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Las ciudades invisibles de Italo Calvino
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Las ciudades invisibles (edição: 2007)

de Italo Calvino

MembrosResenhasPopularidadeAvaliação médiaMenções
8,084177818 (4.14)336
In Kublai Khan's garden, at sunset, the young Marco Polo diverts the aged emperor from his obsession with the impending end of his empire with tales of countless cities past, present, and future.
Membro:MCHUMILLAS
Título:Las ciudades invisibles
Autores:Italo Calvino
Informação:Madrid : Siruela , 2007
Coleções:CASA BELÉN Y MIGUEL HUETOR SANTILLAN
Avaliação:*****
Etiquetas:siglo XX, ciudades, italiano, Italia, novela, cuentos

Work Information

Invisible Cities de Italo Calvino

  1. 180
    Labyrinths de Jorge Luis Borges (WSB7)
    WSB7: Both have wonderfully imaginative but controlled semiotic exercises.
  2. 151
    Fictions de Jorge Luis Borges (Carnophile)
    Carnophile: Both books are liesurely contemplations of fantastical situations, not plot- or character-driven, but conceptual.
  3. 113
    The City & The City de China Miéville (snarkhunt)
    snarkhunt: Calvino's book is a travelogue of impossible societies while China's book is a sweet little noir stuck in the middle of one.
  4. 30
    Kalpa Imperial: The Greatest Empire That Never Was de Angélica Gorodischer (spiphany)
  5. 52
    O Livro dos Seres Imaginários de Jorge Luis Borges (Torikton)
  6. 30
    Tainaron: Mail from Another City de Leena Krohn (ari.joki)
    ari.joki: An allegory of the human condition by revealing one facet at a time through presenting a foreign, strange city with foreign, strange inhabitants.
  7. 20
    Mr. Palomar de Italo Calvino (P_S_Patrick)
    P_S_Patrick: Thes two books are in some ways very like each other, and in some ways quite the opposite. In Mr Palomar various locations, things, and thoughts are described precisely with the utmost eloquence and detail, whereas in Invisible Cities, it is one place being described in many different ways, hazy, as if seen through lenses of different qualities, and warping mirrors. But the effect is much the same, both books give you something to think about, make you see things in different ways, and are a pleasure to read. Both books also contain no strong plot, and consist of many small and diverse sections, and in a way, could be dipped into. Where Palomar gets very much into the mind of the protagonist, and his fixed, elaborate, and definite interpretations of reality, Invisible Cities is similar in that the recollections are also told from the point of view of the narrator, but differ each time, none being tied to reality, all of them containing aspects of truth found through how you interpret them. If you enjoyed reading one of these books, you should enjoy the other.… (mais)
  8. 20
    Solution 11-167: The Book of Scotlands de Momus (Kolbkarlsson)
    Kolbkarlsson: Written in the same vein, The Book of Scotlands lists a series of alternative scotlands previously unheard of. Every Scotland is written in it's own style, but with similar wit and daunting imagination.
  9. 10
    Palimpsest de Catherynne Valente (PhoenixFalls)
  10. 10
    Sexing the Cherry de Jeanette Winterson (WSB7)
    WSB7: Each has a partially factual/partially imagined frame.
  11. 10
    Marcovaldo or The Seasons in the City de Italo Calvino (unctifer)
  12. 10
    The Logogryph: A Bibliography Of Imaginary Books de Thomas Wharton (unctifer)
  13. 10
    The Travels of Marco Polo de Marco Polo (Jannes)
  14. 10
    Paintings de Victor Segalen (defaults)
    defaults: A series of descriptions of imaginary ancient Chinese paintings. Uncannily similar in tone, hieratic and surreal, rabbit-holes inscribed in rabbit-holes... and written several decades earlier.
  15. 32
    The Dictionary of Imaginary Places: The Newly Updated and Expanded Classic de Alberto Manguel (VanishedOne)
    VanishedOne: One is systematic and compendious, the other flows freely from one impression to another, but both flit between windows onto imaginary vistas.
  16. 21
    Viriconium: "The Pastel City", "A Storm of Wings", "In Viriconium", "Viriconium Nights" de M. John Harrison (Torikton)
  17. 00
    Freud's Alphabet: A Novel de Jonathan Tel (hdcanis)
    hdcanis: A novel starring a historical person (Marco Polo or Sigmund Freud) exploring a city (Venice or London) in fragmentary manner, each fragment handling a different aspect of the city.
  18. 00
    Atlas of Remote Islands: Fifty Islands I Have Never Set Foot on and Never Will de Judith Schalansky (CGlanovsky)
    CGlanovsky: Little vignettes about places. Calvino's are more fanciful and there's a twist, while Schalansky's are little anecdotes based on actual bizarre and out-of-the-way places.
  19. 00
    Ring (Swiss Literature Series) de Elisabeth Horem (Nickelini)
  20. 11
    Changing Planes de Ursula K. Le Guin (spiphany)

