La Femme au miroir

by Éric-Emmanuel Schmitt

Anne vit à Bruges au temps de la Renaissance, Hanna dans la Vienne impériale de Sigmund Freud, Anny à Hollywood de nos jours. Toutes trois se sentent différentes de leurs contemporaines ; refusant le rôle que leur imposent les hommes, elles cherchent à se rendre maîtresses de leur destin. Trois époques. Trois femmes. Et si c'était la même ?

Genres: Fiction, Historical Fiction, France, Roman, Romance, French Literature, Ebooks

480 pages, Mass Market Paperback

First published January 1, 2011

About the author

Eric-Emmanuel Schmitt is a Franco-Belgian playwright, short story writer and novelist, as well as a film director. His plays have been staged in over fifty countries all over the world.

Reviews

[Théo d'Or]

We read books by virtue of pleasure, in which we sometimes appreciate style, sometimes the story. For Schmitt, it is not the ingenuity of the technical process that comes to the fore, but the story that is read by pleasure, usually a story with a philosophical substratum.
Through the very title of the book, I can already see the theme of feminity, from the perspective of the double, of the oscilation between appearance and essence.

Not one, but three women, belonging to different times and places - are looking for their identity, in a society suffocated by patterns. None is made to be reduced only to the status of wife or mother , for each of them the only chance to taste happiness is to escape from the social skin , they want to invent their life, not endure it, they suffer to do what they like, not doing what they don't like.
Each woman, in her own way, feel different, foreign to the world she live in, not subject to social prejudices.
The novel unfolds not only the story of three women, but the story of three centuries placed in front of the mirror, which also captures the way in which the different historical periods integrate or disintegrate the woman.
One of the woman lives during the religious Renaissance , another at the beginning of the XX century, a century of psychology , another in the Hollywood settings of our century, a chemical century, of drugs..
All three stories project on the social -mental background of the times - the evolution of woman, to the point where she comes to recognize herself in the mirror, and smiles at her own recognized image.
What is different is the way of living the feeling of revolt, of imposture, the nuances of truth reflected in a mirror held by others...

" Maybe I'm longing for a miracle... Which one ?
To stop seeing myself acting, to no longer be an actress or a spectator of my own person.
To stop judging myself (...)
And finally, to immerse myself in reality , and dissolve into it. "

[Mary 🍀 · Rating 1 out of 5]

حیف حیف از اشمیت و این داستان که نشر افراز
در نهایت تعجبم از این نشر ! چه ترجمه بیخودی تحویل داده
تازه قیمتشم خیلی بالا برده!!!
اینم تو پیج ازش گفتم، متاسفانه همخوانی دو کتاب داشتم که هر دو افتضاح!! کتاب رو رها کردم، اگر خواستید بخونید حتمن از نشر قطره بخونید.

Instagram.com/marco_ketab

[spillingthematcha · Rating 4 out of 5]

Jeśli szukacie historii, która oczaruje was od pierwszych stron to z całego serca mogę wam polecić „Kobietę w lustrze”. Jest to fascynująca, napisana błyskotliwym i barwnym językiem powieść, w której każdy znajdzie coś dla siebie. Nie jest to standardowa i oczywista książka, a wymagająca, skomplikowana, wielowymiarowa lektura. To historia o dojrzewaniu, kobiecości, błędach oraz o poszukiwaniu siebie i swojego miejsca na ziemii. Sama forma powieści oraz zróżnicowana narracja również są bardzo ciekawe - przeplatają nam się tutaj losy trzech kobiet, żyjących w całkiem innych czasach. Z pozoru nie łączy je nic, jednak z każdym rozdziałem ich losy stają się coraz bardziej intrygujące. Autor genialnie i niezwykle trafnie umie ująć w swoich powieściach ludzkie uczucia i problemy, dzięki czemu jego książki są bardzo przejmujące i skłaniające do refleksji. Kiedy sięgałam po tę historię, nie spodziewałam się, że aż tak mnie ona zachwyci! Na pewno sięgnę po pozostałe książki tego autora.
4,5/5✨

[Amy · Rating 2 out of 5]

I AM SO DISAPPOINTED.

I love Eric-Emmanuel Schmitt's works. They helped me go through my teenage years and beginning of my depression, they were enlightening, they were smart, they were wonderfully written. When I saw this one, I thought that it will be so good - having more pages, I stupidly believed that it will show me even more than somewhat short stories from this author; that he will have more space for his beautiful world creating, that his characters will be more detailed that previous ones, that his story will be even more substantial, having more space to expand.

Well... No.

