It would be better for you to turn around and go into the thick grasses, there where one of those strange grassy islets in the riverbed will complete… - László Krasznahorkai
" "It would be better for you to turn around and go into the thick grasses, there where one of those strange grassy islets in the riverbed will completely cover you, it would be better if you do this for once and for all, because if you come back tomorrow, or after tomorrow, there will be no one at all to understand, no one to look, not even a single one among all your natural enemies that will be able to see who you really are; it would be better for you to go away this very evening when twilight begins to fall, it would be better for you to retreat with the others, if night begins to descend, and you should not come back if tomorrow, or after tomorrow, dawn breaks, because for you it will be much better for there to be no tomorrow and no day after tomorrow; so hide away now in the grass, sink down, fall onto your side, let your eyes slowly close, and die, for there is no point in the sublimity that you bear, die at midnight in the grass, sink down and fall, and let it be like that — breathe your last.
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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Additional quotes by László Krasznahorkai
There is a war going on out there, and it's only worth waking to the dying night if you are prepared to be utterly ruthless'; a war - he kept scanning the rooftops - where everything is engaged in a conflict that has no rules; a war in which one side must continually besiege the other, in which to aim at anything but victory was pointless. It was a struggle in which the only power to remain standing was that which looked for no reasons, which was content to accept that the whole thing should remain without an explanation, because - and here he remembered The Prince's advice - it simply didn't exist...
İnanç, diye düşündü Eszter Bey, aslında kendi aptallığını irdelerken, aslında bir şeye inanmak değil, bunların böyle olmadığına inanmaktı ve müzik de, daha iyi olan benliğimizi ya da daha iyi bir dünyayı tanımanın aracı değil, kurtarılması mümkün olmayan benliğimizi ve acınası bir dünyayı gizlemenin ve hatta ortadan yok etmenin çılgınca bir yöntemiydi.
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(...)de tal manera que no sólo apareciera la imagen, sino la realidad misma de la perfección paradisíaca que, aun dando la impresión de mostrar un mar inquieto, olas arremolinadas en torno a rocas salvajes, sumía a quien la veía en la inconmensurable simplicidad de la belleza, en la sensación de que todo existe y nada existe todavía, de que las cosas y procesos que viven a una velocidad inasible y terrible, encerrados en la necesidad aparentemente inagotable del alumbramiento y la desaparición, pueden soportar aun así una regularidad fascinante que es tan profunda como la impotencia de las palabras ante un paisaje incomprensible e inaccesible por su hermosura, como la fría secuencia de las miríadas de olas en la enorme extensión del océano, como un patio en un monasterio donde en la calma de una superficie cubierta uniformemente con guijarros blancos y rastrillada primorosamente pueden posarse y descansar unos ojos asustados, una mirada perdida en el delirio, una mente abatida, y experimentar cómo cobra vida de pronto un pensamiento antiquísimo de contenido ya ensombrecido y cómo comienza a verse de súbito que: sólo existe el todo, no los detalles.