کتاب پریرا چنین می گوید

اثر آنتونیو تابوکی از انتشارات کتاب خورشید - مترجم: شقایق شرفی-پرافتخارترین کتاب ها

؛... چرا پریرا چنین گفت؟ چون تنها بود؟ چون دلش از آن اتاق گرفته بود؟ چون واقعا گرسنه بود؟ چون به تصویر همسرش فکر می‌کرد یا به دلایل دیگر؟ پریرا می‌گوید چرایش را نمی‌داند. رمان «پریرا چنین می‌گوید» معروف‌ترین اثر آنتونیو تابوکی است. وقایع آن در لیسبون پایتخت پرتغال و از زبان دکتر پریرا حکایت می‌شود. او مسئول صفحه فرهنگی یک روزنامه عامه‌پسند است اما با آمدن یک همکار جوان، بی‌اختیار و بی‌آنکه چرایش را بداند درگیر ماجراهایی می‌شود. این رمان برای تابوکی جایزه کامپیلو و جایزه اروپایی ژان مونه را به ارمغان آورد. از روی این اثر فیلمی به کارگردانی روبرتو فانزا و با بازیگری مارچلو ماسترویانی در سال ۱۹۹۵ ساخته شده است. از جوایز ادبی بسیاری که تابوکی دریافت کرده است می‌توان به جایزه آریستون (یونان)، جایزه هانس اریش نوساک (آلمان)، اشتات پرایس (اتریش)، ایدالگو (اسپانیا) و جایزه‌ی سالنتو (ایتالیا) اشاره داشت؛


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«Sostiene Pereira,»



Ieri mattina, durante la bella presentazione di Romana Petri presso la libreria Nova Arcadia di Casalpalocco, abbiamo parlato anche di Tabucchi: eravamo in quattro, la sottoscritta, unanziana signora e una coppia di mezza età; è stato naturale parlarne, perché Romana Petri è traduttrice, fra le altre lingue, soprattutto dal portoghese, vivendo parte della sua vita a Lisbona.
@È già stato dimenticato@, ci ha detto, con un velo di autentica tristezza.@Dove@, le ho chiesto, @in Italia o in Portogallo?@.
@Ovunque@, mi ha risposto, @è già stato dimenticato, ci si dimentica di tutti così in fretta@.

Ecco, approfitto dei voti ricevuti a questo commento di lettura mai scritto, perché precede di molto i tempi di Anobii, Goodreads e i social network tutti, per ricordare un autore che è stato lieve, forse, ma indimenticato e indimenticabile come il suo personaggio: Pereira (che Marcello Mastroianni ha saputo incarnare e portare allimmortalità) per ricordarlo, a me e a tutti quelli che lo hanno amato e, soprattutto, a tutti quelli che lo scopriranno, lo ameranno, lo ricorderanno; e con lui Antonio Tabucchi.


مشاهده لینک اصلی

Obsessed suddenly and unexplainably with death Doctor Pereira seeks out a journalist who has written a magazine article on the subject. They meet at a restaurant. Monteiro Rossi is young, not obsessed with death but with life. Charismatic, he reminds Pereira of the son he has never had and his own youth which he will not talk about. Monteiro Rossi has no interest in death. His interest is in life and living. The article turns out to be excerpts from his bogus thesis at school. He is broke and desperately needs a job. Pereira surprisingly hires him to write obituaries in advance for writers and famous people who might die in the future. Then the newspaper, where he heads the cultural affairs section, (the main and only employee,) would not be caught shorthanded. A pre-obit. folder. However Rossi’s articles in Pereira’s mind are terrible, including too much creativity, politics, and life, which would prove out of line with his boss, the editor, and the paper’s patrons, the changing milieu in and surrounding the city.

Our hero is an anti-hero, languishing in the past out of sadness for the death of his wife and an undefined need for repentance. Any steps taken into the present is met with the blinding light of the sun, the exhaustive heat sweltering sweat from his obese body. His weight like a gravitational pull keeps him rooted. Yet, with no announcement, even change in tone, he may also be seen as an unintended Christ figure. While he has not given up his life for mankind he has nonetheless given up living his life in search for a means of repentance. How to repent for the death of his wife? He may struggle to keep her and their relationship alive by speaking to her photograph. Also, there is his work, the paper snuggled into the banal while performing back bending stretches to not offend Franco, whose shadow is beginning to cramp Portugal just prior to the war?

