Ich habe diesen Roman vor sicher mehr als zwanzig Jahren das erste Mal gelesen und war wenig angetan. Zu sehr habe ich mich von der inzestuösen Beziehung zwischen den beiden ältesten Geschwistern abschrecken lassen.

Und noch heute irritiert die Handlung: Zuerst stirbt der Vater der vier Geschwister – er wird kaum vermisst, war er doch ohnehin nicht gerade sympathisch. Dann wird die Mutter krank und als sie auch verstirbt, entscheiden die Kinder, sie heimlich im Keller in einem Behälter einzuzementieren. So wollen sie es vermeiden, ins Heim zu kommen. Nicht nur hält sich die Trauer über den Verlust in Grenzen, er wird sogar als Verheißung von Freiheit wahrgenommen. Was folgt sind Verwahrlosung, der jüngste Bruder wird zum Mädchen dressiert und die beiden Ältesten kommen sich immer näher.

Das ist alles gleichermaßen faszinierend wie abstoßend, doch war mir gar nicht mehr bewusst, dass es auch sehr gut geschrieben ist. Ganz kühl, nie analysierend. Auch lachen muss man, wenn beispielsweise die Mutter warnt, dass jedes Onanieren den Körper zwei Liter Blut kostet.

Und in was für eine Landschaft das eingebettet ist: Das Haus, in dem die Familie lebt, steht in einer unglaublich öden Landschaft. Denn alle anderen Häuser wurden abgerissen, als eine Straße geplant wurde, die dann aber doch nicht verwirklicht wurde. Geblieben sind die Ruinen von Einfamilienhäusern. Weiter entfernt dann Hochhäuser. Als wäre der Eindruck nicht schon trist genug, hat der Vater auch noch den gesamten Garten mit Betonwegen versehen. Als ihm auch dies noch zu unordentlich erschien, wollte er die gesamte Fläche zementieren.

Diese Trostlosigkeit fängt übrigens auch der Film sehr gut ein, den ich gerade erst entdeckt habe.

The Cement Garden, Ian McEwan

The Cement Garden is a 1978 novel by Ian McEwan.

In The Cement Garden, the father of four children dies. Soon after, the children's mother dies as well. In order to avoid being taken into foster care, the children hide their mother's death from the outside world by encasing her corpse in cement in the cellar. The children then attempt to live on their own. The narrator is Jack (14 at the start of the book, becoming 15 later), and his siblings are Julie (17), Sue (13), and Tom (6).

Jack describes how, when they were younger, he and Julie would play doctor with their younger sister, although he is aware that their version of the game occasionally broke boundaries. Jack then mentions how he longs to do the same to his older sister but it is not allowed.

Sexual tension between Jack and Julie becomes increasingly obvious as they take over the roles of "mother" and "father" in the house, which is gradually deteriorating into squalor.

When Julie begins to date a young man called Derek, aged 23, and invites him to their house, Jack feels jealous and shows hostility towards him. Derek gets a hint that something is hidden in their cellar, and becomes more and more interested while the children attempt to hide it from him.

When a smell begins to emanate from the cellar, the children tell him their dead dog, Cosmo, is encased in the cement. Derek then helps to re-seal the cement casing their mother is hidden in. Eventually, Tom tells Jack that Derek has told him he believes their mother is in the cellar.

The story comes to a climax when Jack enters, apparently absent-mindedly, naked into Julie's bedroom. Julie is not there; only Tom is present. Jack climbs into Tom's cot and begins to talk to him about their parents. Julie enters and, seemingly unsurprised by Jack's nakedness, jokes that 'it is big'.

Jack and Julie sit on the bed while Tom sleeps, and Julie takes off her clothes. While talking, Jack and Julie become more and more intimate with each other. Right at this point, Derek enters. He remarks that he has seen it all and calls them "sick".

