖 讴賴 賮乇賵丕賮鬲丕丿賴 丕爻鬲貙 爻丕丿诏蹖 丕夭 亘蹖賳 亘乇丿賳 賴爻鬲蹖 睾乇賯賴 蹖 丨蹖乇鬲賲 賲蹖 讴賳丿. 賴賲賴 趩蹖夭 胤亘蹖毓蹖 賲蹖 賳賲丕蹖丿: 丌賳 讴賴 丨乇讴鬲 賲蹖 讴乇丿 丿蹖诏乇 賴乇诏夭 賳禺賵丕賴丿 噩賳亘蹖丿貨 氐丿丕蹖卮 丿乇 丿賴丕賳蹖 倬乇禺賵賳 禺丕賲賵卮 卮丿 讴賴 丕讴賳賵賳 賴賲蹖賳 禺賵賳 賴賲趩賵賳 鬲讴賴 丕蹖 賲蹖賳丕讴丕乇蹖 賮卮乇丿賴 趩丕賳賴 蹖 丕氐賱丕丨 賳卮丿賴 丕卮 乇丕 賲蹖 倬賵卮丕賳丿貨 賴乇 丕丨爻丕爻 賲賲讴賳 賲丨爻賵爻 卮丿 賵 爻讴賵賳 蹖诏丕賳賴 趩乇禺賴 蹖 鬲讴乇丕乇 乇丕 卮讴爻鬲賴 丕爻鬲. 賴賲賴 賲蹖鈥屭堐屬嗀� " 賱丕夭賲 亘賵丿"貙 賵噩丿丕賳卮丕賳 亘賴 爻禺賳 丌賲丿賴 丕爻鬲貙 禺賵丿卮丕賳 乇丕 丿乇 鬲丕乇蹖禺 賲蹖 噩賵蹖賳丿. 賴賲賴 丿乇 卮亘 倬乇丕讴賳丿賴 賲蹖 卮賵賳丿 賵 丿蹖诏乇 賱丕夭賲 賳蹖爻鬲 倬賳賴丕賳 卮賵賳丿貙 賱丕夭賲 賳蹖爻鬲 亘賴 爻丕蹖賴 賴丕 賲馗賳賵賳 亘丕卮賳丿 趩賵賳 丿賵乇丕賳 毓賵囟 卮丿賴 丕爻鬲貙 賴乇亘丕乇 亘賴 氐丿丕蹖 亘賱賳丿鬲乇 鬲讴乇丕乇 賲蹖 讴賳賳丿 丕蹖賳 讴丕乇 賱丕夭賲 亘賵丿 鬲丕 賵乇賵丿卮丕賳 亘賴 丿賵乇丕賳貙 讴賴 毓賵囟 卮丿賴 丕爻鬲貙 禺丕賱氐 鬲乇 亘丕卮丿...."
趩賴 賯氐賴 蹖 丌卮賳丕蹖蹖....!
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July 30, 2016Those who first saw it, in 1804, the musicians who first played it, saw the name BUONAPARTE at the top of the title page and LUIGI VAN BEETHOVEN at the very bottom. By October, 1806, however, when Beethoven published his Third Symphony, Napoleon's name was gone. Instead, the dedication began:
Sinfonia Eroica, composta per festeggiare il souvvenire di un grand Uomo . . .
The Great Man is not named, but it's still Napoleon, or at least the 'memory' of Napoleon, still alive in 1806, so, rather, what Beethoven had wished Napoleon to be. The controversy over when Beethoven soured on Napoleon is unimportant for our purposes, but someone erased the Emperor's name on a copyist's score so fiercely a hole was worn in the paper.
But why talk about the Eroica in a review about an odd novella set in 1950s Cuba? Well, duh. But I'll get back to duh.
'The Chase' opens with that 1806 dedication in italics. The action begins in a concert hall, which is about to perform the Eroica. A student ticket seller is reading a biography of Beethoven, waiting for the music to begin. A fugitive runs in, throws a large banknote at the teller and runs into the theater, pursued by two men.
The student and the fugitive will be intertwined through that banknote (is it counterfeit?) and through their nocturnal visits to the prostitute Estrella. It was she who was visited, almost never visiting anyone herself.
The fugitive hides, flees, hides again, from his pursuers and his past, when torture tested his loyalty. Is he running from the police or his one-time comrades?
But the music pursues him, too. The notes are everywhere: in the concert hall, in the prostitute's room, in a garden, in a conversation. Carpentier, a musicologist as well as a revered Latin American novelist, does this as well an anyone I've read: weaving plot and music lines together.*
Which brings me back to duh. Carpentier published this in 1956. Batista was still in control in Cuba but Castro was beginning his guerilla war. Surely Carpentier had some grand Uomo in mind. Whose name was Carpentier scratching out? But we can choose too. Who was the Great Man? Sixty years later, we have memory to let us choose.
The fugitive runs from tree to tree, hiding in each shadow:
Before him the avenue, where various Presidents, with thick bronze frock coats, standing on granite pedestals, were sculpted in heroic size above the ice-cream vendors, who were ringing their viaticum bells, descended to the sea covered by clouds palpitating with distant flashes of lightning.
A cautionary tale, then, that is not confined to an island.
___________________
* haunts me still.
Sinfonia Eroica, composta per festeggiare il souvvenire di un grand Uomo . . .
The Great Man is not named, but it's still Napoleon, or at least the 'memory' of Napoleon, still alive in 1806, so, rather, what Beethoven had wished Napoleon to be. The controversy over when Beethoven soured on Napoleon is unimportant for our purposes, but someone erased the Emperor's name on a copyist's score so fiercely a hole was worn in the paper.
But why talk about the Eroica in a review about an odd novella set in 1950s Cuba? Well, duh. But I'll get back to duh.
'The Chase' opens with that 1806 dedication in italics. The action begins in a concert hall, which is about to perform the Eroica. A student ticket seller is reading a biography of Beethoven, waiting for the music to begin. A fugitive runs in, throws a large banknote at the teller and runs into the theater, pursued by two men.
The student and the fugitive will be intertwined through that banknote (is it counterfeit?) and through their nocturnal visits to the prostitute Estrella. It was she who was visited, almost never visiting anyone herself.
The fugitive hides, flees, hides again, from his pursuers and his past, when torture tested his loyalty. Is he running from the police or his one-time comrades?
But the music pursues him, too. The notes are everywhere: in the concert hall, in the prostitute's room, in a garden, in a conversation. Carpentier, a musicologist as well as a revered Latin American novelist, does this as well an anyone I've read: weaving plot and music lines together.*
Which brings me back to duh. Carpentier published this in 1956. Batista was still in control in Cuba but Castro was beginning his guerilla war. Surely Carpentier had some grand Uomo in mind. Whose name was Carpentier scratching out? But we can choose too. Who was the Great Man? Sixty years later, we have memory to let us choose.
The fugitive runs from tree to tree, hiding in each shadow:
Before him the avenue, where various Presidents, with thick bronze frock coats, standing on granite pedestals, were sculpted in heroic size above the ice-cream vendors, who were ringing their viaticum bells, descended to the sea covered by clouds palpitating with distant flashes of lightning.
A cautionary tale, then, that is not confined to an island.
___________________
* haunts me still.
December 24, 2020
| 丿賵乇丕賳 丨讴賲鈥屬囏й� 丕毓丿丕賲蹖 亘賵丿 讴賴 丕夭 丿賵乇 賯乇丕卅鬲 賲蹖鈥屫簇� 丿賵乇丕賳 卮噩丕毓鬲 賮乇賵鬲賳丕賳賴貙 丿賵乇丕賳 亘丕夭蹖 賲乇诏 賵 夭賳丿诏蹖. |
亘乇禺賱丕賮 丨噩賲 讴賲卮 讴賱蹖 丕夭賲 丕賳乇跇蹖 诏乇賮鬲. 賴賲賵賳胤賵乇 讴賴 诏賮鬲賴 賲蹖鈥屫促� 丕孬乇 丕賳诏丕乇 讴賴 爻蹖賳賲丕蹖蹖賴 賵 賲蹖鈥屫ㄛ屬嗃屬呚�.
亘乇丕蹖 賲賳 亘賴 賳賵毓蹖 爻蹖丕賱 亘賵丿賳卮 賯卮賳诏 亘賵丿. 丕夭 丕賵賳 讴鬲丕亘鈥屬囏й屰屬� 讴賴 氐丨賳賴鈥屬囏ж� 鬲賵蹖 匕賴賳賲 鬲乇爻蹖賲 卮丿賳 賵 賲蹖鈥屬呝堎嗁�.
亘乇禺賱丕賮 丨噩賲 讴賲卮 讴賱蹖 丕夭賲 丕賳乇跇蹖 诏乇賮鬲. 賴賲賵賳胤賵乇 讴賴 诏賮鬲賴 賲蹖鈥屫促� 丕孬乇 丕賳诏丕乇 讴賴 爻蹖賳賲丕蹖蹖賴 賵 賲蹖鈥屫ㄛ屬嗃屬呚�.
