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Brazil
The richest and most sensual novel in years from the Pulitzer Prize-winning author of the Rabbit series. Two young, beautiful lovers, a black child of the Rio slums and a pampered upper-class white girl, endure privation, violence, and captivity to be together.
272 pages, Paperback
First published January 1, 1994
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2,007 people want to read
About the author
John Updike
871Ìýbooks2,350ÌýfollowersJohn Hoyer Updike was an American writer. Updike's most famous work is his Rabbit series (Rabbit, Run; Rabbit Redux; Rabbit Is Rich; Rabbit At Rest; and Rabbit Remembered). Rabbit is Rich and Rabbit at Rest both won Pulitzer Prizes for Updike. Describing his subject as "the American small town, Protestant middle class," Updike is well known for his careful craftsmanship and prolific writing, having published 22 novels and more than a dozen short story collections as well as poetry, literary criticism and children's books. Hundreds of his stories, reviews, and poems have appeared in The New Yorker since the 1950s. His works often explore sex, faith, and death, and their inter-relationships.
He died of lung cancer at age 76.
He died of lung cancer at age 76.
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Displaying 1 - 30 of 288 reviews
February 23, 2023
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Before I get into the meat of this review (or perhaps I should say, the "yam" of this review) I want to share two funny stories about this book. First, I got this book secondhand in Japan and it's a bit of a curiosity because the book is in English but the price tag is in Chinese and I couldn't find the edition that I have on Å·±¦ÓéÀÖ, so I'm assuming that it's an out of print paperback edition. What a weird thing to find in a foreign country, right? (I was kind of hoping that they'd have some bodice rippers. They did not.)
Second, the sex scenes in this book are really weird. How weird, do you ask? Well, the author likes to refer to peens as "yams." Yes, that stuff that you buy by the can every Thanksgiving if you live in the U.S. of A. Crazy, right? I was telling my mother about this book and she rolled her eyes and said, "Is this one of your stupid bodice rippers, Nenia?" And I said, no, it's actually John Updike. And she looked utterly stricken: "Not Witches of Eastwick John Updike?" And I was like, "Yup. That one."
I think she's still traumatized by that revelation.
The story, as far as stories go, is pretty basic. It's the typical rich girl/poor boy story line that you've probably seen a million times. The twist is that it's a retelling of Tristan and Iseult (Tristao and Isabel) set in Brazil that attempts to make social commentary on race, class, and socioeconomics. While a worthy goal in and of itself, BRAZIL fails to do so, in my opinion, and comes off as dated, silly, trashy, porny, and even outright offensive at times.
Also, something it did that really puzzled me is that for the vast majority of the book, it's told as a straightforward tale that can sometimes be ridiculous but follows the rules of reality. However about 70% of the way in, Isabel and Tristao are captured by people who enslave Tristao and keep her on as a concubine. In revenge, Isabel meets with an indigenous dude who practices something like voodoo and actually flips their ethnicities, so Isabel goes from being white to being black, and Tristao goes from being black to being white. And this totally comes out of nowhere.
I'm still not over it. And I just read a vampire "romance" about incest and neck teabagging, so that really says something.
Here are some of this book's greatest hits:
[H]e felt his cashew become a banana, and then a rippled yam, bursting with weight (17).
His penis, so little when limp, a baby in its bonnet of foreskin, frightened her when it became a yam, stiff and thick with a lavender knob and purple-black ripples of gristle and veins (54-55).
Her cunt was to him like cream poured upon two years of aching (128).
He inhaled, with those round apprehensive nostrils she had freshly admired tonight, the basic mystery of her shit... (130).
[S]he ewanted to toy with his yam, and trace its swollen veins with the tip of her tongue, and sip the little transparent drop of nectar from its single small slit (188).
The smell of extremely stale cheese arose from his genitals (232).
[N]ow that she was no longer the color of clouds and crystal but that of earth, of wet smooth wood, of glistening dung (244).
^I thought this felt particularly offensive, as this is following Isabel's transformation from white to black. She goes from being crystalline and cloud-like to shitty and earthy? LOL, what even. #nope
Here's a picture of my edition. Yes, it was published in the 90s. Can you tell from the clashing primary colors and serif-heavy font? (1994, as a matter of fact, by Fawcett Crest.)
I can't say I recommend it - to anyone - but it was pretty hilariously awful, especially when riding on the heels of that aforementioned vampire book.
1 to 1.5 stars
March 11, 2017
ისეთივáƒ� გემრიელი დრმიმზიდველი áƒáƒ›áƒ‘áƒáƒ•áƒ˜áƒ�, რáƒáƒ’áƒáƒ ც ტáƒáƒ áƒáƒ¡áƒáƒ•áƒ˜áƒ� მსხვილáƒ�, დáƒáƒ«áƒáƒ ღვული áƒáƒ¡áƒ�.
April 15, 2022
*Update* თითქმიáƒ� ერთი წლის შემდეგ გáƒáƒ“áƒáƒ•áƒáƒ™áƒ”თე ხუáƒ� ვáƒáƒ სკვლáƒáƒ•áƒáƒ�
ფრიáƒáƒ� კმáƒáƒ§áƒáƒ¤áƒ˜áƒšáƒ� ვáƒáƒ�, თუმცáƒ� წინáƒáƒ¡áƒ¬áƒáƒ áƒ� მáƒáƒšáƒáƒ“ინები უფრრდიდი მქáƒáƒœáƒ“რწიგნის მიმáƒáƒ თ ვიდრáƒ� áƒáƒ¦áƒ›áƒáƒ©áƒœáƒ“áƒ.
მთელáƒ� წიგნის გáƒáƒœáƒ›áƒáƒ•áƒšáƒáƒ‘áƒáƒ¨áƒ˜ თáƒáƒ� მდევდრის ფიქრáƒ� თუ რáƒáƒ¢áƒáƒ� დáƒáƒ¬áƒ”რრპულიცერიáƒ� მფლáƒáƒ‘ელმáƒ� áƒáƒ•áƒ¢áƒáƒ მáƒ� წიგნáƒ�, რáƒáƒ›áƒ”ლშიც áƒáƒ áƒáƒ¤áƒ”რáƒ� იქნებáƒáƒ“რáƒáƒ¦áƒ›áƒáƒ¤áƒ თáƒáƒ•áƒáƒœáƒ”ბელი გáƒáƒ დáƒ� სიყვáƒáƒ ულისáƒ� დრეს სიყვáƒáƒ ულიც თითქáƒáƒ¡áƒ“რáƒáƒ áƒáƒ¤áƒ იáƒ� ემგვáƒáƒœáƒ”ბáƒáƒ“áƒ� სიყვáƒáƒ ულáƒ�. სáƒáƒ‘áƒáƒšáƒáƒáƒ“ თითქáƒáƒ¡ იმ დáƒáƒ¡áƒ™áƒ•áƒœáƒáƒ›áƒ“ე მივედი, რáƒáƒ� გáƒáƒ დáƒ� ტრáƒáƒ“იციული ფáƒáƒ‘ულისრრáƒáƒ� მდიდáƒáƒ áƒ� გáƒáƒ’áƒ/ღáƒáƒ იბი ბიáƒáƒ˜áƒ�(áƒáƒœ პირიქიáƒ�) ურთიერთáƒáƒ‘áƒáƒ� მáƒáƒ˜áƒªáƒáƒ•áƒ�, წიგნში წინრპლáƒáƒœáƒ–ე წáƒáƒ›áƒáƒ¬áƒ”ულáƒ� იყáƒ� რáƒáƒ¡áƒ˜áƒ–მის თემრდრვფიქრáƒáƒ� ერთგვáƒáƒ� გáƒáƒ›áƒáƒ«áƒáƒ®áƒ˜áƒšáƒ¡ წáƒáƒ მáƒáƒáƒ“გენდრáƒáƒ›áƒ”რიკის რეáƒáƒšáƒáƒ‘áƒáƒ–ეც. მიუხედáƒáƒ•áƒáƒ“ იმისáƒ�, რáƒáƒ� მáƒáƒ� თეთრკáƒáƒœáƒ˜áƒáƒœáƒ”ბáƒ� áƒáƒ ჰქáƒáƒœáƒ“áƒáƒ� ნáƒáƒ—ქვáƒáƒ›áƒ˜ უáƒáƒ ი „ზáƒáƒœáƒ’ებთáƒáƒœâ€� ურთიერთáƒáƒ‘áƒáƒ–ე, მáƒáƒ˜áƒœáƒ� მუდáƒáƒ� თáƒáƒ™áƒ˜áƒšáƒáƒ‘დნეáƒ� მáƒáƒ�. ბáƒáƒšáƒáƒ� კი მáƒáƒ˜áƒœáƒ� სიყვáƒáƒ ულáƒ� მივიჩნევ áƒáƒ› წიგნის დედრáƒáƒ–რáƒáƒ�, თუმცáƒ� რáƒáƒ¡áƒáƒ‘რივმრსáƒáƒ®áƒ”სხვáƒáƒáƒ‘áƒáƒ› მáƒáƒ� ურთიერთáƒáƒ‘áƒáƒ¡áƒáƒ� დáƒáƒáƒ›áƒ©áƒœáƒ˜áƒ კვáƒáƒšáƒ�.
რáƒáƒ� შეეხებáƒ� სáƒáƒ™áƒ£áƒ—რივ სიყვáƒáƒ ულáƒ�, áƒáƒ¥ áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ›áƒ áƒáƒáƒ›áƒ¦áƒ•áƒ ირყველáƒáƒ¤áƒ”რáƒ� წმინდáƒ, რáƒáƒ� კი შეიძლებრგáƒáƒ›áƒáƒ®áƒ¡áƒ”ნდეáƒ� áƒáƒ› გრძნáƒáƒ‘áƒáƒ¡áƒ—áƒáƒ� დáƒáƒ™áƒáƒ•áƒ¨áƒ˜áƒ ებით, თუმცáƒ� áƒáƒ დáƒáƒ›áƒ¢áƒáƒ•áƒ� ნეგáƒáƒ¢áƒ˜áƒ£áƒ გáƒáƒœáƒ¬áƒ§áƒáƒ‘áƒáƒ–ე. წიგნში კáƒáƒ გáƒáƒ“ ჩáƒáƒœáƒ“áƒ� ბრáƒáƒ–ილიეáƒ� ხáƒáƒšáƒ®áƒ˜áƒ¡ ვნებáƒ� დრტემპერáƒáƒ›áƒ”ნტი, გáƒáƒœáƒªáƒ“რთითქáƒáƒ¡áƒ“რღáƒáƒšáƒáƒ¢áƒ˜ áƒáƒ ნიშნáƒáƒ•áƒ“რáƒáƒ áƒáƒ¤áƒ”რáƒ� სხვáƒáƒ�. ღáƒáƒšáƒáƒ¢áƒ˜áƒ� თემრკი áƒáƒ áƒáƒ”რთხეáƒ� იყáƒ� ხáƒáƒ–გáƒáƒ¡áƒ›áƒ£áƒšáƒ˜ ტექსტშáƒ�, თითქáƒáƒ¡ áƒáƒ•áƒ¢áƒáƒ ს უნდáƒáƒ“რეჩვენებინრრáƒáƒ� მთáƒáƒ•áƒáƒ áƒ� ის წრფელი გრძნáƒáƒ‘áƒáƒ რáƒáƒ¡áƒáƒ� გáƒáƒœáƒ˜áƒªáƒ“áƒ� დრáƒáƒ áƒ� ხáƒáƒ ციელი სიáƒáƒ›áƒáƒ•áƒœáƒ”ბáƒ, მიუხედáƒáƒ•áƒáƒ“ იმისáƒ� რáƒáƒ� ტრისტáƒáƒáƒ¡ დრიზáƒáƒ‘ელის სიყვáƒáƒ ულáƒ� მეტწილáƒáƒ“ ხáƒáƒ ციეáƒ� გáƒáƒœáƒªáƒ“ებზáƒ� იყáƒ� დáƒáƒ¤áƒ£áƒ«áƒœáƒ”ბულáƒ�.
მáƒáƒ—ი სიყვáƒáƒ ულიც დრრáƒáƒ¡áƒáƒ‘რივáƒ� სáƒáƒ®áƒ”სხვáƒáƒáƒ‘ებიც მáƒáƒ� შემდეგ უფრრმკვეთრáƒáƒ“ გáƒáƒ›áƒáƒ©áƒœáƒ“áƒ, რáƒáƒªáƒ ერთმáƒáƒœáƒ”თის ტყáƒáƒ•áƒ¨áƒ˜ გáƒáƒœáƒáƒ’რძეáƒ� ცხáƒáƒ•áƒ ებáƒ. რáƒáƒ’áƒáƒ� შეიცვáƒáƒšáƒ მáƒáƒ—ი ბუნებრდრრáƒáƒ� იქცნენ.
