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Die Danziger Trilogie #1
袘谢褟褕邪薪懈泄 斜邪褉邪斜邪薪
袪芯屑邪薪 胁懈写邪褌薪芯谐芯 薪褨屑械褑褜泻芯谐芯 锌懈褋褜屑械薪薪懈泻邪, 袧芯斜械谢褨胁褋褜泻芯谐芯 谢邪褍褉械邪褌邪 覑褞薪褌械褉邪 覑褉邪褋褋邪 芦袘谢褟褕邪薪懈泄 斜邪褉邪斜邪薪禄 鈥� 锌械褉褕邪 褔邪褋褌懈薪邪 械锌褨褔薪芯褩, 褌邪泻 蟹胁邪薪芯褩 写邪薪褑懈蟹褜泻芯褩, 褌褉懈谢芯谐褨褩. 袛芯 薪械褩 褌邪泻芯卸 胁褏芯写褟褌褜 锌芯胁褨褋褌褜 芦袣褨褌 褨 屑懈褕邪禄, 褖芯 斜褍谢邪 薪邪写褉褍泻芯胁邪薪邪 褍 胁懈写邪胁薪懈褑褌胁褨 芦肖芯谢褨芯禄 褍 2008 褉芯褑褨, 褌邪 褉芯屑邪薪 芦小芯斜邪褔褨 褉芯泻懈禄. 袩芯斜褍写芯胁邪薪懈泄 胁 褌褉邪写懈褑褨泄薪芯屑褍 卸邪薪褉褨 褉芯屑邪薪褍 胁懈褏芯胁邪薪薪褟, 芦袘谢褟褕邪薪懈泄 斜邪褉邪斜邪薪禄 胁褉邪卸邪褦 薪械蟹胁懈褔薪褨褋褌褞 谐芯谢芯胁薪芯谐芯 谐械褉芯褟. 挟薪懈泄 袨褋泻邪褉 褍 褌褉懈 褉芯泻懈 锌械褉械褋褌邪褦 褉芯褋褌懈 薪邪 蟹薪邪泻 锌褉芯褌械褋褌褍 锌褉芯褌懈 卸懈褌褌褟 写芯褉芯褋谢懈褏. 袩芯谐谢褟写 芦蟹薪懈蟹褍禄 写芯蟹胁芯谢褟褦 褍褟胁懈褌懈 谢褞写械泄 褌邪 锌褉械写屑械褌懈 胁 薪械蟹胁懈褔邪泄薪芯-谐褉芯褌械褋泻薪芯屑褍 胁懈谐谢褟写褨, 褋锌褉芯褋褌褍胁邪褌懈 褍褋褌邪谢械薪褨 写褍屑泻懈, 蟹邪写褍屑邪褌懈褋褟 锌褉芯 褌械, 褖芯 胁褨写斜褍胁邪褦褌褜褋褟.
960 pages, Hardcover
First published January 1, 1959
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About the author
G眉nter Grass
349听books1,792听followersNovels, notably
The Tin Drum
(1959) and
Dog Years
(1963), of German writer G眉nter Wilhelm Grass, who won the Nobel Prize of 1999 for literature, concern the political and social climate of Germany during and after World War II.
This novelist, poet, playwright, illustrator, graphic artist, and sculptor since 1945 lived in West Germany but in his fiction frequently returned to the Danzig of his childhood. He always identified as a Kashubian.
He is best known for his first novel, The Tin Drum (1959), a key text in European magic realism. He named this style 鈥渂roadened reality.鈥� 鈥淐at and Mouse鈥� (1961) and Dog Years (1963) also succeeded in the period. These three novels make up his 鈥淒anzig trilogy.鈥�
Helene Grass (n茅e Knoff, 1898 - 1954), a Roman Catholic of Kashubian-Polish origin, bore G眉nter Grass to Willy Grass (1899 - 1979), a Protestant ethnic German. Parents reared Grass as a Catholic. The family lived in an apartment, attached to its grocery store in Danzig-Langfuhr (now Gda艅sk-Wrzeszcz). He has one sister, born in 1930.
Grass attended the Danzig gymnasium Conradinum. He volunteered for submarine service with the Kriegsmarine "to get out of the confinement he felt as a teenager in his parents' house" which he considered - in a very negative way - civic Catholic lower middle class. In 1943 he became a Luftwaffenhelfer, then he was drafted into the Reichsarbeitsdienst, and in November 1944, shortly after his seventeenth birthday, into the Waffen-Schutzstaffel. The seventeen-year-old Grass saw combat with the 10th Schutzstaffel panzer division Frundsberg from February 1945 until he was wounded on 20 April 1945 and sent to an American prisoner of war camp.
In 1946 and 1947, he worked in a mine and received an education of a stonemason. For many years, he studied sculpture and graphics, first at the Kunstakademie D眉sseldorf and then at the Universit盲t der K眉nste Berlin. He also worked as an author and traveled frequently. He married in 1954 and from 1960 lived in Berlin as well as part-time in Schleswig-Holstein. Divorced in 1978, he remarried in 1979. From 1983 to 1986 he held the presidency of the Berlin Akademie der K眉nste (Berlin Academy of Arts).
During the German unification process in 1989 he argued for separation of the two states, because he thought a unified Germany would resume its past aggression. He moved to the northern German city of L眉beck in 1995. He was awarded the Nobel Prize in Literature in 1999. In 2006, Grass caused controversy with his disclosure of his Waffen-Schutzstaffel service during the final months of World War II, which he had kept a secret until publishing his memoir that year. He died of complications of lung infection on 13th of April, 2015 at a L眉beck hospital. He was 87.
This novelist, poet, playwright, illustrator, graphic artist, and sculptor since 1945 lived in West Germany but in his fiction frequently returned to the Danzig of his childhood. He always identified as a Kashubian.
He is best known for his first novel, The Tin Drum (1959), a key text in European magic realism. He named this style 鈥渂roadened reality.鈥� 鈥淐at and Mouse鈥� (1961) and Dog Years (1963) also succeeded in the period. These three novels make up his 鈥淒anzig trilogy.鈥�
Helene Grass (n茅e Knoff, 1898 - 1954), a Roman Catholic of Kashubian-Polish origin, bore G眉nter Grass to Willy Grass (1899 - 1979), a Protestant ethnic German. Parents reared Grass as a Catholic. The family lived in an apartment, attached to its grocery store in Danzig-Langfuhr (now Gda艅sk-Wrzeszcz). He has one sister, born in 1930.
Grass attended the Danzig gymnasium Conradinum. He volunteered for submarine service with the Kriegsmarine "to get out of the confinement he felt as a teenager in his parents' house" which he considered - in a very negative way - civic Catholic lower middle class. In 1943 he became a Luftwaffenhelfer, then he was drafted into the Reichsarbeitsdienst, and in November 1944, shortly after his seventeenth birthday, into the Waffen-Schutzstaffel. The seventeen-year-old Grass saw combat with the 10th Schutzstaffel panzer division Frundsberg from February 1945 until he was wounded on 20 April 1945 and sent to an American prisoner of war camp.
In 1946 and 1947, he worked in a mine and received an education of a stonemason. For many years, he studied sculpture and graphics, first at the Kunstakademie D眉sseldorf and then at the Universit盲t der K眉nste Berlin. He also worked as an author and traveled frequently. He married in 1954 and from 1960 lived in Berlin as well as part-time in Schleswig-Holstein. Divorced in 1978, he remarried in 1979. From 1983 to 1986 he held the presidency of the Berlin Akademie der K眉nste (Berlin Academy of Arts).
During the German unification process in 1989 he argued for separation of the two states, because he thought a unified Germany would resume its past aggression. He moved to the northern German city of L眉beck in 1995. He was awarded the Nobel Prize in Literature in 1999. In 2006, Grass caused controversy with his disclosure of his Waffen-Schutzstaffel service during the final months of World War II, which he had kept a secret until publishing his memoir that year. He died of complications of lung infection on 13th of April, 2015 at a L眉beck hospital. He was 87.
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Displaying 1 - 30 of 2,420 reviews
October 25, 2021
Society dislikes outsiders鈥� Outsiders reciprocate鈥�
Oskar is a little drummer boy staying outside of society and his life is an incessant drumming鈥�
And the residents of Danzig find themselves caught in the danse macabre of the epochal saturnine satire and they keep dancing to the sinister drumroll of history鈥� And they are incarcerated in the dungeon of controversial opposites: love and hate, loyalty and treason, religion and blasphemy, mirth and sorrow, the dead calm and the tempest of brown plague鈥� And one day the liberators arrive, innocently raping and killing in the process of liberation鈥�
At last the epochal plague is over but the historical farce continues鈥�
When the history falls ill, the world becomes infected with madness.
Oskar is a little drummer boy staying outside of society and his life is an incessant drumming鈥�
I鈥檝e heard rabbits, foxes, and dormice drum. Frogs can drum up a storm. They say woodpeckers drum worms from their casings. And men beat on timpani, cymbals, kettles, and drums. We have eardrums and brake drums, we drum up excuses, drum into our heads, drum out of the corps. Drummer boys do that, to the beat of a drum. Composers pen concerti for strings and percussion. I might mention Tattoos, both minor and major, and Oskar鈥檚 attempts up to now鈥�
And the residents of Danzig find themselves caught in the danse macabre of the epochal saturnine satire and they keep dancing to the sinister drumroll of history鈥� And they are incarcerated in the dungeon of controversial opposites: love and hate, loyalty and treason, religion and blasphemy, mirth and sorrow, the dead calm and the tempest of brown plague鈥� And one day the liberators arrive, innocently raping and killing in the process of liberation鈥�
Things grew almost calm and cozy in our cellar. La Greff lay with increasing composure beneath the three men taking turns, and when one of them had had enough, my talented drummer handed Oskar over to a sweaty, slightly slant-eyed fellow I assume was a Kalmuck. Holding me with his left hand, he buttoned his trousers with his right, and took no offense when his predecessor, my drummer, did the reverse.
At last the epochal plague is over but the historical farce continues鈥�
When the history falls ill, the world becomes infected with madness.
April 5, 2007
I had an intense reaction to this book. I friggin hated it. Or, rather, I loved to hate it, while I was reading it. It was an assignment in a Postmodern Lit. class, and everyone in the class liked the protagonist but me. I thought he was awful. I couldn't believe they enjoyed him, much less admitted to enjoying him. But some part of me must have understood.
...That was the point. This is a story I felt in my stomach. It was so full of perversion, of the grotesque, and I was 20 and a "good girl" and wanted so badly to not be drawn to it but there I was, ploughing through. Disgusted with so much along the way, but to my great surprise I found myself touched. I cried for a character I thought I was completely repelled by. I couldn't believe it. And at the end, when I reached the last page, when I finished and shut the book...I was grateful. Not to have finished it; I was grateful that I got to read it in the first place.
There are awful images and episodes that stick with me. It is not pleasant to revisit them. But you know what? With every bit of my smiley, idealistic being I say...Thank God. (Or, rather, Thank Grass.) There isn't always easy beauty, or recognizable beauty around us. Oftentimes the beauty is buried in dirt and hard-earned, and doesn't even look like anything lovely at all once you get to it. But you hold it in your hands and it will move you. And if you're lucky, it will change you.
...That was the point. This is a story I felt in my stomach. It was so full of perversion, of the grotesque, and I was 20 and a "good girl" and wanted so badly to not be drawn to it but there I was, ploughing through. Disgusted with so much along the way, but to my great surprise I found myself touched. I cried for a character I thought I was completely repelled by. I couldn't believe it. And at the end, when I reached the last page, when I finished and shut the book...I was grateful. Not to have finished it; I was grateful that I got to read it in the first place.
There are awful images and episodes that stick with me. It is not pleasant to revisit them. But you know what? With every bit of my smiley, idealistic being I say...Thank God. (Or, rather, Thank Grass.) There isn't always easy beauty, or recognizable beauty around us. Oftentimes the beauty is buried in dirt and hard-earned, and doesn't even look like anything lovely at all once you get to it. But you hold it in your hands and it will move you. And if you're lucky, it will change you.
September 10, 2021
丕賲乇賵夭 丕蹖賳 讴鬲丕亘 乇賵 丕丿蹖鬲 賲蹖夭賳賲 鬲丕 丕毓賱丕賲 讴賳賲 夭蹖賳鈥屬矩� 讴鬲丕亘 胤亘賱 丨賱亘蹖 賯乇丌賳 賲賳賴. 趩賵賳 賯乇丌賳賽 丕賵賳 乇賮蹖賯 禺賮賳賲賴 讴賴 亘乇丕蹖 鬲賵賱丿賲 亘賴賲 賴丿蹖賴 丿丕丿鬲卮.
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賲蹖禺賵丕賴蹖丿 亘丿丕賳蹖丿 诏賳丿丕亘 蹖毓賳蹖 趩賴責 賲乇丕 亘禺賵丕賳蹖丿.
賲賳 丿乇 蹖讴 亘蹖賲丕乇爻鬲丕賳 賲毓鬲亘乇 丿賵賱鬲蹖貙 夭蹖乇 丿賵 賱丕賲倬 卮氐鬲 賵丕鬲蹖 賵 亘丕 鬲賯賱丕蹖 夭蹖丕丿 亘賴 丿賳蹖丕 丌賲丿賲. 亘丿亘禺鬲蹖 丕賲 賴賲 丕夭 賴賲丕賳 賱丨馗賴 卮乇賵毓 卮丿. 倬丿乇 賵 賲丕丿乇亘夭乇诏 倬丿乇蹖賲 丕氐賱丕 丕夭 鬲賵賱丿賲 禺賵卮丨丕賱 賳卮丿賳丿貙 丿乇 丕氐賱 賴蹖趩鈥屭┴� 禺賵卮丨丕賱 賳卮丿 賵 丌賳 丿賵 賳賮乇 丨鬲蹖 爻毓蹖 賳讴乇丿賳丿 丕賳丿賵賴 禺賵丿 乇丕 倬卮鬲 鬲毓丕乇賮丕鬲 賲毓賲賵賱 倬賳賴丕賳 讴賳賳丿. 卮丕蹖丿 鬲賳賴丕 讴爻蹖 讴賴 禺賵卮丨丕賱 卮丿 賲丕丿乇賲 亘賵丿. 讴賴 丕丨鬲賲丕賱丕 丿賱卮 亘乇丕蹖賲 爻賵禺鬲. 趩賵賳 趩賳丿 爻丕毓鬲 亘毓丿 丕夭 鬲賵賱丿賲貙 賵賯鬲蹖 賲賳 乇丕 讴賴 亘丕 丿乇卮鬲鈥屫臂屬� 趩卮賲賴丕蹖 賲賲讴賳 亘乇丕蹖 蹖讴 賳賵夭丕丿 丕賳爻丕賳貙 亘賴 賳賵乇 賱丕賲倬 丌賵蹖禺鬲賴 丕夭 爻賯賮 賵 卮丕倬乇讴賴丕蹖蹖 讴賴 丿賵乇卮 賲蹖乇賯氐蹖丿賳丿 賳诏丕賴 賲蹖讴乇丿賲 亘睾賱卮 诏乇賮鬲貨 亘丕 氐丿丕蹖蹖 亘賴鈥� 賱胤丕賮鬲 賵 丨夭賳 賲賴 氐亘丨诏丕賴蹖 噩賳诏賱賴丕蹖 诏蹖爻賵賲 丿乇 诏賵卮賲 禺賵丕賳丿: 丿禺鬲乇 讴賵趩賵賱賵蹖 賱丕睾乇賽 讴亘賵丿賽 夭卮鬲賲貙 賳诏乇丕賳 賳亘丕卮貙 賲丕賲丕賳 丿賵爻鬲鬲 丿丕乇賴.
賵 賲賳 丿乇 丌賳 賱丨馗賴 亘丕 賲賮賴賵賲蹖 丌卮賳丕 卮丿賲 讴賴 亘蹖鈥屫必呚з嗁� 乇賵丨 賳丕夭讴賲 乇丕 禺乇丕卮蹖丿 趩賳丕賳讴賴 丕孬乇卮 鬲丕 賴賲蹖賳 丨丕賱丕 賳賲丕蹖丕賳 丕爻鬲. 丿賵爻鬲 賳丿丕卮鬲賳蹖 賵 賳丕禺賵丕爻鬲賴鈥� 亘賵丿賳...
亘毓丿 丕夭 丌賳 卮亘 亘賴 禺賵丿賲 賯賵賱 丿丕丿賲 賴賲賴 鬲賱丕卮賲 乇丕 氐乇賮 夭蹖亘丕貙 亘丕賴賵卮 賵 丿賵爻鬲 丿丕卮鬲賳蹖 卮丿賳 讴賳賲 鬲丕 賲丕丿乇 爻乇禺賵乇丿賴 賳卮賵丿 賵 丿爻鬲 丕夭 夭丕蹖蹖丿賳 亘趩賴 讴賴 亘夭乇诏鬲乇蹖賳 賵馗蹖賮賴鈥屰� 夭蹖爻鬲蹖 賵 丕噩鬲賲丕毓蹖卮 亘賵丿 亘乇賳丿丕乇丿. 诏賲丕賳賲 丿乇 丕蹖賳讴丕乇 賲賵賮賯 賴賲 卮丿賲. 趩賵賳 倬賳噩 爻丕賱 亘毓丿 亘乇丕丿乇賲 賵 趩賴丕乇 爻丕賱 亘毓丿 丕夭 丕賵 禺賵丕賴乇賲 丿賳蹖丕 丌賲丿賳丿 . 丿乇 賵丕賯毓 賲蹖鬲賵丕賳賲 亘丕 丕賮鬲禺丕乇 亘诏賵蹖賲 丌賳 丿賵 夭賳丿诏蹖卮丕賳 乇賵 賲丿蹖賵賳 乇賳噩蹖 亘賵丿賳丿 讴賴 賲賳 胤蹖 丌賳 爻丕賱賴丕 讴卮蹖丿賲...
丕賲丕 趩賴 卮丿 讴賴 讴丕乇賲 亘賴 丕蹖賳噩丕 讴卮蹖丿責 丕蹖賳 賮乇丕乇 亘蹖鈥屬呝傌地� 丕夭 讴噩丕 卮乇賵毓 卮丿責 丿丕爻鬲丕賳 賮乇丕乇賲 乇丕 賴賲 亘丕蹖丿 賲賮氐賱 亘乇丕蹖鬲丕賳 亘诏賵蹖賲. 丕賲丕 丕賲乇賵夭 賵賯鬲卮 賳蹖爻鬲. 匕賴賳鬲丕賳 賴賳賵夭 丌賲丕丿诏蹖 丿乇讴卮 乇丕 賳丿丕乇丿. 卮丕蹖丿 亘毓丿丕...
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丿乇亘丕乇賴 讴鬲丕亘:
丕賵賳賯丿乇 禺賵卮丨丕賱 賵 匕賵賯 夭丿賴 丕賲 丕夭 禺乇蹖丿賳 賵 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 讴賴 鬲賲丕賲 亘丿賳賲 丿乇 丨丕賱 賱乇夭蹖丿賳賴.
卮丕賴讴丕乇 亘賴 賲毓賳丕蹖 賵丕賯毓蹖 讴賱賲賴 . 賳賲蹖丿賵賳賲 卮賲丕 亘賴 趩蹖 賲蹖诏蹖丿 蹖讴 讴鬲丕亘 蹖丕 蹖讴 丿丕爻鬲丕賳 毓丕賱蹖貙 丕賲丕 賯賵賱 賲蹖丿賲 丕蹖賳 讴鬲丕亘 丕夭 賴乇 趩蹖夭蹖 讴賴 鬲丕丨丕賱丕 禺賵賳丿蹖丿 賵 亘賴 丕乇诏丕爻賲 丕丿亘蹖 乇爻賵賳丿鬲賵賳 蹖讴 倬賱賴 亘丕賱丕鬲乇賴.
丕蹖賳 讴鬲丕亘 乇賵 亘禺賵賳蹖丿貙 禺賵丿鬲賵賳 乇賵 丿乇賵賳卮 倬乇鬲丕亘 讴賳蹖丿 賵 亘丕 噩乇蹖丕賳卮 賴賲乇丕賴 亘卮蹖丿. 乇丕賵蹖 亘賴 卮丿鬲 睾蹖乇 賲毓鬲亘乇賴 賵賱蹖 毓賲蹖賯丕 賲蹖 鬲賵賳蹖丿 丕丨爻丕爻丕鬲卮 乇賵 噩匕亘 讴賳蹖丿. 亘丕 禺賵賳丿賳 禺胤 丕賵賱 丿蹖诏賴 賳賲蹖鈥屫堎嗃屫� 讴鬲丕亘 乇賵 亘亘賳丿蹖丿. 卮賲丕 亘賴 丕蹖賳 讴鬲丕亘 賲丨讴賵賲蹖丿
禺蹖賱蹖 禺蹖賱蹖 匕賵賯 賲蹖讴賳賲 讴賴 賲蹖亘蹖賳賲 賴賲 爻賱蹖賯賴 丕蹖賲 馃槏馃槏
賲賳 讴蹖爻鬲賲責 乇賵蹖丕 蹖丕 丕爻讴丕乇責 賲賳 賳賮乇蹖賳 卮丿賴鈥屫з呚� 丕爻讴丕乇 鬲賯丿蹖爻 卮丿賴鈥屰� 禺丿丕蹖丕賳. 賲賳 賴匕蹖丕賳 诏賵蹖賲 賵 丕爻讴丕乇 爻乇丕倬丕 氐丿賯 讴賴 丿乇 氐賮丕蹖卮 賮鬲賵乇蹖 賳蹖爻鬲. 賲賳 亘蹖鈥屫з佖纲団€屫з� 賵 丕爻讴丕乇 鬲讴乇丕乇 丕爻鬲. 賲賳 爻乇丿賲 蹖禺賲 禺卮讴蹖丿賴鈥屫з� 賵 丕爻讴丕乇 賳賴 爻乇丿 丕爻鬲 賵 賳賴 诏乇賲. 丕诏乇 賲丨丕讴賲賴鈥屫з� 讴賳蹖丿 爻乇丕倬丕 诏賳丕賴賲 貙 賲賳 诏賳丕賴 賳禺爻鬲蹖賳賲貙 賲賳 丌賳 爻賯賵胤 讴乇丿賴鈥� 丕夭 爻賳诏蹖賳蹖 亘丕乇 诏賳丕賴丕賳蹖 賴爻鬲賲 讴賴 亘賴 丿賵卮 丕賮讴賳丿賴鈥屫з�. 賲賳 乇賳噩 賲蹖 讴卮賲貙 噩丕賳 賲蹖鈥屭┵嗁呚� 诏乇蹖賴 賲蹖鈥屭┵嗁呚� 讴賮乇 賲蹖鈥屭堐屬呚� 賲蹖鈥屫嗀呚� 爻讴賵鬲 賲蹖鈥屭┵嗁呚� 丿賵亘丕乇賴 诏乇蹖賴 賲蹖鈥屭┵嗁� 賵 讴賮乇 賲蹖鈥屭堐屬�. 賲賳 爻丕讴鬲 賳賲蹖鈥屬呚з嗁�. 賲賳 賲鬲丨賲賱賲貙 賲蹖 賳卮蹖賳賲 鬲丕 趩賴 倬蹖卮 丌蹖丿. 亘賴 丿賯鬲 亘賴 丨乇賮 丿賱賲 诏賵卮 讴賳 賵 丕诏乇 鬲丕亘 卮賳蹖丿賳 丌賵乇丿蹖貙 亘丕 爻乇 鬲氐丿蹖賯賲 讴賳. 賲賳 爻讴賵鬲 賳賲蹖鈥屭┵嗁�...
賲蹖禺賵丕賴蹖丿 亘丿丕賳蹖丿 诏賳丿丕亘 蹖毓賳蹖 趩賴責 賲乇丕 亘禺賵丕賳蹖丿.
賲賳 丿乇 蹖讴 亘蹖賲丕乇爻鬲丕賳 賲毓鬲亘乇 丿賵賱鬲蹖貙 夭蹖乇 丿賵 賱丕賲倬 卮氐鬲 賵丕鬲蹖 賵 亘丕 鬲賯賱丕蹖 夭蹖丕丿 亘賴 丿賳蹖丕 丌賲丿賲. 亘丿亘禺鬲蹖 丕賲 賴賲 丕夭 賴賲丕賳 賱丨馗賴 卮乇賵毓 卮丿. 倬丿乇 賵 賲丕丿乇亘夭乇诏 倬丿乇蹖賲 丕氐賱丕 丕夭 鬲賵賱丿賲 禺賵卮丨丕賱 賳卮丿賳丿貙 丿乇 丕氐賱 賴蹖趩鈥屭┴� 禺賵卮丨丕賱 賳卮丿 賵 丌賳 丿賵 賳賮乇 丨鬲蹖 爻毓蹖 賳讴乇丿賳丿 丕賳丿賵賴 禺賵丿 乇丕 倬卮鬲 鬲毓丕乇賮丕鬲 賲毓賲賵賱 倬賳賴丕賳 讴賳賳丿. 卮丕蹖丿 鬲賳賴丕 讴爻蹖 讴賴 禺賵卮丨丕賱 卮丿 賲丕丿乇賲 亘賵丿. 讴賴 丕丨鬲賲丕賱丕 丿賱卮 亘乇丕蹖賲 爻賵禺鬲. 趩賵賳 趩賳丿 爻丕毓鬲 亘毓丿 丕夭 鬲賵賱丿賲貙 賵賯鬲蹖 賲賳 乇丕 讴賴 亘丕 丿乇卮鬲鈥屫臂屬� 趩卮賲賴丕蹖 賲賲讴賳 亘乇丕蹖 蹖讴 賳賵夭丕丿 丕賳爻丕賳貙 亘賴 賳賵乇 賱丕賲倬 丌賵蹖禺鬲賴 丕夭 爻賯賮 賵 卮丕倬乇讴賴丕蹖蹖 讴賴 丿賵乇卮 賲蹖乇賯氐蹖丿賳丿 賳诏丕賴 賲蹖讴乇丿賲 亘睾賱卮 诏乇賮鬲貨 亘丕 氐丿丕蹖蹖 亘賴鈥� 賱胤丕賮鬲 賵 丨夭賳 賲賴 氐亘丨诏丕賴蹖 噩賳诏賱賴丕蹖 诏蹖爻賵賲 丿乇 诏賵卮賲 禺賵丕賳丿: 丿禺鬲乇 讴賵趩賵賱賵蹖 賱丕睾乇賽 讴亘賵丿賽 夭卮鬲賲貙 賳诏乇丕賳 賳亘丕卮貙 賲丕賲丕賳 丿賵爻鬲鬲 丿丕乇賴.
賵 賲賳 丿乇 丌賳 賱丨馗賴 亘丕 賲賮賴賵賲蹖 丌卮賳丕 卮丿賲 讴賴 亘蹖鈥屫必呚з嗁� 乇賵丨 賳丕夭讴賲 乇丕 禺乇丕卮蹖丿 趩賳丕賳讴賴 丕孬乇卮 鬲丕 賴賲蹖賳 丨丕賱丕 賳賲丕蹖丕賳 丕爻鬲. 丿賵爻鬲 賳丿丕卮鬲賳蹖 賵 賳丕禺賵丕爻鬲賴鈥� 亘賵丿賳...
亘毓丿 丕夭 丌賳 卮亘 亘賴 禺賵丿賲 賯賵賱 丿丕丿賲 賴賲賴 鬲賱丕卮賲 乇丕 氐乇賮 夭蹖亘丕貙 亘丕賴賵卮 賵 丿賵爻鬲 丿丕卮鬲賳蹖 卮丿賳 讴賳賲 鬲丕 賲丕丿乇 爻乇禺賵乇丿賴 賳卮賵丿 賵 丿爻鬲 丕夭 夭丕蹖蹖丿賳 亘趩賴 讴賴 亘夭乇诏鬲乇蹖賳 賵馗蹖賮賴鈥屰� 夭蹖爻鬲蹖 賵 丕噩鬲賲丕毓蹖卮 亘賵丿 亘乇賳丿丕乇丿. 诏賲丕賳賲 丿乇 丕蹖賳讴丕乇 賲賵賮賯 賴賲 卮丿賲. 趩賵賳 倬賳噩 爻丕賱 亘毓丿 亘乇丕丿乇賲 賵 趩賴丕乇 爻丕賱 亘毓丿 丕夭 丕賵 禺賵丕賴乇賲 丿賳蹖丕 丌賲丿賳丿 . 丿乇 賵丕賯毓 賲蹖鬲賵丕賳賲 亘丕 丕賮鬲禺丕乇 亘诏賵蹖賲 丌賳 丿賵 夭賳丿诏蹖卮丕賳 乇賵 賲丿蹖賵賳 乇賳噩蹖 亘賵丿賳丿 讴賴 賲賳 胤蹖 丌賳 爻丕賱賴丕 讴卮蹖丿賲...
丕賲丕 趩賴 卮丿 讴賴 讴丕乇賲 亘賴 丕蹖賳噩丕 讴卮蹖丿責 丕蹖賳 賮乇丕乇 亘蹖鈥屬呝傌地� 丕夭 讴噩丕 卮乇賵毓 卮丿責 丿丕爻鬲丕賳 賮乇丕乇賲 乇丕 賴賲 亘丕蹖丿 賲賮氐賱 亘乇丕蹖鬲丕賳 亘诏賵蹖賲. 丕賲丕 丕賲乇賵夭 賵賯鬲卮 賳蹖爻鬲. 匕賴賳鬲丕賳 賴賳賵夭 丌賲丕丿诏蹖 丿乇讴卮 乇丕 賳丿丕乇丿. 卮丕蹖丿 亘毓丿丕...
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丿乇亘丕乇賴 讴鬲丕亘:
丕賵賳賯丿乇 禺賵卮丨丕賱 賵 匕賵賯 夭丿賴 丕賲 丕夭 禺乇蹖丿賳 賵 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 讴賴 鬲賲丕賲 亘丿賳賲 丿乇 丨丕賱 賱乇夭蹖丿賳賴.
卮丕賴讴丕乇 亘賴 賲毓賳丕蹖 賵丕賯毓蹖 讴賱賲賴 . 賳賲蹖丿賵賳賲 卮賲丕 亘賴 趩蹖 賲蹖诏蹖丿 蹖讴 讴鬲丕亘 蹖丕 蹖讴 丿丕爻鬲丕賳 毓丕賱蹖貙 丕賲丕 賯賵賱 賲蹖丿賲 丕蹖賳 讴鬲丕亘 丕夭 賴乇 趩蹖夭蹖 讴賴 鬲丕丨丕賱丕 禺賵賳丿蹖丿 賵 亘賴 丕乇诏丕爻賲 丕丿亘蹖 乇爻賵賳丿鬲賵賳 蹖讴 倬賱賴 亘丕賱丕鬲乇賴.
丕蹖賳 讴鬲丕亘 乇賵 亘禺賵賳蹖丿貙 禺賵丿鬲賵賳 乇賵 丿乇賵賳卮 倬乇鬲丕亘 讴賳蹖丿 賵 亘丕 噩乇蹖丕賳卮 賴賲乇丕賴 亘卮蹖丿. 乇丕賵蹖 亘賴 卮丿鬲 睾蹖乇 賲毓鬲亘乇賴 賵賱蹖 毓賲蹖賯丕 賲蹖 鬲賵賳蹖丿 丕丨爻丕爻丕鬲卮 乇賵 噩匕亘 讴賳蹖丿. 亘丕 禺賵賳丿賳 禺胤 丕賵賱 丿蹖诏賴 賳賲蹖鈥屫堎嗃屫� 讴鬲丕亘 乇賵 亘亘賳丿蹖丿. 卮賲丕 亘賴 丕蹖賳 讴鬲丕亘 賲丨讴賵賲蹖丿
February 12, 2008
My reaction to finishing this book was 'thank god that's over'. I thought it was interesting in the abstract, but at times I couldn't stand reading it. The unreliable main character Oskar, decides to stop growing at the age of three . He refuses to speak, and communicates by banging on his titular drum. I gather this is supposed to reflect German societies refusal to accept the realities of the rise of Nazism and their complicity in it. But I don't really care. My problem with the book wasn't the confusing structure, the occasional nasty scene (don't read this book if you're planning on eating eels anytime soon) but that I just couldn't stand the writing. I'm guessing that much of the humor was lost in translation, but what irritated me the most were the lame lyrical sections. Sentences like "long after I had lain down I was still standing on coconut fibres, and that is why I was unable to sleep; for nothing is more stimulating, more sleep-dispelling, more thought provoking than standing barefoot on a coconut fiber map" are pretty much bullshit (and it doesn't help that I heard Werner Herzog in my head when I read them). And there are a lot of them in this book. There's not enough realism to make the magic interesting. The crazy characters are intersting and funny at first, but there's no connection between them, and after a while their strangeness gets boring and repetitive. I really wanted to like this book, and I know a lot of people love it, but I'm never reading this one again. Maybe I'll try the movie.
February 11, 2025
When Satan's not in the mood, virtue triumphs. Hasn't even Satan a right not to be in the mood once in a while?
~~~
GRRRRRR The Tin Drum ~~ this damn exasperating book. It鈥檚 one of the best written, most difficult, utterly amazing, truly frustrating books I鈥檝e ever read. I don鈥檛 even know where to begin with this review.
For starters, The Tin Drum is brilliant. Wait, no, it鈥檚 maddening 鈥� wait no it's ...
A nearly 600 page novel may badly wear you out, but the marks it leaves in your mind, as well as your soul, are profound enough to take all the pains of reading it. The Tin Drum is a very difficult novel to read; but it is also a fascinating one ~~ one of the most fascinating novels I've ever read. Producing great literature in a time of massive turbulence is a challenging task. Most of the time the writings during a war or massive political change appeal to the current age; eventually they decay with the passage of time ~~ comes to mind ~~ but not so with The Tin Drum.
The Tin Drum is a strange, big novel, an epic satire and farce; it is also a provincial, magical realist, picaresque tale. This is the story of Oskar Matzerath, who tells his life story from a German mental hospital in 1954. Having deliberately stunted his growth at the age of 3 and capable of shattering glass with his voice, Oskar is a force of chaos, torn between the teachings of the mad faith healer Rasputin and the poet-prince Goethe, and between Satan and Jesus, both of whom Oskar impersonates.
He鈥檚 certainly a bit mad, even monstrous, which is why his unique vision of a monstrous era ~~ 1930s & 1940s Germany ~~ is an essential one.
Armed with the titular drum, Oskar, an incorrigible aesthete understood by no one but loved, at various times, by many, uses his instrument to drum up memories of his perfectly remembered life, beginning with his birth in 1924. It is through this compulsive devotion to rhythm that Oskar is able to produce his personal image of German history. And through his telling, we learn about the first days of WWII, when Oskar鈥檚 presumptive father reluctantly joined in the defense of the Danzig post office and became equal parts martyr and coward.
There are tales of Kashubian potato farmers ~~ Kashubians being one of the many quasi-stateless European cultures trampled in the WWII maelstrom ~~ and Nazis who blithely value animal rights more than human ones. There is a postwar, German jazz club where patrons cut onions so as to force themselves to cry and reckon with the past. We travel, with Oskar, to Paris, Normandy, Dusseldorf, on refugee trains besieged by partisans, and to a mental hospital that proves to be a kind of sanctuary.
Oskar is a fine chronicler of his era because he simply does not belong; his very rejection of it is embodied in his refusal to grow and in his decision to lead a gang of youths who fight against parents and all grownups, regardless of what they may be for or against.
The Tin Drum is filled with German folk tales ~~ one of the triumphs of Mitchell鈥檚 translation ~~ one of the best translations I鈥檝e ever read ~~ is his attention to local culture and history.
Half a century after its debut, The Tin Drum remains a unique, irreverent exploration of a deranged and crumbling society ~~ Oskar compares Germans鈥� loyalty to Hitler to believing in Santa Claus ~~ a Santa Claus armed with poison gas. Shocking in its time, the book established the author as one of Germany鈥檚 preeminent moral authorities, warning, in the voice of Oskar, against the ignorance that was just then coming into fashion.
Through its verbal complexity, its use of fabulist images, and its daring choice to invest an absurd, amoral character with equal parts monstrosity and artistry ~~ Oskar鈥檚 expert ability to singshatter glass is juxtaposed against Kristallnacht ~~ 骋谤补蝉蝉鈥檚 novel earns its stature.
Ultimately, The Tin Drum is a whirlpool of persons, events and emotions. Often, it's difficult to figure out where reality ends and Oskar鈥檚 fantasy/insanity begins. Memories, plans, dreams, thoughts ~~ all intertwine into one entity. There are more than a few complicated relationships here, a little bit about the war, a little bit about a theater, a little bit about love. But in all of these bits the main character is Oscar, he is always at the center of everything, even when he鈥檚 not.
So, who is Oskar? Or better yet, what is Oskar? He is a reflection of the society, of the time, of the people who surrounded him. Oscar is a terrible reflection of war and those vices that people hide so carefully in themselves. Oskar is a man who has absorbed all the evil of the world around him.
The Tin Drum is a challenging read ~~ one the most challenging reads I've ever taken up ~~ but it is well worth reading. In order to make the most of The Tin Drum you must willing to let G眉nter Grass lead and just accept that world as a world of the horrors of living in and through World War II in Germany.
~~~
GRRRRRR The Tin Drum ~~ this damn exasperating book. It鈥檚 one of the best written, most difficult, utterly amazing, truly frustrating books I鈥檝e ever read. I don鈥檛 even know where to begin with this review.
For starters, The Tin Drum is brilliant. Wait, no, it鈥檚 maddening 鈥� wait no it's ...
A nearly 600 page novel may badly wear you out, but the marks it leaves in your mind, as well as your soul, are profound enough to take all the pains of reading it. The Tin Drum is a very difficult novel to read; but it is also a fascinating one ~~ one of the most fascinating novels I've ever read. Producing great literature in a time of massive turbulence is a challenging task. Most of the time the writings during a war or massive political change appeal to the current age; eventually they decay with the passage of time ~~ comes to mind ~~ but not so with The Tin Drum.
The Tin Drum is a strange, big novel, an epic satire and farce; it is also a provincial, magical realist, picaresque tale. This is the story of Oskar Matzerath, who tells his life story from a German mental hospital in 1954. Having deliberately stunted his growth at the age of 3 and capable of shattering glass with his voice, Oskar is a force of chaos, torn between the teachings of the mad faith healer Rasputin and the poet-prince Goethe, and between Satan and Jesus, both of whom Oskar impersonates.
He鈥檚 certainly a bit mad, even monstrous, which is why his unique vision of a monstrous era ~~ 1930s & 1940s Germany ~~ is an essential one.
Armed with the titular drum, Oskar, an incorrigible aesthete understood by no one but loved, at various times, by many, uses his instrument to drum up memories of his perfectly remembered life, beginning with his birth in 1924. It is through this compulsive devotion to rhythm that Oskar is able to produce his personal image of German history. And through his telling, we learn about the first days of WWII, when Oskar鈥檚 presumptive father reluctantly joined in the defense of the Danzig post office and became equal parts martyr and coward.
There are tales of Kashubian potato farmers ~~ Kashubians being one of the many quasi-stateless European cultures trampled in the WWII maelstrom ~~ and Nazis who blithely value animal rights more than human ones. There is a postwar, German jazz club where patrons cut onions so as to force themselves to cry and reckon with the past. We travel, with Oskar, to Paris, Normandy, Dusseldorf, on refugee trains besieged by partisans, and to a mental hospital that proves to be a kind of sanctuary.
Oskar is a fine chronicler of his era because he simply does not belong; his very rejection of it is embodied in his refusal to grow and in his decision to lead a gang of youths who fight against parents and all grownups, regardless of what they may be for or against.
The Tin Drum is filled with German folk tales ~~ one of the triumphs of Mitchell鈥檚 translation ~~ one of the best translations I鈥檝e ever read ~~ is his attention to local culture and history.
Half a century after its debut, The Tin Drum remains a unique, irreverent exploration of a deranged and crumbling society ~~ Oskar compares Germans鈥� loyalty to Hitler to believing in Santa Claus ~~ a Santa Claus armed with poison gas. Shocking in its time, the book established the author as one of Germany鈥檚 preeminent moral authorities, warning, in the voice of Oskar, against the ignorance that was just then coming into fashion.
Through its verbal complexity, its use of fabulist images, and its daring choice to invest an absurd, amoral character with equal parts monstrosity and artistry ~~ Oskar鈥檚 expert ability to singshatter glass is juxtaposed against Kristallnacht ~~ 骋谤补蝉蝉鈥檚 novel earns its stature.
Ultimately, The Tin Drum is a whirlpool of persons, events and emotions. Often, it's difficult to figure out where reality ends and Oskar鈥檚 fantasy/insanity begins. Memories, plans, dreams, thoughts ~~ all intertwine into one entity. There are more than a few complicated relationships here, a little bit about the war, a little bit about a theater, a little bit about love. But in all of these bits the main character is Oscar, he is always at the center of everything, even when he鈥檚 not.
So, who is Oskar? Or better yet, what is Oskar? He is a reflection of the society, of the time, of the people who surrounded him. Oscar is a terrible reflection of war and those vices that people hide so carefully in themselves. Oskar is a man who has absorbed all the evil of the world around him.
The Tin Drum is a challenging read ~~ one the most challenging reads I've ever taken up ~~ but it is well worth reading. In order to make the most of The Tin Drum you must willing to let G眉nter Grass lead and just accept that world as a world of the horrors of living in and through World War II in Germany.
September 30, 2019
When you hear an inner Oskar Matzerath hitting his tin drum in protest against the utter absurdity of life, you know it is time to make a choice for or against sanity.
