Arian S S itibaren Tramm, 29451 Dannenberg (Elbe), Almanya itibaren Tramm, 29451 Dannenberg (Elbe), Almanya

Bir rulodayım ve hala 5 yıldız hak etmeyen bir kitap bulmak zorundayım ... şanslı bana! ;) Kısa bir hikaye okuyorum, Tammy ve Nate hakkında olanı ve bu da 5 yıldızını alıyor! CbI. Sayfasına geri dön Çok sevdim. İşkence gören kahramanı seviyorum ve ya sevdiği kadına dokunursa kendini acı çeken bir kahramana ne dersin? Judd çatlaması zor bir şeydi ama Brenna en başından beri onun için doğru olanıydı. O bir güçtü, elinde çok sevdiği adamın yarışı olan psikotik bir Psy vardı. Judd'un bağlı olduğu kurallar ve böyle büyük bir kadına olan sevgisi arasında nasıl parçalandığını seviyorum. Ve kurt topluluğuna nasıl entegre olduğunu seviyorum. Ayrıca hikayenin nasıl genişlediğini seviyorum. Değişimler ve Psy arasındaki çatışma gittikçe daha ilginç hale geliyor ve Psy insanlarına yönelik iç mücadeleler de artıyor. Nalini Singh'e bir kez daha bir yay!

Bu kitabı ilk kez okuduğumda, ilk yayınlanmasından hemen sonraydı, neredeyse otuz beş yıl sonra bana çekiciliğini kaybetmedi. Malcolm MacDonald'ın karakterleri ilginç ve çok yönlüdür. İngiltere'de gelişen demiryolu endüstrisinin tarihi detaylarını da beğendim.

Catch 22 ile bir direk bekledim. Kendimi başka bir "Batı Cephesinde All Quiet" için tam olarak hazırladım. Sahip olduğum şey, askeri ve genel savaş olan II. Dünya Savaşı'na gerçekten mizahi ve esprili bir bakıştı. Yalan söylemeyeceğim, bunu okurken pencereden dışarı atmak istediğim noktalar vardı. Bazen, bu daha çok 350 sayfalık bir dizi karakter eskizine benziyor, ancak sonunda Heller beni kazandı. Kısacası, Yossarian'da hafif, edebi bir insanın çarpışması var.

Interesting to see why people were put in, but too much on escape attempts that made it biring at the end.

A fictionalized account of the assassination of Rafael Leonidas Trujillo, the mid-twentieth century dictator of the Dominican Republic, Feast of the Goat should have been a swift and thrilling novel. Unfortunately, the author’s clunky and uneven storytelling structure ultimately drowns the fascinating plot in a multitude of half-drawn characters. Having a personal interest in Latin-American and Caribbean history and literature, I was interested to read Mario Vargas Llosa’s retelling of Trujillo’s killing at the hands of a covert group of rebels, and intrigued by the intertwined storyline of Urania Cabral, the daughter of one of Trujillo’s inner circle, who remembers the dictator’s last days from a distance of 35 years. The book begins with her surprise return visit to the Dominican Republic, after a self-imposed exile in the United States beginning at age 14. During this time, by her own choice, Urania has been estranged from her family left behind in the Dominican Republic. Over the course of the novel, the reason unfolds: as a child, her father Augustín Cabral, an upper-level minister in Trujillo’s coterie, had fallen from the despot’s good graces. In order to try and win back his good standing, he did the unthinkable- offering his virgin teenage daughter to Trujillo for a night of sexual pleasure. For the first half of the book, each chapter bounces between three points of view: that of Urania, age 49, back in the Dominican Republic for the first time, visiting her aged and invalid father; that of Trujillo himself, on the last day of his life; and an alternating viewpoint amongst four of Trujillo’s assassins, waiting on the side of the road where they know his chauffeured car is soon to pass, and from where they will cut it off and shoot him dead. This is already a good deal of characters to keep track of, but it works for a while. However, at the midway point of the book Trujillo is killed, and the structure, such as it was falls apart. To replace the loss of Trujillo’s perspective, Llosa filled the tyrant’s void with voices of additional cohorts in the assassination plan. He also returns to some others to whom he has dedicated previous chapters, but there seems to be no consistency in voice. As a result, I found it difficult as the reader to keep track of all the characters and their various back-stories. Urania’s plotline gets lost amidst all of this, which is the true pity, because she is the one constant throughout the book. However, her character is never fully developed and as a result I felt little compassion for her. Why does she return to the Dominican Republic after all these years? Why now? There seems to be no motivation for her actions. She is a cold person, and the slow, painful unveiling of her story is meant to explain and justify her aloofness, but she never really endears herself to the reader. Though I wanted to care for her, and about her suffering, I simply did not. One side note about the book: it is not for the faint. Scenes of torture and monstrosity are painstakingly depicted. I wish Llosa had relished streamlining his story and developing his characters as much as he seems to have relished writing these gruesome episodes.

