John Berger - G.

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G.: краткое содержание, описание и аннотация

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In this luminous novel — winner of Britain's prestigious Booker Prize — John Berger relates the story of "G.," a young man forging an energetic sexual career in Europe during the early years of this century. With profound compassion, Berger explores the hearts and minds of both men and women, and what happens during sex, to reveal the conditions of the Don Juan's success: his essential loneliness, the quiet cumulation in each of his sexual experiences of all of those that precede it, the tenderness that infuses even the briefest of his encounters, and the way women experience their own extraordinariness through their moments with him. All of this Berger sets against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898, the Boer War, and the first flight across the Alps, making G. a brilliant novel about the search for intimacy in history's private moments.

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Such ‘coincidences’ are not uncommon and everyone is more or less familiar with them. They offer us an insight into how approximate and arbitrary is our normal reading of time. Calendars and clocks are our inadequate inventions. The structure of our minds is such that the true nature of time usually escapes us. Yet we know there is a mystery. Like a never-seen object in the dark, we can feel our way over some of its surfaces. But we have not identified it.

The way my imagination forces me to write this story is determined by its intimations about those aspects of time which I have touched but never identified. I am writing this book in the same dark.

A SITUATION OF WOMEN

Up to then the social presence of a woman was different in kind from that of a man. A man’s presence was dependent upon the promise of power which he embodied. If the promise was large and credible, his presence was striking. If it was small or incredible, he was found to have little presence. There were men, even many men, who were devoid of presence altogether. The promised power may have been moral, physical, temperamental, economic, social, sexual — but its object was always exterior to the man. A man’s presence suggested what he was capable of doing to you or for you.

By contrast, a woman’s presence expressed her own attitude to herself, and defined what could and could not be done to her. No woman lacked presence altogether. Her presence was manifest in her gestures, voice, opinions, expressions, clothes, chosen surroundings, taste — indeed there was nothing she could do which did not contribute to her presence.

To be born woman was to be born within an allotted and confined space, into the keeping of man. A woman’s presence developed as the precipitate of her ingenuity in living under such tutelage within such a limited cell. She furnished her cell, as it were, with her presence; not primarily in order to make it more agreeable to herself, but in the hope of persuading others to enter it.

A woman’s presence was the result of herself being split into two, and of her energy being inturned. A woman was always accompanied — except when quite alone — by her own image of herself. Whilst she was walking across a room or whilst she was weeping at the death of her father, she could not avoid envisaging herself walking or weeping. From earliest childhood she had been taught and persuaded to survey herself continually. And so she came to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman.

A woman had to survey everything she was and everything she did because how she appeared to others, and ultimately how she appeared to men, was of crucial importance for her self-realization. Her own sense of being in herself was supplanted by a sense of being appreciated as herself by another. Only when she was the content of another’s experience did her own life and experience seem meaningful to her. In order to live she had to install herself in another’s life.

Men surveyed women before treating them. Consequently how a woman appeared to a man might determine how she would be treated. To acquire some control over this process, women had to contain it, and so they interiorized it. That part of a woman’s self which was the surveyor treated the part which was the surveyed, so as to demonstrate to others how her whole self should be treated. And this exemplary treatment of herself by herself constituted her presence. Every one of her actions, whatever its direct purpose, was also simultaneously an indication of how she should be treated.

If a woman threw a glass on the floor, this was an example of how she treated her own emotion of anger and so of how she would wish it to be treated by others. If a man had done the same, his action would only have been an expression of his anger. If a woman made good bread, this was an example of how she treated the cook in herself and accordingly of how she as a cook-woman should be treated by others. Only a man could make good bread for its own sake.

This subjunctive world of the woman, this realm of her presence, guaranteed that no action undertaken within it could ever possess full integrity; in each action there was an ambiguity which corresponded to an ambiguity in the self, divided between surveyor and surveyed. The so-called duplicity of woman was the result of the monolithic dominance of man.

A woman’s presence offered an example to others of how she would like to be treated — of how she would wish others to follow her in the way, or along the way, she treated herself. She could never cease offering this example, for it was the function of her presence. When, however, social convention or the logic of events demanded that she behave in a manner which contradicted the example she wished to give, she was said to be coquettish. Social convention insists that she should appear to reject something just said to her by a man. She turns away in apparent anger, but at the same time she fingers her necklace and repeatedly lets it drop as tenderly as her own glance upon her breast.

When she is alone in her room and sure of being alone, a woman may look at herself in a mirror and put out her tongue. This makes her laugh and, on other occasions, cry.

It was with a woman’s presence that men fell in love. That part of a man which was submissive was mesmerized by the attention which she bestowed upon herself, and he dreamt of her bestowing the same attention upon himself. He imagined his own body, within her realm, being substituted for hers. This was a theme which occurred constantly in romantic poems about unrequited love. That part of a man which was masterful dreamt of possessing, not her body — this he called lust — but the variable mystery of her presence.

The presence of a woman in love could be very eloquent. The way she glanced or ran or spoke or turned to greet her lover might contain the quintessential quality of poetry. This would be obvious not only to the man she loved, but to any disinterested spectator. Why? Because the surveyor and the surveyed within herself were momentarily unified, and this unusual unity produced in her an absolute single-mindedness. The surveyor no longer surveyed. Her attitude to herself became as abandoned as she hoped her lover’s attitude to her would be. Her example was at last one of abandoning example. Only at such moments might a woman feel whole.

The state of being in love was usually short-lived — except in unhappy cases of unrequited love. Far shorter lived than the nineteenth-century romantic emphasis on the condition would lead us to believe. Sexual passion may have varied little throughout recorded history. But the account one renders to oneself about being in love is always informed and modified by the specific culture and social relations of the time.

For the nineteenth-century European middle classes the state of being in love was characterized by a sense of excessive uncertainty in an otherwise certain world. It was a state exempt from the promise of Progress. Its characteristic uncertainty was the result of considering the beloved as though he or she were free. Nothing that was an expression of the beloved’s wishes could be taken for granted. No single decision of the beloved could guarantee the next. Each gesture had to be read for its fresh meaning. Every arrangement became questionable until it had taken place. Doubt produced its own form of erotic stimulation: the lover became the object of the beloved’s choice in full liberty. Or so it seemed to the couple in love. In reality, the bestowing of such liberty upon the other, the assumption that the other was so free, was part of the general process of idealizing and making the beloved seem unique.

Each lover believed that he or she was the willing object of the other’s unlimited freedom and, simultaneously, that his or her own freedom, so circumscribed until now, was at last and finally assured within the terms of the other’s adoration. Thus each became convinced that to marry was to free oneself. Yet as soon as a woman became convinced of this (which might be long before her formal engagement) she was no longer single-minded, no longer whole. She had to survey herself now as the future betrothed, the future wife, the future mother of X’s children.

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