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Imre Kertész (1929–2016)

Autor(a) de Fatelessness

66+ Works 5,153 Membros 156 Reviews 21 Favorited

About the Author

Imre Kertész was born in Budapest, Hungary on November 9, 1929. He was only 14 years old when he was deported with 7,000 other Hungarian Jews to the Auschwitz concentration camp in Poland in 1944. He survived that camp and later was transferred to the Buchenwald camp from where he was liberated in mostrar mais 1945. After returning to his native Budapest, he worked as a journalist and translator. He translated the works of Friedrich Nietzsche, Sigmund Freud, Ludwig Wittgenstein and Elias Canetti into Hungarian. He wrote several novels that drew largely from his experience as a teenage prisoner in Nazi concentration camps. His novels included Fateless, Fiasco, Kaddish for a Child Not Born, Someone Else, The K File, Europe's Depressing Heritage, and Liquidation. He also wrote the screenplay for the film version of Fateless in 2005. While his work was ignored by both the communist authorities and the public in Hungary where awareness of the Holocaust remained negligible, his work was recognized in other parts of the world. He received awards including the Brandenburg Literature Prize in 1995, The Book Prize for European Understanding, the Darmstadt Academy Prize in 1997, the World Literature Prize in 2000, and the Nobel Prize for Literature for fiction in 2002. He died after a long illness on March 31, 2016 at the age of 86. (Bowker Author Biography) mostrar menos


Obras de Imre Kertész

Fatelessness (1975) 2,283 cópias, 70 resenhas
Kaddish for an Unborn Child (1990) 734 cópias, 17 resenhas
Liquidation (2003) 553 cópias, 18 resenhas
Detective Story (1977) 325 cópias, 19 resenhas
Fiasco (1988) 314 cópias, 8 resenhas
Ik, de ander (1997) 142 cópias, 3 resenhas
Dossier K. (2006) 130 cópias, 4 resenhas
The Union Jack (1991) 123 cópias, 5 resenhas
The Pathseeker (1977) 112 cópias, 3 resenhas
Dagboek van een galeislaaf (1992) 98 cópias, 1 resenha
De verbannen taal (2001) 57 cópias
Een verhaal, twee verhalen (1993) 44 cópias, 1 resenha
Il secolo infelice (1998) 33 cópias, 1 resenha
L'Ultime auberge (2014) 32 cópias, 2 resenhas
The Holocaust as Culture (1993) 29 cópias, 1 resenha
Schritt für Schritt (1900) 24 cópias
Cartas a Eva Haldimann (2009) 6 cópias
Sinn und Form 3/2013 (2013) 3 cópias
Opfer und Henker (2007) 2 cópias
Dossier K. (2009) 2 cópias
A végső kocsma 1 exemplar(es)
פיאסקו 1 exemplar(es)
ROMANI I NJE TE PAFATI 1 exemplar(es)
Mensch ohne Schicksal. Roman (1990) 1 exemplar(es)
Không Số Phận 1 exemplar(es)
Kadiš za nerojenega otroka (2003) 1 exemplar(es)
A megfogalmazás kalandja (2009) 1 exemplar(es)
Peter Esterhazy 1 exemplar(es)
Sorstalanság szerepkép 1 exemplar(es)
Jegyzőkönyv (1993) 1 exemplar(es)
2009 1 exemplar(es)
Vyhnaný jazyk eseje (2002) 1 exemplar(es)
Besudbinstvo 1 exemplar(es)
Engleska zastava (2006) 1 exemplar(es)

Associated Works

Nobel Lectures: From the Literature Laureates, 1986 to 2006 (2006) — Contribuinte — 72 cópias
Die letzten Dinge: Lebensendgespräche (2015) — Contribuinte — 11 cópias
Fateless [2005 film] (2006) — Screenwriter — 7 cópias
Merian 1994 47/04 - Weimar (1994) — Autor — 6 cópias
Was für ein Péter! Über Péter Esterházy (1999) — Contribuinte — 1 exemplar(es)


