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Love Letter in Cuneiform

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From a leading voice in the vibrant literary scene of today's Czech Republic, a love story rooted in the atrocities of the past and tethered to fading hopes for the future Set in Czechoslovakia between the 1940s and the 1990s, Tomás Zmeskal's stimulating novel focuses on one family's tragic story of love and the unspoken. Josef meets his wife, Kveta, before the Second World War at a public lecture on Hittite culture. Kveta chooses to marry Josef over their mutual friend Hynek, but when her husband is later arrested and imprisoned for an unnamed crime, Kveta gives herself to Hynek in return for help and advice. The author explores the complexities of what is not spoken, what cannot be said, the repercussions of silence after an ordeal, the absurdity of forgotten pain, and what it is to be an outsider. In Zmeskal's tale, told not chronologically but rather as a mosaic of events, time progresses unevenly and unpredictably, as does one's understanding. The saga belongs to a particular family, but it also exposes the larger, ongoing struggle of postcommunist Eastern Europe to come to terms with suffering when catharsis is denied. Reporting from a fresh, multicultural perspective, Zmeskal makes a welcome contribution to European literature in the twenty-first century.

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Love Letter in Cuneiform, Tomáš Zmeškal

Język
Rok wydania
2016
Oprawa
(miękka)
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Metody płatności

4,1
Bardzo dobra
176 Ocena

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Tytuł
Love Letter in Cuneiform
Język
angielski
Rok wydania
2016
Oprawa
miękka
Liczba stron
315
ISBN10
0300186975
ISBN13
9780300186970
Seria
Ocena
4,05 z 5
Opis
From a leading voice in the vibrant literary scene of today's Czech Republic, a love story rooted in the atrocities of the past and tethered to fading hopes for the future Set in Czechoslovakia between the 1940s and the 1990s, Tomás Zmeskal's stimulating novel focuses on one family's tragic story of love and the unspoken. Josef meets his wife, Kveta, before the Second World War at a public lecture on Hittite culture. Kveta chooses to marry Josef over their mutual friend Hynek, but when her husband is later arrested and imprisoned for an unnamed crime, Kveta gives herself to Hynek in return for help and advice. The author explores the complexities of what is not spoken, what cannot be said, the repercussions of silence after an ordeal, the absurdity of forgotten pain, and what it is to be an outsider. In Zmeskal's tale, told not chronologically but rather as a mosaic of events, time progresses unevenly and unpredictably, as does one's understanding. The saga belongs to a particular family, but it also exposes the larger, ongoing struggle of postcommunist Eastern Europe to come to terms with suffering when catharsis is denied. Reporting from a fresh, multicultural perspective, Zmeskal makes a welcome contribution to European literature in the twenty-first century.