Kate艡ina Tu膷kov谩 (nar. 1980) vystudovala d臎jiny um臎n铆 a bohemistiku na FF MU v Brn臎, v sou膷asn茅 dob臎 pracuje jako kur谩torka. Debutovala novelou Montespani谩da (2006), v roce 2009 vydala rom谩n Vyhn谩n铆 Gerty Schnirch, za kter媒 obdr啪ela cenu Magnesia Litera 2010 鈥� Kni啪n铆 klub Cena 膷ten谩艡暖 a byla nominov谩na na Cenu Josefa 艩kvoreck茅ho, Magnesii Literu za pr贸zu a Cenu Ji艡铆ho Ortena. Je autorkou n臎kolika odborn媒ch publikac铆 z oblasti 膷esk茅ho v媒tvarn茅ho um臎n铆, na pomez铆 historie a kr谩sn茅 literatury se pohybuje beletrizovan媒 啪ivotopis M暖j otec Kamil Lhot谩k (2008).
Madre m铆a este libro es super extra帽o. Hay cosas que me han encantado y otras con las que no he conectado para nada... Yo pensaba que conocer铆amos la vida de varias diosas de los C谩rpatos Blancos (curanderas, herboristas... 隆brujas!), pero en realidad vamos a seguir la investigaci贸n de Dora, la 煤ltima de la estirpe (y que no ha heredado sus poderes ni ejercido como diosa) sobre el pasado de su t铆a. El libro, que est谩 escrito de una manera muy amena y directa es verdad que choca frontalmente con la cantidad de informes que la propia Dora va encontrando y que ahondan en la figura de las diosas. Estas partes, especialmente al principio, llegaron a hac茅rseme un poco pesadas, pero r谩pidamente la historia vuelve a coger ritmo. El tema es que es un libro que va de maldiciones, investigaciones y oscuros giros del destino, mientras que yo me esperaba costumbrismo y folklore. Hay algo de esto, pero no mucho. Como digo, lo principal son las pesquisas de Dora y c贸mo va descubriendo el pasado de su propia familia que se ve enredada en las investigaciones tanto de nazis como de los comunistas. En general es un libro que me ha gustado y especialmente me ha sorprendido mucho, porque para nada esperaba que fuera a tomar los derroteros que tom贸... pero al mismo tiempo es tan tr谩gico todo en 茅l que me result贸 un "poco DEMASIADO" para mi gusto. A煤n as铆, una lectura original y sorprendente que creo que voy a estar una buena temporada rumiando, lo cual es m谩s que positivo.
Je to teprve p谩r t媒dn暖, co jsem se dozv臎d臎l, 啪e maj铆 vyj铆t 沤铆tkovsk茅 bohyn臎 鈥� kniha mlad茅 (jen o p暖l roku star拧铆 ne啪 jsem j谩!) autorky Katky Tu膷kov茅. Kdysi jsem 膷etl jej铆 Vyhn谩n铆 Gerty Schnirch, ale nedo膷etl a v暖bec si u啪 nepamatuju pro膷 鈥� pro膷 na mne ta kniha neud臎lala 啪谩dn媒 dojem. Kdy啪 jsem dostal Bohyn臎 do ruky, povzdechl jsem si. P艡es 膷ty艡i sta stran. Ale pustil jsem se do 膷ten铆 鈥� a doufal jsem, 啪e to p艡e啪iju ve zdrav铆.
Prvn铆ch p谩r str谩nek jsem si moc neu啪铆val. Vlastn臎 m臎 to ani nebavilo. Mo啪n谩 jsem to 膷etl ve 拧patnou dobu, mo啪n谩 jsem m臎l my拧lenky v m铆st臎, kter茅 膷ten铆 neprosp铆valo. Myslel jsem na lidi, kte艡铆 odch谩zej铆 z m茅ho 啪ivota, byl jsem smutn媒 za mou milovanou tetu, kter谩 um铆rala v nemocnici 鈥� prost臎 my拧lenek, kter茅 膷ten铆 nepom谩haly, bylo a啪 moc.
Pak se ale p艡铆b臎h rozb臎hl, stejn臎 jako Dora z p艡铆b臎hu b臎hala po kopanick媒ch str谩n铆ch. Rozb臎hl se rychle a svou intenzitou, p暖vabem a zaj铆mavost铆 probudil m暖j 膷ten谩艡sk媒 z谩jem. Za膷al jsem hltat rozpl茅taj铆c铆 se klubko osud暖 啪铆tkovsk媒ch l茅膷itelek a v臎dem, kter茅 se pro jejich 鈥渂ohov谩n铆鈥� 艡铆kalo 鈥溑矫璽kovsk茅 bohyn臎鈥�. Ani jsem si neuv臎domil, kolik je hodin, sed臎l jsem v kav谩rn臎 nad capuccinem, kter茅 se d谩vno nedalo p铆t, ale j谩 膷etl a 膷etl.
