And so on. This is a Péter Esterházy word. The Etcetera in mid-sentence as a soft, elegant, ironic sigh in the novel, as if the author summarily decided that something is not important or perhaps too large to here to report now at this point thereof. Maybe later, maybe another time.
Only Péter Esterházy can not tell us about it. He died this Thursday. And so all the untold and Warped and also the joy and this gentle melancholy, which were in any Etcetera, Etcetera each and everyone PunktPunktPunkt. As in all of his work, and particularly in Celestial Harmonies . Esterházy monumental novel, his exuberant and excessive literary fumbling of anecdotes, Purr, the historic and the things invented, allusions and associations, Zusammengesuchtem and quoted. A panorama of almost 1,000 years Hungarian-Austrian history, with the Esterházy vaulting in the world literature, to which his Hungarian contemporaries Imre Kertész and Péter Nádas already included.
Celestial Harmonies is a novel about his father, his father, who became “My father”. Heartbreaker, lubricating comedians, Jew-hater, pranksters, womanizer, cowards, drunkards and worse drunkard, Lippizanerliebhaber, Muskatellertrinker, broken heroes and ridiculous figures that say that punctuality is the politeness of kings and shrug, can stem from Braunschweiger sunsets and verdreschen by highwaymen.
comedy and Metakomik
Esterházy My father is one of the greatest father figures of modern literature, all Esterházy fathers united in a sacred and profane mythological figure who Péter Esterházy crashed in this novel and also perpetuated and re-conquered. “God is everywhere, while my father is everywhere, just not there.”
Ten years wrote it Esterházy. Here celebrated everything had to offer the literary avant-garde of the 20th century, a festival: the voice skepticism as well as the non-narrative, the capricious, like the comedy and the Metakomik, the spirit and the presence of mind, clear thinking and the wild letter – and the refusal of a linear story that is denied formally and linguistically from the outset. The first sentence put all impossibility and all freedom of literature: “It is miserable hard to lie when you do not know the truth.”
His family history was the only thing Péter Esterházy had inherited beside his surname from his noble ancestors, it wanted the European history: until 1919, the Soviet Republic, the peasant uprising, finally in 1948, the expropriation of the family. Péter Esterházy, Freiherr von Galántha, Erbgraf to Forchtenstein, Lord on Czákvár and Gesztes, born in Budapest in 1950, grew between melon fields, where there was no 400 employees more, no pleasure and summer palaces more where Joseph Haydn had been sitting at the children’s table ,
He had lost something that he had never possessed, Esterházy once said. And when he heard his last name, which still sounds to many Hungarians always glorious times and still glorioseren fantasies, he cringe sometimes together.
Literary father figures
His novel Celestial Harmonies was often ranked among the works of Vargas Llosa, Cortázar and García Márquez. One could compare his cunning resolution of storytelling with Frenchman Raymond Queneau, whose Stilübungen us 99 times the same story to tell from the bus and the man with the long neck, in still other language registers and registers and always other literary knowledge.
There were father figures who Esterházy often circled in his books, not just the literarisierte father, but also the literary fathers, his masters. In his Production Roman in 1979, his first novel, he took walks with Kálmán Mikszáth to chat with him. Later, in his novel Esti he continued playing Dezső Kosztolányis Roman Estí Kornél . Literature, who lived in the literature. “This is something we stand around and sniffed and excited look – but so, as it would not be our own Really, it spins and revolves around itself like a drowned rat.” Esterházy wrote about life.
In his books both this silly drowned rat life was as present as just death, both the father and my father, and also of his mother, he at the last hours in the auxiliary verbs of the heart had returned and he then was resurrected in No Art. With her he walked through Budapest, a masterpiece of literary education and digression, and the city is the football field, because football was also a life theme of Esterházy, who knew stoppage time and post-war period are not dissimilar, and the phrase “Rahn shoots, Toooor! ” from the finale of Bern 1954 second worst moment of Hungarian history called, just after the Russian invasion.
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