n  LITERARY EXPECTATIONSn

It is said that Satisfaction is equal to Reality minus Expectations.

I reckon then that my rating should be around Eight Stars since Reality would be Five Stars and as my Expectations were on the negative axis—with an absolute value of about three--, it has resulted in a positive eight. The Great Eight, I should anoint this book, then.

How and when were my expectations formed? If I depart on search of my forgotten memories, I think it all started with those black & white films, possibly filmed in the 1940s, watched on TV a couple of decades later and depicting bleak houses, miserable families, desolate cemeteries, poor and unhappy children. A child horrified by cruel settings.

Then it followed a couple of encounters with the somewhat compulsory activity of reading still incomprehensible text with abstruse terms, obscure and alien meaning and unpronounceable titles. The Pickwick Papers… phew…!!!

That was Dickens for me. Clearly on the negative values.

Expectations were affected by my relatively recent read of Bleak House. The humour and the excellent construction of the plot were the reality checkers. That could have also been an exception, though.

But yet again, the humour in GE captivated me, both in some of the situations, the characterisation and the language -- with the effective use of repetitions. Yes, I also appreciated Dicken’s campaign against the social injustices, the moral hypocrisies and the quagmires of the legal system of his time. But these I observed more from the box of a historian and not from the sentiments of a citizen. The world has changed too much for engaging that kind of empathy. And the somewhat caricatured characters, drawn in black and white, gained the solidity of statues. If not made of flesh they were imposing.

Full redemption was sealed when I then watched this filmed version , one of the many old versions that may have daunted me years ago…and found it delightful… and funny. My thinking of Dickens now is of a sophisticated facetious writing, and this I could now detect in the filmed version. May be the quality of the camera work, surprisingly sophisticated, as well as the excellent acting, enchanted me. No longer perceived as dreary, the old prejudices have positively been dissolved. Even the filmed version has been exorcised.

Braced with courage, I took the risk to watch a newer filmed version. This is dangerous because often modern renditions of classics which have been filmed many times, is to depart from the book and offer us an excursion into the sensational, with explicit passion and sex, and modern dialogue. Well, this 2012 production was another joy. Excellent acting and filming. But the most interesting feature was their fleshing out the somewhat caricatured characters. Modern psychology has been infused in the reasoning and motivations of the personalities, so that we understand them more. Yes, even the eccentric Miss Havisham or the much more complex Estella come across not as endearing characters thanks to their peculiarity, but as multifaceted individuals. Likelihood at the expense of the humour,-- but everything has a price.

This other version used the original ending, since Dickens changed it after his friend Edward Bulwer-Lytton advised him to do so. This was another perk of watching this excellent version.


We expect expectations to be better than reality…. It is nice when reality is the other way around.

Excuse me for this infamous pun - which I'm sure has been wearily used since the book was first published -, but I had great expectations about it. Not only had I never read anything by Charles Dickens - who seems to be one of those polarizing authors that continues to inspire, decade after decade, a love/hate relationship with his readers -, but also because Great Expectations is regarded as one of his most important works. For someone as anxious as myself - I should really look into that - it seems expectations and anxiety are like non-identical twins: they're born together – or just few minutes apart from each other - but while the first born is a hopeful and optimistic attitude about something to come, his younger brother denotes an unpleasant state of inner turmoil, a sensation that his good twin may never come to fruition.

I expected Dickens's text to be dark and bleak, with touches of sadness and even over-sentimental at times. More, I expected a black and white - heavy, sluggish - Béla Tarr film. Because of that, I was anxious and feared that if I wasn't in the right state of mind or in a proper setting (which is a fair feeling, I guess: it's curious how much external variables - as the rain leisurely falling outside or infuriating noises of beeps and horns in a rush hour in traffic - can have effects on our most internal sensations; it's amazing how physical can also have control over psychological and the brain isn't always the commander in chief), I wouldn't be able to properly enjoy and absorb what the novel was about.

As it turned out with Great Expectations though, I really appreciated the book (whenever and wherever I spent time with it) and actually found the story to be humorous - as I caught myself giggling on more than three or four occasions - and even have a gothic touch - which I never supposed about it. Parts of the novel - volume 2, as to be completely clear - were harder to get through, which only came to add up to my initial concern about the remaining of the book.