Autorka 鈥� Kate艡ina Tu膷kov谩 鈥� n臎kolik let pracovala na tom, aby rom谩nu dala siln媒 faktografick媒 z谩klad. Studovala zdroje a rozjela se do m铆st, kde se p艡铆b臎h odehr谩val a kde dodnes 啪ij铆 lid茅, kte艡铆 啪铆tkovsk茅 bohyn臎 pamatuj铆. Sb铆rala p艡铆b臎hy a nas谩vala atmosf茅ru 鈥� a vytvo艡ila rom谩n, kter媒 je stejn臎 tak obrovsk媒, jako je n臎啪n媒. Obrovsk媒 ve v媒znamu, kter媒 m谩: p铆拧e o vym艡el茅 tradici, kter谩 se stovky let p艡ed谩vala z matek na dcery, aby ve druh茅 polovin臎 20. stolet铆 do膷ista zem艡ela. P铆拧e o tom, jak se na bohyn臎 v minulosti po艡谩da
ly 鈥渉ony na 膷arod臎jnice鈥� 鈥� 膷ast臎ji motivovan铆 sp铆拧e osobn铆mi d暖vody, ne啪 ideologi铆 a v铆rou. A n臎啪n媒 je rom谩n t铆m, jak vykresluje sv茅 啪ensk茅 hrdinky 鈥� jako 啪eny siln茅 i k艡ehk茅 z谩rove艌. Paradoxn臎 pro m臎 nebyla nejzaj铆mav臎j拧铆 postavou bohyn臎 Surmena, kolem kter茅 se to cel茅 mot谩, ale vyprav臎膷ka Dora a jej铆 osobn铆 tajemstv铆, jej铆 osobn铆 啪ivot. Objevuje sv茅 pouto k d谩vn茅 tradici, navzdory tomu, 啪e se v n铆 rozhodla nepokra膷ovat a vlastn臎 tak st谩la u konce kopanick茅ho bohov谩n铆.
Psal jsem o tom, 啪e kniha m谩 siln媒 faktografick媒 z谩klad. T臎ch teoretick媒ch pas谩啪铆 tam je hodn臎 鈥� hlavn臎 se mi zd谩lo, 啪e p艡edev拧铆m na za膷谩tku druh茅 poloviny p艡eb铆raj铆 vl谩du nad p艡铆b臎hem. T茅ma je zaj铆mav茅 a tak v谩s nudit nebude, ale kdo je la膷n媒 po p艡铆b臎hu, mus铆 si od n臎j na chv铆li odpo膷inout. Tato 鈥渁kademi膷nost鈥�, jak se to d谩 nazvat, je akor谩t tak na hranici, aby p艡铆b臎hu nep艡ek谩啪ela.
Je ale pot艡eba, aby v t茅to recenzi zazn臎la siln谩 slova. U啪 n臎kolik let jsem se nesetkal s 膷eskou knihou, kter谩 by na mne zap暖sobila tak siln臎, jako 沤铆tkovsk茅 bohyn臎 Kate艡iny Tu膷kov茅. Jejich atmosf茅ra se (ale to je d铆ky prost艡ed铆, ve kter茅m se odehr谩vaj铆) bl铆啪铆 knize 沤elary Kv臎ty Leg谩tov茅 a v臎艡te mi, 啪e v谩s pohlt铆 stejn臎 tak, jako m臎. Kate艡ina Tu膷kov谩 napsala obrovskou knihu 鈥� ne rozsahem a v媒znamem, ale silou sv茅ho p艡铆b臎hu. Vyn谩拧铆 na sv臎tlo Bo啪铆 postupn臎 zapom铆nan媒 folklor, umrtv臎lou tradici, kter谩 sama o sob臎 m暖啪e b媒t dost siln谩 na rom谩n. Kdy啪 k tomu p艡id谩me dal拧铆 prvky p艡铆b臎hu, m谩me p艡ed sebou jednu z nejlep拧铆ch knih, kter谩 u n谩s vy拧la za posledn铆ch n臎kolik let. Kate艡ina Tu膷kov谩 je mlad谩 autorka, ale napsala obrovsk媒 rom谩n hodn媒 velk媒ch jmen d臎jin 膷esko-slovensk茅 literatury.
Whoo, boy. LOTS of stuff going on in my brain about The Last Goddess; had to sleep on it before attempting to put pen to paper, so to speak.
First of all, this was a _very_ grim book. The thought that is stuck in my mind is, "Man's inhumanity to man." (Man being non-gender specific, in this instance.)
Second, it was a very interesting and well-written book.....for the most part. Somewhere toward the end things got somewhat convoluted-y (a pet peeve), so much so that I went back and reread the last few chapters again this morning to make sure I wasn't mis-remembering things. Nope. Kate艡ina Tu膷kov谩 didn't present things in as straightforward a manner as she had in previous sections of the book. So, I was left wondering about why certain people had it out for certain of the goddesses; what all really was going on with those Third Reichers; who murdered a primary character and why; and what the family lineage of the last researcher really was.
I dunno, maybe if I could have read this in Czech it would have made more sense? Or, maybe it wasn't all supposed to make sense, because of the mind games the State Police played on people, and because of the mysteries inherent in the universe?
I went looking for reviews that might help me understand more, but couldn't find any. In English, at least. Help me out if you can!
PS Got this as my "free" Amazon Kindle read for April yesterday. This is going to sound weird [even for me], but I decided to go ahead and read it insteading of continuing on with my Swedish police procedural binge because somebody in the neighborhood was pressure washing their driveway and the noise was SO MADDENING that I didn't think I would be able to focus on a hard copy book. Also, I've read some pretty lame free Kindle books over the past years, so didn't have high expectations for The Last Goddess. Figured hey, I'll start this, go back and forth between it and social media and word games, won't get my feelings hurt if it's weak sauce and I want to walk away from it.
Well, it was most definitely _not_ weak sauce. In fact, were it not for my issues with those final chapters, I would've given it 4 stars.
PPS I would not recommend this book to anyone who is not already interested both in the ancient traditions of female healers _and_ in what life was like in a Soviet Socialist Republic satellite country. I am, so it was right up my proverbial alley.
I bought this book as I thought it'd be about the White Carpathians and herbalism. It's.. well.. not really at all. However, it had me hooked from the start till the end. It's a strange book, I've never read anything like it. On one hand, it's very history and research based for a novel, which makes it really believable and old-lady-talk based and set in very calming environments which makes it rather comforting; on the other hand it covers topics such as dark magic, murders and persecutions and keeps you on the edge of your seat. The author sews these conflicting threads together and into an original, perfectly balanced, interesting tapestry that gives you a feeling not dissimilar to that you might get when walking through a forest at night - surreally real, soothing, exciting and a bit scary. A treat.
