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عمارت رصدخانه
اغلب خانه‌ما� را پیرمردی طاس و تنومند می‌دید�. مردی که زانوان گردش را با دستان شل‌وول� در آغوش کشیده و مذبوحانه به شلوغی، به ساختمان‌ها� کوچکتر و مدرن مجاورو به بی‌شما� آدمی که به‌سرع� در رفت‌وآمدن� زل می‌زن�. آه عمیقی می‌کش�. نمی‌دان� چرا هنوز اینجاست. پیرمرد احوال خوشی ندارد. پیرمرد در حال مرگ است. از بی‌شما� بیماری و کسالت رنج می‌بر�. پوستش از رنگ‌ور� افتاده و اندام‌ها� داخلی‌ا� به خونریزی افتاده‌ان�. این خانۀ ما بود و ما هم با رضایتی نسبی در آن زندگی می‌کردی� که یک روز ساکنی جدید از راه رسید...
508 pages, Paperback
First published April 1, 2000
112 people are currently reading
4,983 people want to read
About the author
Edward Carey
28books557followersEdward Carey is a writer and illustrator who was born in North Walsham, Norfolk, England, during an April snowstorm. Like his father and his grandfather, both officers in the Royal Navy, he attended Pangbourne Nautical College, where the closest he came to following his family calling was playing Captain Andy in the school’s production of Showboat. Afterwards he joined the National Youth Theatre and studied drama at Hull University.
He has written plays for the National Theatre of Romania and the Vilnius Small State Theatre, Lithuania. In England his plays and adaptations have been performed at the Young Vic Studio, the Battersea Arts Centre, and the Royal Opera House Studio. He has collaborated on a shadow puppet production of Macbeth in Malaysia, and with the Faulty Optic Theatre of Puppets.
He is also the author of the novels Observatory Mansions and Alva and Irva: the Twins Who Saved a City, which have been translated into thirteen different languages, and both of which he illustrated. He always draws the characters he writes about, but often the illustrations contradict the writing and vice versa and getting both to agree with each other takes him far too long. He has taught creative writing and fairy tales on numerous occasions at the Writers Workshop at the University of Iowa, and at the Michener Center and the English Department at the University of Texas at Austin.
He has lived in England, France, Romania, Lithuania, Germany, Ireland, Denmark, and the United States. He currently lives in Austin, Texas, which is not near the sea.
He has written plays for the National Theatre of Romania and the Vilnius Small State Theatre, Lithuania. In England his plays and adaptations have been performed at the Young Vic Studio, the Battersea Arts Centre, and the Royal Opera House Studio. He has collaborated on a shadow puppet production of Macbeth in Malaysia, and with the Faulty Optic Theatre of Puppets.
He is also the author of the novels Observatory Mansions and Alva and Irva: the Twins Who Saved a City, which have been translated into thirteen different languages, and both of which he illustrated. He always draws the characters he writes about, but often the illustrations contradict the writing and vice versa and getting both to agree with each other takes him far too long. He has taught creative writing and fairy tales on numerous occasions at the Writers Workshop at the University of Iowa, and at the Michener Center and the English Department at the University of Texas at Austin.
He has lived in England, France, Romania, Lithuania, Germany, Ireland, Denmark, and the United States. He currently lives in Austin, Texas, which is not near the sea.
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April 5, 2025
قصه ی هر کتابی از شخصیت های مختلف و قدم هاشون ساخته میشه و شکل میگیره، اما عمارت رصدخانه قصه ی مکان و اشیای مختلفیه که آدم ها رو تحت مالکیت خودشون در آوردن، اشیایی که با دست های دستکش پوش "فرانسیس اورم" در قلمرویی وسیع اما دور از دسترس با نگهبانی خیالی یک روح سرگردان، زندگی میکنن تا هر کدوم با شناسه ی متمایز خودشون روایت گر ماجرایی از زندگی غریبه و� آشنا بشن.
این آدم ها و مالکان بی جونشون در عمارتی رو به زوال گرد هم اومدن، عمارت رصدخانه، که نویسنده به اون شخصیتی مطرود و منفعل و ظاهری انسان گونه بخشیده تا به عنوان نقش اصلی این داستان پذیرفته بشه ، این عمارت به مرور فراموشخانه ای رو تداعی میکنهکه تبدیل به زندان می‌ش� و با بلعیدن ساکنینش، فرسودگی و فروپاشی روانی رو برای اون ها به ارمغان میاره..
عمارت رصدخانه با پشت سر گذاشتن سالیان ، ساکنین مختلفی رو به خودش میبینه که در انزوا با حسرت ها ، کم و کاستی ها و ناکامی هاشون سر � کله میزنن و تبدیل به وصله های ناهمگونی میشن که با ناهنجاری های خود نابودگر، آسیب پذیرتر از هر وقت دیگه ای پشت اشیا محبوبشون در دنیایی پوشالی و پر از اختلالات روانی پنهان میشن..
اما این همسایه ها که� معنای زندگی و زمان رو گم کردن، با وجود تفاوت هاشون قرابت معناداری با هم دارن: "اونها علاوه بر مرز شخصیشون، دیوار امنی بین جمع کوچیکشون با دنیای بیرون کشیدن و با حضور آدم های جدید دچار آشفتگی میشن.."
داستان هم از جایی شروع میشه که امنیت ظاهری این قرنطینه با اضافه شدن ی همسایه ی جدید " آنا تپ" تهدید میشه، آنا که زندگی ناآرومی رو پشت سر گذاشته و مانند شی ای دور ریختنی و� سرباری برای جامعه با اون برخورد شده، ناملایمتی های این همسایه های غیر عادی رو تاب میاره و اونها رو وادار به حرف زدن در مورد بخش های تاریک� زندگیشون می کنه:
دستکش هایی که عزیزتر و باارزش تر از دست های واقعی یک انسان شدن، عمری که با اعتیاد به تلویزیون و ندیده گرفتن اطرافیان هدر شد، قلاده ای که هویت و انسانیت ر� تا جایی به بند کشید که موجودی صاحب عقل و سخن رو به حیوانی رقت انگیز تبدیل کرد، پدر و مادری که با اشیا هم بدن شدن و زندگیشون رو با حیاتی نباتی معامله کردن، پسری که باناکامی در پذیرفته شدن اسم برادر مرده ش رو یدک می کشه، سرایداری که اگرچه بی ضرر بنظر میرسه اما با آوای مارگونه ش دور مال و جان دیگران چنبره میزنه، معلم سختگیری که عجزش در بی حاصلی رو پشت قامت مهیب خط کش تنبیهیش قایم میکنه و...
هر کدوم از شخصیت های اصلی و فرعی این کتاب، مثل هنرمندی که هر روز تمام ذوق و استعدادش رو بر زمین حک میکنه تا هر ردی به سادگی نقشش رو خدشه دار کنه، حکایت منحصر بفردی دارن. هر اتفاق و جزئیاتی از این داستان تفسیر روانشناختی جداگانه ای می‌طلب� اما ارزش درک اونها جایی مشخص میشه که متوجه می شیم که همسایه ها فقط وقتی قادر به مواجهه با منشا رنجهاشون میشن که قصه ی خودشون رو تعریف میکنن و به شنیدن درد دیگری اهمیت میدن.. عشق، همنوع دوستی، قدرت کلام، بها دادن، ابراز و پذیرش به موقع احساسات و�... از اساسی ترین عواطفی هستن که در این کتاب مورد توجه قرار می گیرن.
ادوارد کری با وارد کردن اتفاقات مختلفی رکود رو از داستان دور میکنه و هر شخصی رو به سمت سرنوشت اغلب غم انگیز خودش راهی می کنه و به موازات اون گستردگی بیشتری هم به موزه ی سرقتی فرانسیس می بخشه...
