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El chino del dolor

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En las afueras de Salzburgo, separado de su mujer y de sus hijos, un profesor de lenguas muertas vive la vida muerta de la pura contemplación. Pero las cosas suceden, por mucho cuidado que se ponga en evitarlas: un día, en plena calle, Andreas Loser tropieza con un viandante y lo hace caer al suelo. ¿Ha sido un acto intencionado? Si Loser -su voluntad consciente- ha interv En las afueras de Salzburgo, separado de su mujer y de sus hijos, un profesor de lenguas muertas vive la vida muerta de la pura contemplación. Pero las cosas suceden, por mucho cuidado que se ponga en evitarlas: un día, en plena calle, Andreas Loser tropieza con un viandante y lo hace caer al suelo. ¿Ha sido un acto intencionado? Si Loser -su voluntad consciente- ha intervenido en el orden del mundo, la consecuencia es clara: se está fraguando una historia, y toda historia necesita un testigo. Éste será el propio hijo del profesor, para que le movimiento desnudo y lógico de la vida se atenga a sus desenlaces necesarios. Peter Handke es ejemplo, resumen y máximo exponente de los rasgos más característicos y mejores de la actual literatura en lengua alemana. En El chino del dolor nos ofrece un despiadado análisis del proceso de formación de la obra literaria, es decir: del modo en que se observa e inmortaliza la realidad del paisaje y sus figuras.


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En las afueras de Salzburgo, separado de su mujer y de sus hijos, un profesor de lenguas muertas vive la vida muerta de la pura contemplación. Pero las cosas suceden, por mucho cuidado que se ponga en evitarlas: un día, en plena calle, Andreas Loser tropieza con un viandante y lo hace caer al suelo. ¿Ha sido un acto intencionado? Si Loser -su voluntad consciente- ha interv En las afueras de Salzburgo, separado de su mujer y de sus hijos, un profesor de lenguas muertas vive la vida muerta de la pura contemplación. Pero las cosas suceden, por mucho cuidado que se ponga en evitarlas: un día, en plena calle, Andreas Loser tropieza con un viandante y lo hace caer al suelo. ¿Ha sido un acto intencionado? Si Loser -su voluntad consciente- ha intervenido en el orden del mundo, la consecuencia es clara: se está fraguando una historia, y toda historia necesita un testigo. Éste será el propio hijo del profesor, para que le movimiento desnudo y lógico de la vida se atenga a sus desenlaces necesarios. Peter Handke es ejemplo, resumen y máximo exponente de los rasgos más característicos y mejores de la actual literatura en lengua alemana. En El chino del dolor nos ofrece un despiadado análisis del proceso de formación de la obra literaria, es decir: del modo en que se observa e inmortaliza la realidad del paisaje y sus figuras.

