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Spøgelser, overalt
Judith Hermanns anden novellesamling, "Spøgelser, overalt", handler om de relationer mennesker skaber med hinanden og om de uafsluttede opgør, der kan opsluge et liv.
Hver novelle følger en kvinde i trediverne, et storbyemenneske der prøver at finde noget at holde fast i, i en kompleks og forvirrende verden. Novellerne foregår i forskellige europæiske lande, men titelnovellen finder sted i USA. Spøgelserne, som titlen hentyder til, skal ikke nødvendigvis tages bogstaveligt, i stedet for fokuserer Hermann på fortidens spøgelser, der på deres egen måde kan hjemsøge en.
"Spøgelser, overalt" er den tyske forfatters anden bog.
Hver novelle følger en kvinde i trediverne, et storbyemenneske der prøver at finde noget at holde fast i, i en kompleks og forvirrende verden. Novellerne foregår i forskellige europæiske lande, men titelnovellen finder sted i USA. Spøgelserne, som titlen hentyder til, skal ikke nødvendigvis tages bogstaveligt, i stedet for fokuserer Hermann på fortidens spøgelser, der på deres egen måde kan hjemsøge en.
"Spøgelser, overalt" er den tyske forfatters anden bog.
336 pages, Hardcover
First published January 31, 2003
41 people are currently reading
583 people want to read
About the author
Judith Hermann
26 books310 followersJudith Hermann is a German author.
She holds a Masters degree in German and Philosophy and attended the Berliner Journalistenschule, a highly selective professional academy for journalists. During this training she did an internship with the German language newspaper Aufbau in New York.
She holds a Masters degree in German and Philosophy and attended the Berliner Journalistenschule, a highly selective professional academy for journalists. During this training she did an internship with the German language newspaper Aufbau in New York.
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Displaying 1 - 30 of 94 reviews
January 27, 2008
خیلی خوب بود. در حدی که 4 داستان از 5 داستان کتاب را، در این اوضاع و احوال بیحالی، بتوانم یک روزه بخوانم. مضمونی که پررنگتر از همهچیز در کارهای هرمان دیده میشود تنهایی است. آدمهای داستانهایش یکی از دیگری تنهاترند. غریبتر. درکناشدهتر. قشنگیاش اینجاست که تنهایی هر کدام از آدمها شبیه خودش و از جنس خودش است فقط و نه دیگری. درست مثل زندگیهای خودمان. مثل تنهاییهای خودمان
October 15, 2015
اگر نبود دو تا از داستان ها واقعا حس می کردم یه کتاب تقریبا الکی خوندم - کلا شش داستان داره
داستان "پایان چیزی" کوبنده بود و گویا - تم های محبوب من درش هست: مرگ، پیری، تنهایی، گسست، بی معنایی، هراس و ... آن هم به گونه ای شفاف و بدون فلسفه بافی و گنده گویی. داستان "مرجان های سرخ" هم جالب بود. برای من خوندن و نخوندن بقیشون یکی بود
حاشیه ی اول: اختلاف نظرات در مورد داستان های این کتاب چنانکه در ریویوها میشه دید جالبه
حاشیه ی دوم: آخه چرا این همه ادیشن برای ترجمه ی این کتاب ساخته شده؟
August 11, 2018
مجموعه ای متشکل از داستان های دو کتاب اول نویسنده.
بی راحتی می توان ردپای کتاب بعدی نویسنده، "آلیس" را که به لحاظ تکنیکی و داستانی پخته تر از این کتاب است، را در این داستان ها دید؛ همان درماندگی ها، حسرت ها، ترس های از تنهایی. با این تفاوت که انگار خودِ راوی ها و شخصیت های اصلی زنِ این داستان ها، در کتاب بعدی همراه با نویسنده شان رشد کرده، بالغ تر و پخته تر شده و دیگر به حسرت ها و فرصت های از دست رفته شان عادت کرده اند.
درباره ترجمه بایستی گفت که نثر سرد و سخت و در عین حال شاعرانه را که می گویند که نثر هرمان هست، به خوبی منتقل کرده است. اما کاش کمی جملات را بیش تر چکش کاری کرده بود تا لحن ترجمه ای شان توی ذوق نمی زد.
اما چه چیزی داستان های یودیت هرمان را از داستان های مشابه وطنی متمایز می کند؟
به نظر من رمز تمایز او را بایستی در موارد زیر جست: جزئیات و اشیاء ریزی که در جای جای روایت می آیند، سکوت های متعدد شخصیت ها و راوی ها که نه تنها ناشی از بی حرفی راوی/نویسنده نیستند، بلکه بایستی آن ها را به دقت خوانش کرد.
همچنین روایت سرد و بی روح وی به فضاسازی و لحن داستان کمک شایانی کرده است.
بی راحتی می توان ردپای کتاب بعدی نویسنده، "آلیس" را که به لحاظ تکنیکی و داستانی پخته تر از این کتاب است، را در این داستان ها دید؛ همان درماندگی ها، حسرت ها، ترس های از تنهایی. با این تفاوت که انگار خودِ راوی ها و شخصیت های اصلی زنِ این داستان ها، در کتاب بعدی همراه با نویسنده شان رشد کرده، بالغ تر و پخته تر شده و دیگر به حسرت ها و فرصت های از دست رفته شان عادت کرده اند.
