Read O Grito do Mocho by Patricia Highsmith Online

o-grito-do-mocho

Embora Robert Forester fosse um jovem de aspecto simpático e inofensivo, o certo é que sucediam em seu redor acontecimentos que eram, no mínimo, inquietantes. Mas será ele verdadeiramente responsável pelas perturbações que provoca nas pessoas que contacta? Foi a partir desta dúvida que a autora desenvolveu o enredo de "O Grito do Mocho", no qual o suspense, a alucinação eEmbora Robert Forester fosse um jovem de aspecto simpático e inofensivo, o certo é que sucediam em seu redor acontecimentos que eram, no mínimo, inquietantes. Mas será ele verdadeiramente responsável pelas perturbações que provoca nas pessoas que contacta? Foi a partir desta dúvida que a autora desenvolveu o enredo de "O Grito do Mocho", no qual o suspense, a alucinação e a angústia se entrelaçam magistralmente....

Title : O Grito do Mocho
Author :
Rating :
ISBN : 11483208
Format Type : Paperback
Number of Pages : 244 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

O Grito do Mocho Reviews

  • Orsodimondo
    2019-04-24 09:19

    IL TALENTO DI PATRIZIAIl mio primo incontro con Patrizia è stato la volta che partii per un viaggio che doveva durare qualche settimana, forse qualche mese, ma non poté andare oltre un anno perché la patria (maledetta sempre sia) mi richiamò, e così son dovuto tornare, se pur dimenticando il cuore nel posto che lasciavo eccetera eccetera. Il primo romanzo della Highsmith fu portato sullo schermo dal Maestro del thriller con lo stesso titolo “Strangers On a Train-L’altro uomo” nel 1951, protagonisti Farley Granger e Robert Walker. Il libro era uscito solo l’anno prima e Hitchcock, per pagare meno i diritti, fece un’offerta anonima.Dicevo di Patrizia: questo è stato il suo primo libro che ho letto. Cominciato proprio in quel viaggio, in traduzione, dimenticato su qualche sedile, ricomprato in originale, letto e riletto, in italiano e in inglese, fu scintilla immediata, amore alla prima pagina, al punto che non ho potuto non leggerne un’altra ventina scritti da lei.Ma prima di parlarne un poco, mi piacerebbe finalmente focalizzare cosa della Highsmith mi ha catturato da subito, quella sensazione di piacere che è andata avanti per molti anni.Le sue storie sono thriller: non gialli, non polizieschi, non noir, ma thriller. Con un particolare stile di suspense: niente colpi di scena né salti sulla sedia, niente effetti, men che meno effettacci. Sottile, Patricia è sottile, usa lame lunghe affilate e sottili.L’inquietudine… Ecco, credo sia l’inquietudine: quella che dissemina, che trasmette, che mi prendeva leggendola. Coniugata alla sua anima ribelle e solitaria.Un’inquietudine che ho riconosciuto subito: perché non parlava a me, ma parlava di me. In fondo, c’è qualcuno che non avrebbe voluto essere Tom Ripley?Hitchcock utilizzò una storia della Highsmith una seconda volta, nel 1962, per un episodio della serie “The Alfred Hictcock Hour” intitolato “Annabel” come il romanzo. Fu diretto da Paul Henreid, il mitico Victor Laszlo di “Casablanca”, e aveva come protagonisti i due attori qui sopra, Dean Stockwell e Susan Oliver.Robert Forester è stato lasciato dalla moglie Nickie, lascia New York e si trasferisce a Langley in Pennsylvania. Passeggiando di notte, vede una finestra illuminata, dietro il vetro una ragazza: Robert è affascinato e attratto dalla serenità della ragazza, da come si muove a suo agio in quella casa, intenta e concentrata nelle sue azioni.La ragazza diventa presto un’ossessione, e Robert diventa uno stalker, la spia sempre più spesso. Una sera mentre è appostato, la conosce nel giardino. La ragazza si chiama Jenny. Parlano, si trovano simpatici, lei lo invita in casa. Jenny coglie nell’incontro con Robert un segno, una premonizione. Capisce che il prossimo matrimonio col turbolento Greg è uno sbaglio, annulla le nozze e lascia il fidanzato. Inizia a frequentare Robert sempre più assiduamente.Greg la prende male. Molto. È il suo turno di appostarsi, seguire, spiare. Jenny si invaghisce di Robert, vuole una storia con lui. Greg allora va a cercare l’ex moglie di Robert, se la fa alleata, e insieme a Nickie comincia a tormentare Robert.Mathilda May e Christophe Malavoy in “Le cri du hibou” di Claude Chabrol, 1987, il più celebre adattamento di questo romanzo.Per fortuna Robert viene trasferito dalla sua ditta aeronautica e così spera di mettere fino alla doppia persecuzione: sia gli eccessi sentimentali di Jenny, che l’accanimento di Greg e Nickie.Però Greg non molla: e una sera tra i due scoppia una brutta lite, Robert lo mette ko, Greg rimane svenuto - giorni dopo viene ritrovato un cadavere decomposto che la polizia ritiene sia quello di Greg, che non si vede più da quella sera, l’identificazione è complicata dato lo stato di decomposizione, Robert diventa il sospettato numero uno. La May con Jacques Penot.Questo, come molti altri romanzi di Highsmith, partono a ritmo lento, pigro, quasi sonnolento: poi prendono velocità, diventano tumultuosi, si arrestano solo all’ultima pagina con la parola fine.Questo, come molti altri romanzi di Highsmith, non ha alcun interesse per il classico whodunnit (chi è stato) dei thriller. Ma si direbbe che neppure i perché la interessino molto. Il suo obiettivo non è lo spavento, e neppure la paura: ma l’ansia, l’inquietudine. Se c’è violenza è senza rumore, silenziata. Gioca col lettore come il gatto col topo, motivo per cui non poteva non stregare un regista come Hitchcock. E Chabrol.Highsmith riesce a essere lucida e analitica immergendosi in geografie d’inconscio e irrazionale. Coniuga Kafka e Dostoevskij nel thriller. Ancora i due protagonisti.Leggendolo, leggendo Patricia provavo quello che ho provato uscendo dopo aver visto “L’inquilino del terzo piano” di Roman Polanski: la strada, il mondo era il solito, ma non lo riconoscevo più, il mio sguardo era cambiato, le cose non erano come sembravano, o non sembravano come erano, tendevo a guardare oltre e dietro, a deformare, a ingrandire, ingigantire, credevo di sapere e scoprivo di ignorare. Sono due realtà che s’incontrano e s’intersecano, i confini sfumano, sfocano, normale e anormale diventano una cosa sola.Virginie Thévenet.Chabrol ha diretto un buon adattamento di questo bel romanzo, trasformando la civetta in gufo. Scelse come protagonisti due attori che hanno avuto un breve momento di gloria anche in Italia, Christophe Malavoy e Mathilda May. Lei di persona faceva venire i brividi. Bei brividi. Quelli che fanno tremare i polsi.Quelli che mi lasciano proprio senza fiato sono i libri che quando li hai finiti di leggere e tutto quel che segue vorresti che l'autore fosse un tuo amico per la pelle e poterlo chiamare al telefono tutte le volte che ti gira. Holden Cauldfield dixit.Altra versione cinematografica della stessa storia: “The Cry of the Owl-Il grido della civetta” di Jamie Thraves, con Paddy Considine e Julia Stiles 2009.

