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The Island of the Day Before
After a violent storm in the South Pacific in the year 1643, Roberto della Griva finds himself shipwrecked-on a ship. Swept from the Amaryllis, he has managed to pull himself aboard the Daphne, anchored in the bay of a beautiful island. The ship is fully provisioned, he discovers, but the crew is missing.
As Roberto explores the different cabinets in the hold, he remembers chapters from his Ferrante, his imaginary evil brother; the siege of Casale, that meaningless chess move in the Thirty Years' War in which he lost his father and his illusions; and the lessons given him on Reasons of State, fencing, the writing of love letters, and blasphemy.
In this fascinating, lyrical tale, Umberto Eco tells of a young dreamer searching for love and meaning; and of a most amazing old Jesuit who, with his clocks and maps, has plumbed the secrets of longitudes, the four moons of Jupiter, and the Flood.
As Roberto explores the different cabinets in the hold, he remembers chapters from his Ferrante, his imaginary evil brother; the siege of Casale, that meaningless chess move in the Thirty Years' War in which he lost his father and his illusions; and the lessons given him on Reasons of State, fencing, the writing of love letters, and blasphemy.
In this fascinating, lyrical tale, Umberto Eco tells of a young dreamer searching for love and meaning; and of a most amazing old Jesuit who, with his clocks and maps, has plumbed the secrets of longitudes, the four moons of Jupiter, and the Flood.
528 pages, Paperback
First published September 1, 1994
About the author
Umberto Eco
842 books10.6k followersUmberto Eco was an Italian writer of fiction, essays, academic texts, and children's books. A professor of semiotics at the University of Bologna, Eco’s brilliant fiction is known for its playful use of language and symbols, its astonishing array of allusions and references, and clever use of puzzles and narrative inventions. His perceptive essays on modern culture are filled with a delightful sense of humor and irony, and his ideas on semiotics, interpretation, and aesthetics have established his reputation as one of academia’s foremost thinkers.
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Displaying 1 - 30 of 796 reviews
July 2, 2023
I surmise Umberto Eco envisaged The Island of the Day Before as an antithesis of Robinson Crusoe by Daniel Defoe – instead of a man surviving on a deserted island he portrayed his character secluded on a deserted ship and immersed him into all kinds of abstract cerebral musings.
But this somewhat artificial idea could only have somewhat artificial realization so the novel right from the start turned into elaborate exercises in style and erudition.
But “territory made up of forked paths” actually belongs to Jorge Luis Borges so Umberto Eco has found himself to be an anchorite marooned in a strange land…
But this somewhat artificial idea could only have somewhat artificial realization so the novel right from the start turned into elaborate exercises in style and erudition.
Now I would say that harking back, on the ship, to the Casale days helps him retrace the stages through which, as a youth, he slowly learned that the world was composed of alien architectures.
As if, on the one hand, finding himself now suspended between sky and sea could be only the most consequent development of his three lustra of peregrinations in a territory made up of forked paths; and, on the other hand, I believe that in reconstructing the history of his misfortunes he was seeking consolation for his present state, as if the shipwreck had restored him to that earthly paradise he had known at La Griva and had left behind on entering the walls of the besieged city.
But “territory made up of forked paths” actually belongs to Jorge Luis Borges so Umberto Eco has found himself to be an anchorite marooned in a strange land…
December 4, 2013
I can't count the times I've tried to write a review of an Eco-book, whether physically or in my head, then decided to drop it.
Where does one start? How does one review a product of an intellect such as Eco's, a scholar in semiotics, history and god knows what else? Many reviews I've read here on The Island Of The Day Before are just plain moronic - outbursts of frustration because someone expected to grasp the contexts and countless themes it covers as easily as an airport-bestseller. I have a theory that some people that like to think they know a couple of things just don't like to feel stupid, and it's true; most of Eco's books are overwhelming in their breadth and references for a reader, so much so that one ends up feeling quite stupid.
But here's my point: Eco is firstly concerned with the polysemic and numerous ways in which meaning is created and interpreted, the history and epystemology of meaning, to be exact. To be able to understand the centennial intertextuality of language, symbols and meaning requires an intellect far greater than Eco or anyone else for that matter. I'm also pretty sure that Eco would facepalm himself if people assumed they could extract every meaning out his books by reading them once. Of all the authors and books out there, his are truly deserving of the cliche that the books need to be read several times to be understood.
Eco's confidence and playfulness is what makes this book my absolute favorite. The subject, the mystery of latitude, is such a spot-on subject, and the great tapestry of references from his chosen era, the 17th century, he uses to weave this incredible story - not only in literature, but theology, astronomy, philosophy, history and science - come together in a story that is ultimately about a period of time where the paradigms of the church were cracking up, and the monopoly of truth and meaning was being heavily challenged by science.
Eco manages to capture the mind of a young nobleman who is curious about the workings of the world and the universe, and so also the Zeitgeist of 17th century Europe: the volatility, the naivete, the wonder and the absurdity. If there ever was a point in history where the act of interpreting the world was so dynamic, it was here.
He also channels a wide range of literary references, from Defoe to (obviously) Borges.
In my mind, the trick to understanding how to approach Eco is like how to approach Quentin Tarantino. Tarantino makes meta-movies, i.e. films about cinema, Eco writes books about literature (and so much more!) Eco is an author's author, and with the help of his long-time collaborator and translator, William Weaver, his writing carries literary greatness in them.
If you're just after a story, then go for something more formulaic, and steer clear.
Where does one start? How does one review a product of an intellect such as Eco's, a scholar in semiotics, history and god knows what else? Many reviews I've read here on The Island Of The Day Before are just plain moronic - outbursts of frustration because someone expected to grasp the contexts and countless themes it covers as easily as an airport-bestseller. I have a theory that some people that like to think they know a couple of things just don't like to feel stupid, and it's true; most of Eco's books are overwhelming in their breadth and references for a reader, so much so that one ends up feeling quite stupid.
But here's my point: Eco is firstly concerned with the polysemic and numerous ways in which meaning is created and interpreted, the history and epystemology of meaning, to be exact. To be able to understand the centennial intertextuality of language, symbols and meaning requires an intellect far greater than Eco or anyone else for that matter. I'm also pretty sure that Eco would facepalm himself if people assumed they could extract every meaning out his books by reading them once. Of all the authors and books out there, his are truly deserving of the cliche that the books need to be read several times to be understood.
Eco's confidence and playfulness is what makes this book my absolute favorite. The subject, the mystery of latitude, is such a spot-on subject, and the great tapestry of references from his chosen era, the 17th century, he uses to weave this incredible story - not only in literature, but theology, astronomy, philosophy, history and science - come together in a story that is ultimately about a period of time where the paradigms of the church were cracking up, and the monopoly of truth and meaning was being heavily challenged by science.
Eco manages to capture the mind of a young nobleman who is curious about the workings of the world and the universe, and so also the Zeitgeist of 17th century Europe: the volatility, the naivete, the wonder and the absurdity. If there ever was a point in history where the act of interpreting the world was so dynamic, it was here.
He also channels a wide range of literary references, from Defoe to (obviously) Borges.
In my mind, the trick to understanding how to approach Eco is like how to approach Quentin Tarantino. Tarantino makes meta-movies, i.e. films about cinema, Eco writes books about literature (and so much more!) Eco is an author's author, and with the help of his long-time collaborator and translator, William Weaver, his writing carries literary greatness in them.
If you're just after a story, then go for something more formulaic, and steer clear.
April 28, 2023
Un narator foarte ironic pretinde că a descoperit la un anticar un jurnal și un teanc de scrisori. Așa începe și Numele trandafirului. Jurnalul și scrisorile îi aparțin unui tînăr italian, Roberto della Griva, eșuat prin iulie sau august 1643, pe vremea cardinalului Mazarin (îl știm din romanele lui Alexandre Dumas), pe o corabie pustie, înțepenită nu foarte departe de o insulă cu o vegetație luxuriantă.
Roberto se mîndrește - și pe bună dreptate - cu faptul că e singurul om care a naufragiat pe un vas părăsit și nu pe o insulă nelocuită (precum Robinson Crusoe). Asta dacă nu vedem în corabia Daphne o insulă plutitoare, ceea ce și este, de fapt.
Naratorul rescrie masiv textele lui Roberto și comentariile lui sînt o sursă de mare amuzament. Roberto a rămas un naiv bîntuit de siluete nevrotice (un „frate dușman”), deși a avut magiștri care l-au inițiat în toate arcanele astrologiei, metafizicii și retoricii. În cetatea Casale, asediată de spanioli, îl cunoaște, de pildă, pe un anume Saint-Savin, care îi explică ce este romanul („o chestie cu multe echivocuri”) și îl invață să compună epistole în stilul cel mai exuberant al barocului. Toate au un destinatar fictiv, Doamna inimii sale, Lilia, o alcătuire sublimă de vapori imaginari. În fond, prin aceste epistole, Roberto își găsește o Stăpînă pe care o „iubește de departe”, în felul trubadurilor: „Îşi recreează Doamna lui pe hîrtie ca să n-o piardă”.
Remarcăm și mici teorii cu privire la esența iubirii: „Iubirea-i un leac ce vindecă orice durere printr-o durere şi mai mare”, „Iubirea devine un lucru mental numai atunci cînd trupul doreşte iar dorinţa-i e călcată în picioare. Dacă trupu-i de plîns şi neînstare să mai dorească, lucrul mental piere”. E bine să reținem aceste adîncimi...
Dacă Roberto della Griva a studiat îndeosebi la Paris, cu filosofi precum Pierre Gassendi, pe Daphne are norocul să întîlnească un ultim și desăvîrșit învățător, părintele iezuit Caspar Wanderdrossel, un savant formidabil, de la care află că undeva pe insula din ziua de ieri (corabia se situează într-un azi etern) trăiește o minunată porumbiță de culoarea naramzei. Încercarea călugărului de a-i preciza culoarea eșuează lamentabil, semn al penuriei limbajului pe care-l folosim. Pentru frumusețe nu există destule cuvinte.
Una dintre obsesiile autorului este cu siguranță timpul. Corabia Daphne a eșuat nu departe de o insulă, dar între corabie și insulă se află meridianul care desparte un ieri etern de un azi etern. Încercarea lui Roberto de a ajunge pe insulă ar echivala cu o întoarcere în trecut. Dar călătoria în timp e cu neputință. De altfel, într-o încăpere de pe Daphne, Roberto della Griva descoperă o colecție de ceasornice și clepsidre. Fiecare dintre ele își urmează timpul propriu, într-un amestec aiuritor de cronologii...
I s-a reproșat romanului faptul că este și un prilej de digresiuni uneori obositoare: nimic de zis, așa este... (25.03.23, sîmbătă, Tokyo, revizuire)
Roberto se mîndrește - și pe bună dreptate - cu faptul că e singurul om care a naufragiat pe un vas părăsit și nu pe o insulă nelocuită (precum Robinson Crusoe). Asta dacă nu vedem în corabia Daphne o insulă plutitoare, ceea ce și este, de fapt.
Naratorul rescrie masiv textele lui Roberto și comentariile lui sînt o sursă de mare amuzament. Roberto a rămas un naiv bîntuit de siluete nevrotice (un „frate dușman”), deși a avut magiștri care l-au inițiat în toate arcanele astrologiei, metafizicii și retoricii. În cetatea Casale, asediată de spanioli, îl cunoaște, de pildă, pe un anume Saint-Savin, care îi explică ce este romanul („o chestie cu multe echivocuri”) și îl invață să compună epistole în stilul cel mai exuberant al barocului. Toate au un destinatar fictiv, Doamna inimii sale, Lilia, o alcătuire sublimă de vapori imaginari. În fond, prin aceste epistole, Roberto își găsește o Stăpînă pe care o „iubește de departe”, în felul trubadurilor: „Îşi recreează Doamna lui pe hîrtie ca să n-o piardă”.
Remarcăm și mici teorii cu privire la esența iubirii: „Iubirea-i un leac ce vindecă orice durere printr-o durere şi mai mare”, „Iubirea devine un lucru mental numai atunci cînd trupul doreşte iar dorinţa-i e călcată în picioare. Dacă trupu-i de plîns şi neînstare să mai dorească, lucrul mental piere”. E bine să reținem aceste adîncimi...
Dacă Roberto della Griva a studiat îndeosebi la Paris, cu filosofi precum Pierre Gassendi, pe Daphne are norocul să întîlnească un ultim și desăvîrșit învățător, părintele iezuit Caspar Wanderdrossel, un savant formidabil, de la care află că undeva pe insula din ziua de ieri (corabia se situează într-un azi etern) trăiește o minunată porumbiță de culoarea naramzei. Încercarea călugărului de a-i preciza culoarea eșuează lamentabil, semn al penuriei limbajului pe care-l folosim. Pentru frumusețe nu există destule cuvinte.
Una dintre obsesiile autorului este cu siguranță timpul. Corabia Daphne a eșuat nu departe de o insulă, dar între corabie și insulă se află meridianul care desparte un ieri etern de un azi etern. Încercarea lui Roberto de a ajunge pe insulă ar echivala cu o întoarcere în trecut. Dar călătoria în timp e cu neputință. De altfel, într-o încăpere de pe Daphne, Roberto della Griva descoperă o colecție de ceasornice și clepsidre. Fiecare dintre ele își urmează timpul propriu, într-un amestec aiuritor de cronologii...
I s-a reproșat romanului faptul că este și un prilej de digresiuni uneori obositoare: nimic de zis, așa este... (25.03.23, sîmbătă, Tokyo, revizuire)
March 5, 2022
السرد في روايات امبرتو ايكو تاريخي وتفصيلي ومتشابك لكنه ممتع
روبارتو هو الشخصية الرئيسية في الرواية التي تدور أحداثها في القرن السابع عشر
ينجو من الغرق باللجوء إلى سفينة مهجورة ترسو في مواجهة جزيرة مجهولة
ويبدأ الراوي الحكي عن حياة روبارتو من خلال أوراقه المُدونة ورسائله لحبيبته
سرد مزدحم ينتقل فيه ايكو بين الحروب والسياسة والفلسفة الحياتية والدينية والعلمية
المصالح والمكائد وأوهام البطولة المصطنعة التي تحكم العالم
سباق القوى الكبرى في الزمن القديم لامتلاك العلم
ومحاولات اكتشاف الكون والطبيعة والفلك وجغرافية الأرض
والأهم هنا البحث عن خطوط الطول التي تفصل بين الأمس واليوم
تنتهي قصة روبارتو بعد أن يمزج الحقيقة بالخيال, والوجود المحدود باللامحدود
ويضطر الراوي لتخمين كيفية العثور علي أوراقه ليكتب ختام يليق بالرواية
روبارتو هو الشخصية الرئيسية في الرواية التي تدور أحداثها في القرن السابع عشر
ينجو من الغرق باللجوء إلى سفينة مهجورة ترسو في مواجهة جزيرة مجهولة
ويبدأ الراوي الحكي عن حياة روبارتو من خلال أوراقه المُدونة ورسائله لحبيبته
سرد مزدحم ينتقل فيه ايكو بين الحروب والسياسة والفلسفة الحياتية والدينية والعلمية
المصالح والمكائد وأوهام البطولة المصطنعة التي تحكم العالم
سباق القوى الكبرى في الزمن القديم لامتلاك العلم
ومحاولات اكتشاف الكون والطبيعة والفلك وجغرافية الأرض
والأهم هنا البحث عن خطوط الطول التي تفصل بين الأمس واليوم
تنتهي قصة روبارتو بعد أن يمزج الحقيقة بالخيال, والوجود المحدود باللامحدود
ويضطر الراوي لتخمين كيفية العثور علي أوراقه ليكتب ختام يليق بالرواية
April 5, 2021
Eco:" We have a limit, a very discouraging, humiliating limit: death. That's why we like all the things that we assume have no limits and, therefore, no end. It's a way of escaping thoughts about death. We like lists because we don't want to die".
