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Russian Library
أخوية الآلام
تتحول الحقائق إلى رموزٍ تكشف عبر أحداث العالم المنظور الزائل عالمًا آخر يتجاوز نطاق المادة والأسباب والنتائج. تشبه رحلة بطل العمل: «ماراكولين» رحلة سقوط آدم من بعض الجوانب، حيث يجد البطل نفسه مطرودًا فجأة من دون سبب واضح من عمله، ويترك سكنه لينتقل إلى إحدى الزوايا الصغيرة في بناية بوركوف.
220 pages, Paperback
First published January 1, 1910
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About the author
Aleksei Remizov
145 books18 followersAleksei Mikhailovich Remizov (Russian: Алексей Михайлович Ремизов; 6 July 1877, Moscow — November 26, 1957, Paris) was a Russian modernist writer whose creative imagination veered to the fantastic and bizarre. Apart from literary works, Remizov was an expert calligrapher who sought to revive this medieval art in Russia.
Remizov was reared in the merchant milieu of Moscow. As a student of the Moscow University, he was involved in the radical politics and spent eight years in prison and Siberian exile. At that time, he developed a keen interest in Russian folklore and married a student of ancient Russian art, who brought him in contact with the Roerichs.
In 1905, he settled in Saint Petersburg and started to imitate medieval folk tales. His self-professed ambition was to catch "the bitterness and absurdity of folklore imagination". Remizov's whimsical stylizations of the saints' lives were ignored at first, partly due to their florid and turgid language, but his more traditional prose works set in the underworld of Russian cities gained him a great deal of publicity.
In his satirical novel The Indefatigable Cymbal (1910) Remizov depicted the eccentricities and superstitions of rural sectarians. Another striking work of this period is The Sacrifice, a Gothic horror story in which "a ghostly double of a father comes to kill his innocent daughter in the mistaken belief that she is a chicken".
By the time of the Russian Revolution, Remizov had concentrated on imitating more or less obscure works of medieval Russian literature. He responded to the revolution by the Lay of the Ruin of the Russian Land, a paraphrase of the 13th-century work bemoaning the Mongol invasion of Russia. In 1921 he moved to Berlin and then in 1923 - to Paris, where he published an account of his attitudes towards the revolution under the title Whirlwind Russia (1927).
During his years in exile, Remizov brought out a number of bizarre works, featuring demons and nightmare creatures. The writer also developed a keen interest in dreams and wrote a few works on the subject that involved prominent figures of Russian literature (Gogol, Dostoyevsky and others). Although he was so prolific that many of his works failed to find a publisher (in fact, from 1931 to 1952 there was not a single book published), Remizov was also the first Russian modernist author to attract the attention of the luminaries of the Parisian literary world, such as James Joyce. His reputation suffered a decline when, following World War II, he announced his interest in returning to the Soviet Union and even obtained a Soviet passport (which he did not have a chance to use). After that, Remizov was abhorred by the émigré litterateurs, the most famous of whom, Vladimir Nabokov, used to say that the only nice thing about Remizov was that he really lived in the world of literature. 1952-1957 saw a number of Remizov's books published, though only a very limited number of copies was printed.
Remizov was reared in the merchant milieu of Moscow. As a student of the Moscow University, he was involved in the radical politics and spent eight years in prison and Siberian exile. At that time, he developed a keen interest in Russian folklore and married a student of ancient Russian art, who brought him in contact with the Roerichs.
In 1905, he settled in Saint Petersburg and started to imitate medieval folk tales. His self-professed ambition was to catch "the bitterness and absurdity of folklore imagination". Remizov's whimsical stylizations of the saints' lives were ignored at first, partly due to their florid and turgid language, but his more traditional prose works set in the underworld of Russian cities gained him a great deal of publicity.
In his satirical novel The Indefatigable Cymbal (1910) Remizov depicted the eccentricities and superstitions of rural sectarians. Another striking work of this period is The Sacrifice, a Gothic horror story in which "a ghostly double of a father comes to kill his innocent daughter in the mistaken belief that she is a chicken".
By the time of the Russian Revolution, Remizov had concentrated on imitating more or less obscure works of medieval Russian literature. He responded to the revolution by the Lay of the Ruin of the Russian Land, a paraphrase of the 13th-century work bemoaning the Mongol invasion of Russia. In 1921 he moved to Berlin and then in 1923 - to Paris, where he published an account of his attitudes towards the revolution under the title Whirlwind Russia (1927).
