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About admin

"Origin, resume - all nonsense! We all come from some small town Jüterbog or Königsberg and in some Black Forest we will all end" (Gottfried Benn) Therefore just a stenogram: Thomas Huebner, born in Germany, studied Economics, Political Science, Sociology, German literature, European Law. Consulting firm in Bulgaria. Lived in Germany, Bulgaria, Albania, Egypt, Turkey, Syria, Indonesia and Jordan. Now residing in Prishtina/Kosovo. Interested in books and all other aspects of human culture. Traveler. Main feature: intellectual curiosity

Procrastinators, take this!

Bad news for the procrastinators among the authors of novels!

According to Enrique Vila-Matas’ very enjoyable book Bartleby & Co. (review to follow), Georges Simenon, the most anti-Bartlebyan author of French language, wrote 41 novels!

And what is even worse, procrastinators – this was his output not of a lifetime of writing. It was what he wrote in one single year: 1929.

Enrique Vila-Matas: Bartleby & Co., translated by Jonathan Dunne, New Directions, New York 2004

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Hypnos

It is always interesting to read the blog posts of fellow book bloggers. So many interesting books would have been unknown to me, so many aspects of books I read would have been probably hidden to me if I wouldn’t read my blogger colleagues. And sometimes you feel compelled to pick up a book again you have read a long time ago, just because of a quote that reminded you how much had you enjoyed that particular book.

This is exactly what happened when I read a blog post by Anthony from Time’s Flows Stemmed. I will repost the full quote here:

“One day, during the war, I was asked to find an empty strip of land on the plateau de Valensole where Allied planes in difficulty could land. I find a large field that fits the bill but there’s a magnificent three-hundred-year-old walnut tree in the middle of it. The owner of the field was willing to rent it to me, but stubbornly refused to cut down the beautiful tree. I eventually told him why we needed the land, whereupon he agreed. We start clearing the soil around the base of the tree; we follow the taproot . . . . At the end of the root, we find the bones of a knight buried in his armour. The man must have been a medieval knight . . . and he had a walnut in his pocket when he was killed, for the base of the taproot was exactly level with his thigh-bone. The walnut tree had sprouted in the grave.”

I can wholeheartedly recommend you René Char’s Hypnos, either in the original French or in the English edition by Seagull Books (the translation by Mark Hutchinson is excellent), one of the best publishers of translated fiction. And when you are at it, don’t miss Char’s excellent poetry, available in a new edition (The Inventors that contains also some prose texts) by the same translator and publisher as well!

René Char: Hypnos, translated by Mark Hutchinson, Seagull Books 2014

René Char: The Inventors, translated by Mark Hutchinson, Seagull Books 2015

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

 


Monsieur Ibrahim and the Flowers of the Koran

Paris, 1960. Moïse, or Momo as he is usually called, is a Jewish boy that grows up in a rather loveless household. Mother and an older brother, Popol, have left soon after Momo’s birth and left the baby-boy with the father, a lawyer, that is hardly ever communicating with his son (or anybody else), except for the cases when he is suspecting Momo to steal money from the funds from which he is supposed to buy the household supplies.

At 13, Momo is getting interested in the other sex, and so the short novella Monsieur Ibrahim and the Flowers of the Koran starts with him crashing his piggy bank and using the savings for a first visit at a prostitute. The real centre of the story however is the slowly developing friendship with Monsieur Ibrahim, the Arab of the predominantly Jewish neighbourhood, where Momo is buying (and sometimes stealing) his supplies.

While at the beginning they exchange usually only one sentence every day, over a longer period they become closer and the ever-smiling Monsieur Ibrahim, an elderly man who is rarely ever seen leaving his shop, is beginning to share his view of life with the boy who is looking for answers, answers that usually a father is supposed to provide if possible – but on the one occasion Momo is looking for a serious talk with his father, he realizes that his old man is a broken man, unable to even make sense of his own life. Something terrible happened in the life of Momo’s father, and it is only after Monsieur Ibrahim, a true Sufi, explains it to him at a later stage, Momo begins to understand that his twice being deserted by mother and father alike is not his own fault, of course. He is in a way suffering because he too is a victim of the holocaust – his life is tremendously affected by the consequences of this great crime, although he is born after WWII.

