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A Manhattan-terv
Krasznahorkai László még soha nem engedte közel saját személyéhez az olvasót. New Yorkban azonban útja Herman Melville útját keresztezte, s benne olyan alkotóra talált, akinek sorsát csak akkor érthette meg, ha a sajátjáról is nyilatkozik. Felkereste a Moby Dick írójának lakóhelyeit, elkezdte követni mindennapi útvonalait, elmerült életrajzában, hogy végül szembesüljön a drámai ténnyel, Melville mérhetetlen magányával és őrületével.
Krasznahorkai László új könyve azokról a véletlenekről és elrendeltetésekről beszél, melyek az embert – ebben az esetben éppen őt – egy létfontosságú döntésig elvezetik. Műve térkép, terek és képek dialógusa, ahol a vallomás radikálisan nyílt szövegét képek ellensúlyozzák, Ornan Rotem intenzív fényképei, amelyek az író New York-i életét és nyomozásának különböző állomásait rögzítik.
A Manhattan-terv minden személyes vonatkozása mellett városnapló is. Benne a világ talán legizgalmasabb metropoliszában vagyunk, rejtélyes összefüggések labirintusában, ahonnan a kiutat épp az mutatja meg, akitől a legkevésbé várnánk: a szerző az, maga Krasznahorkai, egy új mű bejelentésével.
Krasznahorkai László új könyve azokról a véletlenekről és elrendeltetésekről beszél, melyek az embert – ebben az esetben éppen őt – egy létfontosságú döntésig elvezetik. Műve térkép, terek és képek dialógusa, ahol a vallomás radikálisan nyílt szövegét képek ellensúlyozzák, Ornan Rotem intenzív fényképei, amelyek az író New York-i életét és nyomozásának különböző állomásait rögzítik.
A Manhattan-terv minden személyes vonatkozása mellett városnapló is. Benne a világ talán legizgalmasabb metropoliszában vagyunk, rejtélyes összefüggések labirintusában, ahonnan a kiutat épp az mutatja meg, akitől a legkevésbé várnánk: a szerző az, maga Krasznahorkai, egy új mű bejelentésével.
92 pages, Hardcover
First published June 15, 2017
2 people are currently reading
440 people want to read
About the author
László Krasznahorkai
42 books3,008 followersLászló Krasznahorkai is a Hungarian novelist and screenwriter who is known for critically difficult and demanding novels, often labelled as postmodern, with dystopian and bleak melancholic themes. He was awarded the Nobel Prize in Literature in 2025.
He is probably best known through the oeuvre of the director Béla Tarr, who has collaborated with him on several movies.
Apart from the Nobel Prize, Krasznahorkai has also been honored with numerous literary prizes, among them the highest award of the Hungarian state, the Kossuth Prize, and the 2015 Man Booker International Prize for his English-translated oeuvre.
He is probably best known through the oeuvre of the director Béla Tarr, who has collaborated with him on several movies.
Apart from the Nobel Prize, Krasznahorkai has also been honored with numerous literary prizes, among them the highest award of the Hungarian state, the Kossuth Prize, and the 2015 Man Booker International Prize for his English-translated oeuvre.
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Displaying 1 - 8 of 8 reviews
October 9, 2025
From the winner of the 2025 Nobel Prize in Literature
A literary diary presented as twelve chance encounters or coincidences alongside a PHOTOGRAPHIC ESSAY by Ornam Rotem
The Manhattan Project is László Krasznahorkai's third work produced with Sylph Editions (http://sylpheditions.com) where his text appears in close relationship with a visual artist's work.
Previously we had The Bill: For Palma Vecchio, at Venice, "a single, vertiginous, 14-page sentence addressing Palma Vecchio, a 16th-century Venetian painter", and Animalinside, a collaborative effort, where Krasznahorkai "responds with 14 texts to 14 depictions of a strange and ill-formed creature made by the renowned German painter Max Neumann". The quotes from the publisher don't really do the latter justice, since Neumann's paintings, in turn, respond to Krasznahorkai's text.
This piece, which Krasznahorkai playfully describes as "a sort of take on Chekhov’s On the Harmful Effect of Tobacco", takes, as the title page of the book, quoted at the top of my review suggests, the form of a literary diary of the author's time in New York around 2014-6, undertaking a fellowship at the Cullman Center for Scholars and Writers at the New York Public Library, combined with photos, and commentary, from Ornam Rotem.
