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丨蹖丕胤 卮蹖胤丕賳
丿丕爻鬲丕賳 亘丕 賲乇诏 賵 賲乇丕爻賲 禺丕讴爻倬丕乇蹖 亘乇丕丿乇 倬鬲丕乇貙 讴賴 蹖讴 讴卮蹖卮 賲丨亘賵亘 亘賵爻賳蹖丕蹖蹖 丕爻鬲貙 卮乇賵毓 賲蹖鈥屫促堌�. 丿丕爻鬲丕賳 讴鬲丕亘 丨賵賱 賲丨賵乇 蹖讴蹖 丕夭 禺丕胤乇丕鬲 亘乇丕丿乇 倬鬲丕乇 賲蹖鈥屭嗀必�: 趩賳丿 爻丕賱 賯亘賱 丕賵 亘賴鈥屬囐呚必з� 趩賳丿 讴卮蹖卮 丿蹖诏乇 亘乇丕蹖 賲兀賲賵乇蹖鬲蹖 亘賴 丕爻鬲丕賳亘賵賱 乇賮鬲賴 亘賵丿賳丿 賵 胤蹖 蹖讴 爻賵亍鬲賮丕賴賲 爻乇 丕夭 夭賳丿丕賳蹖 賲禺賵賮 亘賴 賳丕賲 芦丨蹖丕胤 卮蹖胤丕賳禄 丿乇丌賵乇丿賳丿. 鬲賳賴丕 丿賵爻鬲 亘乇丕丿乇 倬鬲丕乇 丿乇 夭賳丿丕賳 噩賲蹖賱 賳丕賲 丿丕乇丿 讴賴 鬲賲丕賲 丿賱鈥屬呚簇嘿堎勠屸€屫ж� 賲胤丕賱毓踿 鬲丕乇蹖禺 丕爻鬲 賵 亘賴鈥屬傌臂� 噩匕亘 卮禺氐蹖鬲蹖 鬲丕乇蹖禺蹖 亘賴 賳丕賲 爻賱胤丕賳 噩賲 賲蹖鈥屫促堌� 讴賴 禺賵丿 乇丕 亘丕 丕賵 丕卮鬲亘丕賴鈥� 賲蹖鈥屭屫必� 賵 丕夭 亘蹖賲 鬲賵胤卅賴 丕賵 乇丕 亘賴 夭賳丿丕賳鈥� 賲蹖鈥屫з嗀ж操嗀�. 倬爻 丕夭 賲丿鬲蹖貙 蹖讴 卮亘 丿賵 賲兀賲賵乇 亘賴 賯氐丿 亘丕夭噩賵蹖蹖 亘賴 爻賱賵賱 丕賵鈥屸€屸€� 賲蹖鈥屫辟堎嗀� 賵 噩賲蹖賱 亘丕 丌賳鈥屸€屸€屬囏� 丿乇诏蹖乇鈥屸€屸€� 賲蹖鈥屫促堌�. 丌賳鈥屬囏� 噩賲蹖賱 乇丕 亘丕 禺賵丿 賲蹖鈥屫ㄘ辟嗀� 賵 亘毓丿 丕夭 丌賳 讴爻蹖 丕夭 毓丕賯亘鬲 丕賵 禺亘乇蹖 賳丿丕乇丿貨 蹖丕 丕賵 乇丕 讴卮鬲賴鈥屫з嗀� 蹖丕 亘賴 亘蹖賲丕乇爻鬲丕賳蹖 乇賵丕賳蹖 賲賳鬲賯賱卮 讴乇丿賴鈥屫з嗀�. 亘丕 乇賮鬲賳 噩賲蹖賱 鬲賳賴丕 賮讴乇 亘乇丕丿乇 倬鬲丕乇 丌夭丕丿蹖 丕爻鬲貨 丌夭丕丿蹖鈥屫й� 讴賴 賲胤賲卅賳 賳蹖爻鬲 亘丕 乇賴丕蹖蹖 丕夭 丕蹖賳 亘賳丿 亘賴鈥屫池� 亘蹖丕蹖丿...! 賳馗乇 蹖讴蹖 丕夭 賲禺丕胤亘丕賳 丿乇賲賵乇丿 讴鬲丕亘: 芦丨讴丕蹖鬲蹖 丕夭 禺卮賵賳鬲 賵 倬丕乇丕賳賵蹖丕貙 丕夭 丕賳爻丕賳鈥屸€屸€屬囏й屰� 讴賴 丿乇 鬲丕乇蹖禺 诏蹖乇 讴乇丿賴鈥屫з嗀� 賵鈥屸€屸€� 賳賲蹖鈥屫堌з嗁嗀� 丕夭 丌賳 亘诏乇蹖夭賳丿. 讴鬲丕亘 亘賴 賲丕 噩夭卅蹖丕鬲 亘蹖鈥屬嗀港屫臂� 丕夭 乇賮鬲丕乇 丕賳爻丕賳 賵 噩丕賲毓賴鈥屸€屸€� 賲蹖鈥屫囏�.禄
136 pages, Paperback
First published January 1, 1954
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About the author
Ivo Andri膰
260听books1,212听followersIvo Andri膰 (Serbian Cyrillic: 袠胁芯 袗薪写褉懈褯; born Ivan Andri膰) was a Yugoslav novelist, poet and short story writer who won the Nobel Prize in Literature in 1961. His writings dealt mainly with life in his native Bosnia under Ottoman rule.
Born in Travnik in Austria-Hungary, modern-day Bosnia and Herzegovina, Andri膰 attended high school in Sarajevo, where he became an active member of several South Slav national youth organizations. Following the assassination of Archduke of Austria Franz Ferdinand in June 1914, Andri膰 was arrested and imprisoned by the Austro-Hungarian police, who suspected his involvement in the plot. As the authorities were unable to build a strong case against him, he spent much of the war under house arrest, only being released following a general amnesty for such cases in July 1917. After the war, he studied South Slavic history and literature at universities in Zagreb and Graz, eventually attaining his PhD. in Graz in 1924. He worked in the diplomatic service of the Kingdom of Yugoslavia from 1920 to 1923 and again from 1924 to 1941. In 1939, he became Yugoslavia's ambassador to Germany, but his tenure ended in April 1941 with the German-led invasion of his country. Shortly after the invasion, Andri膰 returned to German-occupied Belgrade. He lived quietly in a friend's apartment for the duration of World War II, in conditions likened by some biographers to house arrest, and wrote some of his most important works, including Na Drini 膰uprija (The Bridge on the Drina).
Following the war, Andri膰 was named to a number of ceremonial posts in Yugoslavia, which had since come under communist rule. In 1961, the Nobel Committee awarded him the Nobel Prize in Literature, selecting him over writers such as J.R.R. Tolkien, Robert Frost, John Steinbeck and E.M. Forster. The Committee cited "the epic force with which he ... traced themes and depicted human destinies drawn from his country's history". Afterwards, Andri膰's works found an international audience and were translated into a number of languages. In subsequent years, he received a number of awards in his native country. Andri膰's health declined substantially in late 1974 and he died in Belgrade the following March.
In the years following Andri膰's death, the Belgrade apartment where he spent much of World War II was converted into a museum and a nearby street corner was named in his honour. A number of other cities in the former Yugoslavia also have streets bearing his name. In 2012, filmmaker Emir Kusturica began construction of an ethno-town in eastern Bosnia that is named after Andri膰. As Yugoslavia's only Nobel Prize-winning writer, Andri膰 was well known and respected in his native country during his lifetime. In Bosnia and Herzegovina, beginning in the 1950s and continuing past the breakup of Yugoslavia, his works have been disparaged by Bosniak literary critics for their supposed anti-Muslim bias. In Croatia, his works had occasionally been blacklisted following Yugoslavia's dissolution in the 1990s, but were rehabilitated by the literary community. He is highly regarded in Serbia for his contributions to Serbian literature.
Born in Travnik in Austria-Hungary, modern-day Bosnia and Herzegovina, Andri膰 attended high school in Sarajevo, where he became an active member of several South Slav national youth organizations. Following the assassination of Archduke of Austria Franz Ferdinand in June 1914, Andri膰 was arrested and imprisoned by the Austro-Hungarian police, who suspected his involvement in the plot. As the authorities were unable to build a strong case against him, he spent much of the war under house arrest, only being released following a general amnesty for such cases in July 1917. After the war, he studied South Slavic history and literature at universities in Zagreb and Graz, eventually attaining his PhD. in Graz in 1924. He worked in the diplomatic service of the Kingdom of Yugoslavia from 1920 to 1923 and again from 1924 to 1941. In 1939, he became Yugoslavia's ambassador to Germany, but his tenure ended in April 1941 with the German-led invasion of his country. Shortly after the invasion, Andri膰 returned to German-occupied Belgrade. He lived quietly in a friend's apartment for the duration of World War II, in conditions likened by some biographers to house arrest, and wrote some of his most important works, including Na Drini 膰uprija (The Bridge on the Drina).
Following the war, Andri膰 was named to a number of ceremonial posts in Yugoslavia, which had since come under communist rule. In 1961, the Nobel Committee awarded him the Nobel Prize in Literature, selecting him over writers such as J.R.R. Tolkien, Robert Frost, John Steinbeck and E.M. Forster. The Committee cited "the epic force with which he ... traced themes and depicted human destinies drawn from his country's history". Afterwards, Andri膰's works found an international audience and were translated into a number of languages. In subsequent years, he received a number of awards in his native country. Andri膰's health declined substantially in late 1974 and he died in Belgrade the following March.
In the years following Andri膰's death, the Belgrade apartment where he spent much of World War II was converted into a museum and a nearby street corner was named in his honour. A number of other cities in the former Yugoslavia also have streets bearing his name. In 2012, filmmaker Emir Kusturica began construction of an ethno-town in eastern Bosnia that is named after Andri膰. As Yugoslavia's only Nobel Prize-winning writer, Andri膰 was well known and respected in his native country during his lifetime. In Bosnia and Herzegovina, beginning in the 1950s and continuing past the breakup of Yugoslavia, his works have been disparaged by Bosniak literary critics for their supposed anti-Muslim bias. In Croatia, his works had occasionally been blacklisted following Yugoslavia's dissolution in the 1990s, but were rehabilitated by the literary community. He is highly regarded in Serbia for his contributions to Serbian literature.
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June 13, 2021
What is left after a man dies?
An old monk died but after his death he has left not just his poor earthly belongings but also his stories. His memories of being imprisoned in the place of detention in Istanbul, notoriously known as the Devil鈥檚 Yard. 鈥淭o this place there came 鈥� and through it there passed, day by day 鈥� all who were arrested or taken into custody in this sprawling and populous city, for offenses committed or upon suspicion of offense鈥︹€�
In some ways The Damned Yard by Ivo Andri膰 reminds of by .
Stories of misery and despair... Stories of madness... Stories within stories...
And the central is the story of a lonesome young Turk who has been falsely accused of conspiracy against the Sultan.
In all the nations, prisons are similar to one another. In all the times, methods of the secret police remain the same.
People engaged in computing the estate of a dead man who, only a couple of days ago, was as alive as they are now, have a peculiar look. They represent victorious life, which goes its own way and has its own necessities. But, victors of a pretty poor sort, their only merit consists in their having outlived the dead. They remind one of looters, but looters who are sure to go scot free and who know that the rightful owner can never return and catch them. Not that they are quite that, of course, but somehow they give you that feeling.
An old monk died but after his death he has left not just his poor earthly belongings but also his stories. His memories of being imprisoned in the place of detention in Istanbul, notoriously known as the Devil鈥檚 Yard. 鈥淭o this place there came 鈥� and through it there passed, day by day 鈥� all who were arrested or taken into custody in this sprawling and populous city, for offenses committed or upon suspicion of offense鈥︹€�
In some ways The Damned Yard by Ivo Andri膰 reminds of by .
Stories of misery and despair... Stories of madness... Stories within stories...
Here were offenders both great and small, from the lad who had lifted a bunch of grapes or a fig from a counter, to swindlers and burglars; the innocent were here, and the falsely accused, the weak-witted and the betrayed, or people brought here by mistake from Istanbul and from all over the Empire鈥�
There were men with many murders to their account and others with records of prison escapes who were therefore already in irons here, even before their trial and conviction. They clanked their chains provocatively, with furious curses on all iron and on the man who first thought of fetters.
And the central is the story of a lonesome young Turk who has been falsely accused of conspiracy against the Sultan.
In all the nations, prisons are similar to one another. In all the times, methods of the secret police remain the same.