亘乇丕蹖 賲賳 亘賴 賳賵毓蹖 爻蹖丕賱 亘賵丿賳卮 賯卮賳诏 亘賵丿. 丕夭 丕賵賳 讴鬲丕亘鈥屬囏й屰屬� 讴賴 氐丨賳賴鈥屬囏ж� 鬲賵蹖 匕賴賳賲 鬲乇爻蹖賲 卮丿賳 賵 賲蹖鈥屬呝堎嗁�.
October 4, 2016
Have you ever been at a wine tasting where everyone can taste the hint of blackberries except for you? Only you don鈥檛 want to look like an uncultured simpleton, so you either say nothing or agree with the group?
That鈥檚 where I鈥檓 at with The Chase. I鈥檇 read all of this stuff about the novel鈥檚 historic importance, how it鈥檚 a twentieth-century classic, how, reading it, you could feel the rise and swell of the music 鈥� and all I got from it is that it鈥檚 a book that overuses pronouns.
Set to Beethoven鈥檚 Eroica Symphony and considered part of Latin America鈥檚 magical realism movement (although not featuring any magical realism, The Chase was written during a period of Carpentier鈥檚 career where he was redefining the genre), The Chase takes place over one evening in a Havana-esque city. The plot has some interesting twists and I liked the point of the story, but mostly I feel like I just drank grape juice while everyone else sipped a killer Cab. Quasi-recommended.
That鈥檚 where I鈥檓 at with The Chase. I鈥檇 read all of this stuff about the novel鈥檚 historic importance, how it鈥檚 a twentieth-century classic, how, reading it, you could feel the rise and swell of the music 鈥� and all I got from it is that it鈥檚 a book that overuses pronouns.
Set to Beethoven鈥檚 Eroica Symphony and considered part of Latin America鈥檚 magical realism movement (although not featuring any magical realism, The Chase was written during a period of Carpentier鈥檚 career where he was redefining the genre), The Chase takes place over one evening in a Havana-esque city. The plot has some interesting twists and I liked the point of the story, but mostly I feel like I just drank grape juice while everyone else sipped a killer Cab. Quasi-recommended.
January 5, 2025
Titulo: El acoso
Autor: Alejo Carpenter
Motivo de lectura: #RetoPremios2024
Lectura / Relectura: Lectura
Fisico / Electronico: Electronico
Mi edicion: -
Puntuacion: 2.5/5
Es la primera vez que leo al autor y a煤n no puedo decidirme si fue una experiencia satisfactoria o no.
Es una lectura descriptiva, muy sensorial, la estructura la encontre un poco febril.
Creo que mi mayor problema es que nunca logr茅 empatizar con el personaje, siento que ni siquiera lo llegu茅 a conocer porque la forma en que Alejo Carpentier relata la historia es como si en realidad hablara de cosas como si ya conoci茅ramos todo, cuando en realidad falta contexto de pr谩cticamente todo.
La prosa es muy buena lamentablemente me dej贸 un sabor a poco, ojal谩 hubiera ahondado m谩s en la construcci贸n del personaje, en el desarrollo de la historia.
Igualmente le dar铆a una segunda oportunidad al autor.
Autor: Alejo Carpenter
Motivo de lectura: #RetoPremios2024
Lectura / Relectura: Lectura
Fisico / Electronico: Electronico
Mi edicion: -
Puntuacion: 2.5/5
Es la primera vez que leo al autor y a煤n no puedo decidirme si fue una experiencia satisfactoria o no.
Es una lectura descriptiva, muy sensorial, la estructura la encontre un poco febril.
Creo que mi mayor problema es que nunca logr茅 empatizar con el personaje, siento que ni siquiera lo llegu茅 a conocer porque la forma en que Alejo Carpentier relata la historia es como si en realidad hablara de cosas como si ya conoci茅ramos todo, cuando en realidad falta contexto de pr谩cticamente todo.
La prosa es muy buena lamentablemente me dej贸 un sabor a poco, ojal谩 hubiera ahondado m谩s en la construcci贸n del personaje, en el desarrollo de la historia.
Igualmente le dar铆a una segunda oportunidad al autor.
August 30, 2018
蹖讴蹖 丕夭 爻蹖賳賲丕蹖蹖鈥屫臂屬� 乇賲丕賳鈥屬囏й屰� 讴賴 禺賵丕賳丿賴鈥屫з�. 鬲賱賮蹖賯 卮賵乇丕賳诏蹖夭蹖 丕夭 鬲氐丕賵蹖乇 爻蹖賳賲丕蹖蹖 卮禺氐蹖鬲鈥屬囏ж� 賴丕賵丕賳丕蹖 賯丿蹖賲 賵 賲賵爻蹖賯蹖貨 诏賵蹖蹖 乇賲丕賳 胤乇丨蹖鈥屫池� 亘乇丕蹖 賮蹖賱賲. 爻賲賮賵賳蹖 卮賲丕乇賴 鄢 亘鬲賴賵賵賳 賲毓乇賵賮 亘賴 丕乇賵卅蹖讴丕-亘賴 賲毓賳丕蹖 丨賲丕爻蹖- 賳賯卮 讴賱蹖丿蹖 丿乇 乇賲丕賳 丕蹖賮丕 賲蹖鈥屭┵嗀�. 丿丕爻鬲丕賳 賲亘丕乇夭蹖 丕賳賯賱丕亘蹖 丕爻鬲 讴賴 倬爻 丕夭 鬲丨賲賱 爻禺鬲蹖鈥屬囏й� 賮乇丕賵丕賳 丿乇 夭賳丿丕賳 亘賴 丿賵爻鬲丕賳卮 禺蹖丕賳鬲 讴乇丿賴貙 丌賳鈥屬囏� 乇丕 賱賵 賲蹖鈥屫囏� 賵 丿乇 賳賴丕蹖鬲 賳蹖夭 鬲賵爻胤 乇賮賯丕蹖 爻丕亘賯卮 亘賴 賯鬲賱 賲蹖鈥屫必池�. 賵噩賴 鬲乇丕跇蹖讴 丿丕爻鬲丕賳 丕蹖賳 丕爻鬲 讴賴 賯賴乇賲丕賳 倬爻 丕夭 鬲乇讴 丌乇賲丕賳 賵 丕賳诏蹖夭賴鈥屰� 賳禺爻鬲蹖賳鈥屫ж� 倬蹖卮 丕夭 倬蹖乇賵夭蹖 賲蹖鈥屬呟屫必�. 噩丕賱亘 丌賳 讴賴 賲毓賳丕蹖 丿蹖诏乇 丕乇賵卅蹖讴丕貙 丌乇夭賵蹖 亘乇丌賵乇丿賴 賳卮丿賴貙 亘丿蹖賱 卮诏賮鬲鈥屫з嗂屫槽� 丕爻鬲 亘乇丕蹖 賳丕讴丕賲蹖 賯賴乇賲丕賳/囟丿 賯賴乇賲丕賳 丿丕爻鬲丕賳. 賱丕夭賲 亘賴 匕讴乇 丕爻鬲 讴賴 亘鬲賴賵賵賳 丕亘鬲丿丕 爻賲賮賵賳蹖 乇丕 亘賴 賳丕倬賱卅賵賳 鬲賯丿蹖賲 賲蹖鈥屭┵嗀� 丕賲丕 倬爻 丌賳鈥屭┵� 賳丕倬賱卅賵賳 亘賴 丕鬲乇蹖卮 丨賲賱賴 賲蹖鈥屭┵嗀� 鬲賯丿蹖賲鈥屬嗀з呝� 乇丕 倬丕乇賴 賲蹖鈥屭┵嗀�.
February 8, 2024
M煤ltiplas narrativas, m煤ltiplas confus玫es, m煤ltiplas mortes, tudo isso ao som de Eroica de Beethoven em um teatro cubano sob o governo terr铆vel de Fulg锚ncio Batista.
Narrando interruptamente os dias de um revolucion谩rio e terrorista que n茫o suportando as torturas exp玫e seus companheiros, Carpentier conta sob o fluxo de consci锚ncia de seu protagonista as situa莽玫es que o levaram at茅 a fat铆dico dia do teatro que abre a obra; utilizando de flashbacks que n茫o se entrela莽am e est茫o sobretudo em fora de ordem, infelizmente a obra se faz t茫o ca贸tica na sua estrutura e na linguagem que eu s贸 pude entende-la ap贸s ler mais acerca dela, ocasionando uma leitura que n茫o foi boa, embora aborde quest玫es s茅rias. Todavia, os demais leitores podem ter uma percep莽茫o diferente.
Narrando interruptamente os dias de um revolucion谩rio e terrorista que n茫o suportando as torturas exp玫e seus companheiros, Carpentier conta sob o fluxo de consci锚ncia de seu protagonista as situa莽玫es que o levaram at茅 a fat铆dico dia do teatro que abre a obra; utilizando de flashbacks que n茫o se entrela莽am e est茫o sobretudo em fora de ordem, infelizmente a obra se faz t茫o ca贸tica na sua estrutura e na linguagem que eu s贸 pude entende-la ap贸s ler mais acerca dela, ocasionando uma leitura que n茫o foi boa, embora aborde quest玫es s茅rias. Todavia, os demais leitores podem ter uma percep莽茫o diferente.
