Embers

Imagine spending 41 years of your life mostly alone, and left to ponder the events of one emotionally wrenching day. The book opens with Henrik, a 75-year-old retired general, awaiting the arrival of Konrad, a close friend from his youth whom he has not seen since that significant day. The first third of the book sets up their shared history which began as 10-year-old schoolboys who formed an unusually strong bond, because or in spite of their very different socioeconomic backgrounds. They spent their school days and their holidays together, and Konrad was accepted as a member of Henrik's family. On finishing school, they grew into adulthood together through military service, but their relationship ended abruptly.

With this foundation show more laid, the story picks up with Konrad arriving to have dinner with Henrik. The table is set exactly as it was the last time they were together. Past events unfold through Henrik's voice, as he seeks to learn more about Konrad's life and uncover the truth which has been the source of so much pain over the years. This pain has smoldered, like the embers of the title, consuming Henrik body and soul. As the meal and the night wear on, the nature of their conflict is revealed in tiny fragments leading to the inevitable conclusion.

Sandor Marai weaves a tale that is surprisingly compelling, since it is told through primarily through Henrik's one-sided conversation with Konrad. The narrative's emotional depth was surprising. All too often, male friendships are portrayed as superficial. It was the strength of their bond, and the searing pain felt by both Henrik and Konrad is precisely what makes Embers such a special work. show less

Read for Equinox #1 / Topic 2

This short novel was sad, haunting, and thought-provoking. The plot is simple: the General has suffered an incredible betrayal and waited his whole life for revenge. The writing is often very beautiful, and there are many thoughts to ponder, especially about the true nature of friendship. I understand why this novel is so acclaimed. Unfortunately for me the ending was so disappointing that I can't rate it any higher; although the fact that the reader is left so deeply frustrated and unsatisfied was probably intentional. After 41 years, putting his entire life on hold and withdrawing form the world, living only to confront his old friend, once Konrad finally comes - the General never lets Konrad speak. He show more never gets the answer to his most burning question: Did Crisztina know? He never lets Konrad attempt to explain or apologize. So then what was the purpose of having Konrad come at all? This was obviously a very deliberate choice by the author, so I am sure he was trying to say something - but I'm not sure what. show less

Set in Hungary in 1940, seventy-five-year-old Henrik is awaiting the arrival of his friend, Konrad, whom he has not seen in forty-one years. Henrik is a general who lives in palatial estate. Konrad is of a lower social position. Henrik and Konrad met at military school in Vienna when they were children. As the story unfolds, it becomes evident that a significant event occurred in the past, which created a rift between these men. Henrik intends to discover the truth of what happened.

“Silently, wobbling a little like shadows on a wall, they walk in this ghostly glow from the dining room through one cold salon after another until they reach a room whose only furniture consists of a grand piano with its lid raised and three chairs around show more a great-bellied stove… The servant sets the coffee on a small table along with cigars and brandy, then places the silver candelabra with the fat church candles on the ledge of the stove. They each light a cigar and sit in silence warming themselves. The heat from the logs in the stove pours out in steady waves and the candlelight dances above their heads... They are alone.”

This book is written in close perspective focused on Henrik and his interactions with a small circle of intimates. The tone is somber. It is filled with psychological tension. It evokes an old-world nostalgia. What starts as a dialogue gradually becomes a monologue, as Henrik presents his deductions and suspicions about what happened on that fateful day long ago. It feels like the third chair is occupied by the reader, listening to this private conversation.

After finishing, I began contemplating the implications of what I had just read. The more I thought about it, the more I appreciated it. This book is a beautifully rendered examination of friendship, betrayal, and what matters in the end. It is a fine piece of writing. show less

Steeped in pre-war ambiance (it was first published in 1942), the story of a three-person relationship through the eyes of one of them. Well-told, interesting story, but for the fact that I found the protagonist insufferable. Enjoyed the writing, but the translation (from the German, not the original Hungarian) hit clunkers more often than I would have expected.