The tale that the book tells is one of literary coincidences. Krasznahorkai wryly observes that "Readers of The Melancholy of Resistance in America, and perhaps everywhere else in the world, like to believe that I am some kind of specialist on whales, and by extension, naturally, an expert on Herman Melville", and on his arrival both a friend and his publisher fall into this trap.
Meanwhile before coming to the US he had visited his UK publisher who gave him and his wife a gift of Malcolm Lowry's Lunar Caustic, a semi-autobiographical tale of Bill Plantagenet, suffering from an alcohol-induced nervous breakdown in New York, and obsessed with Melville. As Krasznahorkai observes of Lowry "both he and his protagonist (Plantagenet) had tried to track down where Herman Melville had lived.”
And in turn Rotem follows Krasznahorkai recording, in the beautiful photos that illustrate the book, the author's progress. As he told the Guardian:"I wasn’t the only one following in an author’s footsteps. László himself was retracing Malcolm Lowry’s quests for Melville."
A third "genius drunk, each of whom had his own route in Manhattan" comes, when persuaded to take a break from his academic studies and his Melville obsession, Krasznahorkai visits an art museum and discovers the works of Lebbeus Woods.
I had never heard of him. An architect.
Died three years ago.
I look up his works online.
They are truly stunning, I have no other word for them.
And if I did have a few, how would I describe what I am seeing?
Rising behind devastated buildings loom architecture-monstrosities, their frighteningly beautiful, broken surfaces and jagged, agitated inner essences compounded into a species of ferocious planes. A factory building, its centre collapsed, what a monster, its bulging panels snarling at each other, squatting on the façade. Other buildings, ensembles of extraordinarily complicated structures that refuse to reveal their secrets: what are they? Who are they? What crazed brain, working for what monumental and incomprehensible cause, created them? Objects of an architectural madness, constructed upon slightly bent stems growing out of a block of conventional buildings. Godless, abandoned, stridently military structures of unknown purpose, assembled as if out of broken laminae by a deranged mind. At times they appear to be gigantic weapons, burdened with an utterly incomprehensible logic. And at times they seem to be victims of a fanatical architectural insanity, as if we were glimpsing them at the last moment before their collapse, when it is certain that the next feeble breeze will topple them into dust. Looking at them, you get the feeling that it is impossible that such an imagination could exist.
The words are no help.
A particular Woods image of Lower Manhattan with (in Rotem's words) "its embracing rivers dammed and drained, exposing the island's granite base" informs Rotem's own photography
and Rotem himself returns on a number of occasions to rocks and stones in Manhattan, notably Umpire Rock in Central Park (photo from the Central Park website, not Rotem's):
In Woods' own writing it is not hard to see echoes of the apocalyptic prose of War & War, Satantango and The Melancholy of Resistance:
But ultimately I bought this because of Krasznahorkai's name on the front cover, and his contribution is inconsistent. At times his prose soars, particularly in response to Woods' architectural art (albeit the link to Melville/Lowry seems non-existent). But at other times it is rather flat, most notably in a unnecessary moan about his time at the New York Public Library where he criticises the Kafkaesque bureaucracy (but rather unconvincingly) and ends with the rather unworthy complaint that “even their biographical note about me failed to mention my most significant prize, namely the International Booker Prize.”
And one can't but feel the concept has been better done by others - Sebald obviously but, for New York, Teju Cole's Open City and for following in an author's footsteps e.g. from my recent reading An Overcoat: Scenes from the Afterlife of H.B. by Jack Robinson.
At the end of the piece Krasznahorkai reveals that his research also inspired a planned novella,
Spadework for a Palace, which I suspect will be more worthwhile.
Krasznahorkai's prose here has been translated by John Batki, known for his translations of Gyula Krúdy, but who has recently started sharing the mantle of Krasznahorkai translation with Ottilie Mulzet and George Szirtes. And hopefully that means we won't have too much longer to wait for translations of "From North a Hill, from South a Lake, from West Roads, from East a River" and "Baron Wenckheim's Homecoming".
Excerpt:
https://bombmagazine.org/articles/fro...
Excellent reviews:
https://tonysreadinglist.wordpress.co...
http://quarterlyconversation.com/thre...
Main Source:
http://sylpheditions.com/the-manhatta...
A literary diary presented as twelve chance encounters or coincidences alongside a PHOTOGRAPHIC ESSAY by Ornam Rotem
The Manhattan Project is László Krasznahorkai's third work produced with Sylph Editions (http://sylpheditions.com) where his text appears in close relationship with a visual artist's work.
