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Urania
Al Doilea Razboi Mondial. Un baietel isi creeaza propria sa lume, Urania,o tara de vis, a ordinii si a frumusetii. Peste ani, aflat in misiune in inima Mexicului, descopera, cu ajutorul ghidului sau Raphael, ruinele unui tinut intemeiat in secolul al XIX-lea de catre o comunitate crestina, pe care incearca sa-l transforme intr-o cetate ideala, stapanita de poporul-curcubeu: Campos este Urania, lumea visata de el in copilarie. Mahalaua Rosie, Lili din laguna, colegiul Emporio, dragostea pentru Dahlia, intelepciunea Consilierului, gradina, limba elmen, dar si cruzimile realitatii.
Esecul e inevitabil: totul a fost distrus, iar oamenii „au plecat, ca un stol de fluturi“.
„Le Clézio reda in aceasta carte dulce-amaruie un Mexic universal. Eterna speranta a celor oprimati, eterna ratacire a barbatului si a femeii, eterna satisfactie demna de dispret a celor care detin puterea“.
Le Monde
„Urania aduce in prim-plan poezia locurilor si magia lumii indiene; este povestea cautarii si a intalnirii omului cu propriul destin“.
L'Express
Esecul e inevitabil: totul a fost distrus, iar oamenii „au plecat, ca un stol de fluturi“.
„Le Clézio reda in aceasta carte dulce-amaruie un Mexic universal. Eterna speranta a celor oprimati, eterna ratacire a barbatului si a femeii, eterna satisfactie demna de dispret a celor care detin puterea“.
Le Monde
„Urania aduce in prim-plan poezia locurilor si magia lumii indiene; este povestea cautarii si a intalnirii omului cu propriul destin“.
L'Express
- GenresFranceFictionNobel Prize
336 pages, Hardcover
First published January 1, 2005
15 people are currently reading
175 people want to read
About the author
J.M.G. Le Clézio
152 books649 followersJean-Marie Gustave Le Clézio, better known as J.M.G. Le Clézio (born 13 April 1940) is a Franco-Mauriciano novelist. The author of over forty works, he was awarded the 1963 Prix Renaudot for his novel Le Procès-Verbal (The Interrogation) and the 2008 Nobel Prize in Literature.
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Displaying 1 - 30 of 36 reviews
December 6, 2024
Daniel Silitoe is a French geographer who undertakes scientific exploration in the mountainous landscape of Mexico, that is described in geographical detail. He ends up in a commune that, full of idealism, tries to resists the big money.
In Urania, themes that are dear to Le Clézio emerge: the contrast between rich and poor, idealism, love for nature, and old cultures and traditions. It must be said that the story does not have a compelling progression; it ripples along without any build-up of tension. The language, however, is delicious and is rich in metaphors.
In Urania, themes that are dear to Le Clézio emerge: the contrast between rich and poor, idealism, love for nature, and old cultures and traditions. It must be said that the story does not have a compelling progression; it ripples along without any build-up of tension. The language, however, is delicious and is rich in metaphors.
May 14, 2020
Ai visat vreodată la o comunitate ideală? Daniel Sillitoe și-a imaginat o asemenea lume în copilăria umbrită de WW2. Oameni lipsiți de prejudecăți, egali sub cerul înstelat, disprețuind deșertăciunea lumii. Oameni care învață din natură și trăiesc experiența a tot ceea ce există. Daniel, un geograf francez ajunge în Valea Tepalcatepec pentru a efectua un releveu al pământurilor fierbinți. Aici descoperă consecințele corupției, roadele sărăciei, cicatricile prostituției, dar în același timp și nucleul de pace numit Campos. Locuitori diferiți vorbind aceeași limbă se contopesc într-o admirație astrală. Raphael care e capabil să vadă constelația denumită de arabi Încercarea (Pleiadele) îl călăuzește printre legile nescrise ale comunității.
Este povestea umanității de la grotesc până la visare. Dovada că adesea omul alungă posibilitatea de egalitate ale semenilor. Astfel o comunitate ideală poate exista doar în povești.
Este povestea umanității de la grotesc până la visare. Dovada că adesea omul alungă posibilitatea de egalitate ale semenilor. Astfel o comunitate ideală poate exista doar în povești.
December 18, 2019
Przeczytana dwa razy pod rząd.
Read
August 28, 2009J.M.G. Le Clézio's Ourania is the first full-length novel I've ever read in the original French. I'm proud of the accomplishment, since I started taking French during college in order to read Proust in the original; it feels great to be progressing toward that goal. Yay! I liked Le Clézio's writing style, and had mixed feelings about his plot: a French geologist, who as a child distracted himself from the Nazi invasion by imagining a Utopian land, travels as an adult to Mexico, where he encounters two more attempts at Utopias: an egalitarian academic Institute, and a sort of hippie commune for society's outsiders; both are doomed to failure. But more than that, it was enormously enriching (and frustrating, and empowering!) to start making this language my own on a footing of sophisticated, adult literature. Huge thanks to my friend Marie Christine for bringing me Ourania all the way from Toulouse!
The act of reading in a second language vastly colored my perception of this novel; much of my experience of it was the experience of reading French, rather than the experience of reading Ourania specifically. Reading in translation had its triumphs and frustrations for me; there were only a few passages, for example, in which I could absorb the rhythm and flow of the language, the atmosphere of the scene, in the same way I do effortlessly when reading English prose. (When I did succeed at this, I typically made the kid-learning-to-ride-a-bike mistake of realizing I was doing it, thinking to myself "Look! I'm doing it!" and then promptly losing the ability because I was distracted.) I'm not conscious of skipping over words when I read in English; in fact, I usually pride myself on being a pretty careful reader. But dealing with non-English prose really made me realize how much I take for granted when reading natively: a large vocabulary, colloquial turns of phrase, the small details of tone and cadence that create particular moods or signal different authorial styles. In French I was forced to slow WAY down, increase my levels of patience with making slow progress, and learn when to look words up and when to read for rhythm and general meaning.
Interestingly, I also found that reading in French made me hyper-sensitive to individual words - sort of like an enforced close-reading exercise. Whereas in English I am often conscious of the richness of prose overall, my reading in French currently involves more acquisition and appreciation of individual words. (I think my favorite of the words I picked up from Ourania is recroquevillé(e) - curled or shriveled up. It rolls off the tongue so nicely!) Early in the novel, I noticed the narrator's use of the adjective "vide" - empty or void, which can also be a noun and has a verb form vider - to describe a look in his grandfather's eyes. Shortly thereafter I started noticing the word cropping up all over the novel - a total of twenty-three instances, at least that I noticed.
"Il y avait des corbeaux dans les champs de pommes de terre, ils tenaient des sortes de réunions, leurs glapissements emplissaient le ciel vide." (15) /
"There were ravens in the potato fields; they had kind of gatherings there, their barking filling the empty sky."
"Le rez-de-chaussée était composé d'une grande pièce vide qui avait servi autrefois de dépôt..." (15) /
The ground floor consisted of a large, empty room that had at one time served as a warehouse...
"À part le bruit des moteurs, tout était vide. Aucun voix." (21)
Aside from the noise of the motors, everything was silent. Not a voice.
"Peut-être est-ce le vide de son regard, la pâleur de son visage qui me permettent de comprendre l'importance de l'événement que nous étions en train de vivre..." (22)
Perhaps is was the emptiness of his look, the pallor of his face, that allowed me to understand the importance of this event we were living through...
"Je me suis un peu perdu dans le quartier des Parachutistes. Un dédale de rues, de maisons sommaires, de cours vides." (48)
I was a bit lost in the Parachutists' neighborhood. A labyrinth of streets, of sleeping houses, of empty paths.
"Le jardin était quasiment vide." (82)
The garden [of the brothel:] was almost empty.
"Peut-être que c'est cela qui sifflait dans mes oreilles et me donnait le vertige. Ma solitude. Le sentiment du vide, du très grand vide de mon existence." (122)
Maybe that's what hissed in my ears and gave me vertigo. The feeling of the void, of the great emptiness of my existence.
"Je me souviens qu'à cet instant j'ai ressenti un vide, et mes oreilles on tinté, parce que je venais de comprendre la folie des habitants de Campos et leur Conseiller..." (149)
I remember that at that instant I felt a void, and my ears rang, with having just understood the naivete of the inhabitants of Campos and their Conseiller...
"Je ne comprenais pas, alors il a dit: "Même se tu pouvais distinguer des milliers, des millions d'étoiles avec un télescope, ce qui est le plus grand, le plus vrai dans le ciel, c'est le noir, le vide." (188)
I didn't understand, so he said: "Even if you could identify thousands, millions of stars with a telescope, still, the biggest, the truest thing in the sky is the blackness, the void.
"...les incursions, les violations, les maladies aussi, l'avortement fait à la hâte par ls vielle curandera que tu appelles ta grand-mère, la racine très amère qui a vidé ton ventre..." (209)
The incursions, the violations, the illnesses too, the hurried abortion performed by the old procuress you call your grandmother, the bitter root that emptied your belly...