Interview in Der Spiegel, November 11, 2009
UPDATE Thank you Eco...!
Umberto Eco, 84, Best-Selling Academic Who Navigated Two Worlds, Dies
By JONATHAN KANDELLFEB. 19, 2016
in: http://www.nytimes.com/2016/02/20/art...
Stultus! Whom do I talk to?
Miserable you are! What do I try?
I tell about my pain,
To the foolish seaside,
To the speechless stone,
To the deaf wind,
Ai, and nobody answers,
But the murmuring of waves.
[my translation]
(Giovan Battista Marino)
I just started reading it and it looks so fine.
Photo-phobic Roberto de La Grive survived the wreckage of his ship Amarilli, a fluyt (in Dutch) or, as the English said, a Flyboat.
It's year 1643. Moribund Roberto, on a piece of wood, is all alone in the ocean until he hits another Flyboat: the Daphne. He gets on board, soon to conclude the ship has been deserted.
He finds enough food, writes love letters (to "she", the "sun of his shadow"), "proud of his humiliation". Where is he? And what about that Island he envisions, though seemingly unreachable, because he doesn't know how to swim...
Roberto dislikes the daylight, yet, to him, the moonlight is beautiful; nights are meant to find new constellations ...
Roberto starts the exploration of the ship. Luckily, he finds water…and fruits. But he’s suspicious: there’s the sensation of the insidious; he’d heard strange sounds; plus, he’s deciphered some Latin words in the captain’s log: “quase dicitur Bubonica pestis”. The pest he had had when 13.
Now he’s got a gun, and sword and a knife. As day breaks, he seeks refuge. From the island he recognized a diversity of birds' sounds: swallows, parrots….; even crickets’.
Roberto now remembers his life in Milano; the days at Casale; the Pozzo family; 16 years before 1640; his childhood rearing. He was a loner, having had a preceptor who taught him French.
Roberto thrived on imagination, fed by his reading of poetry and romances.
Though priest Emanuel, back in Italy, convinced him about the Ferrante’s (his doppelgänger?) inexistence, Roberto, while on board the Daphne, cannot help conjecturing: he’s not alone, there’s someone else onboard.
Emanuel was a priest and philosopher, a follower of Democritus and Epicurus.
Roberto tries to concentrate on his survival: he’s got food for weeks, but not for months. He’s got to reach the island. Maybe there, he’ll eat of the fruit of the Tree of Oblivion; and forget about it all; and find peace. He likens Daphne to a theater of memory.
He's spotted the South Crux constellation.
In his memories, Roberto recalls the city under siege, his first love with the peasant, red-hair Ana Novarese, the one who had the courage to hold a gun and got hit; his letters to her, but also his losses: his father, his friend Saint Savin. Due to the plague ,he’ll get sick too and will lose sick Novarese. Yet he'll recover.
Mines are exploding in the besieged city; vast conjectures on the power of the machines take over. Roberto gets the advice from his master Salazar and La Saletta. When the war gets over, he returns to his village, takes care of mother till her death and a new chapter opens up in his life: Paris.
On board the Daphne Roberto dreams about the dented wheels; and finds a room full of clocks, of many types. What for? Someone must be taking care of them, because they’re working. Roberto takes a decision: to catch his malignant alter ego: the Ferrante; yet, due to the booze found, he looks like a fool.
Back in Paris: recollections of palaces, the nobility, his studies on “crepuscules” and “sympathy powders” eliciting healing. And the lady he meets: Lilia. But all would end, because he gets arrested under charges of conspiracy.
Cardinal Mazarino will offer Roberto a way out: he’s got an offer: a mission. Roberto accepts it. He’ll have to embark in the Dutch Amarilli ship, under the command of an English captain: Doctor Byrd.
Roberto’s mission is to know more about this secret: “the fixed point” or, in other words: the answer to the longitude problem. He’ll fake insomnia and ignorance, as well as photo-phobia; he’s now a spy for France. Even red-haired Byrd is faking, not revealing the real purpose of his travel to the Pacific Ocean. He’d been collecting flowers specimens, along the voyage.
Now there's real action, because conjecture abounds so far. Roberto has found out the intruder on board: a man, a priest, called Gaspar. The priest urges Roberto to learn to swim. Roberto tries and tries again. Gaspar tries his own way to reach the Island, inside a Campanula; and disappears.
All alone again, Roberto is back on his memories of Lilia and Ferrante. This one seems very real; he too had organized a voyage in search of the previously referred point. Ferrante wanted to subtract Lilia from Roberto.
As for conjectures, they verse on the vacuum and infinity, the plurality of worlds, the inhabitants of the moon, and the Orange Dove. Nevertheless, Roberto is not a philosopher, rather: an unhappy lover.
Roberto in his diving gets hurt by the stone-fish; it produces fever and sleep; and visits to Vessalia; a hell where God doesn’t exist.
He still thinks and dreams about his rival Ferrante.
Especially this dream gives the whole sense to the title of the book. The case is that Ferrante had a mutiny on his voyage; his body was thrown into an island, above 25 degrees of latitude. Lilia too, was thrown to the sea, “navigating” on piece of wood. But all is a nightmare of Roberto: Ferrante being killed; Ferrante facing Judas whose punishment is to live forever on Holy Friday.
Roberto is remorse ridden for not having attained to the Island. He might have saved Lilia.
...
The last words of the book are conjectures, still. On who might have had access to Roberto’s papers? Maybe Tasman…maybe Captain Blight in 1798…, maybe….
This is a well accomplished book into the Philosophy of 17th/18th centuries. Philosophy of Science.
Worthwhile, the reading. A way into thinking and reflection. Even rocks don’t escape conjecture: how do they think? Roberto pondered on that too.
For a while I've read,...under Bocage*'s eye.
* from Wiki:
Manuel Maria Barbosa du Bocage (15 September 1765 – 21 December 1805) was a Portuguese Neoclassic poet, writing at the beginning of his career under the pen name Elmano Sadino.
Interview in Der Spiegel, November 11, 2009
UPDATE Thank you Eco...!
Umberto Eco, 84, Best-Selling Academic Who Navigated Two Worlds, Dies
By JONATHAN KANDELLFEB. 19, 2016
in: http://www.nytimes.com/2016/02/20/art...
Stultus! Whom do I talk to?
Miserable you are! What do I try?
I tell about my pain,
To the foolish seaside,
To the speechless stone,
To the deaf wind,
Ai, and nobody answers,
But the murmuring of waves.
[my translation]
(Giovan Battista Marino)
I just started reading it and it looks so fine.
Photo-phobic Roberto de La Grive survived the wreckage of his ship Amarilli, a fluyt (in Dutch) or, as the English said, a Flyboat.
It's year 1643. Moribund Roberto, on a piece of wood, is all alone in the ocean until he hits another Flyboat: the Daphne. He gets on board, soon to conclude the ship has been deserted.
He finds enough food, writes love letters (to "she", the "sun of his shadow"), "proud of his humiliation". Where is he? And what about that Island he envisions, though seemingly unreachable, because he doesn't know how to swim...
"Sun of my shadows, light of my darkness.
Why did Heaven not unmake me in that tempest it had so savagely provoked
Why save from the all devouring sea this body of mine, only to wreck my soul
so horribly in such mean and even more ill-starred solitude!
...
My Lady, I write you as if to offer, unworthy tribute, the withered rose of my disheartenment. And
yet I take pride withal in my humiliation, and as I am to this privilege condemned, almost I find joy in an abhorrent salvation; I am, I believe, alone of all our race, the only man in human memory to have been shipwrecked and cast upon a deserted ship".
Roberto dislikes the daylight, yet, to him, the moonlight is beautiful; nights are meant to find new constellations ...
Roberto starts the exploration of the ship. Luckily, he finds water…and fruits. But he’s suspicious: there’s the sensation of the insidious; he’d heard strange sounds; plus, he’s deciphered some Latin words in the captain’s log: “quase dicitur Bubonica pestis”. The pest he had had when 13.
Now he’s got a gun, and sword and a knife. As day breaks, he seeks refuge. From the island he recognized a diversity of birds' sounds: swallows, parrots….; even crickets’.
Roberto now remembers his life in Milano; the days at Casale; the Pozzo family; 16 years before 1640; his childhood rearing. He was a loner, having had a preceptor who taught him French.
Roberto thrived on imagination, fed by his reading of poetry and romances.
"He discovered some rough fruits that he would not have dared touch, if one of them, falling to the ground and splitting open in its ripeness, had not revealed a garnet interior. He
ventured to taste others, and judged them more with the tongue that speaks than with the tongue that tastes, since he defines one as a bag of honey, manna congealed in the fertility of its stem, an emerald jewel brimming with tiny rubies. Now, reading between the lines, I would venture to suggest he had discovered something very like a fig".
Though priest Emanuel, back in Italy, convinced him about the Ferrante’s (his doppelgänger?) inexistence, Roberto, while on board the Daphne, cannot help conjecturing: he’s not alone, there’s someone else onboard.
Emanuel was a priest and philosopher, a follower of Democritus and Epicurus.
Roberto tries to concentrate on his survival: he’s got food for weeks, but not for months. He’s got to reach the island. Maybe there, he’ll eat of the fruit of the Tree of Oblivion; and forget about it all; and find peace. He likens Daphne to a theater of memory.
He's spotted the South Crux constellation.
In his memories, Roberto recalls the city under siege, his first love with the peasant, red-hair Ana Novarese, the one who had the courage to hold a gun and got hit; his letters to her, but also his losses: his father, his friend Saint Savin. Due to the plague ,he’ll get sick too and will lose sick Novarese. Yet he'll recover.
Mines are exploding in the besieged city; vast conjectures on the power of the machines take over. Roberto gets the advice from his master Salazar and La Saletta. When the war gets over, he returns to his village, takes care of mother till her death and a new chapter opens up in his life: Paris.
On board the Daphne Roberto dreams about the dented wheels; and finds a room full of clocks, of many types. What for? Someone must be taking care of them, because they’re working. Roberto takes a decision: to catch his malignant alter ego: the Ferrante; yet, due to the booze found, he looks like a fool.
Back in Paris: recollections of palaces, the nobility, his studies on “crepuscules” and “sympathy powders” eliciting healing. And the lady he meets: Lilia. But all would end, because he gets arrested under charges of conspiracy.
Cardinal Mazarino will offer Roberto a way out: he’s got an offer: a mission. Roberto accepts it. He’ll have to embark in the Dutch Amarilli ship, under the command of an English captain: Doctor Byrd.
Roberto’s mission is to know more about this secret: “the fixed point” or, in other words: the answer to the longitude problem. He’ll fake insomnia and ignorance, as well as photo-phobia; he’s now a spy for France. Even red-haired Byrd is faking, not revealing the real purpose of his travel to the Pacific Ocean. He’d been collecting flowers specimens, along the voyage.
Now there's real action, because conjecture abounds so far. Roberto has found out the intruder on board: a man, a priest, called Gaspar. The priest urges Roberto to learn to swim. Roberto tries and tries again. Gaspar tries his own way to reach the Island, inside a Campanula; and disappears.
All alone again, Roberto is back on his memories of Lilia and Ferrante. This one seems very real; he too had organized a voyage in search of the previously referred point. Ferrante wanted to subtract Lilia from Roberto.
As for conjectures, they verse on the vacuum and infinity, the plurality of worlds, the inhabitants of the moon, and the Orange Dove. Nevertheless, Roberto is not a philosopher, rather: an unhappy lover.
Roberto in his diving gets hurt by the stone-fish; it produces fever and sleep; and visits to Vessalia; a hell where God doesn’t exist.
He still thinks and dreams about his rival Ferrante.
Especially this dream gives the whole sense to the title of the book. The case is that Ferrante had a mutiny on his voyage; his body was thrown into an island, above 25 degrees of latitude. Lilia too, was thrown to the sea, “navigating” on piece of wood. But all is a nightmare of Roberto: Ferrante being killed; Ferrante facing Judas whose punishment is to live forever on Holy Friday.
Roberto is remorse ridden for not having attained to the Island. He might have saved Lilia.
...
The last words of the book are conjectures, still. On who might have had access to Roberto’s papers? Maybe Tasman…maybe Captain Blight in 1798…, maybe….
This is a well accomplished book into the Philosophy of 17th/18th centuries. Philosophy of Science.
Worthwhile, the reading. A way into thinking and reflection. Even rocks don’t escape conjecture: how do they think? Roberto pondered on that too.
For a while I've read,...under Bocage*'s eye.
* from Wiki:
Manuel Maria Barbosa du Bocage (15 September 1765 – 21 December 1805) was a Portuguese Neoclassic poet, writing at the beginning of his career under the pen name Elmano Sadino.
March 21, 2008
was enthralled by The Name of the Rose as a work of historical fiction; loved reading Focault's Pendulum (anyone who enjoyed reading The DaVini Code should read this to experience a real historical-religious thriller.
The Island of the Day Before? this book inspired me to swear never to read a book written by Umberto Eco again. why? i had not made it all the way through Chapter 1 when i encountered the following sentence:
"It is only later that he will assume, in dreams, that the plank, by some merciful decree of heaven or through the instinct of a natant object, joins in that gigue and, as it descended, naturally rises, calmed in a slow saraband-then in the choler of the elements the rules of every urbane order of dance are subverted-and with ever more elaborate periphrases it moves away from the heart of the joust, where a versipellous top spun in the hands of the sons of Aeolus, the hapless Amaryllis sinks, bowsprit aimed at the sky."
i would not presume to consider myself the most intelligent person, but i count - in this one sentence - seven words that i needed to look up. seven!
and it was at this point that i felt myself engaged in some silly contest with the author for the claim of Smartest Person. a contest which i can admit here, without shame, that i lost.
all hail Umberto Eco - man able to write long sentences intelligible only with the help of a dictionary and skill at sentence-diagramming....
...The Name of the Rose and Focault's Pendulum are still fantastic books, though...
The Island of the Day Before? this book inspired me to swear never to read a book written by Umberto Eco again. why? i had not made it all the way through Chapter 1 when i encountered the following sentence:
"It is only later that he will assume, in dreams, that the plank, by some merciful decree of heaven or through the instinct of a natant object, joins in that gigue and, as it descended, naturally rises, calmed in a slow saraband-then in the choler of the elements the rules of every urbane order of dance are subverted-and with ever more elaborate periphrases it moves away from the heart of the joust, where a versipellous top spun in the hands of the sons of Aeolus, the hapless Amaryllis sinks, bowsprit aimed at the sky."
i would not presume to consider myself the most intelligent person, but i count - in this one sentence - seven words that i needed to look up. seven!
and it was at this point that i felt myself engaged in some silly contest with the author for the claim of Smartest Person. a contest which i can admit here, without shame, that i lost.
all hail Umberto Eco - man able to write long sentences intelligible only with the help of a dictionary and skill at sentence-diagramming....
...The Name of the Rose and Focault's Pendulum are still fantastic books, though...
September 2, 2023
Was war nun das? Ein historischer Roman, ein Reisebericht, eine naturphililosophische Abhandlung oder ein Buch über Wissenschaftsgeschichte? Vermutlich passen alle diese Kategorien und doch keine und Umberto Eco hat dieses Buch aus lauter Lust am Schreiben verfasst. Vielleicht ist es dies, das Romaneschreiben: dass man durch die eigenen Figuren lebt, … und dass man die eigenen Geschöpfe dem Denken der Nachgeborenen übergibt, die kommen werden, wenn wir nicht mehr ICH sagen können.
