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De zoon van de accordeonist
A celebrated international author, listed among the “21 top writers for the 21st century” (The Observer, U.K.)
As David Imaz, on the threshold of adulthood, divides his time between his uncle Juan’s ranch and his life in the village, where he reluctantly practices the accordion, a tradition that his authoritarian father insists he continue, he becomes increasingly aware of the long shadow cast by the Spanish Civil War. Letters found in a hotel attic, along with a silver pistol, lead David to unravel the story of the conflict, including his father’s association with the fascists, and the opposition of his uncle, who took considerable risks in helping to hide a wanted republican. With affection and lucidity, Bernardo Atxaga describes the evolution of a young man caught between country and town, between his uncle the horse-breeder and his political father. The course of David’s life changes one summer night when he agrees to shelter a group of students on the run from the military police. This is the most accomplished novel to date by an internationally celebrated writer. The Accordionist’s Son is memorable for its epic scope—from 1936 to 1999—and the details with which it sparkles in gorgeous prose. It is easy to understand why The Observer listed Atxaga as one of the top twenty-one writers for the twenty-first century.
421 pages, Paperback
First published January 1, 2003
47 people are currently reading
632 people want to read
About the author
Bernardo Atxaga
148 books166 followersBernardo Atxaga (Joseba Irazu Garmendia, Asteasu, Guipúzcoa, 1951) belongs to the young group of Basque writers that began publishing in his mother language, Euskara, in the Seventies. Graduated in Economics for the Bilbao University, he later studied Philosophy at the University of Barcelona.
His first short story, Ziutateaz was published in 1976 and his first book of poetry Etiopia in 1978. Both works received the National Critics Prize for the best works in the Basque language.
He cultivates most genres: poetry, radio, cinema scriptwriting, theatre, children's books, articles, short stories... His national –and soon after international– recognition arrived with Obabakoak (1988) which, among other prizes, was awarded the National Literature Prize 1989 and that has been translated into more than twenty languages.
Many of his poems have also been translated into other languages and published by prestigious magazines such as Jahbuch der Lyrik, 1993, Die horen, 1995, Lichtungen, 1997 (Germany), Lyrikklubbss bibliotek, 1993 (Sweden), Vuelta, 1990 (Mexico), Linea d'ombra, 1992 (Italy) and others.
His first short story, Ziutateaz was published in 1976 and his first book of poetry Etiopia in 1978. Both works received the National Critics Prize for the best works in the Basque language.
He cultivates most genres: poetry, radio, cinema scriptwriting, theatre, children's books, articles, short stories... His national –and soon after international– recognition arrived with Obabakoak (1988) which, among other prizes, was awarded the National Literature Prize 1989 and that has been translated into more than twenty languages.
Many of his poems have also been translated into other languages and published by prestigious magazines such as Jahbuch der Lyrik, 1993, Die horen, 1995, Lichtungen, 1997 (Germany), Lyrikklubbss bibliotek, 1993 (Sweden), Vuelta, 1990 (Mexico), Linea d'ombra, 1992 (Italy) and others.
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Displaying 1 - 30 of 74 reviews
June 28, 2014
Bernardo Atxaga raramente me defrauda. Es un autor serio, que escribe muy bien y sabe construir sus novelas. Siempre me atrae de él su capacidad para incluir cuentos en sus relatos largos. Es un buen cuentista. El libro tiene una larga construcción para llegar al final a un desarrollo cada vez más acelerado, como en las buenas novelas de misterio. Vamos conociendo poco a poco al personaje del hijo del acordeonista, autor y al mismo tiempo personaje del libro. De hecho, la mayor parte del libro es la construcción del personaje. Y Atxaga sabe hacerlo con el ritmo justo, sin ir en línea recta, con brochazos de color, más bien que con una mera descripción de episodios, tomándose el tiempo de contar detalles sin relación con la "historia" que se quiere contar.
La novela es una excelente reflexión sobre la juventud y el despertar a realidades que la pasión nos oculta. Lejos, muy lejos, está del manido y fácil maniqueismo de héroes y villanos. Atxaga nos muestra personas reales, con sus mezquindades y grandezas, en un mundo difícil en el que, como dice un personaje, es como si alguien hubiese puesto en movimiento una de esas grandes bolas que sirven para destruir casa y nadie supiera pararla.
No puedo, no obstante, dejar pasar por alto un detalle lingüístico. Sensible como soy al leísmo, por ser propenso a él, observo en al menos dos ocasiones claros ejemplos de leísmo (hago la verificación: si el pronombre le se refiriera a una mujer, diría la, luego debería haberse usado el pronombre lo). Me parece ni bien, ni mal. Justo tomo nota del detalle
La novela es una excelente reflexión sobre la juventud y el despertar a realidades que la pasión nos oculta. Lejos, muy lejos, está del manido y fácil maniqueismo de héroes y villanos. Atxaga nos muestra personas reales, con sus mezquindades y grandezas, en un mundo difícil en el que, como dice un personaje, es como si alguien hubiese puesto en movimiento una de esas grandes bolas que sirven para destruir casa y nadie supiera pararla.
No puedo, no obstante, dejar pasar por alto un detalle lingüístico. Sensible como soy al leísmo, por ser propenso a él, observo en al menos dos ocasiones claros ejemplos de leísmo (hago la verificación: si el pronombre le se refiriera a una mujer, diría la, luego debería haberse usado el pronombre lo). Me parece ni bien, ni mal. Justo tomo nota del detalle
March 2, 2020
Last fall I had the good fortune to see El País Vasco, Basque Country. Apart from Bilbao and San Sebastián, I stopped in Guernica. Known in its Basque tongue, Gernika was bombed by the Nazi Luftwaffe as a testing grounds for its Blitzgreig (lightning war) in 1937. General Franco allowed this as the Basque people were not sympathetic to him during the Spanish Civil war. The bombing inspired Picasso to paint his famous painting Guernica, now in the Museo Reina Sofia (I was moved to tears seeing this on a previous trip).
With this background, and having read Fernando Aramburu’s Patria, I started this book with much trepidation. Written by Bernardo Atxaga in 2003, it tells the story of David Imaz, the son of Angel, who is following his father’s footsteps as an accordionist. In the small mythical town of Obaba, near Gernika, this was a notable career in the 1930s but in the 1960s, David’s future is about to change.
David was attracted to Teresa, whose father owns the Hotel Alaska. She reveals a list of seven Republicans executed and his father was implicated. David also discovers that her father took over the hotel from Don Pedro, who was known as the first to leave Obaba for America. Of course, there was some shady stuff going on that force Don Pedro to sell and leave.
Coming to grips with his father’s past, David refuses to play at the ceremony honouring the unveiling of a monument honouring the Fascists who died in the war. David’s innocent childhood is coming apart as he discovers the past of the townspeople. Then one day in 1970, the monument is blown up and some of his friends are implicated. This is the beginning of ETA and the Basque upheavals that would last some thirty years. David need to choose his future.
