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Ester Nilsson #2
Vailla henkilökohtaista vastuuta
Eikö Ester Nilsson opi mitään? Viisi vuotta sen jälkeen kun hänen suhteensa petolliseen taiteilija Hugo Raskiin on päättynyt, Ester tapaa näyttelijä Olof Stenin. Jo ensi kohtaamisessa Ester tunnistaa fyysisen reaktion: hän on rakastumassa päätä pahkaa. Olof Sten ei salaile sitä, että hän on naimisissa, mutta alkaa silti tapailla Esteriä. He aloittavat suhteen, joka Olofin mielestä ei kuitenkaan sitä ole, sillä hänhän on naimisissa eikä hänellä sanojensa mukaan ole aikomustakaan jättää vaimoaan. Mutta mikä häntä sitten ajaa Esterin syliin?
Ester ostaa auton voidakseen ajaa Olofia ympäri maata teatteriesityksiin ja rakkauskohtauksiin. Kesät ovat Esterille kidutusta, sillä kesällä naimisissa olevat miehet seurustelevat vaimojensa kanssa. Ester Nilssonista on tullut rakastajatar. Mutta Olof Sten on kummallisen ambivalentti käytöksessään ja puheissaan, ja Esterissä elää sittenkin toivo, että Olof jättäisi vaimonsa.
Vailla henkilökohtaista vastuuta on itsenäinen jatko teokselle Omavaltaista menettelyä. Tarkkanäköisesti, humoristisesti ja samalla terävän filosofisesti Lena Andersson tutkii kulttuurimme käsityksiä rakkaudesta, rakastajattaren roolista ja avioliiton ulkopuolisista suhteista.
Ester ostaa auton voidakseen ajaa Olofia ympäri maata teatteriesityksiin ja rakkauskohtauksiin. Kesät ovat Esterille kidutusta, sillä kesällä naimisissa olevat miehet seurustelevat vaimojensa kanssa. Ester Nilssonista on tullut rakastajatar. Mutta Olof Sten on kummallisen ambivalentti käytöksessään ja puheissaan, ja Esterissä elää sittenkin toivo, että Olof jättäisi vaimonsa.
Vailla henkilökohtaista vastuuta on itsenäinen jatko teokselle Omavaltaista menettelyä. Tarkkanäköisesti, humoristisesti ja samalla terävän filosofisesti Lena Andersson tutkii kulttuurimme käsityksiä rakkaudesta, rakastajattaren roolista ja avioliiton ulkopuolisista suhteista.
331 pages, Hardcover
First published October 25, 2014
119 people are currently reading
2337 people want to read
About the author
Lena Andersson
43 books391 followersLena Andersson (born 18 April 1970 in Stockholm) is a Swedish author and journalist. She won the August Prize in 2013 for the novel
Wilful Disregard
. In the same year, the same book, won her the Literature Prize given by the Swedish newspaper Svenska Dagbladet.
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September 19, 2022
CIRCOLO VIZIOSO
Éric Rohmer: Le rayon vert – Il raggio verde. 1986.
Se Olof fosse una donna, con poca eleganza verrebbe da definirla una “rizzacazzi”.
Termine che trova riscontro anche all’estero: cockteaser, allumeuse, calientapollas, agasse-pisette (in québécois).
Essendo di genere maschile, ho qualche difficoltà a individuare il termine corrispondente.
È facile comprendere che quest’uomo abbia evidenti aspetti irrisolti di narcisismo. Ma questa è caso mai una spiegazione, non una definizione.
Vediamo se aiuta una citazione dal testo:
Olof sembrava trovar gusto nel mettere alla prova la sua capacità di rinuncia, testare quanto riuscisse ad avvicinarsi al proibito senza cedere ad accostarsi al fuoco e tirarsi indietro.
E quindi, mi pare che siamo su un territorio diverso da quel termine poco elegante: quest’uomo ama sedurre e ritrarsi, ma anche prolungare la sua attesa, la sua astinenza, e in qualche modo sofferenza. Perché Olof è attratto da Ester, la desidera: gli piace molto parlare con lei, la ritiene intelligente e brillante – e trova fantastico far l’amore con lei.
Éric Rohmer: Le beau mariage – Il bel matrimonio. 1982.
Da parte sua, Ester Nilsson stravede e strasente per lui, non riesce a farne a meno. Ma non può averlo tutto per sé, come invece vorrebbe molto, perché Olof ha una moglie che non vuole lasciare.
Ester è convinta che sia solo questione di tempo, Olof sta così bene con lei quando sono insieme, che non può voler restare con la moglie ancora a lungo, si separeranno.
Pertanto Ester si sottopone al seguente frustrante iter annuale: a febbraio vanno a letto insieme, procedono in crescendo durante la primavera, si lasciano/perdono a mezza estate, riparare e ricostruire in autunno, si gettano l’uno nelle braccia dell’altra di nuovo a febbraio, e così avanti, secondo uno schema che si ripete per anni (quasi quattro).
Éric Rohmer: Pauline à la plage – Pauline alla spiaggia. 1983.
Doveva essere così che ci sentiva a smettere di drogarsi, pensò; gettare via le siringhe e lasciarsi alle spalle le cattive compagnie. La lucidità e la gratitudine delle prime ore. Poi, i brividi. Non era linguaggio figurato o analogia, era esattamente la stessa cosa. I processi mentali erano identici perché lo erano quelli fisici. Tra amare e drogarsi, il cervello non faceva differenza. Si limitava a lavorare ed elaborare. La coscienza sofistica e dialettica conosceva la differenza, ma non il goffo e ottuso cervello. Poi erano gli stessi neurotrasmettitori a essere utilizzati, gli stessi recettori a raccogliere il segnale, la stessa ricompensa, la stessa felicità e, dopo, la stessa angoscia che spingeva a cercare ancora e ancora ciò che regalava l’estasi, nonostante la consapevolezza di quanto costasse. Quando l’amore non era equilibrato, si esagerava col dosaggio, ma adesso Ester aveva cominciato la sua disintossicazione. Questa volta avrebbe sopportato l’astinenza.
Éric Rohmer: La Femme de l'aviateur – La moglie dell’aviatore. 1981.
Non mi meraviglia, dunque, se il romanzo qui e là appare ripetitivo: segue un meccanismo collaudato sulla reiterazione, alti e bassi che si scandiscono con ritmo regolare.
Lo stupore, la sorpresa consiste nel trovare la (una?) spiegazione al martirio di Ester Nilsson.
Perché si sottopone a una tale prova? Che si porta dietro umiliazione, perdita di dignità, orgoglio ferito…
Perché va avanti anni, perché continua a interpretare parole e azioni di Olof come segnali d’amore, più o meno espliciti e certi, perché non vede molto semplicemente che si sta facendo del male, che lui non la promuoverà mai dal ruolo di amante a quello di compagna, ha già una compagna, sua moglie, e non intende lasciarla, lo dice più di una volta? Perché non fugge a gambe levate visto che ci sono tutti gli allarmanti indizi che si sta facendo del male, che le promesse resteranno sempre e solo promesse, niente di quello che lei insegue si realizzerà? Perché Ester non ascolta i consigli delle amiche che tentano di dissuaderla, di farla ragionare, di aprirle gli occhi?
