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Het boek van 2006

Posted : 10 years, 11 months ago on 10 November 2006 07:29 (A review of Het ongrijpbare meisje)

Ricardo (Peru)valt in zijn jeugd voor een vijftienjarig meisje. Hetzelfde meisje komt hij tegen in zijn omzwervingen over de wereld. Een halve eeuw geschiedenis trekt aan ons voorbij tijdens zijn liefdesbelevingen. De revolutie in Cuba, Parijs 68, de hippies in London, Japan, Rusland...

Mario schrijft in de ik-persoon en je kunt niet anders dan geloven dat hij het allemaal echt heeft meegemaakt. Het is ook ongelooflijk dat Miraflores (de wijk waar de hoofdfiguur maar ook de schrijver zelf afkomstig is) weer een rol speelt op de achtergrond. In heel veel van zijn boeken is de wijk als extra personage aanwezig.

Dit boek alleen is al voldoende voor een Nobelprijs. En hij schreef er al zo veel van deze kwaliteit!



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Ik, Robot review

Posted : 10 years, 11 months ago on 9 November 2006 11:22 (A review of Ik, Robot)

I, Robot as well as other Asimov’s books are very famous all over the world. In Russia, where Asimov and I were born, he is one of the most renown authors. Teenagers and adults, everyone who loves science fiction stories, read and enjoy by interesting stories of Isaac Asimov. His books really effect people’s vision of future, their ideas and goals. Here is an example to it. This story I have heard many times from my colleagues at my job. About twenty years ago a man with name Casey Cowell started his small company. He loved Isaac Asimov and enjoyed reading I,Robot. The book was saying about company U.S.Robots. It was the company that first introduced a mobile robot equipped with a voice. Eventually U.S.Robots and Mechanical Man Corporation became the biggest and most advanced and powerful company on our planet. Casey Cowell dreamed about the same future for his company, and in spite of the fact that his company had nothing to do with robots, he decided to name his small company U.S.Robotics. Twenty years have passed. Now Casey Cowell is chairman, president and chief executive officer of a big and advanced company, U.S. Robotics. U.S. Robotics Corporation is one of the leading companies in information access and has branches and offices all over the world. His dream has come true. Was his success related to the book of Isaac Asimov, I, Robot? I think it could be that the book give him some ideas and set the goal.



I, Robot

I, Robot was one of the most important books in Asimov’s life. It is one of his books which built his reputation in the form of its original publication as a series of stories in the Golden Age Astounding (and, for that matter, one of the books that made the Golden Age golden). The book consists of relatively short stories, robot anthologies, that show to us relations between human beings and robots from the time when first elementary robots were created until the time when computers basically took over the control of economy, progress, and future of a man kind. In his book robots and characters (including the immortal Susan Calvin) are taking the stage all by themselves. It’s a collection of nine stories. Stories are logically connected. Throughout his book he describes life of "robopsychologist" Dr. Susan Calvin. The book is based on the stories about robots what she tells to the author or stories where she is one of the characters. She is an expert in robots. At the very end of the book she says:" I saw it from the beginning, when the poor robot couldn’t speak, to the end , when they stand between mankind and destruction." On my opinion, the idea of necessity of a robopsychologist in robot manufacturing is great, and it shows that Asimov, writing his stories in 1940s, clearly saw how important could be relation between machines and people. In the book Susan Calvin is trying to analyze behavior and thoughts of robots that designed and created by men, but, at the same time, outperforming their creators in almost every task and role. Very important part of her analyses are The Three Laws of Robotics:

1.A robot may not injure a human being, or, through inaction, allow a human to come to harm.

2.A robot must obey orders given to him by human beings except where such orders would conflict with the First Law.

