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Bohumil Hrabal - the の近くに 選挙立会人 of Trains by Mats Larsson

"BOHUMIL HRABAL TRAGICALLY DEAD," ran the headline on the 前線 page of the daily Mladá fronta, 4 February 1997. The 82-year-old Hrabal died 即時に when, on 3 February, he fell from a fifth-床に打ち倒す window at the Bulovka hospital in Prague. He had been at the hospital's orthopedic clinic since December 1996 for 支援する and 共同の 苦痛 and was schedule to be 解放（する）d soon. によれば 証言，証人／目撃するs, Hrabal was trying to 料金d the pigeons on his window sill when the （米）棚上げする／（英）提議する he was standing on tipped and fell.   It's 利益／興味ing how young poets think of death while old fogies think of girls, Bohumil Hrabal (1914-1997) 令状s in "Dancing Lessons for the 前進するd in Age".     The particular - and almost eerie - significance of the fifth 床に打ち倒す in Hrabal's life and work 誘発するs 憶測 as to whether his death truly was an 事故 and not 自殺. His Prague apartment was 位置を示すd on the fifth 床に打ち倒す, and his 恐れる of 落ちるing from this 床に打ち倒す was known. Moreover, the 動機 to commit 自殺 by jumping from a fifth 床に打ち倒す reoccurs several times in his writings. 最終的に, his 出口 made an appropriate ending point for an exceptionally 決定的な and powerful career. During Hrabal's lifetime, nearly three million copies of his 調書をとる／予約するs were printed in his native Czechoslovakia, and he was translated into twenty-seven languages. の中で Hrabal's best-selling 作品, "Dancing Lessons for the 前進するd in Age" (Tanecní hodiny プロの／賛成の 星／主役にするsí a pokrocilé, 1964), an exceptional story written in a 選び出す／独身 宣告，判決, also （機の）カム out in more 版s than any other of his 作品. And Closely Watched Trains (Ostre sledované vlaky, 1965), his 調書をとる／予約する about the little train 駅／配置する Kostomolaty under German 占領／職業, is one of many of his novels adapted to film; directed by Jirí Menzel, the movie won an Oscar for best foreign film in 1967. Another of Hrabal's gems, "Cutting it Short" (Postriziny, 1976), also adapted to the 審査する by Menzel, features Hrabal's mother giving an unforgettable account of life at the brewery in Nymburk and how uncle Pepin （機の）カム to visit for fourteen days and stayed for fourteen years. The Swedish cover for ”Cutting it Short”. Hrabal 述べるs the special 楽しみs of the brewer's wife the night after the butchery and the making of sausages (transl. James Naughton): ”That night I slept alone in the bedroom, 冷淡な 空気／公表する streamed in through the open window, on planks between 議長，司会を務めるs the sausages and puddings glittered on their rye straw, 権利 by the bed on long boards lay 冷静な／正味のing the dismembered parts of the pig, the boned and apportioned hams, the chops and roasting-共同のs, the shoulders and 膝s and 脚s, all laid out によれば Mr Myclik's 整然とした system. As I got into bed I could hear Francin in the kitchen getting up and 注ぐing himself some lukewarm coffee, taking some 乾燥した，日照りの bread to chew with it, it had been a tremendous blow-out, all the members of the 管理／経営 board ate abundantly, only Francin stood there in the kitchen drinking lukewarm coffee and chewing 乾燥した，日照りの bread with it. I lay in the feather quilt, and before I fell asleep, I stretched out a 手渡す and touched a shoulder, then I fingered a 共同の and went dozing off with my fingers on a virginal tenderloin, and dreamed of eating a whole pig. When に向かって morning I woke, I had such a かわき, I went barefoot to fetch a 瓶／封じ込める of beer, pulled off the stopper and drank greedily, then I lit the lamp, and 持つ／拘留するing it in my fingers, I went from one bit of pork to the next, unable to 抑制する myself from lighting the primus and slicing off two lovely lean schnitzels from the 脚. I （警官の）巡回区域，受持ち区域 them out thin, salted and peppered them and cooked them in butter in eight minutes flat, all that time, which seemed to me an eternity, my mouth was watering, that was what I