Tatsächlich stammt die Hauptperson Roberto La Griva aus der gleichen piemontesischen Region wie Eco. Auch spielt der erste Teil der Geschichte in Casale Montferrato, nur wenige Kilometer entfernt von Ecos Geburtsstadt Alessandria. Roberto wächst an der Schnittstelle zwischen piemontesischer, französischer und spanisch-habsburgischer Kultur auf und erfährt seine „Feuertaufe“ im Mantuanischen Erbfolgekrieg, einem Nebenschauplatz des 30jährigen Krieges. Dort lernt er das Spannungsfeld zwischen kirchlichem Dogma und aufklärerischer Erkenntnisgewinnung kennen. Zentrale Fragen, die das ganz Buch durchziehen, sind: Ist der Himmel unendlich? Und wenn dem so ist, ist er leer bis auf das Sonnensystem? Wenn nicht und es praktisch unendlich viele Welten gibt, ist Jesus in allen diesen Welten gestorben, um ihnen die Erlösung zu bringen, gibt es ihn also mehrmals? Gedanken, die selbst für den Wissenschaften aufgeschlossene Kleriker gotteslästerlich klingen.
Im zweiten Teil des Buches begibt sich Roberto auf Geheiß des Kardinals Mazarin auf eine Reise, um dem Geheimnis des „punto fisso“, des Fixpunktes für die Bestimmung der Längengrade auf die Spur zu kommen. Er erleidet dabei Schiffbruch und rettet sich auf ein Geisterschiff, das vor einer Insel auf dem 180. Längengrad, also der Datumslinie festliegt. Schwimmunkundig und ohne Beiboot kann er die „Insel des vorigen Tages“ nicht erreichen. In Anlehnung an die Taube des Pfingstwunders bzw. des Vogels der Venus symbolisiert die „Flammenfarbene Taube“ ihre Anziehung und Unerreichbarkeit – zumindest zu Lebzeiten.
Einsam und von Krankheit geplagt phantasiert Roberto die Liebensgeschichte seiner angebeteten Señora weiter, wobei er an seine Stelle seinen fiktiver Halbbruder Ferrante stellt, der Robertos charakterliches Gegenteil ist. Vorstellung und Realität verschwimmen mehr und mehr und verleiten Roberto zu einem letzten entscheidenden Versuch die Insel zu erreichen.
Der Lektüre dieses Romans ist ein intellektueller Parforceritt. Ihm gerecht zu werden erfordert wiederholtes Nachschlagen von Begriffen und Ereignissen. Das muss man mögen. Ich empfand die die bizarren Sinnlosigkeit der Auseinandersetzung in Casale ebenso faszinierend, wie die Recherche zur Zeit der Kardinäle Richelieu und Mazarin, des Problems der Bestimmung der Längengrade und der Folgen für die frühe neuzeitliche Schifffahrt oder von Begriffen wie Pyrrhonismus, Hyle oder sympathetisches Pulver. Besonders angesprochen hat mich aber die Einsicht in wie weit die damaligen Denker schon auf der richtigen Spur waren. So finden sich viele richtige Gedanken, die erst Jahrhunderte später mit der Atomistik, der Quantentheorie und der Kosmologie ihre Bestätigung gefunden haben. Bei all dem hat das Buch aber auch Längen, die das Lesevergnügen schmälern. Es verlangt Durchhaltevermögen, aber es lohnt sich.
Tatsächlich stammt die Hauptperson Roberto La Griva aus der gleichen piemontesischen Region wie Eco. Auch spielt der erste Teil der Geschichte in Casale Montferrato, nur wenige Kilometer entfernt von Ecos Geburtsstadt Alessandria. Roberto wächst an der Schnittstelle zwischen piemontesischer, französischer und spanisch-habsburgischer Kultur auf und erfährt seine „Feuertaufe“ im Mantuanischen Erbfolgekrieg, einem Nebenschauplatz des 30jährigen Krieges. Dort lernt er das Spannungsfeld zwischen kirchlichem Dogma und aufklärerischer Erkenntnisgewinnung kennen. Zentrale Fragen, die das ganz Buch durchziehen, sind: Ist der Himmel unendlich? Und wenn dem so ist, ist er leer bis auf das Sonnensystem? Wenn nicht und es praktisch unendlich viele Welten gibt, ist Jesus in allen diesen Welten gestorben, um ihnen die Erlösung zu bringen, gibt es ihn also mehrmals? Gedanken, die selbst für den Wissenschaften aufgeschlossene Kleriker gotteslästerlich klingen.
Im zweiten Teil des Buches begibt sich Roberto auf Geheiß des Kardinals Mazarin auf eine Reise, um dem Geheimnis des „punto fisso“, des Fixpunktes für die Bestimmung der Längengrade auf die Spur zu kommen. Er erleidet dabei Schiffbruch und rettet sich auf ein Geisterschiff, das vor einer Insel auf dem 180. Längengrad, also der Datumslinie festliegt. Schwimmunkundig und ohne Beiboot kann er die „Insel des vorigen Tages“ nicht erreichen. In Anlehnung an die Taube des Pfingstwunders bzw. des Vogels der Venus symbolisiert die „Flammenfarbene Taube“ ihre Anziehung und Unerreichbarkeit – zumindest zu Lebzeiten.
Einsam und von Krankheit geplagt phantasiert Roberto die Liebensgeschichte seiner angebeteten Señora weiter, wobei er an seine Stelle seinen fiktiver Halbbruder Ferrante stellt, der Robertos charakterliches Gegenteil ist. Vorstellung und Realität verschwimmen mehr und mehr und verleiten Roberto zu einem letzten entscheidenden Versuch die Insel zu erreichen.
Der Lektüre dieses Romans ist ein intellektueller Parforceritt. Ihm gerecht zu werden erfordert wiederholtes Nachschlagen von Begriffen und Ereignissen. Das muss man mögen. Ich empfand die die bizarren Sinnlosigkeit der Auseinandersetzung in Casale ebenso faszinierend, wie die Recherche zur Zeit der Kardinäle Richelieu und Mazarin, des Problems der Bestimmung der Längengrade und der Folgen für die frühe neuzeitliche Schifffahrt oder von Begriffen wie Pyrrhonismus, Hyle oder sympathetisches Pulver. Besonders angesprochen hat mich aber die Einsicht in wie weit die damaligen Denker schon auf der richtigen Spur waren. So finden sich viele richtige Gedanken, die erst Jahrhunderte später mit der Atomistik, der Quantentheorie und der Kosmologie ihre Bestätigung gefunden haben. Bei all dem hat das Buch aber auch Längen, die das Lesevergnügen schmälern. Es verlangt Durchhaltevermögen, aber es lohnt sich.
September 21, 2017
من منا لم يحلم بالعودة لليوم السابق...لتصحيح خطأ سبق
حتي يهوذا ليود لو يعود لليوم السابق لخيانته
ولكن ماذا لو كان اليوم السابق امامك؟ لكنك لا تستطيع بلوغه؟
سفينة بعيدة عن جزيرة لا يقوي علي الابحار بها للشط ولا السابحة للجزيرة
جزيرة جاب البحارة والعلماء من امبراطوريات وممالك بالقرن السابع عشر البحار شرقا وغربا للبحث عنها
بحثا عنها بمحاولات تفسيرات وحل لغز قياسات خطوط الطول بدقة
لأنها يعتقد أنها جزيرة الملك سليمان...بكنوزها الخفية وطبيعتها البكر الساحرة
ولكن بقياسات خطوط الطول هي ايضا جزيرة تقع في خط طول يفصل بين يوم ويوم...زمن وزمن
إنها جزيرة اليوم السابق
~~~~~~~~~~~~~~~~
هكذا أنتهت رحلة علمية ، فلسفية ، تاريخية ، روائية ادبية ، وعاطفية لروبارتو
علمية
حيث انه مع علماء هذا الوقت يحاول تفسير قياسات خطوط الطول بتفصيل علمي قد يكون مملا
كما انها ايضا خلطت علوم الفلك والابحار مع افكار من الواقعية السحرية كمرهم السلاح وحركة الذرات في الجو، والجدل القديم وقتها حول حركة الارض أم حركة الشمس
فلسفية
لأنها ربطت بقياسات خطوط الطول والزمن بافكار فلسفية حول اليوم السابق الذي يقع في منتصف خطوط الطول المقالة للخط الرئيسي
ربطتها بافكار فلسفية منذ بداية الخلق ، بل خلق الله للعالم نفسه، واليوم الاول وخلق النور
ربطت ايضا بافكار الملاحدة في القرن السابع عشر وافكار العوالم الاخري في الكواكب المختلفة...ونظريات الاكوان الموازية وهل لديهم خطيئة أدم ايضا؟ هل لديهم المسيح المخلص؟
تاريخية
لأن روبارتو ، الغريق، يتذكر حصار كزالي، حصار بمقاطعة أيطالية في صراع بين الفرنسيين والاسبان والامبراطورية الكاثوليكية... صراع الاراضي والممالك والعروش بين الطوائف المسيحية المستعرة دوما بذلك الوقت
كما بربط هذا مع فكرة الزمن يعود للحديث لتاريخ طوفان نوح وجزر الملك سليمان وحتي صراع الهيمنة علي البحار الذي ايضا اكتسب النزعة الدينية
روائية ادبية
لأن أسلوب سرد أمبرتو أيكو الغريب العجيب دوما هنا يتجلي بشكل رواية داخل رواية داخلها رواية اخري
هل تذكر أسم الوردة ، عندما قال لنا أنها مذكرات وجدت لراهب يدعو أدسو؟
أو في بندول فوكو عندما أخبرنا انها ملفات مذكرات مكتوبة علي الحاسب وجدت ببيت الرجل الذي اختفي في ظروف غامضة
هنا الراوي يعتبر المحرر أو الناشر، صاحب الكتاب "امبرتو ايكو" نفسه
عثر علي مذكرات وجدت بسفينة مهجورة... يحاول نقل القصة المكتوبة في تلك المذكرات بأسلوبه هو
من وقت لاخر يخبرنا بنص ما قاله روبارتو والذي ينتقد محررنا اسلوبه المفخم المبالغ فيه
الظريف في الامر ان روبارتو مذكراته تبدأ من نجاته من غرق السفينة أماريلتي ووصوله باعجوبه لسفينة اخري راسية ب��يدا عن شط جزيرة عجيبة
السفينة المهجورة تلك وعجائبها الغريبة وشعوره بالاحتجاز بها يذكره بحصار قدبم في قلعة ببلدة بايطاليا
ولكني اخترت نهاية في خيالي لاني بقراءة ذلك الكتاب كنت أعيش بعالم الروايات؛
لقد وجد حبيبته فعلا قرب الشاطئ...كما تخيلها في الرواية التي يكتبها
حملها علي شاطئ الجزيرة
وعاشا سنوات وسنوات يكتشفا عجائبها...وكنوزها...وعمروها بالبنين والبنات الذين استطاعوا بواسطة دافني بعد تعديلها الوصول لجزر أخري وأكتشافات اكثر غرائبية
في جزيرة اليوم السابق
من 10 سبتمبر 2017
الي 15 سبتمبر 2017
حتي يهوذا ليود لو يعود لليوم السابق لخيانته
ولكن ماذا لو كان اليوم السابق امامك؟ لكنك لا تستطيع بلوغه؟
هكذا، مبتورة أنتهت الرحلة العجيبة لروبارتو ، الغريق الذي ألتجأ باعجوبة لسفينة
"وهكذا، حتي وإن كان أحد افتراضي صالحا لمواصلة السرد، فلن تكون له خاتمة خليقة بأن تروي، وستترك كل قارئ مستاء وغير راض
وحتي على هذا الشكل لا تصلح قصة روبارتو لأي وعظ أخلاقى - وسنبقي دائما نتساءل لماذا حدث ما حدث - مستنتجين انه في الحياة تحدث الأشياء لأنها تحدث
"وليس الا في "بلد الروايات" تبدو انها تحدث لهدف ما أو لسبب ما
سفينة بعيدة عن جزيرة لا يقوي علي الابحار بها للشط ولا السابحة للجزيرة
جزيرة جاب البحارة والعلماء من امبراطوريات وممالك بالقرن السابع عشر البحار شرقا وغربا للبحث عنها
بحثا عنها بمحاولات تفسيرات وحل لغز قياسات خطوط الطول بدقة
لأنها يعتقد أنها جزيرة الملك سليمان...بكنوزها الخفية وطبيعتها البكر الساحرة
ولكن بقياسات خطوط الطول هي ايضا جزيرة تقع في خط طول يفصل بين يوم ويوم...زمن وزمن
إنها جزيرة اليوم السابق
~~~~~~~~~~~~~~~~
هكذا أنتهت رحلة علمية ، فلسفية ، تاريخية ، روائية ادبية ، وعاطفية لروبارتو
علمية
حيث انه مع علماء هذا الوقت يحاول تفسير قياسات خطوط الطول بتفصيل علمي قد يكون مملا
كما انها ايضا خلطت علوم الفلك والابحار مع افكار من الواقعية السحرية كمرهم السلاح وحركة الذرات في الجو، والجدل القديم وقتها حول حركة الارض أم حركة الشمس
فلسفية
لأنها ربطت بقياسات خطوط الطول والزمن بافكار فلسفية حول اليوم السابق الذي يقع في منتصف خطوط الطول المقالة للخط الرئيسي
ربطتها بافكار فلسفية منذ بداية الخلق ، بل خلق الله للعالم نفسه، واليوم الاول وخلق النور
ربطت ايضا بافكار الملاحدة في القرن السابع عشر وافكار العوالم الاخري في الكواكب المختلفة...ونظريات الاكوان الموازية وهل لديهم خطيئة أدم ايضا؟ هل لديهم المسيح المخلص؟
تاريخية
لأن روبارتو ، الغريق، يتذكر حصار كزالي، حصار بمقاطعة أيطالية في صراع بين الفرنسيين والاسبان والامبراطورية الكاثوليكية... صراع الاراضي والممالك والعروش بين الطوائف المسيحية المستعرة دوما بذلك الوقت
كما بربط هذا مع فكرة الزمن يعود للحديث لتاريخ طوفان نوح وجزر الملك سليمان وحتي صراع الهيمنة علي البحار الذي ايضا اكتسب النزعة الدينية
روائية ادبية
لأن أسلوب سرد أمبرتو أيكو الغريب العجيب دوما هنا يتجلي بشكل رواية داخل رواية داخلها رواية اخري
هل تذكر أسم الوردة ، عندما قال لنا أنها مذكرات وجدت لراهب يدعو أدسو؟
أو في بندول فوكو عندما أخبرنا انها ملفات مذكرات مكتوبة علي الحاسب وجدت ببيت الرجل الذي اختفي في ظروف غامضة
هنا الراوي يعتبر المحرر أو الناشر، صاحب الكتاب "امبرتو ايكو" نفسه
عثر علي مذكرات وجدت بسفينة مهجورة... يحاول نقل القصة المكتوبة في تلك المذكرات بأسلوبه هو
من وقت لاخر يخبرنا بنص ما قاله روبارتو والذي ينتقد محررنا اسلوبه المفخم المبالغ فيه
الظريف في الامر ان روبارتو مذكراته تبدأ من نجاته من غرق السفينة أماريلتي ووصوله باعجوبه لسفينة اخري راسية ب��يدا عن شط جزيرة عجيبة
السفينة المهجورة تلك وعجائبها الغريبة وشعوره بالاحتجاز بها يذكره بحصار قدبم في قلعة ببلدة بايطاليا
ولكني اخترت نهاية في خيالي لاني بقراءة ذلك الكتاب كنت أعيش بعالم الروايات؛
لقد وجد حبيبته فعلا قرب الشاطئ...كما تخيلها في الرواية التي يكتبها
حملها علي شاطئ الجزيرة
وعاشا سنوات وسنوات يكتشفا عجائبها...وكنوزها...وعمروها بالبنين والبنات الذين استطاعوا بواسطة دافني بعد تعديلها الوصول لجزر أخري وأكتشافات اكثر غرائبية
في جزيرة اليوم السابق
من 10 سبتمبر 2017
الي 15 سبتمبر 2017
November 3, 2016
Αυτο το βιβλιο το διάβασα λιγο μετα την 999 προσπάθεια μου να διαβάσω τον " αλχημιστή" και ενω ο κοσμος γύρω μου υστεριαζοταν με το "φιλόσοφο-κλισεδιαρη" Κοεολιο. Οταν λοιπον διάβασα αυτο το υπέροχο βιβλιο του Εκο , αναρωτήθηκα γιατι ο κοσμος ηταν τοσο επιρρεπής στις Κοέλιο ευκολίες .... βεβαια μετα εγινε σταρ η Δημουλίδου και έπαψα να αναρωτιέμαι ......
