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逐爱的女人
诺贝尔文学奖得主耶利内克以《逐爱的女人》一举成名。在作品中，耶利内克站在旁观者的立场，以尖锐透明得几乎冷酷的文字讲述了两个女工的故事：布丽吉特和宝拉如何追逐着各自的婚姻目标。
女人，追逐爱情，就像行者追逐远方的目标一样无可厚非。可是，《逐爱的女人》中的爱情似乎变了味道，背离了爱情的本身的意义，沾染了爱情以外的许多的东西。耶利内克用她看似玩世不恭、冷淡的语调叙述的是高度符号化的日常故事，以尖刻的笔触将生活温情的假面毫不留情地戳穿！
女人，追逐爱情，就像行者追逐远方的目标一样无可厚非。可是，《逐爱的女人》中的爱情似乎变了味道，背离了爱情的本身的意义，沾染了爱情以外的许多的东西。耶利内克用她看似玩世不恭、冷淡的语调叙述的是高度符号化的日常故事，以尖刻的笔触将生活温情的假面毫不留情地戳穿！
171 pages, Paperback
First published January 1, 1975
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About the author
Elfriede Jelinek
159?books1,030?followersElfriede Jelinek is an Austrian playwright and novelist, best known for her novel, The Piano Teacher.
She was awarded the Nobel Prize in Literature in 2004 for her "musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clichés and their subjugating power."
She was awarded the Nobel Prize in Literature in 2004 for her "musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clichés and their subjugating power."
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Displaying 1 - 30 of 434 reviews
October 19, 2018
I had promised myself never to touch a Jelinek again after suffering through three of her novels for a Nobel Laureate reading project. And then I signed up for a class, and she was part of the repertoire, and I reluctantly ordered the copy, knowing I was in for some pain and brutality.
For a Jelinek novel, this one actually contains less sadism than expected, but the everyday humiliation of women is almost more painful to follow, as it is more common and recognisable than her more outlandish storylines.
As long as there are still women in the world who identify mainly as accessories of men, as objects to be treated and mistreated at the whim of almost gorilla-like males, as carriers of offspring conceived without pleasure and brought up to perpetuate the pattern of submission and dominance, Jelinek can't be discarded as unimportant.
Her writing style is sharp, acid, brutal, and honest in a hateful way. She is not showing off and glorifying the sexual predators and their victims in the monotonous and boring manner of Bret Easton Ellis, but pointing to the lopsided reality within our society, - thus making a political statement with her literary pain and meaninglessness.
She has her place in world literature. I am not going to dispute that.
But I hope I won't need to read more of her ever again, for whatever reason, for she makes my stomach turn.
For a Jelinek novel, this one actually contains less sadism than expected, but the everyday humiliation of women is almost more painful to follow, as it is more common and recognisable than her more outlandish storylines.
As long as there are still women in the world who identify mainly as accessories of men, as objects to be treated and mistreated at the whim of almost gorilla-like males, as carriers of offspring conceived without pleasure and brought up to perpetuate the pattern of submission and dominance, Jelinek can't be discarded as unimportant.
Her writing style is sharp, acid, brutal, and honest in a hateful way. She is not showing off and glorifying the sexual predators and their victims in the monotonous and boring manner of Bret Easton Ellis, but pointing to the lopsided reality within our society, - thus making a political statement with her literary pain and meaninglessness.
She has her place in world literature. I am not going to dispute that.
But I hope I won't need to read more of her ever again, for whatever reason, for she makes my stomach turn.
January 2, 2023
“…un ciclo natural: nacimiento e incorporación al trabajo y casarse y dejar el trabajo y tener la hija, ama de casa o vendedora, normalmente ama de casa, la hija se incorpora al trabajo, la madre la palma, la hija se casa, deja el trabajo, se baja del carro, tiene su propia hija…”Quién ya haya leído a Elfriede Jelinek sabe de su desprecio por el género humano, al menos por esa porción del género que ella trae a sus novelas, sin descartar la posibilidad de que esa porción represente para ella la totalidad. Lo siente incluso por aquellas personas por las que demuestra, puede que muy a su pesar, una ligera compasión.
Esto es lo que ocurre con las dos mujeres protagonistas de esta historia, brigitte y paula (así, sin mayúscula inicial, como todo el texto de la novela excepto unas pocas palabras. La explicación que la propia autora dio fue que todas las palabras le eran igual de importantes, sustantivos y verbos, y solo quiso destacar algunas por su relevancia). A la primera mujer la desprecia mucho más que la compadece, a la segunda la compadece un poco más que la desprecia.
“brigitte quiere sencillamente TENER y RETENER. paula quiere tener y quiere querer, y mostrar a la gente que se tiene y lo que se tiene y se quiere.”La primera de las mujeres, consciente y resignada a su condición (“brigitte no puede hacer de su vida algo mejor. lo mejor debe provenir de la vida de heinz”), es capaz de todo por conseguir a un hombre, lo mismo da uno que otro si la saca de la fábrica donde trabaja y la hace madre y ama de casa (“lástima que brigitte odie tanto a heinz”). Para ello, brigitte solo tiene un cuerpo que ofrecer: tiene prisa, pues “se hace mayor y cada vez menos mujer”. Es servicial, laboriosa y ahorradora. Espera que eso sea suficiente para su Heinz. Espera que ella sea lo mejor que heinz crea que puede conseguir. Quiere ser uno con él, solo dirá que tiene hambre cuando él sienta hambre, anhela tener un buen amito.
“Las mujeres usadas raramente son aceptadas, y dado el caso sólo por el primer consumidor.”La segunda aspira a algo similar en apariencia y solo ligeramente distinto en el fondo. Querría APRENDER y viajar antes de conocer a un hombre bueno o no tan bueno, aunque bien sabe que eso no es lo que DEBE hacer una futura ama de casa. Ella quiere amar para VIVIR, su amor le llegará para el futuro entero, aunque también quiera una casa con su lavadora, dormitorio de nogal, televisión y ni?os con ropitas de colores, sobre todo cuando aparece su erich y ya no es tan interesante APRENDER. Solo quiere poder decir, con una sonrisa triunfal: “MI HOMBRE”.
“El sentimiento de felicidad no es aquí lo habitual, aquí reinan los cálculos, las sumas y las restas. hay un frío helado.”El relato parodia a través de una sucesión de clichés, o lo que con el tiempo se han ido convirtiendo en clichés, las relaciones hombre-mujer determinadas por un claro punto de partida, la fuerza corporal y la violencia natural del hombre. Los hombres trabajan, vigilan a sus mujeres e hijas, ejercen su poder, reparten palizas y se emborrachan. Al lado de la mujer piensan en sexo cuando no en el carburador del coche. Mientras, ellas piensan en la futura peque?a casita con jardín, en su futuro amo y se?or y en el amor, y dicen cosas como (aunque alguna no lo piensa) es como si te quisiera desde siempre, para mí no hay más hombre que tú, eres todo mi mundo, mi vida carece de sentido sin tu vida, contigo es tan bonito que una podría morir, cuando realmente:
“Mientras el estómago de brigitte se revuelve y se revuelve, heinz no afloja, se agarra fuertemente, echa su aliento pestilente a la sensible nariz de gitti y deja caer abundantes gotas de saliva sobre los párpados apretados por el asco.”Porque el sexo es el uso que un hombre hace de la mujer para su propia satisfacción. Para la mujer es, en el mejor de los casos, una forma de conseguir y mantener a su HOMBRE, bien por el sexo en sí, bien por el fruto del sexo, y casi siempre una experiencia desagradable.
“… el sábado es el gran día de la sumisión. el pueblo tiembla entonces: las someten, se la meten y ellas solamente se lamentan.”Un despiadado retrato de un tipo de hombre y de mujer que, aunque no desaparecidos del todo, nos retrotrae a otra época, la Austria de 1975 (y puede que con más razón a la Espa?a de aquellos a?os), construido con desprecio y expuesto de una forma sencilla, brutal, bastante repetitiva y circular (recuerda en cierto modo a Bernhard) y muchas veces vulgar, como vulgar y sórdido es el mundo que describe.
“… las mujeres empiezan a odiar a sus hijas y desean dejarlas morir lo más rápido posible, tal como ellas murieron una vez, así que: hay que hacerse con un hombre… la hija apenas si puede esperar poder morir también por fin…”
March 8, 2025
Not sure whether there was a deeper meaning for writing this novel without the use of capital letters - apart from the very few occasions when the odd word is in block capitals - or that she just simply wanted to be different. At least I didn't find it in any way bothersome. This was the forth time reading Jelinek, and whilst I'm torn about her being a writer worthy of the Nobel Prize, I did find this better than I was expecting - even better than The Piano Teacher. This novel spoke to me more; I felt the characters more; the situations more truthful - I actually cared. Well, for the women of the piece anyway. Heinz and Erich - one a complete pig, the other good-looking but not too bright- were a couple of men that wouldn't know how to treat a woman properly if it crawled through their eyeballs and sucked on their brains. But poor old Brigitte and Paula - who dream of nothing more than everlasting love and marriage and babies and nice kitchens and prosperity and real happiness - had a total lack of self respect that really made me pity them, and they just basically grab whatever they can get and hope the best. One couple doesn't turn out that bad. I can't say the same for the other. Jelinek doesn't exactly paint a pretty picture of the human race - like Bernhard nor of Austria either - and can at times be too vulgar and negative for me, but at no point did I think of calling it quits here like I've been tempted to do in the past. Quite easy to read. Told with lots of short sentences. Flashes of poetic brilliance here and there. Starting to finally admire her more. Never thought I'd say that after reading the utterly abysmal Greed.
March 12, 2021
2021’de okudu?um en iyi romanlardan biri olmaya aday ???k Kad?nlar. Bir derdi, meselesi olan romanlar? seviyorum, bu da onlardan biri. Bildi?iniz romanlara benzemiyor bu roman, uzun uzun betimlemeler, sayfalarca anlat?lan karakter analizleri yok bu kitapta.
Jelinek, Avusturya k?rsal?nda ya?ayan ve hayat se?enekleri s?n?rl? olan iki kad?n?n BAS?T ve ac? hikayesini anlat?yor. Se?ilecek, takip edilecek yol ?ok a??k: Fabrikada ?al??mak. Evlenmek. ?ocuk yapmak. Bu kadar.
K?rsalda, yerel bir konumda ge?en bu hikayenin büyük ?l?üde evrensel oldu?unu fark etmemek elde de?il. Toplumsal cinsiyet ve evlilik üzerine g?rü?ler her yerde ayn? kal?ba giriyor, de?i?ken de?il. Ayn? tipte insanlar, ayn? kadere sahip olacak kad?nlar, hayat?n ayn? düzeyde devam edi?i ya da ilerlememesi, hikaye boyunca yazar?n bize dayatt??? baz? elementler.