"Elle a un visage triste de fille sage, une frange au ras de son regard vide." (215)
She had the sad face of a wise girl, a fringe lining her empty gaze.
"Il répète ce qu'il m'a dit à mon arrivée, ce ne sont pas les étoiles qui importent, mais la connaissance du vide." (220)
He repeats what he told me when I arrived: it's not the stars that matter, but getting to know the void.
"Rapaël a quitté son travail à la boutique de grains du marché, dès qu'il a su l'arrêté d'expulsion. Il a vidé sa chambre au-dessus du magasin..." (249)
Raphael quit his job at the grain market as soon as he learned of the order of expulsion. He cleaned out his room above the shop...
"Les bas-côtés étaient vides, les Parachutistes étaient retournés chez eux..." (250)
The road shoulders were empty, the Parachutists had returned to where they came from...
"Elle m'a regardé, j'ai lu un vide dans ses yeux jaunes." (251)
She looked at me; I read a void in her yellow eyes.
"Je suis un peu intimidé d'entrer chez Uacas. C'est pauvre, un peu vide..." (256)
I was a little intimidated to enter Uacas's house. It was poor, a bit empty...
"Avant le départ, le Conseiller a vidé tous les comptes qu'il avait overts dans les banques de la Vallée." (272)
Before the departure, the Conseiller closed all the accounts he had opened with banks in the Valley.
"Les journées étaient longues et vides." (280)
The days were long and empty.
"En même temps, il ressentait une douleur, un vide au centre du corps." (285)
At the same time, he relt a sadness, a void at the center of his body...
"Le bâtiment est vide, sauf trois grandes croix en bois peintes en noir..." (287)
The buildling is empty, save for three large wooden crosses painted black...
"La mer est vide, frisée par le vent, d'un bleu un peu gris." (296)
The sea is empty, ruffled by the wind, of a slightly greyish blue.
"Un rêve tellement effrayant que le vieil homme était apparu tout nu sur le seuil de sa maison, le corps en sueur, les yeux grands ouverts et vides, comme s'il était devenu fou." (323)
A dream so terrifying that the old man had appeared completley nude on the threshold of his home, his body covered in sweat, his eyes large and empty, as if he had gone mad.
"[Mon père:] ne me causait aucun problème, juste une légere amertume quand je pensais au vide qu'il avait laissé dans le coeur de ma mère." (324)
[My absent father:] didn't cause me any issues, only a slight bitterness when I thought of the void he left in my mother's heart.
I don't know whether I would have noticed the predominance of an equivalent word if I had been reading a novel in English; I might have read right over it, or it might have blended in with the other words or been eclipsed by other aspects of the prose. I definitely wouldn't have had access to the repetition if I had read this novel in English, since, as you can see from my lame attempts at translation, the different senses of vide(r) become at least four English terms: empty, void, silent, cleaned out. I'm not even sure if I want to claim significance here: is it remarkable to repeat "empty" twenty-three times in a 335-page novel? I'm not sure, but I do think it's interesting that the repetitions of the word tend to cluster around passages of great emotional import: the protagonist's childhood memories of World War II, the hope (of the commune Campos) and poverty (of the Red Light slums) he encounters in Mexico, his meetings with the prostitute he falls in love with (this was my least favorite aspect of the story), and the grief he feels upon learning that Campos is being disbanded. And at least two of the above quotes are definitely a key idea in the philosophy of the novel: the Conseiller's claim that it's not the stars that matter, but the void between them. And overall, thinking back on the novel's obsession with imagining Utopian alternatives in which to live, I believe this return of the void is important: it's the thing these characters are trying to either fill or understand, the troubling, vertiginous reality of human life with which they're trying to come to terms.
I have to rant a bit about what annoyed me in the novel: namely, the admittedly realistic 1970s mentality of the characters. The social sciences department where the protagonist Daniel goes to work is full of extremely obnoxious anthropologists - characters intended by Le Clézio to be obnoxious - who form a clique that dominates department events, cracking crude jokes about the Red Light area and how they want to "conduct anthropological studies" there, if you get my drift. Daniel, understandably, gets totally fed up with them, but then he goes off the deep end in the other direction and starts idealizing a young prostitute named Lili, imagining himself in love with her and wanting her to personify the buoyancy of the human spirit to triumph against great cruelty and abuse. There are passages where he remarks on how "childlike" she still is, despite a litany of abuses, all imagined in detail by Daniel, and also ones in which he calls her "immortal." Dude, I am SO TIRED of this sensitive-bourgeois-man-fancies-himself-in-love-with-young-prostitute-and-wants-her-to-alleviate-his-cultural-guilt storyline! The man in question always thinks he's such an open-minded hero for "seeing past" her corrupted façade to the wellspring of purity beneath, but he never actually, I don't know, gets to know her at all; he just lets her function as yet another void onto which he can project his own dreams and desires. I kept wondering whether Daniel's egotistic tendency to essentialize Lili would be addressed critically at all, and honestly I could have missed some subtleties of the French prose, but as far as I could tell, the author is sympathetic to his protagonist's angsty "love" for a woman he doesn't even know, which irked me. (There is also an essentialized portrayal of the "childlike wisdom" of a Central American Indian character, although that was somewhat balanced by other, more complex Native characters such as the French-Chocktaw war veteran Conseiller of Campos.) Nevertheless, I have to admit that I found this essentializing, romaticizing tendency to be an accurate addition to Daniel's character, given his background, era, and political leanings, even if it did make him less sympathetic to me personally. So this is not exactly a complaint about Le Clézio's characterization; more a rant about supposedly liberated people who react to bigotry with "positive," romanticized stereotyping. That said, Daniel's so-called relationship with Lili is really just a detail, and overall I found a lot to love in this novel and its meditations on the flawed, transitory nature of Utopian dreams.
As an amusing little side-note, now that we're coming up on the fourth installment of the 2666 readalong: I originally started Ourania right before diving into Part I of Bolaño's novel, but I had to postpone it because there were so many eerie similarities in the subject matter that I was having a hard time keeping them straight. I had never before read a novel about self-absorbed professors visiting Mexico and getting romantically involved with poverty-stricken women there, so it was bizarre to coincidentally end up reading two of them at once!
The act of reading in a second language vastly colored my perception of this novel; much of my experience of it was the experience of reading French, rather than the experience of reading Ourania specifically. Reading in translation had its triumphs and frustrations for me; there were only a few passages, for example, in which I could absorb the rhythm and flow of the language, the atmosphere of the scene, in the same way I do effortlessly when reading English prose. (When I did succeed at this, I typically made the kid-learning-to-ride-a-bike mistake of realizing I was doing it, thinking to myself "Look! I'm doing it!" and then promptly losing the ability because I was distracted.) I'm not conscious of skipping over words when I read in English; in fact, I usually pride myself on being a pretty careful reader. But dealing with non-English prose really made me realize how much I take for granted when reading natively: a large vocabulary, colloquial turns of phrase, the small details of tone and cadence that create particular moods or signal different authorial styles. In French I was forced to slow WAY down, increase my levels of patience with making slow progress, and learn when to look words up and when to read for rhythm and general meaning.
Interestingly, I also found that reading in French made me hyper-sensitive to individual words - sort of like an enforced close-reading exercise. Whereas in English I am often conscious of the richness of prose overall, my reading in French currently involves more acquisition and appreciation of individual words. (I think my favorite of the words I picked up from Ourania is recroquevillé(e) - curled or shriveled up. It rolls off the tongue so nicely!) Early in the novel, I noticed the narrator's use of the adjective "vide" - empty or void, which can also be a noun and has a verb form vider - to describe a look in his grandfather's eyes. Shortly thereafter I started noticing the word cropping up all over the novel - a total of twenty-three instances, at least that I noticed.
"Il y avait des corbeaux dans les champs de pommes de terre, ils tenaient des sortes de réunions, leurs glapissements emplissaient le ciel vide." (15) /
"There were ravens in the potato fields; they had kind of gatherings there, their barking filling the empty sky."
"Le rez-de-chaussée était composé d'une grande pièce vide qui avait servi autrefois de dépôt..." (15) /
The ground floor consisted of a large, empty room that had at one time served as a warehouse...
"À part le bruit des moteurs, tout était vide. Aucun voix." (21)
Aside from the noise of the motors, everything was silent. Not a voice.
"Peut-être est-ce le vide de son regard, la pâleur de son visage qui me permettent de comprendre l'importance de l'événement que nous étions en train de vivre..." (22)
Perhaps is was the emptiness of his look, the pallor of his face, that allowed me to understand the importance of this event we were living through...
"Je me suis un peu perdu dans le quartier des Parachutistes. Un dédale de rues, de maisons sommaires, de cours vides." (48)
I was a bit lost in the Parachutists' neighborhood. A labyrinth of streets, of sleeping houses, of empty paths.
"Le jardin était quasiment vide." (82)
The garden [of the brothel:] was almost empty.
"Peut-être que c'est cela qui sifflait dans mes oreilles et me donnait le vertige. Ma solitude. Le sentiment du vide, du très grand vide de mon existence." (122)
Maybe that's what hissed in my ears and gave me vertigo. The feeling of the void, of the great emptiness of my existence.