درباره ترجمه بایستی گفت که نثر سرد و سخت و در عین حال شاعرانه را که می گویند که نثر هرمان هست، به خوبی منتقل کرده است. اما کاش کمی جملات را بیش تر چکش کاری کرده بود تا لحن ترجمه ای شان توی ذوق نمی زد.
اما چه چیزی داستان های یودیت هرمان را از داستان های مشابه وطنی متمایز می کند؟
به نظر من رمز تمایز او را بایستی در موارد زیر جست: جزئیات و اشیاء ریزی که در جای جای روایت می آیند، سکوت های متعدد شخصیت ها و راوی ها که نه تنها ناشی از بی حرفی راوی/نویسنده نیستند، بلکه بایستی آن ها را به دقت خوانش کرد.
همچنین روایت سرد و بی روح وی به فضاسازی و لحن داستان کمک شایانی کرده است.
July 12, 2022
4.5
Ijzersterke verhalenbundel!
Vol psychologische diepgang, snel verteltempo, intermenselijk boeiend, modern en tijdloos. Vind het ook bijzonder hoe vroeg je in elk verhaal al iemand echt leert kennen -vaak door (als schrijver of personage) te focussen op vreemde details en boeiende zijpaadjes.
Het verloor een halve ster omdat het titelverhaal me wat minder boeide en omdat ik na een tijd merkte dat Hermann haar gerechten net iets te vaak met dezelfde ingrediënten bereidt.
Maar het staat buiten kijf dat ik ook Alice, Zomerhuis later en Lettipark van haar ga lezen
Ijzersterke verhalenbundel!
Vol psychologische diepgang, snel verteltempo, intermenselijk boeiend, modern en tijdloos. Vind het ook bijzonder hoe vroeg je in elk verhaal al iemand echt leert kennen -vaak door (als schrijver of personage) te focussen op vreemde details en boeiende zijpaadjes.
Het verloor een halve ster omdat het titelverhaal me wat minder boeide en omdat ik na een tijd merkte dat Hermann haar gerechten net iets te vaak met dezelfde ingrediënten bereidt.
Maar het staat buiten kijf dat ik ook Alice, Zomerhuis later en Lettipark van haar ga lezen
March 10, 2015
پنج داستان کوتاه منتخب از دو کتاب یودیت هرمان. داستانها قشنگن مخصوصا داستان مرجانهای سرخ ولی ترجمه یکم اذیت میکنه خواننده رو.
March 26, 2019
داستان ها به شدت وحشتناک و بس واقعی بودند که عمیقاباعث ناراحتی ادم می شوند راستش واقعا خوشم نیومد
December 29, 2023
Judith Hermann ile ikinci karşılaşmamız daha önce Yaz Evi Daha Sonra kitabını okumuştum son çevrilen kitabı Sadece Hayaletler,Ötesi Yok içinde farklı insan tahlillerinin yer aldığı,farklı durum izleklerini göz önüne seren bir kitap.
İlknur Ozdemir çevirisi ile dilimize kazandırılan kitap içinde yer alan iki öyküsü hariç benim çok hafızama kazınan bir eser olmadı ne yazık ki okuyacaklar için çok büyük bir beklenti ile başlamayın derim yazarın okumadığım bir tek Yuva kitabı kaldı bakalım o nasıl bir okuma olacak?
Unsere zweite Begegnung mit Judith Hermann, ich hatte zuvor das Buch Sommerhaus gelesen Später, das letzte übersetzte Buch Nur Geister, kein Jenseits ist ein Buch, das verschiedene menschliche Analysen und verschiedene Situationsthemen offenbart.
Leider war es, abgesehen von den beiden Geschichten in dem Buch, das mit der Übersetzung von İlknur Özdemir in unsere Sprache übertragen wurde, kein Werk, das mir sehr im Gedächtnis geblieben ist, leider würde ich sagen, dass man nicht mit einer sehr großen Erwartung für diejenigen, die es lesen werden, beginnen sollte.
İlknur Ozdemir çevirisi ile dilimize kazandırılan kitap içinde yer alan iki öyküsü hariç benim çok hafızama kazınan bir eser olmadı ne yazık ki okuyacaklar için çok büyük bir beklenti ile başlamayın derim yazarın okumadığım bir tek Yuva kitabı kaldı bakalım o nasıl bir okuma olacak?
Unsere zweite Begegnung mit Judith Hermann, ich hatte zuvor das Buch Sommerhaus gelesen Später, das letzte übersetzte Buch Nur Geister, kein Jenseits ist ein Buch, das verschiedene menschliche Analysen und verschiedene Situationsthemen offenbart.
Leider war es, abgesehen von den beiden Geschichten in dem Buch, das mit der Übersetzung von İlknur Özdemir in unsere Sprache übertragen wurde, kein Werk, das mir sehr im Gedächtnis geblieben ist, leider würde ich sagen, dass man nicht mit einer sehr großen Erwartung für diejenigen, die es lesen werden, beginnen sollte.
February 3, 2014
به طور کلی من داستان کوتاه دوست ندارم و به طور جزیی زیاد هم با ادبیات آلمانی ارتباط برقرار نمی کنم مگر در موارد خاص. این کتاب هم همین طور بود برای من. چون هر دو گزینه در موردش صدق می کرد. منتها اون داستان ((این سوی رودخانه ادر))رو دوست داشتم. به نظرم بن مایه تبدیل شدن به یه داستان بلند خوب رو داشت.با شخصیت اول قصه همذات پنداری داشتم و تقریبن تنها شخصیت قابل لمس و زنده برای من بین تمام شخصیت های کتاب بود.