3.A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

The three laws of robotics are another very important component of the book that makes logical conjunction of nine stories in I, Robot. I would say that it’s the part of the book that many people know even if they have not read I, Robot. The laws are written in early 40s! It shows that Asimov realized the importance of this issue even before it really existed. But probably the three laws are not just a great imagination of the genius. The rules are natural: a machine may not injure a human being in any way. It is the first and most important law that has been and will be the most important for everyone who somehow relates his or her life with computers, robots or any other type of machines.

Just briefly I want to talk about a few most interesting from my point of view stories from Asimov’s I,Robot.

Liar!

A mind-reading robot was created. It seems unbelievable, but four top researchers of U.S.Robots become the victims of their own creature, and, I would say, victims of the robotics laws. The robot knowing the deepest thoughts and pains of the people around wants and tries to do everything he can to make people happy. But he does it by convincing them that their dreams, ambitions and even deeply hidden desires will or have come true. It fails when it convinces Calvin that the man of her dreams really loves her. When that proves untrue, Calvin loses control and attacks the robot bitterly, forcing it to burn out its own brain because the paradox of being forever aware of what would make people happy and unable to provide it.. It is a very interesting problem related to psychology and ethics of human beings. Very often what we need to make us happy is impossible or even can be harmful.

Evidence

A very interesting and dramatic story is about Stephen Byerley who is a lawyer running for a political office. Some people say that he is not a human. They say that he is a robot. Byerley proves his humanity by striking a human being. Susan Calvin realizes that it could have been a set-up, and that human who was hit could have been another robot, which would prove that Byerley was a robot. There are two very interesting moments. First, when Byerley sets-up the public striking basically simulating the laws of human ethics, and a second one, when Dr. Calvin lets it go because she understands that it would be better to have a good robot as a political figure than that position would be taken by a worse human being.

The Evitable Conflict

Very interesting picture of the future. The economy of the entire planet is totally controlled by positronic super brains, the Machines. They know what they’re doing, and what they are doing is providing for a better, more wonderful future than humanity could ever manage on its own. Susan Calvin says: " …it means that the Machine is conducting our future for us not only simply in direct questions, but in general answer to the world situation and to human psychology as a whole… Think, that for all time, all conflicts are finally evitable. Only the Machines, from now on, are inevitable"

Strengths and Weaknesses

I, Robot is a readable book. Isaac Asimov does not use a lot unknown technological terms, his language is clear and simple. Most of the stories have a lot of action, so you can not stop reading them. The book is great, but it brings up a lot of serious thoughts and difficult questions. Is that a strength or a weakness of a book? I think it is a strength. All these issues brought up by Asimov in his book are extremely important right now. We do not have to wait the time of super brain to be dependent on computers and machines. A small problem with a computer somewhere in an airport or a nuclear station can cost many human lives. We more and more depend on computers and machines. Should we stop it? I think we can’t, and we shouldn’t. We have to carefully follow the concepts of the three laws of robotics written by Isaac Asimov in 1940s, and then we can just pray that our planet of human beings will not become a planet of machines where, in a best case, a human being will be a fish in aquarium which will be owned and controlled by machines.

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Swing review

Posted : 10 years, 11 months ago on 7 November 2006 12:05 (A review of Swing)

Een muziekfilm met een goede kijk op het zigeunerleven (en geschiedenis). Het hoofdverhaal is een tienerliefde tussen een jongen die les volgt bij een zigeunergitarist en een jongsachtig zigeunermeisje. Prachtige mengeling van zigeuner-, arabische (saz) en joodse muziek en schitterend in beeld gebracht.


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2 besprekingen:

Posted : 10 years, 11 months ago on 1 November 2006 02:15 (A review of Vertrouwelijke zaken)

Door Crimezone|Jannelies
op 14 januari 2005
Koud weer, warmbloedig eten

Vorig jaar februari schreef ik, nadat ik Besmet Bewijs had gelezen (Doctored Evidence) dat ik graag nog eens een boek zou lezen over Commissario Brunetti. Mijn wens werd vervuld, want Van Ditmar liet Blood from a stone bij mij bezorgen. Het boek zal overigens in april 2005 uitkomen bij De Boekerij, onder de titel Vertrouwelijke zaken.

