The Duplicate Man

The cover calligraphy was written by the writer Lídia Jorge

Tertuliano Máximo Afonso, history teacher at secondary school, «lives alone and gets bored», «was married and does not remember what led to his marriage, got divorced and now he does not even want to remember the reasons why he separated », to the chair of History« he sees it for a long time as a meaningless fatigue and an endless beginning ». One night at home, while watching a movie on television, «he got up from his chair, knelt down in front of the TV, his face as close to the screen as he could see, It's me, he said, and again he felt the hairs on his body stood on end ”.

After this unexpected discovery of a man exactly like himself, Tertuliano Máximo Afonso, who lives alone and is bored, sets out to find this other man.

Tertuliano Máximo Afonso, a secondary school history teacher, "lives alone and is bored," "was married and doesn't remember what led him to marriage, divorced and now doesn't even want to remember the reasons for the separation," and has long seen his history studies as a meaningless fatigue and a beginning without end. One night, at home, while watching a film on television, "he got up from his chair, knelt before the television, his face as close to the screen as his vision allowed, 'It's me,' he said, and again felt the hairs on his body stand on end." After this unexpected discovery of a man exactly like himself, Tertuliano Máximo Afonso, the lonely and bored man, sets out to discover this other man. The exciting story of this search, the surprising circumstances of the encounter, and its dramatic outcome constitute the body of this new novel by José Saramago.

The Double is undoubtedly one of the most original and powerful novels by the author of Memorial do Convento.

Tertuliano Máximo Afonso, a secondary school history teacher, "lives alone and is bored," "was married and doesn't remember what led him to marriage, divorced and now doesn't even want to remember the reasons for the separation," and has long seen his history studies as a meaningless fatigue and a beginning without end. One night, at home, while watching a film on television, "he got up from his chair, knelt before the television, his face as close to the screen as his vision allowed, 'It's me,' he said, and again felt the hairs on his body stand on end." After this unexpected discovery of a man exactly like himself, Tertuliano Máximo Afonso, the lonely and bored man, sets out to discover this other man. The exciting story of this search, the surprising circumstances of the encounter, and its dramatic outcome constitute the body of this new novel by José Saramago.

The Double is undoubtedly one of the most original and powerful novels by the author of Memorial do Convento.

Botimet Dudaj

2011 (Translated by Nasi Lera)

Der Geschichtslehrer Tertulian Máximo Afonso ist perplex, als er beim Anschauen eines Videofilms feststellt, dass eine Nebenfigur ihm zum Verwechseln ähnlich sieht. Wie er herausfindet, handelt es sich bei seinem Doppelgänger um den Schauspieler António Claro, und tatsächlich geht es hier um mehr als eine gewisse Ähnlichkeit: Beide sind absolut identisch. Eine Tatsache, die den Lehrer völlig aus der Bahn wirft und sein Leben von Grund auf verändert.

Unter dem Titel »Enemy« kam 2014 die von Denis Villeneuve umgesetzte Verfilmung José Saramagos Romans »Der Doppelgänger« mit Jake Gylenhaal in der Hauptrolle in die deutschen Kinos.

Der Geschichtslehrer Tertulian Máximo Afonso ist perplex, als er beim Anschauen eines Videofilms feststellt, dass eine Nebenfigur ihm zum Verwechseln ähnlich sieht. Wie er herausfindet, handelt es sich bei seinem Doppelgänger um den Schauspieler António Claro, und tatsächlich geht es hier um mehr als eine gewisse Ähnlichkeit: Beide sind absolut identisch. Eine Tatsache, die den Lehrer völlig aus der Bahn wirft und sein Leben von Grund auf verändert.

Ist der Mensch einzigartig?Der Geschichtslehrer Tertuliano Máximo Afonso holt sich zur Ablenkung vom Leben einen Film aus der Videothek. Erwartungsgemäß gefällt ihm der Film nicht. Aber wie groß ist seine Überraschung, als er feststellt, dass ihm eine der Nebenfiguren zum Verwechseln ähnlich ist. Am nächsten Tag beginnt er seinem Doppelgänger nachzuforschen. Zu seinem Schrecken muss er feststellen, dass beide absolut identisch sind.

Der große Roman des Nobelpreisträgers

Der Geschichtslehrer Tertuliano Máximo Afonso leidet nicht nur an seinem pompösen Namen, sondern auch am Bonsai-Intellekt seiner Schüler und an seiner Freundin Maria, die immer mit ihrer Mutter zusammengluckt. Ein Kollege schickt ihn zur Ablenkung in die Videothek und empfiehlt auch gleich einen Film. Tertullian sieht ihn sich an, und erwartungsgemäß gefällt er ihm nicht. Aber wie gewaltig seine Überraschung, als er sich in einer schlaflosen Nacht den Film noch einmal anschaut und feststellt, dass eine Nebenfigur, der Rezeptionist eines Hotels, ihm zum Verwechseln ähnlich sieht. Gleich am nächsten Tag beginnt er seinem Doppelgänger nachzuforschen. Zu seinem Schrecken merkt er, dass es hier um mehr als schlichte Ähnlichkeit geht: Als er auf seiner Suche schließlich fündig wird und den Schauspieler Antonio Claro kennen lernt, stellt sich heraus, dass beide absolut identisch sind! Bald entbrennt ein Streit zwischen ihnen: Wer ist das Original, wer die Kopie? Und wie werden ihre Frauen reagieren, wenn sie erfahren, dass ihre Liebe keinem Einzigartigen gilt, sondern einem, der zweimal existiert? Oder gar noch öfter? “Der Doppelgänger” ist ein Kriminalstück – und eine moderne Parabel, mindestens ebenso nah an den Möglichkeiten der Genetik wie an den Mythen des Altertums. Denn auch in diesem Roman gibt es eine wardende Kassandra, und wie ihr Vorbild wird sie nicht erhört.