موزه ای که از اشیا دور ریختنی تا با ارزش ترین دارایی هر شخصی رو در بر میگیره، یادآور تمام زنجیرهاییه که ما رو به زندگی وصل می کنه، بعضی از حلقه های این زنجیر جز سنگین کردن روحمون و کشوندن ما به تباهی، نقش دیگه ای ندارن، نویسنده با تیشه ای که بر ستون های این عمارت مبحوس در گندیدگی میزنه، قید و بندهای دست و پاگیر ،
دلبستگی های فلج کننده، ترس های بی دلیل، تعارض ها، گم کردن هویت، خود کم بینی و....رو زیر آوار فراموشی و گذشتن ها دفن میکنه تا ثابت کنه که بعد از رهایی، زندگی سبکبار تر ادامه پیدا میکنه تا معنا و� اهداف جدیدی از زیستن رو با مرهم گذاشتن بر آسیب های روحمون به ما ارزانی داشته باشه.
از طرفی جدا از تمام معضلات مشابهی که گریبانگیر زندگی ما و عمارت رصدخانه هست، آنا تپ و شرایط خاصش ما رو به عمیق تر نگاه کردن به زندگی و اطرافمون دعوت میکنه و جمله ای از فیلم آندری روبلف (تارکوفسکی) رو بازتاب میده، چیزی که گاهی بین روز مرگی هامون جا می مونه و شاید هیچوقت فرصت نکنیم متوجهش بشیم، "درک و لمس زندگی" :
"من هر روز از کنار این درخت رد شدم ولی بهش دقت نکردم. اما وقتی میفهمی که دیگه هیچ وقت نمیبینیش اون وقت فرق میکنه، نگاهش میکنی، چقدر زیباست�"
این آدم ها و مالکان بی جونشون در عمارتی رو به زوال گرد هم اومدن، عمارت رصدخانه، که نویسنده به اون شخصیتی مطرود و منفعل و ظاهری انسان گونه بخشیده تا به عنوان نقش اصلی این داستان پذیرفته بشه ، این عمارت به مرور فراموشخانه ای رو تداعی میکنهکه تبدیل به زندان می‌ش� و با بلعیدن ساکنینش، فرسودگی و فروپاشی روانی رو برای اون ها به ارمغان میاره..
عمارت رصدخانه با پشت سر گذاشتن سالیان ، ساکنین مختلفی رو به خودش میبینه که در انزوا با حسرت ها ، کم و کاستی ها و ناکامی هاشون سر � کله میزنن و تبدیل به وصله های ناهمگونی میشن که با ناهنجاری های خود نابودگر، آسیب پذیرتر از هر وقت دیگه ای پشت اشیا محبوبشون در دنیایی پوشالی و پر از اختلالات روانی پنهان میشن..
اما این همسایه ها که� معنای زندگی و زمان رو گم کردن، با وجود تفاوت هاشون قرابت معناداری با هم دارن: "اونها علاوه بر مرز شخصیشون، دیوار امنی بین جمع کوچیکشون با دنیای بیرون کشیدن و با حضور آدم های جدید دچار آشفتگی میشن.."
داستان هم از جایی شروع میشه که امنیت ظاهری این قرنطینه با اضافه شدن ی همسایه ی جدید " آنا تپ" تهدید میشه، آنا که زندگی ناآرومی رو پشت سر گذاشته و مانند شی ای دور ریختنی و� سرباری برای جامعه با اون برخورد شده، ناملایمتی های این همسایه های غیر عادی رو تاب میاره و اونها رو وادار به حرف زدن در مورد بخش های تاریک� زندگیشون می کنه:
دستکش هایی که عزیزتر و باارزش تر از دست های واقعی یک انسان شدن، عمری که با اعتیاد به تلویزیون و ندیده گرفتن اطرافیان هدر شد، قلاده ای که هویت و انسانیت ر� تا جایی به بند کشید که موجودی صاحب عقل و سخن رو به حیوانی رقت انگیز تبدیل کرد، پدر و مادری که با اشیا هم بدن شدن و زندگیشون رو با حیاتی نباتی معامله کردن، پسری که باناکامی در پذیرفته شدن اسم برادر مرده ش رو یدک می کشه، سرایداری که اگرچه بی ضرر بنظر میرسه اما با آوای مارگونه ش دور مال و جان دیگران چنبره میزنه، معلم سختگیری که عجزش در بی حاصلی رو پشت قامت مهیب خط کش تنبیهیش قایم میکنه و...
هر کدوم از شخصیت های اصلی و فرعی این کتاب، مثل هنرمندی که هر روز تمام ذوق و استعدادش رو بر زمین حک میکنه تا هر ردی به سادگی نقشش رو خدشه دار کنه، حکایت منحصر بفردی دارن. هر اتفاق و جزئیاتی از این داستان تفسیر روانشناختی جداگانه ای می‌طلب� اما ارزش درک اونها جایی مشخص میشه که متوجه می شیم که همسایه ها فقط وقتی قادر به مواجهه با منشا رنجهاشون میشن که قصه ی خودشون رو تعریف میکنن و به شنیدن درد دیگری اهمیت میدن.. عشق، همنوع دوستی، قدرت کلام، بها دادن، ابراز و پذیرش به موقع احساسات و�... از اساسی ترین عواطفی هستن که در این کتاب مورد توجه قرار می گیرن.
ادوارد کری با وارد کردن اتفاقات مختلفی رکود رو از داستان دور میکنه و هر شخصی رو به سمت سرنوشت اغلب غم انگیز خودش راهی می کنه و به موازات اون گستردگی بیشتری هم به موزه ی سرقتی فرانسیس می بخشه...
موزه ای که از اشیا دور ریختنی تا با ارزش ترین دارایی هر شخصی رو در بر میگیره، یادآور تمام زنجیرهاییه که ما رو به زندگی وصل می کنه، بعضی از حلقه های این زنجیر جز سنگین کردن روحمون و کشوندن ما به تباهی، نقش دیگه ای ندارن، نویسنده با تیشه ای که بر ستون های این عمارت مبحوس در گندیدگی میزنه، قید و بندهای دست و پاگیر ،
دلبستگی های فلج کننده، ترس های بی دلیل، تعارض ها، گم کردن هویت، خود کم بینی و....رو زیر آوار فراموشی و گذشتن ها دفن میکنه تا ثابت کنه که بعد از رهایی، زندگی سبکبار تر ادامه پیدا میکنه تا معنا و� اهداف جدیدی از زیستن رو با مرهم گذاشتن بر آسیب های روحمون به ما ارزانی داشته باشه.
از طرفی جدا از تمام معضلات مشابهی که گریبانگیر زندگی ما و عمارت رصدخانه هست، آنا تپ و شرایط خاصش ما رو به عمیق تر نگاه کردن به زندگی و اطرافمون دعوت میکنه و جمله ای از فیلم آندری روبلف (تارکوفسکی) رو بازتاب میده، چیزی که گاهی بین روز مرگی هامون جا می مونه و شاید هیچوقت فرصت نکنیم متوجهش بشیم، "درک و لمس زندگی" :
"من هر روز از کنار این درخت رد شدم ولی بهش دقت نکردم. اما وقتی میفهمی که دیگه هیچ وقت نمیبینیش اون وقت فرق میکنه، نگاهش میکنی، چقدر زیباست�"
October 3, 2011
It seems almost ironic to say that I love this book. It's so dark, so sad, so squeamish-making at times.
But I love sad, strange people. I love surrealism. I love honest writing.
Melee has already compared this to Amelie and We Have Always Lived In a Castle. I'd also compare it to Gormenghast (minus the effusiveness), The Curious Incident (minus the patronizing attitudes), and Owls Do Cry (in that it makes the grotesque strangely beautiful).
Nothing about this book is cheap, or reactive, or sensationalistic. It's disarmingly honest. It's singularly itself. It's Edward Scissorhands without the element of blame.
I love this book.
I want to invite Edward Carey and to dinner. These are my people.
But I love sad, strange people. I love surrealism. I love honest writing.