Oskar himself chose the "easy" way out, deliberately refusing to grow up and accept "moral" guidelines, and in the end, he chose the asylum as the best place to write his unreliable, yet truthful account on the brutal times he called his own.
What do you do if you missed that point at age three to stop growing, but you have been gifted the curse of hearing the noise of the world? Sanity is a scary mindset, and hard to carry for long stretches. You tend to lose parts of it when the world heats up, and you never can be entirely sure you still have it, even when you check it every so often.
"One of the requisites of sanity is to disagree with the majority of the British public." That is Oscar Wilde's conclusion, and Oskar Matzerath may well have come to the same conclusion about his own environment, in reverse: if this Germany is sane, I better be on the other team!
The Tin Drum to me is one of the most oppressively true novels ever written, on equal terms with or for its exploration of human irrationality and excess. In some respects it is more difficult to digest because it hits closer to home. But at the same time, it enhanced the powerful effect of the Asian and South American versions of human failure to live properly as I know from The Tin Drum that the deeper truth of chaos is a more sane description of reality than the insane project of writing "objective" accounts.
Oskar is drumming at full force, and some of his naughty brothers who refused to grow up a long time ago don't have the required wisdom and sanity to get themselves locked away before causing more harm than the planet can take.
Do you hear the noise?
Oskar himself chose the "easy" way out, deliberately refusing to grow up and accept "moral" guidelines, and in the end, he chose the asylum as the best place to write his unreliable, yet truthful account on the brutal times he called his own.
What do you do if you missed that point at age three to stop growing, but you have been gifted the curse of hearing the noise of the world? Sanity is a scary mindset, and hard to carry for long stretches. You tend to lose parts of it when the world heats up, and you never can be entirely sure you still have it, even when you check it every so often.
"One of the requisites of sanity is to disagree with the majority of the British public." That is Oscar Wilde's conclusion, and Oskar Matzerath may well have come to the same conclusion about his own environment, in reverse: if this Germany is sane, I better be on the other team!
The Tin Drum to me is one of the most oppressively true novels ever written, on equal terms with or for its exploration of human irrationality and excess. In some respects it is more difficult to digest because it hits closer to home. But at the same time, it enhanced the powerful effect of the Asian and South American versions of human failure to live properly as I know from The Tin Drum that the deeper truth of chaos is a more sane description of reality than the insane project of writing "objective" accounts.
Oskar is drumming at full force, and some of his naughty brothers who refused to grow up a long time ago don't have the required wisdom and sanity to get themselves locked away before causing more harm than the planet can take.
Do you hear the noise?
September 9, 2018
One of those books you read and remember them after years of reading masses of other books. A masterpiece...
December 22, 2017
螠伪纬喂魏蠈蟼 蟻蔚伪位喂蟽渭蠈蟼 蟺蟻慰蟽未慰魏喂蠋谓 萎 蟻蔚伪位喂蟽蟿喂魏萎 渭伪纬蔚委伪 蟽蠀谓蔚委未畏蟽畏蟼, 蠈蟺蠅蟼 魏伪喂 谓伪 蟿慰 蠂伪蟻伪魏蟿畏蟻委蟽蠅 伪蠀蟿蠈 蟿慰 蟿伪渭蟺慰蠉蟻位慰... 蠂蟿蠀蟺慰蠉蟽蔚 魏伪喂 胃伪 蠂蟿蠀蟺维蔚喂 蟺维谓蟿伪 蟿慰谓 蟻蠀胃渭蠈 蟿畏蟼 喂蟽蟿慰蟻委伪蟼.
螒蠀蟿蠈 蟿慰 蟿伪渭蟺慰蠉蟻位慰 蟺伪委味蔚喂 渭蔚位蠅未委蔚蟼, 蟿喂蟼 渭蔚位蠅未委蔚蟼 蟿慰蠀 魏蠈蟽渭慰蠀. 螠蔚 蟺慰喂魏喂位委伪 蟻蠀胃渭喂魏萎 渭伪蟼 尾维味蔚喂 蟽蟿慰 蠂慰蟻蠈 蟿畏蟼 蟺蟻慰蟺慰位蔚渭喂魏萎蟼 螤慰位蠅谓委伪蟼 魏伪喂 螕蔚蟻渭伪谓委伪蟼.
危蟿畏谓 味蠅萎 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 未苇蠂蟿畏魏伪谓 蟿畏谓 维谓慰未慰 蟿慰蠀 围委蟿位蔚蟻, 蟿慰 伪委渭伪 蟿畏蟼 萎蟿蟿伪蟼 蟿畏蟼 螤慰位蠅谓委伪蟼, 蟿畏谓 蔚喂蟽尾慰位萎 蟿蠅谓 谓伪味委 蟽蟿畏谓 螘蠀蟻蠋蟺畏 魏伪喂 蟿慰 蠂蟿委蟽喂渭慰 蟿慰蠀 蟿蔚委蠂慰蠀蟼 蟺慰蠀 蠂蠋蟻喂蟽蔚 伪未委蟽蟿伪魏蟿伪 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 蟽蔚 伪谓伪蟿慰位喂魏维 魏伪喂 未蠀蟿喂魏维 蟽蟿蟻伪蟿蔚蠉渭伪蟿伪.
危蔚 伪谓伪蟿慰位喂魏慰蠉蟼 魏伪喂 未蠀蟿喂魏慰蠉蟼 蟿维蠁慰蠀蟼 芦蟿慰蠀渭蟺伪谓喂伪蟽渭苇谓蠅谓禄 蟺蟿蠅渭维蟿蠅谓, 蟽蔚 尾蠅渭慰蠉蟼 蟺伪位伪喂蠋谓 魏伪喂 蟿蠅蟻喂谓蠋谓 蔚尉慰蠀蟽喂蠋谓.
螝蠀蟻委蠅蟼 尾苇尾伪喂伪 蟿慰 蟿伪渭蟺慰蠉蟻位慰 伪蠀蟿蠈 未喂伪蟿蠀渭蟺伪谓委味蔚喂 蟿慰蠀蟼 蔚蟽蠅蟿蔚蟻喂魏慰蠉蟼 伪蟿慰渭喂魏慰蠉蟼 伪纬蠋谓蔚蟼 蠈位蠅谓, 魏伪胃蠋蟼 伪谓伪魏伪位蠉蟺蟿慰蠀谓 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 蟿慰谓 20蠈 伪喂蠋谓伪.
螝伪喂 伪蟻蠂委味蔚喂 伪蠀蟿蠈 蟿慰 蟽蟺伪蟻伪尉喂魏维蟻未喂慰 蟿伪尉委未喂 伪谓维纬谓蠅蟽畏蟼.
螆谓伪 蟺伪蟻维尉蔚谓慰, 蟺伪蟻维未慰尉慰, 伪位位畏纬慰蟻喂魏蠈, 蟿伪蟺蔚喂谓蠈 魏伪喂 位伪渭蟺蟻蠈 魏慰渭渭维蟿喂 蟿畏蟼 渭蠀胃喂蟽蟿慰蟻喂慰纬蟻伪蠁委伪蟼.
螣 螌蟽魏伪蟻 螠维蟿蟽蔚蟻伪蟿, 苇谓伪蟼 蟺伪蟻伪渭慰蟻蠁蠅渭苇谓慰蟼 魏伪渭蟺慰蠉蟻畏蟼 谓维谓慰蟼, 蔚委谓伪喂 慰 蟿蠀渭蟺伪谓喂蟽蟿萎蟼 蟺慰蠀 伪蟻谓蔚委蟿伪喂 谓伪 渭蔚纬伪位蠋蟽蔚喂.
螖喂伪蟿畏蟻蔚委蟿伪喂 蠅蟼 蟿伪 18 蟿慰蠀 蠂蟻蠈谓喂伪 蟽蟿慰 蠉蠄慰蟼 蔚谓蠈蟼 蟿蟻委蠂蟻慰谓慰蠀 蟺伪喂未喂慰蠉 伪蟺慰 渭委蟽慰蟼 纬喂伪 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪
魏伪喂 蟿慰谓 魏蠈蟽渭慰 蟺慰蠀 蟿慰谓 蟺蔚蟻喂尾维位位蔚喂.
螣 螌蟽魏伪蟻, 伪蠀蟿蠈蟼 慰 伪蠀蟿慰魏伪蟿伪蟽蟿蟻慰蠁喂魏蠈蟼 魏伪喂 蟽慰蠁维 蟺伪蟻伪谓慰蠆魏蠈蟼 谓维谓慰蟼 魏蟻伪蟿蔚委蟿伪喂 蟽蔚 蠄蠀蠂喂伪蟿蟻蔚委慰 渭蔚
蟿畏 胃苇位畏蟽畏 蟿慰蠀 纬喂伪 苇谓伪 苇纬魏位畏渭伪 蟺慰蠀 未蔚谓 未喂苇蟺蟻伪尉蔚.
危蠀谓蟿蟻慰蠁喂维 渭蔚 蟿慰谓 蠁蟻慰蠀蟻蠈 蟺慰蠀 蟿慰谓 蔚蟺慰蟺蟿蔚蠉蔚喂 - 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟽伪谓 蠁委位慰蟼- 胃伪 伪蟻蠂委蟽蔚喂 谓伪 纬蟻维蠁蔚喂
蟿畏谓 伪蠀蟿慰尾喂慰纬蟻伪蠁委伪 蟿慰蠀.
韦慰 蟿蔚谓蔚魏蔚未苇谓喂慰 蟿伪渭蟺慰蠉蟻位慰 蔚委谓伪喂 畏 渭畏蠂伪谓萎 蟿慰蠀 蠂蟻蠈谓慰蠀,
蟿慰 蟻蠀胃渭喂魏蠈 蠂蟿蠉蟺畏渭伪 伪谓维魏位畏蟽畏蟼 伪谓伪渭谓萎蟽蔚蠅谓 蟺慰蠀 纬蟻维蠁慰谓蟿伪喂 伪蟺慰 蟿慰谓 螌蟽魏伪蟻 蟽蔚 纬蠀维位喂谓慰 蠂伪蟻蟿委, 蟽蟿慰谓 魏伪胃蟻苇蠁蟿畏 蟺慰蠀 伪蟺蔚喂魏慰谓委味蔚喂 蟿畏谓 蟺伪蟻伪渭慰蟻蠁蠅渭苇谓畏 蔚喂魏蠈谓伪 蟿慰蠀 委未喂慰蠀 魏伪喂 慰位慰魏位萎蟻慰蠀 蟿慰蠀 魏蠈蟽渭慰蠀.
螖喂伪尾维味慰谓蟿伪蟼 蟿慰 苇蟻纬慰 伪蠀蟿蠈 蟿慰蠀 螕魏蠉谓蟿蔚蟻 螕魏蟻伪蟼 魏伪喂 苇蠂慰谓蟿伪蟼 蟺蟻慰蠂蠅蟻萎蟽蔚喂 伪蟻魏蔚蟿维 维蟻蠂喂蟽伪 谓伪 伪谓伪蟻蠅蟿喂苇渭伪喂,
纬喂伪 蟺慰喂慰 位蠈纬慰 未喂维位蔚尉蔚 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 谓伪 纬蟻维蠄蔚喂 渭蔚 蟿畏 渭慰蟻蠁萎 伪蠀蟿慰尾喂慰纬蟻伪蠁委伪蟼 蔚谓蠈蟼 未喂伪蟿伪蟻伪纬渭苇谓慰蠀 谓维谓慰蠀,
渭蔚 蔚渭渭慰谓苇蟼 魏伪喂 喂未喂伪委蟿蔚蟻伪 蠂伪蟻委蟽渭伪蟿伪 蔚喂未喂魏蠋谓 伪谓伪纬魏蠋谓.
韦蠈谓谓慰喂 伪蠁萎纬畏蟽畏蟼, 蔚尉慰谓蟿蠅蟿喂魏维 位蔚蟺蟿慰渭蔚蟻蔚委蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼, 伪谓维魏位畏蟽畏 纬蔚纬慰谓蠈蟿蠅谓 伪魏蠈渭畏 魏伪喂 伪蟺慰 蟿畏 纬苇谓谓畏蟽畏 蟿慰蠀 萎 蟿畏 蟽蠉位位畏蠄畏 魏伪喂 蟿畏 纬苇谓谓畏蟽畏 蟿畏蟼 芦魏伪畏渭苇谓畏蟼 渭伪渭维蟼禄 蟿慰蠀, 蟿蠈蟽慰 纬蟻伪蠁喂魏维, 蟿蠈蟽慰 慰尉蠉渭蠅蟻伪 未喂伪蟽魏蔚未伪蟽蟿喂魏维 蟺慰蠀 蟽蠀纬魏喂谓慰蠉谓.
螝伪喂 蔚魏蔚委 蟺慰蠀 蟺蔚位伪纬蠋谓蔚喂蟼 蟽蔚 苇谓伪谓 蔚魏位慰纬喂魏蔚蠀渭苇谓慰 纬位伪蠁蠀蟻蠈 蟺伪蟻伪位慰纬喂蟽渭蠈, 蟽蔚 苇谓伪 伪蟿蔚位蔚委蠅蟿慰 蟺伪蟻伪渭蠉胃喂 蟺慰蠀 伪谓伪渭蔚喂纬谓蠉慰谓蟿伪喂 喂蟽蟿慰蟻委伪, 魏慰蠀位蟿慰蠉蟻伪, 蟺伪蟻维未慰蟽畏, 蟿苇蠂谓畏 魏伪喂 胃伪谓伪蟿蠈渭慰蟻蠁畏, 慰未蠀谓畏蟻萎, 蔚魏蠁蠀位喂蟽渭苇谓畏 伪蟺伪谓胃蟻蠅蟺喂维 蟽蔚 渭喂伪 伪谓胃蟻蠋蟺喂谓畏 伪位位畏纬慰蟻喂魏萎 未喂维蟽蟿伪蟽畏, 伪魏慰蠉纬慰谓蟿伪喂 慰喂 魏蟻伪蠀纬苇蟼 蟿慰蠀 螌蟽魏伪蟻 纬喂伪 渭喂伪 味蠅萎 伪谓维尉喂伪 谓伪 蟿畏 味蔚喂蟼, 魏伪喂 伪蠁蠀蟺谓委味慰蠀谓 尾维蟻尾伪蟻伪 蟿畏谓 蟺伪胃畏蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟿畏谓 蟽蠀位位慰纬喂魏萎 蔚蠀胃蠉谓畏.
螝维蟺蠅蟼 苇蟿蟽喂... 魏伪喂 纬谓蠅蟻委味慰谓蟿伪蟼 蟺蠅蟼 畏 谓伪味喂蟽蟿喂魏萎 蔚蟺慰蠂萎 魏伪喂 慰喂 蠁喂纬慰蠉蟻蔚蟼 蟿畏蟼 苇蠂慰蠀谓 蟺伪蟻慰蠀蟽喂伪蟽蟿蔚委 蠅蟼 蟿慰 魏慰喂谓蠈 魏伪魏蠈, 蠅蟼 蟽魏慰蟿蔚喂谓维 渭蠀胃喂魏维 蟺喂蠈谓喂伪 蟽蔚 蟺位伪委蟽喂伪 蟺蟻慰蟺伪纬维谓未伪蟼, 维蟻蠂喂蟽伪 谓伪 伪谓蟿喂位伪渭尾维谓慰渭伪喂 蟿畏谓 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏萎 蔚蟺喂谓蠈畏蟽畏 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 伪蟺慰未苇蠂蟿畏魏伪 蟿畏谓 位伪渭蟺蟻蠈蟿畏蟿伪 魏伪喂 蟿慰 伪谓伪蟺蠈蠁蔚蠀魏蟿慰 蟿畏蟼 蔚蟺喂位慰纬萎蟼 蟿慰蠀.
围蟻蔚喂伪味蠈蟿伪谓 苇谓伪谓 伪蠁畏纬畏蟿萎 蟺慰蠀 未蔚谓 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蔚委谓伪喂 蟽蠀谓苇谓慰蠂慰蟼 萎 蟽蠀谓蔚喂未畏蟿维 伪蟺慰未蔚蠂蠈渭蔚谓慰蟼 蟿畏蟼 蔚蟺蔚魏蟿伪蟿喂魏萎蟼 蔚纬魏位畏渭伪蟿喂魏蠈蟿畏蟿伪蟼 蟿慰蠀 谓伪味喂蟽渭慰蠉.
螆谓伪谓 蟺伪蟻伪谓慰蠆魏蠈 蟿蔚蟻伪蟿蠈渭慰蟻蠁慰 谓维谓慰 蟺慰蠀 伪蠁畏纬蔚委蟿伪喂 伪位萎胃蔚喂蔚蟼 蔚纬魏位畏渭伪蟿喂魏苇蟼 纬喂伪 蟿慰谓 蟺蠈位蔚渭慰 魏伪喂 蟿喂蟼 魏慰喂谓蠅谓委蔚蟼 渭伪 蔚委谓伪喂 未蠉蟽魏慰位慰 谓伪 蟿慰谓 蔚渭蟺喂蟽蟿蔚蠀蟿蔚委蟼 萎 谓伪 蟿慰谓 蟺喂蟽蟿苇蠄蔚喂蟼.
螘蟺喂蟺位苇慰谓 蟺蠅蟼 胃伪 伪蟺蔚喂魏慰谓委味慰谓蟿伪谓 慰喂 蟿蟻伪纬喂魏苇蟼 喂蟽蟿慰蟻喂魏苇蟼 蔚尉蔚位委尉蔚喂蟼 蠅蟼 蟺伪蟻伪谓慰蠆魏苇蟼, 蟺伪蟻维 渭蠈谓慰 渭苇蟽伪 伪蟺慰 蟿畏谓 未喂慰蟻伪蟿喂魏萎 渭伪蟿喂维 蔚谓蠈蟼 未喂伪蟿伪蟻伪纬渭苇谓慰蠀 谓维谓慰蠀 蟺慰蠀 蠀蟺蔚蟻尾维位蔚喂 魏伪喂 未喂蔚喂蟽未蠉蔚喂 蟽蔚 蟺慰位蠉 尾伪胃蠉蟿蔚蟻伪 谓慰萎渭伪蟿伪.
唯蠀蠂慰位慰纬喂魏苇蟼 蟺蟻慰蔚魏蟿维蟽蔚喂蟼 未委谓蔚喂 畏 喂魏伪谓蠈蟿畏蟿伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 谓伪 蟿慰谓委味蔚喂 蟽蠀谓蔚蠂蠋蟼 蟺蠅蟼 慰喂 伪谓胃蟻蠋蟺喂谓蔚蟼 蟽蠂苇蟽蔚喂蟼 苇蠂慰蠀谓 维蟺蔚喂蟻蔚蟼 未蠀谓伪蟿蠈蟿畏蟿蔚蟼 魏伪位慰蟽蠉谓畏蟼, 伪谓蟿委胃蔚蟿伪 蟿慰 谓慰渭慰蟿蔚位蔚喂伪魏蠈 苇谓蟽蟿喂魏蟿慰 纬喂伪 蔚魏渭蔚蟿维位位蔚蠀蟽畏 蔚委谓伪喂 蟿慰 魏伪魏蠈 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 尉蔚蟻喂味蠅胃蔚委.
螣 螌蟽魏伪蟻 蟽蟿慰蠂维味蔚蟿伪喂 渭蔚 伪蟺委蟽蟿蔚蠀蟿畏 蔚蟺喂渭慰谓萎 魏伪喂 蟺蟻慰蟽蠁苇蟻蔚喂 蔚蟺喂蠂蔚喂蟻萎渭伪蟿伪 纬喂伪 魏维胃蔚 伪蟺位萎 萎 尾伪蟻蠀蟽萎渭伪谓蟿畏 伪蟺蠈蠁伪蟽畏.
螒谓 未蔚谓 蔚尉蔚蟿维味蔚喂蟼 蟺蟻慰蟽蔚魏蟿喂魏维 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟽慰蠀 胃伪 蟺维蟻蔚喂蟼 蟿喂蟼 蠄蔚蠀未伪喂蟽胃萎蟽蔚喂蟼 蟺慰蠀 蟽慰蠀 蟺位伪蟽维蟻慰蠀谓 蟽慰尾伪蟻维 魏伪喂 蟿蠈蟿蔚 慰喂 蟽蠀谓苇蟺蔚喂蔚蟼 胃伪 蔚委谓伪喂 渭慰喂蟻伪委蔚蟼.
螘魏蟺位畏魏蟿喂魏苇蟼 慰喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 伪谓胃蟻蠋蟺蠅谓 魏伪喂 纬蔚纬慰谓蠈蟿蠅谓 伪谓维渭蔚蟽伪 蟽蔚 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蠁伪谓蟿伪蟽委伪.
螒尉苇蠂伪蟽蟿慰 胃伪 渭慰蠀 渭蔚委谓蔚喂 蟿慰 蟽蠀谓萎胃蔚喂慰 蟿畏蟼 纬喂伪纬喂维蟼 蟿慰蠀 谓伪 蠁慰蟻维蔚喂 蟿苇蟽蟽蔚蟻伪 蠁慰蟻苇渭伪蟿伪 蟿慰 苇谓伪 蟺维谓蠅 伪蟺慰 蟿慰 维位位慰 魏伪喂 谓伪 蟿伪 蟽蠀谓伪位位维味蔚喂 魏伪胃畏渭蔚蟻喂谓维 渭蔚 纬蔚蠅渭蔚蟿蟻喂魏萎 蟺蟻蠈慰未慰. 韦慰 蟿蔚蟿蟻伪蟺位蠈 蠁慰蠀蟽蟿维谓喂-蠁蟻慰蠉蟻喂慰-魏蟻蠀蠄蠋谓伪-蟽喂纬慰蠀蟻喂维 魏伪喂 伪尉委伪.
韦慰 魏蔚蠁维位喂 蟿慰蠀 伪位蠈纬慰蠀 蠅蟼 未蠈位蠅渭伪 纬喂伪 谓伪 蠄伪蟻蔚蠉蔚喂蟼 蠂苇位喂伪 魏伪喂 魏伪蟿蠈蟺喂谓 谓伪 蟿伪 蟽蠀位位苇纬蔚喂蟼 渭苇蟽伪 伪蟺慰 蟿慰谓 蔚纬魏苇蠁伪位慰 萎 蟿慰 伪谓慰喂蠂蟿蠈 蟽蟿蠈渭伪 蟿慰蠀 味蠋慰蠀.
螣 胃维谓伪蟿慰蟼 蔚谓蠈蟼 伪蟺慰 蟿慰蠀蟼 蟺伪蟿苇蟻蔚蟼..蟿慰蠀 螌蟽魏伪蟻 魏伪蟿维 蟿畏谓 蟽慰尾喂蔚蟿喂魏萎 蔚喂蟽尾慰位萎. 螇蟿伪谓 伪蠀蟿蠈蟼 蟺慰蠀 渭伪纬蔚委蟻蔚蠀蔚 蟿伪 蠂苇位喂伪..魏伪喂 蟽蠀渭蟺慰蟻蔚蠉慰蟿伪谓 渭蔚 蟿慰蠀蟼 谓伪味喂蟽蟿苇蟼.
螚 蔚渭渭慰谓萎 蔚谓蠈蟼 维位位慰蠀 蟺伪蟿苇蟻伪-蟽蠀纬纬蔚谓萎...蟿慰蠀 螌蟽魏伪蟻 纬喂伪 渭委伪 蟿蟻维蟺慰蠀位伪, 魏伪蟿维 蟿畏 未喂维蟻魏蔚喂伪 蔚蟺委胃蔚蟽畏蟼 蟽蔚 蟺慰位蠅谓喂魏蠈 蟿伪蠂蠀未蟻慰渭蔚委慰. 螤蔚胃伪委谓蔚喂 魏伪蟿伪位维胃慰蟼 蠅蟼 蟺蔚蟻萎蠁伪谓慰蟼 螤慰位蠅谓蠈蟼... 蟺蟻慰未蠅渭苇谓慰蟼 伪蟺慰 蟺伪喂未委 魏伪喂 蟽蠀渭蟺伪蟿蟻喂蠋蟿蔚蟼.
螚 伪谓蟿委未蟻伪蟽畏 蟿慰蠀 螌蟽魏伪蟻 渭蟺蟻慰蟽蟿维 蟽蟿慰 维纬伪位渭伪 蟿慰蠀 螜畏蟽慰蠉. 螒蟻蠂喂魏维 慰 围蟻喂蟽蟿蠈蟼 未蔚谓 渭蟺慰蟻慰蠉蟽蔚 萎 未蔚谓 萎胃蔚位伪 谓伪 蟺伪委尉蔚喂 渭蔚 蟿慰 蟿伪渭蟺慰蠉蟻位慰 蟺慰蠀 蟿慰蠀 蟺蟻慰蟽蠁苇蟻胃畏魏蔚,
渭苇蠂蟻喂 蟺慰蠀 蟿伪 魏伪蟿维蠁蔚蟻蔚 渭蔚蟿维 伪蟺慰 魏伪喂蟻蠈.
螣喂 蟽蔚尉慰蠀伪位喂魏苇蟼 蟽蠀谓蔚蠀蟻苇蟽蔚喂蟼 蟽蠀纬纬蔚谓蠋谓 魏伪喂 畏 蠁蠀蟽喂魏萎 伪谓蟿喂渭蔚蟿蠋蟺喂蟽畏 蟿蠅谓 伪蟻蠂苇纬慰谓蠅谓 蔚谓蟽蟿委魏蟿蠅谓.
螝伪喂 蠁蠀蟽喂魏维 蟿慰 螝伪蟿蠋喂 蟿慰蠀 魏蟻蔚渭渭蠀未喂慰蠉.
螆谓伪 蠀蟺蠈纬蔚喂慰 蠄蠀蠂喂魏萎蟼 魏维胃伪蟻蟽畏蟼 魏伪喂 伪位渭蠀蟻萎蟼 蠀纬蟻伪蟽委伪蟼 伪蟺慰 未维魏蟻蠀伪
伪谓伪魏慰蠉蠁喂蟽畏蟼.
螝伪喂.. 伪蟻魏蔚蟿萎 蟽维蟿喂蟻伪 蟺慰蠀 蟽蟿维味蔚喂 伪委渭伪.
螖蔚谓 尾蟻萎魏伪 尾喂尾位委慰 维位位慰 蟺慰蠀 谓伪 苇蠂蠅 未喂伪尾维蟽蔚喂 魏伪喂 谓伪 渭蟺慰蟻蠋 谓伪 蟿慰 蟽蠀纬魏蟻委谓蠅 渭蔚 蟿慰 芦蟿蔚谓蔚魏蔚未苇谓喂慰 蟿伪渭蟺慰蠉蟻位慰禄.
螉蟽蠅蟼 蔚蟺蔚喂未萎 渭蔚 苇魏伪谓蔚 谓伪 胃苇位蠅 谓伪 渭蔚委谓蠅
伪蟺慰蟽蟿伪蟽喂慰蟺慰喂畏渭苇谓畏 渭伪 蟺伪蟻维位位畏位伪 伪谓蟿喂魏蔚喂渭蔚谓喂魏萎 魏伪喂 蟽蠀谓未蔚未蔚渭苇谓畏 渭蔚 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 蟺蟻维尉蔚喂蟼 纬蠉蟻蠅 渭慰蠀. 螝伪喂 伪蠀蟿蠈 蠂蟻蔚喂维味蔚蟿伪喂 喂魏伪谓蠈蟿畏蟿伪 伪渭蔚蟻蠈位畏蟺蟿慰蠀 蟺伪蟻伪蟿畏蟻畏蟿萎.
螘委谓伪喂 蟽委纬慰蠀蟻伪 苇谓伪 尾喂尾位委慰 蟺慰蠀 伪蟺慰蟿蔚位蔚委 蟺蟻蠈魏位畏蟽畏 纬喂伪 蠈位慰蠀蟼.
危伪蟼 蟺蟻慰魏伪位蠋....
螖喂伪尾维蟽蟿蔚 蟿慰.
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.
螁蟺蔚喂蟻蔚蟼 蔚蠀蠂苇蟼 纬喂伪 蠈位慰蠀蟼.
螒蠀蟿蠈 蟿慰 蟿伪渭蟺慰蠉蟻位慰 蟺伪委味蔚喂 渭蔚位蠅未委蔚蟼, 蟿喂蟼 渭蔚位蠅未委蔚蟼 蟿慰蠀 魏蠈蟽渭慰蠀. 螠蔚 蟺慰喂魏喂位委伪 蟻蠀胃渭喂魏萎 渭伪蟼 尾维味蔚喂 蟽蟿慰 蠂慰蟻蠈 蟿畏蟼 蟺蟻慰蟺慰位蔚渭喂魏萎蟼 螤慰位蠅谓委伪蟼 魏伪喂 螕蔚蟻渭伪谓委伪蟼.
危蟿畏谓 味蠅萎 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 未苇蠂蟿畏魏伪谓 蟿畏谓 维谓慰未慰 蟿慰蠀 围委蟿位蔚蟻, 蟿慰 伪委渭伪 蟿畏蟼 萎蟿蟿伪蟼 蟿畏蟼 螤慰位蠅谓委伪蟼, 蟿畏谓 蔚喂蟽尾慰位萎 蟿蠅谓 谓伪味委 蟽蟿畏谓 螘蠀蟻蠋蟺畏 魏伪喂 蟿慰 蠂蟿委蟽喂渭慰 蟿慰蠀 蟿蔚委蠂慰蠀蟼 蟺慰蠀 蠂蠋蟻喂蟽蔚 伪未委蟽蟿伪魏蟿伪 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 蟽蔚 伪谓伪蟿慰位喂魏维 魏伪喂 未蠀蟿喂魏维 蟽蟿蟻伪蟿蔚蠉渭伪蟿伪.
危蔚 伪谓伪蟿慰位喂魏慰蠉蟼 魏伪喂 未蠀蟿喂魏慰蠉蟼 蟿维蠁慰蠀蟼 芦蟿慰蠀渭蟺伪谓喂伪蟽渭苇谓蠅谓禄 蟺蟿蠅渭维蟿蠅谓, 蟽蔚 尾蠅渭慰蠉蟼 蟺伪位伪喂蠋谓 魏伪喂 蟿蠅蟻喂谓蠋谓 蔚尉慰蠀蟽喂蠋谓.
螝蠀蟻委蠅蟼 尾苇尾伪喂伪 蟿慰 蟿伪渭蟺慰蠉蟻位慰 伪蠀蟿蠈 未喂伪蟿蠀渭蟺伪谓委味蔚喂 蟿慰蠀蟼 蔚蟽蠅蟿蔚蟻喂魏慰蠉蟼 伪蟿慰渭喂魏慰蠉蟼 伪纬蠋谓蔚蟼 蠈位蠅谓, 魏伪胃蠋蟼 伪谓伪魏伪位蠉蟺蟿慰蠀谓 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 蟿慰谓 20蠈 伪喂蠋谓伪.
螝伪喂 伪蟻蠂委味蔚喂 伪蠀蟿蠈 蟿慰 蟽蟺伪蟻伪尉喂魏维蟻未喂慰 蟿伪尉委未喂 伪谓维纬谓蠅蟽畏蟼.
螆谓伪 蟺伪蟻维尉蔚谓慰, 蟺伪蟻维未慰尉慰, 伪位位畏纬慰蟻喂魏蠈, 蟿伪蟺蔚喂谓蠈 魏伪喂 位伪渭蟺蟻蠈 魏慰渭渭维蟿喂 蟿畏蟼 渭蠀胃喂蟽蟿慰蟻喂慰纬蟻伪蠁委伪蟼.
螣 螌蟽魏伪蟻 螠维蟿蟽蔚蟻伪蟿, 苇谓伪蟼 蟺伪蟻伪渭慰蟻蠁蠅渭苇谓慰蟼 魏伪渭蟺慰蠉蟻畏蟼 谓维谓慰蟼, 蔚委谓伪喂 慰 蟿蠀渭蟺伪谓喂蟽蟿萎蟼 蟺慰蠀 伪蟻谓蔚委蟿伪喂 谓伪 渭蔚纬伪位蠋蟽蔚喂.
螖喂伪蟿畏蟻蔚委蟿伪喂 蠅蟼 蟿伪 18 蟿慰蠀 蠂蟻蠈谓喂伪 蟽蟿慰 蠉蠄慰蟼 蔚谓蠈蟼 蟿蟻委蠂蟻慰谓慰蠀 蟺伪喂未喂慰蠉 伪蟺慰 渭委蟽慰蟼 纬喂伪 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪
魏伪喂 蟿慰谓 魏蠈蟽渭慰 蟺慰蠀 蟿慰谓 蟺蔚蟻喂尾维位位蔚喂.
螣 螌蟽魏伪蟻, 伪蠀蟿蠈蟼 慰 伪蠀蟿慰魏伪蟿伪蟽蟿蟻慰蠁喂魏蠈蟼 魏伪喂 蟽慰蠁维 蟺伪蟻伪谓慰蠆魏蠈蟼 谓维谓慰蟼 魏蟻伪蟿蔚委蟿伪喂 蟽蔚 蠄蠀蠂喂伪蟿蟻蔚委慰 渭蔚
蟿畏 胃苇位畏蟽畏 蟿慰蠀 纬喂伪 苇谓伪 苇纬魏位畏渭伪 蟺慰蠀 未蔚谓 未喂苇蟺蟻伪尉蔚.
危蠀谓蟿蟻慰蠁喂维 渭蔚 蟿慰谓 蠁蟻慰蠀蟻蠈 蟺慰蠀 蟿慰谓 蔚蟺慰蟺蟿蔚蠉蔚喂 - 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟽伪谓 蠁委位慰蟼- 胃伪 伪蟻蠂委蟽蔚喂 谓伪 纬蟻维蠁蔚喂
蟿畏谓 伪蠀蟿慰尾喂慰纬蟻伪蠁委伪 蟿慰蠀.
韦慰 蟿蔚谓蔚魏蔚未苇谓喂慰 蟿伪渭蟺慰蠉蟻位慰 蔚委谓伪喂 畏 渭畏蠂伪谓萎 蟿慰蠀 蠂蟻蠈谓慰蠀,
蟿慰 蟻蠀胃渭喂魏蠈 蠂蟿蠉蟺畏渭伪 伪谓维魏位畏蟽畏蟼 伪谓伪渭谓萎蟽蔚蠅谓 蟺慰蠀 纬蟻维蠁慰谓蟿伪喂 伪蟺慰 蟿慰谓 螌蟽魏伪蟻 蟽蔚 纬蠀维位喂谓慰 蠂伪蟻蟿委, 蟽蟿慰谓 魏伪胃蟻苇蠁蟿畏 蟺慰蠀 伪蟺蔚喂魏慰谓委味蔚喂 蟿畏谓 蟺伪蟻伪渭慰蟻蠁蠅渭苇谓畏 蔚喂魏蠈谓伪 蟿慰蠀 委未喂慰蠀 魏伪喂 慰位慰魏位萎蟻慰蠀 蟿慰蠀 魏蠈蟽渭慰蠀.
螖喂伪尾维味慰谓蟿伪蟼 蟿慰 苇蟻纬慰 伪蠀蟿蠈 蟿慰蠀 螕魏蠉谓蟿蔚蟻 螕魏蟻伪蟼 魏伪喂 苇蠂慰谓蟿伪蟼 蟺蟻慰蠂蠅蟻萎蟽蔚喂 伪蟻魏蔚蟿维 维蟻蠂喂蟽伪 谓伪 伪谓伪蟻蠅蟿喂苇渭伪喂,
纬喂伪 蟺慰喂慰 位蠈纬慰 未喂维位蔚尉蔚 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 谓伪 纬蟻维蠄蔚喂 渭蔚 蟿畏 渭慰蟻蠁萎 伪蠀蟿慰尾喂慰纬蟻伪蠁委伪蟼 蔚谓蠈蟼 未喂伪蟿伪蟻伪纬渭苇谓慰蠀 谓维谓慰蠀,
渭蔚 蔚渭渭慰谓苇蟼 魏伪喂 喂未喂伪委蟿蔚蟻伪 蠂伪蟻委蟽渭伪蟿伪 蔚喂未喂魏蠋谓 伪谓伪纬魏蠋谓.
韦蠈谓谓慰喂 伪蠁萎纬畏蟽畏蟼, 蔚尉慰谓蟿蠅蟿喂魏维 位蔚蟺蟿慰渭蔚蟻蔚委蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼, 伪谓维魏位畏蟽畏 纬蔚纬慰谓蠈蟿蠅谓 伪魏蠈渭畏 魏伪喂 伪蟺慰 蟿畏 纬苇谓谓畏蟽畏 蟿慰蠀 萎 蟿畏 蟽蠉位位畏蠄畏 魏伪喂 蟿畏 纬苇谓谓畏蟽畏 蟿畏蟼 芦魏伪畏渭苇谓畏蟼 渭伪渭维蟼禄 蟿慰蠀, 蟿蠈蟽慰 纬蟻伪蠁喂魏维, 蟿蠈蟽慰 慰尉蠉渭蠅蟻伪 未喂伪蟽魏蔚未伪蟽蟿喂魏维 蟺慰蠀 蟽蠀纬魏喂谓慰蠉谓.
螝伪喂 蔚魏蔚委 蟺慰蠀 蟺蔚位伪纬蠋谓蔚喂蟼 蟽蔚 苇谓伪谓 蔚魏位慰纬喂魏蔚蠀渭苇谓慰 纬位伪蠁蠀蟻蠈 蟺伪蟻伪位慰纬喂蟽渭蠈, 蟽蔚 苇谓伪 伪蟿蔚位蔚委蠅蟿慰 蟺伪蟻伪渭蠉胃喂 蟺慰蠀 伪谓伪渭蔚喂纬谓蠉慰谓蟿伪喂 喂蟽蟿慰蟻委伪, 魏慰蠀位蟿慰蠉蟻伪, 蟺伪蟻维未慰蟽畏, 蟿苇蠂谓畏 魏伪喂 胃伪谓伪蟿蠈渭慰蟻蠁畏, 慰未蠀谓畏蟻萎, 蔚魏蠁蠀位喂蟽渭苇谓畏 伪蟺伪谓胃蟻蠅蟺喂维 蟽蔚 渭喂伪 伪谓胃蟻蠋蟺喂谓畏 伪位位畏纬慰蟻喂魏萎 未喂维蟽蟿伪蟽畏, 伪魏慰蠉纬慰谓蟿伪喂 慰喂 魏蟻伪蠀纬苇蟼 蟿慰蠀 螌蟽魏伪蟻 纬喂伪 渭喂伪 味蠅萎 伪谓维尉喂伪 谓伪 蟿畏 味蔚喂蟼, 魏伪喂 伪蠁蠀蟺谓委味慰蠀谓 尾维蟻尾伪蟻伪 蟿畏谓 蟺伪胃畏蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟿畏谓 蟽蠀位位慰纬喂魏萎 蔚蠀胃蠉谓畏.
螝维蟺蠅蟼 苇蟿蟽喂... 魏伪喂 纬谓蠅蟻委味慰谓蟿伪蟼 蟺蠅蟼 畏 谓伪味喂蟽蟿喂魏萎 蔚蟺慰蠂萎 魏伪喂 慰喂 蠁喂纬慰蠉蟻蔚蟼 蟿畏蟼 苇蠂慰蠀谓 蟺伪蟻慰蠀蟽喂伪蟽蟿蔚委 蠅蟼 蟿慰 魏慰喂谓蠈 魏伪魏蠈, 蠅蟼 蟽魏慰蟿蔚喂谓维 渭蠀胃喂魏维 蟺喂蠈谓喂伪 蟽蔚 蟺位伪委蟽喂伪 蟺蟻慰蟺伪纬维谓未伪蟼, 维蟻蠂喂蟽伪 谓伪 伪谓蟿喂位伪渭尾维谓慰渭伪喂 蟿畏谓 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏萎 蔚蟺喂谓蠈畏蟽畏 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 伪蟺慰未苇蠂蟿畏魏伪 蟿畏谓 位伪渭蟺蟻蠈蟿畏蟿伪 魏伪喂 蟿慰 伪谓伪蟺蠈蠁蔚蠀魏蟿慰 蟿畏蟼 蔚蟺喂位慰纬萎蟼 蟿慰蠀.
围蟻蔚喂伪味蠈蟿伪谓 苇谓伪谓 伪蠁畏纬畏蟿萎 蟺慰蠀 未蔚谓 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蔚委谓伪喂 蟽蠀谓苇谓慰蠂慰蟼 萎 蟽蠀谓蔚喂未畏蟿维 伪蟺慰未蔚蠂蠈渭蔚谓慰蟼 蟿畏蟼 蔚蟺蔚魏蟿伪蟿喂魏萎蟼 蔚纬魏位畏渭伪蟿喂魏蠈蟿畏蟿伪蟼 蟿慰蠀 谓伪味喂蟽渭慰蠉.
螆谓伪谓 蟺伪蟻伪谓慰蠆魏蠈 蟿蔚蟻伪蟿蠈渭慰蟻蠁慰 谓维谓慰 蟺慰蠀 伪蠁畏纬蔚委蟿伪喂 伪位萎胃蔚喂蔚蟼 蔚纬魏位畏渭伪蟿喂魏苇蟼 纬喂伪 蟿慰谓 蟺蠈位蔚渭慰 魏伪喂 蟿喂蟼 魏慰喂谓蠅谓委蔚蟼 渭伪 蔚委谓伪喂 未蠉蟽魏慰位慰 谓伪 蟿慰谓 蔚渭蟺喂蟽蟿蔚蠀蟿蔚委蟼 萎 谓伪 蟿慰谓 蟺喂蟽蟿苇蠄蔚喂蟼.
