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Night Train to Lisbon

De Pascal Mercier

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Classificação: 3.5 de 5 estrelas3.5/5 (43 avaliações)

Duração: 530 páginas9 horas

Editora:: Open Road Integrated Media
Lançado em:: Oct 7, 2008
ISBN:: 9781555849238
Formato:: Livro

Descrição

The bestselling novel of love and sacrifice under fascist rule, and “a treat for the mind. One of the best books I have read in a long time” (Isabel Allende).

Raimund Gregorius, a professor of dead languages at a Swiss secondary school, lives a life governed by routine. Then, an enigmatic Portuguese woman stirs his interest in an obscure, and mind-expanding book of philosophy that opens the possibility of changing Raimund’s existence. That same night, he takes the train to Lisbon to research the book’s phantom author, Amadeu de Prado, a renowned physician whose principles led him to confront Salazar’s dictatorship. Raimund, now obsessed with unlocking the mystery behind the man, is determined to meet all those on whom Prado left an indelible mark. Among them: his eighty-year-old sister, who maintains her brother’s house as if it were a museum; an elderly cleric and torture survivor confined to a nursing home; and Prado’s childhood friend and eventual partner in the Resistance. The closer Raimund comes to the truth of Prado’s life, and eventual fate, an extraordinary tale takes shape amid the labyrinthine memories of Prado’s intimate circle of family and friends, working in utmost secrecy to fight dictatorship, and the betrayals that threaten to expose them.

“A meditative, deliberate exploration of loneliness, language and the human condition” (The San Diego Union-Tribune), Night Train to Lisbon “call[s] to mind the magical realism of Jorge Amado or Gabriel Garcia Marquez . . . allusive and thought-provoking, intellectually curious and yet heartbreakingly jaded,” and inexorably propelled by the haunting mystery at its heart (The Providence Journal).

Night Train to Lisbon was adapted into Bille August’s award-winning 2013 film starring Jeremy Irons, Lena Olin, Christopher Lee, and Charlotte Rampling.

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Comece a ler

Dados do livro

Night Train to Lisbon

De Pascal Mercier

Notas:

Classificação: 3.5 de 5 estrelas3.5/5 (43 avaliações)

Duração: 530 páginas9 horas

Descrição

Ler mais

Editora:: Open Road Integrated Media
Lançado em:: Oct 7, 2008
ISBN:: 9781555849238
Formato:: Livro

Sobre o autor

Pascal Mercier

PASCAL MERCIER was born in 1944 in Bern, Switzerland, and currently lives in Berlin where he is a professor of philosophy. Night Train to Lisbon is his third novel.

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Night Train to Lisbon - Pascal Mercier

LISBON

PART I

THE DEPARTURE

1

The day that ended with everything different in the life of Raimund Gregorius began like countless other days. At quarter to eight, he came from Bundesterrasse and stepped onto the Kirchenfeldbrücke leading from the heart of the city to the Gymnasium. He did that every workday of the school term always at quarter to eight. Once when the bridge was blocked, he made a mistake in beginning Greek class afterward. That had never happened before nor did it ever happen again. For days, the whole school talked of nothing but this mistake. The longer the discussion lasted, the more it was thought to be a mistake in hearing. At last, this conviction won out even among the students who had been there. It was simply inconceivable that Mundus, as everyone called him, could make a mistake in Greek, Latin or Hebrew.

Gregorius looked ahead at the pointed towers of the Historical Museum of the City of Bern, up to the Gurten and down to the Aare with its glacier green water. A gusty wind drove low-lying clouds over him, turned his umbrella inside out and whipped the rain in his face. Now he noticed the woman in the middle of the bridge. She had leaned her elbows on the railing and was reading in the pouring rain what looked like a letter. She must have been holding the sheet with both hands. As Gregorius came closer, she suddenly crumpled the paper, kneaded it into a ball and threw the ball into space with a violent movement. Instinctively, Gregorius had walked faster and was now only a few steps away from her. He saw the rage in her pale, rain-wet face. It wasn’t a rage that could be dumped into words and then blow over. It was a grim rage turned inward that must have been smoldering in her for a long time. Now the woman leaned on the railing with outstretched arms, and her heels slipped out of her shoes. Now she jumps. Gregorius left the umbrella to a gust of wind that drove it over the railing, threw his briefcase full of school notebooks to the ground and uttered a string of curses that weren’t part of his usual vocabulary. The briefcase opened up and the notebooks slid onto the wet pavement. The woman turned around. For a few moments, she watched unmoving as the notebooks darkened with the water. Then she pulled a felt-tipped pen from her coat pocket, took two steps, leaned down to Gregorius and wrote a line of numbers on his forehead.

Forgive me, she said in French, breathless and with a foreign accent. But I mustn’t forget this phone number and I don’t have any paper with me.

Now she looked at her hands as if she were seeing them for the first time.

Naturally, I could have . . . And now, looking back and forth between Gregorius’s forehead and her hand, she wrote the numbers on the back of the hand. I . . . I didn’t want to keep it, I wanted to forget everything, but when I saw the letter fall . . . I had to hold onto it.