"Je me souviens qu'à cet instant j'ai ressenti un vide, et mes oreilles on tinté, parce que je venais de comprendre la folie des habitants de Campos et leur Conseiller..." (149)
I remember that at that instant I felt a void, and my ears rang, with having just understood the naivete of the inhabitants of Campos and their Conseiller...
"Je ne comprenais pas, alors il a dit: "Même se tu pouvais distinguer des milliers, des millions d'étoiles avec un télescope, ce qui est le plus grand, le plus vrai dans le ciel, c'est le noir, le vide." (188)
I didn't understand, so he said: "Even if you could identify thousands, millions of stars with a telescope, still, the biggest, the truest thing in the sky is the blackness, the void.
"...les incursions, les violations, les maladies aussi, l'avortement fait à la hâte par ls vielle curandera que tu appelles ta grand-mère, la racine très amère qui a vidé ton ventre..." (209)
The incursions, the violations, the illnesses too, the hurried abortion performed by the old procuress you call your grandmother, the bitter root that emptied your belly...
"Elle a un visage triste de fille sage, une frange au ras de son regard vide." (215)
She had the sad face of a wise girl, a fringe lining her empty gaze.
"Il répète ce qu'il m'a dit à mon arrivée, ce ne sont pas les étoiles qui importent, mais la connaissance du vide." (220)
He repeats what he told me when I arrived: it's not the stars that matter, but getting to know the void.
"Rapaël a quitté son travail à la boutique de grains du marché, dès qu'il a su l'arrêté d'expulsion. Il a vidé sa chambre au-dessus du magasin..." (249)
Raphael quit his job at the grain market as soon as he learned of the order of expulsion. He cleaned out his room above the shop...
"Les bas-côtés étaient vides, les Parachutistes étaient retournés chez eux..." (250)
The road shoulders were empty, the Parachutists had returned to where they came from...
"Elle m'a regardé, j'ai lu un vide dans ses yeux jaunes." (251)
She looked at me; I read a void in her yellow eyes.
"Je suis un peu intimidé d'entrer chez Uacas. C'est pauvre, un peu vide..." (256)
I was a little intimidated to enter Uacas's house. It was poor, a bit empty...
"Avant le départ, le Conseiller a vidé tous les comptes qu'il avait overts dans les banques de la Vallée." (272)
Before the departure, the Conseiller closed all the accounts he had opened with banks in the Valley.
"Les journées étaient longues et vides." (280)
The days were long and empty.
"En même temps, il ressentait une douleur, un vide au centre du corps." (285)
At the same time, he relt a sadness, a void at the center of his body...
"Le bâtiment est vide, sauf trois grandes croix en bois peintes en noir..." (287)
The buildling is empty, save for three large wooden crosses painted black...
"La mer est vide, frisée par le vent, d'un bleu un peu gris." (296)
The sea is empty, ruffled by the wind, of a slightly greyish blue.
"Un rêve tellement effrayant que le vieil homme était apparu tout nu sur le seuil de sa maison, le corps en sueur, les yeux grands ouverts et vides, comme s'il était devenu fou." (323)
A dream so terrifying that the old man had appeared completley nude on the threshold of his home, his body covered in sweat, his eyes large and empty, as if he had gone mad.
"[Mon père:] ne me causait aucun problème, juste une légere amertume quand je pensais au vide qu'il avait laissé dans le coeur de ma mère." (324)
[My absent father:] didn't cause me any issues, only a slight bitterness when I thought of the void he left in my mother's heart.
I don't know whether I would have noticed the predominance of an equivalent word if I had been reading a novel in English; I might have read right over it, or it might have blended in with the other words or been eclipsed by other aspects of the prose. I definitely wouldn't have had access to the repetition if I had read this novel in English, since, as you can see from my lame attempts at translation, the different senses of vide(r) become at least four English terms: empty, void, silent, cleaned out. I'm not even sure if I want to claim significance here: is it remarkable to repeat "empty" twenty-three times in a 335-page novel? I'm not sure, but I do think it's interesting that the repetitions of the word tend to cluster around passages of great emotional import: the protagonist's childhood memories of World War II, the hope (of the commune Campos) and poverty (of the Red Light slums) he encounters in Mexico, his meetings with the prostitute he falls in love with (this was my least favorite aspect of the story), and the grief he feels upon learning that Campos is being disbanded. And at least two of the above quotes are definitely a key idea in the philosophy of the novel: the Conseiller's claim that it's not the stars that matter, but the void between them. And overall, thinking back on the novel's obsession with imagining Utopian alternatives in which to live, I believe this return of the void is important: it's the thing these characters are trying to either fill or understand, the troubling, vertiginous reality of human life with which they're trying to come to terms.
I have to rant a bit about what annoyed me in the novel: namely, the admittedly realistic 1970s mentality of the characters. The social sciences department where the protagonist Daniel goes to work is full of extremely obnoxious anthropologists - characters intended by Le Clézio to be obnoxious - who form a clique that dominates department events, cracking crude jokes about the Red Light area and how they want to "conduct anthropological studies" there, if you get my drift. Daniel, understandably, gets totally fed up with them, but then he goes off the deep end in the other direction and starts idealizing a young prostitute named Lili, imagining himself in love with her and wanting her to personify the buoyancy of the human spirit to triumph against great cruelty and abuse. There are passages where he remarks on how "childlike" she still is, despite a litany of abuses, all imagined in detail by Daniel, and also ones in which he calls her "immortal." Dude, I am SO TIRED of this sensitive-bourgeois-man-fancies-himself-in-love-with-young-prostitute-and-wants-her-to-alleviate-his-cultural-guilt storyline! The man in question always thinks he's such an open-minded hero for "seeing past" her corrupted façade to the wellspring of purity beneath, but he never actually, I don't know, gets to know her at all; he just lets her function as yet another void onto which he can project his own dreams and desires. I kept wondering whether Daniel's egotistic tendency to essentialize Lili would be addressed critically at all, and honestly I could have missed some subtleties of the French prose, but as far as I could tell, the author is sympathetic to his protagonist's angsty "love" for a woman he doesn't even know, which irked me. (There is also an essentialized portrayal of the "childlike wisdom" of a Central American Indian character, although that was somewhat balanced by other, more complex Native characters such as the French-Chocktaw war veteran Conseiller of Campos.) Nevertheless, I have to admit that I found this essentializing, romaticizing tendency to be an accurate addition to Daniel's character, given his background, era, and political leanings, even if it did make him less sympathetic to me personally. So this is not exactly a complaint about Le Clézio's characterization; more a rant about supposedly liberated people who react to bigotry with "positive," romanticized stereotyping. That said, Daniel's so-called relationship with Lili is really just a detail, and overall I found a lot to love in this novel and its meditations on the flawed, transitory nature of Utopian dreams.
As an amusing little side-note, now that we're coming up on the fourth installment of the 2666 readalong: I originally started Ourania right before diving into Part I of Bolaño's novel, but I had to postpone it because there were so many eerie similarities in the subject matter that I was having a hard time keeping them straight. I had never before read a novel about self-absorbed professors visiting Mexico and getting romantically involved with poverty-stricken women there, so it was bizarre to coincidentally end up reading two of them at once!
December 4, 2025
Ne güzel bir kitap. İkinci kere okudum bitirinceye kadar ilkini yarıda bıraktım sanıyordum. İlk tecrübemin duygusu biraz üzüntü bazı karakterler için öfke vb idi şimdi hepsini çok severek çok hissederek okudum. Akrepin doğası bu sokacak başka bişey yapamaz.
February 16, 2018
Novela llena de contrastes, pero aburrida por momentos y el mayor problema que tengo con ella es la forma en como está narrada, ya que el autor al tratar de generar empatía por los personajes los convierte en caricaturas, sumamente planos y superficiales, a la deriva de donde los lleva las circunstancias que plantea la historia.
En el libro se cuenta la historia de Daniel Sillitoe, un geógrafo francés quien se encuentra en la región de Tehualcatepec, en México con motivo de hacer un mapeo de la zona. En el lugar se encuentra con diversos investigadores de un centro llamado el Emporio, quienes dicen estar facinados por la cultura del lugar, pero en vez de integrarse a la región viven aislados en una especie de oasis lleno de lujos que contrasta radicalmente con la mísera que experimenta la región, donde sus pobladores se ven obligados a vivir en condiciones precarias, donde la explotación infantil y la prostitución son imperantes.
En ese lugar, Daniel se encuentra con Lilí, una joven prostituta a quien trata de apadrinar, pero la joven y su padrote desconfían de sus intenciones y Don Tomás, un lugareño que trabaja en el Emporio, pero que en vez de estar sumido en el esnobismo hipócrita de los investigadores, trata de ayudar a la población pero es francamente ignorado.
