Günter Grass

WITH A NEW FOREWORD BY THE AUTHOROn his third birthday Oskar decides to stop growing. Haunted by the deaths of his parents and wielding his tin drum Oskar recounts the events of his extraordinary life; from the long nightmare of the Nazi era to his anarchic adventures is post-war Germany.

Una joya in dita del Premio Nobel G nter Grass en el d cimo aniversario de su fallecimiento. La estatua, descubierta en un caj n polvoriento, ha causado «un peque o revuelo literario . (Schw bische)«Entre los inmortales .--Salman Rushdie, The New Yorker «Una escritura exquisita . --The New York Review of Books Cuando le preguntaron con qu mujer de la historia del arte le gustar a cenar, Umberto Eco contest sin dudar Uta de Naumburgo, considerada durante siglos la mujer m s bella de la Edad Media y acusada de brujer a durante su corta vida. En una gira de lecturas por la antigua RDA a finales de los a os ochenta, Grass ve la estatua de Uta por primera vez en la catedral de Naumburgo, hoy Patrimonio de la Unesco, y queda embobado por su belleza y realismo. Su figura, idealizada por el nazismo e inspiraci n para que Walt Disney creara la madrastra de Blancanieves, se caracteriza por un gesto nico para el siglo XIII: con la mano derecha levanta el cuello de su preciosa t nica con un aire de misterio, casi como para ocultarse de alguien. Grass recurre en este libro al tradicional recurso del convidado de piedra invitando a cenar en su jard n a la hija de un orfebre que hizo de modelo para la estatua. Sin embargo, en un atrevido salto en el tiempo, Uta sigue apareci ndose en m s ciudades durante sus viajes, sorprendiendo al narrador enamorado, que la busca por todas partes, y convirtiendo sus siguientes giras en un verdadero desastre, hasta la ca da del Muro y sus consecuencias. ENGLISH DESCRIPTION A newly discovered and translated jewel of a story from the Nobel laureate, now published for the ten-year anniversary of his death. At the end of the 1980s, a writer on a book tour, who very much resembles Grass, passes through East Germany and visits the Cathedral of Naumburg with its famous twelve donor statues. He invites the sculptor's models to dinner―and they come, not as ghosts, but as they were when alive in the thirteenth century. Toward the end of dinner, after drinking an icy Coca-Cola, the model for the famed beauty Uta von Naumburg declares she has to go to work: a living statue. As he continues touring around Europe, the writer looks for Uta and her donation basket outside every cathedral he passes. At last, in Frankfurt, he sees her in front of Deutsche Bank and the two have a meeting with staggering consequences. As Grass said, "on paper everything is possible," and in this tale he gleefully erases the line between life and death, present and past.

Da Umberto Eco blev spurgt hvilken kvinde inden for kunsthistorien han gerne ville spise middag med, svarede han uden at tøve Uta af Naumburg, som i århundreder blev betragtet som middelalderens smukkeste kvinde.På en oplæsningsturné i DDR i slutningen af 1980’erne finder fortælleren hende, middelalderens smukkeste kvinde, sammen med elleve andre statuer i Naumburgs domkirke. Og fordi alt er muligt på skrift inviterer han alle dem, som i det 13. århundrede har stået model til statuerne, til middag i sin have.Bogen er et efterladt manuskript som blev fundet i Günter Grass’ arkiv, og Levende statuer er en hidtil ukendt, subtil fortælling af den nobelprisvindende forfatter, som selv har illustreret bogen.

At the end of the 1980s, a writer who very much resembles Günter Grass passes through East Germany on a book tour and visits the Cathedral of Naumburg with its famous twelve donor statues. He invites the sculptor's models to dinner—and they come, not as ghosts, but just as alive as they were in the thirteenth century. Toward the end of dinner, after drinking an icy Coca-Cola, the model for the famed beauty Uta von Naumburg declares she has to go to work: she's a living statue. As he continues touring around Europe, the writer looks for Uta and her donation basket outside every cathedral he passes. At last, in Frankfurt, he sees her in front of a Deutsche Bank and the two have a meeting with staggering consequences. As Grass said, “on paper everything is possible”, and in this tale he gleefully erases the line between life and death, present and past.

