| Title | : | Leviathan |
| Author | : | |
| Rating | : | |
| ISBN | : | 0140178139 |
| ISBN-10 | : | 9780140178135 |
| Language | : | English |
| Format Type | : | Paperback |
| Number of Pages | : | 275 |
| Publication | : | First published January 1, 1992 |
| Awards | : | Prix Médicis Etranger (1993) |
Leviathan Reviews
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Leviathan, Paul Auster
Leviathan is American writer Paul Auster’s seventh novel, published by Viking Press in 1992.
The novel follows the life and crimes of a man who decides to take action over words to deliver his message to the world, as told by his estranged best friend.
The novel opens like a detective story as the narrator begins, Six days ago, a man blew himself up by the side of a road in northern Wisconsin.
There were no witnesses, but it appears that he was sitting on the grass next to his parked car when the bomb he was building accidentally went off.
According to the forensic reports that have just been published, the man was killed instantly.
His body burst into dozens of small pieces, and fragments of his corpse were found as far as fifty feet away from the site of the explosion.
Through his own investigations, the narrator attempts to answer questions as to who the man was who blew himself up, why he was found with a homemade bomb, and what circumstances brought him to a violent end.
عنوانهای چاپ شده در ایران: «هیولای دریایی»؛ «هیولا»؛ تاریخ نخستین خوانش: ماه نوامبر سال 2005میلادی
عنوان: هیولای دریایی؛ نویسنده: پل آستر (اوستر)؛ مترجم: ماندانا مشایخی؛ تهران، انتشارات ماهی؛ سال1383؛ در278ص؛ شابک9789647948388؛ چاپ دوم سال1387؛ موضوع داستانهای نویسندگان ایالات متحده آمریکا - سده 20م
عنوان: هیولا؛ نویسنده: پل آستر (اوستر)؛ مترجم: خجسته کیهان؛ تهران، افق؛ سال1383؛ در335ص؛ چاپ دیگر سال1391؛ شابک9789643698836؛
عنوان اصلی رمان «لویاتان» است؛ «لویاتان» در «انجیل»، حیوانی افسانه ای است؛ هیولایی عظیم، و بسيار نيرومند دریايی، که هيچ قدرتی را یارای برابری با آن نیست؛ راوی داستان که خود نویسنده هستند، در روزنامه ها خبری میخواند، مبنی بر اینکه «مردی توسط بمب، خودش رو منفجر کرده»؛ پس از آنکه پلیسها، با بررسی درمییابند، که جسد از آن «بنجامین ساجز»، صمیمی ترین دوست راوی همین داستان است؛ ...؛
راوی قصه، چون از زیر و بم زندگی دوست خویش، باخبر بوده؛ و دلایل کار او را میدانسته، تصمیم میگیرد، تا همین کتاب را بنویسند، و ماجرا را شرح دهند، و کتاب را به صورت رمانی چاپ کنند، تا مردمان، و ماموران در مورد دوستش، درست قضاوت کنند؛ ماجرا را، از نخستین لحظه های آشنائی خویش، تا چند روز پیش از آنکه دوستش، توسط بمب منفجر شود، و نکته های مهم، و سرنوشت ساز زندگی دوست خودش را، همانطور که از زبان ایشان شنیده بوده، روی کاغذ مینگارند، و زندگی کاری، و عشقی خودش را هم، به آنها میافزاید، تا رمان برای خوانشگر تر و تازه و خواندنی باشد
تاریخ بهنگام رسانی 22/09/1399هجری خورشیدی؛ 01/08/1400هجری خورشیدی؛ ا. شربیانی -
Six days ago, a man blew himself up by the side of the road in northern Wisconsin. There were not witnesses, but it appears that he was sitting on the grass next to his parked car when the bomb he was building accidentally went off....The day after the explosion, the wire services ran a brief article about the case. It was one of those cryptic, two-paragraph stories they bury in the middle of the paper, but I happened to catch it in The New York Times while I was eating lunch that afternoon. Almost inevitably, I began to think about Benjamin Sachs....
Immensely intriguing book.
Great writing.
I'm a fan of Paul Auster. Always mysterious, always a challenge to read. Most stories dark in character and storyline.... Always wondering what,...wtf is going on, I found Leviathan one of his more 'accessible' books by the way.
Auster never failing to write magnificently. Grand writer. Not to forget his descriptions of the city of New York.
Big five star for Leviathan. Masterful, virtuoso.
This is the story outline:
The explosion that detonates the narrative of Paul Auster's remarkable novel also ends the life of its hero, Benjamin Sachs, and bring two FBI agents to the house of his oldest friend, the writer Peter Aaron. What follows is Aaron's complex and moving account of Sach's secret life, as Aaron attempts, through testimony, to make sense of his friend's challenge to the complacency of modern life.... -
TUTTO PUÒ SUCCEDERE
Uno scrittore indaga sulla morte di un altro scrittore. I due erano amici. Del morto non si conosce l’identità, ma Peter Aaron, voce narrante, ha capito che si tratta proprio del suo migliore amico, lo scrittore Benjamin Sachs. Il fatto, letto sul giornale, risale ormai a sei giorni prima: si tratta di suicidio, un uomo si è fatto saltare in aria sul ciglio di una strada del nord Wisconsin, e non se ne conosce l’identità perché il corpo è sbrindellato e dunque irriconoscibile.
Ma per Peter non ci sono dubbi, deve trattarsi di Ben.
E anche se avesse dubbi, quando pochi giorni dopo a casa sua si presenta l’FBI perché nel portafoglio del morto è stato trovato un biglietto con le sue iniziali e numero di telefono, qualsiasi dubbio verrebbe dissipato.
Così Peter inizia a fare quello che meglio sa fare: scrivere. Si mette a scrivere la storia della sua amicizia con Ben, con l’obiettivo di individuare i motivi che l’hanno spinto a quel gesto senza ritorno.
E dopo questo prologo ambientato nel 1990, si salta ai primi anni Settanta, a quando i due squattrinati aspiranti scrittori si sono conosciuti nel Village e sono diventati amici.
Analizzare la vita di Ben alla ricerca di quelle cause vuol dire ovviamente, data la loro stretta amicizia, ripercorrere anche i suoi e propri momenti duri, Peter lo sa e non si tira indietro.
Ognuno di noi è legato in un modo o nell’altro alla morte di Sachs e non mi sarà possibile raccontare la sua storia senza raccontare allo stesso tempo ciascuna delle nostre storie… Sono io il punto da cui tutto comincia.
A questo punto Auster fa partire uno dei suoi incastri preferiti: i due scrittori sembrano essere le due facce della stessa medaglia, si completano a vicenda – uno stravagante, l’altro normale; uno saggista, l’altro dedito alla narrativa; uno scrive in scioltezza, l’altro suda e soffre ogni parola sulla pagina; uno si è fatto la galera pur di non andare in Vietnam, l’altro è stato riformato; uno sposato sin da giovane, l’altro ancora scapolo.
Inutile dire che l’uno è il morto, l’altro è l’io narrante.
Ancora più inutile dire che in entrambi ci sono elementi autobiografici dello stesso Auster: come se Ben fosse il suo lato migliore, o rappresentasse quello che avrebbe voluto, o potuto diventare se (il caso nella narrativa di Auster è motore onnipresente); invece Peter è quello che è, quello che Auster ritiene la sua immagine ufficiale.