Previously we had The Bill: For Palma Vecchio, at Venice, "a single, vertiginous, 14-page sentence addressing Palma Vecchio, a 16th-century Venetian painter", and Animalinside, a collaborative effort, where Krasznahorkai "responds with 14 texts to 14 depictions of a strange and ill-formed creature made by the renowned German painter Max Neumann". The quotes from the publisher don't really do the latter justice, since Neumann's paintings, in turn, respond to Krasznahorkai's text.
This piece, which Krasznahorkai playfully describes as "a sort of take on Chekhov’s On the Harmful Effect of Tobacco", takes, as the title page of the book, quoted at the top of my review suggests, the form of a literary diary of the author's time in New York around 2014-6, undertaking a fellowship at the Cullman Center for Scholars and Writers at the New York Public Library, combined with photos, and commentary, from Ornam Rotem.
The tale that the book tells is one of literary coincidences. Krasznahorkai wryly observes that "Readers of The Melancholy of Resistance in America, and perhaps everywhere else in the world, like to believe that I am some kind of specialist on whales, and by extension, naturally, an expert on Herman Melville", and on his arrival both a friend and his publisher fall into this trap.
Meanwhile before coming to the US he had visited his UK publisher who gave him and his wife a gift of Malcolm Lowry's Lunar Caustic, a semi-autobiographical tale of Bill Plantagenet, suffering from an alcohol-induced nervous breakdown in New York, and obsessed with Melville. As Krasznahorkai observes of Lowry "both he and his protagonist (Plantagenet) had tried to track down where Herman Melville had lived.”
For with another part of his mind he felt the encroachment of a chilling fear, eclipsing all other feelings, that the thing they wanted was coming for him alone, before he was ready for it; it was a fear worse than the fear that when money was low one would have to stop drinking; it was compounded of harrowed longing and hatred, fathomless compunctions, and of a paradoxical remorse, for his failure to attempt finally something he was not going to have time for, to face the world honestly; it was the shadow of a city of dreadful night without splendour that fell on his soul.”On arrival in New York Krasznahorkai originally set out to find the now deceased Allen Ginsberg's flat where Krasznahorkai had written part of his wonderful novel War & War, based in a New York rather unlike the real city. But thwarted in this quest he instead decides to take up the trail of Herman Melville's presence in New York, walking the streets he would have walked, visiting where he lived, but also retracing Lowry's searches.
― Malcolm Lowry, Lunar Caustic
And in turn Rotem follows Krasznahorkai recording, in the beautiful photos that illustrate the book, the author's progress. As he told the Guardian:"I wasn’t the only one following in an author’s footsteps. László himself was retracing Malcolm Lowry’s quests for Melville."
A third "genius drunk, each of whom had his own route in Manhattan" comes, when persuaded to take a break from his academic studies and his Melville obsession, Krasznahorkai visits an art museum and discovers the works of Lebbeus Woods.
I had never heard of him. An architect.
Died three years ago.
I look up his works online.
They are truly stunning, I have no other word for them.
And if I did have a few, how would I describe what I am seeing?
Rising behind devastated buildings loom architecture-monstrosities, their frighteningly beautiful, broken surfaces and jagged, agitated inner essences compounded into a species of ferocious planes. A factory building, its centre collapsed, what a monster, its bulging panels snarling at each other, squatting on the façade. Other buildings, ensembles of extraordinarily complicated structures that refuse to reveal their secrets: what are they? Who are they? What crazed brain, working for what monumental and incomprehensible cause, created them? Objects of an architectural madness, constructed upon slightly bent stems growing out of a block of conventional buildings. Godless, abandoned, stridently military structures of unknown purpose, assembled as if out of broken laminae by a deranged mind. At times they appear to be gigantic weapons, burdened with an utterly incomprehensible logic. And at times they seem to be victims of a fanatical architectural insanity, as if we were glimpsing them at the last moment before their collapse, when it is certain that the next feeble breeze will topple them into dust. Looking at them, you get the feeling that it is impossible that such an imagination could exist.
The words are no help.