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Inglês (155)  Português (Portugal) (5)  Francês (4)  Holandês (3)  Italiano (3)  Espanhol (2)  Norueguês (1)  Catalão (1)  Grego (1)  Dinamarquês (1)  Hebraico (1)  Todos os idiomas (177)
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Marco Polo tells Genghis Khan about various cities he's visited. Each city is in fact a little parable or thought provoking idea.
However it feels a bit of a cheat, other authors would have used these ideas as the basis for something greater.
Each little tableau is like a topic heading during a debate. With the arguments for both sides being left to the reader to invent. ( )
  wreade1872 | Nov 28, 2021 |
Rammen om Calvinos lille roman fra 1972 er faktisk noget af det bedste: Marco Polo sidder i en have ved storkhanens hof, hvor de snakker om Polos rejser til de fjerneste dele af det rige, som khanen ikke længere kan besøge, og som måske allerede er ved at falde fra hinanden, fordi et stort riges undergang altid lurer lige bag erobringen.

Hver af bogens ni dele starter og slutter med de tos samtaler, der også er en diskussion af, hvad viden overhovedet er for en størrelse. Hvorfor fortæller Polo aldrig om hjembyen Venedig, vil khanen f.eks. vide. Måske fordi det er for smerteligt at huske på hjemmet – eller måske forholder det sig snarere sådan, at Venedig i virkeligheden er det uudtalte udgangspunkt for beskrivelsen af alle de andre byer.

De øvrige småkapitler er portrætter af forskellige byer, der alle har kvindenavne, men som i øvrigt adskiller sig fra hinanden og mest af alt er udtryk for en bestemt idé, og hvor tidens gang ofte har udvisket grænsen mellem det oprindelige princip og dens modsætning. Tag f.eks. byen, hvor de døde flyttes ned i en underjordisk kopi af byen og fortsætter deres gamle tilværelse. Tanken er selvfølgelig, at det er den levende by, der bestemmer den andens udseende, men måske er det snarere omflytninger i de dødes by, der spejler sig i de levendes verden?

Calvinos idérigdom er nærmest uendelig. Han folder den ene by ud efter den anden, og selvom de alle er unikke, så ligner de også alle sammen hinanden. Bogen er nemlig en hyldest til byen som civilisationens centrum, og en rigtig by består altid af de samme elementer som f.eks. en bygrænse, et torv, et rådhus osv. Bogen slutter med beskrivelser af udflydende amerikanske metropoler (nogle af byerne er tydeligt udsprunget af Marco Polos tid, andre er ikke) der hverken har et centrum eller en grænse. Det hele flyder – det østjyske bybånd kunne være en dansk parallel – og den form for opløsning huer tydeligvis ikke forfatteren. Synlige eller usynlige, idealtypen på en by er den italienske bystat.

Som det fremgår, er der ikke nogen handling i bogen. Bogen er båret af et humoristisk sprog og en imponerende idérigdom. Positivt når man aldrig at blive træt af de enkelte byer, før man er videre til den næste, men for mig gik skiftene for hurtigt, og jeg tænker mere på bogen som en bedrift end som en stærk læseoplevelse. Da jeg læste Fiktioner af Jorge Louis Borges, købte jeg slet ikke ind på ideen om, at det skulle være bedre at læse resumeer af endnu uskrevne (og lange) bøger end at læse bøgerne selv, og den fornemmelse havde jeg også med De usynlige byer. Ja, det er imponerende at skitsere nye verdener op så hurtigt, men jeg ville hellere have dem foldet ud som i Swifts Gullivers rejse eller Moores Utopia. ( )
  Henrik_Madsen | Sep 21, 2021 |
A Book That Was Originally Written In A Different Language

A disappointment, after loving if on a winter's night a traveler. I think I would have gotten as much out of this book had I read it in the original Italian - which I can't speak, much less read.

