A ‘capacity for despair’ forged by political oppression has long been considered a Magyar national trait. But after Orbán, writers in the country remind us that melancholy must not always be bleak
A lone visitor looks for a garden outside an empty monastery. A morose housekeeper won’t let anyone behind the door of her own home. A retired general living alone on a crumbling estate waits 40 years to confront the only friend he ever had. Melancholy, an affinity with oblivion without a concrete cause, suffuses the Hungarian fiction translated for foreign audiences over the past 30 years, from the tortured tales of Sándor Márai to the taut novels of Magda Szabó.
In his book In Praise of Melancholy, essayist László F Földényi tells the story of an Englishman who monomanically decides to teach himself Hungarian. For Földényi, the commitment to studying a language with 26 cases and with no connection to any other language, from a culture besieged by centuries of invasion, is to embrace melancholy, a seductive “capacity for despair”. To read Hungarian literature as an outsider, the poet János Pilinszky claimed in 1972, is to acquire unique spiritual insights that come from centuries of rootlessness, alienation and strife.
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