Deze keer wordt Brunetti geconfronteerd met de moord op een Senegalees. Hij maakt deel uit van een groep illegalen, die in hun onderhoud voorzien door het verkopen van nagemaakte merktassen. Uiteraard worden die tassen voornamelijk gekocht door de vele Amerikaanse toeristen die Venetië bezoeken. Op een bitterkoude avond in april wordt een van deze ‘vu cumpra’ (‘u kopen’) doodgeschoten. Brunetti stort zich met zijn gebruikelijke voorzichtige enthousiasme op de zaak, maar krijgt al snel te horen dat hij zich er helemaal niet mee mag bemoeien. Als dan ook nog alle gegevens over het onderzoek van de computer van de onmisbare juffrouw Elettra verdwijnen en ook de papieren rapporten, zit er niets anders op voor Brunetti dan het onderzoek stiekem voortzetten. Hij roept hierbij de hulp in van de ‘vrienden’ van de man, maar ook van oude vrienden en zelfs van zijn schoonvader.

Zonder er al te veel de nadruk op te leggen laat Donna Leon hier zien dat het de autoriteiten niet altijd wat kan schelen als er iets gebeurt met een illegaal. En niet alleen de autoriteiten. De ‘gewone burger’ ziet ook niet altijd heil in het meewerken aan een politie-onderzoek naar deze moord. Brunetti heeft het hierdoor nog minder makkelijk dan gewoonlijk. Gelukkig weet hij zich gesteund door de smakelijke lunches en heerlijke glazen wijn die zijn vrouw hem voorzet. Uiteindelijk blijkt dus wel dat er heel wat aan de hand was met deze eenvoudige man, en het spijt Brunetti dat hij alleen achteraf iets goed kan maken.

In dit boek trof me maar weer dat het zo heerlijk is om eens te lezen over andere dan jachtige Amerikanen die altijd aan hun mobiel hangen of in de auto zitten en die, als ze al eens eten, meestal maar een salade in elkaar gooien en vaak dan ook nog zogenaamd Italiaans. Nee, dan Brunetti: van de maaltijden die hij krijgt krijgt de lezer trek! Jammer dat de recepten niet gepubliceerd worden… En als Brunetti eens haast heeft, dan heeft hij nog rustige haast… Dat wil niet zeggen dat men in Italië primitief bezig is hoor. Integendeel! De truc die juffrouw Elettra uithaalt om op een gegeven moment een computer met vertrouwelijke informatie weg te werken, is grandioos! Ik heb weer genoten. Nou jullie nog.

Op 25 juli 2005 schreef Marina Marissen:
Een zwarte wordt op straat neergeschoten. Commissario Guido Brunetti staat voor een moeilijk karwei: wie is het slachtoffer en wat is het motief voor de schijnbaar professioneel uitgevoerde moord? Tienerdochter Chiara vindt het veel drukte om niks: het was toch MAAR een 'vu campru', waarmee ze zich de woede en verontwaardiging van moeder Paola op de hals haalt. Brunetti wordt al snel van het onderzoek afgehaald 'op bevel van hogerhand'. Hij hoeft de moord op de Afrikaanse straatventer dus niet op te lossen. De lezer blijft samen met Brunetti met een aantal vragen zitten. Welke rol speelt de Italiaanse geheime dienst Digos en waarom bemoeien zowel de ministeries van Binnenlandse als van Buitenlandse Zaken zich met deze moord? Het is puur gissen naar wat er precies gebeurd is, al zijn er wel sterke vermoedens. Ook in dit deel van deze serie geschiedt geen gerechtigheid: de moordenaars en zeker hun opdrachtgever(s) worden niet gevat. Integendeel, er vallen uiteindelijk nog twee (onschuldige?) slachtoffers! Toch blijft de lezer niet echt met een wrang gevoel achter: Brunetti zal op originele manier de arme sloebers enigszins vergoeden... Na 14 boeken nog steeds een verslavende serie!