Il gioco di incastri e rimandi s’intensifica sempre più, come è tipico con Auster: i due amici sono così inseparabili da scambiarsi la donna, nel senso che Peter s’innamora della moglie di Ben e le chiede di andare a vivere con lui, ottenendo invece che lei ami ancora di più suo marito, e Ben perdoni Peter del tradimento senza fatica.
Peter restituisce il favore quando Ben entra in crisi con la sua scrittura e viene sempre più marginalizzato dalla società letteraria: gli presenta la sua agente che convince Ben a raccogliere in un unico volume i suoi articoli usciti separatamente. Ben è talmente entusiasta della cosa da ritirarsi in una casa nel Vermont per dedicarsi all’opera, e sullo slancio inizia a scrivere un romanzo, nonostante avesse abbandonato la narrativa molto tempo prima.
Il romanzo è intitolato “Leviatano” e rimane incompiuto: perché all’improvviso Ben scompare, per due anni. E quando riappare si presenta dall’amico che si è ritirato a vivere proprio in quella casa nel Vermont.
Quello che Peter ci racconta diventa un romanzo dal titolo… chiaro, non potrebbe che essere proprio “Leviatano”. Lo consegnerà all’FBI che potrà chiudere il caso sulla morte di Benjamin Sachs.
Incisione di Gustave Doré: Distruzione del Leviatano, 1865.
Per sapere perché all’improvviso Ben è scomparso dalla vita di tutti, si sia dato alla macchia, cosa abbia fatto in quegli anni, conviene leggere il romanzo scritto da Auster, narrato in prima persona da Peter (salvo all’improvviso l’inserto di lunghi dialoghi diretti).
Così scopriremo che ciò che poteva accadere è proprio quello che è successo. Ma le cose sarebbero potute andare diversamente, un’altra cosa poteva succedere: infatti, una cosa è effettivamente accaduta.
Niente è mai possibile, perché tutto è sempre reale, direbbe il filosofo.
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In terms of American writers, Auster stands up there being so unique, a writer one must read at least once. He’s remarkably talented here and his originality continues to impress me.
Leviathan literally means the biggest of its kind, and was also a sea monster from the Old Testament. Knowing such things illuminates Auster’s reasoning behind titling his book as such.
In this tale, Peter Aaron’s friend, Ben Sachs-a once-promising author-accidentally blows himself up along a rural road using a homemade bomb. Though it’d been years since Peter had communicated with his best-friend, he takes it upon himself to tell the story of how Ben had come to such an alarming and unusual end. Since Sachs had been working on an abandoned novel called Leviathan, Peter (and Auster) calls his book the same. Peter recounts his first meeting with Ben, and from there writes about their lives spent together and apart, along with all the friends and lovers that entered their lives and changed their fates with the smallest of intricacies and nuances. Peter hopes to finish his book and elucidate the public on Ben and his bomb-making before the Feds bring shame upon Sachs’ name.
I was totally drawn into this story, and that's what Auster is all about, he is storyteller. I want to make it abundantly clear that I consider most of Auster’s books worth looking at. Even Auster’s weaker still leaves fans wanting more. Leviathan was utterly interesting and a page-turner, but where this differs slightly from his other work, there is far more chance of this actually happening in the real world.
Leviathan employs regular Auster themes such as isolation, the complexity of interpersonal relationships, and the desire to discard an identity and begin anew. Leviathan also focuses on the ironic intersections and coincidences in life, and Auster weaves and melds seemingly meaningless occurrences early in the novel into rather important plot devices all the way to the story’s end. The three-fold meaning of the book’s title alone illustrates the care Auster takes in layering his ironies.
Stayed in my mind long after reading, and have since read again. I would say it's him at his best, it's one I would certainly recommend for anybody yet to read him , because it's far easier to comprehend. Written in the 90's, it still says a lot about America of today. A great novel. -
A NICE NIGHT'S ENTERTAINMENT ON THE FOURTH OF JULY:
Fireworks Over Brooklyn
We're at a party in a modern bohemian fourth floor apartment in Brooklyn.
The guests include publishers, writers, artists, film-makers, musicians and various minders, acolytes and drummers disguised as waiters.
It’s July 4, 1981 (or is it 2003 or 2012 or all three, I don't know, the script doesn't say), barely twenty minutes before the fireworks are due to begin.
LYDIA DAVIS (who has just arrived, it’s her second party of the night and she’s already tipsy): Hi, Sophie!
SOPHIE CALLE: Bon jour, Lydia. Would you like a drink?
LYDIA DAVIS: One more won’t do any damage, I guess.
Sophie notices her looking at a freshly made martini on the bar.
SOPHIE CALLE: Here. Take one of these.
LYDIA DAVIS: A votre santé.
SOPHIE CALLE: À la votre.
Lydia tilts her glass and downs the martini in one smooth movement.
SOPHIE CALLE: Another?
LYDIA DAVIS: Why not!
Don DeLillo walks past, in the direction of the kitchen. He hasn’t noticed Lydia yet. She air kisses Sophie goodbye and heads after Don, tapping him on the shoulder just as he enters the kitchen and reaches for the first hors d’ouvre on a newly-assembled tray.
DON DELILLO (turning around): Lydia, you look divine, fresh from your experience with Proust.
LYDIA DAVIS: It’s finished, mercifully. His sentences were so long.
DON DELILLO: You must be glad they’re just a remembrance of things past?
LYDIA DAVIS: In search of lost time, don’t you mean?
DON DELILLO: Oh, of course, I forgot. In search of lost punctuation marks, as well, I suppose.
Lydia has been watching over his shoulder, where through the kitchen window she has just spotted Paul Auster with a dazzling six foot tall blonde with an exquisite Scandinavian face who he has just met ten minutes before.
LYDIA DAVIS: Don, who’s that Amazon with Paul?
Don turns around to see Paul Auster sit on the railing and then swing both feet around over the top, until they dangle above the street.
DON DELILLO: Oh, um, ah, that’s Siri Hustvedt, she’s a grad student in English Literature. Columbia.
Now Don notices Paul wobble on the railing. He’s doing something indistinct with one of his feet or perhaps his shoes. Siri moves up behind him, nervously, placing her arms around his waist. Don thinks he notices her lips graze the nape of Paul’s neck. Or something.
Lydia hasn’t noticed any of this yet, apart from Paul's presence outside the kitchen window with the blonde.
LYDIA DAVIS: Don, could you hold my glass for une moment?
As elegantly as one can in her state of sobriety, Lydia lifts her left leg over the waist high window sill and places her left foot on the balcony. She tries to reclaim her glass from Don DeLillo, while pulling her right leg through behind her.
DON DELILLO: Careful, Lydia...
But, it’s too late, the glass falls onto the kitchen floor as Lydia fails to clasp it securely, and she projects backwards into Siri, striking the vicinity of her left kidney with her elbow. Siri lets go of Paul Auster in agony, and Paul falls forward into the night sky, initially holding his hands out in a diving posture, before rocketing headlong in the direction of the street.
A screaming comes up the hollow streetscape, even though barely a second has elapsed. Nobody has had time, let alone is game enough, to look down, until they hear the inevitable crash or thump.
