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An László Krasznahorkais Werk herrscht großes internationales Interesse, das schon an der Tatsache ersichtlich ist, dass die Bücher des Autors in dreißig Sprachen übersetzt wurden. Auch die weltberühmten Verfilmungen ausgewälter Werke durch Béla Tarr (Satantango, Werkmeister Harmonies, Das Turiner Pferd) haben den internationalen Bekanntheitsgrad von Krasznahorkai erheblich gesteigert. Seine internationale Anerkennung zeigt sich in seinen zahlreichen literarischen Auszeichnungen, darunter der International Man Booker Prize (2015), der National Book Award (2019), der Österreichische Staatspreis für Europäische Literatur (2021), der Prix Laure Bataillon (2023). Der vorliegende Band versammelt die deutsch- und englischsprachigen Beiträge prominenter Expert*innen der ungarischen und österreichischen Literaturwissenschaft, und bietet so eine wertvolle und umfassende Ergänzung der literatur- und kulturwissenschaftlichen Rezeption Krasznahorkais, die nahezu alle Details und Werke seines literarischen Schaffens abdeckt. Solcherart kommt der Band nicht nur dem großen allgemeinen, aber auch literaturwissenschaftlichen Interesses an Lászlós Krasznahorkais Werk nach, sondern eignet sich auch als Unterrichtsmaterial in deutscher und englischer Sprache für den Unterricht der ungarischen Literatur speziell in Österreich und Deutschland.

Kana sería un tranquilo pueblo perdido en Turingia si su remota desolación no hubiera atraído a un grupo de neonazis. Mientras que los lugareños mantienen las distancias con los extraños, Florian Herscht, un huérfano tan formidable como inofensivo, inocentón y clarividente, cree tener amigos en ambos bandos; y, convencido de que el universo está a punto de colapsar, escribe una carta tras otra a Angela Merkel para advertirla de la inminente catástrofe. Sólo el descubrimiento de la música de Bach le permitirá sustraerse de sus tormentosos presagios, hasta que aparezcan inquietantes lobos en la linde del bosque... En esta caudalosa narración escrita sin un solo punto el nobel de literatura ofrece a los lectores un conmovedor retrato psicológico y una sátira de alcance universal tan mordaz como sobrecogedora. PREMIO NOBEL DE LITERATURA 2025 «Krasznahorkai es dueño de una literatura exigente y titánica, un laberinto narrativo vibrante y absorbente que explora los vericuetos de la existencia humana y la sinrazón de nuestra incierta realidad». Andrés Seoane, El Mundo

This volume examines the various forms of mobility in the cinema of the Visegrad countries and Romania, bringing together the cross-disciplinary research of mostly native scholars. Divided into four thematic sections, it expands the reader’s understanding of the political transition and the social changes it triggered, the transforming perceptions of gender roles and especially masculinity. The spaces of “in betweenness” and contact zones, whether geographical, interethnic or communicative, (im)mobility and transmedial encounters of Eastern European subjectivity are recurring figures of both cinematic representations and their theoretical analyses. In-depth and transcultural in their nature, the investigations gathered in this volume are informed by political, social and cultural history, genre, gender and spatial theory, cultural studies, sociology and political science, and, of equal importance, the rich personal experience of the authors who witnessed many of the discussed phenomena in “close-up”.

Now in paperback, two novellas from the Hungarian master László Krasznahorkai—“one of the most mysterious artists now at work” (Colm Toíbín) The Last Wolf (translated by George Szirtes) is Krasznahorkai in a maddening nutshell—it features a classic obsessed narrator, a man hired (by mistake) to write the true tale of the last wolf in Spain. This miserable experience (being mistaken for another person, dragged about a cold foreign place, and appalled by a species’s end) is narrated—all in a single sentence—as a sad looping tale, a howl more or less, in a dreary Berlin bar to a patently bored bartender. Herman (translated by John Batki), “a peerless virtuoso of trapping who guards the splendid mysteries of an ancient craft gradually sinking into permanent oblivion,” is asked to clear a forest’s last “noxious beasts.” He begins with great zeal, although in time he “suspects that maybe he was ‘on the wrong scent.’” Herman switches sides, deciding to track entirely new game …

WINNER OF THE 2025 NOBEL PRIZE Now in paperback, the capstone to Krasznahorkai’s four-part masterwork, and winner of the 2019 National Book Award for Translated Literature Set in contemporary times, Baron Wenckheim’s Homecoming tells the story of a Prince Myshkin–like figure, Baron Béla Wenckheim, who returns at the end of his life to his provincial Hungarian hometown. Having escaped from his many casino debts in Buenos Aires, where he was living in exile, he longs to be reunited with his high-school sweetheart Marika. Confusions abound, and what follows is an endless storm of gossip, con men, and local politicians, vividly evoking the small town’s alternately drab and absurd existence. All along, the Professor—a world-famous natural scientist who studies mosses and inhabits a bizarre Zen-like shack in a desolate area outside of town?offers long rants and disquisitions on his attempts to immunize himself from thought. Spectacular actions are staged as death and the abyss loom over the unsuspecting townfolk.

