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«Wenn die Zuhälter und Diebe immer und überall verurteilt würden, hielten sich ja alle rechtschaffenen Leute ständig für unschuldig! Und meiner Meinung nach muss gerade das verhindert werden.»
In einer atemberaubenden Beichte bekennt ein im Amsterdamer Hafenviertel untergetauchter Staranwalt Selbstgefälligkeit und Opportunismus als Triebfedern seines einstigen Rechtsbewusstseins. Für diesen Roman erhielt Albert Camus den Nobelpreis. Der Fall
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Μ•Ο•Ν•Α•Δ•Ι•Κ•Ο
Ηλεκτροφόρα καλώδια στην καρδιά. Ηλεκτροσόκ κυριολεκτικό,κάθε φορά που ο αφηγητής σου απευθύνει το λόγο. Σε δείχνει. Σε χαρακτηρίζει.
ΜΙΛΑΕΙ ΓΙΑ ΣΕΝΑ... ΓΙΑ ΕΜΕΝΑ..
ΤΡΟΜΑΚΤΙΚΟ.
Ταυτίζεσαι και όταν τελειώνει κοιτάς το ταβάνι. Κοιτάς το πάτωμα.Ξανακοιτάς το ταβάνι, οπουδήποτε πιο ψηλά απο το υπόγειο ή το υπέργειο μπουντρούμι σου.
Ανοίγεις τα κλειστά παράθυρα κι ας είναι νύχτα...
Βγαίνεις κάπου έξω για να κοιτάξεις ψηλά,όσο πιο ψηλά μπορείς,φτάνει να αποφύγεις την
ΠΤΩΣΗ.
Τσουλήθρα σε ξυράφια αυτό το βιβλίο που καταλήγει σε μια πισίνα γεμάτη οινόπνευμα. Αντέχεις;
Η Πτώση σε αφορά. Σίγουρα κάποτε αδιαφόρησες για την Πτώση κάποιου. Άρα αντέχεις.Την αλήθεια.
Μπορείς να δεις το οδοιπορικό της ματαιοδοξίας και της ανούσιας φαινομενικότητας που οδηγεί με μαθηματική ακρίβεια στην Πτώση.
Η μετάνοια και η εξομολόγηση ενός ανθρώπου. Ενός δικαστή-μετανοητή. Η δική μου εξομολόγηση. Η εξομολόγηση όλων μας.
Όλων των λίγο- πολύ βολεμένων. Με στρωμένη ζωή,με προβλήματα,με απόψεις,με κριτικό πνεύμα στην κατάκριση της κοινωνίας και με ιδέες φιλελεύθερες και εμπεριστατωμένες.
Όλων των προβληματισμένων που έχουν ωραίες απόψεις, κοσμική ζωή,φίλους,γνωστούς,οικογένεια, μόρφωση,εργασία και μικρή ή μεγάλη εξουσία.
Όλων όσων έχουν κουσούρια.
Όσων είναι εγωιστές,φιλάνθρωποι,φιλόζωοι,νάρκισσοι, ατομιστές.
Όσων αγαπούν μόνο απο συμφέρον και είναι ανίκανοι να το καταλάβουν, που λένε πάντα την ψεύτικη αλήθεια για να είναι αρεστοί και αποδεκτοί.
Που παραδέχονται αξίες και ιδανικά μόνο για να μην κατακριθούν απο άλλους άμεμπτους ψεύτες.
Που συμπαραστέκονται απο χαιρέκακη ανωτερότητα όχι απο συμπόνοια.
Που κοιτούν χαμηλότερα για να αισθανθούν ψηλότερα. Δειλοί. Άβουλοι. Παραιτημένοι. Απελπισμένοι. Αμαρτωλοί. Ήσυχοι. Απλοί. Ονειροπόλοι. Καλοί. Κακοί.
Με μια λέξη άνθρωποι ή κατηγορίες ανθρώπων και ανθρώπων.
Για όλους αυτούς, για όλους εμάς,φτάνει μια στιγμή που μας δείχνει τον καθρέφτη της πραγματικής μας μορφής και υπόστασης.
Αν δεν ανήκετε σε καμία απο τις παραπάνω κατηγορίες, κρίμα.
Δεν χρειάζεται να διαβάσετε αυτό το βιβλίο.
Είναι αμείλικτο,τοξικό και κοφτερό.
