Szilárd Borbély (1963–2014)
Autor(a) de The Dispossessed
About the Author
Obras por Szilárd Borbély
Egy gyilkosság mellékszálai 1 exemplar
Etiquetado
Conhecimento Comum
- Data de nascimento
- 1963-11-01
- Data de falecimento
- 2014-02-19
- Sexo
- male
- Nacionalidade
- Hungary
Membros
Críticas
The Dispossessed: A Novel por Szilárd Borbély
True literary master piece
Mondok egy meredeket: Kafka nem elsősorban író. (Mondjuk valószínűleg a legtöbb író sem "elsősorban" az, legfeljebb az olvasói számára.) Kafka elsősorban kisebbség*. Német a csehek között, zsidó a prágai németek között, hivatalnok a bohém irodalmárok között, közép-európai az európaiak között. Ez a fajta kisebbségi életérzés adja meg a Kafka-univerzum velejét: az, hogy az individuum olyan szabályoknak van alávetve, amelyeket nem ért, amelyek igazából másokra vannak szabva. Ez egyfajta kozmikus magány és végső kiszolgáltatottság. Az, hogy Borbély pont Kafka-könyvet írt, nyilván jelentéssel bíró információ. Az események tükrében talán túlzottan is az. És azt hiszem, itt nem csak arról van szó, hogy Borbély Kafkáról ír - ez inkább tűnik az azonosulás aktusának. Az életrajzi tények elmosása, a szerző valóságának átszüremlése a regényidőbe, mind-mind arra utal, hogy itt egyfajta összeolvadásnak vagyunk tanúi.
Vagy nem arra utal.
Mert nem lehetünk biztosak benne, mi is volt az írói koncepció. Látjuk a töredezettséget, hogy a szöveg szürreális kafkai anekdotákká esik szét, de nem tudhatjuk, Borbély mit akart kihozni ebből. Mi volt a terv, és hogy volt-e a tervhez elegendő írói erő. Valószínűleg több súlyt kapott volna apa és fia kapcsolata, és talán többet idözünk Kafka élettől való eltávolodásánál. Tragédia, hogy sosem derül ki, milyen lenne ez a regény a maga kidolgozottságában - a torzó mindenesetre azt sejteti, hogy atmoszférában és gondolatiságban is izgalmas, nagyszabású dologtól lettünk megfosztva. Torzót mindazonáltal nem tudok, nem akarok pontozni.
* Kisebbségekről jut eszembe: nőjön lábköröm Orbán Viktor szemhéjára, belülről. Ezt így kozmikus jószándéktól eltelve mondom.… (mais)
Vagy nem arra utal.
Mert nem lehetünk biztosak benne, mi is volt az írói koncepció. Látjuk a töredezettséget, hogy a szöveg szürreális kafkai anekdotákká esik szét, de nem tudhatjuk, Borbély mit akart kihozni ebből. Mi volt a terv, és hogy volt-e a tervhez elegendő írói erő. Valószínűleg több súlyt kapott volna apa és fia kapcsolata, és talán többet idözünk Kafka élettől való eltávolodásánál. Tragédia, hogy sosem derül ki, milyen lenne ez a regény a maga kidolgozottságában - a torzó mindenesetre azt sejteti, hogy atmoszférában és gondolatiságban is izgalmas, nagyszabású dologtól lettünk megfosztva. Torzót mindazonáltal nem tudok, nem akarok pontozni.
* Kisebbségekről jut eszembe: nőjön lábköröm Orbán Viktor szemhéjára, belülről. Ezt így kozmikus jószándéktól eltelve mondom.… (mais)
Encara que moltes vegades el volia deixar de llegir per la cruesa del relat i el fàstic que algunes coses explicades em feien, la escriptura curta i concisa del autor em va tenir completament enganxada. He rellegit moltes parts. Un nen d'uns 6 anys explica els seus sentiments sobre tot allò que l'envolta, família , gana, misèria... el sentiment de ser diferent en un poble de la frontera d'Hongria amb Romania.
