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Visita a Godenholm
VISITA A GODENHOLM
- GenresFiction
Paperback
First published January 1, 1952
About the author
Ernst Jünger
230 books957 followersErnst Jünger was a decorated German soldier and author who became famous for his World War I memoir Storm of Steel. The son of a successful businessman and chemist, Jünger rebelled against an affluent upbringing and sought adventure in the Wandervogel, before running away to briefly serve in the French Foreign Legion, an illegal act. Because he escaped prosecution in Germany due to his father's efforts, Junger was able to enlist on the outbreak of war. A fearless leader who admired bravery above all else, he enthusiastically participated in actions in which his units were sometimes virtually annihilated. During an ill-fated German offensive in 1918 Junger's WW1 career ended with the last and most serious of his many woundings, and he was awarded the Pour le Mérite, a rare decoration for one of his rank.
Junger served in World War II as captain in the German Army. Assigned to an administrative position in Paris, he socialized with prominent artists of the day such as Picasso and Jean Cocteau. His early time in France is described in his diary Gärten und Straßen (1942, Gardens and Streets). He was also in charge of executing younger German soldiers who had deserted. In his book Un Allemand à Paris , the writer Gerhard Heller states that he had been interested in learning how a person reacts to death under such circumstances and had a morbid fascination for the subject.
Jünger appears on the fringes of the Stauffenberg bomb plot to assassinate Adolf Hitler (July 20, 1944). He was clearly an inspiration to anti-Nazi conservatives in the German Army, and while in Paris he was close to the old, mostly Prussian, officers who carried out the assassination attempt against Hitler. He was only peripherally involved in the events however, and in the aftermath suffered only dismissal from the army in the summer of 1944, rather than execution.
In the aftermath of WW2 he was treated with some suspicion as a closet Nazi. By the latter stages of the Cold War his unorthodox writings about the impact of materialism in modern society were widely seen as conservative rather than radical nationalist, and his philosophical works came to be highly regarded in mainstream German circles. Junger ended his extremely long life as a honoured establishment figure, although critics continued to charge him with the glorification of war as a transcending experience.
Junger served in World War II as captain in the German Army. Assigned to an administrative position in Paris, he socialized with prominent artists of the day such as Picasso and Jean Cocteau. His early time in France is described in his diary Gärten und Straßen (1942, Gardens and Streets). He was also in charge of executing younger German soldiers who had deserted. In his book Un Allemand à Paris , the writer Gerhard Heller states that he had been interested in learning how a person reacts to death under such circumstances and had a morbid fascination for the subject.
Jünger appears on the fringes of the Stauffenberg bomb plot to assassinate Adolf Hitler (July 20, 1944). He was clearly an inspiration to anti-Nazi conservatives in the German Army, and while in Paris he was close to the old, mostly Prussian, officers who carried out the assassination attempt against Hitler. He was only peripherally involved in the events however, and in the aftermath suffered only dismissal from the army in the summer of 1944, rather than execution.
In the aftermath of WW2 he was treated with some suspicion as a closet Nazi. By the latter stages of the Cold War his unorthodox writings about the impact of materialism in modern society were widely seen as conservative rather than radical nationalist, and his philosophical works came to be highly regarded in mainstream German circles. Junger ended his extremely long life as a honoured establishment figure, although critics continued to charge him with the glorification of war as a transcending experience.
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Displaying 1 - 16 of 16 reviews
July 26, 2016
This novella, written by Jünger in 1952, describes a gathering of a small group of people who take a psychedelic trip together, without ever mentioning any drug, or even the act of taking one, specifically. Nevertheless, it's clear what is being described, especially when one knows that Jünger himself had taken LSD the previous year (the first of many times) at the invitation of its inventor, Albert Hofmann.
Any attempt to describe a psychedelic or mystical experience in words is necessarily limited by the inadequacies of language to describe things which are unknown in our everyday reality and that stem from inside us rather than from the exterior world. I don't believe it is possible to genuinely recreate such an experience using words - music and images can come a great deal closer, without ever really getting there, either. That being said, writing as someone who has himself inhaled (to quote Bill Clinton), Jünger's attempt is probably the closest to accuracy in literature that I have yet come across.
