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賲賳 賲鬲賵賱丿 爻丕賱 郾酃鄄鄯 賴爻鬲賲貨 鬲賳賴丕 賮乇夭賳丿 賵丕賱丿蹖賳蹖 丕夭 胤亘賯賴 賲鬲賵爻胤貙 賴乇 丿賵 丕賳诏賱蹖爻蹖貙 讴賴 丌賳鈥屬囏� 賴賲 丿乇爻丕蹖賴贁 賲爻禺乇賴 賵 丿乇丕夭 賲賱讴賴鈥屬堐屭┴堌臂屫й� 讴賵鬲賵賱賴 賵賱蹖 賴蹖賵賱丕賵卮 亘賴 丿賳蹖丕 丌賲丿賴 亘賵丿賳丿 賵 丌賳鈥屬傌� 丿乇 鬲丕乇蹖禺 爻乇 亘賱賳丿 賳讴乇丿賴 亘賵丿賳丿 讴賴 亘鬲賵丕賳賳丿 丕夭 丕蹖賳 爻丕蹖賴 禺賱丕氐蹖 蹖丕亘賳丿. 賲乇丕 賮乇爻鬲丕丿賳丿 亘賴 賲丿乇爻賴贁 丿賵賱鬲蹖貙 丿賵 爻丕賱 賵賯鬲賲 乇丕 亘丕 禺丿賲鬲 爻乇亘丕夭蹖 鬲賱賮 讴乇丿賲貙 乇賮鬲賲 丌讴爻賮賵乇丿 賵 丌賳鈥屫� 讴賲鈥屭┵� 賲鬲賵噩賴 卮丿賲 丌賳 丌丿賲蹖 賳蹖爻鬲賲 讴賴 丿賵爻鬲 丿丕卮鬲賲 亘丕卮賲鈥�
783 pages, Hardcover
First published January 1, 1965
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About the author
John Fowles
147听books2,868听followersJohn Robert Fowles was born in Leigh-on-Sea, a small town in Essex. He recalled the English suburban culture of the 1930s as oppressively conformist and his family life as intensely conventional. Of his childhood, Fowles said "I have tried to escape ever since."
Fowles attended Bedford School, a large boarding school designed to prepare boys for university, from ages 13 to 18. After briefly attending the University of Edinburgh, Fowles began compulsory military service in 1945 with training at Dartmoor, where he spent the next two years. World War II ended shortly after his training began so Fowles never came near combat, and by 1947 he had decided that the military life was not for him.
Fowles then spent four years at Oxford, where he discovered the writings of the French existentialists. In particular he admired Albert Camus and Jean-Paul Sartre, whose writings corresponded with his own ideas about conformity and the will of the individual. He received a degree in French in 1950 and began to consider a career as a writer.
Several teaching jobs followed: a year lecturing in English literature at the University of Poitiers, France; two years teaching English at Anargyrios College on the Greek island of Spetsai; and finally, between 1954 and 1963, teaching English at St. Godric's College in London, where he ultimately served as the department head.
The time spent in Greece was of great importance to Fowles. During his tenure on the island he began to write poetry and to overcome a long-time repression about writing. Between 1952 and 1960 he wrote several novels but offered none to a publisher, considering them all incomplete in some way and too lengthy.
In late 1960 Fowles completed the first draft of The Collector in just four weeks. He continued to revise it until the summer of 1962, when he submitted it to a publisher; it appeared in the spring of 1963 and was an immediate best-seller. The critical acclaim and commercial success of the book allowed Fowles to devote all of his time to writing.
The Aristos, a collection of philosophical thoughts and musings on art, human nature and other subjects, appeared the following year. Then in 1965, The Magus - drafts of which Fowles had been working on for over a decade - was published.
The most commercially successful of Fowles' novels, The French Lieutenant's Woman, appeared in 1969. It resembles a Victorian novel in structure and detail, while pushing the traditional boundaries of narrative in a very modern manner.
In the 1970s Fowles worked on a variety of literary projects--including a series of essays on nature--and in 1973 he published a collection of poetry, Poems.
Daniel Martin, a long and somewhat autobiographical novel spanning over 40 years in the life of a screenwriter, appeared in 1977, along with a revised version of The Magus. These were followed by Mantissa (1982), a fable about a novelist's struggle with his muse; and A Maggot (1985), an 18th century mystery which combines science fiction and history.
In addition to The Aristos, Fowles wrote a variety of non-fiction pieces including many essays, reviews, and forewords/afterwords to other writers' novels. He also wrote the text for several photographic compilations.
From 1968, Fowles lived in the small harbour town of Lyme Regis, Dorset. His interest in the town's local history resulted in his appointment as curator of the Lyme Regis Museum in 1979, a position he filled for a decade.
Wormholes, a book of essays, was published in May 1998. The first comprehensive biography on Fowles, John Fowles: A Life in Two Worlds, was published in 2004, and the first volume of his journals appeared the same year (followed recently by volume two).
John Fowles passed away on November 5, 2005 after a long illness.
Fowles attended Bedford School, a large boarding school designed to prepare boys for university, from ages 13 to 18. After briefly attending the University of Edinburgh, Fowles began compulsory military service in 1945 with training at Dartmoor, where he spent the next two years. World War II ended shortly after his training began so Fowles never came near combat, and by 1947 he had decided that the military life was not for him.
Fowles then spent four years at Oxford, where he discovered the writings of the French existentialists. In particular he admired Albert Camus and Jean-Paul Sartre, whose writings corresponded with his own ideas about conformity and the will of the individual. He received a degree in French in 1950 and began to consider a career as a writer.
Several teaching jobs followed: a year lecturing in English literature at the University of Poitiers, France; two years teaching English at Anargyrios College on the Greek island of Spetsai; and finally, between 1954 and 1963, teaching English at St. Godric's College in London, where he ultimately served as the department head.
The time spent in Greece was of great importance to Fowles. During his tenure on the island he began to write poetry and to overcome a long-time repression about writing. Between 1952 and 1960 he wrote several novels but offered none to a publisher, considering them all incomplete in some way and too lengthy.
In late 1960 Fowles completed the first draft of The Collector in just four weeks. He continued to revise it until the summer of 1962, when he submitted it to a publisher; it appeared in the spring of 1963 and was an immediate best-seller. The critical acclaim and commercial success of the book allowed Fowles to devote all of his time to writing.
The Aristos, a collection of philosophical thoughts and musings on art, human nature and other subjects, appeared the following year. Then in 1965, The Magus - drafts of which Fowles had been working on for over a decade - was published.
The most commercially successful of Fowles' novels, The French Lieutenant's Woman, appeared in 1969. It resembles a Victorian novel in structure and detail, while pushing the traditional boundaries of narrative in a very modern manner.
In the 1970s Fowles worked on a variety of literary projects--including a series of essays on nature--and in 1973 he published a collection of poetry, Poems.
Daniel Martin, a long and somewhat autobiographical novel spanning over 40 years in the life of a screenwriter, appeared in 1977, along with a revised version of The Magus. These were followed by Mantissa (1982), a fable about a novelist's struggle with his muse; and A Maggot (1985), an 18th century mystery which combines science fiction and history.
In addition to The Aristos, Fowles wrote a variety of non-fiction pieces including many essays, reviews, and forewords/afterwords to other writers' novels. He also wrote the text for several photographic compilations.
From 1968, Fowles lived in the small harbour town of Lyme Regis, Dorset. His interest in the town's local history resulted in his appointment as curator of the Lyme Regis Museum in 1979, a position he filled for a decade.
Wormholes, a book of essays, was published in May 1998. The first comprehensive biography on Fowles, John Fowles: A Life in Two Worlds, was published in 2004, and the first volume of his journals appeared the same year (followed recently by volume two).
John Fowles passed away on November 5, 2005 after a long illness.
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Displaying 1 - 30 of 4,254 reviews
April 26, 2023
"The Magus" is a stunner, magnificent in ambition, supple and gorgeous in execution. It fits no neat category; it is at once a pyrotechnical extravaganza, a wild, hilarious charade, a dynamo of suspense and horror, a profoundly serious probing into the nature of moral consciousness, a dizzying, electrifying chase through the labyrinth of the soul, an allegorical romance, a sophisticated account of modern love, a ghost story that will send shivers racing down the spine. Lush, compulsive, richly inventive, eerie, provocative, impossibly theatrical--it is, in spite of itself, convincing." Thus wrote Eliot Fremont-Smith in his New York Times book review when this magnificent novel was first published back in 1966.
For me, this novel counts as one powerful literary experience - not only did I read the book but I also listened to the outstanding audio version read by Nicholas Boulton. "Stupidity is lethal." One of the many musing from first person narrator Nicholas Urfe, a dashingly handsome twenty-five year old Oxford educated Englishman on the Greek island of Phraxos during a conversation with Conchis, a much older wealthy recluse, a man imaginative enough to remind him of Pablo Picasso and mysterious enough to remind me of Aleister Crowley.
This 660 pager begins with Nicholas Urfe recounting his background as an only child of middle class parents, stickler brigadier father, an officious military man down to his toes, a man forever trotting out words like discipline and tradition and responsibility to undergird his position on any topic, obedient housebound mother, public school education (what in the US is called private school), short stint in the army during peacetime and then reading English at Oxford. When one day at Oxford he receives word that both his mother and father died in an airplane crash, Nicholas feels a great relief since he no longer is obliged to carry around a huge sack of family baggage. Ah, family!
However, after Oxford, there鈥檚 one person who exerts a profound influence on Nicholas prior to his traveling to Phraxos to teach boys at the English-run Lord Byron School - Alison, a gorgeous, graceful Australian gal who moves in with Nicholas in his quaint apartment facing Russell Square. And that鈥檚 influence as in emotional intensity, as in red hot passionate lovemaking, bitter heated arguments and nearly everything in between, as if their relationship is a primer for the Dionysian frenzy and chaos Nicholas will eventually encounter in Greece.
When leaving England, Nicholas calls to mind how he needs more mystery in his life. Well, he certainly gets his wish when he meets old Maurice Conchis and is initiated in unexpected ways into the atrocities of World War I and then the Nazis, the vitality of Greek theater and mask acting, isolation and religious fanaticism, hypnotism and mysticism, Freudian psychoanalysis and Jungian archetypes, ancient pagan religions inexplicably mingling with science and humanism.
Pulled into the vortex of the brutality of recent European history and pushed out to hidden spiritual realms with a dose of romantic love thrown in along the way, Nicholas is forced to confront his basic philosophic assumptions: How free are we? How much influence does our culture and historic epoch have on our values? Is there a universal foundation of morality beyond social convention? What is the connection between truth and beauty? Does love conquer all or is this merely a hackneyed clich茅?
Toward the end of the novel, we as readers join Nicholas in asking: Ultimately, what was the real intent and purpose of Maurice Conchis and his so called godgame? Was all of what he as a young Englishman lived through at bottom a madman鈥檚 desire to manipulate and control, so much so it would it be more accurate to label Conchis鈥� inventive masque a con game rather than a god game?
Turning the novel鈥檚 pages, we are right there with Nicholas while the suspense mounts 鈥� for every mystery that appears to be solved, two corollary mysteries pop up to take its place. Are we delving deeper into the mysteries of the universe or the mysteries of a detective novel, or both? No wonder Eliot Fremont-Smith called 鈥淭he Magus鈥� a stunner. I couldn鈥檛 imagine a more apt one-word description. I can also appreciate John Gardner鈥檚 judgement when he wrote, "Fowles is the only writer in English who has the power, range, knowledge, and wisdom of a Tolstoy or James."
July 23, 2024
We gravitate to mysteries鈥� The great unknown calls us鈥�
Straight from the biblical times temptation is the main moving force that pushes humanity to seek knowledge. And who cares if our knowledge is a set of misconceptions?
We live and we learn but there always is something that is left outside our cognizance so there always is a desire to come to the edge of the world and to look down into the abyss.
The craving to risk death is our last great perversion. We come from night, we go into night. Why live in night?
Straight from the biblical times temptation is the main moving force that pushes humanity to seek knowledge. And who cares if our knowledge is a set of misconceptions?
Living is an eternal wanting more, in the coarsest grocer and in the sublimest mystic.
We live and we learn but there always is something that is left outside our cognizance so there always is a desire to come to the edge of the world and to look down into the abyss.
September 3, 2007
My students like to use the made up word, "unputdownable." I always laugh at this. I can always put down a book, I can even put down this one. The problem is, I can't seem to stop picking it up again.
We are thrown, whether we like it or not into the addled frantic mind of Nicholas Urfe, a man in the middle of a suspenseful psychological experiment. The only problem is, without telling us, Fowles turns it into a suspenseful philosophical experiment as well. We are left never fully knowing what is to come next, what is real and what is unreal. And we become so attached, so dependent upon Urfe, his reactions to the moments, his arrogant assumptions about what is true and what is false, that we become as mentally addled as he is and as incapable of leaving the invented world of the magus behind as he is.
My mother managed to put it down and leave it down. I drove on, like Urfe, deeper and deeper into the tormented abyss that is compulsion and an inability to accept freedom. All the while questioning everything I knew about love, about obligations, about intelligence, trust, truth, fiction, theater, and of course freedom.
I don't know if I fully understand the book, just as Urfe doesn't fully understand the experiment. But I knew I wouldn't stop, that I was free to stop, but that, rather than feeling obliged to finish or understand, I exercised my freedom to explore and discover.
Rather than repeating the "unputdownable" line, I think this book can best be described as a Niel LaBute play put into prose (or rather, LaBute is Fowles put into the theater). You are never sure of your footing, never confident in your stance, and sure, that no matter how you love the journey you will receive a wicked kidney punch in due course. And that love, and freedom, means that you are willing to accept the kidney punch, if that's what it takes to understand.
We are thrown, whether we like it or not into the addled frantic mind of Nicholas Urfe, a man in the middle of a suspenseful psychological experiment. The only problem is, without telling us, Fowles turns it into a suspenseful philosophical experiment as well. We are left never fully knowing what is to come next, what is real and what is unreal. And we become so attached, so dependent upon Urfe, his reactions to the moments, his arrogant assumptions about what is true and what is false, that we become as mentally addled as he is and as incapable of leaving the invented world of the magus behind as he is.
My mother managed to put it down and leave it down. I drove on, like Urfe, deeper and deeper into the tormented abyss that is compulsion and an inability to accept freedom. All the while questioning everything I knew about love, about obligations, about intelligence, trust, truth, fiction, theater, and of course freedom.
I don't know if I fully understand the book, just as Urfe doesn't fully understand the experiment. But I knew I wouldn't stop, that I was free to stop, but that, rather than feeling obliged to finish or understand, I exercised my freedom to explore and discover.
Rather than repeating the "unputdownable" line, I think this book can best be described as a Niel LaBute play put into prose (or rather, LaBute is Fowles put into the theater). You are never sure of your footing, never confident in your stance, and sure, that no matter how you love the journey you will receive a wicked kidney punch in due course. And that love, and freedom, means that you are willing to accept the kidney punch, if that's what it takes to understand.
September 24, 2024
Pe scurt:
1. Maurice Conchis, milionarul excentric 葯i, probabil, paranoic din insula greceasc膬 Phraxos, a tr膬it c卯ndva o experien葲膬 limit膬. 脦n timpul celui de-al doilea r膬zboi mondial, un ofi葲er german l-a pus 卯n fa葲a unei dileme maligne. Era primar al insulei: 鈥瀘fi葲erul l-a silit s膬 aleag膬 [de葯i alegerea e imposibil膬 pentru orice om cu judecat膬, n.m.] 卯ntre executarea de c膬tre germani a optzeci de ostatici 葯i lichidarea cu propria m卯n膬 a trei lupt膬tori din rezisten葲膬. Conchis n-a putut ucide 葯i ostaticii au murit鈥�. Consecin葲ele pot fi v膬zute mai jos...
2. Evenimentul i-a sugerat milionarului s膬 ini葲ieze un joc cvasi-dement: s膬-i pun膬 葯i pe al葲ii 卯ntr-o situa葲ie la fel de aporetic膬 [f膬r膬 solu葲ie]. Are mijloace nelimitate: transform膬 insula 卯ntr-un teatru imens, pl膬te葯te actori, inventeaz膬 personaje. El va fi regizorul-dumnezeu 葯i 卯i va supune pe ceilal葲i la o 卯ncercare 鈥瀞imilar膬鈥�. Victima lui este t卯n膬rul profesor de englez膬 Nicholas Urfe. M膬 opresc aici. Nu voi spune dac膬 eroul reu葯e葯te s膬 treac膬 proba. 脦n principiu, n-ar trebui s膬 poat膬. Nici s膬 poat膬 s膬 poat膬 :)
3. 脦n concluzie, romanul stufos 葯i inegal al lui John Fowles pare, 卯n esen葲a lui, un 鈥瀝oman de ucenicie, de ini葲iere鈥�. Nu 葯tiu dac膬 aceast膬 interpretare e nou膬, nu cred 葯i nici nu conteaz膬...
4. Dac膬 欧宝娱乐 ar fi existat 卯n 1997, i-a葯 fi dat c膬r葲ii, f膬r膬 s膬 ezit o secund膬, 5 stelu葲e. Entuziasmul meu a diminuat sim葲itor. Facultatea de a admira se toce葯te. La o recitire, 卯葲i dore葯ti zadarnic s膬 retr膬ie葯ti pl膬cerea ini葲ial膬. Nu mai cite葯ti cu sufletul, cite葯ti cu mintea. Pl膬cerea a disp膬rut. Fire葯te, nu e vina lui Fowles: e vina cititorului. 葮i-a pierdut naivitatea, prive葯te critic, analizeaz膬. C卯nd e葯ti t卯n膬r, te iluzionezi u葯or 葯i chiar 卯葲i dore葯ti asta. Mai t卯rziu, devii sceptic 葯i prudent. Te usuci. 葮i, fiindc膬 puterea de seduc葲ie a c膬r葲ii a sc膬zut, 卯ncepi s膬 judeci 葯i s膬 discriminezi. Din p膬cate. Observi, astfel, abia acum, defectul principal al romanului: e construit pe o analogie gre葯it膬. 脦n pofida p膬rerii lui Shakespeare, via葲a nu e o scen膬...
Un extras din prefa葲a c膬r葲ii ne-ar putea ajuta s膬-i 卯n葲elegem mai bine mesajul:
P. S. M-am gr膬bit. Probabil de asta nu mi-a ie葯it o not膬 mai scurt膬...
1. Maurice Conchis, milionarul excentric 葯i, probabil, paranoic din insula greceasc膬 Phraxos, a tr膬it c卯ndva o experien葲膬 limit膬. 脦n timpul celui de-al doilea r膬zboi mondial, un ofi葲er german l-a pus 卯n fa葲a unei dileme maligne. Era primar al insulei: 鈥瀘fi葲erul l-a silit s膬 aleag膬 [de葯i alegerea e imposibil膬 pentru orice om cu judecat膬, n.m.] 卯ntre executarea de c膬tre germani a optzeci de ostatici 葯i lichidarea cu propria m卯n膬 a trei lupt膬tori din rezisten葲膬. Conchis n-a putut ucide 葯i ostaticii au murit鈥�. Consecin葲ele pot fi v膬zute mai jos...
2. Evenimentul i-a sugerat milionarului s膬 ini葲ieze un joc cvasi-dement: s膬-i pun膬 葯i pe al葲ii 卯ntr-o situa葲ie la fel de aporetic膬 [f膬r膬 solu葲ie]. Are mijloace nelimitate: transform膬 insula 卯ntr-un teatru imens, pl膬te葯te actori, inventeaz膬 personaje. El va fi regizorul-dumnezeu 葯i 卯i va supune pe ceilal葲i la o 卯ncercare 鈥瀞imilar膬鈥�. Victima lui este t卯n膬rul profesor de englez膬 Nicholas Urfe. M膬 opresc aici. Nu voi spune dac膬 eroul reu葯e葯te s膬 treac膬 proba. 脦n principiu, n-ar trebui s膬 poat膬. Nici s膬 poat膬 s膬 poat膬 :)
3. 脦n concluzie, romanul stufos 葯i inegal al lui John Fowles pare, 卯n esen葲a lui, un 鈥瀝oman de ucenicie, de ini葲iere鈥�. Nu 葯tiu dac膬 aceast膬 interpretare e nou膬, nu cred 葯i nici nu conteaz膬...
4. Dac膬 欧宝娱乐 ar fi existat 卯n 1997, i-a葯 fi dat c膬r葲ii, f膬r膬 s膬 ezit o secund膬, 5 stelu葲e. Entuziasmul meu a diminuat sim葲itor. Facultatea de a admira se toce葯te. La o recitire, 卯葲i dore葯ti zadarnic s膬 retr膬ie葯ti pl膬cerea ini葲ial膬. Nu mai cite葯ti cu sufletul, cite葯ti cu mintea. Pl膬cerea a disp膬rut. Fire葯te, nu e vina lui Fowles: e vina cititorului. 葮i-a pierdut naivitatea, prive葯te critic, analizeaz膬. C卯nd e葯ti t卯n膬r, te iluzionezi u葯or 葯i chiar 卯葲i dore葯ti asta. Mai t卯rziu, devii sceptic 葯i prudent. Te usuci. 葮i, fiindc膬 puterea de seduc葲ie a c膬r葲ii a sc膬zut, 卯ncepi s膬 judeci 葯i s膬 discriminezi. Din p膬cate. Observi, astfel, abia acum, defectul principal al romanului: e construit pe o analogie gre葯it膬. 脦n pofida p膬rerii lui Shakespeare, via葲a nu e o scen膬...
Un extras din prefa葲a c膬r葲ii ne-ar putea ajuta s膬-i 卯n葲elegem mai bine mesajul:
鈥濶u ap膬r hot膬r卯rea pe care Conchis a luat-o 卯n fa牛a plutonului de execu牛ie, ap膬r 卯ns膬 existen葲a dilemei. Divinitatea 艧i libertatea s卯nt concepte perfect opuse. Oamenii cred 卯n zeii lor inventa牛i pentru a nu crede 卯n conceptul opus. Acum s卯nt la o v卯rst膬 care-mi permite s膬-i 卯n牛eleg鈥�.
P. S. M-am gr膬bit. Probabil de asta nu mi-a ie葯it o not膬 mai scurt膬...
May 20, 2017
螒谓萎魏蔚喂 蟽蟿畏谓 魏伪蟿畏纬慰蟻委伪 蟿蠅谓 尾喂尾位委蠅谓 蟺慰蠀 未蔚谓 胃伪 尉蔚蠂维蟽蔚喂蟼 蟺慰蟿苇 蠈蟿伪谓 蟿慰 未喂伪尾维蟽蔚喂蟼. 螆蠂蔚喂 渭喂伪 渭蠀蟽蟿畏蟻喂伪魏萎 蟺慰位蠉蟺位慰魏畏 魏伪喂 蟺慰位蠀蔚蟺委蟺蔚未畏 纬慰畏蟿蔚委伪 蟺慰蠀 未喂蔚喂蟽未蠉蔚喂 蟽蟿慰 渭蠀伪位蠈 魏伪喂 蟽蔚 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蔚 渭喂伪 未慰魏喂渭伪蟽委伪 伪蠀蟿慰纬谓蠅蟽委伪蟼.
螠蔚 慰位慰蠁维谓蔚蟻畏 蟿畏谓 伪纬维蟺畏 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 纬喂伪 蟿畏谓 螘位位维未伪 蟿畏蟼 伪蟺蠈位蠀蟿畏蟼 纬蔚蠅蠁蠀蟽喂魏萎蟼 魏伪喂 蟺慰位喂蟿喂蟽蟿喂魏萎蟼 胃蔚蠆魏萎蟼 魏位畏蟻慰谓慰渭喂维蟼 蟿畏蟼, 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 蟽蔚 苇谓伪 蔚位位畏谓喂魏蠈 谓畏蟽委 蠈蟺慰蠀 蟽蠀谓蟿蔚位蔚委蟿伪喂 蟿慰 渭蠀蟽蟿萎蟻喂慰-蠁伪谓蟿伪蟽委伪-蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪,伪蟺蠈魏蟻蠀蠁畏 伪谓胃蟻蠋蟺喂谓畏 蠁蠀蟽畏-蔚位蔚蠀胃蔚蟻委伪 魏伪喂 伪蠀蟿慰蟺蟻伪纬渭维蟿蠅蟽畏- 未喂伪位慰纬喂蟽渭蠈蟼.
螣 蠁位蔚纬渭伪蟿喂魏蠈蟼 螁纬纬位慰蟼 魏伪胃畏纬畏蟿萎蟼 蠁蟿维谓蔚喂 蟽蟿畏谓 螘位位维未伪 蟽蟿慰 渭蠀胃喂魏蠈 谓畏蟽委 渭伪蟼 纬喂伪 谓伪 未喂未维尉蔚喂 蟽蟿慰 蟽蠂慰位蔚委慰 "螞蠈蟻未慰蟼 螔蠉蟻蠅谓伪蟼". 螚 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 蟿慰蠀 苇蟻蠂蔚蟿伪喂 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿畏谓 渭蔚蟿伪蟺慰位蔚渭喂魏萎 螘位位维未伪 伪位位维 畏 维纬蟻喂伪 慰渭慰蟻蠁喂维 蟿慰蠀 谓畏蟽喂慰蠉 蔚尉畏渭蔚蟻蠋谓蔚喂 蟿伪 蟺维胃畏 蟿慰蠀.
螕谓蠅蟻委味蔚喂 蟽蠂蔚未慰谓 蟿蠀蠂伪委伪 蟿慰 螠维纬慰,苇谓伪谓 魏慰蟽渭慰蟺慰位委蟿畏,蟺位慰蠉蟽喂慰, 蟺伪蟻维尉蔚谓慰 魏伪喂 喂未喂蠈蟻蟻蠀胃渭慰 蔚蟺喂蠂蔚喂蟻畏渭伪蟿委伪, 蟺慰蠀 苇蠂蔚喂 渭喂伪 蠀蟺苇蟻慰蠂畏 尾委位伪 蟽蟿慰 蟺喂慰 伪蟺慰渭慰谓蠅渭苇谓慰 蟽畏渭蔚委慰 蟿慰蠀 谓畏蟽喂慰蠉. 螣 螠维纬慰蟼 蟺蟻慰蟽魏伪位蔚委 蟿慰谓 魏伪胃畏纬畏蟿萎 谓伪 蟺蔚蟻维蟽慰蠀谓 渭伪味委 蟿慰 危伪尾尾伪蟿慰魏蠉蟻喂伪魏慰 魏伪喂 蔚魏蔚委 伪蟻蠂委味蔚喂 畏 蟺伪蟻维谓慰喂伪.
螣 慰喂魏慰未蔚蟽蟺蠈蟿畏蟼 蟽蟿萎谓蔚喂 蟽蟿慰谓 魏伪胃畏纬畏蟿萎 苇谓伪 "胃蔚慰蟺伪喂纬谓喂慰". 螆谓伪 胃苇伪蟿蟻慰 蟿慰蠀 蟺伪蟻伪位蠈纬慰蠀 渭蔚 蟽魏畏谓喂魏蠈 蟿畏 尾委位伪 蟺维谓蠅 蟽蟿畏 胃维位伪蟽蟽伪 魏伪喂 伪蟻蠂委味慰蠀谓 谓伪 蟽蠀谓蠀蠁伪委谓慰谓蟿伪喂 蟿慰 蠄苇渭伪 魏伪喂 畏 伪渭蠁喂蟽尾萎蟿畏蟽畏 渭蔚 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟿慰谓 苇蟻蠅蟿伪.
危蟿蠈蠂慰蟼 蟿慰蠀 螠维纬慰蠀 蟽魏畏谓慰胃蔚蟿畏 渭伪蟼 蔚喂谓伪喂 畏 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿蠅谓 蔚蟽蠅蟿蔚蟻喂魏蠋谓 未蠀谓维渭蔚蠅谓 蟿慰蠀 蔚魏位蔚魏蟿慰蠉 魏伪位蔚蟽渭苇谓慰蠀 蟿慰蠀 魏伪喂 蠁蠀蟽喂魏维 畏 尾伪胃喂维 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿畏蟼 蔚位蔚蠀胃蔚蟻委伪蟼 蟽蔚 慰位蔚蟼 蟿喂蟼 蔚魏蠁维谓蟽蔚喂蟼 蟿畏蟼.
韦慰 魏蠀蟻委伪蟻蠂慰 蟽蟿慰喂蠂蔚委慰 蟽蔚 伪蠀蟿萎 蟿畏谓 蠀蟺苇蟻慰蠂畏 纬蟻伪蠁萎 蔚喂谓伪喂 畏 蟿伪蠉蟿喂蟽畏 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 渭蔚 蟿慰谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 蟿慰蠀 蟺伪喂蠂谓喂未喂慰蠉 蟺慰蠀 苇蠂蔚喂 蟽蟿畏胃蔚委 魏伪喂 蟿畏谓 蟽蠀谓伪委蟽胃畏蟽畏 蠈位蠅谓 蟿蠅谓 蠄蠀蠂慰位慰纬喂魏蠋谓 蟿慰蠀 渭蔚蟿伪尾慰位蠋谓. 螒蟺慰 蟿畏谓 伪蟺蔚位蟺喂蟽委伪 魏伪喂 蟿畏谓 伪蟺慰纬慰萎蟿蔚蠀蟽畏 蟽蟿畏谓 魏蟻蠀蠁萎 渭蠀蟽蟿畏蟻喂伪魏萎 蠂伪蟻维 蟿慰蠀 蟺维胃慰蠀蟼 魏伪喂 蟿畏蟼 蔚位蟺委未伪蟼.
螘喂谓伪喂 苇谓伪 蠈渭慰蟻蠁慰 魏伪喂 伪谓伪蟿蟻蔚蟺蟿喂魏蠈 尾喂尾位委慰. 螢蔚蠂蠅蟻喂蟽蟿蠈 魏伪喂 蟺慰位蠀未喂维蟽蟿伪蟿慰. 螠蔚 蟺慰位位伪 蟽蟿慰喂蠂蔚委伪 蠄蠀蠂慰位慰纬委伪蟼 魏伪喂 伪谓胃蟻蠋蟺喂谓畏蟼 未喂维蟽蟿伪蟽畏蟼 蟽蟿畏 蟽蠂苇蟽畏 胃蠉蟿畏 魏伪喂 胃蠉渭伪蟿慰蟼 蟺慰蠀 未蔚谓 尉蔚魏伪胃伪蟻委味蔚蟿伪喂 蟺慰蟿苇 伪蠀蟿萎 畏 蔚喂未慰蟺慰喂蠈蟼 未喂伪蠁慰蟻维. 螤慰喂慰蟼 蔚喂谓伪喂 蟿慰 胃蠉渭伪 魏伪喂 蟺慰喂慰蟼 慰 胃蠉蟿畏蟼. 螢蔚魏喂谓维 渭蔚 苇谓伪 蠀蟺苇蟻慰蠂慰 蟿蟻慰蟺慰 蟺蔚蟻喂纬蟻伪蠁萎蟼 魏伪喂 蔚尉蔚位委蟽蟽蔚蟿伪喂 蟽蟿伪未喂伪魏维 魏伪喂 纬蟻萎纬慰蟻伪 蟽蟿畏谓 伪谓伪蟿蟻慰蟺萎 渭苇蟽伪 蟽蔚 未蔚蠀蟿蔚蟻蠈位蔚蟺蟿伪 蟿畏蟼 伪位萎胃蔚喂伪蟼 蟽蔚 蠄苇渭渭伪 魏伪喂 伪谓蟿委蟽蟿蟻慰蠁伪.