ο Εκο σε αυτο το σχετικά μικρο βιβλιο μπερδεύει γλυκά την ιστορια ,την φαντασία ,την θρησκεία και τις παραβολές και την φιλοσοφία . Α! Και οπως παντα και λιγη περηπετια. Σε συνεπερνει σε έναν κοσμο τοσο μακρινό και τοσο κοντινό , οσο μακρινή και Κοντονή μπορει να ειναι η προηγούμενη μέρα
ο Εκο σε αυτο το σχετικά μικρο βιβλιο μπερδεύει γλυκά την ιστορια ,την φαντασία ,την θρησκεία και τις παραβολές και την φιλοσοφία . Α! Και οπως παντα και λιγη περηπετια. Σε συνεπερνει σε έναν κοσμο τοσο μακρινό και τοσο κοντινό , οσο μακρινή και Κοντονή μπορει να ειναι η προηγούμενη μέρα
September 15, 2016
كعادة (إيكو) فرواياته مرهقة للعقل , مجهدة للذهن , تحتاج إلى تركيز عميق و استيعاب لأفكاره السامية .
المهم : أننا أمام رواية من الطراز الثقيل , تلك الروايات التي تحمل في مضمونها أضعاف ما يبدو منها من أفكار و غايات ,
هو عمل عن الانسان ورحلته الفانية في هذه الدنيا , ما نريد وما نستطيع بلوغه , كيف هي هذه الرحلة , وكيف نتعامل معها , وكيف تخدعنا الحياة ببريقها الزائف لتخطف منا أعز ما نملك , وكيف يكون العقل لعنة , والخيال جحيم .
العمل ببساطة مطلقة يقدم لنا نموذج إنساني جميل , عن تائه عصفت به الدنيا , من حروب و معارك إلى إن يكون وحيدًا على سفينة من العجائب , ليخلو إلى نفسه الخلوة الكاملة التي تتيح له صفاء الذهن ليسجل لنا ببلاغة عظيمة سجل حياته العامر .
بين حصاره على سفينة عائمة هجرها ملاحيها , إلى مشاركته في معركة حربية لمحاصرة مدينة إيطالية , نتنقل بين ذكرياته المفجعة المؤلمة و المفرحة ليقدم لنا التجربة في كامل رونقها .
الحرب والحكمة والتسامح والقتل و الاحترام والاحتقار والتضحية , كل ذلك مفعم بجو حروب اوروبا القديمة ليقدم لنا متعة صافية .
الكاتب استطاع ببراعة منقطعة النظير على أن ينقلنا إلى جو المعارك الحربية و يجعلنا نشاهد بأعيننا ما كتبه هو بقلمه , لنتأثر بشخصياته وأحداثها على أكمل وجه .
العمل مفعم بالحوارات العميقة , التي يبرع فيها (إيكو) حوارات كاشفة عن أدق ما بداخل النفس الإنسانية , حوارات تجبرك على محاورة نفسك لتكتشف دواخلها .
جو الوحدة التي عاشها البطل على السفينة كان من الكمال بمكان .
اللغة : رغم إن النص مترجم لكنه على درجة كبيرة من العظمة, تدل على إبداع منقطع النظير في اللغة الأصلية .
الوصف والتشبيهات : كانوان2 ممتعين للغاية .
الشخصيات : كانت مؤثرة ومفعمة بالحياة .
في المجمل عمل جيد جدا .
November 5, 2014
Readers expect Umberto Eco to take them on a stimulating journey of discovery as his characters unravel mysteries that take them to the heart of early Western civilisation. In The Name of the Rose and Foucault's Pendulum this style worked brilliantly. In the 'The Island of the Day Before' it fails catastrophically.
Eco spends hundreds of pages wallowing in his arcane knowledge, resorting to ever more desperate ploys to show off his learning, because this book has no plot to draw out those intellectual diversions naturally. In his previous novels, the basic murder mysteries provided a focus for the reader's journey: there was a mystery to be solved, and Eco's digressions enlightened the journey. Here the trek can be focused on one thing only: the long hoped-for last page, and the reader is only sustained by the morbid fascination of whether anything interesting is really going to happen. It doesn't.
Very early on, our hero finds himself stuck on an abandoned ship off an uncharted island. His plight becomes a metaphor for that of the reader, trapped in Eco's ego with no hope of escape. I have a degree in Medieval Literature and History, but I can't find much of interest here. What hope is there for the more general reader? Never have I fallen asleep so often over a book, pummelled into intellectual insensibility.
Eco spends hundreds of pages wallowing in his arcane knowledge, resorting to ever more desperate ploys to show off his learning, because this book has no plot to draw out those intellectual diversions naturally. In his previous novels, the basic murder mysteries provided a focus for the reader's journey: there was a mystery to be solved, and Eco's digressions enlightened the journey. Here the trek can be focused on one thing only: the long hoped-for last page, and the reader is only sustained by the morbid fascination of whether anything interesting is really going to happen. It doesn't.
Very early on, our hero finds himself stuck on an abandoned ship off an uncharted island. His plight becomes a metaphor for that of the reader, trapped in Eco's ego with no hope of escape. I have a degree in Medieval Literature and History, but I can't find much of interest here. What hope is there for the more general reader? Never have I fallen asleep so often over a book, pummelled into intellectual insensibility.
December 25, 2014
I have no clear idea why people don’t like this book, because I do really think that is one of the most luminous Eco’s novels. The form of The Island of the Day Before (1994) could seem very simple, but it is not true. As often for Eco’s literal strategy he tries to mask a various citations, allusions and parallels with cultural and historical basis. Every novel looks like intertextual garland of signs and senses which are masterly contained into historical or philosophical fiction, detective or thriller.
The main plot of the third novel is about Italian nobleman who is the only survivor of a shipwreck during a fierce storm. He finds himself stranded on board the Daphne, a boat anchored just offshore an unreachable island. Without wind, without crew, and without a knowing how of swimming, Roberto explores his new 'prison', having survived a shipwreck of the vessel Amaryllis.
The land made a kind of bend, edged with sand that gleamed white in the pale darkness; but, like any shipwrecked man, Roberto could not tell if it was an island or a continent
Roberto tells us about his childhood, the invention of his twin Ferrante (does Eco play with archetype of twins?), his love Lilia, his initiation as a spy for Cardinal Richelieu and others. I personally like the story about the mapping the latitudes and longitudes of the planer which transforms into the philosophical reflection about borders of our world. Various details, facts and thoughts create a unique universe by Roberto’s imagination. As always, we cannot discern where reality ends and imagination starts. Otherwise, does it really matter anyway?
The smallest detail being lifelike: the reek and creak of the hull, the smell of the plants, the cries of the birds – all collaborated in forming the impression of a presence that was nothing but the effect of a phantasmagory perceived only by the mind…
I agree that it is not the best Eco’s novel. But it is completely enough of great ideas and findings that make this text an excellent present of all serious readers and Eco’s fans as well.
4,5
The main plot of the third novel is about Italian nobleman who is the only survivor of a shipwreck during a fierce storm. He finds himself stranded on board the Daphne, a boat anchored just offshore an unreachable island. Without wind, without crew, and without a knowing how of swimming, Roberto explores his new 'prison', having survived a shipwreck of the vessel Amaryllis.
The land made a kind of bend, edged with sand that gleamed white in the pale darkness; but, like any shipwrecked man, Roberto could not tell if it was an island or a continent
Roberto tells us about his childhood, the invention of his twin Ferrante (does Eco play with archetype of twins?), his love Lilia, his initiation as a spy for Cardinal Richelieu and others. I personally like the story about the mapping the latitudes and longitudes of the planer which transforms into the philosophical reflection about borders of our world. Various details, facts and thoughts create a unique universe by Roberto’s imagination. As always, we cannot discern where reality ends and imagination starts. Otherwise, does it really matter anyway?
The smallest detail being lifelike: the reek and creak of the hull, the smell of the plants, the cries of the birds – all collaborated in forming the impression of a presence that was nothing but the effect of a phantasmagory perceived only by the mind…
I agree that it is not the best Eco’s novel. But it is completely enough of great ideas and findings that make this text an excellent present of all serious readers and Eco’s fans as well.
4,5
September 13, 2022
A dense read with dazzling language, images and arguments, but little to no straightforward storytelling. A first person narrator who never gets identified tells us about Roberto, a somewhat feckless young Spanish dandy who nonetheless gets into some interesting scrapes, conversations, and intrigues. Baffling and wonderful how Eco can spin magic with words and leave you in awe, then blithely move on to something completely different and start again. He’ll begin a discussion. with a theory whose argument will lead you to the opposing viewpoint, such as the Void cannot exist but end up deciding that we only exist because the existence of the Void substantiates us. And then start in on longitude, or Hell.
There’s no explaining the story, but Roberto, in the end a castaway on a ship from which he can’t escape, imagines a romance, or alternate reality of what’s happening while he’s aboard. Is Ferrante his evil brother, or the alienated parts of himself who takes the fall for all his own sins? Who are we, what is today and tomorrow to someone stranded on the 180th meridian, does who we love need any basis in reality to the actual person or object of our affection, are parallel worlds even necessary if the world of imagination allows infinite realities? These and so many more themes and issues fill the pages.
Not a book for everyone, but I think Eco was having fun, and his brilliance with language, his intellect and profound mastery of delving into issues scientific, religious and cultural are on display. I’m gobsmacked.
I can’t imagine having been the translator. Kudos to him.
There’s no explaining the story, but Roberto, in the end a castaway on a ship from which he can’t escape, imagines a romance, or alternate reality of what’s happening while he’s aboard. Is Ferrante his evil brother, or the alienated parts of himself who takes the fall for all his own sins? Who are we, what is today and tomorrow to someone stranded on the 180th meridian, does who we love need any basis in reality to the actual person or object of our affection, are parallel worlds even necessary if the world of imagination allows infinite realities? These and so many more themes and issues fill the pages.
Not a book for everyone, but I think Eco was having fun, and his brilliance with language, his intellect and profound mastery of delving into issues scientific, religious and cultural are on display. I’m gobsmacked.
I can’t imagine having been the translator. Kudos to him.
May 3, 2021
Manchmal lohnt es sich doch, ein Buch ein zweites Mal zu lesen. Ein Abstand von ein paar Jahren kann da unter Umständen zu einem völlig anderen Urteil führen. So ging es mir mit Umberto Ecos Insel des vorigen Tages. Beim ersten Mal hatte ich große Mühe mich durch das Buch zu arbeiten. Das lag vermutlich an einer falschen Prämisse, hatte ich doch einen spannenden Abenteuerroman erwartet. Spannend ist es wirklich, allerdings in ganz anderer Weise. In Ecos Robinsonade dient der Schiffbruch des Helden Roberto de La Grieve, im Grunde nur als Hintergrund für naturwissenschaftliche und philosophische Spekulationen aller Art. Tatsächlich ist der Roman eine recht kurzweilige Einführung in das Denken und die Vorstellungswelt des 17. Jahrhunderts. In jüngeren Jahren konnte ich damit wenig anfangen, was wohl daran lag, dass ich einfach zu wenig wusste. Die meisten Anspielungen und Verweise dürften mir damals schlichtweg entgangen sein. Inzwischen scheint sich aber zumindest ein ausreichender Grundstock an Halbwissen angesammelt zu haben, der die Lektüre doch sehr erleichtert. Von den geistigen Höhen eines Umberto Eco trennen mich immer noch Welten. Aber es ist immerhin ein schöner Beweis, dass man durch das viele Lesen wenigstens nicht blöder geworden ist.
July 17, 2007
Usually, I have one of three reactions to a book: I love it and plow through it, I hate it and put it down within 50 pages, or I like it and take my time, possibly reading other books simultaneously. This one ... oy. Because of The Name of the Rose, I kept expecting it to be good - or, more accurately, to get better. I waited 100 pages. Then 200 pages. Then 300 pages. Finally, I threw it across the room in frustration at 350 pages. I'm still bitter.
February 18, 2018
Hayatım boyunca okuduğum en dolu, en edebî, en zekice üç-beş kitaptan biri Önceki Günün Adası. Umberto Eco'nun yazarlık serüvenindeki gelişimi açısından da müthiş bir sıçrama.
Biz Gülün Adı'nda edebiyatı bilen çok zeki bir tarihçinin romanını okumuştuk. Foucault Sarkacı'nda Belbo'nun baskın olarak Proust ve Joyce etkisindeki yazı dosyalarıyla Eco'nun edebî biçimsel denemelerini tarihle birleştirdiğini, edebiyatını çok daha oyunlu hale getirdiğini okumuştuk. Ama yine de bu da bir tarihçinin romanı gibi duruyordu. Bu kötü bir şey demek değil elbette, ama Önceki Günün Adası'nda görüyoruz ki, Eco'nun bir romancıya, bir edebiyatçıya dönüşmesiyle ortaya çıkan şey çok daha üstün oluyor.
Diğer kitaplarına nazaran çok daha ağır, sıradan okuyucuyu zorlayacak bir üslupla karşımıza çıkıyor Eco. Örnek olsun diye kitaptan çok sevdiğim kısacık bir parçayı yazının sonuna koyuyorum.
Kitabın konusu yine Foucault Sarkacı'nda olduğu gibi çok basit. Roberto bir deniz kazası neticesinde sularda kaybolur, sonra şans eseri içinde ilk etapta kimsenin görünmediği, bir adanın karşısına demirlenmiş başka bir gemiye çıkar. Roberto yüzme de bilmediği için bu gemide kalır ve zamanla gemide kendisinden başka birinin, bir davetsiz konuğun daha olduğunu, ama kendisinden gizlendiğini fark eder.
Temel olarak roman, Roberto'nun bu gemideki hayatını, geçmişini düşünmesini anlatır. Kabaca üç bölüme ayırabileceğimizi düşünüyorum.
İlk olarak ilk gençliğindeki Casale savaşını görürüz. Ben bu kısmı, bilhassa da Roberto'nun babasını çok sevdim. Kitapla ilgili biraz okuyunca, bu bölümün karmaşık bulunduğunu gördüm ama buna katılmıyorum. Kim kimdir, kimler kimlerle savaşıyor biraz karışık olsa da kısa zamanda çözülüyor.
İkinci kısımda kitabın ortalarında baskın olarak o zamanın bilimsel anlayışlarını ve bilhassa coğrafi arayışları, yöntem denemelerini görüyoruz. Benim yer yer zorlandığım bir bölüm oldu bu, çünkü takip etmekte zorlandım. Lakin bu benim yetersizliğimden kaynaklanıyor olabilir.
