House of the Spirits
(Sprache: Englisch)
Eine Familiensage des 20. Jahrhunderts, in der die wechselhafte Geschichte des chilenischen Patriarchen Esteban Trueba und der Frauen seines Hauses erzählt wird. Der Erfolg dieses Buches ist dem hinreißenden Erzähltemperament Isabel Allendes zu verdanken:...
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Eine Familiensage des 20. Jahrhunderts, in der die wechselhafte Geschichte des chilenischen Patriarchen Esteban Trueba und der Frauen seines Hauses erzählt wird. Der Erfolg dieses Buches ist dem hinreißenden Erzähltemperament Isabel Allendes zu verdanken: Souverän, mit Phantasie und Witz, mit Zärtlichkeit und Ironie malt die Autorin das große, bunte Tableau einer Familie über vier Generationen hinweg.
Klappentext zu „House of the Spirits “
Here, in an astonishing debut by a gifted storyteller, is the magnificent saga of proud and passionate men and women and the turbulent times through which they suffer and triumph. They are the Truebas. And theirs is a world you will not want to leave, and one you will not forget.Esteban -- The patriarch, a volatile and proud man whose lust for land is legendary and who is haunted by his tyrannical passion for the wife he can never completely possess.
Clara -- The matriarch, elusive and mysterious, who foretells family tragedy and shapes the fortunes of the house of the Truebas.
Blanca -- Their daughter, soft-spoken yet rebellious, whose shocking love for the son of her father's foreman fuels Esteban's everlasting contempt... even as it produces the grandchild he adores.
Alba -- The fruit of Blanca's forbidden love, a luminous bearty, a fiery and willful woman... the family's break with the past and link to the future.
Lese-Probe zu „House of the Spirits “
Chapter OneRosa the Beautiful
Barrabás came to us by sea, the child Clara wrote in her delicate calligraphy. She was already in the habit of writing down important matters, and afterward, when she was mute, she also recorded trivialities, never suspecting that fifty years later I would use her notebooks to reclaim the past and overcome terrors of my own. Barrabás arrived on a Holy Thursday. He was in a despicable cage, caked with his own excrement and urine, and had the lost look of a hapless, utterly defenseless prisoner; but the regal carriage of his head and the size of his frame bespoke the legendary giant he would become. It was a bland, autumnal day that gave no hint of the events that the child would record, which took place during the noon mass in the parish of San Sebastián, with her whole family in attendance. As a sign of mourning, the statues of the saints were shrouded in purple robes that the pious ladies of the congregation unpacked and dusted off once a year from a cupboard of sacristy. Beneath these funereal sheets the celestial retinue resembled nothing so much as a roomful of furniture awaiting movers, an impression that the candles, the incense, and the soft moans of the organ were powerless to counteract. Terrifying dark bundles loomed where the life-size saints had stood, each with its influenza-pale expression, its elaborate wig woven from the hair of someone long dead, its rubies, pearls and emeralds of painted glass, and the rich gown of a Florentine aristocrat. The only one whose appearance was enhanced by mourning was the church's patron saint, Sebastián, for during Holy Week the faithful were spared the sight of that body twisted in the most indecent posture, pierced by arrows, and dripping with blood and tears like a suffering homosexual, whose wounds, kept miraculously fresh by Father Restrepo's brush, made Clara tremble with disgust.
It was a long week of penitence and fasting, during which there were no card games and no
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music that might lead to lust or abandon; and within the limits of possibility, the strictest sadness and chastity were observed, even though it was precisely at this time that the forked tail of the devil pricked most insistently at Catholic flesh. The fast consisted of soft puff pastries, delicious vegetarian dishes, spongy tortillas, and enormous cheeses from the countryside, with which each family commemorated the Passion of the Lord, taking every precaution not to touch the least morsel of meat or fish on pain of excommunication, as Father Restrepo had repeatedly made clear. No one had ever dared to disobey him. The priest was blessed with a long, incriminating finger, which he used to point out sinners in public, and a tongue well schooled in arousing emotions.
"There's the thief who steals from the collection box!" he shouted from the pulpit as he pointed to a gentleman who was busying himself with the lint on his lapel so as not to show his face. "And there's the shameless hussy who prostitutes herself down by the docks!" he accused Doña Ester Trueba, disabled by arthritis and a devotee of the Virgin del Carmen, who opened her eyes wide, not knowing the meaning of the word or where the docks were. "Repent, sinners, foul carrion, unworthy of our Lord's great sacrifice! Fast! Do penance!"
Carried away by vocational zeal, the priest had all he could do to avoid openly disobeying the instructions of his ecclesiastic superiors, who, shaken by the winds of modernism, were opposed to hair shirts and flagellation. He himself was a firm believer in the value of a good thrashing to vanquish the weaknesses of the soul and was famous for his unrestrained oratory. The faithful followed him from parish to parish, sweating as he described the torments of the damned in hell, the bodies ripped apart by various ingenious torture apparatuses, the eternal flames, the hooks that pierced the male member, the disgusting reptiles that crept up female orificie
"There's the thief who steals from the collection box!" he shouted from the pulpit as he pointed to a gentleman who was busying himself with the lint on his lapel so as not to show his face. "And there's the shameless hussy who prostitutes herself down by the docks!" he accused Doña Ester Trueba, disabled by arthritis and a devotee of the Virgin del Carmen, who opened her eyes wide, not knowing the meaning of the word or where the docks were. "Repent, sinners, foul carrion, unworthy of our Lord's great sacrifice! Fast! Do penance!"
Carried away by vocational zeal, the priest had all he could do to avoid openly disobeying the instructions of his ecclesiastic superiors, who, shaken by the winds of modernism, were opposed to hair shirts and flagellation. He himself was a firm believer in the value of a good thrashing to vanquish the weaknesses of the soul and was famous for his unrestrained oratory. The faithful followed him from parish to parish, sweating as he described the torments of the damned in hell, the bodies ripped apart by various ingenious torture apparatuses, the eternal flames, the hooks that pierced the male member, the disgusting reptiles that crept up female orificie
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Autoren-Porträt von Isabel Allende
Born in Peru, Isabel Allende is Chilean. She was a journalist for many years and began to write fiction in 1981. The result was the worldwide bestseller The House of the Spirits, which was followed by the equally successful Of Love and Shadows, Eva Luna, The Stories of Eva Luna, and Daughter of Fortune . Long a resident of Caracas, she now makes her home in San Rafael, California.From the Trade Paperback edition.
Bibliographische Angaben
- Autor: Isabel Allende
- 1986, 448 Seiten, Maße: 10,6 x 17,6 cm, Kartoniert (TB), Englisch
- Übersetzer: Magda Bogin
- Verlag: Bantam Books
- ISBN-10: 0553273914
- ISBN-13: 9780553273915
Sprache:
Englisch
Pressezitat
"Extraordinary... Powerful... Sharply observant, witty and eloquent." -- Christopher Lehmann-Haupt, The New York Times"Mesmerizing... A novel of force and charm." -- The Washington Post
"That rarest of successes -- a book about one family and one country that is a book about the world and becomes the world in a book." -- Cosmopolitan
"Nothing short of astonishing... In The House Of The Spirits Isabelle Allende has indeed shown us the relationships between past and present, family and nation, city and country, spiritual and political values. She has done so with enormous imagination, sensitivity, and compassion." -- Jane Futcher, San Francisco Chronicle
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