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丕賱賲爻鬲亘毓丿賵賳
鬲卮毓賱 "廿賱賮乇賷丿賴 賷賱賷賳賰" 氐乇丕毓丕賸 丿乇丕賲賷丕賸 毓丕乇賲丕賸 亘賷賳 噩賷賱賷賳貙 噩賷賱 賷賳賮氐賱 亘毓賳賮 毓賳 噩賷賱 賯丿賷賲貙 賮鬲胤賱毓賳丕 毓賱賶 賰賷賮賷丞 馗賴賵乇 丕賱毓賳賮 賮賷 丕賱賳賲爻丕 賲賳匕 禺賲爻賷賳賷丕鬲 丕賱賯乇賳 丕賱毓卮乇賷賳貙 賵鬲氐賮賷 丨爻丕亘賴丕 賲毓 兀賵夭丕乇 賰丕乇孬丞 丕賱賳丕乇賷丞 賲賳 禺賱丕賱 鬲噩賱賷丕鬲 卮禺賵氐賴丕 丕賱賲爻鬲亘毓丿賷賳 賲賳 卮乇賷丨丞 鬲賱丕賲賷匕 丕賱賲丿丕乇爻貙 賵丕賱毓賲丕賱 丕賱賲丨賷胤賷賳 賵丕賱賲鬲卮乇夭賲賷賳貙 賵噩賲丕毓丕鬲 丕賱賮賯乇丕亍 丕賱賲賳爻丨賯丞貙 賵賴賷 鬲賳鬲賯賲 賲賳 兀丨丿 賮賱賵賱 丕賱賳馗丕賲 丕賱賳丕夭賷 丕亘鬲丿丕亍賸 賲賳 賵氐賮 鬲卮賵賴賴 丕賱噩爻丿賷 賵丕賱賳賮爻賷 賵賲乇賵乇丕賸 亘賵氐賮 乇賵丨賴 丕賱賮丕爻賯丞 賵丕賳鬲賴丕亍 亘賯鬲賱賴 賵丕賱鬲賲孬賷賱 亘噩孬丞 毓賱賶 賷丿 丕亘賳賴.
441 pages, Paperback
First published January 1, 1980
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About the author
Elfriede Jelinek
159听books1,028听followersElfriede Jelinek is an Austrian playwright and novelist, best known for her novel, The Piano Teacher.
She was awarded the Nobel Prize in Literature in 2004 for her "musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clich茅s and their subjugating power."
She was awarded the Nobel Prize in Literature in 2004 for her "musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clich茅s and their subjugating power."
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June 22, 2024
This is Jelinek, and she doesn't do wonderful, wonderful times. The times here are anything but wonderful. The war may have ended more than a decade ago, but Nazism still lurks; evil behaviour is ever present on the streets and behind the closed doors of Vienna, in what I found to be the most chilling, violent, misanthropic, nihilistic and perverse of her novels. The best too though, by a mile. Jelinek like a kick in guts that makes you want to vomit captures the dark side of Austrian society where a misogynistic cranky and crippled former SS-officer beats his wife and takes pornographic photos of her that he hides under his pistol, while their teenage children, Rainer; who gets a right hiding now and again too, and Anna; who is arguably worst than her brother - humiliating a boy through sex in a school bathroom, take out their frustrations on the general public with brutal attacks and wallet pinching. Without reason. Without feelings. Turning this into a violent foursome are the slightly older Hans; whose father died in a concentration camp, and the spoiled rich brat Sophie; who Rainer thinks is his girlfriend. What makes it even worse is that these youngers aren't dunces; they are intelligent, and absolutely have promising futures ahead of them. There is nothing nice about this novel at all. It's level of unpleasantness is off the chart. But then, there isn't meant to be anything pleasant about. The degraded characters are a product of the Austrian post-war era, where racial, xenophobic, and cruel violence never upped and left. Even the victims of the crimes come off as perpetrators too - including a guy on a tram who gropes one of the girls and encourages her to play with his prick through his trousers. The arrogant Rainer, who is obsessed with the likes of Camus and Sartre and sees himself as a great intellectual who is superior to everybody else, shocked, but didn't really surprise me, with a final blood-splattered act - and that's putting it lightly - that I won't ever be forgetting. For me, her most lyrically poetic novel - even in translation the use of language was so impressive - that both highlights the effect on the minds of youngsters that have abusive pushy over-bearing parents, and how fascist ideology was very much alive kicking in post-war Europe. Not for the faint of heart. Some may find some of it grimly funny, but not me. The kind of book that makes you want to scrub yourself down in the shower afterwards.
July 29, 2019
螒蠀蟿蠈 蟿慰 尾喂尾位委慰 伪蟺蔚蠀胃蠉谓蔚蟿伪喂 蟽蔚 蠈蟽慰蠀蟼 胃蔚蠅蟻慰蠉谓 蟺蠅蟼 畏 位慰纬慰蟿蔚蠂谓喂魏萎 蟺蠀魏谓蠈蟿畏蟿伪 蟿畏蟼 伪谓蔚位苇畏蟿畏蟼 伪位萎胃蔚喂伪蟼 魏伪喂 慰喂 慰蠀蟽喂蠋未蔚喂蟼 蟺伪蟻伪位慰纬喂蟽渭慰委 蟿畏蟼 苇谓谓慰渭畏蟼 蟺伪蟻伪谓慰渭委伪蟼 未畏渭喂慰蠀蟻纬慰蠉谓 蔚位蟺委未蔚蟼 蟺慰蠀 蔚尉畏纬慰蠉谓 蟿畏谓 伪蟺慰未喂慰蟻纬维谓蠅蟽畏 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 魏伪蟿维蟽蟿伪蟽畏蟼.
螤蠈蟽慰 伪蟺伪蟻维未蔚魏蟿伪 魏伪喂 伪蟺委蟽蟿蔚蠀蟿伪 渭伪味委 纬蟻维蠁蔚喂 畏 螕苇位喂谓蔚魏. 螤蠈蟽慰 伪谓畏蟽蠀蠂畏蟿喂魏维, 蟿蟻慰渭伪魏蟿喂魏维 魏伪喂 蔚尉蔚蠂蠈谓蟿蠅蟼 伪谓伪纬魏伪委伪 蟺蟻慰蟽伪蟻渭蠈味蔚喂 蠈位蔚蟼 蟿喂蟼 伪蟺蠅胃畏蟿喂魏苇蟼 魏伪喂 伪谓维位纬畏蟿蔚蟼 蟺蟻维尉蔚喂蟼 蟿慰蠀 魏蠈蟽渭慰蠀, 蠅蟼 蔚魏蠁蠀位喂蟽渭苇谓蔚蟼 蔚蟺喂蟺位慰魏苇蟼 蟿畏蟼 魏伪蟿维蟻纬畏蟽畏蟼 蟽蔚 魏维胃蔚 苇魏蠁伪谓蟽畏 蟿畏蟼, 蟿畏蟼 蟺蟻慰魏伪蟿维位畏蠄畏蟼, 蟿畏蟼 伪未喂伪位位伪尉委伪蟼, 蟿畏蟼 蔚魏未喂魏畏蟿喂魏萎蟼 伪蟺蔚位蔚蠀胃苇蟻蠅蟽畏蟼 蟿蠅谓 畏蟿蟿畏渭苇谓蠅谓 渭蔚 蟽蠀渭蟺蟿蠋渭伪蟿伪 伪蠀蟿慰魏伪蟿伪蟺委蔚蟽畏蟼 魏伪喂 蔚蠂胃蟻喂魏萎蟼 蠀蟺慰魏蟻喂蟽委伪蟼.
螞维蟿蟻蔚蠄伪 伪蠀蟿萎 蟿畏谓 蟻苇慰蠀蟽伪 纬蟻伪蠁萎 蠈蟺慰蠀 蟿伪 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂 未蔚谓 蟽蠀谓苇尾畏蟽伪谓 魏维蟺慰蟿蔚 蟽蟿畏谓 渭蔚蟿伪蟺慰位蔚渭喂魏萎 螒蠀蟽蟿蟻委伪, 蟽蠀渭尾伪委谓慰蠀谓 魏伪喂 蟽萎渭蔚蟻伪, 蟿蠋蟻伪.
螣喂 蟿苇蟽蟽蔚蟻喂蟼 苇蠁畏尾慰喂 蟺慰蠀 蟿蟻苇蠁慰谓蟿伪喂 伪蟺慰 蟿畏谓 蟺蔚蟺慰委胃畏蟽畏 蟿畏蟼 尾伪胃喂维蟼 伪蟺蔚位蟺喂蟽委伪蟼 蟿慰蠀蟼, 纬喂伪 苇谓伪谓 魏蠈蟽渭慰 蟺慰蠀 未蔚谓 纬委谓蔚蟿伪喂 谓伪 蟽蠀谓蔚蠂委蟽蔚喂 谓伪 蠀蟺维蟻蠂蔚喂 渭蔚蟿维 伪蟺慰 伪蠀蟿慰蠉蟼, 蔚委谓伪喂 慰喂 萎蟻蠅蔚蟼 渭伪蟼.
韦蟻伪纬喂魏慰委 魏伪喂 伪尉喂慰位维蟿蟻蔚蠀蟿慰喂.
螤伪喂未喂魏苇蟼 蠄蠀蠂慰蠉位蔚蟼 蟺慰蠀 慰喂 蟻委味蔚蟼 蟿慰蠀蟼 苇纬喂谓伪谓 渭蔚蟿伪蟺慰位蔚渭喂魏维 蟽蠀谓蟿蟻委渭渭喂伪.
螤伪蟻蠈位伪 伪蠀蟿维 未蔚谓 萎蟿伪谓 蠂伪渭苇谓慰喂 蟽蔚 苇谓伪谓 渭蔚蟿伪位位伪蟽蟽蠈渭蔚谓慰, 维纬蟻喂慰, 尾蟻蠈渭喂魏慰 魏蠈蟽渭慰.
螒蠁慰蠉 慰 魏蠈蟽渭慰蟼 萎蟿伪谓 魏位蔚喂蟽渭苇谓慰蟼 渭苇蟽伪 蟿慰蠀蟼,
渭苇蟽伪 蟿慰蠀蟼 尾伪胃喂维, 未委蠂蠅蟼 谓伪 渭蟺慰蟻蔚委 谓伪 蟿慰蠀蟼 纬蔚渭委蟽蔚喂 慰蠉蟿蔚 伪蟺慰 胃畏蟽伪蠀蟻慰蠉蟼 慰谓蔚委蟻蠅谓 纬喂伪 慰位慰魏位畏蟻蠅蟿喂魏萎 伪位位伪纬萎, 慰蠉蟿蔚 伪蟺慰 蠀蟺慰蟽蠂苇蟽蔚喂蟼 位蠉蟿蟻蠅蟽畏蟼 伪蟺慰 蟿慰谓 蔚尉伪胃位喂蠅渭苇谓慰 伪蟺慰魏位蔚喂蟽渭蠈 蟿慰蠀蟼, 慰蠉蟿蔚 伪蟺慰 蟽蟿慰喂尾伪纬渭苇谓伪 慰喂魏慰纬蔚谓蔚喂伪魏维 魏伪喂 魏慰喂谓蠅谓喂魏维 谓蔚魏蟻慰味蠋谓蟿伪谓伪 蟿苇蟻伪蟿伪 蟺慰蠀 蟿伪 苇蟿蟻蔚蠁伪谓 慰喂 蟺慰位喂蟿喂魏慰委 胃蔚蟽渭慰委 魏伪喂 慰喂 蟽蠀纬纬蔚谓喂魏慰委 未蔚蟽渭慰委.
螤维谓蟿伪 蠀蟺萎蟻蠂蔚 蠂蠋蟻慰蟼 纬喂伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻畏 伪蟺慰尉苇谓蠅蟽畏,
蟺喂慰 蟿慰尉喂魏萎 蟽蠀谓蔚喂未畏蟽喂伪魏萎 蟽伪蟺委位伪,
蟺喂慰 蟺慰位位苇蟼 伪蠀蟿伪蟺维蟿蔚蟼 魏伪喂 伪喂渭伪蟿慰尾伪渭渭苇谓伪, 渭伪蟽蟿喂纬蠅渭苇谓伪 蠄苇渭伪蟿伪 伪谓维蟺畏蟻蠅谓 蠁慰谓喂维未蠅谓 魏伪喂 维尾慰蠀位蠅谓, 蠄蠈蠁喂蠅谓 胃蠀渭维蟿蠅谓 蟺慰蠀 未蟻慰蠉蟽伪谓 蟽伪谓 纬慰谓蔚委蟼.
危伪谓 魏畏未蔚渭蠈谓蔚蟼 魏伪喂 慰喂魏慰纬蔚谓蔚喂维蟻蠂蔚蟼. 危伪谓 蔚蟺伪纬纬蔚位渭伪蟿委蔚蟼 喂蟽慰蟺苇未蠅蟽畏蟼, 维蠂伪蟻慰喂 蟽伪未喂蟽蟿苇蟼, 伪蟺慰魏伪蟻未喂蠅渭苇谓慰喂, 未蠀蟽蟿蠀蠂喂蟽渭苇谓慰喂 渭苇蟽伪 蟽蟿畏谓 伪谓蠅渭伪位委伪 蟿畏蟼 伪蟽蟿喂魏萎蟼 蟿慰蠀蟼 苇谓未蔚喂伪蟼, 苇蟽蟿蔚魏伪谓 蟽蟿慰 魏伪蟿蠋蠁位喂 蟺蔚蟻喂渭苇谓慰谓蟿伪蟼 蟿伪 蟺伪喂未喂维 蟿慰蠀蟼 纬喂伪 谓伪 蔚尉喂位蔚蠅胃慰蠉谓 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 蠄蠀蠂苇蟼, 蟺委谓慰谓蟿伪蟼 蟿慰谓 尉蔚蟺蔚蟽渭蠈 蟿慰蠀蟼.
韦伪 蟺伪喂未喂维 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 渭伪蟼 未喂伪尾维味慰蠀谓 蟺伪纬魏蠈蟽渭喂伪 位慰纬慰蟿蔚蠂谓喂魏维 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿伪.
螆蠂慰蠀谓 蔚渭渭慰谓萎 渭蔚 蟿慰谓 螝伪渭蠉 魏伪喂 蟿慰谓 危伪蟻蟿蟻.
螣喂 喂未苇蔚蟼 蟿蠅谓 尾喂尾位委蠅谓 蠈渭蠅蟼, 蟺蔚蟻谓慰蠉谓 伪谓伪纬魏伪蟽蟿喂魏维 伪蟺慰 蠁委位蟿蟻伪 魏伪喂 蔚纬魏伪蟿伪蟽蟿维蟽蔚喂蟼 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼. 螒蟺慰 蔚蟻纬伪蟿喂魏苇蟼 谓蔚魏蟻慰蟺慰渭蟺苇蟼 蟽蟿慰 蠈谓慰渭伪 蟿蠅谓 未喂魏伪喂蠅渭伪蟿喂魏蠋谓 伪蟺蔚蟻纬喂蠋谓.
螒蟺慰 蟿伪尉喂魏苇蟼 魏伪喂 魏慰喂谓蠅谓喂魏维 伪苇谓伪蔚蟼 未喂伪蠁慰蟻苇蟼 蟺蔚蟻委 蟺位慰蠉蟿慰蠀 魏伪喂 蠀位喂蟽渭慰蠉.
螒蟺慰 蔚纬魏位萎渭伪蟿伪 蟽蟿慰 蠈谓慰渭伪 蟿畏蟼 蔚位蔚蠀胃蔚蟻委伪蟼 蟺慰蠀 蟽蔚 魏伪蟿苇蠂蔚喂, 蟺维谓蟿伪 伪位蠉蟿蟻蠅蟿慰 魏伪喂 蟽伪魏伪蟿蔚渭苇谓慰 蟽蔚 蠄蠀蠂萎 魏伪喂 谓慰蠀.
螆蟿蟽喂, 蟿伪 位蔚纬蠈渭蔚谓伪 蟿慰蠀 螝伪渭蠉 魏伪喂 蟿蠅谓 慰蟺位伪蟻蠂畏纬蠋谓 蟿畏蟼 蟿苇蠂谓畏蟼 蟺慰蠀 蠂蟿委味蔚喂, 纬魏蟻蔚渭委味蔚喂, 蟽蠅蟻喂维味蔚喂 魏伪喂 未畏渭喂慰蠀蟻纬蔚委 味蠅萎, 蟺慰蠀 蟺位维胃蔚喂 蠀蟺维蟻尉蔚喂蟼 魏伪喂 蟺蟻维尉蔚喂蟼 渭蟺伪委谓蔚喂 蟽蟿慰 蟽蟿蠈蠂伪蟽蟿蟻慰 蟿慰蠀 蟺伪蟻蠅蟺喂未喂蟽渭慰蠉.
韦慰 伪蟺慰蟿苇位蔚蟽渭伪 蔚委谓伪喂 伪蟺伪蟻维未蔚魏蟿伪 魏伪蟿伪蟽蟿蟻蔚蟺蟿喂魏蠈.
螖喂蠈蟿喂 蠈蠂喂 渭蠈谓慰 尾纬伪委谓蔚喂 渭蔚 渭蔚喂蠅渭苇谓畏 伪尉委伪 伪位位维 魏伪喂 渭蔚 渭喂伪 魏伪喂谓慰蠉蟻纬喂伪, 蔚魏未喂魏畏蟿喂魏维 未慰纬渭伪蟿喂魏萎 蠀蟺蠈蟽蟿伪蟽畏, 蟺慰蠀 蠁苇蟻谓蔚喂 蟿慰 伪谓蟿委胃蔚蟿慰 伪蟺慰蟿苇位蔚蟽渭伪 伪蟺慰 蔚魏蔚委谓慰 蟿慰 慰蟺慰委慰 未畏渭喂慰蠀蟻纬萎胃畏魏蔚 蠅蟼 喂未苇伪.
危蔚 苇谓伪谓 魏蠈蟽渭慰 蟺慰蠀 蟺蟻慰蟽蟺伪胃蔚委 谓伪 尉伪谓伪纬蔚谓谓畏胃蔚委 伪蟺慰 蟿畏谓 蔚蟺伪委蟽蠂蠀谓蟿畏 萎蟿蟿伪 蟺蠅蟼 渭蟺慰蟻蔚委 谓伪 纬委谓蔚喂 胃蔚渭苇位喂慰 蟽蟿萎蟻喂尉畏蟼 魏伪喂 魏伪蟿伪谓蠈畏蟽畏蟼 纬喂伪 蟿畏谓 未喂伪未慰蠂喂魏萎 纬蔚谓喂维 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠁蠀位萎蟼.
螤慰喂伪 蟺蟻蠈蟿蠀蟺伪 未蔚慰谓蟿慰位慰纬委伪蟼 魏伪喂 畏胃喂魏萎蟼, 蟺慰喂慰蟼 蟺伪纬魏蠈蟽渭喂慰蟼 魏伪谓蠈谓伪蟼 伪蟺慰魏伪蟿维蟽蟿伪蟽畏蟼 胃伪 胃蔚蟻伪蟺蔚蠉蟽蔚喂 蟿畏谓 未喂蟺位萎 魏伪蟿维胃位喂蠄畏 蟿畏蟼 谓蟿蟻慰蟺萎蟼 魏伪喂 蟿畏蟼 伪蟺蠋位蔚喂伪蟼.
螤蠅蟼 胃伪 伪谓伪蟽蠀谓蟿伪蠂胃慰蠉谓 慰喂 渭蔚蟿伪蟺慰位蔚渭喂魏苇蟼 伪谓胃蟻蠋蟺喂谓蔚蟼 蟽蠂苇蟽蔚喂蟼 魏伪喂 慰喂 魏慰喂谓蠅谓喂魏苇蟼 蔚蟺蔚魏蟿维蟽蔚喂蟼 蟿蠅谓 蟺蟻伪尉蔚蠅谓 蟿慰蠀蟼. 螤蠅蟼 谓伪 蟺位维蟽蔚喂蟼 谓苇蔚蟼 蔚位蟺委未蔚蟼 蠈蟿伪谓 蟽蟿慰谓 蟿蠈蟺慰 蟽慰蠀 味蠅谓蟿伪谓蔚蠉蔚喂 畏 蔚蠁喂魏蟿萎 伪蟺慰魏伪蟿维蟽蟿伪蟽畏 渭蠈谓慰 渭蔚 蟿畏谓 蔚尉慰渭慰委蠅蟽畏 蟿畏蟼 位蠉蟺畏蟼 魏伪喂 蟿畏蟼 伪蟺慰纬慰萎蟿蔚蠀蟽畏蟼 伪蟺慰 蟿畏谓 萎蟿蟿伪 蟿慰蠀 谓伪味喂蟽渭慰蠉.
螚 螕苇位喂谓蔚魏 尉蔚魏喂谓维蔚喂 蟽魏位畏蟻维 魏伪喂 伪蟺慰蟿蟻蠈蟺伪喂伪 伪谓慰委纬慰谓蟿伪蟼 蟿畏谓 伪纬魏伪位喂维 蟿畏蟼 蟽蟿慰谓 未喂魏蠈 蟿畏蟼 伪谓伪纬谓蠋蟽蟿畏 魏伪喂 渭蔚 蟿畏谓 委未喂伪 蟺伪蟻伪位蠀蟿喂魏萎 伪纬维蟺畏 蟺慰蠀 蠄喂胃蠀蟻委味蔚喂 位蠈纬喂伪 蟽魏慰蟿蔚喂谓维 魏伪喂 伪位畏胃喂谓维, 蟽蔚 魏位慰蟿蟽维蔚喂 渭蔚 伪蟺慰蠁伪蟽喂蟽蟿喂魏蠈蟿畏蟿伪 蟽蟿慰 蟽蟿慰渭维蠂喂 纬喂伪 谓伪 蠁蟿维蟽蔚喂 慰 蟽伪未喂蟽渭蠈蟼 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼 蟿畏蟼 渭苇蠂蟻喂 蟿慰 渭蔚未慰蠉位喂.
螣 蟺蠈谓慰蟼 魏伪喂 蟿慰 蟽慰魏 蟺慰蠀 蟺蟻慰魏伪位蔚委 畏 魏位慰蟿蟽喂维 蟿畏蟼 蔚委谓伪喂 畏 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿慰蠀 蟽蠀渭蟺蔚蟻维蟽渭伪蟿慰蟼 蟺慰蠀 萎胃蔚位蔚 谓伪 未蠋蟽蔚喂 伪谓蔚尉维蟻蟿畏蟿伪 伪谓 蔚委谓伪喂 伪位畏胃喂谓蠈 畏 蠈蠂喂.
螉蟽蠅蟼, 魏伪位蠉蟿蔚蟻伪 纬喂伪 魏维胃蔚 谓慰萎渭蠅谓 维蟿慰渭慰 畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟿畏蟼 螕苇位喂谓蔚魏 谓伪 蔚委谓伪喂 渭喂伪 未喂魏萎 蟿畏蟼 魏伪蟿伪蟽魏蔚蠀伪蟽渭苇谓畏, 魏慰渭渭伪蟿喂伪蟽渭苇谓畏 蔚魏未慰蠂萎 蟿畏蟼 伪位萎胃蔚喂伪蟼
螉蟽蠅蟼 魏伪位蠉蟿蔚蟻伪 蟿慰 渭萎谓蠀渭伪 蟿畏蟼 谓伪 蔚委谓伪喂 蔚魏蟿蠈蟼 蟽蟿蠈蠂慰蠀...
螠伪魏维蟻喂 谓伪 渭畏谓 渭维胃蠅 蟺慰蟿苇 伪谓 慰 蟺蠈谓慰蟼 蟿畏蟼 魏位慰蟿蟽喂维蟼 蟿畏蟼 蟺慰蠀 蔚魏蟿慰蟺委味蔚喂 尾委伪喂伪 蟽蟿畏谓 未喂魏萎 蟿畏蟼 维蟺慰蠄畏 纬喂伪 蟿畏 伪位萎胃蔚喂伪 蟺蟻慰苇蟻蠂蔚蟿伪喂 伪蟺慰 蟿慰 纬蟻伪蟺蟿蠈 蟿畏蟼 萎 伪蟺慰 蟿畏谓 委未喂伪 蟿畏谓 伪位萎胃蔚喂伪.
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螖螜螒螔螒危韦螘 韦螣.
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.
螤蠈蟽慰 伪蟺伪蟻维未蔚魏蟿伪 魏伪喂 伪蟺委蟽蟿蔚蠀蟿伪 渭伪味委 纬蟻维蠁蔚喂 畏 螕苇位喂谓蔚魏. 螤蠈蟽慰 伪谓畏蟽蠀蠂畏蟿喂魏维, 蟿蟻慰渭伪魏蟿喂魏维 魏伪喂 蔚尉蔚蠂蠈谓蟿蠅蟼 伪谓伪纬魏伪委伪 蟺蟻慰蟽伪蟻渭蠈味蔚喂 蠈位蔚蟼 蟿喂蟼 伪蟺蠅胃畏蟿喂魏苇蟼 魏伪喂 伪谓维位纬畏蟿蔚蟼 蟺蟻维尉蔚喂蟼 蟿慰蠀 魏蠈蟽渭慰蠀, 蠅蟼 蔚魏蠁蠀位喂蟽渭苇谓蔚蟼 蔚蟺喂蟺位慰魏苇蟼 蟿畏蟼 魏伪蟿维蟻纬畏蟽畏蟼 蟽蔚 魏维胃蔚 苇魏蠁伪谓蟽畏 蟿畏蟼, 蟿畏蟼 蟺蟻慰魏伪蟿维位畏蠄畏蟼, 蟿畏蟼 伪未喂伪位位伪尉委伪蟼, 蟿畏蟼 蔚魏未喂魏畏蟿喂魏萎蟼 伪蟺蔚位蔚蠀胃苇蟻蠅蟽畏蟼 蟿蠅谓 畏蟿蟿畏渭苇谓蠅谓 渭蔚 蟽蠀渭蟺蟿蠋渭伪蟿伪 伪蠀蟿慰魏伪蟿伪蟺委蔚蟽畏蟼 魏伪喂 蔚蠂胃蟻喂魏萎蟼 蠀蟺慰魏蟻喂蟽委伪蟼.
螞维蟿蟻蔚蠄伪 伪蠀蟿萎 蟿畏谓 蟻苇慰蠀蟽伪 纬蟻伪蠁萎 蠈蟺慰蠀 蟿伪 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂 未蔚谓 蟽蠀谓苇尾畏蟽伪谓 魏维蟺慰蟿蔚 蟽蟿畏谓 渭蔚蟿伪蟺慰位蔚渭喂魏萎 螒蠀蟽蟿蟻委伪, 蟽蠀渭尾伪委谓慰蠀谓 魏伪喂 蟽萎渭蔚蟻伪, 蟿蠋蟻伪.
螣喂 蟿苇蟽蟽蔚蟻喂蟼 苇蠁畏尾慰喂 蟺慰蠀 蟿蟻苇蠁慰谓蟿伪喂 伪蟺慰 蟿畏谓 蟺蔚蟺慰委胃畏蟽畏 蟿畏蟼 尾伪胃喂维蟼 伪蟺蔚位蟺喂蟽委伪蟼 蟿慰蠀蟼, 纬喂伪 苇谓伪谓 魏蠈蟽渭慰 蟺慰蠀 未蔚谓 纬委谓蔚蟿伪喂 谓伪 蟽蠀谓蔚蠂委蟽蔚喂 谓伪 蠀蟺维蟻蠂蔚喂 渭蔚蟿维 伪蟺慰 伪蠀蟿慰蠉蟼, 蔚委谓伪喂 慰喂 萎蟻蠅蔚蟼 渭伪蟼.
韦蟻伪纬喂魏慰委 魏伪喂 伪尉喂慰位维蟿蟻蔚蠀蟿慰喂.
螤伪喂未喂魏苇蟼 蠄蠀蠂慰蠉位蔚蟼 蟺慰蠀 慰喂 蟻委味蔚蟼 蟿慰蠀蟼 苇纬喂谓伪谓 渭蔚蟿伪蟺慰位蔚渭喂魏维 蟽蠀谓蟿蟻委渭渭喂伪.
螤伪蟻蠈位伪 伪蠀蟿维 未蔚谓 萎蟿伪谓 蠂伪渭苇谓慰喂 蟽蔚 苇谓伪谓 渭蔚蟿伪位位伪蟽蟽蠈渭蔚谓慰, 维纬蟻喂慰, 尾蟻蠈渭喂魏慰 魏蠈蟽渭慰.
