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Okt. Harmlos oder herausfordernd? Unterscheidet sich ein Treffen mit dem Ex nach mehreren Jahren von der Begegnung kurz nach der Trennung?.

Jan 08, Mark Hebwood rated it it was amazing Shelves: I do not often give 5 stars to a book, but this one impressed me. Daniel presents his material in nine interlinked brief stories. Often, the links between the stories are embedded in one fictional "layer", and we encounter the main character of one story as a side character in another, and vice versa.

This device, in the way I read the novel, created an effect as if I the reader was empowered to look at an event, or the personality of a character, in two ways. When I encountered a character as I do not often give 5 stars to a book, but this one impressed me. When I encountered a character as the protagonist of its chapter, I inhabited the character's mind from the inside. When, later on, I inhabited the thoughts of a different protagonist, in a different chapter, I observed the protagonist of an earlier chapter with external eyes.

Daniel constantly swapped internal and external views of characters in the novel, and I ended up asking myself which view reflected "reality"? Is it the view a character has of himself?

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Or is it the view others have of him? And of course, we have not seen these flips in perspective for the first time - Daniel loves thinking about internal and external realities, indeed, he explored this theme also in Mahler's Zeit. But I don't think Daniel achieved a mastery of the level shown in Ruhm in his earlier work, so this technique is spot on here.

This would be impressive enough, in my view, but I have only scratched the surface. Often, the links are of a more fundamental, deeper kind. In one story, the main character starts interacting with the story's narrator. This is amusing and a joy to read, but it also cleverly connects two, normally separate, layers of fiction. A narrator stands above the characters in a story, it does not normally interact with them. Fair enough.

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But in a later story this narrator is identified as Leo, a writer and protagonist in the first story. And this is where it is starting to get truly weird. A fictional character in the first story is the narrator of a later story. Therefore, that later story is fiction of fiction, it is, if you forgive me the jargon, metafiction.

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Indeed, in that story, we encounter somebody called Lara in a telephone conversation which she conducts from San Francisco, in America why the location is important will become clear in a moment. Lara is a character who we know to be Leo's creation in one of his novels. So the fictional Leo writes a story from the point of view of the reader, this story has revealed itself as a "metastory" on finishing Daniel's novel in which he has his meta-fictional protagonist interact with another one of his meta-fictional characters, taken from a different meta-fictional novel.

And if that was not confusing enough, in the final chapter we encounter Leo again. In this chapter, however, he meets Lara, his own fictional creation, as she emerges from a tent, the scene set in an African country. Leo's girlfriend, who is with him, is surprised, as she thought Lara was in the US. So now we have the fictional Leo interact with his own fictional creation, and his fictional girlfriend referring to the fictional location that fictional character Lara in the US was identified to inhabit in a completely different chapter of Daniel's novel. So who's real now?

Or better, who's fictional, and who is meta-fictional? Leo's fictional, and Lara is meta-fictional. But if that is so, how can Leo interact with her - he also needs to be meta-fictional. Which would be an issue, as in that case the fictional story in which his character interacts with him would be one further fictional layer removed, and become meta-square-fictional. And is his girlfriend fictional as she interacts with Leo or meta-fictional as she interacts with Lara? Who knows - she's both, really, she's in a state of superposition between fiction and meta-fiction.

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This is a novel in which fictional and meta-fictional layers blend, fold in on themselves, separate and re-join like the neck of a four-dimensional Klein bottle. This is a masterful novel that plays with analogues of reality and fiction within a work of literature, and in doing so, reflects on the nature of reality itself. The only, minor, criticism that I have is that Daniel drops a needlessly heavy hint that this is what his novel is about in the final chapter.

Without Leo's blunt reference to "stories within stories within stories" p in my edition , Daniel's caleidoscopic journey through the ephemeral nature of reality would have been pretty much perfect. View all 8 comments. Oct 18, Sophie VersTand rated it liked it Shelves: Dadurch entsteht für mich allerdings kein stringentes Romankonzept, so ist's wohl auch gewollt.

Jedes Einzelteil greift Elemente der vorigen auf, so geht es beispielsweise oft um Tod, eine Reise, Ängste, schwierige Beziehungen und das Ausbrechen aus dem eigenen Leben, um jemand anderes zu werden. Leider gefielen mir nur der Geschichten wirklich. Manche sind sprachlich völlig über- oder untertrieben, da werden für einen Satz kaum mehr als 3 Wörter verwendet, was den Lesefluss extrem staccatohaft machte. Zudem existiert in gefühlt jeder Geschichte irgendeine wahllose, sinnlose Sexszene, die man einfach nicht lesen möchte. Animalisches Gehabe bei solcherlei Beschreibungen trifft leider nicht meinen Nerv.

