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George Szirtes

László Krasznahorkai’s <br><i>The World Goes On</i>

László Krasznahorkai’s
The World Goes On

Reviewed by Irina Denischenko

As in his earlier works, Krasznahorkai’s narrators in The World Goes On find themselves wandering in a world of forgotten revelations and corrupted messages, blindly groping toward ineffable essences that forever remain out of reach. As the reader eavesdrops on their minds caught up in obsessive thought patterns, s/he witnesses consciousness on the threshold of insight. By recasting themes familiar from his novels in short story form, Krasznahorkai condenses fragmented revelations, increasing their potency, and creates a sense of wholeness that short story collections often lack. The World Goes On is a labyrinth of parallel universes that echo and correspond to one another, creating, with each new story, a déjà vu like effect that renders the reader’s escape into linear clarity nearly impossible. Moreover, the broad scope of this collection clarifies the various links between Krasznahorkai’s recurrent themes and the importance of his stylistic innovations, such as his unending sentences and estranged narrative positions that dissolve the boundaries of narrative voices...

László Krasznahorkai's <br><i>The Last Wolf</i> and <i>Herman</i>

László Krasznahorkai's
The Last Wolf and Herman

Reviewed by Camille Gajewski

Slow, relentless forces permeate the world of László Krasznahorkai; his characters are subject to glacial currents that bear them ever onwards, an inch at a time, toward a horizon they constantly imagine but never actually behold. In so doing, they cry, or laugh, or cry laughing, or carry out the timeworn repetitions that make a life, until the moment they come up against the horizon. And there they are either denied, held at a distance from that which they seek, or, having come too close to the mystery, are obliterated.