30 review for El chino del dolor

  1. 5 out of 5

    João Carlos

    Peter Handke (n. 1942) Há mais de vinte e cinco anos que não lia nenhum livro do consagrado escritor austríaco Peter Handke (n. 1942). No final dos anos de 1980 o meu fascínio pelo cinema suplantava a paixão pela literatura. O cinema alemão estava no topo das minhas preferências, com destaque para o realizador Wim Wenders (1945) com dois dos seus primeiros filmes mais emblemáticos: A Angústia do Guarda-Redes no Momento do Penálti e o Movimento em Falso. A particularidade em ambos os filmes era o no Peter Handke (n. 1942) Há mais de vinte e cinco anos que não lia nenhum livro do consagrado escritor austríaco Peter Handke (n. 1942). No final dos anos de 1980 o meu fascínio pelo cinema suplantava a paixão pela literatura. O cinema alemão estava no topo das minhas preferências, com destaque para o realizador Wim Wenders (1945) com dois dos seus primeiros filmes mais emblemáticos: A Angústia do Guarda-Redes no Momento do Penálti e o Movimento em Falso. A particularidade em ambos os filmes era o nome de Peter Handke; no primeiro escreve o argumento com base no seu romance, no segundo escreve apenas o argumento cinematográfico. Desse encanto pela obra literária de Peter Handke convém destacar além de ” A Angústia do Guarda-Redes no Momento do Penálti” (1970), os seus dois romances ” Uma Breve Carta para um Longo Adeus” (1972) e ” A Hora da Sensação Verdadeira” (1975). Peter Handke subdivide ”O Chinês da Dor” em três capítulos: 1 O observador é afastado, 2 O observador intervém e 3 ”O observador procura uma testemunha e um Epílogo. O narrador é Andreas Loser um professor de línguas clássicas numa escola em Lehen, subúrbio a norte de Salzburg, que há algum tempo não dá aulas. ”Fui despedido, ou estou de licença, com atestado médico, ou temporariamente liberto do meu trabalho? Só sei o seguinte: para a minha situação actual não há expressão específica. “Está tudo em suspenso”, digo a mim próprio.” (Pág. 13). Loser separado da mulher e do filho vive sozinho no seu apartamento e um dia quando vai a pé para uma casa em Monchsberg com o intuito de jogar a sua sessão mensal de cartas, vê o desenho de uma cruz suástica pintada no tronco de uma árvore, e um acontecimento dramático acontece, numa redefinição irracional sobre a violência e o remorso. ”O Chinês da Dor” tem uma escrita extremamente detalhada e descritiva, num enredo pouco linear, por vezes labiríntico, decorrente dos "pensamentos" introspectivos de Andreas Loser, o que implica uma leitura atenta e a releitura, múltiplas interpretações e disponibilidade total do leitor. Peter Handke eterno candidato a receber o Prémio Nobel da Literatura - o seu recente apoio à actuação do sérvio Slobodan Milošević na Guerra da Jugoslávia afastou-o em definitivo dessa possível consagração.

  2. 5 out of 5

    Ben Winch

    Personally, I think Peter Handke is a poor choice for the Nobel Prize, not because of his politics, but because of what in him, I believe, makes his politics possible. Not that I’m an expert in Handke; I’ve dabbled off and on over the past 20 years, but either I’ve read the wrong titles (most of his 70s novels, a few early plays, Across, Repetition, The Afternoon of a Writer) or else I just don’t—or only rarely—see the appeal. So many times I’ve read a passage and felt at the end that apparently Personally, I think Peter Handke is a poor choice for the Nobel Prize, not because of his politics, but because of what in him, I believe, makes his politics possible. Not that I’m an expert in Handke; I’ve dabbled off and on over the past 20 years, but either I’ve read the wrong titles (most of his 70s novels, a few early plays, Across, Repetition, The Afternoon of a Writer) or else I just don’t—or only rarely—see the appeal. So many times I’ve read a passage and felt at the end that apparently understated yet portentous tolling, as if upon saying something profound he’d methodically rung a bell to call us to worship. And so many times I’ve thought “Huh? What’s the occasion?” 20 years back, of course, I figured it was me. I kept reading Handke, off and on, because I felt surely he’d resound eventually. And yes, because, as the Nobel committee points out, his prose is impressive (but—to me, at least—not often revelatory, and corseted by its excessive rigour). He’s been called the last of the modernists, and that may be true, but that line has been diluted; contrast Beckett, who surely met and rose above more death-defying stylistic challenges than Handke ever did. But to some extent that’s beside the point, or at least the point I’m making. Am I disgusted that the Nobel committee gave a prize to a genocide apologist? Not in theory. In theory, I guess it’s entirely possible a writer could write with heart and verve and fire and still be deluded or blind or self-righteous politically speaking. But Handke? I find him cold, insipid, an empty vessel—I always have done. And it’s that quality—or lack of qualities—that I believe should not be encouraged, and certainly not made an institution. As to Across, it’s where I gave up, tuned out, decided he and I just weren’t compatible.

