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Приключения Эраста Фандорина #10.2
Дијамантска кочија. Књига 2: Између редова
Dijamantska kočija, jedanaesta knjiga Avantura Erasta Fandorina. Roman Dijamantska kočija sastoji se iz dva dela. U prvom delu B.Akunjin opisuje Rusiju iz 1905. godine, posle poraza u rusko- japanskom ratu i kroz detektivsku priču objašnjava razloge neočekivanog poraza Ruske Imperije u kome se već nazire početak njenog kraja. U drugom delu radnja se premešta u 1878. Erast Petrović prekookeanskim brodom Levijatan stiže u Japan. Pisac, inače vrhunski japanolog, opisuje Japan perom znalca japanske kulture, mentaliteta, borilačkih veština, samurajske etike, ali i poezije... Svako poglavlje se završava njegovom pesmom haiku, a knjiga obiluje zagonetkama za čije odgonetanje čitalac mora da se potrudi. Dijamantska kočija nije samo detektivski, istorijski i etnografski, nego i ljubavni roman u kome Fandorin sreće ženu svog života, a Boris Akunjin demonstrira majstorstvo u opisu svih srtana ljubavnog odnosa. Poznato je da ruski jezik nema razvijen erotski rečnik, ali pisac nalazi prave reče: njegova erotika je i erotična, i romantična i produhovljena.
Paperback
First published January 1, 2003
About the author
Boris Akunin
304 books1,674 followersReal name - Grigory Shalvovich Chkhartishvili (Russian: Борис Акунин; Georgian: გრიგორი შალვას ძე ჩხარტიშვილი; Аlso see Grigory Chkhartishvili, Григорий Чхартишвили), born in Tbilisi, Georgia, in 1956. Since 1958 he lives in Moscow. Writer and translator from Japanese. Author of crime stories set in tsarist Russia. In 1998 he made his debut with novel Azazel (to English readers known as The Winter Queen), where he created Erast Pietrovich Fandorin.
B. Akunin refers to Mikhail Alexandrovich Bakunin and Akuna, home name of Anna Akhmatova, Russian poet.
In September of 2000, Akunin was named Russian Writer of the Year and won the "Antibooker" prize in 2000 for his Erast Fandorin novel Coronation, or the last of the Romanovs.
Akunin also created crime-solving Orthodox nun, sister Pelagia, and literary genres.
His pseudonyms are Анатолий Брусникин and Анна Борисова. In some Dutch editions he is also known as Boris Akoenin.
B. Akunin refers to Mikhail Alexandrovich Bakunin and Akuna, home name of Anna Akhmatova, Russian poet.
In September of 2000, Akunin was named Russian Writer of the Year and won the "Antibooker" prize in 2000 for his Erast Fandorin novel Coronation, or the last of the Romanovs.
Akunin also created crime-solving Orthodox nun, sister Pelagia, and literary genres.
His pseudonyms are Анатолий Брусникин and Анна Борисова. In some Dutch editions he is also known as Boris Akoenin.
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Displaying 1 - 18 of 18 reviews
May 6, 2024
Перша половина книги була доволі цікавою, але далі...що не розділ, то рояль в кущах. Про любовну лінію взагалі сказати нема що, максимально недолуга (або може мені просто образ героїні не сподобався, не знаю).
Ставлю 1 зірочку за персонаж Дороніна, 1 - за опис японського побуту того часу і ще 1 виключно з поваги до автора.
Ставлю 1 зірочку за персонаж Дороніна, 1 - за опис японського побуту того часу і ще 1 виключно з поваги до автора.
December 16, 2020
Если начинаю читать Акунина, про Эраста Петровича, то уж можно не сомневаться - чтение до поздней ночи и проезжание своей остановки обеспечены.
March 30, 2026
Постепенно надоедает побольше, но я догрызу) Но вообще эта, по сравнению с предыдущими, как-то отдельно очень сильно затянута.
March 25, 2022
Надзвичайно цікавий опис японського побуту і стилю життя кінця 19 ст. від одного з кращих російськомовних японознавців сучасності, а за сумісництвом - автора книги :)
Утім, цей "етнографічний детектив" трохи втомлює своєю романтичною лінією, яка хоч і була присутня у "Азазелі", але не була такою виразною. Притаманна творам Акуніна динаміка у цьому конкретному випадку перетворила детектив на пригодницький роман про ніндзя із легкими нотками містицизму - що залишило дещо неприємний післясмак.
Загалом, поки це найслабша історія із тих, які мені довелось прочитати у Акуніна.