Las descripciones de espacios naturales son prominentes y se retrata con crudeza la vida de los pobladores quienes son explotados por sus patrones. Esta crudeza, aunque es real en muchos de las regiones más pobres del país me parece un recursos que usa hasta el cansancio, tanto que aburre y lo normaliza en la novela. Creo que es importante hablar de estos problemas, pero cuando lo agotas sin generar un ápice de conciencia, es mi opinión que fallaste al transmitir ese mensaje (puede ser posible que el autor no hubiera tenido la intensión de transmitir ningún mensaje, y que solo escribe una historia en base a las circunstancias del lugar).
Los contrastes en la novela es lo que la hacen interesante, los ricos del emporio que dicen estar fascinados con la cultura, pero se aíslan de ella y los pobladores que viviendo en condiciones miserables desconfían de toda persona dispuesta a ayudarlos. En este aspecto la novela está bien lograda y uno si puede llegar a sentir la repulsión del protagonista ante los dos extremos que representan estas circunstancias.
Sin embargo, en lo personal creo que esta novela se quedo a medias. Es una novela que destila crudeza, pero sin dar un mensaje claro. La novela esta escrita en un estilo muy romántico donde las emociones y descripciones (las buenas y las malas) se detallan con un lirismo que puede resultar chocante, y en eso junto con los personajes unidimensionales impidieron que yo pudiera disfrutar del libro. Creo que hay mejores novelas del autor ("Desierto", por ejemplo), y en realidad no recomendaría este libro mas que aquellos que lo quieran tener nada mas como una curiosidad. Pero es mi opinión y seguro habrá más de una persona que este en desacuerdo. Si te interesan historias con contrastes donde se detalla al extremo la pobreza, te podría interesar, solo no esperes sacar nada de ella.
En el libro se cuenta la historia de Daniel Sillitoe, un geógrafo francés quien se encuentra en la región de Tehualcatepec, en México con motivo de hacer un mapeo de la zona. En el lugar se encuentra con diversos investigadores de un centro llamado el Emporio, quienes dicen estar facinados por la cultura del lugar, pero en vez de integrarse a la región viven aislados en una especie de oasis lleno de lujos que contrasta radicalmente con la mísera que experimenta la región, donde sus pobladores se ven obligados a vivir en condiciones precarias, donde la explotación infantil y la prostitución son imperantes.
En ese lugar, Daniel se encuentra con Lilí, una joven prostituta a quien trata de apadrinar, pero la joven y su padrote desconfían de sus intenciones y Don Tomás, un lugareño que trabaja en el Emporio, pero que en vez de estar sumido en el esnobismo hipócrita de los investigadores, trata de ayudar a la población pero es francamente ignorado.
Las descripciones de espacios naturales son prominentes y se retrata con crudeza la vida de los pobladores quienes son explotados por sus patrones. Esta crudeza, aunque es real en muchos de las regiones más pobres del país me parece un recursos que usa hasta el cansancio, tanto que aburre y lo normaliza en la novela. Creo que es importante hablar de estos problemas, pero cuando lo agotas sin generar un ápice de conciencia, es mi opinión que fallaste al transmitir ese mensaje (puede ser posible que el autor no hubiera tenido la intensión de transmitir ningún mensaje, y que solo escribe una historia en base a las circunstancias del lugar).
Los contrastes en la novela es lo que la hacen interesante, los ricos del emporio que dicen estar fascinados con la cultura, pero se aíslan de ella y los pobladores que viviendo en condiciones miserables desconfían de toda persona dispuesta a ayudarlos. En este aspecto la novela está bien lograda y uno si puede llegar a sentir la repulsión del protagonista ante los dos extremos que representan estas circunstancias.
Sin embargo, en lo personal creo que esta novela se quedo a medias. Es una novela que destila crudeza, pero sin dar un mensaje claro. La novela esta escrita en un estilo muy romántico donde las emociones y descripciones (las buenas y las malas) se detallan con un lirismo que puede resultar chocante, y en eso junto con los personajes unidimensionales impidieron que yo pudiera disfrutar del libro. Creo que hay mejores novelas del autor ("Desierto", por ejemplo), y en realidad no recomendaría este libro mas que aquellos que lo quieran tener nada mas como una curiosidad. Pero es mi opinión y seguro habrá más de una persona que este en desacuerdo. Si te interesan historias con contrastes donde se detalla al extremo la pobreza, te podría interesar, solo no esperes sacar nada de ella.
August 17, 2018
Clêzio Ourania’sının ilk sayfasında çocukluğundan ve annesinden bahsederken “Kitap okumayı da severdi ve ben gerçekliğin bir sır olduğunu ve insanın ancak hayal kurarak dünyaya daha yakın olacağını ondan öğrendim.” Derken 16. yüzyılda yaşamış olan Montaigne ise “Her Şeyin Göreceliği” adlı denemesinde “Yaşamı bir düşe benzetenlerin sandıklarından çok daha fazla hakları var galiba. Düşte ruhumuzun sürdüğü yaşam , gördüğü iş, kullandığı güç uyanık durumumuzdan hiç de aşağı kalmıyor. Kuşkusuz düşteki yaşam daha gevşek, daha bulanık ama aradaki fark hiç de gecenin karanlığıyla gün ışığı arasındaki fark gibi değil; hayır, daha çok karanlıkla gölge arasındaki fark gibi: Ruh birinde uyur, ötekinde uyuklar. Her ikisinde de aslında karanlıklar içindeyiz, ama birinde daha az, ötekinde daha çok. Bir uyanıkken uykuda bir uyurken uyanığız. Uykuda gördüklerimiz pek o kadar aydınlık değildir, ama ayıkken de her şeyi pek o kadar pırıl pırıl, apaçık göremeyiz.” Derken aynı duygu ve düşünceleri birkaç yüzyıl arayla da olsa paylaşıyorlar.
Fransız coğrafyacı Daniel yıllar sonra annesinin kırmızı kitabından esinlendiği Ourania adını verdiği düş ülkesiyle karşılaşır Meksika’da. Daniel bir araştırmaya katılmak için gittiği Meksika’daki otobüs yolculuğunda genç delikanlı Raphael ile karşılaşır. Daniel’e göre bu ciddi ifadeli çocuğun cüretkarlığı belki saflığa varan teklifsiz bir hali vardır. Romanda Raphael Campos’u anlatır. Daniel ise Antropologlar Tepesinin bilim adamlarından biridir. Ancak Emperio’da huzursuzluk hakimdir. Clezio romanda Campos ve Emperio’yu bize bir yandan Daniel’in değerlendirmeleri bir yandan da Raphael’in gözlemleriyle anlatırken daha ilk sayfalarda Emperio’yu tanımladığı bir paragrafta sanki sonundan da haber verir. (Sayfa 39) Ardından Emperio’da verdiği “Toprakbilim” konulu konferansta vadiye hükmeden toprak sahiplerini ve ticaret acentelerini hedef alan konuşmasıyla farkında olmadan fitili ateşler Daniel. Yine Montaigne “Kitaplar” adlı denemesinde “ Bir düzeni sarsanlar, onun yıkılmasıyla ilk ezilenler olur çoğu kez. Kargaşalığı çıkaran, yararını kendi görmez pek; başka balıkçılar için suları bulandırmış olur.” Der. Daniel bu konuşmayı yaparken Emperio’yu hedef almamıştır kuşkusuz ama ne yazık ki hedef aldığı kapitalist güçler Emperio’nun da finansörleridir. Clezio Meksika ve Latin Amerika’nın siyasi yapısını gerçekçi bir dille anlatırken bu anlatıyı ütopik Campos anlatımıyla harmanlayarak okuyucuya sunmuştur.
