ما سر "الروعة" في افضل مائة رواية عالمية؟ دراسة بحثية - الصفحة 23

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هاربر لي
Nelle Harper Lee (born April 28, 1926) is an American author known for her 1960-Pulitzer-Prize-winning novel To Kill a Mockingbird, which deals with the issues of racism that were observed by the author as a child in her hometown of Monroeville, Alabama.

روائية امريكية ولدت عام 1926 وفازت بجائزة بلتزر عام 1960 عن روايتها قتل الطائر المحاكي
Despite being Lee's only published book, it led to Lee being awarded the Presidential Medal of Freedom of the United States for her contribution to literature in 2007.
كانت الرواية الوحيدة التي طبعت لها ولكنها حصلت من اجلها على مديلية الحرية عام 2007
Lee has also been the recipient of numerous honorary degrees, but has always declined to make a speech.
حصلت على الكثير من الجوائز لكنها كانت تعزف دائما عن القاء خطاب
Other significant contributions of Lee include assisting her close friend, Truman Capote, in his research for the book In Cold Blood.
American writer, famous for her race relations novel TO KILL A MOCKINGBIRD, which was awarded the Pulitzer Prize in 1961. The book became an international bestseller and was adapted into screen in 1962. Lee was 34 when the work was published, and it has remained her only novel.
"Mockingbirds don't do one thing but make music for us to enjoy. They don't eat up people's gardens, don't nest in corncribs, they don't do one thing but sing their hearts out for us. That's why it's a sin to kill a mockingbird."
Harper Lee was born in Monroeville, Alabama. Her father was a former newspaper editor and proprietor, who had served as a state senator and practiced as a lawyer in Monroeville. Lee studied law at the University of Alabama from 1945 to 1949, and spent a year as an exchange student in Oxford University, Wellington Square.
درست القانون ودرست في جامعة اكسفورد
Six months before finishing her studies, she went to New York to pursue a literary career. During the 1950s, she worked as an airline reservation clerk with Eastern Air Lines and British Overseas Airways. In 1959 Lee accompanied Truman Capote to Holcombe, Kansas, as a research assistant for Capote's classic 'non-fiction' novel In Cold Blood (1966).
To Kill a Mockingbird was Lee's first novel. The book is set in Maycomb, Alabama, in the 1930s. Atticus Finch, a lawyer and a father, defends a black man, Tom Robinson, who is accused of raping a poor white girl, Mayella Ewell. The setting and several of the characters are drawn from life – Finch was the maiden name of Lee's mother, and the character of Dill was drawn from Capote, Lee's childhood friend. The trial itself has parallels to the infamous "Scottboro Trial," in which the charge was rape. In both, too, the defendants were African-American men and the accusers white women.
"But there is one way in this country in which all men are created equal – there is one human institution that makes a pauper the equal of a Rockefeller, the stupid man the equal of an Einstein, and the ignorant man the equal of any college president. That institution, gentlemen, is a court. It can be the Supreme Court of the United States of the humblest J.P. court in the land, or this honorable court which you serve. Our courts have their faults, as does any human institution, but in this country our courts are the great levelers, and in our courts all men are created equal." (Finch defending Tom Robinson)
The narrator is Finch's daughter, nicknamed Scout, an immensely intelligent and observant child. She starts the story when she is six and relates many of her experiences, usual interests of a child, and events which break the sheltered world of childhood. Her mother is dead and she tries to keep pace with her older brother Jem. He breaks his arm so badly that it heals shorter than the other. One day the children meet Dill, their new seven-year-old friend. They become interested in Boo Radley, a recluse man in his thirties. However, he is not the frightening person as they first had imagined. During the humorous and sad events Scout and Jem learn a lesson in good and evil, and compassion and justice. As Scout's narrative goes on, the reader realizes that she will never kill a mockingbird or become a racist. Scout tells her story in her own language, which is obviously that of a child, but she also analyzes people and their actions from the viewpoint of an already grown-up, mature person.
الرواية مأخوذة من احداث واقعية حصلت في جياة لي او مع اناس تعرفهم
The first plot tells the story of Boo Radley, who is generally considered deranged, and the second concerns Tom Robinson. A jury of twelve white men believe two whites and refuse to look past the color of man's skin. They convict Robinson of a crime, rape, he did not commit. Atticus, assigned to defend Tom, loses in court. Tom tries to escape and is shot dead. Bob Ewell, Mayella's father, is obviously guilty of beating her for making sexual advances toward Tom. Bob attacks Jem and Scout because Atticus has exposed his daughter and him as liars. The children are saved by Boo Radley. Bob Ewell is found dead with a knife in his side. Atticus and Calpurnia, the black cook, slowly take the position of the moral centre of the book. They are portrayed as pillars of society who do not share society's prejudices. The story emphasizes that the children are born with an instinct for justice and absorb prejudices in the socialization process. Tom is a scapegoat of society's prejudice and violence. "Mr. Finch, there's just some kind of men you have to shoot before you can say hidy to 'em. Even then, they ain't worth the bullet it takes to shoot 'em. Ewell 'as one of 'em."
Although her first novel gained a huge success, Lee did not continue her literary career, although she worked for years on a second novel and a book of nonfiction. She returned from New York to Monroeville, where she has lived with her sister Alice, avoiding interviews. In 2007, Lee was awarded the Presidential Medal of Freedom, by George Bush.
To Kill a Mockingbird has been translated into several languages. An illustrated English edition appeared in Moscow in 1977 for propaganda reasons. In the foreword Nadiya Matuzova, Dr.Philol., wrongly stated that "Harper Lee did not live to see her fiftieth birthday," but added rightly: "But her only, remarkable novel which continued the best traditions of the American authors who wrote about America's South – Mark Twain, William Faulkner, Erskine Caldwell and many others – will forever belong in the treasure of progressive American literature."

Early life

Nelle Harper Lee was born in Monroeville, Alabama, the youngest of four children of Amasa Coleman Lee and Frances Cunningham Finch Lee. Her mother's maiden name was Finch Her father, a former newspaper editor and proprietor, was a lawyer who served in the Alabama State Legislature from 1926 to 1938. As a child, Lee was a tomboy and a precocious reader, and was best friends with her schoolmate and neighbor, the young Truman Capote.