needed, to eat 事実上 the whole of the two 脚s, in simple unbreaded schnitzels ぱらぱら雨d with lemon juice. I 追加するd some water to the schnitzels, covered the pan with a lid, out of which angry steam huffed and puffed, and now I laid those schnitzels on a plate and ate them greedily, as always I got my nightdress spattered, just as I always spatter my blouse with juice or gravy, because when I eat, I don't just eat, I guzzle ...” Readers loved Hrabal most of all for his inimitable prose - at times richly orally descriptive, other times sensually lyrical - which so 完全に 逮捕（する）d life: from everyday 対話 - taken 直接／まっすぐに, it seems, from pubs and workplaces - 経由で lyrical descriptions of nature, to philosophical 解説，博覧会s on the innermost meaning of life. Often, Hrabal fills his texts with 半端物 characters, individuals from the fringes of society - anti-heroes of a sort - who 所有する a never-ending joy in their 存在, a joy manifested 真っ先の 口頭で. Moreover, Hrabal is a genuinely entertaining writer with a sense for the comically absurd in life. Hrabal stands alone in his ability to tell a story - often with the 援助 of the authentic uncle Pepin - which sends the reader into fits of sensual delight: My cousin was a twin and a real card, he was christened Vincek and his brother was christened Ludvicek, and when they were a year old their mother was bathing them in a tub and popped out to a see a neighbor, and when she got 支援する half an hour later one of them had 溺死するd, and they were so much alike nobody could tell which one, Ludvicek or Vincek, so they flipped a coin, 長，率いるs for Lucvicek, tails for Vincek, and it （機の）カム up Ludvicek, but when my cousin Vincek grew up he began to wonder - and he had plenty of time for it, he was always out of a 職業 - he began to wonder who really did 溺死する, whether the person walking around on earth wasn't really Ludvicek and he, Vincek, was up in heaven, which led him to drink and to wander along the water's 辛勝する／優位 and go in swimming, 実験（する）ing the waters, so to speak, till at last he 溺死するd, by way of proof that he hadn't been the one to 溺死する 支援する then, " (Dancing Lessons for the 前進するd in Age, 1995 . Transl. Michael Henry Heim.) 耐える in mind that all of what Hrabal wrote derived from actual events; nothing is invented, only 追い出すd in time and 配列し直すd. As one of his admirers put it, instead of a brain, Hrabal had hard disk, which 蓄える／店d everything. While sitting まっただ中に his admirers at the pub the Golden Tiger, Hrabal could effortlessly recite long passages from 調書をとる／予約するs he had read during his 青年-from Nietzsche and Schopenhauer, to Batista's text on matrimonial bliss, and Anna Nováková's 調書をとる／予約する of dreams. 適切な, Prazská imaginace, a small publishing house run by Hrabal 熱中している人 Václav Kadlec, planned to 解放（する） the nineteenth and last 容積／容量 of Hrabal's collected 作品 28 March 1997, Hrabal's eighty-third birthday. Instead, the 容積／容量, which Hrabal had already seen in proofs, （機の）カム out at the beginning of March. Hrabal's death （機の）カム at a point when, によれば the author, he had said everything he 手配中の，お尋ね者 to and could. He had 述べるd his years growing up with his mother and uncle Pepin at the brewery in Nymburk, east of Prague, his experiences as a train dispatcher at Kostomlaty outside of Nymburk and from several different 占領／職業s (clerk, 保険 スパイ／執行官, traveling salesman, steelworker, paper packer, 行う／開催する／段階 手渡す, and film extra), and he had accounted for his years in Prague and Kersko. 予定 to the circumstances of World War II and the 正常化 of culture under 共産主義者 支配する, Hrabal, who started as a poet, was forty-nine before he had his first 打開 as a writer of prose with the collection of short stories "A Pearl on the 底（に届く）" (Perlicka na dne, 1963). From 1963 to 1968, he published eight 初めの 作品 含むing two other collections of stories, "The Palaverers" (Pábitelé) and "An 宣伝 for the House I Don't Want to Live in Anymore" (Inzerát na dum, ve kterém uz nechci bydlet), 同様に as "Dancing Lessons for the 前進するd in Age" and Closely Watched Trains. From Jiri Menzel’s famous film ”Closely Watched Trains" from 1966.   