"I toyed with an idea that I – as a decent Christian – never entertained before: what if the central signifier of all the metaphors and concepts of Christianity was not a beautiful, young, healthy but tortured male body... but a female body." - An interview from 2011 with the recently deceased poet, Szilárd Borbély.
Everybody who knows something about football (and that’s about two billion people) knows that Hungarian football is dead. It didn’t die just now—its condition gradually deteriorated, and in the end it didn’t even recognize itself in the hospital—but on this day it has been pronounced clinically dead.
An anthology of well-written, witty and self-critical pieces, reviving National Stereotypes in tasteful, if not always PC humour, written by young Hungarian academics, and now translated by Hungarian-American translator Paul Olchváry.
...there is one form of art that cannot become worn, that goes beyond everyday novelty, innovation. And this – in its content, the experience, its formulation, its captivating betrayal – is death. (...) It says something new to everyone, something which he has not yet come across. And this is the multiple gigabyte novelty. Unrivalled avant-garde itself.
After a certain number of performances, a production takes on a life of its own, and the critic is unable to review it as an isolated night of entertainment. It has become a continuum, an institution, evolving over time as a living creature would. Such is the case with Zoltán Egressy's two plays.
The protagonist in this book is communism itself, one of the most dominant ideas and historical practices of modernity. More precisely, the book is about what we in this country mean by communism: the daily practice of a dictatorship which was born with the idea of communism standing by its cradle.
"At times ruining is all it does. Ruin and ruin, Commonism is a ruin. The most interesting thing in Commonism, and this is truly interesting, is that everything is destroyed, and what is built up in place of the destruction, that work is in itself destruction."
Imre Kertész’s Dossier K was published in German last year by Rowohlt Verlag, in Kristin Schwamm’s translation. In November, the book ranked highest on the literary hit list of the Süd-West Deutsche Radio, and now it tops the list of Austrian radio and TV station ORF for December. The book has been extensively reviewed in the German press.
Zsuzsa Rakovszky's career as a writer spans 25 years, and she currently enjoys respected status as both poet and novelist. Only in the last few years has she begun writing prose, publishing two highly acclaimed novels. This year's publication of a volume of her collected poetry, Visszaút az idoben (A Way Back in Time), brackets the breadth of her poetic achievements.
Another Márai novel has appeared on the international literary scene. Two closely related novels by Sándor Márai have been recently published in French by Albin Michel under the title Métamorphoses d’un mariage, translated by Georges Kassai and Zéno Bianu. The critic of Le Point called the book a masterpiece.
Sándor Márai’s novel burst onto the literary scene at the Frankfurt Book Fair of 1999, thanks to the English and the German translations. In Hungarian the book is having its renaissance. Still, from time to time, we hear voices which talk, in tones of disapproval or apology, about it being overrated, bemoaning the stormy success of a work supposedly inferior to other pieces of the oeuvre.
93-year-old Hungarian poet Victor (Gyozo) Határ died on Monday afternoon in St. George’s Hospital in London. Only two weeks ago, Határ, who survived his wife by ten days, took part in a commemoration of the 50th anniversary of the Hungarian Revolution at St. James's Palace, where he read an excerpt in English from his reminiscences about the Revolution.