During his years in exile, Remizov brought out a number of bizarre works, featuring demons and nightmare creatures. The writer also developed a keen interest in dreams and wrote a few works on the subject that involved prominent figures of Russian literature (Gogol, Dostoyevsky and others). Although he was so prolific that many of his works failed to find a publisher (in fact, from 1931 to 1952 there was not a single book published), Remizov was also the first Russian modernist author to attract the attention of the luminaries of the Parisian literary world, such as James Joyce. His reputation suffered a decline when, following World War II, he announced his interest in returning to the Soviet Union and even obtained a Soviet passport (which he did not have a chance to use). After that, Remizov was abhorred by the émigré litterateurs, the most famous of whom, Vladimir Nabokov, used to say that the only nice thing about Remizov was that he really lived in the world of literature. 1952-1957 saw a number of Remizov's books published, though only a very limited number of copies was printed.
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Displaying 1 - 24 of 24 reviews
August 8, 2020
Alexei Remizov’s Sisters of the Cross (1910) is widely regarded as a Symbolist masterpiece and possibly the modernist author’s best work. It may therefore come as a surprise that this is the novel’s first ever translation into English, one which arrives more than a hundred years after the novel was written. Or perhaps it is not surprising at all, considering that even some of Remizov’s early admirers deemed his works “untranslatable”.
Translator Roger Keys, who together with Brian Murphy, acts as the intrepid “midwife” to this English-language rendition, provides an introduction to the work which highlights the peculiar characteristics that make Remizov’s work so distinctly, and “untranslatably”, Russian. In a bid to “de-Latinize and de-Frenchify the Russian literary language”, Remizov mixes the colloquialisms of spoken Russian with the style and vocabulary of fairy-tales and that of the sacred texts of the Orthodox Church. In the process, he shows a predilection for archaic words and neologisms. “He uses too many hard words,” an early potential translator complained.
The plot does not simplify matters either. Nominally, it has its roots in the gritty realist fiction of the 19th and early 20th century, as it tells the story of poor St Petersburg clerk Marakulin who is unexpectedly fired from his job, and, consequently, finds modest lodgings in Burkov’s block of apartments. As the story progresses, however, it takes on a surreal tinge. Burkov’s flats become a symbol of the suffering world; a society peopled by women (the “sisters” of the title) to whom life (and men) have dealt terrible blows. The Sisters are a diverse group: some, like the fallen actress “Verochka”, are branded as sinners; others are considered visionaries or holy women. What they have in common is this aura of dignity in suffering; in contrast, for instance, to “the General’s wife” who lives a comfortably “good life” but one which barely recognizes the distress of her fellow human beings. This moral message however is suggested, rather than spelt out, in a series of increasingly fantastical scenes, including a harrowing vision of hell, and a final, shimmering climax.
It is no mean task to convey, in a foreign language, the wildly different registers of this multi-layered work, which certainly does not yield its treasures easily. However, Murphy and Keys somehow manage to combine Remizov’s quirky marriage of realism and folklore, sacred and profane. They have given us English-language (and non-Russian) speakers an opportunity to savour a complex but rewarding novel.
4.5*
Translator Roger Keys, who together with Brian Murphy, acts as the intrepid “midwife” to this English-language rendition, provides an introduction to the work which highlights the peculiar characteristics that make Remizov’s work so distinctly, and “untranslatably”, Russian. In a bid to “de-Latinize and de-Frenchify the Russian literary language”, Remizov mixes the colloquialisms of spoken Russian with the style and vocabulary of fairy-tales and that of the sacred texts of the Orthodox Church. In the process, he shows a predilection for archaic words and neologisms. “He uses too many hard words,” an early potential translator complained.
