Fitzgerald, as an author, has a remarkable way with words. Her writing is simple yet measured, allowing her to convey complex emotions and ideas with ease. In her book, she tells the story of Fritz von Hardenberg, a poet who falls in love with a 12-year-old girl named Sophie. The book is set in rural Germany in the 18th century and explores themes such as love, family, and aspiration.

“Sink, he told his hopes, with a kind of satisfaction, sink like a corpse dropped into the river. I am rejected, not for being unwelcome, not even for being ridiculous, but for being nothing.” This quote from the book beautifully captures Fritz's sense of disappointment and despair.

The book's major undoing, however, is the fact that the love story at the center is not something that captures the imagination. While Fitzgerald does a good job of painting a vivid picture of life in rural Germany, the characters themselves are somewhat one-dimensional. It is difficult to connect with them on an emotional level, despite feeling sorry for them in general.

Overall, The Blue Flower is an ambitious book that attempts to explore some deep and meaningful themes. While it may not have worked for me personally, it is still a值得一读的work that offers some valuable insights into the human condition.

Penelope Fitzgerald’s The Blue Flower is a remarkable and prize-winning work that has rightfully earned its place among the greats of the historical fiction genre. It stands out for its unique approach and the variety of subject matter it explores.

My personal reaction to the book is a bit of a mixed bag. On one hand, it is a good book with many strengths. The historical details are meticulously researched and vividly描绘, transporting the reader back to the 18th century. The opening sequence,描绘了一个贵族家庭的洗衣日, is a masterclass in creating a sense of place and time. The language used is also a standout feature, capturing the formal and somewhat stuffy style of the era.

However, I do have some reservations. The story of Friedrich Von Hardenberg is so closely based on reality that it sometimes feels more like a biography than a work of fiction. I prefer my historical fiction to have a bit more artistic licence and to incorporate lesser-known facts and details. Additionally, the philosophical concepts underlying German romanticism can be quite晦涩难懂, and I found myself struggling to fully understand their significance.

At the heart of the book is the mysterious “Blue Flower,” which serves as a powerful metaphor. Fitzgerald is deliberately elusive in her description of what the Blue Flower represents, leaving it open to interpretation. My own view is that it can be seen as a modern equivalent of the concept of a “soul mate.”

Overall, The Blue Flower is a thought-provoking and well-written book that offers a fascinating glimpse into a bygone era. While it may not be a perfect work, it is still well worth reading for anyone interested in historical fiction or the history of German romanticism.

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In its initial chapters, this novel presents a captivating charm, as if a fine, tangy mist gently sprays over your face, much like the refreshing encounter with the sea after spending many months inland. Hoopla! It gives the impression that we are about to embark on a journey filled with excitement and enjoyment. However, as time progresses, this novel transforms into a once-amusing toy. Its batteries seem to keep it chirping and beeping long after it理应 have gracefully glided behind the chest of drawers of oblivion. Our initial smile gradually fades away.

Finally, this novel is reminiscent of your elderly female relative. She has a superstitious aversion to naming anything directly and will exhaust every possible circumlocution. Sadly, her conversation revolves dishearteningly around and about, in and through the dozen people she has known throughout her long life and the mere five places she has ever visited.

Poor Penelope. We still hear her late at night, whirring helplessly.

It's a pity that what started with such promise ultimately loses its luster and becomes a tiresome and predictable affair.

Penelope Fitzgerald shows a remarkable sense of empathy as she approaches the life of Novalis and recounts carefully chosen episodes from his young years.

Her writing brings to life the experiences and emotions of this historical figure in a vivid and engaging manner.

However, the only weakness of this work lies in the fact that at every turn, the comparison to Christa Wolf's "Kein Ort. Nirgends." seems to impose itself.

While Fitzgerald's work is quite accomplished, it unfortunately pales in comparison to Wolf's masterpiece.

The latter has a depth and complexity that Fitzgerald's work simply cannot match.

Nevertheless, Fitzgerald's book is still a worthy read for those interested in the life and works of Novalis.

It offers valuable insights into his character and the times in which he lived.

Despite its flaws, it is a testament to Fitzgerald's skill as a writer and her ability to bring history to life.

