Read La marchesa di O*** by Heinrich von Kleist Emilio Bonfatti Giovanna Federici Ajroldi Bruno Maffi Online


Una giovane vedova virtuosa è trovata svenuta da un ufficiale russo durante l'attacco notturno alla fortezza di cui il padre è comandante. Quando l'ufficiale, cui la marchesa è riconoscente, la chiede in sposa, viene respinto. Poco dopo la marchesa scopre di essere incinta e si ritira in campagna poiché i suoi familiari non credono alla sua innocenza. Mette poi un annuncioUna giovane vedova virtuosa è trovata svenuta da un ufficiale russo durante l'attacco notturno alla fortezza di cui il padre è comandante. Quando l'ufficiale, cui la marchesa è riconoscente, la chiede in sposa, viene respinto. Poco dopo la marchesa scopre di essere incinta e si ritira in campagna poiché i suoi familiari non credono alla sua innocenza. Mette poi un annuncio su un giornale in cui si dichiara disposta a sposare il padre, da lei non conosciuto, del bambino. Appare l'ufficiale russo e la marchesa lo sposa pur intimandogli di allontanarsi subito dopo le nozze. Ma alla fine, colpita dal suo comportamento generoso e dalla sua sensibilità, si riconcilia con lui....

Title : La marchesa di O***
Author :
Rating :
ISBN : 24955538
Format Type : Paperback
Number of Pages : 172 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

La marchesa di O*** Reviews

  • Jan-Maat
    2019-01-23 15:28

    Rambling IntroductionI was digging around on my bookshelves looking for something when I came across The Marquise of O, which I had previously read some years ago. It was only short and it seemed as though Fate had intervened with a capital letter so I did not resist the serendipity.I have felt a slight awkwardness about reading Kleist as though trying to follow his train of thought could lead to his conclusion on the banks of theKleiner Wannsee . But after reading Blamberger's biography (Heinrich von Kleist: Biographie, a review here) I thought I'd run the risk...The StoryIs a simple one, published in 1808 and set in North Italy during the Napoleonic Wars. When Russian troops storm a Citadel, the Commandant's daughter - a widow with two children - is threatened by a gang of soldiers, their officer, Count F, steps in and rescues her though during the process the Marquise faints and is unconscious. Some days later Count F offers to marry the Marquise as soon as possible mysteriously making an announcement to her that in the future she will be very glad of this. The Marquise and her family don't grasp his meaning and the Count departs on business. Shortly thereafter the Marquise realises that she is pregnant, is rejected by her father and makes her way to her own estate where she has a advert published in the newspaper offering to marry the Father of her child should he come forward. This action is the hook and bait that Kleist uses in his first paragraph - actually in the first sentence to catch the passing reader: In M…, an important city in upper Italy, the widowed Marquise von O…, a lady of excellent reputation and the mother of several well-raised children, let it be known through the newspapers that without her knowledge she had become expectant, that the father of the child to whom she would give birth should declare himself and that she, out of family considerations, was resolved to marry himAnyway after some toing and froing it turns out that the Russian Count F raped the Marquise, they marry, and after some years they get to live happily ever after. Some ideas after readingThe wronged woman marries her rapist? Cue for confusion on the part of the contemporary reader.Reading this story by direct assault, the eye taking in the words, the hand seizing the page and dragging the reader towards the conclusion where they can plant their flag clearly isn't going to work. Here an indirect approach, longer, slower and less steep, offering different perspectives as we get closer is what is needed.Consider Lady Deadlock Bleak House, Anna Karenina or Tess of the d'Urbervilles: the woman must die. That is the only way those authors could cope with the consequences of sex out of wedlock for their readers. How different then Kleist, for him the woman does not die - it is the attitudes of those round her that have to change and society that has to be remodelled.Here the rapist can't get away with his crime, he is obliged to confess, he is obliged to marry but not on his terms as he originally wanted but on the terms determined by the Marquise's family. 'Terms' is key. The Count F arrives wearing uniform and insignia, carrying his weapons to make his eventual confession. This is a formal military surrender of one power to another, a literary Yorktown. If the story begins with the brute assertion of physical power it ends with surrender to a civilised manner of conduct. Not rape, but a marriage governed by contract. Not the war of all against all, but law.As in Kleist's story Michael Kohlhaas the central character is morally right and wronged. It is society that is shown to be wrong and unjust, although unlike in Kohlhaas Kleist does allow for the eventual triumph of a moral order in this fable rather than pursuing the fate of the individual standing against an unjust moral order to the inevitable bitter end.I suspect this might also be a political fable. This is an 1808 story, in the subtitle of the first edition we are told that this is a true story whose action has been moved from north to south. In 1807 the Russians came to terms with the French at Tilsit ending a series of wars in which the Russians attempted to use brute force of arms in Italy, Austria and within Kleist's Prussia to uphold the Ancien Regime and resist the rationalising and liberating potential of the French Revolution. In that case the Marquise perhaps is a woman who can be understood as a country who, optimistically, can overcome violence and establish a better future. Once the King of France had been tried for high treason, found guilty and sentenced to death everything became possible. The traditional European world order had been broken open. Count F represents that older order, he can be violent and he can legitimate that violence, even sanctify it. The Marquise rejects this. She has an intrinsic desire for equity and justice that like Michael Kohlhaas she will not give up. Equally there is a surely a sexual political reading: male sexual violence gives away to a culture of consent and contract. Implicit in that seem to me to be a whole bunch of ideas, the officer is a nobleman but behaves ignobly - again social criticism and some irony, intellectually he is capable over developing to be more than a rapist and has a concept of guilt but equally is subject to unconscious drives.There might also be some criticism of, or a presentation of religion as a fable that doesn't much impact on our attitudes here. We have an annunciation (by the rapist) and an unwissentlichen Empfaengniss - perilously close to an Unbefleckten Empfaengnis in that the woman is innocent of and fundamentally non-complicit in the act - on the part of the Marquise. However when she asks a Midwife if she has ever heard of such a thing she laughs and can't admit to ever having heard of it. So much for the gospels then! Or perhaps we are back to social criticism. For the Marquise's Father and Brother the simple fact of pregnancy outside of wedlock is a crisis irrespective of their kinswoman's lack of complicity. Society blames the victim and cannot offer justice until it itself has been educated (in this case through the moral power of the Marquise). Bland ConclusionThere's a lot packed into a short story.

