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Knyga apie karalius ir žmones
Brolių Jono ir Adolfo Mekų pasakų rinkinys „Knyga apie karalius ir žmones" parašytas ir pirmą kartą išleistas dar 1947-aisiais. Šiuo metu Lietuvoje originalios laidos egzempliorių yra išlikę vos kelios dešimtys – knyga tapusi bibliografine retenybe.
Šį kartą pasakos išleistos taip, kaip 1947 metais buvo sumanyta pačių autorių – su Leono Adamkevičiaus-Lėto originaliomis iliustracijomis, kurių pokariu dėl sunkių materialinių sąlygų publikuoti nebuvo galimybių. Vėliau iliustracijų originalai buvo pamesti ir tik praėjusiais metais Niujorke pavyko rasti šių iliustracijų originalus, kurie dabar panaudoti leidžiant pasakų rinkinį.
„Knyga apie karalius ir žmones" ir prieš daugiau nei pusę amžiaus, ir dabar stebina drąsa savitai interpretuoti folklorinės pasakos tradiciją, atsiveriant Vakarų literatūroje jau kelis šimtus metų gyvuojančio literatūrinės pasakos žanro patirtims. Brolių Mekų pasakos iš tuometinių ir dabartinių lietuvių literatūrinių pasakų labiausiai išsiskiria netikėta veikėjų charakterių traktuote ir minimalistine forma, todėl yra skirtos ne tik vaikams, o visai plačiajai visuomenei.
Šį kartą pasakos išleistos taip, kaip 1947 metais buvo sumanyta pačių autorių – su Leono Adamkevičiaus-Lėto originaliomis iliustracijomis, kurių pokariu dėl sunkių materialinių sąlygų publikuoti nebuvo galimybių. Vėliau iliustracijų originalai buvo pamesti ir tik praėjusiais metais Niujorke pavyko rasti šių iliustracijų originalus, kurie dabar panaudoti leidžiant pasakų rinkinį.
„Knyga apie karalius ir žmones" ir prieš daugiau nei pusę amžiaus, ir dabar stebina drąsa savitai interpretuoti folklorinės pasakos tradiciją, atsiveriant Vakarų literatūroje jau kelis šimtus metų gyvuojančio literatūrinės pasakos žanro patirtims. Brolių Mekų pasakos iš tuometinių ir dabartinių lietuvių literatūrinių pasakų labiausiai išsiskiria netikėta veikėjų charakterių traktuote ir minimalistine forma, todėl yra skirtos ne tik vaikams, o visai plačiajai visuomenei.
64 pages, Paperback
First published January 1, 2015
About the author
Jonas Mekas
116 books199 followersJonas Mekas is a Lithuanian-American filmmaker, poet and artist who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals world-wide.
In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas (1925–2011), were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946 to 1948, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. Two weeks after his arrival, he borrowed the money to buy his first Bolex 16mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel’s pioneering Cinema 16, and he began curating avant-garde film screenings at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street.
In 1954, together with his brother Adolfas Mekas, he founded Film Culture, and in 1958, began writing his “Movie Journal” column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative and the Filmmakers' Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde film. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was a close collaborator with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas.
In 1964, Mekas was arrested on obscenity charges for showing Flaming Creatures (1963) and Jean Genet’s Un Chant d’Amour (1950). He launched a campaign against the censorship board, and for the next few years continued to exhibit films at the Film-makers’ Cinemathèque, the Jewish Museum, and the Gallery of Modern Art. From 1964 to 1967, he organized the New American Cinema Expositions, which toured Europe and South America and in 1966 joined 80 Wooster Fluxhouse Coop.
In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, began the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works.
As a film-maker, Mekas' own output ranges from his early narrative film (Guns of the Trees, 1961) to “diary films” such as Walden (1969); Lost, Lost, Lost (1975); Reminiscences of a Journey to Lithuania (1972), Zefiro Torna (1992), and As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, which have been screened extensively at festivals and museums around the world.
Mekas expanded the scope of his practice with his later works of multi-monitor installations, sound immersion pieces and "frozen-film" prints. Together they offer a new experience of his classic films and a novel presentation of his more recent video work. His work has been exhibited at the 51st Venice Biennial, PS1 Contemporary Art Center, the Ludwig Museum, the Serpentine Gallery, and the Jonas Mekas Visual Arts Center.
In the year 2007, Mekas released one film every day on his website, a project he entitled "The 365 Day Project."[2] Since the 1970s, he has taught film courses at the New School for Social Research, MIT, Cooper Union, and New York University.