Ίσως καλύτερα να μην το διαβάσετε. Είναι παγίδα.
Αν πιαστείς κανείς δεν θα μπορέσει να σε βγάλει. Πρέπει να βγεις ολομόναχος, αν τα καταφέρεις.
Συγκλονιστικά και τρομακτικά φιλοσοφεί ο Καμύ.
Αρπάζει απο τα μαλλιά τον σύγχρονο άνθρωπο που τον συναρμολογεί η νέα τάξη πραγμάτων,η θρησκεία, ο πολιτισμός,τα διάφορα συστήματα εξέλιξης και η ανούσια ελευθερία.
Τον αρπάζει απο το δουλοπρεπέςφαίνεσθαι και τον σέρνει στον γολγοθά του είναι.
Προσπαθεί να μαντέψει πως θα ήταν αν έσπαγε ο κρίκος μιας παγκόσμιας αλυσίδας αδιαφορίας και επίπλαστης ευτυχίας που μας δένει όλους και οδηγεί στην Πτώση.
Πως θα ήταν αν αντιλαμβανόμασταν πως ανήκουμε σε μια κοινωνία που κρίνει-κατακρίνει και επικρίνει αισχρά και αυτοί που την αποτελούν είναι ακόμη χειρότεροι ή εξίσου αισχροί υποκριτές.
Τώρα ξέρουμε.
Είμαστε προειδοποιημένοι.
Καλή ανάγνωση.
Πολλούς ασπασμούς!
Εισέρχεστε με απαραίτητη τη συνειδησιακή συναίνεση προς την επερχόμενη Πτώση.
Εγώ υποκλίνομαι ταπεινά. Αρχίζω να κοιτάω ψηλά...με δική μου ευθύνη!
🟦⬛️💜🟦💜⬛️🟦��🟪 German I ran into my friend Dan at the club last week, and he was drunk. So we talked Camus. We didn’t discuss Camus’s theories, or the fact that he avoided riding in cars and then DIED IN A CAR CRASH. We just talked about Camus in relation to Dan’s life and in relation to mine. The only really interesting thing about anything to me is how it affects me. That’s the honest truth.
Dan and I agreed that an interest in Existentialism is kind of a stage in your life – like when you liked Pearl Jam or lived in a little house that had a name and seven other people living in it. We then agreed that a re-exploration of all things Existential is usually preceded by your significant other telling you to get bent.
Later Dan taught me how to cure a salmon, and we decided to co-host a dinner party in the second week of April. I doubt we would have come to this conclusion without having read The Fall.
German
“One plays at being immortal and after a few weeks one doesn't even know whether or not one can hang on till the next day.”
― Albert Camus, The Fall
“A single sentence will suffice for modern man: he fornicated and read the newspapers.” So pronounces Jean-Baptiste Clamence, narrator of Albert Camus’s short novel during the first evening of a monologue he delivers to a stranger over drinks at a shabby Amsterdam watering hole. Then, during the course of several evenings, the narrator continues his musings uninterrupted; yes, that’s right, completely uninterrupted, since his interlocutor says not a word. At one point Clamence states, “Alcohol and women provided me, I admit, the only solace of which I was worthy.” Clamence, judge-penitent as he calls himself, speaks thusly because he has passed judgment upon himself and his life. His verdict: guilty on all counts.
And my personal reaction to Clamence’s monologue? Let me start with a quote from Carl Jung: “I have frequently seen people become neurotic when they content themselves with inadequate or wrong answers to the questions of life. They seek position, marriage, reputation, outward success of money, and remain unhappy and neurotic even when they have attained what they were seeking. Such people are usually confined within too narrow a spiritual horizon.” Camus gives us a searing portrayal of a modern man who is the embodiment of spiritual poverty – morose, alienated, isolated, empty.
I would think Greco-Roman philosophers like Cicero, Seneca, Epictetus, or Marcus Aurelius would challenge Clamence in his clams to know life: “I never had to learn how to live. In that regard, I already knew everything at birth.”. Likewise, the wisdom masters from the enlightenment tradition –- such as Nagarjuna, Bodhidharma and Milarepa -- would have little patience listening to a monologue delivered by a smellfungus and know-it-all black bile stinker.
I completed my reading of the novel, a slow, careful reading as is deserving of Camus. The Fall is indeed a masterpiece of concision and insight into the plight of modern human experience.