  3. 5 out of 5

    Humberto Vela

    Cuando se anunciaron los nombres de los ganadores del Premio Nobel de Literatura 2018 y 2019, Olga Tokarczuc y Peter Handke, volví a reconocer mis enormes lagunas como lector; a Olga ni siquiera la ubicaba en este mundo, y del austriaco Handke, tenía recuerdos muy vagos de haber leído algo sobre él, aunque estaba seguro que no había leído nada escrito por el vituperado autor. Como aún no logro hacerme de algún libro de Olga -no los he visto en mis correrías literarias- y los de Peter ya se encuen Cuando se anunciaron los nombres de los ganadores del Premio Nobel de Literatura 2018 y 2019, Olga Tokarczuc y Peter Handke, volví a reconocer mis enormes lagunas como lector; a Olga ni siquiera la ubicaba en este mundo, y del austriaco Handke, tenía recuerdos muy vagos de haber leído algo sobre él, aunque estaba seguro que no había leído nada escrito por el vituperado autor. Como aún no logro hacerme de algún libro de Olga -no los he visto en mis correrías literarias- y los de Peter ya se encuentran a la mano, en diciembre me inicié en su literatura con un título que me atrajo por sus resonancias futboleras; “El miedo del portero al penalti”, que simplemente, la verdad, de bote pronto, lo abominé, lo odié y me prometí no volver a tocar un libro del Nobel 2019. Más pronto cae un hablador que un cojo. Metido en la lectura de libros sobre el duelo que provoca la pérdida de un ser querido, me enteré que Handke había escrito “Desgracia improbable”, donde profundiza en su memoria para ordenar los recuerdos sobre su madre, fallecida pocas semanas antes de iniciar la escritura, por una sobredosis de narcóticos. “Desgracia improbable” es autoficción; una parte verdad, la otra, imaginación del autor, puesta en juego para construir la historia, y reconozco que la prosa, la mirada atenta, la minuciosidad para describir pequeños detalles, su modo de contar sus “recuerdos”, me subyugaron. El marcador se igualaba a uno. Se me abrían oportunidades para conocer mejor al Nobel. La lectura de “El chino del dolor” fue compleja. Creo que nunca había rayado tanto una novela. El libro, publicado por Alfaguara, quedó todo señalado y lleno de anotaciones. Leia, subrayaba, reflexionaba, escribía; la pregunta que me giraba en la cabeza era: ¿qué fregados estoy leyendo? No me rendí, primero, por necio; segundo, porque era una novela corta de apenas 124 páginas; y tercero, porque la prosa de Handke es hermosa, poética, descriptiva. La novela se divide en tres partes y un epílogo. “El observador es distraído” está lleno de imágenes formadas por palabras, que forman frases, pero sin una historia aparente, hasta que el protagonista, Andreas Loser, que además es el narrador, nos platica como revolcó a un desconocido en la calle. La segunda parte, “El observador interviene”, nos narra como, camino a un juego de cartas, Andreas se topa con un nazi que anda pintarrajeando las paredes con la cruz gamada, y en un impulso -inesperado para el lector-, decide apedrearlo, con graves consecuencias, para después, dirigirse a la casa donde tiene lugar la jugada, en la cual lanza una pregunta, que produce una atractiva narración a varias voces. En “El observador busca testigo”, Loser, atribulado por la culpa, mantiene un encuentro sexual con una mujer, que le hace ver y sentir que su cuerpo y su mente irradian descontento. Después se encuentra con un amigo, que le ofrece el mismo diagnóstico, por lo que va a buscar a su hijo para contarle todo, buscando desahogo. El epílogo es, de nuevo, palabras, frases, imágenes. Prosa bella, concienzuda, meticulosa, reflexiva, que deja tu mente flotar, vagando por un mundo quimérico, narcótico. Se resume más o menos fácil, pero la lectura de “El chino del dolor” no lo fue. Mi temprana y arriesgada conclusión es que Peter Handke no es lectura para todos, ni todos los momento son adecuados para leerlo. Tengo que aprender. Disfruté su prosa, me dejé llevar por las palabras; admiré el detalle de sus descripciones; pero batallé para discernir donde estaba la historia que contaba, escondida detrás de palabras, de frases, que construían imágenes, pero que me escondían el relato. No sé si habrá más Peter Handke en mi futuro. Por ahí tengo más de sus libros. Veremos.