March 22, 2025
賳賴 睾賲诏蹖賳 亘賵丿賲 賵 賳賴 禺賵卮丨丕賱貙 亘蹖鈥屫� 賴賲 賳亘賵丿賲 丕賲丕 爻毓蹖 丿丕卮鬲賲 亘蹖鈥屫佖з堌� 丌丿賲蹖 乇賵 亘賴 禺賵丿賲 丕賱賯丕 讴賳賲 讴賴 亘賴 賲乇丨賱賴 倬匕蹖乇卮 乇爻蹖丿賴. 亘丕 丿賵爻鬲丕賲 丿乇亘丕乇賴 賲賵囟賵毓蹖 讴賴 賳丕乇丕丨鬲賲 讴乇丿賴 亘賵丿 趩鬲 讴乇丿賴 亘賵丿賲 賵 爻毓蹖 賲蹖鈥屭┴必� 賴賲賵賳噩賵乇 讴賴 丕賵賳丕 賲蹖诏賮鬲賳 賴賲賴 趩蹖夭賵 亘賴 鬲禺賲賲 亘诏蹖乇賲. 賵 蹖讴 乇亘毓 亘毓丿 鬲賵蹖 鬲乇丕爻 乇賵 亘賴 丿乇禺鬲 賴丕蹖 倬乇鬲賯丕賱 賳卮爻鬲賴 亘賵丿賲 賵 毓胤乇 亘丕乇賵賳 乇賵 賳賮爻 賲蹖讴卮蹖丿賲貙 亘乇诏賴丕蹖 丿乇禺鬲 賴賮鬲 丌賱賵蹖 倬蹖賵賳丿蹖 讴賴 禺賵丿賲 亘丕 丿爻鬲鈥屬囏й� 禺賵丿賲 讴丕卮鬲賴鈥屬� 夭蹖乇 賳賵乇 賲丕賴 賲蹖丿乇禺卮蹖丿賳 賵 賲賳 丕夭 鬲賲丕卮丕卮 賲孬賱 鬲賲丕卮丕蹖 丿乇禺卮卮 賲賵賴丕蹖 亘趩賴鈥屫з� 賱匕鬲 賲蹖亘乇丿賲貙 賯賴賵賴 鬲賱禺 睾賱蹖馗蹖 賴賲 讴賴 丕賲蹖乇 亘乇丕賲 賮乇爻鬲丕丿賴 丿賲 讴乇丿賴 亘賵丿賲 賵 讴賳丕乇賲 亘賵丿 賵 賴賲夭賲丕賳 丿丕卮鬲賲 讴鬲丕亘 氐賵鬲蹖 "丨蹖丕胤 卮蹖胤丕賳" 乇賵 讴賴 毓蹖丿蹖 诏乇賮鬲賴鈥屬� 诏賵卮 賲蹖丿丕丿賲_ 鬲賯乇蹖亘丕 丌禺乇卮 亘賵丿. (趩乇丕 亘蹖賳 丕蹖賳賴賲賴 讴鬲丕亘 丕蹖賳賵 丕賳鬲禺丕亘 讴乇丿賲責)
亘乇毓讴爻 禺蹖賱蹖 賴丕 賲賳 亘丕 禺賵乇丿賳 賯賴賵賴 禺蹖賱蹖 亘賴鬲乇 賲蹖禺賵丕亘賲 賵 匕賴賳賲 丌乇賵賲 賲蹖卮賴 貨 丕賱亘鬲賴 亘賴 卮乇胤蹖 讴賴 亘賴 賲丨囟 禺賵丕亘鈥屫①勝堌� 亘乇賲 鬲賵蹖 鬲禺鬲 賵 趩卮賲丕賲 乇賵 亘亘賳丿賲. 丕賲丕 亘乇丕蹖 賲賳 夭賳丿诏蹖 鬲丕夭賴 丕夭 賱丨馗賴 丕蹖 卮乇賵毓 賲蹖卮賴 讴賴 爻乇賲 乇賵 乇賵蹖 亘丕賱卮鬲 賲蹖匕丕乇賲.
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丕蹖賳 丕賵賱蹖賳 賲賵丕噩賴賴 賲賳 亘丕 丌賳丿乇蹖趩貙 賳賵蹖爻賳丿賴 丨蹖丕胤 卮蹖胤丕賳貙 賴爻鬲卮. 賳賵蹖爻賳丿賴 蹖賵诏爻賱丕賵 讴賴 噩丕蹖夭賴 賳賵亘賱 賴賲 亘乇丿賴 賵 讴賱蹖 丿丕爻鬲丕賳 倬卮鬲 丿丕爻鬲丕賳 賳賵卮鬲賳卮 丿丕乇賴. 賲賳 禺蹖賱蹖 禺賵亘 丕蹖賳 賲乇丿 賵 賯賱賲卮 乇賵 丿乇讴 讴乇丿賲. 卮丕蹖丿 亘禺丕胤乇 鬲卮丕亘賴 爻賱蹖賯賴 丕蹖 讴賴 亘丕 賴賲 丿乇 賳賵卮蹖丿賳蹖 賲丨亘賵亘 丿丕乇蹖賲.
丕禺賴 丌賳丿乇蹖趩 賴賲 賲孬賱 賲賳 賲毓鬲丕丿 賯賴賵賴 亘賵丿賴貙 丕賵賳賲 賳賴 賴乇 賯賴賵賴鈥屫й屫� 賯賴賵賴鈥� 鬲乇讴 睾賱蹖馗 讴賴 鬲賵 亘賵爻賳蹖 賲乇爻賵賲賴 ( 丕賱亘鬲賴 賲賳 丕賱丕賳 丕爻倬乇爻賵 鬲賵蹖 丿爻鬲 賵 亘丕賱賲 丿丕乇賲 賮賯胤 賵賱蹖 賯賴賵賴 賲賵乇丿 毓賱丕賯賲貙 賯賴賵賴 鬲乇讴賴). 噩丕賱亘賴 讴賴 鬲賵蹖 禺丕胤乇丕鬲 丿賵爻鬲丕蹖 丕蹖賵賵 賳賵卮鬲賴 卮丿賴 讴賴 爻丕毓鬲鈥屬囏� 讴賳丕乇 蹖賴 賮賳噩賵賳 賯賴賵賴 賲蹖鈥屬嗀簇池� 賵 賮讴乇 賲蹖鈥屭┴必囏� 賲禺氐賵氐丕賸 賵賯鬲蹖 丿丕卮鬲賴 "丨蹖丕胤 卮蹖胤丕賳" 乇賵 賲蹖鈥屬嗁堌簇�. 賵 噩丕賱亘賴 丕诏賴 丕夭 丿賵爻鬲丕蹖 賲賳賲 丿乇亘丕乇賴 毓丕丿鬲 賴丕蹖 禺丕氐賲 趩蹖夭蹖 亘倬乇爻賳貙 丨鬲賲丕 亘賴 丕毓鬲蹖丕丿賲 亘賴 賯賴賵賴 丕卮丕乇賴 賲蹖讴賳賳.
蹖賴 亘丕乇 丌賳丿乇蹖趩 鬲賵 蹖賴 賲氐丕丨亘賴鈥� 讴賵鬲丕賴 诏賮鬲賴 亘賵丿賴 讴賴 "賯賴賵賴貙 匕賴賳賲賵 亘丕夭 賲蹖鈥屭┵嗁囏� 賲孬賱 讴賱蹖丿蹖 讴賴 賯賮賱丕蹖 鬲丕乇蹖禺 乇賵 亘丕夭 讴賳賴." 噩丕賱亘賴 趩賵賳 卮丕蹖丿 丕蹖賳 毓丕丿鬲 蹖賴 乇丕夭 讴賵趩蹖讴 賳賵蹖爻賳丿诏蹖 亘丕卮賴 倬卮鬲 禺賱賯 賮囟丕蹖 爻賳诏蹖賳 賵 毓賲蹖賯 丕蹖賳 乇賲丕賳. 卮丕蹖丿 賴賲 丕毓鬲蹖丕丿 趩蹖夭 亘丿蹖 賳亘丕卮賴 賵賯鬲蹖 賯乇丕乇賴 賯賮賱 匕賴賳 乇賵 亘丕夭 讴賳賴.
亘乇毓讴爻 禺蹖賱蹖 賴丕 賲賳 亘丕 禺賵乇丿賳 賯賴賵賴 禺蹖賱蹖 亘賴鬲乇 賲蹖禺賵丕亘賲 賵 匕賴賳賲 丌乇賵賲 賲蹖卮賴 貨 丕賱亘鬲賴 亘賴 卮乇胤蹖 讴賴 亘賴 賲丨囟 禺賵丕亘鈥屫①勝堌� 亘乇賲 鬲賵蹖 鬲禺鬲 賵 趩卮賲丕賲 乇賵 亘亘賳丿賲. 丕賲丕 亘乇丕蹖 賲賳 夭賳丿诏蹖 鬲丕夭賴 丕夭 賱丨馗賴 丕蹖 卮乇賵毓 賲蹖卮賴 讴賴 爻乇賲 乇賵 乇賵蹖 亘丕賱卮鬲 賲蹖匕丕乇賲.
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丕蹖賳 丕賵賱蹖賳 賲賵丕噩賴賴 賲賳 亘丕 丌賳丿乇蹖趩貙 賳賵蹖爻賳丿賴 丨蹖丕胤 卮蹖胤丕賳貙 賴爻鬲卮. 賳賵蹖爻賳丿賴 蹖賵诏爻賱丕賵 讴賴 噩丕蹖夭賴 賳賵亘賱 賴賲 亘乇丿賴 賵 讴賱蹖 丿丕爻鬲丕賳 倬卮鬲 丿丕爻鬲丕賳 賳賵卮鬲賳卮 丿丕乇賴. 賲賳 禺蹖賱蹖 禺賵亘 丕蹖賳 賲乇丿 賵 賯賱賲卮 乇賵 丿乇讴 讴乇丿賲. 卮丕蹖丿 亘禺丕胤乇 鬲卮丕亘賴 爻賱蹖賯賴 丕蹖 讴賴 亘丕 賴賲 丿乇 賳賵卮蹖丿賳蹖 賲丨亘賵亘 丿丕乇蹖賲.
丕禺賴 丌賳丿乇蹖趩 賴賲 賲孬賱 賲賳 賲毓鬲丕丿 賯賴賵賴 亘賵丿賴貙 丕賵賳賲 賳賴 賴乇 賯賴賵賴鈥屫й屫� 賯賴賵賴鈥� 鬲乇讴 睾賱蹖馗 讴賴 鬲賵 亘賵爻賳蹖 賲乇爻賵賲賴 ( 丕賱亘鬲賴 賲賳 丕賱丕賳 丕爻倬乇爻賵 鬲賵蹖 丿爻鬲 賵 亘丕賱賲 丿丕乇賲 賮賯胤 賵賱蹖 賯賴賵賴 賲賵乇丿 毓賱丕賯賲貙 賯賴賵賴 鬲乇讴賴). 噩丕賱亘賴 讴賴 鬲賵蹖 禺丕胤乇丕鬲 丿賵爻鬲丕蹖 丕蹖賵賵 賳賵卮鬲賴 卮丿賴 讴賴 爻丕毓鬲鈥屬囏� 讴賳丕乇 蹖賴 賮賳噩賵賳 賯賴賵賴 賲蹖鈥屬嗀簇池� 賵 賮讴乇 賲蹖鈥屭┴必囏� 賲禺氐賵氐丕賸 賵賯鬲蹖 丿丕卮鬲賴 "丨蹖丕胤 卮蹖胤丕賳" 乇賵 賲蹖鈥屬嗁堌簇�. 賵 噩丕賱亘賴 丕诏賴 丕夭 丿賵爻鬲丕蹖 賲賳賲 丿乇亘丕乇賴 毓丕丿鬲 賴丕蹖 禺丕氐賲 趩蹖夭蹖 亘倬乇爻賳貙 丨鬲賲丕 亘賴 丕毓鬲蹖丕丿賲 亘賴 賯賴賵賴 丕卮丕乇賴 賲蹖讴賳賳.
蹖賴 亘丕乇 丌賳丿乇蹖趩 鬲賵 蹖賴 賲氐丕丨亘賴鈥� 讴賵鬲丕賴 诏賮鬲賴 亘賵丿賴 讴賴 "賯賴賵賴貙 匕賴賳賲賵 亘丕夭 賲蹖鈥屭┵嗁囏� 賲孬賱 讴賱蹖丿蹖 讴賴 賯賮賱丕蹖 鬲丕乇蹖禺 乇賵 亘丕夭 讴賳賴." 噩丕賱亘賴 趩賵賳 卮丕蹖丿 丕蹖賳 毓丕丿鬲 蹖賴 乇丕夭 讴賵趩蹖讴 賳賵蹖爻賳丿诏蹖 亘丕卮賴 倬卮鬲 禺賱賯 賮囟丕蹖 爻賳诏蹖賳 賵 毓賲蹖賯 丕蹖賳 乇賲丕賳. 卮丕蹖丿 賴賲 丕毓鬲蹖丕丿 趩蹖夭 亘丿蹖 賳亘丕卮賴 賵賯鬲蹖 賯乇丕乇賴 賯賮賱 匕賴賳 乇賵 亘丕夭 讴賳賴.
September 9, 2023
丨蹖丕胤 卮蹖胤丕賳 讴鬲丕亘蹖 丕蹖爻鬲 丕夭 丕蹖賵 丌賳丿乇蹖趩 貙 賳賵蹖爻賳丿賴 爻乇卮賳丕爻 丕賴賱 蹖賵诏爻賱丕賵蹖 爻丕亘賯 . 丕賵 丿乇 丕蹖賳 讴鬲丕亘 亘賴 夭賳丿诏蹖 丕賯賱蹖鬲 賴丕 丿乇 丕賲倬乇丕鬲賵乇蹖 毓孬賲丕賳蹖 賵 乇賮鬲丕乇 鬲丨賯蹖乇 丌賲蹖夭 鬲乇讴賴丕 亘丕 丌賳丕賳 倬乇丿丕禺鬲賴 .
丿丕爻鬲丕賳 丕賵 丿乇 丕賵丕禺乇 賯乇賳 賳賵夭丿賴賲貙 丿乇 丿賵乇丕賳 夭賵丕賱 丕賲倬乇丕鬲賵乇蹖 毓孬賲丕賳蹖貙 賲蹖 诏匕乇丿. 倬鬲丕乇貙 蹖讴 乇丕賴亘 賲爻蹖丨蹖貙 亘賴 诏賲丕賳 賲卮丕乇讴鬲 丿乇 賮毓丕賱蹖鬲 賴丕蹖 爻蹖丕爻蹖 禺賵丿 丿乇 賲讴丕賳蹖 亘賴 賳丕賲 丨蹖丕胤 卮蹖胤丕賳 讴賴 亘賴 亘丿賳丕賲蹖 賲卮賴賵乇 丕爻鬲 貙 夭賳丿丕賳蹖 賲蹖 卮賵丿.
