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The Counterfeiters

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'It's only after our death that we shall really be able to hear' The measured tone of hopeless nihilism that pervades The Counterfeiters quickly shatters any image of André Gide as the querulous and impious Buddha to a quarter-century of intellectuals. In sharp and brilliant prose a seedy, cynical and gratuitously alarming narrative is developed, involving a wide range of 'It's only after our death that we shall really be able to hear' The measured tone of hopeless nihilism that pervades The Counterfeiters quickly shatters any image of André Gide as the querulous and impious Buddha to a quarter-century of intellectuals. In sharp and brilliant prose a seedy, cynical and gratuitously alarming narrative is developed, involving a wide range of otherwise harmless and mainly middle-to-upper-class Parisians. But the setting could be anywhere. From puberty through adolescence to death, The Counterfeiters is a rare encyclopedia of human disorder, weakness and despair.


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'It's only after our death that we shall really be able to hear' The measured tone of hopeless nihilism that pervades The Counterfeiters quickly shatters any image of André Gide as the querulous and impious Buddha to a quarter-century of intellectuals. In sharp and brilliant prose a seedy, cynical and gratuitously alarming narrative is developed, involving a wide range of 'It's only after our death that we shall really be able to hear' The measured tone of hopeless nihilism that pervades The Counterfeiters quickly shatters any image of André Gide as the querulous and impious Buddha to a quarter-century of intellectuals. In sharp and brilliant prose a seedy, cynical and gratuitously alarming narrative is developed, involving a wide range of otherwise harmless and mainly middle-to-upper-class Parisians. But the setting could be anywhere. From puberty through adolescence to death, The Counterfeiters is a rare encyclopedia of human disorder, weakness and despair.

30 review for The Counterfeiters

  1. 4 out of 5

    Luís C.

    The Counterfeiters is the main novel of the work of the French author André Gide. It tells the story of a multitude of characters, each of which symbolizes the different incarnations of the author, declaims all philosophical theories on the novel and art and human relations and develops them up to convince the reader, just before continuing in another character (taken in a new context generally) an idea that has everything contradictory and which appears to us just as right. In the end the story The Counterfeiters is the main novel of the work of the French author André Gide. It tells the story of a multitude of characters, each of which symbolizes the different incarnations of the author, declaims all philosophical theories on the novel and art and human relations and develops them up to convince the reader, just before continuing in another character (taken in a new context generally) an idea that has everything contradictory and which appears to us just as right. In the end the story shows the meeting of various personalities of the author. The story in itself is that of two young friends a few weeks before their examination of the baccalaureate which, leaving high school in the 1920s, live an adventure that could be described as astonishing literary. Although it seems madly humiliating to reduce the story to the story of these two heroes, because around them, it is a whole web of heroes who have their own stories, but all these stories have a link between them , a link for the characters, family or friendly or knowledge, as for example Bernard and Edward who meet by the chances of their two adventures, they realize that they both have a link with another character, Olivier's. They will continue the adventure together but we will have their points of view to both, on each side, which will give us the impression of two parallel paths rather than a common history. The world of Edouard and the family of Olivier, that of Laura and pension Azaïs and finally that of Profitendieu mingle in one world, the world of some good Parisian families, a pension of students, the younger generation of these families, the literary spirit and freedom of this youth. In the inter-war that exploits this novel, we applaud a fair and exciting painting of the freedom of spirit, of creation, of artistic movement of that time when we caught our breath of a war passed and where the emotion was tending to fall back, where we were finally rebuilding, and where morals tend to be liberalized. In the novel, the author gives us to see a literary meeting where we see some great figures of the time, like Alfred Jarry who looks at this moment of a man overbearing, crazy and slightly offbeat reality by this original character that he plays in society. Overall we follow the vision of characters who seek to create journals, to write, to poise, and finally to revolutionize the classical form of writing. A character by the way, named Strouvilhou launches a sketch of the revolutionary ideas that run through the arts at that time, we see him theorizing what could be the surrealists' desires overall. Thus, all the characters of Gide seem to be pursued of this greatness and this romantic thrill, all seem poets and artists. There is therefore a lively youth, adults with intelligence that is lost in an excess of everyday life, novelists. Characters tied and endearing. Two characters stand out from the crowd, however, it is Lady Griffith and the Count of Passavant who seem to be the evil gods and manipulators of this story. They are idle people, who give their esteem only to those who are useful or agreeable to them, but without any honest or reasonable foundation. In this novel, finally, there is also a struggle of intelligence of those who detaches themselves to carry on unknown lands, those struggling to get there, and those who believe arriving but in reality circling.

  2. 3 out of 5

    Ahmad Sharabiani

    Les faux - monnayeurs = The Counterfeiters, André Gide (André Paul Guillaume Gide) تاریخ نخستین خوانش: ماه دسامبر سال 1973 میلادی عنوان: سکه سازان؛ نویسنده: آندره ژید (آندره پل گیوم ژید؛ حسن فرهمندی؛ تهران، امیرکبیر، 1335؛ در 400 ص، عکس، چاپ سوم 1349؛ ویرایشهای دیگر با مقدمه و حواشی در 667 ص؛ چاپ دیگر: تهران، کتابفروشی زوار، 1359، در 546 ص؛ چاپ پنجم؛ چاپ دیگر: تهران، ماهی، 1386، در 479 ص؛ چاپ دوم ماهی 1388؛ چاپ سوم 1392؛ شابک: 9789649971223؛ سکه سازان را سه بخش آراسته؛ بخش نخست: در 232 ص است وقایع Les faux - monnayeurs = The Counterfeiters, André Gide (André Paul Guillaume Gide) تاریخ نخستین خوانش: ماه دسامبر سال 1973 میلادی عنوان: سکه سازان؛ نویسنده: آندره ژید (آندره پل گیوم ژید؛ حسن فرهمندی؛ تهران، امیرکبیر، 1335؛ در 400 ص، عکس، چاپ سوم 1349؛ ویرایشهای دیگر با مقدمه و حواشی در 667 ص؛ چاپ دیگر: تهران، کتابفروشی زوار، 1359، در 546 ص؛ چاپ پنجم؛ چاپ دیگر: تهران، ماهی، 1386، در 479 ص؛ چاپ دوم ماهی 1388؛ چاپ سوم 1392؛ شابک: 9789649971223؛ سکه سازان را سه بخش آراسته؛ بخش نخست: در 232 ص است وقایع این بخش در پاریس و در کوچه های کودکی نویسنده میگذرد؛ بخش دوم: در 76 ص است، در یکی از دهکده های سویس روی میدهد و اتفاق مبافتد. بخش سوم: در 236 ص، باز هم در پاریس روی میدهد؛ زمان داستان بیش از پنج ماه نیست؛ از پایان بهار تا پایان پائیز؛ و تاریخ رخداد داستان پیش از جنگ جهانگیر نخست است؛ سکه سازان یک رمان انتقادی ست؛ اشخاص داستان سی و پنج تن هستند، از هرگونه آدمی در بین آنها هست؛ برنار مضطرب؛ آرمان منحرف؛ ونسان مردد؛ کشیشان، معلمان، پدران و مادران فرمانبر شیوه های کهن؛ و یک زن استثنایی، شیک پوش، زیبا، ثروتمند و لیدی گریفیث (لیلیان)؛ ایشان به خدا و شیطان به هر دو اعتنا ندارد؛ و موجب نومیدی نویسنده نیز هست. ادوار، هم بازیگر ست هم تماشاگر؛ و هم داستان نویس؛ ... در طول رمان دو داستان ادامه مییابد، یکی واقعی و رئال و دیگری ایده آل و سمبولیک. بدینگونه ژید دوگانی انسان را میبیند و ....؛ ا. شربیانی