Here is a quote from the Wikipedia review: “Clamence, through his confession, sits in permanent judgment of himself and others, spending his time persuading those around him of their own unconditional guilt.”
Would you be persuaded?
German La Chute = The Fall, Albert Camus
The Fall is a philosophical novel by Albert Camus. First published in 1956, it is his last complete work of fiction.
Set in Amsterdam, The Fall consists of a series of dramatic monologues by the self-proclaimed judge-penitent Jean-Baptiste Clamence, as he reflects upon his life to a stranger.
In what amounts to a confession, Clamence tells of his success as a wealthy Parisian defense lawyer who was highly respected by his colleagues; his crisis, and his ultimate fall from grace, was meant to invoke, in secular terms, The Fall of Man in the Garden of Eden.
The Fall explores themes of innocence, imprisonment, non-existence, and truth. In a eulogy to Albert Camus, existentialist philosopher Jean-Paul Sartre described the novel as perhaps the most beautiful and the least understood of Camus' books.
تاریخ نخستین خوانش: یکی از روزها در سال 1975میلادی
عنوان: سقوط؛ نوشته آلبر کامو؛ مترجم: ا.(اصغر) بهروز؛ تهران، قائم مقام، مطبوعاتی خرد، چاپ نخست 1340؛ در 120ص
عنوان: سقوط؛ نوشته آلبر کامو؛ مترجم: علی صدوقی؛ تهران، قائم مقام، چاپ دوم 1345؛ در 107ص
عنوان: سقوط؛ نوشته آلبر کامو؛ مترجم: شورانگیز فرخ؛ تهران، امیرکبیر، فرانکلین، چاپ دوم 1352؛ در 189ص؛ تهران، نیلوفر؛ چاپ چهارم 1377، در 167ص؛ چاپ نهم 1393؛
عنوان: سقوط؛ نوشته آلبر کامو؛ مترجم: امیر لاهوتی؛ تهران، جامی، 1388؛ در 144ص؛ شابک 9789642575572؛
عنوان: سقوط؛ نوشته آلبر کامو؛ مترجم: آناهیتا تدین؛ تهران، روزگار، 1392؛ در 120ص؛ شابک 9789643741808؛
کتاب نخستین بار در سال 1956میلادی منتشر شد؛ رمانی فلسفی، که از زبان «ژان باتیست کلمانس (یحیای تعمید دهنده ی ندا کننده)» که وکیل بوده، و اینک خود را «قاضی توبه کار» میخواند، به صورت مونولوگ اول شخص روایت میشود؛ او داستان زندگی خویش را برای غریبه ای اعتراف میکند؛ «ژان پل سارتر» فیلسوف «اگزیستانسیالیست»، این رمان را «زیباترین و فهم ناشده ترین» کتاب «کامو» میخواند
نقل از متن: (آقا اجازه میدهید بی آنکه مزاحمتی برایتان فراهم شود، خدمتی درحقتان بکنم؟ گمان نکنم بتوانید منظورتان را به این گوریل غولآسایی که اینجا را اداره میکند بفهمانید؛ آخر او جز هلندی، زبان دیگری بلد نیست؛ اگر اجازه ندهید من پادرمیانی کنم، نخواهد فهمید که شما عرق اکلیل کوهی از او میخواهید؛ میبینید، میتوانم امیدوار باشم که حرفم را درک کرده؛ این سر ت��ان دادن مفهومش این است که با گفته ی من موافق است؛. به راستی دارد میرود پی آوردن آن، با شتاب، اگرچه با کندی عاقلانهای؛ بخت با شما یار است چون غرولند نکرد؛ موقعی که کاری را نمیخواهد انجام دهد، فقط غر میزند، آنوقت دیگر هیچکس پافشاری نمیکند؛ برخلق و خوی خود مسلط بودن جزو امتیازهای حیوانهای درشت جثه است؛ خب دیگر، حالا باید بروم، آقا؛ خوشحالم که توانسته ام خدمتی برایتان انجام دهم؛ از شما متشکرم و اگر مطمئن باشم مزاحمتان نیستم، دعوتتان را میپذیرم؛ شما آدم بسیار خوبی هستید، بنابراین گیلاسم را میگذارم کنار گیلاس شما
حق با شماست، سکوتش کر کننده است؛ مانند خاموشی جنگلهای بکر وحشی است، آکنده از هیاهوی پرندگان؛ گاهی تعجب میکنم که چرا این دوستمان با شنیدن زبانهای ملتهای متمدن، ابرو درهم میکشد، قهر میکند؛ پیشهاش ایجاب میکند از دریانوردانی با ملیتهای گوناگون در این نوشگاه در آمستردام که نمیدانم چرا اسمش را گذاشته مکزیکو سیتی، پذیرایی کند؛ شما فکر نمیکنید با داشتن چنین پیشه ای، زبان دیگری جز زبان مادری اش را ندانستن برایش اسباب دردسر میشود؟ مجسم کنید که آدمی از دوران انسانهای غارنشین کرومانيون، جزو مشتریان دایمی برج بابل شود! کمترین ناراحتیاش احساس غربت و دوری از دیار است.)؛ پایان
تاریخ بهنگام رسانی 06/06/1399هجری خورشیدی؛ 09/05/1400هجری خورشیدی؛ ا. شربیانی German
The Anti-Christ
Why does the Judge-penitent address you directly, as if he has found a kindred soul in you?