Conhecimento Comum

Nome padrão
Kertész, Imre
Nome de batismo
Kertész Imre (Hungarian name order)
Data de nascimento
Data de falecimento
País (para mapa)
Local de nascimento
Budapest, Hungary
Local de falecimento
Budapest, Hungary
Locais de residência
Budapest, Hungary
Berlin, Germany
public speaker
Nobel Prize for Literature (2002)
Order of Saint Stephen
Goethe Medal (2004)
Brandenburger Literaturpreis (1995)
Leipziger Buchpreis (1997)
Herder Preis (2000) (mostrar todas 7)
Pour le Mérite (2001)
Pequena biografia
Imre Kertész was born to a Jewish family in Budapest, Hungary. After his parents László Kertész and Aranka Jakab separated when he was about five years old, he attended a boarding school. In 1944, after Nazi Germany invaded his homeland during World War II, he was deported at age 14 with other Hungarian Jews to the death camp at Auschwitz, and was later sent to Buchenwald concentration camp. He survived to be liberated by U.S. troops in 1945 and returned to Budapest. He resumed his education and graduated from high school in 1948. Kertész became a journalist and worked for the periodical Világosság (Clarity) but was dismissed in 1951 after it adopted the Communist party line. After a short time as a factory worker, he was employed by the press department of the Ministry of Heavy Industry. He then became a freelance writer and translator of German-language authors into Hungarian, including works by Friedrich Nietzsche, Sigmund Freud, Ludwig Wittgenstein, and Elias Canetti. His most influential novel, Sorstalanság (Fatelessness), written between 1960 and 1973, the first of his Holocaust trilogy, was based on his experiences in the camps. Initially it was rejected by the Communist censors in Hungary, but was finally published in 1975. In was adapted into a film in 2005. Subsequent volumes in the trilogy were A kudarc (The Failure, 1988) and Kaddis a meg nem született gyermekért (Kaddish for an Unborn Child, 1990). Having found little appreciation for his writing in Hungary, he divided his time between Budapest and Berlin, where he also was able to make public appearances. He won numerous literary prizes before being awarded the Nobel Prize in Literature in 2002.




"Nein!" antwortet der namentlich nicht bekannte Ich-Erzähler auf die Frage von Dr. Oblath, ob er ein Kind wolle. Und dann steigert sich der Erzähler in einen geradezu wahnhaften inneren Monolog, welcher die restlichen 160 Seiten des Buchs in endlosen Sätzen absatzlos in Erklärungsansätzen und Rechtfertigungen für dieses "Nein" mäandert.
Kertesz' Protagonist, ein bürgelicher Jude, erzählt vom Überleben im Vernichtungslager Auschwitz. Er reflektiert über Antisemtismus, den Holocaust aber auch seine schwierige Vaterbeziehung und gescheiterte Ehe. Doch alles dreht sich letztlich um seine Unrechtserfahrungen und sein Überleben in Ausschwitz. Dieses Überleben hat den Erzähler gebrochen, es erscheint ihm planwidrig und verursacht eine Lebensferne, die es ihm verunmöglicht, Leben zu schenken und ein erfülltes Leben zu führen. Körperlich mag der Erzähler der NS-Vernichtungsmaschinerie entkommen sein, psychisch blieb sein Geist im Lager. So lässt Kertesz tief in die Psyche eines Überlebenden des Holocaust - und sohin wohl auch in seine eigene - blicken.
Man braucht viel Zeit und Ruhe, um dem Monolog und den darin enthaltenen Gedankensprüngen folgen zu können. "Kaddisch für ein nicht geborenes Kind" ist schon alleine wegen der abschweifenden Erzählweise in langen, absatzlosen Sätzen anspruchsvoller als Kertesz' Standardwerk "Roman es Schicksallosen". Doch die Ausdauer wird mit Betrachtungsweisen belohnt, welche sich nicht auf den ersten Blick erschließen.
… (mais)
schmechi | outras 16 resenhas | Apr 8, 2024 |
Review of Fatelessness
The Crux of it: I am Here
1942 - a French orderly gives out sugar cubes to French children every day in the Buchenwald concentration camp hospital. The main character György a Hungarian teenager, notices that the French speakers get two, while he only ever gets one. To György this behavior illustrates the advantage of learning a second.language.

This is typical György who is sent first to Auschwitz and then to Buchenwald where he endures the horrors of the camps as we know them. He analyses events by rationalizing them in a matter of fact way, sans morality or resentment, his only emotion coming midway in the book when he starts to experience “irritability” and even then, never moral outrage.

The story is autobiographical and was written years after Kertész‘s imprisonment, when he was on the cusp of forgetting. Hence the many details of inmates’ facial structures and camp hierarchy uniforms. He’s putting it alll out there, in plain and simple terms; making it hard for the modern reader to understand the eerie detachment.

The story is told in chronological order, with the young boy unaware of what lies ahead as he passes from one horror to the next. Each event is told using backshadowing, with György taking and justifying each horror step by step without the knowledge of the modern reader. This of course is how the inmates experienced the ordeal, and reading it in this way has the efffect of making the experience more real. We are centered in György‘s life. But we can never fully accept the detachment shown in the justifications, the peak and most horrific being when Köves seems to “understand” the crematoria of Auschwitz,

I became used to György’s way of using reason to justify what happens to him without ethical considerations. But the question remains why? Is it that it’s a story told by a teenager? Or that the writer lacks Faith and is, being a non-practicing Jew, an outcast amongst outcasts? Or is it for effect? Or has the concept of morality been beaten out of him?