Melee has already compared this to Amelie and We Have Always Lived In a Castle. I'd also compare it to Gormenghast (minus the effusiveness), The Curious Incident (minus the patronizing attitudes), and Owls Do Cry (in that it makes the grotesque strangely beautiful).
Nothing about this book is cheap, or reactive, or sensationalistic. It's disarmingly honest. It's singularly itself. It's Edward Scissorhands without the element of blame.
I love this book.
I want to invite Edward Carey and to dinner. These are my people.
December 29, 2023
شخصیت‌ها� عجیبی که هر کدوم به نوعی آسیب دیده‌ان�. این داستان در عین عجیب و خاص بودن غمناک هم بود.
January 7, 2025
Francis Orme may be one of the greatest characters in literature, not because he is warm and lovable (quite the contrary) but because of the way he draws strong emotional reactions from the reader. This reader is no exception. I went from feeling suspicious about him to really wondering about his motives to loathing him to fearing him to admiring his quirkiness (an understatement, to be sure) to feeling a bit of sympathy for him to feeling a flood of pity for him to hating him to loving him - in that order. I'm sure that the flow of emotions is different for different readers, but I've spoken to others who felt the same evocation of emotion drawn out of them and into the book. Observatory Mansions is a bit of a game, a tug-of-war of the heart and mind between the antipodes of love and hatred. There's no strength of plot, and some are quick to point out that they grew bored of the book at the beginning. I say, stick with it. The book is full of rewards and will pull at your inner-self for years afterwards. It's a bit like working with a complex recipe. You'll need time to put it all together - it's not overpowered by any one ingredient, but forms a subtle mix of setting, plot, character, and atmosphere seasoned by Carey's supple style. I would rate this near the top of my favorite books of all time. If I were to use all the superlatives I wanted to in describing how great this book is, you'd think I was engaging in hyperbole. But I wouldn't be. Please read this book.
PS: Important safety tip - I wasn't nearly as impressed by Carey's "Alva and Irva," which was a good book, but nothing of the caliber of Observatory Mansions. Observatory Mansions is one of those "perfect storm" books that every writer wishes he or she had written, but which pours forth out of an author's pen only once in a lifetime. Yes, it's that good.
PS: Important safety tip - I wasn't nearly as impressed by Carey's "Alva and Irva," which was a good book, but nothing of the caliber of Observatory Mansions. Observatory Mansions is one of those "perfect storm" books that every writer wishes he or she had written, but which pours forth out of an author's pen only once in a lifetime. Yes, it's that good.
January 26, 2015
Intriguing setting and story concept: a building full of misanthropes and cranky lonely hearts gets their predictable, comfortable world turned upside down when a new tenant arrives. has a lot going for it: atmospheric, neoveau-gothic backdrop and a cast of quirky, twisted characters who live hiding behind the heavy drapes of regret and longing. tenderly reveals their stories to us in a meandering fashion, as if to ease us into this uncomfortable, mold-ridden world. So I had high expectations; I expected a kind of parallel, grotty magical universe akin to Alice in Wonderland or something written by .
Our reluctant hero and narrator is Francis Orme. Francis lives with and cares for his parents and is by profession a "stillness" artist, first working in a wax museum and then as one of those freelance human statues for tourists. When the interloper, Anna Tap, arrives, Francis rallies a few other OM residents, conniving through wonder, fear, and curiosity, to discover who this stranger is. As they investigate her, something happens. They remember things. A kind of fumbling in the dark happens to these sad misfits who have turned their backs to the world, a kind of breaking of the frozen sea inside.
Could totally be profound and deep right? Against this setup, Carey weaves a strange world that is dominated by objects. Francis Orme et al. are the things they carry, the things they own. Francis himself collects objects he finds significant; the last few pages of the novel are devoted to an encyclopedic inventory, a cherished listing of everything in Francis's collection. In essence, his life. One of the more discomfiting things about the new arrival Anna is that she doesn't own very many things (they break into her apartment to snoop around), mostly items of clothing. It baffles Francis. One of the more disturbing characters is Twenty, named so because that's the apartment number she lives in. Twenty owns a dog collar, which in a twisted rendering, defines her identity and behavior. (Yes, a feral dog-woman character lives at Observatory Mansions.)
Where the book failed for me was in the writing style. I couldn't get into it, even though I thoroughly acknowledge the literary necessity of it. Francis Orme likes objects. People seem to be subsumed by the objects around them. So Carey writes in this repetitive, droning style, which reflects the mental state of the narrator and his sense of order and things-in-their-place-ness. You'll get lists and lists of things, which in their own way is the only way our emotionally stunted narrator can tell his story. In that way, the book almost feels like an inventory of human frailties. It's got a very visual and tactile feel to it, which makes me think this might have worked better as a graphic novel. (Do we need all the text and narration?)
Ironically the book's clipped, declarative style is what others found so captivating. Really?! I'm flummoxed. I'm a fan of the postmodern sleight of hand or two, but only when the trickery is filled with a little more intrigue than what we get in this book. You can't carry a story by just throwing a bunch of grotesque characters together, no matter how charming they are. Something needs to happen.
Sadly, I was largely immune to the charms of this oddball, but I admire its ambitions.
Our reluctant hero and narrator is Francis Orme. Francis lives with and cares for his parents and is by profession a "stillness" artist, first working in a wax museum and then as one of those freelance human statues for tourists. When the interloper, Anna Tap, arrives, Francis rallies a few other OM residents, conniving through wonder, fear, and curiosity, to discover who this stranger is. As they investigate her, something happens. They remember things. A kind of fumbling in the dark happens to these sad misfits who have turned their backs to the world, a kind of breaking of the frozen sea inside.
Could totally be profound and deep right? Against this setup, Carey weaves a strange world that is dominated by objects. Francis Orme et al. are the things they carry, the things they own. Francis himself collects objects he finds significant; the last few pages of the novel are devoted to an encyclopedic inventory, a cherished listing of everything in Francis's collection. In essence, his life. One of the more discomfiting things about the new arrival Anna is that she doesn't own very many things (they break into her apartment to snoop around), mostly items of clothing. It baffles Francis. One of the more disturbing characters is Twenty, named so because that's the apartment number she lives in. Twenty owns a dog collar, which in a twisted rendering, defines her identity and behavior. (Yes, a feral dog-woman character lives at Observatory Mansions.)
Where the book failed for me was in the writing style. I couldn't get into it, even though I thoroughly acknowledge the literary necessity of it. Francis Orme likes objects. People seem to be subsumed by the objects around them. So Carey writes in this repetitive, droning style, which reflects the mental state of the narrator and his sense of order and things-in-their-place-ness. You'll get lists and lists of things, which in their own way is the only way our emotionally stunted narrator can tell his story. In that way, the book almost feels like an inventory of human frailties. It's got a very visual and tactile feel to it, which makes me think this might have worked better as a graphic novel. (Do we need all the text and narration?)
Ironically the book's clipped, declarative style is what others found so captivating. Really?! I'm flummoxed. I'm a fan of the postmodern sleight of hand or two, but only when the trickery is filled with a little more intrigue than what we get in this book. You can't carry a story by just throwing a bunch of grotesque characters together, no matter how charming they are. Something needs to happen.
Sadly, I was largely immune to the charms of this oddball, but I admire its ambitions.
September 14, 2022
«حتی تو نیز عشق را خواهی یافت!»
خب خب خب!
یک رمان عجیب‌وغریب� غم‌انگیز� خنده‌دار� پرکشش (به معنای دقیق کلمه) و دیوانه! و همهٔ این‌ه� وقتی دیوانه‌کننده‌ت� می‌شو� که میفهمی� عمارت رصدخانه اولین رمان نویسنده است.
داستان همسایه‌های� که در عمارتی با معماری نئوکلاسیک زندگی میکنن� و در یک سکوت مستمر و مداوم روزمرهٔ‌شا� را می‌گذرانن� تا سروکلهٔ یک همسایهٔ جدید پیدا می‌شو�.