Vincitore del Premio Nobel per la Letteratura 2025 «Una visione così universale da misurarsi con "Le anime morte" di Gogol''» – W.G Sabald «Un libro inesorabile e visionario dal maestro ungherese dell''apocalisse» – Susan Sontag In città è arrivato il circo . Nulla di strano, se non fosse che il circo ospita una balena imbalsamata, la più grande del mondo, e che la città è sperduta nella campagna ungherese, un non luogo dominato da incertezza e declino. Tutti sono in attesa che accada qualcosa e sarà proprio il circo a detonare il cambiamento. Attorno a questo evento misterioso si muovono figure visionarie: Valuska, il postino sognatore che trascorre le sue giornate cercando la purezza nel mondo; la potente signora Eszter, che trama nell''ombra per imporre un nuovo dominio; e il marito musicista, rifugiato nel silenzio della propria impotenza. Mentre la tensione cresce, la folla si lascia trascinare da un''onda di paura e violenza che sfocia nella distruzione. Con una prosa ipnotica e labirintica, Krasznahorkai mette in scena una parabola sulla dissoluzione del fragile ordine umano, e sul ritorno delle forze oscure dell''irrazionale. «Ebbe la sensazione che il cielo non fosse più al proprio posto [...] che non c''era niente al posto del cielo; quello che cercava non esisteva più, era stato inghiottito dalla terra, da quella marcia, dalla congiura dei particolari»

European social theorists of the late nineteenth and early twentieth centuries tended to define modernity as a condition of heightened alienation in which traditional community is replaced by a regime of self‐interested individualism and collective isolation. In Private Anarchy, Paul Buchholz develops an alternative intellectual history of the nineteenth and twentieth centuries, showing how a strain of German-language literature worked against this common conception of modernity. Buchholz suggests that in their experimental prose Gustav Landauer, Franz Kafka, Thomas Bernhard, and Wolfgang Hilbig each considered how the "void" of mass society could be the precondition for a new, anarchic form of community that would rest not on any assumptions of shared origins or organic unity but on an experience of extreme emptiness that blurs the boundaries of the self and enables intimacy between total strangers. This community, Buchholz argues, is created through the verbal form most closely associated with alienation and isolation: the monologue. By showing how these authors engaged with the idea of community and by relating these contributions to an extended intellectual genealogy of nihilism, Private Anarchy illustrates the distinct philosophical and sociopolitical stakes of German experimental writing in the twentieth century.

The “organic” is by now a venerable concept within aesthetics, architecture, and art history, but what might such a term mean within the spatialities and temporalities of film? By way of an answer, this concise and innovative study locates organicity in the work of Béla Tarr, the renowned Hungarian filmmaker and pioneer of the “slow cinema” movement. Through a wholly original analysis of the long take and other signature features of Tarr’s work, author Thorsten Botz-Bornstein establishes compelling links between the seemingly remote spheres of film and architecture, revealing shared organic principles that emphasize the transcendence of boundaries.

Worlds of Hungarian Writing responds to the rapidly growing interest in Hungarian authors throughout the English-speaking world. Addressing an international audience, the essays in the collection highlight the intercultural contexts that have molded the conventions, genres and institutions of Hungarian writing from the nineteenth century to the present. They are mapping some of the ways in which a modern literature is produced by encounters with languages, cultures, and media external to its traditionally conceived boundaries. But rather than viewing intercultural exchange as an external force, the collection recognizes its enabling importance to the globalizing reception and circulation of Hungarian writing over the continuities and constraints implied by more traditional national narratives. Worlds of Hungarian Writing posits intercultural exchange as the very substance of a literary culture.Discussions of the politics of appropriation and translation, of the impact of émigré writers and critics, and of the use of world-literary models in genre-formation complement studies of the fate of western leftist critical theory in post-1989 Hungary, of the role of African-American models in contemporary Roma culture, and of the use of photography in late 20th-century prose. The volume spans a wide generic range, from the achievements of such canonical 19th-century critics and poets as József Bajza and János Arany, to neglected women authors-translators such as Theresa Pulszky, to modernist writers and critics like Antal Szerb and György Lukács, and to the contemporary novelists Péter Esterházy, Péter Nádas, and László Krasznahorkai. Each essay is an original contribution to comparative literature and to the study of this Central-European literature, but is intended to be accessible to readers unfamiliar with its traditions.

"Destruction and Sorrow beneath the Heavens is both a travel memoir and the chronicle of a distinct intellectual shift as one of the most captivating contemporary writers and thinkers begins to engage with the cultures of Asia and the legacies of its interactions with Europe in a newly globalized society. Rendered in English by award-winning translator Ottilie Mulzet, Destruction and Sorrow beneath the Heavens is an important work, marking the emergence of Krasznahorkai as a truly global novelist"-- Amazon.com

A Japanese goddess returns to the mortal realms in search of a glimpse of perfection.

WINNER OF THE 2025 NOBEL PRIZE The Hungarian master’s first work to appear in English, and still one of the best A powerful, surreal novel, in the tradition of Gogol, about the chaotic events surrounding the arrival of a circus in a small Hungarian town. The Melancholy of Resistance, László Krasznahorkai''s magisterial, surreal novel, depicts a chain of mysterious events in a small Hungarian town. A circus, promising to display the stuffed body of the largest whale in the world, arrives in the dead of winter, prompting bizarre rumors. Word spreads that the circus folk have a sinister purpose in mind, and the frightened citizens cling to any manifestation of order they can find music, cosmology, fascism. The novel''s characters are unforgettable: the evil Mrs. Eszter, plotting her takeover of the town; her weakling husband; and Valuska, our hapless hero with his head in the clouds, who is the tender center of the book, the only pure and noble soul to be found. Compact, powerful and intense, The Melancholy of Resistance, as its enormously gifted translator George Szirtes puts it, "is a slow lava flow of narrative, a vast black river of type." And yet, miraculously, the novel, in the words of The Guardian, "lifts the reader along in lunar leaps and bounds."

"Set in an isolated hamlet, Satantango unfolds over the course of a few rain-soaked days. Only a dozen inhabitants remain in the bleak village, rank with the stench of failed schemes, betrayals, failure, infidelity, sudden hopes, and aborted dreams. At the center of Satantango is the eponymous drunken dance"--Page [i].