Yet, there is no crash or thump, and the screaming gets closer again.
DON DELILLO (who seems to have some understanding of what’s happened and calls out): What was it like, Paul?
PAUL AUSTER: Fucking amazing, Don. Can you guys grab hold of the bungee cable?
Don looks at Siri and Lydia.
DON DELILLO: No.
TATTOOED EX-NEW ZEALAND ALL BLACK: It’s right, I’ll pull him up.
LYDIA DAVIS: I don’t suppose you could leave him hanging a bit longer?
DON DELILLO: My turn next.
Paul Auster climbs back over the railing, the top two buttons of his Polo shirt undone and not a hair out of place.
SIRI HUSTVEDT (resuming her grip on Paul Auster, this time front on): Oh, Paul, I think it’s love at first sight.
PAUL AUSTER: I was only ten minutes behind you, Iris.
SIRI HUSTVEDT: Iris?
PAUL AUSTER: Sorry, I meant Siri, you just looked like an Iris from down there.
LYDIA DAVIS: You were looking at her upside down.
THOMAS PYNCHON (turning to Lydia): He must have loved her from the bottom of his arc.
DON DELILLO: Tom, what are you doing here?
SOPHIE CALLE (looking at Thomas Pynchon): Jump, jump!
Disclaimer:
No reference to the name of a real person is intended to suggest that the character is or shares any of the characteristics of that real person. Very much.
REVIEW:
Auster Railing Skepticism
While I’ve never had a negative experience with any of Paul Auster’s novels, I detect a skepticism about his works on GoodReads, so was alert to what others might find questionable.
Still, this book grabbed me from the first sentence and never let me go.
Unlike some elements of his friend Don DeLillo that you have to excuse or laugh at, I found “Leviathan” word-perfect from beginning to end.
The story is told in the first person, yet the narrator, writer Peter Aaron, is not the main character, who is another writer and Peter’s best friend, Benjamin Sachs.
Stylistically, the only reservation I have is about the detail with which Peter recounts Ben’s story, which involves events and conversations (not all of them involving Peter) from over 15 years.
Some of these conversations go for several pages. How did Peter remember them? As a writer, is he just a good listener? Is he just very retentive?
Force of Circumstance
The other issue which seems to concern some readers is the role of chance and coincidence in Auster’s novels.
While both play a role in “Leviathan”, I think they are a secondary, not a primary concern.
Coincidences occur, but they are equally confounding for the characters affected by them.
They are not [just] ridiculous set-ups or convenient solutions.
They form part of a continuum of circumstance and circumstances, in which “anything can happen”.
For Peter, the events he witnesses are similar to what he does as an author, “writing stories, putting imaginary people into unexpected and often unlikely situations”.
Auster examines individuals within their environment, some of it physical, some of it mental, some of it social.
He is interested in how Free Will, Intention, Determination, Causation, Knowledge and the Desire for Certainty interact with Determinism, Chance, Coincidence, Mystery, Randomness and Uncertainty.
To what extent are we in control of the events that occur around us?
What if the answer is very little?
What if everything is improbable and unpredictable? What is the implication for our sense of identity and self-esteem?
Can we live a life of happiness?
Are our lives destined to end in catastrophe?
This is what’s happening at an abstract, meta-fictional level, yet the novel is written in a highly realist manner, in many places like detective fiction, as Auster tells us who-dunnit on the first page and then proceeds to tell us what.
Personal Politics
We know from the first sentence that someone blew themselves up six days before today (which is July 4, 1990) and within pages, when two FBI agents visit Peter, we learn that it was Ben Sachs.
Ben was interested in personal politics, not necessarily affiliated with any particular party, although he was idealistic and would no doubt have favoured the old-style Left Liberal Democrats over the Republicans, if he had to vote for one over the other.
He was a conscientious objector to the Vietnam War and went to jail for his beliefs rather than abscond to Canada or Europe.
Since then, he has grown more and more despondent as mainstream America embraced the conservative politics of Ronald Reagan and in his view betrayed the idealism of American Democracy that should be embodied and respected in the American Flag (which is now often a divisive symbol).
"The New Colossus"
The national icon that Sachs most objectifies and identifies with is the Statue of Liberty.
It stands over New York Harbour like a new Colossus and holds the incandescent torch of Democracy and Freedom up high.
However, its brightness has faded over time, and Sachs believes that this trend is symbolized by the proliferation of 130 fake miniature Statues of Liberty around the country.
Sachs’ first novel is actually named “The New Colossus” after the poem that is engraved at the foot of the statue.
As a boy in 1951, Sachs also experienced fear and apprehension, when his family climbed the staircase inside the statue and they grew increasingly scared of heights.
Inside the Whale
This experience of being inside and frightened leads to the second metaphor of the novel, the Leviathan itself, the great whale in the Biblical books of Job and Jonah, which Hobbes adopted as a metaphor for the State in his book of the same name.
It’s interesting that the Hebrew name upon which Leviathan is based can also refer to a dragon, which in Eastern culture can be an enemy of light.
Thus, in Sachs’ eyes, the name “Leviathan” symbolizes the tendency of the State to enclose and squash individuals, restrain their freedom and plunge them into darkness.
No matter how much independence he shows in his personal life, he is gripped by the social and political claws of the Leviathan.
As Sachs realises that his literary audience is declining and the message of his writing is going unheeded, he embraces more and more radical politics and quasi-terrorist tactics.
The relatively innocent Peter Aaron sits by as he reconstructs the story of Sachs and his obsession, ultimately choosing for his own novel (and Auster’s) the name of the novel that Sachs had only partly completed at the time of his death.
Reversing Falls
Just as the Statue of Liberty symbolizes light and the ascent of humanity, the decline of Democracy represent a metaphorical fall from grace and a descent into darkness.
However, Sachs’ childhood experience is replicated by a literal fall of his own, while attending a party to celebrate Independence Day in 1986, the 100th year of the statue's dedication.
The parody at the beginning of this review is based on Aaron’s/Auster’s description of the event, which unfortunately preceded the days of widespread bungee jumping, but fortunately for Sachs was not fatal.
Sachs’ initial response to his recovery is to withdraw from those around him and maintain a silence:
"To be silent was to enclose himself in contemplation, to relive the moments of his fall again and again, as if he could suspend himself in midair for the rest of time – forever just two inches off the ground, forever waiting for the apocalypse of the last moment."
Similarly, in his private life, his self disappears within a “sanctuary of inwardness”. His retreat and silence shelter him from danger and temptation, but equally from the full experience and exuberance of life.
Ultimately, he re-engages psychically and sexually. He also becomes more engaged politically, if only as a lonely anarchist working in the darkness, dangerously, symbolically drawing attention to how America is failing its own symbols, icons and values.
Beware "Leviathan"
When Peter Aaron discovers that Sachs has died, he starts writing his story.
Without it, he knows that the only account of Ben’s life and his activism will be the dossier prepared by the FBI agents, working inside the whale of the Leviathan, painting him as a terrorist.
He rushes to piece together the reality of their shared life, under the deadline of a return visit from the FBI:
"The fact is that everyone dies, everyone disappears in the end, and if Sachs had managed to finish his book, there’s a chance it might have outlived him."