  • Eddie Watkins
    2019-02-18 22:34

    This tale puzzled me. It teases, flirts briefly with the fairytalish & fantastical, tosses out a red herring in the shape of a father’s tongue on a daughter’s lips, elides a rape, and suggests that only presumed angels can be devils while monsters live between. I didn’t quite get it, even as I quickly rode its tireless narrative like a cockhorse. Then its hidden psycho-magma spurted up through its elided rape (gooing up my cockhorse) and I ground to a stop. The story turned inside out becoming all dark spermy underbelly with all its characters in a dither on its upside, all unconsciously riding an inadmissible cockhorse looking for a daylit stable. Who raped the Marquise? She knows but refuses to know, or can’t know, blacked out by a devil’s cock (she much prefers an angel’s codpiece). In an age of codpieces actual cocks can go unseen. Though she accepts the existence of monsters she clings to a life of conscious codpieced angels and ends up ostracized by the power of unconscious cocks. Until the codpieces rear their inner heads and ooze fertile psycho-magma upon her sunlit social scene. The marquise’s father responds by welcoming her back and promptly props her on his cockhorse, groping and licking her until the cocky angel/devil knocks at the door and plops the story’s prodigious underbelly flat in their faces. When the puzzling louring cock-shaped sperm clouds finally clear they all live happily ever after, and I see the story for what it is.

  • Ana Rînceanu
    2019-02-19 17:40

    No! Hell, no!I know there's a good reason on why the author thought that a raped woman can regain her honor by marrying the rapist (as stated by Jan-Maat), but I just don't care.

