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Η πυρά
Ένα βαθιά πολιτικό μυθιστόρημα με την απειλητική και συνάμα ελπιδοφόρα ατμόσφαιρα ενός παραμυθιού.
Η δεκατριάχρονη Έμα μεγαλώνει σε μια χώρα της Ανατολικής Ευρώπης με δικτατορικό καθεστώς, όπου η καταπίεση δεν έχει τέλος. Όταν οι γονείς της σκοτώνονται, μπαίνει σε ορφανοτροφείο, αλλά πολύ σύντομα την παίρνει από εκεί η γιαγιά της, μια ηλικιωμένη γυναίκα την οποία η Έμα γνωρίζει για πρώτη φορά.
Και ενώ η πατρίδα της συγκλονίζεται από μια βίαιη επανάσταση, η Έμα –σαν μαθητευόμενη μάγισσα– αρχίζει να μαθαίνει τους τρόπους της Γιαγιάς, που ξέρει να λέει το φλιτζάνι, μπορεί να πληγώνει ή να γιατρεύει ανθρώπους κατά βούληση και μοιράζεται το σπίτι της με το φάντασμα του νεκρού άντρα της. Αλλά δεν είναι αυτός ο μοναδικός λόγος που οι περισσότεροι κάτοικοι της μικρής πόλης αντιμετωπίζουν τη Γιαγιά με καχυποψία και περιφρόνηση. Υποψιάζονται ότι αυτή και ο μακαρίτης σύζυγός της είχαν κάποια ανάμιξη στην εξαφάνιση επίσημων εγγράφων της μυστικής αστυνομίας του καθεστώτος.
Καθώς η Έμα μαθαίνει την ιστορία της οικογένειάς της, συνειδητοποιεί ότι πασπαλίζοντας την καθημερινότητα με λίγη μαγεία οι παππούδες της έβρισκαν μια διαφυγή από την ωμή πραγματικότητα.
Έγραψαν για το βιβλίο :
«Ο Ντραγκομάν μας μεταφέρει στα πιο θαυμαστά και τρομακτικά παραμύθια των παιδικών μας χρόνων, ξεθολώνοντας λίγο το ονειρικό τοπίο τους και ταυτόχρονα αναπαράγοντας πιστά τη συγκλονιστική τους ατμόσφαιρα αβεβαιότητας».
–Téa Obrecht, συγγραφέας του Η γυναίκα του Τίγρη
«Το μυθιστόρημα έρχεται σε μια στιγμή που δεν νιώθουμε μόνο τις σεισμικές δονήσεις μιας ιστορικής αλλαγής [...] αλλά και τους τρόπους που η μαγική σκέψη, η συνωμοσία και οι φήμες κυλούν αργά μέσα από τις ρωγμές σε καιρούς αναταραχής… Αυτή είναι μια ιστορία, άλλωστε, στην οποία τα όνειρα και τα φαντάσματα είναι ευγενικά και πιο λογικά από τη διάχυτη βαρβαρότητα του κόσμου. Για αυτό, η αφήγησή του δεν είναι απλά μαγική, αλλά απολαυστική».
–Rebecca Makkai, New York Times Book Review
«Μια ιστορία με τα χαρακτηριστικά του μαγικού ρεαλισμού. Οι λάτρεις του Γκαμπριέλ Γκαρσία Μάρκες θα θέλουν σίγουρα να του ρίξουν μια ματιά».
–Publishers Weekly
Η δεκατριάχρονη Έμα μεγαλώνει σε μια χώρα της Ανατολικής Ευρώπης με δικτατορικό καθεστώς, όπου η καταπίεση δεν έχει τέλος. Όταν οι γονείς της σκοτώνονται, μπαίνει σε ορφανοτροφείο, αλλά πολύ σύντομα την παίρνει από εκεί η γιαγιά της, μια ηλικιωμένη γυναίκα την οποία η Έμα γνωρίζει για πρώτη φορά.
Και ενώ η πατρίδα της συγκλονίζεται από μια βίαιη επανάσταση, η Έμα –σαν μαθητευόμενη μάγισσα– αρχίζει να μαθαίνει τους τρόπους της Γιαγιάς, που ξέρει να λέει το φλιτζάνι, μπορεί να πληγώνει ή να γιατρεύει ανθρώπους κατά βούληση και μοιράζεται το σπίτι της με το φάντασμα του νεκρού άντρα της. Αλλά δεν είναι αυτός ο μοναδικός λόγος που οι περισσότεροι κάτοικοι της μικρής πόλης αντιμετωπίζουν τη Γιαγιά με καχυποψία και περιφρόνηση. Υποψιάζονται ότι αυτή και ο μακαρίτης σύζυγός της είχαν κάποια ανάμιξη στην εξαφάνιση επίσημων εγγράφων της μυστικής αστυνομίας του καθεστώτος.
Καθώς η Έμα μαθαίνει την ιστορία της οικογένειάς της, συνειδητοποιεί ότι πασπαλίζοντας την καθημερινότητα με λίγη μαγεία οι παππούδες της έβρισκαν μια διαφυγή από την ωμή πραγματικότητα.
Έγραψαν για το βιβλίο :
«Ο Ντραγκομάν μας μεταφέρει στα πιο θαυμαστά και τρομακτικά παραμύθια των παιδικών μας χρόνων, ξεθολώνοντας λίγο το ονειρικό τοπίο τους και ταυτόχρονα αναπαράγοντας πιστά τη συγκλονιστική τους ατμόσφαιρα αβεβαιότητας».
–Téa Obrecht, συγγραφέας του Η γυναίκα του Τίγρη
«Το μυθιστόρημα έρχεται σε μια στιγμή που δεν νιώθουμε μόνο τις σεισμικές δονήσεις μιας ιστορικής αλλαγής [...] αλλά και τους τρόπους που η μαγική σκέψη, η συνωμοσία και οι φήμες κυλούν αργά μέσα από τις ρωγμές σε καιρούς αναταραχής… Αυτή είναι μια ιστορία, άλλωστε, στην οποία τα όνειρα και τα φαντάσματα είναι ευγενικά και πιο λογικά από τη διάχυτη βαρβαρότητα του κόσμου. Για αυτό, η αφήγησή του δεν είναι απλά μαγική, αλλά απολαυστική».
–Rebecca Makkai, New York Times Book Review
«Μια ιστορία με τα χαρακτηριστικά του μαγικού ρεαλισμού. Οι λάτρεις του Γκαμπριέλ Γκαρσία Μάρκες θα θέλουν σίγουρα να του ρίξουν μια ματιά».
–Publishers Weekly
520 pages, Paperback
First published January 1, 2014
110 people are currently reading
3404 people want to read
About the author
György Dragomán
31 books233 followersGyörgy Dragomán is a Hungarian author and literary translator. His best-known work, The White King (2005) has been translated to at least 28 langugages.
He was born in Târgu Mureş (Marosvásárhely) Transylvania, Romania. In 1988, his family moved to Hungary. He attended high school in the western Hungarian city of Szombathely, then college in Budapest, getting a degree in English and Philosophy. He has received various literary awards for his writings, such as the Sándor Bródy prize. His first novel, Genesis Undone, was published in 2002. He has become famous because of his second book, The White King, which received very favorable reviews from many influential newspapers, such as The New York Times. It is a collection of loosely connected stories told by an 11-year old boy waiting for his father to be released from politically motivated imprisonment.
Dragomán lives in Budapest with his wife and two children.
He was born in Târgu Mureş (Marosvásárhely) Transylvania, Romania. In 1988, his family moved to Hungary. He attended high school in the western Hungarian city of Szombathely, then college in Budapest, getting a degree in English and Philosophy. He has received various literary awards for his writings, such as the Sándor Bródy prize. His first novel, Genesis Undone, was published in 2002. He has become famous because of his second book, The White King, which received very favorable reviews from many influential newspapers, such as The New York Times. It is a collection of loosely connected stories told by an 11-year old boy waiting for his father to be released from politically motivated imprisonment.
Dragomán lives in Budapest with his wife and two children.
Ratings & Reviews
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Displaying 1 - 30 of 243 reviews
September 29, 2022
György Dragomán is a Romanian born, Hungarian author. The Bone Fire is a well-written novel about a young girl living in a post-communist unnamed Eastern European country. Since it talks about “Securitate” which is a Romanian word and the author was born here, it is safe to say the inspiration came from Ceausescu regime. The girl is left orphan by a car accident and is taken in by her strange grandmother whom she never met. The novel covers both the girl’s struggle to adapt to her new life and glimpses from the past, WW2 and the dictatorship. There is quite a bit of magical realism, the grandma has some strange powers, grandpa’s ghost still lives in the house and so on. It was interesting but also boring at times.
November 19, 2020
A fairy tale, a coming-of-age story, a post-Soviet chiller, a masterpiece. This book was exactly what I needed. I'm so damn glad and grateful to have read it
September 22, 2019
Máglya vagy mágia…
Játék a betűkkel, a szavakkal. Játék a tartalommal, benyomásokkal. Játék a belegondolással, értelmezéssel, az olvasás alatti és utáni invenciókkal, a ködös, vagy éppen vegytiszta érzületekkel.
Játszunk a gondolattal, mozaikolunk álomtöredékeket, és közben elképzeljük, hogy nagymama, a maga egyszerű, praktikus, háztartási rítusaival végül is a boszorkánynemzetség jeles tagja (vagy akár lehetne az is). Ha becsukjuk a szemünket, látjuk és érezzük nagypapát, aki maga a rejtély, a kérdőjel, a letűnt, zavaros kor megválaszolatlan kérdése. De álmunkban, „húnyt szemmel” ugyanígy igaz a gólem is, aki szeretteinket vigyázza, és sorolhatnám még tovább…
Persze tudjuk, hogy mindez csak játék. Miközben ezekkel a töredékekkel játszunk, egyben megpróbáljuk átráncigálni Erdélyből a nyomokban felismerhető román forradalmat magyar földre, hogy még inkább kézzel foghatóvá váljék minden valós és/vagy képzelt történés, hogy közelebbről szóljon hozzánk a történet, hogy a hatalomváltó időket megélt nemzedéket még közvetlenebbül vádolja, mentse fel, vagy éppenséggel hagyja végre nyugodni.
Még mindig csak játszunk.
De művészettel játszunk, az írói képzelet értékes alkotását cincáljuk kedvünkre, és szabunk belőle magunknak kényelmes gúnyát, hogy valamely ideig komfortosan elvackoljunk benne.
Hangsúlyozom, hogy művészet az, amivel játszunk, nem pedig giccs, ahogy azt a regény egyik hazai kritikusa állítja. A giccs, akárhonnan nézzük is, magáról a termékről szól. Arról a termékről, amit minden ízléstelensége ellenére, olcsó, hatásvadász művészieskedéssel, cukormázba csomagolnak, hogy a fogyasztó hályogos szemeit megcsalatva, a nyakába varrják azt, a mind magasabb profit elérése érdekében. A giccs maga a művészet hiánya.