Ist der Mensch einzigartig?Der Geschichtslehrer Tertuliano Máximo Afonso holt sich zur Ablenkung vom Leben einen Film aus der Videothek. Erwartungsgemäß gefällt ihm der Film nicht. Aber wie groß ist seine Überraschung, als er feststellt, dass ihm eine der Nebenfiguren zum Verwechseln ähnlich ist. Am nächsten Tag beginnt er seinem Doppelgänger nachzuforschen. Zu seinem Schrecken muss er feststellen, dass beide absolut identisch sind.

Der große Roman des Nobelpreisträgers

Der Geschichtslehrer Tertuliano Máximo Afonso leidet nicht nur an seinem pompösen Namen, sondern auch am Bonsai-Intellekt seiner Schüler und an seiner Freundin Maria, die immer mit ihrer Mutter zusammengluckt. Ein Kollege schickt ihn zur Ablenkung in die Videothek und empfiehlt auch gleich einen Film. Tertullian sieht ihn sich an, und erwartungsgemäß gefällt er ihm nicht. Aber wie gewaltig seine Überraschung, als er sich in einer schlaflosen Nacht den Film noch einmal anschaut und feststellt, dass eine Nebenfigur, der Rezeptionist eines Hotels, ihm zum Verwechseln ähnlich sieht. Gleich am nächsten Tag beginnt er seinem Doppelgänger nachzuforschen. Zu seinem Schrecken merkt er, dass es hier um mehr als schlichte Ähnlichkeit geht: Als er auf seiner Suche schließlich fündig wird und den Schauspieler Antonio Claro kennen lernt, stellt sich heraus, dass beide absolut identisch sind! Bald entbrennt ein Streit zwischen ihnen: Wer ist das Original, wer die Kopie? Und wie werden ihre Frauen reagieren, wenn sie erfahren, dass ihre Liebe keinem Einzigartigen gilt, sondern einem, der zweimal existiert? Oder gar noch öfter? “Der Doppelgänger” ist ein Kriminalstück – und eine moderne Parabel, mindestens ebenso nah an den Möglichkeiten der Genetik wie an den Mythen des Altertums. Denn auch in diesem Roman gibt es eine wardende Kassandra, und wie ihr Vorbild wird sie nicht erhört.

Zwischen Original und Kopie – ist der Mensch wirklich einzigartig?Zum Zeitvertreib leiht sich Geschichtslehrer Afonso einen nicht besonders vielversprechenden Film aus der Videothek – umso größer ist seine Überraschung, als er feststellt, dass ihm eine der Figuren zum Verwechseln ähnlich ist. Er beginnt seinem Doppelgänger nachzuforschen, nimmt Kontakt zu ihm auf und muss mit Erschrecken feststellen, dass sie sich bis aufs Haar gleichen. Diese Begegnung erfüllt Afonso mit Panik: Ist er am Ende ein Irrtum der Natur? Wer von ihnen ist das Original, und wer ist bloß die Kopie?

«El chaos is an order to be deciphered» Book of Contraries

What happens when Tertulianao Máximo Afonso discovers his treinta and ocho años that in his city lives an individual who is his exact copy and with him who does not unite him with a blood bond? This is the question that Saramago, exploring the depths of his soul, plants in The Duplicate Man.

How do we know who we are? What does identity consist of? What defines us as individual and unique people? Can we assume that our voice, our characteristics, up to the slightest distinctive mark, are repeated in another person? Could we exchange with our double without our alleging it percibiesen?

Innovating in the face of the conventions of the novel, Saramago converts the narrator's voice into an active subject, into a metaliterary game that serves the purpose of history and that goes much further than strictly formal ruptures. A novel that is read with the avidity of a story of intrigue but that submerges us in the essential questions of life.

The calligraphy on the cover is by the writer Lídia Jorge.

History professor Tertuliano Máximo Afonso discovers one day that he is a duplicate man. While watching a video, he recognizes himself in another body, identical to his own: one of the actors in the film is his double. The unfolding of this story is unpredictable. But José Saramago's new novel, let it be clear from the start, has nothing to do with cloning or other laboratory experiments. What is at stake is the loss of identity in a society that cultivates individuality and, paradoxically, establishes narrow standards of conduct and appearance. The Portuguese writer's recent novels portray an era of transformations that, for a large part of humanity, result more in losses than gains. In *Blindness*, the characters lose their sight, a sign of a time when everyone seems to be blind. In *The Cave*, artisans lose their jobs, unable to survive in consumer society.

In The Double, José Saramago constructs an extraordinary fiction, based on an extremely current and unsettling issue: the loss of identity in the globalized world.

History professor Tertuliano Máximo Afonso discovers one day that he is a duplicate man. While watching a video, he recognizes himself in another body, identical to his own: one of the actors in the film is his double. The unfolding of this story is unpredictable. But José Saramago's new novel, let it be clear from the start, has nothing to do with cloning or other laboratory experiments. What is at stake is the loss of identity in a society that cultivates individuality and, paradoxically, establishes narrow standards of conduct and appearance. The Portuguese writer's recent novels portray an era of transformations that, for a large part of humanity, result more in losses than gains. In *Blindness*, the characters lose their sight, a sign of a time when everyone seems to be blind. In *The Cave*, artisans lose their jobs, unable to survive in consumer society.