  • Dan Schwent
    2019-03-28 10:19

    When a girl living in an isolated house spurns her fiancee for the peeping Tom that's been spying on her, things quickly circle the drain, lives destroyed in a maelstrom of hatred, jealousy, lies, and death...I read The Talented Mr. Ripley in the fairly recent past and have been on the lookout for more of Patricia Highsmith and her twisted protagonists ever since. This one was only $1.99 on the kindle.Robert Forrester is a soon-to-be divorced man working at an engineering firm in a small town when he chances upon Jenny alone in her home. Jenny soon gives her fiancee and decides she's in love with Robert. Robert decides he's not in love with her but not until after her ex-fiancee decides to ruin Robert's life with the help of Robert's crazy ass ex-wife Nickie. This is some twisted shit.I have to think that Gillian Flynn is a big Patricia Highsmith fan since this thing has Gone Girl written all over it. I guess it's like what might have happened if Amy and Nick had gotten divorced but still remained a cancerous part of one anothers' lives. I don't want to give away any more than I already have. Suffice to say, people lie, people cry, and people die. I would have rated this much higher but Robert seems to be taking stupid pills throughout the book, every time his ex-wife appears, in fact. The ending is the worst offender.However, the book is still a crazy read. There's not a person without a few screws loose among the main cast. Highsmith's writing is like a mannerly Jim Thompson. You get the feeling she knew first hand about the crazy shit she was writing about, much like old Jim.3.5 out of five stars. It was a good read but not as good as Ripley.

  • Marwan
    2019-04-25 12:10

    Have you ever read a book with a plot that makes you so anxious to read more, thinking about the plot even when you're not reading. Well, this one did. It was a masterpiece, truly a masterpiece. The beginning was decent, however, after page 100, things starts to get more interesting and the suspense keeps you wondering " what's going to happen next?". I can't say anything about the plot without spoiling it. All I can say it was one of the best novels I read this year.

  • BrokenTune
    2019-04-06 12:03

    "She had called him up to give him a piece of her mind, Robert supposed, and what surprised him more than anything was that she could be so voluble, so sure of herself, while addressing someone she considered a murderer. Weren’t people supposed to be afraid of murderers? If she really believed him a murderer, wouldn’t she be afraid he might get angry and come after her, too?"It appears that this January has been the month of reading gloriously messed up books and it all started with The Cry of the Owl.Robert is depressed. The only reprieve from his low moods is when he watches Jenny, a twenty-something from behind a tree outside of her house. Robert is a stalker. Of course, this leads to complications, and - this being a Highsmith novel - complications lead to twists that turn the hunter into the hunted and make you question the sanity of every one of the characters."A crow flew over, cawing. Late at night for a crow, Jenny thought. A crow was black. That was fitting."

