Nei tre stati maggiormente coinvolti tra i 7 e i 9 milioni di persone vivono in territori dichiarati contaminati. In Bielorussia si registrano ogni anno diec Her books consist almost entirely of other people’s words, which is why the Nobel committee described them as ‘polyphonic’. What Alexievich does is to tape long interviews with chosen subjects, record group conversations and make notes of random remarks overheard in the marketplace or on the bus. She then edits the material and stitches it together. She is not the first to use this technique. The late Studs Terkel collected the stories of ‘ordinary’ Americans, and oral history has become a recognized discipline. But she is certainly its most powerful – and political – exponent. It is the author's strength to put those silent voices on loudspeaker, to let them have their say, to let them show "the others" what it was really like to live through a nuclear accident. Alexievich gives literature a democratic touch, not putting her creativity in focus, but rather her empathy for the different people she encounters. Her literary skills lies in the careful collection and arrangement of the disparate voices to a reading experience of unique character. Alexievich retreats into the wings to let her subjects speak. But this is the art that conceals art. Her editor's flair for selection, contrast and emphasis, her almost cinematic touch with cuts, pans and close-ups, make her a documentary virtuoso Boyd Tonkin, Spectator

Voces de Chernóbil, no es la historia de que pasó el fatídico 26 de abril de 1986, de eso, como lo dice la misma Svetlana, ya hay muchos otros libros. Este es el relato de después. La historia de los “sobrevivientes”. Acá, aunque se habla de la muerte (¿y cómo no hacerlo?), el protagonismo lo tienen las emociones de cada uno de los entrevistados -viudas, liquidadores, madres, niños, campesinos, ingenieros- su culpa, amor, miedo y aceptación. Su desesperanza. In a series of heartrending monologues the people of Chernobyl describe what happened to them and their families. These stories are not easy reading; they can only be read slowly, seriously and with deep sorrow. I can’t write anything more meaningful than what the sufferers themselves have already said. Please listen to their voices: We came home. I took off all the clothes that I had worn there and threw them down the trash chute. I gave my cap to my little son. He really wanted it. And he wore it all the time. Two years later they gave him a diagnosis: a tumor in his brain…you can write the rest of this yourself. I don’t want to talk anymore. Durante la Seconda Guerra Mondiale è morto un bielorusso su quattro: oggi un bielorusso su cinque vive in zone contaminate. 2,1 milioni di persone, tra cui 700.000 bambini.

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Todos podemos cerrar los ojos e imaginar la guerra. Hemos crecido rodeados de ella, la hemos visto en el cine, en los libros, documentales y noticias. La Primera Guerra Mundial, la Segunda, la Guerra del Golfo, la Guerra Fría, Irak, Irán, Vietnam, Ruanda, Sudán, Afganistán... La lista es infinita. Nos hemos vuelto indolentes, nos parece normal. Nos hemos acostumbrado a las matanzas y nos hemos acostumbrado a la muerte, pero lo que este libro nos muestra va mucho más allá. Somos testigos de una realidad más devastadora que cualquier ciencia ficción. Te abre los ojos a un mundo donde lo que todos damos por sentado no es posible: bañarse en la lluvia o el río, disfrutar el olor de las flores, comer los frutos de los arboles, recostarte en la arena a tomar el sol. Un mundo donde cada sonrisa y cada animal es un milagro. ¿Lo peor? No es invención, es nuestro mundo.

Desperately important and impossible to put down. It is timeless and has sparked so much thought about infinity, sacrifice, love and unspeakable grief. . . what shines clear from the testimonies is love - love which can make you do the most spectacular things Sheena Patel, Observer LAST year, Svetlana Alexievich was awarded the Nobel Prize in Literature “for her polyphonic writings, a monument to suffering and courage in our time”. Alexievich – the first Belarusian and the first journalist to win the prize – creates collections of vital testimonies, collages of valuable personal experience, relating to transformative trials and ruptures in Soviet history. A chronicle of the past and a warning for our nuclear future, Chernobyl Prayer shows what it is like to bear witness, and remember in a world that wants you to forget.

Catastrophe's witnesses: review of Chernobyl Prayer by Svetlana Alexievich

The prologue of the book is in fact the first interview, with the widow of a fireman who arrived at the plant a short time after the explosion. Until now, I've never heard such a heartbreaking story. I doubt anyone who reads this interview, will ever be able to forget it. Dopo Černobyl’ il paese ha perduto 485 tra cittadine e villaggi. Di questi, 70 sono stati interrati per sempre.