  3. 3 out of 5

    Hadrian

    A tangled web of a novel. Drifts from one character to the next. Good conversations and a pretty exciting plot. Assume everyone is gay until proven otherwise.

  4. 4 out of 5

    qwerty

    Τα 4* για έναν επίλογο ΣΥΓΚΛΟΝΙΣΤΙΚΟ!!!!!! Το τελείωσα με δάκρυα στα μάτια. Είναι αναμφισβήτητα ένα σπουδαίο βίβλίο με πολλά κρυμμένα σοφά μηνύματα περί παιδείας, πατρικών, μητρικών και αδελφικών σχέσεων και φιλίας. Προσωπικά, το βρήκα πολύ ενδιαφέρον στην αρχή, κάπου στη μέση με έκανε να ψιλοβαρεθώ και στο τέλος η αγωνία κορυφώθηκε. Αξίζει, επίσης το γεγονός ότι είναι ενα μυθιστόρημα περί μυθιστορήματος, έμπνευσης και συγγραφέα. Παρακολουθούμε έναν συγγραφέα να εμπνέεται το μυθιστόρημά του από γ Τα 4* για έναν επίλογο ΣΥΓΚΛΟΝΙΣΤΙΚΟ!!!!!! Το τελείωσα με δάκρυα στα μάτια. Είναι αναμφισβήτητα ένα σπουδαίο βίβλίο με πολλά κρυμμένα σοφά μηνύματα περί παιδείας, πατρικών, μητρικών και αδελφικών σχέσεων και φιλίας. Προσωπικά, το βρήκα πολύ ενδιαφέρον στην αρχή, κάπου στη μέση με έκανε να ψιλοβαρεθώ και στο τέλος η αγωνία κορυφώθηκε. Αξίζει, επίσης το γεγονός ότι είναι ενα μυθιστόρημα περί μυθιστορήματος, έμπνευσης και συγγραφέα. Παρακολουθούμε έναν συγγραφέα να εμπνέεται το μυθιστόρημά του από γεγονότα της πραγματικής ζωής του και στην ουσία η ζωή να διαμορφώνει το βιβλίο που γράφει και γίνεται ένα ωραίο μπέρδεμα όπου ένα μυθιστόρημα κρύβεται μέσα στο μυθιστόρημα που διαβάζεις. (κάτι σαν το inception :P ) Πρώτη φορά που διάβασα André Gide και σίγουρα όχι τελευταία!

  5. 5 out of 5

    Sofía (Софья)

    Este libro es literatura sobre literatura. Es metatexto, es anti-novela, es provocación hecha novela. Eduardo es un hombre que escribe una novela y nosotros (los lectores) leemos el borrador de esa novela. Nos encontramos con fragmentos que no le salen y que él dice que no va a publicarlos, nos encontramos con personajes que aparecen y desaparecen como fantasmas (un ejemplo es Vicente, de quien perdemos el rastro en África). El texto tiene estructura de notas del borrador. ¿Por qué André Gide esc Este libro es literatura sobre literatura. Es metatexto, es anti-novela, es provocación hecha novela. Eduardo es un hombre que escribe una novela y nosotros (los lectores) leemos el borrador de esa novela. Nos encontramos con fragmentos que no le salen y que él dice que no va a publicarlos, nos encontramos con personajes que aparecen y desaparecen como fantasmas (un ejemplo es Vicente, de quien perdemos el rastro en África). El texto tiene estructura de notas del borrador. ¿Por qué André Gide escribió esta novela? ¿Por qué quiso mostrar el proceso de creación de un libro? Porque también es divertido. Por la misma razón por la cual algunas personas van a comer a estos restaurantes donde primero tienen que cocinar su cena. Por la misma razón por la cual nos paramos al lado de un dibujante en una plaza y seguimos sus movimientos. Pero este libro no es un manual de como escribir una novela; es una visión irónica sobre la labor de un escritor. No solamente la estructura es desafiante, también el contenido. Gide toca temas importantes y universales: la infancia, la búsqueda de su ser, la sexualidad, la agresión, la familia, la confianza, los miedos. Y para cada uno de ellos su ángulo de vista es diferente al de la sociedad típica patriarcal. Para entender la forma de pensar del autor, deberíamos adentrarnos en su biografía. La historia se centra en la vida de dos chicos adolescentes: Bernardo y Oliverio. Los dos abandonan sus casas para poder construir sus vidas. Los dos odian a sus padres, el ambiente hipócrita de sus hogares. El aire de mentira, de represión, de autoridad los asfixia. Desde una edad muy chica nos enseñan que la familia es la base de todo, el hogar, las raíces. Nos convencen de esto los mismos padres, la escuela, los medios de comunicación, la sociedad. Porque así es más fácil manejarnos. Muy pocas personas se dan cuenta que la familia es una maquina de represión. Solo las personas que abandonan sus hogares pueden ser unos seres libres, fuertes, originales, reflexivas. Probablemente, es uno de los libros más íntimos que leí. Yo misma abandoné mi casa cuando tenía 16 años porque sentí esta represión, esta falsedad que arruinaba mi alma y que tan bien describe Gide. Nunca me arrepentí de esa decisión. Encontrar a alguien que piensa como yo y quien no tuvo miedo de romper el velo de este tema tan sagrado incluso en la actualidad, significa muchísimo para mí.

