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The Sad Tale of the Brothers Grossbart
Hegel and Manfried Grossbart may not consider themselves bad men -- but death still stalks them through the dark woods of medieval Europe. The year is 1364, and the brothers Grossbart have embarked on a naïve quest for fortune. Descended from a long line of graverobbers, they are determined to follow their family's footsteps to the fabled crypts of Gyptland. To get there, they will have to brave dangerous and unknown lands and keep company with all manner of desperate travelers-merchants, priests, and scoundrels alike. For theirs is a world both familiar and distant; a world of living saints and livelier demons, of monsters and madmen. The Brothers Grossbart are about to discover that all legends have their truths, and worse fates than death await those who would take the red road of villainy.
467 pages, Kindle Edition
First published October 27, 2009
116 people are currently reading
2961 people want to read
About the author
Jesse Bullington
43 books341 followersAuthor. Dream Weaver. Visionary. Plus Actor. So long as you're cool with discovering just how dull I really am, I welcome adds here, on FB, LJ etc.
My novels The Sad Tale of the Brothers Grossbart and The Enterprise of Death are available in a variety of languages. I have it on admittedly shaky authority that they are charming. My third novel, The Folly of the World, will be released in December of 2012--no word yet on how charming it will be, but I'm sure I'll be the first to know. I have short fiction free for the reading at Beneath Ceaseless Skies and Brain Harvest, among sundry other places--a full (-ish, depending on how slack I've been about updating it) list of my published works can be found on this here website.
As for Good Reads, I'm only going to include books that I review, even briefly, to prevent myself from spending all day online assembling a massive list of beloved books. I tend to only review books I finish and only finish books I like, so my ratings tend to be on the high side.
My novels The Sad Tale of the Brothers Grossbart and The Enterprise of Death are available in a variety of languages. I have it on admittedly shaky authority that they are charming. My third novel, The Folly of the World, will be released in December of 2012--no word yet on how charming it will be, but I'm sure I'll be the first to know. I have short fiction free for the reading at Beneath Ceaseless Skies and Brain Harvest, among sundry other places--a full (-ish, depending on how slack I've been about updating it) list of my published works can be found on this here website.
As for Good Reads, I'm only going to include books that I review, even briefly, to prevent myself from spending all day online assembling a massive list of beloved books. I tend to only review books I finish and only finish books I like, so my ratings tend to be on the high side.
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Displaying 1 - 30 of 351 reviews
January 20, 2015
In this, one of the Grimmest of fairy tales, two brothers who are ugly on both sides of their skin, embark on an astonishingly violent journey of epic proportions. Our bearded antiheroes have a rip-roaring time running from the law and mixing it up with assorted demons. They garner some powerful enemies along the way, including a vengeful victim, a witch who curses them - "...your undoing will become legend", and the creepiest twins ever birthed. The conversations between the superstitious brothers are hilarious. They argue religion and what exactly constitutes rape even more than Republican presidential candidates.
I enjoyed the first half of the book, and then...well, leave it to a clergy member to take all the fun out of things - the brothers run into the priest, Martyn, and everything begins to sag. They stay WAY too long in Venezia, and though the ending is strong and satisfying, it didn't make up for the tepid middle parts.
This book is not probably not for most people. Men, women, children and beasts, sometimes all of the above, are killed in every chapter. Precious bodily fluids of every type are spilled and spewed. There is pus. Lots of pus. And those twins - yikes!
They'll be haunting my nightmares for years to come.
I enjoyed the first half of the book, and then...well, leave it to a clergy member to take all the fun out of things - the brothers run into the priest, Martyn, and everything begins to sag. They stay WAY too long in Venezia, and though the ending is strong and satisfying, it didn't make up for the tepid middle parts.
This book is not probably not for most people. Men, women, children and beasts, sometimes all of the above, are killed in every chapter. Precious bodily fluids of every type are spilled and spewed. There is pus. Lots of pus. And those twins - yikes!
They'll be haunting my nightmares for years to come.
June 12, 2011
It should be made very clear that if you are offended by anything, at all, ever, you should probably give The Sad Tale of the Brothers Grossbart a wide berth (and avoid eye contact) as you pass it in a dimly lit bookstore aisle. That said, under the detailed cover is a dark and darkly humorous story with a high body count and complete lack of tact. Amusing? Immensely. Imaginative? Absolutely so. Fun for the whole family? Not on your life. This book will appeal to a fringe group of readers: those jaded enough to stomp through the copious gore, violence and very, to steal a word, "mecky" sexual bits, humming Dixieland as they go, laughing at anything and balking at nothing. Note that I gave the book 4 stars - that means I'm one of those people, kids.
So those of a sensitive nature need not apply within. If you can take all the cursing, blood-letting, blasphemy and debauchery with the required fistfuls of salt, however, there is a funny and outrageous story to be found in those dark depths. The plot keeps a refreshingly steady pace and will keep your attention on the long and disturbing journey. I certainly enjoyed it and had a hard time putting the book down. That said, The Sad Tale is not without its faults. The characters are humorous and intriguing, but become a bit one-dimensional after you've been with them a few chapters. Without spoiling anything, some parts of the plot are left completely unexplained and/or occur for seemingly no reason, and the the book does suffer from a case of the common "I spent all my energy writing the story and now I'm not sure how to end it" cold authors occasionally get.
Worth reading? Yes, but not for all. I suggesting finding a copy of the book and reading the excerpt in the front before buying it: if you can make it through that without batting too much of an eyelash, proceed on. Tread this book with caution and you might make it to Gyptland alive, with a good read under your belt to boot.
So those of a sensitive nature need not apply within. If you can take all the cursing, blood-letting, blasphemy and debauchery with the required fistfuls of salt, however, there is a funny and outrageous story to be found in those dark depths. The plot keeps a refreshingly steady pace and will keep your attention on the long and disturbing journey. I certainly enjoyed it and had a hard time putting the book down. That said, The Sad Tale is not without its faults. The characters are humorous and intriguing, but become a bit one-dimensional after you've been with them a few chapters. Without spoiling anything, some parts of the plot are left completely unexplained and/or occur for seemingly no reason, and the the book does suffer from a case of the common "I spent all my energy writing the story and now I'm not sure how to end it" cold authors occasionally get.
Worth reading? Yes, but not for all. I suggesting finding a copy of the book and reading the excerpt in the front before buying it: if you can make it through that without batting too much of an eyelash, proceed on. Tread this book with caution and you might make it to Gyptland alive, with a good read under your belt to boot.
February 26, 2015
Imagine Supernatural being recast in the 14th Century. Still there? Okay, instead of the brothers being buff and pondering their sexuality over slowly nursed beer, imagine the siblings as being bearded grave-robbers who also fight the paranormal. Was that a pitch or what? There were aspects of this book I found interesting, the long folksy conversations about theology were not bad. The problem was everything else.
I bought this novel last week in Indianapolis. There is something palpably hanting about the 14th Century. I harbored hopes the novel would plumb the psyche of such. It didn't. Some reveiews refer to this as an example of splatterpunk. I wasn't offended or shocked -- only bored.
I bought this novel last week in Indianapolis. There is something palpably hanting about the 14th Century. I harbored hopes the novel would plumb the psyche of such. It didn't. Some reveiews refer to this as an example of splatterpunk. I wasn't offended or shocked -- only bored.
March 31, 2020
There is a fantasy novel set in the Medieval Europe during the period masterfully described by Barbara W. Tuchman in her A Distant Mirror: The Calamitous 14th Century. The story tells about two brothers, Manfried and Hegel and their travel across war-torn and devastated by plague Europe.
The brothers Grossbarts are bad. As the book says at the start “To claim that the Brothers Grossbart were cruel and selfish brigands is to slander even the nastiest highwayman, and to say they were murderous swine is an insult to even the filthiest boar. They were Grossbarts through and true, and in many lands such a title still carries serious weight. While not as repugnant as their father nor as cunning as his, horrible though both men were, the Brothers proved worse. Blood can go bad in a single generation or it can be distilled down through the ages into something truly wicked, which was the case with those abominable twins, Hegel and Manfried.”
Unlike many stories, were a person introduced as bad, but in reality is good, this is not the case. The story starts with them coming to a farmer who beat them as boys when they stole from his garden. They start punching him, and when farmer’s wife tries to run them off with an axe, they kill her and later cut a throat to the farmer’s son and set fire to his house, killing two daughters. What is worse, they think that they are completely justified in doing so, proud (!) of their righteous deed.
As such the book is well researched and well written. The author clearly alludes to The Canterbury Tales and to sophistic debates from the period. Brothers’ heresy is quite interesting and in line with medieval sensibilities. At the same time, on emotional level it is very hard to read about people committing heinous deeds and then calling in full seriousness each other a Living Saint.
