Reading Lászlo Krasznahorkai’s Satantango was a struggle. I wish it hadn’t been, and I’m the first to argue for the improving qualities of difficult books, but this was one that I persevered with in the face of a dwindling conviction that I was going to be able to make any sense of it.
I picked it up largely out of respect for the names on the cover and title page – admiring quotes from WG Sebald (who has loomed large in my reading this year) and Susan Sontag, and the added interest of reading the translation of George Szirtes, lest we forget he is significantly more substantial a literary presence than his marvellous Twitter feed.
I knew nothing about the author, nothing about the book, and took the opportunity to add nothing to this sum before reading – as someone pointed out about the Olympic opening ceremony, the opportunity to sit down to a cultural experience with absolutely no preconceptions is a rare one. Nor have I read anything about the book since finishing it, which I am tempted to do now, in part to see what it is I missed. For a lot of its incredibly dense 270 pages I was trying, trying so hard, to find meaning, discern allegory, pick out the thread or symbol or standpoint that would allow me to take a view on the book as a whole.
Forgive the clumsy phrasing, but never has there been a book so impossible to read between the lines of. Continue reading