Read by Italo Calvino Итало Калвино Neva Micheva Светозар Златаров Виолета Даскалова Евдокия Златарова Online

Нашите предци През 50-те години на ХХ век ненадминатият Итало Калвино („Ако пътник в зимна нощ“ – ИК „Колибри“, 2008, „Американски лекции“ – ИК „Колибри“, 2012) пише трилогията „Нашите предци“, в която дава воля на чувството си за хумор и на желанието си за игра, и демонстрира отличните си познания за приказките, добити след дългогодишни занимания с италианското фолклорноНашите предци През 50-те години на ХХ век ненадминатият Итало Калвино („Ако пътник в зимна нощ“ – ИК „Колибри“, 2008, „Американски лекции“ – ИК „Колибри“, 2012) пише трилогията „Нашите предци“, в която дава воля на чувството си за хумор и на желанието си за игра, и демонстрира отличните си познания за приказките, добити след дългогодишни занимания с италианското фолклорно наследство. „Разполовеният виконт“ (1952), „Баронът по дърветата“ (1957) и „Несъществуващият рицар“ (1959) са три независими новели, в които – в едно смътно и смутно, но славно и вълнуващо средновековие – трима благородници проправят своя необичаен път през живота: добрата и лошата половина на разкъсания от турско гю...

Title :
Author :
Rating :
ISBN : 24567811
Format Type : Kindle Edition
Number of Pages : 421 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Reviews

  • Michael Finocchiaro
    2019-06-23 18:34

    My favourite story in this collection is The Baron in the Trees which is a wonderful fairy tale about a kid who wouldn't finish his dinner, decides to live in a tree, and crosses Europe from Italy to southern Spain without once touching the ground. It is a beautiful, masterful tale that reminds us how man in the last 6 or 7 centuries has destroyed many of the forests and natural diversity that existed on the Mediterranean coast in the middle ages. It can be read again and again and is absolutely captivating. That reminds me that I still need to read it to my kid!The other two stories in this collection, The Cloven Viscount and The Non-Existent are both exemplary of the softer more dreamy side of Calvino's writing and incredible imagination.

  • Jan-Maat
    2019-07-13 16:16

    If these are our ancestors then we do indeed have a troubled and difficult inheritance, although it could be that the collection title is the gift of the publisher. This collection of three Calvino stories features partial people, an empty suit of armour, a half man, chopped in half by a war would and a baron who doesn't have his feet on the ground.Apparently then we are in the world of fables, are they critical views of our heroic past? Or simply games toying with notions? The great heroism of Charlemagne and his paladins is empty - not exactly a surprise after The Song of Roland, when one might well suspect that the heroes are some kind of mechanical mincers released on to the battlefield. And are we being brought to perceive of the Rococo and Enlightenment as periods when people had their heads in the clouds and couldn't keep their feet on the ground? A set of charming cultural jokes then, which is perhaps not so far in attitude from If on a winter's night a traveller.On the whole these were my least favourite Calvino stories, which means I still recommend them highly to the curious reader.

  • Pavle
    2019-06-23 20:15

    Tri Kalvinova dela spojena od strane njega samog u jednu tematsku trilogiju o našim precima: čoveku dobra i zla, tvrdoglavom idealisti i vitezu koji je sam sebe ubedio da postoji.Prepolovljeni knez/vikont (4+) je novela, a po duhu odužena pripovetka, o jednom, gle čuda, knezu, koji biva, gle čuda, prepolovljen u ratu, i to u luni-tuns šmeku gde top ne napravi rupu samo u stomaku, već odnese čitavu jednu stranu tela. I tako, vraća se naš knez koji spreda izgleda kao iz profila u rodno mu selo, sa blagim poremećajem ličnosti. Čak i da ne piše na naslovnoj, znao bih da je pisac Kalvino. Pripovetka koja je, iako možda ne toliko suptilna u svojoj alegoriji, u svakoj meri posebna i zabavna i smešna i dirljiva, sa neverovatno simpatično izgradjenim likovima u tek nešto preko devedeset strana. Uvek se uplašim da ću da se naviknem na slike koje Kalvino pruža. Raduje me što se to još nije dogodilo. A kakve slike pruža... Kada je reč o Baronu na drvetu (4+), ostaviću prikaz na citatu, odnosno razgovoru Kozima, naslovnog barona, i jednog vojnika u prolazu: „You see... War... For years now I’ve been dealing as best I can with a thing that in itself is appaling; war... and all this for ideals which I shall never, perhaps, be able to explain fully to myself...“„I too,“ replied Cosimo, „have lived many years for ideals which I would never be able to explain to myself; but I do something entirely good; I live on trees.“Čudno je reći za Kalvinov roman da je „običan“ ili (relativno; ipak je osnova narative o klicnu koji odbije da večera i ode da živi u krošnjama do kraja života) normalan, ali ovaj to jeste, bez obzira na ekcentričnost priče – ali je i lep, nežan, miran, i iako na kraju malo otaljan, celovit.Nepostojeći Vitez (5) ja baš ono što mi je trebalo od Kalvina – zabavan, mojtipantonovski viteški roman/novela. I toliko mi je žao što nije duži, ali i ovako je izrazito simpatičan i drag.Za mene, Kalvino ne zna za poraz – ovo je još jedna prilično ubedljiva knjiga, ali nažalost i još jedna manje njegove bibliografije koja mi ostaje. Mislim da ću sad malo da postim, čisto kako bi mi život na duže staze bio lepši. 4+ (samo zbog genijalnosti Putnika i Gradova)

  • Liberis
    2019-06-19 13:10

    Υπέροχο, γεμάτο φαντασία, ξεχνιέσαι!

  • Trevor
    2019-07-16 17:14

    Calvino is probably my favourite writer. His books are as varied and beautiful as it is possible to be. For a long time I tried to learn Italian in part so as to be able to read him in the original language. These are a fascinating series of stories, almost stories for young adults, but also allegories on a world divided into East and West.My favourite of these stories is Baron in the Trees. The tale of a young man who fights with his family, storms out of the house in a fit of fury and climbs a tree saying he will never come down - and never does. Unlike many of Calvino's other books this is straight narrative and wonderful story telling by a master story teller. Not a bad place to start a journey into Calvino.

  • Tim Pendry
    2019-07-16 16:07

    This volume pulls together two novellas and one novel written across the length of the 1950s by Italo Calvino as partial pastiches of past literature, all with an implied commentary about the position of the intellectual in post-war Italy. This tells us all we need to know about the strengths and weaknesses of the work. On the one hand, Calvino writes fluently and with a mastery of the forms he is working with – the (comic) Gothic novel, the moral tale of the Enlightenment and the courtly romance – but he is soon falling into the post-modern trap of saying very little of any depth extremely well.Why is this? Perhaps it is because he is embarrassed. He is a bourgeois intellectual and instinctive aesthete who wants to be a socialist in an age of hard-nosed Marxists. He is trying to keep his nose high from the stench of politics and compromise while being a man of the Left. How does he try and do this. By metaphorically staying up in the trees and trying to appropriate the great European literary tradition for a basic liberal decency that reminds us of the similar and often not quite convincing efforts of Camus to do the same in 1950s France.Calvino tries lightness of touch instead of trying to meet the sour-pusses of the old Left on their own puritan ground as Camus did. This means that the works are (mostly) enjoyable but also rather shallow, a case of educated bourgeois knowingly speaking unto educated bourgeois.For all the claims Calvino was to make about abstracting the authentic vision of the common man from traditional literature (exemplified by his remarkable knowledge of folk tales), his work requires a fair amount of education to appreciate fully. There is an inherent ‘snobbisme’ in it.The stories of good and evil disembodied in the cloven viscount, the young aristocrat who takes to the trees and stays there and the knight who is perfect but does not exist are all well told and give an insight into the minds of an elite uncomfortable with modernity and yet committed to it.The contrast with Di Lampedusa’s ‘The Leopard’, published around the same time, coming, in this latter case, from a genuine aristocrat whose compromise with modernity came from necessity and not from ideology, is striking. The bourgeoisie’s continuing interest in the aristocracy is amusing. They will not let go of the past. Our genuine aristocrat can (paradoxically): he speaks of the past as the past whereas Calvino tries to bring the past into the future, turning tragedy perhaps into farce.Italo Calvino’s short introduction is worth reading in this context. He refers to his initial engagement with the post-war fashion for social realism after the victory of the partisans over Mussolini but (in his late twenties) decided to follow his heart and Robert Louis Stevenson.This tension between his literary aestheticism and the politics of engagement are being worked through in these works and that is why they are good but not great. They are neither one thing nor the other – the politics is obscure and the adventuring cloaked in too much implicit meaning.In the end, it is all too clever by half. It makes you feel superior for understanding things the ‘hoi polloi’ won’t get but there is no way this is a voice for the common man … interesting, amusing but locked in its time and in the past simultaneously.