丌賳丿乇蹖趩 丿乇 丕蹖賳 丿丕爻鬲丕賳 讴賵鬲丕賴 讴賵卮蹖丿賴 賳卮丕賳 丿賴丿 趩诏賵賳賴 賯丿乇鬲 賲蹖 鬲賵丕賳丿 亘乇丕蹖 爻乇讴賵亘 賵 讴賳鬲乇賱 賲乇丿賲 丕爻鬲賮丕丿賴 卮賵丿 貙 亘賴 賴賲蹖賳 鬲乇鬲蹖亘 丕賵 鬲氐賵蹖乇蹖 丕夭 卮乇丕蹖胤 丕賳爻丕賳蹖 丿乇 丿賵乇賴 丕蹖 丕夭 鬲丨賵賱丕鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 丌卮賮鬲賴 賵 賳丕亘爻丕賲丕賳 丕乇丕卅賴 賲蹖 丿賴丿 .
丨蹖丕胤 卮蹖胤丕賳 丕夭 蹖讴 爻賵貙 丕爻鬲賮丕丿賴 丕夭 夭賳丿丕賳 乇丕 亘賴 毓賳賵丕賳 賵爻蹖賱賴 丕蹖 亘乇丕蹖 卮讴爻鬲賳 乇賵丨 丕賳爻丕賳 賲丨讴賵賲 讴乇丿賴 賵 丕夭 爻賵蹖 丿蹖诏乇貙 賯丿乇鬲 丕乇丕丿賴 丕賳爻丕賳 賵 鬲賱丕卮 丕賵 亘乇丕蹖 乇爻蹖丿賳 亘賴 丌夭丕丿蹖 乇丕 爻鬲丕蹖卮 賲蹖 讴賳丿 .
丌賳丿乇蹖趩 丿乇 讴鬲丕亘 丨蹖丕胤 卮蹖胤丕賳 讴賵卮蹖丿賴 賲卮讴賱丕鬲 丕賯賱蹖鬲 賴丕 賵 丕賯卮丕乇 囟毓蹖賮 丿乇 鬲賯丕亘賱 亘丕 丕讴孬乇蹖鬲 賯賵蹖 賵 爻鬲賲诏乇 乇丕 亘蹖丕賳 讴賳丿 . 讴鬲丕亘 丕賵 丕夭 丌賳 乇賵 讴賴 乇賵丕蹖鬲诏乇 氐丿丕蹖 鬲賵丿賴 賴丕蹖 賲乇丿賲 囟毓蹖賮 賵 賳丕鬲賵丕賳 卮丿賴 賲蹖 鬲賵丕賳 賲賴賲 丿丕賳爻鬲 .
丿丕爻鬲丕賳 丕賵 丿乇 丕賵丕禺乇 賯乇賳 賳賵夭丿賴賲貙 丿乇 丿賵乇丕賳 夭賵丕賱 丕賲倬乇丕鬲賵乇蹖 毓孬賲丕賳蹖貙 賲蹖 诏匕乇丿. 倬鬲丕乇貙 蹖讴 乇丕賴亘 賲爻蹖丨蹖貙 亘賴 诏賲丕賳 賲卮丕乇讴鬲 丿乇 賮毓丕賱蹖鬲 賴丕蹖 爻蹖丕爻蹖 禺賵丿 丿乇 賲讴丕賳蹖 亘賴 賳丕賲 丨蹖丕胤 卮蹖胤丕賳 讴賴 亘賴 亘丿賳丕賲蹖 賲卮賴賵乇 丕爻鬲 貙 夭賳丿丕賳蹖 賲蹖 卮賵丿.
丌賳丿乇蹖趩 丿乇 丕蹖賳 丿丕爻鬲丕賳 讴賵鬲丕賴 讴賵卮蹖丿賴 賳卮丕賳 丿賴丿 趩诏賵賳賴 賯丿乇鬲 賲蹖 鬲賵丕賳丿 亘乇丕蹖 爻乇讴賵亘 賵 讴賳鬲乇賱 賲乇丿賲 丕爻鬲賮丕丿賴 卮賵丿 貙 亘賴 賴賲蹖賳 鬲乇鬲蹖亘 丕賵 鬲氐賵蹖乇蹖 丕夭 卮乇丕蹖胤 丕賳爻丕賳蹖 丿乇 丿賵乇賴 丕蹖 丕夭 鬲丨賵賱丕鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 丌卮賮鬲賴 賵 賳丕亘爻丕賲丕賳 丕乇丕卅賴 賲蹖 丿賴丿 .
丨蹖丕胤 卮蹖胤丕賳 丕夭 蹖讴 爻賵貙 丕爻鬲賮丕丿賴 丕夭 夭賳丿丕賳 乇丕 亘賴 毓賳賵丕賳 賵爻蹖賱賴 丕蹖 亘乇丕蹖 卮讴爻鬲賳 乇賵丨 丕賳爻丕賳 賲丨讴賵賲 讴乇丿賴 賵 丕夭 爻賵蹖 丿蹖诏乇貙 賯丿乇鬲 丕乇丕丿賴 丕賳爻丕賳 賵 鬲賱丕卮 丕賵 亘乇丕蹖 乇爻蹖丿賳 亘賴 丌夭丕丿蹖 乇丕 爻鬲丕蹖卮 賲蹖 讴賳丿 .
丌賳丿乇蹖趩 丿乇 讴鬲丕亘 丨蹖丕胤 卮蹖胤丕賳 讴賵卮蹖丿賴 賲卮讴賱丕鬲 丕賯賱蹖鬲 賴丕 賵 丕賯卮丕乇 囟毓蹖賮 丿乇 鬲賯丕亘賱 亘丕 丕讴孬乇蹖鬲 賯賵蹖 賵 爻鬲賲诏乇 乇丕 亘蹖丕賳 讴賳丿 . 讴鬲丕亘 丕賵 丕夭 丌賳 乇賵 讴賴 乇賵丕蹖鬲诏乇 氐丿丕蹖 鬲賵丿賴 賴丕蹖 賲乇丿賲 囟毓蹖賮 賵 賳丕鬲賵丕賳 卮丿賴 賲蹖 鬲賵丕賳 賲賴賲 丿丕賳爻鬲 .
August 1, 2017
Kad god 膷itam Andri膰a, prva misao mi je koliko je njegov tekst rasko拧an (svaki put mi je ba拧 taj atribut u glavi: rasko拧an). Kao i da sam ube膽ena da mogu da razumem koliko promi拧ljanja, intelektualnog oblikovanja i bru拧enja stoji iza svake re膷enice. Kao 膷italac nikako ne mogu da se odlu膷im izme膽u njegove sposobnosti da napravi prikaz i 膷iste naracije. 膶ini mi se da uz njega sedim pred pozornicom i lutkarom koji se nadvija nad kulisama vode膰i likove. Andri膰eve likove recimo nikada ne vidim kao 啪ive pred sobom, uvek je tu mastermind koji pomera figure. A onda opet ni nema potrebe za bilo kakvim igrokazom, jer mi je sasvim dovoljno da se usredsredim samo na naraciju, da pustim re膷i da teku. Po tome me Andri膰 svaki put podseti na Mana. Ili me Man podseti na Andri膰a, svejedno. Poenta je da je to samo vrh ledenog brega u mno拧tvu onoga po 膷emu bi se njih dvojica mogli uporediti.
鈥濸rokleta avlija鈥� mi je uvek bila omiljeni element Andri膰evog opusa. Pa deset praznih mesta pa mo啪emo dalje da razgovaramo. Valjda zbog svih slojeva skupljenih u tako malo pakovanje. Ve膰 na prvom koraku me osvoje sve te pri膷e unutar pri膷e, kao babu拧ke, zup膷anici uklopljeni u savr拧en mehanizam. Slaba sam na besprekornu formu.
Naravno da me intrigira sama fabula o otu膽enom mladom intelektualcu koji dospeva u zatvor u Istanbulu, zbivanja izme膽u sultana i njegovog potisnutog brata i spona sa drugim slojevima dela. Ali me daleko vi拧e privla膷i koliko je u konzervativnom tonu sadr啪ano suptilne ironije (拧to je dodu拧e 膷esto kod Andri膰a) i koliko uzdr啪an izve拧taj sveden na minimum potrebnih informacija prenosi teskobu i zarobljenost na svakom mogu膰em nivou. Jer ispod crte je svako zarobljen u onome 拧to jeste. Identitet i pripadnost za mene su najupe膷atljivija tema, jer su pitanja ko su i gde pripadaju zajedni膷ka svim likovima.
Likovi su uop拧te jednako maestralni. Narator ne napu拧ta okvir onoga 拧to je lik prvog pripoveda膷a u delu mogao da 膷uje ili dozna, pa zato pri膷e u unutra拧njim krugovima nemaju ni uvod ni razre拧enje, ali u okviru toga likovi su tako 啪ivopisno oblikovani da svaki od njih zavre膽uje vlastitu pri膷u. Jedan od najupe膷atljivijih sporednih likova je sitna du拧a od valije u kom knjige, pa jo拧 ako su na stranim jezicima, izazivaju bes i mr啪nju. But that鈥檚 just me.
Za mene je Prokleta avlija vrhunac Andri膰evog stvarala拧tva i jedan od vrhunaca knji啪evnosti na na拧em jeziku.
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Every time when reading Andri膰 my first thought is how luxuriant his prose is (I always have exactly that attribute on my mind: luxuriant). As well as that I believe to be able to understand all the reflection, intellectual moulding and polishing behind every sentence. As a reader I never can quite decide between his ability to compose an image and pure narration. With him, there is a feeling that I am sitting in front of a stage with a puppet master bending over the scenery, guiding his characters. I see Andri膰鈥檚 characters never as alive before me, there is always a mastermind moving the figures. But then again there is never the need for a play, since it is more then enough for me just to concentrate on the narration, to let the words flow. In that way Andri膰 always reminds me of Mann. Or Mann reminds me of Andri膰, whatever. The point is that this is only the tip of the iceberg in the multitude of elements by which the two of them could be compared.
鈥淒evil's Yard鈥� has always been my favourite part of Andri膰鈥檚 work. Then there is a huge gap and then we could talk further. I guess it is because of the many layers brought together in such a slim package. On the very first step I was enchanted by all the stories within the story, like Russian dolls or gears fitted into a perfect mechanism. I am a sucker for flawless form.
Of course I am intrigued by the story of the alienated young intellectual who finds himself in a prison in Istanbul, by the incidents between the sultan and his suppressed brother and the connection to other levels of the prose. Yet I find it by far more appealing how subtle an irony is contained in the conservative tone (which is quite common for Andri膰) and how a restrained report with the minimum of necessary information communicates anxiety and captivity on every possible level. Because bottom line is that everyone is captivated by what he is. Identity and belonging are the most striking topics in my view, since the question of who they are and where they belong is common for all the characters.
And the characters are masterful indeed. The narrator does not leave the boundaries of what the first narrator of the story could have heard or found out, so that the tales in the inner circles have neither introduction nor closure. But within that frame the characters are so vivid that every one of them is worthy of a story of one鈥檚 own. One of the most impressive supporting characters is the petty gouverneur who feels anger and hate at the sight of books, not to mention when they are in a foreign language. But that鈥檚 just me.
To me 鈥淒evil's Yard鈥� is the peak of Andri膰鈥檚 work and one of the literary climaxes of our language.
鈥濸rokleta avlija鈥� mi je uvek bila omiljeni element Andri膰evog opusa. Pa deset praznih mesta pa mo啪emo dalje da razgovaramo. Valjda zbog svih slojeva skupljenih u tako malo pakovanje. Ve膰 na prvom koraku me osvoje sve te pri膷e unutar pri膷e, kao babu拧ke, zup膷anici uklopljeni u savr拧en mehanizam. Slaba sam na besprekornu formu.
Naravno da me intrigira sama fabula o otu膽enom mladom intelektualcu koji dospeva u zatvor u Istanbulu, zbivanja izme膽u sultana i njegovog potisnutog brata i spona sa drugim slojevima dela. Ali me daleko vi拧e privla膷i koliko je u konzervativnom tonu sadr啪ano suptilne ironije (拧to je dodu拧e 膷esto kod Andri膰a) i koliko uzdr啪an izve拧taj sveden na minimum potrebnih informacija prenosi teskobu i zarobljenost na svakom mogu膰em nivou. Jer ispod crte je svako zarobljen u onome 拧to jeste. Identitet i pripadnost za mene su najupe膷atljivija tema, jer su pitanja ko su i gde pripadaju zajedni膷ka svim likovima.
Likovi su uop拧te jednako maestralni. Narator ne napu拧ta okvir onoga 拧to je lik prvog pripoveda膷a u delu mogao da 膷uje ili dozna, pa zato pri膷e u unutra拧njim krugovima nemaju ni uvod ni razre拧enje, ali u okviru toga likovi su tako 啪ivopisno oblikovani da svaki od njih zavre膽uje vlastitu pri膷u. Jedan od najupe膷atljivijih sporednih likova je sitna du拧a od valije u kom knjige, pa jo拧 ako su na stranim jezicima, izazivaju bes i mr啪nju. But that鈥檚 just me.
Za mene je Prokleta avlija vrhunac Andri膰evog stvarala拧tva i jedan od vrhunaca knji啪evnosti na na拧em jeziku.
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Every time when reading Andri膰 my first thought is how luxuriant his prose is (I always have exactly that attribute on my mind: luxuriant). As well as that I believe to be able to understand all the reflection, intellectual moulding and polishing behind every sentence. As a reader I never can quite decide between his ability to compose an image and pure narration. With him, there is a feeling that I am sitting in front of a stage with a puppet master bending over the scenery, guiding his characters. I see Andri膰鈥檚 characters never as alive before me, there is always a mastermind moving the figures. But then again there is never the need for a play, since it is more then enough for me just to concentrate on the narration, to let the words flow. In that way Andri膰 always reminds me of Mann. Or Mann reminds me of Andri膰, whatever. The point is that this is only the tip of the iceberg in the multitude of elements by which the two of them could be compared.
