As you may remember, Hungarian lit dominated last year’s Best Translated Book Award with three titles on the longlist, including Attila Bartis’s Tranquility, the eventual winner.
Not sure that’s ever going to happen again, but the literary buzz around Ferenc Barnas’s The Ninth proves that Hungarian lit really does have a wealth of riches.
Set in Communist Hungary, Barnás’s novel is the story of a nine-year-old child, the ninth child of Hungarian Catholics eking out a miserable living in the small northern town of Pomáz. Bordering on the stream-of-conscious, The Ninth deals with life under the soft Communist rule of the late 1960’s, but from the point of view of a child with no basis for comparison. The picture we gain from our young narrator is uncomplicated by subtlety, politics, morality, and without the self-conscious morbidity and sexuality found in so many adult narrators. He’s an observer.
A lack of morbidity hardly means a lack of misery. Here, it’s unconscious, but this child is also disturbingly, accurately, affectless—too often in literature, we attribute too much to the too young. Our pathetic unnamed protagonist observes the realities of his own family’s survival, of his father’s obsessive small-time industry, his mother’s fervent religiosity, the difficulties of his siblings, and the cruelties and indignities of life in poverty: His mother and oldest siblings go to factory jobs early in the morning and return late at night; his father wakes the “Little Ones” early to do their part in preparing rosaries and other knickknacks for sale to churches; several of them suffer from some inability to speak or read well and some combination of headaches and faintness; and, of course, he’s preoccupied with having that eternal symbol of well-being, the full belly.
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