El otoño del patriarca

ISBN: 9681317076
ISBN 13: 9789681317072
By: Gabriel Garcí­a Márquez

Check Price Now

Genres

1001 1001 Books Classics Currently Reading Favorites Fiction Literature Magical Realism Novels To Read

About this book

El tema de El otono del patriarca, que por su estructura y su lenguaje no tiene precedentes en la literatura latinoamericana y ni siquiera en la obra del autor, son las ilusiones y la soledad irremediable del poder encarnadas en una figura anonima y mitica que es la de muchos patriarcas de la America Latina pero tambien, de algun modo, el protagonista ejemplar de las calamidades y tribulaciones humanas que aqui se manifiestan como representaciones de un delirio omnipotente y solitario, de destruccion y pesadumbre.

Reader's Thoughts

الحنينْ

.رائعة ماركيز هذههي عن ديكتاتور أفرط في الديكتاتورية والغروركان عمره طويلًا جدًا مما جعله يظن نفسه خالدًامتوحش ومقزز لدرجة جعلتني أتخيله معمر القذافيالرواية كلها تحكي عنه، كيف يعيش وكيف ينظر لنفسه والأهم ماهي أفكاره ونظرته الداخلية تجاه نفسه وشعبه وأمه ومخاوفه ورغباته، مما يقرب القارئ لحقيقة هذه الشخصية المقززة والذي يزيده احتقارًا لها.ماركيز هنا أبدع بالوصف الدقيق حتى أنه يجعل القارئ يرى الأحداث بوضوح وهو يقرأفكأني كنت في غرفة البطريرك ومجلس اجتماعاته وبين البرصى والمشلولين والعميانو و و....رواية جميلة تبين أنه مهما ازداد الظالم بغيًا وغرورًا فإنه سيظل انسانًا ضعيفًا لا يملك من أمره إلا القليل، والأهم أنه مهما ازداد عمرًا فإنه سينتهي يومًا

Sanabel Atya

"خريفُ البطريرك،،روايةخطب الديكتاتور الموزونة،،قصيدة لمحمود درويشوكلاهما يخطان السيرة ذاتها!"للوهلة الأولى،وربما تنتهي من الفصل الأول دون أن تفهم شيئاً،أو بمعنى أدق-مش عارف وين راس الرواية و وين رجليها!-وهذا بسبب كيفية صياغة العبارت،في طريقة فريدة من نوعها.حقاً،لحتى هذه اللحظة،أقفُ عاجزة أمام عبقرية هذا الرجل -على الأقل- في كيفية صياغة الجمل،صياغة جمل طويلة جداً،بحيث أنه نادراً ما استخدم الفواصل والنقاط! ربما استخدم نقطة واحدة فقط في فصل كامل.قرأتها بالعربية،،ويقول المُترجم أنه حاول قدر المُستطاع في نقل العبارات كما أرادها أو كتبها صاحبها تماماً.بصراحة،كنتُ مُنسجمة في قرائتها أكثر مما انسجمتُ في قراءة مائة عام من العُزلة!

Czarny Pies

Je donne ce livre cinq étoiles, faute de pouvoir lui donner cinq étrons.The Autumn of the Patriarch is one of two novels (the other being the General in is Labyrinth) that Marquez wrote about autocrats. I like neither. If Marquez in any way understands how dictators acquire and maintain power, hecertainly conceals it well from his readers.Marquez's dictator is tough, sadistic and immoral. He loves sex, becomes paranoid with age and predictably dies. However, Marquez ignores that talent, skill and cunning are required to achieve power. The worst dictators were capable of inspiring loyalty and motivating their followers. What on the earth is the point of a novel about a dictator if no explanation is given for the man's success. The press will tell us about the bad qualities but the novelist needs to show us the complete man.I am rather confused. Marquez was on intimate terms with jolly Fidel Castro so he actually one knew one dictator. The Patriarch in the novel bears very little resemblance to Castro so I do not know who the character is modelled on. He reminds me rather of General Tapioca the dictator of the fictitious country of San Theodoros who appears in Tintin and the Picaros. Read the TinTin comic and avoid this book.

Kevin J. Rogers

Perhaps the single most brilliant novel I've ever read, sweeping, swirling, and wildly original. Gabriel Garcia Marquez has achieved the near-impossible in this book: he has captured the essence of a dictator's soul, and joined it to the soul of the nation he ruled, all the while keeping the story intensely personal, emotional, sympathetic, and moving. His narrative technique is daring, effective, and relentlessly original; a remarkable achievement.