In this world responsibility is infinite and that is why The Fall is inevitable - even for a Christ. But back then Christ made a mistake — he saw (was) the nausea of the world, he saw (was) the complete guilt of each man (and his own) and he decided to redeem man (himself) by setting a supreme example. He sacrificed himself because he found himself guilty. It was only an example, a call to action -- to make men recognize and alter their way of life. He wanted man to see the depravity of his own existence by this one magnificent act. But his sacrifice was merely self-elevating, it could not elevate man. For man cannot be elevated before being shown the depths he roils in currently. And man cannot see faults where he looks to see heroes. He cannot see himself in Christ. Man cannot see man in the Ideal.
No, the faults had to be shown through an anti-hero. That is why the prophesy of an anti-christ was our true hope. That is why Christ had to return as the Anti-Christ. The Anti-Christ has to be closer to man, he has to be able to whisper to him as if he was just another man. He has to be able to make man see himself by looking at him. To make you see yourself as you really are by seeing in him yourself — yourself after The Fall.
That is why the Judge-penitent addresses you directly. He has found a kindred soul in you.
The Judge-Penitent
You are personally guilty for every fault that exists in the world. And The Fall is to not acknowledge your guilt — to withdraw from the world into aestheticism (recall Kierkegaard’s A in Either/Or) and make your life’s central concern one of making yourself feel good about yourself and thus about the world.
By the time Jean-Baptiste’s confession is over, you should realize that in fact the Judge-penitent is you. The story was yours. It is time to begin your own confession. It is time to stop being Kierkegaard’s A, and to be the B. To polarize yourself. Time to take responsibility and stare into the abyss.
Of course you might let someone else take The Fall for you, but from then on you would have to worship him. You would have to worship the guilty. You would have to worship the Judge-Penitent. But in this modern religion, to worship is to laugh at The Fallen.
That is the true role of the modern Christ. To take The Fall for you, so that he becomes the mirror in which you see the horror of your life.
The Fall
This necessary and continuous fall is the theme of the novel. It is one unforgiving, vertiginous descent. It is not a story of gradual discovery and ascent as in Sartre’s Nausea. In Nausea you see the picture that you should be painting of yourself. In The Fall you see the anti-thesis that you should use as your anti-model, as the one point which gives meaning to your picture by not being painted.
Here you are made to continuously disagree with a person who goes more and more towards that abyss. You are made to define yourself in your disagreement, to define yourself as a negation. And by doing that you are the one who discovers the nausea of such an existence, even as the narrator finds ingenious and pathetic ways to avoid it. And you are the one who moves away from the abyss.
You are the hero of the story, or at least the would-be hero — the one who is going to have the transformation that will change your world. The polarization is external to the novel.
Jean-Baptiste is one of the most powerful anti-heroes of literature, but you never root for his redemption. Instead you root for him to fall and fall — to Fall as horribly and as deep into the abyss as possible. Because that is the only way to root for yourself. Because the more he falls, the more you can see of what consists the abyss, and the further away you get from it. His Fall will save you. Mon cher, he is your personal Christ. German
I used to be, as they say, a person of some consequence, but now I spend most of my time on Goodreads. What? Oh, I worked for an American organization which provided experts for hire. At significantly elevated rates, it goes without saying. Reliable expertise carries a high market value, that was our business model. Let me tell you about one job I performed. A Spanish government agency wished to discontinue funding of a software project, why I don't know. Some internal feud, perhaps. They required an unimpeachable opinion to quote, so I had been brought in as an external evaluator. I was politely told in advance that my evaluation was expected to be negative. My contact assured me that he would keep the meeting as short as possible, in the interests of everyone concerned.