Why would two elderly gentlemen, who were once inseparably the best of friends, not have seen each other for 41 years? Until one day, Konrad asks to visit the General in their waning days on Earth?
The novel takes place over dinner one evening, as the General explains to Konrad, and to us the initially bewildered reader, what he has had endless time to think about in those 41 years. What begins as a novel of friendship becomes an artfully constructed mystery and then a story of excruciating suspense as the General explains wordily the one and only answer that seems possible. At the end, we have the answer. And only one question remains.
At times artful, and at other times highly artificial, the book becomes impossible to put down once the show more story gets going. Despite the colorful background settings of life in imperial Vienna and in the Orient, this story has the manner of an unconventional detective story where the solution is gradually unfolded almost before the reader even knows there was a puzzle to be explained. Recommended for lovers of the genre. It's different. show less

This novel held great promise for me. It was set in a part of the world that fascinates me; it purports to explore the "big questions" of friendship, love and courage; it had been praised by readers whose judgment I trust. It started out well, too. At his family castle in the Hungarian forest, Henrik, or "The General" awaits the arrival of Konrad, "The Captain", and reminisces about the past. As 10-year old boys from very different worlds, Henrik and Konrad met at a military academy in Vienna, and became inseparable friends. Yet we learn that something has separated them, and that they are about to meet for the first time in 41 years. The reason is a mystery, and for a time the author tantalizes the reader with that mystery in a very show more skillful manner. Yet very early on I began to dislike the tone, and marked a passage or two with snarky little comments. This one, for instance, ---And yet, beyond their roles and their lives in society, beyond the women, something else, something more powerful made itself felt. A feeling known only to men. A feeling called friendship. Once the General's guest actually made his appearance, I felt the book very quickly turned from suspenseful novel to self-indulgent screed on the nature of friendship, passion, guilt, truth. Little nuggets of the old story were scattered through the General's repetitive philosophical musings, but I grew very impatient and eventually stopped caring about what really happened all those years ago. As Henrik did all the talking, we never understand why Konrad returned to meet him again. It certainly could not have been to explain or defend himself, as he made no attempt to do either. The General talks at length about seeking revenge, but (and this is a SPOILER, I suppose), the author violates, quite literally, Chekov's rule that if a gun appears in Act 1, it had better go off in Act III. Embers had an excellent first act, but I should have left during the intermission. Review written in Feb. 2009 show less

Straf.

Twee vrienden door dik en dun, een uitgekiend drama en een auteur met een erg goede pen, dat levert gegarandeerd een goed boek op.

Twee vrienden door dik en dun met totaal verschillende sociale achtergronden en toch een zielsverwantschap, een uitgekiend drama dat slechts langzaam uit de doeken wordt gedaan en een auteur met een erg goede pen een strak verhaaltempo en een spaarzame maar toch niet kale stijl, dat levert gegarandeerd een heel goed boek op.

Waarom Gloed nog beter is en absoluut die vijf sterren verdient?

In plaats van met de neus boven op het drama te zitten en spanningsbogen te creëren vanuit de emoties en de mogelijke gevolgen voor de personages, laat Sandor Marai er eerst een heel leven over gaan.

Twee vrienden show more ontmoeten elkaar wanneer ze beiden 70-tiggers zijn en elkaar 41 jaar lang niet meer zagen. Terwijl de ene de andere 2 vragen wil stellen, krijg je als lezer een hele historie te horen die de breuk tussen de vrienden uit de doeken doet terwijl de vertellende vriend op zoek is naar de waarheid. Maar wat het boek helemaal bijzonder, waardevol en bloedmooi maakt is dat die waarheid na 41-jaar helemaal niet (of amper) in de feiten zelf ligt.

'Of het moment gaat voorbij en je kunt niets meer doen. Want dat is er ook, het moment, de tijd voert de dingen ook naar eigen goeddunken aan en af, niet alleen wij plaatsen onze handelingen en de verschijnselen in de tijd. Het komt voor dat de tijd een kans brengt en dat die een exacte tijd heeft, en als het moment voorbij is, kun je opeens niets meer doen.'

Omdat er 40 jaar is overgegaan, is het perspectief op de breuk zo verrijkend, zo doorleefd en zo ontdaan van alle melodrama dat het een ongewone moreel hoogstaande lading mee krijgt. De rust en kalmte waarmee het gesprek zich ontvouwd en het totaal ontberen van ego en conflictdrang - de heren hebben toch beiden hun hele leven al achter de rug - leent zich uitstekend tot een uiteenzetting vol levenswijsheid, doordachte beschouwingen en waarachtige conclusies.

'En alles wat mensen "bedriegen" noemen, de treurige en saaie rebellie van lichamen tegen een situatie en een derde persoon, is verschrikkelijk oninteressant aan het eind van het leven, onverschillig, bijna meelijwekkend, als een ongeluk of een misverstand.'

Indrukwekkend.
Ronduit indrukwekkend. show less