Jelinek, asl?nda hi?bir ?ey a??klam?yor, sadece g?steriyor. Afrikal? Amerikal? yazar William M. Kelley’nin de dedi?i gibi, “bir yazar?n g?revi cevap vermek de?ildir, sadece sorular sormakt?r.” Jelinek sadece sorular soruyor, cevaplamak okura kalm??.
Bu arada kitab? okurken yazar?n müdahaleleri, bana Brecht’i ve epik tiyatrosunu hat?rlatt?. Daha sonra ?evirmen ?nsüzünü okudu?umda g?rü?üm kan?tlanm?? oldu. Jelinek, Brecht’in epik tiyatrosundan ve tekniklerinden olduk?a etkilenmi?. ??eri?i oldu?u kadar, bi?imi de takdire ?ayan bir roman ???k Kad?nlar. Severek okudum, siz de okuyun lütfen.
Jelinek, Avusturya k?rsal?nda ya?ayan ve hayat se?enekleri s?n?rl? olan iki kad?n?n BAS?T ve ac? hikayesini anlat?yor. Se?ilecek, takip edilecek yol ?ok a??k: Fabrikada ?al??mak. Evlenmek. ?ocuk yapmak. Bu kadar.
K?rsalda, yerel bir konumda ge?en bu hikayenin büyük ?l?üde evrensel oldu?unu fark etmemek elde de?il. Toplumsal cinsiyet ve evlilik üzerine g?rü?ler her yerde ayn? kal?ba giriyor, de?i?ken de?il. Ayn? tipte insanlar, ayn? kadere sahip olacak kad?nlar, hayat?n ayn? düzeyde devam edi?i ya da ilerlememesi, hikaye boyunca yazar?n bize dayatt??? baz? elementler.
Jelinek, asl?nda hi?bir ?ey a??klam?yor, sadece g?steriyor. Afrikal? Amerikal? yazar William M. Kelley’nin de dedi?i gibi, “bir yazar?n g?revi cevap vermek de?ildir, sadece sorular sormakt?r.” Jelinek sadece sorular soruyor, cevaplamak okura kalm??.
Bu arada kitab? okurken yazar?n müdahaleleri, bana Brecht’i ve epik tiyatrosunu hat?rlatt?. Daha sonra ?evirmen ?nsüzünü okudu?umda g?rü?üm kan?tlanm?? oldu. Jelinek, Brecht’in epik tiyatrosundan ve tekniklerinden olduk?a etkilenmi?. ??eri?i oldu?u kadar, bi?imi de takdire ?ayan bir roman ???k Kad?nlar. Severek okudum, siz de okuyun lütfen.
December 28, 2022
…han venido aquí para esperar el matrimonio y la vida. pero el matrimonio viene siempre solo, sin la vida.
Me gustó desde las primeras páginas, me horrorizó y divirtió el trayecto, lo terminé rozando el entusiasmo, y a cada hora que pasa después de haberlo terminado siento que me gusta más.
Es un libro contundente, turbador, inteligente, importante. Es una novela brutal e irónica, lo que la convierte en despiadada. Nada es agradable, todo es repulsivo, da la impresión de ser parodia, y, sin embargo, todo suena real, e incluso hoy en día no pocas cosas de las que suceden provocan eco.
Jelinek nos cuenta una historia simple. Dos mujeres diferentes, brigitte y paula, maltratadas y humilladas. Por los hombres, que no son capaces ni de verlas como personas (erich no piensa en absoluto en mujeres, y cuando lo hace, en mujeres que no lo son; de modo que para erich no existen las mujeres, porque las mujeres que él conoce no son en realidad mujeres), por la sociedad y por sí mismas, con unas opciones muy limitadas, si es que realmente las hay, buscan su futuro, cuando no se tiene presente, hay que tomar precauciones para el futuro: brigitte tiene un cuerpo que ofrecer.
brigitte no puede hacer de su vida algo mejor. lo mejor debe provenir de heinz. heinz puede liberar a brigitte de su máquina de coser, eso no lo puede hacer brigitte sola. pero no está segura de ello porque la felicidad es una casualidad y no una ley ni la consecuencia lógica de las acciones.
Me gustó desde las primeras páginas, me horrorizó y divirtió el trayecto, lo terminé rozando el entusiasmo, y a cada hora que pasa después de haberlo terminado siento que me gusta más.
Es un libro contundente, turbador, inteligente, importante. Es una novela brutal e irónica, lo que la convierte en despiadada. Nada es agradable, todo es repulsivo, da la impresión de ser parodia, y, sin embargo, todo suena real, e incluso hoy en día no pocas cosas de las que suceden provocan eco.
Jelinek nos cuenta una historia simple. Dos mujeres diferentes, brigitte y paula, maltratadas y humilladas. Por los hombres, que no son capaces ni de verlas como personas (erich no piensa en absoluto en mujeres, y cuando lo hace, en mujeres que no lo son; de modo que para erich no existen las mujeres, porque las mujeres que él conoce no son en realidad mujeres), por la sociedad y por sí mismas, con unas opciones muy limitadas, si es que realmente las hay, buscan su futuro, cuando no se tiene presente, hay que tomar precauciones para el futuro: brigitte tiene un cuerpo que ofrecer.
brigitte no puede hacer de su vida algo mejor. lo mejor debe provenir de heinz. heinz puede liberar a brigitte de su máquina de coser, eso no lo puede hacer brigitte sola. pero no está segura de ello porque la felicidad es una casualidad y no una ley ni la consecuencia lógica de las acciones.
May 18, 2009
Can a book get more unrelentingly negative than this? Well, yes, maybe something by Thomas Bernhard, Elfriede Jelinek's fellow Austrian (sorry about the word "fellow" Elfriede). Gosh, on page 159, Jelinek herself says, in jest of course, "One must not describe only negative and ugly things." Negative and ugly is thy name, Ms. Jelinek, at least in this tome. In fact, when these characteristics become so extreme they become almost funny--and in some ways this is a very funny book. Okay, so why four stars? Well, in my opinion, this most controversial of all modern Nobel prize winners has a powerful and unforgettable style. For example, there is not a capital letter in the book, which is, I think, Jelinek's way of saying that the world she describes is so petty and stupid that it should not be honored with caps! Moreover, and with apologies to all members of my pitiful gender, Jelinek has much to say about men, women, and such delightful institutions as marriage that is, dare I say it, all too true. In fact, I recommend this book to all women raised in my own gender-conservative tradition, if only as a useful antidote to the romanticism that enslaves and destroys so many of them (half of them, to be sure, enslaved and destroyed with a smile on their face and great joy in their heart). So, my conclusion is that there is real genius here . . . now I need to read the "Piano Player" or one of Jelinek's other novels to discover if there is also versatility.
February 24, 2024
Pripovedni stil u "Ljubavnicama" besprekoran je u svojoj redukciji,"mrtvozorni?ki" po emotivnom anga?manu, dok hladno?a njegovog cinizma bespo?tedno ujeda. (Ima ne?eg u cinizmu ?to mi srcu godi!). Istovremeno, veoma je provokativno i prosvetljuju?e razmi?ljati o tome kako auktorijalna instanca mo?e biti (samo) ?enskog roda, nasuprot aplikovanoj bespolnosti. (Hvala ti Maska!) Po maltene strmoglavljuju?em dinamizmu, re?enica Elfride Jelinek mo?e zavoditi ka Taba?evi?u, budu?i da zadihan narativni ritam (ovde svaka re?enica zapo?inje malim slovom; dodu?e niko od junaka i ne zaslu?uje veliko!) prirodno iziskuje galopiraju?e ?itanje, iako je Elfridino pisanje li?eno "pojezi?nosti", ?to po sebi ne mora da bude ni vrlina ni mana. Ali ovde to mana, svakako nije.
Tolstoj sa "Anom Karenjinom" nametljiva je klasik-analogija koju Elfridin roman sobom upli?e u razmatranje. U pomno razra?ivanom motivu bra?nog lova, odnosno bra?ne pijace - u "Ljubavnicama" to je metafori?ki (ujedno ?estoko zajedljivo) prevedeno na ravan sto?nog tr?i?ta - ono ?to se u ruskom evergrinu ticalo Kiti, kod Jelinek ?e se ticati Brigite i Paule. Plus-minus otprilike jedan vek, ni?i socijalno-klasni milje, a zatim tu su i druga?ije poeti?ko-formacijske postavke, pa bi se narativ mogao podvesti pod etiketu malogra?anske antibajke (tipizirani uvod, upisana sekundarnost juna?ice i "hepiend" smiraj u zajedni?tvu), ali i groteskno izvrnutog herz-romana, te i??itavati u okrilju karikaturalno-plo?nog, dakle, satiri?nog, odnosno anga?ovano-sarkasti?nog obli?ja realizma,... Mada su imenovane heroine dominantno rabljene fokalne ta?ke - odli?na je ona kompoziciona deonica u "Ven?anju" kada se (kona?no) u istom poglavlju susti?u ina?e paralelne sudbine i Paule i Brigite - ipak je (?ensko)sveznaju?i narator mobilniji i na istolik, dosledno satirizovan na?in pristupa i podriva i ostale rivalitetski postavljene protagoniste (Eriha, Hajnca, Suzi, Astmu, svekrve), svakako bez obzira na njihov rodni predznak. Zamamno je, u tom smislu, Jelinek zami?ljati kao izokrenutog Tolstoja sa rendgenskim nao?arima: nema epske razmahnutosti, niti poetizacije, dubinske psihologizacije niti deskripcije - narator(ka) se u jednom autopoeti?kom, persifliraju?em trenutku bukvalno izvinjava ?to je podlegla opisivanju! Tako?e, re?eni?ni iskazi ?turi su i jasni, a odnosi me?u junacima suzbijeni su na "skelet" odnosa me?u junacima. Evo-vam-adekvatna-dioptrija-pa-p(r)ogledajte! name?e nam se sa svake stranice teksta. Stoga su glavnicom svi likovi upro??eni i svedeni na funkcije, a radikalizacija postupka uzrokuje povi?enu karikaturalnost (videti primerice kako se Brigita i Suzi - udava?e - nadme?u oko toga koja ?e se pokazati boljom doma?icom i Hajncu br?e napraviti be?ku ?niclu ili mu skinuti fleku sa ode?e), apsurd ("mo?da je dete i bolje od ?iva?e ma?ine, sa detetom se barem mo?e ?etati po ?istom vazduhu, a sa ma?inom ne. ma?ina nema srce, dete ima."), odnosno ironiji (genijalno je, recimo, ?to Erih koga lo?i brzina ne uspeva ni da polo?i voza?ki ispit). Na toj liniji je, dakako, te?ka (se?ivo rugala?kog) istodobno i zabavno-otre?njuju?a komika za kojom se pose?e izda?no: "batine nikad ne mogu da nadoknade novac. novac vredi vi?e od batina." (deduktivni komentar-ilustracija odnosa Eriha i Paule, pri tome se predose?a kome su batine namenjene).