The brothers Grossbarts are bad. As the book says at the start “To claim that the Brothers Grossbart were cruel and selfish brigands is to slander even the nastiest highwayman, and to say they were murderous swine is an insult to even the filthiest boar. They were Grossbarts through and true, and in many lands such a title still carries serious weight. While not as repugnant as their father nor as cunning as his, horrible though both men were, the Brothers proved worse. Blood can go bad in a single generation or it can be distilled down through the ages into something truly wicked, which was the case with those abominable twins, Hegel and Manfried.”
Unlike many stories, were a person introduced as bad, but in reality is good, this is not the case. The story starts with them coming to a farmer who beat them as boys when they stole from his garden. They start punching him, and when farmer’s wife tries to run them off with an axe, they kill her and later cut a throat to the farmer’s son and set fire to his house, killing two daughters. What is worse, they think that they are completely justified in doing so, proud (!) of their righteous deed.
As such the book is well researched and well written. The author clearly alludes to The Canterbury Tales and to sophistic debates from the period. Brothers’ heresy is quite interesting and in line with medieval sensibilities. At the same time, on emotional level it is very hard to read about people committing heinous deeds and then calling in full seriousness each other a Living Saint.
April 13, 2010
First Impressions:
My initial response to the first 30 pages or so of this book was to NOT LIKE IT AT ALL.
I began to think I was reading a medieval version of 'Natural Born Killers', a film that I loathed more than I feel motivated to elaborate upon.
This was an extremely disappointing realization, as I was looking forward to reading this book with enormous anticipation.
It all came about when I saw a copy of it in Barnes & Noble a few months back and was very intrigued by the jacket design, but I declined to purchase it in favor of Verghese's 'Cutting for Stone' (a decision I certainly cannot regret in any way). Yesterday I was nosing about in Border's looking for something in the Science Fiction/Fantasy section, and again I happened upon this text.
I've got this weird kismetian thing going with certain books so that sometimes I feel like they're calling to me or that I'm somehow meant to pick them up and read them. The last time it happened was with Cherie Priest's 'Boneshaker'. The time before was David Peace's 'Tokyo Year Zero'.
So anyway, randomly seeing this book on the shelf in front of me a second time convinced me that I needed to buy it and read it.
Lying in bed last night, reading through the opening sequence caused me to SERIOUSLY RE-EVALUATE the effective properties of my kismetian response.
I very nearly took the book over to my waste can and discarded it. The only thing that kept me from doing so was the fact that I spent ten bucks on it only a few hours before, and I just couldn't give up on it that easily.
So I'm going to trudge forward in the hope that it becomes a text that is more to my liking.
Second Impressions:
Here's what I'd like to make clear about what bothers me in this text.
I am not against the depiction of violence in storytelling. I was a fan of Robert E. Howard's 'Conan' long before my first shave.
Granted the form of violence that occurs in the 'Conan' tales is very much disconnected from reality, and doesn't really touch the reader on a personal level. So I should also make clear I'm not opposed to the depiction of violence in a more realistic vein, such as the kind that occurs in modern warfare, or through various forms of criminal activity.
Crimes against the innocent in this latter category are most difficult to face, i.e. acts of violence against children or the elderly.
But again, even in this last category I'm not opposed to its being depicted in a narrative format. I am prepared to confront these actions in literature as they certainly do occur, with alarming frequency, in our society.
I don't mind confronting it, I just DO NOT want to bathe in it.
This is what I found utterly repellent about the film 'Natural Born Killers', and what I found very hard to take about the opening sequence of this book.
When the narrative lens focuses for too long and in too much detail on the pain and suffering of the innocent the narrative becomes less a document that explores the gravity of the event and becomes more a source of barbarous entertainment.
I do not wish to be a party to such entertainment, and I don't wish to know anyone who does.
So I have concerns about this text which I will continue to work out in my next entry.
Third Impressions:
Now that I'm approximately 200 pages in I'm struck with the sharp incongruity that has developed between the brothers Grossbart that took eager part in killing children and burning them alive in the opening pages of the book and the brothers Grossbart that occupy the ensuing pages.
It's as if those initial Grosbarts were two completely different characters, they differ so much from the latter brothers, who are keen on discussing philosophic theology, honoring the Virgin Mary, and cracking wise with one another.
So stark is the contrast between the two sets of brothers that it convinces me it must be a major component of the author's overarching design for the story, and thus I wonder what Bullington is up to.
I'm intrigued by the author's decision to build the characters and the story on the foundation of an atrocity. He deliberately sets the reader against the brothers right from the start, and then immediately sets about re-establishing sympathy for them in seemingly direct opposition to his original intentions.
It remains to be seen why he would do this. Perhaps it's merely just to see if he could pull it off.
I must also mention how much I'm enjoying the adult "fairy tale" aspects of the story. The folkloric elements combined with the Brothers Grimm evocations creates a colorful and dense ambience that's both wondrous and deeply sinister at the same time. I find myself totally engrossed in each encounter the brothers have.
If Bullington is able to reasonably justify that opening sequence he may win me over completely.
Fourth Impressions:
If anything at all can be said about this book, it is that Bullington can write unbelievably incisive and riveting dialogue. I find myself reading many sequences over and over, imagining the expressions on the speaker's faces, their mannerisms, their inflections.
I could easily see this book translate into a screenplay of the Guy Ritchie, Tarantino, or Kevin Smith variety.
I can't help but see Jason Statham as Manfreid, and Stephen Graham as Hegel.
Final Thoughts:
As I was nearing the end I was vacillating somewhat between giving this book 4 or 5 stars. The passage that proved to be the tip-in was:
"You laughin at me, you hag-touching degenerate?"
I enjoyed the hell out of this book and, in the end, isn't that really what it's all about?
I'm not sure Bullington was able to justify the opening sequence as much as I hoped he would, but, as the very satisfying ending reveals, he certainly didn't let the Brothers get away with their crimes.
This is a "sad tale" after all.
It is truly an unforgettable book, with a character all its own. I probably won't be recommending it to many people, for reasons obvious to anyone who reads a random passage or two, but I sure wish I could.
I will most certainly be busily scanning the literary horizon for future signs of Bullington activity, Grossbartian or otherwise.
And unlike Hegel's witch's sight, I'm very glad to know my kismetian response did not let me down.
My initial response to the first 30 pages or so of this book was to NOT LIKE IT AT ALL.
I began to think I was reading a medieval version of 'Natural Born Killers', a film that I loathed more than I feel motivated to elaborate upon.
This was an extremely disappointing realization, as I was looking forward to reading this book with enormous anticipation.
It all came about when I saw a copy of it in Barnes & Noble a few months back and was very intrigued by the jacket design, but I declined to purchase it in favor of Verghese's 'Cutting for Stone' (a decision I certainly cannot regret in any way). Yesterday I was nosing about in Border's looking for something in the Science Fiction/Fantasy section, and again I happened upon this text.
I've got this weird kismetian thing going with certain books so that sometimes I feel like they're calling to me or that I'm somehow meant to pick them up and read them. The last time it happened was with Cherie Priest's 'Boneshaker'. The time before was David Peace's 'Tokyo Year Zero'.
So anyway, randomly seeing this book on the shelf in front of me a second time convinced me that I needed to buy it and read it.
Lying in bed last night, reading through the opening sequence caused me to SERIOUSLY RE-EVALUATE the effective properties of my kismetian response.
I very nearly took the book over to my waste can and discarded it. The only thing that kept me from doing so was the fact that I spent ten bucks on it only a few hours before, and I just couldn't give up on it that easily.
So I'm going to trudge forward in the hope that it becomes a text that is more to my liking.
Second Impressions:
Here's what I'd like to make clear about what bothers me in this text.
I am not against the depiction of violence in storytelling. I was a fan of Robert E. Howard's 'Conan' long before my first shave.
Granted the form of violence that occurs in the 'Conan' tales is very much disconnected from reality, and doesn't really touch the reader on a personal level. So I should also make clear I'm not opposed to the depiction of violence in a more realistic vein, such as the kind that occurs in modern warfare, or through various forms of criminal activity.
Crimes against the innocent in this latter category are most difficult to face, i.e. acts of violence against children or the elderly.
But again, even in this last category I'm not opposed to its being depicted in a narrative format. I am prepared to confront these actions in literature as they certainly do occur, with alarming frequency, in our society.
I don't mind confronting it, I just DO NOT want to bathe in it.
This is what I found utterly repellent about the film 'Natural Born Killers', and what I found very hard to take about the opening sequence of this book.
When the narrative lens focuses for too long and in too much detail on the pain and suffering of the innocent the narrative becomes less a document that explores the gravity of the event and becomes more a source of barbarous entertainment.
