Picture of author.

Alberto Manguel

Teoksen A History of Reading tekijä

115+ teosta 14,706 jäsentä 277 arvostelua 67 Favorited

Tietoja tekijästä

Alberto Manguel is a Canadian writer, translator, editor, and critic. Born in Buenos Aires, he has since resided in Israel, Argentina, Europe, the South Pacific, and Canada.
Image credit: Alberto Manguel in his library


Tekijän teokset

A History of Reading (1996) 3,796 kappaletta
The Library at Night (2006) — Tekijä — 2,657 kappaletta
Packing My Library: An Elegy and Ten Digressions (2017) — Tekijä — 507 kappaletta
A Reader on Reading (2010) 504 kappaletta
Black Water: The Book of Fantastic Literature (1983) — Toimittaja — 500 kappaletta
The City of Words (2007) 297 kappaletta
Curiosity (2000) — Tekijä — 246 kappaletta
With Borges (2003) 239 kappaletta
All Men Are Liars (2008) 189 kappaletta
Black Water 2: More Tales of the Fantastic (1990) — Toimittaja — 152 kappaletta
Stevenson Under the Palm Trees (2001) 149 kappaletta
Other Fires: Short Fiction by Latin American Women (1985) — Editor & Translator — 122 kappaletta
The Gates of Paradise (1993) — Toimittaja — 113 kappaletta
News From A Foreign Country Came (1991) 82 kappaletta
The Ecco Book of Christmas Stories (2005) — Toimittaja — 73 kappaletta
Dark Arrows: Great Stories of Revenge (1985) — Toimittaja — 61 kappaletta
Mothers and Daughters: An Anthology (1998) — Toimittaja — 33 kappaletta
The Library Book (2017) 33 kappaletta
Relatos (1987) — Toimittaja — 33 kappaletta
Amante Detalhista, O (2005) 30 kappaletta
Soho Square Three (Bk. 3) (1990) 29 kappaletta
Magic Land of Toys (2006) 28 kappaletta
Fathers & Sons (1998) 25 kappaletta
Canadian Mystery Stories (1991) — Toimittaja — 23 kappaletta
Contos de Horror do Século XIX (2005) 22 kappaletta
Penguin Book Of Summer Stories (2007) 21 kappaletta
The Oxford Book of Canadian Ghost Stories (1990) — Toimittaja — 19 kappaletta
El regreso (2005) 13 kappaletta
Borges'in Evinde (2002) 11 kappaletta
Breve tratado de la pasión (2008) 8 kappaletta
Von Atlantis bis Utopia II (1987) 7 kappaletta
Von Atlantis bis Utopia III (1987) 7 kappaletta
Kipling: A Brief Biography (2004) 6 kappaletta
Von Atlantis bis Utopia I (1987) 6 kappaletta
El regreso de Ulises (2014) 6 kappaletta
Sehnsucht Utopie (2017) 5 kappaletta
Le Livre des Eloges (2007) 5 kappaletta
COMO PINOCHO APRENDIO A LEER (2014) 4 kappaletta
Sol y sombra : Miquel Barcelo (2016) 4 kappaletta
Histoires classiques (2010) 3 kappaletta
L' Apocalisse secondo Dürer (2015) 3 kappaletta
Borges apaixonado 2 kappaletta
Libropesía y otras adicciones (2009) 2 kappaletta
Adolescenza (1996) 2 kappaletta
Ayrintilara Asik Adam (2019) 1 kappale
The Kipling play 1 kappale
Personajes imaginarios (2011) 1 kappale
Bestiario 1 kappale
Don Quijote y sus fantasmas (2020) 1 kappale