I mean, don't get me wrong. It wasn't a particularly awful book. Hell, I would even give it 3 stars if it wasn't written by THIS E-E. Schmitt. BUT IT WAS. After so many successful published and worldwide acclaimed books it should keep his standards. Speaking straight-forwardly: It was supposed to be good, but it wasn't!

Having more space, Schimitt spend it all on meaningless trips, and I was really annoyed by constant 'oh-so-surprising' turnabouts and 'oh-so-enlightening' revelations. Now I actually believe if the lesser pages his book has, the better it is. This way he goes straight to the point, unlike than in this book, where I believe he lost his point inside his creation. Too many things happening at once, too many things to say, too much ideas in one place. Maybe if he put those three women in their own books, without mingling them, he would have lovely trilogy about impact of our lives at other peoples' choices. But here it's just a bloody mess, and I did not enjoyed it.

[Ana-Maria Negrilă · Rating 3 out of 5]

Anne, Hanna și Anny - destinele a trei femei, ce se luptă cu societatea pentru a-și afla menirea în lume, sunt împletite într-un fel de ștafetă peste veacuri.
Atmosfera epocilor este destul de bine redată, iar alegerea stilului epistolar pentru secventele de la 1900 mi s-a părut salutară.
Totuși, prea multe pasaje de romance, prea mult feminism nedigerat, prea multe clișee. Două dintre firele narative sunt previzibile, iar al treilea este stângaci legat de restul. În plus, amuzant lucru, dacă două dintre eroine încearcă să scape de jugul societății, una refuzând căsătoria, alta trecând de la o relație la alta, actrița ce reprezintă femeia modernă ajunge la concluzia că fericirea stă într-un singur partener pentru care luptă cu aceeași forță pe care celelalte o folosiseră ca să se elibereze.
Per total, este o lectură plăcută, alertă, chiar dacă nu extraordinară.

[Ana · Rating 5 out of 5]

One of the best book I've read this year and on the same time one of the best books on feminism written by a male author.
The 3 stories mix in the end: the story of Anne from Bruges, Hanna the follower of Freud and Anny- a modern actress.
Both of these women try to find their place in a world that doesn't seem to value the women: Anne finds her path in the spiritual, Hanna in exploring the subconscious and Anny in fighting with addictions and learning to be vulnerable in front of love.

[Seyed Mohammad Reza Mahdavi · Rating 1 out of 5]

این کتاب با همین نام توسط خانم شهلا حائری ترجمه شده و نشر قطره آن را منتشر کرده است. من البته آن ترجمه را نخوانده ام ولی قطعا و صد درصد این ترجمه را پیشنهاد نمی کنم . یک فاجعه به تمام معنی
یک ستاره هم برای این ترجمه زیاد است.از آنجایی که خود کتاب به نظرم با ترجمه خوب قطعا ارزش بیشتری دارد شاید روزی با ترجمه دیگر سراغ آن برگردم

[Claudia Șerbănescu · Rating 2 out of 5]

Pe toată durata lecturii nu am scăpat de senzația că citesc ceva scris de Sandra Brown sau ceva chick-lit ieftin. Știu că Eric-Emmanuel Schmitt e un scriitor foarte apreciat, dar încă sper că nu am citit eu cărțile sale esențiale. Altfel nu îmi explic discrepanța uriașă între succesul său ca romancier și impresiile mele de umil cititor dezamăgit.
P.S. Am primit cartea ;)

[Vilis · Rating 3 out of 5]

Tik ļoti melodramatiski stāsti, ka brīžiem pietrūkst tikai skaņu celiņš. Kad tas pierimst, ir foršāk

[Erasmia Kritikou · Rating 5 out of 5]

'Οσοι έχουν την ψυχή γεμάτη επιθυμίες και μνησικακίες δεν μπορούν να κάνουν τίποτε ωφέλιμο για τον άλλον - μα ούτε και για τον εαυτό τους.

Και οι πληγές της γης γιατρεύονται πιο γρήγορα απ' των ανθρώπων.



________________________


"είχα ακυρώσει το χρόνο. Ανακάλυπτα ότι δεν ήμουν μόνος όταν ήμουν καταμόνος. η μοναξιά μου έσφυζε από δαίμονες και παλμούς, πόθους και μνήμες. λαχαταρούσα να κουνηθώ, να σηκωθώ, να φύγω, να δραπετεύσω από τον ίδιο μου τον εαυτό. ήμουν ένας βασιλιάς που έπρεπε συνεχώς να καταστέλλω ανταρσίες και εξεγέρσεις, ένας βασιλιάς ευάλωτος. Καμιά φορά, με καταλάμβανε η γαλήνη, μια σιωπηλή αυγή μέσα στη νύχτα μου."
(Πρακτική του διαλογισμού)

[Irini 이리니 Thalassinou · Rating 3 out of 5]

