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Marai Marai - The right woman

Marai Marai meets

Having been fascinated the reading of The Embers (1942), I'm reading back the other books published by Sandor Marai publisher Adelphi.

This order of reading back to the roots of the characters and lends itself to considerations of great interest. I dare say you can discover some of the obsessions and perhaps human suffering Mara.

Love with a capital A, it seems, at first glance, the major theme of his stories. Eternal love understood as a passion, "the fullness of life" between man and woman love understood as a great friendship and loyalty men. And only for men: the friendship between a man and a woman is not considered. The woman is the medium of love.

Actually Love is an excuse to lift a veil on ambiguity, on the rivalry, hate on, the most secret passions that dwell within us and that each of us exercises under the umbrella of love. They are ruthless characters who entrusts this task Marai, are often ugly (the Casanova de the recitation of Bolzano actor de Rebels ), cause the player to recognize the true and false, the 'innocent and the wicked, the victim and the victimizer. But then, when everything seems understandable, creeps a question: is everything really so clear? And the reader goes from hero to solve the riddle.

For simplicity, I analyze the elements that connect the stories and intertwine in an unmistakable way.

Women

The Mara relationship with women, even with the Woman , must have been suffered much if the writer felt the need to make a disputed subject. The only two female characters who live an active role, are Eszter, I The ereditàEszter ( 1939), and Francesca, it The recitation of Bolzano (1940).

The first Eszetr, a woman is passive, resigned, a love lived twenty years before he left the incurable wounds. Victim of his domain yet can not get rid of the arrogance of the man who has deluded "the unhappy love never ends."

The second, Francesca, while still loving Casanova aged , fat and poor, without any attraction, it feels the weakness of a great memory of love, but also feel the strength that comes from the consciousness of a time gone by.

Francesca has a glossy shine and this lets you control the passions. And while confessing - a Casanova vendutosi cowardly to count, her husband - a love that will never end, abandoned him leaving him in the squalor of its reality, in a cold room where the fire has died a long time. "to indicate that one day all the passions become ashes."

And 'the only woman, narrated by Mara, that for a long night talking and dominates with its passionate arguments about love, beauty, life, death, fate, a man who dares not answer because he signed a pact of treason: "It did not help to nothing I have offered you the pleasure and peace, purity and regeneration? " But he is silent.

The other women, while the protagonists of the events narrated in the novel do not live as if ghosts conjured by men who have loved and continue to consume their lives in the memory of that 'lost love.

Krisztina is the woman he loved The Embers. Noble, mysterious and treacherous, and emerge when it is spoken, dead for years, the two men who owned reunite old now but still need to clarify that betrayal. Their meeting, in an interview, which takes up practically the whole book, lays bare how this betrayal has left a deep wound to her husband, the general, and how much it was for Konrad's friend since the days of exclusive college , a way to clear social differences (which has unconsciously led him with great difficulty), and rivals that friendship so deep and generous that he never could reciprocate equally. Its social and economic conditions have not let permission and that weight has never abandoned. Betray his friend, making love to his wife, is the despicable act that allows Konrad liberating but to flee rebuild his life away, free of the comparisons, free from remorse.

Another woman, Anna, in Divorce in Buda, (1935) living dead in the long indictment which Imre, a middle-aged doctor, nail all night Kristof the judge. That court would have to say the day after their divorce. Imre but can not break his relationship with Anna except through death. Indeed, the causes and Kristof goes to confess to rebuilding, as in a dream, a hypothetical attraction that would feed the same Kristof for so many years ago by Anna Anna, unbeknownst to him, a woman contention.

Kristof's character would be General de "The Embers young: noble, perfect, with the responsibility of great traditions, like the character of Imre could be a precursor Konrad: experienced modest origins as a kind of frustration, against the noble class, while Anna Krisztina anticipates, immensely loved and lost. Divorce in Buda seems the plot, then developed and perfected, the masterpiece The Embers.

The social

Besides that The Embers, apparent gradient from the friendship and never expressed feelings and never dealt with fairly, Divorce in Buda and , that the difference of caste is another issue that Marai wishes to highlight in his books.

clear it very well The Rebels (1930).