Dora Idesov谩 posljednja je od boginja sa 沤铆tkove i ovo je njezina pri膷a. Govori se da u tim osamljenim selima na obroncima 拧ume Bijelih Karpata 啪ive 啪ene koje su uspjele sa膷uvati drevna znanja 拧to smo ih mi ostali zaboravili te da ih prenose s koljena na koljeno usprkos re啪imima i vojskama, mr啪nji i strahu, povijesti. Zovu ih boginjama jer poznaju na膷in da se obrate Bogu i zamole ga za pomo膰. Dora je znanstvenica i budu膰nost ne 啪eli 膷itati iz kapi voska, kako to 膷ini njezina tetka Surmena, ali 啪eli znati pro拧lost svoje obitelji, a mo啪da i svoju budu膰nost鈥�
Il fascino di questa storia, annunciato dal titolo e dalla copertina di Keller, colpisce a effetto ritardato. Un mondo scomparso, che a lungo 猫 sopravvissuto accanto a quello 鈥渘ormale鈥� e per un po鈥� anche a dispetto di un regime che non favoriva certo fede e credenze popolari. Le dee erano guaritrici, conoscevano l鈥檃nimo umano e cercavano di aggredire la causa interiore del male, non solo i sintomi. Il loro dono si trasmetteva da madre a figlia. Il loro ultimo domicilio conosciuto era un villaggio nei Carpazi, un olimpo contadino in cui affluivano persone da diverse parti del paese. Dora, ultima discendente di una famiglia di dee, cerca di ricostruirne la storia risalendo ai tempi della caccia alla streghe. I livelli stilistici del racconto sono diversi: documenti, ricerche storiche e ricordi si alternano e si intrecciano in una ricerca etnografica dietro cui si cela la necessit脿 di recuperare la propria identit脿, negata e fraintesa.
Quelle Lolly Willowes vibes in un romanzo che dietro ha sicuramente un lavoro allucinante. Il bello di L'eredit脿 delle dee non 猫 solo che parla di streghe, miti, che crea praticamente un giallo (praticamente un thriller a un certo punto) perfetto e funzionante, ma 猫 che non tralascia nemmeno una briciola di tutta la struttura mitologica, il folklore e i rituali che stanno dietro alle bohyne. 脠 un romanzo squisitamente (avverbio non lanciato per caso) complesso e grazie Kate艡ina Tu膷kov谩 per aver reso giustizia, profondit脿 e un contesto ben costruito alle streghe.
Ke kn铆啪ce m臎 p艡ivedla sp铆拧e zv臎davost a doporu膷en铆, kter谩 jsem sl媒chala ze v拧ech stran. P艡ed t铆m jsem od Kate艡iny Tu膷kov茅 nic ne膷etla, tak啪e jsem absolutn臎 netu拧ila, s 膷铆m se budu pot媒kat. Nebudu 艡铆kat, 啪e m臎 kniha chytla hned od prvn铆 strany. Chv铆li to trvalo, ne啪 jsem se do p艡铆b臎hu dostala, ale zhruba po pades谩ti stran谩ch jsem u啪 byla natolik vta啪en谩 s takovou intenzitou, kterou jsem zpo膷谩tku opravdu ne膷ekala.
Popis b谩d谩n铆 v archivech a pro膷铆t谩n铆 si stroh媒m 煤艡ednick媒m jazykem psan茅 zpr谩vy StB, kter茅 ni膷ily 啪ivoty mnoha lidem, byl stejn臎 siln媒 z谩啪itek jako rozpl茅t谩n铆 osudu 啪itkovsk媒ch "bohy艌" samotnou Dorou. Neuv臎艡iteln臎 pevn臎 vybudovan茅 faktografick茅 z谩zem铆 rom谩nu dod谩v谩 naprosto 啪ivouc铆 s铆lu, kter谩 mnohdy d臎s铆 t铆m sp铆拧, 啪e skute膷n臎 vych谩z铆 z re谩ln媒ch p艡铆b臎h暖 a hranice mezi fikc铆 a historickou zku拧enost铆 se 膷asto prol铆naj铆 a st铆raj铆.
沤铆tkovsk茅 bohyn臎 jsou siln媒m 膷ten铆m z n臎kolika d暖vod暖. Jednak proto, 啪e odhaluj铆 膷谩st lidov茅 kultury, o kter茅 nem谩 v臎t拧ina lid铆 ani pon臎t铆, d谩le se po sv茅m vypo艡谩d谩v谩 s minulost铆 a p艡edev拧铆m odhaluje lidskou kluzkost, kterou demonstruje na dona拧e膷铆ch, kte艡铆 neomyln臎 proplouvaj铆 re啪imem (膷i sp铆拧e re啪imy) a m臎n铆 strany podle toho, jak je to zrovna v媒hodn茅. Lidsk谩 zloba, z谩vist a nep艡ej铆cnost pat艡铆 mezi hlavn铆 hybatele tohoto p艡铆b臎hu, ale sv茅 m铆sto tady m谩 i l谩ska, laskavost a touha ochra艌ovat sv茅 bl铆zk茅.
沤铆tkovsk茅 bohyn臎 jsou pro m臎 jednou z nejv媒razn臎j拧铆ch knih, kter茅 jsem letos p艡e膷etla a rozhodn臎 u啪 z暖stanou na p艡edn铆ch m铆stech v m茅m 啪eb艡铆膷ku. Jako dal拧铆 plus v nich vid铆m to, 啪e se vyplat铆 d暖v臎艡ovat 膷esk媒m autor暖m. V podstat臎 novodobou 膷eskou literaturu v暖bec nesleduji a za膷铆n谩m m铆t pocit, 啪e p艡ich谩z铆m o skv臎l茅 z谩啪itky.