After 1968, Hrabal was banned from publishing; only after 1975, when the 週刊誌 Tvorba carried his perplexing 布告／宣言 of 政府 support, did he 回復する the 権利 to put out 調書をとる／予約するs. Between 1976 and 1979, the writer （機の）カム out with his first trilogy of memoirs: Cutting it Short, Lovely Wistfulness, and Harlequin's Millions (Postrizingy, Krasosmutnení, Harlekynovy miliony). These 作品 recount Hrabal's 早期に years, the war, the 共産主義者 take over and the first years thereafter. にもかかわらず, several of his most important 作品 could only be published abroad, 含むing the novels The Little Town Where Time Stood Still (Mestecko, dke se zastavil cas) and I Served the King of England (Jak jsem obsluhoval anglické売春婦 krále), 同様に as the novella, Too Loud a 孤独 (Prílis hlucná samota), about a paper 圧力（をかける） 操作者 who for thirty-five years keeps company with destroyed 調書をとる／予約するs and their thoughts. In 1986 and 1987, Hrabal published his second trilogy of memoirs. In these 調書をとる／予約するs, The Weddings in the House, Vita nuova, 空いている Lots (Svatby v ドーム,Vita nuova, Proluky), his wife Eliska tells of their life in Prague during the 1950s, 1960s, and the first half of the 1970s. After the Velvet 革命 in 1989, a number of Hrabal's 以前 banned 調書をとる／予約するs were published; the first of his collected writings （機の）カム out in 1991. Even with the 出版（物） of Hrabal's collected writings in nineteen 大規模な 容積／容量s - which, since he 定期的に reworked, 改訂するd, and returned to his texts, 含む／封じ込める only a fraction of the work he produced during his life - and にもかかわらず a number of monographs on the writer, 研究 on Hrabal's work can only be considered in its 幼少／幼藍期. In Prague, Hrabal 充てるs are in the 中央 of setting up a 事業／計画（する） to 地位，任命する his collected writings on the Internet; at the same time, the question remains what to do with the enormous 量 of 構成要素 left behind by the author. 一方／合間, fans can 占領する themselves with 週末 trips to the 地域s of Nymburk and Kersko to 立証する 地元の 指名するs or 跡をつける 負かす／撃墜する people 含むd in Hrabal's texts. While there, one can 見本 the bittersweet Czech pilsner, Hrabal's faithful lifelong companion. The Hrabal 研究 産業 is itself truly 価値（がある） 調査, charting all the 熱中している人s who scrutinize his texts or who, in the best of 意向s, have built up a 法廷，裁判所 around the unpretentious poet. For a 翻訳家, Hrabal's use of idioms - seemingly 解除するd 直接／まっすぐに from eavesdropped conversations - 証明する an obvious challenge. All the 半端物 characters who 人物／姿／数字 into his texts acquire their personalities from the 言葉の play which pepper their speech. And the greatest chatterer of them all is Hrabal's uncle Pepin, whose volubility 洪水s with 軍の slang, obsolete profanities, and Moravian provincialisms. How, for example, should the unmistakable linguistic features of the Moravian countryside be 伝えるd? When Pepin opens his mouth, the Czech reader すぐに understands what he's about: with the choice of words and special suffixes, he gives away his geographic roots. One prime example is 設立する in the fourth 一時期／支部 of "Cutting it Short," when he spins a yarn about uncle Metud who was bored and bought a raccoon: 井戸／弁護士席 now, Uncle Metud over in the 広大な／多数の／重要な Lakes he's begun to get a 少しの bit strange, and one day he read a notice in the paper: を煩う 退屈? Get yourself a racoon. And Uncle Metud, what with having no kids and that, he replied to the 広告, and in a week's time the beast arrived, in a packing 事例／患者. 