Ultimately, the importance of Aaron’s book, Auster’s novel, is that it encapsulates Sachs’ warning even more effectively than Sachs might have been able to do himself in the end.
The novel is a warning about the oppressive power of society, conformism and the State.
These forces are the ones we have to look out for, not the distractions of chance and coincidence, which after all are mere entertainments in comparison.
No matter how much Free Will we might think we have, there are other, more powerful forces at work.
By writing Sachs’ story, Aaron and Auster ensured that Sachs’ message, “his amulet against forgetting”, outlived him, so that we might know the danger of Leviathan.
Dedication:
This review is dedicated to Bird Brian and the/his courage to speak out.
In the words of George Orwell (from "Inside the Whale"), he fights the temptation to perform the "Jonah act of allowing himself to be swallowed, remaining passive, accepting", in other words, "quietism".
For any non/un-Americans who mightn't be familiar with it, here is the full text of the poem at the foot of the Statue of Liberty:
The New Colossus
by Emma Lazarus
Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep, ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door! -
A great writer was grappling with an ambitious subject, masterfully treated.
First of all, a perfect construction, upside down thriller which gives the dead man's identity and goes back to his story told by his best friend who leads the investigation among the key characters, especially women who were essential to them both, doubles too. The narrator recounts with thoroughness and depth a few years of life in turmoil in this little world of the American intelligentsia of the Reagan years and their lost dreams. It is also the explanation of the genesis of a story with the strokes of chance, the vain research, the intersecting stories, and everything that will ultimately deliver a book to a publisher or the FBI. Magnificent! -
Another winner by Paul Auster. I just wish his paragraphs didn't run on for days.
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Paul Auster (n. 1947) em Portugal 2017 (Fotografia João Porfírio/Observador)
”Leviathan” publicado em 1992 é o sétimo romance do escritor norte-americano
Paul Auster (n. 1947) e tem a particularidade de ser dedicado a
Don DeLillo (n. 1936).
Nos finais de Junho de 1990 “(…) um homem foi morto por uma explosão na berma de uma estrada algures no norte do Wisconsin. Não houve testemunhas, mas tudo indica que estava sentado no chão, junto ao seu carro, quando a bomba que estava a montar explodiu acidentalmente. Segundo o relatório médico-legal que acaba de ser divulgado, o homem teve morte instantânea. O corpo voou em dezenas de pedaços, de tal modo que foram encontrados bocados do cadáver a quinze metros do local da explosão. Até hoje (4 de Julho de 1990), ninguém parece ter a menor ideia de quem era o morto.” (Pág. 9). Um mistério inexplicável, com o FBI e a polícia local a iniciarem as investigações.
Peter Aaron conhece a identidade desse homem. ”Quanto a mim, quanto mais tempo demorarem, melhor. A história que me sinto obrigado a contar é particularmente complicada, e, se não chegar ao fim antes de eles apresentarem a sua solução para este mistério, as palavras que vou escrever não terão o menor significado.” (Pág. 10).
O morto era Benjamin Sachs, um escritor – que publicou apenas um romance ”The New Colossus" - amigo do também escritor Peter Aaron ”(…) um homem que ganhava a vida a escrever romances”.
Peter Aaron – o narrador - ou Paul Auster propõe-se a escrever ou a descrever a vida de Benjamin Sachs com recurso às memórias de uma genuína amizade com quinze anos, muitas das vezes intermitente e intervalada por ausências, ora curtas ora prolongadas, associando os familiares, os amigos e os amantes, que surgem nas suas vidas e que mudaram os seus destinos, com maior ou menor complexidade ou obscuridade.
Paul Auster impulsiona o romance com um método notável, construindo toda a narrativa alternando as vivências e as recordações das inúmeras personagens, mas, simultaneamente, avançando, compondo e manipulando as emoções dos leitores numa perspectiva simbólica desses comportamentos - incluindo a atitude de Peter Aaron -, numa conexão primorosa entre o passado e o presente.
Apenas um exemplo: Paul Auster inspirou-se nos trabalhos da fotógrafa francesa contemporânea Sophie Calle (n. 1953) para criar a personagem de Maria Turner, com um método paradigmático onde os rituais diários são registados em imagens fotográficas de vidas anónimas, reinventando identidades aleatoriamente - tal como o escritor faz com as suas personagens -, num expediente em que as vidas fictícias são circunscritas por eventos do passado e que moldam os comportamentos e as atitudes no presente e no futuro.
Em ”Leviathan” todas as personagens secundárias são inesquecíveis.
Paul Auster é um mestre na invenção ou na reinvenção das personagens, congregando coincidências com o propósito, por vezes tortuoso, de criar premissas circunstantes e sentimentais para os episódios casuais e inesperados do dia-a-dia, numa reflexão entre o real e o metafórico.
”Leviathan é um romance com uma escrita genial e minimalista, um romance dentro de outro romance, abordando inúmeros temas como: a procura da identidade, o sucesso e o fracasso na produção e na criação literária, o acaso e a coincidência, sobre a natureza díspar e evasiva da verdade e da mentira, a relação entre o amor e o adultério, as questões relacionadas com os conflitos pessoais e existenciais, sobre aos assuntos da fidelidade e da traição, sobre a abstinência e a indulgência, as dúvidas sobre a moralidade e a luxúria, igualmente, sobre a temática do terrorismo, e inúmeras interrogações e indagações sobre situações improváveis do quotidiano.
Paul Auster (n. 1947) - Ilustração de André Carrilho
”Ainda hoje me é difícil digerir tudo isto. E falo como alguém que, em princípio, deveria ser um entendido, como alguém que tem reflectido longa e maduramente sobre as questões em jogo. Tenho passado toda a minha vida de adulto a escrever histórias, a colocar pessoas imaginárias em situações inesperadas e muitas vezes improváveis, mas verdade é que nunca nenhuma das minhas personagens passou por uma situação tão improvável (…). Se ainda me choca relatar o que aconteceu, é porque o real supera sempre aquilo que somos capazes de imaginar. Por muito delirantes que sejam, as nossas invenções nunca conseguem igualar a imprevisibilidade daquilo que o mundo real constantemente despeja sobre nós. Esta lição parece-me agora iniludível. Tudo pode acontecer. E, de uma maneira ou de outra, acontece mesmo. Sempre.” (Pág. 176) -
Um dos maiores problemas de consumir muitas histórias num meio — seja literatura, cinema ou jogos — é que começamos a ver as estruturas narrativas na nossa frente enquanto devíamos estar plenamente absorvidos pelo mundo e personagens das histórias. Diga-se que isso é mais evidente quando a história é mediana, mas a estrutura é muito boa, investindo nós mais tempo na apreciação do invólucro do que no conteúdo. Esse é o caso de “Leviathan” (1992), em que Auster embrulha múltiplas personagens numa trama de bombas para nos manter agarrados ao longo da descida em espiral pelo interior do personagem que narra a história, que é também escritor e serve perfeitamente de alter-ego a autor.