  • George K.
    2019-04-23 13:06

    Τέταρτο βιβλίο της Πατρίσια Χάισμιθ που διαβάζω, μετά το εξαιρετικά απολαυστικό "Ο ταλαντούχος κύριος Ρίπλεϋ", το πολύ καλό "Βαθιά νερά" και την καλούτσικη συλλογή διηγημάτων "Ιστορίες για μισογύνηδες", και για άλλη μια φορά δηλώνω ικανοποιημένος και -μπορώ να πω- μαγεμένος από την γραφή και την μαεστρία της στην δημιουργία δραματικών νουάρ ιστοριών και στην σκιαγράφηση κάποιων εξαιρετικά δυνατών και μοιραίων χαρακτήρων.Στο οπισθόφυλλο της ελληνικής έκδοσης, υπάρχει αυτό το μικρό κειμενάκι που αναφέρεται στην πλοκή του βιβλίου: "Ο Ρόμπερτ Φόρεστερ δεν έμοιαζε άνθρωπος που θα κινούσε υποψίες. Η πρώην γυναίκα του είχε πει στην αστυνομία ότι ήταν αλλοπρόσαλλος, ότι είχε βίαιες τάσεις και μάλιστα ότι την είχε πυροβολήσει. Ίσως να ήταν ψυχοπαθής δολοφόνος". Δεν μπορεί να πει κανείς ότι πρόκειται για περίληψη της ιστορίας, έτσι λιτό και αινιγματικό όπως είναι το κειμενάκι. Και νομίζω ότι αυτό είναι και το σωστό στην προκειμένη περίπτωση: Όσα λιγότερα ξέρει κανείς, τόσο το καλύτερο. Έχουμε να κάνουμε με μια πραγματικά ιδιαίτερα καλογραμμένη και ενδιαφέρουσα δραματική ιστορία, με στοιχεία εγκλήματος και εξαιρετική νουάρ ατμόσφαιρα. Μην περιμένετε μυστήριο, απίθανες εκπλήξεις στην πλοκή και πολλή δράση, παρά μονάχα ένα δράμα χαρακτήρων, μια ευκαιρία της συγγραφέως να θίξει κάποιες από τις παθογένειες της Αμερικάνικης κοινωνίας της δεκαετίας του '60.Όσοι περιμένουν ένα θρίλερ με γρήγορους και αγωνιώδεις ρυθμούς, μπόλικο μυστήριο και... χορταστική δράση, καλύτερα να ψάξουν αλλού. Το βιβλίο αυτό μπορεί να ανήκει γενικά στην Αστυνομική Λογοτεχνία, αλλά στην ουσία πρόκειται για ένα δραματικό νουάρ, με φοβερά σκιαγραφημένους χαρακτήρες και κάποιες περίεργες καταστάσεις που αναδεικνύουν το καλό και το κακό πρόσωπο που μπορεί να έχει ένας οποιοσδήποτε άνθρωπος. Η γραφή είναι τρομερή, από τις ωραίες και λιτές περιγραφές του αστικού τοπίου, των σκηνικών και των σκέψεων των χαρακτήρων, έως τους εξαιρετικά ρεαλιστικούς διαλόγους. Αργά αλλά σταθερά, η Πατρίσια Χάισμιθ αρχίζει να γίνεται η αγαπημένη μου γυναίκα συγγραφέας...

  • Kasey
    2019-04-04 08:06

    Patricia Highsmith is deceptively simple. She uses virtually no words that an average fourth-grade reader couldn't understand, and for the first maybe fifty pages, I can persist in the delusion that she is writing a shallow story, an adult version of a Dick and Jane reader. And then things turn DARK, and the darkness belongs not to one character (even to Ripley), but to everyone, to the world that these characters inhabit. And there is no out, no relief. I think maybe we're mistaken to read her as if she's writing realist thrillers; maybe we should read her as if she's writing dark parables in the tradition of Shirley Jackson or Flannery O'Connor.

  • JodyJulian
    2019-04-02 07:05

    Reading Patricia Highsmith is my drug of choice lately. I just can’t get enough of her writing. Once again, she creates a creepy character that somehow the reader accepts and even roots for. Robert Forester finds comfort in watching a stranger, Jenny, nearly every night. He's a ‘peeping tom’. Sounds scary doesn’t it? Yet, he comes off as harmless and almost endearing in his bizarre need to find solace in watching Jenny. It’s not a sexual thing but rather he watches her cook and just go about her errands. So, here I am rooting for a guy who's warped once again. The ensuing maze he leads the reader on is a mind f#ck that renders one helpless and compulsively drawn to Forester's series of equally bizarre choices and circumstances. Add a cast of eccentric and some evil characters and you're in “Highsmith Country” yet again.