Είχα καταλάβει ότι με τα λόγια δεν καταφέρνεις τίποτα, μόνο η προσπάθεια φέρνει αποτελέσματα. Είχα καταλάβει ότι το Καλό απαιτεί ισχυρότερη θέληση από το Κακό. Είχα καταλάβει επίσης ότι το σώμα μου είναι ένα καράβι που, αν το φορτώσω κρίματα, βουλιάζει, αν το ξαλαφρώσω αδιαφορώντας, όντας γενναιόδωρος, ξεχνώντας τον εαυτό μου, με οδηγεί σε καλό λιμάνι. Είχα καταλάβει επιτέλους ότι πριν δεν ήμουν άνθρωπος, αλλά ένα δίποδο με αραιό τρίχωμα και προικισμένο με έναρθρη γλώσσα, η ανθρώπινη ιδιότητά μου εμφανιζόταν στο τέρμα του δρόμου. Ήταν μακριά - ένας στόχος. Θα τα κατάφερνα ποτέ να γίνω άνθρωπος;

Ωραίο, αλλά μετά από το υπέροχο "Αγαπητέ Θεέ" είχα μεγαλύτερες προσδοκίες.

[Behzad · Rating 3 out of 5]

اگه از اریک امانوئل اشمیت خوشتون بیاد، از این هم خوشِتون میاد.
کلاً به نظر من اریک امانوئل اشمیت یه میلان کوندرای عامه پسندتره. و خب این عامه پسند بودگی در اینجا بیشتر هم هست؛ تا جایی که به نظرم بیشتر برای خوانندگان نوجوان و شاید در ابتدای جوانی خواندنی تر باشه. و همچنین برای خانمها بیش از آقایون، به دلیل محتوای کتاب.

[Bookaholic]

Cel mai recent roman tradus în română al lui Éric-Emmanuel Schmitt, lansat în zilele petrecute de scriitor la București, este Femeia în fața oglinzii, titlu ce trimite la tema feminității din perspectiva dublului, a zbaterii între aparență și esență. Nu una, ci trei femei, aparținând unor epoci și locuri diferite, își caută identitatea și libertatea, într-o societate sufocată de șabloane. Fiecare în felul ei se simte diferită, străină de lumea în care trăiește, nesupusă prejudecăților sociale, de ordin familial sau religios. Niciuna nu este făcută să fie redusă doar la statutul de soție sau de mamă.

Toate sunt însuflețite de voința de a se desprinde de imaginea reflectată de oglinda societății. Rebele, încalcă multe norme sociale și morale, refuză să trăiască destinul impus de alții. Toate sunt preocupate de acel „esențial invizibil” și infinit de care vorbea Oscar Wilde si pe care Éric-Emmanuel Schmitt îl strecoară necontenit în cărțile sale ca valoare absolută a umanului. Pentru fiecare dintre ele, singura șansă de a gusta fericirea este să evadeze din pielea socială. Vor să-și inventeze viața, nu s-o îndure. Suferă pentru a face ce le place, nu făcând ce nu le place. Se opun așteptărilor celorlalți, refuză datele ordinare ale feminității și încearcă să găsească ce e real în ele și să se împace cu realitatea, oricât de dureroasă ar fi ea. Și oricare ar fi prețul, căci căutarea adevărului și a limpezimii uneori energizează, alteori pustiește.

Așa cum declara și autorul într-un interviu, în fața oglinzii din roman nu se derulează doar povestea a trei femei, ci povestea a trei secole puse în fața oglinzii care surprinde și maniera în care diferitele perioade istorice integrează și dezintegrează femeia. Una dintre femei trăiește în timpul Renașterii religioase, alta la începutul secolului XX, un secol al psihologiei (povestea se depănă în Viena lui Freud), alta în decorurile hollywoodiene ale secolului nostru, un secol chimic, al drogurilor.

Anne, mistica flamandă, trăiește la Bruges în timpul Renașterii. Se mișcă într-o lume tenebroasă, plină de violență și de ură viscerală. Trezește atenția tuturor pentru că trăiește intens, vibrează după un ritm numai al ei, ignorând orice „trebuie” venit din partea celorlalți. Misterioasă și îndărătnică, va fi una dintre victimele inchiziției, ale îngâmfării ipocrite a preoților.

