László Krasznahorkai

The World Goes On

Fiction by László Krasznahorkai

Translated from the Hungarian by George Szirtes Ottilie Mulzet John Batki

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The Last Wolf & Herman

Fiction by László Krasznahorkai

Translated from the Hungarian by George Szirtes John Batki

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Seiobo There Below

Fiction by László Krasznahorkai

Translated from the Hungarian by Ottilie Mulzet

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Satantango

Fiction by László Krasznahorkai

Translated from the Hungarian by George Szirtes

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Animalinside

Fiction by László Krasznahorkai

Translated from the Portuguese by Ottilie Mulzet

With a contribution by Colm Tóibín

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War & War

Fiction by László Krasznahorkai

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The Melancholy of Resistance

Fiction by László Krasznahorkai

Translated from the Hungarian by George Szirtes

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Krasznahorkai questions language, history, and what we take to be facts, all the while rocketing from one corner of the world to the next, from Budapest to Varanasi to Okinawa…

Kirkus Review

The book, a collection of two short stories, acts as a distillation of Krasznahorkai’s essential themes: apocalypse and the death of innocent violence.

—Jake Romm, The New Inquiry

László Krasznahorkai is the undisputed laureate of our deranged, vulnerable epoch.

—Eileen Battersby, The Irish Times

Krasznahorkai’s method is to examine reality “to the point of madness” and he does so with majestic style and black comedy.

—Luke Brown, Financial Times

Together, ‘The Last Wolf’ and ‘Herman’ raise a set of spiritual questions that affirms their author as one of the most important — and eccentric — writers working today.

—Hari Kunzru, The Spectator

Krasznahorkai shows himself to be a writer of immense talent, capable of creating stories that are both unforgettably visceral and beautiful on the page.

—Claire Kohda Hazelton, The Guardian

Don’t underestimate the pair; they might look flimsy enough to finish during a long commute but they’ll haunt you — or perhaps hunt you — long after the final full-stop has been left behind.

—Jeva Langer, Electric Literature

Slow, relentless forces permeate the world of László Krasznahorkai; his characters are subject to glacial currents that bear them ever onwards, an inch at a time, toward a horizon they constantly imagine but never actually behold. In so doing, they cry, or laugh, or cry laughing, or carry out the timeworn repetitions that make a life, until the moment they come up against the horizon.

—Camille Dajewski, Music & Literature

A seminal author of our time.

The Quarterly Conversation

All hope abandon ye who enter here. Beach readers beware; gloom lies ahead.

The Millions

Two short but maddeningly complex fictions by the Hungarian master of the postmodern… Somewhere James Joyce is smiling. Krasznahorkai is a writer who, though difficult, demands greater recognition by readers outside Hungary.

Kirkus Reviews

Both the novellas in The Last Wolf and Herman, have an eerie, looking-glass quality. They are also very short—excellent gateway drugs to Krasznahorkai’s work… As the very best fiction always does, they bring another world—an alien world, let’s say—into our own.

—Christine Smallwood, Harper’s

László Krasznahorkai is a visionary writer of extraordinary intensity and vocal range who captures the texture of present-day existence in scenes that are terrifying, strange, appallingly comic, and often shatteringly beautiful: magnificent works of deep imagination and complex passions, in which the human comedy verges painfully onto transcendence.

—Marina Warner, Announcing The 2015 Man Booker International Prize

A Hungarian modernist whose sentences wind and unwind and rewind, creating what one translator described as ‘a slow lava-flow of narrative, a vast black river of type.’ A fitting winner of the 2015 Man Booker International prize.

The Economist

Krasznahorkai, the poet of the Apocalypse, stands alone relentlessly, if gleefully, offering wonders.

—Eileen Battersby, The Irish Times

It is larger than the universe.

The Nation

An inexorable, visionary book by the contemporary Hungarian master of apocalypse who inspires comparison with Gogol and Melville.

—Susan Sontag

An inexorable, visionary book by the contemporary Hungarian master of apocalypse who inspires comparison with Gogol and Melville.