I do not wish to be a party to such entertainment, and I don't wish to know anyone who does.
So I have concerns about this text which I will continue to work out in my next entry.
Third Impressions:
Now that I'm approximately 200 pages in I'm struck with the sharp incongruity that has developed between the brothers Grossbart that took eager part in killing children and burning them alive in the opening pages of the book and the brothers Grossbart that occupy the ensuing pages.
It's as if those initial Grosbarts were two completely different characters, they differ so much from the latter brothers, who are keen on discussing philosophic theology, honoring the Virgin Mary, and cracking wise with one another.
So stark is the contrast between the two sets of brothers that it convinces me it must be a major component of the author's overarching design for the story, and thus I wonder what Bullington is up to.
I'm intrigued by the author's decision to build the characters and the story on the foundation of an atrocity. He deliberately sets the reader against the brothers right from the start, and then immediately sets about re-establishing sympathy for them in seemingly direct opposition to his original intentions.
It remains to be seen why he would do this. Perhaps it's merely just to see if he could pull it off.
I must also mention how much I'm enjoying the adult "fairy tale" aspects of the story. The folkloric elements combined with the Brothers Grimm evocations creates a colorful and dense ambience that's both wondrous and deeply sinister at the same time. I find myself totally engrossed in each encounter the brothers have.
If Bullington is able to reasonably justify that opening sequence he may win me over completely.
Fourth Impressions:
If anything at all can be said about this book, it is that Bullington can write unbelievably incisive and riveting dialogue. I find myself reading many sequences over and over, imagining the expressions on the speaker's faces, their mannerisms, their inflections.
I could easily see this book translate into a screenplay of the Guy Ritchie, Tarantino, or Kevin Smith variety.
I can't help but see Jason Statham as Manfreid, and Stephen Graham as Hegel.
Final Thoughts:
As I was nearing the end I was vacillating somewhat between giving this book 4 or 5 stars. The passage that proved to be the tip-in was:
"You laughin at me, you hag-touching degenerate?"
I enjoyed the hell out of this book and, in the end, isn't that really what it's all about?
I'm not sure Bullington was able to justify the opening sequence as much as I hoped he would, but, as the very satisfying ending reveals, he certainly didn't let the Brothers get away with their crimes.
This is a "sad tale" after all.
It is truly an unforgettable book, with a character all its own. I probably won't be recommending it to many people, for reasons obvious to anyone who reads a random passage or two, but I sure wish I could.
I will most certainly be busily scanning the literary horizon for future signs of Bullington activity, Grossbartian or otherwise.
And unlike Hegel's witch's sight, I'm very glad to know my kismetian response did not let me down.
April 19, 2020
Viss šajā grāmatā drūms un vēl drūmāks. Tāds Grimmu pasaku, viduslaiku šausmu un varbūt Supernatural mikslis. Abi galvenie varoņi pēc ārējā apraksta man atgādināja rūķi Gimli no LOTR, tik bik garāki. Nākuši no senas kapu izlaupītāju dzimtas, abi brāļi dodas grūtā ceļojumā uz apsolīto zemi pa ceļam laupot un slaktējot mošķus. Tā kā man šaušalas dikti tīk, arī šis darbs gāja sirds.
May 15, 2021
«Dunque è deciso», disse infine Hegel.
«Deciso», disse la voce quasi sussurrando tra gli alberi.
«Tu resti dove sei e noi dove siamo», confermò Hegel.
«Sì.»
«Bene.» Hegel si sentì sollevato.
«Fino a che non fa giorno».
«Fino a che non fa giorno?». Manfried si morse il labbro.
«Quando vi salterò addosso e vi mangerò vivi tutti e due».
Per la prima volta nella loro vita, i Grossbart erano esterrefatti.
«E allora strillerete», proseguì, e la voce si levò nel vento. «Mi implorerete e piangerete e io vi succhierò il midollo dalle ossa prima ancora che siate morti. Sentirete i brandelli di voi stessi scivolarmi nella pancia mentre vi sono ancora attaccati al corpo, e indosserò le vostre pelli al mutar del tempo.»
«Uh», riuscì a dire Hegel, e aveva tutto l’aspetto di uno degli abitanti delle cripte con le quali si erano guadagnati il pane.
Un romanzo davvero insolito e originale, dai temi e argomenti molto forti. Non è per tutti, ma per chi vorrà provarci di sicuro sarà un’esperienza interessante. Se cercate qualcosa di totalmente diverso e fuori dagli schemi, leggetelo, ma ricordate di tenere la mente aperta.
Recensione approfondita qui: https://latorrediphedre.thelongwaychr...
December 18, 2017
Superstizioni e massacri senza fronzoli nel periodo medievale
Prima parte fino a Venezia 4*
Parte finale 2*
Sicuramente Bullington, sin dalle prime pagine, fa capire quale sarà il lietmotiv del romanzo. Un mondo violento e duro.
È il viaggio dei fratelli Grossbart verso la loro raffigurazione della terra promessa.
Manfried ed Hegel sono dei protagonisti fuori dal concetto stesso di eroe: ignoranti, superbi, sciacalli di tombe e di anime che, pur di sopravvivere, sono disposti a compiere le peggiori nefandezze per poi giustificarle tramite presunte intercessioni della Vergine. Difficilmente si empatizza con loro. La scelta di mostrare il lato più "sudicio" degli Anni Bui svela un Bullington molto coraggioso e ben documentato. Le scene di violenza, la superstizione che ha diffuso la peste e lo scherno che lo stesso autore ci mostra verso i credenti dell'epoca sono pugni nello stomaco e bisogna tapparsi il naso per voltare pagina.
Non ci sono buoni. È una resa dei conti fra il marcio terreno e l'empio ultraterreno. Ed è facile giustificarsi.
«Sei perdonato Ragazzo». Hegel si scambiò una scrollata di spalle con il fratello, giacché nessuno dei due aveva capito un accidenti di quello che aveva detto. «Siamo tutti peccatori, in questo mondo schifoso».
I capitoli della strega sono bellissimi. Lì si intravede quanto, in qualità di esseri umani, soverchiamo le leggi della natura e, nostro malgrado, anche se spinti dall'amore, compiamo gesti atroci.
Purtroppo arrivati a Venezia il testo prende una piega ripetitiva, caotica e noiosa mettendo in luce i limiti dell'autore.
Molte scene splatter. Abuso eccessivo del termine "vomito" tanto che mi veniva veramente a nausea al solo rileggerlo. Come direbbe Thomas Prostata: "È Pulp, molto pulp, pure troppo..."
È un romanzo originale, capace di affrontare in maniera differente, definirei antipatica, un periodo storico di cui conosco ancora troppo poco.
Sono lieto di averlo letto.
Prima parte fino a Venezia 4*
Parte finale 2*
Sicuramente Bullington, sin dalle prime pagine, fa capire quale sarà il lietmotiv del romanzo. Un mondo violento e duro.
È il viaggio dei fratelli Grossbart verso la loro raffigurazione della terra promessa.
Manfried ed Hegel sono dei protagonisti fuori dal concetto stesso di eroe: ignoranti, superbi, sciacalli di tombe e di anime che, pur di sopravvivere, sono disposti a compiere le peggiori nefandezze per poi giustificarle tramite presunte intercessioni della Vergine. Difficilmente si empatizza con loro. La scelta di mostrare il lato più "sudicio" degli Anni Bui svela un Bullington molto coraggioso e ben documentato. Le scene di violenza, la superstizione che ha diffuso la peste e lo scherno che lo stesso autore ci mostra verso i credenti dell'epoca sono pugni nello stomaco e bisogna tapparsi il naso per voltare pagina.
Non ci sono buoni. È una resa dei conti fra il marcio terreno e l'empio ultraterreno. Ed è facile giustificarsi.
«Sei perdonato Ragazzo». Hegel si scambiò una scrollata di spalle con il fratello, giacché nessuno dei due aveva capito un accidenti di quello che aveva detto. «Siamo tutti peccatori, in questo mondo schifoso».
I capitoli della strega sono bellissimi. Lì si intravede quanto, in qualità di esseri umani, soverchiamo le leggi della natura e, nostro malgrado, anche se spinti dall'amore, compiamo gesti atroci.
Purtroppo arrivati a Venezia il testo prende una piega ripetitiva, caotica e noiosa mettendo in luce i limiti dell'autore.
Molte scene splatter. Abuso eccessivo del termine "vomito" tanto che mi veniva veramente a nausea al solo rileggerlo. Come direbbe Thomas Prostata: "È Pulp, molto pulp, pure troppo..."
