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袦褨褋褟褔薪懈泄 泻褉邪褦胁懈写
袦褨泻邪 袙邪谢褌邪褉褨 (1908鈥�1979)鈥€� 胁懈写邪褌薪懈泄 褎褨薪颅褋褜泻懈泄 锌懈褋褜屑械薪薪懈泻, 邪泻邪写械屑褨泻 袗袧 肖褨薪谢褟薪写褨褩. 袙褨薪 蟹邪卸懈胁 胁褋械褋胁褨褌薪褜芯褩 褋谢邪胁懈 蟹邪胁写褟泻懈 褨褋褌芯褉懈褔薪芯屑褍 褉芯屑邪薪褍 芦小懈薪褍谐械-褦谐懈锌褌褟薪懈薪禄 (1945), 锌械褉械泻谢邪写械薪芯屑褍 40鈥夹拘残靶夹�. 袩芯胁褨褋褌褜 芦袦褨褋褟褔薪懈泄 泻褉邪褦胁懈写禄 斜褍谢邪 薪邪锌懈褋邪薪邪 褍 1939-屑褍, 邪谢械 胁懈泄褕谢邪 写褉褍泻芯屑 谢懈褕械 1953鈥€芯泻褍.
袉褖械 12-褉褨褔薪懈屑 褏谢芯锌褑械屑, 胁褨写锌芯褔懈胁邪褞褔懈 薪邪 泻邪薪褨泻褍谢邪褏 褍 褋胁芯谐芯 写褟写褜泻邪鈥€� 褋褌邪褉芯谐芯 谐芯写懈薪薪懈泻邪褉褟, 袡芯械谢褜 蟹邪泻芯褏邪胁褋褟 褍 袦褨褉褨邪屑鈥€� 卸胁邪胁褍 斜械蟹锌芯褋械褉械写薪褞 写褨胁褔懈薪褍, 褟泻邪 屑褉褨褟谢邪 褋褌邪褌懈 邪泻褌芯褉泻芯褞 褨 薪褨褟泻 薪械 胁锌懈褋褍胁邪谢邪褋褟 褍 谐薪褨褌褞褔褍 邪褌屑芯褋褎械褉褍 写褟写褜泻芯胁芯谐芯 斜褍写懈薪泻褍, 写械 锌邪薪褍胁邪胁 褉械卸懈屑 卸芯褉褋褌泻芯褩 械泻芯薪芯屑褨褩 褌邪 褋褍胁芯褉褨 屑芯褉邪谢褜薪褨 锌褉懈薪褑懈锌懈. 袦懈薪褍谢懈 褉芯泻懈. 袦褨褉褨邪屑 胁褨写屑芯胁懈谢邪褋褟 胁褨写 泻邪褉鈥櫻斞€懈 邪泻褌芯褉泻懈, 胁懈泄褕芯胁褕懈 蟹邪屑褨卸 蟹邪 斜邪谐邪褌褨褟. 袡芯械谢褜 锌芯斜褍胁邪胁 薪邪 褎褉芯薪褌褨 褨 胁褌褉邪褌懈胁 褉褍泻褍. 袣芯谢懈 胁芯薪懈 蟹薪芯胁褍 蟹褍褋褌褉褨谢懈褋褟 褍 斜褍写懈薪泻褍 写褟写褜泻邪, 胁卸械 薪褨褖芯 薪械 褋褌芯褟谢芯 薪邪 蟹邪胁邪写褨 褩褏薪褨屑 锌芯褔褍褌褌褟屑, 锌褉芯褌械 袡芯械谢褜 褨 袦褨褉褨邪屑 褋褌邪谢懈 蟹芯胁褋褨屑 褔褍卸懈屑懈, 褨 写芯胁谐芯芯褔褨泻褍胁邪薪邪 斜谢懈蟹褜泻褨褋褌褜 蟹邪谢懈褕懈谢邪 胁 褩褏薪褨褏 写褍褕邪褏 褌褨谢褜泻懈 锌芯褉芯卸薪械褔褍 褨 褋邪屑芯褌薪褨褋褌褜...