Izuzev feministi?kog pristupa, "Ljubavnice" se ?iroko otvaraju i prema klasnom, ?to ?e re?i antikapitalisti?kom ?itanju. Stoga ve? u prvim recima fabrika penetrira u pejza?, a dalje, sve "vode?e" likove karakteri?e ni?eklasnost, upisana i u zanimanjima koja im se nude - izuzimaju?i Suzi, premda je i njen svetonazor amplifikovano nakaradan: nju, naime, ti?ti problem patnje u svetu, a kada progovori "izbljuje veliku koli?inu gladnih ljudi" - dok je kastinski zid nemogu?e presko?iti. Suzi zato istinski ne ?eli Hajnca, direktoru je nemogu?e da poseti (obi?nu radnicu) Brigitu u njenom stanu, a sekretarice (blizina direktoru) se osorno pona?aju prema obi?nim radnicama. Svaka dru?tvena institucija (porodica, brak, profesija), ali i pojedinac (bez obzira na pol) predstavljaju istovetnu ?eliju, odnosno neispunjenje. Junaci su osu?eni na nivo baze, a njihove preokupacije svedene su na telesno-materijalno dole (sticanje i prirodne nagone). Otud i ?esta animalno-sto?na metaforika (?to je vrlo va?no) vezana za sve, a duhovna nadogradnja hotimi?no postoji isklju?ivo kao kuriozitet. Zato se u "Ljubavnicama" kao "toploj (kapitalisti?koj) ljubavnoj pri?i" s vremena na vreme da osetiti dah pamfletskog (diktat unapred zadatih teza), pra?en blagim ose?ajem repetitivnosti.
Tolstoj sa "Anom Karenjinom" nametljiva je klasik-analogija koju Elfridin roman sobom upli?e u razmatranje. U pomno razra?ivanom motivu bra?nog lova, odnosno bra?ne pijace - u "Ljubavnicama" to je metafori?ki (ujedno ?estoko zajedljivo) prevedeno na ravan sto?nog tr?i?ta - ono ?to se u ruskom evergrinu ticalo Kiti, kod Jelinek ?e se ticati Brigite i Paule. Plus-minus otprilike jedan vek, ni?i socijalno-klasni milje, a zatim tu su i druga?ije poeti?ko-formacijske postavke, pa bi se narativ mogao podvesti pod etiketu malogra?anske antibajke (tipizirani uvod, upisana sekundarnost juna?ice i "hepiend" smiraj u zajedni?tvu), ali i groteskno izvrnutog herz-romana, te i??itavati u okrilju karikaturalno-plo?nog, dakle, satiri?nog, odnosno anga?ovano-sarkasti?nog obli?ja realizma,... Mada su imenovane heroine dominantno rabljene fokalne ta?ke - odli?na je ona kompoziciona deonica u "Ven?anju" kada se (kona?no) u istom poglavlju susti?u ina?e paralelne sudbine i Paule i Brigite - ipak je (?ensko)sveznaju?i narator mobilniji i na istolik, dosledno satirizovan na?in pristupa i podriva i ostale rivalitetski postavljene protagoniste (Eriha, Hajnca, Suzi, Astmu, svekrve), svakako bez obzira na njihov rodni predznak. Zamamno je, u tom smislu, Jelinek zami?ljati kao izokrenutog Tolstoja sa rendgenskim nao?arima: nema epske razmahnutosti, niti poetizacije, dubinske psihologizacije niti deskripcije - narator(ka) se u jednom autopoeti?kom, persifliraju?em trenutku bukvalno izvinjava ?to je podlegla opisivanju! Tako?e, re?eni?ni iskazi ?turi su i jasni, a odnosi me?u junacima suzbijeni su na "skelet" odnosa me?u junacima. Evo-vam-adekvatna-dioptrija-pa-p(r)ogledajte! name?e nam se sa svake stranice teksta. Stoga su glavnicom svi likovi upro??eni i svedeni na funkcije, a radikalizacija postupka uzrokuje povi?enu karikaturalnost (videti primerice kako se Brigita i Suzi - udava?e - nadme?u oko toga koja ?e se pokazati boljom doma?icom i Hajncu br?e napraviti be?ku ?niclu ili mu skinuti fleku sa ode?e), apsurd ("mo?da je dete i bolje od ?iva?e ma?ine, sa detetom se barem mo?e ?etati po ?istom vazduhu, a sa ma?inom ne. ma?ina nema srce, dete ima."), odnosno ironiji (genijalno je, recimo, ?to Erih koga lo?i brzina ne uspeva ni da polo?i voza?ki ispit). Na toj liniji je, dakako, te?ka (se?ivo rugala?kog) istodobno i zabavno-otre?njuju?a komika za kojom se pose?e izda?no: "batine nikad ne mogu da nadoknade novac. novac vredi vi?e od batina." (deduktivni komentar-ilustracija odnosa Eriha i Paule, pri tome se predose?a kome su batine namenjene).
Izuzev feministi?kog pristupa, "Ljubavnice" se ?iroko otvaraju i prema klasnom, ?to ?e re?i antikapitalisti?kom ?itanju. Stoga ve? u prvim recima fabrika penetrira u pejza?, a dalje, sve "vode?e" likove karakteri?e ni?eklasnost, upisana i u zanimanjima koja im se nude - izuzimaju?i Suzi, premda je i njen svetonazor amplifikovano nakaradan: nju, naime, ti?ti problem patnje u svetu, a kada progovori "izbljuje veliku koli?inu gladnih ljudi" - dok je kastinski zid nemogu?e presko?iti. Suzi zato istinski ne ?eli Hajnca, direktoru je nemogu?e da poseti (obi?nu radnicu) Brigitu u njenom stanu, a sekretarice (blizina direktoru) se osorno pona?aju prema obi?nim radnicama. Svaka dru?tvena institucija (porodica, brak, profesija), ali i pojedinac (bez obzira na pol) predstavljaju istovetnu ?eliju, odnosno neispunjenje. Junaci su osu?eni na nivo baze, a njihove preokupacije svedene su na telesno-materijalno dole (sticanje i prirodne nagone). Otud i ?esta animalno-sto?na metaforika (?to je vrlo va?no) vezana za sve, a duhovna nadogradnja hotimi?no postoji isklju?ivo kao kuriozitet. Zato se u "Ljubavnicama" kao "toploj (kapitalisti?koj) ljubavnoj pri?i" s vremena na vreme da osetiti dah pamfletskog (diktat unapred zadatih teza), pra?en blagim ose?ajem repetitivnosti.
May 7, 2022
La primera vez que intenté leer a Elfriede Jelinek salí repelida de la primerísima página de no recuerdo cuál de sus libros. Así de visceral fue mi reacción. Bueno, me dije, si el mismísimo Miguel Sáenz piensa que lo del Nobel es una exageración y que no llega a la altura de Thomas Bernhard, probablemente puedo saltarme a esta autora sin remordimientos.
Ahora entiendo que en aquel momento no estaba preparada yo para apreciar lo que Jelinek me estaba dando. Y también tengo una opinión distinta sobre lo dicho entonces por Miguel Sáenz, como sobre la indignación que causó en ciertos se?ores nórdicos o austriacos la concesión del Nobel de literatura a esta autora. Ahora, por supuesto, Las amantes me ha producido un regocijo casi culpable, porque mira que suena mal eso de regocijarse con una historia donde las mujeres acaban tan degradadas y vapuleadas. Pero, precisamente, es el placer vindicativo de quien oye a alguien cantar verdades a pleno pulmón y lo más clarito posible. ??Ahí, dale duro, Elfriede?, dan ganas de jalear en algunas páginas.
Podría parecer entonces que le estoy dando la razón a Miguel Sáenz cuando afirmaba que a Jelinek le habían dado el Nobel solo por feminista. Ante todo, no me creo yo con cultura lectora suficiente, ni de lejos, para discutirle nada a Sáenz, sobre todo porque, como ya he dejado claro, este es el primer libro de la austriaca que he leído hasta ahora (los dos párrafos del otro no cuentan). Qué sé yo si su obra da para Nobel, es que ni me importa. Lo que sé es que formalmente Las amantes me ha sorprendido y me ha convencido. Me ha sorprendido por el modo en que están narradas las historias de Brigitte y de Paula, a base de oraciones cortas y descarnadas y mucho punto y aparte y nada de poner mayúscula a inicio de frase, frases que luego ya se acumulan en párrafos más densos. Y me ha convencido porque esa construcción tan particular en ningún momento me ha cansado o se ha interpuesto entre la historia y yo. Puedo entender ahora a quienes dicen que en la escritura de Jelinek se nota su formación como intérprete de música clásica (en ocasiones me imaginaba este libro como una ópera). Entre ellos el propio Miguel Sáenz, que no podía sino reconocer que sí, que Elfriede Jelinek ?escribe muy bien debido a su excelente oído musical?.
Voy a tener que leer el resto de la obra de Elfriede Jelinek, si no por gusto, que también, para entender (mejor) qué les picaba a tantos se?ores, no solo a Sáenz, que tanta necesidad sentían de manifestar que la austriaca escribe muy bien, que su obra es interesante, pero que ?no es suficiente?.
Ahora entiendo que en aquel momento no estaba preparada yo para apreciar lo que Jelinek me estaba dando. Y también tengo una opinión distinta sobre lo dicho entonces por Miguel Sáenz, como sobre la indignación que causó en ciertos se?ores nórdicos o austriacos la concesión del Nobel de literatura a esta autora. Ahora, por supuesto, Las amantes me ha producido un regocijo casi culpable, porque mira que suena mal eso de regocijarse con una historia donde las mujeres acaban tan degradadas y vapuleadas. Pero, precisamente, es el placer vindicativo de quien oye a alguien cantar verdades a pleno pulmón y lo más clarito posible. ??Ahí, dale duro, Elfriede?, dan ganas de jalear en algunas páginas.