È un romanzo originale, capace di affrontare in maniera differente, definirei antipatica, un periodo storico di cui conosco ancora troppo poco.
Sono lieto di averlo letto.
January 5, 2011
4.5 Stars and maybe 5 stars if you take into consideration that Bullington deserves kudos for not holding anything back. This a very dark, violent, and often funny fairytale. I was hooked right from the beginning and found it difficult to put down through the first two thirds of the book. As the story progresses towards its' end, the last third, things kind of spiral out of control. The story suffers some pacing problem here and I felt that it might have been a tad drawn out. I loved how sheer luck and blessing from the Virgin Mary really helped the brothers in their quest towards Gyptland. Lots of demons, witches, monsters, putrescence, vomiting, maiming, killing, drinking, plundering, and story telling made this one fun ride. I am surprised that I enjoyed this as much as I did as the Brothers are not people that you can ever like or care about. I did not like the ending at first, but after reflection upon it, I think that it was done just right. If you are into bloody horror mixed into your fantasy than be sure and check this one out.
March 12, 2010
This book is an absolute corker.
It follows the misguided and bloody exploits of the Brothers Grossbart as they make their way across medieval Europe to Egypt in search of their grandfathers legacy.
The brothers are guided by an utterly warped theology that venerates the Virgin Mary and sees amongst other things Jesus as some sort of indignity forced upon her. The finer points of this theology (does rape take away virginity for example) often bring the brothers to blows but make for some very funny conversations.
By a mixture of luck and brute force the two brothers get the better of demons and witches on their journeys ending up mixed up in a crusade - creating a trail of people who wish to see their comeuppance in hot pursuit.
Darkly funny and a collection of brilliantly painted characters you wouldn't want to meet in broad daylight in a crowded place let alone on a dark night make for a fantastic read.
Be warned its pretty gruesome right from the off.
It follows the misguided and bloody exploits of the Brothers Grossbart as they make their way across medieval Europe to Egypt in search of their grandfathers legacy.
The brothers are guided by an utterly warped theology that venerates the Virgin Mary and sees amongst other things Jesus as some sort of indignity forced upon her. The finer points of this theology (does rape take away virginity for example) often bring the brothers to blows but make for some very funny conversations.
By a mixture of luck and brute force the two brothers get the better of demons and witches on their journeys ending up mixed up in a crusade - creating a trail of people who wish to see their comeuppance in hot pursuit.
Darkly funny and a collection of brilliantly painted characters you wouldn't want to meet in broad daylight in a crowded place let alone on a dark night make for a fantastic read.
Be warned its pretty gruesome right from the off.
December 3, 2015
How the most disgustingly vulgar book I've read this year can also be the most boring is a wonder.
Read
January 2, 2016This one has the dubious distinction of being one of only two books I haven't been able to bring myself to finish. I'm giving up a quarter of the way through, too grossed out to continue any further. I think it may have been the old witch's 'womb-juice' that broke the camel's back.
August 7, 2014
Ugh. "The Monotonous Road" isn't just a chapter heading, but could be a blurb for the book.
I give up. Now it's becoming buried in religion. It was boring before it became a religious study.
I give up. Now it's becoming buried in religion. It was boring before it became a religious study.
March 1, 2010
Perhaps conceived as a medieval version of "Natural Born Killers", this novel--just like the movie--starts strong, peaks after its first 10 chapters, and then fizzles.
I have no problems with suspending my belief, seeing as this is, after all, a fantasy book. Throw witches, demons, horrors, etc. at me all you want. I expect it in this types of novels. I have a time hard believing though that someone could be simultaneously illiterate and erudite (i.e. the Bros. Grossbart). Therefore, by the last third of the book, after the umpteenth time the vile brothers escape unscathed due to the convenient Deus ex machina that is the "Witch's Sight", only to start a philosophical discussion about morality (and their lack thereof), I found myself not caring about what happens from that point until the end.
All in all, interesting debut. I'll keep an eye on Mr. Bullington's second novel. On this one I'll rate it a C+, for encouraging purposes. He can do better.
I have no problems with suspending my belief, seeing as this is, after all, a fantasy book. Throw witches, demons, horrors, etc. at me all you want. I expect it in this types of novels. I have a time hard believing though that someone could be simultaneously illiterate and erudite (i.e. the Bros. Grossbart). Therefore, by the last third of the book, after the umpteenth time the vile brothers escape unscathed due to the convenient Deus ex machina that is the "Witch's Sight", only to start a philosophical discussion about morality (and their lack thereof), I found myself not caring about what happens from that point until the end.
All in all, interesting debut. I'll keep an eye on Mr. Bullington's second novel. On this one I'll rate it a C+, for encouraging purposes. He can do better.
Read
April 6, 2010In the first chapter of this dark fairy tale, the Grossbart brothers kill a man's family in retaliation for the man beating them with a shovel when they were younger. (He beat them with the shovel because they stole from his garden, and that was considered perfectly valid discipline in the Middle Ages.)
Then, in the second chapter, when the townspeople are pursuing the brothers so they can punish him for the murder, the brothers kill several dogs in very vicious horrible ways.
I didn't read any further, so I can't tell you much more.
I sat through a book club meeting about "The Sad Tale of the Brothers Grossbart" and listened to the other members making excuses for the brothers' actions. "Well, the brothers killed the man's family because his wife threatened them with an ax." Nope. Doesn't jive.
The members of the book club said Bullington draws you into the tale so and you learn to sympathize with the brothers. I don't want to sympathize with characters like these.
Then, in the second chapter, when the townspeople are pursuing the brothers so they can punish him for the murder, the brothers kill several dogs in very vicious horrible ways.
I didn't read any further, so I can't tell you much more.
I sat through a book club meeting about "The Sad Tale of the Brothers Grossbart" and listened to the other members making excuses for the brothers' actions. "Well, the brothers killed the man's family because his wife threatened them with an ax." Nope. Doesn't jive.
The members of the book club said Bullington draws you into the tale so and you learn to sympathize with the brothers. I don't want to sympathize with characters like these.
October 19, 2011
The Brothers Grossbart is a creation that resembles the fruit of the effort of collaboration between Tarantino, Brothers Grimm, Hieronymus Bosch, Cormac McCarthy Evil Dead era Sam Raimi, Angela Carter, Edward Gorey and Barbara Tuchman. Fairy Tale, gritty medieval tale, splatterpunk, creepy horror (there are some very scary moments), gross out humor, and real life disasters (Black Death, Jewish Pogroms, and the pillage of Alexandria), carnivalesque bizarreness coalesce in a book quite unlike much else. Some issues like the quick switching of viewpoints and overlong chapters could be cleared up with some different formatting.
September 12, 2010
The Sad Tale of the Brothers Grossbart follows the twin brothers Hegel and Manfried Grossbart. They live in a world full of demons and disease. The woods are full of spirits, and dark magic lurks in the shadowy places where men dare not go. Fortunately for the brothers, they are just as bad as or worse than any of the lot which lurks about the darkness of this world. They murder, steal, and generally wreak havoc wherever they go. Their sad tale is a tale of treachery, violence, stupidity, and a lot of vomit. They completely destroy the lives of everyone they come in contact with. The brothers have set their grave-robbing sights on the tombs of Egypt, and the reader is being brought along for the ride.
The Sad Tale is not a book I would recommend to many people. I would be too afraid that whoever I asked to read it may no longer want to associate with me. Jesse Bullington has worked very hard to be highly offensive in almost every way imaginable, and I loved every minute of it. The plot is fairly easy to see through. The brothers have a destination in mind and it’s no deductive stretch that they will eventually reach their goal. However, it’s how the Grossbarts interact with themselves and the other characters that makes The Sad Tale a truly entertaining read.
The constant bickering and jibing between the brothers provide a lot of comic relief. Their blasphemous religious discussions and their personal dictations on morality are quite entertaining. The brothers often try to out-swear each other, pushing the limits of even Grossbartian sensibilities. If you are a religious person, I highly recommend you burn this book upon it entering your household. If you don’t want to burn things then just give it to someone you wish to have spend an eternity in hell. The mere possession of this book will quite likely taint your soul.
Now that you are probably not going to read the book, I will tell you that I haven’t been this impressed with a first release by an author since Patrick Rothfuss’s The Name of the Wind. The characters are all fascinating, and you can’t help but be interested in how things turn out. Actually, you hope they meet their demise in some spectacular and painful way; that’s not something you get to do in fantasy very often. I found very little to fault in The Sad Tale. The things that will keep you from enjoying this book are the things Bullington does intentionally. I would quite possibly give everything I own to see this listed on Oprah’s Book Club.