If you were looking for drama in SOMEONE else's church, well here it is! The Choir Director continues the drama of Bishop T.K. Wilson and First Jamaica Ministries and there is no reason to put this book down until you are done! Life appeared to be going just well for the Bishop and his new wife Monique (who he found and married in The First Lady) and First Jamaica Ministries until scancal erupts during a Father Day celebration at the church and all hell has broken loose! Now Bishop has to find a new choir director and in the process he finds out that the church is having financial difficulties and to top everything off, his best friend and right hand man at the church James Black is dying. Once all of the people who appear to be rightous and friends of the church end up in some of the highest positions at the church and the Bishop thinks that he has the right people in place, the walls start to cave in and keep the drama going and going and going. But who has the last laugh, not the trouble makers, not in God's house! This is a excellent addition to the church series and I can't wait for a sequel (wink, wink Carl)! Great Job!

When ever I come to names such as “Llosa”, “Borges”, “Cortazar”, “Fuentes”... I wish I knew Spanish language, as I’m sure works by these authors would have a different aroma and melody in their own tongues. Llosa is, for me, one of the greatest story tellers, whose works give me deliciousness in Persian as well, (if it’s translated by Abdollah Kowsari, for example). Mario Bargas Llosa uses a highly sophisticated techniques with a very delicate language in multiple viewpoint, as if I’m listening to “Sare”, my childhood story tellers whom supposed to drown me in sleep, but was keeping me awake instead. Llosa takes you to a place, and while you get used to the situation, become a bit relax, he leaves you for another situation, another character in another place, force you to follow him as a sleepwalker, burning of curiosity, apprehension and restlessness, while he continue to make new situations with new chracters out of nothing, absolutely relax with a smile on his lips. He doesn’t explain the characters, but procreates them and leave them on your lap, and disappears… بسیاری از آثار ماریو بارگاس یوسا به فارسی برگردانده شده. آنها که من دیده ام؛ "زندگی واقعی آلخاندرو مایتا" / حسن مرتضوی (ترجمه ی بدی نیست)، "سال های سگی" / احمد گلشیری (ترجمه ی خوبی ست)، "عصر قهرمان" / هوشنگ اسدی (ترجمه ی خوبی ست)، "مردی که حرف می زند" / قاسم صنعوی، "موج آفرینی"/ مهدی غبرائی (ترجمه ی روانی ست)، "جنگ آخر زمان"/ عبدالله کوثری(ترجمه بسیار خوبی ست)، "گفتگو در کاتدرال"/ عبدالله کوثری (ترجمه ی شاهکاری ست) و... برخی از این آثار را ابتدا به فارسی خوانده ام، و دیگر آثار را برای بازخوانی به ترجمه ی آنها به فارسی رجوع کرده ام. تجربه نشان داده که حال و هوای ترجمه ی فارسی، بهررو با ترجمه به زبان های انگلیسی، فرانسه و دانمارکی متفاوت است. در خواندن آثار بارگاس یوسا، بورخس، سروانتس، فوئنتس، کورتازار... حسرت ندانستن زبان اسپانیولی در من بیدار می شود چرا که به خوبی حس می کنم این آثار به زبان اصلی موسیقی متفاوتی دارند. با این وجود، روایت های ماریو بارگاس یوسا بهر زبانی لذت بخش است. روایت های یوسا بوی "قصه گویی" می دهد. او عادت دارد از جایی به جای دیگر برود و همین که به صحنه ای عادت می کنی، یوسا به محل و شخصیتی دیگر می گریزد، در صندلی هنوز جا نیفتاده ای که تو را از جا بلند می کند و به صحنه ی دیگر می کشاند، روی صندلی سرد تازه ای بنشینی تا ادامه ی روایت یوسا دوباره گرمت کند. یوسا قصه گویی ست حرفه ای که گاه از هیچ، همه چیز می سازد. با یوسا بسیار جاهای ندیده را دیده ام؛ برزیل را، پرو را و... بسیار جاها که دیده ام؛ وین، رم، آمستردام را را به گونه ای دیگر تماشا کرده ام... در کوچه ها و خیابان ها و رستوران ها و قهوه خانه های بسیاری نشسته ام، گاه آنقدر نزدیک و آشنا که انگاری در همان خانه ای که یوسا وصف کرده. روایت یوسا زنده می شود و در جان می نشیند. وقتی رمانی از یوسا را شروع می کنی باید وقایع و شخصیت ها را در اولین صفحه ها به خاطر بسپاری و از نام و مشخصات هیچ کدامشان نگذری. شخصیت ها و موقعیت ها در همان فصل اول و دوم مثل رگباری فرو می ریزند، و در فصول بعدی آنها را عین پازلی کنار هم می نشاند و تابلوی بی نظیرش را می سازد. زبان شخصیت ها از یکی به دیگری، همراه با روحیه و کار و بار و زندگی شان، تغییر می کند. یوسا دستت را می گیرد و تو را با خود وارد قصه می کند، همین که درگیر فضا و آدم ها شدی، غیبش می زند، تنهایت می گذارد تا انتهای روایت همپای شخصیت ها به سفر ادامه دهی. از یک موقعیت به دیگری، به دفتری، رستورانی، خانه ای و بستری، با آدم هایی که در نهایت خشم و خشونت، به کودکانی معصوم می مانند. گاه نشسته ام و مدت ها به عکس یوسا نگاه کرده ام؛ این معصومیت لبخند یوساست که همه ی قصه هایش را پر کرده؟

I will never get those ten minutes back that I spent flipping through this terrible book.