  • Guillermo Gonca
    2019-01-19 19:47

    Hieinrich von Kleist murió en el año de 1811 (a los 34 años) y quizás por la juventud con la que escribió es que sus obras son tan impetuosas e irreverentes. Su principal vocación era la de dramaturgo, lo cual explica la singular fluidez de su prosa, con preponderancia en la acción, abundancia de diálogos y la ausencia casi total de descripciones. Si usted gusta de la literatura romántica, repleta de conflictos, pasiones y arrebatos, (y además prefiere a aquellos escritores más audaces e irreverentes) entonces Von Kleist es su autor. El estilo es sencillo pero elegante, de lectura rápida y fácil comprensión. La temática es muy irreverente, abordando temas que en su época resultarían harto controversiales. "La Marquesa de la O..." es un relato largo o si se prefiere, una novela corta. Sus cerca de 70 páginas narran la penosa historia de Julieta, una joven y noble viuda en la época de las guerras napoleónicas.Cuando el lector lea el primer párrafo, en el que se especifica que Julieta no sabe porqué esta embarazada ni quién es el padre de su hijo, puede sentir se que ha topado con una comedia picaresca o frente al planteamiento novelístico más absurdo de la historia de la literatura. Pero no es así; el escritor propone un conflicto perfectamente serio y congruente del que sale muy bien librado, sin resultar predecible y manteniendo la expectación hasta el finalA pesar de ejercer un estilo austero, Von Kleist logra una introspección psicológica notable. La narración en tercera persona no nos permite evaluar a ciencia cierta cual es el valor moral de los personajes y cualquiera de ellos puede despertar dudas (¿En realidad la Marquesa de O. dice la verdad? ¿Cuáles son las verdaderas intenciones del Conde F.?). Esta es una historia interesante e impredecible, el único aspecto que puede llegar a chocar con el lector es el constante uso de iniciales y puntos suspensivos, ya presente en el título de la obra y durante todo el libro. Como sabemos, este es un recurso común a los relatos de la época y tiene como propósito ocultar los nombres de personas y ciudades involucradas, para así ofrecer así una sensación de veracidad.Relatos como "La marquesa de la O..." evidencian cuan absurdas eran las antiguas convenciones. El pudor exacerbado y el fatídico "sentido del honor" eran enormes lacras que asfixiaban al ser humano, dando origen a muchos de los comportamientos más destructivos presentes en la naturaleza humana. Doscientos años después es fácil advertir esas falencias. Pero ¿Cuántas de las actuales instituciones y cuántos de los actuales acuerdos son en realidad perniciosos para el desarrollo humano? Si hoy viviera Heinrich von Kleist posiblemente lo sabría.

  • Gerasimos
    2019-01-29 15:52

    I really didn't enjoy this. Even for a book of its time it was very confused about its moral standpoint and what point it was trying to make. It could have done so many more things with the story. Disappointing.

  • Janez Hočevar
    2019-02-16 17:37

    Kleist is one of the first representatives of the romanticism in Germany. He differs significantly frome the previous generation of German writers, from the klassic authors (Goethe being the most prominent of this group). But he was also a perplexed person, living at the crossroads of two epochs: the Enlightenment and the Revolution. His final coup de grace was his descovery of Immanuel Kant, after which his personal stance became deeply pessimistic. Some, if not quite a lot, of this pessimism and von Kleist's complexes are also visible in his work. Which, in my opinion, is not a bad thing. Quite the contrary!! In this short volume, I was treated to three short, but delicious, stories/Novellen (The Marquise of O; The Earthquake in Chile and The Foundling) wherein one can easily detect how Kleist gave vent to his frustrations. As one author (whose name escapes my memory) once said: "Point de happy end!", this is exactly the case of von Kleist. After long, meticulous descriptions of the characters, of the scenery, of the violent and brutal would expect, at least, a happy ending. Not so with von Kleist who doesn't hold back anything!! Which explains the shock and disapprobation of his contemporaries when his short stories were first published. One of the peculiarities of his writing is reported speech. Lots of it. Tons of it!!! While slightly annoyed at that, I thouroughly enjoyed the three Novellen.

  • Erma Odrach
    2019-01-22 22:33

    Heinrich von Kleist (1777-1811) is a German writer of the early 19th century. He's not all that well known worldwide and even in Germany he remained a relative unkown for almost a century. His writing was so ahead of its time and he's been called the forerunner of modern drama. The Marquise of O is a collection of short stories - the writing is quite abrupt, dry, and straighforward. It's also impersonal and almost deliberately anti-literary. I love that it has such a contemporary feel to it.In "The Foundling" Elvira renounces life by marrying an old man, Piachi. There are many secrets and it ends in catastrophe.In the title story "Marquise of O." a widowed noblewoman becomes mysteriously pregnant, and she advertises in the newspapers for the unknown father. Though the premise is confusing even disturbing, it starts rather nonchalantly: "...a lady of unblemished reputation and the mother of several well-bred children, published the following notice in the newspapers: that, without her knowing how, she was in the family way; that she would like the father of the child she was going to bear to report himself ..."These stories are very good. Kleist is also known to have paved the way for Kafka, even though the two lived a century apart.