Divided in three volumes, the book has different paces and approaches for each one: Volume 1, as it happens with every book we're starting to read, feels slower and more descriptive. We get to observe everyone - and the places, and people's manners - like we've just arrived to a party that's been famous for years and we've been anxious to attend to, still a little shy to go around meeting and talking to the other guests. Volume 2, as important as it was to determine Pip's character - and also for covering an important part of his life and setting the stage for the final and striking act -, I must confess, dragged a little bit and added to my anxiety that while I was enjoying the book, it might not have what it takes to carry it to the next level, to a great 5 stars book - and to think it was supposed to be twice as long! Volume 3, on the other hand, has a rapid pace and is surprisingly quite a page turner! Everything unfolds and we find out that the characters and events were a lot more connected than we could ever have suspected them to be and, because it was so masterfully written, it never felt like those common and overused cheap plot twists.

I expected Pip's great expectations to fail as I resented him and I intimately cheered that he wouldn't become a rich man because I worried he wouldn't do Joe and Biddy - always there for him, always his faithful companions - justice if his design and ambition to become a gentleman was successful. On the other hand, I never expected that Joe would turn his back when Pip needed him again, and I was glad to find out that Joe never did - it was never even an option for him.

I never expected that Pip's journey would be all about self-understanding and education: what first seemed to be a simple quest for society and financial triumph, turned out to be much deeper than I had anticipated at first. In offering Pip money, Magwitch thought he was doing his dear boy a big deed and changing his life for the better; eventually, what accomplished that was something much simpler: Magwitch's presence. Ashamed of the past - his life conditions, his friends, the house he lived in - Pip was all about living in the future, erasing his childhood and trying to write himself a future like he was writing a book - conversely, the book he ended up writing was all about his past. Ashamed of his relations with an ex-convict, initially he tried everything he could to avoid being associated with Provis, worrying about the damage it would do to his own reputation. As the story went on, Pip was able to reconnect with his past and free himself from all the shame, assuming Provis as his benefactor and fighting to save his life. Without realizing it, Pip was becoming a better person.

Like our narrator - a boy who would grow up to be a gentleman as opposed to a man who was unsuccessful for most of his life and looked down in society for being an ex-convict -, Estella is also a product of frustration, a creation of Miss Havisham: a girl who would become a heartbreaker to revenge Miss Havisham's own broken heart. It's interesting, to say the least, to follow their stories to find out if they'll be able to cut their puppets strings and become their own selves without having to comply to what was initially expected and planned for them and - as those expectations were blurred with what they wanted for themselves - unveil their free will to live on a future they could be active parts of.

There are two different endings to this story: Dickens's original intended finale and that which became the official one - although nowadays both are included in most of the editions published. On Dickens's original manuscript, Pip was to have a brief and random encounter with Estella, after being many years apart, where he would see that she had experienced sufferings in her own life and was lonely as himself:

n  "I was very glad afterwards to have had the interview for in her face and in her voice, and in her touch, she gave me the assurance that suffering had been stronger than Miss Havisham's teaching, and had given her a heart to understand what my heart used to be."n

After having his friend, also a writer, Edward Bulwer-Lytton to read the novel, he was then convinced to change the ending so it would be more romantic and not so much hopeless. The "new" ending, although being controversial for its many interpretations, implied that Pip and Estella would end up being together in some way or another - if not as lovers, at least as good friends:

n  "I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw the shadow of no parting from her."n

Although both conclusions work and are satisfying as far as my tastes go - and both are so beautifully worded as well! -, I prefer Dickens's original ending as it seems to be more consistent with the story, also more psychologically believable and less sentimental, less "everything works out perfectly in the end".

Rating: for what I was expecting - to not say, again, "my great expectations" - have been met with acclaim and success, 5 stars.

How Great Expectations changed my own expectations



Great Expectations changed my life.

Up until Grade 11, I was simply an okay student. I had skipped a grade a few years earlier, and I was doing fine, but I didn’t stand out. And no wonder. I barely remember doing any homework. I didn’t feel particularly challenged by anything; like most adolescents, I was probably more interested in watching TV or appearing cool and trying to fit in than I was with marks or learning.

But something happened in Grade 11, and I think it had to do with Great Expectations. The book was assigned for English class, and we were supposed to start reading it over the Christmas break. I procrastinated. It seemed like such a chore; there was so much description in the book; I couldn’t relate to the idea of a “gentleman”; and what the hell were “victuals”? But soon enough, I was entranced by Dickens’s storytelling skills.