Most of the story was told by David thirty years later where is is dying. He married an American woman and has young children living on a ranch in California. His childhood friend Joseph has come to visit his friend and to help with the manuscript. There are holes in the story that need to be filled in. Why did he leave the Basque Country? Was the past reliving itself?
Bernardo Atxaga has written a monumental tale that spans several decades. The central theme of memory is overshadowed by all the political events that changed the country. Writing it down is not an easy task. One forgets, one has different points of view, some lives are changed forever and others are lost. What really happened depends on the memory of those recording them.
The last century has not been easy on the Basque people. Hopefully this century they will fare better. Judging from what I saw visiting their land, I believe it is looking better. But we cannot forget the past and it is so good to read, as challenging as it is, when their stories are written. This is a book to remember, whatever the truth may be.
Definitely a 4.5
There is also a movie made in 2019 that looks very good.
https://youtu.be/Iwr2WuWAV3k
With this background, and having read Fernando Aramburu’s Patria, I started this book with much trepidation. Written by Bernardo Atxaga in 2003, it tells the story of David Imaz, the son of Angel, who is following his father’s footsteps as an accordionist. In the small mythical town of Obaba, near Gernika, this was a notable career in the 1930s but in the 1960s, David’s future is about to change.
David was attracted to Teresa, whose father owns the Hotel Alaska. She reveals a list of seven Republicans executed and his father was implicated. David also discovers that her father took over the hotel from Don Pedro, who was known as the first to leave Obaba for America. Of course, there was some shady stuff going on that force Don Pedro to sell and leave.
Coming to grips with his father’s past, David refuses to play at the ceremony honouring the unveiling of a monument honouring the Fascists who died in the war. David’s innocent childhood is coming apart as he discovers the past of the townspeople. Then one day in 1970, the monument is blown up and some of his friends are implicated. This is the beginning of ETA and the Basque upheavals that would last some thirty years. David need to choose his future.
Most of the story was told by David thirty years later where is is dying. He married an American woman and has young children living on a ranch in California. His childhood friend Joseph has come to visit his friend and to help with the manuscript. There are holes in the story that need to be filled in. Why did he leave the Basque Country? Was the past reliving itself?
Bernardo Atxaga has written a monumental tale that spans several decades. The central theme of memory is overshadowed by all the political events that changed the country. Writing it down is not an easy task. One forgets, one has different points of view, some lives are changed forever and others are lost. What really happened depends on the memory of those recording them.
The last century has not been easy on the Basque people. Hopefully this century they will fare better. Judging from what I saw visiting their land, I believe it is looking better. But we cannot forget the past and it is so good to read, as challenging as it is, when their stories are written. This is a book to remember, whatever the truth may be.
Definitely a 4.5
There is also a movie made in 2019 that looks very good.
https://youtu.be/Iwr2WuWAV3k
February 3, 2012
Internationally acclaimed Basque author Bernardo Atxaga is a poet as well as a novelist. His 2004 novel, "The Accordionist's Son", is, at one level, the coming-of-age story of David Imaz, a talented accordionist player in the footsteps of his father. The context, however, is different from many other comparable novels. Set in the remote village of Obaba, in the Basque country in northern Spain, the reader is quickly drawn into a vibrant community, torn into political factions, with families and neighbours pulled apart by ongoing hostilities and long-held secrets. Written originally in his own Basque language (Euskedi), Atxaga creates a world that is both specific in its depiction of the day-to-day reality while at the same time reaching beyond the specifics into the general in its subtle and perceptive evocation of human relations and our connection to land and nature. It is also an ode to an ancient language and a people's traditional culture, a loving, sometimes nostalgic look at the "past as a foreign country", exemplified by the peace and "happiness" of rural life. And as Atxaga expressed in an interview about a decade ago: "Obaba is an interior landscape [...] the country of my past, a mixture of the real and the emotional."
The "Accordionist's Son" is, then, a very personal and intimate recollection of life growing up caught between the old and the new. David is so taken by the "old" that the "new" can take him by surprise or, worse, lead him into dangerous traps. He is a slow, often hesitant learner when it comes to the political baggage that is still hanging over the village, reaching back into the dark days of the Spanish Civil War, WWII and their fallout. Obaba is not far from the town of Guernica, the memory of the thousands killed very much on people's minds. David prefers the woods, the lake and his simpler village friends like Lubis who looks after his uncle's horses. But he cannot always avoid confronting reality: whether in conflicts with his father or some of his friends and love interests. The opposing political sides are increasingly forceful and eventually, David has to take sides.
However, the novel opens with its ending. David had been working on his memoir, describing his youth back in the village and how his life led him, eventually, to California. Instead of him, we meet his wife Mary Ann and his childhood friend, Joseba; David has succumbed to his illness. Now, according to David's wishes it is up to Joseba, to translate his draft memoir, written in the Basque language, so that David's family can read it. He is also to take it back to Obaba to be placed in the library as a historical record of the struggle for the Basque Homeland. Joseba, a writer himself, "wanted to write a book based on what David had written, to rewrite and expand his memoir. [...] Not like someone pulling down a house and building a new one in its place, but in the spirit of someone finding a tree, on which some long-vanished shepherd had left a carving, and deciding to redraw the lines so as to bring out and enhance the drawing and the figures."
Joseba/David writes with great fluidity and we can only seldom separate the voices of the two friends. In real life, it would be an intriguing experiment and one can only assume that Bernardo Atxaga sees himself in both his characters, well characterized within their separate identities, and yet intimately connected to each other through the experiences of youth and young adulthood. For me discovering Bernardo Atxaga through this novel has been an enriching experience that will lead me to read other books by him. His evocation of the lush landscape, forests and hidden lakes, makes for a very convincing, often lyrical, background for his story that does not shy away from the political tensions and the personal conflicts of the time. His ability to bring a diversity of characters to life - and there are quite a few - is remarkable and some of them stay in your mind long after you finished the book. Some readers might find some of the early passages of young David's teenage preoccupations too long, but these would be minor flaws. are quite a few - is remarkable and some of them stay in your mind long after you finished the book. Some readers might find some of the early passages of young David's teenage preoccupations too long, but these would be minor flaws.
The "Accordionist's Son" is, then, a very personal and intimate recollection of life growing up caught between the old and the new. David is so taken by the "old" that the "new" can take him by surprise or, worse, lead him into dangerous traps. He is a slow, often hesitant learner when it comes to the political baggage that is still hanging over the village, reaching back into the dark days of the Spanish Civil War, WWII and their fallout. Obaba is not far from the town of Guernica, the memory of the thousands killed very much on people's minds. David prefers the woods, the lake and his simpler village friends like Lubis who looks after his uncle's horses. But he cannot always avoid confronting reality: whether in conflicts with his father or some of his friends and love interests. The opposing political sides are increasingly forceful and eventually, David has to take sides.
