A wide selection of writers are rarely included in synopses of
contemporary Hungarian fiction despite being in the vanguard of the
‘quiet revolution’ of the early
Seventies and in many cases remaining highly (and rewardingly)
productive to the present day.
World Theatre Day, which this year will be officially celebrated on Sunday March 27th, is to be marked in Budapest one day in advance by a performance due to be broadcast at 20:04 hrs on Hungarian Radio 1 of an extract from a new piece based on real and imaginary writings by Kafka that is taking shape under the overall guidance of its original conceiver, Tibor Szemző.
The decade-old Street Music Festival features a distinctive, essential link between festival and location, performance and audience: busking. Here music is a street art, and if you aren't a musician playing or carrying an instrument, you'll probably start wishing you'd brought one along.
Celebrated postmodern author Péter Esterházy is currently making Hungarian literary headlines in more contexts than one. Beside the timely billowing of birthday laudations as Esterházy turns 60 this Wednesday, his infamously liberal use of borrowed "guest texts" has also been getting a considerable share of public lambasting recently. Whether or not a fair share is a matter of renewed debate.
The commander of the death-squad personally responsible for the murder of Miklós Radnóti – perhaps the greatest poet of the Holocaust well known in English translation – escaped retribution for the deed. His remains rest in official burial grounds reserved for the heroes of the Hungarian Republic.
Nobody quite knew how the war between werebears and carnivorous boars had started. The boars figure it was bears that started it, the bears figure it was boars. The werebears told how on a very cold day in winter, when snow was too deep for the boars to burrow down for roots, when hunger and cold had driven them into a cave, they came across a sleeping bear and devoured it.