  • Juanita
    2019-07-11 18:13

    Sólo me salen suspiros cuando se trata de esta trilogía. Qué imágenes tan bellas, tan fuertes. Mi amor por siempre a este autor y a estos tres libros. Los temas...miles: metaliterarios; el ser humano en conjunción con la naturaleza (aquí surgen las metáforas y símiles más hermosos que haya leído); el amor; la enajenación; el dilema por la libertad individual o en sociedad [¿se dice así?]; la existencia del mundo; la percepción que tiene el hombre de él. Espacios, tiempos históricos, géneros literarios, plantas, animales, personajes literarios y no literarios...tantos! Una amazona guerrera, el Antiguo Testamento, novela pastoril, la Ilustración, Carlomagno, Voltaire, una pastora, los caballeros del Santo Grial, la vincapervinca, Napoleón, Adán, una monja y su falsa modestia (como sor Juana), reyezuelos y cigüeñas, novela de caballería, la Revolución Francesa, el príncipe Andrei (de "La guerra y la paz" de Tolstoi), un magnolio...un ser que es pero no existe, otro que no vuelve a bajar a la tierra pero aquí vive, y otro más que es a la vez dos.En orden de gusto, para mí van así:El Barón rampante ***** [si pudiera le pondría infinitas más]El caballero inexistente ****El vizconde demediado **

  • Inderjit Sanghera
    2019-07-19 14:20

    This triptych of stories, in which Calvino coalesces fantasy, folk-tale and pastiche into a set of wonderful, irreverent and beautiful stories and represents one of the high points in Calvino’s oeuvre. ‘The Cloven Viscount’ is the story of a viscount whose body is split into two by virtue of jumping in front of a cannonball. In a kind of macabre re-working of the double theme-and in particular Dr Jekyll and Mr Hyde-one side is evil and the other good and the viscount is able to terrorize his subjects in turns via both his piety and malevolence. Calvino explores the duality of human nature, upending the traditional ‘double’ theme by having his the “good” side of the viscount be as harmful as the bad with his constant hectoring and sermonizing and of the importance of having a variety of facets to your personality-the sense of incompleteness haunts both the good and bad halves of the count and it is only be joining together the both that he is able to re-enter the human world.The best story, however, is ‘Baron In The Trees’, the story of a young aristocrat who decides, in a fit if pique over having to eat snails, to spend the rest of his life in trees. Not only does the story explore the lost landscape of Ligurian Italy-as Calvino said most Italian Literature is regional by nature and Calvino is able to recreate the Baron’s arboreal kingdom wonderfully well, but it also expands the ideas in ‘The Cloven Viscount’ on nature of the self, but also of individuality and the importance of living life against ones own principles and ideals and not bowing down to societal norms and pressures. A character in a novel by another writer who explored similar themes-Tolstoy-make an appearance, as the Viscount encounters a lachrymose Russian soldier named Pierre. Despite-or perhaps because of-his unusual lifestyle, the Baron is able to live a rich and meaningful life, a life full of joy, pain, heart-break, violence, wisdom and madness and which is resplendent with beauty. ‘The Non-Existent Knight’ is a light-hearted pastiche of the pastoral novel, in which a knight who solely exists externally as a suit of armour, is attended to by a squire who has no concept of his inner existence and who constantly mistakes himself for a duck, or becomes confused at to whether he should be eating his food or his food should be eating him. Exploring notions of existence and sentience, ‘The Non-Existence Knight’ is the funniest story in the collection and acts as a kind of loving rejoinder of the clichés and tropes of stories of knight errantry.A truly beautiful collection of stories which are well worth a re-visit.

  • Rhys
    2019-07-16 20:16

    This is my favourite work of fiction ever. In a sense it is cheating for me to say this because there are actually three novels here presented between covers as a single book. This work is a trilogy that isn't really a trilogy. The three novels are related to each other, yes, but not by plot, characters, location or even mood, only by the fact that they each seek to play with the profound truths that stem from a single incident or situation or conceit.There is so much richness in this volume that the spirit of much of modern literature could probably be reconstructed from it if all other books were destroyed in some improbable disaster. That's all I feel able to say now. I love Calvino. I love this book.

  • Ricardo Lourenço
    2019-06-21 17:26

    “Recolho neste volume três histórias que escrevi no decénio 1950-1960 e que têm em comum o facto de serem inverosímeis e de decorrerem em épocas distantes e em terras imaginárias.”Em Os Nossos Antepassados, Italo Calvino procura, enveredando pelo género fantástico, analisar de uma posição privilegiada as relações sociais, políticas e morais que o ser humano estabelece e, sobretudo, observar as suas diferentes formas de auto-realização, tema transversal às três histórias. “Quando eu estava inteiro, todas as coisas me pareciam naturais e confusas, estúpidas como o ar; julgava ver tudo e afinal distinguia apenas a superfície. Se alguma vez tu vieres a ficar reduzido a metade de ti mesmo, e faço votos para que assim seja, meu rapaz, compreenderás então muitas coisas para além da vulgar inteligência dos cérebros inteiros. Terás então perdido metade do mundo e de ti mesmo, mas a metade que restará será mil vezes mais profunda e preciosa.”Em O Visconde Cortado ao Meio, Medardo de Terralba em combate contra os turcos é mutilado por um tiro de canhão que o divide em duas metades, incidente cujas repercussões se manifestam não só a nível físico, mas também a nível moral, dado que uma metade demonstra uma invulgar crueldade, enquanto que a outra manifesta uma bondade extrema. Tal contraste realça a perda da harmonia inicial, perda essa que provoca uma ânsia por uma nova completação que serve como principal motor da narrativa. Essa clivagem, no entanto, não se restringe a Medardo, aplicando-se também a certas personagens e grupos sociais, reflectindo tanto o ambiente de tensão sentido no período em que o autor escrevia (em plena Guerra Fria), como temas caros à sociologia, como é o caso da alienação do homem na vida em sociedade.Um conto em que de forma simples, que por vezes se confunde com ingenuidade, Calvino estilhaça as falsidades com que o homem se encobre, revelando-nos a sua verdadeira natureza. “Dir-se-ia que ele, quanto mais se decidia a viver completamente isolado nos seus ramos, maior necessidade sentia de criar novas relações entre si próprio e o género humano. Mas por mais que se dedicasse, de alma e coração, a organizar uma nova sociedade, estabelecendo-lhe meticulosamente os estatutos, a finalidade, e escolhendo com cuidado os homens mais dotados e capazes para desempenhar todos os cargos, nunca os seus companheiros sabiam, contudo, até que ponto podiam contar com ele, quando, como e onde poderiam encontrá-lo ou quando ele, imprevisivelmente, se sentiria preso pela sua natureza de pássaro livre e não se deixaria mais apanhar por ninguém.”O Barão Trepador apresenta-nos o jovem Cósimo que decide voluntariamente viver sobre as árvores. Tal decisão não deve ser confundida com uma fuga da sociedade, como um mero isolamento da realidade, porque Cósimo, apesar da solidão inerente ao estilo de vida que escolheu, adopta uma postura mais activa, estabelecendo diversas relações com as pessoas da região. Esta auto-imposição define Cósimo, que pela sua singular determinação e disciplina se destaca dos demais, atingindo assim a plenitude que Medardo nunca veio a alcançar.Ao contrário de O Visconde Cortado ao Meio, neste romance Calvino estabelece várias relações com personagens e acontecimentos históricos do séc. XVIII, tais como Napoleão e Voltaire, muito embora mantenha a natureza imaginária do relato.Um triunfo da excentricidade sobre os valores pré-estabelecidos, preenchido pelos insólitos acontecimentos da vida do barão, mas que se alonga demasiado, fazendo lembrar o velho Bilbo Baggins ao descrever como se sentia antes de partir para sempre de Hobbiton (“sort of stretched ... like butter that has been scraped over too much bread”).“Ele, Agilulfo, tinha sempre necessidade de sentir perante si as coisas como um espesso muro, ao qual contrapunha a força da sua vontade. Só assim conseguia manter uma segura consciência de si mesmo. Se, pelo contrário, o mundo que o envolvia se espumava, se tornava incerto, ambíguo, então também ele se sentia imergir na doce penumbra, e não conseguia mais fazer brotar, deste vazio, um pensamento distinto, um movimento voluntário, uma ideia fixa.”Finalmente, em O Cavaleiro Inexistente, encontramos o guerreiro Agilulfo, personagem incorpórea representando a “inexistência dotada de vontade e consciência”, e o invulgar Gurdulù, que apesar da sua existência física, é privado da consciência da sua individualidade. Representando pólos extremos e opostos, servem de base para a busca das restantes personagens (e de todos nós?), a busca de uma identidade, “a conquista do ser”. Entre estas considerações, entrelaçam-se duas sequências temporais, assim como um subtil exame do processo de escrita e das suas contradições.De entre as três narrativas é, porventura, a mais linear, mas também aquela que proporciona um leque mais variado de interpretações.Tipicamente reconhecido pelo seu lado neo-realista, Italo Calvino consegue, através do fantástico, evidenciar traços que nos ligam aos nossos antepassados, características intemporais que nos definem e dão sentido à nossa existência. “A arte de escrever histórias está no saber tirar das pequenas coisas, que se apanham da vida todo o resto; mas acabada a página retorna-se à vida e apercebemo-nos de que o que sabíamos era o mesmo que nada.”