August 10, 2011
a slim work from cuban writer alejo carpentier, the chase (el acoso) is set in havana during the oppressive reign of fulgencio batista. often cited as a progenitor of magical realism, carpentier and his novels also influenced the latin american boom. the chase, though rich in descriptive language and possessed by a circuitous narrative, is not magical realism, per se. as an acclaimed musicologist, it is evident that carpentier's lush, lyrical prose was influenced by his musical background. as one of the main characters attempts to elude his politically-motivated pursuers, the chase wends a course through the streets of the revolutionary capital city. though perhaps not as haunting or salient a story as similarly-charged political works (benedetti, dorfman, antunes), the chase is, nonetheless, a gorgeously-crafted novella.
everything had been just, heroic, and sublime in the beginning: the houses they'd blown up during the night; the dignitaries shot down in the streets; the automobiles that disappeared as if swallowed by the earth; the explosives that were stored at home, among clothes perfumed with bunches of sweet basil- next to pamphlets carried in bakery baskets or in cases of beer whose bottles had been cut so that only the necks remained. it was a time when death sentences were passed from afar, a time for modest valor, a time for putting your life on the line. it was a time for dazzling executions carried out by an emissary wearing an implacable smile, executions that took place when the guilty party opened a book or a christmas present wrapped in paper decorated with mistletoe and bells. it was the time of the tribunal...
September 11, 2020
賳賵卮鬲賳 賳賯丿 亘乇丕賷 丕賷賳 賰鬲丕亘 卮丕賷丿 賰丕乇 亘爻賷丕乇 爻禺鬲賷 亘丕卮賴. 賰鬲丕亘賷 亘丕 乇賵丕賷鬲 噩乇賷丕賳 爻賷丕賱 匕賴賳 賵 亘爻賷丕乇 爻禺鬲 禺賵丕賳 賰賴 丕诏乇 鬲噩乇亘賴 禺賵丕賳卮 賰鬲丕亘賴丕賷賷 亘丕 丕賷賳 賲丿賱 乇賵丕賷鬲 乇賵 賳丿丕卮鬲賴 亘丕卮賷丿 賱匕鬲 趩賳丿丕賳賷 賳禺賵丕賴賷丿 亘乇丿.
丕賷賳 賰鬲丕亘 鬲賱賮賷賯 夭賷亘丕賷賷 丕爻鬲 丕夭 鬲氐丕賵賷乇 爻賷賳賲丕賷賷 卮禺氐賷鬲 賴丕貙 卮賴乇 賴丕賵丕賳丕 賯丿賷賲 賵 賲賵爻賷賯賷. 爻賲賮賵賳賷 卮賲丕乇賴 伲 亘鬲賴賵賵賳 賲毓乇賵賮 亘賴 "丕乇賵卅賷賰丕" 賳賯卮 丕爻丕爻賷 丿乇 乇賲丕賳 丕賷賮丕 賲賷賰賳丿.
賷賰賷 丕夭 賲毓丕賳賷 "丕乇賵卅賷賰丕" 丌乇夭賵賷 亘乇丌賵乇丿賴 賳卮丿賴 丕爻鬲 賰賴 诏賵賷丕賷 卮禺氐賷鬲 丕氐賱賷 丿丕爻鬲丕賳 賴爻鬲貙 賮乇丿賷 丕賳賯賱丕亘賷 賰賴 倬爻 丕夭 鬲丨賲賱 爻禺鬲賷 賴丕賷 賮乇丕賵丕賳 丿乇 夭賳丿丕賳 亘賴 丿賵爻鬲丕賳卮 禺賷丕賳鬲 賰乇丿賴 賵 丌賳賴丕 乇丕 賱賵 賲賷丿賴丿 賵 丿乇 賳賴丕賷鬲 賴賲 鬲賵爻胤 賴賲丕賳 乇賮賯丕賷 爻丕亘賯卮 亘賴 賯鬲賱 賲賷乇爻丿.
賳賰鬲賴 噩丕賱亘 丿乇 丕乇鬲亘丕胤 亘丕 爻賲賮賵賳賷 伲 亘鬲賴賵賵賳 丕賷賳爻鬲 賰賴 丌賳 乇丕 亘賴 賳丕倬賱卅賵賳 鬲賯丿賷賲 賲賷賰賳丿 賵賱賷 亘毓丿 丕夭 丨賲賱賴 賳丕倬賱卅賵賳 亘賴 丕鬲乇賷卮貙 鬲賯丿賷賲 賳丕賲賴 乇丕 倬丕乇賴 賲賷賰賳丿.
丕賷賳 丕賵賱賷賳 賰鬲丕亘賷 亘賵丿 賰賴 賲賳 丕夭 丕賱禺丕賳丿乇賵 賰丕乇倬丕賳鬲賷賴 賳賵賷爻賳丿賴 氐丕丨亘 賳丕賲 丌賲乇賷賰丕賷 賱丕鬲賷賳 賲賷禺賵賳丿賲 賵 丕賷賳賰賴 鬲賳賴丕 爻賴 爻鬲丕乇賴 亘賴 丌賳 丿丕丿賲 賳丕卮賷 丕夭 丕賷賳爻鬲 賰賴 賴賳賵夭 亘丕 賳孬乇 丕賷賳 賳賵賷爻賳丿賴 丕賳爻 賳诏乇賮鬲賴 丕賲. 賯胤毓兀 丕夭 賰鬲丕亘 亘毓丿賷 丕賷賳 賳賵賷爻賳丿賴 賰賴 噩夭亍 亘賴鬲乇賷賳 丌孬丕乇卮 賴賲 賲丨爻賵亘 賲賷卮賵丿 賷毓賳賷 "乇丿 诏賲" 賱匕鬲 亘賷卮鬲乇賷 禺賵丕賴賲 亘乇丿.
丕賷賳 賰鬲丕亘 鬲賱賮賷賯 夭賷亘丕賷賷 丕爻鬲 丕夭 鬲氐丕賵賷乇 爻賷賳賲丕賷賷 卮禺氐賷鬲 賴丕貙 卮賴乇 賴丕賵丕賳丕 賯丿賷賲 賵 賲賵爻賷賯賷. 爻賲賮賵賳賷 卮賲丕乇賴 伲 亘鬲賴賵賵賳 賲毓乇賵賮 亘賴 "丕乇賵卅賷賰丕" 賳賯卮 丕爻丕爻賷 丿乇 乇賲丕賳 丕賷賮丕 賲賷賰賳丿.
賷賰賷 丕夭 賲毓丕賳賷 "丕乇賵卅賷賰丕" 丌乇夭賵賷 亘乇丌賵乇丿賴 賳卮丿賴 丕爻鬲 賰賴 诏賵賷丕賷 卮禺氐賷鬲 丕氐賱賷 丿丕爻鬲丕賳 賴爻鬲貙 賮乇丿賷 丕賳賯賱丕亘賷 賰賴 倬爻 丕夭 鬲丨賲賱 爻禺鬲賷 賴丕賷 賮乇丕賵丕賳 丿乇 夭賳丿丕賳 亘賴 丿賵爻鬲丕賳卮 禺賷丕賳鬲 賰乇丿賴 賵 丌賳賴丕 乇丕 賱賵 賲賷丿賴丿 賵 丿乇 賳賴丕賷鬲 賴賲 鬲賵爻胤 賴賲丕賳 乇賮賯丕賷 爻丕亘賯卮 亘賴 賯鬲賱 賲賷乇爻丿.
賳賰鬲賴 噩丕賱亘 丿乇 丕乇鬲亘丕胤 亘丕 爻賲賮賵賳賷 伲 亘鬲賴賵賵賳 丕賷賳爻鬲 賰賴 丌賳 乇丕 亘賴 賳丕倬賱卅賵賳 鬲賯丿賷賲 賲賷賰賳丿 賵賱賷 亘毓丿 丕夭 丨賲賱賴 賳丕倬賱卅賵賳 亘賴 丕鬲乇賷卮貙 鬲賯丿賷賲 賳丕賲賴 乇丕 倬丕乇賴 賲賷賰賳丿.
丕賷賳 丕賵賱賷賳 賰鬲丕亘賷 亘賵丿 賰賴 賲賳 丕夭 丕賱禺丕賳丿乇賵 賰丕乇倬丕賳鬲賷賴 賳賵賷爻賳丿賴 氐丕丨亘 賳丕賲 丌賲乇賷賰丕賷 賱丕鬲賷賳 賲賷禺賵賳丿賲 賵 丕賷賳賰賴 鬲賳賴丕 爻賴 爻鬲丕乇賴 亘賴 丌賳 丿丕丿賲 賳丕卮賷 丕夭 丕賷賳爻鬲 賰賴 賴賳賵夭 亘丕 賳孬乇 丕賷賳 賳賵賷爻賳丿賴 丕賳爻 賳诏乇賮鬲賴 丕賲. 賯胤毓兀 丕夭 賰鬲丕亘 亘毓丿賷 丕賷賳 賳賵賷爻賳丿賴 賰賴 噩夭亍 亘賴鬲乇賷賳 丌孬丕乇卮 賴賲 賲丨爻賵亘 賲賷卮賵丿 賷毓賳賷 "乇丿 诏賲" 賱匕鬲 亘賷卮鬲乇賷 禺賵丕賴賲 亘乇丿.