Kogda Umberto Eko sprosili, s kakoj zhenschinoj iz mirovoj istorii iskusstva on khotel by provesti vecher, on nazval Utu Naumburgskuju. Rasskazchik etoj istorii, nobelevskij laureat Gjunter Grass, razdeljaet eto mnenie. Vo vremja pisatelskogo tura po GDR v kontse 1980 kh godov on vidit ejo vmeste s odinnadtsatju drugimi figurami donatorov v Naumburgskom sobore. A poskolku na bumage vozmozhno vsjo, on reshaet priglasit vsekh tekh, po chemu podobiju khudozhnik sozdal v XIII veke realistichnye skulptury, otobedat v ego sadu. Neozhidanno oblik Uty vstrechaetsja emu realno v dne segodnjashnem - na ploschadjakh Kjolna, Milana i Frankfurta. Grass sleduet za nej povsjudu, ischet vstrechi. Kakoj ona javitsja emu segodnja? O chjom oni budut govorit? Istorija, iznachalno zadumannaja kak glava dlja knigi "Lukovitsa pamjati", byla obnaruzhena v arkhive Grassa ego sotrudnitsej Khilke Ozoling sovsem nedavno. Teper, uzhe posle smerti avtora, eta novella, proilljustrirovannaja avtorskoj grafikoj, uvidela svet.

Stikhotvorenija i grafika Gjuntera Grassa, sobrannye v etom izdanii, byli sozdany v Danii v kontse leta 2006 goda. Oni predstavljajut soboj khudozhestvennuju reaktsiju Gjuntera Grassa na diskussiju, razgorevshujusja v SMI vokrug publikatsii ego memuarov "Lukovitsa pamjati". Tak, iz razroznennykh emotsij i vpechatlenij, pojavilas kniga - art-obekt, gde tekst i illjustratsii obrazujut nerazryvnoe tseloe.

Bitter and impassioned, The Tin Drum delivers a scathing dissection of Germany and Poland under the Nazis.On his third birthday Oskar decides to stop growing. Haunted by the deaths of his parents and wielding his tin drum Oskar recounts the events of his extraordinary life; from the long nightmare of the Nazi era to his anarchic adventures in post-war Germany.'Grass is one of the master fabulists of our age' The TimesTRANSLATED BY BREON MITCHELLWITH AN INTRODUCTION BY THE AUTHORThis series of war novels from Vintage Classics presents eight powerful stories about the horror and waste of war - each a passionate plea to prevent its repetition.

Glavnomu geroju, uchitelju nemetskogo jazyka i istorii Eberkhardu Shtarushu, predstoit tselaja chereda stomatologicheskikh operatsij, a vrachi mestnoj kliniki schitajut, chto prosmotr televizora otvlekaet patsientov ot boli, poetomu Shtarush provodit dolgie chasy za prosmotrom teleperedach. Razmyshlenija o proshlom slivajutsja v golove Shtarusha s informatsiej o tekuschej obstanovke v strane, zhizn tselogo pokolenija prokhodit pered ego glazami...XX vek. Vek bed, krovoprolitija, souchastija i ravnodushija, somnenij i boleznennykh perezhivanij - vot o chem nepreryvno dumaet Shtarush, vnov i vnov zadavajas voprosom: mozhet li obschestvo, slovno prilezhnyj uchenik, uchitsja na svoikh oshibkakh?