In The Double, José Saramago constructs an extraordinary fiction, based on an extremely current and unsettling issue: the loss of identity in the globalized world.

С темата за двойника, трайно присъстваща в световната литература, един от най-оригиналните португалски писатели, нобелистът Жозе Сарамаго (1922-2010), за пореден път отправя мисловно и philosophies предизвикателство към вярната си публика. Мнозина критици откриват в тази негова творба паралели с Кафка, Бекет, Достоевски and Набоков. From „Двойникът“ (2002) and вдъхновен филмът „Враг“ (2013) на канадския режисьор Денис Вилньов.

Онова, което в крайна сметка целя да разгледам, е темата за „другия“. След като „другият“ е като мен самия и притежава пълното право да бъде като мен самия, се питам, до каква степен искам този „друг“ да нахлува и да се разполага в личното ми пространство? В тази история „другият“ придобива смисъл, който никога преди не имал… give it away другите.

Тертулиано Масимо Афонсо е учител по история, „живее сам и скучае“. Един ден разпознава себе си в третостепенно действащо лице в неангажираща комедия. Разтърсен от неочакваното разкритие, тръгва по следите на неизвестния актьор.

If you don't know what's going on, what's wrong with what's happening, what's wrong with what's going on, абсурд and съспенс ала Хичкок, Сарамаго разказва непредвидимата история това дирене, което преминава през изненадващи обстоятелства и стига до драматичен завършек. Той поставя тревожния въпрос за загубата на идентичността в глобализиращия се свят и изразява дълбоко съмнение относно така яростно бранената и отглеждана от западните общества индивидуалност, която обаче парадоксално установява твърде тесни рамки на поведение и приличие. „Двойникът“ е роман за търсенето на другия, но и за срещата със самия себе си.

hainaim

2006

What happens when Tertuliano Máximo Afonso discovers his treinta and ocho años that in his city lives an individual who is his exact copy and with whom he has no blood bond?

This is the question that Saramago, exploring new depths of the soul, plants in the doubled man. How do we know who we are? What does identity consist of? What defines us as individual and unique people? Can we assume that our voice, our characteristics, up to the slightest distinctive mark, are repeated in another person? Could we exchange with our double without our alleging it percibiesen?

Innovating in the face of the conventions of the novel, Saramago converts the narrator's voice into an active subject, into a metaliterary game that serves the purpose of history and that goes much further than strictly formal ruptures. A novel that is read with the avidity of a story of intrigue but that submerges us in the essential questions of life.

«Complete novel, one of the richest in suggestions by Saramago.» La Vanguardia

«Saramago surprises us until the last moment. The doubled man is a whole festival of novelistic tours de force.» El Mundo

What happens when Tertuliano Máximo Afonso discovers his treinta and ocho años that in his city lives an individual who is his exact copy and with whom he has no blood bond?

This is the question that Saramago, exploring new depths of the soul, plants in the doubled man. How do we know who we are? What does identity consist of? What defines us as individual and unique people? Can we assume that our voice, our characteristics, up to the slightest distinctive mark, are repeated in another person? Could we exchange with our double without our alleging it percibiesen?

Innovating in the face of the conventions of the novel, Saramago converts the narrator's voice into an active subject, into a metaliterary game that serves the purpose of history and that goes much further than strictly formal ruptures. A novel that is read with the avidity of a story of intrigue but that submerges us in the essential questions of life.

«Complete novel, one of the richest in suggestions by Saramago.» La Vanguardia

«Saramago surprises us until the last moment. The doubled man is a whole festival of novelistic tours de force.» El Mundo

What happens when Tertuliano Máximo Afonso discovers his treinta and ocho años that in his city lives an individual who is his exact copy and with whom he has no blood bond?

This is the question that Saramago, exploring new depths of the soul, plants in the doubled man. How do we know who we are? What does identity consist of? What defines us as individual and unique people? Can we assume that our voice, our characteristics, up to the slightest distinctive mark, are repeated in another person? Could we exchange with our double without our alleging it percibiesen?

Innovating in the face of the conventions of the novel, Saramago converts the narrator's voice into an active subject, into a metaliterary game that serves the purpose of history and that goes much further than strictly formal ruptures. A novel that is read with the avidity of a story of intrigue but that submerges us in the essential questions of life.

«Complete novel, one of the richest in suggestions by Saramago.» La Vanguardia

«Saramago surprises us until the last moment. The doubled man is a whole festival of novelistic tours de force.» El Mundo

What happens when Tertuliano Máximo Afonso discovers his treinta and ocho años that in his city lives an individual who is his exact copy and with whom he has no blood bond?

This is the question that Saramago, exploring new depths of the soul, plants in the doubled man. How do we know who we are? What does identity consist of? What defines us as individual and unique people? Can we assume that our voice, our characteristics, up to the slightest distinctive mark, are repeated in another person? Could we exchange with our double without our alleging it percibiesen?

Innovating in the face of the conventions of the novel, Saramago converts the narrator's voice into an active subject, into a metaliterary game that serves the purpose of history and that goes much further than strictly formal ruptures. A novel that is read with the avidity of a story of intrigue but that submerges us in the essential questions of life.