Márpedig, ha mégoly sűrű fogú (képzeletbeli) irodalmi fésűvel szálazom is Dragomán György regényét, ha mégannyira el kell is fogadjam a tényt, hogy talán sosem lesz a nagy magyar (szép)irodalmi kánon részévé, egy dologban azonban nem engedek. Vitatom, hogy a „Máglya” „inkább giccs, mint művészet” lenne.
Ha mégis az, akkor újra kell gondolnom a Buendíák családfolyamát, Kopfrkingl úr rút történetét, de giccs talán még Márquez pátriárkája is. …vagy az is lehet, hogy nekem kéne újra a Gőgös Gúnár Gedeonnal kezdenem…
Mindösszesen csupán annyit szerettem volna írni, hogy a „Máglya” egy rendkívül különös hangulatú, érdekes szerkezetű, szép írásmódú regény.
Ja, és nem utolsó sorban művészet, úgyis mint (szép)irodalom.
Játék a betűkkel, a szavakkal. Játék a tartalommal, benyomásokkal. Játék a belegondolással, értelmezéssel, az olvasás alatti és utáni invenciókkal, a ködös, vagy éppen vegytiszta érzületekkel.
Játszunk a gondolattal, mozaikolunk álomtöredékeket, és közben elképzeljük, hogy nagymama, a maga egyszerű, praktikus, háztartási rítusaival végül is a boszorkánynemzetség jeles tagja (vagy akár lehetne az is). Ha becsukjuk a szemünket, látjuk és érezzük nagypapát, aki maga a rejtély, a kérdőjel, a letűnt, zavaros kor megválaszolatlan kérdése. De álmunkban, „húnyt szemmel” ugyanígy igaz a gólem is, aki szeretteinket vigyázza, és sorolhatnám még tovább…
Persze tudjuk, hogy mindez csak játék. Miközben ezekkel a töredékekkel játszunk, egyben megpróbáljuk átráncigálni Erdélyből a nyomokban felismerhető román forradalmat magyar földre, hogy még inkább kézzel foghatóvá váljék minden valós és/vagy képzelt történés, hogy közelebbről szóljon hozzánk a történet, hogy a hatalomváltó időket megélt nemzedéket még közvetlenebbül vádolja, mentse fel, vagy éppenséggel hagyja végre nyugodni.
Még mindig csak játszunk.
De művészettel játszunk, az írói képzelet értékes alkotását cincáljuk kedvünkre, és szabunk belőle magunknak kényelmes gúnyát, hogy valamely ideig komfortosan elvackoljunk benne.
Hangsúlyozom, hogy művészet az, amivel játszunk, nem pedig giccs, ahogy azt a regény egyik hazai kritikusa állítja. A giccs, akárhonnan nézzük is, magáról a termékről szól. Arról a termékről, amit minden ízléstelensége ellenére, olcsó, hatásvadász művészieskedéssel, cukormázba csomagolnak, hogy a fogyasztó hályogos szemeit megcsalatva, a nyakába varrják azt, a mind magasabb profit elérése érdekében. A giccs maga a művészet hiánya.
Márpedig, ha mégoly sűrű fogú (képzeletbeli) irodalmi fésűvel szálazom is Dragomán György regényét, ha mégannyira el kell is fogadjam a tényt, hogy talán sosem lesz a nagy magyar (szép)irodalmi kánon részévé, egy dologban azonban nem engedek. Vitatom, hogy a „Máglya” „inkább giccs, mint művészet” lenne.
Ha mégis az, akkor újra kell gondolnom a Buendíák családfolyamát, Kopfrkingl úr rút történetét, de giccs talán még Márquez pátriárkája is. …vagy az is lehet, hogy nekem kéne újra a Gőgös Gúnár Gedeonnal kezdenem…
Mindösszesen csupán annyit szerettem volna írni, hogy a „Máglya” egy rendkívül különös hangulatú, érdekes szerkezetű, szép írásmódú regény.
Ja, és nem utolsó sorban művészet, úgyis mint (szép)irodalom.
July 5, 2021
György Dragomán's The Bone Fire takes place in an unnamed Eastern European nation along two timelines: World War II and the fall of the Iron Curtain. This story is bleak, as one might expect given its settings. In the more recent timeline, a girl is removed from an orphanage by a grandmother she's never met, due to a rift between the girl's mother and her grandmother. Now that her parents have died in an auto accident, this is the only hope she has of family, but her grandmother is a curt, unsettling woman—and perhaps a witch, of the "unnerving wise woman who can influence the flow of events" type. The girl's dead grandfather visits the home she shares with her grandmother, and he is an oddly comforting character. The World War II part of the narrative focuses on the Grandmother's childhood attempt to hide her best friend and two of that friend's relatives, all Jewish, when the deportations begin.
Regardless of timeline, this isn't a comfortable world to live in. The grandparents were accused of collaborating with the secret police during the dictatorship, the grandmother is distrusted because of both her powers and her combative demeanor. The girl herself speaks little and fears much for many reasons: the loss of her parents and the tensions in their relationship before they died, the unfamiliarity of her new home, her inability to fit in with her peers, and her grandmother's strictness and—perhaps?—powers.
Trust is in short supply in this novel. The town the girl is taken to by her grandmother was the site of an authoritarian massacre shortly before the end of the dictatorship. The archives of the secret police were purged, so no one can determine the roles their friends and neighbors may have played during the years of oppression.
I began reading this novel in March, then put it aside about two-thirds of the way through, feeling overwhelmed by its bleak perspective and slow action. Others' reviews had me convinced, however, that it was a book I should complete, so I picked it up again yesterday and read through the last third, telling myself I could skim if necessary. There was no need for skimming—in the last third of the novel the pace picks ups and conflicts come to a head. We see the way violence can engender violence, the way those united in fighting oppression can turn on one another after the immediate goal of that fight is reached. It's a book that leaves the reader sitting motionless, reflecting on what it means to be human and how easily our best intentions can transform into something nightmarish.
If you're someone who enjoys light reading, romance, a happy ending, this is most definitely not the book for you. If you enjoy pondering the interplay of past and present and the ways some of our worst historical moments have shaped us, this is a book you'll treasure.
I received a free electronic review copy of this title from the publisher; the opinions are my own.
Regardless of timeline, this isn't a comfortable world to live in. The grandparents were accused of collaborating with the secret police during the dictatorship, the grandmother is distrusted because of both her powers and her combative demeanor. The girl herself speaks little and fears much for many reasons: the loss of her parents and the tensions in their relationship before they died, the unfamiliarity of her new home, her inability to fit in with her peers, and her grandmother's strictness and—perhaps?—powers.
Trust is in short supply in this novel. The town the girl is taken to by her grandmother was the site of an authoritarian massacre shortly before the end of the dictatorship. The archives of the secret police were purged, so no one can determine the roles their friends and neighbors may have played during the years of oppression.
I began reading this novel in March, then put it aside about two-thirds of the way through, feeling overwhelmed by its bleak perspective and slow action. Others' reviews had me convinced, however, that it was a book I should complete, so I picked it up again yesterday and read through the last third, telling myself I could skim if necessary. There was no need for skimming—in the last third of the novel the pace picks ups and conflicts come to a head. We see the way violence can engender violence, the way those united in fighting oppression can turn on one another after the immediate goal of that fight is reached. It's a book that leaves the reader sitting motionless, reflecting on what it means to be human and how easily our best intentions can transform into something nightmarish.
If you're someone who enjoys light reading, romance, a happy ending, this is most definitely not the book for you. If you enjoy pondering the interplay of past and present and the ways some of our worst historical moments have shaped us, this is a book you'll treasure.
I received a free electronic review copy of this title from the publisher; the opinions are my own.
October 27, 2015
Nu se poate să-i dau șase stele? Chiar nu? Să iau de la alte cărți și să-i dau ăsteia? Să mă răzgândesc în privința tuturor celorlalte cărți cu cinci stele de anul ăsta acum că am citit-o pe asta?
Pentru mine a fost cartea perfectă: personajul principal e o fetiță (hai, fie, adolescentă), povestea de familie se derulează încet, încet, există și a hint of magic, plus multe alte chestii mici și importante, care se amestecă toate ca să creeze 341 de pagini of pure bliss.
Din când în când că îmi veneau în minte scene din carte ca și cum mi s-ar fi întâmplat mie. Uneori mă trezeam dimineața și repetam ce-i spunea Bunica, asta în condițiile în care în ultimul timp mi s-a întâmplat să uit tot felul de conversații.
Am fost terminată când am dat ultima pagină. Nu mi-a venit să cred că știu atât de puține despre personajele astea minunate. Aș fi vrut o carte de o mie de pagini, de două mii, de cinci mii, numai să îmi spună toată povestea, începând cu nașterea Bunicii și până la moartea Emmei. Cât mă bucur că am citit-o și cât o să mă macine că nu știu totul...
Pentru mine a fost cartea perfectă: personajul principal e o fetiță (hai, fie, adolescentă), povestea de familie se derulează încet, încet, există și a hint of magic, plus multe alte chestii mici și importante, care se amestecă toate ca să creeze 341 de pagini of pure bliss.
Din când în când că îmi veneau în minte scene din carte ca și cum mi s-ar fi întâmplat mie. Uneori mă trezeam dimineața și repetam ce-i spunea Bunica, asta în condițiile în care în ultimul timp mi s-a întâmplat să uit tot felul de conversații.
Am fost terminată când am dat ultima pagină. Nu mi-a venit să cred că știu atât de puține despre personajele astea minunate. Aș fi vrut o carte de o mie de pagini, de două mii, de cinci mii, numai să îmi spună toată povestea, începând cu nașterea Bunicii și până la moartea Emmei. Cât mă bucur că am citit-o și cât o să mă macine că nu știu totul...
November 30, 2017
Weird book. So very, very good parts in it, but I feel the author wanted to stuff so much into such a small book that half of it makes no sense to me and most of the stories remained unexplained.
Overall I like the main character, she is not whiny, gets stuff done, is stubborn, has interests in things, has skills, has natural emotions (jealousy, desire to be prettier, etc). One of the better teenage characters I've encountered. She is a bit too unemotional at times, but this is how some people handle pain, so I can totally empathize with that.
Grandma is interesting, I like the mystery surrounding her, the differences between who she is and what people think of her, her magic rituals, but also the fact that she is affectionate and never abusive while everyone else seems to be violent, angry and full of hate.
I like the environment and the way the author describes the blurry times after the fall of the communist regime. I liked the small glimpses, like the opening of the first supermarket, the anger against collaborators, the corruption. It's also the story of the children of the new times that have to accept their elders together with the things they've done. Good and bad.
My problem is with the paranormal/magical realism in the book. I don't get it and it leads nowhere. Also characters' reactions to paranormal events are so low key that they seem completely unrealistic. I can't buy the fact that a teenager . Give her a sense of wonder and maybe fear at what she encounters in the new world. The tone of the book is all over the place - some is creepy, some is teenage drama, some is funny, but in a very inconsistent manner.