When he leaves, Jack and Julie begin to have sex. A thudding noise can be heard below, and their sister Sue comes and informs them that Derek is smashing up the concrete coffin. The three begin to talk, remembering their mother. After a while, police lights illuminate the room through the bedroom window.

تاریخ نخستین خوانش: روز پنجم ماه نوامبر سال 2014 میلادی

عنوان: باغ سیمانی؛ نویسنده: ایان مک اوان؛ مترجم: وحید روزبهانی؛ تهران، آموت، 1392؛ در 160ص؛ شابک 9786006605111؛ موضوع داستانهای نویسندگان بریتانیایی - سده 20م

پدر و سرپرست یک خانواده فقیر انگلیسی، که بیماری و عقده‌ های روانی بسیاری دارد؛ تصمیم می‌گیرد در محوطه ی خانه‌ ی خویش، یک باغ سیمانی ایجاد کند، که با مخالفت خانواده روبرو می‌شود...؛

راوی، پسر نوجوان، و تازه‌ بالغی به نام «جک» است، که همراه با پدر و مادر، خواهر بزرگ‌ترش «جولی»، و خواهر و برادر کوچک‌ترش «سو» و «تام»، زندگی می‌کند.؛ خانه‌ ی آنها که بزرگ و قدیمی و به شکل یک قلعه است، در خیابانی است که بیشتر خانه‌ هایش، داخل طرح افتاده‌ و تخریب شده‌ اند، و البته طرح هم رها شده، و خیابان تقریباً متروکه است.؛ آنها هیچ فامیل، دوست، و آشنایی هم ندارند، که رفت‌ و آمدی داشته باشند؛ انگار که در یک جزیره باشند....؛ «پدرم رو نکشتم، اما بعضی وقت‌ها احساس می‌کردم یک‌جورهایی باعث مرگش شده بودم.؛ ولی به دلیل هم‌زمانیش با تغییر جسمی عظیمی که در من رخ می‌داد، و اتفاقات پس از آن، مرگش بی‌اهمیت به نظر می‌رسید...؛».؛

کتابی مبهوت کننده، هراس‌انگیز، سرشار از تصاویری که مو به تن راست می‌کنند؛ دستاوردی که نتیجه استفاده درست «مک ایوان» از رئالیسم جادویی است، و همین امر باعث شده یک سر و گردن از رمان‌های سوررئال بالاتر باشد.؛ «باغ سیمانی» زندگی نوجوانی را به تصویر می‌کشد که تشنه‌ ی بزرگسال شدن است؛ رمانی اسرارآمیز که در آن رویدادهای روزمره، گرچه سرشار از راز و رمز و رخدادهای ناباورانه است، اما عادی جلوه داده می‌شوند

رمان با مرگ پدر خانواده آغاز می‌شود و «مک ایوان» رویدادهای روزمره و عادی زندگی را، به گونه‌ ای دلهره‌ آمیز و ترسناک، روایت می‌کنند؛ طوری که منتقدان ایشان را تا مدت‌ها نویسنده‌ ای در ژانر دلهره معرفی می‌کردند، زیرا آثار خوبی در این ژانر از ایشان بر جای مانده است؛ حتی برخی او را «ایوان‌ دلهره» نامیده‌ اند.؛ «ایوان مک اوان» در این رمان از روایتی خطی بهره می‌گیرد و مانند اغلب داستان‌هایش، ماجراها را با زبانی ساده توصیف می‌کند؛ «مک‌ ایوان» متولد سال 1948میلادی در انگلستان است.؛ او در رشته ادبیات انگلیسی تحصیل کرد.؛ «مک ایوان» جوایز ادبی بسیاری همچون جایزه ی «سامرست موام»، جایزه شکسپیر آلمان، جایزه «بوکر» برای رمان «آمستردام» و یکی از قدیمی‌ترین و باارزش‌ترین جوایز ادبی انگلستان را با نام «جیمز تیت بلاک» را به دست آورده است.؛ تا کنون از «مک‌ ایوان» رمان‌های «سگ‌های سیاه» با ترجمه جناب «امیرحسین مهدی‌زاده» و «خیالباف» و «آمستردام» با ترجمه جناب «میلاد ذکریا» و همچنین «خیال‌پرداز» با ترجمه‌ سرکار خانم «منیژه اسلامی» در ایران منتشر شده است

تاریخ بهنگام رسانی 09/05/1399هجری خورشیدی؛ ا. شربیانی

Nu sunt un fan al lui Ian McEwan, dar (pre)simt că ăsta-i cel mai bun roman al său! Romanul unei descompuneri.

