Historically, the international acknowledgment of Hungarian artists has been regrettably poor. There have been attempts, from time to time, to remedy this situation – I myself have spent decades pursuing this painstaking enterprise – but the effect of the often thrilling results will not hold for long unless we manage
PENDRAGONIA1(IN MEMORIAM KLÁRI SZERB)2 This story within a story is told as it happened, without frills and as close to the facts as the writer’s memory allows given the distance of scores of years. When Klári Szerb arrived in London and László Cs. Szabó3 called me to meet her, I
OUR AUTHORS MARK ALMOND (1958). Oxford historian, he has written extensively on post-Communist crises from Bosnia to the Caucasus and comments frequently on international affairs in the British media. He is director of the new Crisis Research Institute, Oxford (CRIOx). He was involved in helping the dissident underground in the
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