简 妮 từ Sandirya, Madhya Pradesh , India

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11/21/2024

Dữ liệu người dùng, đánh giá và đề xuất cho sách

简 妮 Sách lại (10)

2018-03-16 19:31

Vespa Du Ký: Từ Roma Đến Sài Gòn Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Giorgio Bettinelli

Gustaw Herling was a Polish journalist, essayist and literary diarist who became known for his disturbing memoir of the Soviet gulags, published in English under the title “A World Apart” in 1951. He was also a soldier, and, shortly after the Second World War, he lived in London for a time before moving to southern Italy, where he made his home for the last fifty years of his life. Herling was a man painfully aware of the ideological forces of the twentieth century, and he has rightfully earned his place in world literature as a witness to the great social and political upheavals of that century. Having read all of Herling’s works in English, I would add that he was a writer who was driven by ethical imperatives, and who set out to describe our capacity for cruelty, as well as our freedom to rise above the horrors of our modern world. The thirteen stories that comprise “The Noonday Cemetery” read like nonfiction pieces; almost like journalistic reports of astounding and mysterious events. Indeed, the first two times I read these stories I made the mistake of reading them as factual reports with, perhaps, a pinch of fiction. It was only on my third reading of this magnificent book that I realised that these were works of fiction, and that Herling had created the illusion of realism by writing himself into the stories. To be more precise, these are not ‘short stories’ in the typical sense of the word, but are more akin to the Latin American genre of the chronicle (Spanish: crónica). In fact, the chronicle seems to be the appropriate narrative form for the writer who wants to emphasize: ‘I was there, I saw it with my very eyes, and I was profoundly moved.’ I can think of two other elements to these stories that grant the illusion of nonfiction. The first is the relentless presentation of details: names, dates, and chronologies; snatches of conversations, legal reports, and scientific analyses; journal entries, rumours and legends. But also: memories, dreams, and reflections. The second is the manner of starting and stopping the narrative; a narrative strategy that mimics the passage of real time. It conveys, also, the feeling that one is watching a mystery as it unravels; except, of course, that Herling doesn’t always resolve the mystery, but often prefers to leave us stranded with the awesome ambiguities of our existence. All of these innovative narrative techniques are welded together by Gustaw Herling in a masterly classical style that grows more beautiful with each successive reading.

Người đọc 简 妮 từ Sandirya, Madhya Pradesh , India

Người dùng coi những cuốn sách này là thú vị nhất trong năm 2017-2018, ban biên tập của cổng thông tin "Thư viện Sách hướng dẫn" khuyến cáo rằng tất cả các độc giả sẽ làm quen với văn học này.