شخصیت‌پردازی‌ها� رمان جادویی است! آدم‌های� به شدت ناقص با نقص‌های� تراژیک که در ابتدا با نهایت سرعت از آنها فراری هستید ولی در انتهای داستان دوست‌شا� خواهید داشت.
فضاسازی، تصویرپردازی، و تعلیق‌های� که آدم را مثل برق‌گرفته‌ه� به شوک می‌بر�.
خواندن عمارت رصدخانه، مثل پختن معجون مرکب در هاگوارتز است. زمان‌بر� پیچیده و گاهی سخت! اما حتما حتما حتما به نتیجه‌ا� می‌ارز�.
از استاد بزرگوارم خانم مقانلو واقعا ممنونم بابت معرفی این کتاب درجه‌ی�.
البته تاثیر به‌سزا� نشر حرفه‌ا� کنار و مترجم کاربلد، آقای غفوری رو هم نباید فراموش کرد. جزو اولین رمان‌های� بود که جلد ترجمه‌ا� از جلد نسخه زبان اصلی‌ا� جذاب‌ت� بود. ویراستاری رمان عالی و بی‌نق� بود. ترجمه هم روان و صیقلی.
راستی! این رمان، در زمرهٔ درست‌تری� رمان‌ها� عاشقانه‌ا� است که خوانده‌ا�!
خب خب خب!
یک رمان عجیب‌وغریب� غم‌انگیز� خنده‌دار� پرکشش (به معنای دقیق کلمه) و دیوانه! و همهٔ این‌ه� وقتی دیوانه‌کننده‌ت� می‌شو� که میفهمی� عمارت رصدخانه اولین رمان نویسنده است.
داستان همسایه‌های� که در عمارتی با معماری نئوکلاسیک زندگی میکنن� و در یک سکوت مستمر و مداوم روزمرهٔ‌شا� را می‌گذرانن� تا سروکلهٔ یک همسایهٔ جدید پیدا می‌شو�.
شخصیت‌پردازی‌ها� رمان جادویی است! آدم‌های� به شدت ناقص با نقص‌های� تراژیک که در ابتدا با نهایت سرعت از آنها فراری هستید ولی در انتهای داستان دوست‌شا� خواهید داشت.
فضاسازی، تصویرپردازی، و تعلیق‌های� که آدم را مثل برق‌گرفته‌ه� به شوک می‌بر�.
خواندن عمارت رصدخانه، مثل پختن معجون مرکب در هاگوارتز است. زمان‌بر� پیچیده و گاهی سخت! اما حتما حتما حتما به نتیجه‌ا� می‌ارز�.
از استاد بزرگوارم خانم مقانلو واقعا ممنونم بابت معرفی این کتاب درجه‌ی�.
البته تاثیر به‌سزا� نشر حرفه‌ا� کنار و مترجم کاربلد، آقای غفوری رو هم نباید فراموش کرد. جزو اولین رمان‌های� بود که جلد ترجمه‌ا� از جلد نسخه زبان اصلی‌ا� جذاب‌ت� بود. ویراستاری رمان عالی و بی‌نق� بود. ترجمه هم روان و صیقلی.
راستی! این رمان، در زمرهٔ درست‌تری� رمان‌ها� عاشقانه‌ا� است که خوانده‌ا�!
January 19, 2025
çok melankolik bir kitaptı. başka bir kelime bu kadar yakışmaz sanırım. bir apartmanda yaşayan türlü çeşit yalnız insanın başlangıçta hiç de sevimli olmayan dünyalarını tanıtıp, sonra o dünyaları didik didik ettikçe herkesi, her şeyi anlaşılır ve hatta kendi standartlarında sempatik bulduğumuz bir anlatı kurmuştu carey. hem tiyatro yazarı hem de çizer olmasından olacak, eşyaları, dış ve iç mekan detaylarını duygularla ilişkilendirerek öykü kırıntılarını harika bir romana çevirmişti. amelie, bit palas ve masumiyet müzesi gibi tatlar bırakıyor damakta ama hepsinden daha hüzünlü ve daha politik geldi bana. beyaz eldivenler takan francis orme, unutmayacağım bir karakter oldu.
July 8, 2011
I was absolutely overjoyed to find a copy of Observatory Mansions at a used book store last weekend! My library only has Alva and Irva which was marvelous, but this was even more so.
The story was strange, tragic, funny, [slightly] twisted, touching... There are so many adjectives I could use and they wouldn't describe half of it. (The story reminded me, or the first 100 pages did, at least, of We Have Always Lived in the Castle meets the film é... only twice as odd.)
Originally, I was wishy washy and gave this book 4.5 stars. But the more I thought about it, the more it grew in my estimation. 5 brilliantly shining stars from me!
Edward Carey has written two books of stunning originality in every aspect, and I fervently hope he writes more. I am officially a fan of his.
The story was strange, tragic, funny, [slightly] twisted, touching... There are so many adjectives I could use and they wouldn't describe half of it. (The story reminded me, or the first 100 pages did, at least, of We Have Always Lived in the Castle meets the film é... only twice as odd.)
Originally, I was wishy washy and gave this book 4.5 stars. But the more I thought about it, the more it grew in my estimation. 5 brilliantly shining stars from me!
Edward Carey has written two books of stunning originality in every aspect, and I fervently hope he writes more. I am officially a fan of his.
September 10, 2024
yirmili yaşlarda anlattığı aşka düşmek başka bu yaşta romanın aslında sınıftan girip betonlaşmadan çıktığını görmek başka�
kitabı okurken francis ve anna’nın aşkını yine sevdim ama benim için romanın derdi o değildi artık. aşırı politikleşmenin, büyümenin dibine vururken yirmilerindeki banuşka’nın omuzlarından öptüm, vedalaştım.
yine de edward carey’nin ilmek ilmek açılan kurgusuna, minicik duyguları büyütmesine, gözümüzün önünde dünyanın en itici karakterini sevilir hale getirmesine ve bunu daha ilk romanında yapmasına hayranım. hayran olacağım. üstelik başka kitaplarını okudum ve yine “gözlemevi apartmanı� diyeceğim.
garip karakterler, garip işler, garip listeler, garip bir apartman ve okb� daha uzun yazacağım. bekleyin anacım
kitabı okurken francis ve anna’nın aşkını yine sevdim ama benim için romanın derdi o değildi artık. aşırı politikleşmenin, büyümenin dibine vururken yirmilerindeki banuşka’nın omuzlarından öptüm, vedalaştım.
yine de edward carey’nin ilmek ilmek açılan kurgusuna, minicik duyguları büyütmesine, gözümüzün önünde dünyanın en itici karakterini sevilir hale getirmesine ve bunu daha ilk romanında yapmasına hayranım. hayran olacağım. üstelik başka kitaplarını okudum ve yine “gözlemevi apartmanı� diyeceğim.
garip karakterler, garip işler, garip listeler, garip bir apartman ve okb� daha uzun yazacağım. bekleyin anacım
November 2, 2011
Sweet and dark and deadly like licorice candy with a dash of arsenic. Observatory Mansions is well-written, nicely plotted, sublimely formatted, and altogether horribly inspired. It feels a bit like the thrill of reading a conspiracy against yourself.
April 14, 2020
Palaniuk che incontra Perec e vanno a pranzo con Thomas Bernhard: ne esce un testo precisamente allucinatorio, perfetto. Poi anche McGrath ci mette lo zampino e ci sono interi capitoli assolutamente deliranti (preoccupanti). C. ha scritto un libro che è un genere a sè, tradotto con maestria. Su tutto, odore di stanze chiuse da anni, di tappeti consunti, di sotterraneo.
***
Seconda lettura di questo testo strano e geniale, romanzo ricchissimo e atipico, storia di solitudini e manie, di consunzione e di stranezze. Scopro ora che l'autore ha lavorato da giovane all'intero del museo delle cere di Madame Tussaud: diciamo che qui ha capitalizzato l'esperienza.