Also, most of what the book sets up remains unexplained. . The ending is also terribly underwhelming and solves nothing. The villain sucks and all the supporting cast is one note and quite unnecessary.
As about the use of history, I feel the author tried to put everything in the book, but just referencing all the tragedies of the XXth century does not make the book more impactful. I think it could have skipped
Overall the plot of the book is very messy (maybe it was intentional and I missed the point), but the book is saved by the relationship between the two main characters, preferably when nothing weird happens and they allow themselves to be humans.
Overall I like the main character, she is not whiny, gets stuff done, is stubborn, has interests in things, has skills, has natural emotions (jealousy, desire to be prettier, etc). One of the better teenage characters I've encountered. She is a bit too unemotional at times, but this is how some people handle pain, so I can totally empathize with that.
Grandma is interesting, I like the mystery surrounding her, the differences between who she is and what people think of her, her magic rituals, but also the fact that she is affectionate and never abusive while everyone else seems to be violent, angry and full of hate.
I like the environment and the way the author describes the blurry times after the fall of the communist regime. I liked the small glimpses, like the opening of the first supermarket, the anger against collaborators, the corruption. It's also the story of the children of the new times that have to accept their elders together with the things they've done. Good and bad.
My problem is with the paranormal/magical realism in the book. I don't get it and it leads nowhere. Also characters' reactions to paranormal events are so low key that they seem completely unrealistic. I can't buy the fact that a teenager . Give her a sense of wonder and maybe fear at what she encounters in the new world. The tone of the book is all over the place - some is creepy, some is teenage drama, some is funny, but in a very inconsistent manner.
Also, most of what the book sets up remains unexplained. . The ending is also terribly underwhelming and solves nothing. The villain sucks and all the supporting cast is one note and quite unnecessary.
As about the use of history, I feel the author tried to put everything in the book, but just referencing all the tragedies of the XXth century does not make the book more impactful. I think it could have skipped
Overall the plot of the book is very messy (maybe it was intentional and I missed the point), but the book is saved by the relationship between the two main characters, preferably when nothing weird happens and they allow themselves to be humans.
June 3, 2022
Η Έμα, βρίσκεται σε ορφανοτροφείο μευα το θάνατο των γονιών της. Ώσπου εμφανίζεται η γιαγιά της, της οποίας την ύπαρξη δεν γνωρίζει. Την ακολουθεί λοιπόν, ελπίζοντας σε κάτι καλύτερο μιας κι η κατάσταση στη χώρα της είναι περίεργη.Το παλιό καθεστώς έχει πέσει κι οι πολίτες προσπαθούν να ορθοποδήσουν.
Η γιαγιά της είναι ιδιαίτερος άνθρωπος. Έχει ένα πορτοφόλι που "δαγκώνει", μπορεί να γιατρέψει μικρές πληγές ή να σε κάνει να πονέσεις και της λέει ότι αν θελήσει, μπορεί κι εκείνη να δει τον παππού που έχει φύγει. Τη στέλνει στο σχολείο και της λέει να μην πιστεύει ότι κι αν της πουν. Δείχνοντας της δουλειές του σπιτιού φαινομενικά, της περνά υπόγεια μηνύματα και παράλληλα της διηγείται την ιστορία της οικογένειας της.
Χρησιμοποιώντας πρωτοπροσωπη αφήγηση, μας αφηγείται αυτήν την ιστορία μέσω από τα μάτια μιας δεκατριάχρονης, το πώς βλέπει αυτή τον κόσμο, τους ενήλικες, τις σχέσεις με τα υπόλοιπα παιδιά, την ασταθή πολιτική κατάσταση, τον έρωτα, τη ζωή και το θάνατο.
Ο συγγραφέας, βάζοντας μικρές πινελιές μαγείας, γράφει ένα μυθιστόρημα για τη δύσκολη πολιτική κατάσταση των παιδικών του χρόνων χωρίς να κουράζει με πολιτικές λεπτομέρειες. Άλλωστε, τα βλέπουμε όλα μέσα από τα μάτια της Έμα - ένα στοίχημα που θεωρώ ότι κέρδισε.
"Για πόσο θα ανεχόμαστε να βρίσκονται κάτω από τη γη οι αθώοι και οι ένοχοι να περπατούν στους δρόμους ήσυχοι κι ανενόχλητοι, απολαμβάνοντας τους καρπούς των εγκλημάτων τους; Κάθε αναπνοή τους είναι μια προσβολή, που εμποδίζει την αιώνια λύτρωση των ιερών μαρτύρων."
"Η γιαγιά λέει ότι κατάλαβα το πιο σημαντικό ή ότι το ήξερα από την αρχή. Ότι ο πόνος μας βοηθάει να θυμηθούμε, αλλά με τρόπο που να μη θυμόμαστε μόνο όσα μας πονάνε, να θυμόμαστε τα πάντα, γιατί μόνο όσα θυμόμαστε υπάρχουν, όσα ξεχνάμε δεν υπάρχουν πια, χάνονται από τον κόσμο."
Η γιαγιά της είναι ιδιαίτερος άνθρωπος. Έχει ένα πορτοφόλι που "δαγκώνει", μπορεί να γιατρέψει μικρές πληγές ή να σε κάνει να πονέσεις και της λέει ότι αν θελήσει, μπορεί κι εκείνη να δει τον παππού που έχει φύγει. Τη στέλνει στο σχολείο και της λέει να μην πιστεύει ότι κι αν της πουν. Δείχνοντας της δουλειές του σπιτιού φαινομενικά, της περνά υπόγεια μηνύματα και παράλληλα της διηγείται την ιστορία της οικογένειας της.
Χρησιμοποιώντας πρωτοπροσωπη αφήγηση, μας αφηγείται αυτήν την ιστορία μέσω από τα μάτια μιας δεκατριάχρονης, το πώς βλέπει αυτή τον κόσμο, τους ενήλικες, τις σχέσεις με τα υπόλοιπα παιδιά, την ασταθή πολιτική κατάσταση, τον έρωτα, τη ζωή και το θάνατο.
Ο συγγραφέας, βάζοντας μικρές πινελιές μαγείας, γράφει ένα μυθιστόρημα για τη δύσκολη πολιτική κατάσταση των παιδικών του χρόνων χωρίς να κουράζει με πολιτικές λεπτομέρειες. Άλλωστε, τα βλέπουμε όλα μέσα από τα μάτια της Έμα - ένα στοίχημα που θεωρώ ότι κέρδισε.
"Για πόσο θα ανεχόμαστε να βρίσκονται κάτω από τη γη οι αθώοι και οι ένοχοι να περπατούν στους δρόμους ήσυχοι κι ανενόχλητοι, απολαμβάνοντας τους καρπούς των εγκλημάτων τους; Κάθε αναπνοή τους είναι μια προσβολή, που εμποδίζει την αιώνια λύτρωση των ιερών μαρτύρων."
"Η γιαγιά λέει ότι κατάλαβα το πιο σημαντικό ή ότι το ήξερα από την αρχή. Ότι ο πόνος μας βοηθάει να θυμηθούμε, αλλά με τρόπο που να μη θυμόμαστε μόνο όσα μας πονάνε, να θυμόμαστε τα πάντα, γιατί μόνο όσα θυμόμαστε υπάρχουν, όσα ξεχνάμε δεν υπάρχουν πια, χάνονται από τον κόσμο."
September 22, 2019
Jobb, sokkal jobb könyv ez, mint a Fehér király. Dragomán nyelve rengeteget tisztult, érezni vélem ezen a regényen, hogy többet húztak ki belőle, mint amennyi végül is megmaradt – ez pedig szerintem a legtöbb nagy művészi alkotás ismérve.
A Máglya cselekménye két fő szálon bonyolódik. Egyrészt itt van a mágikus vonal: Emma, a 13 éves intézetis lány nagymamájához kerül, aki (ez elég hamar szemet szúr a legfelületesebb olvasónak is) meglehetősen boszorkánygyanús – igaz, varázslati palettájának túlnyomó részét az úgynevezett háztartási mágia adja, úgymint: hogyan főzzünk még finomabb diólikőrt meg szilvalekvárt*. Ez a szál a beavatás-regények klasszikus sémáját követi: a fiatal tanonc hányattatásai, miközben egyre többet ért meg a mester titkaiból. A másik vonal a történelmi rész. Dragomán könyve egy meg nem nevezett, de Erdéllyel azonosítható környezetben játszódik, kevés idővel a diktatúra bukása után, az ilyen-olyan demokráciába való átmenet rögös útján. Ebben a közegben a szereplők piszkos kis titkai hangsúlyosak: mit tettek, mit nem tettek a megelőző rendszerekben, és mennyire hajlandóak hurcolni ezeket a terheket. A két elemet a kiválóan megválasztott cím köti össze: a máglya képe egyrészt a boszorkánylét bizonyos kockázataira hívja fel a figyelmet, ugyanakkor utal arra a tűzre is, amit az első fejezetek egyikében az árvaház lakói gyújtanak a diktátor-tábornok rekvizítumaiból, amint annak bukásáról értesülnek. A történet legmélyebb, legelgondolkodtatóbb szintjét ez az elem adja: az új világ félelemből, dühből és számításból megsemmisít mindent, ami a múlttal köti össze, ám mégis, ebben a megsemmisített múltban történt vétkek alapján akar erkölcsileg megítélni másokat – spiclinek, szekusnak bélyegezve azt, akit el akar intézni. Ennek érdekében teremti újra a múltat – a saját szája íze szerint.
Bár végig éreztem, hogy nagy regényt olvasok, mégis, Dragomán talán túl nagy kockázatot vállalt akkor, amikor a regény letisztult, szikár kifejezésmódját egy kamaszlány én-elbeszélő szájába adja. A vele való azonosulás számomra olyan akadályt jelentett, amit nem volt könnyű megugrani… Őszintén szólva amikor az első ötven oldal után letettem picit, nem voltam benne biztos, hogy igazán ki akarom nyitni újra. Aztán persze megtettem, és jól tettem. Érdemes volt vele iszapbirkózni tovább.
* Bár akadnak keményebb skilljei is (gólemet is tud!), azért Voldemorttal az ő helyében nem kekeckednék.