螌蟽慰 慰 魏伪胃畏纬畏蟿萎蟼-胃蠉渭伪 伪未蠀谓伪蟿蔚委 谓伪 魏伪蟿伪谓慰萎蟽蔚喂 蟿慰谓 畏胃喂魏维 未喂蠁慰蟻慰蠉渭蔚谓慰 螠维纬慰-胃蠉蟿畏 魏伪喂 蟺蔚蟻喂蟺位苇魏慰谓蟿伪喂 蟺蟻蠈蟽蠅蟺伪-蠁伪谓蟿维蟽渭伪蟿伪, 渭蠀胃喂魏苇蟼-蟺蟻伪纬渭伪蟿喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼 魏伪喂 未慰魏喂渭伪蟽委蔚蟼 蟺谓蔚蠉渭伪蟿慰蟼 魏伪喂 渭蠀伪位慰蠉 伪谓维渭蔚蟽伪 蟽蔚 蠁伪谓蟿伪蟽委伪 魏伪喂 伪位畏胃喂锟斤拷萎 味蠅萎, 蟿慰蟽慰 魏伪喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼 伪蟺慰位伪渭尾维谓蔚喂 伪蟻纬维 魏伪喂 尾伪蟽伪谓喂蟽蟿喂魏维 伪蠀蟿萎 蟿畏谓 纬慰畏蟿蔚蠀蟿喂魏萎 未喂伪未蟻慰渭萎 - 渭蔚 维蟺蔚喂蟻蔚蟼 蟽蟿蟻慰蠁苇蟼- 蟺慰蠀 慰未畏纬蔚委 蟽蟿畏谓 伪谓伪纬魏伪喂蠈蟿畏蟿伪 蟿畏蟼 伪蟺蠈位蠀蟿畏蟼 蔚位蔚蠀胃蔚蟻委伪蟼 萎 蟿畏蟼 位慰纬喂魏萎蟼 渭苇蟽伪 伪蟺慰 蟿畏谓 蔚位蔚蠉胃蔚蟻畏 蟽魏苇蠄畏.
螚 伪位萎胃蔚喂伪... 魏维蟺慰蠀 蟽蟿畏 渭苇蟽畏. 韦伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿伪 蔚喂谓伪喂 蟺蟻慰蟽蠅蟺喂魏维 纬喂伪 蟿慰谓 魏维胃蔚 伪谓伪纬谓蠋蟽蟿畏.
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
螠蔚 慰位慰蠁维谓蔚蟻畏 蟿畏谓 伪纬维蟺畏 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 纬喂伪 蟿畏谓 螘位位维未伪 蟿畏蟼 伪蟺蠈位蠀蟿畏蟼 纬蔚蠅蠁蠀蟽喂魏萎蟼 魏伪喂 蟺慰位喂蟿喂蟽蟿喂魏萎蟼 胃蔚蠆魏萎蟼 魏位畏蟻慰谓慰渭喂维蟼 蟿畏蟼, 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 蟽蔚 苇谓伪 蔚位位畏谓喂魏蠈 谓畏蟽委 蠈蟺慰蠀 蟽蠀谓蟿蔚位蔚委蟿伪喂 蟿慰 渭蠀蟽蟿萎蟻喂慰-蠁伪谓蟿伪蟽委伪-蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪,伪蟺蠈魏蟻蠀蠁畏 伪谓胃蟻蠋蟺喂谓畏 蠁蠀蟽畏-蔚位蔚蠀胃蔚蟻委伪 魏伪喂 伪蠀蟿慰蟺蟻伪纬渭维蟿蠅蟽畏- 未喂伪位慰纬喂蟽渭蠈蟼.
螣 蠁位蔚纬渭伪蟿喂魏蠈蟼 螁纬纬位慰蟼 魏伪胃畏纬畏蟿萎蟼 蠁蟿维谓蔚喂 蟽蟿畏谓 螘位位维未伪 蟽蟿慰 渭蠀胃喂魏蠈 谓畏蟽委 渭伪蟼 纬喂伪 谓伪 未喂未维尉蔚喂 蟽蟿慰 蟽蠂慰位蔚委慰 "螞蠈蟻未慰蟼 螔蠉蟻蠅谓伪蟼". 螚 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 蟿慰蠀 苇蟻蠂蔚蟿伪喂 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿畏谓 渭蔚蟿伪蟺慰位蔚渭喂魏萎 螘位位维未伪 伪位位维 畏 维纬蟻喂伪 慰渭慰蟻蠁喂维 蟿慰蠀 谓畏蟽喂慰蠉 蔚尉畏渭蔚蟻蠋谓蔚喂 蟿伪 蟺维胃畏 蟿慰蠀.
螕谓蠅蟻委味蔚喂 蟽蠂蔚未慰谓 蟿蠀蠂伪委伪 蟿慰 螠维纬慰,苇谓伪谓 魏慰蟽渭慰蟺慰位委蟿畏,蟺位慰蠉蟽喂慰, 蟺伪蟻维尉蔚谓慰 魏伪喂 喂未喂蠈蟻蟻蠀胃渭慰 蔚蟺喂蠂蔚喂蟻畏渭伪蟿委伪, 蟺慰蠀 苇蠂蔚喂 渭喂伪 蠀蟺苇蟻慰蠂畏 尾委位伪 蟽蟿慰 蟺喂慰 伪蟺慰渭慰谓蠅渭苇谓慰 蟽畏渭蔚委慰 蟿慰蠀 谓畏蟽喂慰蠉. 螣 螠维纬慰蟼 蟺蟻慰蟽魏伪位蔚委 蟿慰谓 魏伪胃畏纬畏蟿萎 谓伪 蟺蔚蟻维蟽慰蠀谓 渭伪味委 蟿慰 危伪尾尾伪蟿慰魏蠉蟻喂伪魏慰 魏伪喂 蔚魏蔚委 伪蟻蠂委味蔚喂 畏 蟺伪蟻维谓慰喂伪.
螣 慰喂魏慰未蔚蟽蟺蠈蟿畏蟼 蟽蟿萎谓蔚喂 蟽蟿慰谓 魏伪胃畏纬畏蟿萎 苇谓伪 "胃蔚慰蟺伪喂纬谓喂慰". 螆谓伪 胃苇伪蟿蟻慰 蟿慰蠀 蟺伪蟻伪位蠈纬慰蠀 渭蔚 蟽魏畏谓喂魏蠈 蟿畏 尾委位伪 蟺维谓蠅 蟽蟿畏 胃维位伪蟽蟽伪 魏伪喂 伪蟻蠂委味慰蠀谓 谓伪 蟽蠀谓蠀蠁伪委谓慰谓蟿伪喂 蟿慰 蠄苇渭伪 魏伪喂 畏 伪渭蠁喂蟽尾萎蟿畏蟽畏 渭蔚 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟿慰谓 苇蟻蠅蟿伪.
危蟿蠈蠂慰蟼 蟿慰蠀 螠维纬慰蠀 蟽魏畏谓慰胃蔚蟿畏 渭伪蟼 蔚喂谓伪喂 畏 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿蠅谓 蔚蟽蠅蟿蔚蟻喂魏蠋谓 未蠀谓维渭蔚蠅谓 蟿慰蠀 蔚魏位蔚魏蟿慰蠉 魏伪位蔚蟽渭苇谓慰蠀 蟿慰蠀 魏伪喂 蠁蠀蟽喂魏维 畏 尾伪胃喂维 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿畏蟼 蔚位蔚蠀胃蔚蟻委伪蟼 蟽蔚 慰位蔚蟼 蟿喂蟼 蔚魏蠁维谓蟽蔚喂蟼 蟿畏蟼.
韦慰 魏蠀蟻委伪蟻蠂慰 蟽蟿慰喂蠂蔚委慰 蟽蔚 伪蠀蟿萎 蟿畏谓 蠀蟺苇蟻慰蠂畏 纬蟻伪蠁萎 蔚喂谓伪喂 畏 蟿伪蠉蟿喂蟽畏 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 渭蔚 蟿慰谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 蟿慰蠀 蟺伪喂蠂谓喂未喂慰蠉 蟺慰蠀 苇蠂蔚喂 蟽蟿畏胃蔚委 魏伪喂 蟿畏谓 蟽蠀谓伪委蟽胃畏蟽畏 蠈位蠅谓 蟿蠅谓 蠄蠀蠂慰位慰纬喂魏蠋谓 蟿慰蠀 渭蔚蟿伪尾慰位蠋谓. 螒蟺慰 蟿畏谓 伪蟺蔚位蟺喂蟽委伪 魏伪喂 蟿畏谓 伪蟺慰纬慰萎蟿蔚蠀蟽畏 蟽蟿畏谓 魏蟻蠀蠁萎 渭蠀蟽蟿畏蟻喂伪魏萎 蠂伪蟻维 蟿慰蠀 蟺维胃慰蠀蟼 魏伪喂 蟿畏蟼 蔚位蟺委未伪蟼.
螘喂谓伪喂 苇谓伪 蠈渭慰蟻蠁慰 魏伪喂 伪谓伪蟿蟻蔚蟺蟿喂魏蠈 尾喂尾位委慰. 螢蔚蠂蠅蟻喂蟽蟿蠈 魏伪喂 蟺慰位蠀未喂维蟽蟿伪蟿慰. 螠蔚 蟺慰位位伪 蟽蟿慰喂蠂蔚委伪 蠄蠀蠂慰位慰纬委伪蟼 魏伪喂 伪谓胃蟻蠋蟺喂谓畏蟼 未喂维蟽蟿伪蟽畏蟼 蟽蟿畏 蟽蠂苇蟽畏 胃蠉蟿畏 魏伪喂 胃蠉渭伪蟿慰蟼 蟺慰蠀 未蔚谓 尉蔚魏伪胃伪蟻委味蔚蟿伪喂 蟺慰蟿苇 伪蠀蟿萎 畏 蔚喂未慰蟺慰喂蠈蟼 未喂伪蠁慰蟻维. 螤慰喂慰蟼 蔚喂谓伪喂 蟿慰 胃蠉渭伪 魏伪喂 蟺慰喂慰蟼 慰 胃蠉蟿畏蟼. 螢蔚魏喂谓维 渭蔚 苇谓伪 蠀蟺苇蟻慰蠂慰 蟿蟻慰蟺慰 蟺蔚蟻喂纬蟻伪蠁萎蟼 魏伪喂 蔚尉蔚位委蟽蟽蔚蟿伪喂 蟽蟿伪未喂伪魏维 魏伪喂 纬蟻萎纬慰蟻伪 蟽蟿畏谓 伪谓伪蟿蟻慰蟺萎 渭苇蟽伪 蟽蔚 未蔚蠀蟿蔚蟻蠈位蔚蟺蟿伪 蟿畏蟼 伪位萎胃蔚喂伪蟼 蟽蔚 蠄苇渭渭伪 魏伪喂 伪谓蟿委蟽蟿蟻慰蠁伪.
螌蟽慰 慰 魏伪胃畏纬畏蟿萎蟼-胃蠉渭伪 伪未蠀谓伪蟿蔚委 谓伪 魏伪蟿伪谓慰萎蟽蔚喂 蟿慰谓 畏胃喂魏维 未喂蠁慰蟻慰蠉渭蔚谓慰 螠维纬慰-胃蠉蟿畏 魏伪喂 蟺蔚蟻喂蟺位苇魏慰谓蟿伪喂 蟺蟻蠈蟽蠅蟺伪-蠁伪谓蟿维蟽渭伪蟿伪, 渭蠀胃喂魏苇蟼-蟺蟻伪纬渭伪蟿喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼 魏伪喂 未慰魏喂渭伪蟽委蔚蟼 蟺谓蔚蠉渭伪蟿慰蟼 魏伪喂 渭蠀伪位慰蠉 伪谓维渭蔚蟽伪 蟽蔚 蠁伪谓蟿伪蟽委伪 魏伪喂 伪位畏胃喂锟斤拷萎 味蠅萎, 蟿慰蟽慰 魏伪喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼 伪蟺慰位伪渭尾维谓蔚喂 伪蟻纬维 魏伪喂 尾伪蟽伪谓喂蟽蟿喂魏维 伪蠀蟿萎 蟿畏谓 纬慰畏蟿蔚蠀蟿喂魏萎 未喂伪未蟻慰渭萎 - 渭蔚 维蟺蔚喂蟻蔚蟼 蟽蟿蟻慰蠁苇蟼- 蟺慰蠀 慰未畏纬蔚委 蟽蟿畏谓 伪谓伪纬魏伪喂蠈蟿畏蟿伪 蟿畏蟼 伪蟺蠈位蠀蟿畏蟼 蔚位蔚蠀胃蔚蟻委伪蟼 萎 蟿畏蟼 位慰纬喂魏萎蟼 渭苇蟽伪 伪蟺慰 蟿畏谓 蔚位蔚蠉胃蔚蟻畏 蟽魏苇蠄畏.
螚 伪位萎胃蔚喂伪... 魏维蟺慰蠀 蟽蟿畏 渭苇蟽畏. 韦伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿伪 蔚喂谓伪喂 蟺蟻慰蟽蠅蟺喂魏维 纬喂伪 蟿慰谓 魏维胃蔚 伪谓伪纬谓蠋蟽蟿畏.
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
October 20, 2022
5 "cinematic, psychosexual thriller" stars !!
6th Favorite Read of 2018
This is a book that can be easily dismissed when we are guarded, cynical, fearful or imperious. I started this book at a remote location with very small font that hurt my trifocal vision....and yet....amidst mosquitoes, overheating and copious amounts of food I returned over and over until my vision gave out and I fouind a larger print Anita Brookner to round out my week. I returned to an e-copy on my return.
However this book was forever in my imagination and entered my dreams on those sultry nights while I heard the loons calling over the lake. I started by resisting this book and I was guarded, cynical, fearful and imperious towards it just as the protagonist was as he went through a most profound personal transformation from self-absorption to self-awareness.
A middle class Englishman (Nicolas Urfe) is without family or prospects. He is handsome and breaks women's hearts particularly Alison a sensual and earthy Aussie. He moves to an island in beautiful Greece to teach at an Academy and becomes embroiled in one of modern lit's most interesting psychodramas headed by a high priest of manipulation Conchis and his acolytes or actors or fellow therapists or clergy. In fact, we never really find out who they are or what they want with our Englishman. He is driven mad by sexual desire by two twin sisters while Alison haunts him from back home. He confuses selfishness with love, desire with necessity, sexuality for spirituality.
He is psychologically tortured, manipulated, hurt and reborn by a series of incidents that lure him deeper into Conchis' web. We never find out what is real, what is supernatural, what is hypnosis, what are lies ? As we read our own defenses come down and we are stricken to our core by some psychodynamic magic or perhaps the power of Ancient Greek Gods and Godesses.
The book is filled with religious, philosophical, erotic and artistic content and we begin to drown along with our hero into both death and rebirth. The prose is both profound and contrived, both elegant and farcical, both beautiful and obscene. Unless we make peace with dialectics we will never make it out of this labyrinth.
A remarkable feat of 1960s ornate psychosexual grandeur !!
6th Favorite Read of 2018
This is a book that can be easily dismissed when we are guarded, cynical, fearful or imperious. I started this book at a remote location with very small font that hurt my trifocal vision....and yet....amidst mosquitoes, overheating and copious amounts of food I returned over and over until my vision gave out and I fouind a larger print Anita Brookner to round out my week. I returned to an e-copy on my return.
However this book was forever in my imagination and entered my dreams on those sultry nights while I heard the loons calling over the lake. I started by resisting this book and I was guarded, cynical, fearful and imperious towards it just as the protagonist was as he went through a most profound personal transformation from self-absorption to self-awareness.
A middle class Englishman (Nicolas Urfe) is without family or prospects. He is handsome and breaks women's hearts particularly Alison a sensual and earthy Aussie. He moves to an island in beautiful Greece to teach at an Academy and becomes embroiled in one of modern lit's most interesting psychodramas headed by a high priest of manipulation Conchis and his acolytes or actors or fellow therapists or clergy. In fact, we never really find out who they are or what they want with our Englishman. He is driven mad by sexual desire by two twin sisters while Alison haunts him from back home. He confuses selfishness with love, desire with necessity, sexuality for spirituality.
He is psychologically tortured, manipulated, hurt and reborn by a series of incidents that lure him deeper into Conchis' web. We never find out what is real, what is supernatural, what is hypnosis, what are lies ? As we read our own defenses come down and we are stricken to our core by some psychodynamic magic or perhaps the power of Ancient Greek Gods and Godesses.
The book is filled with religious, philosophical, erotic and artistic content and we begin to drown along with our hero into both death and rebirth. The prose is both profound and contrived, both elegant and farcical, both beautiful and obscene. Unless we make peace with dialectics we will never make it out of this labyrinth.
A remarkable feat of 1960s ornate psychosexual grandeur !!
November 26, 2018
Una de las muchas preguntas que el libro contiene, expresa o t谩citamente, es aquella que dice 驴Qu茅 es lo que bebes, el agua o la ola? Pues bien, yo me beb铆 la ola como con meses de sed atrasada. Un texto brillantemente escrito, como me tiene acostumbrado el autor, capaz tanto de conducirte con ligereza y suavidad a hermosas e id铆licas playas, como de voltearte hasta la desorientaci贸n o estrellarte contra las rocas de la sinraz贸n, y ello sin abandonar la elegancia, sin perder esa capacidad de perturbaci贸n que te sostiene fascinado a lomos de esta ola de casi setecientas p谩ginas.
En el pr贸logo a la segunda edici贸n inglesa revisada en 1977, Fowles habla de un libro que le influy贸 a la hora de escribir el suyo, El gran Meaulnes, de Alain Fournier (realmente cita dos m谩s, Bevis, de Richard Jefferies, y Grandes Esperanzas, de Dickens) y del que quer铆a copiar esa capacidad de proporcionar una experiencia que va m谩s all谩 de lo literario. Doy fe de que Fowles lo consigui贸 conmigo.
En esta grandiosa y absurda caja china que es en parte esta novela, he experimentado vivamente la atracci贸n y el rechazo del protagonista ante una experiencia tan desestabilizadora, ante un personaje tan tirano y seductor como es el mago y (en este caso y a mi criterio) el autor de la novela; he sentido como m铆a su confusi贸n, su desamparo; he sufrido su rabia ante las humillaciones y la impotencia ante su insignificancia; he compartido sus anhelos y padecido sus decepciones; he comprendido sus errores, sus malos pasos, su vileza.
驴Y el agua? Pues del agua puedo decir de todo. Durante gran parte de la lectura he bebido a morro, con ansia, quiz谩s por ello parte del agua discurr铆a a veces por fuera de mi boca, moj谩ndome sin aplacar mi sed, mientras otras veces se me atragantaba y hasta ha habido momentos en los que he llegado a escupirla con cierta repugnancia. Un agua muy revuelta en la que por encima de todos los conceptos reinaba ese tan existencial de la libertad y, junto a 茅l, la responsabilidad y, en contra de 茅l, el fatalismo. Pero hab铆a muchos m谩s: la verdad y la ilusi贸n, la 茅tica y la est茅tica, la naturaleza y la educaci贸n, los hechos y la ficci贸n, el amor y el deseo, el misterio y la seguridad, el suicidio, la p茅rdida, la traici贸n鈥� Una amalgama de temas no siempre claros pero siempre expuestos con inteligencia y, lo que es a煤n mejor, de forma estimulante.
Como dej贸 dicho el autor:
En el pr贸logo a la segunda edici贸n inglesa revisada en 1977, Fowles habla de un libro que le influy贸 a la hora de escribir el suyo, El gran Meaulnes, de Alain Fournier (realmente cita dos m谩s, Bevis, de Richard Jefferies, y Grandes Esperanzas, de Dickens) y del que quer铆a copiar esa capacidad de proporcionar una experiencia que va m谩s all谩 de lo literario. Doy fe de que Fowles lo consigui贸 conmigo.
En esta grandiosa y absurda caja china que es en parte esta novela, he experimentado vivamente la atracci贸n y el rechazo del protagonista ante una experiencia tan desestabilizadora, ante un personaje tan tirano y seductor como es el mago y (en este caso y a mi criterio) el autor de la novela; he sentido como m铆a su confusi贸n, su desamparo; he sufrido su rabia ante las humillaciones y la impotencia ante su insignificancia; he compartido sus anhelos y padecido sus decepciones; he comprendido sus errores, sus malos pasos, su vileza.
驴Y el agua? Pues del agua puedo decir de todo. Durante gran parte de la lectura he bebido a morro, con ansia, quiz谩s por ello parte del agua discurr铆a a veces por fuera de mi boca, moj谩ndome sin aplacar mi sed, mientras otras veces se me atragantaba y hasta ha habido momentos en los que he llegado a escupirla con cierta repugnancia. Un agua muy revuelta en la que por encima de todos los conceptos reinaba ese tan existencial de la libertad y, junto a 茅l, la responsabilidad y, en contra de 茅l, el fatalismo. Pero hab铆a muchos m谩s: la verdad y la ilusi贸n, la 茅tica y la est茅tica, la naturaleza y la educaci贸n, los hechos y la ficci贸n, el amor y el deseo, el misterio y la seguridad, el suicidio, la p茅rdida, la traici贸n鈥� Una amalgama de temas no siempre claros pero siempre expuestos con inteligencia y, lo que es a煤n mejor, de forma estimulante.
Como dej贸 dicho el autor:
芦Si el Mago tiene alg煤n verdadero significado, ser谩 un significado del mismo orden que el de los test psicol贸gicos de Rorschach. Su significado es la reacci贸n que provoque en el lector, cualquiera que sea, y por lo que a m铆 respecta no creo que exista ninguna reacci贸n correcta.禄
February 6, 2012
Here on 欧宝娱乐, rather than judging a book by its cover, it is always handier to judge a book based on what your friends and people you are following had to say about it after it had passed under their beady eyes.
I have 91 friends here on 欧宝娱乐 and follow 6 people and of the 12 friends and three people I'm following, only one (Kingfan30) wrote a review. Even the more loquacious members of the group have chosen to remain silent - Karen, Mike and PetraX - not a jot or a scribble (yet). I can see all the ratings but around the book itself there is a sphinx like silence. It is fair to say that the silence surrounding this book speaks volumes.
I on the other hand, am loud and shouty and even though I did not finish this book or understand it in the slightest well, I am going to have my say.
So here goes...
What the hell happened there then?
I have got no idea what happened.
Can anyone explain what happened?
Did John Fowles even know what was going on?
Is everyone else confused?
Good.
This book is on the 1001 Books to Read Before you Die list. I am proposing they move it to the 1001 Books to Confuse the Living Baby Cheesus out of you Before You Die and Even After You are Dead You Might Still be Wondering Exactly What The Hell That Was All About list.
Principally the story of commitmentophobic Oxford graduate, Nicholas Urfe, who runs away from his girlfriend and gets a summer job teaching on a picturesque Greek Island. With the unwitting sixth sense that only the public school educated seem to possess (see The Secret History by Donna Tart) he immediately finds the seedy underbelly within the seemingly sunny and simple island living. Embraced in the dark clutches of the mysterious Maurice Conchis, possible Nazi/wizard/pedlar of hallucinogenic drugs/madman, Nicholas participates in a parade of obscene vignettes, masques and midnight alfresco romping. What does it all mean? Damned if I know! What happened in the end? Dunno. I gave up because I am a quitter but I am sure if I had carried on reading I'd have been none-the-wiser anyway.
I have 91 friends here on 欧宝娱乐 and follow 6 people and of the 12 friends and three people I'm following, only one (Kingfan30) wrote a review. Even the more loquacious members of the group have chosen to remain silent - Karen, Mike and PetraX - not a jot or a scribble (yet). I can see all the ratings but around the book itself there is a sphinx like silence. It is fair to say that the silence surrounding this book speaks volumes.
I on the other hand, am loud and shouty and even though I did not finish this book or understand it in the slightest well, I am going to have my say.
So here goes...
What the hell happened there then?
I have got no idea what happened.
Can anyone explain what happened?
Did John Fowles even know what was going on?
Is everyone else confused?
Good.
This book is on the 1001 Books to Read Before you Die list. I am proposing they move it to the 1001 Books to Confuse the Living Baby Cheesus out of you Before You Die and Even After You are Dead You Might Still be Wondering Exactly What The Hell That Was All About list.
Principally the story of commitmentophobic Oxford graduate, Nicholas Urfe, who runs away from his girlfriend and gets a summer job teaching on a picturesque Greek Island. With the unwitting sixth sense that only the public school educated seem to possess (see The Secret History by Donna Tart) he immediately finds the seedy underbelly within the seemingly sunny and simple island living. Embraced in the dark clutches of the mysterious Maurice Conchis, possible Nazi/wizard/pedlar of hallucinogenic drugs/madman, Nicholas participates in a parade of obscene vignettes, masques and midnight alfresco romping. What does it all mean? Damned if I know! What happened in the end? Dunno. I gave up because I am a quitter but I am sure if I had carried on reading I'd have been none-the-wiser anyway.
September 12, 2007
this book fucked me up. i suppose it could be defined as a "psychological thriller" but its very jungian, steeped in metaphor and symbolism and eroticisim and mythology and shakespeare. its also an intense love story of sorts, the main character is a completely fleshed out, real, flawed person who you relate to and fear for and empathize with. the premise is that this british guy gets a teaching job on a small island in greece soon after WWII ends and becomes intwined in the lives/mind games of this man and his crew...just when you (meaning the protagonist) think you know whats really going on with these people, it all changes and youre left more baffled and curious and invested than ever. in addition to being all of those things its a really fast read (despite its 700 pages) and a really interesting commentary on europe after the war (especially brits).
April 14, 2019
蹖讴 賴賵爻 亘丕夭 丨乇賮賴鈥屫й� 亘賴 賳丿乇鬲貙 丕賳爻丕賳蹖 賯丕亘賱 鬲乇丨賲 丕爻鬲.|爻丕丿
賳賲蹖鈥屫з嗁� 丕蹖賳 乇賲丕賳 乇丕 丕夭 趩賴 夭丕賵蹖賴鈥屫й� 鬲毓乇蹖賮 讴賳賲責 賳賲蹖 丿丕賳賲 丌賳 乇丕 丿乇 趩賴 丿爻鬲賴鈥屫й� 賯乇丕乇 丿賴賲責 乇賵丕賳卮丕爻蹖責 鬲睾夭賾賱蹖責 毓乇賮丕賳蹖責 乇丕夭 丌賱賵丿責 噩賳丕蹖蹖責 丕禺賱丕賯蹖責 賴賲賴鈥屰� 丕蹖賳鈥屬囏� 乇丕 丿乇 禺賵丿 丿丕乇丿 賵 倬蹖趩蹖丿賴 丿乇 賱丕蹖賴鈥屬囏й屰� 賲亘賴賲 賵 乇丕夭丌賱賵丿 丕爻鬲. 丕賲丕 趩蹖夭蹖 讴賴 亘丕 蹖賯蹖賳 賲蹖鈥屫堌з嗁� 亘诏賵蹖賲 丕蹖賳 丕爻鬲 讴賴 賲噩賵爻 蹖讴 乇賲丕賳 丕爻鬲毓丕乇蹖 丕爻鬲. 賵 丕丨爻丕爻賲 賳爻亘鬲 亘賴 毓讴爻 亘丕賱丕貙 丕丨爻丕爻蹖 丕爻鬲 卮亘蹖賴 亘賴 丕丨爻丕爻賲 賳爻亘鬲 亘賴 乇賲丕賳 賲噩賵爻.
賲乇讴夭賽 倬賳賴丕賳賽 丕蹖賳 乇賲丕賳 亘賴 诏賲丕賳賲 丿乇 賴賲丕賳 丕賵賱蹖賳 噩賲賱賴 丕蹖 讴賴 亘賴 賳賯賱 丕夭 爻丕丿 丌賵乇丿賴 丕爻鬲貙 禺賱丕氐賴 賲蹖 卮賵丿.
賮丕賵賱賽夭 賳賵蹖爻賳丿賴鈥屫й� 亘爻蹖丕乇 鬲賵丕賳丕爻鬲. 賴賲 亘賴 噩賴丕賳 倬蹖乇丕賲賵賳卮 丕卮乇丕賮 丿丕乇丿 賵 賴賲 亘賴 賱丕蹖賴 賴丕蹖 倬賳賴丕賳 乇賵丕賳卮 丌诏丕賴 诏卮鬲賴 丕爻鬲. 丕賵 鬲賵丕賳爻鬲賴 乇賵丕賳賽 禺賵丿卮 乇丕 丨鬲賾丕 亘賴鬲乇 丕夭 蹖讴 乇賵丕賳讴丕賵 亘卮讴丕賮丿 賵 爻乇趩卮賲賴鈥屰� 丕賲蹖丕賱卮 乇丕 亘卮賳丕爻丿. 賵 亘乇丕蹖 賴賲蹖賳 丕爻鬲 讴賴 鬲賵丕賳爻鬲賴 鬲丨賱蹖賱 賴丕蹖蹖 亘爻蹖丕乇 丿乇禺卮丕賳 丕夭 乇賵丕賳賽 賴賳乇賲賳丿 賵 丕夭 乇賵丕賳賽 噩賲毓蹖賽 丕賳爻丕賳賽 賯乇賳 亘蹖爻鬲鈥屬堐屭� 亘賴 賲丕 毓乇囟賴 讴賳丿. 乇賲丕賳卮 乇丕 亘丕 丿賯鬲蹖 鬲丕賲賾 賳賵卮鬲賴 賵 丿乇 丌賳 賴蹖趩 趩蹖夭蹖 乇丕 亘蹖鈥屬囐堌� 賳蹖丕賵乇丿賴 丕爻鬲 賵 乇賵丕蹖鬲卮 毓丕乇蹖 丕夭 賴乇诏賵賳賴 夭蹖丕丿賴鈥屭堐屰� 丕爻鬲. 丿丕爻鬲丕賳卮 亘爻蹖丕乇 倬乇讴卮卮 丕爻鬲 賵 賲丕賳賳丿 亘毓囟蹖 丕夭 乇賲丕賳 賴丕蹖 丨噩蹖賲蹖 讴賴 丿乇 賲蹖丕賳賴鈥屰� 丌賳貙 讴賳噩讴丕賵蹖 禺賵丕賳賳丿賴 丕賮鬲 賲蹖 讴賳丿 賵 丿丕爻鬲丕賳 賲賱丕賱鈥屫①堌� 賲蹖 卮賵丿 賳蹖爻鬲.