Podría parecer entonces que le estoy dando la razón a Miguel Sáenz cuando afirmaba que a Jelinek le habían dado el Nobel solo por feminista. Ante todo, no me creo yo con cultura lectora suficiente, ni de lejos, para discutirle nada a Sáenz, sobre todo porque, como ya he dejado claro, este es el primer libro de la austriaca que he leído hasta ahora (los dos párrafos del otro no cuentan). Qué sé yo si su obra da para Nobel, es que ni me importa. Lo que sé es que formalmente Las amantes me ha sorprendido y me ha convencido. Me ha sorprendido por el modo en que están narradas las historias de Brigitte y de Paula, a base de oraciones cortas y descarnadas y mucho punto y aparte y nada de poner mayúscula a inicio de frase, frases que luego ya se acumulan en párrafos más densos. Y me ha convencido porque esa construcción tan particular en ningún momento me ha cansado o se ha interpuesto entre la historia y yo. Puedo entender ahora a quienes dicen que en la escritura de Jelinek se nota su formación como intérprete de música clásica (en ocasiones me imaginaba este libro como una ópera). Entre ellos el propio Miguel Sáenz, que no podía sino reconocer que sí, que Elfriede Jelinek ?escribe muy bien debido a su excelente oído musical?.
Voy a tener que leer el resto de la obra de Elfriede Jelinek, si no por gusto, que también, para entender (mejor) qué les picaba a tantos se?ores, no solo a Sáenz, que tanta necesidad sentían de manifestar que la austriaca escribe muy bien, que su obra es interesante, pero que ?no es suficiente?.
June 10, 2021
Beni bitirdi bu kitap, uzun süredir okudu?um en brutal ?eydi san?r?m. Bu kitapta mutlu hi?bir ?ey yok. Bir di?er Avusturyal? olan Thomas Bernhard’? and?m s?k s?k, ama Bernhard beni e?lendiriyor zaman zaman, Jelinek sa?olsun ?ldürdü. ?stelik bu en az ?iddet ve sadizm bar?nd?ran eseriymi?, vay halimize o zaman. Kendisi Nobel al?nca jüriden istifa eden Knut Ahnlund’un dedi?i gibi “kaotik, pornografik” ve rahats?z edici ger?ekten. Ha peki sevdim mi, a??k?as? ?ok sevdim. Hakk?nda kopan tart??malara ?a??rmamak laz?m, s?? bir bak??la kad?nlar? ?ok?a a?a??l?yor gibi g?rünebilir ama asl?nda devasa bir toplum, kapitalizm ve ataerki ele?tirisi var kitapta. ?evirmenin ?ns?zde yazd??? do?ru; bu kitapta a?ktan ?ok nefret var. Aile denen kurumun ne bi?im bir yalan oldu?unu surat?m?za -hem de epey sert ?ekilde- ?arp?yor yazar. ?zellikle geleneksel bir ?evrede yeti?en kad?nlar?n okumas?n? ?ok isterim. Belki ?ok a??r gelecektir ama ezberlerimizle yüzle?meye hepimizin ihtiyac? var ve her zaman da iyi hissetmek i?in okumuyoruz, de?il mi?
November 16, 2022
Im Kontext seiner Zeit gelesen und verstanden ist dieser frühe Roman Elfriede Jelineks eine für die 70er Jahre beispielhafte Abrechnung mit patriarchalen Machtverh?ltnissen und kleinbürgerlichen Wertvorstellungen.
Brigitte und Paula, zwei junge Frauen aus der Arbeiterschicht, wünschen sich ein erfülltes, glückliches Leben. Dazu braucht es einen tüchtigen Mann, der ein H?uschen, die neuesten Küchenm?bel und wom?glich ein Auto herbeischafft. Das ist die vielversprechende Alternative zur Arbeit in der Fabrik. Der schnellste Weg zu diesem Ziel ist ein Baby.
ein kindchen mu? her! ein ekelhafter, wei?er, krallender, engerlingss?ugling. für heinz wird es schlicht und pr?gnant: unser kind! es soll das dauerhafte band verk?rpern, das b. sucht.
Der Stil, in dem die Geschichte erz?hlt wird, entspricht dem sprachkritischen Geist der Entstehungszeit: Kleinschreibung, kurze, simple S?tze, die mich an heutige Erkl?rtexte in einfacher Sprache erinnern, die Figuren sind wie aus Karton, alles ist holzschnittartig, exemplarisch.
Aber diese Technik macht genau das, was sie soll: sie reduziert auf das Wesentliche, schleift und ?tzt jeden Glanz und Schn?rkel weg, bis der nackte Untergrund grausam offen liegt. Schonungslos entlarvt sie die Sprachformeln, die verharmlosend und besch?nigend so tun, als müsse die Welt so sein wie sie ist, und zeigt, was hinter den Worten von Liebestraum und Glück im Heim brodelt: Gier, Hass und Eitelkeit als Folge gesellschaftlicher Machtverh?ltnisse, festgeschrieben als vermeintliche Naturgesetze.
Deutlich erkennt man die Anf?nge der Sprachkunst Elfriede Jelineks, die sie in der Folge immer mehr verdichtet und inhaltlich differenzierter, formal komplexer und stilistisch eleganter zu einem unverwechselbaren Alleinstellungsmerkmal entwickelt hat.
Brigitte und Paula, zwei junge Frauen aus der Arbeiterschicht, wünschen sich ein erfülltes, glückliches Leben. Dazu braucht es einen tüchtigen Mann, der ein H?uschen, die neuesten Küchenm?bel und wom?glich ein Auto herbeischafft. Das ist die vielversprechende Alternative zur Arbeit in der Fabrik. Der schnellste Weg zu diesem Ziel ist ein Baby.
ein kindchen mu? her! ein ekelhafter, wei?er, krallender, engerlingss?ugling. für heinz wird es schlicht und pr?gnant: unser kind! es soll das dauerhafte band verk?rpern, das b. sucht.
Der Stil, in dem die Geschichte erz?hlt wird, entspricht dem sprachkritischen Geist der Entstehungszeit: Kleinschreibung, kurze, simple S?tze, die mich an heutige Erkl?rtexte in einfacher Sprache erinnern, die Figuren sind wie aus Karton, alles ist holzschnittartig, exemplarisch.
Aber diese Technik macht genau das, was sie soll: sie reduziert auf das Wesentliche, schleift und ?tzt jeden Glanz und Schn?rkel weg, bis der nackte Untergrund grausam offen liegt. Schonungslos entlarvt sie die Sprachformeln, die verharmlosend und besch?nigend so tun, als müsse die Welt so sein wie sie ist, und zeigt, was hinter den Worten von Liebestraum und Glück im Heim brodelt: Gier, Hass und Eitelkeit als Folge gesellschaftlicher Machtverh?ltnisse, festgeschrieben als vermeintliche Naturgesetze.
Deutlich erkennt man die Anf?nge der Sprachkunst Elfriede Jelineks, die sie in der Folge immer mehr verdichtet und inhaltlich differenzierter, formal komplexer und stilistisch eleganter zu einem unverwechselbaren Alleinstellungsmerkmal entwickelt hat.
July 23, 2024
D??arda Kalanlar’? ?ok be?endi?im i?in hi? vakit kaybetmeden A??k Kad?nlar’? okumak istedim. ?ok da iyi yapm???m. Jelinek’e bir kez daha hayran oldum! Ayn? yerde ?al??an iki kad?n, Brigitte ve Paula üzerinden cinsiyete, s?n?f farkl?l?klar?na ve kapitalizme dair gü?lü bir hikaye anlat?yor yazar. Hikaye desem de asl?nda büyük bir hikaye de?il anlatt???. Son derece beklenen, bu kad?nlara uygun g?rülen bir hikaye. Karakterlerin tüm davran??lar? da kendilerinden beklenildi?i ?ekilde ger?ekle?iyor, ba?lang?c? da sonu da ?a??rt?c? de?il bu yüzden. Zaten Jelinek’in derdi de ?a??rtmak de?il rahats?z etmek. Bunu da sistemin a?z?yla konu?arak, ataerkil düzenin ve kapitalizmin kad?na nas?l bakt???n? sonuna kadar hissettirerek yap?yor. Bu yüzden herhangi bir karakteri sevmek, taraf tutmak mümkün de?il. Metinle okuyucu aras?nda dev bir mesafe var adeta. Bu mesafe yazara büyük bir hareket alan? sa?l?yor ku?kusuz. ?nsan do?as?na, ruhun karanl?k kuytular?na da dokunuyor incelikle. ?stelik hi?bir sansüre ba?vurmadan oldu?u gibi anlat?yor her ?eyi. Cinsellik tasvirleri o kadar kaba saba ki tam bir yabanc?la?t?rma etkisi yarat?yor adeta. Tüm bu anlat?m tercihleri o kadar tutarl? bir bütünlük olu?turuyor ki bireyden topluma uzanan güzel bir ele?tiri ??k?yor ortaya. Bu ele?tirinin biraz daha kapal? olmas?n? isterdim ama burada hedeflenen tam da bunu a??k a??k yapmak. O yüzden anl?yorum yazar?n amac?n?. Bi?imin i?eri?e e?li?i de bu amaca giden bir di?er yol ve olduk?a etkileyici. ?evirmen An?l Alacao?lu’nun ?ns?zü de kitab?n ruhunu kavramak i?in ?ok iyi bir k?lavuz. Uzun laf?n k?sas?, A??k Kad?nlar bence ?ok iyi bir roman. Gerek i?erik gerek bi?iminden ?türü herkese g?re olmad??? kesin oras? ayr? konu.
October 29, 2021
"barbatii pot fi porci, dar si contrariul. care este contrariul unui porc?"
"daca are cineva un destin, este vorba de un barbat. daca i se face cuiva un destin, este vorba de o femeie."
Si iata cum s-au creat doua tabere! Femei versus barbati, sexul slab versus sexul puternic, wonderwoman versus lumberjack, independent girl versus boy toy...
O carte cu un subiect sensibil si trist, insa recenzia mea nu va fi deloc asa, pentru ca aceste doua tabere pe mine ma amuza.
Autoarea este laureata Premiului Nobel pentru Literatura si in prezenta carte abordeaza subiecte precum casatoria, nasterea, libertatea, meseria, gospodaria, conditia femeii si a barbatului in societatea moderna.
Stilul este original, asa cum se vede din primele citate, propozitiile incep cu litera mica, numele proprii de asemenea iar dialogurile nu exista in carte, fiindu-ne prezentate gandurile si sentimentele personajelor intr-un mod direct, dur si foarte onest.
Realitatile spuse sunt brutale si crude reflectand triste adevaruri din societatea noastra, cum ar fi conditia oamenilor de la tara, sansa oamenilor la educatie, rolul femeii ca mama, alcoolismul cronic la barbati, bataile incasate de femei, etc.
Se pune accent mai ales pe faptul ca barbatul a ajuns sa fie prea rasfatat si servit in societatea noastra de catre femeile disperate. De asemenea am observat ca femeile se saboteaza intre ele, mai ales cele batrane pe cele tinere, in loc sa se ajute sau sa dea un exemplu pozitiv. Practic daca bunica a esuat trebuie sa esueze si mama si fiica si nepotica.
