László Krasznahorkai
László Krasznahorkai
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Full Name and Common Aliases
László Krasznahorkai is the full name of this renowned Hungarian writer and novelist.
Birth and Death Dates
Born on December 5, 1954, in Csongrád, Hungary. Unfortunately, there is no available information on his date of death.
Nationality and Profession(s)
Krasznahorkai holds Hungarian nationality, and his profession is that of a writer, novelist, and essayist.
Early Life and Background
Growing up in a small town in eastern Hungary, Krasznahorkai was surrounded by the rolling hills and vast expanses of the Great Hungarian Plain. This geographical setting would later influence his writing, which often explores themes of isolation, nature, and the human condition. His family's modest background and the societal pressures he faced during communism would also become recurring motifs in his work.
Krasznahorkai began writing at an early age, drawing inspiration from the likes of Thomas Mann, Franz Kafka, and Albert Camus. He studied Hungarian literature and philosophy at Eötvös Loránd University in Budapest before moving to Paris to continue his studies. It was during this period that he developed a deep appreciation for French and German literature.
Major Accomplishments
Throughout his illustrious career, Krasznahorkai has received numerous awards and accolades for his writing. Some of his notable achievements include:
Winning the Man Booker International Prize in 2015 for his novel "Satantango"
Receiving the Franz Kafka Prize in 2002
Being awarded the Attila József Prize, Hungary's most prestigious literary awardNotable Works or Actions
Krasznahorkai's writing often explores themes of existentialism, absurdity, and the human condition. Some of his notable works include:
"Satantango" (1985): A postmodern epic novel that follows a group of characters as they await their fate in a crumbling rural community.
"War and War" (2004): A philosophical exploration of the nature of war, violence, and human existence.
"Seiobo" (2009): A collection of short stories that delve into the mysteries of art, love, and identity.
Impact and Legacy
Krasznahorkai's writing has had a profound impact on contemporary literature. His innovative style and exploration of themes have influenced a generation of writers and thinkers. His work is widely translated and studied around the world, with many regarding him as one of the most important Hungarian writers of his generation.
Why They Are Widely Quoted or Remembered
Krasznahorkai's writing continues to be widely quoted and remembered due to its thought-provoking nature and profound insights into the human condition. His innovative style and exploration of themes have made him a household name among literary enthusiasts and scholars alike.
Quotes by László Krasznahorkai

When I am not reading Kafka I am thinking about Kafka. When I am not thinking about Kafka I miss thinking about him. Having missed thinking about him for a while, I take him out and read him again. That’s how it works.

... to pour out one's heart and not drink vodka at the same time, well, that is inconceivable for a Russian soul...
![[...] la mera pronunciación de estas dos palabras [...] llega a ser algo tan odioso, tan repelente que basta con decir una sola vez y para que uno enseguida sienta unas ganas tremendas de vomitar [...]](/_vercel/image?url=https:%2F%2Flakl0ama8n6qbptj.public.blob.vercel-storage.com%2Fquotes%2Fquote-621065.png&w=1536&q=100)
[...] la mera pronunciación de estas dos palabras [...] llega a ser algo tan odioso, tan repelente que basta con decir una sola vez y para que uno enseguida sienta unas ganas tremendas de vomitar [...]

...végső soron az egyszerű bizalmat abban, hogy van hagyomány, hogy ez a hagyomány a megfigyelésre, az ismétlésre és a természet belső rendjének és a dolgok természetének a tiszteletére épül, s hogy ennek a hagyománynak sem az értelme, sem a tisztasága kétségbe nem vonható.

Death, he felt, was only a kind of warning rather than a desperate and permanent end.


Europeans believe that culture is something they can grasp and touch because, for them, culture is comprised of objects, or remnants of objects, and this object, this remnant, conceals within it the essence of the original. For the Chinese, the matter is completely different---for them, the essence of culture can only be preserved in spiritual form.

Faith, thought Eszter . . . is not a matter of believing something, but believing that somehow things could be different; in the same way, music was not the articulation of some better part of ourselves, or a reference to some notion of a better world, but a disguising of the fact of our irredeemable selves and the sorry state of the world, but no, not merely a disguising but a complete, twisted denial of such facts: it was a cure that did not work, a barbiturate that functioned as an opiate.

The only revolutionary feeling he was aware of, or so he considered while standing in the doorway, was pride, his own pride, a pride that did not allow him to understand that there was no qualitative difference between things, a presumptuous over-confidence which condemned him to ultimate disillusion, for to live according to the spirit of qualitative difference requires superhuman qualities.
