By Alberto Manguel
Publish 12 months note: First released in 2006
In this significant number of his essays, Alberto Manguel, whom George Steiner has known as “the Casanova of reading,” argues that the task of interpreting, in its broadest experience, defines our species. “We come into the area rationale on discovering narrative in everything,” writes Manguel, “landscape, the skies, the faces of others, the photographs and phrases that our species create.” studying our personal lives and people of others, studying the societies we are living in and those who lie past our borders, analyzing the worlds that lie among the covers of a publication are the essence of A Reader on Reading.
The thirty-nine essays during this quantity discover the crafts of analyzing and writing, the id granted to us via literature, the far-reaching shadow of Jorge Luis Borges, to whom Manguel learn as a tender guy, and the hyperlinks among politics and books and among books and bodies. The powers of censorship and highbrow interest, the artwork of translation, and people “numinous reminiscence palaces we name libraries” additionally determine during this striking assortment. For Manguel and his readers, phrases, after all, lend coherence to the area and provide us “a few secure areas, as genuine as paper and as bracing as ink,” to provide us room and board in our passage.
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Additional resources for A Reader on Reading
Nor is Godot enough for the tramps. Although they do not reject Godot in any more final way than they reject suicide, again falling somewhat short of Camus’s hero, who considers but rejects both suicide and God, their feelings toward Godot are deeply ambivalent. Vladimir views Godot as someone who will somehow change their lives—“Estragon: And if he comes? Vladimir: We’ll be saved” (p. 606)—and who will punish them if they leave; but he is a figure whose possible arrival terrifies Estragon and whose off-stage actions as described by the messenger toward the end of each act seem as arbitrary as those of the Christian God, whom, with his white beard, he apparently resembles.
P. 35b) Pozzo and Lucky’s endless peregrinations may again seem more self-imposed than those of Prometheus’s fellow-sufferer, Io, who is driven by the gadfly the jealous Hera has sent to punish her for her attractiveness to Zeus, but Pozzo and Lucky are not only tied to each other; they are bound to their endless journey. As in the ancient play, the contrasting forms of suffering in Godot are shown to be mere variations on the theme of the bondage of man, whether he is driven to stay or to go, a bondage that in the modern play, unlike the ancient, affords no certain, eventual deliverance.
Lucky, who is something of an appendage to Pozzo, and Estragon, who is something of an appendage to Vladimir, take their roles in the initiation rite as well. Pozzo’s initiation or ritual death begins in act 1 with the gradual loss of his illusions of purpose and power. When he enters in circus-master fashion, driving Lucky, a rope around his neck, before him, Pozzo presents himself with such pomposity that Didi and Gogo momentarily mistake him for Godot. “I am Pozzo! (Silence) Pozzo! ) Does that name mean nothing to you?
A Reader on Reading by Alberto Manguel