In vain would we talk about nature, nature doesn’t want this; it is no use to talk about the divine, the divine doesn’t want this, and anyway, no matter how much we want to, we are unable to talk about anything other than ourselves, because we are only capable of talking about history, about the human condition, about that never-changing quality whose essence carries such titillating relevance only for us; otherwise, from the viewpoint of that “divine otherwise,” this essence of ours is, actually, possibly of no consequence whatsoever, for ever and aye.
Hungarian novelist and screenwriter
László Krasznahorkai (; born 5 January 1954) is a Hungarian novelist and screenwriter known for difficult and demanding novels, often labeled postmodern, with dystopian and melancholic themes. Several of his works, including his novels Satantango (, 1985) and The Melancholy of Resistance (, 1989), have been turned into feature films by Hungarian film director Béla Tarr.
From: Wikipedia (CC BY-SA 4.0)
From Wikidata (CC0)
The entire end-of-October night was beating with a single pulse, its own strange rhythm sounding through trees and rain and mud in a manner beyond words or vision: a vision present in the low light, in the slow passage of darkness, in the blurred shadows, in the working of tired muscles; in the silence, in its human subjects, in the undulating surface of the metaled road; in the hair moving to a different beat than do the dissolving fibers of the body; growth and decay on their divergent paths; all these thousands of echoing rhythms, this confusing clatter of night noises, all parts of an apparently common stream, that is the attempt to forget despair; though behind things other things appear as if by mischief, and once beyond the power of the eye they no longer hang together. So with the door left open as if forever, with the lock that will never open.
The unchained workers of decay were waiting in a dormant state for the necessary conditions to be established, as soon enough they would be, when they might recommence their interrupted struggle, that predetermined, merciless assault in the course of which they would dismantle whatever had been alive once and once only, reducing it into tiny insignificant pieces under the eternally silent cover of death.
The stench of sewers mixed with mud, the smell of the odd crack of lightning, wind tugging at tiles, power lines, empty nests; the stifling heat behind the low ill-fitting windows... impatient, annoyed half-words of lovers embracing... demanding wails of babies, their cries sliding off into the tin-smell of dusk; streets pliable, parks soaked to their roots lying obedient to the rain, bare oaks, half-broken dry flowers, scorched grass all prostrate, humbled by the storm, sacrifices strewn at the executioner's feet.
He looked tired, exhausted even, but it was as if this were the specific thing that had exhausted him, not ordinary everyday matters but one single all-consuming care; it was obviously a fatigue born out of decades of vigilance, exhaustion owing to the knowledge that any moment he might be killed by that immeasurable weight of fat.
empirical evidence is precisely that which is sacred in so-called scientific thought, and by these means — there’s no point in denying it — we can go far, but at the same time, by following this method, we greatly distance ourselves from the problem, because it’s so, but so manifest that empirical proof itself is something that no one has ever heretofore truly dealt with, namely, no one has ever wished genuinely to confront the deeply problematic nature of empirical verification as such, because whoever did this went mad, or appeared to be a pure dilettante,
...because he came here on the wrong day, because he was born in the wrong time, because he had been born, it was all wrong from the very beginning, he should have known, should have sensed, that today was not the day to begin anything, nor was tomorrow, there were no days before him now, as there had never even been any, just as there was not and never would be a day...
For minutes on end he could not tell whether he was really hearing howls of pain, or whether it was simply that his years of long, exhausting work had rendered him incapable of distinguishing between the general noise and ancient prehistoric screams that were somehow preserved in time and now were being raised by the rain, like dust.
...there was Paradise, of which he was the only resident, while in the world, with humanity suspecting nothing, knowing nothing of this great situation, simply continuing on with life as normal, as if nothing in this heaven-sent world had happened with the Great Journey and the Great Discovery, the world just kept going on like before, and this is what Gagarin's nervous system couldn't bear, and this nervous system destroyed his organism too, in the last days he could no longer bear being alive, this became completely clear to me, he could bear it only with vodka...
..but if it does occur, then anyone can comprehend that above us and below us, outside of ourselves and deep within ourselves, there is a universe, the one and only, which is not identical with the sky looming above us overhead, because that universe is not made of stars and planets and suns and galaxies, because that universe is not a picture, it cannot be seen, it doesn't even have a name, for it is so much more precious than anything that could have a name, and that is why it is such a joy to me that I can practice Seiobo; Seiobo is the emissary who arrives and says I am not the desire for peace, I am peace itself; Seiobo arrives and says do not be afraid, for the universe of peace is not the rainbow of yearning; the universe, the real universe — already exists.