I listened to this on the audio release from Brilliance Audio. Christopher Lane is the voice actor and he does an incredible job. Having distinct voices for every character was essential to making this enjoyable in audio form. I was really impressed with Mr. Lane and will keep an eye out, or ear rather, for any other work he’s done. —Justin@www.fantasyliterature.com
The Sad Tale is not a book I would recommend to many people. I would be too afraid that whoever I asked to read it may no longer want to associate with me. Jesse Bullington has worked very hard to be highly offensive in almost every way imaginable, and I loved every minute of it. The plot is fairly easy to see through. The brothers have a destination in mind and it’s no deductive stretch that they will eventually reach their goal. However, it’s how the Grossbarts interact with themselves and the other characters that makes The Sad Tale a truly entertaining read.
The constant bickering and jibing between the brothers provide a lot of comic relief. Their blasphemous religious discussions and their personal dictations on morality are quite entertaining. The brothers often try to out-swear each other, pushing the limits of even Grossbartian sensibilities. If you are a religious person, I highly recommend you burn this book upon it entering your household. If you don’t want to burn things then just give it to someone you wish to have spend an eternity in hell. The mere possession of this book will quite likely taint your soul.
Now that you are probably not going to read the book, I will tell you that I haven’t been this impressed with a first release by an author since Patrick Rothfuss’s The Name of the Wind. The characters are all fascinating, and you can’t help but be interested in how things turn out. Actually, you hope they meet their demise in some spectacular and painful way; that’s not something you get to do in fantasy very often. I found very little to fault in The Sad Tale. The things that will keep you from enjoying this book are the things Bullington does intentionally. I would quite possibly give everything I own to see this listed on Oprah’s Book Club.
I listened to this on the audio release from Brilliance Audio. Christopher Lane is the voice actor and he does an incredible job. Having distinct voices for every character was essential to making this enjoyable in audio form. I was really impressed with Mr. Lane and will keep an eye out, or ear rather, for any other work he’s done. —Justin@www.fantasyliterature.com
January 9, 2010
The Sad Tale of the Brothers Grossbart was a revelation to me, an honest to goodness different take on the historical fantasy novel. It's a tale filled with morality, yet the two protagonists are completely amoral. It's filled to the rim with the darkness of medieval Europe--plague, poverty, dark creatures of the woods, religious intolerance, and the bleak cruelty of life in that time.
Through this wonderfully depicted world stumble the Grossbart brothers, Hegel and Manfried. Foul, crude, violent, self-serving, and terrifying, these two cut a swath through Europe on the trail of the treasure of their grandfather who left for Egypt. The brothers are grave-robbers in the family tradition, and have no problems killing anyone who gets in their way.
Bullington paints such a bleak picture of medieval life that it seems miraculous that humanity ever survived such conditions. The brothers stumble through this bleakness like forces of nature--it makes no difference how injured they are, what obstacles they face . . . they are so single-minded that there is no doubt in their minds that they will persevere. And through a combination of gutter level street smarts and fierce determination they generally do come out on top. The fact that they believe they are devoted religious men serving the will of Mary is fascinating and hilarious.
I'm not sure who to recommend this novel to. Is it well-written? Definitely. But it is very crude, extremely violent and bloody, yet at the same time often poignant, erudite, and terribly funny. It takes a gifted writer to depict two cold-blooded murderers that the reader wants to keep reading about, but Bullington pulls it off. I almost felt guilty at times rooting for Hegel and Manfried to pull through, eventually managing to let myself go and follow the tale of two powerful brutes in search of the family legacy.
There are fantasy elements to the tale as the brothers come across all sorts of dark creatures--witches, demons, and other monsters of medieval times. But these encounters are depicted in a most modern way, and are typically bloody, brutal, and shocking in their intensity. These scenes often reminded me of Gene Wolfe and his way of painting the fantastic as something extraordinary and shocking, though Bullington is more frenetic and definitely writes with a higher gore factor.
Did I like this novel. Absolutely. Bullington is obviously well-versed in folklore and history and he is a gifted storyteller. I will most certainly be looking for his next novel, though I might be reading while peeking between my fingers. Bullington is not for the faint of heart!
Through this wonderfully depicted world stumble the Grossbart brothers, Hegel and Manfried. Foul, crude, violent, self-serving, and terrifying, these two cut a swath through Europe on the trail of the treasure of their grandfather who left for Egypt. The brothers are grave-robbers in the family tradition, and have no problems killing anyone who gets in their way.
Bullington paints such a bleak picture of medieval life that it seems miraculous that humanity ever survived such conditions. The brothers stumble through this bleakness like forces of nature--it makes no difference how injured they are, what obstacles they face . . . they are so single-minded that there is no doubt in their minds that they will persevere. And through a combination of gutter level street smarts and fierce determination they generally do come out on top. The fact that they believe they are devoted religious men serving the will of Mary is fascinating and hilarious.
I'm not sure who to recommend this novel to. Is it well-written? Definitely. But it is very crude, extremely violent and bloody, yet at the same time often poignant, erudite, and terribly funny. It takes a gifted writer to depict two cold-blooded murderers that the reader wants to keep reading about, but Bullington pulls it off. I almost felt guilty at times rooting for Hegel and Manfried to pull through, eventually managing to let myself go and follow the tale of two powerful brutes in search of the family legacy.
There are fantasy elements to the tale as the brothers come across all sorts of dark creatures--witches, demons, and other monsters of medieval times. But these encounters are depicted in a most modern way, and are typically bloody, brutal, and shocking in their intensity. These scenes often reminded me of Gene Wolfe and his way of painting the fantastic as something extraordinary and shocking, though Bullington is more frenetic and definitely writes with a higher gore factor.
Did I like this novel. Absolutely. Bullington is obviously well-versed in folklore and history and he is a gifted storyteller. I will most certainly be looking for his next novel, though I might be reading while peeking between my fingers. Bullington is not for the faint of heart!
March 10, 2020
A marvelous merging of low fantasy and splatterpunk. Bloody, vicious, crazy and hilarious. Unfortunately, the author couldn't finish the story as cool as he started it - in final chapters, you'll be left with the kinda tired feeling, just wishing the book to end already, but the ending, still be felt like a brutal cut with no real inspiration to actually end the story or even reach certain climax.
February 4, 2013
If Grimm Brothers had a bad opium trip out would have come The Sad Tale of the Brothers Grossbart. This book holds nothing back and is certainly not for the faint of heart or those easily offended. However with that said, what the reader does have to look forward to is the strange and violent adventure of two veteran grave robbers as they travel across lands and ocean to find their fabled Gyptland, a place of bountiful tombs filled with untold treasures...or at least that's what their grandfather promised them.
The brothers, Hegel and Manfried, are despicable and it is difficult for any reader to find a redeeming quality to either one of them. Within the first chapters they have murdered men, women, and children to get what they want, and their mass-murdering ways continue throughout the novel. The only thing I could find as a quality trait to these two "mecky" individuals is their fierce loyalty to each other and their misguided, unwavering faith in the Virgin Mary. No man, witch, demon, or beast will come between these two sojourners as they seek out their riches.
The book is filled with a colorful cast of characters, each with their own faults (but not nearly as hopeless as the Grossbarts). Along the way the reader will meet Heinrich, the father who has lost everything because of the Grossbarts and goes to unholy lengths to for retribution, Martyn, the drunk defrocked priest who later becomes a Cardinal..after a fashion. Evil witches who seduce men, vengeful demons who are bent on revenge, kings, highwaymen dressed as popes to kill would be travelers, random villagers...all of whom have their fates intertwined with the bothers.
What stands out in the book is the brothers skewed view of religion and what they view as just and un-just. Despite all the evil they bring upon people they are convinced that it's acceptable because it is simply "Mary's will", otherwise, how could they get away with it? Perhaps the author is making a satire of those who follow their own religion blindly without every really knowing the facts.
A bit of Quixotic tale with no qualms about violence and the examination of human obsession, and in the end if there is a moral to this twisted tale it is simply: Obsession will bring all to ruin.
The brothers, Hegel and Manfried, are despicable and it is difficult for any reader to find a redeeming quality to either one of them. Within the first chapters they have murdered men, women, and children to get what they want, and their mass-murdering ways continue throughout the novel. The only thing I could find as a quality trait to these two "mecky" individuals is their fierce loyalty to each other and their misguided, unwavering faith in the Virgin Mary. No man, witch, demon, or beast will come between these two sojourners as they seek out their riches.
The book is filled with a colorful cast of characters, each with their own faults (but not nearly as hopeless as the Grossbarts). Along the way the reader will meet Heinrich, the father who has lost everything because of the Grossbarts and goes to unholy lengths to for retribution, Martyn, the drunk defrocked priest who later becomes a Cardinal..after a fashion. Evil witches who seduce men, vengeful demons who are bent on revenge, kings, highwaymen dressed as popes to kill would be travelers, random villagers...all of whom have their fates intertwined with the bothers.