I don’t want to give away the whole story but rather dramatic developments are still ahead of Momo. At a bit below 70 pages in print, this book is a fast read, so you can easily go through it in a few hours.

A friendship between a Jewish boy and an Arab in Paris – I think the author realized that he had to tell us this story in the past tense. By placing his story in the early 1960s he makes this friendship more probable; at the same time this past is a bit like a lost Utopia where people that belong to different religions learn to accept each other and even become true friends for life. And on a more symbolic level – the protagonists’s name derive from Abraham and Moses – it is also a book about the fact that the followers of the big monotheistic religions share in the end much more than many of the legalistic interpreters of these cults want to know nowadays.

“Avec monsieur Ibrahim, je me rendais compte que les juifs, les musulmans et même les chrétiens, ils avaient plus de grands hommes en commun avant de se taper sur la gueule. Ça ne me regardait pas, mais ça me faisait du bien.” – (With Monsieur Ibrahim, I realized that the Jews, the Muslims, and even the Christians had more great men in common before they were hitting each other’s faces. It had nothing to do with me, but it made me feel good.)

Eric-Emmanuel Schmitt is a popular and very prolific French-Belgian author of bestsellers. I didn’t expect very much from the book but was pleasantly surprised. Since I decided to read again more French books in their original language, it was also a test if I can still do it – it went well and I will tackle also some longer and more complex works in French again in the future.

It is said that the book is inspired by Romain Gary’s The Life Before Us – I haven’t read Gary’s book yet and can therefore not comment on this aspect.

By the way, there is a movie with the same title with Omar Sharif in the title role – probably his best performance of his later career.

Eric-Emmanuel Schmitt: Monsieur Ibrahim and the Flowers of the Koran, translated by Marjolijn De Jager, Acorn 2004; Monsieur Ibrahim et les Fleurs du Coran, Albin Michel 2014

The above quote from the French edition is translated by Thomas Hübner.

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

To Kill a Mockingbird

Atticus Finch, the main character of To Kill a Mockingbird, is without doubt one of the most likeable and remarkable literary heroes you will come across in 20th century fiction. Since the novel is very popular (I avoid the word bestseller with its slightly derogative connotation), and most of you will have read the book, I will be rather brief regarding the synopsis.

Scout, the narrator of the story and her older brother Jem grow up in a small town of the Deep South of the 1930s; it is the time of the Great Depression. Atticus, their father is a widowed lawyer with old family ties in town and the whole region.

While a big part of the book deals with a seemingly normal childhood with a good-natured, if somewhat unorthodox father – his children call him by his first name, and he is giving them a lot of freedom – and the small and big adventures that are typical for this age and social surrounding, a really dramatic event takes place that will have a lasting effect on the whole town, and particularly on the Finch family: Tom Robinson, a young man is arrested on rape charges – and Atticus is appointed to be his lawyer. Robinson is a black man, a fact that brings out the not-so-subtle racism of a big part of the local population. And the children of the “nigger-lover” Finch – he is indeed only doing his duty as a lawyer – have to suffer also under this situation. While Atticus teaches his children to never use violence to defend themselves, but their heads, justice is prevailing. No, not justice – the law…and even after the case is closed, the dramatic events triggered by it are not yet at their climax.

To Kill a Mockingbird has of course quite a lot of suspense elements; the court scenes are very dramatic and revealing. The fact that the arrested man is obviously not guilty and the “victim” and the main witness are liars doesn’t prevent the jury from exercising a case of “race justice” that will prove to be fatal for the accused. It is still breath-taking to read how racist the majority of people in the 1930s were (is it different today? – and I am not only talking of the Deep South); but it is also conveying a very humane message: sometimes you just have to do what is right, even when you know that you will lose.

Atticus Finch is standing up for his humanistic principles, even when life would be much more comfortable for him and his children if he would compromise and not defend this man. But in his own eyes, he would lose his dignity and his role as an example to his children if he would. That he accepts this and all the consequences without becoming bitter, makes him such an outstanding literary hero. One of the lessons Atticus is teaching to his children is to always try to “walk for a few minutes in the shoes of the others” – the gift of empathy is what makes Atticus different from some of the other folks in the novel. Although, to be fair, he is not completely alone in his fight for justice. And even those who antagonize him in this particular case have as it turns out such a respect for him as a person that they re-elect him to the local constituency after the court case.