O livro abre com uma morte por explosão, da qual quase nada resta para identificar o corpo, daí somos levados por uma história que atravessa 15 anos de um mundo e uns EUA em convulsão — meio dos anos 1970 até ao início dos anos 1990 — para descobrir quem e porque explodiu essa pessoa. Auster dá-nos a ver de perto quase uma dezena de personagens que se vão entrelaçando e abrindo umas às outras por meio de pontas soltas, mentiras, e também muitas coincidências. O thriller parece ser a base, mas Auster não desiste de ser romance e por isso ora se aprofunda a psicologia dos personagens, ora se faz mover todo o mundo em alta velocidade por meio de eventos inesperados, tais como acidentes, mortes e mais coincidências. Temos direito a algumas cenas mais quentes, para adocicar os momentos que menos concorrem por atenção, mas diga-se, muito menos interessantes do que a castidade moral encenada no interior dos dois principais personagens masculinos, tal como a contraposição com a libertinagem das personagens femininas.
Do Leviatã fica-se na dúvida, ou talvez não, se Auster se refere ao interior que nos consome a todos, sem sabermos porquê, nem como, ou se é menos figurativo e mais ilustrativo, ficando-se pela insanidade que consome apenas aqueles que se deixam cair nas suas malhas, e se deixam levar por histórias — ideologias políticas — que passam a controlar todos os seus passos. Não tendo sentido a história de modo suficientemente intenso, acabei não sentindo a necessidade de atribuir um significado concreto ao texto e isso talvez tenha acabado por determinar um certo dissabor que senti ao chegar ao fim. Reconhecendo a excelência estrutural, e até mesmo a criação de universo ficcional, faltou-me história, faltou-me empatia.
Estrelas: 3.5
Publicado no VI:
https://virtual-illusion.blogspot.com... -
Τι είναι ο Λεβιάθαν;
Είναι το βιβλικό τέρας που κανένας δεν μπορεί να γλυτώσει από αυτό. Είναι το πεπρωμένο μας. Κι ο Πολ Όστερ έρχεται να μας το θυμίσει μέσα από ένα απίστευτο εγκεφαλικό παιχνίδι συμπτώσεων που εκ πρώτης όψης μοιάζει με αστυνομικό μυθιστόρημα, αλλά στην ουσία είναι μια φιλοσοφική αναζήτηση.
Η αφηγηματική πληρότητα του Όστερ αλλά και η εκπληκτική σκιαγράφηση των χαρακτήρων του κάνουν το ανάγνωσμα ακόμα πιο συναρπαστικό. Ο καμβάς του συγγραφέα είναι η σύγχρονη Αμερική κα�� κατ' επέκταση ο σύγχρονος άνθρωπος. Η θέση του μέσα στο σύνολο, οι ηθικές του αξίες και οι αναγκαιότητα της δημιουργίας.
Ο συγγραφέας Μπέντζαμιν Σακς θα ανατιναχτεί σε δεκάδες μικρά κομμάτια για κάποιον λόγο. Δύο αστυνομικοί του FBI θα ανακρίνουν τον καλύτερο του φίλο και συγγραφέα Πίτερ Άαρον, ο οποίος προσπαθεί να διαφυλάξει κάποιο μεγάλο μυστικό καθώς και την μνήμη του, επί σειρά ετών, επιστήθιου φίλου του! Καθώς ο αφηγητής Πίτερ κάνει την αναδρομή στο παρελθόν, εμείς σαν αναγνώστες καταλαβαίνουμε πως ό,τι συμβαίνει γύρω μας είναι αναγκαίο, τυχαίο αλλά και συνάμα αναπόφευκτο.
5/5 -
Πάλι τα ίδια Paul; Πάλι αριστοτεχνικά δομημένη πλοκή; Πάλι εκπληκτική σκιαγράφηση χαρακτήρων; Πάλι μέγιστη απόλαυση κατά την ανάγνωση κάθε σελίδας;
Ποιοι στ' αλήθεια είμαστε. Ποιοι νομίζουμε ότι είμαστε. Ποιοι νομίζουν οι άλλοι ότι είμαστε. Οι πράξεις μας. Τα κίνητρα των πράξεων μας. Οι επιπτώσεις τους στον εαυτό μας και τους άλλους.
Πάντως Paul, μεταξύ μας, νομίζω ότι είσαι ένας πολύ μεγάλος συγγραφέας. -
Otra novela de Paul Auster con un protagonista que actúa como álter ego de Paul Auster, a quien Paul Auster le da un trabajo de escritor (guau) y las iniciales P.A. (guaaau) para que a ninguno de nosotros, tontiles, se nos pase por alto. ¡Gracias!
Otra novela de Paul Auster que quiere ser la gran alegoría yanqui, donde todos los personajes dedican su vida a ejercer Las Artes (qué majestuosidad, qué nobleza), fumar y beber como hijos de puta, socializar en galerías, exponer y publicar, EXPONER Y PUBLICAR. No descarto que la niña de seis años que aparece en el libro estuviese, en verdad, a puntito de entregarle a su editor un borrador final de cuatrocientas páginas con interlineado sencillo de su primer ensayo sociopolítico.
Otra novela de Paul Auster en la que to-di-tos los Señores son auténticos genios con más mundo interior que la TARDIS y to-di-tas las mujeres se califican de, cito, sensuales e impulsivas (*pone los ojos en blanco*).
Disfruté mucho "Ciudad de cristal" en su día y quise más. Tres novelas después, a cual con más diluido interés, creo que puedo decir las palabras mágicas: PUES YA ESTARÍA, PAUL. -
Για μία ακόμη φορά εξαιρετικός Auster...
Το βιβλίο διαβάζεται εύκολα, η πλοκή είναι ενδιαφέρουσα, αλλά το καλύτερο στοιχείο είναι οι χαρακτήρες. Από τους 2 συγγραφείς πρωταγωνιστές, μέχρι και τα δευτερεύοντα πρόσωπα, τα οποία ωστόσο παίζουν εξαιρετικά σημαντικό ρόλο.
Η ουσία του έργου έγκειται στο πώς κάποια εντελώς τυχαία γεγονότα που συμβαίνουν μάς αλλάζουν μια για πάντα και το πώς αντιμετωπίζουμε και εμείς οι ίδιοι, αλλά και οι κοντινοί μας άνθρωποι, αυτή την αλλαγή. -
That's my kind of book! Beautifully given story of a man's pursuit of identity. Loved it more than I could ever love The New York Trilogy or Invisible (these are the only Paul Auster books I have read)...perhaps, it has to do with the fact that I read the English edition...perhaps, he is one of those writers I enjoy reading in English, but never in Greek!
-
"Six days ago, a man blew himself up by the side of a road in Wisconsin."
Assim começa este Leviathan. A história é contada na primeira pessoa por Peter Aaron, um escritor, que, ao tomar conhecimento daquela notícia, imediatamente percebe que ela diz respeito ao seu melhor amigo: o também escritor Benjamin Sachs, personagem central deste romance. Começando por nos revelar um desfecho, o autor estrutura a narrativa de modo a manter o interesse do leitor relativamente aos acontecimentos e às motivações que concorreram para esse desfecho.“In fifteen years, Sachs traveled from one end of himself to the other, and by the time he came to that last place, I doubt he even knew who he was anymore. So much distance had been covered by then, it wouldn't have been possible for him to remember where he had begun.”