井戸／弁護士席 that was a thing now! Just like a child, it made friends with anybody going, but there was one special thing about it, you see, the German for racoon is Waschbär, and whatever that racoon saw, it 簡単に had to wash it, and so it washed Uncle Metud's alarm clock and three watches, till nobody could put them together agai,n. Then one day it washed all the spices. And again, when Uncle Metud took his bicycle to pieces, the racoon went and washed the parts for him in the nearest creek, and the 隣人s were comimg along 説: Uncle Metud, would you be needing this piece of junk at all? We just 設立する it over in the creek! And after they'd brought him several bits like that, Metud went to have a look himself, and that racoon had gone off with 事実上 the whole bang shoot. [...] その上の translating difficulties 続いて起こる from the technical 条件 関係のある to the さまざまな professions and settings 設立する in the 調書をとる／予約するs - from a steel mill and a paper 再生利用するing 工場／植物, to a pork slaughterhouse and a perfume boutique. In の近くにing, a section of Too Loud a 孤独, where the paper 圧力（をかける） 操作者 Hanta tells of his experiences during World War II, serves as a good example of Hrabal's lyrically invigorating - and often subtly political - prose: For thirty-five years I've been compacting old paper, and in that time I've had so many beautiful 調書をとる／予約するs thrown into my cellar that if I had three barns they'd all be 十分な. Just after the war the second one - was over, somebody 捨てるd a basket of the most exquisitely made 調書をとる／予約するs in my hydraulic 圧力（をかける）, and when I'd 静めるd 負かす／撃墜する enough to open one of them, what did I see but the stamp of the 王室の Prussian Library, and when next day I 設立する the whole cellar 洪水ing with more of the same - leather-bound 容積／容量s, their gilt 辛勝する／優位s and 肩書を与えるs flooding the 空気／公表する with light - I raced upstairs to see two fellows standing there, and what I managed to squeeze out of them was that somewhere in the 周辺 of Nové Straseci there was a barn with so many 調書をとる／予約するs in the straw it made your 注目する，もくろむs pop out of your 長，率いる. So I went to see the army librarian, and the two of us took off for Nové Straseci, and there in the fields we 設立する not one but three barns chock 十分な of the 王室の Prussian Library, and once we'd done oohing and ahing, we had a good talk, as a result of which a column of 軍の 乗り物s spent a week 輸送（する）ing the 調書をとる／予約するs to a wing of the 省 of Foreign 事件／事情／状勢s in Prague, where they were to wait until things had simmered 負かす／撃墜する and they could be sent 支援する to their place of origin. But somebody 漏れるd the hiding place and the 王室の Prussian Library was 宣言するd 公式の／役人 booty, so the column of 軍の 乗り物s started 輸送（する）ing all the leatherbound 容積／容量s with their gilt 辛勝する／優位s and 肩書を与えるs over to the 鉄道／強行採決する 駅／配置する, where they were 負担d on flat-cars in the rain, and since it 注ぐd the whole week, what I saw when the last 負担 of 調書をとる／予約するs pulled up was a constant stream of gold water cum pitch and printer's 署名／調印する flowing 負かす／撃墜する from the train. 井戸／弁護士席, I just stood there, leaning aginst a lamppost, flabbergasted, and as the last car disappeared into the もや, I felt the rain in my 直面する 合併するing with 涙／ほころびs, [...] 作品 by Bohumil Hrabal 利用できる in English translation: "Cutting It Short"/"The Little Town Where Time Stood Still" (transl. James Naughton), Pantheon, 1993, Abacus, 1994; "Too Loud a 孤独" (transl. Michael Henry Heim), Harcourt を締める, 1990, 1992; "Closely Watched Trains", (transl. Edith Pargeter) Northwestern Univ. 圧力（をかける）, 1995; "Closely 観察するd Trains, a Film" (script written by Hrabal together with Jiri Menzel), Lorrimer, 1971; "Dancing Lessons for the 前進するd in Age" (transl. Michael Henry Heim), Harcourt を締める, 1995; "I Served the King of England", Vintage 調書をとる／予約するs, 1990. 公式文書，認める: There are two Web 場所／位置s 充てるd to Hrabal, with texts almost 完全に in Czech: http://hrabal.eunet.cz/hrabal/bh.htm and http://www.geocities.com/Hollywood/Hills/2765/hrabal.html. その上の on more 初めの texts by Hrabal will be published here.