Associated Works

Ehtoollisen salat (2003) — Kääntäjä, eräät painokset1,732 kappaletta
Plain Tales from the Hills (1888) — Esipuhe, eräät painokset1,343 kappaletta
Mist (1907) — Johdanto, eräät painokset1,247 kappaletta
Bad Trips (1991) — Avustaja — 233 kappaletta
The Solitudes (1613) — Johdanto, eräät painokset223 kappaletta
Hurskaat sisaret (2000) — Kääntäjä, eräät painokset208 kappaletta
Dostoyevsky Reads Hegel in Siberia and Bursts into Tears (2006) — Esipuhe, eräät painokset83 kappaletta
Travels in the Reich, 1933-1945: Foreign Authors Report from Germany (2004) — Toimittaja, eräät painokset81 kappaletta
Story of a Nation: Defining Moments in Our History (2001) — Avustaja — 50 kappaletta
Die unendliche Bibliothek: Erzählungen (Fischer Taschenbibliothek) (2010) — Editor and Afterword, eräät painokset32 kappaletta
The Imagined Land (2011) — Johdanto, eräät painokset25 kappaletta
Slightly Foxed 34: Return to Arcadia (2012) — Avustaja — 24 kappaletta
Las bibliotecas de Dédalo (2006) — Esipuhe, eräät painokset14 kappaletta
The Analog Sea Review: Number Three (2020) — Avustaja — 8 kappaletta
Into The Unknown: A Journey Through Science Fiction (2017) — Avustaja — 5 kappaletta
L'angoisse du héron : Suivi de L'angoisse du lecteur (2009)eräät painokset3 kappaletta

Merkitty avainsanalla


Kanoninen nimi
Manguel, Alberto
Virallinen nimi
Manguel, Alberto
Argentinië (geboren)
Canada (paspoort ∙ 1985)
Maa (karttaa varten)
Buenos Aires, Argentinië
Buenos Aires, Argentina
Toronto, Ontario, Canada
Poitou-Charentes, France
Colegio Nacional de Buenos Aires
Universidad de Buenos Aires
publisher's reader
Jorge Luís Borges
Writer's Union of Canada
National Library of Argentina
Roxburghe Club
Palkinnot ja kunnianosoitukset
Officier de l’Ordre des Arts et des Lettres (2004)
Premio Germán Sánchez Ruipérez (2002)
Guillermo Schavelzon
Jennifer Barclay
Bruce Westwood
Lyhyt elämäkerta
Alberto Manguel was born in Buenos Aires and settled in France. He is a member of the Writer's Union of Canada, PEN, and a fellow of the Guggenheim Foundation, and has been named an Officer of the French Order of Arts and Letters. He holds honorary doctorates from the University of Liège in Belgium and the Anglia Ruskin University in Cambridge, England. He is the recipient of numerous prizes and also won the Germán Sánchez Ruipérez Prize (Spain) and the Prix Roger Caillois (France) for the ensemble of his work, which has been translated into more than thirty languages. [from My Name is Victoria (2011)]



Packing My Library is a wonderful book. There are not many books that I finish and immediately begin to read again. Anyone who loves Borges will find fascinating references to him and to the Library of Buenos Aires, not to mention the origin of the city, as just one of the many dimensions that give this book so much depth. Alberto Manguel is somewhat cryptic about why he had to pack up his library in France but the real treasure in this book is his relationship to his books indeed to books in general.

I am reminded of a particularly moving cultural insight that came to me from the head Librarian of the Library of Nicaragua during a period of my life when I was a part of an international group developing a metadata standard called the Dublin Core. After our meetings, over drinks, we would often discuss some of the cultural characteristics of metadata implementation. These were fairly archetypal: the Germans were worried that the details were not fully resolved, the Americans saw commercial advantage, the French were concerned about equity of access and the Australians and the Nordic countries just ran with it. But the Latin Countries wanted nothing to do with it (the metadata standard). After one of our meetings in Seattle, I found myself talking to the Nicaraguan Librarian and asked her why?