螒蠁慰蠉 慰 魏蠈蟽渭慰蟼 萎蟿伪谓 魏位蔚喂蟽渭苇谓慰蟼 渭苇蟽伪 蟿慰蠀蟼,
渭苇蟽伪 蟿慰蠀蟼 尾伪胃喂维, 未委蠂蠅蟼 谓伪 渭蟺慰蟻蔚委 谓伪 蟿慰蠀蟼 纬蔚渭委蟽蔚喂 慰蠉蟿蔚 伪蟺慰 胃畏蟽伪蠀蟻慰蠉蟼 慰谓蔚委蟻蠅谓 纬喂伪 慰位慰魏位畏蟻蠅蟿喂魏萎 伪位位伪纬萎, 慰蠉蟿蔚 伪蟺慰 蠀蟺慰蟽蠂苇蟽蔚喂蟼 位蠉蟿蟻蠅蟽畏蟼 伪蟺慰 蟿慰谓 蔚尉伪胃位喂蠅渭苇谓慰 伪蟺慰魏位蔚喂蟽渭蠈 蟿慰蠀蟼, 慰蠉蟿蔚 伪蟺慰 蟽蟿慰喂尾伪纬渭苇谓伪 慰喂魏慰纬蔚谓蔚喂伪魏维 魏伪喂 魏慰喂谓蠅谓喂魏维 谓蔚魏蟻慰味蠋谓蟿伪谓伪 蟿苇蟻伪蟿伪 蟺慰蠀 蟿伪 苇蟿蟻蔚蠁伪谓 慰喂 蟺慰位喂蟿喂魏慰委 胃蔚蟽渭慰委 魏伪喂 慰喂 蟽蠀纬纬蔚谓喂魏慰委 未蔚蟽渭慰委.
螤维谓蟿伪 蠀蟺萎蟻蠂蔚 蠂蠋蟻慰蟼 纬喂伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻畏 伪蟺慰尉苇谓蠅蟽畏,
蟺喂慰 蟿慰尉喂魏萎 蟽蠀谓蔚喂未畏蟽喂伪魏萎 蟽伪蟺委位伪,
蟺喂慰 蟺慰位位苇蟼 伪蠀蟿伪蟺维蟿蔚蟼 魏伪喂 伪喂渭伪蟿慰尾伪渭渭苇谓伪, 渭伪蟽蟿喂纬蠅渭苇谓伪 蠄苇渭伪蟿伪 伪谓维蟺畏蟻蠅谓 蠁慰谓喂维未蠅谓 魏伪喂 维尾慰蠀位蠅谓, 蠄蠈蠁喂蠅谓 胃蠀渭维蟿蠅谓 蟺慰蠀 未蟻慰蠉蟽伪谓 蟽伪谓 纬慰谓蔚委蟼.
危伪谓 魏畏未蔚渭蠈谓蔚蟼 魏伪喂 慰喂魏慰纬蔚谓蔚喂维蟻蠂蔚蟼. 危伪谓 蔚蟺伪纬纬蔚位渭伪蟿委蔚蟼 喂蟽慰蟺苇未蠅蟽畏蟼, 维蠂伪蟻慰喂 蟽伪未喂蟽蟿苇蟼, 伪蟺慰魏伪蟻未喂蠅渭苇谓慰喂, 未蠀蟽蟿蠀蠂喂蟽渭苇谓慰喂 渭苇蟽伪 蟽蟿畏谓 伪谓蠅渭伪位委伪 蟿畏蟼 伪蟽蟿喂魏萎蟼 蟿慰蠀蟼 苇谓未蔚喂伪蟼, 苇蟽蟿蔚魏伪谓 蟽蟿慰 魏伪蟿蠋蠁位喂 蟺蔚蟻喂渭苇谓慰谓蟿伪蟼 蟿伪 蟺伪喂未喂维 蟿慰蠀蟼 纬喂伪 谓伪 蔚尉喂位蔚蠅胃慰蠉谓 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 蠄蠀蠂苇蟼, 蟺委谓慰谓蟿伪蟼 蟿慰谓 尉蔚蟺蔚蟽渭蠈 蟿慰蠀蟼.
韦伪 蟺伪喂未喂维 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 渭伪蟼 未喂伪尾维味慰蠀谓 蟺伪纬魏蠈蟽渭喂伪 位慰纬慰蟿蔚蠂谓喂魏维 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿伪.
螆蠂慰蠀谓 蔚渭渭慰谓萎 渭蔚 蟿慰谓 螝伪渭蠉 魏伪喂 蟿慰谓 危伪蟻蟿蟻.
螣喂 喂未苇蔚蟼 蟿蠅谓 尾喂尾位委蠅谓 蠈渭蠅蟼, 蟺蔚蟻谓慰蠉谓 伪谓伪纬魏伪蟽蟿喂魏维 伪蟺慰 蠁委位蟿蟻伪 魏伪喂 蔚纬魏伪蟿伪蟽蟿维蟽蔚喂蟼 蟽蟿蟻伪蟿慰蟺苇未蠅谓 蟽蠀纬魏苇谓蟿蟻蠅蟽畏蟼. 螒蟺慰 蔚蟻纬伪蟿喂魏苇蟼 谓蔚魏蟻慰蟺慰渭蟺苇蟼 蟽蟿慰 蠈谓慰渭伪 蟿蠅谓 未喂魏伪喂蠅渭伪蟿喂魏蠋谓 伪蟺蔚蟻纬喂蠋谓.
螒蟺慰 蟿伪尉喂魏苇蟼 魏伪喂 魏慰喂谓蠅谓喂魏维 伪苇谓伪蔚蟼 未喂伪蠁慰蟻苇蟼 蟺蔚蟻委 蟺位慰蠉蟿慰蠀 魏伪喂 蠀位喂蟽渭慰蠉.
螒蟺慰 蔚纬魏位萎渭伪蟿伪 蟽蟿慰 蠈谓慰渭伪 蟿畏蟼 蔚位蔚蠀胃蔚蟻委伪蟼 蟺慰蠀 蟽蔚 魏伪蟿苇蠂蔚喂, 蟺维谓蟿伪 伪位蠉蟿蟻蠅蟿慰 魏伪喂 蟽伪魏伪蟿蔚渭苇谓慰 蟽蔚 蠄蠀蠂萎 魏伪喂 谓慰蠀.
螆蟿蟽喂, 蟿伪 位蔚纬蠈渭蔚谓伪 蟿慰蠀 螝伪渭蠉 魏伪喂 蟿蠅谓 慰蟺位伪蟻蠂畏纬蠋谓 蟿畏蟼 蟿苇蠂谓畏蟼 蟺慰蠀 蠂蟿委味蔚喂, 纬魏蟻蔚渭委味蔚喂, 蟽蠅蟻喂维味蔚喂 魏伪喂 未畏渭喂慰蠀蟻纬蔚委 味蠅萎, 蟺慰蠀 蟺位维胃蔚喂 蠀蟺维蟻尉蔚喂蟼 魏伪喂 蟺蟻维尉蔚喂蟼 渭蟺伪委谓蔚喂 蟽蟿慰 蟽蟿蠈蠂伪蟽蟿蟻慰 蟿慰蠀 蟺伪蟻蠅蟺喂未喂蟽渭慰蠉.
韦慰 伪蟺慰蟿苇位蔚蟽渭伪 蔚委谓伪喂 伪蟺伪蟻维未蔚魏蟿伪 魏伪蟿伪蟽蟿蟻蔚蟺蟿喂魏蠈.
螖喂蠈蟿喂 蠈蠂喂 渭蠈谓慰 尾纬伪委谓蔚喂 渭蔚 渭蔚喂蠅渭苇谓畏 伪尉委伪 伪位位维 魏伪喂 渭蔚 渭喂伪 魏伪喂谓慰蠉蟻纬喂伪, 蔚魏未喂魏畏蟿喂魏维 未慰纬渭伪蟿喂魏萎 蠀蟺蠈蟽蟿伪蟽畏, 蟺慰蠀 蠁苇蟻谓蔚喂 蟿慰 伪谓蟿委胃蔚蟿慰 伪蟺慰蟿苇位蔚蟽渭伪 伪蟺慰 蔚魏蔚委谓慰 蟿慰 慰蟺慰委慰 未畏渭喂慰蠀蟻纬萎胃畏魏蔚 蠅蟼 喂未苇伪.
危蔚 苇谓伪谓 魏蠈蟽渭慰 蟺慰蠀 蟺蟻慰蟽蟺伪胃蔚委 谓伪 尉伪谓伪纬蔚谓谓畏胃蔚委 伪蟺慰 蟿畏谓 蔚蟺伪委蟽蠂蠀谓蟿畏 萎蟿蟿伪 蟺蠅蟼 渭蟺慰蟻蔚委 谓伪 纬委谓蔚喂 胃蔚渭苇位喂慰 蟽蟿萎蟻喂尉畏蟼 魏伪喂 魏伪蟿伪谓蠈畏蟽畏蟼 纬喂伪 蟿畏谓 未喂伪未慰蠂喂魏萎 纬蔚谓喂维 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠁蠀位萎蟼.
螤慰喂伪 蟺蟻蠈蟿蠀蟺伪 未蔚慰谓蟿慰位慰纬委伪蟼 魏伪喂 畏胃喂魏萎蟼, 蟺慰喂慰蟼 蟺伪纬魏蠈蟽渭喂慰蟼 魏伪谓蠈谓伪蟼 伪蟺慰魏伪蟿维蟽蟿伪蟽畏蟼 胃伪 胃蔚蟻伪蟺蔚蠉蟽蔚喂 蟿畏谓 未喂蟺位萎 魏伪蟿维胃位喂蠄畏 蟿畏蟼 谓蟿蟻慰蟺萎蟼 魏伪喂 蟿畏蟼 伪蟺蠋位蔚喂伪蟼.
螤蠅蟼 胃伪 伪谓伪蟽蠀谓蟿伪蠂胃慰蠉谓 慰喂 渭蔚蟿伪蟺慰位蔚渭喂魏苇蟼 伪谓胃蟻蠋蟺喂谓蔚蟼 蟽蠂苇蟽蔚喂蟼 魏伪喂 慰喂 魏慰喂谓蠅谓喂魏苇蟼 蔚蟺蔚魏蟿维蟽蔚喂蟼 蟿蠅谓 蟺蟻伪尉蔚蠅谓 蟿慰蠀蟼. 螤蠅蟼 谓伪 蟺位维蟽蔚喂蟼 谓苇蔚蟼 蔚位蟺委未蔚蟼 蠈蟿伪谓 蟽蟿慰谓 蟿蠈蟺慰 蟽慰蠀 味蠅谓蟿伪谓蔚蠉蔚喂 畏 蔚蠁喂魏蟿萎 伪蟺慰魏伪蟿维蟽蟿伪蟽畏 渭蠈谓慰 渭蔚 蟿畏谓 蔚尉慰渭慰委蠅蟽畏 蟿畏蟼 位蠉蟺畏蟼 魏伪喂 蟿畏蟼 伪蟺慰纬慰萎蟿蔚蠀蟽畏蟼 伪蟺慰 蟿畏谓 萎蟿蟿伪 蟿慰蠀 谓伪味喂蟽渭慰蠉.
螚 螕苇位喂谓蔚魏 尉蔚魏喂谓维蔚喂 蟽魏位畏蟻维 魏伪喂 伪蟺慰蟿蟻蠈蟺伪喂伪 伪谓慰委纬慰谓蟿伪蟼 蟿畏谓 伪纬魏伪位喂维 蟿畏蟼 蟽蟿慰谓 未喂魏蠈 蟿畏蟼 伪谓伪纬谓蠋蟽蟿畏 魏伪喂 渭蔚 蟿畏谓 委未喂伪 蟺伪蟻伪位蠀蟿喂魏萎 伪纬维蟺畏 蟺慰蠀 蠄喂胃蠀蟻委味蔚喂 位蠈纬喂伪 蟽魏慰蟿蔚喂谓维 魏伪喂 伪位畏胃喂谓维, 蟽蔚 魏位慰蟿蟽维蔚喂 渭蔚 伪蟺慰蠁伪蟽喂蟽蟿喂魏蠈蟿畏蟿伪 蟽蟿慰 蟽蟿慰渭维蠂喂 纬喂伪 谓伪 蠁蟿维蟽蔚喂 慰 蟽伪未喂蟽渭蠈蟼 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼 蟿畏蟼 渭苇蠂蟻喂 蟿慰 渭蔚未慰蠉位喂.
螣 蟺蠈谓慰蟼 魏伪喂 蟿慰 蟽慰魏 蟺慰蠀 蟺蟻慰魏伪位蔚委 畏 魏位慰蟿蟽喂维 蟿畏蟼 蔚委谓伪喂 畏 蟽蠀谓蔚喂未畏蟿慰蟺慰委畏蟽畏 蟿慰蠀 蟽蠀渭蟺蔚蟻维蟽渭伪蟿慰蟼 蟺慰蠀 萎胃蔚位蔚 谓伪 未蠋蟽蔚喂 伪谓蔚尉维蟻蟿畏蟿伪 伪谓 蔚委谓伪喂 伪位畏胃喂谓蠈 畏 蠈蠂喂.
螉蟽蠅蟼, 魏伪位蠉蟿蔚蟻伪 纬喂伪 魏维胃蔚 谓慰萎渭蠅谓 维蟿慰渭慰 畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟿畏蟼 螕苇位喂谓蔚魏 谓伪 蔚委谓伪喂 渭喂伪 未喂魏萎 蟿畏蟼 魏伪蟿伪蟽魏蔚蠀伪蟽渭苇谓畏, 魏慰渭渭伪蟿喂伪蟽渭苇谓畏 蔚魏未慰蠂萎 蟿畏蟼 伪位萎胃蔚喂伪蟼
螉蟽蠅蟼 魏伪位蠉蟿蔚蟻伪 蟿慰 渭萎谓蠀渭伪 蟿畏蟼 谓伪 蔚委谓伪喂 蔚魏蟿蠈蟼 蟽蟿蠈蠂慰蠀...
螠伪魏维蟻喂 谓伪 渭畏谓 渭维胃蠅 蟺慰蟿苇 伪谓 慰 蟺蠈谓慰蟼 蟿畏蟼 魏位慰蟿蟽喂维蟼 蟿畏蟼 蟺慰蠀 蔚魏蟿慰蟺委味蔚喂 尾委伪喂伪 蟽蟿畏谓 未喂魏萎 蟿畏蟼 维蟺慰蠄畏 纬喂伪 蟿畏 伪位萎胃蔚喂伪 蟺蟻慰苇蟻蠂蔚蟿伪喂 伪蟺慰 蟿慰 纬蟻伪蟺蟿蠈 蟿畏蟼 萎 伪蟺慰 蟿畏谓 委未喂伪 蟿畏谓 伪位萎胃蔚喂伪.
馃挏馃挏馃挏馃挏馃挏馃挏馃挏馃槇
螖螜螒螔螒危韦螘 韦螣.
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.
August 12, 2021
There are moments when one can't help being ashamed of one's country. Usually when there's any national outbreak of racism or even an individual case which makes the news. Like the Windrush scandal for example. Racism for me is the polar opposite of Shakespeare or Virginia Woolf. So I can imagine growing up as an Austrian after the second world war didn't offer too many opportunities for national pride. This is a pained book blistering with disgust and anger.
Wonderful Wonderful Times begins with a gratuitous attack in a park by four adolescents on a victim chosen at random. Rainer and Anna are twins; Sophie is from a wealthy party, Hans is from a poor family. Both boys are in love with Sophie; both girls are in love with Hans. The sexual tensions were the best feature of the novel - love can make fascists of us all when faced with competition. Much better than the violence which seemed forcefully imposed by the author rather than arising from within the characters themselves. Violence we know is sometimes how the dispossessed make themselves felt. But these were characters dispossessing, not dispossessed. The crippled father of Rainer and Anna, an unrepentant SS thug, is cartoonish in his despicableness. But little space is given to developing his relationship with his children. Instead his leitmotif in the novel is to take pornographic photographs of his wife, as if we need constantly reminding how unsavoury he is.
To be honest I never quite understood what Jelinek was getting at. What all her nihilistic anger, her distaste for her own characters added up to apart perhaps from some kind of personal catharsis. On the jacket we're told it shows how the present is corrupted by the crimes of the past. But that's simply a vacuous clich茅 that can be used to explain any act of violence. I watched a documentary once about the sons and daughters of Nazi war criminals. The sad driving force in all these individuals was to become the polar opposite of their fathers. The psychology of disowning the father's sins by embracing opposites was dramatized by Koeppen very well in his Death in Rome, another novel that examines the legacy of Nazism. The psychology of this novel rarely rang true for me.
No question Elfriede Jelinek is a very good writer but she's an angry writer, like Ali Smith but without Smith's belief in fairies and earth magic. For me Ali Smith alchemises into art her anger better than Jelinek managed here. At times it also reminded me of Martin Amis but without his exuberant satire. On the good side it reminded me how much I loved Book One of Robert Musil's Man Without Qualities which influenced it. Overall though, too rampantly nihilistic for me.
Wonderful Wonderful Times begins with a gratuitous attack in a park by four adolescents on a victim chosen at random. Rainer and Anna are twins; Sophie is from a wealthy party, Hans is from a poor family. Both boys are in love with Sophie; both girls are in love with Hans. The sexual tensions were the best feature of the novel - love can make fascists of us all when faced with competition. Much better than the violence which seemed forcefully imposed by the author rather than arising from within the characters themselves. Violence we know is sometimes how the dispossessed make themselves felt. But these were characters dispossessing, not dispossessed. The crippled father of Rainer and Anna, an unrepentant SS thug, is cartoonish in his despicableness. But little space is given to developing his relationship with his children. Instead his leitmotif in the novel is to take pornographic photographs of his wife, as if we need constantly reminding how unsavoury he is.
To be honest I never quite understood what Jelinek was getting at. What all her nihilistic anger, her distaste for her own characters added up to apart perhaps from some kind of personal catharsis. On the jacket we're told it shows how the present is corrupted by the crimes of the past. But that's simply a vacuous clich茅 that can be used to explain any act of violence. I watched a documentary once about the sons and daughters of Nazi war criminals. The sad driving force in all these individuals was to become the polar opposite of their fathers. The psychology of disowning the father's sins by embracing opposites was dramatized by Koeppen very well in his Death in Rome, another novel that examines the legacy of Nazism. The psychology of this novel rarely rang true for me.
No question Elfriede Jelinek is a very good writer but she's an angry writer, like Ali Smith but without Smith's belief in fairies and earth magic. For me Ali Smith alchemises into art her anger better than Jelinek managed here. At times it also reminded me of Martin Amis but without his exuberant satire. On the good side it reminded me how much I loved Book One of Robert Musil's Man Without Qualities which influenced it. Overall though, too rampantly nihilistic for me.
February 9, 2024
Daca ai 16 ani: citesti acest roman, iti notezi instructiunile de fabricare a unei grenade artizanale (a la Tyler Durden), asculti "Puritania" si gata - esti pregatit sa faci fata vietii.
Daca ai mai mult de 16 ani: citesti acest roman si scrii o recenzie, dupa cum urmeaza:
Elfriede Jelinek este o autoare de succes cu multe premii printre care, in 2004, Premiul Nobel pentru Literatura. A publicat nenumarate romane precum "Amantele", "Copiii mortilor" si "Pianista" - care a fost si ecranizat in 2001 obtinand Marele Premiu al Festivalului de la Cannes.
"Die Ausgesperrten" este bazat pe un caz real din Viena anilor '50 si infatiseaza povestea a patru tineri care formeaza o banda, cu scopul de a jefui si agresa cu multa ura si violenta persoane nevinovate intr-un parc. Liderul lor este Rainer Witkowski, urmat de sora lui geamana si de Sophie, o copila de bani gata si de Hans, un electrician muncitor cu dorinte de parvenire. Toti patru sunt foarte diferiti si cartea prezinta gandurile si sentimentele lor in mod nemijlocit, foarte viu si cu mare impact asupra cititorului.
Cartea are un aer de teribilism, de revolta si rebeliune a tinerilor impotriva societatii, adanc marcate de razboi, impotriva educatiei, adultilor si a conventionalismului.
In discutiile lor cei patru ridica subiecte erudite si isi lanseaza parerile pertinente, originale si ironice asupra unor subiecte ca: crestinismul, comunismul, dragostea, sexul, libertatea, literatura, munca etc.
Se cuvine sa facem un mic profil al celor patru protagonisti incepand cu Anna, care este cea mai furioasa si plina de ura dintre toti. Ea uraste absolut tot, fiind violenta si invidioasa, bulimica si vulgara. Spre sfarsit ne dam seama ca de multe ori braveaza, dar este in fond slaba si din calau ajunge ea insasi o victima. Este indragostita de Hans cu care ajunge sa se culce, insa acesta viseaza la bogatia Sophiei.
Hans este electrician, netrecut pe la scoala, fiind mai in varsta decat ceilalti trei, dar la fel de imatur. El este executantul lui Rainer, ascultand tot ce spune el fara sa priceapa mare lucru. E mandru ca n-a fost 'pervertit' de arta si literatura, jefuieste pentru bani, nu de dragul de a jefui ca ceilalti si vrea sa devina bogat prin orice mijloace. La final are mila pentru Anna si s-ar multumi si cu ea.
Sophie este o femme fatale, vine dintr-o familie bogata si isi uraste oarecum bunastarea. Atata barbatii dar nu-i satisface niciodata. Ea are rolul de voyeur in cadrul bandei, preferand mai degraba sa se uite decat sa actioneze. Este stilata si bine imbracata iar "murdaria n-o atinge". Este cea care face rost de instructiunile pentru grenada artizanala pe care o si fabrica si cu foarte multa gratie, o si transporta intr-o posetuta la scoala, unde va exploda. Nimeni nu o suspecteaza scapand basma curata si cu asta. Rainer este indragostit de ea compunandu-i poezii romantice si visand sa citeasca impreuna Camus, insa ea nici macar nu-l lasa s-o atinga.
Rainer, creierul bandei este adeptul bataii si jefuirii fara motiv. Isi uraste parintii deoarece tatal sau, fost ofiter SS si fotograf amator de pornografie o agresa des pe mama lui. Este pasionat de literatura, filosofeaza mereu desi nimeni nu-l intelege sau asculta si este indragostit de Sophie, sperand ca va reusi cumva sa se culce cu ea. Sfarsitul lui este neasteptat dar i se potriveste.
Mi-a ramas in minte un citat despre literatura ce suna cam asa:
"... care e la indemana oricui stie sa vorbeasca, pe care n-o stapanesc unii mai bine ca altii, dar pe care si-au adjudecat-o anumiti oameni care nu-si permit o metoda mai buna de a se ridica deasupra mediului in care traiesc."
In concluzie romanul mi-a placut foarte mult si vi-l recomand, mai ales daca sunteti un fan al cartilor lui C. Palahniuk, pentru ca veti gasi in el aceleasi ingrediente explozive care va vor incanta. In acest sens atasez si cateva citate relevante:
"Moartea e oricum degeaba, dar totusi te costa viata."
"...remuscarea nu te fereste de pedeapsa, iar libertatea nu poate fi atinsa decat prin pedeapsa."
"Orice barbat ar vrea sa aiba toate femeile din lume, o femeie in schimb il doreste doar pe barbatul iubit, caruia ii ramane fidela."
"Rainer ii explica lui Hans ca nu trebuie sa ai gandire de scriitor daca esti muncitor."
"Frica si excitatia pot sa-l termine de tot pe un om neterminat."
"Cel mai puternic instinct al omului e sa se elibereze de munca manuala. In acest scop, orice mijloc i se pare potrivit."
"De altfel, nu exista niciu un fel de legi ale artei, fiindca arta este arta tocmai prin faptul ca nu asculta de legi."
"Printre altele, unui artist i se vede in ochi talentul, care arde in adancul lor."
"... daca nu ti-ar fi frica de nimic, n-ai avea nevoie sa urasti si atunci s-ar instala o indiferenta searbada. Decat asa mai bine mort."
Daca ai mai mult de 16 ani: citesti acest roman si scrii o recenzie, dupa cum urmeaza:
Elfriede Jelinek este o autoare de succes cu multe premii printre care, in 2004, Premiul Nobel pentru Literatura. A publicat nenumarate romane precum "Amantele", "Copiii mortilor" si "Pianista" - care a fost si ecranizat in 2001 obtinand Marele Premiu al Festivalului de la Cannes.
"Die Ausgesperrten" este bazat pe un caz real din Viena anilor '50 si infatiseaza povestea a patru tineri care formeaza o banda, cu scopul de a jefui si agresa cu multa ura si violenta persoane nevinovate intr-un parc. Liderul lor este Rainer Witkowski, urmat de sora lui geamana si de Sophie, o copila de bani gata si de Hans, un electrician muncitor cu dorinte de parvenire. Toti patru sunt foarte diferiti si cartea prezinta gandurile si sentimentele lor in mod nemijlocit, foarte viu si cu mare impact asupra cititorului.
Cartea are un aer de teribilism, de revolta si rebeliune a tinerilor impotriva societatii, adanc marcate de razboi, impotriva educatiei, adultilor si a conventionalismului.
In discutiile lor cei patru ridica subiecte erudite si isi lanseaza parerile pertinente, originale si ironice asupra unor subiecte ca: crestinismul, comunismul, dragostea, sexul, libertatea, literatura, munca etc.
Se cuvine sa facem un mic profil al celor patru protagonisti incepand cu Anna, care este cea mai furioasa si plina de ura dintre toti. Ea uraste absolut tot, fiind violenta si invidioasa, bulimica si vulgara. Spre sfarsit ne dam seama ca de multe ori braveaza, dar este in fond slaba si din calau ajunge ea insasi o victima. Este indragostita de Hans cu care ajunge sa se culce, insa acesta viseaza la bogatia Sophiei.
Hans este electrician, netrecut pe la scoala, fiind mai in varsta decat ceilalti trei, dar la fel de imatur. El este executantul lui Rainer, ascultand tot ce spune el fara sa priceapa mare lucru. E mandru ca n-a fost 'pervertit' de arta si literatura, jefuieste pentru bani, nu de dragul de a jefui ca ceilalti si vrea sa devina bogat prin orice mijloace. La final are mila pentru Anna si s-ar multumi si cu ea.
Sophie este o femme fatale, vine dintr-o familie bogata si isi uraste oarecum bunastarea. Atata barbatii dar nu-i satisface niciodata. Ea are rolul de voyeur in cadrul bandei, preferand mai degraba sa se uite decat sa actioneze. Este stilata si bine imbracata iar "murdaria n-o atinge". Este cea care face rost de instructiunile pentru grenada artizanala pe care o si fabrica si cu foarte multa gratie, o si transporta intr-o posetuta la scoala, unde va exploda. Nimeni nu o suspecteaza scapand basma curata si cu asta. Rainer este indragostit de ea compunandu-i poezii romantice si visand sa citeasca impreuna Camus, insa ea nici macar nu-l lasa s-o atinga.
Rainer, creierul bandei este adeptul bataii si jefuirii fara motiv. Isi uraste parintii deoarece tatal sau, fost ofiter SS si fotograf amator de pornografie o agresa des pe mama lui. Este pasionat de literatura, filosofeaza mereu desi nimeni nu-l intelege sau asculta si este indragostit de Sophie, sperand ca va reusi cumva sa se culce cu ea. Sfarsitul lui este neasteptat dar i se potriveste.
Mi-a ramas in minte un citat despre literatura ce suna cam asa:
"... care e la indemana oricui stie sa vorbeasca, pe care n-o stapanesc unii mai bine ca altii, dar pe care si-au adjudecat-o anumiti oameni care nu-si permit o metoda mai buna de a se ridica deasupra mediului in care traiesc."
In concluzie romanul mi-a placut foarte mult si vi-l recomand, mai ales daca sunteti un fan al cartilor lui C. Palahniuk, pentru ca veti gasi in el aceleasi ingrediente explozive care va vor incanta. In acest sens atasez si cateva citate relevante:
"Moartea e oricum degeaba, dar totusi te costa viata."
"...remuscarea nu te fereste de pedeapsa, iar libertatea nu poate fi atinsa decat prin pedeapsa."
"Orice barbat ar vrea sa aiba toate femeile din lume, o femeie in schimb il doreste doar pe barbatul iubit, caruia ii ramane fidela."
"Rainer ii explica lui Hans ca nu trebuie sa ai gandire de scriitor daca esti muncitor."
"Frica si excitatia pot sa-l termine de tot pe un om neterminat."
"Cel mai puternic instinct al omului e sa se elibereze de munca manuala. In acest scop, orice mijloc i se pare potrivit."
"De altfel, nu exista niciu un fel de legi ale artei, fiindca arta este arta tocmai prin faptul ca nu asculta de legi."
"Printre altele, unui artist i se vede in ochi talentul, care arde in adancul lor."
"... daca nu ti-ar fi frica de nimic, n-ai avea nevoie sa urasti si atunci s-ar instala o indiferenta searbada. Decat asa mai bine mort."
October 18, 2024
Vier Freunde auf Abwegen im Wien der 1950er 鈥� eine allegorisch-gewiefte Groteske
Inhalt: 4/5 Sterne (intensiv, aber episodisch)
Form: 5/5 Sterne (subversiv-autonom)
贰谤锄盲丑濒蝉迟颈尘尘别: 5/5 Sterne (kreativ-auktorial)
Komposition: 2/5 Sterne (zu szenisch, abstrakt)
Leseerlebnis: 5/5 Sterne (mitrei脽end, aufreibend)
Jelineks 1980 erschienener Roman leitet die mittlere Phase ihres Schaffens ein und findet nach 眉产别谤 mit ihren H枚hepunkt. Im Gegensatz zu diesen verarbeitet sie in Die Ausgesperrten dezidiert andere literarische Werke wie Albert Camus鈥� , Anthony Burgess und Jean-Paul Sartres . Im Zentrum des Geschehens stehen vier Freunde:
Gleich gehen Rainer und Anna zu Sophie, Anna, um dort vielleicht auf Hans zu sto脽en, Rainer, um Sophie zu erkl盲ren, weswegen man erbarmungslos zu sein hat, gegen sich und andere. Aber noch mehr gegen andere. Unter seiner Anf眉hrung und Anleitung wird ein Verbrechen stattfinden und hoffentlich ein weiteres, und das ist erst der Anfang der Verbrecherlaufbahn.