The rain on the thick eyeglasses muddied Gregorius’s sight, and he groped awkwardly for the wet notebooks. The tip of the felt pen seemed to slide over his forehead again. But then he realized it was now the fingers of the woman, who was trying to wipe away the numbers with a handkerchief.

It is out of line, I know . . . And now she started helping Gregorius gather up the notebooks. He touched her hand and grazed her knee, and when the two of them reached for the last notebook, they bumped heads.

Thank you very much, he said when they stood facing each other. He pointed to her head. Did it hurt?

Absently, looking down, she shook her head. The rain beat down on her hair and ran over her face.

Can I walk a few steps with you?

Ah . . . yes, of course, Gregorius stammered.

Silently they walked together to the end of the bridge and on toward the school. The sense of time told Gregorius that it was after eight and the first hour had already begun. How far was a few steps? The woman had adjusted to his pace and plodded along beside him as if she would go on like that all day. She had pulled the wide collar of her coat so high that, from the side, Gregorius saw only her forehead.

I have to go in here, into the Gymnasium, he said and stood still. I’m a teacher.

Can I come along? she asked softly.

Gregorius hesitated and ran his sleeve over his wet glasses. In any case, it’s dry there, he said at last.

She went up the stairs, Gregorius held the door open for her, and then they stood in the hall, which seemed especially empty and quiet now that classes had started. Her coat was dripping.

Wait here, said Gregorius and went to the bathroom to get a towel.

At the mirror, he dried the glasses and wiped off his face. The numbers could still be seen on his forehead. He held a corner of the towel under the warm water and wanted to start rubbing when he stopped in the middle of the movement. That was the moment that decided everything, he thought when he recalled the event hours later. That is, all of a sudden, he realized that he really didn’t want to wipe away the trace of his encounter with the enigmatic woman.

He imagined appearing before the class afterward with a phone number on his face, he, Mundus, the most reliable and predictable person in this building and probably in the whole history of the school, working here for more than thirty years, impeccable in his profession, a pillar of the institution, a little boring perhaps, but respected and even feared in the university for his astounding knowledge of ancient languages, mocked lovingly by his students who put him to the test every year by calling him in the middle of the night and asking about the conjecture for a remote passage in an ancient text, only to get every time off the top of his head information that was both dry and exhaustive, including a critical commentary with other possible meanings, all of it presented perfectly and calmly without a soupçon of anger at the disturbance—Mundus, a man with an impossibly old-fashioned, even archaic first name you simply had to abbreviate, and couldn’t abbreviate any other way, an abbreviation that revealed the character of this man as no other word could have, for what he carried around in him as a philologist was in fact no less than a whole world, or rather several whole worlds, since along with those Latin and Greek passages, his head also held the Hebrew that had amazed several Old Testament scholars. If you want to see a true scholar, the Rector would say when he introduced him to a new class, here he is.

And this scholar, Gregorius thought now, this dry man who seemed to some to consist only of dead words, and who was spitefully called the Papyrus by colleagues who envied him his popularity—this scholar would enter the room with a telephone number painted on his forehead by a desperate woman apparently torn between rage and love, a woman in a red leather coat with a fabulously soft, southern voice, that sounded like an endless hesitant drawl that drew you in merely by hearing it.

When Gregorius had brought her the towel, the woman clamped a comb between her teeth and used the towel to rub the long black hair lying in the coat collar as in a bowl. The janitor entered the hall and, when he saw Gregorius, cast an amazed look at the clock over the exit and then at his watch. Gregorius nodded to him, as he always did. A student hurried past, turned around twice and went on.

I teach up there, Gregorius said to the woman and pointed up through a window to another part of the building. Seconds passed. He felt his heart beat. Do you want to come along?

Later, Gregorius couldn’t believe he had really said that; but he must have, for all at once they walked to the classroom next to each other; he heard the screech of his rubber soles on the linoleum and the clack of the boots when the woman put her foot down.

What’s your mother tongue? he had asked her just now.

Português, she had answered.

The o she pronounced surprisingly as a u, the rising, strangely constrained lightness of the é and the soft sh at the end came together in a melody that sounded much longer than it really was, and that he could have listened to all day long.

Wait, he said now, took his notebook out of his jacket and ripped out a page: For the number.

His hand was on the doorknob when he asked her to say the word once more. She repeated it, and for the first time he saw her smile.

The chatter broke off abruptly when they entered the classroom. A silence of one single amazement filled the room. Later, Gregorius remembered precisely: He had enjoyed this surprised silence, this speechless incredulity, that spoke from every single face, and he had also enjoyed his delight at being able to feel in a way he would never have believed possible.

What’s up now? The question spoke from every single one of the twenty looks that fell on the peculiar couple at the door, on Mundus, standing with a wet bald head and a rain-darkened coat next to a hastily combed woman with a pale face.

Perhaps there? said Gregorius to the woman and pointed to the empty chair in the back corner. Then he advanced, greeted them as usual, and sat down behind the desk. He had no idea how he could have explained, and so he simply had them translate the text they were working on. The translations were halting, and he caught some curious looks. There were also bewildered looks for he—he, Mundus, who recognized every error even in his sleep—was overlooking dozens of errors, half measures, and awkwardness.