ყველáƒáƒ–áƒ� მáƒáƒ›áƒ®áƒ˜áƒ‘ლáƒáƒ•áƒ˜ წიგნში áƒáƒ áƒ� რáƒáƒ� áƒáƒ¦áƒ›áƒáƒ©áƒœáƒ“áƒ. პირველáƒ� რáƒáƒ“ესáƒáƒ� იზáƒáƒ‘ელმრყველáƒáƒ–áƒ� მნიშვნელáƒáƒ•áƒáƒœáƒ� სáƒáƒ©áƒ£áƒ¥áƒáƒ ი დáƒáƒ—მáƒ� ქურუმთáƒáƒœ სტუმრáƒáƒ‘ისáƒáƒ� დრმეáƒáƒ áƒ� ბáƒáƒšáƒ თáƒáƒ•áƒ˜, ტრისტáƒáƒáƒ¡ დრიზáƒáƒ‘ელის სხეულთáƒ� უკáƒáƒœáƒáƒ¡áƒ™áƒœáƒ”ლáƒ� შერწყმáƒ�.
დრდáƒáƒ¡áƒáƒ¡áƒ ულიც რáƒáƒ� ღირს „სულáƒ� ძლიერიáƒ�, მáƒáƒ’რáƒáƒ› ბრმრმáƒáƒ¢áƒ”რიáƒ� - კიდეáƒ� უფრრმეტáƒáƒ“â€�.
áƒ�.áƒ�. რევიუს წერისáƒáƒ� რáƒáƒ›áƒ“ენჯერმáƒ� შევცვáƒáƒšáƒ” 4 დრ5 ვáƒáƒ სკვლáƒáƒ•áƒ˜ ერთმáƒáƒœáƒ”თში, ჯეáƒ�-ჯერáƒáƒ‘იáƒ� áƒáƒ—ხს დáƒáƒ•áƒ£áƒ¢áƒáƒ•áƒ”áƒ�, თუმცáƒ� ვფიქრáƒáƒ� რáƒáƒ¦áƒáƒ� დრáƒáƒ¡ áƒáƒ£áƒªáƒ˜áƒšáƒ”ბლáƒáƒ“ გáƒáƒ“áƒáƒ•áƒáƒ™áƒ”თეáƒ� ხუთáƒáƒ�.
ფრიáƒáƒ� კმáƒáƒ§áƒáƒ¤áƒ˜áƒšáƒ� ვáƒáƒ�, თუმცáƒ� წინáƒáƒ¡áƒ¬áƒáƒ áƒ� მáƒáƒšáƒáƒ“ინები უფრრდიდი მქáƒáƒœáƒ“რწიგნის მიმáƒáƒ თ ვიდრáƒ� áƒáƒ¦áƒ›áƒáƒ©áƒœáƒ“áƒ.
მთელáƒ� წიგნის გáƒáƒœáƒ›áƒáƒ•áƒšáƒáƒ‘áƒáƒ¨áƒ˜ თáƒáƒ� მდევდრის ფიქრáƒ� თუ რáƒáƒ¢áƒáƒ� დáƒáƒ¬áƒ”რრპულიცერიáƒ� მფლáƒáƒ‘ელმáƒ� áƒáƒ•áƒ¢áƒáƒ მáƒ� წიგნáƒ�, რáƒáƒ›áƒ”ლშიც áƒáƒ áƒáƒ¤áƒ”რáƒ� იქნებáƒáƒ“რáƒáƒ¦áƒ›áƒáƒ¤áƒ თáƒáƒ•áƒáƒœáƒ”ბელი გáƒáƒ დáƒ� სიყვáƒáƒ ულისáƒ� დრეს სიყვáƒáƒ ულიც თითქáƒáƒ¡áƒ“რáƒáƒ áƒáƒ¤áƒ იáƒ� ემგვáƒáƒœáƒ”ბáƒáƒ“áƒ� სიყვáƒáƒ ულáƒ�. სáƒáƒ‘áƒáƒšáƒáƒáƒ“ თითქáƒáƒ¡ იმ დáƒáƒ¡áƒ™áƒ•áƒœáƒáƒ›áƒ“ე მივედი, რáƒáƒ� გáƒáƒ დáƒ� ტრáƒáƒ“იციული ფáƒáƒ‘ულისრრáƒáƒ� მდიდáƒáƒ áƒ� გáƒáƒ’áƒ/ღáƒáƒ იბი ბიáƒáƒ˜áƒ�(áƒáƒœ პირიქიáƒ�) ურთიერთáƒáƒ‘áƒáƒ� მáƒáƒ˜áƒªáƒáƒ•áƒ�, წიგნში წინრპლáƒáƒœáƒ–ე წáƒáƒ›áƒáƒ¬áƒ”ულáƒ� იყáƒ� რáƒáƒ¡áƒ˜áƒ–მის თემრდრვფიქრáƒáƒ� ერთგვáƒáƒ� გáƒáƒ›áƒáƒ«áƒáƒ®áƒ˜áƒšáƒ¡ წáƒáƒ მáƒáƒáƒ“გენდრáƒáƒ›áƒ”რიკის რეáƒáƒšáƒáƒ‘áƒáƒ–ეც. მიუხედáƒáƒ•áƒáƒ“ იმისáƒ�, რáƒáƒ� მáƒáƒ� თეთრკáƒáƒœáƒ˜áƒáƒœáƒ”ბáƒ� áƒáƒ ჰქáƒáƒœáƒ“áƒáƒ� ნáƒáƒ—ქვáƒáƒ›áƒ˜ უáƒáƒ ი „ზáƒáƒœáƒ’ებთáƒáƒœâ€� ურთიერთáƒáƒ‘áƒáƒ–ე, მáƒáƒ˜áƒœáƒ� მუდáƒáƒ� თáƒáƒ™áƒ˜áƒšáƒáƒ‘დნეáƒ� მáƒáƒ�. ბáƒáƒšáƒáƒ� კი მáƒáƒ˜áƒœáƒ� სიყვáƒáƒ ულáƒ� მივიჩნევ áƒáƒ› წიგნის დედრáƒáƒ–რáƒáƒ�, თუმცáƒ� რáƒáƒ¡áƒáƒ‘რივმრსáƒáƒ®áƒ”სხვáƒáƒáƒ‘áƒáƒ› მáƒáƒ� ურთიერთáƒáƒ‘áƒáƒ¡áƒáƒ� დáƒáƒáƒ›áƒ©áƒœáƒ˜áƒ კვáƒáƒšáƒ�.
რáƒáƒ� შეეხებáƒ� სáƒáƒ™áƒ£áƒ—რივ სიყვáƒáƒ ულáƒ�, áƒáƒ¥ áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ›áƒ áƒáƒáƒ›áƒ¦áƒ•áƒ ირყველáƒáƒ¤áƒ”რáƒ� წმინდáƒ, რáƒáƒ� კი შეიძლებრგáƒáƒ›áƒáƒ®áƒ¡áƒ”ნდეáƒ� áƒáƒ› გრძნáƒáƒ‘áƒáƒ¡áƒ—áƒáƒ� დáƒáƒ™áƒáƒ•áƒ¨áƒ˜áƒ ებით, თუმცáƒ� áƒáƒ დáƒáƒ›áƒ¢áƒáƒ•áƒ� ნეგáƒáƒ¢áƒ˜áƒ£áƒ გáƒáƒœáƒ¬áƒ§áƒáƒ‘áƒáƒ–ე. წიგნში კáƒáƒ გáƒáƒ“ ჩáƒáƒœáƒ“áƒ� ბრáƒáƒ–ილიეáƒ� ხáƒáƒšáƒ®áƒ˜áƒ¡ ვნებáƒ� დრტემპერáƒáƒ›áƒ”ნტი, გáƒáƒœáƒªáƒ“რთითქáƒáƒ¡áƒ“რღáƒáƒšáƒáƒ¢áƒ˜ áƒáƒ ნიშნáƒáƒ•áƒ“რáƒáƒ áƒáƒ¤áƒ”რáƒ� სხვáƒáƒ�. ღáƒáƒšáƒáƒ¢áƒ˜áƒ� თემრკი áƒáƒ áƒáƒ”რთხეáƒ� იყáƒ� ხáƒáƒ–გáƒáƒ¡áƒ›áƒ£áƒšáƒ˜ ტექსტშáƒ�, თითქáƒáƒ¡ áƒáƒ•áƒ¢áƒáƒ ს უნდáƒáƒ“რეჩვენებინრრáƒáƒ� მთáƒáƒ•áƒáƒ áƒ� ის წრფელი გრძნáƒáƒ‘áƒáƒ რáƒáƒ¡áƒáƒ� გáƒáƒœáƒ˜áƒªáƒ“áƒ� დრáƒáƒ áƒ� ხáƒáƒ ციელი სიáƒáƒ›áƒáƒ•áƒœáƒ”ბáƒ, მიუხედáƒáƒ•áƒáƒ“ იმისáƒ� რáƒáƒ� ტრისტáƒáƒáƒ¡ დრიზáƒáƒ‘ელის სიყვáƒáƒ ულáƒ� მეტწილáƒáƒ“ ხáƒáƒ ციეáƒ� გáƒáƒœáƒªáƒ“ებზáƒ� იყáƒ� დáƒáƒ¤áƒ£áƒ«áƒœáƒ”ბულáƒ�.
მáƒáƒ—ი სიყვáƒáƒ ულიც დრრáƒáƒ¡áƒáƒ‘რივáƒ� სáƒáƒ®áƒ”სხვáƒáƒáƒ‘ებიც მáƒáƒ� შემდეგ უფრრმკვეთრáƒáƒ“ გáƒáƒ›áƒáƒ©áƒœáƒ“áƒ, რáƒáƒªáƒ ერთმáƒáƒœáƒ”თის ტყáƒáƒ•áƒ¨áƒ˜ გáƒáƒœáƒáƒ’რძეáƒ� ცხáƒáƒ•áƒ ებáƒ. რáƒáƒ’áƒáƒ� შეიცვáƒáƒšáƒ მáƒáƒ—ი ბუნებრდრრáƒáƒ� იქცნენ.
ყველáƒáƒ–áƒ� მáƒáƒ›áƒ®áƒ˜áƒ‘ლáƒáƒ•áƒ˜ წიგნში áƒáƒ áƒ� რáƒáƒ� áƒáƒ¦áƒ›áƒáƒ©áƒœáƒ“áƒ. პირველáƒ� რáƒáƒ“ესáƒáƒ� იზáƒáƒ‘ელმრყველáƒáƒ–áƒ� მნიშვნელáƒáƒ•áƒáƒœáƒ� სáƒáƒ©áƒ£áƒ¥áƒáƒ ი დáƒáƒ—მáƒ� ქურუმთáƒáƒœ სტუმრáƒáƒ‘ისáƒáƒ� დრმეáƒáƒ áƒ� ბáƒáƒšáƒ თáƒáƒ•áƒ˜, ტრისტáƒáƒáƒ¡ დრიზáƒáƒ‘ელის სხეულთáƒ� უკáƒáƒœáƒáƒ¡áƒ™áƒœáƒ”ლáƒ� შერწყმáƒ�.
დრდáƒáƒ¡áƒáƒ¡áƒ ულიც რáƒáƒ� ღირს „სულáƒ� ძლიერიáƒ�, მáƒáƒ’რáƒáƒ› ბრმრმáƒáƒ¢áƒ”რიáƒ� - კიდეáƒ� უფრრმეტáƒáƒ“â€�.
áƒ�.áƒ�. რევიუს წერისáƒáƒ� რáƒáƒ›áƒ“ენჯერმáƒ� შევცვáƒáƒšáƒ” 4 დრ5 ვáƒáƒ სკვლáƒáƒ•áƒ˜ ერთმáƒáƒœáƒ”თში, ჯეáƒ�-ჯერáƒáƒ‘იáƒ� áƒáƒ—ხს დáƒáƒ•áƒ£áƒ¢áƒáƒ•áƒ”áƒ�, თუმცáƒ� ვფიქრáƒáƒ� რáƒáƒ¦áƒáƒ� დრáƒáƒ¡ áƒáƒ£áƒªáƒ˜áƒšáƒ”ბლáƒáƒ“ გáƒáƒ“áƒáƒ•áƒáƒ™áƒ”თეáƒ� ხუთáƒáƒ�.