  • Jos
    2019-01-27 17:25

    I put this in the same category as 'The earthquake in Chili', 19th century pulp. Both short stories share common themes. A young, somehow innocent woman gets pregnant. This time, she's raped while unconscious. The twist which is difficult to understand: It's worse to have an illegitimate child than marrying the rapist. Hence, the whole thing is about the marquise trying to find her rapist to legitimate her child. The rapist - as the reader knows - is an 'honorable' Russian count who saved her from a group rape by ordinary Russian soldiers, asking her parents for her hand but asked to give her time. Difficult to liaise with this story today. Supposedly, there's a moral about people changed by war. Another similarity to 'Chili' where extraordinary times cause extraordinary actions.

  • Michael Haase
    2019-02-13 15:53

    The Marquise of O takes Sturm und Drang to a whole new level. Never have I seen throughout my entire experience of studying romantic literature any story with such ludicrously extravagant emotion as this. "'God in Heaven!' cried the marquise...'Oh, my most precious!' wrapping her arms around her. 'Oh, the contemptible creature that I am!'...'Oh, you more pure than angels.' 'My dearest mother!'...'I will not budge from before your feet, my radiant, godly daughter, until you tell me if you can ever find it in your heart to forgive my base behavior.' 'Oh, my dearly beloved mother!'...'know that none of what I just told you is true; that my corrupted soul could not believe in the innocence you radiate like a glow of goodness, and that it took this cunning ruse to convince me."The premise is this: a woman is raped and she somehow doesn't know who did it, so she's disgraced until the perpetrator reveals himself. It seems quite absurd, if you ask me, and the story is so sentimental that is seems to be written just for sentimentality's sake alone. Characters throws themselves at each other's feet left and right, over and over again, tears are shed, men fall into fits of rage or grief while women swoon. Moreover, it's kind of a pain to read. Kleist uses an antiquated diction as well as very lengthy phrases with confusing sentence structure. I read this in German and though it was short I had great difficulty.If, however, you enjoyed this story, I would recommend another: The Father by August Strindberg, another story about a parent who isn't sure of their child's origin.

  • Jelena
    2019-01-26 21:38

    A very good plot but the writing style gave me headache... still one of the better school lectures

  • Mariana
    2019-01-20 16:51

    This was written in 1808, those were different times.It was well written and the main character was likable.Still, What the heck did I just read!?I can't, I just can't. I want to be objective and review this properly, but it rubbed me the wrong way.I looked on Wikipedia, to make sure I hadn't misunderstood what actually transpired, only to be disappointed in mankind (view spoiler)["scholars do not all agree on how important the rape is, or whether it even happened at all, one of them arguing that it is in fact the Marquise who seeks sexual gratification from the Count"- WHAT!? IN WHAT WORLD? She refuted him EVERY STEP OF THE WAY!!! - notice the triple exclamation points, that is how mad I am (hide spoiler)].I am giving this 1 star for the writing, and 1 for the main character and the fact that it was 1808 when this was made, this is me being as objective as possible.

  • Raquel
    2019-02-03 22:37

    I feel sorry for giving this book just one star because I've read other reviews and almost everybody seems to love it but I just couldn't bear it. When I first started reading it a couple weeks ago I had to stop because I got confused and suddenly found myself with 0 knowledge of what this book was about. So on this second and final go I've given this book I took a notebook with me and started making notes about the plot, but I still got confused and the translation I read was so horribly done (I'm sorry, but it really was) that I hated reading it and kept seeing holes in the plot and some things didn't make sense and I feel really sorry for saying this so I'll stop because I don't wanna be too harsh. Maybe if I had read another translation or the original (which I can't because my German level is not there yet) I would have enjoyed it.

  • Trent
    2019-02-17 23:49

    Man,I heard about this story because it's supposed to be one of those perfect things that all wanna be authors should seek. I read it and wasn't disappointed at all. Long before Hemingway taught us all to use taut language, von Kleist was on top of it. It's fast. It's furious. It's fun. It's also highly recommended. I've written a plot summary of the story that I'll include as a link, but you should really give it a read yourself. The Plot Spot summary of The Marquise of O

  • Thegurkenkaiser
    2019-02-17 19:54

    mir geht nicht ganz auf was daran jetzt das tolle sein soll. satzbau übrigens in bourdieuscher umständlichkeit.