Rainer und Anna Witkowski, Zwillinge, und Kinder eines nunmehr einbeinigen SS-Soldaten, der seine Frau, ihre Mutter, schl盲gt und mit ihr Hobby-Pornografien anfertigt, tr盲umen davon, ihrem kleinb眉rgerlichen Alltag zu entkommen. Rainer will Literatur, Anna klassische Musikerin werden. Im Grunde wollen aber beide eine wohlhabende Existenz wie Sophie Pachhofen f眉hren, die Tennis spielt, Porsche f盲hrt und Reiten geht. Alle drei kennen sich aus dem Gymnasium, Hans Sepp, ein Arbeiterkind, und ein paar Jahre 盲lter, lebt in der Nachbarschaft der Witkowskis und liebt wie Rainer Sophie, wohingegen Anna ein Auge auf Hans geworfen hat. Als gemeinsames Hobby und unter Rainers Anleitung und Einweisung rauben sie Passanten auf und verm枚beln sie:
Anna sagt nichts mehr, sondern leckt nachdenklich Salz vom Opferschwei脽 und Blut aus den Opferkratzern von ihrer rechten Hand, der Schlaghand, was Rainer mit einem lobenden Blick bedenkt, was Sophie leicht ekelt, und was Hans dazu treibt, ihr auf die Finger zu hauen. Du Ferkel.
Mit Neologismen, Sprachspielen und Kalauern unterwandert Jelinek die M盲r, dass Bildung zu Empathie, Belesenheit zur Freundlichkeit, Humanismus zum Sanftmut f眉hrt. Allen drei steht nur eines vor Augen: ihrem Leben eine W眉rze und eine Intensit盲t zu geben, und dies m枚glich kostenfrei, also mit Perversionen. Rhythmisch, synkopisch, zerhackt als Episodenpsychogramm dargestellt, geht Jelinek szenisch, dramaturgisch vor und l盲sst ihre Figuren wie auf der B眉hne spielen und zieht in diesem Roman noch keine klare Trennlinie (kompositorisch) zu ihrer Theaterarbeit. Sprachlich, inhaltlich alleinstehend st枚ren die harten Schnitte, hier und da deuten sich aber bereits die f眉r die sp盲te Jelinek typischen subversiv-deskriptiven Passagen an:
Bald verlieren sich ihre [der Freunde] trompetenden Atemst枚脽e zwischen auslagenlosen Wohnblocks, wo gerade diverse Abendessen serviert und die Zeitungsneuigkeiten verschlungen werden. Und es verlieren sich ihre wei脽en jungen und sehr lebendigen Silhouetten zwischen grauen Betonfronten. Wei脽e Schlieren in einer sich mit rasender Geschwindigkeit drehenden Glasmurmel. Kreis im Wasser, w盲hrend der Stein darin versinkt.
Die auktoriale Erz盲hlinstanz dominiert das Geschehen, rei脽t Witze und verbl枚delt die Figuren und verleiht ihnen dadurch eine harte, klare narrative Realit盲t, die das Marionettenhafte in den Hintergrund treten lassen. Die 贰谤锄盲丑濒蝉迟颈尘尘别 selbst verschafft sich rational-pragmatisch, humoristisch, wie satirisch Distanz zum Geschehen, das dadurch umso grausamer zur Geltung zu kommen vermag. In letzter Zeit hat Raphaela Edelbauer in an Die Ausgesperrten angeschlossen, aber verfehlt die literarische, sprachliche, symbolische Radikalit盲t und Intensit盲t, mit denen Elfriede Jelinek wie gewohnt Scham und Ekel zum Anlass nimmt, sich von nichts und niemandem bange machen zu lassen, und so aus ihnen Mut ex negativo fabriziert.
---------------------------------
---------------------------------
Details 鈥� ab hier Spoilergefahr (zur Erinnerung f眉r mich):
---------------------------------
---------------------------------
Inhalt: Roman beginnt mit einem 脺berfall auf einen Prokuristen durch die vier Hauptfiguren: Hans, ein Arbeiterkind, dessen Vater in Mauthausen als Sozialdemokrat get枚tet wurden, und dessen Mutter immer noch arbeiterbewegt f眉r deren Sache einzustehen versucht und ihren Sohn daran erinnert, sich nicht mit Kleinb眉rgern einzulassen; Rainer und Anna, Sohn eines SS-Mannes, der einbeinig seine Frau schl盲gt und mit ihr Pornobilder fabriziert; und Sophie, die aus reichen Verh盲ltnissen stammt, eine Mutter hat, die Chemikerin ist. Eigentlicher Plot: Rainer treibt seine Freunde dazu an, Verbrechen zu begehen; wird aber am Ende von Sophie 眉产别谤trumpft, die eine Wurfbombe im Gymnasium z眉ndet. Daneben die Liebesgeschichten: Rainer versucht bei Sophie zu landen, blitzt aber ab; Sophie l盲sst sich auf keine Tiefergestellten ein, aber bringt Hans dazu, der auch in sie verliebt ist, vor ihr zu onanieren. Dann noch die Liebesgeschichte von Anna zu Hans, die nahezu am Ende einem Happy End entgegenstrebt, als diese ihn vom Werkstor abholt und sie sich auf eine Radtour verabreden. Bevor dies aber passiert, metzelt, um seine Besonderheit und Singularit盲t zu beweisen, Rainer seine ganze Familie ab. Sophie wird in die Schweiz gehen, und was mit Hans passiert, wei脽 keiner.
鈥� vgl. Sartres Die Eingeschlossenen von Altona, Kriegsschuld, Vater, Sohn, Ausflug mit dem Auto aufs Land. Isolation des Vaters. Und klar Uhrwerk Orange wegen der Jugendkriminalit盲t und der im Buch erw盲hnte Roman Der Fremde, in welchem die Hauptfigur auch einen Mord begeht.
鈥� episodisch, dramatisch interessant erz盲hlt, mit H枚hepunkten, keinen Strecken, klar inszeniert, etwas gewollt, hier und da, ein paar sehr theatrale Einf盲lle, aber insgesamt stimmig, in Atmosph盲re und Setting, glaubhafte Dialoge, Figuren. Episoden f眉hren aber zu einem Abzug, da hierdurch die narrative Immersion gebrochen wird. Es gibt keine durchg盲ngige Raumzeit.
--> 4 Sterne
Form: Neologismen, heftige Aufwallungen, zerst枚rerische, rei脽erische Sprache, die sich selbst unterwandert, mit Kalauern, Reimen, Melodik, Zitate und Paraphrase spielt. Die symbolische Decke wird zum Einrei脽en gebracht. Genaues Lesen vonn枚ten, bis in die letzten Fugungen hinein poetisiert. Sehr eigenst盲ndige erz盲hlerische Autonomie --> 5 Sterne
贰谤锄盲丑濒蝉迟颈尘尘别: Auktorial, dezidiert allwissend, und gegen die Figuren 眉产别谤heblich, ohne ihnen die Plausibilit盲t zu nehmen, nimmt die Gedanken ernst, bewertet sie, schweift ab, verdichtet, rhythmisiert, verschafft 脺berg盲nge und Interferenzen und 脺berblendungen. Tats盲chlich au脽ergew枚hnlich gelungenes auktoriales Erz盲hlen aus dem Hintergrund mit Aufrufen, Witz und Schwung. --> 5 Sterne
Komposition: Episodenhaft, etwas schematisch inszeniert, fast wie ein Theaterst眉ck und Drehbuch, daher fehlende l盲ngere beschreibende Passagen, nicht ganz romanhaft, dadurch, fast ein Zwitter, w盲re nicht die 贰谤锄盲丑濒蝉迟颈尘尘别. Das Episodenhafte wirkt dennoch rei脽brettartig und hat etwas gek眉nstelt, gewolltes, abstraktes, das nicht aus dem Inhaltlichen, den Setting hervorgeht. Hierzu h盲tte es einer klareren Rahmenwirkung bedurft (die Stadt Wien, die Landschaft etc 鈥�); zudem 盲rgerlich klare Parteilichkeit f眉r die Mutter von Rainer, daher fast Manifestcharakter, kommunistische Polemik gegen die kleinb眉rgerliche Sozialdemokratie --> 2 Sterne
Inhalt: 4/5 Sterne (intensiv, aber episodisch)
Form: 5/5 Sterne (subversiv-autonom)
贰谤锄盲丑濒蝉迟颈尘尘别: 5/5 Sterne (kreativ-auktorial)
Komposition: 2/5 Sterne (zu szenisch, abstrakt)
Leseerlebnis: 5/5 Sterne (mitrei脽end, aufreibend)
Jelineks 1980 erschienener Roman leitet die mittlere Phase ihres Schaffens ein und findet nach 眉产别谤 mit ihren H枚hepunkt. Im Gegensatz zu diesen verarbeitet sie in Die Ausgesperrten dezidiert andere literarische Werke wie Albert Camus鈥� , Anthony Burgess und Jean-Paul Sartres . Im Zentrum des Geschehens stehen vier Freunde:
Gleich gehen Rainer und Anna zu Sophie, Anna, um dort vielleicht auf Hans zu sto脽en, Rainer, um Sophie zu erkl盲ren, weswegen man erbarmungslos zu sein hat, gegen sich und andere. Aber noch mehr gegen andere. Unter seiner Anf眉hrung und Anleitung wird ein Verbrechen stattfinden und hoffentlich ein weiteres, und das ist erst der Anfang der Verbrecherlaufbahn.
Rainer und Anna Witkowski, Zwillinge, und Kinder eines nunmehr einbeinigen SS-Soldaten, der seine Frau, ihre Mutter, schl盲gt und mit ihr Hobby-Pornografien anfertigt, tr盲umen davon, ihrem kleinb眉rgerlichen Alltag zu entkommen. Rainer will Literatur, Anna klassische Musikerin werden. Im Grunde wollen aber beide eine wohlhabende Existenz wie Sophie Pachhofen f眉hren, die Tennis spielt, Porsche f盲hrt und Reiten geht. Alle drei kennen sich aus dem Gymnasium, Hans Sepp, ein Arbeiterkind, und ein paar Jahre 盲lter, lebt in der Nachbarschaft der Witkowskis und liebt wie Rainer Sophie, wohingegen Anna ein Auge auf Hans geworfen hat. Als gemeinsames Hobby und unter Rainers Anleitung und Einweisung rauben sie Passanten auf und verm枚beln sie:
Anna sagt nichts mehr, sondern leckt nachdenklich Salz vom Opferschwei脽 und Blut aus den Opferkratzern von ihrer rechten Hand, der Schlaghand, was Rainer mit einem lobenden Blick bedenkt, was Sophie leicht ekelt, und was Hans dazu treibt, ihr auf die Finger zu hauen. Du Ferkel.
Mit Neologismen, Sprachspielen und Kalauern unterwandert Jelinek die M盲r, dass Bildung zu Empathie, Belesenheit zur Freundlichkeit, Humanismus zum Sanftmut f眉hrt. Allen drei steht nur eines vor Augen: ihrem Leben eine W眉rze und eine Intensit盲t zu geben, und dies m枚glich kostenfrei, also mit Perversionen. Rhythmisch, synkopisch, zerhackt als Episodenpsychogramm dargestellt, geht Jelinek szenisch, dramaturgisch vor und l盲sst ihre Figuren wie auf der B眉hne spielen und zieht in diesem Roman noch keine klare Trennlinie (kompositorisch) zu ihrer Theaterarbeit. Sprachlich, inhaltlich alleinstehend st枚ren die harten Schnitte, hier und da deuten sich aber bereits die f眉r die sp盲te Jelinek typischen subversiv-deskriptiven Passagen an:
Bald verlieren sich ihre [der Freunde] trompetenden Atemst枚脽e zwischen auslagenlosen Wohnblocks, wo gerade diverse Abendessen serviert und die Zeitungsneuigkeiten verschlungen werden. Und es verlieren sich ihre wei脽en jungen und sehr lebendigen Silhouetten zwischen grauen Betonfronten. Wei脽e Schlieren in einer sich mit rasender Geschwindigkeit drehenden Glasmurmel. Kreis im Wasser, w盲hrend der Stein darin versinkt.
Die auktoriale Erz盲hlinstanz dominiert das Geschehen, rei脽t Witze und verbl枚delt die Figuren und verleiht ihnen dadurch eine harte, klare narrative Realit盲t, die das Marionettenhafte in den Hintergrund treten lassen. Die 贰谤锄盲丑濒蝉迟颈尘尘别 selbst verschafft sich rational-pragmatisch, humoristisch, wie satirisch Distanz zum Geschehen, das dadurch umso grausamer zur Geltung zu kommen vermag. In letzter Zeit hat Raphaela Edelbauer in an Die Ausgesperrten angeschlossen, aber verfehlt die literarische, sprachliche, symbolische Radikalit盲t und Intensit盲t, mit denen Elfriede Jelinek wie gewohnt Scham und Ekel zum Anlass nimmt, sich von nichts und niemandem bange machen zu lassen, und so aus ihnen Mut ex negativo fabriziert.
---------------------------------
---------------------------------
Details 鈥� ab hier Spoilergefahr (zur Erinnerung f眉r mich):
---------------------------------
---------------------------------
Inhalt: Roman beginnt mit einem 脺berfall auf einen Prokuristen durch die vier Hauptfiguren: Hans, ein Arbeiterkind, dessen Vater in Mauthausen als Sozialdemokrat get枚tet wurden, und dessen Mutter immer noch arbeiterbewegt f眉r deren Sache einzustehen versucht und ihren Sohn daran erinnert, sich nicht mit Kleinb眉rgern einzulassen; Rainer und Anna, Sohn eines SS-Mannes, der einbeinig seine Frau schl盲gt und mit ihr Pornobilder fabriziert; und Sophie, die aus reichen Verh盲ltnissen stammt, eine Mutter hat, die Chemikerin ist. Eigentlicher Plot: Rainer treibt seine Freunde dazu an, Verbrechen zu begehen; wird aber am Ende von Sophie 眉产别谤trumpft, die eine Wurfbombe im Gymnasium z眉ndet. Daneben die Liebesgeschichten: Rainer versucht bei Sophie zu landen, blitzt aber ab; Sophie l盲sst sich auf keine Tiefergestellten ein, aber bringt Hans dazu, der auch in sie verliebt ist, vor ihr zu onanieren. Dann noch die Liebesgeschichte von Anna zu Hans, die nahezu am Ende einem Happy End entgegenstrebt, als diese ihn vom Werkstor abholt und sie sich auf eine Radtour verabreden. Bevor dies aber passiert, metzelt, um seine Besonderheit und Singularit盲t zu beweisen, Rainer seine ganze Familie ab. Sophie wird in die Schweiz gehen, und was mit Hans passiert, wei脽 keiner.
鈥� vgl. Sartres Die Eingeschlossenen von Altona, Kriegsschuld, Vater, Sohn, Ausflug mit dem Auto aufs Land. Isolation des Vaters. Und klar Uhrwerk Orange wegen der Jugendkriminalit盲t und der im Buch erw盲hnte Roman Der Fremde, in welchem die Hauptfigur auch einen Mord begeht.
鈥� episodisch, dramatisch interessant erz盲hlt, mit H枚hepunkten, keinen Strecken, klar inszeniert, etwas gewollt, hier und da, ein paar sehr theatrale Einf盲lle, aber insgesamt stimmig, in Atmosph盲re und Setting, glaubhafte Dialoge, Figuren. Episoden f眉hren aber zu einem Abzug, da hierdurch die narrative Immersion gebrochen wird. Es gibt keine durchg盲ngige Raumzeit.
--> 4 Sterne
Form: Neologismen, heftige Aufwallungen, zerst枚rerische, rei脽erische Sprache, die sich selbst unterwandert, mit Kalauern, Reimen, Melodik, Zitate und Paraphrase spielt. Die symbolische Decke wird zum Einrei脽en gebracht. Genaues Lesen vonn枚ten, bis in die letzten Fugungen hinein poetisiert. Sehr eigenst盲ndige erz盲hlerische Autonomie --> 5 Sterne
贰谤锄盲丑濒蝉迟颈尘尘别: Auktorial, dezidiert allwissend, und gegen die Figuren 眉产别谤heblich, ohne ihnen die Plausibilit盲t zu nehmen, nimmt die Gedanken ernst, bewertet sie, schweift ab, verdichtet, rhythmisiert, verschafft 脺berg盲nge und Interferenzen und 脺berblendungen. Tats盲chlich au脽ergew枚hnlich gelungenes auktoriales Erz盲hlen aus dem Hintergrund mit Aufrufen, Witz und Schwung. --> 5 Sterne
Komposition: Episodenhaft, etwas schematisch inszeniert, fast wie ein Theaterst眉ck und Drehbuch, daher fehlende l盲ngere beschreibende Passagen, nicht ganz romanhaft, dadurch, fast ein Zwitter, w盲re nicht die 贰谤锄盲丑濒蝉迟颈尘尘别. Das Episodenhafte wirkt dennoch rei脽brettartig und hat etwas gek眉nstelt, gewolltes, abstraktes, das nicht aus dem Inhaltlichen, den Setting hervorgeht. Hierzu h盲tte es einer klareren Rahmenwirkung bedurft (die Stadt Wien, die Landschaft etc 鈥�); zudem 盲rgerlich klare Parteilichkeit f眉r die Mutter von Rainer, daher fast Manifestcharakter, kommunistische Polemik gegen die kleinb眉rgerliche Sozialdemokratie --> 2 Sterne
July 21, 2024
Elfriede Jelinek鈥檌n ismini 枚zellikle Piyanist filmi ve Nobel鈥檇en 枚t眉r眉 莽ok duysam da herhangi bir kitab谋n谋 okumam谋艧t谋m. D谋艧arda Kalanlar鈥櫮眓 bu a莽谋dan 艧ahane bir tan谋艧ma oldu臒unu s枚yleyebilirim. 1950鈥檒erin sonunda, Viyana鈥檇a farkl谋 sosyal kesimlerden gelen d枚rt gencin hikayesini okudu臒umuz metin okuyucuyu rahats谋z etme 眉st眉ne kurulu. Do臒rusu bunu da lay谋臒谋yla yap谋yor. Uzun zamand谋r bu kadar buz gibi hissettiren bir romanla kar艧谋la艧mam谋艧t谋m. Hemen hi莽bir karakterin elle tutulur bir yan谋 yok. Kimseyi sevmek m眉mk眉n de臒il. A臒谋r 艧iddet sahnelerinde bile 枚yle bir atmosfer yarat谋yor ki yazar d谋艧arda kalan bir izleyici gibi olan谋 biteni izlemekle yetiniyoruz sadece. B眉y眉k bir huzursuzlukla ba艧 ba艧a kal谋yoruz tabii. Karakterler aras谋 bir a艧k 眉莽geni var ki orada bile bir 艧ey hissetmek 莽ok zor. Edebiyatla bu etkiyi yaratabilmek 莽ok kolay de臒il ku艧kusuz. Sava艧 sonras谋 Avusturya鈥檚谋na daha do臒rusu Avusturya toplumuna dair 枚nemli tespitleri var yazar谋n. Gen莽ler 眉zerinden anlam aray谋艧谋n谋, bireyin de toplumun da nas谋l bir bo艧lu臒un i莽erisinde oldu臒unu g枚steriyor. Eski Naziler, i艧莽i s谋n谋f谋, aristokratlar vs. hepsi bu ele艧tirilerden nasibini al谋yor. 艦iddetin hemen her t眉rl眉s眉n眉n nas谋l kendine yer edindi臒ini de ayn谋 艧ekilde 莽ok g眉zel 艧ekilde anlat谋yor. Benzetmek gerekirse tam bir Michael Haneke filmi izlemi艧 gibi hissediyorsunuz. Piyanist鈥檌 uyarlayan谋n da Haneke olmas谋 kesinlikle tesad眉f de臒il yani bunu kesin olarak anlad谋m. O nas谋l 鈥渋zleyicime huzursuz seyirler dilerim鈥� diyorsa, Jelinek de okuyucusuna ayn谋s谋n谋 diyor. Hi莽 ac谋madan sa臒l谋 sollu bas谋yor tokad谋. T眉m g眉c眉 de burada yat谋yor. Jelinek鈥檌n di臒er eserlerini okumak i莽in sab谋rs谋zlan谋yorum.
December 11, 2014
It is not surprising that Elfriede Jelinek religiously maintains her exact same tone throughout this fine and caustic work. Covered by molasses would be a fair analogy to the feeling I get as she expresses her cynicism, irony, and sarcasm in her clever use of dialogue and action. She is extremely facetious in all her chronological accountings. Even if most of her words somehow avoid a physical eruption in my body they still live as a drip inside my head. And because of her chosen words and depictions this book then proves to be one of the most violent books I have ever put my eyes to. Cormac McCarthy鈥檚 Judge in has absolutely nothing over Jelinek the Writer. She is most brutal in her presentation and reasoning. Her justifications on the page are brutally honest attempts to seek the truth behind all behaviors. Sadly, for me, there are few instances, if any, when this book actually becomes a joy to read. It remains always difficult, and Jelinek seems to be challenging the reader to get beyond the typical desire to be suspended from reality and occasionally transported out of one鈥檚 life. She instead duly rams her diseased and harsh palpability into the face of every hungry reader looking for a better escape. Elfriede Jelinek is a force to be reckoned with. She is waiting.
February 18, 2022
3.5 猸愶笍
Two things I gleaned from this:
1. Jelinek is wholly devoted to the misery that history vomits out, downright swims through it in uncompromising and brutally austere ways not many would dare, to the point where there鈥檚 no enjoyment, no pleasurable mode of reading attached to this, only a lingering unease with every page.
2. She might well be one of my new favorite authors.
Two things I gleaned from this:
1. Jelinek is wholly devoted to the misery that history vomits out, downright swims through it in uncompromising and brutally austere ways not many would dare, to the point where there鈥檚 no enjoyment, no pleasurable mode of reading attached to this, only a lingering unease with every page.
2. She might well be one of my new favorite authors.
January 29, 2024
O powojennym nihilizmie, powtarzaj膮cej si臋 spirali przemocy i problemach z rozliczeniem z przesz艂o艣ci膮. Jelinek bywa naprawd臋 trafna w swoich ocenach dotycz膮cych spo艂ecze艅stwa, nic dziwnego wi臋c, 偶e tyle os贸b jej nienawidzi. Du偶o bardziej ironiczna i cyniczna ni偶 鈥濸ianistka鈥�, tak samo 艣wietnie napisana, ale nie porwa艂a mnie a偶 tak bardzo- lepiej sprawdzi艂oby si臋 dla mnie skupienie na jednostce lub chocia偶by na rodze艅stwie. Nadal mocne 3.5.
March 27, 2014
Suffering is for sissies, full blown hurting is order of the day!
"Anna despises two classes of people: first, those who own their own homes and have cars and families, and second, everybody else. Constantly she is on the verge of exploding." Pretty much sums up the tone of this novel.
The setting is post-war Austria, late 1950s. After signing a treaty, occupied forces had left Austria. Bourgeois war criminals have been forgiven and taken back the reins of Austria again. Past fascist crimes and skeletons are comfortably hidden in closets. Economic bloom.
Elfride Jelenik's 'Wondeful, Wonderful Times' explores a few weeks of four violent adolescents' activities. Novel starts with a violence, wherein these four youths attack and loot a complete stranger, out for walking in municipal park. The novel ends with an even more brutal violence. Rest of the fiction involves depicting darker sides of human beings. Compared to 'The Piano Teacher' and 'Lust', this novel has more characters, 7 to be precise. So, it naturally gives Ms. Jelenik more opportunities to explore filthy side of human beings in turmoil. And, she capitalized it wonderfully.
The foursome is a worthy enough sample to explore class structures and conflicts. One (Hans) is from an working class family rooted in socialism, two (Rainer & Anna) are from a petite bourgeois family, whose father is an ex-SS. Remaining one (Sophie) is from an aristocratic family, which made fortunes during war time, using forced laborers. While Hans and Sophie could elude the madness because of aspiration for economic ascent and assured financial foundation respectively, it is an irony that Rainer and Anna gradually degenerate into ashes.
Pessimism, Domestic abuse, Perversion, Misanthropism, Brutal crimes, Cowardice, Misunderstood Existentialism, Depression, House corners with piled up garbage, Dirt, Sweat, Hatred, Humiliation鈥� About three fourth into the novel, paused a moment to wonder why was I reading this book. Do we really need these kind of books? Life is no fairy tale! And, life is not only of misery things either! However, not many dare to explore these dark areas. Of them, only a few can handle with surgeon like precision. Ms. Jelenik's impassive approach in this novel is really a rarity in fiction writing. Whereas 'A Clockwork Orange', Charles Bukawski's novels and other transgressive fictions sometimes tend to show crimes in glamorous light and tempt a reader into filthiness, Ms. Jelenik's characters at best emote only pity for them. You despise their acts, you despise their characters, but you never want to be one of them. Ms. Jelenik cleverly employs voices and mocking counter voices with a dry humor. Every other line makes you to laugh and cry at the same time.
Do not get misled by the title, it is about anything but of wonderful times.
"Anna despises two classes of people: first, those who own their own homes and have cars and families, and second, everybody else. Constantly she is on the verge of exploding." Pretty much sums up the tone of this novel.
The setting is post-war Austria, late 1950s. After signing a treaty, occupied forces had left Austria. Bourgeois war criminals have been forgiven and taken back the reins of Austria again. Past fascist crimes and skeletons are comfortably hidden in closets. Economic bloom.
Elfride Jelenik's 'Wondeful, Wonderful Times' explores a few weeks of four violent adolescents' activities. Novel starts with a violence, wherein these four youths attack and loot a complete stranger, out for walking in municipal park. The novel ends with an even more brutal violence. Rest of the fiction involves depicting darker sides of human beings. Compared to 'The Piano Teacher' and 'Lust', this novel has more characters, 7 to be precise. So, it naturally gives Ms. Jelenik more opportunities to explore filthy side of human beings in turmoil. And, she capitalized it wonderfully.
The foursome is a worthy enough sample to explore class structures and conflicts. One (Hans) is from an working class family rooted in socialism, two (Rainer & Anna) are from a petite bourgeois family, whose father is an ex-SS. Remaining one (Sophie) is from an aristocratic family, which made fortunes during war time, using forced laborers. While Hans and Sophie could elude the madness because of aspiration for economic ascent and assured financial foundation respectively, it is an irony that Rainer and Anna gradually degenerate into ashes.
Pessimism, Domestic abuse, Perversion, Misanthropism, Brutal crimes, Cowardice, Misunderstood Existentialism, Depression, House corners with piled up garbage, Dirt, Sweat, Hatred, Humiliation鈥� About three fourth into the novel, paused a moment to wonder why was I reading this book. Do we really need these kind of books? Life is no fairy tale! And, life is not only of misery things either! However, not many dare to explore these dark areas. Of them, only a few can handle with surgeon like precision. Ms. Jelenik's impassive approach in this novel is really a rarity in fiction writing. Whereas 'A Clockwork Orange', Charles Bukawski's novels and other transgressive fictions sometimes tend to show crimes in glamorous light and tempt a reader into filthiness, Ms. Jelenik's characters at best emote only pity for them. You despise their acts, you despise their characters, but you never want to be one of them. Ms. Jelenik cleverly employs voices and mocking counter voices with a dry humor. Every other line makes you to laugh and cry at the same time.
Do not get misled by the title, it is about anything but of wonderful times.
May 25, 2009
Austria must be a really fucked up place. Granted, this perception is based almost solely upon the films of Michael Haneke, and now, the books of Elfriede Jelinek (who also wrote The Piano Teacher which Haneke made into a film)
In this story, four intellectual and rebellious teenagers commit a series of violent crimes just for the sake of violence. In their spare time they misread existentialist works, go to school, have terrible family-lives, and some fuck people as a form of manipulation. The twins, Rainer and Anna are the most despicable and pathetic, but rich girl Sophie and lower class Hans are right up there. The characters are in no way meant to be sympathetic, and are meant to satirize post-war Austria; dealing with Nazi pasts, xenophobia, and sexual perversions.
This book reads very much like a Haneke film, so for that reason, most certainly cannot be recommended to nearly anyone. However, if one finds those films interesting and has a stomach for disturbing scenes, then Wonderful Wondeful Times may be worth your attention.
In this story, four intellectual and rebellious teenagers commit a series of violent crimes just for the sake of violence. In their spare time they misread existentialist works, go to school, have terrible family-lives, and some fuck people as a form of manipulation. The twins, Rainer and Anna are the most despicable and pathetic, but rich girl Sophie and lower class Hans are right up there. The characters are in no way meant to be sympathetic, and are meant to satirize post-war Austria; dealing with Nazi pasts, xenophobia, and sexual perversions.
This book reads very much like a Haneke film, so for that reason, most certainly cannot be recommended to nearly anyone. However, if one finds those films interesting and has a stomach for disturbing scenes, then Wonderful Wondeful Times may be worth your attention.