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Dode zielen review

Posted : 10 years, 11 months ago on 28 October 2006 07:25 (A review of Dode zielen)

Dead Souls (Russian: Мертвые души) is a satirical prose narrative, subtitled poema ("an epic poem"), by the Russian author Nikolai Gogol. The first part of a projected trilogy, it was published in 1842 under the title, imposed by the censorship, of The Adventures of Chichikov.

Referred to by its author as an "epic poem in prose", and within the book as a "novel in verse", Dead Souls is loosely based on the plot suggested to Gogol by Pushkin. Despite having supposedly completed the trilogy's second part, Gogol destroyed it shortly before his death at the urging of a religious fanatic. Although the novel ends in mid-sentence (like Sterne's Sentimental Journey), it is usually regarded as complete in the extant form.
Chichikov in the house of M-me Korobochka.
Enlarge
Chichikov in the house of M-me Korobochka.
Contents
[hide]

* 1 Title
* 2 Background
* 3 Style
* 4 Characters
* 5 Plot overview
* 6 Opera
* 7 Radio adaptation
* 8 References
* 9 External links

[edit] Title

In Russia prior to 1861, landowners were permitted to own serfs to farm their land. These serfs were for most purposes considered the property of the landowner, and could be bought, sold, or mortgaged against, as any other chattel. To count serfs (and people in general), the measure word "soul" was used: e.g., "six souls of serfs". The plot of the novel relies on "dead souls" (i.e., "dead serfs") which are still accounted for in property registers. On another level, the title refers to the "dead souls" of Gogol's characters, all of which visualise different aspects of poshlost (an untranslatable Russian word which is perhaps best rendered as "self-satisfied inferiority", moral and spiritual, with overtones of middle-class pretentiousness, fake significance and philistinism).

[edit] Background

The first part of the novel was intended to represent the Inferno of the modern-day Divine Comedy. Gogol revealed to his readers an encompassing picture of the ailing social system in post-Napoleonic Russia. As in many of Gogol's short stories, the social criticism of Dead Souls is communicated primarily through absurd and hilarious satire. Unlike the short stories, however, Dead Souls was meant to offer solutions rather than simply point out problems. This grander scheme was largely unrealized at Gogol's death; the work was never completed, and it is primarily the earlier, darker part of the novel that is remembered.

In their studies of Gogol, Andrey Bely, D.S. Mirsky, Vladimir Nabokov, and other modernist critics rejected the commonly held view of Dead Souls as a reformist or satirical work. For instance, Nabokov regarded the plot of Dead Souls as unimportant and Gogol as a great writer whose works skirted the irrational and whose prose style combined superb descriptive power with a disregard for novelistic clichés. True, Chichikov displays a most extraordinary moral rot, but the whole idea of buying and selling dead souls is, to Nabokov, ridiculous on its face; therefore, the provincial setting of the novel is a most unsuitable backdrop for any of the progressive, reformist or Christian readings of the work.

[edit] Style

The structure of the novel follows a circle, as Chichikov visits the estates of landowners living around the capital of a guberniya. Although Gogol aspired to emulate the Odyssey, many critics derive the structure of Dead Souls from the picaresque novels of the 16th and 17th centuries in that it is divided into a series of somewhat disjointed episodes, and the plot concerns a gentrified version of the rascal protagonist of the original picaresques.

Konstantin Aksakov was the first to bring out a detailed juxtaposition of Gogol's and Homer's works: Gogol's epic revives the ancient Homeric epic; you recognize its character of importance, its artistic merits and the widest scope. When comparing one thing to another, Gogol completely loses himself in the subject, leaving for a time the occasion that gave rise to his comparison; he will talk about it, until the subject is exhausted. Every reader of the Iliad was struck by this device, too. Nabokov also pointed out to the Homeric roots of the complicated absurdist technique of Gogol's comparisons and digressions.