March 3, 2015
Judith Hermann halt – immer gleich, immer schön, immer traurig, immer traumhaft, realitätsfern, sehnsüchtig, herzzerreißend, unerfüllbar, flüssig-bildschön beschrieben, wenn auch oft von der unveränderten Perspektive der jungen, unglücklichen oder unbestimmt glücklichen, nachdenklichen Frau auf der Suche nach etwas, was irgendeine Lücke im Leben füllen soll.
Besonders hat mir die Erzählung "Karlovy Vary" gefallen, weil sie persönlich für mich Fragen aufwirft und weil man sich diese Situation vorstellen muss, die eigentlich undenkbar ist. Das mag ich an Hermann - sie erzählt vom Undenkbaren, vom Denkbaren, das kaum Form und Ausdruck findet und deshalb vergeht, banal und unbemerkt, wie eine Ahnung von einer anderen Welt, die mehr ist, und wie das Gefühl, sie schon mal, irgendwann, gesehen zu haben.
Besonders hat mir die Erzählung "Karlovy Vary" gefallen, weil sie persönlich für mich Fragen aufwirft und weil man sich diese Situation vorstellen muss, die eigentlich undenkbar ist. Das mag ich an Hermann - sie erzählt vom Undenkbaren, vom Denkbaren, das kaum Form und Ausdruck findet und deshalb vergeht, banal und unbemerkt, wie eine Ahnung von einer anderen Welt, die mehr ist, und wie das Gefühl, sie schon mal, irgendwann, gesehen zu haben.
August 27, 2023
Повторне знайомство з цією книгою відчувалося наче зустріч з старим хорошим другом, з яким не бачилися півжиття. Коли я читала її в років 13, я майже нічого не розуміла, але вловила цей глибоко меланхолійний настрій.
Перечитую цю книгу в свої 29 вже з певним вантажем життєвого досвіду і розумію, що ця книжка на мене вплинула свого часу більше, ніж я гадала.
Це історії з роздумами про стосунки, самоідентифікацію, подорожі без особливого сюжету. Попалась мені що тоді, що зараз, дуже вчасно, і я дуже радію, що віднайшла цю збірку для себе.
Я б точно не радила її для широкої аудиторії. Якщо любите порозмислювати над речима значно більше, ніж варто б - гадаю, вам мало б сподобатись.
Перечитую цю книгу в свої 29 вже з певним вантажем життєвого досвіду і розумію, що ця книжка на мене вплинула свого часу більше, ніж я гадала.
Це історії з роздумами про стосунки, самоідентифікацію, подорожі без особливого сюжету. Попалась мені що тоді, що зараз, дуже вчасно, і я дуже радію, що віднайшла цю збірку для себе.
Я б точно не радила її для широкої аудиторії. Якщо любите порозмислювати над речима значно більше, ніж варто б - гадаю, вам мало б сподобатись.
January 19, 2025
Bugün bu yazarı çok sevdiğimden, haşin şeyler yazdığında bile kaleminin beni yormadığından bu nedenle kendisini okurken konfor alanındaymışım gibi hissettirdiğinden bahsettim. Neden sonra okuduğum kitaplarına bakıyordum ve bunun dışında yalnızca bir kitabını bitirdiğimi fark ettim. Ama nasıl olur? Bunca his, hakkında edilmiş sözler?
Meğerse bu kitabı dahil- yani çevirisi gelmeden evvel ara ara açıp okuyormuşum öykülerini. Ki benim gibi öykü sevmeyen bir okuru dize getirmesi de sevdaya dahil bence.
Öyle güçlü ki sesi: İnsanlar, ilişkiler, hayata dair gözlemleri ve sunduğu perspektif her seferinde farklı bi' yerinden yakalıyor beni.
Hikayeyi serikanlılıkla aktarıyor ama her nasılsa sen onu samimiyetle sarıp sarmalıyorsun. Sanırım bu anlamda bu kitabı ve kendisi tam olarak gereğinden fazla düşünmeyi seven kimselere hitap ediyor.
Yine melankoliyle harmanlanmış sessiz sakin bi' kitap bu Hayaletler, Ötesi Yok. Çoğunlukla uzun boşluklar, rahatsız edici bi' anlam arayışı, bi' uğultu hissedecek muhtemelen birkaç öykü dışında kitabı öyle çok da beğenmeyeceksiniz ama zihninizin bi' köşesinde öylece duracaklar işte.
İlk öykünün bi' de filmi var ama arşivleri bi' alt üst etmek lazım İngilizce altyazısı erişilebilir mi diye, neyse.
Meğerse bu kitabı dahil- yani çevirisi gelmeden evvel ara ara açıp okuyormuşum öykülerini. Ki benim gibi öykü sevmeyen bir okuru dize getirmesi de sevdaya dahil bence.
Öyle güçlü ki sesi: İnsanlar, ilişkiler, hayata dair gözlemleri ve sunduğu perspektif her seferinde farklı bi' yerinden yakalıyor beni.