The plot does not simplify matters either. Nominally, it has its roots in the gritty realist fiction of the 19th and early 20th century, as it tells the story of poor St Petersburg clerk Marakulin who is unexpectedly fired from his job, and, consequently, finds modest lodgings in Burkov’s block of apartments. As the story progresses, however, it takes on a surreal tinge. Burkov’s flats become a symbol of the suffering world; a society peopled by women (the “sisters” of the title) to whom life (and men) have dealt terrible blows. The Sisters are a diverse group: some, like the fallen actress “Verochka”, are branded as sinners; others are considered visionaries or holy women. What they have in common is this aura of dignity in suffering; in contrast, for instance, to “the General’s wife” who lives a comfortably “good life” but one which barely recognizes the distress of her fellow human beings. This moral message however is suggested, rather than spelt out, in a series of increasingly fantastical scenes, including a harrowing vision of hell, and a final, shimmering climax.
It is no mean task to convey, in a foreign language, the wildly different registers of this multi-layered work, which certainly does not yield its treasures easily. However, Murphy and Keys somehow manage to combine Remizov’s quirky marriage of realism and folklore, sacred and profane. They have given us English-language (and non-Russian) speakers an opportunity to savour a complex but rewarding novel.
4.5*
April 21, 2015
“A man is just born but he is already tried and sentenced, all are sentenced right since a birth and they live sentenced but their sentence remains forgotten because they don’t know their hour and if an hour were known it would be beyond any human endurance…”
Sisters in the Cross is a story of a little man astray in an indifferent big city – it is written in capricious and whimsical style and often echoes the darkest moments of Fyodor Dostoyevsky.
And it also tells of many women’s tragic fates – all the covetous, greedy, unscrupulous, overfed women living off the others are sanguinary lice deserving to be crushed and all the poor, unhappy, humiliated and miserable ones are sisters in the cross following the path of martyrdom.
Sisters in the Cross is a story of a little man astray in an indifferent big city – it is written in capricious and whimsical style and often echoes the darkest moments of Fyodor Dostoyevsky.
And it also tells of many women’s tragic fates – all the covetous, greedy, unscrupulous, overfed women living off the others are sanguinary lice deserving to be crushed and all the poor, unhappy, humiliated and miserable ones are sisters in the cross following the path of martyrdom.
Read
January 21, 2020Shit like this is beyond Russian. Dreamy, modernist prose meets severe Orthodox theology in a total headrush that's kinda hard to unwrap. I can't say I hated it -- I really didn't -- but it didn't grip me the way I was expecting it to. Gogol, Dostoyevsky, and Bely were all capable of doing this kind of story better, although this was by no means bad, and the ending was frankly something of a stunner. Although even with this (supposedly) virtuosic translation, it was immediately obvious to me as a non-Russian speaker that it sounded way better in the original.
June 4, 2018
This little known Russian novel has been acclaimed as a “masterpiece of early modernist fiction” so I rather expected it to be hard to read. I was therefore pleasantly surprised that it is in fact a fairly linear narrative, rooted in reality, although with some surreal elements woven in, rather in the manner of Gogol, that other fantastical Russian author. Alexei Remizov (1877-1957) was one of the leading figures in the Russian symbolist movement of the beginning of the 20th century, but is not as well known as Belyi or Sologub who have been more widely translated into English, and this is the first English translation of Sisters of the Cross. It’s a simple enough plot. 30 year old Marakulin works as a financial clerk in a St Petersburg office. One day, quite unexpectedly, he is accused of embezzlement and is sacked. The novel recounts what happens next, and introduces the reader to the motley collection of inhabitants in his apartment building. It’s a bleak tale, with Marakulin, the underdog, oppressed by bureaucracy and an uncaring society, and very much recalls a similar story by Gogol, The Overcoat. Dostoevsky is also an influence, with Remizov’s emphasis on suffering, faith and forgiveness. All told, this is a very “Russian” novel, but engaging enough even for a reader unfamiliar with Russian literature – although admittedly some knowledge will enhance comprehension of this occasionally bizarre tale.
June 4, 2023
Holy Russia (downtrodden fools) adrift in our unjust, absurd world. Surely it owes as much to medieval folk tales as romantic realism?
April 15, 2017
Het deel van de 'Russische Miniaturen'-reeks dat nog ontbrak in onze collectie. Na lang zoeken eindelijk gevonden. Het verhaal van de onfortuinlijke klerk Marakoelin, die noodgedwongen naar een armoedige Peterburgse woonkazerne moet verhuizen, en er een hoek van een kamer huurt. Gaandeweg leert hij de 'vertrapte zielen', de kruisdragers in het gebouw kennen. Vol zwart Russisch absurdisme. De vertaling is verouderd.
