PDF Uma Cana de Pesca para o Meu Avô (Portuguese Edition)

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Yang mudah dan ringan seperti di cerita Kuil Sebuah kumpulan cerpen yg indah sekaligus tidak mudah dimengerti. Yang mudah dan ringan seperti di cerita Kuil dan Kram. Juga dalam cerpen Kecelakaan awalnya bernada gosip tapi diakhiri dengan penuh pesan filsafat. Keduanya dengan enaknya berpindah-pindah sudut pandang pertama, kedua, ketiga tanpa peringatan pada pembacanya. Lebih parah lagi, cerita juga seenak hidungnya berpindah-pindah kisah dan tokohnya. Mungkin Batang Pancing sedikit lebih mudah dimengerti karena tema lingkungan hidupnya yg jauh lebih terbuka, namun Seketika benar-benar Mudah untuk menangkap keindahan kalimat-kalimat di kisah-kisah ini, tapi lebih rumit dan repot untuk mengerti esensi ceritanya.

Seperti mengintip potongan-potongan impian seseorang tanpa benar-benar memahaminya. MEMBACA karya pengarang yang pernah membakar bagasinya yang mengandungi sejumlah manuskripnya pada era Revolusi Kebudayaan China bukan pengalaman yang menyenangkan. Kita seolah-olah dihela oleh Gao Xingjian yang menerima Hadiah Nobel Kesusasteraan pada itu, sebelum dibiarkan terkontang-kanting dalam dunia imaginasinya untuk menebak maksudnya. Namun, ia tidaklah memberikan pengalaman yang menyenakkan sepenuhnya kerana adakalanya seperti dalam sepotong cerpennya, In The Park , kita MEMBACA karya pengarang yang pernah membakar bagasinya yang mengandungi sejumlah manuskripnya pada era Revolusi Kebudayaan China bukan pengalaman yang menyenangkan.

Namun, ia tidaklah memberikan pengalaman yang menyenakkan sepenuhnya kerana adakalanya seperti dalam sepotong cerpennya, In The Park , kita bakal diawang-awangkan oleh jalinan dua jalur cinta; satu adalah nostalgia terhadap cinta yang diremukkan oleh zaman lampau, manakala satu lagi cinta yang bakal dikecaikan oleh zaman kini. Ajaibnya dua jalur yang berbeza dengan watak yang berlainan itu, seolah-olah bermula dan bakal berakhir pada garis yang sama sehingga identiti watak itu tidak lagi menjadi penting dan kita sendiri akan hilang punca dalam jalinan dialog yang sudah tidak terikat pada pengucapnya.

The Accident pula sebenarnya adalah satu peristiwa kemalangan yang biasa di sebuah kota raya tetapi Gao menjadikan peristiwa itu sangat mengesankan tetapi dengan perlahan-lahan, beliau menyedarkan peristiwa yang luar biasa pada satu ketika, bakal luput sehingga kita sendiri pun pada hujungnya seolah-olah terlupa terhadap peristiwa berkenaan. Membaca The Accident seolah-olah kita dihakimi oleh Gao terhadap tanggapan kita dalam kehidupan rutin yang serba laju di kota yang serba deras ini. Cerpen Buying a Fishing Rod for My Grandfather yang menjadi judul kumpulan cerpen ini pula menghela nostalgia watak terhadap suasana desanya melalui perjalanan imaginasinya yang dilatari perubahan zaman yang sangat mengejutkan.

Kita seolah-olah penumpang sebuah kenderaan masa yang bergerak laju dengan kiri dan kanan kita adalah zaman yang sentiasa berubah. I primi quattro racconti sono brevi, delle istantanee. Scritti tra il e , sono lineari, freschi, con descrizioni precise. Oct 09, Amene rated it liked it Shelves: Raro, surrealista e orixinal. Um ponto que gostei muito foi o narrador. This review has been hidden because it contains spoilers.

Buying a Fishing Rod for My Grandfather

To view it, click here. The writing is fantastic in this book of short stories, but I found it hard to sympathise with the characters. In addition, the last long story was difficult to follow, jumping in and out of scenes, and I finally abandoned it. In the eponymous story, there are some interesting interior dialogues: Otherwise this world would be too lonely.

In this world, yes. What other world is there? That inner world of yours that others can't see. Do you have an inner wo The writing is fantastic in this book of short stories, but I found it hard to sympathise with the characters. Do you have an inner world? It's only there that you can really be yourself. However, the stories in this book lead me to believe the author is very sad. Itulah kesan pertama yang berhasil disuguhkan Gao lewat cerpen-cerpennya.