Hikayeyi serikanlılıkla aktarıyor ama her nasılsa sen onu samimiyetle sarıp sarmalıyorsun. Sanırım bu anlamda bu kitabı ve kendisi tam olarak gereğinden fazla düşünmeyi seven kimselere hitap ediyor.
Yine melankoliyle harmanlanmış sessiz sakin bi' kitap bu Hayaletler, Ötesi Yok. Çoğunlukla uzun boşluklar, rahatsız edici bi' anlam arayışı, bi' uğultu hissedecek muhtemelen birkaç öykü dışında kitabı öyle çok da beğenmeyeceksiniz ama zihninizin bi' köşesinde öylece duracaklar işte.
İlk öykünün bi' de filmi var ama arşivleri bi' alt üst etmek lazım İngilizce altyazısı erişilebilir mi diye, neyse.
May 11, 2023
1.5 Sterne
Verglichen mit ihrem Erstling "Sommerhaus, später" bietet Judith Hermann hier nichts Neues. Stets wiederholen sich ihre Themen und Erzählperspektiven.
In jeder Kurzgeschichte gibt es eine traurige, sich verloren fühlende junge Frau Mitte-Ende 20, Typ ewige Studentin, die in Berlin lebt und von Skandinavien träumt. Finanziell und sozial emanzipiert, modern, klug und gebildet, befindet sie sich auf der vollen Höhe des Zeitgeists. Andererseits leidet sie sehr an ihrer eigenen Ratlosigkeit und sehnt sich nach besseren Inhalten, besseren Beziehungen, kurz nach einem besseren Leben. Statt selbstbestimmt Entscheidungen zu treffen wird lieber die nächste Zigarette angezündet und melancholisch in die Ferne geblickt. Selbst in der Fremde, auf Reisen, gibt es keine neuen Erkenntnisse außerhalb des eigenen Solipsismus. Sinnhaftigkeit als Fata Morgana.
Judith Hermanns Ton ist immer ängstlich-melancholisch, ihre Geschichten erzählen ausschließlich von Einsamkeit, von innerer Leere, Unentschiedenheit, von instabilen Beziehungen und schalen Freundschaften. Keine ihrer Figuren schafft es, sich aus diesem Mittelmaß zu lösen. Niemand wirkt erwachsen; die Männer taugen nicht, die Frauen halten sentimental an ihnen fest. Hermann bringt dies klarsichtig auf den Punkt - hier gibt es nichts als Gespenster. Das macht ihre Prosa ebenso realistisch wie verdrießlich.
Hermanns Kernaussage ist das Leiden an der eigenen überprivilegierten Bedeutungslosigkeit. Aufgrund der beharrlichen Monotonie wirkt der dargestellte wortreiche Weltschmerz allerdings höchst banal.
Auch wunderte ich mich immer wieder über die Schlichtheit des Stils. Dennoch gilt die Autorin als eine der wichtigsten Schriftstellerinnen ihrer Generation. Die übliche Lobhudelei auf dem Buchumschlag enthält unter anderem ein Zitat von Marcel Reich-Ranicki (!): "... gehört zum Wichtigsten, was die deutsche Literatur unserer Jahre zu bieten hat."
Wie bedauerlich, dass gerade dieses Werk als Querschnitt der deutschen Gegenwartsliteratur gehandelt wird.
Verglichen mit ihrem Erstling "Sommerhaus, später" bietet Judith Hermann hier nichts Neues. Stets wiederholen sich ihre Themen und Erzählperspektiven.
In jeder Kurzgeschichte gibt es eine traurige, sich verloren fühlende junge Frau Mitte-Ende 20, Typ ewige Studentin, die in Berlin lebt und von Skandinavien träumt. Finanziell und sozial emanzipiert, modern, klug und gebildet, befindet sie sich auf der vollen Höhe des Zeitgeists. Andererseits leidet sie sehr an ihrer eigenen Ratlosigkeit und sehnt sich nach besseren Inhalten, besseren Beziehungen, kurz nach einem besseren Leben. Statt selbstbestimmt Entscheidungen zu treffen wird lieber die nächste Zigarette angezündet und melancholisch in die Ferne geblickt. Selbst in der Fremde, auf Reisen, gibt es keine neuen Erkenntnisse außerhalb des eigenen Solipsismus. Sinnhaftigkeit als Fata Morgana.
Judith Hermanns Ton ist immer ängstlich-melancholisch, ihre Geschichten erzählen ausschließlich von Einsamkeit, von innerer Leere, Unentschiedenheit, von instabilen Beziehungen und schalen Freundschaften. Keine ihrer Figuren schafft es, sich aus diesem Mittelmaß zu lösen. Niemand wirkt erwachsen; die Männer taugen nicht, die Frauen halten sentimental an ihnen fest. Hermann bringt dies klarsichtig auf den Punkt - hier gibt es nichts als Gespenster. Das macht ihre Prosa ebenso realistisch wie verdrießlich.
Hermanns Kernaussage ist das Leiden an der eigenen überprivilegierten Bedeutungslosigkeit. Aufgrund der beharrlichen Monotonie wirkt der dargestellte wortreiche Weltschmerz allerdings höchst banal.
Auch wunderte ich mich immer wieder über die Schlichtheit des Stils. Dennoch gilt die Autorin als eine der wichtigsten Schriftstellerinnen ihrer Generation. Die übliche Lobhudelei auf dem Buchumschlag enthält unter anderem ein Zitat von Marcel Reich-Ranicki (!): "... gehört zum Wichtigsten, was die deutsche Literatur unserer Jahre zu bieten hat."