Born in 1948 in Ivano-Frankivsk, in modern-day Ukraine, Alexievich grew up in southern Belarus. Her parents’ village was “100-odd” kilometres away from Chernobyl. Her father was Belarusian and her mother Ukrainian; for four generations her family were village schoolteachers. “My father was an important person, the director of the school. He could talk to anybody – simple or educated. He liked chess, fishing and beautiful women,” she says. I ask if her flair for happiness – it breathes through her work – comes from her childhood. “It’s the sum of our genes,” she says. Eski Mısır'da hayvanların insanlardan şikayetçi olma hakkı varmış. Piramitlerde günümüze ulaşan papirüslerden birinde şöyle yazar: "Hiçbir boğa N.den şikayetci olmamıştır."Ölüler alemine doğru yola çıkmadan evvel Mısırlılar, içindeki şu ifadelerin yer aldığı bir dua edermiş: Hiçbir canlıya zarar vermedim.Hiçbir hayvanın tahılını ya da samanını almadım,sf.55 In the absence of a Chernobyl narrative, the makers of the series have used the outlines of a disaster movie. There are a few terrible men who bring the disaster about, and a few brave and all-knowing ones, who ultimately save Europe from becoming uninhabitable and who tell the world the truth. It is true that Europe survived; it is not true that anyone got to the truth, or told it. La notte del 26 aprile 1986 all’una, 23 minuti, 58 secondi vi fu la prima serie di esplosioni, l’inizio del più grande disastro tecnologico del XX secolo.The most controversial aspect of the show when it comes to truth and fiction is the science – the show’s depictions of the level and effects of exposure to ionizing radiation around Chernobyl, and the long-term consequences of the accident. This is where it gets really complicated. Coro de niños...: ¡Mamita, no puedo más! ¡Es mejor que me mates! ...Los médicos han dicho que me he puesto enferma porque mi padre trabajó en Chernóbil. Y yo nací después de aquello. Yo quiero a mi padre... Nos moriremos y nos convertiremos en ciencia —decía Andréi...Nos moriremos y se olvidarán de nosotros —así pensaba Katia...Cuando me muera, no me enterréis en el cementerio; me dan miedo los cementerios, allí solo hay muertos y cuervos. Mejor me enterráis en el campo—nos pedía Oxana...—Nos moriremos —lloraba Yulia...Para mí el cielo está ahora vivo, cuando lo miro. Ellos están allí.”

Bu kitap ile daha ayrıntılı bir yorum yapabilmeyi çok isterdim. Belki zamanı gelince döner tekrardan yaparım. Değinmek istediğim, altını çizerek vurgulamak istediğim çok fazla şey konusu. Ama, birşeyler boğazımı sıkıyor.Çernobil Duası canlı bir dystopia örneği. Ve etkisi ne yazık ki hala nesiller ve doğa içinde devam ediyor. It would be harder to show a system digging its own grave instead of an ambitious, evil man causing the disaster. In the same way, it’s harder to see dozens of scientists looking for clues when you can just create a single fantasy character who will have all the good disaster-fighting traits. This is the great-men (and one woman) narrative of history, where it’s a few steps, a few decisions, made by a few men that matter, rather than the mess that humans make and from which they suffer. Chernobyl Prayer was first published in Russian in 1997; a revised, updated edition was released in 2013. The American translation was awarded the 2005 National Book Critics Circle Award for general non-fiction. [2] Adaptations [ edit ] There are ten million Belarussians, and two million of us live on poisoned land. It’s a huge devil’s laboratory."Like all of Alexievich’s works, Chernobyl Prayer is based on documentary interviews with eyewitnesses – in this case survivors of a cataclysm that saw 50m curies of radiation dumped into the atmosphere. They include rescue workers, helicopter pilots, Communist party bosses, scientists and villagers forcibly evacuated by the authorities from “the zone”, as it became known. Is Alexievich happy, I wonder? She smiles and replies: “I have a daughter and a granddaughter. She is 10. She calls me Sveta. We are good friends.” Alexievich says she understands the “very aggressive” response from the post-Soviet Union’s twin strongmen. She has openly condemned the 2014 conflict in Ukraine, and describes it as “an occupation and war unleashed by Russia”. Belarus under Lukashenko, she says, has become a “small totalitarian reservation” inside Europe. Putin and Lukashenko are classic despots, with Ozymandian tendencies. “Both think they are some kind of messiah,” she observes. Other witnesses recount how they were evacuated from their homes but instructed to leave behind their animals, crops and belongings. Some recall being stoic (“We survived Stalin, survived the war!”), others feared the worst. Particularly fascinating are the accounts of soldiers tasked with the clean-up operation – a job which came to include shooting pets, felling trees, catching looters and burying food, houses and sometimes whole villages.