Carey - di cui non ho mai piu' letto nulla, anche se vedo che ha scritto tanto - ha realizzato un'opera prima davvero surreale, con una certosina - ma non pesante - attenzione al singolo dettaglio.
Omessa la lettura degli oggetti della collezione, ça va sans dire.
***
Seconda lettura di questo testo strano e geniale, romanzo ricchissimo e atipico, storia di solitudini e manie, di consunzione e di stranezze. Scopro ora che l'autore ha lavorato da giovane all'intero del museo delle cere di Madame Tussaud: diciamo che qui ha capitalizzato l'esperienza.
Carey - di cui non ho mai piu' letto nulla, anche se vedo che ha scritto tanto - ha realizzato un'opera prima davvero surreale, con una certosina - ma non pesante - attenzione al singolo dettaglio.
Omessa la lettura degli oggetti della collezione, ça va sans dire.
January 3, 2016
This is one of the most impressive first novels of an author I think I may ever read. I still find it so hard to believe that with his first book -this- is the type of quality he could deliver. The story of Observatory Mansions is so weird and eccentric and crazy and unbelievable. A child who collects random items that grows into an obsessive man who can't even stand the sight of his own hands. A father who is deadly still and silent because he has found his inner stillness. Neighbors that seem to be the most exaggerated annoyances of all time, yet you still feel a bond with them as you see the world Carey unravels before you. The first page is so well written you can't help but wish to continue reading this makeshift story of love and friendships and ultimately of lose. You begin to truly care about Carey's characters even the most outlandish habits and rituals only work to enforce your feelings towards Twenty, Francis, and all the characters in the mansion.
To give a brief summary (although it will not do justice to the novel I hope it sparks someone to pick it up) Observatory Mansions is a building that was once a prized home for a wealthy family the Orme's, but now it has been turned into an apartment building one that sticks out like a sore thumb in the thriving city that has swallowed it. The building is only the first sign of out of place in the story as every tenant within the build seems to have something outrageously odd about them. You follow a changing lifestyle from the eyes of Francis Orme the last member of the original family who owned Observatory Mansions. His parents both still alive could hardly be called living. The story really begins the day the new tenant moves into the building. She seems to be the most normal of the people within the building. Ultimately Carey unwinds his majestic story into a heart tugging love story that makes you hope for the best with the characters and you just long to see them find happiness. It's considered and classified as a post modern novel and in the true nature of post modern the word carnival will tell you more about this book than any other.
Carey delivers in his first novel what many authors never accomplish. Characters with tragic flaws that become more lovable than the most heroic of people. A story that guides you through all the twist and turns patting your hand to keep you calm the whole way. You find at the end the most amazing relief when you close the book because you feel "it'll all be okay." I recommend this book to anyone who enjoys something different and loves a story full of exciting characters.
To give a brief summary (although it will not do justice to the novel I hope it sparks someone to pick it up) Observatory Mansions is a building that was once a prized home for a wealthy family the Orme's, but now it has been turned into an apartment building one that sticks out like a sore thumb in the thriving city that has swallowed it. The building is only the first sign of out of place in the story as every tenant within the build seems to have something outrageously odd about them. You follow a changing lifestyle from the eyes of Francis Orme the last member of the original family who owned Observatory Mansions. His parents both still alive could hardly be called living. The story really begins the day the new tenant moves into the building. She seems to be the most normal of the people within the building. Ultimately Carey unwinds his majestic story into a heart tugging love story that makes you hope for the best with the characters and you just long to see them find happiness. It's considered and classified as a post modern novel and in the true nature of post modern the word carnival will tell you more about this book than any other.
Carey delivers in his first novel what many authors never accomplish. Characters with tragic flaws that become more lovable than the most heroic of people. A story that guides you through all the twist and turns patting your hand to keep you calm the whole way. You find at the end the most amazing relief when you close the book because you feel "it'll all be okay." I recommend this book to anyone who enjoys something different and loves a story full of exciting characters.
November 30, 2020
Character development is one of the most difficult, complicated and sometimes even torturous chores of writing a story. You can have the most amazing story idea in the history of story ideas and it will sink like a stone without strong characters to carry it. Characters humanize concepts.
The stranger and more surreal your concept is, the more difficult it is to develop convincing characters. I tend to write stories that are dark, strange and surreal - which is why I appreciate authors who can create convincing characters to carry such prose. That is why, among other reasons, I adore this book.
Carey has created absolutely peculiar characters, but no matter how bizarre their eccentricities are, they still hold the most important and relatable quality. They are all very much human.
The stranger and more surreal your concept is, the more difficult it is to develop convincing characters. I tend to write stories that are dark, strange and surreal - which is why I appreciate authors who can create convincing characters to carry such prose. That is why, among other reasons, I adore this book.
Carey has created absolutely peculiar characters, but no matter how bizarre their eccentricities are, they still hold the most important and relatable quality. They are all very much human.
September 28, 2024
İlginç kahramanlarla dolu, film gibi bir kitap okudum...
Shelved as 'pass'
July 4, 2017Droning repetitive circular deliberately over-extended narration. I'm sure it's for Important Literary Reasons but I'm not reading 245 pages of it.
October 18, 2017
Ci sono alcuni autori che già al loro primo incontro, dopo poche pagine, mi hanno fare un salto sulla poltrona e dire: ‘questo qui è un grande�. Negli ultimi dieci-quindici anni mi era successo con Sebald (la mia prima lettura fu “Gli emigrati�), con Bolano (in questo caso fu il primo tomo di �2666�) e con Samuel R.Delany (Dhalgren). In tutti questi casi la prima reazione fu di andare in giro per vedere e reperire tutte le altre opere che erano state pubblicate del medesimo autore (e nel caso di Bolano, nella spasmodica attesa del secondo tomo, che giunse dopo quasi un anno). Solo nel caso di Delany le altre opere si dimostrarono non alla stessa altezza, e interruppi presto la ricerca di suoi altri libri.
Così, anche nel caso di Carey, ho già pronti sul comodino “Alma e Irva� (2003; 2004 nell’edizione italiana) ed il fresco di stampa “I Segreti di Heap House� (2013; 2015 per Bompiani), primo volume (e per ora unico pubblicato) di una trilogia di carattere “Dickensiano�, ricchissima di magnifiche illustrazioni (dello stesso Carey). Perché Edward Carey è anche un gran bel disegnatore e illustratore di classe, oltre che magnifico scrittore, ed almeno i ritratti dei suoi personaggi sono presenti in tutte le sue opere.
Edward Carey non è molto prolifico. Al momento non esiste altro. Ma è molto giovane (è nato nel 1970, nel Suffolk), e mi attendo (e gli auguro) che possa scrivere ancora molto.
“Observatory Mansions� è il suo romanzo d’esordio (2000; 2003 per la prima edizione in italiano) ed è stata una bellissima, entusiasmante sorpresa. Carey si inserisce con maestria e naturalezza nel profondo solco della letteratura inglese, tracciato da Sterne, da Thackeray, da Dickens e Stevenson, e che giunge a Joyce e a Chesterton fino agli autori più recenti come McGrath, ma non ignora il cinema, e soprattutto viene facilmente in mente quello di Tim Burton.
Un solco tipicamente “British�, caratterizzato dal “sense of humour�, dalla caustica ironia che sa sfociare elegantemente anche nel grottesco, dalla fantasia accesa, dalla forte critica sociale, dal profondo senso della storia, nella cura (e amore) prestata nel dipingere i più deboli, spesso i reietti, con grani di pazzia più o meno nascosta ma che viene lentamente ma facilmente a galla in quelle ambientazioni decadenti e talvolta sordide nelle quali l’autore li fa muovere: qui lo strano e squallido condominio (ora un semplice cubico blocco denominato pomposamente “Observatory Mansions�) realizzato sui resti del maniero di Tearsham Park , dal quale gli Orme (alla cui stirpe appartiene il leggermente ritardato Francis Orme, di professione statua di cera umana, protagonista e io-narratore di queste vicende) dominava un tempo le terre circostanti, ora sempre più ridotte, e soffocate dalla città che avanza.
