

Laddar... Leoparden (1959)av Giuseppe Tomasi di Lampedusa
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» 41 till Historical Fiction (25) 501 Must-Read Books (96) Favourite Books (225) Best family sagas (20) Short and Sweet (25) 1950s (53) Books Read in 2016 (908) Books Read in 2019 (1,741) A Novel Cure (278) Folio Society (472) Five star books (884) SHOULD Read Books! (100) Elegant Prose (39) Best Italian Novels (19) 1,001 BYMRBYD Concensus (266) Europe (195) Penguin Random House (43) E's Reader (11) Same Title (51) Tagged 19th Century (39) Best Family Stories (50) War Literature (65) Det finns inga diskussioner på LibraryThing om den här boken. De korta berättelserna i slutet av boken var ganska bleka i jämförelse med Leoparden. En underbar berättelse, skriven med ett språk som gör att man känner att man är där. Man kan riktigt känna dofterna, smakerna och det lugna, stillsamma tempot i artonhundratalets Sicilien. Jag kan varmt rekommendera boken. ( ![]() Prins Fabrizio Salina är den siste riktige adelsmannen av sitt hus: han kan själv se att hans söner alla är ovärdiga (en var det inte, men han rymde till London och blev handelsman. Så kan det gå). Hans döttrar är förvisso bättre, och fostersonen Tancredi är storslagen. Ändå: han är den siste Leoparden, vilket är såväl huset Salinas heraldiska vapen som titeln på Giuseppe Tomasi di Lampedusas roman om honom. Don Fabrizio är vid bokens början väl inne i medelåldern. Han lever gott på sina ägor, säljer av en lite bit om det kniper, och ägnar sig åt astronomin. Hans enda syfte i livet är att undvika tråkigheter. Dessa söker dock upp honom nu, ty det är dags för Italiens enande, och Garibaldis trupper når även det sovande Sicilien. Snart måste man inte bara åse politiskt krumbuktande och allmänt stök, men den utfattige Tancredi tycks också på väg att välja att förena sig med en rik arvtagerska till ett revolutionens kreatur: en fixare och samlare, gnidig och obildad, men rik, o så rik. Fabrizio får »svälja paddan«, som han själv uttrycker det. Det är dock egentligen en roman där mycket lite faktiskt händer: mer reaktioner på vad som händer utanför, och framåt- eller bakåtblickar. Eller för den delen filosoferande över varför Sicilien aldrig tycks förändras, alltid tycks vara långt efter resten av världen. Don Fabrizio försöker parera livets stötar, men inte mer, och inte ens detta lyckas alltid särskilt väl. Till slut molmar ju allt i mull. Det är långsamt, vackert, insiktsfullt och ofta med en ironisk glimt – inte helt olikt de ideal som Fabrizio och Tancredi själva ville leva upp till.
What makes The Leopard an immortal book is that it kisses perfection full on the mouth. Its major theme – the workings of mortality – is explored with an intelligence and poignancy rarely equalled and never, to my knowledge, surpassed. It is not a historical novel. It is a novel which happens to take place in history. Only once does a historical character intrude - King Bomba - and he is rapidly reduced to domestic proportions... I first read this noble book in Italian, but my knowledge of the language is too slight to enable me to judge Mr Archibald Colquhoun’s translation. It does not flow and glow like the original — how should it? — but it is sensitive and scholarly. Il Gattopardo is not like a nineteenth-century novel. It goes by much more quickly than the film and is told with an ironic tone that in the film is entirely lacking. Lampedusa’s writing is full of witty phrase and color. It belongs to the end of the century of Huysmans and D’Annunzio, both of whom, although their subjects are so different from one another, it manages to suggest at moments. There are also little patches of Proust. The rich pasta served at the family dinner and the festive refreshments at the ball are described with a splendor of language which is rarely expended on food but which is in keeping with all the rest of Lampedusa’s half-nostalgic, half-humorous picture of a declining but still feudal princely family in Sicily in the sixties of the last century. While you are reading The Leopard, and particularly while you are rereading it, you are likely to feel that it is one of the greatest novels ever written. If this sense fades as you move away from the book, it is only because one's memory cannot fully retain the pungent artfulness of Lampedusa's brilliant sentences. The Leopard is a true novel: It has a fully formed central character, a narrative thrust that keeps you reading, even a historical grounding in the events surrounding Garibaldi's landing in Sicily and the creation of modern Italy. But unless you treat it essentially as a poem—unless you memorize its sentences as if they were lines by Keats, Hopkins, or Eliot (all of them, incidentally, poets whom Lampedusa adored)—the novel's power will dissipate with eerie rapidity the minute you finish reading. It is as ephemeral as the state of mind it chronicles, which is, in turn, part of a vanishing civilization, and no amount of nostalgic remembrance or effortful evocation will do it justice... When Bassani contacted the widowed Principessa of Lampedusa to see if there were any more bits of the novel available, she offered him only the chapter about a ball. ("A ball is always a good thing," Bassani agreed—and how would Visconti ever have made his movie without it?) It was not until Bassani's subsequent visit to Palermo, made specifically to ferret out any other missing pieces, that he obtained from Lanza Tomasi the full manuscript, including the chapter about the priest. Licy never did feel happy about the publication of that chapter: Apparently, Lampedusa had expressed last-minute doubts about it. But it is impossible to imagine the finished book without it, and one is grateful to Bassani for his vigorous intervention. Like so much else in the history of this novel, this story seems to demonstrate that only a nearly random process could have yielded such perfection as its endpoint. Ingår i förlagsserienAjalooline romaan (10. raamat) bb-Taschenbücher (338) Biblioteca di letteratura Feltrinelli (I contemporanei, 4) — 18 till Ingår iHar bearbetningenÄr avkortad iHar som referensvägledning/bredvidläsningsbokStuderas iHar som instuderingsbok
A classic of modern fiction. Set in the 1860s, THE LEOPARD is the spellbinding story of a decadent, dying Sicilian aristocracy threatened by the approaching forces of democracy and revolution. Inga biblioteksbeskrivningar kunde hittas. |
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