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It discusses how his sentences perform tense high-wire acts, resist cliché, and move through real and surreal worlds with precision and sharpness. The preface highlights his interest in limits, extremes, power, menace, and the thin boundary between nature and culture. 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It introduces László Krasznahorkai and explains distinctive aspects of his writing and concerns.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What does the preface say about Krasznahorkai’s language and style?",{"text":117,"@type":113},"It presents his sentence craft as energetic performance, resistant to cliché and “easy consumption,” using organized revolts of clauses, sub-clauses, and asides.",{"name":119,"@type":110,"acceptedAnswer":120},"How is Max Neumann connected to the work?",{"text":121,"@type":113},"The preface describes how Krasznahorkai was spurred into writing by suggestive images from Max Neumann, and how the process produced the other texts through this visual-word collaboration.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},567199,1792404427,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":14,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},962090769052,"https://ap-avatar.wpscdn.com/davatar_9964176cb1d06d4a9deccf72a44ae3dc","ANIMALINSIDE  \nLÁSZLÓ KRASZNAHORKAI  \nMAX NEUMANN  \nPREFACE BY CoLM TóIBfN  \nANIMALINSIDE  \nAnimalinside  \nCENTER FOR WRITERS &TRANSLATORSAT THE AMERICAN UNIVERSITY OF PARISSYLPH EDITIONS  \nNEW DIRECTIONS  \nDigitized by the Internet Archivein 2022 with funding fromKahle/Austin Foundation  \nhttps://archive.org/details/isbn  \n2800811219169  \npreface  \nReaders in the English language will know the work of theHungarian novelist László Krasznahorkai through two novels,The Melancholy of Resistance and War War,both translated bythe poet George Szirtes,the first in I998,the second in 2006.It isclear from these translations that Krasznahorkai is a remarkablenovelist.For him,the sentence is an act of pure performance-a tense high-wire act,a piece of grave and ambitious vaudevilleperformed with energy both comic and ironic.But there is alsoa compacted edge to his prose;he is not interested in languagemerely for its own sake.Prose for him is a complex vehiclemoving through a world both real and surreal with considerableprecision and sharpness.He makes demands on his readers asmuch as he does on the language he engages with.The Melancholyof Resistance has no paragraph breaks,for example;War&War iswritten in a set of short single-sentence sections.  \nKrasznahorkai allows the meandering cadence of his prose,much like the prose of Samuel Beckett,to mirror the enquiringmind at work,thinking,analysing,noticing,remembering,sens-ing,contradicting,reflecting.Like with Beckett too,there is adeep and searing tenderness at the heart of his universe,made allthe more true and real by the mixture of sheer comedy and puregloom that he lets into his pages.  \nLanguage for Krasznahorkai is a force struggling against thedomination of cliché and easy consumption,offering small,well-organised revolts,plotting in upstairs rooms for plenitude andjagged rhythm,arming itself with clauses,sub-clauses and asides,preparing high-voltage assaults on the reader's nervous system.  \nKrasznahorkai is concerned with limits,with what can happeniflanguage is pushed further than its own decorous rules might  \nsuggest.Or what can happen if consciousness itselfis rendered asinfinite in its systems and capable of doubling back and feedingon itself before it edges forward again.Or what can happen ifknowledge,or action,or memory,or voice,is each incapableof being easily tamed by narrative.For this reason,he is,as astory-teller,fascinated by extremes,by the cosmos itself,by thepossibility of apocalypse.  \nHe is also interested in power,in establishing,almost as an actof will,a world elsewhere in his fiction,a world not made cred-ible by easy metaphor or casual allegory.The world of his fictionis enclosed and stable,it must be taken on its own terms.Realityfor him richly inhabits the very world he creates in his prose;itis enacted rather than reflected in the sentences and pages thathe makes.  \nHis work is full of menace,but it is would be a mistake to readthe menace either as political or as coming from nowhere.Hisimagination feeds on real fear and real violence;he has a wayof making fear and violence seem all the more real and present,however,by removing then from a familiar context.He placesthem in a dark context of his own choosing.In this way,hestands closer to Kafka than to Beckett,but he is close to neitherin his interest and delight in verbal pyrotechnics,in allowing thesheer energy of his long exciting sentences full sway.He is aloneamong European novelists now in the intensity and originalityof his exploration of the dim line which divides nature fromculture,destiny from history.  \nIt is fascinating to watch the work of László Krasznahorkaias though in action,spurred into sentences by the suggestiveimages of Max Neumann.The writer worked first from one ofNeumann's images and then Neumann,spurred on in turn by thewords,made the rest of the images to which Krasznahorkai,hismind let loose by the captured visuals,responded by writing theother thirteen texts.This collaboration,t","cbCaicWg9iRFYwyC","https://ap.wps.com/l/cbCaicWg9iRFYwyC","pdf",3374477,48,"English","# Preface by Colm Tóibín\n# About Krasznahorkai’s prose\n## Sentence and language as performance\n## Limits, consciousness, and extremes\n## Power, menace, and Kafka/Beckett comparisons\n# Collaboration with Max Neumann’s images\n# Translation note","[{\"question\":\"Who is the preface author and what is the preface about?\",\"answer\":\"The preface is by Colm Tóibín. It introduces László Krasznahorkai and explains distinctive aspects of his writing and concerns.\"},{\"question\":\"What does the preface say about Krasznahorkai’s language and style?\",\"answer\":\"It presents his sentence craft as energetic performance, resistant to cliché and “easy consumption,” using organized revolts of clauses, sub-clauses, and asides.\"},{\"question\":\"How is Max Neumann connected to the work?\",\"answer\":\"The preface describes how Krasznahorkai was spurred into writing by suggestive images from Max Neumann, and how the process produced the other texts through this visual-word collaboration.\"}]","Animalinside - Preface - By Colm Tóibín | PDF",1791865443,74]