A group of young people, united by belonging to the same school, rejecting the idea of \u200b\u200bactually living in a small town - devastated by World War I - decided to form a "band" to act and behave outside the rules imposed by their upbringing and their environment. Everyone feels bound in brotherhood by sharing this secret, do not feel any difference between them . From Abel, the son of a wealthy doctor, he feels "the effluvia acres penetrating ether and tincture of iodine that filtered of medicines from the cabinet," in Bela, son of the butcher , "around which floated an aroma of oriental spices, herring, and fresh fruit " to Erno, the son of a shoemaker, " that smelled of glue and leather unfinished, "at Tibor , son of a colonel in the war, with a very ill mother, in whose house "ruled the smell of poverty and disease full of lavender."

"The trades of the fathers of odors permeate their homes unmistakable." Marai says at the beginning of the novel to warn the reader that the differences between the "gang" there are and odors are a compelling track.

complicit in the war - parallel to that of their fathers - fighting against society; compact in the games that they invent and develop, they end up not seeing, in their innocence, the boundary between reality and game. They do not know the risks and go into a tragedy when they discover that unexpected Erno, the son of a shoemaker, has betrayed them by denouncing their secret games. And here it explodes, in all its tragic hatred, class conflict, never subsided and never born. Erno responds to allegations of his companions: "The thousands of times every single day, I kicked you in one way or another? No, it was not your fault. It is never to blame. You were and feel the goodness in person. I hated your touch. I hated your kindness. I hated you when handling a knife or fork. When you greet someone. When she smiled. When thank you for something, an object or information ... I hated your gestures, your look, the way you got up and I would sit. It is true that these things can be learned. I understand that there is money, power, strength, knowledge that can compensate for this. What can I live a hundred years and become a millionaire, and when you rot in the crypt some time - because you others also died there be in a building around you, dogs do not like us, that there are in the cellar already live - even then I feel unhappy because I will think of the way in which Tibor knew apologize to a passerby, who had accidentally hit with a wave of his hand and a smile ... I do not know how we can purify, but I feel cleaner just thinking of you all into the mud up to his neck. And in the end you die. "

Hatred hatched and eventually confessed, causes the suicide of Erno that fails to survive his own feelings.

representation

The recitation of the mask, is another of the themes beloved by Mara, in fact, as mentioned before, maybe the most popular theme. Treaty as psychologically deeper than we can say that this is in one way or another, in each of his books. Each character seems to have a form, each character seems to belong to a precise and sophisticated screenplay.

course it The recitation of Bolzano becomes crucial meeting between Casanova and Francesca. For a whole night confront, confess, speak of absolute love, dressed in costume and with their faces covered: she dresses in men's and women's clothing him. The roles exchanged reality and fiction, of disguise destinies.

Marai is to say to Frank: "And you ran away in vain, because now here we are again, facing each other, and look forward to when we take off the mask, my love : there are still many, many masks among us, and we will remove one after another before finally seeing each other with open face. Do not rush, do not panic, do not reach for the mask, do not throw it again! It is no coincidence that today, after so long, we are left with the mask on your face, when each of us is freed from his prison and we are here, facing one another, do not rush to shed the mask, because there's another below, made of bones, meat and skin, but is a mask just like silk. We will throw a lot of other masks before I can see and know your face. But I know that somewhere, far, far away , there is also your face different, and that's what I have to see one day, because I love you. "

And all what you say what you belong to? To recite or to life? The charm of fiction or the reality of suffering and abandonment?

Marai gives the reader all the reflections on truth.

It Rebels becomes fatal encounter between the "gang" and a failed actor who fascinates them ambiguous with its transformations, winning their trust, enter into their games by providing costumes scene, makes them believe free "from the tentacles of the discipline that had oppressed them in their childhood." Serve of their ingenuity and their fear for his shady dealings. "But the actor had the ability that no other was with. ... "He could talk to them like no adult had never been able to do. ..." The actor stated, driven by the same necessity that forced them to play well, distorting the reality behind the faces of a painful character, form. Play a part for him was a need, as well as they had a law. Perhaps the actor most authentic experience the movements of his life just as he was on stage, just as the boys had the feeling that their lives behind the screen of reality was more authentic than any reality. "

And it is he, the actor, the masked character, which leads them to tragedy, cynically.

It Confessions of a bourgeois (1934), autobiography of the writer, are found the roots of his novels. It 's the key to understanding the book by Mara.

They understand the important passages of his life, and, as in his books, the women accompany him but not seen. We do not know much about them, even if he loves a veil of modesty protects them from the reader's curiosity.

Unforgettable pages devoted to Berlin and Paris of the time. Beautiful city views and the experiences of a young foreign journalist in search of affirmation.

