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Ladataan... Chaos and Night (1963)Tekijä: Henry de Montherlant
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Kirjaudu LibraryThingiin nähdäksesi, pidätkö tästä kirjasta vai et. Ei tämänhetkisiä Keskustelu-viestiketjuja tästä kirjasta. "Er was de chaos, die het leven was, en de nacht, die was wat er voor het leven en na het leven was. (...) Er was dat wat geen zin heeft: het leven, en dat wat geen zijn heeft: hetgeen er voor het leven en na het leven was." Overrompelende roman over Don Celestino, een moegestreden Spaanse Burgeroorlog-veteraan die sinds 20 jaar asiel vond in Parijs. Bedwelmd door zijn eigen desillusies teert en vegeteert hij op zijn politieke dromen en zijn gefnuikte ambities. De voormalige anarchist en barricadenstrijder Celestino, een nakomeling van Don Quichotte en even eenzaam in zijn milde waanzin als Lear, is bezeten door het voze verleden van zijn vaderland (en stierevechten), een obsessie die hem onderuithaalt en onderdrukt. Maar Montherlant maakt op grandioze wijze van zijn hoofdpersonage een tragische held (en geen verliezer of nietsnut), onder meer dankzij een verbluffende ('tauromagische') apotheose op het eind van de roman. Een onvergetelijk boek over leven, hoop, liefde en dood. Zeer Grote Literatuur, met drie kapitalen, jawel. Not what I was expecting- I'm not sure what I was expecting, but it wasn't latter day Celine. Montherlant's protagonist is an anarchist who, thanks to self-obsession and an almost pathological hatred of actually existing human beings, turns into a nihilist, despite his own better judgment. HdM does a nice job mixing up omniscient third person narration and free indirect discourse. It's quite tricky, sometimes, working out whether we're reading 'Celestino,' HdM, or HdM's thoughts on Celestino's thoughts... and so on. Anyway, plenty of irony, which apparently a lot of readers don't pick up on, despite the author's preface (in which he denies having any of the thoughts in the book, and denies that he was trying to paint a portrait of 'The Left' in general). I don't know how much of the 'philosophy' of this book HdM truly believe; I'd like to think none of it. But who knows. Novelists aren't necessarily the brightest bulbs in the box. Otherwise, plenty of nifty aphorisms, a killer ending, and a fabulous scene in which Celestino watches a bullfight. Also, it's short, and, pace Celine/Dostoevsky etc., nihilism is best treated quickly. And well translated. On the down side, what's with all the typos? Get on that, NYRB. Pour Henry de Montherland (né à Paris en 1896), écrire est - dès l'enfance - une passion, parallèlement avec la tauromachie et plus tard les jeux du stade. Incorporé dans le service auxiliaire, Puis affecté sur sa demande dans une unité combattante de l’infanterie, il est blessé en 1918. En 1920, il publie son premier livre. Pendant dix ans, il sillonnera l'Afrique du Nord, l'Espagne et l'Italie. Il reçoit en 1934 le Grand Prix de Littérature de l'Académie française pour Les Célibataires. Romancier, auteur du célèbre cycle Les jeunes Filles, il est aussi Poète et essayiste. « Syncrétisme et alternance » dans Aux Fontaines du désir (premier volet du triptyque Les Voyageurs traqués) donne une des clefs de son oeuvre. A partir de 1942, il écrit surtout des pièces de théâtre d'une haute inspiration, dont les plus connues sont : La Reine morte, Fils de Personne; Malatesta, Le Maître de Santiago, La Ville dont le Prince est un Enfant, Port-Royal, Le Cardinal d'Espagne. Henry de Montherlant a été élu à l'Académie française en 1960. näyttää 4/4 ei arvosteluja | lisää arvostelu
Kuuluu näihin kustantajien sarjoihinGallimard, Folio (422) Literaire reuzenpocket (145) A tot vent (112) Sisältyy tähän:
Don Celestino is old and bitter and afraid, an impossible man. An anarchist who has been in exile from his native Spain for more than twenty years, he lives with his daughter in Paris, but in his mind he is still fighting the Spanish Civil War. He fulminates against the daily papers; he brags about his past exploits. He has become bigoted, self-important, and obsessed; a bully to his fellow exiles and a tyrant to his daughter, Pascualita. Then a family member dies in Madrid and there is an inheritance to sort out. Pascualita wants to go to Spain, which is supposedly opening up in response to the 1960s, and Don Celestino feels he has no choice but to follow. He is full of dread and desire, foreseeing a heroic last confrontation with his enemies, but what he encounters instead is a new commercialized Spain that has no time for the past, much less for him. Or so it seems. Because the last act of Don Celestino’s dizzying personal drama will prove that though “there is nothing serious . . . , there is tragedy.” An astonishing modern take on Don Quixote, Chaos and Night untangles the ties between politics and paranoia, self-loathing and self-pity, rage and remorse. It is the darkly funny final flowering of the art of Henry de Montherlant, a solitary and scarifying modern master whose work, admired by Graham Greene and Albert Camus, is sure to appeal to contemporary readers of Thomas Bernhard and Roberto Bolaño. Kirjastojen kuvailuja ei löytynyt. |
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Google Books — Ladataan... LajityypitMelvil Decimal System (DDC)854.912Literature Italian Italian essays 1900- 20th CenturyKongressin kirjaston luokitusArvio (tähdet)Keskiarvo:
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More than a story, this novel represents an exposition on facing mortality. The author suggests that all that is true are "chaos" (life) & "night" (that which exists before birth & after death). Much philosophical pondering occurs throughout this tale, and the combination make for an excellent reading experience.
One warning: If one does not know Paris intimately the beginning can be confusing. Eventually, however, it makes no difference. ( )