Riyadh Hammady

المرة الثانية التي أقرا فيه هذه الرواية وشتان بين القراءة الأولى والقراءة الثانية ففي القراءة الأولى التي كانت قبل حوالي عشر سنوات لم أكمل الرواية على ما يبدوا فقد شعرت بالملل وذلك بسبب تكنيك الرواية والحقيقة أن كثير من القراء حول العالم شاركوني هذا الشعور والسبب في ذلك ربما يعود لتكنيك الرواية الفريد وأسلوب السرد الذي جعل من الرواية جملة طويلة لا تنتهي. والسبب الثاني يرجع إلى أفق توقعات القارئ الذي كان قد ألف واستمتع بمائة عام من العزلة وتوقع أن أي رواية قادمة ستكون على شاكلتها لكن ماركيز خيب ظننا جميعا قراءً ونقاداً على حد سواء وخيبة الظن هنا إيجابية كون ماركيز لم يرد لروايته ” خريف البطريرك ” أن تكون نسخة أخرى من “مائة عام من العزلة” ومن ثم بذل جهدا جبارا من أجل ابتكار أسلوب جديد ليصوغ به روايته ” خريف البطريرك “. على كل حال فالرواية أخذت مكانها الذي يليق بها بين الروايات العالمية الأكثر شهرة وإدهاشا ليس فقط لدى النقاد بل ولدى القراء أيضا. وهكذا يبدوا أن روايتنا هذه تحتاج على الأقل لقرائتين كي تكتشف عمقها وتسبر غور براعتها. مقاطع من الرواية:” كان يحلم بأن يعيش تلك اللحظة من السعادة حتى ولو توجب على الطبيعة أن تتخلى عن قوانينها وعلى الكون أن يخرب كانت رغبته في ذلك قوية بحيث انتهى إلى أن توسل إلى فلكييه أن يخترعوا له نجما مذنبا من أسهم نارية نيزكا تنينا من شرر وباختصار جهازا فلكيا مرعبا إلى حد كفيل بإحداث دوار من الخلود لدى امرأة جميلة إلا أن الشيء الوحيد الذي تمكنوا من بلوغه بعد حساباتهم كان كسوفا كاملا للشمس يوم الأربعاء من الأسبوع التالي في الساعة الرابعة بعد الظهر سيدي الجنرال فقبل بذلك, موافق . وكانت ليلة حقيقية في وضح النهار بحيث لمعت النجوم …”“إنسان كانت سلطته من القوة بحيث سأل ذات يوم كم الساعة الآن, الساعة التي تريدها سيدي الجنرال أجابوه , وكان ذلك صحيحا , إذ أنه لم يكن يحوِّر لحظات النهار فقط من أجل حسن سير أعماله بل كان أيضاً يعدل تواريخ الأعياد المتوجبة عيناً كي يتمكن من التطواف من عيد شعبي إلى آخر في سائر أنحاء البلاد …” 104” كان يكفي أن يشير ببنانه إلى الأشجار التي ينبغي أن تُثمر والحيوانات التي ينبغي أن تكبر والرجال الذين ينبغي أن ينجحوا , لقد أمر بإلغاء المطر من الأماكن التي يعيق فيها المحصول وجعله ينزل في الأراضي الجافة , وهو ما حدث ” 105لن أطيل القراءة في قراءة خريف البطريرك فما هي إلا دعوة لعيش هذه الرواية ولكني أنصح من لم يقرأ ماركيز بعد أن لا يبدأ بقراءة هذه الرواية وأنصحه أن يبدأ بقراءة ” مائة عام من العزلة ” ثم ” الحب في زمن الكوليرا ” حتى يرى التنوع الذي يمارسه ماركيز في إبداع رواياته فهو لا يكرر نفسه أبدا ويبدوا أن هذا لا يحدث في رواياته فقط بل وفي قصصه القصيرة أيضا لدرجة أن مقالاته أيضا لها طابعها الماركيزي الخاص جرب مثلا ” غريق على أرض صلبة” .قالوا : ” لا يعتبر الكتاب جيدا ما لم يُقرأ مرتين أو ثلاث ” وعليه فهذه الرواية لا تستحق قرائتين فقط بل أكثر من ذلكhttp://thowarlogy.wordpress.com/2011/...

بثينة العيسى

هذه رواية من العيار الثقيل، وهي لأصحاب النفس الطويل في القراءة، ليس بالضرورة لطول المحتوى، بل لدسامته، وهي تفتح لك عالما من الواقعية السحرية التي دشن ماركيز معالمها ببراعة ..أنصح بقراءته.

