Night Train to Lisbon

I really wanted to like this book... I liked the writer's idea but not the narration or plot. I even read it in different languages but I still don't see the literary brilliance in this novel=/

This book has everything!!!! A great storyline and lots of philosophical pondering.

There's a movie, which is also really good, but take my advice and watch the movie before you read the book. You'll thank me later.

Our MC, Raimund Gregorius is on a quest to find out everything he can about Amadeu de Prado after reading Amadeu's book, A Goldsmith of Words.

This book spoke to him. He felt as if the sentences were written for him alone. He is captivated by the author's portrait in the book. He decides on a whim to walk away from his teaching job and hop on the night train to Lisbon. He has never felt so awake and aware and mindful in his entire life as he is now.

The rest of the story follows Gregorius as he finds people that might know Amadeu and we get to hear more amazing passages from his book and letters that he has written. It's not long before WE long to meet this man as well!!!!!

If you're looking for action, you won't find it.

What you will find is pages and pages and pages of Amadeu's thoughts on life, death, religion, politics, love, loss, and his anger and disgust with God.

You will learn about his sisters, his parents, his loves, and his friends. And just like Gregorius you will want to know more.

You will want to have your favorite text highlighting tool handy as you read because you're going to be highlighting pretty much everything in this book.

Ik merk dat dit boek heel uiteenlopende reacties oproept, van bewondering tot afkeer, en eigenaardig genoeg is dat ook een van de thema?s van het boek: hoe verschillend de perceptie van mensen kan zijn, vooral over elkaar; hechte vrienden, zelfs gehuwden of heel dichte familie kunnen elkaar compleet anders zien dan ze zichzelf voelen of zien en elkaar dus fundamenteel verkeerd begrijpen. Pascal Mercier (pseudoniem van de Zwitserse filosoof Peter Bieri) heeft een filosofisch boek geschreven, maar verpakt als een spannend verhaal in een concrete setting, een beetje in de lijn van Voltaire?s Candide en Eco?s De Naam van de Roos. Die setting, Lissabon, maar ook de Portugese taal en de Portugese geschiedenis en dan vooral die van de dictatuur van Salazar (1932-1968) levert een bijzonder charmerend en interessant kader voor wat eigenlijk een queeste is, de zoektocht van de duffe leraar klassieke talen Gregorius Mundus (leuke knipoog die familienaam voor iemand die naar de normen van onze tijd echt onwerelds is) naar de Portugese dokter Amadeus de Prado, van wie hij bij toeval een intrigerend boekje vol levenswijsheden vindt. Die zoektocht brengt hem dus in Lissabon en stapsgewijs ook bij familieleden en kennissen van de Prado, die intussen al 30 jaar dood is. En allemaal blijken ze dus een stukje van diens leven te kennen en een heel fragmentair beeld te hebben van wie die de Prado eigenlijk is; in zijn boekje vraagt de Prado zich ook voortdurend af wat die verhouding is tussen het innerlijk en het uiterlijk, tussen het eigen beeld en dat van de anderen, en of er in dat innerlijk niet verschillende persoonlijkheden kunnen steken. Het is het filosofisch thema waar ik bij het begin al over sprak, een thema dat ook centraal staat in het oeuvre van de Portugese schrijver Pessoa (veel van de Prado?s geschriften doen erg denken aan Pessoa, en bij het begin van het boek is ook een motto van hem opgenomen). Samen met de fragmenten uit het boekje krijgen wij geleidelijk een vollediger beeld (of dat denken we toch) van Amadeus de Prado, als een complexe, maar indrukwekkende persoonlijkheid die worstelde met tal van fundamentele vragen en op zeker 2 momenten voor een bijna onmogelijke ethische keuze kwam te staan, toen hij als dokter geconfronteerd werd met de ?beul van Lissabon? en toen het verzet tegen Salazar ??n van de eigen leden uit de weg wilde ruimen omdat die een te groot risico op verraad werd. Hier presenteert de auteur ons een tweede filosofisch thema: dat van levenskeuzes, van beslissende keuzes maken, van kiezen tussen onmogelijke opties. Mercier (of beter Bieri) neemt hier eigenlijk afstand van het sto?cisme van Montaigne, de Franse 16de eeuwse schrijver, van wie ook een motto in het begin van het boek is opgenomen. In dit boek is de boodschap: iedereen moet zijn eigen leven in handen nemen en moet keuzes maken en met de consequentie daarvan durven leven; ontgoocheling of mislukking is geen schande, maar maakt juist het leven ten volle leefbaar; en in zekere zin doet ook de dood dat: alleen de dood geeft zin en schoonheid aan het leven, en ook de keerzijde daarvan. Mercier/Bieri heeft nog veel meer filosofische kwesties in dit boek verwerkt, zoals de taligheid van de werkelijkheid waarin we leven, maar niet allemaal zijn ze even goed uitgewerkt. Dat geldt ook voor het verhaal zelf: dat is best spannend en goed uitgewerkt, maar zeker naar het einde toe vervlakt de verhaallijn, en niet alle wendingen zijn even geloofwaardig. Ik zag intussen ook de film (Night Train to Lisbon, met een schitterende Jeremy Irons), en al heeft die natuurlijk niet de filosofische diepte van het boek, als verhaal is die veel beter geslaagd.

tedious beyond belief

This book promised so much, a chance meeting with a Portuguese woman, a book written by an unknown author, an engimatic professor of languages with a sudden desire to find why these events have happened in his life. He travels across Europe to find all the answers to the mysteries.

So far so good.

He meets with people who knew the author, including his sister, and the book is intertwined with passages from this book that he found, and letters that he is passed to read from the author.