August 25, 2022
ვგიჟდები რáƒáƒªáƒ შედევრების კითხვáƒáƒ� გვიáƒáƒ� ღáƒáƒ›áƒ˜áƒ� მáƒáƒ•áƒ ჩები ხáƒáƒšáƒ›áƒ�. ძირითáƒáƒ“áƒáƒ�, ყველáƒáƒ¡ ძინáƒáƒ•áƒ¡ დრსიჩუმეში გáƒáƒ ინდებულáƒ� ვზივáƒáƒ . áƒáƒ¡áƒ� ვáƒáƒ� áƒáƒ› áƒáƒ®áƒšáƒ, ყბáƒáƒ“áƒáƒ¦áƒ”ბულáƒ� ვზივáƒáƒ , რáƒáƒ“გáƒáƒœ ზედმეტáƒáƒ“ დáƒáƒ®áƒ•áƒ”წილáƒ� წიგნიáƒ.
áƒáƒ¡áƒ”ვáƒ�, ძáƒáƒšáƒ˜áƒáƒœ გáƒáƒ›áƒ˜áƒáƒ˜áƒ დáƒ�, ცრემლებიáƒ� გáƒáƒ ეშე დáƒáƒ›áƒ”სრულებინáƒ� კითხვáƒ. მეტიáƒ� დáƒáƒ¬áƒ”რრ- უბრáƒáƒšáƒáƒ� áƒáƒ მემეტებáƒ/შემიძლიáƒ.
áƒáƒ¡áƒ”ვáƒ�, ძáƒáƒšáƒ˜áƒáƒœ გáƒáƒ›áƒ˜áƒáƒ˜áƒ დáƒ�, ცრემლებიáƒ� გáƒáƒ ეშე დáƒáƒ›áƒ”სრულებინáƒ� კითხვáƒ. მეტიáƒ� დáƒáƒ¬áƒ”რრ- უბრáƒáƒšáƒáƒ� áƒáƒ მემეტებáƒ/შემიძლიáƒ.
January 16, 2011
I just finished reading "Brazil" by Updike. I don't like how I feel about it. in all honesty, I can't sit here and say it wasn't well written. I think that the story's pace, plot development and overall structure (while obviously being a transposed Tristan & Isolde) was well done. Additionally, Updike does a decent job of making his elite, upper class characters sound remarkably similar to what many individuals in other western countries sounded like at the time, and perhaps even now. Namely, that open racism wasn't the way for a society to move towards modernity, yet maintaining a safe distance between the lower class, presumably darker people and upper class individuals was of the uttermost importance in maintaining proper social decorum. Perhaps what bothered me most was how in the west of the country, slavery was a way still maintained and revered because of it's ability to ensure a steady source of labor from a group of people most physiologically suited to do it (the common argument for the beginnings of the slave trade in the first place). Now I know that slavery did exist in Brazil long after it's official abolishment in the 1880's, yet it still doesn't make me feel anymore comfortable about it being around as late (presumably) as the 1970's. I understand that this is fiction, but the idea that slavery could continue to exist in a country as complicated and hypocritical as Brazil (our own country not withstanding) still makes me uncomfortable. I suppose that this is the sign of a good work because of it's ability to draw you in. It just introduced me to a sensation that I wasn't use to. To his credit, I do appreciate his ability to associate slavery with savagery. It would have been utterly unrealistic for him to create a father figure who, despite being distant, was openly accepting of her relationship with Tristao. This realism, while quite uncomfortable for me, is appreciated because it's reflective of reality in that country and many others where young couples dating patterns go against the grain.
Now to the actual story of these two lovers. While I make no qualms about my life as someone who's dated interracially his entire life, it still presents me with a bit of discomfort that Isabel wants him to make her his slave when they do it. When at first I read this, I thought to myself "oh goody, there's some BDSM in this one" and genuinely meant it. As the story went along, it seemed that her desire for him to do this was her desire to placate her guilt at being an upper class, privileged, white young lady. As noble as the intention of trying to put oneself on par with those who had a several century head start on being oppressed, I found it a little crude that she was trying to do this in the above mentioned way. Her personal submission to his sexual prowess, while obviously enticing for someone like me, is a little disappointing in a literary sense. Her love for him was clear, but her desire to be this abused slave just to make him happy seemed over the top. I haven't read anything else by Updike, outside of an excerpt from "Rabbit is Rich", but it seems as if he's attempting to assuage any white guilt that he may have experienced living through the Civil Rights Era through having his main female character submit herself physically, emotionally, etc. to her strapping black beau. My major problem with this philosophy is that It seems like a half assed way for black folks to get back at the establishment. It's like he's saying to us, "Hey, white man, yeah, you guys still run everything, but at least the black boys of the favelas will seduce your women with their fabled sexual prowess." I'm obviously cynical, but i cannot help get this vibe from this story. What saves this alleghory from completely being off-putting is that the main character, although timidly, doesn't completely buy into this image of brutality in exchange for a pass on judgment from the lower class.
I waffle with these perceived images because, although it bothers me that black men are only seen as ways to get back at "the man" for so many years of oppression by fucking their women, i cannot helped being aroused at the prospect of reading about a young, nubile white lady submitting herself and enjoying her submission to a strapping black beau! As you can see, it makes me laugh and be frustrated with myself simultaneously.
Anyways, overall this is a good book. It will make you uncomfortable, it may turn you on and/or off, but I believe it will make you feel something. If that's the kind of story that you're looking for, then you have it right here.
Now to the actual story of these two lovers. While I make no qualms about my life as someone who's dated interracially his entire life, it still presents me with a bit of discomfort that Isabel wants him to make her his slave when they do it. When at first I read this, I thought to myself "oh goody, there's some BDSM in this one" and genuinely meant it. As the story went along, it seemed that her desire for him to do this was her desire to placate her guilt at being an upper class, privileged, white young lady. As noble as the intention of trying to put oneself on par with those who had a several century head start on being oppressed, I found it a little crude that she was trying to do this in the above mentioned way. Her personal submission to his sexual prowess, while obviously enticing for someone like me, is a little disappointing in a literary sense. Her love for him was clear, but her desire to be this abused slave just to make him happy seemed over the top. I haven't read anything else by Updike, outside of an excerpt from "Rabbit is Rich", but it seems as if he's attempting to assuage any white guilt that he may have experienced living through the Civil Rights Era through having his main female character submit herself physically, emotionally, etc. to her strapping black beau. My major problem with this philosophy is that It seems like a half assed way for black folks to get back at the establishment. It's like he's saying to us, "Hey, white man, yeah, you guys still run everything, but at least the black boys of the favelas will seduce your women with their fabled sexual prowess." I'm obviously cynical, but i cannot help get this vibe from this story. What saves this alleghory from completely being off-putting is that the main character, although timidly, doesn't completely buy into this image of brutality in exchange for a pass on judgment from the lower class.
I waffle with these perceived images because, although it bothers me that black men are only seen as ways to get back at "the man" for so many years of oppression by fucking their women, i cannot helped being aroused at the prospect of reading about a young, nubile white lady submitting herself and enjoying her submission to a strapping black beau! As you can see, it makes me laugh and be frustrated with myself simultaneously.
Anyways, overall this is a good book. It will make you uncomfortable, it may turn you on and/or off, but I believe it will make you feel something. If that's the kind of story that you're looking for, then you have it right here.
July 20, 2014
Съвременен, мрачен и еротичен прочит на легендата за ТриÑтан и Изолда, емоционално пътуване към Ð‘Ñ€Ð°Ð·Ð¸Ð»Ð¸Ñ Ð² периода 1966-1988, задъхваща Ñе между репреÑиите на военната диктатура и икономичеÑÐºÐ¸Ñ Ð¿Ð¾Ð´ÐµÐ¼, граничещ Ñ Ñ‡ÑƒÐ´Ð¾ и поÑледвалите Ñтачки, криза и неуправлÑаема инфлациÑ.
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Ъпдайк е добър разказвач и пÑихолог. Дори в тривиалните житейÑки Ñитуации уÑпÑва да поÑее онова зрънце, което да улови трайно вниманието на читателÑ. Образите му Ñа правдоподобни, Ñилни и запомнÑщи Ñе, дълбае в Ñ‚ÑÑ… и вади и поÑледната чаÑтица от дълбоко Ñкритата им ÑъщноÑÑ‚.
Езикът му е жив и опиÑателен, могат да Ñе уÑетÑÑ‚ ÑÐ¾Ð»ÐµÐ½Ð¸Ñ Ð½Ð¾Ñ‰ÐµÐ½ бриз, мириÑа на водораÑли, Ð¿Ð¾Ð»ÐµÐ¿Ð²Ð°Ñ‰Ð¸Ñ Ð¿Ð¾ гърлото прах, ледениÑ, шибащ дъжд и топлината на огънÑ, вонÑта на немити тела и евтина кашаÑа, дима от опиум, екÑтаза на вплетените тела. Ð’ интимните моменти е много еротичен и прÑм, без да е дразнещо вулгарен.
Преводът е колкото добър и уловил Ñтила на Ъпдайк, толкова и Ñпъващ четенето на моменти. ÐеобÑÑнимо защо Ñтраниците Ñа оÑеÑни Ñ Ñ‚Ñ€Ð°Ð½Ñкрибирани на българÑки португалÑки думи. ЗатормозÑващи пиÑÐ°Ð½Ð¸Ñ Ð¾Ñ‚ рода на "Във фазендата на нÑкой едър фазендейро Ñе подкрепÑха Ñ Ð¾Ñ‚Ð¿ÑƒÑнатата им Ñ€Ñдка канжа де галинÑ" и Ñ Ð¿Ñ€ÐµÐ²ÐµÐ´ÐµÐ½Ð¸ под чертата думички биха звучали по-проÑто и ÑъвÑем на българÑки като "Ð’ имението на нÑкой едър плантатор Ñе подкрепÑха Ñ Ð¾Ñ‚Ð¿ÑƒÑната им Ñ€Ñдка пилешка Ñупа."
Има и фрапиращи Ñлучаи на безÑмиÑлици, напр."ÐºÐ°Ð±Ð¾ÐºÐ»Ð¾Ñ Ð¸ ÑертанежоÑ" преведени ÑъвÑем небрежно Ñамо като "жители на Ñертао". Сертао-то е обÑÑнено нÑкъде из предните Ñтраници и отдавна е забравено. Четем и потъваме в интереÑна книга вÑе пак, не Ñме на уÑкорен ÐºÑƒÑ€Ñ Ð¿Ð¾ португалÑки.
Ð’ тази книга Ъпдайк е дал добро обÑÑнение на загубата на уÑет и от там - на Ñтранните понÑкога идеи и безÑилие на преводачите:
ТриÑтао и Изабел Ñа Ñъбирателни образи на тогавашното поколение, ноÑещи не Ñамо контраÑтите на телата Ñи, черно и бÑло, но и в манталитетите на двата паралелно ÑъщеÑтвуващи ÑвÑта, на мизериÑта и охолÑтвото. БÑгайки от оживеното крайбрежие през мъртвата пуÑтош до девÑтвените гори виÑоко в планината, през мегаполиÑи, забравени Ñелца и индианÑки колиби, те отглеждат крехката Ñи, забранена любов и израÑтват заедно Ñ Ð½ÐµÑ. Ð¢Ñ ÑƒÑтоÑва на раÑови и клаÑови предразÑъдъци, на бой, болка, глад и умора почти до Ñмърт, на Ñкрупули и на времето, дори на шокиращата метаморфоза на телата им. ОцелÑва Ñ Ñ‚ÑÑ… и Ñтава по-Ñилна.
Ъпдайк е добър разказвач и пÑихолог. Дори в тривиалните житейÑки Ñитуации уÑпÑва да поÑее онова зрънце, което да улови трайно вниманието на читателÑ. Образите му Ñа правдоподобни, Ñилни и запомнÑщи Ñе, дълбае в Ñ‚ÑÑ… и вади и поÑледната чаÑтица от дълбоко Ñкритата им ÑъщноÑÑ‚.
Езикът му е жив и опиÑателен, могат да Ñе уÑетÑÑ‚ ÑÐ¾Ð»ÐµÐ½Ð¸Ñ Ð½Ð¾Ñ‰ÐµÐ½ бриз, мириÑа на водораÑли, Ð¿Ð¾Ð»ÐµÐ¿Ð²Ð°Ñ‰Ð¸Ñ Ð¿Ð¾ гърлото прах, ледениÑ, шибащ дъжд и топлината на огънÑ, вонÑта на немити тела и евтина кашаÑа, дима от опиум, екÑтаза на вплетените тела. Ð’ интимните моменти е много еротичен и прÑм, без да е дразнещо вулгарен.
