Chuẩn Bị Nhập Học - Phát Triển Trí Não tải về miễn phí cuốn sách

Brandon Torres _randon_ane — Friedebert Tuglas is little known in the English-speaking world, but in his native Estonia he is held in the same high regard that is granted to Maupassant and Chekhov the world over. In fact, in the early part of the twentieth century Tuglas perfected a form of the short story which is sometimes described as Gothic Symbolist. It is a form of writing that demands of its practitioner an extraordinary eye for imagistic detail and precision in the choice of words. Imagine a writer who describes situations in the way one would create an expressionist painting, with striking details and a sense of colour. Imagine also characters that are deeply symbolic of our human condition. Think of a writer who borrows from surrealism, expressionism, symbolism and fantastic literature, but never quite falls into any of these categories; a writer who has little use for plot but who endows his stories with a deep structure resembling a musical composition. Finally, imagine a writer who set himself an impossible goal: to create myths that would typically require a collective effort of many generations of storytellers. If you can imagine all these characteristics coming together in one writer, than you have a good impression of what to expect from Tuglas’ strange stories. Among the outstanding stories in this collection of ten, we find: “Freedom and Death”, a narrative about a starving prisoner who either dreams of escape or truly attempts to run away (we are never sure); “The Golden Hoop”, about a mediocre, provincial apothecary who attempts to revisit his childhood, unaware that his body has already decomposed in a peat bog; “Cannibals”, about a group of children who awaken to sexuality and death; “The Mermaid”, a cruel fairy tale of enslavement and revenge; and “The Air is Full of Passion”, a horror tale about a cynical cavalryman who arrives at a bewitched house inhabited by gruesome flying heads. Even though Tuglas is a true master of the short story, I have given the book four stars because of some unfortunate choices made by the publishers. The inclusion of a partly biographical piece, of an aphoristic essay, and of a philosophical tract – these three choices seemed out of a place in a collection of short stories. If the publishers had chosen instead to include such masterpieces as “Popi and Huhuu”, “Riders in the Sky”, and “The Shadow of a Man”, or even the symbolic “At the End of the World”, then the volume would have been a must-buy. Even so, if you are interested in short stories and would like to explore an unusual development of this literary form, then I highly recommend the strange stories of Friedebert Tuglas.