鬲丨賱蹖賱賽 賵 賳賯丿賽 丕蹖賳 乇賲丕賳貙 賲鬲賳賽 禺賵丿賽 乇賲丕賳 丕爻鬲 賵 亘丕蹖丿 禺賵丕賳丿賴 卮賵丿 鬲丕 禺賵亘蹖 蹖丕 亘丿蹖 丌賳 賮賴賲蹖丿賴 卮賵丿. 賴乇 讴爻 亘賳丕 亘賴 噩賴丕賳鈥屫ㄛ屬嗃屸€屫ж� 賲蹖鈥屫堌з嗀� 丕夭 丌賳 亘乇丿丕卮鬲蹖 賲鬲賮丕賵鬲 丿丕卮鬲賴 亘丕卮丿. 丕蹖賳 乇賲丕賳 丿丕乇丕蹖 鬲毓賱蹖賯鈥屬囏й屰� 趩賳丿 賱丕蹖賴 丕爻鬲 賵 賲蹖 鬲賵丕賳丿 亘乇丕蹖 賴乇 禺賵丕賳賳丿賴鈥屫й屫� 蹖丕 亘賴鬲乇 亘诏賵蹖賲貙 賴乇 禺賵丕賳賳丿賴鈥屰� 丿蹖賵丕賳賴鈥屫й� 噩匕丕亘 亘丕卮丿. 賲禺丕胤亘賽 賲噩賵爻 趩賴鈥屭┴驰� 丕爻鬲責 讴爻蹖 讴賴 丕爻蹖乇 亘蹖鈥屫ㄙ嗀� 賵 亘丕乇蹖鈥屫й� 賮胤乇蹖 賲蹖鈥屫ㄘж簇� 賵 丿乇 夭賳丿诏蹖鈥屫ж� 亘蹖卮鬲乇 丕夭 丌賳讴賴 倬蹖乇賵 丕禺賱丕賯 賵 毓購乇賮 亘丕卮丿貙 倬蹖乇賵 賴賵爻鈥屬囏й屫� 亘賵丿賴 丕爻鬲. 賲胤丕賱毓賴鈥屰� 丕蹖賳 讴鬲丕亘 亘乇丕蹖 讴爻蹖 讴賴 賳賲蹖鈥屫堌з嗀� 丕夭 賱匕鬲蹖 讴賴 丿乇 倬蹖乇賵蹖 丕夭 賴賵爻鈥� 賳賴賮鬲賴 丕爻鬲 趩卮賲 亘倬賵卮丿貙 亘爻蹖丕乇 賱匕鬲鈥屫ㄘ� 禺賵丕賴丿 亘賵丿.
亘賴鈥屫辟堌� 卮丿賴 丿乇 鬲丕乇蹖禺: 98.01.25
January 9, 2010
Oh boy. Here's the thing: If you read this novel as a citizen of 2010, a member of our hyper-speed, uber-connected modern society that navel-gazes in 140 word bytes with little interest in true introspection, The Magus will seem almost comical in its psycho-thrilling, Jungian dribbling plot and Baroque-meets-mod writing style.
If you, dear reader, consider that The Magus was partially written nearly 60 years ago (begun in the early 50s, published in '65, revised in '76), its risky political and sexual behavior and twisted plot now seems the apex of modernity of post-war culture. This is David Lynch decades before he wrapped Isabella Rossellini in blue velvet, "White Rabbit" when Grace Slick was in pigtails, free love to a generation stripping off their bobby socks, "Schindler's List" for young people who had vivid memories of World War II and their parents of the Great War.
As a read, I found it intoxicating. I was surprised at every turn, and, despite its substantial size, never bored or exhausted. Although I enjoyed it to bits, I couldn't recommend it to any of my GoodReads buddies- I honestly think you'd hate it! That's not a throwing down of the gauntlet, but a genuine Caveat emptor. If you didn't like The French Lieutenant's Women, steer well clear of The Magus.
Fowles, in his foreward to the 1976 revision, acknowledges the many negative critical reviews received upon its initial publication ("justified criticisms of excess, over-complexity and artificiality..."). But as he reflects on his motivation in writing, he realizes that The Magus must "remain a novel of adolescence, written by a retarded adolescent" and that freedom, one of the central themes of the novel, must be grasped by the writer to create whatever worlds he or she damn well pleases.
I celebrate the notion of the latter, as long as the reader is gifted a damn good story. For those of us who suffered through "The Most Dangerous Game" and "The Lottery" in 7th grade English, I offer up the satisfaction of The Magus.
If you, dear reader, consider that The Magus was partially written nearly 60 years ago (begun in the early 50s, published in '65, revised in '76), its risky political and sexual behavior and twisted plot now seems the apex of modernity of post-war culture. This is David Lynch decades before he wrapped Isabella Rossellini in blue velvet, "White Rabbit" when Grace Slick was in pigtails, free love to a generation stripping off their bobby socks, "Schindler's List" for young people who had vivid memories of World War II and their parents of the Great War.
As a read, I found it intoxicating. I was surprised at every turn, and, despite its substantial size, never bored or exhausted. Although I enjoyed it to bits, I couldn't recommend it to any of my GoodReads buddies- I honestly think you'd hate it! That's not a throwing down of the gauntlet, but a genuine Caveat emptor. If you didn't like The French Lieutenant's Women, steer well clear of The Magus.
Fowles, in his foreward to the 1976 revision, acknowledges the many negative critical reviews received upon its initial publication ("justified criticisms of excess, over-complexity and artificiality..."). But as he reflects on his motivation in writing, he realizes that The Magus must "remain a novel of adolescence, written by a retarded adolescent" and that freedom, one of the central themes of the novel, must be grasped by the writer to create whatever worlds he or she damn well pleases.
I celebrate the notion of the latter, as long as the reader is gifted a damn good story. For those of us who suffered through "The Most Dangerous Game" and "The Lottery" in 7th grade English, I offer up the satisfaction of The Magus.
March 7, 2012
SPOILERS!
Well, everything one might say about this book could be taken as a spoiler, including this very remark.
The book is a pretty good read, or it would have been if it had weighed in at two hundred or so pages shorter. And, given that the book is entirely a gradual denouement, one has to admire Fowles's skill in controlling it over such a long span, like a musician making a hugely long crescendo.
But I guess in the end, I didn't much like the book. In the 'trial' scene, a report is read out about the narrator of which the narrator himself admits a large amount of validity. And I can't help feeling that it indicts (and is supposed to indict) the author himself. The book is narcissistic in the extreme. A narcissistic young man, much more immature than he thinks he is, becomes the object of a psychological experiment? or intervention? conducted by a group of enormously wealthy people who stage manage all sorts of weird situations on a beautiful Greek island. They include a pair of beautiful young female twins (yes, two!, count 'em) of which one (and it's clear it might have been both) does all sorts of nice things to his private parts. They are all so interested in him. Isn't that cool?
Apparently, he's only the latest in a succession of such experiments/interventions all conducted, you guessed it, on narcissistic young men who are much more immature than they think they are! And it seems they've all involved kinky situations in which the bounds of bourgeois morality are swept away in the name of some unnamed and unspecified higher truth. Exactly why these people are doing what they are doing, whether really out of benevolent concern for all these young men, or out of commitment to some liberated science, is never exactly made clear. (Clearly, any answer to this would be too 'little' or parochial to justify all the action that the group generates, so it really cannot be explained without deflating the entire book. But that's never a good thing in a book, when it has to keep silent on something so as not to appear silly.)
And the attitudes to gender throughout the book! OK, granted, it's partly about how the narrator comes to realize he's fucked up about this, but 600 pages of desperate desire for the female muse alternating with enraged desire to whip (literally) and crush (metaphorically) various of the women involved in the narrator's 'education', followed by 50 pages of "oh I must try and do better".... Well, I'm not convinced. The book seems an unpleasant young man's jerk off fantasy (which makes his control of the book's crescendo over such a long span all the more impressive, I suppose).
There's also a whole epistemological theme to the book. How, it asks, do we know what's real? How tell what's true? But I'm damned if I see what the book is supposed to say about that. No-one who stumbles into the perfectly executed plans of rich eccentrics with unlimited resources to control is going to be able to separate reality from illusion. I mean, come on. Descartes's evil genius has nothing on Maurice Conchis.
So, final verdict: the book is callow and jejune. And not in a nice way.
Well, everything one might say about this book could be taken as a spoiler, including this very remark.
The book is a pretty good read, or it would have been if it had weighed in at two hundred or so pages shorter. And, given that the book is entirely a gradual denouement, one has to admire Fowles's skill in controlling it over such a long span, like a musician making a hugely long crescendo.
But I guess in the end, I didn't much like the book. In the 'trial' scene, a report is read out about the narrator of which the narrator himself admits a large amount of validity. And I can't help feeling that it indicts (and is supposed to indict) the author himself. The book is narcissistic in the extreme. A narcissistic young man, much more immature than he thinks he is, becomes the object of a psychological experiment? or intervention? conducted by a group of enormously wealthy people who stage manage all sorts of weird situations on a beautiful Greek island. They include a pair of beautiful young female twins (yes, two!, count 'em) of which one (and it's clear it might have been both) does all sorts of nice things to his private parts. They are all so interested in him. Isn't that cool?
Apparently, he's only the latest in a succession of such experiments/interventions all conducted, you guessed it, on narcissistic young men who are much more immature than they think they are! And it seems they've all involved kinky situations in which the bounds of bourgeois morality are swept away in the name of some unnamed and unspecified higher truth. Exactly why these people are doing what they are doing, whether really out of benevolent concern for all these young men, or out of commitment to some liberated science, is never exactly made clear. (Clearly, any answer to this would be too 'little' or parochial to justify all the action that the group generates, so it really cannot be explained without deflating the entire book. But that's never a good thing in a book, when it has to keep silent on something so as not to appear silly.)
And the attitudes to gender throughout the book! OK, granted, it's partly about how the narrator comes to realize he's fucked up about this, but 600 pages of desperate desire for the female muse alternating with enraged desire to whip (literally) and crush (metaphorically) various of the women involved in the narrator's 'education', followed by 50 pages of "oh I must try and do better".... Well, I'm not convinced. The book seems an unpleasant young man's jerk off fantasy (which makes his control of the book's crescendo over such a long span all the more impressive, I suppose).
There's also a whole epistemological theme to the book. How, it asks, do we know what's real? How tell what's true? But I'm damned if I see what the book is supposed to say about that. No-one who stumbles into the perfectly executed plans of rich eccentrics with unlimited resources to control is going to be able to separate reality from illusion. I mean, come on. Descartes's evil genius has nothing on Maurice Conchis.
So, final verdict: the book is callow and jejune. And not in a nice way.
January 15, 2008
I had no idea what this book was about. The prose style was nice, but the plot was completely unfathomable. I decided about a third of the way through the book that it was one of the worst things I had ever read. But, due to some strange self-flagellatory compulsion, I told myself there was no way I was going to let it beat me, so I slogged through, teeth clenched, until the end. I found out later that they actually made a movie out of it. About the film, Woody Allen is to have said, "If I could live my life over again, I would do everything the same except for seeing 'The Magus'". As for the book, I couldn't have said it better myself, Woody.
February 10, 2017
Kitap sanki benim kitab谋mm谋艧 gibi sayfas谋na girip okuyucular ne demi艧, be臒enmi艧 mi be臒enmemi艧 mi diye kontrol edeyim demi艧tim ki, yorum yapmam谋艧 oldu臒umu g枚rd眉m. 脟ok 艧a艧谋rd谋m. Bu kadar 莽ok be臒endi臒im, beni bu kadar derinden etkileyen bir kitaba nas谋l yorum yapmam diye kendime k谋zd谋m. Herhalde okudu臒um d枚nemde kitab谋n hemen ard谋ndan bir 艧ey demek istemedim, 莽眉nk眉 ciddi etkilenmi艧li臒imle sa臒l谋kl谋 yazamazd谋m. Fakat aradan onca zaman ge莽ti, bende ki fikirler, duygular, izlenimler hala ayn谋.
Baz谋 arkada艧lardan mesajlar al谋yorum, 莽ok be臒endi臒im ve yorumlad谋臒谋m kitaplar hakk谋nda... Genelde hep benzer c眉mleler 莽谋kar a臒z谋mdan: Kitab谋n sorumlulu臒unu almak istemem, belki de be臒enmezsiniz... gibisinden.
陌艧te bu kitapta bunu s枚ylemiyorum. Hatta nolur okuyun diyorum. Kesin okuyun, l眉tfen okuyun!
Merak duygusunun sonuna kadar taze tutuldu臒u, inan谋lmaz bir d眉nyan谋n yarat谋ld谋臒谋, muhte艧em psikolojik g枚zlemlerin yap谋ld谋臒谋, hi莽 bitmesin isteyece臒iniz bir roman bu. Film gibi ak谋yor 'B眉y眉c眉' ama film gibi bir roman da de臒il, yanl谋艧 anla艧谋lmas谋n. Hafif g枚sterecek, k眉莽眉ltecek bir s谋fat kullanmak istemiyorum. 'B眉y眉c眉'y眉 okurken eve erken d枚nmek isterdim, s谋rf kitaba devam etmek i莽in. Herkes okumu艧 olsa da herkesle heyecan谋m谋 ve d眉艧眉ncelerimi payla艧abilsem diye d眉艧眉n眉rd眉m. Bana bir 艧ey anlatan insanlar谋n ancak y眉z眉ne bakard谋m, akl谋m romanda karakterlerde olurdu 莽眉nk眉. Okuma zevki dedi臒imiz 艧ey, 莽ok 眉st d眉zeyde romanda. Onun d谋艧谋nda bi莽im ve i莽erik 艧ahane. 脟eviri ve bask谋 m眉kemmel. 脰n眉m眉zdeki senelerde bu kitap i莽in Yunanistan adalar谋na bir tatil yapmak ve orada tekrar okumak istiyorum. (Kitab谋 okuyanlar neden bu istek i莽inde oldu臒umu anlarlar.)
Daha ba艧ka bir 艧ey demek istemiyorum ancak 枚vg眉 莽谋k谋yor zira benden:)
Herkese tavsiye ederim!
10/10
Baz谋 arkada艧lardan mesajlar al谋yorum, 莽ok be臒endi臒im ve yorumlad谋臒谋m kitaplar hakk谋nda... Genelde hep benzer c眉mleler 莽谋kar a臒z谋mdan: Kitab谋n sorumlulu臒unu almak istemem, belki de be臒enmezsiniz... gibisinden.
陌艧te bu kitapta bunu s枚ylemiyorum. Hatta nolur okuyun diyorum. Kesin okuyun, l眉tfen okuyun!
Merak duygusunun sonuna kadar taze tutuldu臒u, inan谋lmaz bir d眉nyan谋n yarat谋ld谋臒谋, muhte艧em psikolojik g枚zlemlerin yap谋ld谋臒谋, hi莽 bitmesin isteyece臒iniz bir roman bu. Film gibi ak谋yor 'B眉y眉c眉' ama film gibi bir roman da de臒il, yanl谋艧 anla艧谋lmas谋n. Hafif g枚sterecek, k眉莽眉ltecek bir s谋fat kullanmak istemiyorum. 'B眉y眉c眉'y眉 okurken eve erken d枚nmek isterdim, s谋rf kitaba devam etmek i莽in. Herkes okumu艧 olsa da herkesle heyecan谋m谋 ve d眉艧眉ncelerimi payla艧abilsem diye d眉艧眉n眉rd眉m. Bana bir 艧ey anlatan insanlar谋n ancak y眉z眉ne bakard谋m, akl谋m romanda karakterlerde olurdu 莽眉nk眉. Okuma zevki dedi臒imiz 艧ey, 莽ok 眉st d眉zeyde romanda. Onun d谋艧谋nda bi莽im ve i莽erik 艧ahane. 脟eviri ve bask谋 m眉kemmel. 脰n眉m眉zdeki senelerde bu kitap i莽in Yunanistan adalar谋na bir tatil yapmak ve orada tekrar okumak istiyorum. (Kitab谋 okuyanlar neden bu istek i莽inde oldu臒umu anlarlar.)
Daha ba艧ka bir 艧ey demek istemiyorum ancak 枚vg眉 莽谋k谋yor zira benden:)
Herkese tavsiye ederim!
10/10
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April 5, 2019
Read as part of , based on the BBC's Big Read Poll of 2003.
Nicholas Urfe, an Oxford graduate post-war, with no direction and a slight hint of nymphomania, travels to Greece to work as an English teacher on the remote island of Phraxos, mostly to get away from an Australian girl he shagged but doesn't love and wants to ditch.
Unsurprisingly, the remoteness is boring and he is drawn to browsing the island, where he finds an even more remote house in which lives Conchis, the titular character whom holds all the mystery that Nicholas desires.
There's not a lot else one can say without giving it away, but the mystery deepens and we fall in to a trap alongside Nicholas of quite mixed proportions. The beginning of The Magus is one of most fantastic and tantalising beginnings in literature (certainly that I've read) and, even with reading crime fiction on a regular basis, I've never been kept so in the dark and felt the need to know what happens next. There were so many surprises in the first half of the book that what happens next makes anger rise rapidly.
The descent of this book over a cliff is an understatement. I want to admit that, although one could never call this book even remotely nice to women (or homosexuals or black men), it is-not excusable-but explainable by the era it was written in. When women were shits because men said they were. I never really cared much about the treatment or behaviour of the women, no matter how much anyone says that feminism is a woman enjoying sex, so we'll leave that out of this.
What I did care about was the banality of the reveal, the incomprehensible shiteness of the plot outcome. The sheer let down that such a wonderful, mysterious opening began but soon left behind as if it were another book in another dimension on another plane, tucked neatly-and resolutely-under a rock. First person narrative is always tricky and I'd never consider myself a fan, but in this case the irregular, unreliable narrator of Nicholas was welcome and necessary. One cannot have omniscience with someone playing god.
One can say that, perhaps, at the time it was written it was a good book. With a good shock, a nice little fight against the prude nature of Victorian Classics like most Modern Classics seem to be. I enjoyed the contrast, but ultimately I think it took it's course too far and, as I said before, fell off the cliff without a rope.
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Nicholas Urfe, an Oxford graduate post-war, with no direction and a slight hint of nymphomania, travels to Greece to work as an English teacher on the remote island of Phraxos, mostly to get away from an Australian girl he shagged but doesn't love and wants to ditch.
Unsurprisingly, the remoteness is boring and he is drawn to browsing the island, where he finds an even more remote house in which lives Conchis, the titular character whom holds all the mystery that Nicholas desires.
There's not a lot else one can say without giving it away, but the mystery deepens and we fall in to a trap alongside Nicholas of quite mixed proportions. The beginning of The Magus is one of most fantastic and tantalising beginnings in literature (certainly that I've read) and, even with reading crime fiction on a regular basis, I've never been kept so in the dark and felt the need to know what happens next. There were so many surprises in the first half of the book that what happens next makes anger rise rapidly.
The descent of this book over a cliff is an understatement. I want to admit that, although one could never call this book even remotely nice to women (or homosexuals or black men), it is-not excusable-but explainable by the era it was written in. When women were shits because men said they were. I never really cared much about the treatment or behaviour of the women, no matter how much anyone says that feminism is a woman enjoying sex, so we'll leave that out of this.
What I did care about was the banality of the reveal, the incomprehensible shiteness of the plot outcome. The sheer let down that such a wonderful, mysterious opening began but soon left behind as if it were another book in another dimension on another plane, tucked neatly-and resolutely-under a rock. First person narrative is always tricky and I'd never consider myself a fan, but in this case the irregular, unreliable narrator of Nicholas was welcome and necessary. One cannot have omniscience with someone playing god.
One can say that, perhaps, at the time it was written it was a good book. With a good shock, a nice little fight against the prude nature of Victorian Classics like most Modern Classics seem to be. I enjoyed the contrast, but ultimately I think it took it's course too far and, as I said before, fell off the cliff without a rope.
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July 2, 2020
讴鬲丕亘 禺蹖賱蹖 噩匕丕亘 賵 倬乇 讴卮卮蹖 亘賵丿. 丕诏乇 丌賳 乇丕 丕夭 丿賵爻鬲蹖 毓夭蹖夭 賴丿蹖賴 诏乇賮鬲賴 亘丕卮蹖丿 (賲丕賳賳丿 賲賳) 禺賵卮亘禺鬲蹖丿. 賲鬲乇噩賲 禺蹖賱蹖 讴賵卮蹖丿賴 亘賵丿 鬲丕 丕夭 讴賱賲丕鬲 賵 丕氐胤賱丕丨丕鬲蹖 丕爻鬲賮丕丿賴 讴賳丿 讴賴 爻丕賳爻賵乇 氐賵乇鬲 賳诏蹖乇丿 賵賱蹖 亘賴 賴乇 丨丕賱 亘毓囟蹖 亘禺卮鈥屬囏� 亘賴 賳丕趩丕乇 爻丕賳爻賵乇 卮丿賴 亘賵丿賳丿貨 丕賱亘鬲賴 丿乇 讴賱 賮讴乇 賲蹖鈥屭┵嗁� 讴鬲丕亘 爻丕賳爻賵乇 夭蹖丕丿蹖 賳丿丕卮鬲賴 丕爻鬲. 賳賲蹖鈥屫з嗁� 趩乇丕 丌賯丕蹖 禺丕讴爻丕乇 毓賳賵丕賳 讴鬲丕亘 乇丕 賲噩賵爻 丕賳鬲禺丕亘 讴乇丿賴 丕爻鬲責 丌蹖丕 亘賴鬲乇 賳亘賵丿 爻丕丨乇 蹖丕 噩丕丿賵诏乇 蹖丕 賲鬲乇丕丿賮鈥屬囏й� 丕蹖賳 讴賱賲賴 乇丕 亘乇丕蹖 毓賳賵丕賳 亘乇 賲蹖鈥屭槽屫�
蹖讴 賮蹖賱賲 丕賯鬲亘丕爻蹖 亘爻蹖丕乇 亘丿 賴賲 丕夭 丕蹖賳 讴鬲丕亘 丿乇 爻丕賱 1968 爻丕禺鬲賴 卮丿賴 丕爻鬲 讴賴 丕鬲賮丕賯丕 禺賵丿 噩丕賳 賮丕賵賱夭 賴賲 賮蹖賱賲賳丕賲賴鈥屫ж� 乇丕 賳賵卮鬲賴 丕爻鬲 賵 蹖讴 賳賯卮 禺蹖賱蹖 讴賵趩賵賱賵 賴賲 丿乇 丌賳 亘丕夭蹖 讴乇丿賴鈥屫ж池�. 丕賱亘鬲賴 丌賳鬲賵賳蹖 讴賵卅蹖賳 賵 賲丕蹖讴賱 讴蹖賳 賵 禺丕賳賲 丌賳丕 讴丕乇蹖賳丕 賴賲 丿乇 丌賳 亘丕夭蹖 讴乇丿賴鈥屫з嗀�. 丕诏乇 毓賱丕賯賴 賲賳丿 亘賵丿 亘亘蹖賳蹖丿. (亘賴 賴蹖趩 毓賳賵丕賳 賯亘賱 丕夭 禺賵丕賳丿賳 讴鬲丕亘 賮蹖賱賲卮 乇丕 賳亘蹖賳蹖丿).
The Magus (1968) 5.7
丕夭 賲賱丕賱鈥屫簇з� 鬲夭賵蹖乇 噩丕乇蹖 亘賵丿 賵 丿賵乇賵蹖蹖 賵 禺卮賲 亘蹖鈥屫ж蒂� 倬蹖乇丕賳蹖 讴賴 賲蹖鈥屫з嗀池嗀� 亘賴 賴蹖趩 噩丕 賳乇爻蹖丿賴鈥屫з嗀� 賵 噩賵丕賳丕賳蹖 讴賴 丌蹖賳丿賴鈥屫й� 噩夭 賴蹖趩 噩丕 賳乇爻蹖丿賳貙 倬蹖卮 乇賵蹖 禺賵丿 賳賲蹖鈥屫屫嗀�. 氐 19 讴鬲丕亘
賲蹖鈥屫堎嗁� 賵賯鬲蹖 丌丿賲鈥屬囏� 丕夭 賴賲 賮丕氐賱賴 賲蹖鈥屭屫辟嗀� 趩賴 丕鬲賮丕賯蹖 賲蹖鈥屫з佖�. 蹖讴 賴賮鬲賴 乇賳噩 賵 毓匕丕亘貙 賴賮鬲賴鈥屰� 亘毓丿 睾賲 賵丕賳丿賵賴貙 亘毓丿 讴賲 讴賲 賮乇丕賲賵卮 賲蹖鈥屭┵嗃� 賵 丌禺乇 爻乇 丕賳诏丕乇 丕夭 丕賵賱 賴蹖趩 丕鬲賮丕賯蹖 賳蹖賮鬲丕丿賴貙 丕賳诏丕乇 丿丕爻鬲丕賳 夭賳丿诏蹖 丿賵 丌丿賲 丿蹖诏賴 亘賵丿賴 賵 丿蹖诏賴 賴蹖趩 丕賴賲蹖鬲蹖 賳丿丕乇賴. 氐 58 讴鬲丕亘
賴賲蹖卮賴 賮讴乇 賲蹖鈥屭┴必� 鬲噩丕乇亘 賳丕禺賵卮丕蹖賳丿賲 丿乇 亘丿鬲乇蹖賳 丨丕賱鬲貙 爻賵禺鬲 賴爻鬲賳丿貙 夭睾丕賱 爻賳诏貙 亘丕賱丕禺乇賴 蹖讴 乇賵夭 亘賴 丿乇丿賲 賲蹖鈥屫堌辟嗀� 氐乇賮丕 乇賳噩 賵 賴丿乇 乇賮鬲賳 夭賳丿诏蹖 賳蹖爻鬲賳丿. 氐 73 讴鬲丕亘
鬲賵 夭賳丿诏蹖 賴乇 讴爻 賱丨馗賴鈥屫й� 賲蹖鈥屫必迟� 卮亘蹖賴 賱丨馗賴鈥屰� 賲蹖夭丕賳 卮丿賳 卮丕賴蹖賳 鬲乇丕夭賵. 丕賵賳 夭賲丕賳 亘丕蹖丿 禺賵丿鬲 乇賵 亘倬匕蹖乇蹖. 丿蹖诏賴 賲賴賲 賳蹖爻鬲 賯乇丕乇賴 趩蹖 亘卮蹖. 趩蹖夭蹖 讴賴 賴爻鬲蹖 賵 賴賲蹖卮賴 禺賵丕賴蹖 亘賵丿 賲賴賲賴. 氐 137 讴鬲丕亘
鬲賲丕賲 噩賲賴賵乇蹖鈥屬囏й� 鬲賲丕賲 毓蹖丕乇 賲夭禺乇賮顮� 鬲賲丕賲 毓蹖丕乇賳丿. 丕卮鬲蹖丕賯 卮丿蹖丿 亘乇丕蹖 亘賴 賲禺丕胤乇賴 丕賳丿丕禺鬲賳 夭賳丿诏蹖 丌禺乇蹖賳 丕賳丨乇丕賮 亘夭乇诏 賲丕爻鬲. 賲丕 丕夭 卮亘 賲蹖鈥屫③屬� 賵 亘賴 卮亘 賲蹖鈥屫臂屬�. 趩乇丕 鬲賵蹖 卮亘 夭賳丿诏蹖 賲蹖鈥屭┵嗃屬呚� 氐 160 讴鬲丕亘
賲丕 丨丿賵丿 爻蹖夭丿賴 賴夭丕乇 賳賮乇 讴卮鬲賴 丿丕丿蹖賲- 爻蹖夭丿賴 賴夭丕乇 匕賴賳貙 禺丕胤乇賴貙 毓卮賯貙 丨爻貙 丿賳蹖丕貙 讴賴讴卮丕賳- 趩乇丕 讴賴 匕賴賳 丕賳爻丕賳 讴賴讴卮丕賳鈥屫辟� 鬲丕 禺賵丿 讴賴讴卮丕賳- 賵 賴賲賴鈥屰� 丕蹖賳鈥屬囏� 亘乇丕蹖 趩賳丿 氐丿 賲鬲乇 诏賱 讴賴 賲賮鬲 賴賲 賳賲蹖鈥屫ж必槽屫�. 氐 166 讴鬲丕亘
卮賲丕 噩賵賵賳鈥屬囏й� 丕賲乇賵夭 賲蹖鈥屫堎嗃屫� 亘丿賳鈥屬囏ж堎� 乇賵 毓丕乇蹖賴 亘丿蹖丿貙 亘丕賴丕卮賵賳 亘丕夭蹖 讴賳蹖丿貙 賴乇 噩賵乇 讴賴 禺賵丿鬲賵賳 丿賵爻鬲 丿丕乇蹖丿 亘匕賱 賵 亘禺卮卮鈥屫促堎� 讴賳蹖丿貙 賲丕 賳賲蹖鈥屫堎嗀池屬�. 賵賱蹖 蹖丕丿鬲 亘丕卮賴 讴賴 卮賲丕 蹖賴 亘賴丕蹖蹖 倬乇丿丕禺鬲 讴乇丿賴鈥屫й屫� 蹖賴 丿賳蹖丕蹖 睾賳蹖 倬乇 乇賲夭 賵 乇丕夭 賵 丕丨爻丕爻丕鬲 賱胤蹖賮 乇賵 丕夭 讴賮 丿丕丿賴鈥屫й屫�. 賮賯胤 诏賵賳賴鈥屬囏й� 噩丕賳賵乇丕賳 賳蹖爻鬲賳丿 讴賴 賲賳賯乇囟 賲蹖鈥屫促嗀�. 诏賵賳賴鈥屬囏й� 丕丨爻丕爻丕鬲 賴賲 賲賳賯乇囟 賲蹖鈥屫促嗀�. 賵 丕诏乇 毓丕賯賱 亘丕卮蹖 賴蹖趩 賵賯鬲 賳亘丕蹖丿 丿賱鬲 亘丕亘鬲 诏匕卮鬲賴鈥屫й� 亘爻賵夭賴 讴賴 丕夭 賴賲賴 趩蹖夭卮 亘蹖鈥屫ㄘ臂�. 丿賱鬲 亘丕蹖丿 亘賴 丨丕賱 禺賵丿鬲 亘爻賵夭賴 讴賴 丕賵賳 丿賵乇丕賳 乇賵 丕夭 讴賮 丿丕丿蹖. 氐 190 讴鬲丕亘
賴乇 丕丨賲賯蹖 賲蹖鈥屫堎嗁� 亘乇丕蹖 倬丿蹖丿 丌賵乇丿賳 蹖賴 丿賳蹖丕蹖 賲毓賯賵賱鈥屫� 賳賯卮賴 亘讴卮賴. 丿賴 丿賯蹖賯賴 亘蹖卮鬲乇 夭賲丕賳 賳賲蹖鈥屫ㄘ辟�. 丨鬲蹖 倬賳噩 丿賯蹖賯賴 賴賲 讴丕賮蹖賴. 賵賱蹖 丕蹖賳讴賴 丕夭 賲乇丿賲 丕賳鬲馗丕乇 丿丕卮鬲賴 亘丕卮蹖 賲毓賯賵賱 夭賳丿诏蹖 讴賳賳丿 賲孬賱 丕蹖賳 賲蹖鈥屬呝堎嗁� 讴賴 丕夭卮賵賳 亘禺賵丕蹖 鬲丕 丌禺乇 毓賲乇 賮賯胤 卮乇亘鬲 囟丿 丕爻賴丕賱 亘禺賵乇賳丿. 氐 219 讴鬲丕亘
賲賳 蹖賴 趩蹖夭 讴孬丕賮鬲 賳賮乇鬲 丕賳诏蹖夭 亘丿亘賵蹖 亘丿賲夭賴 丿丕乇賲 讴賴 亘賴鈥屫� 賲蹖鈥屭� 毓卮賯... 禺丿丕蹖丕貙 爻賮賱蹖爻 丿乇 賯蹖丕爻 亘丕 毓卮賯 趩蹖夭 亘賴鬲乇蹖賴... 氐 345 讴鬲丕亘
賲乇诏 賵賱毓 夭賳丿诏蹖 乇賵 亘賴 噩賵賳鈥屬呝堎� 賲蹖鈥屬嗀ж操�. 亘賳丕亘乇丕蹖賳 蹖丕丿 賲蹖鈥屭屫臂屬� 鬲丕 噩丕賵丿丕賳诏蹖 禺賵丿賲賵賳 乇賵 噩毓賱 讴賳蹖賲. 氐 379 讴鬲丕亘
賵賱蹖 賲丕 丕蹖賳 鬲賵丕賳丕蹖蹖 乇丕 丿丕卮鬲蹖賲 讴賴 噩賵丕亘 賳丕亘讴丕乇蹖鈥屫ж� 乇丕 亘丕 趩蹖夭蹖 賳丕亘讴丕乇丕賳賴鈥屫� 亘丿賴蹖賲貙 賵 丿賯蹖賯丕 亘賴 丕蹖賳 丿賱蹖賱 讴賴 丕賳诏賱蹖爻蹖 亘賵丿蹖賲: 亘丕 賳賯丕亘 亘賴 丿賳蹖丕 丌賲丿賴 亘賵丿蹖賲 賵 鬲乇亘蹖鬲 卮丿賴 亘賵丿蹖賲 亘乇丕蹖 丿乇賵睾鈥屭堐屰�. 氐 438 讴鬲丕亘
丌夭丕丿蹖 賵噩賵丿 丿丕乇賴 讴賴 賱亘禺賳丿 賵噩賵丿 丿丕乇賴. 賮賯胤 蹖讴 噩賴丕賳 讴丕賲賱丕 丕夭 倬蹖卮 亘乇賳丕賲賴 乇蹖夭蹖 卮丿賴 賲蹖鈥屫堎嗁� 亘丿賳 丕賵賳 亘丕卮賴. 丿乇 賳賴丕蹖鬲 亘乇丕蹖 诏乇蹖禺鬲賳 丕夭 卮賵禺蹖 賳賴丕蹖蹖 亘丕蹖丿 賯乇亘丕賳蹖 卮丿- 蹖毓賳蹖 丿賯蹖賯丕 賱丨馗賴鈥屰� 賲乇诏 丿乇讴 賲蹖鈥屭┵嗃� 讴賴 鬲賲丕賲 毓賲乇 丕夭 賲乇诏 賮乇丕乇 讴乇丿蹖 鬲丕 丿爻鬲 丌禺乇 亘賲蹖乇蹖. 賵賯鬲蹖 丿蹖诏賴 賵噩賵丿 賳丿丕卮鬲賴 亘丕卮蹖貙 丿蹖诏賴 丌夭丕丿 賴賲 賳蹖爻鬲蹖. 氐 517 讴鬲丕亘
丿乇 丕蹖賳 賯乇賳 亘賴 賯丿乇蹖 亘丕 爻丕蹖賳爻 賮蹖讴卮賳 禺賵 诏乇賮鬲賴鈥屫й屬� 賵 亘賴 賵丕賯毓蹖鬲 毓賱賲蹖 丿賱诏乇賲鈥屫й屬� 讴賴 丿蹖诏乇 賴乇诏夭 丕夭 賲丕賵乇丕亍 丕賱胤亘蹖毓賴 賳禺賵丕賴蹖賲 鬲乇爻蹖丿. 氐 579 讴鬲丕亘
丿乇 蹖賵賳丕賳 鬲賲丕賲 賲讴丕賱賲丕鬲 丿乇 賳賴丕蹖鬲 亘賴 爻賲鬲 倬賵賱 鬲睾蹖蹖乇 噩賴鬲 賲蹖鈥屫囐嗀� 賳賴 爻蹖丕爻鬲貙 丕诏乇 賴賲 亘乇賵丿 爻賲鬲 爻蹖丕爻鬲 賮賯胤 亘賴 丕蹖賳 丿賱蹖賱 丕爻鬲 讴賴 亘丕 倬賵賱 丕乇鬲亘丕胤 丿丕乇丿. 氐 620 讴鬲丕亘
丿賯丕蹖賯蹖 胤賵賱丕賳蹖 爻讴賵鬲 爻丕蹖賴 丕賳丿丕禺鬲 賵 賲賳 亘賴 乇賳噩 賮讴乇 讴乇丿賲貙 亘賴 丌夭乇丿賳 丿蹖诏乇丕賳. 丕蹖賳 鬲賳賴丕 丨賯蹖賯鬲蹖 亘賵丿 讴賴 丕賴賲蹖鬲 丿丕卮鬲貙 丕蹖賳 鬲賳賴丕 丕禺賱丕賯蹖丕鬲蹖 亘賵丿 讴賴 丕賴賲蹖鬲 丿丕卮鬲貙 鬲賳賴丕 诏賳丕賴貙 鬲賳賴丕 噩賳丕蹖鬲. 丿賵亘丕乇賴 丌賳 诏賳丕賴 賳丕亘禺卮賵丿賳蹖: 亘丕夭 丕賳爻丕賳蹖 亘蹖鈥屭嗀з囒� 乇丕 乇賳噩丕賳丿賴 亘賵丿賲. 氐 757 讴鬲丕亘
蹖讴 賮蹖賱賲 丕賯鬲亘丕爻蹖 亘爻蹖丕乇 亘丿 賴賲 丕夭 丕蹖賳 讴鬲丕亘 丿乇 爻丕賱 1968 爻丕禺鬲賴 卮丿賴 丕爻鬲 讴賴 丕鬲賮丕賯丕 禺賵丿 噩丕賳 賮丕賵賱夭 賴賲 賮蹖賱賲賳丕賲賴鈥屫ж� 乇丕 賳賵卮鬲賴 丕爻鬲 賵 蹖讴 賳賯卮 禺蹖賱蹖 讴賵趩賵賱賵 賴賲 丿乇 丌賳 亘丕夭蹖 讴乇丿賴鈥屫ж池�. 丕賱亘鬲賴 丌賳鬲賵賳蹖 讴賵卅蹖賳 賵 賲丕蹖讴賱 讴蹖賳 賵 禺丕賳賲 丌賳丕 讴丕乇蹖賳丕 賴賲 丿乇 丌賳 亘丕夭蹖 讴乇丿賴鈥屫з嗀�. 丕诏乇 毓賱丕賯賴 賲賳丿 亘賵丿 亘亘蹖賳蹖丿. (亘賴 賴蹖趩 毓賳賵丕賳 賯亘賱 丕夭 禺賵丕賳丿賳 讴鬲丕亘 賮蹖賱賲卮 乇丕 賳亘蹖賳蹖丿).