Ester ha trentasette anni, è bella, sexy, intelligente, colta, ha successo ed esperienza: come fa a non capire che si è innamorata dell’Uomo Sbagliato?
Éric Rohmer sul set di “Les nuits de la pleine lune – Le notti della luna piena”, 1984. Con i protagonisti, Pascale Ogier e Tchéky Karyo.
Perché l’amore è cieco? Perché è come una droga? Perché è sostanzialmente un’altra forma di dipendenza? Perché tutto è meglio di tutto, ma poco è meglio di niente? Perché razionalizzare significa aver paura d’amare?
Dal punto di vista mentale erano di nuovo amanti.
Poi, un giorno, Ester smette di avere occhi solo per lui, e ricomincia a guardarsi nello specchio.
Éric Rohmer sul set di “Conte d'été – Un ragazzo, tre ragazze”, 1996.
Lena Andersson alterna dialoghi e descrizioni con garbo e misura in questo secondo capitolo della vita di Ester Nilsson (il primo si intitolava Sottomissione volontaria, ma tradotto letteralmente sarebbe suonato così: procedura non autorizzata). Anche questa volta lo racconta in terza persona, con la voce di una sapiente narratrice (o narratore), che sa usare l’ironia, che sa toccare le corde giuste, coinvolgere e commuovere, pur mantenendosi su un tono distaccato da trattato sull’amore, da conte philosphique.
Come se fosse un film di Eric Rohmer.
Éric Rohmer sul set di “L'Ami de mon amie – l’amico della mia amica”, 1987. Il regista è impegnato a battere il ciak.
La tecnica di allontanare e al tempo stesso trattenere, mai lasciare andare e mai lasciar accostare a sé: Olof la padroneggiava in maniera completa, con talento naturale, giacché era virtualmente incapace di elaborare strategie, così come non era grande osservatore degli esseri umani, di se stesso e della vita per poter aver fatto le osservazioni necessarie all’elaborazione o alla riproposizione di strategie altrui. Dovevano essere un effetto collaterale evolutivo di qualcos’altro, che in modo costante e sistematico lavorava in lui per fini sconosciuti.
1982: sulla spiaggi di Jullouville in Bretagna si gira una scena di “Pauline à la plage – Pauline alla spiaggia”.
Éric Rohmer: Le rayon vert – Il raggio verde. 1986.
Se Olof fosse una donna, con poca eleganza verrebbe da definirla una “rizzacazzi”.
Termine che trova riscontro anche all’estero: cockteaser, allumeuse, calientapollas, agasse-pisette (in québécois).
Essendo di genere maschile, ho qualche difficoltà a individuare il termine corrispondente.
È facile comprendere che quest’uomo abbia evidenti aspetti irrisolti di narcisismo. Ma questa è caso mai una spiegazione, non una definizione.
Vediamo se aiuta una citazione dal testo:
Olof sembrava trovar gusto nel mettere alla prova la sua capacità di rinuncia, testare quanto riuscisse ad avvicinarsi al proibito senza cedere ad accostarsi al fuoco e tirarsi indietro.
E quindi, mi pare che siamo su un territorio diverso da quel termine poco elegante: quest’uomo ama sedurre e ritrarsi, ma anche prolungare la sua attesa, la sua astinenza, e in qualche modo sofferenza. Perché Olof è attratto da Ester, la desidera: gli piace molto parlare con lei, la ritiene intelligente e brillante – e trova fantastico far l’amore con lei.
Éric Rohmer: Le beau mariage – Il bel matrimonio. 1982.
Da parte sua, Ester Nilsson stravede e strasente per lui, non riesce a farne a meno. Ma non può averlo tutto per sé, come invece vorrebbe molto, perché Olof ha una moglie che non vuole lasciare.
Ester è convinta che sia solo questione di tempo, Olof sta così bene con lei quando sono insieme, che non può voler restare con la moglie ancora a lungo, si separeranno.
Pertanto Ester si sottopone al seguente frustrante iter annuale: a febbraio vanno a letto insieme, procedono in crescendo durante la primavera, si lasciano/perdono a mezza estate, riparare e ricostruire in autunno, si gettano l’uno nelle braccia dell’altra di nuovo a febbraio, e così avanti, secondo uno schema che si ripete per anni (quasi quattro).
Éric Rohmer: Pauline à la plage – Pauline alla spiaggia. 1983.
Doveva essere così che ci sentiva a smettere di drogarsi, pensò; gettare via le siringhe e lasciarsi alle spalle le cattive compagnie. La lucidità e la gratitudine delle prime ore. Poi, i brividi. Non era linguaggio figurato o analogia, era esattamente la stessa cosa. I processi mentali erano identici perché lo erano quelli fisici. Tra amare e drogarsi, il cervello non faceva differenza. Si limitava a lavorare ed elaborare. La coscienza sofistica e dialettica conosceva la differenza, ma non il goffo e ottuso cervello. Poi erano gli stessi neurotrasmettitori a essere utilizzati, gli stessi recettori a raccogliere il segnale, la stessa ricompensa, la stessa felicità e, dopo, la stessa angoscia che spingeva a cercare ancora e ancora ciò che regalava l’estasi, nonostante la consapevolezza di quanto costasse. Quando l’amore non era equilibrato, si esagerava col dosaggio, ma adesso Ester aveva cominciato la sua disintossicazione. Questa volta avrebbe sopportato l’astinenza.
Éric Rohmer: La Femme de l'aviateur – La moglie dell’aviatore. 1981.
Non mi meraviglia, dunque, se il romanzo qui e là appare ripetitivo: segue un meccanismo collaudato sulla reiterazione, alti e bassi che si scandiscono con ritmo regolare.
Lo stupore, la sorpresa consiste nel trovare la (una?) spiegazione al martirio di Ester Nilsson.
Perché si sottopone a una tale prova? Che si porta dietro umiliazione, perdita di dignità, orgoglio ferito…
Perché va avanti anni, perché continua a interpretare parole e azioni di Olof come segnali d’amore, più o meno espliciti e certi, perché non vede molto semplicemente che si sta facendo del male, che lui non la promuoverà mai dal ruolo di amante a quello di compagna, ha già una compagna, sua moglie, e non intende lasciarla, lo dice più di una volta? Perché non fugge a gambe levate visto che ci sono tutti gli allarmanti indizi che si sta facendo del male, che le promesse resteranno sempre e solo promesse, niente di quello che lei insegue si realizzerà? Perché Ester non ascolta i consigli delle amiche che tentano di dissuaderla, di farla ragionare, di aprirle gli occhi?
Ester ha trentasette anni, è bella, sexy, intelligente, colta, ha successo ed esperienza: come fa a non capire che si è innamorata dell’Uomo Sbagliato?
Éric Rohmer sul set di “Les nuits de la pleine lune – Le notti della luna piena”, 1984. Con i protagonisti, Pascale Ogier e Tchéky Karyo.