螘蟺喂蟺位苇慰谓 蟺蠅蟼 胃伪 伪蟺蔚喂魏慰谓委味慰谓蟿伪谓 慰喂 蟿蟻伪纬喂魏苇蟼 喂蟽蟿慰蟻喂魏苇蟼 蔚尉蔚位委尉蔚喂蟼 蠅蟼 蟺伪蟻伪谓慰蠆魏苇蟼, 蟺伪蟻维 渭蠈谓慰 渭苇蟽伪 伪蟺慰 蟿畏谓 未喂慰蟻伪蟿喂魏萎 渭伪蟿喂维 蔚谓蠈蟼 未喂伪蟿伪蟻伪纬渭苇谓慰蠀 谓维谓慰蠀 蟺慰蠀 蠀蟺蔚蟻尾维位蔚喂 魏伪喂 未喂蔚喂蟽未蠉蔚喂 蟽蔚 蟺慰位蠉 尾伪胃蠉蟿蔚蟻伪 谓慰萎渭伪蟿伪.
唯蠀蠂慰位慰纬喂魏苇蟼 蟺蟻慰蔚魏蟿维蟽蔚喂蟼 未委谓蔚喂 畏 喂魏伪谓蠈蟿畏蟿伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 谓伪 蟿慰谓委味蔚喂 蟽蠀谓蔚蠂蠋蟼 蟺蠅蟼 慰喂 伪谓胃蟻蠋蟺喂谓蔚蟼 蟽蠂苇蟽蔚喂蟼 苇蠂慰蠀谓 维蟺蔚喂蟻蔚蟼 未蠀谓伪蟿蠈蟿畏蟿蔚蟼 魏伪位慰蟽蠉谓畏蟼, 伪谓蟿委胃蔚蟿伪 蟿慰 谓慰渭慰蟿蔚位蔚喂伪魏蠈 苇谓蟽蟿喂魏蟿慰 纬喂伪 蔚魏渭蔚蟿维位位蔚蠀蟽畏 蔚委谓伪喂 蟿慰 魏伪魏蠈 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 尉蔚蟻喂味蠅胃蔚委.
螣 螌蟽魏伪蟻 蟽蟿慰蠂维味蔚蟿伪喂 渭蔚 伪蟺委蟽蟿蔚蠀蟿畏 蔚蟺喂渭慰谓萎 魏伪喂 蟺蟻慰蟽蠁苇蟻蔚喂 蔚蟺喂蠂蔚喂蟻萎渭伪蟿伪 纬喂伪 魏维胃蔚 伪蟺位萎 萎 尾伪蟻蠀蟽萎渭伪谓蟿畏 伪蟺蠈蠁伪蟽畏.
螒谓 未蔚谓 蔚尉蔚蟿维味蔚喂蟼 蟺蟻慰蟽蔚魏蟿喂魏维 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟽慰蠀 胃伪 蟺维蟻蔚喂蟼 蟿喂蟼 蠄蔚蠀未伪喂蟽胃萎蟽蔚喂蟼 蟺慰蠀 蟽慰蠀 蟺位伪蟽维蟻慰蠀谓 蟽慰尾伪蟻维 魏伪喂 蟿蠈蟿蔚 慰喂 蟽蠀谓苇蟺蔚喂蔚蟼 胃伪 蔚委谓伪喂 渭慰喂蟻伪委蔚蟼.
螘魏蟺位畏魏蟿喂魏苇蟼 慰喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 伪谓胃蟻蠋蟺蠅谓 魏伪喂 纬蔚纬慰谓蠈蟿蠅谓 伪谓维渭蔚蟽伪 蟽蔚 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蠁伪谓蟿伪蟽委伪.
螒尉苇蠂伪蟽蟿慰 胃伪 渭慰蠀 渭蔚委谓蔚喂 蟿慰 蟽蠀谓萎胃蔚喂慰 蟿畏蟼 纬喂伪纬喂维蟼 蟿慰蠀 谓伪 蠁慰蟻维蔚喂 蟿苇蟽蟽蔚蟻伪 蠁慰蟻苇渭伪蟿伪 蟿慰 苇谓伪 蟺维谓蠅 伪蟺慰 蟿慰 维位位慰 魏伪喂 谓伪 蟿伪 蟽蠀谓伪位位维味蔚喂 魏伪胃畏渭蔚蟻喂谓维 渭蔚 纬蔚蠅渭蔚蟿蟻喂魏萎 蟺蟻蠈慰未慰. 韦慰 蟿蔚蟿蟻伪蟺位蠈 蠁慰蠀蟽蟿维谓喂-蠁蟻慰蠉蟻喂慰-魏蟻蠀蠄蠋谓伪-蟽喂纬慰蠀蟻喂维 魏伪喂 伪尉委伪.
韦慰 魏蔚蠁维位喂 蟿慰蠀 伪位蠈纬慰蠀 蠅蟼 未蠈位蠅渭伪 纬喂伪 谓伪 蠄伪蟻蔚蠉蔚喂蟼 蠂苇位喂伪 魏伪喂 魏伪蟿蠈蟺喂谓 谓伪 蟿伪 蟽蠀位位苇纬蔚喂蟼 渭苇蟽伪 伪蟺慰 蟿慰谓 蔚纬魏苇蠁伪位慰 萎 蟿慰 伪谓慰喂蠂蟿蠈 蟽蟿蠈渭伪 蟿慰蠀 味蠋慰蠀.
螣 胃维谓伪蟿慰蟼 蔚谓蠈蟼 伪蟺慰 蟿慰蠀蟼 蟺伪蟿苇蟻蔚蟼..蟿慰蠀 螌蟽魏伪蟻 魏伪蟿维 蟿畏谓 蟽慰尾喂蔚蟿喂魏萎 蔚喂蟽尾慰位萎. 螇蟿伪谓 伪蠀蟿蠈蟼 蟺慰蠀 渭伪纬蔚委蟻蔚蠀蔚 蟿伪 蠂苇位喂伪..魏伪喂 蟽蠀渭蟺慰蟻蔚蠉慰蟿伪谓 渭蔚 蟿慰蠀蟼 谓伪味喂蟽蟿苇蟼.
螚 蔚渭渭慰谓萎 蔚谓蠈蟼 维位位慰蠀 蟺伪蟿苇蟻伪-蟽蠀纬纬蔚谓萎...蟿慰蠀 螌蟽魏伪蟻 纬喂伪 渭委伪 蟿蟻维蟺慰蠀位伪, 魏伪蟿维 蟿畏 未喂维蟻魏蔚喂伪 蔚蟺委胃蔚蟽畏蟼 蟽蔚 蟺慰位蠅谓喂魏蠈 蟿伪蠂蠀未蟻慰渭蔚委慰. 螤蔚胃伪委谓蔚喂 魏伪蟿伪位维胃慰蟼 蠅蟼 蟺蔚蟻萎蠁伪谓慰蟼 螤慰位蠅谓蠈蟼... 蟺蟻慰未蠅渭苇谓慰蟼 伪蟺慰 蟺伪喂未委 魏伪喂 蟽蠀渭蟺伪蟿蟻喂蠋蟿蔚蟼.
螚 伪谓蟿委未蟻伪蟽畏 蟿慰蠀 螌蟽魏伪蟻 渭蟺蟻慰蟽蟿维 蟽蟿慰 维纬伪位渭伪 蟿慰蠀 螜畏蟽慰蠉. 螒蟻蠂喂魏维 慰 围蟻喂蟽蟿蠈蟼 未蔚谓 渭蟺慰蟻慰蠉蟽蔚 萎 未蔚谓 萎胃蔚位伪 谓伪 蟺伪委尉蔚喂 渭蔚 蟿慰 蟿伪渭蟺慰蠉蟻位慰 蟺慰蠀 蟿慰蠀 蟺蟻慰蟽蠁苇蟻胃畏魏蔚,
渭苇蠂蟻喂 蟺慰蠀 蟿伪 魏伪蟿维蠁蔚蟻蔚 渭蔚蟿维 伪蟺慰 魏伪喂蟻蠈.
螣喂 蟽蔚尉慰蠀伪位喂魏苇蟼 蟽蠀谓蔚蠀蟻苇蟽蔚喂蟼 蟽蠀纬纬蔚谓蠋谓 魏伪喂 畏 蠁蠀蟽喂魏萎 伪谓蟿喂渭蔚蟿蠋蟺喂蟽畏 蟿蠅谓 伪蟻蠂苇纬慰谓蠅谓 蔚谓蟽蟿委魏蟿蠅谓.
螝伪喂 蠁蠀蟽喂魏维 蟿慰 螝伪蟿蠋喂 蟿慰蠀 魏蟻蔚渭渭蠀未喂慰蠉.
螆谓伪 蠀蟺蠈纬蔚喂慰 蠄蠀蠂喂魏萎蟼 魏维胃伪蟻蟽畏蟼 魏伪喂 伪位渭蠀蟻萎蟼 蠀纬蟻伪蟽委伪蟼 伪蟺慰 未维魏蟻蠀伪
伪谓伪魏慰蠉蠁喂蟽畏蟼.
螝伪喂.. 伪蟻魏蔚蟿萎 蟽维蟿喂蟻伪 蟺慰蠀 蟽蟿维味蔚喂 伪委渭伪.
螖蔚谓 尾蟻萎魏伪 尾喂尾位委慰 维位位慰 蟺慰蠀 谓伪 苇蠂蠅 未喂伪尾维蟽蔚喂 魏伪喂 谓伪 渭蟺慰蟻蠋 谓伪 蟿慰 蟽蠀纬魏蟻委谓蠅 渭蔚 蟿慰 芦蟿蔚谓蔚魏蔚未苇谓喂慰 蟿伪渭蟺慰蠉蟻位慰禄.
螉蟽蠅蟼 蔚蟺蔚喂未萎 渭蔚 苇魏伪谓蔚 谓伪 胃苇位蠅 谓伪 渭蔚委谓蠅
伪蟺慰蟽蟿伪蟽喂慰蟺慰喂畏渭苇谓畏 渭伪 蟺伪蟻维位位畏位伪 伪谓蟿喂魏蔚喂渭蔚谓喂魏萎 魏伪喂 蟽蠀谓未蔚未蔚渭苇谓畏 渭蔚 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 蟺蟻维尉蔚喂蟼 纬蠉蟻蠅 渭慰蠀. 螝伪喂 伪蠀蟿蠈 蠂蟻蔚喂维味蔚蟿伪喂 喂魏伪谓蠈蟿畏蟿伪 伪渭蔚蟻蠈位畏蟺蟿慰蠀 蟺伪蟻伪蟿畏蟻畏蟿萎.
螘委谓伪喂 蟽委纬慰蠀蟻伪 苇谓伪 尾喂尾位委慰 蟺慰蠀 伪蟺慰蟿蔚位蔚委 蟺蟻蠈魏位畏蟽畏 纬喂伪 蠈位慰蠀蟼.
危伪蟼 蟺蟻慰魏伪位蠋....
螖喂伪尾维蟽蟿蔚 蟿慰.
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.
螁蟺蔚喂蟻蔚蟼 蔚蠀蠂苇蟼 纬喂伪 蠈位慰蠀蟼.
December 31, 2017
胤亘賱 丕賱氐賮賷丨貨 鬲毓丿丿 丕賱爻乇丿 賵胤乇丨 丕賱鬲爻丕丐賱丕鬲.. 賯乇丕亍丞 賮賷 乇賵丕賷丞 睾賵賳鬲乇 睾乇丕氐 : 胤亘賱 丕賱氐賮賷丨 Die Blechtrommel - G眉nter Grass
賳氐 丕賱賲丕丿丞 賲禺鬲氐乇 賯賲鬲 亘賳卮乇賴 毓賱賶 賲賵賯毓 廿賳賰鬲丕亘 賵賯丿 賵囟毓鬲 乇丕亘胤丞 亘氐賮丨鬲賷 毓賱賶 鬲賵賷鬲乇貙 賵兀賳卮乇賴 賴賳丕 丕賱兀賳
賯賷賲丞 賴匕賴 丕賱毓賲賱 鬲賰賲賳 賮賷 氐丿賯賴 鬲噩丕賴 丕賱廿賳爻丕賳. 賵毓賳丿賲丕 賲賳丨鬲 賳賵亘賱 睾乇丕爻 賰丕賳 鬲毓賱賲 廿賳 丕賱廿賳爻丕賳 兀丨鬲賱 卮兀賳賸丕 賲賯丿爻賸丕 賮賷 賰鬲亘丕鬲賴..
賲賳 賵丕賯毓 禺亘乇丞 賯乇丕卅賷丞 胤賵賷賱丞 賴匕丕 丕賱毓賲賱 賲賳賴賰 賱賱賯丕乇卅 丕賱賲丨鬲乇賮. 爻賵賮 兀鬲賮賴賲 賲賳 賷賯乇兀 丕賱賵乇賯丕鬲 丕賱兀賵賱賶 賵賷鬲賵賯賮 毓賳 丕賱毓賲賱 賱賷爻 賱賲賱賱賺 賯丿 賷毓鬲乇賷賴 亘賯丿乇 丕賱噩賴丿 丕賱賲囟賳賷 丕賱匕賷 賷鬲胤賱亘賴 賯乇丕亍丞 賴匕丕 丕賱賳氐 丕賱賲毓賯丿 賵丕賱匕賷 丨亘賰鬲 兀噩夭丕卅賴 亘廿丨鬲乇丕賮賷丞 毓丕賱賷丞 賰丕賳 丕賱鬲賰賱賮 毓賳氐乇賸丕 胤丕睾賷賸丕 毓賱賷賴丕. 賱賰賳 亘毓囟 丕賱鬲賰賱賮 賷兀鬲賷 孬賲丕乇賴. 賲孬賱 賴匕丕 丕賱賳氐
亘賯賷 兀賵爻賰丕乇 亘丕賱賳爻亘丞 賱賷 丨丕賱丞 廿賳爻丕賳賷丞 賰睾賷乇賴丕 賲賳 丕賱丨丕賱丕鬲 丕賱鬲賷 鬲毓乇賮賴丕 亘毓囟賴丕 賮賷 丨賷丕鬲賳丕 丕賱賷賵賲賷丞. 賱賰賳 睾乇丕爻 賵賴亘賴丕 丨賷丕丞 禺丕賱丿丞 賲賳 禺賱丕賱 丕賱睾乇賮丞 丕賱鬲賷 賳夭賱 亘賴丕 賮賷 賲氐丨賴 丕賱毓賯賱賷 毓賳丿賲丕 兀鬲賴賲 丿賵賳 賵噩賴 丨賯 賵賲賳 賴賳丕賰 賷爻噩賱 賲匕賰乇丕鬲賴 賵賮賯 丕賱乇賵锟斤拷賷丞 亘賰鬲亘賴丕 丕賱孬賱丕孬丞.. 兀賵爻賰丕乇 丕賱匕賷 兀賵賯賮 賳賲賵賴 (丕賱賯夭賲) 賱賰賳 賰丕賳 賷賳賲賵 賳賲賵賸丕 丌禺乇 (兀賵爻賰丕乇 賲丕鬲夭賷乇丕孬) 賲毓 胤亘賱鬲賴 賵賲毓 賯丿乇丕鬲 禺丕乇賯丞 亘鬲丨胤賷賲丞 賱賱夭噩丕噩 賵氐乇丕禺丕鬲賴 丕賱鬲賷 鬲毓鬲乇囟 賲丕 賷賯賮 兀賲丕賲賴 賵賮賯 丨丕賱丕鬲 丕賱廿毓鬲乇丕囟.
丕賱賲乇丕丨賱 丕賱鬲賷 毓丕卮賴丕 兀賵爻賰丕乇 鬲禺亘乇賰 毓賳 兀孬乇 丕賱鬲丨賵賱 賮賷 丨賷丕丞 丕賱廿賳爻丕賳. 丕賱丨賷丕丞 丕賱鬲賷 毓丕卮賴丕 亘毓丿 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱兀賵賱賶貙 賵丨賷丕鬲賴 賯亘賱 丕賱丨乇亘 丕賱孬丕賳賷丞貙 賵賰匕賱賰 亘毓丿 丕賱丨乇亘. 賵賵丨丿賴 胤亘賱 丕賱氐賮賷丨 乇賮賷賯賴 丕賱兀賵賱.
賱賯丿 兀噩丕丿 丕賱兀丿賷亘 丕賱兀賱賲丕賳賷 賱賱鬲毓亘賷乇 毓鬲 賯賱賯賴 亘毓丿 丕賱丨乇亘 丕賱孬丕賳賷丞 賵亘丿兀 胤丕睾賷賸丕 兀孬乇 丕賱鬲卮鬲鬲 賵丕賱氐乇丕毓 丕賱匕賷 毓丕賳賴 丕賱兀賵乇亘賷 賵禺丕氐丞 丕賱兀賱賲丕賳賷 毓賱賶 丕賱氐毓賷丿 丕賱兀賵乇亘賷 賲賳 兀孬乇 丕賱丿賵乇 丕賱匕賷 賱毓亘丞 丕賱乇丕賷禺 賮賷 丕賱丨乇亘. 鬲氐丿毓丕鬲 乇噩賱 丕賱賯乇賳 丕賱毓卮乇賷賳 賮賷 丕賱賳氐賮 丕賱兀賵賱 賲賳賴 賲賯賱賯 賵賲禺賷賮貙 賵賵爻胤 賰賱 賴匕丕 鬲亘賯賶 丕賱賰賵賲賷丿賷丕亍 亘爻賵丿賵丕賷鬲賴丕 鬲丨丕乇亘 匕賱賰 丕賱廿賳爻丕賳 毓賱賴丕 鬲禺賮賮 亘毓囟 賵噩毓賴 賵賮賷 丕賱賳氐 丕賱賰孬賷乇 賲賳 匕賱賰 丕賱賴乇賵亘 賲賳 兀乇囟 賵丕賯毓 丕賱丿賲丕乇 賵丕賱丨乇亘 賵丕賱賲賵鬲 賵丕賱丿賲 賵丕賱鬲賴噩賷乇.
丕賱爻乇丿賷丞 丕賱賲噩賳賵賳丞 :
賲賳 兀毓馗賲 鬲賯賳賷丕鬲 賴匕丕 丕賱賳氐 丕賱賮丕禺乇貙 兀爻賱賵亘 丕賱爻乇丿 賵丕賱匕賷 鬲賳賵毓 亘賷賳 囟賲賷乇 丕賱賲鬲賰賱賲 (兀賳丕) 賵囟賲賷乇 丕賱睾丕卅亘 (賴賵)貙 賵亘賷賳賴賲丕 賷馗賴乇 賵賷禺鬲賮賷 匕賱賰 丕賱氐賵鬲 丕賱匕賷 賰兀賳賴 賷丨丕乇亘 兀賵爻賰丕乇 賲賳 丕賱丿丕禺賱貙 賵丕賱乇丕賵賷 (丕賱毓賱賷賲) 兀賳馗乇 賱賰賲賷丞 丕賱噩賳賵賳 賮賷 丕賱爻乇丿. 賰賱 賴匕丕 鬲賲 賵賮賯 賵丕賯毓賷丞 噩賲賷賱丞 賴匕 賮賷 丕賱兀氐賱 賲夭噩 亘賷賳 丕賱賵丕賯毓賷丞 賵廿爻賯丕胤丕鬲 丿賷賳賷丞 毓亘孬賷丞貙 賵賲賳 賯乇兀 乇賵丕賷丞 丕賱賲毓賱賲 賵賲乇睾乇賷鬲丕 賱賲賷禺丕卅賷賱 亘賵賱睾丕賰賵賮 爻賷毓乇賮 兀孬乇 匕賱賰 賮賷 丕賱賵丕賯毓賷丞 毓賳丿賲丕 賷禺鬲賱胤 賲毓 丕賱賮賳鬲丕夭賷. 賱賰賳 賴匕丕 賱賳 賷氐賷亘賰 亘丨賷乇丞 乇睾賲 亘毓囟 丕賱鬲卮鬲鬲 丕賱匕賷 爻賵賮 賷夭賵賱 賵賮賯 禺賱賮賷丕鬲賰 丕賱爻丕亘賯丞 賵賲毓乇賮鬲賰 亘毓馗賷賲 丕賱乇賵丕賷丕鬲. 賰丕賳鬲 賴匕賴 兀丿賵丕鬲 睾乇丕爻 賮賷 丕賱兀氐賱 賱賲丨丕賰丕丞 丕賱馗乇賵賮 丕賱爻賷丕爻賷丞 賮賷 鬲賱賰 丕賱丨賯亘丞 丕賱孬賱丕孬賷賳丕鬲 賵丕賱兀乇亘毓賷賳丕鬲. 賱賰賳賴丕 賰丕賳鬲 賵丕賯毓賷丞 爻丨乇賷丞 氐丕丿賲丞 賵賱賷爻 賮賯胤 賮賳鬲丕夭賷丕 爻丨乇賷丞 賰丨匕丕亍 爻賳丿乇賷賱丕 賮賷 丕賱賳氐 丕賱兀賵乇亘賷 貙 兀賵 賲氐亘丕丨 毓賱丕亍 丕賱丿賷賳 賮賷 丕賱賳氐 丕賱毓乇亘賷貙 賵賱賰賳 賷亘丿賵 噩賱賷賸丕 兀孬乇 丕賱爻乇丿賷丞 丕賱毓乇亘賷丞 毓賱賶 丕賱賰丕鬲亘 賲賳 丨賷孬 禺乇賵噩 丨賰丕賷丕鬲 氐睾賷乇丞 賲賳 賵爻胤 丨賰丕賷丞 兀賰亘乇 賵賮賯 賵丨丿丕鬲 爻乇丿賷丞 賴丕卅賱丞. 賴賰匕丕 賴賵 丕賱賳氐 賷亘丿兀 賵賷賳鬲賴賷 賵賯賷丕賲賴 賷賲鬲丿 賱賱爻乇丿.
賲乇賴賯丞 賴賷 丕賱乇賵丕賷丞 丕賱鬲賷 鬲亘丿兀 亘噩賲賱丞 賲禺賷賮丞 賰賴匕賴 "兀毓鬲乇賮 亘兀賳賳賷 賳夭賷賱 賲氐丨丞 賱賱兀賲乇丕囟 丕賱毓賯賱賷丞" 鬲毓賷賯 鬲賯賷賷賲賰 賱賱賰孬賷乇 賲賳 丕賱兀丨丿丕孬 丕賱兀賵賱賶 賵鬲亘賯賶 毓丕賱賯丞 賮賷 匕賴賳賰 丨鬲賶 亘毓丿 賳賴丕賷丞 丕賱乇賵丕賷丞 賵鬲爻兀賱 賳賮爻賰 賴賱 賲丕賯乇兀鬲 鬲噩丕賵夭 丨丿賵丿 丕賱噩賲賱丞 丕賱廿禺亘丕乇賷丞 兀賲 兀賳 丕賱噩賲賱 賲噩乇丿 禺亘乇 囟賲賳 爻賷丕賯 丕賱賳氐賵 賵賲乇賴賯 賱胤賮賱 兀賳 賷鬲丨鬲賲 毓賱賷賴 丕賱廿禺鬲賷丕乇 亘賷賳 丕賱毓賲賱 賮賷 丕賱賲鬲噩乇 鈥� 丕賱亘賯丕賱丞 鈥� 賲毓 賵丕賱丿賴 賵亘賷賳 廿賳鬲馗丕乇 鬲丨賯賷賯 兀賲賳賷丞 丕賱丨氐賵賱 毓賱賶 "丕賱胤亘賱"貙 賵賮賷 毓賷丿賴 丕賱孬丕賱孬 賷乇鬲亘胤 丕賵爻賰丕乇 亘胤亘賱丞賺 賱賳賴丕賷丞 丨賰丕賷鬲賴.
賮囟丕亍 丕賱鬲爻丕丐賱丕鬲 :
1
丕賱爻丐丕賱 丕賱匕賷 賰賳鬲 兀胤乇丨賴 毓賱賶 賳賮爻賷 :
賴賱 賰丕賳 賷丨鬲丕噩 兀賵爻賰丕乇 兀賳 賷噩毓賱賳賷 賮賷 賰賱 賴匕賴 丕賱丨賷乇丞 賲賳 賳賯丕卮丕鬲 丿賷賳賷丞 亘賷賳 丕賱賷賴賵丿賷丞 賵丕賱賲爻賷丨賷丞 賵廿爻賯丕胤賴丕 毓賱賶 丕賱賵丕賯毓.. 賴賱 賰賳丕 賳丨賳 賳丨鬲丕噩 賴匕丕 丕賱鬲卮鬲鬲 丕賱丿乇丕賲賷 賲毓 丕賱賳氐 賱賲毓乇賮丞 丕賱廿賳爻丕賳 / 丕賱廿賳爻丕賳 丕賱匕賷 毓丕賷卮 丕賱丨乇亘 賵丕賱丨亘 賵丕賱鬲乇丨丕賱 賵賮賯丿 丕賱兀丨亘丞責.
丕賱廿噩丕亘丞 : 賰賳鬲 兀賯賵賱 賳毓賲 賴匕丕 賴賵 丕賱廿賳爻丕賳 賵爻胤 賰賱 賴匕丕 賮賰賷賮 亘廿賳爻丕賳 賷賳賯賱 賱賳丕 夭賲賳賷丞 乇賵丕賷丞 亘賷賳 (1899 - 1954賲).
2
丕賱爻丐丕賱 丕賱匕賷 胤乇丨鬲賴 亘毓丿 賳賴丕賷丞 丕賱乇賵丕賷丞 賴賱 賰丕賳 (鬲賷賵丿賵乇 兀丿賵乇賳賵) 乇丕囟賺 毓賳 賴匕丕 丕賱毓賲賱 亘毓丿 鬲丨丿賷賴 丕賱賲賳噩夭丕鬲 丕賱毓賲賱 丕賱乇賵丕卅賷 丕賱兀賲丕賳賷 亘毓丿 丕賱丨乇亘.
3
毓賳丿賲丕 賯乇兀鬲 賴匕丕 丕賱賳氐 丕賱夭丕禺乇 鬲匕賰乇鬲 賲亘丕卮乇丞 賳氐 賴賵 丕賱丌禺乇 噩賲賷賱 賵賯賵賷 (兀賮丕賱 賲賳鬲氐賮 丕賱賱賷賱) 賱爻賱賲丕賳 乇卮丿賷. 賴匕丕 丕賱賳氐 禺乇噩 賳毓賲 禺乇噩 賲賳 乇丨賲 乇賵丕賷丞 (胤亘賱 丕賱氐賮賷丨) 丿賵賳 噩丿丕賱. 賵兀卮乇鬲 賱乇賵丕賷丞 賲孬賱 賴匕賴 賱卮賴乇丞 賵毓馗賲丞 賳氐 (乇卮丿賷) 賵鬲丨賯賷賯賴 卮賴乇丞 毓丕賱賲賷丞 賮丕賯鬲 丕賱禺賷丕賱. 賲賳 丨賷孬 丕賱爻乇丿 鈥� 乇睾賲 亘爻丕胤鬲賴 鈥� 賵賲賳 鬲毓丿丿賷丞 丕賱乇賵丕賷貙 賵賲賳 丨賷孬 胤乇賷賯丞 亘賳丕亍 丕賱乇賵丕賷丞貙 賵賲賳 禺賱丕賱 賰匕賱賰 廿爻鬲禺丿丕賲 丕賱賲孬賷賵賱賵噩賷丕 丕賱賴賳丿賷 賮賷 乇賵丕賷丞 乇卮丿賷貙 賵賱賵 爻兀賱 兀丨丿賴賲 爻賱賲丕賳 賱兀噩丕亘 : 賳毓賲 鬲兀孬乇鬲 亘乇賵丕賷丞 睾乇丕爻.
賮丕氐賱丞 :
賱賲 賷賰賳 賲賳 丕賱爻賴賱 丕賱卮毓賵乇 丕賱賰丕賲賱 賵丕賱賲胤賱賯 亘毓馗賲丞 丕賱鬲乇噩賲丞 賮賳丨賳 賳鬲丨丿孬 毓賳 賳氐 兀賱賲丕賳賷 賵賱睾丞 賯丿 賱丕 鬲噩丿 賲乇丕丿賮丕鬲 賱亘毓囟 賰賱賲丕鬲賴丕 賮賷 丕賱賯丕賲賵爻 丕賱毓乇亘賷 賵賰賲丕 賯丕賱 丕賱賲鬲乇噩賲 賵賮賯 賴匕丕 丕賱賳氐 "廿賳 鬲乇噩賲丞 兀毓賲丕賱 睾乇丕爻 賱丕 鬲毓賳賷 爻賵賶 卮賷亍 賵丕丨丿貙 賵賴賵 鬲丨賵賷賱 丨卮賷卮 賲夭丿賴乇 廿賱賶 鬲亘賳 賷丕亘爻鈥� (兀賳馗乇 氐 10 - 12).
兀卮賰乇 睾乇丕爻 兀賳 丕賱毓賲賱 賱賲 賷賰賳 賰亘毓囟 丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲兀鬲賷 丿賵賳 賮氐賵賱 兀賵 鬲乇賯賷賲 兀賵 丨鬲賶 鬲賱賰 丕賱賳噩賵賲 丕賱鬲賷 鬲賮氐賱 賲卮賴丿賸丕 兀賵 賲賯胤毓賸丕 毓賳 丕賱丌禺乇. 賮賴匕丕 鬲賵丕賮賯 賲毓 丨噩賲賴丕 丕賱賰亘賷乇.
兀禺賷乇賸丕.. 賴匕賴 丕賱毓賲賱 丕賱賮乇賷丿 賴賵 毓亘丕乇丞 孬賱丕孬賷丞 賱賱賰丕鬲亘 賵賯丿 鬲賱鬲賴丕 : (丕賱賯胤 賵丕賱賮兀乇)貙 賵(爻賳賵丕鬲 丕賱賰賱丕亘)貙 賵丕賱鬲賷 爻賵賮 鬲氐亘丨 鬲丨賲賱 丕爻賲 ((孬賱丕孬賷丞 睾丿丕賳爻賷睾)).
賳氐 丕賱賲丕丿丞 賲禺鬲氐乇 賯賲鬲 亘賳卮乇賴 毓賱賶 賲賵賯毓 廿賳賰鬲丕亘 賵賯丿 賵囟毓鬲 乇丕亘胤丞 亘氐賮丨鬲賷 毓賱賶 鬲賵賷鬲乇貙 賵兀賳卮乇賴 賴賳丕 丕賱兀賳
賯賷賲丞 賴匕賴 丕賱毓賲賱 鬲賰賲賳 賮賷 氐丿賯賴 鬲噩丕賴 丕賱廿賳爻丕賳. 賵毓賳丿賲丕 賲賳丨鬲 賳賵亘賱 睾乇丕爻 賰丕賳 鬲毓賱賲 廿賳 丕賱廿賳爻丕賳 兀丨鬲賱 卮兀賳賸丕 賲賯丿爻賸丕 賮賷 賰鬲亘丕鬲賴..
賲賳 賵丕賯毓 禺亘乇丞 賯乇丕卅賷丞 胤賵賷賱丞 賴匕丕 丕賱毓賲賱 賲賳賴賰 賱賱賯丕乇卅 丕賱賲丨鬲乇賮. 爻賵賮 兀鬲賮賴賲 賲賳 賷賯乇兀 丕賱賵乇賯丕鬲 丕賱兀賵賱賶 賵賷鬲賵賯賮 毓賳 丕賱毓賲賱 賱賷爻 賱賲賱賱賺 賯丿 賷毓鬲乇賷賴 亘賯丿乇 丕賱噩賴丿 丕賱賲囟賳賷 丕賱匕賷 賷鬲胤賱亘賴 賯乇丕亍丞 賴匕丕 丕賱賳氐 丕賱賲毓賯丿 賵丕賱匕賷 丨亘賰鬲 兀噩夭丕卅賴 亘廿丨鬲乇丕賮賷丞 毓丕賱賷丞 賰丕賳 丕賱鬲賰賱賮 毓賳氐乇賸丕 胤丕睾賷賸丕 毓賱賷賴丕. 賱賰賳 亘毓囟 丕賱鬲賰賱賮 賷兀鬲賷 孬賲丕乇賴. 賲孬賱 賴匕丕 丕賱賳氐
亘賯賷 兀賵爻賰丕乇 亘丕賱賳爻亘丞 賱賷 丨丕賱丞 廿賳爻丕賳賷丞 賰睾賷乇賴丕 賲賳 丕賱丨丕賱丕鬲 丕賱鬲賷 鬲毓乇賮賴丕 亘毓囟賴丕 賮賷 丨賷丕鬲賳丕 丕賱賷賵賲賷丞. 賱賰賳 睾乇丕爻 賵賴亘賴丕 丨賷丕丞 禺丕賱丿丞 賲賳 禺賱丕賱 丕賱睾乇賮丞 丕賱鬲賷 賳夭賱 亘賴丕 賮賷 賲氐丨賴 丕賱毓賯賱賷 毓賳丿賲丕 兀鬲賴賲 丿賵賳 賵噩賴 丨賯 賵賲賳 賴賳丕賰 賷爻噩賱 賲匕賰乇丕鬲賴 賵賮賯 丕賱乇賵锟斤拷賷丞 亘賰鬲亘賴丕 丕賱孬賱丕孬丞.. 兀賵爻賰丕乇 丕賱匕賷 兀賵賯賮 賳賲賵賴 (丕賱賯夭賲) 賱賰賳 賰丕賳 賷賳賲賵 賳賲賵賸丕 丌禺乇 (兀賵爻賰丕乇 賲丕鬲夭賷乇丕孬) 賲毓 胤亘賱鬲賴 賵賲毓 賯丿乇丕鬲 禺丕乇賯丞 亘鬲丨胤賷賲丞 賱賱夭噩丕噩 賵氐乇丕禺丕鬲賴 丕賱鬲賷 鬲毓鬲乇囟 賲丕 賷賯賮 兀賲丕賲賴 賵賮賯 丨丕賱丕鬲 丕賱廿毓鬲乇丕囟.
丕賱賲乇丕丨賱 丕賱鬲賷 毓丕卮賴丕 兀賵爻賰丕乇 鬲禺亘乇賰 毓賳 兀孬乇 丕賱鬲丨賵賱 賮賷 丨賷丕丞 丕賱廿賳爻丕賳. 丕賱丨賷丕丞 丕賱鬲賷 毓丕卮賴丕 亘毓丿 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱兀賵賱賶貙 賵丨賷丕鬲賴 賯亘賱 丕賱丨乇亘 丕賱孬丕賳賷丞貙 賵賰匕賱賰 亘毓丿 丕賱丨乇亘. 賵賵丨丿賴 胤亘賱 丕賱氐賮賷丨 乇賮賷賯賴 丕賱兀賵賱.
賱賯丿 兀噩丕丿 丕賱兀丿賷亘 丕賱兀賱賲丕賳賷 賱賱鬲毓亘賷乇 毓鬲 賯賱賯賴 亘毓丿 丕賱丨乇亘 丕賱孬丕賳賷丞 賵亘丿兀 胤丕睾賷賸丕 兀孬乇 丕賱鬲卮鬲鬲 賵丕賱氐乇丕毓 丕賱匕賷 毓丕賳賴 丕賱兀賵乇亘賷 賵禺丕氐丞 丕賱兀賱賲丕賳賷 毓賱賶 丕賱氐毓賷丿 丕賱兀賵乇亘賷 賲賳 兀孬乇 丕賱丿賵乇 丕賱匕賷 賱毓亘丞 丕賱乇丕賷禺 賮賷 丕賱丨乇亘. 鬲氐丿毓丕鬲 乇噩賱 丕賱賯乇賳 丕賱毓卮乇賷賳 賮賷 丕賱賳氐賮 丕賱兀賵賱 賲賳賴 賲賯賱賯 賵賲禺賷賮貙 賵賵爻胤 賰賱 賴匕丕 鬲亘賯賶 丕賱賰賵賲賷丿賷丕亍 亘爻賵丿賵丕賷鬲賴丕 鬲丨丕乇亘 匕賱賰 丕賱廿賳爻丕賳 毓賱賴丕 鬲禺賮賮 亘毓囟 賵噩毓賴 賵賮賷 丕賱賳氐 丕賱賰孬賷乇 賲賳 匕賱賰 丕賱賴乇賵亘 賲賳 兀乇囟 賵丕賯毓 丕賱丿賲丕乇 賵丕賱丨乇亘 賵丕賱賲賵鬲 賵丕賱丿賲 賵丕賱鬲賴噩賷乇.
丕賱爻乇丿賷丞 丕賱賲噩賳賵賳丞 :
賲賳 兀毓馗賲 鬲賯賳賷丕鬲 賴匕丕 丕賱賳氐 丕賱賮丕禺乇貙 兀爻賱賵亘 丕賱爻乇丿 賵丕賱匕賷 鬲賳賵毓 亘賷賳 囟賲賷乇 丕賱賲鬲賰賱賲 (兀賳丕) 賵囟賲賷乇 丕賱睾丕卅亘 (賴賵)貙 賵亘賷賳賴賲丕 賷馗賴乇 賵賷禺鬲賮賷 匕賱賰 丕賱氐賵鬲 丕賱匕賷 賰兀賳賴 賷丨丕乇亘 兀賵爻賰丕乇 賲賳 丕賱丿丕禺賱貙 賵丕賱乇丕賵賷 (丕賱毓賱賷賲) 兀賳馗乇 賱賰賲賷丞 丕賱噩賳賵賳 賮賷 丕賱爻乇丿. 賰賱 賴匕丕 鬲賲 賵賮賯 賵丕賯毓賷丞 噩賲賷賱丞 賴匕 賮賷 丕賱兀氐賱 賲夭噩 亘賷賳 丕賱賵丕賯毓賷丞 賵廿爻賯丕胤丕鬲 丿賷賳賷丞 毓亘孬賷丞貙 賵賲賳 賯乇兀 乇賵丕賷丞 丕賱賲毓賱賲 賵賲乇睾乇賷鬲丕 賱賲賷禺丕卅賷賱 亘賵賱睾丕賰賵賮 爻賷毓乇賮 兀孬乇 匕賱賰 賮賷 丕賱賵丕賯毓賷丞 毓賳丿賲丕 賷禺鬲賱胤 賲毓 丕賱賮賳鬲丕夭賷. 賱賰賳 賴匕丕 賱賳 賷氐賷亘賰 亘丨賷乇丞 乇睾賲 亘毓囟 丕賱鬲卮鬲鬲 丕賱匕賷 爻賵賮 賷夭賵賱 賵賮賯 禺賱賮賷丕鬲賰 丕賱爻丕亘賯丞 賵賲毓乇賮鬲賰 亘毓馗賷賲 丕賱乇賵丕賷丕鬲. 賰丕賳鬲 賴匕賴 兀丿賵丕鬲 睾乇丕爻 賮賷 丕賱兀氐賱 賱賲丨丕賰丕丞 丕賱馗乇賵賮 丕賱爻賷丕爻賷丞 賮賷 鬲賱賰 丕賱丨賯亘丞 丕賱孬賱丕孬賷賳丕鬲 賵丕賱兀乇亘毓賷賳丕鬲. 賱賰賳賴丕 賰丕賳鬲 賵丕賯毓賷丞 爻丨乇賷丞 氐丕丿賲丞 賵賱賷爻 賮賯胤 賮賳鬲丕夭賷丕 爻丨乇賷丞 賰丨匕丕亍 爻賳丿乇賷賱丕 賮賷 丕賱賳氐 丕賱兀賵乇亘賷 貙 兀賵 賲氐亘丕丨 毓賱丕亍 丕賱丿賷賳 賮賷 丕賱賳氐 丕賱毓乇亘賷貙 賵賱賰賳 賷亘丿賵 噩賱賷賸丕 兀孬乇 丕賱爻乇丿賷丞 丕賱毓乇亘賷丞 毓賱賶 丕賱賰丕鬲亘 賲賳 丨賷孬 禺乇賵噩 丨賰丕賷丕鬲 氐睾賷乇丞 賲賳 賵爻胤 丨賰丕賷丞 兀賰亘乇 賵賮賯 賵丨丿丕鬲 爻乇丿賷丞 賴丕卅賱丞. 賴賰匕丕 賴賵 丕賱賳氐 賷亘丿兀 賵賷賳鬲賴賷 賵賯賷丕賲賴 賷賲鬲丿 賱賱爻乇丿.
賲乇賴賯丞 賴賷 丕賱乇賵丕賷丞 丕賱鬲賷 鬲亘丿兀 亘噩賲賱丞 賲禺賷賮丞 賰賴匕賴 "兀毓鬲乇賮 亘兀賳賳賷 賳夭賷賱 賲氐丨丞 賱賱兀賲乇丕囟 丕賱毓賯賱賷丞" 鬲毓賷賯 鬲賯賷賷賲賰 賱賱賰孬賷乇 賲賳 丕賱兀丨丿丕孬 丕賱兀賵賱賶 賵鬲亘賯賶 毓丕賱賯丞 賮賷 匕賴賳賰 丨鬲賶 亘毓丿 賳賴丕賷丞 丕賱乇賵丕賷丞 賵鬲爻兀賱 賳賮爻賰 賴賱 賲丕賯乇兀鬲 鬲噩丕賵夭 丨丿賵丿 丕賱噩賲賱丞 丕賱廿禺亘丕乇賷丞 兀賲 兀賳 丕賱噩賲賱 賲噩乇丿 禺亘乇 囟賲賳 爻賷丕賯 丕賱賳氐賵 賵賲乇賴賯 賱胤賮賱 兀賳 賷鬲丨鬲賲 毓賱賷賴 丕賱廿禺鬲賷丕乇 亘賷賳 丕賱毓賲賱 賮賷 丕賱賲鬲噩乇 鈥� 丕賱亘賯丕賱丞 鈥� 賲毓 賵丕賱丿賴 賵亘賷賳 廿賳鬲馗丕乇 鬲丨賯賷賯 兀賲賳賷丞 丕賱丨氐賵賱 毓賱賶 "丕賱胤亘賱"貙 賵賮賷 毓賷丿賴 丕賱孬丕賱孬 賷乇鬲亘胤 丕賵爻賰丕乇 亘胤亘賱丞賺 賱賳賴丕賷丞 丨賰丕賷鬲賴.