Aslında Daniel ilk başta ne aramaya geldiğinden pek emin değildir. Belki bir uzaklaşma belki de tersine gerçekliktir aradığı. (Sayfa 42) Sebep ne olursa olsun aşkla da buluşur Daniel, Dahlia’yla. Aralarındaki ilişki sadece cinsellikten ibaret olmasa da bir yanıyla da bağlılıktan, bağımlılıktan ve bir ölçüde sorumluluktan da uzaktır. (Sayfa 81 ve 82)
Bir yandan da Lagunalı Lili’nin peşine düşer Daniel. Lili kapitalist düzen içinde sömürülen Latin Amerika’dır aynı zamanda. Ama yine de saftır. Kötülük üzerinden pis bir su gibi akıp gitmiştir. Daniel Lili’yi bulduğunda amacı özür dilemekken bunu dile getiremez. Bir yandan da onun tek sığınağı olan evine gidip kokusunu solumak , hayatından beslenmek istediği için kendini suçlu hisseder. ( Sayfa 85-86-87)
Empero’daki bilim adamlarından bazıları Lili’nin yaşadığı bölgede araştırma yapmak isteyince çıkar sahipleri huzursuz olurlar ve Lili esrarengiz bir biçimde ortadan kaybolur. Daniel hem Lili’nin ortadan kaybolmasıyla birlikte onu bulmak için çabalar hem de Raphael’in gözünden, kaleminden Campos’u yaşar. Campos Meksika’da bir vadide, çilek tarlalarının ortasında, gözden ırak bir topluluktur. Cinselliğin serbest olduğu, çocukların kral muamelesi gördüğü, paranın kullanılmadığı, aile kurumunun tersyüz edildiği, toprağın, suyun, güneşin, yıldızların Campos ve Camposlular için yaşamsal değerinin önemle vurgulandığı. Yazar Campos’u daha gerçekçi kılmak için kitabın arkasındaki ekler bölümüne “Campos Yasaları” nı, Campos’un krokisini koymuş ve Paricutin’den Tepalcatepec Vadisine Yol Haritası’nı da eklemiştir. Çocukların okula gitmeye ihtiyacı olmayan, kimsenin boş zamanının olmadığı, kendine has bir dile sahip olan Campos’ta huzur ise Yol Kaçkını Efrain Corvo yüzünden bozulur. Danışman Anthony Martin bu durumu “Bu adamın Campos’a niye geldiğini sezinleyememiştim. Adam öldürdüğünü, tek derdinin saklanmak olduğunu. Bize katılmak için değil, bizi yok etmek için geldiğini.” şeklinde ifade eder. (Sayfa 160) Aldaberto Aranzas’ın Campos’u tahliyesiyle birlikte Campos’tan sürgün Noel Haftasında başlar. Ardından Daniel ve Dahlia da Emperio’ya veda ederler. Emperio’da da fırtına dinmiş yeni düzen kurulmuştur. (Sayfa 177)
Kitabın sonlarındaki “Yollarda” ve “Yarım-Ay Adası” bölümlerinde yurtlarından olan Campos’luların sıradanlaşmış, yıpranmış, hastalıklı betimlemeleri içimizi burkar. (Sayfa 192) Campos’u ele geçiren Aldaberto Aranzas’ın da sihrini tamamen kaybetmiş bir Campos’a sahip oluşu okuyucuyu biraz olsun rahatlatır. Ama Yarım-Ay Adası’nın ulusal bir park olduğunu okuyunca o ada üstündeki Camposluların hali bir kez daha burkar içimizi. (Sayfa 206) Her şeye rağmen hepsi yeni bir yaşam kurmak için çabalarlar. Raphael Zacharie diğerleriyle gitmez ve kitapta ilk kez bu bölümde Raphael’in gözünden anlatıcı Daniel değerlendirilir. (Sayfa 207) Hoatu ile Raphael’in konuşmasının ardından Camposlular “bir efsane kokusu” ile yeni bir ütopyaya doğru yola çıkarlar. Lili de sınırla birlikte bir yaşamdan diğerine geçiş yapar.
Daniel yirmi beş yıl sonra alıcısına ulaşamadan dönen zarfı görünce Orta Amerika’ya neden gittiğini de keşfeder. Ama bu keşif onu sadece güldürür. (Sayfa 216) Daniel bir bilemedin iki günlüğüne gittiği Dahlia’nın yanında kalır. Onu tutan Dahlia’nın evlat edindiği sonuncu çocuk Cattleya’dır. Bence Cattleya Daniel’in kendi çocuğu olmasa da neslin devamını dolayısıyla yaşamı temsil eder. Daniel de gezegenin tüm olumsuzluklarına rağmen Ourania ülkesinin gerçekten varolduğundan emin olan kendisiyle birlikte tanıklığını yapan Dahlia ile birlikte yaşama devam eder.
İsveç Akademisi Le Clézio’ya verilen ödülle ilgili açıklamasında, romancıyı “içinde bulunduğumuz medeniyet devri ve ötesinde insanlığın kaşifi; duygusal coşkunun, şiirsel maceranın ve yeni ayrılıkların yazarı” olarak tanımlamış. Clézio’nun yaşam öyküsünü okuyunca onun gerçekten bir dünya vatandaşı olduğunu kavrıyor insan. İnsanoğlunun huzur ve mutluluğunun aslında temelde çok basit olan yeme-içme, barınma , cinsellik, güven ortamı içinde bir arada yaşama ihtiyaçlarının karşılanabildiği ortamlarda var olabileceği gerçeğini iyi bir kurgu ve akıcı bir dille yazılmış bu roman ile yeniden kavramak çok keyifliydi. Yazında insanın keşfini yeni diller yeni yazarlarla yeniden yapmak dileğiyle…
Fransız coğrafyacı Daniel yıllar sonra annesinin kırmızı kitabından esinlendiği Ourania adını verdiği düş ülkesiyle karşılaşır Meksika’da. Daniel bir araştırmaya katılmak için gittiği Meksika’daki otobüs yolculuğunda genç delikanlı Raphael ile karşılaşır. Daniel’e göre bu ciddi ifadeli çocuğun cüretkarlığı belki saflığa varan teklifsiz bir hali vardır. Romanda Raphael Campos’u anlatır. Daniel ise Antropologlar Tepesinin bilim adamlarından biridir. Ancak Emperio’da huzursuzluk hakimdir. Clezio romanda Campos ve Emperio’yu bize bir yandan Daniel’in değerlendirmeleri bir yandan da Raphael’in gözlemleriyle anlatırken daha ilk sayfalarda Emperio’yu tanımladığı bir paragrafta sanki sonundan da haber verir. (Sayfa 39) Ardından Emperio’da verdiği “Toprakbilim” konulu konferansta vadiye hükmeden toprak sahiplerini ve ticaret acentelerini hedef alan konuşmasıyla farkında olmadan fitili ateşler Daniel. Yine Montaigne “Kitaplar” adlı denemesinde “ Bir düzeni sarsanlar, onun yıkılmasıyla ilk ezilenler olur çoğu kez. Kargaşalığı çıkaran, yararını kendi görmez pek; başka balıkçılar için suları bulandırmış olur.” Der. Daniel bu konuşmayı yaparken Emperio’yu hedef almamıştır kuşkusuz ama ne yazık ki hedef aldığı kapitalist güçler Emperio’nun da finansörleridir. Clezio Meksika ve Latin Amerika’nın siyasi yapısını gerçekçi bir dille anlatırken bu anlatıyı ütopik Campos anlatımıyla harmanlayarak okuyucuya sunmuştur.
Aslında Daniel ilk başta ne aramaya geldiğinden pek emin değildir. Belki bir uzaklaşma belki de tersine gerçekliktir aradığı. (Sayfa 42) Sebep ne olursa olsun aşkla da buluşur Daniel, Dahlia’yla. Aralarındaki ilişki sadece cinsellikten ibaret olmasa da bir yanıyla da bağlılıktan, bağımlılıktan ve bir ölçüde sorumluluktan da uzaktır. (Sayfa 81 ve 82)
Bir yandan da Lagunalı Lili’nin peşine düşer Daniel. Lili kapitalist düzen içinde sömürülen Latin Amerika’dır aynı zamanda. Ama yine de saftır. Kötülük üzerinden pis bir su gibi akıp gitmiştir. Daniel Lili’yi bulduğunda amacı özür dilemekken bunu dile getiremez. Bir yandan da onun tek sığınağı olan evine gidip kokusunu solumak , hayatından beslenmek istediği için kendini suçlu hisseder. ( Sayfa 85-86-87)
Empero’daki bilim adamlarından bazıları Lili’nin yaşadığı bölgede araştırma yapmak isteyince çıkar sahipleri huzursuz olurlar ve Lili esrarengiz bir biçimde ortadan kaybolur. Daniel hem Lili’nin ortadan kaybolmasıyla birlikte onu bulmak için çabalar hem de Raphael’in gözünden, kaleminden Campos’u yaşar. Campos Meksika’da bir vadide, çilek tarlalarının ortasında, gözden ırak bir topluluktur. Cinselliğin serbest olduğu, çocukların kral muamelesi gördüğü, paranın kullanılmadığı, aile kurumunun tersyüz edildiği, toprağın, suyun, güneşin, yıldızların Campos ve Camposlular için yaşamsal değerinin önemle vurgulandığı. Yazar Campos’u daha gerçekçi kılmak için kitabın arkasındaki ekler bölümüne “Campos Yasaları” nı, Campos’un krokisini koymuş ve Paricutin’den Tepalcatepec Vadisine Yol Haritası’nı da eklemiştir. Çocukların okula gitmeye ihtiyacı olmayan, kimsenin boş zamanının olmadığı, kendine has bir dile sahip olan Campos’ta huzur ise Yol Kaçkını Efrain Corvo yüzünden bozulur. Danışman Anthony Martin bu durumu “Bu adamın Campos’a niye geldiğini sezinleyememiştim. Adam öldürdüğünü, tek derdinin saklanmak olduğunu. Bize katılmak için değil, bizi yok etmek için geldiğini.” şeklinde ifade eder. (Sayfa 160) Aldaberto Aranzas’ın Campos’u tahliyesiyle birlikte Campos’tan sürgün Noel Haftasında başlar. Ardından Daniel ve Dahlia da Emperio’ya veda ederler. Emperio’da da fırtına dinmiş yeni düzen kurulmuştur. (Sayfa 177)
Kitabın sonlarındaki “Yollarda” ve “Yarım-Ay Adası” bölümlerinde yurtlarından olan Campos’luların sıradanlaşmış, yıpranmış, hastalıklı betimlemeleri içimizi burkar. (Sayfa 192) Campos’u ele geçiren Aldaberto Aranzas’ın da sihrini tamamen kaybetmiş bir Campos’a sahip oluşu okuyucuyu biraz olsun rahatlatır. Ama Yarım-Ay Adası’nın ulusal bir park olduğunu okuyunca o ada üstündeki Camposluların hali bir kez daha burkar içimizi. (Sayfa 206) Her şeye rağmen hepsi yeni bir yaşam kurmak için çabalarlar. Raphael Zacharie diğerleriyle gitmez ve kitapta ilk kez bu bölümde Raphael’in gözünden anlatıcı Daniel değerlendirilir. (Sayfa 207) Hoatu ile Raphael’in konuşmasının ardından Camposlular “bir efsane kokusu” ile yeni bir ütopyaya doğru yola çıkarlar. Lili de sınırla birlikte bir yaşamdan diğerine geçiş yapar.
