Meeting at the library on Monday 17 May with the Russian writer Vladimir Sorokin.
I was anxious to meet him, because it is a very intriguing writer, these books are like a violence I have rarely read (specifically the last translated), and at the same time they are very captivating, they have in them that something terrible and alluring.
can read it very ironic novels based on social criticism in the territories of science fiction. They are iconoclastic novels that move the lines of fiction. Nevertheless
waiting to see to complete to sort my feelings very strong and contradictory about its last translated: Roman .
I said that Sorokin is a man very discreet and does not open easily the doors of his workshop.
I said that Sorokin is a man very discreet and does not open easily the doors of his workshop.
Impressions reading
Reading Roman over as is often the case with the great books of the experiment. Upon its release I threw myself on it, with delight, envy ... and yet it is a novel I've ever had to give up and back, swinging between attraction and repulsion. Without ever being able to definitively abandon.
This is certainly due to the fact that despite appearances, I very quickly felt like a monster lurking behind the text, something muffled rumbling and yet there is the very first pages, the negative of the obvious beauty.
Let me explain, but first he must make a detour through the story we tell Sorokin. Alexievitch Roman is a young lawyer in Moscow, we are at the end of the nineteenth century, who chooses to leave the sounds of the city to return to his native countryside beautiful and green. He found a soul artist. The book and the talent of Sorokin applies to show us, in a succession of scenes scenic delights of provincial life in its obvious beauty and simplicity. Roman thinks here to find a meaning to his life among his family, protected by divine benevolence. He met Tatiana and they fall in love, then marriage ...
everything in this short story exudes happiness, yet there is something else at work, because we do not make great books with good feelings. The story is so imbued with the idyllic beauty in a beautiful lyrical language that seems to be accomplished at each stage and then suddenly comes to the stunning, the intrusion in this perfect environment of the utmost barbarism.
I felt from the first pages, there were signs warning of violence, but little did I imagine the horror that I was going to read.
In the pile of wedding gifts, Roman finds an ax and it is a revelation to him, he knows the road to follow, it involves the murder of the whole village. The last hundred pages are the story of the slaughter that Sorokin recounts in meticulous detail, showing us all the horror and above all absurd.
Because no coherent reason not just explain the actions of Roman if not the metaphysical void that inhabits it.
There is a sense of awareness of the character throughout the text, yet it is not so, we think it advances gradually into a more comprehensible understanding of the world that is gradually emerging from the mist. First by this gesture of the return home, his passion for painting:
Vladimir Sorokin advance some possible reading that can help us better understand the book: love, religion and literature.
Sorokin explains that his book is a love story, and that is precisely the strength of their feelings can not contain within their body, love that drive them crazy push them toward their destiny.
Religion and religious feeling pervades the novel, much of the action takes place during Easter week, in these scenes of provincial life, the whole village lives in the Orthodox observance of the laws. The dimension of acts of sacrilege Roman (he ended up invading the church music of corpses) foreshadows the horrors of the twentieth century. it's also why I was talking about metaphysical void. There is something in Roman complex in its perception of the world through God, as an incompletion. He would like to believe pious and devout, yet he can not. What he does in the church at the end must have seemed logical in the order of things (again, in an absurd).
Finally, Sorokin said that his book is also an attempt to settle accounts with the literature Russian. It plays just codes of provincial Russian literary space (space that is still, according to him, very present in the imagination of people in Russia). Y there is another dimension sacrilege (or so post-modern (though the concept is overused and inaccurate))?
Most of the book is written specifically in the language of the great Russian writers of the nineteenth century, Tolstoy and Tourguenieff in mind. And we can not ignore it with an ax as Raskolnikov kills the old usurer in Crime and Punishment . Sorokin's novel ends where it begins to Dostoyevsky. I see a reversal theory, Sorokin does not care about the consequences of the acts of his character. there is a reversal of values.
