The foreign , Sandor Marai
existential wandering under a blazing sun. Friendly Zweig, Mann and others: be welcome here.
Viktor Henrik Askenazi left Paris for a small station resort on the Adriatic Sea. A "very small place, a refuge, a punishment? Urged by his entourage, Askenazi has gone on holiday to take a distance from a situation that began to trouble the conventions of polite society of the interwar period. How can a man installed, scholar, he could leave on a whim wife and child moved to a hotel with a dancer? A semi-socialite, a cocotte, a stranger. Can we speak of passionate love? Not sure. Askenazi, after exploring its sides possibilities offered by the body, left the dancer, doubting to have found in this sensual odyssey answers to questions that assail. A period of doubt and angst.
The first pages of this novel written in 1934 are dazzling mastery. Writing Marai, Hungarian writer, it portrays a little worn bourgeois society struggling with the heat lead. A world of appearances and narrow sense - it is far from the roaring twenties - which denotes Askenazi deeply. Following the novel offers introspection the character who tries to understand and calm their anxieties. He returned to the meeting with the dancer, the reactions of those around him and what we now call depression. Things and beings are no longer sense the crowd seems a mass ready to pillory those who try to extract it, heat scale and madness lurking.
In reading this novel, is obviously thinking of other authors of Mitteleuropa who have dedicated their works to the description of how modern man: ZWEIG, Kafka and Mann (and especially its Death in Venice which we find here the heat and unreason). The character who gradually becomes aware of the absurdity of his existence will also think of Meursault and it is amusing to note that the course of it looks strong enough to the hero of The foreign . (Note that the title orginał, "A Sziget" ("The Island") is, in my opinion, but certainly less Camusian much more faithful to the novel).
style Marai promptly impose a total intimacy with the character while managing to keep a certain distance which, fortunately, sometimes out of the gravity of the philosophical journey. It is ultimately a human portrait of a rich, Tough but a terrible accuracy. A novel
advised by Yohan .
Reference:
Sandor Marai, The foreign , translated from Hungarian by Catherine Albin Michel, 2010.
existential wandering under a blazing sun. Friendly Zweig, Mann and others: be welcome here.
Viktor Henrik Askenazi left Paris for a small station resort on the Adriatic Sea. A "very small place, a refuge, a punishment? Urged by his entourage, Askenazi has gone on holiday to take a distance from a situation that began to trouble the conventions of polite society of the interwar period. How can a man installed, scholar, he could leave on a whim wife and child moved to a hotel with a dancer? A semi-socialite, a cocotte, a stranger. Can we speak of passionate love? Not sure. Askenazi, after exploring its sides possibilities offered by the body, left the dancer, doubting to have found in this sensual odyssey answers to questions that assail. A period of doubt and angst. The first pages of this novel written in 1934 are dazzling mastery. Writing Marai, Hungarian writer, it portrays a little worn bourgeois society struggling with the heat lead. A world of appearances and narrow sense - it is far from the roaring twenties - which denotes Askenazi deeply. Following the novel offers introspection the character who tries to understand and calm their anxieties. He returned to the meeting with the dancer, the reactions of those around him and what we now call depression. Things and beings are no longer sense the crowd seems a mass ready to pillory those who try to extract it, heat scale and madness lurking.
In reading this novel, is obviously thinking of other authors of Mitteleuropa who have dedicated their works to the description of how modern man: ZWEIG, Kafka and Mann (and especially its Death in Venice which we find here the heat and unreason). The character who gradually becomes aware of the absurdity of his existence will also think of Meursault and it is amusing to note that the course of it looks strong enough to the hero of The foreign . (Note that the title orginał, "A Sziget" ("The Island") is, in my opinion, but certainly less Camusian much more faithful to the novel).
style Marai promptly impose a total intimacy with the character while managing to keep a certain distance which, fortunately, sometimes out of the gravity of the philosophical journey. It is ultimately a human portrait of a rich, Tough but a terrible accuracy. A novel
advised by Yohan .
Reference:
Sandor Marai, The foreign , translated from Hungarian by Catherine Albin Michel, 2010.
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