鈥淒evil's Yard鈥� has always been my favourite part of Andri膰鈥檚 work. Then there is a huge gap and then we could talk further. I guess it is because of the many layers brought together in such a slim package. On the very first step I was enchanted by all the stories within the story, like Russian dolls or gears fitted into a perfect mechanism. I am a sucker for flawless form.
Of course I am intrigued by the story of the alienated young intellectual who finds himself in a prison in Istanbul, by the incidents between the sultan and his suppressed brother and the connection to other levels of the prose. Yet I find it by far more appealing how subtle an irony is contained in the conservative tone (which is quite common for Andri膰) and how a restrained report with the minimum of necessary information communicates anxiety and captivity on every possible level. Because bottom line is that everyone is captivated by what he is. Identity and belonging are the most striking topics in my view, since the question of who they are and where they belong is common for all the characters.
And the characters are masterful indeed. The narrator does not leave the boundaries of what the first narrator of the story could have heard or found out, so that the tales in the inner circles have neither introduction nor closure. But within that frame the characters are so vivid that every one of them is worthy of a story of one鈥檚 own. One of the most impressive supporting characters is the petty gouverneur who feels anger and hate at the sight of books, not to mention when they are in a foreign language. But that鈥檚 just me.
To me 鈥淒evil's Yard鈥� is the peak of Andri膰鈥檚 work and one of the literary climaxes of our language.
January 29, 2025
袩褗褉胁邪 褋褉械褖邪 褋 谐芯谢械屑懈褟 褌邪谢邪薪褌 薪邪 袠胁芯 袗薪写褉懈褔 懈 褋褗屑 芯褔邪褉芯胁邪薪!
"袩褉芯泻谢械褌邪 邪胁谢懈褬邪" 械 懈蟹泻谢褞褔懈褌械谢薪芯 谢懈褌械褉邪褌褍褉薪芯 斜懈卸褍, 懈蟹褟褖薪邪 褋谢芯胁械褋薪邪 屑懈薪懈邪褌褞褉邪, 斜械蟹 薪懈褌芯 械写懈薪 懈蟹谢懈褕械薪 褉械写 胁 薪械褟!
袩芯谢褗褏 芯褌 邪褌屑芯褋褎械褉邪褌邪 薪邪 械写薪芯 芯褌屑懈薪邪谢芯 胁褉械屑械, 芯褌 械写薪邪 懈屑锌械褉懈褟 泻芯褟褌芯 芯褌写邪胁薪邪 薪械 褋褗褖械褋褌胁褍胁邪, 薪芯 褋 泻芯褟褌芯 薪懈械 斜褗谢谐邪褉懈褌械 褋屑械 薪械褉邪蟹褉懈胁薪芯 褋胁褗褉蟹邪薪懈 懈 写薪械褋.
小褗写斜邪褌邪 薪邪 袛卸械屑 褋褍谢褌邪薪 械 胁褋械 褌邪泻邪 蟹邪胁谢邪写褟胁邪褖邪, 胁械褖芯 懈 卸懈胁芯 锌褉械写邪写械薪邪 薪懈 锌褉械蟹 谢懈褔薪芯褋褌懈褌械 薪邪 袣褟屑懈谢, 褎褉邪 袩械褌褗褉 懈 啸邪泻懈屑. 袠薪褌械褉械褋薪芯 械, 褔械 懈屑械褌芯 薪邪 锌褗褉胁懈褟 薪邪 褋褗褉斜芯-褏褗褉胁邪褌褋泻懈 械蟹懈泻 褋械 锌褉芯懈蟹薪邪褋褟 效邪屑懈谢褜.
P.S. 小褞卸械褌褗褌 械 薪邪褏胁褗褉谢褟薪 薪邪 褏芯褌械谢褋泻邪 斜谢邪薪泻邪 胁 袥懈褋邪斜芯薪 锌褉械蟹 1928 谐芯写懈薪邪, 薪芯 懈蟹谢懈蟹邪 薪邪 斜褟谢 褋胁褟褌 械写胁邪 锌褉械蟹 1954! 袠屑邪谢芯 械 蟹邪褖芯 写邪 褋械 褔邪泻邪...
"袩褉芯泻谢械褌邪 邪胁谢懈褬邪" 械 懈蟹泻谢褞褔懈褌械谢薪芯 谢懈褌械褉邪褌褍褉薪芯 斜懈卸褍, 懈蟹褟褖薪邪 褋谢芯胁械褋薪邪 屑懈薪懈邪褌褞褉邪, 斜械蟹 薪懈褌芯 械写懈薪 懈蟹谢懈褕械薪 褉械写 胁 薪械褟!
袩芯谢褗褏 芯褌 邪褌屑芯褋褎械褉邪褌邪 薪邪 械写薪芯 芯褌屑懈薪邪谢芯 胁褉械屑械, 芯褌 械写薪邪 懈屑锌械褉懈褟 泻芯褟褌芯 芯褌写邪胁薪邪 薪械 褋褗褖械褋褌胁褍胁邪, 薪芯 褋 泻芯褟褌芯 薪懈械 斜褗谢谐邪褉懈褌械 褋屑械 薪械褉邪蟹褉懈胁薪芯 褋胁褗褉蟹邪薪懈 懈 写薪械褋.
小褗写斜邪褌邪 薪邪 袛卸械屑 褋褍谢褌邪薪 械 胁褋械 褌邪泻邪 蟹邪胁谢邪写褟胁邪褖邪, 胁械褖芯 懈 卸懈胁芯 锌褉械写邪写械薪邪 薪懈 锌褉械蟹 谢懈褔薪芯褋褌懈褌械 薪邪 袣褟屑懈谢, 褎褉邪 袩械褌褗褉 懈 啸邪泻懈屑. 袠薪褌械褉械褋薪芯 械, 褔械 懈屑械褌芯 薪邪 锌褗褉胁懈褟 薪邪 褋褗褉斜芯-褏褗褉胁邪褌褋泻懈 械蟹懈泻 褋械 锌褉芯懈蟹薪邪褋褟 效邪屑懈谢褜.
P.S. 小褞卸械褌褗褌 械 薪邪褏胁褗褉谢褟薪 薪邪 褏芯褌械谢褋泻邪 斜谢邪薪泻邪 胁 袥懈褋邪斜芯薪 锌褉械蟹 1928 谐芯写懈薪邪, 薪芯 懈蟹谢懈蟹邪 薪邪 斜褟谢 褋胁褟褌 械写胁邪 锌褉械蟹 1954! 袠屑邪谢芯 械 蟹邪褖芯 写邪 褋械 褔邪泻邪...
March 12, 2016
Ljubav od knjige. Kakva mo啪e biti sudbina 膷oveka koji je oduvek bio sam protiv svih? Za njega "nema svanu膰a"...
Ovo mi je jedan od najdra啪ih citata iz "Proklete avlije". Velika istina o velikim prijateljstvima.
Ovo mi je jedan od najdra啪ih citata iz "Proklete avlije". Velika istina o velikim prijateljstvima.
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February 15, 2021Pri膷ali su mi kako je jedan stari gimnazijski profesor knji啪evnosti 鈥� u vreme kad su se lektire stvarno i cele 膷itale 鈥� nudio alternativu i onima koji od 膷itanja imaju pre膷ih poslova, a bez dvojke ku膰i ne smeju: prepisivanje Na Drini 膰uprije, celcate. To mi je, osim jedne od najfer pogodbi za koje znam, i najbolje obja拧njenje Andri膰a za koje sam 膷ula, najbli啪e mom do啪ivljaju, da budem precizna.
Andri膰 mi je uvek bio previ拧e ta膷an, preterano ispravan. Verovala sam da pi拧e dr啪e膰i 拧estar i uglomer u ruci i nikad se nisam adekvatno zadivila ni nad jednim od njegovih gnomskih iskaza, i pre膷esto citiranih. Ni拧ta se nije promenilo ni pri kasnijim poku拧ajima samorazuveravanja, sa minulim tinejd啪erskim buntom.
Prokleta avlija mi se, me膽utim, uvek 膷inila kao ne拧to 拧to se napisalo samo, 拧to nije mogao da zauzda i ukalupi. A on je to shvatio, pa tako i pustio, a to je, ako ja treba da sudim, vrednije po拧tovanja od svih zvanja i nagrada koje se piscu mogu dati.
Sa ovim poslednjim 膷itanjem utisak mi je jo拧 ja膷i: ja sam, pogledajte, uradio sam sve 拧to sam znao, ali je ovo ve膰e od mojih snaga, ne usu膽ujem se da brusim i sve 拧to jo拧 mogu je da vam isporu膷im ovoga Kara膽oza i 膯amila i svu avliju, pa vi, eto tra啪ite me膽u njima da li boga da li 膷oveka, da li sebe same - eto to pi拧e na ovih stotinak strana.
Andri膰 mi je uvek bio previ拧e ta膷an, preterano ispravan. Verovala sam da pi拧e dr啪e膰i 拧estar i uglomer u ruci i nikad se nisam adekvatno zadivila ni nad jednim od njegovih gnomskih iskaza, i pre膷esto citiranih. Ni拧ta se nije promenilo ni pri kasnijim poku拧ajima samorazuveravanja, sa minulim tinejd啪erskim buntom.
Prokleta avlija mi se, me膽utim, uvek 膷inila kao ne拧to 拧to se napisalo samo, 拧to nije mogao da zauzda i ukalupi. A on je to shvatio, pa tako i pustio, a to je, ako ja treba da sudim, vrednije po拧tovanja od svih zvanja i nagrada koje se piscu mogu dati.
Sa ovim poslednjim 膷itanjem utisak mi je jo拧 ja膷i: ja sam, pogledajte, uradio sam sve 拧to sam znao, ali je ovo ve膰e od mojih snaga, ne usu膽ujem se da brusim i sve 拧to jo拧 mogu je da vam isporu膷im ovoga Kara膽oza i 膯amila i svu avliju, pa vi, eto tra啪ite me膽u njima da li boga da li 膷oveka, da li sebe same - eto to pi拧e na ovih stotinak strana.
November 5, 2018
沤ao mi je bilo 拧to jednog dana ne膰u mo膰i "prvi put 膷itati Andri膰ev roman". Valjda sam zato ostavljao nepro膷itanu ovu pesimisti膷ki nastrojenu pri膷u o pri膷anjima. Roman o na拧im zatvorima i kao uvek kod Andri膰a, o interesantnim likovima.
Iako mo啪da upravo kompaktnost 膷ini Prokletu avliju velikim delom, prosto ti je 啪ao 拧to likovi nisu iskori拧膰eni vi拧e. Kara膽oz i 膯amil zaslu啪uju svaki po svoj roman.
Po拧to "svaku dobru knjigu treba 膷itati ponovo na svakih 10 godina", tako 膰u 膷itati i Andri膰eve romane. Nakon odga膽anog zavr拧etka prvog kruga, za mene na prvom mestu ipak ostaje Gospo膽ica, mo啪da upravo zbog posve膰enosti jednom liku. Bi膰e mi zanimljivo koliko 膰u se promeniti do narednog 膷itanja...
Iako mo啪da upravo kompaktnost 膷ini Prokletu avliju velikim delom, prosto ti je 啪ao 拧to likovi nisu iskori拧膰eni vi拧e. Kara膽oz i 膯amil zaslu啪uju svaki po svoj roman.
Po拧to "svaku dobru knjigu treba 膷itati ponovo na svakih 10 godina", tako 膰u 膷itati i Andri膰eve romane. Nakon odga膽anog zavr拧etka prvog kruga, za mene na prvom mestu ipak ostaje Gospo膽ica, mo啪da upravo zbog posve膰enosti jednom liku. Bi膰e mi zanimljivo koliko 膰u se promeniti do narednog 膷itanja...
April 6, 2020
螣 蠁蟻伪-螤蔚蟿维蟻, 苇谓伪蟼 螔蠈蟽谓喂慰蟼 魏伪位蠈纬蔚蟻慰蟼, 蟽蔚 苇谓伪 蟿伪尉委未喂 蟿慰蠀 蟽蟿畏谓 螝蠅谓蟽蟿伪谓蟿喂谓慰蠉蟺慰位畏 蟽伪谓 渭蔚蟿伪蠁蟻伪蟽蟿萎蟼 胃伪 尾蟻蔚胃蔚委 维胃蔚位伪 蟿慰蠀 渭蟺位蔚纬渭苇谓慰蟼 魏伪蟿伪位萎纬慰谓蟿伪蟼 蟽蔚 渭喂伪 蠁蠀位伪魏萎 蠀蠄委蟽蟿畏蟼 伪蟽蠁伪位蔚委伪蟼 纬谓蠅蟽蟿萎 渭蔚 蟿慰 蠈谓慰渭伪 "螝伪蟿伪蟻伪渭苇谓畏 螒蠀位萎". 螘魏蔚委 胃伪 纬谓蠅蟻委蟽蔚喂 苇谓伪谓 谓蔚伪蟻蠈 韦慰蠉蟻魏慰 伪尉喂蠅渭伪蟿慰蠉蠂慰, 蟿慰谓 螝喂伪渭委位, 渭蔚 苇谓伪 伪蟻魏蔚蟿维 蟺蔚蟻委蔚蟻纬慰 蟺伪蟻蔚位胃蠈谓 魏伪喂 渭苇蟽蠅 伪蠀蟿慰蠉 胃伪 渭维胃蔚喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀 危慰蠀位蟿维谓慰蠀 韦味喂苇渭 魏伪喂 蟿畏蟼 未喂伪渭维蠂畏蟼 蟿慰蠀 渭蔚 蟿慰谓 伪未蔚位蠁蠈 蟿慰蠀 魏伪喂 蟽蠁蔚蟿蔚蟻喂蟽蟿萎 蟿慰蠀 胃蟻蠈谓慰蠀 螠蟺伪纬喂伪味委蟿 螔'.