A Máglya cselekménye két fő szálon bonyolódik. Egyrészt itt van a mágikus vonal: Emma, a 13 éves intézetis lány nagymamájához kerül, aki (ez elég hamar szemet szúr a legfelületesebb olvasónak is) meglehetősen boszorkánygyanús – igaz, varázslati palettájának túlnyomó részét az úgynevezett háztartási mágia adja, úgymint: hogyan főzzünk még finomabb diólikőrt meg szilvalekvárt*. Ez a szál a beavatás-regények klasszikus sémáját követi: a fiatal tanonc hányattatásai, miközben egyre többet ért meg a mester titkaiból. A másik vonal a történelmi rész. Dragomán könyve egy meg nem nevezett, de Erdéllyel azonosítható környezetben játszódik, kevés idővel a diktatúra bukása után, az ilyen-olyan demokráciába való átmenet rögös útján. Ebben a közegben a szereplők piszkos kis titkai hangsúlyosak: mit tettek, mit nem tettek a megelőző rendszerekben, és mennyire hajlandóak hurcolni ezeket a terheket. A két elemet a kiválóan megválasztott cím köti össze: a máglya képe egyrészt a boszorkánylét bizonyos kockázataira hívja fel a figyelmet, ugyanakkor utal arra a tűzre is, amit az első fejezetek egyikében az árvaház lakói gyújtanak a diktátor-tábornok rekvizítumaiból, amint annak bukásáról értesülnek. A történet legmélyebb, legelgondolkodtatóbb szintjét ez az elem adja: az új világ félelemből, dühből és számításból megsemmisít mindent, ami a múlttal köti össze, ám mégis, ebben a megsemmisített múltban történt vétkek alapján akar erkölcsileg megítélni másokat – spiclinek, szekusnak bélyegezve azt, akit el akar intézni. Ennek érdekében teremti újra a múltat – a saját szája íze szerint.
Bár végig éreztem, hogy nagy regényt olvasok, mégis, Dragomán talán túl nagy kockázatot vállalt akkor, amikor a regény letisztult, szikár kifejezésmódját egy kamaszlány én-elbeszélő szájába adja. A vele való azonosulás számomra olyan akadályt jelentett, amit nem volt könnyű megugrani… Őszintén szólva amikor az első ötven oldal után letettem picit, nem voltam benne biztos, hogy igazán ki akarom nyitni újra. Aztán persze megtettem, és jól tettem. Érdemes volt vele iszapbirkózni tovább.
* Bár akadnak keményebb skilljei is (gólemet is tud!), azért Voldemorttal az ő helyében nem kekeckednék.
March 29, 2022
Ejha, pekne sme si sadli - kniha a ja.
Bolo v nej skoro všetko, čo mám v knihách rada a možno i to, čo mi vadí, no tu to bolo tak akurát :). Magický realizmus, viacvrstvový dej, opisný (a veru celkom detailný) štýl písania, uveriteľnosť, sympatické hlavné postavy, dôležité témy a hĺbka. Hranica bola pre mňa skvelým čitateľským zážitkom. Rozšafne dávam 5 hviezdičiek :)
Bolo v nej skoro všetko, čo mám v knihách rada a možno i to, čo mi vadí, no tu to bolo tak akurát :). Magický realizmus, viacvrstvový dej, opisný (a veru celkom detailný) štýl písania, uveriteľnosť, sympatické hlavné postavy, dôležité témy a hĺbka. Hranica bola pre mňa skvelým čitateľským zážitkom. Rozšafne dávam 5 hviezdičiek :)
September 30, 2023
Superbă scriitură, senzorială, te transportă în lumea Emmei, în spațiul despre care știi că e transilvănean, dar se simte mai mult ca o lume magică suspendată, într-un timp despre care știi că e imediat după Revoluția din 89, dar pare un trecut continuu.
September 22, 2019
Máglyát készíteni elvileg nem túl szofisztikált dolog, ám ha igazán rendesen csináljuk, hosszas előkészülés és alapos, aprólékos kivitelezés árán, sok rétegben, strukturáltan, ráfordítást nem kímélve is lehet, és egy valamirevaló piromán ha csak az egyszeri és egyirányú leégés folyamatát is látja meg az egész folyamatrendszerből, már az is roppant ropogós és gyönyörű elégedettséggel töltheti el. (Csak el ne olvadjon.)
Ez a könyv egyszerre sok témát dolgoz ki magából: gyerekkori trauma és felnőtté válás, folklór és a posztmodern posztkommunizmus örökségei, a mese, mesélés, emlékezet, felejtés meg a valóság értelmezése, művészet és alkotás, nagyon erős szomatikus regényvonulat, és talán kiemelhetően: a női elbeszélői szemszög kifejtése, ugye egy nem-női szerzőtől.
Ezek mind nagyon jól megférnek egymással, és úgy éreztem, hogy a kontinuitásnak nem ártott a perspektívaváltás A fehér király diktatúráját elbeszélő Dzsátától a rendszerváltást követő eseményeket átélő Emma felé, viszont sok új témát és lehetőséget adott a szerzőnek, hogy felfedezzen és eljátsszon és örüljön az addig viszonylag felderítetlenebb, konvencionálisan női motívumoknak. Átjön, hogy ezzel öröm lehetett játszani, de az is, hogy a játék nagyon komoly dolog.
A mágikus realizmus olyasmit ad a cselekményhez, ami szerintem csak jót tesz egy könyvnek: egyrészt az elbeszélés minden további nélkül magáévá teszi azt, hogy ő bizony egy elbeszélés, egy mese a valóságról, ami ettől rögtön érdekesebb is lesz a natúr valóságnál; másrészt a paranormális jelenségek nem határozzák meg a cselekményt, inkább kiegészíti; harmadrészt a gyerekkori mágikus világértelmezést egybenyitja a felnőttkorban is továbbélő hagyatékával, és bevilágítja a 'valóságban' gyakran tudattalan területeket. Hasznos, tartalmas, gyakran szórakoztató a sok vudu és vágy és rituálé – gyakran pedig fájdalmas, főleg a sok önkínzás. Hiába minden varázslat és vajákosság, az elbeszélés mindent érzékeltet, a testi érzékelés kontextusában fogalmazza meg az élményeket és érzelmeket, átélhetően és határozottan nem misztifikálva.
Szóval valahogy a mágikus realizmus mintha itt valóságosabb leírást adna a fikcióról… És mintha Gabriel Garcia Márquez nyomán: egy nagyjából beazonosítható térség, egy felismerhető és mégis mesebelivé transzponált politikai tömeghisztéria, sematizált események: mindez úgy mutat valós és történelmi drámát (adott esetben Romániát, de tényleg lehetne máshol), hogy nem érdekes, mennyi háttértudás van vagy nincs az olvasásához, beleláthatjuk a magunk hátterét is, mert benne is van, meg nem is. Lehetne ez akár valami fiktív módon valós latin-amerikai banánköztársaságban is, ahogy volt is, van is. És még ez sem árnyékolja be teljesen az elevenen lángoló történetet.
Hatalmas háttéranyaga lehetett ennek a narratívának, nagyon tömör a történet, mintha tényleg csak azt mutatná meg az író az elbeszélői történeteiből, ami kötelezően kell a könyv felépüléséhez. Nincsenek üresjáratok, jól lekerekített egész ez a szerkezet, pedig szinte végtelen lehetőségek adódnak az elbeszélés variálására, mellékszálakra, kifejtésekre. Meg se merném saccolni, hány változatból fejlődött ki végül ez az egy.
Dragomán György beteljesítette A fehér király támasztotta olvasói elvárásokat, megérte kivárni, nagyot dobott megint, beletömörítve egy egész írói életszakaszt. Ha tíz év múlva lesz újra egy ilyen, nekem az is belefér – mit belefér! Öröm, ünnep.
Ez a könyv egyszerre sok témát dolgoz ki magából: gyerekkori trauma és felnőtté válás, folklór és a posztmodern posztkommunizmus örökségei, a mese, mesélés, emlékezet, felejtés meg a valóság értelmezése, művészet és alkotás, nagyon erős szomatikus regényvonulat, és talán kiemelhetően: a női elbeszélői szemszög kifejtése, ugye egy nem-női szerzőtől.
Ezek mind nagyon jól megférnek egymással, és úgy éreztem, hogy a kontinuitásnak nem ártott a perspektívaváltás A fehér király diktatúráját elbeszélő Dzsátától a rendszerváltást követő eseményeket átélő Emma felé, viszont sok új témát és lehetőséget adott a szerzőnek, hogy felfedezzen és eljátsszon és örüljön az addig viszonylag felderítetlenebb, konvencionálisan női motívumoknak. Átjön, hogy ezzel öröm lehetett játszani, de az is, hogy a játék nagyon komoly dolog.
A mágikus realizmus olyasmit ad a cselekményhez, ami szerintem csak jót tesz egy könyvnek: egyrészt az elbeszélés minden további nélkül magáévá teszi azt, hogy ő bizony egy elbeszélés, egy mese a valóságról, ami ettől rögtön érdekesebb is lesz a natúr valóságnál; másrészt a paranormális jelenségek nem határozzák meg a cselekményt, inkább kiegészíti; harmadrészt a gyerekkori mágikus világértelmezést egybenyitja a felnőttkorban is továbbélő hagyatékával, és bevilágítja a 'valóságban' gyakran tudattalan területeket. Hasznos, tartalmas, gyakran szórakoztató a sok vudu és vágy és rituálé – gyakran pedig fájdalmas, főleg a sok önkínzás. Hiába minden varázslat és vajákosság, az elbeszélés mindent érzékeltet, a testi érzékelés kontextusában fogalmazza meg az élményeket és érzelmeket, átélhetően és határozottan nem misztifikálva.
Szóval valahogy a mágikus realizmus mintha itt valóságosabb leírást adna a fikcióról… És mintha Gabriel Garcia Márquez nyomán: egy nagyjából beazonosítható térség, egy felismerhető és mégis mesebelivé transzponált politikai tömeghisztéria, sematizált események: mindez úgy mutat valós és történelmi drámát (adott esetben Romániát, de tényleg lehetne máshol), hogy nem érdekes, mennyi háttértudás van vagy nincs az olvasásához, beleláthatjuk a magunk hátterét is, mert benne is van, meg nem is. Lehetne ez akár valami fiktív módon valós latin-amerikai banánköztársaságban is, ahogy volt is, van is. És még ez sem árnyékolja be teljesen az elevenen lángoló történetet.
Hatalmas háttéranyaga lehetett ennek a narratívának, nagyon tömör a történet, mintha tényleg csak azt mutatná meg az író az elbeszélői történeteiből, ami kötelezően kell a könyv felépüléséhez. Nincsenek üresjáratok, jól lekerekített egész ez a szerkezet, pedig szinte végtelen lehetőségek adódnak az elbeszélés variálására, mellékszálakra, kifejtésekre. Meg se merném saccolni, hány változatból fejlődött ki végül ez az egy.
Dragomán György beteljesítette A fehér király támasztotta olvasói elvárásokat, megérte kivárni, nagyot dobott megint, beletömörítve egy egész írói életszakaszt. Ha tíz év múlva lesz újra egy ilyen, nekem az is belefér – mit belefér! Öröm, ünnep.
July 12, 2021
Haarav lugu, meisterlikult jutustatud ja suurepäraselt tõlgitud. Dragomán on müstilise ja argise maailma piiril mängiva maailma loonud, mis üdini endasse tõmbab ja laseb lahti alles siis, kui tagumine kaas vastu tuleb. Kui siiski...
March 12, 2022
Za mňa fenomenálny román.