April 25, 2020
趩蹖夭蹖 讴賴 亘丕毓孬 賲蹖鈥屫促堌� 丕丿亘蹖丕鬲 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 卮诏賮鬲鈥屫з嗂屫� 亘丕卮丿 貙 卮蹖賵賴鈥屰� 亘賴 讴丕乇 亘乇丿賳 讴賱賲丕鬲 賴爻鬲 貨 賳孬乇賽 丕蹖賳 丕丿亘蹖丕鬲 禺賵丿賿 讴賱丕爻 丿乇爻蹖鈥� 賴爻鬲 亘乇丕蹖 爻丕蹖乇 丕丿亘蹖丕鬲 .
鬲毓賯蹖亘 丿丕爻鬲丕賳賽 讴賵鬲丕賴蹖 賴爻鬲 讴賴 爻乇賳賵卮鬲 丿賵 卮禺氐蹖鬲 丕氐賱蹖 乇丕 亘賴 賲賵丕夭丕鬲 賴賲 倬蹖卮 賲蹖鈥屫ㄘ必� . 丿丕爻鬲丕賳 卮丕賲賱 鬲讴鈥屭堐屰� 賴丕蹖蹖 賳蹖夭 賲蹖鈥屫ㄘж簇� 讴賴 丿乇 賳賵毓 禺賵丿 卮丕賴讴丕乇 賴爻鬲 ...
讴鬲丕亘 卮丕賲賱 爻賴 亘禺卮 賴爻鬲 讴賴 亘禺卮 爻賵賲 貙 丕丿丕賲賴鈥屰� 亘禺卮 丕賵賱 賴爻鬲 賵 亘禺卮 丿賵賲 讴賴 氐賮丨丕鬲 夭蹖丕丿蹖 乇丕 丿乇 亘乇賲蹖鈥屭屫必� 貙 卮乇賵毓 亘賴 賵丕讴丕賵蹖賽 爻乇賳賵卮鬲賽 丿賵 卮禺氐蹖鬲 丕氐賱蹖 賲蹖鈥屭┵嗀� .
鬲毓賯蹖亘 丿丕爻鬲丕賳賽 讴賵鬲丕賴蹖 賴爻鬲 讴賴 爻乇賳賵卮鬲 丿賵 卮禺氐蹖鬲 丕氐賱蹖 乇丕 亘賴 賲賵丕夭丕鬲 賴賲 倬蹖卮 賲蹖鈥屫ㄘ必� . 丿丕爻鬲丕賳 卮丕賲賱 鬲讴鈥屭堐屰� 賴丕蹖蹖 賳蹖夭 賲蹖鈥屫ㄘж簇� 讴賴 丿乇 賳賵毓 禺賵丿 卮丕賴讴丕乇 賴爻鬲 ...
讴鬲丕亘 卮丕賲賱 爻賴 亘禺卮 賴爻鬲 讴賴 亘禺卮 爻賵賲 貙 丕丿丕賲賴鈥屰� 亘禺卮 丕賵賱 賴爻鬲 賵 亘禺卮 丿賵賲 讴賴 氐賮丨丕鬲 夭蹖丕丿蹖 乇丕 丿乇 亘乇賲蹖鈥屭屫必� 貙 卮乇賵毓 亘賴 賵丕讴丕賵蹖賽 爻乇賳賵卮鬲賽 丿賵 卮禺氐蹖鬲 丕氐賱蹖 賲蹖鈥屭┵嗀� .
April 30, 2025
Confuso y pomposo, muy lejos de la maravilla que me pareci贸 El Reino de este Mundo. A su favor la propia historia y la estructura de la novela.
May 31, 2022
賳賵毓 乇賵丕蹖鬲 丿乇 賲賳 讴卮卮蹖 丕蹖噩丕丿 賳賲蹖 讴乇丿 賵 鬲賵氐蹖賮丕鬲 夭蹖丕丿蹖 丕夭 賲毓賲丕乇蹖 亘賵丿 讴賴 亘丕 賲賵囟賵毓 賵 賮囟丕 亘乇丕蹖 賲賳 賴賲 禺賵丕賳蹖 賳丿丕卮鬲 賵 賲胤丕賱毓賴 蹖 丕蹖賳 鬲賵氐蹖賮丕鬲 亘毓囟蹖 噩丕賴丕 亘乇丕蹖賲 夭賳賳丿賴 賲蹖 卮丿
鬲賳賴丕 賳賯胤賴 賯賵鬲 讴鬲丕亘 亘乇丕蹖 賲賳 鬲賵氐蹖賮 亘毓囟蹖 丕夭 丕丨爻丕爻丕鬲 賵 诏乇賮鬲丕乇蹖 賴丕蹖 丕賳爻丕賳蹖 亘賵丿 讴賴 丨丕賱鬲蹖 卮丕毓乇丕賳賴 丿丕卮鬲.
鬲賳賴丕 賳賯胤賴 賯賵鬲 讴鬲丕亘 亘乇丕蹖 賲賳 鬲賵氐蹖賮 亘毓囟蹖 丕夭 丕丨爻丕爻丕鬲 賵 诏乇賮鬲丕乇蹖 賴丕蹖 丕賳爻丕賳蹖 亘賵丿 讴賴 丨丕賱鬲蹖 卮丕毓乇丕賳賴 丿丕卮鬲.
October 23, 2024
Me duele en el alma rese帽ar una obra de Carpentier con baja calificaci贸n pero realmente me cost贸 mucho encontrar al autor en esa novela. Si bien tiene un lindo vocabulario y es breve, sinceramente me cost贸 mucho seguir la historia.
Tenemos un personaje principal: el acosado, el perseguido, el torturado, el liberado como lo va nombrando seg煤n las circunstancias. Que huye de sus perseguidores y se esconde durante d铆as en los trasfondos de un teatro. El hambre y la desesperaci贸n lo hacen reflexionar, recordar y delirar por momentos. Llamado a la solidaridad: si alguien lo entendi贸 y disfrut贸 por favor iluminenme馃挅 pero lo que s铆; sin duda, no lo recomiendo para comenzar con el autor ya que tiene obras majestuosas.
Tenemos un personaje principal: el acosado, el perseguido, el torturado, el liberado como lo va nombrando seg煤n las circunstancias. Que huye de sus perseguidores y se esconde durante d铆as en los trasfondos de un teatro. El hambre y la desesperaci贸n lo hacen reflexionar, recordar y delirar por momentos. Llamado a la solidaridad: si alguien lo entendi贸 y disfrut贸 por favor iluminenme馃挅 pero lo que s铆; sin duda, no lo recomiendo para comenzar con el autor ya que tiene obras majestuosas.
December 17, 2018
Violenta y dif铆cil, "El acoso" es la segunda novela que leo de Alejo Carpentier. En ella, la tem谩tica musical permite que m煤ltiples narraciones se entrelacen; en especial, la del taquillero y el acosado, estudiante de arquitectura que huye de la persecuci贸n departe de las fuerzas militares del dictador Machado. En este sentido, ambas historias se articulan a partir de la "Eroica" de Beethoven, pieza que sirve de eje a ambos narradores (los dos se encuentran en el teatro) y, asimismo, marca el tiempo total en el que se desprende un relato desperdigado, a m煤ltiples voces, en los que la consciencia se cuestiona a s铆 misma hasta llegar a preguntarse, incluso, por el propio Dios.
Capaz lo 煤nico que hizo apartarme de la novela fue su escritura; tal vez muy pomposa y barroca para mi gusto. Eso s铆, Carpentier es alguien que debo leerse con calma...con la certeza de que, como los vinos, su literatura tiende a mejorar con el paso del tiempo y la reflexi贸n tranquila.
Capaz lo 煤nico que hizo apartarme de la novela fue su escritura; tal vez muy pomposa y barroca para mi gusto. Eso s铆, Carpentier es alguien que debo leerse con calma...con la certeza de que, como los vinos, su literatura tiende a mejorar con el paso del tiempo y la reflexi贸n tranquila.
February 23, 2008
A novella in the form of a sonata, with three main "themes" or narratives that interweave and imagery that overlaps and repeats, centered on a man who's being hunted for political reasons. All the action takes place within the forty-six minutes it takes to perform Beethoven's third symphony, Eroica. The author says he walked out the plot in Havana just to make sure it was possible. I love shit like that.
March 21, 2011
If James Joyce rewrote Crime & Punishment, ran it through a paper shredder, reassembled half the shreds, and set it in Cuba, the result would be El Acoso. Politically-charged, experimental, borderline unintelligible -- this will be either your most or least favorite Carpentier book. I lean toward the latter.
February 20, 2022
One of Carpentier's less well-known novels, and I can understand why: in addition to being (according to the Prologue of this edition) his only book not to have any "marvelous" aspect, it is simply very difficult to understand; what follows is my best guess as to what is happening. The novel is in stream-of-consciousness and is structured like a sonata. The setting is Havana in the late forties. It begins with the consciousness of a poor music student who is working as the cashier in a concert hall, and reading a biography of Beethoven which is quoted from time to time as he reads it, and we see from the outside the person who will be essentially the main character, a former architecture student and political activist, who is the one being "pursued" (the title is Spanish for "chase" or "pursuit"). These are the theme and countertheme. The action of this chapter takes place in the concert hall, during intermission, where a performance is about to be given of the Eroica as the second half of the program. The "pursued" rushes in and throws a large bill on the counter, grabs a ticket and hurries in without waiting for change, followed by two other men who run in without paying. The cashier cashes out, keeping the large bill -- the Eroica is the end of the night -- and rushes off to a local prostitute, Estrella, who refuses the bill as probably counterfeit and throws him out. He returns to the hall and offers to close up. We then without any notice get stream-of-consciousness of the main character -- it takes a while to realize that the person has changed, and we assume incorrectly that it follows the first section in time -- who is hiding in the tower of a house next door to the music student, from which he can hear the music student practicing and playing the Eroica on a cheap gramophone.