—Susan Sontag

László Krasznahorkai has given us a work that shimmers under a prism of hidden meanings. Our task is to connect the dots, experience the mystery of the text, and embrace moments of bewilderment with patience, openness, and preparation for a deeply meaningful encounter.

—Stephanie Newman, The Millions

Finishing Seiobo There Below is like walking out of a cathedral: its parting gift is a ringing in the ears. This book is magnificent and will outlive interpretation.

—Madeleine LaRue, The Coffin Factory

Tinged both with sadness and an anxiety about the capability of language, this brilliantly ambitious novel, like the tragic poetry of one of its characters, becomes a ‘ravishing cadenza.

Publishers Weekly

Krasznahorkai is an expert with the complexity of human obsessions. Each of his books feel like an event, a revelation, and Seiobo There Below is no different.

The Daily Beast

Seiobo There Below places upon us readers the same demands of all great art, and allows us to grasp a vision of painstaking beauty if we can slow ourselves down to savor it.

NPR Books

The excitement of Krasznahorkai’s writing is that he has come up with his own original forms — and one of the most haunting is his first, Satantango There’s nothing else like it in contemporary literature

—Adam Thirwell, The New York Review of Books

Linguistically [Satantango] is a stunning novel, but it’s tough going, an hours-long slog through mud and meaninglessness and superstition that will leave an indelible mark on anyone who gets through it.

The Telegraph [UK]

Krasznahorkai produces novels that are riveting in their sinewy momentum and deeply engaging in the utter humanity of their vision.

The Dublin Review of Books

Krasznahorkai’s sentences are snaky, circuitous things, near-endless strings of clauses and commas that through reversals, hesitations, hard turns and meandering asides come to embody time itself, to stretch it and condense it, to reveal its cruel materiality, the way it at once traps us and offers, always deceptively, to release us from its grasp, somewhere out there after the last comma and the final period: after syntax, after words.

The Nation

Krasznahorkai is a poet of dilapidation, of everything that exists on the point of not-existence. He draws a community of oddballs and obsessives trying desperately to combat the passage of time as everything around them sinks into the mud of an endless rain.

The Independent

Satantango is a brilliant, original and unsettling work; it is also a product of it’s time and place.

The Quarterly Conversation

A writer without comparison, László Krasznahorkai plunges into the subconscious where this moral battle takes place, and projects it into a mythical, mysterious, and irresistible work of post-modern fiction, a novel certain to hold a high rank in the canon of Eastern European literature.

The Coffin Factory

A bruising study of expectation and failure.

Bookslut

Krasznahorkai proves himself to be capable of bringing anything to life, and Satantango’s pages are teeming with it.

Critical Mob

His wry, snake-like sentences produce — or unspool — layer upon layer of psychological insight, metaphysical revelation, and macroscopic historical perspective.

L Magazine

He is obsessed as much with the extremes of language as he is with the extremes of thought, with the very limits of people and systems in a world gone mad — and it is hard not to be compelled by the haunting clarity of his vision.

—Adam Levy, The Millions

He offers us stories that are relentlessly generative and defiantly irresolvable. They are haunting, pleasantly weird and, ultimately, bigger than the worlds they inhabit.

—Jacob Silverman, The New York Times Book Review

Krasznahorkai’s mastery of structure, character, and language is matched by his ability to simultaneously weave all three together; readers can feel themselves physiologically immersed in the world of the book, itself a finely orchestrated system.

The New Inquiry

A writer without comparison, László Krasznahorkai plunges into the subconscious where this moral battle takes place, and projects it into a mythical, mysterious, and irresistible work of post-modern fiction, a novel certain to hold a high rank in the canon of Eastern European literature.

The Coffin Factory

Intense and uncompromising.

—W.G. Sebald

This is a book about a world into which the Leviathan returned. The universality of its vision rivals that of Gogol’s Dead Souls and far surpasses all the lesser concerns of contemporary writing.

—W.G. Sebald
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