71st out of 210 books — 141 voters
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Una novela en la que los sentimiento, los pensamientos y las convicciones morales y religiosas ocupan un lugar central es difícil de resumir. La acción se desarrolla en el seno de una familia burguesa en la que la llegada de un joven va a suponer una auténtica bomba de relojería, al despertar en los miembros de la familia una serie de sentimientos encontrados y en pugna. E ...more
Paperback, 312 pages
Published December 28th 2005 by Edhasa
(first published 1968)
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"So there's this bourgeois family. By the way, the bourgeoisie is evil. And they are visited by a mysterious guest who's beautiful in an otherworldly way and also very pure, which means he's not a bourgeois, because the bourgeoisie is evil. It's not clear what he is. He could be an angel or even a Messianic figure. And he brings liberation of the mind and the body. And then he leaves and they all fall apart, because they betray him, which means they're still evil. Because they're still bourgeois ...more
Nov 02, 2009 Jesse rated it 4 of 5 stars · review of another edition
Probably best appreciated in conjunction with the much more famous film, of which this is neither its source material nor an after-the-fact novelization. According to its creator, both were conceived and created simultaneously ("the book had been painted with one hand while the other he was on a fresco—the film" is how the introduction paraphrases Pasolini's own explanation), and while it certainly does shed some light on some of the more opaque actions in the film (particularly all the running ...more
Stilistisch: een anti roman, geen echt verhaal, eerder ver-haalbrokjes, met voortdurende relativering van de klassieke tijd-ruimte-structuur. Regelmatig ook half ideologische overpeinsingen over de draagkracht van de bourgeois-cultuur. Echt jaren zestig, en bijna onleesbaar, of liever onverteer¬baar. Homo-erotische boventoon.
Italian director, screen writer, essayist, poet, critic and novelist, was murdered violently in 1975. Pasolini is best known outside Italy for his films, many of which were based on literary sources - The Gospel According to Saint Matthew, The Decameron, The Canterbury Tales. Pasolini referred himself as a 'Catholic Marxist' and often used shocking juxtapositions of imagery to expose the vapidity ...moreMore about Pier Paolo Pasolini...