  • Dvd (polemologico e pantoclastico)
    2019-06-27 21:31

    Uno dei primi libri importanti che ho letto in vita mia. Splendidi tutti e 3 i racconti, con Il barone rampante forse in cima al podio.Devo rileggerlo, un giorno o l'altro...

  • Dhanaraj Rajan
    2019-06-22 15:31

    The stars should be four and half. I now realise that I can not get enough of Italo Calvino. He entertains and amazes me all the time. In fact I began his "Invisible Cities" first and then read his "If On a Winter's Night a Traveller." Both of them are his later writings and they are very post-modern. I loved both of them and then when I picked this up (One of his earlier works) I was prepared myself to face the intellectual challenge. But then I found myself in the fairy world. This book contains three fairy tales/folk tales/moral tales (or may be folk novellas). That was a pleasant surprise. About the three novellas: "The Cloven Viscount" speaks of a man halved into two and both his parts roam around in the village one doing good and the other doing bad."Baron in the Trees" speaks of "a man born on the earth but lived on the trees and disappeared in the sky." It speaks of a man who chose to live his entire life on the trees. Because according to him the view from the trees helped him to see the earth better."Non Existent Knight" speaks of an empty armour serving the army of the king Charlemagne.The narrations seem very simple. But the actual reading gives the attentive and a literary reader plenty to ponder over. In a simple fairy tale the history of Italy and Europe with emphasis on French revolution and the Muslim occupation of Spain, the philosophical opinions (Communism and feudalism) and psychological insights and many other reflections on human nature and history are all splattered. They do not interrupt the progress of the story. In fact, they are part of the story and a knowledge of it would lend the reader a different reading. If a reader is happy enough only to pass the time by reading a book, these would serve as simple fairy tales.Calvino was truly a story teller. He knew how to entertain everyone.

  • Elisa
    2019-07-10 14:09

    It is a symbolic story in wich the principal character has had divided in two parts. A good and a bad than constantly are fighting for their own interests. And it was until the end that they had an agreement. In my opinion, all of us have a good and a bad personality inside us. In many ocations we have to mediate between both of them. But that is our human escence and that makes us unique.

  • Damián
    2019-07-13 21:07

    El libro "Nuestros antepasados" está conformado por tres de las mejores obras de Calvino, todas ellas pertenecientes al género fantástico, el realismo mágico y la fábula, y ubicadas cronológicamente en edades antiguas: "El vizconde demediado" se sitúa en el siglo XV, "El barón rampante" se desarrolla a finales del siglo XVIII, en la época de la Revolución francesa, y "El caballero inexistente" se localiza en la Edad Media, en tiempos de Carlomagno.Según tengo entendido, Calvino era lector y admirador de Robert Louis Stevenson. Creo percibir en "El vizconde demediado" no solo una gran influencia de dicho autor, sino también un intencionado homenaje. La historia es una reformulación de la esencia narrativa de "Dr. Jekyll and Mr. Hyde", pero ubicada en un pasado remoto, en el siglo XV, durante la guerra en Bohemia contra los turcos. Por otro lado, el nombre de uno de los personajes, el doctor Trelawney, es una clara referencia al personaje de la novela "La isla del tesoro" de Stevenson. Pero hasta allí llegan las influencias; el resto es pura originalidad y genialidad de Calvino. La obra plantea un mundo único, con personajes excéntricos y sumamente divertidos, situaciones que se mueven entre lo cómico, lo trágico y lo absurdo, descripciones tan realistas e imposibles a la vez que demuestran la originalidad única que habita en la punta de la pluma del autor; todo esto con un marcado estilo que, semejando al Vizconde y sus dos mitades, es una armónica unión entre el realismo mágico y el género fantástico.Un hombre toma una decisión difícil, poco cómoda, que contradice todas las reglas y los modos de los tiempos en los que vive, y con gran autodeterminación la cumple por el resto de su vida: de eso se trata, a grandes rasgos y en principio, "El barón rampante" de Italo Calvino. Y aclaro "a grandes rasgos y en principio" pues ese concepto es la semilla de la cual nace el tronco narrativo de la obra, el cual se ramifica en múltiples historias, como las ramas de los árboles donde vive el protagonista. Lo que al principio parece una decisión de un joven terco que quiere desafiar a las autoridades y revelarse contra un mundo que le disgusta, al avanzar la historia adquiere otros matices: la decisión persiste debido al amor, y más tarde, a la locura. En otros momentos, en cambio, todo parece producto del acostumbramiento a un estilo de vida; o de un poder de determinación imposible de quebrar; o de unas ansias de un individualismo que solo puede obtenerse de ese modo; o, quizá, de una forma diferente y única de ver al mundo, como nunca antes nadie lo ha visto. De cualquier modo, Calvino crea una fábula maravillosa que establece a cada instante un fiel paralelo con la vida cotidiana de cualquier individuo. A partir de un único hecho que podríamos llamar "insólito", es decir, la decisión del Barón Cosimo de Rondò de subirse arriba de los árboles para nunca más pisar el suelo, Calvino entreteje episodios de una gran originalidad, usando elementos cómicos, emotivos y moralizadores. Pero la verdadera fuerza del relato está en sus personajes: parecen estar tan vivos como el autor que los traza con la pluma; cada uno con sus idiosincrasias, sus ansias, sus manías y problemas; es fácil relacionarse con ellos, y uno se alegra ante sus triunfos y hasta debe detener la lectura con los ojos humedecidos de lágrimas ante sus desgracias. Quizá, y no comprendo los motivos, la narración declina hacia el final, en las últimas páginas, cuando a Calvino parece interesarle más la guerra, las tropas y la revolución, que la vida de sus propios personajes. Aún así, el final alcanza un buen nivel emotivo y no consigue empañar el resto de la historia. Por último: quienes lean este libro nunca volverán a ver las copas de los árboles de la misma forma.La última historia de la trilogía "Nuestros antepasados", cuya narración está ubicada cronológicamente en un época más antigua que las otras, es una fábula sobre la identidad, la existencia, la muerte, el ser y el no ser. En ella Calvino lleva al extremo la creación de personajes extravagantes: por un lado, un caballero que es muy consciente de su existencia y exacto en cada uno de sus actos, pero que en verdad no existe; por el otro, un hombre que sí existe, pero que no sabe que existe y se identifica con todo lo que tiene a su alrededor (con resultados sumamente hilarantes); entre otros personajes memorables. Una vez que nos han sido presentados los héroes, existentes o no, se produce entre ellos una serie de enredos que terminará decidiendo los destinos de cada uno. Poniendo énfasis en la cuestión de la existencia y la identidad, Calvino inicia su libro con un narrador neutro, que no existe ni interviene en lo que narra, pero que a medida que avanza la historia va cobrando más presencia, hasta que finalmente se convierte en un personaje más. "El caballero inexistente" es un obra increíble, que según mi gusto aborda temas sumamente profundos, como la existencia y la muerte, pero siempre con el característico humor que Calvino imprime a sus relatos. Creo notar cierta influencia de Melville, especialmente de la obra "Moby Dick", en algunas construcciones de este libro: además de un episodio que involucra a una ballena, el personaje de Gurdulú, el más hilarante del relato, me trajo recuerdos del pobre y enloquecido Pip, que pronunciaba monólogos que semejaban las palabras de un loco, pero cargados de sabiduría y comicidad. Muy posiblemente también existan influencias de "El Quijote", puesto que se trata de una reformulación de las historias de caballerías. De cualquier modo, el relato de Calvino es de una impecable originalidad, muestra de la profundidad y el humor simultáneos con los que el autor suele manejarse perfectamente.