Rozprávačkou je mladé dospievajúce dievča, ktoré náhle príde o svojich rodičov a do opatery si ju vezme stará mama, ktorú dovtedy nepoznala. V novom meste, po zvrhnutí režimu Generála, sa prispôsobuje novým podmienkam. Kvôli zlej mienke ostatných o jej starých rodičoch to nemá jednoduché. Istý čas nevieme, spolu s ňou, čo je pravda a čo lož, kto bol dobrý a kto zlý. Cez jej spomienky sa postupne dozvedáme o jej živote s rodičmi a cez spomienky jej starej mamy zasa o tom, čo prežila ona. Páčilo sa mi, ako sa prostredníctvom ich vzťahu postupne dokázali zmieriť so svojou minulosťou. Najmä stará mama to nemala ľahké.
Príbeh je zároveň aj plný mágie a čudesností, čo iba zvyšovalo môj záujem a neutíchajúcu túžbu čítať ďalej. Autor nám často ponúka iba náznaky a čriepky, ktoré nás nútia premýšľať o popisovaných udalostiach. V knihe absentuje priama reč, vety sú dlhé a detailné, preto som mala pocit, že všetko sledujem ako jeden súvislý film. Emócie boli silné, najmä pri závere knihy.
Naozaj veľmi veľmi odporúčam! 👍
Rozprávačkou je mladé dospievajúce dievča, ktoré náhle príde o svojich rodičov a do opatery si ju vezme stará mama, ktorú dovtedy nepoznala. V novom meste, po zvrhnutí režimu Generála, sa prispôsobuje novým podmienkam. Kvôli zlej mienke ostatných o jej starých rodičoch to nemá jednoduché. Istý čas nevieme, spolu s ňou, čo je pravda a čo lož, kto bol dobrý a kto zlý. Cez jej spomienky sa postupne dozvedáme o jej živote s rodičmi a cez spomienky jej starej mamy zasa o tom, čo prežila ona. Páčilo sa mi, ako sa prostredníctvom ich vzťahu postupne dokázali zmieriť so svojou minulosťou. Najmä stará mama to nemala ľahké.
Príbeh je zároveň aj plný mágie a čudesností, čo iba zvyšovalo môj záujem a neutíchajúcu túžbu čítať ďalej. Autor nám často ponúka iba náznaky a čriepky, ktoré nás nútia premýšľať o popisovaných udalostiach. V knihe absentuje priama reč, vety sú dlhé a detailné, preto som mala pocit, že všetko sledujem ako jeden súvislý film. Emócie boli silné, najmä pri závere knihy.
Naozaj veľmi veľmi odporúčam! 👍
August 13, 2023
Mu senise elu kõige ägedam loominguline vestlus leidis aset yhel juulikuu päeval Helsingis. Györgi oli Helsingis residentuuris ja oli eelmisel päeval sellelesamale romaanile punkti pannud. Nii et tal oli terve päev aega mööda linna jalutada ning elust ja loomisest rääkida. See oli võimas päev, ma ütlen. Oma kolmkümmend kilomeetrit loomisjuttu 😍
”Tuleriit” on võimas raamat. Üsna kiirelt annab välja rehkendada, et tegevustik võiks aset leida Rumeenias pärast Ceasescu hukkamist tekkinud kaost. Romaani keskmes on peategelase Emma suhe oma nõiavõimetega vanaemaga, kes tüdrukule tutvustab tema perekonda ja jutustab lugusid valusast minevikust. Kõik vanaema lood on jutustatud sina-vormis, mis toob need lugejale väga lähedale, suisa ihu alla.
Ma tean, et mitte ainult mina, vaid ka teised on selle raamatu lugemist edasi lükanud. Kartuses, et mis siis, kui on liiga tõsine. Tuleriit” on väga võimas raamat. Ja ei ole sugugi liiga tõsine. Küll aga tean, et mõtlen selle loo ja tausta peale tulevikus veel väga, väga palju. Selliseid raamatuid ja lugusid ei ole palju.
Soovitan väga - loe! ta! gu!!!
”Tuleriit” on võimas raamat. Üsna kiirelt annab välja rehkendada, et tegevustik võiks aset leida Rumeenias pärast Ceasescu hukkamist tekkinud kaost. Romaani keskmes on peategelase Emma suhe oma nõiavõimetega vanaemaga, kes tüdrukule tutvustab tema perekonda ja jutustab lugusid valusast minevikust. Kõik vanaema lood on jutustatud sina-vormis, mis toob need lugejale väga lähedale, suisa ihu alla.
Ma tean, et mitte ainult mina, vaid ka teised on selle raamatu lugemist edasi lükanud. Kartuses, et mis siis, kui on liiga tõsine. Tuleriit” on väga võimas raamat. Ja ei ole sugugi liiga tõsine. Küll aga tean, et mõtlen selle loo ja tausta peale tulevikus veel väga, väga palju. Selliseid raamatuid ja lugusid ei ole palju.
Soovitan väga - loe! ta! gu!!!
December 13, 2017
Uf, cartea asta sigur nu si-a ales bine momentul. Poate intr-o alta perioada mi-ar fi placut mai mult. Sau poate nu, nu stiu. Realismul magic uneori imi place, alteori nu. Aici nu mi-a prea placut. Am plans o singura data, dar cred ca eram eu prea incarcata si ce citeam a fost picatura care a umplut paharul.
la inceput mi-a placut stilul, vocea fetei, limbajul, constructia frazei, lipsa dialogurior, omniprezentul timp prezent. Dupa o vreme mi-a trecut, nu mi-a mai placut. Prea mult.
Dupa moartea parintilor ei, Emma e luata de la orfelinat de catre bunica ei, proaspat ramasa vaduva, cu un trecut atat de dureros incat a adus-o in pragul nebuniei. Totusi zdravana la cap, are grija de copila cum stie ea mai bine, insa uneori mai si greseste (din punctul meu de vedere). Emma trece cu stoicism prin incercarile grele la care o supune viata in Romania (?) post-revolutionara. Pe langa lipsa parintilor, se confrunta cu adolescența, cu prima iubire, cu geloziile si prieteniile varstei. Totusi, cele mai pregnante episoade sunt amintirile despre parintii ei, amintirile Bunicii din timpul tineretii ei si comportamentul oamenilor care nu cunosc adevarul.
I-am dat 3 stele pentru ca sunt convinsa ca daca o citeam in alt moment mi-ar fi placut mai mult.
la inceput mi-a placut stilul, vocea fetei, limbajul, constructia frazei, lipsa dialogurior, omniprezentul timp prezent. Dupa o vreme mi-a trecut, nu mi-a mai placut. Prea mult.
Dupa moartea parintilor ei, Emma e luata de la orfelinat de catre bunica ei, proaspat ramasa vaduva, cu un trecut atat de dureros incat a adus-o in pragul nebuniei. Totusi zdravana la cap, are grija de copila cum stie ea mai bine, insa uneori mai si greseste (din punctul meu de vedere). Emma trece cu stoicism prin incercarile grele la care o supune viata in Romania (?) post-revolutionara. Pe langa lipsa parintilor, se confrunta cu adolescența, cu prima iubire, cu geloziile si prieteniile varstei. Totusi, cele mai pregnante episoade sunt amintirile despre parintii ei, amintirile Bunicii din timpul tineretii ei si comportamentul oamenilor care nu cunosc adevarul.
I-am dat 3 stele pentru ca sunt convinsa ca daca o citeam in alt moment mi-ar fi placut mai mult.
March 15, 2020
Somebody told me, this was basically "the girl version" of The White King, so I've put it aside for a while after I've read that. Big mistake. It isn't.
What I like about this book is it's subtle hints of magic. You barely know it's there, you can almost get away with treating it as sleight of hand, illusions, wishful thinking or what have you. But whatever it is it's most certainly present.
Just as magical are the stories of three broken generations. The grandma surviving the second world war, the memories of the mother lost forever and the fights of a young girl growing up with all her trauma, new, foreign and slightly hostile environment but just as well love, compassion, challenges overcome and conquered.
In spots it's a little bit over-the-top optimistic, as the heroine can barely fail at anything, she learns to skate on ice, practically just by looking at a photograph and so on. But I'm happy to allow for these transgressions as the story blooms into a flower, with all it's thorns and hidden spots, still leaving plenty for the imagination to develop.
Funny enough, with A kéklő pára - the book I've read just before this - I knew it's stories were happening in my home town, yet I never really felt it. In this book I know it isn't really (the town in a way is just as imaginary as the magic) yet I "feel" it. I feel the buildingblocks taken from this city used in making a completely different one, with smaller or bigger changes, with a sleight of hand disguising the real city with a veil of uncertainty, yet it still feels familiar to me. Don't worry, you need absolute zero knowledge of my (as well as the author's) home town to enjoy this book, but for me this was a very pleasant extra feeling to the story.
What I like about this book is it's subtle hints of magic. You barely know it's there, you can almost get away with treating it as sleight of hand, illusions, wishful thinking or what have you. But whatever it is it's most certainly present.
Just as magical are the stories of three broken generations. The grandma surviving the second world war, the memories of the mother lost forever and the fights of a young girl growing up with all her trauma, new, foreign and slightly hostile environment but just as well love, compassion, challenges overcome and conquered.
In spots it's a little bit over-the-top optimistic, as the heroine can barely fail at anything, she learns to skate on ice, practically just by looking at a photograph and so on. But I'm happy to allow for these transgressions as the story blooms into a flower, with all it's thorns and hidden spots, still leaving plenty for the imagination to develop.
Funny enough, with A kéklő pára - the book I've read just before this - I knew it's stories were happening in my home town, yet I never really felt it. In this book I know it isn't really (the town in a way is just as imaginary as the magic) yet I "feel" it. I feel the buildingblocks taken from this city used in making a completely different one, with smaller or bigger changes, with a sleight of hand disguising the real city with a veil of uncertainty, yet it still feels familiar to me. Don't worry, you need absolute zero knowledge of my (as well as the author's) home town to enjoy this book, but for me this was a very pleasant extra feeling to the story.
July 10, 2020
„Povești și doine, ghicitori, eresuri...”
Oare care ar fi termenul cel mai potrivit (cuvîntul acela „ce ascunde adevărul” că tot l-am citat pe Eminescu) pentru realismul impregnat de eresuri caracteristic literaturii est-europene? Pentru că nu-i la fel cu realismul magic sud-american, asta-i sigur, dar nici nu găsesc o sintagmă la fel de fericită pentru a-l descrie – poate realism fabulos, deși e cam oximoronică și pretențioasă eticheta asta, dar mi-e greu să găsesc o alta care să sintetizeze la fel de bine proza de excepţie pe care am savurat-o în Rugul lui Dragomán György.