Kitabın son bölümü, Roberto'nun ölüm korkusunu ve üretmeye başlaması konu ediniyor, ki her sayfası çok değerli. Foucault Sarkacı için yazdığım bir şey vardı: Bütün o karmaşık anlatının ardında basit bir varoluş problemi yatıyor, demiştim. Önceki Günün Adası bunun daha net bir şekilde irdelenmiş hali: Ölümün dünyamızı ele geçirmesi, bizi çaresiz bırakması, ölümün karşısındaki insanın basitliği her sayfada karşımıza çıkıyor. Roberto'nun ölümün yok ediciliği karşısında sonsuz olabilmek adına yazmaya başlıyor. Hayatını daha katlanılabilir kılmak adına, hayatta kalabilmek, onu daha anlamlı kılmak adına, yok olup gitmemek için yazıyor. Roberto'nun bu kararının altyapısı özellikle Saint-Savin ile olan diyaloglarında çok güzel verilmiş.
***
Ayrıca birkaç şeye değinmek istiyorum.
Çevirmen: Ben Kemal Atakay'ı görünce Şadan Karadeniz'den kurtulduk diye sevinirken, daha az Öztürkçe'lisi, ama daha az özenlisi gelmiş yerine. Yine Öztürkçe var yani. Anlamıyorum Eco'dan ne istiyor Can Yayınları. Ve dediğim gibi, Şadan Karadeniz en azından emek vererek doğru düzgün dipnotlar hazırlıyordu, bu kitapta böyle çok eksik vardı.
Okuyucu: Genel olarak bu kitap beğenilmemiş, Eco'nun popülaritesinden pek nasibini almamış 1-2 kitabından. Açıkçası hiç şaşırmadım, asıl şaşırdığım Eco'nun diğer kitaplarını okumaları. Ama bu kitap Foucault Sarkacı'ndan da ötede bir zorluk taşıyor, çünkü okura bir misyon yüklüyor. Onun oyunun içine davet ediyor. Benim elimde 8. baskısı var, bu kadar baskı yapmış olması bile çok şaşırtıcı.
***
Çocuğunu beşikte uyumaya zorlamak isteyen ve çocuğun üzerine bir örtü serip onu küçük bir geceyle örten bir anne gibi, gezegene büyük geceyi sersin diye. Dua etti: Her şeyi görüş alanından çıkaran gecenin, gözlerini kapanmaya davet etmesi için; karanlıkla birlikte sessizliğin gelmesi için; ve nasıl güneşin doğmasıyla aslanlar, ayılar ve kurtlar (ki hırsızlar ve katiller gibi onlar da ışıktan nefret ederler) kendilerine barınak ve bağışıklık sağlayan mağaralara kapanmaya koşuyorlarsa, bunun karşıtı olarak, güneşin batıya, geriye çekilmesiyle düşüncelerin tüm gürültüsünün ve uğultusunun geriye çekilmesi için. Işık bir kez öldükten sonra, ondaki ışıktan yaşam alan ruhlar kendilerinden geçsinler ve durgunluk ile sessizlik hüküm sürsün diye.
Yağ lambasını üfleyip söndürdüğünde, elleri yalnızca dışarıdan içeriye süzülen bir ayışığıyla aydınlandı. Karnından beynine bir sis yükseldi ve gözkapaklarının üzerine düşerek, ruh gözkapaklarının kenarına yaslanıp dikkatini dağıtacak herhangi bir nesne görmesin diye onları kapattı. Ve yalnızca gözleriyle kulakları değil, elleriyle ayakları da uyudu; yalnızca asla dinlenmeyen kalp uyumadı.
Biz Gülün Adı'nda edebiyatı bilen çok zeki bir tarihçinin romanını okumuştuk. Foucault Sarkacı'nda Belbo'nun baskın olarak Proust ve Joyce etkisindeki yazı dosyalarıyla Eco'nun edebî biçimsel denemelerini tarihle birleştirdiğini, edebiyatını çok daha oyunlu hale getirdiğini okumuştuk. Ama yine de bu da bir tarihçinin romanı gibi duruyordu. Bu kötü bir şey demek değil elbette, ama Önceki Günün Adası'nda görüyoruz ki, Eco'nun bir romancıya, bir edebiyatçıya dönüşmesiyle ortaya çıkan şey çok daha üstün oluyor.
Diğer kitaplarına nazaran çok daha ağır, sıradan okuyucuyu zorlayacak bir üslupla karşımıza çıkıyor Eco. Örnek olsun diye kitaptan çok sevdiğim kısacık bir parçayı yazının sonuna koyuyorum.
Kitabın konusu yine Foucault Sarkacı'nda olduğu gibi çok basit. Roberto bir deniz kazası neticesinde sularda kaybolur, sonra şans eseri içinde ilk etapta kimsenin görünmediği, bir adanın karşısına demirlenmiş başka bir gemiye çıkar. Roberto yüzme de bilmediği için bu gemide kalır ve zamanla gemide kendisinden başka birinin, bir davetsiz konuğun daha olduğunu, ama kendisinden gizlendiğini fark eder.
Temel olarak roman, Roberto'nun bu gemideki hayatını, geçmişini düşünmesini anlatır. Kabaca üç bölüme ayırabileceğimizi düşünüyorum.
İlk olarak ilk gençliğindeki Casale savaşını görürüz. Ben bu kısmı, bilhassa da Roberto'nun babasını çok sevdim. Kitapla ilgili biraz okuyunca, bu bölümün karmaşık bulunduğunu gördüm ama buna katılmıyorum. Kim kimdir, kimler kimlerle savaşıyor biraz karışık olsa da kısa zamanda çözülüyor.
İkinci kısımda kitabın ortalarında baskın olarak o zamanın bilimsel anlayışlarını ve bilhassa coğrafi arayışları, yöntem denemelerini görüyoruz. Benim yer yer zorlandığım bir bölüm oldu bu, çünkü takip etmekte zorlandım. Lakin bu benim yetersizliğimden kaynaklanıyor olabilir.
Kitabın son bölümü, Roberto'nun ölüm korkusunu ve üretmeye başlaması konu ediniyor, ki her sayfası çok değerli. Foucault Sarkacı için yazdığım bir şey vardı: Bütün o karmaşık anlatının ardında basit bir varoluş problemi yatıyor, demiştim. Önceki Günün Adası bunun daha net bir şekilde irdelenmiş hali: Ölümün dünyamızı ele geçirmesi, bizi çaresiz bırakması, ölümün karşısındaki insanın basitliği her sayfada karşımıza çıkıyor. Roberto'nun ölümün yok ediciliği karşısında sonsuz olabilmek adına yazmaya başlıyor. Hayatını daha katlanılabilir kılmak adına, hayatta kalabilmek, onu daha anlamlı kılmak adına, yok olup gitmemek için yazıyor. Roberto'nun bu kararının altyapısı özellikle Saint-Savin ile olan diyaloglarında çok güzel verilmiş.
***
Ayrıca birkaç şeye değinmek istiyorum.
Çevirmen: Ben Kemal Atakay'ı görünce Şadan Karadeniz'den kurtulduk diye sevinirken, daha az Öztürkçe'lisi, ama daha az özenlisi gelmiş yerine. Yine Öztürkçe var yani. Anlamıyorum Eco'dan ne istiyor Can Yayınları. Ve dediğim gibi, Şadan Karadeniz en azından emek vererek doğru düzgün dipnotlar hazırlıyordu, bu kitapta böyle çok eksik vardı.
Okuyucu: Genel olarak bu kitap beğenilmemiş, Eco'nun popülaritesinden pek nasibini almamış 1-2 kitabından. Açıkçası hiç şaşırmadım, asıl şaşırdığım Eco'nun diğer kitaplarını okumaları. Ama bu kitap Foucault Sarkacı'ndan da ötede bir zorluk taşıyor, çünkü okura bir misyon yüklüyor. Onun oyunun içine davet ediyor. Benim elimde 8. baskısı var, bu kadar baskı yapmış olması bile çok şaşırtıcı.
***
Çocuğunu beşikte uyumaya zorlamak isteyen ve çocuğun üzerine bir örtü serip onu küçük bir geceyle örten bir anne gibi, gezegene büyük geceyi sersin diye. Dua etti: Her şeyi görüş alanından çıkaran gecenin, gözlerini kapanmaya davet etmesi için; karanlıkla birlikte sessizliğin gelmesi için; ve nasıl güneşin doğmasıyla aslanlar, ayılar ve kurtlar (ki hırsızlar ve katiller gibi onlar da ışıktan nefret ederler) kendilerine barınak ve bağışıklık sağlayan mağaralara kapanmaya koşuyorlarsa, bunun karşıtı olarak, güneşin batıya, geriye çekilmesiyle düşüncelerin tüm gürültüsünün ve uğultusunun geriye çekilmesi için. Işık bir kez öldükten sonra, ondaki ışıktan yaşam alan ruhlar kendilerinden geçsinler ve durgunluk ile sessizlik hüküm sürsün diye.
Yağ lambasını üfleyip söndürdüğünde, elleri yalnızca dışarıdan içeriye süzülen bir ayışığıyla aydınlandı. Karnından beynine bir sis yükseldi ve gözkapaklarının üzerine düşerek, ruh gözkapaklarının kenarına yaslanıp dikkatini dağıtacak herhangi bir nesne görmesin diye onları kapattı. Ve yalnızca gözleriyle kulakları değil, elleriyle ayakları da uyudu; yalnızca asla dinlenmeyen kalp uyumadı.
July 5, 2019
A rather large part of me is astounded, yet again, at the erudition and the hopelessly convoluted tale that Umberto Eco is able to write, all when staying close to a single, simple premise. Indeed, the amount of real history, real contemporary and historical thought pre-1640's, is enough to send any regular scholar into paroxysms of joy... or the need to act on vengeance.
At any point the book, I can sit back and enjoy the text, the dry accounting of an anonymous scholar as he (or she) goes over the left behind documents of a shipwrecked scholar finding himself marooned on ANOTHER ship off the coast of a deserted island, unable to leave the ship because can't swim.
Ok, a little labyrinthian. But wait! He lives and dies recounting his youth, and out of learned frustration and boredom, devises a narration of himself both fantastic and strange. A twin brother which accounts for all his crimes and failures. A life of mystery and intrigue. A lost love is given over to his fictional brother, giving him all the good things as well as the bad.
The progression and subtle shifts throughout the novel are rather excellent.
So why am I giving this a three star? Well, for as much as I appreciate the beautiful writing and the excellent idea behind it, it fell flat. I didn't care for either Roberto or his evil self-narrative twin. And the amount of space spent on Galenic and cutting-edge 17th-century science might be AWESOME in retrospect and conception, but a FREAKING DRAG in execution. :)
Lordy, I can't recommend this to anyone except those who LIKE this kind of scrupulous historical drama with a HUGE dose of accurate historical erudition. This is a scholar who's trapped and a scholar who goes over this long-dead scholar's work. Ergo, it follows that the reader should ALSO be a scholar. :)
Read this with caution. It doesn't have the charm of Baudolino or the crazy humor of Foucault's Pendulum or the awesome historical mystery of Name of the Rose. Alas. But it is nicely labyrinthian if you're into that kind of thing. :)
At any point the book, I can sit back and enjoy the text, the dry accounting of an anonymous scholar as he (or she) goes over the left behind documents of a shipwrecked scholar finding himself marooned on ANOTHER ship off the coast of a deserted island, unable to leave the ship because can't swim.
Ok, a little labyrinthian. But wait! He lives and dies recounting his youth, and out of learned frustration and boredom, devises a narration of himself both fantastic and strange. A twin brother which accounts for all his crimes and failures. A life of mystery and intrigue. A lost love is given over to his fictional brother, giving him all the good things as well as the bad.
The progression and subtle shifts throughout the novel are rather excellent.
So why am I giving this a three star? Well, for as much as I appreciate the beautiful writing and the excellent idea behind it, it fell flat. I didn't care for either Roberto or his evil self-narrative twin. And the amount of space spent on Galenic and cutting-edge 17th-century science might be AWESOME in retrospect and conception, but a FREAKING DRAG in execution. :)
Lordy, I can't recommend this to anyone except those who LIKE this kind of scrupulous historical drama with a HUGE dose of accurate historical erudition. This is a scholar who's trapped and a scholar who goes over this long-dead scholar's work. Ergo, it follows that the reader should ALSO be a scholar. :)
Read this with caution. It doesn't have the charm of Baudolino or the crazy humor of Foucault's Pendulum or the awesome historical mystery of Name of the Rose. Alas. But it is nicely labyrinthian if you're into that kind of thing. :)
December 19, 2009
تدور أحداث الرواية حول شاب إيطالي من القرون الوسطى قد علق على متن سفينة مهجورة و مركونة قرب حيد مرجاني و أمام ناظريه جزيرة يعجز عن الوصول إليها... هذه الجزيرة بحسب ما كان يُعتقد في ذاك الزمن تقع على خط الهاجرة الذي يشكل الفاصل بين الأمس و اليوم...
أسلوب الرواية لذيذ و مسل و لامألوف فهي تنُقل على لسان إيكو الذي ينقل لنا القصة من خلال أوراق تركها الشاب على السفينة و يحاول إيكو في أثناء ذلك تحليل ما جرى مع الشاب و تفلت من بين السطور السخرية من طريقة الشاب في الكتابة و أسلوبه و طريقة تفكيره و بكل ما يتعلق بتلك الفترة على ما تبدو عليه من سذاجة...
في هذه الرواية لا يعيش القارئ مغامرة مثيرة مع البطل من خلال الأحداث فقط و إنما ما هو أكثر إثارة أن الرواية تشكل مغامرة معقدة للقارئ... تحد فكري و لغوي حقيقي... فالرواية مليئة بالسفسطة و التفلسف و كثير من الكلام و الأخذ و الرد حول الزمان و المكان و اللانهائية و اللاشي و الشيء و الفراغ و الوجود و الإيمان الخ... بل و حتى كثير من التلاعب بالكلمات و المحسنات اللغوية و أيضا المعلومات الجغرافية و العلمية القروسطية الغريبة و الطريفة...
الترجمة مذهلة و رهيبة... و لا أستطيع تخيل ترجمة يمكن أن تكون أفضل من ذلك... و رغم أن كثيرا من الكلمات غير مترجمة إلا أن المترجم أحمد الصمعي يعتذر أن ترجمة إيكو متعسرة فهو ينحت كلمات و يشتقها و يخترعها... لكن ذلك لم يؤثر في سير الرواية بل برأيي هذا الإقحام اللغوي اللاتيني قد أضفى عليها هالة من الغموض... و الله يسلم إيديك يا أحمد على هالترجمة المذهلة...
لكن لا تنسوا القاعدة الذهبية أن لا تقرأوا مقدمة المترجم إلا بعد الانتهاء من الرواية... لأنه كعادة المترجمين يلخصون الرواية قبل البدء، و يفسدون الكثير من المتعة... لو أني كنت أريد تلخيصا لما كنت ابتعت الرواية! فضلا عن أنهم يذكرون تأويلاتهم و هو ما لا أحب معرفته قبل أن أشكل تأويلي الخاص... ليتهم يضعون تأويلاتهم و تلخيصاتهم في آخر الرواية و ليس في أولها... لكني لم أقع في الفخ هذه المرة... و تجنبت المقدمة حتى النهاية...
في البداية كان تآلفي مع الرواية صعبا و كأني كنت أخوض معركة... و لكن شيئا فشيئا تعلقت بأسلوب إيكو المعقد... و أعتقد أن هذه الرواية كتبت _كما قال في مقابلة معه_ للقارئ الذي يحب التحدي مع الكتاب و التفكير و عدم التبسيط... فشخص تدور حياته على التأويل و الدلالة لا يمكن أن يأتي براوية بريئة.. إذ كل شيء فيها متعمد...