When we finally came to study the book in the new year, I’m sure I ended up skimming some passages. But I remember, thanks to my excellent teacher, being fully swept up in Dickens’s tale of a simple country boy’s sudden change in fortune. Suddenly, I got excited about the past. Suddenly, I got excited about school. My grades improved. The next year, I got into the “Scholarship,” or “Enriched,” English class, which offered a much heavier course load that included (!) Oliver Twist.

After that, I began reading Dickens on my own. I read Bleak House one summer. Ditto David Copperfield. I don’t know why I stopped. University, perhaps? My loss. But my lifelong love of reading probably began around this time.

Rereading this book over the past week has brought back that rush of excitement and discovery. To be clear, this wasn’t my second encounter with the material. I’ve seen many film, TV and stage adaptations of the story, and one Christmas, Santa (i.e., my book-loving mom) had left an abridged audiotape recording of the book in my stocking. Even in this format, I was enchanted again.

But there’s really nothing like experiencing the journey of Pip, Joe, Mrs. Joe, Magwitch, Miss Havisham, Estella, et al. from the start. I’ve always considered it one of my favourite novels of all time, and this rereading has reaffirmed my love for it.

So I proudly add this to my Rereading series, the rest of which can be found here: https://www.goodreads.com/review/list...


What do I remember from my first reading?
• The great opening scene in the churchyard cemetery between Pip and the convict (see illustration above). It’s truly one of the most memorable inciting events in all of literature.
• The petrified life of Miss Havisham. The idea of this woman who stopped her life from continuing at the exact time she was jilted was truly inspired. For Dickens to make her a symbol of someone literally stuck in the past was sheer genius. All the details are there: the faded wedding gown; the stopped clocks; the spoiled reception table. (I think my original edition had pictures of the mice and insects crawling in and around the wedding cake.) Of course, this isn’t realism. But it’s so effective as a metaphor.
• Pip’s changing relationship with Joe and Biddy. Is there a more humble and modest portrait of working class life than Joe Gargery, the blacksmith? I think not. Dickens illustrates Pip’s changing attitude towards his background with real skill. I’m not sure an author from the upper classes could have created the small town characters with as much insight and affection.
• The idea of having one’s fortunes completely changed overnight.
• All the coincidences. Which: yeah, this is Dickens.

What don’t I remember from that reading?
• I must admit I forgot about some minor characters like the clerk Mr. Wopsle, who has his own “great expectations” arc as an aspiring Shakespearean actor!
• I probably skimmed the passages with (the lawyer) Jaggers’s clerk, Wemmick, who keeps his professional life separate from his personal one. (He lives with his “Aged.”)
• Some of the cloak and danger intrigue would have been intriguing, I’m sure, for someone who had never seen a Mission: Impossible film. The big climactic attempted escape by boat was okay, but a little old-fashioned. It was also hard for me to picture. I think the mysterious mood of dread and foreboding Dickens created was more important than the actual action.
• I had mostly forgotten Magwitch’s long story about his life, both before and after he had met Pip. Now I’m curious to read Peter Carey’s Jack Maggs, which I think is loosely inspired by his tale.

What do I appreciate now?
• The first-person narration is absolutely essential to our enjoyment of the book. Getting deep inside Pip’s mind, from a child to a teen to a young man to a humbled person at the end, is fascinating. What happens midway through the novel, as Pip avoids Joe and the forge once his expectations have risen, is telling. We know he’s avoiding them, but Pip never admits it in his narrative. We don’t even need Dickens to tell us that he’s avoiding them. We know it. We feel it. And we know Pip will eventually have to deal with that avoidance.
• The sense of humour (mostly) holds up. And the dialogue is rich and dramatic.
• Each character’s language is distinct, from Uncle Pumblechook’s preening, pretentious spewings to the very different rough diction by Joe and Magwitch. Jaggers (perfect name!), even in his sentence constructions and rhetoric, speaks just as a lawyer would speak.
• Miss Havisham’s remorse when she realizes how her selfishness has affected everyone – Pip, Estella – is quite moving.
• I hadn’t realized before that Magwitch, like Havisham, also wanted to shape a life to rectify something that had happened to him.
• Bentley Drummle doesn’t get much time on the page, but he’s memorable. And his beatings of Estella, and the fitting way he dies (we’re told he mistreated a horse and the horse fought back), are quietly horrible.
• The lesson that people, regardless of their status or wealth or reputation, are only as good as how they treat you, is invaluable. A few years after reading this, when I headed to college and suddenly met people from vastly differently socio-economic groups, I’m sure this stayed with me.

