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Embers (Random House Large Print) - Hardcover

Marai, Sandor; Janeway, Carol Brown

 
9780375432354: Embers (Random House Large Print)

Inhaltsangabe

1. What makes the bonds of a “friendship that reaches back to childhood” so strong that “death itself cannot undo” it [pp. 141–2]? If friendship is, in fact, “a duty,” as Henrik asserts [p. 110], what is the nature of the “duty” between Henrik and Konrad? Did one or the other fail in this obligation, and if so, how? Was Konrad “faithless” [p. 112]? 2. What was the “debt” that one of them feels toward the other after Henrik meets Konrad’s parents and learns the truth about Konrad’s background [p. 47]? How does this realization change the nature of their friendship? Was this event the turning point in their friendship? 3. Henrik says, “One would need to know why all this happened. And where the boundary lies between two people. The boundary of betrayal. . . . And also, where in all this my guilt lies” [p. 169]. Of what is Henrik guilty? If Henrik’s twice-made assertion that the guilt is “in the intention” [pp. 112, 139–140] is true, which was Konrad’s greatest offense: his intention to kill Henrik, his affair with Krisztina, or his abandonment of their friendship? Or, as Henrik speculates, was both men’s betrayal of Krisztina the greatest offense of all [p. 192]? 4. On more than one occasion, the men allude to the demise of the Austro-Hungarian Empire. Referring to their past as soldiers, Konrad says, “What we swore to uphold no longer exists” [p. 93], and Henrik later speculates further that “Perhaps this entire way of life which we have known since birth, this house, this dinner, even the words we have used this evening to discuss the questions of our lives, perhaps they all belong to the past” [p. 182]. In what ways is the novel an elegy to the past, to a lost way of life? Can the course of Henrik and Konrad’s friendship be read as a metaphor for the fall of the Austro-Hungarian Empire? 5. Márai writes, “And because of their friendship, each forgave the other’s original sin: wealth on the one hand and poverty on the other” [p. 61]. How do the different circumstances of their births contribute to Henrik and Konrad’s separation? Which is the greater sin in this friendship–wealth or poverty? What kind of society allows for this comparison of wealth and poverty to original sin? Is this a comparison that would hold true in all societies? 6. Konrad’s differences, according to Henrik and his father, made him unsuited to the career of a soldier [pp. 52–4]. The implication is that Henrik, by contrast, was imminently suited to the career of a soldier. But is the portrait of the hardened general consistent with the young Henrik who nearly died in Paris because he “needed love” [p. 29], and who wanted to be poet [p. 30]? And if it was actually Henrik’s personality that was not suited to the military, could it have been Henrik who envied Konrad his differences, rather than Konrad who envied Henrik his birthright? 7. Henrik says: “There are worse things that suffering and death . . . it is worse to lose one’s self-respect. . . . Self-respect is what gives a person his or her intrinsic value” [p. 190]. Does Henrik retain his self-respect by adhering to the noble “male virtues: silence, solitude, the inviolability of one’s word, and women” [p. 69]? What is lost in the preservation of self-respect? Does Henrik have any regrets about the way he has chosen to live his life? 8. What motivated Konrad to introduce Henrik to his parents and their poverty? Was it the same motivation that made Krisztina want to keep a diary—the fear that “life will fill with something that can no longer be shared, a genuine secret, indescribable, unutterable” [p. 160]? Is it this common trait that drives Konrad and Krisztina together? 9. What is the nature of the revenge Krisztina achieves by dying? Is this different from the revenge that Henrik seeks from his meeting with Konrad, and if so, how [p. 182]? 10. What is the truth that Henrik seeks from Konrad [p. 93]? Does Henrik gain the insight for which he’s looking, or did he somehow already have it? Is Konrad’s refusal to answer Henrik’s question on p. 204 tantamount to a confession, or does it reveal something else? By throwing Krisztina’s diary into the fire, is Henrik acknowledging that he already knows the truth or indicating that it is not in the diary at all [p. 205]? 11. In the society of Konrad and Henrik’s youth, “[F]ifty million people found their security in the feeling that their Emperor was in bed every night before midnight and up again before five, sitting by candlelight at his desk in an American rush-bottomed chair, while everyone else who had pledged their loyalty to him was obeying the customs and the laws. Naturally true obedience required a deeper commitment than that prescribed by laws. Obedience had to be rooted in the heart: that was what really counted. People had to be certain that everything was in its place” [p. 56]. How did this society foster Henrik’s personality? Without the influence of such an environment, how might he have behaved after Konrad’s departure? 12. How do the Europeans differ from the natives in Konrad’s account of his life in the tropics [pp. 80–83] Do these stereotypes date the novel? How do they play to modern political sensibilities? 13. What qualities do the Arabs display that Henrik admires [p. 123]? Do Arabs embrace the truth about man’s natural instincts to kill while Westerners simply disguise it [pp. 124–9]? Does Henrik’s character embody an element of Western hypocrisy? 14. Music plays a significant role in the novel, especially in the power it holds over Henrik’s mother, Konrad, and Krisztina [p. 178]. Why its influence inherently dangerous [p. 51]? Is there a similarity between the symbolism and meaning of the hunt for Henrik and his father and the power of music over the others [p. 122]? 15. How does Henrik’s parents’ marriage influence his own marriage? What might the King have “said to the young wife who had come from a foreign country and wept as she danced” [p. 24]? 16. What happens to Henrik’s mother when she moves from the city to the castle deep in the forest [pp. 20–22]? How is Henrik affected as he moves from his castle in the forest to the city [p. 27]? How do these changes in landscape alter their behavior and highlight their different temperaments? Does Konrad have a similar experience when he moves to the tropics [pp. 80–83]? 17. As Nini and Henrik gaze at the dining room, “All of a sudden the objects seemed to take on meaning, as if to prove that everything in the world acquires significance only in relation to human activity and human destiny” [p. 71]. How does the appearance of the room recall Henrik’s and Krisztina’s view of Konrad’s room forty-one years earlier [p. 166]? What can objects reveal about customs and traditions? About emotions and relationships? What does Henrik’s replacement of Krisztina’s picture in the castle’s portrait gallery signify? 18. One might read Embers as a study of the powers and the limitations of words: the spoken word, as seen in the conversation between Konrad and Henrik, and the written word, as represented by the diary of Krisztina. At one point, Henrik muses: “Sometimes it seems to me that it is precisely the words one utters, or stifles, or writes, that are the issue, if not the only issue” [p. 117]. And later he says: What can one ask people with words? And what is the value of an answer given in words instead of in the coin of one’s entire life? . . . Not much. . . . There are very few people whose words correspond exactly to the reality of their lives. It may be the rarest thing th