Tutti i (pochi) superstiti occupanti gli squallidi e muffosi appartamenti di Observatory Mansions, pur vivendo nella propria estrema solitudine, tra strane manie, ossessive fobie o semplici sofferenze, sono comunque possessori di una propria storia alle spalle, quella storia che li rende unici e irripetibili come noi tutti siamo. E quelle storie, quelle ombre che ci accompagnano, meritano di venire a galla piano piano (come Carey dimostra di saper fare) mescolando continuamente passato e presente, i vivi e i morti, insieme a segreti a volte indicibili, e diventare traccia e memoria del loro passaggio. Anche attraverso i più strani (o i più comuni) e disparati oggetti di strambe collezioni nascoste.
Si chiude l’ultima pagina del romanzo, e inizia il lungo elenco dei 996 lotti di oggetti della “collezione d’amore� raccolta da Francis Orme.
Un grazie di cuore a Cry6379, senza la quale non avrei letto (almeno adesso) questo libro.
Così, anche nel caso di Carey, ho già pronti sul comodino “Alma e Irva� (2003; 2004 nell’edizione italiana) ed il fresco di stampa “I Segreti di Heap House� (2013; 2015 per Bompiani), primo volume (e per ora unico pubblicato) di una trilogia di carattere “Dickensiano�, ricchissima di magnifiche illustrazioni (dello stesso Carey). Perché Edward Carey è anche un gran bel disegnatore e illustratore di classe, oltre che magnifico scrittore, ed almeno i ritratti dei suoi personaggi sono presenti in tutte le sue opere.
Edward Carey non è molto prolifico. Al momento non esiste altro. Ma è molto giovane (è nato nel 1970, nel Suffolk), e mi attendo (e gli auguro) che possa scrivere ancora molto.
“Observatory Mansions� è il suo romanzo d’esordio (2000; 2003 per la prima edizione in italiano) ed è stata una bellissima, entusiasmante sorpresa. Carey si inserisce con maestria e naturalezza nel profondo solco della letteratura inglese, tracciato da Sterne, da Thackeray, da Dickens e Stevenson, e che giunge a Joyce e a Chesterton fino agli autori più recenti come McGrath, ma non ignora il cinema, e soprattutto viene facilmente in mente quello di Tim Burton.
Un solco tipicamente “British�, caratterizzato dal “sense of humour�, dalla caustica ironia che sa sfociare elegantemente anche nel grottesco, dalla fantasia accesa, dalla forte critica sociale, dal profondo senso della storia, nella cura (e amore) prestata nel dipingere i più deboli, spesso i reietti, con grani di pazzia più o meno nascosta ma che viene lentamente ma facilmente a galla in quelle ambientazioni decadenti e talvolta sordide nelle quali l’autore li fa muovere: qui lo strano e squallido condominio (ora un semplice cubico blocco denominato pomposamente “Observatory Mansions�) realizzato sui resti del maniero di Tearsham Park , dal quale gli Orme (alla cui stirpe appartiene il leggermente ritardato Francis Orme, di professione statua di cera umana, protagonista e io-narratore di queste vicende) dominava un tempo le terre circostanti, ora sempre più ridotte, e soffocate dalla città che avanza.
Tutti i (pochi) superstiti occupanti gli squallidi e muffosi appartamenti di Observatory Mansions, pur vivendo nella propria estrema solitudine, tra strane manie, ossessive fobie o semplici sofferenze, sono comunque possessori di una propria storia alle spalle, quella storia che li rende unici e irripetibili come noi tutti siamo. E quelle storie, quelle ombre che ci accompagnano, meritano di venire a galla piano piano (come Carey dimostra di saper fare) mescolando continuamente passato e presente, i vivi e i morti, insieme a segreti a volte indicibili, e diventare traccia e memoria del loro passaggio. Anche attraverso i più strani (o i più comuni) e disparati oggetti di strambe collezioni nascoste.
Si chiude l’ultima pagina del romanzo, e inizia il lungo elenco dei 996 lotti di oggetti della “collezione d’amore� raccolta da Francis Orme.
Un grazie di cuore a Cry6379, senza la quale non avrei letto (almeno adesso) questo libro.
August 25, 2016
Non si può certo sostenere che a Edward Carey manchi la fantasia, perché questo romanzo è tutto un fiorire di invenzioni, di personaggi assurdi, di situazioni surreali, di dialoghi e pensieri inquietanti e fuori da qualsiasi logica. È anche molto triste, quasi angoscioso a tratti, ma in modo lieve, come nelle favole.
Sino a oltre la metà, mi è piaciuto moltissimo, al punto che non riuscivo a smettere di leggere. Poi, ha cominciato a stancarmi un po�, a sembrarmi ripetitivo e troppo tirato per le lunghe. Il finale l’ho trovato “appiccicato lì�, quasi l’autore non sapesse bene come concludere la storia, ossia non avesse mai avuto un’idea precisa da sviluppare dall’inizio alla fine, tant’� che l’iniziale armonia si va progressivamente perdendo.
Una lettura insolita e una scrittura piuttosto originale che, se non si arena ed evolve, potrebbe anche portare a risultati interessanti.
Sino a oltre la metà, mi è piaciuto moltissimo, al punto che non riuscivo a smettere di leggere. Poi, ha cominciato a stancarmi un po�, a sembrarmi ripetitivo e troppo tirato per le lunghe. Il finale l’ho trovato “appiccicato lì�, quasi l’autore non sapesse bene come concludere la storia, ossia non avesse mai avuto un’idea precisa da sviluppare dall’inizio alla fine, tant’� che l’iniziale armonia si va progressivamente perdendo.
Una lettura insolita e una scrittura piuttosto originale che, se non si arena ed evolve, potrebbe anche portare a risultati interessanti.
June 26, 2007
Edward Carey is hands down one of my favorite writers/artists. I find myself constantly re-reading this book--it is such a brilliant love story (in the most unconventional sense) and his interpretation of the individual neuroses that force these characters together is so perfectly written. I'm not doing the book justice by trying to describe it, so just read it. Please. (And if you like it, read his second novel, Alva and Irva.)
January 25, 2019
Tre stelle? Quattro stelle? Boh?
March 23, 2025
پشت کتاب نوشته: یک کمدی سیاه ابزورد و بدیع.
بله. باز هم به پیشنهاد علی خوندمش. کمی تا حدودی کتاب عجیبیه و دارای شخصیت های چرک و چغر و کریپی. از سمت دیگه، انزوای شدیدی که شخصیت‌ه� دارن باعث شد اون حس نیاز به تنهایی که یه مدته لازمش داشتم تامین بشه.
ترجمه� احسان کرم‌ویس� میتونست ویراستار بهتری داشته باشه.
زمستان ۴۰۳، بهار ۴۰۴.
رشت. انزلی. تهران. گرگان.
بله. باز هم به پیشنهاد علی خوندمش. کمی تا حدودی کتاب عجیبیه و دارای شخصیت های چرک و چغر و کریپی. از سمت دیگه، انزوای شدیدی که شخصیت‌ه� دارن باعث شد اون حس نیاز به تنهایی که یه مدته لازمش داشتم تامین بشه.
ترجمه� احسان کرم‌ویس� میتونست ویراستار بهتری داشته باشه.
زمستان ۴۰۳، بهار ۴۰۴.
رشت. انزلی. تهران. گرگان.
May 21, 2012
"Observatory Mansions" sat on my bookshelf for 10 years, doubtless, as the characters in the novel yearn for stasis and anonymity and to stay on their own strange courses, the book wanted to be left alone.
But things change. Change comes even to the seven people who dwell in the flats of Observatory Mansions. Here, the agent of change is an odd woman named Anna Tap, who is going blind.