袉褖械 12-褉褨褔薪懈屑 褏谢芯锌褑械屑, 胁褨写锌芯褔懈胁邪褞褔懈 薪邪 泻邪薪褨泻褍谢邪褏 褍 褋胁芯谐芯 写褟写褜泻邪鈥€� 褋褌邪褉芯谐芯 谐芯写懈薪薪懈泻邪褉褟, 袡芯械谢褜 蟹邪泻芯褏邪胁褋褟 褍 袦褨褉褨邪屑鈥€� 卸胁邪胁褍 斜械蟹锌芯褋械褉械写薪褞 写褨胁褔懈薪褍, 褟泻邪 屑褉褨褟谢邪 褋褌邪褌懈 邪泻褌芯褉泻芯褞 褨 薪褨褟泻 薪械 胁锌懈褋褍胁邪谢邪褋褟 褍 谐薪褨褌褞褔褍 邪褌屑芯褋褎械褉褍 写褟写褜泻芯胁芯谐芯 斜褍写懈薪泻褍, 写械 锌邪薪褍胁邪胁 褉械卸懈屑 卸芯褉褋褌泻芯褩 械泻芯薪芯屑褨褩 褌邪 褋褍胁芯褉褨 屑芯褉邪谢褜薪褨 锌褉懈薪褑懈锌懈. 袦懈薪褍谢懈 褉芯泻懈. 袦褨褉褨邪屑 胁褨写屑芯胁懈谢邪褋褟 胁褨写 泻邪褉鈥櫻斞€懈 邪泻褌芯褉泻懈, 胁懈泄褕芯胁褕懈 蟹邪屑褨卸 蟹邪 斜邪谐邪褌褨褟. 袡芯械谢褜 锌芯斜褍胁邪胁 薪邪 褎褉芯薪褌褨 褨 胁褌褉邪褌懈胁 褉褍泻褍. 袣芯谢懈 胁芯薪懈 蟹薪芯胁褍 蟹褍褋褌褉褨谢懈褋褟 褍 斜褍写懈薪泻褍 写褟写褜泻邪, 胁卸械 薪褨褖芯 薪械 褋褌芯褟谢芯 薪邪 蟹邪胁邪写褨 褩褏薪褨屑 锌芯褔褍褌褌褟屑, 锌褉芯褌械 袡芯械谢褜 褨 袦褨褉褨邪屑 褋褌邪谢懈 蟹芯胁褋褨屑 褔褍卸懈屑懈, 褨 写芯胁谐芯芯褔褨泻褍胁邪薪邪 斜谢懈蟹褜泻褨褋褌褜 蟹邪谢懈褕懈谢邪 胁 褩褏薪褨褏 写褍褕邪褏 褌褨谢褜泻懈 锌芯褉芯卸薪械褔褍 褨 褋邪屑芯褌薪褨褋褌褜...
128 pages, Hardcover
First published January 1, 1953
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53 people want to read
About the author
Mika Waltari
229听books668听followersMika Toimi Waltari was a Finnish historical novelist, best known for his magnum opus The Egyptian.
Waltari was born in Helsinki and lost his father, a Lutheran pastor, at the age of five. As a boy, he witnessed the Finnish Civil War in Helsinki. Later he enrolled in the University of Helsinki as a theology student, according to his mother's wishes, but soon abandoned theology in favour of philosophy, aesthetics and literature, graduating in 1929. While studying, he contributed to various magazines and wrote poetry and stories, getting his first book published in 1925. In 1927 he went to Paris where he wrote his first major novel Suuri illusioni ('The Grand Illusion'), a story of bohemian life. In terms of style, the novel is considered to be the Finnish equivalent to the works of the American writers of the Lost Generation. (In Waltari's historical novel The Adventurer, taking place in the 16th century, the hero is a Finn who goes to Paris during his twenties and lives there a rather bohemian life). Waltari also was, for a while, a member of the liberal literary movement Tulenkantajat, though his political and social views later turned conservative. He was married in 1931 and had a daughter, Satu, who also became a writer.
Throughout the 1930s and 1940s, Waltari worked hectically as a journalist and critic, writing for a number of newspapers and magazines and travelling widely in Europe. He directed the magazine Suomen Kuvalehti. At the same time, he kept writing books in many genres, moving easily from one literary field to another. He had a very busy schedule and strict work ethic. It has been claimed that he also suffered from insomnia and depression, sometimes to the extent of needing hospital treatment. He participated, and often succeeded, in literary competitions to prove the quality of his work to critics. One of these competitions gave rise to one of his most popular characters, Inspector Palmu, a gruff detective of the Helsinki police department, who starred in three mystery novels, all of which were filmed (a fourth one was made without Waltari involved). Waltari also scripted the popular cartoon Kieku ja Kaiku and wrote Aiotko kirjailijaksi, a guidebook for aspiring writers that influenced many younger writers such as Kalle P盲盲talo.
