From the winner of the 2015 Man Booker International Prize
László Krasznahorkai
SATANTANGO
Translated from the Hungarian by George Szirtes
Read the beginning of The First Part: News of Their Coming
One morning near the end of October not long before the first drops of the mercilessly long autumn rains began to fall on the cracked and saline soil on the western side of the estate (later the stinking yellow sea of mud would render footpaths impassable and put the town too beyond reach) Futaki woke to hear bells. The closest possible source was a lonely chapel about four kilometers southwest on the old Hochmeiss estate but not only did that have no bell but the tower had collapsed during the war and at that distance it was too far to hear anything. And in any case they did not sound distant to him, these ringing-booming bells; their triumphal clangor was swept along by the wind and seemed to come from somewhere close by (“It’s as if they were coming from the mill . . .”). He propped himself on his elbows on the pillow so as to look out of the mousehole-sized kitchen window that was partly misted up, and directed his gaze to the faint blue dawn sky but the field was still and silent, bathed only in the now ever fainter bell sound, and the only light to be seen was the one glimmering in the doctor’s window whose house was set well apart from the others on the far side, and that was only because its occupant had for years been unable to sleep in the dark. Futaki held his breath because he wanted to know where the noise came from: he couldn’t afford to lose a single stray note of the rapidly fading clangor, however remote (“You must be asleep, Futaki . . .”). Despite his lameness he was well known for his light tread and he hobbled across the ice-cold stone floor of the kitchen soundless as a cat, opened the windows and leaned out (“Is no one awake? Can’t people hear it? Is there nobody else around?”). A sharp damp gust hit him straight in the face so he had to close his eyes for a moment and, apart from the cockcrow, a distant bark, and the fierce howling of the wind that had sprung up just a few minutes earlier, there was nothing to hear however hard he listened but the dull beating of his own heart, as if the whole thing had been merely a kind of game or ghostly half-dream (“. . . It’s as if somebody out there wants to scare me”). He gazed sadly at the threatening sky, at the burned-out remnants of a locust-plagued summer, and suddenly saw on the twig of an acacia, as in a vision, the progress of spring, summer, fall and winter, as if the whole of time were a frivolous interlude in the much greater spaces of eternity, a brilliant conjuring trick to produce something apparently orderly out of chaos, to establish a vantage point from which chance might begin to look like necessity . . . and he saw himself nailed to the cross of his own cradle and coffin, painfully trying to tear his body away, only, eventually, to deliver himself — utterly naked, without identifying mark, stripped down to essentials — into the care of the people whose duty it was to wash the corpses, people obeying an order snapped out in the dry air against a background loud with torturers and flayers of skin, where he was obliged to regard the human condition without a trace of pity, without a single possibility of any way back to life, because by then he would know for certain that all his life he had been playing with cheaters who had marked the cards and who would, in the end, strip him even of his last means of defense, of that hope of someday finding his way back home. He turned his head toward the east, once the home of a thriving industry, now nothing but a set of dilapidated and deserted buildings, watching while the first rays of a swollen red sun broke through the topmost beams of a derelict farmhouse from which the roof tiles had been stripped. “I really should come to a decision. I can’t stay here any longer.”
Satantango is published in paperback and ebook by Atlantic Books