I prefer to think it’s an older person’s way of trying to remember what has of necessity been repressed. The writer is trying to remember, step by step, the events of his imprisonment, along with how he managed to cope with those events,as a young male thrust into the horror of the Holocaust without any adult experience or faith to guide him. Thus as with the sugar cube episode recounted in a matter-of-fact way, without rancor or moral overtone, I started to see into Kertész’s memory.
… (mais)
kjuliff | outras 69 resenhas | Dec 9, 2023 |
46. Fatelessness by Imre Kertész
translation: from Hungarian by Tim Wilkinson, 2004
OPD: 1975
format: 262-page Kindle ebook (side note: I started with a paperback I bought in SF in Nov 2022, but it turned out to be a bad copy.)
acquired: November 2022, then again August 15 read: Aug 13-22 time reading: 8:39, 2.0 mpp
rating: 5
genre/style: modern classics? theme: TBR
locations: Hungary & several concentration camps
about the author: Jewish Hungarian author and journalist from Budapest, a Holocaust survivor, and the 2002 Nobel Prize winner. (1929-2016)

I find Holocaust books tough to respond to, and tough to review, and this classic is no different. It's very powerful. It's semi-autobiographical in that it's the story of a 14-year-old Hungarian boy, Jewish only by lineage, who experiences and survives concentration camps, something the author experienced, and also it's all told in first person.

What sets this apart is the perspective. We never meet György Köves's parents, or anyone he's deeply connected to. He is emotionally distant. Unexperienced, but passionlessly curious, with an open logical mind. So, when finds himself and Auschwitz, he's not emotionally horrified so much as practical and scared in that way. He observes logically, within his understanding, even justifying various actions of guards in terms of what makes sense to him. There are bodies going up in smoke within his line of sight, bodies of people he just got off the train with, who have already been gassed, and he's focused on how people with valuables respond to requests by guards to give these up voluntarily, or by the way a newly shaven rabbi washes himself in showers (showerers that look the same as the gas chambers).

"At the very beginning, I still considered myself to be what I might call a sort of guest in captivity--very pardonably and, when it comes down to it, in full accordance with the propensity to delusion that we all share and which is thus, I suppose, ultimately part of human nature"

When he eventually returns home, and is questioned by what turns out to be a news or magazine writer, he answers questions saying, "naturally" this or that traumatic event. He is angry, but he is shaped by this experience, and embraces that impact on him, which is strange, especially in light of how grown up and mature he sounds at the end of the book.

What was weird for me, as a reader, is that I was never horrified while my mind was within the tone of the text. I was invested in György, like in the way I might be invested in a pretty good unprofessional challenger in America Ninja Warrior. I wanted him to succeed, to overcome. This kept me reading, and drew me back between chances to read. I was engaged. But I would need to pull myself out of the book, look around, so to speak, to grasp the context. That was very strange to me.

This is an important work. In my mind, it's up there with [Night], [If This is a Man], and [Maus], as a pillar towards understanding the Holocaust in a literary or artistic context. So highly recommended to those with this kind of interest. Personally I was drawn to this from other ClubRead comments and review (like from Labfs39, years ago), and also because part of being Jewish is to be drawn to this cultural heritage.

… (mais)
dchaikin | outras 69 resenhas | Aug 26, 2023 |
Chi guardera’ il mondo con il nostro sguardo?

Non esiste il caso: tutto accade per me e tramite me, e quando avro’ percorso il mio cammino, finalmente comprendero’ la mia vita.

I migliori racconti (in ordine): Il vessillo britannico, Verbale e Il cercatore di tracce.

Il vessillo britannico rispecchia gli affoganti e consueti soliloqui di Kertesz.

La lettura - questa scorza esterna della mia esistenza - fu il mezzo con il quale mi tenevo in contatto con il mondo: era menzognero, ma si trattava dell’unico vivibile: anzi, di tanto in tanto, quasi sopportabile.(9)

La gente reperisce la menzogna di cui ha bisogno con la medesima precisione e ineluttabilita’ con cui puo’ procurarsi anche la verita’ che gli necessita, sempre che avverta il bisogno della verita’ - cioe’ della resa dei conti con la vita.(23)

… dopo mi venne da pensare quale scopo avesse tutto questo, quale scopo avesse proprio questo - quale scopo avesse l’esperienza. Chi guardera’ il mondo con il nostro sguardo?(51)

Per la prima volta durante il viaggio, l’inviato fu assalito dal presentimento della sconfitta, quasi come dal torpore formicolante di sogni pesanti e ingarbugliati.
A che aggrapparsi per procurarsi delle certezze?


“Nietzsche era un tale buono a nulla, che e’ impazzito a causa della propria goffaggine; in questo mondo, invece, conta una sola cosa: rimanere normali!”: questa frase di Dali’ mi scandalizza profondamente. Ma questo farlocco non capisce che la pazzia e’ stata l’atto piu’ onesto e rigoroso di Nietzsche?
Ossia: degli infiniti livelli di interpretazione o lettura delle cose uno (Nietzsche) puo’ decidere di comprenderli tutti o nessuno…

… (mais)
NewLibrary78 | outras 4 resenhas | Jul 22, 2023 |



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