During the Winter War (1939鈥�1940) and the Continuation War (1941鈥�1944), Waltari worked in the government information center, now also placing his literary skills at the service of political propaganda. 1945 saw the publication of Waltari's first and most successful historical novel, The Egyptian. Its theme of the corruption of humanist values in a materialist world seemed curiously topical in the aftermath of World War II, and the book became an international bestseller, serving as the basis of the 1954 Hollywood movie of the same name. Waltari wrote seven more historical novels, placed in various ancient cultures, among which The Dark Angel, set during the Fall of Constantinople in 1453 is probably the best. In these novels, he gave powerful expression to his fundamental pessimism and also, in two novels set in the Roman Empire, to his Christian conviction. After the war, he also wrote several novellas, showing particular mastery in this genre. He became a member of the Finnish Academy in 1957 and received an honorary doctorate at the University of Turku in 1970.
Waltari was one of the most prolific Finnish writers. He wrote at least 29 novels, 15 novellas, 6 collections of stories or fairy-tales, 6 collections of poetry and 26 plays, as well as screenplays, radioplays, non-fiction, translations, and hundreds of reviews and articles. He is also the internationally best-known Finnish writer, and his works have been translated into more than 40 languages.
Waltari was born in Helsinki and lost his father, a Lutheran pastor, at the age of five. As a boy, he witnessed the Finnish Civil War in Helsinki. Later he enrolled in the University of Helsinki as a theology student, according to his mother's wishes, but soon abandoned theology in favour of philosophy, aesthetics and literature, graduating in 1929. While studying, he contributed to various magazines and wrote poetry and stories, getting his first book published in 1925. In 1927 he went to Paris where he wrote his first major novel Suuri illusioni ('The Grand Illusion'), a story of bohemian life. In terms of style, the novel is considered to be the Finnish equivalent to the works of the American writers of the Lost Generation. (In Waltari's historical novel The Adventurer, taking place in the 16th century, the hero is a Finn who goes to Paris during his twenties and lives there a rather bohemian life). Waltari also was, for a while, a member of the liberal literary movement Tulenkantajat, though his political and social views later turned conservative. He was married in 1931 and had a daughter, Satu, who also became a writer.
Throughout the 1930s and 1940s, Waltari worked hectically as a journalist and critic, writing for a number of newspapers and magazines and travelling widely in Europe. He directed the magazine Suomen Kuvalehti. At the same time, he kept writing books in many genres, moving easily from one literary field to another. He had a very busy schedule and strict work ethic. It has been claimed that he also suffered from insomnia and depression, sometimes to the extent of needing hospital treatment. He participated, and often succeeded, in literary competitions to prove the quality of his work to critics. One of these competitions gave rise to one of his most popular characters, Inspector Palmu, a gruff detective of the Helsinki police department, who starred in three mystery novels, all of which were filmed (a fourth one was made without Waltari involved). Waltari also scripted the popular cartoon Kieku ja Kaiku and wrote Aiotko kirjailijaksi, a guidebook for aspiring writers that influenced many younger writers such as Kalle P盲盲talo.
During the Winter War (1939鈥�1940) and the Continuation War (1941鈥�1944), Waltari worked in the government information center, now also placing his literary skills at the service of political propaganda. 1945 saw the publication of Waltari's first and most successful historical novel, The Egyptian. Its theme of the corruption of humanist values in a materialist world seemed curiously topical in the aftermath of World War II, and the book became an international bestseller, serving as the basis of the 1954 Hollywood movie of the same name. Waltari wrote seven more historical novels, placed in various ancient cultures, among which The Dark Angel, set during the Fall of Constantinople in 1453 is probably the best. In these novels, he gave powerful expression to his fundamental pessimism and also, in two novels set in the Roman Empire, to his Christian conviction. After the war, he also wrote several novellas, showing particular mastery in this genre. He became a member of the Finnish Academy in 1957 and received an honorary doctorate at the University of Turku in 1970.