I-am mai citit vreo 4-5 cărți - dintre cele apărute în română. Impresia mea a fost că le ratează pe final. Inclusiv pe marele “Atonement” l-a scăpat din mână (cert, un roman făcut să devină film de Hollywood), explicându-ni-l mură-n gură în ultimul capitol, nu cumva să nu-l pricepem.

“Grădina de ciment”, însă, e din altă categorie; o lovitură de mare golan, bine plasată, direct în coșul pieptului. Pare scrisă dintr-o bucată, într-o noapte de insomnie (ori de coșmar?). Lucrătură demnă de un giuvaergiu al senzualității bolnave!

Unii scriitori - ai zice că - au purces în căutarea operei lor magna, condamnată parcă să rămână nescrisă, umplându-ne incontinent rafturile cu tentative literare ce se apropie și se îndepărtează de ea, alții - dimpotrivă - încearcă să-și repete, în chinuri zadarnice, acea unică mare mișcare inspirată, de la debutul lor.

Debutul lui McEwan e mai bun decât ce a urmat.

“I did not kill my father, but I sometimes think I helped him on his way”.

This is my first experience with McEwan, a post-modern writer who is mostly known for Atonement, which was successfully adapted, as were other works of his, including Enduring Love, The Comfort of Strangers, and The Cement Garden.

I actually remember catching a bit of The Cement Garden on TV many years ago and thinking it was very weird and icky but also captivating, as if it were all a dream, and it turns out that is exactly what the book is like.

Four siblings find themselves in a scenario akin to Lord of the Flies, where they have to fend for themselves after being parentless. Chaos ensues.

McEwan expertly describes the newly dysfunctional habitat. The grubby hands, ragged clothes, dishes piling up, flies buzzing around the kitchen sink, and all amidst teen angst, sexual maturing and the trauma of losing loved ones.

The book features a number of controversial themes that will mostly deter some people but not me! Despite the grimness, it’s occasionally funny in a morbid kind of way.

Even though it was written in the 70’s it reminded me of the sort of dilapidated neighbourhoods I grew up around in 90’s Britain.

Easy to read and gripping from start to finish, The Cement Garden was the perfect introduction to the works of Ian McEwan.

"Yaptığımız sıradan bir şey miydi, bir hata bile olsa anlaşılabilir bir şey miydi, ya da eğer ortaya çıkarsa ülkedeki her gazeteye manşet olacak kadar tuhaf bir şey miydi düşünemiyordum. Veya bunların hiçbiri; yerel gazetenizin alt satırlarında okuyabileceğiniz ve bir daha hiç düşünmeyeceğiniz bir şey miydi?”

This is a grotesque gothic story about four siblings, two girls and two boys. When their parents go away (I won’t spoil how this happens), they must fend for themselves in their decaying family home. It is told from fourteen-year-old Jack’s perspective. His siblings include Julie (17), Sue (13), and Tom (6). They play “games” which involve experimenting with their bodies. They are warned not to let anyone know they are on their own to avoid being sent to separate foster homes.

The content is not for the squeamish (so really not my type of book at all). The kids are not taking care of themselves, and incest is a significant plot point. I always wondered why the author’s nickname was “Ian Macabre” and now I understand. This book is one of his early works and first novel. I am generally a fan of McEwan's writings, and I am making my way through his back catalogue, but this one was just too disturbing for me. I much prefer his later books.