The story is narrated by Francis Orme, latest in a long line of Francis Ormes, who lives with parents so sedentary they're practically part of the furniture. Francis is at the center of this remarkable tale of grotesque characters nonetheless oddly sympathetic in their isolation. "Observatory Mansions" is that most remarkable of novels, one that immerses us in a uniquely self-contained world whose strangeness seems completely natural because the author's relentless focus has hermetically sealed it like a glassed museum exhibit whose every detail fascinates us. Its atmosphere is all we're allowed to breathe.
Francis keeps in a tunnel beneath Observatory Mansions an "Exhibition of Love," 996 found and (mostly) stolen articles he stores in protective sleeves along with detailed descriptions. One mysterious item, called "The Object," he continuously re-places at the end of his otherwise chronological collection.
Francis wears white gloves. Fired from his job as a living waxwork, he spends time as a human statue atop a plinth in a town square, collecting tips. Like the others in his dwelling, he lives a life of isolation.
Francis: "It is well known that lovers hold hands. It is well known that I wear gloves. It is well known that I never touch anything that could be dirty (human flesh being one example). I could not then hold hands with my lover. Therefore I have no lover."
Anna Tap needles Francis and the others living in Observatory Mansions into contemplation. In this book, everyone is odd. There's "Twenty," aka "Dog Woman," who, scarred by tragedy, acts like a canine. Claire Higg finds reality only in TV programs. Peter Bugg, Francis' former stern and domineering teacher, now is a sweating, crying mess of wetness. A hissing porter named Porter has his own twisted agenda and obsessions. Anna begins asking questions, drawing these eccentric people out of their fugues, MAKING THEM THINK. This is not necessarily a good thing for Observatory Mansions.
Author Edward Carey keeps the atmosphere odd and claustrophobic, but there is humor in Francis' observations, if unintentional on his part. The story (without quotations marks; usually I hate that, but don't here) is told in short segments with clever titles. Anna Tap instigates one episode in which Francis' precious and huge collection of white gloves is strewn everywhere. Francis calls this the Gloves Armageddon Experience.
When Francis' parents begin to climb out of their near-catatonic state and become active characters, the novel changes. His mother and father, reflecting to Francis and Anna, unleash their memories in opposite chronological directions, revealing a great deal about Observatory Mansions and Francis' weird upbringing. It's off-putting at first, but throwing the parents into the tale so suddenly works.
Although the outside world (and, maybe, love?) intrudes at last, this is a fascinating exploration of odd, obsessive people. Carey, also an artist, takes a uniquely twisted look at these people. As evidence of the depth of loving detail in Carey's approach, all 996 items in Francis Orme's Exhibition of Love are listed over 30 pages at the book's end.
"Observatory Mansions" is a fresh, unsettling, bizarre (but not difficult) and eerily moving novel. Few books will immerse you in a peculiar environment so completely.
And back on the shelf you go.
But things change. Change comes even to the seven people who dwell in the flats of Observatory Mansions. Here, the agent of change is an odd woman named Anna Tap, who is going blind.
The story is narrated by Francis Orme, latest in a long line of Francis Ormes, who lives with parents so sedentary they're practically part of the furniture. Francis is at the center of this remarkable tale of grotesque characters nonetheless oddly sympathetic in their isolation. "Observatory Mansions" is that most remarkable of novels, one that immerses us in a uniquely self-contained world whose strangeness seems completely natural because the author's relentless focus has hermetically sealed it like a glassed museum exhibit whose every detail fascinates us. Its atmosphere is all we're allowed to breathe.
Francis keeps in a tunnel beneath Observatory Mansions an "Exhibition of Love," 996 found and (mostly) stolen articles he stores in protective sleeves along with detailed descriptions. One mysterious item, called "The Object," he continuously re-places at the end of his otherwise chronological collection.
Francis wears white gloves. Fired from his job as a living waxwork, he spends time as a human statue atop a plinth in a town square, collecting tips. Like the others in his dwelling, he lives a life of isolation.
Francis: "It is well known that lovers hold hands. It is well known that I wear gloves. It is well known that I never touch anything that could be dirty (human flesh being one example). I could not then hold hands with my lover. Therefore I have no lover."
Anna Tap needles Francis and the others living in Observatory Mansions into contemplation. In this book, everyone is odd. There's "Twenty," aka "Dog Woman," who, scarred by tragedy, acts like a canine. Claire Higg finds reality only in TV programs. Peter Bugg, Francis' former stern and domineering teacher, now is a sweating, crying mess of wetness. A hissing porter named Porter has his own twisted agenda and obsessions. Anna begins asking questions, drawing these eccentric people out of their fugues, MAKING THEM THINK. This is not necessarily a good thing for Observatory Mansions.
Author Edward Carey keeps the atmosphere odd and claustrophobic, but there is humor in Francis' observations, if unintentional on his part. The story (without quotations marks; usually I hate that, but don't here) is told in short segments with clever titles. Anna Tap instigates one episode in which Francis' precious and huge collection of white gloves is strewn everywhere. Francis calls this the Gloves Armageddon Experience.
When Francis' parents begin to climb out of their near-catatonic state and become active characters, the novel changes. His mother and father, reflecting to Francis and Anna, unleash their memories in opposite chronological directions, revealing a great deal about Observatory Mansions and Francis' weird upbringing. It's off-putting at first, but throwing the parents into the tale so suddenly works.
Although the outside world (and, maybe, love?) intrudes at last, this is a fascinating exploration of odd, obsessive people. Carey, also an artist, takes a uniquely twisted look at these people. As evidence of the depth of loving detail in Carey's approach, all 996 items in Francis Orme's Exhibition of Love are listed over 30 pages at the book's end.
"Observatory Mansions" is a fresh, unsettling, bizarre (but not difficult) and eerily moving novel. Few books will immerse you in a peculiar environment so completely.
And back on the shelf you go.
December 27, 2024
دوست نداشتم.
شخصیت‌ها� رمان همه زمانی در زندگی دچار یک درد و رنج شده بودند و جای حل کردن و یا گذر از رنج اون رو به تیکه‌ا� از زندگی بدل کرده بودند.
شخصیت‌ها� رمان همه زمانی در زندگی دچار یک درد و رنج شده بودند و جای حل کردن و یا گذر از رنج اون رو به تیکه‌ا� از زندگی بدل کرده بودند.
September 4, 2013
I was bummed I didn't enjoy this more. I liked the odd voice/style and hyper-quirky characters at first, but after a while this stuff wore on me and I became too aware of the author's hand. Add to that a predictable plot that dwelled too long in (to me) uninteresting places. There's gorgeous writing all the way through, but I didn't feel like it was enough to carry the novel.
July 1, 2019
Loved this book.
Edward Carey creates characters and storylines like no other.
I was mesmerized from page one.
Edward Carey creates characters and storylines like no other.
I was mesmerized from page one.
September 27, 2015
This is another retrospective review which I'm doing as this was a stand out book for me. The reason I enjoyed it so much is because, although never stated, the narrator appears to have something close to high functioning autism - at least that's how I perceived him. He finds interacting with people extremely difficult while he obsesses over the tiniest details. And all the eccentric characters you meet are equally as fascinating. The other great thing is that you get the impression that it's set in the present tense (at least around the time the book was released), but the narrator's way of talking makes you feel as if it's set some years before the modern world happened.
The way the story moves is also really clever and things which seem to randomly happen end up being pivotal to the development of the story.
There also these fantastic illustrations by Carey in the book which depict some of the characters you meet along the way. I would say get this in paperback rather than digital if you ever think you're going to read it.
I read Carey's follow up novel, Alva and Irva, and was largely disappointed. However, I look forward to reading his newer books which I believe are aimed at a younger audience.
Another one in my top 10.
The way the story moves is also really clever and things which seem to randomly happen end up being pivotal to the development of the story.
There also these fantastic illustrations by Carey in the book which depict some of the characters you meet along the way. I would say get this in paperback rather than digital if you ever think you're going to read it.