He managed not to look over at the woman. Yet, every second he saw her, saw the damp strands stroking her face, the white hands clenched, the absent, lost look going out the window. Once she took out the pen and wrote the phone number on the notebook page. Then she leaned back again and hardly seemed to know where she was.

It was an impossible situation and Gregorius glanced at the clock: ten more minutes until the break. Then the woman got up and walked softly to the door. When she got there, she turned around to him and put her finger on her lips. He nodded and she repeated the gesture with a smile. Then the door fell shut with a soft click.

From this moment on, Gregorius no longer heard anything the students said. It was as if he were all alone and enclosed in a numbing silence. At some time he stood at the window and watched the red female figure until she had disappeared around the corner. He felt the effort not to run after her reverberate in him. He kept seeing the finger on her lips that could mean so many things: I don’t want to disturb, and It’s our secret, but also, Let me go now, this can’t go on.

When the bell rang for the break, he stood still at the window. Behind him, the students left more quietly than usual. Later he went out too, left the building through the back door and sat down across the street in the public library, where nobody would look for him.

For the second part of the double class, he was on time as always. He had rubbed the numbers off his forehead, written them down in the notebook after a minute of hesitation and then dried the narrow fringe of gray hair. Only the damp spots on his jacket and pants still revealed that there had been something unusual. Now he took the stack of soaked notebooks out of his briefcase.

A mishap, he said tersely. I stumbled and they slipped out, in the rain. Nevertheless, the corrections should still be legible; otherwise, you have to work on your conjectures.

That was how they knew him and an audible sigh of relief went through the room. Now and then, he still caught a curious look, and a remnant of shyness was in a few voices. Otherwise, everything was as before. He wrote the most frequent errors on the board. Then he let the students work silently on their own.

Could what happened to him in the next quarter hour be called a decision? Later, Gregorius was to keep asking the question and never was he sure. But if it wasn’t a decision—what was it?

It began when he suddenly looked at the students bending over their notebooks as if he were seeing them for the first time.

Lucien von Graffenried, who had secretly moved a piece in the annual chess tournament in the auditorium, where Gregorius had played simultaneous matches against a dozen students. After the moves on the other boards, Gregorius had stood before him again. He noticed it immediately. He looked at him calmly. Lucien’s face flamed red. That’s beneath you, said Gregorius and then made sure this game ended in a draw.

Sarah Winter, who had stood outside the door of his flat at two in the morning because she didn’t know what to do with her pregnancy. He had made her tea and listened, nothing else. I’m so glad I followed your advice, she said a week later. It would have been much too early to have a baby.

Beatrice Lüscher with the regular, precise handwriting who had grown old frighteningly fast under the burden of her always perfect achievements. René Zingg, always at the lowest end of the scale.

And naturally, Natalie Rubin. A girl who was stingy with her favor, a bit like a courtly maiden of the past, reserved, idolized and feared for her sharp tongue. Last week, after the bell rang for the break, she had stood up, stretched like someone at ease in her own body, and taken a piece of candy out of her shirt pocket. On the way to the door, she unwrapped it and when she passed him, she put it to her mouth. It had just touched her lips when she broke off the movement, turned to him, held the bright red candy to him and asked: Want it? Amused at his astonishment, she had laughed her strange light laugh and made sure her hand touched his.

Gregorius went through them all. At first he seemed to be only drawing up an interim balance sheet of his feelings for them. Then, in the middle of the rows of benches, he noticed that he was thinking more frequently: How much life they still have before them; how open their future still is; how much can still happen to them; how much they can still experience!

Português. He heard the melody and saw the woman’s face as it had emerged with closed eyes behind the rubbing towel, white as alabaster. One last time, he slid his eyes over the heads of the students. Then he stood up slowly, went to the door where he took the damp coat off the hook, and disappeared, without turning around, from the room.

His briefcase with the books that had accompanied him a lifetime remained behind on the desk. At the top of the steps, he paused and thought how he had taken the books to be rebound every couple of years, always to the same shop, where they laughed at the dog-eared, worn-out pages that felt almost like blotting paper. As long as the case lay on the desk, the students would assume he was coming back. But that wasn’t why he had left the books or why he now resisted the temptation to get them. If he left now, he also had to go away from those books. He felt that very clearly, even if at this moment, on the way out, he had no idea what it really meant: to go away.

In the entrance hall, his look fell on the little puddle that had formed when the woman in the dripping coat had waited for him to come back from the bathroom. It was the trace of a visitor from another, faraway world, and Gregorius regarded it with a devotion usually reserved for archaeological finds. Only when he heard the janitor’s shuffling step did he tear himself away and hurry out of the building.

Without turning around, he walked to the corner, where he could look back unseen. With a sudden force he wouldn’t have expected of himself, he felt how much he loved this building and everything it stood for and how much he would miss it. He checked the numbers again: Forty-two years ago, as a fifteen-year-old Gymnasium student, he had entered it for the first time, wavering between anticipation and apprehension. Four years later, he had left it with his diploma in hand, only to come back again four years later as a substitute for the Greek teacher who had been in an accident, the teacher who had once opened the ancient world to him. The student substitute turned into a permanent student substitute, who was thirty-three by the time he finally took his university exams.