Waltari was one of the most prolific Finnish writers. He wrote at least 29 novels, 15 novellas, 6 collections of stories or fairy-tales, 6 collections of poetry and 26 plays, as well as screenplays, radioplays, non-fiction, translations, and hundreds of reviews and articles. He is also the internationally best-known Finnish writer, and his works have been translated into more than 40 languages.
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Displaying 1 - 11 of 11 reviews
January 4, 2025
4,5 猸愶笍
笑褨泻邪胁邪 褨褋褌芯褉褨褟 写芯褉芯褋谢褨褕邪薪薪褟. 袪邪蟹芯屑 蟹 袡芯械谢械屑 屑懈 蟹邪褔邪褉芯胁褍褦屑芯褋褟 褨 褉芯蟹褔邪褉芯胁褍褦屑芯褋褟, 谢褞斜懈屑芯 褌邪 蟹薪械胁邪卸邪褦屑芯, 蟹邪褏懈褖邪褦屑芯 邪斜芯 蟹褉褨泻邪褦屑芯褋褟 锌褉懈薪褑懈锌褨胁 邪斜芯 褨写械邪谢褨胁, 褋屑褨褦屑芯褋褟 邪斜芯 卸褍褉懈屑芯褋褟, 褨蟹 褍锌械胁薪械薪褨褋褌褞 褨写械屑芯 胁 斜褨泄 邪斜芯 卸 薪械 蟹薪邪褦屑芯, 泻褍写懈 褨褌懈 写邪谢褨.
袛械泻褨谢褜泻邪 屑芯褩褏 褍谢褞斜谢械薪懈褏 褑懈褌邪褌:
啸谢芯锌始褟褔懈泄 胁褨泻 鈥� 褑械 谢懈褕械 薪懈蟹泻邪 薪械胁屑懈褉褍褖懈褏 械锌褨蟹芯写褨胁, 锌芯屑褨卸 褟泻懈屑懈 谐褍斜懈褌褜褋褟 褨 褉芯蟹胁褨褞褦褌褜褋褟 蟹 褔邪褋芯屑 褍褋械 褋褨褉械, 斜械蟹锌褉芯褋胁褨褌薪械 泄 薪褍写薪械.
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袙芯薪邪 斜褍谢邪 褖械 写褍卸械 屑芯谢芯写邪. 孝芯屑褍 泻褉懈褔邪谢邪 泄
锌芯泻邪蟹褍胁邪谢邪 薪芯褉芯胁. 袛芯褋胁褨写褔械薪褨褕邪 谢褞写懈薪邪 薪械 泻褉懈褔懈褌褜, 邪 褌褉懈屑邪褦 胁 褋芯斜褨 褌械, 褖芯 蟹薪邪褦. 袛芯褋胁褨写褔械薪褨褕邪 谢褞写懈薪邪 褦 斜芯褟谐褍蟹芯屑 褨 薪邪屑邪谐邪褦褌褜褋褟 薪械 写褉邪褌褍胁邪褌懈 褋胁芯褦 芯褌芯褔械薪薪褟.
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袛褉褍谐邪 胁褨泄薪邪, 褌褉懈胁邪谢褨褕邪 泄 蟹邪锌械泻谢褨褕邪, 蟹 泻芯卸薪懈屑 褉芯泻芯屑 写械写邪谢褨 褋褨褉褨褕邪, 邪卸 锌芯泻懈 写谢褟 屑械薪械 泄 屑芯谐芯 锌芯泻芯谢褨薪薪褟 胁褨泄薪邪 蟹褉芯斜懈谢邪褋褟 斜褨谢褜褕 薪芯褉屑邪谢褜薪芯褞 褎芯褉屑芯褞 卸懈褌褌褟, 邪薪褨卸 锌芯胁褋褟泻写械薪薪褟.
笑褨泻邪胁邪 褨褋褌芯褉褨褟 写芯褉芯褋谢褨褕邪薪薪褟. 袪邪蟹芯屑 蟹 袡芯械谢械屑 屑懈 蟹邪褔邪褉芯胁褍褦屑芯褋褟 褨 褉芯蟹褔邪褉芯胁褍褦屑芯褋褟, 谢褞斜懈屑芯 褌邪 蟹薪械胁邪卸邪褦屑芯, 蟹邪褏懈褖邪褦屑芯 邪斜芯 蟹褉褨泻邪褦屑芯褋褟 锌褉懈薪褑懈锌褨胁 邪斜芯 褨写械邪谢褨胁, 褋屑褨褦屑芯褋褟 邪斜芯 卸褍褉懈屑芯褋褟, 褨蟹 褍锌械胁薪械薪褨褋褌褞 褨写械屑芯 胁 斜褨泄 邪斜芯 卸 薪械 蟹薪邪褦屑芯, 泻褍写懈 褨褌懈 写邪谢褨.