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Über die Autorin bzw. den Autor

Sándor Márai was born in Kassa, in the Austro-Hungarian Empire, in 1900, and died in San Diego in 1989. He rose to fame as one of the leading literary novelists in Hungary in the 1930s. Profoundly antifascist, he survived World War II, but persecution by the Communists drove him from the country in 1948, first to Italy, then to the United States. He is the author of a body of work now being rediscovered and which Knopf is translating into English.

A NOTE ABOUT THE TRANSLATOR
Carol Brown Janeway's translations include Binjamin Wilkomirski's Fragments, Marie de Hennezel's Intimate Death, Bernhard Schlink's The Reader, Jan Philipp Reemtsma's In the Cellar, Hans-Ulrich Treichel's Lost, Zvi Kolitz's Yosl Rakover Talks to God, and Benjamin Lebert's Crazy.


From the Trade Paperback edition.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

Embers

By Sandor Marai

Random House Large Print Publishing

Copyright © 2003 Sandor Marai
All right reserved.

ISBN: 0375432353


Chapter One


In the morning, the old general spent a considerable time in the wine cellarswith his winegrower inspecting two casks of wine that had begun to ferment. Hehad gone there at first light, and it was past eleven o'clock before he hadfinished drawing off the wine and returned home. Between the columns of theveranda, which exuded a musty smell from its damp flagstones, his gamekeeper wasstanding waiting for him, holding a letter.

"What do you want?"the General demanded brusquely, pushing back hisbroad-brimmed straw hat to reveal a flushed face. For years now, he had neitheropened nor read a single letter. The mail went to the estate manager's office,to be sorted and dealt with by one of the stewards.

"It was brought by a messenger,"said the gamekeeper, standing stifflyat attention.

The General recognized the handwriting. Taking the letter and putting it in hispocket, he stepped into the cool of the entrance hall and, without uttering aword, handed the gamekeeper both his stick and his hat. He removed a pair ofspectacles from his cigar case, went over to the window where light insinuateditself through the slats of the blinds, and began to read.

"Wait,"he said over his shoulder to the gamekeeper, who was about toleave the room to dispose of cane and hat.