Final thoughts
• This is a mature masterpiece. There’s comic relief, but a darkness suffuses the book. Whichever of the endings you accept, there’s still a feeling that there’s no real happy ending to Pip and Estella’s lives.
• As is usual with Dickens, characters’ names tell you so much about them. Herbert Pocket. Wemmick. Mr. Pumblechook. Orlick. Abel Magwitch.
• As I suggested above, this isn’t realism. But there’s something Dickens does to get us to know these characters. He gives them specific traits, tics, sayings, obsessions. All of this is less insistently comical than it was in a book like David Copperfield, though; there’s no “Barkis is willin.’”
• There’s a reason why this novel has endured, and why it’s been adapted so often. Its themes of attempting to rise above one’s class, of accepting where one came from, of vengeance, of redemption, of forgiveness, are absolutely timeless.
• Thank you, Dickens, and to my Grade 11 teacher, for altering the course of my life.

“I have been bent and broken, but–I hope–into a better shape.”

Dickens, like Shakespeare, lives in a genre all of his own. We have the term Shakespearian just as we have the term Dickensian, because they aren’t simply writers. They mastered the creative form of storytelling, and shaped history by doing so. Knowing this, I have always fought this feeling of trepidation about starting my Dickensian journey. What if I don’t like his writing? What if the length of his books makes the experience draining? What if…?
Well, I can finally tell you from my own “Great” experience, that Charles Dickens is worth more than the praise he has already received. Praise that has outlasted time itself, and the countless number of books that have been published since. My “great expectations” for this book, and for Dickens as a writer, not only met those expectations, but surpassed them.
This book was a thrill to read. The humor paired so well with the more dark aspects of the story. “Before I had been standing at the window five minutes, they somehow conveyed to me that they were all toadies and humbugs, but that each of them pretended not to know that the others were toadies and humbugs, because the admission that he or she did know it would have made him or her out to be a toady and humbug.” I laughed at that line for about 5 whole minutes.
His descriptions made it feel like I could reach out and touch the yellowed fabrics of Miss Havisham’s rooms. “But, I saw that everything within my view which ought to be white, had been white long ago, and had lost its lustre, and was faded and yellow.”
The characters were unique and felt like they belonged outside of just your everyday fictional character. “‘Here’s Mr. Pip, aged parent,’ said Wemmick, ‘and I wish you could hear his name. Nod away at him, Mr. Pip; that’s what he likes. Nod away at him, if you please, like winking!’’... “‘If you’re not tired Mr. Pip–though I know it’s tiring to strangers–would you tip him one more? You can’t think how it pleases him.’”
The way Dickens uses similes and metaphors to make the ordinary extraordinary, was a literary device that I fawned over from the beginning. “I had seen the damp lying on the outside of my little window, as if some goblin had been crying there all night, and using the window for a pocket-handkerchief.”
I wish I could share every quote that I fell in love with, but I might as well just transcribe the whole thing. Here are two more quotes that I fell in love with, “Heaven knows we need never be ashamed of our tears, for they are rain upon the blinding dust of earth, overlying our hard hearts.”
“Pause you who read this, and think for a moment of the long chain of iron or gold, of thorns or flowers, that would never have bound you, but for the formation of the first link on one memorable day.”
Something else that took me by surprise, besides watching all of the mysterious events unravel, was how eerie and ominous the book became the more it progressed.
Reaching the last few pages of this book, there was a textual note at the bottom which read, “ *Here begins Dickens’s new ending, as rewritten just before initial publication.” This “new ending” was so gratifying to read and made the whole story come together so perfectly. I wondered how Dickens could have written it any other way. Then the original ending had an editor's note which read, “At the urging of his friend, the novelist Edward Bulwer Lytton, Dicken changed the original unhappy ending of Great Expectations to a “more acceptable” one…” Then, after reading the original ending scene I became utterly speechless. I had no words, because Dickens holds them all.
I find it miraculous that people can write these funny looking lines called letters, form groups of them into what is known as sentences, and be able to saturate them with human emotion. This book made me feel, and feel deeply. This is the start of a very passionate love affair, between me and the works of Charles Dickens.