  6. 3 out of 5

    Andre

    این کتاب ژید بسیار ناامید کننده بود. چندین بار تلاش کردم که تا آخر بخونمش ولی نشد، طرح اصلی داستان به وضوح از جنایت و مکافات الگوبرداری شده با این تفاوت که اصلا بنیه ی جنایت و مکافات رو نداره. شخصیتهای متعددی که ول تو کتاب میچرخن و هیچ هدف خاصی ندارن. ارتباطات بی هدف. دیالوگهای بی مایه و مهمتر از همه راوی فوق العاده بد. اصلا از آندره ژید انتظار چنین کتاب ضعیفی رو نداشتم و این سه تا ستاره ای هم که دادم، بیشتر به خاطر گل روی ژید و اسم کوچیکشه که خیلی قشنگه :)))

  7. 3 out of 5

    James

    The Counterfeiters is a book about writing a book, also called "The Counterfeiters". That is the primary theme of the novel which comes from the title of the book by the writer Edouard. Thus The Counterfeiters is a novel-within-a-novel, with Edouard (the alter ego of Gide) writing a book of the same title. Other stylistic devices are also used, such as an omniscient narrator that sometimes addresses the reader directly, weighs in on the characters' motivations or discusses alternate realities. H The Counterfeiters is a book about writing a book, also called "The Counterfeiters". That is the primary theme of the novel which comes from the title of the book by the writer Edouard. Thus The Counterfeiters is a novel-within-a-novel, with Edouard (the alter ego of Gide) writing a book of the same title. Other stylistic devices are also used, such as an omniscient narrator that sometimes addresses the reader directly, weighs in on the characters' motivations or discusses alternate realities. However, there is also the story of a group of boys who are passing counterfeit coins throughout Paris. Thus we have entered a world where we cannot trust our senses -- what is counterfeit and what is real? The story of Edouard writing his novel demonstrates his search for knowledge, yet as he associates with a group of his own adolescent relatives it appears as an artificial arrangement; one that displays the effects upon society of youth's corruption of traditional standards and values. The collapse of morality is illustrated with Eduoard's nephew Vincent, who deserts his lover Laura, a married woman, and runs away with Lillian, the mistress of Count Robert de Passavant. His life goes downhill as he murders her and goes insane. There is also the coming of age story of Bernard and Olivier as they prepare to leave school -- but does this extend beyond their education and emanate from all who are learning about the world? This learning which is required by the changing nature of the everyday, the quotidian reality that is, perhaps, counterfeit. I found the details of Edouard's struggles with his career, his family, his friendships and love provide images that enhance the main themes, yet also provide narrative drive. Another subplot of the novel is homosexuality. Some of the characters are overtly homosexual, like the adolescent Olivier, and the adult writers Count de Passavant and Eduoard. The Count seems to be an evil and corrupting force while the latter is benevolent. Even when the treatment is not overt, there is a homoerotic subtext that runs throughout, which encompasses Olivier's friend, Bernard, and their schoolfellows Gontran and Philippe. The main theme of The Counterfeiters underlies the issue of sexuality, morality, and social order and lineage in a unique way for his era. Gide's novel was not received well on its appearance, perhaps because of its homosexual themes and its unusual composition. It is this unusual composition that I thought made it an interesting read; along with which the way Gide demonstrates ideas through his characters and their actions much like Dostoevsky and Thomas Mann. The Counterfeiters has improved its reputation in the intervening years and is now generally counted among the great novels of the twentieth century.

  8. 4 out of 5

    Bethan

    This is subtle metafiction since one of the main characters is a writer and the nature of Gide's The Counterfeiters is intellectual, bohemian, philosophical and of its time - for example, Freudian techniques used on a boy are exposited upon and discussed. It follows various people of a social milieu, from schoolboys to new school-leavers, to their parents and relatives, to an old schoolmaster, and is about their relationships and connections: in that sense, it was soap-like. It is also very homo This is subtle metafiction since one of the main characters is a writer and the nature of Gide's The Counterfeiters is intellectual, bohemian, philosophical and of its time - for example, Freudian techniques used on a boy are exposited upon and discussed. It follows various people of a social milieu, from schoolboys to new school-leavers, to their parents and relatives, to an old schoolmaster, and is about their relationships and connections: in that sense, it was soap-like. It is also very homoerotic - never directly stated but some of the male main characters are almost certainly gay. It wasn't the easiest of books to follow but it was good in an interesting way. The denouement (cannot spoil), however, I did not like much because it felt a bit obvious and heavy-handed to me and it rang hollow, so that was a shame. Edit: I suppose the counterfeit coins used in the novel that the title references, represent the hollow and somewhat flashy or surface nature and currency of many of these relationships people have with each other. I will say that I did find the novel a bit depressing but almost scientifically honest that way because it kind of mirrors what I see and experience about people. I'm sure that says more about me though. Again, I think this is an interesting and philosophical novel - it wove subtly complex webs across my mind.

  9. 3 out of 5

    Sheyda Heydari Shovir

    سكه سازان تصور بى خودى كه كتاب هاى مدرسه از آندره ژيد به من داده بودو عوض كرد و در واقع از جزئياتى كه بهشىن توجه مى كنه و تجربه هايى كه ازشون مى نويسه خيلى خوشم اومد و حتما چيز ديگرى از آندره ژيد خواهم خوند. نكته اين كتاب شخصيت پردازى هاشه، خيلى خوب درومده. آدم دوست داره همه چيزشون رو دنبال كنه و بيشتر ازشون بدونه. تو كتاب از يك سرى تجربه در روابط و دوستى ها حرف مى زنه. خوندن اين ها منو مجاب مى كنه كتاب بخونم. انقدر اصيل اند و انقدر در تجربه شون تنها و حيران بوده م كه از خوندنشون سر ذوق ميام و دو سكه سازان تصور بى خودى كه كتاب هاى مدرسه از آندره ژيد به من داده بودو عوض كرد و در واقع از جزئياتى كه بهشىن توجه مى كنه و تجربه هايى كه ازشون مى نويسه خيلى خوشم اومد و حتما چيز ديگرى از آندره ژيد خواهم خوند. نكته اين كتاب شخصيت پردازى هاشه، خيلى خوب درومده. آدم دوست داره همه چيزشون رو دنبال كنه و بيشتر ازشون بدونه. تو كتاب از يك سرى تجربه در روابط و دوستى ها حرف مى زنه. خوندن اين ها منو مجاب مى كنه كتاب بخونم. انقدر اصيل اند و انقدر در تجربه شون تنها و حيران بوده م كه از خوندنشون سر ذوق ميام و دوست دارم هرچى در موردشون هست رو ببينم و از تجربه خودم بيشتر سر در بيارم. من نصف كتابو به فرانسوى خوندم و مخصوصا ازين قسمتش خيلى لذت بردم. بقيه شو به خاطر كمبود وقت مجبور شدم ترجمه بخونم كه زياد جالب نبود. ترجمه از حسن هنرمندى بود و ترجمه طبيعى و روانى نيست.

