"My heroes are Ahmet Hamdi Tanpinar, Oguz Atay, and Yusuf Atilgan. I have become a novelist by following their footsteps . . . I love Yusuf Atilgan; he manages to remain local although he benefits from Faulkner's works and the Western traditions."--Orhan Pamuk
"Motherland Hotel is a startling masterpiece, a perfect existential nightmare, the portrait of a soul lost on the threshold of an ever-postponed Eden."--Alberto Manguel
"This moving and unsettling portrait of obsession run amok might have been written in 1970s Turkey, when social mores after Ataturk were still evolving, but it stays as relevant as the country struggles to save the very democratic ideals on which the Republic was rebirthed. . . . brilliant writing . . . "--Poornima Apte, Booklist, Starred Review
"Turkish writer Atilgan's classic 1973 novel about alienation, obsession, and precipitous decline, nimbly translated by Stark. . . . An unsettling study of a mind, steeped in violence, dropping off the edge of reason."--Kirkus Reviews
"A maladroit loner who runs the seen-better-days Motherland Hotel in a backwater Turkish town, Zeberjet has become obsessed with a female guest who stayed there briefly and frantically anticipates her presumed return. . . . as Zeberjet becomes increasingly unhinged, we're drawn into his dark interior life while coming to understand Turkey's post-Ottoman uncertainty. Sophisticated readers will understand why Atilgan is called the father of Turkish modernism, while those who enjoy dark psychological novels can also appreciate."--Barbara Hoffert, Library Journal
"Yusuf Atilgan gives us a wonderful, timeless novel about obsession, with an anti-hero who is both victim and perpetrator, living out a life 'neither dead nor alive' in a sleepy Aegean city. Motherland Hotel is an absolute gem of Turkish literature."--Esmahan Aykol, author of Divorce Turkish Style
"Motherland Hotel presents a portrait of a solitary life sheltered in a corner of Turkey in the 1970s, but when a guest fails to return as promised, the novel becomes a powerful story of loneliness and obsession. Yusuf Atilgan, like Patrick Modiano, demonstrates how the everyday can reflect larger passions and catastrophes. Beautifully written and translated, Motherland Hotel can finally find the wider audience in the west that it deserves."--Susan Daitch, author of The Lost Civilization of Suolucidir
Zeberjet, the last surviving member of a once prosperous Ottoman family, is the owner of the Motherland Hotel, a run-down establishment a rundown establishment near the railroad station. A lonely, middle-aged introvert, his simple life is structured by daily administrative tasks and regular, routine sex with the hotel's maid. One day, a beautiful woman from the capital comes to spend the night, promising to return "next week," and suddenly Zeberjet's insular, mechanical existence is dramatically and irrevocably changed. The mysterious woman's presence has tantalized him, and he begins to live his days in fevered anticipation of her return. But the week passes, and then another, and as his fantasies become more and more obsessive, Zeberjet gradually loses his grip on reality.
Motherland Hotel was hailed as the novel of the year when it was published in 1973, astonishing critics with its experimental style, its intense psychological depth and its audacious description of sexual obsession. Zeberjet was compared to such memorable characters as Quentin Compson in Faulkner's The Sound and the Fury and Meursault in Albert Camus' The Stranger. While author Yusuf Atilgan had already achieved considerable literary fame, Motherland Hotel cemented his reputation as one of Turkey's premier modernists.
Yusuf Atilgan (27 June 1921, Manisa - 9 October 1989, Istanbul) was a Turkish novelist and dramatist, best known for his novels Aylak Adam (The Flâneur) and Anayurt Oteli (Motherland Hotel). A pioneer of the modern Turkish novel, Atilgan’s work, in dealing with the existential crises of human beings, probes the depths of human psychology. After graduating from Istanbul University’s Turkish Language and Literature Department, he moved back to the town of Manisa, where he took up writing. His novelAylak Adam was published in 1959, followed in 1973 by Anayurt Oteli, which gained further fame when a film based on the novel was made in 1986. In 1976, he began working in Istanbul as an editor and translator. With his wife Serpil he had a son in 1979 named Mehmet. Atilgan died of a heart attack in 1989 while in the middle of writing a novel titled Canistan, later published in incomplete form. Atilgan is also the author of popular children’s book and a collection of short stories.