Wie bedauerlich, dass gerade dieses Werk als Querschnitt der deutschen Gegenwartsliteratur gehandelt wird.
April 8, 2017
این مجموعه داستان بغیر از داستان آخر که پایان چیزی کلا معمولی بود
December 2, 2024
I read Judith Hermann's first short story collection 'Summerhouse, Later' a long time back and loved it. So I thought I'll read her second collection 'Nothing But Ghosts' now.
This book has seven stories. Each of them is around 40 pages long. So they are not really short stories but long stories. Most of the stories are a square (or a rectangle, if you like that shape more). That is, there is a woman and a man, who are friends, or sometimes lovers or partners, or sometimes their relationship is undefined. They meet another woman and a man. And what happens between these four people, the conversations they have and the ballet they dance is the story. Sometimes there are more people. Sometimes there are less.
My favourite story in the collection was the first one, 'Ruth (Girlfriends)'. It was a triangle, that is there were three main characters in it. It is the story of two women who are close friends, and then one of them betrays the other. It is heartbreaking. It made me think of the Ivan Turgenev stories I used to read when I was young – after reading them, I used to shut myself in my room and cry. They had a similar plot – about how a man betrays his beloved. Instead of a man, in Judith Hermann's story it is a woman. I always wondered why people betray their closest friend, what is the point in that. It always breaks my heart when I read a story like that.
I felt that compared to Hermann's first collection 'Summerhouse, Later', this one was a bit underwhelming. But that first story, I loved that. Eventhough it was about betrayal.
Some of my favourite parts from the book.
From 'Cold-Blue'
"Magnus refuses to be annoyed. That’s the nice thing about him, the thing that Jonina really loves. It is hard to upset him, to upset his equanimity, you can’t rattle him; he rarely imputes anything bad to people. He is polite, decent and serious; he knows how to listen; if you ask him a question, he answers it; if you ask him something in the morning at breakfast, he will answer too. He would never say, ‘I’m tired, I don’t want to talk right now; I’d rather read.’ And of course this tempts her, too. There is something stubborn, something stoic and inflexible about him; his politeness is an armour that’s almost impossible to pierce."
From 'Acqua Alta'
"Actually I find travelling difficult. For no reason I get anxious two or three days before the start of a trip; it all seems senseless to me, the distance, the foreign places, the continents no different from what I can see from my window at home. Four weeks in a strange country. What’s the point, I think, what could possibly be different there, what good will it do me – in an absurd way, I feel as though I’ve already seen it all. It’s impossible for me to feel secure and carefree in strange cities; there’s nothing I’d like more than to stay in my hotel room, lock the door, and not go out at all. Of course I don’t stay in my hotel room; I do go out. Still the feeling of anxiety rarely leaves me."
From 'Nothing But Ghosts'
He : "If you don’t have a child, then you don’t know, for instance, what it’s like to buy him a pair of little blue Nike sneakers."
She : "What’s it like?"
He : "Well, it’s like this – it’s hard to describe, but it’s nice. These sneakers are so small and tiny and perfect, a perfect copy of a real sneaker. You buy these tiny sneakers, blue and yellow with sturdy laces and cushioned soles in a perfect little shoe box, and you take them home to your kid and put them on for him, and he runs off in them. He simply runs off in them. That’s all."
Have you read 'Nothing But Ghosts' or 'Summerhouse, Later'? What to you think about Judith Hermann's stories?
This book has seven stories. Each of them is around 40 pages long. So they are not really short stories but long stories. Most of the stories are a square (or a rectangle, if you like that shape more). That is, there is a woman and a man, who are friends, or sometimes lovers or partners, or sometimes their relationship is undefined. They meet another woman and a man. And what happens between these four people, the conversations they have and the ballet they dance is the story. Sometimes there are more people. Sometimes there are less.
My favourite story in the collection was the first one, 'Ruth (Girlfriends)'. It was a triangle, that is there were three main characters in it. It is the story of two women who are close friends, and then one of them betrays the other. It is heartbreaking. It made me think of the Ivan Turgenev stories I used to read when I was young – after reading them, I used to shut myself in my room and cry. They had a similar plot – about how a man betrays his beloved. Instead of a man, in Judith Hermann's story it is a woman. I always wondered why people betray their closest friend, what is the point in that. It always breaks my heart when I read a story like that.
I felt that compared to Hermann's first collection 'Summerhouse, Later', this one was a bit underwhelming. But that first story, I loved that. Eventhough it was about betrayal.
Some of my favourite parts from the book.
From 'Cold-Blue'
"Magnus refuses to be annoyed. That’s the nice thing about him, the thing that Jonina really loves. It is hard to upset him, to upset his equanimity, you can’t rattle him; he rarely imputes anything bad to people. He is polite, decent and serious; he knows how to listen; if you ask him a question, he answers it; if you ask him something in the morning at breakfast, he will answer too. He would never say, ‘I’m tired, I don’t want to talk right now; I’d rather read.’ And of course this tempts her, too. There is something stubborn, something stoic and inflexible about him; his politeness is an armour that’s almost impossible to pierce."