  • Bettie☯
    2019-04-01 12:24

    Review here

  • Lee Foust
    2019-04-15 09:27

    A surprisingly existentially bleak and super-deliberately paced little thriller. For most of it I felt that the thriller format (in this case the classic man-falsely-accused-of-a crime or perhaps framed-for-a-crime plot) was a MacGuffin conceling and revealing (at the same time) the theme of the difficulty of carrying on a love affair in a social world--how the relations between a man and a woman are always mediated, even ruined, buy the meddling, interpretations, fears, and disapproval of those near to us but outside of the relationship--the crowd, the social world, all those "friends" who join the lynch mob in the end. Without spoilers, about two thirds of the way through the novel things get even darker than that, and the drama becomes more like a Greek tragedy, begins looking like the disastrous outcome of a single, questionable act--as if the theme were simply fate, or fatality, and human powerlessness in a social world self-righteously obsessed with judgement. An act that is not in-and-of itself truely bad, but is understandably(!) misinterpreted by everyone on the outside and therefore leads to nothing short of disaster for everyone involved. In the end, The Cry of the Owl reminded me of no other novel so much as Camus's L'Etranger--the theme of which is "a white, Christian Algerian can get away with randomly shooting a Muslim Algerian, but you will not escape punishment if you don't cry at your own mother's funeral." I will leave this similarity between the two novels here in code so as not to spoil the plot of The Cry of the Owl for you if you haven't read it yet. You should. It's a quite satisfying American existentialist noir read.The other notable aspect of the novel, for me, was its pacing--always key in this genre, I would say. The first half or so is recounted at an almost maniacally deliberate step-by-step pace. I'm sure some will think it slow but I absolutely reveled in the perfection of the narrative's speed (or lack thereof)--it created a drama of its own, a nearly magical tension. After the big event about 2/3 of the way through, I felt like the narrative went a bit rudderless, though, and was disappointed in/impatient with a couple of the chapters leading up to the quite satisfying and exciting denouement. Balancing pace with information must be one of the more difficult aspects of penning a thriller, I realized, finding a story whose information is communicable at a pace suitable to the suspense and satisfaction (pay-off of the suspense) that you want to produce in your reader. For most of this novel Highsmith hits the ideal speed and the information and events happen at a pace perfectly commensurate with the movement of the plot. I felt that the speed/event ratio got skewed towards the end, but certain events needed to happen in order for the climax to pay-off, so perhaps that's just the way the cookie crumbles sometimes--it got me thinking about the mechanics of thriller writing, though.

  • Maria João Fernandes
    2019-04-03 07:23

    "As pessoas que espreitavam pelas janelas de outras eram anormais - quer observassem mulheres a despir-se, quer elas estivessem apenas a fritar frango."Como sempre, as personagens de Patricia Highsmith são emocionalmente instáveis e dotadas de personalidades danificadas, delineadas por experiências de vida pouco comuns. Numa atmosfera desagradável e pouco confortável, o pequeno grupo de personagens interage entre si e estabelece relações perigosas e obsessivas. Por um lado, temos duas mulheres distintas: uma jovem sonhadora, temperamental que não tem receio da morte e uma mulher psicótico, promíscua e, de certa, forma, tóxica. Por outro lado, temos dois homens de intensidades opostas: um apaixonado e violento e outro solitário, depressivo e pensativo. Estas quatro pessoas vêm-se emocionalmente envolvidas, numa cadeia de eventos únicos, guiados pela obsessão pela morte e pelo ciúme agressivo."O Grito do Mocho" explora o julgamento colectivo sem fundamentos, numa pequena cidade. De certa forma, o livro centra-se na paixão desigual entre um homem e uma mulher, o que representa um ligeiro desvio na abordagem da autora, que normalmente se foca em relações obsessivas entre pessoas do mesmo sexo. A relação principal da história, contudo, tem como origem uma rotina obsessiva compulsiva, onde a espionagem se assume inofensiva e compreensível, apelando ao nosso consentimento, que facilmente é dado por nos podermos imaginar na mesma situação."Os psicopatas têm forçosamente aspecto de psicopatas? Decerto que não."

  • Carol
    2019-04-16 06:20

    I must begin by saying that I think Patricia Highsmith's writings give me the creeps! AND, I think she is brilliant. When you read her books, it is impossible to determine where she is going to take you this time!Her books have an almost physiological effect on me – I actually experience what the characters feel, rather than using my imagination to try to simulate the experience. The ending here is particularly good in this regard as it gives no closure, but allows the sense of despair and horror to continue after the book has been closed. This makes it a rather uncomfortable read, as I can mostly do without palpitations, a dry throat and a sense of mounting panic.The book has aged, but not dated. If anything, I found Highsmith's characters even more disturbing (actually, her characters are always disturbing) in light of how social mores and psychological knowledge has advanced. The two protagonists meet in a most unconventional way (Robert is lurking outside of Jenny's window at night watching her in her kitchen as she cooks, etc.) and they become friends! I mean, who would think this up???? High smith, of course!From there, Highsmith makes anything believable.....

  • Chris
    2019-03-26 08:58

    You know a book is good if you bring it to work so you can read those last six pages!A perfect October read. Highsmith is brilliant! To the undiscerning eye, her writing could be viewed as simple, old fashioned. Don't let that deceive you, her craftsmanship of a story is head and shoulders over any other writer I've read. And I read A LOT of mysteries! This is my darkest nightmare turned reality; you are innocent, but circumstances look like you are guilty! This took a while to get into, but once I did, un-put-down-able.

  • Nelson Ramirez
    2019-04-03 09:58

    Libro entretenido que se deja leer y te pone en tensión y con impotencia debido a las situaciones por las que tiene que pasar el protagonista, pero se me hizo lenta la acción, la mitad del libro es tediosa y el final no me gusto en absoluto, me dejo inconforme.