And this is where it starts to get tedious. The text is is confusing, The characters are difficult to warm to, and even though it reaches a conclusion of sorts, it never really hung together for me. The text on the back compares it to The Shadow of the Wind, a book full of mystery and intrigue, but it didn't meet my expectations.

(Original Review, December 21st 2007)NB: Read in German.Not every difficult book is by definition a good one - not every challenge is worth taking.A good writer can do both, like Ishiguro. Write a book for the mainstream readers, to pick them up where they stand and travel with them. Or write a book so obscure that only very few will even want to go on that journey, those books are often a sign of arrogance, often more a book for them than for readers. And then you have Eco, who could mix the two.“Night Train to Lisbon” is one of those bad difficult books, with two narratives interwoven. It did not appeal to me and came over as rather self-indulging prattle imo. The philosopher/writer (he is a philosopher when he is not writing books) has emptied his aphorism box and took out all his notes and stitched them together - rather to give those texts an airing ...So yes, there are bad and there are good challenging books. But the latter are rather rare. The modernist model of literary fiction continues to prevail but there seem actually to be relatively few efforts to transform the novel AS medium into a vehicle for the transmission of ideas/narratives/world-views that absorbs our modes of thinking and communicating as determined by the technological world today.The most that has been said is that many novelists have been influenced more by film/television than their forebears a hundred years ago. Perhaps we should question the decisions of the publishing industry here - who can say but them which texts get greenlit? There are presumably peers of the novelist Danielowski who are playing with the idea of 'the book' (see "House of Leave" and successors) using the transmedia possibilities of the internet to do so.A consensus of subjective responses influenced, in varying degrees, by reputations (of the artworks themselves and of previous critics). And those reputations are also the result of subjective responses. Reputation is a severe deterrent against revealing what you really think of an artwork, if that happens not to coincide with the reputation. It's part of what Robert Pirsig called the "cultural immune system", the set of widely-held values within a community that, for better or worse, are resistant to change. When will the consensus deems "Night Train to Lisbon" really bad? I don't get it why I book with the most beautiful city in the world in the title should be this bad...

I was prompted to read Night Train to Lisbon because I am heading there in a month and so I was hoping to get a flavor for the area. Turns out there is not a lot of literary fiction written with Portugal as a backdrop. This did fit the bill as to providing some nice descriptions of the neighborhood and some history as to the Salazar dictatorship. Also there was this quote that I shared with my fellow travelers:"Why do we feel sorry for people who can’t travel? Because, unable to expand externally, they are not able to expand internally either, they can’t multiply and so they are deprived of the possibility of undertaking expansive excursions in themselves and discovering who and what else they could have become." In the novel the main character Raimund Gregorius has completely abandoned his former dull life of being a Greek and Latin professor in Bern to pursue an author of a book he is trying to read in Portuguese. He's not exactly sure why he's making this quest or why he is radically changing his life, but he feels compelled to translate the philosophical ideas of its author, Amadeu de Prado. When he arrives in Lisbon, he begins his search for clues that will help to unravel the story behind this writer. Gregorius meets with a number a colorful characters that start to provide pieces to the puzzle that was Amadeus, a town doctor turned resistance fighter. As the NYT's wrote "Pascal Mercier’s “Night Train to Lisbon” delves into the question of national and personal identity, contains a text within a novel and explicitly invokes the tale of Odysseus and his 20-year journey through pain toward self-knowledge." Though I enjoyed the setting, I was somewhat disappointed with the direction of the plot which I felt could have used a bit more resolution. I'd be interested to view the movie that was made from this international best seller.

Ik merk dat dit boek heel uiteenlopende reacties oproept, van bewondering tot afkeer, en eigenaardig genoeg is dat ook een van de thema’s van het boek: hoe verschillend de perceptie van mensen kan zijn, vooral over elkaar; hechte vrienden, zelfs gehuwden of heel dichte familie kunnen elkaar compleet anders zien dan ze zichzelf voelen of zien en elkaar dus fundamenteel verkeerd begrijpen. Pascal Mercier (pseudoniem van de Zwitserse filosoof Peter Bieri) heeft een filosofisch boek geschreven, maar verpakt als een spannend verhaal in een concrete setting, een beetje in de lijn van Voltaire’s Candide en Eco’s De Naam van de Roos. Die setting, Lissabon, maar ook de Portugese taal en de Portugese geschiedenis en dan vooral die van de dictatuur van Salazar (1932-1968) levert een bijzonder charmerend en interessant kader voor wat eigenlijk een queeste is, de zoektocht van de duffe leraar klassieke talen Gregorius Mundus (leuke knipoog die familienaam voor iemand die naar de normen van onze tijd echt onwerelds is) naar de Portugese dokter Amadeus de Prado, van wie hij bij toeval een intrigerend boekje vol levenswijsheden vindt. Die zoektocht brengt hem dus in Lissabon en stapsgewijs ook bij familieleden en kennissen van de Prado, die intussen al 30 jaar dood is. En allemaal blijken ze dus een stukje van diens leven te kennen en een heel fragmentair beeld te hebben van wie die de Prado eigenlijk is; in zijn boekje vraagt de Prado zich ook voortdurend af wat die verhouding is tussen het innerlijk en het uiterlijk, tussen het eigen beeld en dat van de anderen, en of er in dat innerlijk niet verschillende persoonlijkheden kunnen steken. Het is het filosofisch thema waar ik bij het begin al over sprak, een thema dat ook centraal staat in het oeuvre van de Portugese schrijver Pessoa (veel van de Prado’s geschriften doen erg denken aan Pessoa, en bij het begin van het boek is ook een motto van hem opgenomen). Samen met de fragmenten uit het boekje krijgen wij geleidelijk een vollediger beeld (of dat denken we toch) van Amadeus de Prado, als een complexe, maar indrukwekkende persoonlijkheid die worstelde met tal van fundamentele vragen en op zeker 2 momenten voor een bijna onmogelijke ethische keuze kwam te staan, toen hij als dokter geconfronteerd werd met de “beul van Lissabon” en toen het verzet tegen Salazar één van de eigen leden uit de weg wilde ruimen omdat die een te groot risico op verraad werd. Hier presenteert de auteur ons een tweede filosofisch thema: dat van levenskeuzes, van beslissende keuzes maken, van kiezen tussen onmogelijke opties. Mercier (of beter Bieri) neemt hier eigenlijk afstand van het stoïcisme van Montaigne, de Franse 16de eeuwse schrijver, van wie ook een motto in het begin van het boek is opgenomen. In dit boek is de boodschap: iedereen moet zijn eigen leven in handen nemen en moet keuzes maken en met de consequentie daarvan durven leven; ontgoocheling of mislukking is geen schande, maar maakt juist het leven ten volle leefbaar; en in zekere zin doet ook de dood dat: alleen de dood geeft zin en schoonheid aan het leven, en ook de keerzijde daarvan. Mercier/Bieri heeft nog veel meer filosofische kwesties in dit boek verwerkt, zoals de taligheid van de werkelijkheid waarin we leven, maar niet allemaal zijn ze even goed uitgewerkt. Dat geldt ook voor het verhaal zelf: dat is best spannend en goed uitgewerkt, maar zeker naar het einde toe vervlakt de verhaallijn, en niet alle wendingen zijn even geloofwaardig. Ik zag intussen ook de film (Night Train to Lisbon, met een schitterende Jeremy Irons), en al heeft die natuurlijk niet de filosofische diepte van het boek, als verhaal is die veel beter geslaagd.