July 31, 2021
Сестре по крсту
Овај роман се пре може сматрати каталогом него панорамом ликова, будући да сам у белешке унео укупно 32 лика како бих могао да пратим радњу за коју се испоставило да је разводњена и лелујава, по принципу "држи β-читаоче прву руку текста". Гротескно и подсмешљиво, па потцртано рефренским/лајтмотивским реченицама, са фокусом на наивне, френетично религиозне женске ликове.
( ˘︹˘ )
Сат
Више налик краћем реалистичном роману, али збрзано, збрљано и свакако досадно.
Није ми јасно где је та језичка виртуозност Ремизова. Ова два романа превеле су две различите особе, а знаменитог стила ни на видику. (⊙_⊙)？
Овај роман се пре може сматрати каталогом него панорамом ликова, будући да сам у белешке унео укупно 32 лика како бих могао да пратим радњу за коју се испоставило да је разводњена и лелујава, по принципу "држи β-читаоче прву руку текста". Гротескно и подсмешљиво, па потцртано рефренским/лајтмотивским реченицама, са фокусом на наивне, френетично религиозне женске ликове.
( ˘︹˘ )
Сат
Више налик краћем реалистичном роману, али збрзано, збрљано и свакако досадно.
Није ми јасно где је та језичка виртуозност Ремизова. Ова два романа превеле су две различите особе, а знаменитог стила ни на видику. (⊙_⊙)？
September 20, 2017
Sisters of the Cross was a fascinating read. From the start, I found myself swept into Marakulin's world and experienced his highs and lows, gaining insight into his mind. This story put me in mind of two other works. Firstly, Kafka's The Trial, as there was that same sense of non-understanding about his situation as the story began. Secondly, Dostoevsky's Crime and Punishment, as there is something of Raskolnikov about Marakulin. The book is very atmospheric, and it draws you into the lower spaces of Petersburg and those who occupy them. Every character came across as complete and interesting, and I loved the feeling of non-reality at times, when you weren't certain if what Marakulin was describing was real or a figment of his imagination. If you enjoy works by writers like Kafka, Camus and Kundera, then this is a book for you!
I received this book as a free eBook ARC via NetGalley.
I received this book as a free eBook ARC via NetGalley.
March 20, 2024
Books like this make me wish I knew Russian. The prose is wonderful, the characters so vivid and almost tangible, and that ending.... I just cannot believe the first time I heard of Ремизов was last week.
November 28, 2025
Simpel
October 27, 2024
"لو كان الناس ينظرون إلى بعضهم البعض، ويلاحظ بعضهم بعضاً، ولو وُهِبوا جميعا أعينا، لما استطاع أحد إلا ذو قلب حجري أن يحتمل كل رعب الحياة وغموضها. ربما لم يكن الناس ليحتاجوا إلى قلب حجري لو راعى بعضهم بعضاً."
رواية أخوية الآلام لأليكسي ريميزوف ومن ترجمة يوسف نبيل. في مقدمة للمترجم إلى ان هناك أعمال يصعب ترجمتها وقد اصاب في ذلك. الرواية تدور حول الشخصية الرئيسية في الرواية الذي يجد نفسه مطرودا فجأة من عملة بدون سبب واضح.
هناك إسقاط للحالة البشرية منذ نزول سيدنا آدم من الجنة ورحلة المعاناة المتكررة للبشرية والتي تبدو كأنها عبث ومن غير مسبب. ينتقل البطل بعد ذلك للسكن في إحدى البنايات الصغيرة في بطرسبرغ لنتعرف على مزيج من قاطني البناية ورحلاتهم في الحياة وتجاربهم ومآسيهم ليختلط الحلم بالواقع والحقيقي والأسطوري في عمل كما ذكر المترجم قد يكون بعيد المنال وصعب الإدراك والمتابعة.
أعتقد قوة الرواية في الإسقاطات الفلسفية والرمزية لرحلة معاناة الإنسان وكيف يجد نفسه "مطرودا" كل من شخصيات الرواية بطريقتها لسبب غير مدرك وحكمة غائبة وعبثية الأقدار امنحها ⭐️⭐️⭐️.