I went in and shook hands with the representative of the project. I could see he had been up all night trying to improve his system's performance. I allowed him to show me the app for a few minutes. The contact man looked at me. In a neutral tone, and, in English, I explained that the project was not using the currently fashionable architecture or evaluation methodology; it was hard not to feel that this raised serious doubts. The contact man translated. But he doesn't even know Spanish, the victim said helplessly; the contact man replied; a minute later, we were shaking hands again and leaving. The next day, my boss told me the client had been pleased with my performance.
After I discovered Goodreads, I began to feel that software projects were insufficiently challenging. Instead of giving bland opinions on code, I could use my own words to judge the accumulated output of the world's writers, from Homer to the present day. The response was also more interesting. A curt and eloquent dismissal of Joyce or Dostoyevsky would produce satisfying howls of protest from the soi-disant intellectuals, and a comment thread that could yield a whole morning of amusement. But after a while, this too palled. I found that there are only a limited number of ways to disturb a highbrow reader's sense of literary appropriateness; I began to move my reading steadily downmarket, to vulgar and poorly executed novels which readers actually seemed to care about.
Soon I had touched bottom and found the rich stratum of authors with accounts on the site. People claim, without much conviction, that they care deeply about To the Lighthouse; they may believe in all honesty that they care about Harry Potter and the Deathly Hallows. But there is no doubt at all that they care about their own books. It was extraordinary easy to manipulate these authors' vanity, first raising up their hopes with an appreciative comment and then hitting them with a bluntly insulting one-star review. If they dared object - I was surprised to see how many did - it was then the work of an hour to assemble dozens or even hundreds of other reviewers, who would mock and scorn them as badly behaved authors, adding their own insulting reviews. I know, one can hardly call my career a glorious one; but no doubt you have similar crimes on your conscience.
Every author, I learned, longs to find the ideal reader who will read them as they know they should be read, who will understand all the things they wished to say but could not express. They search for the ideal reader, but all they find are critics. I think there has only been one ideal reader, two thousand years ago. He looked past the surface of the book and saw the true book inside, the book so deeply hidden that even the author could not see it. Naturally the critics found him intolerable and put him to death. Later, people felt that they had to write a book about the ideal reader. It is a confused and poorly structured book, full of inconsistencies and non-sequiturs. It is still the best book yet written.
I could continue, but it is nearly midnight. I do not think I will tell you any more about my life. Instead, I suggest we walk across the bridge into the Vieille Ville, past the art galleries and antiquarian bookshops. Another one closed down just last week. I want to see them before it is too late. German you know this person, we all know this person, this particular kind of person. a real do-gooder, a person of the people, doling out the goodwill and the spare change and the spare arm to help that blind person across the street. you know the satisfaction they get from looking humble, acting humble, being anything but humble at the heart of them. reveling in their goodness; reveling in their superiority. selflessness disguising selfishness. this person loves 'em and leaves 'em too, except love is too strong, too emotional a word to describe the shallow physical connection that leaves out any potential for a genuine connection. this person looks at other people like they would look at a collection of amusing bugs. this person sees a person needing help but if it costs them something, anything, even just a bit of delay on their way to something super important, then they are going to pass that person by. this person doesn't actually like people all that much; this person despises them, more than a little.
you know this person because you have been this person! for at least a moment or a minute, maybe even longer, maybe it was something you had to get past. you know this person because this person is a part of you, unless you are some fairytale wonderland cartoon character who isn't capable of such things, of even thinking such things, and if that's the case - then fuck off! no, scratch that, don't fuck off; if you've never been this person, not even for a second, then message me because I wanna marry you. I've never been with a perfect person before.