Hanna, amestec de intelectualitate și slăbiciune, este o aristocrată vieneză extravagantă de la începutul secolului XX, printre primele discipole ale lui Freud. Ea va scrie o carte depre Anne, iar în filmul realizat pe baza acestei cărți va juca Anny – actriță contemporană, rătăcită în lumea imaginii și a drogurilor. Femeie excesivă în toate, Hanna trăiește din copilărie într-o situație de impostură, își construiește o identitate falsă pentru a compensa pierderea părinților și atitudinea ei față de aceștia. Se privește mereu de la distanță, se condamnă. Pentru a fi fericită în dragoste, va simți nevoia să se estompeze, să se multiplice. Nu se știe cine de cine fuge: de Hanna cea reală, sau de falsa identitate pe care și-o construiește. E înzestrată cu o uriașă disponibilitate de a iubi, dar nu știe ce să facă cu această iubire într-o lume în care nu se poate regăsi.

Anny, ca femeie de cinema, avea tendința de a prefera reflectarea în detrimentul realității, povestea pretinsă de alții, în locul adevărului. Va reuși cu greu desprinderea de suprafețe și întânirea cu o realitate mai importantă, căutarea iubirii rămânând și pentru ea miezul vieții.

Femeile din romanul lui Éric-Emmanuel Schmitt sunt ființe misterioase, paradoxale, sclipitoare, cu realități lăuntrice foarte puternice. Pentru a se regăsi, fiecare trebuie să se rătăcească mai întâi, știind că a înțelege fericirea nu e totuna cu a o simți.

(Continuarea cronicii: http://www.bookaholic.ro/sa-poti-zamb...)

[Judy Nappa · Rating 4 out of 5]

I won this book through Goodreads and it is an uncorrected proof translated from the original French version. This did not impact my reading it at all.

This book is written in three voices - Anne from Bruges in the 1600's, Hanna from Vienna at the turn of the 20th century and Anny in current time. Anne and Anny write in narrative but Hanna's chapters are in letter form to a cousin named Gretchen. Each chapter reflects on their day to day lives during a small time period in each woman's life - observations, feelings and interactions with the world around them and how it affects them. Supporting characters for each woman add to her character (Anne's spiteful cousin Ida, Hanna's fawning husband Franz and Anny's overbearing agent Johanna) Each story progresses seamlessly...then turns a sharp corner - Anne's tragically but Hanna and Anny's surprisingly.

I enjoyed the historical references to the Church and religion in 17th century Europe and that of Sigmund Freud and the birth of psychoanalysis - they enhanced the story without overpowering it. The author's sensitive portrayals of the womens' lives were poignant and bittersweet. A well written book that I am glad to recommend.

[Whitney Maas · Rating 5 out of 5]

There happens, on rare occasions, that a book beckons you to open its pages and dive beneath its surface. You may have no awareness of its pull but you are compelled to begin it none the less. This book lives in this category for me and I can not even say, now that I have finished it, what drew me to read it to begin with. It's cover did little for usual art work judgments and the description that is printed on the inside cover flap did not offer much insight. I had passed by this book several times and each time was compelled to pick it up or to at least notice it for a future dates reading, and yet why I finally chose to read it escapes my explanation even now. Yet somehow it was meant to be read at this very moment and continues to wrap itself around my thoughts, as if it were a wisp of smoke drawing near an open window.
To say too much about this novel's plot will give away its beauty but I am still reeling from the content and its inexplicable tie in to a Grad paper I wrote on a subject I very selectively chose. The characters, stories, and events mentioned were all apart of this captivating research I completed a few years ago. So not only catch and understand each 16th Century Flemish reference along with other references to figures from the 1400's but to also be reminded of these stories was truly...magical? Its difficult to put words to such a random awakening when reading a book that was not at all expected to hold such material, the description nor anyone's reviews gave any such clues to this type of content.
Regardless, I could not put this novel down and lost myself in it's pages for the past 3 days, making myself almost late for work on account of it ;)

I must also add that I RARELY enjoy novels that "display the strengths of women" or any such description because I always find them false (if not blase) representations of femininity or the characters just frustrate me with their weaknesses (Madame Bovary for starters). This does not fall into that category and I highly recommend it to anyone looking for a web of characters that weave a picture of purity, determination and promiscuity ;)

[Diana Hincu · Rating 4 out of 5]

In primul rind, un frumos tandem intre titlu si coperta, foarte sugestive si complice cu intreg continutul.
Femeia de pe coperta duce cu gindul la picturile lui Modigliani, care a preferat sa picteze portrete si nuduri, interesat exclusiv de sentimentele omului. Exact asa si Schmitt, ne aduce portretul FEMEII, cu nudul sufletului ei reflectat in oglinda.
Povestea autorului vine cu trei femei, in trei epoci diferite. Probabil ca sa accentueze cum femeia si-a slefuit rolul, cum si-a schimbat radical portretul pe parcursul evolutiei, fiind alese trei epoci cruciale: renasterea, psihanaliza si Hollywood-ul actual.

