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诏賮鬲鈥屬堏� 丿乇 讴丕鬲丿乇丕賱
乇賲丕賳 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱貙 丨讴丕蹖鬲蹖 亘賴 蹖丕丿賲丕賳丿賳蹖 丿乇亘丕乇賴贁 賯丿乇鬲貙 賮爻丕丿 賵 噩爻鬲 賵噩賵蹖蹖 倬蹖趩蹖丿賴 亘乇丕蹖 蹖丕賮鬲賳 賴賵蹖鬲 丕爻鬲. 丿丕爻鬲丕賳 讴鬲丕亘 丿乇 丿賴賴贁 郾酃鄣郯 賵 丿乇 禺賱丕賱 丨讴賵賲鬲 丿蹖讴鬲丕鬲賵乇蹖 賲丕賳賵卅賱 丌倬賵賱蹖賳丕乇蹖賵 丕賵丿乇蹖丕 丌賲賵乇鬲蹖 丿乇 倬乇賵 賲蹖鈥屭柏必�. 诏賮鬲诏賵蹖 匕讴乇 卮丿賴 丿乇 毓賳賵丕賳 讴鬲丕亘貙 亘蹖賳 丿賵 卮禺氐蹖鬲 亘丕 賳丕賲鈥屬囏й� 爻丕賳鬲蹖丕诏賵 賵 丌賲亘乇賵爻蹖丕 亘賵丿賴 賵 胤蹖 丌賳貙 賴乇 蹖讴 丕夭 夭賳丿诏蹖 爻禺鬲 賵 賲卮賯鬲 亘丕乇 禺賵丿 爻禺賳 賲蹖鈥屭堐屬嗀� 賵 鬲賳夭賱 賵 丕爻鬲蹖氐丕賱 賵丕乇丿 卮丿賴 亘乇 賲乇丿賲 卮賴乇卮丕賳 乇丕 亘賴 乇禺 蹖讴丿蹖诏乇 賲蹖鈥屭┴促嗀�. 賲丕乇蹖賵 亘丕乇诏丕爻 蹖賵爻丕 亘賴 賵丕爻胤賴贁 诏爻鬲乇賴鈥屸€屫й� 倬蹖趩蹖丿賴 丕夭 丕爻乇丕乇 賵 丕乇噩丕毓丕鬲 鬲丕乇蹖禺蹖貙 爻丕夭賵讴丕乇鈥屬囏й� 匕賴賳蹖 賵 丕禺賱丕賯蹖 丨丕讴賲 亘乇 丿爻鬲 丕賳丿乇讴丕乇丕賳 賯丿乇鬲 乇丕 賲賵乇丿 鬲噩夭蹖賴 賵 鬲丨賱蹖賱 賯乇丕乇 賲蹖鈥屫囏�. 乇賲丕賳 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱貙 讴賴 趩蹖夭蹖 亘爻蹖丕乇 亘蹖卮鬲乇 丕夭 鬲丨賱蹖賱蹖 鬲丕乇蹖禺蹖 噩賱賵賴 賲蹖鈥屭┵嗀� 乇賲丕賳蹖 倬蹖卮诏丕賲丕賳賴 丕爻鬲 讴賴 亘賴 賲賵囟賵毓丕鬲蹖 亘賳蹖丕丿蹖賳 賲蹖鈥屬矩必ж藏�: 賴賵蹖鬲 賵 賳賯卮 卮賴乇賵賳丿丕賳 鬲丨鬲 蹖讴 丨讴賵賲鬲 賵 丕蹖賳 讴賴 賮賯丿丕賳 丌夭丕丿蹖鈥屬囏й� 賲丿賳蹖 趩诏賵賳賴 亘乇 匕賴賳 賵 賮讴乇 蹖讴 賲賱鬲貙 夭禺賲蹖 噩丕賵丿丕賳賴 賲蹖鈥屫操嗀�.
704 pages, Hardcover
First published January 1, 1969
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About the author
Mario Vargas Llosa
557听books9,011听followersJorge Mario Pedro Vargas Llosa, 1st Marquess of Vargas Llosa, more commonly known as Mario Vargas Llosa, was a Peruvian novelist, journalist, essayist, and politician. Vargas Llosa was one of the Spanish language and Latin America's most significant novelists and essayists and one of the leading writers of his generation. Some critics consider him to have had a more substantial international impact and worldwide audience than any other writer of the Latin American Boom. In 2010, he won the Nobel Prize in Literature "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat".
Vargas Llosa rose to international fame in the 1960s with novels such as The Time of the Hero (La ciudad y los perros, 1963/1966), The Green House (La casa verde, 1965/1968), and the monumental Conversation in The Cathedral (Conversaci贸n en La Catedral, 1969/1975). He wrote prolifically across various literary genres, including literary criticism and journalism. His novels include comedies, murder mysteries, historical novels, and political thrillers. He won the 1967 R贸mulo Gallegos Prize and the 1986 Prince of Asturias Award. Several of his works have been adopted as feature films, such as Captain Pantoja and the Special Service (1973/1978) and Aunt Julia and the Scriptwriter (1977/1982). Vargas Llosa's perception of Peruvian society and his experiences as a native Peruvian influenced many of his works. Increasingly, he expanded his range and tackled themes from other parts of the world. In his essays, Vargas Llosa criticized nationalism in different parts of the world.
Like many Latin American writers, Vargas Llosa was politically active. While he initially supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa later became disenchanted with its policies, particularly after the imprisonment of Cuban poet Heberto Padilla in 1971, and later identified as a liberal and held anti-left-wing ideas. He ran for the presidency of Peru in 1990 with the center-right Frente Democr谩tico coalition, advocating for liberal reforms, but lost the election to Alberto Fujimori in a landslide.
Vargas Llosa continued his literary career while advocating for right-wing activists and candidates internationally following his exit from direct participation in Peruvian politics. He was awarded the 1994 Miguel de Cervantes Prize, the 1995 Jerusalem Prize, the 2010 Nobel Prize in Literature, the 2012 Carlos Fuentes International Prize, and the 2018 Pablo Neruda Order of Artistic and Cultural Merit. In 2011, Vargas Llosa was made the Marquess of Vargas Llosa by Spanish king Juan Carlos I. In 2021, he was elected to the Acad茅mie fran莽aise.
Vargas Llosa rose to international fame in the 1960s with novels such as The Time of the Hero (La ciudad y los perros, 1963/1966), The Green House (La casa verde, 1965/1968), and the monumental Conversation in The Cathedral (Conversaci贸n en La Catedral, 1969/1975). He wrote prolifically across various literary genres, including literary criticism and journalism. His novels include comedies, murder mysteries, historical novels, and political thrillers. He won the 1967 R贸mulo Gallegos Prize and the 1986 Prince of Asturias Award. Several of his works have been adopted as feature films, such as Captain Pantoja and the Special Service (1973/1978) and Aunt Julia and the Scriptwriter (1977/1982). Vargas Llosa's perception of Peruvian society and his experiences as a native Peruvian influenced many of his works. Increasingly, he expanded his range and tackled themes from other parts of the world. In his essays, Vargas Llosa criticized nationalism in different parts of the world.
Like many Latin American writers, Vargas Llosa was politically active. While he initially supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa later became disenchanted with its policies, particularly after the imprisonment of Cuban poet Heberto Padilla in 1971, and later identified as a liberal and held anti-left-wing ideas. He ran for the presidency of Peru in 1990 with the center-right Frente Democr谩tico coalition, advocating for liberal reforms, but lost the election to Alberto Fujimori in a landslide.
Vargas Llosa continued his literary career while advocating for right-wing activists and candidates internationally following his exit from direct participation in Peruvian politics. He was awarded the 1994 Miguel de Cervantes Prize, the 1995 Jerusalem Prize, the 2010 Nobel Prize in Literature, the 2012 Carlos Fuentes International Prize, and the 2018 Pablo Neruda Order of Artistic and Cultural Merit. In 2011, Vargas Llosa was made the Marquess of Vargas Llosa by Spanish king Juan Carlos I. In 2021, he was elected to the Acad茅mie fran莽aise.
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October 23, 2021
Bumbling Towards Hell
None of us is ever prepared for what is happening in our lives; nor are the choices presented to us - political, personal, spiritual - ones that we formulate. We move randomly, provoked by half-formed dreams and aspirations; but it simply isn鈥檛 possible to foresee the consequences of each move. So we react, with even less reason than immediate desire, to circumstances as they unfold. We call the result a life, or career, or accomplishment, but it is really only a series of unplanned revolutions in our experience, our preferences, our prejudices, our politics and the way in which we harm other people. Thus one of Vargas Llosa鈥檚 main characters can say. 鈥淧eople change here... never things.鈥�
The Peru of Vargas Llosa is perhaps exceptional in this regard. It is a place of ingrained racial tension - among the Spanish, the Mountain Indians, the Jungle Indians, the Blacks, the mixed race untouchables - which insures that no politics can be stable. Consequently everyone is 鈥�... in revolt against his skin, against his class, against himself, against Peru.鈥� It is a place of domination by the Catholic Church through which personal advancement is controlled. It is a place of profoundly respected, and expected, machismo in which women have no voice and are presumed to submit in everything from sex to financial dependence. It is not therefore a happy place in which to seek one鈥檚 future. Everyone is disappointed, especially those who achieve what they believed they wanted. And revolution is more or less a way of life - personally as well as politically.
The eponymous conversations take place in a bar, a working man's dive in Lima called the Cathedral. They tell the history of a group of boyhood friends and their families as well as that of Peru. This is a history of haplessness and failed dreams - about love, about vocation, about familial loyalty, about doing the right thing - largely because each dream interferes with the others. Love confronts loyalty and leads to a politics of hate; pursuing one鈥檚 calling demands giving up whatever doing the right thing means. Dreams become nothing more than a residue of regret and fragmented, sentimental memories. As one character describes another, 鈥淵ou seem to have stopped living when you were eighteen years old.鈥�
The literary technique of cutting abruptly from the personal conversation to the national history - and frequently inter-leaving up to four other conversations - can be disconcerting initially but as it becomes familiar it serves to amplify the ironies of the situation to the point of desperate sarcasm. The conflicts and incompatibilities of needs, wants, emotions become stark and obvious. As do the various forms of complicity in coercion and torture in contemporary Peruvian society.
Otherwise relatively innocuous people are drawn into a web of systematic oppression of their compatriots. The life-choice seems limited to being either oppressed or oppressor. A neutral position doesn鈥檛 exist. 鈥淒oubts were fatal,鈥� A young idealist says, 鈥�...they paralyze you and you can鈥檛 do anything, ...[S]pending your life digging around, would that be right? torturing yourself, would that be a lie? instead of acting?鈥� But acting, even with good intentions, means acting against others, 鈥淎nd in this country a person who doesn鈥檛 fuck himself up fucks up other people.鈥� Tyrants or reformers, it doesn鈥檛 matter; all act the same with power. Power isn鈥檛 simply correlated with evil; power is the evil which is everywhere and nowhere. It transforms those who merely seek it into carriers of a morbid infection.
Unsurprisingly nothing goes the way it should for anyone, neither for those in charge nor those oppressed by those in charge. No one is reliable, even oneself; everyone evolves into a parasite on their family, friends, associates, and their own past. A transcendent demonic presence seems to infect the entire country. Indeed, the people change but things never do. This is normality in Vargas Llosa鈥檚 Peru, a profoundly hopeless normality about which nothing can be done. Santiago, the protagonist, is obsessed by the mysterious force behind his and everyone else鈥檚 failure: 鈥淎ll the doors open, he thinks, at what moment and why did they begin to close?鈥�
Ambrosio, the black chauffeur of Santiago鈥檚 family, is a Horatio-like interlocutor in conversation with Santiago as Hamlet. They each reveal the facts that the other never knew about both their families鈥� roles in the country鈥檚 continuing misery. Santiago can only drop more deeply into despair and spiritual ennui; he is traumatized: 鈥淢y whole life spent doing things without believing, my whole life spent pretending....And my whole life spent wanting to believe in something, ... And my whole life a lie, I don鈥檛 believe in anything... APRA [the Leftist Party] is the solution, religion is the solution, Communism is the solution, and believing it. Then life would become organized all by itself and you wouldn鈥檛 feel empty anymore.鈥� Looking to fill a spiritual, social and political flaw with anything at hand seemed the only strategy.
Echoes of Trump鈥檚 America or Berlusconi鈥檚 Italy or Erdogan鈥檚 Turkey or Putin鈥檚 Russia? The political sensibilities of Vargas Llosa鈥檚 Peru seem to have become a worldwide phenomenon. Racism, unarticulated class warfare, the cooperation of religion in the service of power, seem to be the coming norms. It is difficult not to adopt Santiago鈥檚 mood of despair. Religious belief cannot create solidarity; neither can global consumerism. When did all the doors begin to close and why? Can they ever be opened again?
None of us is ever prepared for what is happening in our lives; nor are the choices presented to us - political, personal, spiritual - ones that we formulate. We move randomly, provoked by half-formed dreams and aspirations; but it simply isn鈥檛 possible to foresee the consequences of each move. So we react, with even less reason than immediate desire, to circumstances as they unfold. We call the result a life, or career, or accomplishment, but it is really only a series of unplanned revolutions in our experience, our preferences, our prejudices, our politics and the way in which we harm other people. Thus one of Vargas Llosa鈥檚 main characters can say. 鈥淧eople change here... never things.鈥�
The Peru of Vargas Llosa is perhaps exceptional in this regard. It is a place of ingrained racial tension - among the Spanish, the Mountain Indians, the Jungle Indians, the Blacks, the mixed race untouchables - which insures that no politics can be stable. Consequently everyone is 鈥�... in revolt against his skin, against his class, against himself, against Peru.鈥� It is a place of domination by the Catholic Church through which personal advancement is controlled. It is a place of profoundly respected, and expected, machismo in which women have no voice and are presumed to submit in everything from sex to financial dependence. It is not therefore a happy place in which to seek one鈥檚 future. Everyone is disappointed, especially those who achieve what they believed they wanted. And revolution is more or less a way of life - personally as well as politically.
The eponymous conversations take place in a bar, a working man's dive in Lima called the Cathedral. They tell the history of a group of boyhood friends and their families as well as that of Peru. This is a history of haplessness and failed dreams - about love, about vocation, about familial loyalty, about doing the right thing - largely because each dream interferes with the others. Love confronts loyalty and leads to a politics of hate; pursuing one鈥檚 calling demands giving up whatever doing the right thing means. Dreams become nothing more than a residue of regret and fragmented, sentimental memories. As one character describes another, 鈥淵ou seem to have stopped living when you were eighteen years old.鈥�
The literary technique of cutting abruptly from the personal conversation to the national history - and frequently inter-leaving up to four other conversations - can be disconcerting initially but as it becomes familiar it serves to amplify the ironies of the situation to the point of desperate sarcasm. The conflicts and incompatibilities of needs, wants, emotions become stark and obvious. As do the various forms of complicity in coercion and torture in contemporary Peruvian society.
Otherwise relatively innocuous people are drawn into a web of systematic oppression of their compatriots. The life-choice seems limited to being either oppressed or oppressor. A neutral position doesn鈥檛 exist. 鈥淒oubts were fatal,鈥� A young idealist says, 鈥�...they paralyze you and you can鈥檛 do anything, ...[S]pending your life digging around, would that be right? torturing yourself, would that be a lie? instead of acting?鈥� But acting, even with good intentions, means acting against others, 鈥淎nd in this country a person who doesn鈥檛 fuck himself up fucks up other people.鈥� Tyrants or reformers, it doesn鈥檛 matter; all act the same with power. Power isn鈥檛 simply correlated with evil; power is the evil which is everywhere and nowhere. It transforms those who merely seek it into carriers of a morbid infection.
Unsurprisingly nothing goes the way it should for anyone, neither for those in charge nor those oppressed by those in charge. No one is reliable, even oneself; everyone evolves into a parasite on their family, friends, associates, and their own past. A transcendent demonic presence seems to infect the entire country. Indeed, the people change but things never do. This is normality in Vargas Llosa鈥檚 Peru, a profoundly hopeless normality about which nothing can be done. Santiago, the protagonist, is obsessed by the mysterious force behind his and everyone else鈥檚 failure: 鈥淎ll the doors open, he thinks, at what moment and why did they begin to close?鈥�
Ambrosio, the black chauffeur of Santiago鈥檚 family, is a Horatio-like interlocutor in conversation with Santiago as Hamlet. They each reveal the facts that the other never knew about both their families鈥� roles in the country鈥檚 continuing misery. Santiago can only drop more deeply into despair and spiritual ennui; he is traumatized: 鈥淢y whole life spent doing things without believing, my whole life spent pretending....And my whole life spent wanting to believe in something, ... And my whole life a lie, I don鈥檛 believe in anything... APRA [the Leftist Party] is the solution, religion is the solution, Communism is the solution, and believing it. Then life would become organized all by itself and you wouldn鈥檛 feel empty anymore.鈥� Looking to fill a spiritual, social and political flaw with anything at hand seemed the only strategy.
Echoes of Trump鈥檚 America or Berlusconi鈥檚 Italy or Erdogan鈥檚 Turkey or Putin鈥檚 Russia? The political sensibilities of Vargas Llosa鈥檚 Peru seem to have become a worldwide phenomenon. Racism, unarticulated class warfare, the cooperation of religion in the service of power, seem to be the coming norms. It is difficult not to adopt Santiago鈥檚 mood of despair. Religious belief cannot create solidarity; neither can global consumerism. When did all the doors begin to close and why? Can they ever be opened again?
June 5, 2022
Conversation in the Cathedral is a novel of decline and fall 鈥� deterioration of family, disintegration of power, ultimate ruination of hopes and pursuits.
The novel reminded me of by .
The story begins with an accidental meeting鈥� Time spares no one鈥�
Recollections of the past鈥� Family secrets鈥� Dirty scheming鈥� Dishonesty鈥� Clandestine machinations鈥� Unrest and provocations鈥�
Those who persevere in staying on the dark side of history are doomed.
The novel reminded me of by .
The story begins with an accidental meeting鈥� Time spares no one鈥�
The voice, the body are his, but he looks thirty years older. The same thin lips, the same flat nose, the same kinky hair. But now, in addition, there are purple bags on his eyelids, wrinkles on his neck, a greenish-yellow crust on his horse teeth. He thinks: they used to be so white. What a change, what a ruin of a man. He鈥檚 thinner, dirtier, so much older, but that鈥檚 his big, slow walk, those are his spider legs. His big hands have a knotty bark on them now and there鈥檚 a rim of saliva around his mouth.
Recollections of the past鈥� Family secrets鈥� Dirty scheming鈥� Dishonesty鈥� Clandestine machinations鈥� Unrest and provocations鈥�
Amalia went to her room, took a quick shower, she hoped she wouldn鈥檛 ask her any questions, and when she went up to the bedroom with the breakfast, from the stairs she heard the ticking and the voice of the announcer on Clock Radio. The mistress was sitting up in bed smoking and didn鈥檛 answer her good morning. The government had had a lot of patience with the people who were sowing unrest and subversion in Arequipa, the radio was saying, workers should return to work, students to their studies, and she saw the eyes of the mistress which were looking at her as if they鈥檇 just discovered her: what about the newspapers, fool? Run out and get them. Yes, right now, she ran out of the room, happy, she hadn鈥檛 even noticed. She asked S铆mula for money and went to the newsstand on the corner. Something very serious must have happened, the mistress was so pale.
Those who persevere in staying on the dark side of history are doomed.
September 6, 2024
脦mi amintesc c膬 un iscusit practicant al lecturii rapide (speed reading) a citit 卯n dou膬 zile R膬zboi 葯i pace. C卯nd a fost 卯ntrebat despre ce este vorba 卯n roman, a r膬spuns foarte sigur pe el: 鈥濪espre Rusia鈥�...
De obicei, c卯nd ajungi la sf卯r葯itul unui roman ar trebui s膬-l po葲i rezuma 卯ntr-o fraz膬 (sau dou膬). S-a inventat mai de mult 葯i un concurs pornind de la romanul lui Proust. Ce prezint膬 autorul 卯n miile de pagini din 脦n c膬utarea timpului pierdut? R膬spunsurile au fost, bine卯n葲eles, foarte subtile 葯i cel mai ingenios a rezumat romanul cam a葯a: 鈥濵arcel devine scriitor鈥�. Deci, Proust descrie 卯n 7 volume modul 卯n care Marcel 卯nva葲膬 s膬 scrie.
Mult mai greu poate fi rezumat (doar 卯ntr-o propozi葲ie) romanul lui Mario Vargas Llosa. Exerci葲iul mi-a dat serioase b膬t膬i de cap. 脦n definitiv, ce g膬sim 卯n Conversa葲ie la Catedrala? Ce a vrut s膬 prezinte autorul? Greu de desc卯lcit ghemul epic. Nu trebuie s膬 neglij膬m faptul c膬 Santiago Zavala 葯i Ambrosio Pardo stau de vorb膬 卯ntr-un bar (dup膬 ce s-au re卯nt卯lnit dup膬 mul葲i ani printr-un hazard) 葯i c膬, pe m膬sur膬 ce conversa葲ia 卯nainteaz膬, incoeren葲a lor cre葯te exponen葲ial. Ca urmare, nara葲iunea lui Llosa urmeaz膬 cu fidelitate 卯ntors膬turile 葯i salturile discu葲iei. Cititorul (oric卯t de treaz s-ar p膬stra) are dificult膬葲i serioase de 卯n葲elegere.
E mult prea simplu s膬 afirmi c膬 romanul prezint膬 (desigur, fragmentar) dou膬 biografii individuale pe fundalul unei 葲膬ri m膬cinate de corup葲ie. Biografia lui Santiago ilustreaz膬 卯ncerc膬rile unui fiu rebel de a-葯i construi via葲a prin opozi葲ie cu un tat膬 bogat 葯i influent, don Fermin Zavala, care l-ar dori un student silitor 葯i cuminte. Lupta dintre fiu 葯i tat膬 nu va avea un 卯nving膬tor. La r卯ndu-i, biografia lui Ambrosio pare o 卯ncercare de a evita ceea ce nu va putea fi evitat (uciderea unei prostituate). Pentru Santiago (vl膬star aristocratic) pare mai simplu s膬 refuze domnia tat膬lui. Pentru Ambrosio Pardo, un om de culoare, e aproape imposibil s膬 evite s膬r膬cia, supunerea 葯i, 卯n sf卯r葯it, crima. Destinul lui pare gata scris. Dar am卯ndoi 卯ncearc膬 s膬-葯i c卯葯tige m膬car o brum膬 de libertate.
Senza葲ia cu care am r膬mas dup膬 cea dint卯i lectur膬 a c膬r葲ii a fost aceea c膬 nu am g膬sit un fir al Ariadnei 卯n labirintul imaginat de Llosa. Romanul mi s-a p膬rut confuz, deliberat confuz, confuz prin voin葲a autorului, a葯adar. Abia dac膬-l prive葯ti de foarte sus, l膬s卯nd divaga葲iile 葯i digresiunile la o parte, desenul narativ (din covor) se limpeze葯te oarecum. Dar nu 卯ntru totul...
C卯t despre rezumatul minimal, el nu poate fi dec卯t 膬sta: 鈥�Conversa葲ie la Catedrala e un roman despre Peru 卯n timpul dictaturii generalului Manuel Odr铆a (1948 - 1956). Un roman despre sc卯rba de a fi peruan鈥�. Un rezumat mai precis nu se poate...
P. S. Cum po葲i rezolva problema credin葲ei? Un r膬spuns:
鈥濶u 葯ov膬ia, avea credin葲膬 - zise Santiago. 葮i eu de pe-atunci 卯i invidiam pe cei ce puteau crede orbe葯te-n ceva... Ce n-a葯 fi dat s膬 se fi inventat o pilul膬, un supozitor contra 卯ndoielilor. D膬-葲i seama ce dr膬gu葲, 葲i-l v卯ri 卯n fund 葯i gata: crezi...鈥�.
September 22, 2022
"驴En qu茅 momento se hab铆a jodido el Per煤?"Esta es la cita m谩s famosa de la novela, una pregunta a la que el autor responde negando la existencia de un momento concreto y apuntando a una concatenaci贸n de circunstancias. No es una buena respuesta, pienso yo. La verdadera respuesta, aplicable al Per煤 y a cualquier otro pa铆s pasado, presente y futuro, es que nada se jodi贸, nacimos jodidos.
O si no, piensen ustedes y d铆ganme si ha existido alg煤n lugar o tiempo donde las sociedades, sean dictatoriales o no, consistieran en otra cosa que no fueran combinaciones similares de Odr铆as y Cayo Mierdas, Fermines y se帽oras Zoilas, coroneles Espina, Ar茅valos o Landas, lacayos como Ludovicos, Hip贸litos, Ambrosios o Trifulcios, bien intencionados como A铆das, Jacobos y Zavalitas, y acomodaticios tipo Musas, Quetas e Ivonnes , Amalias y Trinidades, Chispas y Tet茅s, Popeyes y Anas. Porque esta es una de las grandezas del relato de Llosa, la de tener la ambici贸n de ser una novela total, de reflejar un mundo completo en el que, como en todo mundo, acaban abajo siempre los mismos.
Y entretejido con aquella pregunta colectiva, el autor desarrolla una historia paralela e individual, la de Zavalita:
鈥溍塴 era como el Per煤, Zavalita, se hab铆a jodido en alg煤n momento.鈥�Tambi茅n la novela es la b煤squeda de ese momento, y tentado estoy de negar la mayor tambi茅n en el caso personal del personaje, pero he de reconocer que en lo individual tambi茅n juegan, y mucho, las circunstancias, y, aun as铆, es necesario m谩s, porque en el Per煤 de aquellos a帽os como en cualquier otro lugar y 茅poca 鈥渆l que no se jode, jode a los dem谩s鈥� y la elecci贸n de ser uno u otro est谩 muy limitada.
鈥淒octor, doctor, tengo algo que se me sube y se me baja y no s茅 lo que es鈥� Es un pedito loco, se帽ora, usted tiene carita de poto y el pobre pedito no sabe por d贸nde salir. Lo que te friega la vida es un pedito loco, Zavalita.鈥�Zavalita tiene metida la duda en el cuerpo, una enfermedad para la que no existen supositorios y por la que se pasaba 鈥渓a vida haciendo cosas sin creer, toda la vida disimulando鈥� Y toda la vida queriendo creer en algo鈥� Y toda la vida mentira, no creo鈥�, siempre en un ni de aqu铆 ni de all铆 inc贸modo, ni proletario ni burgu茅s, 鈥渟olo una pobre mierdecita entre los dos鈥�.
鈥淎帽os que se confunden, Zavalita, mediocridad diurna y monoton铆a nocturna, cervezas, bulines. Reportajes, cr贸nicas: papel suficiente para limpiarse toda la vida, piensa. Conversaciones en el "Negro Negro", domingos con chupe de camarones, vales en la cantina de "La Cr贸nica", un pu帽ado de libros que recordar. Borracheras sin convicci贸n, Zavalita, polvos sin convicci贸n, periodismo sin convicci贸n. Deudas a fines de mes, una purgaci贸n, lenta, inexorable inmersi贸n en la mugre invisible.鈥�
Esta novela fue un cinco estrellas la primera vez que la le铆, all谩 por el pleistoceno, y sigue si茅ndolo hoy, aunque las muchas novelas que uno se ha echado a la espalda entre ambas lecturas me hayan curtido de sobra para que la estructura faulkneriana de la novela, la forma en la que combina y entrecruza tiempos, hechos, conversaciones y puntos de vista, no me haya volado la cabeza como en aquellos tiempos.
P.S. Pese a todo lo dicho, no puedo acabar el comentario sin decirle una cosita al se帽or Llosa: con lo generoso que es usted con las memorias hist贸ricas de algunos pa铆ses, qu茅 pena que con la del pa铆s que lo acogi贸 sea usted tan malasangre.
April 6, 2022
Mario Vargas Llosa's third book is a marvelously terrorising romp through Peru of the 50s and 60s and yet all told in a bar called La Cathedral in the space of a few hours over a couple of beers and several packets of cigarettes. The narration of the first chapter is particularly confusing with each sentence being associated with a different narrator and timeline with sometimes no contextual help as to where they fit. And yet, the reader is carried along on these rapidly moving words as on a whitewater raft. The second chapter and fourth chapters are slightly more linear whereas the third chapter describes a coup kind of like in chapter one with events and actors changing every other sentence. At the heart of all of this are the aristocrat and friend of the Odria regime Don "Gold Ball" Fermin, his son "Skinnny" "Superbrain" Santiago, Don Fermin's chauffeur (et plus si affinit茅) Ambroisio - these last two are the ones who are speaking in the present reminiscing the past in the bar. There is also a series of prostitutes - la Quetita and "La Musa" Hortensia, Ambrosio's true love Amelia, Santiago's brother "Sparky", his sister "Tet茅", his brother-in-law "Popeye" - the names are all quite confusing. And who could forget Don Cayo "Shithead" Bermudez and his nefarious origin. The rise and fall of a regime, lovers quarrels in brothels, theater massacres...I could never work out who Lorenzo or Ludovico or some of the other drivers and henchmen were. And it was not clear to me who really killed Hortensia (don't worry, that's not a spoiler.)
If it sounds too heady, maybe read Feast of the Goat first as the narration is more straightforward.
In the same style, The Green House by Vargas Llosa is equally complex in narrative structure. Gaddis tried this kind of narration in several chapters of The Recognitions, but IMHO, he did not come close to pulling it off as successfully as Vargas Llosa!
In summary, a confusing but extremely well-written book about Peruvian politics seen through the lenses of the aristocracy and its detractors over beer - a fascinating book.
Note that some of the origins of this book were explained in MVL's autobiography, A Fish in the Water. This is really a fascinating read.
Fino's Mario Vargas Llosa Reviews:
Fiction
The Cubs and Other Stories (1959) TBR
The Time of the Hero (1963)
The Green House (1966)
Conversation in the Cathedral (1969)
Captain Pantoja and the Special Services (1973)
Aunt Julia and the Scriptwriter (1977)
The War of the End of the World (1981)
The Real Life of Alejandro Mayta (1985)
Who Killed Palomino Molero? (1987)
The Storyteller (1989)
In Praise of the Stepmother (1990)
Death in the Andes (1996)
The Notebooks of Don Rigoberto (1998)
The Feast of the Goat (2001)
The Way to Paradise (2003)
The Bad Girl (2007)
The Dream of the Celt (2010)
The Discrete Hero (2015)
The Neighborhood (2018)
Harsh Times (2021) TBR
Non-Fiction
The Perpetual Orgy (1975)
A Fish Out of Water (1993)
Letters to a Young Novelist (1998)
If it sounds too heady, maybe read Feast of the Goat first as the narration is more straightforward.
In the same style, The Green House by Vargas Llosa is equally complex in narrative structure. Gaddis tried this kind of narration in several chapters of The Recognitions, but IMHO, he did not come close to pulling it off as successfully as Vargas Llosa!
In summary, a confusing but extremely well-written book about Peruvian politics seen through the lenses of the aristocracy and its detractors over beer - a fascinating book.
Note that some of the origins of this book were explained in MVL's autobiography, A Fish in the Water. This is really a fascinating read.
Fino's Mario Vargas Llosa Reviews:
Fiction
The Cubs and Other Stories (1959) TBR
The Time of the Hero (1963)
The Green House (1966)
Conversation in the Cathedral (1969)
Captain Pantoja and the Special Services (1973)
Aunt Julia and the Scriptwriter (1977)
The War of the End of the World (1981)
The Real Life of Alejandro Mayta (1985)
Who Killed Palomino Molero? (1987)
The Storyteller (1989)
In Praise of the Stepmother (1990)
Death in the Andes (1996)
The Notebooks of Don Rigoberto (1998)
The Feast of the Goat (2001)
The Way to Paradise (2003)
The Bad Girl (2007)
The Dream of the Celt (2010)
The Discrete Hero (2015)
The Neighborhood (2018)
Harsh Times (2021) TBR
Non-Fiction
The Perpetual Orgy (1975)
A Fish Out of Water (1993)
Letters to a Young Novelist (1998)
March 23, 2023
This masterpiece by Vargas Llosa, with its rhythmic and polyphonic writing, weaves a silk fabric with tangled literary threads: the scripts, like the characters, multiply the linearity of the story dislocated, everything duplicates, is rejected and intersects in a cathedral which is not one, but a lounge where Zavalita, the hero, talks with the former driver of his father, met by chance, sweeping ten years of their life as of the social and political history of Peru in the era of dictatorship.
Vargas Llosa piled up temporal breaks and perspectives by disrupting dialogues, thoughts, and identities: these discursive changes paint a puzzle of characters whose approaches multiply, like the Cubists. This brilliant process makes it possible to unmask souls, situations, and relationships. Innocence, complicity, repression, mediocrity, corruption, manipulation, and good conscience collide, and deceptive appearances withdraw in a constant quest for oneself and the world, with a masterful description of Peru by the inexcusable General Manuel Odr铆a.
Vargas Llosa piled up temporal breaks and perspectives by disrupting dialogues, thoughts, and identities: these discursive changes paint a puzzle of characters whose approaches multiply, like the Cubists. This brilliant process makes it possible to unmask souls, situations, and relationships. Innocence, complicity, repression, mediocrity, corruption, manipulation, and good conscience collide, and deceptive appearances withdraw in a constant quest for oneself and the world, with a masterful description of Peru by the inexcusable General Manuel Odr铆a.
May 12, 2022
Conversaci贸n en La Catedral = Conversation in the Cathedral, Mario Vargas Llosa
Conversation in the Cathedral is a 1969 novel by Peruvian writer and essayist Mario Vargas Llosa, translated by Gregory Rabassa. One of Vargas Llosa's major works, it is a portrayal of Peru under the dictatorship of Manuel A. Odr铆a in the 1950's, and deals with the lives of characters from different social strata.
The ambitious narrative is built around the stories of Santiago Zavala and Ambrosio respectively; one the son of a minister, the other his chauffeur. A random meeting at a dog pound leads to a riveting conversation between the two at a nearby bar known as the Cathedral (hence the title). During the encounter Zavala tries to find the truth about his father's role in the murder of a notorious Peruvian underworld figure, shedding light on the workings of a dictatorship along the way.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 丌诏賵爻鬲 爻丕賱2005賲蹖賱丕丿蹖
毓賳賵丕賳: 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱貨 賳賵蹖爻賳丿賴: 賲丕乇蹖賵 賵丕乇诏丕爻 (亘丕乇诏丕爻) 蹖賵爻丕貨 賲鬲乇噩賲 毓亘丿丕賱賱賴 讴賵孬乇蹖貨 賲卮禺氐丕鬲 賳卮乇 賲卮賴丿貙 賳卮乇 賳賲丕貙 趩丕倬 賳禺爻鬲 爻丕賱1370貙 丿乇 丿賵 噩賱丿貙 趩丕倬 丿賵賲貙 鬲賴乇丕賳貙 賳卮乇 賱賵丨 賮讴乇貙 爻丕賱1384 丿乇704氐貙 賮乇賵爻鬲: 卮丕賴讴丕乇賴丕蹖 丕丿亘蹖丕鬲 噩賴丕賳貙 卮丕亘讴9648578052貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 倬乇賵 - 爻丿賴20賲
丿丕爻鬲丕賳 亘丕 丿蹖丿丕乇 丿賵 鬲賳 丕夭 卮禺氐蹖鬲賴丕蹖 丕氐賱蹖 讴鬲丕亘 亘賴 賳丕賲賴丕蹖 芦爻丕賳鬲蹖丕诏賵 夭丕賵丕賱丕禄 賵 芦丌賲亘乇爻蹖賵 倬乇丕丿賵禄 丿乇 讴丕賮賴 丕蹖 亘賴 賳丕賲 芦讴丕鬲丿乇丕賱禄 丌睾丕夭 賲蹖卮賵丿貙 賵 亘賴 賳賵毓蹖 鬲丕 倬丕蹖丕賳 讴鬲丕亘 丕丿丕賲賴 丿丕乇丿貨 丿丕爻鬲丕賳賴丕 賵 诏賮鬲诏賵賴丕蹖蹖 丿乇 丿丕爻鬲丕賳貙 亘賴 賵蹖跇賴 丿乇 賮氐賱 賳禺爻鬲貙 丕夭 賳馗乇 賲讴丕賱賲賴 卮诏賮鬲 丕賳诏蹖夭 賴爻鬲賳丿貨 乇賲丕賳蹖 爻蹖丕爻蹖 丕爻鬲 賵 芦亘丕乇诏丕爻 蹖賵爻丕禄 賳賵蹖爻賳丿賴 蹖 丕蹖賳 丕孬乇貙 亘乇賳丿賴 蹖 芦噩丕蹖夭賴 賳賵亘賱 丕丿亘蹖丕鬲禄 丿乇 爻丕賱2010賲蹖賱丕丿蹖 卮丿賴鈥� 丕爻鬲貨 夭亘丕賳 丕氐賱蹖 賳诏丕乇卮 丕蹖賳 讴鬲丕亘 芦丕爻倬丕賳蹖丕蹖蹖禄 丕爻鬲 賵 讴卮賵乇 賲賳鬲卮乇 讴賳賳丿賴 丌賳 噩賲賴賵乇蹖 芦倬乇賵禄 丕爻鬲貨 诏賮鬲诏賵 丿乇 芦讴丕鬲丿乇丕賱禄 爻賵賲蹖賳 乇賲丕賳 賳賵蹖爻賳丿賴 丕爻鬲貙 讴賴 丿乇 賲丨蹖胤 卮賴乇 芦賱蹖賲丕禄 卮讴賱 賲蹖鈥屭屫必�
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 17/05/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 21/02/1401賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Conversation in the Cathedral is a 1969 novel by Peruvian writer and essayist Mario Vargas Llosa, translated by Gregory Rabassa. One of Vargas Llosa's major works, it is a portrayal of Peru under the dictatorship of Manuel A. Odr铆a in the 1950's, and deals with the lives of characters from different social strata.