When I came to Berlin, I no
longer
wanted to live. Why isn't
there a way, I thought, if
someone doesn't want to live
any more, simply to
disappear."
In "Berlin-Hamlet" by Szilárd Borbély, Ottilie Mulzet (Translator)
"I do not believe in poetry"
In "Berlin-Hamlet" by Szilárd Borbély, Ottilie Mulzet (Translator)
"I can no longer bear the aggressiveness of poetry,
and I do not wish my deeds to be investigated."
In "Berlin-Hamlet" by Szilárd Borbély, Ottilie Mulzet (Translator)
"My need is for those who will know/how/all of this will end."
In "Berlin-Hamlet" by Szilárd Borbély, Ottilie Mulzet (Translator)
I can't give any more quotes...The book is a long quote.
After having finished reading this heart-wrenching poetry book, my thoughts come back to Hamlet, as always. It's always about indecision...
Borbély is masterfully able to give us this indecision in a modern version.
The Hamlet's main soliloquy reflects the character's conflict and uncertainty after his father's ghost has told him of the sins of his mother and the crimes of his uncle, and he's asking himself what best to do with that knowledge. The best point for this introspection can be debated and played with. It isn't likely that treating it as Hamlet's greatest hit and getting it out of the way first thing is appropriate for character development. Although I haven't seen the production and it may be awesome. But the soliloquy really doesn't refer to his particular situation at that particular moment. There are no first person pronouns in it at all, and his other soliloquies are much more specific about what's happening to him. It is a generalised piece of philosophical thinking. Beautiful, insightful and compassionate, it may be, but it isn't a man deciding whether to kill himself or not. It isn't even especially emotional: there are no exclamations in it (two of his other soliloquies begin "oh").
It isn't an accident that the line 'to be or not to be' is such a passive, neutral construction; it's a meditation on the human condition, not a great emotional outpouring. It only touches Hamlet's own case, and then obliquely, when it gets to "lose the name of action" right at the end. And it's really not anchored very securely in Act III, since nothing immediately before it seems to provoke it, and it isn't the cause of anything that directly follows. I think it might work well as a prologue (though I don't know how well this production made it work). It might set the whole up thematically. Olivier in his film used a different speech as prologue, and added his own words: "this is the story of a man who could not make up his mind" (doesn't he also move "to be or not to be"? - Sacrilege!
It's perfectly possible for a specific individual to make a general philosophical argument, especially if it is entirely in keeping with their character. Hamlet is intelligent and skeptical, a thoughtful student and scholar. All of that is reflected in the way he thinks. You can't imagine Laertes ever having these thoughts. It is the generalisation within the speech that makes it so effective. Hamlet isn't just talking about his own situation (in fact he doesn't really mention it at all) he's talking about all of our lives and doubts. "... And makes us rather bear those ills we have, than fly to others that we know not of," is a wonderful way of turning the whole argument out towards the audience. The context is of a man capable of such extraordinary philosophical thought, trapped within this destructive narrative of revenge. Szilard played with an un-fucked-about version of Hamlet, but he still fucked with my head. Everybody fucks about with the words and rightly so. That's what makes this kind of stuff so gut-wrenching.
Should have gone with "the rest is silence". God, I hate this kind of poetry...5 stars because of that. I'll say no more...
NB: This collection was published in the original Hungarian in 2003 and this English version has been translated by Ottilie Mulzet.
NB2: If you want to hear what this particular soliloquy sounds like, look no farther. I built an Android App where you can find all the classical actors reciting it:
Kenneth Branagh
John Gielgud
Laurence Olivier
Derek Jacobi
Paul Scofield
David Tennant
Christopher Plummer
Ethan Hawke
Kevin Kleine
Ben Crystal
William Belchambers
Richard Burton
Vincent Price
Mel Gibson
Toby Stephens.
APP at the Goople Play Store (SEE LINK ON MY BLOG).… (mais)
longer
wanted to live. Why isn't
there a way, I thought, if
someone doesn't want to live
any more, simply to
disappear."