To Kill a Mockingbird

While enrolled at Monroe County High School, Lee developed an interest in English literature. After graduating in 1944, she went to the all-female Huntingdon College in Montgomery. Lee stood apart from the other students—she could not have cared less about fashion, makeup, or dating.
درست في كلية بنات وكانت منعزلة لا تهتم بكل ما تهتم به البنات في سنها
Instead, she focused on her studies and on her writing. Lee was a member of the literary honor society and the glee club.
Transferring to the University of Alabama at Tuscaloosa, Lee was known for being a loner and an individualist.
كانت تحب الوحدة والفردية الانعزالية
She did make a greater attempt at a social life there, joining a sorority for awhile. Pursuing her interest in writing, Lee contributed to the school’s newspaper and its humor magazine, the Rammer Jammer. She eventually became the editor of the Rammer Jammer.[
In her junior year, Lee was accepted into the university’s law school, which allowed students to work on law degrees while still undergraduates. The demands of her law studies forced her to leave her post as editor of the Rammer Jammer. After her first year in the law program, Lee began expressing to her family that writing—not the law—was her true calling. She went to Oxford University in England that summer as an exchange student. Returning to her law studies that fall, Lee dropped out after the first semester. She soon moved to New York City to follow her dreams to become a writer.
In 1949, a 23-year-old Lee arrived in New York City. She struggled for several years, working as a ticket agent for Eastern Airlines and for the British Overseas Air Corp (BOAC). While in the city, Lee was reunited with old friend Truman Capote, one of the literary rising stars of the time. She also befriended Broadway composer and lyricist Michael Brown and his wife Joy. Having written several long stories, Harper Lee located an agent in November 1956. The following month at the Browns' East 50th townhouse, she received a gift of a year's wages from them with a note: "You have one year off from your job to write whatever you please. Merry Christmas."[6] She quit her job and devoted herself to her craft. Within a year, she had a first draft. Working with J. B. Lippincott & Co. editor Tay Hohoff, she completed To Kill a Mockingbird in the summer of 1959. Published July 11, 1960, To Kill a Mockingbird was an immediate bestseller and won great critical acclaim, including the Pulitzer Prize for Fiction in 1961. It remains a bestseller with more than 30 million copies in print. In 1999, it was voted "Best Novel of the Century" in a poll by the Library Journal.
Many details of To Kill a Mockingbird are apparently autobiographical. Like Lee, the tomboy (Scout) is the daughter of a respected small-town Alabama attorney. The plot involves a legal case, the workings of which would have been familiar to Lee, who studied law. Scout's friend Dill was inspired by Lee's childhood friend and neighbor, Truman Capote,[7] while Lee is the model for a character in Capote's first novel, Other Voices, Other Rooms.
Harper Lee has downplayed autobiographical parallels. Yet Truman Capote, mentioning the character Boo Radley in To Kill a Mockingbird, described details he considered biographical: "In my original version of Other Voices, Other Rooms I had that same man living in the house that used to leave things in the trees, and then I took that out. He was a real man, and he lived just down the road from us. We used to go and get those things out of the trees. Everything she wrote about it is absolutely true. But you see, I take the same thing and transfer it into some Gothic dream, done in an entirely different way."[8]

اهم احداث حياة هاربر لي :

-بطلة القصة يتيمه وهي طفلة بينما توفيت ام الرائية لي وعمرها 25 سنه لكنها كانت تعاني من حالة عصبية مما جعلها غائبه عقليا وعاطفيا
-روائية امريكية ولدت عام 1926 وفازت بجائزة بلتزر عام 1960 عن روايتها قتل الطائر المحاكي
- كانت الرواية الوحيدة التي طبعت لها ولكنها حصلت من اجلها على مديلية الحرية عام 2007
-حصلت على الكثير من الجوائز لكنها كانت تعزف دائما عن القاء خطاب
-درست القانون ودرست في جامعة اكسفورد
-الرواية مأخوذة من احداث واقعية حصلت في جياة لي او مع اناس تعرفهم
- درست في كلية بنات وكانت منعزلة لا تهتم بكل ما تهتم به البنات في سنها
- كانت تحب الوحدة والفردية الانعزالية.

هناك ما يشير الى انها كانت طفلة مأزومة وربما ان السبب الرئيسي هو مرض امها العصبي ثم موتها وهي في سن الـ 25 وعليها سنعتبرها

يتيمة افتراضيا.

11-16-2011, 11:17 PM

المشاركة 223

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مراقب عام سابقا

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والان مع سر الروعة في رواية:

74 ـ الخدعة 22،للمؤلف جوزيف هيللر.

في تقديم جريدة النيوزريببليك لهذه الرواية قالت:
"إنها أكثر الأعمال الكوميدية ذات اللغة اللاذعة...إنها رواية مدهشة قاسية ساخرة وذكية"
عندما نتذكر جوزيف هيللر فهذه الرواية هي أول ما سيخطر على البال فهي أول رواياته(نشرت عام 1961) والتي تحولت لفيلم عام 1970 وهذه الرواية تعتبر علامة مميزة في الأدب الأميركي الحديث وتدور عن (يوساريان) مدفعي متمارض الذي لا ينفك يختلق الطرق والخدع لإنقاذ نفسه من مخاطر الحرب،أينما ذهب يجد من يحاول قتله مشكلته الحقيقية الكابتن كاثكارت والذي رفع عدد المهام الجوية التي يجب أن يقوم بها الجندي قبل الإنتهاء من الخدمة العسكرية.

نبذة عن المؤلف:
جوزيف هيلر واحد من ألمع الكتاب الأمريكيين،كاتب مسرحي وروائي وكاتب للقصص القصيرة ولد عام 1923 لأبوين فقيرين من أصل روسي في بروكلين بنيويورك، سطع نجمه بعد الحرب العالمية الثانية لكن أول أعماله كانت قصة عن الغزو الروسي لفنلندا أرسلها لجريدة أخبار نيويورك اليومية ورفضتها الجريدة ..... توفي عام 1999.

Catch-22 is a satirical, historical novel by the American author Joseph Heller. He began writing it in 1953, and the novel was first published in 1961. It is set during World War II in 1943[2] and is frequently cited as one of the great literary works of the twentieth century.[3] It has a distinctive non-chronological style where events are described from different characters' points of view and out of sequence so that the time line develops along with the plot.
The novel follows Yossarian, a U.S. Army Air Forces B-25 bombardier, and a number of other characters. Most events occur while the Airmen of the fictional 256th squadron are based on the island of Pianosa, in the Mediterranean Sea west of Italy.

Concept

Among other things, Catch-22 is a general critique of bureaucratic operation and reasoning. Resulting from its specific use in the book, the phrase "Catch-22" is common idiomatic usage meaning "a no-win situation" or "a double bind" of any type. Within the book, "Catch-22" is a military rule, the self-contradictory circular logic that, for example, prevents anyone from avoiding combat missions. In Heller's own words:
There was only one catch and that was Catch-22, which specified that a concern for one's safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn't, but if he were sane he had to fly them. If he flew them he was crazy and didn't have to; but if he didn't want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle. (p. 46, ch. 5)
Other forms of Catch-22 are invoked throughout the novel to justify various bureaucratic actions. At one point, victims of harassment by military police quote the MPs' explanation of one of Catch-22's provisions: "Catch-22 states that agents enforcing Catch-22 need not prove that Catch-22 actually contains whatever provision the accused violator is accused of violating." Another character explains: "Catch-22 says they have a right to do anything we can't stop them from doing." The theme of a bureaucracy marginalizing the individual in an absurd way is similar to the world of Kafka's The Trial, and George Orwell's Nineteen Eighty-Four. The concept of "doublethink" has definite echoes in Heller's work[].
Yossarian comes to realize that Catch-22 does not actually exist, but because the powers that be claim it does, and the world believes it does, it nevertheless has potent effects. Indeed, because it does not exist, there is no way it can be repealed, undone, overthrown, or denounced. The combination of force with specious and spurious legalistic justification is one of the book's primary motifs.
The motif of bureaucratic absurdity is further explored in 1994's Closing Time, Heller's sequel to Catch-22. This darker, slower-paced, apocalyptic novel explores the pre- and post-war lives of some of the major characters in Catch-22, with particular emphasis on the relationship between Yossarian and tailgunner Sammy Singer.