One of the particular strengths of this book is that it succeeds in what Atticus calls “walking in the shoes of others”. In the framework of the novel, we get to know a wide range of characters, black and white, respected and despised, comparatively wealthy and very poor, people with racial prejudices and a few without – but Harper Lee has the gift to make us readers look at them with understanding, even sympathy. The woman who accuses Robinson of the crime is a terribly lonely person and even her father who is the only really bad person in the novel is more a victim of his low social status and it seems he is acting more out of frustration for being looked upon with contempt by practically everyone (except Atticus Finch) than out of a criminal character.

Lee’s story is so convincing because she introduces a wide range of characters that are in itself already very interesting: Dell, the friend of Jem and Scout who comes always for summer holidays – he is a good boy and loyal friend but also obviously a story teller (I avoid the word liar); Cal, the black cook who reigns the kitchen with sternness but also a big heart and who is the female presence in the house that is sometimes a counter-balance to the laissez-faire attitude of Atticus in many respects; the judge, the sheriff, and the newspaper editor – three principled men who in one way or the other support Atticus in a difficult situation; Aunt Alexandra who goes through a process of development while the story unfolds; Maude, a friendly neighbour who treats the children without the condescension that is so frequent among grown-ups; Mrs Dubose, a wicked old woman with whom the children form against all odds (and not completely voluntarily) a bond; the black people with whom the kids are mingling freely and not to everyone’s delight; the children itself that grow not only physically but also as individuals; and last not least Arthur “Boo” Radley, a man who has been confined to home by his family for decades and about whom the children have the strangest ideas – a kind of demon as they imagine him, but as it turns out just a poor soul with a surprisingly good heart, who makes his personal appearance rather late in the book, but in a moment when the children really need him.

All in all, this a very good book with a timeless, very humane message and likeable characters that makes you think about what is valuable in life, a book about how important empathy is – and that the only way for children to learn to stand up for themselves and others is not by teaching moral principles, but by living them in everyday life even when it is difficult for you. What else can you expect from a work of literature?

A book I can highly recommend, not only for young readers.

Harper Lee: To Kill a Mockingbird, Vintage Classics

Other Reviews:
A Guy’s Moleskin Notebook 

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Котката на ШрьодингЕР в медиите

Ето интервюто на Силвия Чолева с Милена Николова и Виктор Мухтаров за Котката на ШрьодингЕР в БНР.

milena6

Photo: Anne Meurer

И тук намерите интервюто на Стефан Кръстев с Милена за BG Север (Плевен).

Photo: Chris Enchev, Book Design and illustrations: Victor Muhtarov, Tita Koicheva, Sava Muhtarov
© Photo Anne Meurer 
© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Представяне на книгата Котката на ШрьодингЕР!

Не забравяйте: сряда 19.00, +това, Ул. Марин Дринов 30, София – представяне на книгата Котката на ШрьодингЕР! Очакваме ви! 

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Shady Side

Norman Tweed Whitaker, the “hero” of this biography is a Dickensian figure: he was both, full of genius and a devil at the same time. Coming from an educated upper middle class family – his father was a high school principle in Philadelphia – Whitaker (1890-1975) became a patent attorney that held also a degree in German literature; his great talent as a chess player made him a dangerous opponent for any player and earned him the US Master title and in 1965 the title of an International Master (that was before the “title inflation” when this title meant still a lot).

Among the masters he defeated in serious games were the legendary players Frank Marshall, David Janowski and Samuel Reshevsky, for decades America’s strongest player (all of them were contenders for the World Championship title); in simuls he even won against Emanuel Lasker and the young Capablanca. The book contains more than 500 games played by Whitaker, some of them annotated. Whitaker was a dangerous tactician with a good endgame knowledge, but the patience for positional play was something he obviously lacked – a mirror of his personality maybe.