In ceea ce priveste subiectul romanului, o cunoastem pe brigitte, o croitoreasa de sutiene ce isi pune toate sperantele de viitor in seducerea lui heinz, un electrician vulgar si grosolan.
O cunoastem apoi pe paula, care are 15 ani, locuieste la tara si are de ales sa se casatoreasca, sa devina casnica sau vanzatoare. Ea insa este ambitioasa si vrea sa devina intai croitoreasa.
Intorcandu-ne la brigitte, devenim martori la stradaniile acesteia de a ramane insarcinata cu heinz, desi parintii acestuia nu o plac si i-ar dori o partida mai buna. In schimb paula invata croitorie degeaba, pentru ca se indragosteste de erich, un lemnar frumos dar alcoolic si care n-are nimic in cap si in inima.
Intre timp brigitte se chinuie sa ramana insarcinata si pana la urma reuseste, punand astfel mana pe heinz. La randul ei, paula ramane din prima insarcinata si ajunge de rasul satului, pentru ca erich nu vrea s-o ia de nevasta.
La ce sa ne asteptam asadar? Doua neveste fericite sau doua amante insarcinate si parasite? Ramane sa aflati citind romanul.
Cateva lucruri interesante/utile ( Doamne fereste!) de retinut:
-despre femei: "adesea gura lumii face glumele ei hazlii despre persoane ca paula. aceste glume spun in concluzie ca pe cat de proaste femeile, pe atat sunt de dragute totusi."
-despre barbati: "in alte variante glumele mai spun si ca, pe cat de brutali, prefacuti si de vicleni sunt barbatii, pe atat sunt de draguti totusi."
-ce crede femeia despre nastere/copil: "facutul in sine nu-i prea placut, purtatul pana la termen si mai putin, sa-l nasti nu-i nici pe departe o gluma, sa-l ai te scoate din pepeni." ; "am realizat deja ceva, asta sa-mi fie imbold sa realizez pe mai departe ceva."
-ce crede barbatul despre nastere/copil: "in afara de nevasta, mai am acum inca o creatura pe care o pot cafti si la care pot urla."
- copilul: "persoana principala insa, copilasul, e-nfasata si caftita pana ajunge sa umble si sa mearga pe trotineta; apoi e palmuit si incarcat cu plase de cumparaturi."
- femeia despre a face dragoste: "brigitte nu simte nimic, decat un razuit ciudat, neplacut intr-insa. brigitte simte dragostea intr-insa."
-barbatul despre a face dragoste: "heinz geme si el, ca brigitte sa vada cum se straduieste pentru ea si cat este de puternic. heinz geme de forta, nu de dragoste."
- cum sa pastrezi barbatul langa tine ( sfat de la mama): "brigitte trebuie sa-i lase lui heinz lesa lunga, dar sa nu-i dea drumul, sa nici nu-l incuie acum, sa-l incuie abia mai tarziu, dar sa-l tina totusi strans, sa-l lege de ea cu mii de maruntisuri, cum ar fi un bebe micut. dar si cu aptitudini si talente manuale speciale: de ex. spalatul rufelor."
P.s. Nu sunt de acord cu primul citat. As vrea sa precizez ca eu sunt pro piggy, de orice natura, mai ales de Guineea.
"daca are cineva un destin, este vorba de un barbat. daca i se face cuiva un destin, este vorba de o femeie."
Si iata cum s-au creat doua tabere! Femei versus barbati, sexul slab versus sexul puternic, wonderwoman versus lumberjack, independent girl versus boy toy...
O carte cu un subiect sensibil si trist, insa recenzia mea nu va fi deloc asa, pentru ca aceste doua tabere pe mine ma amuza.
Autoarea este laureata Premiului Nobel pentru Literatura si in prezenta carte abordeaza subiecte precum casatoria, nasterea, libertatea, meseria, gospodaria, conditia femeii si a barbatului in societatea moderna.
Stilul este original, asa cum se vede din primele citate, propozitiile incep cu litera mica, numele proprii de asemenea iar dialogurile nu exista in carte, fiindu-ne prezentate gandurile si sentimentele personajelor intr-un mod direct, dur si foarte onest.
Realitatile spuse sunt brutale si crude reflectand triste adevaruri din societatea noastra, cum ar fi conditia oamenilor de la tara, sansa oamenilor la educatie, rolul femeii ca mama, alcoolismul cronic la barbati, bataile incasate de femei, etc.
Se pune accent mai ales pe faptul ca barbatul a ajuns sa fie prea rasfatat si servit in societatea noastra de catre femeile disperate. De asemenea am observat ca femeile se saboteaza intre ele, mai ales cele batrane pe cele tinere, in loc sa se ajute sau sa dea un exemplu pozitiv. Practic daca bunica a esuat trebuie sa esueze si mama si fiica si nepotica.
In ceea ce priveste subiectul romanului, o cunoastem pe brigitte, o croitoreasa de sutiene ce isi pune toate sperantele de viitor in seducerea lui heinz, un electrician vulgar si grosolan.
O cunoastem apoi pe paula, care are 15 ani, locuieste la tara si are de ales sa se casatoreasca, sa devina casnica sau vanzatoare. Ea insa este ambitioasa si vrea sa devina intai croitoreasa.
Intorcandu-ne la brigitte, devenim martori la stradaniile acesteia de a ramane insarcinata cu heinz, desi parintii acestuia nu o plac si i-ar dori o partida mai buna. In schimb paula invata croitorie degeaba, pentru ca se indragosteste de erich, un lemnar frumos dar alcoolic si care n-are nimic in cap si in inima.
Intre timp brigitte se chinuie sa ramana insarcinata si pana la urma reuseste, punand astfel mana pe heinz. La randul ei, paula ramane din prima insarcinata si ajunge de rasul satului, pentru ca erich nu vrea s-o ia de nevasta.
La ce sa ne asteptam asadar? Doua neveste fericite sau doua amante insarcinate si parasite? Ramane sa aflati citind romanul.
Cateva lucruri interesante/utile ( Doamne fereste!) de retinut:
-despre femei: "adesea gura lumii face glumele ei hazlii despre persoane ca paula. aceste glume spun in concluzie ca pe cat de proaste femeile, pe atat sunt de dragute totusi."
-despre barbati: "in alte variante glumele mai spun si ca, pe cat de brutali, prefacuti si de vicleni sunt barbatii, pe atat sunt de draguti totusi."
-ce crede femeia despre nastere/copil: "facutul in sine nu-i prea placut, purtatul pana la termen si mai putin, sa-l nasti nu-i nici pe departe o gluma, sa-l ai te scoate din pepeni." ; "am realizat deja ceva, asta sa-mi fie imbold sa realizez pe mai departe ceva."
-ce crede barbatul despre nastere/copil: "in afara de nevasta, mai am acum inca o creatura pe care o pot cafti si la care pot urla."
- copilul: "persoana principala insa, copilasul, e-nfasata si caftita pana ajunge sa umble si sa mearga pe trotineta; apoi e palmuit si incarcat cu plase de cumparaturi."
- femeia despre a face dragoste: "brigitte nu simte nimic, decat un razuit ciudat, neplacut intr-insa. brigitte simte dragostea intr-insa."
-barbatul despre a face dragoste: "heinz geme si el, ca brigitte sa vada cum se straduieste pentru ea si cat este de puternic. heinz geme de forta, nu de dragoste."
- cum sa pastrezi barbatul langa tine ( sfat de la mama): "brigitte trebuie sa-i lase lui heinz lesa lunga, dar sa nu-i dea drumul, sa nici nu-l incuie acum, sa-l incuie abia mai tarziu, dar sa-l tina totusi strans, sa-l lege de ea cu mii de maruntisuri, cum ar fi un bebe micut. dar si cu aptitudini si talente manuale speciale: de ex. spalatul rufelor."
P.s. Nu sunt de acord cu primul citat. As vrea sa precizez ca eu sunt pro piggy, de orice natura, mai ales de Guineea.
May 9, 2013
????: ??? ?? ??????? ?? ??? ???? ???? ???.. ??? ?? ??????? ???? ??? ???? ????????? ??? ?? ???????..??? ????? ??!
??????? ??? ????? ?? ?????? ??? ?????? ??????? ??????? ??????? ????? ?????? ???? ?????? ??? ?????? ?????? ????? ????? ?? ????..
?????? ??????? ??????? ?? ??????? ?? ?????? ?????? ????????..
??????: ????? ??????? ?????? ????? ????? ????? "???" ???????? "????" ??? ???? ??????? ??? ???? ???? ???? ??? ????? ???????? ??? ???? ????? ??????? "????" ???? ???? ?? ???? ??????.
???? ??? ???????? ?? ??? ??? ???.. ?????? ???? ?? ??? ??? ???
??????? ?? ?? ????? ?? ??? ????? ????? ????? ?? ???? ??????? ???? ??? ???? ???? ???? ????? ???? ??? ???? ???? ??? ???? ?? ???? ???? ????? ???? ??? ????? ???? ????? ??? ????? ?????? ??? ?????? ????? ?????.
??? ???? ????? ?????? ?? ???? ?????.. ??? ?? ????? ???? ??? ?????? ???? ?????? ???? ???? ????? ?????? ???? ??? ????? ???? ??? ?? ????? ????? ??? ??????? ??? ????? ???? ??? ?? ????? ???? ???.. ????? ??????? ??? ???? ??????
??? ??????? ??? ????
??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ?????? ??? ??? ??? ??? ??? ??? ??? ??? ??? ???
??????? ??? ????? ?? ?????? ??? ?????? ??????? ??????? ??????? ????? ?????? ???? ?????? ??? ?????? ?????? ????? ????? ?? ????..
?????? ??????? ??????? ?? ??????? ?? ?????? ?????? ????????..
??????: ????? ??????? ?????? ????? ????? ????? "???" ???????? "????" ??? ???? ??????? ??? ???? ???? ???? ??? ????? ???????? ??? ???? ????? ??????? "????" ???? ???? ?? ???? ??????.
???? ??? ???????? ?? ??? ??? ???.. ?????? ???? ?? ??? ??? ???
??????? ?? ?? ????? ?? ??? ????? ????? ????? ?? ???? ??????? ???? ??? ???? ???? ???? ????? ???? ??? ???? ???? ??? ???? ?? ???? ???? ????? ???? ??? ????? ???? ????? ??? ????? ?????? ??? ?????? ????? ?????.
??? ???? ????? ?????? ?? ???? ?????.. ??? ?? ????? ???? ??? ?????? ???? ?????? ???? ???? ????? ?????? ???? ??? ????? ???? ??? ?? ????? ????? ??? ??????? ??? ????? ???? ??? ?? ????? ???? ???.. ????? ??????? ??? ???? ??????
??? ??????? ??? ????
??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ?????? ??? ??? ??? ??? ??? ??? ??? ??? ??? ???