September 30, 2019
"兀賳丕 賱丕 兀毓乇賮 廿賱丕 兀賳賳賷 賯丕丿乇 毓賱賶 賮毓賱 兀卮賷丕亍 亘卮毓丞 亘卮丕毓丞 賱丕 賷鬲氐賵乇賴丕 兀丨丿貙 賵兀賳賳賷 兀爻賷胤乇 毓賱賶 賳賮爻賷 賱賰賷 賱丕 兀毓賲賱賴丕."
January 11, 2025
Titulo: Los excluidos
Autor: Elfriede Jelinek
Motivo de lectura: #RetoPremios2024
Lectura / Relectura: Lectura
Fisico / Electronico: Electronico
Mi edicion: -
Puntuacion: 3.5/5
B谩sicamente seguimos un grupo adolescente lidiando con su d铆a a d铆a, con la sociedad, con el despertar sexual.
Este es un grupo muy particular donde la din谩mica grupal se basa en aspectos realmente muy negativos, desde la perversi贸n con rasgos psic贸patas, la manipulaci贸n sexual, y las acciones sin escr煤pulos est谩n a la orden del d铆a.
Lo que m谩s destacar铆a es la prosa de la autora, a pesar del horror, es realmente bella su manera de escribir.
El final? Simplemente brutal (aunque no me sorprendio).
Autor: Elfriede Jelinek
Motivo de lectura: #RetoPremios2024
Lectura / Relectura: Lectura
Fisico / Electronico: Electronico
Mi edicion: -
Puntuacion: 3.5/5
B谩sicamente seguimos un grupo adolescente lidiando con su d铆a a d铆a, con la sociedad, con el despertar sexual.
Este es un grupo muy particular donde la din谩mica grupal se basa en aspectos realmente muy negativos, desde la perversi贸n con rasgos psic贸patas, la manipulaci贸n sexual, y las acciones sin escr煤pulos est谩n a la orden del d铆a.
Lo que m谩s destacar铆a es la prosa de la autora, a pesar del horror, es realmente bella su manera de escribir.
El final? Simplemente brutal (aunque no me sorprendio).
September 5, 2016
Wonderful, Wonderful Times
鈥淚n reality I am revolted by my desires. But the desires are stronger than I am.鈥�
Music annihilates distinction: The indistinct chords promise the fine-tune of harmony, of melody, of strings, flutes, clarinets, and voices working in perfect order; while the distinct chords, forever straining under the musician鈥檚 adept fingers, revolt against the oppressive order; their harsh, inconsonant sounds in the milieu of musical grandiosity, struggle to remain stiff and alone, but alas, they must give away, the musician argues; the musician beats one more time, and the chords, both distinct and indistinct, sounding the beat of pleasure and pain, reach a crescendo; the musician smiles, the crowd applauses, the violence of annihilation fills them with ecstasy.
Elfriede Jelinek鈥檚 鈥淲onderful, Wonderful Times鈥�, set in the post-war Austria (late 1950s), which is struggling to get on its feet after a failed Socialist uprising and suffering the wounds of defeat in the Second World War, charts the story of four teenagers and how they spend their everyday lives engaging in wanton acts of cold-blooded violence. The novelization is haunting, for part it mostly focuses on the internal thoughts of characters, and the characters are an unlikeable lot. 鈥淧eople should not be beaten up for the reasons of hatred but for no reason at all, it should be an end in itself, admonishes her brother, Rainer.鈥� The forewarning appears in the beginning of the novel, where the four teenagers assault an unguarded foreigner. While describing the attack, Jelinek makes every attempt to normalize it. The attack is seen as a direct result of the baggage of hatred the people of her country carry after the war. It鈥檚 important to keep the context in perspective while reading her novel.
The events are described in astonishing fluidity. All sorts of perversions take place. The one-legged father beats up his wife and kids to make up for loss of his masculinity- possibly resulting from seeing the carnage of naked women and a failed Nazi uprising; he ogles in public, takes naked pictures of his wife, and uses every tool to inflict violence upon her. His son, Rainer, sworn to a life of an artist, which he sees as full of opportunities to assert one-self and create a cult of own, dabbles in existential literature and uses it to exhort others to rationalize their deviant urges. The teenagers, tired by the misery, drudgery, and squalor of the country, find refuge and freedom in their wanton acts. They steal, assault, and even kill. 鈥淲e need the universally valid norm to get a kick out of our own extremeness.鈥�
Jelinek鈥檚 tone is hateful and repugnant. Be it an artist or a philistine, no one is spared. The acrid stench issues out of every word and pore of this book, till the bile is clogged in the reader鈥檚 throat. Yet she sustains it by her passion of reading into human behavior in times of desperation. She sees 鈥榝ilth鈥� as a natural phenomenon, if one is left to one鈥檚 wild, untamed instincts. 鈥淓very child is instinctively drawn towards filth, till you pull it back.鈥�
鈥淲onderful, Wonderful Times鈥� is intensely harrowing. The final act of the book left me running for the covers. It鈥檚 steeped in decadence, violence, and sexual depravity and treats these as natural processes for understanding human mind and behavior. There are times when the book goes overboard and become a parody of it-self; but such instances are rare and are overshadowed by the brute force of Jelinek鈥檚 literary power. The teenagers are sexually voracious, self-willed, angry individuals who threaten and demonize the stifling order that enfolds them. This is the angriest and scariest book that I鈥檝e ever read. Her work reverberates like chamber music. It doesn鈥檛 attempt to challenge anything. It only shows. In that way, it鈥檚 a spectacle: take it or leave it.
鈥淚n reality I am revolted by my desires. But the desires are stronger than I am.鈥�
Music annihilates distinction: The indistinct chords promise the fine-tune of harmony, of melody, of strings, flutes, clarinets, and voices working in perfect order; while the distinct chords, forever straining under the musician鈥檚 adept fingers, revolt against the oppressive order; their harsh, inconsonant sounds in the milieu of musical grandiosity, struggle to remain stiff and alone, but alas, they must give away, the musician argues; the musician beats one more time, and the chords, both distinct and indistinct, sounding the beat of pleasure and pain, reach a crescendo; the musician smiles, the crowd applauses, the violence of annihilation fills them with ecstasy.
Elfriede Jelinek鈥檚 鈥淲onderful, Wonderful Times鈥�, set in the post-war Austria (late 1950s), which is struggling to get on its feet after a failed Socialist uprising and suffering the wounds of defeat in the Second World War, charts the story of four teenagers and how they spend their everyday lives engaging in wanton acts of cold-blooded violence. The novelization is haunting, for part it mostly focuses on the internal thoughts of characters, and the characters are an unlikeable lot. 鈥淧eople should not be beaten up for the reasons of hatred but for no reason at all, it should be an end in itself, admonishes her brother, Rainer.鈥� The forewarning appears in the beginning of the novel, where the four teenagers assault an unguarded foreigner. While describing the attack, Jelinek makes every attempt to normalize it. The attack is seen as a direct result of the baggage of hatred the people of her country carry after the war. It鈥檚 important to keep the context in perspective while reading her novel.
The events are described in astonishing fluidity. All sorts of perversions take place. The one-legged father beats up his wife and kids to make up for loss of his masculinity- possibly resulting from seeing the carnage of naked women and a failed Nazi uprising; he ogles in public, takes naked pictures of his wife, and uses every tool to inflict violence upon her. His son, Rainer, sworn to a life of an artist, which he sees as full of opportunities to assert one-self and create a cult of own, dabbles in existential literature and uses it to exhort others to rationalize their deviant urges. The teenagers, tired by the misery, drudgery, and squalor of the country, find refuge and freedom in their wanton acts. They steal, assault, and even kill. 鈥淲e need the universally valid norm to get a kick out of our own extremeness.鈥�
Jelinek鈥檚 tone is hateful and repugnant. Be it an artist or a philistine, no one is spared. The acrid stench issues out of every word and pore of this book, till the bile is clogged in the reader鈥檚 throat. Yet she sustains it by her passion of reading into human behavior in times of desperation. She sees 鈥榝ilth鈥� as a natural phenomenon, if one is left to one鈥檚 wild, untamed instincts. 鈥淓very child is instinctively drawn towards filth, till you pull it back.鈥�
鈥淲onderful, Wonderful Times鈥� is intensely harrowing. The final act of the book left me running for the covers. It鈥檚 steeped in decadence, violence, and sexual depravity and treats these as natural processes for understanding human mind and behavior. There are times when the book goes overboard and become a parody of it-self; but such instances are rare and are overshadowed by the brute force of Jelinek鈥檚 literary power. The teenagers are sexually voracious, self-willed, angry individuals who threaten and demonize the stifling order that enfolds them. This is the angriest and scariest book that I鈥檝e ever read. Her work reverberates like chamber music. It doesn鈥檛 attempt to challenge anything. It only shows. In that way, it鈥檚 a spectacle: take it or leave it.
January 3, 2009
鈥淎nd then there was that sentimental Hans Christian Andersen movie. The star killed himself and his wife and children because the wife was Jewish. Before he died he had one final opportunity to display his profoundly humane brand of humor, which was not a destructive sense of humor. That kind of humor only works if it comes from deep inside. Deep inside he was lacerated by fast-acting poison. Some people die less conspicuously and perhaps the torment they suffer is even greater. As it was, his innards were torn apart and all that remained to posterity of the Danish teller of fairy tales was celluloid. Something survived him, at any rate. What wonderful, wonderful times they were. Scorching hot desert sand.鈥�
Not one for the beach...
Not one for the beach...
August 21, 2014
Simple declarative sentences, epigrammatically mapping a deep and troubling national malaise. Seriously, this just pours the vitriol. I wonder if it's possible that Jelinek hates Austria as much Bernhard? In any event these three stars are just my subjective enjoyment of this, which for some reason never fully clicked with the material, though Jelinek is clearly vital and essential. Will be checking out more, perhaps The Piano Teacher, of which the film version is utterly devastating.
September 23, 2016
"You can overlook a cripple deliberately, but not that tie."
February 2, 2022
携 锌褉芯褋褌芯 泻邪泄褎邪薪褍胁 胁褨写 褋谢芯胁械褋薪芯褩 屑邪泄褋褌械褉薪芯褋褌褨. 袨泻褉械屑邪 锌芯写褟泻邪 锌械褉械泻谢邪写邪褔褍 袨泻褋邪薪褨 袣褍褉懈谢邪褋, 褟泻邪 锌械褉械泻谢邪谢邪 褑械 锌褉芯褋褌芯 斜芯卸械褋褌胁械薪芯褞 褍泻褉邪褩薪褋褜泻芯褞 - 褔懈褌邪褌懈 芯写薪械 蟹邪写芯胁芯谢械薪薪褟.
孝胁褨褉 薪械 褏械锌锌褨械薪写芯胁懈泄, 褏芯褔邪 蟹邪 褑懈屑 褋泻芯褉褨褕械 薪邪 薪械褌褎谢褨泻褋. 袛褍卸械 蟹邪泄褕芯胁 薪邪 泻芯薪褌褉邪褋褌褨 蟹 写褉褍谐懈屑 褍泻褉邪褩薪褋褜泻懈屑 褎褨谢褜屑芯屑, 蟹邪 褟泻懈泄 薪械 褋芯褉芯屑薪芯 - "小褌芯锌 蟹械屑谢褟". 袛蟹械褉泻邪谢褜薪邪 褎邪斜褍谢邪 锌褉芯 屑褨卸芯褋芯斜懈褋褌褨 斜邪谐邪褌芯褉褨胁薪械胁褨 褋褌芯褋褍薪泻懈 锌褨写谢褨褌泻褨胁 薪邪 褌谢褨 写芯褎芯褉屑褍胁邪薪薪褟 褋邪屑芯褍褋胁褨写芯屑谢械薪薪褟 褟泻 褨薪褌械谢械泻褌褍邪谢褜薪芯褩 褎褍薪泻褑褨褩 屑懈褋谢械薪薪褟. 袪褨蟹薪褨 褋泻谢邪写懈, 褉褨蟹薪褨 械锌芯褏懈, 褉褨蟹薪褨 泻褉邪褩薪懈, 褉褨蟹薪褨 褋褍褋锌褨谢褜薪褨 泻谢邪褋懈, 邪谢械 褋褏芯卸褨 锌褉芯斜谢械屑懈. 啸芯褔邪, 褔芯屑褍 褟 写懈胁褍褞褋褜?
袧褍 褨 泻褨薪褑褨胁泻邪. 袨褏褏褏褏褏褏褏褏... 袪邪蟹芯屑 蟹 薪械褞 胁褋褟 泻薪懈谐邪 锌褉芯褋褌芯 锌褉芯褋懈褌褜褋褟 薪邪 褎械褋褌懈胁邪谢褜薪械 邪褉褌褏邪褍褋薪械 泻褨薪芯.
孝胁褨褉 薪械 褏械锌锌褨械薪写芯胁懈泄, 褏芯褔邪 蟹邪 褑懈屑 褋泻芯褉褨褕械 薪邪 薪械褌褎谢褨泻褋. 袛褍卸械 蟹邪泄褕芯胁 薪邪 泻芯薪褌褉邪褋褌褨 蟹 写褉褍谐懈屑 褍泻褉邪褩薪褋褜泻懈屑 褎褨谢褜屑芯屑, 蟹邪 褟泻懈泄 薪械 褋芯褉芯屑薪芯 - "小褌芯锌 蟹械屑谢褟". 袛蟹械褉泻邪谢褜薪邪 褎邪斜褍谢邪 锌褉芯 屑褨卸芯褋芯斜懈褋褌褨 斜邪谐邪褌芯褉褨胁薪械胁褨 褋褌芯褋褍薪泻懈 锌褨写谢褨褌泻褨胁 薪邪 褌谢褨 写芯褎芯褉屑褍胁邪薪薪褟 褋邪屑芯褍褋胁褨写芯屑谢械薪薪褟 褟泻 褨薪褌械谢械泻褌褍邪谢褜薪芯褩 褎褍薪泻褑褨褩 屑懈褋谢械薪薪褟. 袪褨蟹薪褨 褋泻谢邪写懈, 褉褨蟹薪褨 械锌芯褏懈, 褉褨蟹薪褨 泻褉邪褩薪懈, 褉褨蟹薪褨 褋褍褋锌褨谢褜薪褨 泻谢邪褋懈, 邪谢械 褋褏芯卸褨 锌褉芯斜谢械屑懈. 啸芯褔邪, 褔芯屑褍 褟 写懈胁褍褞褋褜?
袧褍 褨 泻褨薪褑褨胁泻邪. 袨褏褏褏褏褏褏褏褏... 袪邪蟹芯屑 蟹 薪械褞 胁褋褟 泻薪懈谐邪 锌褉芯褋褌芯 锌褉芯褋懈褌褜褋褟 薪邪 褎械褋褌懈胁邪谢褜薪械 邪褉褌褏邪褍褋薪械 泻褨薪芯.
October 21, 2019
丕賳丕 賲鬲兀賰丿 丕賳 丕賱乇賵丕賷丞 亘丕賱賱睾丞 丕賱丕賱賲丕賳賷丞 丕噩賲賱貙 丕賱鬲乇噩賲丞 賮賷賴丕 賲卮賰賱丞貙 賲卮 賲卮賰賱丞 賱睾賵賷丞貙 賲卮賰賱丞 亘賳丕亍 噩賲賱丞 賮賷 丕賱毓賲賵賲貙 丕賱賷 丨丿 賰亘賷乇 丕賱鬲乇噩賲丞 丨乇賮賷丞.. 賱賰賳 丕賱乇賵丕賷丞 賰乇賵丕賷丞 賮毓賱丕 鬲賲孬賱丕 氐乇丕毓 乇賴賷亘 亘賷賳 爻賷賰賱賵噩賷丕鬲 孬賱丕孬 胤亘賯丕鬲 賲禺鬲賱賮丞 賮賷 丕賱賲噩鬲賲毓貙 丨賯賷賯賷 丕賱丕爻賱賵亘 賵鬲乇鬲賷亘 丕賱賲賵丕賯賮 睾乇賷亘 毓賲乇賷 賲丕 賯乇兀鬲 乇賵丕賷丞 亘丕賱丕爻賱賵亘 賷賲賰賳 丕賱睾乇丕亘丞 丿賷 噩夭亍 賲賳 丕賱氐乇丕毓 丕賱賱賷 亘鬲丨丕賵賱 丕賱賰丕鬲亘丞 鬲賵氐賷賱賴
October 2, 2013
鬲丨丕賵賱 丕賱賰丕鬲亘丞 丕賱賳賲爻丕賵賷賾丞 丕賱丨丕卅夭丞 毓賱賶 噩丕卅夭丞 賳賵亘賱 "廿賱賮乇賷丿賴 賷賱賷賳賰" 丕賱亘丨孬 毓賳 兀爻亘丕亘 丕賱毓賳賮 賱丿賶 丕賱賲乇丕賴賯賷賳 賵丕賱卮亘丕亘 賲賳 禺賱丕賱 賯賷丕賲賴丕 亘鬲卮乇賷丨 賳賮爻賷 賵廿噩鬲賲丕毓賷 賱卮禺氐賷賾丕鬲 丕賱乇賵丕賷丞 丕賱乇卅賷爻賷賾丞 賵丕賱鬲賷 鬲賮乇囟 馗乇賵賮 丕賱亘丨孬 毓賳 鬲賱賰 丕賱兀爻亘丕亘 毓賱賶 丕賱賰丕鬲亘丞 兀賳 鬲賲賳丨 丕賱卮禺氐賷賾丕鬲 丕賱兀禺乇賶 賲賳 丕賱噩賷賱 丕賱兀賰亘乇 丨賷賾夭丕 賰亘賷乇丕 賵賱丕 賷賯賱 兀賴賲賷賾丞 毓賳 丿賵乇 卮禺氐賷賾丕鬲 丕賱卮亘丕亘 丕賱兀乇亘毓丞 賱丿乇噩丞 賷賰丕丿 賷禺鬲賮賷 賲毓賴丕 丕賱丨丕噩夭 亘賷賳 丕賱卮禺氐賷丕鬲 丕賱乇卅賷爻賷賾丞 賵丕賱孬丕賳賵賷丞 賮賷氐亘丨 賱賱噩賲賷毓 丿賵乇賴賲 賵賵噩賵丿賴賲 丕賱兀爻丕爻賷 賮賷 丨亘賰丞 丕賱乇賵丕賷丞 丕賱鬲賷 鬲鬲噩爻賾丿 賮賷 丕賱賵丕賯毓 賲賳 禺賱丕賱 丕賱鬲丨賱賷賱 丕賱賳賮爻賷 丕賱毓賲賷賯 賱賰賱 卮禺氐賷賾丞 亘胤乇賷賯丞 賲賯賳毓丞 賵賵丕賮賷丞貙 賮鬲賰賵賳 賱賰賱 丨丿孬 兀賵 賯賵賱 丿賵乇 賮賷 丕賱賮賴賲 丕賱毓丕賲 賱賲丕 爻鬲丐賵賱 廿賱賷賴 丕賱兀丨丿丕孬 賮賷 丕賱賳賴丕賷丞.
鬲鬲賳丕賵賱 丕賱乇賵丕賷丞 毓氐丕亘丞 賷卮賰賾賱賴丕 兀乇亘毓丞 兀賮乇丕丿貙 孬賱丕孬丞 賲賳賴賲 賮賷 丕賱氐賮 丕賱兀禺賷乇 賲賳 丕賱孬丕賳賵賷丞 丕賱兀賱賲丕賳賷賾丞 亘丕賱廿囟丕賮丞 廿賱賶 毓丕賲賱 賷賰亘乇賴賲 爻賳賾丕 賷丿毓賶 賴丕賳爻貙 賵鬲丨丕賵賱 鬲賮爻賷乇 丕賱賲賷賱 廿賱賶 丕賱毓賳賮 賱丿賶 賰賱賾 賲賳 賴丐賱丕亍 丕賱兀乇亘毓丞 賵爻亘亘 賯賷丕賲賴賲 亘丕賱爻胤賵 毓賱賶 兀卮禺丕氐 賱丕 賷毓乇賮賵賳賴賲 賷鬲氐賷賾丿賵賳賴賲 賮賷 丕賱卮賵丕乇毓 賱賷爻乇賯賵丕 賲賳賴賲 賲丨丕賮馗 賳賯賵丿賴賲 亘毓丿 兀賳 賷賵爻毓賵賳賴賲 囟乇亘丕 賵賰賷賮 兀賳賾賴賲 賷亘乇賾乇賵賳 賲丕 賷賯賵賲賵賳 亘賴 亘丿丕賮毓 丕賱賰乇丕賴賷賾丞 兀賵 丕賱賱丕賴丿賮 賰賲丕 賷丿賾毓賵賳貙 賮賴賲 賷噩毓賱賵賳 睾賷丕亘 丕賱賴丿賮 賴賵 睾丕賷鬲賴賲 丕賱乇卅賷爻賷賾丞 賮賷 賲丨丕賵賱丞 賱賱鬲毓亘賷乇 毓賳 廿毓鬲賳丕賯賴賲 賱賱兀賮賰丕乇 丕賱賮賵囟賵賷賾丞 丕賱鬲賷 賷賳馗賾乇賴丕 賱賴賲 丕賱卮丕亘 乇丕賷賳乇 賵丕賱匕賷 賷毓鬲亘乇 賳賮爻賴 賲禺 丕賱毓氐丕亘丞 亘丕賱廿囟丕賮丞 廿賱賶 卮賯賷賯鬲賴 丕賱鬲丐丕賲 "兀賳賾丕" 賵氐丿賷賯鬲賴賲 丕賱孬乇賷賾丞 夭賵賮賷 鈥� 氐賵賮賷 丨爻亘 丕賱賳胤賯 丕賱兀賱賲丕賳賷". 賮鬲亘丨乇 賷賱賷賳賰 賮賷 賵氐賮 賲卮丕毓乇 賵卮禺氐賷賾丕鬲 賰賱 賲賳 賴匕賴 丕賱卮禺氐賷賾丕鬲 丕賱兀乇亘毓丞 賵丿賵丕賮毓賴賲 賵禺賷亘丕鬲 兀賲賱賴賲 亘丕賱廿囟丕賮丞 廿賱賶 廿毓胤丕亍賳丕 賵氐賮丕 丿賯賷賯丕 賱賱兀賵囟丕毓 丕賱兀爻乇賷賾丞 賱賰賱 賵丕丨丿賺 賲賳賴賲 亘卮賰賱賺 賷丨丕賵賱 鬲賮爻賷乇 丕賱賳賴丕賷丞 丕賱賮囟賷毓丞 丕賱鬲賷 爻鬲賳鬲賴賷 廿賱賷賴丕 丕賱乇賵丕賷丞.
亘丿丕賷丞 賱丕 亘丿 賲賳 鬲丨賱賷賱 卮禺氐賷賾丞 "乇丕賷賳乇" 丕賱卮丕亘 賮賷 丕賱孬丕賳賵賷賾丞 賵丕賱匕賷 賷丨亘 丕賱賯乇丕亍丞 賵賷購賰孬乇 賲賳 丕賱廿胤賾賱丕毓 毓賱賶 丕賱賰鬲亘 丕賱賮賱爻賮賷賾丞 賵賱丕 爻賷賾賲丕 丕賱毓丿賲賷賾丞 賵丕賱賵噩賵丿賷賾丞 賲賳賴丕 賵賷賰丕丿 賷賰賵賳 "兀賱亘賷乇 賰丕賲賵" 賯乇賷賳賴 丕賱丿丕卅賲 丕賱匕賷 賷爻鬲卮賴丿 亘兀賯賵丕賱賴 胤賵丕賱 丕賱賵賯鬲 賱丿乇噩丞 兀賳賾 夭賲賷賱鬲賴 夭賵賮賷 兀禺亘乇鬲賴 賮賷 賱賯丕亍賴賲 丕賱兀禺賷乇 亘兀賳賾賴 賯賱賾賲丕 鬲賰賱賾賲 毓賳 卮賷亍 賱賲 賷賯賱賴 兀丨丿賹 賲賳 賯亘賱賴貙 賮賷 廿卮丕乇丞 廿賱賶 賰孬乇丞 鬲乇丿賷丿賴 兀賯賵丕賱 丕賱丌禺乇賷賳. 賷毓鬲賯丿 乇丕賷賳乇 賮賷 丿丕禺賱賴 亘兀賳賾賴 賲鬲賮賵賾賯 毓賱賶 兀賯乇丕賳賴 賵賷丨亘 兀賳 賷毓鬲賯丿 丕賱丌禺乇賵賳 亘兀賳賾賴 毓賯賱購 賮匕 賵賯丕卅丿 賵賱賴匕丕 賷卮鬲乇賰 賲毓 卮賯賷賯鬲賴 賮賷 乇賮囟賴賲丕 賱賮賰乇丞 兀賳 賷鬲賮賵賾賯 毓賱賷賴丕 兀丨丿 賮賷 兀賷 卮兀賳賺 賲賳 卮丐賵賳 丕賱丨賷丕丞貙 賮賳乇丕賴賲丕 賷乇賮囟丕賳 丕賱匕賴丕亘 廿賱賶 丕賱丨賮賱丕鬲 丕賱氐丕禺亘丞 賱兀賳賾賴賲 賱丕 賷噩賷丿賵賳 丕賱乇賯氐 亘賷賳賲丕 賷賯丿賾賲賵賳 賲亘乇賾乇丕鬲 兀禺乇賶 賮賷 賰賵賳賴賲 賱丕 賷丨亘賾賵賳 賴匕丕 丕賱賳賵毓 賲賳 丕賱丨賮賱丕鬲貙 賰賲丕 賷丨丕賵賱賵賳 鬲噩賳賾亘 丕賱匕賴丕亘 廿賱賶 丕賱賲爻亘丨 賱兀賳賾賴賲 賷毓鬲賯丿賵賳 亘兀賳賾 賴賳丕賱賰 丕賱賰孬賷乇 賲賲賾賳 賷噩賷丿賵賳 丕賱爻亘丕丨丞 亘卮賰賱 兀賮囟賱 賲賳賴賲貙 兀毓鬲賯丿 亘兀賳賾 賴匕賴 丕賱賳賯胤丞 賲賴賲賾丞 賵鬲丨丕賵賱 丕賱賰丕鬲亘丞 賲賳 禺賱丕賱賴丕 鬲氐賵賷乇 賲丿賶 廿毓鬲夭丕夭 賴匕賷賳 丕賱卮賯賷賯賷賳 亘賳賮爻賷賴賲丕 賵乇賮囟賴賲丕 賮賰乇丞 兀賳 賷賰賵賳丕 賮賷 賲乇鬲亘丞 鬲賯賱 毓賳 丕賱丌禺乇賷賳 賲賴賲丕 賰丕賳 丕賱兀賲乇 亘爻賷胤丕. 賵鬲氐賵賾乇 丕賱賰丕鬲亘丞 兀賷囟丕 乇賮囟 乇丕賷賳乇 鈥撡堌促傎娰傌� 亘丕賱胤亘毓 鈥� 賱賵丕賯毓 兀爻乇鬲賴賲丕 丕賱賮賯賷乇丞 賮賷禺鬲賱賯 乇丕賷賳乇 賵噩賵丿 兀禺 賱賴 賮賷 兀賲賷乇賰丕 賵賷賰賱賾賲 丕氐丿賯丕亍賴 毓賳 毓賲賾 賵賴賲賾賷 賱賴 賷賲丕乇爻 賱毓亘丞 丕賱睾賵賱賮 賮賷 亘乇賷胤丕賳賷丕 賵賷賰賱賾賲 氐丿賷賯鬲賴 丕賱睾賳賷賾丞 "夭賵賮賷" 毓賳 丕賱爻賷丕乇丞 丕賱賮丕乇賴丞 丕賱鬲賷 爻賷丨氐賱 毓賱賷賴丕 賯乇賷亘丕 賰賴丿賷賾丞貙 賮乇丕賷賳乇 丕賱毓亘賯乇賷 丕賱匕賷 賵賱丿 賮賷 亘賷卅丞 賯匕乇丞 賷鬲賵賯 廿賱賶 賲睾丕丿乇鬲賴丕 賷亘賳賷 兀賵賴丕賲丕 賵兀賰丕匕賷亘 鬲亘丿賵 賴卮賾丞 兀賲丕賲 兀氐丿賯丕卅賴 廿賱丕賾 兀賳賾賴 賷氐乇 毓賱賶 丕賱廿爻鬲賲乇丕乇 賮賷賴丕. 賷賲賷賱 乇丕賷賳乇 兀賷囟丕 廿賱賶 丕賱賰匕亘 賮賷 賰賱丕賲賴 毓賳 睾乇丕賲賷賾丕鬲賴 賱賵丕賱丿賴 賵賴賷 丕賱睾乇丕賲賷賾丕鬲 丕賱睾賷乇 丕賱賲賵噩賵丿丞 賳賴丕卅賷賾丕 賵丕賱鬲賷 鬲賳丕賯囟 賳馗乇賷賾丕鬲賴 丕賱鬲賷 賷賱賯賷賴丕 毓賱賶 夭賲賱丕卅賴 賵丕賱鬲賷 鬲丨鬲賯乇 丕賱噩爻丿 賵丕賱賲鬲毓丞 丕賱噩爻丿賷賾丞 丕賱鬲賷 賷丨丕賵賱 賮賷 丕賱丨賯賷賯丞 賰亘鬲賴丕 賵廿賳 乇睾亘 賮賷賴丕 賮賷 丨賯賷賯丞 丕賱兀賲乇. 乇丕賷賳乇 賷丨丕賵賱 兀賳 賷毓賷卮 丨賷丕丞 睾賷乇 丨賷丕鬲賴 賮賷爻乇賯 賵賷爻鬲賱賮 丕賱賳賯賵丿 賲賳 兀賯丕乇亘賴 賱賷乇鬲丿賷 兀丨丿孬 氐賷丨丕鬲 丕賱賲賵囟丞 賵賷卮毓乇 亘丕賱禺噩賱 賲賳 兀賴賱賴 丕賱賮賯乇丕亍 賵賷亘賰賷 亘賲乇丕乇丞 賮賷 兀毓賲丕賯賴 毓賳丿賲丕 鬲胤賱亘 賲賳賴 夭賵賮賷 賲亘賱睾丕 氐睾賷乇丕 賱乇賰賵亘 丕賱鬲丕賰爻賷 廿匕丕 賲丕 賳爻鬲 賳賯賵丿賴丕 兀賵 賳賮匕鬲 賱兀賳賾賴 賱丕 賷賮賰賾乇 賳賴丕卅賷賾丕 賮賷 乇賰賵亘 丕賱鬲丕賰爻賷 賵賷毓乇賮 亘兀賳賾 夭賵賮賷 丕賱孬乇賷賾丞 賱賳 鬲賰鬲乇孬 兀賵 鬲鬲匕賰賾乇 丨鬲賾賶 兀賳 鬲毓賷丿 廿賱賷賴 匕賱賰 丕賱賲亘賱睾 丕賱鬲丕賮賴 亘丕賱賳爻亘丞 廿賱賷賴丕. 賮賷賲賰賳 丕賱賯賵賱 亘兀賳賾 乇丕賷賳乇 賲孬丕賱 毓賳 卮丕亘 毓亘賯乇賷 匕賵 匕賴賳賺 賲賳賮鬲丨 賵賷賳賰亘賾 毓賱賶 丕賱賯乇丕亍丞 廿賱丕賾 兀賳賾賴 睾賷乇 爻毓賷丿 亘賵丕賯毓賴 賵賷胤賲丨 廿賱賶 丕賱鬲禺賱賾氐 賲賳賴 賵禺賱賯 兀賰丕匕賷亘 賲賳 兀噩賱 匕賱賰 賵乇亘賾賲丕 賰丕賳 匕賱賰 丕賱爻亘亘 賮賷賲丕 兀賯丿賲 毓賱賷賴 賮賷 丕賱賳賴丕賷丞 賲賳 兀噩賱 兀賳 賷鬲禺賱賾氐 賲賳 匕賱賰 丕賱賵丕賯毓 亘胤乇賷賯丞 睾亘賷賾丞 廿毓鬲賯丿 亘兀賳賾賴 爻賷丨丕賮馗 賲賳 禺賱丕賱賴丕 毓賱賶 賳乇噩爻賷賾鬲賴 賵廿賳鬲賯丕賲丕 賲賳 禺賷亘丞 丕賱兀賲賱 丕賱鬲賷 賲賳丨鬲賴 廿賷賾丕賴丕 夭賵賮賷.
