It’s not that I don’t understand why a person has to die, but rather, I don’t understand why a person has to live, Baron Béla Wenckheim pondered - László Krasznahorkai

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It’s not that I don’t understand why a person has to die, but rather, I don’t understand why a person has to live, Baron Béla Wenckheim pondered

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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

..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.

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.

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