Perché l’amore è cieco? Perché è come una droga? Perché è sostanzialmente un’altra forma di dipendenza? Perché tutto è meglio di tutto, ma poco è meglio di niente? Perché razionalizzare significa aver paura d’amare?
Dal punto di vista mentale erano di nuovo amanti.
Poi, un giorno, Ester smette di avere occhi solo per lui, e ricomincia a guardarsi nello specchio.
Éric Rohmer sul set di “Conte d'été – Un ragazzo, tre ragazze”, 1996.
Lena Andersson alterna dialoghi e descrizioni con garbo e misura in questo secondo capitolo della vita di Ester Nilsson (il primo si intitolava Sottomissione volontaria, ma tradotto letteralmente sarebbe suonato così: procedura non autorizzata). Anche questa volta lo racconta in terza persona, con la voce di una sapiente narratrice (o narratore), che sa usare l’ironia, che sa toccare le corde giuste, coinvolgere e commuovere, pur mantenendosi su un tono distaccato da trattato sull’amore, da conte philosphique.
Come se fosse un film di Eric Rohmer.
Éric Rohmer sul set di “L'Ami de mon amie – l’amico della mia amica”, 1987. Il regista è impegnato a battere il ciak.
La tecnica di allontanare e al tempo stesso trattenere, mai lasciare andare e mai lasciar accostare a sé: Olof la padroneggiava in maniera completa, con talento naturale, giacché era virtualmente incapace di elaborare strategie, così come non era grande osservatore degli esseri umani, di se stesso e della vita per poter aver fatto le osservazioni necessarie all’elaborazione o alla riproposizione di strategie altrui. Dovevano essere un effetto collaterale evolutivo di qualcos’altro, che in modo costante e sistematico lavorava in lui per fini sconosciuti.
1982: sulla spiaggi di Jullouville in Bretagna si gira una scena di “Pauline à la plage – Pauline alla spiaggia”.
July 7, 2019
Oh, Ester, Ester, Ester. Will you ever learn? I was a big fan of Lena Andersson’s Willful Disregard and was really excited to learn of this sequel, but it may be an example of too much of a good thing—or too much of a not-great thing, in terms of Ester’s own behavior. Talk about smart women, foolish choices.
In Willful Disregard, Ester is in her early thirties and has recently fallen hard for an older man. In her desire to believe that their relationship is more meaningful than it is, she constantly (you could say… willfully) interprets his every move as a sign of his abiding interest in her. He doesn’t help the situation by refusing to be direct and occasionally giving her false hope. After a number of cringeworthy situations, you might expect by the end of the novel that Ester has learned a thing or two that she can apply to future relationships.
But you might be wrong. In Acts of Infidelity, Ester is older (nearing forty) but not wiser. She quickly gets mixed up with a married man, and I was quickly astounded at all the ways she was capable of convincing herself that he was planning to leave his wife and be with Ester forever. I began to wish I’d done the Goodreads equivalent of a drinking game: posting a new status update every time Ester decided to break things off with the married man, only to go crawling back; or every time Ester interpreted his words, or actions, or lack of words or actions, as some kind of sign that he was for sure going to leave his wife, definitely for sure this time. The sheer repetitiveness of this game would have provided some amusement for me in what was otherwise a pretty grim and frustrating situation.
Is this a realistic portrayal of such a relationship? I guess. It’s true that some people never learn, or it takes them a long time to finally learn. Is it fun to read about? Well, not so much this time. Acts of Fidelity is quite a bit longer than Willful Disregard and quite a bit longer than it really needs to be. What’s more, I think something is going on with the translation to English. Reading Willful Disregard, translated by the excellently named Christina Death, I felt pulled into Ester’s story, as if I were there with her and her erstwhile boyfriend. This intimacy made it easy to understand why Ester thought and felt the way she did. With Acts of Infidelity, translated by Saskia Vogel, I felt on the outside the whole time, an observer rather than a (albeit passive) participant. I couldn’t regain my closeness with Ester and therefore felt much more impatient with her than I ever thought I would.
It’s probably not out of the question that Andersson will continue Ester’s story in additional novels, and if you’d asked me when I finished Acts of Infidelity if I’d be willing to sign on for another installment, I would have said no. But now that some time has passed my attitude has softened a bit. Like Ester returning to her bad-news boyfriend, I think I’d be willing to try again someday, in the possibly futile hope that things will work out better the next time around.
In Willful Disregard, Ester is in her early thirties and has recently fallen hard for an older man. In her desire to believe that their relationship is more meaningful than it is, she constantly (you could say… willfully) interprets his every move as a sign of his abiding interest in her. He doesn’t help the situation by refusing to be direct and occasionally giving her false hope. After a number of cringeworthy situations, you might expect by the end of the novel that Ester has learned a thing or two that she can apply to future relationships.
But you might be wrong. In Acts of Infidelity, Ester is older (nearing forty) but not wiser. She quickly gets mixed up with a married man, and I was quickly astounded at all the ways she was capable of convincing herself that he was planning to leave his wife and be with Ester forever. I began to wish I’d done the Goodreads equivalent of a drinking game: posting a new status update every time Ester decided to break things off with the married man, only to go crawling back; or every time Ester interpreted his words, or actions, or lack of words or actions, as some kind of sign that he was for sure going to leave his wife, definitely for sure this time. The sheer repetitiveness of this game would have provided some amusement for me in what was otherwise a pretty grim and frustrating situation.
Is this a realistic portrayal of such a relationship? I guess. It’s true that some people never learn, or it takes them a long time to finally learn. Is it fun to read about? Well, not so much this time. Acts of Fidelity is quite a bit longer than Willful Disregard and quite a bit longer than it really needs to be. What’s more, I think something is going on with the translation to English. Reading Willful Disregard, translated by the excellently named Christina Death, I felt pulled into Ester’s story, as if I were there with her and her erstwhile boyfriend. This intimacy made it easy to understand why Ester thought and felt the way she did. With Acts of Infidelity, translated by Saskia Vogel, I felt on the outside the whole time, an observer rather than a (albeit passive) participant. I couldn’t regain my closeness with Ester and therefore felt much more impatient with her than I ever thought I would.
It’s probably not out of the question that Andersson will continue Ester’s story in additional novels, and if you’d asked me when I finished Acts of Infidelity if I’d be willing to sign on for another installment, I would have said no. But now that some time has passed my attitude has softened a bit. Like Ester returning to her bad-news boyfriend, I think I’d be willing to try again someday, in the possibly futile hope that things will work out better the next time around.
November 15, 2014
Jag tillhör gruppen som blir förbannad på Ester.
March 13, 2024
تیکه ای از کتاب:
ببینید خدا چطور آدم ها را جلب می کند...
هیچ کس روانشناسی وابستگی و پیوند دوگانه را بهتر از او درک نمیکند
او میداند چطور آدم ها را با دوز مناسبی از عشق ورزی و بی اعتنایی به خودش متصل کند،که هرگز نتوانند آزاد باشند،طوری که هرگز او را رها نکنند.
آدم ها میدانند چطور باید پیش بروند تا هیچوقت لازمنباشد دست از دوست داشتن پشتیبانشان بردارند.