  • Lesley
    2019-04-09 13:58

    intense and chilling! (though I still like the talented Mr. Ripley better)

  • Brian Poole
    2019-03-27 14:08

    The Cry of the Owl is a classic of bleak, psychological despair and suspense.Patricia Highsmith’s 1962 novel fits the late writer’s mold quite effectively, a portrait of how the main characters’ poor judgment and bad choices ruin their lives. When The Cry of the Owl opens, 30ish Robert Forrester has taken refuge in a small town engineering job. Robert’s fled the collapse of his New York marriage to the poisonous, unstable Nickie. Who taunts him long distance, for no reason other than to be a bitch.Fighting depression and alienation, Robert finds an odd solace in spying through the kitchen window of Jenny, a lovely young woman living in a remote house. Watching Jenny go about her domestic routine brings Robert a kind of peace, though he knows his “hobby” is a foolish risk.Jenny’s discovery of Robert is swift and inevitable. But instead of fear, Jenny finds herself drawn to Robert and forms an intense attachment to him. Jenny’s sudden devotion becomes so powerful that she breaks off her engagement to the possessive, brutish Greg. Getting to know Jenny breaks the spell for Robert, and yet he indulges Jenny’s desire to be close to him.An increasingly violent Greg refuses to accept Jenny’s rejection and begins a campaign to discredit Robert in his small town. He’s egged on by Nickie, whose distorted tales of her and Robert’s life together fuel Greg’s vendetta. When Greg goes missing after a violent encounter between the two men, suspicion falls on Robert. A chain of tragedies inevitably unfolds, as darkness follows Robert and his life slowly unravels. Robert suspects there’s more to Greg’s disappearance than is apparent, but has so thoroughly compromised himself that getting anyone to believe him before it’s too late may be an impossible task.Like most Highsmith novels, The Cry of the Owl isn’t plot-intensive. Instead, it relies on a slow build of ever-tightening psychological suffocation to powerful effect. Highsmith was among the vanguard of 20th century writers who weren’t especially concerned with readers “liking” their lead characters. Indeed, while readers will be able to sympathize with Robert and Jenny in some regards, neither is easy to warm up to. But each is fascinating in different ways and are apt vessels for Highsmith’s dark psychological explorations.In Robert, Highsmith sketches a convincing portrait of a man struggling with depression, loss and an uncertainty of his place in the world. His fallibility and struggle to make sensible choices generates some empathy, even as his cavalier treatment of Jenny and maddening passivity ignite the tragedies that ensue. Jenny is a much darker creation. The seemingly sweet façade covers a morbid fascination with death. Readers can’t help but question the stability of a darkly philosophical young woman who falls quickly and passionately in love with her own prowler. The Robert/Jenny relationship is complex, jagged and unsettling, providing an emotional engine that propels the story through its many tragedies to its bleak ending. And of course the end is bleak; Highsmith wasn’t often given to allowing her characters to stroll happily into the sunset.The Cry of the Owl was remarkably frank for its time. Highsmith outright acknowledged her characters’ pre- and extra-marital sex lives without particular judgment, though she accurately reflected prevailing notions in the scandalized opinions of the town’s “Greek chorus.” Highsmith also took on depression, mental illness and suicide in a forthright manner that wasn’t common for the era. She never pretended that Robert, Jenny, Greg or Nickie was entirely well or rational and her sharp characterizations effectively communicated how damaged each was in his or her own way.With moody, evocative writing that immerses the reader in a dark, disturbing world of doomed attachments and an inevitable descent into darkness, Highsmith made The Cry of the Owl an essential entry in mid-20th century suspense fiction.A version of this review originally appeared on www.thunderalleybcp.com

  • Carla
    2019-04-06 10:05

    La tristeza que sentí al haber terminado este libro fue inconmensurable, digamos que no quería terminarlo para nada. No quería porque hacía mucho que no me enganchaba a ese nivel con un texto. Por suerte en casa encontré otros tres libros de Patricia Highsmith y pienso ir a por más. Su escritura es ágil y a la vez profunda. El desarrollo de los personajes no tiene sin igual.La historia trata sobre un hombre que comienza a espiar a una mujer por el simple hecho de que está deprimido y le gusta verla cocinar (no la espía de otra manera perversa) y estar con su futuro marido. Esto desata una espiral del infierno que te saca el aire en muchos momentos de lectura. Yo amé al personaje principal: Robert. Robert es un alma incomprendida en un mar de costumbrismo barato y juzgamiento rápido, de chismes y de vacío, en un mundo lleno de ignorancia. Lo quería proteger, abrazarlo y apartar a la multitud que no entendía nada, porque era el personaje que entrañaba los aspectos más dulces de una sociedad ultrajada. A Jenny también la quise, era una chica infantil y soñadora, pero a la vez depresiva y alejada en un dolor de hacía muchos años; pero me encantó su capacidad de amar más allá de todo, sin barreras y sin importar lo que todos dijeran de ella. Aferrada al pasado y al presente, un personaje conmovedor.Lo que me mostró el libro principalmente fue a la sociedad de ese pueblo, la sociedad imbécil y fascista, la sociedad que se pudre con los medios de comunicación y los chismeríos falsos, la sociedad ávida de odio y de griterío, la sociedad que no puede ni un segundo pararse a pensar en el contexto de las cosas, la sociedad que decidió crucificar a alguien teniendo tan solo pocos datos de esa persona, la sociedad que pedía a gritos la pena de muerte, la sociedad de un pueblo de Estados Unidos apartado y lejano, donde todos se conocen con todos, donde tu dolor es sabido hasta por quien vive a kilómetros de distancia, donde tu trabajo es una fuente de miramientos, de risas a tus espaldas, donde tu casa es un lugar en el que la privacidad está prohibida y existe en todos los habitantes la necesidad de entender qué ocurre detrás de las paredes. La sociedad putrefacta de habladurías sin sentido y de rechazo a una persona honesta. Es la representación de la credibilidad casi pueril hacia los diarios, la radio, la televisión. No es un thriller, a pesar de que Patricia se especialice en eso. Es un drama, si se quiere, puede ser un thriller psicológico. Pero es un “agarro con fuerza tus pulmones y no te dejo respirar”, porque eso sentía, asfixia e impotencia porque no podía entrar ahí y pedirles a gritos lo que quería pedir. Es un libro muy duro y terrible, pero que llevo en un espacio muy especial de mi corazón.

