Ervin Lázár is the creator of a genre we may safely call
Central European folk surrealism, which takes on the quality of a
hallucinatory exploration into that part of the soul where beauty, hope,
and yearning live in close proximity with the harsh realities of life.
Blood-sucker and tale-teller: Noémi Szécsi’s latter-day vampire girl is a combination of the eastern European and the Indian vampire. - Ottilie Mulzet's review on The Finno-Ugrian Vampire, recently published in English.
”It irritates me more than anything when the translator takes upon herself or himself to redress a political imbalance by mangling a perfectly open text just to show that they are not simply co-opting it.” – Poet-translator George Szirtes answers questions by HLO’s brother site, Litera, as part of a series of interviews with translators.
"And that is when I knew for sure what she was thinking: Father had died, he’d wasted away once and for all at one of the labour camps along that faraway canal that hooked up with the Danube, the Danube Canal, it was called."
In the first half of the 1960s, when I was born, and in the second half of the decade, when my memories begin, the village was entering the final phases of its narrative, bitter, sad, already less idyllic, weighted down by strains. The deep fissure, however, was not drawn between the village and the world outside the village, but within the village itself.