The story describes typical prospective psychonauts, two men and a woman, who travel to a remote, bleak Scandinavian island to take the trip under the guidance of a shamanic figure. One of the men is a dissatisfied and frustrated spiritual seeker; the other, who had fought for Germany during the Second World War, is still reeling from seeing the country he loves dashed upon the rocks and lying prostrate before its enemies. Their states of mind, and the reasons and circumstances which brought them to the island, are extensively described in the opening chapters. They then embark upon the trip, and the next several chapters are devoted to Jünger's poetic attempts to describe the psychedelic experience from the differing perspectives of the two men undergoing it. The overriding theme of the story is that psychedelics, in Jünger's view, return us to primordial, pre-modern, and irrational ways of viewing the world. In a certain sense its tone also reminded me of Hesse's novels concerning spiritual seekers, such as Steppenwolf. What makes this story particularly unique is that it deviates from the usual method employed by writers, who attempt to couch psychedelic descriptions in the language and references of non-Western traditions; Jünger instead employs references to the ancient Nordic tradition, especially the Eddas, to describe the reality that his characters are catapulted into, thus making this story both deeply mystical and also Germanic in tone. The story then closes with a description of the immediate aftermath of the trip. I must say that even before I had come to the last page I had already determined that this is a story that I would have to read multiple times, and very likely over a period of many years, knowing that I would discover something new in it each time, especially as my own self changes. In this, like many great books, Visit to Godenholm could be seen as a sort of spiritual or psychological mirror.
The translation itself, which was rendered by the scholar and musician Annabel Lee of Blood Axis fame, reads very well - I found myself puzzling over a few passages, but no doubt this was a very difficult text to translate. The book contains a useful introduction by the Jünger scholar Elliot Neaman, who provides some background and context to the story, as well as a note from Annabel Lee concerning its references to Norse mythology. The only flaws in this book have to do with its editing and proofreading. There are more than a few typos and a number of passages where one feels an editor should have interceded to make them read better. Considering that this book is clearly a labor of love, and considering the amount of work that obviously went into its physical design, it's baffling that the publisher didn't exercise more care over the text itself. This is really something they should have put more effort into, especially considering the book's price. This is not to say that these errors and oversights are so bad as to seriously detract from reading it, but I did find some of them unpleasantly jarring when I was trying to lose myself in the dream-like state that Jünger was attempting to evoke. Nevertheless, physically, the book is very well made, a pleasure to view and hold, one that has been made to last for several lifetimes, and the illustrations are quite well-done, which made up somewhat for these shortcomings.
If you are an Anglophone Jünger enthusiast, the need to read this book is obvious; for those who may not be familiar with Jünger but who have a taste for psychedelic, mystical, or surrealistic prose, this book will not disappoint.
Any attempt to describe a psychedelic or mystical experience in words is necessarily limited by the inadequacies of language to describe things which are unknown in our everyday reality and that stem from inside us rather than from the exterior world. I don't believe it is possible to genuinely recreate such an experience using words - music and images can come a great deal closer, without ever really getting there, either. That being said, writing as someone who has himself inhaled (to quote Bill Clinton), Jünger's attempt is probably the closest to accuracy in literature that I have yet come across.
The story describes typical prospective psychonauts, two men and a woman, who travel to a remote, bleak Scandinavian island to take the trip under the guidance of a shamanic figure. One of the men is a dissatisfied and frustrated spiritual seeker; the other, who had fought for Germany during the Second World War, is still reeling from seeing the country he loves dashed upon the rocks and lying prostrate before its enemies. Their states of mind, and the reasons and circumstances which brought them to the island, are extensively described in the opening chapters. They then embark upon the trip, and the next several chapters are devoted to Jünger's poetic attempts to describe the psychedelic experience from the differing perspectives of the two men undergoing it. The overriding theme of the story is that psychedelics, in Jünger's view, return us to primordial, pre-modern, and irrational ways of viewing the world. In a certain sense its tone also reminded me of Hesse's novels concerning spiritual seekers, such as Steppenwolf. What makes this story particularly unique is that it deviates from the usual method employed by writers, who attempt to couch psychedelic descriptions in the language and references of non-Western traditions; Jünger instead employs references to the ancient Nordic tradition, especially the Eddas, to describe the reality that his characters are catapulted into, thus making this story both deeply mystical and also Germanic in tone. The story then closes with a description of the immediate aftermath of the trip. I must say that even before I had come to the last page I had already determined that this is a story that I would have to read multiple times, and very likely over a period of many years, knowing that I would discover something new in it each time, especially as my own self changes. In this, like many great books, Visit to Godenholm could be seen as a sort of spiritual or psychological mirror.