She told me this story...in Nicaragua there was a very wealthy man who had spent a great deal of time and money assembling a large private library. He loved his books. He spent as much time as could in his library communing with his books. He let it be known to the Library of Nicaragua that when he died he intended to leave his library with lots of money to the Library of Nicaragua. Years passed. One day he died and sure enough he had left the Library of Nicaragua his library and a significant sum of money to care for his books.

If his had happened in the UK or Germany or the USA etc, the books would have been packed into boxes and found their way to catalogers who would have checked the quality of each book against existing holdings, perhaps pasted a book plate in the front saying. 'donated by...', applied a Dewey Decimal number etc. Some of the books but not all may have found their way into the shelves beside books of similar subjects or by the same author.

Not in Nicaragua.

Instead the Library of Nicaragua spent a significant portion of the money building a wing onto the Library of Nicaragua that closely resembled the library of the benefactor. Then, very carefully, the books were moved into the exact positions that the benefactor had placed them n his own library. What was most important to the Nicaraguans was neither the books nor the content of the books but the man's relationship to his books.

Packing My Library has this quality. A man in love with books. A mind able to see beyond their content into how books frame our perceptions of the world.

This is a poignant book for me because I am beginning the process of doing the reverse - of unpacking my books. The books I have not seen since 1988 with the additional challenge of absorbing my dead parents books. It's a hands-on process for me because I'm milling the timber to make the shelves of my library - I estimate about 20,000 books or 250m of shelves...

There were notable passages in Packing My Library such as, '...this style of thought, for want of a better term, allows us to believe that the world around us is a narrative world, and that landscapes and events are part of a story we are compelled to follow at the same time as we create it.'
… (lisätietoja)
Merkitty asiattomaksi
simonpockley | 17 muuta kirja-arvostelua | Feb 25, 2024 |
Just a bunch of quotes from this book, tracing the influence of Homer through Western thought.

"Every great work of literature is either the Iliad or the Odyssey. - Raymond Queneau

"Though Homer might have been 'best and most divine' for Socrates (or rather for Plato, who made Socrates pronounce this encomium), he also presented a philosophical dilemma... those who make images of images have no place in a well-regulated world, since they produce nothing that is true... Even Homer (and here begins Plato's battle with the poet he most admires) cannot be allowed in the ideal republic because, not only does he put forward images that are untrue, he presents men and women with whose faults we sympathize, gods and goddesses whom we must judge as fallible. Literature, Plato says, feeds that part in our soul that relishes 'contemplating the woes of others', praising and pitying someone who, though 'claiming to be a good man, abandons himself to excess in his grief.' This 'is the element in us that the poets satisfy and delight' and, to avoid it, we should 'disdain the poem altogether', otherwise, 'after feeding fat the emotion of pity there, it is not easy to restrain it in our own suffering.'"

"Virgil's Aeneid, perhaps the greatest Roman literary achievement, is explicitly modeled on Homer's poems, and if Virgil owes an immense debt to Homer, the reverse is also true, because after Virgil, Homer acquired a new identity, that of Rome's earliest myth-maker. During the first Roman centuries, three legendary figures competed for the position of founder of the city: Romulus who, with his twin brother Remus, was supposed to have been suckled by a she-wolf, Ulysses the traveller, and Aeneas, the survivor of Troy. It was Marcus Terentius Varro, 'the most learned of Romans' according to the rhetorician Quintilian, who, in the first century BC, established Aeneas as the winner... but it was Virgil who transformed the legend into something resembling history, lending the defeated Trojans a posthumous victory over their enemy. Thanks to Virgil, the works of Homer, which had seemed until that point to be merely stories (albeit masterly) of battling and travel, were read after Virgil as inspired premonitions of the world to come: first of Rome and its imperial power, and later of the advent of Christianity and beyond."

"For the great scholars and readers of the early Church, the apparent conflict between the old pagan literature and the dogma of the new faith presented a difficult intellectual problem. One of the most learned of these Christian scholars, St. Jerome, attempted throughout his long life to reconcile the two. Jerome realized that he could never honestly disclaim Homer as his own beginning, nor could he ignore the intellectual and aesthetic pleasure Homer's books had given him. Instead, he could create a hierarchy, a gradus ad Parnassum of which Homer and the ancients were the necessary grounding, and the Bible the highest peak."

