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Good people Arturo Perez-Reverte
(No ratings yet)
Title: Good People
Author: Arturo Perez-Reverte
Year: 2015
Genre: Foreign adventures, Historical adventures, Modern foreign literature
About the book “Good People” by Arturo Perez-Reverte
France, late 18th century. The time is interesting, but vague: a revolution is brewing, books are being destroyed, hundreds of people are in prison. Don Hermogenes Molina, a brilliant expert on Latin and an incomparable translator of Virgil, together with the retired commander Pedro Zarate, goes to Paris - they need to find the first edition of the Encyclopedia by Diderot and D'Alembert. But this is not at all easy, because the book has long been banned. Mercenaries from all over the world are hunting for her and are ready to do anything to get her. Friends must, at all costs, be the first to get to the treasured work and try not to die in such a dangerous adventure.
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Quotes from the book “Good People” by Arturo Perez-Reverte
- Again you are on your own. - Don Ermogenes waves his hand in annoyance.
“Don’t touch the church, I beg you.”
- How, excuse me, can we not touch her? Mathematics, economics, modern physics, natural history - all this is deeply despised by those who can put forward thirty-two syllogisms about whether purgatory is gaseous or solid...
- ... So it turns out that we Spaniards are a sad people. Why does this happen, I ask myself? We have everything: hot sun, excellent wine, beautiful women, kind people... The admiral looks at his companion with some sarcasm:
- Why do you call them kind?
“I don’t know,” he shrugs.
- It’s hard to say whether they are evil or good... I just want to think that...
“People are inherently neither good nor evil. They are only what is made of them.
The Librarian of the Royal Academy believes that God is the creator and measure of all things; however, the books among which his entire life passed led him to the conclusion that a person is obliged to achieve his well-being and salvation already on this earth, during his earthly life, spent in harmony with the natural laws of nature, and not postpone this completeness for some -another, extraterrestrial existence that supposedly compensates for the suffering experienced in earthly life. Combining these two faiths is not always easy; However, in moments of greatest doubt, Don Ermogenes's simple-minded religiosity helps to build reliable bridges between reason and faith.
Swearing and cursing in Moliere's language always seemed too sluggish to Raposo and did not bring relief. Was it possible to compare them with the sonorous and savory Spanish obscenities, with the help of which a Spaniard who is not too burdened with decency sometimes manages to thoroughly relieve his soul?
Rated the book
Sorry, but I didn't like it. At all. This is probably one of the most boringly yawning books I've read in a while. And this despite the fact that I considered myself a fan of A. Perez-Reverte since the days of the “Flemish Board”. Now, apparently, we will have to leave the lists of his fan club.
Perhaps the only thing that could convince me not to abandon the book after the first fifty pages was the peculiar style in which it was constructed: the novel was written as an alternation of two perspectives - the not very exciting story of two academicians, zealots of education, who went to Paris to bring back to Spain a prohibited encyclopedia (and at the same time fashionable pants with a codpiece!), and more voluminous and more readable remarks by the author about how he created the plot and text of this novel with all the details of the search historical facts and realities:
“I composed a historical novel little by little,
Making your way, as if through a fog, from prologue to epilogue<…>
He equipped the heroes for their journey, made inquiries about the past...”
A. Perez-Reverte, sparing no paper or reader's patience, talks in detail and with obvious pleasure about how he looked for the right houses and streets, bought old maps and books, what historical sources he relied on when describing the route of his characters, how he selected them appearance and replicas, trying to make them as authentic as possible. His dedication and enthusiasm in this regard are truly tireless! But as a result, the novel turned out to be a writer's kitchen outward: albeit to the readers, but to the author's interests and historical truth in front. The ashes of Umberto Eco, apparently, were constantly knocking on the chest of A. Perez-Reverte while he was creating his work, but the historical part turned out to be just an excuse to write about himself. The result was almost like this:
And then what is the novel about if it is not about how well the author worked? Of course, about the good people of an almost Kantian maxim, about the wind of change of the Great French Revolution, about philosophy and enlightenment, about misunderstanding and aggressive obscurantism, about the pre-revolutionary euphoria of Paris and the noble statuary of Madrid, about valor, about exploits... All this is a lot, even in excess, and this allowed the author to slowly but surely drown the reader's interest in the endlessly minute details of his writing. The novel drags on, just as a historical compilation from the series “Spain during the French Revolution” would (!), but does not become any more interesting. The lethargy of the plot and the facelessness of the characters are invincible. I read this novel only out of respect for the author, but now, apparently, I’ll take a long, long pause before I decide to take it on. new book. Adios, señor Arturo, y si bien, entonces adiós para siempre!