Daniel yirmi beş yıl sonra alıcısına ulaşamadan dönen zarfı görünce Orta Amerika’ya neden gittiğini de keşfeder. Ama bu keşif onu sadece güldürür. (Sayfa 216) Daniel bir bilemedin iki günlüğüne gittiği Dahlia’nın yanında kalır. Onu tutan Dahlia’nın evlat edindiği sonuncu çocuk Cattleya’dır. Bence Cattleya Daniel’in kendi çocuğu olmasa da neslin devamını dolayısıyla yaşamı temsil eder. Daniel de gezegenin tüm olumsuzluklarına rağmen Ourania ülkesinin gerçekten varolduğundan emin olan kendisiyle birlikte tanıklığını yapan Dahlia ile birlikte yaşama devam eder.
İsveç Akademisi Le Clézio’ya verilen ödülle ilgili açıklamasında, romancıyı “içinde bulunduğumuz medeniyet devri ve ötesinde insanlığın kaşifi; duygusal coşkunun, şiirsel maceranın ve yeni ayrılıkların yazarı” olarak tanımlamış. Clézio’nun yaşam öyküsünü okuyunca onun gerçekten bir dünya vatandaşı olduğunu kavrıyor insan. İnsanoğlunun huzur ve mutluluğunun aslında temelde çok basit olan yeme-içme, barınma , cinsellik, güven ortamı içinde bir arada yaşama ihtiyaçlarının karşılanabildiği ortamlarda var olabileceği gerçeğini iyi bir kurgu ve akıcı bir dille yazılmış bu roman ile yeniden kavramak çok keyifliydi. Yazında insanın keşfini yeni diller yeni yazarlarla yeniden yapmak dileğiyle…
December 15, 2020
"Urania" este un roman despre care nu am auzit deloc, din păcate, mai ales că a fost o lectură interesantă. Am apreciat aspectul de acțiune continuă, titlurile capitolelor continuând povestea, nu împărțind-o. Citind cartea după "nymphette_dark99", nu am avut cum să nu compar cele două stiluri de scriere, Le Clézio utilizând cu prisosință arta narării.
Romanul începe cu surprinzătoarea imaginație a unui copil care, pentru a-și ascunde gândurile despre război și naziști, își făurește o țară utopică, totul pentru ca peste ani de zile să dea peste un astfel de pământ din visele lui. Oamenii de pe acest pământ sunt egali, trăiesc într-o lume tradițională în care comuniunea cu natura nu a pierit, în care expresia "școala vieții" vine cu un înțeles literal și expresiv. Daniel și Raphael, personajele acestui roman, prezintă cititorului o comunitate ghidată de constelații și vise, în care diferențele lingvistice și culturale nu mai contează, doar faptul că toți suntem oameni.
"— Învățătura de seară? Dar ce anume se învață seara?
— Viață, se învață despre viață."
"Stelele n-au a face cu treburile oamenilor. Dacă nu-l putem accepta pe acest om, dacă nu-l putem face fratele nostru înseamnă că nici comunitatea noastră nu face doi bani."
Romanul începe cu surprinzătoarea imaginație a unui copil care, pentru a-și ascunde gândurile despre război și naziști, își făurește o țară utopică, totul pentru ca peste ani de zile să dea peste un astfel de pământ din visele lui. Oamenii de pe acest pământ sunt egali, trăiesc într-o lume tradițională în care comuniunea cu natura nu a pierit, în care expresia "școala vieții" vine cu un înțeles literal și expresiv. Daniel și Raphael, personajele acestui roman, prezintă cititorului o comunitate ghidată de constelații și vise, în care diferențele lingvistice și culturale nu mai contează, doar faptul că toți suntem oameni.
"— Învățătura de seară? Dar ce anume se învață seara?
— Viață, se învață despre viață."
"Stelele n-au a face cu treburile oamenilor. Dacă nu-l putem accepta pe acest om, dacă nu-l putem face fratele nostru înseamnă că nici comunitatea noastră nu face doi bani."
April 22, 2016
Boeiend en goed geschreven verhaal: het verhaal van de geoloog zelf, die van de 'Campos Commune' en die van de 'intellectuele kolonie'. De 3 verhalen zijn zijdelings met elkaar verbonden en geven niet alleen een mooi tijdsbeeld, maar laten ook zeker zien hoe we in de wereld omgaan met zwakkeren en hoe juist de zwaksten in samenlevingen tegen elkaar worden uitgespeeld door de rijkeren en machtigen. Dit alles zonder te preken, maar door gewoon een goed verhaal te vertellen dat je laat nadenken.
Ik baalde aanvankelijk dat de bieb dit boek alleen in het Nederlands had. Mijn eerste boek van Le Clézio dat ik gelezen heb, heb ik namelijk met erg veel plezier in het Frans gelezen (Ritournelle de la faim). Het taalgebruik in dit boek is wat lastiger dan in Ritournelle de la faim, doordat er veel wetenschappelijke (geografische) termen in voorkomen, dus achteraf wel prettig dat ik toch de Nederlandse editie gelezen heb, dat heeft me veel opzoekwerk bespaard.
Ik baalde aanvankelijk dat de bieb dit boek alleen in het Nederlands had. Mijn eerste boek van Le Clézio dat ik gelezen heb, heb ik namelijk met erg veel plezier in het Frans gelezen (Ritournelle de la faim). Het taalgebruik in dit boek is wat lastiger dan in Ritournelle de la faim, doordat er veel wetenschappelijke (geografische) termen in voorkomen, dus achteraf wel prettig dat ik toch de Nederlandse editie gelezen heb, dat heeft me veel opzoekwerk bespaard.
July 6, 2019
Być może Le Clezio dostał Nobla za to samo, co J.M. Coetzee, gdyż „Urania“ przywodzi na myśl powieści południowoafrykańskiego pisarza: „Hańbę“ oraz „Czekając na barbarzyńców“; ten sam dystans bohatera wobec świata, ten sam krótki, inkrustowany błyskotliwymi uwagami język; Ta sama atencja dla szczegółu, ta sama tęsknota za jakimś większym porządkiem moralno-filozoficznym, przy jednoczesnej empatii wobec ludzkiej małości. W historii powstania, rozkwitu i upadku hippisowskiej utopii Campos zawarta jest gorzka prawda o naprawianiu świata – nie można wszystkiego przewidzieć. Eden ostatecznie staje się tym, czym był zawsze – wspomnieniem, marzeniem, ułudą i motywacją.
August 11, 2008
Ourania est (encore et indéfiniment) l'un de ces fabuleux voyages introspectifs "à la Le Clézio" dont on ne saurait se lasser.
Les thèmes forts (amour, utopie, liberté) sont traités avec cette indescriptible candeur, cette légèreté de plume dont il détient le secret.
À la lecture de Ourania, l'on ressort un peu grandi, un peu ému, mais surtout enrichis d'une ouverture à la différence sensiblement plus grande.
J'en redemande!
Les thèmes forts (amour, utopie, liberté) sont traités avec cette indescriptible candeur, cette légèreté de plume dont il détient le secret.
À la lecture de Ourania, l'on ressort un peu grandi, un peu ému, mais surtout enrichis d'une ouverture à la différence sensiblement plus grande.
J'en redemande!
December 13, 2011
Eventough at first it looked like a dummy book going towards a boy's fantasy world once you go deeper it's not that bad. I has a good positive aspects and i actually liked it in the end.
October 9, 2024
**Book Review: J.M.G. Le Clézio’s Works**
**Rating: ⭐⭐⭐ (3/5)**
J.M.G. Le Clézio, the Nobel Prize-winning French author, is celebrated for his vivid depictions of the human experience, often set against exotic, multicultural landscapes. His writing is deeply philosophical, poetic, and contemplative, grappling with themes such as alienation, environmentalism, cultural diversity, and humanity's search for meaning in an increasingly fragmented world. While his work is undoubtedly ambitious and intellectually stimulating, it can sometimes feel elusive, making for a reading experience that is both rewarding and challenging.