"By the end of the fourth century, the division between the Greek east and the Latin west half of the Empire became more evident. In the east, Church and state lent its citizens the sense of living in a divinely appointed Christian realm, while in the west, service to the emperor and service to the Christian authorities were seen as two separate duties. Intellectually, the east held as essential the traditional study of the classics, both Greek and Latin; in the west, classical scholarship was judged part and parcel of pagan beliefs. Therefore, while Homer continued to be edited, studied and read in Constantinople, in Rome he all but faded from the memory of readers... While in the east, Bishop Athanasius told holy virgins 'to have books in their hands at dawn', in the west, Christians quoted Augustine who had written approvingly of holy men who lived through 'faith, hope and charity - without books.'"

"Towards the end of the Middle Ages, scholars and poets returned, once again, to the questions that had preoccupied Jerome and Augustine regarding the relationship between Homer's stories and the stories of the Bible... a search for correspondences between what the ancients had told and what the Church had revealed, establishing a sequence of parallel readings that honoured one without dishonouring the other.. for example, Achilles in the Iliad and David in the Old Testament, or between the stages of Ulysses' return and the troubled exodus of the Hebrews from Egypt. In the early fourteenth century, Albertino Mussato, the most celebrated of the members of the cenacolo padovano or Paduan Circle of Latin poets, argued that the pagan writers had expressed the same ideas as those found in Scripture, but in the form of enigmas or riddles in which they had secretly announced the coming of the True Messiah."

"Dante acquired his Homer through Virgil... in this sense, Virgil was not only Dante's guide through Hell, he was also his source and inspiration, and through him Dante was able to enjoy the experience of Homer's work... Even though the complex architecture of the afterlife realm is, to a large degree, Dante's own, the foundation-stone is Homer's."

"Michel de Montaigne, writing in the last decades of the sixteenth century, chose Homer as one of the three 'most excellent of men' of all time... 'Nothing lives on the lips of men,' wrote Montaigne, 'like his name and his work: nothing is as known or accepted as Troy, Helen and his wars - that may never have taken place on real ground. Who does not know of Hector and Achilles? Not only individual lineages but most nations seek their origins in Homer's inventions. Mehemet II, Emperor of the Turks, wrote thus to our Pope Pius II: "I am amazed that the Italians should band against me, since we both have a common Trojan origin and, like the Italians, I have an interest in avenging the blood of Hector on the Greeks whom they however favour against me."'

"But Homer could be understood as a counter-argument to the Enlightenment's view of a world driven by rationality alone, a view put forward, for instance, in Diderot's D'Alembert's Dream of 1769. The book, intelligent and humorous, consists of a series of philosophical dialogues in which Diderot proposes a revised materialist account of human history and animal life, suggesting that emotions, ideas and thoughts could be explained through biological evidence, without recourse to theology or spirituality, and dismissing all uncritical reverence for the past... For Diderot, Homer belonged to a primitive, superstitious age."

"For Shelley too, Greece was Homer. Homer's poems, he wrote in A Defence of Poetry in 1821, 'were the elements of that social system which is the column upon which all succeeding civilization has reposed. Homer embodied the ideal perfection of his age in human character; nor can we doubt that those who read his verses were awakened to an ambition of becoming like Achilles, Hector, and Ulysses: the truth and beauty of friendship, patriotism, and persevering devotion to an object, were unveiled to the depths in these immortal creations.'"

"If Homer had created the model both of craft and theme, then, Byron believed, it was the modern poet's task to translate both elements into a contemporary idiom. The subjects of war and travel in the Iliad and the Odyssey were recast into Childe Harold's Pilgrimage (1812) and Don Juan (1819-24), in which both heroes have something of Ulysses in their makeup and become the privileged witnesses of less than heroic Troys."