Zahra

رواية اخرى رائعة للكاتب الرائع ماركيز تتحدث عن خريف ديكتاتور من ديكاتوترات امركيا اللاتينية والذي يمثل بدوره اسلوب حياة اي دكتاتور اخر في اي مكان في العالم..يغرقني وصفه الدقيق للتفاصيل حتى لكانك تغمض عينيك لتشاهد صورة المشهد الرائي يتمل امامك..اصابني الملل في بعض الاحيان والدهشة في البعض الاخر نتيحة وصفه الدقيق لفاصيل حياة ديكتاتور تتكرر حتى يومنا هذا مع دكتاتوريات وامبراطوريات اخرى مثبتا ان الديكتاتورية والجبروت والتسلط لايعرف جنسا ولا دينا ولا لونا ..وان لكل فرعون نهاية مهما طالت

Justin Evans

I picked this up thanks to William Gass's otherwise terrible essay on magical realism; the essay reminded me that I'd never read any, unless you count very early Borges, or believe that everything ever written in Spanish is magical realism (a position Gass seems to flirt with). The reasons I haven't read any are fairly simple:a) I do not care about a book's having a 'sense of place.' b) I loathe 'lush prose.' c) It's just so popular. There are good reasons for me to like stereotypical magical realism, too, i.e., such books are very often concerned with political/social matters rather than domestic or 'moral' ones; thanks to that lushness, they're at least immune to american-style minimasnorringilsm. I heard a rumor somewhere that GGM's sentences occasionally have subclauses! So A of the P it was, because it's shortish, and has a reputation for difficulty, so I figured there'd be less of that glorious Hispano-hablantes accessibility that I associate with endless exclamation marks and soul-bearing. The most impressive thing about the book is, quite easily, the technique: the narrative voice is narcissistic*. In some very important sense, the story is narrated by the people who have managed to survive the horrors of the Patriarch whose story is being told. GMM pulls this off remarkably well; it makes the 'we' narrators of, say, Eugenides or Ferris look almost amateur. There's a real relationship between this narrator and the patriarch himself: they rely on each other, they love and hate each other, they suffer together. On the downside, there's little else to the book. There are some great anecdotes, but that's the sum of the book's arrangement: each chapter has an anecdote or two told, at great length, in unnecessarily long sentences. This adds nothing to the book, and often detracts from it (granted, it might work better in Spanish. In English, it's just like reading high school papers by students who don't have time to punctuate). Finally, I do not care for lists in my fiction, and most of this book is a list. But, as if I haven't equivocated enough, I'm also fascinated by the number of people giving this book such rave reviews on Goodreads, in languages I, ignorant as I might be, associate with actually existing tyranny. I wonder if this is a text that will continue to speak to men and women living under such conditions more than it can to someone like me? And if the texts that speak to me (to pluck a random example, Gaddis's 'JR') will seem similarly overblown, unnecessarily technical and slightly disappointing to those readers who love this book? I suspect so. If anyone reading this has magical realism recommendations for me, please, let me know. **** in the technical sense of 'doesn't distinguish between objects and subjects in the world and itself.'

MacK

Marquez's style seems well suited to stream of consciousness writing, and this novel's portrait of a tyrannical, despotic, utterly human "President for Life" is engrossing, to say the least.Unfortunately it's also nearly impossible to wrap your brain around. Without any chapter breaks or paragraphing to speak of, with fewer periods on a page than there are uncommercialized countries in the world, it's nearly impossible to read leisurely. You have to race through, trying to hold all the ideas together before they are inevitably jumbled into a confusing hodgepodge of decency and villainy.Of course, this is part of Marquez's plan. His anonymous protaganist is equal parts inviting and repulsive, and melding all these traits together is utterly appropriate. It's also, to put it simply, utterly confusing.

Giovanna

Metto questo libro tra i più belli che abbia letto in assoluto. Lo pongo addirittura al di sopra di quel capolavoro letto e riletto, evocatore di sogni e immagini sublunari che per me è stato Cent'anni di solitudine.

Ariel Cruz

Very dreamlike and compelling. Don't be intimidated by the paragraphless format, the sparse punctuation or the constantly shifting prspective. That would certainly be a problem if applied by less capable hands then Marquez's, but in this case we're dealing with a narrative that is less discursive and then impressionistic. It's like hearing the collective thought of a whole town about one subject. Remarkable. Probably the closest we'll see to oral story-telling in print form.

