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Ebook Collected Works of Bruno Schulz by Bruno Schulz read! Book Title: Collected Works of Bruno Schulz
Language: English
Format files: PDF
The size of the: 5.62 MB
ISBN: 0330347837
ISBN 13: 9780330347839
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Loaded: 1091 times
Reader ratings: 6.7
The author of the book: Bruno Schulz
Edition: Not Avail
Date of issue: December 4th 1998

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Ho un ricordo molto chiaro della mia prima rinuncia: era estate ed era sera e c’era una festa in paese, qualcosa di sorridente, raccolto e corale come solo le piccole feste sanno essere. Non è presente mio fratello e questo fa precipitare la mia età fino ai cinque, quattro anni o forse meno – i protagonisti di questo amarcord domestico sono altri, e sono tre: un momento di distrazione (io che lascio la mano di mia madre, tutta intenta a guardare i fuochi d’artificio), una bancarella su una strada in salita e un caleidoscopio. Di questo oggetto del quale non sarei riuscita nemmeno a pronunciare il nome, ricordo perfettamente le dimensioni, la carta di cui era fasciato, l’averlo percepito così sottile e solido e in qualche modo cavo e pieno. Era in una cesta di vimini a forma di cilindro e costava seimila lire. Mentre tutti gli altri erano color ruggine, questo era tutto giallo e dorato, quasi opaco, cosparso di venature rosse e puntini neri (puntini minuscoli, della stessa dimensione delle stelle più lontane nelle mappe stellari). Avendomi notato, il proprietario del banco mi fece il gesto di portarmelo agli occhi: ricordo di aver chiuso con una mano l’occhio sinistro e aver appoggiato il destro al vetro del caleidoscopio. E fu così che mi ritrovarono poi i miei – la mano sul viso, la fronte distesa, la bocca aperta in una piccola o e quello strano cannocchiale puntato verso di loro e non verso la strada o verso il cielo, ma verso i loro cuori (tant’è che a lungo sosterrò di aver visto di cosa erano fatti - luce). A pensarci bene, l’interno della bacchetta aveva gli stessi colori dell’esterno, ma amplificati, più vividi, brillanti, luminosi e dorati, mobili, che si allontanavano nella profondità della lente e si riavvicinavano quando la ruotavo e che mai si scomponevano, divisi da angoli o linee rette, ma restavano sempre loro stessi e più l’occhio si abituava, più scorgevo nuovi frammenti di luci, come un pulviscolo brillante che, depositandosi, sollevava una sabbia più fina e sottile, ancora più volatile e inconsistente. Quando abbassai quello strano tubo colorato, non feci storie. Lo posai nel suo cesto e andai incontro a mia madre. Quando mi chiesero se lo volessi o meno, la mia risposta fu abbastanza rapida: no. Lo lasciai lì.

Leggere Le botteghe color cannella, tenere in mano questa edizione dalla copertina così strana al tatto e alla vista, ricoperta di un colore che sembra quello del miele scuro o dei petali di alcuni fiori ormai secchi, ha avuto lo stesso effetto di quella visione che non ho mai condiviso con nessuno e di cui, per scelta, mi sono privata. È stato come riconciliarsi – con quell’immagine dorata di bellezza, prima che con la scrittura o la letteratura. Mi è sembrato di riguardare in quel caleidoscopio e di riappropriarmi di quel mondo d’ambra ricco di piccoli insetti cristallizzati al suo interno: mille figure, mille stanze, centinaia di pagine lette come un cadere dentro una narrazione che non necessita di trama, perché non c’è bisogno di dare uno scheletro ad una cosa così fragile e fluida quale è il ricordo di un’infanzia che si fa presto a dimenticare. Cataluccio conclude bene la sua introduzione decidendo di riportare le parole stesse dell’autore. Diceva Schulz: « Mi sembra che il genere d’arte che mi stia a cuore, sia proprio una regressione, sia un’infanzia reintegrata. Se fosse possibile riportare indietro lo sviluppo, raggiungere di nuovo l’infanzia attraverso una strada tortuosa – possederla ancora una volta, piena e illimitata – sarebbe l’avveramento dell’ “epoca geniale”, dei “tempi messianici”, che ci sono stati promessi e giurati da tutte le mitologie. Il mio ideale è “maturare” verso l’infanzia. Questa sarebbe l’autentica maturità».


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Ebook Collected Works of Bruno Schulz read Online! Bruno Schulz was a Polish writer, fine artist, literary critic and art teacher of Jewish descent. He was regarded as one of the great Polish-language prose stylists of the 20th century.

At a very early age, Schulz developed an interest in the arts. He studied at a gymnasium in Drohobycz from 1902 to 1910, and proceeded to study architecture at Lwów University. In 1917 he briefly studied architecture in Vienna. After World War I, the region of Galicia which included Drohobycz became a Polish territory. In the postwar period, Schulz came to teach drawing in a Polish gymnasium, from 1924 to 1941. His employment kept him in his hometown, although he disliked his profession as a schoolteacher, apparently maintaining it only because it was his sole means of income.

The author nurtured his extraordinary imagination in a swarm of identities and nationalities: a Jew who thought and wrote in Polish, was fluent in German, and immersed in Jewish culture though unfamiliar with the Yiddish language. Yet there was nothing cosmopolitan about him; his genius fed in solitude on specific local and ethnic sources. He preferred not to leave his provincial hometown, which over the course of his life belonged to four countries. His adult life was often perceived by outsiders as that of a hermit: uneventful and enclosed.

Schulz seems to have become a writer by chance, as he was discouraged by influential colleagues from publishing his first short stories. His aspirations were refreshed, however, when several letters that he wrote to a friend, in which he gave highly original accounts of his solitary life and the details of the lives of his fellow citizens, were brought to the attention of the novelist Zofia Nałkowska. She encouraged Schulz to have them published as short fiction, and The Cinnamon Shops (Sklepy Cynamonowe) was published in 1934; in English-speaking countries, it is most often referred to as The Street of Crocodiles, a title derived from one of the chapters. This novel-memoir was followed three years later by Sanatorium Under the Sign of the Hourglass (Sanatorium Pod Klepsydrą). The original publications were fully illustrated by Schulz himself; in later editions of his works, however, these illustrations are often left out or are poorly reproduced. He also helped his fiancée translate Franz Kafka's The Trial into Polish, in 1936. In 1938, he was awarded the Polish Academy of Literature's prestigious Golden Laurel award.

The outbreak of World War II in 1939 caught Schulz living in Drohobycz, which was occupied by the Soviet Union. There are reports that he worked on a novel called The Messiah, but no trace of this manuscript survived his death. Following the German invasion of the Soviet Union, as a Jew he was forced to live in the ghetto of Drohobycz, but he was temporarily protected by Felix Landau, a Gestapo officer who admired his drawings. During the last weeks of his life, Schulz painted a mural in Landau's home in Drohobycz, in the style with which he is identified. Shortly after completing the work, Schulz was bringing home a loaf of bread when he was shot and killed by a German officer, Karl Günther, a rival of his protector (Landau had killed Günther's "personal Jew," a dentist). Over the years his mural was covered with paint and forgotten.

Source: wikipedia.com


Reviews of the Collected Works of Bruno Schulz


REUBEN

Why do I need to specify a phone number?

LOUIS

After reading this book, Your life will change!

SKYE

A book that leaves nothing behind, no feelings, no thoughts.

MICHAEL

There are some interesting pages

IMOGEN

The book is a masterpiece that makes a richer soul, speech, and wider horizon.




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