E pela mão Peter Aaron somos conduzidos nessa reconstituição, na qual se cruzam diversas personagens secundárias, muito bem construídas e caracterizadas (seja pela voz do narrador, seja pela de outras personagens) entre as quais acaba sempre por existir uma conexão. Maria Turner e os seus “projectos” bizarros ficarão certamente na minha memória.
Com uma prosa muito directa, é uma obra que se lê com alguma avidez pela tensão que consegue manter ao longo da narrativa. Sob uma roupagem meio detectivesca são abordados temas universais como a demanda da identidade e a complexidade dos sentimentos, numa história que é comandada mais por um conjunto de acasos e de coincidências do que por uma lógica linear expectável. É esta imprevisibilidade que sustenta a curiosidade do leitor até ao final.“No matter how wild we think our inventions might be, they can never match the unpredictability of what the real world continually spews forth. This lesson seems inescapable to me now. Anything can happen. And one way or another, it always does.”
Do que me tem sido dado observar, Paul Auster e as suas obras parecem dividir um pouco os leitores, sendo o autor por vezes criticado por reciclar fórmulas. Para já, e com apenas dois romances deste autor na minha bagagem literária, não é essa a minha opinião. Fica-me sim a impressão de um excelente contador de histórias e um habilidoso desenhador de personagens. E este Leviathan poderá não ser uma obra-prima, mas é um daqueles livros que nos faz estar de bem com a leitura.
-
Los protagonistas de esta novela son escritores, y en un momento uno de ellos dice que ha pasado la vida redactando historias y poniendo a personas imaginarias en situaciones inesperadas e inverosímiles. Eso es Leviatán.
En ese juego meta-literario que le gusta tanto a Auster se cruzan personas que realizan pequeñas acciones azarosas que provocan eventos que rozan lo inconcebible. La lectura es ágil; las páginas se devoran queriendo saber que va a pasar.
Las decisiones que toman los personajes son provocadas por sus sentimientos, por el amor, por el deseo. Estos tienen que tomar resoluciones que los van a conducir o hacia la felicidad o hacia un camino que lleva a la soledad. El leviatán, bestia bíblica creada por dios, se transforma en un destructor.
La premisa de la novela es que puede suceder cualquier cosa. Y de hecho, es así. -
Големият Пол Остър пак е написал голям роман. Историята е от онези, които не само не искаш да оставяш, не само всяка страница е супер интересна, но просто си заживяваш с тях и през деня си мислиш за героите, а понякога и ги сънуваш вечер. Пак прекрасният стил на Пол Остър и неговият простичък начин да ти каже много важни неща с малко думи, които обаче се запечатват. Той е от онези автори, които, според мен, са най-добрите - не просто ти нашепват мъдрости, а правят така, че само да ги извлечеш чрез взаимоотношенията на героите му, които са истински хора, в една история, в която се откриваш - себе си или познати, живееш сам и то много, много интересно.
Пол Остър е учебник.
И Пол Остър ми е завинаги. -
2.5/5
Πρώτη επαφή με το έργο του Όστερ. Δε μπορώ να πω ότι έμεινα ευχαριστημένος αλλά ούτε και απογοητευμένος. Ακριβώς στο κέντρο. Η ιστορία ξεκινάει δυνατά αλλά μετά την σελίδα 50, όταν συνειδητοποίησα το πώς θα εξελιχθεί το βιβλίο στη συνέχεια βαρέθηκα εξαιτίας της συνεχής επανάληψης. Τα κεφάλαια είναι μεγάλα (πέντε στο σύνολο) αλλά υπάρχουν επί μέρους κομμάτια σαν "θεματικές ενότητες" που το καθένα καταπιάνεται και με έναν χαρακτήρα. Το πρώτο αρνητικό σε αυτό είναι ο τρόπος γραφής: κάθε "θεματική ενότητα" τελειώνει με ένα είδος cliff hanger του τύπου "και αυτή η επιλογή ήταν που κατέστρεψε τον Σακς" αλλά αμέσως μετά δε συνεχίζει την ιστορία από αυτό το σημείο αλλά κάνει ένα τεράστιο άλμα σε κάποιο διαφορετική χρονική περίοδο ή αντί να μιλήσει για τον φίλο του, μιλάει για τον εαυτό του. Σκοπός του Όστερ είναι να μας κρατήσει αμείωτο το ενδιαφέρον συνεχώς και να θέσει τις βάσεις για να μπορέσουμε να παρακολουθήσουμε την ιστορία. Στην αρχή δουλεύει, μετά κουράζει. Εάν δεν επέλεγε αυτόν τον τρόπο και απλά εξιστορούσε τα γεγονότα χρονολογικά χωρίς τα άλματα, το βιβλίο θα γινόταν μικρότερο και δε θα χρειαζόταν να επαναλαμβάνονται αρκετά πράγματα. Αυτό ήταν ένα από τα αρνητικά που αντίκρισα καθώς διάβαζα τον Λεβιάθαν μιας και τέτοιου είδους γραφή με πειράζει αρκετά. Το δεύτερο αρνητικό είναι η ακατάσχετη φλυαρία. Στα πάντα. Γεγονότα επαναλαμβάνονται, συνομιλίες γράφονται από άλλες οπτικές και το αποτέλεσμα είναι ακριβώς το ίδιο και συνεχώς ο πρωταγωνιστής - συγγραφέας του βιβλίου (και alter ego του Όστερ) αμφιταλαντεύεται μεταξύ της αλήθειας και του ψέματος. Για παράδειγμα: από την αρχή γνωρίζουμε ότι η Λίλιαν είναι ένας παράξενος χαρακτήρας με όχι και τόσο ευδιάκριτη στάση απέναντι στην αλήθεια και το ψέμα. Δε χρειάζεται να αναρωτιέται και ο συγγραφέας και ο Σακς και η Μαρία εάν όλα αυτά που λέει ισχύουν ή όχι ΚΑΘΕ φορά. Μιας και "ακούμε" το συγγραφέα να μας περιγράφει τα γεγονότα ο οποίος δρα και ως "παντογνώστης", αυτές οι επαναλήψεις θα μπορούσαν να λείπουν. Η ιστορία μοιάζει να γράφτηκε δίχως κάποιο αρχικό σχεδιάγραμμα (δε το λέω για κακό αυτό) και με τους ήρωες να κατευθύνουν την πλοκή, αλλά αυτό δε δίνει συγχωροχάρτι στις επαναλήψεις. Μία δεύτερη ανάγνωση θα μπορούσε να κόψει αρκετή φλυαρία.
Για να μη λέω μόνο τα αρνητικά, θα παραθέσω και τα θετικά, που εντελώς περιέργως είναι αρκετά. Αρχικά οι χαρακτήρες. Είναι από τους πιο ενδιαφέροντες που έχω διαβάσει, πολύ όμορφα ανεπτυγμένοι, με τα υπαρξιακά τους, τη φιλοσοφία τους και συνεχώς μεταβαλλόμενοι ανάλογα με αυτά που βλέπουν\ακούν\νιώθουν. Η ιστορία κινείται συνεχώς και το ένα γεγονός διαδέχεται το άλλο με απόλυτα φυσιολογικό τρόπο. Βέβαια υπάρχει τεράστια υπερβολή στις συμπτώσεις που ίσως ξενίσει στην αρχή, αλλά άπαξ και συνειδητοποιήσεις ότι αυτό είναι η κεντρική θεματική του βιβλίου, το δέχεσαι. Το βιβλίο μιλάει για το πεπρωμένο και για το κατά πόσο σημαντική είναι η κάθε επιλογή για τον εαυτό σου και τους γύρω σου, όσο μικρή και να φαντάζει. Κάτι που μου άρεσε πάρα πολύ σαν ιδέα, πρωτόγνωρο και διαφορετικό, όμως η εκτέλεση κατακεραυνώνει κάθε ευχαρίστηση στην ανάγνωση κατά την ταπεινή μου γνώμη.