رواية أخوية الآلام لأليكسي ريميزوف ومن ترجمة يوسف نبيل. في مقدمة للمترجم إلى ان هناك أعمال يصعب ترجمتها وقد اصاب في ذلك. الرواية تدور حول الشخصية الرئيسية في الرواية الذي يجد نفسه مطرودا فجأة من عملة بدون سبب واضح.
هناك إسقاط للحالة البشرية منذ نزول سيدنا آدم من الجنة ورحلة المعاناة المتكررة للبشرية والتي تبدو كأنها عبث ومن غير مسبب. ينتقل البطل بعد ذلك للسكن في إحدى البنايات الصغيرة في بطرسبرغ لنتعرف على مزيج من قاطني البناية ورحلاتهم في الحياة وتجاربهم ومآسيهم ليختلط الحلم بالواقع والحقيقي والأسطوري في عمل كما ذكر المترجم قد يكون بعيد المنال وصعب الإدراك والمتابعة.
أعتقد قوة الرواية في الإسقاطات الفلسفية والرمزية لرحلة معاناة الإنسان وكيف يجد نفسه "مطرودا" كل من شخصيات الرواية بطريقتها لسبب غير مدرك وحكمة غائبة وعبثية الأقدار امنحها ⭐️⭐️⭐️.
April 30, 2022
”You need to be able to tell lies and to have money, to tell lies and to have money - that’s what you needed.” p.101
This book is book is the first in this series that I have had to struggle through. It was hard to connect to as I, at the start, found it difficult to connect to Marakulin as we never seemed to truly spend enough time with him, or rather, he seemed kind of blank, as if I as a reader was very much standing outside of him, frustratedly trying to peer inside his mind.
Quite realistic I suppose.
The realism comes through in the general bleakness of the text, where live is hard and fate quite indifferent to your sufferings and circumstances.
A lot of the plot is centered around the Burkov apartments where Marskulin and a host of other characters live.
A big problem for me was that I didn’t find it as interesting to read the life stories of the surrounding characters(does that make me the General’s ”immortal” wife?). The lessons of their lives are part of the point of the book and the main character, yet I struggled with the set up. It felt meandering and tiresome often times, and prose style (repeated phrases) grew tired after a while. At first they packed a punch, then it got dull and disengaging. As elements of the feverish and bizarre was added in, I had kind of checked out and was reading it mostly to see where it would all end.
But I felt so weary that I started to read something else, which made it harder to finish this as I kind of didn’t want to get back into it. In a way that is a sign of realism done well, because I didn’t want to wander the streets of either Petersburg or Moscow with Marakulin and co, I didn’t want to know what fresh disappointments would come into their lives.
I did enjoy it at the start, and some quotes will stay with me, but overall, this definitely wasn’t my favorite and of the symbolists I must say Sologub was much more fun to read.
There were several moments when the writing and the existential reflections were breathtaking, so maybe at a different time I would enjoy this more.
”… when things are really bad, people don’t cry.”
This book is book is the first in this series that I have had to struggle through. It was hard to connect to as I, at the start, found it difficult to connect to Marakulin as we never seemed to truly spend enough time with him, or rather, he seemed kind of blank, as if I as a reader was very much standing outside of him, frustratedly trying to peer inside his mind.
Quite realistic I suppose.
The realism comes through in the general bleakness of the text, where live is hard and fate quite indifferent to your sufferings and circumstances.
A lot of the plot is centered around the Burkov apartments where Marskulin and a host of other characters live.
A big problem for me was that I didn’t find it as interesting to read the life stories of the surrounding characters(does that make me the General’s ”immortal” wife?). The lessons of their lives are part of the point of the book and the main character, yet I struggled with the set up. It felt meandering and tiresome often times, and prose style (repeated phrases) grew tired after a while. At first they packed a punch, then it got dull and disengaging. As elements of the feverish and bizarre was added in, I had kind of checked out and was reading it mostly to see where it would all end.
But I felt so weary that I started to read something else, which made it harder to finish this as I kind of didn’t want to get back into it. In a way that is a sign of realism done well, because I didn’t want to wander the streets of either Petersburg or Moscow with Marakulin and co, I didn’t want to know what fresh disappointments would come into their lives.
I did enjoy it at the start, and some quotes will stay with me, but overall, this definitely wasn’t my favorite and of the symbolists I must say Sologub was much more fun to read.