兀賳賾丕貙 卮賯賷賯丞 乇丕賷賳乇 丕賱鬲賵兀賲貙 賮鬲丕丞 賲購乇賴賮丞 丕賱丨爻 賵鬲毓卮賯 丕賱賲賵爻賷賯賶 丕賱賰賱丕爻賷賰賷賾丞 賵鬲毓夭賮 毓賱賶 丕賱亘賷丕賳賵 賲賯胤賵毓丕鬲 賱卮賵賳亘賷乇睾 賵亘賷乇睾 賵卮賵亘丕賳 賵卮賵亘乇鬲 賵睾賷乇賴賲 賲賳 賰亘丕乇 丕賱賲丐賱賮賷賳 丕賱兀賱賲丕賳 賵丕賱賳賲爻丕賵賷賾賷賳 賵賴賷 鬲毓丕賳賷 亘爻亘亘 匕賱賰 賲賳 丕賱毓夭賱丞 毓賳 兀賯乇丕賳賴丕 鈥� 鬲賲丕賲丕 賰卮賯賷賯賴丕 丕賱匕賷 賷賲鬲賱賰 夭賲賱丕亍 賮賯胤 鈥� 亘爻亘亘 廿賯亘丕賱 夭賲賷賱丕鬲賴丕 毓賱賶 丕賱賲賵爻賷賯賶 丕賱丨丿賷孬丞 "丕賱乇賵賰 兀賳丿 乇賵賱" 賵賴賷 賲丕 鬲丨丕賵賱 丕賱賰丕鬲亘丞 丕賱鬲乇賰賷夭 毓賱賷賴 賱鬲賵囟賾丨 睾夭賵 丕賱孬賯丕賮丞 丕賱兀賲賷乇賰賷賾丞 賱兀賵乇賵亘丕 毓賯亘 丕賱丨乇亘 丕賱毓丕賱賲賷賾丞 丕賱孬丕賳賷賾丞 賵賴賷 丕賱丨賯亘丞 丕賱鬲賷 鬲丨丕賵賱 丕賱賰丕鬲亘丞 丕賱賰賱丕賲 毓賳賴丕貙 賮鬲匕賰乇 賱賳丕 爻禺乇賷賾丞 夭賲賷賱丕鬲賴丕 賲賳賴丕 賵賴賳賾 賷賱鬲賯胤賳 氐賵乇丞 賷賯亘賾賱賳 賮賷賴丕 氐賵乇丞 賳噩賲 賲卮賴賵乇 賮賷禺亘乇賳賴丕 亘兀賳賾 丕賱賲丨賱 丕賱賲噩丕賵乇 賷亘賷毓 兀卮乇胤丞 鬲囟賲 兀毓賲丕賱丕 賱賱賲賵爻賷賯丕乇 丕賱賰亘賷乇 賷賵賴丕賳 爻賷亘丕爻鬲賷丕賳 亘丕禺. 賱賰賳賾 兀賳賾丕 鬲噩丿 賮賷 丕賱賲賵爻賷賯賶 賵兀賳睾丕賲賴丕 丕賱毓夭丕亍 賵丕賱爻賱賵賶 亘丕賱廿囟丕賮丞 廿賱賶 丕賱毓賳賮 賵丕賱賰乇丕賴賷賾丞 丕賱卮丿賷丿丞 丕賱鬲賷 鬲丨賲賱賴丕 賱賱丌禺乇賷賳 賵丕賱毓丕賱賲 賰賰賱 賰賲丕 鬲氐賮 丕賱賰丕鬲亘丞貙 賷賯賵丿賳賷 匕賱賰 廿賱賶 丕賱鬲爻丕丐賱 毓賳 丿賵乇 丕賱孬賯丕賮丞 丕賱匕賷 賱賲 鬲噩毓賱 丕賱賰丕鬲亘丞 賱賴丕 丿賵乇丕 賮賷 丨賲丕賷丞 賴匕賷賳 丕賱卮賯賷賯賷賳 賲賳 丕賱賵賯賵毓 賮賷 丕賱噩乇賷賲丞 賵丕賱賲賷賱 廿賱賶 丕賱毓賳賮貙 賮乇丕賷賳乇 賯丕乇賷亍 賳賴賲 賵賷賰鬲亘 丕賱卮毓乇 賵賷爻鬲匕賵賯 丕賱賮賳 賵賰匕賱賰 卮賯賷賯鬲賴 丕賱賲乇賴賮丞 丕賱丨爻 賵賴賷 亘匕賱賰 鬲丨丕賵賱 鬲氐賵賷乇 兀賴賲賷賾丞 丕賱亘賷卅丞 丕賱廿噩鬲賲丕毓賷賾丞 賵丿賵乇 丕賱乇囟丕 賵丕賱鬲兀賯賱賲 賮賷 禺賱賯 噩賷賱 賳丕賮毓 賱賰兀賳賾 丕賱孬賯丕賮丞 賱賵丨丿賴丕 賱賳 鬲賲賳丨 賲孬賱 賴丐賱丕亍 丕賱丨氐丕賳丞 囟丿 丕賱賵賯賵毓 賮賷 賲賲丕乇爻丞 丕賱卮乇. 鬲毓丕賳賷 兀賳賾丕 賲賳 賲乇囟 賳賮爻賷 賷賮賯丿賴丕 丕賱賳胤賯 賲賳 丿賵賳 爻亘亘 賱賮鬲乇丕鬲 廿囟胤乇賾鬲 亘爻亘亘賴丕 兀丨賷丕賳丕 廿賱賶 兀賳 鬲丨氐賱 毓賱賶 賲賵丕賮賯丞 禺丕氐賾丞 鈥� 賱賰賵賳賴丕 胤丕賱亘丞 賳噩賷亘丞 鈥� 賱賰賷 鬲噩賷亘 毓賱賶 兀爻卅賱丞 丕賱廿賲鬲丨丕賳丕鬲 丕賱卮賮賵賷賾丞 鬲丨乇賷乇賷賾丕貙 賵鬲氐賵賾乇 丕賱賰丕鬲亘丞 丨丕噩鬲賴丕 廿賱賶 丕賱賲賵爻賷賯賶 賲丕 兀賳 鬲毓丕賵丿賴丕 丕賱丨丕賱丞 賵賲丕 兀賳 鬲賵丕噩賴賴丕 賲卮丕賰賱 賰亘賷乇丞貙 賮鬲賰賵賳 丕賱賲賵爻賷賯賶 賲賱噩兀賴丕 丕賱丿丕卅賲 賮賷 賰賱賾 丨賷賳. 鬲賯毓 兀賳賾丕 賮賷 丨亘 賴丕賳爻 丕賱毓丕賲賱 賵鬲丿乇賰 亘兀賳賾賴丕 兀毓賱賶 賲賳賴 賵賱賰賳賾賴 賱丕 賷賯賳毓 亘賴丕 賵賷丨丕賵賱 丕賱賵氐賵賱 廿賱賶 夭賵賮賷 丕賱孬乇賷賾丞 丕賱鬲賷 賷丨亘賾賴丕 乇丕賷賳乇 兀賷囟丕 賮賷 氐賲鬲貙 賵賮賷 丕賱賳賴丕賷丞 賷賰鬲卮賮 丕賱卮賯賷賯丕賳 亘兀賳賾 夭賵賮賷 鬲賮囟賾賱 賴丕賳爻 賮賷氐丕亘 丕賱廿孬賳丕賳 亘禺賷亘丞 兀賲賱 鬲夭賷丿 賲賳 賵囟毓賴賲丕 賲兀爻丕賵賷賾丞.
賲賳 兀噩賱 賮賴賲 丕爻亘丕亘 丕賱毓賳賮 賰賲丕 匕賰乇賳丕 賱丕 亘丿 賲賳 鬲丨賱賷賱 丕賱噩賵 丕賱廿噩鬲賲丕毓賷 丕賱匕賷 賳卮兀 賮賷賴 丕賱卮賯賷賯丕賳貙 賮兀爻乇鬲賴賲 丕賱氐睾賷乇丞 丕賱鬲賷 鬲鬲賰賵賾賳 賲賳賴賲丕 賵賲賳 賵丕賱丿賷賴賲丕 鬲賯胤賳 賮賷 丨賷賾 爻賰賳賷 賮賯賷乇 賵鬲丨丕賵賱 丕賱賰丕鬲亘丞 廿賱賯丕亍 丕賱賱賵賲 毓賱賶 丕賱賵丕賱丿 亘氐賵乇丞 賵丕囟丨丞貙 賮賴賵 囟丕亘胤 爻丕亘賯 賮賷 丕賱兀爻 兀爻 賵賯丿 賮賯丿 廿丨丿賶 爻丕賯賷賴 賮賷 丕賱丨乇亘 賵賱賴匕丕 鬲乇賰鬲 鬲賱賰 丕賱毓丕賴丞 兀孬乇丕 毓賲賷賯丕 賮賷 賳賮爻賴 賵孬賯鬲賴 亘賴丕貙 賮亘毓丿 兀賳 賰丕賳 囟丕亘胤丕 賵爻賷賲丕 亘噩爻丿 賲毓丕賮賶 賵賷噩匕亘 丕賱賰孬賷乇 賲賳 丕賱賳爻丕亍 亘夭賷賾賴 丕賱毓爻賰乇賷 丕賱兀賳賷賯 兀氐亘丨 賲毓丕賯丕 賷毓鬲丕卮 毓賱賶 乇丕鬲亘 丕賱賲丨丕乇亘賷賳 丕賱賯丿丕賲賶 亘丕賱廿囟丕賮丞 廿賱賶 毓賲賱賴 賰亘賵賾丕亘貙 賵賱丕 鬲睾賮賱 丕賱賰丕鬲亘丞 毓賳 鬲丨賱賷賱 兀孬乇 丕賱丨乇亘 丕賱爻賷亍 賮賷 鬲卮賵賷賴賴 賳賮爻賷賾丕 亘丕賱廿囟丕賮丞 廿賱賶 鬲卮賵賷賴賴 丕賱亘丿賳賷貙 賮賯丿 賰丕賳 賷囟乇亘 夭賵噩鬲賴 亘毓賳賮 賲賳 兀噩賱 廿孬亘丕鬲 匕賰賵乇鬲賴 丕賱鬲賷 賷禺卮賶 兀賳 鬲賴夭賾 氐賵乇鬲賴丕 廿毓丕賯鬲賴 亘丕賱廿囟丕賮丞 廿賱賶 賲賲丕乇爻鬲賴 賱賰賱 丕賱亘卮丕毓丕鬲 丕賱鬲賷 廿毓鬲丕丿 丕賱賯賷丕賲 亘賴丕 亘丨賯賾 丕賱兀亘乇賷丕亍 賮賷 賲毓爻賰乇丕鬲 丕賱廿毓鬲賯丕賱 丕賱賳丕夭賷賾丞 囟丿 夭賵噩鬲賴 賵兀亘賳丕亍賴貙 賰賲丕 鬲鬲賰賱賾賲 毓賳 賯賱賾丞 廿爻鬲孬丕乇鬲賴 噩賳爻賷賾丕 亘毓丿 兀賳 廿毓鬲丕丿 乇丐賷丞 兀賰賵丕賲 丕賱噩孬孬 丕賱毓丕乇賷丞 兀亘丕賳 鬲賱賰 丕賱丨乇亘 丕賱亘卮毓丞貙 賰賲丕 鬲丨丕賵賱 丕賱賰丕鬲亘丞 鬲氐賵賷乇 夭賵噩鬲賴 丕賱鬲賷 賰丕賳鬲 鬲毓賲賱 賰賲丿乇賾爻丞 賵囟丨賾鬲 亘賰賱 卮賷亍 賲賳 兀噩賱賴 賵兀賵賱丕丿賴 賵賰賷賮 兀賳賾賴丕 鬲鬲賵爻賾賱 廿賱賷賴 賲賳 兀噩賱 兀賱丕賾 賷囟乇亘賴丕貙 賵賱賰賳賾賴 賷氐乇 毓賱賶 賲賲丕乇爻丞 爻丕丿賷賾鬲賴 丕賱鬲賷 兀孬賾乇鬲 鈥撠ㄙ勜� 卮賰 鈥� 賮賷 卮禺氐賷賾丞 兀亘賳丕亍賴貙 賰賲丕 鬲氐賵賾乇 亘氐賵乇丞 睾賷乇 賲亘丕卮乇丞 鬲兀孬賷乇 丕賱廿毓丕賯丞 毓賱賷賴 賵賰賷賮 兀賳賾賴 兀氐亘丨 賷卮賰 賮賷 夭賵噩鬲賴 賵賷鬲賾賴賲賴丕 亘兀賳賾賴丕 鬲禺賵賳賴 賲毓 丕賱亘賯賾丕賱 賵睾賷乇賴丕 賲賳 鬲賴賲 賱丕 兀爻丕爻 賱賴丕 賲賳 丕賱氐丨賾丞貙 賵鬲鬲噩賱賾賶 賯賲賾丞 丕賱鬲賳丕賯囟丕鬲 賵丕賱爻丕丿賷賾丞 賱匕賱賰 丕賱乇噩賱 賲賳 禺賱丕賱 鬲賲夭賷賯賴 賱孬賵亘 賯丕賲鬲 夭賵噩鬲賴 亘禺賷丕胤鬲賴 賱兀賳賾賴 賷毓鬲賯丿 亘兀賳賾賴丕 鬲丨丕賵賱 兀賳 鬲睾乇賷 亘賴 乇噩丕賱丕 丌禺乇賷賳 賵賮賷 丕賱賵賯鬲 賳賮爻賴 賷賯賵賲 亘鬲氐賵賷乇賴丕 氐賵乇丕 廿亘丕丨賷賾丞 賱賷賯賵賲 亘亘賷毓賴丕 賵賷爻鬲毓賲賱 賮賷 匕賱賰 兀爻丕賱賷亘 亘卮毓丞 賵睾賷乇 賲丨鬲乇賲丞 賲毓賴丕 廿賳 賴賷 乇賮囟鬲 匕賱賰貙 賵亘匕賱賰 鬲丨丕賵賱 賷賱賷賳賰 鬲氐賵賷乇 賮賰乇丞 亘毓囟 丕賱乇噩丕賱 丕賱鬲賲賱賾賰賷賾丞 賱賳爻丕丐賴賲 賮賴賵 賷乇賮囟 兀賳 鬲禺賵賳賴 夭賵噩鬲賴 鈥� 賵賴賵 賲丕 賱丕 賷丨丿孬 賮賷 賴匕賴 丕賱丨丕賱丞 鈥� 賵賷賴丿賾丿賴丕 亘丕賱賯鬲賱 亘賳丕亍丕 毓賱賶 卮賰賵賰賴 丕賱賲賳亘毓孬丞 賲賳 廿賳毓丿丕賲 孬賯鬲賴 亘賳賮爻賴 賵賱賰賳賾賴 賲爻鬲毓丿 賱兀賳 賷鬲丕噩乇 亘賴丕 賲賳 兀噩賱 丕賱賳賯賵丿 賲鬲賶 賲丕 卮丕亍貙 丕賱賲賴賲 賱丿賷賴 賮賯胤 兀賳賾賴 賴賵 賲賳 賷賯賵賲 亘匕賱賰 賵賯鬲賲丕 賷卮丕亍. 丕賱賰丕鬲亘丞 鬲氐賵賾乇 兀賷囟丕 鬲丕孬賷乇 丕賱賮賯乇 賮賷 鬲賴丿賷賲 丕賱毓賱丕賯丕鬲 丕賱兀爻乇賷賾丞 賮毓賱賶 丕賱乇睾賲 賲賳 乇睾亘丞 乇丕賷賳乇 賮賷 丨賲丕賷丞 賵丕賱丿鬲賴 亘兀賳 賷爻乇賯 丕賱賲爻丿賾爻 賱賰賷 賱丕 賷賯賵賲 亘賯鬲賱賴丕 賵丕賱丿賴 賷賵賲丕 賲丕 賮廿賳賾 卮賯賷賯鬲賴 鬲毓鬲亘乇 賮賷 匕賱賰 兀賲乇丕 噩賷賾丿丕 廿匕 廿賳賾 兀丨丿賴賲 爻賷賲賵鬲 賵賷賱賯賶 丕賱丌禺乇 賮賷 丕賱爻噩賳 賵賷丨氐賱丕 亘匕賱賰 毓賱賶 丨乇賷賾鬲賴賲丕.
亘丕賱廿賳鬲賯丕賱 廿賱賶 卮禺氐賷賾丞 夭賵賮賷貙 鬲亘丿賵 兀爻亘丕亘 賲賷賱賴丕 賱賱毓賳賮 兀賯賱 賵囟賵丨丕貙 賮賴賷 睾賳賷賾丞 賵兀爻乇鬲賴丕 鬲賲鬲賱賰 賮賷賱丕 賮丕乇賴丞 賵丨氐賱鬲 毓賱賶 爻賷賾丕乇丞 賰賴丿賷賾丞 賮賷 毓賷丿 賲賷賱丕丿賴丕 丕賱孬丕賲賳 毓卮乇 賵賰丕賳鬲 鬲丨氐賱 毓賱賶 賰賱 賲丕 鬲乇賷丿 賵賷丨爻丿賴丕 丕賱丌禺乇賵賳 毓賱賶 賲丕 鬲賲賱賰賴 賮賷 氐賲鬲 賵賰丕賳鬲 兀爻乇鬲賴丕 鬲賯囟賷 丕賱兀噩丕夭丕鬲 賮賷 丕賱賲賳丕胤賯 丕賱鬲賷 賷乇鬲丕丿賴丕 兀孬乇賶 丕賱兀孬乇賷丕亍 賵禺胤賾胤鬲 兀爻乇鬲賴丕 賱廿乇爻丕賱賴丕 廿賱賶 賱賵夭丕賳 賱鬲鬲賲賾 丿乇丕爻鬲賴丕 賮賷賲丕 亘毓丿 賵賴賵 賲丕 乇丕賯 賱賴丕 賮賷 丕賱賳賴丕賷丞 賵鬲乇賰鬲 賲賳 兀噩賱賴 賴丕賳爻 賵乇丕賷賳乇. 賱賰賳賾 賲卮丕乇賰丞 夭賵賮賷 賮賷 鬲賱賰 丕賱毓氐丕亘丞 賯丿 賷毓賵丿 廿賱賶 廿賰鬲賮丕亍賴丕 丕賱鬲丕賲 賵毓丿賲 廿賴鬲賲丕賲賴丕 亘丕賱賲丕賱 賵亘丨孬賴丕 毓賳 卮賷亍 噩丿賷丿 鬲賯賵賲 亘賴貙 賵賯丿 賵噩丿鬲 賮賷賲丕 賷賯賵賲 亘賴 乇丕賷賳乇 賲睾丕賲乇丕鬲 噩匕賾丕亘丞 亘賱 廿賳賾賴丕 乇睾亘 賮賷 氐賳丕毓丞 賯賳丕亘賱 賷丿賵賷賾丞 賵賰丕賳鬲 丿丕卅賲丕 賲丕 鬲乇賮囟 兀賳 賷賰賵賳 丕賱賲丕賱 賴丿賮 賱賲丕 賷賯賵賲賵賳 亘賴 賵丕賱匕賷 賷胤賱賯賵賳 毓賱賷賴 廿爻賲 "噩乇丕卅賲" 亘丨賰賲 丕賱毓丕丿丞 賮賴賲 賱丕 賷乇賵賳 賮賷 匕賱賰 卮賷卅丕 禺丕胤卅丕. 賯丿 賷賰賵賳 丕賱鬲賮賰賾賰 丕賱兀爻乇賷 兀賷囟丕 毓丕賲賱 賲賴賲 賮賷 丨丕賱丞 夭賵賮賷 賵毓丿賲 廿丨鬲乇丕賲 賵丕賱丿鬲賴丕 賱夭賵噩賴丕 丕賱锟斤拷賮賯乇 爻亘亘丕 賲賴賲賾丕 賱賲 鬲賮乇丿 賱賴 丕賱賰丕鬲亘丞 丨賷賾夭丕 賰亘賷乇丕貙 賵亘匕賱賰 鬲鬲卮丕亘賴 丕賱丨丕賱鬲賷賳 賮賷 丕賱噩賵賴乇 賵廿賳 廿禺鬲賱賮鬲 丕賱馗乇賵賮.
兀賲賾丕 賴丕賳爻貙 丕賱毓丕賲賱 丕賱匕賷 賷氐胤丕丿賵賳賴 賵賷賯賳毓賵賳賴 賱賱廿賳囟賲丕賲 廿賱賷賴賲貙 賮賴賵 卮丕亘賹 賵爻賷賲 賲賮鬲賵賱 丕賱毓囟賱丕鬲 鬲賯毓 夭賵賮賷 賵兀賳賾丕 賮賷 丨亘賾賴 賵賴賵 賷毓賷卮 賲毓 賵丕賱丿鬲賴 丕賱賳丕卮胤丞 賮賷 丕賱丨夭亘 丕賱廿卮鬲乇丕賰賷 賵賴賷 賱丕 鬲夭丕賱 賵賮賷賾丞 賱賯囟賷賾丞 丕賱毓賲賾丕賱 丕賱鬲賷 賲丕鬲 夭賵噩賴丕 賲賳 兀噩賱賴丕 賮賷 賲毓爻賰乇丕鬲 丕賱廿毓鬲賯丕賱貙 賱賰賳賾 賴丕賳爻 賰兀氐丿賯丕卅賴 睾賷乇 賲賯鬲賳毓 亘賵丕賯毓賴 賵乇丕賮囟 賱賴 賵賱兀賮賰丕乇 賵丕賱丿鬲賴 亘賱 兀賳賾賴 賷毓鬲亘乇 睾賷丕亘 賵丕賱丿賴 鈥� 丕賱匕賷 鬲卮鬲丕賯 廿賱賷賴 賵丕賱丿鬲賴 鈥� 睾賷乇 賲亘乇賾乇丕 賱兀賳賾 丕賱賲賰丕賳 丕賱匕賷 賷毓賷卮丕賳 賮賷賴 賰丕賳 爻賷賰賵賳 兀賰孬乇 囟賷賯丕 賮賷 賵噩賵丿 卮禺氐 廿囟丕賮賷貙 賴匕丕 亘丕賱廿囟丕賮丞 廿賱賶 爻禺乇賷賾鬲賴 賲賳 丕賱賯囟賷賾丞 丕賱鬲賷 囟丨賾賶 賵丕賱丿賴 亘賳賮爻賴 賲賳 兀噩賱賴 亘賱 賵賷氐乇 毓賱賶 丕賱鬲毓亘賷乇 毓賳 匕賱賰 賱賵丕賱丿鬲賴 丕賱鬲賷 鬲丨匕賾乇賴 賲賳 乇賮賯丞 夭賵賮賷 丕賱睾賳賷丞 丕賱鬲賷 賰丕賳鬲 鬲賴丿賷賴 賲賱丕亘爻 卮賯賷賯賴丕 丕賱匕賷 賷丿乇爻 賮賷 兀賰爻賮賵乇丿貙 廿匕 鬲毓鬲亘乇 賵丕賱丿鬲賴 賮賷 鬲賯乇賾亘賴 賲賳 丕賱兀孬乇賷丕亍 禺賷丕賳丞 賱賱胤亘賯丞 丕賱毓丕賲賱丞 丕賱鬲賷 賷賳鬲賲賷 廿賱賷賴丕貙 賵丕賱匕賷 賷鬲賵賯 廿賱賶 賲睾丕丿乇鬲賴丕. 鬲氐賵賾乇 丕賱賰丕鬲亘丞 賲賳 噩丿賷丿 鬲睾賱睾賱 丕賱孬賯丕賮丞 丕賱兀賲賷乇賰賷賾丞 賮賷 丕賱賳賲爻丕 亘毓丿 丕賱丨乇亘 賵丕賱廿丨鬲賱丕賱 賵氐乇丕毓 丕賱兀噩賷丕賱 亘爻亘亘 匕賱賰. 鬲毓亘賾乇 丕賱賰丕鬲亘丞 毓賱賶 賱爻丕賳 乇丕賷賳乇 乇兀賷賴丕 賮賷 賴丕賳爻 "丕賱賲賮鬲賵賱 丕賱毓囟賱丕鬲" 賵亘丕賱鬲丕賱賷 乇兀賷賴丕 賮賷 丕賱賯賵賾丞 丕賱亘丿賳賷賾丞 賵兀乇丕賳賷 兀鬲賾賮賯 賲毓賴丕 賮賷 匕賱賰貙 廿匕 鬲毓鬲賯丿 亘兀賳賾 丕賱賯賵賾丞 丕賱亘丿賳賷賾丞 賴賷 丕賱噩丕賳亘 丕賱丨賷賵丕賳賷 賲賳 丕賱廿賳爻丕賳 賵丕賱毓賯賱 賴賵 丕賱兀賯賵賶 賵賴匕丕 賲锟斤拷 賷賯賵賱賴 乇丕賷賳乇 丕賱匕賷 賷毓鬲亘乇 賳賮爻賴 丕賱賲禺 賵賷毓鬲亘乇 賴丕賳爻 賷丿 丕賱毓氐丕亘丞貙 賵賷丨丕賵賱 兀賳 賷賯賳毓賴 亘毓丿賲 囟乇賵乇丞 丕賱賯乇丕亍丞 亘賳賮爻賴 賱兀賳賾賴 賱賳 賷賯丿乇 毓賱賶 兀賳 賷氐亘丨 賲孬賯賾賮丕 賵賷胤賱亘 賲賳賴 兀賳 賷爻鬲賲毓 廿賱賶 賲丕 賷賯賵賱賴 賮賯胤 賵爻賷賰賵賳 賴匕丕 賰丕賮賷丕 賮賷 賲賳丨賴 丕賱孬賯丕賮丞 丕賱鬲賷 兀氐亘丨 賷賮賰賾乇 賮賷賴丕 賲賳 兀噩賱 兀賳 賷賰賵賳 賲賱丕卅賲丕 賱夭賵賮賷.