Într-un articol apărut în numărul 10 al României literare din 2016, Irina Petraş aude foarte bine tonul grav incantatoriu al acestei naraţiuni pe care o numește inspirat „cadenţat-picturală”, cu toate că preferă să se ocupe doar de planul realist al romanului, lăsînd la o parte fabulosul, adică tocmai partea care m-a cucerit pe mine și care mă împiedică să-l așez nonșalant pe raftul literaturii cu subiect postcomunist. Adică, da, există un fundal sumbru-realist, descris în foarte reci nuanţe de gri, combinate cu o detașare aproape clinică: suferinţa agresivă a celor care și-au pierdut rude sau prieteni în evenimentele acelea confuze de dinainte de revoluţie, vînătoarea de vrăjitoare pe baza unor informaţii contradictorii, neverificate, false, dorinţa isterică de răzbunare, luptele pentru putere etc., dar o mînă extrem de dibace estompează contururile acelea care ar trebui să despartă ferm, chiar și în interiorul ficţiunii ☺, realul de imaginar, prin refuzul de a specifica spațiul și timpul în care se petrec evenimentele – desigur, cititorul de astăzi ghicește cu ușurinţă că este vorba despre decembrie 1989, presupune just că acţiunea se petrece într-un sat din Ardeal, dar o face doar pentru că evenimentele îi sînt încă foarte proaspete în minte. Cititorul de peste un veac, însă, să zicem (și da, romanul va fi citit și peste un veac, e chiar așa de bun), nu va mai avea probabil habar de contextul istoric și va trebui să facă apel la istorici și la filologi dacă va fi interesat să cunoască sursa de inspiraţie. Dar va fi oare interesat? Pun această întrebare pentru că acest plan realist cenușiu pare a fi creat doar pentru a scoate și mai mult în evidenţă planul mult mai nuanţat al fabulosului, populat de două personaje excepţionale: Emma, o adolescentă de treisprezece-paisprezece ani, care este și vocea narativă a textului, și bunica ei, pe care o cunoaște, odată cu cititorul, abia în primele pagini, cînd vine să o ia de la orfelinatul unde ajunsese după moartea părinţilor. Prima impresie a nepoatei, în biroul directoarei, în aceleași nuanțe de fotografie veche și ștearsă de vreme, nu este încurajatoare:
O bătrână. Adusă de spate, gârbovită, îi văd doar sveterul negru, umerii osoși, baticul mare și negru care-i învăluie. Încălzește între palme o minusculă ceașcă de cafea, o acoperă cu farfurioara, pe care o rotește, o clatină, o apasă cu degetele-i osoase peste gura ceștii, de parcă s-ar teme să nu sară ceva dintr-însa.
Mă așez. Salut. Perna de piele a fotoliului e incomod de tare.
Bătrâna se uită la mine, mă salută, îmi spune pe nume. Are ochi cenușii, reci, chip sever, voce glacială.
Dar bunica se dovedește a fi mult mai mult decît o bătrînă aspră, dezvăluindu-i încă de pe acum cîteva dintre puterile ei extraordinare: o face să întrezărească, în zaţul minusculei cești de cafea chipul mamei, care îmbătrînește încet-încet în chipul bunicii (ca o dovadă incontestabilă a legăturii lor de rudenie), iar la ieșirea pe poarta orfelinatului, cu ajutorul unei bucăţi de ramă carbonizată, îi trasează cinci linii simbolice în palmă, punînd-o apoi să o arunce peste umăr (ca o promisiune că suferinţa celor cinci luni petrecute acolo s-a sfîrșit). Micile vrăjitorii continuă la gară, unde sperie un mic hoţ de buzunare prinzîndu-i mîna în portofelul care i se pare acestuia plin de ace și în tren, unde dansează ca ielele în pădure pentru a-și proteja nepoata de atenţiile unor călători cam beţi. Bunica pare desprinsă dintr-unul din basmele acelea în care zîna cea bună sau Sfînta Vineri îi dezvăluie eroului un secret sau o cale de a depăși obstacolele, arătîndu-i Emmei pasajul de trecere din lumea neagră în care se scufundase după moartea părinţilor spre o lume magică și stranie, în care poate trăi aproape de ei, fie și numai în amintire.
Magice sînt casa și curtea bunicii, sau ca să împrumut un termen al lui Mircea Eliade, spaţii sacre, unde orice se poate întîmpla, bunica însăși avînd puteri aproape absolute, învăţîndu-și nepoata să vadă, să audă și să facă lucruri pe care nimeni altcineva nu le poate vedea, auzi sau face: să surprindă cu coada ochiului sau în reflexia unei vitrine umbra bunicului mort în împrejurări suspecte chiar înainte de revoluţie, să asculte plînsetul unui copil ucis cu mai bine de patruzeci de ani în urmă, să se elibereze de toate grijile, dorul, durerea, desenîndu-le în făină, toate acestea făcînd parte din ritualul aducerii-aminte, pentru că „trebuie să ne amintim totul, pentru că doar atât avem, ceea ce ne amintim, ceea ce uităm nu mai există, dispare din trecut, dispare de pe lume”:
Lemnul scârțâie sub unghia mea, în jurul degetului meu ninge cu făină, chipul Tatei îl desenez în făină, e încruntat, însă știu că nu pe mine e supărat, pe alții e supărat, pe mine mă iubește. Știu că în spatele încruntării se află un zâmbet, știu că aș putea să și desenez acel zâmbet, n-o fac, stau, privesc, apoi desenez și chipul Mamei, nu numai degetul mă doare, ci și brațul, și spatele, și picioarele, atât de tare apăs cu degetul, încât toate mă dor. Chipul Mamei e trist, însă știu că nu din cauza mea, iar dincolo de tristețea ei se ascunde pe undeva și bucuria, mă uit la ei și ei se uită la mine din făină.
Încetul cu încetul, Emma învaţă să-și iubească bunica, în ciuda informaţiilor din lumea „profană” care vor s-o transforme într-o Baba Cloanţa care și-ar fi denunţat ginerele, determinînd-o pe fiica ei să plece de acasă, sau care ar fi fost turnătoare la Securitate, și în ciuda demonilor interiori care n-o lasă să uite că și-a trădat cea mai bună prietenă, dînd-o pe pe mîna nemţilor. Deși bunica are o explicaţie pentru fiecare dintre aceste jumătăţi de adevăruri (e adevărat că se temea că ginerele ei ar fi putut să-i bage pe toți în bucluc dar nu l-ar fi putut denunţa niciodată, pentru că știa cît îl iubea fata ei, e adevărat că a informat Securitatea, dar numai despre lucruri neesențiale, deja știute de ei și numai pentru ca bunicul, abia întors din închisoare, să fie lăsat în pace, iar pe prietena ei, pe care o ascunsese în magazie, a trădat-o doar în ultimul ceas, ca să-și salveze părinţii de la moarte), pînă la urmă Emma nu are nevoie de aceste justificări ca s-o iubească, și îşi dovedește această dragoste salvînd-o la rîndul ei, exact ca în poveste, prin intermediul animalelor/ insectelor recunoscătoare (furnici, vulpi), al obiectelor magice (ghiocul) și al gesturilor ritualice. Mai întîi îi alină suferinţa provocată de „omul cel rău” care-i rupsese în bucăţele ultima scrisoare a bunicului înainte de a apuca să o citească, reconstituind-o cu ajutorul furnicilor pe care le ferise cîndva de înec, apoi o salvează de mînia unui grup de muncitori furioși care voiau s-o interogheze despre arhivele Securităţii cu ajutorul vulpilor pe care le eliberase din captivitate și care-i arată unde era ascuns camionul cu dosare și a treia oară o aduce înapoi din moarte, prin puterea gîndului si a gestului magic:
Îi strâng mâna între palme, știu ce-ar trebui să fac, ar trebui să-i apăs inelarul în zăpadă, făcându-l să deseneze fulgere și flori, să deseneze soare, să deseneze lună, îi privesc fața, dincolo de ridurile ei văd chipul Mamei, chipul meu. Ar trebui să mă răstesc la ea, să-i lovesc inelul de capota ninsă, să-i poruncesc să trăiască, asta ar trebui.
Îi las mâna, mă dau un pas înapoi.
Ochii Bunicii se deschid.
Lumea miraculoasă a Rugului, formată din fragmente de legendă, de basm și de eresuri atît creștine cît și evreiești (apare chiar și un golem la un moment-dat), sparte de istoria necruţătoare dar reconstituite apoi cu răbdare, ca ulciorul bunicului, în mit, mi-a amintit un pic de lumea Uriașului îngropat al lui Kazuo Ishiguro. O lume de descoperit neapărat, un roman de citit absolument.
December 9, 2021
Na začiatku príbehu sa spoznávame s trinásťročnou Emmou, ktorá stratila oboch rodičov. V detskom domove, kde žije, sa nečakane objaví stará mame, o ktorej existencii netušila. Vezme ju k sebe a počiatočné napätie medzi nimi sa postupne rozpúšťa a pred nami sa odhaľujú príbehy, hriechy a traumy minulosti, vyťahujú sa kostlivci zo skrine.
Miestom príbehu je fiktívne mesto v Sedmohradsku v čase pádu totality a zúčtovania s jeho pozostatkami. Emma na hranici detstva a dospelosti spoznáva svet okolo seba a začína vnímať aj iné hranice, slobody a neslobody. Hrdinka sa dostáva do situácií, ktoré sa odohrávajú na pomedzí všetkých rozmerov - prirodzeného, neprirodzeného, ba dokonca až nadprirodzeného. Text je silne poznačený prvkami magického realizmu a často je veľmi ťažké odlíšiť realitu od skutočnosti.
Kniha zaručene nesadne každému, no mne prišla neskutočne originálna. Román je napísaný neobvyklým štýlom, bez priamej reči, no napriek tomu veľmi čítavý.
Miestom príbehu je fiktívne mesto v Sedmohradsku v čase pádu totality a zúčtovania s jeho pozostatkami. Emma na hranici detstva a dospelosti spoznáva svet okolo seba a začína vnímať aj iné hranice, slobody a neslobody. Hrdinka sa dostáva do situácií, ktoré sa odohrávajú na pomedzí všetkých rozmerov - prirodzeného, neprirodzeného, ba dokonca až nadprirodzeného. Text je silne poznačený prvkami magického realizmu a často je veľmi ťažké odlíšiť realitu od skutočnosti.
Kniha zaručene nesadne každému, no mne prišla neskutočne originálna. Román je napísaný neobvyklým štýlom, bez priamej reči, no napriek tomu veľmi čítavý.