The translation itself, which was rendered by the scholar and musician Annabel Lee of Blood Axis fame, reads very well - I found myself puzzling over a few passages, but no doubt this was a very difficult text to translate. The book contains a useful introduction by the Jünger scholar Elliot Neaman, who provides some background and context to the story, as well as a note from Annabel Lee concerning its references to Norse mythology. The only flaws in this book have to do with its editing and proofreading. There are more than a few typos and a number of passages where one feels an editor should have interceded to make them read better. Considering that this book is clearly a labor of love, and considering the amount of work that obviously went into its physical design, it's baffling that the publisher didn't exercise more care over the text itself. This is really something they should have put more effort into, especially considering the book's price. This is not to say that these errors and oversights are so bad as to seriously detract from reading it, but I did find some of them unpleasantly jarring when I was trying to lose myself in the dream-like state that Jünger was attempting to evoke. Nevertheless, physically, the book is very well made, a pleasure to view and hold, one that has been made to last for several lifetimes, and the illustrations are quite well-done, which made up somewhat for these shortcomings.
If you are an Anglophone Jünger enthusiast, the need to read this book is obvious; for those who may not be familiar with Jünger but who have a taste for psychedelic, mystical, or surrealistic prose, this book will not disappoint.
November 13, 2019
Visit to Godenholm is a Novella written by Ernst Jünger in 1952 as Besuch auf Godenholm. It did not do when it was first published and has not been republished in its original language since it first came out in 1952. The English translation of this work, which is the one I read, was published in 2015 by Edda Publishing. There are only 400 copies of this English translation making it a rare book. It was translated by Annabel Moynihan and has some fine illustrations by Fredrik Söderberg.
The story starts with a group of people who follow a mystical figure named Schwarzenberg to the island Godenholm, someplace in Norway. Schwarzenberg is some sort of spiritual teacher to the three central characters who follow him to the island. Those characters are Einar, Moltner, and Ulma. Einar and Moltner are both veterans from the war, while Ulma is a local Norwegian girl. Einar is a prehistorian and moltner is a doctor, more specifically a neurologist. They both have feelings of hopelessness, Moltner is a drug addict taking the kinds of medicine he gives to his patients just to get some sleep, and Einar is feeling hopeless because of Germany’s situation after the war. He expresses his feeling towards this in a beautiful way; “He realized the shipwreck had already happened and that he was floating on a raft of ruins.”
During the first night on the island, they have all had the metaphysical experience, it can also be referred to psychedelic experiences but there is no mention of any drugs in the novella. Schwarzenberg makes them have an altered state of consciousness by his presence alone. Moltner started to doubt Schwarzenberg, he had lost his faith in the spiritual teacher. He wanted to leave the island, but before he got a chance to, he started having an experience. During this part of the book, we get to see how both Einar and Moltner were reacting to the experience. Einar took it with relative calm, he did have some uncomfortable moments, but in the end, he learned to have hope again. On the other hand, Moltner had a much more intense and uncomfortable experience. After which, he has the majority of the pages focusing on his experience, we get a lot of references to Norse mythology like the Fenris-wolf and to Scandinavian folklore-like trolls. At the end of this whole ordeal, Moltner had also regained hope, and faith in Schwarzenberg.