賵亘匕賱賰 鬲賰賵賳 丕賱乇賵丕賷丞 鬲毓亘賷乇丕 毓賳 丕賱氐乇丕毓 丕賱賮賰乇賷 賵丕賱廿噩鬲賲丕毓賷 亘賷賳 丕賱兀噩賷丕賱 賵鬲睾賷賾乇 丕賱賲賮丕賴賷賲 賵毓丿賲 廿賯鬲賳丕毓 丕賱噩賷賱 丕賱卮丕亘 亘賵丕賯毓 兀賴賱賴 賵賲丨丕賵賱鬲賴 鬲丨賯賷賯 賴賵賷賾鬲賴 丕賱噩丿賷丿丞 丨鬲賾賶 賵廿賳 賯丕丿賴賲 匕賱賰 廿賱賶 賲丕 賴賵 兀爻賵兀 賮賷 丕賱賵丕賯毓貙 賰賲丕 鬲亘乇夭 丿賵乇 丕賱丨乇亘 賮賷 鬲丨胤賷賲 卮禺氐賷賾丕鬲 丕賱囟亘賾丕胤 賵丕賱噩賳賵丿 賵廿賳毓賰丕爻 匕賱賰 毓賱賶 賵丕賯毓 丕賱兀爻乇丞 亘乇賲賾鬲賴丕 亘丕賱廿囟丕賮丞 廿賱賶 丿賵乇 丕賱毓賳賮 丕賱兀爻乇賷 兀賵 賮賯丿丕賳 丕賱廿丨鬲乇丕賲 賮賷 鬲賳卮卅丞 兀噩賷丕賱 賲卮賵賾賴丞 賳賮爻賷賾丕 賵鬲賲賷賱 廿賱賶 丕賱毓賳賮 賵丕賱廿賳鬲賯丕賲 賲賳 丕賱賲噩鬲賲毓 賵賲賳 兀卮禺丕氐 賱丕 賷毓乇賮賵賳賴賲 賲賳 兀噩賱 鬲賮乇賷睾 匕賱賰 丕賱賰亘鬲 賵丕賱丨賯丿 賵丕賱賮卮賱 賮賷 丕賱丌禺乇賷賳 丕賱兀亘乇賷丕亍貙 賰賲丕 鬲氐賵賾乇 賳馗乇丞 乇丕賷賳乇 丕賱鬲賷 鬲丨鬲賯乇 丕賱囟毓賮 賵鬲乇賶 兀賳賾 丕賱賲爻丕賵丕丞 賴賷 賲胤賱亘 丕賱囟毓賮丕亍 賲賲賾賳 賷丨丕賵賱賵賳 噩乇賾 丕賱兀賯賵賷丕亍 賲毓賴賲 廿賱賶 丕賱丨囟賷囟 賰賷 賷丨賲賵丕 兀賳賮爻賴賲貙 賵亘匕賱賰 賳乇賶 鬲毓丕胤賮 乇丕賷賳乇 賲毓 丕賱胤亘賯丕鬲 丕賱鬲賷 鬲囟胤賴丿 丕賱丌禺乇賷賳 乇睾賲 賰賵賳賴 賲賳 胤亘賯丞 賮賯賷乇丞 賵亘丕卅爻丞貙 乇亘賾賲丕 賷賰賵賳 賴丿賮 丕賱賰丕鬲亘丞 丕賱乇卅賷爻賷 鬲氐賵賷乇 卮禺氐賷賾丞 賲賮賰賾乇 賳卮兀 賮賷 馗乇賵賮 氐毓亘丞 賵賴賵 賷鬲賵賯 廿賱賶 鬲睾賷賷乇賴丕 賮鬲氐賷亘賴 丕賱禺賷亘丞 鬲賱賵 丕賱禺賷亘丞 賵兀孬乇 匕賱賰 賮賷 禺賱賯 卮禺氐 賲囟乇賾 亘丕賱賲噩鬲賲毓 賵賳丕賯賲 毓賱賷賴.
乇睾賲 廿睾乇丕賯 丕賱乇賵丕賷丞 賮賷 鬲賰乇丕乇 賳賮爻 丕賱賲卮賰賱丕鬲 賵賴匕丕 賲丕 賱丕丨馗鬲賴 賲賳 賯乇丕亍鬲賷 賱乇賵丕賷丞 "丕賱毓丕卮賯丕鬲" 賱廿賱賮乇賷丿賴 賷賱賷賳賰 兀賷囟丕貙 賮廿賳賾 丕賱賳賴丕賷丞 鬲兀鬲賷 氐丕毓賯丞 賵賲賮丕噩卅丞貙 毓賯亘 丨賮賱 丕賱鬲禺乇賾噩 賵卮毓賵乇 乇丕賷賳乇 亘丕賱禺噩賱 賲賳 兀賴賱賴 賮賷 鬲賱賰 丕賱丨賮賱丞 賵禺賷亘丞 兀賲賱賴 亘賮賯丿丕賳 丨亘賷亘鬲賴 夭賵賮賷 賵丕賱鬲賷 兀馗賴乇鬲 賮噩兀丞 乇睾亘鬲賴丕 賮賷 鬲噩乇亘丞 丨賷丕丞 睾乇賷亘丞 噩丿賷丿丞 賮賷 賱賵夭丕賳 賵毓丿賲 廿賰鬲乇丕孬賴丕 亘乇丕賷賳乇 兀賵 賴丕賳爻貙 廿匕 賷賯丿賲 乇丕賷賳乇 賮賷 丕賱氐亘丕丨 丕賱亘丕賰乇 廿賱賶 賯鬲賱 賰丕賲賱 兀爻乇鬲賴 賵丕賱鬲賲孬賷賱 亘噩孬孬賴賲 亘丕賱賲爻丿爻 賵丕賱丨乇亘丞 賵賲丨丕賵賱鬲賴 廿禺賮丕亍 賲毓丕賱賲 丕賱噩乇賷賲丞 賵賮卮賱賴 賮賷 匕賱賰 亘胤乇賷賯丞 丿乇丕賲丕鬲賷賰賷賾丞 賮賷囟賷毓 賰賱 卮賷亍 賲賳 兀噩賱 丕賱賱丕卮賷亍 丕賱匕賷 賰丕賳 賷胤丕乇丿賴 胤賵丕賱 丨賷丕鬲賴貙 賵賱賰賳賾 亘毓囟 丕賱賲賱丕亘爻丕鬲 丕賱亘爻賷胤丞 鬲卮毓乇賳丕 亘兀賳賾 廿禺鬲賷丕乇 鬲賵賯賷鬲 丕賱噩乇賷賲丞- 丕賱鬲賷 鬲亘賯賶 睾乇賷亘丞 賵賲賮丕噩卅丞 亘賰賱 丨丕賱賺 賲賳 丕賱兀丨賵丕賱 鈥� 鬲賵丨賷 亘兀賳賴 丨丕賵賱 兀賳 賷賵賴賲賴賲 亘兀賳賴賲 賲賳鬲氐乇賵賳 賱賷賳鬲氐乇 毓賱賷賴賲 賮賷 丕賱賳賴丕賷丞貙 賮賯丿 鬲乇賰 賵丕賱丿賴 賮賷 丕賱賱賷賱丞 丕賱爻丕亘賯丞 賷賮賵夭 毓賱賷賴 賮賷 賱毓亘丞 丕賱卮胤乇賳噩 賮兀丿乇賰 丕賱賵丕賱丿 亘兀賳賾 廿亘賳賴 賱丕 賷賱毓亘 賲毓賴 亘噩丿賷賾丞 賵氐賮毓賴 亘爻亘亘 匕賱賰 賵卮丕賴丿 廿亘鬲爻丕賲丞 卮賯賷賯鬲賴 丕賱鬲賷 賱賲 賷賮賴賲 賱賴丕 爻亘亘丕貙 賮賱賲 賷賰賳 賷毓賱賲 亘兀賳賾賴丕 丨氐賱鬲 毓賱賶 賲賵毓丿 賲毓 賴丕賳爻 賲賳 噩丿賷丿貙 亘丕賱廿囟丕賮丞 廿賱賶 賯鬲賱賴 賵丕賱丿鬲賴 賵賴賷 爻毓賷丿丞 亘毓丿 丕賱丨賲賾丕賲 丕賱氐亘丕丨賷貙 賰賱 賴匕丕 賷賲賳丨賳丕 卮毓賵乇丕 亘兀賳賾賴賲 賯鬲賱賴賲 賵賲孬賾賱 亘賴賲 亘毓丿 兀賳 毓丕卮賵丕 賱丨馗丕鬲 爻毓丕丿丞 賯氐賷乇丞 賯囟賶 毓賱賷賴丕 賲賳 兀噩賱 兀賳 賷鬲禺賱賾氐 賲賳 賵丕賯毓賴 賵賷丨丕賮馗 毓賱賶 賳乇噩爻賷賾鬲賴 丕賱鬲賷 賰丕賳 賷禺卮賶 賮賯丿丕賳賴丕 亘毓丿 兀賳 爻賷賰賵賳 賲囟胤乇賾丕 賱賱亘丿亍 賲賳 噩丿賷丿 賵廿孬亘丕鬲 卮禺氐賷賾鬲賴 丕賱賲賲賷賾夭丞 賮賷 賲賰丕賳 噩丿賷丿 賵賵爻胤 噩丕賲毓賷 噩丿賷丿.
禺鬲丕賲丕貙 鬲亘丿賵 丕賱賳賴丕賷丞 氐丕毓賯丞 賵賲賮丕噩卅丞 賵賰兀賳賾 丕賱廿賳鬲賯丕賲 睾賷乇 賲亘乇賾乇 兀賱亘鬲賾丞貙 賮賯丿 賰丕賳 賮賷 廿賲賰丕賳賴 賯鬲賱 賵丕賱丿賴 賮丨爻亘 賵賱賰賳賾賴 賯鬲賱 丕賱噩賲賷毓 賵賯囟賶 毓賱賶 丨賷丕鬲賴 亘睾亘丕亍 賳丕賯囟 賰賱賾 賲丕 賰丕賳 賷丿賾毓賷賴 賲賳 匕賰丕亍 賮賷 丕賱爻丕亘賯貙 賮賯丿 賰丕賳 鬲禺胤賷胤賴 丕賱毓卮賵丕卅賷 賵鬲賳賮賷匕賴 賱賱噩乇賷賲丞 賮賷 睾丕賷丞 丕賱爻匕丕噩丞 賲賲賾丕 賲賰賾賳 兀亘爻胤 丕賱賲丨賯賾賯賷賳 賲賳 賲毓乇賮丞 丕賱賮丕毓賱貙 賮兀賵丿鬲 亘賷噩丕賲鬲賴 丕賱賲囟乇賾噩丞 亘丕賱丿賲丕亍 亘賲爻鬲賯亘賱賴 賵廿賳賴丕乇 丕賱毓賯賱 丕賱賮匕 亘爻乇毓丞 賵禺爻乇 賰賱賾 卮賷亍. 丕賱乇賵丕賷丞 睾丕乇賯丞 賮賷 鬲丨賱賷賱丕鬲 賵丕賯毓賷賾丞 鬲賮爻賾乇 丿賵乇 丕賱鬲卮鬲賾鬲 丕賱廿噩鬲賲丕毓賷 賵兀孬乇 丕賱丨乇賵亘 賵丕賱氐乇丕毓 丕賱賮賰乇賷 亘賷賳 丕賱兀噩賷丕賱 賮賷 賳卮兀丞 丕賱毓賳賮 丕賱匕賷 賷賳亘毓 賲賳 賯毓乇 丕賱爻賱賾賲 丕賱廿噩鬲賲丕毓賷貙 丨賷孬 丕賱賲爻亘鬲毓丿賷賳 賵丕賱賲賴賲賾卮賷賳貙 賵丕賱匕賷 賱丕 賷兀亘賴 兀丨丿賹 賱賴賲 乇睾賲 賰賵賳賴賲 禺胤乇 賰亘賷乇 賷丨賷賯 亘丕賱賲噩鬲賲毓 亘兀爻乇賴 賵乇亘賾賲丕 丿毓賵丞 鈥� 賰丿毓賵丕鬲 賰孬賷乇丞 鈥� 賱賱廿賱賮鬲丕鬲 廿賱賶 賲孬賱 賴匕賴 丕賱胤亘賯丕鬲 賵廿丨丕胤鬲賴丕 亘丕賱乇毓丕賷丞 賲賳 兀噩賱 丨賲丕賷丞 丕賱賰賷丕賳 丕賱廿噩鬲賲丕毓賷 亘兀爻乇賴.
賰賱賰丕賲卮 賳亘賷賱
丕賱賲賯丕賱 賲賳卮賵乇 毓賱賶 賲賵賯毓 丕賱丨賵丕乇 丕賱賲鬲賲丿賾賳
鬲鬲賳丕賵賱 丕賱乇賵丕賷丞 毓氐丕亘丞 賷卮賰賾賱賴丕 兀乇亘毓丞 兀賮乇丕丿貙 孬賱丕孬丞 賲賳賴賲 賮賷 丕賱氐賮 丕賱兀禺賷乇 賲賳 丕賱孬丕賳賵賷丞 丕賱兀賱賲丕賳賷賾丞 亘丕賱廿囟丕賮丞 廿賱賶 毓丕賲賱 賷賰亘乇賴賲 爻賳賾丕 賷丿毓賶 賴丕賳爻貙 賵鬲丨丕賵賱 鬲賮爻賷乇 丕賱賲賷賱 廿賱賶 丕賱毓賳賮 賱丿賶 賰賱賾 賲賳 賴丐賱丕亍 丕賱兀乇亘毓丞 賵爻亘亘 賯賷丕賲賴賲 亘丕賱爻胤賵 毓賱賶 兀卮禺丕氐 賱丕 賷毓乇賮賵賳賴賲 賷鬲氐賷賾丿賵賳賴賲 賮賷 丕賱卮賵丕乇毓 賱賷爻乇賯賵丕 賲賳賴賲 賲丨丕賮馗 賳賯賵丿賴賲 亘毓丿 兀賳 賷賵爻毓賵賳賴賲 囟乇亘丕 賵賰賷賮 兀賳賾賴賲 賷亘乇賾乇賵賳 賲丕 賷賯賵賲賵賳 亘賴 亘丿丕賮毓 丕賱賰乇丕賴賷賾丞 兀賵 丕賱賱丕賴丿賮 賰賲丕 賷丿賾毓賵賳貙 賮賴賲 賷噩毓賱賵賳 睾賷丕亘 丕賱賴丿賮 賴賵 睾丕賷鬲賴賲 丕賱乇卅賷爻賷賾丞 賮賷 賲丨丕賵賱丞 賱賱鬲毓亘賷乇 毓賳 廿毓鬲賳丕賯賴賲 賱賱兀賮賰丕乇 丕賱賮賵囟賵賷賾丞 丕賱鬲賷 賷賳馗賾乇賴丕 賱賴賲 丕賱卮丕亘 乇丕賷賳乇 賵丕賱匕賷 賷毓鬲亘乇 賳賮爻賴 賲禺 丕賱毓氐丕亘丞 亘丕賱廿囟丕賮丞 廿賱賶 卮賯賷賯鬲賴 丕賱鬲丐丕賲 "兀賳賾丕" 賵氐丿賷賯鬲賴賲 丕賱孬乇賷賾丞 夭賵賮賷 鈥� 氐賵賮賷 丨爻亘 丕賱賳胤賯 丕賱兀賱賲丕賳賷". 賮鬲亘丨乇 賷賱賷賳賰 賮賷 賵氐賮 賲卮丕毓乇 賵卮禺氐賷賾丕鬲 賰賱 賲賳 賴匕賴 丕賱卮禺氐賷賾丕鬲 丕賱兀乇亘毓丞 賵丿賵丕賮毓賴賲 賵禺賷亘丕鬲 兀賲賱賴賲 亘丕賱廿囟丕賮丞 廿賱賶 廿毓胤丕亍賳丕 賵氐賮丕 丿賯賷賯丕 賱賱兀賵囟丕毓 丕賱兀爻乇賷賾丞 賱賰賱 賵丕丨丿賺 賲賳賴賲 亘卮賰賱賺 賷丨丕賵賱 鬲賮爻賷乇 丕賱賳賴丕賷丞 丕賱賮囟賷毓丞 丕賱鬲賷 爻鬲賳鬲賴賷 廿賱賷賴丕 丕賱乇賵丕賷丞.
亘丿丕賷丞 賱丕 亘丿 賲賳 鬲丨賱賷賱 卮禺氐賷賾丞 "乇丕賷賳乇" 丕賱卮丕亘 賮賷 丕賱孬丕賳賵賷賾丞 賵丕賱匕賷 賷丨亘 丕賱賯乇丕亍丞 賵賷購賰孬乇 賲賳 丕賱廿胤賾賱丕毓 毓賱賶 丕賱賰鬲亘 丕賱賮賱爻賮賷賾丞 賵賱丕 爻賷賾賲丕 丕賱毓丿賲賷賾丞 賵丕賱賵噩賵丿賷賾丞 賲賳賴丕 賵賷賰丕丿 賷賰賵賳 "兀賱亘賷乇 賰丕賲賵" 賯乇賷賳賴 丕賱丿丕卅賲 丕賱匕賷 賷爻鬲卮賴丿 亘兀賯賵丕賱賴 胤賵丕賱 丕賱賵賯鬲 賱丿乇噩丞 兀賳賾 夭賲賷賱鬲賴 夭賵賮賷 兀禺亘乇鬲賴 賮賷 賱賯丕亍賴賲 丕賱兀禺賷乇 亘兀賳賾賴 賯賱賾賲丕 鬲賰賱賾賲 毓賳 卮賷亍 賱賲 賷賯賱賴 兀丨丿賹 賲賳 賯亘賱賴貙 賮賷 廿卮丕乇丞 廿賱賶 賰孬乇丞 鬲乇丿賷丿賴 兀賯賵丕賱 丕賱丌禺乇賷賳. 賷毓鬲賯丿 乇丕賷賳乇 賮賷 丿丕禺賱賴 亘兀賳賾賴 賲鬲賮賵賾賯 毓賱賶 兀賯乇丕賳賴 賵賷丨亘 兀賳 賷毓鬲賯丿 丕賱丌禺乇賵賳 亘兀賳賾賴 毓賯賱購 賮匕 賵賯丕卅丿 賵賱賴匕丕 賷卮鬲乇賰 賲毓 卮賯賷賯鬲賴 賮賷 乇賮囟賴賲丕 賱賮賰乇丞 兀賳 賷鬲賮賵賾賯 毓賱賷賴丕 兀丨丿 賮賷 兀賷 卮兀賳賺 賲賳 卮丐賵賳 丕賱丨賷丕丞貙 賮賳乇丕賴賲丕 賷乇賮囟丕賳 丕賱匕賴丕亘 廿賱賶 丕賱丨賮賱丕鬲 丕賱氐丕禺亘丞 賱兀賳賾賴賲 賱丕 賷噩賷丿賵賳 丕賱乇賯氐 亘賷賳賲丕 賷賯丿賾賲賵賳 賲亘乇賾乇丕鬲 兀禺乇賶 賮賷 賰賵賳賴賲 賱丕 賷丨亘賾賵賳 賴匕丕 丕賱賳賵毓 賲賳 丕賱丨賮賱丕鬲貙 賰賲丕 賷丨丕賵賱賵賳 鬲噩賳賾亘 丕賱匕賴丕亘 廿賱賶 丕賱賲爻亘丨 賱兀賳賾賴賲 賷毓鬲賯丿賵賳 亘兀賳賾 賴賳丕賱賰 丕賱賰孬賷乇 賲賲賾賳 賷噩賷丿賵賳 丕賱爻亘丕丨丞 亘卮賰賱 兀賮囟賱 賲賳賴賲貙 兀毓鬲賯丿 亘兀賳賾 賴匕賴 丕賱賳賯胤丞 賲賴賲賾丞 賵鬲丨丕賵賱 丕賱賰丕鬲亘丞 賲賳 禺賱丕賱賴丕 鬲氐賵賷乇 賲丿賶 廿毓鬲夭丕夭 賴匕賷賳 丕賱卮賯賷賯賷賳 亘賳賮爻賷賴賲丕 賵乇賮囟賴賲丕 賮賰乇丞 兀賳 賷賰賵賳丕 賮賷 賲乇鬲亘丞 鬲賯賱 毓賳 丕賱丌禺乇賷賳 賲賴賲丕 賰丕賳 丕賱兀賲乇 亘爻賷胤丕. 賵鬲氐賵賾乇 丕賱賰丕鬲亘丞 兀賷囟丕 乇賮囟 乇丕賷賳乇 鈥撡堌促傎娰傌� 亘丕賱胤亘毓 鈥� 賱賵丕賯毓 兀爻乇鬲賴賲丕 丕賱賮賯賷乇丞 賮賷禺鬲賱賯 乇丕賷賳乇 賵噩賵丿 兀禺 賱賴 賮賷 兀賲賷乇賰丕 賵賷賰賱賾賲 丕氐丿賯丕亍賴 毓賳 毓賲賾 賵賴賲賾賷 賱賴 賷賲丕乇爻 賱毓亘丞 丕賱睾賵賱賮 賮賷 亘乇賷胤丕賳賷丕 賵賷賰賱賾賲 氐丿賷賯鬲賴 丕賱睾賳賷賾丞 "夭賵賮賷" 毓賳 丕賱爻賷丕乇丞 丕賱賮丕乇賴丞 丕賱鬲賷 爻賷丨氐賱 毓賱賷賴丕 賯乇賷亘丕 賰賴丿賷賾丞貙 賮乇丕賷賳乇 丕賱毓亘賯乇賷 丕賱匕賷 賵賱丿 賮賷 亘賷卅丞 賯匕乇丞 賷鬲賵賯 廿賱賶 賲睾丕丿乇鬲賴丕 賷亘賳賷 兀賵賴丕賲丕 賵兀賰丕匕賷亘 鬲亘丿賵 賴卮賾丞 兀賲丕賲 兀氐丿賯丕卅賴 廿賱丕賾 兀賳賾賴 賷氐乇 毓賱賶 丕賱廿爻鬲賲乇丕乇 賮賷賴丕. 賷賲賷賱 乇丕賷賳乇 兀賷囟丕 廿賱賶 丕賱賰匕亘 賮賷 賰賱丕賲賴 毓賳 睾乇丕賲賷賾丕鬲賴 賱賵丕賱丿賴 賵賴賷 丕賱睾乇丕賲賷賾丕鬲 丕賱睾賷乇 丕賱賲賵噩賵丿丞 賳賴丕卅賷賾丕 賵丕賱鬲賷 鬲賳丕賯囟 賳馗乇賷賾丕鬲賴 丕賱鬲賷 賷賱賯賷賴丕 毓賱賶 夭賲賱丕卅賴 賵丕賱鬲賷 鬲丨鬲賯乇 丕賱噩爻丿 賵丕賱賲鬲毓丞 丕賱噩爻丿賷賾丞 丕賱鬲賷 賷丨丕賵賱 賮賷 丕賱丨賯賷賯丞 賰亘鬲賴丕 賵廿賳 乇睾亘 賮賷賴丕 賮賷 丨賯賷賯丞 丕賱兀賲乇. 乇丕賷賳乇 賷丨丕賵賱 兀賳 賷毓賷卮 丨賷丕丞 睾賷乇 丨賷丕鬲賴 賮賷爻乇賯 賵賷爻鬲賱賮 丕賱賳賯賵丿 賲賳 兀賯丕乇亘賴 賱賷乇鬲丿賷 兀丨丿孬 氐賷丨丕鬲 丕賱賲賵囟丞 賵賷卮毓乇 亘丕賱禺噩賱 賲賳 兀賴賱賴 丕賱賮賯乇丕亍 賵賷亘賰賷 亘賲乇丕乇丞 賮賷 兀毓賲丕賯賴 毓賳丿賲丕 鬲胤賱亘 賲賳賴 夭賵賮賷 賲亘賱睾丕 氐睾賷乇丕 賱乇賰賵亘 丕賱鬲丕賰爻賷 廿匕丕 賲丕 賳爻鬲 賳賯賵丿賴丕 兀賵 賳賮匕鬲 賱兀賳賾賴 賱丕 賷賮賰賾乇 賳賴丕卅賷賾丕 賮賷 乇賰賵亘 丕賱鬲丕賰爻賷 賵賷毓乇賮 亘兀賳賾 夭賵賮賷 丕賱孬乇賷賾丞 賱賳 鬲賰鬲乇孬 兀賵 鬲鬲匕賰賾乇 丨鬲賾賶 兀賳 鬲毓賷丿 廿賱賷賴 匕賱賰 丕賱賲亘賱睾 丕賱鬲丕賮賴 亘丕賱賳爻亘丞 廿賱賷賴丕. 賮賷賲賰賳 丕賱賯賵賱 亘兀賳賾 乇丕賷賳乇 賲孬丕賱 毓賳 卮丕亘 毓亘賯乇賷 匕賵 匕賴賳賺 賲賳賮鬲丨 賵賷賳賰亘賾 毓賱賶 丕賱賯乇丕亍丞 廿賱丕賾 兀賳賾賴 睾賷乇 爻毓賷丿 亘賵丕賯毓賴 賵賷胤賲丨 廿賱賶 丕賱鬲禺賱賾氐 賲賳賴 賵禺賱賯 兀賰丕匕賷亘 賲賳 兀噩賱 匕賱賰 賵乇亘賾賲丕 賰丕賳 匕賱賰 丕賱爻亘亘 賮賷賲丕 兀賯丿賲 毓賱賷賴 賮賷 丕賱賳賴丕賷丞 賲賳 兀噩賱 兀賳 賷鬲禺賱賾氐 賲賳 匕賱賰 丕賱賵丕賯毓 亘胤乇賷賯丞 睾亘賷賾丞 廿毓鬲賯丿 亘兀賳賾賴 爻賷丨丕賮馗 賲賳 禺賱丕賱賴丕 毓賱賶 賳乇噩爻賷賾鬲賴 賵廿賳鬲賯丕賲丕 賲賳 禺賷亘丞 丕賱兀賲賱 丕賱鬲賷 賲賳丨鬲賴 廿賷賾丕賴丕 夭賵賮賷.