賮囟丕亍 丕賱鬲爻丕丐賱丕鬲 :
1
丕賱爻丐丕賱 丕賱匕賷 賰賳鬲 兀胤乇丨賴 毓賱賶 賳賮爻賷 :
賴賱 賰丕賳 賷丨鬲丕噩 兀賵爻賰丕乇 兀賳 賷噩毓賱賳賷 賮賷 賰賱 賴匕賴 丕賱丨賷乇丞 賲賳 賳賯丕卮丕鬲 丿賷賳賷丞 亘賷賳 丕賱賷賴賵丿賷丞 賵丕賱賲爻賷丨賷丞 賵廿爻賯丕胤賴丕 毓賱賶 丕賱賵丕賯毓.. 賴賱 賰賳丕 賳丨賳 賳丨鬲丕噩 賴匕丕 丕賱鬲卮鬲鬲 丕賱丿乇丕賲賷 賲毓 丕賱賳氐 賱賲毓乇賮丞 丕賱廿賳爻丕賳 / 丕賱廿賳爻丕賳 丕賱匕賷 毓丕賷卮 丕賱丨乇亘 賵丕賱丨亘 賵丕賱鬲乇丨丕賱 賵賮賯丿 丕賱兀丨亘丞責.
丕賱廿噩丕亘丞 : 賰賳鬲 兀賯賵賱 賳毓賲 賴匕丕 賴賵 丕賱廿賳爻丕賳 賵爻胤 賰賱 賴匕丕 賮賰賷賮 亘廿賳爻丕賳 賷賳賯賱 賱賳丕 夭賲賳賷丞 乇賵丕賷丞 亘賷賳 (1899 - 1954賲).
2
丕賱爻丐丕賱 丕賱匕賷 胤乇丨鬲賴 亘毓丿 賳賴丕賷丞 丕賱乇賵丕賷丞 賴賱 賰丕賳 (鬲賷賵丿賵乇 兀丿賵乇賳賵) 乇丕囟賺 毓賳 賴匕丕 丕賱毓賲賱 亘毓丿 鬲丨丿賷賴 丕賱賲賳噩夭丕鬲 丕賱毓賲賱 丕賱乇賵丕卅賷 丕賱兀賲丕賳賷 亘毓丿 丕賱丨乇亘.
3
毓賳丿賲丕 賯乇兀鬲 賴匕丕 丕賱賳氐 丕賱夭丕禺乇 鬲匕賰乇鬲 賲亘丕卮乇丞 賳氐 賴賵 丕賱丌禺乇 噩賲賷賱 賵賯賵賷 (兀賮丕賱 賲賳鬲氐賮 丕賱賱賷賱) 賱爻賱賲丕賳 乇卮丿賷. 賴匕丕 丕賱賳氐 禺乇噩 賳毓賲 禺乇噩 賲賳 乇丨賲 乇賵丕賷丞 (胤亘賱 丕賱氐賮賷丨) 丿賵賳 噩丿丕賱. 賵兀卮乇鬲 賱乇賵丕賷丞 賲孬賱 賴匕賴 賱卮賴乇丞 賵毓馗賲丞 賳氐 (乇卮丿賷) 賵鬲丨賯賷賯賴 卮賴乇丞 毓丕賱賲賷丞 賮丕賯鬲 丕賱禺賷丕賱. 賲賳 丨賷孬 丕賱爻乇丿 鈥� 乇睾賲 亘爻丕胤鬲賴 鈥� 賵賲賳 鬲毓丿丿賷丞 丕賱乇賵丕賷貙 賵賲賳 丨賷孬 胤乇賷賯丞 亘賳丕亍 丕賱乇賵丕賷丞貙 賵賲賳 禺賱丕賱 賰匕賱賰 廿爻鬲禺丿丕賲 丕賱賲孬賷賵賱賵噩賷丕 丕賱賴賳丿賷 賮賷 乇賵丕賷丞 乇卮丿賷貙 賵賱賵 爻兀賱 兀丨丿賴賲 爻賱賲丕賳 賱兀噩丕亘 : 賳毓賲 鬲兀孬乇鬲 亘乇賵丕賷丞 睾乇丕爻.
賮丕氐賱丞 :
賱賲 賷賰賳 賲賳 丕賱爻賴賱 丕賱卮毓賵乇 丕賱賰丕賲賱 賵丕賱賲胤賱賯 亘毓馗賲丞 丕賱鬲乇噩賲丞 賮賳丨賳 賳鬲丨丿孬 毓賳 賳氐 兀賱賲丕賳賷 賵賱睾丞 賯丿 賱丕 鬲噩丿 賲乇丕丿賮丕鬲 賱亘毓囟 賰賱賲丕鬲賴丕 賮賷 丕賱賯丕賲賵爻 丕賱毓乇亘賷 賵賰賲丕 賯丕賱 丕賱賲鬲乇噩賲 賵賮賯 賴匕丕 丕賱賳氐 "廿賳 鬲乇噩賲丞 兀毓賲丕賱 睾乇丕爻 賱丕 鬲毓賳賷 爻賵賶 卮賷亍 賵丕丨丿貙 賵賴賵 鬲丨賵賷賱 丨卮賷卮 賲夭丿賴乇 廿賱賶 鬲亘賳 賷丕亘爻鈥� (兀賳馗乇 氐 10 - 12).
兀卮賰乇 睾乇丕爻 兀賳 丕賱毓賲賱 賱賲 賷賰賳 賰亘毓囟 丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲兀鬲賷 丿賵賳 賮氐賵賱 兀賵 鬲乇賯賷賲 兀賵 丨鬲賶 鬲賱賰 丕賱賳噩賵賲 丕賱鬲賷 鬲賮氐賱 賲卮賴丿賸丕 兀賵 賲賯胤毓賸丕 毓賳 丕賱丌禺乇. 賮賴匕丕 鬲賵丕賮賯 賲毓 丨噩賲賴丕 丕賱賰亘賷乇.
兀禺賷乇賸丕.. 賴匕賴 丕賱毓賲賱 丕賱賮乇賷丿 賴賵 毓亘丕乇丞 孬賱丕孬賷丞 賱賱賰丕鬲亘 賵賯丿 鬲賱鬲賴丕 : (丕賱賯胤 賵丕賱賮兀乇)貙 賵(爻賳賵丕鬲 丕賱賰賱丕亘)貙 賵丕賱鬲賷 爻賵賮 鬲氐亘丨 鬲丨賲賱 丕爻賲 ((孬賱丕孬賷丞 睾丿丕賳爻賷睾)).
February 12, 2021
"" 禺購亘貙 丕賳讴丕乇 趩乇丕責 賲賳 丿乇 蹖讴 丌爻丕蹖卮诏丕賴 乇賵丕賳蹖 亘爻鬲乇蹖 賴爻鬲賲 ""
卮乇賵毓 讴鬲丕亘 亘丕 毓亘丕乇鬲賽 亘丕賱丕 賵 亘丿賵賳 賴蹖趩 賲賯丿賲賴 丕蹖 丕夭 賲賵賱賮 賵 賲鬲乇噩賲貙 鬲賻讴 禺胤蹖 丕爻鬲 讴賴 禺亘乇 丕夭 丌賻卮賵亘蹖 793 氐賮丨賴 丕蹖 賲蹖丿賴丿 讴賴 亘丕蹖丿 賵 卮丕蹖丿 禺賵丕賳丿 貙 賴賲 亘賴 賴賲蹖賳 丕毓鬲亘丕乇 賵 賴賲貙 亘賴 丕毓鬲亘丕乇 噩丕蹖夭賴 蹖賽 賳賵亘賱賽 丕丿亘蹖 蹖賽 1999 讴賴 賳氐蹖亘賽 賳賵蹖爻賳丿賴 丕賻卮 卮丿賴
丕賵賱丕
賳賵蹖爻賳丿賴 讴鬲丕亘貙 "诏賵賳鬲乇 诏乇丕爻" 亘丕 鬲乇讴蹖亘賽 卮丕蹖爻鬲賴 蹖賽 賳賵亘賱蹖 丕夭 "禺蹖丕賱 倬乇丿丕夭蹖賽 賵丕賯毓 诏購乇蹖夭" 丕夭 蹖讴 爻賵 賵 "賵丕賯毓 賳诏乇蹖賽 禺蹖丕賱 夭購丿丕" 丕夭 丿蹖诏乇 爻賵
丿丕爻鬲丕賳蹖 亘賱賳丿 賵 诏蹖乇丕貙 亘丕 乇賵丕蹖鬲蹖 丕夭 丿乇賵賳賽 夭賳丿诏蹖 賵 夭賲丕賳賴 蹖賽 讴賵丿讴蹖 胤亘賱 賳賻賵丕夭 乇丕 鬲毓乇蹖賮 賲蹖讴賳丿 讴賴 丿乇 爻賴 爻丕賱诏蹖 乇卮丿 噩爻賲丕賳蹖 丕賻卮 賲鬲賵賯賮 卮丿賴 賵 丿乇 噩丕蹖 噩丕蹖賽 丿丕爻鬲丕賳 亘賴 賵乇賯 亘丕夭蹖 丕蹖 卮蹖胤丕賳蹖 賵 氐丿丕賱亘鬲賴 丌賲蹖禺鬲賴 亘賴 鬲賱禺蹖賽 賲丨囟 亘丕 丨賵丕丿孬 乇賵夭诏丕乇 賵 丌丿賲蹖丕賳蹖 爻乇诏乇賲 丕爻鬲 讴賴 賳賴 賲蹖鬲賵丕賳賳丿 賵 賳賴 賲蹖禺賵丕賴賳丿 讴賴 賮乇蹖亘丕蹖蹖 蹖賽 丿賳蹖丕蹖賽 讴賵鬲賵賱賴 诏蹖 丕賻卮 乇丕 賲丨鬲乇賲 卮賲丕乇賳丿
诏乇丕爻貙 丕夭 賲蹖丕賳賴 蹖賽 賯乇賳賽 噩賳诏 賵 氐賱丨賽 丕乇賵倬丕蹖蹖貙 丿丕爻鬲丕賳蹖 丕賳爻丕賳蹖 賲蹖爻丕夭丿貙 丕夭 乇賮賯丕 賵 丌卮賳丕蹖丕賳蹖 讴賴 賵蹖貙 噩丕賳卮丕賳 乇丕 亘丕 丕亘夭丕乇賽 賲毓氐賵賲蹖鬲賽 讴賵鬲賵賱賴 诏蹖 丕賻卮貙 丕亘賱蹖爻丕賳賴 (蹖丕 亘賴鬲乇 丕爻鬲 亘诏賵蹖賲 丕亘賱蹖爻賻讴丕賳賴) 亘賴 亘丕丿 賮賳丕 賲蹖丿賴丿貙 丕夭 乇賮蹖賯蹖 讴賴 亘賴 丿乇禺賵丕爻鬲 禺賵丿卮 丿乇 賵丕倬爻蹖賳 賳賮爻 賴丕蹖 丿丕爻鬲丕賳貙 丕毓賱丕賲 噩乇賲蹖 賲囟丨讴 毓賱蹖賴 丕賻卮 賲蹖讴賳丿 鬲丕 亘丨讴賲賽 賲丨讴賲賴貙 夭賲蹖賳 诏蹖乇蹖 "丌爻賵丿賴 亘爻鬲乇" 丿乇 鬲蹖賲丕乇爻鬲丕賳 賱賯亘 诏蹖乇丿貙 丕夭 乇賳诏賽 趩卮賲丕賳蹖 讴賴 丨蹖乇鬲賲賳丿丕賳賴 亘蹖卮鬲乇 亘賴 丿丕蹖蹖 夭丕丿賴 賵 賲毓卮賵賯賴 蹖賽 賲丕丿乇 卮亘蹖賴 鬲賻乇 丕爻鬲 鬲丕 趩卮賲丕賳 賲乇丿讴蹖 讴賴 倬丿乇 賲蹖禺賵丕賳丿貙 丕夭 乇蹖卮禺賳丿賽 "賴乇 丌賳蹖貙 丿乇 賴賵丕卅蹖" 亘賵丿賳賽 丿賻賲 賵 丿爻鬲诏丕賴賽 賴蹖鬲賱乇蹖 賵 乇賯亘丕蹖賽 賴賲 胤乇丕夭賻卮 丿乇 卮乇賯 賵 睾乇亘 丿乇 爻賮丕賴鬲賽 毓丕賱賲 爻賵夭貙 丕夭 賴亘賵胤賽 丕夭 毓乇卮 亘賴 賮乇卮賽 毓卮賯蹖 睾蹖乇賲丕丿蹖 賵 噩丕賵丿丕賳賴 亘賴 "賱賴爻鬲丕賳" 賵 賲乇夭賴丕蹖 賴賲蹖卮賴 丿乇 讴卮丕讴卮賻卮 亘賴 毓卮賯 賴丕蹖蹖 夭賲蹖賳蹖 賵 爻賵夭丕賳貙 鬲賻賳 亘賳蹖丕丿 賵 丿賻賲 亘賴 丿賻賲 賳賵 卮賵賳丿賴 丕蹖 亘丕 丿禺鬲乇讴丕賳 賵 倬蹖乇夭賳丕賳 讴賴 賴蹖趩蹖讴 乇丕 蹖丕乇丕蹖賽 賴賲丕賵乇丿蹖 亘丕 毓卮賯賽 丿蹖乇倬丕 亘賴 胤亘賱卮 -丕蹖賳 夭亘丕賳 賴賲蹖卮賴 诏賵蹖丕蹖賻卮- 賳蹖爻鬲貙 讴賴 趩賵賳丕賳 賯賱賲賽 诏乇丕爻貙 賵丕诏賵蹖賴 蹖 丿蹖丿賴 賴丕 賵 卮賳蹖丿賴 賴丕蹖卮 丕爻鬲 賵 丨丕賮馗賴 丕蹖 亘蹖 丨賳噩乇賴 丕賲丕 禺賵卮 胤賳蹖賳 讴賴 噩丕賳 賴丕 乇丕 卮蹖賮鬲賴 讴乇丿賴 賵 禺丕胤乇 賴丕 乇丕 亘賴 賲毓氐賵賲蹖鬲 讴賵丿讴蹖 卮丕賳 亘丕夭賲蹖诏乇丿丕賳丿
丿賵賲丕
鬲乇噩賲賴 丕蹖 亘賻爻 禺賵丕爻鬲賳蹖 賵蹖丕 亘賴 鬲毓亘蹖乇賽 丕蹖賳 亘賳丿賴貙 "賮乇夭賳丿 賵丕乇" 丕夭 爻乇賵卮 丨亘蹖亘蹖 讴賴 丕賱亘鬲賴 亘毓囟丕 亘賽毓賻賲丿貙 爻禺鬲 丕丿蹖亘丕賳賴 賳賵卮鬲賴貙 鬲丕 賴賲 亘賳賲丕蹖丿賽 爻禺賳賽 丿賱賽 诏乇丕爻 乇丕 賵 賴賲 丌賳趩賴 乇丕 讴賴 丕蹖賳 禺胤 爻蹖乇賽 倬乇丌卮賵亘 賵 丕賳爻丕賳蹖 亘乇丕蹖 禺賵丕賳賳丿賴 蹖 丕蹖乇丕賳蹖 丿丕乇丿 乇丕 夭蹖亘丕鬲乇 賵 噩丕賳丿丕乇鬲賻乇 亘賴 賳賲丕蹖卮 亘诏匕丕乇丿貙 賮賯胤 丕蹖賳讴賴 丕爻鬲賮丕丿賴 蹖賽 丿乇蹖睾 卮丿賴 丕夭 賵蹖乇诏賵賱 丿乇 鬲乇噩賲賴貙 爻禺鬲 禺賵丕賳蹖 賵 丿蹖乇賮賴賲蹖 乇丕貙 卮丕蹖丿 丿乇 30 丕賱蹖 50 噩賲賱賴 丕夭 讴鬲丕亘貙 賱丕噩乇賲 賲蹖賳賲丕蹖丿
爻賵賲丕
讴鬲丕亘賽 丨丕囟乇貙 丿乇 亘賴鬲乇蹖賳 丨丕賱鬲 蹖讴 賴賮鬲賴 賵 丨鬲蹖 鬲丕 蹖讴 賲丕賴貙 亘爻鬲賴 亘賴 丨丕賱 賵 丕丨賵丕賱 賵 毓丕丿丕鬲賽 禺賵丕賳卮蹖賽 卮賲丕 夭賲丕賳 賱丕夭賲 丿丕乇丿 鬲丕 禺賵卮丿賱丕賳賴 睾乇賯賽 丿乇蹖丕蹖賽 禺蹖丕賱賻卮 卮賵蹖丿 丕賲丕 丕夭 賲賳 賲蹖卮賳賵蹖丿 丕蹖賳 乇賲丕賳 乇丕 亘賴丕乇 賵 鬲丕亘爻鬲丕賳 亘禺賵丕賳蹖丿
趩赖丕乇賲丕
賮蹖賱賲蹖 2.5爻丕毓鬲賴 讴賴 亘乇賳丿賴 蹖賽 丕爻讴丕乇賽 亘賴鬲乇蹖賳賽 賮蹖賱賲 禺丕乇噩蹖 蹖賽 爻丕賱 1980 卮丿賴貙 亘賻乇 亘購賳蹖丕丿賽 賴賲蹖賳 乇賲丕賳 爻丕禺鬲賴 卮丿賴貙 亘賽賳丕賲
The Tin Drum
:鬲賲丕卮丕蹖賽 賮蹖賱賲 丿乇 蹖賵鬲蹖賵亘
:鬲賲丕卮丕蹖 賲乇丕爻賲 丕賴丿丕蹖賽 丕爻讴丕乇 1980 亘賴 丕蹖賳 賮蹖賱賲 丿乇 蹖賵鬲蹖賵亘
:賲氐丕丨亘賴 丕蹖 亘丕 诏賵賳鬲乇 诏乇丕爻 亘丕 夭蹖乇賳賵蹖爻 賮丕乇爻蹖
卮乇賵毓 讴鬲丕亘 亘丕 毓亘丕乇鬲賽 亘丕賱丕 賵 亘丿賵賳 賴蹖趩 賲賯丿賲賴 丕蹖 丕夭 賲賵賱賮 賵 賲鬲乇噩賲貙 鬲賻讴 禺胤蹖 丕爻鬲 讴賴 禺亘乇 丕夭 丌賻卮賵亘蹖 793 氐賮丨賴 丕蹖 賲蹖丿賴丿 讴賴 亘丕蹖丿 賵 卮丕蹖丿 禺賵丕賳丿 貙 賴賲 亘賴 賴賲蹖賳 丕毓鬲亘丕乇 賵 賴賲貙 亘賴 丕毓鬲亘丕乇 噩丕蹖夭賴 蹖賽 賳賵亘賱賽 丕丿亘蹖 蹖賽 1999 讴賴 賳氐蹖亘賽 賳賵蹖爻賳丿賴 丕賻卮 卮丿賴
丕賵賱丕
賳賵蹖爻賳丿賴 讴鬲丕亘貙 "诏賵賳鬲乇 诏乇丕爻" 亘丕 鬲乇讴蹖亘賽 卮丕蹖爻鬲賴 蹖賽 賳賵亘賱蹖 丕夭 "禺蹖丕賱 倬乇丿丕夭蹖賽 賵丕賯毓 诏購乇蹖夭" 丕夭 蹖讴 爻賵 賵 "賵丕賯毓 賳诏乇蹖賽 禺蹖丕賱 夭購丿丕" 丕夭 丿蹖诏乇 爻賵
丿丕爻鬲丕賳蹖 亘賱賳丿 賵 诏蹖乇丕貙 亘丕 乇賵丕蹖鬲蹖 丕夭 丿乇賵賳賽 夭賳丿诏蹖 賵 夭賲丕賳賴 蹖賽 讴賵丿讴蹖 胤亘賱 賳賻賵丕夭 乇丕 鬲毓乇蹖賮 賲蹖讴賳丿 讴賴 丿乇 爻賴 爻丕賱诏蹖 乇卮丿 噩爻賲丕賳蹖 丕賻卮 賲鬲賵賯賮 卮丿賴 賵 丿乇 噩丕蹖 噩丕蹖賽 丿丕爻鬲丕賳 亘賴 賵乇賯 亘丕夭蹖 丕蹖 卮蹖胤丕賳蹖 賵 氐丿丕賱亘鬲賴 丌賲蹖禺鬲賴 亘賴 鬲賱禺蹖賽 賲丨囟 亘丕 丨賵丕丿孬 乇賵夭诏丕乇 賵 丌丿賲蹖丕賳蹖 爻乇诏乇賲 丕爻鬲 讴賴 賳賴 賲蹖鬲賵丕賳賳丿 賵 賳賴 賲蹖禺賵丕賴賳丿 讴賴 賮乇蹖亘丕蹖蹖 蹖賽 丿賳蹖丕蹖賽 讴賵鬲賵賱賴 诏蹖 丕賻卮 乇丕 賲丨鬲乇賲 卮賲丕乇賳丿
诏乇丕爻貙 丕夭 賲蹖丕賳賴 蹖賽 賯乇賳賽 噩賳诏 賵 氐賱丨賽 丕乇賵倬丕蹖蹖貙 丿丕爻鬲丕賳蹖 丕賳爻丕賳蹖 賲蹖爻丕夭丿貙 丕夭 乇賮賯丕 賵 丌卮賳丕蹖丕賳蹖 讴賴 賵蹖貙 噩丕賳卮丕賳 乇丕 亘丕 丕亘夭丕乇賽 賲毓氐賵賲蹖鬲賽 讴賵鬲賵賱賴 诏蹖 丕賻卮貙 丕亘賱蹖爻丕賳賴 (蹖丕 亘賴鬲乇 丕爻鬲 亘诏賵蹖賲 丕亘賱蹖爻賻讴丕賳賴) 亘賴 亘丕丿 賮賳丕 賲蹖丿賴丿貙 丕夭 乇賮蹖賯蹖 讴賴 亘賴 丿乇禺賵丕爻鬲 禺賵丿卮 丿乇 賵丕倬爻蹖賳 賳賮爻 賴丕蹖 丿丕爻鬲丕賳貙 丕毓賱丕賲 噩乇賲蹖 賲囟丨讴 毓賱蹖賴 丕賻卮 賲蹖讴賳丿 鬲丕 亘丨讴賲賽 賲丨讴賲賴貙 夭賲蹖賳 诏蹖乇蹖 "丌爻賵丿賴 亘爻鬲乇" 丿乇 鬲蹖賲丕乇爻鬲丕賳 賱賯亘 诏蹖乇丿貙 丕夭 乇賳诏賽 趩卮賲丕賳蹖 讴賴 丨蹖乇鬲賲賳丿丕賳賴 亘蹖卮鬲乇 亘賴 丿丕蹖蹖 夭丕丿賴 賵 賲毓卮賵賯賴 蹖賽 賲丕丿乇 卮亘蹖賴 鬲賻乇 丕爻鬲 鬲丕 趩卮賲丕賳 賲乇丿讴蹖 讴賴 倬丿乇 賲蹖禺賵丕賳丿貙 丕夭 乇蹖卮禺賳丿賽 "賴乇 丌賳蹖貙 丿乇 賴賵丕卅蹖" 亘賵丿賳賽 丿賻賲 賵 丿爻鬲诏丕賴賽 賴蹖鬲賱乇蹖 賵 乇賯亘丕蹖賽 賴賲 胤乇丕夭賻卮 丿乇 卮乇賯 賵 睾乇亘 丿乇 爻賮丕賴鬲賽 毓丕賱賲 爻賵夭貙 丕夭 賴亘賵胤賽 丕夭 毓乇卮 亘賴 賮乇卮賽 毓卮賯蹖 睾蹖乇賲丕丿蹖 賵 噩丕賵丿丕賳賴 亘賴 "賱賴爻鬲丕賳" 賵 賲乇夭賴丕蹖 賴賲蹖卮賴 丿乇 讴卮丕讴卮賻卮 亘賴 毓卮賯 賴丕蹖蹖 夭賲蹖賳蹖 賵 爻賵夭丕賳貙 鬲賻賳 亘賳蹖丕丿 賵 丿賻賲 亘賴 丿賻賲 賳賵 卮賵賳丿賴 丕蹖 亘丕 丿禺鬲乇讴丕賳 賵 倬蹖乇夭賳丕賳 讴賴 賴蹖趩蹖讴 乇丕 蹖丕乇丕蹖賽 賴賲丕賵乇丿蹖 亘丕 毓卮賯賽 丿蹖乇倬丕 亘賴 胤亘賱卮 -丕蹖賳 夭亘丕賳 賴賲蹖卮賴 诏賵蹖丕蹖賻卮- 賳蹖爻鬲貙 讴賴 趩賵賳丕賳 賯賱賲賽 诏乇丕爻貙 賵丕诏賵蹖賴 蹖 丿蹖丿賴 賴丕 賵 卮賳蹖丿賴 賴丕蹖卮 丕爻鬲 賵 丨丕賮馗賴 丕蹖 亘蹖 丨賳噩乇賴 丕賲丕 禺賵卮 胤賳蹖賳 讴賴 噩丕賳 賴丕 乇丕 卮蹖賮鬲賴 讴乇丿賴 賵 禺丕胤乇 賴丕 乇丕 亘賴 賲毓氐賵賲蹖鬲 讴賵丿讴蹖 卮丕賳 亘丕夭賲蹖诏乇丿丕賳丿
丿賵賲丕
鬲乇噩賲賴 丕蹖 亘賻爻 禺賵丕爻鬲賳蹖 賵蹖丕 亘賴 鬲毓亘蹖乇賽 丕蹖賳 亘賳丿賴貙 "賮乇夭賳丿 賵丕乇" 丕夭 爻乇賵卮 丨亘蹖亘蹖 讴賴 丕賱亘鬲賴 亘毓囟丕 亘賽毓賻賲丿貙 爻禺鬲 丕丿蹖亘丕賳賴 賳賵卮鬲賴貙 鬲丕 賴賲 亘賳賲丕蹖丿賽 爻禺賳賽 丿賱賽 诏乇丕爻 乇丕 賵 賴賲 丌賳趩賴 乇丕 讴賴 丕蹖賳 禺胤 爻蹖乇賽 倬乇丌卮賵亘 賵 丕賳爻丕賳蹖 亘乇丕蹖 禺賵丕賳賳丿賴 蹖 丕蹖乇丕賳蹖 丿丕乇丿 乇丕 夭蹖亘丕鬲乇 賵 噩丕賳丿丕乇鬲賻乇 亘賴 賳賲丕蹖卮 亘诏匕丕乇丿貙 賮賯胤 丕蹖賳讴賴 丕爻鬲賮丕丿賴 蹖賽 丿乇蹖睾 卮丿賴 丕夭 賵蹖乇诏賵賱 丿乇 鬲乇噩賲賴貙 爻禺鬲 禺賵丕賳蹖 賵 丿蹖乇賮賴賲蹖 乇丕貙 卮丕蹖丿 丿乇 30 丕賱蹖 50 噩賲賱賴 丕夭 讴鬲丕亘貙 賱丕噩乇賲 賲蹖賳賲丕蹖丿
爻賵賲丕
讴鬲丕亘賽 丨丕囟乇貙 丿乇 亘賴鬲乇蹖賳 丨丕賱鬲 蹖讴 賴賮鬲賴 賵 丨鬲蹖 鬲丕 蹖讴 賲丕賴貙 亘爻鬲賴 亘賴 丨丕賱 賵 丕丨賵丕賱 賵 毓丕丿丕鬲賽 禺賵丕賳卮蹖賽 卮賲丕 夭賲丕賳 賱丕夭賲 丿丕乇丿 鬲丕 禺賵卮丿賱丕賳賴 睾乇賯賽 丿乇蹖丕蹖賽 禺蹖丕賱賻卮 卮賵蹖丿 丕賲丕 丕夭 賲賳 賲蹖卮賳賵蹖丿 丕蹖賳 乇賲丕賳 乇丕 亘賴丕乇 賵 鬲丕亘爻鬲丕賳 亘禺賵丕賳蹖丿
趩赖丕乇賲丕
賮蹖賱賲蹖 2.5爻丕毓鬲賴 讴賴 亘乇賳丿賴 蹖賽 丕爻讴丕乇賽 亘賴鬲乇蹖賳賽 賮蹖賱賲 禺丕乇噩蹖 蹖賽 爻丕賱 1980 卮丿賴貙 亘賻乇 亘購賳蹖丕丿賽 賴賲蹖賳 乇賲丕賳 爻丕禺鬲賴 卮丿賴貙 亘賽賳丕賲
The Tin Drum
:鬲賲丕卮丕蹖賽 賮蹖賱賲 丿乇 蹖賵鬲蹖賵亘
:鬲賲丕卮丕蹖 賲乇丕爻賲 丕賴丿丕蹖賽 丕爻讴丕乇 1980 亘賴 丕蹖賳 賮蹖賱賲 丿乇 蹖賵鬲蹖賵亘
:賲氐丕丨亘賴 丕蹖 亘丕 诏賵賳鬲乇 诏乇丕爻 亘丕 夭蹖乇賳賵蹖爻 賮丕乇爻蹖
August 30, 2022
賯亘賱丕賸 賮蹖賱賲 芦胤亘賱 丨賱亘蹖禄 丌賯丕蹖 芦賮賵賱讴乇 卮賱賵賳丿賵乇賮禄 乇丕 丿蹖丿賴 亘賵丿賲 賵 亘毓丿 丕夭 丌賳 賲氐乇 亘賵丿賲 鬲丕 讴鬲丕亘 乇丕 亘禺賵丕賳賲 鬲丕 丕蹖賳讴賴 賮乇氐鬲卮 倬蹖卮 鈥屫①呚�. 讴鬲丕亘 賮賵賯鈥屫з勜关ж� 亘賵丿 賵 賮蹖賱賲 賴賲 賯丕亘賱鈥� 賯亘賵賱. 丕诏乇 賯氐丿 丿丕乇蹖丿 丕蹖賳 讴鬲丕亘 乇丕 賲胤丕賱毓賴 讴賳蹖丿 亘丕蹖丿 讴賲蹖 丨賵氐賱賴 鬲賵氐蹖賮鈥屬囏й� 亘爻蹖丕乇 丿賯蹖賯 賵 噩夭卅蹖 诏乇丕爻 乇丕 丿丕卮鬲賴 亘丕卮蹖丿 賵 賴賲趩賳蹖賳 亘賴 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 毓賱丕賯賴鈥屬呝嗀� 亘丕卮蹖丿. 鬲乇噩賲賴 毓丕賱蹖 噩賳丕亘 丨亘蹖亘蹖 賴賲 讴賴 賳蹖丕夭 亘賴 鬲毓乇蹖賮 讴乇丿賳 賳丿丕乇丿.
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丿乇 丕蹖賳 丿賳蹖丕 趩賴 趩蹖夭貙 讴丿丕賲 乇賲丕賳 丕爻鬲 讴賴 丨賲丕爻賴鈥屫й� 亘賴 賵爻毓鬲 蹖讴 丌賱亘賵賲 毓讴爻 亘爻乇丕蹖丿責 氐賮丨賴 鄣酃 讴鬲丕亘
睾賲蹖 讴賴 睾賲 亘丕卮丿 丕氐賱丕 賲賵囟賵毓 賳賲蹖鈥屫堌з囏�.鈥� 賴賲丕賳 亘蹖 毓賱鬲蹖 賲蹖鈥屫促堌� 诏賮鬲 賲囟丨讴卮 賳卮丕賳 毓賲賯 亘爻蹖丕乇卮 亘賵丿貙 讴賴 丕夭 丌賳 亘蹖卮鬲乇 賲賲讴賳 賳亘賵丿. 氐賮丨賴 鄱鄢 讴鬲丕亘
乇丕亘胤賴 丌丿賲鈥� 亘夭乇诏鈥屬囏� 亘丕 爻丕毓鬲卮丕賳 亘爻蹖丕乇 毓噩蹖亘 賵 讴賵丿讴丕賳賴 丕爻鬲. 丕賱亘鬲賴 賲賳 賴乇诏夭 丕夭 丕蹖賳 讴蹖賮蹖鬲 爻乇 丿乇 賳蹖丕賵乇丿賴鈥屫з� 趩賵賳 禺賵丿賲 賴蹖趩 鈥屬堎傌� 讴賵丿讴 賳亘賵丿賴鈥屫з�. 亘丕 丕蹖賳鈥� 賴賲賴 爻丕毓鬲 卮丕蹖丿 毓丕賱蹖鈥屫臂屬� 丕禺鬲乇丕毓 丌丿賲 鈥屫ㄘ藏壁€屬囏� 亘丕卮丿. 丕賲丕 丨賯蹖賯鬲 丕蹖賳 丕爻鬲 讴賴 賴賲丕賳 賯丿乇 讴賴 丌丿賲鈥� 亘夭乇诏鈥屬囏� 鬲賵丕賳丕蹖蹖 賳賵丌賵乇蹖 丿丕乇賳丿 賵 亘丕 倬卮鬲讴丕乇 賵 賳蹖乇賵蹖 賳丕賲噩賵蹖蹖 賵 賳蹖夭 賲賯丿丕乇蹖 蹖丕乇蹖 亘禺鬲 诏丕賴蹖 賲賵賮賯 賴賲 賲蹖鈥屫促堎嗀� 讴賴 趩蹖夭賴丕蹖 賳賵蹖 丕禺鬲乇丕毓 讴賳賳丿 賴賲蹖賳 鈥屭┵� 趩蹖夭蹖 丿乇爻鬲 讴乇丿賳丿 讴賴 亘乇 夭賲丕賳卮丕賳 賳卮丕賳 诏匕丕卮鬲 禺賵丿 亘賳丿賴 丌賳 賲蹖鈥屫促堎嗀�. 氐賮丨賴 鄹鄞 讴鬲丕亘
賲賳 丕賲乇賵夭 倬蹖 亘乇丿賴鈥屫з� 亘賴 丕蹖賳鈥屭┵� 趩蹖夭賴丕 賴賲 賳诏丕賴 賲蹖鈥屭┵嗁嗀� 賵 賴蹖趩 趩蹖夭蹖 賳丕丿蹖丿賴 賳賲蹖鈥屬呚з嗀�. 丨鬲蹖 讴丕睾匕賴丕蹖 丿蹖賵丕乇蹖 丕鬲丕賯 丨丕賮馗賴 卮丕賳 亘賴鬲乇 丕夭 賲丕賱 丌丿賲鈥屬囏ж池�. 賮賯胤 禺丿丕蹖 亘夭乇诏 賳蹖爻鬲 讴賴 賴賲賴鈥屭嗃屫� 乇丕 賲蹖鈥屫ㄛ屬嗀�. 氐賮丨賴 鄄鄱郯 讴鬲丕亘
丿乇 丕蹖賳 賲賱讴 倬丕蹖丕賳 讴丕乇 賴賲蹖卮賴 丌睾丕夭蹖爻鬲 賴賲乇丕賴 亘丕 丕賲蹖丿 亘賴 賴乇 倬丕蹖丕賳蹖 丨鬲蹖 倬丕蹖丕賳 賯胤毓蹖 賵 賲讴鬲賵亘爻鬲: 賲丕丿丕賲 讴賴 丕賳爻丕賳 丕賲蹖丿賵丕乇 丕爻鬲 倬蹖賵爻鬲賴 讴丕乇 乇丕 亘丕 倬丕蹖丕賳蹖 倬乇 丕賲蹖丿 丕夭 賳賵 丌睾丕夭 賲蹖鈥屭┵嗀�. 氐賮丨賴 鄄鄯鄱 讴鬲丕亘
诏賵乇爻鬲丕賳鈥屬囏� 賴賲蹖卮賴 亘乇 賲賳 噩丕匕亘賴 丕毓賲丕賱 讴乇丿賴鈥屫з嗀�. 卮爻鬲賴 賵 乇賮鬲賴鈥� 賵 氐丕丿賯賳丿. 丿乇 丌賳鈥屬囏� 賲賳胤賯蹖 賲乇丿丕賳賴 爻乇夭賳丿賴 賲蹖鈥屫ㄛ屬嗁�. 丌丿賲 丿乇 诏賵乇爻鬲丕賳 噩爻賵乇 賲蹖鈥屫促堌� 賵 噩乇丕鬲 诏乇賮鬲賳 鬲氐賲蹖賲 倬蹖丿丕 賲蹖鈥屭┵嗀�. 丿乇 诏賵乇爻鬲丕賳 丕爻鬲 讴賴 禺胤 倬蹖乇丕賲賵賳 夭賳丿诏蹖 -賲賳馗賵乇賲 丕賱亘鬲賴 丨丕卮蹖賴鈥屰� 賯亘乇賴丕 賳蹖爻鬲- 丌卮讴丕乇 賲蹖鈥屫促堌� 賵 亘賴 亘蹖丕賳蹖 丿蹖诏乇 夭賳丿诏蹖 賲毓賳丕 賲蹖鈥屰屫жㄘ�. 氐賮丨賴 鄣鄹鄱 讴鬲丕亘
賯乇賳 賲丕 亘毓丿賴丕 賯乇賳 禺卮讴 趩卮賲丕賳 賳丕賲 禺賵丕賴丿 诏乇賮鬲. 诏乇趩賴 賴賲賴鈥� 噩丕 丿乇丿 亘爻蹖丕乇 丕爻鬲 賵 丿乇爻鬲 亘賴 丿賱蹖賱 賴賲蹖賳 賯丨胤 丕卮讴 亘賵丿... 氐賮丨賴鈥屫й� 鄯郯鄹 讴鬲丕亘
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丿乇 丕蹖賳 丿賳蹖丕 趩賴 趩蹖夭貙 讴丿丕賲 乇賲丕賳 丕爻鬲 讴賴 丨賲丕爻賴鈥屫й� 亘賴 賵爻毓鬲 蹖讴 丌賱亘賵賲 毓讴爻 亘爻乇丕蹖丿責 氐賮丨賴 鄣酃 讴鬲丕亘
睾賲蹖 讴賴 睾賲 亘丕卮丿 丕氐賱丕 賲賵囟賵毓 賳賲蹖鈥屫堌з囏�.鈥� 賴賲丕賳 亘蹖 毓賱鬲蹖 賲蹖鈥屫促堌� 诏賮鬲 賲囟丨讴卮 賳卮丕賳 毓賲賯 亘爻蹖丕乇卮 亘賵丿貙 讴賴 丕夭 丌賳 亘蹖卮鬲乇 賲賲讴賳 賳亘賵丿. 氐賮丨賴 鄱鄢 讴鬲丕亘
乇丕亘胤賴 丌丿賲鈥� 亘夭乇诏鈥屬囏� 亘丕 爻丕毓鬲卮丕賳 亘爻蹖丕乇 毓噩蹖亘 賵 讴賵丿讴丕賳賴 丕爻鬲. 丕賱亘鬲賴 賲賳 賴乇诏夭 丕夭 丕蹖賳 讴蹖賮蹖鬲 爻乇 丿乇 賳蹖丕賵乇丿賴鈥屫з� 趩賵賳 禺賵丿賲 賴蹖趩 鈥屬堎傌� 讴賵丿讴 賳亘賵丿賴鈥屫з�. 亘丕 丕蹖賳鈥� 賴賲賴 爻丕毓鬲 卮丕蹖丿 毓丕賱蹖鈥屫臂屬� 丕禺鬲乇丕毓 丌丿賲 鈥屫ㄘ藏壁€屬囏� 亘丕卮丿. 丕賲丕 丨賯蹖賯鬲 丕蹖賳 丕爻鬲 讴賴 賴賲丕賳 賯丿乇 讴賴 丌丿賲鈥� 亘夭乇诏鈥屬囏� 鬲賵丕賳丕蹖蹖 賳賵丌賵乇蹖 丿丕乇賳丿 賵 亘丕 倬卮鬲讴丕乇 賵 賳蹖乇賵蹖 賳丕賲噩賵蹖蹖 賵 賳蹖夭 賲賯丿丕乇蹖 蹖丕乇蹖 亘禺鬲 诏丕賴蹖 賲賵賮賯 賴賲 賲蹖鈥屫促堎嗀� 讴賴 趩蹖夭賴丕蹖 賳賵蹖 丕禺鬲乇丕毓 讴賳賳丿 賴賲蹖賳 鈥屭┵� 趩蹖夭蹖 丿乇爻鬲 讴乇丿賳丿 讴賴 亘乇 夭賲丕賳卮丕賳 賳卮丕賳 诏匕丕卮鬲 禺賵丿 亘賳丿賴 丌賳 賲蹖鈥屫促堎嗀�. 氐賮丨賴 鄹鄞 讴鬲丕亘
賲賳 丕賲乇賵夭 倬蹖 亘乇丿賴鈥屫з� 亘賴 丕蹖賳鈥屭┵� 趩蹖夭賴丕 賴賲 賳诏丕賴 賲蹖鈥屭┵嗁嗀� 賵 賴蹖趩 趩蹖夭蹖 賳丕丿蹖丿賴 賳賲蹖鈥屬呚з嗀�. 丨鬲蹖 讴丕睾匕賴丕蹖 丿蹖賵丕乇蹖 丕鬲丕賯 丨丕賮馗賴 卮丕賳 亘賴鬲乇 丕夭 賲丕賱 丌丿賲鈥屬囏ж池�. 賮賯胤 禺丿丕蹖 亘夭乇诏 賳蹖爻鬲 讴賴 賴賲賴鈥屭嗃屫� 乇丕 賲蹖鈥屫ㄛ屬嗀�. 氐賮丨賴 鄄鄱郯 讴鬲丕亘
丿乇 丕蹖賳 賲賱讴 倬丕蹖丕賳 讴丕乇 賴賲蹖卮賴 丌睾丕夭蹖爻鬲 賴賲乇丕賴 亘丕 丕賲蹖丿 亘賴 賴乇 倬丕蹖丕賳蹖 丨鬲蹖 倬丕蹖丕賳 賯胤毓蹖 賵 賲讴鬲賵亘爻鬲: 賲丕丿丕賲 讴賴 丕賳爻丕賳 丕賲蹖丿賵丕乇 丕爻鬲 倬蹖賵爻鬲賴 讴丕乇 乇丕 亘丕 倬丕蹖丕賳蹖 倬乇 丕賲蹖丿 丕夭 賳賵 丌睾丕夭 賲蹖鈥屭┵嗀�. 氐賮丨賴 鄄鄯鄱 讴鬲丕亘
诏賵乇爻鬲丕賳鈥屬囏� 賴賲蹖卮賴 亘乇 賲賳 噩丕匕亘賴 丕毓賲丕賱 讴乇丿賴鈥屫з嗀�. 卮爻鬲賴 賵 乇賮鬲賴鈥� 賵 氐丕丿賯賳丿. 丿乇 丌賳鈥屬囏� 賲賳胤賯蹖 賲乇丿丕賳賴 爻乇夭賳丿賴 賲蹖鈥屫ㄛ屬嗁�. 丌丿賲 丿乇 诏賵乇爻鬲丕賳 噩爻賵乇 賲蹖鈥屫促堌� 賵 噩乇丕鬲 诏乇賮鬲賳 鬲氐賲蹖賲 倬蹖丿丕 賲蹖鈥屭┵嗀�. 丿乇 诏賵乇爻鬲丕賳 丕爻鬲 讴賴 禺胤 倬蹖乇丕賲賵賳 夭賳丿诏蹖 -賲賳馗賵乇賲 丕賱亘鬲賴 丨丕卮蹖賴鈥屰� 賯亘乇賴丕 賳蹖爻鬲- 丌卮讴丕乇 賲蹖鈥屫促堌� 賵 亘賴 亘蹖丕賳蹖 丿蹖诏乇 夭賳丿诏蹖 賲毓賳丕 賲蹖鈥屰屫жㄘ�. 氐賮丨賴 鄣鄹鄱 讴鬲丕亘
賯乇賳 賲丕 亘毓丿賴丕 賯乇賳 禺卮讴 趩卮賲丕賳 賳丕賲 禺賵丕賴丿 诏乇賮鬲. 诏乇趩賴 賴賲賴鈥� 噩丕 丿乇丿 亘爻蹖丕乇 丕爻鬲 賵 丿乇爻鬲 亘賴 丿賱蹖賱 賴賲蹖賳 賯丨胤 丕卮讴 亘賵丿... 氐賮丨賴鈥屫й� 鄯郯鄹 讴鬲丕亘
July 23, 2020
One crazy ride. Oskar is unlike any other character you will ever read about besides maybe Tyrion Lannister. The book is a comic masterpiece, a fanciful rendering of Germany during the war and after. It is part vaudeville, part absurd, part insane, and like nearly all great literature, impossible to classify. The movie was also unbelievably great. If you want to read one book by this Nobel laureate, I would suggest starting here - you will have a hard time putting in down. I think that it would be a good companion read to Gravity's Rainbow by Pynchon. This was the first of his Danzig trilogy along with the similarly excellent and the harrowing .