  4. 4 out of 5

    Ian

    Andreas Loser teaches classical languages and is obsessed with thresholds. He is a contemplative intellectual, reclusive, emotionally distant from his family (from whom he is separated), hesitant to commit himself to relationships, and in the habit of examining his every move before he makes it. He quotes Virgil. And yet, on an otherwise unremarkable evening while walking to his regularly scheduled card game, he notices a swastika spray painted on the trunk of a tree, finds the offender in the a Andreas Loser teaches classical languages and is obsessed with thresholds. He is a contemplative intellectual, reclusive, emotionally distant from his family (from whom he is separated), hesitant to commit himself to relationships, and in the habit of examining his every move before he makes it. He quotes Virgil. And yet, on an otherwise unremarkable evening while walking to his regularly scheduled card game, he notices a swastika spray painted on the trunk of a tree, finds the offender in the act of defacement, kills him, and dumps the body off the side of a cliff. After this his engagement with life and the act of living is greatly enhanced. A less controlled aspect of his personality emerges. He becomes by turns impulsive, moody, unreliable and deceptive, and the reader begins to wonder if perhaps the act of murder has somehow completed him as a human being. Loser's narrative is crammed with descriptive detail. With long lavish sentences and close attention to geography and to the natural world, Handke eloquently evokes life in small town Austria and in the rural borderlands near the German frontier. A self-conscious story narrated by a sophisticated man who seems well acquainted with himself, and yet who has no idea what he is capable of.

  5. 4 out of 5

    José Volta

    Um fio condutor propositadamente labiríntico que obriga a reler muitas passagens e que acaba por não favorecer um enredo em si simples. O livro vale pela mestria com que Handke consegue descrever todos os sentidos de forma a espelhar os diferentes estados de espírito da personagem. Um livro existencialista, lembrando por vezes Camus na essência da história, mas sempre oposto à simplicidade da narração.

  6. 4 out of 5

    Steven

    Third time reading this one and each time I've had a different reaction. European literature and American literature are vastly different, venus and mars different, so when I've been in a comparative literature mindset, I find Handke's works absorbing and astonishing and think Across is an existential masterpiece. But when I'm in a more American mindset, like now, I consider how the inciting incident - the discovery of the freshly painted swastika and the chasing down and killing of the perpetra Third time reading this one and each time I've had a different reaction. European literature and American literature are vastly different, venus and mars different, so when I've been in a comparative literature mindset, I find Handke's works absorbing and astonishing and think Across is an existential masterpiece. But when I'm in a more American mindset, like now, I consider how the inciting incident - the discovery of the freshly painted swastika and the chasing down and killing of the perpetrator - doesn't happen until nearly halfway through the novel and it was a struggle to keep reading through all the meandering and lush descriptive writing to reach, finally, the riveting point, the threshold, the why are we reading this, and in this mindset what I think is cut the novel by three-fourths and it is a great kafka-esque story, otherwise, a lot of wasted words obscuring the good bits.

  7. 5 out of 5

    Alan

    was dipping into my 1988 notebooks over Easter and came across this: Across: very grim, the housing estate where he lives (a village outside Salzburg), the screams of a child at night, the last bus disgorging a lone passenger. The fog coming off the peat bogs, the canal towpath where he rips down political signs and advertisements . and later, my notebook says: beginning to affect me deeply, its relentlessnes, its black nights full of cries, snow, dogs; fog and black mountain fills your head, the was dipping into my 1988 notebooks over Easter and came across this: Across: very grim, the housing estate where he lives (a village outside Salzburg), the screams of a child at night, the last bus disgorging a lone passenger. The fog coming off the peat bogs, the canal towpath where he rips down political signs and advertisements . and later, my notebook says: beginning to affect me deeply, its relentlessnes, its black nights full of cries, snow, dogs; fog and black mountain fills your head, there seems no other landscape. Handke makes it clear it is man made, an option we took somewhere along the line, creating our own pressure, locking up violence within.. a cliff is a 'flashing guillotine', a swan's groaning wings in the moonlight later still: the news is too horrible, four boys are killed in Austria at the exact spot where Handke has set his novel (Untersburg) Don't know what I meant by 'it is man made' but i was v. young: 33.