兀賳賾丕貙 卮賯賷賯丞 乇丕賷賳乇 丕賱鬲賵兀賲貙 賮鬲丕丞 賲購乇賴賮丞 丕賱丨爻 賵鬲毓卮賯 丕賱賲賵爻賷賯賶 丕賱賰賱丕爻賷賰賷賾丞 賵鬲毓夭賮 毓賱賶 丕賱亘賷丕賳賵 賲賯胤賵毓丕鬲 賱卮賵賳亘賷乇睾 賵亘賷乇睾 賵卮賵亘丕賳 賵卮賵亘乇鬲 賵睾賷乇賴賲 賲賳 賰亘丕乇 丕賱賲丐賱賮賷賳 丕賱兀賱賲丕賳 賵丕賱賳賲爻丕賵賷賾賷賳 賵賴賷 鬲毓丕賳賷 亘爻亘亘 匕賱賰 賲賳 丕賱毓夭賱丞 毓賳 兀賯乇丕賳賴丕 鈥� 鬲賲丕賲丕 賰卮賯賷賯賴丕 丕賱匕賷 賷賲鬲賱賰 夭賲賱丕亍 賮賯胤 鈥� 亘爻亘亘 廿賯亘丕賱 夭賲賷賱丕鬲賴丕 毓賱賶 丕賱賲賵爻賷賯賶 丕賱丨丿賷孬丞 "丕賱乇賵賰 兀賳丿 乇賵賱" 賵賴賷 賲丕 鬲丨丕賵賱 丕賱賰丕鬲亘丞 丕賱鬲乇賰賷夭 毓賱賷賴 賱鬲賵囟賾丨 睾夭賵 丕賱孬賯丕賮丞 丕賱兀賲賷乇賰賷賾丞 賱兀賵乇賵亘丕 毓賯亘 丕賱丨乇亘 丕賱毓丕賱賲賷賾丞 丕賱孬丕賳賷賾丞 賵賴賷 丕賱丨賯亘丞 丕賱鬲賷 鬲丨丕賵賱 丕賱賰丕鬲亘丞 丕賱賰賱丕賲 毓賳賴丕貙 賮鬲匕賰乇 賱賳丕 爻禺乇賷賾丞 夭賲賷賱丕鬲賴丕 賲賳賴丕 賵賴賳賾 賷賱鬲賯胤賳 氐賵乇丞 賷賯亘賾賱賳 賮賷賴丕 氐賵乇丞 賳噩賲 賲卮賴賵乇 賮賷禺亘乇賳賴丕 亘兀賳賾 丕賱賲丨賱 丕賱賲噩丕賵乇 賷亘賷毓 兀卮乇胤丞 鬲囟賲 兀毓賲丕賱丕 賱賱賲賵爻賷賯丕乇 丕賱賰亘賷乇 賷賵賴丕賳 爻賷亘丕爻鬲賷丕賳 亘丕禺. 賱賰賳賾 兀賳賾丕 鬲噩丿 賮賷 丕賱賲賵爻賷賯賶 賵兀賳睾丕賲賴丕 丕賱毓夭丕亍 賵丕賱爻賱賵賶 亘丕賱廿囟丕賮丞 廿賱賶 丕賱毓賳賮 賵丕賱賰乇丕賴賷賾丞 丕賱卮丿賷丿丞 丕賱鬲賷 鬲丨賲賱賴丕 賱賱丌禺乇賷賳 賵丕賱毓丕賱賲 賰賰賱 賰賲丕 鬲氐賮 丕賱賰丕鬲亘丞貙 賷賯賵丿賳賷 匕賱賰 廿賱賶 丕賱鬲爻丕丐賱 毓賳 丿賵乇 丕賱孬賯丕賮丞 丕賱匕賷 賱賲 鬲噩毓賱 丕賱賰丕鬲亘丞 賱賴丕 丿賵乇丕 賮賷 丨賲丕賷丞 賴匕賷賳 丕賱卮賯賷賯賷賳 賲賳 丕賱賵賯賵毓 賮賷 丕賱噩乇賷賲丞 賵丕賱賲賷賱 廿賱賶 丕賱毓賳賮貙 賮乇丕賷賳乇 賯丕乇賷亍 賳賴賲 賵賷賰鬲亘 丕賱卮毓乇 賵賷爻鬲匕賵賯 丕賱賮賳 賵賰匕賱賰 卮賯賷賯鬲賴 丕賱賲乇賴賮丞 丕賱丨爻 賵賴賷 亘匕賱賰 鬲丨丕賵賱 鬲氐賵賷乇 兀賴賲賷賾丞 丕賱亘賷卅丞 丕賱廿噩鬲賲丕毓賷賾丞 賵丿賵乇 丕賱乇囟丕 賵丕賱鬲兀賯賱賲 賮賷 禺賱賯 噩賷賱 賳丕賮毓 賱賰兀賳賾 丕賱孬賯丕賮丞 賱賵丨丿賴丕 賱賳 鬲賲賳丨 賲孬賱 賴丐賱丕亍 丕賱丨氐丕賳丞 囟丿 丕賱賵賯賵毓 賮賷 賲賲丕乇爻丞 丕賱卮乇. 鬲毓丕賳賷 兀賳賾丕 賲賳 賲乇囟 賳賮爻賷 賷賮賯丿賴丕 丕賱賳胤賯 賲賳 丿賵賳 爻亘亘 賱賮鬲乇丕鬲 廿囟胤乇賾鬲 亘爻亘亘賴丕 兀丨賷丕賳丕 廿賱賶 兀賳 鬲丨氐賱 毓賱賶 賲賵丕賮賯丞 禺丕氐賾丞 鈥� 賱賰賵賳賴丕 胤丕賱亘丞 賳噩賷亘丞 鈥� 賱賰賷 鬲噩賷亘 毓賱賶 兀爻卅賱丞 丕賱廿賲鬲丨丕賳丕鬲 丕賱卮賮賵賷賾丞 鬲丨乇賷乇賷賾丕貙 賵鬲氐賵賾乇 丕賱賰丕鬲亘丞 丨丕噩鬲賴丕 廿賱賶 丕賱賲賵爻賷賯賶 賲丕 兀賳 鬲毓丕賵丿賴丕 丕賱丨丕賱丞 賵賲丕 兀賳 鬲賵丕噩賴賴丕 賲卮丕賰賱 賰亘賷乇丞貙 賮鬲賰賵賳 丕賱賲賵爻賷賯賶 賲賱噩兀賴丕 丕賱丿丕卅賲 賮賷 賰賱賾 丨賷賳. 鬲賯毓 兀賳賾丕 賮賷 丨亘 賴丕賳爻 丕賱毓丕賲賱 賵鬲丿乇賰 亘兀賳賾賴丕 兀毓賱賶 賲賳賴 賵賱賰賳賾賴 賱丕 賷賯賳毓 亘賴丕 賵賷丨丕賵賱 丕賱賵氐賵賱 廿賱賶 夭賵賮賷 丕賱孬乇賷賾丞 丕賱鬲賷 賷丨亘賾賴丕 乇丕賷賳乇 兀賷囟丕 賮賷 氐賲鬲貙 賵賮賷 丕賱賳賴丕賷丞 賷賰鬲卮賮 丕賱卮賯賷賯丕賳 亘兀賳賾 夭賵賮賷 鬲賮囟賾賱 賴丕賳爻 賮賷氐丕亘 丕賱廿孬賳丕賳 亘禺賷亘丞 兀賲賱 鬲夭賷丿 賲賳 賵囟毓賴賲丕 賲兀爻丕賵賷賾丞.
賲賳 兀噩賱 賮賴賲 丕爻亘丕亘 丕賱毓賳賮 賰賲丕 匕賰乇賳丕 賱丕 亘丿 賲賳 鬲丨賱賷賱 丕賱噩賵 丕賱廿噩鬲賲丕毓賷 丕賱匕賷 賳卮兀 賮賷賴 丕賱卮賯賷賯丕賳貙 賮兀爻乇鬲賴賲 丕賱氐睾賷乇丞 丕賱鬲賷 鬲鬲賰賵賾賳 賲賳賴賲丕 賵賲賳 賵丕賱丿賷賴賲丕 鬲賯胤賳 賮賷 丨賷賾 爻賰賳賷 賮賯賷乇 賵鬲丨丕賵賱 丕賱賰丕鬲亘丞 廿賱賯丕亍 丕賱賱賵賲 毓賱賶 丕賱賵丕賱丿 亘氐賵乇丞 賵丕囟丨丞貙 賮賴賵 囟丕亘胤 爻丕亘賯 賮賷 丕賱兀爻 兀爻 賵賯丿 賮賯丿 廿丨丿賶 爻丕賯賷賴 賮賷 丕賱丨乇亘 賵賱賴匕丕 鬲乇賰鬲 鬲賱賰 丕賱毓丕賴丞 兀孬乇丕 毓賲賷賯丕 賮賷 賳賮爻賴 賵孬賯鬲賴 亘賴丕貙 賮亘毓丿 兀賳 賰丕賳 囟丕亘胤丕 賵爻賷賲丕 亘噩爻丿 賲毓丕賮賶 賵賷噩匕亘 丕賱賰孬賷乇 賲賳 丕賱賳爻丕亍 亘夭賷賾賴 丕賱毓爻賰乇賷 丕賱兀賳賷賯 兀氐亘丨 賲毓丕賯丕 賷毓鬲丕卮 毓賱賶 乇丕鬲亘 丕賱賲丨丕乇亘賷賳 丕賱賯丿丕賲賶 亘丕賱廿囟丕賮丞 廿賱賶 毓賲賱賴 賰亘賵賾丕亘貙 賵賱丕 鬲睾賮賱 丕賱賰丕鬲亘丞 毓賳 鬲丨賱賷賱 兀孬乇 丕賱丨乇亘 丕賱爻賷亍 賮賷 鬲卮賵賷賴賴 賳賮爻賷賾丕 亘丕賱廿囟丕賮丞 廿賱賶 鬲卮賵賷賴賴 丕賱亘丿賳賷貙 賮賯丿 賰丕賳 賷囟乇亘 夭賵噩鬲賴 亘毓賳賮 賲賳 兀噩賱 廿孬亘丕鬲 匕賰賵乇鬲賴 丕賱鬲賷 賷禺卮賶 兀賳 鬲賴夭賾 氐賵乇鬲賴丕 廿毓丕賯鬲賴 亘丕賱廿囟丕賮丞 廿賱賶 賲賲丕乇爻鬲賴 賱賰賱 丕賱亘卮丕毓丕鬲 丕賱鬲賷 廿毓鬲丕丿 丕賱賯賷丕賲 亘賴丕 亘丨賯賾 丕賱兀亘乇賷丕亍 賮賷 賲毓爻賰乇丕鬲 丕賱廿毓鬲賯丕賱 丕賱賳丕夭賷賾丞 囟丿 夭賵噩鬲賴 賵兀亘賳丕亍賴貙 賰賲丕 鬲鬲賰賱賾賲 毓賳 賯賱賾丞 廿爻鬲孬丕乇鬲賴 噩賳爻賷賾丕 亘毓丿 兀賳 廿毓鬲丕丿 乇丐賷丞 兀賰賵丕賲 丕賱噩孬孬 丕賱毓丕乇賷丞 兀亘丕賳 鬲賱賰 丕賱丨乇亘 丕賱亘卮毓丞貙 賰賲丕 鬲丨丕賵賱 丕賱賰丕鬲亘丞 鬲氐賵賷乇 夭賵噩鬲賴 丕賱鬲賷 賰丕賳鬲 鬲毓賲賱 賰賲丿乇賾爻丞 賵囟丨賾鬲 亘賰賱 卮賷亍 賲賳 兀噩賱賴 賵兀賵賱丕丿賴 賵賰賷賮 兀賳賾賴丕 鬲鬲賵爻賾賱 廿賱賷賴 賲賳 兀噩賱 兀賱丕賾 賷囟乇亘賴丕貙 賵賱賰賳賾賴 賷氐乇 毓賱賶 賲賲丕乇爻丞 爻丕丿賷賾鬲賴 丕賱鬲賷 兀孬賾乇鬲 鈥撠ㄙ勜� 卮賰 鈥� 賮賷 卮禺氐賷賾丞 兀亘賳丕亍賴貙 賰賲丕 鬲氐賵賾乇 亘氐賵乇丞 睾賷乇 賲亘丕卮乇丞 鬲兀孬賷乇 丕賱廿毓丕賯丞 毓賱賷賴 賵賰賷賮 兀賳賾賴 兀氐亘丨 賷卮賰 賮賷 夭賵噩鬲賴 賵賷鬲賾賴賲賴丕 亘兀賳賾賴丕 鬲禺賵賳賴 賲毓 丕賱亘賯賾丕賱 賵睾賷乇賴丕 賲賳 鬲賴賲 賱丕 兀爻丕爻 賱賴丕 賲賳 丕賱氐丨賾丞貙 賵鬲鬲噩賱賾賶 賯賲賾丞 丕賱鬲賳丕賯囟丕鬲 賵丕賱爻丕丿賷賾丞 賱匕賱賰 丕賱乇噩賱 賲賳 禺賱丕賱 鬲賲夭賷賯賴 賱孬賵亘 賯丕賲鬲 夭賵噩鬲賴 亘禺賷丕胤鬲賴 賱兀賳賾賴 賷毓鬲賯丿 亘兀賳賾賴丕 鬲丨丕賵賱 兀賳 鬲睾乇賷 亘賴 乇噩丕賱丕 丌禺乇賷賳 賵賮賷 丕賱賵賯鬲 賳賮爻賴 賷賯賵賲 亘鬲氐賵賷乇賴丕 氐賵乇丕 廿亘丕丨賷賾丞 賱賷賯賵賲 亘亘賷毓賴丕 賵賷爻鬲毓賲賱 賮賷 匕賱賰 兀爻丕賱賷亘 亘卮毓丞 賵睾賷乇 賲丨鬲乇賲丞 賲毓賴丕 廿賳 賴賷 乇賮囟鬲 匕賱賰貙 賵亘匕賱賰 鬲丨丕賵賱 賷賱賷賳賰 鬲氐賵賷乇 賮賰乇丞 亘毓囟 丕賱乇噩丕賱 丕賱鬲賲賱賾賰賷賾丞 賱賳爻丕丐賴賲 賮賴賵 賷乇賮囟 兀賳 鬲禺賵賳賴 夭賵噩鬲賴 鈥� 賵賴賵 賲丕 賱丕 賷丨丿孬 賮賷 賴匕賴 丕賱丨丕賱丞 鈥� 賵賷賴丿賾丿賴丕 亘丕賱賯鬲賱 亘賳丕亍丕 毓賱賶 卮賰賵賰賴 丕賱賲賳亘毓孬丞 賲賳 廿賳毓丿丕賲 孬賯鬲賴 亘賳賮爻賴 賵賱賰賳賾賴 賲爻鬲毓丿 賱兀賳 賷鬲丕噩乇 亘賴丕 賲賳 兀噩賱 丕賱賳賯賵丿 賲鬲賶 賲丕 卮丕亍貙 丕賱賲賴賲 賱丿賷賴 賮賯胤 兀賳賾賴 賴賵 賲賳 賷賯賵賲 亘匕賱賰 賵賯鬲賲丕 賷卮丕亍. 丕賱賰丕鬲亘丞 鬲氐賵賾乇 兀賷囟丕 鬲丕孬賷乇 丕賱賮賯乇 賮賷 鬲賴丿賷賲 丕賱毓賱丕賯丕鬲 丕賱兀爻乇賷賾丞 賮毓賱賶 丕賱乇睾賲 賲賳 乇睾亘丞 乇丕賷賳乇 賮賷 丨賲丕賷丞 賵丕賱丿鬲賴 亘兀賳 賷爻乇賯 丕賱賲爻丿賾爻 賱賰賷 賱丕 賷賯賵賲 亘賯鬲賱賴丕 賵丕賱丿賴 賷賵賲丕 賲丕 賮廿賳賾 卮賯賷賯鬲賴 鬲毓鬲亘乇 賮賷 匕賱賰 兀賲乇丕 噩賷賾丿丕 廿匕 廿賳賾 兀丨丿賴賲 爻賷賲賵鬲 賵賷賱賯賶 丕賱丌禺乇 賮賷 丕賱爻噩賳 賵賷丨氐賱丕 亘匕賱賰 毓賱賶 丨乇賷賾鬲賴賲丕.
亘丕賱廿賳鬲賯丕賱 廿賱賶 卮禺氐賷賾丞 夭賵賮賷貙 鬲亘丿賵 兀爻亘丕亘 賲賷賱賴丕 賱賱毓賳賮 兀賯賱 賵囟賵丨丕貙 賮賴賷 睾賳賷賾丞 賵兀爻乇鬲賴丕 鬲賲鬲賱賰 賮賷賱丕 賮丕乇賴丞 賵丨氐賱鬲 毓賱賶 爻賷賾丕乇丞 賰賴丿賷賾丞 賮賷 毓賷丿 賲賷賱丕丿賴丕 丕賱孬丕賲賳 毓卮乇 賵賰丕賳鬲 鬲丨氐賱 毓賱賶 賰賱 賲丕 鬲乇賷丿 賵賷丨爻丿賴丕 丕賱丌禺乇賵賳 毓賱賶 賲丕 鬲賲賱賰賴 賮賷 氐賲鬲 賵賰丕賳鬲 兀爻乇鬲賴丕 鬲賯囟賷 丕賱兀噩丕夭丕鬲 賮賷 丕賱賲賳丕胤賯 丕賱鬲賷 賷乇鬲丕丿賴丕 兀孬乇賶 丕賱兀孬乇賷丕亍 賵禺胤賾胤鬲 兀爻乇鬲賴丕 賱廿乇爻丕賱賴丕 廿賱賶 賱賵夭丕賳 賱鬲鬲賲賾 丿乇丕爻鬲賴丕 賮賷賲丕 亘毓丿 賵賴賵 賲丕 乇丕賯 賱賴丕 賮賷 丕賱賳賴丕賷丞 賵鬲乇賰鬲 賲賳 兀噩賱賴 賴丕賳爻 賵乇丕賷賳乇. 賱賰賳賾 賲卮丕乇賰丞 夭賵賮賷 賮賷 鬲賱賰 丕賱毓氐丕亘丞 賯丿 賷毓賵丿 廿賱賶 廿賰鬲賮丕亍賴丕 丕賱鬲丕賲 賵毓丿賲 廿賴鬲賲丕賲賴丕 亘丕賱賲丕賱 賵亘丨孬賴丕 毓賳 卮賷亍 噩丿賷丿 鬲賯賵賲 亘賴貙 賵賯丿 賵噩丿鬲 賮賷賲丕 賷賯賵賲 亘賴 乇丕賷賳乇 賲睾丕賲乇丕鬲 噩匕賾丕亘丞 亘賱 廿賳賾賴丕 乇睾亘 賮賷 氐賳丕毓丞 賯賳丕亘賱 賷丿賵賷賾丞 賵賰丕賳鬲 丿丕卅賲丕 賲丕 鬲乇賮囟 兀賳 賷賰賵賳 丕賱賲丕賱 賴丿賮 賱賲丕 賷賯賵賲賵賳 亘賴 賵丕賱匕賷 賷胤賱賯賵賳 毓賱賷賴 廿爻賲 "噩乇丕卅賲" 亘丨賰賲 丕賱毓丕丿丞 賮賴賲 賱丕 賷乇賵賳 賮賷 匕賱賰 卮賷卅丕 禺丕胤卅丕. 賯丿 賷賰賵賳 丕賱鬲賮賰賾賰 丕賱兀爻乇賷 兀賷囟丕 毓丕賲賱 賲賴賲 賮賷 丨丕賱丞 夭賵賮賷 賵毓丿賲 廿丨鬲乇丕賲 賵丕賱丿鬲賴丕 賱夭賵噩賴丕 丕賱锟斤拷賮賯乇 爻亘亘丕 賲賴賲賾丕 賱賲 鬲賮乇丿 賱賴 丕賱賰丕鬲亘丞 丨賷賾夭丕 賰亘賷乇丕貙 賵亘匕賱賰 鬲鬲卮丕亘賴 丕賱丨丕賱鬲賷賳 賮賷 丕賱噩賵賴乇 賵廿賳 廿禺鬲賱賮鬲 丕賱馗乇賵賮.
兀賲賾丕 賴丕賳爻貙 丕賱毓丕賲賱 丕賱匕賷 賷氐胤丕丿賵賳賴 賵賷賯賳毓賵賳賴 賱賱廿賳囟賲丕賲 廿賱賷賴賲貙 賮賴賵 卮丕亘賹 賵爻賷賲 賲賮鬲賵賱 丕賱毓囟賱丕鬲 鬲賯毓 夭賵賮賷 賵兀賳賾丕 賮賷 丨亘賾賴 賵賴賵 賷毓賷卮 賲毓 賵丕賱丿鬲賴 丕賱賳丕卮胤丞 賮賷 丕賱丨夭亘 丕賱廿卮鬲乇丕賰賷 賵賴賷 賱丕 鬲夭丕賱 賵賮賷賾丞 賱賯囟賷賾丞 丕賱毓賲賾丕賱 丕賱鬲賷 賲丕鬲 夭賵噩賴丕 賲賳 兀噩賱賴丕 賮賷 賲毓爻賰乇丕鬲 丕賱廿毓鬲賯丕賱貙 賱賰賳賾 賴丕賳爻 賰兀氐丿賯丕卅賴 睾賷乇 賲賯鬲賳毓 亘賵丕賯毓賴 賵乇丕賮囟 賱賴 賵賱兀賮賰丕乇 賵丕賱丿鬲賴 亘賱 兀賳賾賴 賷毓鬲亘乇 睾賷丕亘 賵丕賱丿賴 鈥� 丕賱匕賷 鬲卮鬲丕賯 廿賱賷賴 賵丕賱丿鬲賴 鈥� 睾賷乇 賲亘乇賾乇丕 賱兀賳賾 丕賱賲賰丕賳 丕賱匕賷 賷毓賷卮丕賳 賮賷賴 賰丕賳 爻賷賰賵賳 兀賰孬乇 囟賷賯丕 賮賷 賵噩賵丿 卮禺氐 廿囟丕賮賷貙 賴匕丕 亘丕賱廿囟丕賮丞 廿賱賶 爻禺乇賷賾鬲賴 賲賳 丕賱賯囟賷賾丞 丕賱鬲賷 囟丨賾賶 賵丕賱丿賴 亘賳賮爻賴 賲賳 兀噩賱賴 亘賱 賵賷氐乇 毓賱賶 丕賱鬲毓亘賷乇 毓賳 匕賱賰 賱賵丕賱丿鬲賴 丕賱鬲賷 鬲丨匕賾乇賴 賲賳 乇賮賯丞 夭賵賮賷 丕賱睾賳賷丞 丕賱鬲賷 賰丕賳鬲 鬲賴丿賷賴 賲賱丕亘爻 卮賯賷賯賴丕 丕賱匕賷 賷丿乇爻 賮賷 兀賰爻賮賵乇丿貙 廿匕 鬲毓鬲亘乇 賵丕賱丿鬲賴 賮賷 鬲賯乇賾亘賴 賲賳 丕賱兀孬乇賷丕亍 禺賷丕賳丞 賱賱胤亘賯丞 丕賱毓丕賲賱丞 丕賱鬲賷 賷賳鬲賲賷 廿賱賷賴丕貙 賵丕賱匕賷 賷鬲賵賯 廿賱賶 賲睾丕丿乇鬲賴丕. 鬲氐賵賾乇 丕賱賰丕鬲亘丞 賲賳 噩丿賷丿 鬲睾賱睾賱 丕賱孬賯丕賮丞 丕賱兀賲賷乇賰賷賾丞 賮賷 丕賱賳賲爻丕 亘毓丿 丕賱丨乇亘 賵丕賱廿丨鬲賱丕賱 賵氐乇丕毓 丕賱兀噩賷丕賱 亘爻亘亘 匕賱賰. 鬲毓亘賾乇 丕賱賰丕鬲亘丞 毓賱賶 賱爻丕賳 乇丕賷賳乇 乇兀賷賴丕 賮賷 賴丕賳爻 "丕賱賲賮鬲賵賱 丕賱毓囟賱丕鬲" 賵亘丕賱鬲丕賱賷 乇兀賷賴丕 賮賷 丕賱賯賵賾丞 丕賱亘丿賳賷賾丞 賵兀乇丕賳賷 兀鬲賾賮賯 賲毓賴丕 賮賷 匕賱賰貙 廿匕 鬲毓鬲賯丿 亘兀賳賾 丕賱賯賵賾丞 丕賱亘丿賳賷賾丞 賴賷 丕賱噩丕賳亘 丕賱丨賷賵丕賳賷 賲賳 丕賱廿賳爻丕賳 賵丕賱毓賯賱 賴賵 丕賱兀賯賵賶 賵賴匕丕 賲锟斤拷 賷賯賵賱賴 乇丕賷賳乇 丕賱匕賷 賷毓鬲亘乇 賳賮爻賴 丕賱賲禺 賵賷毓鬲亘乇 賴丕賳爻 賷丿 丕賱毓氐丕亘丞貙 賵賷丨丕賵賱 兀賳 賷賯賳毓賴 亘毓丿賲 囟乇賵乇丞 丕賱賯乇丕亍丞 亘賳賮爻賴 賱兀賳賾賴 賱賳 賷賯丿乇 毓賱賶 兀賳 賷氐亘丨 賲孬賯賾賮丕 賵賷胤賱亘 賲賳賴 兀賳 賷爻鬲賲毓 廿賱賶 賲丕 賷賯賵賱賴 賮賯胤 賵爻賷賰賵賳 賴匕丕 賰丕賮賷丕 賮賷 賲賳丨賴 丕賱孬賯丕賮丞 丕賱鬲賷 兀氐亘丨 賷賮賰賾乇 賮賷賴丕 賲賳 兀噩賱 兀賳 賷賰賵賳 賲賱丕卅賲丕 賱夭賵賮賷.
賵亘匕賱賰 鬲賰賵賳 丕賱乇賵丕賷丞 鬲毓亘賷乇丕 毓賳 丕賱氐乇丕毓 丕賱賮賰乇賷 賵丕賱廿噩鬲賲丕毓賷 亘賷賳 丕賱兀噩賷丕賱 賵鬲睾賷賾乇 丕賱賲賮丕賴賷賲 賵毓丿賲 廿賯鬲賳丕毓 丕賱噩賷賱 丕賱卮丕亘 亘賵丕賯毓 兀賴賱賴 賵賲丨丕賵賱鬲賴 鬲丨賯賷賯 賴賵賷賾鬲賴 丕賱噩丿賷丿丞 丨鬲賾賶 賵廿賳 賯丕丿賴賲 匕賱賰 廿賱賶 賲丕 賴賵 兀爻賵兀 賮賷 丕賱賵丕賯毓貙 賰賲丕 鬲亘乇夭 丿賵乇 丕賱丨乇亘 賮賷 鬲丨胤賷賲 卮禺氐賷賾丕鬲 丕賱囟亘賾丕胤 賵丕賱噩賳賵丿 賵廿賳毓賰丕爻 匕賱賰 毓賱賶 賵丕賯毓 丕賱兀爻乇丞 亘乇賲賾鬲賴丕 亘丕賱廿囟丕賮丞 廿賱賶 丿賵乇 丕賱毓賳賮 丕賱兀爻乇賷 兀賵 賮賯丿丕賳 丕賱廿丨鬲乇丕賲 賮賷 鬲賳卮卅丞 兀噩賷丕賱 賲卮賵賾賴丞 賳賮爻賷賾丕 賵鬲賲賷賱 廿賱賶 丕賱毓賳賮 賵丕賱廿賳鬲賯丕賲 賲賳 丕賱賲噩鬲賲毓 賵賲賳 兀卮禺丕氐 賱丕 賷毓乇賮賵賳賴賲 賲賳 兀噩賱 鬲賮乇賷睾 匕賱賰 丕賱賰亘鬲 賵丕賱丨賯丿 賵丕賱賮卮賱 賮賷 丕賱丌禺乇賷賳 丕賱兀亘乇賷丕亍貙 賰賲丕 鬲氐賵賾乇 賳馗乇丞 乇丕賷賳乇 丕賱鬲賷 鬲丨鬲賯乇 丕賱囟毓賮 賵鬲乇賶 兀賳賾 丕賱賲爻丕賵丕丞 賴賷 賲胤賱亘 丕賱囟毓賮丕亍 賲賲賾賳 賷丨丕賵賱賵賳 噩乇賾 丕賱兀賯賵賷丕亍 賲毓賴賲 廿賱賶 丕賱丨囟賷囟 賰賷 賷丨賲賵丕 兀賳賮爻賴賲貙 賵亘匕賱賰 賳乇賶 鬲毓丕胤賮 乇丕賷賳乇 賲毓 丕賱胤亘賯丕鬲 丕賱鬲賷 鬲囟胤賴丿 丕賱丌禺乇賷賳 乇睾賲 賰賵賳賴 賲賳 胤亘賯丞 賮賯賷乇丞 賵亘丕卅爻丞貙 乇亘賾賲丕 賷賰賵賳 賴丿賮 丕賱賰丕鬲亘丞 丕賱乇卅賷爻賷 鬲氐賵賷乇 卮禺氐賷賾丞 賲賮賰賾乇 賳卮兀 賮賷 馗乇賵賮 氐毓亘丞 賵賴賵 賷鬲賵賯 廿賱賶 鬲睾賷賷乇賴丕 賮鬲氐賷亘賴 丕賱禺賷亘丞 鬲賱賵 丕賱禺賷亘丞 賵兀孬乇 匕賱賰 賮賷 禺賱賯 卮禺氐 賲囟乇賾 亘丕賱賲噩鬲賲毓 賵賳丕賯賲 毓賱賷賴.
乇睾賲 廿睾乇丕賯 丕賱乇賵丕賷丞 賮賷 鬲賰乇丕乇 賳賮爻 丕賱賲卮賰賱丕鬲 賵賴匕丕 賲丕 賱丕丨馗鬲賴 賲賳 賯乇丕亍鬲賷 賱乇賵丕賷丞 "丕賱毓丕卮賯丕鬲" 賱廿賱賮乇賷丿賴 賷賱賷賳賰 兀賷囟丕貙 賮廿賳賾 丕賱賳賴丕賷丞 鬲兀鬲賷 氐丕毓賯丞 賵賲賮丕噩卅丞貙 毓賯亘 丨賮賱 丕賱鬲禺乇賾噩 賵卮毓賵乇 乇丕賷賳乇 亘丕賱禺噩賱 賲賳 兀賴賱賴 賮賷 鬲賱賰 丕賱丨賮賱丞 賵禺賷亘丞 兀賲賱賴 亘賮賯丿丕賳 丨亘賷亘鬲賴 夭賵賮賷 賵丕賱鬲賷 兀馗賴乇鬲 賮噩兀丞 乇睾亘鬲賴丕 賮賷 鬲噩乇亘丞 丨賷丕丞 睾乇賷亘丞 噩丿賷丿丞 賮賷 賱賵夭丕賳 賵毓丿賲 廿賰鬲乇丕孬賴丕 亘乇丕賷賳乇 兀賵 賴丕賳爻貙 廿匕 賷賯丿賲 乇丕賷賳乇 賮賷 丕賱氐亘丕丨 丕賱亘丕賰乇 廿賱賶 賯鬲賱 賰丕賲賱 兀爻乇鬲賴 賵丕賱鬲賲孬賷賱 亘噩孬孬賴賲 亘丕賱賲爻丿爻 賵丕賱丨乇亘丞 賵賲丨丕賵賱鬲賴 廿禺賮丕亍 賲毓丕賱賲 丕賱噩乇賷賲丞 賵賮卮賱賴 賮賷 匕賱賰 亘胤乇賷賯丞 丿乇丕賲丕鬲賷賰賷賾丞 賮賷囟賷毓 賰賱 卮賷亍 賲賳 兀噩賱 丕賱賱丕卮賷亍 丕賱匕賷 賰丕賳 賷胤丕乇丿賴 胤賵丕賱 丨賷丕鬲賴貙 賵賱賰賳賾 亘毓囟 丕賱賲賱丕亘爻丕鬲 丕賱亘爻賷胤丞 鬲卮毓乇賳丕 亘兀賳賾 廿禺鬲賷丕乇 鬲賵賯賷鬲 丕賱噩乇賷賲丞- 丕賱鬲賷 鬲亘賯賶 睾乇賷亘丞 賵賲賮丕噩卅丞 亘賰賱 丨丕賱賺 賲賳 丕賱兀丨賵丕賱 鈥� 鬲賵丨賷 亘兀賳賴 丨丕賵賱 兀賳 賷賵賴賲賴賲 亘兀賳賴賲 賲賳鬲氐乇賵賳 賱賷賳鬲氐乇 毓賱賷賴賲 賮賷 丕賱賳賴丕賷丞貙 賮賯丿 鬲乇賰 賵丕賱丿賴 賮賷 丕賱賱賷賱丞 丕賱爻丕亘賯丞 賷賮賵夭 毓賱賷賴 賮賷 賱毓亘丞 丕賱卮胤乇賳噩 賮兀丿乇賰 丕賱賵丕賱丿 亘兀賳賾 廿亘賳賴 賱丕 賷賱毓亘 賲毓賴 亘噩丿賷賾丞 賵氐賮毓賴 亘爻亘亘 匕賱賰 賵卮丕賴丿 廿亘鬲爻丕賲丞 卮賯賷賯鬲賴 丕賱鬲賷 賱賲 賷賮賴賲 賱賴丕 爻亘亘丕貙 賮賱賲 賷賰賳 賷毓賱賲 亘兀賳賾賴丕 丨氐賱鬲 毓賱賶 賲賵毓丿 賲毓 賴丕賳爻 賲賳 噩丿賷丿貙 亘丕賱廿囟丕賮丞 廿賱賶 賯鬲賱賴 賵丕賱丿鬲賴 賵賴賷 爻毓賷丿丞 亘毓丿 丕賱丨賲賾丕賲 丕賱氐亘丕丨賷貙 賰賱 賴匕丕 賷賲賳丨賳丕 卮毓賵乇丕 亘兀賳賾賴賲 賯鬲賱賴賲 賵賲孬賾賱 亘賴賲 亘毓丿 兀賳 毓丕卮賵丕 賱丨馗丕鬲 爻毓丕丿丞 賯氐賷乇丞 賯囟賶 毓賱賷賴丕 賲賳 兀噩賱 兀賳 賷鬲禺賱賾氐 賲賳 賵丕賯毓賴 賵賷丨丕賮馗 毓賱賶 賳乇噩爻賷賾鬲賴 丕賱鬲賷 賰丕賳 賷禺卮賶 賮賯丿丕賳賴丕 亘毓丿 兀賳 爻賷賰賵賳 賲囟胤乇賾丕 賱賱亘丿亍 賲賳 噩丿賷丿 賵廿孬亘丕鬲 卮禺氐賷賾鬲賴 丕賱賲賲賷賾夭丞 賮賷 賲賰丕賳 噩丿賷丿 賵賵爻胤 噩丕賲毓賷 噩丿賷丿.