READ IN DUTCH

I started reading Nighttrain to Lisbon together with quite some other frequent book-readers. I probably hadn't chosen this book by myself even though the press were very enthusiast about it. But, I didn't like it. The story seemed a bit weird, I didn't know what to think of it. And in my opinion everything happens far too easy. He finds everyone he wants to speak with, everybody is still alive. I really had to force myself to keep reading and prevent myself from putting it away. I wouldn't recommend it, but I know there are a lot of people who really like it as well.

Other readers have written very comprehensive and intelligent reviews of this wonderful novel. I will not try to do that. I was alerted to its existence by someone who was going to Portugal and I thought that it might give me the flavour of a country that I know little about. It does not overtly describe Portugal but through it one does get an idea both of the history of the Salazar period and the geography of the city of Lisbon.I did find some of the philosophical passages hard work but many were rewarding and challenging. For example: p.272 I start trembling at the very thought of the unplanned and unknown, but inevitable and unstoppable force with which parents leave traces in their children that, like traces of branding, can never be erased. The outlines of parental will and fear are written with a white-hot stylus in the souls of children who are helpless and ignorant of what is happening to them. We need a whole life to find and decipher the branded text and we can never be sure we have understood it.Some of the translation was a bit odd and particular the way the translator used the verb 'to fit'. (see p. 358 para 1.) Maybe an American usage... I also found the typographic practice of putting prepositions with the noun that followed them very irritating e.g offlowers (this is not a real example). It happened so often that I wondered if it was done on purpose. Maybe I missed something but did Gregorius ever phone the number that the Portuguese woman gave him. I would like to re-read this novel - I am sure I would appreciate it even more.In terms of enjoyment I would rate it with Jordi Punti's 'Lost luggage'.

It is interesting to see the difference an ocean makes in book reviews. I don't mean the reviews here on Goodreads, but in such papers as the NY Times and Washington Post. Reviews of Pascal Mercier's Night Train to Lisbon written abroad are positive, while American reviews are negative or dismissive.

I love words. I love thinking about the role words play in the development of our psyche. The role they play in the development of our identity. If you do not share this fascination, NTTL may be a non-starter for you. Raimund Gregorious, called Mundus for short, or Papyrus as a joke, becomes bewitched by the sound of a single word, "português." For USA speakers who say "Port-chew-geese," this may be a stretch. Feed the word into a Portuguese translator, and you will get a better idea of the soft, sensual beauty of the word. Gregorious is a scholar of classical languages, a man highly attuned to language. In fact, his world, his religion is utterly tied to language. Before too long Gregorius has made his way to a Spanish language bookstore. I suppose finding Portuguese books in Bern, Switzerland is like finding Português wine in a U.S. grocery. File under Spain. Can't tell you how many people think I am Spanish. "You mean, Spanish and Portuguese aren't pretty much same?" There he happens upon book of essays written by a Português man with a very romantic name, Amandeu de Prado. Dictionary and language records at hand, he begins to translate the essays. Of course, this propels him on a journey to Lisbon to seek out this man whose words speak so directly to him. Just like when I first fell under the spell of Calvino, I hightailed it to Italy. Right. Here you must just go along with the author and accept that Gregorious, a man who probably has worn the same style of underwear since potty training days, drops his job, locks up his apartment, sends a letter to the school head and goes to Lisbon in search of an unknown writer. He barely speaks any Português beyond "obrigado." True, he has an uncanny facility for language. I recommend that you buy into this premise. Far more far-fetched things have happened in the world of books.

Hang on because it is a fascinating journey in which Gregorious pieces together the life of a remarkable man who would go from venerated doctor to a participant in the resistance movement against Portugal's fascist government. Salazar, the Dean of Dictators, held sway over his country longer than any other dictator in Europe. While Portugal's brand of fascism eschewed the racist tendencies of Germany and Italy, while prior to Salazar's regime Portugal was a festering mess, while Salazar kept Portugal out of WWII, thus allowing Portugal to be a safe haven for those fleeing the Holocaust, a gateway out of Europe, his reform government was still a rigid, brutal regime which kept citizens in check by use of savage secret police. As Gregorious's reads Amandeu's work, meets the people who loved him, reader enters into both Gregorious's and Amandeu's philosophic and emotional progress which become entwined.