  • Krista
    2019-04-02 10:59

    3.5 stars (goodness I wish Goodreads had half stars. LOLI really enjoyed this book. I am a huge fan of Highsmith's writing, there was never a dull moment reading this. The book opens up with Robert the main character, who suffers from depression, watching a young girl (23, named Jenny) in her kitchen window. He's not a peeping Tom, he's not trying to watch her undress. Robert just finds solice in Jenny's happiness, watching her everyday life, like cooking, washing dishes, etc. Then Jenny discovers Robert one night and his life and hers are changed forever. Beginning this book I thought Robert was the strange one, I mean looking in peoples windows (weirdo). However, I thought about that, and we all kind of do that now a days with the reality television and all (we look in from the camera). Overtime, Robert is not that so strange and crazy. But there is a lot of strange and crazy characters in this book. Little by little they rear their craziness.I enjoyed the blast from the past, the setting of 1960 or so, when there were no cellphones, when your reputation was everything. I liked that even though I kind of figured out one of the mysteries in the book, I second guessed myself a few times about it. I also enjoyed the story, Highsmith really kept me interested the entire book.What I didn't like, some of the characters were annoying. The main character Robert I didn't like until the end. It wasn't until the end I finally understood him. I really was annoyed by the police. Highsmith does a really good job of making law enforcement in this book, look and act like idiots. I also was annoyed with the ending. I really felt like this book could have been longer. I needed more than were it left me.Overall, this was a very enjoyable read that kept me interested. I recommend it if you want a great stalker story set in the 1960's. I would also love to watch a movie adaption of this book!

  • Hakan Yaman
    2019-04-24 09:24

    Klasik bir üçgen: Bir kadın, iki erkek: Jenny, Greg ve Robert… Patricia Highsmith, bu bildik, basit üçgenden polisiye tadında, muhteşem bir roman çıkarmış. Jenny’nin evlenmek üzere olduğu erkek arkadaşı Greg’le yaşadığı evi uzaktan izleyen, zaman zaman evin bahçesine girip, ağaçların arasından onları gözetleyen, röntgenci Robert, bir anda kendisini sahnenin ortasında buluyor. Kısa sürede roller değişiyor; Jenny ile tanışınca Greg’in rolünü Robert alıyor. Bu kez dışarıda kalan Greg oluyor. İşte asıl roman da bunda sonra başlıyor zaten. Gerilimin dozunu çok iyi ayarlayarak, romanın sonuna kadar dengede götürmüş Highsmith. Kıskançlık yüzünden iki erkek arasında bir nehir kenarında çıkan kavganın anlatımı, boğuşma kısmı ve sonrasında Greg’in ortadan kayboluşu çok başarılı anlatılmış. Robert’a göre Greg nehre düşmüş, o da kendisini çekip çıkarmıştır, ama Greg’in ortaya çıkmadığı her geçen gün şüpheler artar. Sevgilisi Jenny bile artık onun Greg’i öldürdüğünü düşünmeye başlar.

  • Matthew
    2019-04-08 10:24

    I seriously couldn't put this down, it's so tense and creepy and ominous and wonderful. I picked it up more or less out of the blue, because I hadn't actually read any Highsmith before and because she keeps coming up in conversation. Little did I know that it was currently being turned into a movie starring Julia freaking Stiles.

  • Laura
    2019-04-13 08:27

    From BBC Radio 4 Extra:Patricia Highsmith's intriguing tale of obsession, starring John Sharian.

  • Hanna Katariina Bengtsson
    2019-04-20 12:17

    märklig.

  • Antonis
    2019-03-31 11:15

    Μέτριο βιβλίο, δυστυχώς, αν και έχει καλά στοιχεία. Οι χαρακτήρες στερούνται βαρύτητας, δείχνουν να υποκρίνονται, παρά να ζουν. Η πλοκή έχει 1-2 ανατροπές, αλλά στο σύνολό της είναι αποσπασματική, χωρίς συνοχή κ θα έλεγα χωρίς ιδιαίτερη αγωνία. Ίσως φταίει κ η μετάφραση που νομίζω είναι κάτω του μετρίου. Το να μεταφράζει κανείς λέξη-λέξη ένα κείμενο (ακόμη κ τους ιδιωματισμούς) δεν είναι καθόλου ασφαλής δρόμος για να αποδοθεί το κλίμα κ το ύφος του συγγραφέα. Δεν θα το πρότεινα. Ο χρόνος μας είναι λίγος.