لا أنكر أن من أكثر ما أحببته هو المقاطع الجدلية و السفسطائية ثم السخرية منها و من اللغة المزخرفة حد التحذلق حتى لكأن إيكو الذي كتبهم يتبرأ منهم... أن لست أنا من يقول هذا و إنما روبارتو و أهل زمانه... و كأنه شطر نفسه لاثنين، الأول متحذلق و الآخر يسخر من حذلقته...
وددت فعلا لو أكتب أيضا رواية بهذه الطريقة أتلاعب فيها بالكلمات و املؤها سفسطة و أبثها كل أفكاري المريضة ثم و بدهاء أجد طريقة للتبرأ منها و السخرية...
الرواية أعجبتني جدا... أي دماغ تحمله يا إيكو... أي دماغ...
أسلوب الرواية لذيذ و مسل و لامألوف فهي تنُقل على لسان إيكو الذي ينقل لنا القصة من خلال أوراق تركها الشاب على السفينة و يحاول إيكو في أثناء ذلك تحليل ما جرى مع الشاب و تفلت من بين السطور السخرية من طريقة الشاب في الكتابة و أسلوبه و طريقة تفكيره و بكل ما يتعلق بتلك الفترة على ما تبدو عليه من سذاجة...
في هذه الرواية لا يعيش القارئ مغامرة مثيرة مع البطل من خلال الأحداث فقط و إنما ما هو أكثر إثارة أن الرواية تشكل مغامرة معقدة للقارئ... تحد فكري و لغوي حقيقي... فالرواية مليئة بالسفسطة و التفلسف و كثير من الكلام و الأخذ و الرد حول الزمان و المكان و اللانهائية و اللاشي و الشيء و الفراغ و الوجود و الإيمان الخ... بل و حتى كثير من التلاعب بالكلمات و المحسنات اللغوية و أيضا المعلومات الجغرافية و العلمية القروسطية الغريبة و الطريفة...
الترجمة مذهلة و رهيبة... و لا أستطيع تخيل ترجمة يمكن أن تكون أفضل من ذلك... و رغم أن كثيرا من الكلمات غير مترجمة إلا أن المترجم أحمد الصمعي يعتذر أن ترجمة إيكو متعسرة فهو ينحت كلمات و يشتقها و يخترعها... لكن ذلك لم يؤثر في سير الرواية بل برأيي هذا الإقحام اللغوي اللاتيني قد أضفى عليها هالة من الغموض... و الله يسلم إيديك يا أحمد على هالترجمة المذهلة...
لكن لا تنسوا القاعدة الذهبية أن لا تقرأوا مقدمة المترجم إلا بعد الانتهاء من الرواية... لأنه كعادة المترجمين يلخصون الرواية قبل البدء، و يفسدون الكثير من المتعة... لو أني كنت أريد تلخيصا لما كنت ابتعت الرواية! فضلا عن أنهم يذكرون تأويلاتهم و هو ما لا أحب معرفته قبل أن أشكل تأويلي الخاص... ليتهم يضعون تأويلاتهم و تلخيصاتهم في آخر الرواية و ليس في أولها... لكني لم أقع في الفخ هذه المرة... و تجنبت المقدمة حتى النهاية...
في البداية كان تآلفي مع الرواية صعبا و كأني كنت أخوض معركة... و لكن شيئا فشيئا تعلقت بأسلوب إيكو المعقد... و أعتقد أن هذه الرواية كتبت _كما قال في مقابلة معه_ للقارئ الذي يحب التحدي مع الكتاب و التفكير و عدم التبسيط... فشخص تدور حياته على التأويل و الدلالة لا يمكن أن يأتي براوية بريئة.. إذ كل شيء فيها متعمد...
لا أنكر أن من أكثر ما أحببته هو المقاطع الجدلية و السفسطائية ثم السخرية منها و من اللغة المزخرفة حد التحذلق حتى لكأن إيكو الذي كتبهم يتبرأ منهم... أن لست أنا من يقول هذا و إنما روبارتو و أهل زمانه... و كأنه شطر نفسه لاثنين، الأول متحذلق و الآخر يسخر من حذلقته...
وددت فعلا لو أكتب أيضا رواية بهذه الطريقة أتلاعب فيها بالكلمات و املؤها سفسطة و أبثها كل أفكاري المريضة ثم و بدهاء أجد طريقة للتبرأ منها و السخرية...
الرواية أعجبتني جدا... أي دماغ تحمله يا إيكو... أي دماغ...
September 9, 2023
Vor vielen Jahren habe ich Ecos Roman schon einmal gelesen und konnte mich nur erinnern, dass es um die schwierige Bestimmung der Längengrade ging, auf einem Schiff spielte und nicht besonders gut verständlich war. Es war gut, in einer Leserunde einen zweiten Versuch zu starten. Diesmal begriff ich, dass die Längengrade nur ein Teil in der Darstellung der Gedankenwelt einer ganzen Epoche waren. Zwar bleibt ein Schiff, das kurz vor einer Insel (die jenseits des 180. Meridian, also der Datumsgrenze) liegt, alleiniger Schauplatz, aber der dort „Gestrandete“, Roberto de la Grive, der, wie Umberto Eco, aus dem Montferrat stammt, schreibt seine Lebensgeschichte auf, die von einem nicht näher erläuterten Erzähler in einem schlechten Zustand gefunden, entziffert und gedeutet wurde. Diese Lebensgeschichte zeigt Auseinandersetzungen im Zusammenhang mit dem Dreißigjährigen Krieg im Montferrat, Robertos Aufenthalt in Paris und die Umstände, die ihn an Bord des Schiffes brachten. Wichtige Erfindungen und Entdeckungen spielen eine Rolle, wissenschaftliche Hypothesen und schwärzester Aberglauben. Sobald mich ein Detail mehr interessierte und ich nach weiteren Informationen suchte, stellte ich fest, wie historisch genau Eco die Zeit wiedergegeben hat. Selbst Personen wie z. B. Kardinal Richelieu fügen sich mühelos in den Kontext ein. Und doch ist es kein Historienroman, dem es darauf ankäme, Geschichte nachzuerzählen. Vielleicht ein Loblied auf den Entdecker- bzw. Forschergeist der beginnenden Aufklärung, auf die Leistungen des menschlichen Denkens. Es ist aber genauso ein Loblied auf die Fantasie und Vorstellungskraft, die Voraussetzung für Entdeckungen ist, die aber darüber hinaus so viele Möglichkeiten hat, wie z. B. gedanklich ein einsames Schiff zu verlassen, ein anderes Leben zu führen oder Romane zu schreiben.
Sollte ich je auf eine einsame Insel verbannt werden oder auf einem verlassenen Schiff festsitzen, wäre es gut, Ecos Buch dabei zu haben, denn mit dem sehr dichten Text, der viel mehr enthält, als sich bei einmal lesen bemerken lässt, könnte ich viel Zeit verbringen und hätte eine gute Anleitung zur gedanklichen Flucht
Sollte ich je auf eine einsame Insel verbannt werden oder auf einem verlassenen Schiff festsitzen, wäre es gut, Ecos Buch dabei zu haben, denn mit dem sehr dichten Text, der viel mehr enthält, als sich bei einmal lesen bemerken lässt, könnte ich viel Zeit verbringen und hätte eine gute Anleitung zur gedanklichen Flucht
February 17, 2010
I was recommended to read Umberto Eco by a friend of mine, and I was not disappointed at all.
Eco's style is a bit dense, so I can imagine it would not appeal to a lot of people. However, it's also extremely lyrical and beautiful. The book itself is littered with debates on life and death, love, the nature of God and time itself. This is probably the book's greatest strength, as Eco writes so beautifully about such lofty ideals. So for anyone who's a fan of debating or philosophy would probably enjoy this book.
I will say however, that the book itself requires a certain kind of mindset. So while I immediately loved the book and its premise, it still took me a decent amount of time to really feel as if I were absorbing it. There were times where I really wanted to read the book, but I felt way too overwhelmed at the time, or I wasn't really in the right mindset to really read it and appreciate it.
Eco's style is a bit dense, so I can imagine it would not appeal to a lot of people. However, it's also extremely lyrical and beautiful. The book itself is littered with debates on life and death, love, the nature of God and time itself. This is probably the book's greatest strength, as Eco writes so beautifully about such lofty ideals. So for anyone who's a fan of debating or philosophy would probably enjoy this book.
I will say however, that the book itself requires a certain kind of mindset. So while I immediately loved the book and its premise, it still took me a decent amount of time to really feel as if I were absorbing it. There were times where I really wanted to read the book, but I felt way too overwhelmed at the time, or I wasn't really in the right mindset to really read it and appreciate it.
June 24, 2021
Umberto Eco non delude mai, e costruisce sempre testi intellettuali,con riferimenti, riflessioni filosofiche. Strutturato eccezionalmente fra realtà e sogno, riflessione e azione, fondendoli in una narrazione coerente e uniforme. L'ambientazione è adatta per muoversi fra ricordi e fantasie, un senso di straniamento che viene dall'abbandono, di evasione che viene dalla solitudine.
Un libro che ha moltissimo da dire, ti stuzzica e ammalia. La scrittura è studiatissima, fluida, affascinante e trascinante: ti fa trascendere dalla realtà, e immergere nell'atmosfera sospesa, fuori dal tempo della nave, siamo anche noi immerse nelle nebbie del naufragio, persi al di là di sé stessi eppure mai così in contatto con la propria parte più profonda.
Già il titolo evoca perfettamente lo stile e le atmosfere del libro.
Sicuramente il mio preferito dopo il nome della Rosa.
Un libro che ha moltissimo da dire, ti stuzzica e ammalia. La scrittura è studiatissima, fluida, affascinante e trascinante: ti fa trascendere dalla realtà, e immergere nell'atmosfera sospesa, fuori dal tempo della nave, siamo anche noi immerse nelle nebbie del naufragio, persi al di là di sé stessi eppure mai così in contatto con la propria parte più profonda.
Già il titolo evoca perfettamente lo stile e le atmosfere del libro.
Sicuramente il mio preferito dopo il nome della Rosa.
September 6, 2019
(2.5)
Eco was a great writer. His erudition was legendary and the two previous novels of his that I had completed expressed this well with great storytelling and suspense mixed with a welcome knowledge of the late Middle ages and early Modern period of Europe. While 'The Island of the Day Before', shares these same qualities, it is a completely different monster. At times, I found myself lost in the philosophical (perhaps pseudo-philosophical) meanderings of Roberto and his cohorts and that took away from my enjoyment; I just didn't care enough to dwell deep beyond the surface of its contents.
As I spent 3 months on this, I must say that I have NEVER stuck with a book as long as this and only did so because of my respect and enjoyment of his other works.
There was a ton of symbolism in this that I grasped mostly, (perhaps, it went over my head at times) which was interesting, but this just wasn't a satisfying read.
I see a mixture of 1 and 5 ratings a plenty here and they are both justifiable, depending on what you gain from this piece of Eco's oeuvre that unfortunately, at one time, left me wanting to give up not only on the book, but his works overall. 'Foucault's Pendulum' will be my next read, but this reader isn't in a hurry for his next experience.
Finally, if you are reading this, please do not start here. 'The Name of the Rose' would be my first pick along with 'Baudolino' as a second selection.
Eco was a great writer. His erudition was legendary and the two previous novels of his that I had completed expressed this well with great storytelling and suspense mixed with a welcome knowledge of the late Middle ages and early Modern period of Europe. While 'The Island of the Day Before', shares these same qualities, it is a completely different monster. At times, I found myself lost in the philosophical (perhaps pseudo-philosophical) meanderings of Roberto and his cohorts and that took away from my enjoyment; I just didn't care enough to dwell deep beyond the surface of its contents.
As I spent 3 months on this, I must say that I have NEVER stuck with a book as long as this and only did so because of my respect and enjoyment of his other works.
There was a ton of symbolism in this that I grasped mostly, (perhaps, it went over my head at times) which was interesting, but this just wasn't a satisfying read.
I see a mixture of 1 and 5 ratings a plenty here and they are both justifiable, depending on what you gain from this piece of Eco's oeuvre that unfortunately, at one time, left me wanting to give up not only on the book, but his works overall. 'Foucault's Pendulum' will be my next read, but this reader isn't in a hurry for his next experience.
Finally, if you are reading this, please do not start here. 'The Name of the Rose' would be my first pick along with 'Baudolino' as a second selection.
May 23, 2019
This is a beautiful elegiac invocation of a lost age and just as good as Eco's "The Name of the Rose". However, I'd be wary of recommending this to others, because in many ways it is more of a kind of unraveling of a novel than an actual novel. Now, I don't mean that in some stupid, pedantic, pomo bullshit kind of way. Rather, it is a multi-layered ode to a certain way of thinking in a certain era of history and how they can basically cause a novel to fall to pieces once you start plucking at its beautiful, beautiful threads.
The plot is simple if trying: a young Italian nobleman on a mission of espionage for the Church ends up shipwrecked on a ship after his ship gets destroyed in a storm. He is stuck on the ship in the bay of a beautiful island he apparently can't get to. He has a possibly imaginary evil twin brother, a crazed series of encounters with the thought and events of the time (1640s, during the 30-Year War), and these begin to generally inform both his madness and the events unfurling around him.
Plot, yes, but the real beauty of the book is the way the thought of the early 17th century is woven into the characters' perceptions of what is happening around them, and here we're talking biles, humours, the Void, the science of referred pain and healing via sympathy, and so on.
You might, as I did, wonder what the hell was going on at any given time, but at least you are led astray beautifully!
The plot is simple if trying: a young Italian nobleman on a mission of espionage for the Church ends up shipwrecked on a ship after his ship gets destroyed in a storm. He is stuck on the ship in the bay of a beautiful island he apparently can't get to. He has a possibly imaginary evil twin brother, a crazed series of encounters with the thought and events of the time (1640s, during the 30-Year War), and these begin to generally inform both his madness and the events unfurling around him.
Plot, yes, but the real beauty of the book is the way the thought of the early 17th century is woven into the characters' perceptions of what is happening around them, and here we're talking biles, humours, the Void, the science of referred pain and healing via sympathy, and so on.
You might, as I did, wonder what the hell was going on at any given time, but at least you are led astray beautifully!
July 30, 2020
اگر شما هم مثل من به تاریخ رنسانس علاقمندید یا دوست دارید با روبرتو دولاگریو در میدان نبرد شمشیر بزنید یا اگر مایلید سوار کشتی بادبانی دفنه شده و همگام با قهرمان داستان با اسرار این کشتی مرموز آشنا شوید درضمن اگر دوستدار نجوم و جغرافیا هستید و میخواهید از جام حکمت و فلسفه بنوشید و روح و جانتان تازه شود پیشنهاد میکنم کتاب جزیره روز پیشین را به قلم توانای اومبرتو اکو و ترجمه دلانگیز خانم مهدوی دامغانی بخوانید!
داستانی که پیش روی شماست حداقل حاصل سه یا چهار روایت تودرتو است که در دنیای خیال و رویا، واقعیت و خواب، و سرزمین رمان سیر میکند.
جایی که دولاگریوی واقعی با فرانتهی خیالی یا برعکس جابجا میشوند.
رمان در جاهایی از مرز بین تخیل گذر میکند و از نگاه فرانته (که خود ساخته ذهن روبرتو است)از برزخیهایی که میبیند و از مشاهداتش سخن میگوید اکو در این مشاهدات گریزی هم به کمدی الهی دانته زده است!
پیچیدگیهای فرم و محتوا، اثری فوقالعاده به وجود آورده است.
گنجاندن علم و فلسفه و حکمتهای ناب و پیچیدگی ها و اسرار تاریخی در کنار توصیفات زیبا در بطن داستانی عاشقانه و پاشیدن رنگ و جلوههای بصری متنوع به متن، خواندن این کتاب قطور را آسان میکند هرچند شاید در مقاطعی کتاب به سختی جلو میرود و به نظر میرسد که گرفتار اطناب کلام شده باشد ولی خواننده را همچنان در وادی حیرت و سردرگمی باقی میگذارد.