This is a book with a bunch of words. Bunches of words about words. I happen to like that. There is not a great deal of immediate action. People talk and read and talk about what they read. I happen to like that too. Night Train is an idea driven novel. Again, I happen to like that. On the other hand, I can see why this book might be as dry as papyrus to another reader.

The main character, Gregorius, teaches classical languages at a Swiss lycée, and lives a life governed by routine. One day, he comes into possession of a book, written by Prado, a deceased Portuguese aristocrat. Deeply absorbed by Prado's philosophical writings, he changes his life in order to discover more about Prado. He takes the train to Lisbon that same night, exploring Prado's life during Antonio de Oliveira Salazar's dictatorship in Portugal. Through Prado's book, he learns that the author was a doctor and poet who had taken up arms and fought against Salazar.This book is something different and very interesting to read.

Coming from a Philosophy professor, I was a bit skeptical to get into the book first, but then I was drawn into the book when the protagonist, Gregorius, also a professor, leaves his stagnant and monotonous life behind on an impulse, and boards a train for Lisbon, to understand the tragic end of a writer.What is the story ? The main character, Raimund Gregorius, is a teacher of classics, who has lead a very tedious life, and that one day, out of the blue, decides to leave his job, go to Lisbon and search for the author of a book which seems to ´talk´to him. Raimund is in his mid fifties, and lives involved in a thick existential angst that makes all decisions agonizing. He takes a bold step when he decides to go to Lisbon, but continues living his life with timidity and fear. The plot mixes the mid-life crisis narrative with a reflexion on identity and also with the discovery of the work and life of a mysterious author who is not only a poet but also indulges in philosophical reflexion. The literary character, the author of the book that captivates Raimund, is a doctor poet who was involved in the resistance against the dictatorship and who is described as very gifted. Well, there is suspense in it, but what’s brilliant are the insights into life. For me, it was rewarding, when I took the patience to read it.

Dieses Buch ist mal wieder ein gelungenes Beispiel für einen völlig mißlungenen Klappen- und Umschlagtext und was daraus wird: Mehr als die Hälfte der Bewertungen bei amazon sind gut bis sehr gut, ca. ein Drittel schlecht bis sehr schlecht und lediglich 10% finden es 'so ok'. Kein Wunder: Wer sich ein Buch kauft aufgrund der vollmundigen Ankündigung als Krimi ('Bewußtseinskrimi!'), in dem der Protagonist Raimund Gregorius um sein Leben fürchten muss, wird schwer enttäuscht sein von dieser Lektüre. Statt Verbrechen und gefährlichen Situationen ist der Schwerpunkt dieser Reise nach Lissabon eine Suche. Die Suche nach dem, was den wahren, echten Menschen ausmacht.
Klingt, als ob sich um einen weiteren der zahllosen Lebensratgeber handelt: Wer bin ich? Was will ich? Erkenne dich selbst! Das Ganze verpackt in eine unterhaltsame Rahmenhandlung, die Gregorius auf der Suche nach einem portugiesischen Autor (Prado) nach Lissabon führt. Doch weit gefehlt. Statt der üblichen mittlerweile alltäglichen Ratschläge wie 'Gönnen Sie sich eine Auszeit und entdecken Sie, was SIE wollen!', legt der Autor Schicht für Schicht all die Einflüsse offen, die das eigene Ich einzwängen, bedrängen, leiten.... Doch ist das was dann bleibt, das eigene ICH?
Durch das Lesen der Schriften des verstorbenen Prados und der Erforschung dessen Lebens erfolgt Gregorius' zunehmende Erkenntnis seines eigenen Ich. Prado war besessen von dieser Frage, wer er selber war und Gregorius beginnt verstärkt sich ebenso diesen Fragen zu stellen wie ganz zwangsläufig auch die Leserinnen und Leser.
Doch dies ist nur ein Thema (wenn auch das hauptsächliche) um das dieses Buch kreist. Es geht um Gott, um den Tod, das Miteinander der Menschen... Ein ungemein reichhaltiges, inhaltsschweres Werk das sich dennoch nicht allzu schwer liest. Doch es ist keine Unterhaltungslektüre die nur zu konsumieren ist. Um's eigene Gedanken machen wird man kaum herum kommen :-)

A turgid book, which has a few moments of interest at the beginning, when teacher Gregorius decides to change his life so radically that he abandons his classroom in mid-lesson. It’s certainly an exciting start (in a literary genre understanding of the concept of ‘excitement’, that is) though I thought the scene of a strange woman writing a phone number on Gregorius' head was beyond curious. At that stage, however, I was prepared to forgive this small oddity in the hope that the book’s interest would grow and deepen.It didn’t. There’s a fair amount of travel in various directions, as the MC chases after the elusive (and now dead) author Prado. He meets a lot of people who make a large number of not-very-interesting and very long-winded declarations. Goodness, they do go on. The characterisation and plot gets entirely lost under a veritable barrage of words, and I abandoned all interest in the novel at a fairly early stage. Sometimes the prose is laughably bad, and there’s far too much telling and not nearly enough showing us what’s going on. Not a good combination.I think it might have had a slight chance if the mysterious Prado had been a writer worth pursuing, but honestly he wasn’t. I grew very tired of his interminable book and his dull ramblings but the good news is they’re easy to skip as they’re in italics. Suffice it to say there’s a love triangle of some sort or other, but I couldn’t be bothered to understand much of the details. I also have no idea why all the women appear to be in love with Prado, as he strikes me as nothing more or less than a smug and pretentious egotist too wrapped up in his own perceived perfection to have any real time for anyone else.Perhaps though, at some level, that’s the point of all this? That we all tend to pursue goals and dreams which aren’t what they appear to be, and really Gregorius would have been far better off giving the night train to Lisbon a miss, and finishing off the lesson he left so abruptly instead. The Isabel Allende quote on the front tells us she thinks it’s one of the best book she’s ever read. My suggestion would be that she widens her reading material, hey ho. Oh well.Verdict: Turgid. 2 stars.