«Complete novel, one of the richest in suggestions by Saramago.» La Vanguardia

«Saramago surprises us until the last moment. The doubled man is a whole festival of novelistic tours de force.» El Mundo

Tertuliano Máximo Afonso is a divorced, depressed history teacher. To lift his spirits, a colleague suggests he rent a certain video. Tertuliano watches the film, uniprinted. But during the night, when he is awakened by noises in his apartment, he goes into the living room to find that the VCR is replaying the video. He watches in astonishment as a man who looks exactly like him-or, more specifically, exactly like he did five years before, mustachioed and fuller in the face-appears on the screen. He sleeps badly. Against his better judgment, Tertuliano decides to pursue his double. As he roots out the man's identity, what begins as a whimsical story becomes a “wonderfully twisted meditation on identity and individuality” (The Boston Globe). Saramago displays his remarkable talent in this haunting tale of appearance versus reality.

PRAISE FOR THE DOUBLE

“In varying proportions [Saramago] is melancholy, funny, scary and socially enraged. Such elements have rarely worked better together than in The Double. It's tempting to think of it as his masterpiece.”–The New York Times

“"Saramago has the gift of gab. Our impression is of a writer, like Faulkner, so confident of his resources and ultimate destiny that he can bring any impossibility to life by hurling words at it."–John Updike, The New Yorker

Nobel-mestarin persoonallinen tulkinta aina yhtä kiehtovasta kaksoisolentoaiheestaSaramagon uusi romaani sisältää kepeän, hirtehisen tarinan miehestä, joka törmää kaksoisolentoonsa, ja sen ohessa mielenkiintoista pohdiskelua ihmisen todellisesta identiteetistä ja kloonauksen herättämistä kysymyksistä.

Tertuliano Máximo Afonso on lyseon historian lehtori, eronnut, masentunut ja kyllästynyt elämäänsä. Opettajatoveri kehottaa häntä vuokraamaan piristyksekseen erään elokuvan. Afonso ei erityisesti välitä filmistä mutta kokee sitä katsoessaan yllätyksen: eräs sivuroolin esittäjä on hänen ilmetty kuvansa; jopa ääni ja eleet ovat samanlaiset.

Hänen ensimmäinen johtopäätöksensä on: ”Toinen meistä on erehdys.” Vaikka järki sanoo toista, Afonso lähtee sinnikkäästi etsimään kaksoisolentoaan. Kun he vihdoin kohtaavat, nousevat esiin väistämättömät kysymykset: Kumpi meistä oli ensin? Kumpi joutuu lähtemään teach? Kumpi on alkuperäinen ja kumpi kopio?

Tilanne aiheuttaa monenlaisia sekaannuksia ja yllyttää kaksoisolennot naamioleikkiin, joka johtaa järkyttävään loppuratkaisuun. Mutta kun kaikki näyttää olevan lopussa, seuraakin uusi yllätys.

Tertuliano Máximo Afonso aperçoit dans un film son double parfait. Horrific, the vision of other videos that confirms the intuition. Aided by the maîtresse, part of the recherche d'António Claro, that's the same person. Mais deux êtres semblables ne peuvent coexister… Et du désordre de l'identité naît la tragédie.

«Ce qui se passait n'était pas vrai, ne pouvait pas être vrai.»

Tertuliano Máximo Afonso aperçoit dans un film son double parfait. Horrific, the vision of other videos that confirms the intuition. Aided by the maîtresse, part of the recherche d'António Claro, that's the same person. Mais deux êtres semblables ne peuvent coexister… Et du désordre de l'identité naît la tragédie.

«Ce qui se passait n'était pas vrai, ne pouvait pas être vrai.»

The Τερτουλιάνο Μάσιμο Αφόνσο, καθηγητής της Ιστορίας σε γυμνάσιο, ζει μόνος και πλήττει· υπήρξε παντρεμένος και δεν θυμάται τι τον οδήγησε στο γάμο, πήρε διαζύγιο και τώρα δεν θυμάται ούτε τους λόγους για τους οποίους χώρισε, ενώ την Ιστορία τη βλέπει εδώ και καιρό ως μια κόπωση χωρίς νόημα και μια αρχή χωρίς τέλος. Ένα βράδυ, παρακολουθώντας μια ταινία στο βίντεο, ανακαλύπτει ότι υπάρχει στην ίδια πόλη ένας απόλυτος δίδυμος, ένας σωσίας, ένα αντίγραφό του. Η αφήγηση αυτή είναι η ιστορία της αναζήτησης καθώς και της alpha αυτού του άλλου, αλλά και των συνεπειών που έχει η υπόθεση αυτή για τον Τερτουλιάνο Μάσιμο Αφόνσο, ο οποίος δεν θα είναι ποτέ πια ο ίδιος…Για πολλούς το καλύτερο μυθιστόρημα της ωριμότητας του μεγάλου Νομπελίστα συγγραφέα

The Τερτουλιάνο Μάσιμο Αφόνσο, καθηγητής της Ιστορίας σε γυμνάσιο, ζει μόνος και πλήττει· υπήρξε παντρεμένος και δεν θυμάται τι τον οδήγησε στο γάμο, πήρε διαζύγιο και τώρα δεν θυμάται ούτε τους λόγους για τους οποίους χώρισε, ενώ την Ιστορία τη βλέπει εδώ και καιρό ως μια κόπωση χωρίς νόημα και μια αρχή χωρίς τέλος. Ένα βράδυ, παρακολουθώντας μια ταινία στο βίντεο, ανακαλύπτει ότι υπάρχει στην ίδια πόλη ένας απόλυτος δίδυμος, ένας σωσίας, ένα αντίγραφό του. Η αφήγηση αυτή είναι η ιστορία της αναζήτησης καθώς και της alpha αυτού του άλλου, αλλά και των συνεπειών που έχει η υπόθεση αυτή για τον Τερτουλιάνο Μάσιμο Αφόνσο, ο οποίος δεν θα είναι ποτέ πια ο ίδιος…Για πολλούς το καλύτερο μυθιστόρημα της ωριμότητας του μεγάλου Νομπελίστα συγγραφέα

