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.
How can one, in spite of all the doubts and technical obstacles, tell the story of someone growing up in Budapest and its surroundings during the 60s and the 70s? How can one create a classically structured story with the help of modern and even postmodern techniques?
"...if you’re Hispanic you’re not expected to be clever, but interesting and exotic." – The Catalan philosopher Xavier Rubert de Ventós was the guest of his Hungarian publisher Typotex and the Cervantes Institute in Budapest on the occasion of the Hungarian release of his book Por que filosofia?
Published last year in English in Tim Wilkinson's translation, László Fábián’s experimentalist 1976 novel mirrors the pantheistic world of a highly sensitive child gradually maturing into an artist, who identifies with the great explorer, Roald Amundsen.
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