[edit] Characters

Of all Gogol's creations, Chichikov stands out as the incarnation of poshlost. His psychological leitmotiv is complacency, and his geometrical expression roundness. He is the golden mean. The other characters — the squires Chichikov visits on his shady business — are typical "humors" (for Gogol's method of comic character drawing, with its exaggerations and geometrical simplification, is strongly reminiscent of Ben Jonson's). Sobakevich, the strong, silent, economical man, square and bearlike; Manilov, the silly sentimentalist with pursed lips; Mme Korobochka, the stupid widow; Nozdryov, the cheat and bully, with the manners of a hearty good fellow — are all types of eternal solidity. Plyushkin, the miser, stands apart, for in him Gogol sounds a note of tragedy — he is the man ruined by his "humor"; he transcends poshlost, for in the depth of his degradation he is not complacent but miserable; he has a tragic greatness. The elegiac description of Plyushkin's garden was hailed by Nabokov as the pinnacle of Gogol's art.

The second part of the great epic, to judge by what has been left of it, was a distinct decline. The objectively drawn, good-and-bad-mixed characters are comparatively lifeless, and the ideal characters of the good publican and the virtuous governor quite unconvincing and hollow. Arguably, Gogol is more successful showing the errors than the corrections, perhaps because errors and immorality are more fun and interesting to write about, than to preach and show good by example.

[edit] Plot overview

The story follows the exploits of Chichikov, a young gentleman of middling social class and position. Chichikov arrives in a small town and quickly tries to make a good name for himself by impressing the many petty officials of the town. Despite his limited funds, he spends extravagantly on the premise that a great show of wealth and power at the start will gain him the connections he needs to live easily in the future. He also hopes to befriend the town so that he can more easily carry out his bizarre and mysterious plan to acquire "dead souls."
Spoiler warning: Plot and/or ending details follow.
Chichikov and Nozdryov.
Enlarge
Chichikov and Nozdryov.

The government would tax the landowners on a regular basis, with the assessment based on how many serfs (or "souls") the landowner had on their records at the time of the collection. These records were determined by census, but censuses in this period were infrequent, far less so than the tax collection, so landowners would often find themselves in the position of paying taxes on serfs that were no longer living, yet were registered on the census to them, thus they were paying on "dead souls." It is these dead souls, manifested as property, that Chichikov seeks to purchase from people in the villages he visits; he merely tells the prospective sellers that he has a use for them, and that the sellers would be better off anyway, since selling them would relieve the present owners of a needless tax burden.

Although the townspeople Chichikov comes across are gross caricatures, they are not flat stereotypes by any means. Instead, each is neurotically individual, combining the official failings that Gogol typically satirizes (greed, corruption, paranoia) with a healthy set of personal whims. Furthermore, everything in the house seems to mirror the character of its owner: for instance, every piece of furniture in the house of Sobakevich is described as a miniature version of its owner.

Chichikov's macabre mission to acquire "dead souls" is actually just another complicated scheme to inflate his social standing (essentially a 19th century Russian version of the ever popular "get rich quick" scheme). He hopes to collect the legal ownership rights to dead serfs as a way of inflating his apparent wealth and power. Once he acquires enough dead souls, he will retire to a large farm and take out an enormous loan against them, finally acquiring the great wealth he desires.

Chichikov at first assumes that the ignorant townspeople will be more than eager to give their dead souls up in exchange for a token payment. The task of collecting the rights to dead people proves difficult, however, due to the persistent greed, suspicion, and general distrust of the townspeople.

[edit] Opera

The extant sections of Dead Souls were made into an opera in 1976 by Russian nationalist composer Rodion Shchedrin (b. 1932). In the opera, Shchedrin captures the different townspeople that Chichikov deals with in isolated musical episodes, each employing a different musical style to evoke the characters' particular personalities.