The Τερτουλιάνο Μάσιμο Αφόνσο, καθηγητής της Ιστορίας σε γυμνάσιο, ζει μόνος και πλήττει· υπήρξε παντρεμένος και δεν θυμάται τι τον οδήγησε στο γάμο, πήρε διαζύγιο και τώρα δεν θυμάται ούτε τους λόγους για τους οποίους χώρισε, ενώ την Ιστορία τη βλέπει εδώ και καιρό ως μια κόπωση χωρίς νόημα και μια αρχή χωρίς τέλος. Ένα βράδυ, παρακολουθώντας μια ταινία στο βίντεο, ανακαλύπτει ότι υπάρχει στην ίδια πόλη ένας απόλυτος δίδυμος, ένας σωσίας, ένα αντίγραφό του. Η αφήγηση αυτή είναι η ιστορία της αναζήτησης καθώς και της alpha αυτού του άλλου, αλλά και των συνεπειών που έχει η υπόθεση αυτή για τον Τερτουλιάνο Μάσιμο Αφόνσο, ο οποίος δεν θα είναι ποτέ πια ο ίδιος…Για πολλούς το καλύτερο μυθιστόρημα της ωριμότητας του μεγάλου Νομπελίστα συγγραφέα

Tertuliano Máximo Afonso heeft genoeg van zijn werk, zijn vriendin en zijn leven. Wanneer hij in een videofilm bij toeval een figurant ontdekt die zijn dubbelganger lijkt te zijn, gaat hij geïntrigeerd op zoek naar de man. De twee blijken geen zielsverwanten, integendeel: de schok van de herkenning veroorzaakt bij beiden louter vijandigheid. De onvermijdelijke confrontation geeft het verhaal een haast thrillerachtige spanning, die culmineert in een ontknoping zoals die in José Saramago's imposing oeuvre niet eerder is vertoond.

Tertuliano Máximo Afonso heeft genoeg van zijn werk, zijn vriendin en zijn leven. Wanneer hij in een videofilm bij toeval een figurant ontdekt die zijn dubbelganger lijkt te zijn, gaat hij geïntrigeerd op zoek naar de man. De twee blijken geen zielsverwanten, integendeel: de schok van de herkenning veroorzaakt bij beiden louter vijandigheid. De onvermijdelijke confrontation geeft het verhaal een haast thrillerachtige spanning, die culmineert in een ontknoping zoals die in José Saramago's imposing oeuvre niet eerder is vertoond.

Tertuliano Máximo Afonso éppen depresszióval küszködik: történelemtanárként unalmasan csordogálnak a napjai, s miután néhány éve elvált, belesavanyodott az egyedüllétbe. Van ugyan szeretõje, aki szívesen hozzámenne feleségül, de Tertuliano vele is szakítani akar… megtudja, hogy ki is õ igazából. S ekkor életeváratlan fordulatot vesz: egy silány filmvígjátékban felfedezi a tökéletes hasonmását – s ha eddig nem volt tisztában önmagával, igazivágyaival, törekvéseivel, most még az is nehezíti a helyzetét, hogy kettõ van belõle. Elképzelhetõ, hogy õ csak valakinek a másolata? Egyáltalán: miként lehetséges a józan észnek, a természet mûködésének ellentmondó tökéletes azonosság? Are you milyen (egyelõre beláthatatlan) következményekkel Járhat ez a felfedezése? Feldúltan nyomozni kezd, s egyszer csak egymással szemben állnak õk ketten: Tertuliano Máximo Afonso és a hasonmása, egy színész, akinek még az ujjlenyomata ispontosan ugyanolyan, mint az övé.Saramago legújabb regényében meghökkentõ fordulatokban bõvelkedõ történetet szõ a világirodalom egyik hagyományos témája, a hasonmásmotívum köré – s nemcsak az irodalmi elõzmények, hanem a mû groteszk-sejtelmes atmoszférája is tragikus végkifejletet sugall.

(מרים טבעון)]רק סאראמאגו, הסופר הכי חי באירופה, יכול להפיח רוח-חיים כזאת, חום אנושי כזה, זרימה עוצרת מורה להיסטוריה בבית-ספר תיכון, בן 38, שואל סרט וידיאו, שהמליץ עליו חבר-לעבודה: לא איזו יצירת-מופת קולנועית, אלא רק בידור של שעה-וחצי, שיוכל להסיח את דעתו מן הדכדוך שלו (הוא גרוש, ואינו רוצה להיזכר למה התגרש; ואת הקשר עם החברה הנוכחית שלו הוא רוצה לנתק ואינו מצליח). לאימתו הוא מגלה ששחקן-משנה בסרט, המופיע בתפקיד צדדי של פקיד-קבלה בבית-מלון, הוא בן-דמותו, דומה לו כמו תאום-זהה בכל פרט, כולל נקודות-חן, כאילו הוא שכפול שלו, דופליקט. אפילו אשתו של השחקן לא תדע להבחין בין שניהם. אומנם ההוא בעל שפם, אבל גם לו-עצמו היה שפם לפני חמש שנים, בדיוק כשצולם הסרט, כלומר השניים אפילו משתנים בו-זמנית… בלי לגלות את הדבר לאיש, הוא מצליח, לאחר שורת תחבולות והרפתקאות, לגלות את שמו ואת כתובתו של השחקן האלמוני, והוא צץ בחייו במפתיע. אבל מי כאן המקור ומי העותק? מי האדם 'הנכון' ומי הטעות? ומדוע – כששניים מגלים שהם דומים זה לזה כמו שתי יריקות – הם הופכים אט-אט לאויבים מרים? זוהי יצירת-מופת קומית ואפלה, אשר תוהה על טבען של הזהות האישית ושל האינדיבידואליות האנושית. , מדרבן אותו לפעילות נמרצת המכוננת בו תודעה-עצמית חדשה, כאילו הוא פוגש לראשונה את זהותו 'האמיתית'.