August 31, 2015
Heil, Oskar Koljaiczek Matzerath-Bronski! The drummer! The magical three-year-old! The hunchback! The Jesus! The Satan! The Goethe! The Rasputin! The arsonist reincarnate! The student! The destroyer of glass! The tempter! The Skat ace! The bane of propaganda assemblies! The war veteran! The Catholic! The disciple maker! The choir boy! The fizz blower! The father! The prodigal son! The entertainer! The tombstone engraver! The art model! The devotee of nurses! The jazz musician! The star! The lover! The dog-walker extraordinaire! The friend! The accused! The insane! The man!
He comes to us as a baby, yet he stays in our hearts a legend. This little boy-man that breaks every rule of humanity yet is the epitome of humanity itself. How does he do it? A tin drum in his arms, he echoes a steady beat that moves one to lose track of the pretenses we mask ourselves with. He reduces this farce we call sanity to rubble. Bladder control shattered, heart rate rising, laughter spouting, everyone surrenders. We all are born again drenched in sweats and stink.
Who is he again, you ask?
He is you and me.
You see, all of us, like Herr Oskar, start fresh thinking ourselves timelessly young, forever denying adulthood, jesters forever being three-year-olds. We not-so-young keep adulthood at bay, a bunch of Peter Pans frolicking around the world, being silly happy, irresponsible, doing what we want, persons stuck in an age where we are merely infants, barely kids. No regard for what others think, no imparity in our straightforward vision, we arm ourselves with nothing but a tin-drum, the distilled pureness of life, a weapon against the mockery and scorn of adulthood, this sickness called youth. But then life forces us to grow up. It might be like Oskar, the death of his last remaining parent. It might be something else, something really painful. But we all bury our tin-drums and we change. We become hunchbacks, disfigured, compared to our youthful selves. Our vision, our passions they dry up and we go through life doing odd jobs, supporting our family, raising children, eating, drinking, watching movies instead of traveling, not that there鈥檚 anything wrong with this kind of life. It鈥檚 just what happens. We compromise, make the most out of the situation. That鈥檚 life for you. Given enough time, often too much time, we rediscover our youthful passions and we learn to drum again, to enjoy, to travel. But by that time the black cook called death is looming just around the corner. Singing: Ha! Ha! Ha!
But considering this, even if Oskar鈥檚 life turned out this way, look up at what all he accomplished.
It ain鈥檛 too bad, huh?
This story of a magical little man is the embodiment of the human experience. His disparate experiences which will make you laugh, feel pain, confusion, anger and a whole motley crew of other emotions is the ultimate story of man in a backdrop of extremes yet is the story of a person who chose to live life in his own terms. He illustrates that survival is not a circumstantial matter but rather a mindset you choose to adapt.
The human life with its virulent jumps through time is ever unfathomable, ever mystifying. We will never know what will happen to us nor understand why these things happen. The journey we take is wreathed with puzzling events and painful moments, but that鈥檚 not to say that it doesn鈥檛 have its beams of joy. The odd assortment of sentiments life makes us experience is ultimately what being human is. You smile and laugh when you feel happy and cry when you are pierced by pain. It鈥檚 choosing which moments to memorialize in our minds, which thoughts to make magical that will make the difference. Let鈥檚 hope that these moments find us. Let鈥檚 pray that we, like Oskar, find our own tin drums that will give a steady beat of purpose to our hearts. Drum away all the unnecessary baggage and crosses. Let go of your circumscribed thoughts and enjoy the thrilling, pounding moments life has to offer. Let鈥檚 laugh. Let鈥檚 dance. Let鈥檚 make magic. And magic is all about believing.
*drumrolls please*
Gunter Grass鈥� 1999 Nobel Prize in Literature was awarded to him: "whose frolicsome black fables portray the forgotten face of history". Good ole Oskar was living in a period of war, but Grass tells us that the fable of life no matter how dark can always be fun. It鈥檚 just a matter of rolling with it.
Life鈥檚 a hoot ain鈥檛 it?
He comes to us as a baby, yet he stays in our hearts a legend. This little boy-man that breaks every rule of humanity yet is the epitome of humanity itself. How does he do it? A tin drum in his arms, he echoes a steady beat that moves one to lose track of the pretenses we mask ourselves with. He reduces this farce we call sanity to rubble. Bladder control shattered, heart rate rising, laughter spouting, everyone surrenders. We all are born again drenched in sweats and stink.
Who is he again, you ask?
He is you and me.
You see, all of us, like Herr Oskar, start fresh thinking ourselves timelessly young, forever denying adulthood, jesters forever being three-year-olds. We not-so-young keep adulthood at bay, a bunch of Peter Pans frolicking around the world, being silly happy, irresponsible, doing what we want, persons stuck in an age where we are merely infants, barely kids. No regard for what others think, no imparity in our straightforward vision, we arm ourselves with nothing but a tin-drum, the distilled pureness of life, a weapon against the mockery and scorn of adulthood, this sickness called youth. But then life forces us to grow up. It might be like Oskar, the death of his last remaining parent. It might be something else, something really painful. But we all bury our tin-drums and we change. We become hunchbacks, disfigured, compared to our youthful selves. Our vision, our passions they dry up and we go through life doing odd jobs, supporting our family, raising children, eating, drinking, watching movies instead of traveling, not that there鈥檚 anything wrong with this kind of life. It鈥檚 just what happens. We compromise, make the most out of the situation. That鈥檚 life for you. Given enough time, often too much time, we rediscover our youthful passions and we learn to drum again, to enjoy, to travel. But by that time the black cook called death is looming just around the corner. Singing: Ha! Ha! Ha!
But considering this, even if Oskar鈥檚 life turned out this way, look up at what all he accomplished.
It ain鈥檛 too bad, huh?
This story of a magical little man is the embodiment of the human experience. His disparate experiences which will make you laugh, feel pain, confusion, anger and a whole motley crew of other emotions is the ultimate story of man in a backdrop of extremes yet is the story of a person who chose to live life in his own terms. He illustrates that survival is not a circumstantial matter but rather a mindset you choose to adapt.
The human life with its virulent jumps through time is ever unfathomable, ever mystifying. We will never know what will happen to us nor understand why these things happen. The journey we take is wreathed with puzzling events and painful moments, but that鈥檚 not to say that it doesn鈥檛 have its beams of joy. The odd assortment of sentiments life makes us experience is ultimately what being human is. You smile and laugh when you feel happy and cry when you are pierced by pain. It鈥檚 choosing which moments to memorialize in our minds, which thoughts to make magical that will make the difference. Let鈥檚 hope that these moments find us. Let鈥檚 pray that we, like Oskar, find our own tin drums that will give a steady beat of purpose to our hearts. Drum away all the unnecessary baggage and crosses. Let go of your circumscribed thoughts and enjoy the thrilling, pounding moments life has to offer. Let鈥檚 laugh. Let鈥檚 dance. Let鈥檚 make magic. And magic is all about believing.
*drumrolls please*
Gunter Grass鈥� 1999 Nobel Prize in Literature was awarded to him: "whose frolicsome black fables portray the forgotten face of history". Good ole Oskar was living in a period of war, but Grass tells us that the fable of life no matter how dark can always be fun. It鈥檚 just a matter of rolling with it.
Life鈥檚 a hoot ain鈥檛 it?
August 10, 2017
鈥庁堌池з嗁� 诏乇丕賳賯丿乇貙丕蹖賳 丿丕爻鬲丕賳賽 噩匕丕亘貙 丕夭 夭亘丕賳賽 倬爻乇 亘趩賴 丕蹖 丌賱賲丕賳蹖 亘賴 賳丕賲賽 <丕爻讴丕乇> 乇賵丕蹖鬲 賲蹖卮賵丿 讴賴 毓賱丕賯賴贁 卮丿蹖丿蹖 亘賴 胤亘賱 夭丿賳 丿丕乇丿 賵 丕夭 爻賴 爻丕賱诏蹖 亘賴 亘毓丿貙 讴賵鬲賵賱賴 賯丿 賲丕賳丿賴 丕爻鬲 賵 丕夭 賳馗乇 噩爻賲丕賳蹖 乇卮丿 賳讴乇丿賴 丕爻鬲
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鈥庁ж� 丿丕爻鬲丕賳 賲丕丿乇亘夭乇诏 賵 鬲賵賱丿賽 賲丕丿乇 丕賵 讴賴 亘诏匕乇蹖賲.. 亘賴 丌賳噩丕 賲蹖乇爻蹖賲 讴賴 丿乇 丿丕爻鬲丕賳 賲卮禺氐 賳蹖爻鬲 讴賴 倬丿乇 賵丕賯毓蹖 丕蹖賳 倬爻乇讴 趩賴 讴爻蹖 賲蹖亘丕卮丿貙 趩乇丕讴賴 賲丕丿乇卮 丕夭 胤乇賮蹖 亘丕 倬爻乇 毓賲賴贁 禺賵丿 蹖毓賳蹖 蹖丕賳 亘乇賵賳爻讴蹖 讴賴 賱賴爻鬲丕賳蹖 賲蹖亘丕卮丿貙 乇丕亘胤賴 丿丕乇丿 賵 丕夭 爻賵蹖 丿蹖诏乇 亘丕 賲乇丿蹖 亘賴 賳丕賲賽 丌賱賮乇丿 賲丕鬲夭丕乇丕鬲 丕乇鬲亘丕胤 丿丕乇丿.. 丕賲賾丕 丕夭 丌賳噩丕蹖蹖 讴賴 賲丕丿乇 丕爻讴丕乇 亘丕 賲丕鬲夭丕乇丕鬲 丕夭丿賵丕噩 賲蹖讴賳丿貙 賱匕丕 丕爻讴丕乇 倬爻乇 賲丕鬲夭丕乇丕鬲 賱賯亘 賲蹖诏蹖乇丿 賵 賮丕賲蹖賱蹖 丕賵 賳蹖夭 賲丕鬲夭丕乇丕鬲 賲蹖卮賵丿貙.. 丕賲賾丕 賲賲讴賳 丕爻鬲 讴賴 賮乇夭賳丿賽 蹖丕賳 亘乇賵賳爻讴蹖 亘丕卮丿
鈥庁� 賲賵乇丿賽 夭賲丕賳 鬲賵賱丿卮 丕爻讴丕乇 賲蹖诏賵蹖丿: 丕賵賱蹖賳 鬲賱兀賱賵卅蹖 讴賴 丿乇 丕蹖賳 丿賳蹖丕 丿蹖丿賲貙 賳賵乇 蹖讴 賱丕賲倬賽 60 賵丕鬲蹖 亘賵丿 賵 趩卮賲 丕賳丿丕夭賽 丿乇丕賲乇 卮丿賳 賵 胤亘賱 賳賵丕夭蹖 亘賵丿 讴賴 丕夭 丕卮鬲蹖丕賯賽 亘爻蹖丕乇 夭蹖丕丿賽 賲賳 亘賴 亘乇诏卮鬲賳 亘賴 乇丨賲賽 賲丕丿乇賲貙 噩賱賵诏蹖乇蹖 賲蹖讴乇丿
鈥庁� 丿乇賵丕夭丿賴賲 爻賲倬鬲丕賲亘乇 爻丕賱 1924貙 丕爻讴丕乇 鬲賵賱丿 爻賴 爻丕賱诏蹖 禺賵丿 乇丕 噩卮賳 賲蹖诏蹖乇丿 賵 丿乇 蹖讴 卮蹖胤賳鬲賽 讴賵丿讴丕賳賴 丕夭 夭蹖乇 夭賲蹖賳 亘賴 倬丕蹖蹖賳 賲蹖 丕賮鬲丿 賵 爻乇卮 囟乇亘賴 賲蹖禺賵乇丿 賵 丿蹖诏乇 丕夭 丌賳 夭賲丕賳 亘賴 亘毓丿 丨鬲蹖 蹖讴 爻丕賳鬲 賴賲 賯丿卮 乇卮丿 賳賲蹖 讴賳丿
鈥庁坟ㄙ� 夭丿賳 賴丕蹖 丕爻讴丕乇 亘爻蹖丕乇 诏賵卮 禺乇丕卮 亘賵丿 賵 丕夭 丌賳 丌夭丕乇 丿賴賳丿賴 鬲乇 賵 诏賵卮 禺乇丕卮鬲乇 氐丿丕蹖 噩蹖睾 賴丕蹖 賵丨卮鬲賳丕讴賽 丕賵 亘賵丿 ... 噩蹖睾 賴丕蹖 丕爻讴丕乇 賴乇 卮蹖卮賴 丕蹖 乇丕 賲蹖鬲賵丕賳爻鬲 禺賵乇丿 讴賳丿.. 丕賵 丿乇 賴蹖趩 丨丕賱鬲蹖 胤亘賱 乇丕 丕夭 禺賵丿卮 噩丿丕 賳賲蹖讴乇丿 賵 丨鬲蹖 丿乇 賲丿乇爻賴 賵 丨鬲蹖 丿乇 丨丕賱 賱亘丕爻 丿乇丌賵乇丿賳貙 丕诏乇 讴爻蹖 胤亘賱 乇丕 丕夭 丕賵 賲蹖诏乇賮鬲 丌賳趩賳丕賳 噩蹖睾 賲蹖夭丿 讴賴 卮蹖卮賴 賴丕 賮乇賵 賲蹖乇蹖禺鬲... 丨鬲蹖 蹖讴蹖 丕夭 倬夭卮讴丕賳 卮賴乇 鬲氐賲蹖賲 賲蹖诏蹖乇丿 鬲丕 賲賯丕賱賴 丕蹖 倬夭卮讴蹖 丿乇 賲賵乇丿 丕蹖賳 賳丕賴賳噩丕乇蹖 丨賳噩乇賴贁 丕爻讴丕乇 亘賳賵蹖爻丿
鈥庁ж弛┴ж� 乇賵夭 亘賴 乇賵夭 丕夭 賳馗乇 爻賳蹖 亘夭乇诏 賲蹖卮賵丿 賵 丨丿賵丿丕賸 亘賴 丿賵丕夭丿賴 爻丕賱诏蹖 賲蹖乇爻丿 賵 賴賲趩賳丕賳 讴賵鬲賵賱賴 賲丕賳丿賴 丕爻鬲 賵 胤亘賱 乇丕 賳蹖夭 亘賴 賴賲乇丕賴 丿丕乇丿 賵 賲丕丿乇卮 賳蹖夭 讴賲丕讴丕賳 亘丕 倬爻乇毓賲賴 丕卮 乇丕亘胤賴贁 賲禺賮蹖丕賳賴 丿丕乇丿 賵 丕爻讴丕乇 賴賲 丕蹖賳 乇丕 賲蹖丿丕賳丿... 乇賵夭賴丕蹖 倬乇禺乇賵卮 爻禺賳乇丕賳蹖 賴丕蹖 倬蹖卮賵丕 賵 蹖丕 賴賲丕賳 賴蹖鬲賱乇賽 亘夭乇诏 丕爻鬲 賵 丌賱賲丕賳賴丕 賯氐丿 丿丕乇賳丿 鬲丕 賲賳丕胤賯蹖 乇丕 讴賴 倬爻 丕夭 噩賳诏 噩賴丕賳蹖 丕賵賱 亘賴 夭賵乇 丕夭 丌賳賴丕 诏乇賮鬲賴 卮丿賴 丕爻鬲 賵 亘禺卮蹖 丕夭 丌賳 亘賴 丿爻鬲 賱賴爻鬲丕賳蹖 賴丕 丕賮鬲丕丿賴 丕爻鬲 乇丕 亘丕夭 倬爻 诏蹖乇賳丿
鈥庂呚ж� 丕爻讴丕乇 亘賴 丿賱蹖賱 賮卮丕乇賴丕蹖 乇賵丕賳蹖 卮乇賵毓 亘賴 禺賵乇丿賳 賲丕賴蹖 禺丕賲 賲蹖讴賳丿 賵 禺賵丿讴卮蹖 讴乇丿賴 賵 丕爻讴丕乇 丿乇 賳夭丿蹖讴 亘賴 爻賳 16 爻丕賱诏蹖 賲丕丿乇卮 乇丕 丕夭 丿爻鬲 賲蹖丿賴丿
鈥庂呚ж必ㄘ藏壁� 丕爻讴丕乇貙 丿禺鬲乇蹖 賴賲爻賳 丕爻讴丕乇 亘賴 賳丕賲賽 丌賳丕 乇丕 亘賴 倬丿乇 丕爻讴丕乇 賲毓乇賮蹖 賲蹖讴賳丿 鬲丕 丿乇 讴丕乇賴丕蹖 賲睾丕夭賴 賵 禺丕賳賴 亘賴 丌賳賴丕 讴賲讴 讴賳丿.. 丕爻讴丕乇賽 卮丕賳夭丿賴 爻丕賱賴貙 毓丕卮賯賽 丌賳丕 賲蹖卮賵丿..賵 丨鬲蹖 蹖讴卮亘 亘丕 丌賳丕 爻讴爻 丿丕乇丿... 丕賲丕 蹖讴乇賵夭 倬丿乇卮 乇丕 丿乇 丨丕賱 爻讴爻 亘丕 丌賳丕 賲蹖亘蹖賳丿 賵 丿蹖诏乇 丿禺鬲乇讴 丕夭 趩卮賲 丕爻讴丕乇 賲蹖 丕賮鬲丿
鈥庁操嗀� 丕爻讴丕乇 夭賲丕賳蹖 丕夭 蹖讴賳賵丕禺鬲蹖 禺丕乇噩 賲蹖卮賵丿 讴賴 亘丕 诏乇賵賴 讴賵鬲賵賱賴 賴丕 亘賴 乇賴亘乇蹖 讴賵鬲賵賱賴 丕蹖 爻賳 亘丕賱丕 亘賴 賳丕賲賽 亘亘乇丕 賵 丿禺鬲乇蹖 讴賵鬲賵賱賴 亘賴 賳丕賲賽 乇夭賵蹖鬲丕 丌卮賳丕 賲蹖卮賵丿 賵 亘乇丕蹖 卮丕丿 讴乇丿賳 丿賱 爻乇亘丕夭賴丕蹖 丌賱賲丕賳蹖 亘丕 丌賳賴丕 卮乇賵毓 亘賴 爻賮乇 亘賴 賲賳丕胤賯 噩賳诏蹖 賲蹖讴賳丿... 賵 毓丕卮賯 乇夭賵蹖鬲丕 賲蹖卮賵丿
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鈥庁关槽屫藏з嗁�... 亘賴鬲乇 丕爻鬲 禺賵丿鬲丕賳 丕蹖賳 丿丕爻鬲丕賳 乇丕 亘禺賵丕賳蹖丿 賵 丕夭 爻乇賳賵卮鬲 丌賳 丌诏丕賴 卮賵蹖丿... 丌蹖丕 丕爻讴丕乇 亘乇丕蹖 賴賲蹖卮賴 讴賵鬲賵賱賴 賲蹖賲丕賳丿責 毓卮賯賽 丕賵 亘賴 乇夭賵蹖鬲丕 亘賴 爻乇丕賳噩丕賲 禺賵丕賴丿 乇爻蹖丿 賵 蹖丕 禺蹖乇! 噩賳诏 趩賴 鬲睾蹖蹖乇丕鬲蹖 丿乇 夭賳丿诏蹖 丕賵 賵 丕卮禺丕氐蹖 讴賴 丿乇 夭賳丿诏蹖 丕賵 賳賯卮 丿丕乇賳丿貙 丕蹖噩丕丿 禺賵丕賴丿 讴乇丿責 亘丕 禺賵丕賳丿賳 丿丕爻鬲丕賳 亘賴 倬丕爻禺 丕蹖賳 爻丐丕賱 賴丕 禺賵丕賴蹖丿 乇爻蹖丿
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鈥庁з呟屫堌ж辟� 丕蹖賳 乇蹖賵蹖賵 丿乇 噩賴鬲賽 卮賳丕禺鬲賽 丕蹖賳 讴鬲丕亘貙 讴丕賮蹖 賵 賲賮蹖丿 亘賵丿賴 亘丕卮賴
鈥�<倬蹖乇賵夭 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖>
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鈥庁ж� 丿丕爻鬲丕賳 賲丕丿乇亘夭乇诏 賵 鬲賵賱丿賽 賲丕丿乇 丕賵 讴賴 亘诏匕乇蹖賲.. 亘賴 丌賳噩丕 賲蹖乇爻蹖賲 讴賴 丿乇 丿丕爻鬲丕賳 賲卮禺氐 賳蹖爻鬲 讴賴 倬丿乇 賵丕賯毓蹖 丕蹖賳 倬爻乇讴 趩賴 讴爻蹖 賲蹖亘丕卮丿貙 趩乇丕讴賴 賲丕丿乇卮 丕夭 胤乇賮蹖 亘丕 倬爻乇 毓賲賴贁 禺賵丿 蹖毓賳蹖 蹖丕賳 亘乇賵賳爻讴蹖 讴賴 賱賴爻鬲丕賳蹖 賲蹖亘丕卮丿貙 乇丕亘胤賴 丿丕乇丿 賵 丕夭 爻賵蹖 丿蹖诏乇 亘丕 賲乇丿蹖 亘賴 賳丕賲賽 丌賱賮乇丿 賲丕鬲夭丕乇丕鬲 丕乇鬲亘丕胤 丿丕乇丿.. 丕賲賾丕 丕夭 丌賳噩丕蹖蹖 讴賴 賲丕丿乇 丕爻讴丕乇 亘丕 賲丕鬲夭丕乇丕鬲 丕夭丿賵丕噩 賲蹖讴賳丿貙 賱匕丕 丕爻讴丕乇 倬爻乇 賲丕鬲夭丕乇丕鬲 賱賯亘 賲蹖诏蹖乇丿 賵 賮丕賲蹖賱蹖 丕賵 賳蹖夭 賲丕鬲夭丕乇丕鬲 賲蹖卮賵丿貙.. 丕賲賾丕 賲賲讴賳 丕爻鬲 讴賴 賮乇夭賳丿賽 蹖丕賳 亘乇賵賳爻讴蹖 亘丕卮丿
鈥庁� 賲賵乇丿賽 夭賲丕賳 鬲賵賱丿卮 丕爻讴丕乇 賲蹖诏賵蹖丿: 丕賵賱蹖賳 鬲賱兀賱賵卅蹖 讴賴 丿乇 丕蹖賳 丿賳蹖丕 丿蹖丿賲貙 賳賵乇 蹖讴 賱丕賲倬賽 60 賵丕鬲蹖 亘賵丿 賵 趩卮賲 丕賳丿丕夭賽 丿乇丕賲乇 卮丿賳 賵 胤亘賱 賳賵丕夭蹖 亘賵丿 讴賴 丕夭 丕卮鬲蹖丕賯賽 亘爻蹖丕乇 夭蹖丕丿賽 賲賳 亘賴 亘乇诏卮鬲賳 亘賴 乇丨賲賽 賲丕丿乇賲貙 噩賱賵诏蹖乇蹖 賲蹖讴乇丿
鈥庁� 丿乇賵丕夭丿賴賲 爻賲倬鬲丕賲亘乇 爻丕賱 1924貙 丕爻讴丕乇 鬲賵賱丿 爻賴 爻丕賱诏蹖 禺賵丿 乇丕 噩卮賳 賲蹖诏蹖乇丿 賵 丿乇 蹖讴 卮蹖胤賳鬲賽 讴賵丿讴丕賳賴 丕夭 夭蹖乇 夭賲蹖賳 亘賴 倬丕蹖蹖賳 賲蹖 丕賮鬲丿 賵 爻乇卮 囟乇亘賴 賲蹖禺賵乇丿 賵 丿蹖诏乇 丕夭 丌賳 夭賲丕賳 亘賴 亘毓丿 丨鬲蹖 蹖讴 爻丕賳鬲 賴賲 賯丿卮 乇卮丿 賳賲蹖 讴賳丿
鈥庁坟ㄙ� 夭丿賳 賴丕蹖 丕爻讴丕乇 亘爻蹖丕乇 诏賵卮 禺乇丕卮 亘賵丿 賵 丕夭 丌賳 丌夭丕乇 丿賴賳丿賴 鬲乇 賵 诏賵卮 禺乇丕卮鬲乇 氐丿丕蹖 噩蹖睾 賴丕蹖 賵丨卮鬲賳丕讴賽 丕賵 亘賵丿 ... 噩蹖睾 賴丕蹖 丕爻讴丕乇 賴乇 卮蹖卮賴 丕蹖 乇丕 賲蹖鬲賵丕賳爻鬲 禺賵乇丿 讴賳丿.. 丕賵 丿乇 賴蹖趩 丨丕賱鬲蹖 胤亘賱 乇丕 丕夭 禺賵丿卮 噩丿丕 賳賲蹖讴乇丿 賵 丨鬲蹖 丿乇 賲丿乇爻賴 賵 丨鬲蹖 丿乇 丨丕賱 賱亘丕爻 丿乇丌賵乇丿賳貙 丕诏乇 讴爻蹖 胤亘賱 乇丕 丕夭 丕賵 賲蹖诏乇賮鬲 丌賳趩賳丕賳 噩蹖睾 賲蹖夭丿 讴賴 卮蹖卮賴 賴丕 賮乇賵 賲蹖乇蹖禺鬲... 丨鬲蹖 蹖讴蹖 丕夭 倬夭卮讴丕賳 卮賴乇 鬲氐賲蹖賲 賲蹖诏蹖乇丿 鬲丕 賲賯丕賱賴 丕蹖 倬夭卮讴蹖 丿乇 賲賵乇丿 丕蹖賳 賳丕賴賳噩丕乇蹖 丨賳噩乇賴贁 丕爻讴丕乇 亘賳賵蹖爻丿
鈥庁ж弛┴ж� 乇賵夭 亘賴 乇賵夭 丕夭 賳馗乇 爻賳蹖 亘夭乇诏 賲蹖卮賵丿 賵 丨丿賵丿丕賸 亘賴 丿賵丕夭丿賴 爻丕賱诏蹖 賲蹖乇爻丿 賵 賴賲趩賳丕賳 讴賵鬲賵賱賴 賲丕賳丿賴 丕爻鬲 賵 胤亘賱 乇丕 賳蹖夭 亘賴 賴賲乇丕賴 丿丕乇丿 賵 賲丕丿乇卮 賳蹖夭 讴賲丕讴丕賳 亘丕 倬爻乇毓賲賴 丕卮 乇丕亘胤賴贁 賲禺賮蹖丕賳賴 丿丕乇丿 賵 丕爻讴丕乇 賴賲 丕蹖賳 乇丕 賲蹖丿丕賳丿... 乇賵夭賴丕蹖 倬乇禺乇賵卮 爻禺賳乇丕賳蹖 賴丕蹖 倬蹖卮賵丕 賵 蹖丕 賴賲丕賳 賴蹖鬲賱乇賽 亘夭乇诏 丕爻鬲 賵 丌賱賲丕賳賴丕 賯氐丿 丿丕乇賳丿 鬲丕 賲賳丕胤賯蹖 乇丕 讴賴 倬爻 丕夭 噩賳诏 噩賴丕賳蹖 丕賵賱 亘賴 夭賵乇 丕夭 丌賳賴丕 诏乇賮鬲賴 卮丿賴 丕爻鬲 賵 亘禺卮蹖 丕夭 丌賳 亘賴 丿爻鬲 賱賴爻鬲丕賳蹖 賴丕 丕賮鬲丕丿賴 丕爻鬲 乇丕 亘丕夭 倬爻 诏蹖乇賳丿
鈥庂呚ж� 丕爻讴丕乇 亘賴 丿賱蹖賱 賮卮丕乇賴丕蹖 乇賵丕賳蹖 卮乇賵毓 亘賴 禺賵乇丿賳 賲丕賴蹖 禺丕賲 賲蹖讴賳丿 賵 禺賵丿讴卮蹖 讴乇丿賴 賵 丕爻讴丕乇 丿乇 賳夭丿蹖讴 亘賴 爻賳 16 爻丕賱诏蹖 賲丕丿乇卮 乇丕 丕夭 丿爻鬲 賲蹖丿賴丿
鈥庂呚ж必ㄘ藏壁� 丕爻讴丕乇貙 丿禺鬲乇蹖 賴賲爻賳 丕爻讴丕乇 亘賴 賳丕賲賽 丌賳丕 乇丕 亘賴 倬丿乇 丕爻讴丕乇 賲毓乇賮蹖 賲蹖讴賳丿 鬲丕 丿乇 讴丕乇賴丕蹖 賲睾丕夭賴 賵 禺丕賳賴 亘賴 丌賳賴丕 讴賲讴 讴賳丿.. 丕爻讴丕乇賽 卮丕賳夭丿賴 爻丕賱賴貙 毓丕卮賯賽 丌賳丕 賲蹖卮賵丿..賵 丨鬲蹖 蹖讴卮亘 亘丕 丌賳丕 爻讴爻 丿丕乇丿... 丕賲丕 蹖讴乇賵夭 倬丿乇卮 乇丕 丿乇 丨丕賱 爻讴爻 亘丕 丌賳丕 賲蹖亘蹖賳丿 賵 丿蹖诏乇 丿禺鬲乇讴 丕夭 趩卮賲 丕爻讴丕乇 賲蹖 丕賮鬲丿
鈥庁操嗀� 丕爻讴丕乇 夭賲丕賳蹖 丕夭 蹖讴賳賵丕禺鬲蹖 禺丕乇噩 賲蹖卮賵丿 讴賴 亘丕 诏乇賵賴 讴賵鬲賵賱賴 賴丕 亘賴 乇賴亘乇蹖 讴賵鬲賵賱賴 丕蹖 爻賳 亘丕賱丕 亘賴 賳丕賲賽 亘亘乇丕 賵 丿禺鬲乇蹖 讴賵鬲賵賱賴 亘賴 賳丕賲賽 乇夭賵蹖鬲丕 丌卮賳丕 賲蹖卮賵丿 賵 亘乇丕蹖 卮丕丿 讴乇丿賳 丿賱 爻乇亘丕夭賴丕蹖 丌賱賲丕賳蹖 亘丕 丌賳賴丕 卮乇賵毓 亘賴 爻賮乇 亘賴 賲賳丕胤賯 噩賳诏蹖 賲蹖讴賳丿... 賵 毓丕卮賯 乇夭賵蹖鬲丕 賲蹖卮賵丿
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鈥庁关槽屫藏з嗁�... 亘賴鬲乇 丕爻鬲 禺賵丿鬲丕賳 丕蹖賳 丿丕爻鬲丕賳 乇丕 亘禺賵丕賳蹖丿 賵 丕夭 爻乇賳賵卮鬲 丌賳 丌诏丕賴 卮賵蹖丿... 丌蹖丕 丕爻讴丕乇 亘乇丕蹖 賴賲蹖卮賴 讴賵鬲賵賱賴 賲蹖賲丕賳丿責 毓卮賯賽 丕賵 亘賴 乇夭賵蹖鬲丕 亘賴 爻乇丕賳噩丕賲 禺賵丕賴丿 乇爻蹖丿 賵 蹖丕 禺蹖乇! 噩賳诏 趩賴 鬲睾蹖蹖乇丕鬲蹖 丿乇 夭賳丿诏蹖 丕賵 賵 丕卮禺丕氐蹖 讴賴 丿乇 夭賳丿诏蹖 丕賵 賳賯卮 丿丕乇賳丿貙 丕蹖噩丕丿 禺賵丕賴丿 讴乇丿責 亘丕 禺賵丕賳丿賳 丿丕爻鬲丕賳 亘賴 倬丕爻禺 丕蹖賳 爻丐丕賱 賴丕 禺賵丕賴蹖丿 乇爻蹖丿
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鈥庁з呟屫堌ж辟� 丕蹖賳 乇蹖賵蹖賵 丿乇 噩賴鬲賽 卮賳丕禺鬲賽 丕蹖賳 讴鬲丕亘貙 讴丕賮蹖 賵 賲賮蹖丿 亘賵丿賴 亘丕卮賴
鈥�<倬蹖乇賵夭 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖>
September 2, 2020
This, excitingly, felt like an ur-text not only of magic realism, but of a lot of later 20th-century litfic. Its postmodern self-awareness of its references, the grotesquerie and sleaze, and vagabond escapades in mundane settings, were all characteristic of the 1980s and 90s novels that were my first acquaintance with serious contemporary fiction. (And by no means only Midnight's Children, which is basically The Tin Drum plus X-Men in a different culture.) The Tin Drum's influence may have been renewed with the 1979 film (probably why there are references in early 80s music, like Japan's Tin Drum album and arguably the name Bronski Beat). Several of these key traits in fiction had already become visible in earlier 1950s writings like Lolita (1955) and early Kingsley Amis (Lucky Jim, 1954) and Philip Larkin, and would soon be carried forward by Pynchon. Yes, this did sometimes pop up earlier in the twentieth century (notably Joyce, though I feel there was often something more refined and less scuzzy and claustrophobic there, regardless of subject matter, like the interwar Paris scene was, and of course its own compatriot Berlin Alexanderplatz which isn't as ludic and effervescent). The mood of The Tin Drum ultimately harks back to, at least from the English-language perspective, the 18th century picaresque romp and the early modern (Shakespeare, Rabelais, Cervantes) and late medieval (Chaucer). But, when linked with the works and trends it prefigured or inspired, The Tin Drum feels like a landmark in a general, notable break from the witty pinched primness of the interwar decades, the memory of WWI trauma and then the nervousness of the 1930s hanging over it, either hinting at or avoiding sex. (Thinking here about e.g. Woolf, and because I've read them this year, Chandler and early Hemingway as well as golden age detectives, Wodehouse etc.) There's something rather late-1960s about The Tin Drum - most especially in the scenes in The Onion Cellar jazz club in post-war Dusseldorf, which read to me like "what if people had tried to deal with WWII trauma through a 1960s happening?" - it seems to be trying to regain the liberal, experimental mood popularly associated with Weimar Berlin, which was so rudely interrupted, and bring it back into the flow of culture in whatever modified way is possible. It shows strands of continuity between that and the jazz hipsters of the 1950s and in turn the hippies.
The novel is of course deliberately un-beautiful and un-refined. The infamous scene of the eels and the horsehead, one can imagine was concocted for its especial disgustingness; readers are even treated to a detailed recap near the end. The whole project represents and celebrates what the Nazis called 'degenerate art', and the voice of a person whom they wanted to exterminate once he was no longer useful to them as entertainment. A character who, as part of further artistic reaction from the author, fails to be pure and nice in order to most neatly and piously refute them. The only character whose good looks are frequently remarked on - the beautiful blue eyed blond Jan Bronski, the embodiment of 'a lover not a fighter' - is supposed to be comically cowardly in contrast to the Nazi Aryan ideal of such a man as a brave and selfless soldier. (Though I confess I failed to notice this until analysing the book after reading, as he simply seemed like a type very recognisable to me, a man who is attractive but a bit gormless - and given that it takes actual fighting to make him recoil, not half as gormless as some 21st century men.)
That deliberate failure of Oskar to be nice is complicated: he is creepy, lascivious and at least a minor criminal - all negative stereotypes long associated with dwarves. Criticism of this is not merely a part of the 21st-century social justice movement: when Charles Dickens was writing David Copperfield in serial form (1849-50), an acquaintance of his confronted him about the character of Miss Mowcher, a dwarf like she was; Dickens began a process of modifying the character to make her more positive and less of a caricature. Oskar on one level reinforces these stereotypes, which have been seen in many films made since WWII - but the novel is also implicitly about asserting his right to choose to be alive and to be heard at length as a person, regardless of his being unpleasant and an offender, and fitting negative stereotypes. For this reason too, the reliability of his narrative is genuinely ambiguous, in unusual contrast to, say, Lolita, and many other literary unreliable narrators of the following decades.
I'd felt like I ought to read The Tin Drum since my teens, G眉nter Grass being one of the authors listed in The Divine Comedy track 'The Booklovers', whom I've been trying to make my way through, twenty-odd years after I would like to have finished them. At some point I also figured I should read it because it's about an important part of Polish history, albeit the very opposite end of the country from where my family came from and therefore almost a different country. (It literally was one when my grandparents were born). But the book always sounded either boring, horrible or both. One particular GR friend review a few years ago intensified my assumption that it would be horrible. But by the start of this year, I'd read at least one book by enough of the listed authors that The Tin Drum was one of only two post-war (and therefore likely easier-to-read) titles left on my list and so it was time to have a go at it when I could.
Many of the adventures Oskar relates, first of his grandparents and parents, and then his own, are more fun and expansive than I ever expected this book to be, and it isn't until a third of the way into the novel that Nazism definitively intrudes, when Kristellnacht is reported. But a background grimness always hangs over the story because the narrator mentions from the very first that he is, at the time of telling his tale, locked up in an institution - and as he is a dwarf in mid-century Germany, who also has moderate (as distinct from mild) autism-like traits and behaviours, that does not seem to bode well at all. (A GR friend who has autistic sons also saw these traits in the character.) Knowledge of Oskar's unfreedom casts shadow on the most picaresque episodes, or any times he or his allies appear to be on the up; even the grotesque episodes would read more lightly otherwise. Also strange and unpleasant was reading about the war from a German perspective without overt apologies and unambiguous resistance in the text: reading the words of news reports about German successes and failures from the official German early-1940s perspective, mentioned much as if they were weather. If I'd ever read anything else like that it was very rarely.
The Tin Drum is unlike the vast majority of WWII books where one relaxes on characters' behalf once the war is over. The constant foreshadowing subverts that usual trajectory or wartime fiction, which I'm guessing had already become a clich茅 by the time Grass was writing this novel. Whilst Oskar turns out to be imprisoned for quite different reasons (and, it emerges, in some ways he likes institutional life and his "keeper") the author has created a continual tension that shows how in some ways the war wasn't over and people were still living amid its wreckage and legacy, even if the literal battles had finished in Europe. Even if the West German state's ideology, and approach to someone like Oskar, is different, there can't help be some hint of his potential fate under Nazism lingering in one's imagined idea of the ending during a first reading. Official discomfort with Oskar's inappropriateness, at one stage near the end, seems to echo that with Meursault's lack of emotion. Also symbolic of the persistent legacy of the Nazi era, of people remaining partly shackled by its ideas, is that Oskar keeps returning to the idea of marrying one female character although he knows that during the war she would have acquiesced to him being killed off in a state programme with other 'defectives'.