"Shortly before his death in 1832, Goethe finished the last section of his autobiography, Dichtung und Wahrheit. In it, he hails his century as one fortunate enough to have witnessed the rebirth of Homer. 'Happy is that literary age,' he wrote, 'when great works of art of the past rise to the surface again and become part of our daily dealings, for it is then that they produce a new effect. For us, Homer's sun rose again, and according to the requirements of our age... No longer did we see in those poems a violent and inflated heroic world, but rather the mirrored truth of an essential present, and we tried to make him as much ours as possible.'"

"Homer was for Nietzche a creative Apollonian force that wrote his poems 'in order to persuade us to continue to live.' Homer's gods justify human life by sharing it with us mortals; for his heroes, the greatest pain is therefore to leave this life, especially when one is young... Freud did, however, follow Nietzche in noting that the value we place on life after death was a development of post-Homeric times and, like Nietzche, quoted in support of his theory the answer Achilles gave to Ulysses in the Underworld."

"William Butler Yeats, in an essay written in 1905, which Joyce had with him in Trieste, had suggested that the time was ripe for a new writer to revisit the ancient world of the Odyssey. 'I think that we will learn again,' he said with visionary wisdom, 'how to describe at great length an old man wandering among enchanted islands, his return home at last, his slowly gathering vengeance, a flitting shape of a goddess, and a flight of arrows, and yet to make all these so different things... become... the signature or symbol of a mood of the divine imagination.' In Yeats' rallying call, and in Vico, Joyce found confirmation of his intuition. Philological synchronicities bolstered his confidence. The Odyssey begins with Ulysses on Calypso's island, Ogygia. Joyce discovered that Ogygia was the name that Plutarch had long ago given to Ireland. Although Joyce had told Vladimir Nabokov in 1937 that basing his Ulysses on Homer's poem was 'a whim' and that his collaboration with Stuart Gilbert in preparing a Homeric correspondence to Ulysses was 'a terrible mistake' (Joyce deleted the Homeric titles of his chapters before Ulysses was published in book form), Homer's presence is very obviously noticeable throughout the novel. Nabokov suggested that a mysterious character who keeps appearing in Ulysses, described only as 'the man in the brown macintosh' and never clearly identified, might be Joyce himself lurking in his own pages. It might just as well be Homer, come to supervise the renovation of his works."

"In the process of association, however, they all become Joycean, as in the beautiful use of Homeric epithets in Joyce's description of the Citizen Cyclops:
The figure seated on a large boulder at the foot of a round tower was that of a broadshouldered deepchested stronglimbed frankeyed redhaired freelyfreckled shaggybearded widemouthed largenosed longheaded deepvoiced barekneed brawnyhanded hairylegged ruddyfaced sinewyarmed hero."
"Joyce's Ulysses is not an interpretation of Homer, neither is it a retelling, even less a pastiche. Dr. Johnson, writing in 1765, argued that 'The Pythagorean scale of numbers was at once discovered to be perfect; but the poems of Homer we yet know not to transcend the common limits of human intelligence, but by remarking, that nation after nation, and century after century, has been able to do little more than transpose his incidents, new-name his characters, and paraphrase his sentiments. The reverence due to writings that have long subsisted arises therefore not from any credulous confidence in the superior wisdom of past ages, or gloomy persuasion of the degeneracy of mankind, but is the consequence of acknowledged and indubitable positions, that what has been longest known has been most considered, and what is most considered is best understood.'