  8. 5 out of 5

    David Antonelli

    This is a beautiful book that I reviewed many years ago on Amazon, but I guess teh review is now gone. All I can say is that Handke's prose is always astonishing in its clarity, richness, and insight and leaves the reader feeling as if they have undergone a kind of zen like experience. This novel was a major influence on my novels The Architect and The Mountain, which both involve a sort of transformation or liberation through an act of violence or antipathy, but in the case of Across this leads This is a beautiful book that I reviewed many years ago on Amazon, but I guess teh review is now gone. All I can say is that Handke's prose is always astonishing in its clarity, richness, and insight and leaves the reader feeling as if they have undergone a kind of zen like experience. This novel was a major influence on my novels The Architect and The Mountain, which both involve a sort of transformation or liberation through an act of violence or antipathy, but in the case of Across this leads to a state of freedom and enlightenment, while in my novels the revelations always turn out to be illusory - a common theme in my work - and whatever transcendence the protagonist thinks he has experienced leads to a tragic outcome. In Across the main character, an expert in "Thresholds" unable to really cross a certain "threshold" in life, kills a neo-Nazi in a fit of sudden rage, after which he goes through a kind of quest for self discovery that ultimately leads to what appears to be a state of enlightenment - or at least ecstasy. What is particularly unsettling is that the murder of the Nazi is never mentioned after it happens and the main character seems to feel no remorse. So this automatically echoes the work of Camus and maybe even Bataille in the treatment of moral transcendence. But what amazes me most is the breathtaking moon-landing use of the language and for that Handke is a true master!

  9. 5 out of 5

    Anthony Gerace

    I read Slow Homecoming while I was working on a photography thesis and that book made me convinced that I loved Peter Handke, because it combined a beautiful, understated compassion (and almost Romantic prose) with hardcore spacial theory in a way that I’d never come across before or since. So this year I wanted to do a season of Handke reading to shore up that knowledge. And instead I’ve found time and time again that he’s essentially doing genre and prose exercises that feel way more like lite I read Slow Homecoming while I was working on a photography thesis and that book made me convinced that I loved Peter Handke, because it combined a beautiful, understated compassion (and almost Romantic prose) with hardcore spacial theory in a way that I’d never come across before or since. So this year I wanted to do a season of Handke reading to shore up that knowledge. And instead I’ve found time and time again that he’s essentially doing genre and prose exercises that feel way more like literary theory—and not particularly compelling literary theory—than they do works that transcend themselves. Across is no exception, but what I liked about it was that the theory and the prose aligned—not in a way I particularly enjoyed, but at least in a way that honoured the subject matter. Andreas Loser is a cipher whose life is a series of capitulations, until it isn’t. And the form of the book reflects that—the opening section, which is (I think) intentionally repetitive and essentially meaningless, the middle section, which is heated and violent, and the final third, which is a long meditation on the morality of action, felt closely bound to the character’s journey from observer to participant, in a way that didn’t feel at all contrived. It was good, even if it wasn’t really my thing.

  10. 4 out of 5

    Micaela Danne

    No pasa de ser una serie de reflexiones y descripciones excesivamente detalladas de paisajes y situaciones ordinarias. No voy a negar que una serie de ellas son alucinantes, pero se pierden en lo agobiante de la historia total.

  11. 4 out of 5

    Manuel Ortiz

    Es realmente notable como un libro tan pequeño puede llegar a ser tan tedioso. Un libro lleno de descripciones sin ton ni son, una narración que no emociona, un personaje sin sentido, lineal y plano. Un libro mediocre en el amplio sentido de la palabra.

  12. 4 out of 5

    Sarah

    Beautiful writing, with stylistic changes to indicate the mental state of the protagonist. The story itself wasn't very engaging. Beautiful writing, with stylistic changes to indicate the mental state of the protagonist. The story itself wasn't very engaging.