Hena

I finally finished it! Wow. This book is complete madness. It starts off with 40-page chapters and zero paragraph breaks, except between chapters, and half-a-page sentences, and by the end, the chapters are longer and the sentences are even longer with many many commas, so that by the end when one gets close to the end there are just no periods anymore. Whew! And you thought the preceding sentence was long. Oh, and the narrator changes a bunch ... and it's cyclical, going back and forth between the present when the general's body is found, and some time in the past when the general is still in power. And many parts are outrageous. Like the part about the kidnapped children. Bottom line: Read this if you're ambitious and able to focus on the words despite the strange structure. I think it's worth it. I can't say it'll be easy though.The New York Times has a good review. Check it out..

Saverio Mariani

Sì, lo so. Sto parlando di uno dei miei scrittori preferiti. Devo utilizzare bene le parole, come lui fa in modo assolutamente geniale, e devo cercare di far capire al meglio tutto quello che García Márquez esprime attraverso il suo mondo fantastico. Ho letto molti libri di Márquez, negli anni. Già da quando frequentavo il liceo. Mi ricordo che Macondo (la città magica, inventata, tropicale, in cui è ambientato Cent’anni di solitudine) mi aveva così catturato che avrei voluto farci un viaggio. Riuscivo a percepire il profumo naturale della calura, e il silenzio quasi religioso della siesta.Ricordo vividamente che in un altro suo capolavoro assoluto, L’amore ai tempi del colera, Márquez mi ha insegnato ad assaporare l’odore delle mandorle amare, che assomiglia (vedi l’incipit) all’odore degli amori finiti...[Continua a leggere qui: http://lettoritralerighe.weebly.com/2...]

Matt

Another incredible book by GGM. His writing style is wonderful. The thing that stands out most, is each chapter (six or so) is only one paragraph, where in a single, multi-page sentence the first person can change characters, as can the subject at hand.This story is the reflection on the long life and reign of power of a Caribbean dictator. The dictator is as horrible as any you can imagine, and is likely based on a number of real Latin American dictators. The atrocities he commits are innumerable and his life is completely devoid of any meaningful relationships, outside of his mother. There are some great stories about power and corruption, and GGM does a great job making the story flow and be humorous.Since GGM happened to die while I was in the middle this book, I was very glad there was a section at the end giving a brief recap of his life. I was shocked to find out he was friends with Castro (albeit not always a great friendship). It seems like he would be fairly opposed to someone like him, considering he wrote a book about how horrible Caribbean dictators are.

jess

on the whole, the novel is impressive. i can't imagine what it took for him to write this whole thing the way that he did. most of the sentences run for ten pages, moving from one point-of-view to another without warning, from dreams to real-life (maybe?)action. at the beginning of each chapter, we are reminded that the patriarch of the novel's title is dead, but we are quickly taken back to years before his death and pushed through memories of the years leading up to his first fake and then real death. it certainly makes your head spin, and it's difficult to read less than 40 pages at a time without completely losing track of what the hell is going on.his technique of using one event as the touchstone from which he begins each section of the book, in this one the death of the patriarch, is common for marquez, but this stream-of-consciousness style of writing is not. what makes it more intriguing is how any given sentence switches from the 1st- to the 3rd-person point-of-view, and is usually delivered by at least 3 different characters. factor in that the characters telling the story are sometimes extremely minor and therefore hard to keep track of and you become quite dizzy.all of this said, however, the style works with the subject matter. the main character doubles as both protagonist and antagonist, and marquez does such a good job of winning the reader's sympathy for him that by the time he is filling a crate full of children with concrete in order to more easily dispose of them in the ocean, we have forgotten that he is a monster, that we hate him. the narrative style makes it clear that marquez does this on purpose. knowing what is known about him politically (he has infamously opposed numerous latin american leaders throughout history) combined with what is known about him as a deeply romantic humanitarian, all of this makes sense. his dictator is painted on one hand as horrific, maniacal, and frighteningly self-absorbed and on the other hand as troubled, insecure, and confused by his own power. i struggled with this one, in part because it didn't do what his other books do for me. approaching it with that expectation was a bad idea, though. i usually read "100 years of solitude" every summer, and i have found marquez to be a perfect travel companion, particularly if i'm going into mexico; his stories are always dreamlike with such a strong dose of reality added to the characters and relationships that i enjoy his books the same way i enjoy a good drug experience. this story was not a comment on human relationships, however, as much as it was on the nature of leadership and the vulnerability of those being lead. all in all, i'd say it's definitely worth picking up, but be sure you've got some time to commit to digesting it properly.

Share your thoughts

Your email address will not be published. Required fields are marked *