  10. 4 out of 5

    P.E.

    " Que cette question de la sincérité est irritante ! Sincérité ! Quand j'en parle, je ne songe qu'à sa sincérité à elle. Si je me retourne vers moi, je cesse de comprendre ce que ce mot veut dire. Je ne suis jamais ce que je crois que je suis - et cela varie sans cesse, de sorte que souvent, si je n'étais là pour les accointer, mon être du matin ne reconnaîtrait pas celui du soir. Rien ne saurait être plus différent de moi, que moi-même. Ce n'est que dans la solitude que parfois le substrat m'ap " Que cette question de la sincérité est irritante ! Sincérité ! Quand j'en parle, je ne songe qu'à sa sincérité à elle. Si je me retourne vers moi, je cesse de comprendre ce que ce mot veut dire. Je ne suis jamais ce que je crois que je suis - et cela varie sans cesse, de sorte que souvent, si je n'étais là pour les accointer, mon être du matin ne reconnaîtrait pas celui du soir. Rien ne saurait être plus différent de moi, que moi-même. Ce n'est que dans la solitude que parfois le substrat m'apparaît que et que j'atteins à une certaine continuité foncière ; mais alors il me semble que ma vie s'alentit, s'arrête et que je vais proprement cesser d'être. Mon cœur ne bat que par sympathie ; je ne vis que par autrui ; par procuration, pourrais-je dire, par épousaille, et ne me sens jamais vivre plus intensément que quand je m'échappe à moi-même pour devenir n'importe qui. "

  11. 5 out of 5

    Mahmood666

    کتاب واقعا زیبا شروع میشه و پایان بسیار جذابی هم داره .کلا من خیلی ازش خوشم اومد ولی مشکل کتاب در اینه که ژید اندیشه ی قدرتمندی نداره(در مقایسه با پروست ،مان و موزیل).بر خلاف نظر خود ژید راجع به نبود عنصر داستانی در این کتاب،کتاب سرشار از حادثه و اتفاقات باور نکردنیه.بعضی از بخشهای کتاب به شدت شبیه رمان های داستایفسکی(مخصوصا ابله و آزردگان)از آب در اومده.رمانتسیسم در جای جای کتاب موج میزنه و داستان خیلی غیر قابل باوره.من همون مشکلی رو که باآثار داستا یفسکی دارم با این کتاب داشتم(از جمله سخنان عج کتاب واقعا زیبا شروع میشه و پایان بسیار جذابی هم داره .کلا من خیلی ازش خوشم اومد ولی مشکل کتاب در اینه که ژید اندیشه ی قدرتمندی نداره(در مقایسه با پروست ،مان و موزیل).بر خلاف نظر خود ژید راجع به نبود عنصر داستانی در این کتاب،کتاب سرشار از حادثه و اتفاقات باور نکردنیه.بعضی از بخشهای کتاب به شدت شبیه رمان های داستایفسکی(مخصوصا ابله و آزردگان)از آب در اومده.رمانتسیسم در جای جای کتاب موج میزنه و داستان خیلی غیر قابل باوره.من همون مشکلی رو که باآثار داستا یفسکی دارم با این کتاب داشتم(از جمله سخنان عجیب وغریب در دهان کودکان و فضای تئاتری ونمایشی سرشار از تصادفات عجیب وغریب ).اما به هر حال کتابی به شدت خوندنیه وبه خصوص روابط همجنسگرایی در اون( حداقل دربین کتابهایی که من خوندم)خیلی شگفت انگیز و جالب از کار در اومده.

  12. 3 out of 5

    Armin Hennig

    Frömmlerischer Schwulenschmalz *Achtung Rezi in Progress* Persönliche Befangenheitserklärung Bin erst mal froh, dass ich's hinter mir habe, aber als Literaturfreund maßlos enttäuscht, auch wenn das Buch für die damalige Schwulen-Szene oder reife Freunde von Knaben, die sich im Dauerringkampf mit ihrem puritanisch-christlichen Erbe befanden, sicher der Brüller war. Hauptmotivation durchzuhalten, war die stilbildende Funktion für Klaus Manns Vulkan, an dessen Eigenheiten ich schon mehr als einmal ges Frömmlerischer Schwulenschmalz *Achtung Rezi in Progress* Persönliche Befangenheitserklärung Bin erst mal froh, dass ich's hinter mir habe, aber als Literaturfreund maßlos enttäuscht, auch wenn das Buch für die damalige Schwulen-Szene oder reife Freunde von Knaben, die sich im Dauerringkampf mit ihrem puritanisch-christlichen Erbe befanden, sicher der Brüller war. Hauptmotivation durchzuhalten, war die stilbildende Funktion für Klaus Manns Vulkan, an dessen Eigenheiten ich schon mehr als einmal gescheitert bin. Während meiner literarischen Sozialisation wurden André Gides Die Falschmünzer in einem Atemzug mit Der Mann ohne Eigenschaften, Ulysses, Auf der Suche nach der verlorenen Zeit oder Zenos Gewissen als Markstein der Moderne genannt. Klaus Manns Lobpreis als Kunst der Fuge des Romans hat den Erwartungshorizont noch höher gespannt, zumal das entsprechende Kapitel in André Gide und die Krise des modernen Denkens zweifellos der Höhepunkt dieser gelegentlich apologetischen Analyse darstellt. Im Gegensatz zum sonst eher sinfonisch gestalteten traditionellen Roman, sollte Gide mit seinem reinen Roman so etwas wie ein kontrapunktisches Erzählwerk gelungen sein. Von daher war ich zumindest auf einige erzähltechnische Finessen gespannt. Aber der Erzähler, der nicht immer alles wissen will und seine Leser persönlich anspricht und demonstrativ bevormundet, erinnert mich eher an einen alten Onkel. Es sei denn, jemand empfindet die Montage von Tagebucheinträgen und Briefen als ungewöhnlich, mir erscheint das Buch aber in diesem Punkt eher den Traditionen des 18. Jahrhunderts verhaftet. Wenn man so will, eher Neobarock als Aufbruch zu neuen Ufern. Das Personal und seine Konflikte gehen dem Leser in etwa so nahe wie die Dramen des ausdrücklich gelobten Racine. Gides strikte Weigerung dem Leser mehr als ein paar Kleidungsstücke oder die aktuelle Luftqualität an die Hand zu geben, die mir schon bei den Verliesen des Vatikan sehr zu schaffen machte, erhöht das Lesevergnügen nicht unbedingt. Die einzige Ausnahme ist das ausführliche Portrait eines jungen Bücherdiebs aus der Perspektive von Tagebuchschreiber und Tugendbold Edouard. tbc