Δεν είναι ένα κακό βιβλίο και μπορώ να καταλάβω γιατί αρέσει σε πολλούς ο Όστερ. Σίγουρα θα το χαρακτήριζα πολύπλευρο, υπαρξιακό και με πολλούς συμβολισμούς (λεβιάθαν = πεπρωμένο / κανείς δε μπορεί να τιθασεύσει τον λεβιάθαν = κανείς δε μπορεί να τιθασεύσει το πεπρωμένο κλπ). Ο Όστερ έχει ταλέντο στο να πλάθει χαρακτήρες, γεγονότα και διαβολικές συμπτώσεις, αλλά η γραφή του με ξενίζει. Σίγουρα στο μέλλον θα διαβάσω ξανά κάποιο βιβλίο του - έχω βάλει στο μάτι τον Αόρατο - και ίσως αναθεωρήσω. Πιστεύω ότι ο Όστερ ανήκει στην κατηγορία "ή του ύψους ή του βάθους, είτε θα τον λατρέψεις είτε θα τον μισήσεις". Εγώ προς το παρόν δε μπορώ να διαλέξω μεριά, εξού και τα 2.5 αστέρια, τρία με τη στρογγυλοποίηση. -
If you already like Paul Auster, you will definitely enjoy Leviathan, and if you dislike him or have a negative impression of his work, it's unlikely to be the book that will change your mind. This is, in many, many ways, textbook Auster. The author is a self-insert named Peter Aaron, a New-York based writer. The basic set-up isn't too different from that of
Invisible: a man does or suffers a terrible thing, and the story consists of his friend, the narrator, looking back on the history of their friendship, a history that includes the narrator's affair and subsequent obsession (or the other way round) with the man's wife. The tone is methodical, a meticulous chronological account of this friendship written as a sort of confession: part the narrator seeking to unburden the secrets he's kept, part an attempt to absolve the friend's wrongs on his behalf. There are hints of strangeness - though not anything explicitly inexplicable, as it were - and the narrator often second-guesses himself, or reinforces the fact that he is imagining some of his friend's thoughts, or reminds the reader that he is assuming things and/or only has the accounts of others to go on, accounts that often contradict one another. The protagonist's second wife is clearly modelled on Auster's wife Siri Hustvedt, and has the same forename as the main character of her first novel; in fact, given both writers' penchant for self-referential touches, I suspect the Iris of Leviathan is exactly the same character as the Iris in Hustvedt's
The Blindfold.
While writing this review I thought back to what I said in
my review of Douglas Coupland's
Generation X - that if I'd read it earlier, if I'd discovered the author at the 'right time', I'd have got more out of it. Paul Auster is an author I feel I discovered at exactly the right time. It isn't that I was particularly young when I started reading Auster - I first read one of his novels three years ago - but somehow I feel that I came to his writing exactly when I should have; or maybe it's just so 'me' that I'd have liked it just the same whether I'd been 15 or 50. Maybe it's something to do with the fact that I first came across his books when I was just starting to read a lot more, to think about what I was choosing to read rather than just picking something that was cheap in a bookshop, and to be more critical of what I read. Either way, I love that magical thing he seems to be able to do with words, where the language itself doesn't seem to be particularly remarkable when examined closely - and yet it casts a spell, creating a world that is always subtly strange and slightly altered from our own in ways it is difficult for the reader to put their finger on. Leviathan is nothing new, really, but it felt to me like a re-read of an old favourite, rather than a rehash of tired themes. Maybe I'll eventually grow tired of Auster's style and motifs, but I don't think it'll be for a while yet. -
La historia que nos cuenta Paul Auster en ‘Leviatán’ (Leviathan, 1992), empieza por el final. El escritor Benjamin Sachs muere mientras manipulaba una bomba junto a una carretera. Es entonces cuando Peter Aaron, también escritor y alter ego del propio Auster, decide narrarnos la historia de su amigo Sachs, y de cómo ha llegado hasta esta situación.
Lo principal de la trama son sus personajes, las relaciones que se establecen entre ellos, los cambios y circunstancias por los que van pasando. Además de Aaron y Sachs, también sabremos de Maria Turner, artista conceptual inspirada en Sophie Call, y de la fascinante Lillian Stern. Se trata de un elenco de personajes complejo, que Auster retrata perfectamente.
En esta relectura de ‘Leviatán’, he disfrutado de más detalles y matices que no había percibido la primera vez. Gran novela de Auster. -
Video review
A veritable dream if you are a fan of mysterious first-person narratives about Terrible Things that Must Be Told before Something Bad Happens. You know - Call of Cthulhu to The Name of the Rose. Not that the plot is pointless - it is thrilling, and peopled with interesting characters - but this is truly more for Forbidden Book and metafictional kids. -
ظاهرا گاهی به مشوش بودن این داستان همچون یک ایراد نگاه کرده اند، اما حداقل برای من نفس این تشویش، نسبت به نظم تصنعی، واقعیت زندگی رو بیشتر بیان می کنه - اون هم در زندگی امروزی. اما از طرف دیگه این رو هم باید گفت که زندگی آکنده از فراز و نشیبِ تقریبا همه ی شخصیت های کتاب واقعا تو چشمه و اغراق آمیز - حداقل برای من. آشفتگی، رخدادهای کور، و اراده های مصمم و سست در میانه ی این آشوب - و سرنوشت عمل نویسندگی در این بین - چیزیه که به نظرم جالب اومد تو این داستان. مثل باقی داستان ها اینجا هم به نظرم با داستانی انسانی طرفیم - از جنبه های مختلف و نه صرفا احساسی
ترجمه ی خجسته کیهان هم مثل باقی ترجمه هایی که دیدم ازش خوبه - در موارد معدودی ویرایش می خواد البته. در نسخه ای که من داشتم در یک مورد یک بند مفصل به چند صفحه بعد و به وسط بند دیگه ای منتقل شده بود - که به نظرم آشکارا اشتباه چاپیه و نه تقصیر مترجم. اون چیزی که من در قیاس با مهسا ملک مرزبان - مترجم دیگه ی بعضی کارای استر - در خجسته کیهان ستایش می کنم تلاشش برای حداقل کردن سانسورها است - اگه با تغییر یک کلمه بشه جمله رو چاپ کرد اینکارو می کنه -
Review to follow.