The year Penelope Fitzgerald won the Booker Prize for her novel 'Offshore', she was a tutor at a crammer where I and several other hopefuls were preparing for exams to enter Oxford University. We studied E M Forster with her, and those classes were an absolute delight. The reason I mention this distant historical fact is that during the entire twelve weeks of being our teacher, Penelope Fitzgerald never thought to mention that she was not only a novelist but had just won the Booker Prize. And being a group of idiotic seventeen-year-olds, too preoccupied with studying for exams to look at newspapers or read contemporary fiction, we didn't make the connection ourselves. It wasn't until many years later that I found out.

When reading Fitzgerald's deeply moving final novel 'The Blue Flower', I couldn't help but think not only of my youthful ignorance but also of the remarkable humility of its author. This humility somehow shines through her writing. Every sentence is so simple and accessible, yet it takes you to the most complex places. Fitzgerald's extraordinary intelligence pervades every page, both in the intellectual ideas she skillfully weaves into the story and the levels of empathy she shows in portraying the ordeals faced by her characters. And they go through a great deal - love, anger, terror, hate, betrayal, not to mention sheer stupidity and the comedy of human clumsiness - Fitzgerald sheds light on it all.

'The Blue Flower' is in many ways a 'historical novel' as it is set in 1794 and is based on the early adult life of the poet and philosopher Friederich von Hardenberg. However, even putting that into words gives the impression of a heaviness that the book simply doesn't have. There may be numerous facts in 'The Blue Flower', but the characters are so vivid and Fitzgerald's delivery of their story is so engaging that it reads like the purest and most unrestrained fiction. I completely believed in all the protagonists and never lost that wonderful feeling that they might surprise me - or even themselves.

The novel begins by introducing us to the passionate, idealistic, and brilliant young Friederich as he falls instantly and ardently in love with a twelve-year-old girl named Sophie. It is not an ideal match for many reasons, and her young age is the least of them. The youthful philosopher has to work hard to obtain his father's permission for the engagement. Once this obstacle is overcome, a waiting game begins since Sophie cannot marry until she is sixteen. During this delay, while Friederich's love grows, Sophie's health starts to decline.

The story becomes darker, yet Fitzgerald's light touch remains. Sophie remains the most believable of adolescent girls, struggling to understand her rapidly changing world, just as Friederich is completely endearing and convincing as a smitten, awkward intellectual suitor.

As the crisis between the couple deepens, their families and friends are drawn into the grueling and traumatic task of both trying to prevent Friederich's heart from breaking and keeping young Sophie alive.

Some reviews can easily do justice to the ingenuity of a book. With 'The Blue Flower', it is difficult, not only because the story is so unusual but also because Fitzgerald's literary skills are as elusive as they are powerful. She works like a magician, pulling you in without you understanding how or why. Another reason why I was completely blown away.

Brilliant!

I felt completely embedded in the lives of a fascinating upper-class family in 1790s Saxony. It was truly one of those rare novels that I simply did not want to come to an end. This is a work of historical fiction crafted by a true master.

I'm sorry if I seem to be gushing, but I truly loved this book. It was a captivating journey through time, filled with rich characters and a detailed portrayal of life in that era.

The author's ability to bring the past to life is truly remarkable. I found myself completely immersed in the story, eager to see what would happen next.

Cheers to this wonderful piece of literature! It has left a lasting impression on me and I would highly recommend it to anyone who enjoys historical fiction.

This novel belongs to the genre of biography as it "dates back" to the life of the German poet Novalis, one of the pioneers of Romanticism.

The English writer Penelope Fitzgerald is credited with accurately translating it to Germany in the eighteenth century through her attention to the details of social life at that time and her emphasis on highlighting the characteristics of German cities at other times.

However, this does not hide the fact that in the narration of the events, which are often characterized by extreme slowness, the novel becomes heavy on the soul in several places.

Added to this is the translation, which the translator emphasized the difficulties he faced in translating this work into Arabic, especially if we mention that the original version contains several German expressions embedded in the English text, an emphasis by the writer on the framework in which the events of the novel unfold.

Of course, the effort expended is clear, but it comes at the expense of the beauty of the text and I do not see any steps for the intended reader behind several metaphors.

Completed

26/07/2016

I was both surprised and intrigued by the book's fragmentary, elliptical quality. At first, I couldn't quite put my finger on it. Each chapter is more like a snapshot of a scene, a powerfully sketched portrait of a character, rather than an element in a clearly connected string of events.