ببینید خدا چطور آدم ها را جلب می کند...
هیچ کس روانشناسی وابستگی و پیوند دوگانه را بهتر از او درک نمیکند
او میداند چطور آدم ها را با دوز مناسبی از عشق ورزی و بی اعتنایی به خودش متصل کند،که هرگز نتوانند آزاد باشند،طوری که هرگز او را رها نکنند.
آدم ها میدانند چطور باید پیش بروند تا هیچوقت لازمنباشد دست از دوست داشتن پشتیبانشان بردارند.
March 25, 2020
Somewhere around the third chapter of Acts of Infidelity, I had the disquieting feeling that I had read this book before.
The thing is, I had.
Four years ago, Lena Andersson wrote a magnificently intricate book title Willful Disregard. The theme was love and obsession; a sensible and highly intelligent woman named Ester Nilsson falls deeply in love with the artist Hugo Rask. She misinterprets and overblows any interest he shows in her, not able to recognize the signs that “he’s just not into her.” Her obsessive, masochistic love becomes difficult to witness as she falls down the rabbit hole into desperation.
Fast forward. In Acts of Infidelity, Ester Nilsson, now a playwright, is several years older and the same situation presents itself. This time, Hugo Rask is replaced by an actor, Olof Sten, who is married. He makes it abundantly clear that he has no intention of leaving his wife but is having difficulty resisting the lure of a woman who totally adores him. Ester, for her part, views each capitulation as proof positive that Olaf truly does want to spend his life with her and is getting closer to asking for a divorce. And so it goes.
While reading this, I wondered how I would feel about it if I hadn’t read Lena Andersson’s previous book. But I had and therefore found myself increasingly frustrated with Ester. I had questions: didn’t Ester learn anything in the ensuing years about the destructive nature of unrequited and obsessive love? Why did she choose to imprint on Olaf? There is no compelling reason, no meeting of the minds, that made me believe that Olaf should be the worthy recipient of all Ester’s attention and lust. He could have been anyone.
So with that in mind, is this a book about obsession? What is it in Ester’s character that drove her to repeat the dynamics of a painful relationship with Hugo years ago? And, did the author intend for us to empathize with Ester—and how could we, not knowing what psychological forces were driving her to repeat such a disastrous mistake all over again?
Lena Andersson writes well. In turns funny, lacerating, poignant, and insightful, her prose kept me reading on. But at the end of the day, I was not quite sure why this book was written. It felt like the same character, different leading man.
The thing is, I had.
Four years ago, Lena Andersson wrote a magnificently intricate book title Willful Disregard. The theme was love and obsession; a sensible and highly intelligent woman named Ester Nilsson falls deeply in love with the artist Hugo Rask. She misinterprets and overblows any interest he shows in her, not able to recognize the signs that “he’s just not into her.” Her obsessive, masochistic love becomes difficult to witness as she falls down the rabbit hole into desperation.
Fast forward. In Acts of Infidelity, Ester Nilsson, now a playwright, is several years older and the same situation presents itself. This time, Hugo Rask is replaced by an actor, Olof Sten, who is married. He makes it abundantly clear that he has no intention of leaving his wife but is having difficulty resisting the lure of a woman who totally adores him. Ester, for her part, views each capitulation as proof positive that Olaf truly does want to spend his life with her and is getting closer to asking for a divorce. And so it goes.
While reading this, I wondered how I would feel about it if I hadn’t read Lena Andersson’s previous book. But I had and therefore found myself increasingly frustrated with Ester. I had questions: didn’t Ester learn anything in the ensuing years about the destructive nature of unrequited and obsessive love? Why did she choose to imprint on Olaf? There is no compelling reason, no meeting of the minds, that made me believe that Olaf should be the worthy recipient of all Ester’s attention and lust. He could have been anyone.
So with that in mind, is this a book about obsession? What is it in Ester’s character that drove her to repeat the dynamics of a painful relationship with Hugo years ago? And, did the author intend for us to empathize with Ester—and how could we, not knowing what psychological forces were driving her to repeat such a disastrous mistake all over again?
Lena Andersson writes well. In turns funny, lacerating, poignant, and insightful, her prose kept me reading on. But at the end of the day, I was not quite sure why this book was written. It felt like the same character, different leading man.
January 6, 2015
Sträckläste boken med korta uppehåll för mat och sömn och är nu i stort behov av en bokcirkel att diskutera boken i. Att säga att Ester inte lärt sig något efter Hugo Rask stämmer inte helt tycker jag. När hon träffar Olof Sten är hon fast besluten att det ska bli annorlunda och att hon ska vara tydlig med vad hon vill. Det är hon. I början. Olof är också tydlig i sina ord, men inte i sina handlingar och snart är Ester likadan.
Jag krullade inte tår av pinsamhet över Ester lika snabbt i den här boken, kanske för att jag kände henne sen tidigare. Men nånstans i mitten av boken hände det igen, jag satt och tänkte NEJ, HÖR INTE AV DIG TILL HONOM!!! Ester har ingen stolthet och låter sig förnedras gång på gång och det är fruktansvärt irriterande att hon gör detta mot sig själv. Samtidigt är Olof Sten en bra mycket större skitstövel än Hugo Rask. Hugo var mer omedvetet elak, Olof är elak på riktigt. Han är ambivalensen personifierad och hans betraktande av sig själv som ett offer för saker som händer runt omkring honom har ingen verklighetsförankring. Han är ansvarslös och framförallt hänsynslös. Förtjänar han det som händer i slutet? Jag kan inte bestämma mig. Och vem förstörde vems liv mest?
Jag krullade inte tår av pinsamhet över Ester lika snabbt i den här boken, kanske för att jag kände henne sen tidigare. Men nånstans i mitten av boken hände det igen, jag satt och tänkte NEJ, HÖR INTE AV DIG TILL HONOM!!! Ester har ingen stolthet och låter sig förnedras gång på gång och det är fruktansvärt irriterande att hon gör detta mot sig själv. Samtidigt är Olof Sten en bra mycket större skitstövel än Hugo Rask. Hugo var mer omedvetet elak, Olof är elak på riktigt. Han är ambivalensen personifierad och hans betraktande av sig själv som ett offer för saker som händer runt omkring honom har ingen verklighetsförankring. Han är ansvarslös och framförallt hänsynslös. Förtjänar han det som händer i slutet? Jag kan inte bestämma mig. Och vem förstörde vems liv mest?
March 25, 2020
Y le sobra media
December 5, 2021
“Era palese che non voleva perderla, bensì mantenere con lei un contatto abbastanza intimo e tuttavia non esplicito, senza responsabilità personale.”
La relazione clandestina tra Ester e Olof è connotata da questa carenza fondamentale, una tara psichica profonda che spinge lui a sottrarsi ogni volta che si sente minacciato dalla consistenza di lei. Per poi immediatamente riprendere il rapporto nel momento in cui lei, per naturale effetto di questo respingimento, si raffredda o si allontana.
“Olof e Ester erano come due ruote dentate. Le ruote dentate non si uniscono e non si fondono. Non perdono la nozione di dove cominci una e finisca l’altra, ma si presuppongono a vicenda, vengono spinte avanti dal movimento reciproco, perfettamente regolate l’una sull’altra.”