From 'Acqua Alta'
"Actually I find travelling difficult. For no reason I get anxious two or three days before the start of a trip; it all seems senseless to me, the distance, the foreign places, the continents no different from what I can see from my window at home. Four weeks in a strange country. What’s the point, I think, what could possibly be different there, what good will it do me – in an absurd way, I feel as though I’ve already seen it all. It’s impossible for me to feel secure and carefree in strange cities; there’s nothing I’d like more than to stay in my hotel room, lock the door, and not go out at all. Of course I don’t stay in my hotel room; I do go out. Still the feeling of anxiety rarely leaves me."
From 'Nothing But Ghosts'
He : "If you don’t have a child, then you don’t know, for instance, what it’s like to buy him a pair of little blue Nike sneakers."
She : "What’s it like?"
He : "Well, it’s like this – it’s hard to describe, but it’s nice. These sneakers are so small and tiny and perfect, a perfect copy of a real sneaker. You buy these tiny sneakers, blue and yellow with sturdy laces and cushioned soles in a perfect little shoe box, and you take them home to your kid and put them on for him, and he runs off in them. He simply runs off in them. That’s all."
Have you read 'Nothing But Ghosts' or 'Summerhouse, Later'? What to you think about Judith Hermann's stories?
March 1, 2018
Αρχικά ενθουσιάστηκα. Με άρεσε πάρα πολύ ο τρόπος που έγραφε τις ιστορίες της η Χέρμαν - ιστορίες με ταξίδια, έρωτες, συναντήσεις, τσιγάρα, αλκοόλ. Επτά τον αριθμό. Η πρώτη ιστορία με άρεσε πάρα πολύ. Η δεύτερη, επίσης με άρεσε πολύ, έμοιαζε με την πρώτη. Η τρίτη, που, οκέι, καλή ήταν κι αυτή, με τη δεύτερη. Η τέταρτη, που εντάξει ήταν, με την τρίτη και ούτω καθεξής. Γραμμένες στο ίδιο (ελκυστικό) στιλ, στις επτά ιστορίες άλλαζε μόνον ο τόπος, το ταξίδι (που η συγγραφέας, δυστυχώς, χρησιμοποίησε ως αφορμή και είχε όχι πολλά να πει για τη Νεβάδα, τη Βενετία, την Πράγα, το Βερολίνο, τη Νορβηγία, την Ισλανδία, το Καρλοβιβάρι). Αντιθέτως, οι άνθρωποι μοιάζαν πάντα ίδιοι, οι συνθήκες πάντα ίδιες. Αναπόφευκτα ο αρχικός ενθουσιασμός έφθινε. Η ποιότητα παρέμενε ίδια, τόσο ίδια μάλιστα, που την τελευταία ιστορία τη διάβασα με το ζόρι, για την ακρίβεια -και αυτό με καθιστά, εννοείται, αναξιόπιστο αναγνώστη- τη διάβασα από το τέλος στην αρχή, αναζητώντας (μάταια) λίγη ποικιλία βρε αδερφέ.
Δεν είναι καθόλου κακή πάντως η συλλογή της Χέρμαν - οι όχι πολλές βιβλιοκριτικές στα ελληνικά που βρήκα είναι εγκωμιαστικές.
Δεν είναι καθόλου κακή πάντως η συλλογή της Χέρμαν - οι όχι πολλές βιβλιοκριτικές στα ελληνικά που βρήκα είναι εγκωμιαστικές.
January 10, 2019
آن سوي رودخانه ي ادر:
اين مجموعه حاوي چهار داستان كوتاه از يك نويسنده ي زن آلماني است كه فضايي كاملا زنانه دارد، راوي هاي زن داستان به پيچيدگي هاي دروني و افكار متداول زنان اشاره مي كند.
قسمتي از كتاب:
"به مچ دستم خيره شدم، سفيد و لخت بود، به روان شناس نگاه كردم به پشتي صندلي اش تكيه داده بود و دستهايش را روي زانوهايش گذاشته بود.
از روي صندلي هم سر خوردم، روي قالي آبي تيره، ششصد و هفتاد و پنج مرجان سرخ پاشيده شده بودند.
در تمام اتاق، تا بحال درخششي به اين سرخي و غضبناكي نداشتند.
در اتاق چهار دست و پا اين ور و آن ور مي رفتم و جمع شان مي كردم، زير ميز بودند. زير پاي روانشناس، زير ميز تحرير تاريك بود ولي مرجان هاي سرخ مي درخشيدند.
بند ابريشمي دستبند مرجان پاره شده بود."
اين مجموعه حاوي چهار داستان كوتاه از يك نويسنده ي زن آلماني است كه فضايي كاملا زنانه دارد، راوي هاي زن داستان به پيچيدگي هاي دروني و افكار متداول زنان اشاره مي كند.
قسمتي از كتاب:
"به مچ دستم خيره شدم، سفيد و لخت بود، به روان شناس نگاه كردم به پشتي صندلي اش تكيه داده بود و دستهايش را روي زانوهايش گذاشته بود.
از روي صندلي هم سر خوردم، روي قالي آبي تيره، ششصد و هفتاد و پنج مرجان سرخ پاشيده شده بودند.
در تمام اتاق، تا بحال درخششي به اين سرخي و غضبناكي نداشتند.
