Intense and uncompromising.
—Nitsuh Abebe, NYT Magazine
Laszlo Krasznahorkai does many fascinating things with his prose, and one of the most striking is [this]: Starting a sentence hopefully, trying to say this or that, and then traveling inexorably, one clause after another, to the bleak and totalizing conclusion that all is lost, nothing is real, the world is intolerable. Like Beckett, it’s much funnier than you’d think.
—Idra Novey, New York Times Book Review
Krasznahorkai constantly pushes beyond the expected, escalating everything to the brink of deliriousness.
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…
—Eileen Battersby, The Irish Times
László Krasznahorkai is the undisputed laureate of our deranged, vulnerable epoch.
—Luke Brown, Financial Times
Krasznahorkai’s method is to examine reality “to the point of madness” and he does so with majestic style and black comedy.
—Claire Kohda Hazelton, The Guardian
Krasznahorkai shows himself to be a writer of immense talent, capable of creating stories that are both unforgettably visceral and beautiful on the page.
—Camille Dajewski, Music & 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.
—The Quarterly Conversation
A seminal author of our time.
All hope abandon ye who enter here. Beach readers beware; gloom lies ahead.
—Marina Warner, Announcing The 2015 Man Booker International Prize
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.
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.
—Eileen Battersby, The Irish Times
Krasznahorkai, the poet of the Apocalypse, stands alone relentlessly, if gleefully, offering wonders.
—Stephanie Newman, The Millions
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.
—The Daily Beast
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.
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.
—Adam Thirwell, The New York Review of 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
—The Telegraph [UK]
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 Dublin Review of Books
Krasznahorkai produces novels that are riveting in their sinewy momentum and deeply engaging in the utter humanity of their vision.
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.
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 Quarterly Conversation
Satantango is a brilliant, original and unsettling work; it is also a product of it’s time and place.
Krasznahorkai proves himself to be capable of bringing anything to life, and Satantango’s pages are teeming with it.
His wry, snake-like sentences produce — or unspool — layer upon layer of psychological insight, metaphysical revelation, and macroscopic historical perspective.
—Adam Levy, The Millions
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.
—Jacob Silverman, The New York Times Book Review
He offers us stories that are relentlessly generative and defiantly irresolvable. They are haunting, pleasantly weird and, ultimately, bigger than the worlds they inhabit.
—The New Inquiry
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 Coffin Factory
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.
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.