A title like Night Train to Lisbon might conjure up romantic visions of suspense, espionage, danger and intrigue along the lines of Patricia Highsmith’s Strangers on a Train, Graham Greene’s Stamboul Train, Agatha Christie’s Murder on the Orient Express and other titles that have cemented the lure of trains in the literary imagination. But this is to travel down the wrong track (pardon the pun). Leading down another wrong track are such books about books as Arturo Perez Reverte’s Club Dumas, Julian Barnes’ Flaubert’s Parrot or Carlos Ruiz Zafon’s Shadow of the Wind. To the contrary, Pascal Mercier has presented us with something very different.Night Train to Lisbon is a book about two men, Gregorius and Prado, one of whom can only speak to the other through the written word — his books and letters — for he has been in the ground for thirty years. Yet the power of his words, this voice from the past which speaks to the other so directly and personally that it causes him to literally drop everything, to break the bonds of his quotidian routine, and to embark on a journey in search of an author but which in the end becomes a journey of self-discovery.Night Train to Lisbon would be a bildungsroman were Raimund Gregorius not already in his fifties. Most of his life is behind him. He is a scholar and has taught classical languages for all of his adult life; he has been married and divorced. On the surface he has led a fairly conventional life albeit somewhat constricted, timid and reclusive. He is a functioning adult. But his self-awareness has been limited as though he had been sleep-walking through life.One day Gregorius steps into a neighborhood bookshop where his attention is drawn to a book in Portuguese, a language he does not read. The bookseller, translating ad lib, reads the words that struck Gregorius with such force:Of the thousand experiences we have, we find language for one at most and even this one merely by chance and without the care it deserves. Buried under all the mute experiences are those unseen ones that give our life its form, its color, and its melody. . . . That sounds strange, even bizarre, I know. But ever since I have seen the issue in this light, I have the feeling of being really awake and alive for the first time. Given that we can live only a small part of what there is in us — what happens with the rest?“’I’d like to have the book,’ said Gregorius.” The book was called A Goldsmith of Words (Um Ourives das Palavras) by Amadeu Inácio de Almeida Prado, an author unknown to the bookseller. This book, these words, this mysterious writer cause Gregorius to embark upon a search for Prado the man, a search which takes him from his quiet life in Bern via a night train to Lisbon.He teaches himself enough Portuguese over the coming days and weeks that with the aid of a dictionary he is able to gradually translate Prado’s book wherein Gregorius discovers that it is an account of the writer’s own self-examination. Part of what is revealed in Prado’s self-exploration is the lucid yet forceful beauty of his writing and also a realization of the bankruptcy of his Catholic upbringing, yet he acknowledges the lingering aestheticism that survived his loss of faith:I would not like to live in a world without cathedrals. I need their beauty and grandeur. I need them against the vulgarity of the world. I want to look up at the illuminated church windows and let myself be blinded by the unearthly colors. I need their luster. . . . I need their imperious silence. . . . I want to hear the rustling of the organ, this deluge of ethereal tones. . . . I love praying people. I need the sight of them. . . . I want to read the powerful words of the Bible. I need the unreal force of their poetry. . . . A world without these things would be a world I would not want to live in.But there is also another world I don’t want to live in: the world where the body and independent thought are disparaged, and the best things we can experience are denounced as sins. The world that demands the love of tyrants, slave masters and cutthroats. . . . What is most absurd is that people are exhorted from the pulpit to forgive such creatures and even to love them.I revere the word of God for I love its poetic force. I loathe the word of God for I hate its cruelty. . . .The poetry of the divine word is so overwhelming that it silences everything. . . . It is a joyless God far from life speaking out of it, a God who wants to constrict the enormous compass of human life.The fundamental question Prado asks is: “How can we be happy without curiosity, without questions, doubts and arguments?” He became a doctor “to fight the cruelty of the world” as he perceived it under the corrupt authoritarian regimes that dominated Portugal during the early twentieth century.Gregorius would pursue the elusive Prado through his written words and also by tracking down people in Lisbon who had known him. We come to understand through what unfolds that Prado’s goodness and love for his people led him ultimately to participate anonymously in the resistance, his activities known only to a very few. The truth behind Prado’s death was quite different from what was widely believed.Gregorius conducts his exploration of Prado’s life in a surprisingly forward way considering the quiet and unassuming life he has been accustomed to. He boldly knocks on the doors of complete strangers in pursuit of understanding.At the conclusion we know both men very well. And through it all, we hear not a single word of judgment from Gregorius. But it is unmistakable that his Lisbon experience has expanded his reality. “Of the thousand experiences we have . . . ,” he found language in the end for more than one.

Very philosophic, very "dense" book. I didn't advance at all in this book maybe because it made me wonder upon how i look at certain feelings, emotions, rationale, and in general the questions in life one asks himself from time to time. The author is philosopher, i am heavily interested in philosophy and this book tempted me time and time again, not to read on, but to reflect on my own life, why are we going on all the time: at work, at home, everywhere. Without taking the time to question everything? Mixed feelings afterwards but a recommendable great read to everyone who is not afraid of being challenged.