در اتاق چهار دست و پا اين ور و آن ور مي رفتم و جمع شان مي كردم، زير ميز بودند. زير پاي روانشناس، زير ميز تحرير تاريك بود ولي مرجان هاي سرخ مي درخشيدند.
بند ابريشمي دستبند مرجان پاره شده بود."
March 5, 2024
Kitapta yedi öykü var, ilk üçünü çok sevdim, diğerleri de kötü değildi…
Judith Hermann bu öykülerde kırıklıkları anlatmış; yarım kalan aşklar, dostluklar, araya giren mesafeler. Karakterlere derin bir melankoli hakim, sürekli geçmişle bugün arasında gidip gelerek hayatlarındaki kırılmaların sebeplerini anlamaya çabalamaları bende buruk bir tat bıraktı…
Yaz Evi'ni daha çok sevmiştim, sırada Yuva var:)
Judith Hermann bu öykülerde kırıklıkları anlatmış; yarım kalan aşklar, dostluklar, araya giren mesafeler. Karakterlere derin bir melankoli hakim, sürekli geçmişle bugün arasında gidip gelerek hayatlarındaki kırılmaların sebeplerini anlamaya çabalamaları bende buruk bir tat bıraktı…
Yaz Evi'ni daha çok sevmiştim, sırada Yuva var:)
August 29, 2014
Set in the cold countries (Iceland, Norway), these stories also seemed to me a bit cold and dark. Mainly the characters left me puzzled since I couldn't really reason their behavior and actions. None of the described relationships seemed like a really working one.
But short stories are always special. These have their own way :)
But short stories are always special. These have their own way :)
October 21, 2018
فکر کنم کلا با ادبیات آلمانی ارتباط برقرار نمی کنم :|
December 23, 2023
Hab keine Lust mehr auf Kurzgeschichten, in denen kaum Handlung stattfindet. Der Teer auf der Straße hatte diese Farbnuance, den Geruch, die Bäume bewegen sich so im Wind, das Auto schimmert metallisch. ES IST MIR EGAL, wie geht es denn den Menschen mal zur Abwechslung
April 27, 2022
Ωραίο γράψιμο, μερικές από τις ιστορίες ήταν ενδιαφέρουσες, άλλες βαρετές και αδιάφορες, σε γενικές γραμμές ήταν ένα ευχάριστο ανάγνωσμα!
August 3, 2022
Er is iets aan de hand met deze bundel. De verhalen leken in eerste instantie van me af te glijden - om me er dan op te betrappen dat ze lang nazinderen. Heel onderhuids.
December 13, 2025
...a very mixed bag!
April 10, 2021
Nichts als Gespenster is a rather curious short story collection. curious as in weird and unidentifiable, not curious as in it left me interested.
there is a very certain kind of german person that exists. it is this person: they grew up in northern germany, they now live in berlin and think that somehow makes them more edgy, their favorite place to go on vaccation is scandinavia, they have a denmark sticker on their bumper and again, think that somehow makes them cooler than everyone else.
i ofc dont know if judith is such a person but on god, she sure sounds like one. this very air of That kinda german person permeated this entire book, every single story, every single line, everything tasted of salted herring and salted winds and salted blood. everything. and i dont mean that the good way, either.
there are two main criticism i have:
1) every story had a different female mc / protag / pov character and all of them were placed in entirely different scenarios; some stories were written in first and some in third person, but somehow, incredibly, unbelievably, all of those protags were the same person. there was zero uniqueness to any of them. they were thinking the same, talking the same, even if they werent it FELT like it bc ??? no voice was distinguishable amongst the others. all of them were some kind of lost to love young woman who smokes and drinks wine and has unreliable friends and bad relationships with men. they were all the same even if they werent, even if one was a mother, it didnt change a thing bc they all sounded. like one person. and i mean that in the WORST way.
2) the characters, relationships and actions were just. there was not one healthy relationship in this book. and yet ppl stayed together, got married, got kids, for no reason, they disliked, annoyed each other, they had nothing to say to each other, the women were always portrayed as knowing less, not knowing anything and the men were always these silent types, who rather wanna read their paper, really, who dont give a fuck, no one really knew what was going on never ever, it was all a damn MESS and i just ? cannot even put into words how weird everything felt. none of it felt real.
some smaller gripes include the most fucked up word choices for no other reason than to sound edgy, it drove me up the damn wall sometimes. no i wont find examples.
point being, i really did not care for this too much, it was fine, writing okay, stories okay, but like... i couldnt even tell you what they were about if not about ppl falling in love with ppl they shouldnt fall in love with and some undefinable loneliness and emptiness and coolness and homelessness.
there is a very certain kind of german person that exists. it is this person: they grew up in northern germany, they now live in berlin and think that somehow makes them more edgy, their favorite place to go on vaccation is scandinavia, they have a denmark sticker on their bumper and again, think that somehow makes them cooler than everyone else.
i ofc dont know if judith is such a person but on god, she sure sounds like one. this very air of That kinda german person permeated this entire book, every single story, every single line, everything tasted of salted herring and salted winds and salted blood. everything. and i dont mean that the good way, either.
there are two main criticism i have:
1) every story had a different female mc / protag / pov character and all of them were placed in entirely different scenarios; some stories were written in first and some in third person, but somehow, incredibly, unbelievably, all of those protags were the same person. there was zero uniqueness to any of them. they were thinking the same, talking the same, even if they werent it FELT like it bc ??? no voice was distinguishable amongst the others. all of them were some kind of lost to love young woman who smokes and drinks wine and has unreliable friends and bad relationships with men. they were all the same even if they werent, even if one was a mother, it didnt change a thing bc they all sounded. like one person. and i mean that in the WORST way.