The second chapter, which takes up most of the book, is the "development" section, almost entirely in the consciousness of the main character, and goes back to the previous one or two days, although it takes a while to realize this, with flashbacks to the past several months, explaining in bits and pieces out of order how he got to the point at which he enters the concert hall. The chronology is so confused that at the beginning I had no idea what was going on, but by the end of the chapter I had it largely figured out, having had to occasionally go back and re-read former parts in the light of the later events, which were in some cases prior in time. We find out that the main character had been a member of an ultrleft terrorist group which degenerated into a criminal band. He is now on the run from both the police and his former comrades. He has also gotten religion very heavily, although largely expressed in formula prayers and quotations from the Mass.
A short third chapter is the "recapitulation" which repeats the events of the first chapter now largely through the consciousness of the major character. He rushes into the theater to hide. We then get the final event.
In addition to the difficulty of the structure, the language is also difficult: because of the main character's architecture background, he describes everything around him constantly in technical architectural terms which I didn't know even after looking up the English equivalents, and in other respects the vocabulary is very lush and "baroque" and the syntax is very complex (which was true of the two previous novels as well).
Despite being disguised as an adventure novel, the book deals with some very serious questions, as always with Carpentier: questions of guilt and repentance, as well as politics and music. I usually like books with a challenging style but in this case, while others may find that the theme resonates with them, for me it was not really worth the effort of decipherment.
The second chapter, which takes up most of the book, is the "development" section, almost entirely in the consciousness of the main character, and goes back to the previous one or two days, although it takes a while to realize this, with flashbacks to the past several months, explaining in bits and pieces out of order how he got to the point at which he enters the concert hall. The chronology is so confused that at the beginning I had no idea what was going on, but by the end of the chapter I had it largely figured out, having had to occasionally go back and re-read former parts in the light of the later events, which were in some cases prior in time. We find out that the main character had been a member of an ultrleft terrorist group which degenerated into a criminal band. He is now on the run from both the police and his former comrades. He has also gotten religion very heavily, although largely expressed in formula prayers and quotations from the Mass.
A short third chapter is the "recapitulation" which repeats the events of the first chapter now largely through the consciousness of the major character. He rushes into the theater to hide. We then get the final event.
In addition to the difficulty of the structure, the language is also difficult: because of the main character's architecture background, he describes everything around him constantly in technical architectural terms which I didn't know even after looking up the English equivalents, and in other respects the vocabulary is very lush and "baroque" and the syntax is very complex (which was true of the two previous novels as well).
Despite being disguised as an adventure novel, the book deals with some very serious questions, as always with Carpentier: questions of guilt and repentance, as well as politics and music. I usually like books with a challenging style but in this case, while others may find that the theme resonates with them, for me it was not really worth the effort of decipherment.
November 4, 2022
Cuba on the cusp of revolution; a cleverly convoluted novella.
The Chase features a covert armed struggle by urban student radicals, predating Che Guevara's rural uprising. The students have abandoned their initial revolutionary principles and now use violence on behalf of powerful protectors within government. Indeed, the students' latest political killing was commissioned by an "Exalted Personage", also known as "the man from the National Palace".
After the unnamed protagonist of The Chase joins the student radicals and is assigned to an assassination squad, he discovers this inherent corruption:
"... when he found out that someone had benefitted from that death, he'd been plagued by doubts, which were soon silenced by those around him who skillfully used the Words that justified everything. "The revolution", they said, "is not over yet." And step by step, dragged along by increasingly active hands, he passed into the bureaucracy of horror."
When a group of student insurgents is uncovered and broken by the police, the protagonist becomes a hunted man. The bulk of the novella traces his subsequent search for refuge within Havana. Hunting images recur through the novella, such as the description of women's furs draped across their backs like "thick festoons in a painted hunting scene" and the "hunting-horn theme" in the Beethoven symphony performed at the concert hall where the student seeks eventual refuge.
Music plays a central role in The Chase, reflecting Carpentier's strong musical training and abiding interest in the form. The novella is structured in three parts, mirroring the basic elements of a sonata, in which the musical (or novelistic) subject matter is first stated, then explored or expanded, and finally restated.
In the first part (movement), Carpentier introduces the concert hall, a ticket seller, and the hunted man's effort to seek refuge among the concert-goers. The second part provides context, gradually revealing the hunted man's crimes and reasons for flight; links are also revealed between the ticket seller and hunted man, both of whom (unwittingly) seek solace from the same prostitute and both of whom know an old lady who provides temporary protection to the hunted man. The third part returns to the concert hall for the denouement.
The novella is initially perplexing because of the temporal shifts: the 1,2,3 sequence of written parts would need to be read as 2,1,3 to restore the correct timeline of events. Perhaps given this reworking of the chronology, the storyline is not communicated as a continuous sequence of events (this happened, which led to that, which in turn...), but rather by a number of relatively self-contained set pieces that lend themselves to being pieced together like a puzzle. There is something theatrical too, perhaps, about this structure.
Carpentier unveils the story slowly: the hunted man's background is revealed only relatively late in the novella, and the identity of his hunters is not implied until the final few pages. That said, this is a quick read (122 pages), and there is something satisfying about seeing the pieces drop into place. For me, the value of the novella lies less in its lyrical qualities than in the pleasure provided by its carefully-constructed sonata-like form.
Strongly recommended for those with a tolerance for the non-linear. Well worth an eventual second read.
Biographical details
Carpentier was living in Venezuela in 1956 when her wrote The Chase. He had strong ties to Cuba, spending his first eight childhood years there, later studying at the University of Havana, and working as journalist (in the 1920s and again during 1939-45). Given his leftist leaning, he had to flee Cuba in 1927 after opposing the then dictatorship, and would have opposed the increasingly repressive Batista dictatorship of 1952-59.
The Chase features a covert armed struggle by urban student radicals, predating Che Guevara's rural uprising. The students have abandoned their initial revolutionary principles and now use violence on behalf of powerful protectors within government. Indeed, the students' latest political killing was commissioned by an "Exalted Personage", also known as "the man from the National Palace".
After the unnamed protagonist of The Chase joins the student radicals and is assigned to an assassination squad, he discovers this inherent corruption:
"... when he found out that someone had benefitted from that death, he'd been plagued by doubts, which were soon silenced by those around him who skillfully used the Words that justified everything. "The revolution", they said, "is not over yet." And step by step, dragged along by increasingly active hands, he passed into the bureaucracy of horror."
When a group of student insurgents is uncovered and broken by the police, the protagonist becomes a hunted man. The bulk of the novella traces his subsequent search for refuge within Havana. Hunting images recur through the novella, such as the description of women's furs draped across their backs like "thick festoons in a painted hunting scene" and the "hunting-horn theme" in the Beethoven symphony performed at the concert hall where the student seeks eventual refuge.
Music plays a central role in The Chase, reflecting Carpentier's strong musical training and abiding interest in the form. The novella is structured in three parts, mirroring the basic elements of a sonata, in which the musical (or novelistic) subject matter is first stated, then explored or expanded, and finally restated.
In the first part (movement), Carpentier introduces the concert hall, a ticket seller, and the hunted man's effort to seek refuge among the concert-goers. The second part provides context, gradually revealing the hunted man's crimes and reasons for flight; links are also revealed between the ticket seller and hunted man, both of whom (unwittingly) seek solace from the same prostitute and both of whom know an old lady who provides temporary protection to the hunted man. The third part returns to the concert hall for the denouement.
The novella is initially perplexing because of the temporal shifts: the 1,2,3 sequence of written parts would need to be read as 2,1,3 to restore the correct timeline of events. Perhaps given this reworking of the chronology, the storyline is not communicated as a continuous sequence of events (this happened, which led to that, which in turn...), but rather by a number of relatively self-contained set pieces that lend themselves to being pieced together like a puzzle. There is something theatrical too, perhaps, about this structure.
Carpentier unveils the story slowly: the hunted man's background is revealed only relatively late in the novella, and the identity of his hunters is not implied until the final few pages. That said, this is a quick read (122 pages), and there is something satisfying about seeing the pieces drop into place. For me, the value of the novella lies less in its lyrical qualities than in the pleasure provided by its carefully-constructed sonata-like form.
Strongly recommended for those with a tolerance for the non-linear. Well worth an eventual second read.
Biographical details
Carpentier was living in Venezuela in 1956 when her wrote The Chase. He had strong ties to Cuba, spending his first eight childhood years there, later studying at the University of Havana, and working as journalist (in the 1920s and again during 1939-45). Given his leftist leaning, he had to flee Cuba in 1927 after opposing the then dictatorship, and would have opposed the increasingly repressive Batista dictatorship of 1952-59.