Invisible Cities looks like a novel. Each chapter begins and ends with snippets of dialogue between Marco Polo and Kublai Khan. These dialogues explain the intervening snippets as Polo's descriptions of the cities he has visited throughout Khan's kingdom. But the descriptions do not advance a plot. They are too brief to impart any meaning, whether viewed individually or as a connected progression. Some are interesting. One city has two levels, the living above and the dead below, and no one knows whether the dead created the living city or vice-versa.

Eventually you are told that every city Polo describes is merely his reimagining of Venice. You are struck by the infiltration of modernity into Polo's descriptions—plumbing, for example. You get the feeling there is something more going on. But unless you know something of Italo Calvino's background, you will remain lost, even after the novel's fable-like ending: either become part of the mess that is the world (the inferno, in Calvino's nod to Dante), or recognize the problems and do something about them.

My initial thought after finishing Invisible Cities was the journey to that ending is not worth the effort. But this novel is on the 1,001 Books You Must Read Before You Die list, and I wanted to understand why. So I read other reader reviews, and gleaned nothing that justified inclusion on that list. Most consisted of a few sentences about how beautiful Calvino's imagery is. Some acknowledged that there's probably more to the book than they understood. None provided insight into the meaning of the novel.

Because one reviewer referenced the Wikipedia article, I read it. Unfortunately, it was equally useless. It's main content is a description of the structure of the novel: a mathematical pattern the writing group Calvino was part of, OuLiPo, frequently adhered to in their writings. Several unexplained words (Baucis, anyone?) are interspersed within the description to imply it has some grand significance, but in typical Wikipedia fashion, there is no explanation. Instead, the name of the writing group is a link to another article. You can waste hours reading and clicking through additional links, ultimately emerging with the same lack of understanding you had when you first entered the labyrinth.

Finally, I turned to the academic world, and discovered that indeed there is more going on than just confusing and seemingly pointless descriptions of fictitious cities. Invisible Cities is an anti-novel. Or a meta-novel. Literature about literature. The descriptions of the cities are Calvino's commentary on various schools of literary criticism. To quote Igor Grbić (and I am not going to cite this correctly out of personal antipathy for the sham I think literary criticism is): "Invisible Cities is an extremely carefully woven text, on texts, the best of postmodernism in its need to write about writing, and read about reading. Its prime concern is language, and the linguistic, literary insight that though the city, the world, is not literature, it still is possible – actually, pressing – to read it as a text."

Well.

Even after being told that, I have no interest in analyzing the text at the level necessary to understand what Calvino was trying to say. Literary criticism is a circular firing squad of intellectuals who expend a tremendous amount of ink quoting other works that supposedly support the point they are failing to make. It is the synchronized swimming of literature: beautiful, but the scoring is subjective. The average observer can't distinguish between the gold medal performance and the silver or bronze. Obviously a lot of thought went into the novel, but in the end, what does the reader take away from it? In my case, nothing much.

My advice is read if on a winter's night a traveler, which explores Calvino's same interests in the relationship between author, text and reader, but provides an entertaining and satisfying story in the process. Leave Invisible Cities to the academics who find the Russian formalists informative and insist that books must be read through a multitude of lenses (post-colonial, gay, feminine) rather than being enjoyed as entertainment from which you might gain insight if the cultural commentary is well-executed by the author. ( )
  skavlanj | Aug 21, 2021 |
"Se meu livro As cidades invisíveis continua sendo para mim aquele em que penso haver dito mais coisas, será talvez porque tenha conseguido concentrar em um único símbolo todas as minhas reflexões, experiências e conjeturas." Assim se refere o próprio Italo Calvino - um dos escritores mais importantes e instigantes da segunda metade do século XX - a este livro surpreendente, em que a cidade deixa de ser um conceito geográfico para se tornar o símbolo complexo e inesgotável da existência humana.Prêmio Jabuti 1993 de Melhor Produção Editorial de Obra em Coleção
  BolideBooks | May 14, 2021 |
Early in Neal Stephenson's The Diamond Age, he describes a moment when some of the characters walk near a cathedral and are able to hear "its bells ringing changes, mostly just tuneless sequences of notes, but sometimes a pretty melody would tumble out, like an unexpected gem from the permutations of the I Ching". Similarly, in this collection of descriptions of imaginary cities, sometimes each metropolitan litany produced an arresting simile or piece of imagery, and sometimes they were just a few paragraphs of "literary" writing that made next to no impression at all on me. I don't want to be contrarian, but is this book really so highly-regarded based merely on the neat sentences Calvino sometimes comes up with? It can't be the philosophical ideas, because those are either somewhat boring, or unoriginal, or both.