Last book published earth, earth (1969), no more complete an autobiography recounting the wanderings of a young ambitious bourgeois, but the suffering of a civilian during the occupation of Budapest by the Nazis before, the Communists, then. In the pages that talk about the humiliation of the beloved city, you hear the bourgeois in his wounded pride, after all, does not demand a living thing who does not belong to her class, but suffers for what he , the bourgeois, the intellectual is private. "The bureaucratic cruelty, mechanized and impersonal it is humiliating for men, while the individual is content to cause tormenti.E now, still in uniform, cruelty had come back to Budapest."

The interest of this book, passionate and painful, and also make us feel more like Mara belonged to Mittleuropa a great writer but a writer close, contemporary, belonged to our history.

Yes, Sandor Marai in his novels, makes us reflect on love, but there is a reflection deeper on truth and fiction which are owned in the same way, to our lives.

September 3, 2002

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the right woman Sándor Márai

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.

the right woman is the first novel Mara, among those published so far by Adelphi, which obviously deals with class conflict, the relationship between man and woman on the floor sentimental, intellectual and physical . Written in three phases, 1941, 1949 and 1980, is In my view, the novel summa thought of Mara. Never, as in this novel, the writer finds out and you leave to the reader. He, too, in a long monologue.

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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Sister

sister is the novel written in 1946 by Sándor Márai The Embers after and before exile in America.

The theme is unusual compared to what we have read so far in the novels of Mara, the man facing a serious illness and subsequent reflection: what is the meaning of illness?

is never pronounced the name of the disease as is never pronounced the name of the sick are universal, we mean writer.

The historical background of the novel is the period before World War II: a tragedy waiting to happen but not yet exploded. The journey that the protagonist, Z, faces on the train, still takes place in an 'apparent feeling of comfort and privilege. Z is a famous pianist and went to Florence for a concert.

This is not a case, the choice of the city symbol of beauty as opposed to the image the destruction that looms on the horizon .

That autumn evening, then Z will play at the Palazzo Pitti, ready to give beauty in "celebration" which is the concert.

But after the show Z is ill.

Márai And here comes the story of the disease. He knows the routes, it seems, the cruelty, the anguish. The pain in the morning taking turns during the day (with the light encourages them to fight and become sneaky night with dark silence.

"So the pain crouches because the patient gathers all his strength and yells at the executioner who has had enough, that it must stop now ... knock on this side, now a handle down a bit ' further. Interested in everything, eyes, ears, stomach, heart region. At the end is bored and a bit 'disappears. As if he left. Where is he hiding now? .... "

I went into this book with love and suffering, with the memories.

How not to love so intense and dramatic pages on a condition that I knew him well?

Sylvie's disease, AIDS. The first that I was confronted with an evil without remedy. Carlo's disease, Alzheimer's disease. For fourteen years has kept me tied becoming accepted as "normal" as "order," the repetition of gestures of care and assistance. Finally, my disease, cancer, exploded like thunder when the 'order' had been established with other diseases.

" The disease is nothing more than an insult to the cosmic "says a doctor Z " The disease is a condemnation "because God has turned away from man.

This is the argument I heard from the primary support of the German clinic where I had sought refuge to recover from the devastating health. I rebelled. I could not accept "even" that sentence.

What did he still lives with me? Only much later he had given me the serenity and had rushed her off through the illness of my husband. He gave me "my" disease and wanted I accepted that "also" an order?

It could not, however, the disease, a cry of pain to tell the world "Enough, I can not bear, the measure is full?"

Márai thinks the disease as a "torturer of China." And why not a communist? I would ask him. But China is far more mysterious, more cruel for a civilian like Mara.

Z remains in a hospital room very comfortable, but that does not allow him to watch out: there is a wall. The art of Florence, though so close, can not help him even making spy.

No, the disease is a cage, alone, is the end of "lies", the end of that "representation" that is life. Down the stage costume. There is only the truth.

" Modesty can only exist where there is desire and guilt ' and the disease is choking the one that the other .

"It's possible a more confidential, more complete, more sincere than that of a body in front of those four women in his stand between life and death ?

Z assisted by four sisters, sisters in fact.

"The intimacy is created between the body of the seriously ill and who cares ...."

"But the sick body has no secrets ...."