  13. 5 out of 5

    Vel Veeter

    So I didn’t know this about Peter Handke but he’s the screenwriter of several of Wim Wenders’s movies including The Skies Over Berlin. That’s really interesting and this novel is quite similar in a lot of ways to how that film creates city voids of isolation, meandering, emptiness and other similar qualities. The title refers to the narrator approaching an open doorway in both literal reality and in a metaphor for the space between good and evil or more so right and wrong and being presented wit So I didn’t know this about Peter Handke but he’s the screenwriter of several of Wim Wenders’s movies including The Skies Over Berlin. That’s really interesting and this novel is quite similar in a lot of ways to how that film creates city voids of isolation, meandering, emptiness and other similar qualities. The title refers to the narrator approaching an open doorway in both literal reality and in a metaphor for the space between good and evil or more so right and wrong and being presented with a passageway. This reflection suggestions that the doorway is not a one-way trip and also not an inexorable moment. This is interesting because the trajectory of so many novels is the focus on inexorable choices. For this novel, he thinks back on two scenes of violence in his life. One, he decides was a more or less equal footing with the other person, and while not exactly self-defense, it was more or less in balance. The second he decides that he is squarely responsible. This leads him to discover or pursue how to process choices like these and still exist in the world the way he does is by chasing down the responsible party for a graffiti swastika he finds near his house. So all this is fine and interesting, but here’s something else I learned about Peter Handke. He’s often or was often a front-runner for the Nobel prize (and still could be) but he made a choice in the early 2000s to not only attend, but euologize the funeral of war-criminal and genocidal dictator Slobodan Milosevic. So I guess this book 20 years earlier gives him the framework to reflect on that choice.

  14. 5 out of 5

    Anna

    Andreas Loser ist von Beruf Lehrer, aber derzeit vom Dienst freigestellt um ein Manuskript über archäologische Ausgrabungen zu beenden. Spezifisch ist er für Türschwellen ein Experte. Auf dem Weg zu seiner monatlichen Tarokrunde erschlägt er jemandem mit einem Stein, der gerade ein Hakenkreuz an eine Wand sprayte. Dies erzählt er nun seinem Sohn, um einen Zeugen zu haben. Soweit die kohärente Geschichte. Diese macht aber nur einen Bruchteil des Buches aus. Zu Beginn gibt es ausschweifende Beschr Andreas Loser ist von Beruf Lehrer, aber derzeit vom Dienst freigestellt um ein Manuskript über archäologische Ausgrabungen zu beenden. Spezifisch ist er für Türschwellen ein Experte. Auf dem Weg zu seiner monatlichen Tarokrunde erschlägt er jemandem mit einem Stein, der gerade ein Hakenkreuz an eine Wand sprayte. Dies erzählt er nun seinem Sohn, um einen Zeugen zu haben. Soweit die kohärente Geschichte. Diese macht aber nur einen Bruchteil des Buches aus. Zu Beginn gibt es ausschweifende Beschreibungen der Landschaufr, Häuser, Menschen... Aber auch zusammenhanglose, fast lyrisch anmutende Szenen. In einer Szene besucht jemand einen schwerkranken Freund und kneift beim Gehen die Augen zusammen, worauf ihn der Freund als "Chinese des Schmerzes" bezeichnet. Handke kann schreiben, nur konnte ich mit 90 Prozent des Geschriebenen nichts anfangen.

  15. 4 out of 5

    Roslyn Allen

    "El Chino del Dolor" cuenta unos días en la vida de Andreas Loser, un profesor de lenguas muertas, quien vive en la ciudad de Salzburgo, separado de su familia. Honestamente, no sé si sea que la literatura americana, e iberoamericana sean tan diferentes a la Alemana, y ésa sea la razón por la que no le encontré a ésta historia un objetivo, per se. Está bellamente escrito, pero es excesivamente descriptivo, y se podría decir que casi todo el libro es un monólogo, lo cual resulta muy cansado de le "El Chino del Dolor" cuenta unos días en la vida de Andreas Loser, un profesor de lenguas muertas, quien vive en la ciudad de Salzburgo, separado de su familia. Honestamente, no sé si sea que la literatura americana, e iberoamericana sean tan diferentes a la Alemana, y ésa sea la razón por la que no le encontré a ésta historia un objetivo, per se. Está bellamente escrito, pero es excesivamente descriptivo, y se podría decir que casi todo el libro es un monólogo, lo cual resulta muy cansado de leer. En lo personal, no lo disfruté, pero me dejó en claro a lo que se referían mis maestros de literatura cuando me decían que la narración necesita también del diálogo, para no hacerlo aburrido.

