Imre Kertész – författare

Hungarian Imre Kertész was awarded the Nobel Prize in Literature in 2002 for “writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history.” His conversation with literary historian Thomas Cooper that is presented here speaks specifically to this relationship between the personal and the historical.   In The Holocaust as Culture,Kertész recalls his childhood in Buchenwald and Auschwitz and as a writer living under the so-called soft dictatorship of communist Hungary. Reflecting on his experiences of the Holocaust and the Soviet occupation of Hungary following World War II, Kertész likens the ideological machinery of National Socialism to the oppressive routines of life under communism. He also discusses the complex publication history of Fateless, his acclaimed novel about the experiences of a Hungarian child deported to Auschwitz, and the lack of interest with which it was initially met in Hungary due to its failure to conform to the communist government’s simplistic history of the relationship between Nazi occupiers and communist liberators. The underlying theme in the dialogue between Kertész and Cooper is the difficulty of mediating the past and creating models for interpreting history, and how this challenges ideas of self.  The title The Holocaust as Culture is taken from that of a talk Kertész gave in Vienna for a symposium on the life and works of Jean Améry. That essay is included here, and it reflects on Améry’s fear that history would all too quickly forget the fates of the victims of the concentration camps. Combined with an introduction by Thomas Cooper, the thoughts gathered here reveal Kertész’s views on the lengthening shadow of the Holocaust as an ever-present part of the world’s cultural memory and his idea of the crucial functions of literature and art as the vessels of this memory.

'While the average reader cannot pretend truly to understand the reality of those who suffered in concentration camps, Kertesz draws us one step closer' ObserverGyuri, a fourteen-year-old Hungarian Jew, gets the day off school to witness his father signing over the family timber business - his final act before being sent to a labour camp. Two months later, Gyuri finds himself assigned to a 'permanent workplace'. This is the start of his journey to Auschwitz.On his arrival Gyuri finds that he is unable to identify with other Jews, and is rejected by them. An outsider among his own people, his estrangement makes him a preternaturally acute observer, dogmatically insisting on making sense of the barbarity - and beauty - he witnesses.

‘Liquidation, suspenseful and bleakly comic, reads like a treatise on the mystery of the end of life and the mystery of suicide… A compelling if deeply unsettling work’ Independent Kingbitter, an editor at a failing publishing house, believes himself to have been the closest friend of B., a celebrated writer and Auschwitz survivor, who recently committed suicide. Amongst the papers B. has left him, Kingbitter finds a play entitled Liquidation that uncannily predicts the behaviour of B.'s ex-wife, his mistress and Kingbitter himself. As he obsessively reads and rereads the play, Kingbitter becomes transfixed with the idea that buried within these papers is B.'s great novel: the book that will explain his relationship with Auschwitz.

‘A fine and powerful piece of work… Dark, at times cryptic, and hugely energetic’ Irish Times “No!" is the first word of this haunting novel. It is how a middle-aged Hungarian-Jewish writer answers an acquaintance who asks him if he has a child, and it is how he answered his wife years earlier when she told him that she wanted one. The loss, longing and regret that haunt the years between these two 'No!'s give rise to one of the most eloquent meditations ever written on the Holocaust. As Kertész's narrator addresses the child he couldn't bear to bring into the world, he takes readers on a mesmerising, lyrical journey through his life, from his childhood to Auschwitz to his failed marriage.

‘A sophisticated and brilliant dissection of nihilistic power’ Times Literary Supplement From his prison cell, Antonio Martens, an interrogator for the recently fallen dictatorship, awaits execution. His charge? Multiple counts of murder; the murder of those disappeared by the state. Bereft of authority, and unable to avoid the consequences of his actions any longer, Martens turns his story to his involvement in the assassination of the high-profile Salinas family, and with it peers into the murderous mechanics of a regime bent on achieving its ends - no matter the means.