May 12, 2021
uhh. see oli valus, aga see oli hea.
kuna autor on ungarlane ja ma ette väga ei uurinud, kus ja millal see lugu toimub, siis olin alguses mitmel moel segaduses, sest Ungari ajaloost justkui ei meenunud selliseid sündmusi, pluss kuidagi vanaaegne tunne oli (pidevad paralleelid tekkisid Magda Szabo "Abigailiga", mille tegevus toimus II MS ajal). poole lugemise pealt sain teada, et Dragoman on Rumeenias sündinud ja siis läks see puzzle natuke paremini kokku, et mis diktaator ja mis aeg. aga ju ta ikka meelega nii abstraktseks oligi jäetud, kõik see võinuks juhtuda millal iganes kus iganes. revolutsioon ja kuidas selle järel edasi elada, kes on surnud ja kes on süüdi ja kes võitis ja mis siis nüüd saab.
sekka siis maagilist realismi täpselt parajate peotäite kaupa, igas peatükis juhtus midagi uskumatut, aga kokku oli kõik täiesti usutav. teismeline tüdruk ja ta vanaema ja kõik need mineviku varjud ja leinad, aga samas suurekskasvamine ja armastus ja jooksmine ja joonistamine.
imeline tõlge ka, hästi hea oli lugeda.
kuna autor on ungarlane ja ma ette väga ei uurinud, kus ja millal see lugu toimub, siis olin alguses mitmel moel segaduses, sest Ungari ajaloost justkui ei meenunud selliseid sündmusi, pluss kuidagi vanaaegne tunne oli (pidevad paralleelid tekkisid Magda Szabo "Abigailiga", mille tegevus toimus II MS ajal). poole lugemise pealt sain teada, et Dragoman on Rumeenias sündinud ja siis läks see puzzle natuke paremini kokku, et mis diktaator ja mis aeg. aga ju ta ikka meelega nii abstraktseks oligi jäetud, kõik see võinuks juhtuda millal iganes kus iganes. revolutsioon ja kuidas selle järel edasi elada, kes on surnud ja kes on süüdi ja kes võitis ja mis siis nüüd saab.
sekka siis maagilist realismi täpselt parajate peotäite kaupa, igas peatükis juhtus midagi uskumatut, aga kokku oli kõik täiesti usutav. teismeline tüdruk ja ta vanaema ja kõik need mineviku varjud ja leinad, aga samas suurekskasvamine ja armastus ja jooksmine ja joonistamine.
imeline tõlge ka, hästi hea oli lugeda.
October 6, 2023
🔶۴۷۹صفحه در ۱۲ساعت و ۳۰دقیقه.
🔶«ساحره»، در یک سطح، یک داستان واقعی در یک دنیای واقعیست که در آن یک دختر نوجوان، هم پسلرزههای پس از کمونیسم و هم مسائلی شخصیتر همچون قاعدگی، عشقهای نوجوانی و دوستیها را تجربه میکند و از سوی دیگر، یک داستان جادوییست؛ داستان ارواح و حافظه باستانی. «دراگمان» از عناصر رئالیسم جادویی در کتابش استفاده میکند تا قدرت ذاتی خرافات و آیین را به معنای واقعی کلمه بیان کند. سبکهای روایی متضاد، شیوههای متفاوتی را نشان میدهند که در آن، دو شخصیت آسیبهای مربوط به خود را پردازش میکنند. روایت اولشخص «اما»، خواننده را در حال انزوا نگه میدارد و حس جدایی او را تکرار میکند، درحالیکه داستانهای مادربزرگش از جنگ جهانی دوم در حالت دومشخص حاضر، ناتوانی او را در ادامه راه بازتاب میدهد.
🔶«ساحره» در کشور و شهری بینام در جایی در اروپای شرقی، پس از انقلابی مشابه انقلابی که به کمونیسم رومانیایی پایان داد اتفاق میافتد؛ در دسامبر ۱۹۸۹، یک هفته شورش و خشونت دولت را سرنگون کرد و منجر به اعدام دیکتاتور رومانی «نیکولای چائوشسکو» در روز کریسمس شد و نا��هان کشور را متحول کرد. «ساحره» از آن دست کتابهاییست که شاید کمتر کتابی مشابه آن را خوانده باشید، شروعش که میکنید یک چیز است و ادامهاش که میدهید به چیز دیگری تبدیل میشود، در خوانندهاش رشد میکند. شاید فکر کنید که یک فانتزیست درباره کشوری پس از یک انقلاب اما میبینید که داستانیست زنده با زیروبمهای رئالیسم جادویی و روایت اول شخص حاضرش کاری با خوانندهاش میکند که انگار در درون ذهن راوی سیزدهسالهاش قرار میگیرد. گفتمان استدلالی «دراگمان» به او این اجازه را میدهد تا تشابهاتی بین دردهای رو به رشد دوران نوجوانی راویاش و دردهایی که کشورش در تلاش برای بازسازی خود در پی فروپاشی کمونیسم احساس میکند، ترسیم کند.
🔶«اما» دختر سیزدهسالهایست که پس از مرگ پدر و مادرش در یک سانحه رانندگی، در یک یتیمخانه زندگی میکند با این تفکر هیچکس را ندارد و همهچیز از جایی شروع میشود که پای مادربزرگ نداشتهاش به داستان باز میشود. زنی سرد و عجیب که «اما» را به خانهی خود میبرد. همهچیز برای «اما» علیالسویه است: نوجوانی، یک شهر جدید، یک خانهی جدید، تغییر رژیم. و در چنین زمانه متزلزلیست که خرافات زیر خاکستر مانده راحتتر به سطح میآیند و باعث میشوند که عادی به نظر خارقالعاده بنظر برسد و بالعکس و نتیجه، نه آنقدر که داستانی در سبک رئالیسم جادویی سنتی، بلکه کلاس درسی ۴۷۹صفحهای در مرتبتی رازگونه است.
🔶۴۷۹صفحه در ۱۲ساعت و ۳۰دقیقه.
🔶«ساحره»، در یک سطح، یک داستان واقعی در یک دنیای واقعیست که در آن یک دختر نوجوان، هم پسلرزههای پس از کمونیسم و هم مسائلی شخصیتر همچون قاعدگی، عشقهای نوجوانی و دوستیها را تجربه میکند و از سوی دیگر، یک داستان جادوییست؛ داستان ارواح و حافظه باستانی. «دراگمان» از عناصر رئالیسم جادویی در کتابش استفاده میکند تا قدرت ذاتی خرافات و آیین را به معنای واقعی کلمه بیان کند. سبکهای روایی متضاد، شیوههای متفاوتی را نشان میدهند که در آن، دو شخصیت آسیبهای مربوط به خود را پردازش میکنند. روایت اولشخص «اما»، خواننده را در حال انزوا نگه میدارد و حس جدایی او را تکرار میکند، درحالیکه داستانهای مادربزرگش از جنگ جهانی دوم در حالت دومشخص حاضر، ناتوانی او را در ادامه راه بازتاب میدهد.
🔶«ساحره» در کشور و شهری بینام در جایی در اروپای شرقی، پس از انقلابی مشابه انقلابی که به کمونیسم رومانیایی پایان داد اتفاق میافتد؛ در دسامبر ۱۹۸۹، یک هفته شورش و خشونت دولت را سرنگون کرد و منجر به اعدام دیکتاتور رومانی «نیکولای چائوشسکو» در روز کریسمس شد و نا��هان کشور را متحول کرد. «ساحره» از آن دست کتابهاییست که شاید کمتر کتابی مشابه آن را خوانده باشید، شروعش که میکنید یک چیز است و ادامهاش که میدهید به چیز دیگری تبدیل میشود، در خوانندهاش رشد میکند. شاید فکر کنید که یک فانتزیست درباره کشوری پس از یک انقلاب اما میبینید که داستانیست زنده با زیروبمهای رئالیسم جادویی و روایت اول شخص حاضرش کاری با خوانندهاش میکند که انگار در درون ذهن راوی سیزدهسالهاش قرار میگیرد. گفتمان استدلالی «دراگمان» به او این اجازه را میدهد تا تشابهاتی بین دردهای رو به رشد دوران نوجوانی راویاش و دردهایی که کشورش در تلاش برای بازسازی خود در پی فروپاشی کمونیسم احساس میکند، ترسیم کند.
🔶«اما» دختر سیزدهسالهایست که پس از مرگ پدر و مادرش در یک سانحه رانندگی، در یک یتیمخانه زندگی میکند با این تفکر هیچکس را ندارد و همهچیز از جایی شروع میشود که پای مادربزرگ نداشتهاش به داستان باز میشود. زنی سرد و عجیب که «اما» را به خانهی خود میبرد. همهچیز برای «اما» علیالسویه است: نوجوانی، یک شهر جدید، یک خانهی جدید، تغییر رژیم. و در چنین زمانه متزلزلیست که خرافات زیر خاکستر مانده راحتتر به سطح میآیند و باعث میشوند که عادی به نظر خارقالعاده بنظر برسد و بالعکس و نتیجه، نه آنقدر که داستانی در سبک رئالیسم جادویی سنتی، بلکه کلاس درسی ۴۷۹صفحهای در مرتبتی رازگونه است.
December 28, 2019
Kedysi, po prečítaní "Bieleho kráľa", som si povedal, Dragomán je génius, napísal dokonalý, nádherný román. Po prečítaní "Hranice" si vnútorne hovorím, Dragomán je "king", napísal možno ešte lepší "kus". Toto je uhrančivá kniha o (nielen rumunskom) komunizme, o tom, že stať sa sudcom môže byť hrozivým bremenom. V knihe bez priamej reči je toľko krásnych rozhovorov, že až mrazí, knihou sa ako niť ťahá čarovný magický realizmus bosoráctiev starej mamy v rozprávaní vnučky, ktorá postupne spoznáva a začína chápať desivosť a zložitosť okolitého sveta.
September 16, 2020
Osobne mi nesadol štýl. Žiadna priama reč. Nedokázala som sa sústrediť na dej. Ešte mám jednu knihu z tejto edície, tak uvidím. Možno jednoducho tento výber nie je pre mňa. Ani konanie hlavnej hrdinky mi nedávalo zmysel. Okolo nej sa dejú čudné veci a ona sa nad ničím nepozastaví.
January 28, 2022
Kniha prešpikovaná bosoráctvom, prelínanie minulosti s prítomnosťou, 2. svetová vojna, komunizmus, súčasnosť podaná ešte dieťaťom - všetko tu krásne fungovalo a nič nevyrušovalo. O tejto knihe sa hovorí menej, akoby si zaslúžila. Akurát Marquéza mi to teda nepripomínalo, nato je to príliš východoeurópske.
May 5, 2021
2.5 stars.
Though there was a great premise for this book, there were some problems with the execution. I think my experience would have been vastly improved had I been able to read it in the original Hungarian. There is always that possibility of losing the power of writing and context in translation and that may have been a large part of my issue here. In fact, there are some clear issues with the translation. Some pieces do not make sense and there are some obvious inconsistencies/errors in the construction of sentences. Even the title is technically incorrect. The translation of the Hungarian title to English should be Bonfire, not The Bone Fire. Though I suppose a stretch could help The Bone Fire make sense as well, I question which the author intended for the English release.
As it was presented, there were some fantastically written parts to it and I can see why Dragoman is considered a great author. The pieces come together a bit haphazardly, as if constructed in vignettes rather than a continuous plot, but things do weave together once you get a feel for the book. I did struggle to make it from beginning to end though, as I was frequently lost or confused by what exactly was happening. This could be a factor of how the book was originally written, or it could again be something of a construct caused by translation. It is very difficult to tell. Either way, this disjointed nature dragged down the pacing of the plot for me and prevented me from truly getting immersed in the story.