I don't know what to think of this book. It is clearly a book for intellectuals: if you want action, or romance, look somewhere else. If you like long philosophical musings, you might like it. Or you might not, as I did.I thought the structure was weird, and I don't see any reason for it being like that. It is as if the writer had a lot of ideas that he wanted to communicate, which he admittedly did quite well, and he did have some idea that people want a story with their ideas, but he did not know how to actually make a story apart from making a lot of different persons and letting them interact. I especially didn't like the story threads still hanging at the end, going quite a bit farther than just an "open ending".Yet, this might be one of those books that grows on you after reading. I'll see.

Action and technology are drained out of this novel about an aged Bernese classics teacher whose fleeting encounter with a Portuguese woman on one of Berne's majestic bridges leads him to research the life of a doctor from an upper class family during the Salazar regime prior to the carnation revolution of 1974. The book discusses the duties and responsibilities of government or near-government employees (teacher, judge, doctor) when the government is not acting in the general interest. How far does one have to be loyal to one's government (and one's class)? How much is just doing your job professionally a service for an evil government? As the Portuguese protagonist is acting mostly silently behind the scenes, what the novel is lacking is action. The reader is just following an old man researching a dead man's life, meeting a lot of old people.The second missing element is technology. While one can take the train from Switzerland to Portugal, it is much more convenient and cheaper to fly. Ninety minutes from Berne to Geneva by train, then take a direct EasyJet flight to Lisbon. You even regain one time zone hour from the two and a half hours flight time. Mobile phones are missing too. While the Swiss roaming charges abroad are some of the most extortionist, the fairly rich protagonist wouldn't mind paying them. Instead he is constantly looking for fixed lines to make his calls. Naturally, the protagonist doesn't use the internet either. He phones one of his pupils in Switzerland to order a Portuguese grammar book in a local Bernese bookstore which in turn has to order the book which then has to be sent to Portugal. The large number of German tourists in Lisbon guarantees that finding a German Portuguese grammar book should not be too difficult a task (especially for a language teacher). In any case, Amazon would have been more than willing to ship him any book he wanted directly to Portugal. The ubiquity of communication technology creates a watershed moment in novels (and films) which authors have not yet fully accomplished to instill in their stories without opening giant plot holes.I found I didn't learn much about Portugal, too much of it was generic, so the local flair of both Berne and Lisbon are underutilized. Overall, a good read for those who like to think with and about the protagonists. Just don't expect any action or plot turns. I wonder whether they can successfully adapt the story to the big screen. Jeremy Irons as stodgy classics teacher Gregorius seems miscast (as is the lack of actual Portuguese actors among the main protagonists).

“Life is not what we live, it is what we imagine we are living.” “It takes divine courage & divine strength to live with oneself in perfect truth.” “Imagination is our last sanctuary.” These are a few quotes from the fictional author, A. Prado, in Night Train to Lisbon. He is referred to as, “the goldsmith of words”, by those who have known him. In truth, it is Pascal Mercier who forms these philosophically insightful words and shares them with us through Raimund Gregorius, a professor, who breaks from his routine life when introduced to a book of Prado’s writings. Gregorius takes a train to Lisbon to begin his journey. Ultimately, it is to learn about the life of Prado. Yet, in doing so, learns about himself, too. There are many spokes that radiate from this central theme. They take us through the map of the theoretical mind to look at and reconsider our inner (the soul) and outer (who we are perceived to be) lives. Mercier carries us through a passage of space and time we will reflect on for the remainder of our lives. This is not a kitsch novel (a little dry humor for those familiar with this book) with an excess of overbearing platitudes. It is a deeply experienced odyssey of the mind and soul.

