George Szirtes

In The World Goes On, a narrator first speaks directly, then narrates a number of unforgettable stories, and then bids farewell (“Here I would leave this earth and these stars, because I would take nothing with me”). As László Krasznahorkai himself explains: “Each text is about drawing our attention away from this world, speeding our body toward annihilation, and immersing ourselves in a current of thought or a narrative...” A Hungarian interpreter obsessed with waterfalls, at the edge of the abyss in his own mind, wanders the chaotic streets of Shanghai. A traveler, reeling from the sights and sounds of Varanasi, India, encounters a giant of a man on the banks of the Ganges ranting on and on about the nature of a single drop of water. A child laborer in a Portuguese marble quarry wanders off from work one day into a surreal realm utterly alien from his daily toils. “The excitement of his writing,” Adam Thirlwell proclaimed in The New York Review of Books, “is that he has come up with his own original forms—there is nothing else like it in contemporary literature.”

In The World Goes On, a narrator first speaks directly, then narrates a number of unforgettable stories, and then bids farewell (“here I would leave this earth and these stars, because I would take nothing with me”). As László Krasznahorkai himself explains: “Each text is about drawing our attention away from this world, speeding our body toward annihilation, and immersing ourselves in a current of thought or a narrative…” A Hungarian interpreter obsessed with waterfalls, at the edge of the abyss in his own mind, wanders the chaotic streets of Shanghai. A traveler, reeling from the sights and sounds of Varanasi, India, encounters a giant of a man on the banks of the Ganges ranting on the nature of a single drop of water. A child laborer in a Portuguese marble quarry wanders off from work one day into a surreal realm utterly alien from his daily toils. The World Goes On is another amazing masterpiece by the winner of the 2015 Man Booker International Prize. “The excitement of his writing,” Adam Thirlwell proclaimed in The New York Review of Books, “is that he has come up with his own original forms—there is nothing else like it in contemporary literature.”

The Last Wolf (translated by George Szirtes) is Krasznahorkai in a maddening nutshell–it features a classic obsessed narrator, a man hired (by mistake) to write the true tale of the last wolf of Spain. This miserable experience (being mistaken for another, dragged about a cold foreign place, and appalled by a species’ end) is narrated— all in a single sentence—as a sad looping tale, a howl more or less, in a dreary Berlin bar to a patently bored bartender.

Herman (translated by John Batki), “a peerless virtuoso of trapping who guards the splendid mysteries of an ancient craft gradually sinking into permanent oblivion,” is asked to clear a forest’s last “noxious beasts.” He begins with great zeal, although in time he “suspects that maybe he was ‘on the wrong scent.’” Herman switches sides, deciding to track entirely new game…

Already famous as the inspiration for the filmmaker Béla Tarr’s six-hour masterpiece, Satantango is proof, as the spellbinding, bleak, and hauntingly beautiful book has it, that “the devil has all the good times.” The story of Satantango, spread over a couple of days of endless rain, focuses on the dozen remaining inhabitants of an unnamed isolated hamlet: failures stuck in the middle of nowhere. Schemes, crimes, infidelities, hopes of escape, and above all trust and its constant betrayal are Krasznahorkai’s meat. “At the center of Satantango,” George Szirtes has said, “is the eponymous drunken dance, referred to here sometimes as a tango and sometimes as a csardas. It takes place at the local inn where everyone is drunk. . . . Their world is rough and ready, lost somewhere between the comic and tragic, in one small insignificant corner of the cosmos. Theirs is the dance of death.” “You know,” Mrs. Schmidt, a pivotal character, tipsily confides, “dance is my one weakness.”

Today, Tibor Déry is venerated as one of the most important literary figures of Hungary and, like Chekhov, a master of the modern short story. Love and Other Stories, presents some of Déry’s finest work. In “Games of the Underworld,” ordinary people in Budapest try to survive the winter of war in cramped cellars and encounter menacing Arrow-Cross men, a towering giant, a blind horse, a vinegar sponge; in “The Circus,” a group of bored children transmogrifies into a grotesque spectacle; in “Love,” a political prisoner is released after seven years and returns home to his wife and son. George Szirtes, the award-winning translator from the Hungarian and winner of the 2004 T.S. Eliot Prize for poetry, gives a brilliant introduction to this visionary collection that deals passionately with questions of responsibility and conscience, of social justice and renewal.

The Melancholy of Resistance, László Krasznahorkai’s magisterial, surreal novel, depicts a chain of mysterious events in a small Hungarian town. A circus, promising to display the stuffed body of the largest whale in the world, arrives in the dead of winter, prompting bizarre rumors. Word spreads that the circus folk have a sinister purpose in mind, and the frightened citizens cling to any manifestation of order they can find — music, cosmology, fascism. The novel’s characters are unforgettable: the evil Mrs. Eszter, plotting her takeover of the town; her weakling husband; and Valuska, our hapless hero with his head in the clouds, who is the tender center of the book, the only pure and noble soul to be found. Compact, powerful and intense, The Melancholy of Resistance, as its enormously gifted translator George Szirtes puts it, “is a slow lava flow of narrative, a vast black river of type.” And yet, miraculously, the novel, in the words of The Guardian, “lifts the reader along in lunar leaps and bounds.”

Anna Édes is a dark and deeply moving naturalistic novel, a classic work of twentieth-century Hungarian literature. A skillful portrayal of the cruelty and emptiness of bourgeois life, it was first published in 1926 and enthusiastically received by the intellectual coffee-house society through which it circulated. The novel was later acknowledged by authors such as Thomas Mann as a model of language and form, and in turn established Dezso Kosztolanyi as one of the most significant writers of Eastern European fiction. Anna is the hard-working and long-suffering heroine, the unhappy maid destroyed by her pitiless employers. Her tragic relationship with them is played out against the political turbulence in Budapest following the First World War. Yet her endurance and revenge are depicted with keen psychological as well as historical insight, becoming, in the words of the translator, “not merely an argument about social conditions but raised to genuine tragedy.”