What stands out in the book is the brothers skewed view of religion and what they view as just and un-just. Despite all the evil they bring upon people they are convinced that it's acceptable because it is simply "Mary's will", otherwise, how could they get away with it? Perhaps the author is making a satire of those who follow their own religion blindly without every really knowing the facts.
A bit of Quixotic tale with no qualms about violence and the examination of human obsession, and in the end if there is a moral to this twisted tale it is simply: Obsession will bring all to ruin.
November 30, 2009
Well, saying I "liked it" should be qualified. The discerning reader will note that there is a small asterisked warning on the back of the book, near the bottom. I quote: *Contains strong language and scenes of graphic violence*
Yes. Yes it does. Parents, lock up your children.
Children, hide under your beds.
The Grossbarts are coming.
But really, drama aside, Bullington does a great job of uniting setting with discourse, which is to say, he makes a point to reintroduce the body into the narrative. And it's all there, all the bodily functions, not conspicuously - as in, juvenile scatological jokes - but rather quite matter of fact. You thrust a sword through someone and their bowels void. Deal with it. Vomit and urine course through the pages just as do blood, mayhem, and atrocity. And it's not slapstick, thankfully. If it was it would be unbearable. As it is, it simply exists. Just as the Grossbarts are simply horrid - which is not to say they are monochromatic villains. But they are disgusting, rapacious, and so twisted to appear, occasionally, straight. There they are, the narrative implies, deal with it.
All of which makes for a wonderful read, really. However it becomes a bit of a meandering tale, a sin only regrettable as the story doesn't pull itself together by the end. Things just simply spiral out of control, although Bullington tries frantically to cut away as many loose strings as he can. This criticism aside, however, the atmosphere is (though pungent) worth your while.
If you have the stomach, that is.
Yes. Yes it does. Parents, lock up your children.
Children, hide under your beds.
The Grossbarts are coming.
But really, drama aside, Bullington does a great job of uniting setting with discourse, which is to say, he makes a point to reintroduce the body into the narrative. And it's all there, all the bodily functions, not conspicuously - as in, juvenile scatological jokes - but rather quite matter of fact. You thrust a sword through someone and their bowels void. Deal with it. Vomit and urine course through the pages just as do blood, mayhem, and atrocity. And it's not slapstick, thankfully. If it was it would be unbearable. As it is, it simply exists. Just as the Grossbarts are simply horrid - which is not to say they are monochromatic villains. But they are disgusting, rapacious, and so twisted to appear, occasionally, straight. There they are, the narrative implies, deal with it.
All of which makes for a wonderful read, really. However it becomes a bit of a meandering tale, a sin only regrettable as the story doesn't pull itself together by the end. Things just simply spiral out of control, although Bullington tries frantically to cut away as many loose strings as he can. This criticism aside, however, the atmosphere is (though pungent) worth your while.
If you have the stomach, that is.
September 3, 2010
ORIGINALLY POSTED AT Fantasy Literature.
I was rather excited about The Sad Tale of the Brothers Grossbart coming out on audio. It’s excellently written and the audiobook is excellently performed by Christopher Lane who was given ample opportunities to show off his skills.
But the only parts of The Sad Tale I liked were those in which no action occurred — when the brothers were sitting around arguing with each other about philosophical topics such as Christianity (e.g., is it cannibalism to take communion, how Mary could have been a virgin, etc.). These blasphemous conversations were truly clever and funny, as were the brothers’ regular assertions that they were good Christians and their illogical justifications for their reprehensible behaviors.
But other than these bright (sort of) moments, the rest of the plot was full of horrid violence, lots of gross bodily emissions, and various other unpleasant items. I’m sure I had a look of disgust on my face the whole time, with occasional bursts of laughter during the dialogue.
I quit half way through chapter 7 when I realized that I was just not enjoying myself. However, I wouldn’t want to steer others away from this clever book, because I think it was unique and well written and likely to be enjoyed by those with more fortitude than me. And for them, let me recommend the excellent audio version of The Sad Tale of the Brothers Grossbart.
ORIGINALLY POSTED AT Fantasy Literature.
I was rather excited about The Sad Tale of the Brothers Grossbart coming out on audio. It’s excellently written and the audiobook is excellently performed by Christopher Lane who was given ample opportunities to show off his skills.
But the only parts of The Sad Tale I liked were those in which no action occurred — when the brothers were sitting around arguing with each other about philosophical topics such as Christianity (e.g., is it cannibalism to take communion, how Mary could have been a virgin, etc.). These blasphemous conversations were truly clever and funny, as were the brothers’ regular assertions that they were good Christians and their illogical justifications for their reprehensible behaviors.
But other than these bright (sort of) moments, the rest of the plot was full of horrid violence, lots of gross bodily emissions, and various other unpleasant items. I’m sure I had a look of disgust on my face the whole time, with occasional bursts of laughter during the dialogue.
I quit half way through chapter 7 when I realized that I was just not enjoying myself. However, I wouldn’t want to steer others away from this clever book, because I think it was unique and well written and likely to be enjoyed by those with more fortitude than me. And for them, let me recommend the excellent audio version of The Sad Tale of the Brothers Grossbart.
ORIGINALLY POSTED AT Fantasy Literature.
August 28, 2014
While I will leave this book on my Nook with the possibility that I might return to it - I really, really doubt I will, so I'm marking it quits.
It's not the gore or violence or profanity or overweening hypocrisy (which I'm thinking might be a sort of satire) or anything in particular aside from that fact that I'm bored.
So very, very bored...
And there's nothing to root for or reason to continue trudging forward except for the possibility of a . But even that hope isn't enough to kept me to continue currently, especially as I'm sitting here at work and I'd actually rather to do work - at lunchtime - than go back to this book.
So, yeah. I'm done.
It's not the gore or violence or profanity or overweening hypocrisy (which I'm thinking might be a sort of satire) or anything in particular aside from that fact that I'm bored.
So very, very bored...
And there's nothing to root for or reason to continue trudging forward except for the possibility of a . But even that hope isn't enough to kept me to continue currently, especially as I'm sitting here at work and I'd actually rather to do work - at lunchtime - than go back to this book.
So, yeah. I'm done.
July 13, 2018
Būna fantasy. Būna dark fantasy. Ir, matyt, būna dark dark fantasy. Ar net dark dark dark... Kita vertus, Bullingtonas tarsi ir bando šaipytis iš viso to mepaliaujamo purvo, kraujo, vėmalų, šlapimo ir šūdo srauto, kiaurai permerkusio šitos knygos puslapius. Bando. Bet vis nė pats to nepajausdamas ima mėgautis.
Žodžiu, brolių Grimų pasakos apie kitus du brolius - Grossbartus, kapų plėšikus. Du keistuolius su labai jau savotišku moralės kodeksu, leidžiančiu pateisinti... iš esmės, bet ką. Pasakos, bet ne tos, kurias skaitėt vaikystėj, oi ne. Šitos - neprišukuotos, skirtos tik tam, kad jų besiklausantis prabustų naktį šlapioje lovoje. Ir paskui dar ilgai spėliotų - pats apsišlapino, ar čia tas, iš pasakos.
Sumanymas nebuvo blogas. Pasakojimą dar galėjo gelbėti sąmojis, bet jis buvo primityvokas, o be to - kartojosi. Ir kartojosi...
Du iš penkių, nes iki trijų neištempia.
Žodžiu, brolių Grimų pasakos apie kitus du brolius - Grossbartus, kapų plėšikus. Du keistuolius su labai jau savotišku moralės kodeksu, leidžiančiu pateisinti... iš esmės, bet ką. Pasakos, bet ne tos, kurias skaitėt vaikystėj, oi ne. Šitos - neprišukuotos, skirtos tik tam, kad jų besiklausantis prabustų naktį šlapioje lovoje. Ir paskui dar ilgai spėliotų - pats apsišlapino, ar čia tas, iš pasakos.
Sumanymas nebuvo blogas. Pasakojimą dar galėjo gelbėti sąmojis, bet jis buvo primityvokas, o be to - kartojosi. Ir kartojosi...
Du iš penkių, nes iki trijų neištempia.
March 5, 2020
Not for me. It has lots of elements that mean it should be right up my street, but I'm getting rather bored, and reading for pleasure should not feel like a chore. The writing itself is quite good, and some of the monsters are damn good, and I loved the little detour of the witches tale, but I'm going to have to DNF. Shame.
May 31, 2025
Gross and pointless.