Finally in closing, I would say that Roman is a test. Sorokin plays with the reader and knows how to handle the dual fascination \\ repulsion. There is the same force, the same intensity between language soft, airy, lyrical magic of the five first hundred pages (it only read the prologue to be convinced, even if the romance ended when he took a terrifying) and the last part of the book made a narrow tongue, a scansion which turns into logorrhea psalm, monstrous and masterful. The book
demanding, but it's a wonderful event. Vladimir Sorokin
, Roman, Verdier, 29.50 euros.
I felt from the first pages, there were signs warning of violence, but little did I imagine the horror that I was going to read.
In the pile of wedding gifts, Roman finds an ax and it is a revelation to him, he knows the road to follow, it involves the murder of the whole village. The last hundred pages are the story of the slaughter that Sorokin recounts in meticulous detail, showing us all the horror and above all absurd.
Because no coherent reason not just explain the actions of Roman if not the metaphysical void that inhabits it.
There is a sense of awareness of the character throughout the text, yet it is not so, we think it advances gradually into a more comprehensible understanding of the world that is gradually emerging from the mist. First by this gesture of the return home, his passion for painting:
"How fortunate that the consciousness of being free! Free, simply, to get up and leave everything and go where you ... seems I will never try to be a famous artist or a lawyer known. I will listen more delusions of individuals like themselves, I would tell most women they are ugly beautiful. Nothing but Freedom! My only wealth. Do not deprive me lord! " (P 146)Then when he falls in love with Tatiana
"He ran with all his might and the world, awash in a soft evening sun, departed, understanding, before him." (P328)Finally after marriage and just before they open their gifts one can read the dialogue of the young couple
"When man love the world around him becomes transparent and meaningless. "(p329)
"-Darling, darling .. . darling ... "she repeated, looking at him. everything is wonderful, it's almost unbelievable ...Yet their actions remain totally absurd and inexplicable, even if Roman says what he must do.
-Everything is so likely the opposite!" he replied, kissing her. That's what who had previously was unlikely. All my life, all my futile existence. "
Vladimir Sorokin advance some possible reading that can help us better understand the book: love, religion and literature.
Sorokin explains that his book is a love story, and that is precisely the strength of their feelings can not contain within their body, love that drive them crazy push them toward their destiny.
Religion and religious feeling pervades the novel, much of the action takes place during Easter week, in these scenes of provincial life, the whole village lives in the Orthodox observance of the laws. The dimension of acts of sacrilege Roman (he ended up invading the church music of corpses) foreshadows the horrors of the twentieth century. it's also why I was talking about metaphysical void. There is something in Roman complex in its perception of the world through God, as an incompletion. He would like to believe pious and devout, yet he can not. What he does in the church at the end must have seemed logical in the order of things (again, in an absurd).
Finally, Sorokin said that his book is also an attempt to settle accounts with the literature Russian. It plays just codes of provincial Russian literary space (space that is still, according to him, very present in the imagination of people in Russia). Y there is another dimension sacrilege (or so post-modern (though the concept is overused and inaccurate))?
Most of the book is written specifically in the language of the great Russian writers of the nineteenth century, Tolstoy and Tourguenieff in mind. And we can not ignore it with an ax as Raskolnikov kills the old usurer in Crime and Punishment . Sorokin's novel ends where it begins to Dostoyevsky. I see a reversal theory, Sorokin does not care about the consequences of the acts of his character. there is a reversal of values.
Finally in closing, I would say that Roman is a test. Sorokin plays with the reader and knows how to handle the dual fascination \\ repulsion. There is the same force, the same intensity between language soft, airy, lyrical magic of the five first hundred pages (it only read the prologue to be convinced, even if the romance ended when he took a terrifying) and the last part of the book made a narrow tongue, a scansion which turns into logorrhea psalm, monstrous and masterful. The book
demanding, but it's a wonderful event. Vladimir Sorokin
, Roman, Verdier, 29.50 euros.
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