However, the novel opens with its ending. David had been working on his memoir, describing his youth back in the village and how his life led him, eventually, to California. Instead of him, we meet his wife Mary Ann and his childhood friend, Joseba; David has succumbed to his illness. Now, according to David's wishes it is up to Joseba, to translate his draft memoir, written in the Basque language, so that David's family can read it. He is also to take it back to Obaba to be placed in the library as a historical record of the struggle for the Basque Homeland. Joseba, a writer himself, "wanted to write a book based on what David had written, to rewrite and expand his memoir. [...] Not like someone pulling down a house and building a new one in its place, but in the spirit of someone finding a tree, on which some long-vanished shepherd had left a carving, and deciding to redraw the lines so as to bring out and enhance the drawing and the figures."
Joseba/David writes with great fluidity and we can only seldom separate the voices of the two friends. In real life, it would be an intriguing experiment and one can only assume that Bernardo Atxaga sees himself in both his characters, well characterized within their separate identities, and yet intimately connected to each other through the experiences of youth and young adulthood. For me discovering Bernardo Atxaga through this novel has been an enriching experience that will lead me to read other books by him. His evocation of the lush landscape, forests and hidden lakes, makes for a very convincing, often lyrical, background for his story that does not shy away from the political tensions and the personal conflicts of the time. His ability to bring a diversity of characters to life - and there are quite a few - is remarkable and some of them stay in your mind long after you finished the book. Some readers might find some of the early passages of young David's teenage preoccupations too long, but these would be minor flaws. are quite a few - is remarkable and some of them stay in your mind long after you finished the book. Some readers might find some of the early passages of young David's teenage preoccupations too long, but these would be minor flaws.
July 17, 2024
Pffff qué preciosidad. Quiero hacer una reseña en condiciones, pero primero tengo q terminar de asimilarlo y volver sobre él para subrayar y despedirme del todo.
Atxaga, qué decir, eres perfecto 🌱🦋
«Porque la verdad era que, para entonces -1963, 1964-, aquella gente antigua ya estaba perdiendo la memoria. Los nombres […] desaparecían con rapidez: caían como copos de nieve y se deshacían al tocar el nuevo suelo del presente. Y cuando no eran los nombres eran sus distintos significados, los matices que habían ido tomando en el transcurso de los siglos. Y en algunos casos, era la lengua misma la que se borraba»
Atxaga, qué decir, eres perfecto 🌱🦋
«Porque la verdad era que, para entonces -1963, 1964-, aquella gente antigua ya estaba perdiendo la memoria. Los nombres […] desaparecían con rapidez: caían como copos de nieve y se deshacían al tocar el nuevo suelo del presente. Y cuando no eran los nombres eran sus distintos significados, los matices que habían ido tomando en el transcurso de los siglos. Y en algunos casos, era la lengua misma la que se borraba»
March 4, 2019
Bernardo Atxaga'nın bu kitabı, Türkçe'ye Alef yayınları tarafından çevrilmiş ve Eylül 2013'te de ilk baskısını yapmış. Yayınevinin daha önce bir kitabını okuma fırsatım olmamıştı, gerçi sitelerini kurcaladığımda "Akordeoncunun Oğlu"na dair bir ize de rastlamadım. Kitapseç.com sitesinde ise bu güzelim Bask edebiyatı kitabını İngiltere - İrlanda kategorisinde sınıflandırmışlar; kafalar biraz karışık sanırım kitapla ilgili.
Atxaga'nın Obabakoak adlı güzelim kitabındaki Obaba'ya yeniden konuk oluyoruz, ama şimdi dil meselesinin yanına ulusal sorunu ve İspanya İç Savaşı'nı da eklemiş Atxaga. İspanya İç Savaşı'nda faşistlerden yana olan bir adamın oğlunun hem bu gerçeği hem de ulusal sorunları keşfedişinin romanı Akordeoncunun Oğlu. David'in -kahramanımızın- sevdiği insanlar listesinden babasının silinişi ve rol model olarak cumhuriyetçi birini kurtaran dayısını seçmesiyle, kendi öz-hikayesi de değişiyor. Roman süresince bu merkezde, Bask bölgesinin siyasi atmosferi ile ilgili olarak da ucundan bucağından bir şeyler okuyoruz.
Roman kurgulanırken iki yazar tarafından yazılan bir kurguyla karşımıza çıkıyor, anıların yeniden yazılımı olarak kurgulanan bu romanda da bu iki farklı yazarı bölümler arasında hissediyorsunuz. Bu yazım şekli ile ilgili üzerinde düşündüğümde romanın akışını bozmuş olsa da, aslıda romana bir ahenk de kattığının hakkını vermem gerekir.
İspanya İç Savaşı ile ilgili okuduğum her şey ziyadesiyle iç burukluğu yaratıyor; bu romanda İspanya diktatörlüğünün polisleri bizim Basklı militan karakterlerimize bir yer de "Siz siniksiniz" diyor, bu da bir nevi yazarın itirafı olarak okudum bu cümleyi. Bu romanın Bask bölgesindeki tüm yaşananlara bakışı sinik, uzlaşmacı bir bakış açısını roman boyunca zaten ziyadesiyle hissediyoruz; bunu polisin ağzından duymasak da olur sanki.
Atxaga'nın Obabakoak adlı güzelim kitabındaki Obaba'ya yeniden konuk oluyoruz, ama şimdi dil meselesinin yanına ulusal sorunu ve İspanya İç Savaşı'nı da eklemiş Atxaga. İspanya İç Savaşı'nda faşistlerden yana olan bir adamın oğlunun hem bu gerçeği hem de ulusal sorunları keşfedişinin romanı Akordeoncunun Oğlu. David'in -kahramanımızın- sevdiği insanlar listesinden babasının silinişi ve rol model olarak cumhuriyetçi birini kurtaran dayısını seçmesiyle, kendi öz-hikayesi de değişiyor. Roman süresince bu merkezde, Bask bölgesinin siyasi atmosferi ile ilgili olarak da ucundan bucağından bir şeyler okuyoruz.
Roman kurgulanırken iki yazar tarafından yazılan bir kurguyla karşımıza çıkıyor, anıların yeniden yazılımı olarak kurgulanan bu romanda da bu iki farklı yazarı bölümler arasında hissediyorsunuz. Bu yazım şekli ile ilgili üzerinde düşündüğümde romanın akışını bozmuş olsa da, aslıda romana bir ahenk de kattığının hakkını vermem gerekir.
İspanya İç Savaşı ile ilgili okuduğum her şey ziyadesiyle iç burukluğu yaratıyor; bu romanda İspanya diktatörlüğünün polisleri bizim Basklı militan karakterlerimize bir yer de "Siz siniksiniz" diyor, bu da bir nevi yazarın itirafı olarak okudum bu cümleyi. Bu romanın Bask bölgesindeki tüm yaşananlara bakışı sinik, uzlaşmacı bir bakış açısını roman boyunca zaten ziyadesiyle hissediyoruz; bunu polisin ağzından duymasak da olur sanki.