A particular Woods image of Lower Manhattan with (in Rotem's words) "its embracing rivers dammed and drained, exposing the island's granite base" informs Rotem's own photography
and Rotem himself returns on a number of occasions to rocks and stones in Manhattan, notably Umpire Rock in Central Park (photo from the Central Park website, not Rotem's):
In Woods' own writing it is not hard to see echoes of the apocalyptic prose of War & War, Satantango and The Melancholy of Resistance:
Architecture and war are not incompatible. Architecture is war. War is architecture. I am at war with my time, with history, with all authority that resides in fixed and frightened forms. I am one of millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no "sacred and primordial site." I declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears. I know only moments, and lifetimes that are as moments, and forms that appear with infinite strength, then "melt into air." I am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky. I cannot know your name. Nor you can know mine. Tomorrow, we begin together the construction of a cityThe highlight of The Manhattan Project is Rotem's photo essay: the pictures are excellent, and his 4 page written explanation of what lay behind them highly illuminating. For those for whom the GBP30 price tag, for what is admittedly beautifully produced work of art, is offputting, the Guardian website contains a condensed version which captures much of the flavour: https://www.theguardian.com/books/gal...
Woods, Lebbeus (2002). War and Architecture
But ultimately I bought this because of Krasznahorkai's name on the front cover, and his contribution is inconsistent. At times his prose soars, particularly in response to Woods' architectural art (albeit the link to Melville/Lowry seems non-existent). But at other times it is rather flat, most notably in a unnecessary moan about his time at the New York Public Library where he criticises the Kafkaesque bureaucracy (but rather unconvincingly) and ends with the rather unworthy complaint that “even their biographical note about me failed to mention my most significant prize, namely the International Booker Prize.”
And one can't but feel the concept has been better done by others - Sebald obviously but, for New York, Teju Cole's Open City and for following in an author's footsteps e.g. from my recent reading An Overcoat: Scenes from the Afterlife of H.B. by Jack Robinson.
At the end of the piece Krasznahorkai reveals that his research also inspired a planned novella,
Spadework for a Palace, which I suspect will be more worthwhile.
Krasznahorkai's prose here has been translated by John Batki, known for his translations of Gyula Krúdy, but who has recently started sharing the mantle of Krasznahorkai translation with Ottilie Mulzet and George Szirtes. And hopefully that means we won't have too much longer to wait for translations of "From North a Hill, from South a Lake, from West Roads, from East a River" and "Baron Wenckheim's Homecoming".
Excerpt:
https://bombmagazine.org/articles/fro...
Excellent reviews:
https://tonysreadinglist.wordpress.co...
http://quarterlyconversation.com/thre...
Main Source:
http://sylpheditions.com/the-manhatta...
May 1, 2023
In 2014, Laszlo Krasznahorkai, the Hungarian novelist, comes to New York City for a one-year residency as a Cullman Center scholar. He and his wife find an apartment downtown from where he makes his daily commute to the main branch of the NYPL at 42nd Street. His Manhattan Project is a brief chronicle of that year which is hauntingly enhanced by the photographs of Ornan Rotem.
Before he embarks his publisher in London hands him a copy of Malcolm Lowry's, Lunar Caustic- a strange book about Lowry's obsession with Herman Melville. As a result, Laszlo spends considerable time tracing the footsteps of both Lowry and Melville: finding Melville's home on East 26th Street with side trips to both Nantucket Island and Pittsfield, Massachusetts to visit Melville properties.
Additionally, he fondly returns to the building in which he spent time discussing a literary problem he encountered years earlier; in that building lived the poet, Allen Ginsberg. There they sat at a kitchen table discussing literature and, with Ginsberg's encouragement, Laszlo was able to move on with his piece.
On a day trip to MOMA PS 1 in Long Island City he discovers the work of Leebus Woods, a visionary architect and artist, and spends considerable time locating and searching through the Woods archives.
Krasznahorkai's NYC sojourn was one filled with imagination, humor, philosophic asides, melancholy and the frustrations he had dealing with the "Kafkaesque" rules of the Cullman Center grant.
Near the end he sums up this experience: "It was as if I had been walking in someone else's dream."
This is an entertaining somewhat hypnotic, single-sitting reading experience.
Before he embarks his publisher in London hands him a copy of Malcolm Lowry's, Lunar Caustic- a strange book about Lowry's obsession with Herman Melville. As a result, Laszlo spends considerable time tracing the footsteps of both Lowry and Melville: finding Melville's home on East 26th Street with side trips to both Nantucket Island and Pittsfield, Massachusetts to visit Melville properties.
Additionally, he fondly returns to the building in which he spent time discussing a literary problem he encountered years earlier; in that building lived the poet, Allen Ginsberg. There they sat at a kitchen table discussing literature and, with Ginsberg's encouragement, Laszlo was able to move on with his piece.
On a day trip to MOMA PS 1 in Long Island City he discovers the work of Leebus Woods, a visionary architect and artist, and spends considerable time locating and searching through the Woods archives.