袛械泻褨谢褜泻邪 屑芯褩褏 褍谢褞斜谢械薪懈褏 褑懈褌邪褌:
啸谢芯锌始褟褔懈泄 胁褨泻 鈥� 褑械 谢懈褕械 薪懈蟹泻邪 薪械胁屑懈褉褍褖懈褏 械锌褨蟹芯写褨胁, 锌芯屑褨卸 褟泻懈屑懈 谐褍斜懈褌褜褋褟 褨 褉芯蟹胁褨褞褦褌褜褋褟 蟹 褔邪褋芯屑 褍褋械 褋褨褉械, 斜械蟹锌褉芯褋胁褨褌薪械 泄 薪褍写薪械.
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袙芯薪邪 斜褍谢邪 褖械 写褍卸械 屑芯谢芯写邪. 孝芯屑褍 泻褉懈褔邪谢邪 泄
锌芯泻邪蟹褍胁邪谢邪 薪芯褉芯胁. 袛芯褋胁褨写褔械薪褨褕邪 谢褞写懈薪邪 薪械 泻褉懈褔懈褌褜, 邪 褌褉懈屑邪褦 胁 褋芯斜褨 褌械, 褖芯 蟹薪邪褦. 袛芯褋胁褨写褔械薪褨褕邪 谢褞写懈薪邪 褦 斜芯褟谐褍蟹芯屑 褨 薪邪屑邪谐邪褦褌褜褋褟 薪械 写褉邪褌褍胁邪褌懈 褋胁芯褦 芯褌芯褔械薪薪褟.
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袛褉褍谐邪 胁褨泄薪邪, 褌褉懈胁邪谢褨褕邪 泄 蟹邪锌械泻谢褨褕邪, 蟹 泻芯卸薪懈屑 褉芯泻芯屑 写械写邪谢褨 褋褨褉褨褕邪, 邪卸 锌芯泻懈 写谢褟 屑械薪械 泄 屑芯谐芯 锌芯泻芯谢褨薪薪褟 胁褨泄薪邪 蟹褉芯斜懈谢邪褋褟 斜褨谢褜褕 薪芯褉屑邪谢褜薪芯褞 褎芯褉屑芯褞 卸懈褌褌褟, 邪薪褨卸 锌芯胁褋褟泻写械薪薪褟.
July 8, 2018
讗谞讬 讗转讞讬诇 讘讛讘注转 转讜讚讛 诇专诪讬 住注专讬 讛诪转专讙诐 讛诪讜驻诇讗 砖讚讜讗讙 诇讛讘讬讗 诇讞讜讘讘讬 讛拽专讬讗讛 讘讗专抓 讛拽讜讚砖 讗转 诪讬讟讘 讛住驻专讜转 讛驻讬谞讬转, 讗讜转讛 讛讜讗 诪转专讙诐 诪砖驻转 讛诪拽讜专 讜讻诪讜讘谉 诇讗 讗砖讻讞 诇讛讝讻讬专 讗转 砖诇诇 讛砖驻讜转 讛砖讜谞讜转 讗讜转谉 讛讜讗 诪转专讙诐.
讛谞讜讘诇讛 讛诪爪讜讬谞转 驻讬讬谉 讜讗谉 讘专讜拽诇讬谉 诪讛讜讜讛 诪讘讞讬谞转讬 讛拽讚诪讛 专讗讜讬讛 诇讚讘专 讛讗诪讬转讬 讜讛讜讗 讛谞讜讘诇讛 谞讜祝 讛讬专讞 砖讛讬讗 讬爪讬专转 诪讜驻转, 诇讗 驻讞讜转, 砖诪诪讞讬砖讛 讗转 讙讚讜诇转讜 砖诇 诪讬拽讛 讜讜诇讟讗专讬 讻住讜驻专
讛谞讜讘诇讛 讛诪爪讜讬谞转 驻讬讬谉 讜讗谉 讘专讜拽诇讬谉 诪讛讜讜讛 诪讘讞讬谞转讬 讛拽讚诪讛 专讗讜讬讛 诇讚讘专 讛讗诪讬转讬 讜讛讜讗 讛谞讜讘诇讛 谞讜祝 讛讬专讞 砖讛讬讗 讬爪讬专转 诪讜驻转, 诇讗 驻讞讜转, 砖诪诪讞讬砖讛 讗转 讙讚讜诇转讜 砖诇 诪讬拽讛 讜讜诇讟讗专讬 讻住讜驻专
March 19, 2024
袛芯褋泻芯薪邪谢褨褋褌褜. 袥械谐械薪写邪. 袉写械邪谢. 袣褉邪褖芯谐芯 薪械 褨褋薪褍褦
June 12, 2024
Luin itsen盲isen盲 pienoisromaanina kokoelman nimikkotarinan, joka oli tarkkan盲k枚inen ja ter盲v盲sanainen.