September 9, 2013
-Más allá de lo que puede provocar su fondo, importante trabajo técnico.-
Género. Novela.
Lo que nos cuenta. En septiembre de 1957, en la escuela del pueblo de Obaba, David y Joseba se conocen. En septiembre de 1999, David ha muerto en California y Joseba, junto a la esposa norteamericana del fallecido, contempla como esculpen el epitafio de David en su lápida. Joseba lleva ya un mes allí y ha tenido tiempo de charlar con David antes de morir, unas conversaciones que están muy presentes en su mente. Además, ha descubierto que David dejó escrito un libro en euskera llamado “El hijo del acordeonista”. Joseba decide escribir un libro basado en el trabajo de David añadiendo sus propias palabras.
¿Quiere saber más de este libro, sin spoilers? Visite:
http://librosdeolethros.blogspot.com/...
Género. Novela.
Lo que nos cuenta. En septiembre de 1957, en la escuela del pueblo de Obaba, David y Joseba se conocen. En septiembre de 1999, David ha muerto en California y Joseba, junto a la esposa norteamericana del fallecido, contempla como esculpen el epitafio de David en su lápida. Joseba lleva ya un mes allí y ha tenido tiempo de charlar con David antes de morir, unas conversaciones que están muy presentes en su mente. Además, ha descubierto que David dejó escrito un libro en euskera llamado “El hijo del acordeonista”. Joseba decide escribir un libro basado en el trabajo de David añadiendo sus propias palabras.
¿Quiere saber más de este libro, sin spoilers? Visite:
http://librosdeolethros.blogspot.com/...
March 17, 2024
Abitare una lingua
David è il narratore della sua storia, tutta spesa tra Obaba, paese basco immaginario (ma che richiama nelle magnifiche descrizioni qualsivoglia terra di questa regione) della giovinezza e l'America dell'adultità. Ha vissuto due vite David: una in cui ha tentato di fuggire dalla pesante eredità paterna, simboleggiata dalla fisarmonica da cui tenta di divincolarsi in ogni modo, lui, il "figlio del fisarmonicista“; l'altra in cui l'amore per l'energica Mary Ann lo salva da ricordi feroci, garantendogli - seppur solo momentaneamente - la realizzazione del sogno americano.
Questa seconda parte mi è parsa più debole, meno interessante; molto di più è la sezione relativa ai ricordi europei, in cui viene tratteggiato il volto violento del franchismo attraverso l'odio per il padre e per la cricca dei suoi amici squadristri e della revanche attraverso la progressiva, sofferta adesione al movimento indipendentista basco, la fuga dal paterno ostello, i sacrifici, le privazioni, le perdite.
Obaba è un locus amoenus- d'altronde anche il narratore si richiama spesso nel descriverlo alle Bucoliche di Virgilio- che rappresenta l'iniziazione a tutto: l'amicizia, l'amore, il sesso. È lì che David capisce che i legami di sangue possono essere una prigione, da cui evadere attraverso una faticosa (ri) costruzione del sé : e la crescita del personaggio avviene sullo sfondo di una guerra civile, che continua a combattersi anche quando sembra essersi radicata la democrazia. A testimonianza che mai nessuna conquista è per sempre e che occorre esser sempre vigili, per non lasciar scivolar via lunghe e importanti conquiste.
Il punto debole di questo romanzo, a mio avviso, risiede nel fatto che mi sembra alcune sezioni manchino di coesione, come fossero racconti indipendenti e non parte di un'unica storia: il cambio di voce narrante, poi, non aiuta.
Il punto di forza è la trama storico-politica, che avrei voluto dominante, proprio perché stimolante: dacché ho letto 'Patria' di Aramburu e visto al cinema 'La storia di una donna: Maxibel' sento la necessità di approfondire questa parte della Storia, di cui so pochissimo.
Affascinanti sono le sezioni matalinguistiche, in cui si riflette attorno alla varietà del basco, alla sua unicità e a quanto abitare una lingua significhi plasmare attraverso di essa una visione del mondo e delle cose peculiare e insostituibile : un inno contro il temibile monolinguismo di plastica imperversante.
David è il narratore della sua storia, tutta spesa tra Obaba, paese basco immaginario (ma che richiama nelle magnifiche descrizioni qualsivoglia terra di questa regione) della giovinezza e l'America dell'adultità. Ha vissuto due vite David: una in cui ha tentato di fuggire dalla pesante eredità paterna, simboleggiata dalla fisarmonica da cui tenta di divincolarsi in ogni modo, lui, il "figlio del fisarmonicista“; l'altra in cui l'amore per l'energica Mary Ann lo salva da ricordi feroci, garantendogli - seppur solo momentaneamente - la realizzazione del sogno americano.
Questa seconda parte mi è parsa più debole, meno interessante; molto di più è la sezione relativa ai ricordi europei, in cui viene tratteggiato il volto violento del franchismo attraverso l'odio per il padre e per la cricca dei suoi amici squadristri e della revanche attraverso la progressiva, sofferta adesione al movimento indipendentista basco, la fuga dal paterno ostello, i sacrifici, le privazioni, le perdite.
Obaba è un locus amoenus- d'altronde anche il narratore si richiama spesso nel descriverlo alle Bucoliche di Virgilio- che rappresenta l'iniziazione a tutto: l'amicizia, l'amore, il sesso. È lì che David capisce che i legami di sangue possono essere una prigione, da cui evadere attraverso una faticosa (ri) costruzione del sé : e la crescita del personaggio avviene sullo sfondo di una guerra civile, che continua a combattersi anche quando sembra essersi radicata la democrazia. A testimonianza che mai nessuna conquista è per sempre e che occorre esser sempre vigili, per non lasciar scivolar via lunghe e importanti conquiste.
Il punto debole di questo romanzo, a mio avviso, risiede nel fatto che mi sembra alcune sezioni manchino di coesione, come fossero racconti indipendenti e non parte di un'unica storia: il cambio di voce narrante, poi, non aiuta.
Il punto di forza è la trama storico-politica, che avrei voluto dominante, proprio perché stimolante: dacché ho letto 'Patria' di Aramburu e visto al cinema 'La storia di una donna: Maxibel' sento la necessità di approfondire questa parte della Storia, di cui so pochissimo.
Affascinanti sono le sezioni matalinguistiche, in cui si riflette attorno alla varietà del basco, alla sua unicità e a quanto abitare una lingua significhi plasmare attraverso di essa una visione del mondo e delle cose peculiare e insostituibile : un inno contro il temibile monolinguismo di plastica imperversante.
