Judith Sollosy Książki

Csáth's short stories present an extraordinary blend of sentimentality, sadism, and sexual repression, reminiscent of contemporary fiction from the United States and the United Kingdom, where collective dreams have faltered under harsh realities. During Csáth's era, Sigmund Freud was developing his theories on the unconscious in Vienna, which influenced the uneasy atmosphere of Csáth's homeland, Hungary. Reading Csáth, a specialist in 'nervous disorders' and an opium addict, evokes Freud's insights into the subtext of human experience. His stories are as discomforting as bad dreams, sometimes adorned with art-nouveau elements like lilies and lotuses, while at other times narrated in the detached tone of clinical case studies. As a doctor, Csáth had access to narcotics, and his profession, often steeped in human suffering, implicitly encouraged their use. This collection offers a haunting portrayal of the disintegration of Central Europe, reflecting the broader collapse of the individual, and is noted for its uncanny prophetic quality. Originally published as The Magician's Garden and Other Stories, this volume remains a memorable exploration of complex themes.

An elegant homage to Czech storyteller Bohumil Hrabal, this novel is a tribute to blues music, saxophones, and the complexities of domestic life, while also reflecting on the years of communism in Eastern Europe. It explores the relationship between God and humankind through the lens of a Hungarian writer and his wife, Anna, a blues-singing mother of three (soon to be four), who endures her husband's challenging writing endeavors. Anna shares her memories and reflections with Hrabal, her thoughts oscillating between domestic issues and the injustices her family faced during the Stalinist 1950s, police harassment, and marital strains. Her husband becomes so consumed by his project on Hrabal that he struggles to write it. The narrative evolves into a literary love triangle, with Hrabal as Anna's confidant and an unseen presence in their marriage. Two angels, disguised as secret policemen, monitor the household, communicating with God via walkie-talkie. Their mission is to prevent Anna from terminating her pregnancy. When uncertainty arises, God himself, known as Bruno, appears, engaging with Hrabal, taking saxophone lessons from Charlie Parker, and attempting to persuade Anna to keep her child. However, his lack of musical talent contrasts sharply with his passion for jazz and blues. Esterhazy's brilliant style intricately weaves language, tone, and perspective into a playful narrative.