অধিকার পিডিএফ ডাউনলোড করুন
অধিকার পিডিএফ বিনামূল্যে ডাউনলোড করুন
(شيخ الاسلام مفتي محمد تقي عثماني) শাইখুল ইসলাম মুফতী মুহাম্মদ তকী উসমানীঅধিকার পিডিএফ ফ্রি ডাউনলোড বা অনলাইন পড়ুন
- লেখক: (شيخ الاسلام مفتي محمد تقي عثماني) শাইখুল ইসলাম মুফতী মুহাম্মদ তকী উসমানী
- প্রকাশক: নাদিয়া বুক কর্ণার
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বই পর্যালোচনা
অধিকার
pablocarbonari
I first read this book as a fifth grader more than thirty years ago. The very fact that a ten year old could read it with no difficulty at all certainly highlights the best of Vonnegut -- his completely natural, clean, flowing colloquial style. Without question, this man is a great American writer in the tradition of Mark Twain. Just as Vonnegut is the modern Mark Twain, so Billy Pilgrim is like Huck Finn, only floating through time instead of floating down the Mississippi. The difficulty with this novel, however, is that unlike Huck Finn the protagonist never grows up, never takes responsibility for his actions, and never really learns anything of lasting value. Most reviewers seem to think that the message of SLAUGHTERHOUSE FIVE is that "war is wrong." This would parallel Twain's message in Huck Finn that slavery is wrong. Problem is, while Huck takes action and strikes out at slavery directly, by freeing Jim, Billy Pilgrim remains merely a passive spectator throughout his life. Vonnegut tries to excuse this with a lot of sci-fi gimmickry, about being "unstuck in time" but in the end what really comes across is not the evil of war but one man's personal surrender. There are other problems, more specific to Vonnegut's writing. The whole outer space adventure is fascinating at first, with Billy being a pampered prize exhibit in an intergalactic zoo, with a beautiful porn star as his mate. As a confused, lustful teenager I spent hours and hours fantasizing about this -- it's just what a very immature adolescent would think of as the ideal sexual situation. But now that I'm middle aged, I wonder about certain things. Vonnegut stresses over and over again that the tiny Tralfamadorian aliens think Billy is a "perfect male specimen." They don't know enough about the male physique to see he's a runty middle aged man. Fair enough. But then, why do they find a stunning porn star for him to mate with? Evidently they know a lot more about women's bodies than men? Why didn't they just pick up a male porn star so they could have a matched set? Then there's the obvious contempt Vonnegut has for women. In the Tralfamadorian sections, the aliens quiz Billy endlessly about life on earth, war, suffering, justice, free will, and so on. But nobody seems to think Montana Wildhack has anything to contribute to the discussion. And evidently there are no female aliens to ask her about the female perspective. The very fact that Vonnegut does this without thinking shows how narrow minded he really is. In the war sections, one notices that beneath the hippy-pleasing pacifist rhetoric there is a lot of callousness, and some strange examples of the double standard. It goes without saying, as many critics have noted, that Vonnegut refuses to discuss the bombing of Dresden in the context of Auschwitz. "So it goes" replaces more basic insights like, "what goes around, comes around," "you reap what you sew" and "you raise hell, you get hell." But there are more subtle manifestations of this. For example, Roland Weary, the vicious American soldier who picks on Billy, is particularized with great skill. His behavior is not just shrugged off with a "so it goes." Vonnegut describes it with passion. But what Vonnegut does not do is acknowledge the fact that there are SS and Gestapo agents all over Germany who make Roland Weary look like an amateur. The only Germans we ever see are noble, long-suffering and thoroughly civilized. Even as he condemns America for fighting an unjust war in Vietnam, Vonnegut implies that the German people are in no way to blame for fighting a far more unjust war against an entire continent of people. On the one hand, he insists that free will is an illusion, and no one is responsible for anything, and on the other he condemns American brutality as if we all are personally responsible for everything our government does. The fact is, as rich and rewarding as SLAUGHTERHOUSE FIVE is as a reading experience, it's not a book you can reread after thirty years and still respect as a classic. Vonnegut has the style and grace of Mark Twain, but not the clear moral vision.
2022-10-26 05:31
nicolaroversi
It's well-written and very original. The original "Peter Pan" leaves some things coincidentally unexplained, and this explains them. It's exciting, fast-paced, and funny.
2022-10-14 18:52
jennocide
See my reviews for each of the ten slave narratives in this volume. I do want to add, though, that it appears to me as if the "4.15" average rating for this book must be based on aesthetic grounds (i.e., some of the narratives are not well-written). There are two things I'd like to say about this: most of these narratives were written by ex-slaves who came more or less late to literacy in reading and writing; a little roughness around the edges is only to be expected (and there IS a certain aesthetic, different from other 19th-century American writings, evident in most of these works). Second, in my opinion ratings for this volume would be more sound if based on the job done by Andrews and Gates in editing it. That rating would only be of the highest order: the works chosen are uniformly important for various historical reasons and the editors have done an amazing job of reducing a wide range of critical writings into comprehensive biographical and textual notes that add to the texts themselves. This is an important book.
2022-09-27 06:17