Утім, цей "етнографічний детектив" трохи втомлює своєю романтичною лінією, яка хоч і була присутня у "Азазелі", але не була такою виразною. Притаманна творам Акуніна динаміка у цьому конкретному випадку перетворила детектив на пригодницький роман про ніндзя із легкими нотками містицизму - що залишило дещо неприємний післясмак.
Загалом, поки це найслабша історія із тих, які мені довелось прочитати у Акуніна.
June 5, 2015
Książka opisuje pobyt Erasta Fandorina w Japanii. Chronologiczne jest usytowana pomiędzy Tureckim Gambitem i Lewiatanem.
Ogólnie bardzo lubię Akunina, ale z tym tomem się męczyłem. Dużo bardziej mi leży tło rosyjskiego imperium. Również sam bohater jest inny, mniej roztropny. Z drugiej strony - wiedząc, że Akunin jest z wykrzałcenia japanologiem - książka daje dużo ciekawych informacji o sytuacji politycznej w Japonii na początku ery Meiji.
Ogólnie bardzo lubię Akunina, ale z tym tomem się męczyłem. Dużo bardziej mi leży tło rosyjskiego imperium. Również sam bohater jest inny, mniej roztropny. Z drugiej strony - wiedząc, że Akunin jest z wykrzałcenia japanologiem - książka daje dużo ciekawych informacji o sytuacji politycznej w Japonii na początku ery Meiji.
March 5, 2021
Не понравилось послесловие, очень многое убило, такое неприятное послевкусие.
September 17, 2026
“Do you really want
the veil to one day
fall from your eyes?”
This haiku serves as a fitting overture for a critique of the second volume of The Diamond Chariot, encapsulation as it does one of the narrative's central tenets. Indeed, relationships defined by mutual opacity become, in essence, a primary character within the text. This dynamic governs not only comrades-in-arms, but intimate lovers as well.
These bonds are forged across profound chasms—disparities in cultural mentality, linguistic divides, traditional divergences, and, in certain instances, the friction of generational age. Paradoxically, this absence of complete candor does not dismantle these connections; rather, it sustains them, conferring a fragile framework within which they may endure and evolve.
The second volume possesses a richer narrative weight than the first, largely owing to its immersive immersion in Japan—its vernacular routines, cultural philosophies, and the intricate geopolitical reality of the era. Boris Akunin’s scholarly authority as an Orientalist and translator from the Japanese language permeates the prose; his professional rigor ensures that the exotic tapestry feels not like an imagined fantasy, but an authentic portrait painted with meticulous erudition.
Upon my initial reading of this volume, I found myself ravenously consuming supplementary literature—treatises on the shinobi, their insidious traps, architecture, and esoteric doctrine—eager to discern where historical veracity ended and literary embellishment began. I recall a distinct sense of wonder at how persuasively Akunin renders these intricate historical mechanics.
“Those who sleep most soundly are not the ones with a clear conscience, but the ones who never had one in the first place.”
To unravel the plot in detail would be a disservice, for any granular summary inevitably invites spoilers. Yet, upon reaching the finale, the narrative architecture does not rely on a convoluted twist designed to confound the reader. The trajectory remains reasonably transparent, yet the elegance of the prose, the exquisite control of tempo, and the flawless structural execution hold one utterly spellbound.
Crucially, it is here that we witness the genesis of the bond between Erast Fandorin and Masa—a companion whose presence transcends the reductive label of a servant. Masa becomes an indispensable counterweight to Fandorin, rendering the protagonist unthinkable without him in subsequent chronicles.
Ultimately, the crucible of events in this volume—perhaps even more than the formative tragedy of Azazel—crystallizes the Fandorin of mature lore: imperturbable, emotionally guarded, stoic, and profoundly fatalistic.
“In life, you have to pay for everything, and usually much more than you expected.”
It is precisely this lingering resonance of disillusionment that abides long after the final page is turned—a quiet, melancholic recognition that every decision demands its toll, and that certain trials irrevocably alter the soul.
the veil to one day
fall from your eyes?”
This haiku serves as a fitting overture for a critique of the second volume of The Diamond Chariot, encapsulation as it does one of the narrative's central tenets. Indeed, relationships defined by mutual opacity become, in essence, a primary character within the text. This dynamic governs not only comrades-in-arms, but intimate lovers as well.
These bonds are forged across profound chasms—disparities in cultural mentality, linguistic divides, traditional divergences, and, in certain instances, the friction of generational age. Paradoxically, this absence of complete candor does not dismantle these connections; rather, it sustains them, conferring a fragile framework within which they may endure and evolve.