My expectations were greatly met.
Superbly written by Charles Dickens and superbly read and dramatized by Simon Prebble.
My thoughts on this book ranged from 3 stars while reading the first half of the print version to 4 stars and eventually 5 stars while listening to the second half on audio. The story grew stronger as it progressed.
Worthy of the time spent reading and listening to the unabridged versions. 18.5 hrs.

"I have been bent and broken, but - I hope - into a better shape."

دیکنز از اون دست از نویسنده‌هایی هستش که اگه کتش رو تکون می‌داد، به جای گرد و غبار از اون داستان و قصه بر زمین می‌ریخت. نویسنده‌ای که یک شب پس از جر و بحث با زنش از خانه بیرون زد و هفت الی هشت ساعتی مشغول قدم زدن در لندن شد و به شهری خیره شد که هیچکس به جز خودش نتونسته اون‌قدر خوب توصیفش کنه. نویسنده‌ای که یه کلاغ به اسم گریپ به عنوان حیوون خونگی داشت و هربار که کلاغ می‌مرد، کلاغ دیگه‌ای می‌گرفت و دوباره همین اسم رو روش می‌‌ذاشت و بعدها تو یه دیداری با آلن پو که گریپ رو با خودش برده بود باعث شد که اون شعر Raven پو تحت تاثیر ایشون خلق بشه. بسیار پر کار بود و کتاب‌هایی زیاد و حجیمی نوشت و دنیایی رو ساخت به اسم خودش، از زاویه‌ای به رخدادها و انسان‌ها و زندگی‌ها و عشق‌ها و اندوه‌ها و سرشکستگی‌های جهان نگاه کرد که امروز می‌توان اون رو جهان دیکنز نامید.

من قبل از نوشتن ریویو معمولاً ریویوهای دیگران رو می‌خونم. متاسفانه در مورد کتاب آرزوهای بزرگ هیچ‌کدوم از ریویوهای فارسی یا حتی خیلی از انگلیسی‌ها رو دوست ندارم. توی یکی از ریویوهای فارسی نوشته شده بود که شخصیت‌های دیکنز غیر واقعی هستن چون مهربون یا جدی یا بدجنس‌ تشریف دارن. من نمی‌دونم ما در چه دنیایی زندگی می‌کنیم که مهربون بودن یا جدی بودن از ما انسان‌هایی غیرواقعی می‌سازه! اما شخصیت‌های دیکنز غیرواقعی نیستن، درست‌تر هستش که بگیم دیکنز در شخصیت‌پردازی تیپ‌های شخصیتی رقم می‌زنه و اتفاقاً در خارج اسم‌های شخصیت‌های دیکنز معمولاً به نوعی صفت و تیپ شخصیتی در زبان محاوره‌ای انگلیسی تبدیل شدن و دیکنز به این کار بسیار معروفه.

چیزی که خیلی من رو به سمت خوندن آرزوهای بزرگ سوق داد، کتاب بازی فرشته ثافون و شخصیت داوید و حرف‌هاش در مورد این کتاب بود. آرزوهای بزرگ از اون دست از کتاب‌هاست که برای توصیفش بهترین لغتی که به ذهنم می‌رسه "دلنشین" هست. یک داستانی که از کودکی پیپ آغاز می‌شه و فراز‌و‌نشیب‌های زندگی اون رو در بر می‌گیره. پیپ برخلاف دیگر قهرمان‌های داستان‌های دیکنز خیلی قهرمان به‌نظر نمی‌رسه و بسیار سرشکسته‌تر از باقی هست و کشمکش‌هایی که در طی کتاب تجربه می‌کنه باعث می‌شه که متوجه بشیم دیکنز در زیر اون شخصیت‌پردازی نمادواری که داره، وارد مرحله شخصیت‌پردازی پیچیده شده و داره روان شخصیتش رو هم دچار دگرگونی و چالش می‌کنه.