  16. 4 out of 5

    Francisco Pascoal

    I did have some pleasure reading it. But I was expecting more from a nobel prize. I don't feel that the book has any interesting narrative or deeper meanings, besides the labyrinth structure used to make a confusing book. Anyways, everything is allowed in literature and this is a personal view, I just don't think it was any better than any book from a random author.... To be fair, this was the only book that I read from this author, maybe I will love the other books ;) I did have some pleasure reading it. But I was expecting more from a nobel prize. I don't feel that the book has any interesting narrative or deeper meanings, besides the labyrinth structure used to make a confusing book. Anyways, everything is allowed in literature and this is a personal view, I just don't think it was any better than any book from a random author.... To be fair, this was the only book that I read from this author, maybe I will love the other books ;)

  17. 4 out of 5

    Karla Segovia

    Este sin duda es un género en sí mismo. Una novela cinematográfica donde tenemos que vivirla desde la cabeza del protagonista Andreas Loser. Handke no es el escritor más fácil de leer pero deja muchas sensaciones.

  18. 4 out of 5

    Oscar

    I honestly did not enjoy this book. I felt spaced most of the time and it took me very long to finish. I think I am not used to this type of narrative or I did not identify with the author.

  19. 4 out of 5

    Maria Fitzpatrick

    The book was beautifully written but I am not sure what the point of the book was. A man kills someone and there doesn’t seem to be any consequences.

  20. 5 out of 5

    Roland Hassel

    One of Handkes better, a few moments of magic between the lengthy dry descriptions. However, someone needs to catch that criminal.

  21. 4 out of 5

    Oscar Cárdenas

    Está curiosona y no entendí muy bien lo que el autor quiso hacer. Tal vez merezca una segunda lectura más atenta...

  22. 4 out of 5

    Mauricio Sedano Ortega

    El libro es complejo porque en tan pocas frases te dice muchas cosas y todas te llevan al mismo punto: "el proceso de la escritura". El libro es complejo porque en tan pocas frases te dice muchas cosas y todas te llevan al mismo punto: "el proceso de la escritura".

  23. 5 out of 5

    Maria Camila Restrepo

    El Chino del Dolor es un relato sobre la vida inusual de Loser, un profesor de Letras muertas que vive en el peculiar poblado de Salzburgo (ciudad en la que el mismo Handke vivió). La novela abunda en detalles sobre los lugares por los que transita Loser y describe con lucidez las características psicológicas de los personajes; la lectura del texto es rápida, además de ser una novela corta en extensión, es lo suficientemente envolvente como para no extender por mucho tiempo su lectura. La lectur El Chino del Dolor es un relato sobre la vida inusual de Loser, un profesor de Letras muertas que vive en el peculiar poblado de Salzburgo (ciudad en la que el mismo Handke vivió). La novela abunda en detalles sobre los lugares por los que transita Loser y describe con lucidez las características psicológicas de los personajes; la lectura del texto es rápida, además de ser una novela corta en extensión, es lo suficientemente envolvente como para no extender por mucho tiempo su lectura. La lectura es recomendada para aquellos que gozan de las novelas descriptivas, si su gusto va más por historias en las que los grandes acontecimientos van uno tras otros, quizás esta no sea la opción más idónea.

  24. 5 out of 5

    Jacques le fataliste et son maître

    Impressionante è il modo che ha Handke di avvicinarsi alla realtà e di descriverla senza farle violenza, senza ridurla a una nostra proiezione o a un qualcosa che parla di noi ecc. Ne preserva la dignità, mi viene da dire.

  25. 5 out of 5

    L

    A bridge too far.

  26. 4 out of 5

    Mark Broadhead

  27. 4 out of 5

    Jose Manuel

  28. 4 out of 5

    Yura

  29. 5 out of 5

    Stuart

  30. 4 out of 5

    Pamela Maldonado

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