  13. 3 out of 5

    Tony

    Gide, Andre. THE COUNTERFEITERS. (1925). ****. This is an extremely complex novel from this distinguished French author (1869-1951) who had apparently published over thirty books during his career. This is the only one he acknowledged as being a novel. I remember, though, being assigned “The Immoralist” to read in college, and was led to believe it was a novel. It was – as far as I could tell – but certainly departed from the novelistic norms. This book does the same. We re introduced to charact Gide, Andre. THE COUNTERFEITERS. (1925). ****. This is an extremely complex novel from this distinguished French author (1869-1951) who had apparently published over thirty books during his career. This is the only one he acknowledged as being a novel. I remember, though, being assigned “The Immoralist” to read in college, and was led to believe it was a novel. It was – as far as I could tell – but certainly departed from the novelistic norms. This book does the same. We re introduced to characters who play small parts and then disappear. Threads of the narrative, told by a writer who is trying to write a novel called “The Counterfeiters,” are dropped or not followed up. Actually, Gide wrote a novel about a novelist who is writing a book about a novelist trying to write a book called “The Counterfeiters.” What Gide has done is to attack the conventions of the typical 19th century novel and shake up his readers. The title is also in jeapordy of acting as a red herring. There is a section about the young boys in the novel attempting to pass off fake gold coins, but the author uses these coins – not to pursue any kind of a mystery story, but to offer them as a metaphor for the fake coins offered by civilizations cultural and religious icons: the church, the government, etc. This is not light reading, but turns out to be well worth it in the end. I wonder if Gide is still assigned reading in school these days. Recommended.

  14. 4 out of 5

    Gregg Bell

    The Counterfeiters is a book for writers, intellectuals or learners. It's an odd book with crisscrossing themes and story lines. Difficult to follow. (I gave up trying to follow it.) Gide, a winner of the Nobel prize for literature, is an old-time writer, the emphasis being on "writer," rather than "novelist." In those days, there weren't that many writers around and writers often were able to put whatever they wanted in their books. And Gide put a lot in this book. It's just not much of a story. The Counterfeiters is a book for writers, intellectuals or learners. It's an odd book with crisscrossing themes and story lines. Difficult to follow. (I gave up trying to follow it.) Gide, a winner of the Nobel prize for literature, is an old-time writer, the emphasis being on "writer," rather than "novelist." In those days, there weren't that many writers around and writers often were able to put whatever they wanted in their books. And Gide put a lot in this book. It's just not much of a story. Ostensibly it's about a young artist's search for artistic authenticity. But that search gets twisted in a hundred different directions, ending up only as strands heading in a general direction. And yet in the process much insightful information about art and the artistic process is provided. And information about life. Consider these gems: "It very often suffices to add together a quantity of little facts which, taken separately, are very simple and very natural, to arrive at a sum which is monstrous." "...the greatest intelligence is precisely the one that suffers most from its own limitations." Like a Renaissance man, Gide's thoughts are learned and broad ranging, and yet clearly the book's predominant emphasis is on art, more specifically writing. Even, in this edition anyway, at the end, there is Gide's notebook on his process of how he wrote the novel. And it's good information. Like, "...be guided by the words rather than force them into submission." So, read this novel for entertainment? I would say not really. Read it to read a brilliant man and learn from him? You're getting warmer. Read it to learn about art and writing? You're hot now. Have a little spare time? I've free flash fiction (all stories under 1K) at my website greggbell.net

  15. 5 out of 5

    Kit

    This book I couldn't figure out. The feeling I get after reading it was similar to the time I read American Psycho. On the surface, you wonder, what's going on? when is this going to get interesting? And you might leave disappointed. There's something subliminal about the Counterfeiters that is beyond my intelligence to figure out. The characters are meshed together in one book, which seem to act as a pressure cooker. Gide, instead of letting the plot twists and turns let the story flow as the c This book I couldn't figure out. The feeling I get after reading it was similar to the time I read American Psycho. On the surface, you wonder, what's going on? when is this going to get interesting? And you might leave disappointed. There's something subliminal about the Counterfeiters that is beyond my intelligence to figure out. The characters are meshed together in one book, which seem to act as a pressure cooker. Gide, instead of letting the plot twists and turns let the story flow as the characters lead them to, following their respective personalities and conflicts. Edouard's journal's, his efforts with HIS own version of the Counterfeiters, how much of that reflects the novel? Which begs the question: how mcuh of it reflects Gide's life, at least in the time of writing? The form of the novel is unique, depending on which version you pick up. It's probably better to pick up the one with Gide's own journals, and also the appendix. (One of) the story is about writing about writing. So it follows, with Gide's journals, the book is about writing about writing about writing, among its many themes. Gide tried to fit as much as he knew in one book. That in itself should be respected. It does tend to get messy at times due to Gide's ambitions, but you should just press on. The English version translation I got out from my library (the only one) by Bussy wasn't great. But I'm not sure what other translations are like. If you could read French, though, that may be the best asset for reading this book.

  16. 3 out of 5

    Charlie

    I finally finished it and am now going to read the journal the author kept while writing this. I mean it's a very long story about writing stories with a lot of characters and sometimes it feels that the line between what the character's are thinking and the what the author is thinking and what the author is thinking of the actual real novel is thin. Supposedly he let the story flow naturally and yet I have a hard time imagining that he could have done so because there are so many little things I finally finished it and am now going to read the journal the author kept while writing this. I mean it's a very long story about writing stories with a lot of characters and sometimes it feels that the line between what the character's are thinking and the what the author is thinking and what the author is thinking of the actual real novel is thin. Supposedly he let the story flow naturally and yet I have a hard time imagining that he could have done so because there are so many little things that needed to happen to get to the end result. Maybe I can't fathom it because when I write I need to pre-plan most every important thing... It's a heavy read and still the writing style drags your eyes along the pages with force. You want to go forward and get closer to the characters perhaps because they're so beautifully painted. Maybe I will edit this later and make a clearer review when I will have studied the book in depth but I don't think there is a much deeper meaning. I am not sure that this is a book with a message per say. It's got a soft feel to it. Overall I do recommend it a lot I think although, and the characters employ this very expression in the book to talk about one of the writer's book (do you follow me there because I think I lose myself in the bookception?) it's just a "slice of life".