He had done that only because Florence, his wife, had urged him. He had never thought of a doctorate; if anyone asked him about it, he only laughed. Such things didn’t matter. What did matter was something quite simple: to know the ancient texts down to the last detail, to recognize every grammatical and stylistic detail and to know the history of every one of those expressions. In other words: to be good. That wasn’t modesty—his demands on himself were utterly immodest. Nor was it eccentricity or a warped kind of vanity. It had been, he sometimes thought later, a silent rage aimed at a pompous world, an unbending defiance against the world of show-offs who made his father suffer all his life because he had been only a museum guard. Others, who knew much less than he—ridiculously less, to tell the truth—had gotten degrees and solid positions: they seemed to belong to another, unbearably superficial world with standards he despised. In the school, no one would ever have come up with the idea of dismissing him and replacing him with somebody with a degree. The Rector, himself a philologist of ancient languages, knew how good Gregorius was—much better than he himself—and he knew that the students would have risen in revolt. When he finally did take the examination, it seemed absurdly simple to Gregorius, and he handed it in in half the time. He had always held it against Florence a bit that she had made him give up his defiance.

Gregorius turned around and walked slowly toward Kirchenfeldbrücke. When the bridge came into view, he had the amazing feeling, both upsetting and liberating, that, at the age of fifty-seven, he was about to take his life into his own hands for the first time.

2

At the spot where the woman had read the letter in the pouring rain, he stood still and looked down. For the first time, he realized how deep the drop was. Had she really wanted to jump? Or had that only been an impetuous apprehension on his part going back to Florence’s brother who had also jumped off a bridge? Except that Portuguese was her mother tongue, he didn’t know the slightest thing about the woman. Not even her name. Naturally, it was absurd to want to recognize the scrunched-up letter from up here. Nevertheless he stared down, his eyes tearing with the effort. Was that dark dot his umbrella? He felt in his jacket to make sure the notebook with the number written by the nameless Portuguese woman on his forehead was still there. Then he walked to the end of the bridge, uncertain where to turn next. He was in the course of running away from his previous life. Could somebody who intended to do that simply go home?

His eye fell on Hotel Bellevue, the oldest, most distinguished hotel in the city. Thousands of times he had passed by without ever going in. Every time he had felt it was there and now he thought that, in some vague way, it had been important to him that it was there; he would have been upset to learn that the building had been torn down or had stopped being a hotel—or even: this hotel. But it had never entered his mind that he, Mundus, had any reason to be in there. Timorously, he now approached the entrance. A Bentley stopped, the chauffeur got out and went inside. When Gregorius followed him, he had the feeling of doing something absolutely revolutionary, indeed forbidden.

The lobby with the colored glass dome was empty and the carpet swallowed all sound. Gregorius was glad the rain had stopped and his coat wasn’t dripping. With his heavy, clumsy shoes he went on into the dining room. Only two of the tables set for breakfast were occupied. Light notes of a Mozart divertimento created the impression that one was far away from everything loud, ugly and oppressive. Gregorius took off his coat and sat down at a table near the window. No, he said to the waiter in the light beige jacket, he wasn’t a guest at the hotel. He felt scrutinized: the rough turtleneck under the worn-out jacket with the leather patches on the elbows; the baggy corduroy trousers; the sparse fringe of hair around the powerful bald head; the gray beard with the white specks that always made him look a bit unkempt. When the waiter had gone off with the order, Gregorius nervously checked whether he had enough money on him. Then he leaned his elbows on the starched tablecloth and looked over at the bridge.

It was absurd to hope she’d surface there once again. She had gone back over the bridge and then vanished in an Old City alley. He pictured her sitting at the back of the classroom absently gazing out the window. He saw her wringing her white hands. And again he saw her alabaster face surface from behind the towel, exhausted and vulnerable. Português. Hesitantly, he took out the notebook and looked at the phone number. The waiter brought breakfast with silver pitchers. Gregorius let the coffee grow cold. Once he stood up and went to the telephone. Halfway there, he turned around and went back to the table. He paid for the untouched breakfast and left the hotel.

It was years since he had been in the Spanish bookstore on Hirschengraben. Once, every now and then, he had gotten a book for Florence that she had needed for her dissertation on San Juan de la Cruz. On the bus, he had sometimes leafed through it, but at home he had never touched the books. Spanish—that was her territory. It was like Latin and completely different from Latin, and that bothered him. It went against his grain that words in which Latin was so present came out of contemporary mouths—on the street, in the supermarket, in the café. That they were used to order Coke, to haggle and to curse. He found the idea hard to bear and brushed it aside quickly and violently whenever it came. Naturally, the Romans had also haggled and cursed. But that was different. He loved the Latin sentences because they bore the calm of everything past. Because they didn’t make you say something. Because they were speech beyond talk. And because they were beautiful in their immutability. Dead languages—people who talked about them like that had no idea, really no idea, and Gregorius could be harsh and unbending in his contempt for them. When Florence spoke Spanish on the phone, he shut the door. That offended her and he couldn’t explain it to her.

