Bringing László krasznahorkai to English Readers: A Publisher’s Journey
For years, teh hungarian novelist László Krasznahorkai remained a critical darling largely unknown to English-speaking audiences. His work,dense,challenging,adn profoundly rewarding,simply wasn’t deemed “marketable” by many UK publishers. this is a story of how that changed, and why bringing overlooked literary voices to a wider readership matters.
I first encountered Krasznahorkai’s novels in the mid-2000s, captivated by the US editions published by New Directions. Yet, back in London, the response was consistently the same: “too arduous,” “too risky.” It was a frustrating impasse.
Recognizing a meaningful gap in the market, and driven by a belief in krasznahorkai’s genius, I partnered with literary agent Peter Straus to establish Tuskar Rock Press in 2006. We built Tuskar Rock under the umbrella of Profile Books, specifically to champion writers bypassed by mainstream publishing houses. Our mission was simple: publish remarkable literature, regardless of perceived commercial limitations.
Overcoming Initial Resistance
Acquiring the rights was only the first step. The real challenge lay in building an audience. Thankfully, we weren’t starting from scratch.
At the 2011 Edinburgh Book festival, krasznahorkai’s appearance revealed a burgeoning fanbase. Many attendees were already familiar with his work through the films of Béla Tarr, a frequent collaborator. It became clear we weren’t creating demand, but rather connecting with existing admirers.
we needed to reach more readers like them.
A Singular Voice: Meeting Krasznahorkai
Krasznahorkai himself is a interesting figure. He’s a deeply thoughtful,almost reticent man – soft-spoken,unfailingly polite,and not prone to expansive pronouncements. This presented a unique challenge when I prepared to interview him at the London Review Bookshop in 2012.
I wondered how he’d articulate the origins of his singular vision. The interview, however, proved…complex.
Let’s just say the conversation didn’t flow as anticipated. Perhaps my questions missed the mark, or perhaps his discomfort ran deeper. However, even in his hesitations, glimpses of his artistic ideology emerged.
Insights into His Work
He famously stated about Sátántangó, his monumental novel: “I had to write only this book and no more. You try to write only one book and put everything you wont to say in one book.” This encapsulates his all-encompassing approach to storytelling.
His reflections on Hungary’s change were equally striking.He described pre-1989 Hungary as “absolutely unreal, crazy…abnormal and unbearable.” Post-1989,it became ”normal and unbearable” – a poignant commentary on the complexities of societal change.
He also possessed a remarkably modest view of his readership. “Most of us need only 10, maybe six on a bad day,” he quipped, suggesting a contentment with reaching a dedicated, if small, audience.
The Unanswerable question
The most memorable moment, however, came when I ventured into the realm of spirituality. I asked about the transcendent quality of his work, its reach beyond the mundane.
His response? A prolonged, thoughtful “Hmmmm.” Repeated.
Then, with perfect comic timing, he looked at me with a mournful expression and confessed, “The question is splendid, but I couldn’t answer. It’s too difficult for me. I’m not that clever.”
Thankfully, George Szirtes, who was also on the panel, offered a valuable interpretation: “I know that world more, but it’s a visionary world – a visionary world looking for order. The characters are not looking for God,but looking for their place.”
A Reluctant Conversationalist
When the floor opened to audience questions, Krasznahorkai visibly relaxed. He clasped his hands, looked upwards, and, with a gesture that was both shamanistic and shyly performative, declared his willingness to answer – with one crucial caveat: “only I beg you, nothing about God.”
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