15 July 13 | Chad W. Post | Comments

Over at the Literature Across Frontiers website, there’s a great interview with everyone’s favorite apocalyptic writer, László Krasznahorkai:

[. . .] First I wanted to talk to him about another work of his, Animalinside, a beautifully published pamphlet (in The Cahiers Series) of a collaboration between the author and the German painter, Max Neumann.

James Hopkin: What was the idea behind this work that alternates paintings of a black dog with your words?

László Krasznahorkai: I wanted to look at a picture so long until I could look at it no more and after that to write about what I saw in this picture and after that I would show this text to the painter, and the painter, perhaps, could make a new version of this painting, like a response, and after that I would write again, and so on, and so would come a dialogue, and perhaps from this material we could make something.

To begin with, I wrote a short text about this picture, because this picture deals with the bad, and I couldn’t be free of this picture, because I understand that it is not a solution to drop out because something stays forever, so the best way was to write about it. I had a plan to write about the ‘new brutale’ and that’s why, the next day, I went to Max Neumann, the painter, and I made a small translation of my text into German, and Max was very satisfied, very excited, but he said absolutely nothing.

A few days later, he called me: can you come to my atelier this afternoon? And he showed me the second version of his painting. It was unbelievable because I didn’t talk about this plan to him. So I wrote a text about the second picture and I translated it into German for him, and so on, for 14 pictures and 14 texts. Why 14? That’s so easy to explain. I had a feeling that 13 is not enough and 15 is too many.

When it was finished, I had a problem with this project: is it possible to paint about the bad, to write about the bad – Will we pay for that? If yes, when? The texts, like the picture, were quite hard. Because I understood immediately from the beginning that to give a form to the bad is only possible when you are inside, from outside there is no chance, but from inside, it has some…it is a little bit dangerous, I felt. I kept thinking, or somebody or something kept speaking to me in only one sentence, ‘about the bad, people have to speak’, ‘about the bad, people have to speak.’

[And he utters this mantra two more times, his voice fading to a whisper until his lips are moving and there is no sound.]

That’s the story of AnimaIinside.

JH: Could you say something more about your idea of ‘the new Brutale’?

LK: You know this kind of bad, in the form of brutality, always comes back and back in the pose of history, and this is such a time, and the brutal is on the street, and absolutely free on the street; the only thing I can do in our defence is to write.

JH: So writing becomes a form of resistance?

LK: In this case, yes. Normally, I have never done anything like that. My other novels and short stories are absolutely different. Animalinside is a shout. And it is the first collaboration in my life. And perhaps the last. But very interesting.

JH: But you collaborate on films with Béla Tarr. [If you haven’t seen Werckmeister Harmonies, Tarr’s rendering of Krasznahorkai’s novel, The Melancholy of Resistance, I strongly recommend it.]

LK: That’s different, because a movie has only one director, and he’s responsible for the film. Of course, I am not a scriptwriter. The films are almost always made from my books, except one. I draw for Béla the philosophical background of our question, day and night, day and night, that’s our method of collaboration. I never want a literary adaptation, never, because it is absolutely unnecessary for me. A book by me does not need an adaptation.

It’s a nice thing that somebody, Béla Tarr, has a mania, a wish, always to make a movie from Krasznahorkai’s works and that’s why I think: ok I will try to understand why he thinks that this new movie is absolutely necessary. When I have understood that, my second question is: what kind of movie is he thinking about from my book? When I have understood that, my third and last question to myself is: how can I help Bela? My aim is to help his imaginative power.

In Béla’s last movie, ‘The Turin Horse’, from my early essay about a day in Turin with Nietzsche, I had a different question: Ok, we know everything about Nietzsche, about the man, the owner of the horse, but nobody wondered what happened to the horse. Why not? I wrote about that.

Be sure and check out the whole interview — it’s well worth it.

....
I Called Him Necktie
I Called Him Necktie by Milena Michiko Flašar
Reviewed by Christopher Iacono

While looking back at an episode in his life, twenty-year-old Taguchi Hiro remembers what his friend Kumamoto Akira said about poetry.

Its perfection arises precisely from its imperfection . . . . I have an image in my head. I see. . .

Read More >

Return to Killybegs
Return to Killybegs by Sorj Chalandon
Reviewed by Vincent Francone

The central concern of Sorj Chalandon’s novel Return to Killybegs appears to be explaining how a person of staunch political activism can be lead to betray his cause, his country, his people. Truth be told, the real theme of the. . .

Read More >

The Last Days
The Last Days by Laurent Seksik
Reviewed by Peter Biellp

Spoiler alert: acclaimed writer Stefan Zweig and his wife Lotte kill themselves at the end of Lauren Seksik’s 2010 novel, The Last Days.

It’s hard to avoid spoiling this mystery. Zweig’s suicide actually happened, in Brazil in 1942, and since then. . .

Read More >

Selected Stories
Selected Stories by Kjell Askildsen
Reviewed by P. T. Smith

To call Kjell Askildsen’s style sparse or terse would be to understate just how far he pushes his prose. Almost nothing is explained, elaborated on. In simple sentences, events occur, words are exchanged, narrators have brief thoughts. As often as. . .

Read More >

Letter from an Unknown Woman and Other Stories
Letter from an Unknown Woman and Other Stories by Stefan Zweig
Reviewed by Christopher Iacono

After a mysterious woman confesses to an author simply known as “R” that she has loved him since she was a teenager, she offers the following explanation: “There is nothing on earth like the love of a child that passes. . .

Read More >

Colorless Tsukuru and His Years of Pilgrimage
Colorless Tsukuru and His Years of Pilgrimage by Haruki Murakami
Reviewed by Will Eells

Floating around the internet amid the hoopla of a new Haruki Murakami release, you may have come across a certain Murakami Bingo courtesy of Grant Snider. It is exactly what it sounds like, and it’s funny because it’s true,. . .

Read More >

The Matiushin Case
The Matiushin Case by Oleg Pavlov
Reviewed by Brandy Harrison

The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .

Read More >