  • Laurent
    2019-07-14 16:36

    I read this book after a positive review by both a friend and Salman Rushdie (in 'Imaginary homeland').The cloven viscount was not really my thing, i liked the style in wich it was written (the opening scène made me think of some of Durer's etchings), but i found the main theme of a viscount trying to find self-completeness after finding himself torn in two conflicting halves a bit rigid.In 'the Baron in the trees' and in 'the non-existent knight' Calvino's style had become more colourful and spontaneous. I read 'the baron in the trees' as an adventure story about forming an own 'self' by rebelling against what is expected and also about the difficulties which flow from making your own, critical decisions.'The non-existent knight was my favourite, a parody and critique on medieval knightly stories used as a way to question what it means to exist. In the nonsense-ical story different personages exemplify different radical types of existing, from the imitative prehistorical Goerdoeloeloe (dutch version) to the non-existent knight (who exists only because of his adherence to a codified and objectivised reality) and who both fade out of the story in favour of the more mature and humane personae of Rombaud and Bradamante.

  • Phoebes
    2019-07-03 20:28

    Il visconte dimezzatoEra da tantissimo che volevo leggere questa famosissima “trilogia” di Calvino! E finalmente ho cominciato col primo romanzo! Bello, indubbiamente, ma non bellissimo come immaginavo. Non so, forse mi aspettavo troppo, o ho aspettato troppo per leggerlo, fatto sta che non sono riuscita a dargli le 5 stelline. Ma quattro sono fuor di dubbio, perché è veramente un bel libro! :)http://www.naufragio.it/iltempodilegg...Il barone rampanteSecondo capitolo della trilogia degli antenati, ennesima conferma della grandiosità di Calvino!Lo STILE di Calvino è semlicemente perfetto! Il suo modo di giocare con le parole, certe uscite imprevedibili, l’ironia, la caratterizzazione dei personaggi… è geniale, non c’è altro da dire! Se non lo avete ancora fatto, leggetelo!http://www.naufragio.it/iltempodilegg...

  • Marcelo Lannes
    2019-07-05 17:33

    A collection of three small novels from the 1950's. One of the best books I've ever read for the beauty of its language and the creativity of the stories. I am lucky that I could read it in the original. I do not know how the translations fare. The three stories are all narrated from an external point of view, but by somebody who was a direct witness of the fantastic events. In all three, but particularly in the last story of the "Non-existent knight" whose existence is defined by his armor and missions, one can always glance the troubles and dangers of trying to know one-self. Beautiful, funny, imaginative.

  • VAle
    2019-07-20 16:06

    C'è forse un'altra valutazione possibile se non le cinque stelle per la trilogia araldica?Da bambina, avrò avuto 11-12 anni, cercai di leggere il barone rampante, ma lo piantai dopo 10 pagine.Per troppi anni lasciai perdere Calvino e la sua trilogia.E così la ripresi in mano solo 10 anni dopo, per (ri)scoprirne la potenza. Ma ancora ci sono parti che riescono a sorprendermi, come quando sentii la lettura de Il Cavaliere inesistente (quello che avevo sottovalutato) su Radio3 e mi affascinò come se non l'avessi mai letto.Calvino è un mago.

  • Trinankur
    2019-06-29 15:08

    I often used to think that the postmodernist Calvino is the one with the magic ink. But This book has performed a certain metamorphosis on my thoughts. To be honest, Cosmicomics and this book together establishes Calvino as the invincible fabulist. I cannot remember a writer of modern era telling such deceptively simple tales to mystify generations of fable-readers.

  • Deanne
    2019-06-30 21:15

    Loved all three stories, read a few books by Calvino and like his style. His tales are full of amazing characters such as the knight who isn't there, the baron who lives in the trees and a group of spanish exiles.

  • Yehia Nasser
    2019-07-19 18:18

    for war can be well fought where there’s a glimpse of a woman’s mouth between lance points, when nothing, wounds, dust, horses’ stink, means anything, but that smile.

