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.
Esterházy’s talent goes way beyond postmodernist textual plays and is indeed capable of shedding light into the unknown nooks and corners of the human soul, the dwelling-place of trivial yet mysterious things like the relationship of mother and son, the metaphysics of rooting or the freedom of fiction against the tyranny of facts.
"A big motivation for me in writing The Sisters Brothers was to do things you don't normally see in the
western genre. Typically, for example, the killers in a western are
nearly mute, and sort of stupid, or cruel. So I made my killer
protagonist a talkative, smart, poetic neurotic."
Nobody quite knew how the war between werebears and carnivorous boars had started. The boars figure it was bears that started it, the bears figure it was boars. The werebears told how on a very cold day in winter, when snow was too deep for the boars to burrow down for roots, when hunger and cold had driven them into a cave, they came across a sleeping bear and devoured it.