Having recently embarked on reading the original John Constantine Hellblazer comics, in the weeks just before I read the second half of The Tin Drum they proved an interesting comparison in this respect. Background and synopses for later volumes indicate that Constantine will at points end up in prison and a psychiatric hospital, but he always gets out again. He's got trials ahead of him, that must include literally - which lends a certain heaviness - but he ultimately ends up a free man.
Drawing parallels between Oskar and comics characters seems appropriate. Maybe I give too much weight to Kavalier and Clay but as with American comics by Jewish refugees, The Tin Drum is also about degenerate art and/or the degenerate artist having superpowers (Oskar singshattering glass, in Breon Mitchell's English coinage, and his later ability to affect others' emotional states through drumming). Though Oskar, as a character of ambiguous morality and very visible flaws, has far more in common with the dark, troubled and/or satirical superheroes of the 1980s and onwards than with the Golden Age. A major difference between comics and litfic is that - as can be seen in many GR reviews of The Tin Drum - in a literary novel, if a narrator is in a mental institution, it's implied the reader should automatically conclude this is an unreliable narrator (a reflex which seems to conflict with the popularity of social-justice driven interpretations of other features of literature); whereas in comics and their recent screen adaptations, quite a lot of heroes and other trustworthy characters seem to have been in one at some point, or at least been regarded as mad by others around them (for example Thor and Erik Selvig in the Marvel Thor films). The Tin Drum, on the cusp between fantasy and literary realism, maintains its balancing act in this respect too: as a fantasy or comics protagonist, Oskar could be believed; if he is read strictly as a literary-realist protagonist, the 'magic realism' could be part of his madness. Whilst that distinction and set of trends wasn't as apparent in 1959 as it is now (though the protagonists of ghost stories often wondered if they were mad, or were suspected of being so) it still reads as if it's intentionally unresolved which Oskar is, and that is another strength of the novel that makes it a classic - it can be read as relevant to a trend which was not so fully developed as it is now.
The writing in The Tin Drum is not as overtly experimental, and more easily readable than I expected from the novel's reputation. It didn't require the level of adjustment and attention that, say, Thomas Mann would (at time of writing I've been looking again at the beginnings of his big books). However, it also has flights of the spectacular: especially in elaborate metaphors, and in the long lists and recaps in the second half of Oskar's life, the events of the novel, and the history of Danzig. Translator Breon Mitchell's afterword draws attention to the way Grass uses sentence length to create tension and momentum. (And notes that this was not replicated in the first English translation by Ralph Mannheim.)
Most of the protracted metaphors are really euphemisms, and reflect the way that many people who lived through WWII couldn't talk, or couldn't talk directly, about the events of those years. Some of them are truly impressive and subtle, such as the one in the final chapter of Part One, 'Faith, Hope, Love' about Santa Claus, almonds and the gasman. But others, especially the roundabout sexual euphemisms, which often simply seem to reflect older generations' discomfort talking directly about sex, became IMO increasingly tedious. (Though I think many GR friends who enjoy Rabelaisian novels full of wordplay would love these regardless.)
These two reasons for euphemism intersect when the story reaches the Russian occupation of Germany and the mass rapes by soldiers. At the time The Tin Drum was published, there remained a national refusal to talk about this - and that was still the case in the late 1950s, as was seen in the reception of the memoir . So it was bold to allude to it at all. The innuendos used about it in The Tin Drum read with a playfulness that's highly inappropriate to the contemporary reader, though do probably reflect male minimisation of harm as well as the collective hushing-up, and therefore suit the era from a certain angle.
And The Tin Drum does reflect its times effectively whilst also seeming very modern in its approach (some of the latter may be because of the new English translation). It is about its times whilst also being more than that, not least because of having a few years' distance from its biggest events, and because events are a backdrop, a catalyst, not the only story even whilst they are integral to the characters' fates. Over the past couple of years, I've had a few conversations online about Brexit novels, and, more recently others with a friend about the inevitable glut of covid litfic that will be showing up over the next two or three years. In general I think it is still too close to these events for really good and interesting works to come out of them, taking account of multiple perspectives - and a lot of what there is currently or will be soon, is thinly disguised polemic and/or early processing in fictional form. (Though one or two things of enduring interest will surely come out of it via sheer weight of numbers.) Whilst reading in Part Three of The Tin Drum about the 1948 West German currency reform and its effects in multiple characters' lives, I thought *this* is how it should be done. The reform is undoubtedly pervasive and difficult in its immediate effects, yet the story is still driven by the characters and not by their opinions on the subject. I've not found out how long Grass took to write The Tin Drum, but the best part of ten years' distance, whether in composition or revisions, went into making that section the way it was. The story's arc is also thirty years or more, and when dealing with relatively recent but deep-rooted events and reactions, I think a canvas that large tends to produce the most interesting result.
There is lots I'd like to say about The Tin Drum which I haven't got space for - especially reading the novel in the context of Grass' revelations about fighting in the war, and as a work of hidden guilt. But many other aspects are covered elsewhere, so I have concentrated on a few topics that weren't in the GR reviews I've read. (A few lines more of this paragraph in comment 3 below.)
The novel is of course deliberately un-beautiful and un-refined. The infamous scene of the eels and the horsehead, one can imagine was concocted for its especial disgustingness; readers are even treated to a detailed recap near the end. The whole project represents and celebrates what the Nazis called 'degenerate art', and the voice of a person whom they wanted to exterminate once he was no longer useful to them as entertainment. A character who, as part of further artistic reaction from the author, fails to be pure and nice in order to most neatly and piously refute them. The only character whose good looks are frequently remarked on - the beautiful blue eyed blond Jan Bronski, the embodiment of 'a lover not a fighter' - is supposed to be comically cowardly in contrast to the Nazi Aryan ideal of such a man as a brave and selfless soldier. (Though I confess I failed to notice this until analysing the book after reading, as he simply seemed like a type very recognisable to me, a man who is attractive but a bit gormless - and given that it takes actual fighting to make him recoil, not half as gormless as some 21st century men.)
That deliberate failure of Oskar to be nice is complicated: he is creepy, lascivious and at least a minor criminal - all negative stereotypes long associated with dwarves. Criticism of this is not merely a part of the 21st-century social justice movement: when Charles Dickens was writing David Copperfield in serial form (1849-50), an acquaintance of his confronted him about the character of Miss Mowcher, a dwarf like she was; Dickens began a process of modifying the character to make her more positive and less of a caricature. Oskar on one level reinforces these stereotypes, which have been seen in many films made since WWII - but the novel is also implicitly about asserting his right to choose to be alive and to be heard at length as a person, regardless of his being unpleasant and an offender, and fitting negative stereotypes. For this reason too, the reliability of his narrative is genuinely ambiguous, in unusual contrast to, say, Lolita, and many other literary unreliable narrators of the following decades.
I'd felt like I ought to read The Tin Drum since my teens, G眉nter Grass being one of the authors listed in The Divine Comedy track 'The Booklovers', whom I've been trying to make my way through, twenty-odd years after I would like to have finished them. At some point I also figured I should read it because it's about an important part of Polish history, albeit the very opposite end of the country from where my family came from and therefore almost a different country. (It literally was one when my grandparents were born). But the book always sounded either boring, horrible or both. One particular GR friend review a few years ago intensified my assumption that it would be horrible. But by the start of this year, I'd read at least one book by enough of the listed authors that The Tin Drum was one of only two post-war (and therefore likely easier-to-read) titles left on my list and so it was time to have a go at it when I could.
Many of the adventures Oskar relates, first of his grandparents and parents, and then his own, are more fun and expansive than I ever expected this book to be, and it isn't until a third of the way into the novel that Nazism definitively intrudes, when Kristellnacht is reported. But a background grimness always hangs over the story because the narrator mentions from the very first that he is, at the time of telling his tale, locked up in an institution - and as he is a dwarf in mid-century Germany, who also has moderate (as distinct from mild) autism-like traits and behaviours, that does not seem to bode well at all. (A GR friend who has autistic sons also saw these traits in the character.) Knowledge of Oskar's unfreedom casts shadow on the most picaresque episodes, or any times he or his allies appear to be on the up; even the grotesque episodes would read more lightly otherwise. Also strange and unpleasant was reading about the war from a German perspective without overt apologies and unambiguous resistance in the text: reading the words of news reports about German successes and failures from the official German early-1940s perspective, mentioned much as if they were weather. If I'd ever read anything else like that it was very rarely.
The Tin Drum is unlike the vast majority of WWII books where one relaxes on characters' behalf once the war is over. The constant foreshadowing subverts that usual trajectory or wartime fiction, which I'm guessing had already become a clich茅 by the time Grass was writing this novel. Whilst Oskar turns out to be imprisoned for quite different reasons (and, it emerges, in some ways he likes institutional life and his "keeper") the author has created a continual tension that shows how in some ways the war wasn't over and people were still living amid its wreckage and legacy, even if the literal battles had finished in Europe. Even if the West German state's ideology, and approach to someone like Oskar, is different, there can't help be some hint of his potential fate under Nazism lingering in one's imagined idea of the ending during a first reading. Official discomfort with Oskar's inappropriateness, at one stage near the end, seems to echo that with Meursault's lack of emotion. Also symbolic of the persistent legacy of the Nazi era, of people remaining partly shackled by its ideas, is that Oskar keeps returning to the idea of marrying one female character although he knows that during the war she would have acquiesced to him being killed off in a state programme with other 'defectives'.
Having recently embarked on reading the original John Constantine Hellblazer comics, in the weeks just before I read the second half of The Tin Drum they proved an interesting comparison in this respect. Background and synopses for later volumes indicate that Constantine will at points end up in prison and a psychiatric hospital, but he always gets out again. He's got trials ahead of him, that must include literally - which lends a certain heaviness - but he ultimately ends up a free man.
Drawing parallels between Oskar and comics characters seems appropriate. Maybe I give too much weight to Kavalier and Clay but as with American comics by Jewish refugees, The Tin Drum is also about degenerate art and/or the degenerate artist having superpowers (Oskar singshattering glass, in Breon Mitchell's English coinage, and his later ability to affect others' emotional states through drumming). Though Oskar, as a character of ambiguous morality and very visible flaws, has far more in common with the dark, troubled and/or satirical superheroes of the 1980s and onwards than with the Golden Age. A major difference between comics and litfic is that - as can be seen in many GR reviews of The Tin Drum - in a literary novel, if a narrator is in a mental institution, it's implied the reader should automatically conclude this is an unreliable narrator (a reflex which seems to conflict with the popularity of social-justice driven interpretations of other features of literature); whereas in comics and their recent screen adaptations, quite a lot of heroes and other trustworthy characters seem to have been in one at some point, or at least been regarded as mad by others around them (for example Thor and Erik Selvig in the Marvel Thor films). The Tin Drum, on the cusp between fantasy and literary realism, maintains its balancing act in this respect too: as a fantasy or comics protagonist, Oskar could be believed; if he is read strictly as a literary-realist protagonist, the 'magic realism' could be part of his madness. Whilst that distinction and set of trends wasn't as apparent in 1959 as it is now (though the protagonists of ghost stories often wondered if they were mad, or were suspected of being so) it still reads as if it's intentionally unresolved which Oskar is, and that is another strength of the novel that makes it a classic - it can be read as relevant to a trend which was not so fully developed as it is now.
The writing in The Tin Drum is not as overtly experimental, and more easily readable than I expected from the novel's reputation. It didn't require the level of adjustment and attention that, say, Thomas Mann would (at time of writing I've been looking again at the beginnings of his big books). However, it also has flights of the spectacular: especially in elaborate metaphors, and in the long lists and recaps in the second half of Oskar's life, the events of the novel, and the history of Danzig. Translator Breon Mitchell's afterword draws attention to the way Grass uses sentence length to create tension and momentum. (And notes that this was not replicated in the first English translation by Ralph Mannheim.)
Most of the protracted metaphors are really euphemisms, and reflect the way that many people who lived through WWII couldn't talk, or couldn't talk directly, about the events of those years. Some of them are truly impressive and subtle, such as the one in the final chapter of Part One, 'Faith, Hope, Love' about Santa Claus, almonds and the gasman. But others, especially the roundabout sexual euphemisms, which often simply seem to reflect older generations' discomfort talking directly about sex, became IMO increasingly tedious. (Though I think many GR friends who enjoy Rabelaisian novels full of wordplay would love these regardless.)
These two reasons for euphemism intersect when the story reaches the Russian occupation of Germany and the mass rapes by soldiers. At the time The Tin Drum was published, there remained a national refusal to talk about this - and that was still the case in the late 1950s, as was seen in the reception of the memoir . So it was bold to allude to it at all. The innuendos used about it in The Tin Drum read with a playfulness that's highly inappropriate to the contemporary reader, though do probably reflect male minimisation of harm as well as the collective hushing-up, and therefore suit the era from a certain angle.
And The Tin Drum does reflect its times effectively whilst also seeming very modern in its approach (some of the latter may be because of the new English translation). It is about its times whilst also being more than that, not least because of having a few years' distance from its biggest events, and because events are a backdrop, a catalyst, not the only story even whilst they are integral to the characters' fates. Over the past couple of years, I've had a few conversations online about Brexit novels, and, more recently others with a friend about the inevitable glut of covid litfic that will be showing up over the next two or three years. In general I think it is still too close to these events for really good and interesting works to come out of them, taking account of multiple perspectives - and a lot of what there is currently or will be soon, is thinly disguised polemic and/or early processing in fictional form. (Though one or two things of enduring interest will surely come out of it via sheer weight of numbers.) Whilst reading in Part Three of The Tin Drum about the 1948 West German currency reform and its effects in multiple characters' lives, I thought *this* is how it should be done. The reform is undoubtedly pervasive and difficult in its immediate effects, yet the story is still driven by the characters and not by their opinions on the subject. I've not found out how long Grass took to write The Tin Drum, but the best part of ten years' distance, whether in composition or revisions, went into making that section the way it was. The story's arc is also thirty years or more, and when dealing with relatively recent but deep-rooted events and reactions, I think a canvas that large tends to produce the most interesting result.
There is lots I'd like to say about The Tin Drum which I haven't got space for - especially reading the novel in the context of Grass' revelations about fighting in the war, and as a work of hidden guilt. But many other aspects are covered elsewhere, so I have concentrated on a few topics that weren't in the GR reviews I've read. (A few lines more of this paragraph in comment 3 below.)
February 21, 2019
Onions and Potatos
In the very first chapter, I was reminded of Midnight Children because of Oscar's conversational tone of narrative - same as that of Saleem Shinai. Once MC was in my mind couldn't help locating similarities - both narrators start their stories with the first meeting of their maternal grandparents, both like talking about sex, both of them feel need to hide from the world (Oskar in grandmother's skirts, Shinai in laundry box) etc. Still there are enough differences, MC is more magical realism, Tin Drum is more about unreliable narrator
Unreliable Narrator
Why would you consider a narrator unreliable ? He is out of mind or delusional, he is a habitual liar, he is full of inferiority or superiority complexes, he had lied to you before, he is full of guilt. Oscar fulfills all these conditions. The book begins with lines:
He has lied to his family half his life. He himself corrects lies he has told you half a book before - putting an asterisk on everything he says. He tells you he deliberately stopped growing - and faked an accident to provide the world reason for that. The fact that a lot of information comes from his drum is not too much satisfying either. He is using both first-person pronouns and his name to talk about himself - at times in the same sentence.
Hence you must take everything he says with a pinch, correction a bowl full of salt. It is funny to see how whenever you find a reason to doubt a declaration he wants to maintain, he would run to explanations - as if he was telling you his story face-to-face and had seen you rise your eye-brow in doubt.
His schizophrenia, self-obsession, and complexes though won't stop him from being witty - every page of the book has some really witty play of words on it. At times, it gets a bit trying but Oscar is too busy showing off to care about your time.
War and War guilt
War as such doesn't show up much in the book except a few chapters it contains no soldiers and guns. I don't think concentration camps were mentioned even once.
There are some allegorical elements - Oscar's mother (the source of harmony in his world) dies at onset of war, Oscar polish uncle (whom he calls his biological father) dies when Poland falls to Russians and his German father dies with fall of Germany trying to swallow Nazi party pin. Wartime madness mostly shows up in sexual madness.
Oscar's is attracted alternatively to Rasputin and Goethe in R-G-R-G sequence which seems to show Germany's WWI-peace-WWII-peace sequence.
During the war, Oscar gain popularity as an artist who could break glasses through his voice (showing how much Germans loved being shouted at) while after war it is his drumming (the creative art) that gets prominence.
However this book uses war references in a different context just as some fiction books refers to classics. Oskar is a dwarf with a glass-breaking voice - and in one scene is seen shouting at enchanted people (can you imagine some dwarf with a loud, destructive and seductive voice?).
His favorite toy is Tin Drum - a common sight in war times, for armies marched on sound of drums. His mother was a nurse and he too has a fetish for nurses, red cross nurses; another common sight in WWII. He may as well have served as war Mascot. Like Oscar's drumming, It could have been a more enchanting book for people who have lived through the war - unlike me who has to google out everything.
Oscar doesn't much like Hitler, but he has a love-hate relationship with Jesus (Hitler's title 'Fuhrer' literally means guardian; so does the word 'Christ') - depending upon his mood he doesn't believe in Jesus, believes in Jesus, is a messenger of Jesus, is Jesus himself, is father of Jesus etc. In another scene, our dwarf hero is seen leading his street gangs to invade church (Hitler brought down synagogues).
The later half of the book is full of symbols of war guilt. Besides German father's death in trying to swallow Nazi pin, we have Oscar's fall in an open grave (mirroring German fall at end of war) and working as gravestone architect (too many dead in war) but no symbol is as prominent as hunchback he develops when he chose to grow-up (just a little) at the end of war. He models for painters often portrayed entirely in black with an increasingly larger hunchback while painters completely ignored his blue eyes ( comment on the complete negative portrayal of Germany after the war?). Onion cellar club showed how having lived through war, people were so full of remorse, they were out of tears and needed to peel onions to be able to weep.
An aggressive indifference
The clash between art and war is a constant theme:
Beethoven's big painting in Oscar's house has to give up its supreme position when Oscar's parents had to put in Hitler's painting. Beethoven was an artist and was deaf, deaf to the Hitler shouting in front of him. That somewhat sums Oscar's attitude towards war. He is indifferent to what happens around him, somewhat like Albert Campus and his Stranger - but in Oscar, this indifference is too aggressive, almost insane. He refused to grow up because he thought grownups were evil and he is constantly running away from the world, looking for solitude - in grandma's skirts, under the table his three parents are playing cards on or inside some almirah. When there is firing going outside, Oskar spends his time playing cards inside. He risks his claimed biological father's life for a new drum - repeatedly. He betrays both his fathers and his street-gang-followers to save himself. When his whole family is facing a life threat, he is too busy watching the trail of ants on ground.
This indifference attracts an equal indifference from us. It is really difficult to sympathize with this guy. At times he seems to be trying to make it difficult for us to relate to him - this book can be a thousand things, but it is definitively not a melodrama.
On the size of the book
You may think that with over 550 pages or this long review, it is a long book - do not be deluded by that; through its witty pose, it becomes a much, much, much longer book, almost Dickens long. Like Dickens, Grass seemed to have perfected each chapter separately with too much detail and wit, rather than trying to keep a natural flow which makes you go to next chapter as soon as you finish one.
In the very first chapter, I was reminded of Midnight Children because of Oscar's conversational tone of narrative - same as that of Saleem Shinai. Once MC was in my mind couldn't help locating similarities - both narrators start their stories with the first meeting of their maternal grandparents, both like talking about sex, both of them feel need to hide from the world (Oskar in grandmother's skirts, Shinai in laundry box) etc. Still there are enough differences, MC is more magical realism, Tin Drum is more about unreliable narrator
Unreliable Narrator
Why would you consider a narrator unreliable ? He is out of mind or delusional, he is a habitual liar, he is full of inferiority or superiority complexes, he had lied to you before, he is full of guilt. Oscar fulfills all these conditions. The book begins with lines:
"GRANTED: I AM an inmate of a mental hospital; my keeper is watching me, he never lets me out of his sight."
He has lied to his family half his life. He himself corrects lies he has told you half a book before - putting an asterisk on everything he says. He tells you he deliberately stopped growing - and faked an accident to provide the world reason for that. The fact that a lot of information comes from his drum is not too much satisfying either. He is using both first-person pronouns and his name to talk about himself - at times in the same sentence.
Hence you must take everything he says with a pinch, correction a bowl full of salt. It is funny to see how whenever you find a reason to doubt a declaration he wants to maintain, he would run to explanations - as if he was telling you his story face-to-face and had seen you rise your eye-brow in doubt.
His schizophrenia, self-obsession, and complexes though won't stop him from being witty - every page of the book has some really witty play of words on it. At times, it gets a bit trying but Oscar is too busy showing off to care about your time.
War and War guilt
I look for the land of the Poles that is lost to the Germans, for the moment at least. Nowadays the Germans have started searching for Poland with credits, Leicas, and compasses, with radar, divining rods, delegations, and moth-eaten provincial students' associations in costume. Some carry Chopin in their hearts, others thoughts of revenge. Condemning the first four partitions of Poland, they are busily planning a fifth; in the meantime flying to Warsaw via Air France in order to deposit, with appropriate remorse, a wreath on the spot that was once the ghetto. One of these days they will go searching for Poland with rockets. I meanwhile, conjure up Poland on my drum. And this is what I drum : Poland's lost, but not forever, all are lost, but not forever, Poland's not lost forever.
War as such doesn't show up much in the book except a few chapters it contains no soldiers and guns. I don't think concentration camps were mentioned even once.
There are some allegorical elements - Oscar's mother (the source of harmony in his world) dies at onset of war, Oscar polish uncle (whom he calls his biological father) dies when Poland falls to Russians and his German father dies with fall of Germany trying to swallow Nazi party pin. Wartime madness mostly shows up in sexual madness.
Oscar's is attracted alternatively to Rasputin and Goethe in R-G-R-G sequence which seems to show Germany's WWI-peace-WWII-peace sequence.
During the war, Oscar gain popularity as an artist who could break glasses through his voice (showing how much Germans loved being shouted at) while after war it is his drumming (the creative art) that gets prominence.
An entire credulous nation believed, there's faith for you, in Santa Claus. But Santa Claus was really the gas man.
However this book uses war references in a different context just as some fiction books refers to classics. Oskar is a dwarf with a glass-breaking voice - and in one scene is seen shouting at enchanted people (can you imagine some dwarf with a loud, destructive and seductive voice?).
His favorite toy is Tin Drum - a common sight in war times, for armies marched on sound of drums. His mother was a nurse and he too has a fetish for nurses, red cross nurses; another common sight in WWII. He may as well have served as war Mascot. Like Oscar's drumming, It could have been a more enchanting book for people who have lived through the war - unlike me who has to google out everything.
Oscar doesn't much like Hitler, but he has a love-hate relationship with Jesus (Hitler's title 'Fuhrer' literally means guardian; so does the word 'Christ') - depending upon his mood he doesn't believe in Jesus, believes in Jesus, is a messenger of Jesus, is Jesus himself, is father of Jesus etc. In another scene, our dwarf hero is seen leading his street gangs to invade church (Hitler brought down synagogues).
The later half of the book is full of symbols of war guilt. Besides German father's death in trying to swallow Nazi pin, we have Oscar's fall in an open grave (mirroring German fall at end of war) and working as gravestone architect (too many dead in war) but no symbol is as prominent as hunchback he develops when he chose to grow-up (just a little) at the end of war. He models for painters often portrayed entirely in black with an increasingly larger hunchback while painters completely ignored his blue eyes ( comment on the complete negative portrayal of Germany after the war?). Onion cellar club showed how having lived through war, people were so full of remorse, they were out of tears and needed to peel onions to be able to weep.
An aggressive indifference
The clash between art and war is a constant theme:
They are coming," he whispered. "They will take over the meadows where we pitch our tents. They will organize torchlight parades. They will build rostrums and fill them, and down from the rostrums, they will preach our destruction. Take care, young man. Always take care to be sitting on the rostrum and never to be standing out in front of it."
Beethoven's big painting in Oscar's house has to give up its supreme position when Oscar's parents had to put in Hitler's painting. Beethoven was an artist and was deaf, deaf to the Hitler shouting in front of him. That somewhat sums Oscar's attitude towards war. He is indifferent to what happens around him, somewhat like Albert Campus and his Stranger - but in Oscar, this indifference is too aggressive, almost insane. He refused to grow up because he thought grownups were evil and he is constantly running away from the world, looking for solitude - in grandma's skirts, under the table his three parents are playing cards on or inside some almirah. When there is firing going outside, Oskar spends his time playing cards inside. He risks his claimed biological father's life for a new drum - repeatedly. He betrays both his fathers and his street-gang-followers to save himself. When his whole family is facing a life threat, he is too busy watching the trail of ants on ground.
This indifference attracts an equal indifference from us. It is really difficult to sympathize with this guy. At times he seems to be trying to make it difficult for us to relate to him - this book can be a thousand things, but it is definitively not a melodrama.
On the size of the book
You may think that with over 550 pages or this long review, it is a long book - do not be deluded by that; through its witty pose, it becomes a much, much, much longer book, almost Dickens long. Like Dickens, Grass seemed to have perfected each chapter separately with too much detail and wit, rather than trying to keep a natural flow which makes you go to next chapter as soon as you finish one.
April 17, 2023
"A cualquiera que intentara quitarme el tambor le romp铆, quebr茅, e hice a帽icos, a grito de chillidos, cristales de ventanas, vasos llenos de cerveza llenos, botellas de cerveza vac铆as, frascos de perfume, platones de adorno, y en una palabra toda clase de objetos de vidrio manufacturados por el vidriera, en parte como simple vidrio o como art铆stico."
鈥淓l tambor de hojalata鈥� de G眉nter Grass es una de esas novelas que uno ve en las librer铆as de usados y generan intriga, ya sea por su t铆tulo o por la tapa que hayan elegido para la novela. Siempre la mir茅 buscando saber de qu茅 se trataba la historia y decid铆 leerla.
El trabajo de Grass en esta extens铆sima novela es tit谩nico, posee arrebatos de realismo m谩gico, g茅nero fant谩stico y parodia y en ella, el ni帽o Oscar Matzerath decide detener su crecimiento a la edad de tres a帽os aunque su cuerpo indique otra cosa.
La historia comprende el per铆odo que va desde el a帽o 1920 hasta 1950, o sea, desde que Oscar narra c贸mo fue engendrada su madre hasta que cumple los 30 a帽os de edad y adem谩s comienza contando su historia desde el hospital psiqui谩trico en el que se encuentra internado con Bruno, el enfermero devenido casi en su asistente personal.
La novela posee infinidad de an茅cdotas contadas por el peque帽o Oscar quien, para expresarse adem谩s de tocar su tambor decorado con tri谩ngulos rojos y blancos tambi茅n es due帽o de un poderoso grito capaz de destruir cristales de todo tipo, cosa que sucede en distintas oportunidades.
Es innegable hablar de la Segunda Guerra Mundial y del nazismo, ya que la posici贸n, tanto de Oscar y de los personajes secundarios que lo rodean tanto del autor es m谩s bien ambivalente ya que los aberrantes sucesos protagonizados por los nazis (especialmente el relato de la violenta, fat铆dica y horrorosa 鈥淣oche de los cristales rotos鈥� o 鈥淜ristallnacht鈥�) son vistas por un ingenuo Oscar y m谩s bien puesto a consideraci贸n del lector el juzgamiento de los hechos de esa noche del 9 al 10 de noviembre de 1938. Mismo caso para la defensa de la oficina de correos polaca en Danzig (Gdansk) que los nazis atacaron con toda su furia el 1掳 de septiembre de 1939.
Volviendo a la novela, el peque帽o Oscar vive al principio con su madre, su padre biol贸gico y el amante de su madre. De esta manera, ese tri谩ngulo entre Oscar, Alfred Matzerath y el polaco Jan Bronski llevar谩n a cabo gran parte de los episodios y sucesos que aparecer谩n a lo largo de la novela. Con la aparici贸n de Mar铆a mucho m谩s adelante que se transformar谩 en su novia y en la madre de su hijo Kurt, Oscar decidir谩 girar en 180掳 para buscar un destino que lo lleve donde 茅l quiera, eso s铆: siempre acompa帽ado por su tambor de hojalata.
Esta novela, extensa y por momentos densa y compleja es sustentada por otras tantas que poseen esa misma densidad narrativa pero que a la hora de encarar su lectura depara atenci贸n e inter茅s inmediato.
Realmente vale la pena leer 鈥淓l tambor de hojalata鈥�.
鈥淓l tambor de hojalata鈥� de G眉nter Grass es una de esas novelas que uno ve en las librer铆as de usados y generan intriga, ya sea por su t铆tulo o por la tapa que hayan elegido para la novela. Siempre la mir茅 buscando saber de qu茅 se trataba la historia y decid铆 leerla.
El trabajo de Grass en esta extens铆sima novela es tit谩nico, posee arrebatos de realismo m谩gico, g茅nero fant谩stico y parodia y en ella, el ni帽o Oscar Matzerath decide detener su crecimiento a la edad de tres a帽os aunque su cuerpo indique otra cosa.
La historia comprende el per铆odo que va desde el a帽o 1920 hasta 1950, o sea, desde que Oscar narra c贸mo fue engendrada su madre hasta que cumple los 30 a帽os de edad y adem谩s comienza contando su historia desde el hospital psiqui谩trico en el que se encuentra internado con Bruno, el enfermero devenido casi en su asistente personal.
La novela posee infinidad de an茅cdotas contadas por el peque帽o Oscar quien, para expresarse adem谩s de tocar su tambor decorado con tri谩ngulos rojos y blancos tambi茅n es due帽o de un poderoso grito capaz de destruir cristales de todo tipo, cosa que sucede en distintas oportunidades.
Es innegable hablar de la Segunda Guerra Mundial y del nazismo, ya que la posici贸n, tanto de Oscar y de los personajes secundarios que lo rodean tanto del autor es m谩s bien ambivalente ya que los aberrantes sucesos protagonizados por los nazis (especialmente el relato de la violenta, fat铆dica y horrorosa 鈥淣oche de los cristales rotos鈥� o 鈥淜ristallnacht鈥�) son vistas por un ingenuo Oscar y m谩s bien puesto a consideraci贸n del lector el juzgamiento de los hechos de esa noche del 9 al 10 de noviembre de 1938. Mismo caso para la defensa de la oficina de correos polaca en Danzig (Gdansk) que los nazis atacaron con toda su furia el 1掳 de septiembre de 1939.
Volviendo a la novela, el peque帽o Oscar vive al principio con su madre, su padre biol贸gico y el amante de su madre. De esta manera, ese tri谩ngulo entre Oscar, Alfred Matzerath y el polaco Jan Bronski llevar谩n a cabo gran parte de los episodios y sucesos que aparecer谩n a lo largo de la novela. Con la aparici贸n de Mar铆a mucho m谩s adelante que se transformar谩 en su novia y en la madre de su hijo Kurt, Oscar decidir谩 girar en 180掳 para buscar un destino que lo lleve donde 茅l quiera, eso s铆: siempre acompa帽ado por su tambor de hojalata.
Esta novela, extensa y por momentos densa y compleja es sustentada por otras tantas que poseen esa misma densidad narrativa pero que a la hora de encarar su lectura depara atenci贸n e inter茅s inmediato.
Realmente vale la pena leer 鈥淓l tambor de hojalata鈥�.
December 10, 2021
诏賵賳鬲乇 诏乇丕爻 丿乇 乇卮鬲賴鈥屰� 賲噩爻賲賴鈥屫池ж槽� 鬲丨氐蹖賱 讴乇丿. 丿乇 爻丕賱 郾酃鄣酃 乇賲丕賳 胤亘賱 丨賱亘蹖 丕賵 乇丕 亘賴 丕賵噩 卮賴乇鬲 乇爻丕賳丿. 丿乇 丕蹖賳 乇賲丕賳貙 賵 賳蹖夭 丿乇 乇賲丕賳 爻丕賱鈥屬囏й� 爻诏蹖 讴賴 丿乇 爻丕賱 郾酃鄱鄢 賲賳鬲卮乇 讴乇丿貙 噩夭蹖蹖丕鬲 賵丕賯毓蹖 亘丕 鬲禺蹖賱丕鬲 毓噩蹖亘 賵 睾乇蹖亘 丿乇 賴賲 丌賲蹖禺鬲賴鈥屫з嗀�. 丿乇 丕睾賱亘 乇賲丕賳鈥屬囏й� 诏乇丕爻貙 賲丨賱 賵賯賵毓 丨賵丕丿孬 賴賲丕賳 賲丨賱 鬲賵賱丿 禺賵丿 賳賵蹖爻賳丿賴 丕爻鬲. 诏乇丕爻 卮毓乇 賴賲 賲蹖鈥屭佖� 賵 丕睾賱亘 禺賵丿貙 丌賳鈥屬囏� 乇丕 賲氐賵乇 賲蹖讴乇丿.
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乇賵夭蹖 乇賵夭诏丕乇蹖 蹖讴 倬爻乇 亘趩賴鈥屫й� 亘賵丿 讴賴 賲丿丕賲 胤亘賱 賲蹖鈥屫藏� 丕爻賲 丕賵 丕爻讴丕乇 亘賵丿. 丕賵 賲丕丿乇 亘蹖趩丕乇賴鈥屫ж� 乇丕 亘禺丕胤乇 禺賵乇丿賳 亘蹖卮 丕夭 丨丿 賲丕賴蹖 丕夭 丿爻鬲 丿丕丿賴! 丕爻讴丕乇 夭蹖丕丿 丿爻鬲 亘賴 诏賱 亘賴 丌亘 賲蹖丿丕丿貨 倬爻乇亘趩賴鈥屫й� 亘賵丿 讴賴 亘丿賵賳 胤亘賱 丨賱亘蹖鈥屫ж� 賳賲蹖鈥屫堌з嗀池� 夭賳丿诏蹖 讴賳丿. 丕賵 丿乇 爻賴 爻丕賱诏蹖 噩丕 賲丕賳丿賴 賵 乇卮丿 噩爻賲蹖鈥屫ж� 賲鬲賵賯賮 卮丿賴 亘賵丿 賵賱蹖 丿乇 毓賵囟 氐丿丕蹖蹖 丿丕卮鬲 讴賴 鬲賲丕賲 卮蹖卮賴鈥屬囏� 乇丕 賲蹖鈥屬勜必藏з嗀� 賵 賲蹖鈥屫蹿┴池�. 賯丿乇鬲蹖 賮賵賯鈥屫з勜关ж� 賵 丿賵乇 丕夭 鬲氐賵乇 丿乇 丨丕賱蹖鈥屭┵� 賴賲賴 诏賲丕賳 賲蹖鈥屭┴必嗀� 丕賵 讴賳丿匕賴賳 丕爻鬲貙 賵賱蹖 賴賲賴 趩蹖夭 乇丕 亘賴 禺賵亘蹖 賲蹖鈥屬佡囐呟屫� 賵 讴丕賲賱丕 丿乇 噩乇蹖丕賳 丕鬲賮丕賯丕鬲 賵 賵賯丕蹖毓蹖 讴賴 丿乇 丕胤乇丕賮卮 賲蹖鈥屭柏簇� 亘賵丿!
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讴鬲丕亘 亘乇丕蹖 賲賳 讴賲蹖 讴爻賱鈥屭┵嗁嗀� 亘賵丿 賵 丿乇 亘毓囟蹖 噩丕賴丕蹖 讴鬲丕亘 賵丕賯毓丕 丕夭 丿爻鬲 丕爻讴丕乇貙 乇丕賵蹖 丿丕爻鬲丕賳 丨乇氐 賲蹖鈥屫堌必� 賵 丿賱賲 賲蹖鈥屫堌ж池� 夭賵丿鬲乇 讴鬲丕亘 乇丕 鬲賲丕賲 讴賳賲. 睾蹖乇賯丕亘賱 丕毓鬲賲丕丿 亘賵丿賳 乇丕賵蹖貙 卮禺氐蹖鬲 丿賵乇 丕夭 匕賴賳 賵 鬲氐賵乇卮 诏丕賴蹖 丌夭丕乇丿賴賳丿賴 賲蹖鈥屫簇�. 丕賱亘鬲賴 丿乇 丕蹖賳鈥屭┵� 讴鬲丕亘 丕夭 卮丕賴讴丕乇賴丕蹖 丕丿亘蹖丕鬲 噩賴丕賳 丕爻鬲 賵 丿乇 賱蹖爻鬲 乇賲丕賳鈥屬囏й� 亘乇鬲乇 賯乇丕乇 丿丕乇丿 噩丕蹖 卮讴 賳蹖爻鬲.
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乇賵夭蹖 乇賵夭诏丕乇蹖 蹖讴 倬爻乇 亘趩賴鈥屫й� 亘賵丿 讴賴 賲丿丕賲 胤亘賱 賲蹖鈥屫藏� 丕爻賲 丕賵 丕爻讴丕乇 亘賵丿. 丕賵 賲丕丿乇 亘蹖趩丕乇賴鈥屫ж� 乇丕 亘禺丕胤乇 禺賵乇丿賳 亘蹖卮 丕夭 丨丿 賲丕賴蹖 丕夭 丿爻鬲 丿丕丿賴! 丕爻讴丕乇 夭蹖丕丿 丿爻鬲 亘賴 诏賱 亘賴 丌亘 賲蹖丿丕丿貨 倬爻乇亘趩賴鈥屫й� 亘賵丿 讴賴 亘丿賵賳 胤亘賱 丨賱亘蹖鈥屫ж� 賳賲蹖鈥屫堌з嗀池� 夭賳丿诏蹖 讴賳丿. 丕賵 丿乇 爻賴 爻丕賱诏蹖 噩丕 賲丕賳丿賴 賵 乇卮丿 噩爻賲蹖鈥屫ж� 賲鬲賵賯賮 卮丿賴 亘賵丿 賵賱蹖 丿乇 毓賵囟 氐丿丕蹖蹖 丿丕卮鬲 讴賴 鬲賲丕賲 卮蹖卮賴鈥屬囏� 乇丕 賲蹖鈥屬勜必藏з嗀� 賵 賲蹖鈥屫蹿┴池�. 賯丿乇鬲蹖 賮賵賯鈥屫з勜关ж� 賵 丿賵乇 丕夭 鬲氐賵乇 丿乇 丨丕賱蹖鈥屭┵� 賴賲賴 诏賲丕賳 賲蹖鈥屭┴必嗀� 丕賵 讴賳丿匕賴賳 丕爻鬲貙 賵賱蹖 賴賲賴 趩蹖夭 乇丕 亘賴 禺賵亘蹖 賲蹖鈥屬佡囐呟屫� 賵 讴丕賲賱丕 丿乇 噩乇蹖丕賳 丕鬲賮丕賯丕鬲 賵 賵賯丕蹖毓蹖 讴賴 丿乇 丕胤乇丕賮卮 賲蹖鈥屭柏簇� 亘賵丿!
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讴鬲丕亘 亘乇丕蹖 賲賳 讴賲蹖 讴爻賱鈥屭┵嗁嗀� 亘賵丿 賵 丿乇 亘毓囟蹖 噩丕賴丕蹖 讴鬲丕亘 賵丕賯毓丕 丕夭 丿爻鬲 丕爻讴丕乇貙 乇丕賵蹖 丿丕爻鬲丕賳 丨乇氐 賲蹖鈥屫堌必� 賵 丿賱賲 賲蹖鈥屫堌ж池� 夭賵丿鬲乇 讴鬲丕亘 乇丕 鬲賲丕賲 讴賳賲. 睾蹖乇賯丕亘賱 丕毓鬲賲丕丿 亘賵丿賳 乇丕賵蹖貙 卮禺氐蹖鬲 丿賵乇 丕夭 匕賴賳 賵 鬲氐賵乇卮 诏丕賴蹖 丌夭丕乇丿賴賳丿賴 賲蹖鈥屫簇�. 丕賱亘鬲賴 丿乇 丕蹖賳鈥屭┵� 讴鬲丕亘 丕夭 卮丕賴讴丕乇賴丕蹖 丕丿亘蹖丕鬲 噩賴丕賳 丕爻鬲 賵 丿乇 賱蹖爻鬲 乇賲丕賳鈥屬囏й� 亘乇鬲乇 賯乇丕乇 丿丕乇丿 噩丕蹖 卮讴 賳蹖爻鬲.
September 7, 2024
丿丕爻鬲丕賳 丕夭 丕賵賳 噩丕蹖蹖 卮乇賵毓 賲蹖鈥屫促� 讴賴 丕爻讴丕乇 鄢郯 爻丕賱賴 賵賱蹖 丕夭 賱丨丕馗 賯丿鈥� 賵 賯丕賲鬲 鄢 爻丕賱賴 (卮禺氐蹖鬲 丕氐賱蹖 丿丕爻鬲丕賳) 丿乇 丌爻丕蹖卮诏丕賴 乇賵丕賳蹖 亘爻鬲乇蹖鈥屰屬� 賵 丿丕爻鬲丕賳 夭賳丿诏蹖鈥屫ж� 乇賵 丕夭 夭賲丕賳 丌卮賳丕蹖蹖 倬丿乇亘夭乇诏 亘丕 賲丕丿乇亘夭乇诏卮 鈥屫� 讴卮賵乇 丌賱賲丕賳 (丨丿賵丿 爻丕賱 郾酃郯郯) 卮乇賵毓 賲蹖鈥屭┵嗁� 賵 鬲丕 夭賲丕賳 丨丕賱蹖 讴賴 丿乇 亘蹖賲丕乇爻鬲丕賳 丨囟賵乇 丿丕乇賴 賲蹖鈥屬嗁堐屫迟�. 丕賳鬲賯丕丿 丕夭 賲爻丕卅賱 丕噩鬲賲丕毓蹖-爻蹖丕爻蹖 賵 賲氐丕卅亘 丿賵 噩賳诏鈥屫囏з嗃� 亘丕 夭亘丕賳 胤賳夭貙听倬乇爻賵賳丕跇鈥屬囏й� 毓噩蹖亘鈥屫贺臂屫� 诏賵乇夭丕丿 賵 賮賱讴鈥屫藏� 亘丕 乇賮鬲丕乇賴丕蹖 亘丕賲夭賴 賵 禺賳丿賴鈥屫ж必� 賯賱賲 讴賳丕蹖賴鈥屫й� 賵 卮蹖乇蹖賳貙 噩夭蹖蹖丕鬲 亘爻蹖丕乇 夭蹖丕丿 丿丕爻鬲丕賳蹖 賵 丨賵丕丿孬 賳蹖賲賴鈥屬堌з傌观�-賳蹖賲賴鈥屫ж堐屰� 賵蹖跇诏蹖鈥屬囏й� 丕氐賱蹖 胤亘賱 丨賱亘蹖 诏賵賳鬲乇 诏乇丕爻賴.