Este un exercitiu de cunoastere de sine. Chiar mai mult, de acceptare a propriei imagini in oglinda, cu hibe, cu dureri si dorinte nebanuite, in pofida etichetarii sociale. Atunci cind femeia are curajul sa se uite in oglinda si sa isi recunoasca imaginea sa (nu a celor care o judeca), atunci ajunge sa juiseze si sa isi depaseasca conditia sociala a vremei in care traieste.
Autorul descrie in crescendo macinarile celor trei protagoniste, pina la revelatie. Sare frumos de la o poveste la alta si te lasa lipit de pagini.

Ca un portret a lui Modigliani - merge dincolo de culoare si pensula, foarte adinc, in cautarea esentei, celor 21 grame cit se presupune ca ar cintari un suflet de om.
Aplauze pentru acest procedeu de empatie al autorului, cu FEMEIA.

[Ioana Dumitrachescu · Rating 5 out of 5]

Sublimă și cu asta am spus tot!

[Sandra Koka (pielasit_sirdi)]

"Dievišķais, psihiskais, ķīmiskais- tās bija atslēgas, ko dažādi gadsimti, bija piedāvājuši, lai atdarītu mistērijas durvis." (256.lpp.)



Grāmatu apskatnieces Kristīnes slavinošā atsauksme, kas uzcēla šo grāmatu uz visaugstākā pjedestāla (labākā šī gada grāmata), nebija vienīgais iemesls, kāpēc es ar ziņkāri ķēros klāt Beļģijā dzīvojošā franču rakstnieka Ērika Emanuela Šmita grāmatai "Trīs sievietes spogulī". Vasaras dedzinošajā sausumā, kad viss dzīvais bija atdevis savu enerģiju saulei, es izraudāju asaru jūru, lasot viņa miniatūro "bērnu grāmatiņu" "Oskars un Rozā dāma". Emocionālais satricinājums bija tik milzīgs, ka ar visu sirdi piešķīru autoram brangas piecas zvaigznes.

Šī grāmata emocionālajā plaknē ir salīdzinoši plakanāka, aizstājot sajūtu viļņošanos ar filosofiskām dzīves un esības apcerēm. Tas gan nenozīmē, ka visas trīs galvenās varones Anna, Hanna un Annija savā dzīvē nepiedzīvo dažādu emociju gammu, galvenokārt meklējot savu būtību un mēģinot saprast savu vietu esošajā sabiedrībā, balancējot starp konkrētā laikmeta sabiedrības ieražām un savām iekšējajām sajūtām.



Grāmata attaino trīs dažādos laikmetos dzīvojošas trīs sievietes, kuras no pirmā acumirkļa nekas nesaista, tomēr romāna gaitā atklājas vairākas kopīgas iezīmes, kas galu galā sasaista viņas kā trīs matu pīnes vienotā bizē, nobeigumā meistarīgi sasienot tās matu lentā.

Annu no 16.gs., Hannu no 20.gs un Anniju no mūsdienām vieno sevis apzināšana, izzināšana un atrašana. Viena no varonēm atbildes meklē dievišķajā, otra mentālajā un trešā ķīmiskajā plaknē, atklājot apreibināšanās pasauli.



Viņas visas savā ziņā ir revolucionāres katra savā gadsimtā- pretojoties pierastajam, ļaujoties savai zemapziņai un meklējot sievišķīgās seksualitātes esības punktus, kas paver jaunus apvāršņus. Meklējot savu būtību ārpus noteiktās sievas un mātes lomas.



Man likās interesanti, ka šajā ļoti sievisķīgajā varoņu pasaulē tekstus radījis vīrietis, kas ir sava veida interpretācija par svešādo pasauli un kā to redz viņš- niansēti uztaustos vissmalkākās stīgas.



"Vārdu vidū nav pašdarbnieku. Nozīme ir tikai karaspēkam." (328.lpp.)



Grāmata ir kā mīkla, kura meklē sievišķo kodola atslēgu.



"-Ar seksu ir vienkāršāk.

Viņš metās viņai pretī degošām acīm, savu seju piespiedis viņējai.

-Kādam nolūkam tas ir vienkārši? Lai tuvotos vīrietim vai lai no viņa atbrīvotos?" (116.lpp.)





3.7 zvaigznes

[Mery ✨ · Rating 4 out of 5]

3.8/5

REVIEW IN BOTH ENGLISH AND GREEK

GREEK REVIEW

Το πρωτο μου και φυσικά οχι το τελευταιο μου βιβλίο απο τον Ερικ Σμιτ. Που πάει η φλάγα όταν σβήνει; ειναι ενα μυθυστοριμα που μιλαει για τις παγκόσμιες θρησκείες στοχευοντας να μας δείξει πώς οι άνθρωποι παραμένουν ανήσυχοι στο μίσος και την εκδίκησή τους και μπλέκονται όλο και περισσότερο.