螠苇蟽伪 位慰喂蟺蠈谓 伪蟺蠈 蟿喂蟼 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 螁谓蟿蟻喂蟿蟼 渭伪胃伪委谓慰蠀渭蔚 纬喂伪 苇谓伪 喂蟽蟿慰蟻喂魏蠈 纬蔚纬慰谓蠈蟼 蟺慰蠀 苇位伪尾蔚 蠂蠋蟻伪 蟽蟿畏谓 螣胃蠅渭伪谓喂魏萎 伪蠀蟿慰魏蟻伪蟿慰蟻委伪 魏伪蟿维 蟿慰谓 15慰 伪喂蠋谓伪, 伪位位维 蟽蔚 未蔚蠉蟿蔚蟻慰 蔚蟺委蟺蔚未慰 未喂伪尾维味慰蠀渭蔚 渭喂伪 蟽蟺慰蠀未萎 蟿慰蠀 渭蔚纬维位慰蠀 蟽蠀纬纬蟻伪蠁苇伪 蟺维谓蠅 蟽蟿畏谓 蔚尉慰蠀蟽委伪, 蟿畏谓 魏伪蟿伪蟺委蔚蟽畏 魏伪喂 蟿畏谓 伪未喂魏委伪 蟺慰蠀 蠀蠁委蟽蟿伪蟿伪喂 慰 维谓胃蟻蠅蟺慰蟼 伪蟺蠈 蟿畏谓 渭苇蟻伪 蟺慰蠀 慰蟻纬伪谓蠋胃畏魏蔚 蟽蔚 魏慰喂谓蠅谓委蔚蟼 渭苇蠂蟻喂 魏伪喂 蟽萎渭蔚蟻伪.
螚 纬蟻伪蠁萎 蟿慰蠀 螁谓蟿蟻喂蟿蟼 蔚委谓伪喂 伪蟺位萎 魏伪喂 慰 位蠈纬慰蟼 蟿慰蠀 蟽蟿蟻蠅蟿蠈蟼. 螖蔚谓 魏慰蠀蟻维味蔚喂 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏, 伪位位维 蟿慰谓 魏维谓蔚喂 谓伪 伪未畏渭慰谓蔚委 纬喂伪 蟿畏谓 蔚尉苇位喂尉畏 伪位位维 魏伪喂 蟿畏谓 蟿蠉蠂畏 蟿蠅谓 尾伪蟽喂魏蠋谓 蟿慰蠀 蠂伪蟻伪魏蟿萎蟻蠅谓. 危蔚 苇谓伪 慰位喂纬慰蟽苇位喂未慰 未喂萎纬畏渭伪 魏伪蟿伪蠁苇蟻谓蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼, 渭蔚 伪蟺蠈位蠀蟿畏 蔚蟺喂蟿蠀蠂委伪, 谓伪 蟽魏喂伪纬蟻伪蠁萎蟽蔚喂 蟽蠅蟽蟿维 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿慰蠀 魏伪喂 谓伪 渭伪蟼 魏维谓蔚喂 谓伪 蟺蔚蟻喂畏纬畏胃慰蠉渭蔚 苇蟽蟿蠅 魏伪喂 纬喂伪 位委纬慰 蟽蟿慰 蟺蟻慰伪蠉位喂慰 蟿畏蟼 螝伪蟿伪蟻伪渭苇谓畏蟼 伪蠀位萎蟼 纬谓蠅蟻委味慰谓蟿伪蟼 蟿慰蠀蟼 魏蟻伪蟿慰蠉渭蔚谓慰蠀蟼 魏伪喂 渭伪胃伪委谓慰谓蟿伪蟼 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀蟼, 蟺慰蠀 维位位慰蟿蔚 蔚委谓伪喂 蟺蔚蟻委蔚蟻纬蔚蟼, 维位位慰蟿蔚 蟽魏位畏蟻苇蟼 伪位位维 蟺维谓蟿伪 苇蠂慰蠀谓 蟽伪谓 尾伪蟽喂魏蠈 维尉慰谓伪 蟿慰谓 维谓胃蟻蠅蟺慰.
4/5
螠苇蟽伪 位慰喂蟺蠈谓 伪蟺蠈 蟿喂蟼 蔚纬魏喂尾蠅蟿喂蟽渭苇谓蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 螁谓蟿蟻喂蟿蟼 渭伪胃伪委谓慰蠀渭蔚 纬喂伪 苇谓伪 喂蟽蟿慰蟻喂魏蠈 纬蔚纬慰谓蠈蟼 蟺慰蠀 苇位伪尾蔚 蠂蠋蟻伪 蟽蟿畏谓 螣胃蠅渭伪谓喂魏萎 伪蠀蟿慰魏蟻伪蟿慰蟻委伪 魏伪蟿维 蟿慰谓 15慰 伪喂蠋谓伪, 伪位位维 蟽蔚 未蔚蠉蟿蔚蟻慰 蔚蟺委蟺蔚未慰 未喂伪尾维味慰蠀渭蔚 渭喂伪 蟽蟺慰蠀未萎 蟿慰蠀 渭蔚纬维位慰蠀 蟽蠀纬纬蟻伪蠁苇伪 蟺维谓蠅 蟽蟿畏谓 蔚尉慰蠀蟽委伪, 蟿畏谓 魏伪蟿伪蟺委蔚蟽畏 魏伪喂 蟿畏谓 伪未喂魏委伪 蟺慰蠀 蠀蠁委蟽蟿伪蟿伪喂 慰 维谓胃蟻蠅蟺慰蟼 伪蟺蠈 蟿畏谓 渭苇蟻伪 蟺慰蠀 慰蟻纬伪谓蠋胃畏魏蔚 蟽蔚 魏慰喂谓蠅谓委蔚蟼 渭苇蠂蟻喂 魏伪喂 蟽萎渭蔚蟻伪.
螚 纬蟻伪蠁萎 蟿慰蠀 螁谓蟿蟻喂蟿蟼 蔚委谓伪喂 伪蟺位萎 魏伪喂 慰 位蠈纬慰蟼 蟿慰蠀 蟽蟿蟻蠅蟿蠈蟼. 螖蔚谓 魏慰蠀蟻维味蔚喂 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏, 伪位位维 蟿慰谓 魏维谓蔚喂 谓伪 伪未畏渭慰谓蔚委 纬喂伪 蟿畏谓 蔚尉苇位喂尉畏 伪位位维 魏伪喂 蟿畏谓 蟿蠉蠂畏 蟿蠅谓 尾伪蟽喂魏蠋谓 蟿慰蠀 蠂伪蟻伪魏蟿萎蟻蠅谓. 危蔚 苇谓伪 慰位喂纬慰蟽苇位喂未慰 未喂萎纬畏渭伪 魏伪蟿伪蠁苇蟻谓蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼, 渭蔚 伪蟺蠈位蠀蟿畏 蔚蟺喂蟿蠀蠂委伪, 谓伪 蟽魏喂伪纬蟻伪蠁萎蟽蔚喂 蟽蠅蟽蟿维 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿慰蠀 魏伪喂 谓伪 渭伪蟼 魏维谓蔚喂 谓伪 蟺蔚蟻喂畏纬畏胃慰蠉渭蔚 苇蟽蟿蠅 魏伪喂 纬喂伪 位委纬慰 蟽蟿慰 蟺蟻慰伪蠉位喂慰 蟿畏蟼 螝伪蟿伪蟻伪渭苇谓畏蟼 伪蠀位萎蟼 纬谓蠅蟻委味慰谓蟿伪蟼 蟿慰蠀蟼 魏蟻伪蟿慰蠉渭蔚谓慰蠀蟼 魏伪喂 渭伪胃伪委谓慰谓蟿伪蟼 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀蟼, 蟺慰蠀 维位位慰蟿蔚 蔚委谓伪喂 蟺蔚蟻委蔚蟻纬蔚蟼, 维位位慰蟿蔚 蟽魏位畏蟻苇蟼 伪位位维 蟺维谓蟿伪 苇蠂慰蠀谓 蟽伪谓 尾伪蟽喂魏蠈 维尉慰谓伪 蟿慰谓 维谓胃蟻蠅蟺慰.
4/5
January 6, 2020
Jedino od Andri膰a 拧to mi se ikad svidelo.
February 8, 2021
Da li u "Prokletoj avliji" provejavaju 膷estice magijskog realizma ili je Andri膰 prljavu prokletu avliju posuo magijom bosanskohercrgova膷kog podneblja pa realisti膷ki do膷arao sve boli, kulturolo拧ka bogatstva, sudbinsko genetsko naslije膽e i karakteristi膷an sentiment ovih krajeva. Iako su pri膷e prepri膷ane u romanu smje拧tene podalje, u stambolski zatvor, teme univerzalne, filozofski egzistencijalizam bezvremen, simbolika i sva ta magija ove rasko拧ne proze intimno pripadaju nama.
May 20, 2014
But let me come straight to the point. Bosnia is a wonderful country, fascinating, with nothing ordinary in the habitat or people. And just as there are mineral riches under the earth in Bosnia, so undoubtedly are Bosnians rich in hidden moral values, which are more rarely found in their compatriots in other Yugoslav lands. But, you see, there's one thing that the people of Bosnia, at least people of your kind, must realize and never lose sight of--Bosnia is a country of hatred and fear.
The devastating floods which smashed through Bosnia and Serbia over the weekend shadowed my reading of these stories. During the brightest of summer days these tales would depress most anyone. Factoring in the present suffering overseas made them often unbearable. I have only slept a single night in Bosnia but I did visit Andric's apartment in Belgrade last year. I doubt if any of that informs much, but it remains interesting. There are floods in this collection. There is also treachery. What reigns though is the supremacy and indifference of mortality. The stories, except for the titular one, are set in Bosnia. The Damned Yard occurs in a Turkish prison in Stamboul.
What remains strange about this collection is a single omission. There are priests and viziers, merchants and drunks. There are artists and investigators, but there is a dearth of revolutionaries. I can't help but ponder whether that mirrors or distorts any thoughts or preconditions by the masterful diplomat, Nobel Laureate and writer.
The devastating floods which smashed through Bosnia and Serbia over the weekend shadowed my reading of these stories. During the brightest of summer days these tales would depress most anyone. Factoring in the present suffering overseas made them often unbearable. I have only slept a single night in Bosnia but I did visit Andric's apartment in Belgrade last year. I doubt if any of that informs much, but it remains interesting. There are floods in this collection. There is also treachery. What reigns though is the supremacy and indifference of mortality. The stories, except for the titular one, are set in Bosnia. The Damned Yard occurs in a Turkish prison in Stamboul.
What remains strange about this collection is a single omission. There are priests and viziers, merchants and drunks. There are artists and investigators, but there is a dearth of revolutionaries. I can't help but ponder whether that mirrors or distorts any thoughts or preconditions by the masterful diplomat, Nobel Laureate and writer.
May 2, 2020
"Ponavljam sam sebi da osim ove Avlije ima i drugog i drugacijeg sveta, da ovo nije sve, i nije zauvek. I trudim se da to ne zaboravim i da ostanem kod te misli. A osecam kako Avlija kao vodeni vrtlog vuce coveka na neko tamno dno."..
April 14, 2018
螤蟻蠋蟿畏 蔚蟺伪蠁萎 渭蔚 蟿慰 苇蟻纬慰 蟿慰蠀 螉尾慰 螁谓蟿蟻喂蟿蟼 魏伪喂 未畏位蠋谓蠅 渭伪纬蔚渭苇谓慰蟼. 螠蟺慰蟻蔚委 蟽伪谓 尾喂尾位委慰 谓伪 蔚委谓伪喂 渭喂魏蟻蠈 蟽蔚 苇魏蟿伪蟽畏, 蠈渭蠅蟼 胃伪 苇位蔚纬伪 蠈蟿喂 蔚委谓伪喂 渭蔚纬维位慰 蟽蔚 渭畏谓蠉渭伪蟿伪 魏伪喂 蔚喂魏蠈谓蔚蟼. 围蟻慰谓喂魏维, 畏 喂蟽蟿慰蟻委伪 蟿慰蟺慰胃蔚蟿蔚委蟿伪喂 位委纬慰 蟺蟻喂谓 蟿畏谓 魏伪蟿维蟻蟻蔚蠀蟽畏 蟿畏蟼 螣胃蠅渭伪谓喂魏萎蟼 螒蠀蟿慰魏蟻伪蟿慰蟻委伪蟼, 蟽蟿畏谓 尉伪魏慰蠀蟽蟿萎 蠁蠀位伪魏萎 蟿畏蟼 螝蠅谓蟽蟿伪谓蟿喂谓慰蠉蟺慰位畏蟼, 蟿畏谓 伪蟺慰魏伪位慰蠉渭蔚谓畏 螝伪蟿伪蟻伪渭苇谓畏 螒蠀位萎, 蠈蟺慰蠀 伪胃蠋慰喂 魏伪喂 苇谓慰蠂慰喂 蔚委谓伪喂 蠁蠀位伪魏喂蟽渭苇谓慰喂 渭苇蟽伪, 纬喂伪 蟿慰谓 苇谓伪谓 萎 蟿慰谓 维位位慰 位蠈纬慰. 螣蠀蟽喂伪蟽蟿喂魏维 苇蠂慰蠀渭蔚 渭喂伪 喂蟽蟿慰蟻委伪 渭苇蟽伪 蟽蔚 维位位蔚蟼 喂蟽蟿慰蟻委蔚蟼, 渭蔚 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 伪蟺位维 魏伪喂 蟽蠀谓维渭伪 蟺慰喂畏蟿喂魏维 魏伪喂 未喂蔚喂蟽未蠀蟿喂魏维 谓伪 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿喂蟼 未喂维蠁慰蟻蔚蟼 魏伪蟿伪蟽蟿维蟽蔚喂蟼, 谓伪 蟺伪蟻慰蠀蟽喂维味蔚喂 魏维蟺慰喂慰蠀蟼 蔚谓未喂伪蠁苇蟻慰谓蟿蔚蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 伪位位维 魏伪喂 谓伪 蟽蠂慰位喂维味蔚喂 蟿畏谓 蔚尉慰蠀蟽委伪, 渭蔚 蟿畏谓 蠁蠀位伪魏萎 谓伪 伪蟺慰蟿蔚位蔚委 蟽畏渭伪谓蟿喂魏蠈 蟽蠉渭尾慰位蠈 蟿畏蟼. 螚 纬蟻伪蠁萎 蔚委谓伪喂 蟺蟻伪纬渭伪蟿喂魏维 蔚尉伪喂蟻蔚蟿喂魏萎, 味蠅谓蟿伪谓萎 魏伪喂 蔚蠀魏慰位慰未喂维尾伪蟽蟿畏, 渭蔚蟿伪蠁苇蟻蔚喂 渭蔚 蟿慰谓 蟺位苇慰谓 纬位伪蠁蠀蟻蠈 蟿蟻蠈蟺慰 蟿慰 魏位委渭伪 魏伪喂 蟿畏谓 伪蟿渭蠈蟽蠁伪喂蟻伪 蟿畏蟼 蔚蟺慰蠂萎蟼. 螣蠀蟽喂伪蟽蟿喂魏维 纬喂伪 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 未蔚谓 蟿蟽喂渭蟺维蔚喂 蟿慰 蟺苇渭蟺蟿慰 伪蟽蟿蔚蟻维魏喂. 螌蟺蠅蟼 魏伪喂 谓伪'蠂蔚喂, 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 蟽伪蠁蠋蟼 魏伪蟿伪蟺位畏魏蟿喂魏蠈 尾喂尾位委慰. 韦慰 渭蠈谓慰 蟽委纬慰蠀蟻慰 蔚委谓伪喂 蠈蟿喂 胃伪 未喂伪尾维蟽蠅 魏伪喂 维位位伪 尾喂尾位委伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪.