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June 16, 2024Cel mai frumos roman din care n-am 卯n葲eles nimic.
Ac葲iunea se petrece pe durata a 46 de minute 卯n care un personaj anonim, h膬ituit de poli葲ia politic膬, 卯葯i rememoreaz膬 via葲a, ac葲iunile care l-au adus p芒n膬 卯n acel punct. Pe alocuri 卯n povestea lui se intercaleaz膬 葯i alte voci.
脦n afara unor propozi葲ii care-葯i acord膬 libertatea de a 卯mbina materia cu povestea dup膬 bunul plac, nu 卯n葲eleg nici de ce cartea asta apar葲ine realismului magic. Se pare c膬 e scris膬 卯n perioada 卯n care Carpentier redefinea genul.
Limbajul folosit 卯n carte e superb. Cred c膬 s-a f膬cut o treab膬 grozav膬 cu traducerea. Dac膬 nu avea propozi葲ii a葯a de puternice 葯i dense 葯i nu era a葯a de scurt膬, probabil nici nu a葯 fi reu葯it s膬 o termin. Dar acum a葯 vrea s膬 revin asupra ei mai t芒rziu. Poate 卯narmat cu ceva mai mult膬 cunoa葯tere despre istoria Cubei din acea perioad膬 葯i 卯nc膬 vreo lectur膬 sau dou膬 din Carpentier, voi reu葯i s膬 葯i 卯n葲eleg ceva.
Nu am 卯n葲eles nimic, dar m-a convins cu limbajul ei ales c膬 merit膬 s膬 mai 卯ncerc mai t芒rziu. Tot e ceva.
Ac葲iunea se petrece pe durata a 46 de minute 卯n care un personaj anonim, h膬ituit de poli葲ia politic膬, 卯葯i rememoreaz膬 via葲a, ac葲iunile care l-au adus p芒n膬 卯n acel punct. Pe alocuri 卯n povestea lui se intercaleaz膬 葯i alte voci.
脦n afara unor propozi葲ii care-葯i acord膬 libertatea de a 卯mbina materia cu povestea dup膬 bunul plac, nu 卯n葲eleg nici de ce cartea asta apar葲ine realismului magic. Se pare c膬 e scris膬 卯n perioada 卯n care Carpentier redefinea genul.
Limbajul folosit 卯n carte e superb. Cred c膬 s-a f膬cut o treab膬 grozav膬 cu traducerea. Dac膬 nu avea propozi葲ii a葯a de puternice 葯i dense 葯i nu era a葯a de scurt膬, probabil nici nu a葯 fi reu葯it s膬 o termin. Dar acum a葯 vrea s膬 revin asupra ei mai t芒rziu. Poate 卯narmat cu ceva mai mult膬 cunoa葯tere despre istoria Cubei din acea perioad膬 葯i 卯nc膬 vreo lectur膬 sau dou膬 din Carpentier, voi reu葯i s膬 葯i 卯n葲eleg ceva.
Nu am 卯n葲eles nimic, dar m-a convins cu limbajul ei ales c膬 merit膬 s膬 mai 卯ncerc mai t芒rziu. Tot e ceva.
July 18, 2020
Aun no acabo de comprenderla muy bien, es un juego de tiempos y de personajes. Se sit煤a en la problem谩tica Cuba de los a帽os 30麓s. Es una novela densa, que te hace releer una y otra vez las p谩ginas pasadas para hilar la trama.
Sin duda es un reto de prosa po茅tica y de un vocabulario muy extenso. Es impresionante lo lleno que esta el libro de sensibilidad musical, por eso la confusi贸n de los sentidos del lector. Este libro es como una banda sonora de una pel铆cula que eriza la piel.
Sin duda es un reto de prosa po茅tica y de un vocabulario muy extenso. Es impresionante lo lleno que esta el libro de sensibilidad musical, por eso la confusi贸n de los sentidos del lector. Este libro es como una banda sonora de una pel铆cula que eriza la piel.
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August 9, 2024Querido, que veranito tan malo te has montao
Barroco, rocambolesco, acosao, amatzzzzao
Barroco, rocambolesco, acosao, amatzzzzao
February 11, 2025
Leer a Alejo Carpentier siempre es para m铆 un disfrute y un reto. Esta obra se sit煤a durante la dictadura de Machado en La Habana, Cuba. Su enfoque sociopol铆tico al principio me result贸 complejo de seguir; sin embargo, a medida que avanc茅, logr茅 adentrarme en la narrativa del autor y disfrutarla como siempre.
El hecho de que el libro est茅 acompa帽ado por la Sinfon铆a heroica n.潞 3 de Beethoven fue un toque brutal! Escuchar la sinfon铆a altern谩ndola con la lectura es algo que jam谩s hab铆a hecho antes.
El hecho de que el libro est茅 acompa帽ado por la Sinfon铆a heroica n.潞 3 de Beethoven fue un toque brutal! Escuchar la sinfon铆a altern谩ndola con la lectura es algo que jam谩s hab铆a hecho antes.
September 29, 2019
Libro para m铆 excepcionalmente dif铆cil de leer, m谩s a煤n que mi primera aterrorizadora lectura de Musil hace diez a帽os. Se lee como una sinfon铆a de elementos, perspectivas, tiempos, etc tan din谩micos como las harmon铆as de la sinfon铆a que se debe tocar durante el trama. Me gusta mucho la t茅cnica pero chucha qu茅 complicada, frases de relativo apiladas, aposiciones que contienen historias enteras... Pero me consta desde el principio el sentido de que el autor quer铆a que el texto se leyera como recogido por un periodista: las extra帽as relaciones entre los detalles muchas veces sin protagonista nos motivan a buscar la vida en los restos, los desechos de la fecundidad de Cuba. Y eso es maravilloso, idea muy importante para el autor. Tengo reganas de leer Siglo de las luces, primer libro de Carpentier que se me recomend贸, pero espero que no est茅 tan densa como esta.
November 25, 2011
Cuban novelist Alejo Carpentier (1904-80) is often considered, alongside Gabriel Garcia Marquez, as a founder of Magical Realism, the distinctively Latin American literary school where mythology takes literal wing alongside commonplace events. In reality, Carpentier is a lucid, classical modernist in the vein of Marcel Proust or Malcolm Lowry-- a dreamlike aura enshrouds his work, but his novels are less about folkloric enchantments than a world of dense reflection rendered in pensive, oblique prose.
鈥淭he Chase鈥� (1956) tells a simple, classically symmetrical story encrusted in dense, poetic reflection: an unnamed revolutionary in an unspecified country (eventually recognizable as Battista鈥檚 Cuba) is on the run after committing an assassination and confessing to police. But Carpentier is less interested in politics than a general atmosphere of tense, involuted self-exploration. Initial dissonance between the novel鈥檚 simple premise and opaque method finally gives way to a satisfying, logical conclusion. 鈥淭he Lost Steps鈥� remains Carpentier鈥檚 masterpiece, but 鈥淭he Chase鈥� is a unique, impressive work by one of Latin American literature鈥檚 true geniuses.
鈥淭he Chase鈥� (1956) tells a simple, classically symmetrical story encrusted in dense, poetic reflection: an unnamed revolutionary in an unspecified country (eventually recognizable as Battista鈥檚 Cuba) is on the run after committing an assassination and confessing to police. But Carpentier is less interested in politics than a general atmosphere of tense, involuted self-exploration. Initial dissonance between the novel鈥檚 simple premise and opaque method finally gives way to a satisfying, logical conclusion. 鈥淭he Lost Steps鈥� remains Carpentier鈥檚 masterpiece, but 鈥淭he Chase鈥� is a unique, impressive work by one of Latin American literature鈥檚 true geniuses.
October 17, 2016
Oh, dear. I just did not enjoy anything about his novella and I know I'm supposed to. While there are moments here and there that almost remind me of Fran's Kafka's "The Trial," "The Chase" ends up being really boring.
I forget where I heard of this title, but I do remember being attracted to the idea of the movements of Beethoven's "Eroica" being woven through the story.
While pages and pages of paragraphless prose worked in Joseph Conrad's "Heart of Darkness," they do not work here. Certainly, being on the run is less than glamorous and would contain long stretches of extremely tedious and hungry times, but I don't really want to read about it. I can't know if the translation has any impact on the quality of this work when read in English.
Several reviewers compare this novella to Gabriel Garcia Marquez's work, to which I can find little comparison. This wasn't magical realism from what I e experienced of the genre.
I forget where I heard of this title, but I do remember being attracted to the idea of the movements of Beethoven's "Eroica" being woven through the story.
While pages and pages of paragraphless prose worked in Joseph Conrad's "Heart of Darkness," they do not work here. Certainly, being on the run is less than glamorous and would contain long stretches of extremely tedious and hungry times, but I don't really want to read about it. I can't know if the translation has any impact on the quality of this work when read in English.
Several reviewers compare this novella to Gabriel Garcia Marquez's work, to which I can find little comparison. This wasn't magical realism from what I e experienced of the genre.