Synopsis

The development of the novel can be split into multiple segments. The first (chapters 1–11) broadly follows the story fragmented between characters, but in a single chronological time in 1943. The second (chapters 12–20) flashes back to focus primarily on the "Great Big Siege of Bologna" before once again jumping to the chronological "present" of 1943 in the third part (chapter 21–25). The fourth (chapters 26–28) flashes back to the origins and growth of Milo's syndicate, with the fifth part (chapter 28–32) returning again to the narrative "present" but keeping to the same tone of the previous four. In the sixth and final part (chapter 32 on) while remaining in the "present" time the novel takes a much darker turn and spends the remaining chapters focusing on the serious and brutal nature of war and life in general.]

While the previous five parts develop the novel in the present and by use of flash-backs, it is in chapters 32–41 of the sixth and final part where the novel significantly darkens. Previously the reader had been cushioned from experiencing the full horror of events, but now the events are laid bare, allowing the full effect to take place. The horror begins with the attack on the undefended Italian mountain village, with the following chapters involving despair (Doc Daneeka and the Chaplain), disappearance in combat (Orr and Clevinger), disappearance caused by the army (Dunbar) or death (Nately, McWatt, Mudd, Kid Sampson, Dobbs, Chief White Halfoat and Hungry Joe) of most of Yossarian's friends, culminating in the unspeakable horrors of Chapter 39, in particular the rape and murder of Michaela, who represents pure innocence.In Chapter 41, the full details of the gruesome death of Snowden are finally revealed.
Despite this, the novel ends on an upbeat note with Yossarian learning of Orr's miraculous escape to Sweden and Yossarian's pledge to follow him there.

Style

Many events in the book are repeatedly described from differing points of view, so the reader learns more about each event from each iteration, with the new information often completing a joke, the punchline of which was told several chapters previously. The narrative often describes events out of sequence, but events are referred to as if the reader is already familiar with them, so that the reader must ultimately piece together a timeline of events. Specific words, phrases, and questions are also repeated frequently, generally to comic effect.
Much of Heller's prose in Catch-22 is circular and repetitive, exemplifying in its form the structure of a Catch-22. Heller revels in paradox, for example: "The Texan turned out to be good-natured, generous and likable. In three days no one could stand him", and "The case against Clevinger was open and shut. The only thing missing was something to charge him with." This atmosphere of apparent logical irrationality pervades the whole book.
While a few characters are most prominent, notably Yossarian and the Chaplain, the majority of named characters are described in atypical extent, with fully fleshed out or multidimensional personas, to the extent that there are few if any "minor characters".
The seemingly random non-chronological structure to the novel is misleading. Catch 22 is actually highly structured, but it is a structure of free association where ideas run into one another through seemingly random connections. For example, Chapter 1 entitled "The Texan" ends with "everybody but the CID man, who had caught cold from the fighter captain and come down with pneumonia." Chapter 2, entitled "Clevinger", begins with "In a way the CID man was pretty lucky, because outside the hospital the war was still going on." The CID man connects the two chapters like a free association bridge and eventually Chapter 2 flows from the CID man to Clevinger through more free association links.

11-16-2011, 11:58 PM

المشاركة 224

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مراقب عام سابقا

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جوزيف هيللر

Joseph Heller (May 1, 1923 – December 12, 1999) was a US satirical novelist, short story writer, and playwright.
ولد جوزيف هيللر عام 1923 وهو روائي امريكي
His best known work is Catch-22, a novel about US servicemen during World War II.
اروع كتاب كتبه هو روايته ( الخدعة 22 ) وهي رواية عن الجنود الامريكيين في الحرب العالمية الثانية
The title of this work entered the English lexicon to refer to absurd, no-win choices, particularly in situations in which the desired outcome of the choice is an impossibility, and regardless of choice, the same negative outcome is a certainty. Heller is widely regarded as one of the best post–World War II satirists.
كان افضل كاتب يكتب الاسلوب الساخر
Although he is remembered primarily for Catch-22, his other works center on the lives of various members of the middle class and remain exemplars of modern satire.

Early years

Joseph Heller was born in Coney Island in Brooklyn, New York, the son of poor Jewish parents, Lena and Isaac Donald Heller, from Russia.
ولد لابوين من يهود روسيا
Even as a child, he loved to write; as a teenager, he wrote a story about the Russian invasion of Finland and sent it to New York Daily News, which rejected it. At least one scholar suggests that he knew that he wanted to become a writer, after recalling that he received a children's version of the Iliad when he was ten. After graduating from Abraham Lincoln High School in 1941,[ Heller spent the next year working as a blacksmith's apprentice, a messenger boy, and a filing clerk.
بعد ان تخرج من مدرسة ابراهيم لنكولن عام 1941 عمل مع حداد ومراسل وكاتب
In 1942, at age 19, he joined the U.S. Army Air Corps. Two years later he was sent to Italian Front, where he flew 60 combat missions as a B-25 bombardierز
انضم على الجيش الامريكي وعمره 19 سنة وارسل بعد عامين الى الجبهة في ايطاليا حيث قام ب 60 طلعة جوية
His Unit was the 488th Bombardment Squadron, 340th Bomb Group, 12th Air Force. Heller later remembered the war as "fun in the beginning... You got the feeling that there was something glorious about it." On his return home he "felt like a hero... People think it quite remarkable that I was in combat in an airplane and I flew sixty missions even though I tell them that the missions were largely milk runs." ("Milk Runs" were combat missions, but mostly uneventful due to a lack of intense opposition from enemy anti-aircraft artillery or fighters.)
اعتقد ان الحرب في البداية كانت شي مرح
After the war, Heller studied English at the University of Southern California and NYU on the G.I. Bill. In 1949, he received his M.A. in English from Columbia University. Following his graduation, he spent a year as a Fulbright scholar at St. Catherine's College in Oxford University. After returning home, he taught composition at The Pennsylvania State University for two years. He also taught fiction and dramatic writing at Yale. He then briefly worked for Time, Inc., before taking a job as a copywriter at a small advertising agency, where he worked alongside future novelist Mary Higgins Clark.[14] At home, Heller would write. He was first published in 1948, when The Atlantic ran one of his short stories. That first story nearly won the "Atlantic First."
He was married to Shirley Held from 1945–1981 and they had two children, Erica (born 1952) and Ted (born 1956).

Illness

On Sunday, December 13, 1981, Heller was diagnosed with Guillain-Barré syndrome, a debilitating syndrome that was to leave him temporarily paralyzed.
في العام 1981 تم اكتشاف انه مريض بمرض اقعده
He was admitted to the Intensive Care Unit of Mount Sinai Medical Hospital the same day, and remained there, bedridden, until his condition had improved enough to permit his transfer to the Rusk Institute of Rehabilitation Medicine, which occurred on January 26, 1982. His illness and recovery are recounted at great length in the autobiographical No Laughing Matter, which contains alternating chapters by Heller and his good friend Speed Vogel. The book reveals the assistance and companionship Heller received during this period from a number of his prominent friends—Mel Brooks, Mario Puzo, Dustin Hoffman and George Mandel among them.
Heller eventually made a substantial recovery. In 1984, while in the process of divorcing his wife of 35 years, he met Valerie Humphries, the nurse who had helped him to recover, and later married her.