Jika umumnya sebuah fiksi menceritakan kisah si tokoh dengan sangat terperinci lewat karakter-karakternya yang kuat dan aktivitasnya yang detail sebagai unsur utama, sedangkan lingkungan di sekitarnya sebagai hal sekunder, maka di cerpen-cerpen Gao justru narasi latar tempat, waktu, lingkungan serta peristiwa menjadi unsur utama, bukan sekunder, yang kemudian memancing kita untuk memperhatikan dan turut mengamati.

Ini kali pertama saya membaca jenis fiksi yang unik seperti coretan Gao. Ada banyak hal yang bisa digali dari coretan-coretan Gao. Bagaimana dirinya menuturkan narasi, magaimana ia sebagai narator menghidupkan tokoh cerpen lewat imagery lingkungan di sekitarnya, dan bagaimana ia sebagai seorang penulis menambatkan hati dan pikiran pembaca di dalam cerpen-cerpennya, sungguh, semua itu bagi saya adalah hal baru, tak seperti cerpen-cerpen konvensional—jika boleh saya sebut konvensional—lainnya. I went in with no expectation and thus wasn't that bothered when the book failed to impress me.

To be fair I think most of the nuances of such writing stories that deal with memories and narratives full of anecdotal significance is lost in translation. Words, their meanings and usage get a new undertone when written in a foreign language. So, the urgency is lost in a story like 'The Accident' or it is devoid of the warmth that a story like 'The Temple' is supposed to exude or the loneliness th I went in with no expectation and thus wasn't that bothered when the book failed to impress me.

So, the urgency is lost in a story like 'The Accident' or it is devoid of the warmth that a story like 'The Temple' is supposed to exude or the loneliness that should technically define a story such as 'In the Park'. Erau legate printr-un trunchi comun ori era doar un mozaic de fragmente dispersate? Parecchio noiosi, quasi privi di significato, tirati fino ad un certo punto e poi quasi troncati senza una fine degna di un racconto. Lettura per niente positiva.

Ich habe sie gerne gelesen, aber so wirklich umgehauen haben sie mich nicht. Good book, but having read more of this author before I have to give it 3 stars. Penulis Cina pertama yg saya baca. Sebagai pengenalan terhadap kultur berbeda, lewat kumcer ini cukup bisa. Seperti sedang nonton filmnya Wong Kar Wai: No segundo conto, O Acidente, passamos da vida e do amor para a morte e um outro tipo de amor.

No quarto conto, Num Parque, conhecemos um rapaz e uma rapariga que se reencontram ao fim de alguns anos. In the six pieces translated in this short collection out of 17 in the original Chinese , author Gao Xingjian experiments with several different ways of conveying a story. Two comments helped me make sense of the stories. The first is a note by the translator, paraphrasing Gao's own postscript to the original Chinese collection of his stories: More explicit is his proposal In the six pieces translated in this short collection out of 17 in the original Chinese , author Gao Xingjian experiments with several different ways of conveying a story.

More explicit is his proposal that the linguistic art of fiction is 'the actualization of language and not the imitation of reality in writing'". I take this to mean that the stories are intended to move the reader not though the events the story tells, but by the way the story is told. The other key passage ends one of the stories in this collection, 'the Accident': And it can serve as raw material for literature when it is supplemented by the imagination and written up as a moving narrative: However, what is related here is simply the process of this traffic accident itself, a traffic accident that occurred at five o'clock, in the central section of Desheng Avenue in front of the radio repair shop.

But more importantly, defining literature as creation misses another side of the art, that of closely observing and interpreting experience, which is what these stories do. The first story, 'the Temple', recounts a spontaneous honeymoon visit to a ruined temple. The plot itself is inconclusive, but the narrator comes increasingly to seem emotionally unreliable. The second story, 'In the Park', conveys the frustration and bitterness of love gone wrong, as former lovers bicker while watching a stranger's heartbreak in progress. They reminded me of the first Benjy section of William Faulkner's Sound and Fury - different scenes interwoven without clear transitions, so the reader must rely on internal clues to piece together the chronological story.

This short story collection might not be for everyone, but I am really glad I picked it up. According to the Translator's Note, Gao Xingjian himself chose these six stories as most representative of what he is trying to achieve in his work. He warns readers that his fiction has no plot and focuses instead on "linguistic art.