The Magus (1968) 5.7
丕夭 賲賱丕賱鈥屫簇з� 鬲夭賵蹖乇 噩丕乇蹖 亘賵丿 賵 丿賵乇賵蹖蹖 賵 禺卮賲 亘蹖鈥屫ж蒂� 倬蹖乇丕賳蹖 讴賴 賲蹖鈥屫з嗀池嗀� 亘賴 賴蹖趩 噩丕 賳乇爻蹖丿賴鈥屫з嗀� 賵 噩賵丕賳丕賳蹖 讴賴 丌蹖賳丿賴鈥屫й� 噩夭 賴蹖趩 噩丕 賳乇爻蹖丿賳貙 倬蹖卮 乇賵蹖 禺賵丿 賳賲蹖鈥屫屫嗀�. 氐 19 讴鬲丕亘
賲蹖鈥屫堎嗁� 賵賯鬲蹖 丌丿賲鈥屬囏� 丕夭 賴賲 賮丕氐賱賴 賲蹖鈥屭屫辟嗀� 趩賴 丕鬲賮丕賯蹖 賲蹖鈥屫з佖�. 蹖讴 賴賮鬲賴 乇賳噩 賵 毓匕丕亘貙 賴賮鬲賴鈥屰� 亘毓丿 睾賲 賵丕賳丿賵賴貙 亘毓丿 讴賲 讴賲 賮乇丕賲賵卮 賲蹖鈥屭┵嗃� 賵 丌禺乇 爻乇 丕賳诏丕乇 丕夭 丕賵賱 賴蹖趩 丕鬲賮丕賯蹖 賳蹖賮鬲丕丿賴貙 丕賳诏丕乇 丿丕爻鬲丕賳 夭賳丿诏蹖 丿賵 丌丿賲 丿蹖诏賴 亘賵丿賴 賵 丿蹖诏賴 賴蹖趩 丕賴賲蹖鬲蹖 賳丿丕乇賴. 氐 58 讴鬲丕亘
賴賲蹖卮賴 賮讴乇 賲蹖鈥屭┴必� 鬲噩丕乇亘 賳丕禺賵卮丕蹖賳丿賲 丿乇 亘丿鬲乇蹖賳 丨丕賱鬲貙 爻賵禺鬲 賴爻鬲賳丿貙 夭睾丕賱 爻賳诏貙 亘丕賱丕禺乇賴 蹖讴 乇賵夭 亘賴 丿乇丿賲 賲蹖鈥屫堌辟嗀� 氐乇賮丕 乇賳噩 賵 賴丿乇 乇賮鬲賳 夭賳丿诏蹖 賳蹖爻鬲賳丿. 氐 73 讴鬲丕亘
鬲賵 夭賳丿诏蹖 賴乇 讴爻 賱丨馗賴鈥屫й� 賲蹖鈥屫必迟� 卮亘蹖賴 賱丨馗賴鈥屰� 賲蹖夭丕賳 卮丿賳 卮丕賴蹖賳 鬲乇丕夭賵. 丕賵賳 夭賲丕賳 亘丕蹖丿 禺賵丿鬲 乇賵 亘倬匕蹖乇蹖. 丿蹖诏賴 賲賴賲 賳蹖爻鬲 賯乇丕乇賴 趩蹖 亘卮蹖. 趩蹖夭蹖 讴賴 賴爻鬲蹖 賵 賴賲蹖卮賴 禺賵丕賴蹖 亘賵丿 賲賴賲賴. 氐 137 讴鬲丕亘
鬲賲丕賲 噩賲賴賵乇蹖鈥屬囏й� 鬲賲丕賲 毓蹖丕乇 賲夭禺乇賮顮� 鬲賲丕賲 毓蹖丕乇賳丿. 丕卮鬲蹖丕賯 卮丿蹖丿 亘乇丕蹖 亘賴 賲禺丕胤乇賴 丕賳丿丕禺鬲賳 夭賳丿诏蹖 丌禺乇蹖賳 丕賳丨乇丕賮 亘夭乇诏 賲丕爻鬲. 賲丕 丕夭 卮亘 賲蹖鈥屫③屬� 賵 亘賴 卮亘 賲蹖鈥屫臂屬�. 趩乇丕 鬲賵蹖 卮亘 夭賳丿诏蹖 賲蹖鈥屭┵嗃屬呚� 氐 160 讴鬲丕亘
賲丕 丨丿賵丿 爻蹖夭丿賴 賴夭丕乇 賳賮乇 讴卮鬲賴 丿丕丿蹖賲- 爻蹖夭丿賴 賴夭丕乇 匕賴賳貙 禺丕胤乇賴貙 毓卮賯貙 丨爻貙 丿賳蹖丕貙 讴賴讴卮丕賳- 趩乇丕 讴賴 匕賴賳 丕賳爻丕賳 讴賴讴卮丕賳鈥屫辟� 鬲丕 禺賵丿 讴賴讴卮丕賳- 賵 賴賲賴鈥屰� 丕蹖賳鈥屬囏� 亘乇丕蹖 趩賳丿 氐丿 賲鬲乇 诏賱 讴賴 賲賮鬲 賴賲 賳賲蹖鈥屫ж必槽屫�. 氐 166 讴鬲丕亘
卮賲丕 噩賵賵賳鈥屬囏й� 丕賲乇賵夭 賲蹖鈥屫堎嗃屫� 亘丿賳鈥屬囏ж堎� 乇賵 毓丕乇蹖賴 亘丿蹖丿貙 亘丕賴丕卮賵賳 亘丕夭蹖 讴賳蹖丿貙 賴乇 噩賵乇 讴賴 禺賵丿鬲賵賳 丿賵爻鬲 丿丕乇蹖丿 亘匕賱 賵 亘禺卮卮鈥屫促堎� 讴賳蹖丿貙 賲丕 賳賲蹖鈥屫堎嗀池屬�. 賵賱蹖 蹖丕丿鬲 亘丕卮賴 讴賴 卮賲丕 蹖賴 亘賴丕蹖蹖 倬乇丿丕禺鬲 讴乇丿賴鈥屫й屫� 蹖賴 丿賳蹖丕蹖 睾賳蹖 倬乇 乇賲夭 賵 乇丕夭 賵 丕丨爻丕爻丕鬲 賱胤蹖賮 乇賵 丕夭 讴賮 丿丕丿賴鈥屫й屫�. 賮賯胤 诏賵賳賴鈥屬囏й� 噩丕賳賵乇丕賳 賳蹖爻鬲賳丿 讴賴 賲賳賯乇囟 賲蹖鈥屫促嗀�. 诏賵賳賴鈥屬囏й� 丕丨爻丕爻丕鬲 賴賲 賲賳賯乇囟 賲蹖鈥屫促嗀�. 賵 丕诏乇 毓丕賯賱 亘丕卮蹖 賴蹖趩 賵賯鬲 賳亘丕蹖丿 丿賱鬲 亘丕亘鬲 诏匕卮鬲賴鈥屫й� 亘爻賵夭賴 讴賴 丕夭 賴賲賴 趩蹖夭卮 亘蹖鈥屫ㄘ臂�. 丿賱鬲 亘丕蹖丿 亘賴 丨丕賱 禺賵丿鬲 亘爻賵夭賴 讴賴 丕賵賳 丿賵乇丕賳 乇賵 丕夭 讴賮 丿丕丿蹖. 氐 190 讴鬲丕亘
賴乇 丕丨賲賯蹖 賲蹖鈥屫堎嗁� 亘乇丕蹖 倬丿蹖丿 丌賵乇丿賳 蹖賴 丿賳蹖丕蹖 賲毓賯賵賱鈥屫� 賳賯卮賴 亘讴卮賴. 丿賴 丿賯蹖賯賴 亘蹖卮鬲乇 夭賲丕賳 賳賲蹖鈥屫ㄘ辟�. 丨鬲蹖 倬賳噩 丿賯蹖賯賴 賴賲 讴丕賮蹖賴. 賵賱蹖 丕蹖賳讴賴 丕夭 賲乇丿賲 丕賳鬲馗丕乇 丿丕卮鬲賴 亘丕卮蹖 賲毓賯賵賱 夭賳丿诏蹖 讴賳賳丿 賲孬賱 丕蹖賳 賲蹖鈥屬呝堎嗁� 讴賴 丕夭卮賵賳 亘禺賵丕蹖 鬲丕 丌禺乇 毓賲乇 賮賯胤 卮乇亘鬲 囟丿 丕爻賴丕賱 亘禺賵乇賳丿. 氐 219 讴鬲丕亘
賲賳 蹖賴 趩蹖夭 讴孬丕賮鬲 賳賮乇鬲 丕賳诏蹖夭 亘丿亘賵蹖 亘丿賲夭賴 丿丕乇賲 讴賴 亘賴鈥屫� 賲蹖鈥屭� 毓卮賯... 禺丿丕蹖丕貙 爻賮賱蹖爻 丿乇 賯蹖丕爻 亘丕 毓卮賯 趩蹖夭 亘賴鬲乇蹖賴... 氐 345 讴鬲丕亘
賲乇诏 賵賱毓 夭賳丿诏蹖 乇賵 亘賴 噩賵賳鈥屬呝堎� 賲蹖鈥屬嗀ж操�. 亘賳丕亘乇丕蹖賳 蹖丕丿 賲蹖鈥屭屫臂屬� 鬲丕 噩丕賵丿丕賳诏蹖 禺賵丿賲賵賳 乇賵 噩毓賱 讴賳蹖賲. 氐 379 讴鬲丕亘
賵賱蹖 賲丕 丕蹖賳 鬲賵丕賳丕蹖蹖 乇丕 丿丕卮鬲蹖賲 讴賴 噩賵丕亘 賳丕亘讴丕乇蹖鈥屫ж� 乇丕 亘丕 趩蹖夭蹖 賳丕亘讴丕乇丕賳賴鈥屫� 亘丿賴蹖賲貙 賵 丿賯蹖賯丕 亘賴 丕蹖賳 丿賱蹖賱 讴賴 丕賳诏賱蹖爻蹖 亘賵丿蹖賲: 亘丕 賳賯丕亘 亘賴 丿賳蹖丕 丌賲丿賴 亘賵丿蹖賲 賵 鬲乇亘蹖鬲 卮丿賴 亘賵丿蹖賲 亘乇丕蹖 丿乇賵睾鈥屭堐屰�. 氐 438 讴鬲丕亘
丌夭丕丿蹖 賵噩賵丿 丿丕乇賴 讴賴 賱亘禺賳丿 賵噩賵丿 丿丕乇賴. 賮賯胤 蹖讴 噩賴丕賳 讴丕賲賱丕 丕夭 倬蹖卮 亘乇賳丕賲賴 乇蹖夭蹖 卮丿賴 賲蹖鈥屫堎嗁� 亘丿賳 丕賵賳 亘丕卮賴. 丿乇 賳賴丕蹖鬲 亘乇丕蹖 诏乇蹖禺鬲賳 丕夭 卮賵禺蹖 賳賴丕蹖蹖 亘丕蹖丿 賯乇亘丕賳蹖 卮丿- 蹖毓賳蹖 丿賯蹖賯丕 賱丨馗賴鈥屰� 賲乇诏 丿乇讴 賲蹖鈥屭┵嗃� 讴賴 鬲賲丕賲 毓賲乇 丕夭 賲乇诏 賮乇丕乇 讴乇丿蹖 鬲丕 丿爻鬲 丌禺乇 亘賲蹖乇蹖. 賵賯鬲蹖 丿蹖诏賴 賵噩賵丿 賳丿丕卮鬲賴 亘丕卮蹖貙 丿蹖诏賴 丌夭丕丿 賴賲 賳蹖爻鬲蹖. 氐 517 讴鬲丕亘
丿乇 丕蹖賳 賯乇賳 亘賴 賯丿乇蹖 亘丕 爻丕蹖賳爻 賮蹖讴卮賳 禺賵 诏乇賮鬲賴鈥屫й屬� 賵 亘賴 賵丕賯毓蹖鬲 毓賱賲蹖 丿賱诏乇賲鈥屫й屬� 讴賴 丿蹖诏乇 賴乇诏夭 丕夭 賲丕賵乇丕亍 丕賱胤亘蹖毓賴 賳禺賵丕賴蹖賲 鬲乇爻蹖丿. 氐 579 讴鬲丕亘
丿乇 蹖賵賳丕賳 鬲賲丕賲 賲讴丕賱賲丕鬲 丿乇 賳賴丕蹖鬲 亘賴 爻賲鬲 倬賵賱 鬲睾蹖蹖乇 噩賴鬲 賲蹖鈥屫囐嗀� 賳賴 爻蹖丕爻鬲貙 丕诏乇 賴賲 亘乇賵丿 爻賲鬲 爻蹖丕爻鬲 賮賯胤 亘賴 丕蹖賳 丿賱蹖賱 丕爻鬲 讴賴 亘丕 倬賵賱 丕乇鬲亘丕胤 丿丕乇丿. 氐 620 讴鬲丕亘
丿賯丕蹖賯蹖 胤賵賱丕賳蹖 爻讴賵鬲 爻丕蹖賴 丕賳丿丕禺鬲 賵 賲賳 亘賴 乇賳噩 賮讴乇 讴乇丿賲貙 亘賴 丌夭乇丿賳 丿蹖诏乇丕賳. 丕蹖賳 鬲賳賴丕 丨賯蹖賯鬲蹖 亘賵丿 讴賴 丕賴賲蹖鬲 丿丕卮鬲貙 丕蹖賳 鬲賳賴丕 丕禺賱丕賯蹖丕鬲蹖 亘賵丿 讴賴 丕賴賲蹖鬲 丿丕卮鬲貙 鬲賳賴丕 诏賳丕賴貙 鬲賳賴丕 噩賳丕蹖鬲. 丿賵亘丕乇賴 丌賳 诏賳丕賴 賳丕亘禺卮賵丿賳蹖: 亘丕夭 丕賳爻丕賳蹖 亘蹖鈥屭嗀з囒� 乇丕 乇賳噩丕賳丿賴 亘賵丿賲. 氐 757 讴鬲丕亘
December 15, 2009
I have rarely been so unpleasantly surprised - and bitterly disappointed - by the sudden turn that a novel takes as with the abrupt shift that occurs roughly mid-way through John Fowles The Magus. The first half introduced the ethereal, creepy and gripping experiences of the young Englishman Nicholas Urfe, estranged from his Australian girlfriend Alison and teaching at a boys school on the remote Greek island of Phraxos. Thoroughly disenchanted with the course his life has taken, and gauging with a contemplative eye the distance between the top of the sheer cliffs on the island's shore and the teal waters far below, he stumbles upon the private villa of the mysterious Greek millionaire Maurice Conchis. Select lines from T. S. Eliot's Little Gidding point beguilingly towards the direction that Conchis' tutoring will lead Nicholas - and this early part, with its spectral hauntings, shadowy tales told in charcoal tongues, and erotic temptations from a nubile maiden, one of the troupe that enacts the masques that Conchis enjoys performing, was very good and left me eager to have the mystery solved, the seeingly supernatural elements either explained or expanded upon.
Unfortunately, the book then takes a complete left-turn, an increasingly silly shift into the psychoanalysis of the confused Nicholas, a vast and complex pantomime that goes from one climax to another, all pointing towards a ridiculous amount of time, money, and effort expended upon the most pedestrian after-school special of a goal. It's almost like Fowles had one book in mind when he began writing, then discovered the works of Jung and Freud and Laing and Lacan during a sabbatical, became consumed with their themes and ideas, and decided to resume the novel in a completely different direction. It is still well-written, and I hung through to the end, but toss me in the fridge and call me Frosty, but was I ever pissed with how this sucker turned out. A truly intriguing and otherwordly tale made clinical and cold in the most frustrating of ways (though I realize that, for others, the novel could be the obverse: a cheesy spook-story having been made into a superb analysis of the faults and deceits of an arrogant young man's life, a mind-fuck of the first order). The Magus presents the lamentable case of a potential five-star hit at the box office going off the rails and exiting the theaters early as an average three-star read.
Unfortunately, the book then takes a complete left-turn, an increasingly silly shift into the psychoanalysis of the confused Nicholas, a vast and complex pantomime that goes from one climax to another, all pointing towards a ridiculous amount of time, money, and effort expended upon the most pedestrian after-school special of a goal. It's almost like Fowles had one book in mind when he began writing, then discovered the works of Jung and Freud and Laing and Lacan during a sabbatical, became consumed with their themes and ideas, and decided to resume the novel in a completely different direction. It is still well-written, and I hung through to the end, but toss me in the fridge and call me Frosty, but was I ever pissed with how this sucker turned out. A truly intriguing and otherwordly tale made clinical and cold in the most frustrating of ways (though I realize that, for others, the novel could be the obverse: a cheesy spook-story having been made into a superb analysis of the faults and deceits of an arrogant young man's life, a mind-fuck of the first order). The Magus presents the lamentable case of a potential five-star hit at the box office going off the rails and exiting the theaters early as an average three-star read.
November 27, 2019
The Canon is What Our Friends Write
鈥淭he Magus鈥� is a novel that achieves everything that most of the books pushed and promoted by white American male post-modernists fail to.
It鈥檚 genuinely innovative in form. Its form follows and complements its substance. Its narrative style reflects its metaphysical concerns. It doesn鈥檛 just name-drop post-modern philosophers or concepts, resembling a cut and paste from an undergraduate philosophy textbook. It genuinely explores the issues in a fictional way.
The metaphysical issues are explored in a metafictional manner as well. Issues that affect perception, understanding and meaning equally affect the structure of the novel, and the relationship between author and character, as well as author and reader.
The novel was enthusiastically supported by Fowles鈥� publisher, Jonathan Cape, which had previously published works by both James Joyce and Ian Fleming. It was both commercially and critically successful, at one point selling over four million copies.
As a result, its support has diminished in the US ever since, largely because it is Anglo-European (i.e., it is recognisably English, while set on a Greek island) and not the product of a member of the envious American post-modern academic fraternity who moonlight as God鈥檚 gift to the homegrown literary avantgarde. Inevitably, therefore, the novel has been buried in the US under the ignominious residue of its initial popularity. Superficially, it鈥檚 too accessible for the self-proclaimed post-modern elite.
Twopenny-Halfpenny Don Juan
The novel follows the exploits of a 25 year old Oxford-educated English teacher and budding poet/writer, Nicholas Urfe, who takes a two year assignment at a boarding school modelled on Eton on the fictional Greek island of Phraxos. Nicholas is a bit of a lad, and is trying to escape the clutches of his Australian girlfriend, Alison, who, he suspects, wants to marry him:
Love of Freedom
Alison responds to the news of his departure:
Nicholas describes his conduct as 鈥渃补濒肠耻濒补迟颈苍驳鈥�, but argues that 鈥渋t was caused less by a true coldness than by a narcissistic belief in the importance of the lifestyle. I mistook the feeling of relief that dropping a girl always brought for a love of freedom.鈥�
The Right Anguishes
At Oxford, he belonged to a group called Les Hommes Revoltes, where 鈥渨e argued about being and nothingness and called a certain kind of inconsequential behaviour 鈥榚xistentialist鈥�. Less enlightened people would have called it capricious or just plain selfish; but we didn鈥檛 understand that the heroes, or anti-heroes of the French existentialist novels we read were not supposed to be realistic. We tried to imitate them, mistaking metaphorical descriptions of complex modes of feeling for straightforward prescriptions of behaviour. We duly felt the right anguishes鈥︹€�
Nicholas doesn鈥檛 wholly escape the clutches of French existentialism after Oxford. His relationships are not just relationships, but explorations of the existentialist predicament. He must exit them, if he feels that his metaphysical freedom is compromised in any way.
Between Existence and Nothingness
Lonely on Phraxos, Nicholas hypothesises:
He feels 鈥渁 metaphysical sense of being marooned鈥� on Phraxos:
While the language of nothingness belongs to Sartre, the contemplation of suicide owes more to Camus:
The man is still being judged by the adolescent undergraduate. 鈥淏ut then the mysteries began.鈥�
The Mysteries of Bourani
And the mysteries began when Nicholas ventured onto the land surrounding a private villa called Bourani that was owned by Maurice Conchis, who had briefly been the mayor during the German occupation of the island in WWII. He is a former student, but not a follower, of Jung.
What follows takes up most of the novel. From Nicholas鈥� point of view, it鈥檚 written in the style of detective fiction as he tries to learn more about his predicament. On the other hand, it seems that Nicholas has been chosen or elected to enter a kind of magical curtainless theatrical performance or masque or 鈥渕别迟补-迟丑别补迟谤别鈥� where 鈥渁ll here is artifice鈥� (which reminded me of the magic theatre in Herman Hesse鈥檚 鈥沦迟别辫辫别苍飞辞濒蹿鈥�).
The Novel as Masque
This masque is symbolic of the experimental art form of the novel. Conchis jokes that 鈥渢he novel is no longer an art form鈥�, then asks 鈥渨hy should I struggle through hundreds of pages of fabrication to reach half a dozen very little truths?鈥� (to which Nicholas responds 鈥淔or fun?鈥�) This tongue in cheek exchange suggests that the choice is between education and entertainment.
For Nicholas personally, the masque represents a supernatural conflict between order and chaos, between the rational and the irrational, between the predetermined and the willed (or voluntary). He suspects that 鈥渟omething was trying to slip between me and reality鈥�. He feels 鈥渁s if the world had suddenly been re-invented, and for me alone...You鈥檝e no idea how strange this experience has been. Beautifully strange. Only, you know, it鈥檚 one鈥檚 sense of reality. It鈥檚 like gravity. One can resist it only so long.鈥� Conchis鈥� role is to be the 鈥渃hance agent鈥�, ably assisted by two attractive twin sisters from England (Julie/Lily and June/Rose, one of whom, at least, went to Cambridge). They鈥檙e playing a game with Nicholas that has two aspects - 鈥渙ne didactic, the other aesthetic.鈥� It鈥檚 even hinted that the two girls are 鈥渘othing but a personification of your [Nicolas鈥橾 own selfishness.鈥�
The Existence of Mysteries
As with any novel, there鈥檚 a difference between reality and unreality:
I鈥檒l avoid revealing details of the game: 鈥淚t would be like telling you the story of a mystery film just before you went to see it.鈥� Suffice to say that the name of the novel was originally supposed to be 鈥淭he Godgame鈥�.
All is Hazard
Conchis consistently refers to 鈥渉补锄补谤诲鈥� rather than 鈥渃丑补苍肠别鈥�. 鈥淭here is no plan. All is hazard.鈥� However, it is part of a broader ontology of being and becoming:
Conchis thinks of 鈥渢he word 鈥榖eing鈥� [as] no longer passive and descriptive, but active...almost imperative...You are meant to do as you choose...I must warn you that this evening I give you not a narrative. But a character...We are all actors and actresses...on the stage of the world.鈥�
Rearranging Reality
Later, Lily says to Nicholas, 鈥淵ou must have seen you鈥檙e in the hands of someone who鈥檚 very skilled at rearranging reality.鈥�
Nicholas acknowledges that 鈥淚 was experiencing...a new self-acceptance, a sense that I had to be this mind and this body, its vices and its virtues, and that I had no other chance or choice...I had an idea that sooner or later I was going to be asked to perform as well, that this was some initiation to a much darker adventure that I was prepared for, a society, a cult...鈥�
Soon Nicholas feels that he鈥檚 playing hide and seek with a group of schizophrenics:
Inevitably, Nicholas falls in love with Lily鈥檚 鈥渃oolness, mystery, elegance鈥� (which overcome Alison鈥檚 鈥渆nergy, candour, companionability鈥� and 鈥渉er normality, her reality, her predictability鈥�):
Endless Interaction
Nicholas could justify his mistreatment of women, because he just hadn鈥檛 found the right one yet. He thinks of himself as 鈥渄ifficult, hazardous, poetic鈥�, whereas Alison sees him for what he is: not complicated, but selfish.
