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"كان الجميع يتحدث عن "الاندفاع إلى الفوضى الذى لا يمكن إيقافه"، و "عدم إمكانية توقّع شئ فى الحياة اليومية"، و "الكارثة التى تقترب"، وذلك من غير أية فكرة واضحة عن الثقل الفادح لهذه الكلمات المخيفة. وهذا ما جعله يخلص إلى أن جائحة الخوف تلك لم تكن متولدة عن ثقة حقيقية، تزداد كل يوم، بأن هناك كارثة وشيكة، بل عدوى المخيلة التى كانت قابليتها كبيرة للسقوط فريسة الذعر التى تنتجه بنفسها؛ وهذا يمكن أن يؤدى إلى كارثة فعلية آخر الأمر: بكلمات أخرى، الهاجس الزائف الذى يمكن أن يستسلم له إنسان فقد صوابه عندما تحلل البنية الداخلية لحياته (ترابط عظامه ومفاصله وما بينها)، ويتخلى، لشدة طيشه، عن قوانين روحه التى وضعها الأسلاف... إذا فقد قدرته على ضبط العالم المنظم الذى يحفظ له كرامته. كان يقلقه كثيرًا أن أصدقاءه ظلوا يرفضون الإصغاء إليه رغم محاولاته المتواصلة بإقناعهم بهذا الأمر."
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.
Biography information from Wikipedia
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However apparently insignificant the event, whether it be the ring of tobacco ash surrounding the table, the direction from which the wild geese first appeared, or a series of seemingly meaningless human movements, he couldn’t afford to take his eyes off it and must note it all down, since only by doing so could he hope not to vanish one day and fall a silent captive to the infernal arrangement whereby the world decomposes but is at the same time constantly in the process of self-construction.
...the task was not to choose but to accept, there being no obligation to choose between what was appropriate and what was inappropriate, only to accept that we are not obliged to do anything except to comprehend that the appropriateness of the one great universal process of thinking is not predicated on it being correct, for there was nothing to compare it with, nothing but its own beauty, and it was its beauty that gave us confidence in its truth — and this, said Korin, was what struck him as he walked those hundred furiously-thinking paces on the evening of his birthday: that is to say he understood the infinite significance of faith and was given a new insight into what the ancients had long known, that it was faith in its existence that had both created and maintained the world; the corollary of which was that it was the loss of his own faith that was now erasing it, the result of which realization being, he said, that he experienced a sudden, utterly numbing, quite awful feeling of abundance...