[edit] Radio adaptation

In 2006 the novel was dramatised in two parts by the BBC and broadcast on Radio 4. It was played more for comic than satirical effect, the main comedy deriving from the performance of Mark Heap as Chichikov, and from the original placing of the narrator. Michael Palin narrates the story, but is revealed actually to be following Chichikov, riding in his coach for example, or sleeping in the same bed, constantly irritating Chichikov with his running exposition.

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Metamorphosen

Posted : 10 years, 11 months ago on 27 October 2006 11:56 (A review of Metamorphosen)

Metamorphoses van Ovidius
Gravure op de kaft van Ovidius' Metamorphoses, editie uit 1632.
Groter
Gravure op de kaft van Ovidius' Metamorphoses, editie uit 1632.

De Metamorphoses is een 15 boeken omvattend Latijns dichtwerk dat de creatie en geschiedenis van de wereld volgens de Griekse en Romeinse mythologie beschrijft. Het is vermoedelijk in 1 n.Chr. voltooid en is sindsdien een van de populairste mythologische werken. De Metamorphoses hebben grote invloed gehad op de renaissancistische literatuur.

De Metamorphoses is kunstige aaneenrijging van meerdere verhalen, dit in tegenstelling tot een echt epos waarin één verhaallijn en één held centraal staan, zoals het epos van de Romeinse dichter Vergilius over het leven van Aeneas. In de verhalen schetst Ovidius het leven van de klassieke goden, stervelingen en andere mythische figuren, die telkens een dramatische gedaantewisseling (metamorfose) ondergaan. Enkele voorbeelden zijn de verandering van de nimf Daphne in een laurierboom, de gedaanteverwisseling van de jager Actaeon in een hert nadat hij de godin Diana naakt zag en metamorfose van de nimf Io, geschaakt door Zeus en veranderd in een koe om zijn achterdochtige echtgenote te misleiden.

In het laatste boek geeft Ovidius ook een filosofische onderbouwing, bij monde van de Griekse filosoof en wiskundige Pythagoras, die de leer van eeuwige verandering predikte: omnia mutantur, nihil interit – alles verandert, niets gaat ten gronde. Alles in de kosmos is voortdurend in beweging, niets blijft gelijk, maar ook niets vergaat volledig.

Opvallend is dat Ovidius de goden niet als verheven afschildert, maar als gewone mensen met ieder hun eigen zwaktes en amoureuze verlangens. Ook de toon van het werk is eerder speels dan plechtstatig, zoals de tijdgenoot Vergilius in zijn epische verhalen gewoon was. Ovidius schreef de Metamorphoses echter wel volledig in de dactylische hexameter, de traditionele versvorm voor een epos.

De Metamorphoses werd onder andere vertaald door Vondel in het Nederlands, en door Arthur Golding in het Engels. Deze Engelse vertaling inspireerde William Shakespeare.
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De gebroeders Karamazow review

Posted : 10 years, 11 months ago on 27 October 2006 11:49 (A review of De gebroeders Karamazow)

De gebroeders Karamazow is het laatste meesterwerk van Dostojewski. Drie broers hebben ieder hun eigen motief en de gelegenheid gehad om hun vader te vermoorden. De onderlinge haat en nijd tussen hen wordt nog gevoed door de aanwezigheid van twee vrouwen; de trotse, aristocratische Katerína en de mooie en verleidelijke Gróesjenka.
De combinatie van filosofie, religie, psychologie en pure vertelkunst maken deze roman tot een van de mijlpalen van de negentiende-eeuwse literatuur.

De pers
‘De gebroeders Karamazov blijft de enige detective-roman zonder duidelijk kader en met een open einde.’ Karel van het Reve

De auteur
F.M. Dostojewski (1821-1881) debuteerde in 1846 met de roman Arme mensen. Zijn romans Misdaad en straf, De idioot en De gebroeders Karamazow behoren tot de meesterwerken van de Russische literatuur.
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Gaston Leroux

Posted : 10 years, 11 months ago on 27 October 2006 11:38 (A review of Het spook van de opera)

Gaston Leroux (6 mei 1868, Parijs – 15 april 1927, Nice) was een Frans journalist en novelist.