  17. 4 out of 5

    Czarny Pies

    The reputation of the Faux-Monnayeurs is that it is an experimental novel that succeeds only where it is conventional. Gide's experimentation comes in the form of a magically real angel, multiple narrative points of view combined with more subplots and characters than would normally be considered prudent in a well-controlled work. At 19, I liked it because the author maintained a rapid pace and clearly had great affection for his characters. As well the discussion on homosexuality was new to me. The reputation of the Faux-Monnayeurs is that it is an experimental novel that succeeds only where it is conventional. Gide's experimentation comes in the form of a magically real angel, multiple narrative points of view combined with more subplots and characters than would normally be considered prudent in a well-controlled work. At 19, I liked it because the author maintained a rapid pace and clearly had great affection for his characters. As well the discussion on homosexuality was new to me. Because Gide obviously knew the topic very well I felt that the Faux-Monnayeurs delivered great insight. I was stunned when an angel appeared in the novel to wrestle with Bernard as if he were Jacob. I was then very glad to see that Bernard was subsequently able to make peace with his adopted father. The novel however ends on a very cruel note as a bullied child commits suicide in front of his classmates. I had frankly hoped that the Angel could have saved the little boy and still regret that he did not. This is a great novel about the soul-searching of adolescent males during their late teens. I recommend it well before Catcher in the Rye.

  18. 3 out of 5

    Hasan حسن منصور

    بدت لي كأنها قنطرة بين كلاسيكية القرن التاسع عشر وتجريبية القرن العشرين!..القليل من كل شيء وبسلاسة ومهارة أصيلة..حكائية بلزاك لكن دون إغراقه في التفاصيل، تشريح زوﻻ اﻹجتماعي لكن دون سوداوية أو قساوة، مثالية هوغو/واقعية فلوبير!..كرواية أولى لجيد ﻻ بد وأنها حملت أثرا ﻷساليب العمالقة لكنه أيضا بث فيها الكثير من آراءه في اﻷدب والنقد بلسان إدوار أو بمذكراته! استخدم جيد ضمير الراوي العليم والمذكرات بضمير المتكلم..كما أظهر فيها ميوله المثلية الشاذه لكن بأسلوب موارب!(بالطبع ﻻ يمكننا أن نجزم إن كانت الموا بدت لي كأنها قنطرة بين كلاسيكية القرن التاسع عشر وتجريبية القرن العشرين!..القليل من كل شيء وبسلاسة ومهارة أصيلة..حكائية بلزاك لكن دون إغراقه في التفاصيل، تشريح زوﻻ اﻹجتماعي لكن دون سوداوية أو قساوة، مثالية هوغو/واقعية فلوبير!..كرواية أولى لجيد ﻻ بد وأنها حملت أثرا ﻷساليب العمالقة لكنه أيضا بث فيها الكثير من آراءه في اﻷدب والنقد بلسان إدوار أو بمذكراته! استخدم جيد ضمير الراوي العليم والمذكرات بضمير المتكلم..كما أظهر فيها ميوله المثلية الشاذه لكن بأسلوب موارب!(بالطبع ﻻ يمكننا أن نجزم إن كانت المواربة أو التلميح نتيجة الترجمة أو أصالة من المؤلف الذي عرف عنه غرامه بالغلمان!)..العمل الثاني الذي أقرأه لجيد بعد الﻷخلاقي التي ﻻ أذكر الكثير منها غير انطباع بالرتابة والملل أثناء قراءتها لذلك سأعطيها أي اللأخلاقي نجمتين إلى أن تصادف قراءة ثانية أشك بها! لكني سأنصف هذه مع أن النهاية مخيبة قليلا..نسيت أن أذكر أن ما دعاني لقراءة مزيفو النقود، هو ذكر ماركيز لها في سيرته (نعيشها لنرويها) على أنها من الروايات التي ﻻ يزال يذكر أنه قرأها أيام المدرسة الداخلية It seems like a bridge between the classical of the nineteenth century and the empiricism of the twentieth-century.

  19. 3 out of 5

    Victor Morosoff

    Au moment de sa parution, ce livre a été perçu, probablement, comme une révolution idéologique - le roman allait devenir une oeuvre même plus complèxe qui, au lieu de se concentrer seulement sur la simple réalité, soulignait tout d'abord la sensation de l'authentique. De nos jours - presque cent ans après - "Les faux-monnayeurs" risque, parfois, d'ennuyer, de sembler trop long, ayant une action trop riche, décousue et difficile à suivre (des lettres, un journal intime etc). Et, cependant, il cré Au moment de sa parution, ce livre a été perçu, probablement, comme une révolution idéologique - le roman allait devenir une oeuvre même plus complèxe qui, au lieu de se concentrer seulement sur la simple réalité, soulignait tout d'abord la sensation de l'authentique. De nos jours - presque cent ans après - "Les faux-monnayeurs" risque, parfois, d'ennuyer, de sembler trop long, ayant une action trop riche, décousue et difficile à suivre (des lettres, un journal intime etc). Et, cependant, il crée une atmosphère unique où la vie litteraire (avec toutes ses facettes) est mise sur le premier plan, en restant toujours agréable à lire et à relire...

  20. 3 out of 5

    Stephen

    Ah, God bless the French! (I wonder if it's the first time anyone has ever written that.) I happen to love French writers and, thusly prejudiced, found this book by Andre Gide to be exceptional. A fascinating novel of interlocking characters and their crisscrossing story lines that is widely considered a precursor of the nouveau roman. Relationships of every variety are explored: straight, homosexual, parent/child, bastardy, extra-martial, you name it; a counterfeit coin subplot symbolic of the re Ah, God bless the French! (I wonder if it's the first time anyone has ever written that.) I happen to love French writers and, thusly prejudiced, found this book by Andre Gide to be exceptional. A fascinating novel of interlocking characters and their crisscrossing story lines that is widely considered a precursor of the nouveau roman. Relationships of every variety are explored: straight, homosexual, parent/child, bastardy, extra-martial, you name it; a counterfeit coin subplot symbolic of the real self vs. the false; and a fairly chilling suicide by peer-pressure angle - nearly a century before the infamous suicide by MySpace hoax! If you can handle the French, give it a look.