Le Clézio’s *Desert* (1980) is one of his most renowned novels, and it captures much of what makes his work distinctive. The novel tells the dual story of Lalla, a young Tuareg woman escaping colonial oppression in North Africa, and Nour, a desert nomad whose people are crushed by European colonization. Le Clézio’s prose is at its best here: lyrical, meditative, and richly descriptive. He vividly captures the harsh beauty of the desert, immersing the reader in its vast emptiness and silence, while also exploring the spiritual connection between the characters and their surroundings. His deep empathy for displaced and marginalized peoples is palpable, and the novel offers a critique of the devastating impacts of colonialism. However, while *Desert* is a beautifully written meditation on loss and exile, its slow pacing and fragmented narrative structure can make it difficult to fully engage with the story and its characters.
Le Clézio’s works are often praised for their poetic language and exploration of cross-cultural experiences, but they can sometimes feel emotionally distant. His characters, though intriguing, are often symbolic figures representing broader themes, which can prevent readers from forming a strong emotional connection with them. In *The African*, a semi-autobiographical novella, Le Clézio reflects on his childhood experiences in Africa, offering vivid descriptions of the landscape and a thoughtful exploration of identity and belonging. However, the narrative often feels more like a reflection on ideas rather than a deep exploration of individual characters, which can leave some readers feeling disconnected from the personal stakes of the story.
One of Le Clézio’s strengths is his ability to evoke a strong sense of place. His writing transports readers to far-off lands—whether it’s the deserts of North Africa, the rainforests of Central America, or the streets of Paris—and immerses them in the sights, sounds, and smells of these environments. His attention to detail and ability to convey the spiritual connection between humans and their surroundings is impressive. However, this often comes at the expense of plot development. Many of Le Clézio’s novels prioritize atmosphere and philosophical reflection over narrative momentum, which can lead to a meandering, sometimes disjointed reading experience.
The themes that Le Clézio tackles—colonialism, environmental degradation, the alienation of modern life—are undeniably important and thought-provoking. His commitment to exploring the struggles of marginalized peoples and highlighting the importance of cultural diversity is commendable. Yet, his tendency to approach these themes in an abstract, almost academic way can make his work feel somewhat inaccessible. Readers seeking character-driven, plot-rich stories might find themselves struggling with the slow pace and intellectual nature of his novels.
Ultimately, Le Clézio’s work is a mixed bag. For readers who appreciate poetic prose, philosophical musings, and a strong sense of place, his novels offer a unique and rewarding experience. His ability to tackle complex themes and immerse readers in different cultures is a testament to his talent as a writer. However, for those looking for gripping narratives and emotionally resonant characters, his work may fall short. The pacing can be slow, and the lack of a traditional plot can make his novels feel more like intellectual exercises than compelling stories.
In conclusion, while J.M.G. Le Clézio’s works are undeniably beautiful and thought-provoking, they may not appeal to everyone. His emphasis on atmosphere and philosophy over plot and character development results in a reading experience that can be both meditative and challenging. For readers who enjoy literature that is more about ideas than action, Le Clézio is an author worth exploring. However, if you're looking for emotionally engaging, fast-paced storytelling, you may find his works less satisfying.
**Rating: ⭐⭐⭐ (3/5)**
J.M.G. Le Clézio, the Nobel Prize-winning French author, is celebrated for his vivid depictions of the human experience, often set against exotic, multicultural landscapes. His writing is deeply philosophical, poetic, and contemplative, grappling with themes such as alienation, environmentalism, cultural diversity, and humanity's search for meaning in an increasingly fragmented world. While his work is undoubtedly ambitious and intellectually stimulating, it can sometimes feel elusive, making for a reading experience that is both rewarding and challenging.
Le Clézio’s *Desert* (1980) is one of his most renowned novels, and it captures much of what makes his work distinctive. The novel tells the dual story of Lalla, a young Tuareg woman escaping colonial oppression in North Africa, and Nour, a desert nomad whose people are crushed by European colonization. Le Clézio’s prose is at its best here: lyrical, meditative, and richly descriptive. He vividly captures the harsh beauty of the desert, immersing the reader in its vast emptiness and silence, while also exploring the spiritual connection between the characters and their surroundings. His deep empathy for displaced and marginalized peoples is palpable, and the novel offers a critique of the devastating impacts of colonialism. However, while *Desert* is a beautifully written meditation on loss and exile, its slow pacing and fragmented narrative structure can make it difficult to fully engage with the story and its characters.
Le Clézio’s works are often praised for their poetic language and exploration of cross-cultural experiences, but they can sometimes feel emotionally distant. His characters, though intriguing, are often symbolic figures representing broader themes, which can prevent readers from forming a strong emotional connection with them. In *The African*, a semi-autobiographical novella, Le Clézio reflects on his childhood experiences in Africa, offering vivid descriptions of the landscape and a thoughtful exploration of identity and belonging. However, the narrative often feels more like a reflection on ideas rather than a deep exploration of individual characters, which can leave some readers feeling disconnected from the personal stakes of the story.
One of Le Clézio’s strengths is his ability to evoke a strong sense of place. His writing transports readers to far-off lands—whether it’s the deserts of North Africa, the rainforests of Central America, or the streets of Paris—and immerses them in the sights, sounds, and smells of these environments. His attention to detail and ability to convey the spiritual connection between humans and their surroundings is impressive. However, this often comes at the expense of plot development. Many of Le Clézio’s novels prioritize atmosphere and philosophical reflection over narrative momentum, which can lead to a meandering, sometimes disjointed reading experience.
The themes that Le Clézio tackles—colonialism, environmental degradation, the alienation of modern life—are undeniably important and thought-provoking. His commitment to exploring the struggles of marginalized peoples and highlighting the importance of cultural diversity is commendable. Yet, his tendency to approach these themes in an abstract, almost academic way can make his work feel somewhat inaccessible. Readers seeking character-driven, plot-rich stories might find themselves struggling with the slow pace and intellectual nature of his novels.
Ultimately, Le Clézio’s work is a mixed bag. For readers who appreciate poetic prose, philosophical musings, and a strong sense of place, his novels offer a unique and rewarding experience. His ability to tackle complex themes and immerse readers in different cultures is a testament to his talent as a writer. However, for those looking for gripping narratives and emotionally resonant characters, his work may fall short. The pacing can be slow, and the lack of a traditional plot can make his novels feel more like intellectual exercises than compelling stories.
In conclusion, while J.M.G. Le Clézio’s works are undeniably beautiful and thought-provoking, they may not appeal to everyone. His emphasis on atmosphere and philosophy over plot and character development results in a reading experience that can be both meditative and challenging. For readers who enjoy literature that is more about ideas than action, Le Clézio is an author worth exploring. However, if you're looking for emotionally engaging, fast-paced storytelling, you may find his works less satisfying.
September 11, 2019
I tried, I swear I did. But this book is just tooo boring.
I gave up at page 90 (out of 200-ish in the Romanian version), so you would think that up to this page something at least a bit interesting must have happened. But still no.
It’s just an interminable and uninteresting description of Campos, the Vale or Raphael’s life. Nothing intriguing, nothing to look forward too. Maybe it starts after page 90, what would I know? I guess it will have to be my loss.
And I guess what frustrates me the most is that I don’t find anything appealing at this story, while the author won a Nobel prize.
Maybe the book is better in french, or maybe the other books that he wrote are better, but I just can’t give more than one star to this one. 😞
I gave up at page 90 (out of 200-ish in the Romanian version), so you would think that up to this page something at least a bit interesting must have happened. But still no.
It’s just an interminable and uninteresting description of Campos, the Vale or Raphael’s life. Nothing intriguing, nothing to look forward too. Maybe it starts after page 90, what would I know? I guess it will have to be my loss.
And I guess what frustrates me the most is that I don’t find anything appealing at this story, while the author won a Nobel prize.
Maybe the book is better in french, or maybe the other books that he wrote are better, but I just can’t give more than one star to this one. 😞
November 8, 2019
'Urania', waar de naam vandaan komt? Misschien is het een synoniem voor utopie; maar wat maakt het ook uit? Het boek voelt realistisch aan. Het is een uitdaging om na te denken over onze samenleving. De schrijfstijl bevat ideeën die tussen de regels doorgeschreven zijn. Het vertelstandpunt laat toe feiten achter te houden, wat je 'dwingt' om verder te lezen. Ook leer je bij over de geografie, het boek is namelijk door een geograaf geschreven. Wel lijkt het hoofdpersonage nogal depressief te zijn en is het onduidelijk waarom hij besluit om naar Mexico te komen. En tenslotte voeg ik nog toe dat ik mij echt kon inleven in de personages.
May 31, 2021
Es una reflexión sobre las utopías y las comunidades, sobre el lenguaje y la naturaleza (el suelo, el cielo, las estrellas). Habla de la niñez como un país.
Situado principalmente en Michoacán, es más o menos refrescante leer a un extranjero que no pretende hacerse el mejicano ni que se muestra romántico o condescendiente. Si acaso en su interés por las mujeres en situación de trata se muestra algo dulzón. A ratos se hace algo cansino el tono del pueblo arcoiris.
Memorable el discurso sobre la edafología. Divertida su confrontación con los antropólogos.
EDIT: Me gustó que la novela termine en Belice.