As a Norwegian I really liked how he described the Norwegian landscape and people during this period in history. It even describes the Scandinavian attitude towards nudity, which makes moltner a but uncomfortable because of the culture difference. “These men did not give the impression that they considered the solitude to be a necessary evil of their land. They intimate with it and loved it", both of these are things foreigners notice still when they come to Norway, a lot has changed but some things remain the same. We also get to know that girls would go and study at universities and come back to work on the farms, this actually was the case in some parts of the country back then. There are some lines that can be a bit offensive to Scandinavian culture like “It was boring like reading a Scandinavian novel.”
The inspiration for this book was Jünger's experience with drugs like mescaline, and especially by his LSD sessions with Albert Hofmann, and also a trip he had to Norway during the 30s with Hugo Fischer. He was one of the first to write about LSD trips and the first who talked about its spiritual/metaphysical qualities as well. This made Jünger be a secret tip among the psychonauts of the 1970s, but he quickly fell out of favour due to not being lined up with the relaxed mood of the post-68 years. Because even if this work came out of psychedelics, it still isn’t what one would usually expect from such works. Jünger's philosophy shines through the book, especially from his essay on pain. with lines like “you know that you are suffering – thus you know more. That is the artesian point”, “Health can be good. Sometimes illness can be even better. Illness' are questions. They are responsibilities, distinctions even. It depends on how you deal with it”, and “loved pain as the ultimate mark of reality”. All of these signal what Jünger wrote in On pain. Some other reasons it might not have taken off with this generation was the sympathetic portrayal of Germans and what they suffered for what they lost, like Einar who lost hope after the war and just felt like he was floating on ruins. He also described it as “A homesickness for everything that had fallen overcame him when he saw the fatherland as a woman, as a mother lying in the dust”. ; This would be and still is very controversial thing to write.
Jünger wasn’t exactly any drug guru either, despite having done a lot of different drugs. In his opinion, the"drug craze" was:
As the aristocrat that he was, he felt fine with certain people and under certain conditions doing drugs:
Jünger knew this book was not going to get popular, it was more something he just had to write from his own experiences. Too mystical, esoteric and obscure in its story for the Germans at the time. Too strict and “reactionary” for the people of the 70s. The book is still very obscure with no republishing in its original language since 1952 and the English translation only having 400 copies. This work will most likely remain obscure, but personally I think it was a beautiful book. I especially liked the description of Norway during this time. I would recommend it to anyone interested in esoteric, psychedelic or Ernst jünger fans in general.
The story starts with a group of people who follow a mystical figure named Schwarzenberg to the island Godenholm, someplace in Norway. Schwarzenberg is some sort of spiritual teacher to the three central characters who follow him to the island. Those characters are Einar, Moltner, and Ulma. Einar and Moltner are both veterans from the war, while Ulma is a local Norwegian girl. Einar is a prehistorian and moltner is a doctor, more specifically a neurologist. They both have feelings of hopelessness, Moltner is a drug addict taking the kinds of medicine he gives to his patients just to get some sleep, and Einar is feeling hopeless because of Germany’s situation after the war. He expresses his feeling towards this in a beautiful way; “He realized the shipwreck had already happened and that he was floating on a raft of ruins.”
During the first night on the island, they have all had the metaphysical experience, it can also be referred to psychedelic experiences but there is no mention of any drugs in the novella. Schwarzenberg makes them have an altered state of consciousness by his presence alone. Moltner started to doubt Schwarzenberg, he had lost his faith in the spiritual teacher. He wanted to leave the island, but before he got a chance to, he started having an experience. During this part of the book, we get to see how both Einar and Moltner were reacting to the experience. Einar took it with relative calm, he did have some uncomfortable moments, but in the end, he learned to have hope again. On the other hand, Moltner had a much more intense and uncomfortable experience. After which, he has the majority of the pages focusing on his experience, we get a lot of references to Norse mythology like the Fenris-wolf and to Scandinavian folklore-like trolls. At the end of this whole ordeal, Moltner had also regained hope, and faith in Schwarzenberg.