(Људска) природа се не може забетонирати – (либидоносно) корење џикља из процепа.

Роман-брзојав (можда новела-израслина), а по ефекту спис-ролна, филмска и уверљива (за неке и увредљива), након сцене-љигавца не толико гадљива или употребљива (само) као дупобрис.

Гиљермо де Торе: [у неореализму] “психолошка стварност се не приказује аналитички, већ сведена на одраз понашања, тако да се осећања ликова изражавају објективним описом њихових поступака.”
Дејвид Малколм: “екстерналије, а не осећања, опсервирају се и бележе (...) готово британско-хемингвејевски.” По њему, такав стил појачава осећај пустоши и мртвила и отуђује читаоца од ликова, а повремена исклизнућа/издигнућа из речника тинејџера-наратора скидају шешир пред појмом фенси-мета-симулакрума. Yes, but no.
(Malcolm, David. Understanding Ian McEwan. Univ of South Carolina Press, 2002.)

Инцест је најраспрострањенији табу. Гађење, одвратност или одбојност су морални сентименти које у њега уписујемо. Избегавање инцеста је адаптивно, превенира штетне ефекте инбридинга који доводи до повећане учесталости рецесивних алела у популацији, а тиме и свих аутозомно-рецесивних наследних болести. Чињеница је и да су ови ефекти у случају инцеста прецењени и да брат и сестра не морају добити троглаво дете (sic!). Иако се са сигурношћу не може тврдити, инцест остаје кандидат за адаптацију на коју је културном еволуцијом накалемљен/табуизиран етички кодекс, понекад искоришћен у циљу спречавања концентрисања моћи у оквиру породице (видети под Црква - згртач непокретности у историјском одељку). Одрастање у истом породичном кружоку доводи до тога да сустанаре не бисмо дотакли ни бацачем пламена и последично, до егзогамије (и мајмуни терају сојке изван групе). Где је ту биологија, није нам познато.
Занимљив опит: “Murphy et al. (2000) studied moral attitudes toward consensual incest. They asked American college students to consider a case in which a brother and sister have sex. In the scenario, the siblings consent to intercourse, use contraception, enjoy the experience, and keep it a secret. Eighty percent of the subjects judged that the behavior was morally wrong, but they had great difficulty explaining why. Each time they came up with an argument to show that the siblings had done something immoral, the experimenters explained why the argument fails. Many subjects worried that the couple would have deformed children, but the experimenters reminded them that contraception was used. Some were worried about the effects on the community, but that worry is inapplicable, because the couple in the scenario did not tell anyone what they had done. Some subjects might have complained that the couple would be traumatized, but the scenario specifies that they actually enjoyed the experience and it strengthened their relationship. A few subjects suggested that incest is condemned in the Bible, but none could recall where (certainly not in the story of Lot and his daughters!). Subjects were presented with decisive counterarguments to every argument that they gave against consensual incest. They tended to concede that the counterarguments were successful, but only 17 percent changed their initial moral judgments. The others typically bottomed out in unsupported declarations and emotional exclamations. Incest is nasty! Incest is just wrong: it’s gross! Reasons fell by the wayside, but moral convictions and moral emotions were recalcitrant.” Prinz Jesse. The Emotional Construction of Morals. Oxford University Press; 2007.

Поред призивања сабласног, Ијан Макјуан добија плушчину за испитивање родних стереотипа: “Girls can wear jeans and cut their hair short and wear shirts and boots because it's okay to be a boy, for girls it's like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading. Why else would you think it's humiliating for Tom to wear a frock?”

Oh, this is a dark and troubling book, just my cup of tea. Some readers might get squeamish about the sexuality in the book, but I think innocence reigns in the end, in an unexpected and provocative way.

I prefer my books to have more plot and way less incest.

Recipe for a lightweight Cement Cake à la McEwan

Take Lord of the Flies, and mix it carefully with Flowers in the Attic. Once you see that the ingredients have formed a foamy, light and creamy texture, with the young characters wiped out in generic sweet-sour blandness, you put the cake in the oven, and wait for sixty minutes, just enough time to read through the novel.