Mekas is also a well-known Lithuanian language poet and has published his poems and prose in Lithuanian, French, German, and English. He has published many of his journals and diaries including "I Had Nowhere to Go: Diaries, 1944–1954," and "Letters from Nowhere,
In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas (1925–2011), were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946 to 1948, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. Two weeks after his arrival, he borrowed the money to buy his first Bolex 16mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel’s pioneering Cinema 16, and he began curating avant-garde film screenings at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street.
In 1954, together with his brother Adolfas Mekas, he founded Film Culture, and in 1958, began writing his “Movie Journal” column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative and the Filmmakers' Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde film. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was a close collaborator with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas.
In 1964, Mekas was arrested on obscenity charges for showing Flaming Creatures (1963) and Jean Genet’s Un Chant d’Amour (1950). He launched a campaign against the censorship board, and for the next few years continued to exhibit films at the Film-makers’ Cinemathèque, the Jewish Museum, and the Gallery of Modern Art. From 1964 to 1967, he organized the New American Cinema Expositions, which toured Europe and South America and in 1966 joined 80 Wooster Fluxhouse Coop.
In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, began the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works.
As a film-maker, Mekas' own output ranges from his early narrative film (Guns of the Trees, 1961) to “diary films” such as Walden (1969); Lost, Lost, Lost (1975); Reminiscences of a Journey to Lithuania (1972), Zefiro Torna (1992), and As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, which have been screened extensively at festivals and museums around the world.
Mekas expanded the scope of his practice with his later works of multi-monitor installations, sound immersion pieces and "frozen-film" prints. Together they offer a new experience of his classic films and a novel presentation of his more recent video work. His work has been exhibited at the 51st Venice Biennial, PS1 Contemporary Art Center, the Ludwig Museum, the Serpentine Gallery, and the Jonas Mekas Visual Arts Center.
In the year 2007, Mekas released one film every day on his website, a project he entitled "The 365 Day Project."[2] Since the 1970s, he has taught film courses at the New School for Social Research, MIT, Cooper Union, and New York University.
Mekas is also a well-known Lithuanian language poet and has published his poems and prose in Lithuanian, French, German, and English. He has published many of his journals and diaries including "I Had Nowhere to Go: Diaries, 1944–1954," and "Letters from Nowhere,
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Community Reviews
Displaying 1 - 6 of 6 reviews
April 3, 2019
Minimalizmas, šviesuma, visiškai ne tai, ko tikėčiausi iš 1947 m. kūrusio lietuvio. Labai tyra
May 14, 2022
Kaip ir vaikystėje, šiame rinkinyje labiausiai sužavėjo pasakos apie durnius. Bet dauguma buvo ne apie juos, o apie aukštas materijas, kas jau nelabai. Kai proza pernelyg poetiška, mane ji dažniausiai erzina. Vis dėlto, sakyčiau, skaityti verta. Ne tik dėl durnių, bet dar ir dėl malonios melancholiškos nuotaikos.
August 30, 2020
Kadangi knygelė trumpa, tai toks ir atsiliepimas: mekiškai taiklus žvilgsnis į pasaulį, įtraukiantis emocijų ir patirčių gylis perteiktas foklorišku stiliumi ir nuostabia "pasakiška" kalba.
Read
January 23, 2021Meku pasaku suaugusiems 2asis leidimas.
+ PRIVALUMAI
+ pasakos suaugusiu savi-reflekcijai
+ patarimai suaugusiems "MORALAS: kam dirbti kartais"
+ istoriskai "drasus" & modernus rinkinys
+ problematika aktuali ir siandien, netgi koronos atveju (ref.:Žmogus kuris buvo karalium gimęs)
SUMMA SUMMARUM
Žmogui, kuriam idomi modernistu Meku kuryba.
CITATOS
"Abu sypsosi, abu svelniai, abu i akis. Tai nature morte, mano piestas, pacia sirdimi."
+ PRIVALUMAI
+ pasakos suaugusiu savi-reflekcijai
+ patarimai suaugusiems "MORALAS: kam dirbti kartais"
+ istoriskai "drasus" & modernus rinkinys
+ problematika aktuali ir siandien, netgi koronos atveju (ref.:Žmogus kuris buvo karalium gimęs)
SUMMA SUMMARUM
Žmogui, kuriam idomi modernistu Meku kuryba.
CITATOS
"Abu sypsosi, abu svelniai, abu i akis. Tai nature morte, mano piestas, pacia sirdimi."
November 3, 2026
Jonas Mekas has a real gift for the awkward silence in Knyga apie karalius ir žmones, those moments when nobody says what they mean and everybody knows it. That's where the book shines. The pacing stumbles whenever the plot has to do actual work. Great for people who love subtext, rough for readers who crave action.
November 19, 2020
Nuostabu
Displaying 1 - 6 of 6 reviews