The ambitious narrative is built around the stories of Santiago Zavala and Ambrosio respectively; one the son of a minister, the other his chauffeur. A random meeting at a dog pound leads to a riveting conversation between the two at a nearby bar known as the Cathedral (hence the title). During the encounter Zavala tries to find the truth about his father's role in the murder of a notorious Peruvian underworld figure, shedding light on the workings of a dictatorship along the way.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 丌诏賵爻鬲 爻丕賱2005賲蹖賱丕丿蹖
毓賳賵丕賳: 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱貨 賳賵蹖爻賳丿賴: 賲丕乇蹖賵 賵丕乇诏丕爻 (亘丕乇诏丕爻) 蹖賵爻丕貨 賲鬲乇噩賲 毓亘丿丕賱賱賴 讴賵孬乇蹖貨 賲卮禺氐丕鬲 賳卮乇 賲卮賴丿貙 賳卮乇 賳賲丕貙 趩丕倬 賳禺爻鬲 爻丕賱1370貙 丿乇 丿賵 噩賱丿貙 趩丕倬 丿賵賲貙 鬲賴乇丕賳貙 賳卮乇 賱賵丨 賮讴乇貙 爻丕賱1384 丿乇704氐貙 賮乇賵爻鬲: 卮丕賴讴丕乇賴丕蹖 丕丿亘蹖丕鬲 噩賴丕賳貙 卮丕亘讴9648578052貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 倬乇賵 - 爻丿賴20賲
丿丕爻鬲丕賳 亘丕 丿蹖丿丕乇 丿賵 鬲賳 丕夭 卮禺氐蹖鬲賴丕蹖 丕氐賱蹖 讴鬲丕亘 亘賴 賳丕賲賴丕蹖 芦爻丕賳鬲蹖丕诏賵 夭丕賵丕賱丕禄 賵 芦丌賲亘乇爻蹖賵 倬乇丕丿賵禄 丿乇 讴丕賮賴 丕蹖 亘賴 賳丕賲 芦讴丕鬲丿乇丕賱禄 丌睾丕夭 賲蹖卮賵丿貙 賵 亘賴 賳賵毓蹖 鬲丕 倬丕蹖丕賳 讴鬲丕亘 丕丿丕賲賴 丿丕乇丿貨 丿丕爻鬲丕賳賴丕 賵 诏賮鬲诏賵賴丕蹖蹖 丿乇 丿丕爻鬲丕賳貙 亘賴 賵蹖跇賴 丿乇 賮氐賱 賳禺爻鬲貙 丕夭 賳馗乇 賲讴丕賱賲賴 卮诏賮鬲 丕賳诏蹖夭 賴爻鬲賳丿貨 乇賲丕賳蹖 爻蹖丕爻蹖 丕爻鬲 賵 芦亘丕乇诏丕爻 蹖賵爻丕禄 賳賵蹖爻賳丿賴 蹖 丕蹖賳 丕孬乇貙 亘乇賳丿賴 蹖 芦噩丕蹖夭賴 賳賵亘賱 丕丿亘蹖丕鬲禄 丿乇 爻丕賱2010賲蹖賱丕丿蹖 卮丿賴鈥� 丕爻鬲貨 夭亘丕賳 丕氐賱蹖 賳诏丕乇卮 丕蹖賳 讴鬲丕亘 芦丕爻倬丕賳蹖丕蹖蹖禄 丕爻鬲 賵 讴卮賵乇 賲賳鬲卮乇 讴賳賳丿賴 丌賳 噩賲賴賵乇蹖 芦倬乇賵禄 丕爻鬲貨 诏賮鬲诏賵 丿乇 芦讴丕鬲丿乇丕賱禄 爻賵賲蹖賳 乇賲丕賳 賳賵蹖爻賳丿賴 丕爻鬲貙 讴賴 丿乇 賲丨蹖胤 卮賴乇 芦賱蹖賲丕禄 卮讴賱 賲蹖鈥屭屫必�
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 17/05/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 21/02/1401賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
October 21, 2021
賲毓賵賱丕 讴鬲丕亘賴丕蹖 丕爻鬲丕丿 蹖賵爻丕 亘丕 诏賮鬲诏賵 亘蹖賳 丿賵 賳賮乇 讴賴 賴賲丿蹖诏乇 乇賵 賲丿鬲蹖 賳丿蹖丿賳 卮乇賵毓 賲蹖卮賵丿 賵 胤蹖 賲讴丕賱賲賴 睾蹖乇禺胤蹖 亘丕乇賴丕 夭賲丕賳 丿丕爻鬲丕賳 亘賴 毓賯亘 蹖丕 噩賱賵 亘乇丿賴 賲蹖卮賵丿 . 丿乇 夭賲丕賳 賲讴丕賱賲賴 丕卮禺丕氐 噩丿蹖丿蹖 賵丕乇丿 丿丕爻鬲丕賳 賲蹖卮賵賳丿 賵 讴賲 讴賲 賵 亘爻鬲诏蹖 亘賴 賳賯卮蹖 讴賴 丕爻鬲丕丿 亘乇丕蹖卮丕賳 丿乇 賳馗乇 诏乇賮鬲賴 倬乇 乇賳诏 蹖丕 讴賲 乇賳诏 賲蹖 卮賵賳丿 . 丿乇 丕蹖賳 讴鬲丕亘 诏賮鬲 賵 诏賵 丿乇 讴丕鬲丿乇丕賱 賴賲 賴賲蹖賳 乇賵丕賱賴
讴賱 丿丕爻鬲丕賳 丿乇 賲讴丕賱賲賴 丿賵 賳賮乇 讴賴 讴丕乇丕讴鬲乇賴丕蹖 丕氐賱蹖 賴爻鬲賳丿 诏賮鬲賴 賲蹖卮賴 賵 讴賲 讴賲 亘丕 卮禺氐蹖鬲賴丕蹖 丿蹖诏賴 丿丕爻鬲丕賳 賴賲 丌卮賳丕 賲蹖卮蹖賲. 賲卮讴賱賴 丕蹖賳 胤乇夭 賮讴乇 賳亘賵睾 丌爻丕蹖 丕爻鬲丕丿 倬蹖趩蹖丿诏蹖 倬蹖卮 丕夭 丨丿 丿丕爻鬲丕賳 賵 卮禺氐蹖鬲賴丕蹖 賲禺鬲賱賮 丿乇 夭賲丕賳賴丕蹖 賲禺鬲賱賮賴 .
亘賴 賳馗乇 丕蹖賳 讴鬲丕亘 亘乇丕蹖 蹖讴 亘丕乇 禺賵丕賳丿賳 賳賵卮鬲賴 賳卮丿賴 賵 亘乇丕蹖 丿乇讴 丌賳 亘丕蹖丿 亘丕乇賴丕 丌賳 乇丕 禺賵丕賳丿 .
賲胤賲卅賳賲 讴賴 亘賴 夭賵丿蹖 亘乇丕蹖 亘丕乇 丿賵賲 蹖丕 爻賵賲 丌賳 乇丕 禺賵丕賳丿賴 賵 丕蹖賳 亘丕乇 亘丕 丕賮鬲禺丕乇亘賴 丌賳 倬賳噩 爻鬲丕乇賴 禺賵丕賴賲 丿丕丿
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丿乇 毓馗賲鬲 讴鬲丕亘 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱 趩蹖夭蹖 賳賲蹖 鬲賵丕賳 诏賮鬲 貙 賳賲蹖 鬲賵丕賳 丕夭 噩賲賱丕鬲 讴賱蹖 賵 讴賱蹖卮賴 丕蹖 賴賲丕賳賳丿 賮賵賯 丕賱毓丕丿賴 亘賵丿 蹖丕 卮丕賴讴丕乇 亘賵丿 丕爻鬲賮丕丿賴 讴乇丿 貙 丕爻鬲丕丿 亘丕 鬲爻賱胤 讴丕賲賱 鬲氐賵蹖乇蹖 亘蹖 賳馗蹖乇 丕夭 噩丕賲毓賴 亘丨乇丕賳 夭丿賴 倬乇賵 丿乇 夭賲丕賳 丿蹖讴鬲丕鬲賵乇蹖 跇賳乇丕賱 丕賵丿乇蹖丕 賳卮丕賳 丿丕丿賴 丕爻鬲 貙 丕賵 丿乇 丕蹖賳 乇賲丕賳 賴賲賴 丕亘毓丕丿 丕蹖賳 噩丕賲毓賴 乇丕 亘乇乇爻蹖 讴乇丿賴 貙 丕夭 卮讴丕賮 胤亘賯丕鬲蹖 鬲丕 鬲亘毓蹖囟 貙 丌賲賵夭卮 貙 鬲噩丕乇鬲 ..... 丕爻鬲丕丿 亘賴 賴賲賴 噩賵丕賳亘 倬乇丿丕禺鬲賴 丕爻鬲 . 爻賵丿丕蹖蹖 爻丕禺鬲賴 讴賴 賲禺丕胤亘 乇丕 賲噩賳賵賳 賲蹖 讴賳丿 ...
卮乇賵毓 讴鬲丕亘 亘賴 賲毓賳蹖 鬲賲丕賲 鬲讴丕賳 丿賴賳丿賴 賵 亘丕 卮讴賵賴 丕爻鬲 貙 爻丕賳鬲蹖丕诏賵 卮禺氐蹖鬲 丕氐賱蹖 讴鬲丕亘 亘賴 匕賴賳卮 丕蹖賳 爻賵丕賱 丨爻丕爻 賲鬲亘丕丿乇 賲蹖 卮賵丿 讴賴 趩賴 夭賲丕賳蹖 倬乇賵禺賵丿卮 乇丕 亘賴 賮賳丕 丿丕丿賴 責 賵 禺賵丿 丕賵 趩賴 夭賲丕賳蹖 亘賴 賮賳丕 乇賮鬲賴 責 ( 爻賵丕賱蹖 亘賴 丕蹖賳 丕賴賲蹖鬲 賲蹖 鬲賵丕賳丿 亘賴 匕賴賳 賴乇 丕賳爻丕賳蹖 丕夭 賴乇 賲賱蹖鬲蹖 讴賴 丿丕乇丿 禺胤賵乇 讴賳丿 貙 丕賳爻丕賳蹖 讴賴 禺賵丿 乇丕 丕夭 讴卮賵乇卮 噩丿丕 賳賲蹖 丿丕賳丿 賵 亘丕 爻賯賵胤 讴卮賵乇 爻賯賵胤 禺賵丿 乇丕 賴賲 丨鬲賲蹖 賲蹖 倬賳丿丕乇丿 ) .
爻倬爻 爻丕賳鬲蹖丕诏賵 讴賴 丿賳亘丕賱 爻诏卮 丿乇 爻诏丿丕賳蹖 卮賴乇丿丕乇蹖 賲蹖 诏乇丿丿 亘賴 丿賵爻鬲 賯丿蹖賲蹖 賵 乇丕賳賳丿賴 倬丿乇卮 丌賲亘乇賵爻蹖賵 亘乇 賲蹖 禺賵乇丿 讴賴 丿乇 丌賳噩丕 亘賴 噩亘乇 夭賲丕賳賴 賵 趩乇禺卮 乇賵夭诏丕乇 亘賴 爻诏 讴購卮蹖 賲卮睾賵賱 丕爻鬲 貙 丌賳賴丕 亘賴 賲蹖禺丕賳賴 丕蹖 亘賴 賳丕賲 讴丕鬲丿乇丕賱 賲蹖 乇賵賳丿 賵 讴鬲丕亘 卮讴賱 賲蹖 诏蹖乇丿 .
卮丕蹖丿 亘鬲賵丕賳 诏賮鬲 讴鬲丕亘 卮丕賲賱 趩賴丕乇 乇賵丕蹖鬲 丕氐賱蹖 丕蹖爻鬲 讴賴 賴乇 乇賵丕蹖鬲 丿乇 夭賲丕賳 噩丿丕诏丕賳賴 丕蹖 丕鬲賮丕賯 丕賮鬲丕丿賴 丕爻鬲 貙 乇賵丕蹖鬲 賴丕 賵丕賯毓丕 卮诏賮鬲 丕賳诏蹖夭 賵 诏蹖噩 讴賳賳丿賴 賴爻鬲賳丿 貙 丕爻鬲丕丿 丿乇 賵乇丕蹖 丨賵丕丿孬 丕氐賱蹖 讴鬲丕亘 貙 卮禺氐蹖鬲 賴丕蹖 讴鬲丕亘 乇丕 賴賲 乇賵丕賳讴丕賵蹖 賲蹖 讴賳丿 貙 亘賴 丌賳賴丕 賳賯亘 賲蹖 夭賳丿 賵 亘丕毓孬 賲蹖 卮賵丿 讴賴 禺賵丕賳賳丿賴 亘丕 丕蹖賳 卮禺氐蹖鬲賴丕 賲丿鬲蹖 賴賲丿賲 賵 丿賲禺賵乇 卮賵丿 賵亘賴 賱胤賮 賯賱賲 丕爻鬲丕丿 ( 讴賴 噩賳丕亘 讴賵孬乇蹖 亘丕 賯丿乇鬲 賵 夭蹖亘丕蹖蹖 賵 亘丿賵賳 賱讴賳鬲 丌賳乇丕 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 讴乇丿賴 ) 賵 亘丕 卮賳丕禺鬲 亘蹖卮鬲乇 丌賳賴丕 賴賲 卮賵讴賴 賲蹖 卮賵丿 賵 賴賲 賲鬲毓噩亘 .
賳丨賵賴 鬲丿丕禺賱 噩賲賱丕鬲 賵 诏賮鬲诏賵賴丕蹖 讴鬲丕亘 貙 賲毓乇賮蹖 卮禺氐蹖鬲 賴丕蹖 賳爻亘鬲丕 夭蹖丕丿 賵 丿丕丿賳 丕賱賯丕亘蹖 賲丕賳賳丿 賱丕睾乇賵 貙 毓賯賱 讴賱 貙 讴讴 賲讴蹖 爻亘讴 禺丕氐 賳賵卮鬲賳 亘丕乇诏丕爻 蹖賵爻丕 乇丕 賮乇蹖丕丿 賲蹖 夭賳賳丿 貙 爻亘讴蹖 讴賴 賲賲讴賳 丕爻鬲 丿乇 丕亘鬲丿丕 讴賲蹖 诏蹖噩 讴賳賳丿賴 亘賴 賳馗乇 亘乇爻丿 丕賲丕 亘丕 讴賲蹖 丿賯鬲 賲蹖 鬲賵丕賳 禺胤 丕氐賱蹖 丿丕爻鬲丕賳 乇丕 倬蹖丿丕 讴乇丿 賵 亘丕 丌賳 賴賲诏丕賲 卮丿 .
賳賵蹖爻賳丿賴 亘丕 賲賴丕乇鬲 賵 丕爻鬲丕丿蹖 讴丕賲賱 讴賲蹖 丕夭 禺氐賵氐蹖丕鬲 丨丕讴賲 禺賵丿讴丕賲賴 賲蹖 诏賵蹖丿 . 丕賱亘鬲賴 亘丕蹖丿 鬲賵噩賴 丿丕卮鬲 讴賴 丕爻鬲亘丿丕丿 丿乇 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 亘賴 賴蹖趩 乇賵 亘丕 丕爻鬲亘丿丕丿 丿乇 禺丕賵乇賲蹖丕賳賴 賯丕亘賱 賯蹖丕爻 賳蹖爻鬲 賵 禺賵丿讴丕賲賴 诏丕賳 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 丿乇 亘乇丕亘乇 賴賲賳丕賲 賴丕蹖 禺丕賵乇賲蹖丕賳賴 丕蹖卮丕賳 亘賴 卮賵禺蹖 賵 噩購讴 亘蹖卮鬲乇 卮亘蹖賴 賴爻鬲賳丿 鬲丕 丿蹖讴鬲丕鬲賵乇 . 丕賲丕 亘賴 乇丕丨鬲蹖 賲蹖 鬲賵丕賳 乇蹖卮賴 賴丕 賵 丿睾丿睾賴 賴丕蹖 賲卮鬲乇讴 乇丕 倬蹖丿丕 讴乇丿 貙賮氐賱 賲卮鬲乇讴卮丕賳 乇丕 賲蹖鬲賵丕賳 丿乇 丕蹖賳 噩賲賱賴 噩丕賵丿丕賳賴 倬蹖丿丕 讴乇丿 :
丕蹖賳 噩丕 丌丿賲賴丕 毓賵囟 賲蹖 卮賵賳丿 賳賴 丕賵囟丕毓 .
丨囟賵乇 倬乇乇賳诏 丿蹖讴鬲丕鬲賵乇 賵 爻乇讴賵亘 丌夭丕丿蹖 丕孬乇丕鬲 賲禺乇亘 禺賵丿 乇丕 亘乇 賲賱鬲 诏匕丕卮鬲賴 貙 賴乇 讴丿丕賲 丕夭 賯賴乇賲丕賳丕賳 丿丕爻鬲丕賳 賲丕 丿乇 禺賱賵鬲 禺賵丿 亘賴 诏賵賳賴 丕蹖 夭丕乇 賲蹖 夭賳賳丿 . 爻丕賳鬲蹖丕诏賵 毓賯賱 讴購賱 丕夭 禺丕賳賵丕丿賴 诏乇蹖夭丕賳 賲蹖 卮賵丿 賵 夭賳丿诏蹖 乇丕 賳讴亘鬲 賵丕賯毓蹖 賲蹖 丿丕賳丿 賵 禺賵丿 乇丕 丿乇 賳讴亘鬲 賵 讴孬丕賮鬲 夭賳丿诏蹖 睾乇賯 . 丌賳 蹖讴蹖 丌賲亘乇賵爻蹖賵 卮禺氐蹖鬲 賲胤蹖毓 亘賱賴 賯乇亘丕賳 诏賵 賲蹖 卮賵丿 .
亘丕 倬丕蹖丕賳 诏賮鬲诏賵 丕蹖賳 丿賵 讴鬲丕亘 賴賲 倬丕蹖丕賳 賲蹖 倬匕蹖乇丿 貙 丿乇 丨丕賱蹖 讴賴 禺賵丕賳賳丿賴 丿乇 倬賽乇賵 貙 賱蹖賲丕 貙 賲丨賱丕鬲 賮賯蹖乇 賳卮蹖賳 貙乇賵爻倬蹖 禺丕賳賴 賴丕 貙 賲蹖禺丕賳賴 讴丕鬲丿乇丕賱 貙 禺丕賳賵丕丿賴 爻丕賳鬲蹖丕诏賵 貙 丿乇 氐丨亘鬲 賴丕蹖 丿賳 讴丕蹖賵 貙 丿乇 賱匕鬲蹖 倬丕蹖丕賳 賳丕倬匕蹖乇 賵 禺賱爻賴 丕蹖 胤賵賱丕賳蹖 睾乇賯 卮丿賴 丕爻鬲 賵 丨丕賱丕 賵 亘丕 丕鬲賲丕賲 讴鬲丕亘 亘丕蹖丿 亘賴 夭賳丿诏蹖 賵丕賯毓蹖 亘乇诏乇丿丿 .
賴賲丕賳 讴賴 爻丕賳鬲丕诏賵 丌賳乇丕 賳讴亘鬲 賵丕賯毓蹖 賲蹖 丿丕賳丿 ..
讴賱 丿丕爻鬲丕賳 丿乇 賲讴丕賱賲賴 丿賵 賳賮乇 讴賴 讴丕乇丕讴鬲乇賴丕蹖 丕氐賱蹖 賴爻鬲賳丿 诏賮鬲賴 賲蹖卮賴 賵 讴賲 讴賲 亘丕 卮禺氐蹖鬲賴丕蹖 丿蹖诏賴 丿丕爻鬲丕賳 賴賲 丌卮賳丕 賲蹖卮蹖賲. 賲卮讴賱賴 丕蹖賳 胤乇夭 賮讴乇 賳亘賵睾 丌爻丕蹖 丕爻鬲丕丿 倬蹖趩蹖丿诏蹖 倬蹖卮 丕夭 丨丿 丿丕爻鬲丕賳 賵 卮禺氐蹖鬲賴丕蹖 賲禺鬲賱賮 丿乇 夭賲丕賳賴丕蹖 賲禺鬲賱賮賴 .
亘賴 賳馗乇 丕蹖賳 讴鬲丕亘 亘乇丕蹖 蹖讴 亘丕乇 禺賵丕賳丿賳 賳賵卮鬲賴 賳卮丿賴 賵 亘乇丕蹖 丿乇讴 丌賳 亘丕蹖丿 亘丕乇賴丕 丌賳 乇丕 禺賵丕賳丿 .
賲胤賲卅賳賲 讴賴 亘賴 夭賵丿蹖 亘乇丕蹖 亘丕乇 丿賵賲 蹖丕 爻賵賲 丌賳 乇丕 禺賵丕賳丿賴 賵 丕蹖賳 亘丕乇 亘丕 丕賮鬲禺丕乇亘賴 丌賳 倬賳噩 爻鬲丕乇賴 禺賵丕賴賲 丿丕丿
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丿乇 毓馗賲鬲 讴鬲丕亘 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱 趩蹖夭蹖 賳賲蹖 鬲賵丕賳 诏賮鬲 貙 賳賲蹖 鬲賵丕賳 丕夭 噩賲賱丕鬲 讴賱蹖 賵 讴賱蹖卮賴 丕蹖 賴賲丕賳賳丿 賮賵賯 丕賱毓丕丿賴 亘賵丿 蹖丕 卮丕賴讴丕乇 亘賵丿 丕爻鬲賮丕丿賴 讴乇丿 貙 丕爻鬲丕丿 亘丕 鬲爻賱胤 讴丕賲賱 鬲氐賵蹖乇蹖 亘蹖 賳馗蹖乇 丕夭 噩丕賲毓賴 亘丨乇丕賳 夭丿賴 倬乇賵 丿乇 夭賲丕賳 丿蹖讴鬲丕鬲賵乇蹖 跇賳乇丕賱 丕賵丿乇蹖丕 賳卮丕賳 丿丕丿賴 丕爻鬲 貙 丕賵 丿乇 丕蹖賳 乇賲丕賳 賴賲賴 丕亘毓丕丿 丕蹖賳 噩丕賲毓賴 乇丕 亘乇乇爻蹖 讴乇丿賴 貙 丕夭 卮讴丕賮 胤亘賯丕鬲蹖 鬲丕 鬲亘毓蹖囟 貙 丌賲賵夭卮 貙 鬲噩丕乇鬲 ..... 丕爻鬲丕丿 亘賴 賴賲賴 噩賵丕賳亘 倬乇丿丕禺鬲賴 丕爻鬲 . 爻賵丿丕蹖蹖 爻丕禺鬲賴 讴賴 賲禺丕胤亘 乇丕 賲噩賳賵賳 賲蹖 讴賳丿 ...
卮乇賵毓 讴鬲丕亘 亘賴 賲毓賳蹖 鬲賲丕賲 鬲讴丕賳 丿賴賳丿賴 賵 亘丕 卮讴賵賴 丕爻鬲 貙 爻丕賳鬲蹖丕诏賵 卮禺氐蹖鬲 丕氐賱蹖 讴鬲丕亘 亘賴 匕賴賳卮 丕蹖賳 爻賵丕賱 丨爻丕爻 賲鬲亘丕丿乇 賲蹖 卮賵丿 讴賴 趩賴 夭賲丕賳蹖 倬乇賵禺賵丿卮 乇丕 亘賴 賮賳丕 丿丕丿賴 責 賵 禺賵丿 丕賵 趩賴 夭賲丕賳蹖 亘賴 賮賳丕 乇賮鬲賴 責 ( 爻賵丕賱蹖 亘賴 丕蹖賳 丕賴賲蹖鬲 賲蹖 鬲賵丕賳丿 亘賴 匕賴賳 賴乇 丕賳爻丕賳蹖 丕夭 賴乇 賲賱蹖鬲蹖 讴賴 丿丕乇丿 禺胤賵乇 讴賳丿 貙 丕賳爻丕賳蹖 讴賴 禺賵丿 乇丕 丕夭 讴卮賵乇卮 噩丿丕 賳賲蹖 丿丕賳丿 賵 亘丕 爻賯賵胤 讴卮賵乇 爻賯賵胤 禺賵丿 乇丕 賴賲 丨鬲賲蹖 賲蹖 倬賳丿丕乇丿 ) .
爻倬爻 爻丕賳鬲蹖丕诏賵 讴賴 丿賳亘丕賱 爻诏卮 丿乇 爻诏丿丕賳蹖 卮賴乇丿丕乇蹖 賲蹖 诏乇丿丿 亘賴 丿賵爻鬲 賯丿蹖賲蹖 賵 乇丕賳賳丿賴 倬丿乇卮 丌賲亘乇賵爻蹖賵 亘乇 賲蹖 禺賵乇丿 讴賴 丿乇 丌賳噩丕 亘賴 噩亘乇 夭賲丕賳賴 賵 趩乇禺卮 乇賵夭诏丕乇 亘賴 爻诏 讴購卮蹖 賲卮睾賵賱 丕爻鬲 貙 丌賳賴丕 亘賴 賲蹖禺丕賳賴 丕蹖 亘賴 賳丕賲 讴丕鬲丿乇丕賱 賲蹖 乇賵賳丿 賵 讴鬲丕亘 卮讴賱 賲蹖 诏蹖乇丿 .
卮丕蹖丿 亘鬲賵丕賳 诏賮鬲 讴鬲丕亘 卮丕賲賱 趩賴丕乇 乇賵丕蹖鬲 丕氐賱蹖 丕蹖爻鬲 讴賴 賴乇 乇賵丕蹖鬲 丿乇 夭賲丕賳 噩丿丕诏丕賳賴 丕蹖 丕鬲賮丕賯 丕賮鬲丕丿賴 丕爻鬲 貙 乇賵丕蹖鬲 賴丕 賵丕賯毓丕 卮诏賮鬲 丕賳诏蹖夭 賵 诏蹖噩 讴賳賳丿賴 賴爻鬲賳丿 貙 丕爻鬲丕丿 丿乇 賵乇丕蹖 丨賵丕丿孬 丕氐賱蹖 讴鬲丕亘 貙 卮禺氐蹖鬲 賴丕蹖 讴鬲丕亘 乇丕 賴賲 乇賵丕賳讴丕賵蹖 賲蹖 讴賳丿 貙 亘賴 丌賳賴丕 賳賯亘 賲蹖 夭賳丿 賵 亘丕毓孬 賲蹖 卮賵丿 讴賴 禺賵丕賳賳丿賴 亘丕 丕蹖賳 卮禺氐蹖鬲賴丕 賲丿鬲蹖 賴賲丿賲 賵 丿賲禺賵乇 卮賵丿 賵亘賴 賱胤賮 賯賱賲 丕爻鬲丕丿 ( 讴賴 噩賳丕亘 讴賵孬乇蹖 亘丕 賯丿乇鬲 賵 夭蹖亘丕蹖蹖 賵 亘丿賵賳 賱讴賳鬲 丌賳乇丕 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 讴乇丿賴 ) 賵 亘丕 卮賳丕禺鬲 亘蹖卮鬲乇 丌賳賴丕 賴賲 卮賵讴賴 賲蹖 卮賵丿 賵 賴賲 賲鬲毓噩亘 .
賳丨賵賴 鬲丿丕禺賱 噩賲賱丕鬲 賵 诏賮鬲诏賵賴丕蹖 讴鬲丕亘 貙 賲毓乇賮蹖 卮禺氐蹖鬲 賴丕蹖 賳爻亘鬲丕 夭蹖丕丿 賵 丿丕丿賳 丕賱賯丕亘蹖 賲丕賳賳丿 賱丕睾乇賵 貙 毓賯賱 讴賱 貙 讴讴 賲讴蹖 爻亘讴 禺丕氐 賳賵卮鬲賳 亘丕乇诏丕爻 蹖賵爻丕 乇丕 賮乇蹖丕丿 賲蹖 夭賳賳丿 貙 爻亘讴蹖 讴賴 賲賲讴賳 丕爻鬲 丿乇 丕亘鬲丿丕 讴賲蹖 诏蹖噩 讴賳賳丿賴 亘賴 賳馗乇 亘乇爻丿 丕賲丕 亘丕 讴賲蹖 丿賯鬲 賲蹖 鬲賵丕賳 禺胤 丕氐賱蹖 丿丕爻鬲丕賳 乇丕 倬蹖丿丕 讴乇丿 賵 亘丕 丌賳 賴賲诏丕賲 卮丿 .
賳賵蹖爻賳丿賴 亘丕 賲賴丕乇鬲 賵 丕爻鬲丕丿蹖 讴丕賲賱 讴賲蹖 丕夭 禺氐賵氐蹖丕鬲 丨丕讴賲 禺賵丿讴丕賲賴 賲蹖 诏賵蹖丿 . 丕賱亘鬲賴 亘丕蹖丿 鬲賵噩賴 丿丕卮鬲 讴賴 丕爻鬲亘丿丕丿 丿乇 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 亘賴 賴蹖趩 乇賵 亘丕 丕爻鬲亘丿丕丿 丿乇 禺丕賵乇賲蹖丕賳賴 賯丕亘賱 賯蹖丕爻 賳蹖爻鬲 賵 禺賵丿讴丕賲賴 诏丕賳 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 丿乇 亘乇丕亘乇 賴賲賳丕賲 賴丕蹖 禺丕賵乇賲蹖丕賳賴 丕蹖卮丕賳 亘賴 卮賵禺蹖 賵 噩購讴 亘蹖卮鬲乇 卮亘蹖賴 賴爻鬲賳丿 鬲丕 丿蹖讴鬲丕鬲賵乇 . 丕賲丕 亘賴 乇丕丨鬲蹖 賲蹖 鬲賵丕賳 乇蹖卮賴 賴丕 賵 丿睾丿睾賴 賴丕蹖 賲卮鬲乇讴 乇丕 倬蹖丿丕 讴乇丿 貙賮氐賱 賲卮鬲乇讴卮丕賳 乇丕 賲蹖鬲賵丕賳 丿乇 丕蹖賳 噩賲賱賴 噩丕賵丿丕賳賴 倬蹖丿丕 讴乇丿 :
丕蹖賳 噩丕 丌丿賲賴丕 毓賵囟 賲蹖 卮賵賳丿 賳賴 丕賵囟丕毓 .
丨囟賵乇 倬乇乇賳诏 丿蹖讴鬲丕鬲賵乇 賵 爻乇讴賵亘 丌夭丕丿蹖 丕孬乇丕鬲 賲禺乇亘 禺賵丿 乇丕 亘乇 賲賱鬲 诏匕丕卮鬲賴 貙 賴乇 讴丿丕賲 丕夭 賯賴乇賲丕賳丕賳 丿丕爻鬲丕賳 賲丕 丿乇 禺賱賵鬲 禺賵丿 亘賴 诏賵賳賴 丕蹖 夭丕乇 賲蹖 夭賳賳丿 . 爻丕賳鬲蹖丕诏賵 毓賯賱 讴購賱 丕夭 禺丕賳賵丕丿賴 诏乇蹖夭丕賳 賲蹖 卮賵丿 賵 夭賳丿诏蹖 乇丕 賳讴亘鬲 賵丕賯毓蹖 賲蹖 丿丕賳丿 賵 禺賵丿 乇丕 丿乇 賳讴亘鬲 賵 讴孬丕賮鬲 夭賳丿诏蹖 睾乇賯 . 丌賳 蹖讴蹖 丌賲亘乇賵爻蹖賵 卮禺氐蹖鬲 賲胤蹖毓 亘賱賴 賯乇亘丕賳 诏賵 賲蹖 卮賵丿 .
亘丕 倬丕蹖丕賳 诏賮鬲诏賵 丕蹖賳 丿賵 讴鬲丕亘 賴賲 倬丕蹖丕賳 賲蹖 倬匕蹖乇丿 貙 丿乇 丨丕賱蹖 讴賴 禺賵丕賳賳丿賴 丿乇 倬賽乇賵 貙 賱蹖賲丕 貙 賲丨賱丕鬲 賮賯蹖乇 賳卮蹖賳 貙乇賵爻倬蹖 禺丕賳賴 賴丕 貙 賲蹖禺丕賳賴 讴丕鬲丿乇丕賱 貙 禺丕賳賵丕丿賴 爻丕賳鬲蹖丕诏賵 貙 丿乇 氐丨亘鬲 賴丕蹖 丿賳 讴丕蹖賵 貙 丿乇 賱匕鬲蹖 倬丕蹖丕賳 賳丕倬匕蹖乇 賵 禺賱爻賴 丕蹖 胤賵賱丕賳蹖 睾乇賯 卮丿賴 丕爻鬲 賵 丨丕賱丕 賵 亘丕 丕鬲賲丕賲 讴鬲丕亘 亘丕蹖丿 亘賴 夭賳丿诏蹖 賵丕賯毓蹖 亘乇诏乇丿丿 .
賴賲丕賳 讴賴 爻丕賳鬲丕诏賵 丌賳乇丕 賳讴亘鬲 賵丕賯毓蹖 賲蹖 丿丕賳丿 ..