The second volume possesses a richer narrative weight than the first, largely owing to its immersive immersion in Japan—its vernacular routines, cultural philosophies, and the intricate geopolitical reality of the era. Boris Akunin’s scholarly authority as an Orientalist and translator from the Japanese language permeates the prose; his professional rigor ensures that the exotic tapestry feels not like an imagined fantasy, but an authentic portrait painted with meticulous erudition.
Upon my initial reading of this volume, I found myself ravenously consuming supplementary literature—treatises on the shinobi, their insidious traps, architecture, and esoteric doctrine—eager to discern where historical veracity ended and literary embellishment began. I recall a distinct sense of wonder at how persuasively Akunin renders these intricate historical mechanics.
“Those who sleep most soundly are not the ones with a clear conscience, but the ones who never had one in the first place.”
To unravel the plot in detail would be a disservice, for any granular summary inevitably invites spoilers. Yet, upon reaching the finale, the narrative architecture does not rely on a convoluted twist designed to confound the reader. The trajectory remains reasonably transparent, yet the elegance of the prose, the exquisite control of tempo, and the flawless structural execution hold one utterly spellbound.
Crucially, it is here that we witness the genesis of the bond between Erast Fandorin and Masa—a companion whose presence transcends the reductive label of a servant. Masa becomes an indispensable counterweight to Fandorin, rendering the protagonist unthinkable without him in subsequent chronicles.
Ultimately, the crucible of events in this volume—perhaps even more than the formative tragedy of Azazel—crystallizes the Fandorin of mature lore: imperturbable, emotionally guarded, stoic, and profoundly fatalistic.
“In life, you have to pay for everything, and usually much more than you expected.”
It is precisely this lingering resonance of disillusionment that abides long after the final page is turned—a quiet, melancholic recognition that every decision demands its toll, and that certain trials irrevocably alter the soul.
April 28, 2024
I haven't been expecting the love story. I haven't been expecting pretty much anything except for knowing about Japan at the end of 19th century. That was the first book of Boris Akunin I have read and my interest is primarily to hear about Japan from the one who knows. I am really impressed in the way how the author intertwined japanese and russian mentalities and yes, I got what I wanted -specific of the moments in the history of the country, maximum approximation to the real events and a beauty. Beauty of japanese culture.
June 5, 2026
Дуже цікавий та досить детальний опис японського побуту того часу, велика кількість дрібних деталей, про які не завжди прочитаєш у звичних джерелах інформації. Сюжет вражає своєю стрімкістю та закрученістю, але трохи заважають надмірна романтична лінія та містичність, якою оповиті історії про ніндзя. Тому одну зірочку тут буде вкрадено.
August 21, 2017
Отличный криминальный роман с интересной завязкой, интенсивной кульминацией и неожиданной концовкой. Но больше всего мне понравилось, как автор описывает Японию 19 века, ее традиции, ее внутреннюю и внешнуюю политику.
July 28, 2021
Как лет 20 назад, прерываясь лишь на самое насущное - так и сейчас, не в силах оторваться и даже (!) порой отказывая в игре маленькому Феде. Федя, ты когда-нибудь тоже это прочтёшь, поймёшь и простишь :Р
September 1, 2018
Историческая картина Японии и факты о восточном мировоззрении очень интересные. Сюжет яркий и динамичный.
July 16, 2023
Jedna od najboljih knjiga u ovom serijalu.
October 15, 2024
Автор наконец рассказывает нам смысл своего псевдонима.
October 23, 2016
Wow! Po prostu! To trzeba przeczytać. Diamentowa karoca jest tak świetna, fabułę ma tak dobrze napisaną, że aż dech w piersiach zatyka. Wspaniały kryminał w japońskiej scenerii, gdzie spotkamy zarówno przeszłość, jak i przyszłość. Dosłownie ;) Szczególnie końcówka powieści jest oszałamiająca - dodatkowo skłania do ponownego zerknięcia do części pierwszej de facto jednej książki. Polecam, ale nie napiszę więcej, żeby nie popsuć wrażeń z lektury ;)
June 14, 2016
Wczesne przygody Fandorina w Japonii w dobie konfliktu na Dalekim Wschodzie. Swietna fabuła, intrygi polityczne, sporo smaczków z kraju kwitnącej wiśni. Warto
August 7, 2016
Сюжет потрясающий, прекрасное описание исторического фона, Японии. Очень захватывающе!
October 17, 2016
წესით, ეს ფანდორინიადის მეოთხე წიგნია. ქრონოლოგიურად. უფრო რომანტიკული და ლამაზი, ვიდრე პირველი ტომი.
Displaying 1 - 18 of 18 reviews