How not to rethink my "Sister" next to Charles? On his body, which I loved so much in love, abandoned to the need to be looked after and cared for? How often, when I lifted the pillow, I thought as the Christ in the arms of his Mother. How many times, the pity for that body led me to kiss it, caress it , tighten and fragrant.

be aware of your sister, I know that the rubber tube in his nose stuck mercilessly to force the body to eat, to live. I know the color of the liquid that would require dense cinnamon that body not to surrender.

Márai brought me back to all this with the strength of his extraordinary narrative ability.

Then, this narrative about the disease back to a subject very dear to the writer, the "love". And we will return by the metaphor of disease to an inability to cope difficult love, without hope, that poisons those who experience it.

rid of that love means to cure disease?

" And that fight, or run, it was not the disease but his whole life. "This thought when Z is sure to die.

But there is a female voice, one of the sisters (but which of the four?), Who tells him: "I do not want her die." And he thinks it is a feminine energy that is fighting for him. And he can not resist. It is stronger than his desire to die, that energy.

It was my energy to keep Charles in life for many years, to keep it from surrendering to the devastation? I do not know. What is certain is that I told him: "I do not want you to die." And he did not die until I realized that I could not ask him much pain and so much heroism.

" Because life is a big responsibility. But we think, live among the people! ... There are many who do not make it. How many interests! Boredom, vanity, ambition, sense, and what lies behind every death ... Who can stand all that remained healthy at all times? "

Milan, July 26, 2006

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The Dying Animal - Philip Roth

L 'dying animal - commentary on the novel by Philip Roth -

A Philip Roth in great shape.

Ironic, deep, dramatic in this short novel that could be called hastily to the erotic genre ( The Portnoy's Complaint). To me it seemed, instead, an arm of the famous trilogy, a piece to add to quell'impeccabile fresco on America after the war ( American Pastoral, I Married a Communist The Human Stain), that the writer has given us in recent years.

An older man falls in love, out of control, no brakes, a very young woman, very pretty, detached, intriguing.

We are in the sixties. America lives the explosion of the sexual revolution, the spread of behaviors that the girls "had no biological terror erection, they did not fear the transformation phallic man." And David Kepesh (also the protagonist of the story and comic visionary, The breast) everything is easy. Exercised with great natural charm and his influence on students the tip as a hunting dog and seizes without miss the opportunities, however, the girls the offer without caution, without any request.

Man it moves forward in reading, one realizes, however, that this is not to tell that David Roth is talk of Consuela, his perfect body and her breasts, "the best I've ever seen .

Social transformation, obsessive attraction to this woman become food for deep and painful reflections on life that passes, the unbridgeable gap between youth and old age, "the wound of old age" on death. Yes, David, Consuela is a fixed idea, an idea of \u200b\u200bpossession, but without love nor passion, nor feelings. She explores the body, contemplation of bodies, pleasures that the mere contemplation can give. E 'on the bodies that the transformations of time are seen much more than feelings. And speaking of Consuela's breasts. The breasts, the symbol of nourishment, from which the old - and Roth challenge this word - it feeds using sex as a "revenge on death. not forget, death. Never forget it. "

But the relationship ends for a trivial pretext, which is logical in the field when there are feelings. Spend some time. David has seventy. 's just the night of the millennium. A message on the answering machine's back, as from an 'ancient times, the voice of Consuela, who asked to see him. David, overcoming weak uncertainties, the recalls and the other side. She's always beautiful, with a strange hat and looked more mature, which makes it very feminine. Surrenders and confesses that he wept with breast cancer and will be made, perhaps a radical operation. Her breasts, her magnificent breasts. Asks David to photograph them because no one has ever loved her body like him. And he is willing, wants to please her in everything. But this does not require more.

With a flick of the tail old age she takes on youth. "Now his sense of time is like mine, pressing and even more desolate than mine. Consuela actually passed me. Because I can still tell me I will not die in five years, maybe I will not die ... I could live out of ten still another twenty, and she ... "

David seventies, he can never take that food. The breasts are of no use anymore.

cancer, the great justice!

I read a long interview with Philip Roth about to publish a book "death." The writer says he has to deal with this topic that he did not think long.

do not agree with Roth. In 'Animal dying seems to me that this thought, along with that of old age, is very present, as is present in the trilogy. The Human Stain, pages describing the death of a friend dying what are they? What are Roth's characters as they confront the youth, if not a melancholy and resigned reflection on death?

seems to me that Roth is compared continuously with the thought of death is the background even when writing about another.

Mezzadri Maria Grazia Hood