August 13, 2020
丕蹖賳噩丕 丕诏乇 讴爻蹖 賳鬲賵賳賴 丿蹖诏乇丕賳 乇購 亘賴 诏丕 亘賽丿賽賴貙 丨鬲賲丕 禺賵丿卮 亘賴 诏丕 賲蹖乇賴
賳賯賱 亘賴 賲囟賲賵賳 丕夭 賲鬲賳賽 讴鬲丕亘
賲丕乇蹖賵 亘丕乇诏丕爻 蹖賵爻丕貙 賳賵蹖爻賳丿賴 蹖賽 亘乇賳丿賴 蹖賽 賳賵亘賱賽 丕賴賱賽 讴卮賵乇賽 倬乇賵貙 丿乇 丕蹖賳 乇賲丕賳賽 爻蹖丕爻蹖貙 囟賲賳賽 賴賲 氐丨亘鬲蹖賽 丿賵 賳賮乇 丿乇 賲蹖禺丕賳賴 丕蹖 亘賳丕賲賽 "讴丕鬲丿乇丕賱"貙 丿丕爻鬲丕賳 賴丕蹖蹖 賲賵丕夭蹖 賵 丿乇 賴賲 鬲賳蹖丿賴 丕夭 鬲丕乇蹖讴 乇賵卮賳賽 夭賳丿诏蹖賽 趩賳丿 倬乇賵蹖蹖 乇丕 丿乇 亘爻鬲乇蹖 丕夭 鬲丨賵賱丕鬲賽 丕噩鬲賲丕毓蹖 乇賵丕蹖鬲 賲蹖讴賳丿貙 乇賵丕蹖鬲 賴丕蹖蹖 讴賴 诏乇趩賴 賲乇亘賵胤 亘賴 賲賳丕胤賯賽 噩睾乇丕賮蹖丕蹖蹖 賵 胤亘賯丕鬲賽 丕噩鬲賲丕毓蹖 賲禺鬲賱賮 丿乇 禺胤 賵 乇亘胤蹖 倬蹖丿丕 賵 倬賳賴丕賳 亘丕 卮禺氐蹖鬲 賴丕蹖賽 乇賲丕賳 丕爻鬲貙 丕賲丕 亘賴 禺賵亘蹖貙 賳卮丕賳 丕夭 鬲丕孬蹖乇賽 賮乇賴賳诏賽 爻蹖丕爻蹖-丕噩鬲賲丕毓蹖 蹖賽 丨丕讴賲 亘乇 讴卮賵乇貙 丿乇 "爻蹖丕賴 亘禺鬲蹖" 蹖賽 亘賽賴賲 诏乇賴 禺賵乇丿賴 蹖賽 丕賮乇丕丿 賽 賲禺鬲賱賮賽 蹖讴 賲賱鬲 丿丕乇丿貙 讴賴 卮丕蹖丿 賮乇賯賽 丕蹖卮丕賳 亘賽賱丨丕馗賽 胤亘賯賴 蹖賽 丕噩鬲賲丕毓蹖貙 丕夭 夭賲蹖賳 丕爻鬲 鬲丕 亘賴 丌爻賲丕賳
丕賵賱丕
賳賵蹖爻賳丿賴 蹖賽 乇賲丕賳貙 賲卮禺氐丕賻賻 丿乇 賲乇賵乇賽 禺丕胤乇丕鬲賽 卮禺氐蹖鬲 賴丕貙 亘丕 倬卮鬲賽 倬丕 夭丿賳 亘賴 賳馗賲賽 賵 鬲乇鬲蹖亘賽 賲毓賲賵賱賽 乇賵丕蹖鬲賽 夭賲丕賳蹖貙 賲購讴乇乇 丿乇 賲購讴乇乇貙 亘乇丕蹖 乇賵丕蹖鬲蹖 蹖讴爻丕賳貙 丕夭 趩賳丿 乇丕賵蹖賽 丨丕囟乇 賲丿丿 诏乇賮鬲賴 賵 丕賮毓丕賱賽 诏匕卮鬲賴貙 丨丕賱 賵 丌蹖賳丿賴 乇丕 賴賲夭賲丕賳 亘賽讴丕乇 賲蹖 亘賳丿丿. 亘丕蹖丿 丕囟丕賮賴 讴乇丿 丕蹖賳 賲爻卅賱賴 亘賯丿乇蹖 亘丕 賴賳丿爻賴 蹖賽 賳賵卮鬲丕乇 賲賳胤亘賯 丕爻鬲 讴賴 诏丕賴貙 亘丕 馗乇丕賮鬲蹖 爻鬲賵丿賳蹖貙 禺胤賽 爻蹖乇賽 乇賲丕賳 丕夭 "禺賵丿卮" 爻亘賯鬲 賲蹖 诏蹖乇丿
賲卮禺氐丕 亘乇丕蹖賽 賲賳貙 賲賵乇丿賽 賮賵賯 丕賱匕讴乇貙 蹖诏丕賳賴 丿賱蹖賱蹖 丕爻鬲 讴賴 丕蹖賳 乇賲丕賳賽 "蹖賵爻丕" 乇丕 亘賴 賳爻亘鬲賽 乇賲丕賳賽 900氐賮丨賴 丕蹖賽 丿蹖诏乇卮-"噩賳诏 丌禺乇丕賱夭賲丕賳"-貙 爻禺鬲 禺賵丕賳 鬲賻乇 賲蹖讴賳丿. 丕丨鬲賲丕賱 賲蹖 丿賴賲貙 賲爻鬲賳丿 亘賴 丌賳趩賴 賵氐賮賻卮 乇賮鬲貙 讴賻爻乇賽 賯丕亘賱 鬲賵噩賴蹖 丕夭 乇購賮賯丕蹖賽 诏賵丿乇蹖丿夭蹖貙 讴賴 禺賵丿 乇丕 讴鬲丕亘禺賵丕賳賽 "讴賲 丨賵氐賱賴" 丿爻鬲賴 亘賳丿蹖 賲蹖讴賳賳丿貙 丿丕爻鬲丕賳 乇丕 賳蹖賲賴 讴丕乇賴 乇賴丕 讴乇丿賴 賵 讴鬲丕亘 乇丕 亘賴 賯賮爻賴 亘丕夭诏乇丿丕賳賳丿
丿賵賲丕
噩丕賳賽 讴賱丕賲賽 丿丕爻鬲丕賳貙 賲丕噩乇丕蹖賽 乇賵夭賲乇賴 蹖賽 鬲丕孬蹖乇 賵 鬲丕孬乇賽 "鬲賵丿賴" 丕爻鬲 讴賴 鬲丕 亘賵丿賴 賴賲蹖賳 亘賵丿賴貙 鬲賵丿賴 丕蹖 讴賴 丕蹖賳噩丕 丿乇 "倬乇賵"貙 亘賴 鬲賱禺 鬲乇蹖賳 卮讴賱賽 賲賲讴賳貙 亘賴 诏丕賴賽 賲賳丕賮毓 賮乇丿蹖貙 亘賴 賴夭丕乇 賵 蹖讴蹖 乇賳诏 丿乇丌賲丿賴 賵 丿爻鬲賽 夭丿賵亘賳丿 亘賴 丿丕賲賳賽 賴乇 讴爻 賵 賳丕讴爻 爻丕卅蹖蹖丿賴 丕賲丕貙 丌賳 爻丕賳 讴賴 爻禺賳 丕夭 賲氐賱丨鬲賽 毓丕賲賴 亘賵丿賴貙 亘賴 卮讴賱蹖 噩夭蹖乇賴 賵丕乇貙 诏丕賴蹖 丕爻亘賽 诏丕乇蹖 蹖賽 爻蹖丕爻鬲 賲丿丕乇丕賳賽 倬賵倬賵賱蹖爻鬲賽 賱丕鬲蹖賳賽 賯乇賳 亘蹖爻鬲賲蹖 蹖賽 倬乇賵卅蹖 蹖丕 丕賱賵丕胤賽 禺丕賵乇賲蹖丕賳賴 丕蹖 -賲卮禺氐丕賻賻 80-1940 - 卮丿賴 賵 蹖丕 丕蹖賳讴賴 爻蹖丕賴蹖 賱卮诏乇賽 丕賲賳蹖鬲蹖 趩蹖 賴丕 丿乇 丕乇囟丕蹖賽 賲賻胤丕賲毓賽 賴賲丕賳 爻蹖丕爻鬲賲丿丕乇丕賳 丿乇 賳賲丕蹖卮 賴丕蹖 禺蹖丕亘丕賳蹖貙 賵蹖賵丕 诏賵蹖丕賳 賵 賴賵乇丕 讴賽卮丕賳貙 亘蹖 乇賻丿蹖 丕夭 禺賽乇丿賵乇夭蹖
丿乇 丕蹖賳 乇賲丕賳賽 爻禺鬲 禺賵丕賳貙 鬲氐賵蹖乇賴丕 夭蹖丕丿賳丿 賵 賲鬲賯丕胤毓貙 爻禺賳 丕夭 夭賳丿诏蹖 蹖賽 乇賵夭賳丕賲賴 賳诏丕乇蹖 爻乇诏卮鬲賴 賲蹖丕賳賽 賲讴丕鬲亘賽 賮讴乇蹖貙 亘購乇蹖丿賴 丕夭 禺丕賳賵丕丿賴貙 卮乇賲爻丕乇 丕夭 賴賲乇夭賲丕賳 賵 賲鬲賳賮乇 丕夭 胤亘賯賴 蹖賽 丕噩鬲賲丕毓蹖 禺賵蹖卮 诏乇賮鬲賴 鬲丕 乇賵丕蹖鬲賽 丨賻賲丕賱蹖 蹖賽 丕賳丿蹖卮賴 诏購乇蹖夭賽 乇丕賳賳丿賴 蹖賽 爻賳丕鬲賵乇蹖 爻禺鬲 丕賴賱 夭賻丿 賵 亘賻賳丿 -倬丿乇賽 賴賲丕賳 乇賵夭賳丕賲賴 賳诏丕乇-貙 丕夭 賮丕丨卮賴 诏丕賳蹖 讴賴 丿爻鬲蹖 亘賴 丿丕賲賳賽 丕氐丨丕亘賽 亘蹖 丕賮爻丕乇賽 賯丿乇鬲 賵 丿爻鬲蹖 亘乇 噩丕賲賽 賮爻丕丿賽 賳蹖乇賵賴丕蹖賽 丕賲賳蹖鬲蹖 丿丕乇賳丿貙 鬲丕 乇賵丕蹖鬲賽 賲丿蹖乇蹖鬲賽 丕匕賴丕賳 鬲賵爻胤 蹖讴 丕賲賳蹖鬲蹖 趩蹖 蹖賽 賳丕亘睾賴 -丿購賳 讴丕蹖賵- 讴賴 夭賳丿诏蹖 賴賲賴 蹖 卮禺氐蹖鬲 賴丕 賲鬲丕孬乇 丕夭 鬲氐賲蹖賲丕鬲賽 丕賵爻鬲
卮丕蹖丿 噩丕賱亘 亘丕卮丿 讴賴 "丿賳 讴丕蹖賵"貙 丕蹖賳 賲丿蹖乇賽 丕賲賳蹖鬲蹖 亘賱賳丿 倬丕蹖賴 賵 倬乇丿賴 賳卮蹖賳貙 亘乇丕蹖賽 賲賳 蹖讴蹖貙 "爻毓蹖丿 丕賲丕賲蹖" 蹖賽 丕蹖賳 乇賲丕賳 噩賱賵賴 賲蹖 讴乇丿貙 賵賻賴 讴賴 趩賴 卮亘丕賴鬲 賴丕蹖賽 賳丕賲蹖賲賵賳蹖
爻毓蹖丿 丕賲丕賲蹖: 賲丕賲賵乇 乇丿賴 亘丕賱丕蹖賽 丕賲賳蹖鬲蹖 賵 賲睾夭賽 賲鬲賮讴乇賽 賯鬲賱 賴丕蹖 夭賳噩蹖乇賴 丕蹖 丿乇 丿賴賴 蹖賽 賴賮鬲丕丿 卮賲爻蹖 丿乇 丕蹖乇丕賳
丕夭 鬲乇噩賲賴 丕诏乇 倬乇爻蹖丿賴 亘丕卮蹖丿
讴鬲丕亘賽 丨丕囟乇 乇購賲丕賳蹖 亘賵丿 賲賻賲賱賵 丕夭 倬丕乇丕诏乇丕賮 賴丕蹖蹖 讴賴 丿乇 囟賲賳賽 蹖讴 丿蹖丕賱賵诏貙 丨丕丿孬賴 賵 蹖丕 禺丕胤乇賴 丕蹖 丕夭 夭亘丕賳賽 乇賵丕蹖丕賳賽 賲禺鬲賱賮 賳賯賱 賲蹖 卮丿. 賮丕氐賱賴 蹖賽 丕丿亘蹖丕鬲賽 诏賮鬲丕乇蹖賽 卮禺氐蹖鬲 賴丕蹖賽 诏賵賳丕诏賵賳賽 讴賴讴卮丕賳蹖 亘賵丿 賵 賲鬲賳 倬乇 丕夭 賳丕賲 賴丕蹖 禺丕氐賽 賱丕鬲蹖賳
丕蹖賳賴丕 乇丕 诏賮鬲賲 鬲丕 亘乇爻賲 亘賴 丕蹖賳讴賴貙 丕蹖賳賴丕 賴賲賴 賳賲蹖鬲賵丕賳丿 丿乇 亘賻乇丕賳丿丕夭賻賲 賳爻亘鬲賽 亘賴 鬲乇噩賲賴 蹖賽 "毓亘丿丕賱賱賴 讴賵孬乇蹖"貙 丨賽爻蹖 噩購夭 鬲丨爻蹖賳 亘乇丕賳诏蹖夭丿
爻賵賲丕
乇賲丕賳賽 丿蹖诏乇蹖 丕夭 蹖賵爻丕 亘賳丕賲賽 "噩賳诏賽 丌禺乇丕賱夭賲丕賳" 禺賵丕賳丿賴 丕賻賲 讴賴 亘蹖卮鬲乇 丕夭 丕蹖賳 蹖讴蹖貙 禺賵丕賳丿賴 賵 氐丿丕賱亘鬲賴 倬爻賳丿蹖丿賴 卮購丿. 賱蹖賳讴賽 乇蹖賵蹖賵蹖賽 丌賳貙 匕蹖賱丕賻賻 鬲賯丿蹖賲 丨囟賵乇 卮賲丕爻鬲
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賳賯賱 亘賴 賲囟賲賵賳 丕夭 賲鬲賳賽 讴鬲丕亘
賲丕乇蹖賵 亘丕乇诏丕爻 蹖賵爻丕貙 賳賵蹖爻賳丿賴 蹖賽 亘乇賳丿賴 蹖賽 賳賵亘賱賽 丕賴賱賽 讴卮賵乇賽 倬乇賵貙 丿乇 丕蹖賳 乇賲丕賳賽 爻蹖丕爻蹖貙 囟賲賳賽 賴賲 氐丨亘鬲蹖賽 丿賵 賳賮乇 丿乇 賲蹖禺丕賳賴 丕蹖 亘賳丕賲賽 "讴丕鬲丿乇丕賱"貙 丿丕爻鬲丕賳 賴丕蹖蹖 賲賵丕夭蹖 賵 丿乇 賴賲 鬲賳蹖丿賴 丕夭 鬲丕乇蹖讴 乇賵卮賳賽 夭賳丿诏蹖賽 趩賳丿 倬乇賵蹖蹖 乇丕 丿乇 亘爻鬲乇蹖 丕夭 鬲丨賵賱丕鬲賽 丕噩鬲賲丕毓蹖 乇賵丕蹖鬲 賲蹖讴賳丿貙 乇賵丕蹖鬲 賴丕蹖蹖 讴賴 诏乇趩賴 賲乇亘賵胤 亘賴 賲賳丕胤賯賽 噩睾乇丕賮蹖丕蹖蹖 賵 胤亘賯丕鬲賽 丕噩鬲賲丕毓蹖 賲禺鬲賱賮 丿乇 禺胤 賵 乇亘胤蹖 倬蹖丿丕 賵 倬賳賴丕賳 亘丕 卮禺氐蹖鬲 賴丕蹖賽 乇賲丕賳 丕爻鬲貙 丕賲丕 亘賴 禺賵亘蹖貙 賳卮丕賳 丕夭 鬲丕孬蹖乇賽 賮乇賴賳诏賽 爻蹖丕爻蹖-丕噩鬲賲丕毓蹖 蹖賽 丨丕讴賲 亘乇 讴卮賵乇貙 丿乇 "爻蹖丕賴 亘禺鬲蹖" 蹖賽 亘賽賴賲 诏乇賴 禺賵乇丿賴 蹖賽 丕賮乇丕丿 賽 賲禺鬲賱賮賽 蹖讴 賲賱鬲 丿丕乇丿貙 讴賴 卮丕蹖丿 賮乇賯賽 丕蹖卮丕賳 亘賽賱丨丕馗賽 胤亘賯賴 蹖賽 丕噩鬲賲丕毓蹖貙 丕夭 夭賲蹖賳 丕爻鬲 鬲丕 亘賴 丌爻賲丕賳
丕賵賱丕
賳賵蹖爻賳丿賴 蹖賽 乇賲丕賳貙 賲卮禺氐丕賻賻 丿乇 賲乇賵乇賽 禺丕胤乇丕鬲賽 卮禺氐蹖鬲 賴丕貙 亘丕 倬卮鬲賽 倬丕 夭丿賳 亘賴 賳馗賲賽 賵 鬲乇鬲蹖亘賽 賲毓賲賵賱賽 乇賵丕蹖鬲賽 夭賲丕賳蹖貙 賲購讴乇乇 丿乇 賲購讴乇乇貙 亘乇丕蹖 乇賵丕蹖鬲蹖 蹖讴爻丕賳貙 丕夭 趩賳丿 乇丕賵蹖賽 丨丕囟乇 賲丿丿 诏乇賮鬲賴 賵 丕賮毓丕賱賽 诏匕卮鬲賴貙 丨丕賱 賵 丌蹖賳丿賴 乇丕 賴賲夭賲丕賳 亘賽讴丕乇 賲蹖 亘賳丿丿. 亘丕蹖丿 丕囟丕賮賴 讴乇丿 丕蹖賳 賲爻卅賱賴 亘賯丿乇蹖 亘丕 賴賳丿爻賴 蹖賽 賳賵卮鬲丕乇 賲賳胤亘賯 丕爻鬲 讴賴 诏丕賴貙 亘丕 馗乇丕賮鬲蹖 爻鬲賵丿賳蹖貙 禺胤賽 爻蹖乇賽 乇賲丕賳 丕夭 "禺賵丿卮" 爻亘賯鬲 賲蹖 诏蹖乇丿
賲卮禺氐丕 亘乇丕蹖賽 賲賳貙 賲賵乇丿賽 賮賵賯 丕賱匕讴乇貙 蹖诏丕賳賴 丿賱蹖賱蹖 丕爻鬲 讴賴 丕蹖賳 乇賲丕賳賽 "蹖賵爻丕" 乇丕 亘賴 賳爻亘鬲賽 乇賲丕賳賽 900氐賮丨賴 丕蹖賽 丿蹖诏乇卮-"噩賳诏 丌禺乇丕賱夭賲丕賳"-貙 爻禺鬲 禺賵丕賳 鬲賻乇 賲蹖讴賳丿. 丕丨鬲賲丕賱 賲蹖 丿賴賲貙 賲爻鬲賳丿 亘賴 丌賳趩賴 賵氐賮賻卮 乇賮鬲貙 讴賻爻乇賽 賯丕亘賱 鬲賵噩賴蹖 丕夭 乇購賮賯丕蹖賽 诏賵丿乇蹖丿夭蹖貙 讴賴 禺賵丿 乇丕 讴鬲丕亘禺賵丕賳賽 "讴賲 丨賵氐賱賴" 丿爻鬲賴 亘賳丿蹖 賲蹖讴賳賳丿貙 丿丕爻鬲丕賳 乇丕 賳蹖賲賴 讴丕乇賴 乇賴丕 讴乇丿賴 賵 讴鬲丕亘 乇丕 亘賴 賯賮爻賴 亘丕夭诏乇丿丕賳賳丿
丿賵賲丕
噩丕賳賽 讴賱丕賲賽 丿丕爻鬲丕賳貙 賲丕噩乇丕蹖賽 乇賵夭賲乇賴 蹖賽 鬲丕孬蹖乇 賵 鬲丕孬乇賽 "鬲賵丿賴" 丕爻鬲 讴賴 鬲丕 亘賵丿賴 賴賲蹖賳 亘賵丿賴貙 鬲賵丿賴 丕蹖 讴賴 丕蹖賳噩丕 丿乇 "倬乇賵"貙 亘賴 鬲賱禺 鬲乇蹖賳 卮讴賱賽 賲賲讴賳貙 亘賴 诏丕賴賽 賲賳丕賮毓 賮乇丿蹖貙 亘賴 賴夭丕乇 賵 蹖讴蹖 乇賳诏 丿乇丌賲丿賴 賵 丿爻鬲賽 夭丿賵亘賳丿 亘賴 丿丕賲賳賽 賴乇 讴爻 賵 賳丕讴爻 爻丕卅蹖蹖丿賴 丕賲丕貙 丌賳 爻丕賳 讴賴 爻禺賳 丕夭 賲氐賱丨鬲賽 毓丕賲賴 亘賵丿賴貙 亘賴 卮讴賱蹖 噩夭蹖乇賴 賵丕乇貙 诏丕賴蹖 丕爻亘賽 诏丕乇蹖 蹖賽 爻蹖丕爻鬲 賲丿丕乇丕賳賽 倬賵倬賵賱蹖爻鬲賽 賱丕鬲蹖賳賽 賯乇賳 亘蹖爻鬲賲蹖 蹖賽 倬乇賵卅蹖 蹖丕 丕賱賵丕胤賽 禺丕賵乇賲蹖丕賳賴 丕蹖 -賲卮禺氐丕賻賻 80-1940 - 卮丿賴 賵 蹖丕 丕蹖賳讴賴 爻蹖丕賴蹖 賱卮诏乇賽 丕賲賳蹖鬲蹖 趩蹖 賴丕 丿乇 丕乇囟丕蹖賽 賲賻胤丕賲毓賽 賴賲丕賳 爻蹖丕爻鬲賲丿丕乇丕賳 丿乇 賳賲丕蹖卮 賴丕蹖 禺蹖丕亘丕賳蹖貙 賵蹖賵丕 诏賵蹖丕賳 賵 賴賵乇丕 讴賽卮丕賳貙 亘蹖 乇賻丿蹖 丕夭 禺賽乇丿賵乇夭蹖
丿乇 丕蹖賳 乇賲丕賳賽 爻禺鬲 禺賵丕賳貙 鬲氐賵蹖乇賴丕 夭蹖丕丿賳丿 賵 賲鬲賯丕胤毓貙 爻禺賳 丕夭 夭賳丿诏蹖 蹖賽 乇賵夭賳丕賲賴 賳诏丕乇蹖 爻乇诏卮鬲賴 賲蹖丕賳賽 賲讴丕鬲亘賽 賮讴乇蹖貙 亘購乇蹖丿賴 丕夭 禺丕賳賵丕丿賴貙 卮乇賲爻丕乇 丕夭 賴賲乇夭賲丕賳 賵 賲鬲賳賮乇 丕夭 胤亘賯賴 蹖賽 丕噩鬲賲丕毓蹖 禺賵蹖卮 诏乇賮鬲賴 鬲丕 乇賵丕蹖鬲賽 丨賻賲丕賱蹖 蹖賽 丕賳丿蹖卮賴 诏購乇蹖夭賽 乇丕賳賳丿賴 蹖賽 爻賳丕鬲賵乇蹖 爻禺鬲 丕賴賱 夭賻丿 賵 亘賻賳丿 -倬丿乇賽 賴賲丕賳 乇賵夭賳丕賲賴 賳诏丕乇-貙 丕夭 賮丕丨卮賴 诏丕賳蹖 讴賴 丿爻鬲蹖 亘賴 丿丕賲賳賽 丕氐丨丕亘賽 亘蹖 丕賮爻丕乇賽 賯丿乇鬲 賵 丿爻鬲蹖 亘乇 噩丕賲賽 賮爻丕丿賽 賳蹖乇賵賴丕蹖賽 丕賲賳蹖鬲蹖 丿丕乇賳丿貙 鬲丕 乇賵丕蹖鬲賽 賲丿蹖乇蹖鬲賽 丕匕賴丕賳 鬲賵爻胤 蹖讴 丕賲賳蹖鬲蹖 趩蹖 蹖賽 賳丕亘睾賴 -丿購賳 讴丕蹖賵- 讴賴 夭賳丿诏蹖 賴賲賴 蹖 卮禺氐蹖鬲 賴丕 賲鬲丕孬乇 丕夭 鬲氐賲蹖賲丕鬲賽 丕賵爻鬲
卮丕蹖丿 噩丕賱亘 亘丕卮丿 讴賴 "丿賳 讴丕蹖賵"貙 丕蹖賳 賲丿蹖乇賽 丕賲賳蹖鬲蹖 亘賱賳丿 倬丕蹖賴 賵 倬乇丿賴 賳卮蹖賳貙 亘乇丕蹖賽 賲賳 蹖讴蹖貙 "爻毓蹖丿 丕賲丕賲蹖" 蹖賽 丕蹖賳 乇賲丕賳 噩賱賵賴 賲蹖 讴乇丿貙 賵賻賴 讴賴 趩賴 卮亘丕賴鬲 賴丕蹖賽 賳丕賲蹖賲賵賳蹖
爻毓蹖丿 丕賲丕賲蹖: 賲丕賲賵乇 乇丿賴 亘丕賱丕蹖賽 丕賲賳蹖鬲蹖 賵 賲睾夭賽 賲鬲賮讴乇賽 賯鬲賱 賴丕蹖 夭賳噩蹖乇賴 丕蹖 丿乇 丿賴賴 蹖賽 賴賮鬲丕丿 卮賲爻蹖 丿乇 丕蹖乇丕賳
丕夭 鬲乇噩賲賴 丕诏乇 倬乇爻蹖丿賴 亘丕卮蹖丿
讴鬲丕亘賽 丨丕囟乇 乇購賲丕賳蹖 亘賵丿 賲賻賲賱賵 丕夭 倬丕乇丕诏乇丕賮 賴丕蹖蹖 讴賴 丿乇 囟賲賳賽 蹖讴 丿蹖丕賱賵诏貙 丨丕丿孬賴 賵 蹖丕 禺丕胤乇賴 丕蹖 丕夭 夭亘丕賳賽 乇賵丕蹖丕賳賽 賲禺鬲賱賮 賳賯賱 賲蹖 卮丿. 賮丕氐賱賴 蹖賽 丕丿亘蹖丕鬲賽 诏賮鬲丕乇蹖賽 卮禺氐蹖鬲 賴丕蹖賽 诏賵賳丕诏賵賳賽 讴賴讴卮丕賳蹖 亘賵丿 賵 賲鬲賳 倬乇 丕夭 賳丕賲 賴丕蹖 禺丕氐賽 賱丕鬲蹖賳
丕蹖賳賴丕 乇丕 诏賮鬲賲 鬲丕 亘乇爻賲 亘賴 丕蹖賳讴賴貙 丕蹖賳賴丕 賴賲賴 賳賲蹖鬲賵丕賳丿 丿乇 亘賻乇丕賳丿丕夭賻賲 賳爻亘鬲賽 亘賴 鬲乇噩賲賴 蹖賽 "毓亘丿丕賱賱賴 讴賵孬乇蹖"貙 丨賽爻蹖 噩購夭 鬲丨爻蹖賳 亘乇丕賳诏蹖夭丿
爻賵賲丕
乇賲丕賳賽 丿蹖诏乇蹖 丕夭 蹖賵爻丕 亘賳丕賲賽 "噩賳诏賽 丌禺乇丕賱夭賲丕賳" 禺賵丕賳丿賴 丕賻賲 讴賴 亘蹖卮鬲乇 丕夭 丕蹖賳 蹖讴蹖貙 禺賵丕賳丿賴 賵 氐丿丕賱亘鬲賴 倬爻賳丿蹖丿賴 卮購丿. 賱蹖賳讴賽 乇蹖賵蹖賵蹖賽 丌賳貙 匕蹖賱丕賻賻 鬲賯丿蹖賲 丨囟賵乇 卮賲丕爻鬲
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February 15, 2018
Fantastic! Fan-tastic! "Conversation in the Cathedral" was definitely a big work of art, a real masterpiece. It was the first book by Llosa that I read (after a suggestion by my friend, ) and I'm now eager to read some more of his. It was none of a magic realism but yet a pure South-American way of story telling, with so many "stories" happening.
The book starts when Santiago Zavala, journalist, meets with his rich father's former chauffeur, Ambrosio, and they go to the bar "Cathedral" to have some beer and talk. They talk about their pasts and remember different stories from the very old times till the present. The whole book (about 700 pages) is the stories these two old fellas remember and retell.
Apart from the great tales Llosa has put in his characters' mouths and brains, "Conversation in the Cathedral" is a big achievement in story telling. As the two get drunk, they start mixing things up. The result is that almost everywhere in the book, we have parallel stories, all being narrated at the same time. Specially at the time when the pals are most drunken, there are chapters in which four stories are being told simultaneously, in a way that each sentence belongs to one of them, and these sentences are not put in any specific order. Actually, there are times that you should decide that the sentence you are reading belongs to one story or the other. It seems even that the author gets drunk with his characters too, since from time to time he starts telling tales about places in which none of the fells were present. This parallel story telling is kept throughout the book, though it changes the style, i.e. when the guys regain a part of their consciousness, they continue telling their stories in turns, and in bigger slices: two pages each turn.
Llosa's great style of writing has made this book a brilliant oeuvre of literature, a big "must read" for novel lovers and a real "coursebook" for whoever wants to write anything literal one day. He has made a great source of joy and surprise, which I doubt that will ever get outdated.
P.S: I should thank God for giving us Abdollah Kosari! I read his translation of the book, and I should confess that it was a very great one, letting me devour the novel wholeheartedly and confidently.
The book starts when Santiago Zavala, journalist, meets with his rich father's former chauffeur, Ambrosio, and they go to the bar "Cathedral" to have some beer and talk. They talk about their pasts and remember different stories from the very old times till the present. The whole book (about 700 pages) is the stories these two old fellas remember and retell.
Apart from the great tales Llosa has put in his characters' mouths and brains, "Conversation in the Cathedral" is a big achievement in story telling. As the two get drunk, they start mixing things up. The result is that almost everywhere in the book, we have parallel stories, all being narrated at the same time. Specially at the time when the pals are most drunken, there are chapters in which four stories are being told simultaneously, in a way that each sentence belongs to one of them, and these sentences are not put in any specific order. Actually, there are times that you should decide that the sentence you are reading belongs to one story or the other. It seems even that the author gets drunk with his characters too, since from time to time he starts telling tales about places in which none of the fells were present. This parallel story telling is kept throughout the book, though it changes the style, i.e. when the guys regain a part of their consciousness, they continue telling their stories in turns, and in bigger slices: two pages each turn.
Llosa's great style of writing has made this book a brilliant oeuvre of literature, a big "must read" for novel lovers and a real "coursebook" for whoever wants to write anything literal one day. He has made a great source of joy and surprise, which I doubt that will ever get outdated.
P.S: I should thank God for giving us Abdollah Kosari! I read his translation of the book, and I should confess that it was a very great one, letting me devour the novel wholeheartedly and confidently.
November 24, 2024
賵賯鬲蹖 禺賵賳丿賲 蹖賵爻丕 诏賮鬲賴: 芦丕诏乇 賲噩亘賵乇 卮賵賲 乇賵夭蹖 丕夭 賲蹖丕賳 丌鬲卮 賮賯胤 蹖讴蹖 丕夭 讴鬲丕亘鈥屬囏й屬� 乇丕 賳噩丕鬲 丿賴賲貙 丌賳 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱 丕爻鬲.禄 賮賴賲蹖丿賲 讴賴 賯乇丕乇賴 乇賵夭賴丕蹖 爻禺鬲蹖 乇賵 亘丕 讴鬲丕亘 亘诏匕乇賵賳賲貙 爻禺鬲 賵 賱匕鬲鈥屫ㄘ�. 丕蹖賳 讴鬲丕亘 亘蹖卮鬲乇 丕夭 賴乇 讴鬲丕亘 丿蹖诏賴 賵賯鬲 賲賳賵 诏乇賮鬲 趩賵賳 亘丕乇賴丕 賵 亘丕乇賴丕 卮丿 讴賴 蹖讴 氐賮丨賴 乇賵 趩賳丿蹖賳 亘丕乇 亘禺賵賳賲 賲禺氐賵氐丕 丿乇 蹖讴 爻賵賲 丕亘鬲丿丕蹖 讴鬲丕亘 丕賱亘鬲賴 丕賱丕賳 讴賴 鬲賲賵賲 卮丿賴 賲蹖賮賴賲賲 讴賴 賯乇丕乇 賳亘賵丿賴 丕夭 賴賲賵賳 丕賵賱 賴賲賴 趩蹖夭 乇賵 亘賮賴賲賲 賵 賮賯胤 亘丕蹖丿 亘丕 鬲賲乇讴夭 亘賴 匕賴賳 賲蹖鈥屫迟矩必� 鬲丕 讴賲鈥屭┵� 賴賲賴 趩蹖夭 乇賵卮賳 亘卮賴. 鬲氐賵乇 讴賳蹖丿 蹖讴 賲賯氐丿 禺賵卮 丌亘 賵 賴賵丕蹖 賮賵賯鈥屫з勜关ж� 夭蹖亘丕 丿丕乇蹖賲 亘丕 蹖讴 賲爻蹖乇 氐毓亘鈥屫з勜关ㄙ堌必� 丕蹖賳 讴鬲丕亘 丿賯蹖賯丕 亘乇丕蹖 賲賳 賴賲蹖賳 丨丕賱鬲 乇賵 丿丕卮鬲 賵 禺賵卮丨丕賱賲 讴賴 丿乇 胤賵賱 丕賵賳 賲爻蹖乇 氐毓亘鈥屫з勜关ㄙ堌� 亘蹖禺蹖丕賱 賲賯氐丿 賳卮丿賲. 蹖讴 乇賵夭 亘丕夭 丕蹖賳 讴鬲丕亘 乇賵 禺賵丕賴賲 禺賵丕賳丿 賵 卮丕蹖丿 丕夭 賲毓丿賵丿 讴鬲丕亘賴丕蹖蹖 亘丕卮賴 讴賴 丿賵亘丕乇賴 賲蹖禺賵賳賲 丨鬲賲丕 丕賲丕 賳賴 賮賵乇丕賸. 丕賲丕 丿乇 賲賵乇丿 丿丕爻鬲丕賳貙 讴鬲丕亘 亘丕 爻丕賳鬲蹖丕诏賵 夭丕賵丕賱丕 卮乇賵毓 賲蹖卮賴 蹖讴鈥� 禺亘乇賳诏丕乇 噩賵丕賳 讴賴 丿乇 乇賵夭賳丕賲賴鈥屫й� 丕禺蹖乇丕賸 丿乇 賲賵乇丿 賴丕乇蹖 賲胤賱亘 賲蹖鈥屬嗁堐屫迟� 趩賵賳 丿乇丿爻乇卮 丕夭 賳賵卮鬲賳 丿乇 賲賵乇丿 賵蹖鬲賳丕賲 賵 讴賵亘丕 讴賲鬲乇賴! 賴賲賵賳 丕亘鬲丿丕蹖 讴鬲丕亘 爻丕賳鬲蹖丕诏賵 丿賵 鬲丕 爻賵丕賱 亘乇丕蹖 禺賵丿卮 賲胤乇丨 賲蹖鈥屭┵嗁囏� 讴蹖 賵 趩诏賵賳賴 倬乇賵 禺賵丿卮 乇賵 亘賴 诏丕噩 丿丕丿 賵 禺賵丿 賲賳 趩胤賵乇責 賲賳 讴蹖 禺賵丿賲 乇賵 亘賴 诏丕噩 丿丕丿賲. 丕蹖賳 讴鬲丕亘 趩賳丿 氐丿 氐賮丨賴 亘賴 丿賳亘丕賱 倬丕爻禺 丕蹖賳 倬乇爻卮鈥屬囏ж池�. 蹖讴 乇賵夭 讴賴 爻丕賳鬲蹖丕诏賵 亘賴 禺賵賳賴 賲蹖乇賴 賲鬲賵噩賴 亘蹖鈥屫жㄛ� 賴賲爻乇卮 賲蹖卮賴 賵 丕賵賳噩丕爻鬲 讴賴 賲蹖鈥屬佡囐呝� 賲丕賲賵乇丕賳 爻诏卮賵賳 乇賵 亘乇丿賳 賵 爻乇蹖毓 亘賴 丿賳亘丕賱 爻诏 賲蹖乇賴. 丿乇 賲丨賱 賳诏賴丿丕乇蹖 賵 讴卮鬲賳 爻诏鈥屬囏� 丌賲亘乇賵爻蹖賵 乇賵 賲蹖亘蹖賳賴貙 乇丕賳賳丿賴鈥屰� 倬丿乇卮 丿乇 诏匕卮鬲賴. 亘丕 丌賲亘乇賵爻蹖賵 亘賴 蹖讴 亘丕乇 亘賴 丕爻賲 讴丕鬲丿乇丕賱 賲蹖乇賳 賵 丕賵賳噩丕 卮乇賵毓 亘賴 氐丨亘鬲 賵 诏賮鬲诏賵 賲蹖鈥屭┵嗁嗀� 诏賮鬲诏賵蹖蹖 讴賴 亘賴 賯賵賱 賲鬲乇噩賲 亘乇 禺賱丕賮 鬲氐賵乇 丿乇 賴賲賵賳 氐賮丨丕鬲 丕亘鬲丿丕蹖蹖 鬲賲賵賲 賳賲蹖卮賴 賵 鬲丕 丕賳鬲賴丕蹖 讴鬲丕亘 丕丿丕賲賴 丿丕乇賴. 讴鬲丕亘 鬲丕 賴賲蹖賳 噩丕賴丕蹖 丿丕爻鬲丕賳 賴賳賵夭 丌賳趩賳丕賳 爻禺鬲鈥屫堌з� 賳蹖爻鬲 賵賱蹖 丕夭 卮乇賵毓 诏賮鬲诏賵鈥屬囏� 趩賳丕賳 夭賲丕賳 賵 賲讴丕賳 丿乇 賴賲 倬蹖趩蹖丿賴 賲蹖卮賴 讴賴 诏丕賴蹖 噩賵丕亘 丿乇爻鬲 蹖讴 噩賲賱賴 丕夭 賳馗乇 夭賲丕賳蹖 賵 賲讴丕賳蹖 賲賲讴賳賴 丿乇 蹖讴蹖 丿賵 氐賮丨賴鈥屰� 亘毓丿 丿丕丿賴 亘卮賴. 诏丕賴蹖 丿賴 噩賲賱賴鈥屰� 賳賵卮鬲賴 卮丿賴 亘賴 氐賵乇鬲 丿蹖丕賱賵诏貙 賲乇亘賵胤 亘賴 爻賴 诏賮鬲诏賵 賵 丿乇 爻賴 夭賲丕賳賴 讴賴 卮丕蹖丿 賮賯胤 亘賴 禺丕胤乇 蹖讴 讴賱賲賴 卮亘丕賴鬲 丿賳亘丕賱 賴賲 丕賵賲丿賳. 丿乇 亘蹖賳 丕蹖賳 诏賮鬲诏賵 丕夭 夭賳丿诏蹖 丕蹖賳 丿賵 賳賮乇 丌诏丕賴 賲蹖卮蹖賲貙 丕蹖賳讴賴 爻丕賳鬲蹖丕诏賵 倬爻乇 蹖讴 爻蹖丕爻鬲賲丿丕乇 賯丿乇鬲賲賳丿 賵 丕賱亘鬲賴 孬乇賵鬲賲賳丿賴貙 丕蹖賳讴賴 爻丕賳鬲蹖丕诏賵 亘丕 倬丿乇卮 夭丕賵蹖賴 丿丕乇賴 賵 賲丿鬲蹖 亘賴 丨夭亘 讴賲賵賳蹖爻鬲 倬蹖賵爻鬲賴 丕賲丕 亘賴 丕賴丿丕賮 賵 丌乇夭賵賴丕卮 賳乇爻蹖丿賴貙 賵 丕蹖賳讴賴 丌賲亘乇爻蹖賵 趩賴 夭賳丿诏蹖 爻禺鬲蹖 丿丕卮鬲賴 賵 亘賴 趩賴 讴丕乇賴丕蹖蹖 丿爻鬲 夭丿賴. 丿乇 禺賱丕賱 丕蹖賳 诏賮鬲诏賵 賵 诏賮鬲诏賵賴丕蹖 丿蹖诏賴 蹖讴 丿賵乇賴鈥屰� 鬲丕乇蹖禺蹖 丨丿賵丿 鄯-鄹 爻丕賱賴 丕夭 倬乇賵 賳賲丕蹖卮 丿丕丿賴 賲蹖卮賴貙 蹖讴 丿賵乇賴鈥屰� 丿蹖讴鬲丕鬲賵乇蹖 賳馗丕賲蹖 讴賴 丨鬲蹖 诏賮鬲诏賵 丿乇 賲讴丕賳鈥屬囏й� 毓賲賵賲蹖 噩丕蹖夭 賳蹖爻鬲 賵 賴乇 卮禺氐 诏賵蹖丕 亘乇丕蹖 禺賵丿卮 蹖讴 倬丕 丿蹖讴鬲丕鬲賵乇賴貙 賴賲賵賳鈥屫焚堌� 讴賴 蹖賵爻丕 賲蹖诏賴: 芦亘蹖卮鬲乇 丕夭 丌賳 讴賴 丿蹖讴鬲丕鬲賵乇 亘夭乇诏 賮丕噩毓賴 亘丕卮丿貙 丿蹖讴鬲丕鬲賵乇賴丕蹖 讴賵趩讴 讴賴 丿乇 丕氐賱 禺賵丿 賲賱鬲 丕賳丿 賮丕噩毓賴 賴爻鬲賳丿.禄 丿乇 賳賴丕蹖鬲 丿乇 讴鬲丕亘 丕賵囟丕毓 賵禺蹖賲 倬乇賵 賵 丕賴丕賱蹖 倬乇賵 丿乇 匕蹖賱 丿蹖讴鬲丕鬲賵乇蹖 賳馗丕賲蹖 亘賴 賳賲丕蹖卮 丿乇 丕賵賲丿賴. 趩賳丿 噩賲賱賴 丕夭 讴鬲丕亘 乇賵 賲蹖賳賵蹖爻蹖賲 讴賴 賮讴乇 賲蹖讴賳賲 丕賵賱蹖貙 賲毓乇賵賮鈥屫臂屬� 噩賲賱賴鈥屰� 讴鬲丕亘 亘丕卮賴
丕蹖賳噩丕 丌丿賲鈥屬囏� 毓賵囟 賲蹖鈥屫促堎嗀� 賳賴 丕賵囟丕毓.
丿蹖诏乇 賳賲蹖鈥屫堌з嗁� 蹖讴 噩賵乇 夭賳丿诏蹖 讴賳賲 賵 賮讴乇賲 噩賵乇 丿蹖诏乇 亘丕卮丿.
丿賳 賮乇賲蹖賳 诏賮鬲: 芦賴賲賴 丕夭 丕賵丿乇蹖丕 卮讴丕蹖鬲 丿丕卮鬲賳丿 趩賵賳 賲蹖鈥屫藏屫�. 丕賲乇賵夭 賴賲丕賳 賯丿乇 丿夭丿蹖 賴爻鬲貙 丨鬲蹖 亘蹖卮鬲乇貙 丌賳 賵賯鬲 賴賲賴鈥屭┴� 賴賲 乇丕囟蹖 丕爻鬲.禄
诏賮鬲: 丕賳鬲禺丕亘丕鬲 馗丕賴乇爻丕夭蹖 丕爻鬲, 爻乇賴賳诏, 丕賲丕 蹖讴 馗丕賴乇爻丕夭蹖 賱丕夭賲... 诏乇蹖賳诏賵賴丕 亘賴 馗丕賴乇爻丕夭蹖 毓賯蹖丿賴 丿丕乇賳丿, 亘丕蹖丿 賲賳馗賵乇卮丕賳 乇丕 丿乇讴 讴賳蹖賲. 丌賳賴丕 丕夭 跇賳乇丕賱 乇丕囟蹖 丕賳丿 賵 鬲賳賴丕 趩蹖夭蹖 讴賴 賲蹖 禺賵丕賴賳丿 丕蹖賳 丕爻鬲 讴賴 馗賵丕賴乇 丿賲賵讴乇丕鬲蹖讴 丨賮馗 卮賵丿. 賵賯鬲蹖 丕賵丿乇蹖丕 乇蹖蹖爻 噩賲賴賵乇 賲賳鬲禺亘 亘卮賵丿 亘丕 丌睾賵卮 亘丕夭 亘賴 賲丕 丕毓鬲亘丕乇 賲蹖 丿賴賳丿.
賲诏乇 卮賲丕 倬乇賵蹖蹖 賴丕 乇丕 賳賲蹖 卮賳丕爻蹖丿... 賲丕 賲乇丿賲 睾乇蹖亘蹖 賴爻鬲蹖賲, 丿賵爻鬲 丿丕乇蹖賲 丕夭 亘丕夭賳丿賴 丨賲丕蹖鬲 讴賳蹖賲, 丕夭 讴爻蹖 讴賴 賯丿乇鬲 賳丿丕乇丿.
賲賳 賯氐丿 賳丿丕乇賲 丿乇 趩蹖夭蹖 丿讴鬲乇 卮賵賲. 鬲賵蹖 丕蹖賳 賲賲賱讴鬲 賴乇讴爻蹖 讴賴 賲蹖 亘蹖賳蹖 丿讴鬲乇 蹖讴 趩蹖夭蹖 爻鬲.
April 9, 2015
This is the best novel I鈥檝e read in my 45 years of life. It is probably due to the fact that being Peruvian makes me feel deeply identified in it. I see it as a huge painting about the mentality and feelings of people in Peru and why not of people in many other countries in Latin America and probably around the world since the search of absolute power inevitably leads to corruption everywhere.
This is a huge painting and indeed the most memorable intent to reach a 鈥淭otal Novel鈥� that I witnessed. In a parallel way that 鈥淥ne hundred years of solitude鈥� portrays with enormous beauty that Caribbean sentiment through Macondo, this masterpiece depicts ruthlessly its own reality without any magic in it even though some facts could appear incredible to many western eyes. As time goes by this monument endures and even gets better in predicting human behavior and the proof is that the same facts just with different protagonists occurred again in Peru at the end of the 90鈥檚 with Fujimori and Montesinos.