As a Norwegian I really liked how he described the Norwegian landscape and people during this period in history. It even describes the Scandinavian attitude towards nudity, which makes moltner a but uncomfortable because of the culture difference. “These men did not give the impression that they considered the solitude to be a necessary evil of their land. They intimate with it and loved it", both of these are things foreigners notice still when they come to Norway, a lot has changed but some things remain the same. We also get to know that girls would go and study at universities and come back to work on the farms, this actually was the case in some parts of the country back then. There are some lines that can be a bit offensive to Scandinavian culture like “It was boring like reading a Scandinavian novel.”
The inspiration for this book was Jünger's experience with drugs like mescaline, and especially by his LSD sessions with Albert Hofmann, and also a trip he had to Norway during the 30s with Hugo Fischer. He was one of the first to write about LSD trips and the first who talked about its spiritual/metaphysical qualities as well. This made Jünger be a secret tip among the psychonauts of the 1970s, but he quickly fell out of favour due to not being lined up with the relaxed mood of the post-68 years. Because even if this work came out of psychedelics, it still isn’t what one would usually expect from such works. Jünger's philosophy shines through the book, especially from his essay on pain. with lines like “you know that you are suffering – thus you know more. That is the artesian point”, “Health can be good. Sometimes illness can be even better. Illness' are questions. They are responsibilities, distinctions even. It depends on how you deal with it”, and “loved pain as the ultimate mark of reality”. All of these signal what Jünger wrote in On pain. Some other reasons it might not have taken off with this generation was the sympathetic portrayal of Germans and what they suffered for what they lost, like Einar who lost hope after the war and just felt like he was floating on ruins. He also described it as “A homesickness for everything that had fallen overcame him when he saw the fatherland as a woman, as a mother lying in the dust”. ; This would be and still is very controversial thing to write.
Jünger wasn’t exactly any drug guru either, despite having done a lot of different drugs. In his opinion, the"drug craze" was:
“connected to the loss of religion, of the fatherland, of the father and higher moral notions. These young people today have lost the crutches, their metaphysical organs of movement. This began already with the Enlightenment and atheism. The young people are now noticing it. Their thirst and their desires remain, and they move in all possible directions. One can interpret the whole cult business in the same way”
As the aristocrat that he was, he felt fine with certain people and under certain conditions doing drugs:
“I only experiment with drugs, under medical supervision, as a literary experiment ... It all comes from my curiosity for transcendental spaces. Mescaline is the royal tiger of drugs, LSD is the house cat.”
Jünger knew this book was not going to get popular, it was more something he just had to write from his own experiences. Too mystical, esoteric and obscure in its story for the Germans at the time. Too strict and “reactionary” for the people of the 70s. The book is still very obscure with no republishing in its original language since 1952 and the English translation only having 400 copies. This work will most likely remain obscure, but personally I think it was a beautiful book. I especially liked the description of Norway during this time. I would recommend it to anyone interested in esoteric, psychedelic or Ernst jünger fans in general.
September 15, 2016
Dreamlike, captivating, eerie, cathartic, hopeful.
February 29, 2020
This little book appears to be central to the spiritual side of Jünger's work, much like On the Marble Cliffs is to his political work. Jünger has a tendency to speak in pictures, and his prose is meticulously exact, and full of meaning. This appears to be an attempt to describe a spiritual encounter. In terms of plot, it describes the meeting between three young people and the sage Schwartzenberg, who has withdrawn from Berlin to the ages of European civilization, to Norway. Speaking to him, they are drawn into a surreal mystical experience, an encounter with ultimate reality, which is very likely to have been inspired by Jünger's own experiences during experiments with LSD (which he tried during a visit with its inventor Albert Hofman, a few years earlier).
May 18, 2020
Sinistro ed oscuro, sottintende.
Poi il bellissimo trip finale, che da solo vale la lettura e che rimanda ad unioni mistiche di interessante stampo nordico e marittimo.
Leggo che Junger è stato per tutta la vita sperimentatore di sostanze psicotrope e qui ne descrive con maestria e trasporto il loro incedere.
C'è il rischio che rimanga nella nostra testa, dopo averlo letto, un sibilo che sussurri che in realtà noi ne sappiamo di piu' di quanto non sembri.