Rated the book
The end of the 18th century, the Age of Enlightenment dominates in Europe, but in Spain this process encounters some resistance. But there are people, scientists, for whom truth is dearer, and they decide to bring light by any means. So, they send to France (in which citizens, especially on the eve of the coming great changes, have the opportunity to express themselves more freely) a couple of members of the Royal Academy for the so-called Encyclopedia, compiled by the enlightenment philosophers of that time, by the way, banned in Spain.
The journey is accompanied by adventures, interesting acquaintances, intrigues, but the main thing is various philosophical discussions about enlightenment, religion, death, art. It is not difficult to suspect that a stone has been thrown into the garden of modern Spain and to draw parallels, knowing the author’s critical attitude towards the cultural situation in his native country.
In addition to the main content, Perez-Reverte describes in detail throughout the story how he wrote the novel, built the plot, what sources he had to use, what places to visit. You can't kill a journalistic streak. It was very interesting to read how he worked on his work. Very careful work with historical documents can be seen.
The main characters and the plot are built in the best traditions of Dumas: the true caballero, the cold-blooded admiral Don Pedro; kind and less cynical than his friend, Don Ermes; classic villains plotting intrigues against their colleagues, etc. In the dialogues we can trace Voltaire, Rousseau, Diderot... As a result, we get an amazing novel that does not lose relevance today. Good books keep getting banned... And what will this lead to?
The book can be parsed into quotes, but without context they will be banal. In fact, the author raises many questions and adds a huge layer of interesting information related to the time described.
What Perez-Reverte has always been good at is conveying the atmosphere of the time and place of events being described. So, Paris turned out to be very bright, rainy, hectic, conveying the mood of that time. Madrid, as usual, is lively, hot, dynamic. Easy to read, because... the narrative goes smoothly, interspersed with active actions, not without the author’s subtle humor.
An interesting novel, imbued with philosophical meaning and telling about different people: about true scientists forgotten by descendants; about those who betrayed their idea and dream and subsequently became nobody; about those who regret the lost time; finally, about kind, determined people aimed at fulfilling their mission, even at the cost of their own lives.
A book about true friendship, the importance of reading, culture (domestic and global) and the dangers of total indifference to the latter.
Rated the book
The first thing the reader notices is the rather unusual structure of the narrative. Throughout the story, we are accompanied by inserts from the author, telling us how he thought through the described episode, what research he conducted, what kind of sources he used. It was somewhat reminiscent of the blog about the creation of the novel that Perez-Reverte wrote while writing Tango of the Old Guard, only this time the blog was included in the book itself. Quite an interesting approach that makes the author closer to the reader.
The main characters are typical “good people”, fighters against obscurantism, striving to bring the light of enlightenment, despite the doom of their mission. This is reminiscent of soldiers fighting on a sinking ship but not lowering the flag, or defending around the banner until they die - not out of any special heroism or hope of victory, but simply because people do what they have to do. We could already find similar characters in other works of the author, but, of course, each has its own individuality. And this time the battle is an intellectual one, and it is not a ship that is sinking, but an entire people. But academicians do not lower the flag, although they understand the futility of their efforts. And yet, they do what they must in their quest to fight for enlightenment to the end.
Of course, in the book the reader will find many dialogues and monologues on the topic of enlightenment, education and science. Of course, one cannot do without the “dark side” - obscurantism, absurd religious dogmas, laziness and isolation of the nobility from the people.
The problems and issues of educational work, faced with darkness, misunderstanding and condemnation, are illuminated from different angles and through the mouths of different actors. However, in general, the author’s point of view can be seen quite clearly. And, I admit, it evokes a very lively response from me personally.
I would also like to note that the quality of the translation is not very good (this, of course, is not Bogdanovsky at all....).
I’m not going to analyze the translation, this is just my opinion, but in order not to be completely unfounded, I’ll give a couple of justifications.
The first thing I didn't like right away was the translation of the title. There may be many opinions, but I still wouldn’t make any show off, but would translate it as it is" Good people"Moreover, even throughout the entire text of the proposed translation there is no uniformity: people even in the same minutes of the meeting turned out to be either kind or still good.
No offense to the new translator, but many points that are not translated literally, but require some retelling, are translated with a loss of flavor and hidden meaning. While Bogdanovsky even retold exotic scenes almost better than the original, so the mood of Reverte’s prose was captured very clearly. This is not the case here, which is extremely disappointing.