August 30, 2021
A?k roman? de?il, ismi yan?ltmas?n. Hatta a?k roman?n?n tam kar??s?nda bir roman. Zor bir okuma. Hissettirdikleri nedeni ile…Al??t???m?z türde bir anlat?m? da yok. K?sa cümleler ile ilerleyen hayatlar var.
Anlat?c?n?n okuyucuyu afallatmak i?in ironiye ba?vurarak sürekli sistem a?z? ile konu?mas? nedeniyle hi?bir karakter ile empati kuram?yor aksine yabanc?la??yorsunuz ki ?ns?zden al?nt?yla belirtmeliyim yazar?n hedefi de bu imi?. Belirmekte fayda var; ?evirmenin ?ns?zü ?ok doyurucu ve bu kitab? okumaya haz?rlay?c?…Kullan?lan tekniklerin ?z/bi?em uyumuna nas?l hizmet etti?i ?ok detayl? a??klanm??.
Roman?n bence en etkileyici k?sm? e?itimsiz kad?nlar aras?ndaki korkutucu dü?manl?k seviyesi…
Kitapta etkilendi?im —-spoiler?ms?—-baz? tespitleri not dü?mek istedim;
-Hem erkeklere hem kad?nlara, ama ?zellikle de kad?nlara aileleri taraf?ndan ??G?C? olarak bak?lmas? meselesi,
-Erke ba?l? kad?n mevcudiyetinin ko?ulsuz kan?ksanm??l??? ile ba?ka türlü bir mevcudiyetin hayal dahi edilemiyor olmas?,
-Kad?n?n akl?ndaki tek ?eyin “?ok fazla rakibinin oldu?u tehdidi kar??s?nda, erke?ini elinde tutmas? gereklili?i ile, erkekten gelen taleplerin tamam?na sorgulamadan evet demesi gerekti?i” olmas??,
-Paula’n?n kad?nlar?n hep yapt???n? yapan bir ba?ka kad?n (Erich’e yemek veren ve heykel gibi hizmet eden kad?n,sadece bu kadar) olmas? nedeni ile Erich’in Paula ile ilgili hi?bir an?s?n?n olmamas?,
-Brigitte’nin di?er kad?nlar ile sürekli rekabet halinde olmas? ve bir erke?e yamanma kayg?s? nedeniyle bir halat gibi k?vr?lm??, s?k?lm?? ve bu nedenle do?ada var olan ?rne?in bir ay?i?e?inin güzelli?ini dahi g?remeyecek kadar do?al güzelliklere kar?? k?rle?mi? olmas?n?n kar??s?nda, sevgi g?ren/g?sterilen bir ortamda ya?ayan Susi’nin Brigitte’nin tam tersi yakla??mda bir karakter olmas?…
M. Haneke’nin, Jelinek’in “Piyanist” kitab?ndan uyarlayarak ?ekti?i “La Pianiste” filmini y?llar ?nce izlemi? ve ?ok be?enmi?tim. Jelinek’in di?er kitaplar?n? da olduk?a merak ettim.
Anlat?c?n?n okuyucuyu afallatmak i?in ironiye ba?vurarak sürekli sistem a?z? ile konu?mas? nedeniyle hi?bir karakter ile empati kuram?yor aksine yabanc?la??yorsunuz ki ?ns?zden al?nt?yla belirtmeliyim yazar?n hedefi de bu imi?. Belirmekte fayda var; ?evirmenin ?ns?zü ?ok doyurucu ve bu kitab? okumaya haz?rlay?c?…Kullan?lan tekniklerin ?z/bi?em uyumuna nas?l hizmet etti?i ?ok detayl? a??klanm??.
Roman?n bence en etkileyici k?sm? e?itimsiz kad?nlar aras?ndaki korkutucu dü?manl?k seviyesi…
Kitapta etkilendi?im —-spoiler?ms?—-baz? tespitleri not dü?mek istedim;
-Hem erkeklere hem kad?nlara, ama ?zellikle de kad?nlara aileleri taraf?ndan ??G?C? olarak bak?lmas? meselesi,
-Erke ba?l? kad?n mevcudiyetinin ko?ulsuz kan?ksanm??l??? ile ba?ka türlü bir mevcudiyetin hayal dahi edilemiyor olmas?,
-Kad?n?n akl?ndaki tek ?eyin “?ok fazla rakibinin oldu?u tehdidi kar??s?nda, erke?ini elinde tutmas? gereklili?i ile, erkekten gelen taleplerin tamam?na sorgulamadan evet demesi gerekti?i” olmas??,
-Paula’n?n kad?nlar?n hep yapt???n? yapan bir ba?ka kad?n (Erich’e yemek veren ve heykel gibi hizmet eden kad?n,sadece bu kadar) olmas? nedeni ile Erich’in Paula ile ilgili hi?bir an?s?n?n olmamas?,
-Brigitte’nin di?er kad?nlar ile sürekli rekabet halinde olmas? ve bir erke?e yamanma kayg?s? nedeniyle bir halat gibi k?vr?lm??, s?k?lm?? ve bu nedenle do?ada var olan ?rne?in bir ay?i?e?inin güzelli?ini dahi g?remeyecek kadar do?al güzelliklere kar?? k?rle?mi? olmas?n?n kar??s?nda, sevgi g?ren/g?sterilen bir ortamda ya?ayan Susi’nin Brigitte’nin tam tersi yakla??mda bir karakter olmas?…
M. Haneke’nin, Jelinek’in “Piyanist” kitab?ndan uyarlayarak ?ekti?i “La Pianiste” filmini y?llar ?nce izlemi? ve ?ok be?enmi?tim. Jelinek’in di?er kitaplar?n? da olduk?a merak ettim.
June 4, 2015
In the novel, Jelinek – an Austrian novelist who won the Nobel Prize for Literature in 2004 (a seemingly controversial choice) – employs an ‘interesting’ style. She avoids capitalisation entirely (including proper nouns). Each sentence is given a paragraph break, regardless of length. Sentences are, for the most part, short.
Complementing (compounding?) the experimental nature of the novel is the fact that the courses of the lives of two women are told against each other. One chapter we are with Bbrigette who hates Hheinz but loves the idea of marrying him because he represents her best chance at material wealth and ‘the good life’; and the next chapter we are with Ppaula, who follows her heart and dreams rather than conforming to society’s conception of that very same ‘good life’.
As an exercise in creatively eviscerating the place of ‘woman’ in society through a Marxist/ feminist lens, it is a great success. Class and gender are effectively explored and critiqued through the narrative. As an exercise of skilful writing and storytelling, I’m less convinced. While I’d not go so far as denounce Jelinek as a fraud or of completely lacking in talent, I didn’t enjoy the act of reading as I usually do. It felt like a chore, and that’s rarely a recommendation.
Complementing (compounding?) the experimental nature of the novel is the fact that the courses of the lives of two women are told against each other. One chapter we are with Bbrigette who hates Hheinz but loves the idea of marrying him because he represents her best chance at material wealth and ‘the good life’; and the next chapter we are with Ppaula, who follows her heart and dreams rather than conforming to society’s conception of that very same ‘good life’.
As an exercise in creatively eviscerating the place of ‘woman’ in society through a Marxist/ feminist lens, it is a great success. Class and gender are effectively explored and critiqued through the narrative. As an exercise of skilful writing and storytelling, I’m less convinced. While I’d not go so far as denounce Jelinek as a fraud or of completely lacking in talent, I didn’t enjoy the act of reading as I usually do. It felt like a chore, and that’s rarely a recommendation.
December 10, 2021
?ünkü mutluluk bir raslant?d?r. yasalar?n veya mant?ksal davran??lar?n bir s?ralamas? de?ildir mutluluk.
K?sa ve kesik cümlelerle kurulmu? yaz?m tarz? kimi yerlerde terkedilse daha iyi olabilirdi. Paula ve Brigitte'nin hayatlar?n?n farkl? y?nlere kaymas?n?n alt? daha ?ok doldurulsayd? ke?ke. Yine de yaz?ld??? d?nem ve ele?tirdi?i kurumlar/gelenekler dü?ünüldü?ünde de?erli bir kitap. Yazar?n di?er eserlerini de okuma iste?i uyand?rd?.
K?sa ve kesik cümlelerle kurulmu? yaz?m tarz? kimi yerlerde terkedilse daha iyi olabilirdi. Paula ve Brigitte'nin hayatlar?n?n farkl? y?nlere kaymas?n?n alt? daha ?ok doldurulsayd? ke?ke. Yine de yaz?ld??? d?nem ve ele?tirdi?i kurumlar/gelenekler dü?ünüldü?ünde de?erli bir kitap. Yazar?n di?er eserlerini de okuma iste?i uyand?rd?.
December 12, 2022
Jelinek explores the way that class and patriarchy affect social relations and individuals' psyches in her narratives, but she also embraces a radical prose style that incisively cuts through platitudes and social mores to expose the raw domination underlying social identities. I imagine this is where many readers may run into problems with her. She frequently uses repetition and a starkly sardonic tone. Her MO all but rules out sustained instances of expressive or descriptive language; her style reads as very episodic. And of course there are the myriad episodes of violence, particularly of a sexual nature.
Nonetheless, I was very impressed with her writing. I wouldn't necessarily call it fun to read, but I have found her novels to be very rewarding, particularly Women As Lovers. The name of the novel calls to mind D.H. Lawrence, and a lot about this story reminds me of a turn-of-the-century British novel in its exploration of social and sexual themes. The opening sentences describe a factory in an Austrian village in terms that pare its existence down to the relation between it and the people that labor in it. Though this immediately strikes one as a very Marxist literary device, Jelinek doesn't use didactic Marxist jargon, so the book achieves a sort of na?ve narrative voice, almost reminiscent of a dark fairy tale.
There are two main protagonists, both women. One, Brigitte, moves ruthlessly through life, with no concern for her own dignity and holding no illusions about love, interested only in financial security. She sees her own sexuality only as a means of achieving this and pursues a socially mobile, boorish middle-class lout. The other woman, Paula has no sense for securing her material well being, and falls in love with a man with few prospects and little regard for her. The story proceeds much as you can guess it will, without much suspense, but the narrator's commentary keeps you involved in the unfolding events.
In telling this kind of story, it seems like there is a fine line between, on the one hand, being reductive and confirming that reality conforms to the broad demands of theory, or on the other hand, telling one of those dramatic tales that seems to touch reality at no point, and ultimately seems to have little relevance to life as we live it. I think Women manages to evade this particular bind because despite the inevitability of its outcome, and equally, because of it, there is a sense of tragedy accompanied by sharp and insightful commentary that prevents the story from seeming to become merely socialist/feminist propaganda.