禺鬲丕賲丕貙 鬲亘丿賵 丕賱賳賴丕賷丞 氐丕毓賯丞 賵賲賮丕噩卅丞 賵賰兀賳賾 丕賱廿賳鬲賯丕賲 睾賷乇 賲亘乇賾乇 兀賱亘鬲賾丞貙 賮賯丿 賰丕賳 賮賷 廿賲賰丕賳賴 賯鬲賱 賵丕賱丿賴 賮丨爻亘 賵賱賰賳賾賴 賯鬲賱 丕賱噩賲賷毓 賵賯囟賶 毓賱賶 丨賷丕鬲賴 亘睾亘丕亍 賳丕賯囟 賰賱賾 賲丕 賰丕賳 賷丿賾毓賷賴 賲賳 匕賰丕亍 賮賷 丕賱爻丕亘賯貙 賮賯丿 賰丕賳 鬲禺胤賷胤賴 丕賱毓卮賵丕卅賷 賵鬲賳賮賷匕賴 賱賱噩乇賷賲丞 賮賷 睾丕賷丞 丕賱爻匕丕噩丞 賲賲賾丕 賲賰賾賳 兀亘爻胤 丕賱賲丨賯賾賯賷賳 賲賳 賲毓乇賮丞 丕賱賮丕毓賱貙 賮兀賵丿鬲 亘賷噩丕賲鬲賴 丕賱賲囟乇賾噩丞 亘丕賱丿賲丕亍 亘賲爻鬲賯亘賱賴 賵廿賳賴丕乇 丕賱毓賯賱 丕賱賮匕 亘爻乇毓丞 賵禺爻乇 賰賱賾 卮賷亍. 丕賱乇賵丕賷丞 睾丕乇賯丞 賮賷 鬲丨賱賷賱丕鬲 賵丕賯毓賷賾丞 鬲賮爻賾乇 丿賵乇 丕賱鬲卮鬲賾鬲 丕賱廿噩鬲賲丕毓賷 賵兀孬乇 丕賱丨乇賵亘 賵丕賱氐乇丕毓 丕賱賮賰乇賷 亘賷賳 丕賱兀噩賷丕賱 賮賷 賳卮兀丞 丕賱毓賳賮 丕賱匕賷 賷賳亘毓 賲賳 賯毓乇 丕賱爻賱賾賲 丕賱廿噩鬲賲丕毓賷貙 丨賷孬 丕賱賲爻亘鬲毓丿賷賳 賵丕賱賲賴賲賾卮賷賳貙 賵丕賱匕賷 賱丕 賷兀亘賴 兀丨丿賹 賱賴賲 乇睾賲 賰賵賳賴賲 禺胤乇 賰亘賷乇 賷丨賷賯 亘丕賱賲噩鬲賲毓 亘兀爻乇賴 賵乇亘賾賲丕 丿毓賵丞 鈥� 賰丿毓賵丕鬲 賰孬賷乇丞 鈥� 賱賱廿賱賮鬲丕鬲 廿賱賶 賲孬賱 賴匕賴 丕賱胤亘賯丕鬲 賵廿丨丕胤鬲賴丕 亘丕賱乇毓丕賷丞 賲賳 兀噩賱 丨賲丕賷丞 丕賱賰賷丕賳 丕賱廿噩鬲賲丕毓賷 亘兀爻乇賴.
賰賱賰丕賲卮 賳亘賷賱
丕賱賲賯丕賱 賲賳卮賵乇 毓賱賶 賲賵賯毓 丕賱丨賵丕乇 丕賱賲鬲賲丿賾賳
November 19, 2016
W tej - a tak偶e w innych powie艣ciach Jelinek, kt贸re czyta艂am - zachodz膮 pewne paradoksalne i pozornie wykluczaj膮ce si臋 zjawiska, kt贸re pozostawiaj膮 czytelniczk臋 (mnie) w pe艂nym zachwytu zdumieniu. Ta powie艣膰 jest dowodem na to, 偶e mo偶na:
a) uprawia膰 krytyk臋 spo艂eczn膮, nie b臋d膮c jednocze艣nie "zaanga偶owanym" (to idealnie, bo nie znosz臋 Literatury Zaanga偶owanej)
b) pisa膰 j臋zykiem tak bardzo swoim i w艂asnym, 偶e brzmi jak ze swojej w艂asnej, osobistej planety, jednocze艣nie u偶ywaj膮c niemal wy艂膮cznie j臋zykowych kalek, klisz, cytat贸w, szablon贸w, parodii i ironicznych nawi膮za艅 (mi ju偶 sam styl Jelinek wystarczy艂by do szcz臋艣cia)
c) by膰 w samym centrum opisywanych wydarze艅, tak blisko jak tylko mo偶na (patrzymy z tak bliska, 偶e krew ofiar opryskuje nam okulary) a jednocze艣nie by膰 zdystansowanym na niewyobra偶alnym poziomie ironii i sarkazmu
d) by膰 takim idealist膮 i tak bardzo kocha膰 艣wiat, 偶e a偶 si臋 go (r贸wnie mocno) znienawidzi.
Nie polecam osobom, kt贸re pytaj膮 "A o czym ta ksi膮偶ka?" (dlatego te偶 nie pisz臋 "o czym ta ksi膮偶ka"), kt贸re szukaj膮 bohater贸w do na艣ladowania i identyfikowania si臋, kt贸re toleruj膮 jedynie mi艂e przes艂ania i kt贸re uwa偶aj膮, 偶e ksi膮偶ka ma krzepi膰. Krzepi膰 to mo偶e cukier (albo w贸dka, nawet lepiej). "Ksi膮偶ka musi by膰 jak top贸r, by rozr膮ba膰 zamarzni臋te w nas morze" - Franz Kafka. Najwspanialszym paradoksem w przypadku powie艣ci Jelinek jest to, 偶e - mimo 偶e r膮bie - niczego w nas nie rozr膮buje.
a) uprawia膰 krytyk臋 spo艂eczn膮, nie b臋d膮c jednocze艣nie "zaanga偶owanym" (to idealnie, bo nie znosz臋 Literatury Zaanga偶owanej)
b) pisa膰 j臋zykiem tak bardzo swoim i w艂asnym, 偶e brzmi jak ze swojej w艂asnej, osobistej planety, jednocze艣nie u偶ywaj膮c niemal wy艂膮cznie j臋zykowych kalek, klisz, cytat贸w, szablon贸w, parodii i ironicznych nawi膮za艅 (mi ju偶 sam styl Jelinek wystarczy艂by do szcz臋艣cia)
c) by膰 w samym centrum opisywanych wydarze艅, tak blisko jak tylko mo偶na (patrzymy z tak bliska, 偶e krew ofiar opryskuje nam okulary) a jednocze艣nie by膰 zdystansowanym na niewyobra偶alnym poziomie ironii i sarkazmu
d) by膰 takim idealist膮 i tak bardzo kocha膰 艣wiat, 偶e a偶 si臋 go (r贸wnie mocno) znienawidzi.
Nie polecam osobom, kt贸re pytaj膮 "A o czym ta ksi膮偶ka?" (dlatego te偶 nie pisz臋 "o czym ta ksi膮偶ka"), kt贸re szukaj膮 bohater贸w do na艣ladowania i identyfikowania si臋, kt贸re toleruj膮 jedynie mi艂e przes艂ania i kt贸re uwa偶aj膮, 偶e ksi膮偶ka ma krzepi膰. Krzepi膰 to mo偶e cukier (albo w贸dka, nawet lepiej). "Ksi膮偶ka musi by膰 jak top贸r, by rozr膮ba膰 zamarzni臋te w nas morze" - Franz Kafka. Najwspanialszym paradoksem w przypadku powie艣ci Jelinek jest to, 偶e - mimo 偶e r膮bie - niczego w nas nie rozr膮buje.
April 19, 2010
The first thing that always strikes me about Jelinek's work is how she manages to use such "dirty" language. I naturally don't mean cursing, but I do mean her inexplicable ability to always use the exact word in a situation that leaves the reader feeling as if they need to shower after her writing. This characteristic comes across to me, even a non-native German speaker, and seems intrinsic to her writing style. That said, this ability is a very good once since she writes about "dirty" things. Not necessarily inhuman, but certainly nonsocial, the darkest parts of human interaction. Perhaps the most striking part is that she does so as if a passive observer, merely telling the facts and actions as they occur, with little speculation as to the motivations of the reader (a technique which only works for her in light of the fact that almost all books these days explore the internal landscapes of the protaganists) and ultimately leave the reader feeling very ambiguous about their narrator.
Also, without giving away any spoilers, it is my personal belief that this book is about change, and the dangers of being unable to do so in light of darkness.
Also, without giving away any spoilers, it is my personal belief that this book is about change, and the dangers of being unable to do so in light of darkness.
October 16, 2019
La austriaca Elfriede Jelinek fue nobel de literatura en 2004 "por su flujo musical de voces y contra-voces en novelas y obras teatrales que, con extraordinario celo ling眉铆stico, revelan lo absurdo de los clich茅s de la sociedad y su poder subyugante".
Jelinek a causado mucha pol茅mica con su premiaci贸n en el nobel, muchos cr铆ticos la ponen en la lista de las personas que no debieron ganarlo. Sin embargo, a mi gusto como lector, la presente novela, Los Excluidos, me ha sorprendido mucho y me ha gustado y disgustado hasta cierto punto.
La historia se desarrolla en Austria, despu茅s de la segunda guerra mundial, donde los protagonistas son unos chicos de bachillerato, cuatro j贸venes entre 18 a 20 a帽os, que se aprovechan de las secuelas de la guerra, en una sociedad deteriorada, para cometer vandalismo, vandalismo del m谩s despiadado.
El libro es muy fuerte y chocante, por la edad en la que est谩n los j贸venes nos describen sus primeras experiencias en el 谩mbito de la sexualidad, y tambi茅n las complicaciones familiares por las que atreviesan.
Por 煤ltimo, el final del libro es de lo m谩s cruel, pareciera novela de terror, del terror m谩s crudo que se pueda leer.
Jelinek a causado mucha pol茅mica con su premiaci贸n en el nobel, muchos cr铆ticos la ponen en la lista de las personas que no debieron ganarlo. Sin embargo, a mi gusto como lector, la presente novela, Los Excluidos, me ha sorprendido mucho y me ha gustado y disgustado hasta cierto punto.
La historia se desarrolla en Austria, despu茅s de la segunda guerra mundial, donde los protagonistas son unos chicos de bachillerato, cuatro j贸venes entre 18 a 20 a帽os, que se aprovechan de las secuelas de la guerra, en una sociedad deteriorada, para cometer vandalismo, vandalismo del m谩s despiadado.
El libro es muy fuerte y chocante, por la edad en la que est谩n los j贸venes nos describen sus primeras experiencias en el 谩mbito de la sexualidad, y tambi茅n las complicaciones familiares por las que atreviesan.
Por 煤ltimo, el final del libro es de lo m谩s cruel, pareciera novela de terror, del terror m谩s crudo que se pueda leer.
June 2, 2010
This was a bleak and horrifying book, but also an impressive one. I haven't read anything else by this author, not even her more famous book, The Piano Teacher. It took me quite a while to get into the writing style, which has a stream of consciousness on drugs feel to it. The point of view leaps from character to character and the thoughts run together in a way that is disorienting throughout, but in the skilled hands of this author, manages to work. Still, the book describes violence and sex quite graphically and is not for the feint of heart.
The book traces the thoughts of four screwed up teenagers who commit violent crimes just for something to do/because of screwed up philosophical musings/because they are the children of a retired Nazi. Throughout, discussions of philosophy (accurate and inaccurate readings both) are interspersed with discussions of the mundane and the horrifying. These characters are not sympathetic at all, but they are compelling.
The book traces the thoughts of four screwed up teenagers who commit violent crimes just for something to do/because of screwed up philosophical musings/because they are the children of a retired Nazi. Throughout, discussions of philosophy (accurate and inaccurate readings both) are interspersed with discussions of the mundane and the horrifying. These characters are not sympathetic at all, but they are compelling.
March 23, 2019
賰孬賷乇丕 賲丕 賷孬賯賱 丕賱鬲禺賱賷 毓賱賷 丕賱卮亘丕亘 兀賰孬乇 賲賲丕 賷孬賯賱 毓賱賷 "
".丕賱賲爻賳賷賳 貙 賱兀賳 丕賱賲爻賳賷賳 鬲賲乇爻賵丕 毓賱賷 丕賱鬲禺賱賷 賲賳 賯亘賱
".丕賱賲爻賳賷賳 貙 賱兀賳 丕賱賲爻賳賷賳 鬲賲乇爻賵丕 毓賱賷 丕賱鬲禺賱賷 賲賳 賯亘賱
June 4, 2020
Uff! Olidligt m枚rkt och tungt som alltid n盲r Jelinek st氓r bakom. Hoppl枚shet, nihilism, v氓ld och brutalitet.
September 21, 2013
Published in 1980, Wonderful Wonderful Times is a novel whose title is a complete contradiction to anything of what the book is indicative of. Understood and accepted. For me, however, it was a confirming piece of drip-drab fiction that only reiterated my original assessment of her after reading the perennial fan favorite, The Piano Teacher, a butcher job of a novel if ever there was one. This novel could take second honors, however.
Set in the 1950s after WWII, Austria is trying to assume an air of normality and goodness, letting the past be the past and keeping the ghosts of history forcibly at bay. There are no spillover ramifications from the atrocities of war. In truth, that is untrue, but the character elders in Jelinek's stiff and poorly written and unconvincing novel would be hard pressed to have it otherwise, for their contaminated "children" are defects of a dark and wanted closeted history, poisoned brats who are extensions of the prior Hitlerian generation, perhaps a new "lost" generation.
By using internal thoughts and musings, Jelinek creates a battered, soulless, snotty teen world, pumped up with lust and all the trappings that so commonly ensnare youths with their more-often-than-not unfounded angst and bitterness. Forget the dark nether reaches of the goth world and the escapist play games of the mentally demented, for the four direct characters: Rainer Witkowski, his sister Anna, Hans Sepp and Sophie, their world is the here and right now. It is the prowling and the attacking, the lying and the arrogant indifference, the self-absorption and the truthfulness in all the horror of the above said actions, the Nazi element being in all of those traits that fostered the cruel lunacy of human evil. The teens are not retaliatory of the past. They are a modernized re incarceration of it. And herein is Elfriede Jelinek's greatest shortcoming. Her plot is simply unconvincing and poorly strung together, an altogether limp and trite piece of nonsense, just like the unremarkable The Piano Teacher.
The characters who have the potential for something greater are obviously stunted, even deliberately so, but their attempts at unmasking the hypocrisy of those in their immediate environment and even further away falls way too short, and no amount of ad-libbed "justified" philosophy as preached by Rainer compels those actions to be any more right than wrong. They are not preachers of reflection and healing. They are punks. They don't even come close. It is just too ridiculous and stupid, and I found myself saying, Give me a break! Mediocrity of this nature could be taught in a creative writing 101 class. This was dystopian fiction at its worst, and Anthony Burgess-were he still alive-could have taught Jelinek a thing or two.
Not long ago, members of the Nobel Academy were asked if mistakes had been made in who had and who had not been selected to be a Nobel laureate, for Jelinek was so honored in 2004 for the "musical flow of voices and counter-voices..." Admittedly, he said yes, that errors had happened, first and foremost that Karen Blixen also known as Isak Diensen, the Danish authoress of Out of Africa was not chosen, that that was a big regret. He said that some authors should not have been selected, but he stopped short as to mentioning who specifically. It made me wonder if it was a not-too-subtle swipe at Jelinek's surprise selection, for an academy member did resign his post due to his very strong beliefs in her lack of literary merit. If a reader must pick up this book, be wowed not by its supposed merit and accolades, be stupefied by its pretentiousness and sloppiness.
Set in the 1950s after WWII, Austria is trying to assume an air of normality and goodness, letting the past be the past and keeping the ghosts of history forcibly at bay. There are no spillover ramifications from the atrocities of war. In truth, that is untrue, but the character elders in Jelinek's stiff and poorly written and unconvincing novel would be hard pressed to have it otherwise, for their contaminated "children" are defects of a dark and wanted closeted history, poisoned brats who are extensions of the prior Hitlerian generation, perhaps a new "lost" generation.
By using internal thoughts and musings, Jelinek creates a battered, soulless, snotty teen world, pumped up with lust and all the trappings that so commonly ensnare youths with their more-often-than-not unfounded angst and bitterness. Forget the dark nether reaches of the goth world and the escapist play games of the mentally demented, for the four direct characters: Rainer Witkowski, his sister Anna, Hans Sepp and Sophie, their world is the here and right now. It is the prowling and the attacking, the lying and the arrogant indifference, the self-absorption and the truthfulness in all the horror of the above said actions, the Nazi element being in all of those traits that fostered the cruel lunacy of human evil. The teens are not retaliatory of the past. They are a modernized re incarceration of it. And herein is Elfriede Jelinek's greatest shortcoming. Her plot is simply unconvincing and poorly strung together, an altogether limp and trite piece of nonsense, just like the unremarkable The Piano Teacher.
The characters who have the potential for something greater are obviously stunted, even deliberately so, but their attempts at unmasking the hypocrisy of those in their immediate environment and even further away falls way too short, and no amount of ad-libbed "justified" philosophy as preached by Rainer compels those actions to be any more right than wrong. They are not preachers of reflection and healing. They are punks. They don't even come close. It is just too ridiculous and stupid, and I found myself saying, Give me a break! Mediocrity of this nature could be taught in a creative writing 101 class. This was dystopian fiction at its worst, and Anthony Burgess-were he still alive-could have taught Jelinek a thing or two.
Not long ago, members of the Nobel Academy were asked if mistakes had been made in who had and who had not been selected to be a Nobel laureate, for Jelinek was so honored in 2004 for the "musical flow of voices and counter-voices..." Admittedly, he said yes, that errors had happened, first and foremost that Karen Blixen also known as Isak Diensen, the Danish authoress of Out of Africa was not chosen, that that was a big regret. He said that some authors should not have been selected, but he stopped short as to mentioning who specifically. It made me wonder if it was a not-too-subtle swipe at Jelinek's surprise selection, for an academy member did resign his post due to his very strong beliefs in her lack of literary merit. If a reader must pick up this book, be wowed not by its supposed merit and accolades, be stupefied by its pretentiousness and sloppiness.
June 16, 2021
Reading Jelinek's work is like eating cotton candy infused with jagged shards of broken glass and realizing that that specific ratio of sugar to blood is rather addictive. She pours gallons of kerosene onto your unsuspecting brain and tosses an ever so deliberate match. Jelinek attacks the reader while also informing one that one is in on whatever bleak joke she happens to throw one's way.
It's thrilling and enlivening regardless of the brutality of what she describes. It makes sense why she would be called eine Nestbeschmutzerin (a nest-polluter, pointing to, in this case, her hypercritical writing regarding the status of her native Austria) just based off of this novel alone. Yet it feels so salient and justified. She is trying to provoke Austria, a nation that she believes to be an utter failure, a purely autodefiled malignancy in its ineffective handling of the oh so recent fascism in which it partook, into having any sort of resolute pulse in the face of Naziism. Her method of doing so is barreling forward into the grim virulence of history that is never dealt with to the point that the following generations develop in an era/eras of ideological pneumonia found in the plentiful, amnesiac historiographical fog that seems to swarm and, subsequently, cloud individuals' judgments as well as cultural mindsets.
How can someone possibly read this and not even try to begin to process an entirely unprocessed past? It's a progressive call-to-action in gasoline-prose.
Sidenote: This reminds me, vaguely, of Catcher in the Rye in how Jelinek adopts the coming-of-age (Bildungsroman) setup and distorts it into a symbolic structure of teenage angst acting as a representation of the dissonance between those that were Nazis during WWII and their children who grow up in fascist households and take on certain complexes to the point of necessitating violence.
Another sidenote: The obnoxious existentialist literary references that constitute much of Rainer's dialogue (because he has absolutely nothing going for him but his supposed intellectualism provides him the ability to believe himself to be superior and thus a leader even though Hans, the embodiment of the working-class in this "friend group," can physically denounce him at any time) are, at first, so tied to the extended mocking of Rainer and Anna's pretension but then point to how Jelinek's novel actually takes many notes from Camus' The Stranger, beyond the referencing. The ending in particular possibly points to the damaging nature of unqualified existentialist theory as comprehended by those with fascist notions embedded within them at a young age subconsciously in a manner reminiscent of both the pivotal scene of Camus' classic as well as its ending.
Last sidenote: Jelinek is funny. So funny. If she didn't have such a biting sense of humor, especially in the face of all the gruesome content she doles out, she would honestly be unreadable.
It's thrilling and enlivening regardless of the brutality of what she describes. It makes sense why she would be called eine Nestbeschmutzerin (a nest-polluter, pointing to, in this case, her hypercritical writing regarding the status of her native Austria) just based off of this novel alone. Yet it feels so salient and justified. She is trying to provoke Austria, a nation that she believes to be an utter failure, a purely autodefiled malignancy in its ineffective handling of the oh so recent fascism in which it partook, into having any sort of resolute pulse in the face of Naziism. Her method of doing so is barreling forward into the grim virulence of history that is never dealt with to the point that the following generations develop in an era/eras of ideological pneumonia found in the plentiful, amnesiac historiographical fog that seems to swarm and, subsequently, cloud individuals' judgments as well as cultural mindsets.
How can someone possibly read this and not even try to begin to process an entirely unprocessed past? It's a progressive call-to-action in gasoline-prose.
Sidenote: This reminds me, vaguely, of Catcher in the Rye in how Jelinek adopts the coming-of-age (Bildungsroman) setup and distorts it into a symbolic structure of teenage angst acting as a representation of the dissonance between those that were Nazis during WWII and their children who grow up in fascist households and take on certain complexes to the point of necessitating violence.
Another sidenote: The obnoxious existentialist literary references that constitute much of Rainer's dialogue (because he has absolutely nothing going for him but his supposed intellectualism provides him the ability to believe himself to be superior and thus a leader even though Hans, the embodiment of the working-class in this "friend group," can physically denounce him at any time) are, at first, so tied to the extended mocking of Rainer and Anna's pretension but then point to how Jelinek's novel actually takes many notes from Camus' The Stranger, beyond the referencing. The ending in particular possibly points to the damaging nature of unqualified existentialist theory as comprehended by those with fascist notions embedded within them at a young age subconsciously in a manner reminiscent of both the pivotal scene of Camus' classic as well as its ending.
Last sidenote: Jelinek is funny. So funny. If she didn't have such a biting sense of humor, especially in the face of all the gruesome content she doles out, she would honestly be unreadable.
November 12, 2008
Elfriede Jelinek was born in Austria and won the Nobel Prize for Literature in 2004.
It took me quite a few pages to understand and adapt to her writing style but once I did this book became an interesting but uncomfortable read. A decade and a half after WW2 and ex-Nazis and concentration camp survivors are left in the past with their terrible secrets while their children roam the streets of Vienna carving out a new and oft times more brutal society.
This book reminded me of The Sailor Who Fell from Grace with the Sea minus the sailor. Kids can be real bad, and I don鈥檛 mean not eating their vegetables bad.
A couple of lines that particularly stuck in my head:
鈥淏ecause everday life more often tends to destroy sensitivities than create them.鈥�
鈥淎nna hits her forehead with her fist, but nothing comes out and nothing goes in either.鈥�
I鈥檝e noticed that too. Even when I bang my head on my desk my thoughts stay imprisoned; neither being receptive or giving鈥�
I'll probably give this author a bit more attention. This book was crafted differently. The viewpoint roamed from one character to the next. Dialog was written without quotations or breaks in lines and who said what was indicated by name in parentheses. Reading the book, I felt like a little spirit flitting through the thoughts and actions of each character. This technique put me on the street with the players; I was part of their group. But getting that close to the characters was a bit uncomfortable... they were not likeable at all.
It took me quite a few pages to understand and adapt to her writing style but once I did this book became an interesting but uncomfortable read. A decade and a half after WW2 and ex-Nazis and concentration camp survivors are left in the past with their terrible secrets while their children roam the streets of Vienna carving out a new and oft times more brutal society.
This book reminded me of The Sailor Who Fell from Grace with the Sea minus the sailor. Kids can be real bad, and I don鈥檛 mean not eating their vegetables bad.
A couple of lines that particularly stuck in my head:
鈥淏ecause everday life more often tends to destroy sensitivities than create them.鈥�
鈥淎nna hits her forehead with her fist, but nothing comes out and nothing goes in either.鈥�
I鈥檝e noticed that too. Even when I bang my head on my desk my thoughts stay imprisoned; neither being receptive or giving鈥�
I'll probably give this author a bit more attention. This book was crafted differently. The viewpoint roamed from one character to the next. Dialog was written without quotations or breaks in lines and who said what was indicated by name in parentheses. Reading the book, I felt like a little spirit flitting through the thoughts and actions of each character. This technique put me on the street with the players; I was part of their group. But getting that close to the characters was a bit uncomfortable... they were not likeable at all.
October 30, 2018
Austria in the post-war period has closed the door on the past and has not had any sort of reckoning with its history. No one is happy; Nazis have lost their former 'glory' and respect, their former enemies did not see the Nazis punished and the young people have no future.
The main characters are a group of teens who are set to leave high school and are starting to contemplate their future, or lack of it. They are anarchists and nihilists who think the whole world needs to be torn down, or at least that's what they tell themselves. But, really, it is all an act. Their anarchism, for example, is really no more than an opportunity to justify theft and to afford nice things. They crave recognition, respect and love and dream of a glorious future, and are striking out at a society that has taken this away from them before they had a chance.
Ordinarily, I don't appreciate angsty teens - although they probably surpass simple angst - and I still found the characters irritating at times but here I can at least understand why they might have a right to feel aggrieved. The main positive for me, though, is the style, which took some getting used to but was really enjoyable once I got it. It was pleasingly disjointed.
Overall, I would recommend it and it was a rare Nobel Prize winner that I liked, although it is pretty depressing and miserable so won't be for everyone.
The main characters are a group of teens who are set to leave high school and are starting to contemplate their future, or lack of it. They are anarchists and nihilists who think the whole world needs to be torn down, or at least that's what they tell themselves. But, really, it is all an act. Their anarchism, for example, is really no more than an opportunity to justify theft and to afford nice things. They crave recognition, respect and love and dream of a glorious future, and are striking out at a society that has taken this away from them before they had a chance.
Ordinarily, I don't appreciate angsty teens - although they probably surpass simple angst - and I still found the characters irritating at times but here I can at least understand why they might have a right to feel aggrieved. The main positive for me, though, is the style, which took some getting used to but was really enjoyable once I got it. It was pleasingly disjointed.
Overall, I would recommend it and it was a rare Nobel Prize winner that I liked, although it is pretty depressing and miserable so won't be for everyone.
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