Pidin Waltarin sanavalinnoista ja pohdinnoista. H盲nen luomansa mielikuvat olivat vahvoja ja otteensa varma. Taide ei kuitenkaan koskaan voi irtautua yhteiskunnasta ja sen ajankohtaisista normeista. Waltarin muitakin pienoisromaaneita lukeneena h盲nen n盲k枚kantansa naiseuteen ja naisiin oli yksitoikkoinen ajanhenkeen sopien. Romanttiset suhteet h盲n pelkisti paikoin kovin maallisiksi; ne olivat lihanhimoa ja estiv盲t suuremman p盲盲m盲盲r盲n tavoittelua.
Kuun maisema oli lukemisen arvoinen ja ajatuksia her盲tt盲v盲. Asioista pit盲盲 oppia p盲盲st盲m盲盲n irti. Muutos voi vertautua kuolemaan. Olemme kasvuolosuhteidemme tuotos tavalla tai toisella.
3,5猸愶笍
Pidin Waltarin sanavalinnoista ja pohdinnoista. H盲nen luomansa mielikuvat olivat vahvoja ja otteensa varma. Taide ei kuitenkaan koskaan voi irtautua yhteiskunnasta ja sen ajankohtaisista normeista. Waltarin muitakin pienoisromaaneita lukeneena h盲nen n盲k枚kantansa naiseuteen ja naisiin oli yksitoikkoinen ajanhenkeen sopien. Romanttiset suhteet h盲n pelkisti paikoin kovin maallisiksi; ne olivat lihanhimoa ja estiv盲t suuremman p盲盲m盲盲r盲n tavoittelua.
Kuun maisema oli lukemisen arvoinen ja ajatuksia her盲tt盲v盲. Asioista pit盲盲 oppia p盲盲st盲m盲盲n irti. Muutos voi vertautua kuolemaan. Olemme kasvuolosuhteidemme tuotos tavalla tai toisella.
3,5猸愶笍
November 13, 2022