  • Dewey
    2019-07-20 21:25

    Two novellas and a short novel in a single book, all three of them excellent. The first two take place in Liguria, all three have themes related to fighting the Turks and they succeed in being what Calvino describes in the introduction as "the book I myself would have liked to read, the sort by an unknown writer, from another age and another country, discovered in an attic." He succeeds in summing up this feel very well by having each story told by a first person protagonist who is a minor character. It is not the Viscount, the Baron or the Knight telling the story but a different minor character important and unimportant at the same time. These are where the similarities end, however, and so I decided to review each one separately below. The Cloven Viscount: Italo Calvino could well be the best Italian writer of the 20th century, and is most definitely essential reading for any and everybody. His works have a sense of quality akin to Borges and his works tend to pulsate with positivity while still maintaining an immense amount of relevance to issues that are important, even though Calvino clearly intended his works to be read firstly for pleasure. If he hasn’t been placed into that category already, Calvino is bound to be remembered as one of those writers deserving of a Nobel prize who never got one. We will have to consider Orhan Pamuk’s Nobel as compensation since Calvino was a big influence for him, most recognizable in his early novel The White Castle. Pamuk, a Turk, is a perfect segue to summarizing The Cloven Viscount: a viscount from Liguria named Medardo goes to take part in an unnamed war between the Christians and the Turks (in Bohemia). There, a cannonball cloves him in two. A half of his body is revived, but it is soon discovered that this half of him brought back to Terralba, his home and domain, is his bad half. The bad half becomes a tyrant, terrorizing the locals by playing cruel tricks on him and indiscriminately sentencing wrongdoers to death. But soon his good half, revived separately by Bohemian monks, also returns. While his bad half is cruel and merciless, the good half is the most kindly person in Terralba. Only this good half is naïve: for example, he is deceived by a man who claims to have gout and in his kindness gives the man his crutch. Then later on he discovers that the man lied to him and is using the crutch to beat his wife.They both end up chasing a woman named Pamela, and after a series of details and progressions that would be too long to go into here, they end up in a duel. It leads to a happy ending where the Viscount is made whole again by a British doctor character who likes to hunt will-o-the-wisps and Pamela is able to marry a viscount who is both good and bad, with both sides more the wiser because of their separate experience.I do not think it is too far off to say that The Cloven Viscount is a modern fairy tale. It has the feel of one, and it might well be that a child of ten would understand it as well. I’d have to ask some Italians if they ever had it read to them at that age. But atmosphere, viscounts, battles against the Turks, will-o-the-wisps and other such things are only one side of the coin (one half of the viscount? Haha maybe it will catch on).Disney's film adaptations have so altered our conception of fairy tales as children's tales that we forget that the stories penned and/or collected by the Grimm Brothers and Hans Christian Andersen were just as relevant for adults as they were for children. In a time with no electronic media of any kind, stories of these kinds fueled the imaginations of Europeans (and later North Americans) for generations. Not only was a story like The Tinderbox a good story, but there were lessons to be derived from them. Maybe not with some obvious moral at the end, like Aesop was inclined to do. But there was substance beneath it, lessons that people could apply to their own lives.So what does a fairy tale like The Cloven Viscount teach the modern reader?From my perspective, what it teaches is not original. But literature has rarely been as original as people make it out to be, at least in that way. Original in story and style, yes: the story of Viscount Medardo is told in a unique and compelling way and I haven’t heard anybody say yet that Calvino’s best works are unoriginal. But the teachings I derive from it – that balance is necessary, that people are both good and evil, etc. – are not too different from the concept of yin and yang, or that of a guardian angel and a devil sitting on opposite shoulders, whispering into people’s ears.Of course that is the beauty of the human mind when penning literature. The image of an angel and a devil on one’s shoulders is so radically different in one’s mind from the image of the Viscount halved by a Turkish cannonball, even if somewhere beneath the prose lie similar undercurrents. And of course it is a lot more modern. I personally think The Cloven Viscount is a better vehicle for this concept in today's world than the teachings of Lao Tzu (which has probably lost lots of subtleties in translation, only to be expected from such a different language as Chinese) or Christian theology. There is a reason we can all relate to Snow White a lot more than we can relate to St Thomas Aquinas (well I’m an exception because I'm strange, but exceptions are of course not the rule).So how does this apply today? Recent interest in the rise of the cultural libertarians, as well as the enormous chasms dividing Western society, appear to be fertile ground for this Calvino metaphor. With the Left going further to the Left and the Right going further to the Right, America has split itself into two different halves of itself. In Western Europe they have already murdered one of their halves, though a lying PC media is playing the role of necromancer very well. In older days, both sides talked to each other and left the table as friends: now nobody wants to even sit in the same restaurant. It would be presumptuous of me to say which side is good or bad, but the Left resembles the good side the most in that it is more naïve and willing to be taken advantage of by certain ideologies. At some point in The Cloven Viscount, the people of Terralba become just as tired of the good half as they do the bad one because his naïve altruism gets on their nerves and proves to be more of a hindrance than any help. In the case of the Huguenots who are the Puritans we expect them to be, I couldn’t help but note that the good half’s big heart (it is no coincidence that the good half is the left half) is interestingly devoid of any understanding of economics. I refer once again to the example of the good half giving the abusive man his crutch, which he uses instead to beat his wife. I will let the reader come to their own conclusions about which international events and issues in the West best represent that part metaphorically.I won’t elaborate on it, but I will mention that with the migrant crisis splitting Europe in two, the metaphor of a Turkish cannonball splitting the European Viscount in half is coincidentally applicable (in the good olde days, many people called all Muslims Turks).Despite the quality and lushness of Calvino’s prose, his message here is obvious to even the most casual reader not used to heavier prose: good and bad need each other. Being 100% evil is bad, but being 100% good is equally as bad. People require some kind of equilibrium. I mentioned the economics part earlier because I’ve noticed a trend among the “regressive Left” where they eschew the economic aspects of any and every solution completely under the assumption that that view is heartless, or else pretend like economics don't matter which in today’s world is 100% unrealistic. The Right, in turn, has gained a reputation for not having much of a heart, though at the same time those on the Right who are not idiots are currently proving to be more compatible with reality than their counterparts on the Left. As I’ve said before, I don’t presume to say whether one or another constitutes the good half or the bad half. But it doesn’t really matter because, as I’ve said up above, both halves are beneficial for man to exist as long as they recognize this and keep to its balance.America is currently split between two halves, wandering the wilderness like the headless man in Sleepy Hollow and not knowing what to do with themselves. Europe, in the meantime, thinks that its Left half can compensate for the other missing half, which it absolutely cannot do. In a world that has jumped from “the end of history” to the beginning of a strange new history altogether, it is essential that both halves are sewn back together, both in Europe and in America. Only then, like the Viscount Medardo, can we hope to live in any kind of reality that represents a happily ever after.The Baron in the Trees: By far the longest of the three included here, the Baron in the Trees follows the simple pretext of the title, which is of a young baron deciding to live in the trees and swearing not to come down. Though it does not eschew the humor that Calvino used in The Cloven Viscount, it is nevertheless toned down as Calvino has clearly written this short novel for a different purpose. Like the first novella, it has a first person character reflecting on a third person protagonist. But while the narrator of the former told his story as one of astonishment, this narrator tells a tale of longing and nostalgia, or so it seemed to me. Naturalists will like this story as Calvino delves into the ecological composition of Liguria in a way one does not expect from an Italian. My experience of Italians has revealed to me a people who love nature despite their apartmental, urban lives; but unlike Californians, who had guys like John Muir to make sense of this passion, Calvino is really the only Italian I know of who has made sense of his cultures passion for the outdoors. Through the Baron, who is named Cosimo, he indulges in this and creates an ecological Liguria that despite being known for beautiful places like the Cinque Terre is nevertheless a very different picture from what people are used to. But there is more to this than that. Human interactions are just as important to this story as the relationship between Earth and man, whether it's between him and his brother Biagio who tells the story, or the love of the Marchesa Viola who reminded me of a few women I know, a splendid coincidence to be sure. Cosimo's correspondence with guys like Voltaire and Diderot was a funny touch: every great writer has their moment when they indulge in their love of books, or most of them do anyway. This is Calvino's moment, and though I can't say whether Cosimo is autobiographical in the same way that Constantine Levin was for Tolstoy, he cannot resist channeling the love of books that draws most writers to their profession through him but unlike more contemporary writers Calvino doesn't overdo it either to where only a bookie will get satisfied. If one thing can be said about Calvino at least in regard to these works, it's that he never overdoes anything. Everything is equally distributed. One can see that the Baron in the Trees has a very universal nature. With the Marchesa Viola one has a touching and at the same time interesting love story that I wish had ended differently: there is a huge coming of age component in the story that luckily does not make it resemble young adult fiction; Cosimo's interactions with the villagers, paired with his reading of books, passes across the message that knowledge eventually leads to benevolence and selflessness to others, though I doubt that many familiar with writers like Machiavelli will agree with this outside of these stories; with the Berber pirates and the bandits that often feature in Italian literature or stories about Italy (a famous example being the Count of Monte Cristo), there is a picaresque element to it; the half-brother who longs for the land of the Turks reveals the urge travelers sometimes have if they have discovered some land in which they would belong in actuality and that they miss, which I find to be quite common nowadays now that so many expats find countries they like elsewhere; the correspondence with guys like Rousseau and Diderot reveals other things I haven't thought through yet. What I took from it was the societal element: that from the trees, Cosimo could view things from above and the difference between that and being on the ground and seeing less. While having a greater view of the world brings the possibility of absorbing more knowledge, one is nevertheless removed from those things being up in the trees. This isn't emphasized all that much by Calvino, in fact I think for most of the time he covers it up through Cosimo's interactions with other people. But the disparity between being on the ground and being on the trees is quite apparent. There are interesting sociological ways in which this can be applied today, and just as the Grimm Bros fairy tales and those of Hans Christian Andersen were as relevant as reality in their time Calvino's "fairy tales" are much the same in this era, even if not as many people read them outside of Italy. Because it is less compact than the Cloven Viscount, the Baron in the Trees will feel a little slower in contrast. But that should not put anybody off from what is an excellent story that has something in it for everybody, even if those "somethings" might only feature in a few chapters. But that's not unusual, and like the branches of trees poking into the boughs of their neighbors one will get more out of this story than they might expect. The Non-Existent Knight:This third novella doesn't belong here in my opinion. The removal of this story from Liguria in particular as well as taking place in the time of Charlemagne long before the time periods of the other two stories makes it a clear outlier. But given the presence of Calvino's introduction, it seems that the author himself didn't mind placing it with the other two so what can you do? But aside from what I thought was a compilation inconsistency the Non-Existent Knight is, like a legendary duel, an impressive feat. It is "living" proof - dare I say existent proof - that the stories of knights that drove Don Quixote mad can still play a part in our modern times. Like the other two, the title is straightforward in that it is about a knight that doesn't exist, though the knight has some very nice white shining armor that remains clean. It is being written by a nun in a convent, which makes this novella resonate with Calvino's discovered-in-an-attic feel with more strength than the other two stories. However, I now find it quite tough actually to relay the ways in which this novella is relevant to today. But the alienation of the Knight that doesn't exist, who also happens to be a stickler for the rules, transforms this story into one of social estrangement that one doesn't expect from a knight's tale. It is as unconventional as it is like Parzival, additionally reinforced by the character of Bradamante who is a female knight that has fallen in love with the non-existent one since despite his nonexistence he is considered to be a true man. At first glance, one would think that this novella's inclusion of a female knight described as an amazon would render this a feminist classic and it probably would have if Calvino were unlucky enough to have been born a woman. While an understandable conclusion to reach, it would also be an egregious misinterpretation of Bradamante's role in the story since she is not there to please female readers; if anything, her role is more instructive than anything else. Bradamante is a woman with enormous standards of perfection, refusing the affections of Raimbaud (a mediaeval nod to Rimbaud I'm guessing) and desiring the perfection of the non-existent knight who, as a reminder, does not exist. This is greatly symbolic of the fact that there is no such thing as a perfect man, but the metaphor can be greatly amplified to suggest that we spend too much time desiring perfection in all walks of life no matter who we are. That's the main gist I got from it. After Baron in the Trees the Non-Existent Knight felt like it read a lot faster. But it's fun and as worth the time as the other two.