  • Evan
    2019-01-22 22:31

    This is a whodunnit whose suspense derives not from the climactic reveal (which is not at all surprising) but from the playing out of the conceit (perhaps even more shocking after 200 years) of a courtship as the aftermath of a rape. Though the story is set in Kleist's present, amidst the chaos of contemporary wars, it is remarkably close in themes and driving anxieties to his Amphitryon. As in Kleist's adaptation of Plautus' comedy of divine usurpation, Marquise of O is driven by anxieties over the truth about who its characters really are-- virtuous or not--and the awkward pragmatism of wresting "all's well that end's well" from an act of sexual predation. These themes run through much of Kleist's work, including The Duel, where again a terrible fate threatens to engulf a virtuous (and essentially passive) woman because of difficulties in properly identifying people, practical confusions that seem to cross into more fundamentally unsettling metaphysical uncertainties. "Marquise of O" subverts its genres, defusing mystery by providing an answer that was obvious but only raises more questions and souring marital comedy by delivering a bridegroom who, somewhat like the Duke in Shakespeare's Measure for Measure, is at his most unsettling precisely in the moment when he steps forward to be happily married.

  • Lior
    2019-01-24 16:43

    Rape culture in a nutshell

  • Rose Nicholson
    2019-02-12 22:37

    What a horrible story, surely wrong on so many levels even when written.

  • Bob Newman
    2019-01-31 22:40

    melodramatic tales of woeI usually start my reviews with some kind of introduction, but this time I'll just make a straight statement. If you are a serious student of German literature, you will probably want to read this book as part of your studies, to know another corner of the genre, no matter how obscure. Similarly, if you want to know more about 18th century literary style in Europe (even if some of it was written in the early 19th), you may not want to miss Kleist's work. Not being any such student, but just a lover of reading, I picked up this volume 15 years ago at our local library sale, but only got around to it just now. These stories are melodramatic, full of coincidences, and reminded me more than a bit of Oliver Goldsmith, though far more pessimistic.It is true that Kleist's view of human nature and life resembles more the 20th century than his own time, but his style harks right back to those days. Not wishing to insult readers who have literary interests, I will just say that I'd like to warn the `general reader' (if such an animal exists) that he or she may find these stories contrived, tiresomely written with innumerable loops and twirls of language, and overly romantic. "Floods of tears", "glances that pierced her heart like knife wounds" or "impulses of infinite humility" mark the pages. To enjoy these stories, you must turn a blind eye to the gap between our sensiblities and those of 200 years ago. The gloomy view is certainly modern, but the manner of expressing it is not. On the other hand, I realize that different people look for different things in the books they read--you may compare my review to the others. My final words: "probably not suitable for most 21st century readers". A German correspondent rebuked my review and said that the translation was probably not up to snuff, as well as saying that I had not delved into the depth of this novel. I concede that his arguments hold water, but I still felt that my comments---for general readers and not for serious students of literature---are fair enough

  • Gertrude & Victoria
    2019-01-20 18:24

    Heinrich von Kleist's The Marquise of O and Other Stories is a gratifying and rewarding read with many unexpected and unpredictable turn of events. His stories are often cast in an eerie, multi-dimensional reality. To adequately comprehend and appreciate the richness, depth, and complexity of Kleist's prose, a careful reading is needed. His style is dense and intricate in its syntax, replete with lengthy passages, which, in some cases, seem to flow on and on like a spring cascade. The plot and subplots with their many intriguing twists compel the reader to rush to the end in heighted anticipation, yet, at the same time force the reader to take measured movements, like someone lost in a subterranean labyrinth.This collection of short stories by Kleist merits, and requires, more than one reading. Another such collection is The Gothic Tales of the Marquis de Sade, which deserves the same attention.

  • Simon
    2019-01-28 20:53

    I never would have found this if it hadn't been for Francine Prose. And it would have been a great miss. Three short stories in this thin volume; the title story, The Earthquake in Chile and The Changeling. All are strange, chilling in a philosophical rather than ghostly or horror way, though there is plenty of horror and a hint of the supernatural, and absolutely absorbing.von Kleist was a German romantic, a one time collaborator with Goethe who managed to fit quite a lot into his 34 years. To me he is something of a missing link between the gothic side of romantic writings and the great twentieth century European storytellers who mix politics, ethics and cause and effect. He can fit more action into a paragraph than any writer I have known and still leave huge amounts of content in the gaps. This book is going to be carried around. I haven't read the last of Heinrich von Kleist.

