Easily the best of the three. Short, precise with a great flow and structure. What we see is a Miller acquiesce to the power of Mona after she had torn his heart out after traveling to Europe with her lesbian lover. Miller seems to admit to being in need of a womb - a temperate environ with the right variables that allow him to dream; to run his motor until it cools and he can write. Nexus is the start of his real journey; the actualization of his unconscious fantasy and labored dream. Miller is a victim of his own passions: he is the dreamer who views life through an opaque glass and all he does is an attempt to shatter that glass. He wants an unobscured view of life. He only can do this through writing, without it he is a mouth with legs that consumes mindlessly like a blackhole.

ثلاثية الصلب الوردي، سكسوس،نيكسوس ،و بيلكسوس،بترجمة من أسامة منزلجي،تجسد فيها هنري ميللر العظيم بتفاصيله، بكل شفافية و جنون، كان العاشق هنا، و المنحرف، الفقير، المتسكع.. كان هنا العالم و الملاك و الشيطان. كان هو و فقط.. عظيما.

تجلى سرد هنري بفوضى الأسئلة التي ملأته يوما،بتمارين الكتابة، زلقات الكآبة و غيوم المسرات، بشطحات الجنون و المغامرة و المجون..بالحب و العهر و التقوى كذلك..

التقيت بهنري هنا و جلست ناظرة إليه من بعيد.

أن أبدأ في عمل -من الأدب الامريكي- كهذا مغامرة و فرحة عارمة أني تعثرت به.. عمل اعتبره ملحمة حياتية شفافة بكل ما فيها و ما عليها.
لازلت في الجزء الأول.
#سكسوس_هنري_ميللر
#قارئة_من_هناك

مجنون

This serves as the perfect mix of Tropics and Sexus/Plexus. And if anyone knows the life of Henry Miller this makes sense. I felt like I was in a different world when I was reading this. It's style was potent enough to permeate my life at the time.

Nexus è la conclusione perfetta della Crocifissione in Rosa. Pubblicato da Mondadori nel 1979 il libro è stato però pubblicato in lingua originale nel 1960.

Fortemente autobiografico, è il racconto degli ultimi mesi di Henry Miller a New York prima di partire per Parigi insieme a June (Mona nel testo).

Si avverte nell'autore la necessità di un mondo diverso, che sia altro dalla meccanica e capitalistica New York nel periodo della Grande Depressione; un mondo fatto di arte, di crescita, di felicità. Di vita. Una vita a cui non si sente destinato, dubitando sempre più delle sue capacità di scrittore, sempre più ossessionato e spaventato dalle difficoltà economiche in cui versa e dei più variegati modi in cui la moglie riesce a farli tirare avanti.

Meno meccanico e cupo di Plexus, è la teorizzazione filosofica dell'arte di Miller. Poco sesso, poche divagazioni. Tanta vita, tanto da imparare.

E se siete aspiranti scrittori, le quasi 2000 pagine della Crocifissione in Rosa, vi faranno prudere le punte delle dita. Come se non poteste fare altro che scrivere.

Miller può piacere o non piacere, ma io ascolterei quello che dice di lui uno dei più grandi scrittori del Novecento:

"La mia opinione è che sia il solo scrittore in prosa che abbia immaginazione e valore, apparso negli ultimi anni tra i popoli di lingua inglese. Anche se si potrebbe obiettare che la mia sia una valutazione eccessiva, bisognerebbe ammettere che Miller è uno scrittore fuori dell'ordinario, a cui val la pena di rivolgersi più a lungo che con un semplice sguardo; dopotutto essendo come scrittore completamente negativo, non costruttivo e amorale, una specie di semplice Jonah, uno che accetta passivamente il male, una sorta di Walt Whitman tra i cadaveri."

Chi potrebbe mai essere a dire una cosa del genere? George Orwell. Che di immaginazione e valore, direi che se ne intendeva.

Non so se consigliarvi di imbarcarvi nell'avventura di queste migliaia di pagine. 3 libri. Tante pagine, spesso lente e difficili. Ma alla fine... Non sarete più gli stessi.

Diventati grandi all'improvviso. Anche dopo i trent'anni.

Ham! Ham, ham! Ham! Ham!
Latru în noapte. Latru, latru. Strig, dar nimeni nu-mi răspunde. Urlu, dar nici măcar ecoul nu-mi răspunde.
„Ce preferi – Estul lui Xerxes sau Estul lui Hristos?”
Singur – cu eczemă pe creier.
Singur, în sfârșit! Cât de minunat! Numai că nu așa mă așteptasem eu să fie. Ah, dacă-aș putea să fiu măcar singur cu Dumnezeu!
Ham! Ham! Ham!
Închid ochii și îi invoc imaginea. Iat-o plutind în întuneric, o mască închegată din stropii spumei de mare: bouche â la Tilla Durieux, arcuită, dinți albi, regulați, ochii înnegriți de rimei, pleoapele de un albastru sclipitor, vâscos; părul revărsat sălbatic, negru ca abanosul. Actrița provenită din Carpați și din mansardele Vienei. Răsărită, precum Venus, pe maidanele din Brooklyn.
Ham! Ham, ham! Ham! Ham!
Urlu, dar pentru cei din jur urletul meu nu-i decât o șoaptă.

