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.
Örkény brought something radically new to literature by creating fantastic realism, which appeared to be the only valid and viable formal solution to fit a reality that had turned completely fantastic and absurd. Behind each of the almost Dadaistic situations he depicts, we sense the workings of history.
One of the most acclaimed representatives of francophone literature,
Agota Kristof was awarded the most prestigious Hungarian state prize. When she
visited Hungary last year, she thought she would never come back again,
but now she came to take the award. We talked to Agota Kristof in Budapest.
Many authors had written in many different ways about 1989 and its effect on politics and world history. Vágvölgyi takes a different angle as young supporting character and witness of the times: he approaches the Hungarian system change from the far end of the Cold War, creating a genre and rewriting the frontier lines.
It was 1956. In those days, nobody stole. The murderers who had left prison did not murder, the robbers did not rob. The moral level of the entire nation remained on a higher plane, everyone rose above themselves. In this aspect, 1956 was not just a republican moment in the life of Hungary, but an invigourating moral celebration as well.