  21. 4 out of 5

    Dusty Myers

    A novel as much about writing as it is about coded homosexuality in 1920's France (a time, lest we forget, that Gertrude Stein and Alice B. Toklas just about ruled that town). Two rival writers, Edouard and Robert, fall for the same impressionable young boy, Olivier, who decides to run off with Robert, the more famous and less honorable of the two. Edouard, a kind of stand-in for Gide, is Olivier's "uncle" (through marriage), and in the loss of his beloved nephew opts instead of his schoolfriend A novel as much about writing as it is about coded homosexuality in 1920's France (a time, lest we forget, that Gertrude Stein and Alice B. Toklas just about ruled that town). Two rival writers, Edouard and Robert, fall for the same impressionable young boy, Olivier, who decides to run off with Robert, the more famous and less honorable of the two. Edouard, a kind of stand-in for Gide, is Olivier's "uncle" (through marriage), and in the loss of his beloved nephew opts instead of his schoolfriend, Bernard. The intersections that follow among writing instruction, publishing, entry into adulthood, and sexuality are noteworthy, but not too. Also noteworthy is the form of this novel. It reads precisely like something out of Austen. Many of the novels are structured around the meeting of two characters. Even the titles indicate such: "Bernard and Olivier", "Vincent Meets Passavant at Lady Griffith's", Bernard Meets Olivier", etc. The novel has that 19th-century breadth of including everyone from the aristocracy to the poor girl pregnant out of wedlock. And this in 1925! The Great Gatsby came out in 1925! I can't quite figure it out. There's a strong anti-decadent bent in this novel. Robert, the "comte" who drags Olivier to the dark side, is painted as a kind of Wildean figure, which is interesting given the friendship shared between Wilde and Gide. It's only when Olivier realizes he needs to abandon Robert and side himself with a more modernistic writer like his uncle that he is safe. Perhaps Gide's trying to resurrect an approach to the novel the decadents tried to do away with. I mean the novel ends with a boy's accidental suicide, out of the blue. It's practically right out of Dickens, but like act two of Dickens....

  22. 3 out of 5

    Khadijah Qamar

    Gide's novel has moments of keen psychological penetration and, for that reason alone, deserves veritable accolades. It's especially informative and interesting to be witness to the progress of the novel in the Appendix, which reads as Gide's diary throughout the writing of The Counterfeiters. Like other reviewers have noted, it breaks from the "traditional" novel mold since it is a novel about writing a novel. Gide also challenges novelistic norms at the time by changing perspectives, which he Gide's novel has moments of keen psychological penetration and, for that reason alone, deserves veritable accolades. It's especially informative and interesting to be witness to the progress of the novel in the Appendix, which reads as Gide's diary throughout the writing of The Counterfeiters. Like other reviewers have noted, it breaks from the "traditional" novel mold since it is a novel about writing a novel. Gide also challenges novelistic norms at the time by changing perspectives, which he describes in his appendix as an innovative attempt to directly involve the reader in piecing together real events from multiple subjective first-person narratives. I'm not sure that it always succeeds well, since this style contributes to the lack of any significant plot and an unsatisfying conclusion. The supposed climax of the novel ends in a tragic denouement involving a seemingly secondary character. Meanwhile, the threads of the primary characters, who I assume to be Olivier, Bernard, and Edouard, neatly sort themselves out without any significant developments, excluding some juvenile angst on the part of Olivier. This novel may have been controversial and significant in its time, particularly in regards to its unique stylistic exposition and the obvious homosexuality of most of the characters, but I do not think it is a novel "for all ages" as Gide might have wished. In conclusion, it's more of a "slice of life" narrative rather than a novel, and although Gide has moments of clever insights, in the end the story will likely leave the reader under-served.

  23. 3 out of 5

    Tuck

    where pomo got started? Gide weaves a typical tale of upright bourgeoisie actually being quite immoral scumbags, but oh they have the angle, being lawyers, judges, professors, preachers, so get to do the cover-up and all is well. nixon tried that too, it usually doesn't work. greed, lust, envy, bullying, perversions of all kinds tend to bite you in the ass eventually. here is a quote, author is talking about book reviews (of his old book) and how he has SO moved on from that and hates his old boo where pomo got started? Gide weaves a typical tale of upright bourgeoisie actually being quite immoral scumbags, but oh they have the angle, being lawyers, judges, professors, preachers, so get to do the cover-up and all is well. nixon tried that too, it usually doesn't work. greed, lust, envy, bullying, perversions of all kinds tend to bite you in the ass eventually. here is a quote, author is talking about book reviews (of his old book) and how he has SO moved on from that and hates his old book and what he wrote. Now author wants to write for the future, and i guess, write a classic, so that say someone in the 21st century, in another country, would read his book and think it says something to them, and that all the garbage written then in France, now in usa, etc is just that, now worth reading, not worth keeping or thinking about. "An insight, composed of sympathy, which would enable us to be in advance of the seasons---is this denied us? What are the problems which will exercise the minds of to-morrow? It is for them that I desire to write. To provide food for curiosities still unformed, to satisfy requirements not yet defined, so that the child of to-day may be astonished to-morrow to find me in his past".

  24. 4 out of 5

    Tôi thấy khó chịu với tác phẩm này quá. Diễn biến câu chuyện tạo ra ảo tưởng là cuốn này... khá ổn, hứa hẹn sẽ có nhiều biến cố nhưng thế quái nào đọc xong cuốn truyện rồi tôi lại thấy bị hẫng, có cảm giác cuốn sách hổng chỗ này chỗ kia như tổ ong ý. Nhân vật thì nhiều nhưng chắc do sách mỏng nên không được đầu tư nhiều ở khoản cá tính lẫn diễn biến nội tâm. Tôi những tưởng là do sự khác biệt về văn hóa & thời đại giữa tôi với cuốn sách nên tôi mới không thể nào "hiểu" được tâm sự của các nh Tôi thấy khó chịu với tác phẩm này quá. Diễn biến câu chuyện tạo ra ảo tưởng là cuốn này... khá ổn, hứa hẹn sẽ có nhiều biến cố nhưng thế quái nào đọc xong cuốn truyện rồi tôi lại thấy bị hẫng, có cảm giác cuốn sách hổng chỗ này chỗ kia như tổ ong ý. Nhân vật thì nhiều nhưng chắc do sách mỏng nên không được đầu tư nhiều ở khoản cá tính lẫn diễn biến nội tâm. Tôi những tưởng là do sự khác biệt về văn hóa & thời đại giữa tôi với cuốn sách nên tôi mới không thể nào "hiểu" được tâm sự của các nhân vật nhưng thử xem lại thời điểm sáng tác thì, cuốn này được viết vào đầu thế kỷ 20, tính ra là muộn hơn Kẻ lãng du của Alain - Fournier mấy chục năm, ấy thế mà cảm giác lúc đọc hoàn toàn khác nhau (dù tôi cũng chả thấy Kẻ lãng du là hay) Đây là cuốn sách hiếm hoi mà tôi không ưa tất cả nhân vật, từ chính diện đến phản diện, từ kép chính cho đến vai phụ. Bọn họ dễ bị sa đọa và cũng dễ tỉnh ngộ, dễ là quân rắn độc và cũng dễ trở thành bậc thánh nhân. Nhưng điểm chung là phần lớn bọn họ đều là bọn đạo đức giả (chắc tại đạo đức dễ làm giả hơn cả tiền). May ra có mấy đoạn khá hay ho để có thể trích dẫn ra nhưng nói chung là tác phẩm này không có gì đặc sắc.

