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.
In advance of Imre Kertész’s first public appearance in Great Britain on 5 March at the Jewish Book Week, it seemed worth gathering together a handful of references that he has made to the English in various published works. This is mostly because they carry an amusingly equivocal edge, but they also highlight a few of the difficult choices translators sometimes face.
If there were a God, and if he had time to cast a glance into the married lives of couples in Budapest, his cheeks would flush red with shame, assuming he had cheeks, assuming he were not merely a waft of air like most spirits. Course he’d immediately deny all responsibility, since marriage was not part of his original design. Man had invented it, cause man had thought it would be a good idea.
Viktor Bodó claims to have used György Petri's translation of Molière's Don Juan for his new production staged in the Katona József Theatre, The Great Sganarelle and Co. Yet it seems as though Don Juan merely provided the original inspiration for Viktor Bodó to set about transplanting this mythic figure to a modern urban setting.