  • John
    2019-04-10 06:19

    I first encountered the work of Patricia Highsmith, in the shape of the novel The Glass Cell, when I was in my mid-teens. I got perhaps fifty pages into the book, loathing every moment of it. A few years later I tried one of her Ripley novels (Ripley Under Ground, I think); this time, though abhorring the central character and the whole ethos of the book, I did manage to grind my way through to the end. Twice bitten, I thereafter remained permanently shy of Highsmith . . . which is strange for someone who's written about so many of the screen adaptations based on the work of this most noirish of authors.I've seen both of the big-screen adaptations of The Cry of the Owl -- Claude Chabrol's Le Cri du Hibou (1987), which I remember adoring, and the 2009 English-language version -- and according to my somewhat hazy memory they both give the tale a certain gravitas, a mythopoeic import, a deliberate ambiguity that, while it might work fine for a two-hour movie, didn't much entice me into a reappraisal of Highsmith's work.And then, the day before yesterday, I picked up the copy of The Cry of the Owl that I dutifully bought a few months ago ("I really must give Highsmith another try!"), wearily opened it . . . and was bowled over! This is a heck of a good yarn that gripped me from the very first page and caused havoc to my writing schedule.The story's outwardly simple enough. Recovering from his short but intensely painful marriage to uberbitch Nickie, Robert moves from NYC to a small Pennsylvania town. There he falls into the habit of observing 23-year old Jenny Thierolf through her kitchen window at nights -- not with any sexual intent but simply in order to share what he believes to be her contented existence as she awaits marriage to her devoted fiance Greg. One night, though, she catches Robert in the act of spying on her; rather than calling the cops, she invites him in for a coffee. It proves that the life Robert thought was so contented is anything but. Jenny nurtures serious doubts about her feelings for Greg, and in fact very soon starts falling profoundly in love with Robert. He, though flattered and becoming very fond of Jenny, cannot reciprocate that love -- perhaps because he still has too much healing left to be done after the horrors of his marriage to the sociopathic Nickie.Greg, we discover, is every bit as much a sociopath as Nickie, and the pair set out to destroy Robert's life. Other lives suffer . . .The ending's perhaps a tad grand guignol, but it seems not inappropriate for what has by then become such a savage tale. Otherwise, I can't really find any fault at all with The Cry of the Owl: it knocked my socks off. I sense that I'm going to be reading a lot of Highsmith this year . . .

  • Jon Ureña
    2019-03-31 08:05

    Workmanlike prose and a story that is not so much a mystery as a succession of ways people the protagonist knows end up fucking with him.When I read Highsmith's This Sweet Sickness, I immediately knew she was autistic. Not only a biography of hers clarified it (Beautiful Shadow: A Life of Patricia Highsmith), but one of her close "friends", a therapist, stated in retrospect that these days she would have been diagnosed as having Asperger's. So it didn't surprise me that this book touched some aspects of having that neurological makeup that many others won't experience: having intense fascinations that sometimes could easily be classified as malicious (the protagonist in this novel obsesses over the image of normalcy a woman gives and he stalks her house, something Patricia herself did), being unable to justify those obsessions and failing to resist their appeal, being unable to properly connect with human beings, people around you distrusting you and/or you suspecting they do, people around you trying to convince you you are crazy and/or trying to convince others of it to ruin your life, etc. As interesting twists early on, (view spoiler)[the woman spots the protagonist and instead of calling the police, she invites him in. Turns out she's even more unstable than he is. The woman ends up falling in love with the protagonist, but he doesn't feel the same way, and now that she doesn't give the image of normalcy and contentment, he barely wants to deal with her (hide spoiler)]. There's a lack of progression in the relationships the protagonist has; those people are mostly "just around", which is usual for autistic people.The running theme in the novel is that the protagonist represents death. (view spoiler)[People and animals around him suffer even if it isn't directly his fault, and the woman he originally stalked ends up seeing him as Death coming for her (hide spoiler)]. I couldn't understand why the protagonist kept taking his abusive ex's calls, yet it mirrors Patricia's at least a decade long relationship with an abusive woman that treated her like dirt. Maybe Patricia felt she deserved that kind of treatment. The ex in this story also partially represents one of Highsmith's early lovers, painter Allela Cornell, who killed herself, and Patricia seemed to regret not having been able to care for her properly. I think Highsmith truly felt that she represented Death in a way, that she caused people around her to suffer without meaning to and while being unable to stop it. The story ends right on that note: (view spoiler)[the protagonist has attracted more mayhem, with no one, even the police, able to stop it. His ex has bled to death on the floor of his house. The protagonist can only look away, unable to keep the images out of his mind, and refusing to take the murder weapon in case anything he does produces more pain. (hide spoiler)]