Ester è una donna intelligente e appassionata.
L’abbiamo conosciuta nel precedente racconto di Lena Andersson, “Sottomissione volontaria”, dove abbiamo seguito con trepidazione, sconcerto e un po’ di rabbia l’iter della sua fissazione per Hugo, artista vanesio e egocentrico, abbiamo visto come la lucidità intellettuale possa essere intorbidata dall’irrazionalità (e fragilità) dell’emozione, abbiamo percorso con lei la strada che l’ha condotta a riconoscere gli inganni della sua falsa speranza d’amore.
Qui c’è un’altra situazione. L’innamoramento tra Ester e Olof è reciproco. La loro passione è condivisa. Il loro dialogo affascinante e stimolante. E tuttavia. Olof è sposato, sposatissimo. Nel senso che non vuole mettere in discussione il suo matrimonio, anche se è evidente il suo coinvolgimento emotivo, sessuale e intellettuale per Ester.
Che ancora una volta si trova a coltivare la Speranza. A cogliere ogni indizio di cedimento e farne sostegno imprescindibile per continuare a credere. Anche se la sua relazione è ciclica come le stagioni. Si accende in autunno e si annulla in estate (quando arriva il tempo della reunion coniugale).
Quasi quattro anni così.
Se la storia ci sembra ripetitiva è perché, in effetti, lo è. Eccome se lo è. Ma noi entriamo in un vortice, sentiamo precisamente la sofferenza di Ester ma ascoltiamo anche la nitidezza dei suoi ragionamenti. Siamo nella tensione e nell’attesa che la completa consapevolezza conduca a una svolta. Ascoltiamo i dialoghi con le amiche. Tutti i buoni consigli naufragati nella costante interpretazione dei segni. Nell’ostinazione a sperare. Trepidiamo a ogni nuovo incontro, quando la passione si riaccende.
Non abbiamo nessuna speranza, no. Vediamo bene com’è fatto Olof, Ester lo sa e ce lo mostra sempre con chiarezza. Allora aspettiamo che si compia la parabola per intero, la seguiamo fino al suo inevitabile, naturale compimento.
Un viaggio affascinante e terribile dentro di sé.
Per chi è interessato ai meccanismi misteriosi e furtivi per cui l’innamoramento prende in ostaggio i sensi e il cuore e soggioga la mente, questo libro (ma anche il precedente) è imprescindibile.
Lena Andersson è acuta, chirurgica, implacabile e bravissima.
4/5
La relazione clandestina tra Ester e Olof è connotata da questa carenza fondamentale, una tara psichica profonda che spinge lui a sottrarsi ogni volta che si sente minacciato dalla consistenza di lei. Per poi immediatamente riprendere il rapporto nel momento in cui lei, per naturale effetto di questo respingimento, si raffredda o si allontana.
“Olof e Ester erano come due ruote dentate. Le ruote dentate non si uniscono e non si fondono. Non perdono la nozione di dove cominci una e finisca l’altra, ma si presuppongono a vicenda, vengono spinte avanti dal movimento reciproco, perfettamente regolate l’una sull’altra.”
Ester è una donna intelligente e appassionata.
L’abbiamo conosciuta nel precedente racconto di Lena Andersson, “Sottomissione volontaria”, dove abbiamo seguito con trepidazione, sconcerto e un po’ di rabbia l’iter della sua fissazione per Hugo, artista vanesio e egocentrico, abbiamo visto come la lucidità intellettuale possa essere intorbidata dall’irrazionalità (e fragilità) dell’emozione, abbiamo percorso con lei la strada che l’ha condotta a riconoscere gli inganni della sua falsa speranza d’amore.
Qui c’è un’altra situazione. L’innamoramento tra Ester e Olof è reciproco. La loro passione è condivisa. Il loro dialogo affascinante e stimolante. E tuttavia. Olof è sposato, sposatissimo. Nel senso che non vuole mettere in discussione il suo matrimonio, anche se è evidente il suo coinvolgimento emotivo, sessuale e intellettuale per Ester.
Che ancora una volta si trova a coltivare la Speranza. A cogliere ogni indizio di cedimento e farne sostegno imprescindibile per continuare a credere. Anche se la sua relazione è ciclica come le stagioni. Si accende in autunno e si annulla in estate (quando arriva il tempo della reunion coniugale).
Quasi quattro anni così.
Se la storia ci sembra ripetitiva è perché, in effetti, lo è. Eccome se lo è. Ma noi entriamo in un vortice, sentiamo precisamente la sofferenza di Ester ma ascoltiamo anche la nitidezza dei suoi ragionamenti. Siamo nella tensione e nell’attesa che la completa consapevolezza conduca a una svolta. Ascoltiamo i dialoghi con le amiche. Tutti i buoni consigli naufragati nella costante interpretazione dei segni. Nell’ostinazione a sperare. Trepidiamo a ogni nuovo incontro, quando la passione si riaccende.
Non abbiamo nessuna speranza, no. Vediamo bene com’è fatto Olof, Ester lo sa e ce lo mostra sempre con chiarezza. Allora aspettiamo che si compia la parabola per intero, la seguiamo fino al suo inevitabile, naturale compimento.
Un viaggio affascinante e terribile dentro di sé.
Per chi è interessato ai meccanismi misteriosi e furtivi per cui l’innamoramento prende in ostaggio i sensi e il cuore e soggioga la mente, questo libro (ma anche il precedente) è imprescindibile.
Lena Andersson è acuta, chirurgica, implacabile e bravissima.
4/5
May 28, 2020
No he logrado terminarme el libro, pero supongo que es porque no era el momento de leerme esta novela. Tengo la cabeza a mil revoluciones por minuto y este tipo de lecturas es para disfrutarlo con calma. Prometo leerlo con tranquilidad más adelante, y le cambiaré la puntuación entonces.
November 27, 2018
Acts of Infidelity by Lena Andersson, translated from the Swedish by Saskia Vogel, follows Ester Nilsson, a writer and poet, who gets involved in an affair with a married actor, Olof Sten, in the hopes that he will get divorced, and their affair will eventually turn into a long-term relationship, even though, right from the start, Olof admits to Ester that he's not planning on ever leaving his wife. At the same time, he does not object to Ester's advances. The novel unfolds as a detailed account of the relationship dynamic between these two delusional people that continues on for several years.
Both main characters come off as incredibly selfish and callous people, and it's hard to sympathize with either of them. At first glance, it's easy to label Ester as the villain of the story. You, as the reader, may initially catch yourself starting to blame Ester for the affair and wanting to shake some sense into her. Although she knows from the start that Olof is married, Ester is quite aggressive in pursuing a relationship with him anyway, and even tells him, very early on, that she wants to spend the rest of her life with him, not caring about the consequences. She seems very naive for her age and wears her heart on her sleeve, believing in true love that will eventually overcome any obstacle. It's very frustrating to be constantly subjected to her thought processes, and to read about a person, who so stubbornly doesn't want to acknowledge the reality of the situation, until you become aware of how cleverly the author has just played you. As I read on, I realized that the author intended to illustrate how we are conditioned to almost automatically assign blame to the woman in these situations, even though Ester, despite her obvious character flaws, isn't the one who is lying and betraying her spouse. We see how the cheating husband, at the same time, tries to shrug off any responsibility for the affair, even going as far as constantly repeating that he and Ester are not in any kind of relationship, which is just plainly absurd.
