I My most vivid glimpse of Domokos Szent-Iványi dates from the second half of 1947. We are making our rounds, deep in conversation, side by side in the enclosed courtyard of the Central Collecting Prison of Budapest. It is a huge redbrick complex situated, quite fittingly, next to the city’s
“I am not a poet”, Márai insisted. That would seem to settle it, but it has to be remembered that Márai had exceptionally high standards and he was playing with prosody at a time of exceptional fecundity in Hungarian poetry. He was the contemporary of Attila József (considered by some
Once upon a time there was a country. With a MOO COW and a BUNNY living in it. Happily and unhappily by turns. This way one day, that way the next. The sun would rise, run its course, then sink behind the horizon. This is how this country was. Neither
Nearly five years after the artist’s death and 35 years after his last major exhibition, a retrospective of Hantai’s work opened on 21 May 2013, at the Pompidou Centre in Paris. The exhibition is by far the most complete showing ever of the works of one of the preeminent figures
At the request of Mária Scheiber, daughter of Sándor Scheiber, we issue the following clarification to Enikő Bollobás’s “The Two Doors of Sándor Scheiber” (Vol. IV., No. 4., 2013). The last time Sándor Scheiber left his house before his death was not with Enikő Bollobás but with Mária Scheiber. At
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