Преводът е колкото добър и уловил Ñтила на Ъпдайк, толкова и Ñпъващ четенето на моменти. ÐеобÑÑнимо защо Ñтраниците Ñа оÑеÑни Ñ Ñ‚Ñ€Ð°Ð½Ñкрибирани на българÑки португалÑки думи. ЗатормозÑващи пиÑÐ°Ð½Ð¸Ñ Ð¾Ñ‚ рода на "Във фазендата на нÑкой едър фазендейро Ñе подкрепÑха Ñ Ð¾Ñ‚Ð¿ÑƒÑнатата им Ñ€Ñдка канжа де галинÑ" и Ñ Ð¿Ñ€ÐµÐ²ÐµÐ´ÐµÐ½Ð¸ под чертата думички биха звучали по-проÑто и ÑъвÑем на българÑки като "Ð’ имението на нÑкой едър плантатор Ñе подкрепÑха Ñ Ð¾Ñ‚Ð¿ÑƒÑната им Ñ€Ñдка пилешка Ñупа."
Има и фрапиращи Ñлучаи на безÑмиÑлици, напр."ÐºÐ°Ð±Ð¾ÐºÐ»Ð¾Ñ Ð¸ ÑертанежоÑ" преведени ÑъвÑем небрежно Ñамо като "жители на Ñертао". Сертао-то е обÑÑнено нÑкъде из предните Ñтраници и отдавна е забравено. Четем и потъваме в интереÑна книга вÑе пак, не Ñме на уÑкорен ÐºÑƒÑ€Ñ Ð¿Ð¾ португалÑки.
Ð’ тази книга Ъпдайк е дал добро обÑÑнение на загубата на уÑет и от там - на Ñтранните понÑкога идеи и безÑилие на преводачите:
"Той говореше толкова други езици, че мозъкът му поÑтоÑнно превеждаше, езикът му нÑмаше дом."
February 18, 2008
This is fantastic.
The language is brutal and lush, hot and humid. You can feel the rain forrest, even when the main characters aren't physically there.
The story could be reduced to one of interracial love, but it goes so much farther then that. The novel spans about twenty or so years of the lives of the main characters, Isabel, a rich white woman and Tristao, a poor black man (exactly! Tristian and Isolde.)
The tone of this novel is bleak and desperate and dirty. The sex is prolific, loving, abusive, addicting, their love is painfully exclusive, somehow untouched by the blatant unfaithful nature of their relationship.
There is co-dependency and unhealthy stubborness and loyalty at the most bone deep level.
Brazil is a gorgeous novel, tough to take, even harder to put down and a truly originial work of literature.
The language is brutal and lush, hot and humid. You can feel the rain forrest, even when the main characters aren't physically there.
The story could be reduced to one of interracial love, but it goes so much farther then that. The novel spans about twenty or so years of the lives of the main characters, Isabel, a rich white woman and Tristao, a poor black man (exactly! Tristian and Isolde.)
The tone of this novel is bleak and desperate and dirty. The sex is prolific, loving, abusive, addicting, their love is painfully exclusive, somehow untouched by the blatant unfaithful nature of their relationship.
There is co-dependency and unhealthy stubborness and loyalty at the most bone deep level.
Brazil is a gorgeous novel, tough to take, even harder to put down and a truly originial work of literature.
April 21, 2020
ნáƒáƒ›áƒ“ვილáƒáƒ� ვეáƒ� ვისიáƒáƒ›áƒáƒ•áƒœáƒ” áƒáƒ› წიგნით დრდიდი ხáƒáƒœáƒ˜áƒ� წიგნის კითხვისáƒáƒ� áƒáƒ¡áƒ� áƒáƒ მიწვáƒáƒšáƒ˜áƒ.
ტრისტáƒáƒáƒ¡ დრიზáƒáƒ‘ელის სიყვáƒáƒ ულáƒ� ლáƒáƒ›áƒáƒ–ი იყáƒ�-მეთქáƒ� მინდáƒ� ვთქვáƒ�, მáƒáƒ’რáƒáƒ› იმდენáƒáƒ� áƒáƒ მáƒáƒ›áƒ¬áƒáƒœáƒ� იზáƒáƒ‘ელáƒ�, რáƒáƒ’áƒáƒ ც პერსáƒáƒœáƒáƒŸáƒ�, რáƒáƒ� ვეáƒ� ვიტყვი. ერთáƒáƒ“ერთáƒ� რáƒáƒ�, მეáƒ�-ნáƒáƒ™áƒšáƒ”ბáƒáƒ“, áƒáƒ› წიგნში მáƒáƒ›áƒ”წáƒáƒœáƒ თვითáƒáƒœ ტრისტáƒáƒ� იყáƒ�.
მáƒáƒ›áƒ”ნტებში, თითქáƒáƒ¡, მáƒáƒ’იურáƒ� რეáƒáƒšáƒ˜áƒ–მიáƒ� იáƒáƒ ებáƒáƒ“áƒ, რáƒáƒ�, ჩემი áƒáƒ–რიáƒ�, სáƒáƒ”რთáƒáƒ� áƒáƒ მáƒáƒ£áƒ®áƒ“რწიგნáƒ�. თáƒáƒ•áƒ˜áƒ� მხრიáƒ�, დáƒáƒ¡áƒáƒ¡áƒ ულიც áƒáƒ მáƒáƒ›áƒ”წáƒáƒœáƒ.
დრáƒáƒ¥áƒ•áƒ”, სიმინდის áƒáƒ“ესმე áƒáƒáƒ›áƒ˜áƒ� სურვილáƒ� სáƒáƒ”რთáƒáƒ� დáƒáƒ›áƒ˜áƒ™áƒáƒ გáƒ� áƒáƒ› ნáƒáƒ¬áƒáƒ მáƒáƒ”ბმáƒ�.
ტრისტáƒáƒáƒ¡ დრიზáƒáƒ‘ელის სიყვáƒáƒ ულáƒ� ლáƒáƒ›áƒáƒ–ი იყáƒ�-მეთქáƒ� მინდáƒ� ვთქვáƒ�, მáƒáƒ’რáƒáƒ› იმდენáƒáƒ� áƒáƒ მáƒáƒ›áƒ¬áƒáƒœáƒ� იზáƒáƒ‘ელáƒ�, რáƒáƒ’áƒáƒ ც პერსáƒáƒœáƒáƒŸáƒ�, რáƒáƒ� ვეáƒ� ვიტყვი. ერთáƒáƒ“ერთáƒ� რáƒáƒ�, მეáƒ�-ნáƒáƒ™áƒšáƒ”ბáƒáƒ“, áƒáƒ› წიგნში მáƒáƒ›áƒ”წáƒáƒœáƒ თვითáƒáƒœ ტრისტáƒáƒ� იყáƒ�.
მáƒáƒ›áƒ”ნტებში, თითქáƒáƒ¡, მáƒáƒ’იურáƒ� რეáƒáƒšáƒ˜áƒ–მიáƒ� იáƒáƒ ებáƒáƒ“áƒ, რáƒáƒ�, ჩემი áƒáƒ–რიáƒ�, სáƒáƒ”რთáƒáƒ� áƒáƒ მáƒáƒ£áƒ®áƒ“რწიგნáƒ�. თáƒáƒ•áƒ˜áƒ� მხრიáƒ�, დáƒáƒ¡áƒáƒ¡áƒ ულიც áƒáƒ მáƒáƒ›áƒ”წáƒáƒœáƒ.
დრáƒáƒ¥áƒ•áƒ”, სიმინდის áƒáƒ“ესმე áƒáƒáƒ›áƒ˜áƒ� სურვილáƒ� სáƒáƒ”რთáƒáƒ� დáƒáƒ›áƒ˜áƒ™áƒáƒ გáƒ� áƒáƒ› ნáƒáƒ¬áƒáƒ მáƒáƒ”ბმáƒ�.
December 3, 2023
Warning âš ï¸- ძáƒáƒšáƒ–ედ სუბიექტური შეფáƒáƒ¡áƒ”ბáƒ!
შემიწუხდ� გული დრსული. 😩
მáƒáƒžáƒáƒ¢áƒ˜áƒáƒ¡ დიდმáƒ� ლიტერáƒáƒ¢áƒ£áƒ ულმáƒ� ელიტáƒáƒ›áƒáƒª დრთვითáƒáƒœ დიდმáƒ� ჯáƒáƒœáƒ›áƒáƒª, ჩემი áƒáƒ¡áƒ”თáƒ� უგემáƒáƒ•áƒœáƒ შეფáƒáƒ¡áƒ”ბáƒ. 🤞ðŸ»
ვერცერთი პერსáƒáƒœáƒáƒŸáƒ˜áƒ¡ გáƒáƒœáƒªáƒ“ებსáƒ� დრემáƒáƒªáƒ˜áƒ”ბს ვეáƒ� გáƒáƒ•áƒ£áƒ’ე. ვერც მთლიáƒáƒœáƒ� სურáƒáƒ—ი დáƒáƒ•áƒ˜áƒœáƒáƒ®áƒ”.
ვერც áƒáƒ› ჟáƒáƒœáƒ ებში "ხტáƒáƒ›áƒ˜áƒ¡" იდეáƒáƒ� ჩáƒáƒ•áƒ¬áƒ•áƒ“áƒ�.
რáƒáƒ’áƒáƒ ც ჩáƒáƒœáƒ¡, დიდáƒáƒ� áƒáƒ áƒ� ბრáƒáƒ–ილირმეხáƒáƒ¢áƒ”ბრგულზáƒ� (შáƒáƒ იდáƒáƒ�) დრáƒáƒ›áƒ˜áƒ¢áƒáƒ› ვერც ესთეტიურáƒ� სიáƒáƒ›áƒáƒ•áƒœáƒ”ბრმივიღე.
მáƒáƒ™áƒšáƒ”დ, ჯვáƒáƒ áƒ� ვეცვáƒ�.
ერთáƒáƒ“ერთáƒ� ის იყáƒ�, რáƒáƒ� áƒáƒ“áƒáƒ›áƒ˜áƒáƒœáƒ˜áƒ� ბუნებიáƒ� მთელáƒ� სისáƒáƒ¡áƒ¢áƒ˜áƒ™áƒ� მშვენივრáƒáƒ“ áƒáƒ ის გáƒáƒ›áƒáƒ•áƒšáƒ”ნილáƒ�.
პერსáƒáƒœáƒáƒŸáƒ”ბის სიყვáƒáƒ ულის áƒáƒ–რსáƒáƒª ვეáƒ� დáƒáƒ•áƒ”წიáƒ� დრმáƒáƒ—თვიáƒ� მინიáƒáƒ”ბუáƒ� თáƒáƒœáƒáƒ›áƒ”დრáƒáƒ•áƒ� "ტრისტáƒáƒœáƒ˜áƒ¡áƒ დრიზáƒáƒšáƒ“áƒáƒ�" ტიტულსáƒáƒª ვáƒáƒžáƒ áƒáƒ¢áƒ”სტეáƒ�!
დáƒáƒ¡áƒáƒ¡áƒ ულáƒ� ურიგáƒ� áƒáƒ იყáƒ�. ესეც იმის ხáƒáƒ—რით, რáƒáƒ� Grim Dark fantasy მáƒáƒ›áƒ¬áƒáƒœáƒ� დრცáƒáƒ¢áƒ მáƒáƒ’იáƒ� ელემენტები შევნიშნე.
მე პირáƒáƒ“áƒáƒ�, გáƒáƒœáƒ•áƒ”შáƒáƒ ებáƒ� áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ� and I don't even apologize 🥸
შემიწუხდ� გული დრსული. 😩
მáƒáƒžáƒáƒ¢áƒ˜áƒáƒ¡ დიდმáƒ� ლიტერáƒáƒ¢áƒ£áƒ ულმáƒ� ელიტáƒáƒ›áƒáƒª დრთვითáƒáƒœ დიდმáƒ� ჯáƒáƒœáƒ›áƒáƒª, ჩემი áƒáƒ¡áƒ”თáƒ� უგემáƒáƒ•áƒœáƒ შეფáƒáƒ¡áƒ”ბáƒ. 🤞ðŸ»
ვერცერთი პერსáƒáƒœáƒáƒŸáƒ˜áƒ¡ გáƒáƒœáƒªáƒ“ებსáƒ� დრემáƒáƒªáƒ˜áƒ”ბს ვეáƒ� გáƒáƒ•áƒ£áƒ’ე. ვერც მთლიáƒáƒœáƒ� სურáƒáƒ—ი დáƒáƒ•áƒ˜áƒœáƒáƒ®áƒ”.
ვერც áƒáƒ› ჟáƒáƒœáƒ ებში "ხტáƒáƒ›áƒ˜áƒ¡" იდეáƒáƒ� ჩáƒáƒ•áƒ¬áƒ•áƒ“áƒ�.