Fred Stark is the translator of Bilge Karasu’s A Long Day's Evening (City Lights, 2012),which was shortlisted for the 2013 PEN Translation Prize.
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这本书的文学语言本身就是一种享受,它摆脱了当代小说中常见的直白和口语化倾向,转而采用了一种更为古典、更具雕琢感的风格。每一个句子仿佛都经过了精确的打磨,词汇的选择极其考究,偶尔出现的长句,也处理得如同精美的巴洛克式建筑,层层叠叠却又结构稳固。我尤其欣赏作者对感觉的捕捉能力——那种冷冽的、带着时代印记的触感。比如描述某件旧家具时,用的不是“旧”,而是“被无数只手掌的温度磨去了棱角”这样的表述,瞬间赋予了物体以生命和历史。阅读过程更像是一种与作者智力上的对话,因为书中充满了大量的典故和隐喻,需要读者投入相当的精力去解码。它不是一本可以让你放松地消磨时间的作品,它要求你全神贯注,回报以深度。这种深度,让它远超一般消遣读物的范畴,更像是一件值得收藏和反复品味的艺术品。它让人重新认识到文字的力量,不仅仅在于讲述故事,更在于构建一个可以被全身心投入的宇宙。
评分我对这本作品的结构安排感到由衷的钦佩,因为它成功地将一种古典的、近乎舞台剧的戏剧张力,融入到了一个看似松散的群像叙事之中。整个故事就像是围绕着一个尚未揭晓的谜团展开的,但这个谜团并非关于“谁做了什么”,而更多是关于“为什么会成为这样”。读者被引导着,像一个被默许的旁观者,穿梭于酒店的各个角落:从灯红酒绿的宴会厅到阴暗潮湿的地下室,每走一步,都能感受到一种无形的压力和期待感在积蓄。作者对于场景的营造极具画面感,甚至能让人联想到老派的欧洲电影,那种对光影和阴影的极致运用。我几乎可以想象到,在某些特定的时刻,主角们的声音会如何被高高的拱形天花板吞没。此外,书中对于权力、腐败以及阶层固化的描写,虽然没有直白的政治批判,却通过这些人物在酒店这个“微缩世界”里的互动,展现得淋漓尽致,入木三分。它用一种优雅而冷峻的笔调,揭示了美好表象下支撑着这一切的脆弱与谎言,读来令人不寒而栗。
评分说实话,这本书的节奏感极其独特,初看之下,我甚至觉得有些“慢”,但这种“慢”并非拖沓,而是一种精心设计的、几乎令人窒息的沉浸式体验。它更像是一部慢镜头电影,镜头极其稳定地扫过每一个细节,比如大堂里那架失修的三角钢琴上的灰尘的厚度,侍应生手中托盘倾斜的角度,或是某个固定房间里挂画边缘微微卷曲的状态。作者对环境的描摹达到了近乎偏执的程度,这使得“Motherland Hotel”这个空间本身,成为了一个超越所有角色的、最为重要的角色。我尤其喜欢作者处理时间线的方式——它不是线性的,而是螺旋上升的,过去的幽灵总是在不经意间与当下的困境交织在一起,产生一种奇特的共振。书中对不同阶层人物的细微观察也十分到位,无论是底层员工的卑微与算计,还是上流社会客人的傲慢与空虚,都被精准地捕捉并记录下来,如同显微镜下的切片。这本书需要的不是一目十行,而是需要读者停下来,去品味那些看似无意义,实则暗藏玄机的词语组合。它挑战了我们对传统叙事结构的期待,是一次真正意义上的、深入文本肌理的探索。