He crumpled the letter into his pocket. "Tell Kalman to harness up at sixo'clock. The Landau, because there's rain in the air. And he is to wearfull-dress livery. You too,"he said with unexpected force, as if suddenlyangered. "Everything must shine. The carriage and harness are to be cleanedimmediately. Then put on your livery, and seat yourself next to Kalman on thecoachbox. Understood?"

"Yes, Excellence,"said the gamekeeper, looking his master directly inthe eye. "At six o'clock.""At half past six you willleave,"said the General, and then appeared to be making some calculation,for his lips moved silently. "You will go to the White Eagle. All you areto say is that I have sent you, and the carriage for the Captain is waiting.Repeat."

The gamekeeper repeated the words. Then the General raised his hand, as if hehad just thought of something else, and he looked up at the ceiling but didn'tsay anything and went upstairs to the second floor. The gamekeeper, still frozento attention, watched him, unblinking, and waited until the thickset,broad-shouldered figure disappeared around the turn of the stone balustrade.

The General went into his room, washed his hands, and stepped over to his high,narrow standing desk; arranged on its surface of unstained green felt were pens,ink, and a perfectly aligned stack of those notebooks covered inblack-and-white-checked oilcloth commonly used by schoolchildren for their home-work. In the middle of the desk stood a green-shaded lamp, which the Generalswitched on, as the room was dark. On the other side of the closed blinds, inthe scorched, withered garden, summer ignited a last blaze like an arsonistsetting the fields on fire in senseless fury before making his escape. TheGeneral took out the letter, carefully smoothed the paper, set his glasses onhis nose and placed the sheet under the bright light to read the straight shortlines of angular handwriting, his arms folded behind his back.

There was a calendar hanging on the wall. Its fist-sized numbers showed August14. The General looked up at the ceiling and counted: August 14. July 2. He wascalculating how much time had elapsed between that long-ago day and today."Forty-one years,"he said finally, half aloud. Recently he had beentalking to himself even when he was alone in the room. "Fortyyears,"he then said, confused, and blushed like a school- boy who'sstumbled in the middle of a lesson, tilted his head back and closed his wateringeyes. His neck reddened and bulged over the maize-yellow collar of his jacket."July 2, 1899, was the day of the hunt,"he murmured, then fell silent.Propping his elbows on the desk like a student at his studies, he went back tostaring anxiously at the letter with its brief handwritten message."Forty-one,"he said again, hoarsely. "And forty-three days. Yes,exactly."

He seemed calmer now, and began to walk up and down. The room had a vaultedceiling, supported by a central column. It had once been two rooms, a bedroom,and a dressing room.

Many years ago—he thought only in decades, anything more exact upset him, as ifhe might be reminded of things he would rather forget—he had had the wallbetween the two rooms torn down. Only the column holding up the central vaultremained. The castle had been built two hundred years earlier by an armysupplier who sold oats to the Austrian cavalry and in course of time waspromoted to the nobility. The General had been born here in this room.

In those days the room farthest back, the dark one that looked onto the gardenand estate offices, had been his mother's bedroom, while the lighter, airierroom had been the dressing room.

For decades now, since he had moved into this wing of the building, and torndown the dividing wall, this large, shadowy chamber had replaced the two rooms.Seventeen paces from the door to the bed. Eighteen paces from the wall on thegarden side to the balcony. Both distances counted off exactly.

He lived here as an invalid lives within the space he has learned to inhabit. Asif the room had been tailored to his body. Years passed without him setting footin the other wing of the castle, in which salon after salon opened one into thenext, first green, then blue, then red, all hung with gold chandeliers.

The windows in the south wing gave onto the park with its chestnut trees thatstood in a semicircle in front of protruding balustrades held up by fat stoneangels, and bowed down over the balconies in spring in all their dark-greenmagnificence, lit with pink flowering candles. When he went out, it was to thecellars or into the forest or—every morning, rain or shine, even in winter—tothe trout pond. And when he came back, he went through the entrance hall and upto his bedroom, and it was here that he ate all his meals.

"So he's come back,"he said aloud, standing in the middle of the room."Forty-one years and forty-three days later."

These words seemed suddenly to exhaust him, as if he had only just understoodthe enormousness of forty-one years and forty-three days. He swayed, then satdown in the leather armchair with its worn back. On the little table withinreach of his hand was a little silver bell, which he rang.

"Tell Nini to come up here,"he said to the servant. And then,politely, "If she'd be so kind."

Continues...

Excerpted from Embersby Sandor Marai Copyright © 2003 by Sandor Marai. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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