There were several moments when the writing and the existential reflections were breathtaking, so maybe at a different time I would enjoy this more.
”… when things are really bad, people don’t cry.”
February 18, 2021
Мелкий чиновник Маракулин ожидает повышения, но вместо этого, выписав талон “не тому лицу, кому следовало”, вылетает со службы. Беда приводит его в компанию таких же выбитых из колеи людей – безобидных, добрых, но совершенно не готовых держать удары судьбы. Под тяжестью своего отчаяния, усиленного вещими снами и знамениями, Маракулин балансирует на грани помешательства, постепенно растворяясь в столь же болезненном, как и его сознание, Петербурге. Почти гоголевский сюжет, но совершенно не гоголевская атмосфера.
Повесть мне скорее не понравилась. Пытаюсь для себя логически обосновать, почему, и не могу. Язык у Ремизова богатый и оригинальный – необычный приём с бесконечным повторением одного и того же события здорово рифмуется с сознанием героев, не способных оставить прошлое позади и двинуться дальше. Сами герои тоже славные – тоска их гложет, но не очерствляет. И Ремизов – талантливый художник и обладатель внешности, в которой узнаются черты всех человеческих рас одновременно, – кажется тоже достоин второго шанса, даже если “Сёстры” и показались скучноватыми.
Повесть мне скорее не понравилась. Пытаюсь для себя логически обосновать, почему, и не могу. Язык у Ремизова богатый и оригинальный – необычный приём с бесконечным повторением одного и того же события здорово рифмуется с сознанием героев, не способных оставить прошлое позади и двинуться дальше. Сами герои тоже славные – тоска их гложет, но не очерствляет. И Ремизов – талантливый художник и обладатель внешности, в которой узнаются черты всех человеческих рас одновременно, – кажется тоже достоин второго шанса, даже если “Сёстры” и показались скучноватыми.
December 21, 2023
Finished SISTERS OF THE CROSS (1910), a short novel by Alexie Remizov (1877-1957). The protagonist, Marakulin, is a cheerful clerk until he is accused of misappropriating company funds. Now physically impoverished, his psyche begins to deteriorate. He forms relationships with various women who live in his St. Petersburg tenement. The lives of the women are more difficult than his, yet they are determined to survive while Marakulin slowly descends into madness. The cross refers to a scar his mother cut on her forehead in her own fit of madness. Key quote: "If people studied each other carefully and took note of one another, if they all were granted eyes with which to see, then only a heart of stone would be able to bear all the horror and mystery of life. Or perhaps none of us would need a heart of stone if only individuals took note of one another" (117).
August 30, 2023
Maybe I’m the problem, but this book was just bad. The conflict of the novel is introduced and then immediately it is tangent after tangent introducing more characters than would fit in a 500 page Dickens novel. It would be like watching a movie and being introduced to every extra as a distinct character complete with background story. Sections of text were repeated verbatim (maybe for emphasis?), parts sounded like they were auto-generated by some poorly constructed AI chat bot. The longest 175 pages of my life. There’s a reason why this book is obscure and I see no reason why it shouldn’t remain that way
February 18, 2021
Maybe I don't understand symbolism (honestly that it), but what the heck is going on in this story. The portrayal of women is outright alarming and the whole thing feels like a fever dream. If someone wants to give a summary of what happened that would be great because I literally have no clue whats going on.
Anyway, I was not my cup of tea and would never read again. There is better Russian lit out there.
Anyway, I was not my cup of tea and would never read again. There is better Russian lit out there.
January 27, 2018
A Russian novel that reads like a parody of a Russian novel.
July 14, 2019
I didn't get it. Perhaps symbolism isn't my bag...
January 17, 2023
The birch trees in the end!
March 13, 2024
I hated most of this book - I was so confused all the way through it was horrible - so many names!!
The last 15 pages are kind of good though
The last 15 pages are kind of good though
September 18, 2024
في هذه الرواية تتحول الحقائق إلى رموزٍ تكشف عبر أحداث العالم المنظور الزائل عالمًا آخر يتجاوز نطاق المادة والأسباب والنتائج. الحبكة هنا - مثل أغلب أعمال المدرسة الرمزية - بسيطة وغير تقليدية، فالرواية برمتها تبدو كلوحة فسيفسائية عملاقة، تتكون من مشاهد صغيرة، مرصوصة بعناية فائقة جنبًا إلى جنب، لتُكوِّن اللوحة الضخمة.