რáƒáƒ’áƒáƒ ც ჩáƒáƒœáƒ¡, დიდáƒáƒ� áƒáƒ áƒ� ბრáƒáƒ–ილირმეხáƒáƒ¢áƒ”ბრგულზáƒ� (შáƒáƒ იდáƒáƒ�) დრáƒáƒ›áƒ˜áƒ¢áƒáƒ› ვერც ესთეტიურáƒ� სიáƒáƒ›áƒáƒ•áƒœáƒ”ბრმივიღე.
მáƒáƒ™áƒšáƒ”დ, ჯვáƒáƒ áƒ� ვეცვáƒ�.
ერთáƒáƒ“ერთáƒ� ის იყáƒ�, რáƒáƒ� áƒáƒ“áƒáƒ›áƒ˜áƒáƒœáƒ˜áƒ� ბუნებიáƒ� მთელáƒ� სისáƒáƒ¡áƒ¢áƒ˜áƒ™áƒ� მშვენივრáƒáƒ“ áƒáƒ ის გáƒáƒ›áƒáƒ•áƒšáƒ”ნილáƒ�.
პერსáƒáƒœáƒáƒŸáƒ”ბის სიყვáƒáƒ ულის áƒáƒ–რსáƒáƒª ვეáƒ� დáƒáƒ•áƒ”წიáƒ� დრმáƒáƒ—თვიáƒ� მინიáƒáƒ”ბუáƒ� თáƒáƒœáƒáƒ›áƒ”დრáƒáƒ•áƒ� "ტრისტáƒáƒœáƒ˜áƒ¡áƒ დრიზáƒáƒšáƒ“áƒáƒ�" ტიტულსáƒáƒª ვáƒáƒžáƒ áƒáƒ¢áƒ”სტეáƒ�!
დáƒáƒ¡áƒáƒ¡áƒ ულáƒ� ურიგáƒ� áƒáƒ იყáƒ�. ესეც იმის ხáƒáƒ—რით, რáƒáƒ� Grim Dark fantasy მáƒáƒ›áƒ¬áƒáƒœáƒ� დრცáƒáƒ¢áƒ მáƒáƒ’იáƒ� ელემენტები შევნიშნე.
მე პირáƒáƒ“áƒáƒ�, გáƒáƒœáƒ•áƒ”შáƒáƒ ებáƒ� áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ� and I don't even apologize 🥸
February 11, 2009
there is so much to say about this novel. at first, i round it interesting the way updike paints a picture of interracial love between a poor black man and a rich white woman. i really thought the novel would address a lot of the issues of race/class in brazil, along with telling an enriching love story. although it was in many ways a social commentary, the addition of fantasy along with a terrible plot really drove me insane. the characters switch places/roles in the end in terms of race which i thought was ridiculous. although i get that this was for each of them to understand what it means to be black/white in brazil, it just didn't seem to fit in. although there were some beautifully written passages, overall the plot was terrible and lacked consistency. the last 40 pages were dreadful to read and seemed to be a rush for a resolution as opposed to a true ending. also some of the sexual scenes seemed to be portrayed very stereotypically. perhaps that was intentional, but it was annoying. the constant reference to a penis as a "yam" really made me want to scream. read this if you are interested in learning about brazil, but don't read it if you expect a timeless love story.
June 28, 2016
ბევრáƒ� ვიფიქრáƒ� რრდáƒáƒ›áƒ”წერრდრსáƒáƒ—áƒáƒœáƒáƒ“რმáƒáƒ˜áƒœáƒ� ვერáƒáƒ¤áƒ”რი მáƒáƒ•áƒ˜áƒ¤áƒ˜áƒ¥áƒ áƒ�. ისეთ პერიáƒáƒ“áƒ� დáƒáƒ›áƒ”მთხვáƒ� áƒáƒ› წიგნის კითხვáƒ, რáƒáƒªáƒ მáƒáƒ£áƒªáƒšáƒ”ლი ვიყáƒáƒ•áƒ˜, მáƒáƒ’რáƒáƒ›, რáƒáƒªáƒ კი მáƒáƒ•áƒ˜áƒ®áƒ”ლთებდი, მáƒáƒ¨áƒ˜áƒœáƒ•áƒ� იმ შáƒáƒ ეულ ლáƒáƒ—ინრáƒáƒ›áƒ”რიკáƒáƒ¨áƒ� áƒáƒ¦áƒ›áƒáƒ•áƒ©áƒœáƒ“ებáƒáƒ“áƒ�, სáƒáƒ“áƒáƒ� შხáƒáƒ›áƒ˜áƒáƒœáƒ˜ áƒáƒ˜áƒáƒáƒ•áƒ”ლებიáƒ� იყვნენ, გáƒáƒ£áƒ•áƒáƒšáƒ� ჯუნგლებიáƒ�, ლáƒáƒ—ი მეძáƒáƒ•áƒ”ბიáƒ�, სáƒáƒ›áƒáƒ თებლიáƒáƒœáƒ� ყáƒáƒ©áƒáƒ¦áƒ”ბიცრდრბუმბულიáƒáƒœáƒ˜ ინდიელებიც. თუმცáƒ� áƒáƒ¥ ყველáƒáƒ–áƒ� ბევრáƒ� სიყვáƒáƒ ულáƒ� იყáƒ� მáƒáƒ˜áƒœáƒ�. ჰáƒáƒ“რსუáƒ� დáƒáƒ£áƒ¦áƒšáƒ”ლáƒáƒ� შემáƒáƒ›áƒ”კითხáƒ� ეს ტრისტáƒáƒœáƒ˜áƒ¡áƒ დრიზáƒáƒšáƒ“áƒáƒ¡áƒ˜ თუ ტრისტáƒáƒáƒ¡áƒ� დრიზáƒáƒ‘ელის ერთი დáƒáƒ£áƒ¡áƒ ულებელი თáƒáƒ•áƒ’áƒáƒ“áƒáƒ¡áƒáƒ•áƒáƒšáƒ�.
რáƒáƒ’áƒáƒ ც ბრáƒáƒ–ილირშეიძლებრგიყვáƒáƒ დეáƒ� დრგიზიდáƒáƒ•áƒ“ეს, ისევერეს წიგნიც.
რáƒáƒ’áƒáƒ ც ბრáƒáƒ–ილირშეიძლებრგიყვáƒáƒ დეáƒ� დრგიზიდáƒáƒ•áƒ“ეს, ისევერეს წიგნიც.
August 9, 2022
მე ქáƒáƒ‘ულეთშáƒ� დáƒáƒ•áƒ˜áƒ‘áƒáƒ“ე დრუკვე 22 ზáƒáƒ¤áƒ®áƒ£áƒšáƒ� გáƒáƒ•áƒ˜áƒ“áƒ, მáƒáƒ’რáƒáƒ› ცნáƒáƒ‘იერáƒáƒ� მხáƒáƒšáƒáƒ“ 17. áƒáƒ› 17 ზáƒáƒ¤áƒ®áƒ£áƒšáƒ¨áƒ˜ áƒáƒ ყáƒáƒ¤áƒ˜áƒšáƒáƒ� áƒáƒ áƒ� ტრისტáƒáƒ� დრáƒáƒ áƒ� იზáƒáƒ‘ელáƒ�, ყველáƒáƒ¤áƒ”რáƒ� მáƒáƒšáƒ” მთáƒáƒ•áƒ დებáƒ� დრგულს áƒáƒœ დáƒáƒ¦áƒáƒ� áƒáƒ©áƒœáƒ“ებáƒ� áƒáƒœ მáƒáƒ ტáƒ� ქáƒáƒ áƒáƒ¤áƒ¨áƒ£áƒ¢áƒ£áƒš მáƒáƒ’áƒáƒœáƒ”ბáƒáƒ�. áƒáƒ› 17 ზáƒáƒ¤áƒ®áƒ£áƒšáƒ˜áƒ¡ მáƒáƒ›áƒ¡áƒ¬áƒ ეს გáƒáƒ›áƒ˜áƒáƒ˜áƒ დáƒ� დáƒáƒ¯áƒ”რებრდრრáƒáƒ’áƒáƒ ც ზღáƒáƒžáƒáƒ áƒ� ისáƒ� áƒáƒ¦áƒ•áƒ˜áƒ¥áƒ•áƒáƒ›áƒ“ი, მáƒáƒ’რáƒáƒ› áƒáƒ¥ გáƒáƒªáƒ˜áƒšáƒ”ბიáƒ� ღრმáƒáƒ“áƒáƒ� ყველáƒáƒ¤áƒ”რáƒ�. ბევრიც ვიცáƒáƒ“ე დრსáƒáƒœáƒáƒ� ქáƒáƒ‘ულეთშáƒ� áƒáƒ დáƒáƒ•áƒ‘რუნდáƒ� იქáƒáƒ›áƒ“ე áƒáƒ დáƒáƒ•áƒ˜áƒ¬áƒ§áƒ� კითხვáƒ, სáƒáƒ’áƒáƒœáƒ’ებáƒáƒ“ ცხელ ქვიშáƒáƒ–áƒ�. სáƒáƒ‘áƒáƒšáƒáƒáƒ“ áƒáƒ¦áƒ›áƒáƒ•áƒáƒ©áƒ˜áƒœáƒ”, რáƒáƒ� რუსთáƒáƒ•áƒ”ლსáƒáƒ� შეშურდებáƒáƒ“áƒ� ისáƒ� დáƒáƒáƒ›áƒ¢áƒ™áƒ˜áƒªáƒ”ბინáƒ� სიყვáƒáƒ ულáƒ� áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ›áƒ áƒáƒ ივáƒ� გმირáƒ� ერთმáƒáƒœáƒ”თისთვის დრმáƒáƒ’იáƒáƒª ბუნევრივáƒáƒ“ ��áƒáƒáƒ¥áƒ¡áƒáƒ•áƒ�. წიგნის დáƒáƒ¡áƒáƒ¬áƒ§áƒ˜áƒ¡áƒ¨áƒ˜áƒ•áƒ” ერáƒ� იდეáƒáƒšáƒ£áƒ áƒáƒ� ზუსტ წინáƒáƒ“áƒáƒ“ებáƒáƒ� მივáƒáƒ’ენი დრáƒáƒ áƒáƒ¡áƒ“რáƒáƒ¡ დáƒáƒ›áƒáƒ•áƒ˜áƒ¬áƒ§áƒ“ებáƒ:â€áƒ¡áƒáƒ”რთáƒáƒ“ áƒáƒ áƒ� ჰქáƒáƒœáƒ“áƒáƒ� ცხáƒáƒ•áƒ ებáƒ, მთელáƒ� მáƒáƒ—ი áƒáƒ სებáƒáƒ‘რმშიერი კუáƒáƒ˜áƒ� ძáƒáƒ®áƒ˜áƒšáƒ¡ áƒáƒ§áƒáƒšáƒ˜áƒš გáƒáƒ£áƒ—áƒáƒ•áƒ”ბელ გáƒáƒ¬áƒáƒ›áƒáƒ¬áƒ˜áƒáƒ¡ გულისხმáƒáƒ‘დáƒ� დრმეტს áƒáƒ áƒ� áƒáƒ áƒáƒ¤áƒ”რáƒ�.â€� ეგრეáƒ� ნáƒáƒ›áƒ“ვილáƒáƒ�, ვეáƒ� შეედáƒáƒ•áƒ”ბáƒ�.
November 16, 2010
Having only previously read Updike’s superb ‘Rabbit� novels, this Brazilian-set tale of passionate and all consuming love was something of a surprise. Taking ‘Tristan and Iseult� as a jumping-off point, Updike weaves a love story of social divides, magic realism and some truly dreadful sex scenes.
A poor boy meets a rich girl on a Rio beach and they fall instantly in love. Their family tries to separate them, circumstance throws all it can against them, but they stay together until the end.
The opening few chapters are the most difficult to read. It’s a tale of young and incredibly passionate love and lust in South America, but I never lost the sense that it was being written by a rich old white man sat somewhere on the East Coast of the USA. His voice � even though it tries hard � always remains a little too stately to really capture wild animal passion. Indeed the many sex scenes are nearly all cringe-worthy (I can imagine Auberon Waugh shaking with delight as he read them.) The dialogue too is often stilted and bizarrely unconvincing (perhaps deliberately so?) and sometimes the narrative will take odd turns, seemingly so the author can go and explore something he read about in one of his Brazilian guidebooks.
And yet, for all these flaws, I found this novel hard to truly dislike. No matter how appalling the dialogue, or how much I guffawed at yet another graphically described ‘erotic� act, Updike’s writing is still so incredibly sharp and brilliant. His ability to turn a sentence or carve a paragraph which is beautifully evocative, ensured that I took pleasure from this novel despite its many problems.
A poor boy meets a rich girl on a Rio beach and they fall instantly in love. Their family tries to separate them, circumstance throws all it can against them, but they stay together until the end.