Joyce did other than acknowledge Homer's position: he re-imagined the story of the primordial journey undertaken by every man in every age. His coupling was less between Ulysses and Bloom than between Homer and Joyce himself, less between the creations than between the creators. Other writers made Homer theirs through translation, transposition, projection. Joyce did it by starting again."
… (lisätietoja)
Merkitty asiattomaksi
lelandleslie | 10 muuta kirja-arvostelua | Feb 24, 2024 |
The musings of a literary friend, a wanderer in the world of books and literature. I have seldom read a book that expresses the love of reading better than those by Alberto Manguel.
Merkitty asiattomaksi
jwhenderson | 17 muuta kirja-arvostelua | Feb 22, 2024 |
Ao ler Todos os homens são mentirosos (2008), de Alberto Manguel, Paul Auster veio-me à memória, este escritor que faz da narrativa um puzzle irrestível. É pois na forma de um puzzle que Alberto Manguel constrói este seu romance. Chegamos ao fim com ele montado, mas sem a certeza que as peças estejam no sítio certo e que seja esta a disposição da verdade.

Terradillos, um jornalista francês, procura a verdade sobre um escritor argentino exilado em Madrid nos anos 70, Alejandro Bevilacqua, que morre em consequência de uma queda. É nos fragmentos das memórias de quem o conheceu que o jornalista procura o caminho para a verdade. O livro é a recolha dos testemunhos destas pessoas que o guardam na memória: um “Alberto Manguel”, apresentado como o seu confidente; Andrea, sua presumível amante espanhola; Marcelino Olivares (“o Porco”), seu companheiro de cela cubano e o invisível Gorostiza.

Nos seus discursos vemos muita contradição. Estarão eles a mentir-nos? Ficamos com a sensação que não. Diz-nos Terradillos no fim do livro:
“Trata-se de algo mais grave, mais trágico e subtil, mais essencial. Esta qualidade a que me refiro é a que em certas tardes de calor faz com que o asfalto nos pareça água, que ponhamos a mão no ombro da mulher cujas costas nos parecem ser de uma amiga perdida, que subamos a um piso que achamos que é o nosso e batamos a uma porta atrás da qual alguém desconhecido está prestes a fazer um gesto irremediável”
Tratam-se somente de rastos, memórias dispersas que se esbatem, se transformam e causam confusão ou uma certeza irreal ao longo do tempo. E acaba por ser esta a única verdade: somos apenas fragmentos, sujeitos a interpretações múltiplas. Fragmentos para nós e para os outros, com a necessidade permanente de fazermo-nos história com um sentido. Pois, como diz Andrea a páginas tantas:
“Li em algum sítio que a única coisa que podemos fazer para lutar contra a irrealidade do mundo é contar a nossa história”.
… (lisätietoja)
Merkitty asiattomaksi
inesaparicio | 6 muuta kirja-arvostelua | Jan 25, 2024 |



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Ai Bei Contributor
Hannes Meinkema Contributor
Louise Erdrich Contributor
Carson McCullers Contributor
François Place Illustrator
A.M. Klein Contributor
Antonine Maillet Contributor
Tim Wynne-Jones Contributor
Jane Rule Contributor
Honore Beaugrand Contributor
Mazo De la Roche Contributor
Gilbert Parker Contributor
W. H. Blake Contributor
Stephen Leacock Contributor
Brian Moore Contributor
John Charles Dent Contributor
Virgil Burnett Contributor
Farley Mowat Contributor
Sean Virgo Contributor
Matt Gould Cover artist
Robertson Davies Contributor
Audrey Thomas Contributor
Paul Demets Contributor
Margareta Eklöf Translator
Chris Hirte Translator
Tinke Davids Translator
Rita Simoes Translator
Anca Stoiculescu Translator
Manfred Allié Translator
Ton Heuvelmans Translator
Eduardo Hojman Translator
Thomas Starr Cover designer
Walter Benjamin Contributor
Mark Pennington Photographer
William Webb Cover designer
Richard Clifton-Dey Cover artist
Graham Greenfield Illustrator
Petty Adelaar Translator
Carmen Criado Translator
Jos den Bekker Translator
Miranda France Translator
Susanne Lange Translator
Silvia Bre Translator
Russell Mills Cover artist


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Kuinka monen suosikki

Taulukot ja kaaviot