Later years

Heller returned to St. Catherine's as a visiting Fellow, for a term, in 1991 and was appointed an Honorary Fellow of the college. In 1998, he released a memoir, Now and Then: From Coney Island to Here, in which he relived his childhood as the son of a deliveryman and offered some details about the inspirations for Catch-22.
كتب مذكراته وفيه تحدث عن طفولته كأبن لرجل كان يعمل سائق على سيارة نقل في مخبز
He died of a heart attack at his home in East Hampton, on Long Island, in December 1999, shortly after the completion of his final novel, Portrait of an Artist, as an Old Man. On hearing of Heller's death, his friend Kurt Vonnegut said, "Oh, God, how terrible. This is a calamity for American literature."
مات عام 1999
American writer, who gained world fame with his satirical, anti-war novel Catch-22 (1961), set in the World War II Italy.
اكتسب شهرة عالمية بسبب روايته التي جعلها ضد الحرب
The book was partly based on Heller's own experiences and influenced among others Robert Altman's comedy M*A*S*H, and the subsequent long-running TV series, set in the Korean War.
الرواية اعتمدت على تجربة الروائي في الحرب
The phrase "catch-22" has entered the English language to signify a no-win situation, particularly one created by a law, regulation or circumstance.
"All over the world, boys on every side of the bomb line were laying down their lives for what they had been told was their country, and no one seemed to mind, least of all the boys who were laying down their young lives. There was no end in sight." (in Catch-22)
Joseph Heller war born in Brooklyn, New York, the son of poor Jewish parents. His Russian-born father, Isaac Daniel Heller, was a bakery truck driver. He died in 1927 from a botched ulcer operation.
مات ابوه عام 1927 من قرحة في المعدة ( عندما كان الروائي في الخاسمة من عمره فقط )
The family – Heller's mother, Lena, who worked as a seamstress, his half-sister Sylvia, and his half-brother, Lee – lived in a small four-room apartment looking out on West 31st Street near Surf Avenue in Coney Island.
عاشت العائلة الام والاخت غير الشقيقة والاخ غير الشقيق في شقة صغيرة من اربع غرف
Lena could barely speak English. She liked to read and Heller brough her from the Coney Island public library Yiddish translations of novels. Her favorite book was Tolstoy's Anna Karenina, which she read over and over.

==

Joseph Heller, the author of "Catch-22," the darkly comic 1961 novel that became a universal metaphor not only for the insanity of war, but also for the madness of life itself,
عرف لسخريتة من الحرب بل من جنون الحياة نفسها
To avoid flying more missions, Yossarian concocts a mysterious liver ailment, sabotages his plane and tries to get himself declared insane.
Yossarian discovers that, in the military rule book, anyone who is declared insane must be excused from flying death-defying missions. The catch is that one must ask to be excused. But anyone who is smart enough to show "rational fear in the face of clear and present danger" obviously is sane and must continue to fly.
In his novel, Heller went beyond a simple anti-military stance. Some critics found a condemnation of capitalistic practices in the character of Milo Minderbinder, a money-grubbing former mess-hall officer whose pursuit of profits caused suffering and deaths.

==

Joseph Heller was born in Brooklyn, New York, to first generation Russian-Jewish immigrants. His father, a bakery-truck driver, died after a surgical operation when Heller was only five years old.
مات ابوه بعد عملية جراحية بينما كان هيللر في الخامسة
Many critics believe that Heller developed the dark, wisecracking humor that marked his writing style while growing up near Coney Island, a famous amusement park in Brooklyn. Heller recalled little childhood influence in the literary world except for The Illiad by Homer, an eighth-century B.C.E. poet

11-17-2011, 08:23 PM

المشاركة 226

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والان مع سر الروعة في الرواية :

75 ـ هيرزوك، للمؤلف سو ليلو.

Herzog is a 1964 novel by Saul Bellow. Letters from the protagonist constitute much of the text.
Herzog won the 1965 National Book Award for Fiction and the The Prix International. Time Magazine included the novel in its All-TIME 100 Greatest Novels.

Plot summary

Herzog is a novel set in 1964, in the United States, and is about the midlife crisis of a Jewish man named Moses E. Herzog. At the age of forty-seven,[2] he is just emerging from his second divorce, this one particularly acrimonious. He has two children, one by each wife, who are growing up without him present. His career as a writer and as an academic has floundered. He is in a relationship with a vibrant woman, Ramona, but finds himself running away from commitment.
Herzog's second marriage, to the demanding, manipulative Madeleine, has recently ended in a humiliating fashion. Madeleine convinced Moses to move her and their daughter Junie to Chicago, and to arrange for their best friends, Valentine and Phoebe Gersbach, to move as well, securing a solid job for Valentine. However, the plans were all a ruse, as Madeleine and Valentine were carrying on an affair behind Moses's back, and shortly after arriving in Chicago, Madeleine throws Herzog out, securing a restraining order (of sorts) against him, and attempting to have him committed to an asylum.
Herzog spends much of his time mentally writing letters he never sends. These letters are aimed at friends, family members, and famous figures. The recipients may be dead, and Herzog has often never met these people. The one common thread is that Herzog is always expressing disappointment, either his own in the failings of others or their words, or apologizing for the way he has disappointed others.
The novel opens with Herzog in his house in Ludeyville, a town in the Berkshires in western Massachusetts. He is contemplating returning to New York to see Ramona, but instead flees to Martha's Vineyard to visit some friends. He arrives at their house, but writes a note - this one an actual note - saying that he has to leave:
"Not able to stand kindness at this time. Feeling, heart, everything in strange condition. Unfinished business."
He heads to New York to start trying to finish that business, including regaining custody of his daughter, Junie. After spending a night with Ramona, he heads to the courthouse to meet his lawyer to discuss his plans, and ends up witnessing a series of tragicomic court hearings, including one where a woman is charged with beating her three-year-old to death by flinging him against a wall. Moses, already distraught after receiving a letter from Junie's babysitter about an incident where Valentine locked Junie in the car while he and Madeleine argued inside the house, heads to Chicago. He goes to his stepmother's house and picks up an antique pistol with two bullets in it, forming a vague plan of killing Madeleine and Valentine and running off with Junie.
The plan goes awry when he sees Valentine giving Junie a bath and realizes that Junie is in no danger. The next day, after taking his daughter to the aquarium, Herzog is in a car accident and ends up charged with possession of a loaded weapon. His brother, the rational Will, picks him up and tries to get him back on his feet. Herzog heads to Ludeyville, where his brother meets him and tries to convince him to check himself into an institution. But Herzog, who had previously considered doing just that, is now coming to terms with his life. Ramona comes up to join him for a night - much to Will's surprise - and Herzog begins making plans to fix up the house, which, like his life, needs repair but is still structurally sound. Herzog closes by saying that he doesn't need to write any more letters.
Through the flashbacks that litter the novel, other critical details of Herzog's life come to light, including his marriage to the stable Daisy and the existence of their son, Marco; the life of Herzog's father, a failure at every job he tried; and Herzog's sexual molestation by a stranger on a street in Montreal.

