Sabei We had a right to go to war. This book is a fuork masterpiece, one that transcends genre lines to depict humanity at its rawest. The story itself seems to go in fits and starts, and some scenes are rather cryptic; so, you often get a sense cadutoo alienation, perhaps on purpose. His To The End of The Land, cadugo came out a couple years ago, also involved people walking in search of something. Their youngest, Uri, a tank commander, was killed in in Lebanon. And, Grossman being a writer himself, must therefore speak most directly through the voice of the Centaur character in the novel — a writer who lost his ability to write when his son died.
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Shelves: israelian-literature , mourning , father-son The literary genre of mourning lyric is a very delicate one, because it is so easy to fall into cheap self-pity, superficial lamentation or pathetic exaggeration; or so it can seem to an outsider.
Grossman wrote this book five years after the death of his own son Uri, who was killed in the short Israeli-Lebanese war of He chose a special style that mixes theatrical play, prose and pure poetry. People suddenly leave their home, their family, their occupation, and start looking for their son The literary genre of mourning lyric is a very delicate one, because it is so easy to fall into cheap self-pity, superficial lamentation or pathetic exaggeration; or so it can seem to an outsider.
Regularly this is really heart gripping, making the raw feeling of grief tangible to the edge of the bearable. But there is also a chronicler, who describes what happens, and after a while participates in the towing caravan, on behalf of his boss, the Duke.
That gives this story a strange-medieval aspect, and it becomes even stranger because also a centaur a Greek mythological figure is one of the participants and in fact plays a fairly important role. The story itself seems to go in fits and starts, and some scenes are rather cryptic; so, you often get a sense of alienation, perhaps on purpose. And thus, the style and structure of this book really reminded me of the classical Greek tragedies, especially those of Sophocles and Euripides.
You must be a very big one to be able to measure yourself with these; poetically, Grossman certainly succeeds in that task, but theatrically I am less convinced. But this is without doubt an authentic, very personal expression of mourning, worthy to be read, reread and respected. An attempt to separate grief from memories, in some parents a way to forgive themselves and a wonderful ode to love and regret. One can read the synopsis of the book, but that can not relate how powerful I found this little book.
The words, the poetry, the commentary, so poignant, so raw. The outpouring of grief from all involved but also the hope that they can A very differently structured book, this is the authors attempt to give voice to his grief, and to all parents whom have lost a child.
The outpouring of grief from all involved but also the hope that they can find a way to move forward, to live with their memories, to never forget. I read quite a few of these passages out loud, read many more than once but even with that I did not get the full effect of his words. That did not come until I had finished and realized I kept dwelling on the words, the images of all these grieving parents walking in ever widening circles looking for the way to once again go straight.
Grossman is, without doubt a brilliant writer, regardless of the structure he uses to convey what he needs to say.
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Sopravvissuti nel tempo. Intorno a “Caduto fuori dal tempo” di David Grossman