The style can be complicated but don鈥檛 take it personal, read it as you were enjoying your spare time, be patient, slowly make the pieces of this perfect and huge puzzle fit and you鈥檒l see how everything starts to make sense, start to appreciate the whole panorama and to detect the profound implications of this simple bunch of papers that in the hands of one of the best gifted writers of this world turns in a timeless message of life.
Since that day in the middle 80鈥檚 when I read it for the first time my life changed irreversibly, my juvenile and optimistic visions crashed the sad wall of reality but for good. It can be seen as unnecessarily bleak and it is certainly sad but even though reading it can be similar to listen to a doctor tell you that you have just few months of life remaining, you can obtain an invaluable gift of it. It can help you to focus on what is really important. You can also see it as a mediocrity eulogy when it implies decency that is finally what Santiago chooses for himself after being deeply disappointed of his surroundings.
I鈥檝e read it many times and every time I close its last page I confirm that almost everything is just sadly ephemeral and that it is very limited what we can do about it, everything will decay and get eventually screwed with or without you, just focus on what you can do to be better off and try to do it and when it fails move on. It is very likely that after 500 hundred years and onwards this novel will be still read it and appreciated as it deserves. To my personal taste it is one fundamental column of the universal literature building.
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Esta es la mejor novela que he le铆do en mis 45 a帽os de vida, probablemente siendo peruano sea esta la consecuencia de sentirme profundamente identificado con ella al percibirla como un mural que retrata con tal precisi贸n las mentalidades, sentimientos y vivencias tan propios de este pa铆s pero con seguridad tambi茅n de muchos otros pa铆ses, sobretodo latinoamericanos. Es una pintura de tal magnitud que engloba un mundo en s铆 misma, el m谩s memorable intento de novela total del que he sido testigo. As铆 como en forma paralela Cien a帽os de soledad, tambi茅n una maravillosa novela, retrata ese sentir tan Caribe y expresa con tan enorme belleza ese mundo a trav茅s de Macondo, "Conversaci贸n" retrata con la frialdad de un forense su propia realidad que no tiene nada de m谩gica aunque para algunos pueda parecer a veces incre铆ble. Con una sensaci贸n de tiempo pendular la misma historia, con los mismos m茅todos pero diferentes protagonistas se repetir铆a hacia fines de los 90 con Fujimori y Montesinos.
Del estilo ya se ha hablado mucho, hay que tener paciencia ya que cual conversaci贸n entre dos personas que se ven despu茅s de mucho tiempo, las an茅cdotas y recuerdos se mezclan, di谩logos y personajes de tiempos y lugares diferentes en una misma p谩gina en p谩rrafos diferentes, poco a poco vamos reconstruyendo mentalmente este rompecabezas y aunque muchas veces sabemos el final de muchas de sus peque帽as historias, lo importante no es precisamente el final sino el detalle de c贸mo se llega al mismo, una sensaci贸n de ca铆da luego de haber llegado al punto m谩s alto, una monta帽a rusa de acontecimientos.
Despu茅s de aquel lejano d铆a en los 80 en que la le铆 por primera vez, y quiz谩s porque lo hice precisamente cuando el Per煤 andaba tan "jodido", mi vida no volvi贸 a ser la misma, mi visi贸n juvenil sobre mi pa铆s y sobre el mundo se estrell贸 contra la perversa realidad, a帽os despu茅s a fines de los 90 comprob茅 que nuestra naturaleza no cambia, los m茅todos se estilizan pero los fines permanecen. Es cierto que puede ser vista como una novela pesimista, incluso negra pero es absurda y vomitivamente real, leerla es como escuchar al m茅dico decirte que te quedan meses de vida, al estilo de Hesse en El Lobo Estepario puede asaltarte un sentimiento de desasosiego o como con Murakami en "Tokyo Blues" hasta un impulso hacia el suicidio pero en el fondo puedes interpretarla hasta como un elogio a la mediocridad cuando esta es al menos medianamente decente, que es lo que finalmente se impone a s铆 mismo Santiago. Por el contrario Ambrosio es una v铆ctima m谩s del clasismo, racismo y dem谩s taras de esta sociedad que hasta hoy, aunque atenuadas ligeramente, a煤n persisten. Hay que leerla con criterio y sacar tus propias conclusiones, incluso hasta un mensaje positivo.
Aunque tenga poco que ver con este g茅nero, Asimov en "Fundaci贸n" acu帽a una frase genial en boca de los sicomatem谩ticos que predicen una inminente ca铆da del imperio "La inercia de una civilizaci贸n es m谩s grande que las voluntades de sus miembros", todo se va a joder contigo o sin ti, todos nos vamos a morir sin importar lo que hagamos para evitarlo, puede parecer descorazonador pero interiorizar esta realidad te obliga a ver el mundo de otra forma, a fijar tus prioridades, s茅 consciente de tu peque帽a magnitud y trata de hacer algo que valga la pena con tu ef铆mera vida.
La he vuelto a leer varias veces, la he terminado otra vez hace dos semanas y creo como dijo alguien por ah铆 que es una novela en la que uno esperar铆a que su autor muera inmediatamente despu茅s de haber escrito su 煤ltima palabra, haberlo hecho antes de los 30 a帽os s贸lo nos confirma (aunque no podamos ser testigos de ello) que muy probablemente pasar谩n 500 a帽os y se seguir谩 leyendo a Mario Vargas Llosa. Esta novela junto a la Guerra del Fin del Mundo y la Fiesta del Chivo son a mi gusto, tres ladrillos fundamentales del gran muro de la literatura universal.
This is a huge painting and indeed the most memorable intent to reach a 鈥淭otal Novel鈥� that I witnessed. In a parallel way that 鈥淥ne hundred years of solitude鈥� portrays with enormous beauty that Caribbean sentiment through Macondo, this masterpiece depicts ruthlessly its own reality without any magic in it even though some facts could appear incredible to many western eyes. As time goes by this monument endures and even gets better in predicting human behavior and the proof is that the same facts just with different protagonists occurred again in Peru at the end of the 90鈥檚 with Fujimori and Montesinos.
The style can be complicated but don鈥檛 take it personal, read it as you were enjoying your spare time, be patient, slowly make the pieces of this perfect and huge puzzle fit and you鈥檒l see how everything starts to make sense, start to appreciate the whole panorama and to detect the profound implications of this simple bunch of papers that in the hands of one of the best gifted writers of this world turns in a timeless message of life.
Since that day in the middle 80鈥檚 when I read it for the first time my life changed irreversibly, my juvenile and optimistic visions crashed the sad wall of reality but for good. It can be seen as unnecessarily bleak and it is certainly sad but even though reading it can be similar to listen to a doctor tell you that you have just few months of life remaining, you can obtain an invaluable gift of it. It can help you to focus on what is really important. You can also see it as a mediocrity eulogy when it implies decency that is finally what Santiago chooses for himself after being deeply disappointed of his surroundings.
I鈥檝e read it many times and every time I close its last page I confirm that almost everything is just sadly ephemeral and that it is very limited what we can do about it, everything will decay and get eventually screwed with or without you, just focus on what you can do to be better off and try to do it and when it fails move on. It is very likely that after 500 hundred years and onwards this novel will be still read it and appreciated as it deserves. To my personal taste it is one fundamental column of the universal literature building.
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Esta es la mejor novela que he le铆do en mis 45 a帽os de vida, probablemente siendo peruano sea esta la consecuencia de sentirme profundamente identificado con ella al percibirla como un mural que retrata con tal precisi贸n las mentalidades, sentimientos y vivencias tan propios de este pa铆s pero con seguridad tambi茅n de muchos otros pa铆ses, sobretodo latinoamericanos. Es una pintura de tal magnitud que engloba un mundo en s铆 misma, el m谩s memorable intento de novela total del que he sido testigo. As铆 como en forma paralela Cien a帽os de soledad, tambi茅n una maravillosa novela, retrata ese sentir tan Caribe y expresa con tan enorme belleza ese mundo a trav茅s de Macondo, "Conversaci贸n" retrata con la frialdad de un forense su propia realidad que no tiene nada de m谩gica aunque para algunos pueda parecer a veces incre铆ble. Con una sensaci贸n de tiempo pendular la misma historia, con los mismos m茅todos pero diferentes protagonistas se repetir铆a hacia fines de los 90 con Fujimori y Montesinos.
Del estilo ya se ha hablado mucho, hay que tener paciencia ya que cual conversaci贸n entre dos personas que se ven despu茅s de mucho tiempo, las an茅cdotas y recuerdos se mezclan, di谩logos y personajes de tiempos y lugares diferentes en una misma p谩gina en p谩rrafos diferentes, poco a poco vamos reconstruyendo mentalmente este rompecabezas y aunque muchas veces sabemos el final de muchas de sus peque帽as historias, lo importante no es precisamente el final sino el detalle de c贸mo se llega al mismo, una sensaci贸n de ca铆da luego de haber llegado al punto m谩s alto, una monta帽a rusa de acontecimientos.
Despu茅s de aquel lejano d铆a en los 80 en que la le铆 por primera vez, y quiz谩s porque lo hice precisamente cuando el Per煤 andaba tan "jodido", mi vida no volvi贸 a ser la misma, mi visi贸n juvenil sobre mi pa铆s y sobre el mundo se estrell贸 contra la perversa realidad, a帽os despu茅s a fines de los 90 comprob茅 que nuestra naturaleza no cambia, los m茅todos se estilizan pero los fines permanecen. Es cierto que puede ser vista como una novela pesimista, incluso negra pero es absurda y vomitivamente real, leerla es como escuchar al m茅dico decirte que te quedan meses de vida, al estilo de Hesse en El Lobo Estepario puede asaltarte un sentimiento de desasosiego o como con Murakami en "Tokyo Blues" hasta un impulso hacia el suicidio pero en el fondo puedes interpretarla hasta como un elogio a la mediocridad cuando esta es al menos medianamente decente, que es lo que finalmente se impone a s铆 mismo Santiago. Por el contrario Ambrosio es una v铆ctima m谩s del clasismo, racismo y dem谩s taras de esta sociedad que hasta hoy, aunque atenuadas ligeramente, a煤n persisten. Hay que leerla con criterio y sacar tus propias conclusiones, incluso hasta un mensaje positivo.
Aunque tenga poco que ver con este g茅nero, Asimov en "Fundaci贸n" acu帽a una frase genial en boca de los sicomatem谩ticos que predicen una inminente ca铆da del imperio "La inercia de una civilizaci贸n es m谩s grande que las voluntades de sus miembros", todo se va a joder contigo o sin ti, todos nos vamos a morir sin importar lo que hagamos para evitarlo, puede parecer descorazonador pero interiorizar esta realidad te obliga a ver el mundo de otra forma, a fijar tus prioridades, s茅 consciente de tu peque帽a magnitud y trata de hacer algo que valga la pena con tu ef铆mera vida.
La he vuelto a leer varias veces, la he terminado otra vez hace dos semanas y creo como dijo alguien por ah铆 que es una novela en la que uno esperar铆a que su autor muera inmediatamente despu茅s de haber escrito su 煤ltima palabra, haberlo hecho antes de los 30 a帽os s贸lo nos confirma (aunque no podamos ser testigos de ello) que muy probablemente pasar谩n 500 a帽os y se seguir谩 leyendo a Mario Vargas Llosa. Esta novela junto a la Guerra del Fin del Mundo y la Fiesta del Chivo son a mi gusto, tres ladrillos fundamentales del gran muro de la literatura universal.
October 10, 2020
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丿丕爻鬲丕賳 丕夭 丌丿賲鈥屬囏й� 倬乇賵 丿乇 丿賴賴 賴丕蹖 鄞郯 賵 鄣郯 賲蹖诏賴 賵 賮爻丕丿蹖 讴賴 诏乇蹖亘丕賳诏蹖乇卮賳貙 賲乇丿賲蹖 讴賴 趩賴 丌丿賲鈥屬囏й� 毓丕丿蹖 亘丕卮賳 趩賴 丿乇 乇丕爻 丿賵賱鬲 賵 丨讴賵賲鬲貙 鬲賵 丕蹖賳 诏乇丿丕亘 丿爻鬲 賵 倬丕 賲蹖夭賳賳. 賴蹖趩鈥屭┴� 丿乇 丕蹖賳噩丕 禺賵亘 賲胤賱賯 賳蹖爻鬲貙 丌丿賲鈥屬囏й� 亘丿 夭蹖丕丿賳丿... 賵 倬乇賵 賵 丌丿賲鈥屬囏ж� 賴乇 乇賵夭 亘蹖卮鬲乇 丕夭 賯亘賱 丿乇 鬲亘丕賴蹖 賮乇賵 賲蹖乇賳.
賲賳 賴賲蹖卮賴 亘賴 賲毓賳丕蹖 賵丕賯毓蹖 賲噩匕賵亘 噩賳爻 乇賵丕蹖鬲 蹖賵爻丕 賲蹖卮賲. 禺丕乇賯鈥屫з勜关ж� 賵 賲賳丨氐乇 亘賴 賮乇丿賴. 丕蹖賳賴賲賴 噩夭卅蹖丕鬲 賲賴賳丿爻蹖 卮丿賴 賵 胤乇丨卮賵賳貙 賲禺氐賵氐丕 丿乇 賮氐賱蹖 讴賴 趩賴丕乇 丕鬲賮丕賯 賵 诏賮鬲诏賵 丿乇 趩賴丕乇 賲讴丕賳 賵 夭賲丕賳 賲鬲賮丕賵鬲 乇賵 賴賲 夭賲丕賳 倬蹖卮 賲蹖 亘乇賴 亘蹖鈥屫з嗀ж操� 卮诏賮鬲 夭丿鬲賵賳 賲蹖讴賳賴.
賵 丕賱亘鬲賴 賴賲趩賳丕賳 亘蹖鈥屫地ㄘ必з嗁� 賲卮鬲丕賯 賵 賴蹖噩丕賳鈥屫藏団€屫з� 亘乇丕蹖 禺賵賳丿賳 丿蹖诏乇 丌孬丕乇卮貙 讴賴 賯胤毓丕 賴乇讴丿賵賲 趩賴乇賴鈥屰� 賲鬲賮丕賵鬲蹖 丕夭 爻蹖丕賴蹖 賵 鬲丕乇蹖讴蹖 爻蹖丕爻鬲 乇賵 賳賲丕蹖丕賳 賲蹖鈥屭┵嗁嗀�.
丿丕爻鬲丕賳 亘丕 诏賮鬲诏賵蹖 丿賵 卮禺氐蹖鬲 丕氐賱蹖 丿丕爻鬲丕賳 丿乇 讴丕賮賴鈥屫й� 卮乇賵毓 賲蹖卮賴 賵 丕蹖賳 诏賮鬲诏賵 鬲丕 丌禺乇蹖賳 氐賮丨丕鬲 丕丿丕賲賴 丿丕乇賴貙 丕賲丕 丕夭 禺賱丕賱 賴賲蹖賳 诏賮鬲诏賵貙 卮禺氐蹖鬲鈥屬囏� 賵 丕鬲賮丕賯丕鬲蹖 丕夭 诏匕卮鬲賴鈥屫з� 讴賴 賯氐賴 乇賵 卮讴賱 賲蹖丿賳.
讴鬲丕亘 鄞 亘禺卮賴 讴賴 亘賳馗乇賲 亘禺卮 丕賵賱 爻禺鬲鈥屫臂屬� 賵 倬蹖趩蹖丿賴鈥屫臂屬嗁囏� 亘乇丕蹖 禺賵丕賳賳丿賴鈥屫й� 讴賴 丕亘鬲丿丕 亘丕 讴賱蹖 丕亘賴丕賲貙 丕爻賲 賵 丕鬲賮丕賯 亘丿賵賳 賴蹖趩 鬲賵囟蹖丨蹖 賲賵丕噩賴 賲蹖卮賴 賵 賴乇趩蹖 倬蹖卮鈥屫� 賲蹖乇賴 丕亘賴丕賲鈥屬囏� 亘蹖卮鬲乇 賲蹖卮賳貙 賴賲鈥屫迟� 卮丿賳 亘丕 丿丕爻鬲丕賳 禺蹖賱蹖 爻禺鬲賴. 丕賲丕 丕诏乇 賴賲賴鈥屰� 鬲賲乇讴夭 賵 丿賯鬲 乇賵 亘賴 讴丕乇 亘诏蹖乇蹖 賵 卮诏賮鬲 夭丿賴 丕夭 賳賵毓 乇賵丕蹖鬲 蹖賵爻丕 倬蹖卮 亘乇蹖 丿乇 亘禺卮鈥屬囏й� 亘毓丿蹖 賴賲賴鈥屭嗃屫� 卮賮丕賮鈥屫辟� 賵 诏乇賴鈥屬囏� 讴賲 讴賲 亘丕夭 賲蹖卮賳.
丿丕爻鬲丕賳 丕夭 丌丿賲鈥屬囏й� 倬乇賵 丿乇 丿賴賴 賴丕蹖 鄞郯 賵 鄣郯 賲蹖诏賴 賵 賮爻丕丿蹖 讴賴 诏乇蹖亘丕賳诏蹖乇卮賳貙 賲乇丿賲蹖 讴賴 趩賴 丌丿賲鈥屬囏й� 毓丕丿蹖 亘丕卮賳 趩賴 丿乇 乇丕爻 丿賵賱鬲 賵 丨讴賵賲鬲貙 鬲賵 丕蹖賳 诏乇丿丕亘 丿爻鬲 賵 倬丕 賲蹖夭賳賳. 賴蹖趩鈥屭┴� 丿乇 丕蹖賳噩丕 禺賵亘 賲胤賱賯 賳蹖爻鬲貙 丌丿賲鈥屬囏й� 亘丿 夭蹖丕丿賳丿... 賵 倬乇賵 賵 丌丿賲鈥屬囏ж� 賴乇 乇賵夭 亘蹖卮鬲乇 丕夭 賯亘賱 丿乇 鬲亘丕賴蹖 賮乇賵 賲蹖乇賳.
賲賳 賴賲蹖卮賴 亘賴 賲毓賳丕蹖 賵丕賯毓蹖 賲噩匕賵亘 噩賳爻 乇賵丕蹖鬲 蹖賵爻丕 賲蹖卮賲. 禺丕乇賯鈥屫з勜关ж� 賵 賲賳丨氐乇 亘賴 賮乇丿賴. 丕蹖賳賴賲賴 噩夭卅蹖丕鬲 賲賴賳丿爻蹖 卮丿賴 賵 胤乇丨卮賵賳貙 賲禺氐賵氐丕 丿乇 賮氐賱蹖 讴賴 趩賴丕乇 丕鬲賮丕賯 賵 诏賮鬲诏賵 丿乇 趩賴丕乇 賲讴丕賳 賵 夭賲丕賳 賲鬲賮丕賵鬲 乇賵 賴賲 夭賲丕賳 倬蹖卮 賲蹖 亘乇賴 亘蹖鈥屫з嗀ж操� 卮诏賮鬲 夭丿鬲賵賳 賲蹖讴賳賴.
賵 丕賱亘鬲賴 賴賲趩賳丕賳 亘蹖鈥屫地ㄘ必з嗁� 賲卮鬲丕賯 賵 賴蹖噩丕賳鈥屫藏団€屫з� 亘乇丕蹖 禺賵賳丿賳 丿蹖诏乇 丌孬丕乇卮貙 讴賴 賯胤毓丕 賴乇讴丿賵賲 趩賴乇賴鈥屰� 賲鬲賮丕賵鬲蹖 丕夭 爻蹖丕賴蹖 賵 鬲丕乇蹖讴蹖 爻蹖丕爻鬲 乇賵 賳賲丕蹖丕賳 賲蹖鈥屭┵嗁嗀�.
October 25, 2024
禺賵丕賳賳丿賴 賯丿賲 亘賴 賯丿賲 賴賲乇丕賴 亘丕 蹖賵爻丕 亘賴 讴賵趩賴 倬爻 讴賵趩賴鈥屬囏й� 卮賴乇賴丕蹖 賲禺鬲賱賮 倬乇賵 丿乇 丿賵乇丕賳 丨讴賵賲鬲 丿蹖讴鬲丕鬲賵乇蹖 跇賳乇丕賱 丕賲丕賳賵卅賱 丕賵丿乇蹖丕 (丿乇 丿賴賴 卮卮賲 賯乇賳 诏匕卮鬲賴 賲蹖賱丕丿蹖) 丨乇讴鬲 賲蹖鈥屭┵嗀� 鬲丕 亘賴 卮賳丕禺鬲蹖 賴賲賴 噩丕賳亘賴 丕夭 夭賳丿诏蹖 丕噩鬲賲丕毓蹖 賵 爻蹖丕爻蹖 噩丕賲毓賴 丿乇 丕蹖賳 丿賵乇賴 鬲丕乇蹖讴 鬲丕乇蹖禺 倬乇賵 丿爻鬲 蹖丕亘丿. 丕夭 賳馗乇 夭賲丕賳蹖 乇賲丕賳 丕夭 爻丕賱賴丕蹖 倬爻 丕夭 丨讴賵賲鬲 丕賵丿乇蹖丕 丿乇 蹖讴 丌乇丕賲卮 賵 乇囟丕蹖鬲 賳爻亘蹖 丕噩鬲賲丕毓蹖 丌睾丕夭 賲蹖鈥屫促堌� 賵 爻倬爻 亘丕 亘乇诏卮鬲賴丕蹖 夭賲丕賳蹖 夭蹖丕丿 丿乇 禺胤 丿丕爻鬲丕賳 亘賴 丨讴賵賲鬲 鬲丕乇蹖讴 丕賵丿乇蹖丕 丿乇 爻丕賱賴丕蹖 诏匕卮鬲賴 亘乇 賲蹖鈥屭必� 鬲丕 爻乇诏匕卮鬲 爻蹖丕賴 賵 賵丨卮鬲賳丕讴 丕賳爻丕賳鈥屬囏й� 夭蹖丕丿蹖 丕夭 噩賲賱賴 丕賮乇丕丿 賳馗丕賲蹖貙 丿丕賳卮噩賵貙 乇賵卮賳賮讴乇貙 乇賵夭賳丕賲賴鈥屬嗂ж�.....乇丕 亘丕夭诏賵 讴賳丿 賵 爻倬爻 丿乇 丕賳鬲賴丕蹖 乇賲丕賳 賲噩丿丿 亘賴 丿賵乇丕賳 倬爻丕丕賵丿乇蹖丕 亘乇 賲蹖鈥屭必� 鬲丕 丕賲蹖丿賴丕 乇丕 丿乇 丿賱 噩丕賲毓賴 夭賳丿賴 讴賳丿.
蹖賵爻丕 倬蹖趩蹖丿賴鈥屫臂屬� 丨丕賱鬲 乇賵丕蹖鬲 乇丕 丿乇 倬蹖卮 賲蹖鈥屭屫必� 賵 亘丕 趩賳丿 诏賮鬲诏賵蹖 丕氐賱蹖 賵 賮乇毓蹖 (亘賴 氐賵乇鬲 睾蹖乇禺胤蹖 賵 亘丿賵賳 鬲乇鬲蹖亘 夭賲丕賳蹖 禺丕氐 賵 賲毓賲賵賱) 鬲氐賵蹖乇蹖 讴賱蹖 丕夭 倬乇賵 丿乇 爻丕賱賴丕蹖 丨讴賵賲鬲 丕賵丿乇蹖丕 亘賴 禺賵丕賳賳丿賴 丕乇丕卅賴 賲蹖鈥屫囏� 賵 丕賲丕 賳讴鬲賴 賯丕亘賱 匕讴乇 丿蹖诏乇 丿乇 讴賳丕乇 賴賲賴 噩賳亘賴鈥屬囏й� 爻蹖丕爻蹖 賵 鬲丕乇蹖禺蹖貙 丕蹖賳 丕孬乇 蹖讴 乇賲丕賳 鬲乇亘蹖鬲蹖 (Bildungsroman) 丿乇 賲賵乇丿 卮禺氐蹖鬲 爻丕賳鬲蹖丕诏賵 夭丕賵賱丕(賳賯卮 丕賵賱 乇賲丕賳) 丕爻鬲 讴賴 丿乇 蹖讴 禺丕賳賵丕丿賴 賲鬲賲賵賱 倬乇賵乇卮 蹖丕賮鬲賴 賵 倬爻 丕夭 賵乇賵丿 亘賴 丿丕賳卮诏丕賴 丿乇 倬蹖 乇卮丿 丕賮讴丕乇 賵 卮禺氐蹖鬲 禺賵丿 亘丕 丕丨夭丕亘蹖 趩賵賳 讴賲賵賳蹖爻賲 丌卮賳丕 賲蹖鈥屫促堌� 賵 亘丕 诏匕乇 夭賲丕賳 賴賲賴 丕蹖賳 賲讴丕鬲亘 乇丕 爻乇丕亘蹖 倬賵趩 賵 鬲賴蹖 丿丕賳爻鬲賴 賵 乇丕賴 丿蹖诏乇蹖 噩丿丕蹖 丕夭 爻蹖丕爻鬲 亘乇丕蹖 夭賳丿诏蹖 禺賵丿 丕賳鬲禺丕亘 賲蹖鈥屭┵嗀�. 诏賵蹖蹖 丕蹖賳 乇賵卮 夭賳丿诏蹖貙 禺賵丕爻鬲賴 賯賱亘蹖 賵 賲胤賱賵亘 蹖賵爻丕 丿乇 亘蹖賳 丌賳 賴賲賴 賴蹖丕賴賵 賵 胤賵賮丕賳鈥屬囏й� 爻蹖丕爻蹖 賯乇賳 亘蹖爻鬲賲 倬乇賵 亘賵丿賴 丕爻鬲.
丕蹖賳 讴鬲丕亘 乇賵 丿賵爻鬲 丿丕卮鬲賲 賵賱蹖 丨鬲賲丕 蹖讴亘丕乇 丿蹖诏賴 亘丕蹖丿 亘禺賵賳賲卮.
趩賵賳 丿賵 賴賮鬲賴 爻 亘禺丕胤乇 卮乇丕蹖胤蹖 讴賴 丿丕卮鬲賲貙賳鬲賵賳爻鬲賲 夭蹖丕丿 丕夭卮 賱匕鬲 亘亘乇賲:((
蹖賵爻丕 倬蹖趩蹖丿賴鈥屫臂屬� 丨丕賱鬲 乇賵丕蹖鬲 乇丕 丿乇 倬蹖卮 賲蹖鈥屭屫必� 賵 亘丕 趩賳丿 诏賮鬲诏賵蹖 丕氐賱蹖 賵 賮乇毓蹖 (亘賴 氐賵乇鬲 睾蹖乇禺胤蹖 賵 亘丿賵賳 鬲乇鬲蹖亘 夭賲丕賳蹖 禺丕氐 賵 賲毓賲賵賱) 鬲氐賵蹖乇蹖 讴賱蹖 丕夭 倬乇賵 丿乇 爻丕賱賴丕蹖 丨讴賵賲鬲 丕賵丿乇蹖丕 亘賴 禺賵丕賳賳丿賴 丕乇丕卅賴 賲蹖鈥屫囏� 賵 丕賲丕 賳讴鬲賴 賯丕亘賱 匕讴乇 丿蹖诏乇 丿乇 讴賳丕乇 賴賲賴 噩賳亘賴鈥屬囏й� 爻蹖丕爻蹖 賵 鬲丕乇蹖禺蹖貙 丕蹖賳 丕孬乇 蹖讴 乇賲丕賳 鬲乇亘蹖鬲蹖 (Bildungsroman) 丿乇 賲賵乇丿 卮禺氐蹖鬲 爻丕賳鬲蹖丕诏賵 夭丕賵賱丕(賳賯卮 丕賵賱 乇賲丕賳) 丕爻鬲 讴賴 丿乇 蹖讴 禺丕賳賵丕丿賴 賲鬲賲賵賱 倬乇賵乇卮 蹖丕賮鬲賴 賵 倬爻 丕夭 賵乇賵丿 亘賴 丿丕賳卮诏丕賴 丿乇 倬蹖 乇卮丿 丕賮讴丕乇 賵 卮禺氐蹖鬲 禺賵丿 亘丕 丕丨夭丕亘蹖 趩賵賳 讴賲賵賳蹖爻賲 丌卮賳丕 賲蹖鈥屫促堌� 賵 亘丕 诏匕乇 夭賲丕賳 賴賲賴 丕蹖賳 賲讴丕鬲亘 乇丕 爻乇丕亘蹖 倬賵趩 賵 鬲賴蹖 丿丕賳爻鬲賴 賵 乇丕賴 丿蹖诏乇蹖 噩丿丕蹖 丕夭 爻蹖丕爻鬲 亘乇丕蹖 夭賳丿诏蹖 禺賵丿 丕賳鬲禺丕亘 賲蹖鈥屭┵嗀�. 诏賵蹖蹖 丕蹖賳 乇賵卮 夭賳丿诏蹖貙 禺賵丕爻鬲賴 賯賱亘蹖 賵 賲胤賱賵亘 蹖賵爻丕 丿乇 亘蹖賳 丌賳 賴賲賴 賴蹖丕賴賵 賵 胤賵賮丕賳鈥屬囏й� 爻蹖丕爻蹖 賯乇賳 亘蹖爻鬲賲 倬乇賵 亘賵丿賴 丕爻鬲.
丕蹖賳 讴鬲丕亘 乇賵 丿賵爻鬲 丿丕卮鬲賲 賵賱蹖 丨鬲賲丕 蹖讴亘丕乇 丿蹖诏賴 亘丕蹖丿 亘禺賵賳賲卮.
趩賵賳 丿賵 賴賮鬲賴 爻 亘禺丕胤乇 卮乇丕蹖胤蹖 讴賴 丿丕卮鬲賲貙賳鬲賵賳爻鬲賲 夭蹖丕丿 丕夭卮 賱匕鬲 亘亘乇賲:((
October 8, 2022
鈥淜atedralde Sohbet鈥� yazar谋n kendi ba艧yap谋t谋 olarak kabul etti臒i, 鈥渆臒er yazd谋klar谋m aras谋nda yang谋ndan sadece bir roman谋m谋 kurtarmak zorunda kalsayd谋m onu kurtar谋rd谋m.鈥� dedi臒i bir yap谋t. Bana g枚re ise Llosa鈥檇an okuduklar谋m aras谋nda 鈥淒眉nya Sava艧谋 Sonu鈥�, 鈥淭eke 艦enli臒i鈥� ve hatta 鈥淢asalc谋鈥漬谋n ard谋nda yeralan bir roman.
鈥淢ario Vargas Llosa, 1936 do臒umlu, Nobel 枚d眉ll眉 (2010), Peru鈥檒u roman, 枚yk眉 ve oyun yazar谋. Askeri liseden sonra 眉niversitede edebiyat e臒itimi g枚ren Llosa lise ve 眉niversite 莽a臒lar谋nda sol d眉艧眉nce ile tan谋艧m谋艧, Marksist 枚臒renci faaliyetlerinde bulunmu艧, Sartre鈥櫮眓 varolu艧莽u 莽izgisini benimsemi艧, ancak yeti艧kinli臒e do臒ru soldan uzakla艧arak gen莽 ya艧ta 眉lkesini terketmi艧. Bu kitab谋 1969鈥檇a hen眉z daha siyasi d眉艧眉nce olarak de臒i艧medi臒i y谋llarda yazm谋艧. Ger莽i daha sonra yazd谋臒谋 kitaplar谋n谋n t眉m眉nde otokratik y枚netimlere, askeri diktat枚rl眉klere, i艧kenceye, devletin yozla艧mas谋na, yolsuzluk ve adaletsizli臒e kar艧谋 temalar谋 kitaplar谋n谋n oda臒谋na yerle艧tirmi艧tir. Gelin g枚r眉n ki Llosa鈥檔谋n siyasi savrulu艧lar谋 her ne kadar yazarl谋臒谋n谋n 枚n眉ne ge莽mese de ona ciddi bir prestij kaybetmesine neden olmu艧tur. M. Teatcher鈥櫮眓 neoliberal p谋litikas谋n谋, ABD鈥檔in Irak i艧galini savunmu艧, G眉ney Amerika鈥檇a y眉kselen sol hareketin muhalifi olmu艧, Covid19鈥檜n 脟in鈥檇e diktat枚rl眉k oldu臒u i莽in 莽okt谋臒谋n谋 ileri s眉rm眉艧t眉r. Hatta 1990 y谋l谋nda yeni d眉nya d眉zenini savunan Demokratik Cephe鈥檔in aday谋 olarak kat谋ld谋臒谋 ba艧kanl谋k se莽imlerinde Alberto Fujimori kar艧谋s谋nda ba艧ar谋l谋 olamam谋艧t谋r. Halen s谋k谋 bir ABD ideolojisi hayran谋d谋r. Nobel 枚d眉l眉 almas谋 de臒il, 枚d眉l眉n verilme gerek莽esi (bence de hakl谋 olarak) 莽ok ele艧tirilmi艧tir. Bu ruhsal, zihinsel yar谋lman谋n nedenlerini bilemiyoruz ancak bu kitapta sat谋r aralar谋nda okuyoruz gibi adeta.
Roman d枚rt b枚l眉mden olu艧uyor. Hikaye 1950'lerde Ba艧kan Manuel A. Odr铆a diktat枚rl眉臒眉 alt谋ndaki (1948-1956) Peru鈥檇a ge莽iyor. Roman kahramanlar谋ndan Santiago Zavala, San Marcos Ulusal 脺niversitesi'nde 枚臒rencidir ve babas谋 etkili bir politikac谋d谋r. Yazar Llosa'n谋n San Marcos 脺niversitesi'nde okurken, ilk y谋llar谋nda sol bir grubun aktif bir 眉yesi oldu臒u hat谋rlan谋rsa 枚yk眉de anlat谋lan Santiago鈥檔un 枚臒rencili臒indeki eylemleri ile Llosa鈥檔谋n 枚臒rencili臒i aras谋nda baz谋 benzerlikler hemen g枚r眉lecektir. Bu nedenle roman yer yer otobiyografik izler ta艧谋maktad谋r, yine ayn谋 nedenle 鈥淜atedral鈥檇e Sohbet鈥�, bu bask谋c谋 d枚nemde gen莽li臒ini ya艧ayamadan eri艧kinli臒e ge莽en yitik bir ku艧a臒谋n谋n roman谋 olarak da okunabilir.
Birinci b枚l眉mde kitaba ad谋n谋 veren Katedral bar谋nda Santiago Zavalita ile ona 鈥渒眉莽眉kbey鈥� diye hitap eden, babas谋 Don Fermin'in eski 艧枚f枚r眉 Ambrosio aras谋ndaki sohbetler yeralmaktad谋r. Bu sohbet diyalog 艧eklinde s眉rmez, araya ge莽mi艧e ait ki艧i, olay ve bunlara ili艧kin konu艧malar girer. Bu ikilinin son on y谋l谋 i莽ine farkl谋 tarihlerde farkl谋 ki艧i ve olaylarla kurguya giri艧ler olur. Bir ge莽mi艧te bir 艧imdiki zamanda buluyorsunuz kendinizi, adeta zamanlar ve karakterler birbirine kar谋艧谋yor, bu nedenle de dikkat ve odaklanma isteyen bir anlat谋 bi莽imiyle kar艧谋la艧谋yorsunuz. Roman谋n a莽谋l谋艧 c眉mlesi ayn谋 zamanda yazar谋n kendisine sordu臒u ve cevab谋n谋 arad谋臒谋 bir sorudur; 鈥淧eru ne zaman 莽uvallad谋 ?鈥� Yani 鈥淪antiago ne zaman 莽uvallad谋 ?鈥� Bu b枚l眉mde Santiago鈥檔un a艧谋k oldu臒u ayn谋 siyasi grup i莽indeki Aida鈥檔谋n, gruptaki di臒er bir genci se莽mesiyle ya艧ad谋臒谋 hayal k谋r谋kl谋臒谋na bir de bu ikilinin neden oldu臒u gecikme sonucunda toplant谋lar谋n谋n polis莽e bas谋lmas谋, tutuklanmalar谋, ancak kendisinin babas谋 taraf谋ndan kurtar谋lmas谋 olay谋 枚nemlidir. Di臒er arkada艧lar谋 i莽eride kalm谋艧t谋r, bu olay谋n travmas谋 ile yolda艧lar谋na okulda rastlamamak i莽in Santiago okulu b谋rak谋r. Yine bu b枚l眉mde fa艧ist rejimin tipik bir emniyet m眉d眉r眉 portresi 莽izen Don Cayo Bermudez 莽ok iyi anlat谋lm谋艧. Kitab谋n omurgas谋n谋 zaten bu b枚l眉m olu艧turuyor.
陌kinci b枚l眉mde b眉y眉k 枚l莽眉de Don Cayo Bermudez ve metresi Hortensia'n谋n yapt谋klar谋 hakk谋ndaki konu艧malar谋 i莽ermektedir. Her t眉rl眉 entrika, kirli ili艧kiler, iktidar i莽indeki g眉莽 sava艧lar谋 da bu b枚l眉mde anlat谋l谋yor. Bermudez鈥檌n Ba艧kan鈥檇an ald谋臒谋 g眉莽le bakanlar dahil herkesi ezmesi, nakit ald谋臒谋 r眉艧vetleri yurtd谋艧谋na 莽谋karmas谋 gibi kirli ve karanl谋k ili艧kiler anlat谋l谋yor, ama k枚t眉lerin ka莽谋n谋lmaz sonu olarak Bermudez' de 莽uvall谋yor ve 眉lke d谋艧谋na ka莽谋yor. Asl谋nda Peru鈥檔un kronik yolsuzluk resmini g枚r眉yoruz bu b枚l眉mde.
脺莽眉nc眉 b枚l眉m 听Bermudez'in metresi Hortensia鈥檔谋n 枚ld眉r眉lmesi ve bu cinayetinin ayd谋nlat谋lmas谋 i莽in gazete taraf谋ndan gazeteci Beccerita ile Santiago'nun g枚revlendirilmesi etraf谋nda d枚nmektedir. Santiago babas谋n谋n 鈥淎lt谋n Top鈥� lakapl谋 bir e艧cinsel oldu臒u iddias谋n谋 枚臒renir, ailesiyle yeniden g枚r眉艧meye ba艧lar. Babas谋yla e艧cisel ili艧kide bulundu臒u s枚ylenen 艧枚f枚r眉 Ambroise'n谋n Hortensia'y谋 Don Fermin'e 艧antaj yapt谋臒谋 i莽in 枚ld眉rd眉臒眉n眉n itiraf谋 da bu b枚l眉mde yeral谋yor.
D枚rd眉nc眉 b枚l眉m kitab谋n en zay谋f b枚l眉m眉, Santiago鈥檔un pi艧manl谋klar谋, Don Fermin鈥檌n ve Zavala ailesininin s谋rlar谋 anlat谋lmakta. Santiago bir araba kazas谋n谋n ard谋ndan hastanede tan谋艧t谋臒谋 hem艧ire Ana ile evlenir ve bu evlilik ailesiyle ba臒谋n谋 tekrar kopart谋r, ancak babas谋n谋n 枚l眉m眉nden sonra ailesini tekrar g枚r眉r. Kar谋s谋 Amalia'n谋n do臒um s谋ras谋nda 枚lmesinin ard谋ndan Ambrosio da 莽uvallar. Lima鈥檡a d枚ner ve Santiago ile kar艧谋la艧aca臒谋 k枚pek bar谋na臒谋nda 莽al谋艧谋r. Santiago ve Ambrosio'nun Katedral Bar鈥檇aki d枚rt saat boyunca i莽tikleri biralar e艧li臒inde konu艧malar谋 iki 莽uvallam谋艧 adam olarak Santiago鈥檔un ge莽mi艧e dair 枚臒renmek istedikleri konularla s眉rer gider. Roman谋 bir c眉mlede 枚zetlersem; 鈥溍vallam谋艧 Peru鈥檇a鈥�, 鈥溍k 莽uvallam谋艧鈥� iki insan谋n buz 眉st眉ne yazd谋臒谋 yaz谋lar.