September 6, 2010
What do you learn from this book? You learn about the Spanish Civil War 1936-1939, about Guernica, about what drives those in Basque movement for independence and most of all about how what happens in history during a set time here 1936-1939 continues to change people and evets for years to come. The writer is also a poet and you see that in his writing, particularly when he describes, not people, but animals and landscapes and language. Yes, I did like how the author expresses himself. I also think he had imprtant things to say about the value of keeping uncommon languages. Each language retains the culture of the people. When the language disappears you loose part of that culture too.
So why only two stars? The book is too complicated. You have two people writng about the same events and experiences and sometimes the reader doesn't know who is saying what! There are numerous characters and each have numerous names. I was often confused. I would start a chapter wondering who was talking, and only find out paragraphs later. And the author likes lists: lists of favorite people and people murdered and pretty girls. So what was the point of this focus on lists? I never figured it out. I learned how several characters experienced the the aftermath of Spanish Civil War. Through their parents you learned about the Spanish Civil War itself, but only from their own personal point of view. There aren't many historical facts to hang the story on. Usually I am MOST interested in knowing how people experienced an historical event, but for some reason I never grew attached to the characters' troubles, Their sorrows never became my sorrows. The time period covered is from childhood to adolescence to adult of a group consisting of about 10 people. I had a hard time making this transfer from different ages and between different characters, different places, switched names... Quite simply there was too much going on.
I have the feeling others might like the "harshness" of the events, the depiction of confused adolescents and the mystery of who is writing what. I din't.
So why only two stars? The book is too complicated. You have two people writng about the same events and experiences and sometimes the reader doesn't know who is saying what! There are numerous characters and each have numerous names. I was often confused. I would start a chapter wondering who was talking, and only find out paragraphs later. And the author likes lists: lists of favorite people and people murdered and pretty girls. So what was the point of this focus on lists? I never figured it out. I learned how several characters experienced the the aftermath of Spanish Civil War. Through their parents you learned about the Spanish Civil War itself, but only from their own personal point of view. There aren't many historical facts to hang the story on. Usually I am MOST interested in knowing how people experienced an historical event, but for some reason I never grew attached to the characters' troubles, Their sorrows never became my sorrows. The time period covered is from childhood to adolescence to adult of a group consisting of about 10 people. I had a hard time making this transfer from different ages and between different characters, different places, switched names... Quite simply there was too much going on.
I have the feeling others might like the "harshness" of the events, the depiction of confused adolescents and the mystery of who is writing what. I din't.
Read
July 10, 20225. Intense Sentimentality
Couldn't finish this book, so this is only a partial review. Atxaga was recommended to me as the best contemporary Basque writer who has been translated into English. (The person who recommended him said Luisa Etxenike is actually the best.)
Annie Proulx's endorsement on the back cover kept me going until around page 100: her notion is that the novel "at first beguiles us with its leisurely flow like a late summer river, but it is a dark river with streaks of blood seeping from the muddy banks of the past."
What stopped me from finishing "The Accordionist's Son" was the first part of that sentence. The opening 50 pages are like "a late summer river," but that's to say they are deeply sentimental, treacly, soporific, retrospective, ponderous, steeped in the passage of time, powdered and scented with loss and history, bathed in golden light, muzzily nostalgic.
For example there's a brief chapter describing a wondrous cord that the narrator sees as a boy. It's like a rosary, and it has objects tied to it: piece of coal, a piece of burnt wood, and some coins. The narrator describes how, as a boy, the man who made the cord explained it to him: it was a mnemonic for selling insurance. (The burnt wood reminds us that even stable things can go up in smoke, and so forth.) Then, after the salesman made his pitch using the cord as a mnemonic, he gave it to the boy, saying that he'd never need it again because even with its help he was losing his memory; then he got in a car and went back to his home, presumably for ever.
That was enough heavy-handed nostalgia for me, but there was more: the narrator then explains that he'd forgotten the cord until he came to write the book, and then he realized he could "go from subject to subject just as the fingers of the insurance salesman had gone from the piece of coal to the charred wood or the butterflies." (p. 44)
A hundred pages in, blood is seeping, as Proulx says, but it's done in such a gentle, gradual, and grandiose and self-involved way that it made me more nauseous than sympathetic.
One last thing: the entire book is founded on a premise that can only be described -- as far as I read -- as a mistake. The book begins slowly, with a framing story. (There's even an "Internal dedication" on page 45, when the book finally gets underway.) That in itself was hard to bear, because it's the sign of a much older kind of literature, where the reader's enchantment increases each time the story is reintroduced and reframed. For such readers, stories within stories increase the realism. The notion here is that the writer was the best friend of the author of a memoir, written in Basque. The author of that memoir dies before "The Accordionist's Son" opens. The narrator of "The Accordionist's Son" takes the memoir written by his friend, and tells his friend's widow that he'll rewrite it, adding a voice the way someone might clarify a carving in a tree by deepening and sharpening its features. From that we understand that the book we're going to read is written twice over, and should have two voices in it. But the opening of the rewritten memoir, which occupies most of "The Accordionist's Son," is about the dead friend's children, and it's written as if the children belong to the friend. But they don't! And the next section is about how the author of the memoir courted his wife. It is written in the dead friend's voice, but we, as readers, know it's actually written, or re-written, by the friend. The effect is bizarre, as if the author of "The Accordionist's Son" has stepped into his dead friend's life and is courting his wife. Of course you're not supposed to think of it that way, but if you're paying attention to authorship, you simply have to.
Awful book: sentimental, annoying, and hopelessly old-fashioned: these things don't need to go together (there are traditional novels that are cold and precise, like Hardy), but they do here, and so, having failed to conjure the empathy that Proulx apparently felt, I stopped reading.
Couldn't finish this book, so this is only a partial review. Atxaga was recommended to me as the best contemporary Basque writer who has been translated into English. (The person who recommended him said Luisa Etxenike is actually the best.)
Annie Proulx's endorsement on the back cover kept me going until around page 100: her notion is that the novel "at first beguiles us with its leisurely flow like a late summer river, but it is a dark river with streaks of blood seeping from the muddy banks of the past."
What stopped me from finishing "The Accordionist's Son" was the first part of that sentence. The opening 50 pages are like "a late summer river," but that's to say they are deeply sentimental, treacly, soporific, retrospective, ponderous, steeped in the passage of time, powdered and scented with loss and history, bathed in golden light, muzzily nostalgic.
For example there's a brief chapter describing a wondrous cord that the narrator sees as a boy. It's like a rosary, and it has objects tied to it: piece of coal, a piece of burnt wood, and some coins. The narrator describes how, as a boy, the man who made the cord explained it to him: it was a mnemonic for selling insurance. (The burnt wood reminds us that even stable things can go up in smoke, and so forth.) Then, after the salesman made his pitch using the cord as a mnemonic, he gave it to the boy, saying that he'd never need it again because even with its help he was losing his memory; then he got in a car and went back to his home, presumably for ever.
