Three points of view, three truths, three characters who indulge in the familiar three long monologues.
There is the "right person" for each of us? It seems that the thesis of the novel. Márai think no, no. In each of the people we meet and with whom you develop a love relationship there is something important to us.
is a fascinating thesis (which I agree in full), which allows us to live not only in waiting for a meeting, one fatal, but taking in the intensity of each meeting, what we need at that moment, our lives.
Two women and a man. Not the usual triangle that arises from the betrayal, but a triangle that comes from a different social status.
The first woman, elegant and devoted wife loves sublimating feelings;
the second woman, the proletarian serves a middle-class home;
man hopelessly bourgeois, who represents his social class.
The three face each other, they study, get control, are analyzed according to their capacity for analysis and reaction.
the background of political events in Hungary of '47 and '56, Mara tells of Peter, the man the bourgeois, the bourgeois intellectual that, realizing the failure and collapse of the world belongs to the generations, trying to escape through a proletarian love. The proletarian needs of the explanations and bourgeois sophistication of love, Peter thinks, the proletarian belongs to nature, simplicity and strength, strength that Peter feels liberating in itself and its superstructure.
Peter knows that only the proletariat wants to become a civilian, in civilian dress, live like a bourgeois, plunder the bourgeoisie. It is that his desire has always been. It is what Judith, the maid. Peter sees it as an opportunity to exit order and loneliness that you feel confined. Judith wants to get into that world to repay the humiliation, to forget the grave with mice in which she lived as a child. Each of the two follows a drawing. Each of the two fails in that design.
Only Lazar, an intellectual, disillusioned, he is aware that this is the definitive end of an era. And he understands what Judith has been part of a perverse game, as has been used to serve once again the bourgeois illusion of having held the post, he has won and, ultimately, she is still the victim who finds herself without any identity.
Márai gives us unforgettable pages: from the great master of writing, knowledge of feelings and emotions tangle in which they are forced to move.
I think everyone can find a piece of what he has lived in love mechanisms traps fiction, drop-outs.
The bourgeois state, the great theme of the writer, is told like a cage from which it is impossible to escape. It 'so riddled with selfishness and a retreat on our feelings makes it impossible to overlook the feelings of others.
The analysis makes Márai can only be a citizen (which he was) as he struggles in that condition and that he lives like the "forbidden city" of the Chinese emperors. On this side of the wall you ignore the humanity that lives beyond.
The difference in class, and in the other novels in the background, this is the pivot of the book and the "other" social class is considered only as a possibility of salvation. So, once again, exploited by those who have the privilege of the intellectual and economic power.
Some comments on the society in which the protagonist lives, are of great contemporary relevance.
Márai Only in 1980 added to the book, the fourth entry.
is his outburst on communism, on the consumer society that replaces the bourgeois, the transformation of a world that no longer finds himself. It is the cry of the intellectual in front of rampant ignorance.
"Because this sort of Petõfi of my boots have been told that the world is something that is a thousand times better than eating and drinking. What is it? But it is the culture! And he also said that culture is a conditioned reflex. "
It is no coincidence that the book ends set in America.
It is no coincidence that, just in America, where he had gone into exile, Mara has committed suicide.
July 2006
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