谞讜祝 讛讬专讞 诪讗讙讚 转讞转讬讜 砖转讬 谞讜讘诇讜转 拽爪专讜转. 讛讗讞转: "驻讬讬谉 讜谉 讘专讜拽诇讬谉" 诪住驻专转 讗转 住讬驻讜专讜 砖诇 住讟讜讚谞讟 驻讬谞讬 (讻讻诇 讛谞专讗讛 讛住讜驻专 注爪诪讜) 讛砖讜讛讛 诇爪讜专讱 诪讞拽专 讘爪专驻转. 讝讛讜 住讬驻讜专 讛转讗讛讘讜转 砖讛诪住驻专 讞讜砖讘 讘讟注讜转 诇住讬驻讜专 讗讛讘讛 (讗诐 讻讬 讘驻专住驻拽讟讬讘讛 诇讗讞讜专 讛讜讗 诪讘讞讬谉 砖讝讛讜 讗讬谞讜 讛诪爪讘). 讛讗讞专转: "谞讜祝 讛讬专讞" 诪住驻专转 讗转 住讬驻讜专诐 砖诇 谞注专 讜谞注专讛 驻讬谞讬诐 诪讛讬讜转诐 讘谞讬 谞注讜专讬诐 诇诪砖讱 18 砖谞讬诐 砖讻讜诇诇讬诐 讗转 诪诇讞诪转 讛注讜诇诐 讛砖谞讬讛. 讛谞注专讬诐 诪讬讬爪讙讬诐 讘注讬谞讬 讛讞讘专讛 砖转讬 转驻讬住讜转 注讜诇诐 诪谞讜讙讚讜转, 讛讗讞转 讗转 讛讞讬诇讜谞讬讜转, 砖谞转驻住转 讘注讬谞讬 讛讞讘专讛 讻驻专讬爪讜转, 讜讛讗讞专 讗转 讛砖诪专谞讜转 讜讛讚转. 讗讞专讬 砖拽专讗转讬 讗转 转拽爪讬专 讛讘讬讜讙专驻讬讛 砖诇 讛住讜驻专 讘讗讞专讬转 讛讚讘专, 讛讙注转讬 诇诪住拽谞讛 砖讙诐 讛谞注专 讜讙诐 讛谞注专讛 讛诐 讛住讜驻专 讘注爪诪讜. 讘砖谞讬 讛住讬驻讜专讬诐 谞诪爪讗讬诐 讛诪住驻专讬诐 讘谞拽讜讚转 讛转讘讙专讜转 讜讛砖转谞讜转. 讛讛转专讞砖讜讬讜转 讘住讬驻讜专讬诐 诪注讟讜转, 讗讱 住讙谞讜谉 讛讻转讬讘讛 讛讜讗 砖诪讜砖讱. 讘砖谞讬 讛诪拽专讬诐 诪砖讜讘爪讬诐 驻专讟讬诐 讘讬讜讙专驻讬诐 诪讞讬讬 讛住讜驻专. 砖谞讬 讛住讬驻讜专讬诐 诪讟讬驻谞讬讬诐 讘爪讜专讛 诪讜讙讝诪转 讻谞讙讚 砖转讬讬转 讗诇讻讜讛讜诇. 转讞讬诇讛 讞砖讘转讬 砖讛讚诪讜转 诪讟讬诇讛 注诇 讛讗诇讻讜讛讜诇 讗转 讛讗砖诪讛 诇讞讜诇砖讜转讬讛, 讘讛诪砖讱 讛砖转讻谞注转讬 砖讝讜 讻讻诇 讛谞专讗讛 讛砖拽驻转 讛注讜诇诐 砖诇 讛诪讞讘专, 砖讘讗讞专讬转 讚讘专 拽专讗转讬 砖住讘诇 讘注爪诪讜 诪讗诇讻讜讛讜诇讬讝诐. 讘驻讬讬谉 讜谉 讘专讜拽诇讬谉 诪讜爪讙转 谞拽讜讚转 诪讘讟 讙讘专讬转 讘注讬讬转讬转, 讘诇砖讜谉 讛诪注讟讛, 注诇 讛住讻诪讛 谞砖讬转 讘讻诇 讛谞讜讙注 诇诪讙注 讗讬谞讟讬诪讬. 讛住驻专 谞讻转讘 讘-1938, 讜讗谞讬 诪谞讬讞讛 砖讝讜 讛转驻讬住讛 砖专讜讜讞讛 讗讝 -- 讝讛 注讚讬讬谉 诪拽讜诪诐 诪讗讜讚.
March 19, 2018
a beautiful book that touched my soul, with the depth of the characters and with very deep and interesting writing. it reminds me a little bit of Herman Hesse.
all in all, i recommend it fo' sho! ;D
all in all, i recommend it fo' sho! ;D
February 10, 2019
Erinomaisia novelleja viisi kappaletta. Hyv盲盲 kuvausta ihmiskohtaloista ja kaikki kytkeytyiv盲t toisiinsa rakkauden kautta. Renttuja, taiteilijoita, uskonnollisuutta, menoa maailmalta, pankinjohtajia ja unia.
July 31, 2013
Ihan jees, mutta v盲h盲n henget枚n.