"...όσο μεγαλωνω, τοσο μικραινει η αποσταση ανάμεσα στην υπερτατη βλακεία και τη μεγάλη ευφυία, καθώς κι αυτη αναμεσα στο όωειρο και στην πραγαμτικότητα."

Με το Milarepa, που ειναι αλλωστε και τιτλος του βιβλιου στα γαλλικα αλλα και ο Μοναχός, προσπαθεί να περιγράψει τον Βουδισμό. ο Σμιτ προσαρμόζει την αφήγηση στον θρύλο για τον Milarepa. Σχεδόν θα μπορούσε κανείς να σκεφτεί μια επανάληψη της ιστορίας της ζωής του Milarepa. Στη συνέχεια μπλέκει αυτή την ιστορία με την πραγματικότητα του αφηγητή, χτίζοντας μια μαγική γραμμή σύνδεσης μέ��ω της αναγέννησης και του κάρμα.

"Δεν υπάρχει μεγαλύτερο σφάλμα απ'το να κόβεις μόνος σου το νημα της ζωή σου."

Η ιστορία, ομως δυστυχως, παραμένει πάρα πολύ στο μύθο. Είναι επίσης κρίμα που δεν λέγεται τίποτα για τις διδασκαλίες και τα τραγούδια του Μιλαρέπα.

ENGLISH REVIEW

My first and of course not my last book by Eric Schmitt. Milarepa is a novel about world religions that aims to show us how people remain anxious about their hatred and revenge and become increasingly entangled.

"... the older I get, the shorter the distance between the supreme stupidity and the great intelligence, as well as the distance between the dream and the pragmatism."

With Milarepa, which is also the title of the book in French but also the Monk, he tries to describe Buddhism. Smith adapts the narrative to the legend of Milarepa. One could almost think of a repetition of Milarepa's life story. He then mixes this story with the narrator's reality, building a magical line of connection through rebirth and karma.

"There is no greater mistake than cutting the thread of your life on your own."

The story, however, remains very much in the myth. It is also a pity that nothing is said about Milarepa's teachings and songs. An easy read, highly recommended.

[Кремена Михайлова · Rating 1 out of 5]

Наложи се да влагам максимално разбиране, че авторът разглежда теми, които са важни в живота на много хора. Но този път ми се струва, че е имал идеите, а не е успял да изгради образите.

Ан от Ренесанса: вечната тема – как откриваш вярата, без да имаш религиозни познания и без да следваш догмите на църквата. Но това доста ми поомръзна. Опитах се да приема историята нормално, като си представях, че все пак става въпрос за епохата на Ренесанса и тогава такова мислене не е било обичайно.

Анна от началото на 20 век: лек интерес представляваше за мен това, че психоанализата е нещо, което тепърва се е появяло в онези години; нещо толкова навлязло в нашия живот (макар и не колкото в САЩ), даже чак излизащо вече. Сега всички сме големи разбирачи-психолози и можем да кажем на другия какви са му проблемите (само собствените все не оправяме). Но преди век сигурно е било голямо прозрение, че примерно манията за колекциониране на нещо крие някакъв психологически проблем... (да внимаваме, книгосъбирачи!:))

Сякаш най-банално ми беше със съвременната Ани от Холивуд, колкото и популярни да са нейните проблеми и колебания.

Като цяло и трите ми бяха безразлични и по-точно безлични. Свършвах частта за едната и си казвах – хайде поне да разнообразя с другата, но следваше същата плоска скука. Идеше ми за сложа 1 звезда - нещо, което никога не съм правила. Може би си е за типични 2 звезди, но защото харесвам другите книги на Шмит, раздразнението ми сега беше още по-голямо. Друг да беше написал тази боза, ОК, но Ерик…?!

А иначе е ясно, че Шмит е феминистка ;) Няма лошо! И тук е направил опит да се изяви като психолог/психоаналитик, философ, теолог, но не и като добър писател според мен...

Колко е нахално да плюеш Шмит…
Обичкам те, Ерик, все пак… :) Ще видя как са господата от Брюксел…

[Léa · Rating 2 out of 5]

Au départ je n'ai vraiment pas accroché. Je ne supportais pas ces personnages de femmes qui se détestent, s'autodétruisent et n'ont pas la moindre confiance en elles. Et les voir rencontrer des mâles (Ethan pour Anny, le psychanalyste pour Hannah, Braindor pour Anne) qui deviennent leurs mentors et leur apprennent ce qu'est la vie... Au secours. Les stéréotypes, le slut-shaming, la psychanalyse et les personnages simplets et caricaturaux (surtout les personnages secondaires qui manquent vraiment de profondeur), ça m'a achevée.