  • Jacqueline Wagenstein
    2019-06-23 19:36

    РАЗПОЛОВЕНИЯТ ВИКОНТ: Не минава лунна нощ, без в черните души като кълбо от змии да се сплетат куп пъклени мисли и без в състрадателните да разцъфтят лилиите на жертвоготовността и себеотдаването. Така двете Медардови половини веднъж се защурали сред чукарите на Тералба, разяждани от противоположни терзания. И след като всеки от тях взел своето решение, на сутринта предприел необходимото, за да го приведе в изпълнение.Майката на Памела тръгна за вода, стъпи на една подвижна дъска и пропадна в кладенеца. Увисна на въжето и се развика:– Помощ!Тогава на фона на небето в отвора на кладенеца съзря силуета на Гадника, който рече:– Исках само нещо да ви кажа. Ето какво: вашата дъщеря Памела често се движи в компанията на един разполовен скитник. Трябва да го принудите да се ожени за нея – вече я е злепоставил и ако е кавалер, да си поеме отговорностите. Това съм си наумил и точка, няма какво да ви обяснявам.Таткото на Памела мъкнел към маслобойната чувал с маслини от своето дръвче, но чувалът бил продупчен и следа от маслини се проточила след него по пътеката.Като усетил, че товарът му олеква, таткото свалил чувала от гърба си и забелязал, че е почти изпразнен. Но видял, че го настига Добряка: събирал маслините една по една и ги слагал в наметалото си.– Тръгнах след вас, за да поприказваме, и имах късмета да ви спася маслинките. Ето какво ми е на сърцето. От доста време мисля, че докато се опитвам да облекча чуждото нещастие, всъщност може би го подклаждам точно с моето присъствие. Ще напусна Тералба. Но само ако моето заминаване върне покоя поне на двамина – вашата дъщеря, която заслужава царски живот, а спи в пещера, и моята злочеста дясна половина, която не бива да остава толкова самотна. Памела и виконтът трябва да свържат съдбите си в брак.Памела тъкмо дресирала една катерица, когато насреща изникнала майка й, уж тръгнала за шишарки.– Памела – казала майката, – крайно време е оня пройдоха по прякор Добряка да се ожени за теб.– Откъде накъде? – попитала Памела.– Като те е злепоставил, да те вземе. Толкова е възпитан, че ако му кажеш, няма да се дърпа.– Откъде ти дойде наум тая щуротия?– Млък: ако знаеше кой така казва, нямаше толкова да разпитваш. Лично Гадника, нашият виден виконт!– По дяволите! – рекла Памела и изтърсила катерицата от скута си. – Бог знае какъв капан ми готви.Малко след това, тъкмо се учела да свири на тревичка, се появил баща й, уж поел за дърва.– Памела – рекъл той, – дойде моментът да кажеш „да” на виконта Гадник. При условие че се венчаете в църквата, разбира се.– Сам ли го измисли това, или някой те подучи?– Не ти ли се иска да станеш виконтеса?– Отговори ми на въпроса.– Добре. Да знаеш, че идеята ми я даде най‑добронамерената душа на тоя свят – скитникът, наричан Добряка.– А, той пък си няма друга работа. Ще ви покажа аз на вас!Яхнал дръгливия си кон, Гадника се лутал из небрани лозя и мътел коварния си план: ако Памела се омъжи за Добряка, пред закона щяла да е съпруга на Медардо от Тералба, тоест – и негова, на Гадника. Със закона на своя страна лесно можел да я отнеме от своя кротък и миролюбив съперник.Само дето срещнал Памела, а тя му казала:– Виконте, реших, че ако нямате нищо против, вече можем да се оженим.– Ти и кой? – попитал виконтът.– Аз и вие. Ще дойда в замъка и ще стана виконтеса.Гадника не очаквал подобен развой и си помислил:„Тогава няма смисъл от целия театър с венчавката за другата ми половина – женя се аз за нея и готово.” И рекъл:– Нищо против.А Памела отвърнала:– Разберете се с баща ми.Недълго след това Памела намерила Добряка на неговото муле.– Медардо – заговорила го, – осъзнах, че съм дълбоко влюбена в теб. Ако моето щастие ти е мило, трябва да поискаш ръката ми.Горкичкият, който за нейно добро бил направил огромна саможертва, останал с отворена уста. „Но ако щастието й зависи от това, да се омъжи за мен, значи не бива да я карам да се омъжва за другия”, помислил и отговорил:– Скъпа, тичам да подготвя всичко за церемонията.– Но да се разбереш с майка ми, чу ли? – рекла тя.Цяла Тералба завря и закипя, когато стана ясно, че Памела ще минава под венчило. Едни разправяха, че щяла да се омъжва за единия, други – за другия. А нейните родители сякаш нарочно правеха всичко възможно да объркат народа. Вярно, в двореца лъскаха и тъкмяха всичко като за голямо тържество. А виконтът си поръча костюм от черно кадифе с голям буфан ръкав и буфан крачол. Само че и скитникът беше помолил да го закърпят на лакътя и на коляното и да поспретнат с чесалото горкото му муле. В църквата, за всеки случай, избърсаха всички свещници.Памела каза, че няма да напусне гората преди началото на сватбеното шествие. С подробностите около чеиза се занимавах аз. Тя си уши бяла рокля с було и предълъг шлейф и си сплете венче и коланче от лавандулови стръкове. И тъй като от булото й хартисаха няколко метра, стъкми булчинска рокля за козата и булчинска рокличка за патицата, после хукна из гората и тича, следвана от своите животни, докато клоните не изпокъсаха цялото й було и шлейфът й не обра всички борови иглички и кестенови обвивки, дето съхнеха по пътеките.Но нощта преди сватбата Памела изглеждаше умислена и леко притеснена. Седнала на едно голо хълмче, с шлейф, увит около стъпалата, и килнато венче от лавандула, беше облегнала брадичка на едната си ръка, оглеждаше горите наоколо и въздишаше.Аз бях неотлъчно до нея, защото щях да съм й шафер заедно с Исав, който обаче не благоволяваше да се весне.– За кого ще се омъжиш, Памела? – я попитах.– Не знам – каза тя, – изобщо не знам какво има да става. Ще се получи ли? Няма ли?От горите се донасяха ту гърлени викове, ту тихи охкания. Това бяха двамата Памелини половин кандидати, които, в плен на възбудата от предстоящото събитие, обикаляха по горските проломи и зъбери, загърнати в черните си пелерини, единият на хърбавия си кон, другият – на охлузеното си муле, и мучаха и пъшкаха, погълнати от трепетни фантазии. А конят подскачаше по склонове и сипеи, мулето се катереше по стръмнини и рътлини, без пътищата на двамата ездачи нито веднъж да се пресекат.Ала призори конят, пришпорен в галоп, се препъна и се строполи в една урва, заради което Гадника не успя да се яви навреме за сватбата. Мулето обаче се движеше бавно и предпазливо, така че Добряка пристигна в църквата в уречения час, точно когато невестата се задаваше с шлейф, държан от мен и от Исав (който по‑скоро се оставяше тя да го влачи).Като видя, че единственият представил се жених е Добряка, облегнат на своята патерица, тълпата донякъде се разочарова. Но венчавката се състоя по всички правила, съпрузите казаха „да“ и си размениха пръстените, а отчето обяви:– Медардо от Тералба и Памела Марколфи, свързвам ви в свещен брак.В този миг откъм дъното на църковния кораб, вкопчен в патерицата си, влезе виконтът в новата си буфанено-кадифена премяна, подгизнала и съдрана. И рече:– Медардо от Тералба съм аз и Памела е моя жена.Добряка докуцука до него.– Не, този Медардо, който се ожени за Памела, съм аз.Гадника захвърли патерицата и сложи ръка на сабята си. Добряка нямаше друг изход, освен да направи същото.– Ангард!