Style
"People don't realize how much they are in the grip of ideas", Bellow once wrote. "We live among ideas much more than we live in nature."[3] Herzog is such a person. In fact, he considers his addiction to ideas to be his greatest virtue. And, it should be noted, Herzog's ideas, as expressed in his letters, are brilliant and seductive; "After Herzog", the New York Times book reviewer exulted, "no writer need pretend in his fiction that his education stopped in the eighth grade."[4] But, said Bellow in an interview, Herzog "comes to realize at last that what he considers his intellectual 'privilege' has proved to be another form of bondage."[5] It is only when he has loosened this bondage and gotten in touch with the "primordial person" who exists outside this ideology that Herzog can "achieve the experience of authentic being."[6]
The story is told entirely from Herzog's point of view. But more than that. "We are", as Irving Howe wrote, "made captive in the world of Herzog... the consciousness of the character forms the enclosing medium of the novel."[7] The beauty of the novel lies in this dissection of Herzog's mind. In typical Bellow style, the descriptions of characters' emotions and physical features are rich in wit and energy. Herzog's relationships are the central theme of the novel, not just with women and friends, but also society and himself. Herzog's own thoughts and thought processes are laid bare in the letters he writes.[8]
As the novel progresses, the letters (represented in italics) become fewer and fewer. This seems to mirror the healing of the narrator's mind, as his attention turns from his inner struggles and the intellectual ideas that fascinate him towards the real world outside and the real options offered by his current situation – not having to be a scholar, the possibility of starting afresh with Ramona, and so on. In other words, the psychological clarification that is taking place at the level of content is reflected stylistically in the movement from a predominantly epistolary mode towards a more linearly organized narrative.

Autobiographical elements

The character of Herzog in many ways echoes a fictionalized Saul Bellow. Similarities between Herzog and Bellow include:
· Both grew up in Canada.
· Both are Jewish.
· Both have parents who had emigrated from Russia (St. Petersburg).
· Both lived in Chicago for significant periods of time.
· Both were divorced twice (at the time of writing; Bellow would go on to divorce four of his five wives.)
· Both were sons of bootlegger fathers.
· They are the same age.
· The character of Valentine Gersbach is based on Jack Ludwig, a long-time friend of Bellow who had an affair with Bellow's second wife, Sondra[citation needed].
Asked about these similarities, Bellow said "I don't know that that sort of thing is really relevant. I mean, it's a curiosity about reality which is impure, let's put it that way. Let's both be bigger than that."

Trivia

· In the Kingsley Amis novel Stanley and the Women (1984), Stanley's son Steve reads a copy of Herzog and abruptly tears it up.
· Ian McEwan begins his 2005 novel Saturday with an extended epigraph from Herzog.
· The middle name E. in Moses E. Herzog stands for Elkanah
· A peripheral character named Moses Herzog appears in James Joyce's novel Ulysses.
· The plot of the movie A Serious Man [10] from the Coen brothers is partly similar to the plot of Herzog, as the main character in both is a middle-aged Jewish professor whose wife leaves him for their family friend. In both the wife asks him to leave his own house, and he passively agrees without arguing. As a consequence, he teeters on the verge of losing his mind and his academic career suffers

11-17-2011, 08:33 PM

المشاركة 227

ايوب صابر

مراقب عام سابقا

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<<هرزوج>>
(1964) من أهم روايات الكاتب الأميركي <<سول بيلو>> (1915-2005)، وهي قصة أستاذ جامعي يهودي يُصاب بالشلل الجسدي والعقلي ويقضي وقته في كتابة خطابات وهمية. وحينما ينجح في التحرر من حياته الوهمية يرفض كل الاتجاهات الفكرية (مثل الوجودية) باعتبارها تقاليع. ويمكن هنا أن نثير قضية لهوية <<بيلو>>، فهو كاتب أميركي لا يمكن فهمه إلا في إطار الثقافة الأدبية الأميركية، ولذا، فإن رواياته، سواء أكانت مادتها الخام يهودية أم كانت غير ذلك، تنبع من رؤية أميركية للواقع، وطريقة السرد فيها أميركية والصوت الروائي أميركي. ففي رواية <<هندرسون>> ملك المطر يقوم البطل، وهو أميركي غير يهودي، برحلة إلى أفريقيا كي يفهم ذاته ويكتشفها ثم يعود إلى وطنه مسلحاً بالحكمة الجديدة، وهذا هو النمط المتكرر في كثير من الروايات الأميركية (موبي ديك لملفيل، ومغامرات هكلبري فين لمارك توين). أما <<هرزوج>> الذي سُمِّيت الرواية باسمه، فهو يهودي، ولكن الانتماء اليهودي أو غيابه أمر ثانوي. وقد هاجم <<بيلو>> المفهوم الصهيوني والذي يذهب إلى أن وجود اليهود خارج فلسطين هو حالة مَرَضيّة، وأن يهود أميركا شخصيات ممزقة منقسمة على نفسها، وبأن اليهودي الحقيقي هو من يعيش في إسرائيل. ولذا طالب الصهاينة بتصفية الدياسبورا (الجماعات اليهودية في العالم). ووصف <<بيلو>> نفسه بأنه أميركي مخلص لتجربته وحضارته الأميركية <<يتحدث اللغة الإنجليزية الأميركية، ويعيش في الولايات المتحدة، ولا يمكنه أن يرفض ستين عاماً من حياته هناك>>. ومن ثم، فهو يرى أن مصطلح <<كاتب يهودي>> مصطلح مبتذل من الناحية الفكرية، وهو مصطلح ضيق الأفق، بل ولا قيمة له إطلاقاً. ومع هذا، كتب <<بيلّو>>، علاوة على رواياته وأقواله، كتاباً صهيونياً مغرَقاً في العنصرية عن رحلته إلى الدولة الصهيونية عنوانه إلى القدس والعودة (1976). ولعل هذا الكتاب ذاته دليل على أن يهود الدياسبورا يروجون عن أنفسهم صورة تريحهم نفسياً هي أنهم صهاينة يؤيدون إسرائيل، بينما تؤكد حياتهم غير ذلك. وحينما يكتب <<بيلو>> رواياته، فإنه يدع خياله الخلاَّق يَفصح عن رؤيته المركَّبة، أما في كتابه الدعائي المُشَار إليه، فهو يتبنَّى موقفاً عملياً ودعائياً لا علاقة له بتجربته الحقيقية . ولعل طموح <<بيلو>> للحصول على جائزة نوبل كان له أثره الكبير على الآراء السياسية التي أفصح عنها في كتابه. وقد حصل <<بيلّو>> بالفعل على الجائزة بعد صدور الكتاب.