  • Kidsbookworm
    2019-01-21 21:26

    I only had time to read The Marquise of O and none of his other stories, but I hunted it down because I heard that it was quite good. Kleist is not well known, at least in the States; I read about Kleist in a book for writers by Francine Prose. (now, isn't that a perfect writer's name!) It was also interesting to read a book where the females are not the ones fawning all over a man in an effort to snag a husband. You have the whole mystery from the very beginning, including the essential piece of information, but still Kleist weaves a story that keeps you turning pages until the end. I kept reminding myself that this story was written in the early 1800's - not the topic that you'd expect from that era. In today's world, the characters are not believable, nor is the plot, but that doesn't keep an older person from enjoying the story.

  • Adrian Stumpp
    2019-01-28 19:46

    The hero of this novella rapes the heroine in the opening pages and by the end is thoroughly likeable. A weird gothic tale of redemption in which every twist and turn is completely implausible but the lasting impact on the reader is one of utter believability. Another difficult experience to describe, but I like the novella very much and recommend it emphatically to everyone. In particular, von Kleist has a genius for endings that surprise, challenge, mystify, and though it is subdued, ellucidate. The effect is startling and highly agreeable. While the title novella is the clear highlight, the other two novellas, "The Earthquake in Chile" and "The Foundling" are also enjoyable and stand up very well on their own merits.

  • Annika
    2019-01-20 17:33

    I'm not quite sure yet where to put this one. It wasn't an unpleasant read, but I'm rather baffled by how the lady in question (the Marquise of O) so matter-of-factly marries the man who obviously raped her while she was unconscious... how she could even consider it. I'd probably have ripped his nuts off instead... but you never know - - - I do wonder though, whatever was going on in those minds? And probably still is, in some cases. Very generally speaking... Confusing, I know. Like I said, it baffled me. I'm bereft of words to describe my reaction to this one.The rest is silence.

  • Philipp
    2019-02-14 15:41

    My first Kleist. I'm so proud.After Coetzee and Auster raved about it in their letters to each other, I figured I'd give it a read. What an opening! - she places an ad in the paper saying she'd marry the man who will come forward and admit he got her pregnant. (Novella was published in 1808, btw.)But then several things don't really hang together for me. (Identity of impregnator not very mysterious; reconciliation with father super-creepy.)Still, despite endlessly convoluted sentences, it moves forward well.

  • Intortetor
    2019-01-20 18:51

    racconto interessante, che già sembra prevedere i meccanismi della psicoanalisi: di un classico così famoso cosa vuoi dire di più, come puoi valutarlo? e quindi le cinque stelline vanno all'ottima introduzione di rossana rossanda e alle note conclusive di maria fancelli, perfette nell'illuminare ogni sfumatura della novella: semplicemente una lezione su come si deve pubblicare un classico.

  • ➸ Gwen de Sade
    2019-02-09 21:25

    this story is just so deep and perfect :) I love Heinrich von Kleist!The romance in this touches your heart while Kleist leaves you with an unsolved mystery - really enthralling. You get that a crime has been committed, but you don't know what exactly happened. It's a drama about disbelief and innocence with unexpected twists :-) I really loved every page of it!

  • Katie Kempski
    2019-02-11 20:45

    I love any book that makes me struggle between what I want to happen and I what I know should happen. (view spoiler)[While I know that the Count raped her, but near the end, I couldn't stop myself from wondering why she refused to marry this guy who loved her so. (hide spoiler)] Von Kleist never ceases to amaze.

  • Javier Jiménez
    2019-01-21 22:54

    Esta edición está llena de faltas de ortografía, lo cual me hace dudar bastante de la calidad de la traducción. No sé si sea precisamente debido a la traducción, pero siento el ritmo de la historia muy lento y nunca llega a interesarme por completo la trama. Lo más rescatable es la parte en la que el padre se reconcilía con la hija de una forma apasionada y algo tenebrosa.

  • Lukáš Palán
    2019-01-30 21:41

    Stravitelná jednohubka, která je o buchtě, kterou někdo znásilní a otěhotní a ona neví kdo a nakonec si uvědomí kdo to udělal a vezme si ho, LOL. V minulých stoletích asi skandální dílo, ale teď už se to u nás na vesnici děje běžně, Spacák takhle dokonce sbalil dvě holky, takže jsem z toho nebyl vůbec paf.

  • Dan Cohen
    2019-01-28 19:42

    I enjoyed this story a lot. The writing style is very peculiar, with a sort of abruptness and directness that makes it both exciting and intriguing. I can't help thinking that we would all benefit by the adoption of writing styles inspired by Heinrich von Kleist. Fascinating insight into the culture of the early 19th century.