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[...] he would see that birth and death were only two tremendous moments in an eternal waking, and his face would glow with amazement as he understoo… - László Krasznahorkai
" "[...] he would see that birth and death were only two tremendous moments in an eternal waking, and his face would glow with amazement as he understood this; he would feel - gently he grasped the copper handle of the door - the warmth of the mountains, woods, rivers and valleys, would discover the hidden depths of human existence, would finally understand that the unbreakable ties that bound him to the world were not imprisoning chains and condemnation but a kind of clinging to an indestructible sense that he had a home; and he would discover the enormous joys of mutuality which embraced and animated everything: rain, wind, sun and snow, the flight of a bird, the taste of fruit, the scent of grass; and he would suspect that his anxieties and bitterness were merely cumbersome ballast required by the live roots of his past and the rising airship of his certain future, and, then - he started opening the door - he would finally know that our every moment is passed in a procession across dawns and day's-ends of the orbiting earth, across successive waves of winter and summer, threading the planets and the stars. Suitcase in hand, he stepped into the room and stood there blinking in the half-light.
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About László Krasznahorkai
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.
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Native Name:
Krasznahorkai László
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Additional quotes by László Krasznahorkai
Çünkü dünyanın kendisini katbekat aştığını biliyor, kendisinin de aralarında olduğu, o sessiz yuvalarında onurluluk ve ağırbaşlılığın ufak vahasında yaşayanların, dışarıda neler olup bittiğini korkudan titreyerek düşündükleri sırada, kirli sakallının tüm barbar soyunun, o yoldan çıkmış süprüntüler sürüsünün, içgüdüsel bir güvenle dizginleri ele geçireceğini de açıkça görebiliyordu.
"Puesto que se enteraría por su propia experiencia de que el jardín era el perfeccionamiento supremo de la idea del jardín, ya que la mejor forma de definirlo era afirmar que su creador había "alcanzado la simplicidad", al tratarse de un jardín, escribía el autor con notable apasionamiento, que expresaba lo infinitamente simple mediante fuerzas infinitamente complejas."
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He gazed sadly at the threatening sky, at the burned-out remnants of a locust-plagued summer, and suddenly saw on the twig of an acacia, as in a vision, the progress of spring, summer, fall and winter, as if the whole of time were a frivolous interlude in the much greater spaces of eternity, a brilliant conjuring trick to produce something apparently orderly out of chaos, to establish a vantage point from which chance might begin to look like necessity . . . and he saw himself nailed to the cross of his own cradle and coffin, painfully trying to tear his body away, only, eventually, to deliver himself — utterly naked, without identifying mark, stripped down to essentials — into the care of the people whose duty it was to wash the corpses, people obeying an order snapped out in the dry air against a background loud with torturers and flayers of skin, where he was obliged to regard the human condition without a trace of pity, without a single possibility of any way back to life, because by then he would know for certain that all his life he had been playing with cheaters who had marked the cards and who would, in the end, strip him even of his last means of defense, of that hope of someday finding his way back home.
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