鈥�800 sayfal谋k hacimli bir roman, kitap i莽inde Naz谋m Hikmet鈥檌n 艧iirlerinden bahsedilmesi ho艧 bir s眉rpriz oldu. Keza 鈥� Ve 脟eli臒e Su Verildi鈥�, 鈥� Felsefenin Temel 陌lkeleri鈥� ve baz谋 Marksist klasiklerin de yazar taraf谋ndan okunmu艧 oldu臒unu g枚r眉yoruz. Ambrosio鈥檡a itiraf谋, onun sonraki politik 莽izgisinin de ipu莽lar谋n谋 ta艧谋maktad谋r. 艦枚yle anlat谋yor Santiago Zavalita; 鈥溾€arksism bilime dayan谋r, din ise cehalete鈥e s谋n谋fs谋z bir d眉nya kurulacakt谋r鈥�.yapamad谋n Zavalita, bir k眉莽眉k burjuvayd谋n, 枚yle kalacak ve bir k眉莽眉k burjuva olarak 枚leceksin鈥�. Ayr谋ca Llosa鈥檔谋n di臒er kitaplar谋nda da e艧cinsel ili艧kiyi 枚ne 莽谋karan bir anlat谋y谋 se莽ti臒ini bu nedenle yazarda sanki bir 鈥渃insel tercih鈥� tak谋nt谋s谋 oldu臒unu d眉艧眉nd眉臒眉m眉 de bir not olarak belirtirim. Yorumun ba艧谋nda ad谋 ge莽en di臒er eserlerine 枚ncelik vermenizi 枚neririm.
鈥淢ario Vargas Llosa, 1936 do臒umlu, Nobel 枚d眉ll眉 (2010), Peru鈥檒u roman, 枚yk眉 ve oyun yazar谋. Askeri liseden sonra 眉niversitede edebiyat e臒itimi g枚ren Llosa lise ve 眉niversite 莽a臒lar谋nda sol d眉艧眉nce ile tan谋艧m谋艧, Marksist 枚臒renci faaliyetlerinde bulunmu艧, Sartre鈥櫮眓 varolu艧莽u 莽izgisini benimsemi艧, ancak yeti艧kinli臒e do臒ru soldan uzakla艧arak gen莽 ya艧ta 眉lkesini terketmi艧. Bu kitab谋 1969鈥檇a hen眉z daha siyasi d眉艧眉nce olarak de臒i艧medi臒i y谋llarda yazm谋艧. Ger莽i daha sonra yazd谋臒谋 kitaplar谋n谋n t眉m眉nde otokratik y枚netimlere, askeri diktat枚rl眉klere, i艧kenceye, devletin yozla艧mas谋na, yolsuzluk ve adaletsizli臒e kar艧谋 temalar谋 kitaplar谋n谋n oda臒谋na yerle艧tirmi艧tir. Gelin g枚r眉n ki Llosa鈥檔谋n siyasi savrulu艧lar谋 her ne kadar yazarl谋臒谋n谋n 枚n眉ne ge莽mese de ona ciddi bir prestij kaybetmesine neden olmu艧tur. M. Teatcher鈥櫮眓 neoliberal p谋litikas谋n谋, ABD鈥檔in Irak i艧galini savunmu艧, G眉ney Amerika鈥檇a y眉kselen sol hareketin muhalifi olmu艧, Covid19鈥檜n 脟in鈥檇e diktat枚rl眉k oldu臒u i莽in 莽okt谋臒谋n谋 ileri s眉rm眉艧t眉r. Hatta 1990 y谋l谋nda yeni d眉nya d眉zenini savunan Demokratik Cephe鈥檔in aday谋 olarak kat谋ld谋臒谋 ba艧kanl谋k se莽imlerinde Alberto Fujimori kar艧谋s谋nda ba艧ar谋l谋 olamam谋艧t谋r. Halen s谋k谋 bir ABD ideolojisi hayran谋d谋r. Nobel 枚d眉l眉 almas谋 de臒il, 枚d眉l眉n verilme gerek莽esi (bence de hakl谋 olarak) 莽ok ele艧tirilmi艧tir. Bu ruhsal, zihinsel yar谋lman谋n nedenlerini bilemiyoruz ancak bu kitapta sat谋r aralar谋nda okuyoruz gibi adeta.
Roman d枚rt b枚l眉mden olu艧uyor. Hikaye 1950'lerde Ba艧kan Manuel A. Odr铆a diktat枚rl眉臒眉 alt谋ndaki (1948-1956) Peru鈥檇a ge莽iyor. Roman kahramanlar谋ndan Santiago Zavala, San Marcos Ulusal 脺niversitesi'nde 枚臒rencidir ve babas谋 etkili bir politikac谋d谋r. Yazar Llosa'n谋n San Marcos 脺niversitesi'nde okurken, ilk y谋llar谋nda sol bir grubun aktif bir 眉yesi oldu臒u hat谋rlan谋rsa 枚yk眉de anlat谋lan Santiago鈥檔un 枚臒rencili臒indeki eylemleri ile Llosa鈥檔谋n 枚臒rencili臒i aras谋nda baz谋 benzerlikler hemen g枚r眉lecektir. Bu nedenle roman yer yer otobiyografik izler ta艧谋maktad谋r, yine ayn谋 nedenle 鈥淜atedral鈥檇e Sohbet鈥�, bu bask谋c谋 d枚nemde gen莽li臒ini ya艧ayamadan eri艧kinli臒e ge莽en yitik bir ku艧a臒谋n谋n roman谋 olarak da okunabilir.
Birinci b枚l眉mde kitaba ad谋n谋 veren Katedral bar谋nda Santiago Zavalita ile ona 鈥渒眉莽眉kbey鈥� diye hitap eden, babas谋 Don Fermin'in eski 艧枚f枚r眉 Ambrosio aras谋ndaki sohbetler yeralmaktad谋r. Bu sohbet diyalog 艧eklinde s眉rmez, araya ge莽mi艧e ait ki艧i, olay ve bunlara ili艧kin konu艧malar girer. Bu ikilinin son on y谋l谋 i莽ine farkl谋 tarihlerde farkl谋 ki艧i ve olaylarla kurguya giri艧ler olur. Bir ge莽mi艧te bir 艧imdiki zamanda buluyorsunuz kendinizi, adeta zamanlar ve karakterler birbirine kar谋艧谋yor, bu nedenle de dikkat ve odaklanma isteyen bir anlat谋 bi莽imiyle kar艧谋la艧谋yorsunuz. Roman谋n a莽谋l谋艧 c眉mlesi ayn谋 zamanda yazar谋n kendisine sordu臒u ve cevab谋n谋 arad谋臒谋 bir sorudur; 鈥淧eru ne zaman 莽uvallad谋 ?鈥� Yani 鈥淪antiago ne zaman 莽uvallad谋 ?鈥� Bu b枚l眉mde Santiago鈥檔un a艧谋k oldu臒u ayn谋 siyasi grup i莽indeki Aida鈥檔谋n, gruptaki di臒er bir genci se莽mesiyle ya艧ad谋臒谋 hayal k谋r谋kl谋臒谋na bir de bu ikilinin neden oldu臒u gecikme sonucunda toplant谋lar谋n谋n polis莽e bas谋lmas谋, tutuklanmalar谋, ancak kendisinin babas谋 taraf谋ndan kurtar谋lmas谋 olay谋 枚nemlidir. Di臒er arkada艧lar谋 i莽eride kalm谋艧t谋r, bu olay谋n travmas谋 ile yolda艧lar谋na okulda rastlamamak i莽in Santiago okulu b谋rak谋r. Yine bu b枚l眉mde fa艧ist rejimin tipik bir emniyet m眉d眉r眉 portresi 莽izen Don Cayo Bermudez 莽ok iyi anlat谋lm谋艧. Kitab谋n omurgas谋n谋 zaten bu b枚l眉m olu艧turuyor.
陌kinci b枚l眉mde b眉y眉k 枚l莽眉de Don Cayo Bermudez ve metresi Hortensia'n谋n yapt谋klar谋 hakk谋ndaki konu艧malar谋 i莽ermektedir. Her t眉rl眉 entrika, kirli ili艧kiler, iktidar i莽indeki g眉莽 sava艧lar谋 da bu b枚l眉mde anlat谋l谋yor. Bermudez鈥檌n Ba艧kan鈥檇an ald谋臒谋 g眉莽le bakanlar dahil herkesi ezmesi, nakit ald谋臒谋 r眉艧vetleri yurtd谋艧谋na 莽谋karmas谋 gibi kirli ve karanl谋k ili艧kiler anlat谋l谋yor, ama k枚t眉lerin ka莽谋n谋lmaz sonu olarak Bermudez' de 莽uvall谋yor ve 眉lke d谋艧谋na ka莽谋yor. Asl谋nda Peru鈥檔un kronik yolsuzluk resmini g枚r眉yoruz bu b枚l眉mde.
脺莽眉nc眉 b枚l眉m 听Bermudez'in metresi Hortensia鈥檔谋n 枚ld眉r眉lmesi ve bu cinayetinin ayd谋nlat谋lmas谋 i莽in gazete taraf谋ndan gazeteci Beccerita ile Santiago'nun g枚revlendirilmesi etraf谋nda d枚nmektedir. Santiago babas谋n谋n 鈥淎lt谋n Top鈥� lakapl谋 bir e艧cinsel oldu臒u iddias谋n谋 枚臒renir, ailesiyle yeniden g枚r眉艧meye ba艧lar. Babas谋yla e艧cisel ili艧kide bulundu臒u s枚ylenen 艧枚f枚r眉 Ambroise'n谋n Hortensia'y谋 Don Fermin'e 艧antaj yapt谋臒谋 i莽in 枚ld眉rd眉臒眉n眉n itiraf谋 da bu b枚l眉mde yeral谋yor.
D枚rd眉nc眉 b枚l眉m kitab谋n en zay谋f b枚l眉m眉, Santiago鈥檔un pi艧manl谋klar谋, Don Fermin鈥檌n ve Zavala ailesininin s谋rlar谋 anlat谋lmakta. Santiago bir araba kazas谋n谋n ard谋ndan hastanede tan谋艧t谋臒谋 hem艧ire Ana ile evlenir ve bu evlilik ailesiyle ba臒谋n谋 tekrar kopart谋r, ancak babas谋n谋n 枚l眉m眉nden sonra ailesini tekrar g枚r眉r. Kar谋s谋 Amalia'n谋n do臒um s谋ras谋nda 枚lmesinin ard谋ndan Ambrosio da 莽uvallar. Lima鈥檡a d枚ner ve Santiago ile kar艧谋la艧aca臒谋 k枚pek bar谋na臒谋nda 莽al谋艧谋r. Santiago ve Ambrosio'nun Katedral Bar鈥檇aki d枚rt saat boyunca i莽tikleri biralar e艧li臒inde konu艧malar谋 iki 莽uvallam谋艧 adam olarak Santiago鈥檔un ge莽mi艧e dair 枚臒renmek istedikleri konularla s眉rer gider. Roman谋 bir c眉mlede 枚zetlersem; 鈥溍vallam谋艧 Peru鈥檇a鈥�, 鈥溍k 莽uvallam谋艧鈥� iki insan谋n buz 眉st眉ne yazd谋臒谋 yaz谋lar.
鈥�800 sayfal谋k hacimli bir roman, kitap i莽inde Naz谋m Hikmet鈥檌n 艧iirlerinden bahsedilmesi ho艧 bir s眉rpriz oldu. Keza 鈥� Ve 脟eli臒e Su Verildi鈥�, 鈥� Felsefenin Temel 陌lkeleri鈥� ve baz谋 Marksist klasiklerin de yazar taraf谋ndan okunmu艧 oldu臒unu g枚r眉yoruz. Ambrosio鈥檡a itiraf谋, onun sonraki politik 莽izgisinin de ipu莽lar谋n谋 ta艧谋maktad谋r. 艦枚yle anlat谋yor Santiago Zavalita; 鈥溾€arksism bilime dayan谋r, din ise cehalete鈥e s谋n谋fs谋z bir d眉nya kurulacakt谋r鈥�.yapamad谋n Zavalita, bir k眉莽眉k burjuvayd谋n, 枚yle kalacak ve bir k眉莽眉k burjuva olarak 枚leceksin鈥�. Ayr谋ca Llosa鈥檔谋n di臒er kitaplar谋nda da e艧cinsel ili艧kiyi 枚ne 莽谋karan bir anlat谋y谋 se莽ti臒ini bu nedenle yazarda sanki bir 鈥渃insel tercih鈥� tak谋nt谋s谋 oldu臒unu d眉艧眉nd眉臒眉m眉 de bir not olarak belirtirim. Yorumun ba艧谋nda ad谋 ge莽en di臒er eserlerine 枚ncelik vermenizi 枚neririm.
July 14, 2015
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爻丕賳鬲蹖丕诏賵 讴賲蹖 賲賳賮毓賱 毓賲賱 賲蹖鈥屭┴必� 賵 丿乇 賲賯丕蹖爻賴 亘丕 賲賳 丌丿賲 亘丿亘蹖賳蹖 亘賵丿. 爻丕賳鬲蹖丕诏賵 丕夭 賲卮讴賱丕鬲蹖 讴賴 丕胤乇丕賮卮 乇丕 丕丨丕胤賴 讴乇丿賴 亘賵丿貙 禺爻鬲賴 卮丿賴 亘賵丿 賵 亘禺丕胤乇 賮爻丕丿 毓賲蹖賯蹖 讴賴 讴卮賵乇卮 乇丕 丿乇 亘乇 诏乇賮鬲賴 亘賵丿貙 丿趩丕乇 賳賵毓蹖 亘丿亘蹖賳蹖 賵 丕賳賮毓丕賱 賵 鬲爻賱蹖賲 賵 诏賵卮賴鈥屭屫臂� 卮丿賴 亘賵丿. 丕賵 禺賵丿卮 乇丕 賯乇亘丕賳蹖 讴乇丿賴 亘賵丿 賵 亘賴 賴賲蹖賳 禺丕胤乇 鬲氐賵乇 賲蹖鈥屭┴必� 讴賴 丿乇 趩賳蹖賳 讴卮賵乇蹖 亘丕 賱丕蹖賴鈥屬囏й� 毓賲蹖賯 賮爻丕丿 賵 丕賳丨乇丕賮貙 賴乇 丌丿賲蹖 讴賴 倬蹖乇賵夭 卮賵丿 丕爻鬲孬賲丕乇诏乇 丕爻鬲. 丕賲丕 賲賳 亘賴 賴蹖趩 賵噩賴 賲孬賱 爻丕賳鬲蹖丕诏賵 賮讴乇 賳賲蹖鈥屭┵嗁�. 亘丿亘蹖賳蹖鈥屫й� 讴賴 爻丕賳鬲蹖丕诏賵 乇丕 賮乇丕 诏乇賮鬲賴 亘賵丿 亘爻蹖丕乇 诏爻鬲乇丿賴 亘賵丿 賵 丕蹖賳 亘丿亘蹖賳蹖 丿乇 亘爻蹖丕乇蹖 丕夭 讴卮賵乇賴丕蹖 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 乇禺賳賴 讴乇丿賴 賵 亘賴 禺氐賵氐 乇賵卮賳賮讴乇丕賳 賵 賮毓丕賱丕賳 丕蹖賳 讴卮賵乇賴丕 乇丕 賮乇丕 诏乇賮鬲賴 亘賵丿. 丿乇 丌賳 丿賵乇丕賳 胤亘賯賴鈥屰� 賲鬲賵爻胤 噩丕賲毓賴 丿趩丕乇 丕賳賮毓丕賱 亘爻蹖丕乇 夭蹖丕丿蹖 卮丿賴 亘賵丿 賵 讴丕乇丕蹖蹖鈥屫ж� 乇丕 丿乇 丕賳噩丕賲 讴丕乇賴丕 賵 鬲睾蹖蹖乇 丿丕丿賳 賲丨蹖胤鈥� 丕夭 丿爻鬲 丿丕丿賴 亘賵丿.
丌賲亘乇賵爻蹖賵 賴賲 亘蹖卮鬲乇 丕夭 丕蹖賳鈥屭┵� 丿乇 賴蹖丕鬲 賯賴乇賲丕賳 馗丕賴乇 亘卮賴 卮禺氐蹖鬲卮 亘賴 囟丿賯賴乇賲丕賳鈥屬囏� 倬賴賱賵 賲蹖鈥屫操嗁�. 蹖讴蹖 丕夭 禺丕氐蹖鬲鈥屬囏й� 乇賲丕賳鈥屬囏й� 爻賵倬乇 賲丕乇蹖賵 賴賲蹖賳賴. 亘丕 丕蹖賳鈥屭┵� 乇賲丕賳鈥屬囏ж� 倬乇 丕夭 卮禺氐蹖鬲 賴爻鬲 丕賲丕 賴蹖趩 讴丿賵賲 賯賴乇賲丕賳 丿丕爻鬲丕賳 賳蹖爻鬲賳丿貨 趩賵賳 丕爻丕爻丕 乇賲丕賳鈥屬囏ж� 亘乇賳丿賴鈥屫й� 賳丿丕乇賴 讴賴 亘禺賵丕丿 賯賴乇賲丕賳蹖 鬲賵卮 賵噩賵丿 丿丕卮鬲賴 亘丕卮賴
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賳賲蹖卮賴 亘乇丕蹖 乇賲丕賳 蹖讴 禺胤 丿丕爻鬲丕賳 賵丕丨丿 乇賵 鬲賵 趩賳丿 禺胤 亘蹖丕賳 讴乇丿. 趩賵賳 鬲毓乇蹖賮 讴乇丿賳 禺胤 丿丕爻鬲丕賳蹖 乇賲丕賳 賴賲丕賳 賵 丿賵亘丕乇賴鈥屬嗁堐屫驰� 丕蹖賳 乇賲丕賳 賴賲丕賳. 丕賲丕 趩蹖夭蹖 讴賴 亘乇丕蹖 賲賳 丨蹖乇鬲鈥屫①堌� 賵 胤亘蹖毓鬲丕 丨爻丕丿鬲鈥屫ㄘ必з嗂屫� 亘賵丿 丕蹖賳 賵丕賯毓蹖鬲 賴爻鬲 讴賴 蹖賵爻丕 丕蹖賳 乇賲丕賳 乇賵 鬲賵 爻蹖 賵 丿賵 爻丕賱诏蹖卮 賳賵卮鬲賴. 賵賯鬲蹖 乇賲丕賳 乇賵 賲蹖鈥屫堎嗃� 賵 鬲卮乇蹖丨 賴賵賱鈥屬嗀и� 噩夭卅蹖丕鬲 噩丕賲毓賴鈥屫й� 丕爻鬲亘丿丕丿夭丿賴 乇賵 亘丕 讴賲讴卮 鬲禺蹖賱 賲蹖鈥屭┵嗃�-噩丕賲毓賴鈥屫й� 讴賴 丕賵賳鈥屬傌� 賮丕爻丿 賴爻鬲 讴賴 讴賵丿鬲丕蹖 毓賱蹖賴 丿蹖讴鬲丕鬲賵乇蹖卮 賴賲 亘賵蹖 毓賮賵賳鬲 賮爻丕丿 賲蹖丿賴- 賮賯胤 賲蹖鈥屫堎嗃� 丕賳诏卮鬲 亘賴 丿賴賳 亘賲賵賳蹖 讴賴 趩胤賵乇 丕賲讴丕賳 丿丕乇賴 讴爻蹖 鬲賵蹖 丕蹖賳 爻賳 [賵 亘賴 毓亘丕乇鬲 丿乇爻鬲鈥屫� 鬲丕 丕蹖賳 爻賳] 鬲賵賳爻鬲賴 亘丕卮賴 丕蹖賳鈥屬傌� 鬲賵蹖 亘胤賳 賲丕噩乇丕賴丕 賵 丨賵丕丿孬 丕噩鬲賲丕毓卮 丨囟賵乇 丿丕卮鬲賴 亘丕卮賴 讴賴 亘賴 趩賳蹖賳 丿乇讴蹖 亘乇爻賴
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丨爻賵丿蹖鬲 乇賵 賲蹖鈥屭┵嗁� 爻賵倬乇賲丕乇蹖賵
丿賵 賳讴鬲賴 丿乇亘丕乇賴鈥屰� 爻丕禺鬲丕乇 乇賲丕賳
蹖讴. 賯亘賱 丕夭 禺賵賳丿賳 乇賲丕賳 亘丕乇賴丕 卮賳蹖丿賴 亘賵丿賲 爻丕禺鬲丕乇 乇賵丕蹖蹖 丕蹖賳 乇賲丕賳 诏賮鬲诏賵 賴爻鬲 賵 賳丕禺賵丿丌诏丕賴 鬲氐賵乇 賲蹖鈥屭┴必� 讴賴 趩蹖夭蹖 卮亘蹖賴 賲讴鬲亘 丿蹖讴鬲丕鬲賵乇賴丕蹖 爻蹖賱賵賳賴 賴爻鬲... 蹖毓賳蹖 丕賱賮 鬲丕 蹖丕蹖 乇賲丕賳 乇賵 倬蹖賳诏鈥屬举堎嗂€屬囏й� 诏賮鬲诏賵賴丕 倬蹖卮 賲蹖鈥屫ㄘ辟�. 丕賲丕 丕蹖賳鈥屫焚堌� 賳蹖爻鬲. 乇賲丕賳 丕爻丕爻卮 乇賵蹖 诏賮鬲诏賵賴丕 賴爻鬲. 丕賲丕 丕蹖賳 賲丕賳毓 丕夭 丕蹖賳 賳卮丿賴 讴賴 賳賵蹖爻賳丿賴 丕蹖賳鈥屫� 賵 丕賵賳鈥屫� 爻亘讴 乇丕蹖噩 鬲卮乇蹖丨 賵 鬲賵氐蹖賮 賲丨蹖胤 賵 丨丕賱丕鬲 丿乇賵賳蹖 乇賵 亘賴 讴丕乇 亘亘乇賴
丿賵. 乇賲丕賳 鬲賵蹖 趩賴丕乇 鬲丕 賮氐賱 乇賵丕蹖鬲 賲蹖卮賴 讴賴 賴乇 讴丿賵賲 丕夭 賮氐賱鈥屬囏� 亘賴 趩賳丿蹖賳 亘禺卮 鬲賯爻蹖賲 賲蹖卮賳. 賮氐賱 丕賵賱 亘丕 蹖賴 亘禺卮 丕賵賱 賮賵賯鈥屫з勜关ж� 卮乇賵毓 賲蹖卮賴. 丕賲丕 亘禺卮鈥屬囏й� 丿賵 鬲丕 賳賴卮 蹖賴 丕賮鬲囟丕丨 鬲賲丕賲鈥屫观屫ж� 賴爻鬲. 禺賵丿 蹖賵爻丕 賲蹖诏賴
丕賱亘鬲賴 丕诏乇 賲賳 賯乇丕乇 亘丕卮丿 丿賵亘丕乇賴 賴賲趩賵賳 讴鬲丕亘蹖 亘賳賵蹖爻賲貙 丕賲乇賵夭 丿蹖诏乇 丕夭 丌賳 爻丕禺鬲丕乇 丕爻鬲賮丕丿賴 賳禺賵丕賴賲 讴乇丿. 爻丕禺鬲丕乇 乇賵丕蹖蹖 芦诏賮鬲鈥屬堏� 丿乇 讴丕鬲丿乇丕賱禄 丿乇 丌賳 丕蹖丕賲 亘爻蹖丕乇 賲丿 賵 賲丨亘賵亘 亘賵丿 趩賵賳 丌賳 賲賵賯毓貙 爻丕賱蹖丕賳 爻丕賱 丕丿亘蹖丕鬲 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 鬲丨鬲 鬲丕孬蹖乇 賵蹖賱蹖丕賲 賮丕讴賳乇貙 噩丕賳 丿賵爻鈥屬矩ж迟堌� 賵 噩蹖賲夭 噩賵蹖爻 亘賵丿. 賲賳馗賵乇 丕蹖賳 丕爻鬲 讴賴 鬲丨鬲 鬲丕孬蹖乇 乇賲丕賳鈥屬囏й� 賲丿乇賳 亘賵丿. 丕賲丕 丕賲乇賵夭 賲賳 丿蹖诏乇 丌賳 胤賵乇 乇賲丕賳 賳賲蹖鈥屬嗁堐屫迟呚� 亘乇丕蹖 賲孬丕賱 芦爻賵乇亘夭禄 賴賲 讴鬲丕亘蹖 丿乇亘丕乇賴鈥屰� 丿蹖讴鬲丕鬲賵乇蹖 丕爻鬲 丕賲丕 丿乇 丌賳 丕夭 爻丕禺鬲丕乇 讴丕賲賱丕貙 讴丕賲賱丕 賲鬲賮丕賵鬲蹖 丕爻鬲賮丕丿賴 讴乇丿賴鈥屫з呚� 爻丕禺鬲丕乇蹖 讴賴 亘賴 丕丿亘蹖丕鬲 丕賲乇賵夭 卮亘丕賴鬲 亘蹖卮鬲乇蹖 丿丕乇丿.
乇賲丕賳 鬲賵蹖 丕蹖賳 亘禺卮鈥屬囏� 夭賵乇丌夭賲丕蹖蹖鈥屬囏й� 鬲讴賳蹖讴蹖 囟毓蹖賮 賵 亘蹖鈥屬呚操団€屫й� 賴爻鬲 讴賴 亘賴 賴蹖趩 丿乇丿蹖 賳賲蹖鈥屫堌辟�. 鬲讴賳蹖讴 诏賮鬲诏賵 丿乇 诏賮鬲诏賵 賳賵卮鬲賳貙 蹖丕 诏賮鬲诏賵賴丕蹖 趩賳丿 賱丕蹖賴鈥屫й屫� 亘賴 卮丿鬲 亘蹖鈥屬呚官嗃� 賵 亘蹖鈥屫ж屫� 賴爻鬲. 鬲賵囟蹖丨 丕蹖賳鈥屭┵� 賮乇囟 讴賳蹖丿 丿賵 賳賮乇 亘丕 丕爻賲 賴丕蹖 芦丕賱賮禄 賵 芦亘 丿丕乇蹖賲 讴賴 丿丕乇賳 亘丕 賴賲 氐丨亘鬲 賲蹖鈥屭┵嗁� 賵 丿賵 賳賮乇 丿蹖诏賴 亘丕 丕爻丕賲蹖 芦噩禄 賵 芦丿禄 讴賴 丿丕乇賳 鬲賵蹖 蹖賴 夭賲丕賳 賵 賲讴丕賳 丿蹖诏賴 氐丨亘鬲 賲蹖鈥屭┵嗁�. 丨丕賱丕 賳賵蹖爻賳丿賴 賲蹖丕丿 賵 鬲乇鬲蹖亘 噩賲賱賴鈥屬囏й� 乇賵 丕蹖賳鈥屫堌臂� 賲蹖鈥屭嗃屬嗁�
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爻禺賳蹖 亘丕 賲禺丕胤亘 爻丕賱 2100
爻賱丕賲. 賵賯鬲蹖 丿丕乇蹖 丕蹖賳 乇賵 賲蹖鈥屫堎嗃� 亘賴 丕丨鬲賲丕賱 賯賵蹖 賲賳 賲乇丿賲. 卮丕蹖丿 亘賴 賳馗乇鬲 毓噩蹖亘 亘蹖丕丿 讴賴 趩乇丕 亘賴 丕蹖賳 乇賲丕賳 趩賴丕乇 爻鬲丕乇賴 丿丕丿賲. 丕賲丕 賵丕賯毓蹖鬲 丕蹖賳 賴爻鬲 讴賴 亘丕 丕蹖賳鈥屭┵� 賲蹖鈥屫堎嗁� 丕蹖賳 乇賲丕賳 丕夭 丌夭賲賵賳 夭賲丕賳 夭賳丿賴 亘蹖乇賵賳 賳賲蹖丕丿 賵 鬲賵 丿賵乇賴鈥屰� 卮賲丕 夭蹖丕丿 丕夭卮 氐丨亘鬲 賳賲蹖卮賴 丕賲丕 鬲賵蹖 丿賵乇賴鈥屰� 賲丕 丕蹖賳 乇賲丕賳 禺賵賳丿賴 賲蹖卮賴 賵 丿乇讴 賲蹖卮賴. 丕夭 賴賲蹖賳 鬲賵賳賱 夭賲丕賳 賲蹖鈥屫ㄙ堌迟呚�
乇賲丕賳 丕蹖賳鈥屫焚堌� 卮乇賵毓 賲蹖卮賴. 賲乇賵乇 乇賵 賴賲蹖賳鈥屫� 賲蹖鈥屫簇� 鬲賲賵賲 讴乇丿
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蹖賵爻丕貙 讴丕賱亘丿卮讴丕賮 丿蹖讴鬲丕鬲賵乇蹖
乇賲丕賳 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱 丨讴丕蹖鬲 爻丕賱鈥屬囏й� 丿蹖讴鬲丕鬲賵乇蹖 跇賳乇丕賱 丕賵丿乇蹖丕 丿乇 爻丕賱鈥屬囏й� 丿賴賴鈥屰� 趩賴賱 賵 倬賳噩丕賴 倬乇賵 賴爻鬲. 爻丕賱鈥屬囏й屰� 讴賴 鬲丕乇賴丕蹖 丿蹖讴鬲丕鬲賵乇蹖 鬲丕 賲睾夭 丕爻鬲禺賵丕賳 噩丕賲毓賴 鬲賳蹖丿賴 卮丿賴... 禺賵丿卮 鬲賵蹖 賲氐丕丨亘賴鈥屫й� 诏賮鬲賴
禺卮賵賳鬲 乇跇蹖賲鈥屬囏й� 丿蹖讴鬲丕鬲賵乇 丿乇 賴賲賴鈥屰� 胤亘賯丕鬲 噩丕賲毓賴 賵 夭賳丿诏蹖 賳賮賵匕 賵 丌賳 乇丕 丌卮賮鬲賴 賲蹖鈥屭┵嗀�. 賳賴 賮賯胤 丿乇 毓乇氐賴鈥屰� 爻蹖丕爻蹖 讴賴 亘賴 禺丕賳賵丕丿賴 賵 讴丕乇 賵 丿丕賳卮诏丕賴 賴賲 讴卮蹖丿賴 賲蹖鈥屫促堌�. 丿蹖讴鬲丕鬲賵乇蹖 賮爻丕丿丌賵乇 丕爻鬲.
蹖賵爻丕 丿賵 丌卮賳丕蹖 賯丿蹖賲蹖貙 爻丕賳鬲蹖丕诏賵 賵 丕賲亘乇賵爻蹖賵 乇賵 乇賵亘乇賵蹖 賴賲 賲蹖鈥屫促堎嗁� 鬲丕 亘賴 亘賴丕賳賴鈥屰� 賲乇賵乇 诏匕卮鬲賴鈥屬囏й� 丕蹖賳 丿賵 賳賮乇 爻乇讴蹖 亘讴卮賴 亘賴 乇賵夭诏丕乇 賵 夭蹖爻鬲 丌丿賲鈥屬囏й� 丕賵賳 丿賵乇賴鈥�. 乇賲丕賳 賴蹖趩 賯賴乇賲丕賳蹖 賳丿丕乇賴. 爻丕賳鬲蹖丕诏賵 丿乇 賯丿 賵 賯賵丕乇賴鈥屰� 賯賴乇賲丕賳 賳蹖爻鬲... 禺賵丿 蹖賵爻丕 賲蹖诏賴:
爻丕賳鬲蹖丕诏賵 讴賲蹖 賲賳賮毓賱 毓賲賱 賲蹖鈥屭┴必� 賵 丿乇 賲賯丕蹖爻賴 亘丕 賲賳 丌丿賲 亘丿亘蹖賳蹖 亘賵丿. 爻丕賳鬲蹖丕诏賵 丕夭 賲卮讴賱丕鬲蹖 讴賴 丕胤乇丕賮卮 乇丕 丕丨丕胤賴 讴乇丿賴 亘賵丿貙 禺爻鬲賴 卮丿賴 亘賵丿 賵 亘禺丕胤乇 賮爻丕丿 毓賲蹖賯蹖 讴賴 讴卮賵乇卮 乇丕 丿乇 亘乇 诏乇賮鬲賴 亘賵丿貙 丿趩丕乇 賳賵毓蹖 亘丿亘蹖賳蹖 賵 丕賳賮毓丕賱 賵 鬲爻賱蹖賲 賵 诏賵卮賴鈥屭屫臂� 卮丿賴 亘賵丿. 丕賵 禺賵丿卮 乇丕 賯乇亘丕賳蹖 讴乇丿賴 亘賵丿 賵 亘賴 賴賲蹖賳 禺丕胤乇 鬲氐賵乇 賲蹖鈥屭┴必� 讴賴 丿乇 趩賳蹖賳 讴卮賵乇蹖 亘丕 賱丕蹖賴鈥屬囏й� 毓賲蹖賯 賮爻丕丿 賵 丕賳丨乇丕賮貙 賴乇 丌丿賲蹖 讴賴 倬蹖乇賵夭 卮賵丿 丕爻鬲孬賲丕乇诏乇 丕爻鬲. 丕賲丕 賲賳 亘賴 賴蹖趩 賵噩賴 賲孬賱 爻丕賳鬲蹖丕诏賵 賮讴乇 賳賲蹖鈥屭┵嗁�. 亘丿亘蹖賳蹖鈥屫й� 讴賴 爻丕賳鬲蹖丕诏賵 乇丕 賮乇丕 诏乇賮鬲賴 亘賵丿 亘爻蹖丕乇 诏爻鬲乇丿賴 亘賵丿 賵 丕蹖賳 亘丿亘蹖賳蹖 丿乇 亘爻蹖丕乇蹖 丕夭 讴卮賵乇賴丕蹖 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 乇禺賳賴 讴乇丿賴 賵 亘賴 禺氐賵氐 乇賵卮賳賮讴乇丕賳 賵 賮毓丕賱丕賳 丕蹖賳 讴卮賵乇賴丕 乇丕 賮乇丕 诏乇賮鬲賴 亘賵丿. 丿乇 丌賳 丿賵乇丕賳 胤亘賯賴鈥屰� 賲鬲賵爻胤 噩丕賲毓賴 丿趩丕乇 丕賳賮毓丕賱 亘爻蹖丕乇 夭蹖丕丿蹖 卮丿賴 亘賵丿 賵 讴丕乇丕蹖蹖鈥屫ж� 乇丕 丿乇 丕賳噩丕賲 讴丕乇賴丕 賵 鬲睾蹖蹖乇 丿丕丿賳 賲丨蹖胤鈥� 丕夭 丿爻鬲 丿丕丿賴 亘賵丿.