Nicholas passes through 鈥渟tages of knowledge鈥� that are still ultimately philosophical, despite their resemblance to a 鈥渕ystical experience鈥�:
鈥淎n Answer is Always a Form of Death鈥�
Towards the end of the novel, Nicholas is told:
Outside the godgame, we are all waiting for the meaning of life to be made (or to become) apparent to us. Only, to say that it becomes apparent for anybody is a lie. If anything, we must all continue waiting.
Freedom and Love
On the other hand, it鈥檚 possible that the meaning of freedom comes only from love:
The Folly of the Metaphysical Detective Story
Whatever attempts the reader makes to understand the novel must be qualified by both these words and the words Fowles has Nicholas say towards the end:
First published in 1966, 鈥淭he Magus鈥� seems to mirror some of Thomas Pynchon鈥檚 perspective in 鈥淭he Crying of Lot 49鈥� (published in the same year).
SOUNDTRACK:
鈥淭he Magus鈥� is a novel that achieves everything that most of the books pushed and promoted by white American male post-modernists fail to.
It鈥檚 genuinely innovative in form. Its form follows and complements its substance. Its narrative style reflects its metaphysical concerns. It doesn鈥檛 just name-drop post-modern philosophers or concepts, resembling a cut and paste from an undergraduate philosophy textbook. It genuinely explores the issues in a fictional way.
The metaphysical issues are explored in a metafictional manner as well. Issues that affect perception, understanding and meaning equally affect the structure of the novel, and the relationship between author and character, as well as author and reader.
The novel was enthusiastically supported by Fowles鈥� publisher, Jonathan Cape, which had previously published works by both James Joyce and Ian Fleming. It was both commercially and critically successful, at one point selling over four million copies.
As a result, its support has diminished in the US ever since, largely because it is Anglo-European (i.e., it is recognisably English, while set on a Greek island) and not the product of a member of the envious American post-modern academic fraternity who moonlight as God鈥檚 gift to the homegrown literary avantgarde. Inevitably, therefore, the novel has been buried in the US under the ignominious residue of its initial popularity. Superficially, it鈥檚 too accessible for the self-proclaimed post-modern elite.
Twopenny-Halfpenny Don Juan
The novel follows the exploits of a 25 year old Oxford-educated English teacher and budding poet/writer, Nicholas Urfe, who takes a two year assignment at a boarding school modelled on Eton on the fictional Greek island of Phraxos. Nicholas is a bit of a lad, and is trying to escape the clutches of his Australian girlfriend, Alison, who, he suspects, wants to marry him:
鈥淚 didn鈥檛 collect conquests, but by the time I left Oxford I was a dozen girls away from virginity...I was a snob, a prig, a twopenny-halfpenny Don Juan鈥ou know what Australians are like. They鈥檙e terribly half-baked culturally. They don鈥檛 really know who they are, where they belong. Part of her was very gauche. Anti-British. She found me very English, very fascinating. Partly it was because I was 鈥榗ultured鈥�, a word she often used...Alison was always feminine; she never, like so many English girls, betrayed her gender. She wasn鈥檛 beautiful, she very often wasn鈥檛 even pretty. But she had a fashionably thin boyish figure, she had a contemporary dress sense, she had a conscious way of walking, and her sum was extraordinarily more than her parts...She stood there in her white dress, small, innocent-corrupt, coarse-fine, an expert novice...Out of bed I felt I was teaching her, anglicising her accent, polishing off her roughness, her provincialisms; in bed she did the teaching.鈥�
Love of Freedom
Alison responds to the news of his departure:
鈥淚鈥檓 going to be an air hostess, and you鈥檙e going to Greece. You鈥檙e free.鈥�
Nicholas describes his conduct as 鈥渃补濒肠耻濒补迟颈苍驳鈥�, but argues that 鈥渋t was caused less by a true coldness than by a narcissistic belief in the importance of the lifestyle. I mistook the feeling of relief that dropping a girl always brought for a love of freedom.鈥�
The Right Anguishes
At Oxford, he belonged to a group called Les Hommes Revoltes, where 鈥渨e argued about being and nothingness and called a certain kind of inconsequential behaviour 鈥榚xistentialist鈥�. Less enlightened people would have called it capricious or just plain selfish; but we didn鈥檛 understand that the heroes, or anti-heroes of the French existentialist novels we read were not supposed to be realistic. We tried to imitate them, mistaking metaphorical descriptions of complex modes of feeling for straightforward prescriptions of behaviour. We duly felt the right anguishes鈥︹€�
Nicholas doesn鈥檛 wholly escape the clutches of French existentialism after Oxford. His relationships are not just relationships, but explorations of the existentialist predicament. He must exit them, if he feels that his metaphysical freedom is compromised in any way.
Between Existence and Nothingness
Lonely on Phraxos, Nicholas hypothesises:
鈥淥ne kind of person is engaged in society without realising it; another engages in society by controlling it. The one is a fear, a cog, and the other an engineer, a driver. But a person who has opted out has only his ability to express his disengagement between his existence and nothingness. Not cogito, but scribo, pingo, ergo sum.鈥�
He feels 鈥渁 metaphysical sense of being marooned鈥� on Phraxos:
鈥淚 was worse off than even Alison was; she hated life, I hated myself. I had created nothing. I belonged to nothingness, to the neant, and it seemed to me that my own death was the only thing left that I could create; and still, even then, I thought it might accuse everyone who had ever known me. It would validate all my cynicism, it would prove all my solitary selfishness; it would stand, and be remembered, as a final dark victory.鈥�
While the language of nothingness belongs to Sartre, the contemplation of suicide owes more to Camus:
鈥淢y feelings, at the end of that wretched term, were those of a man who knows he is in a cage, exposed to the jeers of all his old ambitions until he dies.鈥�
The man is still being judged by the adolescent undergraduate. 鈥淏ut then the mysteries began.鈥�
The Mysteries of Bourani
And the mysteries began when Nicholas ventured onto the land surrounding a private villa called Bourani that was owned by Maurice Conchis, who had briefly been the mayor during the German occupation of the island in WWII. He is a former student, but not a follower, of Jung.
What follows takes up most of the novel. From Nicholas鈥� point of view, it鈥檚 written in the style of detective fiction as he tries to learn more about his predicament. On the other hand, it seems that Nicholas has been chosen or elected to enter a kind of magical curtainless theatrical performance or masque or 鈥渕别迟补-迟丑别补迟谤别鈥� where 鈥渁ll here is artifice鈥� (which reminded me of the magic theatre in Herman Hesse鈥檚 鈥沦迟别辫辫别苍飞辞濒蹿鈥�).
The Novel as Masque
This masque is symbolic of the experimental art form of the novel. Conchis jokes that 鈥渢he novel is no longer an art form鈥�, then asks 鈥渨hy should I struggle through hundreds of pages of fabrication to reach half a dozen very little truths?鈥� (to which Nicholas responds 鈥淔or fun?鈥�) This tongue in cheek exchange suggests that the choice is between education and entertainment.
For Nicholas personally, the masque represents a supernatural conflict between order and chaos, between the rational and the irrational, between the predetermined and the willed (or voluntary). He suspects that 鈥渟omething was trying to slip between me and reality鈥�. He feels 鈥渁s if the world had suddenly been re-invented, and for me alone...You鈥檝e no idea how strange this experience has been. Beautifully strange. Only, you know, it鈥檚 one鈥檚 sense of reality. It鈥檚 like gravity. One can resist it only so long.鈥� Conchis鈥� role is to be the 鈥渃hance agent鈥�, ably assisted by two attractive twin sisters from England (Julie/Lily and June/Rose, one of whom, at least, went to Cambridge). They鈥檙e playing a game with Nicholas that has two aspects - 鈥渙ne didactic, the other aesthetic.鈥� It鈥檚 even hinted that the two girls are 鈥渘othing but a personification of your [Nicolas鈥橾 own selfishness.鈥�
The Existence of Mysteries
As with any novel, there鈥檚 a difference between reality and unreality:
鈥淰erification is the only scientific criterion of reality. That does not mean that there may not be realities that are unverifiable鈥�
鈥淢an needs the existence of mysteries. Not their solution.鈥�
I鈥檒l avoid revealing details of the game: 鈥淚t would be like telling you the story of a mystery film just before you went to see it.鈥� Suffice to say that the name of the novel was originally supposed to be 鈥淭he Godgame鈥�.
All is Hazard
Conchis consistently refers to 鈥渉补锄补谤诲鈥� rather than 鈥渃丑补苍肠别鈥�. 鈥淭here is no plan. All is hazard.鈥� However, it is part of a broader ontology of being and becoming:
鈥淭here comes a time in each life like a point of fulcrum. At that time you must accept yourself. It is not any more what you will become. It is what you are and always will be. You are too young to know this. You are still becoming. Not being.鈥�
Conchis thinks of 鈥渢he word 鈥榖eing鈥� [as] no longer passive and descriptive, but active...almost imperative...You are meant to do as you choose...I must warn you that this evening I give you not a narrative. But a character...We are all actors and actresses...on the stage of the world.鈥�
Rearranging Reality
Later, Lily says to Nicholas, 鈥淵ou must have seen you鈥檙e in the hands of someone who鈥檚 very skilled at rearranging reality.鈥�
Nicholas acknowledges that 鈥淚 was experiencing...a new self-acceptance, a sense that I had to be this mind and this body, its vices and its virtues, and that I had no other chance or choice...I had an idea that sooner or later I was going to be asked to perform as well, that this was some initiation to a much darker adventure that I was prepared for, a society, a cult...鈥�
Soon Nicholas feels that he鈥檚 playing hide and seek with a group of schizophrenics:
鈥淚 was beginning to lose my sense of total sureness that [Conchis] was inventing a new stage of the masque...He was assaying not my powers of belief, but my powers of unbelief.鈥�
Inevitably, Nicholas falls in love with Lily鈥檚 鈥渃oolness, mystery, elegance鈥� (which overcome Alison鈥檚 鈥渆nergy, candour, companionability鈥� and 鈥渉er normality, her reality, her predictability鈥�):
鈥淚 sensed, behind the outward daring, the duplicities of the past she had been playing, a delicious ghost of innocence, perhaps even of virginity; a ghost I felt particularly well equipped to exorcise, just as soon as time allowed...I knew already that all my past relationships with girls, my selfishness, caddishnesses, even that belittling dismissal of Alison to my past that I had just perpetrated, could now be justified. It was always to be this, and something in me had always known it...
鈥淚 imagined a Julie/Lily who had acquired all Alison鈥檚 experience and adeptness, her quick passions, her slow lubricities, but enhanced, enriched, diversified by superior taste, intelligence, poetry...鈥�
Endless Interaction
Nicholas could justify his mistreatment of women, because he just hadn鈥檛 found the right one yet. He thinks of himself as 鈥渄ifficult, hazardous, poetic鈥�, whereas Alison sees him for what he is: not complicated, but selfish.
Nicholas passes through 鈥渟tages of knowledge鈥� that are still ultimately philosophical, despite their resemblance to a 鈥渕ystical experience鈥�:
鈥淚 had the sense that this was the fundamental reality and that reality had a universal mouth to tell me so; no sense of divinity, of communion, of the brotherhood of man, of anything I had expected before I became suggestible. No pantheism, no humanism. But something much wider, cooler and more abstruse. That reality was endless inter-action. No good, no evil; no beauty, no ugliness. No sympathy, no antipathy. But simply interaction. The endless solitude of the one, its total enislement from all else, seemed the same thing as the total inter-relationship of the all. All opposites seemed one, because each was indispensable to each. The indifference and the indispensability of all seemed one. I suddenly knew, but in a hitherto unexperienced sense of knowing, that all else exists.
鈥淜nowing, willing, being wise, being good, education, information, classification, knowledge of all kinds, sensibility, sexuality, these things seemed superficial. I had no desire to state or define or analyse this interaction, I simply wished to constitute it - not even 鈥榳ished to鈥� - I constituted it. I was volitionless. There was no meaning. Only being...
鈥淎t the same time a parabola, a fall, an ejaculation; but the transience, the passage, had become an integral part of the knowledge of the experience. The becoming and the being were one.鈥�
鈥淎n Answer is Always a Form of Death鈥�
Towards the end of the novel, Nicholas is told:
鈥淚n the godgame we start from the premise that in reality all is fiction, yet no single fiction is necessary.鈥�.
Outside the godgame, we are all waiting for the meaning of life to be made (or to become) apparent to us. Only, to say that it becomes apparent for anybody is a lie. If anything, we must all continue waiting.
Freedom and Love
On the other hand, it鈥檚 possible that the meaning of freedom comes only from love:
鈥淲hen I loved you, it meant everything you said or did to me had meaning. Emotional meaning. It moved me, excited me. It depressed me鈥︹€�
鈥淭omorrow, let them love, who have never loved;
They who have loved, let them love again, tomorrow.鈥�
The Folly of the Metaphysical Detective Story
Whatever attempts the reader makes to understand the novel must be qualified by both these words and the words Fowles has Nicholas say towards the end:
鈥淏y searching so fanatically I was making a detective story out of the summer鈥檚 events, and to view life as a detective story, as something that could be deduced, hunted and arrested, was no more realistic (let alone poetic) than to view the detective story as the most important literary genre, instead of what it really was, one of the least.鈥�
First published in 1966, 鈥淭he Magus鈥� seems to mirror some of Thomas Pynchon鈥檚 perspective in 鈥淭he Crying of Lot 49鈥� (published in the same year).
SOUNDTRACK:
July 24, 2013
Oh god, I totally totally hated this boring, rambling, long-as-shit book.
October 20, 2018
螣 渭维纬慰蟼, 位慰喂蟺蠈谓. 螘蟺蟿伪魏蠈蟽喂蔚蟼 蔚尾未慰渭萎谓蟿伪 蟺苇谓蟿蔚 蟽蔚位委未蔚蟼 渭蔚蟿维 (蔚尉伪魏慰位慰蠀胃蠋 谓伪) 伪谓伪蟻蠅蟿喂苇渭伪喂 伪谓 渭蟺慰蟻蠋 蟽蟿鈥� 伪位萎胃蔚喂伪, 蔚谓 蔚委未蔚喂 魏蟻喂蟿喂魏萎蟼 伪蟺慰蟿委渭畏蟽畏蟼, 谓伪 蟽蠀渭蟺蟿蠉尉蠅 蟽蔚 渭蔚蟻喂魏苇蟼 纬蟻伪渭渭苇蟼 蠈蟽伪 苇谓喂蠅蟽伪 未喂伪尾维味慰谓蟿维蟼 蟿慰谓. 螒谓, 蟿蔚位喂魏维, 渭蟺慰蟻蠋 谓伪 蔚尉畏纬萎蟽蠅 位慰纬喂魏维 魏伪胃蔚蟿委 蟺慰蠀 伪谓伪未蠉胃畏魏蔚 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 萎, 蟺慰位蠉 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰, 谓伪 尾蔚尾伪喂蠋蟽蠅 渭蔚 蟺伪蟻蟻畏蟽委伪 蠈蟿喂, 谓伪喂, 伪谓蟿喂位萎蠁胃畏魏伪 渭蔚 尾蔚尾伪喂蠈蟿畏蟿伪 蟿喂 萎蟿伪谓 位慰纬喂魏蠈 蔚未蠋 渭苇蟽伪 魏伪喂 蟿喂 畏 伪谓蟿伪谓维魏位伪蟽萎 蟿慰蠀鈥� 蟺慰蠉 慰 伪谓伪蠁蔚蟻蠈蟿伪谓 蟽蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟺慰蠉 蠉蠁伪喂谓蔚 蟺维谓蠅 蟿畏蟼.
螒蟼 蔚喂蟺蠅胃蔚委 渭慰谓维蠂伪 蠈蟿喂 蠈位慰蟼 伪蠀蟿蠈蟼 慰 伪位位喂蠋蟿喂魏慰蟼 魏蠈蟽渭慰蟼 蟺慰蠀 伪蟺慰魏伪位蠉蟺蟿蔚蟿伪喂 蟽蟿慰 螠蟺慰蠀蟻维谓喂 蟿畏蟼 桅蟻维尉慰蠀 [蟽畏渭.: 蟿慰 鈥樝€蔚蟻喂蠁蟻伪纬渭苇谓慰鈥� 谓畏蟽委 蟿慰蠀 螠维纬慰蠀 未蔚谓 蔚委谓伪喂 维位位慰 伪蟺蠈 蟿喂蟼 危蟺苇蟿蟽蔚蟼, 蠈蟺慰蠀 慰 Fowles 未委未伪尉蔚 蟿慰 1951 魏伪喂 蟿慰 1952 蟽蔚 苇谓伪 喂未喂蠅蟿喂魏蠈 慰喂魏慰蟿蟻慰蠁蔚委慰], 渭蟺蟻慰蟼 蟽蟿伪 渭维蟿喂伪 蟿慰蠀 维位位慰蟿蔚 魏伪蟿维蟺位畏魏蟿慰蠀 魏喂 维位位慰蟿蔚 慰蟻纬喂蟽渭苇谓慰蠀 魏伪胃畏纬畏蟿萎 蟿畏蟼 螒纬纬位喂魏萎蟼, 螡喂魏蠈位伪 螘蟻蠁, 未蔚谓 蔚委谓伪喂 伪蟺位维 渭喂伪 蠄蠀蠂蟻维 蠀蟺慰位慰纬喂蟽渭苇谓畏 维蟽魏畏蟽畏 蠁伪谓蟿伪蟽委伪蟼 萎 苇谓伪 蔚谓未喂伪蠁苇蟻慰谓 蔚纬魏蔚蠁伪位喂魏蠈 蟺伪喂蠂谓委未喂 渭蔚 蔚谓慰蟻蠂畏蟽蟿蟻蠅蟿萎 蟿慰谓 委未喂慰 蟿慰谓 Fowles 萎 苇蟽蟿蠅 蟿慰谓 鈥樜溛澄库€�, 蟿慰谓 伪位位蠈魏慰蟿慰 喂未喂慰魏蟿萎蟿畏 渭喂伪蟼 尾委位伪蟼 蟽蟿喂蟼 维魏蟻喂蔚蟼 蟿慰蠀 谓畏蟽喂慰蠉, 伪位位维 渭喂伪 蟺蔚蟻喂蟺位维谓畏蟽畏 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 蟽鈥� 苇谓伪 伪尉蔚未喂维位蠀蟿慰 蠈谓蔚喂蟻慰 萎, 慰蟻胃蠈蟿蔚蟻伪, 蟽蔚 渭喂伪 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟺伪蟻伪未慰尉慰蟿萎蟿蠅谓, 蠈蟺慰蠀 蟿伪 蟺伪蟻蔚位胃蠈谓蟿伪 蟿蠅谓 畏蟻蠋蠅谓 蟽蠀纬魏蟻慰蠉慰谓蟿伪喂, 畏 伪蠁萎纬畏蟽畏 慰位慰苇谓伪 伪谓伪未蔚喂魏谓蠉蔚喂 谓苇蔚蟼 未喂蔚尉蠈未慰蠀蟼 伪蟺蠈 蟿慰谓 位伪尾蠉蟻喂谓胃慰, 魏喂 (蠈蟺慰蠀) 畏 伪委蟽胃畏蟽畏 蟿慰蠀 蟿伪尉喂未苇渭伪蟿慰蟼 蟽鈥� 苇谓伪 蔚谓伪位位伪魏蟿喂魏蠈 位慰纬慰蟿蔚蠂谓喂魏蠈 蟽蠉渭蟺伪谓 蠂蠅蟻委蟼 蟿畏谓 伪谓维纬魏畏 蔚谓蠈蟼 a priori 魏伪胃慰蟻喂蟽渭苇谓慰蠀 蟺蟻慰慰蟻喂蟽渭慰蠉, 魏维谓蔚喂 蟿畏谓 伪谓维纬谓蠅蟽畏 渭喂伪 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎, 蟽蠂蔚未蠈谓 尾喂蠅渭伪蟿喂魏萎 蔚渭蟺蔚喂蟻委伪.
螔伪胃渭蠈蟼; 螒谓伪蟻蠅蟿喂苇渭伪喂. 韦苇蟽蟽蔚蟻伪 伪蟽蟿苇蟻喂伪 (谓慰渭委味蠅).
螒蟼 蔚喂蟺蠅胃蔚委 渭慰谓维蠂伪 蠈蟿喂 蠈位慰蟼 伪蠀蟿蠈蟼 慰 伪位位喂蠋蟿喂魏慰蟼 魏蠈蟽渭慰蟼 蟺慰蠀 伪蟺慰魏伪位蠉蟺蟿蔚蟿伪喂 蟽蟿慰 螠蟺慰蠀蟻维谓喂 蟿畏蟼 桅蟻维尉慰蠀 [蟽畏渭.: 蟿慰 鈥樝€蔚蟻喂蠁蟻伪纬渭苇谓慰鈥� 谓畏蟽委 蟿慰蠀 螠维纬慰蠀 未蔚谓 蔚委谓伪喂 维位位慰 伪蟺蠈 蟿喂蟼 危蟺苇蟿蟽蔚蟼, 蠈蟺慰蠀 慰 Fowles 未委未伪尉蔚 蟿慰 1951 魏伪喂 蟿慰 1952 蟽蔚 苇谓伪 喂未喂蠅蟿喂魏蠈 慰喂魏慰蟿蟻慰蠁蔚委慰], 渭蟺蟻慰蟼 蟽蟿伪 渭维蟿喂伪 蟿慰蠀 维位位慰蟿蔚 魏伪蟿维蟺位畏魏蟿慰蠀 魏喂 维位位慰蟿蔚 慰蟻纬喂蟽渭苇谓慰蠀 魏伪胃畏纬畏蟿萎 蟿畏蟼 螒纬纬位喂魏萎蟼, 螡喂魏蠈位伪 螘蟻蠁, 未蔚谓 蔚委谓伪喂 伪蟺位维 渭喂伪 蠄蠀蠂蟻维 蠀蟺慰位慰纬喂蟽渭苇谓畏 维蟽魏畏蟽畏 蠁伪谓蟿伪蟽委伪蟼 萎 苇谓伪 蔚谓未喂伪蠁苇蟻慰谓 蔚纬魏蔚蠁伪位喂魏蠈 蟺伪喂蠂谓委未喂 渭蔚 蔚谓慰蟻蠂畏蟽蟿蟻蠅蟿萎 蟿慰谓 委未喂慰 蟿慰谓 Fowles 萎 苇蟽蟿蠅 蟿慰谓 鈥樜溛澄库€�, 蟿慰谓 伪位位蠈魏慰蟿慰 喂未喂慰魏蟿萎蟿畏 渭喂伪蟼 尾委位伪蟼 蟽蟿喂蟼 维魏蟻喂蔚蟼 蟿慰蠀 谓畏蟽喂慰蠉, 伪位位维 渭喂伪 蟺蔚蟻喂蟺位维谓畏蟽畏 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 蟽鈥� 苇谓伪 伪尉蔚未喂维位蠀蟿慰 蠈谓蔚喂蟻慰 萎, 慰蟻胃蠈蟿蔚蟻伪, 蟽蔚 渭喂伪 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟺伪蟻伪未慰尉慰蟿萎蟿蠅谓, 蠈蟺慰蠀 蟿伪 蟺伪蟻蔚位胃蠈谓蟿伪 蟿蠅谓 畏蟻蠋蠅谓 蟽蠀纬魏蟻慰蠉慰谓蟿伪喂, 畏 伪蠁萎纬畏蟽畏 慰位慰苇谓伪 伪谓伪未蔚喂魏谓蠉蔚喂 谓苇蔚蟼 未喂蔚尉蠈未慰蠀蟼 伪蟺蠈 蟿慰谓 位伪尾蠉蟻喂谓胃慰, 魏喂 (蠈蟺慰蠀) 畏 伪委蟽胃畏蟽畏 蟿慰蠀 蟿伪尉喂未苇渭伪蟿慰蟼 蟽鈥� 苇谓伪 蔚谓伪位位伪魏蟿喂魏蠈 位慰纬慰蟿蔚蠂谓喂魏蠈 蟽蠉渭蟺伪谓 蠂蠅蟻委蟼 蟿畏谓 伪谓维纬魏畏 蔚谓蠈蟼 a priori 魏伪胃慰蟻喂蟽渭苇谓慰蠀 蟺蟻慰慰蟻喂蟽渭慰蠉, 魏维谓蔚喂 蟿畏谓 伪谓维纬谓蠅蟽畏 渭喂伪 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎, 蟽蠂蔚未蠈谓 尾喂蠅渭伪蟿喂魏萎 蔚渭蟺蔚喂蟻委伪.
螔伪胃渭蠈蟼; 螒谓伪蟻蠅蟿喂苇渭伪喂. 韦苇蟽蟽蔚蟻伪 伪蟽蟿苇蟻喂伪 (谓慰渭委味蠅).
