Eternal Curse on the Reader of These Pages By Manuel Puig

Manuel Puig ì 3 read & download

تصور کنید یک کتاب دویست و خرده ای صفحه ای فقط از دیالوگهای بین دو نفر ساخته شده باشه، گاهی شبیه نمایشنامه میشه و البته گاهی خسته کننده،
برای من قسمت جالب تلاش اقای رامیرز پیر در بازشناسی احساسات انسانی از طریق گفتگو با لری جوان بود. رامیرز ظاهرا دچار فراموشی شده و گویا حتی دیدش را نسبت به عواطف انسانی از دست داده، با گفتگو با لری و شنیدن خاطراتش و گاهی بازسازی ذهنی خاطرات لری تلاش میکنه دیدی نسبت به واکنشهای انسانی در موقعیتهای مختلف پیدا کنه،
ترجمه خوب بود اما -طبق روال- پر از اشتباهات دیکته و نگارش! Paperback This book reminded me of Beckett's Waiting For Godot - but with much more connection to the protagonists. I have known several individuals who have fallen into what I will call an 'orbital relationship' that seeks exercise 'gravitational balance' to a somewhat random existence. This book portrays this type of relationship: two men try to chart the constellation of their existence...but many of the stars have long ago burned out. Paperback


Argentina born author Manuel Puig doesn’t shy away from experimentation. His best known work, Kiss of the Spider Woman, has no traditional first person or objective third person narrator; rather the novel consists of a dialogue between two prison inmates punctuated by stream-of-consciousness along with a few references to classified government reports.

Eternal Curse on the Reader of These Pages goes even further in the direction of novel as dialogue: other than a handful of letters and a job application tucked in at the conclusion, its entire 230-pages contain a succession of conversations between two men: Juan José Ramirez, a 74-year-old former political prisoner in Argentina who has a failing memory and is confined to a wheelchair, and Larry John, a divorced 36-year-old native of New York City and former college history instructor who is hired to push Mr. Ramirez around the city a few times each week.

One further note on style: there are no character attributions, that is, there are no Mr. Ramirez said or Larry said nor are there the usual quotation marks - instead the left hand side of each page is filled with dashes (-) to indicate a change of speaker. In this way Mr. Puig gives a reader the feeling she or he is standing next to the two men, overhearing their verbal exchange. This novel would make an excellent candidate for a Masterpiece Theater-style series - the producers could simply use the book's exact words from beginning to end.

For a number of years Manuel Puig lived in New York City. Eternal Curse is the one and only novel he wrote in English. Here’s the opening: its December 1977, in Greenwich Village, the location of the rehabilitation center where Mr. Ramirez is currently a resident, having been placed there by a human rights organization. Larry, who suffers from bouts of depression and has been working menial jobs, mostly part-time, for the past several years is now wheeling Mr. Ramirez through Washington Square. The older man begins asking the younger man a series of probing questions, to which Larry replies: “I’m paid to push your wheelchair, not give you my philosophy of life.”

But shortly thereafter, following a round of deeply personal inquiries posed by the old Argentinean, sharing his philosophy of life is exactly what Larry winds up doing, which proves the alchemy to bind the two men in the coils of a tight, unsettling connection.

Both Larry and Mr. Ramirez are susceptible to what nowadays we term codependency: as a boy, Larry was abused both emotionally and physically by his father and now yearns for a wholesome relationship with a father figure; Mr. Ramirez is racked by guilt over the suffering and death he caused his son back in Argentina. And to add fuel to the psychoanalytic fire, at different points the two men slide into role playing and speak directly to one another as father and son.

Yet again another aspect of their relationship is the whole issue of honesty. Is Larry being honest when he admits he killed a Vietnamese civilian when fighting in the army in Vietnam? Did he murder an older man during a savage struggle in a dilapidated Greenwich Village apartment building? In his turn, is Mr. Ramirez telling the truth or bending the truth about how much he remembers of his life in Argentina or how reliable his memory regarding more recent events? Such uncertainties add depth and tension as the men play out their respective parts in the unfolding tragicomedy.

Eventually we discover the origin of the book’s disquieting title. Given the opportunity to finally have access to the journal Mr. Ramirez kept while a prisoner in an Argentine dungeon, Larry reads the very first line: “Eternal curse on the reader of these pages.” Deeper into the conversation, Larry makes the bold statement the old man in the wheelchair must have been a terror on his feet. Juan José Ramirez reacts sharply: “There’s no proof of that . . . none at all. There will never be.” One can detect a hint of defensiveness, perhaps alluding to the fact that he was himself an instigator of terror and torture prior to a reversal of fortune wherein he became the one tortured.

Reading a book where plot, character, mood, setting are all developed through dialogue is a unique and somewhat unusual experience. Not nearly as peculiar as reading A Void by George Perec, a novel written without using the letter “e” but it’s a close cousin.

A psychological tale with Freudian and Oedipal overtones, Eternal Curse may bring to mind Samuel Beckett or Jean-Paul Sartre, most especially, at least for me, Sartre’s No Exit, a play where three people, two women and a man, sit in a room in the afterlife and discover hell is other people. In Manuel Puig’s novel, two men reach a similar conclusion right here on earth.