The bookstore smelled wonderfully of old leather and dust. The owner, an aging man with a legendary knowledge of Romance languages, was busy in the back room. The front room was empty except for a young woman, a student apparently. She sat in a corner at a table and read a thin book with a yellowed binding. Gregorius would have preferred to be alone. The sense that he was standing here only because the melody of a Portuguese word wouldn’t leave his mind, and maybe also because he hadn’t known where else to go, that feeling would have been easier to bear without witnesses. He walked along the shelves without seeing anything. Now and then, he tilted his glasses to read a title on a high shelf; but as soon as he had read it, he had already forgotten it. As so often, he was alone with his thoughts, and his mind was sealed toward the outside.

When the door opened, he turned around quickly and at his disappointment that it was the mailman, he realized that, contrary to his intention and against all reason, he was still waiting for the Portuguese woman. Now the student shut the book and got up. But instead of putting it on the table with the others, she stood still, let her eyes slide again over the yellowed binding, stroked it with her hand, and only a few seconds later did she put the book down on the table, as softly and carefully as if it might crumble to dust with a nudge. Then, for a moment, she stood at the table and it looked as if she might reconsider and buy the book. But she went out, her hands buried in her coat pockets and her head down. Gregorius picked up the book and read: AMADEU INÁCIO DE ALMEIDA PRADO, UM OURIVES DAS PALAVRAS, LISBOA 1975.

The bookdealer came in, glanced at the book and pronounced the title aloud. Gregorius heard only a flow of sibilants; the half-swallowed, hardly audible vowels seemed to be only a pretext to keep repeating the hissing sh at the end.

Do you speak Portuguese?

Gregorius shook his head.

"A Goldsmith of Words. Isn’t that a lovely title?"

Quiet and elegant. Like dull silver. Would you say it again in Portuguese?

The bookdealer repeated the words. Aside from the words themselves, you could hear how he enjoyed the velvety sound. Gregorius opened the book and leafed through it until the text began. He handed it to the man who looked at him with surprise and pleasure and started reading aloud. As he listened, Gregorius shut his eyes. After a few sentences, the man paused.

Shall I translate?

Gregorius nodded. And then he heard sentences that stunned him, for they sounded as if they had been written for him alone, and not only for him, but for him on this morning that had changed everything.

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. Then, when we turn to these treasures, as archaeologists of the soul, we discover how confusing they are. The object of contemplation refuses to stand still, the words bounce off the experience and in the end, pure contradictions stand on the paper. For a long time, I thought it was a defect, something to be overcome. Today I think it is different: that recognition of the confusion is the ideal path to understanding these intimate yet enigmatic experiences. 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.

That’s the introduction, said the bookdealer and started leafing through it. And now he seems to begin, passage after passage, to dig for all the buried experiences. To be the archaeologist of himself. Some passages are several pages long and others are quite short. Here, for example, is a fragment that consists of only one sentence. He translated:

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 bookdealer closed it and ran his hand over the binding as affectionately as the student.

I found it last year in the junk box of a secondhand bookshop in Lisbon. And now I remember: I took it because I liked the introduction. Somehow I lost sight of it. He looked at Gregorius, who awkwardly felt for his briefcase. I give it to you as a gift.

That’s . . . Gregorius began hoarsely and cleared his throat.

It cost pretty much nothing, said the bookdealer and handed him the book. Now I remember you: San Juan de la Cruz. Right?

That was my wife, said Gregorius.

Then you’re the classical philologist of Kirchenfeld, she talked about you. And later I heard somebody else talk about you. It sounded as if you were a walking encyclopedia. He laughed. Definitely a popular encyclopedia.

Gregorius put the book in his coat pocket and held out his hand. Thank you very much.

The bookdealer accompanied him to the door. I hope I haven’t . . .

Not at all, said Gregorius and touched his arm.

On Bubenbergplatz, he stood still and looked all around. Here he had spent his whole life, here he knew his way around, here he was at home. For someone as nearsighted as he, that was important. For someone like him, the city he lived in was like a shell, a cozy cave, a safe structure. Everything else meant danger. Only someone who had such thick eyeglasses could understand that. Florence hadn’t understood it. And, maybe for the same reason she hadn’t understood that he didn’t like to fly. Getting on an airplane and arriving a few hours later in a completely different world with no time to take in individual images of the road—he didn’t like that and it bothered him. It’s not right, he had said to Florence. What do you mean—not right? she had asked, irritated. He couldn’t explain it and so she had often flown by herself or with others, usually to South America.

Gregorius stood at the display window of Bubenberg Cinema. The late show was a black-and-white film from a novel by Georges Simenon: L ’homme qui regardait passer les trains. He liked the title and looked for a long time at the stills. In the late ’70s, when everybody bought a color television, he had tried in vain for days to get another black-and-white set. Finally he had brought one home from the dump. Even after he got married, he had held on to it stubbornly, keeping it in his study, and when he was by himself, he ignored the color set in the living room and turned on the old rattletrap that flickered, the images rolling occasionally. Mundus, you’re impossible, Florence had said one day when she found him before the ugly, misshapen crate. When she started addressing him like the others, and even at home he was treated like a factotum of the city of Bern—that had been the beginning of the end. When the color television had vanished from the flat with the divorce, he had breathed a sigh of relief. Only years later, when the black-and-white picture tube broke altogether, did he buy a new color set.