2) the characters, relationships and actions were just. there was not one healthy relationship in this book. and yet ppl stayed together, got married, got kids, for no reason, they disliked, annoyed each other, they had nothing to say to each other, the women were always portrayed as knowing less, not knowing anything and the men were always these silent types, who rather wanna read their paper, really, who dont give a fuck, no one really knew what was going on never ever, it was all a damn MESS and i just ? cannot even put into words how weird everything felt. none of it felt real.
some smaller gripes include the most fucked up word choices for no other reason than to sound edgy, it drove me up the damn wall sometimes. no i wont find examples.
point being, i really did not care for this too much, it was fine, writing okay, stories okay, but like... i couldnt even tell you what they were about if not about ppl falling in love with ppl they shouldnt fall in love with and some undefinable loneliness and emptiness and coolness and homelessness.
December 6, 2017
Judith Hermanns novellesamling Spøgelser, overalt er noget af det fineste, jeg længe har læst. Hun skriver dygtigt og overbevisende om menneskelige relationer: om (ulykkelig) kærlighed, venskaber, ensomhed, rastløshed, erindring, og ikke mindst rejser – som mange af hendes karakterer, ofte spontant og med kort varsel, tager på for at komme væk fra hverdagens trivialiteter. Novellerne, indhyllet i melankoli, har ofte storbyer og hovedstader som kulisse: Norge, Italien, Tjekkoslovakiet, Island. Uanset hvor de kvindelige hovedpersoner ender, synes de at være lammet af det nu, de krampagtigt forsøger at holde fast i, og fælles for dem alle er, at ting bare sker for dem, tilfældigt og uforklarligt, både mens de står på og i retrospekt. Hermanns noveller er både lange at læse og svære at fordøje, måske især fordi man kan tage sig selv i at dvæle længe ved enkeltstående og perfekt udskårne sætninger og passager, som hver især rummer en kvalitet i sig selv. Sætningen "Al erindring forekommer mig at være sørgelig" gjorde, blandt mange, et dybt og varigt indtryk på mig, og da jeg vendte sidste side, indtrådte en øjeblikkelig følelse af tomhed og meningsløshed, men også en stor glæde over at have opdaget en forfatter, der skriver så forbandet godt, at man ikke skulle tro, det var muligt. Trods min manglende interesse for enkelte af novellerne, er der ikke nogen vej udenom: jeg må se at få læst alt, hvad Judith Hermann har skrevet!
November 21, 2016
Schrecklich mittelmäßig. Diese Altbauwohnungs-"Studi"-Romantik wirkt gleichzeitig altbacken, klischeehaft und kitschig. Es ist ja nicht schlecht geschrieben, aber leider fürchterlich uninteressant. Es gibt auch keine zweite Ebene oder irgendeine Bedeutung.... Das sind einfach nur kleine Geschichtchen irgendwelcher Beziehungsquerelen. Ich vergesse diesen Quatsch lieber schnell, bevor ich mich noch aufrege.
April 21, 2021
"محور اصلی داستانهای "هرمان":
فرصتهای ازدست رفته هم در زندگی وهم درعشق
تردیدهایی که نشان داده ایم،
شهامت انتخابهایی که نداشته ایم،
تجربه های حیات
نگاهی است بی آه وناله،اما با حسرتی نهفته درآن به گذشته وتنهایی گاه خودخواسته
در این کتاب قهرمانان سرگشته اندودرگیرعدم توانایی برقراری ارتباط.زندگی را میان نومیدی واشتیاق می گذرانند"ازمقدمه مترجم
فرصتهای ازدست رفته هم در زندگی وهم درعشق
تردیدهایی که نشان داده ایم،
شهامت انتخابهایی که نداشته ایم،
تجربه های حیات
نگاهی است بی آه وناله،اما با حسرتی نهفته درآن به گذشته وتنهایی گاه خودخواسته
در این کتاب قهرمانان سرگشته اندودرگیرعدم توانایی برقراری ارتباط.زندگی را میان نومیدی واشتیاق می گذرانند"ازمقدمه مترجم
January 15, 2016
A book about the distance between people. Melancholic, slow, quiet, and full of heartache and cigarettes.
Some of the stories are very good, some of them are not, but the transmitted feelings of isolation, confusion, and weltschmerz are always there. With its well-off, but still unhappy, melancholic, and borderline depressed characters it is a very contemporary German book.
Some of the stories are very good, some of them are not, but the transmitted feelings of isolation, confusion, and weltschmerz are always there. With its well-off, but still unhappy, melancholic, and borderline depressed characters it is a very contemporary German book.
January 22, 2017
کلا داستاناش به جز داستان اخری جالب نبودن. اخری که در مورد پیری و همچنین از دست دادن معنای زندگی بود خوب بود. مشابه همین داستانو توی کتاب "حمایت از هیچ" هارتموث لانگه بود. فقط به نظرم فضا پردازی اون بهتر بود و شروع و پیایان داستانش بهتر و البته اون در مورد یه جوان که به یه بیماری خاصی مبتلا شده بود.
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