As has been mentioned elsewhere, the new issue of the Hungarian Quarterly is now available. (Some pieces are available online, but in most instances, there’s just a sample.)
There are quite a few interesting pieces, including an interview with Magda Szabó (whose most famous novel—The Door appears to be out-of-print on Amazon . . . Can this possibly be right?), and a “Close-Up” featuring called Doom and Gloom that begins:
I’ve often wondered what would happen were Hungary to slip off the face of the Earth from one day to the next. Would anyone care? Who’d mourn, who’d rejoice? What would the world stand to lose or gain from such an odd cataclysm?
Although it’s not really made explicit, this issue seems to have a special focus on Gyula Krudy. There’s a piece called Gyula Krúdy’s Visions of Unexpected Death, a couple short stories by him (Last Cigar at the Gray Arabian and The Journalist and Death) and a review of Ladies Day that came out from Corvina Press last year.
Krudy’s Sunflower came out from NYRB last year and was one of my favorite translations of 2007. (It actually made our Top 10 list.) The book is very strange and captivating, and definitely worth reading. Krudy’s Adventures of Sindbad is available here in the States, but that seems to be it . . . which is really unfortunate, since Ladies Day sounds so interesting and unique:
Hungary’s conflicted history—its shifting frontiers, drastic amputations of territory and population—has produced, George Szirtes suggests, a particular reaction in Hungarian writing—“an interest in the grotesque, the black joke, the magical gone wrong [my italics]”. That last thought might have been written—perhaps was written—with Gyula Krúdy’s extraordinary fictions especially in mind. Even more than Sunflower, the novel which immediately preceded it, Ladies Day, now available in John Batki’s American-English translation, is shot through with a queer magic, a disturbed energy of language, character and situation for which it’s hard to think of a parallel, in the Anglo-Saxon literatures, at least.
Though far from the most convincing reason to read literature in translation, one common side effect is learning of another culture, of its history. Within that, and a stronger motivation to read, is the discovery of stories not possible within. . .
Despite cries that literature is dead, dying, and self-replicating in the worst way, once in a while a book comes along to remind readers that there’s still a lot of surprise to be found on the printed page. To be. . .
“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .
Some time ago I read this phrase: “The page is the only place in the universe God left blank for me.”
Pedro Mairal’s short novel The Missing Year of Juan Salvatierra is more about these blank spaces than the usual full. . .
“What if even in the afterlife you have to know foreign languages? Since I have already suffered so much trying to speak Danish, make sure to assign me to the Polish zone . . .”
So reads a typical aphoristic “poem”. . .
If you somehow managed to overlook the 2012 translation of Andrés Neuman’s breathtaking Traveler of the Century (and woe betide all whom continue to do so), you now have two exceptional works of fiction from the young Argentine virtuoso demanding. . .