MAIS j'ai été surprise par la fin ! Finalement ces trois femmes prennent confiance en elle, et deviennent capables de penser et vivre par elles-mêmes. La réflexion sur la religion et la psychanalyse était intéressante.

Par ailleurs, ça reste plutôt bien écrit et je me suis plus ou moins laissée prendre à l'histoire.

Mais ces points positifs n'ont pas suffi pour que j'accroche vraiment.

[Trottino · Rating 2 out of 5]

Trois histoires liées d'une façon artificielle et peu crédible. Philosophie faite maison à la Paulo Coelho. Le livre raconte les vies de trois femmes 'differentes', qui ne s'intègrent pas bien dans leur époque / société. Le lecteur aprend que chacune entre elles tente à explorer son âme: Anne, qui vit en Moyen Âge - en se tournant vers la nature; Hanna, au début du vingtième siécle - en recourrant à la psychoanalyse; Anny - une star d'Hollywood qui vit de nos jours - en se drogguant. Pendant cette exploration elles font des choses étonnantes et sans doute hautement spirituelles, comme se baigner nue sous l'observation d'un loup sauvage ou fréquenter un junkie récemment sorti de la prison.

[Ludmilla · Rating 4 out of 5]

güncellemeye üşeniyorum burayı da, çabucak okuduğum bir kitaptı "bir aynada üç kadın". Schmitt'in diğer kitapları gibi basit ama etkileyici. İyi düşünülmüş ve yazılmış bir üç kadının birbirine geçen öyküsü. Ve Schmitt'in diğer kitapları gibi bana kendimi iyi hissettirdi. 4/5

[Alicia · Rating 3 out of 5]

3,5/5

[Mihaela · Rating 3 out of 5]

3.5*

[Lāsma · Rating 4 out of 5]

Metafizisks daiļdarbs, kas lasās lēni, dažreiz pat ļoti. Trīs dāmu liktenis cauri gadsimtiem savīts vai arī pieņemot pārdzimšanas teoriju vai dvēseļu daļu neatkarīgu esamību, tad tā varētu būt viena un pati Dvēsele, kurai dažādos laiks savs ķermenis , vārds utt.
"Dievišķais, psihiskais, ķīmiskais - tās ir atslēgas , ko dažādi gadsimti bija piedāvājuši, lai atdarītu mistērijas durvis. Anna Hanna, Annija. "(356.)

"Kāpēc tika izgudrots kino? Lai pārliecinātu cilvēkus, ka dzīvei ir stāsta forma. Lai viņiem iestāstītu, ka haotiskajiem notikumiem, kurus mēs piedzīvojam, ir sākums, vidus un beigas. Kino aizstāj reliģijas, tas haosā vieš kārtību, tas absurdā rod saprātu."(176.)
"Dzīvnieki barojas, bet nesāk karus. Dzīvnieki cīnās, bet nemoka viens otru. [...] ala vai ābols viņiem pieder tiktāl, ciktāl viņi to izmanto. Vai esi kādreiz redzējis putnu ar vairākām ligzdām? Vai arī paēdušu lapsu, kas pieskata liemeni, ko tā neēd. Nav neviena bagāta dzīvnieka, neviens no viņiem nesavāc pārpalikumus, bagātības, ko viņi paši neizmanto."(208.)
"LŪgšanas mērķis nav lūgt, bet gan pieņemt."(234.)
"Cilvēks citiem piedēvē tikai tos nodomus, uz kuriem pats ir spējīgs."(320.)

[Wayland Smith · Rating 3 out of 5]

Odd book. This story, in order, rotates between Anne, a woman in 16th century Flanders who has a mystic bent; Hanna, a woman in early 19th century Vienna with problems that lead her to the early days of psychoanalysis; and Anny a modern day movie star who has never met a drug she didn't like and sleeps with just about every man she meets. In the last quarter of the book, the three lives start meshing, with the earliest effecting the other two, etc.

As you can imagine, a woman with non-traditional views doesn't fare well in Flanders of the past. While she's initially taken under the wing of a few local religious figures, her unswerving dedication to her beliefs and the truth don't serve her well with others. She also ends up with some family tragedies that come back to haunt her. Anne has a rough life.

Hanna has trouble coping with her life. She's married to a rich, kind, and generous man, has great social standing... but isn't happy. Her section is entirely made up of letters to Gretchen, her cousin, and details her difficulties, and eventual involvement with the early days of psychoanalysis. Her road to her eventual discoveries of the roots of her problems takes a while, and her eventual fate is sadly emblematic of the times.