January 16, 2020
Cem Sultan'谋n yaban ellerdeki 谋st谋rap ve gurur dolu ya艧am谋n谋 anlatan K芒mil beyin, kendi 眉lkesindeki entelekt眉el yaln谋zl谋臒谋n谋n ve d谋艧lanm谋艧l谋臒谋n谋n, Cem Sultan'a paralelli臒inin h眉z眉nl眉 枚yk眉s眉.
陌lk sayfalar olmasa da sonraki b枚l眉mler b眉y眉k ustan谋n harikul芒de anlat谋s谋yla ger莽ek bir edebiyat zevki.
"T眉m yeralt谋 d眉nyas谋n谋n bu ahl芒ks谋z ve kanunsuz ba艧kenti, Karag枚z'眉 kendinden sayard谋; onlar谋n 鈥渄omuzu鈥� , 鈥減araziti鈥� ve 鈥渂ela鈥漵谋yd谋, "pi莽i ve orospu 莽ocu臒uydu鈥� ama hep onlara aitti."
"陌stanbul'da g眉ne艧in do臒umu! Anlat谋lmaz bir hadise. Daha 枚nce hi莽 b枚yle bir 艧ey g枚rmemi艧tim ve g枚remem de (Tanr谋 ger莽ekten de her g眉zel seyi d眉艧mana m谋 verir! ) G枚ky眉z眉 pembe bir kor gibi parlar ve sonra a艧a臒谋 yery眉z眉ne iner, herkese yeter bu, zengine ve yoksula, Sultan'a, k枚leye ve mahk没ma."
鈥淏ir devleti ve y枚netimi tan谋mak ve istikbalinin ne oldu臒unu bilmek istersen o 眉lkede ka莽 tane namuslu, masum insan谋n hapiste oldu臒una ve ka莽 su莽lu ve k枚t眉n眉n serbest dola艧t谋臒谋na bakman yeterli, en iyi g枚sterge budur.鈥�
陌lk sayfalar olmasa da sonraki b枚l眉mler b眉y眉k ustan谋n harikul芒de anlat谋s谋yla ger莽ek bir edebiyat zevki.
"T眉m yeralt谋 d眉nyas谋n谋n bu ahl芒ks谋z ve kanunsuz ba艧kenti, Karag枚z'眉 kendinden sayard谋; onlar谋n 鈥渄omuzu鈥� , 鈥減araziti鈥� ve 鈥渂ela鈥漵谋yd谋, "pi莽i ve orospu 莽ocu臒uydu鈥� ama hep onlara aitti."
"陌stanbul'da g眉ne艧in do臒umu! Anlat谋lmaz bir hadise. Daha 枚nce hi莽 b枚yle bir 艧ey g枚rmemi艧tim ve g枚remem de (Tanr谋 ger莽ekten de her g眉zel seyi d眉艧mana m谋 verir! ) G枚ky眉z眉 pembe bir kor gibi parlar ve sonra a艧a臒谋 yery眉z眉ne iner, herkese yeter bu, zengine ve yoksula, Sultan'a, k枚leye ve mahk没ma."
鈥淏ir devleti ve y枚netimi tan谋mak ve istikbalinin ne oldu臒unu bilmek istersen o 眉lkede ka莽 tane namuslu, masum insan谋n hapiste oldu臒una ve ka莽 su莽lu ve k枚t眉n眉n serbest dola艧t谋臒谋na bakman yeterli, en iyi g枚sterge budur.鈥�
September 10, 2020
Alla morte di fra Petar, mentre i confratelli fanno un accurato inventario delle sue cose, il pi霉 giovane di loro si abbandona al ricordo dei racconti pieni di fascino che il frate defunto era solito narrare. In essi il tempo si avvitava, si srotolava veloce per poi fermarsi, sospeso a un鈥檌mmagine o a una frase. Una vita trascorsa con la passione degli orologi e la memoria viva di un luogo nel quale si era trovato per errore e da cui a volte aveva pensato di non poter andar via.
La Corte del diavolo 猫 una prigione di Istanbul, un luogo in cui dimorano, pi霉 o meno a lungo, detenuti di ogni tipo, alcuni di passaggio, in attesa di essere esiliati o liberati, altri che la giustizia terrena sembra aver dimenticato. Diretto da un uomo strappato in giovent霉 al crimine, 猫 un luogo da cui si vede solo il cielo 鈥済rande e spietato nella sua bellezza鈥�, un tratto di costa in lontananza, la cima di qualche albero o la sagoma confusa di un minareto. Appare come un鈥檌sola allo straniero che vi 猫 rinchiuso e terribilmente estraneo e lontano dalla citt脿 conosciuta a chi viene da Istanbul. 脠 cos矛 che la Corte piega i prigionieri.
鈥淟a vita nella corte non cambia mai, ma cambia il tempo e, col tempo, anche l鈥檃spetto della vita davanti a ciascuno di noi鈥�.
Con l鈥檃ccorciarsi delle giornate, si cominciano a temere l鈥檃utunno e l鈥檌nverno con le notti interminabili. Anche per fra Petar la vita sembra priva di mutamenti e somiglia a
鈥淯n corridoio angusto e sempre pi霉 debolmente illuminato鈥� che 鈥渙gni giorno che passa, come ben si sa, si restringe di un dito o due鈥�.
Tanti gli incontri, i visi che si confondono, le voci che si sovrappongono. Una fra tutte, quella sommessa e appassionata di Camil, giovane turco appassionato di storia, a cui amore per lo studio costa la libert脿.
鈥淐i貌 che non esisteva, che non poteva e non doveva essere, era pi霉 forte di ci貌 che esisteva e che era evidente, reale e unica cosa possibile鈥�.
La voce di Petar ci accompagna mentre fuori la neve ha fuso tutto in un unico colore, sovrapponendosi a quella dei frati assorti nell鈥檌nventario di quel che rimane della sua vita.
鈥淣on c鈥櫭� nulla. Solo la neve e il fatto che si muore e si va sottoterra鈥�.
La Corte del diavolo 猫 una prigione di Istanbul, un luogo in cui dimorano, pi霉 o meno a lungo, detenuti di ogni tipo, alcuni di passaggio, in attesa di essere esiliati o liberati, altri che la giustizia terrena sembra aver dimenticato. Diretto da un uomo strappato in giovent霉 al crimine, 猫 un luogo da cui si vede solo il cielo 鈥済rande e spietato nella sua bellezza鈥�, un tratto di costa in lontananza, la cima di qualche albero o la sagoma confusa di un minareto. Appare come un鈥檌sola allo straniero che vi 猫 rinchiuso e terribilmente estraneo e lontano dalla citt脿 conosciuta a chi viene da Istanbul. 脠 cos矛 che la Corte piega i prigionieri.
鈥淟a vita nella corte non cambia mai, ma cambia il tempo e, col tempo, anche l鈥檃spetto della vita davanti a ciascuno di noi鈥�.
Con l鈥檃ccorciarsi delle giornate, si cominciano a temere l鈥檃utunno e l鈥檌nverno con le notti interminabili. Anche per fra Petar la vita sembra priva di mutamenti e somiglia a
鈥淯n corridoio angusto e sempre pi霉 debolmente illuminato鈥� che 鈥渙gni giorno che passa, come ben si sa, si restringe di un dito o due鈥�.
Tanti gli incontri, i visi che si confondono, le voci che si sovrappongono. Una fra tutte, quella sommessa e appassionata di Camil, giovane turco appassionato di storia, a cui amore per lo studio costa la libert脿.
鈥淐i貌 che non esisteva, che non poteva e non doveva essere, era pi霉 forte di ci貌 che esisteva e che era evidente, reale e unica cosa possibile鈥�.
La voce di Petar ci accompagna mentre fuori la neve ha fuso tutto in un unico colore, sovrapponendosi a quella dei frati assorti nell鈥檌nventario di quel che rimane della sua vita.
鈥淣on c鈥櫭� nulla. Solo la neve e il fatto che si muore e si va sottoterra鈥�.
July 11, 2023
Se la notoriet脿 dello scrittore jugoslavo contemporaneo Ivo Andric [1892-1975], premiato col Nobel per la Letteratura nel 1961, rimane legata alla trilogia della Bosnia e in particolare al primo romanzo intitolato 鈥淚l Ponte sulla Drina鈥�, il racconto che ho appena terminato di leggere, 鈥淚l Cortile Maledetto鈥�, pubblicato nel 1954, restringe, nel microcosmo del cortile di una prigione a Costantinopoli, le difficolt脿 di integrazione delle razze che fanno capo alla attuale Turchia, in un periodo a detta dello stesso scrittore, in cui 鈥渓鈥檃utorit脿 non sapeva distinguere il vero dal falso鈥�. In questa prigione giunge per errore fra鈥� Pietro giunto in missione a Costantinopoli per conto del suo convento e arrestato secondo una logica balzana per qualcosa che non ha commesso e in attesa di indagini e chiarimenti.
Il buon frate, con pia rassegnazione attende di essere scagionato e nel frattempo ha la possibilit脿 di conoscere una serie di individui che popolano la prigione in attesa di giudizio o per scontare una condanna grazie all鈥檃mpia area recintata ma a cielo aperto dove i detenuti trascorrono la loro giornata tutti insieme, denominata da tutti 鈥淚l Cortile maledetto鈥�: 猫 in questo luogo che il religioso far脿 conoscenza con una serie di individui come Zaim, grande affabulatore e spaccone patentato, sempre pronto a raccontare la sua 鈥渋mmaginaria鈥� vita piena di amori impossibili tra il divertimento degli astanti, Karagjoz il mefistofelico direttore del carcere che si aggira quatto quatto tra i detenuti pronto a carpire una ammissione, una confessione, una delazione, Haim un detenuto enigmatico e logorroico che occupa un posto d鈥檕nore nel racconto perch茅 svela, raccontando a lungo e con dovizia di particolari, quelli che a suo dire sono i motivi che hanno spinto in prigione il giovane e sfortunato Camil, tra i detenuti quello con il quale maggiormente aveva legato il pio fra鈥� Pietro che vi aveva colloquiato e verso il quale provava sentimenti di grande simpatia e affetto.
Un racconto emblematico che cerca di raccontare, riuscendovi egregiamente, il crogiuolo di razze e di mentalit脿 nel decadente impero ottomano, chiuso in s茅 stesso, burocratizzato e repressivo, pronto a esplodere e a disgregarsi.
Il buon frate, con pia rassegnazione attende di essere scagionato e nel frattempo ha la possibilit脿 di conoscere una serie di individui che popolano la prigione in attesa di giudizio o per scontare una condanna grazie all鈥檃mpia area recintata ma a cielo aperto dove i detenuti trascorrono la loro giornata tutti insieme, denominata da tutti 鈥淚l Cortile maledetto鈥�: 猫 in questo luogo che il religioso far脿 conoscenza con una serie di individui come Zaim, grande affabulatore e spaccone patentato, sempre pronto a raccontare la sua 鈥渋mmaginaria鈥� vita piena di amori impossibili tra il divertimento degli astanti, Karagjoz il mefistofelico direttore del carcere che si aggira quatto quatto tra i detenuti pronto a carpire una ammissione, una confessione, una delazione, Haim un detenuto enigmatico e logorroico che occupa un posto d鈥檕nore nel racconto perch茅 svela, raccontando a lungo e con dovizia di particolari, quelli che a suo dire sono i motivi che hanno spinto in prigione il giovane e sfortunato Camil, tra i detenuti quello con il quale maggiormente aveva legato il pio fra鈥� Pietro che vi aveva colloquiato e verso il quale provava sentimenti di grande simpatia e affetto.
Un racconto emblematico che cerca di raccontare, riuscendovi egregiamente, il crogiuolo di razze e di mentalit脿 nel decadente impero ottomano, chiuso in s茅 stesso, burocratizzato e repressivo, pronto a esplodere e a disgregarsi.
