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Diamanttorget (1989)

av Mercè Rodoreda

Andra författare: Se under Andra författare.

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
8153319,429 (4.02)54
Den unga och fattiga flickan Natàlia arbetar som butiksbiträde i 30-talets Barcelona när hon på en utom­husbal på Diamanttorget träffar snickaren och drömmaren Quimet. De förälskar sig, gifter sig och får barn. Men parets tillvaro trasas snart sönder när inbördeskriget bryter ut och Quimet, som är en rastlös själ och politiskt engagerad, ger sig ut i fält. Natàlia och barnen blir ensamma kvar i ett alltmer sargat och av nöd präglat Barcelona. Enkelt och gripande berättar hon om vardagslivet: om rädslan och hungern, fattigdomen och uthärdandet. Diamanttorget har kallats "hemmafrontens motsvarighet till Remarques På västfronten intet nytt." Med nyskrivet förord av Eva Ström. [Publit]… (mer)
Senast inlagd avDawnDrain, privat bibliotek, denni, Murtra, llibresantjoan, victorvila
Efterlämnade bibliotekMaria Àngels Anglada d'Abadal
  1. 00
    The Whispering City av Sara Moliner (charl08)
    charl08: Powerful evocation of Barcelona's history through fiction.
  2. 00
    Jag gick mig ut i världen en sommarmorgon av Laurie Lee (cometahalley)
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» Se även 54 omnämnanden

engelska (15)  spanska (7)  katalanska (5)  italienska (3)  hebreiska (2)  nederländska (1)  Alla språk (33)
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KB-6
  Murtra | Nov 9, 2020 |
AG-3
  Murtra | Oct 26, 2020 |
Pretty writing. ( )
  Happenence | Oct 2, 2020 |
This is an incredibly depressing book. It's just relentless misery, all the time. From the very beginning, our narrator's life is miserable, and as time progresses things get worse and worse, until towards the end she finally gets a slight reprieve.

So I didn't find this book very satisfying. I read it over three reading sessions, and it seemed that the novel changed a lot between each of those sessions (even though the points where I stopped were not-particularly-remarkable chapter breaks).

For the first third, the thing that stood out to me was the abusive marriage that Natalia, or Pidgey, was stuck in. Her husband Joe was written so deliberately to be a controlling and emotionally abusive man that I thought it was going to become a plot point at some point, but... no. Perhaps my expectations were raised because it was right there in the introduction that she was going to marry a second time, which I thought meant she was going to find some agency and leave the worthless turd she was married to. Unfortunately not. His behaviour is never really acknowledged as controlling or anything either, which of course reflects the fact that Natalia doesn't have a lot of agency, and just accepts nearly everything that happens to her. She never questions her husband's behaviour, which doesn't mean that the author doesn't, because after all, she laid it out so plainly. But even so, it made it hard for me to get invested in the story – like, it was hard to barrack for Natalia when she wasn't even barracking for herself.

And then there is the second part – my reading session that took me up to 58% – which was just characterised by an overload of pigeons. Apparently (according to the introduction, again) this was actually Mercè Rodoreda's original vision for the novel; she wanted to write about someone completely surrounded by pigeons, and she made up the rest of the novel to work around this vision. I think this novel is an excellent example of how this is a terrible way to design a novel. Also, her violence towards the pigeons – like shaking the eggs to kill the pigeons before they hatched – kind of really disturbed me.

Finally, there is the war, and the consequences of that. Her thoroughly unlikeable husband goes off to fight against the fascists, which you could consider an attempt to show us that "even bad people can do good things", except that the novel thoroughly equates the fascists and the workers' revolution anyway. Bourgeois characters are given space to make their idiotic arguments (like "without the rich, the poor could not survive" – because history has shown how trickle-down economics works so well) and I can't recall any arguments ever being made in favour of the revolution. It's true that Natalia never really supports the fascists, because she's so busy trying to avoid starvation, but there are other characters supporting the fascists on the basis that it'll end the war and end starvation... so. That link is still made, just weakly.

