FROM THE HONEYMOON An old railway man stood on the platform pointing to the sky, “Bombers!” Then his face turned pale, “Look, there come the bombers!” Three formations of what looked like three specks were descending above the buildings. I ran toward garrison headquarters. I found János there; we ran,
I. László Krasznahorkai has one main method in his fiction: he reduces the scene to the bleakest of places and seasons, and then sub-divides the plot into thousands of tiny events that he describes in page-long sentences and chapter-long paragraphs. There is hypertrophy of description and near-elimination of dialogue. Often
My little master, where have you gone? I look for you here, I look for you there, but I can’t find you anywhere; I’m really looking for you, though, because you are my little master, and I can’t find my little food-dish, it’s here, though, it’s here, here, dinner-time is
Carefully, silently, she let herself down onto the woodpile, then slunk by the wall as far as the kitchen window, pressing her face to the cold glass. “It’s Micur!” The black cat sat on the kitchen table, happily lapping up the remnants of the paprika stew from the red saucepan.
Treasure is the stuff of which, according to Sam Spade, the detective played by Humphrey Bogart in The Maltese Falcon, dreams are made. Archaeologists are necessarily a little more precise in their use of the term than the authors of stories of adventure, mystery or piracy. This is limited to
OUR AUTHORS GERALD FROST is a journalist who has written widely about domestic and international politics. He was Director of the London-based Centre for Policy Studies (1992–5) and of the Institute for European Defence and Strategic Studies (1980–92) which he founded. He has written widely for British, American and European
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