丌賲亘乇賵爻蹖賵 賴賲 亘蹖卮鬲乇 丕夭 丕蹖賳鈥屭┵� 丿乇 賴蹖丕鬲 賯賴乇賲丕賳 馗丕賴乇 亘卮賴 卮禺氐蹖鬲卮 亘賴 囟丿賯賴乇賲丕賳鈥屬囏� 倬賴賱賵 賲蹖鈥屫操嗁�. 蹖讴蹖 丕夭 禺丕氐蹖鬲鈥屬囏й� 乇賲丕賳鈥屬囏й� 爻賵倬乇 賲丕乇蹖賵 賴賲蹖賳賴. 亘丕 丕蹖賳鈥屭┵� 乇賲丕賳鈥屬囏ж� 倬乇 丕夭 卮禺氐蹖鬲 賴爻鬲 丕賲丕 賴蹖趩 讴丿賵賲 賯賴乇賲丕賳 丿丕爻鬲丕賳 賳蹖爻鬲賳丿貨 趩賵賳 丕爻丕爻丕 乇賲丕賳鈥屬囏ж� 亘乇賳丿賴鈥屫й� 賳丿丕乇賴 讴賴 亘禺賵丕丿 賯賴乇賲丕賳蹖 鬲賵卮 賵噩賵丿 丿丕卮鬲賴 亘丕卮賴
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賳賲蹖卮賴 亘乇丕蹖 乇賲丕賳 蹖讴 禺胤 丿丕爻鬲丕賳 賵丕丨丿 乇賵 鬲賵 趩賳丿 禺胤 亘蹖丕賳 讴乇丿. 趩賵賳 鬲毓乇蹖賮 讴乇丿賳 禺胤 丿丕爻鬲丕賳蹖 乇賲丕賳 賴賲丕賳 賵 丿賵亘丕乇賴鈥屬嗁堐屫驰� 丕蹖賳 乇賲丕賳 賴賲丕賳. 丕賲丕 趩蹖夭蹖 讴賴 亘乇丕蹖 賲賳 丨蹖乇鬲鈥屫①堌� 賵 胤亘蹖毓鬲丕 丨爻丕丿鬲鈥屫ㄘ必з嗂屫� 亘賵丿 丕蹖賳 賵丕賯毓蹖鬲 賴爻鬲 讴賴 蹖賵爻丕 丕蹖賳 乇賲丕賳 乇賵 鬲賵 爻蹖 賵 丿賵 爻丕賱诏蹖卮 賳賵卮鬲賴. 賵賯鬲蹖 乇賲丕賳 乇賵 賲蹖鈥屫堎嗃� 賵 鬲卮乇蹖丨 賴賵賱鈥屬嗀и� 噩夭卅蹖丕鬲 噩丕賲毓賴鈥屫й� 丕爻鬲亘丿丕丿夭丿賴 乇賵 亘丕 讴賲讴卮 鬲禺蹖賱 賲蹖鈥屭┵嗃�-噩丕賲毓賴鈥屫й� 讴賴 丕賵賳鈥屬傌� 賮丕爻丿 賴爻鬲 讴賴 讴賵丿鬲丕蹖 毓賱蹖賴 丿蹖讴鬲丕鬲賵乇蹖卮 賴賲 亘賵蹖 毓賮賵賳鬲 賮爻丕丿 賲蹖丿賴- 賮賯胤 賲蹖鈥屫堎嗃� 丕賳诏卮鬲 亘賴 丿賴賳 亘賲賵賳蹖 讴賴 趩胤賵乇 丕賲讴丕賳 丿丕乇賴 讴爻蹖 鬲賵蹖 丕蹖賳 爻賳 [賵 亘賴 毓亘丕乇鬲 丿乇爻鬲鈥屫� 鬲丕 丕蹖賳 爻賳] 鬲賵賳爻鬲賴 亘丕卮賴 丕蹖賳鈥屬傌� 鬲賵蹖 亘胤賳 賲丕噩乇丕賴丕 賵 丨賵丕丿孬 丕噩鬲賲丕毓卮 丨囟賵乇 丿丕卮鬲賴 亘丕卮賴 讴賴 亘賴 趩賳蹖賳 丿乇讴蹖 亘乇爻賴
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丨爻賵丿蹖鬲 乇賵 賲蹖鈥屭┵嗁� 爻賵倬乇賲丕乇蹖賵
丿賵 賳讴鬲賴 丿乇亘丕乇賴鈥屰� 爻丕禺鬲丕乇 乇賲丕賳
蹖讴. 賯亘賱 丕夭 禺賵賳丿賳 乇賲丕賳 亘丕乇賴丕 卮賳蹖丿賴 亘賵丿賲 爻丕禺鬲丕乇 乇賵丕蹖蹖 丕蹖賳 乇賲丕賳 诏賮鬲诏賵 賴爻鬲 賵 賳丕禺賵丿丌诏丕賴 鬲氐賵乇 賲蹖鈥屭┴必� 讴賴 趩蹖夭蹖 卮亘蹖賴 賲讴鬲亘 丿蹖讴鬲丕鬲賵乇賴丕蹖 爻蹖賱賵賳賴 賴爻鬲... 蹖毓賳蹖 丕賱賮 鬲丕 蹖丕蹖 乇賲丕賳 乇賵 倬蹖賳诏鈥屬举堎嗂€屬囏й� 诏賮鬲诏賵賴丕 倬蹖卮 賲蹖鈥屫ㄘ辟�. 丕賲丕 丕蹖賳鈥屫焚堌� 賳蹖爻鬲. 乇賲丕賳 丕爻丕爻卮 乇賵蹖 诏賮鬲诏賵賴丕 賴爻鬲. 丕賲丕 丕蹖賳 賲丕賳毓 丕夭 丕蹖賳 賳卮丿賴 讴賴 賳賵蹖爻賳丿賴 丕蹖賳鈥屫� 賵 丕賵賳鈥屫� 爻亘讴 乇丕蹖噩 鬲卮乇蹖丨 賵 鬲賵氐蹖賮 賲丨蹖胤 賵 丨丕賱丕鬲 丿乇賵賳蹖 乇賵 亘賴 讴丕乇 亘亘乇賴
丿賵. 乇賲丕賳 鬲賵蹖 趩賴丕乇 鬲丕 賮氐賱 乇賵丕蹖鬲 賲蹖卮賴 讴賴 賴乇 讴丿賵賲 丕夭 賮氐賱鈥屬囏� 亘賴 趩賳丿蹖賳 亘禺卮 鬲賯爻蹖賲 賲蹖卮賳. 賮氐賱 丕賵賱 亘丕 蹖賴 亘禺卮 丕賵賱 賮賵賯鈥屫з勜关ж� 卮乇賵毓 賲蹖卮賴. 丕賲丕 亘禺卮鈥屬囏й� 丿賵 鬲丕 賳賴卮 蹖賴 丕賮鬲囟丕丨 鬲賲丕賲鈥屫观屫ж� 賴爻鬲. 禺賵丿 蹖賵爻丕 賲蹖诏賴
丕賱亘鬲賴 丕诏乇 賲賳 賯乇丕乇 亘丕卮丿 丿賵亘丕乇賴 賴賲趩賵賳 讴鬲丕亘蹖 亘賳賵蹖爻賲貙 丕賲乇賵夭 丿蹖诏乇 丕夭 丌賳 爻丕禺鬲丕乇 丕爻鬲賮丕丿賴 賳禺賵丕賴賲 讴乇丿. 爻丕禺鬲丕乇 乇賵丕蹖蹖 芦诏賮鬲鈥屬堏� 丿乇 讴丕鬲丿乇丕賱禄 丿乇 丌賳 丕蹖丕賲 亘爻蹖丕乇 賲丿 賵 賲丨亘賵亘 亘賵丿 趩賵賳 丌賳 賲賵賯毓貙 爻丕賱蹖丕賳 爻丕賱 丕丿亘蹖丕鬲 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳 鬲丨鬲 鬲丕孬蹖乇 賵蹖賱蹖丕賲 賮丕讴賳乇貙 噩丕賳 丿賵爻鈥屬矩ж迟堌� 賵 噩蹖賲夭 噩賵蹖爻 亘賵丿. 賲賳馗賵乇 丕蹖賳 丕爻鬲 讴賴 鬲丨鬲 鬲丕孬蹖乇 乇賲丕賳鈥屬囏й� 賲丿乇賳 亘賵丿. 丕賲丕 丕賲乇賵夭 賲賳 丿蹖诏乇 丌賳 胤賵乇 乇賲丕賳 賳賲蹖鈥屬嗁堐屫迟呚� 亘乇丕蹖 賲孬丕賱 芦爻賵乇亘夭禄 賴賲 讴鬲丕亘蹖 丿乇亘丕乇賴鈥屰� 丿蹖讴鬲丕鬲賵乇蹖 丕爻鬲 丕賲丕 丿乇 丌賳 丕夭 爻丕禺鬲丕乇 讴丕賲賱丕貙 讴丕賲賱丕 賲鬲賮丕賵鬲蹖 丕爻鬲賮丕丿賴 讴乇丿賴鈥屫з呚� 爻丕禺鬲丕乇蹖 讴賴 亘賴 丕丿亘蹖丕鬲 丕賲乇賵夭 卮亘丕賴鬲 亘蹖卮鬲乇蹖 丿丕乇丿.
乇賲丕賳 鬲賵蹖 丕蹖賳 亘禺卮鈥屬囏� 夭賵乇丌夭賲丕蹖蹖鈥屬囏й� 鬲讴賳蹖讴蹖 囟毓蹖賮 賵 亘蹖鈥屬呚操団€屫й� 賴爻鬲 讴賴 亘賴 賴蹖趩 丿乇丿蹖 賳賲蹖鈥屫堌辟�. 鬲讴賳蹖讴 诏賮鬲诏賵 丿乇 诏賮鬲诏賵 賳賵卮鬲賳貙 蹖丕 诏賮鬲诏賵賴丕蹖 趩賳丿 賱丕蹖賴鈥屫й屫� 亘賴 卮丿鬲 亘蹖鈥屬呚官嗃� 賵 亘蹖鈥屫ж屫� 賴爻鬲. 鬲賵囟蹖丨 丕蹖賳鈥屭┵� 賮乇囟 讴賳蹖丿 丿賵 賳賮乇 亘丕 丕爻賲 賴丕蹖 芦丕賱賮禄 賵 芦亘 丿丕乇蹖賲 讴賴 丿丕乇賳 亘丕 賴賲 氐丨亘鬲 賲蹖鈥屭┵嗁� 賵 丿賵 賳賮乇 丿蹖诏賴 亘丕 丕爻丕賲蹖 芦噩禄 賵 芦丿禄 讴賴 丿丕乇賳 鬲賵蹖 蹖賴 夭賲丕賳 賵 賲讴丕賳 丿蹖诏賴 氐丨亘鬲 賲蹖鈥屭┵嗁�. 丨丕賱丕 賳賵蹖爻賳丿賴 賲蹖丕丿 賵 鬲乇鬲蹖亘 噩賲賱賴鈥屬囏й� 乇賵 丕蹖賳鈥屫堌臂� 賲蹖鈥屭嗃屬嗁�
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丨乇賮 丌禺乇
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爻禺賳蹖 亘丕 賲禺丕胤亘 爻丕賱 2100
爻賱丕賲. 賵賯鬲蹖 丿丕乇蹖 丕蹖賳 乇賵 賲蹖鈥屫堎嗃� 亘賴 丕丨鬲賲丕賱 賯賵蹖 賲賳 賲乇丿賲. 卮丕蹖丿 亘賴 賳馗乇鬲 毓噩蹖亘 亘蹖丕丿 讴賴 趩乇丕 亘賴 丕蹖賳 乇賲丕賳 趩賴丕乇 爻鬲丕乇賴 丿丕丿賲. 丕賲丕 賵丕賯毓蹖鬲 丕蹖賳 賴爻鬲 讴賴 亘丕 丕蹖賳鈥屭┵� 賲蹖鈥屫堎嗁� 丕蹖賳 乇賲丕賳 丕夭 丌夭賲賵賳 夭賲丕賳 夭賳丿賴 亘蹖乇賵賳 賳賲蹖丕丿 賵 鬲賵 丿賵乇賴鈥屰� 卮賲丕 夭蹖丕丿 丕夭卮 氐丨亘鬲 賳賲蹖卮賴 丕賲丕 鬲賵蹖 丿賵乇賴鈥屰� 賲丕 丕蹖賳 乇賲丕賳 禺賵賳丿賴 賲蹖卮賴 賵 丿乇讴 賲蹖卮賴. 丕夭 賴賲蹖賳 鬲賵賳賱 夭賲丕賳 賲蹖鈥屫ㄙ堌迟呚�
April 14, 2025
[adieu, Marito]
Da tempo non vedevo d.; lo incontro alla fermata del 16: cosa fai cosa leggi cosa non leggi dico ho appena finito Conversazione nella Cattedrale e iniziamo a parlarne:
d: non ho mai letto niente di Vargas Llosa
io: guarda, neanche io fino a qualche anno fa
d: per quello non ne avevamo mai parlato
io: per貌 questo 猫 il terzo consecutivo
d: gli hai letti tutti di seguito?
io: no, voglio dire鈥� sono i primi tre romanzi e gli ho letti nell鈥檕rdine di uscita鈥� guarda, Conversazione 猫 il terzo romanzo del giovane Mario (aveva 33 anni quando usc矛) e terzo capolavoro!
d: davvero? Cos矛 bello?
io: s矛, 猫 abbastanza incredibile vedere come, dal 1962 al 1969, 猫 riuscito a inanellare tre libri cos矛鈥� e non ho nemmeno letto i racconti鈥�
d: quali libri?
io: La citt脿 e i cani, La casa verde e Conversazione nella Cattedrale.
d: tutti belli?
io: s矛, ho visto che spesso il secondo 猫 collocato un gradino pi霉 in basso rispetto agli altri due, ma io non sono d鈥檃ccordo鈥� volevo anche scriverci su qualcosa鈥� ci ho pensato troppo e il tempo continua a passare鈥�
d: ma che cosa ti piace di sti romanzi?
io: mmm鈥� non saprei da dove cominciare鈥� l鈥檃ltro giorno mi 猫 venuta in mente una frase di Praz su Faulkner鈥�
d: e cosa c鈥檈ntra?
io: beh, Faulkner 猫 sicuramente uno dei maestri fondamentali di Vargas Llosa鈥� dovrei andare a cercare鈥�
d: lascia perdere, che frase era?
io: si chiedeva lo scopo di questo puzzle鈥� un romanzo come un vero e proprio puzzle di un genere prima non tentato鈥�
d: ho capito, parlava di The Sound and the Fury...
io: ebbravo!
d: e allora?
io: mi veniva in mentre perch茅 poi anche la Conversazione, come i due romanzi precedenti鈥� anche questo in effetti 猫 un puzzle鈥� 猫 un gioco di combinazioni, da rimontare鈥� ma anche proprio un rompicapo鈥� e un mistero insolubile, che lascia sconcertati.
d: suona un po鈥� macchinoso
io: ma no! 脠 un motivo di attrazione! Ti assicuro! Anzi, forse aumenta addirittura la sfida rispetto ai precedenti: Venghino, siore e siori! Sempre pi霉 difficile! Sempre pi霉 rischioso!
d: :-)
io: Mario qui continua il lavoro impostato coi due romanzi precedenti鈥� porta avanti la sua creazione di uno stile impetuoso, avvolgente, complesso, illusionistico, confusivo e avvincente鈥�
d: tutto questo insieme?
io: Tutto questo insieme! Da La citt脿 e i cani riprende l鈥檃ccostamento di molti personaggi ciascuno con la sua visione delle cose che succedono e del mondo鈥� un po鈥� meno, invece, direi, riprende lo scivolamento dentro la coscienza di questi punti di vista鈥� dentro le loro parole interiori鈥�
d: meglio cos矛!
io: mah, dipende sempre dal come鈥� se funziona鈥� Ma soprattutto quello che riprende 猫 la progressiva comprensione dell鈥檌nsieme che avviene attraverso l鈥檌ntegrazione e la decifrazione delle diverse parti鈥� dei diversi punti di vista, delle diverse voci鈥�
d: e dalla Casa verde cosa riprende?
io: beh, anche l矛 c鈥檈rano un po鈥� le stesse cose鈥� ma ancora di pi霉 erano messi in campo dei vertiginosi intrecci temporali鈥� mentre lo leggevo continuavo a pensare ad Ariosto鈥� cosa viene prima? cosa dopo? quante storie sono rimaste indietro?
d.: come quando scopri all鈥檌mprovviso che vicende che sembravano contemporanee sono invece successe nel passato鈥�
io: s矛, infatti! Nella Casa verde le diverse linee narrative non sono montate secondo una pi霉 o meno tendenziale successione cronologica degli avvenimenti鈥� cose che succedono prima vengono raccontate molto dopo鈥� mi veniva voglia di prendere un foglio e farmi degli schemini鈥�
d: ho capito. E quindi anche la Conversazione funziona cos矛?
io: s矛, ma soprattutto dal secondo romanzo riprende un particolare lavoro sull鈥檌ndiretto libero
d: cio猫?
io: una cosa tutta basata sull鈥檌mperfetto e i vocativi...
d: non ho capito
io: ti faccio un esempietto facile, qui, dalle prime pagine鈥� vedi? questo 猫 un personaggio minore鈥� non conta dire chi 猫鈥� ma si rivolge al protagonista, Santiago Zavala, giornalista della 芦Cron铆ca禄鈥� Zavalita鈥� il magro鈥�
d: s矛, ok, vai avanti!
io: in teoria dovrebbe essere qualcosa tipo: 芦il calvo disse: 鈥淣on c鈥櫭� bisogno di scaldarsi cos矛, non 猫 colpa di nessuno!鈥澛� e diventa: 芦Non c鈥檈ra bisogno di scaldarsi in quel modo, amico giornalista, non era colpa di nessuno.禄 Ecco, questo 猫 il caso facile鈥� ma in molti casi si capisce chi sta parlando soltanto dal contesto e dal richiamo che pu貌 esserci all鈥檌nterlocutore鈥�
d: sembra confuso!
io: s矛 a volte non sei sicuro di chi dice cosa鈥� alcuni passaggi diventano pienamente chiari solo dopo鈥� forse bisognerebbe rileggerlo subito dall鈥檌nizio appena dopo averlo finito鈥�
d: come dicono quei pazzi che hanno letto due o tre volte tutti i dieci romanzi del Malazan Book of the Fallen鈥�
io: pu貌 darsi鈥� comunque ti assicuro che quando entri nel gorgo non ne vuoi pi霉 uscire, anche se capita che sbagli a collocare una tessera del dialogone!
d: quindi il terzo 猫 come i primi due romanzi鈥�
io: s矛, per molte cose s矛鈥� ma in pi霉鈥� diciamo che a tutto quello che gi脿 aveva elaborato nei primi due romanzi鈥� ora si aggiunge il virtuosismo sulla conversazione鈥�
d: beh, s矛 intitola la Conversazione鈥�
io: s矛 infatti!
d: e allora questa nostra 猫 una conversazione sulla conversazione!
io: ah! puoi dirlo!
d: ma cos鈥櫭� un dialogo teologico, la conversazione nella cattedrale?
io: ahaha鈥� vero鈥� no, guarda鈥� innanzitutto 猫 il dialogo tra questo Santiago, il protagonista鈥� che 猫 figlio di buona famiglia, ricca e potente鈥� per貌 猫 un giornalista squattrinato鈥� e Ambrosio, l鈥檈x autista di suo padre
d: ah, ok. Ma la cattedrale?
io: aspetta鈥� 猫 il nome di un localaccio malfamato dove i due si bevono una birra dopo l鈥檃ltra鈥� per貌 dentro, dentro c鈥櫭� ogni tipo di altri dialoghi鈥� soprattutto鈥� per costruire la struttura generale鈥� oltre a quello con Ambrosio ce n鈥櫭� anche uno interno ma portante鈥� sempre tra Santiago e un collega giornalista鈥� Carlitos; e poi sempre come un dialogo continuo tra Santiago Zavala e s茅 stesso鈥� aspetta, senti qua鈥� 猫 verso la fine, ma per farti capire: 芦Che altro c鈥檈ra, Zavalita, che altro c鈥檈ra? La conversazione col Faville, pensa, nient鈥檃ltro.禄
d: ok, ci sono.
io: e dentro queste conversazioni strutturali esplodono tutte le altre鈥� nel continuo dialogo tra tutti i personaggi鈥� perch茅 gli avvenimenti della 鈥渢rama鈥濃€� a parte, come dicevo, che sono raccontati in un tempo e in un ordine molto diverso da quando sono successi鈥� non sono mai raccontati in diretta鈥� ma sempre detti da qualcuno a qualcuno鈥� dentro un altro racconto di qualcuno a qualcuno...
d: aspetta, mi gira la testa
io: il vertice del virtuosismo lo tocca con la tecnica che hanno chiamato dei 鈥渄ialoghi telescopici鈥濃€�
d: andiamo bene! dici che non 猫 facile capire chi sta parlando鈥� in dialoghi dove non si esplicita chi parla鈥� sono pure telescopici!
io: s矛, ma guarda che 猫 bello eh鈥� non solo non si esplicita chi sta parlando ma a volte mescola insieme due o tre dialoghi鈥� e magari tra le stesse persone, riguardo alla stessa cosa鈥� ma che sono avvenuti in luoghi e tempi diversi鈥� e vengono presentati contemporaneamente
d: s矛, vabb猫!
io: davvero! comunque solo nel primo libro鈥� all鈥檌nizio鈥� in tutto sono quattro鈥� solo nel primo libro ci sono momenti veramente confusivi鈥� poi diventa pi霉 regolare nell鈥檌ntreccio di personaggi-tempi-luoghi-vicende鈥� e comunque anche all鈥檌nizio ci sono delle isolette di 鈥渄isse鈥� o 鈥渄ice鈥� che ti fanno orientare almeno tra il mare della conversazione principale 鈥渁l presente鈥� e le acque dei dialoghi inseriti, 鈥渁l passato鈥濃€�
d: va bene, ma scusa, di cosa parla sto libro? Mi stai parlando solo di come funziano i dialoghi telescopici!
io: hai ragione, ma sai鈥� sai che ci stavo proprio pensando? questo 猫 proprio un ottimo esempio di quando si dice che in un capolavoro forma e contenuto non si possono separare 鈥� Cosa succede? Non si pu貌 separare nettamente 鈥榪uello che viene detto鈥� e 鈥榗ome viene detto鈥�...
d: ok ma鈥� che immagine disegna questo magistrale puzzle?
io: beh, 猫 dichiarato fin dalla prima pagina! Fin dalla prima pagina c鈥櫭� la domanda 鈥� doppia 鈥� e il libro 猫 la ricerca 鈥� impossibile 鈥� della risposta: 芦In che momento era andato a farsi fottere il Per霉? Gli strilloni sgattaiolano tra i veicoli trattenuti dal semaforo della calle Wilson, vociando i titoli del pomeriggio, e lui comincia a camminare, piano, verso la Colmena. Tiene le mani in tasca, la testa curva, cammina scortato da passanti che avanzano, anche loro, verso la Plaza San Mart矛n. Lui era come il Per霉, Zavalita, in un certo momento si era fatto fottere.禄
d: beh鈥�
io: E quindi cosa c鈥櫭� nel libro? C鈥櫭� un intero Paese, ci sono le sue stratificazioni, c鈥櫭� il brulicare della vita di chi ci vive, e il brulicare all鈥檌nterno di queste persone.
d: ecco!
io: sai che mi hai fatto pensare con quella storia della teologia? prima dicevo Faulkner鈥� certo certo鈥� anche questa di Vargas Llosa 猫 una narrativa 鈥渃ubista鈥濃€� ma il capofila dei suoi maestri鈥� non 猫 mai citato nel libro, 猫 una cosa che mi viene in mente adesso鈥� Zavala all鈥檌nizio sta leggendo Huxley, Point counter Point鈥� il capofila dei suoi maestri 猫 Dostoveksij!
d: eccoci, ora parte il pippone!
io: 鈥oprattutto il Dostoevskij 鈥渕enippeo鈥� e 鈥減olifonico鈥� di Bachtin! Il romanzo polifonico 猫 tutto dialogico! Anche qui 猫 cos矛鈥� fra tutti gli elementi della struttura del romanzo ci sono rapporti dialogici鈥� cio猫 tutti gli elementi sono contrapposti in modo contrappuntistico鈥� lo diceva Bachtin! ogni romanzo di Dostoevskij 猫 un 鈥済rande dialogo鈥濃€� che ha sua volta 猫 pieno di dialoghi tra i personaggi鈥� e infine il dialogo penetra all鈥檌nterno, in ogni parola del romanzo, rendendolo a due voci鈥� in ogni gesto, in ogni movimento mimico del volto dell鈥檈roe鈥� rendendolo mutevole e tormentandolo
d: hai finito? cosa c鈥檈ntra la cattedrale?
io: ah s矛鈥� volevo dire, Bachtin dice che i romanzi di Dostoevskij sono la versione moderna della satira menippea鈥� e anche qui, alla fine鈥� si parla dei fondamentali eterni鈥� la vita e la morte鈥� il senso o l鈥檃ssenza di senso鈥� la nascita al mondo naturale e quella culturale鈥� l鈥檈redit脿, il condizionamento sociale鈥� la possibilit脿 di libert脿 individuale鈥� ma tutto in un luogo di soglia degredato, tra personaggi un po鈥� sordidi鈥� appunto la cattedrale che non 猫 un luogo di culto ma un bar lercio鈥� come quello dove Alioscia e Ivan parlano del grande inquisitore鈥�
d: quello della pappolata?
io: quello! :-)
d: non ho ancora capito bene di cosa parla per貌鈥�
io: ah s矛, ti dicevo: c鈥櫭� proprio il Per霉, dalla fine degli anni Quaranta鈥� quando inizia la dittatura militare del generale Odr铆a鈥� sono andato a cercare鈥� su wikipedia in italiano ci sono due righe鈥� ma insomma鈥� 猫 proprio la storia del Per霉 a met脿 del Novecento鈥� l鈥檈sercito che ha deposto il presidente Bustamante nell鈥檕ttobre 1948鈥� e perseguita i sindacati, gli apristi鈥� cio猫 i militanti del partito Apra: Alleanza popolare rivoluzionaria americana鈥� i comunisti鈥� su wikipedia c鈥櫭� questa foto di Odr铆a:
.
d: ah, ecco鈥�
io: quello che emerge 猫 un Paese dove鈥� come dire鈥� le uniche classi dirigenti sono una ristrettissima 茅lite di ricchissimi impuniti razzisti-classisti predatori da generazioni, da sempre鈥� e poi l鈥檈sercito.
d: bella roba!
io: s矛鈥� e anche se tra i personaggi del romanzo non ci sono militari鈥� compare soprattutto la bassa e media manovalanza di picchiatori e manovratori di complotti dell鈥檃pparato statale e parastatale鈥� anche se non ci sono i militari si capisce che l鈥檜nico spazio per emergere per un cholo
d: un??
io: cholo鈥� dev鈥檈ssere un modo insultante di definire i meticci鈥� per chi non 猫 nel giro stretto delle famiglie senatoriali per eredit脿 l鈥檜nico modo di imporsi 猫 l鈥檈sercito鈥� ma comunque鈥� a parte questo鈥� c鈥櫭� proprio tutto un mondo ampio鈥� intero e sfaccettato nel romanzo: ricchi e pezzenti, politici corrotti e giovani idealisti, infermiere e prostitute, padri e madri, giornalisti di nera e autisti, accalappiacani, cantanti鈥�
d: mi piace
io: anche a me鈥� e poi c鈥櫭� il desiderio di felicit脿鈥� la volont脿 di controllo鈥� la forza dirompente del sesso e del potere鈥� e su tutto l鈥檌nesorabile strapotere della sconfitta.
d: eccoci! alegria!
io: no, guarda, davvero鈥� forse 猫 proprio in questo che ha la grandezza della grande letteratura!... tutto quello che dicono questi libri鈥� la Conversazione e i due precedenti鈥� dovrebbero portarci a una sconsolata depressione, magari appena venata di angoscia... e invece l鈥檈sperienza della lettura 猫 di una gioia鈥� non so come dire鈥� quasi una gioia fisica.
d: perch茅?
io: non so鈥� tutto quello che dicevo prima鈥� di sicuro c鈥櫭� la sfida all鈥檌ntelligenza鈥� proprio intelligo鈥� il rompicapo da risolvere鈥� Ah, e c鈥櫭� persino il cadavere e l鈥檌nvestigazione: 猫 un giallo, se vogliamo!... a proposito, la quarta di copertina della prima edizione italiana 猫 vergognosa!... ma insieme c鈥櫭� la credibilit脿, l鈥檃mpiezza dello sguardo鈥� e l鈥檃bilit脿 narrativa stilistica dialogica鈥�
d: basta, sul dialogico basta!
io: ok鈥� per貌 voglio ancora finirti quella frase che dicevo prima di Praz鈥� continuava cos矛鈥� su Faulkner: 芦il suo metodo narrativo riesce a intensificare il senso di mistero e d鈥檃llucinazione della tragedia禄鈥�
d: ho capito, ho capito! Non si pu貌 separare il metodo narrativo dal senso鈥� lo stile di Vargas Llosa ti ha fatto provare insieme lo strozzamento del respiro e l鈥檃pertura del mondo.
io: cosa hai detto?
Da tempo non vedevo d.; lo incontro alla fermata del 16: cosa fai cosa leggi cosa non leggi dico ho appena finito Conversazione nella Cattedrale e iniziamo a parlarne:
d: non ho mai letto niente di Vargas Llosa
io: guarda, neanche io fino a qualche anno fa
d: per quello non ne avevamo mai parlato
io: per貌 questo 猫 il terzo consecutivo
d: gli hai letti tutti di seguito?
io: no, voglio dire鈥� sono i primi tre romanzi e gli ho letti nell鈥檕rdine di uscita鈥� guarda, Conversazione 猫 il terzo romanzo del giovane Mario (aveva 33 anni quando usc矛) e terzo capolavoro!
d: davvero? Cos矛 bello?
io: s矛, 猫 abbastanza incredibile vedere come, dal 1962 al 1969, 猫 riuscito a inanellare tre libri cos矛鈥� e non ho nemmeno letto i racconti鈥�
d: quali libri?
io: La citt脿 e i cani, La casa verde e Conversazione nella Cattedrale.
d: tutti belli?
io: s矛, ho visto che spesso il secondo 猫 collocato un gradino pi霉 in basso rispetto agli altri due, ma io non sono d鈥檃ccordo鈥� volevo anche scriverci su qualcosa鈥� ci ho pensato troppo e il tempo continua a passare鈥�
d: ma che cosa ti piace di sti romanzi?
io: mmm鈥� non saprei da dove cominciare鈥� l鈥檃ltro giorno mi 猫 venuta in mente una frase di Praz su Faulkner鈥�
d: e cosa c鈥檈ntra?
io: beh, Faulkner 猫 sicuramente uno dei maestri fondamentali di Vargas Llosa鈥� dovrei andare a cercare鈥�
d: lascia perdere, che frase era?
io: si chiedeva lo scopo di questo puzzle鈥� un romanzo come un vero e proprio puzzle di un genere prima non tentato鈥�
d: ho capito, parlava di The Sound and the Fury...
io: ebbravo!
d: e allora?
io: mi veniva in mentre perch茅 poi anche la Conversazione, come i due romanzi precedenti鈥� anche questo in effetti 猫 un puzzle鈥� 猫 un gioco di combinazioni, da rimontare鈥� ma anche proprio un rompicapo鈥� e un mistero insolubile, che lascia sconcertati.
d: suona un po鈥� macchinoso
io: ma no! 脠 un motivo di attrazione! Ti assicuro! Anzi, forse aumenta addirittura la sfida rispetto ai precedenti: Venghino, siore e siori! Sempre pi霉 difficile! Sempre pi霉 rischioso!
d: :-)
io: Mario qui continua il lavoro impostato coi due romanzi precedenti鈥� porta avanti la sua creazione di uno stile impetuoso, avvolgente, complesso, illusionistico, confusivo e avvincente鈥�
d: tutto questo insieme?
io: Tutto questo insieme! Da La citt脿 e i cani riprende l鈥檃ccostamento di molti personaggi ciascuno con la sua visione delle cose che succedono e del mondo鈥� un po鈥� meno, invece, direi, riprende lo scivolamento dentro la coscienza di questi punti di vista鈥� dentro le loro parole interiori鈥�
d: meglio cos矛!
io: mah, dipende sempre dal come鈥� se funziona鈥� Ma soprattutto quello che riprende 猫 la progressiva comprensione dell鈥檌nsieme che avviene attraverso l鈥檌ntegrazione e la decifrazione delle diverse parti鈥� dei diversi punti di vista, delle diverse voci鈥�
d: e dalla Casa verde cosa riprende?
io: beh, anche l矛 c鈥檈rano un po鈥� le stesse cose鈥� ma ancora di pi霉 erano messi in campo dei vertiginosi intrecci temporali鈥� mentre lo leggevo continuavo a pensare ad Ariosto鈥� cosa viene prima? cosa dopo? quante storie sono rimaste indietro?
d.: come quando scopri all鈥檌mprovviso che vicende che sembravano contemporanee sono invece successe nel passato鈥�
io: s矛, infatti! Nella Casa verde le diverse linee narrative non sono montate secondo una pi霉 o meno tendenziale successione cronologica degli avvenimenti鈥� cose che succedono prima vengono raccontate molto dopo鈥� mi veniva voglia di prendere un foglio e farmi degli schemini鈥�
d: ho capito. E quindi anche la Conversazione funziona cos矛?
io: s矛, ma soprattutto dal secondo romanzo riprende un particolare lavoro sull鈥檌ndiretto libero
d: cio猫?
io: una cosa tutta basata sull鈥檌mperfetto e i vocativi...
d: non ho capito
io: ti faccio un esempietto facile, qui, dalle prime pagine鈥� vedi? questo 猫 un personaggio minore鈥� non conta dire chi 猫鈥� ma si rivolge al protagonista, Santiago Zavala, giornalista della 芦Cron铆ca禄鈥� Zavalita鈥� il magro鈥�
d: s矛, ok, vai avanti!
io: in teoria dovrebbe essere qualcosa tipo: 芦il calvo disse: 鈥淣on c鈥櫭� bisogno di scaldarsi cos矛, non 猫 colpa di nessuno!鈥澛� e diventa: 芦Non c鈥檈ra bisogno di scaldarsi in quel modo, amico giornalista, non era colpa di nessuno.禄 Ecco, questo 猫 il caso facile鈥� ma in molti casi si capisce chi sta parlando soltanto dal contesto e dal richiamo che pu貌 esserci all鈥檌nterlocutore鈥�
d: sembra confuso!
io: s矛 a volte non sei sicuro di chi dice cosa鈥� alcuni passaggi diventano pienamente chiari solo dopo鈥� forse bisognerebbe rileggerlo subito dall鈥檌nizio appena dopo averlo finito鈥�
d: come dicono quei pazzi che hanno letto due o tre volte tutti i dieci romanzi del Malazan Book of the Fallen鈥�
io: pu貌 darsi鈥� comunque ti assicuro che quando entri nel gorgo non ne vuoi pi霉 uscire, anche se capita che sbagli a collocare una tessera del dialogone!
d: quindi il terzo 猫 come i primi due romanzi鈥�
io: s矛, per molte cose s矛鈥� ma in pi霉鈥� diciamo che a tutto quello che gi脿 aveva elaborato nei primi due romanzi鈥� ora si aggiunge il virtuosismo sulla conversazione鈥�
d: beh, s矛 intitola la Conversazione鈥�
io: s矛 infatti!
d: e allora questa nostra 猫 una conversazione sulla conversazione!
io: ah! puoi dirlo!
d: ma cos鈥櫭� un dialogo teologico, la conversazione nella cattedrale?
io: ahaha鈥� vero鈥� no, guarda鈥� innanzitutto 猫 il dialogo tra questo Santiago, il protagonista鈥� che 猫 figlio di buona famiglia, ricca e potente鈥� per貌 猫 un giornalista squattrinato鈥� e Ambrosio, l鈥檈x autista di suo padre
d: ah, ok. Ma la cattedrale?
io: aspetta鈥� 猫 il nome di un localaccio malfamato dove i due si bevono una birra dopo l鈥檃ltra鈥� per貌 dentro, dentro c鈥櫭� ogni tipo di altri dialoghi鈥� soprattutto鈥� per costruire la struttura generale鈥� oltre a quello con Ambrosio ce n鈥櫭� anche uno interno ma portante鈥� sempre tra Santiago e un collega giornalista鈥� Carlitos; e poi sempre come un dialogo continuo tra Santiago Zavala e s茅 stesso鈥� aspetta, senti qua鈥� 猫 verso la fine, ma per farti capire: 芦Che altro c鈥檈ra, Zavalita, che altro c鈥檈ra? La conversazione col Faville, pensa, nient鈥檃ltro.禄
d: ok, ci sono.
io: e dentro queste conversazioni strutturali esplodono tutte le altre鈥� nel continuo dialogo tra tutti i personaggi鈥� perch茅 gli avvenimenti della 鈥渢rama鈥濃€� a parte, come dicevo, che sono raccontati in un tempo e in un ordine molto diverso da quando sono successi鈥� non sono mai raccontati in diretta鈥� ma sempre detti da qualcuno a qualcuno鈥� dentro un altro racconto di qualcuno a qualcuno...
d: aspetta, mi gira la testa
io: il vertice del virtuosismo lo tocca con la tecnica che hanno chiamato dei 鈥渄ialoghi telescopici鈥濃€�
d: andiamo bene! dici che non 猫 facile capire chi sta parlando鈥� in dialoghi dove non si esplicita chi parla鈥� sono pure telescopici!
io: s矛, ma guarda che 猫 bello eh鈥� non solo non si esplicita chi sta parlando ma a volte mescola insieme due o tre dialoghi鈥� e magari tra le stesse persone, riguardo alla stessa cosa鈥� ma che sono avvenuti in luoghi e tempi diversi鈥� e vengono presentati contemporaneamente
d: s矛, vabb猫!
io: davvero! comunque solo nel primo libro鈥� all鈥檌nizio鈥� in tutto sono quattro鈥� solo nel primo libro ci sono momenti veramente confusivi鈥� poi diventa pi霉 regolare nell鈥檌ntreccio di personaggi-tempi-luoghi-vicende鈥� e comunque anche all鈥檌nizio ci sono delle isolette di 鈥渄isse鈥� o 鈥渄ice鈥� che ti fanno orientare almeno tra il mare della conversazione principale 鈥渁l presente鈥� e le acque dei dialoghi inseriti, 鈥渁l passato鈥濃€�
d: va bene, ma scusa, di cosa parla sto libro? Mi stai parlando solo di come funziano i dialoghi telescopici!
io: hai ragione, ma sai鈥� sai che ci stavo proprio pensando? questo 猫 proprio un ottimo esempio di quando si dice che in un capolavoro forma e contenuto non si possono separare 鈥� Cosa succede? Non si pu貌 separare nettamente 鈥榪uello che viene detto鈥� e 鈥榗ome viene detto鈥�...
d: ok ma鈥� che immagine disegna questo magistrale puzzle?
io: beh, 猫 dichiarato fin dalla prima pagina! Fin dalla prima pagina c鈥櫭� la domanda 鈥� doppia 鈥� e il libro 猫 la ricerca 鈥� impossibile 鈥� della risposta: 芦In che momento era andato a farsi fottere il Per霉? Gli strilloni sgattaiolano tra i veicoli trattenuti dal semaforo della calle Wilson, vociando i titoli del pomeriggio, e lui comincia a camminare, piano, verso la Colmena. Tiene le mani in tasca, la testa curva, cammina scortato da passanti che avanzano, anche loro, verso la Plaza San Mart矛n. Lui era come il Per霉, Zavalita, in un certo momento si era fatto fottere.禄
d: beh鈥�
io: E quindi cosa c鈥櫭� nel libro? C鈥櫭� un intero Paese, ci sono le sue stratificazioni, c鈥櫭� il brulicare della vita di chi ci vive, e il brulicare all鈥檌nterno di queste persone.
d: ecco!
io: sai che mi hai fatto pensare con quella storia della teologia? prima dicevo Faulkner鈥� certo certo鈥� anche questa di Vargas Llosa 猫 una narrativa 鈥渃ubista鈥濃€� ma il capofila dei suoi maestri鈥� non 猫 mai citato nel libro, 猫 una cosa che mi viene in mente adesso鈥� Zavala all鈥檌nizio sta leggendo Huxley, Point counter Point鈥� il capofila dei suoi maestri 猫 Dostoveksij!
d: eccoci, ora parte il pippone!
io: 鈥oprattutto il Dostoevskij 鈥渕enippeo鈥� e 鈥減olifonico鈥� di Bachtin! Il romanzo polifonico 猫 tutto dialogico! Anche qui 猫 cos矛鈥� fra tutti gli elementi della struttura del romanzo ci sono rapporti dialogici鈥� cio猫 tutti gli elementi sono contrapposti in modo contrappuntistico鈥� lo diceva Bachtin! ogni romanzo di Dostoevskij 猫 un 鈥済rande dialogo鈥濃€� che ha sua volta 猫 pieno di dialoghi tra i personaggi鈥� e infine il dialogo penetra all鈥檌nterno, in ogni parola del romanzo, rendendolo a due voci鈥� in ogni gesto, in ogni movimento mimico del volto dell鈥檈roe鈥� rendendolo mutevole e tormentandolo
d: hai finito? cosa c鈥檈ntra la cattedrale?
io: ah s矛鈥� volevo dire, Bachtin dice che i romanzi di Dostoevskij sono la versione moderna della satira menippea鈥� e anche qui, alla fine鈥� si parla dei fondamentali eterni鈥� la vita e la morte鈥� il senso o l鈥檃ssenza di senso鈥� la nascita al mondo naturale e quella culturale鈥� l鈥檈redit脿, il condizionamento sociale鈥� la possibilit脿 di libert脿 individuale鈥� ma tutto in un luogo di soglia degredato, tra personaggi un po鈥� sordidi鈥� appunto la cattedrale che non 猫 un luogo di culto ma un bar lercio鈥� come quello dove Alioscia e Ivan parlano del grande inquisitore鈥�
d: quello della pappolata?
io: quello! :-)
d: non ho ancora capito bene di cosa parla per貌鈥�
io: ah s矛, ti dicevo: c鈥櫭� proprio il Per霉, dalla fine degli anni Quaranta鈥� quando inizia la dittatura militare del generale Odr铆a鈥� sono andato a cercare鈥� su wikipedia in italiano ci sono due righe鈥� ma insomma鈥� 猫 proprio la storia del Per霉 a met脿 del Novecento鈥� l鈥檈sercito che ha deposto il presidente Bustamante nell鈥檕ttobre 1948鈥� e perseguita i sindacati, gli apristi鈥� cio猫 i militanti del partito Apra: Alleanza popolare rivoluzionaria americana鈥� i comunisti鈥� su wikipedia c鈥櫭� questa foto di Odr铆a:
.
d: ah, ecco鈥�
io: quello che emerge 猫 un Paese dove鈥� come dire鈥� le uniche classi dirigenti sono una ristrettissima 茅lite di ricchissimi impuniti razzisti-classisti predatori da generazioni, da sempre鈥� e poi l鈥檈sercito.
d: bella roba!
io: s矛鈥� e anche se tra i personaggi del romanzo non ci sono militari鈥� compare soprattutto la bassa e media manovalanza di picchiatori e manovratori di complotti dell鈥檃pparato statale e parastatale鈥� anche se non ci sono i militari si capisce che l鈥檜nico spazio per emergere per un cholo
d: un??
io: cholo鈥� dev鈥檈ssere un modo insultante di definire i meticci鈥� per chi non 猫 nel giro stretto delle famiglie senatoriali per eredit脿 l鈥檜nico modo di imporsi 猫 l鈥檈sercito鈥� ma comunque鈥� a parte questo鈥� c鈥櫭� proprio tutto un mondo ampio鈥� intero e sfaccettato nel romanzo: ricchi e pezzenti, politici corrotti e giovani idealisti, infermiere e prostitute, padri e madri, giornalisti di nera e autisti, accalappiacani, cantanti鈥�
d: mi piace
io: anche a me鈥� e poi c鈥櫭� il desiderio di felicit脿鈥� la volont脿 di controllo鈥� la forza dirompente del sesso e del potere鈥� e su tutto l鈥檌nesorabile strapotere della sconfitta.
d: eccoci! alegria!
io: no, guarda, davvero鈥� forse 猫 proprio in questo che ha la grandezza della grande letteratura!... tutto quello che dicono questi libri鈥� la Conversazione e i due precedenti鈥� dovrebbero portarci a una sconsolata depressione, magari appena venata di angoscia... e invece l鈥檈sperienza della lettura 猫 di una gioia鈥� non so come dire鈥� quasi una gioia fisica.
d: perch茅?
io: non so鈥� tutto quello che dicevo prima鈥� di sicuro c鈥櫭� la sfida all鈥檌ntelligenza鈥� proprio intelligo鈥� il rompicapo da risolvere鈥� Ah, e c鈥櫭� persino il cadavere e l鈥檌nvestigazione: 猫 un giallo, se vogliamo!... a proposito, la quarta di copertina della prima edizione italiana 猫 vergognosa!... ma insieme c鈥櫭� la credibilit脿, l鈥檃mpiezza dello sguardo鈥� e l鈥檃bilit脿 narrativa stilistica dialogica鈥�
d: basta, sul dialogico basta!
io: ok鈥� per貌 voglio ancora finirti quella frase che dicevo prima di Praz鈥� continuava cos矛鈥� su Faulkner: 芦il suo metodo narrativo riesce a intensificare il senso di mistero e d鈥檃llucinazione della tragedia禄鈥�
d: ho capito, ho capito! Non si pu貌 separare il metodo narrativo dal senso鈥� lo stile di Vargas Llosa ti ha fatto provare insieme lo strozzamento del respiro e l鈥檃pertura del mondo.
io: cosa hai detto?