I guess what bothered me about this is that the novel depoliticised a deeply, and integrally political conflict. This is something that depictions of the Spanish Civil War do a lot, and I think it's appalling, because if these are the only depictions accessible to you (which they basically are) then you're going to come away not even knowing what the war was.

I don't think this is a bad novel, but it definitely wasn't my type of novel, being depoliticised with a very weak protagonist. These may be valid choices, but they don't sit well with me.

Edit: Just one final comment – I wasn't really a fan of the translation; it seemed like the translator got over-excited and translated lots of things he shouldn't have, like people's names. Maybe Pidgey instead of Colometa was acceptable (if "Colometa" has the same vibe as "Pidgey" in Catalan, which I'd assume it does), but I don't think there are many Joes, Matthews or Ernies running around Barcelona and that really took me out of the story. Also, some street or another got translated to High Street, but Passeig de Gràcia stayed as it was? Why?! It's not the kind of story that would work if you tried to transplant it somewhere other than Barcelona, so I don't get why you would translate all the names and most of the geographical landmarks. Like I said, it took me out of the story and made me feel like it was set in some weird fake and/or alternate-universe version of Barcelona, which can't have been the intention. ( )
  Jayeless | May 27, 2020 |
This is the 2013 translation by Peter Bush. I previously read the 1981 translation by David Rosenthal, which changed the title to 'The Time of the Doves.' The translations are very different, but because I do not speak or read Catalan it is difficult to know which is the better translation. The story is fairly straightforward: a young woman is swept off her feet by a charming, if somewhat misogynistic young man. They marry and have a son and daughter. He gets into raising pigeons, which overwhelm their home. The Spanish Civil War serves as a constant backdrop and the young man and his friends go off to fight while she makes do. The young men die and she is destitute, considers suicide, and is 'saved' by a local grocer. Largely as a matter of convenience, the woman and the grocer marry. The children grow and the daughter marries local young man while the son joins the army. The young woman decides the grocer is a good man and she is in love, again. For me, it's the backdrop of the civil war that provides the tension. I picked up the newer translation while in Barcelona last year, so it was easy to visualize the locations in the novel. The newer translation did not remind me of the previous translation; pigeons in the new translation, doves in the older one. The two translations are very different editions, like two separate views of the same story. They should be treated in LibraryThing as separate books rather than as the same book -- they are separate and unique translations of the same text. ( )
  kewing | Apr 17, 2020 |
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tillagd av xrm-rvo | ändraSerra d'Or, Joan Triadú (Jul 1, 1962)
 

» Lägg till fler författare (17 möjliga)

Författarens namnRollTyp av författareVerk?Status
Rodoreda, MercèFörfattareprimär författarealla utgåvorbekräftat
Boon, AdriÖversättaremedförfattarevissa utgåvorbekräftat
Bush, PeterÖversättaremedförfattarevissa utgåvorbekräftat
Sales, JoanFörordmedförfattarevissa utgåvorbekräftat
סערי, רמיÖversättaremedförfattarevissa utgåvorbekräftat
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Julietta was speciaal naar de banketbakkerij gekomen om me te vertellen dat er, voordat de grote bos bloemen aan de beurt was, eerst nog koffiekannen verloot zouden worden en dat ze die had gezien: prachtige witte kannen met een doormidden gesneden sinaasappel erop geschilderd, zodat je de pitjes kon zien
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Den unga och fattiga flickan Natàlia arbetar som butiksbiträde i 30-talets Barcelona när hon på en utom­husbal på Diamanttorget träffar snickaren och drömmaren Quimet. De förälskar sig, gifter sig och får barn. Men parets tillvaro trasas snart sönder när inbördeskriget bryter ut och Quimet, som är en rastlös själ och politiskt engagerad, ger sig ut i fält. Natàlia och barnen blir ensamma kvar i ett alltmer sargat och av nöd präglat Barcelona. Enkelt och gripande berättar hon om vardagslivet: om rädslan och hungern, fattigdomen och uthärdandet. Diamanttorget har kallats "hemmafrontens motsvarighet till Remarques På västfronten intet nytt." Med nyskrivet förord av Eva Ström. [Publit]

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