For an example of boring, in "Cities & Eyes 1", Marco Polo is telling Kublai Khan about the city of Valdrada on the shores of a lake, where "the traveler, arriving, sees two cities: one erect above the lake, and the other reflected, upside down. Nothing exists or happens in the one Valdrada that the other Valdrada does not repeat, because the city was so constructed that its every point would be reflected in its mirror.... The twin cities are not equal, because nothing that exists or happens in Valdrada is symmetrical: every face and gesture is answered, from the mirror, by a face and gesture inverted, point by point. The two Valdradas live for each other, their eyes interlocked; but there is no love between them." If I were writing a paper on this book in a freshman English class, I would say that the story "was an exploration of the concept of duality" or something like that, but it isn't: the whole description of the city is barely a few hundred words, and does nothing other than describe a city and its watery doppelgänger. Similarly, for an example of unoriginality, at the beginning of chapter 7 there is an exchange between Polo and the Khan about the difficulty of telling the difference between dreams and reality:

"Kublai: Perhaps this dialogue of ours is taking place between two beggars nicknamed Kublai Khan and Marco Polo; as they shift through a rubbish heap, piling up rusted flotsam, scraps of cloth, wastepaper, while drunk on the few sips of bad wine, they see all the treasure of the East shine around them.
Polo: Perhaps all that is left of the world is wasteland covered in rubbish heaps, and the hanging garden of the Great Khan's palace. It is our eyelids that separate them, but we cannot know which is inside and which is outside."

It's like Calvino is expecting his audience to have never heard of Zhuang Zi's dream of the butterfly, or any of the zillion other manifestations of this idea.

Even the central conceit of the book, that Polo is describing the city of Venice by describing its opposites or metaphors for it, doesn't feel like it needs a whole book to describe it, even one as thin as this. Not that it isn't a pleasant read, with excellent descriptions and use of language and so forth, but I simply had no reaction to most of it. Exceptions include "Cities & Desire 3", which vividly describes how different a city can look depending on how you arrive; "Cities & Names 4", about the cyclic nature of urban life; "Cities & the Dead 3", with its vivid vital necropolis; and a few others, but for me most of the pleasure lay in the combinations of words Calvino found (and how translator William Weaver interpreted them), and not really in any of the concepts. I make an exception for the conversation between Polo and Khan at the end of chapter 7, which hilariously sounds exactly like two people having a bad drug experience.

"Kublai: To me this conjecture does not seem to suit our purposes. Without them we could never remain here swaying, cocooned in our hammocks.
Polo: Then the hypothesis must be rejected. So the other hypothesis is true: they exist and we do not.
Kublai: We have proved that if we were here, we would not be.
Polo: And here, in fact, we are."

Whoa dude, far out!

Ever read that Borges short story "The Lottery in Babylon"? Despite its greater economy with language, it's about ten times more memorable than most of what's in here. ( )
  aaronarnold | May 11, 2021 |
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Nome do autorFunçãoTipo de autorObra?Status
Calvino, Italoautor principaltodas as ediçõesconfirmado
Baranelli, LucaContribuinteautor secundárioalgumas ediçõesconfirmado
Kapari, JormaTradutorautor secundárioalgumas ediçõesconfirmado
Lauder, ChristopherNarradorautor secundárioalgumas ediçõesconfirmado
Lee, JohnNarradorautor secundárioalgumas ediçõesconfirmado
Nieuwenhuyzen, KeesDesigner da capaautor secundárioalgumas ediçõesconfirmado
Pasolini, Pier PaoloPosfácioautor secundárioalgumas ediçõesconfirmado
Riedt, HeinzTradutorautor secundárioalgumas ediçõesconfirmado
Silo, MoroNarradorautor secundárioalgumas ediçõesconfirmado
Vlot, HennyTradutorautor secundárioalgumas ediçõesconfirmado
Walsmith, SheltonArtista da capaautor secundárioalgumas ediçõesconfirmado
Weaver, WilliamTradutorautor secundárioalgumas ediçõesconfirmado
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Kublai Khan does not necessarily believe everything Marco Polo says when he describes the cities visited on his expedition, but the emperor of the Tartars does continue listening to the young Venetian with greater attention and curiosity than he shows any other messenger or explorer of his.
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Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret,

their rules are absurd, their perspectives deceitful, and everything conceals something else.
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In Kublai Khan's garden, at sunset, the young Marco Polo diverts the aged emperor from his obsession with the impending end of his empire with tales of countless cities past, present, and future.

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