November 29, 2023
5 лет книга ждала своей очереди (это проблема всех читателей, кто покупает сразу много книг), и я никак не мог дождаться, когда же дойдет очередь до этих самых странных, но манящих Гроссбартов. Про этот роман я читал много разных отзывов. Кто-то пел ей дифирамбы, кто-то обещал сжечь в костре. Но мне больше всего интересно было то, что книга мрачная, жестокая, кровавая. Мол, так редко кто пишет. А вот Буллингтон сумел! Когда книгу принес курьер, мне хотелось сразу же усесться на диван, открыть первую страницу и погрузиться в чтение. Но... уселся на диван я лишь спустя 5,5 лет. Бррр, уже само по себе мрачная история=)
Начинается роман немного непонятно. Какие-то странные, отбитые на голову братья Гроссбарт с длиннющими бородами пытаются сбежать из родной деревни в манящий Гипет (то есть Египет по-нашему), но для этого они еще попутно убивают всех подряд, кто попадается на пути. Благо, происходит все в мрачные времена Средневековья, что немного объясняет жестокость. И да, книга сразу поражает своим детальным описанием убийств. Среднестатистический автор просто написал бы, что от удара кувалдой по голове крестьянин отлетел в угол без признаков жизни. Джесс Буллингтон же подробно описывает, сколько было ударов, как крошится череп, сколько вылилось мозгов, сколько капель попало на бороду одному и второму брату, какие кости торчали из спины и как трудно глаз выдавливался из глазницы. Собственно, это и есть та самая "жуть", о которой пишут в отзывах. Причем все самое неприятное происходит примерно в первой четверти книги. Дальше чуть проще, чуть безобиднее, с меньшими подробностями.
Далее сюжет раскрывается больше, и оказывается, что повествование на самом деле довольно простое. Братья Гроссбарт - 20-25-летние ушлепки, которые грабят могилы или других людей просто потому, что на что-то другое они не способны. Они не испытывают жалости, спокойно могут убить одинокого путника, потому что если не сделать этого, то путник может убить их. Да, такие были правила в темном Средневековье. В первой половине книги братьям попадаются мифические существа - мантикора, некое подобие Бабы Яги, нечто паукообразное. Мрачные события автор описывает с шутками, из-за чего происходящее воспринимается, как сказка с черным юмором.
Да, в некоторых местах к желудку иногда подкатывает, мерзковато, согласен, но все равно приемлемо и хочется читать еще. Сказки я люблю, и на этом этапе я готов был поставить книге твердую 8, а если дальше будет еще лучше, то и крепкую 9. Но, к моему сожалению, во второй половине сюжет начинает буксовать. Братья попадают в Италию, встречают скучных персонажей, повествование замедляется, появляется много занудной софистики, куда-то исчезает манящий флер сказки. В какой-то момент начало казаться, что роман состоит из нескольких несвязанных между собой историй, которые автор попытался увязать в один сюжет. Но все равно вышел Акт 1, Акт 2, Акт 3 и т.д. И первые акты были классными, а вот потом...
К сожалению, роман получился неровным. Да, он мрачный, мерзкий, волшебный. Эдакий сюрный фильм ужасов на тему сказок. Но он очень неровный. Начали за здравие, а закончили... А закончили братья так, как и ожидалось. По итогу пришлось поставить 7/10, как нечто среднее. Потенциал был, но получилось то, что получилось. Из-за чего я испытал легкое чувство расстройства, ведь ждал я книгу года...
Начинается роман немного непонятно. Какие-то странные, отбитые на голову братья Гроссбарт с длиннющими бородами пытаются сбежать из родной деревни в манящий Гипет (то есть Египет по-нашему), но для этого они еще попутно убивают всех подряд, кто попадается на пути. Благо, происходит все в мрачные времена Средневековья, что немного объясняет жестокость. И да, книга сразу поражает своим детальным описанием убийств. Среднестатистический автор просто написал бы, что от удара кувалдой по голове крестьянин отлетел в угол без признаков жизни. Джесс Буллингтон же подробно описывает, сколько было ударов, как крошится череп, сколько вылилось мозгов, сколько капель попало на бороду одному и второму брату, какие кости торчали из спины и как трудно глаз выдавливался из глазницы. Собственно, это и есть та самая "жуть", о которой пишут в отзывах. Причем все самое неприятное происходит примерно в первой четверти книги. Дальше чуть проще, чуть безобиднее, с меньшими подробностями.
Далее сюжет раскрывается больше, и оказывается, что повествование на самом деле довольно простое. Братья Гроссбарт - 20-25-летние ушлепки, которые грабят могилы или других людей просто потому, что на что-то другое они не способны. Они не испытывают жалости, спокойно могут убить одинокого путника, потому что если не сделать этого, то путник может убить их. Да, такие были правила в темном Средневековье. В первой половине книги братьям попадаются мифические существа - мантикора, некое подобие Бабы Яги, нечто паукообразное. Мрачные события автор описывает с шутками, из-за чего происходящее воспринимается, как сказка с черным юмором.
Да, в некоторых местах к желудку иногда подкатывает, мерзковато, согласен, но все равно приемлемо и хочется читать еще. Сказки я люблю, и на этом этапе я готов был поставить книге твердую 8, а если дальше будет еще лучше, то и крепкую 9. Но, к моему сожалению, во второй половине сюжет начинает буксовать. Братья попадают в Италию, встречают скучных персонажей, повествование замедляется, появляется много занудной софистики, куда-то исчезает манящий флер сказки. В какой-то момент начало казаться, что роман состоит из нескольких несвязанных между собой историй, которые автор попытался увязать в один сюжет. Но все равно вышел Акт 1, Акт 2, Акт 3 и т.д. И первые акты были классными, а вот потом...
К сожалению, роман получился неровным. Да, он мрачный, мерзкий, волшебный. Эдакий сюрный фильм ужасов на тему сказок. Но он очень неровный. Начали за здравие, а закончили... А закончили братья так, как и ожидалось. По итогу пришлось поставить 7/10, как нечто среднее. Потенциал был, но получилось то, что получилось. Из-за чего я испытал легкое чувство расстройства, ведь ждал я книгу года...
March 16, 2021
Кровь, кишки, борода
Всем мужикам в пиратском набеге
Должно бороду носить.
Alle die mit uns auf Kaperfahrt fahren,
müssen Männer mit Bärten sein.
Сплаттерпанк точно не мое, разного рода кровища, дерьмище, клочки по закоулочкам, мозги по периметру и прочий ресторан "Отвращение" никогда не казались привлекательными. Ни в одном из возможных смыслов. То есть, понимая, что в любом самом прекрасном человеке четыре кило кала, потребности насладиться лицезрением выпущенных кишок со всем их содержимым, не испытываю. Знаю, есть такие люди, которым нравится. Во втором классе со мной сидел мальчик по имени Альберт, который везде рисовал свастику: в тетрадках, на ластике, на гранях простого карандаша. На моем тоже рисовал. Будучи поставлен в угол, принялся бить головой о стену и пробил фанерную перегородку между кабинетом и закутком для наглядных пособий. Его вскоре перевели в другую школу и лет сорок не вспоминала о нем, но вот сейчас подумала, что Альберту могла бы понравиться "Печальная история братьев Гроссбарт"
Не утверждаю, что поклонники нетленки непременно должны нести печать вырождения, сама-то я домучила ведь до конца, хотя скрепя сердце и скрипя зубами. Но что-то непременно должно быть в авторе, переводчике, издателе и восторженных читателях, что находит эстетическую радость в бессмысленной и беспощадной агрессии. "Всякое различие разъединяет, а подобие стремится к подобию" (Боэций). Настроив таким образом против себя хренову тучу народу, перейду к роману. Если литературным дебютом Буллингтон хотел прозвучать громко, то он все правильно рассчитал. Конец нулевых был временем, когда потребитель уже изрядно подустал от миллениальных игрищ в старую-сказку-на-новый-лад (помните. тогда безумно много появилось видоизмененного фольклора и авторской сказки?)
Однако эти ванильные перепевы подготовили почву и настроили публику на восприятие реально хардкорных вещей, уровнем жестокости и откровенностью натуралистических подробностей превосходящих стандартный порог терпимости. Буллингтон сделал не сказки братьев Гримм без цензуры (обратили внимание на "братьев гр..." в заглавии? ассоциативные ряды наше все) и даже не "мать извела меня, папа сожрал меня", но нечто в разы превышающее уровнем тупой агрессии. История начинается с того, что два ублюдка возвращаются в родные края с намерением укокошить родную мамашу. С огорчением узнав. что старушка двинула кони, не дождавшись приезда единоутробных, направляют месть на крестьянина, в их детстве имевшего неосторожность поймать на воровстве и вздуть. Убив всех его чад с домочадцами - дочерей сжигают заживо - решают отправиться в Гипет, где дед предположительно нашел сокровище в раскопанной им могиле, а отец предположительно присоединился к нему в наслаждении богатством.