February 7, 2017
No s茅 que decir de este libro, no soy muy buena haciendo rese帽as, y menos cuando los libros son tan buenos como 茅ste que acabo de terminar. Vargas Llosa: sos un maldito genio y ahora quiero leer todos tus libros.
La historia comienza cuando Santiago va a buscar a su perro a la perrera, y all铆 se encuentra con Ambrosio, un viejo conocido que hab铆a sido chofer de su padre. Ambos van a un bar llamado La Catedral y, entre trago y trago, desentierran las historias vividas. Historias de vida marcadas por una dictadura.
La primera parte es bastante entreverada y es muy dif铆cil agarrarle el hilo a la historia. Se mezclan hasta cuatro historias en un mismo cap铆tulo, de personajes distintos y que ocurren en diferentes momentos en el tiempo, cambiando a cada oraci贸n. Pero luego de leer un poco te acostumbr谩s y es m谩s f谩cil de seguir. Las tres 煤ltimas partes ya tienen fragmentos m谩s largos, hasta que al final se van uniendo todas las piezas del rompecabezas. Al que se siente es mareado: no desistas. Vale la pena cada p谩gina.
"Si tuviera que salvar del fuego una sola de las novelas que he escrito, salvar铆a esta" - Mario Vargas Llosa (1998)
La historia comienza cuando Santiago va a buscar a su perro a la perrera, y all铆 se encuentra con Ambrosio, un viejo conocido que hab铆a sido chofer de su padre. Ambos van a un bar llamado La Catedral y, entre trago y trago, desentierran las historias vividas. Historias de vida marcadas por una dictadura.
La primera parte es bastante entreverada y es muy dif铆cil agarrarle el hilo a la historia. Se mezclan hasta cuatro historias en un mismo cap铆tulo, de personajes distintos y que ocurren en diferentes momentos en el tiempo, cambiando a cada oraci贸n. Pero luego de leer un poco te acostumbr谩s y es m谩s f谩cil de seguir. Las tres 煤ltimas partes ya tienen fragmentos m谩s largos, hasta que al final se van uniendo todas las piezas del rompecabezas. Al que se siente es mareado: no desistas. Vale la pena cada p谩gina.
"Si tuviera que salvar del fuego una sola de las novelas que he escrito, salvar铆a esta" - Mario Vargas Llosa (1998)
July 23, 2022
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亘乇丕蹖 賲賳 丕夭 丨丿賵丿 氐賮丨賴 丿賵蹖爻鬲 丕亘賴丕賲鈥屬囏� 亘乇胤乇賮 賵 丿丕爻鬲丕賳 噩匕丕亘 卮丿 賵 賴乇趩蹖 倬蹖卮 乇賮鬲 噩匕丕亘鈥屫� 卮丿. 賮賯胤 亘乇丕蹖 讴爻丕賳蹖 讴賴 賳禺賵賳丿賳 賵 鬲氐賲蹖賲 丿丕乇賳 亘禺賵賳賳 亘诏賲 讴賴 "丌賲亘乇賵爻蹖賵" 禺蹖賱蹖 讴賱蹖丿蹖 賵 賲賴賲賴. 蹖噩賵乇丕蹖蹖 卮禺氐 丕氐賱蹖 賴賲蹖賳 丌丿賲賴 馃槒
March 27, 2024
賴賲蹖卮賴 毓丕賱蹖 貙 賴賲蹖卮賴 蹖賵爻丕 鉁�
蹖賴 噩丕 禺賵賳丿賴 亘賵丿賲 蹖賵爻丕 诏賮鬲賴 亘賵丿 貙 賳賵蹖爻賳丿诏丕賳 丌賲乇蹖讴丕蹖 噩賳賵亘蹖 丿乇 丌賳 爻丕賱 賴丕 鬲丨鬲 鬲丕孬蹖乇 賵蹖賱蹖丕賲 賮丕賱讴賳乇 亘賵丿賳 賵 丕诏賴 丿賵亘丕乇賴 亘禺賵丕賲 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱 乇賵 亘賳賵蹖爻賲 胤亘蹖毓鬲丕 亘丕 丕賵賳 卮讴賱 乇賵丕蹖鬲 賳禺賵丕賴賲 賳賵卮鬲.亘賴 毓亘丕乇鬲蹖 丕夭 鬲讴賳蹖讴 乇賵丕蹖鬲 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱 丕馗賴丕乇 倬卮蹖賲丕賳蹖 讴乇丿賴 亘賵丿.
賵賱蹖 亘賴 賳馗乇 賲賳 亘丕 丕賵賳 賴賲賴 丿丕爻鬲丕賳 鬲賵 丿乇 鬲賵 賵 丕夭 賳馗乇 賲丨鬲賵丕 賲鬲賮丕賵鬲 亘丕賴賲 亘賴鬲乇蹖賳 卮蹖賵賴 蹖 乇賵丕蹖鬲 賴賲蹖賳 亘賵丿.
蹖讴 乇賲丕賳蹖 讴賴 噩丕賲毓賴 蹖 丕爻鬲亘丿丕丿 夭丿賴 乇賵 鬲卮乇蹖丨 賲蹖讴賳賴 貙 賴賲趩蹖賳 乇賵丕亘胤 丕噩鬲賲丕毓蹖 賵 禺丕賳賵丕丿诏蹖 賲賱鬲 丿乇 賴賲趩蹖賳 噩丕賲毓賴 丕蹖.
賳蹖賲賴 蹖 丕賵賱 讴鬲丕亘 亘丕 鬲賵噩賴 亘賴 鬲毓丿丿 丿丕爻鬲丕賳 賴丕 倬乇丕讴賳丿诏蹖 夭蹖丕丿蹖 丿丕卮鬲 賵賱蹖 乇賮鬲賴 乇賮鬲賴 丿丕爻鬲丕賳 丕賳爻噩丕賲 禺賵丿卮 乇賵 倬蹖丿丕 賲蹖讴賳賴 賵 蹖賵爻丕 亘賴 卮讴賱 丕爻鬲丕丿丕賳賴 讴鬲丕亘 乇賵 亘賴 倬丕蹖丕賳 賲蹖乇爻賵賳賴.
丕诏乇 丕賵丕蹖賱 讴鬲丕亘 丕夭 賮賴賲 讴鬲丕亘 毓丕噩夭 賴爻鬲蹖丿 貙 賳丕丕賲蹖丿 賳卮蹖丿 賵 丕丿丕賲賴 亘丿蹖丿 讴賴 賴賲賴 趩蹖夭 賲孬賱 倬丕夭賱 丿乇讴賳丕乇 賴賲 賯乇丕乇 賲蹖诏蹖乇賴.
丕夭 鬲乇噩賲賴 蹖 賳丕亘 噩賳丕亘 讴賵孬乇蹖 賴賲 讴賴 丕丨鬲蹖丕噩 賳蹖爻鬲 趩蹖夭蹖 亘诏賲 賵 亘丕蹖丿 賯丿乇 丿丕賳 丕蹖卮賵賳 亘丕卮蹖賲 讴賴 夭丨賲鬲 鬲乇噩賲賴 蹖 趩賳蹖賳 卮丕賴讴丕乇賴丕蹖蹖 乇賵 賲鬲賯亘賱 卮丿賳.
丕蹖賳 讴鬲丕亘 丿乇 丕蹖乇丕賳 丿賵 賳爻禺賴 丿丕乇賴.賳爻禺賴 蹖 丕賵賱 趩丕倬 爻丕賱 郾鄢鄯郯 亘乇丕蹖 賳卮乇 賳賲丕 (賲卮賴丿) 賴爻鬲 讴賴 亘丕 鬲賵噩賴 亘賴 賲胤丕賱亘 丕乇賵鬲蹖讴 丿乇 丕賵賳 爻丕賱 趩丕倬 卮丿 賵賱蹖 鬲賵賯蹖賮 卮丿 賵 丕噩丕夭賴 倬禺卮 賳诏乇賮鬲.
蹖讴 賳爻禺賴 蹖 丿蹖诏賴 賴賲 讴賴 丿乇 亘丕夭丕乇 賲賵噩賵丿 賴爻鬲 亘乇丕蹖 丕賳鬲卮丕乇丕鬲 賱賵丨 賮讴乇 賴爻鬲 讴賴 胤亘蹖毓鬲丕 爻丕賳爻賵乇 卮丿賴 賵 賴乇 丿賵 亘丕 鬲乇噩賲賴 蹖 噩賳丕亘 讴賵孬乇蹖 賴爻鬲.
倬蹖卮賳賴丕丿 賲蹖讴賳賲 丕夭 丿爻鬲 丿賵賲 賮乇賵卮蹖 賴丕 賳爻禺賴 蹖 丕賵賱 乇賵 鬲賴蹖賴 讴賳蹖丿 賵 丕夭 丕蹖賳 卮丕賴讴丕乇 讴蹖賮賵乇 亘卮蹖丿...
蹖賴 噩丕 禺賵賳丿賴 亘賵丿賲 蹖賵爻丕 诏賮鬲賴 亘賵丿 貙 賳賵蹖爻賳丿诏丕賳 丌賲乇蹖讴丕蹖 噩賳賵亘蹖 丿乇 丌賳 爻丕賱 賴丕 鬲丨鬲 鬲丕孬蹖乇 賵蹖賱蹖丕賲 賮丕賱讴賳乇 亘賵丿賳 賵 丕诏賴 丿賵亘丕乇賴 亘禺賵丕賲 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱 乇賵 亘賳賵蹖爻賲 胤亘蹖毓鬲丕 亘丕 丕賵賳 卮讴賱 乇賵丕蹖鬲 賳禺賵丕賴賲 賳賵卮鬲.亘賴 毓亘丕乇鬲蹖 丕夭 鬲讴賳蹖讴 乇賵丕蹖鬲 诏賮鬲诏賵 丿乇 讴丕鬲丿乇丕賱 丕馗賴丕乇 倬卮蹖賲丕賳蹖 讴乇丿賴 亘賵丿.
賵賱蹖 亘賴 賳馗乇 賲賳 亘丕 丕賵賳 賴賲賴 丿丕爻鬲丕賳 鬲賵 丿乇 鬲賵 賵 丕夭 賳馗乇 賲丨鬲賵丕 賲鬲賮丕賵鬲 亘丕賴賲 亘賴鬲乇蹖賳 卮蹖賵賴 蹖 乇賵丕蹖鬲 賴賲蹖賳 亘賵丿.
蹖讴 乇賲丕賳蹖 讴賴 噩丕賲毓賴 蹖 丕爻鬲亘丿丕丿 夭丿賴 乇賵 鬲卮乇蹖丨 賲蹖讴賳賴 貙 賴賲趩蹖賳 乇賵丕亘胤 丕噩鬲賲丕毓蹖 賵 禺丕賳賵丕丿诏蹖 賲賱鬲 丿乇 賴賲趩蹖賳 噩丕賲毓賴 丕蹖.
賳蹖賲賴 蹖 丕賵賱 讴鬲丕亘 亘丕 鬲賵噩賴 亘賴 鬲毓丿丿 丿丕爻鬲丕賳 賴丕 倬乇丕讴賳丿诏蹖 夭蹖丕丿蹖 丿丕卮鬲 賵賱蹖 乇賮鬲賴 乇賮鬲賴 丿丕爻鬲丕賳 丕賳爻噩丕賲 禺賵丿卮 乇賵 倬蹖丿丕 賲蹖讴賳賴 賵 蹖賵爻丕 亘賴 卮讴賱 丕爻鬲丕丿丕賳賴 讴鬲丕亘 乇賵 亘賴 倬丕蹖丕賳 賲蹖乇爻賵賳賴.
丕诏乇 丕賵丕蹖賱 讴鬲丕亘 丕夭 賮賴賲 讴鬲丕亘 毓丕噩夭 賴爻鬲蹖丿 貙 賳丕丕賲蹖丿 賳卮蹖丿 賵 丕丿丕賲賴 亘丿蹖丿 讴賴 賴賲賴 趩蹖夭 賲孬賱 倬丕夭賱 丿乇讴賳丕乇 賴賲 賯乇丕乇 賲蹖诏蹖乇賴.
丕夭 鬲乇噩賲賴 蹖 賳丕亘 噩賳丕亘 讴賵孬乇蹖 賴賲 讴賴 丕丨鬲蹖丕噩 賳蹖爻鬲 趩蹖夭蹖 亘诏賲 賵 亘丕蹖丿 賯丿乇 丿丕賳 丕蹖卮賵賳 亘丕卮蹖賲 讴賴 夭丨賲鬲 鬲乇噩賲賴 蹖 趩賳蹖賳 卮丕賴讴丕乇賴丕蹖蹖 乇賵 賲鬲賯亘賱 卮丿賳.
丕蹖賳 讴鬲丕亘 丿乇 丕蹖乇丕賳 丿賵 賳爻禺賴 丿丕乇賴.賳爻禺賴 蹖 丕賵賱 趩丕倬 爻丕賱 郾鄢鄯郯 亘乇丕蹖 賳卮乇 賳賲丕 (賲卮賴丿) 賴爻鬲 讴賴 亘丕 鬲賵噩賴 亘賴 賲胤丕賱亘 丕乇賵鬲蹖讴 丿乇 丕賵賳 爻丕賱 趩丕倬 卮丿 賵賱蹖 鬲賵賯蹖賮 卮丿 賵 丕噩丕夭賴 倬禺卮 賳诏乇賮鬲.
蹖讴 賳爻禺賴 蹖 丿蹖诏賴 賴賲 讴賴 丿乇 亘丕夭丕乇 賲賵噩賵丿 賴爻鬲 亘乇丕蹖 丕賳鬲卮丕乇丕鬲 賱賵丨 賮讴乇 賴爻鬲 讴賴 胤亘蹖毓鬲丕 爻丕賳爻賵乇 卮丿賴 賵 賴乇 丿賵 亘丕 鬲乇噩賲賴 蹖 噩賳丕亘 讴賵孬乇蹖 賴爻鬲.
倬蹖卮賳賴丕丿 賲蹖讴賳賲 丕夭 丿爻鬲 丿賵賲 賮乇賵卮蹖 賴丕 賳爻禺賴 蹖 丕賵賱 乇賵 鬲賴蹖賴 讴賳蹖丿 賵 丕夭 丕蹖賳 卮丕賴讴丕乇 讴蹖賮賵乇 亘卮蹖丿...
August 6, 2017
Vargas Llosa, hijo de puta, me la volviste a hacer. Cre铆 que ningun libro tuyo pod铆a ser mejor que La Fiesta del Chivo. Y luego... 726 paginas y 3 d铆as sin salir de mi casa. Llore, re铆, sufr铆, me indigne, me doli贸 el estomago... Lo que mas me sorprende es su capacidad de contar una historia con tantos saltos de tiempo y tantos personajes; que el inicio sea tan confuso y que luego poco a poco, todo vaya encajando. Definitivamente una obra maestra.
August 7, 2017
Vargas Llosa es un conchasumadre.
Se meti贸 un pa铆s entero en 800 p谩ginas. Y t煤 dir谩s, bah, pero si Fitzgerald en el Gran Gatsby se meti贸 a EEUU en menos de 300 p谩gs. Tmr, c谩llate, carajo. Que te peguen un tiro. NADA QUE VER. Porque al cerrar el libro, a m铆 me da la sensaci贸n de que la monstruosa complejidad del Per煤 de Odr铆a ((de cualquier Per煤 (de cualquier pa铆s)) solo puede contarse con una estructura como 茅sta, con unas cajas chinas del demonio y una kilometrada semejante.
Pocas veces una novela me hab铆a hecho sentirme tan mierda y tan complacido al mismo tiempo. Los ojos de Vargas Llosa, huev贸n. Esos ojos que no s茅 qu茅 color tienen. Quiz谩 casta帽os. Son los ojos de un escritor, de un tipo que desde el momento en que decide que va a escribir a muerte se tat煤a unas coordenadas en las pupilas para poder registrarlo todo bonito, para poder entenderlos, para asociarlos, para recordarlos a todos, con sus gestos, sus palabras primero, y luego en un plano m谩s fucked up, para poder desnudarlos en el papel, para exponerlos como ni ellos mismos se han visto. Para sumarlos a todos en una sopa espesa y gris谩cea y obtener as铆 un pa铆s. Esa mirada de escritor que a veces duele, que a veces asquea, que te tiene dentro de la pieza pero fuera al mismo tiempo, Varguitas. Toda la disciplina de cachaco, para poder parir un buque semejante. La precisi贸n en el di谩logo, en los registros. El manejo de la descripci贸n. No te voy a decir qu茅 color de ojos tiene Hortensia hasta la p谩gina 600. A Zavalita, ni un pelo te lo voy a describir. P谩ginas de tierra y suciedad, de dolor zambo, dolor denso y cochino, de dolor almidonado, dolor caro y oliendo bien, dolor exitoso, reprimido, dolor cobarde y mediocre, ap谩tico. El todo por sus partes. Un lienzo enorme cortado en cuadraditos que te dan uno por uno. Infiere, mierda. Ni un solo vistazo 铆ntegro de todo. Eso para tu cabeza, Rodrigo, 茅l sabe lo que hace. El todo por sus partes, he dicho. Cayo Mierda.
-Joderlo a 茅se es lo m谩s f谩cil del mundo 鈥搒onri贸 Paredes-. Por el lado de su vicio.
-Por ese lado no -dijo 茅l, y mir贸 a Paredes, bostezando de nuevo-. Por el 煤nico que no.
-Ya s茅, ya me lo has dicho -sonri贸 Paredes-. El vicio es lo 煤nico que respetas en la gente.
Se meti贸 un pa铆s entero en 800 p谩ginas. Y t煤 dir谩s, bah, pero si Fitzgerald en el Gran Gatsby se meti贸 a EEUU en menos de 300 p谩gs. Tmr, c谩llate, carajo. Que te peguen un tiro. NADA QUE VER. Porque al cerrar el libro, a m铆 me da la sensaci贸n de que la monstruosa complejidad del Per煤 de Odr铆a ((de cualquier Per煤 (de cualquier pa铆s)) solo puede contarse con una estructura como 茅sta, con unas cajas chinas del demonio y una kilometrada semejante.
Pocas veces una novela me hab铆a hecho sentirme tan mierda y tan complacido al mismo tiempo. Los ojos de Vargas Llosa, huev贸n. Esos ojos que no s茅 qu茅 color tienen. Quiz谩 casta帽os. Son los ojos de un escritor, de un tipo que desde el momento en que decide que va a escribir a muerte se tat煤a unas coordenadas en las pupilas para poder registrarlo todo bonito, para poder entenderlos, para asociarlos, para recordarlos a todos, con sus gestos, sus palabras primero, y luego en un plano m谩s fucked up, para poder desnudarlos en el papel, para exponerlos como ni ellos mismos se han visto. Para sumarlos a todos en una sopa espesa y gris谩cea y obtener as铆 un pa铆s. Esa mirada de escritor que a veces duele, que a veces asquea, que te tiene dentro de la pieza pero fuera al mismo tiempo, Varguitas. Toda la disciplina de cachaco, para poder parir un buque semejante. La precisi贸n en el di谩logo, en los registros. El manejo de la descripci贸n. No te voy a decir qu茅 color de ojos tiene Hortensia hasta la p谩gina 600. A Zavalita, ni un pelo te lo voy a describir. P谩ginas de tierra y suciedad, de dolor zambo, dolor denso y cochino, de dolor almidonado, dolor caro y oliendo bien, dolor exitoso, reprimido, dolor cobarde y mediocre, ap谩tico. El todo por sus partes. Un lienzo enorme cortado en cuadraditos que te dan uno por uno. Infiere, mierda. Ni un solo vistazo 铆ntegro de todo. Eso para tu cabeza, Rodrigo, 茅l sabe lo que hace. El todo por sus partes, he dicho. Cayo Mierda.
-Joderlo a 茅se es lo m谩s f谩cil del mundo 鈥搒onri贸 Paredes-. Por el lado de su vicio.
-Por ese lado no -dijo 茅l, y mir贸 a Paredes, bostezando de nuevo-. Por el 煤nico que no.
-Ya s茅, ya me lo has dicho -sonri贸 Paredes-. El vicio es lo 煤nico que respetas en la gente.
December 10, 2017
丕賵賱 丕蹖賳讴賴:
丨丕賱丕 亘丕 禺賵賳丿賳 爻賵賲蹖賳 乇賲丕賳 讴鬲鈥屬堏┵勝佖� 賵 賲卮賴賵乇 蹖賵爻丕 (爻賴 乇賲丕賳: 爻丕賱鈥屬囏й� 爻诏蹖貙 爻賵乇 亘夭 賵 賴賲蹖賳. 噩賳诏 丌禺乇丕賱夭賲丕賳 乇賵 賳氐賮賴 乇賴丕 讴乇丿賲)貙 賲蹖鈥屫堎嗁� 丨讴賲 讴賳賲 讴賴 蹖賵爻丕 亘夭乇诏鬲乇蹖賳 丕爻鬲乇丕鬲跇蹖爻鬲 亘蹖賳 乇賲丕賳鈥屬嗁堐屫迟囏� 丕爻鬲: 賲孬賱 蹖賴 賮乇賲丕賳丿踿 賳馗丕賲蹖 讴賴 亘丕賱丕爻乇 卮禺氐蹖鬲鈥屬囏� 賵 賳賯卮踿 乇賲丕賳卮 賵丕爻鬲丕丿賴 賵 賴賲夭賲丕賳 亘丕 賴賲賴 亘丕夭蹖 賲蹖讴賳賴 賵 丌禺乇卮 賴賲踿 乇賵丕蹖鬲鈥屬囏� 賵 卮禺氐蹖鬲鈥屬囏� 乇賵 亘賴 賴賲 賲鬲氐賱 賲蹖鈥屭┵嗁� 賵 倬丕夭賱 乇賵 讴丕賲賱 賲蹖鈥屭┵嗁� 賵 丨爻蹖 丕夭 氐賱丕亘鬲 賲丨囟 賵 卮讴賵賴 鬲賲丕賲 亘賴 禺賵丕賳賳丿賴 賲賳鬲賯賱 賲蹖鈥屭┵嗁�. 芦爻賵乇 亘夭禄 賴賲 賴賲蹖賳胤賵乇賴 賵賱蹖 鬲賵 丕蹖賳 乇賲丕賳 丕賵噩 丕蹖賳 倬丿蹖丿賴 乇賵 賲蹖卮賴 丿蹖丿. 蹖賵爻丕 亘丕 亘蹖鈥屫必呟� 鬲賲丕賲貙 賴賲踿 禺胤賵胤 乇賵丕蹖蹖 賵 禺乇丿賴 賯氐賴鈥屬囏� 賵 卮禺氐蹖鬲鈥屬囏� 乇賵 丕夭 賴賲賵賳 丕亘鬲丿丕 賵丕乇丿 乇賲丕賳 賲蹖鈥屭┵嗁囏� 賲賳鬲賴丕 丕夭 丕賳鬲賴丕貙 賵 禺賵丕賳賳丿賴 蹖賴賵 倬乇鬲丕亘 賲蹖卮賴 賵爻胤 卮亘讴踿 倬蹖趩蹖丿踿 乇賵丕亘胤 卮禺氐蹖鬲鈥屬囏� 賵 丨賵丕丿孬 乇賲丕賳貨 賲蹖賮鬲賴 鬲賵 鬲賵乇蹖 讴賴 蹖賵爻丕 亘乇丕卮 亘丕賮鬲賴 賵 丨賯蹖賯鬲丕賸 亘丕蹖丿 鬲賱丕卮 讴賳賴 鬲丕 亘鬲賵賳賴 禺賵丿卮賵 丕夭 丕蹖賳 賲禺賲氐賴 禺賱丕氐 讴賳賴: 乇賵丕蹖鬲鈥屬囏й� 賲賵丕夭蹖貙 讴丕鬲鈥屬囏� 賵 賮賱丕卮鈥屫ㄚ┾€屬囏� 賵 賮賱丕卮 賮賵乇賵丕乇丿賴丕蹖 诏蹖噩鈥屭┵嗁嗀� 賵 卮禺氐蹖鬲鈥屬囏й� 賲鬲毓丿丿 鬲賵 氐丿 氐睾丨踿 丕賵賱 賲賲讴賳賴 亘賴 诏乇蹖賴鈥屫� 亘賳丿丕夭賴 丕賲丕 丕诏賴 丨賵氐賱賴 讴賳蹖 讴賲鈥屭┵� 丕蹖賳 鬲賵乇貙 诏乇賴鈥屬囏ж� 亘丕夭 賲蹖卮賴 賵 丿乇 賳賴丕蹖鬲 賴賲賴 趩蹖夭 乇賵卮賳 賲蹖卮賴 賵 禺賱丕氐 賲蹖卮蹖貨 丕賲丕 鬲丕 丕蹖賳 丕鬲賮丕賯 亘蹖賮鬲賴 鬲賵 乇爻賲丕賸 诏乇賵诏丕賳 丨囟乇鬲 蹖賵爻丕 賴爻鬲蹖.
丿賵賲 丕蹖賳讴賴:
丕爻鬲乇丕鬲跇蹖 蹖賵爻丕 鬲賵 丕蹖賳 乇賲丕賳 禺蹖賱蹖 亘乇丕賲 噩丕賱亘賴. 丕蹖賳 乇賲丕賳 鬲卮讴蹖賱 卮丿賴 丕夭 鬲毓丿丕丿蹖 禺胤 爻蹖乇賽 夭賳丿诏蹖 趩賳丿 卮禺氐蹖鬲 讴賴 丕蹖賳 禺胤 爻蹖乇賴丕 噩丕賴丕蹖蹖 亘丕 賴賲 鬲賱丕賯蹖 丿丕乇賳丿 賵 噩丕賴丕蹖蹖 丕夭 賴賲 噩丿丕 賲蹖鈥屫促�. 亘毓囟蹖 禺胤 爻蹖乇賴丕 丕夭 丕賵賱 鬲丕 丌禺乇 丕丿丕賲賴 丿丕乇賳貙 賲孬賱 夭賳丿诏蹖 丌賲亘乇賵爻蹖賵 賵 丿賳 賮乇賲蹖賳貙 賵 亘毓囟蹖 丕夭 噩丕蹖蹖 丕賵賳 賵爻胤賴丕 卮乇賵毓 賲蹖卮賳 賵 噩丕蹖蹖 鬲賲賵賲 賲蹖卮賳貙 賲孬賱 丿賵爻鬲丕蹖 丿賵乇丕賳 丿丕賳卮噩賵蹖蹖 爻丕賳鬲蹖丕诏賵 蹖丕 丕蹖倬賵賱蹖鬲賵貙 賴賲讴丕乇 丌賲亘乇賵爻蹖賵. 丿乇賵丕賯毓 蹖賵爻丕 讴丕乇蹖 讴賴 讴乇丿賴 丕賵賲丿賴 賳賯丕胤 亘乇禺賵乇丿 丕蹖賳 禺胤 爻蹖乇賴丕 乇賵 亘賴 賴賲 賵氐賱 讴乇丿賴 賵 乇賲丕賳 禺賵丿卮 乇賵 爻丕禺鬲賴.
爻賵賲 丕蹖賳讴賴:
丕蹖賳 乇賲丕賳 賴賲 賲孬賱 乇賲丕賳 丿乇禺卮丕賳 芦爻賵乇 亘夭禄 蹖讴 乇賲丕賳 爻蹖丕爻蹖賴 讴賴 賴賲 丕夭 爻丕夭賵讴丕乇 睾蹖乇丕賳爻丕賳蹖 丨讴賵賲鬲鈥屬囏й� 丿蹖讴鬲丕鬲賵乇蹖 倬乇丿賴 亘乇賲蹖丿丕乇賴 賵 賳卮賵賳 賲蹖丿賴 趩賴鈥屫堌臂� 丿蹖讴鬲丕鬲賵乇賴丕 亘丕 賮乇蹖亘 賵 夭賵乇 賵 鬲亘賱蹖睾丕鬲 丿乇賵睾貙 丨讴賵賲鬲卮賵賳 乇賵 倬丕亘乇噩丕 賳诏賴 賲蹖鈥屫ж辟� 賵 賴賲 丕蹖賳讴賴 賮爻丕丿賴丕蹖 丕禺賱丕賯蹖 爻乇丿乇賲丿丕乇丕賳 丨讴賵賲鬲 乇賵 丕賮卮丕 賲蹖鈥屭┵嗁�. 芦爻賵乇 亘夭禄 丿乇亘丕乇踿 丿蹖讴鬲丕鬲賵乇 丿賵賲蹖賳蹖讴賳賴 賵 丕蹖賳 蹖讴蹖 丿乇亘丕乇踿 芦丕賵丿乇蹖丕禄 丿蹖讴鬲丕鬲賵乇 倬乇賵.
趩賴丕乇賲 丕蹖賳讴賴:
丕夭 蹖賵爻丕 丕诏賴 禺賵丕爻鬲蹖丿 亘禺賵賳蹖丿 讴鬲鈥屬堏┵勝佖€屬囏ж促� 亘禺賵賳蹖丿: 芦爻賵乇 亘夭禄 賵 芦爻丕賱鈥屬囏й� 爻诏蹖禄 賵 芦噩賳诏 丌禺乇鈥屫з勜操呚з喡� 賵 丕蹖賳 丨囟乇鬲. 丕賵賳 賱丕睾乇賴丕卮 禺蹖賱蹖 讴丕乇賴丕蹖 噩丿蹖鈥屫й� 賳蹖爻鬲賳. 丕爻鬲丕丿 鬲賵 乇丿踿 爻賳诏蹖賳 賵夭賳 讴丕乇 賲蹖鈥屭┵嗁� 賵 鬲睾蹖蹖乇 賵夭賳 讴丕乇卮賵賳 乇賵 禺乇丕亘 賲蹖鈥屭┵嗁�.
丨丕賱丕 亘丕 禺賵賳丿賳 爻賵賲蹖賳 乇賲丕賳 讴鬲鈥屬堏┵勝佖� 賵 賲卮賴賵乇 蹖賵爻丕 (爻賴 乇賲丕賳: 爻丕賱鈥屬囏й� 爻诏蹖貙 爻賵乇 亘夭 賵 賴賲蹖賳. 噩賳诏 丌禺乇丕賱夭賲丕賳 乇賵 賳氐賮賴 乇賴丕 讴乇丿賲)貙 賲蹖鈥屫堎嗁� 丨讴賲 讴賳賲 讴賴 蹖賵爻丕 亘夭乇诏鬲乇蹖賳 丕爻鬲乇丕鬲跇蹖爻鬲 亘蹖賳 乇賲丕賳鈥屬嗁堐屫迟囏� 丕爻鬲: 賲孬賱 蹖賴 賮乇賲丕賳丿踿 賳馗丕賲蹖 讴賴 亘丕賱丕爻乇 卮禺氐蹖鬲鈥屬囏� 賵 賳賯卮踿 乇賲丕賳卮 賵丕爻鬲丕丿賴 賵 賴賲夭賲丕賳 亘丕 賴賲賴 亘丕夭蹖 賲蹖讴賳賴 賵 丌禺乇卮 賴賲踿 乇賵丕蹖鬲鈥屬囏� 賵 卮禺氐蹖鬲鈥屬囏� 乇賵 亘賴 賴賲 賲鬲氐賱 賲蹖鈥屭┵嗁� 賵 倬丕夭賱 乇賵 讴丕賲賱 賲蹖鈥屭┵嗁� 賵 丨爻蹖 丕夭 氐賱丕亘鬲 賲丨囟 賵 卮讴賵賴 鬲賲丕賲 亘賴 禺賵丕賳賳丿賴 賲賳鬲賯賱 賲蹖鈥屭┵嗁�. 芦爻賵乇 亘夭禄 賴賲 賴賲蹖賳胤賵乇賴 賵賱蹖 鬲賵 丕蹖賳 乇賲丕賳 丕賵噩 丕蹖賳 倬丿蹖丿賴 乇賵 賲蹖卮賴 丿蹖丿. 蹖賵爻丕 亘丕 亘蹖鈥屫必呟� 鬲賲丕賲貙 賴賲踿 禺胤賵胤 乇賵丕蹖蹖 賵 禺乇丿賴 賯氐賴鈥屬囏� 賵 卮禺氐蹖鬲鈥屬囏� 乇賵 丕夭 賴賲賵賳 丕亘鬲丿丕 賵丕乇丿 乇賲丕賳 賲蹖鈥屭┵嗁囏� 賲賳鬲賴丕 丕夭 丕賳鬲賴丕貙 賵 禺賵丕賳賳丿賴 蹖賴賵 倬乇鬲丕亘 賲蹖卮賴 賵爻胤 卮亘讴踿 倬蹖趩蹖丿踿 乇賵丕亘胤 卮禺氐蹖鬲鈥屬囏� 賵 丨賵丕丿孬 乇賲丕賳貨 賲蹖賮鬲賴 鬲賵 鬲賵乇蹖 讴賴 蹖賵爻丕 亘乇丕卮 亘丕賮鬲賴 賵 丨賯蹖賯鬲丕賸 亘丕蹖丿 鬲賱丕卮 讴賳賴 鬲丕 亘鬲賵賳賴 禺賵丿卮賵 丕夭 丕蹖賳 賲禺賲氐賴 禺賱丕氐 讴賳賴: 乇賵丕蹖鬲鈥屬囏й� 賲賵丕夭蹖貙 讴丕鬲鈥屬囏� 賵 賮賱丕卮鈥屫ㄚ┾€屬囏� 賵 賮賱丕卮 賮賵乇賵丕乇丿賴丕蹖 诏蹖噩鈥屭┵嗁嗀� 賵 卮禺氐蹖鬲鈥屬囏й� 賲鬲毓丿丿 鬲賵 氐丿 氐睾丨踿 丕賵賱 賲賲讴賳賴 亘賴 诏乇蹖賴鈥屫� 亘賳丿丕夭賴 丕賲丕 丕诏賴 丨賵氐賱賴 讴賳蹖 讴賲鈥屭┵� 丕蹖賳 鬲賵乇貙 诏乇賴鈥屬囏ж� 亘丕夭 賲蹖卮賴 賵 丿乇 賳賴丕蹖鬲 賴賲賴 趩蹖夭 乇賵卮賳 賲蹖卮賴 賵 禺賱丕氐 賲蹖卮蹖貨 丕賲丕 鬲丕 丕蹖賳 丕鬲賮丕賯 亘蹖賮鬲賴 鬲賵 乇爻賲丕賸 诏乇賵诏丕賳 丨囟乇鬲 蹖賵爻丕 賴爻鬲蹖.
丿賵賲 丕蹖賳讴賴:
丕爻鬲乇丕鬲跇蹖 蹖賵爻丕 鬲賵 丕蹖賳 乇賲丕賳 禺蹖賱蹖 亘乇丕賲 噩丕賱亘賴. 丕蹖賳 乇賲丕賳 鬲卮讴蹖賱 卮丿賴 丕夭 鬲毓丿丕丿蹖 禺胤 爻蹖乇賽 夭賳丿诏蹖 趩賳丿 卮禺氐蹖鬲 讴賴 丕蹖賳 禺胤 爻蹖乇賴丕 噩丕賴丕蹖蹖 亘丕 賴賲 鬲賱丕賯蹖 丿丕乇賳丿 賵 噩丕賴丕蹖蹖 丕夭 賴賲 噩丿丕 賲蹖鈥屫促�. 亘毓囟蹖 禺胤 爻蹖乇賴丕 丕夭 丕賵賱 鬲丕 丌禺乇 丕丿丕賲賴 丿丕乇賳貙 賲孬賱 夭賳丿诏蹖 丌賲亘乇賵爻蹖賵 賵 丿賳 賮乇賲蹖賳貙 賵 亘毓囟蹖 丕夭 噩丕蹖蹖 丕賵賳 賵爻胤賴丕 卮乇賵毓 賲蹖卮賳 賵 噩丕蹖蹖 鬲賲賵賲 賲蹖卮賳貙 賲孬賱 丿賵爻鬲丕蹖 丿賵乇丕賳 丿丕賳卮噩賵蹖蹖 爻丕賳鬲蹖丕诏賵 蹖丕 丕蹖倬賵賱蹖鬲賵貙 賴賲讴丕乇 丌賲亘乇賵爻蹖賵. 丿乇賵丕賯毓 蹖賵爻丕 讴丕乇蹖 讴賴 讴乇丿賴 丕賵賲丿賴 賳賯丕胤 亘乇禺賵乇丿 丕蹖賳 禺胤 爻蹖乇賴丕 乇賵 亘賴 賴賲 賵氐賱 讴乇丿賴 賵 乇賲丕賳 禺賵丿卮 乇賵 爻丕禺鬲賴.