鈥�[鈥 魏伪蟿维位伪尾伪, 蟿蠋蟻伪 蟺慰蠀 萎渭慰蠀谓 魏慰谓蟿维 蟿慰蠀, 蟿喂 蔚委蠂伪谓 魏维谓蔚喂 蟽蟿慰 蟽蟿蠈渭伪 蟿慰蠀. 韦慰蠀 蟿慰 蔚委蠂伪谓 魏维蠄蔚喂, 蠈蠂喂 伪蟺位蠋蟼 蠂蟿蠀蟺萎蟽蔚喂 萎 魏位蠅蟿蟽萎蟽蔚喂. 螛蠀渭萎胃畏魏伪 蔚魏蔚委谓慰 蟿慰谓 维谓蟿蟻伪 渭蔚 蟿畏 蟽喂未蔚蟻苇谓喂伪 尾苇蟻纬伪, 蟿畏谓 畏位蔚魏蟿蟻喂魏萎 蠁蠅蟿喂维. 螘委蠂伪谓 蟽蟺维蟽蔚喂 蟿伪 未蠈谓蟿喂伪 蟿慰蠀 魏伪喂 苇魏伪蠄伪谓 蟿畏 纬位蠋蟽蟽伪 蠅蟼 蟿畏 蟻委味伪 渭蔚 蟿慰 魏伪蟿伪魏蠈魏魏喂谓慰 蟽委未蔚蟻慰. 螒蠀蟿萎 畏 位苇尉畏 蟺慰蠀 蔚委蠂蔚 蠁蠅谓维尉蔚喂 尉蔚蟺苇蟻伪蟽蔚 蟿畏谓 伪谓蟿慰蠂萎 蟿慰蠀蟼. 螝伪喂 蟽鈥� 伪蠀蟿维 蟿伪 蟺苇谓蟿蔚 蔚魏蟺位畏魏蟿喂魏维 未蔚蠀蟿蔚蟻蠈位蔚蟺蟿伪, 蟿伪 蟺喂慰 尾伪蟻蠀蟽萎渭伪谓蟿伪 蟿畏蟼 味蠅萎蟼 渭慰蠀, 魏伪蟿维位伪尾伪 伪蠀蟿蠈谓 蟿慰谓 伪谓蟿维蟻蟿畏. 螖畏位伪未萎 魏伪蟿维位伪尾伪 蟺慰位蠉 魏伪位蠉蟿蔚蟻伪 伪蟺鈥� 蠈,蟿喂 慰 委未喂慰蟼, 蟿喂 萎蟿伪谓. 螠蔚 尾慰萎胃畏蟽蔚. 螝伪蟿蠈蟻胃蠅蟽蔚 谓伪 蟿蔚谓蟿蠋蟽蔚喂 蟿慰 魏蔚蠁维位喂 蟿慰蠀 蟺蟻慰蟼 蟿慰 渭苇蟻慰蟼 渭慰蠀 魏伪喂 谓伪 蟺蔚喂 蟿畏 位苇尉畏 蟺慰蠀 未蔚谓 渭蟺慰蟻慰蠉蟽蔚. 危蠂蔚未蠈谓 未蔚谓 萎蟿伪谓 萎蠂慰蟼, 伪位位维 苇谓伪蟼 蟽蟺伪蟽渭蠈蟼 蟽蟿慰谓 位伪喂渭蠈 蟿慰蠀, 苇谓伪 蟺蔚谓蟿伪蟽蠉位位伪尾慰 蟺谓委尉喂渭慰. 螕喂伪 维位位畏 渭委伪 蠁慰蟻维, 蟿蔚位蔚蠀蟿伪委伪 蠁慰蟻维, 萎蟿伪谓 蠂蠅蟻委蟼 伪渭蠁喂尾慰位委伪 伪蠀蟿萎 畏 位苇尉畏. 螝伪喂 畏 位苇尉畏 萎蟿伪谓 蟽蟿伪 渭维蟿喂伪 蟿慰蠀, 蟽蟿慰 蔚委谓伪喂 蟿慰蠀, 蟽鈥� 慰位蠈魏位畏蟻慰 蟿慰 蔚委谓伪喂 蟿慰蠀. 韦喂 蔚委蟺蔚 慰 围蟻喂蟽蟿蠈蟼 蟽蟿慰谓 危蟿伪蠀蟻蠈; 螕喂伪蟿委 渭蔚 蔚纬魏伪蟿伪位蔚委蟺蔚喂蟼; 螒蠀蟿蠈 蟺慰蠀 蔚委蟺蔚 伪蠀蟿蠈蟼 慰 维谓蟿蟻伪蟼 萎蟿伪谓 魏维蟿喂 蟺慰位蠉 位喂纬蠈蟿蔚蟻慰 蟽蠀渭蟺慰谓蔚蟿喂魏蠈, 蟺慰位蠉 位喂纬蠈蟿蔚蟻慰 伪尉喂慰位蠉蟺畏蟿慰, 伪魏蠈渭伪 位喂纬蠈蟿蔚蟻慰 伪谓胃蟻蠋蟺喂谓慰, 蠈渭蠅蟼 蟺慰位蠉 蟺喂慰 尾伪胃蠉. 螠喂位慰蠉蟽蔚 伪蟺蠈 苇谓伪谓 魏蠈蟽渭慰 蔚谓蟿蔚位蠋蟼 伪谓蟿委胃蔚蟿慰 伪蟺蠈 蟿慰谓 未喂魏蠈 渭慰蠀. 危蟿慰谓 未喂魏蠈 渭慰蠀 畏 味蠅萎 萎蟿伪谓 伪谓蔚魏蟿委渭畏蟿畏. 螇蟿伪谓 蟿蠈蟽慰 蟺慰位蠉蟿喂渭畏 蟺慰蠀 未蔚谓 蔚委蠂蔚 蟿喂渭萎. 危蟿慰谓 未喂魏蠈 蟿慰蠀 苇谓伪 渭蠈谓慰 蟺蟻维纬渭伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蔚委谓伪喂 伪谓蔚魏蟿委渭畏蟿慰. 螚 蔚位蔚蠀胃蔚蟻委伪. 螇蟿伪谓 蟿慰 维蟺位伪蟽蟿慰, 蟿慰 伪蟺蠈蟽蟿伪纬渭伪, 蟿慰 蟺苇蟻伪 伪蟺蠈 蟿畏 位慰纬喂魏萎, 蟺苇蟻伪 伪蟺蠈 蟿畏谓 伪谓蟿委位畏蠄畏, 蟺苇蟻伪 伪蟺蠈 蟿慰谓 蟺慰位喂蟿喂蟽渭蠈, 蟺苇蟻伪 伪蟺蠈 蟿畏谓 螜蟽蟿慰蟻委伪. 螖蔚谓 萎蟿伪谓 螛蔚蠈蟼, 纬喂伪蟿委 未蔚谓 渭蟺慰蟻慰蠉渭蔚 谓伪 纬谓蠅蟻委蟽慰蠀渭蔚 蟿慰谓 螛蔚蠈. 螌渭蠅蟼 萎蟿伪谓 渭喂伪 伪蟺蠈未蔚喂尉畏 蟺蠅蟼 蠀蟺维蟻蠂蔚喂 苇谓伪蟼 螛蔚蠈蟼 蟺慰蠀 未蔚谓 胃伪 蟿慰谓 纬谓蠅蟻委蟽慰蠀渭蔚 蟺慰蟿苇. 螇蟿伪谓 蟿慰 蟿蔚位喂魏蠈 未喂魏伪委蠅渭伪 蟿畏蟼 维蟻谓畏蟽畏蟼. 韦畏蟼 蔚位蔚蠀胃蔚蟻委伪蟼 蔚蟺喂位慰纬萎蟼 [...]鈥�
February 16, 2020
鈥淭here is no plan. All is hazard. And the only thing that will preserve us is ourselves.鈥�
鈥� John Fowles, The Magus
What is written here must remain hid
鈥� John Fowles, The Magus
What is written here must remain hid
March 12, 2022
丕賱爻丕丨乇 兀賵賱 乇賵丕賷丞 賰鬲亘賴丕 丕賱兀丿賷亘 丕賱廿賳噩賱賷夭賷 噩賵賳 賮丕賵賱夭
賷鬲鬲亘毓 賮賷賴丕 卮丕亘 賷爻丕賮乇 廿賱賶 噩夭賷乇丞 賷賵賳丕賳賷丞 賱賱毓賲賱 賰賲丿乇爻 賱賱睾丞 丕賱廿賳噩賱賷夭賷丞
賷鬲毓乇賮 毓賱賶 兀丨丿 兀孬乇賷丕亍 丕賱噩夭賷乇丞 賵賷丿禺賱 賮賷 毓丕賱賲賴 丕賱睾丕賲囟
賷賰鬲亘 賮丕賵賱夭 毓賳 毓丕賱賲 睾乇賷亘 賲賳 丕賱丨賷賱 賵丕賱鬲賱丕毓亘 賵丕賱兀賵賴丕賲 丕賱禺丕丿毓丞 賵丕賱卮禺氐賷丕鬲 丕賱賲鬲賳賰乇丞
賷鬲賵賴 賮賷賴 賳賷賰賵賱丕爻 亘胤賱 乇賵丕賷鬲賴 賵賰兀賳賴 賷卮丕賴丿 毓乇囟 鬲賲孬賷賱賷 賵賮賷 賳賮爻 丕賱賵賯鬲 賴賵 胤乇賮 賮賷賴
廿賱賶 兀賳 賷氐賱 賱丨丕賱丞 賲賳 丕賱睾囟亘 賵丕賱丨賷乇丞 賲丨丕賵賱丕 丕賱亘丨孬 毓賳 丕賱丨賯賷賯丞 賵爻胤 丕賱兀賰丕匕賷亘
賯丿 鬲賰賵賳 兀爻亘丕亘 丕賱鬲噩乇亘丞 丕賱鬲賷 賲乇 亘賴丕 睾賷乇 賲賴賲丞 賱賰賳 丕賱兀賴賲 賰丕賳鬲 賲賵囟賵毓丕鬲 賵廿卮丕乇丕鬲 丕賱爻乇丿
丕賱乇賵丕賷丞 鬲賲乇 毓賱賶 賯囟丕賷丕 兀禺賱丕賯賷丞 賵賳賮爻賷丞 賵鬲氐賵乇丕鬲 賮賱爻賮賷丞 毓賳 丕賱賲毓鬲賯丿丕鬲 賵丕賱丨賷丕丞
賵鬲亘丨孬 賮賷 胤亘賷毓丞 丕賱丨亘 賵丕賱丨乇賷丞, 丨乇賷丞 丕賱賮毓賱 賵丕賱丕禺鬲賷丕乇
丕賱兀爻賱賵亘 爻賱爻 賱賰賳 丕賱乇賵丕賷丞 賲購胤賵賱丞 鬲賯鬲乇亘 賲賳 700 氐賮丨丞
賵賮賷 丕賱毓賲賵賲 賷賴鬲賲 賮丕賵賱夭 賮賷 乇賵丕賷丕鬲賴 亘丕賱噩賵丕賳亘 丕賱賳賮爻賷丞 賱賱卮禺氐賷丕鬲 賵卮賰賱 賵胤亘賷毓丞 毓賱丕賯丕鬲 丕賱丨亘 亘賷賳賴賲
賷鬲鬲亘毓 賮賷賴丕 卮丕亘 賷爻丕賮乇 廿賱賶 噩夭賷乇丞 賷賵賳丕賳賷丞 賱賱毓賲賱 賰賲丿乇爻 賱賱睾丞 丕賱廿賳噩賱賷夭賷丞
賷鬲毓乇賮 毓賱賶 兀丨丿 兀孬乇賷丕亍 丕賱噩夭賷乇丞 賵賷丿禺賱 賮賷 毓丕賱賲賴 丕賱睾丕賲囟
賷賰鬲亘 賮丕賵賱夭 毓賳 毓丕賱賲 睾乇賷亘 賲賳 丕賱丨賷賱 賵丕賱鬲賱丕毓亘 賵丕賱兀賵賴丕賲 丕賱禺丕丿毓丞 賵丕賱卮禺氐賷丕鬲 丕賱賲鬲賳賰乇丞
賷鬲賵賴 賮賷賴 賳賷賰賵賱丕爻 亘胤賱 乇賵丕賷鬲賴 賵賰兀賳賴 賷卮丕賴丿 毓乇囟 鬲賲孬賷賱賷 賵賮賷 賳賮爻 丕賱賵賯鬲 賴賵 胤乇賮 賮賷賴
廿賱賶 兀賳 賷氐賱 賱丨丕賱丞 賲賳 丕賱睾囟亘 賵丕賱丨賷乇丞 賲丨丕賵賱丕 丕賱亘丨孬 毓賳 丕賱丨賯賷賯丞 賵爻胤 丕賱兀賰丕匕賷亘
賯丿 鬲賰賵賳 兀爻亘丕亘 丕賱鬲噩乇亘丞 丕賱鬲賷 賲乇 亘賴丕 睾賷乇 賲賴賲丞 賱賰賳 丕賱兀賴賲 賰丕賳鬲 賲賵囟賵毓丕鬲 賵廿卮丕乇丕鬲 丕賱爻乇丿
丕賱乇賵丕賷丞 鬲賲乇 毓賱賶 賯囟丕賷丕 兀禺賱丕賯賷丞 賵賳賮爻賷丞 賵鬲氐賵乇丕鬲 賮賱爻賮賷丞 毓賳 丕賱賲毓鬲賯丿丕鬲 賵丕賱丨賷丕丞
賵鬲亘丨孬 賮賷 胤亘賷毓丞 丕賱丨亘 賵丕賱丨乇賷丞, 丨乇賷丞 丕賱賮毓賱 賵丕賱丕禺鬲賷丕乇
丕賱兀爻賱賵亘 爻賱爻 賱賰賳 丕賱乇賵丕賷丞 賲購胤賵賱丞 鬲賯鬲乇亘 賲賳 700 氐賮丨丞
賵賮賷 丕賱毓賲賵賲 賷賴鬲賲 賮丕賵賱夭 賮賷 乇賵丕賷丕鬲賴 亘丕賱噩賵丕賳亘 丕賱賳賮爻賷丞 賱賱卮禺氐賷丕鬲 賵卮賰賱 賵胤亘賷毓丞 毓賱丕賯丕鬲 丕賱丨亘 亘賷賳賴賲
February 18, 2017
Conspiracy Theorist Fantasy
Oh, brother.
I had high hopes for this book. Such high hopes.
I read and really enjoyed . John Fowles is a wonderful writer. This book is no exception. This story takes place mainly in Greece, on the island of Phraxos, where English 20-something misogynist Nicholas Urfe goes to escape his recent relationship with his Australian girlfriend, Alison. He meets an enigmatic man who looks like Pablo Picasso, named Maurice Conchis. And then the inexplicable, the surreal, begins to happen. Mysterious twins, people in costumes. Things that make Nicholas question reality. The reader begins to question too. It's compelling at first. Seductive and erotic.
...all naked women become the same naked woman, the eternal naked woman; who could not die, who could only be celebrated...
It becomes quite tiresome though, after several hundred pages of the same "Twilight Zone" music, the same "woo-woo" stories and odd behaviours, the endless ambiguity. It was painfully long in this regard. It lost its power - after a while I just stopped caring whether whatever Maurice, the master puppeteer, said was true, or what the real intentions of the other characters were, or what. What is real? What is truth? Is it all a big conspiracy?
An answer is always a form of death.
I tend to agree with other reviewers who say this would be better read earlier in life. There are interesting ideas here, and bits of gorgeous, sensual prose, but ultimately served to frustrate and bore me.
Oh, brother.
I had high hopes for this book. Such high hopes.
I read and really enjoyed . John Fowles is a wonderful writer. This book is no exception. This story takes place mainly in Greece, on the island of Phraxos, where English 20-something misogynist Nicholas Urfe goes to escape his recent relationship with his Australian girlfriend, Alison. He meets an enigmatic man who looks like Pablo Picasso, named Maurice Conchis. And then the inexplicable, the surreal, begins to happen. Mysterious twins, people in costumes. Things that make Nicholas question reality. The reader begins to question too. It's compelling at first. Seductive and erotic.
...all naked women become the same naked woman, the eternal naked woman; who could not die, who could only be celebrated...
It becomes quite tiresome though, after several hundred pages of the same "Twilight Zone" music, the same "woo-woo" stories and odd behaviours, the endless ambiguity. It was painfully long in this regard. It lost its power - after a while I just stopped caring whether whatever Maurice, the master puppeteer, said was true, or what the real intentions of the other characters were, or what. What is real? What is truth? Is it all a big conspiracy?
An answer is always a form of death.
I tend to agree with other reviewers who say this would be better read earlier in life. There are interesting ideas here, and bits of gorgeous, sensual prose, but ultimately served to frustrate and bore me.
December 21, 2018
3.75猸愶笍
Yes. Yes. Yes! I made it!!! My final book of 2017!!馃拑馃徎
Oh and Nicholas, You deserve everything!馃槨
RTC
Yes. Yes. Yes! I made it!!! My final book of 2017!!馃拑馃徎
Oh and Nicholas, You deserve everything!馃槨
RTC
March 15, 2025
芯褌芯卸 斜褨谢褜褕褨褋褌褜 谢褞写械泄 蟹邪 胁褋械 卸懈褌褌褟 褌邪泻 褨 薪械 写褨蟹薪邪褦褌褜褋褟 褏褌芯 胁芯薪懈 褨 褕芯 胁芯薪懈. 邪 褌褨 褕芯 写褨蟹薪邪褞褌褜褋褟 褔械褉械蟹 褌械 蟹薪邪薪薪褟 薪械 蟹屑芯卸褍褌褜 褋褌邪褌懈 褌懈屑 泻懈屑 屑芯谐谢懈 斜. 蟹邪 械泻蟹懈褋褌械薪褑褨泄薪懈泄 褎邪褌邪谢褨蟹屑 褨 芯写薪褍 蟹 薪邪泄泻褉邪褖懈褏 泻薪懈卸芯泻 蟹邪 褉芯泻懈 泄 褉芯泻懈 鈥� 斜褍写褜屑芯 馃
June 29, 2019
丕诏賴 丕夭 丿丕爻鬲丕賳鈥屬囏й� 睾丕賮賱诏蹖乇 讴賳賳丿賴 禺賵卮鬲賵賳 賲蹖丕丿 丨鬲賲丕 爻乇丕睾 丕蹖賳 讴鬲丕亘 亘乇蹖丿 :) 丿乇 丕蹖賳 乇賲丕賳 胤賵賱丕賳蹖貙 趩賳丿蹖賳 亘丕乇 睾丕賮賱诏蹖乇 卮丿賲 讴賴 蹖讴鈥屫ㄘж必� 讴賴 賲賴賲鈥屫臂屬嗀� 賴賲 賴爻鬲貙 丿乇 賴賲匕丕鬲 倬賳丿丕乇蹖 亘丕 乇丕賵蹖貙 亘賴 卮丿鬲 賳丕乇丕丨鬲 賵 毓氐亘丕賳蹖 卮丿賲! 丿乇爻鬲賴 讴賴 卮禺氐 丕賵賱 丿丕爻鬲丕賳 丌丿賲 丿乇爻鬲 賵 丨爻丕亘蹖鈥屫й� 賳蹖爻鬲 賵賱蹖 賮讴乇 賲蹖鈥屭┵嗁� 亘賴 丿賱蹖賱 丕蹖賳讴賴 丿丕爻鬲丕賳 丕夭 夭亘丕賳 卮禺氐 丕賵賱 乇賵丕蹖鬲 賲蹖鈥屫促� 賳丕禺賵丿丌诏丕賴 亘丕賴丕卮 丕丨爻丕爻 賴賲丿乇丿蹖 讴乇丿賲! 賵 卮丿鬲賽 爻乇禺賵乇丿诏蹖 賵 丕丨爻丕爻 鬲丨賯蹖乇 賵 毓氐亘丕賳蹖鬲卮 乇賵 讴丕賲賱丕 丿乇讴 讴乇丿賲 :((((( . 倬丕蹖丕賳 丿丕爻鬲丕賳 亘丕夭 賴爻鬲. 丕诏賴 丿賵爻鬲 賳丿丕乇蹖丿 爻乇丕睾卮 賳乇蹖丿! 丨乇賮 丿蹖诏賴鈥屫й� 讴賴 賲蹖鈥屫堎嗁� 丿乇亘丕乇賴鈥屫ж� 亘诏賲 丕蹖賳賴 讴賴 亘賴 賳馗乇賲 丕賵丕爻胤卮 丕賮鬲 丿丕卮鬲 賵 賲蹖鈥屫堎嗀池� 丿賵蹖爻鬲 爻蹖氐丿 氐賮丨賴鈥屫й� 讴賲鬲乇 亘丕卮賴. 馃 亘乇丕蹖 賴賲蹖賳 賳賲蹖鈥屫堎嗁� 賲孬賱 亘毓囟蹖 丿賵爻鬲丕賳 亘丕听 賯胤毓蹖鬲 亘诏賲 丕乇夭卮 賯蹖賲鬲卮賵 丿丕乇賴! 卮丕蹖丿 亘乇丕蹖 亘毓囟蹖鈥屬囏� 讴爻賱 讴賳賳丿賴 亘卮賴 賵 亘丕亘鬲 禺乇蹖丿卮 倬卮蹖賲賵賳 亘卮賳
July 29, 2019
Oh, what a tangled web we weave
When first we practice to deceive!
鈥淭he Magus鈥� is a debut novel. Fowles himself acknowledges in the preface to the reviewed edition that he practically taught himself how to write by working on this project over more than a decade. That鈥檚 what makes the novel both sublime and muddled. And probably the most honest account of a young man鈥檚 struggle to understand the intricate web of the human mind and the ways love blooms and fails, the way love turns, like Nabokov once said, into rust and stardust.
In 1964 I went to work and collated and rewrote all the previous drafts. But The Magus remained essentially where a tyro taught himself to write novels 鈥� beneath its narrative, a notebook of an exploration, often erring and misconceived, into an unknown land.
I was by turns enchanted and bored to death during this 2019 re-read. I am no longer as young and as easily enchanted as the first time around, but reading the preface has made it a lot easier to navigate through the labyrinth Nicholas Urfe is traversing on his way to emotional maturity.
My heart was beating faster than it should. It was partly at the thought of meeting Julie, partly at something far more mysterious, the sense that I was now deep in the strangest maze in Europe. Now I really was Theseus; somewhere in the darkness Ariadne waited; and perhaps the Minotaur.
Now I am left with the difficult task of reducing all this wealth of material, this Behemoth of repressed urges, cultural references and psychological mind-games to the approved 欧宝娱乐 wordcount, discarding probably half of the bookmarks I鈥檝e initially considered important in the text.
What I really need are a few anchor points, pivotal moments and key stories that guide Nicholas Urfe and the reader through the maze:
1. Nicholas is chosen as a typical British intellectual of the early post-war society, slightly cynical, selfish, arrogant and self-deceiving
2. At its core, this a love story, between Urfe and Alison, but examined in an allegorical, mythical way
3. Greece, its landscape, its culture and its people are the catalyst as well as the backdrop for the journey
4. Psychoanalysis, Carl Jung in particular, explains most of the games and parables used by Conchis, the magus
5. There is no right or wrong answer to the puzzles. The author build his novel around the idea of choice, so each reader will arrive at a different destination at the end of the labyrinth
I have oversimplified the plot here, trying to put my notes into some sort of order. I might as well have chosen to write the whole review focused on a single Conchis story, allegory or quotation. I have a feeling the end result will be as messy as the novel itself.
=1= Nicholas Urfe
Handsomely equipped to fail I went out into the world.
A typical young man from a middle class family with an authoritarian father and an indifferent mother. He goes to the right schools, studies the classical subjects, joins the fashionable clubs (existentialist affectations), is moderately handsome and has an easy time with the ladies. But once university is over, he is bored to death by his job, by his peers and by his future prospects as a mediocre teacher of English.
It poured with rain the day I left. But I was filled with excitement, a strange exuberant sense of taking wing. I didn鈥檛 know where I was going, but I knew what I needed. I needed a new land, a new race, a new language; and, although I couldn鈥檛 have put it into words then, I needed a new mystery.
We have here articulated for the first time the idea that a life without magic, without a higher purpose is not worth living. At this moment of the journey, Nicholas is honestly a major a$$hole, not capable of seeing beyond his own comforts, prone to navel gazing and self-pity. Things will not improve in a drastic way over the rest of the novel.
= 2 = Alison
Boy meets girl, in a bohemian setting, in Russell Square. This is by far my favorite part of the novel, for multiple personal reasons, reasons that made me dislike Nicholas intensely, probably because I recognized too many of his affectations and dissimulation from my own past. Also because, on my first visit to London earlier in the year, I stayed on Gower Street, literally a stone throw away from the apartment described in the novel.
Alison is an Australian girl, free of the usual British inhibitions that reveal Nicholas to be a bit of a prude and a snob. Few young men would appreciate a gift too easily offered, and Alison will soon have cause to regret her devotion. I鈥檓 firmly on team Alison after a seminal discussion on life goals, after watching the classic 鈥淨uai des Brumes鈥�, also one of my all time favorites:
That film made me feel what I feel about everything. There isn鈥檛 any meaning. You try and try to be happy and then something chance happens and it鈥檚 all gone. It鈥檚 because we don鈥檛 believe in a life after death. [...] Every time you go out and I鈥檓 not with you I think you may die. I think about dying every day. Every time I have you, I think this is one in the eye for death. You know, you鈥檝e got a lot of money and the shops are going to shut in an hour. It鈥檚 sick, but you鈥檝e got to spend. Does that makes sense?
I鈥檝e had this sort of moment, and I reacted in much the same way as Nicholas, laughing it off at the time, remembering it now from the far side of 50. Fowles pays his dues also in the introduction, talking about his own return to England, although I would not advise drawing any parallels between the author and his fictional character:
I had escaped Circe, but the withdrawal symptoms were severe. I had not then realized that loss is essential for the novelist, immensely fertile for his books, however painful to his private being.
Allow me one last piece of Alison dialogue (the essence of asymmetric warfare in a relationship), before we head to sunnier places:
鈥淚 don鈥檛 wanna hurt you and the more I ... want you, the more I shall. And I don鈥檛 want you to hurt me, and the more you don鈥檛 want me the more you will.鈥�
= 3 = Circe
Greece is seen here as the mythical enchantress that has shocked Nicholas out of his phlegmatic British disposition, made his aware of his artistic pretensions and emotional arrested development. Like Odysseus, Nicholas is in danger of losing himself completely to the magic of these sunny islands. Bourani, the palatial residence of the secretive magnate Conchis, is seen often as a Garden of Eden from which Adam/Nicholas will be exiled after asking one too many questions.
In England we live in a very muted, calm, domesticated relationship with what remains of our natural landscape and its soft, northern light; in Greece landscape and light are so beautiful, so all-present, so intense, so wild, that the relationship is immediately love-hatred, one of passion.
Fowles speaks from direct experience, and demonstrates that when he is truly moved, he is one hell of a writer. This year was also my first to visit a Greek island, and the descriptive passages in the book resonate strongly, especially when anticipating the scourge of modern tourism that mostly destroys the things it is supposed to cherish
Goodness and beauty may be separable in the north, but not in Greece. Between skin and skin there is only light.
= 4 = Bourani = the world is a stage, the stage is the world
Everything that went before is the set-up for the spectacle introducing the players (Nicholas, Alison). Now the director, Maurice Conchis, makes his entrance, and everything you think you know will soon be turned around and stood on its head. Deliberately, mischievously, sadistically even. To what purpose? That鈥檚 for you, the reader, to decide.
The most striking thing about him was the intensity of his eyes; very dark brown, staring, with a simian penetration emphasized by the remarkably clear whites, eyes that seemed not quite human.
I鈥檒l give you a key to understanding Conchis: he lies! all the time, about everything! Stop trying to make sense of his motivations, and you can begin to understand that you鈥檙e not supposed to understand him. At all!
From the same essential introduction to the revised edition, the inception of Conchis is explained:
... a series of masks representing human notions of God, from the supernatural to the jargon-ridden scientific; that is, a series of human illusions about something that does not exist in fact, absolute knowledge and absolute power. The destruction of such illusions seems to me still an eminently humanist aim.
Beware of people who think they know everything. Nicholas Urfe is one of them, so full of pride at his intellect, yet so timid to explore his own subconscious motivations.
God and freedom are totally antipathetic concepts; and men believe in their imaginary gods most often because they are afraid to believe in the other thing. I am old enough to realize now that they do so sometimes with good reason. But I stick by the general principle, and that is what I meant to be at the heart of my story: that true freedom lies between each two, never in one alone, and therefore it can never be absolute freedom.
That was also my first philosophy lesson in college. I bristled at the time at the concept that 鈥淔reedom is the understanding of necessity鈥� (attributed to Engels I think). An imposition on my own free will I thought at the time, before reading that famous Steinbeck passage in 鈥淓ast of Eden鈥� (timshel). Conchis embraces a similar point of view in a dispute with Nicholas
鈥楴o man is an island.鈥�
鈥楶ah. Rubbish. Every one of us is an island. If it were not so we should go mad at once. Between these islands are ships, aeroplanes, telephones, wireless 鈥� what you will. But they remain islands. Islands that can sink or disappear for ever. You are an island that has not sunk. You cannot be such a pessimist. It is not possible.鈥�
So, we are ready to begin the journey through the labyrinth of self-discovery, deploying mostly psychological warfare and modern parables, as told by the magus Conchis and his creatures of both sexes. We start with a nod to T S Eliot and 鈥楲ittle Giding鈥�, included in my review because I love the elegance and the concision of his discourse, as opposed to the hundreds of pages of almost drivel in the novel:
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
One way to re-examine the past is through art. Conchis gives pride of place in his villa to a painting by Bonnard. Nicholas sees in it an echo of his time in London with the girls he scorned.
Sunlight. A naked girl. A chair. A towel, a bidet. A tiled floor. A little dog. And he gives the whole existence a reason.
It was an unforgettable painting; it set a dense golden halo of light round the most trivial of moments, so that the moment, and all such moments, could never be completely trivial again.
It may not be very original to remark that we mostly recognize Love in retrospect, after the bird has flown, but I give Fowles bonus points for finding the best reference
Next, I believe, comes the story of de Deukans and of that annoying Latin quote :
鈥淯tram bibis? Aquam an undam?鈥�
Make of it what you want (I repeat myself, I know) : prose versus poetry, existentialism versus romantism, utilitarian versus elitism, modernism versus clasicism, science versus the supernatural, capitalism versus communism, the self versus the community. The story is told deliberately in an ambiguous way, its role is to provoke, not to explain.
The same could be said of Seidevarre, the Norwegian episode: mysticism and the need for the unexplained in life, the need to leave behind your certainties if you want to make progress towards the unknown. What makes these stories special is not their actual content, but the way Conchis uses them to tackle the higher metaphysical concepts, the way authors have done it from Ghilghamesh to David Mitchell 鈥� the storyteller as the magician of the soul.
The solution of the physical problems that face man 鈥� that is a matter of technology. But I am talking about general psychological health of the species, man. He needs the existence of mysteries. Not their solution.
Next, and for a long time, comes the game of cat and mouse between Nicholas and his new love interest : Julie/ Lily. This one is easier to follow, as it is mostly payback for the way he treated Alison, but there are subtleties to the discourse.
The essences of the two sexes had become so confused in my androgynous twentieth-century mind that this reversion to a situation where a woman was a woman and I was obliged to be fully a man had all the fascination of an old house after a cramped, anonymous modern flat. I had been enchanted into wanting sex often enough before; but never into wanting love.
Nicholas is forced to examine the difference between lust and desire with Julie as a mysterious Ariadne that is one moment an old-fashioned British maiden, the next an emancipated modern hussy. From the many possible quotes available here, I settled on the most simple one, from Conchis, a warning Nicholas fails to heed.
We are all actors, and actresses, Mr Urfe. You included.
The warning comes also from Julie / Lily:
鈥淭he real me鈥檚 a lot less exciting than the imaginary one.鈥�
Especially when it comes to the person we love, we always lie in order to present ourselves in a better light, or to get easier out of a sticky conversation, to convince ourselves our sentiments are returned. You don鈥檛 need a degree in psychology, or highly elaborate masquerades to understand that Nicholas is guilty of being a deceiver, to others and to himself, in particular over the episode of his reunion with Alison in Athens.
As a parenthesis, Fowles comes up with another timely literary reference that I would like to explore further as he presents us with a couple of young lovers en contretemps (鈥楬uis Clos鈥� by Jean Paul Sartre) is mentioned by Alison.
I鈥檓 getting tired, so I will gloss over the next two major developments : the firing squad parable (a variation of the 鈥榯imshel鈥� argument) and the mock trial (a parody and a denunciation of the limits of psychoanalysis)
We must always remember that the subject has been launched into the world with no training in self-analysis and self-orientation; and that almost all the education he has received is positively harmful to him. He was, so to speak, born short-sighted by nature and has been further blinded by his environments. It is small wonder that he cannot find his way.
What is important in the economy of the novel is that Nicholas is exiled from Prospero鈥檚 Island (yes the analogy is noted by Conchis), is released from Circe鈥檚 imprisonment, sent out from the Garden of Eden, and back to London to atone for his sins.
And a great cloud of black guilt, knowledge of my atrocious selfishness, settled on me.
Even now, returning to the place where the journey began, looking at the world with newly opened eyes, Nicholas is still prone to navel gazing and to bouts of selfishness. Fowles is once again deliberately ambiguous about the ultimate fate of his characters, but he does offers us another couple of precious keys.
First is the meeting of Mrs. de Seitas, an explicit nod to Charles Dickens and 鈥楪reat Expectations鈥� , where Nicholas is given two lessons in love. I鈥檒l put them in spoilers, although I consider this is not a plot driven novel:
Nicholas has trespassed on both laws with Alison, so his redemption is up to us to decide about. The author notes down his preference in yet another Latin passage, which I will also translate between spoiler tags, for those who prefer surprises:
cras amet qui numquam amavit
quique amavit cras amet.
September 1, 2022
"The Magus", not "The Collector" and not even "The Woman of the French lieutenant" - it is "The Magus" that is the calling card of the star of world postmodernism, The intricate story of a young Englishman whose dreams of exoticism first turn into a dull routine of a teacher in a Greek school, but then fate - in full accordance with the theory of the Universe that fulfills the cherished wishes, gives a meeting with amazing people in amazing circumstances. Fills existence with a new meaning, bright and promising.
Life is whimsical, refined, complex and simple, beautiful and terrible, charming and disgusting. And so on indefinitely. It is characterized, sometimes, by baroque excess. Generating a similar novel and a similar hero. The first is extremely voluminous, with an unintelligible plot, but allusions and references to classical mythology abound. The second, yes, these are Brodsky's lines: "What can I say about a life that turned out to be long. Only with grief do I feel solidarity."
Without continuing, which I love with all my heart: "But as long as my mouth is not filled with clay, only gratitude will be heard from it." It seems, but it doesn't seem, but it is, senselessly and unreasonably long. This plunges the reader (prepared and responsible, I note) not even into grief, into the depths of despair: but when will the drudgery end and will there be any sense from a million torments.
As for gratitude, it seems that Fowles and his heroes are alien to its very concept. To live in an earthly paradise and never raise your eyes above the raised priapus loins. Your will, gentlemen, in my humble opinion, this is not indifference half with pride even. This is a clinical form of mournful insensibility.
袨褖褍褖邪械褌械 谢懈 胁褘 褋械斜褟 袩褉懈蟹胁邪薪薪褘屑?
"袙芯谢褏胁", 邪 薪械 "袣芯谢谢械泻褑懈芯薪械褉" 懈 写邪卸械 薪械 "袞械薪褖懈薪邪 褎褉邪薪褑褍蟹褋泻芯谐芯 谢械泄褌械薪邪薪褌邪" - 懈屑械薪薪芯 "袙芯谢褏胁" 胁懈蟹懈褌薪邪褟 泻邪褉褌芯褔泻邪 蟹胁械蟹写褘 屑懈褉芯胁芯谐芯 锌芯褋褌屑芯写械褉薪懈蟹屑邪 袟邪屑褘褋谢芯胁邪褌邪褟 懈褋褌芯褉懈褟 屑芯谢芯写芯谐芯 邪薪谐谢懈褔邪薪懈薪邪, 褔褜懈 屑械褔褌褘 芯斜 褝泻蟹芯褌懈泻械 褋薪邪褔邪谢邪 芯斜芯褉邪褔懈胁邪褞褌褋褟 褌褍褋泻谢芯泄 褉褍褌懈薪芯泄 锌褉械锌芯写邪胁邪褌械谢褟 胁 谐褉械褔械褋泻芯泄 褕泻芯谢械, 薪芯 锌芯褌芯屑 褋褍写褜斜邪 - 胁 锌芯谢薪芯屑 褋芯芯褌胁械褌褋褌胁懈懈 褋 褌械芯褉懈械泄 芯 袙褋械谢械薪薪芯泄, 褔褌芯 懈褋锌芯谢薪褟械褌 蟹邪胁械褌薪褘械 卸械谢邪薪懈褟, 写邪褉懈褌 胁褋褌褉械褔褍 褋 锌芯褌褉褟褋邪褞褖懈屑懈 谢褞写褜屑懈 胁 褍写懈胁懈褌械谢褜薪褘褏 芯斜褋褌芯褟褌械谢褜褋褌胁邪褏. 袧邪锌芯谢薪褟械褌 褋褍褖械褋褌胁芯胁邪薪懈械 薪芯胁褘屑 褋屑褘褋谢芯屑, 褟褉泻懈屑 懈 屑薪芯谐芯芯斜械褖邪褞褖懈屑.