DNF at 13%. I got sick of trying to piece together the plot by reading government reports. A few were fine (especially as a way for the reader to discover things alongside the main character), but it became interminable; when I realized I was mentally flinching every time I saw one on the page, I remembered that life is too short to read crummy books. It鈥檚 a shame, as the plot summary sounds right up my alley. Alas!
To jedna z najlepszych ksi膮偶ek, jakie kiedykolwiek przeczyta艂am. Poruszaj膮ca, g艂臋boka, szczera i zaskakuj膮ca. Powie艣膰, kt贸ra zaprasza w podr贸偶 wg艂膮b siebie i w Bia艂e Karpaty, kt贸ra wymaga po艣wi臋cenia uwagi i gotowo艣ci na powolne odkrywanie kolejnych warstw tej historii.
W centrum opowie艣ci stoi Dora Idesov谩 - ostatnia potomkini bogi艅, czyli kobiet, kt贸re zna艂y si臋 na zio艂ach, potrafi艂y leczy膰, przepowiada膰 przysz艂o艣膰 i kierowa膰 pogod膮. Jednym s艂owem zna艂y si臋 na bogowaniu. Dora straci艂a bardzo wcze艣nie matk臋, a opiek膮 nad ni膮 i jej bratem przej臋艂a ciotka - bogini Surmenova. Dziewczyna jednak nie zosta艂a bogini膮, napisa艂a za to poprawn膮 ideologicznie prac臋 magistersk膮 o tym fenomenie. Temat ten jednak nadal j膮 g艂臋boko porusza i po upadku komunizmu i otwarciu archiw贸w zaczyna prowadzi膰 szeroko zakrojone badania, docieraj膮c do najstarszych dokument贸w dotycz膮cych bogi艅 oraz do akt s艂u偶b bezpiecze艅stwa, kt贸re na inwigilacj臋 powy偶szych k艂ad艂y szczeg贸lny nacisk. Prowadz膮c kwerend臋 oraz rozmawiaj膮c z najstarszymi mieszkankami, Dora odkrywa tak偶e prawd臋 o sobie - o swoim dziedzictwie, o kl膮twie i nieszcz臋艣liwych zbiegach okoliczno艣ci, kt贸re znacz膮co wp艂yn臋艂y na jej los.
Ta prawda zmusza kobiet臋 do pracy nad sob膮, do odnalezienia swojego przeznaczenia, zdecydowania czy jest potomkini膮 bogi艅, czy jej zadaniem jest zachowanie pami臋ci o nich. Czeka j膮 przepracowanie trudnego dzieci艅stwa - ojciec zamordowa艂 matk臋 i odsiaduje wieloletni膮 kar臋 wi臋zienia, a tak偶e opieka nad chorym na zesp贸艂 Aperta bratem i odszukanie w艂asnej seksualno艣ci. Te wszystkie problemy pojawiaj膮 si臋 mimochodem, w tle opowie艣ci o wielkich boginiach, s膮 jednak jej podsumowaniem, smutn膮 konkluzj膮. Ogrom temat贸w poruszonych przez autork臋 jest jednak tak wielki, 偶e jestem pewna, 偶e ka偶dego czytelnika mo偶e poruszy膰 inna kwestia - dzia艂ania SS czy czeskich s艂u偶b bezpiecze艅stwa, donosicielstwo, komunistyczne o艣rodki opieku艅cze, ludzka zawi艣膰, 偶ycie w odleg艂ych g贸rskich ost臋pach, tradycje, mit czarownicy itd.
Paskai膷iusi prie mieg膮 kaip ma啪as vaikas bijodavau u啪migti ir d啪iaugiausi, kad gyvenu mieste, nes kur nors kaime/gamtoj nei拧tver膷iau, viskas gird臈t懦si/vaident懦si, kamuot懦 ko拧marai arba nemiego膷iau i拧 viso.
Knyga ir baisi, ir nebaisi. T.y., visai suprantu tuos ir tas, kam pasirodys nuobodoka - vidutinio am啪iaus mokslinink臈 etnograf臈 tyrin臈ja savo kra拧to 啪iniuoni懦 - dievotoj懦 - tradicijas ir istorij膮, o i拧 ties懦 tai bando suprasti, kas atsitiko jos 拧eimai ir kod臈l. Istorija 拧okin臈ja 膷ia praeitin, 膷ia ateitin, 膷ia 寞 archyvus, 膷ia 寞 pasakojimus, 膷ia 寞 拧ios dienos mintis, ir pan. 沤od啪iu, neb奴tinai atrodys kaip ka啪kas i拧skirtinio.
I拧 kitos pus臈s, tai pasakojimas apie 寞tik臈jim膮 ir gali膮, pavyd膮 ir ker拧t膮, tradicij懦 saugojim膮 ir niekinim膮, 拧eimos paslaptis ir buvim膮 kitokia, ko nei pra拧ei, nei nori. Baisiausia, kad 膷ia ne fantasy ir ne maginis realizmas, knyga visi拧kai normalus romanas, ir b奴tent tod臈l tame normalume prasimu拧an膷ios sud臈tingos patirtys tikrai primena vaikyst臈s istorijas apie ka啪kuo keistus 啪mones ir vietas, kur geriau nel寞sti.