January 1, 2025
Romanul e pe c芒t de sub牛irel, pe at芒t de dificil de citit. Necesit膬 o aten牛ie sporit膬, dar 艧i foarte mult膬 r膬bdare. A trebuit s膬 le activez pe am芒ndou膬 ca s膬-l pot duce la bun sf芒r艧it. Trebuie s膬 recunosc c膬 am avut la un moment dat inten牛ia de a-l abandona, dar am reu艧it totu艧i s膬 trec peste aceast膬 pornire. N-am regretat, pentru c膬 la final, Carpentier 卯nchide cercul 艧i toat膬 povestea cap膬t膬 ceva mai mult sens. Romanul mi-a amintit mult de 鈥濸edro Paramo鈥� a lui Juan Rulfo 艧i pe alocuri de 鈥濪omnul Pre艧edinte鈥� al lui Asturias, ambele c膬r牛i au deja episoade pe canal 卯n cazul 卯n care nu le 艧tia牛i 艧i v-am f膬cut curio艧i.
Critica literar膬 sus牛ine c膬 romanul lui Carpentier con牛ine realism magic. Sincer, eu n-am reu艧it s膬-l identific. Cu siguran牛膬 va trebui la un moment dat s膬 recitesc acest roman pentru c膬 nu cred c膬 l-am asimilat cum trebuie la prima lectur膬.
Dar p芒n膬 s膬 v膬 mai 卯mp膬rt膬艧esc 葯i alte detalii despre experien牛a mea de lectur膬 cu acest roman, haide牛i s膬 v膬 zic cam care e subiectul c膬r牛ii.
鈥濰膬ituit鈥� este o poveste captivant膬 艧i plin膬 de suspans, care se desf膬艧oar膬 卯n timpul interpret膬rii Simfoniei Eroice de Beethoven. Protagonistul, un t芒n膬r neidentificat, se refugiaz膬 卯ntr-o sal膬 de concert pentru a sc膬pa de o urm膬rire misterioas膬. 脦n timp ce muzica lui Beethoven se revars膬 卯n jurul s膬u, t芒n膬rul este prins 卯ntr-o introspec牛ie intens膬, rememor芒nd evenimente din trecutul s膬u 艧i confrunt芒ndu-se cu propriile temeri 艧i necunoscute.
Pe parcursul celor 46 de minute ale simfoniei, timpul se dilat膬, iar grani牛a dintre realitate 艧i iluzie se estompeaz膬. Protagonistul este h膬r牛uit nu doar de cei care 卯l urm膬resc, ci 艧i de propriile g芒nduri 艧i amintiri. Carpentier creeaz膬 o atmosfer膬 de suspans 艧i angoas膬, 卯n timp ce exploreaz膬 psihicul complex al personajului principal.
Romanul este o metafor膬 a condi牛iei umane, explor芒nd teme precum: identitatea, alienarea, puterea politic膬 艧i destinul. Prin intermediul muzicii lui Beethoven, Carpentier creeaz膬 o punte 卯ntre trecut 艧i prezent, 卯ntre individ 艧i societate.
Perspectivele narative se schimb膬 de la un capitol la altul. Avem parte de o perspectiv膬 obiectiv膬, de un narator omniscient care ne prezint膬 evenimentele, apoi intr膬m 卯n mintea 艧i sufletul personajului principal 艧i tr膬im 卯mpreun膬 cu acesta evenimente din trecut 艧i din prezent. Faptul c膬 personajele nu au nume concrete face 艧i mai dificil膬 lectura romanului pentru c膬 adeseori po牛i pierde firul narativ 艧i nu reu艧e艧ti s膬 卯牛i dai seama despre cine se poveste葯te.
Romanul are 艧i un profund substrat politic pentru c膬 Alejo Carpentier a fost un scriitor profund marcat de tumultul politic 艧i social al Cubei. Romanul s膬u poate fi v膬zut ca o oglind膬 a acestei realit膬牛i, chiar dac膬 ac牛iunea este comprimat膬 卯n cele 46 de minute ale unei simfonii.
Romanul a fost scris 卯ntr-o perioad膬 卯n care Carpentier a tr膬it evenimentele Revolu牛iei Cubaneze, care a schimbat radical 牛ara. Entuziasmul ini牛ial a fost urmat de o perioad膬 de consolidare a puterii 艧i de tensiuni politice. Urmeaz膬 perioada R膬zboiului Rece, Cuba devenind un pion important 卯n acest r膬zboi, ceea ce a dus la o izolare economic膬 艧i politic膬. La toate acestea se mai adaug膬 艧i influen牛a URSS asupra Cubei, ideologiile comuniste model芒nd societatea 艧i cultura.
Romanul reu艧e艧te s膬 surprind膬 cu succes atmosfera de tensiune 艧i suspans care caracteriza Cuba 卯n acea perioad膬, urm膬rirea protagonistului put芒nd fi interpretat膬 drept o metafor膬 pentru persecu牛iile politice 艧i sociale.
H膬ituitul lui Carpentier simbolizeaz膬 o 卯ntreag膬 genera牛ie care se confrunt膬 cu pierderea identit膬牛ii 艧i cu sentimentul de alienare 卯ntr-o societate 卯n schimbare rapid膬.
Carpentier folose艧te alegoria 艧i simbolismul pentru a critica indirect regimurile totalitare 艧i manipul膬rile politice. Sala de concert devine un microcosmos al societ膬牛ii, iar muzica lui Beethoven este o metafor膬 a rezisten牛ei spiritului uman.
Romanul e destul de dens 艧i ap膬s膬tor, exist膬 descrieri destul de grele cu foarte multe detalii arhitectonice, scene cu personaje torturate, dar 艧i episoade 卯n care personajul principal e chinuit de foame, episoade care mi-au amintit de 鈥濬oamea鈥� lui Knut Hamsun.
La un moment dat foamea era at芒t de aprig膬 卯nc芒t h膬ituitul nostru 卯ncepe s膬 se roage la Dumnezeu. Iat膬 un exemplu:
鈥灻巒c膬 nu-艧i amintea dec芒t 卯nceputul Crezului. Se ducea dup膬 c膬r牛ulia Crucii de Calatrava, l膬sat膬 pe salteaua din paie, c芒nd a observat, brusc, c膬-i trecuse foamea. Se g芒ndea la pe艧ti, 艧i-i 卯nchipuia resping膬tori, cu acel ochi sticlos 艧i plat, care abia de mai era privire, floarea unui cui艧or 卯nfipt 卯n duhoarea solzilor; se g芒ndea la c膬rnuri 艧i le g膬sea resping膬toare, informe, cu s芒ngele lor minunat; se g芒ndea la p芒ini 艧i-i displ膬ceau cocoloa艧ele, g膬urile din firimiturile lor. Nu voia s膬 卯mbuce nimic. 脦i oferea lui Dumnezeu vidul din p芒ntecul s膬u, un prim pas c膬tre purificare.鈥�
Scenele de dragoste 艧i poezia 卯n proz膬 nu lipsesc nici ele.
Una peste alta, romanul lui Carpentier a fost pentru mine o experien牛膬 inedit膬, iar ceea ce l-a salvat de la trimiterea 卯n abisul 卯ntunecat al c膬r牛ilor abandonate a fost finalul. Finalul care este 卯n acela艧i timp 艧i 卯nceputul. Faptul c膬 romanul 卯ncepe cu sf芒r艧itul, apoi rememoreaz膬 evenimentele principale din via牛a protagonistului, creeaz膬 o oarecare confuzie care e posibil s膬 te fac膬 s膬 abandonezi lectura.
E fain de citit romanul de la cap la coad膬, pentru c膬 finalul 卯l salveaz膬, dar dac膬 primele pagini 牛i se par un chin, atunci n-ar strica s膬 abordezi o alt膬 strategie. Adic膬 s膬 cite艧ti ultimul capitol 艧i apoi s膬 continui cu 卯nceputul, doar c膬 卯n felul acesta se cam stric膬 surpriza finalului.
Acum, doar tu po葲i decide dac膬 romanul acesta e pentru tine.
Dac膬 dori牛i s膬 vede牛i 艧i varianta video a acestei recenzii, v膬 a艧tept pe canalul de YouTube "D膬m o carte!?" (). 馃槃
Critica literar膬 sus牛ine c膬 romanul lui Carpentier con牛ine realism magic. Sincer, eu n-am reu艧it s膬-l identific. Cu siguran牛膬 va trebui la un moment dat s膬 recitesc acest roman pentru c膬 nu cred c膬 l-am asimilat cum trebuie la prima lectur膬.
Dar p芒n膬 s膬 v膬 mai 卯mp膬rt膬艧esc 葯i alte detalii despre experien牛a mea de lectur膬 cu acest roman, haide牛i s膬 v膬 zic cam care e subiectul c膬r牛ii.
鈥濰膬ituit鈥� este o poveste captivant膬 艧i plin膬 de suspans, care se desf膬艧oar膬 卯n timpul interpret膬rii Simfoniei Eroice de Beethoven. Protagonistul, un t芒n膬r neidentificat, se refugiaz膬 卯ntr-o sal膬 de concert pentru a sc膬pa de o urm膬rire misterioas膬. 脦n timp ce muzica lui Beethoven se revars膬 卯n jurul s膬u, t芒n膬rul este prins 卯ntr-o introspec牛ie intens膬, rememor芒nd evenimente din trecutul s膬u 艧i confrunt芒ndu-se cu propriile temeri 艧i necunoscute.