  25. 5 out of 5

    Kobe Bryant

    For young middle class French gay people they sure do lead boring lives

  26. 5 out of 5

    Helen Pavlopoulou

    Εκπληκτικό βιβλίο. Ούτε μια λέξη περιττή. Εισχωρεί με την ακρίβεια χειρουργού στις συμπεριφορές των χαρακτήρων του, στο αίτιο και αιτιατό.

  27. 5 out of 5

    Tyler

    Billed as a frank exploration of same-sex deviance and an exposition of the collapse of morals in 1920’s France, this book is not quite either. It’s a transitional work. Readers wanting a frank look at gay sex are referred to Death on the Installment Plan, where Celine’s two or three shocking vignettes on the subject have never been outdone. And since kids getting away with anything is the grist of modern media, the general state of morality doesn’t especially shock modern readers. But the trans Billed as a frank exploration of same-sex deviance and an exposition of the collapse of morals in 1920’s France, this book is not quite either. It’s a transitional work. Readers wanting a frank look at gay sex are referred to Death on the Installment Plan, where Celine’s two or three shocking vignettes on the subject have never been outdone. And since kids getting away with anything is the grist of modern media, the general state of morality doesn’t especially shock modern readers. But the transitional nature of the story is interesting. It reminds me of The Way of All Flesh, a 19th century bildungsroman centering on an uncle and his nephew, with winks to the discerning reader. Gide develops this idea in a French setting and adds more characters of uncertain virtue. Somewhere in my reading, in fact, I began assuming any male character was gay until proven otherwise. I later exonerated three of them and found four others guilty of sending coded messages without an encryption device. The author pushes the story beyond innuendo without going as far as Celine would a decade later. How much the book scandalized people at the time I don‘t know. It went on the market about when Josephine Baker was in Paris dancing naked except for a string of bananas around her waist, so I imagine the French public was ready as well for something provocative by way of literature. Yet no explicit sex takes place. What we have is in large part a sentimental narration of the characters. But that’s not it either, exactly. The story depicts a snooty literary artistic clique more so than a debaucherous cabal, and the characters are trying to out-snoot each other as much as anything. The narrative action is limited and the story moves along with the help of letters and notes interspersed within the prose. The book is a campy act much in the spirit of the movie All About Eve. In The Counterfeiters I saw that the author took care with everything from the structure of the narrative to the word choices in individual paragraphs. I appreciated the superior content, and I fell in easily with the book's transitional nature, imagining Gide as an artist caught between genres. I didn’t rate this tale higher because I found the focus on the literati too confining. But that’s a matter of personal taste. I recommend the book to people interested in the themes as well as to people in search of good literature.

  28. 4 out of 5

    Panos

    «[...]δεν γνωρίζουμε τις ιδέες παρά μόνο μέσω των ανθρώπων, όπως ακριβώς αντιλαμβανόμαστε τον άνεμο απ’τις καλαμιές που λυγίζουν. Όμως, παρ’όλα αυτά, ο άνεμος παρουσιάζει μεγαλύτερο ενδιαφέρον απ’ ό,τι οι καλαμιές»

  29. 3 out of 5

    José

    Acabo de terminar de leer “Los Monederos Falsos” de Gide, y puede que sea muy pronto, pero creo que ya puedo decir que es uno de mis libros favoritos. Tiene un formato muy inusual, trata sobre la escritura de un libro que se llama Los Monederos Falsos, es decir, es una novela dentro de una novela, y el personaje principal, Eduardo, mueve la trama a través de borradores de la historia, entradas de su diario y reflexiones acerca de su desarrollo. También hay un subtexto homoerótico que marca toda Acabo de terminar de leer “Los Monederos Falsos” de Gide, y puede que sea muy pronto, pero creo que ya puedo decir que es uno de mis libros favoritos. Tiene un formato muy inusual, trata sobre la escritura de un libro que se llama Los Monederos Falsos, es decir, es una novela dentro de una novela, y el personaje principal, Eduardo, mueve la trama a través de borradores de la historia, entradas de su diario y reflexiones acerca de su desarrollo. También hay un subtexto homoerótico que marca toda la narrativa, pero, al igual que en otros libros de Gide, nunca se expresa de manera explícita ni clara. En el trasfondo se agitan muchos personajes que interactúan con él, familiares, amigos…las intrigas vienen y van. Hay una historia secundaria que tiene que ver con unos estudiantes parisinos que se encargan de estafar por medio de unas monedas falsas, y que me parece le sirve a Gide (Eduardo) para simbolizar su argumento principal: “empiezo a entrever lo que yo llamaría el ‘tema profundo’ de mi libro. Es, será, indudablemente, la rivalidad entre el mundo real y la representación de que él nos hacemos. La manera con que el mundo de las apariencias se impone a nosotros y con que intentamos nosotros imponer al mundo exterior nuestra interpretación peculiar, constituye el drama de nuestra vida”.

  30. 3 out of 5

    Tiago Germano

    Segunda leitura: 18 de jul a (?) de ago. de 2016 (*****) Primeira leitura: 26 - 29 de out. de 2014 (*****) Ler "Diário dos Moedeiros Falsos" simultaneamente a "Os Moedeiros Falsos" foi uma experiência borgiana. O diário do romance dentro do diário dentro do romance. Curioso como de início parece que Gide escreve no diário coisas sobre um livro completamente diferente do que estamos lendo, como observamos certas intenções sendo suplantadas, algumas se reduzindo, outras se ampliando, à medida que a Segunda leitura: 18 de jul a (?) de ago. de 2016 (*****) Primeira leitura: 26 - 29 de out. de 2014 (*****) Ler "Diário dos Moedeiros Falsos" simultaneamente a "Os Moedeiros Falsos" foi uma experiência borgiana. O diário do romance dentro do diário dentro do romance. Curioso como de início parece que Gide escreve no diário coisas sobre um livro completamente diferente do que estamos lendo, como observamos certas intenções sendo suplantadas, algumas se reduzindo, outras se ampliando, à medida que a ordem dos capítulos vai sendo alterada. O personagem que julga mais difícil compor é um de seus maiores êxitos: o velho La Pérouse, que rende algumas das páginas mais "vivas" com as quais já me deparei. Assim como o monólogo interior de Bernard na estação, que demonstra a maneira primorosa como o autor maneja o indireto-livre. Gide é estiloso, esmera-se nas nuances: narra com primor até um detalhe ínfimo como uma queda de cadeira. O final é um tiro na têmpora.

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