To me, this collection is like abstract art: Brilliant, but as the author pushes his own boundaries, it becomes less accessible. The This short story collection might not be for everyone, but I am really glad I picked it up. The collection gets more experimental with each story. In terms of enjoyment, Gao lost me in the last 2 stories.

I couldn't even finish the last one. BUT I'm kind of astounded by a few of the earlier stories. After I read the first story, "The Temple," I shrugged. I thought it was fine, a little bland, and was just getting used to Gao's style. It completely sneaks up on you. Through the most sparse, seemingly unsentimental language possible, he manages to illuminate complex emotions and tensions. It's so subtle that I almost went back to re-read the stories just to try to figure out how he did it. Instead, I found myself mentally tipping my hat off to the author and thinking that of these stories should be required reading for some freshman lit course.

By the way, these earlier stories do have a semblance of plot - enough to hold on to unlike the pure jumps of consciousness in his later stories. I'm not sure I would have appreciated the stories I did like without seeing the progression and full range of Gao's style. He's unique and I'm glad he's out there writing. I think this collection is more interesting than good. I didn't really enjoy most of the stories as stories, but they were interesting as snapshots of a different culture.

The range of the stories was interesting. A few were very episodic, more like brief portraits of a scene, with some philosophical musings. The title story got a little bit more experimental, with a kind of alternative reality narrative, which was somewhat grounded in the fishing pole. But the final story made no sense. I could se I think this collection is more interesting than good. I could see what he was doing, weaving together a few strands, but I couldn't keep hold of them, and didn't really care, in any case.

Stories such as this in translation are interesting because it seems that the language is really key, and who knows what translation does to such ideas as syntactic structure. That said, the first story and the title story were enjoyable and interesting portraits of situations and relationships. I'm not usually a fan of short stories and this collection of translated stories by the Nobel Prize winning author Gao Xingjian reminded me of why that is.

The thing is, I just don't get drawn into short story collections. As soon as I start to get interested, it ends and I'm left trying to get to know a whole new set of characters or to care about an entirely new set of circumstances. Those issues in this book were only exacerbated, for one main reason. These stories, by design, are not plot drive I'm not usually a fan of short stories and this collection of translated stories by the Nobel Prize winning author Gao Xingjian reminded me of why that is. These stories, by design, are not plot driven in the slightest.

In fact, an afterword contains the following information: If the whole point of the work is the use of language, and I can't see that language in the way the author intended, what's the point? I simply don't understand why you'd translate a work that was completely about the writing and not the plot. That said, a few of the stories were interesting. In the Park in particular struck me. It was the story of a couple spending a lazy day together. Nothing exciting happened, there was no passion, no twists.

But it sort of gave you a glimpse into these people's lives in a way that felt very intimate and beautiful. Overall though, I can't say that I'd recommend it, considering that I'm not really reading Xingjian's work, but that of his translator. I'm assuming this is the book I've just read in Dutch - it had a different title "Kramp", or "Cramp" in English: I'm going to assume this is the book I've read.


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Gao Xingjian's work was interesting. I didn't like all the short stories as much, but I liked the ones that had a reflective mood mostly "Buying A Fi I'm assuming this is the book I've just read in Dutch - it had a different title "Kramp", or "Cramp" in English: I didn't like all the short stories as much, but I liked the ones that had a reflective mood mostly "Buying A Fishing Rod For My Grandfather", which was without a doubt my favourite. Gao also has the ability to turn one event into a complete short story: Quite little things that turn into thoughts and somehow turned into stories.

In a way, Gao's stories are unusual, even if they didn't always work for me. The afterword was maybe my favourite thing about the book, it explained Gao's life, his exile, and his writing. It's quite odd that a man, who hadn't been published in his home country for over 10 years, would get the Nobel prize. But his life story sounds so interesting, how he just writes for the writing without a political agenda though you can't exactly claim that in the China Gao lived in , and who doesn't believe in metaphores and the like.

Gao's writing is quite bleak for that reason, to the point, and lacking in word games. Feel what it is they were feeling, what it is they want the reader to feel and to somehow translate that to a whole other language Especially when so many times there just aren't direct translations for colloquial sayings, how different languages structure sentences differently, what do you give prominence to? When I was reading these stories the language felt so natural. It felt like I was reading exactly the words the author meant me to be reading.