Poi il bellissimo trip finale, che da solo vale la lettura e che rimanda ad unioni mistiche di interessante stampo nordico e marittimo.
Leggo che Junger è stato per tutta la vita sperimentatore di sostanze psicotrope e qui ne descrive con maestria e trasporto il loro incedere.
C'è il rischio che rimanga nella nostra testa, dopo averlo letto, un sibilo che sussurri che in realtà noi ne sappiamo di piu' di quanto non sembri.
August 9, 2023
Une myriade de beauté et d'esthétisme..
December 31, 2023
L'écriture est particulièrement jolie.
November 30, 2024
Asi tak nějak to, co byste čekali od Ernesta Jüngera, který si prošel brutalitou válečné zkušenosti, coby německý důstojník, zároveň byl ale vzdělancem, který se nakonec dostal od hašiše, kokainu a morfia až k experimentování s psychedeliky (LSD, psilocybin). Nejasný, surreálný příběh přechází jako vlny, což je asi nejlepší aspekt tohohle krátkého textu - ale tady to přičítám těžce vlivu LSD, pod kterým Jünger 'Návštěvu na Godenholmu' psal, s LSD měl koneckonců zkušenosti ještě před druhou světovou válkou a je to očividné zejména v "blendování" přechodů mezi vyprávěním/tématem/scénou a nebo taky faktem, jak na konci popisuje, že sleduje svoji ruku a jde až do "hlubokých pravd", protože nejenže je na tripu všechno zajímavý, čumět na svoje ruce, nebo nechat svoje ruce interagovat s něčím je tak trochu "typický" moment, pravda a láska, jakýsi vyšší stupeň osobnosti přebírá otěže. I přesto je těžké se tu chytit nějakých pozitivních kvalit, protože je text tak krátký, obskurní, v podstatě jen sledujeme pár postav, co si dají dostaveníčko na nějakém ostrově ve Skandinávii a popisuje se jejich historie, ale vše v takových nuancích, že chvílemi člověk cítí, že je svědkem čehosi silného, aby v zápětí byl mimo mísu, zone out.
"Podobné to bylo se ženami, do mnohých setkání vkládal své nejhlubší naděje. Milovaly jeho řeč a zdálo se, že jeho melancholie přitahuje ty nejlepší. Hovor Přecházel v mlčení a už se zdálo, že se dveře svatyně pomalu otevírají.
Pak zasáhla ruka osudu a ochromila veškeré sympatie. Ženy se před ním stáhly a uzavřely. Často obdivoval mořské sasanky, nádherné actiniarie žijící na útesech s jejich korunami vlnícími se v mořském proudění. Někdy, když se nad nimi mihnul stín, nebo se jich něco dotklo, složily žahavá ramena dovnitř přes okraj kalichu a zcela se uzavřely.Zůstal jen červený neozbrojený pahýl z čistého masa. Přesně tak se cítil, když zaváhal tváří v tvář zázraku. Stačil mírný větřík, a přesto bylo vše promarněno a žádné úsilí nemohlo harmonii obnovit. Přišel mráz, který sežehnul náklonnost, sotva vyrašila z pupenu. Znal dobře ten efekt a pečlivě se mu snažil vyhnout, osud ho však vždy přitáhl zpět na stejné místo. Jak rozmanité a jak moudré byly melodie, jež ho vyzvaly k tanci - nakonec ho vždy přivedly k okamžiku stržení masek. Tyto okamžiky se zařezaly do jeho rysů jako jizvy."
"Podobné to bylo se ženami, do mnohých setkání vkládal své nejhlubší naděje. Milovaly jeho řeč a zdálo se, že jeho melancholie přitahuje ty nejlepší. Hovor Přecházel v mlčení a už se zdálo, že se dveře svatyně pomalu otevírají.