Situado principalmente en Michoacán, es más o menos refrescante leer a un extranjero que no pretende hacerse el mejicano ni que se muestra romántico o condescendiente. Si acaso en su interés por las mujeres en situación de trata se muestra algo dulzón. A ratos se hace algo cansino el tono del pueblo arcoiris.
Memorable el discurso sobre la edafología. Divertida su confrontación con los antropólogos.
EDIT: Me gustó que la novela termine en Belice.
June 26, 2019
I love Le Clezio. I was so happy for him when he won the Nobel prize. I wasn’t as much a fan of this book as I was the other books of his that I read (Dessert, La Grande Vie, Coeur Brûle). It still has that attraction of senses, environment description, and the idea of leaving a cherished land in search of another newer land. This book was a little more fantastic than the others. The others for some reason seemed more real and therefore, to me at least, were more relatable. I recommend this book although I’d recommend the others first.
August 8, 2025
Al principio no me capturo del todo, pero aún así me determine a leerlo y fue una leída bastante placentera. Algunas partes me parecieron un poco aburridas, como el hecho de que el autor tenga la manía del conteo, pero ignorando eso, el desarrollo de Campos y el como termina me parece bastante curioso. Suki.
September 22, 2022
Étrange impression.
Une très belle langue, mais une construction toute de bric et de broc.
Mais il ressort un tel pessimisme que l’on ne peut que s’y attacher.
Pessimisme?
Peut être pas après tout. Sans doute un espoir dans ce que le Peuple peut faire, apporter, réparer.
Une très belle langue, mais une construction toute de bric et de broc.
Mais il ressort un tel pessimisme que l’on ne peut que s’y attacher.
Pessimisme?
Peut être pas après tout. Sans doute un espoir dans ce que le Peuple peut faire, apporter, réparer.
July 9, 2018
3.5/5 or 7/10
January 28, 2021
Meeslepend verhaal en een grote sympathie voor het hoofdpersonage.
January 7, 2022
Fictional travel - gypsy - displacement - easy to read - emotional
December 7, 2022
Dokazano! Može postojati i minuciozni filozofski roman, ali ipak roman...
September 14, 2025
pas fini, franchement je me suis accrochée mais c vraiment pas mon truc, trop lent, pas assez de mouvement ni de fil net
July 8, 2023
Este libro fue una tortura.
January 31, 2016
C'est toujours délicat de donner son modeste avis sur un écrivain aussi majeur que Le Clézio. Je ne me hasarderai pas à commenter le style littéraire de l'auteur, qui est non seulement irréprochable, mais en plus largement validé par bien plus experts que moi, à savoir le comité du Prix Nobel de Littérature.
C'est un livre à la fois dur et léger, comme très souvent chez cet auteur. Sa plume toute en finesse peut mettre en évidence l'aspect le plus sordide de l'humanité comme, l'instant d'après, ses caractéristiques les plus pures. C'est l'un de ces romans dont l'écriture est à la fois si riche et si fluide que l'histoire en elle-même, en tant que succession d'anecdotes, compte finalement assez peu. C'est d'ailleurs cette qualité qui fait d'un roman une oeuvre littéraire et d'un auteur un écrivain.
Il se dégage de ce texte une profonde tristesse − toute sud-américaine, d'ailleurs. Les visages que l'on y croise sont tous marqués par la dureté de la vie et, comme le narrateur, on n'est jamais que spectateur de leurs existences.
Pourtant, au-delà de la mélancolie ambiante, c'est aussi un texte parsemé de notes d'espoir que l'on croit déceler. Ourania, c'est la communauté de Campos, une utopie. L'idéal est noble, mais par définition, il appartient au domaine des idées et n'est donc pas fait pour les expérimentations concrètes. Mais cet idéal aura tout de même semé quelques graines, jusque chez le narrateur qui ressort changé de ces récits et ces rencontres.
La citation qui me semble parfaitement résumer ce livre, c'est : « Il y a des endroits où, qu'on y ait été heureux ou malheureux, il n'est pas possible de revenir, de se contenter d'être de passage. »
En conclusion, une excellente lecture. de ces textes qui élèvent tout en subtilité.
C'est un livre à la fois dur et léger, comme très souvent chez cet auteur. Sa plume toute en finesse peut mettre en évidence l'aspect le plus sordide de l'humanité comme, l'instant d'après, ses caractéristiques les plus pures. C'est l'un de ces romans dont l'écriture est à la fois si riche et si fluide que l'histoire en elle-même, en tant que succession d'anecdotes, compte finalement assez peu. C'est d'ailleurs cette qualité qui fait d'un roman une oeuvre littéraire et d'un auteur un écrivain.
Il se dégage de ce texte une profonde tristesse − toute sud-américaine, d'ailleurs. Les visages que l'on y croise sont tous marqués par la dureté de la vie et, comme le narrateur, on n'est jamais que spectateur de leurs existences.
Pourtant, au-delà de la mélancolie ambiante, c'est aussi un texte parsemé de notes d'espoir que l'on croit déceler. Ourania, c'est la communauté de Campos, une utopie. L'idéal est noble, mais par définition, il appartient au domaine des idées et n'est donc pas fait pour les expérimentations concrètes. Mais cet idéal aura tout de même semé quelques graines, jusque chez le narrateur qui ressort changé de ces récits et ces rencontres.
La citation qui me semble parfaitement résumer ce livre, c'est : « Il y a des endroits où, qu'on y ait été heureux ou malheureux, il n'est pas possible de revenir, de se contenter d'être de passage. »
En conclusion, une excellente lecture. de ces textes qui élèvent tout en subtilité.
August 26, 2014
Kind of disappointed.
I bought this on a whim, based on the description on the back. The premise sounded great, plus the author received a Nobel prize for Literature, so I thought it would be much better, and much more interesting.
Maybe the author's other books are more interesting, but this started out with an interesting idea, but the main character and narrator becomes really dull, and doesn't really develop during the story.
The other thing that bothered me was the changes in the person of the narrator. There are a few chapters where two of the secondary characters write letters. These sound exactly the same like the narration before it.
Maybe it's just me, but I have a problem from the start if a story is in first person. This was especially bad in the case of this book for the last few chapters. The narration suddenly changes to third person and to an omniscient narrator. And then back again to first person for the main character Daniel's narration.
There is also an appendix with a description of the trip that the main character Daniel takes at the end of the book. And a series of rules of the cult. These are entirely out of context. These may have been useful at the start of the section with the cult and maybe right after Daniel goes on the trip. But at the end of the book? Why?
All in all it's not terrible, and it's not great either, but very much mediocre.
There are a few (very few and very short) passages and ideas that are interesting, and I would have loved to further explore them, but sadly that didn't happen.
This would have been much better if it was a bit more detailed and a little longer. But hey, I'm not the writer.
I bought this on a whim, based on the description on the back. The premise sounded great, plus the author received a Nobel prize for Literature, so I thought it would be much better, and much more interesting.
Maybe the author's other books are more interesting, but this started out with an interesting idea, but the main character and narrator becomes really dull, and doesn't really develop during the story.
The other thing that bothered me was the changes in the person of the narrator. There are a few chapters where two of the secondary characters write letters. These sound exactly the same like the narration before it.
Maybe it's just me, but I have a problem from the start if a story is in first person. This was especially bad in the case of this book for the last few chapters. The narration suddenly changes to third person and to an omniscient narrator. And then back again to first person for the main character Daniel's narration.
There is also an appendix with a description of the trip that the main character Daniel takes at the end of the book. And a series of rules of the cult. These are entirely out of context. These may have been useful at the start of the section with the cult and maybe right after Daniel goes on the trip. But at the end of the book? Why?
All in all it's not terrible, and it's not great either, but very much mediocre.
There are a few (very few and very short) passages and ideas that are interesting, and I would have loved to further explore them, but sadly that didn't happen.
This would have been much better if it was a bit more detailed and a little longer. But hey, I'm not the writer.
September 9, 2009
Je crains d’avoir un problème avec Le Clézio et d’avoir parfois du mal à différencier la naïveté rousseauiste à tendance exotique et le cliché.
Cela étant, il y a une réelle réussite à passer de la réalité dans ce qu’elle à de plus glauque à l’utopie fantasmé et idéalisé. L’histoire en elle-même, un géologue qui s’installe dans une communauté scientifique mexicaine, a d’ailleurs tendance à passé derrière le mélange des différentes utopies (inspirée de Sparte et Athènes peut-être) et du monde contemporain. Cela donne parfois l’impression de tourner à vide au niveau de l’intrigue mais offre un aspect intemporel voir mythique enthousiasmant.
Cela étant, il y a une réelle réussite à passer de la réalité dans ce qu’elle à de plus glauque à l’utopie fantasmé et idéalisé. L’histoire en elle-même, un géologue qui s’installe dans une communauté scientifique mexicaine, a d’ailleurs tendance à passé derrière le mélange des différentes utopies (inspirée de Sparte et Athènes peut-être) et du monde contemporain. Cela donne parfois l’impression de tourner à vide au niveau de l’intrigue mais offre un aspect intemporel voir mythique enthousiasmant.
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