August 6, 2015
Jokin ihmisess盲 8/10
J盲inen saari 9/10
Kuun maisema 10+/10
Ennen maailmanloppua 6/10
Pariisilaissolmio 9/10
Ihmisen vapaus 7/10
J盲inen saari 9/10
Kuun maisema 10+/10
Ennen maailmanloppua 6/10
Pariisilaissolmio 9/10
Ihmisen vapaus 7/10
June 19, 2024
写芯褋褨 褌褉懈屑邪褦褌褜褋褟 锌褨褋谢褟褋屑邪泻 胁褨写 褑褨褦褩 泻薪懈卸泻懈. 锌芯泻谢邪写褍 胁 褍谢褞斜谢械薪褨 锌褉芯褔懈褌邪薪褨)
April 18, 2017
Kaikin puolin miellytt盲v盲 lukukokemus. Pienoisromaanit olivat pituudeltaan juuri sopivia luettavaksi kerralla alusta loppuun. Kokoelmasta j盲i mieleen erityisesti "Kuun maisema" -pienoisromaaniin sis盲ltyv盲, varsin ajankohtaiselta tuntuva tekstikappale:
"Maailman t盲ytyi muuttua, ajattelin, mutta jotta maailma muuttuisi, t盲ytyi ihmisen muuttua. Vain usko saattoi muuttaa ihmisen, mutta usko toi aina mukanaan suvaitsemattomuuden, toisin ajattelevien vainon ja v盲盲ryyden, olipa kysymysess盲 usko tuonpuoleiseen tai tulevaisuuden maailmaan. Uskossa iti ikuisesti suvaitsemattomuuden ja tuhon siemen. Mutta ihminen, joka kuori kuvitelmat mielest盲盲n, kunnes ei mit盲盲n j盲盲nyt j盲ljelle, k盲vi hedelm盲tt枚m盲ksi ja kylm盲ksi. Ihminen oli parantumaton, toisti ikuisesti samat erehdyksens盲 ja s盲lytti kuvitelmansa lastensa kannettavaksi tuhoisaksi taakaksi. Mik盲 lis盲si tietoa, se lis盲si murhetta, mutta usko pohjautui tunteeseen ja kylvi murhaa ymp盲rilleen. Ihmisen perusolemusta ei voinut muuttaa, vain ihmisten v盲lisi盲 suhteita saattoi muuttaa. Ei siis j盲盲nyt j盲ljelle muuta kuin sama vanha keino, jota oli jo tuhannesti koeteltu: rakentaa kaavoja ja m盲盲ritell盲 rajoja, sulloa ihmisi盲 niihin tilaston eik盲 yksil枚llisyyden mukaan, murtaa vanhoja ja valaa uusia muotteja, rakentaaa valtioita, j盲rjestelmi盲 ja yhteiskuntamuotoja, jotka takasivat ainakin suvun s盲ilymisen, kunnes t枚rm盲tess盲盲n vastakkain uskonsodissa hajoittivat maailman j盲lleen vereen ja raunioihin." (Mika Waltari, Kuun maisema, WSOY 1953, s. 158)
"Maailman t盲ytyi muuttua, ajattelin, mutta jotta maailma muuttuisi, t盲ytyi ihmisen muuttua. Vain usko saattoi muuttaa ihmisen, mutta usko toi aina mukanaan suvaitsemattomuuden, toisin ajattelevien vainon ja v盲盲ryyden, olipa kysymysess盲 usko tuonpuoleiseen tai tulevaisuuden maailmaan. Uskossa iti ikuisesti suvaitsemattomuuden ja tuhon siemen. Mutta ihminen, joka kuori kuvitelmat mielest盲盲n, kunnes ei mit盲盲n j盲盲nyt j盲ljelle, k盲vi hedelm盲tt枚m盲ksi ja kylm盲ksi. Ihminen oli parantumaton, toisti ikuisesti samat erehdyksens盲 ja s盲lytti kuvitelmansa lastensa kannettavaksi tuhoisaksi taakaksi. Mik盲 lis盲si tietoa, se lis盲si murhetta, mutta usko pohjautui tunteeseen ja kylvi murhaa ymp盲rilleen. Ihmisen perusolemusta ei voinut muuttaa, vain ihmisten v盲lisi盲 suhteita saattoi muuttaa. Ei siis j盲盲nyt j盲ljelle muuta kuin sama vanha keino, jota oli jo tuhannesti koeteltu: rakentaa kaavoja ja m盲盲ritell盲 rajoja, sulloa ihmisi盲 niihin tilaston eik盲 yksil枚llisyyden mukaan, murtaa vanhoja ja valaa uusia muotteja, rakentaaa valtioita, j盲rjestelmi盲 ja yhteiskuntamuotoja, jotka takasivat ainakin suvun s盲ilymisen, kunnes t枚rm盲tess盲盲n vastakkain uskonsodissa hajoittivat maailman j盲lleen vereen ja raunioihin." (Mika Waltari, Kuun maisema, WSOY 1953, s. 158)
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