Krasznahorkai's NYC sojourn was one filled with imagination, humor, philosophic asides, melancholy and the frustrations he had dealing with the "Kafkaesque" rules of the Cullman Center grant.
Near the end he sums up this experience: "It was as if I had been walking in someone else's dream."
This is an entertaining somewhat hypnotic, single-sitting reading experience.
July 10, 2017
I'm a big Krasznahorkai fan. This seemed to me forced. Taking his year as a Fellow at the New York Public Library and under the literary guise of an obsession with Melville he teamed with photographer Ornan Rotem in an attempt to create a, meaningful experience. The mappings of routes traveled, coincidences crossed, artists discovered, never added up to a fulfilled project despite its moments. If the name Krasznahorkai were not attached to it I doubt it would stir more than a ripple or two.
I will though anxiously await his next novel.
I will though anxiously await his next novel.
October 11, 2019
Mint egy metafizikus krimi: a New York-i ívlámpák alatt fel-feltűnik egy sötét felöltő és egy jellegzetes fekete kalap – Krasznahorkai Melville után nyomoz. De vajon mit talál? És amit talál, leírható-e? (Krasznahorkairól beszélünk. Hát persze, hogy leírható. Valamiképp.)
Ódzkodtam sokáig a könyvtől, tartottam tőle, hogy csak* egy Krasznahorkai-novella lesz, amit fotók segítségével húztak szét akkora terjedelemre, hogy ki merjék adni. Ez teljesen hibás előfeltételezés volt részemről. Nem innen kell megközelíteni – még az is szerencsésebb, ha inkább egy Ornan Rotem fotóalbumnak tekintjük, amihez maga Krasznahorkai írt gondolatfutamokat. (Így mindjárt jobban hangzik, nem? Ornan Rotem fotóalbum Krasznahorkai nélkül – ki venné meg Magyarországon?) Amúgy meg mindkét elgondolás zsákutca: mert ez egy műalkotás, amiben írás és kép organikus egységet alkot. A maga nemében tökéletes tárgy – szinte hallom, ahogy odahajol egy ebook-olvasóhoz, és kötekedőn a fülébe súgja: „Na, ezt csináld utánam, pubikám”. Hogy a szöveg önmagában elég erős-e, azon lehet vitatkozni**, de a fotókkal együtt nekem varázslatos találkozásnak tűnik. Kiváló karácsonyi ajándék (mondom így jó előre, júliusban), olyasfajta tétel, amit magának nem biztos, hogy megvesz az ember, de örül, ha kapja. Ráadásul nagyon szépen be lehet csomagolni. Mi több: szépsége a kicsomagolás után sem csökken.
* Már ha elfér a „csak” meg a „Krasznahorkai” szó egy mondatban. Nem biztos.
** Bár minek. Hozzáteszem, ha nem is vagyok olyan „hisztérikus” Melville-rajongó, mint amilyennek Malcolm Lowry tartotta magát, nekem is gyengém Melville, és talán ettől nem függetlenül, de: én a szöveget is káprázatosnak éreztem. Lehet, igaza van annak, aki szerint kevés a belefektetett energia, de ha ez így van, az csak kiemeli Krasznahorkai zsenijét: hogy még így, félkézzel is milyen kristálymondatokat tud.
Ódzkodtam sokáig a könyvtől, tartottam tőle, hogy csak* egy Krasznahorkai-novella lesz, amit fotók segítségével húztak szét akkora terjedelemre, hogy ki merjék adni. Ez teljesen hibás előfeltételezés volt részemről. Nem innen kell megközelíteni – még az is szerencsésebb, ha inkább egy Ornan Rotem fotóalbumnak tekintjük, amihez maga Krasznahorkai írt gondolatfutamokat. (Így mindjárt jobban hangzik, nem? Ornan Rotem fotóalbum Krasznahorkai nélkül – ki venné meg Magyarországon?) Amúgy meg mindkét elgondolás zsákutca: mert ez egy műalkotás, amiben írás és kép organikus egységet alkot. A maga nemében tökéletes tárgy – szinte hallom, ahogy odahajol egy ebook-olvasóhoz, és kötekedőn a fülébe súgja: „Na, ezt csináld utánam, pubikám”. Hogy a szöveg önmagában elég erős-e, azon lehet vitatkozni**, de a fotókkal együtt nekem varázslatos találkozásnak tűnik. Kiváló karácsonyi ajándék (mondom így jó előre, júliusban), olyasfajta tétel, amit magának nem biztos, hogy megvesz az ember, de örül, ha kapja. Ráadásul nagyon szépen be lehet csomagolni. Mi több: szépsége a kicsomagolás után sem csökken.