Also as a chess promoter Whitaker did more than probably anybody else in the United States for decades to make the game popular: he gave countless exhibition and simultaneous games, organized tournaments, raised funds, worked as a trainer and founded chess clubs, traveled a big deal in the U.S. and abroad to promote the game, co-authored a chess endgame book  – and quarreled a lot with the U.S. Chess Association and people who prevented him to earn the recognition he thought he deserved. He saw himself frequently as a victim of some conspiracy of vicious people that used the threat to expose very personal information about him in order to discredit him and to sidestep him whenever it was possible for them.

This all may be not particularly interesting outside the very specialized circle of chess players or those interested in chess history. But there is an element in this biography that makes it interesting for a wider audience. Whitaker, the cultivated, well-educated patent attorney from a good family and with the chess interest and talent was also a ruthless con man with a long criminal record.

Whitaker was convicted for crimes such as interstate car theft, insurance fraud, extortion and blackmailing (he claimed to know the whereabouts of the kidnapped and murdered Lindbergh baby and was arrested when he tried to extort money for allegedly returning the baby), selling morphine and other drugs via mail, and finally also child molesting. (This list is not complete.)

Grandmaster Arnold Denker who knew him well said about Whitaker:

“His advanced education, high intelligence, command of foreign languages, expensive wardrobe, plentiful ready cash, skill at chess, and confident personal manner all aided in fooling many unsuspecting victims.”

A criminal “career” that spanned over several decades and that earned him various convictions and many years in the jails of Leavenworth and Alcatraz. Therefore it is not surprising that in this well researched and written biography by chess historian John S. Hilbert not only chess masters, but also the Lindbergh family, J. Edgar Hoover and Al Capone (with whom he made friends while serving time in Alcatraz) play a certain role.

What turns a talented, intelligent and rather successful man with a good profession into a criminal? And how did this part of his personality coexist with that of a serious, energetic chess promoter with good contacts in many places? The rather unsettling and surprising answer is: we don’t know. There is no warning sign, no early childhood trauma, no history of being depraved of love and affection by his family that turned Norman T. Whitaker into the ruthless criminal he was. It seems that after the first arrest in 1921 and the following conviction – which was so shocking to his father that he died of a heart attack when he learned about the car theft – Whitaker’s life was like on an inclined plane from which there was no turning back.

An interesting book not only for chess players – thanks to the author’s clever choice of documents and his ability to present us his subject as a person with such contradictory characteristics that they hardly seem to fit into one human being, we get to know a fascinating, weird personality.

„What is it in us that lies, whores, steals, and murders?” (Georg Büchner: Danton’s Death) – that enigma remains still unresolved.

John S. Hilbert: Shady Side: The Life and Crimes of Norman Tweed Whitaker, Chess Master, Caissa Editions, Yorklyn 2000 (ed. Dale Brandreth)

Arnold Denker: Stormin’ Norman, in: ibid, The Bobby Fischer I Knew And Other Stories, p. 262-274, Hypermodern Press 1995

Norman T. Whitaker / Glenn E. Hartleb: 365 Ausgewählte Endspiele: Eines Für Jeden Tag Im Jahr, Selbstverlag, Heidelberg 1960

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Two anecdotes about Robert Musil

As mentioned some time ago, I am an unsystematic collector of anecdotes that have writers as subject. Here are two of them about one of the giants of German 20th century literature, Robert Musil.

Musil worked for decades on his unfinished masterpiece Man without Qualities and published comparatively little during his lifetime. As a result of his obsessive efforts, Musil was always living in very precarious financial conditions and during his exile in Switzerland during the last years of his life, he was really destitute.

Musil seemed to have been a proud, extremely self-assured, maybe even arrogant person who had a very high opinion regarding his own abilities as a writer and he detested writers that were (contrary to him) popular and successful. With particular disdain he looked at the output of Stefan Zweig and Thomas Mann. While he couldn’t deny that Thomas Mann had talent – and success! – and he probably hated him just because of that, Stefan Zweig was another case. Zweig was according to Musil shallow, superficial, trivial, always responding to the requirements of the market that liked to read another collection of (in Musil’s opinion) not very accomplished novellas or another biography in Reader’s Digest style, Zweig’s slickness and wish to fit in, to be the centre of the attention of a circle of rich people and of the literary establishment, always very much concerned about increasing his bank account, his collection of antiquities and old manuscripts. In short: Stefan Zweig was for Musil the personification of everything that was wrong with the literature of his time.  

