When renowned film director Péter Gárdos wrote the story, he intended it as a film script, but eventually he made it into a novel. “Fever at Dawn,” the love story of two Holocaust survivors―the author’s parents―has ever since sold in more than 20 territories.
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.
"The society, it seems to me, invented the Kádár era long before Kádár
and company realized this. The tragic fact is that many people were
executed in order to intimidate the society when all the regime should
have done is to make a compromise." - We talked to György Spiró, the author of Spring Collection, about 1956 and the power games of the early Kádár era.
"As the pigeon-in-underwear – which is what I had called him – came closer, I stooped down to get a better look. And indeed, between its legs there really was some kind of filmy material, which, when the bird was in flight, hung down from the chafed leg. I waited motionless for the pigeon to come closer: the material was a hairnet."
Edith talks to herself about the way the delta discharges into the Black
Sea and the river is finally let go. There is no gripping at it, no dry
land anywhere; the Danube is able to breathe again. There is shooting, Edith topples into the Danube. Slowly, the
way she had learned by eye in the mirror, the body splashing with a
subdued plop into the Danube, with blood oozing profusely into the