you know this author, mark, or at least you thought you did. Camus! the very name brings up so many thoughts and ideas and college memories, so many references. it's an intimidating name because Camus is an intimidating author. at least I thought he was. but not the Camus who wrote this excoriating and brilliant little novella. The Fall is pure enjoyment. Camus gets into the head of his douchebag protagonist and makes you really understand him. and even better, he makes the experience so much more than a chilly intellectual exercise. Camus is funny. he's more than clever, he has a genuine although dark sense of humor - wounding but never callow wit. but more important than either the depth of his characterization or his darkly sparkling wit is the fact that Camus is a man with reservoirs of empathy. The Fall isn't just a hit job on some hypocritical asshole. Camus understands his character, intimately; he understands him by recognizing that his character is a trait within human nature. the deepest wounds come from the people who are armed with empathy - they know exactly where and how to hurt you. Camus holds up a mirror for his readers to gaze upon themselves. personally, I wasn't too big a fan of what I saw; I don't like that side of me. I hate confronting my own hypocrisies. but I sure did love the mirror itself! it was beautifully built, a real work of art.
8 of 16 in Sixteen Short Novels. German - لا ادري اذا كانت افضل ما كتبه كامو، لكنها الأفضل بالنسبة لي: رواية قصيرة بالدرجة الاولى، كثيفة المعاني، صوت سردي واحد (البطل وكامو مندمجين)، مشبعة بالفلسفة، تستعرض حياة كاملة عبر مشوار بسيط (تقريبا نهار واحد بين البطل والمستمع اليه) وتعري البشرية بصورتها البشعة الجلية.
- الشخصيات: جان كلامنس ويعني يوحنا المعمدان المطهّر والمعمّد (عمّد السيد المسيح) والشخصية الثانية ما هو الا القارئ، وبذلك تكون احدى اولى المونولوجات التي تشرك القارئ بشكل تفصيلي في القصة. ويبدو ان كامو اراد للقارئ ان يحاكم نفسه ايضاً وهذا سأعود اليه لاحقاً.
- تبدأ القصة في احدى حانات امستردام، لماذا امستردام لأنها في ذلك الوقت مرتع العصابات والمافيات وتجمع الحثالة من جهات اوروبا الأربعة وبذلك تكون على ما وصفه كامو مستنقعات الجحيم. الحانة اسمها مدينة المكسيك او مكسيكو سيتي وهي التي قامت على انقاض السكان الأصليين بعد ابادتهم. وهنا يخلق الرابط بينهما.
كلامنس القاضي التائب، او المحامي التائب الذي عاش حياته بثنائية وازدواجية يحاكم نفسه كطريق لمحاكمة العصر السائد بأكمله والضمير الانساني برمته (او ما تبقى منه) من خلال تجربة احادية. فهو كريم بحضور الناس، مؤنس بلسانه الطلق، مقدام بحضور الجمهور، عاطفي بزلفة اللسان ويستعرض كل ذلك بعدة امثلة ابرزها ثلاثة:
١- مثل البواب الذي مات.
٢- مثل سائق الدراجة الذي ضرب البطل.
٣- مثل المنتحرة على الجسر
ففي الاول استعرض الرياء الاجتماعي والمسايرة التي تحدث بعد موت شخص ما من دون وجود اي رابط او ذرة محبة في حياته. والثاني الانكسار الشخصي امام الذات. والثالث اللامبالاة في ظل غياب الجمهور.
- يستعرض كامو عبثية هذه الحياة وكذبها وريائها والتصنع الاجتماعي، يستعرض الاقنعة التي يلبسها البشر ويغيرونها حسب المناسبة، يستعرض المفاهيم الرنانة كالتحرر (يظهر لنا حبه لوجود العبيد ضمنياً)، المقاومة (وجد انه مع المفهوم لكن ذلك لا يليق به ولا يناسبه العيش بين الحفر!! )، يستعرض الفراغ في هذه الحياة العبثية، معرجا على مفاهيم العدالة والحرية والحب والعبودية والصداقة مظهراً الوجه الآخر للقمر.
- النهاية لكأنها عودة الى الفطرة الانسانية وكلمة لو لكن فات الوقت الآن.. وسيفوت الوقت دوماً... لحسن الحظ
- بعيدا عن الرواية، فإنسان كامو العبثي قد يكون انسان ميكافيللي لكن الاول بدأ بنقد ذاته فيما سيقوم الثاني بتبرير غايته. انسان كامو هو ذاته انسان نيتشة (المتفوق) لكن الاول عبثي ونادم الى حد ما اما الثاني فهو مركز مسيطر والندم لا يعتليه.. لماذا هذه المقارنة؟ لأن الثلاثة يتواجدون في الحياة فالى اي منهم سيجنح القارئ؟!! وهل سيستطيع كامو إصابة هدفه الأخير بدفع القارئ لمحاكمة نفسه؟!