Eventually Ester is forced to realize that she has been relegated to the role of the mistress and the book examines the dichotomy between the categories of Wife - Mistress, that is often applied to women. It points out the double standard that exists here, where woman often get defined and redefined in terms of these categories, while there are no such equivalent categories for men.
I couldn't help thinking that, if their roles were reversed, this situation would probably be portrayed as romantic - the passionate hero, who believes in true love, stubbornly trying to win over a married woman. Ultimately, Acts of Infidelity is a smart, darkly comic and feminist look at cheating, and this whole saga between Ester and Olof concludes with a very satisfying ending.
* Thank you to the publisher for a copy of this book via NetGalley.
Review originally published on my blog: https://beyondepilogue.wordpress.com/...
Both main characters come off as incredibly selfish and callous people, and it's hard to sympathize with either of them. At first glance, it's easy to label Ester as the villain of the story. You, as the reader, may initially catch yourself starting to blame Ester for the affair and wanting to shake some sense into her. Although she knows from the start that Olof is married, Ester is quite aggressive in pursuing a relationship with him anyway, and even tells him, very early on, that she wants to spend the rest of her life with him, not caring about the consequences. She seems very naive for her age and wears her heart on her sleeve, believing in true love that will eventually overcome any obstacle. It's very frustrating to be constantly subjected to her thought processes, and to read about a person, who so stubbornly doesn't want to acknowledge the reality of the situation, until you become aware of how cleverly the author has just played you. As I read on, I realized that the author intended to illustrate how we are conditioned to almost automatically assign blame to the woman in these situations, even though Ester, despite her obvious character flaws, isn't the one who is lying and betraying her spouse. We see how the cheating husband, at the same time, tries to shrug off any responsibility for the affair, even going as far as constantly repeating that he and Ester are not in any kind of relationship, which is just plainly absurd.
Eventually Ester is forced to realize that she has been relegated to the role of the mistress and the book examines the dichotomy between the categories of Wife - Mistress, that is often applied to women. It points out the double standard that exists here, where woman often get defined and redefined in terms of these categories, while there are no such equivalent categories for men.
"The mistress as an idea constitutes a third counterpoint between the complimentary woman/man. Her anatomy is woman's but her autonomy is man's. She is a third, the most frightening and most alluring, that which in the end must be pushed out of life's bid for dualistic order."
I couldn't help thinking that, if their roles were reversed, this situation would probably be portrayed as romantic - the passionate hero, who believes in true love, stubbornly trying to win over a married woman. Ultimately, Acts of Infidelity is a smart, darkly comic and feminist look at cheating, and this whole saga between Ester and Olof concludes with a very satisfying ending.
* Thank you to the publisher for a copy of this book via NetGalley.
Review originally published on my blog: https://beyondepilogue.wordpress.com/...
February 28, 2018
Znam da je trebalo da bude zamorna, ali baš je bila zamorna. 3.5 zvezdice su najsubjektivniji osećaj, a onaj nešto objektivniji dobijate na blogu, kako dolikuje.
Evo i njega :)
https://prerazmisljavanje.org/2018/02...
Evo i njega :)
https://prerazmisljavanje.org/2018/02...
December 3, 2020
خیر. این بزرگوار آدم نمیشود. کارهاش در کتاب قبلی به اندازه کافی دقّمون نداد. در این کتاب گند و لجن و کثافتِ بادیبههرجهتبودگی و بیارادکی رو درآورده بود. منِ ۱۸-۱۹سالهی سانتیمانتال بیعقل و بیتجربه واکنشهای منطقیتر و فعالتر و عاقلانهتری داشتهم به اتفاقات زندگیم تا این آدمیزاد.
عصبانیم.
عصبانیم.
April 6, 2020
Cuando iba por la mitad me enteré que había un primer libro, que no leí. Nunca había leído algo similar. Terminé encontrando lógicos los razonamientos de Ester, cuando evidentemente están equivocados. Muy buena lectura.
December 1, 2014
”Utan personligt ansvar”, without personal responsibility, is a novel about a relationship that is not a relationship. Five years have passed since Ester Nilsson's romance with Hugo Rask and that experience has not made her cynical. Her new love subject is Olof Sten, an actor and a very ambivalent man. As Olof describes it, t's allright to have a relationship with Ester, as long as it's not called a relationship. Because Olof is married.
Lena Andersson is phenomenal at describing the sublime. A dislocation, an imbalance of power between two people, something that should be unreasonable in the world of love. The theme, as well as the predecessor, is a moral trespassing of boundaries, without personal responsibility. Because in the subjective reality it's impossible to proove Olof feelings or lack there of. And that makes Ester, who loves with all her heart, the weak one.
Much feels like a repetition of the last book. It's the same main character and the same theme. Nevertheless, it's not obsolete, and it's as interesting as before. There's the same naive expectations, imaginary love response and restrained anger, but this time the relationship, which is not a relationship but unsurpricingly very much resembles one in every aspect, is extracted suffering for several years. This time Ester's love want to be with her in a way, but since he is married she doesn't fit into his life.
Both of them are aware of the imbalance of power and the stream of mixed signals seems endless.
But Ester fights for a long time and as usual it's the partner most smitten that is the most vulnerable.
The prose is philosphical and you can almost hear Lena Andersson's ironical voice. Uncertainty is mixed with short moments of happiness and pain, and Ester, in her philosophical manner, is always ready to interpret the course of events in an optimistic way.
The intimacy is coming at a high price. It's almost like a financial business. As Ester view it, when Olof is in the possession of capital, he can afford to be an asshole. When his account is empty, he has to spend time with her and appreciate her to be able to make her stay. With occasional symbolic transactions, he compensates for being distant and, first and foremost, married. He feeds on her feelings. When Ester wants more, he received the symbolic capital and becomes uninterested, and when Ester doesn't bother anymore, he is poor and wants to be with her.
Unfortunately, Olof Sten remains an evasive shadow, almost a stranger, throughout the book. Since Ester is a verbal-erotic character, the intellectual conversation between them is necessary and very important to her, should be more prominent. But it might not be enough for the reader to get to know Olof anyway, and be able to understand Ester's feelings, because he is seen through her eyes and love is illogical and blind. Surely, one can be judgmental towards her. But many people probably identify with some of the feelings and some of the behavior, because most people have been in love once.
Lena Andersson is phenomenal at describing the sublime. A dislocation, an imbalance of power between two people, something that should be unreasonable in the world of love. The theme, as well as the predecessor, is a moral trespassing of boundaries, without personal responsibility. Because in the subjective reality it's impossible to proove Olof feelings or lack there of. And that makes Ester, who loves with all her heart, the weak one.