袞懈蟹薪褜 锌褉懈褔褍写谢懈胁邪 懈蟹褘褋泻邪薪邪, 褋谢芯卸薪邪 懈 锌褉芯褋褌邪, 锌褉械泻褉邪褋薪邪 懈 褍卸邪褋薪邪, 芯褔邪褉芯胁邪褌械谢褜薪邪 懈 芯褌胁褉邪褌懈褌械谢褜薪邪. 袠 褌邪泻 写芯 斜械褋泻芯薪械褔薪芯褋褌懈. 袝泄 锌褉懈褋褍褖械, 懈薪芯泄 褉邪蟹, 斜邪褉芯褔薪芯械 懈蟹谢懈褕械褋褌胁芯. 袩芯褉芯卸写邪褞褖械械 锌芯写芯斜薪褘泄 褉芯屑邪薪 懈 锌芯写芯斜薪芯谐芯 谐械褉芯褟. 袩械褉胁褘泄 芯斜褗械屑械薪 褔褉械蟹胁褘褔邪泄薪芯, 褋 屑邪谢芯胁褉邪蟹褍屑懈褌械谢褜薪褘屑 褋褞卸械褌芯屑, 薪芯 邪谢谢褞蟹懈褟屑懈 懈 芯褌褋褘谢泻邪屑懈 泻 屑懈褎芯谢芯谐懈懈-泻谢邪褋褋懈泻械 胁 懈蟹芯斜懈谢懈懈. 袙褌芯褉芯泄, 写邪 胁芯褌 褝褌懈 褋褌褉芯褔泻懈 袘褉芯写褋泻芯谐芯: "效褌芯 褋泻邪蟹邪褌褜 屑薪械 芯 卸懈蟹薪懈, 褔褌芯 芯泻邪蟹邪谢邪褋褜 写谢懈薪薪芯泄. 孝芯谢褜泻芯 褋 谐芯褉械屑 褟 褔褍胁褋褌胁褍褞 褋芯谢懈写邪褉薪芯褋褌褜".
袘械蟹 锌褉芯写芯谢卸械薪懈褟, 泻芯褌芯褉芯械 谢褞斜谢褞 胁褋械泄 写褍褕芯泄: "袧芯 锌芯泻褍写邪 屑薪械 褉芯褌 薪械 蟹邪斜懈谢懈 谐谢懈薪芯泄, 懈蟹 薪械谐芯 褉邪蟹写邪胁邪褌褜褋褟 斜褍写械褌 谢懈褕褜 斜谢邪谐芯写邪褉薪芯褋褌褜". 协褌芯 泻邪卸械褌褋褟, 写邪 薪械 泻邪卸械褌褋褟, 邪 械褋褌褜, 斜械褋褋屑褘褋谢械薪薪芯 懈 薪械芯锌褉邪胁写邪薪薪芯 写谢懈薪薪褘屑. 协褌芯 胁胁械褉谐邪械褌 褔懈褌邪褌械谢褟 (锌芯写谐芯褌芯胁谢械薪薪芯谐芯 懈 芯褌胁械褌褋褌胁械薪薪芯谐芯, 蟹邪屑械褔褍) 薪械 胁 谐芯褉械 写邪卸械, 胁 锌褍褔懈薪褘 芯褌褔邪褟薪懈褟: 写邪 泻芯谐写邪 卸械 褌褟谐芯屑芯褌懈薪邪 蟹邪泻芯薪褔懈褌褋褟 懈 斜褍写械褌 谢懈 褏芯褌褜 泻邪泻芯泄 褌芯谢泻 懈蟹 屑懈谢褜芯薪邪 褌械褉蟹邪薪懈泄.
效褌芯 写芯 斜谢邪谐芯写邪褉薪芯褋褌懈, 锌芯褏芯卸械, 肖邪褍谢蟹褍 懈 械谐芯 谐械褉芯褟屑 褔褍卸写芯 褋邪屑芯 械械 锌芯薪褟褌懈械. 袞懈褌褜 胁 蟹械屑薪芯屑 褉邪褞 懈 薪懈 褉邪蟹褍 薪械 锌芯写薪褟褌褜 谐谢邪蟹邪 胁褘褕械 胁蟹写褘斜谢械薪薪褘褏 锌褉懈邪锌芯胁褘褏 褔褉械褋械谢. 袙芯谢褟 胁邪褕邪, 谐芯褋锌芯写邪, 薪邪 屑芯泄 褋泻褉芯屑薪褘泄 胁蟹谐谢褟写, 褝褌芯 薪械 褉邪胁薪芯写褍褕懈械 锌芯锌芯谢邪屑 褋 谐芯褉写褘薪械泄 写邪卸械. 协褌芯 泻谢懈薪懈褔械褋泻邪褟 褎芯褉屑邪 褋泻芯褉斜薪芯谐芯 斜械褋褔褍胁褋褌胁懈褟.
袣芯褌芯褉芯械 褋屑褍褌薪芯 锌褉芯蟹褉械胁邪褞褌 胁 褋械斜械 (懈屑械薪薪芯, 褔褌芯 褋屑褍褌薪芯, 芯褌褌芯谐芯 懈 锌褉械芯写芯谢械胁邪褌褜 锌褘褌邪褞褌褋褟 褋褉械写褋褌胁邪屑懈, 褌芯谢褜泻芯 褍褋褍谐褍斜谢褟褞褖懈屑懈) 谐械褉芯懈. 袨薪懈 懈谐褉邪褞褌. 小锌谢芯褕褜 褍屑芯蟹褉懈褌械谢褜薪褘械, 胁褘褋芯褋邪薪薪褘械 懈蟹 锌邪谢褜褑邪, 薪懈 屑邪谢械泄褕械谐芯 褝屑芯褑懈芯薪邪谢褜薪芯谐芯 芯褌泻谢懈泻邪 薪械 胁褘蟹褘胁邪褞褖懈械 褋懈褌褍邪褑懈懈. 小褌褉邪褕薪芯 锌褉懈蟹薪邪褌褜褋褟, 写邪卸械 褉邪褋褋泻邪蟹 芯 蟹胁械褉褋褌胁邪褏 薪邪褑懈褋褌芯胁 懈 褉邪褋褋褌褉械谢械 胁芯褋褜屑懈写械褋褟褌懈 蟹邪谢芯锟斤拷薪懈泻芯胁. 袧邪 胁褋械屑, 锌褉芯懈褋褏芯写褟褖械屑 褋 谐械褉芯褟屑懈 懈 胁 懈褏, 锌褉械褌械薪写褍褞褖械屑 薪邪 褋谢芯卸薪芯褋褌褜, 胁薪褍褌褉械薪薪械屑 屑懈褉械, 锌褘谢褜 褌褉褍褏邪, 邪 泻芯械-谐写械 锌谢械褋械薪褜.
袣褍泻芯谢褜薪褘械 褋褌褉邪褋褌懈, 褍斜芯谐芯械 写懈薪邪屑芯, 褉褟写褟褖械械褋褟 锌芯锌械褉械屑械薪薪芯 胁 薪邪褉褟写褘 谐褉械褔械褋泻芯泄 褌褉邪谐械写懈懈, 褕械泻褋锌懈褉芯胁褋泻懈褏 写褉邪屑 懈 褉芯屑邪薪芯胁 邪褉褌褍褉芯胁邪 褑懈泻谢邪. 袝褋褌褜 锌芯谐芯胁芯褉泻邪: "袦械薪褟 芯斜屑邪薪褍谢懈, 锌褍褋褌褜 懈屑 斜褍写械褌 褋褌褘写薪芯. 袦械薪褟 芯斜屑邪薪褍谢懈 写胁邪卸写褘 - 锌褍褋褌褜 斜褍写械褌 褋褌褘写薪芯 屑薪械". 校斜芯谐芯谐芯 褉邪褋褋褍写泻芯屑 袧懈泻芯谢邪褋邪 芯斜屑邪薪褘胁邪褞褌 褉邪蟹 蟹邪 褉邪蟹芯屑, 谐褉芯屑芯蟹写褟 薪械谢械锌懈褑褍 薪邪 薪械谢械锌懈褑褍, 写邪 械屑褍 谢谐褍褌 蟹写械褋褜 泻邪卸写褘屑 褋胁芯懈屑 褋谢芯胁芯屑. 袠 褔械屑 懈薪褘屑, 泻褉芯屑械 写褍褕械胁薪芯泄 褋谢械锌芯褌褘, 胁芯蟹胁械写械薪薪芯泄 胁 邪斜褋芯谢褞褌, 屑芯卸薪芯 芯斜褗褟褋薪懈褌褜 褍锌芯褉褋褌胁芯, 褋 泻邪泻懈屑 芯褌胁械褉谐邪械褌 写芯胁芯写褘 褉邪褋褋褍写泻邪.
袙 "袪芯蟹械 袦懈褉邪" 袛邪薪懈懈谢邪 袗薪写褉械械胁邪 械褋褌褜 锌芯薪褟褌懈械 屑芯薪邪写褘, 泻邪泻 斜芯谐芯褉芯卸写械薪薪芯泄, 斜芯谐芯褋芯褌胁芯褉械薪薪芯泄 褔邪褋褌懈褑褘 褋褍褖械谐芯. 袦懈褉芯蟹写邪薪懈械 褟胁谢褟械褌 褋芯斜芯泄 斜械褋褔懈褋谢械薪薪芯械 屑薪芯卸械褋褌胁芯 屑芯薪邪写 懈 屑薪芯谐芯芯斜褉邪蟹薪褘械 胁懈写褘 褋芯蟹写邪胁邪械屑褘褏 懈屑懈 褉械邪谢褜薪芯褋褌械泄. 袛械屑芯薪褘 胁褋械褏 褋芯褉褌芯胁 锌褘褌邪褞褌褋褟 褋褉邪胁薪褟褌褜褋褟 褋 袘芯谐芯屑, 褋芯蟹写邪胁邪褟 褋芯斜褋褌胁械薪薪褘械 锌邪褉芯写懈懈 薪邪 屑芯薪邪写褘. 小 芯写薪懈屑, 薪芯 谐谢邪胁薪褘屑 芯褌谢懈褔懈械屑. 袠褋泻褍褋褋褌胁械薪薪芯 褋芯蟹写邪薪薪褘械, 褌械 褋褌褉械屑褟褌褋褟 胁 褋褍褌懈 褋胁芯械泄 泻 芯写薪芯屑褍 - 锌芯卸褉邪褌褜, 褍薪懈褔褌芯卸懈褌褜 褋泻芯谢褜泻芯 胁芯蟹屑芯卸薪芯 屑薪芯谐芯 斜芯卸褜械谐芯 屑懈褉邪. 袧械 锌褉懈斜谢懈蟹懈褌褜褋褟 泻 孝胁芯褉褑褍 懈 褋谢懈褌褜褋褟 褋 薪懈屑 胁 懈褌芯谐械, 锌褉芯泄写褟 褋胁芯泄 泻褉褍谐, 泻邪泻 屑芯薪邪写褘.
袙褋褟泻芯屑褍, 胁芯蟹芯屑薪懈胁褕械屑褍 褋械斜褟 薪邪 锌褍褋褌芯屑 屑械褋褌械 袘芯谐芯屑, 锌芯谢械蟹薪芯 锌芯屑薪懈褌褜 芯斜 褝褌芯屑 褋胁芯泄褋褌胁械. 袩褍褋褌芯褌邪 锌芯褉芯卸写邪械褌 谢懈褕褜 锌褍褋褌芯褌褍. 袞谐褍褔械-懈薪褌械褉械褋薪褘泄 褉芯屑邪薪, 邪 懈褋锌芯谢薪械薪懈械 袠谐芯褉褟 袣薪褟蟹械胁邪 芯斜褉邪蟹褑邪 "屑懈薪褍褋 写械褋褟褌懈谢械褌懈械" - 胁芯蟹屑芯卸薪芯褋褌褜 写谢褟 锌芯泻谢芯薪薪懈泻芯胁 薪械 褌芯谢褜泻芯 锌芯褋谢褍褕邪褌褜 蟹薪邪屑械薪懈褌褍褞 泻薪懈谐褍 胁 褝褌邪谢芯薪薪芯屑 懈褋锌芯谢薪械薪懈懈. 薪芯 懈 褋褉邪胁薪懈褌褜 褋械谐芯写薪褟褕薪懈械 胁锌械褔邪褌谢械薪懈褟 芯褌 谢褞斜懈屑芯谐芯 褔褌械褑邪 褋 褌械屑, 褔褌芯 斜褘谢芯 锌褉械卸写械.
Life is whimsical, refined, complex and simple, beautiful and terrible, charming and disgusting. And so on indefinitely. It is characterized, sometimes, by baroque excess. Generating a similar novel and a similar hero. The first is extremely voluminous, with an unintelligible plot, but allusions and references to classical mythology abound. The second, yes, these are Brodsky's lines: "What can I say about a life that turned out to be long. Only with grief do I feel solidarity."
Without continuing, which I love with all my heart: "But as long as my mouth is not filled with clay, only gratitude will be heard from it." It seems, but it doesn't seem, but it is, senselessly and unreasonably long. This plunges the reader (prepared and responsible, I note) not even into grief, into the depths of despair: but when will the drudgery end and will there be any sense from a million torments.
As for gratitude, it seems that Fowles and his heroes are alien to its very concept. To live in an earthly paradise and never raise your eyes above the raised priapus loins. Your will, gentlemen, in my humble opinion, this is not indifference half with pride even. This is a clinical form of mournful insensibility.
袨褖褍褖邪械褌械 谢懈 胁褘 褋械斜褟 袩褉懈蟹胁邪薪薪褘屑?
"袙芯谢褏胁", 邪 薪械 "袣芯谢谢械泻褑懈芯薪械褉" 懈 写邪卸械 薪械 "袞械薪褖懈薪邪 褎褉邪薪褑褍蟹褋泻芯谐芯 谢械泄褌械薪邪薪褌邪" - 懈屑械薪薪芯 "袙芯谢褏胁" 胁懈蟹懈褌薪邪褟 泻邪褉褌芯褔泻邪 蟹胁械蟹写褘 屑懈褉芯胁芯谐芯 锌芯褋褌屑芯写械褉薪懈蟹屑邪 袟邪屑褘褋谢芯胁邪褌邪褟 懈褋褌芯褉懈褟 屑芯谢芯写芯谐芯 邪薪谐谢懈褔邪薪懈薪邪, 褔褜懈 屑械褔褌褘 芯斜 褝泻蟹芯褌懈泻械 褋薪邪褔邪谢邪 芯斜芯褉邪褔懈胁邪褞褌褋褟 褌褍褋泻谢芯泄 褉褍褌懈薪芯泄 锌褉械锌芯写邪胁邪褌械谢褟 胁 谐褉械褔械褋泻芯泄 褕泻芯谢械, 薪芯 锌芯褌芯屑 褋褍写褜斜邪 - 胁 锌芯谢薪芯屑 褋芯芯褌胁械褌褋褌胁懈懈 褋 褌械芯褉懈械泄 芯 袙褋械谢械薪薪芯泄, 褔褌芯 懈褋锌芯谢薪褟械褌 蟹邪胁械褌薪褘械 卸械谢邪薪懈褟, 写邪褉懈褌 胁褋褌褉械褔褍 褋 锌芯褌褉褟褋邪褞褖懈屑懈 谢褞写褜屑懈 胁 褍写懈胁懈褌械谢褜薪褘褏 芯斜褋褌芯褟褌械谢褜褋褌胁邪褏. 袧邪锌芯谢薪褟械褌 褋褍褖械褋褌胁芯胁邪薪懈械 薪芯胁褘屑 褋屑褘褋谢芯屑, 褟褉泻懈屑 懈 屑薪芯谐芯芯斜械褖邪褞褖懈屑.
袞懈蟹薪褜 锌褉懈褔褍写谢懈胁邪 懈蟹褘褋泻邪薪邪, 褋谢芯卸薪邪 懈 锌褉芯褋褌邪, 锌褉械泻褉邪褋薪邪 懈 褍卸邪褋薪邪, 芯褔邪褉芯胁邪褌械谢褜薪邪 懈 芯褌胁褉邪褌懈褌械谢褜薪邪. 袠 褌邪泻 写芯 斜械褋泻芯薪械褔薪芯褋褌懈. 袝泄 锌褉懈褋褍褖械, 懈薪芯泄 褉邪蟹, 斜邪褉芯褔薪芯械 懈蟹谢懈褕械褋褌胁芯. 袩芯褉芯卸写邪褞褖械械 锌芯写芯斜薪褘泄 褉芯屑邪薪 懈 锌芯写芯斜薪芯谐芯 谐械褉芯褟. 袩械褉胁褘泄 芯斜褗械屑械薪 褔褉械蟹胁褘褔邪泄薪芯, 褋 屑邪谢芯胁褉邪蟹褍屑懈褌械谢褜薪褘屑 褋褞卸械褌芯屑, 薪芯 邪谢谢褞蟹懈褟屑懈 懈 芯褌褋褘谢泻邪屑懈 泻 屑懈褎芯谢芯谐懈懈-泻谢邪褋褋懈泻械 胁 懈蟹芯斜懈谢懈懈. 袙褌芯褉芯泄, 写邪 胁芯褌 褝褌懈 褋褌褉芯褔泻懈 袘褉芯写褋泻芯谐芯: "效褌芯 褋泻邪蟹邪褌褜 屑薪械 芯 卸懈蟹薪懈, 褔褌芯 芯泻邪蟹邪谢邪褋褜 写谢懈薪薪芯泄. 孝芯谢褜泻芯 褋 谐芯褉械屑 褟 褔褍胁褋褌胁褍褞 褋芯谢懈写邪褉薪芯褋褌褜".
袘械蟹 锌褉芯写芯谢卸械薪懈褟, 泻芯褌芯褉芯械 谢褞斜谢褞 胁褋械泄 写褍褕芯泄: "袧芯 锌芯泻褍写邪 屑薪械 褉芯褌 薪械 蟹邪斜懈谢懈 谐谢懈薪芯泄, 懈蟹 薪械谐芯 褉邪蟹写邪胁邪褌褜褋褟 斜褍写械褌 谢懈褕褜 斜谢邪谐芯写邪褉薪芯褋褌褜". 协褌芯 泻邪卸械褌褋褟, 写邪 薪械 泻邪卸械褌褋褟, 邪 械褋褌褜, 斜械褋褋屑褘褋谢械薪薪芯 懈 薪械芯锌褉邪胁写邪薪薪芯 写谢懈薪薪褘屑. 协褌芯 胁胁械褉谐邪械褌 褔懈褌邪褌械谢褟 (锌芯写谐芯褌芯胁谢械薪薪芯谐芯 懈 芯褌胁械褌褋褌胁械薪薪芯谐芯, 蟹邪屑械褔褍) 薪械 胁 谐芯褉械 写邪卸械, 胁 锌褍褔懈薪褘 芯褌褔邪褟薪懈褟: 写邪 泻芯谐写邪 卸械 褌褟谐芯屑芯褌懈薪邪 蟹邪泻芯薪褔懈褌褋褟 懈 斜褍写械褌 谢懈 褏芯褌褜 泻邪泻芯泄 褌芯谢泻 懈蟹 屑懈谢褜芯薪邪 褌械褉蟹邪薪懈泄.
效褌芯 写芯 斜谢邪谐芯写邪褉薪芯褋褌懈, 锌芯褏芯卸械, 肖邪褍谢蟹褍 懈 械谐芯 谐械褉芯褟屑 褔褍卸写芯 褋邪屑芯 械械 锌芯薪褟褌懈械. 袞懈褌褜 胁 蟹械屑薪芯屑 褉邪褞 懈 薪懈 褉邪蟹褍 薪械 锌芯写薪褟褌褜 谐谢邪蟹邪 胁褘褕械 胁蟹写褘斜谢械薪薪褘褏 锌褉懈邪锌芯胁褘褏 褔褉械褋械谢. 袙芯谢褟 胁邪褕邪, 谐芯褋锌芯写邪, 薪邪 屑芯泄 褋泻褉芯屑薪褘泄 胁蟹谐谢褟写, 褝褌芯 薪械 褉邪胁薪芯写褍褕懈械 锌芯锌芯谢邪屑 褋 谐芯褉写褘薪械泄 写邪卸械. 协褌芯 泻谢懈薪懈褔械褋泻邪褟 褎芯褉屑邪 褋泻芯褉斜薪芯谐芯 斜械褋褔褍胁褋褌胁懈褟.
袣芯褌芯褉芯械 褋屑褍褌薪芯 锌褉芯蟹褉械胁邪褞褌 胁 褋械斜械 (懈屑械薪薪芯, 褔褌芯 褋屑褍褌薪芯, 芯褌褌芯谐芯 懈 锌褉械芯写芯谢械胁邪褌褜 锌褘褌邪褞褌褋褟 褋褉械写褋褌胁邪屑懈, 褌芯谢褜泻芯 褍褋褍谐褍斜谢褟褞褖懈屑懈) 谐械褉芯懈. 袨薪懈 懈谐褉邪褞褌. 小锌谢芯褕褜 褍屑芯蟹褉懈褌械谢褜薪褘械, 胁褘褋芯褋邪薪薪褘械 懈蟹 锌邪谢褜褑邪, 薪懈 屑邪谢械泄褕械谐芯 褝屑芯褑懈芯薪邪谢褜薪芯谐芯 芯褌泻谢懈泻邪 薪械 胁褘蟹褘胁邪褞褖懈械 褋懈褌褍邪褑懈懈. 小褌褉邪褕薪芯 锌褉懈蟹薪邪褌褜褋褟, 写邪卸械 褉邪褋褋泻邪蟹 芯 蟹胁械褉褋褌胁邪褏 薪邪褑懈褋褌芯胁 懈 褉邪褋褋褌褉械谢械 胁芯褋褜屑懈写械褋褟褌懈 蟹邪谢芯锟斤拷薪懈泻芯胁. 袧邪 胁褋械屑, 锌褉芯懈褋褏芯写褟褖械屑 褋 谐械褉芯褟屑懈 懈 胁 懈褏, 锌褉械褌械薪写褍褞褖械屑 薪邪 褋谢芯卸薪芯褋褌褜, 胁薪褍褌褉械薪薪械屑 屑懈褉械, 锌褘谢褜 褌褉褍褏邪, 邪 泻芯械-谐写械 锌谢械褋械薪褜.
袣褍泻芯谢褜薪褘械 褋褌褉邪褋褌懈, 褍斜芯谐芯械 写懈薪邪屑芯, 褉褟写褟褖械械褋褟 锌芯锌械褉械屑械薪薪芯 胁 薪邪褉褟写褘 谐褉械褔械褋泻芯泄 褌褉邪谐械写懈懈, 褕械泻褋锌懈褉芯胁褋泻懈褏 写褉邪屑 懈 褉芯屑邪薪芯胁 邪褉褌褍褉芯胁邪 褑懈泻谢邪. 袝褋褌褜 锌芯谐芯胁芯褉泻邪: "袦械薪褟 芯斜屑邪薪褍谢懈, 锌褍褋褌褜 懈屑 斜褍写械褌 褋褌褘写薪芯. 袦械薪褟 芯斜屑邪薪褍谢懈 写胁邪卸写褘 - 锌褍褋褌褜 斜褍写械褌 褋褌褘写薪芯 屑薪械". 校斜芯谐芯谐芯 褉邪褋褋褍写泻芯屑 袧懈泻芯谢邪褋邪 芯斜屑邪薪褘胁邪褞褌 褉邪蟹 蟹邪 褉邪蟹芯屑, 谐褉芯屑芯蟹写褟 薪械谢械锌懈褑褍 薪邪 薪械谢械锌懈褑褍, 写邪 械屑褍 谢谐褍褌 蟹写械褋褜 泻邪卸写褘屑 褋胁芯懈屑 褋谢芯胁芯屑. 袠 褔械屑 懈薪褘屑, 泻褉芯屑械 写褍褕械胁薪芯泄 褋谢械锌芯褌褘, 胁芯蟹胁械写械薪薪芯泄 胁 邪斜褋芯谢褞褌, 屑芯卸薪芯 芯斜褗褟褋薪懈褌褜 褍锌芯褉褋褌胁芯, 褋 泻邪泻懈屑 芯褌胁械褉谐邪械褌 写芯胁芯写褘 褉邪褋褋褍写泻邪.
袙 "袪芯蟹械 袦懈褉邪" 袛邪薪懈懈谢邪 袗薪写褉械械胁邪 械褋褌褜 锌芯薪褟褌懈械 屑芯薪邪写褘, 泻邪泻 斜芯谐芯褉芯卸写械薪薪芯泄, 斜芯谐芯褋芯褌胁芯褉械薪薪芯泄 褔邪褋褌懈褑褘 褋褍褖械谐芯. 袦懈褉芯蟹写邪薪懈械 褟胁谢褟械褌 褋芯斜芯泄 斜械褋褔懈褋谢械薪薪芯械 屑薪芯卸械褋褌胁芯 屑芯薪邪写 懈 屑薪芯谐芯芯斜褉邪蟹薪褘械 胁懈写褘 褋芯蟹写邪胁邪械屑褘褏 懈屑懈 褉械邪谢褜薪芯褋褌械泄. 袛械屑芯薪褘 胁褋械褏 褋芯褉褌芯胁 锌褘褌邪褞褌褋褟 褋褉邪胁薪褟褌褜褋褟 褋 袘芯谐芯屑, 褋芯蟹写邪胁邪褟 褋芯斜褋褌胁械薪薪褘械 锌邪褉芯写懈懈 薪邪 屑芯薪邪写褘. 小 芯写薪懈屑, 薪芯 谐谢邪胁薪褘屑 芯褌谢懈褔懈械屑. 袠褋泻褍褋褋褌胁械薪薪芯 褋芯蟹写邪薪薪褘械, 褌械 褋褌褉械屑褟褌褋褟 胁 褋褍褌懈 褋胁芯械泄 泻 芯写薪芯屑褍 - 锌芯卸褉邪褌褜, 褍薪懈褔褌芯卸懈褌褜 褋泻芯谢褜泻芯 胁芯蟹屑芯卸薪芯 屑薪芯谐芯 斜芯卸褜械谐芯 屑懈褉邪. 袧械 锌褉懈斜谢懈蟹懈褌褜褋褟 泻 孝胁芯褉褑褍 懈 褋谢懈褌褜褋褟 褋 薪懈屑 胁 懈褌芯谐械, 锌褉芯泄写褟 褋胁芯泄 泻褉褍谐, 泻邪泻 屑芯薪邪写褘.
袙褋褟泻芯屑褍, 胁芯蟹芯屑薪懈胁褕械屑褍 褋械斜褟 薪邪 锌褍褋褌芯屑 屑械褋褌械 袘芯谐芯屑, 锌芯谢械蟹薪芯 锌芯屑薪懈褌褜 芯斜 褝褌芯屑 褋胁芯泄褋褌胁械. 袩褍褋褌芯褌邪 锌芯褉芯卸写邪械褌 谢懈褕褜 锌褍褋褌芯褌褍. 袞谐褍褔械-懈薪褌械褉械褋薪褘泄 褉芯屑邪薪, 邪 懈褋锌芯谢薪械薪懈械 袠谐芯褉褟 袣薪褟蟹械胁邪 芯斜褉邪蟹褑邪 "屑懈薪褍褋 写械褋褟褌懈谢械褌懈械" - 胁芯蟹屑芯卸薪芯褋褌褜 写谢褟 锌芯泻谢芯薪薪懈泻芯胁 薪械 褌芯谢褜泻芯 锌芯褋谢褍褕邪褌褜 蟹薪邪屑械薪懈褌褍褞 泻薪懈谐褍 胁 褝褌邪谢芯薪薪芯屑 懈褋锌芯谢薪械薪懈懈. 薪芯 懈 褋褉邪胁薪懈褌褜 褋械谐芯写薪褟褕薪懈械 胁锌械褔邪褌谢械薪懈褟 芯褌 谢褞斜懈屑芯谐芯 褔褌械褑邪 褋 褌械屑, 褔褌芯 斜褘谢芯 锌褉械卸写械.
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June 11, 2019丕夭 爻乇蹖 卮丕賴讴丕乇鈥屬囏й� 倬蹖賲丕賳 禺丕讴爻丕乇.
丕蹖賳 賳賲賵賳賴 乇賵 亘亘蹖賳蹖丿 鬲賵 氐賮丨賴鈥屰� 丿賵賲.
鬲乇噩賲賴 : 芦卮乇蹖賽鈥屫迟愙┞� 賲蹖禺賵乇丿蹖賲... 馃樁
賵 丕賲丕 丕氐賱 噩賲賱賴 :
drank very dry sherry
馃槕
sherry :
卮乇丕亘 丕爻倬丕賳蹖丕蹖蹖 讴賴 禺蹖賱蹖 賯賵蹖 賴爻鬲
dry sherry :
賲賳馗賵乇 丕蹖賳 賴爻鬲 讴賴 卮乇丕亘 卮蹖乇蹖賳 賳蹖爻鬲貙 趩賵賳 賲孬賱 丕蹖賳讴賴 丕賵賳 卮乇丕亘 丕賳賵丕毓 賲禺鬲賱賮 鬲賱禺 賵 卮蹖乇蹖賳 丿丕乇賴
賵 丕蹖賳 丕卮鬲亘丕賴 賵 爻賴賱鈥屫з嗂ж臂� 讴賱丕賸 賲毓賳蹖 噩賲賱賴 乇賵 丕夭 亘蹖賳 賲蹖亘乇賴貙 卮乇丕亘 鬲賱禺 賳賵卮蹖丿賳賽 乇丕賵蹖 亘丕 芦卮乇蹖賽鈥屫迟愙┞� 賳賵卮蹖丿賳 賯胤毓丕賸 禺蹖賱蹖 賮乇賯 賲蹖讴賳賴.
胤亘賯 诏賮鬲賴鈥屰� 丿賵爻鬲賲貙 讴賱賲賴 卮乇丕亘 丕夭 賮蹖賱鬲乇 丕乇卮丕丿 乇丿 賳賲蹖卮賴貙 丕賲丕 賮讴乇 賲蹖讴賳賲 丕蹖賳 乇亘胤蹖 亘賴 丕蹖賳 讴賱賲賴 毓噩蹖亘 賳丿丕乇賴貙 賲蹖卮丿 蹖賴 噩丕蹖诏夭蹖賳 亘賴鬲乇 賯乇丕乇 丿丕丿.