I would encourage interested readers to give this novel a try because Jelinek has a really unique style and a definite gift for unusual and provocative descriptions. In fact, pretty much everything about her writing is provocative and rewarding. I was also impressed to learn that Jelinek has written a German translation of Gravity's Rainbow, which is no small feat, and the libretto for an opera based on Lynch's Lost Highway.
Nonetheless, I was very impressed with her writing. I wouldn't necessarily call it fun to read, but I have found her novels to be very rewarding, particularly Women As Lovers. The name of the novel calls to mind D.H. Lawrence, and a lot about this story reminds me of a turn-of-the-century British novel in its exploration of social and sexual themes. The opening sentences describe a factory in an Austrian village in terms that pare its existence down to the relation between it and the people that labor in it. Though this immediately strikes one as a very Marxist literary device, Jelinek doesn't use didactic Marxist jargon, so the book achieves a sort of na?ve narrative voice, almost reminiscent of a dark fairy tale.
There are two main protagonists, both women. One, Brigitte, moves ruthlessly through life, with no concern for her own dignity and holding no illusions about love, interested only in financial security. She sees her own sexuality only as a means of achieving this and pursues a socially mobile, boorish middle-class lout. The other woman, Paula has no sense for securing her material well being, and falls in love with a man with few prospects and little regard for her. The story proceeds much as you can guess it will, without much suspense, but the narrator's commentary keeps you involved in the unfolding events.
In telling this kind of story, it seems like there is a fine line between, on the one hand, being reductive and confirming that reality conforms to the broad demands of theory, or on the other hand, telling one of those dramatic tales that seems to touch reality at no point, and ultimately seems to have little relevance to life as we live it. I think Women manages to evade this particular bind because despite the inevitability of its outcome, and equally, because of it, there is a sense of tragedy accompanied by sharp and insightful commentary that prevents the story from seeming to become merely socialist/feminist propaganda.
I would encourage interested readers to give this novel a try because Jelinek has a really unique style and a definite gift for unusual and provocative descriptions. In fact, pretty much everything about her writing is provocative and rewarding. I was also impressed to learn that Jelinek has written a German translation of Gravity's Rainbow, which is no small feat, and the libretto for an opera based on Lynch's Lost Highway.
April 30, 2021
Zihnen ve ruhen yo?un oldu?um bir d?neme denk geldi?i i?in olduk?a zorlanarak okudu?um bir kitap oldu. Ama san?lmas?n ki kitap ak?c? de?il. Anlat?m? ve dili itibariyle olduk?a ak?c? bir eser A??k Kad?nlar. Bu tamamen benimle alakal? bir durum.
Jelinek, 2004 y?l?nda Nobel Edebiyat ?dülünü almas?na ra?men t?rene gidememi?. Sebebi ise kalabal?k korkusu ve sosyal fobi. Buna ra?men, Jelinek'in dili bunlar?n ?ok ?tesine ge?mi?. Kendine has bir anlat?m ve dil kullan?m?na sahip. San?rs?n?z yazar?n bu tarz fobileri yok. O derece cesur o derece giri?ken. A??k. ?ddial?. Konuya, karakterlere, olaylara ait, onlardan beslenen bir anlat?m bu. Dev?irme de?il. Kendi durumundan olgusundan beslenen bir dil.
Jelinek iki kad?n i??iyi anlat?m?n oda??na oturtuyor. Ve onlar? resmediyor. Aile, a?k, mutluluk üzerine kad?n-erkek ili?kileri ?evresinde ?rülen bir hapishane.
An?l Alacao?lu'nun mükemmel ?evirisi ve ayd?nlat?c? ?ns?zü ile.
Kitaplarla kal?n!
Jelinek, 2004 y?l?nda Nobel Edebiyat ?dülünü almas?na ra?men t?rene gidememi?. Sebebi ise kalabal?k korkusu ve sosyal fobi. Buna ra?men, Jelinek'in dili bunlar?n ?ok ?tesine ge?mi?. Kendine has bir anlat?m ve dil kullan?m?na sahip. San?rs?n?z yazar?n bu tarz fobileri yok. O derece cesur o derece giri?ken. A??k. ?ddial?. Konuya, karakterlere, olaylara ait, onlardan beslenen bir anlat?m bu. Dev?irme de?il. Kendi durumundan olgusundan beslenen bir dil.
Jelinek iki kad?n i??iyi anlat?m?n oda??na oturtuyor. Ve onlar? resmediyor. Aile, a?k, mutluluk üzerine kad?n-erkek ili?kileri ?evresinde ?rülen bir hapishane.
An?l Alacao?lu'nun mükemmel ?evirisi ve ayd?nlat?c? ?ns?zü ile.
Kitaplarla kal?n!
December 20, 2013
Though compared to Thomas Bernhard I must insist that Elfriede Jelinek is nowhere close to the stature and level of his writing. She is very good and cynical, true, and she writes honestly, but at least in Women as Lovers she has not reached his level of the sentence and rhetoric given within her own misanthropy. I am not sure she has any reverence at all for a human, being they male or female. Her picture of life as an Austrian bodes ill for any it seems. But I will continue to read her work and see if my opinion might alter. I found her work to be engaging and oftentimes quite funny. She has great one-liners but there is something missing in her prose and I am not sure at this time what exactly that is. Perhaps after more time has elapsed I will get a better handle on this artist, but for now, I will leave it that she is simply only better than most.
November 12, 2019
brigitte faz suti?s e quer casar com heinz.
paula quer ser costureira e casar com erich.
casam as duas. n?o uma com a outra.
teresa ficou com um nó na cabe?a. n?o se sabe se a causa é as minúsculas ou se é os casamentos.
_____________
Prémio Nobel da Literatura 2004
Elfriede Jelinek nasceu na ?ustria em 20 de outubro de 1946.
paula quer ser costureira e casar com erich.
casam as duas. n?o uma com a outra.
teresa ficou com um nó na cabe?a. n?o se sabe se a causa é as minúsculas ou se é os casamentos.
_____________
Prémio Nobel da Literatura 2004
Elfriede Jelinek nasceu na ?ustria em 20 de outubro de 1946.
January 31, 2025
?yi hissettirmeyen, ger?ekleri insan?n yüzüne ?arpan zalim okumalardan biri daha…
May 9, 2013
?.????? ???? ????? ????? ... ??? ????? ??? ?????? ???? ? ???? ???? ?? ?????? ?? ???? ???????? ??????? ?? ????? ?????????.
??? ??? ?? ????? ??? ??????? ??? ?????? ??? ???? ?? ???? ????? ... ? ???? ???? ?? ????? ????? ??????? ???? ?? ???? ? ????? ????? ?????? ???? ????.
???? ??? ???? ???? ?? ??? ?.????? ???? ? ???? ???? ??? ????? ????????
??? ??? ?? ????? ??? ??????? ??? ?????? ??? ???? ?? ???? ????? ... ? ???? ???? ?? ????? ????? ??????? ???? ?? ???? ? ????? ????? ?????? ???? ????.
???? ??? ???? ???? ?? ??? ?.????? ???? ? ???? ???? ??? ????? ????????
January 31, 2024
3,5/4.
May 15, 2021
11.05 - 12.05.2021
"?yle güzeldir ki insan dünyaya güzel bir ?eyler ya?amaya geldi?ini san?r. oysa insan dünyaya güzel olmayan ?eyler ya?amaya gelir: ad?na ev i?i denen, yanl??l?kla bir kez el at?ld? m? insana yap???p kalan yanl?? bir hayat sürmeye."
2004 Nobel Edebiyat ?dülü sahibi Elfriede Jelinek'in birbirine paralel ilerleyen iki kad?n?n hikayesini ?airine bir üslupla anlatan kitab?yla selam.
Ba?tan itiraf ediyorum, bay?ld?m. ?eviriden, ?evirmenin ?n s?zünden itibaren kitaba adeta bal?klama atlay?? yap?yorsunuz. ?lk sayfadan sizi iki kad?n?n dünyas?na al?yor sat?rlar. Anlat?m o kadar gü?lü ve net ki okumuyor adeta ya??yorsunuz.
Okurken en en en ?ok hay?fland???m bahsedilen bir ?ok ?ey yüz y?llard?r ufak de?i?im ve d?nü?ümlerle kad?nlar?n ve kad?nl???n dünyas?nda var olmaya devam ediyor.
Dünyadaki en zor ?ey kad?n olmakt?r, bence. Bu dünyan?n neresinde olursa olsun.
Mutlaka okuyun diyorum.
Keyifli okumalar.
#readingismycardio #aslihanneokudu #okudumbitti #2021okumalar?m #okuryorumu #kitaptavsiyesi #neokudum #ithakiyay?nlar? #ithakidünya #dünyaedebiyat? #?evirikitaplar #nobellikitaplar #nobel?düllüyazarlar #ithakimodern #elfriedejelinek #a??kkad?nlar #an?lalacao?lu
"?yle güzeldir ki insan dünyaya güzel bir ?eyler ya?amaya geldi?ini san?r. oysa insan dünyaya güzel olmayan ?eyler ya?amaya gelir: ad?na ev i?i denen, yanl??l?kla bir kez el at?ld? m? insana yap???p kalan yanl?? bir hayat sürmeye."
2004 Nobel Edebiyat ?dülü sahibi Elfriede Jelinek'in birbirine paralel ilerleyen iki kad?n?n hikayesini ?airine bir üslupla anlatan kitab?yla selam.
Ba?tan itiraf ediyorum, bay?ld?m. ?eviriden, ?evirmenin ?n s?zünden itibaren kitaba adeta bal?klama atlay?? yap?yorsunuz. ?lk sayfadan sizi iki kad?n?n dünyas?na al?yor sat?rlar. Anlat?m o kadar gü?lü ve net ki okumuyor adeta ya??yorsunuz.
Okurken en en en ?ok hay?fland???m bahsedilen bir ?ok ?ey yüz y?llard?r ufak de?i?im ve d?nü?ümlerle kad?nlar?n ve kad?nl???n dünyas?nda var olmaya devam ediyor.
Dünyadaki en zor ?ey kad?n olmakt?r, bence. Bu dünyan?n neresinde olursa olsun.
Mutlaka okuyun diyorum.
Keyifli okumalar.
#readingismycardio #aslihanneokudu #okudumbitti #2021okumalar?m #okuryorumu #kitaptavsiyesi #neokudum #ithakiyay?nlar? #ithakidünya #dünyaedebiyat? #?evirikitaplar #nobellikitaplar #nobel?düllüyazarlar #ithakimodern #elfriedejelinek #a??kkad?nlar #an?lalacao?lu
August 7, 2008
Reading Jelinek is intoxicatingly corrosive, like drinking the bleach and discovering that it tastes like your favorite microbrew. I wasn't able to make it through The Piano Teacher or Wonderful, Wonderful Times. It turns out that this was the book for me. Whereas the previous two were like dense slabs of wasp-studded fruitcake, this was more like a sprightly chiffon cake laced with strychnine. I have a soft spot for books that are deeply sad, yet manage to be funny in a horrible, inappropriate way (think babies as maggots!).