Leroux is vooral bekend door The Phantom of the Opera (1910) waarvan verschillende toneelstukken en films bestaan en een afgeleide novelle van de hand van Susan Kay genaamd Phantom.

Leroux volgde school in Normandië en studeerde Rechten in Parijs waar hij afstudeerde in 1889. Hij leefde breed met de miljoenen die hij geërfd had tot het geld op was. In 1890 ging hij werken voor L'Echo de Paris als theatercriticus en rechtsverslaggever. Zijn belangrijkste journalistieke werk was echter als internationaal correspondent voor Le Matin. In 1905 was hij aanwezig bij en deed hij verslag over de Russische Revolutie. Vanaf 1907 verliet hij de verslaggeving om zich toe te leggen op het schrijven van fictie. Vanaf 1919 startte hij een eigen filmhuis Cinéromans.

Zijn eerste novelle heette Le Mystère de la chambre jaune (1908) met in de hoofdrol de amateur detective Joseph Rouletabille. Het werk is belangrijk in de geschiedenis van de detective als genre omdat het de eerste locked-room puzzle vormt. In een tweede reeks speelt het hoofdpersonage Cheri-Bibi.

Leroux's bijdrage tot de Franse detective wordt vergeleken met die van Edgar Allan Poe in Verenigde Staten van Amerika of Sir Arthur Conan Doyle in Groot-Brittannië.

Leroux overleed in Nice op te gevolge acute uremie.

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Orsiniaanse vertellingen review

Posted : 10 years, 11 months ago on 27 October 2006 09:32 (A review of Orsiniaanse vertellingen)

vert.van: The Wind's Twelve Quarters (1975), vert.door: Jean-A. Schalekamp, bevat:

1. APRIL IN PARIJS (April in Paris, 1962)
2. DE DAG VÓÓR DE REVOLUTIE (The Day Before the Revolution, 1974)
3. DINGEN(Things (The End), 1970)(
4. DOOS VOL DUISTERNIS (Darkness Box, 1963)
5. HET GEZICHTSVELD (The Field of Vision, 1973)
6. EEN GOEIE TRIP (A Good Trip, 1970)
7. HET HALSSNOER (Semley's Necklace (Dowry of the Angyar), 1964)
8. DE KONING VAN WINTER(Winter's King)
9. DE MEESTERS (The Masters, 1963)
10. NEGEN LEVENS (Nine Lives, 1967)
11. ONMETELIJKER DAN WERELDRIJKEN EN NOG TRAGER (Vaster than Empires and More Slow, 1971)
12. DE REGELS DER NAMEN (The Rule of Names, 1964)
13. EEN REIS NAAR HET HOOFD(A Trip to the Head, 1970)
14. DE RICHTING VAN DE WEG(Directions of the Road, 1964)
15. DE STERREN DAAR BENEDEN(The Stars Below, 1973)
16. HET WOORD VAN BEVRIJDING(The Word of Unbinding, 1964)
17. ZIJ DIE WEGLOPEN VAN OMELAS (The Ones Who Walked Away From Omelas, 1973)


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De Engelenmaker review

Posted : 10 years, 11 months ago on 27 October 2006 07:06 (A review of De Engelenmaker)

Een gruwelijk boek dat bejubeld werd in de pers. Het speelt zich af in het Duitstalig gedeelte van België.

Het spijt me maar zelf vond ik het vrij voorspelbaar en langdradig.

Misschien speelt mijn ergernis mee dat als er wetenschapper wordt opgevoerd die altijd aan nazi-beulen doen denken in plaats van mensen uit het echte leven (die bijvoorbeeld moeten kiezen tussen voldoen aan de subsidiegevers of zich corrumperen aan de industrie).


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