Hans Mayer, the great German-Jewish literary critic, writes in his autobiography Ein Deutscher auf Widerruf  how he visited Musil at his home in Switzerland during their emigration. It was 1940, and there was a widespread fear that the Nazis might invade also Switzerland.

“Musil couldn’t get into the USA, and Mayer was suggesting the relative obtainability of Colombian visas as a pis aller. Musil, he wrote, ‘looked at me askance and said: Stefan Zweig’s in South America. It wasn’t a bon mot. The great ironist wasn’t a witty conversationalist. He meant it … If Zweig was living in South America somewhere, that took care of the continent for Musil.’” (quoted by Michael Hofmann: Vermicular Dither, London Review of Books, 28. January 2010)

In the third volume of his autobiography, Elias Canetti describes how he after completion of the manuscript of Die Blendung (Auto-da-fe) in 1931 sent it as a parcel with an accompanying letter to Thomas Mann, hoping that Mann would read it (and possibly recommend it to a publisher). Alas, the parcel came back unopened with a polite letter by Mann, telling the unpublished author that he was not able to read the book due to his work schedule (Mann was working on his multi-volume Joseph novel at that time). The disappointed Canetti put the manuscript aside for a long time, until Hermann Broch arranged a few readings for him in Vienna. One of them was also attended by Musil who allegedly said to Broch: “He reads better than myself.” (Not surprisingly, Canetti was an extremely gifted stage performer in the mould of Karl Kraus.)

Later on, when the novel was finally published in 1935, Canetti wrote again to Mann, who now – four years later! – congratulated Canetti and wrote also very positively about the novel (which in all probability he hadn’t read except for a few pages). With this letter in his pocket and beaming with self-confidence Canetti was running into Musil one day when Musil brought it about himself to also congratulate Canetti. Not knowing about Musil’s strong antipathy regarding Thomas Mann, Canetti blurted out: “Thank you, also Thomas Mann praises my book!” – to which Musil answered with a short “So…”, turning around and ignoring Canetti for the rest of his life.

In defence of Zweig and Mann it has to be added that both writers supported many of their colleagues in need particularly during their time of emigration. Musil was during his last years ironically mainly living from a grant he received from an organisation that supported writers in need and that was mainly funded by – Thomas Mann. Musil knew about that and felt probably terribly humiliated.

Hans Mayer: Ein Deutscher auf Widerruf, Suhrkamp, Frankfurt am Main 1982/84 (2 vol.) – there is unfortunately no English translation of this highly interesting autobiography.

Elias Canetti: The Play of the Eyes (Das Augenspiel), translated by Ralph Manheim, Farrar Straus Giroux 2006

Michael Hofmann: Vermicular Dither, London Review of Books, Vol. 32, No. 02, p. 9-12, 28 January 2010 – Hofmann’s article is a real assassination of Zweig; very, very harsh and spiteful indeed, but nevertheless worth reading because he points at various serious flaws in Zweig’s writing. 

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Котката на ШрьодингЕР – Schrödinger’s Cat: разговор в БНР / A conversation in Bulgarian National Radio

Tomorrow there will be an interview with Milena G. Nikolova, the author and Victor Muhtarov, the main illustrator of our first book (Котката на ШрьодингЕР – Schrödinger’s Cat) in Bulgarian National Radio (BNR).

Literary critic and author Silvia Choleva will talk with them about the book in the framework of ARTEFIR, program “Hristo Botev”, between 12.15 and 14.30. Stay tuned!

Очаквайте утре, 21 януари, четвъртък, в АРТЕФИР на програма “Христо Ботев” на БНР, между 12.15 до 14.30 часа, разговорна на Силвия Чолева с Milena Nikolova и Victor Muhtarov относно авторството им и очакваното от всички нас Представяне на книгата “Котката на Шрьодингер. Субатомен памфлет в реално време” – тяхно съвместно дело, която книга съвсем скоро ще можете да държите и в ръцете си.