That was enough heavy-handed nostalgia for me, but there was more: the narrator then explains that he'd forgotten the cord until he came to write the book, and then he realized he could "go from subject to subject just as the fingers of the insurance salesman had gone from the piece of coal to the charred wood or the butterflies." (p. 44)
A hundred pages in, blood is seeping, as Proulx says, but it's done in such a gentle, gradual, and grandiose and self-involved way that it made me more nauseous than sympathetic.
One last thing: the entire book is founded on a premise that can only be described -- as far as I read -- as a mistake. The book begins slowly, with a framing story. (There's even an "Internal dedication" on page 45, when the book finally gets underway.) That in itself was hard to bear, because it's the sign of a much older kind of literature, where the reader's enchantment increases each time the story is reintroduced and reframed. For such readers, stories within stories increase the realism. The notion here is that the writer was the best friend of the author of a memoir, written in Basque. The author of that memoir dies before "The Accordionist's Son" opens. The narrator of "The Accordionist's Son" takes the memoir written by his friend, and tells his friend's widow that he'll rewrite it, adding a voice the way someone might clarify a carving in a tree by deepening and sharpening its features. From that we understand that the book we're going to read is written twice over, and should have two voices in it. But the opening of the rewritten memoir, which occupies most of "The Accordionist's Son," is about the dead friend's children, and it's written as if the children belong to the friend. But they don't! And the next section is about how the author of the memoir courted his wife. It is written in the dead friend's voice, but we, as readers, know it's actually written, or re-written, by the friend. The effect is bizarre, as if the author of "The Accordionist's Son" has stepped into his dead friend's life and is courting his wife. Of course you're not supposed to think of it that way, but if you're paying attention to authorship, you simply have to.
Awful book: sentimental, annoying, and hopelessly old-fashioned: these things don't need to go together (there are traditional novels that are cold and precise, like Hardy), but they do here, and so, having failed to conjure the empathy that Proulx apparently felt, I stopped reading.
May 19, 2010
We discussed this at my book group last night. Most people had finished all or most of it, but a few still had a hundred or so pages to go. I think they were surprised at how much of the action comes in that last eighty pages.
I won't give anything away. We learn at the beginning that the main character and principal narrator, David, has died, and that the book is largely his memoir, translated from Basque, edited, and possibly embellished by his friend Joseba. Most of the book is set in and around Obaba, fictional Basque town not far from Gernika, and it involves David, his social life with his village and country friends, and his attempts to come to grips with the history of the Spanish Civil War in his area.
It was interesting to read, with what was undoubtedly my first sustained exposure to Basque culture in literature, and I would definitely recommend it. On the other hand, Atxaga provides David with a cast of local friends that would have amply populated a much longer novel, and most of these characters were not sufficiently well-formed to be either real or meaningful to the reader. There are also concerns that the precipitous change that sets the plot and tone for the last hundred pages is not sufficiently grounded in what has gone before. Because I was facing a deadline I sort of raced through the last section, and I later found myself wishing that I had given the first couple of hundred pages a more cursory treatment and immersed myself more thoroughly in the end.
Overall, I recommend it, but with some reservations.
I won't give anything away. We learn at the beginning that the main character and principal narrator, David, has died, and that the book is largely his memoir, translated from Basque, edited, and possibly embellished by his friend Joseba. Most of the book is set in and around Obaba, fictional Basque town not far from Gernika, and it involves David, his social life with his village and country friends, and his attempts to come to grips with the history of the Spanish Civil War in his area.
It was interesting to read, with what was undoubtedly my first sustained exposure to Basque culture in literature, and I would definitely recommend it. On the other hand, Atxaga provides David with a cast of local friends that would have amply populated a much longer novel, and most of these characters were not sufficiently well-formed to be either real or meaningful to the reader. There are also concerns that the precipitous change that sets the plot and tone for the last hundred pages is not sufficiently grounded in what has gone before. Because I was facing a deadline I sort of raced through the last section, and I later found myself wishing that I had given the first couple of hundred pages a more cursory treatment and immersed myself more thoroughly in the end.
Overall, I recommend it, but with some reservations.
August 15, 2011
I'm glad I kept reading this book, though the plot and characters develop slowly. The central storyline follows a young man's growing up in Basque country, seeing how Spanish fascism has shaped the lives around him, and deciding who he will be. While at first the story-within-a-story framework seemed too complex, by the end I could see that it had a purpose. Also the writing, especially the dialogue, seemed too-realistic and dull -- but as the story picked up, this flat style of narration became powerful. Along the way are some memorable characters, terrific tales and scenes, and profound insights. By the end, the book is action-packed, funny, and poignant.
October 29, 2010
it's not the most original of titles, but this book is hands down one of the best two or three i've read over the last couple years. and it's the first time Atxaga, a Basque writer, has been translated into English.
December 5, 2016
The Accordionist’s Son is a coming of age novel that explores the complexity of growing up in a twentieth-century oppressive regime after a civil war. This novel eloquently paints the Northern side of the Basque Country in Spain in the naivety of youth. Transitioning into greater understanding the protagonist becomes older and more aware of his father’s role in his town, Obaba’s, past. The story is guided with a plurality of historical events, catchy pop culture references, and an intricate storyline with rich characters that allows the reader to experience the complex interworking’s of a shared past.
The biggest draw in the novel was understanding why the protagonist, David, published his memoir in Basque. The protagonist story isn’t even assessable to his wife. I expected more from this plot set-up by Atxaga, and how the protagonist story becomes a part of his best friends re-working of a novel. This, to me, was because the protagonist felt he would be betraying his past and his expectations of the Basque language. It was a choice not to compromise and publish in a different language other than the language of his past for the character and a way for the novelist to portray the importance of the Basque language in identity it has for the Basque community.
Regarding the mechanics of the novel, I found the arrangement of the story line to be well thought out by Atxaga. The only problem I encountered was the close attention needed when reading the dialogue between the characters. There were several moments I found myself re-reading to clarify which character made what statement. This wasn’t a distracting quality. For me, it felt as if the novel could easily be adapted to a screenplay or could be a novel-to-film adaptation.
Upon further research the author, Bernardo Atxaga’s own experiences have heavily influenced the production of this novel. His past career as a poet can be seen in the novel that reads similar to poetry prose at times. Atxaga’s descriptive style allows the reader to picture the Basque country as a place and people with deep-rooted ways. He incorporates the Basque language and many Basque words that allow the reader a glimpse at the special relationship the people of the Basque country have to this ancient language that’s grown integral to the Basques sense of autonomy. Born in 1951 it can be seen that the author would have experienced the oppressive nature of the Franco regime.
This novel could be read and enjoyed by a reader not enrolled or well versed in Spain’s or the Basque countries’ histories. Understandings of the different events like the bombing of Guernica in 1937 and nationalist Spain under Franco’s reign spanning 1939-1975 would help form a deeper understanding of the protagonist complicated feelings. The novel on its own could provide a reader with an understanding of Spain’s 20th-century historical events and overall serve as informative supplementary material. The novel, very descriptive and shy of 400 pages, is quite the page turner, I felt so connected to the characters it was hard to put the novel down at times. It’s essential for a bookworm while learning about Basque history and I highly recommend reading Cameron Watson’s Modern Basque History, Eighteenth Century to the Present, to better understand the Spanish Civil war and influences that author takes on in his writing of this novel.