In addition, as I read, the word “mise-en-scène” became more and more annoying. The translator apparently really likes it, since with this word he translates as many as two of the author’s escena and escenario. Why couldn’t it be possible to write a scene, an episode, a location, a setting, after all? What, excuse me, is the mise-en-scène? This is such an idiotically atypical word for the author’s language that the entire book was perceived as a wart on the interlocutor’s face. In addition, in any case, “mise-en-scène” three times on one page is overkill.
I will not continue to pour out my dissatisfaction, but I have other similar complaints - their essence, in general, can already be understood from the above.
Arturo Perez-Reverte
Good people
Gregorio Salvador.
And also Antonia Colino,
Antonio Mingote
and Admiral Alvarez-Arenas,
in memoriam.
Truth, faith, the human race pass without a trace, they are forgotten, the memory of them disappears.
Except for those few who accepted the truth, shared the faith or loved these people.
Joseph Conrad. "Youth"
The novel is based on real events, places and characters actually exist, but most of the plot and characters belong to a fictional reality created by the author.
It is not so difficult to imagine a duel at dawn in Paris at the end of the 18th century. Books read and films watched will come to the rescue. It is more difficult to describe it on paper. And to use it as a starting point for a novel is even risky in its own way. The goal is to make the reader see what the author sees—or imagines—to see. To do this, you need to become someone else's eyes - the eyes of the reader, and then quietly move away, leaving him alone with the story that he has to learn. Our story begins in a meadow covered with morning frost, in a blurry grayish light; it is necessary to add here a foggy haze, not too thick, through which in the fading light of the emerging day the outlines of the grove surrounding the French capital are dimly visible - today most of its trees no longer exist, and the remaining ones are located within the city limits.
Now let's imagine the characters complementing the mise-en-scène. In the first rays of dawn, two human figures are visible, slightly blurred by the morning haze. A little further away, closer to the trees, near three horse-drawn carriages, there are other figures: these are men, wrapped in cloaks, with cocked hats pulled down to their eyebrows. There are about half a dozen of them, but their presence is not so important for the main mise-en-scène; so we'll be leaving them for a while. Much more important now are those two, frozen motionless one next to the other on the wet grass of the meadow. They are in tight-fitting knee-length trousers and shirts, over which there is neither a camisole nor a frock coat. One is thin and tall - especially for his era; gray hair is gathered at the back of the head in a small ponytail. The other is of medium height, his hair is curled, arranged in curls at the temples and powdered according to the latest fashion of that time. Neither of these two looks like young men, although the distance does not allow us to say this with certainty. So let's get closer. Let's take a closer look at them.
The object that each of them holds in their hands is nothing more than a sword. It looks like a training rapier, if you don't look closely. And the matter is, apparently, serious. Very serious. The two are still standing motionless, three steps apart, staring straight ahead. They may seem to be thinking. Perhaps about what is about to happen. Their arms hang along their bodies, and the tips of their swords touch the frost-covered grass. The shorter one - up close he looks younger - has an arrogant, demonstratively contemptuous look. Carefully studying his opponent, he seems to want to demonstrate his position and posture to someone else who is looking at him from the side of the grove surrounding the meadow. The other man - he is taller and clearly older in age - has watery blue eyes, melancholic, they seem to have absorbed the moisture of the cold morning. At first glance, it may seem that these eyes are studying the person standing opposite, but if we look into them, it will become obvious to us that this is not so. In fact, their gaze is distracted, detached. And if the person standing opposite moved or changed his position, these eyes would probably still look ahead, not noticing anything, indifferent to everything, directed towards other pictures, visible only to him alone.
A voice comes from the direction of the carriages waiting under the trees, and two men standing in the meadow slowly raise their blades. They greet each other briefly - one of them brings the guard to his chin - and again stand at the ready. The shorter one places his free hand on his hip, assuming a classic fencing position. The other, taller, with watery eyes and a gray tail on the back of his head, puts a weapon in front of him and raises his other arm, bent at the elbow almost at a right angle. The fingers are relaxed and pointed slightly forward. Finally, the blades touch carefully, and a thin silver ringing floats in the cold morning air.
However, the time has come to tell the story. Now we will find out what brought the heroes to this meadow at such an early morning hour.
1. Two: tall and fat
It is a real pleasure to hear them talk about mathematics, modern physics, natural history, human rights, as well as antiquity and literature, sometimes allowing for more innuendo than if they were talking about making counterfeit money. They live in secret and die the same way they lived.