December 8, 2018
韦喂 蠈渭慰蟻蠁畏 喂蟽蟿慰蟻委伪 魏伪喂 蟺蠈蟽慰 蠈渭慰蟻蠁伪 未慰蟽渭苇谓畏 伪蟺蠈 蟿慰谓 螡慰渭蟺蔚位委蟽蟿伪 蟽蠀纬纬蟻伪蠁苇伪. 螘蠉伪蟼 蔚渭蠁蠉位喂慰蟼 蟺蠈位蔚渭慰蟼 渭蔚蟿伪尉蠉 伪未蔚位蠁蠋谓 纬委谓蔚蟿伪喂 伪喂蟿委伪 纬喂伪 蟿畏谓 蟽蠀纬纬蟻伪蠁萎 伪蠀蟿慰蠉 蟿慰蠀 尾喂尾位委慰蠀 蠈蟺慰蠀 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭蔚 渭伪蔚蟽蟿蟻委伪 伪谓伪蟺蟿蠉蟽蟽蔚喂 蟿畏谓 喂蟽蟿慰蟻委伪.
August 18, 2021
丕賱賲乇丞 丕賱孬丕賳賷丞 賲毓 賯賱賲 丕賷賮賵 丕賳丿乇賷鬲卮.. 氐丕睾 丕賳丿乇賷鬲卮 乇賵丕賷丞 丕賱賮賳丕亍 丕賱賲賱毓賵賳 亘丕丨鬲乇丕賮賷丞 賵丕禺鬲氐丕乇 丕賰亘乇 賲賳 爻丕亘賯鬲賴丕 "丕賱丌賳爻丞" 賵賱賰賳 鬲亘賯賶 爻賲鬲賴 丕賱丕爻丕爻賷丞 賮賶 賵氐賮 丕賱丕賲丕賰賳 賵胤亘賷毓丞 丕賱賮鬲乇丞 丕賱夭賲賳賷丞 賱賱兀丨丿丕孬 賵丕賱鬲賵鬲乇 丕賱丨丕丿孬 丿丕卅賲丕貙 禺氐賵氐丕 賮賶 亘毓囟 丿賵賱 丕賵乇賵亘丕 賵賰賵賳賴丕 鬲丨鬲 丕賱丨賰賲 丕賱毓孬賲丕賳賶貙 賵 氐賷丕睾丞 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 毓賱賶 丕禺鬲賱丕賮 丿賷丕賳鬲賴賲 貙 丕賱乇丕賴亘 亘賷鬲乇 丕賱賲爻賷丨賶 賵丨丕賷賷賲 丕賱賷賴賵丿賶 賵噩賲賷賱 丕賱鬲乇賰賶 丕賱賲爻賱賲 丕賱匕賶 丿乇爻 賵鬲鬲亘毓 爻賷乇丞 丕賱爻賱胤丕賳 "噩賲" 丕賱丕亘賳 丕賱丕氐睾乇 賱賱爻賱胤丕賳 賲丨賲丿 丕賱賮丕鬲丨 賵亘丿兀 賷卮毓乇 亘兀賳賴 賷賲丕孬賱賴 乇賵丨賷丕 賱賲丕 鬲毓乇囟 賱賴 賲賳 馗賱賲 亘毓丿賲 鬲賵賱賷賴 丕賱爻賱胤賳丞 亘毓丿 丕亘賷賴貙 賵賯丿 丌賱 丨賰賲 丕賱毓孬賲丕賳賷賷賳 丕賱賶 丕禺賷賴 丕賱丕賰亘乇 亘丕賷夭賷丿 丕賱孬丕賳賶.
賷丨丕賵賱 丕賷賮賵 丕賳丿乇賷鬲卮 毓亘乇 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 乇亘胤 丕丨丿丕孬 鬲丕乇賷禺賷丞 賵丕禺乇賶 丨丿孬鬲 賮賶 賮鬲乇丞 丕賱乇賵丕賷丞 貙 毓亘乇 丕禺鬲賱丕賮 丕賱亘賷卅丕鬲 賵丕賱賲匕丕賴亘 貙 鬲乇賰賷丕 賵丕賱賷賵賳丕賳 賵丕賱賳賲爻丕 賵賯丿賷賲丕 賲丕賰丕賳 賲賳 丨乇賵亘 賵氐乇丕毓 亘賷賳 賲丨賲丿 丕賱賮丕鬲丨 賵丕賱睾乇亘 丕賱賲爻賷丨賶 賵賲丕匕丕 丨丿孬 賱丕賵賱丕丿賴 賲賳 亘毓丿賴 毓亘乇 爻賷乇丞 丕賱丕亘賳 丕賱丕氐睾乇 "噩賲" 丕賱匕賶 賴乇亘 丕賱賶 賲氐乇 孬賲 賳丕亘賵賱賶 孬賲 賮乇賳爻丕 賵丿賮賳 賮賶 亘賵乇氐丞 亘鬲乇賰賷丕貙 賵賰丕賳 賷爻鬲禺丿賲 賰賵乇賯丞 囟睾胤 賲賳 丕賱亘丕亘丕 賵丕賱賰丕乇丿賷賳丕賱丕鬲 賵丨鬲賶 賲賳 賯丕賷鬲亘丕賶 賵丕賱賶 賲氐乇 毓賱賶 丕禺賷賴 丕賱丕賰亘乇 亘丕賷夭賷丿 丕賱孬丕賳賶貙 賵丨鬲賶 賲賳 亘丕賷夭賷丿 賳賮爻賴 丕賱匕賶 賷乇賷丿 賱賴 丕賳丕 賷亘賯賶 賮賶 賷丿 丕賱睾乇亘 亘丿賵賳 兀匕賶 貙 賮賯胤 賱賰賶 賱丕 賷賳丕賮爻賴 毓賱賶 丕賱丨賰賲.
胤亘毓丕 丕賱賮賳丕亍 亘爻噩賳賴 丕賱賰亘賷乇 賵丕賱匕賶 賷丨賵賶 亘丿丕禺賱賴 丕賱賲噩乇賲賷賳 賵丕賱丕亘乇賷丕亍 賵賲丿賷乇賴 丕賱賲爻賷胤乇 丕賱匕賶 賷乇賲夭 賱卮乇胤丞 丕賱爻賱胤丕賳 丕賱毓孬賲丕賳賶 貙 丕乇丕丿 亘賴 鬲賵孬賷賯 丕賱馗賱賲 丕賱賵丕賯毓 賲賳 胤乇賮 丕賱丨賰賲 丕賱毓孬賲丕賳賶 賲賳 賵噩賴丞 賳馗乇 丕賱乇賵丕卅賶.
賷亘賯賶 賲丕賷賲賷夭 丕賷賮賵 丕賳丿乇賷鬲卮 賴賵 鬲賲賰賳賴 賲賳 乇爻賲 丕賱卮禺氐賷丕鬲 賵鬲賮氐賷賱 賲丕 鬲賲乇 亘賴 賲賳 亘丿丕賷鬲賴丕 丨鬲賶 鬲丨賵賱賴丕.
丕匕丕 兀乇丿鬲 丕賳 鬲毓乇賮 賲丕賴賷丞 丿賵賱丞 賲丕 貙 賵賰賷賮賷丞 賯賷丕丿鬲賴丕 貙 賵賰賷賮 賴賵 賲爻鬲賯亘賱賴丕 貙 丨丕賵賱 丕賳 鬲乇賶 賵鬲毓乇賮 賰賲 賷賵噩丿 賮賶 爻噩賵賳 鬲賱賰 丕賱丿賵賱丞 賲賳 丕賱乇噩丕賱 丕賱卮乇賮丕亍 賵丕賱丕亘乇賷丕亍 貙 賵賰賲 賷賵噩丿 賲賳 賲噩乇賲賷賴丕 賵丕卮乇丕乇賴丕 丕賱匕賷賳 賷賳毓賲賵賳 亘丕賱丨乇賷丞 . 爻賷賰賵賳 賴匕丕 丕賮囟賱 丿賱賷賱 賱賰
December 7, 2019
Imam ose膰aj da bilo 拧ta da ka啪em o ovom delu bi ga stavilo u okvir jedne pri膷e ili sudbina 拧to ovo delo sigurno nije, tako da 膰u samo citirati neke od meni omiljenih misli iz ovog romana :
,,Tako obi膷no biva. Oni koje 啪elimo da vidimo ne dolaze u 膷asovima kad na njih mislimo i kad , ih najvi拧e o膷ekujemo, a pojavljuje se u nekom trenutku kad smo mislima najdalje od njih"
-,,Ako ho膰e拧 da zna拧 kakva je neka dr啪ava i njena uprava, i kakva im je budu膰nost, gledaj samo da sazna拧 koliko u toj zemlji ima 膷estitih i nevinih ljudi po zatvorima, a koliko zlikovaca i prestupnika na slobodi. To 膰e ti najbolje kazati. "馃挍馃槈
,,Tako obi膷no biva. Oni koje 啪elimo da vidimo ne dolaze u 膷asovima kad na njih mislimo i kad , ih najvi拧e o膷ekujemo, a pojavljuje se u nekom trenutku kad smo mislima najdalje od njih"
-,,Ako ho膰e拧 da zna拧 kakva je neka dr啪ava i njena uprava, i kakva im je budu膰nost, gledaj samo da sazna拧 koliko u toj zemlji ima 膷estitih i nevinih ljudi po zatvorima, a koliko zlikovaca i prestupnika na slobodi. To 膰e ti najbolje kazati. "馃挍馃槈
February 6, 2023
賲蹖鈥屫堌ж池� 丕夭 丕讴爻蹖乇蹖 讴賴 夭賲蹖賳 丕夭 丌賳 爻丕禺鬲賴 卮丿賴 賵 丿乇 丿賱卮 賴爻鬲貙 丕亘夭丕乇蹖 亘爻丕夭賲 亘乇丕蹖 賮鬲丨 賵 賲賴丕乇 賮賱讴貨 賵 丨丕賱 賲蹖鈥屫ㄛ屬嗁� 讴賴 賮賱讴 丕夭 賲賳 賱毓亘鬲讴蹖 爻丕禺鬲賴 丕爻鬲.
丕蹖賳 噩賲賱賴 卮乇丨 丕丨賵丕賱 鬲賲丕賲 丌丿賲鈥屬囏й� 丕蹖賳 乇賲丕賳 丕爻鬲. 賵 卮乇丨 丕丨賵丕賱 亘蹖卮鬲乇 丌丿賲鈥屬囏й� 乇賵蹖 夭賲蹖賳
丕蹖賳 噩賲賱賴 卮乇丨 丕丨賵丕賱 鬲賲丕賲 丌丿賲鈥屬囏й� 丕蹖賳 乇賲丕賳 丕爻鬲. 賵 卮乇丨 丕丨賵丕賱 亘蹖卮鬲乇 丌丿賲鈥屬囏й� 乇賵蹖 夭賲蹖賳
August 8, 2019
"Osmanl谋 陌stanbul'undaki bir hapishanenin 鈥渓anetli avlusu鈥漬da toplanan M眉sl眉man, Yahudi, H谋ristiyan mahkumlar"
Kitab谋 al谋p okumam i莽in sadece bu c眉mle bile yetti. 陌lk Andric ktab谋m. Y眉ksek ihtimal bu k谋sa romandan sonra da di臒er kitaplar谋n谋 okuyaca臒谋m. Muhte艧em bir konu, harika tarihsel b眉t眉nl眉k. Cem Sultan'a de臒inmesi de sanki bir tarih kitab谋 okuyormu艧uz hissi veriyor.
Kitaba kar艧谋 biraz olsun ilginiz olu艧tuysa hi莽 teredd眉t etmeyin.
Kitab谋 al谋p okumam i莽in sadece bu c眉mle bile yetti. 陌lk Andric ktab谋m. Y眉ksek ihtimal bu k谋sa romandan sonra da di臒er kitaplar谋n谋 okuyaca臒谋m. Muhte艧em bir konu, harika tarihsel b眉t眉nl眉k. Cem Sultan'a de臒inmesi de sanki bir tarih kitab谋 okuyormu艧uz hissi veriyor.
Kitaba kar艧谋 biraz olsun ilginiz olu艧tuysa hi莽 teredd眉t etmeyin.
