If there is one element of László Krasznahorkai’s prose to which critics are most often drawn, it is the length of his sentences. Indeed, they are long: comma-spliced and unrelenting. They run on, at times, for pages, requiring diligence of even the patient reader. George Szirtes, the award-winning British poet who has translated three of Krasznahorkai’s novels, describes the effect as a “slow lava flow of narrative, a vast black river of type.” But Krasznahorkai’s prose is not singular in this regard. Post-war Europe has produced a cabal of writers responsible for similar feats of syntax: Thomas Bernhard, W.G. Sebald, Bohumil Hrabal, and Witold Gombrowicz, to name a few. Amid such company, Krasznahorkai feels a bit like the uncle whose throat-clearing at holiday dinners causes those at the table to shift uneasily in their seats. He is obsessed as much with the extremes of language as he is with the extremes of thought, with the very limits of people and systems in a world gone mad — and it is hard not to be compelled by the haunting clarity of his vision (more...)
Adam Z. Levy on László Krasznahorkai’s Satantango.