The movie stills in the display window were big and crystal clear. One showed the pale alabaster face of Jeanne Moreau, stroking damp strands of hair off her forehead. Gregorius tore himself away and went into a nearby café to examine more closely the book of the Portuguese aristocrat who had tried to articulate himself and his mute experiences in words.

Only now, as he leafed slowly one by one through the pages, with a bibliophile’s careful attention, did he discover the portrait of the author, an old photo, yellowed at the time the book was printed, where the once black surfaces had faded to dark brown, the bright face on a background of coarse-grained shadowy darkness. Gregorius polished his glasses, put them back on and, within a few minutes, was completely engrossed in the face.

The man may have been in his early thirties and radiated an intelligence, a self-confidence, and a boldness that literally dazzled Gregorius. The bright face with the high forehead was thatched with luxuriant dark hair that seemed to shine dully and was combed back like a helmet, with some strands falling next to the ears in soft waves. A narrow Roman nose gave the face great clarity, supported by strong eyebrows, set like solid beams painted with a broad brush, soon breaking off at the edges so that a concentration on the middle emerged, where the thoughts were. The full curved lips that wouldn’t have been surprising in the face of a woman, were framed by a thin mustache and a trimmed beard, and the black shadows it cast on the slim neck gave Gregorius the impression of a certain coarseness and toughness. Yet, what determined everything were the dark eyes. They were underscored by shadows, not shadows of weariness, exhaustion or illness, but shadows of seriousness and melancholy. In his dark look, gentleness was mixed with intrepidity and inflexibility. The man was a dreamer and a poet, thought Gregorius, but at the same time, someone who could resolutely direct a weapon or a scalpel, and you’d better have gotten out of his way when his eyes flamed, eyes that could keep an army of powerful giants at bay, eyes that were no stranger to vile looks. As for his clothing, only the white shirt collar with the knot of a tie could be seen, and a jacket Gregorius imagined as a frock coat.

It was almost one o’clock when Gregorius surfaced from the absorption the portrait evoked in him. Once again, the coffee had grown cold in front of him. He wished he could hear the voice of the Portuguese man and see how he moved. Nineteen seventy-five: If he was then in his early thirties, as it seemed, he was now slightly over sixty. Português. Gregorius recalled the voice of the nameless Portuguese woman and transposed it to a lower pitch in his mind, but without turning it into the voice of the bookdealer. It was to be a voice of melancholy clarity, corresponding precisely with the visage of Amadeu de Prado. He tried to make the sentences in the book resonate with this voice. But it didn’t work; he didn’t know how the individual words were pronounced.

Outside, Lucien von Graffenried passed by the café. Gregorius was surprised and relieved to feel that he didn’t flinch. He watched the boy go by and thought of the books on the desk. He had to wait until classes resumed at two o’clock. Only then could he go to the bookstore to buy a Portuguese language textbook.

3

As soon as Gregorius put on the first record at home and heard the first Portuguese sentences, the phone rang. The school. The ringing wouldn’t stop. He stood next to the phone and tried out sentences he could say. Ever since this morning I’ve been feeling that I’d like to make something different out of my life. That I don’t want to be your Mundus anymore. I have no idea what the new one will be. But I can’t put it off anymore. That is, my time is running out and there may not be much more of it left. Gregorius spoke the sentences aloud. They were right, he knew that, he had said few sentences in his life that were so precisely right as these. But they sounded empty and bombastic when they were spoken, and it was impossible to say them into the phone.

The ringing had stopped. But it would start again. They were worried and wouldn’t rest until they had found him; something could have happened to him. Sooner or later, the doorbell would ring. Now, in February, it always got dark early. He wouldn’t be able to turn on a light. In the center of the city, the center of his life, he was attempting to flee and had to hide in the flat where he had lived for fifteen years. It was bizarre, absurd, and sounded like some potboiler. Yet it was serious, more serious than most things he had ever experienced and done. But it was impossible to explain it to those who were searching for him. Gregorius imagined opening the door and inviting them in. Impossible. Utterly impossible.

Three times in a row, he listened to the first record of the course, and slowly got an idea of the difference between the written and the spoken, and of all that was swallowed in spoken Portuguese. His unerring, facile memory for word formation kicked in.

The phone kept ringing at ever shorter intervals. He had taken over an antiquated phone from the previous tenant with a permanent connection he couldn’t pull out. He had insisted that everything remain as it was. Now he took out a wool blanket to muffle the ringing.

The voices guiding the language course wanted him to repeat words and short sentences. Lips and tongue felt heavy and clumsy when he tried it. The ancient languages seemed made for his Bern mouth, and the thought that you had to hurry didn’t appear in this timeless universe. The Portuguese, on the other hand, seemed always to be in a hurry, like the French, which made him feel inferior. Florence had loved it, this breakneck elegance, and when he had heard how easily she succeeded, he had become mute.

