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Lädt ... Die geheime Schrift. Die Notizen des Agha Akbar (2000)von Kader Abdolah
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Melde dich bei LibraryThing an um herauszufinden, ob du dieses Buch mögen würdest. Keine aktuelle Diskussion zu diesem Buch. Full of poetry, tragedy, political upheaval and heartbreak, this novel has scenes that seem to be painted, rather than written. It's been such a long time since I read Persian poetry, now I long to do it again. Highly recommended. ( ) Los lazos profundos e indestructibles entre un padre y un hijo, capaces de perdurar a través del tiempo y del espacio. Ismail recibe por correo el diario de su padre fallecido, escrito utilizando los símbolos de una antigua inscripción cuneiforme grabada en una cueva del monte sagrado del Azafrán hace tres mil años, un hermoso lenguaje que nadie ha conseguido aún descifrar. Spijkerschrift, Abdolah's second novel, is more-or-less autobiographical in theme. The narrator, a refugee living in the Netherlands, examines his relationship with his father, the deaf-and-dumb carpet repairer Aga Akbar, living in a village in the north-east of Iran, against the background of 20th century Iranian history. Aga Akbar's disability is central to the way the novel develops - it gives Abdolah a way to explore the way that language defines your perception of the world, since Aga Akbar can normally communicate only in a private sign-language developed within the family and the village. His eccentric uncle, the poet Kazem Gan, has encouraged him to write his thoughts down, but since Kazem Gan can't be bothered to teach him how to write in Persian, he ends up developing his own private and personal writing system, inspired by a cuneiform inscription from the time of Cyrus the Great on the wall of a local cave. And of course he still can't read, so he remains dependent for his knowledge of the wider world on what the people around him are able to translate into sign language. Now the narrator, sitting in his attic in the Flevopolder, is trying to reconstruct what his father must have written in the notebook, without any means to decode the cuneiform other than his memory of his father's life, and of course realising how little we can know of what goes on inside someone else's head unless they have an effective way of communicating it. Another big theme of the book is the odd way in which having a disabled parent introduces a partial role-reversal into the parent-child relationship, giving the narrator an unusually intimate relationship with his father - and an unusually heavy load of the usual filial guilt when he becomes involved in the underground resistance to the Shah, and later to the clerics, and is forced to separate himself from his parents to avoid implicating them in his political activities. The book ticks most of the boxes you would expect from the "refugee novel" genre - there is more local colour than you can shake a stick at, there are attractive descriptions of the idyllic-but-tough life-before-the-political-horror, there are arrests, beatings, and disappearances, there is the wear-and-tear of being constantly on the lookout for the secret police. But what makes it special and uniquely attractive is the charming, modest, but sure-footed way Abdolah navigates between the two cultures and picks up echoes in their ways of imagining the world in poetic terms (even the idea of deciphering the notebook gets tied into the framing narrative of the Dutch classic Max Havelaar).
Abdolah writes in staccato sentences using a simple vocabulary, and the narration is often heavy-handed. The use of tapestry as a structuring metaphor is too familiar a convention for Abdolah to make it fresh. But he doesn't need to: the reader is skilfully wrapped up in the fabric of semi-autobiographical stories. My Father's Notebook reads like a detective story: information is withheld so that we gradually discover the background to Ishmael's exile. Like Orhan Pamuk's Snow, the novel portrays the sense of rootlessness in the secular west and the religious oppression of Islamic countries. But unlike Pamuk's unrelentingly dark brooding, Abdolah leaves pockets of cheerfulness, such as a hilarious anecdote about Ishmael dressed up and dancing like a Parisian schoolboy, mocking the westernising shah. Gehört zu VerlagsreihenGrote lijsters (2008) AuszeichnungenBemerkenswerte Listen
"Ich will das Schicksal des Volkes erzählen, in dem ich 35 Jahre meines Lebens gelebt habe." Kader Abdolah Die Geschichte Persiens, gespiegelt in einem kleinen Dorf in den Bergen. Esmail hat ein Manuskript mit ins Exil genommen. Geschrieben hat es sein taubstummer Vater, in einer seltsamen, selbst erfundenen Schrift. So, wie er früher seinen Vater verstehen wollte, versucht Esmail, das Geschriebene zu entziffern. Es schildert das Leben in einem kleinen Dorf an der Grenze: "Südlich der Grenze lag der Iran, und nördlich, dort, wo immer tiefer Schnee lag, Rußland." Dieser eindrucksvolle, manchmal märchenhafte Roman spannt einen Bogen zwischen Amsterdam und Persien. Er erzählt von Vater und Sohn, von Analphabetismus und der Leidenschaft für Geschichten, erzählt von Armut, Abhängigkeit und erwachendem politischen Mut. Esmail schließt sich dem studentischen Kampf gegen den Schah an, später der Regime-Kritik gegen Chomeni. Er flieht - und aus dem Sohn eines armen Teppichflickers wird ein westlicher Intellektueller, der seiner Herkunft jedoch alles verdankt. Die "Notizen des Agha Akbar", so der Untertitel des Buches, gehören zu den eindrucksvollsten Beispiele jener Literatur, die heute, durch die weltweiten ethnischen Verwerfungen, ihre Wurzeln in mehreren Kulturen hat. In schöner, sicherer Klarheit geschrieben, enthält es zu gleichen Teilen die bittere Realität und die magische Phantastik der persischen Heimat. Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)839.31364Literature German literature and literatures of related languages Other Germanic literatures Netherlandish literatures Dutch Dutch fiction 20th Century 1945-1999Klassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt:
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