The opening few chapters are the most difficult to read. It’s a tale of young and incredibly passionate love and lust in South America, but I never lost the sense that it was being written by a rich old white man sat somewhere on the East Coast of the USA. His voice � even though it tries hard � always remains a little too stately to really capture wild animal passion. Indeed the many sex scenes are nearly all cringe-worthy (I can imagine Auberon Waugh shaking with delight as he read them.) The dialogue too is often stilted and bizarrely unconvincing (perhaps deliberately so?) and sometimes the narrative will take odd turns, seemingly so the author can go and explore something he read about in one of his Brazilian guidebooks.
And yet, for all these flaws, I found this novel hard to truly dislike. No matter how appalling the dialogue, or how much I guffawed at yet another graphically described ‘erotic� act, Updike’s writing is still so incredibly sharp and brilliant. His ability to turn a sentence or carve a paragraph which is beautifully evocative, ensured that I took pleasure from this novel despite its many problems.
June 13, 2017
თáƒáƒ•áƒ‘რუდáƒáƒ›áƒ®áƒ•áƒ”ვი წიგნირ(პირდáƒáƒžáƒ˜áƒ áƒ� გáƒáƒ’ებითáƒáƒ� - სáƒáƒ˜áƒ“áƒáƒœ სáƒáƒ� მიდიáƒ� სიუჟეტáƒ� :) )
უხსáƒáƒ•áƒáƒ� დრáƒáƒ¡ წáƒáƒ•áƒ˜áƒ™áƒ˜áƒ—ხáƒ� დრმáƒáƒ®áƒ¡áƒáƒ•áƒ� მáƒáƒ¨áƒ˜áƒœáƒ“ელáƒ� áƒáƒ¦áƒ¤áƒ თáƒáƒ•áƒáƒœáƒ”ბáƒ, ყველáƒáƒ¡ ვტენიდáƒ�, წáƒáƒ˜áƒ™áƒ˜áƒ—ხეáƒ�-მეთქáƒ�, ვეáƒ� ვწყნáƒáƒ დებáƒáƒ“ი. სáƒáƒáƒªáƒ áƒáƒ� áƒáƒ¡áƒ¢áƒáƒ¢áƒ£áƒ ი მáƒáƒ˜áƒ›áƒ£áƒœáƒáƒ‘áƒáƒ - áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ� დიდი მწერáƒáƒšáƒ˜áƒ: ხუმრáƒáƒ‘áƒáƒª áƒáƒ¡áƒ”ვáƒ� კáƒáƒ გáƒáƒ“ ეხერხებáƒ. ჰáƒ, ეს წიგნáƒ� დიდი მწერლიáƒ� დიდი ხუმრáƒáƒ‘áƒáƒ, ლიტერáƒáƒ¢áƒ£áƒ ული თáƒáƒ›áƒáƒ¨áƒ˜ áƒáƒšáƒ£áƒ–იებიáƒ�, ჟáƒáƒœáƒ ებით დრáƒáƒ—áƒáƒ¡áƒ� áƒáƒ®áƒ áƒáƒ‘იáƒ�.
უხსáƒáƒ•áƒáƒ� დრáƒáƒ¡ წáƒáƒ•áƒ˜áƒ™áƒ˜áƒ—ხáƒ� დრმáƒáƒ®áƒ¡áƒáƒ•áƒ� მáƒáƒ¨áƒ˜áƒœáƒ“ელáƒ� áƒáƒ¦áƒ¤áƒ თáƒáƒ•áƒáƒœáƒ”ბáƒ, ყველáƒáƒ¡ ვტენიდáƒ�, წáƒáƒ˜áƒ™áƒ˜áƒ—ხეáƒ�-მეთქáƒ�, ვეáƒ� ვწყნáƒáƒ დებáƒáƒ“ი. სáƒáƒáƒªáƒ áƒáƒ� áƒáƒ¡áƒ¢áƒáƒ¢áƒ£áƒ ი მáƒáƒ˜áƒ›áƒ£áƒœáƒáƒ‘áƒáƒ - áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ� დიდი მწერáƒáƒšáƒ˜áƒ: ხუმრáƒáƒ‘áƒáƒª áƒáƒ¡áƒ”ვáƒ� კáƒáƒ გáƒáƒ“ ეხერხებáƒ. ჰáƒ, ეს წიგნáƒ� დიდი მწერლიáƒ� დიდი ხუმრáƒáƒ‘áƒáƒ, ლიტერáƒáƒ¢áƒ£áƒ ული თáƒáƒ›áƒáƒ¨áƒ˜ áƒáƒšáƒ£áƒ–იებიáƒ�, ჟáƒáƒœáƒ ებით დრáƒáƒ—áƒáƒ¡áƒ� áƒáƒ®áƒ áƒáƒ‘იáƒ�.
January 7, 2024
áƒáƒ™áƒ ძáƒáƒšáƒ£áƒšáƒ� ვნებისáƒ� დრტრáƒáƒ’იკულáƒ� შედეგებიáƒ� მáƒáƒ áƒáƒ“იულáƒ� áƒáƒ›áƒ‘áƒáƒ•áƒ˜.
áƒáƒ შეიძლებრუáƒáƒ ვყáƒáƒ� áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ˜áƒ¡ მწერლáƒáƒ‘იáƒ� ძáƒáƒšáƒ დრმისი ხედვის უნიკáƒáƒšáƒ£áƒ áƒáƒ‘áƒ� ისევáƒ�, რáƒáƒ’áƒáƒ ც თხრáƒáƒ‘იáƒ� სტილáƒ�. მთხრáƒáƒ‘ელáƒ� áƒáƒªáƒáƒªáƒ®áƒšáƒ”ბáƒ� ბრáƒáƒ–ილიáƒáƒ� მთელáƒ� თáƒáƒ•áƒ˜áƒ¡áƒ˜ დიდებიáƒ�, რიáƒáƒ¡ მზიáƒáƒœáƒ˜ პლáƒáƒŸáƒ”ბიდáƒáƒœ დáƒáƒ¬áƒ§áƒ”ბულáƒ� - პáƒáƒœáƒ¢áƒáƒœáƒáƒšáƒ˜áƒ¡ ველური სილáƒáƒ›áƒáƒ–იáƒ� დáƒáƒ›áƒ—áƒáƒ•áƒ ებული.
მáƒáƒ™áƒšáƒ”დ წლის პირველáƒ� წიგნáƒ� 5/5 იყáƒ� ნáƒáƒ›áƒ“ვილáƒáƒ�!
áƒáƒ შეიძლებრუáƒáƒ ვყáƒáƒ� áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ˜áƒ¡ მწერლáƒáƒ‘იáƒ� ძáƒáƒšáƒ დრმისი ხედვის უნიკáƒáƒšáƒ£áƒ áƒáƒ‘áƒ� ისევáƒ�, რáƒáƒ’áƒáƒ ც თხრáƒáƒ‘იáƒ� სტილáƒ�. მთხრáƒáƒ‘ელáƒ� áƒáƒªáƒáƒªáƒ®áƒšáƒ”ბáƒ� ბრáƒáƒ–ილიáƒáƒ� მთელáƒ� თáƒáƒ•áƒ˜áƒ¡áƒ˜ დიდებიáƒ�, რიáƒáƒ¡ მზიáƒáƒœáƒ˜ პლáƒáƒŸáƒ”ბიდáƒáƒœ დáƒáƒ¬áƒ§áƒ”ბულáƒ� - პáƒáƒœáƒ¢áƒáƒœáƒáƒšáƒ˜áƒ¡ ველური სილáƒáƒ›áƒáƒ–იáƒ� დáƒáƒ›áƒ—áƒáƒ•áƒ ებული.
მáƒáƒ™áƒšáƒ”დ წლის პირველáƒ� წიგნáƒ� 5/5 იყáƒ� ნáƒáƒ›áƒ“ვილáƒáƒ�!
August 29, 2024
ბáƒáƒšáƒ 6 წელი ზედმეტáƒáƒ“ ვáƒáƒ°áƒ”ითებდი áƒáƒ› წიგნáƒ�, წáƒáƒ™áƒ˜áƒ—ხვáƒáƒ›áƒ“ეც მჯერáƒáƒ“áƒ� რáƒáƒ� ძáƒáƒšáƒ˜áƒáƒœ áƒáƒ მáƒáƒ›áƒ”წáƒáƒœáƒ”ბáƒáƒ“áƒ.
áƒáƒ®áƒšáƒ რივიუს სáƒáƒœáƒáƒžáƒ˜áƒ áƒáƒ“áƒáƒ� ვწერდრზღვáƒáƒ–ე კითხვáƒáƒ� ძáƒáƒáƒœ მáƒáƒ£áƒ®áƒ“áƒ.
იზáƒáƒ‘ელáƒ� დრტრისტáƒáƒ� მáƒáƒšáƒáƒ“ინისáƒáƒ›áƒ”ბრსáƒáƒ™áƒ›áƒáƒáƒ� მáƒáƒ¦áƒ˜áƒ–იáƒáƒœáƒ”ბდნენ თითქმიáƒ� მთელáƒ� წიგნáƒ�.
ძáƒáƒšáƒ˜áƒáƒœ ლáƒáƒ›áƒáƒ–ი წინáƒáƒ“áƒáƒ“ებებიáƒ� დáƒáƒ¬áƒ”რილი ტექსტიáƒ�.
(პáƒáƒ áƒáƒšáƒ”ლურáƒáƒ�, ჩეáƒ� გვერდიáƒ� ვინმáƒ� ილáƒáƒª რáƒáƒ� áƒáƒ კითხულáƒáƒ‘დრბრáƒáƒ–ილიáƒáƒ�, ცáƒáƒ¢áƒ მეწყინáƒ�)
áƒáƒ®áƒšáƒ რივიუს სáƒáƒœáƒáƒžáƒ˜áƒ áƒáƒ“áƒáƒ� ვწერდრზღვáƒáƒ–ე კითხვáƒáƒ� ძáƒáƒáƒœ მáƒáƒ£áƒ®áƒ“áƒ.
იზáƒáƒ‘ელáƒ� დრტრისტáƒáƒ� მáƒáƒšáƒáƒ“ინისáƒáƒ›áƒ”ბრსáƒáƒ™áƒ›áƒáƒáƒ� მáƒáƒ¦áƒ˜áƒ–იáƒáƒœáƒ”ბდნენ თითქმიáƒ� მთელáƒ� წიგნáƒ�.
ძáƒáƒšáƒ˜áƒáƒœ ლáƒáƒ›áƒáƒ–ი წინáƒáƒ“áƒáƒ“ებებიáƒ� დáƒáƒ¬áƒ”რილი ტექსტიáƒ�.
(პáƒáƒ áƒáƒšáƒ”ლურáƒáƒ�, ჩეáƒ� გვერდიáƒ� ვინმáƒ� ილáƒáƒª რáƒáƒ� áƒáƒ კითხულáƒáƒ‘დრბრáƒáƒ–ილიáƒáƒ�, ცáƒáƒ¢áƒ მეწყინáƒ�)
February 28, 2015
Modeled on the legend of Tristan and Iseult, Updike brings the pair of doomed lovers to Brazil and chronicles 22 years in that country’s history from the 1960’s to the 1980’s.
Tristao is black and from the favela, a street urchin who has to rob and kill in order to survive, who is introduced to sex with older women as a matter of course by his prostitute mother who has never borne more than one child from each of her clients, although she has borne several of different hues between black and white. Isabel is white, privileged, bored and lonely, for she lives with an uncle in Rio while her father is a busy bureaucrat in the new government city built in the middle of nowhere � Brasilia. Like the legendary lovers who fall in love after ingesting a love portion, Tristao and Isabel fall instantly in love after a chance meeting on Copacabana Beach, immediately have the most descriptive but sloppy sex, and are consigned for the rest of their lives to be trying to reach each other.
The lovers move inland, escaping Isabel’s father’s goons who are trying to separate them: from Rio to Sao Paolo to Brasilia to crossing the Mato Grosso and into the Amazon. Sex is their unifying balm in a sea of troubles and they have lots of it, not with just each other but with others as well. Despite the many children that Isabel bears (and loses), none are from Tristao, perhaps the author’s way of insinuating that this type of racial relationship does not bear fruit in Brazil. Their outward journey is filled with tragedy and loss, for it is hard to be a black man with a white woman and not invite danger; it is not part of the socially acceptable fabric at the time. At the turning point of their voyage, a shaman converts Tristao to a white man and Isabel turns black and their journey back over the same route is an easier re-entry filled with increasing opportunity and wealth, for it is infinitely normal for a white man to have a black woman in Brazil � Updike’s assessment of the country.