"Sobachi gody" - zakljuchitelnyj roman "Dantsigskoj trilogii" Gjuntera Grassa. On osmysljaet istoriju Germanii pervoj poloviny i serediny XX veka: predvoennoe vremja, zarozhdenie i rastsvet natsizma, vojnu, poslevoennye gody i period nemetskogo "ekonomicheskogo chuda". Povestvovanie v kazhdoj iz chastej romana vedetsja ot litsa odnogo iz personazhej: Eddi Amzelja - "zhertvy", Kharri Libenau - "svidetelja" i Valtera Materna - "prestupnika", kazhdyj iz kotorykh po-svoemu vosprinimaet proiskhodjaschee. Grotesknye obrazy, sjuzhety i allegorii, pronizyvajuschie povestvovanie, otrazhajut tragicheskuju paradoksalnost epokhi. Catira stanovitsja dlja Grassa edinstvennym sredstvom, sposobnym pokazat bezumie obschestva, kotoroe vzrastilo, a zatem otritsalo uzhas Tretego rejkha.

"Zhestjanoj baraban" - odin iz vazhnejshikh romanov sovremennosti, voshedshikh v poslevoennyj kanon evropejskoj literatury, vpervye byl izdan v 1959 godu. Ego geroj - "malenkij chelovek" Oskar Matserat, detstvo kotorogo prikhoditsja na gody zarozhdenija natsional-sotsializma. Osoznavaja absurdnost dejstvitelnosti, on reshaet perestat rasti i otkazyvaetsja stanovitsja vzroslym. Ego postojannyj sputnik - zhestjanoj baraban: otbivaja na nem ritm, Oskar vyrazhaet svoe otnoshenie k okruzhajuschemu. Bezzhalostnym, sarkastichnym i v to zhe vremja pronitsatelnym vzgljadom nabljudatelja "snizu" pokazana zhizn v Tretem rejkhe, atmosfera mira obyvatelej, porozhdajuschaja ravnodushie ko vse vozrastajuschemu strashnomu zlu. Roman, v grotesknoj forme otrazivshij istoriju Germanii XX veka, prines svoemu avtoru mirovuju izvestnost.

Koshki-myshki" - vtoraja kniga "Dantsigskoj trilogii" Gjuntera Grassa, opublikovannaja vskore posle romana "Zhestjanoj baraban". V tsentre povestvovanija - istorija podrostka Joakhima Malke, che detstvo i junost prokhodjat v voennom Dantsige, v militaristskoj atmosfere, proniknutoj dukhom natsional-sotsializma. Vsemi preziraemyj autsajder, Malke pytaetsja izmenit otnoshenie okruzhajuschikh k sebe i zasluzhit slavu geroja, no terpit porazhenie. Dazhe poluchennaja im nagrada - Rytsarskij krest - ne pomogaet obresti priznanie. Grotesknaja istorija priobretaet tragicheskie tona i oborachivaetsja dlja geroja zhestokim razocharovaniem. Sam Grass pojasnjaet ee tak: "Istorija s Malke razoblachaet tserkov, shkolu, kult geroja - vse obschestvo. V ego sluchae vse okazalos nesostojatelnym".

”Peltirumpu on irvokas, villi, röyhkeä; mahdoton ja hauska, rivo ja elämänmyönteinen. Ottakaa ja syökää!” – Pentti SaarikoskiGünter Grassin vuonna 1959 ilmestynyt erikoisromaani on toisen maailmansodan jälkeisen kirjallisuuden ylittämättömiä saavutuksia, kuolematon klassikko.Grassille Peltirumpu merkitsi maailmansotien välisen ajan ja ensimmäisten rauhanvuosien tilinpäätöstä.Ihmisten välinpitämättömyyttä illuusiottomasti kuvaavan romaanin päähenkilö Oskar Matzerath päättää lopettaa kasvamisen kolmevuotiaana. Peltirumpu aarteenaan Oskar rummuttaa kertomuksensa läpi Euroopan mullistusten, natsiajan ja toisen maailmansodan – läpi koko aikuisten tekopyhän maailman, armoa antamatta.