* Már ha elfér a „csak” meg a „Krasznahorkai” szó egy mondatban. Nem biztos.
** Bár minek. Hozzáteszem, ha nem is vagyok olyan „hisztérikus” Melville-rajongó, mint amilyennek Malcolm Lowry tartotta magát, nekem is gyengém Melville, és talán ettől nem függetlenül, de: én a szöveget is káprázatosnak éreztem. Lehet, igaza van annak, aki szerint kevés a belefektetett energia, de ha ez így van, az csak kiemeli Krasznahorkai zsenijét: hogy még így, félkézzel is milyen kristálymondatokat tud.
October 29, 2019
Igazából ez csak egy fél értékelés, mert a pdf-ből, amihez nekem volt szerencsém, hiányoztak a fotók. Valaki nem tartotta fontosnak őket, holott valószínűleg azok. Ha valahogyan beszerzem az angol eredetit vagy a fordítást, majd kipótolom, mert egymás nélkül a kettő valószínűleg nem ér sokat. Krasznahorkai szövege jó szöveg, de csak egy szöveg, a fotóst meg nem ismerem. Nagy a gyanúm, hogy egymásnak teremtik meg a kontextust, ez így értékelhetetlen, sőt, megbecsülhetetlen.
Később találkozunk.
Később van: elolvastam megint. Az az igazság, hogy a képi anyag nagyon sokat tesz hozzá. A csillagok száma emelkedett, egyértelműen megtámogatja egymást kép és szöveg. Önálló entitásként is létezhetnek, de egyikük sem teljes.
Később találkozunk.
Később van: elolvastam megint. Az az igazság, hogy a képi anyag nagyon sokat tesz hozzá. A csillagok száma emelkedett, egyértelműen megtámogatja egymást kép és szöveg. Önálló entitásként is létezhetnek, de egyikük sem teljes.
November 1, 2025
Egészen idáig tartottam a tisztes távolságot Krasznahorkaival. A Nobel-díj lökést adott, hogy átessek végre ezen a tűzkeresztségen is, bár ezzel a könyvvel biztonsági zónán belül maradtam: nem fikció, nincsenek végtelen hosszú mondatok és önmagukba gabalyodó mondatok. Egy-egy pillanatkép, ami az író érdeklődését felkelti, egy írói munkafolyamat, amiből mű születik. Ezek utan kénytelen leszek elolvasni az ‘Aprómunka egy palotáért’-t, de elsőre elég sikerélmény volt, hogy együtt tudtam érdeklődni a szerzővel.
A könyv és a benne lévő képek gyönyörűek, engem 100%-ban kárpótolt a szöveg rövidségéért.
A könyv és a benne lévő képek gyönyörűek, engem 100%-ban kárpótolt a szöveg rövidségéért.
Read
February 23, 2025love how critical he is of the nypl given the fact that i got it from the nypl, weird circularity about this in relation to the citadels of mulisch
October 10, 2025
Nehezen találom meg a szavakat ahhoz, hogy megfogalmazzam mit váltott ki belőlem ez a könyv.
Egy betekintést egy emberi elmébe, egy művész gondolataiba és az őt üldöző kutatási vágyba.
Tudtam kapcsolódni azzal, hogyan jelenhet meg valami jelentéktelennek tűnő az életünkben és hogyan nőhet túl rajtunk amíg a gondolatunk központjává válik, természetesen egy művészi szempontból (nem egy függőségi metafora szempontjából, bár ha nagyon szeretnéd azt is megtalálhatod)
Megeshet, hogy ez a legroszabb pont ahol Krasznahorkai életművét el lehet kezdeni, de ez hívott a legjobban és ez a fajta betekintés talán más látásmódot ad majd a regényei irányába
Egy betekintést egy emberi elmébe, egy művész gondolataiba és az őt üldöző kutatási vágyba.
Tudtam kapcsolódni azzal, hogyan jelenhet meg valami jelentéktelennek tűnő az életünkben és hogyan nőhet túl rajtunk amíg a gondolatunk központjává válik, természetesen egy művészi szempontból (nem egy függőségi metafora szempontjából, bár ha nagyon szeretnéd azt is megtalálhatod)
Megeshet, hogy ez a legroszabb pont ahol Krasznahorkai életművét el lehet kezdeni, de ez hívott a legjobban és ez a fajta betekintés talán más látásmódot ad majd a regényei irányába
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