11-17-2011, 08:42 PM

المشاركة 228

ايوب صابر

مراقب عام سابقا

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الروائي الأميركي سول بيلو (نوبل) في سيرة ذاتية

لماذا ينبغي أن يرغَب الكُتّاب في تقويمهم مثل خيول السباق أو لاعبي التنس؟

نيويورك ـ "المستقبل"

عُرف عن الروائي الأميركيالحائز جائزة نوبل سول بيلو استخدام قصص حياة أقرب أصدقائه كمادة أولية أحياناً أواساسية في معظم الأحيان يشيّد بها عماراته الروائية. وهو لا يتورّع عن ان يمسكبمشرط الجراح ويشرّح شخصيات أبطاله معتمداً على علاقته الوثيقة بهم والتي أتاحت لهأن يتعرف على خباياهم. وكان أخر هذه الأعمال الذي أثار الاستهجان في الأوساطالأدبية وخاصة الأكاديمية روايته الصادرة في ربيع باسم "رالستين" وهو الاسم الذيأطلقه على شخصية صديقه المفكّر آلان بلوم، أستاذ الفلسفة السياسية الذي كتب "إغلاقالعقل الاميركي" والذي توفي في شيكاغو في . وقد صورّه بيلو كشاذ جنسياً يقضي عليهمرض الإيدز على الرغم من ان بلوم لم يصرّح بميله الجنسي.

ولكن بيلو، فيما يبدو،يعطي نفسه الحق في تعرية أصدقائه معتقداً انهم جزء من حياته.
ومعروف ان روايته "عطية همبولدت"، ، تتناول بصراحة حياة صديقه الشاعر ديلمور شوارتز. كما ان رواية "هو تزوج" تفضح العلاقة العاطفية بين زوجته وأحد خلصائه.
والسؤال الآن ماذا يقولسول بيلو، في سيرته الذاتية ـ التي كتبها جيمس أتلاس، محرّر سلسلة السيرة الذاتيةبدار النشر ايكينغ بنجوين، "بيلو ـ بيوغرافيا ـ صفحة ـ راندوم هاوس.
لا شك انبيلو الذي بلغ من العمر........ عاماً ولا يزال يمارس الكتابة والحياة في حيوية يفتقر إليهاكتّاب يافعون. فهو لم يصدر أفضل أعماله خلال سنوات "رالستين"، في الربيع الماضيفقط، لكنه في شهر كانون الأول الماضي، في عامه الحادي عشر لزواجه الخامس، وبعدإنجاب ثلاثة أبناء من ثلاث زوجات مختلفات، أنجب في هذه السن ابنته الأولى.
إنه،بلا جدال، يتمتع بخصب العطاء على مختلف المستويات. فيا لها من حياة، خاصة اذا قُدرلها ان تكون مادة لكاتب ذاتية متخصّص.
جيمس أتلاس، يستطيع لا الخوض بل الغوصفيها بقرون استشعار حادة ترصد ما قد لا يلاحظه أقرب الناس الى بيلو نفسه.
لقدأنفق أتلاس سنوات من البحث الشاق ليكتب هذه السيرة الذاتية التي بلغت من اتساعالاحاطة بالموضوع الذي تتعرّض له حداً يجعل احد النقاد يصفها، أو بالاحرى يصفكاتبها بـ "أطلس الانسيكلوبيدي".
تبع آثاره من فيلينيوس حيث هرب الأب من شرطةالقيصر، الى المهجر في ضواحي مونتريال الموحلة بكندا حيث ولد بيلو في ، الى شيكاغوالفجة، ثم نيويورك المتخلفة، فباريس المخيبة للآمال، والقدس المثيرة للبلبلة،واستكهولم التي منحته جائزة نوبل، ثم العودة من جديد. وقد قرأ كل مسودة لكل مقال،وقصة وخطاب ورواية (بما في ذلك يوميات المسرح لمجلة "بارتيز ان رييو" ومراجعاتالأفلام لمجلة "هورايزون") وكل رسالة كتبها الروائي سريع الغضب (ومنها رسائلهالمحطمة للقلوب لجون شيفر وسينثيا اوزيك)، واكثر من سنة من النقد (بقلم أصدقاءسابقين وأعداء ثابتين، ومن كان يشير بيلو اليهم بـ"ود يلين الصحافة اليومية منالدرجة الثالثة "، و"أفاعي المؤسسة الادبية، الاكاديميين ذوي الرؤوس الملاطية" و"شذاذ الجامعات العريقة".
يقول جون لينارد، الناقد الادبي لمجلة "ذي ناشون" ؛اذا كنت تعرف بيلو وما زلت على قيد الحياة، فمن المؤكد ان اتلاس قد تحدث اليك، واذاكان لديك رأي لكنك اشتريت مزرعة، فلا بد انه قرأ مذكراتك، وملفك بمكتب التحقيقاتالفيدرالية، وربما خريطة جيناتك... ثم يقول ان اي شخص يقرأ رواية كاملة لجاك لودفيغلمجرد ان يكون رأيه الخاص في قصة زنا "هرزوج" فمن الواضح انه لن يقنع بشيء ليضعوحيد قرنه في كيس".
ولهذا استشار أتلاس باعة الأقمشة قارئي الغيب الذين كانوايعملون في منطقة شيكاغو قبل بيلو، من تيودور درايسر الى جيمس ت. فاريل الى نلسونألجرين. وقرأ عيون الكتب التي التهمها بيلو في صباه. وراجع مذكرات نقاد بارتزاناللاذعين الذين تلخصت ازمة الثقافة في نظرهم في كافكا وتروتسكي، والذين ضاجعوا ماريمكارثي، باستثناء سول الذي يقول أتلاس ان حدتها الثقافية والجنسية نفرتهمنها.
فقد كان يحتاج الى نساء أكثر خضوعاً لتحسين صورته عن نفسه المهزوزة، وكانيشعر "ان النساء اللاتي يتحدين سطوته بمثابة تهديد عميق". وهو مهذار فيما يتعلقبسادة القرن التاسع عشر، وبصفة خاصة ستندال، وابطال الحداثة، وبصفة خاصة جيمس جويساللذي كان بيلو الناضج يرى نفسه يتصارع معه برجولة. وهو على إلمام واسع بجميع آثارالتجربة اليهودية في الولايات المتحدة.
مفتاح
ويعتقد جون لينارد ان رواية "عطية همبولدت" مفتاح لكتاب أتلاس، كما كانت رواية "هرزوج" الاوتوبيوغرافية هيالرواية المحورية في تاريخه المهني. فأتلاس نفسه هو ابن لوسط الجانب الشمال ـ غربيالذي نشأ فيه بيلو، ومن ثم كانت قصة "صبي حساس في شيكاغو تيمة تمس شغاف قلبي". ولكنه أيضاً مؤلف سيرة ذاتية رائعة للشاعر ديلمور شوارتز () ولا يزال ما فعلهالروائي بالشاعر في "عطية همبولدت" يثير الغضب: "عمل انتقامي... خلف قناع تحية".. وبينما لا يخلط أتلس الناقد بين الرواية المصنوعة والحياة المضطربة مدركاً انالعبقرية تتمثل وتحول اي مادة خام تقع في يدها ـ يتشكك أتلاس كاتب السيرة الذاتيةفي جميع تلك الأقنعة، المقدسة والمدنسة التي يرتديها الفنان بينما يستخرج الجثثالمدفونة ويلعب بالعظام.
يقول هرزوج "لكل رجل مجموعته من القصائد ـ ميتولوجيا ـذاتية، مثل سطور الاغنية وحلم اليقظة للسكان الأصليين الذين كتب عنهم بروس شاتوين. وكان ذلك بالنسبة لسولومون بيلو ذي الثمانية اعوام، العنبر ب في مستشفى شيكاغو الذينزل فيه وحيث بقي فيه لمدة ستة اشهر معانياً التهاب الصفاق والتهاب رئوي، وحيث قرأ "كابينة العم توم" والصحف الفكاهية، متدرباً على حالات الهجر اللاحقة. أما الأم،التي كانت تلتهم الروايات وتزين قبعاتها بريش النعام، فقد توفيت عندما كان فيالسابعة عشره، تاركة اياه بلا حام ضد اب قاس، ينتمي الى العالم القديم، مهرّب خمور وتاجر خردة، واشقائه الجشعين الذين كانوا يزدرون نهمه للقراءة.
إن استغراقهالدائم في الكتابة كان يدمّر حياته الشخصية، حيث كان يستبدل زوجة بأخرى تصغرها بعشرسنوات، ويشكو من إعالة الأطفال، ويعاقب الشخصيات المنبوذة في روايته التالية،ويعتقد أتلاس انه مادام لايزال يشعر انه الابن الذي هجرته وخانته أمه التي تُوفيتبدون إذن منه، كان لا يستطيع ان يديم علاقات مع نساء او مع أقدم رفاقه. وكان يدينبولاء شديد لأي شخص ينجح في اختبار الصداقة الصارم ـ ما داموا يلبون احتياجاته. وكان يتعامل ببرود مع الكتاب الذين يمثلون تهديداً لسيطرته، بينما كان يعتبر الكتابالذين احتلوا مكانة اقل من مكانته بمسافة آمنة بمثابة رفاق في "مهنةالكتابة".
النفور
وفي ما يتعلّق بحالات الطلاق، والنفور من الأصدقاء، والتخليالمفاجئ عن الوظائف، وعدم حضور الجنازات، يقول أتلاس ان الآلية الدفاعية كانت الشيءنفسه "أهجر قبل ان تُهجر".
كان بيلو يرتاب حتى في مراجعي الكتب بمجلة "بارتزان" الذين فعلوا الكثير لترويجه كمؤلف روائي وككاتب بشكل عام. فقد قال عنهم "تلك الوحوشالمحتضرة".
لقد كان بيلو إذن يشعر بالحاجة الى خلق عقبات وأعداء. ويرى أتلاستجلي هذه الحاجة حتى من مخلوقه هرزوج، "الرومانسي المنفجر داخلياً والشخصية المثيرةللاكتئاب النرجسية، انها تخشى اختفاء الأحبة" وهي تمارس من بين كل اشكال الارهاب،ارهاب الهجر والوحدة العارية، ومن ثم تستبعد كل الهاجرين بسلاح الكراهيةالسري".
ولكن أتلاس الذي تجشم الصعاب ليكتب هذه البيوغرافيا الجادة والهامة قدامسك في النهاية عن الاعتراف بالروائي الكبير سول بيلو كواحد من الكتّاب الأحياء اوالموتى النبلاء، ربما نزولاً عند رغبة بيلو نفسه الذي تساءل ذات يوم "لماذا ينبغيان يرغب الكتاب في ان يقوَّم الكتاب على نحو تصنيف لاعبي التنس؟" او يُقوّموا مثلخيول السباق؟ ويا له من تأبين لروائي ان يقال "فاز في جميع استطلاعات الرأي؟"
ولا يخفي اتلاس حرجه من آراء بيلو السلبية عن الشاعر الافريقي الاميركي اميريبركه، والروائية والناقدة سوزان سونتاج والكاتب المفكر الفلسطيني الأصل ادواردسعيد، وكراهيته العامة للنساء، وبصفة خاصة عداوته للحركة النسائية ("ان كل ما سوفتضطررن الى عرضه لحركتكن بعد عشر سنوات من الآن هو أثداء مترهلة!") "وعنصريتهالمخفية تماماً"، وحتى عودة آلان بلوم إلى شيكاغو، وكراهيته للآخرين المخيفة.