I guess what was coming alive at the time was my capacity for pleasure. But my mother would throw out all my books. There is a chapter in Sartre's Being and Nothingness called The Body. She thought the book was pornographic and threw it out. What she didn't understand and what gave me pleasure were suspicious to her. - Manuel Puig, Eternal Curse on the Reader of These Pages Paperback Con esta, leí todas las novelas de Puig ❤️ Paperback A cantankerous older man with Alzheimer's plays Shaharazad in this novel done all in dialogue. You won't likely read lengthy exposition or description here. Two protagonists become foils of each other, in a very exciting experiment by the writer of Kiss of the Spider Woman. When it starts leaning precariously towards Beckett territory however, it becomes a tad less special. Paperback

In his first novel in English, Manuel Puig strikes a balance between irony and sympathy as he tells of the dealings of two men whose deceptive reminiscences recall those of the characters in his better-known Kiss of the Spider Woman. Larry, a down-and-out writer, is paid to push a wheelchair-bound Argentine political exile, Ramirez, around Greenwich Village. Through their journeys and their conversations about sex and politics, we witness the collision of two solitary fantasy systems, revealing the men to be enmeshed in the lies that make up their bitter, shadowy symbiosis. Eternal Curse on the Reader of These Pages

Eternal

If you're interested in the ethics of alterity, this book is a fascinating read. One of the characters is far too infatuated with Freud, which can be a bit distracting, but the core story is one of two people doing their best to be completely ethical. What makes the story fascinating is that Puig imagines a relationship where the boundary between self and other, past and present have to be ruptured. In that sense, this book is better than Kiss of the Spider Woman, but it also lacks the intrigue of the earlier novel. More when I finish it. Paperback اسم کتاب مثل فحش گذاشتن می مونه! فحش می ذارم هر کی اینو بخونه! و این جوری جلوی خونده شدن از سوی آدمای بی خود گرفته می شه. می مونیم ما آدمای باخود که باید کتابو بخونیم!
رمان جالبی بود و درسای قشنگی داشت. سبکش هم با این که خیلی خاص نبود اما خوب کار شده بود. سوژه ی شخصیت اولی که همه چیزو فراموش کرده -حتا از احساسات انسانی درست خبر نداره- خیلی سوژه ی خوبی بود.
و در ضمن: تخیل ناب و سیال نویسنده گاهی لذت دیوانه کننده ای بهم می داد. Paperback هنوز هم برف رو دوست داره، مثل من که یه زمانی، هنوز هم گل یاس و دوست داشم.
_ چرا ما تو برفها با هم قدم نزدیم؟
_ ...
هنوز شب ها نمی دونم قبل از خواب چیکار می کنه وقتی داغ می شه، هنوز هم هنوز و می گم، چقدر این هنوز دوست داشتنیه. دلم می خواست می گفتم که باریدن باران هم برای ما غنیمته دیگه چرا مزاحم خدا بشیم. البته به قول ارسطو خدا به جزئیات عام علم نداره، پس مسئول باریدن کیه؟
_ یادت رفت بگی هنوز. مثل اینکه داری ترکش می کنی.
اما هنوز هم می تونم بگم هنوز. هنوز هم دوستش دارم هنوز هم به اون روز گرم _که خیس شده بودم از گرما یا از حرارت زیر لباسش که محدوده ی قرمز بود_ فکر می کنم.
_هیچوقت بعد از این از هنوز استفاده نمی کنم. هنوز یکی از پاهاش تو گذشته جا مونده. گذشته ای که دارم ازش فرار می کنم اما هنوز همه جا دنبالمه با همین یک کلمه، هنوز.
هیچوقت هم کلمه ی بدی نیست. هیچ جا نیست با اینکه همه جا هست. گذشته، حال، آینده و بطور کلی نیست بودنده ی جالبیه ای. پس از این به بعد هیچوقت سعی نمی کنم خودم باشم. فراموش شدم. از گشنگی تو یک داستان لذت می برم به جای لذت از خوردن. Paperback All dialog, no description. Only two characters: one a schizophrenic liar, the other an amnesiac liar with things to hide.
Begin.
Hold on to someone.
It is disorienting. Paperback A novel written (almost) entirely in dialogue, like A Closed Book or Deception, both written (almost) entirely in dialogue. This removes any authorial presence from the book, and as Barthesian and savvy as this is, the technique falls flat when explanations are needed for what cannot be conveyed in dialogue. This novel concerns an old man, who may or may not be an Argentinian gangster, and his hired companion, who may or may not be a failed academic, who tell stories to one another, which may or may not be lies, but mostly (sometimes) are. That’s as lucid as this novel gets, and the mystery isn’t really very interesting, nor is it resolved very well: Puig chooses to break the form by tacking on a series of explanatory letters afterwards, wimping out a little and leaving the reader even more bemused. On the plus side, there are witty and dark and interesting moments aplenty, so I wish you luck. Paperback