- اسقاطاً على الواقع، لا زال العصر ذاته، الكذب والتصنع ذاته، الرياء والقوادة ذاتها، معظم السياسيين على شاكلة بطل كامو (قبل ان يعترف) وبذلك لا زلنا في مرحلة السقوط.
-اخيراً الترجمة، ووا اسفي على ترجمات كامو للعربية (رغم ان هذه الترجمة ليست بسوء القصص القصيرة) لكنها جافة وباهتة ولا تنساب وتتسلسل كالقصة الفرنسية. German تابلوی نقاشی قضات پاکدامن، نام یکی از تابلوهای مجموعه نقاشی مذهبی است که در محراب کلیسای گنت در بلژیک قرار داشت.
این اثر هنری به همراه بخش های دیگر این مجموعه، در سال ۱۹۳۴، به سرقت رفت.
سارق طی چند نامه، درخواست مبلغ کلانی برای بازگرداندن تابلو کرد، ولی درخواست توسط اسقف اعظم کلیسای گنت رد شد. پلیس هیچ وقت نتوانست سارق را بیابد.
مدت ها بعد، شخصی به نام آرسِن گودرتیر، در بستر مرگ به وکیل خود گفت: او تنها کسی است که می داند قضات پاکدامن کجاست، و این راز را با خود به گور خواهد برد.
در یکی از کشوهای او، کپی نامه های اخاذی ای که به اسقف فرستاده شده بود را یافتند و همچنین یادداشتی به این مضمون که: تابلو در جایی مخفی است که بدون جلب ت��جه عمومی، نمی توانند بیرونش بیاورند.
گروهی حدس زدند که تابلو باید در خود کلیسا باشد، و با پرتوی ایکس، سرتاسر کلیسا را گشتند. فرضیه های دیگری هم مطرح شد، ولی هیچ یک به نتیجه نرسید.
این ها، همه در حالی بود که این تابلو، در یک میخانه در هلند، بالای سر مست ها و اوباش عربده جو آویزان بود.
پ ن: بخشی از کتاب، راوی می گوید که این تابلو در حقیقت دست او بوده و او داده آن را در یک میخانه آویزان کنند، ولی توضیح چندانی راجع به ماجرای سرقت تابلو نمی دهد. این بود که رفتم و از ویکی پدیای انگلیسی، چند و چون ماجرای سرقت را درآوردم. German I love small books. I always have, always will.
You may be tempted to assume, due to everything else about me and what I do and who I am as a person, that this is sheer laziness on my part. That because I do not enjoy putting effort into things, I appreciate when a book takes me an hour or two to read.
But you'd be wrong.
Okay, fine, you'd be a little bit right. My book a day habit gets a little unwieldy when I start picking up tomes of YA fantasy and 20th century classics. But still. That's not the ONLY reason.
It's not even the main one.
There's just something to the idea of concision that I admire.
By definition, writing a 600 page volume with brilliant ideas and advanced plot and likable characters is easy. Or at least easier than the alternative.
But when an author can do the same in 200 or less...those are the works that stick with me.
This is a very skinny little thing, and yet I did spend hours with it. Just letting its ideas sink in and its prose stay with me for a moment longer than necessary for basic understanding.
And I'm very glad I did, in case that wasn't obvious. I've read books of varying lengths and qualities and genres this month, as I attempt to clear my owned to-read list, but few will stay with me like this will.
But also, in case I overdid it - this is still not intimidating. It's funny and short and it's clear. You could read it in an hour if you wanted to.
You just won't want to.
Bottom line: I don't really know how to review philosophy, but in case it's not obvious, I'm leaving the ideas out of it. As my elementary school librarian would say: Read to find out.
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pre-review
i feel like my brain just grew two sizes. grinch's heart-style
review to come / 4 stars
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currently-reading updates
who, me? oh i'm just reading a twentieth century classic work of philosophy that won the nobel prize for literature. no big deal.
and yes, my quest to become as pretentious as possible is coming along rather well, thank you
clear ur shit prompt 5: your shortest book
follow my progress here
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tbr review
how do i stop reading the first few pages of a book in a bookstore and using that as an excuse to justify buying it German
