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.

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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

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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.

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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

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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.

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"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…

Illustrazioni tratte dal film