"Our life, those are fleeting formations of quicksand formed by one gust of wind, destroyed by the next. Images of futility that blow away even before they have properly formed”.I cracked open Pascal Mercier’s book with some trepidation, not really in the mood to read yet another novel written by a philosophy lecturer that specialised in wise words on the meaning or otherwise of our existence. This one has our hero picking up a book in a foreign bookstore and setting out on a hunt to meet the author; the purveyor of wisdom. There have been a number of these literary detection novels where a little known writer is tracked down by afictionado’s in search of literary fame. Possession by A S Byatt springs to mind. I feared that Night Train to Lisbon would be an uneasy amalgamation of one of these with some philosophical thoughts as evinced in my recently read of The Elegance of a Hedgehog by Muriel Barbery. The snippets from critical reviews on the inside cover claiming the book would be a life changing experience written by a visionary author, also did not bode well.Imagine my surprise when I found myself completely caught up in this novel’s milieu from the moment that Raimund Gregorius stepped into a Spanish book shop in his home town of Bern Switzerland with his head ringing with the sound of the Portuguese language. The bookshop “smelt wonderfully of old leather and dust” as Gregorius picks from a shelf; UM OURIVES DAS PALAVARAS by AMADEU INACIO DE ALMEIDA PRADO, LISBOA 1975. He does not read Portuguese but the book seller reads out loud for him the title and a short introduction. Gregorius is captivated by the sound of the language and when the book seller translates a passage including the sentence “Given that we can live only a small part of what there is in us” he realises he must have this book. He rushes home armed with a Portuguese dictionary so that he can make his own translations.As lovers of books and bookshops, that we all are, who has not had that moment of discovery similar to Gregorius’s; Mercier’s sympathetically well drawn leading character, who has spent his life as a student and then a teacher of classical languages. Gregorius’s careful translations reveals an exotic world of modern thought and investigations into language and the use of words. He wants to know more, he wants to meet the author, he wants to be in Portugal and so he walks away from his job and his life in Bern and boards a train to Lisbon. I have done something similar in my life a couple of times and so I was travelling hopefully with Gregorius. I was still concerned however that Mercier’s book might either sink under a weight of cod philosophy or that Gregorius the 57 year old scholar would prove to be so capable and resourceful that he would become totally unbelievable. I needn’t have worried I was in safe hands.A chance meeting on the Lisbon train with a business man gives Gregorius some contacts and a foothold in the city, Gregorius says:“There were those people who read and there were others, whether you were a reader or a non-reader, it was soon apparent. There was no greater distinction between people. People were amazed when he asserted this and many shook their heads at such crankiness, but that’s how it was and Gregorius knew it. He knew it.”The city of Lisbon is explored not by its tourist sights, but by its bookshops. Gregorius soon learns that Amandeu had died in 1973, but his publisher puts him in contact with members of his family. He continues to translate chapters from the book as he tracks down two sisters. The elder sister Adriana is still under the power of her brother. The house where she assisted his work as a doctor remains untouched since the day of his death. It is a shrine. In contrast Melodie still living in the family house is a girl “who didn’t seem to touch the ground”. Friends and lovers are contacted and it soon becomes apparent that Amandeu was involved in the resistance movement against the Portuguese dictator Salazar. Amandeu was a charismatic man who touched the lives of almost everybody he met. Gregorius finds his old school; the Liceu, where some of the teachers were priests in the old Jesuit tradition. He translates his speech that was made to the school on Diploma day, which Amadeu had entitled “Reverence and Loathing for the word of God. At 17 years old Amandeu was already a powerful thinker who was not afraid to speak his mind. His tour de force of a speech touches on issues that were to occupy his thoughts for the rest of his life: the inside and outside of people and how we appear to others and how we appear to ourselves, the use of words, the need for secrets, secrets even from an omnipresent God, he rails against the human condition and the existential nature of his thoughts are already evident.Pascal Mercier skillfully weaves Gregorius’s translations into the narrative of his search and so we witness the effect of the events discovered about Amandeu's life on his thoughts and actions through his writings. We are already aware that the star pupil at school is a troubled man; pressure from his family pushes him into a medical career, he is uneasy about his relationship with his doting sister, he joins the resistance movement where friendships are stretched to breaking point and betrayals are common place. Imprisonment and torture are just a step away and his writings reflect the damage to his health and his character. The titles of the essays will give a flavour of his state of mind: “The Shadow of the Soul, Treacherous Words, The Disconcerting shadow of Death and finally Furious Loneliness”.Gregorius is deeply affected by the careful translation he is making and when he digs further and finds unsent letters and memos in locked drawers, that reveal more of Amandeu’s personal anguish, then it causes Gregorius to think about his own life. Grgorius becomes ill with a condition that is similar to one that Amandeu suffered as Amandeu seems to reach out to him beyond the grave. Mercier’s thought provoking book has many layers and calls for careful reading.Mercier has used italics to highlight the sections that are the translations made by Gregorius of Amandeu’s writings. As soon as I had finished the novel, I went back through to read these passages in isolation and found new depths in the writing. Many of these short essays can stand alone and the quality of thought in them is at times outstanding. The extended metaphor of “I Live in Myself as a Moving Train” is writing at its best.For a book that has language and the use of words as a key theme it is interesting to think about the fact that Gregorius is making translations from the Portuguese with the aid of dictionaries and occasionally native speakers. In addition Mercier’s book was originally written in German and I was reading an English translation by Barbara Harshav; treacherous words indeed perhaps or as Amandeu says “In the changing light of the words the same things can look different”This is an excellent novel and one that I will keep to read again. Some beautiful and intelligent writing, with its layers of meaning makes this a book for grown-up people.Not a life changing experience but still a 4.5 star read.

This novel will, without question, be one of my all-time favorites. No kidding! Reading "Night Train to Lisbon" was an intellectual, philosophical, literary feast. Gregorius, a teacher of dead languages, commits the first impulsive act of his adult life and begins the most crucial journey of his entire lifetime. His journey ends up consisting of the quest to understand the life of another man, Amadeu Prado. In the course of the journey, Gregorius and the reader meet Adriana, wearing a ribbon at her neck to cover a mysterious scar. We meet Jorge O'Kelly, Amadeu's best friend and worst enemy. We meet the women from Amadeu's life, including his wife, his lifelong intimate confidante, and the woman who ignited his passion. We meet resistance fighters from the time of Salazar's regime. We meet physicians, bookstore owners, and students. The cast of characters is rich and varied. Most importantly we are allowed the time to ponder the meaning of life, of love, the critical nature of farewells, of the magnificent power of words, especially poetry, and the amazing power of feeling known to another person. This is a powerful and moving literary masterpiece, in my opinion!

My around-the-world book for Portugal. The idea of a staid, even stuffy professor of classical languages deciding to chuck it all and run away to Lisbon intrigued me.Okay, finished. I liked the book more than I thought I would. I enjoyed unraveling the tale of Amadeu Prado's life, and felt a sense of deja vu because I did much the same thing as Gregorius once. Several years ago I traveled to a distant city to research the life of a dead man, a man who'd made an impact on everyone he touched, a man who remains an object of fascination for me. Like Gregorius, I just sort of randomly visited people who had known him, asked about him, took notes, read his writings, etc.However, the author here couldn't seem to make up his mind as to whether he was writing philosophy or fiction. All the characters talked the same, and it seems unlikely that EVERYONE Gregorius met would be so eager to help him in his quest. And also, although the book is set in the 21st century, things like computers and cell-phones barely exist in the story. I'm sure they're used in Europe as often in America. I understand that a late-middle-aged professor of classical languages would be less likely to depend on electronics than, say, me, but it felt kind of weird.With this in mind I must give the book three-and-a-half stars only.