“"Voglio arrivare a lui senza che nessuno lo sappia e senza che lo sospetti. Parole definitive che non ammettevano sconti"”

The protagonist of the novel is a professor of the History of the media school with an impressive name, Tertuliano Máximo Afonso. Separato dalla moglie senza ricordare ne perché if he were a spouse nor perché averse divorziato, questi incontra grandi difficoltà nelle relazioni col prossimo. That's why I could define depression. Lead a lonely and disgusting life, thin al giorno in which I don't see anything incredible. Dieter consiglio di un collega, noleggia una commedia leggera in videocassetta, ed eccolo faccia a faccia con una comparsa che, ben più che somigliargli, è proprio lui. An authentic doppio, which is the essence of what Tertuliano said, from which moment he did everything to discover what he saw, what happened, what the abbia story was, developing così in a parallel reality… With irony, acume and narrative wisdom Saramago ci leads in an un-quieting inquiry Sull'alter ego, ricca di suspense e di spunti di riflessione sull'identità, nonché di svolte unpreviste.

The protagonist of the novel is a professor of the History of the media school with an impressive name, Tertuliano Máximo Afonso. Separate from the moment if it comes back to me if I'm married or I'll have to divorce, there's difficulty in the relationship with each other further and if I can define depression. Conduct a lonely and disgusting vita, thin al giorno in cui non fa una scoperta sensazionale: dietro consiglio di un collega, noleggia una commedia leggera in videocassetta, ed eccolo faccia a faccia con una comparsa che, ben più che somigliargli, è lui. Un authentic doppio, la cui esistenza convolge quella di Tertuliano, que da quel momento fa di tutto per scoprire chi sia quell'attore, cosa faccia, che storia abbia, sprofondando en una realtà parallela. Saramago comments step by step on vicenda, accompagna il tore con ironia, cume e sapienza narrative in quest'inquietante indagine sull'alter ego, ricca di suspense e di spunti di riflessione sull'identità, nonché di svolte unpreviste.

A giorno, a solitary insegnante of the story, keeping a videocassette with a math colleague who has consigliato, if he agrees with one of the film's protagonists, he is perfectly identical to the story. And decides to walk him around.

A giorno, a solitary insegnante of the story, keeping a videocassette with a math colleague who has consigliato, if he agrees with one of the film's protagonists, he is perfectly identical to the story. And decides to walk him around.

彼がオリジナルで、自分が複製された男なのか！ Articleポルトガルのノーベル賞作家サラマーゴの傑作。 アメリカで映画化！ 世界23カ国で翻訳！ 「本書のストーリーは、通信技術がどんなに発達しても、個人間のコミュニケーションの問題は解決しないということを示しているように思われる。ネット社会といわれる現代において、人々の孤独はむしろ深まっているのである。執拗に繰り返されるテルトゥリアーノ・マッシモ・アフォンソという主人公の古めかしい名前は、人々のつながりが失われ、個人の匿名化が進んだ現代社会で、あたかもその存在を強固に主張しているようだ。」（本書「訳者解説」より）

What happens when Tertuliano Máximo Alfonso discovers his training and eight years, in a short sequence of a film, the existence of a small character identical to him and with whom no one has a blood bond?

I sin tiende roman kaster nobelprisvinneren José Saramago (d. 1922) seg ut i en tilsynelatende vilter harselas, men hente mon inn med stort avor. Latteren som bølger gjennom historien kan plutselig komme til å sitte fast i halsen. midlertidige sjelelige forstemthet som vanligvis går under navnet depresjon“. Han holder venninnen Maria da Paz noenlunde varm, uten å forplikte mon, og er egentlig mer lidenskapelig engasjert i film enn i henne. En alenekveld i leiligheten ser han på den ganske ukjente ”Den som leter, finner“. Fem ganger dukker det opp en resepsjonist i film – og til historielærerens bestyrtelse er denne statistskuespilleren på en prikk lik ham selv. En dobbeltgjenger, et duplikat, en i alle henseender tro kopi! Ad finurlige veier finner han frem til fyren – i en skakende konfrontasjon som snart eksploderer i en klassisk forviklingskomedie der ikke engang bruk av løsskjegg og hornbriller er for nedrig. Gode og dessverre også rendyrket perfide krefter utløses. Lærer Tertuliano og b-skuespiller António Claro utfordrer hverandre på de vesentligste spørsmål: hvem kom først, hvem er originalen og hvem er kopien?

