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jose_jose's review against another edition
adventurous
dark
emotional
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
5.0
angeladobre's review against another edition
4.0
https://booknation.ro/recenzie-trilogia-gemenilor-de-agota-kristof/
bernie4evah's review against another edition
dark
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.75
vale_ns's review against another edition
dark
emotional
reflective
sad
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
jenniref's review against another edition
dark
sad
medium-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
ediej's review against another edition
challenging
emotional
reflective
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
aykanatilgan's review against another edition
4.0
Hani yazmayayım diyorum ama bu kitapta beni rahatsız eden "derin" bir şey var. Bir tarafta Nemecek var, diğer tarafta lukas/klaus. Bir tarafta Ferenc Molnar, diğer tarafta Kristof. Kimse kusura bakmayacaksa ben Nemecek'in tarafındayım.
bobbygw's review against another edition
5.0
Though published as a trilogy, this is effectively one novel, fragmented into three parts, written by an unreliable narrator. The first part, which won two prestigious European literary awards and was Kristof's debut novel, published when the author was 51, is so utterly astonishing and brilliantly written - in the voice of a moral fable and using beautifully simple, compelling language - that it drives the whole narrative of a troubling conflict both psychological and circumstantial.
It's written, as they all are, from a first person narrator viewpoint. What's remarkable is the pure clarity of voice and language and - most importantly - the absence of judgement and conventional, socially acceptable behaviour.
With the onslaught of WW2, in an unnamed Hungary, identical twin brothers C(K)laus and Lucas record an objective narrative of each day or days of significance that each agrees must be dependent solely on fact. Any emotional, moral or adjectival judgement or even sentiment in their respective stories is eliminated by the brothers.
Only once both approve of each other's handwritten version (the day's events being transcribed by each on a daily basis and every script is swapped between the brothers to be evaluated by each in turn), the best one (ie objective, without judgement) is then transcribed and only then written up in The Notebook.
Their purity of purpose and determination to lead lives grounded in their own way, extends to them deciding to strip themselves of emotion as they learn to disregard and be invulnerable to the devastating consequences of war. They also choose to act on occasion in ways that threaten and harm those who harm others, and always based upon their own distinctive, yet always logical, moral code. As a metaphor for the impact of war on children it's a powerful and compelling one.
The more you read, the more troubling the story, yet the more enriched and nuanced the story becomes.
The trilogy resonates in a framework of war and its concomitant troubles and horrors. Limbs and people destroyed, antisemitism wreaked, loved ones blown apart. Life goes on, but always the factual narrative strips life of value and meaning. Yet the brothers survive, though it's clear they're not in any meaningful way living. There's no joy felt or shared, and the tone becomes increasingly despairing and melancholic, as WW2 transitions to what is clearly meant to be Russia's occupation of the country.
To describe the plots would be to undermine the intensity of loss, sadness, disorientation and trauma of war inflicted upon the narrator(s). What matters most is the extraordinary perspective of the brothers/unreliable narrator.
It's a troubling, powerful, moving story, driven by conflict, often disturbed and disorientating. It never resolves, which, given the subject matter of loss, is surely a morally honest conclusion and one free from false sentiment.
It's written, as they all are, from a first person narrator viewpoint. What's remarkable is the pure clarity of voice and language and - most importantly - the absence of judgement and conventional, socially acceptable behaviour.
With the onslaught of WW2, in an unnamed Hungary, identical twin brothers C(K)laus and Lucas record an objective narrative of each day or days of significance that each agrees must be dependent solely on fact. Any emotional, moral or adjectival judgement or even sentiment in their respective stories is eliminated by the brothers.
Only once both approve of each other's handwritten version (the day's events being transcribed by each on a daily basis and every script is swapped between the brothers to be evaluated by each in turn), the best one (ie objective, without judgement) is then transcribed and only then written up in The Notebook.
Their purity of purpose and determination to lead lives grounded in their own way, extends to them deciding to strip themselves of emotion as they learn to disregard and be invulnerable to the devastating consequences of war. They also choose to act on occasion in ways that threaten and harm those who harm others, and always based upon their own distinctive, yet always logical, moral code. As a metaphor for the impact of war on children it's a powerful and compelling one.
The more you read, the more troubling the story, yet the more enriched and nuanced the story becomes.
The trilogy resonates in a framework of war and its concomitant troubles and horrors. Limbs and people destroyed, antisemitism wreaked, loved ones blown apart. Life goes on, but always the factual narrative strips life of value and meaning. Yet the brothers survive, though it's clear they're not in any meaningful way living. There's no joy felt or shared, and the tone becomes increasingly despairing and melancholic, as WW2 transitions to what is clearly meant to be Russia's occupation of the country.
To describe the plots would be to undermine the intensity of loss, sadness, disorientation and trauma of war inflicted upon the narrator(s). What matters most is the extraordinary perspective of the brothers/unreliable narrator.
It's a troubling, powerful, moving story, driven by conflict, often disturbed and disorientating. It never resolves, which, given the subject matter of loss, is surely a morally honest conclusion and one free from false sentiment.
sagahrling's review against another edition
5.0
Obehaglig och hemsk på många sätt, huvudkaraktärernas avstånd till allt både ökar och mildrar innehållet. Tre böcker som är omvälvande. Förvirrande och samtidigt tydliga. Mycket man trott motbevisas för att sedan bevisas igen. Fortfarande osäker på exakt vad som är verkligt och inte. Den fastnar!