Anny is an up and coming movie star who can't handle her life. She takes massive amounts of drugs and alcohol. She sleeps with a lot of men without really enjoying it. And she doesn't have much, if anything, by way of a support system. Will she figure herself out before she manages to go the way of Marilyn Monroe or Janis Joplin?

The lives don't start sort of coming together until over 300 pages in. It's an interesting take on different women trying to deal with their lives in different times. Well written, well fleshed out.

[Lasuggeritrice · Rating 5 out of 5]

È il terzo libro di Schmitt che leggo ed è la terza volta che do cinque stelle senza esitazione… temo proprio di essermi innamorata di questo scrittore! Mi colpisce ogni volta la sua profondità senza mai essere pesante, la sua intelligenza, la sua capacità di toccare corde dentro di me con storie così diverse tra loro da lasciarmi stupefatta.
In questo libro i destini di tre donne, di tre epoche diverse, vengono a intrecciarsi sulla base di una diversità che sentono dentro, una diversità che trascende il tempo o che le lega proprio al di là del tempo. Anne, la vergine di Bruges, pura e innocente e così tesa verso il divino dentro e fuori di sé da non avere parole per descriverlo. Hanna, sposata con un nobile di Vienna, che da ingenua moglie che ha tutto, rinuncerà a quel tutto per trovare se stessa. Anny, attrice hollywoodiana con un talento naturale che vive la vita senza riflettere, senza conoscersi, senza vivere pienamente, una donna che crescerà e imparerà cosa vuol dire la vita, ma soprattutto cosa vuole lei dalla propria vita, al di là del successo facile e delle facili insidiose promesse. Tutte e tre rinunceranno a qualcosa di prezioso agli occhi degli altri per scoprire ciò che è prezioso per se stesse, ciò che da senso alla loro peculiare, irrinunciabile, vita. Contro ogni credenza della propria epoca.
Davvero bello, coinvolgente e autentico nelle emozioni che trasmette e che ti trascinano pagina dopo pagina.

[Roberta · Rating 4 out of 5]

Mi ero fatta l'idea che Éric-Emmanuel Schmitt fosse bravo con le storie brevi, i racconti, le novelle. Quando ho visto le quasi 400 pagine di questo romanzo ho storto un po' il naso. I libri letti precedentemente li ho finiti in un pomeriggio, al massimo in due sessioni di lettura se qualche seccatura arrivava ad interrompermi, ma il livello di attenzione e coinvolgimento è sempre stato tale da obbligarmi ad arrivare in fondo al testo alla svelta. E se non avessi ritrovato la stessa sensazione, la stessa urgenza, lo stesso coinvolgimento?

Il dubbio è sparito alla fine del primo capitolo, quando ho capito la struttura della storia e intuito la connessione tra le tre donne. Le 3 Anna (cambia solo la grafia del nome), pur vivendo in epoche totalmente diverse, finiscono con l'incontrarsi e compenetrarsi. I capitoli si alternano ordinatamente: un episodio della vita di Anne, ragazzina nella Bruges del XVI secolo; uno di Hanna, aristocratica austriaca che convive con Freud e la nascita della psicanalisi; uno di Anny, attricetta americana alla Lindsey Lohan, tanto dotata quanto drogata.
Nessuna di loro è felice, all'inizio. Ciascuna di loro incontrerà un qualcuno o un qualcosa che migliorerà la loro esistenza per un po', ma che alla lunga sarà lo sprone al cambiamento. Solo Anny ne uscirà viva.

E' il primo libro del 2013 che merita 5 stelle, e le merita tutte

[Maja · Rating 4 out of 5]

Le clair miroir où je pourrais te voir,
Ce miroir-là n'est ni de verre ni d'eau.
Au fond de moi je sais le percevoir,
En mon âme nue, par-delà de la peau,
Sans obstacles, bien loin des mots trompeurs,
Je me glisse et me fonds entre tes bras.
Je m'allonge à l'ombre de ton éclat:
C'est toi autant que moi, car c'est mon coeur.

Les trois protagonistes de ce livre - Anne, Hanna, et Anny - sont liés par le fait qu'elles se sentent différentes des autres femmes de leur époque, qu'elles ressentent des choses que les autres ignorent, et qu'elles y souffrent. En lisant ce roman, non seulement on apprend leur histoires (chacune est très intéressante, celle d'Hanna m'a plu le plus, mais peut-être cela est dû au fait qu'elle est raconté par la correspondence d'Hanna avec une amie et j'adore des romans aux lettres), on comprend aussi de plus en plus les point communs de ces trois femmes exceptionelles. J'aurais aimé si l'auteur laissé le lecteur tirer ses propres conclusions à la place d'expliquer leur relation à la fin, mais cela ne m'a pas beaucoup derangé.