11-17-2011, 08:43 PM

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ايوب صابر

مراقب عام سابقا

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ســول بيــلّو (1915- )

Saul Bellow

روائي أمريكي يهودي حائز على جائزة نوبل وعلى جوائز أخرى مثل الجائزة القومية (الأمريكية) للكُتَّاب. وهو يُعَدُّ من أهم الروائيين الأمريكيين المحدَثين. وُلد بيلّو في مونتريال في كندا، ونُشِّئ تنشـئة دينية، كما تعلَّم اليديشية والفرنسية والعبرية. كانت أمه تودّ أن يصبح حاخاماً، ولكنه التحق بجامعة شيكاغو حيث درس الاجتماع وعلم الإنسان، وذلك قبل أن يقرر أن يصبح كاتباً.
صدرت له رواية أوجي مارش (1953)، ثم نشر أمسك اليوم (1956)، وأبطال هاتين الروايتين شخصيات ضعيفة محببة للنفس، تدخل أحياناً في مغامرات برغبتها وأحياناً أخرى رغم أنفها، ولكنها عادةً تلقى الهزيمة. ثم نشر بيلّو رواية هندرسون ملك المطر (1959). ولكن أهم رواياته هي هرزوج (1964)، وهي قصة أستاذ جامعي يهودي يُصاب بالشلل الجسدي والعقلي ويقضي وقته في كتابة خطابات وهمية، وحينما ينجح في التحرر من حياته الوهمية يرفض كل الاتجاهات الفكرية (مثل الوجودية) باعتبارها تقاليع، ويبدأ حياة مستقرة من الناحية العاطفية والفكرية. وتتناول رواية كوكب ساملر (1970) حياة يهودي بولندي عاش خلال فترة الإبادة النازية. وقد نشر بيلّو روايتين أخريين: ديسمبر شهر العميد (1982)، و عدد أكبر يموت من تحطُّم القلب (1987).
ويمكن هنا أن نثير قضية الهوية اليهودية عند بيلو، إذ أنه كاتب أمريكي لا يمكن فهمه إلا في إطار الثقافة الأدبية الأمريكية، ولذا، فإن رواياته، سواء أكانت مادتها الخام يهودية أم كانت غير ذلك، تنبع من رؤية أمريكية للواقع، وطريقة السرد فيها أمريكية والصوت الروائي أمريكي. ففي رواية هندرسون ملك المطر يقوم البطل، وهو أمريكي غير يهودي، برحلة إلى أفريقيا كي يفهم ذاته ويكتشفها ثم يعود إلى وطنه مسلحاً بالحكمة الجديدة، وهذا هو النمط المتكرر في كثير من الروايات الأمريكية (موبي ديك لملفيل، و مغامرات هكلبري فين لمارك توين). أما هرزوج الذي سُمِّيت الرواية باسمه فهو يهودي، ولكن الانتماء اليهودي أو غيابه أمر ثانوي. وقد هاجم بيلو المفهوم الصهيوني الذي يطالب بتصفية الدياسبورا (أي الجماعات اليهودية في العالم) والذي يذهب إلى أن وجود اليهود خارج فلسطين هو حالة مَرَضيّة، كما هاجم فكرة أن يهود أمريكا شخصيات ممزقة منقسمة على نفسها، وبأن اليهودي الحقيقي هو من يعيش في إسرائيل. ووصف بيلو نفسه بأنه أمريكي مخلص لتجربته وحضارته الأمريكية « يتحدث اللغة الإنجليزية الأمريكية، ويعيش في الولايات المتحدة، ولا يمكنه أن يرفض ستين عاماً من حياته هناك». ومن ثم، فهو يرى أن مصطلح «كاتب يهودي» مصطلح مبتذل من الناحية الفكرية، وهو مصطلح ضيق الأفق، بل ولا قيمة له إطلاقاً.
ومع هذا، فقد كتب بيلّو، علاوة على رواياته وأقواله، كتاباً صهيونياً مغرَقاً في العنصرية عن رحلته إلى إسرائيل إلى القدس والعودة (1976). ولعل هذا الكتاب ذاته دليل على أن يهود الدياسبورا يروجون عن أنفسهم صورة تريحهم نفسياً هي أنهم صهاينة يؤيدون إسرائيل، بينما تؤكد حياتهم المتعينة غير ذلك. وحينما يكتب بيلو رواياته، فإنه يدع خياله الخلاَّق يَفصح عن رؤيته المركَّبة. أما في كتابه الدعائي المُشَار إليه، فهو يتبنَّى موقفاً أكثر عملية ودعائية. ولعل طموح بيلو للحصول على جائزة نوبل كان له أثره الكبير على الآراء السياسية التي أفصح عنها في كتابه. وقد حصل بيلّو بالفعل على الجائزة بعد صدور الكتاب.