Opera che ricostruisce (romanzandola) la storia delle dee: guaritrici-indovine che hanno vissuto nell鈥檃rea de Carpazi bianchi tramandando il loro sapere nei secoli di madre in figlia. Col crollo del regime comunista la protagonista Dora (figlia 猫 nipote di dee, cresciuta con la zia Surmena, una dea potente e stimata) accede finalmente agli archivi per scoprire perch茅 la zia fu perseguitata durante il comunismo. Scoprir脿 cos矛 anche segreti di famiglia e non, il coinvolgimento del nazismo nelle vicende della zona e la fonte delle persecuzioni. Il romanzo 猫 stato piuttosto coinvolgente nella prima parte, nonostante il massiccio inserimento dei documenti d鈥檃rchivio (noiosissimi), ma proseguendo ho trovato tutto sempre pi霉 pretestuoso e 鈥渟gonfio鈥�. Il finale poi non l鈥檋o compreso, cosa voleva significare?
Uloga je knji啪evnosti, ponekad, dati glas uti拧anima, pravo obespravljenima, prostor izguranima ili marginaliziranima i uvjerljivom, u stvarnosti utemeljenom pri膷om ispuniti povijesne praznine. Kako bi ta uloga bila ostvarena, granice knji啪evnosti postaju proto膷nije i ona dopu拧ta ulazak drugim narativnim diskursima, progovara i njihovim glasom. No kako bi knji啪evnost ostala knji啪evnost nikada ne smije dopustiti da taj drugi glas prevlada i nadja膷a njenu melodioznost. Stapaju膰i se s drugim, knji啪evnost ne smije zaboraviti ono 拧to jest. Daju膰i glas drugima, ne smije uti拧ati svoj.
Pi拧u膰i o dru拧tvu okupljenom pod nazivom Sjena no膰i, u istoimenoj, drugoj knjizi All Souls trilogije, ameri膷ka knji啪evnica i povjesni膷arka Deborah Harkness nai拧la je na ime Matthewa Roydena, 膷lana dru拧tva 膷ije je postojanje povijest u potpunosti zanemarila. Ona mu je stoga, kao ispriku, udahnula 啪ivot postaviv拧i ga na sredi拧nje mjesto u svojoj pri膷i. Na jednak je na膷in, iste te 2012. godine u 膶e拧koj mlada knji啪evnica i povjesni膷arka umjetnosti Katerina Tu膷kova pri istra啪ivanju sudbina Boginja sa 沤itkove najve膰u pozornost posvetila iscrtavanju one koja zapravo i nije bila boginjom, Dori Idesovoj, posljednjoj pripadnici stare, poznate i vrlo mo膰ne loze 膷arobnica iz zaseoka na Bijelim Karpatima 膷ije su pretkinje proricale budu膰nost, uni拧tavale ili spa拧avale, ovisno o odabranoj strani. No vlastitu sudbinu, svom daru unato膷, nisu mogle predvidjeti i nadolaze膰e ih zlo, njihovim 膷inima toliko puta od drugih otjerano, nije zaobi拧lo.
膶ovjek ne mo啪e 啪ivjeti bez praznovjerja, ne ako je neznalica i kukavica, isti膷e Tu膷kova na jednom mjestu u romanu. Otkriva li time i razlog nemo膰i boginja spram ovladavanja vlastitom sudbinom? Je li i njima, kao i Dori, nedostajalo povjerenja u mo膰 bogovanja i je li nada doista ono klju膷no 拧to je vjeru njihovih sumje拧tana odr啪avalo sna啪nom, u pri膷i Boginja manje je bitno. Ona se usredoto膷uje na istra啪ivanje znanstvenice Dore Idesove, etnologinje zaposlene na Institutu za etnologiju i folkloristiku u Brnu, odlu膷ne u namjeri da tradiciji 拧to ju je ve膰 dvaput izdala, jednom je odbaciv拧i kao ideju i drugi je put pretvoriv拧i u suhoparan, posve nezanimljiv doprinos znanstvenom narativu, pri tre膰em poku拧aju posveti zaslu啪enu pozornost i plodove svog istra啪ivanja preto膷i u knjigu 膷iji 膰e tekst biti vrijedan doprinos, kako znanstvenom, tako i mitolo拧kom aspektu prou膷avanja ove 啪enske religije. Staza do cilja, tro拧ne kolibe na Kopanicama, vodi Doru, a s njom i 膷itatelja, kroz stotine stranica arhivskog materijala raspore膽enog po 膷e拧kim i slova膷kim ba拧tinskim institucijama, vra膰a je u daleku pro拧lost i pru啪a pogled iz drugog ugla na doga膽aje iz one nedavne.
Sla啪u膰i komadi膰e slagalice 膷iji su glavni motiv boginje, Dora spaja krhotine vlastitog napuklog ja i otkriva mra膷ne, od nje dobro skrivene fragmente obiteljske povijesti, a autorica kroz te dvije pri膷e prikazuje svu surovost bivanja druga膷ijim u totalitarnim re啪imima kakvi su se, u nacisti膷kom i komunisti膷kom obli膷ju, izmjenjivali na grani膷nom 膷e拧ko-slova膷kom podru膷ju. Nije, zapravo, va啪no jesu li te 啪ene bile boginje, vje拧tice, 膷arobnice ili tek 啪ene bez za拧tite u 膷ijem je smjeru uperen pravi prst. Va啪no je bilo 拧to su se drznule, svojim malim, gotovo bezna膷ajnim subverzivnim djelovanjem na geografski vrlo sku膷enom teritoriju ogrije拧iti o dominantnu kulturu i time, na razli膷ite na膷ine izazvati gnjev prevladavaju膰ih.