I absolutely loved this book. If you read all the reviews here, you will find they are almost bi-polar, or in the words of a beer ad slogn, "those who like it, like it a lot." If you don't love it, chances are you will hate it.Raimundo Gregorius has a chance encounter with a Potuguese woman, then finds a book written by a Portuguese author (Prado) with a title that grabs him. On the spot, he leaves his long-held teaching position and travels to Portugal to learn more about the author. Once there, he meets people who knew the now-deceased author and finds out about the Portuguese resistance movement.Prado's writings are deeply introspective and philosophical. I think readers who like a fast-moving plot may find them distracting. But I also think they mirror Gregorius's own search...his attempt to find something beyond his routine life in Switzerland.There really are two stories here: Gregorious's obsession with Prado, and Prado's obsession with the workings of the mind; and the Portuguese resistance movement. Now, the rest is hard to say without spoilers, so this may be a bit cryptic. Gregorius's decision to shut down his Switzerland life may be more than a mid-life crisis. And this may be the saddest book I've ever read...or not...depending on what happens immediately after the ending. And I loved the way it ended...the uncertainty that I was faced with is exactly what Gregorius, who I've come to know and feel close to, is facing. I'm there with him, and he is a character that will stay with me.

This is a very good book-- especially if you like deep philosophical discussions about the soul and the nature of humanity. I believe Mercier is a philosophy professor after all. I found the story compelling, though not in the least bit believable. The current-time plot with Gregorius seemed very contrived to fit in with the past life and writings of Amadeu, and lots of details, that if focused on would seem ridiculous, were just glossed over. That really didn't detract from the book too much though. The thing I found just a little off-putting was Amadeu himself. I didn't like to see a selfish egomaniac as the hero. I didn't find him appealing and I think to really love the book you'd have to be able to look up to those types and forgive them their less than admirable qualities.An interesting premise, a plot that moves along, and an interesting cast of characters make this a worthwhile read. 3.75 stars

Such an appealing premise - a late-middleage teacher ditching his job on a whim tofollow an intuition. I'm intrigued andhave to see how this will work out forthe character, a scholarly type for whomwords and books seem as real as the personalitieshe meets on his journey.

"Night Train to Lisbon" by Pascal Mercier is the story of Swiss professor Raimund Gregorius who loses his heretofore firmly established moorings after an encounter with a Portuguese woman who enters his life by chance and then disappears after writing a telephone number on his forehead. Right afterward he finds a book written in Portuguese by a man, Amadeu de Prado, whose writing aims straight for Gregorius’ soul. Gregorius grabs onto this slim thread as if it were a lifeline, and he decides to abruptly abandon his life in Switzerland in order to go to Portugal to find the author. The experience is transformational, bringing Gregorius to the brink of a personal abyss. The story is compelling, but it is not fast paced, nor is it a quick read if you want to get anything out of it. To really appreciate the depth of this book, it would be best to take it slow and take it deep into the center of your being.

Struggled to get about quarter of the way through then lost the will to live.

Raimund Gregorious is a complete creature of habit. He teaches classical languages at a lycee in Bern. His entire life has been absorbed in studying and teaching these ancient languages. He is such a dry scholar that he has earned the nickname "Papyrus".When he has an unexpected encounter on a bridge with a mysterious Portuguese woman, and then discovers the little-known work of a Portuguese author, Dr. Amadeu de Prado, Gregorious experiences a sudden, life-altering transformation. Instead of showing up, to work at the lycee as usual, he decides to pursue the author and find out as much about him as possible; what made him tick, etc.. He departs for Lisbon, leaving only belated, confusing explanations for his colleagues.As he delves deeper into the life of Prado, he finds that Prado and many of his aquaintances were involved in the resistance against Portugal's dictator, Salazar.This was an excellent book. The tone is very similar to Shadow of the Wind by Carlos Ruíz Zafon. The language was sumptous.However, I found that as much as I loved it, my interest began to wane about two-thirds of the way through the book. That was an unusual reaction from me, and I'm not sure what caused it. There seemed to be some kind of shift where language became less important than the characters and historical events. It also became more about Prado, and less about Gregorious and his reaction to him.Overall, though, I loved it! Not only for the language, but for giving me a chance to learn about a place and bit of history that I knew little or nothing about. Until now, Portugal wasn't much more than an extension of Spain, to me, with a nearly blank history. I was rather shocked that I hadn't known of these events that happened during my adolescence half a world away.

I read a book about a man reading a book. And the book he was reading was about a man who read a lot of books. Gregorius (the man reading the book) has lead the quiet and insignificant life that most of us will discover to have lived; his only eccentricity was his passion for classic books and translation ancient Greek and Hebrew. A strange episode brings him to read a book in Portuguese, a language he does not know. Therefore Gregorius is not just reading, as he needs first to undergo the effort of translation; Gregorius is basically giving to the book the attention that every writer would dream of. Prado, the man who has written the book, could not care less. Writing for Prado was just an observation tool, a mechanism and a ritual in order to give meaning to his own life. The relation between reader and writer is therefore sublime, as Prado is basically giving color to Gregorius' life, and Gregorius is apparently the only man on earth really knowing Prado. A good book, intense, well built. The characters are strong, and able to create links beyond space and time between them, by the process of writing and reading. However not an excellent book, I am afraid. To make his story plausible, Mercier (the author of the book), has to use well-known mechanisms (for instance all-live savings well invested to allow Gregorius to spend a large amount of time doing nothing, or the fact that every person was always willing to give Gregorius a good interview, or the omnipresence of chess-game); this failed attempt to plausibility is futile and unnecessary, and subtract energy to the book. However, the existential questions which are posed by this atheist preacher, the deep investigation of the human soul, let us forgive and forget those literary blunders and support us in our mid-life crisis.