August 5, 2015
螠伪纬喂魏萎 畏 蟺蟻蠋蟿畏 蔚蟺伪蠁萎 渭慰蠀 渭蔚 蟿慰谓 螒谓蟿蟻喂蟿蟼. 螚 魏伪蟿伪蟻伪渭苇谓畏 伪蠀位萎 蔚喂谓伪喂 渭喂伪 喂蟽蟿慰蟻喂伪 渭苇蟽伪 蟽蔚 维位位蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟺慰蠀 苇蠂蔚喂 蟽伪谓 蟺位伪委蟽喂慰 蟿畏谓 慰渭蠋谓蠀渭畏 蠁蠀位伪魏萎. 螣 螒谓蟿蟻喂蟿蟼 纬蟻维蠁蔚喂 伪蟺位维 魏 蟺慰喂畏蟿喂魏维,未喂蔚喂蟽未蠉蔚喂 渭蔚 维谓蔚蟽畏 蟽蟿慰蠀蟼 蠂伪蟻伪魏蟿畏蟻蔚蟼 蟿慰蠀 魏 蟿伪蠀蟿蠈蠂蟻慰谓伪 蟽蠂慰位喂维味蔚喂 蟿畏谓 蔚尉慰蠀蟽委伪 魏 蟿慰 蠉蠄喂蟽蟿慰 蟽蠉渭尾慰位蠈 蟿畏蟼. 螞委纬慰 蟺蟻喂谓 魏伪蟿伪蟻蟻蔚蠉蟽蔚喂 畏 慰胃蠅渭伪谓喂魏萎 伪蠀蟿慰魏蟻伪蟿慰蟻委伪 蟽蟿畏谓 魏伪蟿伪蟻伪渭苇谓畏 伪蠀位萎 蠁喂位慰尉蔚谓慰蠉谓蟿伪喂 伪胃蠋慰喂 魏 苇谓慰蠂慰喂, 蠈蟽慰喂 蠂蟻蔚喂维味慰谓蟿伪喂 纬喂伪 谓伪 蟽蠀谓蔚蠂委蟽蔚喂 谓伪 位蔚喂蟿慰蠀蟻纬蔚委. 螣喂 伪蟻魏蔚蟿慰委 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 蟿畏蟼 谓慰蠀尾苇位伪蟼 蔚蟺喂尾喂蠋谓慰蠀谓 渭蔚 蟿蔚位蔚委蠅蟼 未喂伪蠁慰蟻蔚蟿喂魏慰蠉蟼 蟿蟻蠈蟺慰蠀蟼, 纬蔚纬慰谓蠈蟼 蟺慰蠀 慰 螒谓蟿蟻喂蟿蟼 蟿慰 未喂伪蠂蔚喂蟻委味蔚蟿伪喂 渭蔚 未蔚尉喂慰蟿蔚蠂谓委伪 渭蔚纬维位慰蠀 蟽蠀纬纬蟻伪蠁苇伪. 螚 蟺蟻蠈味伪 蟿慰蠀 蔚喂谓伪喂 蟿慰蟼慰 味蠅谓蟿伪谓萎 蟺慰蠀 萎胃蔚位伪 谓伪 蟽蠀谓蔚蠂喂蟽蟿蔚委 纬喂伪 蟺慰位位苇蟼 蟽蔚位委未蔚蟼 伪魏蠈渭伪. 螘蠀蟿蠀蠂蠋蟼 蔚蠂蠅 蟺慰位位维 尾喂尾位委伪 蟿慰蠀 蟺慰蠀 胃苇位蠅 蟺位苇慰谓 谓伪 未喂伪尾维蟽蠅 维渭蔚蟽伪.
篓...蟿蠈蟿蔚 谓蠈渭喂味蔚蟼 蟺蠅蟼 蟿慰 魏伪胃蔚蟿委 蟺慰蠀 蔚委蠂蔚 蠁蠅谓萎 蟽蟿畏谓 魏伪蟿伪蟻伪渭苇谓畏 伪蠀位萎, 苇蟽魏慰蠀味蔚 魏 慰蠉蟻位喂伪味蔚 渭蔚 蠈位畏 蟿慰蠀 蟿畏 未蠉谓伪渭畏,渭蔚 蟿畏谓 蠄蔚蠉蟿喂魏畏 蔚位蟺委未伪 蟺蠅蟼 蠈蟿伪谓 慰 慰蟻蠀渭伪纬未蠈蟼 苇蠁蟿伪谓蔚 蟽蟿慰 渭畏 蟺伪蟻苇魏蔚喂, 蠈位伪 胃伪 渭蟺慰蟻慰蠉蟽伪谓 谓伪 纬委谓慰蠀谓 胃蟻蠉蠄伪位伪, 谓伪 蟽魏慰蟻蟺委蟽慰蠀谓 魏伪喂 谓伪 蠂伪胃慰蠉谓 伪蟺慰 蟺蟻慰蟽蠋蟺慰蠀 纬畏蟼 渭喂伪 纬喂伪 蟺维谓蟿伪. 危蔚 伪蠀蟿苇蟼 蟿喂蟼 蟽蟿喂纬渭苇蟼 畏 螝伪蟿伪蟻伪渭苇谓畏 螒蠀位萎 尾蟻慰谓蟿慰蠉蟽蔚 魏 蟿蟻伪谓蟿伪味慰蟿伪谓 蟽伪谓 蟿蔚蟻维蟽蟿喂伪 魏慰蠀未慰蠀谓委蟽蟿蟻伪 蟺慰蠀 蟿畏谓 魏蟻伪未伪委谓蔚 蠂苇蟻喂 纬喂纬维谓蟿喂慰...篓.
危蠀蟽蟿萎谓蔚蟿伪喂 伪谓蔚蟺喂蠁蠉位伪魏蟿伪...
篓...蟿蠈蟿蔚 谓蠈渭喂味蔚蟼 蟺蠅蟼 蟿慰 魏伪胃蔚蟿委 蟺慰蠀 蔚委蠂蔚 蠁蠅谓萎 蟽蟿畏谓 魏伪蟿伪蟻伪渭苇谓畏 伪蠀位萎, 苇蟽魏慰蠀味蔚 魏 慰蠉蟻位喂伪味蔚 渭蔚 蠈位畏 蟿慰蠀 蟿畏 未蠉谓伪渭畏,渭蔚 蟿畏谓 蠄蔚蠉蟿喂魏畏 蔚位蟺委未伪 蟺蠅蟼 蠈蟿伪谓 慰 慰蟻蠀渭伪纬未蠈蟼 苇蠁蟿伪谓蔚 蟽蟿慰 渭畏 蟺伪蟻苇魏蔚喂, 蠈位伪 胃伪 渭蟺慰蟻慰蠉蟽伪谓 谓伪 纬委谓慰蠀谓 胃蟻蠉蠄伪位伪, 谓伪 蟽魏慰蟻蟺委蟽慰蠀谓 魏伪喂 谓伪 蠂伪胃慰蠉谓 伪蟺慰 蟺蟻慰蟽蠋蟺慰蠀 纬畏蟼 渭喂伪 纬喂伪 蟺维谓蟿伪. 危蔚 伪蠀蟿苇蟼 蟿喂蟼 蟽蟿喂纬渭苇蟼 畏 螝伪蟿伪蟻伪渭苇谓畏 螒蠀位萎 尾蟻慰谓蟿慰蠉蟽蔚 魏 蟿蟻伪谓蟿伪味慰蟿伪谓 蟽伪谓 蟿蔚蟻维蟽蟿喂伪 魏慰蠀未慰蠀谓委蟽蟿蟻伪 蟺慰蠀 蟿畏谓 魏蟻伪未伪委谓蔚 蠂苇蟻喂 纬喂纬维谓蟿喂慰...篓.
危蠀蟽蟿萎谓蔚蟿伪喂 伪谓蔚蟺喂蠁蠉位伪魏蟿伪...
February 28, 2016
"脡 uma verdadeira cidade de presos e guardas (...)
Por aqui passam e aqui encalham todos aqueles que, dia ap贸s dia, ficam presos e encarcerados nesta extensa e populosa metr贸pole, por terem culpa ou por serem suspeitos de a ter.
(...) aqui se junta uma colorida multid茫o e o p谩tio, sempre cheio, esvazia-se e enche-se, sem cessar.
H谩 pequenos e grandes delinquentes (...) h谩 inocentes e falsamente acusados, dementes e perdidos, infelizes trazidos para aqui por engano, da cidade e de todos os cantos do pa铆s. A grande maioria dos presos vem de Constantinopla, uma verdadeira sele莽茫o dos piores do piorio que rastejam pelas docas e ruas da cidade imperial ou se escondem nas tocas da periferia."
(P谩ginas 11-12)
May 15, 2016
3.5*
"Apenas a viol锚ncia pode servir onde reina viol锚ncia..."
Bertold Brecht
Numa terra de sonho o homem criou o Inferno, nele jogou outros homens, e deixou que a maldade proliferasse e jogasse uns contra os outros.
Uma metaf贸rica hist贸ria das ar谩bias, que ilustra de forma crua o comportamento da humanidade quando sujeita a condi莽玫es de viol锚ncia e repress茫o.
"...existem dois mundos, entre os quais n茫o h谩 nem pode haver um verdadeiro contacto nem possibilidade de acordo; dois mundos tem铆veis condenados a uma guerra eterna sob mil formas."
"Apenas a viol锚ncia pode servir onde reina viol锚ncia..."
Bertold Brecht
Numa terra de sonho o homem criou o Inferno, nele jogou outros homens, e deixou que a maldade proliferasse e jogasse uns contra os outros.
Uma metaf贸rica hist贸ria das ar谩bias, que ilustra de forma crua o comportamento da humanidade quando sujeita a condi莽玫es de viol锚ncia e repress茫o.
"...existem dois mundos, entre os quais n茫o h谩 nem pode haver um verdadeiro contacto nem possibilidade de acordo; dois mundos tem铆veis condenados a uma guerra eterna sob mil formas."
January 27, 2021
Pri膷a me je uvukla u sebe i nisam mogla da prestanem da je 膷itam. Mnogo mi se dopala, ali ovde dolazimo to toga da ja nisam ba拧 neki ljubitelj Andri膰a, naravno sa svega 2,75 njegovih pro膷itanih dela (膯upriju nikad nisam zavr拧ila), ne mogu to da potvrdim, ali hajde da ka啪emo da nisam njegov ljubitelj. Mo啪da se to nakon ovoga promeni.
December 25, 2015
I'm honestly angry at myself for not reading this sooner. I don't know why I avoided this book, because once I started, I finished by the end of the day (that may have also been because I really had to read it for school very quickly). Quite short, but still a fascinating read.
December 29, 2024
Ako ho膰e拧 da zna拧 kakva je neka dr啪ava i njena uprava, i kakva im je budu膰nost, gledaj samo da sazna拧 koliko u toj zemlji ima 膷estitih i nevinih ljudi po zatvorima, a koliko zlikovaca i prestupnika na slobodi. To 膰e ti najbolje kazati.
膶uveni, politizovan Andri膰ev citat poti膷e iz ove istorijske novele. Radnja zapo膷inje u keliji nedavno sahranjenog fra Petra. Dvojica fratra popisuju pokojnikove stvari dok napolju sneg veje preko sve啪eg groba. Prise膰aju se fra Petrove pri膷e o danim koje je proveo u Prokletoj avliji, turskom zatvoru.
Narativ je izgra膽en po principu 鈥瀙ri膷a u pri膷i鈥�. 膶ujemo o Kara膽ozu, zlom i prevrtljivom upravniku Avlije, kao i o jeverjinu Haimu kojeg je fra Petar sreo u Aviji. Slede膰e 膷ujemo Haimovu pri膷u o naivnom, naprednom 膯amilu, momku koji je tako膽e zatvorenik. Potom 膯amil pri膷a o mitskom D啪em-sultanu, bratu Bajazita II. Tek tada Andri膰 primenjuje mali magi膷ni 膷in i cela struktura postaje vi拧e nego obi膷na pri膷a鈥攑ostaje alegorija, postaje vi拧e od durbina (to jest, reflektora, kako se to onda zvalo) kroz koji smo se vra膰ali u pro拧lost. Pri膷a postaje ogledalo svakog dru拧tva. Svi smo mi ili Kara膽oz ili 膯amil. Tako dolazimo do gorenavedenog citata.
Za kraj鈥� za kraj takve pri膷e, samo jedno ipak mo啪e da usledi.
I tu je kraj. Nema vi拧e ni膷eg. Samo grob me膽u nevidljivim fratarskim grobovima, izgubljen poput pahuljice u visokom snegu 拧to se 拧iri kao okean i sve pretvara u hladnu pustinju bez imena i znaka. Nema vi拧e ni pri膷e ni pri膷anja.
January 20, 2020
Konu 枚zg眉nd眉 ama anlat谋m pek sarmad谋.
March 30, 2021
I dalje tvrdim da je Andri膰 bolji pesnik nego prozni pisac.
Ipak, ima delova koji su mi se ba拧 dopali:
Oni su predstavnici pobedni膷kog 啪ivota koji ide svojim putem, za svojim potrebama. Nisu to lepi pobednici. Sva im je zasluga u tom 拧to su nad啪iveli pokojnika. I kad ih 膷ovek ovako sa strane posmatra, izgledaju mu pomalo kao otima膷i, ali otima膷i kojima je osigurana neka啪njivost i koji znaju da se spostvenik ne mo啪e vratiti ni iznenaditi ih na poslu.
Ovde nevinog 膷oveka nema. Ali, ima ih na hiljade krivih koji nisu ovde i nikad ne膰e ni do膰i, jer kad bi svi krivi dospeli ovamo, ova avlija morala bi biti od mora do mora. Ja ljude znam, krivi su svi, samo nije svakom pisano da ovde hleb jede.
Sam sebi nije umeo da objasni za拧to knjige, naro膷ito strane knjige i u ovolikom broju, izazivaju u njemu takvu mr啪nju i toliki gnev.
U Avliji je sve kao i uvek. Jedne pu拧taju, drugi dolaze na njihovo mesto, a to se i ne prime膰uje. Svi su sporedni i neva啪ni. Avlija 啪ivi sama za sebe, sa stotinu promena, i uvek ista.
Ipak, ima delova koji su mi se ba拧 dopali:
Oni su predstavnici pobedni膷kog 啪ivota koji ide svojim putem, za svojim potrebama. Nisu to lepi pobednici. Sva im je zasluga u tom 拧to su nad啪iveli pokojnika. I kad ih 膷ovek ovako sa strane posmatra, izgledaju mu pomalo kao otima膷i, ali otima膷i kojima je osigurana neka啪njivost i koji znaju da se spostvenik ne mo啪e vratiti ni iznenaditi ih na poslu.
Ovde nevinog 膷oveka nema. Ali, ima ih na hiljade krivih koji nisu ovde i nikad ne膰e ni do膰i, jer kad bi svi krivi dospeli ovamo, ova avlija morala bi biti od mora do mora. Ja ljude znam, krivi su svi, samo nije svakom pisano da ovde hleb jede.
Sam sebi nije umeo da objasni za拧to knjige, naro膷ito strane knjige i u ovolikom broju, izazivaju u njemu takvu mr啪nju i toliki gnev.
U Avliji je sve kao i uvek. Jedne pu拧taju, drugi dolaze na njihovo mesto, a to se i ne prime膰uje. Svi su sporedni i neva啪ni. Avlija 啪ivi sama za sebe, sa stotinu promena, i uvek ista.
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