Man kann es lesen, aber für mich war es keinerlei Offenbarung oder Novität. Sprachlich vor allem eher enttäuschend, Konzept des Ganzen aber spannend. Oct 24, Noah rated it it was ok Shelves: Würde er sich damit nicht messen lassen müssen, könnten es vielleicht auch 3 Sterne sein. Im Endergebnis haftet diesen 9 Kurzgeschichten aber nichts an, was dauerhaft im Gedächtnis bleiben wird, ein paar interessante Charakterstudien und eine manchmal unterhaltsame Art Autoren mit ihren literarischen Figuren interagieren zu lassen, dabei aber zu viel gewollte Komik, die nicht zündet und viele literarische Ideen, die man schon mal an anderen Orten gelesen hat.

Jan 25, Jenni rated it liked it.


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Wechselspiel zwischen Handlungs- und Metaebene, Story leider etwas konventionell geraten Sterbehilfe ist irgendwie ein ausgelutschtes Thema , 2 Sterne 4 "Der Ausweg" 1 "Stimmen": Wechselspiel zwischen Handlungs- und Metaebene, Story leider etwas konventionell geraten Sterbehilfe ist irgendwie ein ausgelutschtes Thema , 2 Sterne 4 "Der Ausweg": Kehlmann widersteht erneut nicht dem Drang, seine Figur bis fast ins letzte Detail direkt zu charakterisieren "Sein graues Brusthaar war feiner als früher, seine Figur aber trotz seiner vierundsechzig Jahre durchtrainiert, der Bauch so flach, wie man es nur bei Leuten sieht, die einen persönlichen Fitnesstrainer beschäftigen Was für eine anstregende Geschichte.

Die Idee ist ja ganz nett, aber Kehlmann übertreibt total oder wie er sagen würde: Einfach nur nervig. Quasi-Fortsetzung der zweiten Geschichte, die die Klischeehaftigkeit der Charaktere immer noch nicht aufzuheben vermag. Dafür aber referriert die Geschichte auf das gesamte Werk und seine Konstruktion: Nur in Büchern sind sie säuberlich getrennt. Die Kurzgeschichten sind teilweise unspektakulär und kommen nicht immer ohne Klischees sowohl in Bezug auf Charaktere wie auf die Story aus.

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Gelungen sind dagegen die Verflechtungen der Geschichten zu einer einzigen. Das macht das Buch lesenswert. Jul 30, Patrick rated it did not like it. Literatur für Anfänger. Ach wirklich?! Ich hab's verstanden, und ich bin froh drüber. May 03, Petya rated it really liked it Shelves: Stories about stories, but this one I liked. I think of myself as short story intolerant , because I have a hard time getting and keeping a feeling about a plot, and if it's a short one, there are usually lots of missing pieces too, so it gets even more confusing On the other hand, if it turns out to be a good short story, I feel too lousy when it ends so quickly.

But these stories are joined together. Not only are there interrelations among their protagonists, but they are also inse Stories about stories, but this one I liked. Not only are there interrelations among their protagonists, but they are also inseparably connected to reality, so that reality and irreality lose their inherent meanings and suddenly, everything is a story.

They are places of imagination that exist multiply - like in that movie The Cube but without the murders - like countless cubical spaces connected to each other through one another, some real, some not, and moving constantly, changing the constellation. And while we are in any one cube, we cannot say where it is in the big picture.

Nor can anyone tell us if we are characters, writers or readers, because everyone is in this same cube with this at any given time. Something like that. It's fun to read, it's liberating in the presumption that we can choose our reality - just as some say they can alter and steer their own dreams.

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In addition, this is my second read by Kehlmann and I really like his writing style, even though Measuring the World handled a completely different theme. Here he simply amazes me, he doesn't get anything confused and messed up, he is consequent, disciplined and yet so very inventive and unconventional.

The stories becomes so present that it doesn't matter whether Rosalie, Lara Gaspard or Kehlmann are real because he speaks in the first person in two stories but as an author and then as a protagonist - they could be here, I could have seen them, I could be them. He himself explains it best near the end of the story about Rosalie which is also my favourite one: Loving every word.