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เป็นภาพชีวิตแสด���ที่มา จากปัญญาชนใฝ่สันติ ที่มุ่งสู่การเป็นนักก่อวินาศกรรม สนุกตรงการประกอบสร้างจากชิ้นส่วนต่างๆ ที่ประกอบเป็นชีวิตมีเลือดเนื้อจิตใจของนักเขียน ด้วยบุคลิกที่เปี่ยมเสน่ห์ ร่างสูงใหญ่ แต่งตัวไม่เป็น ไว้เครารกเรื้อ และเขียนนิยายอันทะเยอทะยาน
ประกอบกันเหตุการณ์ในชีวิตที่เป็นความโกลาหลบังเอิญอย่างวิปลาส อย่างที่ มิลาน คุนเดอรา เขียนถึงในเล่ม อมตะ
หนังสือบอกเรากลายๆ ว่า ฝ่ายซ้ายมีจุดจบแบบนี้แหละ ไม่วินาสด้วยเรื่องเซ็กส์และครอบครัว ก็วินาสด้วยการลงเอยด้วยการทำลายตัวเอง.. ฝ่ายซ้ายไม่มีวันชนะ เพราะทันทีที่ชนะเขาจะกลายเป็นขวา -
Leviathan focuses on the interior world of a writer, Benjamin Sachs, as told by his best friend Peter Aaron (also a writer). The tale is dark, twisty and fascinating. I was in the mood for a dose of Auster and the novel delivered.
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Kitabın sonunda da dediği gibi; gerçekle kurgunun bu kadar iç içe geçmesini sevdim ben. Karekterler sıkıcı değil, her an yeni bir atraksiyon, anam hayat da zaten böyle değil mi ? Acele etmeden anlatmış ama detaya da boğmamış. Sanatçı kızın saçma sapanlığı, baş karekterin her an değişen ruh halini, doyurdu beni karekter derinlikleri. Ara ara boşluklar da var kitapta. Kitabı karekterin arkadaşı anlattığında , o boşluklar da bana insan hayatına değindiği için inandırıcı geldi. Herkes herşeyi bilemez sonuçta. Özellikle son sayfalarda demokrasi ile ilgili çıkarımı beni çok etkiledi. ‘Demokrasi bir hak değildir, kazanılması ve kaybetmemek için her gün savaşılması gereken bir olgudur.’ minvalinde. Al sözü alnına dövme yap, öyle yıllarca geçerliliğini yitirmez bir söz. Hele hele son dönemlerde en çok ihtiyacımız olan şey demokrasi değil mi? 🥺 eski New York ve Vermont tarifleri de beni mutlu etti. Beğendim diyeyim ya. Daha ne diyeyim.
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3.4
Este prima carte a lui Paul Aster care nu mă ia pe sus, nu mi se pare sclipitoare (am mai citit Trilogia New York-ului, Un om în întuneric și Palatul lunii), dar e departe de a fi o carte slabă.
Povestea ia tot forma unui thriller, ca și Trilogia NY și componentele seamănă: personajele-scriitori; problema identității și răsturnările de identitate, personalitățile răsucite de accidente și coincidențe care par aproape supranaturale; cartea în carte (Noul Colos în Leviatan, care Leviatan al unui scriitor este și el un substitut al Leviatanului original al celuilalt scriitor). Același univers al simbolurilor răsturnate, tipic lui Auster și totuși, ceva îi lipsește. De fapt, îi lipsesc mai multe lucururi: dacă în celelalte romane citite exista o țesătură aproape onirică / magică ce suspenda neîncrederea cititorului și te făcea să accepți convenția, aici coincidențele sunt exagerate, motivațiile personajelor nu sunt credibile, jocurile minții sunt prea transparente și chiar identitatea personajelor e foarte puțin conturată. Parcă de câte ori începe să urmărească motivația unui personaj, Auster se întrerupe după un paragraf, ca și când s-ar sabota singur, de parcă intenționat le subminează consistența.
Chiar tema centrală, cea a idealismului, a căutării sensului și a sacrificiului pentru idee (democrație, libertate și egalitate, simbolizate de Statuia Libertății, noul colos din Noua Grecie, cea mai mare democrație a lumii - și cea mai ipocrită) e șubred construită. Parcă nu reușește să ajungă la miez.
Totuși, stilistic Auster e grozav, ca de obicei, nici urmă de locuri comune, frazele alunecă elegant și cartea se citește de parcă ai alerga pe o partitură în Allegro. -
6. A Novel Whose Real Subject is Its Author's Anxiety About Losing Our Attention
This is, by most people's accounts, a minor novel of Auster's, and so it may be a poor choice to raise the question of what drives the work, as opposed to what happens when the writing succeeds. This book has a kind of unremitting literalism in its narrative. In a nearly blank, neutral voice, the narrator tells us dozens of dates, places, and names; it's justified by the notion that this is a book written at speed in order to provide legal evidence about one of the narrator's friends. But aside from that rationale, the studiously neutral tone is increasingly difficult to understand. Auster barely uses adjectives; he doesn't pause to pick the right phrase or find the right image. His writing here is utilitarian and evidential, even when the subject is sex, love, murder, and jealousy.
After fifty pages or so I realized the author (not the narrator) is driven by an overpowering desire to keep my attention, to be the one whose stories I want to hear. That grasping for my supposedly faltering attention provides the book's drive, and it seems also to explain the auhor's urge to write, no matter what the subject is. His anxiety to please and entertain pushes so hard on his imagination that it even prevents him from pausing long enough to construct metaphors, analogies, figures of speech, or other tropes that could make the writing interesting in itself. Here is one of the uncommon inerpolations of a figure of speech:
"But a new element was added to the already unstable mixture of the past twenty-four hours, and it wound up producing a deadly compound, a beakerful of acid that hissed forth its dangers in a billowing profusion of smoke."
This is not the most carefully constructed metaphor. First the "element" is a "compound," then it's a container of acid. The acid "hisses forth" (an overdone image, and a dramatic and clichéd qualifier), and then the "hiss" becomes "smoke." The image is confused and hard to picture, I think because he wrote at speed, and couldn't be bothered to stop and tune up his tropes.
That sense of the rush to write also comes out in passages that seem never to have been re-read:
"Iris was just twenty-four back then, a dazzling blond presence, six feet tall with an exquisite Scandinavian face and the deepest, merriest blue eyes to be found between heaven and hell."
In "Leviathan" it's as if the psychology, politics, characters, style, and mood of the novel are all arbitrary, and what really matters about writing is just the act of writing continuously, and pushing the plot forward with every sentence, as if fiction was a stalling donkey that needed continuous kicks and prods. But why am I imagined to have such a short attention span? And why should the solution be to keep turning the crank of the narrative, producing more and more of it? Why not settle in for a while and write some good sentences? And why write at all if your main driving emotion is fear of losing the reader's attention? The result is a book that hides a story about the author's own ambition under an entirely different plot.
It's often said that Auster practices a literary fiction version of popular crime fiction, blending metafiction with complex narratives. I imagine people mean that his work is an interesting, literary variation on the sorts of tight, complex narratives typical of crime or genre fiction. But I wonder if it might not be better to say he uses devices of postmodernism in order to do what popular trade press authors do: build what Naipaul disparagingly called "puzzles." I can't imagine a reason for reading another of his books. -
Κορυφαίος Auster. Το τέταρτο 5άρι που του βάζω μετά την Τριλογία, τον Αόρατο και το Man in the Dark. Και το κέρδισε πολύ άνετα.