H. Cadalso. "Moroccan Letters"
I discovered them by chance in the far corner of the library: twenty-eight weighty volumes bound in light brown leather, slightly worn and damaged by time - after all, they had been used for two and a half centuries. I didn’t know they were there - I needed something completely different on these shelves - when suddenly I was attracted by the inscription on one of the spines: “ Encyclopédie, ou dictionnaire raisonné"["Encyclopedia, or Explanatory Dictionary" (French).]. The very first edition. Something that began publication in 1751 and whose last volume was published in 1772. Of course, I knew about its existence. Once about five years ago, I even almost purchased this encyclopedia from my friend, the collector of ancient books Louis Bardon, who was ready to give it to me in the event that the client with whom they had previously agreed suddenly changed his mind. But, unfortunately - or, conversely, fortunately, since the price was sky-high - the client bought it. This was Pedro J. Ramirez, then editor of the daily newspaper El Mundo. One evening, while having dinner at his house, I noticed these volumes in his library - they were displayed in the most prominent place. The owner was aware of my failed deal with Bardon and joked about it. “Don’t despair, my friend, you’ll be lucky next time,” he told me. However, the next time never came. This is a rarity in the book market. Not to mention purchasing the entire collection.
Anyway, that morning I saw it in the library of the Royal Spanish Academy - for twelve years it had occupied the shelf under the letter "T". Before me was a work that became the most exciting intellectual adventure of the 18th century: the first and absolute victory of reason and progress over the forces of darkness. The volumes included 72,000 articles, 16,500 pages and 17 million words, reflecting the most advanced thought of the era, and were ultimately condemned by the Catholic Church, and their authors and publishers faced imprisonment and even the death penalty. How did a work that had been on the Index of Banned Books for so long make it to this library, I asked myself? How and when did this happen? The sun's rays pouring through the library windows fell on the floor in shining squares, creating the atmosphere of Velazquez's paintings, and the gilded spines of twenty-eight ancient volumes, crowded on the shelf, glittered mysteriously and alluringly. I reached out, took one volume and opened the title page:
...Encyclopédie,
ou
dictionary raisonné
des sciences, des arts et des métiers,
par une société de gens de lettres.
Tome premier
MDCCLI
Avec approbation et privilege du roy[Encyclopedia, or Explanatory Dictionary of Sciences, Arts and Crafts, written by a community of enlightened people, volume one, by permission and by royal privilege, 1751 (French).]
The last two lines made me chuckle. Forty-two years after this year MDCCLI, indicated in Latin numerals, that is, in 1793, the grandson of that same roy The [King] who gave permission and privilege for the publication of the first volume was executed by guillotine "in the public square" of Paris in the name of the very ideas that, bursting from the pages of his Encyclopedia, set France on fire. and after it - a good half of the world. Life is a strange thing, I thought. She has a very unique sense of humor.
I turned a few pages at random. Pristine white, despite its age, the paper seemed to have just come out of the printing house. Good old cotton paper, I thought, is not subject to either time or human stupidity, how different it is from the caustic modern cellulose, which turns yellow in a matter of years, making the pages brittle and short-lived. I brought the book to my face and inhaled with pleasure the smell of old paper. It even smells special: fresh. I closed the volume, returned it to the shelf and left the library. At that time I was occupied with many other things, but the twenty-eight volumes, modestly standing on a shelf in the far corner of an old building on Calle Philip IV in Madrid, among thousands of other books, could not leave my mind. Later I told Victor Garcia de la Concha, director emeritus, about them, whom I met near the cloakroom in the lobby. He came up himself. He had something else to do with me - for his scientific studies he needed an article about thieves' argot in the works of Quevedo - but I quickly turned the conversation to what interested me at that moment. García de la Concha had just completed the History of the Royal Spanish Academy, and such things were still fresh in his memory.
Arturo Perez-Reverte with the novel Good People for download in fb2 format.
France, late 18th century. The time is interesting, but vague: a revolution is brewing, books are being destroyed, hundreds of people are in prison. Don Hermogenes Molina, a brilliant expert on Latin and an incomparable translator of Virgil, together with the retired commander Pedro Zarate, goes to Paris - they need to find the first edition of the Encyclopedia by Diderot and D'Alembert. But this is not at all easy, because the book has long been banned. Mercenaries from all over the world are hunting for her and are ready to do anything to get her. Friends must, at all costs, be the first to get to the treasured work and try not to die in such a dangerous adventure.