I read Carey's follow up novel, Alva and Irva, and was largely disappointed. However, I look forward to reading his newer books which I believe are aimed at a younger audience.
Another one in my top 10.
August 1, 2009
this one started good and with good I mean funny� then I don’t know what happened, I couldn’t get hook into caring for most of the characters� and then they all start remembering a lot of crap, and I just couldn’t get into it� there was a scene at the end tho� that it made me laugh so hard that I have to give this one 3 stars (it was a 2) when the blind chicks is trying to get out of the flat, and she starts screaming and stuff.. and the old lady starts making that noise TVs used to make after midnight and the mother starts singing, and Francis start reciting the gloves rules� dude that was so weird that it was funny! For that and only that� a 3 out of 3!
February 3, 2020
I cherished my time with this bizarre, incredibly charming (if slightly unsettling) book. For a while I was absolutely sure that it would be my new favorite for all time. It only fell short toward the end, when big events happened that seemed rather unnecessary to me. Agoraphobia, kleptomania, dysfunctional families, unconventional love, wax museums, philosophy on objects and memory, intricately constructed oddball characters - what else could one desire?
Ultimately, this is a fine work of art (and unbelievable first novel) by an author whose style and humor I will continually crave (good thing there are a few more to read by now!). Edward Carey has a new, devoted fan.
Ultimately, this is a fine work of art (and unbelievable first novel) by an author whose style and humor I will continually crave (good thing there are a few more to read by now!). Edward Carey has a new, devoted fan.
August 2, 2017
Molti commenti descrivono “Observatory mansions� come un cartone di Tim Burton. E� vero. Anch’io me lo immagino così, una favola dark in bianco e nero, animata da personaggi stralunati, che paiono chiusi nelle loro stranezze e nella loro solitudine. Tra di questi Francis, una timida statua di sale vivente, solitaria, timorosa del contatto umano. Ma quando toccherà con mano l’amore, il suo modo verrà capovolto. Un romanzo strano e un po� folle, particolarissimo. E che sa narrare l’amore con grande tenerezza. Da provare.
February 5, 2022
What a journey that was. I was enamored on page 1... I like solitude, quirky people, apparently shabby old buildings, and I wanted to be a statue when I was a small child. Then things got bleak and a little grotesque, and I loved the story in a different way. Compellingly honest investigation of memory and grief and engagement.
September 13, 2024
‘Beyaz eldivenler takıyordum.Annem ve babamla birlikte yaşıyordum.Çocuk değildim.Otuz yedi yaşındaydım.Alt dudağım hep şiş olurdu.Beyaz eldivenler takıyordum ama uşak değildim.Bir bandoda falan da çalmıyordum.Garson ya da sihirbaz değildim.Bir müzede görevliydim.Anlamlı nesneler müzesinde.Beyaz eldivenleri müzedeki dokuz yüz seksen altı nesneden herhangi birine zarar vermemek için takıyordum.Beyaz eldivenleri ellerimi görmemek için takıyordum.�
Şüphesiz şimdiye kadar okuduğum en ilginç ve orijinal romanlardan biri.Daha önce hiç böyle bir şey okumamıştım.
Anlatıcımız ve baş karakterimiz Francis Orme,çok ilgi çekici,en küçük ayrıntılara takılı,insanlarla iletişim kurmayı tercih etmeyen,annesinin,babasının ve hatta bazen gerektiğinde Peter Bugg denilen adamın geçimini bir heykel kaidesinde heykelmiş gibi yaparak sağlayan sıra dışı bir karakter.Çalıntı nesnelerden oluşan bir müzesi var.Yıllardır birbirleriyle konuşmayıp odalarından çıkmayan anne babasıyla ve benzeri olmayan eksantrik yedi kişiyle harap olmuş Gözlemevi Apartmanı’nda yaşıyorlar.Kurgu diye adlandırılabilecek alternatif bir zaman düzleminde yaşayan Claire Higg.Sürekli ağlayan ve terleyen,yüz çeşit parfümle yıkanmış gibi kokan Peter Bugg.Yirmi,köpek kadın Anca.Ve Kapıcı. Anna Tapp ise yeni bir sakin ve hoş karşılanmıyor.
‘Gelişi ve varlığı,Gözlemevi Apartmanı için bir devri kapatmış,yenisini açmıştı.Apartman sakinlerinin parçalanmış yıllarını yeniden bir araya getirmiş ve bunu yaparak,belki de istemeden,cehennemin kapısını aralamıştı.�
Kişisel tarzlarıyla ,çılgın gerçeküstü hikayeleriyle,narin,melankolik,kırılgan karakterler.
Şimdi dairelere dönüştürülmüş olan Gözlemevi Apartmanı bir zamanlar Tearsham Malikânesi olan ve Orme ailesine ait olan büyük bir mülk.Ama atmosferinden ve gizeminden daha fazlası.Bu karakterler yaşayan,nefes alabilen trajediler.Kendilerini ve üzüntülerini buraya gömmüşler.Unutulmamış geçmişleri,fiziksel dünyaya olan tek bağlılıkları.
Edward Carey,bu tuhaf ve biraz da rahatsız edici bu kitapta alışılmadık bir aşk hikayesi de yaratmış aynı zamanda.Derin,karanlık ve grotesk.
Carey’nin kendisi tarafından çizilmiş karakterlerin illüstrasyonlarıyla,tuhaflığıyla harika inanılmaz bir ilk roman ve güzel bir sanat eseri.
Şüphesiz şimdiye kadar okuduğum en ilginç ve orijinal romanlardan biri.Daha önce hiç böyle bir şey okumamıştım.
Anlatıcımız ve baş karakterimiz Francis Orme,çok ilgi çekici,en küçük ayrıntılara takılı,insanlarla iletişim kurmayı tercih etmeyen,annesinin,babasının ve hatta bazen gerektiğinde Peter Bugg denilen adamın geçimini bir heykel kaidesinde heykelmiş gibi yaparak sağlayan sıra dışı bir karakter.Çalıntı nesnelerden oluşan bir müzesi var.Yıllardır birbirleriyle konuşmayıp odalarından çıkmayan anne babasıyla ve benzeri olmayan eksantrik yedi kişiyle harap olmuş Gözlemevi Apartmanı’nda yaşıyorlar.Kurgu diye adlandırılabilecek alternatif bir zaman düzleminde yaşayan Claire Higg.Sürekli ağlayan ve terleyen,yüz çeşit parfümle yıkanmış gibi kokan Peter Bugg.Yirmi,köpek kadın Anca.Ve Kapıcı. Anna Tapp ise yeni bir sakin ve hoş karşılanmıyor.
‘Gelişi ve varlığı,Gözlemevi Apartmanı için bir devri kapatmış,yenisini açmıştı.Apartman sakinlerinin parçalanmış yıllarını yeniden bir araya getirmiş ve bunu yaparak,belki de istemeden,cehennemin kapısını aralamıştı.�
Kişisel tarzlarıyla ,çılgın gerçeküstü hikayeleriyle,narin,melankolik,kırılgan karakterler.
Şimdi dairelere dönüştürülmüş olan Gözlemevi Apartmanı bir zamanlar Tearsham Malikânesi olan ve Orme ailesine ait olan büyük bir mülk.Ama atmosferinden ve gizeminden daha fazlası.Bu karakterler yaşayan,nefes alabilen trajediler.Kendilerini ve üzüntülerini buraya gömmüşler.Unutulmamış geçmişleri,fiziksel dünyaya olan tek bağlılıkları.
Edward Carey,bu tuhaf ve biraz da rahatsız edici bu kitapta alışılmadık bir aşk hikayesi de yaratmış aynı zamanda.Derin,karanlık ve grotesk.
Carey’nin kendisi tarafından çizilmiş karakterlerin illüstrasyonlarıyla,tuhaflığıyla harika inanılmaz bir ilk roman ve güzel bir sanat eseri.
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