In an attempt to give this review some constructive value, I'll note that the book--a withering, feminist treatment of marriage and baby-making--was originally published in 1975. It may or may not read as dated. Really, are things so different now? In a lot of ways, yes, they are. But that also depends on where and how you grew up. Also, independent of the feminist angle, Women as Lovers is a scathing indictment of class injustice and constricting, soul-destroying social paradigms.
It was good times.
In an attempt to give this review some constructive value, I'll note that the book--a withering, feminist treatment of marriage and baby-making--was originally published in 1975. It may or may not read as dated. Really, are things so different now? In a lot of ways, yes, they are. But that also depends on where and how you grew up. Also, independent of the feminist angle, Women as Lovers is a scathing indictment of class injustice and constricting, soul-destroying social paradigms.
It was good times.
Read
January 14, 2024Я не можу оц?нювати цю книжку, бо з л?тературно? точки зору вона крута, ? про страшн? реч?, як? треба робити видимими, доки вони не зникнуть, але ииии читання була максимально непри?мним, хот?лось то вийти поблювати, то вийти у в?кно (серйозно, людям з високим р?внем емпат?? читати з обережн?стю).
Сюжет тут схематичний ? простий - ?стор?я двох д?вчат, як? хочуть "ж?ночго щастя" - знайти лббов та вийти зам?ж. Насправд? ж цей текст - дуже зла сатира на патр?архальний св?т, який п?дносить "справжн? кохання" та с?м'ю як центр життя ж?нки, неодм?нну ? ?дину можлив?сть щастя, ситуац?ю, в як?й ж?нка ма? сенс. Сусп?льство дуже по-фуканськи (тут прямо гарний приклад дискурсивно? влади) форму? уявлення про те, що бажане ? потр?бне (чолов?к, д?ти, охайний будиночок, в?дпустка в ?тал??, власна справа), як ма? виглядати ? в?дчуватися кохання, покроково пропису? усе життя в?д народження до смерт? (через шлюб, д?тонародження, хатню працю, а також домашн? насильство, ненависть ? заздр?сть до всього, що навколо, втому, безпросв?тн?сть, хвороби, алкоголь, зневагу). ? ?л?нек втира? читач_кам, як п?сок у оч?, контраст м?ж цими сформованими оч?куваннями ? уявленнями (як? для геро?нь ? абсолютно справжн?ми) та "реальними" (в лапках, власне, бо згадан? вище соц?альн? оч?кування та уявлення, як може ? ма? бути, ? не менш справжн?ми!) причинами, чому ц? д?вчата так прагнуть шлюбу ? що в?н для них означа? у св?т?, де для ж?нки у б?дност? буквально нема? ? не передбача?ться ?нших прийнятних вар?ант?в життя. Бо зам?жжя, д?ти - це спос?б гарантувати соб? м?н?мальну ф?нансову безпеку, досягнути дефолтного стану ж?ночност?, набути сенсу. Та й альтернативи - або бути ус?ма зневаженою беззахисною "шльондрою", або гарувати на низькооплачуван?й робот?, та ще й чути з ус?х бок?в, що ти зневажена невдаха.
?л?нек дуже майстерно показу?, що ц? патр?архальн? настанови про "ж?ноче щастя" водночас мають глибоке економ?чне ? соц?альне п?д?рунтя, ? насл?дком того, як влаштоване сусп?льство, ? не в?дчуваються як примус, як щось накинуте - вони наст?льки ?нтернал?зован?, що д?вчата букально не можуть ? не хочуть уявити ?ншого життя.
? це буквально найстрашн?ше - це в'язниця, з яко? не втечеш, а якщо хтось прийде ? зруйну? ст?ни, то д?стане оп?р ? прокляття в?д ув'язнених.
Зв?сно, ?сторично були ж?нки, що прагнули самост?йност? ? свободи, ? врешт? багато частин в'язниц? було зруйновано, принаймн?, у часиин? св?ту ? для останн?х покол?нь. Але (? це одна з причин, чому в?д книжки так хуйово, якщо не вистачало пост?йного опису насильства ус?х над ус?ма, огидних персонаж_ок ? огидного св?ту) арто вийти за пор?г, висунути носа з бульбашки, - ? ситуац??, описан? ?л?нек, можна побачитиу сус?дньому сел? чи м?ст?, у сус?дньому будинку.
Сюжет тут схематичний ? простий - ?стор?я двох д?вчат, як? хочуть "ж?ночго щастя" - знайти лббов та вийти зам?ж. Насправд? ж цей текст - дуже зла сатира на патр?архальний св?т, який п?дносить "справжн? кохання" та с?м'ю як центр життя ж?нки, неодм?нну ? ?дину можлив?сть щастя, ситуац?ю, в як?й ж?нка ма? сенс. Сусп?льство дуже по-фуканськи (тут прямо гарний приклад дискурсивно? влади) форму? уявлення про те, що бажане ? потр?бне (чолов?к, д?ти, охайний будиночок, в?дпустка в ?тал??, власна справа), як ма? виглядати ? в?дчуватися кохання, покроково пропису? усе життя в?д народження до смерт? (через шлюб, д?тонародження, хатню працю, а також домашн? насильство, ненависть ? заздр?сть до всього, що навколо, втому, безпросв?тн?сть, хвороби, алкоголь, зневагу). ? ?л?нек втира? читач_кам, як п?сок у оч?, контраст м?ж цими сформованими оч?куваннями ? уявленнями (як? для геро?нь ? абсолютно справжн?ми) та "реальними" (в лапках, власне, бо згадан? вище соц?альн? оч?кування та уявлення, як може ? ма? бути, ? не менш справжн?ми!) причинами, чому ц? д?вчата так прагнуть шлюбу ? що в?н для них означа? у св?т?, де для ж?нки у б?дност? буквально нема? ? не передбача?ться ?нших прийнятних вар?ант?в життя. Бо зам?жжя, д?ти - це спос?б гарантувати соб? м?н?мальну ф?нансову безпеку, досягнути дефолтного стану ж?ночност?, набути сенсу. Та й альтернативи - або бути ус?ма зневаженою беззахисною "шльондрою", або гарувати на низькооплачуван?й робот?, та ще й чути з ус?х бок?в, що ти зневажена невдаха.
?л?нек дуже майстерно показу?, що ц? патр?архальн? настанови про "ж?ноче щастя" водночас мають глибоке економ?чне ? соц?альне п?д?рунтя, ? насл?дком того, як влаштоване сусп?льство, ? не в?дчуваються як примус, як щось накинуте - вони наст?льки ?нтернал?зован?, що д?вчата букально не можуть ? не хочуть уявити ?ншого життя.
? це буквально найстрашн?ше - це в'язниця, з яко? не втечеш, а якщо хтось прийде ? зруйну? ст?ни, то д?стане оп?р ? прокляття в?д ув'язнених.
Зв?сно, ?сторично були ж?нки, що прагнули самост?йност? ? свободи, ? врешт? багато частин в'язниц? було зруйновано, принаймн?, у часиин? св?ту ? для останн?х покол?нь. Але (? це одна з причин, чому в?д книжки так хуйово, якщо не вистачало пост?йного опису насильства ус?х над ус?ма, огидних персонаж_ок ? огидного св?ту) арто вийти за пор?г, висунути носа з бульбашки, - ? ситуац??, описан? ?л?нек, можна побачитиу сус?дньому сел? чи м?ст?, у сус?дньому будинку.
June 18, 2020
V tejto knihe nie sú d?le?ití jednotlivci ani ich príbehy. Nie sú d?le?ité ich tú?by a predstavy o ?ivote a ni? nie je d?le?itej?ie ako ich tú?by a predstavy o ?ivote. V tejto knihe nie je d?le?it? nikto a ni?. V tejto knihe je d?le?ité v?etko.
Jana Cviková v doslove pí?e, ?e Jelinek neotravuje duchapotravn?mi posolstvami, ale kruto jasne pointuje. Je to presne tak. A je to vtipné, hoci je to smutné, a je to kruté a je to pravdivé. Aspekt má na Nobelistky nos a to je dobre. Preklad Jany B?ochovej-Wild je jednoducho v?born?.
“tak ve?mi ?a milujem, odpovedá brigitta. zajtra je u? budúcnos?, a tú nemám.
mňa rozhodne takisto nemá?, vraví heinz.
preto by som nechcel by? v tvojej ko?i.”
Jana Cviková v doslove pí?e, ?e Jelinek neotravuje duchapotravn?mi posolstvami, ale kruto jasne pointuje. Je to presne tak. A je to vtipné, hoci je to smutné, a je to kruté a je to pravdivé. Aspekt má na Nobelistky nos a to je dobre. Preklad Jany B?ochovej-Wild je jednoducho v?born?.
“tak ve?mi ?a milujem, odpovedá brigitta. zajtra je u? budúcnos?, a tú nemám.
mňa rozhodne takisto nemá?, vraví heinz.
preto by som nechcel by? v tvojej ko?i.”
March 14, 2021
Okuyucuya bilmedi?i s?ylemiyor ama ?yle bir anlat?m? var ki okurken bo?az?n?z dü?ümleniyor. Kad?nlar, hayatlar?, hayalleri, evlilik, hemcinsleri aras?ndaki rekabet ,a?k,cinsellik , aile, toplumsal dayatmalar ,?ocuk sahibi olmalar? hakk?nda tüm kli?eleri yerle bir ediyor.
Yorumu, tarifi zor bir okuma sunuyor yazar. Farkl? bir anlat?m isteyenlere tavsiye ediyorum. ?imdiden s?yleyeyim kitab? okurken hi? olmad??? kadar k?tü hissediyorsunuz ve bu his kal?c? olarak sizinle soluk al?p vermeye devam ettik?e kendini an?msat?yor.
Yorumu, tarifi zor bir okuma sunuyor yazar. Farkl? bir anlat?m isteyenlere tavsiye ediyorum. ?imdiden s?yleyeyim kitab? okurken hi? olmad??? kadar k?tü hissediyorsunuz ve bu his kal?c? olarak sizinle soluk al?p vermeye devam ettik?e kendini an?msat?yor.
April 20, 2020
Definitely not half as bad as I thought it would be. I heard her books tend to be quite brutal and sadistic but this wasn't really the case. Sure, it was more vulgar but nothing extreme.
If it hadn't been for the dragging of Brigitte's story especially, it could've been 4-stars.
If it hadn't been for the dragging of Brigitte's story especially, it could've been 4-stars.
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