Much feels like a repetition of the last book. It's the same main character and the same theme. Nevertheless, it's not obsolete, and it's as interesting as before. There's the same naive expectations, imaginary love response and restrained anger, but this time the relationship, which is not a relationship but unsurpricingly very much resembles one in every aspect, is extracted suffering for several years. This time Ester's love want to be with her in a way, but since he is married she doesn't fit into his life.
Both of them are aware of the imbalance of power and the stream of mixed signals seems endless.
But Ester fights for a long time and as usual it's the partner most smitten that is the most vulnerable.
The prose is philosphical and you can almost hear Lena Andersson's ironical voice. Uncertainty is mixed with short moments of happiness and pain, and Ester, in her philosophical manner, is always ready to interpret the course of events in an optimistic way.
The intimacy is coming at a high price. It's almost like a financial business. As Ester view it, when Olof is in the possession of capital, he can afford to be an asshole. When his account is empty, he has to spend time with her and appreciate her to be able to make her stay. With occasional symbolic transactions, he compensates for being distant and, first and foremost, married. He feeds on her feelings. When Ester wants more, he received the symbolic capital and becomes uninterested, and when Ester doesn't bother anymore, he is poor and wants to be with her.
Unfortunately, Olof Sten remains an evasive shadow, almost a stranger, throughout the book. Since Ester is a verbal-erotic character, the intellectual conversation between them is necessary and very important to her, should be more prominent. But it might not be enough for the reader to get to know Olof anyway, and be able to understand Ester's feelings, because he is seen through her eyes and love is illogical and blind. Surely, one can be judgmental towards her. But many people probably identify with some of the feelings and some of the behavior, because most people have been in love once.
November 16, 2021
if you like this review, i now have website: www.michaelkamakana.com
280419: impressive interior monologue of mistress in an affair of several years, with usual/unusual married man. she is mature, fiercely intelligent, perceptive of others in signs, in words, in gestures or urges unfinished. except for herself. this is how she becomes mistress, how she forgives, how she forgets, how with extensive intellectual awareness, with no apparent sense of her absurdity, she concocts many elaborate explanations for his behavior and her behavior, all based on an original error, her willful misunderstanding, her belief that this man loves her and that she loves him...
i have never married but i doubt that sanction of god i do not follow, would affect how i might once or however often, behave as badly/selfishly (somehow stepping out when living together does not count to me... ) or applying intellect to lie, ceaselessly, to everyone, to oneself, basically: to live a lie. bad for everyone. which is of course moral philosophies’ condemnations of falseness. yes good books allow the reader to see the word somehow different... to be another, and against some gr reviews i must admit sympathy for this story of two humans caught in undertow of impossible conflict of love and lust... and this is no popular romantic fantasy...
280419: impressive interior monologue of mistress in an affair of several years, with usual/unusual married man. she is mature, fiercely intelligent, perceptive of others in signs, in words, in gestures or urges unfinished. except for herself. this is how she becomes mistress, how she forgives, how she forgets, how with extensive intellectual awareness, with no apparent sense of her absurdity, she concocts many elaborate explanations for his behavior and her behavior, all based on an original error, her willful misunderstanding, her belief that this man loves her and that she loves him...
i have never married but i doubt that sanction of god i do not follow, would affect how i might once or however often, behave as badly/selfishly (somehow stepping out when living together does not count to me... ) or applying intellect to lie, ceaselessly, to everyone, to oneself, basically: to live a lie. bad for everyone. which is of course moral philosophies’ condemnations of falseness. yes good books allow the reader to see the word somehow different... to be another, and against some gr reviews i must admit sympathy for this story of two humans caught in undertow of impossible conflict of love and lust... and this is no popular romantic fantasy...
September 30, 2020
فعل بیوفایی داستانیست که در کتاب قبلی نویسنده به نحوی گفته شده بود: استر (همان دخترک ابله کتاب #تصرف_عدوانی) که نویسنده و شاعر است دوباره(!) وارد رابطهای عاشقانه با بازیگری متاهل میشود. امیدوار است اولاف، همسرش را ول کند ...
اندرشون دوباره خودش را در این کتاب تکرار میکند. راوی داستان دوباره خودش را به دام رابطهای بیمار انداخته و گویی خودآزاری دارد. از دست استر خشمگینم. از حماقتهایش. از اینکه گویی بچهبازیهایش تمامی ندارد. اینکه زنی در چنین سن و سالی (حدود ۴۰) مدام با دستان خودش، خودش را بدبخت کند برای من آزادهنده است. کتاب بیشازحد طولانی است.... ترجمه هم قابل قبول اما بعضى جملات گنك بود كه يا علتش ترجمه از زبان واسط است يا چيز دگير
اندرشون دوباره خودش را در این کتاب تکرار میکند. راوی داستان دوباره خودش را به دام رابطهای بیمار انداخته و گویی خودآزاری دارد. از دست استر خشمگینم. از حماقتهایش. از اینکه گویی بچهبازیهایش تمامی ندارد. اینکه زنی در چنین سن و سالی (حدود ۴۰) مدام با دستان خودش، خودش را بدبخت کند برای من آزادهنده است. کتاب بیشازحد طولانی است.... ترجمه هم قابل قبول اما بعضى جملات گنك بود كه يا علتش ترجمه از زبان واسط است يا چيز دگير
August 1, 2019
I gave it one star because you can't give negative stars or zero stars. What a waste of time. why did it get good reviews? Woman abases herself like an idiot for a married man who could care less and she refuses to recognize the signals that he is using her like a dishcloth. The book takes place in her addled fevered imagination so maybe there is an unreliable narrator reveal? It was a DNF so possibly after 100 pages she magically displayed some good sense and self respect or kills him which he richly deserves, but I couldn't spend any more time waiting for whatever the ending turned out to be. I'll be freecycling it and maybe the next reader will have a better experience.
May 14, 2020
¿Recuerdas esas tardes en que quedas con tu amiga para tomar unas cañas y toda la conversación se basa en analizar cada gesto, palabra y desprecio de su último ligue? Un pavo que le trata fatal y por el que te darían ganas de gritar: "Amiga, date cuenta" pero, en lugar de eso, ahí sigues, escuchando ese monólogo en bucle. Pues este libro es la transcripción de dicho monólogo. Salvo que la protagonista no es tu amiga y tampoco hay cerveza.
Read
March 20, 2025jahopp dags att komma ut som Lena Andersson-älskare
April 13, 2021
Pues un libro más que ni tiempo me dio de venir a poner aquí el progreso porque lo terminé en dos días. Porque una vez más caí en la historia de Ester. La primera vez que leí Apropiación Indebida y la historia de Hugo y Ester, me aplastó un camión por lo devastadora que es. Esta vez, pensé que Ester, con unos años más y más sabia y más vieja la historia con Olof sería diferente. Por momentos me volví a enojar y a querer gritarle ¡Ester, otra vez, carajo! pero ese final que te deja con los dientes apretados....valió la pena.
Ahora en Hechos poro Fieles tenemos a Olof, un hombre (nuevamente) mayor que ella, casado y con ninguna intención de dejar a Ebba, pero tampoco a Ester. Un trío doloroso pero hermoso. Trigger warning: si estás pasando por un momento doloroso en tu vida, no creo que debas leerlo porque en verdad, parece que un camión pasa por encima de ti.