But now everything was different all of a sudden: Gregorius wanted to imitate the impetuous pace of the man and the woman’s dancing lightness like a piccolo, and repeated the same sentences over to narrow the distance between his stolid enunciation and the twinkling voice on the record. After a while, he understood that he was experiencing a great liberation; the liberation from his self-imposed limitation, from a slowness and heaviness expressed in his name and had been expressed in the slow measured steps of his father walking ponderously from one room of the museum to another; liberation from an image of himself in which, even when he wasn’t reading, he was someone bending myopically over dusty books; an image he hadn’t drawn systematically, but that had grown slowly and imperceptibly; the image of Mundus, which bore not only his own handwriting, but also the handwriting of many others who had found it pleasant and convenient to be able to hold on to this silent museum-like figure and rest in it. It seemed to Gregorius that he was stepping out of this image like a dusty oil painting on the wall of a forgotten wing in the museum. He walked back and forth in the dim illumination of the lightless flat, ordered coffee in Portuguese, asked for a street in Lisbon, inquired about someone’s profession and name, answered questions about his own profession, and conducted a brief conversation about the weather.

And all at once, he started talking with the Portuguese woman of the morning. He asked her why she was furious with the letter writer. Você quis saltar? Did you want to jump? Excitedly, he held the new dictionary and grammar book before his eyes and looked up expressions and verb forms he lacked. Português. How different the word sounded now! Before, it possessed the magic of a jewel from a distant, inaccessible land and now it was like one of a thousand gems in a palace whose door he had just pushed open.

The doorbell rang. Gregorius tiptoed to the phonograph and turned it off. They were young voices, student voices, conferring outside. Twice more, the shrill ring cut through the dim silence where Gregorius waited stock-still. Then the footsteps receding on the stairs.

The kitchen was the only room that faced the back and had a Venetian blind. Gregorius pulled it down and turned on the light. He took out the book of the Portuguese aristocrat and the language books, sat down at the table and started translating the first text after the introduction. It was like Latin and quite different from Latin, and now it didn’t bother him in the slightest. It was a difficult text, and it took a long time. Methodically and with the stamina of a marathon runner, Gregorius selected the words and combed through the tables of verbs until he had deciphered the opaque verb forms. After a few sentences, he was gripped by a feverish excitement and he got some paper to write down the translation. It was almost nine o’clock when he was finally satisfied:

PROFUNDEZAS INCERTOS. UNCERTAIN DEPTHS. Is

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(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...

Rating: 2

"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.

Rating: 4

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.

Rating: 4

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.

Rating: 4

A Swiss professor of classical languages felt in love with the Portuguese language. While learning Portuguese he found a manuscript in that language. Then starts his adventures and the reader recives a very good lesson in contemporary Portugal.

Rating: 5

This is an example of the "literary paperchase" novel: classics teacher Raimund Gregorius walks out of the Berne grammar school where he has been working for the last thirty years and gets the train to Lisbon, where he sets out to discover something about the mysterious Amadeu Inácio de Almeida Prado, author of Um ourives das palavras, a book he has picked up more or less at random in Berne's Iberian bookshop. In the course of the novel, Gregorius teaches himself enough Portuguese to be able to translate most of the book-within-a-book for us, while he seeks out people who knew Prado and gradually uncovers his life-story, discovering a lot about recent Portuguese history as he does so -- it turns out that Prado was involved in the resistance against the Salazar dictatorship.The book-within-a-book trick is a difficult one to bring off successfully, but very effective when it works well (e.g. A.S. Byatt's Possession). Mercier seems to have been very successful in giving Prado a distinctive voice, and I was soon as eager as Gregorius to find out more about him. Altogether, it is a very impressive book, and there is very little in it that is boring or predictable. Mercier successfully resists the temptation to bring things to a neat resolution or put facile parallels into the two stories -- we are left to work things out for ourselves. There were a few, relatively minor things that irritated me: In particular, I found it distracting that language difficulties just vanish whenever it is necessary for a character to tell an extended story to Gregorius, even when we know that the conversation must be taking place in French or English, which is neither the character's first language nor that of Gregorius. Obviously this is a matter of literary convention, but for a novel which uses a lot of embedded narrative, and which makes much of language and the problem of translation, it is odd that this convention is accepted without further comment.Mercier (pen-name of Prof. Peter Bieri) is an academic philosopher by trade, and at times the book turns into a kind of Sophie's World for grown-ups, as we are faced with a succession of textbook problems -- "can we really see the world through someone else's eyes?" "can one language be translated into another?" "is a doctor right to save the life of a vicious torturer?"... However, these are minor quibbles, and shouldn't put anyone off reading this book.Something Thingamabrarians will like: this is very much a booklover's book. There is a great deal about the pleasure of bookshops, the joy of handling new and old books, and the excitement of literary discovery. On the other hand, there is only one, brief mention of the Internet, which is odd for a book ostensibly set in the present day. One is frequently tempted to ask: why doesn't he just Google it?

Rating: 4

a lovely travel story about a teacher who just walks out of class and changes his life through traveling

Rating: 3

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.