Гадника се впусна в напад, Добряка понечи да се брани, но и двамата се търкулнаха на пода. Видя се, че няма как да се фехтоват на куц крак. Налагаше се да отложат дуела, за да го подготвят по-добре.– А аз знаете ли какво ще направя? – рече Памела. – Връщам се в гората.И избяга от църквата, вече без шафери, които да й държат шлейфа. На моста намери козата и патицата, които я чакаха и изприпкаха подир нея.Двубоят беше насрочен за следващата заран на Калугерската поляна. Майстор Пиетрокиодо изобрети нещо подобно на крак на пергел, който, закрепен за пояса на разполовените, им позволяваше да стоят прави и да се преместват, дори да се навеждат напред или назад, ако върхът на помагалото се забучи в земята за стабилност. Галатео Прокажения, който в здравите си години бил благородник, влезе в ролята на арбитър, секунданти на Гадника станаха бащата на Памела и началникът на стражарите, секунданти на Добряка – двама хугеноти. Доктор Трелони отговаряше за медицинското обслужване и се яви с бала бинтове и дамаджана балсам, все едно ще лекува цяла войска. Това бе добре дошло за мен, понеже, след като му помогнах да пренесе всичко, можах да присъствам на дуела.Зората изгря зеленикава. На поляната двамата хилави черни съперници бяха застинали със саби, готови за бой. Прокаженият наду рога си – това беше сигналът, небето изтътна като опънатата кожа на тъпан, сънливците в своите дупки впиха ноктенца в земята, свраките, без да вадят глави изпод крилете си, си изскубнаха по едно перо изпод мишницата и примряха от болка, устата на глиста налапа опашката му, пепелянката се прехапа, осата си пречупи жилото o камъка и всяко нещо се обърна самo срещу себе си. Скрежасалите локви се вледениха, лишеите станаха на камък, а камъните – на лишеи, сухата шума се превърна в пръст, а гъстата, твърда смола безвъзвратно задуши дърветата. Защото човекът се нахвърляше върху себе си, въоръжен с по сабя във всяка от своите две ръце.За пореден път Пиетрокиодо си беше свършил работата майсторски: пергелите описваха окръжности по поляната, а фехтовачите налитаха в отсечени, схванати атаки, парираха и финтираха. Но не се докосваха. При всеки напад, когато върхът на сабята сякаш уверено се устремяваше към развятото наметало на противника, всеки от двамата упорито го отклоняваше към частта, в която нямаше нищо, тоест частта, където би трябвало да е той самият. Нямаше съмнение, че ако не бяха половинки, а цели фехтовачи, досега щяха да са се ранили Бог знае колко пъти. Гадника се сражаваше с яростно ожесточение, но не смогваше да го насочи към истинското място, на което се намираше врагът му; Добряка се отличаваше с акуратната вещина на левичарите, макар единственото му постижение да беше, че надупчи пелерината на виконта.По някое време се озоваха ръкохватка срещу ръкохватка – върховете на пергелените им крака бяха вкопани в буците като зъбци на брана. Гадника се освободи със замах и миг преди да загуби равновесие и да се сгромоляса на земята, успя да нанесе ужасяващ удар – не точно върху неприятеля си, но почти. Удар, успореден на линията, която прекъсваше туловището на Добряка, толкова близо до нея, че в първия момент не се разбра дали отсам или оттам очертанието й. Ала скоро видяхме, че тялото под пелерината се оцветява в пурпурна кръв от главата до основата на бедрото и всяко съмнение се разсея. Добряка се свлече, но докато падаше, с едно последно, широко, човек би рекъл щадящо движение, стовари сабя – и той от съвсем близо – върху противника си, от главата до слабините, по предела между отсъствието на тялото на Гадника и началото на неговото присъствие. Сега и от плътта на Гадника рукна кръв по дължината на целия му огромен някогашен срез – двамата така се съсякоха, че всичките им вени пак се отвориха и пак зейна раната, която ги бе разделила на две противоположности. Лежаха по гръб и кървищата, които преди бяха едно, отново се сляха на поляната.Погълнат от това кошмарно зрелище, бях изпуснал от око Трелони, но в следващия момент го видях да подскача от радост на тънките си крачета, да пляска с ръце и вика:– Спасен е! Спасен е! Оставете на мене!След половин час върнахме на носилка в замъка един-единствен ранен. Гадника и Добряка бяха здраво забинтовани заедно – докторът се погрижи да снади всички вътрешности и артерии от едната и от другата страна, после с километър бинтове така ги овърза, че тялото приличаше повече на древна мумия, отколкото на болник.Дни и нощи бдяха над вуйчо ми, който се лашкаше между смъртта и живота. Една сутрин, докато гледаше това лице, което алена нишка преброждаше от челото до брадичката и продължаваше надолу, по шията, не друг, а дойката Себастиана забеляза:– Ето, шавна.Чертите на лицето на вуйчо ми се разбунтуваха, а докторът се разплака от щастие, че движението им минава от едната буза на другата.Накрая Медардо отлепи очи, после устни, отначало изражението му беше безумно – едното око свъсено, другото жално, челото му тук намръщено, там ведро, устата се усмихваше в едното си ъгълче, в другото скърцаше със зъби. После постепенно всичко си върна симетрията.Доктор Трелони каза:– Излекуван е.А Памела възкликна:– Най‑сетне съпруг, който всичко си има!Така вуйчо ми Медардо пак стана цял човек – нито лош, нито добър, а смес от лошота и добрина, тоест на пръв поглед не много по‑различен от онова, което си беше, преди да го разполовят. С тази разлика, че му остана опитът и на двете отново споени половини, затова сигурно бе много помъдрял. Животът му бе щастлив, децата му – много, а управлението – справедливо. И нашият бит се пооправи. Донякъде сякаш се надявахме, че като се възстанови виконтът, и за нас ще настанат времена на дивно щастие, но то е ясно, че един читав виконт не е гаранция за читав свят.Оттам насетне Пиетрокиодо никога повече не строи бесилки, а само мелници. Трелони изостави блуждаещите огньове в полза на дребната шарка и червения вятър. Аз пък, посред всеобщия стремеж към завършеност, се усещах все по‑тъжен и несъвършен. Понякога човек се чувства недовършен, а всъщност просто е млад.Бях на прага на юношеството, а още се криех сред корените на големите дървета в гората, за да си фантазирам истории. Една борова игла се превръщаше за мен в рицар или дама, или шут – движех я пред очите си и се прехласвах в безкрайни разкази. След това ме досрамяваше от тези мои измишльотини и хуквах другаде.После дойде денят, когато и доктор Трелони ме изостави. Една сутрин в нашия залив пристигнала флота от окичени с парадни знаменца кораби под английски флаг, които застанали на рейд. Цяла Тералба се изсипала на брега да ги види, с изключение на мене, аз не знаех. Фалшбордовете и мачтите били отрупани с моряци, които показвали ананаси и костенурки и разгръщали свитъци с крилати мисли, изписани по тях на латински и на английски. От квартердека, сред офицерите с триъгълни шапки и перуки, капитан Кук огледал брега с далекоглед и щом зърнал доктор Трелони, дал заповед да му предадат с флагчета следното съобщение: „Бързо идвайте на борда, докторе, не сме си довършили партията”.Докторът се сбогувал с всички от Тералба и ни напуснал. Моряците запели химн, „О, Австралия!”, и докторът бил изтеглен на борда, възседнал бъчонка с киселяк. После корабите вдигнали котва.Аз нищо от това не видях. Криех си се в гората и измислях истории.