The issues facing this newly industrializing country—for centuries under imperial rule and now under “the generals� who are loyal to America—come out in off-the-cuff comments by the characters: “People are killed in Brazil for telling the truth,� “Brazil has been populated by mismatched couples�; even Isabel comments, “It is not my father who hunts us, it is the system.�
The narrative and dialogue is highly stylized, perhaps an “out� for the author who then does not have to resort to dialect for each of the characters who come from different regions and from different social tracks of this vast country. But the plot moves fast and this novel is an engaging read.
Updike stays true to the legendary chronicle of the lovers by throwing in tragedy as the lot of Tritao and Isabel upon their return to Rio; but he adds a twist to the old story, shaping his ending to reflect the contemporary reality of Brazil, where the barbarians in the favelas surrounding the city get even with their rich white countrymen for squeezing them into the margins and sucking up all the country’s wealth. Poor Tristao, who has skirted both sides of the fence by this time, is unable to recognize that grim reality, unchanged in 22 years since he took a walk on Copacabana Beach and met his destiny in Isabel.
Tristao is black and from the favela, a street urchin who has to rob and kill in order to survive, who is introduced to sex with older women as a matter of course by his prostitute mother who has never borne more than one child from each of her clients, although she has borne several of different hues between black and white. Isabel is white, privileged, bored and lonely, for she lives with an uncle in Rio while her father is a busy bureaucrat in the new government city built in the middle of nowhere � Brasilia. Like the legendary lovers who fall in love after ingesting a love portion, Tristao and Isabel fall instantly in love after a chance meeting on Copacabana Beach, immediately have the most descriptive but sloppy sex, and are consigned for the rest of their lives to be trying to reach each other.
The lovers move inland, escaping Isabel’s father’s goons who are trying to separate them: from Rio to Sao Paolo to Brasilia to crossing the Mato Grosso and into the Amazon. Sex is their unifying balm in a sea of troubles and they have lots of it, not with just each other but with others as well. Despite the many children that Isabel bears (and loses), none are from Tristao, perhaps the author’s way of insinuating that this type of racial relationship does not bear fruit in Brazil. Their outward journey is filled with tragedy and loss, for it is hard to be a black man with a white woman and not invite danger; it is not part of the socially acceptable fabric at the time. At the turning point of their voyage, a shaman converts Tristao to a white man and Isabel turns black and their journey back over the same route is an easier re-entry filled with increasing opportunity and wealth, for it is infinitely normal for a white man to have a black woman in Brazil � Updike’s assessment of the country.
The issues facing this newly industrializing country—for centuries under imperial rule and now under “the generals� who are loyal to America—come out in off-the-cuff comments by the characters: “People are killed in Brazil for telling the truth,� “Brazil has been populated by mismatched couples�; even Isabel comments, “It is not my father who hunts us, it is the system.�
The narrative and dialogue is highly stylized, perhaps an “out� for the author who then does not have to resort to dialect for each of the characters who come from different regions and from different social tracks of this vast country. But the plot moves fast and this novel is an engaging read.
Updike stays true to the legendary chronicle of the lovers by throwing in tragedy as the lot of Tritao and Isabel upon their return to Rio; but he adds a twist to the old story, shaping his ending to reflect the contemporary reality of Brazil, where the barbarians in the favelas surrounding the city get even with their rich white countrymen for squeezing them into the margins and sucking up all the country’s wealth. Poor Tristao, who has skirted both sides of the fence by this time, is unable to recognize that grim reality, unchanged in 22 years since he took a walk on Copacabana Beach and met his destiny in Isabel.
June 23, 2017
წიგნáƒ� კი áƒáƒ áƒ�, კáƒáƒªáƒ˜ რáƒáƒ� ყáƒáƒ¤áƒ˜áƒšáƒ˜áƒ§áƒ, ჩემი უდიდესáƒ� სიყვáƒáƒ ულáƒ� ვიპáƒáƒ•áƒ”-მეთქáƒ�, ვიტყáƒáƒ“áƒ� <3
April 19, 2020
áƒáƒ®áƒšáƒ ვფიქრáƒáƒ� ეს უფრრმáƒáƒ›áƒ”წáƒáƒœáƒ თუ ისთვიქელáƒ� áƒáƒšáƒ¥áƒáƒ¯áƒ”ბი დრვეáƒ� ჩáƒáƒ›áƒáƒ•áƒ§áƒáƒšáƒ˜áƒ‘დი🥺
September 13, 2011
I found the character development of Tristao and Isabel to be a little far-fetched. At the beginning, how is it that Tristao and his brother seem to talk and act in an educated manner, discussing communism, etc, having attained "only enough education to read street signs?" How is it that an upper class Isabel would immediately fall for this slum dog? Why was she so immediately accepting of Tristoa's mother, in spite of her slovenly life style? It didn't add up.
The development of Tristao's shanty, however, is excellent. For some reason it made me think back, when I was 24 and new in Quito, Ecuador, when I was up for any new adventure, going back to my Colombian girlfriend's humble home, though not on the level of shanty but somewhat close, and thinking, "I am living in the gutter, soaking in real life."
I enjoyed the adventure of the first half of the book. It was fairly interesting until the middle, when they get captured by the jungle savages. But I lost it when they both switch skin color after the visit to the shaman. That was pretty dumb, almost as dumb as something from The Celestine Prophecy. Why didn't Isabel's father or uncle question her change in skin color beyond a radical tanning? This book was a little too fantastic and "out there." The characters, and obviously the story are not believable. I wouldn't recommend this to anyone.
The development of Tristao's shanty, however, is excellent. For some reason it made me think back, when I was 24 and new in Quito, Ecuador, when I was up for any new adventure, going back to my Colombian girlfriend's humble home, though not on the level of shanty but somewhat close, and thinking, "I am living in the gutter, soaking in real life."
I enjoyed the adventure of the first half of the book. It was fairly interesting until the middle, when they get captured by the jungle savages. But I lost it when they both switch skin color after the visit to the shaman. That was pretty dumb, almost as dumb as something from The Celestine Prophecy. Why didn't Isabel's father or uncle question her change in skin color beyond a radical tanning? This book was a little too fantastic and "out there." The characters, and obviously the story are not believable. I wouldn't recommend this to anyone.
January 8, 2014
The plot of the book was not according to my liking.
Two people from different extremes fall madly in love and the only thing we know of why they love each other so much is because they are sexually insatiable and have found each other to be compatible in that area. I was honestly expecting much more.
I was not at ease at the stereotypical attributes Updike to the characters depending on their skin colour, e.g. Isabel being a shy and docile sexmate, whereas when she became black she all of sudden was very aggressive and wild. And also the oversexualization of black men, how Isabel preferred black men over her white Tristao was disturbing to me.
If it had been written in first person narration, I would have justified the narration by the fact that this was from the view of a plain character, but as it wasn't, it felt to me that Updike did not make much of an effort to create a solid plot.
IT all went by too fast, too undeveloping, without much explanation. I don't doubt the fact that Updike is genius writer, I just don't happen to enjoy his writing as much as I would like to.
Two people from different extremes fall madly in love and the only thing we know of why they love each other so much is because they are sexually insatiable and have found each other to be compatible in that area. I was honestly expecting much more.
I was not at ease at the stereotypical attributes Updike to the characters depending on their skin colour, e.g. Isabel being a shy and docile sexmate, whereas when she became black she all of sudden was very aggressive and wild. And also the oversexualization of black men, how Isabel preferred black men over her white Tristao was disturbing to me.
If it had been written in first person narration, I would have justified the narration by the fact that this was from the view of a plain character, but as it wasn't, it felt to me that Updike did not make much of an effort to create a solid plot.
IT all went by too fast, too undeveloping, without much explanation. I don't doubt the fact that Updike is genius writer, I just don't happen to enjoy his writing as much as I would like to.
August 10, 2020
ეს მáƒáƒ თლრწáƒáƒ მáƒáƒ£áƒ“გენელáƒ� წიგნიáƒ.
კáƒáƒžáƒáƒ™áƒáƒ‘áƒáƒœáƒ˜áƒ� სáƒáƒœáƒáƒžáƒ˜áƒ áƒáƒ“áƒáƒ� რáƒáƒ� დáƒáƒ˜áƒ¬áƒ§áƒ”ბთ დრდáƒáƒ˜áƒ¬áƒ§áƒ”ბთ, მთელ ბრáƒáƒ–ილიáƒáƒ� შემáƒáƒ˜áƒ•áƒšáƒ˜áƒ� ისეთáƒ� áƒáƒ›áƒ‘ებიáƒ�, ისეთáƒ� გრძნáƒáƒ‘ებით, ისეთáƒ� ვნებებით, ისეთáƒ� სიგიჟეებით, რáƒáƒ� áƒáƒ› გáƒáƒ’ებიáƒ� მáƒáƒ თლრწáƒáƒ მáƒáƒ£áƒ“გენელáƒ� მáƒáƒ’ზáƒáƒ£áƒ áƒáƒ‘რგელიáƒ�.
დრáƒáƒ˜, სáƒáƒ“ღáƒáƒª ჯუნგლებშáƒ� შáƒáƒ›áƒáƒœáƒ—áƒáƒœ ეს მáƒáƒ’ზáƒáƒ£áƒ áƒáƒ‘რპიკს რáƒáƒ� მიáƒáƒ¦áƒ¬áƒ”ვს, ყველáƒáƒ–áƒ� მáƒáƒ¦áƒáƒ� წერტილზე áƒáƒ•áƒ� დრუკáƒáƒœ დáƒáƒ”შვებáƒ, ისევ იმ გზáƒáƒ¡ გáƒáƒ˜áƒ•áƒšáƒ˜áƒ� áƒáƒ¦áƒáƒœáƒ� თáƒáƒ•áƒ“áƒáƒ§áƒ˜áƒ áƒ�, áƒáƒ›áƒáƒ¢áƒ იáƒáƒšáƒ”ბულáƒ� დრისევ გელიáƒ� ისეთáƒ� áƒáƒ›áƒ‘ები, ისეთáƒ� ვნებებáƒ�, ისეთáƒ� სიგიჟეებáƒ�, რáƒáƒ� áƒáƒ› გáƒáƒ’ებიáƒ� მáƒáƒ თლრწáƒáƒ მáƒáƒ£áƒ“გენელáƒ� მáƒáƒ’ზáƒáƒ£áƒ áƒáƒ‘რგელიáƒ�.
კáƒáƒžáƒáƒ™áƒáƒ‘áƒáƒœáƒ˜áƒ� სáƒáƒœáƒáƒžáƒ˜áƒ áƒáƒ“áƒáƒ� რáƒáƒ� დáƒáƒ˜áƒ¬áƒ§áƒ”ბთ დრდáƒáƒ˜áƒ¬áƒ§áƒ”ბთ, მთელ ბრáƒáƒ–ილიáƒáƒ� შემáƒáƒ˜áƒ•áƒšáƒ˜áƒ� ისეთáƒ� áƒáƒ›áƒ‘ებიáƒ�, ისეთáƒ� გრძნáƒáƒ‘ებით, ისეთáƒ� ვნებებით, ისეთáƒ� სიგიჟეებით, რáƒáƒ� áƒáƒ› გáƒáƒ’ებიáƒ� მáƒáƒ თლრწáƒáƒ მáƒáƒ£áƒ“გენელáƒ� მáƒáƒ’ზáƒáƒ£áƒ áƒáƒ‘რგელიáƒ�.
დრáƒáƒ˜, სáƒáƒ“ღáƒáƒª ჯუნგლებშáƒ� შáƒáƒ›áƒáƒœáƒ—áƒáƒœ ეს მáƒáƒ’ზáƒáƒ£áƒ áƒáƒ‘რპიკს რáƒáƒ� მიáƒáƒ¦áƒ¬áƒ”ვს, ყველáƒáƒ–áƒ� მáƒáƒ¦áƒáƒ� წერტილზე áƒáƒ•áƒ� დრუკáƒáƒœ დáƒáƒ”შვებáƒ, ისევ იმ გზáƒáƒ¡ გáƒáƒ˜áƒ•áƒšáƒ˜áƒ� áƒáƒ¦áƒáƒœáƒ� თáƒáƒ•áƒ“áƒáƒ§áƒ˜áƒ áƒ�, áƒáƒ›áƒáƒ¢áƒ იáƒáƒšáƒ”ბულáƒ� დრისევ გელიáƒ� ისეთáƒ� áƒáƒ›áƒ‘ები, ისეთáƒ� ვნებებáƒ�, ისეთáƒ� სიგიჟეებáƒ�, რáƒáƒ� áƒáƒ› გáƒáƒ’ებიáƒ� მáƒáƒ თლრწáƒáƒ მáƒáƒ£áƒ“გენელáƒ� მáƒáƒ’ზáƒáƒ£áƒ áƒáƒ‘რგელიáƒ�.