آرزوهای بزرگ یکی از بهترین نمونه نثرها و توصیفات ادبیات انگلیسی به حساب می‌آد و راجع‌به ظرافت‌های نثر دیکنز شاید بشه کُلی صحبت کرد و خط به خط طنز و غم و زاویه‌ی دید ملموس و تازه‌ی دیکنز رو زیر ذره‌بین قرار داد و بهش فکر کرد. دیکنز هرجا که می‌خواست می‌تونست خواننده رو به شدت احساساتی بکنه و به واسطه این تسلط نثرش مونولوگ‌های بسیار فوق‌العاده‌ای رو رقم بزنه.


اسم کتاب رو من همیشه خیلی دوست داشتم، "آرزوهای بزرگ"، این‌که شاید هرکدوم از ما در دورانی از زندگی‌مون همچین خیالاتی در سر داشتیم و زندگی با ظرافت خاص خودش یک جایی اون تصویر رو از هم پاشوند. خود کتاب هم حکایتی از همین انتخاب‌ها و رها کردن چیزهایی هست که برامون عزیزن تا بعد از اون بتونیم به سمت دنیای آرزوهای بزرگی که توی سرمون هست قدم برداریم. و در نهایت دلتنگ همون دلخوشی‌های کوچکی بشیم که پیپ توی گوشه‌ی خونه‌ی خواهرش در کنار بخاری کسب می‌کرد.

تو اکثر ریویوهای منفی انگلیسی این کتاب ذکر شده بود که داستان خسته‌کننده و حوصله‌سربر هستش و از یه زاویه‌ای ممکنه شماهم توی این حالت قرار بگیرین. اگه به شخصیت‌پردازی و داستان‌گویی پرجزئیات دیکنز اهمیتی نمی‌دین احتمالاً از این کتاب لذت آنچنانی نخواهید برد. چرا که روایت با این‌که شما رو به داخل پیرنگ داستان می‌کشونه اما جذابیت و کشش کافی برای یه نفس خوندن یا این‌که نتونین از خوندن کتاب دست بکشین رو نداره. نه، این کتاب رو باید با تعهد و حوصله بخونین و در همون جزئیات ریز متوجه مهارت بسیار بالای دیکنز در داستان‌‌سرایی خواهید شد.

در پایان این یکی از احساسی‌ترین رمان‌هایی بود که امسال خوندم و من با این‌که اصلاً و شاید به ندرت با یک کتاب بغضم ممکنه ��گیره توی صحنه‌ی آخر این کتاب داشت اشکم در می‌اومد..
در کنار این مورد این کتاب بامزه هم هست و واقعاً لحظاتی آدم رو به خنده میندازه.
من خودم احساس می‌کنم که محبوب‌ترین کتاب دیکنز برای من یه کتابی بین داستان دو شهر یا دیوید کاپرفیلد یا خانه قانون‌زده باشه اما با این حال آرزوهای بزرگ جزو مهم‌ترین آثار آقای دیکنز عزیز هستش و از اون کتاب‌هایی که شاید بهتر باشه هرچند سال برای بازخوانی کردنش دوباره صفحه‌ی اولش رو بخونی که نوشته: 《نام خانوادگی پدرم پیریپ بود...》و من قطعاً در آینده برای یه بار دیگه خوندن این کتاب برمی‌گردم و مطمئنم دفعه‌ی بعد بیشتر لذت می‌برم.


در باب ترجمه کتاب:
ترجمه‌ی ابراهیم یونسی از این کتاب دیکنز افتضاح‌ترین و بدترین ترجمه و لحنی است که در عمرم دیدم و در نتیجه اصلاً راجع‌به ترجمه‌ی ایشون حرفی نمی‌زنم. ترجمه‌ی حمیدرضا بلوچ رو در بعضی جاها با متن اصلی مقایسه کردم و متاسفانه از حیث زیبایی توصیف و گاهاً فهمیدن منظور دیکنز ضعف‌هایی داشت و بعضی جاها حین ترجمه چند کلمه‌ای رو در بازگردانی جا می‌انداخت و در نهایت من نمی‌تونم بهش عنوانی بیشتر از "کار راه انداز" بدم. امیدوارم که در آینده ترجمه‌ی شایسته‌تری از این اثر منتشر بشه. پیشنهاد من خوندن نثر اصلیه، با این‌که سختی‌های خودش رو داره اما بخشی از لذت کتاب توی همون نثر پنهون شده.