  • Geoff Sebesta
    2019-03-31 13:07

    This is the opposite of a book you can't put down. This is a book that you have to put down over and over again, because you're so horrified by what is happening to these characters who you care about so deeply that you just have to look away.I find myself in the same fix as the person who wrote the back-cover blurb, in that I can't describe the novel without giving away an absolutely priceless surprise. I mean a great moment, one of those "great novel" moments, that comes almost immediately in the book and sets the scene for every little thing that follows.This is a story about a man who is stalking a woman whom he does not know. And then a lot of things happen, and there's a murder or two. It's a sort of reductio of stalking, which in the 50s and the 60s was seen as slightly more romantic. "Even if you were this guy," says Ms. Highsmith, "and you're not. And even if all this happened; which it won't. It still won't work out, and here is why." "Stalking," she is saying "is not romantic, it's creepy and small, and you will embarass your poor mother."The book works on the good man/bad man good woman/bad woman axis. The good man pushes the bad man out, but there is a tragic flaw in the way he does it, so the bad man goes to the bad woman who then pushes the good woman out. And then there are murders.This book definitely competes with Philip K. Dick for realistic depictions of horrible marriages between schlubby supermen and women of active malevolence. I've read so many 50s and 60s novels about horrible, evil, malicious, cruel, scheming wives and ex-wives that I'm starting to suspect the women of the time were angry about something. If there's one major weakness to the novel it's that the protagonist's ex-wife is so scheming and wicked that only the art of the author can make her live. Nicki Forester Jurgen is a scary woman.At first I suspected the author was trying to say something about the CIA (the protagonist lives in Langley, PA, and works for a mysterious but highly-secure helicopter manufacturing plant there) but after a while I was so totally caught up in the machinations and abominations presented that I forgot all about it. My theory sorta works because this is all about "when you spy on people bad things happen" but I'd have to read it again to convince myself or a literature professor.

  • David Lemons
    2019-03-29 08:09

    I have said how much I prefer Patricia Highsmith over many thriller writers. "Owl" is what might be called a diaphanous, existentialist work. As you experience the protagonist's loneliness and driven alienation, you yourself feel detached from who you think you are. You get approximately the same feeling of dislocation when reading Jorge Luis Borges or Gabriel Garcia Marquez.I first discovered Highsmith at Eleftheroudakis Bookstore in Kifissia, Athens in 1995. Her fame preceded her, but I didn't understand why. I am satisfied in punctuating my reading of other genres by turning to her novels and stories for a respite from sanity from time to time. I prefer it to humor as entertainment.

  • Rachel Stevenson
    2019-04-18 11:28

    I don't know how Patricia Highsmith got away with it, writing such nasty novels in a time of American optimism and sunny consumerism. The only people allowed to rebel in the '50s and early '60s were young and male and she was neither. As the protagonist of her novel, Robert, asks: “What's underneath? Chaos and nothingness? Evil pessimism and depression?” Highsmith is always interested in what lies beneath the American dream.In this book, a recently divorced New Yorker moves to Pennsylvania and starts spying on a young couple just starting out in life. Psychologically, it's easy to work out: Robert is seeking the domestic happiness recently gone from his life. The story is set in the fictional town of Langley, PA, and I think it can't be a coincidence that the CIA is based in Langley, VA, when so much of this book features spying. Ditto the suburb where the stalkee lives is Humbert Corners, surely a reference to that other chronicler of creepy, weird American Life, Nabakov (Lolita was published four years before this book). I'd also be very surprised if Paula Hawkins couldn't quote verbatim much of The Cry Of The Owl since The Girl On The Train has lifted a lot of it. The stalker becomes the stalkee as both the woman he’s spying on and her boyfriend start following Robert, until the boyfriend disappears, leaving Robert the key suspect.Highsmith is interested in alter egos: Tom and Dickie in the first part of the Ripliad, Guy and Bruno on their fatal train, and here we have the sensitive Jenny, half in love with easeful death, who falls for Robert despite his efforts to put her off, and Robert himself: introverted, private, tortured. Their dark shadows are their two ex-lovers, the awful, extroverted, psychopathic Greg and Nicki whose terrible reactions to being dumped spell misfortune and misery for our protags.

  • Ms. Jared
    2019-04-24 07:26

    Three and a half stars. It was still very interesting and suspenseful, but I didn't love it as much as the other ones. I think the peeping tom plot line just wasn't all that appealing to me even though the fallout from it was pretty believable and exciting. Peeper peeps, gets caught by the woman he was peeping on, she falls in love with him, he can't seem to fall in love back, and her former fiancé sets out to ruin his life with the help of the peeper's ex-wife because he resents being dumped. As bad as it sounds though, the peeper was really the only one with whom I could really even sympathize.The thing I like about Highsmith is just how things can spiral out of control so quickly and spectacularly. She is so good at building dread and suspense in pretty much any situation with any character and dragging the reader along for the ride. It's truly a gift. Not her best, in my opinion. But still worth a read. Bechdel Test Fail.

  • Pascale
    2019-04-15 13:07

    The conceit of the stalker stalked is what attracted me to this book. Because he finds the spectacle of her apparent happiness and innocence soothing, Robert entertains harmless fantasies about a young woman whom he observes going about her evening routines. But as soon as she becomes aware of his presence in her backyard, Jenny pretty much forces Robert to take centre stage in her life, with devastating consequences. An ingenious plot, but the writing is middling. I know it's been used as a basis for at least one movie, and I can see why a director would be attracted to the material.

  • Michael Martin
    2019-04-04 06:17

    This creepy psychological thriller by Patricia Highsmith, the somewhat demented author of "The Talented Mr. Ripley", is a great read. It centers around the skewed relationship between a peeping Tom, the woman he spies on, and her jealous boyfriend. No one acts in an expected manner, and so many surprises abound that I really don't want to spoil the novel by giving anything away. Terrific, fun, quirky, and very fitting from the mind of one of literature's greatest oddballs. (It shouldn't surprise you that Highsmith herself stalked and spied upon women). Four stars.