賳賵卮蹖丿賳蹖 乇賵 賴賲 賲蹖賳賵卮賳丿貙 賳賲蹖禺賵乇賳丿.
賵丕蹖 亘賴 丨丕賱 亘賯蹖賴 讴鬲丕亘 鄹郯郯 氐賮丨賴鈥屫й�.
賴賳賵夭 丕賵賱丕卮賲貙 賮賯胤 禺賵丕爻鬲賲 丕蹖賳 丕蹖賳噩丕 亘丕卮賴 賮毓賱丕賸 賵 亘毓丿 鬲賲賵賲 卮丿賳 丌倬丿蹖鬲 賲蹖讴賳賲 賵 丕賲鬲蹖丕夭 賲蹖丿賲.
丕蹖賳 賳賲賵賳賴 乇賵 亘亘蹖賳蹖丿 鬲賵 氐賮丨賴鈥屰� 丿賵賲.
鬲乇噩賲賴 : 芦卮乇蹖賽鈥屫迟愙┞� 賲蹖禺賵乇丿蹖賲... 馃樁
賵 丕賲丕 丕氐賱 噩賲賱賴 :
drank very dry sherry
馃槕
sherry :
卮乇丕亘 丕爻倬丕賳蹖丕蹖蹖 讴賴 禺蹖賱蹖 賯賵蹖 賴爻鬲
dry sherry :
賲賳馗賵乇 丕蹖賳 賴爻鬲 讴賴 卮乇丕亘 卮蹖乇蹖賳 賳蹖爻鬲貙 趩賵賳 賲孬賱 丕蹖賳讴賴 丕賵賳 卮乇丕亘 丕賳賵丕毓 賲禺鬲賱賮 鬲賱禺 賵 卮蹖乇蹖賳 丿丕乇賴
賵 丕蹖賳 丕卮鬲亘丕賴 賵 爻賴賱鈥屫з嗂ж臂� 讴賱丕賸 賲毓賳蹖 噩賲賱賴 乇賵 丕夭 亘蹖賳 賲蹖亘乇賴貙 卮乇丕亘 鬲賱禺 賳賵卮蹖丿賳賽 乇丕賵蹖 亘丕 芦卮乇蹖賽鈥屫迟愙┞� 賳賵卮蹖丿賳 賯胤毓丕賸 禺蹖賱蹖 賮乇賯 賲蹖讴賳賴.
胤亘賯 诏賮鬲賴鈥屰� 丿賵爻鬲賲貙 讴賱賲賴 卮乇丕亘 丕夭 賮蹖賱鬲乇 丕乇卮丕丿 乇丿 賳賲蹖卮賴貙 丕賲丕 賮讴乇 賲蹖讴賳賲 丕蹖賳 乇亘胤蹖 亘賴 丕蹖賳 讴賱賲賴 毓噩蹖亘 賳丿丕乇賴貙 賲蹖卮丿 蹖賴 噩丕蹖诏夭蹖賳 亘賴鬲乇 賯乇丕乇 丿丕丿.
賳賵卮蹖丿賳蹖 乇賵 賴賲 賲蹖賳賵卮賳丿貙 賳賲蹖禺賵乇賳丿.
賵丕蹖 亘賴 丨丕賱 亘賯蹖賴 讴鬲丕亘 鄹郯郯 氐賮丨賴鈥屫й�.
賴賳賵夭 丕賵賱丕卮賲貙 賮賯胤 禺賵丕爻鬲賲 丕蹖賳 丕蹖賳噩丕 亘丕卮賴 賮毓賱丕賸 賵 亘毓丿 鬲賲賵賲 卮丿賳 丌倬丿蹖鬲 賲蹖讴賳賲 賵 丕賲鬲蹖丕夭 賲蹖丿賲.
January 14, 2020
螣 螠维纬慰蟼 蟿慰蠀 桅维慰蠀位蟼 蔚委谓伪喂 苇谓伪 伪蟺蠈 蔚魏蔚委谓伪 蟿伪 尾喂尾位委伪 蟺慰蠀 蟺慰蠀 蠈位慰喂 尉苇蟻慰蠀渭蔚, 伪位位维 蟺慰位位慰委 未蔚谓 苇蠂慰蠀渭蔚 未喂伪尾维蟽蔚喂. 螤蟻慰蟽蠅蟺喂魏维 蟿慰 蔚委蠂伪 伪蟺蠅位苇蟽蔚喂 蟽蔚 蔚魏蔚委谓畏 蟿畏谓 蔚蟺喂魏蟻维蟿蔚喂伪 蟺慰蠀 蟺维谓蔚 蠈位伪 蟿伪 伪蟻纬慰蟺慰蟻畏渭苇谓伪 伪谓伪纬谓蠋蟽渭伪蟿伪: 伪谓 未蔚谓 苇蠂慰蠀谓 未喂伪尾伪蟽蟿蔚委 蟽蟿畏谓 蠋蟻伪 蟿慰蠀蟼, 未畏位伪未萎 蟽蔚 渭喂伪 畏位喂魏委伪 蟺慰蠀 萎渭慰蠀谓 蟺喂慰 未喂伪位位伪魏蟿喂魏蠈蟼 伪蟻魏蔚委 谓伪 蔚委蠂蔚 蟿慰 尾喂尾位委慰 蟿畏谓 蠁蔚蟻蔚纬纬蠀蠈蟿畏蟿伪 蟿畏蟼 蔚蠀蟻蔚委伪蟼 伪蟺慰未慰蠂萎蟼, 蟿蠈蟿蔚 伪蟼 渭蔚委谓蔚喂 蟽蟿畏谓 蟽魏蠈谓畏 蟿畏蟼 维纬谓慰喂伪蟼. 螖蔚谓 蠂维胃畏魏蔚 魏喂 慰 魏蠈蟽渭慰蟼. 螘蠀蟿蠀蠂蠋蟼 纬喂伪 渭苇谓伪, 蠀蟺慰蠂蠋蟻畏蟽伪 蟽蟿喂蟼 蟺喂苇蟽蔚喂蟼 蟿畏蟼 伪未蔚蟻蠁萎蟼 渭慰蠀 魏伪喂 蟿慰 未喂维尾伪蟽伪. 螛伪 萎蟿伪谓 渭喂伪 蟿蔚蟻维蟽蟿喂伪 伪蟺蠋位蔚喂伪 纬喂伪 渭苇谓伪. 螇蟻胃蔚 谓伪 蟽蠀渭蟺位畏蟻蠋蟽蔚喂 苇谓伪 伪蟺蠈 蔚魏蔚委谓伪 蟿伪 魏蔚谓维 蟿慰蠀 伪魏蠈蟻蔚蟽蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏. 螘魏蔚委 蟺慰蠀 渭蟺伪委谓慰蠀谓 蟿伪 蟿蔚蟻维蟽蟿喂伪 尾喂尾位委伪.
螣 螠维纬慰蟼 未蔚谓 蔚委谓伪喂 尾喂尾位委慰 蟺慰蠀 魏伪蟿伪蟿维蟽蟽蔚蟿伪喂 蔚蠉魏慰位伪: 苇谓伪蟼 谓蔚伪蟻蠈蟼 尾蟻蔚蟿伪谓蠈蟼 蟺畏纬伪委谓蔚喂 蟽蟿慰 蔚蟺喂谓慰畏渭苇谓慰 谓畏蟽委 桅蟻伪尉蠈蟼 (尾蟻委蟽魏蔚蟿伪喂 蟽蟿畏谓 螒谓伪蟿慰位喂魏萎 螤蔚位慰蟺蠈谓谓畏蟽慰, 魏慰谓蟿维 蟽蟿喂蟼 危蟺苇蟿蟽蔚蟼), 纬喂伪 谓伪 未喂未维尉蔚喂 苇谓伪谓 蠂蟻蠈谓慰 蟽蔚 苇谓伪 蟽蠂慰位蔚委慰 蟿畏蟼 蠀蠄畏位萎蟼 魏慰喂谓蠅谓委伪蟼. 螘魏蔚委 胃伪 苇蟻胃蔚喂 蟽蔚 蔚蟺伪蠁萎 渭蔚 渭喂伪 伪喂谓喂纬渭伪蟿喂魏萎 蠁喂纬慰蠉蟻伪, 苇谓伪 魏蟻维渭伪 未伪喂渭蠈谓喂慰蠀 魏慰蟽渭慰蟺慰位委蟿畏 魏伪喂 未喂伪谓慰慰蠉渭蔚谓慰蠀. 螝伪喂 蔚魏蔚委 尉蔚魏喂谓维蔚喂 苇谓伪 蟺伪蟻维尉蔚谓慰 蟺伪喂蠂谓委未喂 蟺伪蟻伪蟺位维谓畏蟽畏蟼, 魏伪蟿伪尾蠉胃喂蟽畏蟼 蟽蔚 蠁喂位慰蟽慰蠁喂魏苇蟼 魏伪喂 蠄蠀蠂慰位慰纬喂魏苇蟼 蟽蠁伪委蟻蔚蟼. 螛伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蔚谓蟿伪蠂胃蔚委 伪未蟻维 蟽蔚 尾喂尾位委伪 蠈蟺慰蠀 慰 蠂伪蟻伪魏蟿萎蟻伪蟼, 渭苇蟽伪 伪蟺蠈 渭喂伪 苇谓蟿慰谓畏 蟽蠂苇蟽畏 纬谓蠅蟻委味蔚喂 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 蟺慰蠀 蠅蟻喂渭维味蔚喂. 螒位位维 魏伪喂 蟺维位喂 伪蠀蟿蠈 未蔚谓 蟺蔚蟻喂纬蟻维蠁蔚喂 喂魏伪谓慰蟺慰喂畏蟿喂魏维 蟿慰 胃蟻委位蔚蟻 蟺慰蠀 尾喂蠋谓蔚喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼, 渭伪味委 渭蔚 蟿慰谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎, 魏伪胃蠋蟼 蠈蟽慰 蟺蟻慰蟽蟺伪胃蔚委 谓伪 尾蟻蔚喂 伪蟺伪谓蟿萎蟽蔚喂蟼 纬喂伪 伪蠀蟿蠈 蟺慰蠀 味蔚喂, 渭蟺位苇魏蔚蟿伪喂 慰位慰苇谓伪 魏伪喂 蟺喂慰 尾伪胃喂维 蟽蟿慰谓 喂蟽蟿蠈 蟺慰蠀 蔚尉蠀蠁伪委谓蔚蟿伪喂 伪蟺蠈 蟿喂蟼 伪喂谓喂纬渭伪蟿喂魏苇蟼 蠁喂纬慰蠉蟻蔚蟼 蟺慰蠀 苇蠂慰蠀谓 蟺维蟻蔚喂 渭苇蟻慰蟼 蟽蔚 伪蠀蟿蠈 蟿慰 蟺伪蟻伪渭蠉胃喂. 韦委 蔚委谓伪喂 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟿喂 蠄苇渭伪;
螣 伪谓伪纬谓蠋蟽蟿畏蟼 胃伪 渭蟺蔚蟻未蔚蠀蟿蔚委. 螠伪 胃伪 蟿慰 伪蟺慰位伪蠉蟽蔚喂 渭蔚 渭喂伪 渭伪味慰蠂喂蟽蟿喂魏萎 位伪蠂蟿维蟻伪. 螕喂伪蟿委 慰 桅维慰蠀位蟼 纬蟻维蠁蔚喂 蔚尉伪喂蟻蔚蟿喂魏维. 螘胃喂蟽蟿喂魏维 魏伪位维. 螠蔚 蠂喂慰蠉渭慰蟻 魏伪喂 蔚尉伪喂蟻蔚蟿喂魏萎 未喂蔚喂蟽未蠀蟿喂魏蠈蟿畏蟿伪 蟽蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 渭蔚 魏蠀谓喂蟽渭蠈 伪位位维 魏伪喂 蔚蠀伪喂蟽胃畏蟽委伪. 韦慰 尾喂尾位委慰 尾蟻委胃蔚喂 喂未蔚蠋谓, 喂蟽蟿慰蟻喂魏蠋谓 伪谓伪蠁慰蟻蠋谓. 螚 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟿伪蟻维味蔚蟿伪喂 伪蟺蠈 蟿畏谓 蔚喂蟽尾慰位萎 蟿慰蠀 渭蠉胃慰蠀, 魏伪喂 蟿慰 魏伪胃畏渭蔚蟻喂谓蠈, 蟿慰 蠂蔚喂蟻慰蟺喂伪蟽蟿蠈 蟺伪蟿维蟽蟽蔚蟿伪喂 伪蟺蠈 蟿畏谓 纬慰畏蟿蔚委伪 蟿慰蠀 维蟺喂伪蟽蟿慰蠀 魏伪喂 蠂喂渭伪喂蟻喂魏慰蠉. 螘委谓伪喂 苇谓伪蟼 蟺位慰蠉蟿慰蟼, 苇谓伪 蟺蠀蟻慰蟿苇蠂谓畏渭伪 蟺慰蠀 蟽魏维蔚喂 魏伪喂 蟿慰 渭蔚蟿蔚委魏伪蟽渭维 蟿慰蠀 伪蟺慰蟿蠀蟺蠋谓蔚蟿伪喂 苇谓蟿慰谓伪. 螉蟽蠅蟼 蠀蟺维蟻蠂蔚喂 魏维蟿喂 蟿慰 慰蟺慰委慰 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 伪谓伪蠂伪喂蟿委蟽蔚喂 蟿慰谓 蔚谓胃慰蠀蟽喂伪蟽渭蠈 渭慰蠀: 蟽蟿伪 渭喂蟽维 蟿慰蠀 尾喂尾位委慰蠀 慰喂 伪谓伪蟿蟻慰蟺苇蟼 伪蟺慰魏蟿慰蠉谓 渭喂伪 蟿苇蟿慰喂伪 蟽蠀蠂谓蠈蟿畏蟿伪, 蟺慰蠀 渭蔚 魏维胃蔚 纬蠉蟻喂蟽渭伪 蟿畏蟼 蟽蔚位委未伪蟼 苇谓喂蠅胃伪 蟺蠅蟼 蔚委蠂伪 蠁维蔚喂 渭喂伪 蟽蠁伪位喂维蟻伪. 螝伪喂 魏维蟺慰蠀 蠁维谓蟿伪味蔚 蟽伪谓 苇谓伪 蟿苇蠂谓伪蟽渭伪 纬喂伪 谓伪 纬蔚渭委蟽蔚喂 慰 桅维慰蠀位蟼 苇谓伪 萎未畏 蟿蔚蟻维蟽蟿喂慰 尾喂尾位委慰. 螘蟺喂蟺位苇慰谓, 蟽蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟺慰蠀 伪蟺慰味畏蟿慰蠉谓 伪蟺伪谓蟿萎蟽蔚喂蟼 慰位慰魏位畏蟻蠅蟿喂魏苇蟼: 蟿慰 尾喂尾位委慰 未蔚谓 蟿喂蟼 未委谓蔚喂. 螇 未蔚谓 蟿喂蟼 未委谓蔚喂 蟽蟿慰 蟺喂维蟿慰. 螡慰渭委味蠅 魏维蟿喂 蟿苇蟿慰喂慰 胃伪 萎蟿伪谓 蔚谓维谓蟿喂伪 蟽蟿慰谓 未伪喂未伪位蠋未畏 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀. 螤位畏蟽喂维味蔚喂蟼 蟿慰 蠁蠅蟼, 伪位位维 未蔚谓 尉苇蟻蔚喂蟼 伪谓 尾蟻萎魏蔚蟼 蟿畏谓 蟽蠅蟽蟿萎 苇尉慰未慰.
韦蔚位喂魏维 伪尉委味蔚喂; 螕喂伪 蟿畏谓 蔚尉伪喂蟻蔚蟿喂魏萎 纬蟻伪蠁萎 蟿慰蠀, 蟿畏谓 蟻慰萎 蟿慰蠀 魏伪喂 蟿慰谓 蟺位慰蠉蟿慰 纬谓蠋蟽蔚蠅谓 魏伪喂 喂未蔚蠋谓 蟺慰蠀 未喂伪魏伪蟿苇蠂慰蠀谓 蟿慰 尾喂尾位委慰 魏伪喂 蟺慰蠀 蟿蠈蟽慰 渭伪蔚蟽蟿蟻喂魏维 蠂蔚喂蟻委味蔚蟿伪喂 慰 桅维慰蠀位蟼, 魏伪喂 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 纬喂伪 蟿畏谓 蟺蟻蠅蟿蠈蟿蠀蟺畏 喂未苇伪 魏伪喂 蟿慰 蟿蠈蟽慰 渭慰谓蟿苇蟻谓慰 蟿蟻蠈蟺慰蠀 蟺慰蠀 蟿慰 苇蠂蔚喂 纬蟻维蠄蔚喂, 位苇蠅 谓伪喂. 螒谓蟿伪蟺蔚尉苇蟻蠂蔚蟿伪喂 蟽蟿畏 蠁萎渭畏 蟿慰蠀, 魏伪喂 未蔚魏伪蔚蟿委蔚蟼 渭蔚蟿维, 蠈蠂喂 渭蠈谓慰 蔚委谓伪喂 苇谓伪 伪蟺慰位伪蠀蟽蟿喂魏蠈 尾喂尾位委慰 伪位位维 魏伪喂 苇谓伪 蟺蟻蠅蟿蠈蟿蠀蟺慰, 蟺位慰蠉蟽喂慰 尾喂尾位委慰 蟺慰蠀 魏维谓蔚喂 蟿畏谓 蟺位蔚喂慰蠄畏蠁委伪 伪蠀蟿蠋谓 蟿蠅谓 5 鈥� 10 尾喂尾位委蠅谓 蟺慰蠀 蟺蟻慰尾维位位慰谓蟿伪喂 伪蟺蠈 蟿慰蠀蟼 位慰纬慰蟿蔚蠂谓喂魏慰蠉蟼 魏蠉魏位慰蠀蟼 魏维胃蔚 蠂蟻蠈谓慰, 谓伪 蠁伪谓蟿维味慰蠀谓 位委纬伪, 未喂蔚魏蟺蔚蟻伪喂蠅蟿喂魏维. 螤蟻苇蟺蔚喂 谓伪 蟺维蟻蔚喂 5 伪蟽蟿蔚蟻维魏喂伪. 螒蟺蠈 蔚魏蔚委谓伪 蟿伪 5, 蟿伪 未蠀谓伪蟿维, 蟺慰蠀 位维渭蟺慰蠀谓, 蠈蟺蠅蟼 位维渭蟺蔚喂 魏伪喂 蟿慰 委未喂慰 蟺伪蟻苇伪 蟺喂伪 渭蔚 蟿伪 位委纬伪, 蔚魏蔚委谓伪 尾喂尾位委伪 纬喂伪 蟿伪 慰蟺慰委伪 胃伪 渭喂位维蠅 纬喂伪 蟺维谓蟿伪.
螣 螠维纬慰蟼 未蔚谓 蔚委谓伪喂 尾喂尾位委慰 蟺慰蠀 魏伪蟿伪蟿维蟽蟽蔚蟿伪喂 蔚蠉魏慰位伪: 苇谓伪蟼 谓蔚伪蟻蠈蟼 尾蟻蔚蟿伪谓蠈蟼 蟺畏纬伪委谓蔚喂 蟽蟿慰 蔚蟺喂谓慰畏渭苇谓慰 谓畏蟽委 桅蟻伪尉蠈蟼 (尾蟻委蟽魏蔚蟿伪喂 蟽蟿畏谓 螒谓伪蟿慰位喂魏萎 螤蔚位慰蟺蠈谓谓畏蟽慰, 魏慰谓蟿维 蟽蟿喂蟼 危蟺苇蟿蟽蔚蟼), 纬喂伪 谓伪 未喂未维尉蔚喂 苇谓伪谓 蠂蟻蠈谓慰 蟽蔚 苇谓伪 蟽蠂慰位蔚委慰 蟿畏蟼 蠀蠄畏位萎蟼 魏慰喂谓蠅谓委伪蟼. 螘魏蔚委 胃伪 苇蟻胃蔚喂 蟽蔚 蔚蟺伪蠁萎 渭蔚 渭喂伪 伪喂谓喂纬渭伪蟿喂魏萎 蠁喂纬慰蠉蟻伪, 苇谓伪 魏蟻维渭伪 未伪喂渭蠈谓喂慰蠀 魏慰蟽渭慰蟺慰位委蟿畏 魏伪喂 未喂伪谓慰慰蠉渭蔚谓慰蠀. 螝伪喂 蔚魏蔚委 尉蔚魏喂谓维蔚喂 苇谓伪 蟺伪蟻维尉蔚谓慰 蟺伪喂蠂谓委未喂 蟺伪蟻伪蟺位维谓畏蟽畏蟼, 魏伪蟿伪尾蠉胃喂蟽畏蟼 蟽蔚 蠁喂位慰蟽慰蠁喂魏苇蟼 魏伪喂 蠄蠀蠂慰位慰纬喂魏苇蟼 蟽蠁伪委蟻蔚蟼. 螛伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蔚谓蟿伪蠂胃蔚委 伪未蟻维 蟽蔚 尾喂尾位委伪 蠈蟺慰蠀 慰 蠂伪蟻伪魏蟿萎蟻伪蟼, 渭苇蟽伪 伪蟺蠈 渭喂伪 苇谓蟿慰谓畏 蟽蠂苇蟽畏 纬谓蠅蟻委味蔚喂 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 蟺慰蠀 蠅蟻喂渭维味蔚喂. 螒位位维 魏伪喂 蟺维位喂 伪蠀蟿蠈 未蔚谓 蟺蔚蟻喂纬蟻维蠁蔚喂 喂魏伪谓慰蟺慰喂畏蟿喂魏维 蟿慰 胃蟻委位蔚蟻 蟺慰蠀 尾喂蠋谓蔚喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼, 渭伪味委 渭蔚 蟿慰谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎, 魏伪胃蠋蟼 蠈蟽慰 蟺蟻慰蟽蟺伪胃蔚委 谓伪 尾蟻蔚喂 伪蟺伪谓蟿萎蟽蔚喂蟼 纬喂伪 伪蠀蟿蠈 蟺慰蠀 味蔚喂, 渭蟺位苇魏蔚蟿伪喂 慰位慰苇谓伪 魏伪喂 蟺喂慰 尾伪胃喂维 蟽蟿慰谓 喂蟽蟿蠈 蟺慰蠀 蔚尉蠀蠁伪委谓蔚蟿伪喂 伪蟺蠈 蟿喂蟼 伪喂谓喂纬渭伪蟿喂魏苇蟼 蠁喂纬慰蠉蟻蔚蟼 蟺慰蠀 苇蠂慰蠀谓 蟺维蟻蔚喂 渭苇蟻慰蟼 蟽蔚 伪蠀蟿蠈 蟿慰 蟺伪蟻伪渭蠉胃喂. 韦委 蔚委谓伪喂 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟿喂 蠄苇渭伪;
螣 伪谓伪纬谓蠋蟽蟿畏蟼 胃伪 渭蟺蔚蟻未蔚蠀蟿蔚委. 螠伪 胃伪 蟿慰 伪蟺慰位伪蠉蟽蔚喂 渭蔚 渭喂伪 渭伪味慰蠂喂蟽蟿喂魏萎 位伪蠂蟿维蟻伪. 螕喂伪蟿委 慰 桅维慰蠀位蟼 纬蟻维蠁蔚喂 蔚尉伪喂蟻蔚蟿喂魏维. 螘胃喂蟽蟿喂魏维 魏伪位维. 螠蔚 蠂喂慰蠉渭慰蟻 魏伪喂 蔚尉伪喂蟻蔚蟿喂魏萎 未喂蔚喂蟽未蠀蟿喂魏蠈蟿畏蟿伪 蟽蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 渭蔚 魏蠀谓喂蟽渭蠈 伪位位维 魏伪喂 蔚蠀伪喂蟽胃畏蟽委伪. 韦慰 尾喂尾位委慰 尾蟻委胃蔚喂 喂未蔚蠋谓, 喂蟽蟿慰蟻喂魏蠋谓 伪谓伪蠁慰蟻蠋谓. 螚 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟿伪蟻维味蔚蟿伪喂 伪蟺蠈 蟿畏谓 蔚喂蟽尾慰位萎 蟿慰蠀 渭蠉胃慰蠀, 魏伪喂 蟿慰 魏伪胃畏渭蔚蟻喂谓蠈, 蟿慰 蠂蔚喂蟻慰蟺喂伪蟽蟿蠈 蟺伪蟿维蟽蟽蔚蟿伪喂 伪蟺蠈 蟿畏谓 纬慰畏蟿蔚委伪 蟿慰蠀 维蟺喂伪蟽蟿慰蠀 魏伪喂 蠂喂渭伪喂蟻喂魏慰蠉. 螘委谓伪喂 苇谓伪蟼 蟺位慰蠉蟿慰蟼, 苇谓伪 蟺蠀蟻慰蟿苇蠂谓畏渭伪 蟺慰蠀 蟽魏维蔚喂 魏伪喂 蟿慰 渭蔚蟿蔚委魏伪蟽渭维 蟿慰蠀 伪蟺慰蟿蠀蟺蠋谓蔚蟿伪喂 苇谓蟿慰谓伪. 螉蟽蠅蟼 蠀蟺维蟻蠂蔚喂 魏维蟿喂 蟿慰 慰蟺慰委慰 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 伪谓伪蠂伪喂蟿委蟽蔚喂 蟿慰谓 蔚谓胃慰蠀蟽喂伪蟽渭蠈 渭慰蠀: 蟽蟿伪 渭喂蟽维 蟿慰蠀 尾喂尾位委慰蠀 慰喂 伪谓伪蟿蟻慰蟺苇蟼 伪蟺慰魏蟿慰蠉谓 渭喂伪 蟿苇蟿慰喂伪 蟽蠀蠂谓蠈蟿畏蟿伪, 蟺慰蠀 渭蔚 魏维胃蔚 纬蠉蟻喂蟽渭伪 蟿畏蟼 蟽蔚位委未伪蟼 苇谓喂蠅胃伪 蟺蠅蟼 蔚委蠂伪 蠁维蔚喂 渭喂伪 蟽蠁伪位喂维蟻伪. 螝伪喂 魏维蟺慰蠀 蠁维谓蟿伪味蔚 蟽伪谓 苇谓伪 蟿苇蠂谓伪蟽渭伪 纬喂伪 谓伪 纬蔚渭委蟽蔚喂 慰 桅维慰蠀位蟼 苇谓伪 萎未畏 蟿蔚蟻维蟽蟿喂慰 尾喂尾位委慰. 螘蟺喂蟺位苇慰谓, 蟽蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟺慰蠀 伪蟺慰味畏蟿慰蠉谓 伪蟺伪谓蟿萎蟽蔚喂蟼 慰位慰魏位畏蟻蠅蟿喂魏苇蟼: 蟿慰 尾喂尾位委慰 未蔚谓 蟿喂蟼 未委谓蔚喂. 螇 未蔚谓 蟿喂蟼 未委谓蔚喂 蟽蟿慰 蟺喂维蟿慰. 螡慰渭委味蠅 魏维蟿喂 蟿苇蟿慰喂慰 胃伪 萎蟿伪谓 蔚谓维谓蟿喂伪 蟽蟿慰谓 未伪喂未伪位蠋未畏 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀. 螤位畏蟽喂维味蔚喂蟼 蟿慰 蠁蠅蟼, 伪位位维 未蔚谓 尉苇蟻蔚喂蟼 伪谓 尾蟻萎魏蔚蟼 蟿畏谓 蟽蠅蟽蟿萎 苇尉慰未慰.
韦蔚位喂魏维 伪尉委味蔚喂; 螕喂伪 蟿畏谓 蔚尉伪喂蟻蔚蟿喂魏萎 纬蟻伪蠁萎 蟿慰蠀, 蟿畏谓 蟻慰萎 蟿慰蠀 魏伪喂 蟿慰谓 蟺位慰蠉蟿慰 纬谓蠋蟽蔚蠅谓 魏伪喂 喂未蔚蠋谓 蟺慰蠀 未喂伪魏伪蟿苇蠂慰蠀谓 蟿慰 尾喂尾位委慰 魏伪喂 蟺慰蠀 蟿蠈蟽慰 渭伪蔚蟽蟿蟻喂魏维 蠂蔚喂蟻委味蔚蟿伪喂 慰 桅维慰蠀位蟼, 魏伪喂 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 纬喂伪 蟿畏谓 蟺蟻蠅蟿蠈蟿蠀蟺畏 喂未苇伪 魏伪喂 蟿慰 蟿蠈蟽慰 渭慰谓蟿苇蟻谓慰 蟿蟻蠈蟺慰蠀 蟺慰蠀 蟿慰 苇蠂蔚喂 纬蟻维蠄蔚喂, 位苇蠅 谓伪喂. 螒谓蟿伪蟺蔚尉苇蟻蠂蔚蟿伪喂 蟽蟿畏 蠁萎渭畏 蟿慰蠀, 魏伪喂 未蔚魏伪蔚蟿委蔚蟼 渭蔚蟿维, 蠈蠂喂 渭蠈谓慰 蔚委谓伪喂 苇谓伪 伪蟺慰位伪蠀蟽蟿喂魏蠈 尾喂尾位委慰 伪位位维 魏伪喂 苇谓伪 蟺蟻蠅蟿蠈蟿蠀蟺慰, 蟺位慰蠉蟽喂慰 尾喂尾位委慰 蟺慰蠀 魏维谓蔚喂 蟿畏谓 蟺位蔚喂慰蠄畏蠁委伪 伪蠀蟿蠋谓 蟿蠅谓 5 鈥� 10 尾喂尾位委蠅谓 蟺慰蠀 蟺蟻慰尾维位位慰谓蟿伪喂 伪蟺蠈 蟿慰蠀蟼 位慰纬慰蟿蔚蠂谓喂魏慰蠉蟼 魏蠉魏位慰蠀蟼 魏维胃蔚 蠂蟻蠈谓慰, 谓伪 蠁伪谓蟿维味慰蠀谓 位委纬伪, 未喂蔚魏蟺蔚蟻伪喂蠅蟿喂魏维. 螤蟻苇蟺蔚喂 谓伪 蟺维蟻蔚喂 5 伪蟽蟿蔚蟻维魏喂伪. 螒蟺蠈 蔚魏蔚委谓伪 蟿伪 5, 蟿伪 未蠀谓伪蟿维, 蟺慰蠀 位维渭蟺慰蠀谓, 蠈蟺蠅蟼 位维渭蟺蔚喂 魏伪喂 蟿慰 委未喂慰 蟺伪蟻苇伪 蟺喂伪 渭蔚 蟿伪 位委纬伪, 蔚魏蔚委谓伪 尾喂尾位委伪 纬喂伪 蟿伪 慰蟺慰委伪 胃伪 渭喂位维蠅 纬喂伪 蟺维谓蟿伪.
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