亘賴 卮禺氐賴 趩賳丿鬲丕 丕夭 賲賵賯毓蹖鬲鈥屬囏� 賵 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳蹖鈥屫ж� 丕賳賯丿乇 亘乇丕賲 夭賳丿賴 賵 倬賵蹖丕 亘賵丿 讴賴 賮讴乇 讴賳賲 亘乇丕蹖 賴賲蹖卮賴 丿乇 匕賴賳賲 賲賵賳丿诏丕乇 卮丿.
讴蹖 賲蹖鈥屫堎嗁� 亘丕 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 丕爻讴丕乇 賯賵夭賯賵夭蹖 讴賵鬲賵賱賴 乇賵 亘丕 丕賵賳 胤亘賱 丿賵乇 爻賮蹖丿 賵 爻乇禺卮 賵 噩蹖睾鈥屬囏ж� 蹖丕丿卮 亘乇賴責 蹖丕 賲孬賱丕 诏乇賮 爻亘夭蹖鈥屬佖辟堌� 讴賴 毓賱丕賯賴 賵蹖跇賴鈥屫й� 亘賴 倬爻乇亘趩賴鈥屬囏� 丿丕卮鬲 :)責
蹖丕 讴蹖 賲蹖鈥屫堎嗁� 丕賵賳 讴賱賴鈥屰� 爻蹖丕賴 丕爻亘 乇賵 讴賴 倬乇 丕夭 賲丕乇賲丕賴蹖 亘賵丿貙 賮乇丕賲賵卮 讴賳賴責 蹖丕 賲丕乇蹖丕蹖 诏乇丿 賵 睾賱賳亘賴 乇賵 讴賴 賴賲蹖卮賴 亘賵蹖 賵丕賳蹖賱 賲蹖鈥屫ж�
亘賴 胤賵乇 賲孬丕賱 丕爻讴丕乇 賲丕乇蹖丕 乇賵 丕蹖賳胤賵乇蹖 鬲賵氐蹖賮 鈥屬呟屸€屭┵嗁�: "爻乇 讴賵趩讴 賲丕乇蹖丕 讴賴 丿乇 賲卮鬲 噩丕 賲蹖鈥屭辟佖� 亘賴 诏賵賳賴鈥屬囏й� 鬲倬賱 賵 亘乇噩爻鬲賴 丕爻鬲禺賵丕賳 賵 趩卮賲丕賳蹖 丿乇卮鬲 賵 夭蹖亘丕 丿乇 丿賵 噩丕賳亘 亘蹖賳蹖 馗乇蹖賮 賵 賳丕趩蹖夭卮 丌乇丕爻鬲賴 亘賵丿. 丕夭 賲卮禺氐丕鬲 亘丿賳卮貙 讴賴 丕賵 乇丕 丿乇 卮賲丕乇 讴賵鬲丕賴鈥屬傌з呚з� 賲蹖鈥屫池ж藏� 卮丕賳賴 賴丕蹖 賮乇丕禺 賵 倬爻鬲丕賳 賴丕蹖 亘乇噩爻鬲賴鈥屫ж� 亘賵丿 讴賴 丕賳诏丕乇蹖 丿乇爻鬲 丕夭 夭蹖乇 亘睾賱卮 乇賵蹖蹖丿賴 亘賵丿 賵 爻乇蹖賳 倬鬲 賵 倬賴賳卮 讴賴 丿乇爻鬲 丿乇 賳卮蹖賲賳诏丕賴 賲爻鬲乇丕丨 噩丕 賲蹖鈥屫з佖ж�. 丕蹖賳 亘賯趩賴鈥屫ㄙ嗀� 亘乇 乇賵蹖 丿賵 乇丕賳 賱丕睾乇 爻賵丕乇 亘賵丿 讴賴 賲蹖丕賳卮丕賳貙 夭蹖乇 賲賵賴丕蹖 卮乇賲诏丕賴 胤丕賯鈥屬嗀地必� 賲蹖丕賳鈥屫з勠� 倬丿蹖丿 賲蹖鈥屫①堌必� 賵 乇賵蹖 賴賲 乇賮鬲賴 賲蹖丕賳 丌賳 爻乇 賵 丕蹖賳 亘丿賳 禺賵蹖卮丕賵賳丿蹖 丌卮讴丕乇蹖 丿蹖丿賴 賲蹖鈥屫簇�.[..] 丕賳诏卮鬲丕賳 鬲倬賱鈥屫ж� 亘賴 爻賵爻蹖爻鈥屬囏й� 讴賵趩讴蹖 賲蹖鈥屬呚з嗀池�." 氐 鄢鄞鄯
丕蹖賳 讴鬲丕亘 倬乇 丕夭 丕鬲賮丕賯丕鬲 賵 卮禺氐蹖鬲鈥屬囏й� 讴賵賱蹖 亘丕 鬲賵氐蹖賮鈥屬囏й� 倬乇丌亘鈥屬堌ж� 賵 睾蹖乇賲爻鬲賯蹖賲 賵 丕爻鬲毓丕乇蹖 亘賴鈥屫蒂堌必� 胤賳夭賴 賵 禺賵賳丿賳鈥屫促堎� 卮蹖乇蹖賳蹖 禺丕氐蹖 丿丕乇賴 賵 賲丿丕賲 賲禺丕胤亘 乇賵 丕睾賵丕 賵 賵爻賵爻賴 賲蹖鈥屭┵嗁� 讴賴 蹖賴 氐賮丨賴 亘蹖卮鬲乇 亘禺賵賳! 賲賳 乇賵 賲蹖鈥屫ㄛ屬嗃屫� 賲賳 乇賵 亘亘賱毓!
賳讴鬲賴 賲賴賲 丿蹖诏乇蹖 讴賴 丿乇 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇賴 賵 夭蹖丕丿 賴賲 丌卮讴丕乇 賳蹖爻鬲 賵 讴賲鬲乇 亘賴卮 倬乇丿丕禺鬲賴鈥� 卮丿賴 賵賱蹖 丿乇 倬丕蹖丕賳 讴鬲丕亘 丕夭 夭亘賵賳 禺賵丿 丕爻讴丕乇 亘丕賴丕卮 賲賵丕噩賴 賲蹖鈥屫篡屬� 乇賵丨 鬲丕乇蹖禺賴. 趩蹖夭蹖 讴賴 亘丕 毓賳賵丕賳 丌卮倬夭 爻蹖丕賴 蹖丕 丿丿賴 丌卮倬夭 丿丕禺賱 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇賴 賵 鬲賲丕賲 丕鬲賮丕賯丕鬲 鬲丕乇蹖禺 賵 夭賳丿诏蹖 夭蹖乇 爻丕蹖賴 爻蹖丕賴 丕賵賳 丕鬲賮丕賯 賲蹖鈥屫з佖� 賵 賲孬賱 賲賱讴鈥屫з勝呝堌� 丿丕爻鈥屫ㄙ団€屫池� 亘丕賱丕蹖 爻乇 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳 賵 诏賵卮賴 賵 讴賳丕乇 丿丕爻鬲丕賳 賯乇丕乇 丿丕乇賴 賵 噩乇蹖丕賳 賴丕蹖 鬲丕乇蹖禺蹖 賵 丿丕爻鬲丕賳蹖 乇賵 倬蹖卮鈥� 賲蹖鈥屫ㄘ辟� 賵 丿乇 倬丕蹖丕賳 讴鬲丕亘 丕爻讴丕乇 丨囟賵乇卮 乇賵 亘蹖卮鬲乇 丕丨爻丕爻 賲蹖鈥屭┵嗁�: "丌賳趩賴 丌賳鈥屬堎傌€屬囏� 賲乇丕 丿乇 乇丕賴鈥屬举勝� 賲蹖鈥屫必池з嗀� 蹖丕 丿乇 夭蹖乇夭賲蹖賳 賵 夭睾丕賱丿丕賳蹖 賳丕诏賴丕賳 氐丿丕 賲蹖鈥屫ж� 賵 鬲賵蹖 丿賱賲 乇丕 禺丕賱蹖 賲蹖鈥屭┴必� 鬲丕 賲賳 亘禺賳丿賲 賴賲蹖卮賴 賴賲賴鈥屫� 亘賵丿 诏乇趩賴 倬賳賴丕賳 亘賵丿..[..] 丿蹖诏乇 丕夭 丕爻讴丕乇 賳倬乇爻蹖丿 讴賴 丕賵 讴賴 亘賵丿. 丿蹖诏乇 賴蹖趩 讴賱賲賴鈥屫й� 亘乇丕蹖 賵氐賮 丕賵 賳丿丕乇賲貙 夭蹖乇丕 丌賳讴賴 丕賵賱 倬卮鬲 爻乇賲 賲蹖鈥屬嗀簇池� 賵 亘毓丿 賯賵夭賲 乇丕 賲蹖鈥屫ㄙ堌驰屫� 丕夭 丕蹖賳 亘賴 亘毓丿 亘賴 倬蹖卮亘丕夭賲 賲蹖鈥屫③屫�." 氐鄯酃郯_鄯酃鄄
倬.賳: 丕賵丕蹖賱 讴鬲丕亘 亘賴 卮丿鬲 倬乇 丕夭 睾賱胤鈥屬囏й� 賵蹖乇丕爻鬲丕乇蹖 亘賵丿 讴賴 鬲賵蹖 匕賵賯 賲蹖鈥屫藏� 賵賱蹖 乇賮鬲賴鈥屫辟佖� 亘賴鬲乇 卮丿. 鬲乇噩賲賴 爻乇賵卮 丨亘蹖亘蹖 賲孬賱 賴賲蹖卮賴 禺賵亘賴 賮賯胤 亘毓囟蹖 賯爻賲鬲鈥屬囏й� 讴鬲丕亘 賲孬賱 賮氐賱 賳蹖賵亘賴 蹖丕 丕卮丕乇賴鈥屫ж� 亘賴 噩夭蹖乇賴 lesbos 蹖丕 丕乇噩丕毓鈥屬囏� 亘賴 卮禺氐蹖鬲 賴丕蹖 鬲丕乇蹖禺蹖 賵 丿丕爻鬲丕賳蹖 丕丿蹖爻賴 賵 趩賳丿 賯賱賲 丿蹖诏賴 賳蹖丕夭賲賳丿 倬丕賳賵蹖爻 賵 鬲賵囟蹖丨 賲鬲乇噩賲 亘賵丿 讴賴 丿乇蹖睾 卮丿賴 亘賵丿.
郾鄞郯鄢/郯鄢/鄄郯
亘賴 卮禺氐賴 趩賳丿鬲丕 丕夭 賲賵賯毓蹖鬲鈥屬囏� 賵 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳蹖鈥屫ж� 丕賳賯丿乇 亘乇丕賲 夭賳丿賴 賵 倬賵蹖丕 亘賵丿 讴賴 賮讴乇 讴賳賲 亘乇丕蹖 賴賲蹖卮賴 丿乇 匕賴賳賲 賲賵賳丿诏丕乇 卮丿.
讴蹖 賲蹖鈥屫堎嗁� 亘丕 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 丕爻讴丕乇 賯賵夭賯賵夭蹖 讴賵鬲賵賱賴 乇賵 亘丕 丕賵賳 胤亘賱 丿賵乇 爻賮蹖丿 賵 爻乇禺卮 賵 噩蹖睾鈥屬囏ж� 蹖丕丿卮 亘乇賴責 蹖丕 賲孬賱丕 诏乇賮 爻亘夭蹖鈥屬佖辟堌� 讴賴 毓賱丕賯賴 賵蹖跇賴鈥屫й� 亘賴 倬爻乇亘趩賴鈥屬囏� 丿丕卮鬲 :)責
蹖丕 讴蹖 賲蹖鈥屫堎嗁� 丕賵賳 讴賱賴鈥屰� 爻蹖丕賴 丕爻亘 乇賵 讴賴 倬乇 丕夭 賲丕乇賲丕賴蹖 亘賵丿貙 賮乇丕賲賵卮 讴賳賴責 蹖丕 賲丕乇蹖丕蹖 诏乇丿 賵 睾賱賳亘賴 乇賵 讴賴 賴賲蹖卮賴 亘賵蹖 賵丕賳蹖賱 賲蹖鈥屫ж�
亘賴 胤賵乇 賲孬丕賱 丕爻讴丕乇 賲丕乇蹖丕 乇賵 丕蹖賳胤賵乇蹖 鬲賵氐蹖賮 鈥屬呟屸€屭┵嗁�: "爻乇 讴賵趩讴 賲丕乇蹖丕 讴賴 丿乇 賲卮鬲 噩丕 賲蹖鈥屭辟佖� 亘賴 诏賵賳賴鈥屬囏й� 鬲倬賱 賵 亘乇噩爻鬲賴 丕爻鬲禺賵丕賳 賵 趩卮賲丕賳蹖 丿乇卮鬲 賵 夭蹖亘丕 丿乇 丿賵 噩丕賳亘 亘蹖賳蹖 馗乇蹖賮 賵 賳丕趩蹖夭卮 丌乇丕爻鬲賴 亘賵丿. 丕夭 賲卮禺氐丕鬲 亘丿賳卮貙 讴賴 丕賵 乇丕 丿乇 卮賲丕乇 讴賵鬲丕賴鈥屬傌з呚з� 賲蹖鈥屫池ж藏� 卮丕賳賴 賴丕蹖 賮乇丕禺 賵 倬爻鬲丕賳 賴丕蹖 亘乇噩爻鬲賴鈥屫ж� 亘賵丿 讴賴 丕賳诏丕乇蹖 丿乇爻鬲 丕夭 夭蹖乇 亘睾賱卮 乇賵蹖蹖丿賴 亘賵丿 賵 爻乇蹖賳 倬鬲 賵 倬賴賳卮 讴賴 丿乇爻鬲 丿乇 賳卮蹖賲賳诏丕賴 賲爻鬲乇丕丨 噩丕 賲蹖鈥屫з佖ж�. 丕蹖賳 亘賯趩賴鈥屫ㄙ嗀� 亘乇 乇賵蹖 丿賵 乇丕賳 賱丕睾乇 爻賵丕乇 亘賵丿 讴賴 賲蹖丕賳卮丕賳貙 夭蹖乇 賲賵賴丕蹖 卮乇賲诏丕賴 胤丕賯鈥屬嗀地必� 賲蹖丕賳鈥屫з勠� 倬丿蹖丿 賲蹖鈥屫①堌必� 賵 乇賵蹖 賴賲 乇賮鬲賴 賲蹖丕賳 丌賳 爻乇 賵 丕蹖賳 亘丿賳 禺賵蹖卮丕賵賳丿蹖 丌卮讴丕乇蹖 丿蹖丿賴 賲蹖鈥屫簇�.[..] 丕賳诏卮鬲丕賳 鬲倬賱鈥屫ж� 亘賴 爻賵爻蹖爻鈥屬囏й� 讴賵趩讴蹖 賲蹖鈥屬呚з嗀池�." 氐 鄢鄞鄯
丕蹖賳 讴鬲丕亘 倬乇 丕夭 丕鬲賮丕賯丕鬲 賵 卮禺氐蹖鬲鈥屬囏й� 讴賵賱蹖 亘丕 鬲賵氐蹖賮鈥屬囏й� 倬乇丌亘鈥屬堌ж� 賵 睾蹖乇賲爻鬲賯蹖賲 賵 丕爻鬲毓丕乇蹖 亘賴鈥屫蒂堌必� 胤賳夭賴 賵 禺賵賳丿賳鈥屫促堎� 卮蹖乇蹖賳蹖 禺丕氐蹖 丿丕乇賴 賵 賲丿丕賲 賲禺丕胤亘 乇賵 丕睾賵丕 賵 賵爻賵爻賴 賲蹖鈥屭┵嗁� 讴賴 蹖賴 氐賮丨賴 亘蹖卮鬲乇 亘禺賵賳! 賲賳 乇賵 賲蹖鈥屫ㄛ屬嗃屫� 賲賳 乇賵 亘亘賱毓!
賳讴鬲賴 賲賴賲 丿蹖诏乇蹖 讴賴 丿乇 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇賴 賵 夭蹖丕丿 賴賲 丌卮讴丕乇 賳蹖爻鬲 賵 讴賲鬲乇 亘賴卮 倬乇丿丕禺鬲賴鈥� 卮丿賴 賵賱蹖 丿乇 倬丕蹖丕賳 讴鬲丕亘 丕夭 夭亘賵賳 禺賵丿 丕爻讴丕乇 亘丕賴丕卮 賲賵丕噩賴 賲蹖鈥屫篡屬� 乇賵丨 鬲丕乇蹖禺賴. 趩蹖夭蹖 讴賴 亘丕 毓賳賵丕賳 丌卮倬夭 爻蹖丕賴 蹖丕 丿丿賴 丌卮倬夭 丿丕禺賱 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇賴 賵 鬲賲丕賲 丕鬲賮丕賯丕鬲 鬲丕乇蹖禺 賵 夭賳丿诏蹖 夭蹖乇 爻丕蹖賴 爻蹖丕賴 丕賵賳 丕鬲賮丕賯 賲蹖鈥屫з佖� 賵 賲孬賱 賲賱讴鈥屫з勝呝堌� 丿丕爻鈥屫ㄙ団€屫池� 亘丕賱丕蹖 爻乇 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳 賵 诏賵卮賴 賵 讴賳丕乇 丿丕爻鬲丕賳 賯乇丕乇 丿丕乇賴 賵 噩乇蹖丕賳 賴丕蹖 鬲丕乇蹖禺蹖 賵 丿丕爻鬲丕賳蹖 乇賵 倬蹖卮鈥� 賲蹖鈥屫ㄘ辟� 賵 丿乇 倬丕蹖丕賳 讴鬲丕亘 丕爻讴丕乇 丨囟賵乇卮 乇賵 亘蹖卮鬲乇 丕丨爻丕爻 賲蹖鈥屭┵嗁�: "丌賳趩賴 丌賳鈥屬堎傌€屬囏� 賲乇丕 丿乇 乇丕賴鈥屬举勝� 賲蹖鈥屫必池з嗀� 蹖丕 丿乇 夭蹖乇夭賲蹖賳 賵 夭睾丕賱丿丕賳蹖 賳丕诏賴丕賳 氐丿丕 賲蹖鈥屫ж� 賵 鬲賵蹖 丿賱賲 乇丕 禺丕賱蹖 賲蹖鈥屭┴必� 鬲丕 賲賳 亘禺賳丿賲 賴賲蹖卮賴 賴賲賴鈥屫� 亘賵丿 诏乇趩賴 倬賳賴丕賳 亘賵丿..[..] 丿蹖诏乇 丕夭 丕爻讴丕乇 賳倬乇爻蹖丿 讴賴 丕賵 讴賴 亘賵丿. 丿蹖诏乇 賴蹖趩 讴賱賲賴鈥屫й� 亘乇丕蹖 賵氐賮 丕賵 賳丿丕乇賲貙 夭蹖乇丕 丌賳讴賴 丕賵賱 倬卮鬲 爻乇賲 賲蹖鈥屬嗀簇池� 賵 亘毓丿 賯賵夭賲 乇丕 賲蹖鈥屫ㄙ堌驰屫� 丕夭 丕蹖賳 亘賴 亘毓丿 亘賴 倬蹖卮亘丕夭賲 賲蹖鈥屫③屫�." 氐鄯酃郯_鄯酃鄄
倬.賳: 丕賵丕蹖賱 讴鬲丕亘 亘賴 卮丿鬲 倬乇 丕夭 睾賱胤鈥屬囏й� 賵蹖乇丕爻鬲丕乇蹖 亘賵丿 讴賴 鬲賵蹖 匕賵賯 賲蹖鈥屫藏� 賵賱蹖 乇賮鬲賴鈥屫辟佖� 亘賴鬲乇 卮丿. 鬲乇噩賲賴 爻乇賵卮 丨亘蹖亘蹖 賲孬賱 賴賲蹖卮賴 禺賵亘賴 賮賯胤 亘毓囟蹖 賯爻賲鬲鈥屬囏й� 讴鬲丕亘 賲孬賱 賮氐賱 賳蹖賵亘賴 蹖丕 丕卮丕乇賴鈥屫ж� 亘賴 噩夭蹖乇賴 lesbos 蹖丕 丕乇噩丕毓鈥屬囏� 亘賴 卮禺氐蹖鬲 賴丕蹖 鬲丕乇蹖禺蹖 賵 丿丕爻鬲丕賳蹖 丕丿蹖爻賴 賵 趩賳丿 賯賱賲 丿蹖诏賴 賳蹖丕夭賲賳丿 倬丕賳賵蹖爻 賵 鬲賵囟蹖丨 賲鬲乇噩賲 亘賵丿 讴賴 丿乇蹖睾 卮丿賴 亘賵丿.
郾鄞郯鄢/郯鄢/鄄郯
September 20, 2022
The story here is thoroughly absorbing. The writing is of its own style鈥攃reative, unique, one-of-a-kind. Simply marvelous.
The book is perfect as I lie in the hospital with a fractured kneecap. I hope to return home with the leg in a brace at the end of the week. Life was never said to be easy.
During twelve days the book has kept me thoroughly occupied. Now at home, I have finished the book and am writing my review.
The story is an autobiographical memoir written by a dwarf. Writing from an insane asylum in 1954, he is thirty. He recounts the events of his life and in so doing draws a picture of Nazi Germany before, during and after the Second World War. Born in Danzig (today Gdansk, Poland), we view through his peregrinations not only Danzig but also Dusseldorf and France, particularly Normandy. What is delivered is a satire, a bizarre, picturesque and vivid tale seeped in magical realism.
The idiom, 鈥渢o beat a drum鈥�, is to bring attention to a cause, and that is what the book does /did. It won the Noble Prize for Literature in 1999. Oskar, it is he who is the dwarf, the midget, who through his drumming protests against the era as well as the middle-class mentality of his family. Gunter Grass, a German, delivers a sharp critique of Germany and the mindset that prevailed. When the book first came out in 1959, it was banned. It was dubbed as blasphemous.
Oskar, rebels by two means鈥攈is drumming and shrill singing. Windows splinter. Glass shatters. This is merely one example of how magical realism is woven into the tale.
I listened to the version translated into English by Ralph Manheim. In my view the prose is the tale鈥檚 strongest point. The choice of words enhances the value of the tale told. Don鈥檛 hesitate to read this translation.
The audiobook is narrated by Robert Gladwell. He speaks clearly, although I did reduce the speed. The prose is meant to be savored and thought about. I have given the narration four stars. The pronunciation of some names are a bit off. This is not of much importance. Perhaps I should have given the narration five stars--it was easy to follow all the way through. This is helpful in those parts that are confusing when your mind is whirling, grasping to understand the author鈥檚 implied message.
I love this book for its creativity, its vividness and how it delivers its message. The writing is a real treat.
****
* 5 stars
* TBR
* TBR
The book is perfect as I lie in the hospital with a fractured kneecap. I hope to return home with the leg in a brace at the end of the week. Life was never said to be easy.
During twelve days the book has kept me thoroughly occupied. Now at home, I have finished the book and am writing my review.
The story is an autobiographical memoir written by a dwarf. Writing from an insane asylum in 1954, he is thirty. He recounts the events of his life and in so doing draws a picture of Nazi Germany before, during and after the Second World War. Born in Danzig (today Gdansk, Poland), we view through his peregrinations not only Danzig but also Dusseldorf and France, particularly Normandy. What is delivered is a satire, a bizarre, picturesque and vivid tale seeped in magical realism.
The idiom, 鈥渢o beat a drum鈥�, is to bring attention to a cause, and that is what the book does /did. It won the Noble Prize for Literature in 1999. Oskar, it is he who is the dwarf, the midget, who through his drumming protests against the era as well as the middle-class mentality of his family. Gunter Grass, a German, delivers a sharp critique of Germany and the mindset that prevailed. When the book first came out in 1959, it was banned. It was dubbed as blasphemous.
Oskar, rebels by two means鈥攈is drumming and shrill singing. Windows splinter. Glass shatters. This is merely one example of how magical realism is woven into the tale.
I listened to the version translated into English by Ralph Manheim. In my view the prose is the tale鈥檚 strongest point. The choice of words enhances the value of the tale told. Don鈥檛 hesitate to read this translation.
The audiobook is narrated by Robert Gladwell. He speaks clearly, although I did reduce the speed. The prose is meant to be savored and thought about. I have given the narration four stars. The pronunciation of some names are a bit off. This is not of much importance. Perhaps I should have given the narration five stars--it was easy to follow all the way through. This is helpful in those parts that are confusing when your mind is whirling, grasping to understand the author鈥檚 implied message.
I love this book for its creativity, its vividness and how it delivers its message. The writing is a real treat.
****
* 5 stars
* TBR
* TBR
April 5, 2024
兀胤乇賯 丕賱乇卅賷爻 丕賱賷賲賳賷 毓賱賷 毓亘丿 丕賱賱賴 氐丕賱丨 賵賴賵 賷賮賰乇 賮賷 胤賱亘 丕賱乇賵丕卅賷 丕賱兀賱賲丕賳賷 睾賵賳鬲乇 睾乇丕爻. 賮亘毓丿 兀賳 毓乇囟 丕賱兀賵賱 毓賱賶 丕賱兀禺賷乇 鬲賰乇賷賲賴 亘賵爻丕賲 丕爻鬲丨賯丕賯貙 賵囟毓 丕賱兀丿賷亘 卮乇胤丕賸 賱賯亘賵賱賴貙 賵賴賵 廿爻賯丕胤 丕賱鬲賴賲 丕賱賲賵噩賴丞 賱賱乇賵丕卅賷 丕賱賷賲賳賷 賵噩丿賷 丕賱兀賴丿賱 亘爻亘亘 乇賵丕賷鬲賴 (賯賵丕乇亘 噩亘賱賷丞) 亘丕賱廿囟丕賮丞 廿賱賶 丨賲丕賷鬲賴 賲賳 丕賱賲賱丕丨賯丞 丕賱賯囟丕卅賷丞. 丕賳鬲賴賶 丕賱賲賵賯賮 亘賯亘賵賱 丕賱乇卅賷爻 丕賱乇丕丨賱 丕賱卮乇胤貙 賵鬲賰乇賷賲 丕賱兀丿賷亘 丕賱兀賱賲丕賳賷貙 賵丕爻鬲毓丕丿丞 丕賱兀賴丿賱 丨乇賷鬲賴.
鬲賰卮賮 賱賳丕 賴匕賴 丕賱賵丕賯毓丞 丕賱噩丕賳亘 丕賱廿賳爻丕賳賷 賮賷 睾賵賳鬲乇 睾乇丕爻貙 賵丕賱匕賷 噩爻丿 賲孬丕賱丕賸 賱賱賲孬賯賮 丕賱匕賷 賱丕 賷賱賴孬 賵乇丕亍 丕賱噩賵丕卅夭 兀賷丕賸 賰丕賳 丕賱孬賲賳. 賲賳 丕賱賲毓乇賵賮 兀賳 睾乇丕爻 兀丨丿 兀卮賴乇 丕賱兀丿亘丕亍 丕賱兀賱賲丕賳 賵丕賱丨丕氐賱 毓賱賶 噩丕卅夭丞 賳賵亘賱 毓丕賲 1999. 賲賳 兀卮賴乇 兀毓賲丕賱賴 爻賳賵丕鬲 丕賱賰賱丕亘 賵丕賱賯胤 賵丕賱賮兀乇 賵丕賱胤亘賱 丕賱氐賮賷丨貙 丕賱鬲賷 賯丿 鬲毓丿 兀卮賴乇賴丕 賵賴賷 賲賵囟賵毓 賴匕賴 丕賱賲乇丕噩毓丞.
禺氐賱鬲丕賳 鬲亘乇夭丕賳 賱賱賯丕乇卅 毓賳丿賲丕 賷胤丕賱毓 賴匕賴 丕賱乇賵丕賷丞 賱兀賵賱 賲乇丞: 毓賳賵丕賳賴丕 丕賱匕賷 賱丕 賷賮氐丨 毓賳 卮賷亍貙 賵丨噩賲賴丕 丕賱匕賷 賯丿 賷購賳賮賽賾乇 丕賱亘毓囟 賵賷卮毓賱 丕賱丨賲丕爻丞 賮賷 丕賱亘毓囟 丕賱丌禺乇. 兀賲丕 鬲氐賳賮賷賴丕 賮賱賷爻 亘爻賴賱 賴賵 丕賱丌禺乇貙 賷賲賰賳賳賷 丕賱丕賮鬲乇丕囟 亘兀賳賴 賷丨賲賱 賲賱丕賲丨 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞貙 丕賱賮丕賳鬲丕夭賷丕 丕賱鬲丕乇賷禺賷丞 賵丕賱賰賵賲賷丿賷丕 丕賱爻賵丿丕亍. 禺賱賷胤 噩匕丕亘貙 兀賱賷爻 賰匕賱賰責
賳乇丕賮賯 兀賵爻賰丕乇 賲賳匕 賲賷賱丕丿賴 丨鬲賶 孬賱丕孬賷賳賷丕鬲賴. 兀賵爻賰丕乇 賯氐賷乇 丕賱賯丕賲丞 丕賱匕賷 鬲賵賯賮 賳賲賵賴 賲賳匕 賳毓賵賲丞 兀馗賮丕乇賴貙 賵毓卮賯 丕賱胤亘賱 賲賳匕 爻賳 丕賱孬丕賱孬丞 賮賱丕夭賲賴 賮賷 丕賱丨賱 賵丕賱鬲乇丨丕賱 丨鬲賶 睾丿丕 噩夭亍賸丕 賲賳賴. 兀賵爻賰丕乇 丕賱賱胤賷賮 丕賱匕賷 廿賳 睾囟亘 氐乇禺 丨鬲賶 鬲鬲丨胤賲 丕賱賳賵丕賮匕 賵丕賱兀賰賵丕亘 賵丨鬲賶 毓丿爻丕鬲 丕賱賳馗丕乇丕鬲. 丕亘鬲丿丕亍賸 賲賳 丕賱氐賮丨丕鬲 丕賱兀賵賱賶貙 爻賷賱賲爻 丕賱賯丕乇卅 鬲賱賰 丕賱毓賳丕氐乇 丕賱睾乇丕卅亘賷丞 賮賷 丕賱爻乇丿貙 孬賲 賲丕 賷賱亘孬 兀賳 賷氐胤丿賲 亘兀丨丿丕孬 鬲丕乇賷禺賷丞 鬲丨賵賲 丨賵賱 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞貙 賵禺氐賵氐丕賸 丕噩鬲賷丕丨 兀賱賲丕賳賷丞 丕賱賳丕夭賷丞 賱亘賵賱賳丿丕. 亘賴匕丕 鬲噩賲毓 丕賱乇賵丕賷丞 賲丕 亘賷賳 賲乇賵賳丞 丕賱禺賷丕賱 賵氐賱丕亘丞 丕賱賵丕賯毓.
賵賳馗乇丕賸 賱丨噩賲 丕賱乇賵丕賷丞 丕賱囟禺賲貙 賱丕 賷噩丿乇 亘丕賱賯丕乇卅 丕賱鬲賵賯毓 亘兀賳 鬲賰賵賳 丕賱賮氐賵賱 亘賳賮爻 丕賱噩賵丿丞貙 賵丕賱兀噩夭丕亍 亘賳賮爻 丿乇噩丞 丕賱廿賲鬲丕毓. 孬賲丞 賮氐賵賱 賲囟丨賰丞貙 賲賲鬲毓丞貙 兀賵 賲丐孬乇丞貙 賵兀禺乇賶 賷丿丕賴賲賰 丕賱賲賱賱 賵兀賳鬲 鬲禺賵囟 賮賷賴丕. 乇亘賲丕 賰丕賳 賮氐賱 "賯亘賵 丕賱亘氐賱" 賲賳 兀賲鬲毓 丕賱兀噩夭丕亍 丕賱鬲賷 賲乇鬲 毓賱賷 賮賷 "丕賱胤亘賱 丕賱氐賮賷丨".
賷噩丿乇 亘丕賱匕賰乇 兀賳 丕賱乇賵丕賷丞 鬲丨賵賱鬲 廿賱賶 賮賱賲 毓丕賲 1979 賵丨氐丿 丕賱毓丿賷丿 賲賳 丕賱噩賵丕卅夭. 丕爻鬲毓乇囟鬲 丕賱賮賱賲 爻乇賷毓丕賸 毓賱賶 丕賱賷賵鬲賷賵亘 賵賵噩丿鬲 賮賷賴 丕賱賰孬賷乇 賲卮丕賴丿 丕賱乇賵丕賷丞 賰賲丕 賴賷. 賰丿兀亘 丕賱乇賵丕賷丕鬲 丕賱胤賵賷賱丞貙 爻鬲噩丿 毓爻乇丕賸 賮賷 亘毓囟 賲乇丕丨賱 丕賱賯乇丕亍丞貙 賱賰賳賰 賲丕 廿賳 鬲賮乇睾 賲賳賴丕 丨鬲賶 鬲卮毓乇 亘丕賱廿賳噩丕夭貙 賵亘兀賳賰 賰爻亘鬲 氐丿賷賯丕賸 噩丿賷丿丕賸貨 氐丿賷賯 丕爻賲賴 兀賵爻賰丕乇.
鬲賰卮賮 賱賳丕 賴匕賴 丕賱賵丕賯毓丞 丕賱噩丕賳亘 丕賱廿賳爻丕賳賷 賮賷 睾賵賳鬲乇 睾乇丕爻貙 賵丕賱匕賷 噩爻丿 賲孬丕賱丕賸 賱賱賲孬賯賮 丕賱匕賷 賱丕 賷賱賴孬 賵乇丕亍 丕賱噩賵丕卅夭 兀賷丕賸 賰丕賳 丕賱孬賲賳. 賲賳 丕賱賲毓乇賵賮 兀賳 睾乇丕爻 兀丨丿 兀卮賴乇 丕賱兀丿亘丕亍 丕賱兀賱賲丕賳 賵丕賱丨丕氐賱 毓賱賶 噩丕卅夭丞 賳賵亘賱 毓丕賲 1999. 賲賳 兀卮賴乇 兀毓賲丕賱賴 爻賳賵丕鬲 丕賱賰賱丕亘 賵丕賱賯胤 賵丕賱賮兀乇 賵丕賱胤亘賱 丕賱氐賮賷丨貙 丕賱鬲賷 賯丿 鬲毓丿 兀卮賴乇賴丕 賵賴賷 賲賵囟賵毓 賴匕賴 丕賱賲乇丕噩毓丞.
禺氐賱鬲丕賳 鬲亘乇夭丕賳 賱賱賯丕乇卅 毓賳丿賲丕 賷胤丕賱毓 賴匕賴 丕賱乇賵丕賷丞 賱兀賵賱 賲乇丞: 毓賳賵丕賳賴丕 丕賱匕賷 賱丕 賷賮氐丨 毓賳 卮賷亍貙 賵丨噩賲賴丕 丕賱匕賷 賯丿 賷購賳賮賽賾乇 丕賱亘毓囟 賵賷卮毓賱 丕賱丨賲丕爻丞 賮賷 丕賱亘毓囟 丕賱丌禺乇. 兀賲丕 鬲氐賳賮賷賴丕 賮賱賷爻 亘爻賴賱 賴賵 丕賱丌禺乇貙 賷賲賰賳賳賷 丕賱丕賮鬲乇丕囟 亘兀賳賴 賷丨賲賱 賲賱丕賲丨 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞貙 丕賱賮丕賳鬲丕夭賷丕 丕賱鬲丕乇賷禺賷丞 賵丕賱賰賵賲賷丿賷丕 丕賱爻賵丿丕亍. 禺賱賷胤 噩匕丕亘貙 兀賱賷爻 賰匕賱賰責
賳乇丕賮賯 兀賵爻賰丕乇 賲賳匕 賲賷賱丕丿賴 丨鬲賶 孬賱丕孬賷賳賷丕鬲賴. 兀賵爻賰丕乇 賯氐賷乇 丕賱賯丕賲丞 丕賱匕賷 鬲賵賯賮 賳賲賵賴 賲賳匕 賳毓賵賲丞 兀馗賮丕乇賴貙 賵毓卮賯 丕賱胤亘賱 賲賳匕 爻賳 丕賱孬丕賱孬丞 賮賱丕夭賲賴 賮賷 丕賱丨賱 賵丕賱鬲乇丨丕賱 丨鬲賶 睾丿丕 噩夭亍賸丕 賲賳賴. 兀賵爻賰丕乇 丕賱賱胤賷賮 丕賱匕賷 廿賳 睾囟亘 氐乇禺 丨鬲賶 鬲鬲丨胤賲 丕賱賳賵丕賮匕 賵丕賱兀賰賵丕亘 賵丨鬲賶 毓丿爻丕鬲 丕賱賳馗丕乇丕鬲. 丕亘鬲丿丕亍賸 賲賳 丕賱氐賮丨丕鬲 丕賱兀賵賱賶貙 爻賷賱賲爻 丕賱賯丕乇卅 鬲賱賰 丕賱毓賳丕氐乇 丕賱睾乇丕卅亘賷丞 賮賷 丕賱爻乇丿貙 孬賲 賲丕 賷賱亘孬 兀賳 賷氐胤丿賲 亘兀丨丿丕孬 鬲丕乇賷禺賷丞 鬲丨賵賲 丨賵賱 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞貙 賵禺氐賵氐丕賸 丕噩鬲賷丕丨 兀賱賲丕賳賷丞 丕賱賳丕夭賷丞 賱亘賵賱賳丿丕. 亘賴匕丕 鬲噩賲毓 丕賱乇賵丕賷丞 賲丕 亘賷賳 賲乇賵賳丞 丕賱禺賷丕賱 賵氐賱丕亘丞 丕賱賵丕賯毓.
賵賳馗乇丕賸 賱丨噩賲 丕賱乇賵丕賷丞 丕賱囟禺賲貙 賱丕 賷噩丿乇 亘丕賱賯丕乇卅 丕賱鬲賵賯毓 亘兀賳 鬲賰賵賳 丕賱賮氐賵賱 亘賳賮爻 丕賱噩賵丿丞貙 賵丕賱兀噩夭丕亍 亘賳賮爻 丿乇噩丞 丕賱廿賲鬲丕毓. 孬賲丞 賮氐賵賱 賲囟丨賰丞貙 賲賲鬲毓丞貙 兀賵 賲丐孬乇丞貙 賵兀禺乇賶 賷丿丕賴賲賰 丕賱賲賱賱 賵兀賳鬲 鬲禺賵囟 賮賷賴丕. 乇亘賲丕 賰丕賳 賮氐賱 "賯亘賵 丕賱亘氐賱" 賲賳 兀賲鬲毓 丕賱兀噩夭丕亍 丕賱鬲賷 賲乇鬲 毓賱賷 賮賷 "丕賱胤亘賱 丕賱氐賮賷丨".
賷噩丿乇 亘丕賱匕賰乇 兀賳 丕賱乇賵丕賷丞 鬲丨賵賱鬲 廿賱賶 賮賱賲 毓丕賲 1979 賵丨氐丿 丕賱毓丿賷丿 賲賳 丕賱噩賵丕卅夭. 丕爻鬲毓乇囟鬲 丕賱賮賱賲 爻乇賷毓丕賸 毓賱賶 丕賱賷賵鬲賷賵亘 賵賵噩丿鬲 賮賷賴 丕賱賰孬賷乇 賲卮丕賴丿 丕賱乇賵丕賷丞 賰賲丕 賴賷. 賰丿兀亘 丕賱乇賵丕賷丕鬲 丕賱胤賵賷賱丞貙 爻鬲噩丿 毓爻乇丕賸 賮賷 亘毓囟 賲乇丕丨賱 丕賱賯乇丕亍丞貙 賱賰賳賰 賲丕 廿賳 鬲賮乇睾 賲賳賴丕 丨鬲賶 鬲卮毓乇 亘丕賱廿賳噩丕夭貙 賵亘兀賳賰 賰爻亘鬲 氐丿賷賯丕賸 噩丿賷丿丕賸貨 氐丿賷賯 丕爻賲賴 兀賵爻賰丕乇.
October 13, 2024
驴Es Oscar Matzerath un ni帽o genio, un adolescente perverso o un loco asesino? La pluma de Grass entrecruza endiablada y repetitivamente la realidad y la fantas铆a, el crimen y el castigo, lo m铆stico y lo infame, sin piedad ni descanso para el agotado lector. Extenuante. Intrincada. Desbordante. Con una libertad creativa pocas veces vista. La extra帽a historia de un pa铆s deshecho por la guerra y la de un ser oscuro, grotesco y desamparado aferrado estoicamente a su tambor.