11-17-2011, 08:50 PM

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مراقب عام سابقا

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Saul Bellow (June 10, 1915 – April 5, 2005) was a Canadian-born Jewish American writer. For his literary contributions, Bellow was awarded the Pulitzer Prize, the Nobel Prize for Literature, and the National Medal of Arts.[2] He is the only writer to have won the National Book Award three times, and the only writer to have been nominated for it six times.
In the words of the Swedish Nobel Committee, his writing exhibited "the mixture of rich picaresque novel and subtle analysis of our culture, of entertaining adventure, drastic and tragic episodes in quick succession interspersed with philosophic conversation, all developed by a commentator with a witty tongue and penetrating insight into the outer and inner complications that drive us to act, or prevent us from acting, and that can be called the dilemma of our age."[3] His best-known works include The Adventures of Augie March, Henderson the Rain King, Herzog, Mr. Sammler's Planet, Seize the Day, Humboldt's Gift and Ravelstein. Widely regarded as one of the twentieth century's greatest authors, Bellow has had a "huge literary influence."[4]
In 1989, Bellow received the Peggy V. Helmerich Distinguished Author Award. The Helmerich Award is presented annually by the Tulsa Library Trust.

Early life

Saul Bellow was born Solomon Bellow[5] in Lachine, Quebec, two years after his parents emigrated from Saint Petersburg, Russia. Bellow celebrated his birthday in June, although he may have been born in July (in the Jewish community, it was customary to record the Hebrew date of birth, which does not always coincide with the Gregorian calendar).[6] Of his family's emigration, Bellow wrote:
“
The retrospective was strong in me because of my parents. They were both full of the notion that they were falling, falling. They had been prosperous cosmopolitans in Saint Petersburg. My mother could never stop talking about the family dacha, her privileged life, and how all that was now gone. She was working in the kitchen. Cooking, washing, mending... There had been servants in Russia... But you could always transpose from your humiliating condition with the help of a sort of embittered irony.[7]

A period of illness from a respiratory infection at age eight both taught him self-reliance (he was a very fit man despite his sedentary occupation) and provided an opportunity to satisfy his hunger for reading: reportedly, he decided to be a writer when he first read Harriet Beecher Stowe's Uncle Tom's Cabin.
When Bellow was nine, his family moved to the Humboldt Park neighborhood of Chicago, the city that was to form the backdrop of many of his novels. Bellow's father, Abraham, was an onion importer. He also worked in a bakery, as a coal delivery man, and as a bootlegger.
Bellow's mother, Liza, died when he was 17.
He was left with his father and brother, Maurice. Maurice later married Joyce and they gave birth to Holly and David. His mother was deeply religious, and wanted her youngest son, Saul, to become a rabbi or a concert violinist. But he rebelled against what he later called the "suffocating orthodoxy" of his religious upbringing, and he began writing at a young age.
Bellow's lifelong love for the Bible began at four when he learned Hebrew. Bellow also grew up reading William Shakespeare and the great Russian novelists of the 19th century.[5] In Chicago, he took part in anthroposophical studies. Bellow attended Tuley High School on Chicago's west side where he befriended fellow writer Isaac Rosenfeld. In his 1959 novel Henderson the Rain King, Bellow modeled the character King Dahfu on Rosenfeld.[8]

Education and early career
Bellow attended the University of Chicago but later transferred to Northwestern University. He originally wanted to study literature, but he felt the English department to be anti-Jewish; instead, he graduated with honors in anthropology and sociology.[9] It has been suggested Bellow's study of anthropology had an interesting influence on his literary style, and anthropological references pepper his works.[citation needed] Bellow later did graduate work at the University of Wisconsin–Madison.
Paraphrasing Bellow's description of his close friend Allan Bloom (see Ravelstein), John Podhoretz has said that both Bellow and Bloom "inhaled books and ideas the way the rest of us breathe air."[10]
In the 1930s, Bellow was part of the Chicago branch of the Works Progress Administration Writer's Project, which included such future Chicago literary luminaries as Richard Wright and Nelson Algren. Most of the writers were radical: if they were not card-carrying members of the Communist Party USA, they were sympathetic to the cause. Bellow was a Trotskyist, but because of the greater numbers of Stalinist-leaning writers he had to suffer their taunts.[11]
In 1941 Bellow became a naturalized US citizen.[12] In 1943, Maxim Lieber was his literary agent.
During World War II, Bellow joined the merchant marine and during his service he completed his first novel, Dangling Man (1944) about a young Chicago man waiting to be drafted for the war.
From 1946 through 1948 Bellow taught at the University of Minnesota, living on Commonwealth Avenue, in St. Paul, Minnesota.[13]
In 1948, Bellow was awarded a Guggenheim Fellowship that allowed him to move to Paris, where he began writing The Adventures of Augie March (1953). Critics have remarked on the resemblance between Bellow's picaresque novel and the great 17th Century Spanish classic Don Quixote. The book starts with one of American literature's most famous opening paragraphs, and it follows its titular character through a series of careers and encounters, as he lives by his wits and his resolve. Written in a colloquial yet philosophical style, The Adventures of Augie March established Bellow's reputation as a major author.
In the late 1950s he taught creative writing at the University of Puerto Rico at Rio Piedras. One of his students was William Kennedy, who was encouraged by Bellow to write fiction.

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