Pak zasáhla ruka osudu a ochromila veškeré sympatie. Ženy se před ním stáhly a uzavřely. Často obdivoval mořské sasanky, nádherné actiniarie žijící na útesech s jejich korunami vlnícími se v mořském proudění. Někdy, když se nad nimi mihnul stín, nebo se jich něco dotklo, složily žahavá ramena dovnitř přes okraj kalichu a zcela se uzavřely.Zůstal jen červený neozbrojený pahýl z čistého masa. Přesně tak se cítil, když zaváhal tváří v tvář zázraku. Stačil mírný větřík, a přesto bylo vše promarněno a žádné úsilí nemohlo harmonii obnovit. Přišel mráz, který sežehnul náklonnost, sotva vyrašila z pupenu. Znal dobře ten efekt a pečlivě se mu snažil vyhnout, osud ho však vždy přitáhl zpět na stejné místo. Jak rozmanité a jak moudré byly melodie, jež ho vyzvaly k tanci - nakonec ho vždy přivedly k okamžiku stržení masek. Tyto okamžiky se zařezaly do jeho rysů jako jizvy."
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January 25, 2021No he leído todo Jünger, aunque he devorado gran parte de ella para la investigación del Hito, la prosa de Jünger es fría, precisa, científica, esto aleja a muchos lectores por árida, ya que exige cultura, atención y juicio. No había encontrado aun un texto al nivel de "Mitos Griegos" de Friedrich Georg, su hermano. El hijo de coherencia que teje entre el mito, la naturaleza y la acción es fascinante, cálido, poético. Aquí Jünger se pone al nivel poético de su hermano y describe la "transición" y sus efectos. Deduzco que son las bisagras que Friedrich Georg dejo ante la divinidad. Ernst retoma la tarea y remienda el texto para hombres, donde las variantes del miedo se ven expuestas para perderlas en el viaje, llegar al centro. Un viaje hacia sí.
mi casa es como una posada española: los huéspedes no encuentran más que lo que traen consigo en su equipaje
- Ernst Jünger
mi casa es como una posada española: los huéspedes no encuentran más que lo que traen consigo en su equipaje
- Ernst Jünger
September 4, 2021
“Ma se quello era un sogno - che cos’era allora la realtà? Un incontro nella notte del sortilegio, una visione del fato”.
Il racconto che dà il titolo al libro si fonda integralmente sulla costruzione dell’atmosfera adatta per introdurre una visione (o delle visioni) che appaiono ai protagonisti. Inconsueto e riuscito.
L’altro (La caccia al cinghiale) è uno schizzo riuscito ma senza particolari pretese.
Il racconto che dà il titolo al libro si fonda integralmente sulla costruzione dell’atmosfera adatta per introdurre una visione (o delle visioni) che appaiono ai protagonisti. Inconsueto e riuscito.
L’altro (La caccia al cinghiale) è uno schizzo riuscito ma senza particolari pretese.
November 22, 2024
Un piccolo capolavoro, piccolo solo in termini di estensione, perché racchiude una quantità di valore che si presta a svariate riletture. Sintesi profondissima di un'esperienza psichedelica tutta implicita, mai spiegata nei dettagli più pratici, offre suggestioni visive che rimandano ad un sublime nord-europeo molto affascinante. Oltre ovviamente al contenuto principale, tutto legato a quello che diverse personalità ottengono dal viaggio interiore.
January 4, 2021
He leído este relato por los comentarios de Albert Hofmann respecto a la experiencia de Jünger con el LSD, pero quizás lo que prima en este libro sea el lenguaje poético usado por el autor. No creo que la experiencia en sí sea lo que más pesa en el relato aunque igualmente merezca la pena leerlo.
November 8, 2019
Quasi-Drehbuchvorlage, ihrer Zeit um Dekaden voraus.
April 18, 2021
Read it in a beautiful English translation by Annabel Moynihan. One of the greatest trip reports I have read in my entire life. Fantastic book!
July 20, 2024
Scritto subito dopo un'esperienza psichedelica fatta assieme ad Albert Hofmann, e ispirato da essa, è forse il miglior libro di Jünger e sicuramente il più sottovalutato.
September 11, 2025
Das literarische Vorspiel zum Werk „Annäherungen: Drogen und Rausch“ birgt viele Themen, die für die metaphysische Seite Jüngers bestimmend sind.
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