Finally, I have finished reading the last book in Henry Miller's Rosy Crucifixion Trilogy. I guess by this time, I have a deeper understanding of Henry Miller, having read the whole trilogy, as well as the Tropics.

See, somehow, after reading this book, I don't have an enthusiastic opinion of Henry Miller as when I first read Tropic of Cancer. I used to like him. I used to like the idea that he mixed up fact and fiction, writing about his Bohemian life in Paris. But now, after reading the three volumes of the Rosy Crucifixion Trilogy, I don't have the same respect for him as back then.

First, I don't like the fact that he never showed versatility. It seems that the only thing or topic he could write about was his life. Nothing more. He wrote about his life in Tropic of Cancer, in Tropic of Capricorn, and in the Rosy Crucifixion. But aside from that, he never deviated elsewhere. I know that he has published other books, but after reading five books of his, I am afraid to pick up another one fearing that it might be of the same topic once again.

See, other writers can explore other topics. Jose Saramago is the author I have read the most, and while preserving a grand idea across his many books, he also was able to explore this grand idea in plenty of different manifestations across various different topics and themes. The same goes for Salman Rushdie, another author I have read multiple times. Henry Miller on the other hand seems to only be capable of writing about his life and nothing else.

Granted, one thing that Henry Miller should be given credit for is the fact that he had a very brilliant idea of mixing fact and fiction. After all, that was the great discovery attributed to his first books. However, I think he is for the most part, reusing his idea. He just has one great idea, and he used it again and again. After a few books, it tends to be boring. Not to mention the fact that his lifestyle isn't the most virtuous one either. I have nothing against artists and Bohemians, but the way he described his life makes it look like he expects people to take care of him while he simply sits in front of the typewriter plonking away. Sure, there is a hard climb to fame and prosperity if one takes the artistic path, but don't simply go ahead bumming your way by cheating people around you who actually work for a living.

Overall, I think I still liked this book, but not as much as his previous books. I think by now, I've been jaded and won't be picking up another Henry Miller book anytime soon. 3 out of 5 stars.

See my other book reviews here.

Miller hoped that with the completion of this book he would no longer need to be a writer, that he would have passed through his art into a higher form of life. This hoped for transformation did not occur, and Miller went into a depression. The book contains his poignant farewell to the promise of America that was never fulfilled for him. Miller considered Nexus to be the most sublime of all his books, and passages in it seem written by a man in state of ecstasy.

به احتمال زیاد دیگر کتابی از هنری میلر نخواهم خواند، نه به این دلیل که نویسنده‌ی ضعیفی‌ست، بلکه به این دلیل که کتاب‌هایش اکثرن خودزندگینامه‌ هستند و قاعدتن خیلی خوشایند نیست که منِ خواننده‌ی فارسی زبان ایرانی، مدام داستان زندگی و افکار یک نفر از اهالی محله منهتن را بخوانم. همین یک کتاب برای آشنا شدن با زندگی پر از زن و شراب و پر از بدبختی و بی‌پولی و افکار درهم برهم هنری، ادبی، جنسی یه هنری میلر کافی است.
روشی که ظاهرن کار میلر را از آثار اتوبیوگرافیکال معمول متفاوت می‌کند این است که در آثار او تنها با شرح وقایع و حالات شخصیت اصلی که به صورت تاریخی تنظیم شده باشد، روبرو نیستیم، بلکه به نوعی تاریخ افکار و عقاید و او نیز هست. در میان روایت کردن رویدادهای بیرونی زندگی میلر، افکار فلسفی میلر نیز که در راستای همان رویدادها به ذهن میلر عارض می‌شود روایت می‌شود و گاهی می‌شود که چندین صفحه روایت ذهنیات میلر ادامه می‌یابد و روایت حوادث بیرونی متوقف می‌گردد. این در زمان خود، روشی جدید و ضدژانر محسوب می‌شود.
داستان رمان هم اگر می‌خواهید بدانید شما را ارجاع می‌دهم به صفحه ویکیپدیای انگلیسی هنری میلر.

Имах много по-големи очаквания честно казано и въпреки това не мога да кажа, че останах разочарована... харесва ми човекът написал книгата, харесва ми колко е разсъждаващ, харесва ми лекото отношение към живеенето и сериозното отношение към живота, също някои от персонажите и историите, искреността и неподправеността... но ми липсваше история, сюжет, а и на моменти се давех във водовъртеж от думи, подводни течения, които не водят никъде. Бих искала да прочета поне още една книга на Хенри Милър, преди да мога да реша за себе си дали ми харесва или не.

رمان نكسوس نوشته هنري ميلر، نويسنده آمريكايي به اعتبار فرم خاصي كه دارد، توسط اول شخص مفرد روايت مي شود و همين امر باعث همذات پنداري خواننده با راويست. البته ناگفته نماند كه اين همذات پنداري از طرف خوانندگان شرقي از قوت بيشتري برخوردار است- چرا كه ميلر- خود از منتقدان سرسخت فرهنگ آمريكاييست و بارها و بارها در آثارش به روحيه شرقي خود اشاره مي كند.

This is the most contemplative novel in Miller's infamous trilogy. Becoming a writer was truly a dirty business for him. Beyond enjoying the writing, the lasting effect it left on me was the addition of Elie Faure and Spengler to my library.