Pe parcursul celor 46 de minute ale simfoniei, timpul se dilat膬, iar grani牛a dintre realitate 艧i iluzie se estompeaz膬. Protagonistul este h膬r牛uit nu doar de cei care 卯l urm膬resc, ci 艧i de propriile g芒nduri 艧i amintiri. Carpentier creeaz膬 o atmosfer膬 de suspans 艧i angoas膬, 卯n timp ce exploreaz膬 psihicul complex al personajului principal.
Romanul este o metafor膬 a condi牛iei umane, explor芒nd teme precum: identitatea, alienarea, puterea politic膬 艧i destinul. Prin intermediul muzicii lui Beethoven, Carpentier creeaz膬 o punte 卯ntre trecut 艧i prezent, 卯ntre individ 艧i societate.
Perspectivele narative se schimb膬 de la un capitol la altul. Avem parte de o perspectiv膬 obiectiv膬, de un narator omniscient care ne prezint膬 evenimentele, apoi intr膬m 卯n mintea 艧i sufletul personajului principal 艧i tr膬im 卯mpreun膬 cu acesta evenimente din trecut 艧i din prezent. Faptul c膬 personajele nu au nume concrete face 艧i mai dificil膬 lectura romanului pentru c膬 adeseori po牛i pierde firul narativ 艧i nu reu艧e艧ti s膬 卯牛i dai seama despre cine se poveste葯te.
Romanul are 艧i un profund substrat politic pentru c膬 Alejo Carpentier a fost un scriitor profund marcat de tumultul politic 艧i social al Cubei. Romanul s膬u poate fi v膬zut ca o oglind膬 a acestei realit膬牛i, chiar dac膬 ac牛iunea este comprimat膬 卯n cele 46 de minute ale unei simfonii.
Romanul a fost scris 卯ntr-o perioad膬 卯n care Carpentier a tr膬it evenimentele Revolu牛iei Cubaneze, care a schimbat radical 牛ara. Entuziasmul ini牛ial a fost urmat de o perioad膬 de consolidare a puterii 艧i de tensiuni politice. Urmeaz膬 perioada R膬zboiului Rece, Cuba devenind un pion important 卯n acest r膬zboi, ceea ce a dus la o izolare economic膬 艧i politic膬. La toate acestea se mai adaug膬 艧i influen牛a URSS asupra Cubei, ideologiile comuniste model芒nd societatea 艧i cultura.
Romanul reu艧e艧te s膬 surprind膬 cu succes atmosfera de tensiune 艧i suspans care caracteriza Cuba 卯n acea perioad膬, urm膬rirea protagonistului put芒nd fi interpretat膬 drept o metafor膬 pentru persecu牛iile politice 艧i sociale.
H膬ituitul lui Carpentier simbolizeaz膬 o 卯ntreag膬 genera牛ie care se confrunt膬 cu pierderea identit膬牛ii 艧i cu sentimentul de alienare 卯ntr-o societate 卯n schimbare rapid膬.
Carpentier folose艧te alegoria 艧i simbolismul pentru a critica indirect regimurile totalitare 艧i manipul膬rile politice. Sala de concert devine un microcosmos al societ膬牛ii, iar muzica lui Beethoven este o metafor膬 a rezisten牛ei spiritului uman.
Romanul e destul de dens 艧i ap膬s膬tor, exist膬 descrieri destul de grele cu foarte multe detalii arhitectonice, scene cu personaje torturate, dar 艧i episoade 卯n care personajul principal e chinuit de foame, episoade care mi-au amintit de 鈥濬oamea鈥� lui Knut Hamsun.
La un moment dat foamea era at芒t de aprig膬 卯nc芒t h膬ituitul nostru 卯ncepe s膬 se roage la Dumnezeu. Iat膬 un exemplu:
鈥灻巒c膬 nu-艧i amintea dec芒t 卯nceputul Crezului. Se ducea dup膬 c膬r牛ulia Crucii de Calatrava, l膬sat膬 pe salteaua din paie, c芒nd a observat, brusc, c膬-i trecuse foamea. Se g芒ndea la pe艧ti, 艧i-i 卯nchipuia resping膬tori, cu acel ochi sticlos 艧i plat, care abia de mai era privire, floarea unui cui艧or 卯nfipt 卯n duhoarea solzilor; se g芒ndea la c膬rnuri 艧i le g膬sea resping膬toare, informe, cu s芒ngele lor minunat; se g芒ndea la p芒ini 艧i-i displ膬ceau cocoloa艧ele, g膬urile din firimiturile lor. Nu voia s膬 卯mbuce nimic. 脦i oferea lui Dumnezeu vidul din p芒ntecul s膬u, un prim pas c膬tre purificare.鈥�
Scenele de dragoste 艧i poezia 卯n proz膬 nu lipsesc nici ele.
Una peste alta, romanul lui Carpentier a fost pentru mine o experien牛膬 inedit膬, iar ceea ce l-a salvat de la trimiterea 卯n abisul 卯ntunecat al c膬r牛ilor abandonate a fost finalul. Finalul care este 卯n acela艧i timp 艧i 卯nceputul. Faptul c膬 romanul 卯ncepe cu sf芒r艧itul, apoi rememoreaz膬 evenimentele principale din via牛a protagonistului, creeaz膬 o oarecare confuzie care e posibil s膬 te fac膬 s膬 abandonezi lectura.
E fain de citit romanul de la cap la coad膬, pentru c膬 finalul 卯l salveaz膬, dar dac膬 primele pagini 牛i se par un chin, atunci n-ar strica s膬 abordezi o alt膬 strategie. Adic膬 s膬 cite艧ti ultimul capitol 艧i apoi s膬 continui cu 卯nceputul, doar c膬 卯n felul acesta se cam stric膬 surpriza finalului.
Acum, doar tu po葲i decide dac膬 romanul acesta e pentru tine.
Dac膬 dori牛i s膬 vede牛i 艧i varianta video a acestei recenzii, v膬 a艧tept pe canalul de YouTube "D膬m o carte!?" (). 馃槃
This entire review has been hidden because of spoilers.
April 18, 2021
honestamente, la t茅cnica de narraci贸n sincronizada a una composici贸n de Beethoven me dejar谩 pensando.
2da lectura: Me toc贸 volver a leerlo para sacar el simbolismo religioso que tiene la novela, y para todos los curiosos, es la revoluci贸n cubana y su cultura y valores cat贸licos reflejados en los eventos de la semana santa. e.g. la traici贸n de Judas, la cuaresma, la cargada de la cruz que lleva a la crucificci贸n, y regresa a la resucitaci贸n hacia el ciclo vicioso de la tortura. Es una novela circular, que termina donde comienza, y est谩 minimizado a los 46 minutos que dura la sinfon铆a eroica de Beethoven.
2da lectura: Me toc贸 volver a leerlo para sacar el simbolismo religioso que tiene la novela, y para todos los curiosos, es la revoluci贸n cubana y su cultura y valores cat贸licos reflejados en los eventos de la semana santa. e.g. la traici贸n de Judas, la cuaresma, la cargada de la cruz que lleva a la crucificci贸n, y regresa a la resucitaci贸n hacia el ciclo vicioso de la tortura. Es una novela circular, que termina donde comienza, y est谩 minimizado a los 46 minutos que dura la sinfon铆a eroica de Beethoven.
July 27, 2011
If I was a high school English teacher I would assign this book as a gentle introduction to "magical realism." I could never, despite numerous attempts, get into "100 years of Solitude." Off-put if not overwhelmed by the sheer magnitude of it's "magical realism" I was. But if you're looking for Gabriel Garcia Marquez "light" with a touch of "Crime and Punishment," interested in pre-Castro Batista Cuba, this is a quick read for you. Further murkifies the muddy waters of the Communists in Cuba. I can't decide who won or lost. I don't think anybody won.
October 19, 2008
After reading recent novelists whose themes seem to center on navel gazing, reading this book was eye opening. It's demand to remember the times when politics really did center around life and death shook me awake from the self centered, existential angst of so much recent american writers. The snippet of a character who is having second thoughts about participating in political organizing in the face of death was vivid and startling.
August 7, 2018
讴鬲丕亘 賲賵乇丿 倬爻賳丿 賲賳 亘賵丿 賵 禺蹖賱蹖 噩丕賴丕 丕鬲賮丕賯丕鬲 賲卮丕亘賴蹖 亘乇丕蹖 賲賳 賵 卮禺氐蹖鬲 丕氐賱蹖 丕賮鬲丕丿賴 亘賵丿 讴賴 亘丕毓孬 賲蹖卮丿 丕丨爻丕爻 賳夭丿蹖讴蹖 倬蹖丿丕 讴賳賲 亘丕 丕蹖賳 讴鬲丕亘.丕賱亘鬲賴 亘丕 禺蹖賱蹖 丕夭 毓賯丕蹖丿卮 賲賵丕賮賯 賳亘賵丿賲 丕賲丕 爻亘讴 賳賵卮鬲丕乇卮 丕夭 賳馗乇 賲賳 賮賵賯 丕賱毓丕丿賴 亘賵丿 賵 賴賲蹖賳胤賵乇 丕蹖丿賴 丕卮
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