At no time did I wonder was this something that could have been lost in translation so I think a massive amount of credit should go to the success of the translation. Sadly for me this was just two stars View all 6 comments. Mar 17, Sidharth Vardhan rated it liked it Shelves: The stories do not have such old-school things like plot or characters. Instead they are write ups written with intention of exciting emotions in readers or so says the translator's note. I normally like that sort of writing but most of these stories didn't work for me. Keeping with Goodreads tradation, I'm gonna blame the translation.

The third star is entirely for titular story which was the only one that worked for me. Jul 20, Rob Baker rated it did not like it Shelves: In her notes at the end of this story collection, the translator says that Gao "warns readers that his fiction does not set out to tell a story" The pieces are sometimes "Temple", "In the Park", "Cramp" slice-of-life moments of people seemingly seeking unfindable happiness; other times "In an Instant they are dream-like collections of disconnected images. This author won the Nobel Prize for Literature in , and I have to think -- at least based on this book and the bit I In her notes at the end of this story collection, the translator says that Gao "warns readers that his fiction does not set out to tell a story" This author won the Nobel Prize for Literature in , and I have to think -- at least based on this book and the bit I've read about him--that it's more because of his political background than because of his writing per se.

This is a beautifully written collection of short stories that reflect both the day to day and the utterly magical and enlightening moments in life from the discovery of a secluded temple to near death experiences and moments of utter devastation.

Buying a Fishing Rod for My Grandfather by Gao Xingjian

These snippets of time, experiences and reminiscences show the pleasure that can be found anywhere and the appreciation for the little things that can be discovered in the simpliest, rawest and most humbling moments. This is a surprisingly enjoyable co This is a beautifully written collection of short stories that reflect both the day to day and the utterly magical and enlightening moments in life from the discovery of a secluded temple to near death experiences and moments of utter devastation.

This is a surprisingly enjoyable collection of simple life stories yet the lack of purpose to each left me feeling a little flat with a distinct unsatisfied feeling and wanting to know more. This is deliberate on behalf of Xingjian who wrote these not to tell a story but to provide interest through his use of language and the 'imitation of reality'. In this he certainly does succeed. Paras lukemani novellikokoelma, aivan kevyesti. Karya lain penulis ini, novel Gunung Jiwa juga sudah susah banget nyarinya. Banyak pembaca baru macam kita-kita ini akhirnya bingung saat hendak mencicipi rasa dalam karya si penulis peraih Nobel yang memilih eksil ke Prancis ini.

Apa yang khas dari karya-karyanya? Apakah senada dengan Mo Yan, ataukah ada rasa asli lain yang khas dari penulis asal Tiongkok ini? Membaca cerpen-cerpen di buku ini, kita seperti diajak menanjak menuju ke sebuah puncak gunung. Awalnya lumayan mudah dan dengan pemandangan yang indah. Etape kedua sudah agak menanjak. Bagian selanjutnya lumayan menanjak, dan bergitu berturut-turut hingga menanjaknya ekstrem banget sampai ngos-ngosan bacanya.

Dua cerpen terakhir adalah yang paling menguras pikiran, mana panjang pula itu dua cerpen ck ck ck. Akhirnya, setelah menamatkan membaca seluruh cerpen di buku ini dengan dua cerpen yang sedemikian sulit diikuti di bagian akhir , pembaca akan mengetahui jawaban tentang mengapa buku ini begini. Buku ini menjadi contoh sekaligus bukti bahwa evolusi dalam penulisan fiksi ternyata masih belum selesai. Cerpen-cerpen di buku ini mengisahkan tentang hal-hal yang biasa-biasa saja.

Ingatan atau memori tampaknya menjadi jiwa kalau bukan menghantui buku ini. Tentang anak yang membelikan pancing untuk kakeknya, tentang kecelakaan yang menimpa seorang pria, dan tentang pria muda yang membaca bukunya di pantai dan lalu entah kenapa sampai ke mana-mana. Secara tema, kesederhanaan cerpen-cerpen ini mengingatkan saya pada cerpennya Kawabata, hanya saja lebih panjang dan sedikit lebih agak kompleks. Yang bikin terkejut dari cerpen-cerpen di buku ini adalah cara penulis bernarasi. Bayangkan ketika sedang hanyut dalam paragraf ketiga, pembaca tiba-tiba disuguhi cerita baru di paragraf keempat, lalu ceritanya ganti lagi di paragraf ke enam.


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  • خرید قلاب ماهیگیری برای پدربزرگ by Gao Xingjian (3 star ratings).