  • Frederik
    2019-07-05 19:12

    Selon "1001 books you have to read before you die" la trilogie bizarre et surréaliste de Calvino est un eufemisme pour respectivement la guerre froide (the cloven viscount), les lumières (Baron in the trees) et la bureaucratie anti-humaine (the non-existent knight). Cela demontre que la fiction est parfois la meilleure facon de déborder des thèmes philosophiques et difficiles, car cela permet d'aborder le sujet d'une facon plus libre et de cette manière de s'approcher de la vérité (si elle existe!) comparé une thèse ou un simple critique littéraire. Que Calvino a raté le prix Nobel reste un mystère, mais nous les lecteurs ne devraient pas reater ses oeuvres - ils restent fantastiques et ne cessent de nous surprendre.

  • Núria
    2019-06-25 13:11

    Yo veo que las obras de Calvino pueden resultar interesantes en cierto modo, porque más que nada son una reflexión acerca de la literatura y de la vida, pero precisamente porque pretenden ser una reflexión me parecen aburridas de leer, aunque reconozco que es divertido hasta cierto punto analizarlas y comentarlas. Pero a mí esto no me sirve. Sus libros nacen de otros libros, y no de la vida. Esto de por sí no es malo, ya que por ejemplo Borges también lo hacía y los cuentos suyos que he podido leer me parecen deliciosos (¡y de lo más vivos!). En cambio, las obras de Calvino me parecen frías y demasiado cerebrales, totalmente desconectadas de la vida. Debo ser una lectora muy primaria porque yo necesito que una obra despierte mis sentimientos, que me permita sentir algo, que me enamore, y para esto necesito sentir que los personajes están "vivos". Yo leo porque no puedo vivir (o no lo puedo vivir todo, si lo prefieren), y Calvino no me satisface esta necesidad. Sus obras son inverosímiles y no les puedo encontrar ninguna gota de pasión. Curiosamente, hace tiempo me leí 'Lecciones americanas', que son una serie de ensayos literarios, de lo más amenos, personales e interesantes, en los que parece que pone toda la pasión que no pone en su ficción. Sí, éste sí que me encantó. Todas las tres novelas están ambientadas en el XVIII. 'El vizconde demediado' trata de un vizconde que es partido por la mitad durante la guerra y sobrevive la parte que es mala-malísima. Curiosamente, un libro que parece escrito para decir que los humanos somos seres complejos y que no tenemos una sola cara me pareció de lo más simplista, y ¡cómo si esto no se hubiera hecho nunca antes y mucho mejor! Aún así, hay algunos detalles muy bonitos, como los referentes al narrador, que es un sobrino del vizconde, sin padres y que está creciendo. Cuando describe la relación que tiene con los únicos que le muestran afecto, su nodriza y ese entrañable doctor que no se atreve a hacer de doctor y que vive en las nubes, casi sentí algo, pero desgraciadamente a Calvino parece que le interesa más su absurdo, plano e inverosímil vizconde. La mejor, de lejos, es 'El caballero inexistente', porque es la más divertida y los giros de la trama son tan inverosímiles y patilleros que casi parece una parodia (una parodia de Calvino, probablemente). Además, esta vez, las reflexiones son acerca del tema de la identidad, y son más profundas, no tan obvias y acerca de un tema que realmente me fascina. El caballero inexistente en cuestión no es nada más que alguien que existe, porque tiene un nombre y una armadura, pero la armadura está vacía. Eso sí, él es el mejor guerrero del ejército, porque sólo existe para cumplir con su trabajo y sus obligaciones, pero no puede sentir absolutamente nada. Realmente, no es nada más que una versión del hombre alienado de nuestro siglo, que vive com un autómata. Pero lo peor fue 'El barón rampante'. ¡Madre mía! Si no fuera porque tenía que leérmelo, lo hubiera dejado antes de llegar a la página 50 (¡y hubiera hecho bien!) Los otros dos aún se leían bien, porque eran cortitos, tenían unas 100 paginitas, pero este que era más largo se me hizo insufrible. Trata del hijo de un barón que como máximo acto de rebeldía decide subirse a los árboles y vivir allí el resto de su vida sin volver a pisar el suelo. Vaya, como los que se creen rebeldes porque llevan tatuajes, o visten como hippies, o votan izquierdas, o se tunean el coche, o escuchan música indie. Y es que el baroncito en cuestión se sube a los árboles pero lleva una vida de lo más integrada a la sociedad y cumple con todo lo que ésta le exige. De hecho, como se las apaña él solito: él solito se provee de todo lo que necesita sin la ayuda de nadie, se puede ver en realidad como un hombre que se ha hecho a sí mismo, y no hay nada más asqueroso, hipócrita y burgués que el hombre que se hace a sí mismo. ¡Puaj!

  • Jenn
    2019-07-10 15:13

    This is a wholly bizarre and unusual book - by turns magical, humorous, historical, fantasy, fairy tale, medieval, realist...Calvino definitely had his own take on life. Its three stories: firstly the story of a knight blown up and chopped in half. The bad half returns home to reek havoc (but is naturally terribly thin), whilst the good half wonders round homeless. Then there is the `Baron in the trees', where a 12 year old decides he will spend the rest of his life up in the trees. This is helped by apparently there being vast swathes of forests in Italy at that time and it is possible to cover hundreds of miles by tree (Napoleon later chops them down). It’s a beguiling and romantic concept, the ancient holm oak forests inhabited by wild cats and other animals. Calvino has obviously given a lot of thought to the practical problems of living up a tree, and describes everything with convincing realism. It’s an argument for individuality and following your own path. There's one surreal part where Cosimo, the hero, encounters some aristocratic refugees from Spain who also inhabit trees, but in their case still maintaining the trappings of courtly life. As I say, wholly bizarre...The third book was my favourite, on account of it being so beautifully written. This one is the `Non-existent knight' featuring a non-existent knight who fights on the side of Carlemagne in shiny white armour. He maintains his existence by sheer will-power alone. Unfortunately the knight is prone to being pedantic and a bit of a jobs-worth, which irritates the other knights (they don't seem to mind the fact he doesn't exist!)I think you can safely say that Cavello wins the prize for originality and sheer balminess, but nothing wrong in being balmy, particularly when it’s as elegantly written as this.

  • Ана Хелс
    2019-07-19 21:07

    С Калвино не можем да се разберем и това си е. Тази книга изглежда идеалната , смес между рицарски романи с почти автентичност, и фентъзийни приказности с ироничен привкус. И като добавим неоспоримото майсторство на Калвино да създава увличащи с привидната си простота текстове – какво по-хубаво. Но просто не е моята бира, и това си е. Имаме две части на разполовен виконт, всяка от която я дърпа към крайностите на черното и бялото; един млад барон, решил в пристъп на тийнейджърско бунтарство да се засели на дърветата, откъдето всъщност добива доста по-добри управленски качества, отколкото ходещите по пръстта благородници, и един несъществуващ принц, който е доста по-доблестен пример от много други пълни с плът ходещи доспехи, макар че последните не винаги са точно идеалните еманации на смелостта.Увлекателно написани размисли за войната, природата и човешките емоции през вековете, хуманизма, живота и детския поглед върху реалността – все неща, които биха се харесали на милиони. Освен на мен. Поради някаква причина светогледът ми изключва Калвино като интересен, и това си е. Но това си е личен проблем. За нормалните четци Итало е бог на хартия, и приемам да бъде почитан , както стотици други класици , които така и не разбирам . Пробвайте, вероятно да съжалите ще е почти никаква, да се отегчите – малка, а да се влюбите – значителна. Премерен риск, признайте.

  • James
    2019-07-06 21:13

    Our Ancestors contains three short stories by Calvino: The Cloven Viscount, Baron in the Trees, and The Non-Existent Knight. The Cloven Viscount deals with a viscount split in two on the field of battle and whose two separate halves continue living: one who is good, the other bad. The Baron in the Trees deals with a young boy who renounces earthly existence in favour of an arboreal one, and how he comes to terms with his independence. One of the more overtly philosophical works in the collection.The Non-Existent Knight deals with a brave knight who embodies all the chivalric virtues yet is only an empty suit of armour. The main themes are identity, integration with society, and virtue.All three are allegorical but not too heavy-handed; they are part of Calvino's classic works and together help illustrate why Calvino remains one of the best modern Italian writers.

  • Sadiq sagheer
    2019-06-30 20:12

    Our Ancestors contains three short stories by Calvino: The Cloven Viscount, Baron in the Trees, and The Non-Existent Knight. The Cloven Viscount deals with a viscount split in two on the field of battle and whose two separate halves continue living: one who is good, the other bad. The Baron in the Trees deals with a young boy who renounces earthly existence in favour of an arboreal one, and how he comes to terms with his independence. One of the more overtly philosophical works in the collection.The Non-Existent Knight deals with a brave knight who embodies all the chivalric virtues yet is only an empty suit of armour. The main themes are identity, integration with society, and virtue.All three are allegorical but not too heavy-handed; they are part of Calvino's classic works and together help illustrate why Calvino remains one of the best modern Italian writers.

  • Elizabeth
    2019-06-23 15:31

    "'Naked ladies are advised,' declared Agilulf, 'that the most sublime of sensual emotions is embracing a warrior in full armour.'""Raimbaud could not believe his eyes. For the naked flesh was a woman's; a smooth gold-flecked belly, round rosy hips, long straight girl's legs. This half of a girl (the crab half now had an even more inhuman and expressionless aspect than ever) turning round and looking for a suitable spot, set one foot on one side, one on the other, of a trickle of water, bent knees slightly, leant on the ground arms covered with iron plates, pushed her head forward, her behind back and began quietly and proudly to pee. She was a woman of harmonious moons, tender plumage, gentle flow. Raimbaud fell head over heels in love with her on the spot."But a small sample of what you have to look forward to in these three cleverly devised stories.