I sin tiende roman kaster nobelprisvinneren José Saramago (d. 1922) seg ut i en tilsynelatende vilter harselas, men hente mon inn med stort avor. Latteren som bølger gjennom historien kan plutselig komme til å sitte fast i halsen. midlertidige sjelelige forstemthet som vanligvis går under navnet depresjon“. Han holder venninnen Maria da Paz noenlunde varm, uten å forplikte mon, og er egentlig mer lidenskapelig engasjert i film enn i henne. En alenekveld i leiligheten ser han på den ganske ukjente ”Den som leter, finner“. Fem ganger dukker det opp en resepsjonist i film – og til historielærerens bestyrtelse er denne statistskuespilleren på en prikk lik ham selv. En dobbeltgjenger, et duplikat, en i alle henseender tro kopi! Ad finurlige veier finner han frem til fyren – i en skakende konfrontasjon som snart eksploderer i en klassisk forviklingskomedie der ikke engang bruk av løsskjegg og hornbriller er for nedrig. Gode og dessverre også rendyrket perfide krefter utløses. Lærer Tertuliano og b-skuespiller António Claro utfordrer hverandre på de vesentligste spørsmål: hvem kom først, hvem er originalen og hvem er kopien?

Najnowsza powieść portugalskiego noblisty w Polsce.Pewien mężczyzna, rozwodnik i nauczyciel historii, jest znudzony życiem. Sam o sobie mówi, że cierpi na depresję, że nauczanie to dla niego marsz w miejscu, że nie pamięta, dlaczego się ożenił, i że woli nie pamiętać, dlaczego się rozwiódł. Pewnej bezsennej nocy rozpoznaje siebie w jednym z aktorów grających w oglądanym właśnie filmie. Jego depresja pogłębia się, a życie zaczyna się toczyć podwójnym torem. Dzieją się coraz dziwniejsze, coraz bardziej zaskakujące rzeczy, szara jeszcze niedawno egzystencja dostarcza nauczycielowi nadmiaru wrażeń.

José Saramago, laureat literackiej Nagrody Nobla i najpopularniejszy na świecie prozaik portugalski, sławę zdobył dopiero w sześćdziesiątym roku życia swoją trzecią powieścią, Baltazar i Blimunda. Książka otrzymała prestiżową nagrodę portugalskiego Pen Clubu oraz Nagrodę Literacką Miasta Lizbona.

W serii “Mistrzowie literatury” nakładem REBISU ukazały się dotychczas: Baltazar i Blimunda, Wszystkie imiona, Rok śmierci Ricarda Reisa, Historia oblężenia Lizbony i Kamienna tratwa.

«A history teacher rents a video on the recommendation of a friend. Not a great fan of cinema, he watches the film unmoved, but wakes up later that night unaccountably troubled by something he has subconsciously viewed. He gets up to watch the film again and discovers, to his horror, an actor who could be his twin, identical in every way except for the mustache he himself has not worn for five years. Telling no-one of his discovery and wrought with anxiety, Tertuliano Máximo Afonso embarks on a quest to find the actor. By a process of elimination, and watching countless films, he manages to identify the “double” and secretly plots to make contact. But how will the struggling actor feel when confronted out of the blue by a man claiming to be identical to him in every way? A man proclaiming himself to be the original and the actor a duplicate?

Saramago's new novel explores the nature of individuality and examines the fear and insecurity that arise when our singularity comes under threat, when even a wife cannot tell the original from the impostor. Reminiscent of the work of Kafka and Gogol, this dark and comic masterpiece is destined to become a classic work of the twenty-first century.»

‘'A Borgesian fable with a marvelous flavor all its own' Philip Hensher, Spectator Books of the Year

‘'Extraordinarily bold and quirky novel' The Times

‘'Quite unlike anything else' London Review of Books

Undebted to Borges and with a nod to Auster, he manages to surpass both with the audacity and sheer erudition of his prose Catherine Taylor The Guardian

Tertuliano Maximo Afonso, the protagonist of the novel Omul Duplicat, is a professor of history at the high school. This divorce, deseori deprimat si duce the viata de rutina. Urmind sfatul unui coleg de a incerca sa se distreze putin, intr-una din zile isi inchiriaza un film, care insa nu-i face nici o placere. Tirziu in noapte, se thirteenste din somn cu sentimentalul ca que exist o prezenta straina en casa. Revine in suffragerie, unde lasase deschis video-player-ul cu filmul inauntru, si descopera figura unui actor care ii weekend absolut perfect. In this moment, the moment becomes an in-depth thriller, in care of the victim it becomes more intense in its own identity – hence the accelerating ordinary trebuie deciphered in orice haos. conditiei umane.„ (News Diary)

„Intr-un fel, se poate spune ca, litera cu litera, cuvint cu cuvint, pagina cu pagina, carte dupa carte, am reusit cu succes sa implantz in omul care were personajele pe care le-am creat. Cred ca fara ele n-as mai fi cel care sint azi; fara ele poate ca viata mea n-ar fi reusit sa devina altceva decit un schita imprecisa, o promisiune care, ca atitea altele, n-ar fi ramas decit o promisiune.” (Jose Saramago)

„Avem de a face cu un fenomen neiertator de violare a teritoriului: o invazie mutuala de identitate. neinfricate si duce la tragedie – pusa in scene cu suspans si dezvoltata cu ingenuitate. foloseste o singura masca si pentru tragedie, si pentru comedy.” (The New York Times)

„Romanele lui Jose Saramago invents or circumstanta ciudata – un fel de ce-ar fidaca, cum se intimpla in science fiction – pe care o populeaza cu o umanitate nefericita… Si inainte de a-si lasa personajele sa se miste, aranjeaza pentru ele o comedie umana, in care sa se poata juca. O gradina edenica cu un sarpe viclean si un mar care explodeaza. In differite proportiontii, este vorba de o furie sociala – melancolica, amuzanta si uneori inspaimintatoare.” (The New York Times)

„Cred ca romanul nu este intr-atit un gen literar, cit un spatiu literar, ca o mare umpluta de multe riori. (Jose Saramago)

Жозе Сарамаго – один из крупнейших писателей современной Португалии, лаурет Нобелевской премии по литературе 1998 года. Герой “Двойника” Тертулиано Максимо Афонсо – учитель истории, средних лет, разведенный. Однажды по совету коллеги он берет в прокате видеокассету с что исполнитель одной из эпизодических ролей, даже не упомянутый в титрах, похож на него как две капли воды. Поиск этого человека оборачивается для Тертулиано доподлинным наваждением, путешествием в самое сердце метафизической тьмы.