The biggest draw in the novel was understanding why the protagonist, David, published his memoir in Basque. The protagonist story isn’t even assessable to his wife. I expected more from this plot set-up by Atxaga, and how the protagonist story becomes a part of his best friends re-working of a novel. This, to me, was because the protagonist felt he would be betraying his past and his expectations of the Basque language. It was a choice not to compromise and publish in a different language other than the language of his past for the character and a way for the novelist to portray the importance of the Basque language in identity it has for the Basque community.
Regarding the mechanics of the novel, I found the arrangement of the story line to be well thought out by Atxaga. The only problem I encountered was the close attention needed when reading the dialogue between the characters. There were several moments I found myself re-reading to clarify which character made what statement. This wasn’t a distracting quality. For me, it felt as if the novel could easily be adapted to a screenplay or could be a novel-to-film adaptation.
Upon further research the author, Bernardo Atxaga’s own experiences have heavily influenced the production of this novel. His past career as a poet can be seen in the novel that reads similar to poetry prose at times. Atxaga’s descriptive style allows the reader to picture the Basque country as a place and people with deep-rooted ways. He incorporates the Basque language and many Basque words that allow the reader a glimpse at the special relationship the people of the Basque country have to this ancient language that’s grown integral to the Basques sense of autonomy. Born in 1951 it can be seen that the author would have experienced the oppressive nature of the Franco regime.
This novel could be read and enjoyed by a reader not enrolled or well versed in Spain’s or the Basque countries’ histories. Understandings of the different events like the bombing of Guernica in 1937 and nationalist Spain under Franco’s reign spanning 1939-1975 would help form a deeper understanding of the protagonist complicated feelings. The novel on its own could provide a reader with an understanding of Spain’s 20th-century historical events and overall serve as informative supplementary material. The novel, very descriptive and shy of 400 pages, is quite the page turner, I felt so connected to the characters it was hard to put the novel down at times. It’s essential for a bookworm while learning about Basque history and I highly recommend reading Cameron Watson’s Modern Basque History, Eighteenth Century to the Present, to better understand the Spanish Civil war and influences that author takes on in his writing of this novel.
November 26, 2015
„Синът на акордеониста“ е въздишка, Padem, Padem – мелодията, която сме си обещали, че никога повече няма да свирим, но тя никога не ни напуска. Оригинално поднесен портрет не само на една провинция, но и на индивида като единица мярка за света; наивен и чист детски спомен, придружен от носталгията на съзряването.
http://knijno.blogspot.bg/2015/11/blo...
http://knijno.blogspot.bg/2015/11/blo...
August 3, 2025
Dios mío, a sección de comentarios desta novela está inzada de guiris que esperaban unha visita guiada pola Spanish Civil War e por Guernica's bombing e atoparon: unha novela!!!!
A min pareceume brutal tanto no contido (a biografía dun rapaz que viviu a posguerra en Euskal Herria e o auxe de ETA) como na forma (un relato testemuñal ao que lle van dando forma dúas voces, a de David, o narrador principal, e Joseba, o seu amigo, que edita, engade e participa da acción). É un libro que fala da memoria, crebada polo silencio franquista, polo exilio... Lin a polémica que suscitou no momento da súa tradución ao castelán, na que se lle criticaba que só tomaba a posición de ETA sen facer mención aos asasinatos a civís ou outros momentos escuros da loita nacional vasca. Supoño que o crítico que dixo tal non chegou ao final nin quixo entender que, no xogo entre a escrita e a edición, entre a ficción e a documentación, hai unha tentativa de construír un relato do nacionalismo vasco alén de ETA.
Tamén é certo que ter que tratar o temiña da ETA despois da ditadura nesta recensión é bastante ridículo, porque é unha ínfima parte do que hai na novela.
Tamén teño que dicir que a tradución ao galego é un pouco estraña. Xa non só por partir da versión castelá (moi cuestionable, porque no orixinal estou convencido de que hai partes en castelán e partes en éuscaro), senón por cuestións de corrección lingüística. Imos ser bos e achacarllo á reforma normativa do 2003. O léxico, xenial; os pronomes...
Póñolle 5 estrelas pero se cadra son 4.5. Na primeira parte creo que se abusa da imaxe da Arcadia dos baserris e, en xeral, o ritmo é un pouco lento. Pero vamos, que metía as 500 páxinas polo cu outra vez sen dubidalo.
A min pareceume brutal tanto no contido (a biografía dun rapaz que viviu a posguerra en Euskal Herria e o auxe de ETA) como na forma (un relato testemuñal ao que lle van dando forma dúas voces, a de David, o narrador principal, e Joseba, o seu amigo, que edita, engade e participa da acción). É un libro que fala da memoria, crebada polo silencio franquista, polo exilio... Lin a polémica que suscitou no momento da súa tradución ao castelán, na que se lle criticaba que só tomaba a posición de ETA sen facer mención aos asasinatos a civís ou outros momentos escuros da loita nacional vasca. Supoño que o crítico que dixo tal non chegou ao final nin quixo entender que, no xogo entre a escrita e a edición, entre a ficción e a documentación, hai unha tentativa de construír un relato do nacionalismo vasco alén de ETA.
Tamén é certo que ter que tratar o temiña da ETA despois da ditadura nesta recensión é bastante ridículo, porque é unha ínfima parte do que hai na novela.
Tamén teño que dicir que a tradución ao galego é un pouco estraña. Xa non só por partir da versión castelá (moi cuestionable, porque no orixinal estou convencido de que hai partes en castelán e partes en éuscaro), senón por cuestións de corrección lingüística. Imos ser bos e achacarllo á reforma normativa do 2003. O léxico, xenial; os pronomes...
Póñolle 5 estrelas pero se cadra son 4.5. Na primeira parte creo que se abusa da imaxe da Arcadia dos baserris e, en xeral, o ritmo é un pouco lento. Pero vamos, que metía as 500 páxinas polo cu outra vez sen dubidalo.
This entire review has been hidden because of spoilers.
May 3, 2020
En sert kurmacanın bile gerçeklerin acısını bir dereceye kadar yansıtabileceğini vurguluyor Basklı yazar Bernardo Atxaga. Geçmişiyle ve faşizmle yüzleşen anlatıcı David'in hikayesi arkadaşı Joseba'nın anlatımıyla iç içe geçiyor bir süre sonra. David'in gençlik arkadaşlarıyla geçen bölümler fazla uzun tutulmuş. Aslında kurgusunu sevdim ama romandan koptuğum yerler oldu. Dilin kırılganlığıyla kelebek metaforunun öne çıktığı bölümler örgütteki ihanet hikayesinden daha etkileyici.