Tabucchi’s meticulous craft, his silent whisper, is that when large events muscle their way to the forefront it happens so quietly that it sifts into the reader’s pores. Falling under its spell, Tabucchi creates a reading experience unlike anything I have encountered. The simplicity of style packages profound ideas, flips stasis on its head uncovering touching moments bursting with significance. The book’s main treasure of riches is that Tabucchi focuses his lens close in on the personal crisis Pereira is going through while pinpointing the signs of the oncoming global calamity reaching Portugal’s borders. Will Pereira transform himself out of his withdrawal from life as we know it or will the ritualized comfort prove that the blazing sun and sweat of life outside of his small globe of existence is not worth it? Could, should, he live what the majority has agreed on is life? Does being, take place outside of the window he stares out from? This makes the recalcitrant Rossi all the more attractive. This new son brought to him.

While Pereira is maintaining, Tabucchi is exploring. He seems to never stop exploring although witnessing this is near impossible. He works in the stealth of night.

But what does Pereira’s, maintaining, mean? The impression of his being grilled by a member of authority, possibly there to maintain the order of society, to be sure no one is stepping outside of the proscribed bounds, is implied, felt. In this context he responds to the grilling which takes place throughout the story, by sticking to his position. Will he waver? Will there be change or will he maintain? Over and over again it is repeated that Pereira maintains as he tells, sticks to his his story.

This is the tension, the taught wire the reader is asked to cross with no net beneath. Though the tension is palpable the net is invisible. This is the magic Tabucchi performs without a stage, costumery, just another person passed in a crowd but whose mind is spinning threads of a perfected web.

The narrator speaks to us at times in present alternating into past tense relating what Peirara is saying in describing the scenes and events of his life. However, at times he or she is unsure what is going on in the mind of Pereira who wants to keep his childhood guarded and unspoken. The narrator offers us possible suggestions but clearly none conclusive. The narrator is not writing this story otherwise she or he would know what exactly what is going on with Pereira. All of the information is provided by Pereira who is selective and has his own biases. It is told to us though by the narrator and is run through their filter, then through our own as readers. This is not to mention Tabucchi who is somewhere writing this though he is in hiding. The strained potion we receive is diluted, possibly inflated, conjoined, distorted and distended. We experience intellectually and viscerally Pereira’s experience which is many times removed. Almost within the grasp of his hand but never quite there.

Like his, Requiem, A Hallucination, this is exalted writing while never appearing to be so. Not out of modesty but out of his poised craft Tabucchi remains hidden. I highly recommend this book to anyone who is a Reader, I maintain.




مشاهده لینک اصلی
È con le lacrime agli occhi che scrivo, ho appena finito di leggere.
È un periodo di merda per me, e negli ultimi due giorni non sono stata in grado di fare nulla per la strage avvenuta nella mia amatissima città e per le manifestazioni di razzismo e fascismo latenti che ho ritrovato in commenti, social media, scambi di opinioni con vicini e conoscenti. Ho il cuore a pezzi e probabilmente quel che mi ci voleva davvero era Tabucchi con questo inno alla libertà, questo racconto romantico e coraggioso sulla resistenza e sulla lotta al regime. Mi ha davvero risanato lanima (o le @personalità@).

Pereira è il nostro antieroe per antonomasia, Tabucchi sostiene di averlo conosciuto in sogno e di averlo lasciato sfogare, di averne dato forma compiuta il giorno del compleanno di sua figlia emozionato (un rimando inevitabile a Pessoa sulla genesi di questo personaggio). Tabucchi sostiene di averlo accolto con tutti i suoi difetti e malanni, di averlo accarezzato e compreso e così ce lo presenta, come un uomo timido, insicuro sul come muoversi, ma dai valori radicati, forti indistruttibili. Un uomo che resta dubbioso in un primo momento dinanzi ai piccolo moti dellanimo, ci sembra quasi ingenuo e poco maturo nonostante letà e il lavoro che ha, ma che alla fine si riscatta. Pereira è un uomo che al dolore e alla morte si oppone con maestria e arguzia inattesa, ma soprattutto con il cuore, quel cuore che davvero malato non è.