Tertulijano Maksimo Afonso, professor istorije u srednjoj školi, igrom slučaja otkriva da ima dvojnika u liku glumca Antonija Klara. Posle podrobnog istraživanja i ispitivanja svih okolnosti u životu glumca, Tertulijano uviđa da nije u pitanju samo sličnost, nego da su dva čoveka identična, počev od najmanjih fizičkih odlika do datuma rođenja, pa odlučuje da ga pozove i upozna sa tom poražavajućom činjenicom. Pred oba junaka postavlja se sada egzistencijalno pitanje: ko je original, a ko duplikat? Pošto su rođeni istog dana, obojica počinju da se pitaju kako izgleda žena ili verenica onog drugog? Glumac, koji je mnogo perfidniji nego profesor istorije, zbog neprijatne okolnosti o postjanju svog dvojnika planira da se osveti Tertulijanu zloupotrebljavajući sličnost kod njegove devojke. Ali time se njihovi planovi ni izdaleka ne iscrpljuju…

Neobična Saramagova priča nije nova jer kao motiv koristi topos dvojnika poznat još od Epa o Gilgamešu i Plautovog Amfitriona pa sve do Diminog Čoveka sa gvozdenom maskom ili Dvojnika Dostojevskog. Ali kod portugalskog nobelovca ovaj motiv razvija se do allegorije o čovekovom identitetu u savremenom svetu.

Uprkos Saramagovom originalnom pravopisu i dugim rečenicama, čitaoci će uživati u jednom iznenađujućem romanu sa elementima trilera, koji se čita bez daha.

„Napetost i tenziju glavnog zapleta Saramago iu ovom romanu prekida brojnim ironičnim komentarima, ispunjenim pronicljivim zapažanjem i suptilnim, provokativnim humorom na račun ljudske prirode.“ Bob Korbet

Tertuliano Máximo Alfonso är en frånskild gymnasielärare i historia och lika deprimerad som uttråkad. När han en dag hyr en film för att förströ sig upptäcker han till sin fasa att en av skådespelarna är en exakt kopia av honom själv, in i minsta tonfall och gest. Efter ett intensivt sökande står så de två männen öga mot öga, och frågorna hopar sig: Come föddes först? Come ska dö först? Och slutligen – come är originalet och come är kopian?Dubbelgångaren av nobelpristagaren José Saramago är en mångbottnad roman, fylld av humor, ironi och berättarglädje.

Tertuliano Máximo Afonso boşanmış, karamsarlık içinde tekdüze bir yaşam süren bir tarih öğretmenidir. Keyfi biraz yerine gelsin diye arkadaşlarının önerdiği bir filmi videoda izlemek üzere alır. Aynı gece evdeki gürültülere uyanınca filmin videoda kendi kendine oynadığını görür. Filmdeki figüranlardan biri kendisinin beş yıl önceki haline tıpatıp, ikiz gibi benzemektedir. Tertuliano bu adamın izini sürmeye çalışır; saplantıya dönüşen arayışının tedirgin edici, hatta dehşet verici sonuçlara ulaşacağını anladığında ve adamın kim olduğunu öğrendiğinde garip bir hikâye gibi başlayan olay, kimlik ve benlik üzerine karmaşık bir düşünceler silsilesine dönüşecektir. José Saramago'nun lirik bir anlatımla sunduğu bilinç akışı yöntemiyle okur, metropol yaşamının birey üzerindeki etkisini de bu olağanüstü hikâyenin katmanlarında buluyor. Kopyalanmış Adam sinemaya da Düşman adıyla uyarlanmıştır.

(Tanıtım Bülteninden)

38 yaşındaki Tertuliano Máximo Afonso bir kolejde tarih öğretmenidir, boşanmıştır ve hayatına uzun süredir derin bir can sıkıntısı eşlik etmektedir. Bir gün tesadüf eseri kiraladığı bir filmde, kendisine kopyası kadar benzeyen o adamı görür. Hemen aynı aktörün oynadığı diğer filmlerin video kasetlerini de kiralar. Yönetmen ve dağıtımcılarla konuşur, soruşturur, kendine tıpatıp benzeyen bu adamın peşine düşer. Aktör filmlerde takma adla oynadığı için öğretmenin kopyasına ulaşması zorlu bir takip gerektirmektedir.Peki birbirine bu kadar çok benzeyen iki canlının bir arada bulunması iyi bir fikir olabilir mi? İkisinden hangisi ben, hangisi ötekidir? Tabii ki bu soruya verilecek yanıtlar farklıdır. Costume of bu kimlik bunalımından doğar.

José Saramago, bu eserinde de bir miti he alıyor ve çarpıcı kurgusuyla, zamanımızın gerçekliğini ve toplumumuzun krizini gözler önüne seriyor.