تشبه رحلة بطل العمل: «ماراكولين» رحلة سقوط آدم من بعض الجوانب، حيث يجد البطل نفسه مطرودًا فجأة من دون سبب واضح أو مقنع، من عمله، ويترك سكنه لينتقل إلى إحدى الزوايا الصغيرة في بناية بوركوف. لا تُمثِّل هذه البناية بطرسبرج فحسب كما أشار المؤلف، بل تُمثِّل في الحقيقة العالم كله. تتضمن البناية مختلف النوعيات من البشر، وتمتلئ بالنساء اللاتي يُشكِّلن هذه الأخوية غير المنظورة المتمثلة في «أَخَوِيَّة الآلام». يتعرف ماراكولين - ونحن معه - عبر قصص نساء البناية المختلفة، على ظلم هذا العالم المريع.
يُقدِّم لنا ريميزوف هذه القصص بأسلوب غير تقليدي البتة. بداية تمتلئ الرواية بالأحلام والكوابيس ذات الدلالات القوية، ويمتزج الواقع بالحلم، كما ينخرط الكاتب في رسم عالم يتكئ على الفلكلور الروسي والمعتقدات الدينية الشعبية القديمة. تتضمن هذه الأجزاء بعض المشاهد المروعة والرائعة في آن، مثل رحلة إلى الجحيم تخوضها أكوموفنا إحدى بطلات الرواية.
يرفض ماراكولين هذا العالم الممتلئ بالمعاناة، ولا يكف ريميزوف عن تقديم كمية هائلة من الرموز. إن «أَخَوِيَّة الآلام» إعادة تجسيد لرحلة البطل المتألم بلا سبب واضح، وهي تشبه رحلة آلام السيد المسيح في بعض جوانبها، وتمتلئ الرواية بالأجواء الكابوسية والأخروية، وكأنها أنشودة نهاية هذا العالم الشرير.
تشبه رحلة بطل العمل: «ماراكولين» رحلة سقوط آدم من بعض الجوانب، حيث يجد البطل نفسه مطرودًا فجأة من دون سبب واضح أو مقنع، من عمله، ويترك سكنه لينتقل إلى إحدى الزوايا الصغيرة في بناية بوركوف. لا تُمثِّل هذه البناية بطرسبرج فحسب كما أشار المؤلف، بل تُمثِّل في الحقيقة العالم كله. تتضمن البناية مختلف النوعيات من البشر، وتمتلئ بالنساء اللاتي يُشكِّلن هذه الأخوية غير المنظورة المتمثلة في «أَخَوِيَّة الآلام». يتعرف ماراكولين - ونحن معه - عبر قصص نساء البناية المختلفة، على ظلم هذا العالم المريع.
يُقدِّم لنا ريميزوف هذه القصص بأسلوب غير تقليدي البتة. بداية تمتلئ الرواية بالأحلام والكوابيس ذات الدلالات القوية، ويمتزج الواقع بالحلم، كما ينخرط الكاتب في رسم عالم يتكئ على الفلكلور الروسي والمعتقدات الدينية الشعبية القديمة. تتضمن هذه الأجزاء بعض المشاهد المروعة والرائعة في آن، مثل رحلة إلى الجحيم تخوضها أكوموفنا إحدى بطلات الرواية.
يرفض ماراكولين هذا العالم الممتلئ بالمعاناة، ولا يكف ريميزوف عن تقديم كمية هائلة من الرموز. إن «أَخَوِيَّة الآلام» إعادة تجسيد لرحلة البطل المتألم بلا سبب واضح، وهي تشبه رحلة آلام السيد المسيح في بعض جوانبها، وتمتلئ الرواية بالأجواء الكابوسية والأخروية، وكأنها أنشودة نهاية هذا العالم الشرير.
November 18, 2013
strasna hovadina, formalne nezvladnute. najviac ma fascinuje chlapik, co napisal doslov. ten uz musi mat chrbtovu kost vrazenu cez ritny otvor priamo do mozgu.
June 13, 2016
Петербургская чернуха
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