Y tengo que resaltar la manera de Lena para expresar toda esta historia, las palabras perfectas, las oraciones precisas, los silencios adecuados y esa manera tan filosófica que tiene para contarlo es maravilloso. Esas sensaciones identificables, esas ganas de querer morirte de dolor, esas ganas de vivirlo todo, ese tener todo y siempre perderlo....te deja sumida en el sillón.
Y claro que quiero leer la siguiente historia de amor de Ester, a sus cincuenta años, a ver con qué sorpresa nos sale.
Ahora en Hechos poro Fieles tenemos a Olof, un hombre (nuevamente) mayor que ella, casado y con ninguna intención de dejar a Ebba, pero tampoco a Ester. Un trío doloroso pero hermoso. Trigger warning: si estás pasando por un momento doloroso en tu vida, no creo que debas leerlo porque en verdad, parece que un camión pasa por encima de ti.
Y tengo que resaltar la manera de Lena para expresar toda esta historia, las palabras perfectas, las oraciones precisas, los silencios adecuados y esa manera tan filosófica que tiene para contarlo es maravilloso. Esas sensaciones identificables, esas ganas de querer morirte de dolor, esas ganas de vivirlo todo, ese tener todo y siempre perderlo....te deja sumida en el sillón.
Y claro que quiero leer la siguiente historia de amor de Ester, a sus cincuenta años, a ver con qué sorpresa nos sale.
May 21, 2020
In the first book, Ester's character could be relatable. In this book, she knew from the very beginning she was entering a relationship with a married man, and she was hoping that he would someday leave his wife for her. I am sorry, but I cannot sympathize with such a woman. As a sane person, you do not date someone unless you assume all his past relationships are completely closed. I feel like throughout the book, Ester was portrayed as a victim, but she really was not. Her friends in their conversations never reminded her that she was as immoral as the guy. Her longing for Olof was described as love, but that was not and could not be. Ester wanted to be with this man when she saw him on the stage of a play without having had a single conversation with him and was ready to replace his wife from that moment. Liking someone, at first sight, is called "sexual attraction" or "Crush". In order to love someone, you should have talked to him, know him, and have memories with him.
Additionally, I felt like the same sequence of events was being repeated over and that made the book really boring. I would not recommend the book to anyone unless you do not have anything else to read.
Additionally, I felt like the same sequence of events was being repeated over and that made the book really boring. I would not recommend the book to anyone unless you do not have anything else to read.
March 28, 2023
دومین تجربه خوندن قلم بی نظیر لنا اندرشون…چقدر نوشته هاش رو دوست دارم و چقدر با شخصیت مونث کتاب هاش همزاد پنداری میکنم…بماند که در طول خوانش متن این کتاب چقدر حرص خوردم ولی تجربه خوبی بود…
July 25, 2016
Ester er et jævla krek, og et godt bevis på at å fordype seg for kraftig i humaniora ikke er bra for noe. Jeg elsker henne og hater henne og håper hun snart forelsker seg igjen.
March 21, 2021
En bok där man ständigt vill skälla ut huvudkaraktärerna🤗
August 30, 2025
Lena tänkte "ok egenmäktigt förfarande var ju en hit, jag skriver väl en exakt likadan bok till men dubbelt så utdragen!"
March 7, 2025
Ester, Ester, Ester! Höll på att skriva "fan vad hon kämpar på" men jag är inte säker på att hon gör det? Vi möter Ester igen efter många år och jag förvånas över hur lite som har hänt. Ja, hon har delvis bytt karriär och väninnekören verkar få ta lite mer utrymme i hennes liv men i fråga om längtan efter kärlek (eller är det kärlek hon längtar efter? kanske bara Relationen med stort R?) är allt sig likt. Frustreras och fascineras av Esters förmåga att å ena sidan vara exceptionellt klarsynt, exempelvis i sitt resonemang om kärlekens ekonomi, å andra sidan vara så otroligt hoppfull och naiv. Kände inte lika mycket med Ester som jag gjorde i Egenmäktigt förfarande, men kände mycket av att läsa Utan personligt ansvar. Lena Anderssons språk fortsätter att imponera på mig och jag förvånas över att jag, trots att jag känner Ester vid det här laget och vet ungefär vart berättelsen ska sluta, läser med andan i halsen.
"Ord, ord, det var vad som stod människorna till buds. Orden var nedslitna av mångtusenårig användning men fick också sin exceptionella verkan av samma mångtusenåriga användning."
"Ord, ord, det var vad som stod människorna till buds. Orden var nedslitna av mångtusenårig användning men fick också sin exceptionella verkan av samma mångtusenåriga användning."
May 7, 2021
A very unusual book in my view, dealing with a love (or obsession) from a logical point of view, except that the logic is faulty. It is quite something for the author, Lena Andersson, to describe what happens from a single point of view: the woman's. Ester falls in love with a married man who half-heartedly has an affair with her. That's all - that is the story. But the way it is told made me curse the woman, laugh outright and admire the author enormously. She has made Ester not a simple doormat but a complicated one. No, a remarkable tapestry. Ester has a degree in applied physics and philosophy, is interested in current affairs, writes stage plays and yet cannot get a handle on her personal affairs.
First time read in Estonian that retains the original book title: Without Personal Responsibility. Second time, reading it in English, the translation did not quite flow (strange words like "scenographer" and "demi-sec verse") and the book seemed smaller because of its English title. Thought-provoking all the same.
First time read in Estonian that retains the original book title: Without Personal Responsibility. Second time, reading it in English, the translation did not quite flow (strange words like "scenographer" and "demi-sec verse") and the book seemed smaller because of its English title. Thought-provoking all the same.
December 19, 2015
Det finns en hel del jag gillar med Lena Andersson, särskilt egenheten i hennes språk och hennes betraktelser av mänskligt beteende. Men jag upplevde att både "Utan personligt ansvar" och "Egenmäktigt förfarande" kämpar med att driva läsaren framåt. Särskilt tydligt blir det i "Utan personligt ansvar", som i stort sett är en av-och-på-romans som slår på och av om och om igen under åtminstone 200 sidor för att sedan eskalera till något mer konkret. Jag inser att det ska väcka en känsla av frustration, men för ofta upplevde jag att jag inte kände frustration med Ester, utan frustration över bokens upplägg.
May 6, 2021
Romanen er absolutt god, men føltes til tider litt gjentagende fra Egenmäktigt förfarande. Midtdelen ble noe tam, da alt føltes ut til å gå på repeat, men den tok seg opp mot slutten og ble riktig spennende. Også skal det sies at avslutningen er grusomt provoserende...
October 4, 2019
Herregud som jeg kjeda meg da jeg leste denne boka. 300 sider fram og tilbake med de samme følelsene og handlingsmønstrene gjør den rett og slett tunglest. Esters vilje til selvbedrag og Olofs unnvikende oppførsel er for øvrig godt beskrevet, men det er ikke nok til å gjøre boka interessant nok i lengden.
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