I did appreciate the magical realism elements to the story and wanted more explanation of these parts. There were a lot of things left hanging and I could have perhaps grown more attached to the characters and events if my understanding had been greater. This was also the case for the ending. It was apparently designed to be somewhat open ended (which I do struggle with on occasion), but it was also abrupt. There was a lot of tension and building in the last few pages of the book and then it just stopped. I honestly wondered if I wasn't missing a piece of my file (read as an e-book) until I read reviews that indicated the same issue.
I have a hard time saying I wouldn't recommend this book...for two reasons. 1. I do not have any Romanian background and don't understand the history of this region very well. This make speak much more to someone who does have that connection. 2. I don't speak Hungarian. I really think that someone who is able to read the book in its original state would be likely to enjoy it. I think that this experience may have created additional understanding in the story that would have lead me to bump my rating up by a star or more.
* Disclaimer: I received a copy of this novel from the publisher in exchange for an honest review. *
Though there was a great premise for this book, there were some problems with the execution. I think my experience would have been vastly improved had I been able to read it in the original Hungarian. There is always that possibility of losing the power of writing and context in translation and that may have been a large part of my issue here. In fact, there are some clear issues with the translation. Some pieces do not make sense and there are some obvious inconsistencies/errors in the construction of sentences. Even the title is technically incorrect. The translation of the Hungarian title to English should be Bonfire, not The Bone Fire. Though I suppose a stretch could help The Bone Fire make sense as well, I question which the author intended for the English release.
As it was presented, there were some fantastically written parts to it and I can see why Dragoman is considered a great author. The pieces come together a bit haphazardly, as if constructed in vignettes rather than a continuous plot, but things do weave together once you get a feel for the book. I did struggle to make it from beginning to end though, as I was frequently lost or confused by what exactly was happening. This could be a factor of how the book was originally written, or it could again be something of a construct caused by translation. It is very difficult to tell. Either way, this disjointed nature dragged down the pacing of the plot for me and prevented me from truly getting immersed in the story.
I did appreciate the magical realism elements to the story and wanted more explanation of these parts. There were a lot of things left hanging and I could have perhaps grown more attached to the characters and events if my understanding had been greater. This was also the case for the ending. It was apparently designed to be somewhat open ended (which I do struggle with on occasion), but it was also abrupt. There was a lot of tension and building in the last few pages of the book and then it just stopped. I honestly wondered if I wasn't missing a piece of my file (read as an e-book) until I read reviews that indicated the same issue.
I have a hard time saying I wouldn't recommend this book...for two reasons. 1. I do not have any Romanian background and don't understand the history of this region very well. This make speak much more to someone who does have that connection. 2. I don't speak Hungarian. I really think that someone who is able to read the book in its original state would be likely to enjoy it. I think that this experience may have created additional understanding in the story that would have lead me to bump my rating up by a star or more.
* Disclaimer: I received a copy of this novel from the publisher in exchange for an honest review. *
June 7, 2021
This book was unlike anything else I've read. It takes place sometime roughly two generations after World War II, in what feels like a western European country trying to find its footing after the fall of a dictatorship. However, I don't believe the specific time period, or country, is ever mentioned, and this gives the book a timeless quality.
What I really loved about this book is the way magic is handled. It is instilled into every aspect of everyday life. Every mundane household task seems to be instilled with some deeper meaning and a hidden magic. Grandmother passes on important skills, life lessons, stories, and magical rituals to the main character in equal measure and we see her pick up a natural instinct for integrating magic into her life by following her grandmother's example. I don't think the word magic is actually used once in the text, the magical things that Emma experiences are described just as matter-of-factly as anything else that happens around her. In fact, in many instances the events happening in the village where Emma lives are much stranger and more unexplainable than any of the magic described.
This book was written in a very interesting style. I don't know how much was intentional and how much was due to it being a translation. Sometimes this helped me get more into the story. In many instances you really felt like you were in the head of a 12 or 13-year-old girl, getting a stream-of-consciousness view of her thoughts. There are big blocks of text, not broken up by dialogue. There are no quotation marks or line breaks for the dialogue. Emma just tells us what is said, as if it is as much a part of her own inner monologue as her own thoughts. One thing that pulled me out of the text was the repetitive sentence structure. Almost every sentence is written in an identical structure. I say..., I stop...., I go..., I run... It gets a little distracting after a while.
I would say this book is a perfect fit for someone looking for something different. I would probably suggest it to someone who likes historical fiction but wants to branch out, rather than a hard-core fantasy fan.
What I really loved about this book is the way magic is handled. It is instilled into every aspect of everyday life. Every mundane household task seems to be instilled with some deeper meaning and a hidden magic. Grandmother passes on important skills, life lessons, stories, and magical rituals to the main character in equal measure and we see her pick up a natural instinct for integrating magic into her life by following her grandmother's example. I don't think the word magic is actually used once in the text, the magical things that Emma experiences are described just as matter-of-factly as anything else that happens around her. In fact, in many instances the events happening in the village where Emma lives are much stranger and more unexplainable than any of the magic described.
This book was written in a very interesting style. I don't know how much was intentional and how much was due to it being a translation. Sometimes this helped me get more into the story. In many instances you really felt like you were in the head of a 12 or 13-year-old girl, getting a stream-of-consciousness view of her thoughts. There are big blocks of text, not broken up by dialogue. There are no quotation marks or line breaks for the dialogue. Emma just tells us what is said, as if it is as much a part of her own inner monologue as her own thoughts. One thing that pulled me out of the text was the repetitive sentence structure. Almost every sentence is written in an identical structure. I say..., I stop...., I go..., I run... It gets a little distracting after a while.
I would say this book is a perfect fit for someone looking for something different. I would probably suggest it to someone who likes historical fiction but wants to branch out, rather than a hard-core fantasy fan.
June 28, 2020
I received an ARC of this book from NetGalley in exchange for an honest review. And I am really glad I did :)
The Bone Fire is, honestly, a really disturbing read, mainly due to the depiction of totalitarianism. It manages to transport you directly into the time and situation. And it made me want to research the actual facts because while reading those blend into the background. The politics are not the main topic, just the backdrop. The story offers magical realism and coming-of-age elements.
I loved the Grandmother, hated the parents. Emma is a lovable character as well and I thought that her transition into teenage/adulthood with all her experiences (parents and politics) was interesting to see and really well integrated in the plot.
I am generally a fan of magical realism and that is what got me into reading this book but I have to say that it was not how I would have expected it.
The book is weird, yes, but that contributes to its charme. Nevertheless it fell a little short for me in explaining or solving everything in the end. There were glimpses into either the real happenings (opening of the first supermarket) or Grandmother's memories that sometimes left me a bit at a loss. Maybe I really need to educate myself on communism and the end of it...
What really got me was the scene with Krisztina. Not gonna say more to avoid spoilers, but this was really deep and dark and emotional. Great part of the book!
It's a good book but the underlying topics are difficult and it is not an easy-going reading experience. In addition to what I would describe as incomplete magical realism, a lot of basic explanations were missing. All of that leads to me giving 3 stars.
The Bone Fire is, honestly, a really disturbing read, mainly due to the depiction of totalitarianism. It manages to transport you directly into the time and situation. And it made me want to research the actual facts because while reading those blend into the background. The politics are not the main topic, just the backdrop. The story offers magical realism and coming-of-age elements.
I loved the Grandmother, hated the parents. Emma is a lovable character as well and I thought that her transition into teenage/adulthood with all her experiences (parents and politics) was interesting to see and really well integrated in the plot.
I am generally a fan of magical realism and that is what got me into reading this book but I have to say that it was not how I would have expected it.
The book is weird, yes, but that contributes to its charme. Nevertheless it fell a little short for me in explaining or solving everything in the end. There were glimpses into either the real happenings (opening of the first supermarket) or Grandmother's memories that sometimes left me a bit at a loss. Maybe I really need to educate myself on communism and the end of it...
What really got me was the scene with Krisztina. Not gonna say more to avoid spoilers, but this was really deep and dark and emotional. Great part of the book!
It's a good book but the underlying topics are difficult and it is not an easy-going reading experience. In addition to what I would describe as incomplete magical realism, a lot of basic explanations were missing. All of that leads to me giving 3 stars.
March 2, 2021
*Thank you Netgalley and the publisher for providing me with a copy of this book for review all opinions are my own*
This book was so hard to read, I thought it would never end.
This is not a book for everyone, I think it is for a very specific audience, as I wanted to read something different I kept reading even when I didn't want to anymore.
This is not a bad book, just very different from everything I've read, it doesn't have a plot in it, it tells the story of a girl who lost her parents and goes to live with her grandmother she never met before.
We basically followed the girl's life while she is discovering the world and her grandmother's story as well as understanding the world.
For me, it was a very confusing book but I can't say if it was because of the translation or the writing of the author himself.
In the end, I don't regret reading the book because even though it took me almost two weeks to finish it I actually liked it as incredible as it seems!
This book was so hard to read, I thought it would never end.
This is not a book for everyone, I think it is for a very specific audience, as I wanted to read something different I kept reading even when I didn't want to anymore.
This is not a bad book, just very different from everything I've read, it doesn't have a plot in it, it tells the story of a girl who lost her parents and goes to live with her grandmother she never met before.
We basically followed the girl's life while she is discovering the world and her grandmother's story as well as understanding the world.
For me, it was a very confusing book but I can't say if it was because of the translation or the writing of the author himself.
In the end, I don't regret reading the book because even though it took me almost two weeks to finish it I actually liked it as incredible as it seems!
December 4, 2017
This was amazing, heartbreaking and magical at the same time. The story discusses the time communism has ended and everyone is nuts blaming the others and find the sneaks but what it makes it just so damn good is that the focus is constantly on the orphan Emma and her witchy grandmother doing magic all the time. We get to know her grandmother's life during World War II as well, I manly confess that those scenes made me cry all the time. But there are so many fantastic events happenning in this novel as well, scenes that burn in your mind, and the author writes in such a "visual" style, I mean, even the most surreal scenes were described so well that I could almost see them in front of me. I think that's a very rare thing.
April 9, 2020
Tato kniha ku mne prisla v pravom case, ked som si potrebovala napravit chut po dvoch slabsich knihach. Vyborne vykresleny charakter 13-rocnej hrdinky, ktora sa po smrti rodicov dostala ku svojej starej mame, o ktorej dovtedy ani len nevedela, ze zije. Zo zaciatku citit napatie v ich vztahu, ktore pomaly povoluje, ale zaroven s tym rastie napatie, ktore vyplyva zo situacie v meste. A postupne sa dozvedame davnejsiu aj nedavnejsiu historiu pomoci, zrady a lasky. Zasadenie do rumunskeho mestecka v case padu totality v kombinacii s velmi silnymi prvkami magickeho realizmu je naozaj dokonale. Toto je jedna z najlepsich knih, ktoru som tento rok precitala.
December 20, 2020
"Tuleriit" on kindlasti üks mu selle aasta suurimaid lugemiselamusi. Oleks rohkem selliseid noorteraamatuid, mis räägivad kohandumisest ja arengust nii täpselt ja kaasahaaravalt.
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