If you liked the summary of the book Good People, you can download it in fb2 format by clicking on the links below.
Today, a large amount of electronic literature is available on the Internet. The publication Good People is dated 2016, belongs to the genre “Historical Adventures” in the series “The Charm of Mystery. Prose by Arturo Perez-Reverte and Ildefonso Falcones” and is published by Eksmo Publishing House. Perhaps the book has not yet entered the Russian market or has not appeared in electronic format. Don’t be upset: just wait, and it will definitely appear on UnitLib in fb2 format, but in the meantime you can download and read other books online. Read and enjoy educational literature with us. Free downloading in formats (fb2, epub, txt, pdf) allows you to download books directly into an e-reader. Remember, if you really liked the novel, save it to your wall on a social network, let your friends see it too!
Arturo Perez-Reverte
Good people
Gregorio Salvador.
And also Antonia Colino,
Antonio Mingote
and Admiral Alvarez-Arenas,
in memoriam.
Truth, faith, the human race pass without a trace, they are forgotten, the memory of them disappears.
Except for those few who accepted the truth, shared the faith or loved these people.
Joseph Conrad. "Youth"
The novel is based on real events, places and characters actually exist, but most of the plot and characters belong to a fictional reality created by the author.
Arturo Perez-Reverte
Copyright © 2015, Arturo Pérez-Reverte
© Belenkaya N., translation into Russian, 2016
© Edition in Russian, design. LLC Publishing House E, 2016
It is not so difficult to imagine a duel at dawn in Paris at the end of the 18th century. Books read and films watched will come to the rescue. It is more difficult to describe it on paper. And to use it as a starting point for a novel is even risky in its own way. The goal is to make the reader see what the author sees—or imagines—to see. To do this, you need to become someone else's eyes - the eyes of the reader, and then quietly leave, leaving him alone with the story that he has to learn. Our story begins in a meadow covered with morning frost, in a blurry grayish light; it is necessary to add here a foggy haze, not too thick, through which in the fading light of the emerging day the outlines of the grove surrounding the French capital are dimly visible - today most of its trees no longer exist, and the remaining ones are located within the city limits.
Now let's imagine the characters complementing the mise-en-scène. In the first rays of dawn, two human figures are visible, slightly blurred by the morning haze. A little further away, closer to the trees, near three horse-drawn carriages, there are other figures: these are men, wrapped in cloaks, with cocked hats pulled down to their eyebrows. There are about half a dozen of them, but their presence is not so important for the main mise-en-scène; so we'll be leaving them for a while. Much more important now are those two, frozen motionless one next to the other on the wet grass of the meadow. They are in tight-fitting knee-length trousers and shirts, over which there is neither a camisole nor a frock coat. One is thin and tall - especially for his era; gray hair is gathered at the back of the head in a small ponytail. The other is of medium height, his hair is curled, arranged in curls at the temples and powdered according to the latest fashion of that time. Neither of these two looks like young men, although the distance does not allow us to say this with certainty. So let's get closer. Let's take a closer look at them.
The object that each of them holds in their hands is nothing more than a sword. It looks like a training rapier, if you don't look closely. And the matter is, apparently, serious. Very serious. The two are still standing motionless, three steps apart, staring straight ahead. They may seem to be thinking. Perhaps about what is about to happen. Their arms hang along their bodies, and the tips of their swords touch the frost-covered grass. The shorter one - up close he looks younger - has an arrogant, demonstratively contemptuous look. Carefully studying his opponent, he seems to want to demonstrate his position and posture to someone else who is looking at him from the side of the grove surrounding the meadow. The other man - he is taller and clearly older in age - has watery blue eyes, melancholic, they seem to have absorbed the moisture of the cold morning. At first glance, it may seem that these eyes are studying the person standing opposite, but if we look into them, it will become obvious to us that this is not so. In fact, their gaze is distracted, detached. And if the person standing opposite moved or changed his position, these eyes would probably still look ahead, not noticing anything, indifferent to everything, directed towards other pictures, visible only to him alone.
A voice comes from the direction of the carriages waiting under the trees, and two men standing in the meadow slowly raise their blades. They greet each other briefly - one of them brings the guard to his chin - and again stand at the ready. The shorter one places his free hand on his hip, assuming a classic fencing position. The other, taller, with watery eyes and a gray tail on the back of his head, puts a weapon in front of him and raises his other arm, bent at the elbow almost at a right angle. The fingers are relaxed and pointed slightly forward. Finally, the blades touch carefully, and a thin silver ringing floats in the cold morning air.