I also noticed a brusqueness in the prose's cadence. At times, it felt almost like a literal translation from German, which I found both unsettling and endearing. It was as if Fitzgerald had tried to secretly preserve a quality of the German language through English means.

At first, I must admit, I found the turn of her phrases rather abrupt. But this was no shortcoming of hers. Rather, it was my own loyalty towards a more "harmonic" style that informed this feeling. However, I quickly revised that judgement as I realized this effect was intentional. It is this very quality that gives the novel its allure and uniqueness, beautifully encapsulating the atmosphere and style of that historical and cultural period.

I also loved the characters. They felt so close, so fragile, so human. The wit, the subtle use of German words and expressions, the enigmatic "negative space" between the chapters - it was all beautiful. On a personal level, I took great pleasure in the allusions to people and places that have been present in my life, both before and after I came to this area of Germany.

Except for Braunschweig, the Harz, Wolfenbüttel, Hannover, and Lucklum are areas I know well and often visit. In a way, this is a novel that I will surely revisit many years after I leave this area or country. It will remind me of the beauties I will have left behind, a capsule of emotions and memories that I will love even more than I do now.

This is yet another one of those novels that makes me feel a tinge of guilt for disliking it.

I first read it at the age of 21, then again at 34, and for the final time at 42.

And still, I don't think I truly "get it."

I do understand that the style appears to be more akin to that of a short story rather than a typical historical novel. In this regard, what isn't explicitly stated does a great deal of the work.

This has less to do with withheld facts and more with the characters' unspoken assumptions and evasions.

In Kazuo Ishiguro's first three novels, this sort of thing functions extremely well, and the reader doesn't have to overly strain.

However, here, I can't help but think that I'm missing far too much as I progress through the story to remain engaged in it.

It seems that despite multiple readings, there is still a significant gap in my understanding, leaving me feeling somewhat frustrated and dissatisfied with my inability to fully grasp the essence of the novel.

Perhaps with further reflection and analysis, I might be able to uncover the hidden meanings and subtleties that I have thus far overlooked.

But for now, I'm left with a sense of confusion and a lingering feeling that I'm not quite on the same wavelength as the author.

A bit difficult to get through, this is a historical novelization of the Romantic poet Novalis, here named Friedrich / Fritz. He falls head over heels in love with the simple young Sophie, who is neither smart, beautiful, nor wealthy, and they become betrothed. However, much of the story remains unspoken. We don't really understand why Fritz loves her, and many of the relationships among the characters are not clearly spelled out. Fritz comes from a large family with many siblings, one of whom is supposed to be a genius (The Bernard). His father expects him to continue in the Salt business, while his mother seems somewhat neurotic and frazzled.

Each chapter is like a short vignette, providing a microscopic examination of how intellectually turbulent the literary Romantic era must have felt in late 18th century Germany. Sadly, Sophie dies of consumption despite the best efforts of the doctors at the time. A few years later, many members of the Hardenberg family pass away of tuberculosis.

As many critics have lauded Fitzgerald for her economy of spirit, "mischievous humor," and "wit," I'd probably need a second chance at this to fully appreciate what she is trying to do here. The tone of the novel almost seems too light-hearted, to the point where the characters seem more flat and one-dimensional. The lack of a clear dramatic arc (ok, maybe a mini-arc is there?) doesn't help me become invested in the characters.

I have a distinct feeling that I perused this book ages ago, during my youthful days. It simply appears so familiar to me, not just the title but even several of the passages. And as I delved into reading it, I experienced these peculiar sensations, almost like memories, of myself in my youth.

The formal and unhurried pace harkened back to other books penned in the 1990s. It's as if before 9/11 and the widespread prevalence of the Internet (mostly), we possessed a sense of tranquility that we may have irretrievably forfeited. I find it inconceivable that a book this leisurely could be published in today's market.

Regarding the story itself, I was left baffled as to why the poet fell in love with this 12-year-old girl. Beyond the unease stemming from her age, I don't sense there was a genuine explanation as to what he discerned in her and why he became so instantaneously and tirelessly smitten.

However, I relished the prose, along with some of the philosophical discourses and the enigma of the blue flower. She did an outstanding job of transporting me to another era - it's set in the late 1700s.