April 13, 2015
Re-visit 2015: G眉nter Grass, Nobel-winning German novelist, dies aged 87
Description: Danzig in the 1920s/1930s. Oskar Matzerath, son of a local dealer, is a most unusual boy. Equipped with full intellect right from his birth he decides at his third birthday not to grow up as he sees the crazy world around him at the eve of World War II. So he refuses the society and his tin drum symbolizes his protest against the middle-class mentality of his family and neighborhood, which stand for all passive people in Nazi Germany at that time. However, (almost) nobody listens to him, so the catastrophe goes on...
Did you spot Charles Aznavour in there!?
Powerful film of a powerful novel.
Sherbet fizz
Re-Read details: As Hitler rises to power, three-year-old Oskar decides he doesn't want to grow up. Stars Phil Daniels and Kenneth Cranham. Broadcast on:
blurb - Classic novel of the rise and fall of Hitler as seen through the eyes of the dwarfish narrator, Oskar Matzerath.
Not caring for the world he is growing up in, a small boy determines to remain a child. The epic sweep of Grass' novel satirises German nationalism and the rise and fall of the Nazi movement.
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Brilliant portrayal of a youngster in denial of real-life. This theme has been loosely followed up in Cabaret and Pan's Labyrinth.
April 13, 2015
兀賱賲丕賳賷丕貙 丕賱兀乇囟 丕賱鬲賷 鬲氐丕乇毓鬲 毓賱賷賴丕 亘賰賱 賯賵丞 賵毓賳賮 賵丨賷賵賷丞 賲禺鬲賱賮 鬲賷丕乇丕鬲 賵兀賴賵丕亍 丕賱孬賯丕賮丞 丕賱睾乇亘賷丞 賵丕賱毓丕賱賲賷丞貙 丕賱兀乇囟 丕賱鬲賷 噩賲毓鬲 亘賷賳 丿賯丞 賵亘乇賵丿 丕賱毓賯賱 賵兀卮賵丕賯 丕賱乇賵丨 丕賱廿賳爻丕賳賷丞 (丕毓鬲匕乇 毓賳 賴匕丕 丕賱賰賱賷卮賷賴 丕賱乇禺賷氐)貙 賴匕賴 丕賱兀乇囟 賵噩丿鬲 賳賮爻賴丕 賲丿賲乇丞 鬲賲丕賲丕賸 亘毓丿 賳賴丕賷丞 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞 賲丕丿賷丕賸 賵乇賵丨賷丕賸.
賲丕丿賷丕賸: 賮賯丿鬲 兀賱賲丕賳賷丕 亘賳賷鬲賴丕 丕賱鬲丨鬲賷丞 賵丕賱氐賳丕毓賷丞 丕賱鬲賷 賰丕賳鬲 丕賱兀賮囟賱 賮賷 兀賵乇賵亘丕 賯亘賱 丕賱丨乇亘貙 乇賵丨賷丕賸 卮毓乇 丕賱兀賱賲丕賳 丕賳賴賲 賮賯丿賵丕 亘賵氐賱鬲賴賲 丕賱兀禺賱丕賯賷丞 賵丕賱賳賮爻賷丞. 賵賴賱 賰丕賳 賴賳丕賰 兀賷 賲毓賳賶 乇賵丨丕賳賷 兀賵 兀禺賱丕賯賷 賱賱丨賷丕丞 賲賳 亘毓丿: 丕賱賴賵賱賵賰賵爻鬲貙 賲賳 亘毓丿 賲賯鬲賱 8 賲賱丕賷賷賳 噩賳丿賷 兀賱賲丕賳賷!貙 賲賳 亘毓丿 丕睾鬲氐丕亘 賲賱賷賵賳賷 丕賲乇兀丞 兀賱賲丕賳賷丞 毓賱賶 賷丿 丕賱賯賵丕鬲
丕賱乇賵爻賷丞!貙 賲賳 亘毓丿 丕丨鬲賱丕賱 賵鬲賯爻賷賲 兀賱賲丕賳賷丕貙 亘毓丿 賵亘毓丿 賵亘毓丿 賵亘毓丿......丕賱禺
賴賳丕 賷兀鬲賷 丿賵乇 丕賱賮賳丕賳 丕賱賲賱鬲夭賲 賵丕賱賰丕鬲亘 丕賱丨賯賷賯賷 賱賷乇賮毓 賲乇丌丞 賰亘賷乇丞 賵氐丕丿賯丞 賰賷 賷乇賶 賮賷賴丕 亘賱丿賴.. 丨丕賱鬲賴 丕賱丨賯賷賯賷丞貙 賷乇賶 賮賷賴丕 卮毓亘賴 賲丕 賮毓賱 兀亘賳丕亍賴 賵賲丕 丕賯鬲乇賮賵賴 亘丨賯 兀賳賮爻賴賲 賵丕賱丌禺乇賷賳. 賵賴匕丕 賲丕 賮毓賱賴 亘丕賱囟亘胤 丕賱乇賵丕卅賷 丕賱兀賱賲丕賳賷 睾賵賳鬲乇 睾乇丕爻 賮賷 乇賵丕賷鬲賴 丕賱囟禺賲丞 賵丕賱賮丕乇賯丞 "丕賱胤亘賱 丕賱氐賮賷丨".
賷賮鬲鬲丨 丕賱胤賮賱 丕賱賲毓噩夭丞 賵丕賱賯夭賲 兀賵爻賰丕乇 賲丕鬲夭賷乇丕孬 (卮禺氐賷丞 丕賱乇賵丕賷丞 丕賱乇卅賷爻賷丞) 丕賱乇賵丕賷丞 亘賴匕賴 丕賱噩賲賱丞 丕賱賲毓亘乇丞 : "丕毓鬲乇賮 亘兀賳賷 賳夭賷賱 賲爻鬲卮賮賶 賱賱兀賲乇丕囟 丕賱毓賯賱賷丞". 賴匕賴 丕賱噩賲賱丞 丕賱氐丕丿賲丞 賴賷 亘丿丕賷丞 丨賰賷 丕賵爻賰丕乇 丕賱胤賵賷賱 賵丕賱賲鬲卮毓亘 賵丕賱匕賷 賷鬲丿丕禺賱 賮賷賴 囟賲賷乇 丕賱兀賳丕 賲毓 囟賲賷乇 丕賱賲鬲賰賱賲 賲毓 丕賱乇丕賵賷 丕賱毓賱賷賲 賲毓 丕賱乇丕賵賷 丕賱睾賷乇 丕賱賲丨丕賷丿貙 賱賷鬲丨丿孬 賵賷孬乇孬乇 賵賷爻乇丿 賰賱 賲丕 賲乇 亘賴 兀孬賳丕亍 爻賳賵丕鬲 胤賮賵賱鬲賴 賵卮亘丕亘賴貙 賮賷 丕賱賲乇丨賱丞 賲丕 亘賷賳 丕賱丨乇亘賷賳 丕賱毓丕賱賲賷鬲賷賳 廿賱賶 賮鬲乇丞 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞. 賴匕賴 丕賱爻賳賵丕鬲 丕賱賭 30 丕賱丨丕賮賱丞 賵丕賱賲賵鬲賵乇丞 丕賱鬲賷 賯乇乇 禺賱丕賱賴丕 丕賱胤賮賱 丕賵爻賰丕乇 兀賳 賷鬲賵賯賮 毓賳 丕賱賳賲賵 丕賱噩爻丿賷貙 丨賷孬 兀賳賴 丕禺鬲丕乇 兀賳 賷亘賯賶 毓賱賶 賲爻丕賮丞 亘賷賳賴 賵亘賷賳 毓丕賱賲 丕賱賰亘丕乇 丕賱賮丕爻丿 賵丕賱毓賳賷賮貙 賵毓丕賷卮 賰匕賱賰 氐毓賵丿 丕賱賳丕夭賷丞 賱丨賰賲 兀賱賲丕賳賷丕貙 賵亘丿丕賷丕鬲 丕賱丨乇亘 丕賱毓丕賱賲賷丞貙 賵賲丕乇爻 兀賷囟丕賸 毓賱丕賯丞 睾賷乇 賲卮乇賵毓丞 賲毓 夭賵噩丞 兀亘賷賴 丕賱孬丕賳賷丞 丕賳鬲賴鬲 亘賰丕乇孬丞貙 亘丕賱廿囟丕賮丞 賱丿賵乇賴 丕賱兀爻丕爻 賮賷 賲賯鬲賱 賵丕賱丿賷賴貙 賵賰丕賳 卮丕賴丿丕賸 亘毓丿賴丕 賰賮賳丕賳 毓賱賶 兀賱賲丕賳賷丕 賲丕 亘毓丿 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱賯丕賳賷丞.
賵賱丕 兀毓鬲賯丿 兀賳 睾賵賳鬲乇 睾乇丕爻 丕爻鬲胤丕毓 兀賳 賷賰鬲亘 毓賳 賴匕賴 丕賱爻賳賵丕鬲 丕賱賭 30 丕賱兀賵賱賶 賲賳 毓賲乇 亘胤賱 丕賱乇賵丕賷丞 兀賵爻賰丕乇 丕賱鬲賷 丕禺鬲賱胤鬲 賮賷賴丕 兀丨丿丕孬 丨賷丕丞 兀賵爻賰丕乇 丕賱毓噩丕卅亘賷丞 賲毓 鬲丕乇賷禺 賵胤賳賴 丕賱賲兀爻丕賵賷 亘賰賱 賲丕 賮賷賴 賲賳 丿賲 賵賯亘丨貙 亘丿賵賳 兀賳 賷亘賳賷 賴賷賰賱丕賸 囟禺賲丕賸 賵賲毓賯丿丕賸 賷丨賲賱 毓賱賶 兀毓賲丿鬲賴 丕賱賲丕丿丞 丕賱乇賵丨賷丞 賵丕賱乇爻丕賱丞 丕賱兀禺賱丕賯賷丞 丕賱鬲賷 兀乇丕丿 兀賳 賷賵氐賱賴丕 睾乇丕爻 賱兀賱賲丕賳賷丕 賵丕賱毓丕賱賲. 鬲丨鬲賵賷 "丕賱胤亘賱 丕賱氐賮賷丨" 賮賷 丿丕禺賱賴丕 毓賱賶 鬲賯賳賷丕鬲 乇賵丕卅賷丞 賵鬲賯丕賱賷丿 爻乇丿賷丞 賵丨賰丕卅賷丞 賰孬賷乇丞: 賮賮賷賴丕 丕賱賯氐丞 丿丕禺賱 丕賱賯氐丞貙 賵賮賷賴丕 鬲賯賱賷丿 乇賵丕賷丞 丕賱賭 bildungsroman 丕賱兀賱賲丕賳賷丞 丕賱毓乇賷賯貙 賵賮賷賴丕 鬲賯賳賷丞 "賲丨賷胤 丕賱賯氐氐" 丕賱鬲賷 噩丕亍鬲 賮賷 賲賱丨賲丞 丕賱卮丕賴賳丕賲丞 賵兀賱賮 賱賷賱丞 賵賱賷賱丞貙 賵賮賷賴丕 兀爻賱賵亘 丕賱賲匕賰乇丕鬲貙 賵丕賱賯氐氐 丕賱兀禺賱丕賯賷丞貙 賵賮賷賴丕 賷賴乇亘 丕賱乇丕賵賷 賵賷鬲賳氐賱 賲賳 賲丕 賷乇賵賷賴貙 賱兀賳賴 賷毓賰爻 丨丕賱丕鬲 毓賯賱賷丞 賵賳賮爻賷丞 賲鬲賳丕賯囟丞貙 賮賴賵: 毓賳氐乇賷 賵賲鬲爻丕賲丨貙 賵賴賵 賲噩賳賵賳 賵賲禺鬲賱 毓賯賱賷丕賸 賵賱賰賳賴 賵丕賯毓賷 賵毓賯賱丕賳賷貙 賵賴賵 丨爻丕爻 賱賱睾丕賷丞 賵賱賰賳賴 毓賳賷賮 賵丿賲賵賷貙 賵賴賵 賲鬲兀賲賱 賮賷 丨乇賰丞 丕賱夭賲賳 賵丕賱鬲丕乇賷禺 賵賱賰賳賴 賲賳丿賮毓 賵賳夭賯.
賴匕賴 乇賵丕賷丞 賲毓賯丿丞 賵丕賱鬲毓賯賷丿 賴賳丕 賱賷爻 乇睾亘丞 賮賷 鬲毓匕賷亘 丕賱賯乇丕亍貙 賮賷賲丕 兀毓鬲賯丿貙 亘賱 賴賵 丕賳毓賰丕爻 丿賯賷賯 賵卮丕賲賱 賱乇賵丨 丕賱賯乇賳 丕賱毓卮乇賷賳 賳賮爻賴. 賴匕賴 丕賱乇賵丕賷丞 丕賱胤賲賵丨丞 鬲囟賲 賮賷 賳爻賷噩賴丕 丕賱毓賳賮貙 丕賱毓賳氐乇賷丞貙 丕賱亘丕乇丕賳賵賷丕 賲賳 丕賱丌禺乇貙 鬲丨賰賷 賯氐丞 鬲爻賱胤 丕賱丿賷賰鬲丕鬲賵乇賷丞 毓賱賶 丕賱卮毓賵亘貙 賵丕賳鬲卮丕乇 丕賱丿賷賲賯乇丕胤賷丞貙 賵鬲囟禺賲 丕賱兀賷丿賷賵賱賵噩賷丕鬲 賲孬賱 丕賱丕卮鬲乇丕賰賷丞 賵丕賱乇兀爻賲丕賱賷丞 賵丕賱賮丕卮賷丞 賵丕賱賯賵賲賷丞貙 賵鬲爻噩賱 兀爻賱賵亘 丨賷丕丞 丕賱賲噩鬲賲毓 丕賱夭乇丕毓賷 賵丕賱氐賳丕毓賷 賵丕賱丨囟乇賷 賵孬賲 丕賱丕爻鬲賴賱丕賰賷.
丕賳賴丕 乇賵丕賷丞 鬲毓賰爻 丕賱乇賵丨 丕賱兀賱賲丕賳賷丞 丕賱賲毓匕亘丞 賵丕賱賯賱賯丞 賵丕賱賲鬲賴賲丞 亘丕賱兀賮賰丕乇 丕賱賰亘乇賶貙 丕賳賴丕 "乇賵丕賷丞 兀賮賰丕乇" 賲孬賱: 乇賵丕賷丞 "爻丿 賴丕乇鬲丕" 賱賱賰丕鬲亘 賴賷乇賲丕賳 賴賷爻丕 兀賵 乇賵丕賷丞 "丕賱噩亘賱 丕賱爻丨乇賷" 賱賱乇賵丕卅賷 鬲賵賲丕爻 賲丕賳 兀賵 乇賵丕賷丞 "丕賱賯賱毓丞" 賱賱賰丕鬲亘 賮乇丕賳夭 賰丕賮賰丕 (賱賲 賷賰賳 賰丕賮賰丕 兀賱賲丕賳賷丕賸 賵賱賰賳賴 賰鬲亘 亘丕賱兀賱賲丕賳賷丞) 賵賱賰賳賴丕 丕賰亘乇 賲賳 兀賳 鬲賰賵賳 乇賵丕賷丞 鬲鬲睾賳賶 賵鬲毓乇囟 兀賮賰丕乇 賵賮賱爻賮丕鬲 丕賱賯乇賳 丕賱毓卮乇賷賳 賮丨爻亘貙 賮賮賷 亘丿丕賷鬲賴丕 賷毓賱賳 丕賱胤賮賱 兀賵爻賰丕乇 亘兀賳賴 賯乇乇 兀賳 賷鬲賵賯賮 毓賳 丕賱賳賲賵 丕賱噩爻丿賷貙 賯乇乇 兀賳 賷毓賷卮 賮賷 賲賰丕賳 賲丕 禺丕乇噩 丕賱鬲丕乇賷禺 賵禺丕乇噩 丕賱胤亘賷毓丞 丨夭賳丕賸 賵丕丨鬲噩丕噩丕賸 毓賱賶 賲丕 賷丨氐賱 丨賵賱賴. 兀賷 兀賳 噩爻丿 丕賱乇賵丕賷丞 賷丨賵賷 毓賱賶 兀卮賰丕賱 賵兀賱賵賳 丕賱丨賷丕丞 丕賱賲毓丕卮丞 兀賷囟丕賸 賵賱賷爻 丕賱賮賱爻賮丞 賵丕賱兀賮賰丕乇 丕賱噩丕賮丞.
賵賱丕 鬲禺賱賵 丕賱乇賵丕賷丞 賲賳 丕賱賲乇丨貙 爻賵丕亍 賰丕賳 賲乇丨丕賸 胤亘賷毓賷丕賸貙 兀賵 賲丕 賳爻賲賷賴 亘丕賱賰賵賲賷丿賷丕 丕賱爻賵丿丕亍貙 賵賷賲鬲丿 賴匕丕 賱毓賳丕賵賷賳 丕賱賮氐賵賱 兀賷囟丕賸. 賮丕賱賮氐賱 丕賱賭賭賭27 賲賳 丕賱乇賵丕賷丞 賷丨賲賱 毓賳賵丕賳 睾乇賷亘 賵爻丕禺乇 賵賴賵 "鬲賮鬲賷卮 丕賱禺乇爻丕賳丞貙 兀賵 丕賱亘乇亘乇賷丞 賵丕賱乇賵丨丕賳賷丞 賵丕賱賲賱賱". 賴匕丕 丕賱賮氐賱 丕賱乇丕卅毓 賷賱禺氐貙 賮賷 乇兀賷賷貙 乇賵丨 鬲丕乇賷禺 丕賱賯乇賳 丕賱毓卮乇賷賳 賵賲丕 噩乇賷 賮賷賴.
賵賮賷 賴匕丕 丕賱賮氐賱 賷賯賵賲 兀賵爻賰丕乇 賲毓 賲噩賲賵毓丞 賲賳 丕賱賮賳丕賳賷賳 賵丕賱賰鬲丕亘 亘毓丿 賳賴丕賷丞 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞 亘夭賷丕乇丞 賲噩賲賵毓丞 賲賳 丕賱賲賵丕賯毓 丕賱丨乇亘賷丞 丕賱禺乇爻丕賳賷丞 丕賱鬲賷 亘賳丕賴丕 丕賱噩賷卮 丕賱兀賱賲丕賳賷 賮賷 卮賲丕賱 賮乇賳爻丕 禺賱丕賱 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞貙 禺賱丕賱 賴匕賴 丕賱夭賷丕乇丞 鬲賱鬲賯賷 賲噩賲賵毓丞 丕賱賮賳丕賳賷賳 賲毓 噩賳丿賷 兀賱賲丕賳賷 爻丕亘賯 禺丿賲 賮賷 賴匕賴 丕賱賲賵丕賯毓貙 賷賯賵賱 丕賱噩賳丿賷 丕賱匕賷 鬲乇賰 丕賱毓爻賰乇賷丞 賵鬲丨賵賱 賱賲賲丕乇爻丞 丕賱賮賳 兀賳 賴匕賴 丕賱賲賵丕賯毓 丕賱丨乇亘賷丞 丕賱禺乇爻丕賳賷丞 鬲噩爻丿 乇賲夭賷丕賸 賰丕亘賵爻 兀爻賵丿 毓丕卮鬲賴 丕賱兀乇囟 賱賮鬲乇丞 胤賵賷賱丞貙 賵賱賰賳賴丕 鬲賲孬賱 賱賴 丕賱丌賳 兀毓賲丕賱丕賸 賮賳賷丞 鬲丨賵賷 賮賷 丿丕禺賱賴丕 丕賱賰孬賷乇 賲賳 丕賱噩賲丕賱 丕賱睾丕賲囟. 賵兀馗賳 卮禺氐賷丕賸 兀賳 "丕賱胤亘賱 丕賱氐賮賷丨" 賱丕 鬲禺鬲賱賮 毓賳 匕賱賰.
賵賲賳 丕賱氐毓亘 兀賳 鬲賯乇兀 賴匕賴 丕賱乇賵丕賷丞 賵兀賳鬲 鬲毓賷卮 賮賷 丕賱毓丕賱賲 丕賱毓乇亘賷 亘丿賵賳 兀賳 鬲卮毓乇 亘賰孬賷乇 賲賳 丕賱兀賱賲 賵丕賱睾氐丞 賮賷 乇賵丨賰.
丕丨丿賶 兀賮囟賱 10 乇賵丕賷丕鬲 賯乇兀鬲賴丕 賲賳匕 兀賳 亘丿兀鬲 賮賷 賯乇丕亍丞 丕賱兀丿亘 丕賱毓丕賱賲賷 賮賷 爻賳 14.
July 5, 2019
亘賴 賳丕賲 丕賵
胤亘賱 丨賱亘蹖 亘蹖 卮讴 亘賴鬲乇蹖賳 丕孬乇 诏賵賳鬲乇 诏乇丕爻 賳賵蹖爻賳丿賴 亘夭乇诏 丌賱賲丕賳蹖 爻鬲 賵 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 乇賲丕賳賴丕蹖蹖 爻鬲 讴賴 禺賵丕賳丿賴鈥屫з�. 胤亘賱 丨賱亘蹖 亘丕 夭亘丕賳蹖 胤賳夭 賵 亘爻蹖丕乇 诏夭賳丿賴
乇賵丕蹖鬲诏乇 爻丕賱賴丕蹖 噩賳诏 丿乇 丌賱賲丕賳 賳丕夭蹖 爻鬲. 诏乇丕爻 亘丕 夭亘丕賳蹖 氐乇蹖丨 賵 亘蹖鈥屬矩辟堌� 賲丕 乇丕 亘丕 賲賳丕爻亘丕鬲 夭賳丿诏蹖 賲乇丿賲 丌賱賲丕賳 賵 亘禺卮蹖 丕夭 賱賴爻鬲丕賳 丿乇 胤賵賱 爻丕賱賴丕蹖 噩賳诏 噩賴丕賳蹖 丿賵賲 賵 丕卮睾丕賱 丌賳 鬲賵爻胤 賳蹖乇賵賴丕蹖 卮賵乇賵蹖 丌卮賳丕 賲蹖鈥屭┵嗀�. 亘爻蹖丕乇蹖 胤亘賱 丨賱亘蹖 乇丕 丿乇 乇丿賴 乇賲丕賳鈥屬囏й� 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 亘乇賲蹖鈥屫促呚ж辟嗀� 賵賱蹖 丌賳趩賴 賲爻賱賲 丕爻鬲 丕蹖賳 丕爻鬲 讴賴 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 丿乇 胤亘賱 丨賱亘蹖 丕氐賱丕 亘賴 睾賱馗鬲 丌孬丕乇 賲丕乇讴夭 賳蹖爻鬲 賵 亘爻蹖丕乇 賲毓鬲丿賱 丕爻鬲賮丕丿賴 卮丿賴 丕爻鬲 讴賴 丕鬲賮丕賯丕 亘爻蹖丕乇 賲賵孬乇 賵丕賯毓 卮丿賴 丕爻鬲.
丿乇 丌禺乇 丕诏乇 乇賲丕賳鈥屫堌з� 丨乇賮賴鈥屫й� 賴爻鬲蹖丿 賵 丕夭 賮囟丕賴丕蹖 趩乇讴 賵 讴孬蹖賮 賵 夭亘丕賳 氐乇蹖丨 賵 丿乇 亘爻蹖丕乇蹖 丕夭 噩丕賴丕 賴夭賱鈥屭堎嗁� 禺丕胤乇鬲丕賳 丌夭乇丿賴 賳賲蹖鈥屫促堌� 丨鬲賲丕 胤亘賱 丨賱亘蹖 乇丕 亘禺賵丕賳蹖丿.
胤亘賱 丨賱亘蹖 亘蹖 卮讴 亘賴鬲乇蹖賳 丕孬乇 诏賵賳鬲乇 诏乇丕爻 賳賵蹖爻賳丿賴 亘夭乇诏 丌賱賲丕賳蹖 爻鬲 賵 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 乇賲丕賳賴丕蹖蹖 爻鬲 讴賴 禺賵丕賳丿賴鈥屫з�. 胤亘賱 丨賱亘蹖 亘丕 夭亘丕賳蹖 胤賳夭 賵 亘爻蹖丕乇 诏夭賳丿賴
乇賵丕蹖鬲诏乇 爻丕賱賴丕蹖 噩賳诏 丿乇 丌賱賲丕賳 賳丕夭蹖 爻鬲. 诏乇丕爻 亘丕 夭亘丕賳蹖 氐乇蹖丨 賵 亘蹖鈥屬矩辟堌� 賲丕 乇丕 亘丕 賲賳丕爻亘丕鬲 夭賳丿诏蹖 賲乇丿賲 丌賱賲丕賳 賵 亘禺卮蹖 丕夭 賱賴爻鬲丕賳 丿乇 胤賵賱 爻丕賱賴丕蹖 噩賳诏 噩賴丕賳蹖 丿賵賲 賵 丕卮睾丕賱 丌賳 鬲賵爻胤 賳蹖乇賵賴丕蹖 卮賵乇賵蹖 丌卮賳丕 賲蹖鈥屭┵嗀�. 亘爻蹖丕乇蹖 胤亘賱 丨賱亘蹖 乇丕 丿乇 乇丿賴 乇賲丕賳鈥屬囏й� 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 亘乇賲蹖鈥屫促呚ж辟嗀� 賵賱蹖 丌賳趩賴 賲爻賱賲 丕爻鬲 丕蹖賳 丕爻鬲 讴賴 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 丿乇 胤亘賱 丨賱亘蹖 丕氐賱丕 亘賴 睾賱馗鬲 丌孬丕乇 賲丕乇讴夭 賳蹖爻鬲 賵 亘爻蹖丕乇 賲毓鬲丿賱 丕爻鬲賮丕丿賴 卮丿賴 丕爻鬲 讴賴 丕鬲賮丕賯丕 亘爻蹖丕乇 賲賵孬乇 賵丕賯毓 卮丿賴 丕爻鬲.
丿乇 丌禺乇 丕诏乇 乇賲丕賳鈥屫堌з� 丨乇賮賴鈥屫й� 賴爻鬲蹖丿 賵 丕夭 賮囟丕賴丕蹖 趩乇讴 賵 讴孬蹖賮 賵 夭亘丕賳 氐乇蹖丨 賵 丿乇 亘爻蹖丕乇蹖 丕夭 噩丕賴丕 賴夭賱鈥屭堎嗁� 禺丕胤乇鬲丕賳 丌夭乇丿賴 賳賲蹖鈥屫促堌� 丨鬲賲丕 胤亘賱 丨賱亘蹖 乇丕 亘禺賵丕賳蹖丿.
September 26, 2021
What can I say!!!
January 2, 2023
Funny, Brechtian Story of a Murderous Dwarf who is a Genius Drummer
This is a tough book to review.
The story uses to keep us from identifying with the characters.
The tale takes place in Germany and Poland, before, during, and after World War II.
The main character and narrator is Oskar Matzerath, a dwarf (and later on, a hunchbacked dwarf), who develops a precocious genius for drumming as a toddler. His parents supply him with toy tin drums (which he wears out with his incessant drumming). Hence, the title.
Oskar is born in Danzig (also known as Gdansk), the sometimes German but most often Polish, city on the Baltic coast. Unbeknownst to the clueless adults around him who think he's retarded, he is born with the cognitive faculties of an adult. He becomes a dwarf because he decides to stop growing at age three to avoid having to work in his family's grocery store. The hunchback shows up later, after an illness when he is older.
Oskar tells us that at his baptism in the local Catholic church he deliberately does not renounce Satan (which the adults present, including his putative father, Jan Bronski attribute to his "retardation). Actually, Oskar wants to keep his relationship with Satan and not denounce it. After the baptism, Oskar whispers to Satan (who seems to be alive and well within him):
"Did you make it through?" (through the Baptism he means).
'Satan hopped up and down and whispered, "Did you see those church windows, Oskar? All glass, all glass!"
This refers to Oskar's ability (also unknown to the adults, except his mother) to "sing shatter" glass, that is to sing a high note which shatters glass.
Oskar goes on to live a life of crime, including committing several murders. He also wins acclaim, later in life, for his prodigious talent as a drummer. He seems to have the capacity to survive no matter what (part of his deal with the Devil?), for example, producing a precious necklace (supposedly a gift) from its hiding place at the very moment he needs to flee his home.
At one point, Oskar decides he wants to take refuge from the world in a Mental Hospital with comfy beds. So he manipulates a "friend" into betraying him and accusing him of a murder he did not commit. After his lawyer exonerates him and he is let out of the mental institution, he contemplates going to America, where his grandfather (an arsonist) might be living.
There are many other characters in this colorful, picaresque tale. There are Oskar's various loves, the full sized Maria (who might be the father of Oskar's presumed son, Kurt, a "chip off the old block"--a total brat who hits and punches his "dad") and the deceased Roswitha, another dwarf. There is his "master", Bebra, who enlists Oskar to join his travelling show at one point and at a later time, contracts him to play concerts throughout Germany.
There is Bruno, Oskar's attendant in the loony bin. There is the elegant Jan Bronski, Oskar's mother's lover. (She is married to Matzerath). There is Oskar's beloved mother herself, and his Kashubian grandmother, who grows potatoes and always wears four skirts. And so on...there are many minor characters too.
During the War, Oskar supports either the Polish opposition or the Nazis (even though he doesn't particularly like the Nazis), depending on what's convenient for him.
Oskar is clearly a villain. He commits multiple crimes, including many murders (direct and indirect), vandalism, theft, etc. He's vain, selfish, malicious, cruel and an accomplished liar. He's diabolically clever and comes out on top no matter what befalls him.
But for some reason we don't hate him. He is a weird and amusing fellow. He's also an excellent story teller. Is he a mirror of the dark side in all of us?
I've read somewhere that Oskar symbolizes Nazism. Maybe, but I think Fascism would be closer to the mark. Germany falls through and so he wants to go to America. So America will become the new Fascist state?
Paul Michael Garcia does a decent job as the audio reader. I followed along in the ebook as I listened to the audio.
Update: I recently found out that Gunter Grass was a member of the Nazi party in Hitler's Germany.. He hid and denied this most of his life and in fact spent much of his later life denouncing the Nazis. So the author's real life story resembles that of Oskar in a way. Like Oskar, he was an opportunist.
Update 2023: I have to say, this review is kind of prescient. Because lately, the U.S. has been on the brink of becoming the new Fascist state. So far, our democracy has manage to hold on by a wispy thread. But we're on thin ice here. I just hope democracy survives.
This is a tough book to review.
The story uses to keep us from identifying with the characters.
The tale takes place in Germany and Poland, before, during, and after World War II.
The main character and narrator is Oskar Matzerath, a dwarf (and later on, a hunchbacked dwarf), who develops a precocious genius for drumming as a toddler. His parents supply him with toy tin drums (which he wears out with his incessant drumming). Hence, the title.
Oskar is born in Danzig (also known as Gdansk), the sometimes German but most often Polish, city on the Baltic coast. Unbeknownst to the clueless adults around him who think he's retarded, he is born with the cognitive faculties of an adult. He becomes a dwarf because he decides to stop growing at age three to avoid having to work in his family's grocery store. The hunchback shows up later, after an illness when he is older.
Oskar tells us that at his baptism in the local Catholic church he deliberately does not renounce Satan (which the adults present, including his putative father, Jan Bronski attribute to his "retardation). Actually, Oskar wants to keep his relationship with Satan and not denounce it. After the baptism, Oskar whispers to Satan (who seems to be alive and well within him):
"Did you make it through?" (through the Baptism he means).
'Satan hopped up and down and whispered, "Did you see those church windows, Oskar? All glass, all glass!"
This refers to Oskar's ability (also unknown to the adults, except his mother) to "sing shatter" glass, that is to sing a high note which shatters glass.
Oskar goes on to live a life of crime, including committing several murders. He also wins acclaim, later in life, for his prodigious talent as a drummer. He seems to have the capacity to survive no matter what (part of his deal with the Devil?), for example, producing a precious necklace (supposedly a gift) from its hiding place at the very moment he needs to flee his home.
At one point, Oskar decides he wants to take refuge from the world in a Mental Hospital with comfy beds. So he manipulates a "friend" into betraying him and accusing him of a murder he did not commit. After his lawyer exonerates him and he is let out of the mental institution, he contemplates going to America, where his grandfather (an arsonist) might be living.
There are many other characters in this colorful, picaresque tale. There are Oskar's various loves, the full sized Maria (who might be the father of Oskar's presumed son, Kurt, a "chip off the old block"--a total brat who hits and punches his "dad") and the deceased Roswitha, another dwarf. There is his "master", Bebra, who enlists Oskar to join his travelling show at one point and at a later time, contracts him to play concerts throughout Germany.
There is Bruno, Oskar's attendant in the loony bin. There is the elegant Jan Bronski, Oskar's mother's lover. (She is married to Matzerath). There is Oskar's beloved mother herself, and his Kashubian grandmother, who grows potatoes and always wears four skirts. And so on...there are many minor characters too.
During the War, Oskar supports either the Polish opposition or the Nazis (even though he doesn't particularly like the Nazis), depending on what's convenient for him.
Oskar is clearly a villain. He commits multiple crimes, including many murders (direct and indirect), vandalism, theft, etc. He's vain, selfish, malicious, cruel and an accomplished liar. He's diabolically clever and comes out on top no matter what befalls him.
But for some reason we don't hate him. He is a weird and amusing fellow. He's also an excellent story teller. Is he a mirror of the dark side in all of us?
I've read somewhere that Oskar symbolizes Nazism. Maybe, but I think Fascism would be closer to the mark. Germany falls through and so he wants to go to America. So America will become the new Fascist state?
Paul Michael Garcia does a decent job as the audio reader. I followed along in the ebook as I listened to the audio.
Update: I recently found out that Gunter Grass was a member of the Nazi party in Hitler's Germany.. He hid and denied this most of his life and in fact spent much of his later life denouncing the Nazis. So the author's real life story resembles that of Oskar in a way. Like Oskar, he was an opportunist.
Update 2023: I have to say, this review is kind of prescient. Because lately, the U.S. has been on the brink of becoming the new Fascist state. So far, our democracy has manage to hold on by a wispy thread. But we're on thin ice here. I just hope democracy survives.
April 29, 2020
鈥淪e Apollo aspirava all鈥檃rmonia e Dioniso all鈥檈bbrezza e al caos, Oskar era un piccolo semidio che portava l鈥檃rmonia nel caos e la ragione nell鈥檈bbrezza鈥�
Con grande piacere dichiaro terminata questa sfiancante lettura.
Ci sono stati momenti che avrei voluto gridare sperando di trovare in me una tonalit脿 鈥渓ibricida鈥�.
Un fiume di parole e di scene assurde.
I passaggi, continui e repentini (sovente all鈥檌nterno della stessa frase!), dalla prima alla terza persona rendono Oskar voce narrante e, al contempo, oggetto del discorso.
Oskar, pertanto, gestisce il suo stesso sdoppiamento e mentre spezza se stesso fa altrettanto con la dovuta concentrazione della lettura.
Perlomeno questo 猫 successo a me...
Una fatica lunga 590 pagine (con l鈥檌mpressione di averne lette il doppio!) che non manca di episodi in cui il racconto si fa anche nauseante.
Oskar decide di fermare la sua crescita a tre anni dichiarando guerra al mondo adulto e riservandosi una deformit脿 futura che non si riveler脿 solo nel corpo ma anche nella psiche con buona dose di ossessioni e depravazioni.
Il tutto scandito dal suono di un tamburo (ovviamente).
Il grottesco in questo romanzo 猫 dovunque con una forma di assurdit脿 costante.
C'猫, tuttavia, l'altra faccia della moneta e sembrer脿 incoerente affermarlo ma e nonostante tutto ci貌 (la fatica, la mancanza di appigli ecc.) questa 猫 innegabilmente una grande opera.
Ci sono passaggi veramente memorabili (personalmente ho apprezzato, in particolar modo il capitolo intitolato: 鈥淔ede, speranza e carit脿鈥�) ma 猫, soprattutto, la complessit脿 metaforica a renderlo un grande Romanzo.
Oskar segue un percorso di genialit脿 perversa che sembra riflettere la storia del popolo tedesco nei suoi successi cos矛 come nelle sue terribili tragedie.
Questo "nano per scelta ", semina attorno a s茅 una serie di morti(in modo apparentemente accidentale) tanto da sentirne, poi, il peso sulla coscienza.
Il senso di colpa 猫 proprio uno di quegli elementi che rende Oskar il riflesso del suo stesso popolo:
鈥� Non mi posso nascondere, nemmeno quando sono pi霉 in vena di lamentele, che 猫 stato il mio tamburo, anzi sono stato io stesso, il tamburino Oskar, a portare alla tomba prima la mia povera mamma, e poi Jan Bronski, mio zio e padre.
Ma, come accadrebbe a chiunque, nei giorni in cui un senso di colpa sgarbato e impossibile da scacciare mi abbatte sui guanciali del mio letto di manicomio, cerco di appigliarmi alla mia ignoranza, che allora venne di moda, e che ancora oggi molti si portano in giro.
Oskar, l鈥檃stuto ignorante Oskar, vittima innocente della barbarie polacca (鈥�)
[Per貌 nonostante sia una sostenitrice delle riletture questo no, non lo rileggerei...]
Con grande piacere dichiaro terminata questa sfiancante lettura.
Ci sono stati momenti che avrei voluto gridare sperando di trovare in me una tonalit脿 鈥渓ibricida鈥�.
Un fiume di parole e di scene assurde.
I passaggi, continui e repentini (sovente all鈥檌nterno della stessa frase!), dalla prima alla terza persona rendono Oskar voce narrante e, al contempo, oggetto del discorso.
Oskar, pertanto, gestisce il suo stesso sdoppiamento e mentre spezza se stesso fa altrettanto con la dovuta concentrazione della lettura.
Perlomeno questo 猫 successo a me...
Una fatica lunga 590 pagine (con l鈥檌mpressione di averne lette il doppio!) che non manca di episodi in cui il racconto si fa anche nauseante.
Oskar decide di fermare la sua crescita a tre anni dichiarando guerra al mondo adulto e riservandosi una deformit脿 futura che non si riveler脿 solo nel corpo ma anche nella psiche con buona dose di ossessioni e depravazioni.
Il tutto scandito dal suono di un tamburo (ovviamente).
Il grottesco in questo romanzo 猫 dovunque con una forma di assurdit脿 costante.
C'猫, tuttavia, l'altra faccia della moneta e sembrer脿 incoerente affermarlo ma e nonostante tutto ci貌 (la fatica, la mancanza di appigli ecc.) questa 猫 innegabilmente una grande opera.
Ci sono passaggi veramente memorabili (personalmente ho apprezzato, in particolar modo il capitolo intitolato: 鈥淔ede, speranza e carit脿鈥�) ma 猫, soprattutto, la complessit脿 metaforica a renderlo un grande Romanzo.
Oskar segue un percorso di genialit脿 perversa che sembra riflettere la storia del popolo tedesco nei suoi successi cos矛 come nelle sue terribili tragedie.
Questo "nano per scelta ", semina attorno a s茅 una serie di morti(in modo apparentemente accidentale) tanto da sentirne, poi, il peso sulla coscienza.
Il senso di colpa 猫 proprio uno di quegli elementi che rende Oskar il riflesso del suo stesso popolo:
鈥� Non mi posso nascondere, nemmeno quando sono pi霉 in vena di lamentele, che 猫 stato il mio tamburo, anzi sono stato io stesso, il tamburino Oskar, a portare alla tomba prima la mia povera mamma, e poi Jan Bronski, mio zio e padre.
Ma, come accadrebbe a chiunque, nei giorni in cui un senso di colpa sgarbato e impossibile da scacciare mi abbatte sui guanciali del mio letto di manicomio, cerco di appigliarmi alla mia ignoranza, che allora venne di moda, e che ancora oggi molti si portano in giro.
Oskar, l鈥檃stuto ignorante Oskar, vittima innocente della barbarie polacca (鈥�)
[Per貌 nonostante sia una sostenitrice delle riletture questo no, non lo rileggerei...]
August 11, 2015
"Granted: I'm an inmate in a mental institution."
This opening line prepared me only a little to what was to come: a challenging, weird, unbelievable and extraordinary story.
Oskar's drums and his drumming may still "haunt" me for some time after finishing his story. I am lost for more words here but one: recommended!
This opening line prepared me only a little to what was to come: a challenging, weird, unbelievable and extraordinary story.
Oskar's drums and his drumming may still "haunt" me for some time after finishing his story. I am lost for more words here but one: recommended!
May 12, 2018
Painful because what is presented as entertainment is actually crime. Disturbing because what is responded by laughter should be responded by tears. This is a world unaware of its crime, and in the aftermath of the atrocity unable to mourn.
There are a lot of brilliant use of symbolisms. The one that stuck with me the most is the peep hole Bruno used to observe Oskar which resembles the peep hole equipped in gas chamber to observe the struggle of the dying.
To end with a quote: "Our kind has no place in the audience. We must perform, we must run the show. If we don鈥檛, it鈥檚 the others that run us. And they don鈥檛 do it with kid gloves...Take care young man. Always take care to be sitting on the rostrum and never to be standing out in front of it."
There are a lot of brilliant use of symbolisms. The one that stuck with me the most is the peep hole Bruno used to observe Oskar which resembles the peep hole equipped in gas chamber to observe the struggle of the dying.
To end with a quote: "Our kind has no place in the audience. We must perform, we must run the show. If we don鈥檛, it鈥檚 the others that run us. And they don鈥檛 do it with kid gloves...Take care young man. Always take care to be sitting on the rostrum and never to be standing out in front of it."
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