Promatran kao etnografska studija zna膷ajnog dijela 膷e拧kog, pa i slavenskog folklora i kao kritika svakog totalitarnog re啪ima i svakog protupravnog oduzimanja slobode, bila ona sloboda kretanja, govora ili mi拧ljenja, ovaj je tekst va啪an doprinos ne samo 膷e拧koj nacionalnoj ve膰 i europskoj knji啪evnosti. No premda u sebi sadr啪i elemente mnogih knji啪evnih 啪anrova i isprepli膰e povijesno s trilerskim, politi膷kim i psiholo拧kim, nije uspio postati roman u svoj punini zna膷enja te rije膷i. Napisat 膰u roman, otkrila je Tu膷kova, prema vlastitim rije膷ima, jednoj od posljednjih pre啪ivjelih suvremenica boginja. To ne mora biti lo拧e, barem 膰e ljudi sve bolje razumjeti, odgovorila joj je Al啪beta Baglarova.
膶itatelji 膰e, mo啪da, po zavr拧etku povijesno-geografskog puta po podru膷ju negda拧nje Moravske, bolje poznavati u knjizi opisan element 膷e拧ke narodne tradicije. Pozorniji 膰e 膷itatelj i bolje razumjeti, ne samo doga膽aje u 膶e拧koj ve膰 i u ostalim zemljama jednakih ratnih i poratnih pri膷a. No te拧ko 膰e biti zajedno s Dorom pro啪ivjeti pri膷u boginja i stopiti se s tekstom. Dora je, istra啪uju膰i, 膷esto zapinjala na birokratskim zaprekama. Na isti je na膷in ovaj tekst zapeo u tunelu izme膽u znanstvene studije i romana. Praznine su, svakako, ispunjene, glasovima je dodijeljena boja, no namjesto melodije, stvaraju kakofoniju. A 膷itatelj? Ba拧 kao i, mjestimice, Dora me膽u policama arhiva, ostaje izgubljen u poku拧aju srastanja i upisivanja svog osobnog, nepripadaju膰eg i druga膷ijeg.
Ja "Jumavas" m膿r姆is bija p膿c iesp膿jas sare啪模墨t 拧墨s gr膩matas non膩k拧anu 墨st膩 las墨t膩ja rok膩s, tad v膩ka izv膿le ar teikumu par "sievietes dv膿seli un ma模iju" ir perfekta. T膩p膿c pateicos tikai laim墨gam gad墨jumam, ka izlas墨ju "Domuz墨m膿" rakstu par 膷ehu literat奴ras tulkojumu vilni un tad jau ar墨 atsauksmes par 拧o gr膩matu 拧eit pat GR.
Tie拧膩m laba gr膩mata par Mor膩vijas nost奴ra Karpatu "dieviet膿m", kuru darbo拧an膩s 拧姆iet visai l墨dz墨ga m奴su pa拧u Zil膩kalna Martai, uz sare啪模墨t膩 Austrumeiropas v膿stures fona, turkl膩t ar墨 pats gr膩matas si啪ets un forma, imit膿jot un da募膿ji ar墨 l墨dzinoties p膿t墨jumam, uzrakst墨ta saisto拧i un tulkota lab膩 latvie拧u valod膩. J膩atz墨st, ka bija gr奴ti nolikt mal膩.
Jazykov臎, tematicky a historicky za m臎 velmi poveden谩 kn铆啪ka, ale to jsem tak n臎jak 膷ekala. Co jsem ne膷ekala, bylo m臎nilc铆 se tempo. M谩m pocit, 啪e v臎t拧inu informac铆 jsem dostala v prvn铆 t艡etin臎, a pak jsme vlastn臎 moc nev臎d臎la, kam kniha sm臎艡uje, ne啪 jsem za dal拧铆 t艡etinu dostala tu jednu kl铆膷ovou informaci, pak zas chv铆li nic, a pak nastal urychlen媒 konec 馃槄 Vlastn臎 p艡em媒拧l铆m, jestli byspisy s trochu jin媒m zpracov谩n铆m nefungovaly samostatn臎, bez hlavn铆 hrdinky, kter谩 jimi listuje. Ka啪dop谩dn臎 jsem r谩da, 啪e jsem knihu 膷etla, a ur膷it臎 bych ji doporu膷ila d谩l. 4/5*
脷vodn铆 t艡etina knihy pro m臎 byla emocion谩ln铆 bombou, b臎hem 150 stran se Kate艡in臎 poda艡ilo m臎 hned dvakr谩t rozbre膷et. Proces se Surmenou a popis Jakoubka mi daly prost臎 zabrat. Pak bohu啪el nastala tro拧ku pomalej拧铆 druh谩 t艡etina, kter谩 je sice zaj铆mav谩 a oce艌uji, kolik autorka vlo啪ila do rukopisu p铆le, nicm茅n臎 s n谩bojem p艡edchoz铆 膷谩sti se ned谩 rovnat. Fini拧 knihy ov拧em op臎t nab铆r谩 sp谩d a taky docela ne膷ekan媒 sm臎r a 煤pln媒 z谩v臎r m臎 dostal do kolen. Poslouchala jsem audioknihu neskute膷n臎 skv臎le namluvenou moj铆 obl铆benkyn铆 Terezou Bebarovou, kter茅 sekundoval (taky skv臎l媒) Miroslav T谩borsk媒, a posledn铆 minuty jsem 煤pln臎 hltala. Posledn铆 kapitolu jsem si dokonce pustila dvakr谩t, proto啪e jsem nebyla schopn谩 uv臎艡it tomu, 啪e m臎 Tu膷kov谩 tak ut艡ela :D Zvukov谩 str谩nka je v暖bec v媒born谩 - krom臎 dvou p艡edn铆ch nar谩tor暖, se m暖啪ete t臎拧it na speci谩ln铆 efekty v p艡铆pad臎 膷ten铆 archivn铆ch spis暖 a dopis暖 a houslov茅 p艡ed臎ly jednotliv媒ch 膷谩st铆. Vynikaj铆c铆 z谩le啪itost! T臎拧铆m se na Gertu!