اما در نهایت گرههای داستان و مخصوصاً روایت قصه گشوده میشود تا خواننده پس از خواندن ۷۱۲ صفحه چالش برانگیز نفسی عمیق بکشد!
داستانی که پیش روی شماست حداقل حاصل سه یا چهار روایت تودرتو است که در دنیای خیال و رویا، واقعیت و خواب، و سرزمین رمان سیر میکند.
جایی که دولاگریوی واقعی با فرانتهی خیالی یا برعکس جابجا میشوند.
رمان در جاهایی از مرز بین تخیل گذر میکند و از نگاه فرانته (که خود ساخته ذهن روبرتو است)از برزخیهایی که میبیند و از مشاهداتش سخن میگوید اکو در این مشاهدات گریزی هم به کمدی الهی دانته زده است!
پیچیدگیهای فرم و محتوا، اثری فوقالعاده به وجود آورده است.
گنجاندن علم و فلسفه و حکمتهای ناب و پیچیدگی ها و اسرار تاریخی در کنار توصیفات زیبا در بطن داستانی عاشقانه و پاشیدن رنگ و جلوههای بصری متنوع به متن، خواندن این کتاب قطور را آسان میکند هرچند شاید در مقاطعی کتاب به سختی جلو میرود و به نظر میرسد که گرفتار اطناب کلام شده باشد ولی خواننده را همچنان در وادی حیرت و سردرگمی باقی میگذارد.
اما در نهایت گرههای داستان و مخصوصاً روایت قصه گشوده میشود تا خواننده پس از خواندن ۷۱۲ صفحه چالش برانگیز نفسی عمیق بکشد!
January 12, 2008
Definitely my favorite Eco book. Got to give Annie props for recommending this one to me. Who knew that longitude could be such an interesting ontological motif?
May 6, 2018
Shipwrecked on a ship. Such is the predicament of Roberto della Griva, who, having survived the torments of the open ocean on board floating debris, discovers an enormous, abandoned ship resting in the water outside a mysterious island. He pulls himself on board and finds the ship empty, yet fully stocked, as if recently abandoned. The ship is vast and full of strange rooms. He discovers a garden populated with dozens of exotic birds, a room stocked with all manner of ticking clocks... As he explores the ship, he writes his account in his diary.
Later, these papers find their way to an unnamed biographer, who assembles a book about Roberto. So we see the story of Roberto through his diaries, and we see the diaries through the biographer. The story of the ship is the beating heart of the narrative, and it is orbited by an excursion through the Baroque world, as Roberto's past adventures in Europe, encountering the alchemy and science of the age. From these stories layered on stories, a twisted tale of espionage, science and magic emerges.
Such is the delicious mixture of the adventurous and arcane that rules the first half of Umberto Eco's elegant puzzlebox of a novel, The Island of the Day Before. I read the first one hundred and fifty pages of this book in almost one sitting. Eco's style is genial and pleasant, his characters are humorous and likable, his sense of atmosphere superb. Throughout the opening of this novel, Eco draws on a number of influences. Defoe is here, and so is Cervantes and Rabelais. Yet these antique styles are married to more modern sensibility, the influence of Borges is clear, and a bit of Pynchon has snuck in while no one was looking.
The Island of the Day Before is a pure pleasure to read. Nearly every chapter features a new and delicious element. There are complex dialogues on mathematics, science, and theology. There are scenes of warfare and espionage. There are a few genuinely macabre villains, and a scene featuring an unfortunate dog that sent shivers down my spine. And most of all, throughout, Eco contrasts a story of survival, perhaps the most primal drive, with the highest echelons of human intellect, and finds an equilibrium between the two. Eco's book, to me, is a tale of human dignity and the wonderful drive to learn.
His style is generally restrained, but breaks sometimes into lavish lyricism. The second-to-last chapter, Itinerarium Extaticum Coeleste is one of the most beautiful things I have ever read, and represents a kind of confluence of all the themes Eco has developed throughout. Science, magic, storytelling, and love combine in an explosion of gorgeous, surreal writing. It has to be seen to be believed.
After reading a book as rich as The Island of the Day Before I am left wondering what to say in a review other than "Go and read this book immediately." I certainly haven't picked up on all the meanings and themes Eco weaves into this tale. In the face of a book of such immense learning, beauty, and joy, I am left feeling a bit unqualified, and all I can think to say is that I am going to be reading more Umberto Eco, and soon...
Strongly recommended.
August 1, 2013
Прекрасный палимпсест популярного семиолога - швы, в отличие от "Маятника Фуко", здесь не торчат, а попытка проникнуть в донаучный ум достойна восхищения. Автор, конечно, сильно лукавит по ходу, однакож убедительно эмулирует это пограничное состояние между магическим и позитивистским сознанием, из которого произрастает что угодно волшебное и удивительное. Ну и, конечно, ужас и одиночество человека перед постижением мироздания... Если сейчас человечество еще в детстве познания, то Эко пытался зафиксировать что? фазу осмысленного гуления?.. а невинности того опыта нам, конечно, уже не вернуть - хотя кто сказал, что нынешний чем-то лучше или хуже. В постижении мироздания - то же шаманство.
November 30, 2008
I really hated this book. I choked through it due to the sheer fortitude engendered by my unreasonable need to finish every book that I start. Every. Single. Book. Had I been able to dismiss it, I would have. A friend once told me that I should read Eco's essays, and that his fiction was an attempt to destroy overly-used literary devices of current literature by gluttonously indulging in them. I've never actually bothered to look into whether or not it was true because, truthfully, it's the myth I need to believe.
August 11, 2023
Die Liebe zur Sprache als Sinnsuche auf den Sieben Weltmeeren.
„Die Insel des vorigen Tages“ will ein Rätsel bleiben, ein Buch mit sieben Siegeln, das sich gegen das Entschlüsseln, Verstehen, das begriffliche Evozieren von Sinn wehrt. Eco zieht hierzu eine barocke, manieristische, überladende Sprache heran. Sie greift in das Wortmaterial ein, bläst die Sätze auf, lässt Adjektive, Appositionen hochfliegen und sammelt unten, im Staub, die Perlen eines verlorenen gegangenen Sinnes auf:
„Vor der Nordspitze der Insel, wo sich eine fast glatte und senkrechte Wand erhob, entdeckte er aufsprühende Gischtfontänen, die an den Felsen schlugen und in der Luft zerstoben wie ebenso viele weiße Nönnchen. Sicher waren sie das Ergebnis von Wellen, die auf eine Reihe kleiner Felszacken schlugen, die er nicht sehen konnte, aber vom Schiff aus schien es, als bliese eine Seeschlange jene kristallenen Flammen aus der Tiefe empor.“
Worum geht es? Dreh- und Angelpunkt bildet das Problem der Vermessung der Welt in Längen- und Breitengrade. Roberto, der Protagonist, nach einer kleinen Odyssee durch den Mantuanischen Erbfolgekrieg, nach einem Umzug nach Paris, verliebt sich unglücklich in Lilia, gerät in die Kreise von Freimaurern und wird vor die Wahl gestellt, entweder wegen Hochverrats verurteilt und getötet zu werden, oder als Wiedergutmachung im Dienste ihrer Majestät einem Engländer hinterher zu spionieren, der einen Weg gefunden haben sollen, die Längengrade zu bestimmen. Der Clou - ein sympathetisches Pulver:
„Auf die Frage, warum das Pulver nicht auf die Wunde gestreut werden müsse, sondern auf die Klinge, von der sie verursacht worden sei, hatte er gesagt, das eben sei die Wirkungsweise der Natur, zu deren stärksten Kräften die universale Sympathie gehöre, die das Handeln aus der Entfernung lenke.“
Schlüssel zur Bestimmung der Längengrade ist die Synchronisation der Uhrzeit, da kein Fixpunkt wie der Polarstern am Himmel zur Verfügung steht, dessen variierende Höhe mittels nautischer Messgeräte den Breitengrad anzeigt. In Ecos Roman erfolgt diese Synchronisation vermittels des sympathetischen Pulvers. Eine Klinge verletzt ein Lebewesen. Die Klinge bleibt in Paris. Das Lebewesen reist mit dem Schiff, und zu jeder Mittagsstunde streut jemand in Paris Pulver auf die Klinge, so dass das Lebewesen an Bord aufheult und die Zeitdifferenz durch den Sonnenstand anzeigt:
„Gut geschützt vor neugierigen Augen, in einer nach seinen Maßen gezimmerten Kiste, auf einer Schicht Lumpen, lag ein Hund. […] Er lag auf der Seite, mit flach hingestrecktem Kopf und heraushängender Zunge. An seiner Flanke klaffte eine schreckliche Wunde. Frisch und brandig zugleich, wies sie zwei breite rosige Ränder auf und in der Mitte, über die ganze Länge des Schnittes, eine eiternde Seele, die Quark auszuscheiden schien.“
Ecos Roman verhandelt sämtliche Topoi der abendländischen Philosophie: die Existenz Gottes, der Wahrheit, die Einsamkeit, die Liebe und Hoffnung. Vor allem aber reflektiert „Die Insel des vorigen Tages“ Zeit, die Erzählzeit, die Lebenszeit, die Traumzeit, wie sich Sinn durch die Zeit bewegt und wie Narration auf dieser Reise, Romane, das Schreiben, die Imagination helfen, Sinn zu bewahren. Roberto schreibt Briefe, einen Roman im Roman. Er denkt und imaginiert sich in hoffnungslos gewordener Situation (er steckt auf einem Schiff fest mit der rettenden Küste in Sichtweite kann aber nicht schwimmen) und erschafft auf diese Weise ein buntes, utopisches Bild von seiner Geliebten, die auf ihn wartet. Mittels der Phantasie getraut er sich in die Fluten zu springen. Er fasst Mut, der sich allein, als Widerstandskraft, durch die Sehnsucht und seine Poesie ergeben hat.
Ecos Roman liest sich schwer, verschwurbelt, verwaschen, hier und da konfus schwadronierend, nichtssagend selbst, zusammengestückelt, wie ein Flickenteppich, beliebig, bis sich plötzlich, durch die Dauer des Lesens, des Verweilens, des aufmerksamen Verfolgens von Robertos Schicksal ein narrativer Raum freisetzt und alles, im Rückblick, mit Schwung, Schärfe und Deutlichkeit versieht. Eco gelingt ein eigenartiges Kunststück. Wo die Alchimisten scheitern, Blei in Gold umzuwandeln, spekuliert er erfolgreich mit den Elementen und erzeugt Intensität aus Nichtigkeiten, Spannung aus Langeweile. Es lässt sich kaum anders beschreiben. Roberto lebt. Er lebt mit seinem Mut, mit seiner Liebe. Er schwimmt in den Fluten, aber seine Sprache bleibt. Eco hat ein Buch über seine und die Liebe zur Literatur geschrieben.
„Die Insel des vorigen Tages“ will ein Rätsel bleiben, ein Buch mit sieben Siegeln, das sich gegen das Entschlüsseln, Verstehen, das begriffliche Evozieren von Sinn wehrt. Eco zieht hierzu eine barocke, manieristische, überladende Sprache heran. Sie greift in das Wortmaterial ein, bläst die Sätze auf, lässt Adjektive, Appositionen hochfliegen und sammelt unten, im Staub, die Perlen eines verlorenen gegangenen Sinnes auf:
„Vor der Nordspitze der Insel, wo sich eine fast glatte und senkrechte Wand erhob, entdeckte er aufsprühende Gischtfontänen, die an den Felsen schlugen und in der Luft zerstoben wie ebenso viele weiße Nönnchen. Sicher waren sie das Ergebnis von Wellen, die auf eine Reihe kleiner Felszacken schlugen, die er nicht sehen konnte, aber vom Schiff aus schien es, als bliese eine Seeschlange jene kristallenen Flammen aus der Tiefe empor.“
Worum geht es? Dreh- und Angelpunkt bildet das Problem der Vermessung der Welt in Längen- und Breitengrade. Roberto, der Protagonist, nach einer kleinen Odyssee durch den Mantuanischen Erbfolgekrieg, nach einem Umzug nach Paris, verliebt sich unglücklich in Lilia, gerät in die Kreise von Freimaurern und wird vor die Wahl gestellt, entweder wegen Hochverrats verurteilt und getötet zu werden, oder als Wiedergutmachung im Dienste ihrer Majestät einem Engländer hinterher zu spionieren, der einen Weg gefunden haben sollen, die Längengrade zu bestimmen. Der Clou - ein sympathetisches Pulver:
„Auf die Frage, warum das Pulver nicht auf die Wunde gestreut werden müsse, sondern auf die Klinge, von der sie verursacht worden sei, hatte er gesagt, das eben sei die Wirkungsweise der Natur, zu deren stärksten Kräften die universale Sympathie gehöre, die das Handeln aus der Entfernung lenke.“
Schlüssel zur Bestimmung der Längengrade ist die Synchronisation der Uhrzeit, da kein Fixpunkt wie der Polarstern am Himmel zur Verfügung steht, dessen variierende Höhe mittels nautischer Messgeräte den Breitengrad anzeigt. In Ecos Roman erfolgt diese Synchronisation vermittels des sympathetischen Pulvers. Eine Klinge verletzt ein Lebewesen. Die Klinge bleibt in Paris. Das Lebewesen reist mit dem Schiff, und zu jeder Mittagsstunde streut jemand in Paris Pulver auf die Klinge, so dass das Lebewesen an Bord aufheult und die Zeitdifferenz durch den Sonnenstand anzeigt:
„Gut geschützt vor neugierigen Augen, in einer nach seinen Maßen gezimmerten Kiste, auf einer Schicht Lumpen, lag ein Hund. […] Er lag auf der Seite, mit flach hingestrecktem Kopf und heraushängender Zunge. An seiner Flanke klaffte eine schreckliche Wunde. Frisch und brandig zugleich, wies sie zwei breite rosige Ränder auf und in der Mitte, über die ganze Länge des Schnittes, eine eiternde Seele, die Quark auszuscheiden schien.“
Ecos Roman verhandelt sämtliche Topoi der abendländischen Philosophie: die Existenz Gottes, der Wahrheit, die Einsamkeit, die Liebe und Hoffnung. Vor allem aber reflektiert „Die Insel des vorigen Tages“ Zeit, die Erzählzeit, die Lebenszeit, die Traumzeit, wie sich Sinn durch die Zeit bewegt und wie Narration auf dieser Reise, Romane, das Schreiben, die Imagination helfen, Sinn zu bewahren. Roberto schreibt Briefe, einen Roman im Roman. Er denkt und imaginiert sich in hoffnungslos gewordener Situation (er steckt auf einem Schiff fest mit der rettenden Küste in Sichtweite kann aber nicht schwimmen) und erschafft auf diese Weise ein buntes, utopisches Bild von seiner Geliebten, die auf ihn wartet. Mittels der Phantasie getraut er sich in die Fluten zu springen. Er fasst Mut, der sich allein, als Widerstandskraft, durch die Sehnsucht und seine Poesie ergeben hat.
Ecos Roman liest sich schwer, verschwurbelt, verwaschen, hier und da konfus schwadronierend, nichtssagend selbst, zusammengestückelt, wie ein Flickenteppich, beliebig, bis sich plötzlich, durch die Dauer des Lesens, des Verweilens, des aufmerksamen Verfolgens von Robertos Schicksal ein narrativer Raum freisetzt und alles, im Rückblick, mit Schwung, Schärfe und Deutlichkeit versieht. Eco gelingt ein eigenartiges Kunststück. Wo die Alchimisten scheitern, Blei in Gold umzuwandeln, spekuliert er erfolgreich mit den Elementen und erzeugt Intensität aus Nichtigkeiten, Spannung aus Langeweile. Es lässt sich kaum anders beschreiben. Roberto lebt. Er lebt mit seinem Mut, mit seiner Liebe. Er schwimmt in den Fluten, aber seine Sprache bleibt. Eco hat ein Buch über seine und die Liebe zur Literatur geschrieben.