August 8, 2017
გáƒáƒ¸§ƒáƒ¬áƒ§áƒ•á³¥áƒ¢áƒ˜áƒšáƒ˜áƒ�.
ბრáƒáƒ–ილიáƒáƒ¨áƒ˜ მáƒáƒ áƒáƒ™áƒáƒœáƒáƒ� სტáƒáƒ“იáƒáƒœáƒ˜áƒ¡Ì� შემდეგ, გáƒáƒ˜áƒáƒ¡áƒ¡ მáƒáƒ•áƒ˜áƒœáƒáƒ®áƒ£áƒšáƒ”áƒ�.კáƒáƒžáƒáƒšáƒáƒ‘áƒáƒœáƒáƒ� პლáƒáƒŸáƒ–ეáƒ� ჩáƒáƒ•áƒ˜áƒ•áƒšáƒ�,იქნეáƒ� მეáƒ� დáƒáƒ›áƒ®áƒ•áƒ“ეს დიდი სიყვáƒáƒ ულáƒ�.
áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ� სáƒáƒáƒªáƒ áƒáƒ� დიდიáƒ� დრ, რáƒáƒ’áƒáƒ ც áƒáƒ“რე áƒáƒ¦áƒ•áƒœáƒ˜áƒ¨áƒœáƒ”,მშვენიერáƒ� მეგზურáƒ� გáƒáƒ›áƒáƒ“გáƒ�.ჩემს სáƒáƒ§áƒ•áƒáƒ ელ ბრáƒáƒ–ილიáƒáƒ¨áƒ˜ მáƒáƒ¢áƒáƒ ებლით მáƒáƒ›áƒáƒ’ზáƒáƒ£áƒ áƒ.
ბრáƒáƒ–ილიáƒáƒ¨áƒ˜ მáƒáƒ áƒáƒ™áƒáƒœáƒáƒ� სტáƒáƒ“იáƒáƒœáƒ˜áƒ¡Ì� შემდეგ, გáƒáƒ˜áƒáƒ¡áƒ¡ მáƒáƒ•áƒ˜áƒœáƒáƒ®áƒ£áƒšáƒ”áƒ�.კáƒáƒžáƒáƒšáƒáƒ‘áƒáƒœáƒáƒ� პლáƒáƒŸáƒ–ეáƒ� ჩáƒáƒ•áƒ˜áƒ•áƒšáƒ�,იქნეáƒ� მეáƒ� დáƒáƒ›áƒ®áƒ•áƒ“ეს დიდი სიყვáƒáƒ ულáƒ�.
áƒáƒžáƒ“áƒáƒ˜áƒ™áƒ� სáƒáƒáƒªáƒ áƒáƒ� დიდიáƒ� დრ, რáƒáƒ’áƒáƒ ც áƒáƒ“რე áƒáƒ¦áƒ•áƒœáƒ˜áƒ¨áƒœáƒ”,მშვენიერáƒ� მეგზურáƒ� გáƒáƒ›áƒáƒ“გáƒ�.ჩემს სáƒáƒ§áƒ•áƒáƒ ელ ბრáƒáƒ–ილიáƒáƒ¨áƒ˜ მáƒáƒ¢áƒáƒ ებლით მáƒáƒ›áƒáƒ’ზáƒáƒ£áƒ áƒ.
June 5, 2023
სáƒáƒ›áƒ˜ ვáƒáƒ სკვლáƒáƒ•áƒ˜áƒ� დáƒáƒ¬áƒ”რáƒáƒ� ვáƒáƒžáƒ˜áƒ ებდáƒ�, მáƒáƒ’რáƒáƒ› მერე წáƒáƒ•áƒ˜áƒ™áƒ˜áƒ—ხáƒ�, შáƒáƒ•áƒ—ვáƒáƒšáƒ ქვრივიáƒ�.
May 18, 2020
Prachtig boek over liefde, opoffering, puurheid en misschien wel een antwoord op wat heb je als mens nodig om te kunnen leven. Las dit nu dertig jaar geleden, maar het lichtte zomaar op bij het lezen van “de meeste mensen deugen�. En ik kan zo terughalen hoe het boek me van m’n sokken blies. Het wonder van literatuur!
November 5, 2008
Such a wonderful read - I couldn't and didn't want to put it down. I cherished each moment I got to pick it up and get lost in it's world. I saved this book for my recent vacation to a tropical Caribbean island and it couldn't have been a more perfect read for my trip. As I sat on a beach the first day and opened the book, the first chapter was so fittingly titled "The Beach". Doesn't get much more perfect than that.
I have so far read two other books by Updike and I'm very glad I read them first because this one would have spoiled me and left me thinking the others would be as good. And while his others were good, this one was a beautiful and brilliant escape far richer than S. or Marry Me.]
Natalie rocks for recommending this one and lending me her copy :)
I have so far read two other books by Updike and I'm very glad I read them first because this one would have spoiled me and left me thinking the others would be as good. And while his others were good, this one was a beautiful and brilliant escape far richer than S. or Marry Me.]
Natalie rocks for recommending this one and lending me her copy :)
March 3, 2016
This was a shockingly sensual and beautiful work of fiction. If one can get over some of the overtly sexual descriptions and move beyond, one is rewarded by a great work of fiction.
It is a novel that speaks to the reality of the human condition, one that , though set in Brazil, could be encountered anywhere in the world, where racial inequality, poverty, and violence co-exist with the abundance and ease of the privileged.
Updike lets us imagine what it would be like if that co-existence could be easily interchangeable with the mere flick of magic, and more to the point, that we are born into our condition by the mere stroke of luck.
It is a novel that speaks to the reality of the human condition, one that , though set in Brazil, could be encountered anywhere in the world, where racial inequality, poverty, and violence co-exist with the abundance and ease of the privileged.
Updike lets us imagine what it would be like if that co-existence could be easily interchangeable with the mere flick of magic, and more to the point, that we are born into our condition by the mere stroke of luck.
October 23, 2007
while definitely well written, it also seems old fashioned and of a later time period than it actually is. It is about this intense love story between a white girl and a black boy in Brazil in a time where that is not excepted, especially by the girls wealthy and powerful family. its a common story, but his detail of their love is very honest about the balence of power in a couple and this impenetrable selflishness we all have. it was interesting to learn about brazil through the context of this story, but it bothered me that he only referred to penises as yams.
July 17, 2021
4.5
ზáƒáƒ’áƒáƒ“áƒáƒ� წიგნებáƒ�, რáƒáƒ›áƒšáƒ”ბიც სიყვáƒáƒ ულზე დრჯáƒáƒ“áƒáƒ¡áƒœáƒ£áƒ ვნებáƒáƒ–áƒ� მáƒáƒ’ვითხრáƒáƒ‘ენ áƒáƒ მიზიდáƒáƒ•áƒ”áƒ�, მáƒáƒ’რáƒáƒ› áƒáƒ› წიგნის წáƒáƒ™áƒ˜áƒ—ხვრდიდი ხნის წიáƒ� გáƒáƒ“áƒáƒ•áƒ¬áƒ§áƒ•áƒ˜áƒ¢áƒ� დრჩემდáƒ� გáƒáƒ¡áƒáƒ™áƒ•áƒ˜áƒ áƒáƒ“ მáƒáƒ›áƒ”წáƒáƒœáƒ. მáƒáƒ›áƒ®áƒ˜áƒ‘ლრáƒáƒžáƒ“áƒáƒ˜áƒ™áƒ˜áƒ¡ ენáƒáƒ› დრთხრáƒáƒ‘იáƒ� მáƒáƒœáƒ”რáƒáƒ�, ძáƒáƒšáƒ˜áƒáƒœ მსუბუქáƒáƒ“, áƒáƒ“ვილáƒáƒ� დრლáƒáƒ›áƒáƒ–áƒáƒ� მáƒáƒ›áƒáƒ’ზáƒáƒ£áƒ რბრáƒáƒ–ილიáƒáƒ¨áƒ˜. იყáƒ� გáƒáƒ კვეულáƒ� კლიშეები, ზედმეტáƒáƒ“ ბევრჯეáƒ� იყáƒ� ნáƒáƒ®áƒ¡áƒ”ნებáƒ� სიტყვრინფლáƒáƒªáƒ˜áƒ (დრსიმინდის ტáƒáƒ áƒ...), მáƒáƒ’რáƒáƒ› მáƒáƒ˜áƒœáƒ� ვისიáƒáƒ›áƒáƒ•áƒœáƒ”. დáƒáƒ¡áƒáƒ¡áƒ ულიც მეტნáƒáƒ™áƒšáƒ”ბáƒáƒ� áƒáƒ იყáƒ� ბáƒáƒœáƒáƒšáƒ£áƒ ი.
"ცხáƒáƒ•áƒ ებრდáƒáƒ£áƒœáƒ“áƒáƒ‘ლáƒáƒ“ გვძáƒáƒ ცვáƒáƒ•áƒ¡, ნეáƒ�-ნელრáƒáƒ—ლიáƒ� ჩვენáƒ� áƒáƒ სებáƒáƒ� პáƒáƒ¢áƒáƒ�-პáƒáƒ¢áƒáƒ რნáƒáƒáƒ ებáƒ�. ის კი, რáƒáƒ� სáƒáƒ‘áƒáƒšáƒáƒáƒ“ ჩვენგáƒáƒ� რჩებáƒ�, უკვე ვიღáƒáƒ� სუáƒ� სხვáƒáƒ�, უცხრდრუცნáƒáƒ‘ი."
ზáƒáƒ’áƒáƒ“áƒáƒ� წიგნებáƒ�, რáƒáƒ›áƒšáƒ”ბიც სიყვáƒáƒ ულზე დრჯáƒáƒ“áƒáƒ¡áƒœáƒ£áƒ ვნებáƒáƒ–áƒ� მáƒáƒ’ვითხრáƒáƒ‘ენ áƒáƒ მიზიდáƒáƒ•áƒ”áƒ�, მáƒáƒ’რáƒáƒ› áƒáƒ› წიგნის წáƒáƒ™áƒ˜áƒ—ხვრდიდი ხნის წიáƒ� გáƒáƒ“áƒáƒ•áƒ¬áƒ§áƒ•áƒ˜áƒ¢áƒ� დრჩემდáƒ� გáƒáƒ¡áƒáƒ™áƒ•áƒ˜áƒ áƒáƒ“ მáƒáƒ›áƒ”წáƒáƒœáƒ. მáƒáƒ›áƒ®áƒ˜áƒ‘ლრáƒáƒžáƒ“áƒáƒ˜áƒ™áƒ˜áƒ¡ ენáƒáƒ› დრთხრáƒáƒ‘იáƒ� მáƒáƒœáƒ”რáƒáƒ�, ძáƒáƒšáƒ˜áƒáƒœ მსუბუქáƒáƒ“, áƒáƒ“ვილáƒáƒ� დრლáƒáƒ›áƒáƒ–áƒáƒ� მáƒáƒ›áƒáƒ’ზáƒáƒ£áƒ რბრáƒáƒ–ილიáƒáƒ¨áƒ˜. იყáƒ� გáƒáƒ კვეულáƒ� კლიშეები, ზედმეტáƒáƒ“ ბევრჯეáƒ� იყáƒ� ნáƒáƒ®áƒ¡áƒ”ნებáƒ� სიტყვრინფლáƒáƒªáƒ˜áƒ (დრსიმინდის ტáƒáƒ áƒ...), მáƒáƒ’რáƒáƒ› მáƒáƒ˜áƒœáƒ� ვისიáƒáƒ›áƒáƒ•áƒœáƒ”. დáƒáƒ¡áƒáƒ¡áƒ ულიც მეტნáƒáƒ™áƒšáƒ”ბáƒáƒ� áƒáƒ იყáƒ� ბáƒáƒœáƒáƒšáƒ£áƒ ი.
"ცხáƒáƒ•áƒ ებრდáƒáƒ£áƒœáƒ“áƒáƒ‘ლáƒáƒ“ გვძáƒáƒ ცვáƒáƒ•áƒ¡, ნეáƒ�-ნელრáƒáƒ—ლიáƒ� ჩვენáƒ� áƒáƒ სებáƒáƒ� პáƒáƒ¢áƒáƒ�-პáƒáƒ¢áƒáƒ რნáƒáƒáƒ ებáƒ�. ის კი, რáƒáƒ� სáƒáƒ‘áƒáƒšáƒáƒáƒ“ ჩვენგáƒáƒ� რჩებáƒ�, უკვე ვიღáƒáƒ� სუáƒ� სხვáƒáƒ�, უცხრდრუცნáƒáƒ‘ი."
February 4, 2024
სიგიჟეáƒ� თáƒáƒ•áƒ˜áƒ“áƒáƒ� ბáƒáƒšáƒáƒ›áƒ“ეâ€�
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