Je to sp铆拧 na 4,5 hv臎zdy, ale tady nev谩h谩m p艡iklonit se k p臎ti. Lidi tahle kniha bu膹to uchv谩t铆, nebo ji nebudou moci p艡ij铆t na jm茅no. Kniha toti啪 nen铆 p艡铆mo pro ka啪d茅ho, ale i tak si mysl铆m, 啪e dok谩啪e zaujmout docela velkou masu lid铆. Tu膷kov谩 p铆拧e skv臎le a v audiu s hlasem Terezy Bebarov茅 a Miroslava T谩borsk茅ho, to byl velk媒 z谩啪itek :)
After reading one Kate艡ina Tu膷kov谩, I decided to read another 馃槉 It was 'The Last Goddess'.
Dora is researching on her family's past. At the same time she is also researching on female healers from her hometown, who were traditionally persecuted as witches in previous centuries, but who were called 'goddesses' in her hometown. These two areas of research intertwine, of course 鈥� what is the fun otherwise 鈥� because we discover that Dora's aunt who brought her up, her mother who died when she was young, her grandmother and her female ancestors all formed a long line of 'goddesses', who were healers, who were persecuted. As Dora delves more into her family history, she discovers many secrets, some surprising and some unpleasant, and from the pages of her family's history there arises a mysterious character who seems to have played a major part in persecuting her family members. The identity of this person and the secrets that are revealed and the way Dora's family story intertwines with her country's history forms the rest of the book.
'The Last Goddess' is a very different book compared to 'Gerta' because it delves into female healers, witchcraft, witch trials. But it has one common thing with 'Gerta'. It brings to light a little known facet of Czech history. I was surprised that much of the book was based on facts, and the author has done her research well. That makes the book even more fascinating. The women characters in the book are all fascinating, even one of the characters who practises dark magic. The ending of the story was surprising and heartbreaking 鈥� I didn't see that coming.
I enjoyed reading 'The Last Goddess'. Kate艡ina Tu膷kov谩 has written one more novel in Czech. I hope it gets translated into English soon. I can't wait to read it.
I'll leave you with one of my favourite passages from the book.
"...the people of Kopanice held on to the notion that they were exceptional because they lived in an exceptional setting. Dora would have liked to begin here in the writing of her dissertation. But of course, it was nonsense to open an academic work with an essay on a mountainous landscape whose slopes were covered with forests of Carpathian beech and oak, their trunks too broad to put one鈥檚 arms around, where the hillsides were dotted with narrow tilled fields and squat little cottages and meadows that, in summer, were aglitter with rare orchids and anemones. An academic work cannot begin with a description of a fresh summer day in the mountains that gives way in a moment to winds and storms that swathe the ridges in dark, impenetrable clouds, nor with one of a hard winter when the hills are whipped with snowy gusts more reminiscent of Siberia than southern Moravia. The pages of such a work cannot describe the huge round moon and the shreds of night sky between the tips of the serried hills, nor can it observe that on a cloudless night, the hillside paths are seen almost as clearly as in daytime; that when at such a moment you stand on the crest of a hill at the threshold of your cottage, you might believe yourself in heaven, the whole world open beneath your feet; and that the lights of cottages scattered across the hillside opposite wink at you, as do those of Hrozenkov from a hollow between hills, like a babe in its cradle. Everyone knows of everyone else, regardless of the distance between them. They are alone, yet together. That would have been a proper beginning for her dissertation, showing how magical Kopanice in the White Carpathians was and that only in such a place could something as special as the goddesses originate and develop. In an academic work bound by strict rules in which aesthetics counted for naught, there was no place for it, however."
Have you read 'The Last Goddess'? What do you think about it?
沤铆tkovsk茅 bohyn臎 bola kniha z 膷eskej beletrie, ktor谩 ma pril谩kala n谩zvom a ohlasmi. Zaujala ma v拧ak menej, ako som som d煤fala. Tentokr谩t mi okrem in茅ho nesadla forma. Autorka zvolila rom谩n prepoji钮 s historick媒mi aj fikt铆vnymi dokumentmi v podobe 拧t煤di铆, 膷l谩nkov, spr谩v a pod. Aj ke膹 ma to zo za膷iatku bavilo, po prvej tretine som 煤plne str谩cala z谩ujem tieto dokumenty 膷铆ta钮. Naozaj som nemala v rom谩ne n谩ladu 膷铆ta钮 trojstranov媒 extrakt z diplomovky, ke膹 u啪 vlastn煤 diplomovku sa mi nechcelo 膷铆ta钮, aby som ju mohla po sebe opravi钮. Jazykom ma tie啪 autorka nezaujala, mo啪no som bola pres媒ten谩 tou preva啪uj煤cou literat煤rou faktu.
膸al拧ia vec, ktor谩 mi nesadla bola okrem formy aj obsah. Ak by mi niekto pr铆beh Boh媒艌 povedal, ur膷ite by som uznala, 啪e je to ve木mi zauj铆mav茅 a bolo by skvel茅 pre膷铆ta钮 si o tom knihu, no autorka inform谩cie tr煤sila a pod谩vala sp么sobom, v膹aka ktor茅mu som od toho chcela viac. Ako keby sme cel媒 膷as 膷akali na nejak茅 ve木k茅 odhalenie a tajomstvo, ktor茅 sa pod木a m艌a nakoniec ani nevyplatilo a mne sa nedo膷kalo zados钮u膷inenia. Posledn茅 kapitoly boli dokonca pomaly rekapitul谩cie zisten茅ho, 膷o z谩ujmu tie啪 neprospelo. K po膷udovaniu najlep拧ia kapitola zo v拧etk茅ho bol samotn媒 epil贸g, ktor媒 obsahoval v拧etko potrebn茅, 膷o sa 膷itate木 z tejto 450-stranovej knihy mohol dozvedie钮.