爻賵賲 丕蹖賳讴賴:
丕蹖賳 乇賲丕賳 賴賲 賲孬賱 乇賲丕賳 丿乇禺卮丕賳 芦爻賵乇 亘夭禄 蹖讴 乇賲丕賳 爻蹖丕爻蹖賴 讴賴 賴賲 丕夭 爻丕夭賵讴丕乇 睾蹖乇丕賳爻丕賳蹖 丨讴賵賲鬲鈥屬囏й� 丿蹖讴鬲丕鬲賵乇蹖 倬乇丿賴 亘乇賲蹖丿丕乇賴 賵 賳卮賵賳 賲蹖丿賴 趩賴鈥屫堌臂� 丿蹖讴鬲丕鬲賵乇賴丕 亘丕 賮乇蹖亘 賵 夭賵乇 賵 鬲亘賱蹖睾丕鬲 丿乇賵睾貙 丨讴賵賲鬲卮賵賳 乇賵 倬丕亘乇噩丕 賳诏賴 賲蹖鈥屫ж辟� 賵 賴賲 丕蹖賳讴賴 賮爻丕丿賴丕蹖 丕禺賱丕賯蹖 爻乇丿乇賲丿丕乇丕賳 丨讴賵賲鬲 乇賵 丕賮卮丕 賲蹖鈥屭┵嗁�. 芦爻賵乇 亘夭禄 丿乇亘丕乇踿 丿蹖讴鬲丕鬲賵乇 丿賵賲蹖賳蹖讴賳賴 賵 丕蹖賳 蹖讴蹖 丿乇亘丕乇踿 芦丕賵丿乇蹖丕禄 丿蹖讴鬲丕鬲賵乇 倬乇賵.
趩賴丕乇賲 丕蹖賳讴賴:
丕夭 蹖賵爻丕 丕诏賴 禺賵丕爻鬲蹖丿 亘禺賵賳蹖丿 讴鬲鈥屬堏┵勝佖€屬囏ж促� 亘禺賵賳蹖丿: 芦爻賵乇 亘夭禄 賵 芦爻丕賱鈥屬囏й� 爻诏蹖禄 賵 芦噩賳诏 丌禺乇鈥屫з勜操呚з喡� 賵 丕蹖賳 丨囟乇鬲. 丕賵賳 賱丕睾乇賴丕卮 禺蹖賱蹖 讴丕乇賴丕蹖 噩丿蹖鈥屫й� 賳蹖爻鬲賳. 丕爻鬲丕丿 鬲賵 乇丿踿 爻賳诏蹖賳 賵夭賳 讴丕乇 賲蹖鈥屭┵嗁� 賵 鬲睾蹖蹖乇 賵夭賳 讴丕乇卮賵賳 乇賵 禺乇丕亘 賲蹖鈥屭┵嗁�.
July 10, 2022
趩賳丿 乇賵夭蹖 賴爻鬲 讴賴 鬲賲賵賲卮 讴乇丿賲 賵 丿丕乇賲 丕夭 丕賵賱 賲蹖禺賵賳賲卮.
September 22, 2015
Termin茅 la lectura de mi regordete ladrillo. Qu茅 buena novela! Qu茅 bien escrita! Detest茅 a muchos personajes, pero eso s贸lo lo puede hacer un gran escritor que logra envolverte irresistiblemente en su historia y despertar esa emotividad.
Son los a帽os 60, en Lima, durante la dictadura de Odr铆a. Aclaro esto, porque bien podr铆a ser cualquier otro dictador latinoamericano, en alguno de nuestros pa铆ses que han vivido esta experiencia pol铆tica y social. Los atropellos, la manipulaci贸n de las "masas" a trav茅s de los medios de comunicaci贸n, los acarreados, etc., todo podr铆a haber sido el relato de cualquier pa铆s latinoamericano en la d茅cada que gustemos elegir. No faltar谩 el momento en que pueda uno pensar "esto est谩 pasando hoy", y esta novela fue escrita hace ya 50 a帽os!
Zavalita es el hijo de una familia lime帽a bien acomodada y a trav茅s de la conversaci贸n que tiene con quien fuera el chofer de su padre, se da todo el relato de esta etapa en Per煤.
La familiaridad del lenguaje peruano, los lugares, la comida, son elementos que a m铆 me hicieron revivir una etapa de mi vida en que tuve el privilegio de vivir en Lima, y por lo tanto, encontr茅 un valor emocional a煤n mayor. Para todo el que no ha tenido contacto con la cultura peruana este aspecto puede pasar desapercibido e indiferente, quiz谩s. La universalidad de los personajes hace que esta lectura sea un deleite, de cualquier manera, porque es muy f谩cil relacionarse con los sentimientos y pensar de uno y otro. Eso s铆: aqu铆 no hay h茅roes, no hay villanos absolutos, ni redentores, ni el "bueno" de la pel铆cula. Todos y cada uno sobresalen por ser crudamente humanos.
Se las recomiendo.
Son los a帽os 60, en Lima, durante la dictadura de Odr铆a. Aclaro esto, porque bien podr铆a ser cualquier otro dictador latinoamericano, en alguno de nuestros pa铆ses que han vivido esta experiencia pol铆tica y social. Los atropellos, la manipulaci贸n de las "masas" a trav茅s de los medios de comunicaci贸n, los acarreados, etc., todo podr铆a haber sido el relato de cualquier pa铆s latinoamericano en la d茅cada que gustemos elegir. No faltar谩 el momento en que pueda uno pensar "esto est谩 pasando hoy", y esta novela fue escrita hace ya 50 a帽os!
Zavalita es el hijo de una familia lime帽a bien acomodada y a trav茅s de la conversaci贸n que tiene con quien fuera el chofer de su padre, se da todo el relato de esta etapa en Per煤.
La familiaridad del lenguaje peruano, los lugares, la comida, son elementos que a m铆 me hicieron revivir una etapa de mi vida en que tuve el privilegio de vivir en Lima, y por lo tanto, encontr茅 un valor emocional a煤n mayor. Para todo el que no ha tenido contacto con la cultura peruana este aspecto puede pasar desapercibido e indiferente, quiz谩s. La universalidad de los personajes hace que esta lectura sea un deleite, de cualquier manera, porque es muy f谩cil relacionarse con los sentimientos y pensar de uno y otro. Eso s铆: aqu铆 no hay h茅roes, no hay villanos absolutos, ni redentores, ni el "bueno" de la pel铆cula. Todos y cada uno sobresalen por ser crudamente humanos.
Se las recomiendo.
Read
March 25, 2011I must admit that I got off to a rocky start with Mario Vargas Llosa's Conversation in the Cathedral: after a dachshund is brutally clubbed to death in Chapter One* and a woman gets drugged and sexually assaulted in Chapter Two (by, moreover, sympathetic characters who don't ever seem quite to grasp the offensiveness of their actions), I was feeling a mite unfriendly toward the novel. By Chapter Three, though, I was reluctantly softening my stance, and by Chapter Four I was fully immersed in Vargas Llosa's unusual but compelling narrative voice. What won me over? It certainly wasn't a cessation of the brutality in this tale of disillusionment and corruption in 1950s Peru, although the sexual politics did redeem themselves somewhat. What really tipped the scales and had me devouring Vargas Llosa's novel in 100-page chunks was its unique combination of compelling storyline and experimental narration style. Vargas Llosa does something with his storytelling here that I've never exactly encountered before, and it's a technique I found both exciting and effective.
Like many novels in which the main character(s) are looking back and attempting to untangle events of the past, Conversation in the Cathedral is multi-layered in its presentation. Within the first chapter we get a sketch of everything that happens in the book's present day (early 1960s): disillusioned newspaper columnist Santiago Zavala goes to fetch his dog at the pound, encounters an older man named Ambrosio who once worked for Santiago's father, and the two go for an extended talking-and-drinking session in a nearby dive bar. At the end of Chapter One, Santiago, now falling-down drunk, initiates an angry confrontation with Ambrosio about some event in their mutual past, but Ambrosio denies responsibility. Santiago then stumbles home with his dog, and promises his wife that he won't stay out drinking without calling her again.
That's the extent of the present-day action, which is over in the first 20 pages. Throughout the rest of the 600-page novel, we get multi-layered, multi-voiced flashbacks reaching back to the years before dictator Manuel Odria's 1948 rise to power, when Santiago was an idealistic, upper-middle-class high school student preparing to enter San Marcos University. Gradually, of course, the reader begins to piece together the relationships surrounding Santiago and Ambrosio, and just what happened to cause the dynamics seen in the opening chapter. What sets Conversation in the Cathedral apart from most other flashback-to-the-past, multiple-voiced novels I've read is that any given passage, from one sentence to the next, can see-saw among three or four different scenes, taking place not just between different sets of people but at radically different times. The result is a sometimes-challenging but always compelling juxtaposition. In extreme cases, Vargas Llosa's technique can look like the following passage, which features four different scenes layered on top of each other: Santiago and Ambrosio's rehashing of the past in the present-day Cathedral bar; an early-1950 political rally in support of the Odr铆ist candidate Emilio Ar茅valo, staffed by strong-man Trifulcio; a mid-1950 conversation among the now-Senator Ar茅valo, Senator Landa, and Santiago's father Don Ferm铆n about the rigging of the recent elections and the increasing political power of Presidential favorite Cayo Berm煤dez; and a police "interrogation" carried out by two of Ambrosio's sometime-colleagues, hired thugs Hip贸lito and Ludovico, sometime in the early 1950s.
I know this is a very extended quote, but it takes some time to get into the swing of what Vargas Llosa can do with this kind of staggered, syncopated dialogue. Like a choreographer working with four groups of dancers on stage simultaneously, he subtly shifts the focus from one to another of the four scenes, while still keeping all of them in motion at once. Even in the (relatively) short segment above, one can see the focus shifting slightly from Santiago/Ambrosio to the conversation among the senators and back again, like the intermittent interference that happens when a listener drives along the boundary between two radio stations broadcasting on the same frequency.
Together, these four threads become more than the sum of their parts: not only is there an aesthetically affecting rhythm to their interplay, but the immediate juxtaposition of different characters and times is an interesting way to bring out the novel's themes. Here, for example, we have two competing analyses of the political events: on one station, there is Santiago's disgust with his father's opportunism and with his own youthful self-righteousness; while on the other, we get Don Ferm铆n's self-interested but pragmatic play-by-play assessment of the unfolding political scene. At the same time, like palimpsests over which these conversations are layered, are the two scenes of action, of real-life cause and effect, which I visualize as sandwiching the senators' conversation: the lead-up to the elections they're discussing, and the stark reality of police brutality and oppression under the Odr铆a regime.
So too, we get the juxtaposition of two father/son pairs: Trifulcio the thug is Ambrosio's father, so a second filial dynamic is present, echoing the dominant theme established by Santiago and Don Ferm铆n. Conversation in the Cathedral has much interesting commentary to offer on the class dynamics of Peruvian society, and we can see some of that coming out here: Santiago, with the bourgeois background he spends the entire novel trying to escape, has nonetheless the privileged person's sense of entitlement: he feels betrayed by the person he has discovered his father to be, and he holds that against the man's memory because he feels he somehow "deserves" a father different from the one he got. Ambrosio, on the other hand, is remarkably free from bitterness, despite Trifulcio being a much more negligent and immoral father to him than Don Ferm铆n was to Santiago. (Santiago's statement that his father "didn't have any political ideas, only political interests" is ironic given how much truer it is when applied to Ambrosio's father rather than his own.)
Moreover, throughout their entire conversation, Ambrosio reinforces rather than questions the emphasis on the Santiago/Don Ferm铆n relationship: while the two bar patrons discuss both their lives, Ambrosio seems to have had more of a relationship with Santiago's father than he had with Trifulcio, and is invested in defending his former employer to the man's son. This continues to be true despite a number of narrative reveals later in the book (the circumstances of Trifulcio's eventual death; details about the dynamic between Don Ferm铆n and Ambrosio) which might lead a reader to assume Ambrosio would have his own axe to grind with Don Ferm铆n. Ambrosio, though, has been trained not to question his own status as a secondary player on the stage of life; he doesn't believe he deserves any particular treatment or quality of life. These issues of class hierarchy and feelings of entitlement are in turn reflected in the senators' discussion of the commoner Cayo Berm煤dez, whose social standing earns their contempt but whose influential role in the President's inner circle commands their fear and respect. Meanwhile, on the other ends of the class and paternity spectrums, menial laborer Trinidad L贸pez is being beaten to death by Odr铆a's and Berm煤dez's goons just as he is about to become a father himself.
Obviously, it would be easy to write about Conversation in the Cathedral all night: its epic scope and unusual presentation make for a rich, thought-provoking ride. Long story short, I'm glad my reading buddies provided me with the motivation to stick with this book through the initial off-putting chapters, since Vargas Llosa's overall humanity and impressive writing chops more than made up for them in the end.
**
*I admit to being a little over-sensitive to the issue of animal brutality, particularly since my dog happens also to be a dachshund and a former stray just like the one that gets clubbed to death in Chapter One of Conversation in the Cathedral. Graphic cruelty toward animals is a huge turnoff for me, even if it's a realistic depiction intended to demonstrate the desperation of the people perpetrating said cruelty. To be fair, I believe this scene has a valid rationale behind it: it shows in a visceral way that Ambrosio has fallen to the bottom of the employment barrel, and has to choose between starvation and doing a job that's horrific and dehumanizing. As we find out later, Ambrosio doesn't even seem to believe that he deserves control over his own life or body; he can't be expected to believe in that right when applied to a dog. Still, it was upsetting to me out of proportion with what I believe Vargas Llosa intended. Which is a little bit funny considering that Ambrosio also works as a thug beating up humans, and that doesn't bother me at all. I suppose we all have our triggers.
Like many novels in which the main character(s) are looking back and attempting to untangle events of the past, Conversation in the Cathedral is multi-layered in its presentation. Within the first chapter we get a sketch of everything that happens in the book's present day (early 1960s): disillusioned newspaper columnist Santiago Zavala goes to fetch his dog at the pound, encounters an older man named Ambrosio who once worked for Santiago's father, and the two go for an extended talking-and-drinking session in a nearby dive bar. At the end of Chapter One, Santiago, now falling-down drunk, initiates an angry confrontation with Ambrosio about some event in their mutual past, but Ambrosio denies responsibility. Santiago then stumbles home with his dog, and promises his wife that he won't stay out drinking without calling her again.
That's the extent of the present-day action, which is over in the first 20 pages. Throughout the rest of the 600-page novel, we get multi-layered, multi-voiced flashbacks reaching back to the years before dictator Manuel Odria's 1948 rise to power, when Santiago was an idealistic, upper-middle-class high school student preparing to enter San Marcos University. Gradually, of course, the reader begins to piece together the relationships surrounding Santiago and Ambrosio, and just what happened to cause the dynamics seen in the opening chapter. What sets Conversation in the Cathedral apart from most other flashback-to-the-past, multiple-voiced novels I've read is that any given passage, from one sentence to the next, can see-saw among three or four different scenes, taking place not just between different sets of people but at radically different times. The result is a sometimes-challenging but always compelling juxtaposition. In extreme cases, Vargas Llosa's technique can look like the following passage, which features four different scenes layered on top of each other: Santiago and Ambrosio's rehashing of the past in the present-day Cathedral bar; an early-1950 political rally in support of the Odr铆ist candidate Emilio Ar茅valo, staffed by strong-man Trifulcio; a mid-1950 conversation among the now-Senator Ar茅valo, Senator Landa, and Santiago's father Don Ferm铆n about the rigging of the recent elections and the increasing political power of Presidential favorite Cayo Berm煤dez; and a police "interrogation" carried out by two of Ambrosio's sometime-colleagues, hired thugs Hip贸lito and Ludovico, sometime in the early 1950s.
听听听听听听"I'm not being nosy, but why did you run away from home that time, son?" Ambrosio asks. "Weren't you well off at home with your folks?"
听听听听听听Don Emilio Ar茅valo was sweating; he was shaking the hands that converged on him from all sides, he wiped his forehead, smiled, waved, embraced the people on the platform, and the wooden frame swayed as Don Emilio approached the steps. Now it was your turn, Trifulcio.
听听听听听听"Too well off, that's why I left," Santiago says. "I was so pure and thick-headed that it bothered me having such an easy life and being a nice young boy.
听听听听听听"The funny thing is that the idea of putting him in jail didn't come from the Uplander," Don Ferm铆n said. "Or from Arbel谩ez or Ferro. The one who convinced them, the one who insisted was Berm煤dez."
听听听听听听"So pure and thick-headed that I thought that by fucking myself up a little I would make myself a real little man, Ambrosio," Santiago says.
听听听听听听"That all of it was the work of an insignificant Director of Public Order, an underling, I can't swallow either," Senator Landa said. "Uplander Espina invented it so he could toss the ball to someone else if things turned out badly."
听听听听听听Trifulcio was there, at the foot of the stairs, defending his place with his elbows, spitting on his hands, his gaze fanatically fastened on Don Emilio's feet, which were approaching, mixed in with others, his body tense, his feet firmly planted on the ground: his turn, it was his turn.
听听听听听听"You have to believe it because it's the truth," Don Ferm铆n said. "And don't tar him so much. Whether you like it or not, that underling is becoming the man the General trusts the most."
听听听听听听"There he is, Hip贸lito, I'm making a present of him to you," Ludovico said. "Get those ideas of being headman out of his brain once and for all."
听听听听听听"Then it wasn't because you had different political ideas from your papa?" Ambrosio asks.
听听听听听听"He believes him implicitly, he thinks he's infallible," Don Ferm铆n said. "When Berm煤dez has an opinion, Ferro, Arbel谩ez, Espina and even I can go to the devil, we don't exist. That was evident in the Montagne affair."
听听听听听听"My poor old man didn't have any political ideas," Santiago says. "Only political interests, Ambrosio."
I know this is a very extended quote, but it takes some time to get into the swing of what Vargas Llosa can do with this kind of staggered, syncopated dialogue. Like a choreographer working with four groups of dancers on stage simultaneously, he subtly shifts the focus from one to another of the four scenes, while still keeping all of them in motion at once. Even in the (relatively) short segment above, one can see the focus shifting slightly from Santiago/Ambrosio to the conversation among the senators and back again, like the intermittent interference that happens when a listener drives along the boundary between two radio stations broadcasting on the same frequency.
Together, these four threads become more than the sum of their parts: not only is there an aesthetically affecting rhythm to their interplay, but the immediate juxtaposition of different characters and times is an interesting way to bring out the novel's themes. Here, for example, we have two competing analyses of the political events: on one station, there is Santiago's disgust with his father's opportunism and with his own youthful self-righteousness; while on the other, we get Don Ferm铆n's self-interested but pragmatic play-by-play assessment of the unfolding political scene. At the same time, like palimpsests over which these conversations are layered, are the two scenes of action, of real-life cause and effect, which I visualize as sandwiching the senators' conversation: the lead-up to the elections they're discussing, and the stark reality of police brutality and oppression under the Odr铆a regime.
So too, we get the juxtaposition of two father/son pairs: Trifulcio the thug is Ambrosio's father, so a second filial dynamic is present, echoing the dominant theme established by Santiago and Don Ferm铆n. Conversation in the Cathedral has much interesting commentary to offer on the class dynamics of Peruvian society, and we can see some of that coming out here: Santiago, with the bourgeois background he spends the entire novel trying to escape, has nonetheless the privileged person's sense of entitlement: he feels betrayed by the person he has discovered his father to be, and he holds that against the man's memory because he feels he somehow "deserves" a father different from the one he got. Ambrosio, on the other hand, is remarkably free from bitterness, despite Trifulcio being a much more negligent and immoral father to him than Don Ferm铆n was to Santiago. (Santiago's statement that his father "didn't have any political ideas, only political interests" is ironic given how much truer it is when applied to Ambrosio's father rather than his own.)
Moreover, throughout their entire conversation, Ambrosio reinforces rather than questions the emphasis on the Santiago/Don Ferm铆n relationship: while the two bar patrons discuss both their lives, Ambrosio seems to have had more of a relationship with Santiago's father than he had with Trifulcio, and is invested in defending his former employer to the man's son. This continues to be true despite a number of narrative reveals later in the book (the circumstances of Trifulcio's eventual death; details about the dynamic between Don Ferm铆n and Ambrosio) which might lead a reader to assume Ambrosio would have his own axe to grind with Don Ferm铆n. Ambrosio, though, has been trained not to question his own status as a secondary player on the stage of life; he doesn't believe he deserves any particular treatment or quality of life. These issues of class hierarchy and feelings of entitlement are in turn reflected in the senators' discussion of the commoner Cayo Berm煤dez, whose social standing earns their contempt but whose influential role in the President's inner circle commands their fear and respect. Meanwhile, on the other ends of the class and paternity spectrums, menial laborer Trinidad L贸pez is being beaten to death by Odr铆a's and Berm煤dez's goons just as he is about to become a father himself.
Obviously, it would be easy to write about Conversation in the Cathedral all night: its epic scope and unusual presentation make for a rich, thought-provoking ride. Long story short, I'm glad my reading buddies provided me with the motivation to stick with this book through the initial off-putting chapters, since Vargas Llosa's overall humanity and impressive writing chops more than made up for them in the end.
**
*I admit to being a little over-sensitive to the issue of animal brutality, particularly since my dog happens also to be a dachshund and a former stray just like the one that gets clubbed to death in Chapter One of Conversation in the Cathedral. Graphic cruelty toward animals is a huge turnoff for me, even if it's a realistic depiction intended to demonstrate the desperation of the people perpetrating said cruelty. To be fair, I believe this scene has a valid rationale behind it: it shows in a visceral way that Ambrosio has fallen to the bottom of the employment barrel, and has to choose between starvation and doing a job that's horrific and dehumanizing. As we find out later, Ambrosio doesn't even seem to believe that he deserves control over his own life or body; he can't be expected to believe in that right when applied to a dog. Still, it was upsetting to me out of proportion with what I believe Vargas Llosa intended. Which is a little bit funny considering that Ambrosio also works as a thug beating up humans, and that doesn't bother me at all. I suppose we all have our triggers.
May 10, 2025
Si es fan de este libro, pase a otra rese帽a. Y es que lo que tengo que decir puede ser bastante impopular seg煤n lo que cuenta la leyenda: que esta es la mejor novela de Vargas Llosa. Y esa frase, como un fantasma, me ha perseguido durante a帽os, porque pese a haber le铆do varias obras del autor, siempre ten铆a a esta pendiente. Y no es hasta ahora que ha fallecido que decid铆 ponerle punto final. Entonces, intuyo varios factores para que mi experiencia de lectura no haya estado de acuerdo a las expectativas generadas durante a帽os (y tambi茅n de acuerdo a puntuaci贸n y rese帽as de 欧宝娱乐). Primero, lo obvio, las expectativas, en este caso relacionadas directamente con lo experimental de la novela y lo novedoso (para su 茅poca) de la estructura. No le niego nada de lo vanguardista que haya podido ser Vargas Llosa en esta, su novela m谩s experimental y menos convencional, pero lo cierto es que no me ha sorprendido como s铆 lo han hecho otras novelas en ese aspecto, ni me ha maravillado. S茅 que es perfectamente un logro trascendental el que sea una novela que juega con el narrador y el tiempo (prolepsis y analepsis constantes), que use diestramente el recurso de la conversaci贸n, el lenguaje coloquial y la lengua oral para transformalas en un estilo literario con un registro absolutamente local pero universalista, que es ya una marca registrada de Vargas Llosa. Pero creo que finalmente todo el performance que hace con la forma y la estructura de la novela no llega a traspasar el fondo, o mejor dicho, el fondo llega a ser algo casi nimio (y hasta inveros铆mil), la trama est谩 construida de una forma muy t铆pica de Vargas Llosa, no veo diferencia en eso con otras novelas suyas, por lo que finalmente, aunque genuinamente bien construida y desarrollada, la forma no deja de reducirse a una peripecia literaria, y el meollo del fondo (la sexualidad de Don Ferm铆n, el padre de Zabalita), a una especie de an茅cdota con algo de pirotecnia, que en el contexto de toda la historia, resulta inveros铆mil y algo forzado. Y digo forzado no porque descuadre el tema de la homosexualidad por el ser un t贸pico de f谩cil utilitarismo, sino porque pese a la voluntad de retratar todas las clases sociales y sus conflictos e hilavanarlas en la misma trama, el intentar hacer lo mismo pero desde el 谩ngulo de la sexualidad (y empatarla a la vez con el conflicto de clases) llega a sentirse forzado y hasta cursi. Y es que siempre hallo algo cursi en c贸mo narra los choques sociales y las relaciones personales Vargas Llosa (en algunas novelas me ha chirriado la construcci贸n de los personajes femeninos), sin embargo, creo que tiene desniveles en su obra, unas geniales, otras directamente flojas (como 'Cinco esquinas'). Lo que pasa es que la prosa de Vargas Llosa es diestra y consigue pasar lo insulso o anecd贸tico por alta literatura. Dicho esto, puedo tambi茅n achacarle mi apreciaci贸n a que no he conectado con la narraci贸n y no porque sea compleja, sino porque dentro de esa complejidad narrativa aparente no hay nada complejo en realidad. Pueden decir que el retrato social que hace es lo complejo pero yo creo que el tono que usa Vargas Llosa para construir a sus personajes es siempre en cierto modo superficial, pero quiz谩s ese es el mundo que le interesaba, el de lo aparente. Entonces es por esto que hallo que la estructura no lineal es una caja vac铆a: no hay misterio, ni siquiera aparente (no me refiero al misterio desde un g茅nero literario, sino a aquello que logran tener las grandes novelas que manejan la estructura narrativa rupturista: el halo de eso que es la causa de que esa estructura haya sido rota). Eso que s铆 tiene, por ejemplo, El lugar sin l铆mites, de Jos茅 Donoso, o El ruido y la furia, de Faulkner, quien es la matriz de la innovaci贸n narrativa del siglo XX y la gran influencia de este autor. Por esa especie de gratuidad estructural que, a mi parecer, hasta el propio Vargas Llosa entendi贸 y por eso en sus posteriores novelas volvi贸 a la estructura convencional, es que le bajo un punto. Un punto solamente, as铆 que he sido generosa. Finalmente, hay otra cosa que tengo que decir, que va a ser m谩s impopular a煤n y que va a sonar sexista. Y es que pienso que es una novela eminentemente masculina, con una sensibilidad masculina que creo que es crucial al momento de generar una conexi贸n con lo que se est谩 narrando. Y no es porque sea escrita por un hombre ni porque Vargas Llosa sea machista, pues Dostoievski es el bot贸n madre para desbaratar esas tesis, sino porque creo que el lugar desde el que se enuncia el narrador literario y desde donde observa el universo ficcional es profundamente masculino. Y ah铆 tal vez me contradiga, porque lo que Vargas Llosa retrata quiz谩s s铆 tenga una gran profundidad psicol贸gica en ese aspecto. Pero pasa que toda esa profundidad psicol贸gica cuando llega a la superficie se convierte en actos simples que son casi lemas (como Zabalita al no querer recibir dinero de su padre hasta el final). Esto, por el contrario, podr铆a ser una virtud y no un defecto: el lograr resolver la complejidad interior en una cotidianidad esquem谩tica (es muy predecible lo que pasa con sus personajes, y siempre est谩 el mismo tono y tratamiento en todas sus novelas). En suma, es una obra a la que no niego su grandeza, pero es posible que la hubiese disfrutado m谩s hace unos cuantos a帽os.
February 24, 2014
If , had never written anything else, would by rights earn him the Nobel Prize for Literature. It is a hefty novel (600 pages or so), but it is worth spending the time reading.
The novel is set during the dictatorship of Manuel Odria (1948-1956). The major characters are Santiago Zavala, nicknamed Zavalita, and Ambrosio Pardo. The first is the eldest scion of a rich family that is well tied in with the dictator; the second, a black former chauffeur for Zavalita's father and also for the infamous Cayo Bermudez, Odria's security chief. Ostensibly, the "conversation" of the title is between Zavalita and Ambrosio, who have just met at the dog pound where the latter now works. It takes place at bar called the Cathedral.
For the first third of the novel, numerous conversations between several of the characters are interleaved -- conversations taking place at different times and in different places. Then Vargas Llosa continues in a more conventional vein picking up various threads of the story. Every once in a while, however, threads of the conversation between Zavalita and Ambrosio appear.
The cast of characters is extensive, ranging from Cayo Bermudez down to chauffeurs, maids, whores, party girls, and various hoods employed by Bermudez.
Estranged from his wealthy family after a flirtation with communism as a student, Zavalita breaks free and becomes a reporter for The Cronica, a Lima daily newspaper, where he gets involved with murders, stories about lottery winners, and other lowlife minutiae, to the disgust of his family. He gets married to a nurse who his mother claims is little better than a maid.
In the end we see numerous stories of blighted ambitions and hopes arising from the heavy hand of President Odria and his enforcers -- all taking place over a period of approximately a decade.
If you read any one novel by Vargas Llosa, this is the one to select. Even if it is a big-ass book.
The novel is set during the dictatorship of Manuel Odria (1948-1956). The major characters are Santiago Zavala, nicknamed Zavalita, and Ambrosio Pardo. The first is the eldest scion of a rich family that is well tied in with the dictator; the second, a black former chauffeur for Zavalita's father and also for the infamous Cayo Bermudez, Odria's security chief. Ostensibly, the "conversation" of the title is between Zavalita and Ambrosio, who have just met at the dog pound where the latter now works. It takes place at bar called the Cathedral.
For the first third of the novel, numerous conversations between several of the characters are interleaved -- conversations taking place at different times and in different places. Then Vargas Llosa continues in a more conventional vein picking up various threads of the story. Every once in a while, however, threads of the conversation between Zavalita and Ambrosio appear.
The cast of characters is extensive, ranging from Cayo Bermudez down to chauffeurs, maids, whores, party girls, and various hoods employed by Bermudez.
Estranged from his wealthy family after a flirtation with communism as a student, Zavalita breaks free and becomes a reporter for The Cronica, a Lima daily newspaper, where he gets involved with murders, stories about lottery winners, and other lowlife minutiae, to the disgust of his family. He gets married to a nurse who his mother claims is little better than a maid.
In the end we see numerous stories of blighted ambitions and hopes arising from the heavy hand of President Odria and his enforcers -- all taking place over a period of approximately a decade.
If you read any one novel by Vargas Llosa, this is the one to select. Even if it is a big-ass book.
March 7, 2023
鈥淚n che momento si era fottuto il Per霉?鈥�
Romanzo totale e assoluto nel quale Mario Vargas Llosa attinge sia alla vena politica e storica che svilupper脿 in grandi opere successive (La festa del caprone, Tempi duri, La guerra della fine del mondo), sia all鈥檈lemento romantico e melodrammatico che costituir脿 il fulcro di altri capolavori dello scrittore peruviano (La zia Julia e lo scribacchino, Le avventure della ragazza cattiva), i due poli principali fra cui si condensa la bibliografia del grande maestro peruviano.
Qui i due elementi si fondono in una polifonia di voci e in una vertiginosa stratificazione di piani narrativi in cui Vargas Llosa porta all鈥檈stremo la tecnica dei dialoghi incrociati e sovrapposti, al punto che l鈥檌ntero romanzo 猫, a sua volta e fin dal titolo, racchiuso in un colloquio febbrile, fattore che riaffiora di tanto in tanto fra le pagine come a ricordarci che tutto il tortuoso intreccio di cui veniamo a progressiva e contraddittoria conoscenza non scaturisce da un narratore onnisciente, ma 猫 frutto di una conversazione dovuta all鈥檕ccasionale incontro fra due dei principali attori di questo dramma, diversi anni dopo i fatti.
Al netto dei virtuosismi che caratterizzano lo stile del libro, l鈥檈lemento pi霉 stupefacente 猫 l鈥檈quilibrio che l鈥檃utore riesce a conseguire nel ricondurre il magma degli eventi, pur nella frantumazione dell鈥檜nit脿 del tempo e delle numerose voci che si sovrappongono, ad un compatto mosaico che travolge il lettore con la tensione emotiva e la consapevolezza del tragico destino che condanna i personaggi e in definitiva l鈥檌ntera sciagurata nazione.
In conclusione, 鈥淐onversazione nella cattedrale鈥� 猫 un romanzo pressoch茅 incommentabile con i parametri consueti, tante e tali sono le dimensioni, i temi, gli stili, i toni, i caratteri, gli eventi che meriterebbero un particolare approfondimento, col rischio di trascurare la fondamentale qualit脿 dell鈥檕pera che risiede nella meraviglia dell鈥檌nsieme.
Romanzo totale e assoluto nel quale Mario Vargas Llosa attinge sia alla vena politica e storica che svilupper脿 in grandi opere successive (La festa del caprone, Tempi duri, La guerra della fine del mondo), sia all鈥檈lemento romantico e melodrammatico che costituir脿 il fulcro di altri capolavori dello scrittore peruviano (La zia Julia e lo scribacchino, Le avventure della ragazza cattiva), i due poli principali fra cui si condensa la bibliografia del grande maestro peruviano.
Qui i due elementi si fondono in una polifonia di voci e in una vertiginosa stratificazione di piani narrativi in cui Vargas Llosa porta all鈥檈stremo la tecnica dei dialoghi incrociati e sovrapposti, al punto che l鈥檌ntero romanzo 猫, a sua volta e fin dal titolo, racchiuso in un colloquio febbrile, fattore che riaffiora di tanto in tanto fra le pagine come a ricordarci che tutto il tortuoso intreccio di cui veniamo a progressiva e contraddittoria conoscenza non scaturisce da un narratore onnisciente, ma 猫 frutto di una conversazione dovuta all鈥檕ccasionale incontro fra due dei principali attori di questo dramma, diversi anni dopo i fatti.
Al netto dei virtuosismi che caratterizzano lo stile del libro, l鈥檈lemento pi霉 stupefacente 猫 l鈥檈quilibrio che l鈥檃utore riesce a conseguire nel ricondurre il magma degli eventi, pur nella frantumazione dell鈥檜nit脿 del tempo e delle numerose voci che si sovrappongono, ad un compatto mosaico che travolge il lettore con la tensione emotiva e la consapevolezza del tragico destino che condanna i personaggi e in definitiva l鈥檌ntera sciagurata nazione.
In conclusione, 鈥淐onversazione nella cattedrale鈥� 猫 un romanzo pressoch茅 incommentabile con i parametri consueti, tante e tali sono le dimensioni, i temi, gli stili, i toni, i caratteri, gli eventi che meriterebbero un particolare approfondimento, col rischio di trascurare la fondamentale qualit脿 dell鈥檕pera che risiede nella meraviglia dell鈥檌nsieme.
August 4, 2010
禺賵丕亘 趩蹖夭 賽 禺賵亘蹖 賽 貙 賵賱蹖 禺胤乇賳丕讴 賲蹖 卮賴 丕诏乇 賳丿賵賳蹖 讴蹖 賵賯鬲卮 乇爻蹖丿賴 讴賴 亘讴賳蹖 丕夭卮 . 丕丿丕賲賴 丕卮 蹖毓賳蹖 乇蹖丕讴丕乇蹖 賵 賮乇蹖亘. 丕丿丕賲賴 丕卮 蹖毓賳蹖 讴丕亘賵爻. 蹖毓賳蹖 丿乇爻鬲 乇賵夭蹖 讴賴 乇丕賴 賲蹖 丕賮鬲蹖 亘賴 噩丕蹖蹖 亘乇蹖. 丕夭 賲蹖賵賳 丌丿賲 賴丕 賵 禺蹖丕亘賵賳 賴丕蹖 賽 丌卮賳丕 賲蹖 诏匕乇蹖. 爻乇 賽 趩賴丕乇 乇丕賴 賲蹖 丕蹖爻鬲蹖 . 賮讴乇 賲蹖 讴賳蹖. 賮讴乇 賲蹖 讴賳蹖 讴賴 丿乇爻鬲 讴蹖 亘賵丿 丕賵賳 夭賲丕賳蹖 讴賴 禺賵丿鬲 乇賵 亘賴 诏丕 丿丕丿蹖. 賵 亘毓丿 丕夭 丕蹖賳 亘蹖丿丕乇蹖 丿蹖诏賴 趩賴 賲毓賳丕蹖蹖 亘丕 禺賵丿卮 丿丕乇賴責 讴丕亘賵爻 丕賵賲丿賴 賵 亘丕 鬲賵 賽 . 賴賲乇丕賴 丕鬲. 賵 賲蹖 丿賵賳蹖 讴賴 丨賯 丿丕乇賴.
亘诏乇丿 丿賳亘丕賱 賽 禺賵丿鬲 丕賵賳 噩丕蹖蹖 讴賴 賵丕丿丕丿蹖. 亘诏乇丿 丿賳亘丕賱 丕賵賳 賴蹖趩蹖 讴賴 鬲丕 丕蹖賳 噩丕 丿賳亘丕賱鬲 丿賵蹖丿賴 賵 丕夭卮 乇賴丕蹖蹖 賳丿丕乇蹖. 讴賴 倬卮鬲 賲蹖夭 讴丕乇鬲 賴爻鬲. 鬲賵蹖 爻丕賳丿賵蹖趩 賴丕鬲 丿丕诏 丕鬲 賴爻鬲. 倬卮鬲 乇賵 亘賵爻蹖 賴丕 賵 丿蹖丿丕乇賴丕蹖 賲丕鬲賲夭丿賴 丕鬲 賴爻鬲. 賱丕蹖 賽 亘睾賱 賲乇丿鬲貙 鬲賵蹖 賽 趩卮賲 賴丕蹖 乇賵卮賳 亘趩賴 丕鬲 賴爻鬲.
賵
丕夭卮 乇賴丕蹖蹖 賳丿丕乇蹖.
蹖賴 毓賲乇 亘噩賳诏. 蹖賴 毓賲乇 賲亘丕乇夭賴 讴賳. 亘乇丕蹖 賽 賴乇 趩蹖夭蹖 讴賴 亘丕卮賴. 倬賵賱貙 賲賯丕賲貙 鬲賮丕賵鬲貙 賱匕鬲貙 睾匕丕... 毓賱蹖 丕賱爻賵蹖賴 丕爻鬲. 賳賴丕蹖鬲 讴噩丕蹖 賽 丕蹖賳 賲賲賱讴鬲 賽 丿蹖讴鬲丕鬲賵乇 夭丿賴 賵丕蹖爻丕丿蹖責 乇賵 賯賱賴 丕卮責 鬲賴卮責 賵爻胤丕卮責 讴噩丕 丕蹖爻鬲丕丿蹖 讴賴 丕丨爻丕爻 丨賲丕賯鬲貙 丕丨爻丕爻 丨乇賵賲 卮丿賳貙 亘丕夭蹖趩賴 亘賵丿賳貙 讴噩丕 丕蹖爻鬲丕丿蹖 讴賴 丕丨爻丕爻 賽 亘丕禺鬲賳 賳賲蹖 讴賳蹖責
讴賴 賮讴乇 賳賲蹖 讴賳蹖
讴噩丕貙 讴蹖 禺賵丿鬲 乇賵 亘賴 诏丕 丿丕丿蹖責
诏賮鬲 賵 诏賵 丿乇 讴丕鬲丿乇丕賱 乇賵 亘禺賵賳蹖丿.
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