Begitu seterusnya sampai cerita ditutup dengan penggalan dari cerita di paragraf pertama. Dan campur-aduk cerita ini terjadi dalam satu cerpen, di mana satu paragraf dengan paragraf lain sepertinya tidak secara langsung terkait tapi memang terkait. Iya, saya sudah bingung sejak lima hari lalu, tapi saya ampet saja sendiri. Untungnya, penulis berbaik hati dengan memberikan bonus tulisan tentang menulis di bab paling akhir buku ini. Walau masih lumayan berat, Gao Xingjian memaparkan teknik menulisnya yang sepertinya acak-acakan tetapi sebenarnya tidak.

Ia menyebut teknik menulis paragraf yang tidak saling bersambung ini sebagai hal yang sah-sah saja dilakukan seorang penulis atas nama kreativitas. Apa yang dilakukan Gao ini mungkin boleh-boleh saja, tetapi apakah tekniknya ini akan bisa diterima oleh pembaca, ceritanya lain lagi. Yang jelas, setelah membaca pemaparan di bab terakhir ini, saya ingin membaca ulang cerpen-cerpen di buku ini, terutama dua cerpen paling akhir yang bikin senewen itu. Pengarang yang berhasil, salah satunya, adalah pengarang yang bisa memaksa pembaca untuk membaca ulang karyanya lagi dan lagi.

Saya ingin membaca ulang kumcer-kumcer di buku setelah mendapatkan amunisi dari bab terakhir di buku ini. Bukan karena suka sih, lebih karena penasaran. Siapa tahu, setelah membaca kumcer ini untuk kedua kalinya, bintangnya naik jadi empat. Pembaca boleh dong berevolusi. Dec 02, Jim rated it liked it. I decided to read him on two counts: So you can probably look upon this book as a sampler.

There is no plot, as found in most fiction, and anything of interest to be found in it is inherent in the language itself. Basically they get on a train and see where it takes them. It all felt so different from the time when we were graduates sent to work in the countryside. Now we were just visitors passing through, tourists, and the complicated relationships between the people here had nothing to do with us.

Inevitably, this made us city dwellers feel somewhat superior. This was a much better piece and one I found I could relate to. White-crested waves on the ink green sea. The surging waves surround him, but no fishing boats are at work. Turning his body, he is borne up by the waves.

Up ahead on the grey-black sea is a dark spot, far in the distance.


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He drops down between the waves and can no longer see the surface of the sea. The sloping sea is black and shiny, smoother than satin. The cramp in his stomach gets worse. Lying on his back and floating on the water, he massages the hard spot on his abdomen until it hurts less. Diagonally in front, above his head, is a feathery cloud; up there, the wind must be even stronger.

And then things go from bad to worse and he encounters the jellyfish. And, again, one that could happen in any ocean across the globe. A bicycle fitted with an extra wheel for a baby-buggy with a red-and-blue checkered cloth shade is crossing diagonally from the other side of the road, and a man is riding it.

Coming from the opposite direction is a two-carriage electric trolley bus that is going quite fast, but not too fast.

Most of this story consists of comments from the crowd. Was there an accident? At first this felt like it was going to be a straightforward story: I find an older man and ask him where the lake used to be. The lake that was filled in. Oh, that lake, the lake that was filled in is right here. He points with his foot. This used to be the lake.

Was there once a stone bridge nearby? West Germany —and I thought, What the heck? In her review in The Guardian Julia Lovell has this to say about this story: I lost interest about halfway through. Seagulls are circling in the sky, screeching noisily. However, understanding or not is unimportant, what is important is that in the blue sky on this island they can soar as they will and can call out noisily. Sebuah kumpulan cerpen yg indah sekaligus tidak mudah dimengerti. Kata pengantarnya mengibaratkan cerpen2 di dalamnya sebagai lukisan impresionist dengan kekuatan narasi Gao Xingjian sebagai warna-warni cat yang menangkap moment dalam kehidupan.

Ungkapan yg pas sekali. Jika ada bentuk penyajian cerita yg kurasa benar2 menantang daya pengertianku, maka itu adalah gaya stream of conciousness. Kelima cerpen di sini, sediki banyak menggunakan bentuk ini. Yang mudah dan ringan seperti di cerita Kuil Sebuah kumpulan cerpen yg indah sekaligus tidak mudah dimengerti.

