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 prose, especially fiction, Arte Povera is a tough style to sell. Iván Mándy’s late work, quintessentialized by the novella Left Behind, shares qualities with not only Arte Povera but also with the beatup Baluch nomad prayer rug you hang on your wall after giving it a good wash and overcasting its edges with brown wool. Treasures found in the dust, dusted off, begin to shine in the thoughtful beholder’s eye.
In this latest addition to the series of interviews on our sister website Litera, Tim Wilkinson looks back on his career as a literary translator while also discussing his personal dreams and revealing which works have offered the greatest challenges, yet still proved to be the most rewarding.
Halász' theatre was a non-imitational one. He never wanted, nor was he able, to pretend that he is someone else but himself. His theatre was born out of an inner freedom, not hard work, not something that can be regulated, rehearsed and repeated.