Aj ke膹 som bola dos钮 sklaman谩 v niektor媒ch oh木adoch, nebolo to pre m艌a a啪 tak茅 ve木k茅 utrpenie 膷铆ta钮. T茅ma ma rozhodne zaujala, no spracovanie a forma mne osobne nesadla, 膷o v拧ak neznamen谩, 啪e tento rom谩n nie je v媒nimo膷n媒. Ur膷ite odpor煤膷am v拧etk媒m, ktor铆 ju na poli膷ke 膷eskej beletrie neobjavili a zauj铆ma ich bylink谩rstvo, 钮a啪k媒 osud rodiny/gener谩cie 膷i dokonca aj dejiny 膶eskoslovenska.
Zanimljiv istorijski roman o specifi膷nom rukavcu istorije 膶e拧ke, ali bi se lako mogle na膰i i paralele sa Balkanom jer mi imamo mnogo sli膷nih 膰o拧kova u kojima se me拧aju prastari obi膷aji, narodna verovanja, praznoverje i vera, pa kad se ukrsti sa tokom doga膽aja iz "spoljnog sveta" sva拧ta je mogu膰e. Mnogo je zaista interesantne dokumentacije i拧膷itano i autorka se veoma potrudila da sve uklopi, me膽utim, vidi se da je u pitanju nevi膷an pisac jer su 拧avovi o拧tri izme膽u dokumenata i toga 拧to 啪eli da ka啪e, mnogo mnogo je podataka, imena, koja samo to ostaju, pa 膷ak i glavna junakinja je vo膽ena samo svojom sudbinom i svojim istra啪ivanjem - ni拧ta o njoj zapravo ne znamo kao o li膷nosti. Ipak, veoma mi je drago 拧to sam je pro膷itala i nije zalud utro拧eno vreme.
I classify "Zitkovsk茅 bohyne" by Katerina Tuckova (2012) with effort, because for msny reasons I liked it but at the same time I wasn't captured. I think at the bottom there's a not told which disturbed me and ruined my reading, because it is a novel, which should be less airy. It is defined as a thriller, but I disagree because there's an investigation, but it's more a search about her family, what they were than a search for a killer. On the other hand I was fascinated by the women of this book who are a mix of magic and medicine, but not enough for forgetting the obscure and patchy writing.
V poslednej dobe m谩m 拧钮astie na knihy, v ktor媒ch je 膷iasto膷nou t茅ma m谩gia. 沤itkovsk茅 bohyne spadaj煤 pr谩ve do tejto t茅my, kde sa hist贸ria prep谩ja s pr铆behmi fikt铆vnymi aj tak媒mi, ktor茅 s煤 zalo啪en茅 sa re谩lnych osob谩ch. Kniha m谩 ve木mi dobr煤 a svi啪n煤 formu, kde sa pr铆beh mie拧a so spr谩vami 艩TB. Vykreslenie hist贸rie rodiny a najm盲 jej 啪enskej l铆nie cez jedno storo膷ie m谩 v啪dy 膷o pon煤knu钮, lebo n谩m jednak ukazuje, 啪e v minulosti v么bec nebolo tak dobre, ako niektor铆 radi spom铆naj煤, ale tie啪 to, 啪e v spolo膷nosti a vo vz钮ahoch st谩le existuj煤 tie ist茅 stereotypy.
Valjda vredi po膷eti od naslovnih boginja 鈥� na啪alost u istoriji 膷esto omra啪ene 啪ene od znanja/啪ene od magije, kako ve膰 ide 膷ija interpretacija, ovde su fokus, i kroz istoriografski narativ pome拧an sa bildungsromanom p(r)ati se njihov polo啪aj u dru拧tvu kroz proto-klerofa拧izam, nacizam, i naposletku komunizam u 膶e拧koj. D葍 se o膷ekivati onda da 膰e tragedije biti na sve strane; na sre膰u, Tu膷kova mahom uspeva da ne skrene u tzv mizeri-porn (sve do pomalo naprasnog i bezveze kraja) i kroz jedan arhivski, gotovo dokumentarni narativ daje svojim subjektima rasko拧an li膷ni 啪ivot bez podila啪enju 膷itaocu preteranom ekspozicijom. Gde zasere me膽utim jeste osvrt na 鈥瀖agi膷an鈥� deo prethodno pomenutih boginja; roman po karakteristici nije magijski realizam, ve膰 poku拧ava da bude ekstremno posve膰en primarnim izvorima; kao takav, flert sa magijom mu ne prili膷i. Uz to, nacisti膷ka fascinacija onostranim kao veliki fokus drugog dela romana mi je bila mrvu odbojna, jerbo me uvek asocira na Vulfen拧tajn (svestan sam da je ovo moj problem). Sasvim solidan roman i prijatno 膷itanje, koliko to ve膰 duga istorija represije 啪enskog znanja mo啪e da bude. Osve拧膰en, pametan, i mrvicu nedozreo svojoj tematici.
Realno 2.5, a zbog odli膷ne ideje i autori膷inog truda oko istra啪ivanja pravih boginja sa 沤itkove ide ocjena vi拧e.
Radije bih pogledala dokumentarni film umjesto knjige - previ拧e dokumenata i izvje拧taja mi je ubilo radnju. Bez obzira 拧to je roman utemeljen na stvarnim doga膽ajima, radnja je fiktivna pa su me smetale neke isforsirane sudbine i 啪ivoti glavnih likova.
Netflix bi o tome napravio odli膷nu seriju (ili film); trebaju samo uvaliti unutra osobu druge boje ko啪e (koja ne膰e biti bijela), sve ostalo imaju u romanu.