Дальше спагетти-вестерн будет разматываться в том же стиле: кусок дороги, остановка и очередная резня, для разнообразия убивать братья станут не только мирных граждан, но и разного рода чудовищ, коих встретят во множестве. Непременное раскапывание близлежащих могил, потому что по основной специальности Гегель и Манфрид расхитители гробниц. Удивительно, но один положительный эффект книга для меня возымела. Прежде не воспринимала гробокопательство и осквернение останков таким уж тяжким преступлением - мертвым все равно. Не думая, сколько болезнетворной дряни выходит наружу из потревоженных захоронений. Но сегодня мы все вирусологи поневоле, потому вывод о том, что хотя бы некоторые из вспышек чумы были спровоцированы такими охотниками за поживой, просится.
В общем, полезная, в смысле воспитания нетерпимости к людям, тревожащим прах, книга. В остальном жуткий трешак.
Всем мужикам в пиратском набеге
Должно бороду носить.
Alle die mit uns auf Kaperfahrt fahren,
müssen Männer mit Bärten sein.
Сплаттерпанк точно не мое, разного рода кровища, дерьмище, клочки по закоулочкам, мозги по периметру и прочий ресторан "Отвращение" никогда не казались привлекательными. Ни в одном из возможных смыслов. То есть, понимая, что в любом самом прекрасном человеке четыре кило кала, потребности насладиться лицезрением выпущенных кишок со всем их содержимым, не испытываю. Знаю, есть такие люди, которым нравится. Во втором классе со мной сидел мальчик по имени Альберт, который везде рисовал свастику: в тетрадках, на ластике, на гранях простого карандаша. На моем тоже рисовал. Будучи поставлен в угол, принялся бить головой о стену и пробил фанерную перегородку между кабинетом и закутком для наглядных пособий. Его вскоре перевели в другую школу и лет сорок не вспоминала о нем, но вот сейчас подумала, что Альберту могла бы понравиться "Печальная история братьев Гроссбарт"
Не утверждаю, что поклонники нетленки непременно должны нести печать вырождения, сама-то я домучила ведь до конца, хотя скрепя сердце и скрипя зубами. Но что-то непременно должно быть в авторе, переводчике, издателе и восторженных читателях, что находит эстетическую радость в бессмысленной и беспощадной агрессии. "Всякое различие разъединяет, а подобие стремится к подобию" (Боэций). Настроив таким образом против себя хренову тучу народу, перейду к роману. Если литературным дебютом Буллингтон хотел прозвучать громко, то он все правильно рассчитал. Конец нулевых был временем, когда потребитель уже изрядно подустал от миллениальных игрищ в старую-сказку-на-новый-лад (помните. тогда безумно много появилось видоизмененного фольклора и авторской сказки?)
Однако эти ванильные перепевы подготовили почву и настроили публику на восприятие реально хардкорных вещей, уровнем жестокости и откровенностью натуралистических подробностей превосходящих стандартный порог терпимости. Буллингтон сделал не сказки братьев Гримм без цензуры (обратили внимание на "братьев гр..." в заглавии? ассоциативные ряды наше все) и даже не "мать извела меня, папа сожрал меня", но нечто в разы превышающее уровнем тупой агрессии. История начинается с того, что два ублюдка возвращаются в родные края с намерением укокошить родную мамашу. С огорчением узнав. что старушка двинула кони, не дождавшись приезда единоутробных, направляют месть на крестьянина, в их детстве имевшего неосторожность поймать на воровстве и вздуть. Убив всех его чад с домочадцами - дочерей сжигают заживо - решают отправиться в Гипет, где дед предположительно нашел сокровище в раскопанной им могиле, а отец предположительно присоединился к нему в наслаждении богатством.
Дальше спагетти-вестерн будет разматываться в том же стиле: кусок дороги, остановка и очередная резня, для разнообразия убивать братья станут не только мирных граждан, но и разного рода чудовищ, коих встретят во множестве. Непременное раскапывание близлежащих могил, потому что по основной специальности Гегель и Манфрид расхитители гробниц. Удивительно, но один положительный эффект книга для меня возымела. Прежде не воспринимала гробокопательство и осквернение останков таким уж тяжким преступлением - мертвым все равно. Не думая, сколько болезнетворной дряни выходит наружу из потревоженных захоронений. Но сегодня мы все вирусологи поневоле, потому вывод о том, что хотя бы некоторые из вспышек чумы были спровоцированы такими охотниками за поживой, просится.
В общем, полезная, в смысле воспитания нетерпимости к людям, тревожащим прах, книга. В остальном жуткий трешак.
July 7, 2010
Some books you just can't resist even though you know most literary critics would call their quality into question. Others, you can't help but admire the originality and what it brings to a specific genre, even though you can't quite bring yourself to claim that you like it. Such was my experience reading The Sad Tale of the Brothers Grossbart.
It's got the humor and cynicism of a Pratchett novel, mixed with the grotesque of a medieval quest for the Holy Grail. It's insane and yet, manages to make sense in its insanity. It's really something that needs to be experienced but, at the end of the day, I believe it's either a hit or miss. Well, clearly a miss for me but still, I can't help but admire the mind who brought to life the Grossbart brothers. And, if you take into account that it is only a debut novel, you can't help but shudder in anticipation (and fear) at what might be coming next.
I believe my problems with this novel are tightly linked with what I found so brilliant about it. The Grossbarts are a cruel, vile pair that care little about others' welfare (and when I say 'others' I do mean it in the broad sense of the word: women, children, priests, animals, plants, unidentified living creatures, etc.), and yet, they have this unexplained love for the Virgin Mary. They believe themselves to be under her protection and do the most despicable things in her name. This creates a wonderful opportunity for the author to criticize current fundamentalist societies, not to mention some nice comic relief. However, the Grossbarts are so well depicted antiheroes that you can't possibly like them or relate to them. All throughout my reading, the intellectual part of my brain kept telling me how brilliant and original this novel was, but the emotional part of my brain just couldn't seem to care whether or not I finished the book! This novel made me schizophrenic! That is how insanely original it is!
I am immensely pleased that French-language rights were licensed a few months ago, but I can't help but pity the translator. Translating this is going to require a lot (lot, lot!) more work than translating your average 400 pages novel. But then nothing about this novel is average. I can't even seem to be able to recommend it or tell you to disregard it. So why don't you just go read it and make your own opinion? I know... very helpful review, isn't it?
It's got the humor and cynicism of a Pratchett novel, mixed with the grotesque of a medieval quest for the Holy Grail. It's insane and yet, manages to make sense in its insanity. It's really something that needs to be experienced but, at the end of the day, I believe it's either a hit or miss. Well, clearly a miss for me but still, I can't help but admire the mind who brought to life the Grossbart brothers. And, if you take into account that it is only a debut novel, you can't help but shudder in anticipation (and fear) at what might be coming next.
I believe my problems with this novel are tightly linked with what I found so brilliant about it. The Grossbarts are a cruel, vile pair that care little about others' welfare (and when I say 'others' I do mean it in the broad sense of the word: women, children, priests, animals, plants, unidentified living creatures, etc.), and yet, they have this unexplained love for the Virgin Mary. They believe themselves to be under her protection and do the most despicable things in her name. This creates a wonderful opportunity for the author to criticize current fundamentalist societies, not to mention some nice comic relief. However, the Grossbarts are so well depicted antiheroes that you can't possibly like them or relate to them. All throughout my reading, the intellectual part of my brain kept telling me how brilliant and original this novel was, but the emotional part of my brain just couldn't seem to care whether or not I finished the book! This novel made me schizophrenic! That is how insanely original it is!
I am immensely pleased that French-language rights were licensed a few months ago, but I can't help but pity the translator. Translating this is going to require a lot (lot, lot!) more work than translating your average 400 pages novel. But then nothing about this novel is average. I can't even seem to be able to recommend it or tell you to disregard it. So why don't you just go read it and make your own opinion? I know... very helpful review, isn't it?
June 18, 2013
The Brothers Grossbart is a truly horrible book. Not because it's poorly written, but because the title characters are truly horrible, disgusting people. The narrator doesn't try to gloss over how terrible the Brothers Grossbart are; ugly, ignorant and evil through and through. They maintain an odd piety towards the Virgin Mary, despite having nothing but disgust for her 'weak' son and his followers. They ride through the story on a bloody horse, leaving a mountain of corpses in their wake. Still, it's an bizarrely intruiging story, if only because you want to know what horrors are justly inflicted upon the Brothers in revenge for their actions.
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