Romantici anche i personaggi che scuotono la vita di Pereira, Marta, Monteiro Rossi, don António e il dottor Cardoso. Ognuno ha il potere di smuovere la coscienza di Pereira, forse ognuno di essi ne è parte della confederazione delle sue personalità della teoria dei dottori Ribot e Janet e che il nostro protagonista aveva così accuratamente celato per tutta lesistenza nei passi contati fino alla redazione, nelle incertezze della sua salute, nella noiosa e comoda routine che, alla fine, così bene si addice alle vite degli uomini comuni.
Fino allegemonia dellio finale, della parte più selvaggia e forte, che vuole guardare alla vita e al futuro nonostante tutto. Quella che sa di sopravvivenza e di amore vero per gli altri.

Grazie, grazie, grazie.

مشاهده لینک اصلی
Δεν εχω διαβασει ποτε ξανα Ταμπουκι , δεν ηξερα τιποτα γιαυτον μεχρι που διαβασα το βιβλιο @τα 3 επιπεδα της ζωης@ του τζουλιαν μπαρνς(*θριαμβευτικες ιαχες*)και εκει το ανεφερε ως ενα βιβλιο διαχειρισης του πενθους.ομως τελικα ηταν πολυ περισσότερο απο αυτο..

Η ιστορια εκτυλισσεται το καλοκαιρι του 1938 στη Λισαβόνα που βρισκεται υπο το καθεστως δικτατοριας και σε ολη τη @γειτονια@ της ευρωπης επικρατει αναβρασμος και επέλαση του φασισμου.ο ηρωας ειναι φυσικα ο γλυκυτατος Περειρα.ενας μεσηλικας που προσπαθει(αποτυχημενα) να διαχειριστει την απωλεια της συντροφου της ζωης του , αλλα παραμενει ενας @φετιχιστης αναμνησεων@.ονειροπολει, μιλα στο πορτρετο της συζυγου του και ασχολειται με τη λογοτεχνια γραφοντας στη στηλη με τα πολιτιστικα μιας μεγαλης εφημεριδας τις...νεκρολογιες μεγαλων λογοτεχνων ακομη και αν αυτοι δεν εχουν ακομη πεθανει γιατι οπως λεει πρεπει να ειναι ετοιμος για κατι τετοιο.κοινως η ζωη του εχει μεσα το θανατο.και ξαφνικα στη ζωη του μπαινει ενα ζευγαρι νεαρων που δεν εχουν καθολου χρονο για το θανατο.αντιθετως τον αγνοουν και ζουν στα ορια, αντιστεκομενοι στο καθεστως που επικρατει και προσπαθωντας να τον παρασυρουν μαζι τους.τι κανει λοιπον ο Περειρα? Πως μπορει να αφησει πισω τις αναμνησεις του και να ξεκινησει απο την αρχη ,να ξαναζει στο τωρα και οχι στο τοτε?πως γινεται καποιος δυσκινητος(κυριολεκτικα και μεταφορικα)σαν αυτον να αρχισει να κινειται στους ταχυτατους ρυθμους που απαιτουν οι εξελιξεις στο πολιτικο τοπιο?
Αυτα και αλλα πολλα πραγματευεται αυτο το βιβλιο που ειναι γραμμενο τοσο απλα(σχεδον απλοϊκά) αλλα θιγει σημαντικοτατα θεματα τοσο πολιτικα οσο και φιλοσοφικα.μια σκετη αναγνωστικη απολαυση και ενας κεντρικος ηρωας που εγινε πολυ γρηγορα ενας απο τους αγαπημενους μου.
Υ.γ. αιωνιος σεβασμος στον Τζουλιαν(τον Μπαρνς)

مشاهده لینک اصلی
Set in Lisbon in 1938, when fascism was running riot across Europe, a lonely, obese middle-aged man follows his heart. Read it to discover one of the most unassuming heroes in literature.

مشاهده لینک اصلی
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