Yang mudah dan ringan seperti di cerita Kuil dan Kram. Juga dalam cerpen Kecelakaan awalnya bernada gosip tapi diakhiri dengan penuh pesan filsafat. Keduanya dengan enaknya berpindah-pindah sudut pandang pertama, kedua, ketiga tanpa peringatan pada pembacanya. Lebih parah lagi, cerita juga seenak hidungnya berpindah-pindah kisah dan tokohnya.

Mungkin Batang Pancing sedikit lebih mudah dimengerti karena tema lingkungan hidupnya yg jauh lebih terbuka, namun Seketika benar-benar Mudah untuk menangkap keindahan kalimat-kalimat di kisah-kisah ini, tapi lebih rumit dan repot untuk mengerti esensi ceritanya. Seperti mengintip potongan-potongan impian seseorang tanpa benar-benar memahaminya.

Oct 14, Radit Panjapiyakul rated it really liked it. Jan 18, Nazmi Yaakub rated it liked it Shelves: MEMBACA karya pengarang yang pernah membakar bagasinya yang mengandungi sejumlah manuskripnya pada era Revolusi Kebudayaan China bukan pengalaman yang menyenangkan. Kita seolah-olah dihela oleh Gao Xingjian yang menerima Hadiah Nobel Kesusasteraan pada itu, sebelum dibiarkan terkontang-kanting dalam dunia imaginasinya untuk menebak maksudnya.

Namun, ia tidaklah memberikan pengalaman yang menyenakkan sepenuhnya kerana adakalanya seperti dalam sepotong cerpennya, In The Park , kita MEMBACA karya pengarang yang pernah membakar bagasinya yang mengandungi sejumlah manuskripnya pada era Revolusi Kebudayaan China bukan pengalaman yang menyenangkan. Namun, ia tidaklah memberikan pengalaman yang menyenakkan sepenuhnya kerana adakalanya seperti dalam sepotong cerpennya, In The Park , kita bakal diawang-awangkan oleh jalinan dua jalur cinta; satu adalah nostalgia terhadap cinta yang diremukkan oleh zaman lampau, manakala satu lagi cinta yang bakal dikecaikan oleh zaman kini.

Ajaibnya dua jalur yang berbeza dengan watak yang berlainan itu, seolah-olah bermula dan bakal berakhir pada garis yang sama sehingga identiti watak itu tidak lagi menjadi penting dan kita sendiri akan hilang punca dalam jalinan dialog yang sudah tidak terikat pada pengucapnya.

The Accident pula sebenarnya adalah satu peristiwa kemalangan yang biasa di sebuah kota raya tetapi Gao menjadikan peristiwa itu sangat mengesankan tetapi dengan perlahan-lahan, beliau menyedarkan peristiwa yang luar biasa pada satu ketika, bakal luput sehingga kita sendiri pun pada hujungnya seolah-olah terlupa terhadap peristiwa berkenaan.

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Membaca The Accident seolah-olah kita dihakimi oleh Gao terhadap tanggapan kita dalam kehidupan rutin yang serba laju di kota yang serba deras ini. Cerpen Buying a Fishing Rod for My Grandfather yang menjadi judul kumpulan cerpen ini pula menghela nostalgia watak terhadap suasana desanya melalui perjalanan imaginasinya yang dilatari perubahan zaman yang sangat mengejutkan.

Kita seolah-olah penumpang sebuah kenderaan masa yang bergerak laju dengan kiri dan kanan kita adalah zaman yang sentiasa berubah. Troppe cose, in questi racconti, sembrano non funzionare a dovere. I primi quattro racconti sono brevi, delle istantanee. Scritti tra il e , sono lineari, freschi, con descrizioni precise. Nov 22, Kenneth rated it it was ok. In the afterword it is remarked upon that "Gao warns readers that his fiction does not set out to tell a story. A causa di alcuni problemi personali, e che certamente non interessano i "buoni lettori", ma che hanno influenzato negativamente la fruizione e il regolare andamento di lettura, ho mal assimilato questo testo.

Mi riservo tuttavia di rileggere in futuro questa raccolta, scevro dalle mie afflizioni. Ba, mai mult, ultimul text este o alegorie a clipei din care Deloc entuziasmat. Raro, surrealista e orixinal. Um ponto que gostei muito foi o narrador. Nu pentru asa ceva a castigat Gao Xingjian Nobelul, sunt convins.

May 26, Richie Loria rated it really liked it. I was ashamed that I'd never read any Chinese literature and figured it was only proper to start with Gao, the only Chinese author to win the Nobel prize for literature: