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friend of Abraham Yehoshua

Fire I recently read a friend of Abraham Yehoshua. In an intersecting of voices and characters in the book is about eight days in the life of a family in Tel Aviv. Not every day, but the eight-day festival of Hanukkah, the festival of lights, where every day is a candle lit at sunset.

After thirty years of conjugal union, and Daniela Amotz separate. Daniela lost her sister and goes to Africa to visit his brother in law Yirmiyahu in an attempt to revive him with grief that it seemed that the hitherto muffled by distance. But the brother is no longer the man she knew about his life weighs another death unacceptable. That of his son Eyal was killed by "friendly fire" by his fellow soldiers during an ambush in a Palestinian village. The absurdity of this death results in an inexplicable Yirmiyahu total rejection of Israel and "Israelis".

"In Africa - the sister says - there is a memory that looms over the present and crushes it, no one pressed to decide who is jew, or perhaps Canaanite Israel, if Israel is a state more democratic or more Jewish, if he has any hope of surviving, or if it is come to an end. " In Africa, life is just, and he wants to live the life that remains.

Yirmiyahu not only wants to get rid of his past, but move away from history, language and identity in Israel.

For the man in Africa is primarily a vacuum: no synagogue, no traces or memories of the past. "Here there are ancient tombs, no floors of synagogues in ruins, there are museums with the remains of a burnt parochet no evidence of pogroms or the Holocaust is not diaspora or dispersal, there are reminiscences of a ' golden age, nor has there been a community ebraica che abbia contribuito ad arricchire la cultura mondiale” . Prima, però, di decidere di allontanarsi dal suo paese e dalla sua gente, vuole conoscere l'esatta dinamica dell'uccisione di Eyal. E nelle sue indagini gli capiterà di parlare con una ragazza palestinese che gli chiederà:

«Che è venuto a fare ancora qui? Cosa cerca un uomo, di notte, da chi lo odia? Perché importuna e spaventa mio padre? Che mostri pietà per suo figlio? Perché dovrei mostrare pietà per un soldato che si introduce a forza in un luogo che non gli appartiene, che non gliene importa niente di noi, chi siamo e cosa siamo, occupa il tetto di una famiglia per tendere un agguato a uno di noi e pensa che se ci farà un favore, se lascerà un secchio pulito e cancellerà i segni della sua paura, noi gli perdoneremo l´offesa, l´umiliazione?»

A quell'ostinato padre, distrutto dal dolore, non concede indulgenza, e racconta dell'esasperazione degli arabi, della loro rabbia per il rifiuto degli ebrei di integrarsi con loro. «Che cosa ci rimane da fare? - gli chiede - Odiarvi, e pregare che arrivi il momento che ve ne andiate. Questa non sarà mai la vostra patria se non saprete mescolarvi a tutto ciò che vi si trova» . Quelle parole toccano Yirmiyahu, non lo convincono ma lo fanno riflettere, non le liquida come the ravings of a future suicide bomber.

Those words pose the question that Israel faces every day, how to live without that its existence is simply the result of a power struggle.

"I feel - the writer says - that this sense of nausea Yirmiyahu, I started to analyze because of its character, is growing a lot in Israel. People are tired, do not watch the news more. The fate of the Jewish Holocaust, the wars in Israel, the Gaza Strip ...: the burden is too great. We are a people to whom history has never allowed a period of peace, never have lived in harmony with the world. People are beginning to believe that this will never end '"

And it is the fatigue test himself, he feels the desire sometimes too, to get rid of a story so complex and so difficult: the desire to be a man like any others, in a country where people can live in peace.

Yehoshua is often said that his greatest strength is the family. In particular, the mystery of conjugal love, with its obsessions and its failure - but also with the secret of his tenacity. The marriage of Daniel and Yaari lasted thirty years, but when she leaves for Africa to visit the widower of her sister, everything seems to jump. Even the certainties apparently common ground. The secret to why a marriage lasts, the writer says "is to preserve the condition of equality. In the years that one spouse tends to become stronger, and the other to assign to this superiority. Nothing is more dangerous: the two should continue to operate every man for himself, with respect for others. That marriage is a delicate balance, equality is a condition. And never take anything for granted, even after 40 years together, bursts boredom in marriage if your partner becomes so predictable that Guess what you will, say. The sharing of a cultural world can build a territory agreement that resists time. Having new projects together, such as the renovation of a bathroom, preventing the fall in repetition. Marriage is a musical duo (the subtitle of friendly fire): each spouse sings his part. "

literature helps you look into the problems with all your facets and nuances.

Yehoshua, Oz, Grossman is a friend and longtime advocate for a peaceful solution to the Middle East, for the recognition of two states.

For Yehoshua is important that literature pays attention to moral issues because " have the tools to provide new perspectives on morality (...) You could say that every racconto e' un viaggio che agisce sul protagonista rendendolo diverso dal punto di partenza, un viaggio che rende diverso anche il lettore, mostrandogli possibilita' che non aveva mai preso in considerazione prima "

"Ma la cosa più importante per me e' suscitare curiosità morali. le opere letterarie possano servire come laboratorio di dilemmi morali. La nostra esperienza di vita e' comunque limitata e la letteratura ci consente di fare degli esperimenti morali contribuendo così all'affinarsi della nostra sensibilità morale” . E di sensibilità morale oggi abbiamo tutti bisogno.

Bernardelli-gardone Parts

Muffin coke .... pepsi or for a level playing field!

Directly from our breakfast ...........!!!



Ingredients 200 g flour 50 g 00
frumina

2 eggs 90 g sugar 30 g cocoa


100 g butter 130 g dark chocolate
1 teaspoon baking powder 1

pinch of salt 130 grams of coca cola

procedure

Soften the butter and sugar then add to it, working gl ingredients until mixture is well blended and fluffy. Add eggs and once you have the built-in flour, frumina, cocoa, salt and lastly the yeast. As a final touch, add the chocolate, cut into slivers "coarse" and coca cola. Bake in muffin tins for 25 minutes at 180 degrees.

Beautiful Agony Galleries

What's up ... While you sleep

" Twenty-five (Twenty-seven to be exact) years and my life is still,

Trying To Get Up That great big hill of hope, a destination for
... "

One Piece Nami Before And After

Tapes


This post is thanks to the kindness of a girl who we met at a trade fair here in Carpi that has given us this particular truffle very delicate taste ..... we realize now they did not know his name ...... we know that he had an accent that reminded us both of our areas .. and good "immigrants" ... we are sensitive to these things!!

So ... through World Truffles


Ingredients 150 gr

tapes
3 tablespoons olive oil truffle
(About 10 grams) salt


procedure

Cook pasta al dente in salted water, drain and dress with oil in which we made the truffle saute for a few seconds. Serve with slices of fresh truffle.

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summer truffle rice with vegetables

Ummm, we assure you that we have made taante recipes and photos .... we fail with the "posting "!!!!!



Ingredients 120 g rice Canadian

1 carrot 1 zucchini 1

pepper 1 tablespoon extra virgin olive oil 1 shallot


parsley salt pepper




Procedure Boil the rice for about an hour. Apart wash and clean the vegetables and then cut them into cubes before you jump in oil for about 10 minutes. Drain rice and cook with the vegetables with salt and pepper. Serve with fresh parsley.

Closetmaid Completions

The Wall by Marlen Haushofer

Immaginate di trovarvi con amici in vacanza in the mountains. One day you wake up and can not find anybody, you do not find more than your family, your children, the streets are empty, stays with you just a dog. Go find the village and suddenly hit a wall, " something cold and smooth" . Then reach a point where you can see beyond and what appears on your horizon is a man at a fountain, like petrified in the act of bringing the water on his face. On the other side of the wall seems, therefore, reign "petrification of death."

E 'in this situation who is the protagonist of the book The Wall , il diario di una donna quarantenne sposata con due figlie che all’improvviso si ritrova sola, separata per sempre dal resto del mondo. La scrittrice è l’austriaca Marlen Haushofer morta nel 1979 a soli cinquant’anni, di cui si è ingiustamente parlato molto poco e che invece, a mio avviso, merita di esser letta.

E' un libro praticamente senza trama, fatto di gesti quotidiani, grandi, piccoli e piccolissimi, anche ripetitivi, mai noioso. Un libro sulla paura della solitudine ma anche sulla forza che può scaturire proprio dal non avere più riferimenti. “Una metafora sulla solitudine – dice Lietta Tornabuoni – ormai diventato un fenomeno sociale.”

La protagonista è una donna quarantenne, sposata, madre di due figlie adolescenti. All'improvviso si ritrova sola, separata dal mondo da una parete liscia e trasparente, costretta a reinventarsi la propria vita, a riscoprire la propria autonomia e indipendenza e ad affrontare - anche praticamente - un quotidiano che si fa di giorno in giorno più faticoso.

“La parete mi ha costretta a iniziare una vita tutta nuova, ma le cose che mi toccano sono rimaste identiche a prima: la nascita, la morte, le stagioni, la crescita, il declino”.

Il mondo in cui è immersa è un mondo dove il lavoro è duro, inclement weather, the body aching from the effort, but the protagonist feels gradually free from that other world, to first, where he reigned too many ambiguities, hypocrisies, where nothing seemed neither true nor real. And to that world does not feel strangely nostalgic.

Learn to see with new eyes, watching the old life as unimaginative, full of prejudices that reduced the "other" to humans, underdeveloped and insensitive to pain, figures and numbers in the newspapers. "

His heart does not lie more "Maybe it seems very cruel, but I would not know who lied today" It is pitiful also the opinion on daughters' two teenagers rather unpleasant, quarrelsome, heartless " that became great become" foreign retirees. "

The woman then did not give up facing that new reality, even agree to go until the end and to discover "new" for everything you become an apprentice or a reactivation of knowledge: new is the perception of time because to live should be measured over time of light and dark, over time it does: hot, warm, cold, frozen in time ... of the work to be done.

It also changes the relationship with her body now that he has the time and silence to listen. Un sentire ed un sentirsi che fa riemergere una saggezza profonda, che le dona una nuova consapevolezza del sapere: “solo quando la nozione di una cosa si spande lentamente in tutto il corpo, si sa veramente” .

Ma ciò che la fa sentire più viva, era capire di essere anche solo per gli animali che incontra “ una risorsa” , utile e necessaria. E sentirsi risorsa è il fondamento della responsabilità, sentirsi responsabili vuol dire sentire di “esserci”, di “esistere nel mondo”.

La parete sorge perché metaforicamente il lettore possa prendere coscienza quanto siamo già separati dalle things from reality, from ourselves, too often far from each other and perhaps what we need to rediscover ourselves, others and the value of things by spreading from the essential.

Necked Bollywood Women

Canadian Red velvet cake: red velvet for dessert

When a cake is not only good ..... but its pretty good! Oh ... could be a fantastic idea for Halloween ... (Svolazzaremo us somewhere with our brooms !!!!) ..... hihihihihihiih



Ingredients for the cake
2 cups and 1 / 2 of flour 2 tablespoons unsweetened cocoa


half cup butter, softened 1 cup and 1 / 2
sugar 2 eggs 1 cup
plain yogurt sweetened

1 teaspoon of vanilla extract 1 teaspoon baking powder tea (or a packet of baking powder) 1 pinch of salt

tea 1 teaspoon baking soda 1 teaspoon
tea
white vinegar 2 teaspoons red food coloring powder ( or two vials)

for cream
250 grams of Philadelphia

4 tablespoons sugar 1 teaspoon of vanilla extract Preparation


Beat eggs with sugar, add the softened butter and yogurt. Apart from mixing the dry ingredients (flour, baking powder, vanilla, salt) and merge them with those previously worked. In a separate bowl, put the dye, cocoa and a tablespoon of water and mix fino ad ottenere un composto liscio ed omogeneo da aggiungere all'impasto principale. Ed infine il tocco finale: in un bicchiere emulsionare il bicarbonato e l'aceto e unirlo all'impasto ..... mischiando facendo attenzione a che sia ben assorbito. Versare in una teglia imburrata e infarinata, cuocere per 35 minuti a 180°.

Sfornare e guarnire la torta da fredda con la crema di formaggio ottenuta mischiando con la forchetta (evitare il frullino) la philadelphia, la vanillina e lo zucchero semolato precedentemente frullato (quindi fine ma non troppo, perchè se usiamo lo zucchero a velo la crema diventa troppo liquida).

* Ricetta americana

Figure Skating Cameltoe

That evening golden

The book, That evening golden has appeared in Italy in 2006 and tells of a novelist who died and his masterpiece hidden a student of Iranian American from Kansas, Omar Razaghi, go to looking up in Uruguay. You will find not only authentic sources of inspiration of the author, but his bizarre extended family: his ex-wife, the young lover, the elder brother and his fiance and the love of his life.
of Jules Gund of Jewish origin, who fled Nazi Germany before the outbreak of World War II, Omar Razagh must work in the drafting of the biography, to get a scholarship. The writer had just written a novel before committing suicide in a forest near his home in Uruguay.
Any publication of a biography could save him from oblivion, but his heirs deny the authorization to proceed with Omar in his work. It is an ambitious girlfriend Deirdre to encourage Omar to plead his case in keeping the Gund in Ocho Rios. The presence of Omar
riusscirà to implement profound changes in the characters and the fact scompgliare precarious balance of home Gund, where the widow lived with Caroline Arden, the youngest mistress of Jules, and their daughter Portia, and where Adam, the gay brother who died of the writer, leads a hard ménage with Pete.
The characters gradually emerge in lively duels language. Adam is also revealed through his language refined, snobbish Caroline is revealed in a conversation thrifty and self-deprecating. Brief exchange sufficient to define changes in alliances, subtle hostility, sudden onset of feelings.
Cameron knows how to build characters in the round, but leaving deep shadows.
Omar tries to unravel the secrets of the past three heirs, but is aware of how hard it is rip quella maschera che protegge la vita di ognuno, e pertanto di quanto il suo lavoro rischi di divenire mistificatorio. Questa esperienza cambia anche lui, lo costringe a riveere la sua stessa vita, a interrogarsi sui nodi mai sciolti, a decidere infine di darle un altro corso.
La sua vita assumerà nuovi significati.

L'andamento della trama è quello di una commedia. La vita di ogni personaggio andrà in frantumi, ma si ricomporranno in un finale rasserenante, tuttavia malinconico.

Non sorprende che James Ivory abbia accettato di curare la regia di un film tratto da questo romanzo. Calato in atmosfere rarefatte e sospese nel tempo, orchestrato su dialoghi brillanti, il romanzo ben si accorda infatti con la cifra stilistica del regista californiano. Un film con Anthony Hopkins, Laura Linney, Charlotte Gainsbourg, Omar Metwally, Hiroyuki Sanada. Un signor cast.

Del rapporto con il pubblico lo scrittore dice in un'intervista concessa a "La stampa":
«Non mi chiedo mai se, o come, o dove, o quando la gente incontri i miei testi. Non mi rendo davvero conto che i miei libri abbiano una vita pubblica, anche se in teoria so che ne hanno una. L’idea però che i miei romanzi, per me così privati e personali, siano letti da estranei, negli Stati Uniti e in altri paesi, in altre lingue, mi sorprende sempre. Non che non mi faccia piacere, anzi. Solo mi sembra sempre tanto strano. Sono invidioso, altroché, dell’appeal che il cinema esercita sul grande pubblico e della forza con cui si impone alla cultura popolare».

Della trasformazione del libro in un film:
«La prima versione della storia mi appartiene, ma ora ce n’è un’altra versione con cui non ho nulla a che fare. Non sento il film come una cosa mia: non mi sembra una versione cinematografica del mio romanzo, né credo vada visto come tale. È un’opera diversa». «Ammiro da sempre gli adattamenti cinematografici della signora Jhabvala. Specie le sceneggiature tratte da E. M. Forster. Il mio libro non poteva finire in mani migliori. Ha rispetto e sensibilità for literature, but also the sense of cinematic storytelling and the differences between the two forms of art. "
"I've always liked the films of James Ivory and Ismail Merchant in 2004 (...) When they came forward for the adaptation of the novel could hardly believe it. There was such a natural attraction: the world that I describe in these stories is very jamesivoriano. I have in common with Ivory a certain aesthetic, a sense of the environment and dialogues. " "I know that he liked the old fashioned atmosphere, the characters, the fact that it was a love story with a happy ending. And the landscape background: Uruguay. Ivory loves to travel and do not had never been to Latin America. Turn into Argentina, he chose instead Uruguay, excited him. "
and actors who have played:
"All great actors who have given excellent performances. I confess, however, that none of them corresponds to my original idea of \u200b\u200bthe characters they play. They became the characters of James Ivory, and had to be precisely that. "

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Peter Cameron Someday This Pain Will Be Useful to Peter Cameron

Living with their peers is not easy for those young people who do not follow fashion, who do not like homologous to the other, trying to keep themselves even if they still do not know who I really am. "I just eighteen. How do I know what I want in life? How do I know what I need? .

Living with parents is sometimes disorienting when they show even the most immature of their children and do not like their take on too much responsibility. Parents who can not communicate with their child and send him to a psychologist because they do not prefersicono see him happy "in a way that gives us thought" . Parents who do not want to have their concerns because they have already and do not have the time or space in their mind to another, while claiming to love their children.

James the hero of the book by Peter Cameron, Someday this pain will be useful is a guy who seems partridge in the eyes of others only because their peers do not like: they can not talk about anything, they are boring and when you are together "seem happy to fart and make reeds together, for nothing bothered by the fact that he has never for a moment to themselves. " James is a guy who, however, in people able to grasp the nuances and appreciate the small gestures: "The strange thing is that I am an asocial, but when he came into contact with a stranger - even if it is just a smile or a sign with his hand (...) - it seems to me that after we can not leave each in his own way as if nothing had happened ".

In short, look for and what is not is a real relationship does not show off what the groups with whom it is too often in contact. For this speaks more willingly with his dog, Mirco, believed that the human and the gardens are on the bench beside him to observe others with condescension dogs. "Miro always understand when I'm sad. He placed a paw on his knee and he yelped plan. Maybe he wanted to tell me that he wanted to go in, eat a cookie, and go to sleep, but there was a tenderness in the gesture that I comforted ".

Jasper eventually acconteta mother and father that, while separate, have joined forces on this: even if he decides to go reluctantly by the specialist. But the aseptic language of the psychoanalyst, and his insistent questions for him senseless, not help him, not what they need. "I thought a race to see who was first to jump to those nerves. I felt very therapeutic, but I have it all set to win" . And is frank with you, " I think that psychoanalysis is a co ncetto misleading view of capitalist societies, whereby their lives basking in the analysis of replacing the very act of living it."
E 'illuminating what it says about the great psychiatrist Jaspers that psychology can "explain" anything but "understanding" is not a question of psychology but it is a human disposition that everyone can and should have. James does not expect to explain what it is or what, but accept it for what it is: he does not want change, he wants to find his way.
The author says in an interview with respect to psychotherapy states: " I had experience of both psychotherapy and an analysis , f ondamentalmente have proved positive and productive, they are grateful for the fact that the route has had on me and my life. But while it is under way, psychotherapy can seem very frustrating and at times ridiculous. And since James is resistant to the idea of \u200b\u200btherapy, it made sense to me that focusing only on all that it seems absurd. However, I hope that the reader grasps that despite his reticence, conversations with Dr. Adler's are useful and help him to gain new awareness. "

The discomfort comes from James existential vacuum of values \u200b\u200bthat perceives around him, This does not agree to become part of a world that considers surface, made up of busy people and selfish, chasing a happiness that does not exist and ignores the problems of those who do not want to watch. into the office of his father he thinks "I do not think I could work in an environment like that. I know that in this world we are not all equal, but I can not stand places that emphasize ".

It 'difficult for James to communicate, but how he's wrong when he says: "The thoughts are more real when they are designed, to express them distorts, dilutes them, the best thing is that they remain in the hangar darkness of the mind, in its climate controlled, because the air and the light posono altered as a film exposed accidentally ". Because the capacity is lacking to those who often surrounds us and is listening without listening there is no dialogue, the real one not one that immediately puts in our prejudices and our way of seeing reality.

This ability is typical of James's grandmother who knows just sit and listen, who knows does not ask many questions, ma che ha sempre dare le risposte giuste al momento giusto.

James non vuole andare all'università, "posso imparare tutto quello che voglio - afferma - leggendo i libri che mi interessano" , ne parla alla nonna e gli chiede consiglio.

Quando il nipote finisce di parlare, la nonna "ha poggiato la spugnetta e si è asciugata le mani, poi si è voltata a guardarmi. Era uno sguardo duro. Mi sembrava di averla delusa, di aver tradito le sue aspettative. (...) Ha riappeso lo strofinaccio e ha detto: "Una volta tanto non pensiamo al futuro... è deprimente. E' quasi ora di pranzo, invece. Ti va una bella insalata russa" . Al momento giusto, quando his grandson will be ready, it will be the grandmother who will be able to give the right advice to watch the world with more confidence and hope. Why another attitude that we lost in front of a problem is the ability to wait and help young people see the world with more optimism and serenity.

A book that of Cameron mild, smooth, humorous and light but never superficial.
of this book is making a film Roberto Faenza.

What Fluids Are In A 1992 Yamaha Jetski

World Bread Day 2010 - Pangirelle gorgonzola and pistachios


We participated in the World Bread Day back in 2008, was for us a sort of baptism because we had just started our adventure with this blog. This year we propose that the bread is very tasty, more than an accompaniment is a single dish!

Ingredients

For the dough: 350 gr flour
0
100 grams of semolina flour
50 g mashed potato flakes in 250 ml of water

8 g yeast Beer

1 teaspoon salt 3 tablespoons olive oil

For the filling: 180 gr
Gorgonzola spicy
120 g sweet gorgonzola mascarpone 100 gr pistachio


Preparation:
prepare the dough by adding the yeast dissolved in water at room temperature for flour and flakes of potatoes. Work vigorously joining the oil and salt. After this, we put the bread dough to rise for about 2 hours, which completed the roll out on a floured surface to a thickness of about 6 mm. We are ready to roll out the dough on the prepared stuffing that we, working the two types of blue cheese and chop the pistachios.

sull'impasto, using a spatula Spread the gorgonzola, and finally the chopped pistachios. We ready to roll and cut along the "snake" in many small girelline, the thickness of two cm. We have to rise for an hour and a half hours before informing at 180 degrees for about 40/45 minutes. Tasted the bread, we decided it was the right way to participate in the World Bread Day edition 2010 license plate

Full Metal Alchemist Games

Everyone dies alone diHans Fallada

After the war, was liberated by the Soviets in Berlin, Fallada was asked to take a story from a Gestapo dossier on two unknown resistance to the Nazis, and Elise Otto Hampel, executed in 1942 for distributing anti-Nazi material. The writer you'll love this story that he wrote in 24 days.

Everyone dies alone Hans Fallada published in 1948 is a book that comes in everyday Nazi East Berlin of the years 40-42, the common people who fought a lonely battle, or who stood up with stronger because of fear or opportunism. A world where you are afraid of each other, because the accusation is at home: "everyone has something to hide, just pull it out" is the creed of the Gestapo. It 's the story of an old worker and his wife. When their son died in the war include the spouses have to do something, anything against the regime. They decide to draw cards against Hitler that will lay on the stairs of various houses in Berlin.

E 'extraordinary tenacity, the knowledge with which to carry on their struggle became small or purpose in their lives, because the injustice there never gives up.
It 's true: to give birth to a dictatorship as long as normal people do leave. The reaction of this humble pair, in this context, assumes immense significance. It will deposit 285 in two years, but only 18 will not be delivered to the police and their silent opposition will end with death at the hands of Gestapo. The book is inspired by the true story of the spouses and Elise Otto Hampel, who were captured, tried and beheaded by the Nazis in 1943. When Anna
argues that leaving around postcards of a challenge is not that great, Otto tells her the truth: "Big or small, Anna, if they find out will cost us the life .

"Then he took pen in hand and said softly, but with energy:" The first sentence of our first card is: 'Mother! The Fuhrer I murdered my son. "[...] In a flash he understood than with the first sentence he declared war today and forever, and he also felt obscurely that cosa volesse significare: guerra fra loro due da una parte, poveri, piccoli insignificanti operai che per una parola potevano essere annientati per sempre, e dall’altra parte il Fuhrer, il partito, quell’immenso apparato con tutta la sua potenza e tutto il suo splendore, e dietro di esso tre quarti, no quattro quinti del popolo tedesco”.

Vengono scoperti e la Gestapo si mobilita: si segnano sulla carta di Berlino con bandierine le zone in cui non si sono ancora trovate le cartoline perché in una di quelle il signore delle cartoline deve abitare.

E’ chiaro che la storia non può avere un lieto fine: verranno scoperti, ma l’operaio apprenderà with satisfaction that the three hundred eighteen cards were not handed over to police. A modest contribution to the fight against Nazism, but still a contribution. And at times maybe this is the only possibility of resistance. Keep fighting even if alone. Why do men really change must grow as individuals become aware not only of their rights, especially rights of the weakest and should participate

Without this willingness to participate, resistance, revolt against oppression, without our vigilant attention and operational there is no true democracy.

Primo Levi called this book "one of the most good books on the German resistance against Nazism ".

England and the United States discovered Hans Fallada after more than sixty years.
In the words of Hannah Arendt:

" Under conditions of terror, most people tend to comply, but others do not ... Humanly speaking, nothing else is needed, and nothing else can be asked why this planet remains a place suitable for human existence. "

Fallada created an immortal symbol of all those people who struggle against evil and so redeemed us.

Anniversary Of Death Invitations

"Chesil Beach" by Ian Mcewan

"They were young, fresh studies and both still virgins and children of a time in which to deal with sexual problems voice was simply impossible."

So begins "Chesil Beach" British author Ian McEwan's tenth novel set in England in July 1962 on the Dorset coast in front of the vast expanse of pebbles from Chesil Beach. Florence, a promising violinist wealthy family, and Edward, a modest town of modest family are on their honeymoon.

"They were still time, intended to expire at the end of that famous decade, when being young was a social encumbrance, a mark of irrelevance, a condition of slight embarrassment for which marriage was the beginning of therapy. Roughly strangers, there they were, strangely set up a new peak of existence, delighted at the thought that their status recently allowed to push on the bright path of endless youth, Edward and Florence, free at last! "

Free at last ... Before '68 is coming out of her parents' home only after they were married and virginity was a moral obligation enshrined in Holy Mother Church to whom it was difficult to ignore. Those who approach marriage without being so had little chance of finding a husband. Ancient times, but not much. Reality perhaps they would like us to go back.

The two young protagonists of the book, if you love so much and say so repeatedly in the prelude to the wedding night. The two men finally dine alone. but under the eyes of the waiters, on thinking about what will happen a little later: They know that night "would be lying on the bed canopy to show some sort of naked" . It is clear she fears that knows very little about what to expect, like any girl of her class and of his generation.

comes a time when they move into the bedroom. The coldness and the reluctance of her increase awkwardness of him, McEwan tells their difficulties maintaining a perfect balance between the mild humor of the observer who describes the scene and compassion for the ignorance and inexperience of those still young at a time when the word was spoken or not sex at all or, if it happened, it was with great embarrassment.

not know their bodies, their reactions. She does not want to disappoint the expectations of her husband, but at the same time does not have the courage to express his anguish, his reluctance, to Edward have no words to communicate the anxiety of being unable to contain his desire and the fear of not to interpret the signs of a body as another unknown and mysterious galaxy.

should have learned to speak, to take account of their physiological and cultural diversity, their fears and above all have patience, being able to wait to get to know the language of the body but also the other to find harmony The tune to live in a beautiful and peaceful intercourse. Should know the delicacy of the moment, to have respect for other people to prevent the frustration of turning into bankruptcy, the failure to anger, anger into bitterness. Should be that there were no pre-established models that suggest how you should be for men or for women, but it turns out paino floor as you know in a dialogue in cui uno ascolta l’altro senza prevaricarlo.

Ma questo atteggiamento non c’è e ne consegue il fallimento e la frustrazione. Lei confessa le sue difficoltà, la sua repulsione, lui contrattacca e l’accusa: “ Tu mi hai ingannato. A ben guardare, sei una bugiarda. E sei anche qualcos’altro, se proprio lo vuoi sapere. Sai cosa sei. Irrimediabilmente frigida.” Sospetta di lei “Però hai creduto che ti servisse un marito, e io sono il primo coglione che ti è capitato”. “Ma soprattutto, lei aveva tradito la promessa pronunciata in pubblico, in una chiesa”.

Anche lei se ne convince. “Anche ai propri occhi ora Florence non valeva niente, come anche a quelli di lui” E tra loro si scava un abisso. A lei rimane che andarsene, correre via. " In un parossismo di rabbia e vergogna, saltò giù dal letto. Intanto, l’altra metà di lei, quella dell’osservatrice, sembrava dirle pacata, senza ricorrere alle parole, Ecco, questo è esattamente ciò che si prova a diventare pazzi. Florence non riusciva a guardarlo. Restare in una stanza con una persona che la conosceva in questa veste, era una tortura. Raccolse le scarpe da terra, attraversò di corsa il soggiorno, oltre le rovine della loro cena, si precipitò in corridoio, e giù per le scale; poi uscì, svoltò l’angolo dell’albergo and went through the green meadow. "

" I, in those years, I was there - Irene Bignardi says about "the Republic - and, unless due and fortunate exceptions, I can testify that it was so, and even worse: the fear, anxiety, lack of knowledge, the body is not comfortable with themselves and others, the social silence and shame that staff does not help to get rid of. Ian McEwan was not there, or was thirteen years old, and it is the virtue of the writers know how to reconstruct reality through the minute clues in the bigger picture "

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sand creatures of Tahar Ben Jelloun

"The father did not have luck: he was convinced that an ancient curse seriously weigh the life out of seven births had seven daughters" (...) "said that he was ashamed of the house on his face, that his body was possessed by a cursed seed and which should be regarded as a sterile husband or a bachelor. Do not remember having ever laid a hand on the face of one of his daughters. Did everything to drive them out of his life to forget them. "

The birth of the woman who lived as a curse, the male child as the sole heir of the family ... The book that inspired the song "Creature sand "of the Moroccan writer Tahar Ben Jelloun, which I read years ago but is still very present. From

curse the father wants to get out but how? The eighth child born while the female is still considered a man and his name shall be Ahmed. No one will be revealed the deception.

The book tells the dramatic and intense life of Ahmed forced to live as a man repressing his female identity, the extent to which it is aware and understands that "his life is committed to maintaining appearances. It is no longer a will of his father. It is becoming his own will ". It goes to his father saying, " Il mio stato, non soltanto lo accetto e lo vivo, ma mi piace. Mi permette di avere dei privilegi che non avrei potuto conoscere. Mi apre le porte, anche se poi mi chiude in una gabbia di vetro”.

Certo, la situazione descritta in questo testo è paradossale, ma quante volte viviamo tutti “nel mantenimento delle apparenze” illudendoci che questa sia una scelta consapevole e voluta. Forse siamo o ci sentiamo spesso anche noi creaure di sabbia.

A sua madre Ahmed rinfaccia: “…in questa famiglia le donne si avvolgono in un sudario di silenzio…, obbediscono; tu, tu taci, e io do gli ordini! (…) come sei riuscita a non insufflare any idea of \u200b\u200bviolence in your daughters? They are there, come and go, satin on the walls, waiting for a husband ... providential, that misery. "

Sometimes it is true mothers become accomplices of husbands, the company that defines their role, have not the strength of the rebellion. Sometimes we all assoggettai to an authority which imposes rules which, while not sharing them, we accept because we do not have the courage to oppose: how many people are afraid to go against social conventions, to break free to find their freedom ...
"I the chosen shade and the invisible. That's the question begins to emerge as a harsh light, living, unbearable. Tolerate ambiguity to the end, but I could never show his face in his nakedness in the light that comes close.

I knew that my sisters have left home. They left one after the other, my mother was locked in a room and discount according to his will a century of silence and seclusion. The house is huge. Very shabby, falling apart. So I'll take care of my mother and one extreme to another. You know where I am. I do not know where she is. Malika we need and helps us, each in his trial. The night is still in the night or day in the night? Something inside me shudders. It must be the soul. "

A complaint that is Tahar Ben Jelloun, a world that seems want to decide the destiny of the people who inhabit it: "Life does not succeed we invented . - says the author - We have entered a world already in progress and, even if you act, not act alone, and the events which we are involved in the plot are the result of the actions of many of the unintended outcomes of "random" events ".

takes us into millenniums of history with the habits and traditions. " Telling is basically a way to come to terms with everything, that is to transform the stories where we are involved, but without authorship, in an experience that we can be partly aware. "

" Being, simply be, is a challenge. I'm sick and tired " noted in his diary and concludes Ahmed " at the bottom look like yourself, is it not become different? ".

A book magic and poetry together, the pages that follow one another at joints between the writing and oral . A story concocted as an arabesque, without a real theme, sometimes difficult in the flow, but full of very beautiful poetry pages.

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The Road by Cormac McCarthy

pages are hard and intense. I hope that what laws will never happen, but you know it could happen one day. I have never liked the books they want to say the apocalypse, but this book has something that catches you, it enters into history and, although perhaps you would like to get out, they remain bound to fathom, to see how it will end. E 'is not an end, like any great book leaves open the conversation, something ends, but something more.

In the new novel by Cormac McCarthy, The Road, an unspecified global disaster brought an end to life on earth: a man and a child who did not name, through a desolate landscape, a vast expanse ashes in search of food. On head south towards the sea, flying, flying and nothing else.

A father and son, then, without nulla'altro that their indissoluble bond and tender. A bond that contrasts with so much destruction facing step by step, moment by moment. There is nothing else: there is no more history, time, there are more cities, homes, families, there is not even always look toward the sky in search of hope, is perpetually obscured, leaden " as the beginning of a cold glaucoma that clouds the world. " There is only the road along which push a cart with what little they still have: some blankets, a little canned food. And when you finally reach the sea, what's opens in front of a vast ocean and cold that has " the desolation of some alien sea that washes the shores of an unknown planet. Farther off, on the shoals created by the oil, a tanker ran aground" .

E 'a desperate tale interspersed with memories and dreams of man (especially on his wife - the mother of the child - who decided to commit suicide rather than endure such hell broke it further left alone).

Then again devastated villages, houses, miraculously survived the looting, but always in a hellish landscape, where the only color is that the flames of the fires that still burn dead trees.

A nature, as always McCarthy's novels, revealing his face terrible inhuman, merciless, indifferent.

But in all this devastation stands the poignant relationship between father and son, the love that binds them unbeatable. The few dry words that are exchanged are full of intimate affection, special family.

When he woke in the woods in the darkness and cold of the night stretched out to touch the child sleeping beside him. Darkest of dark nights and days more gray than just a past. As the beginning of a cold glaucoma that clouds the world. His hand rose and fell with each precious breath

Their report, seeking reassurance in each other, the certainty that one is there for each other.

stories the father tells his son in the face of endless night or trust that the child subject to the parent are often highly emotional.

Then he opened his eyes. Hello pope said .
I'm here.
I know.

This is unexpected tenderness, despair and melancholy, the best gift that McCarthy offers its readers.

I wondered why I kept reading the book though as they proceeded anxiety increased: it was the whispered cry appena da quel bambino che chiedeva la presenza dell’adulto, che chiedeva che non si facesse del male mai più, che si commuoveva di fronte ad ogni essere in difficoltà, che aveva paura e piangeva, ma sapeva anche dar prova di grande coraggio, che pensava fosse giusto ancora aiutare e non uccidere. Ed era quel padre che resisteva per quel bambino anche se per se stesso avrebbe invocato la morte… Questo è il più bel messaggio che un libro possa dare. In questo libro c'è nonostante tutto il senso della vita .

Il bambino è terrorizzato. Ma non smette di pensare al bene, al giusto, al vero. La bellezza sopravvive nella sua mente anche se è nato quando la catastrofe era già accaduta, anche se non has never seen another child and has never known the life of which we still enjoy. He knows the compassion for the living and the dead, there is the question of the morality of any act, knows and will love, even in a desolate world with no future. Convinces his father to donate the little they have. It's good, just asking to be good.

" We Still good. And we will always be ". "If he is not the word of God, then God has never spoken to him thinks her father, the child observes and flour a snowflake as" the last army of Christianity. "

"We bring the fire" simbolo forse della speranza che non si deve spegnere nonostante tutto…

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Pink And Black Short Poofy Dresses

Winfrid Georg Sebald Austerlitz

Winfrid Georg Sebald è nato nel 1944, ha lasciato la Germania a venticinque anni non potendo più tollerare quel silenzio con il quale la generazione dei padri continuava a nascondere i crimini e le sofferenze provocate dal nazismo e da una guerra devastante, incapaci di confrontarsi con un passato.

Emigra quindi in Inghilterra, dove insegna letteratura tedesca fino alla morte, avvenuta nel dicembre 2001. Aver lasciato, però, la sua terra natia non ha voluto per lui dire dimenticare, voltar pagina, ma al contrario ripercorrere vicende che hanno lasciato segni e ferite indelebile in chi le ha vissute.

Le tragedie del ‘900, soprattutto quelle tedesche, vengono riviste con gli occhi di chi le ha subite o di chi ne è scampato, come in alcuni racconti degli Emigrati oppure, come nel caso di Jacques Austerlitz, di chi cerca di ricomporre la propria identità ricostruendo la storia della propria origine, ma che continuamente si scontra con la difficoltà della memoria di mantenere in vita ciò che invece va dissolvendosi nella dimenticanza.

“ Persino adesso che sto cercando di ricordare – dice Austerlitz – (..) l ’oscurità non si dirada, anzi si fa più thick at the thought of how little we can hold, how many things fall into oblivion with every life constantly erased, how the world is empty, so to speak alone, since the stories related to countless places and objects in themselves unable to remember, are not heard, told or recorded by any other ... "

Sebald is not jew but also talks about the victims of Nazism describing is not telling all the atrocities they suffered in the camps, since the consequences, especially psychological that over time rather than relieve become more acute (and I'm thinking to our Primo Levi): Sebald's characters, in fact, subject to the power of a "Inexorable memory." Memory is, for this writer, a faculty always problematic, necessary and painful at the same time, because while it encourages the construction of his identity, but it can endanger his mental balance.

Ripped parents during the Nazi invasion of Czechoslovakia and sent to England along with other children, Austerlitz struggling to reconcile his story after years of total darkness. And the past comes together slowly harrowing and relentless. The individual course of Austerlitz Sebald becomes the occasion for a reflection on history, the nature of time, sull'evanescenza and permanence of the past, the incomplete knowledge.

In his monologues in the presence of the narrator, Austerlitz recounts his life, beginning with childhood spent in Wales in the house of the preacher Elias. In the college where he goes to study it is revealed his real name - until then had thought to call Dafydd Elias, but can not find any indication of his real family. Only forty years later, in 1998, manages to find his nurse in Prague, which tells the story of his family, before the arrival of German troops as he was loaded on a train to England, as the father was able to flee to Paris and his mother was instead deported to Theresienstadt, being Jewish.

But the child will be forever marked. Will study or travel as he wishes, but will always shoulder the weight of an immense loneliness.

And when riaffiorerà the memory of when he was forced to abandon his family to escape from certain death, will be a very painful

"I just remember that, when they saw the child sitting on the bench I became aware of anxiety with deaf, deaf to the devastation, the devastation that had resulted in the abandonment of my long years, and a terrible weariness came over me at the thought of never having been really alive or just coming into the world, so to say, the day of death. "

The returns back to the past memories but at the same time does not heal that sense of disorientation that accompanied him all his life. One of the passages more intense, Austerlitz says: "For traced back as far as I thought, I have always felt like no place in reality, as if they existed at all" .

The research of the past will become obsessive, relentless. Visit museums, research libraries is to find all available documents on the war. Carefully study each photo, each card is available. Then he left for Paris and continues to investigate for news of his father fled there, and probably deported there.

This book as Sebald's other books is full of photographs, as if the images are essential to support the words. We know that eventually everything will be useless, nothing will remain of the past, the truth, as well as of human destiny, only a few fragments. So reminded of the mighty fortresses described in the first part of the novel, much like white elephants.

What Sebald is a novel, whose keynote is aching melancholy and pessimism.

course should help us reflect on how historical events are in full symbiosis with the individual's life. The historical event passes, but the pain that caused it remains indelible in people's lives with which everyone will have to face forever.

Austerlitz's story made me think as individuals we have responsibilities as well as strong. If we can do little to divert the course of history, something we always do in our microcosm, even in times as devastating as the Nazis. I came to think that if Austerlitz had found another family to receive more emotionally valid even his life may have been different. Austerlitz is unable to understand what had led, in fact, the Elias family to take care of a four and a half years, what was he, but it's a supposition. " without children as they were, perhaps hoping to be able to counter the petrify their feelings." His life with them will be a hell lot worse and the separation that had been so traumatic and devastating.

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Never say night Amos Oz

In the beautiful novel by Amos Oz "Never say night" , the action takes place in the microcosm of a small town in the Negev desert where everyone knows everyone and knows everything about everyone.

It 's a human comedy whose protagonists are a man and a woman. The wife is middle-aged piena di vitalità e con una gran voglia di uscire dalla monotonia della quotidianità. Lui, più vecchio, alla ricerca del silenzio, della pace, della solitudine: “Guarda il giorno che muore e aspetta: chissà che cosa promette l’ultima luce.(…) Ormai ha fatto quel che poteva fare, d’ora in poi aspetterà”.. .

Il libro è raccontato a due voci: in un capitolo è Noa che parla e nell’altro Theo. ciò che caraterizza il romanzo non è né il dialogo né il monologo interiore, ma quel dialogo particolare che Amos Oz definisce “dialogo interiore”.

Tutti noi facciamo use of internal dialogue, that is, we talk with each other like this, we explain our reasons, we sentimao convincing, because no one interrupts us and we can say what we say. Let's talk about ourselves and we justify ourselves for what we have or have not done. Everything, in short, if the dialogue takes place within us seems to spin, to be convincing. "Work" we say "I'll tell you so, she ripsonderà e. ..". But everything changes when they met, and often the dialogue we had imagined it in transforming conflict. The other stops us before we can finish the thought, get irritated, we do not feel listened to and end, instead of clarify, we argue and we close the tower of our reason.

dialogue, the real one, maybe it works in reality in, if instead of constantly interrupt us, learn to listen, to make silence inside of us to hear the reasoning of others. Yes, it would be possible, it is possible. But you have to know art, "says Amos Oz, to know how to compromise. "compromises have - the writer says - to stay alive. The young people think that a trade is opportunistic and dishonest. But in my vocabulary compromise is synonymous with life, where there is life there is compromise. L 'opposite of compromise is not integrity and honesty, but is fanaticism and death. The compromise for me is a philosophy, a way of life. " "Compromise is to try to meet each other halfway."

And if you question more deeply, understand Theo Noa Noa and Theo understands, even if they do not know or fail to saying it. "If only I had known him understand - think Noa - what is troubling for me about his excessive" , and he realizes that "The only way to help, you do not try to help her. Only become smaller. "

Amos Oz makes us understand that sometimes it is essential in a relationship, learning to fare un passo indietro, a capire cosa l’altro vuole davvero da noi, a rispettare la sua diversità, il suo spazio e anche i suoi sbagli. Theo sembra capirlo e dice a se stesso: "Così corre avanti e indietro da una parete all'altra sbattendo le ali, inciampa nella lampada, contro il soffitto, sbatte contro i mobili, si fa male. Invece di condurla fuori verso la libertà se non stai attento finirai per farla volare verso locali ancora più interni. Ogni tuo movimento non fa che aumentare la sua paura" .

Amare vuol dire, quindi, rinunciare a far prevalere i nostri punti di vista, le nostre rivendicazioni, ad imporle. E' importante saper stare vicino senza essere invadenti, imparare to give each other the force because then everyone can deal with its own power and their ways of life's difficulties.

"In the meantime tonight - says Noa - I make him turn off the radio because I go to London to take a shower and then went back to him in the dark" . And that says Amos Oz "is not an intimidating dark, the darkness is where you make love" .

As always, Amos Oz knows going into deeper psychological mechanisms that intersect and intertwine in the human soul, can tell the real life in its nuances and contradictions. He speaks to us a microcosm of a small situation, but at the same time shows us a path in public life.

The ability to make compromises, "says Amos Oz in fact, should regulate the most intimate relations, but also political ones, for example in the conflict between Jews and Palestinians it regards as emphasized in an interview:" In the vocabulary of peace the words peace-love-compassion are synonymous. No, peace is peace and not necessarily love. I do not agree with the slogan "Make love, not war." If I am faced with a Palestinian, I I would say, "Do not love and peace." No need for love be at peace, there is no need of enemies you love, forget and forgive that. It must stop killing and dying to live, even if through gritted teeth. When I talk of compromise, I do not speak of enemies embrace. Between Israelis and Palestinians, but also between men and women, I expect a grudging coexistence ".