Rating: 2

A quiet professor of languages in Bern chances upon a Portuguese woman one night and can't get her out of his mind. He looks to buy a Portuguese language book and finds instead, a memoir by a Portuguese doctor, one who was beloved by everyone until he treated a member of Salazar's secret police and was then shunned by his former patients and friends. The words the professor reads has such a profound impact on him that he is compelled to learn everything possible about this doctor. He leaves his job at the spur of the moment and takes the train to Lisbon. He learns Portuguese and through reading chapters in the memoir, he searches for the people who knew the doctor.This is a book within a book .. we read the memoir written by the doctor, his hopes, his fears, his philosophy and his torment. As the professor meets with the people who knew this doctor, we get their perspectives of the man and what he meant to them. In the process, we see the professor change too. His journeys to places the doctor visited or lived in help him expand his horizons and broaden his self-analysis. I loved the depth and complexity of all the characters introduced, and the relationships the professor forms with some of them.

Rating: 4

I know this has been an international bestseller, but I found it unbelievably dull. How can you make Lisbon dull? It's one of the most vibrant cities in Europe. This book made it seem like it's full of whining misanthropes. It didn't help that the leading character is practically cardboard. Don't bother persevering with this book - it doesn't get any better.

Rating: 2

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).

Rating: 4

Everything about his book suggested to me I should like it. First, it was highly recommended by a friend of mine, and I was excited to finally find it in a Netherlands bookstore, after searching fruitlessly for it for over a year. Then, it is my kind of story: a man has a chance encounter with a woman and embarks on a journey of the soul in which he comes to know himself for who he truly is. Isabel Allende, a great storyteller herself, is quoted on the front of the book saying it was "one of the best books I have read in a long time." Will I be forgiven if I say I struggled to finish the damn thing? Seriously. I seldom stop reading books, once I start, but I just found the dialog in this book unbelievable. Characters, people I know, just don't talk in such complete and polished sentences, about such rarefied topics. (I probably hang out in the wrong circles.) And I thought stories were suppose to show, instead of tell. Overall, a major disappointment.

Rating: 2

I enjoyed this book very much, and was impressed with the way the author melded complex philosohpical ideas with the historical background of the novel. Particular highlights were the 'chess' motif and the character of the insominiac Greek Doctor. I was a little dissappointed by the ending, but this could not damage my overall enjoyment of the book. It is rare to find a novel driven both by intellectual musing and thriller style plot.

Rating: 4

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

Rating: 4

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!

Rating: 5

I loved this book, it is so wonderful, a old man, a teacher of classical languages changes his life and takes a great advanture but it much more then that it looks at language, ethics, love duty all that is life

Rating: 5

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.

Rating: 4

A fascinating and frustrating novel, full of philosophical tangents, self-analysis, moral quandaries, loyalty, jealousy and love. The story is frustrating in its remoteness--not so much the plot (what little there is), as the manner in which it is told. Most of the characters talk about a story, their relationship with a doctor/philosopher/poet involved in the resistance to the Salazar dictatorship, brutal self-analysis, and a love triangle, from thirty years ago. These stories come through conversations with the central character, a not very sympathetic philologist searching for meaning in his own life through that of the doctor. From a distance, the novel seems like a broad desert valley; but there are rare insights, occasional blossoms of delight, scattered on the surface that compel the reader's interest. Ultimately, the story is rewarding, but it's not for everyone.

Rating: 4

“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.

Rating: 5

"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.

Rating: 5

A thinking person's book on life...if we can only live one small part of our lives, what happens to the rest? An excellent read.

Rating: 4

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.

Rating: 3

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 :-)

Rating: 5

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.

Rating: 5

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.

Rating: 3

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.

Rating: 3

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'.

Rating: 5

The book is mostly a study in philosophy and becomes a bit tedious. The plot is essentially a Portuguese doctor's life as told to a Swiss teacher who travels to Portugal as a result of a midlife crisis; this is in pieces and in retrospect by those who admired him. Relative to the mid-life crisis; things which resonated with me:- How fundamental changes to one's life occur because of small, soft, hidden things as opposed to "big moments".- The wish to go back to moments in life and take a completely different direction, one that is more true to oneself.- The arbitrariness of one's life; how accidents and chance lead to the path one takes.Relative to philosophy, among other things:- The inability to truly understand the inner workings of the people around us, or to change their viewpoint when communicating with them. The ridiculous stories we invent to explain people or our life when reality is far more complicated.- The stupidity of vanity. "...you have to forget the cosmic meaninglessness of all our acts to be able to be vain and that's a glaring form of stupidity."- The reverence and loathing for the word of God. This speech is the high point of the book; the conflict felt between needing the poetry of the Bible and religion which disparages man's innate reason and physical urges. (unfortunately this is at p.168 of 438).- "life is not what we live, it's what we imagine living."They're interwoven and common to both is the persistence of memory; how events and what people said at various points in life are always with us in the present.It's all pretty contrived - the travel set in motion initially by an encounter with a woman who really has no relevance, how the teacher is able to track down all of the major characters in the doctor's life and get them to produce various "unopened letters" and the like that reveal more of the philosophy, and the characters themselves, who often don't seem realistic.I think I would rate it higher had it been significantly pared down in length. The ending is a nice touch; I'm surprised others don't read what I do into it and wonder what's next.

Rating: 3

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.

Rating: 5

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.

Rating: 4

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