In "Berlin-Hamlet" by Szilárd Borbély, Ottilie Mulzet (Translator)
"I do not believe in poetry"
In "Berlin-Hamlet" by Szilárd Borbély, Ottilie Mulzet (Translator)
"I can no longer bear the aggressiveness of poetry,
and I do not wish my deeds to be investigated."
In "Berlin-Hamlet" by Szilárd Borbély, Ottilie Mulzet (Translator)
"My need is for those who will know/how/all of this will end."
In "Berlin-Hamlet" by Szilárd Borbély, Ottilie Mulzet (Translator)
I can't give any more quotes...The book is a long quote.
After having finished reading this heart-wrenching poetry book, my thoughts come back to Hamlet, as always. It's always about indecision...
Borbély is masterfully able to give us this indecision in a modern version.
The Hamlet's main soliloquy reflects the character's conflict and uncertainty after his father's ghost has told him of the sins of his mother and the crimes of his uncle, and he's asking himself what best to do with that knowledge. The best point for this introspection can be debated and played with. It isn't likely that treating it as Hamlet's greatest hit and getting it out of the way first thing is appropriate for character development. Although I haven't seen the production and it may be awesome. But the soliloquy really doesn't refer to his particular situation at that particular moment. There are no first person pronouns in it at all, and his other soliloquies are much more specific about what's happening to him. It is a generalised piece of philosophical thinking. Beautiful, insightful and compassionate, it may be, but it isn't a man deciding whether to kill himself or not. It isn't even especially emotional: there are no exclamations in it (two of his other soliloquies begin "oh").
It isn't an accident that the line 'to be or not to be' is such a passive, neutral construction; it's a meditation on the human condition, not a great emotional outpouring. It only touches Hamlet's own case, and then obliquely, when it gets to "lose the name of action" right at the end. And it's really not anchored very securely in Act III, since nothing immediately before it seems to provoke it, and it isn't the cause of anything that directly follows. I think it might work well as a prologue (though I don't know how well this production made it work). It might set the whole up thematically. Olivier in his film used a different speech as prologue, and added his own words: "this is the story of a man who could not make up his mind" (doesn't he also move "to be or not to be"? - Sacrilege!
It's perfectly possible for a specific individual to make a general philosophical argument, especially if it is entirely in keeping with their character. Hamlet is intelligent and skeptical, a thoughtful student and scholar. All of that is reflected in the way he thinks. You can't imagine Laertes ever having these thoughts. It is the generalisation within the speech that makes it so effective. Hamlet isn't just talking about his own situation (in fact he doesn't really mention it at all) he's talking about all of our lives and doubts. "... And makes us rather bear those ills we have, than fly to others that we know not of," is a wonderful way of turning the whole argument out towards the audience. The context is of a man capable of such extraordinary philosophical thought, trapped within this destructive narrative of revenge. Szilard played with an un-fucked-about version of Hamlet, but he still fucked with my head. Everybody fucks about with the words and rightly so. That's what makes this kind of stuff so gut-wrenching.
Should have gone with "the rest is silence". God, I hate this kind of poetry...5 stars because of that. I'll say no more...
NB: This collection was published in the original Hungarian in 2003 and this English version has been translated by Ottilie Mulzet.
NB2: If you want to hear what this particular soliloquy sounds like, look no farther. I built an Android App where you can find all the classical actors reciting it:
Kenneth Branagh
John Gielgud
Laurence Olivier
Derek Jacobi
Paul Scofield
David Tennant
Christopher Plummer
Ethan Hawke
Kevin Kleine
Ben Crystal
William Belchambers
Richard Burton
Vincent Price
Mel Gibson
Toby Stephens.
APP at the Goople Play Store (SEE LINK ON MY BLOG).… (mais)
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Associated Authors
Estatísticas
- Obras
- 16
- Membros
- 185
- Popularidade
- #117,260
- Avaliação
- 3.7
- Críticas
- 8
- ISBN
- 39
- Línguas
- 8