评分如果用一个词来概括我的阅读感受,那便是“幽邃”。《Motherland Hotel》构建了一个深不见底的叙事空间,它并不试图去取悦读者,反而更像是在设置一个又一个精妙的陷阱。我发现自己不断地在追问,这个酒店的“核心”究竟是什么?是隐藏在地下室里的秘密交易?还是某个关键人物不为人知的动机?然而,当你以为自己即将触及真相时,作者又会巧妙地将焦点拉回到一个微不足道的日常细节上,比如一张被遗忘的明信片,或者一盏闪烁不定的壁灯。这种处理手法,让整本书充满了张力,一种永恒的、悬而未决的张力。它对人性的观察是残酷而清醒的,那些看似体面的人物,在特定情境下的脆弱、自私和瞬间的爆发力,都被捕捉得丝丝入扣。阅读这本书,就像是走进了一座巨大的迷宫,你走的每一步都充满意义,但出口却似乎永远在视野之外。它留给读者的,不是一个圆满的句号,而是一连串悠长而回味的省略号,促使你在合书之后,依然沉浸其中,久久不能自拔。
评分这本《Motherland Hotel》的文字,像是从陈旧的黑胶唱片里缓缓流淌出来的旋律,带着一种不属于当下的怀旧气息。初读时,我被它那种近乎固执的笔触所吸引,作者仿佛不是在“写”故事,而是在用一种近乎考古学家的耐心,一寸一寸地挖掘着某个早已尘封的年代和场所的记忆。酒店本身,与其说是一个故事发生的背景,不如说是一个活着的、呼吸着的、并且持续衰败的有机体。它承载了太多无言的重量——那些深夜里从走廊尽头传来的脚步声,窗帘背后隐约可见的昏黄灯光,以及空气中弥漫着的,说不清是雪茄烟味还是旧皮革气味的复杂气息。我特别欣赏作者在刻画人物时的那种克制与留白。那些住客,他们的身份、他们的过往,都被笼罩在一层薄薄的、却异常坚固的迷雾之中。你不会得到一个详尽的传记,只会感受到他们眼神中流露出的疲惫与某种坚韧。这种叙事方式,非常考验读者的想象力,它不提供全部的答案,而是提供了一堆精美的碎片,让你自己去拼凑出那幅宏大而略带忧伤的图景。读完之后,合上书页,我感觉自己仿佛真的在那里住了一晚,虽然细节模糊,但那种被历史厚重感包裹的体验,却久久不能散去。这书的语言是精炼的,但情感的密度却大得惊人。
评分讓囿於生的行尸走肉得到解脫,讓囿於等待的人接受孤獨的宿命。刀刀割人心,痛也痛快。| 土耳其現代文學的先驅Yusuf Atilgan,不輸於喬伊斯的意識流,深深影響過帕慕克的作家。中文版籌備策劃中。
评分讓囿於生的行尸走肉得到解脫,讓囿於等待的人接受孤獨的宿命。刀刀割人心,痛也痛快。| 土耳其現代文學的先驅Yusuf Atilgan,不輸於喬伊斯的意識流,深深影響過帕慕克的作家。中文版籌備策劃中。
评分讓囿於生的行尸走肉得到解脫,讓囿於等待的人接受孤獨的宿命。刀刀割人心,痛也痛快。| 土耳其現代文學的先驅Yusuf Atilgan,不輸於喬伊斯的意識流,深深影響過帕慕克的作家。中文版籌備策劃中。
评分讓囿於生的行尸走肉得到解脫,讓囿於等待的人接受孤獨的宿命。刀刀割人心,痛也痛快。| 土耳其現代文學的先驅Yusuf Atilgan,不輸於喬伊斯的意識流,深深影響過帕慕克的作家。中文版籌備策劃中。
评分讓囿於生的行尸走肉得到解脫,讓囿於等待的人接受孤獨的宿命。刀刀割人心,痛也痛快。| 土耳其現代文學的先驅Yusuf Atilgan,不輸於喬伊斯的意識流,深深影響過帕慕克的作家。中文版籌備策劃中。
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