May 22, 2018
English below Italian
Italian
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Un libro incredibile. Lo scenario temporale che fa da sfondo alla storia è l’Italia secentesca, quella della dominazione spagnola, delle competizioni europee per la conquista dei mari, della scienza che sfida la religione. Ma l’avventura del protagonista, il piemontese Roberto de la Grive, inizia tra
il luglio e l’agosto del 1643 quando, dopo il naufragio della nave Amarilli, vaga per giorni sulle onde del mare del sud legato ad una tavola. Alla fine riesce ad approdare sulla Daphne: una nave apparentemente deserta ancorata a largo di un’isola sconosciuta. Una volta a bordo, non
sapendo nuotare, si trova nella particolare situazione, detto con le sue parole “di aver fatto naufragio su di una nave deserta”.
Lo spazio dove si svolge la storia è quindi rappresentato dalla Daphne, che si scopre essere tutt’altro che disabitata: Roberto vi trova molte sorprese fra cui una serra, una stanza piena di orologi e perfino due presenze, quella inquietante e immaginaria del suo alter ego Ferrante e
quella concreta del vecchio gesuita filosofo Padre Caspar con cui escogiterà diversi vani tentativi per raggiungere l’isola.
L’avventura di Roberto rientra nel genere delle Robinsonade, quelle storie che ispirandosi al Robinson Crusoe di Daniel Dafoe, raccontano la storia di un protagonista isolato dalla civilizzazione a causa di un evento imprevisto. Lo vedono poi affrontare un ambiente
inospitale con cui, basandosi solo sulle sue forze e conoscenze, deve imparare a rapportarsi per sopravvivere. Il luogo emblematico dove è ambientato questo isolamento rappresenta la particolarità e la ingegno del romanzo di Umberto Eco.
La Daphne in fatti si trova ancorata presso il punto Fijo, dove passa l’antimeridiano di Greenwich la linea immaginaria del cambiamento della data, quella stessa linea che permise al Phileas Fogg di Jules Verne di vincere la sua scommessa e aver fatto il giro del mondo in 80
giorni e non negli 81 che aveva calcolato. In fatti, attraversando questa linea da ovest a est si mantiene la stessa ora del giorno precedente, mentre si deve passare a quella del giorno successivo procedendo da est verso ovest.
Oggi questa la posizione di questa linea è una conoscenza consolidata ma nel XVII se ne ignorava l’esatta posizione ed era proprio quella ricerca che rappresentava la missione sia
dell’Amarilli che della Daphne: la localizzazione di quel punto avrebbe consentito di calcolare le longitudini durante le navigazioni ed era quindi una priorità per tutti gli stati che avevano ambizioni esplorative e di conquista in un mondo che stava per diventare parte di un universo
infinito e sconosciuto.
La particolarità di questa ambientazione sta da un lato, nel datare l’avventura di Roberto in un epoca storica, quella secentesca, in cui l’umanità sta per scoprire quei principi scientifici che l’avrebbero scalzata dal centro dell’universo e introdotta al relativismo ontologico proprio dell’età moderna; dall’altro lato nel renderne concrete tali problematiche esistenziali moderne ambientando l’isolamento del protagonista in un non-luogo che permettendo al protagonista nuove speculazioni concettuali rende manifeste la precarietà delle convenzioni spazio temporali attraverso cui l’umanità percepiva, misurava e si rapportava al sistema mondo.
“Ora, spettatore antipode dall’infinita distesa di un oceano, scorgeva un orizzonte sconfinato.
E in alto sopra il capo vedeva costellazioni mai viste. Quelle del suo emisfero, le leggeva secondo l’immagine che altri ne avevano già fissato, qui la poligonale simmetria del Gran
Carro, là l’alfabetica esattezza di Cassiopea. Ma sulla Daphne non aveva figure predisposte, poteva unire qualsiasi punto con ciascun altro, trarne le immagini di un serpente, di un gigante, di una chioma o di una coda di insetto velenoso, per poi disfarle e tentare altre
forme.”
Leggendo questo splendido e complesso romanzo si ha l’impressione di arrivare a comprendere le ragioni della complessità dell’universo e di noi stessi. La profondità narrativa della prosa di Eco richiama questo sforzo epistemologico che non può non rivelarsi arduo e a
volte snervante. Una volta compresa la ragione di questa complessità si affronta la densità del romanzo con lo spirito determinato e ambizioso dell’esploratore.
Cosi spazio e tempo si dissolvono siamo trascinati verso meravigliose digressioni immaginative a tratti enciclopediche, che raccontate con un gusto per il dettaglio e per la complessità argomentativa si sostituiscono all’immagine che avevamo del mondo; l’individuo sembra congiungersi con l’ambiente che lo circonda mentre segni, simboli s’intrecciano a ricordi e visioni catartiche generando nuove connessioni speculative magistralmente esemplificate dalla rivelazione di un nuovo emisfero pieno di meravigliose costellazioni da scoprire.
English
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A fantastic book. The story background is set in Italy in the XVII Century during the Spanish domination and European states competition for the conquest of the seas, when science was defying religion attempting to establish a new configuration to relate to the world.
The adventure of the main character, the Piedmontese Roberto de la Grive, starts in the summer of 1643 when after the wreck of the ship Amarilli, he marooned on a deserted ship, the Daphne.
The space of the story is then this ship that he finds to be hardly desert: in fact she hides many surprises such as a kind of greenhouse, a room full of clocks and two indefinite presences that reveal themselves progressively as his imaginary alter ego Ferrante and the old Jesuit Caspar.
Roberto’s adventure belongs to the genre of Robinsonade, those tales that are inspired by Daniel Dafoe’s Robinson Crusoe, telling the story a person who was isolated from civilisation by an unexpected event. Then in order to survive they have to learn how to live within a hostile environment trusting only on their strengths and knowledge. The particularity of Eco’s novel is related to the place where he decided to set Roberto’s isolation.
The Daphne is in a harbour through which, Roberto thinks, runs the International Date Line, the same line that had allowed Phileas Fogg in Julius Verne novel to win his bet by doing the tour of the world in 80 days and not in the 81 he had count. In fact, one crossing this line from west to east has to maintain the same time of the previous day while one crossing it from East to West has to switch the date to the day after.
Today this is common knowledge but back in the XVII century its location was a mystery yet something to pursue as it would have allowed to calculate navigation better and to cast light on a world that was about to become part of an infinitive universe.
The particularity of the book lies, on one side, in dating the Roberto’s adventure in the XVII Century when humanity, thanks to scientific progress, is about to discover that it is not the centre of the universe so it is about to come across the ontological relativism of modern age; and, on the other
side, in choosing a location able to introduce to modern relativism in a concrete fashion, showing the volatility of space and time conventions the humanity used to perceive, measure the world by.
“Now, spectator from antipode of the infinitive ocean seaway, he caught sight of an unlimited horizon. And over his head he saw unseen constellations. Those of his hemisphere, he was always been able to read by the images that others had outlined, here is the polygonal
symmetry of the Ursa Major, there is the alphabetic accuracy of Cassiopeia. But on the Daphne he did not have any ready figures, he was able to connects the dots freely, getting the image of a snake, of a giant, of a crown or of a poisonous insect tail, to then undo them and go for other
shapes.”
Reading this marvellous and complex novel one gets the opposing impression of both being in the right place to comprehend the complexity of the universe and ourselves and not being able to grasp it entirely. The narrative depth of Eco’s prose recalls this epistemological effort that can hardly expected to be an easy experience as it is that of the explorers the book allows the reader to empathise with.
So space and time dissolve into wonderful imaginative digressions where the individual seems to combine with the surrounding environment while signs, symbols, memories and cathartic hallucinations create new conceptual connections mirrored splendidly by Roberto’s
attempt to imagine new constellations by connecting unseen stars.
Italian
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Un libro incredibile. Lo scenario temporale che fa da sfondo alla storia è l’Italia secentesca, quella della dominazione spagnola, delle competizioni europee per la conquista dei mari, della scienza che sfida la religione. Ma l’avventura del protagonista, il piemontese Roberto de la Grive, inizia tra
il luglio e l’agosto del 1643 quando, dopo il naufragio della nave Amarilli, vaga per giorni sulle onde del mare del sud legato ad una tavola. Alla fine riesce ad approdare sulla Daphne: una nave apparentemente deserta ancorata a largo di un’isola sconosciuta. Una volta a bordo, non
sapendo nuotare, si trova nella particolare situazione, detto con le sue parole “di aver fatto naufragio su di una nave deserta”.
Lo spazio dove si svolge la storia è quindi rappresentato dalla Daphne, che si scopre essere tutt’altro che disabitata: Roberto vi trova molte sorprese fra cui una serra, una stanza piena di orologi e perfino due presenze, quella inquietante e immaginaria del suo alter ego Ferrante e
quella concreta del vecchio gesuita filosofo Padre Caspar con cui escogiterà diversi vani tentativi per raggiungere l’isola.
L’avventura di Roberto rientra nel genere delle Robinsonade, quelle storie che ispirandosi al Robinson Crusoe di Daniel Dafoe, raccontano la storia di un protagonista isolato dalla civilizzazione a causa di un evento imprevisto. Lo vedono poi affrontare un ambiente
inospitale con cui, basandosi solo sulle sue forze e conoscenze, deve imparare a rapportarsi per sopravvivere. Il luogo emblematico dove è ambientato questo isolamento rappresenta la particolarità e la ingegno del romanzo di Umberto Eco.
La Daphne in fatti si trova ancorata presso il punto Fijo, dove passa l’antimeridiano di Greenwich la linea immaginaria del cambiamento della data, quella stessa linea che permise al Phileas Fogg di Jules Verne di vincere la sua scommessa e aver fatto il giro del mondo in 80
giorni e non negli 81 che aveva calcolato. In fatti, attraversando questa linea da ovest a est si mantiene la stessa ora del giorno precedente, mentre si deve passare a quella del giorno successivo procedendo da est verso ovest.
Oggi questa la posizione di questa linea è una conoscenza consolidata ma nel XVII se ne ignorava l’esatta posizione ed era proprio quella ricerca che rappresentava la missione sia
dell’Amarilli che della Daphne: la localizzazione di quel punto avrebbe consentito di calcolare le longitudini durante le navigazioni ed era quindi una priorità per tutti gli stati che avevano ambizioni esplorative e di conquista in un mondo che stava per diventare parte di un universo
infinito e sconosciuto.
La particolarità di questa ambientazione sta da un lato, nel datare l’avventura di Roberto in un epoca storica, quella secentesca, in cui l’umanità sta per scoprire quei principi scientifici che l’avrebbero scalzata dal centro dell’universo e introdotta al relativismo ontologico proprio dell’età moderna; dall’altro lato nel renderne concrete tali problematiche esistenziali moderne ambientando l’isolamento del protagonista in un non-luogo che permettendo al protagonista nuove speculazioni concettuali rende manifeste la precarietà delle convenzioni spazio temporali attraverso cui l’umanità percepiva, misurava e si rapportava al sistema mondo.
“Ora, spettatore antipode dall’infinita distesa di un oceano, scorgeva un orizzonte sconfinato.
E in alto sopra il capo vedeva costellazioni mai viste. Quelle del suo emisfero, le leggeva secondo l’immagine che altri ne avevano già fissato, qui la poligonale simmetria del Gran
Carro, là l’alfabetica esattezza di Cassiopea. Ma sulla Daphne non aveva figure predisposte, poteva unire qualsiasi punto con ciascun altro, trarne le immagini di un serpente, di un gigante, di una chioma o di una coda di insetto velenoso, per poi disfarle e tentare altre
forme.”
Leggendo questo splendido e complesso romanzo si ha l’impressione di arrivare a comprendere le ragioni della complessità dell’universo e di noi stessi. La profondità narrativa della prosa di Eco richiama questo sforzo epistemologico che non può non rivelarsi arduo e a
volte snervante. Una volta compresa la ragione di questa complessità si affronta la densità del romanzo con lo spirito determinato e ambizioso dell’esploratore.
Cosi spazio e tempo si dissolvono siamo trascinati verso meravigliose digressioni immaginative a tratti enciclopediche, che raccontate con un gusto per il dettaglio e per la complessità argomentativa si sostituiscono all’immagine che avevamo del mondo; l’individuo sembra congiungersi con l’ambiente che lo circonda mentre segni, simboli s’intrecciano a ricordi e visioni catartiche generando nuove connessioni speculative magistralmente esemplificate dalla rivelazione di un nuovo emisfero pieno di meravigliose costellazioni da scoprire.
English
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A fantastic book. The story background is set in Italy in the XVII Century during the Spanish domination and European states competition for the conquest of the seas, when science was defying religion attempting to establish a new configuration to relate to the world.
The adventure of the main character, the Piedmontese Roberto de la Grive, starts in the summer of 1643 when after the wreck of the ship Amarilli, he marooned on a deserted ship, the Daphne.
The space of the story is then this ship that he finds to be hardly desert: in fact she hides many surprises such as a kind of greenhouse, a room full of clocks and two indefinite presences that reveal themselves progressively as his imaginary alter ego Ferrante and the old Jesuit Caspar.
Roberto’s adventure belongs to the genre of Robinsonade, those tales that are inspired by Daniel Dafoe’s Robinson Crusoe, telling the story a person who was isolated from civilisation by an unexpected event. Then in order to survive they have to learn how to live within a hostile environment trusting only on their strengths and knowledge. The particularity of Eco’s novel is related to the place where he decided to set Roberto’s isolation.
The Daphne is in a harbour through which, Roberto thinks, runs the International Date Line, the same line that had allowed Phileas Fogg in Julius Verne novel to win his bet by doing the tour of the world in 80 days and not in the 81 he had count. In fact, one crossing this line from west to east has to maintain the same time of the previous day while one crossing it from East to West has to switch the date to the day after.
Today this is common knowledge but back in the XVII century its location was a mystery yet something to pursue as it would have allowed to calculate navigation better and to cast light on a world that was about to become part of an infinitive universe.
The particularity of the book lies, on one side, in dating the Roberto’s adventure in the XVII Century when humanity, thanks to scientific progress, is about to discover that it is not the centre of the universe so it is about to come across the ontological relativism of modern age; and, on the other
side, in choosing a location able to introduce to modern relativism in a concrete fashion, showing the volatility of space and time conventions the humanity used to perceive, measure the world by.
“Now, spectator from antipode of the infinitive ocean seaway, he caught sight of an unlimited horizon. And over his head he saw unseen constellations. Those of his hemisphere, he was always been able to read by the images that others had outlined, here is the polygonal
symmetry of the Ursa Major, there is the alphabetic accuracy of Cassiopeia. But on the Daphne he did not have any ready figures, he was able to connects the dots freely, getting the image of a snake, of a giant, of a crown or of a poisonous insect tail, to then undo them and go for other
shapes.”
Reading this marvellous and complex novel one gets the opposing impression of both being in the right place to comprehend the complexity of the universe and ourselves and not being able to grasp it entirely. The narrative depth of Eco’s prose recalls this epistemological effort that can hardly expected to be an easy experience as it is that of the explorers the book allows the reader to empathise with.
So space and time dissolve into wonderful imaginative digressions where the individual seems to combine with the surrounding environment while signs, symbols, memories and cathartic hallucinations create new conceptual connections mirrored splendidly by Roberto’s
attempt to imagine new constellations by connecting unseen stars.
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