February 8, 2024
Bellissimo romanzo, il primo di Atxaga, scrittore che non avevo mai approcciato.
Non ho dato 5⭐ perché la storia è troppo diluita in alcune parti che, nella versione Einaudi, credo siano state poi editate.
Non ho dato 5⭐ perché la storia è troppo diluita in alcune parti che, nella versione Einaudi, credo siano state poi editate.
February 25, 2022
Tremenda. Enamorada de este señor.
June 1, 2024
Aprendí mucho sobre el porqué del nacimiento de ETA y sobre la vida de los Vascos durante la dictadura de Franco. 3.5 estrellas
September 26, 2009
One of my best friends is Basque, and his family moved from the Basque Country around 1965 to Bakersfield in order to become sheep herders and cattle ranchers. I also have an inherent interest in the Spanish Civil War.
That said, I was excited to see this book at the library given that it's about a Basque man who emigrates to Visalia with the ghosts of The Spanish Civil War and Basque separatist movement on his heels.
But for whatever reason I didn't find this book compelling. Perhaps it's because it was translated into English so maybe something got lost.
I think the main reason is that I never quite knew what the main thrust of this book was about. The Spanish Civil War is present, but by no means is this a book about The Spanish Civil War. The protagonist is an immigrant to California, but this isn't an immigrant's tale. There are some romantic threads, but they feel like haphazard sub-plots than anythings else.
If there could be a through line it could be the conflict between father and son, hence the title, but I still couldn't get any real sense of who the father was other than a black and white caricature of The Bad Guy.
Interesting subject matter, but I'm glad I finally got through this book and can go onto something else.
If you want to talk to a crazy and hilarious character, track down Melchor Senior down in Bakersfield, buy him a shot and a beer, and listen to the stories ensue.
That said, I was excited to see this book at the library given that it's about a Basque man who emigrates to Visalia with the ghosts of The Spanish Civil War and Basque separatist movement on his heels.
But for whatever reason I didn't find this book compelling. Perhaps it's because it was translated into English so maybe something got lost.
I think the main reason is that I never quite knew what the main thrust of this book was about. The Spanish Civil War is present, but by no means is this a book about The Spanish Civil War. The protagonist is an immigrant to California, but this isn't an immigrant's tale. There are some romantic threads, but they feel like haphazard sub-plots than anythings else.
If there could be a through line it could be the conflict between father and son, hence the title, but I still couldn't get any real sense of who the father was other than a black and white caricature of The Bad Guy.
Interesting subject matter, but I'm glad I finally got through this book and can go onto something else.
If you want to talk to a crazy and hilarious character, track down Melchor Senior down in Bakersfield, buy him a shot and a beer, and listen to the stories ensue.
November 11, 2023
Сложен и красив роман за младежките илюзии, за общото порастване на група момчета в нееднозначната политическа обстановка в Страната на баските, но и за загубата на приятелството.
Смяната на времената и гласовете на разказвачите плете красива мрежа от гледни точки. Така носталгията и тежестта от вината се оглеждат едни в други.
Част от историите се осветляват ту от един, ту от друг герой – и от дистанцията на времето не просто придобиват друг смисъл, но и стават видими последствията от изборите ни. Особено от избора на политическа принадлежност.
Остават непроменими обаче големите етични избори. Между доброто и злото, между насилието и ненасилието.
"Синът на акордеониста" е книга за препрочитане. Роман за предателството и съграждането на личността, за намирането на идентичност - и обществена, и лична.
Но - пита книгата - "поради какви причини съчинява истории. "Все някак трябва да се каже истината", отвърна му Йосеба." 🙂
Бернардо Ачага успява да предаде многоликостта на човешкото усещане за правда, за правилно и допустимо. Но сурово и с опрощаваща топлина да ни припомни, че съществува една истина, която е абсолютна.
Смяната на времената и гласовете на разказвачите плете красива мрежа от гледни точки. Така носталгията и тежестта от вината се оглеждат едни в други.
Част от историите се осветляват ту от един, ту от друг герой – и от дистанцията на времето не просто придобиват друг смисъл, но и стават видими последствията от изборите ни. Особено от избора на политическа принадлежност.
Остават непроменими обаче големите етични избори. Между доброто и злото, между насилието и ненасилието.
"Синът на акордеониста" е книга за препрочитане. Роман за предателството и съграждането на личността, за намирането на идентичност - и обществена, и лична.
Но - пита книгата - "поради какви причини съчинява истории. "Все някак трябва да се каже истината", отвърна му Йосеба." 🙂
Бернардо Ачага успява да предаде многоликостта на човешкото усещане за правда, за правилно и допустимо. Но сурово и с опрощаваща топлина да ни припомни, че съществува една истина, която е абсолютна.
April 24, 2021
Bernardo Atxaga y el traje del emperador: yo creo que todo el mundo sabe que los libros de este señor no pasan de literatura normalita, novelas de verano simplonas, con su toque melodramático y su toque aventurero, aunque vacías de contenido y de profundidad, pero nadie se atreve a decirlo en alto 😅. Todo mi aprecio a quien disfrute de esta literatura, pero no nos la vendáis como canon, por favor, que los libros están muy caros y luego uno se lleva una decepción 20€ más tarde.
October 6, 2010
Translated from the spanish, this book is about a Basque town and interwines the story of two generations with both the Spanish Civil War and the Basque Resistance. Unfortunately while the subject matter is interesting, the writing style is a bit flat and I felt like the characters were 2 dimensional and not really brought to life.
April 14, 2012
Hello all of my reading friends! This is a wonderful book! Heading to Spain I really wanted to learn more about history and the people of Spain. This book gives a lot of insight into some of Spain's recent history and how it impacted the people. Hopefully I can get another book or two in before I go!
December 10, 2013
Do I rate things too high? I changed it from a 4 star to 3 star. After reading this, I decided I didn't care for the characters as much as I thought I did while reading. But, the topics are so beloved: Basque country, standing up to Franco, moody teenagers....
April 20, 2019
Llibre interessant que recòrre la infància i la joventut d'un noi i el seu entorn en un poble rural del País Basc entre la dècada dels 60s i 70s. Remarcar les ferides obertes de la guerra civil, la repressió franquista i el procés de radicalització dels joves bascos. Recomenable!
July 15, 2009
one of atxaga's most accessbile novels, back in obaba, and dealing with the Sovereignty fight against fascist spain, finally. this will be a classic in the canon.
May 4, 2015
I have a special place in my heart for Spain, and this book was really amazing.
September 3, 2017
Great pacing, memorable characters. Devastating account of the hatred and violence that continues long after a civil war ends.
October 3, 2017
Liburu erraldoia. Hasieratik katigatu nau. Gure herriaren historiaren lekukotza bikaina.
Gomendagarria guztiz.
Gomendagarria guztiz.
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