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Free eBook The Ogre (Penguin Modern Classics) download

by Michael Wood,Michel Tournier

Free eBook The Ogre (Penguin Modern Classics) download ISBN: 0141182091
Author: Michael Wood,Michel Tournier
Publisher: Penguin Books Ltd; New Ed edition (November 2, 2000)
Language: English
Pages: 336
Category: Imaginative Literature
Subcategory: Classics
Size MP3: 1926 mb
Size FLAC: 1136 mb
Rating: 4.3
Format: rtf docx azw mbr


The Ogre (Penguin Modern Classics). Michel Tournier, however, has placed his man in precisely the same situation of static impotence, and then proceeds to illustrate a personal development as passionate and variegated as anyone could wish.

The Ogre (Penguin Modern Classics).

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Michel Tournier, Michael Wood, Barbara Bray. The Ogre" follows the unusual life of an extraordinary Frenchman who becomes a prisoner of war in Second World War Germany, until he manages to ingratiate himself with his captors and becomes a hunting warden in Goring's private hunting domain.

Michel Tournier (French: ; 19 December 1924 − 18 January 2016) was a French writer

Michel Tournier (French: ; 19 December 1924 − 18 January 2016) was a French writer. He won awards such as the Grand Prix du roman de l'Académie française in 1967 for Friday, or, The Other Island and the Prix Goncourt for The Erl-King in 1970. His inspirations included traditional German culture, Catholicism and the philosophies of Gaston Bachelard. He resided in Choisel and was a member of the Académie Goncourt.

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Items related to The Ogre (Penguin Modern Classics). Michel Tournier The Ogre (Penguin Modern Classics). ISBN 13: 9780141182094. The Ogre (Penguin Modern Classics). ISBN 10: 0141182091 ISBN 13: 9780141182094. Publisher: Penguin Books Ltd, 2000.

User reviews
BORZOTA
In a way, this novel shares its protagonist's nomadic blood: it moves. Tiffauges is by turns a mechanic, a prisoner, a soldier, a pigeon keeper, a prisoner of war, a forester in Goering's hunting estate, and a recruiter for a Nazi Napola boarding school in the castle of Kaltenborn. In another way, it is a book of constants: the same constellation of symbols grows brighter and brighter with each change of scenery, until at the holocaustal end we see them not in a mirror dimly, as we have through the eyes of Tiffauges throughout the book, but uninverted and face to face. Tiffauges' movements provide a sort of symbolic parallax (like the bobbing heads of his beloved pigeons), bringing the symbols and their mechanisms into greater and greater relief.

It's an unforgettable experience to follow this belated, ogreish St. Christopher as he throws his phoric strength behind, or rather below, a parade of symbols each stronger (and more "sinister") than the last, until he finally actualizes his vocation and sees the light.
blac wolf
This review is in reference to Michael Tournier’s Le Roi des Aulnes Or The Orge.

Superficially, this novel contends with the issue of how destructive the consequences of depravity among a handful of people can become to so easily tear at the delicate fabric of civilization. But there is a subtle semiotic at work here; a belief in a collective intelligence in which all matter is intimately connected with the psyche within a symbolic fabric of meaning. What the reader witnesses in this novel is an intimate conversation between the hero’s soul and itself that extends from its primitive cast as a child to a deeply conscious and observant creature in search of itself. It is here where the material world meets up with the immaterial world in order to imbue it with meaning. It is psychoanalysis of a kind, not of the mind but of an element of both imaginative experience and of nature itself. More superficially, it is a story concerning wandering, suffering, self-discovery, death; a Sartrian ontological meandering; how the body connects to the world and an ultimate revelation of being. What the reader also witnesses is Mythology developing into literature.
The main character (Abel Tiffauges), feeling a sense of special personal destiny and a sense of finality in terms of man’s collective destiny, builds up hypothesis and reveries but grossly misinterprets the symbolic nature of events in relation to himself which appear all along to be true and accurate until, at once, they are revealed to be something quite different.
The primordial given of individual freedom is thrown into crisis by a kind of ontological viscosity that imperils Tiffauges’ freedom as it sucks him down while his body unconsciously struggles to free itself. In order to reach into his own being, he must penetrate others (committed characters) from which he absorbs bits of meaning as he wanders in constant search of the next mentor to help guide him on his quest. Animals and children have ‘innocence’ in common and this is what is craved most by the hero; this is what obsesses him. His being appears to be perpetually suspended in some kind of ‘viscous’ netherworld in which it slowly develops and then, ultimately, is born whole, with total focus on its destiny which it swiftly carries out before death at which time he is sucked down into the viscous swamp; nature’s primordial womb. The ‘viscous’ to which he repeatedly refers is that primordial material from which he emerged.
The entire affair is an historical parable of existential despair; heavily symbolic and crammed with religious and mythical references. The reader definitely needs to have some background to understand Abel’s inverted viewpoint on the issues. It is strangely dialectical in terms of its constant balance between forces of evil and good, forces of rational and irrational, hardness and softness, bigness and smallness, maligness and benigness. (initially serving Evil, then serving good once his symbols suddenly take on the glare of complete comprehension when he realizes that the place he is at is the reflection of the most infernal of places, a concept that has been hinted at throughout the novel).
This novel is not for the casual reader but only for those who are dedicated to great literature. The closest post war novel I can come to comparison is _The Last of The Just_ by Andre Schwarz-Bart.
Fearlesssinger
When Michel Tournier is mentioned to someone, you often hear comments like: "Isn't that the author who could only write about human sexual perversions?", but if you examine his work more deeply, you'll see that there is a lot more to his writing than that.
"The Ogre" is his second novel and it starts by telling us the story of a French mechanic named Abel Tiffauges, living during the end of 1930's, who one day injures his right hand.
This fascinating novel is divided into six segments, from wich the first (and the longest) is the most fascinating, as it deals with this multi-dimencional character's past and present by the way of one year's worth of diaries wich he starts writing with his left hand after the previously mentioned accident. By the end of the segment this strange character of Abel Tiffauges with his peculiar habits and personality feels extremely real and deep, hence securing the feeling of reality of the whole artistically written book. Finally, the segment ends as Tiffauges stops writing after the beginning of the war between France and Germany.
The first segment is followed by three weaker segments wich, unlike the first one, are told in a traditional third-person narrating and are filled with surprisingly unlikely coincidences and forced events as they describe Tiffauges' journey through nazi-Germany, first as a French soldier, then as a prisoner of war, and finally a ranger.
Then the novel improves again as it gets to its fift segment, wich almost raises to the level of the first one. It shows us an itriquing transformation process, as, again by ridiculously not beliavable coincidences, Tiffauges ends up being an SS-officer and an instructor in a Hitler-Jugend training facility.
Step by step this first reluctant character grows more and more fascinated with anti-semitism and the complex scientific assumptions about racial differences. The segment is dark and unsettling, as the character is devided into two, when he can't separate reality with what he's been thought.
In the sixth and final segment the reader gets to witness Tiffauges' journey through chaos, as he experiences an enlightment that leads to his understanding of his own inner evil and eventually to self-destruction. This process is unevenly described, and not sufficiently explained, as it occurs suddenly and doesn't really lead anywhere.
The ending of the book is blurry, and it leaves the reader frustrated, as it leaves issues unfinished and not dealt with.
In the end "The Ogre" is a book that I recommend to anyone, even though many people will probably not like it as much as I did.
But weather you like it or not, don't leave it unfinished. Once you start it, you'll have to see it through.