Once the plot has been baked, you make sure to add incredibility and incest as additional spices, end it in an predictably wannabe-hot, but actually rather lukewarm decorative sexual shock icing on the cake.

Put the cement cake on the Bake-Off table and be assured it will win prizes for the categories:

Indulging in sinful calory counting
Word Baking Fast Food Style
Effectful Surface and Texture
Easy on the Digestive System
Meaningless Pleasure
Sweet with a Bitter Aftertaste

It may not win the first prize, as it causes slight nausea afterwards, and it contains too many nuts and unnecessary ingredients. But on the whole, it is a light meal for lazy summer days, and is particularly tasty with an alcoholic beverage of your preference!

Es ist wirklich komisch, dieses Buch. Vier entwurzelte Kinder, deren Eltern beide innerhalb kürzester Zeit versterben, wollen nicht voneinander getrennt werden und versuchen daher den Tod der Mutter zu vertuschen. Durch die permanente Verdrängung und Verleugnung des Erlebten und die Vertuschung kommt es zu unglaublichen Aktionen, wie Einbetonierung der Mutter, Verwahrlosung, Gewalt und letztendlich Inzest zwischen den älteren Kindern.

Ich habe mich lange gefragt, warum ich so einer Geschichte fünf Sterne geben möchte und bin auf folgendes draufgekommen: Ian McEwan konstruiert bei so einem Plot nicht selbstverliebt dramatische Wendungen, wie es viele andere Autoren getan hätten, sondern ganz lapidar ergibt eine erschreckende Situation die andere und zwangsläufig gipfeln die Ereignisse völlig in sich schlüssig fast leise arrangiert im grossen Finale der ultimativen Schandtat. So was muss man bei diesem Themenbereich erst einmal zusammenbringen dieses völlig lautlose logische Grauen ist fast besser als jeder fantastisch angelegte Psychothriller!

Meiner Meinung nach lesenswert, aber nicht für jeden.

Quattro ragazzi rimangono orfani del padre, un uomo anafettivo, e poco dopo anche della madre, che si lascia morire di inedia. I quattro fratelli iniziano quindi un lento degrado (quasi una "decomposizione") che va di pari passo con quello della madre, che i ragazzi decidono di cementare in un baule in cantina. Tristi similitudini quelle tra la madre seppellita nel cemento e il giardino, cementato dal padre prima di morire e tra l'abbandono del giardino e quello dei figli.

Il libro in pratica va a rappresentare le dinamiche che intervengono in questi quattro ragazzi, che hanno perso le loro figure di riferimento e cercano certezze e senso di appartenenza. In seguito al dramma subito, qualcuno maturerà più in fretta, qualcuno regredirà, qualcun altro si perderà.

Il giardino di cemento è il primo romanzo scritto da McEwan; e per me si vede. Soprattutto per la ricerca di originalità a tutti i costi e per la trama evanescente, perversa, poco strutturata e anche poco credibile. Mi ha ricordato a tratti, per le ambientazioni e per il disorientamento della famiglia, il libro "Cloudstreet" di Winton e "Mentre morivo" di Faulkner, anche se con intensità e significato ben diversi.

Lo stile è scorrevole e curato e, a differenza del McEwan che verrà dopo, poco appesantito da lunghe pagine descrittive. Ma la perfezione della prosa si scontra con la mancanza apparente del motivo che ha spinto l'autore a raccontarci una storia di questo genere. Forse l'idea era quella di rappresentare il dolore; ma in questo caso l'esperimento, oltre che essere poco originale, non è riuscito bene.

Un libro torbido e senza grandi pretese, che mi ha lasciato abbastanza indifferente; credo che lo dimenticherò in un lampo.
In ogni caso, dopo la lettura del libro, ho eliminato ogni tipo di baule dalla mia cantina. Non si sa mai...