Котката на ШрьодингЕР – субатомен памфлет в реално време / Schrödinger’s Cat – a subatomic pamphlet in real time

Автор / Аuthor : Милена Г. Николова / Milena G. Nikolova
Илюстрации / Illustrations: Виктор Мухтаров, Тита Койчева, Сава Мухтаров / Victor Muhtarov, Tita Koicheva, Sava Muhtarov
Издател / Publisher: Ризома / Rhizome, София / Sofia

ISBN 978-619-90544-0-6

Translation rights, more information and a pdf file of the English translation are available on request.

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

Котката на ШрьодингЕР – Schrödinger’s Cat

Our first book project is ready and is being published these days:

Cat_S_cover

“Schrödinger’s cat, one of the most eccentric protagonists of quantum mechanics, philosophizes in a loud and lyrical manner over its schizophrenic state. Locked up in a box together with a deadly mechanism that can be triggered by the decay of a radioactive nucleus the cat is in a superposed, undecidable state: both dead and alive.

In this paradoxical and hopeless situation the cat begins to analyze itself at various levels. It realizes, for example, that its state of indecision and in-between-ness also bears terrific advantages: it frees from the responsibility to necessarily make a decision. To be – not to be, either – or, male – female, one cat – other cat, nothing but binary codes! Meow! The cat uses this unique opportunity to indulge in rhetorical games by mixing gender, political, cultural, linguistic and racial identity-related differences.

As fleet-footed and playful as a cat, the illustrations made by Victor Muhtarov, Tita and their son Sava lead us through the cat’s pamphlet full of profound black humor.”

Един от най-ексцентричните персонажи на квантовата механика, котката на Шрьодингер*, размишлява на глас, лирично, над шизофреничното си състояние. Затворено от Шрьодингер в кутия с летален механизъм съдържащ атомно ядро в период на полуразпад и отрова, котето, поради липса на алтернативи, е изпълнено с мазохистична любов към безпощадния си създател. То знае, че е част от мисловен експеримент, в който съдбата му е свързана със състоянието на полуразпадналото се атомно ядро. Докато кутията е затворена и наблюдателят не вижда развитието на събитията в нея то е ни живо – ни умряло.
Парадоксалната ситуация на котето, (което само по себе си е само една парадоксална мисъл на един учен) го подтиква към самоанализ на много различни нива. Оказва се, че състоянието на междинност и неопределеност има своите предимства. Отпада отговорността да се вземат решения, отваря се пространство за реторични игри и смесвания на полови, културни, политически, езикови и расови различия в идентичността. Вътрешните конфликти се появяват отново едва при случайната конфронтация с външни наблюдатели изискващи от котето да заеме конкретна позиция. Но диалозите с тях също така му помагат да достигне до новo, съществено прозрение: усещането за право на личен избор и мнение е илюзорно. Всичко зависи от състоянието на атомното ядро в механизма. При тези обстоятелства котето е просто един киборг, сливащ биологични и механични компоненти в една система. Спасение или изход за него може да има само ако системата се отвори.
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*Котката на Шрьодингер е мисловен експеримент от квантовата механика, представен от Ервин Шрьодингер през 1935 г., с цел да покаже, че пренасянето на понятия от квантовата механика в макросистемите, например обекти с размерите на котка, създава неочаквани проблеми. Според класическата физика, подлежаща основно на законите на Нютон, един обект от макроскопичния свят може да се намира само в едно от множество възможни състояния, а не в няколко състояния едновременно. В квантовата механика, за разлика от класическата физика, една частица може да се намира в няколко състояния едновременно.

(from the book’s FB page)

Котката на ШрьодингЕР – субатомен памфлет в реално време / Schrödinger’s Cat – a subatomic pamphlet in real time

Автор / Аuthor : Милена Г. Николова / Milena G. Nikolova
Илюстрации / Illustrations: Виктор Мухтаров, Тита Койчева, Сава Мухтаров / Victor Muhtarov, Tita Koicheva, Sava Muhtarov
Издател / Publisher: Ризома / Rhizome, София / Sofia

ISBN 978-619-90544-0-6

Information about the book launching event will follow. 

My special thanks to Milena, Victor, Tita, Sava, our editor Kris Enchev and of course to my co-publisher Elitsa Osenska to whom I am deeply indebted.

Translation rights, more information and a pdf file of the English translation are available on request.

© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.