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 ha… - László Krasznahorkai

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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 ('the evidence of suffering does not disappear without a trace,' he hopefully remarked) and now were being raised by the rain, like dust.

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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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"While on the one hand," he said, "our most prominent scientists, the inexhaustible heroes of this perennial confusion, have finally and somewhat unfortunately extricated themselves from the metaphor of godhead, they have immediately fallen into the trap of regarding this oppressive history as some kind of triumphant march, a supernatural progress following, what they call, the victory of 'will and intellect', and though, as you know, I am no longer capable of being the least surprised by this, I must confess to you I still cannot understand why it should be the cause of such universal celebration for them that we have climbed out of the trees. Do they think it's good like this? I find nothing amusing in it. Furthermore it doesn't fit us properly: you only have to consider how long, even after thousands of years of practice, we can keep going on two legs. Half a day, my dear friend, and we shouldn't forget it."

. . .really, he didn’t want to be a nuisance to anyone, nor would he, he decided, be a nuisance, then sat down on the bed, got up again, went over to the window, then sat back down on the bed once more, before getting up again, and so it went on for several minutes, since the feeling of joy continued welling up in him, overwhelming him, so time and again he had to sit down or stand up and eventually achieved complete happiness by pulling the table ever so gently over to the window, turning it so the light should fall fully on it, drew up the chair, then sat on the bed and stared at the table, at the arrangement of it, stared and stared, gauging whether the light was falling on it in the best possible way, then turning the chair a little so that it was at a different angle to the table, so it should fit better, staring at that now, and it was plain that the happiness was almost too much for him, for he now had somewhere to live, a place with a table and a chair, because he was happy that Mr. Sárváry existed in the first place, and that he should have this apartment on the top floor of 547 West 159th Street, right next to the stairs to the attic, and without the resident’s name on the door.

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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.

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