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" "So, doing nothing, he simply remained on the alert, careful to preserve his failing memory against the decay that consumed everything around him, much as he had done from the moment that he — once the closing of the estate had been announced and he personally had decided to stay behind and survive on what remained until “the decision to reverse the closure should be taken” — had gone up to the mill with the elder Horgos girl to observe the terrible racket of the abandonment of the place, with everyone rushing round and shouting, the trucks in the distance like refugees fleeing the scene, when it seemed to him that the mill’s death-sentence had brought the whole estate to a condition of near collapse, and from that day on he felt too weak to halt by himself the triumphal progress of the wrecking process, however he might try, there being nothing he could do in the face of the power that ruined houses, walls, trees and fields, the birds that dived from their high stations, the beasts that scurried forth, and all human bodies, desires and hopes, knowing he wouldn’t, in any case, have the strength, however he tried, to resist this treacherous assault on humanity; and, knowing this, he understood, just in time, that the best he could do was to use his memory to fend off the sinister, underhanded process of decay, trusting in the fact that since all that mason might build, carpenter might construct, woman might stitch, indeed all that men and women had brought forth with bitter tears was bound to turn to an undifferentiated, runny, underground, mysteriously ordained mush, his memory would remain lively and clear, right until his organs surrendered and “conformed to the contract whereby their business affairs were wound up,” that is to say until his bones and flesh fell prey to the vultures hovering over death and decay.
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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În liniștea ce cuprinse dintr-o dată totul, în muțenia profundă în care până și stropii de ploaie plesneau fără zgomot când atingeau pământul, ei crezând că au asurzit, întrucât de simțit simțeau, dar de auzit nu puteau să audă deloc nici vâjâitul vântului, nici acea adiere ciudată, călduță care acum îi atinse ușor, totuși, lui i se păru c-ar auzi cum zbârnâitul necontenit și râsul răsunător de adineauri sunt brusc înlocuite de un chelălăit și răsună sforăituri sinistre, văzând chiar că pornesc după el, astfel că-și acoperi ochii cu brațul și izbucni în plâns. „Vezi asta?” șopti încremenit Irimias, strângând atât de puternic brațul lui Petrina, încât i s-au albit degetele. În jurul trupului se înteți vântul, iar în liniștea deplină cadavrul de un alb orbitor începu să se ridice incert... apoi, când ajunse la înălțimea vârfurilor stejarilor se clătină pe neașteptate, prăbușindu-se convulsiv, ca să ajungă, în final, din nou pe pământ, în mijlocul poieniței. Văzând ce se întâmplă, vocile lipsite de trup de adineauri au început să se certe furios, asemenea unui cor nemulțumit, care iar se vedea nevoit să-și asume un eșec, fără să fi avut vreo vină. Petrina gâfâi. „Tu ai crezut asta?” „Mă strădui să cred”, spuse Irimias, cu fața lividă. „Oare de când tot încearcă? Copila-i moartă de două zile.” „Petrina, poate-i prima dată în viața mea când simt că mi-e frică.” „Cumetre...pot să te întreb ceva?” „Tu ce crezi...?” „Ce cred...?” „Tu ce crezi...ăăă...există și iad...?” Irimias înghiți în sec. „Cine știe. Poate.
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