{"id":104160,"date":"2025-10-11T03:54:00","date_gmt":"2025-10-11T03:54:00","guid":{"rendered":"https:\/\/damau.org\/?p=104160"},"modified":"2025-10-11T04:08:37","modified_gmt":"2025-10-11T04:08:37","slug":"lszl-krasznahorkai-nh-sng-trong-bng-toi","status":"publish","type":"post","link":"https:\/\/damau.org\/en\/104160\/lszl-krasznahorkai-nh-sng-trong-bng-toi","title":{"rendered":"László Krasznahorkai – ánh sáng trong bóng t\u1ed1i"},"content":{"rendered":"

*Both French and English versions can be found below.<\/em><\/p>\n

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\"László<\/a><\/p>\n

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Nh\u01b0 \u0111\u00e3 d\u1ef1 c\u1ea3m trong m\u1ed9t status t\u00f4i vi\u1ebft c\u00e1ch \u0111\u00e2y hai tu\u1ea7n, linh c\u1ea3m \u1ea5y h\u00f4m nay tr\u1edf th\u00e0nh hi\u1ec7n th\u1ef1c. Ng\u00e0y 9 th\u00e1ng 10 n\u0103m 2025, Vi\u1ec7n H\u00e0n L\u00e2m Th\u1ee5y \u0110i\u1ec3n \u0111\u00e3 ch\u00ednh th\u1ee9c c\u00f4ng b\u1ed1 Gi\u1ea3i Nobel V\u0103n Ch\u01b0\u01a1ng n\u0103m nay thu\u1ed9c v\u1ec1 nh\u00e0 v\u0103n Hungary L\u00e1szl\u00f3 Krasznahorkai. Trong th\u00f4ng c\u00e1o ch\u00ednh th\u1ee9c, Vi\u1ec7n vi\u1ebft: \u201cfor his compelling and visionary oeuvre that, in the midst of apocalyptic terror, reaffirms the power of art.\u201d Ngh\u0129a l\u00e0: \u201cv\u00ec m\u1ed9t s\u1ef1 nghi\u1ec7p s\u00e1ng t\u00e1c \u0111\u1ea7y s\u1ee9c thuy\u1ebft ph\u1ee5c v\u00e0 t\u1ea7m nh\u00ecn ti\u00ean tri, trong \u0111\u00f3, gi\u1eefa n\u1ed7i kinh ho\u00e0ng c\u1ee7a t\u1eadn th\u1ebf, \u00f4ng v\u1eabn kh\u1eb3ng \u0111\u1ecbnh quy\u1ec1n n\u0103ng c\u1ee7a ngh\u1ec7 thu\u1eadt.\u201d Tuy\u00ean b\u1ed1 \u1ea5y l\u00e0 m\u1ed9t t\u00f3m l\u01b0\u1ee3c s\u00fac t\u00edch cho to\u00e0n b\u1ed9 h\u00e0nh tr\u00ecnh s\u00e1ng t\u1ea1o c\u1ee7a Krasznahorkai: m\u1ed9t nh\u00e0 v\u0103n c\u1ee7a b\u00f3ng t\u1ed1i nh\u01b0ng v\u1eabn trung th\u00e0nh v\u1edbi \u00e1nh s\u00e1ng; m\u1ed9t ng\u01b0\u1eddi vi\u1ebft gi\u1eefa hoang t\u00e0n nh\u01b0ng v\u1eabn g\u00ecn gi\u1eef ph\u1ea9m gi\u00e1 c\u1ee7a ng\u00f4n t\u1eeb nh\u01b0 h\u00ecnh th\u1ee9c t\u1ed3n t\u1ea1i cu\u1ed1i c\u00f9ng. Trong kho\u1ea3nh kh\u1eafc \u1ea5y, th\u1ebf gi\u1edbi v\u0103n h\u1ecdc kh\u00f4ng ch\u1ec9 ch\u1ee9ng ki\u1ebfn s\u1ef1 vinh danh m\u1ed9t c\u00e1 nh\u00e2n m\u00e0 c\u00f2n ch\u1ee9ng ki\u1ebfn l\u1eddi x\u00e1c t\u00edn r\u1eb1ng gi\u1eefa h\u1ed7n lo\u1ea1n v\u00e0 l\u00e3ng qu\u00ean, v\u1eabn c\u00f2n nh\u1eefng ng\u01b0\u1eddi tin v\u00e0o s\u1ee9c c\u1ee9u r\u1ed7i c\u1ee7a ch\u1eef ngh\u0129a.<\/p>\n

Th\u1ebf gi\u1edbi v\u0103n ch\u01b0\u01a1ng \u0111\u00f3n nh\u1eadn tin \u1ea5y v\u1edbi c\u1ea3m gi\u00e1c v\u1eeba b\u1ea5t ng\u1edd v\u1eeba t\u1ea5t y\u1ebfu. \u1ede tu\u1ed5i b\u1ea3y m\u01b0\u01a1i m\u1ed1t, Krasznahorkai kh\u00f4ng c\u00f2n xa l\u1ea1 trong gi\u1edbi ph\u00ea b\u00ecnh qu\u1ed1c t\u1ebf, song s\u1ef1 c\u00f4ng nh\u1eadn \u0111\u1ebfn t\u1eeb Vi\u1ec7n H\u00e0n L\u00e2m v\u1eabn t\u1ea1o n\u00ean m\u1ed9t ch\u1ea5n \u0111\u1ed9ng. B\u1edfi l\u1ebd, v\u1edbi nhi\u1ec1u \u0111\u1ed9c gi\u1ea3, \u00f4ng l\u00e0 m\u1ed9t t\u00e1c gi\u1ea3 kh\u00f3 \u0111\u1ecdc, th\u1eadm ch\u00ed kh\u1eafc nghi\u1ec7t. V\u0103n ch\u01b0\u01a1ng c\u1ee7a \u00f4ng kh\u00f4ng chi\u1ec1u chu\u1ed9ng v\u1ed7 v\u1ec1, kh\u00f4ng g\u1ee3i h\u1ee9ng kh\u1edfi d\u1ec5 d\u00e3i; n\u00f3 \u0111\u00f2i h\u1ecfi ng\u01b0\u1eddi \u0111\u1ecdc ph\u1ea3i ki\u00ean nh\u1eabn, ph\u1ea3i c\u00f9ng \u00f4ng \u0111i qua nh\u1eefng m\u00ea l\u1ed9 d\u1eb1ng d\u1eb7c c\u1ee7a \u00fd th\u1ee9c v\u00e0 b\u00f3ng t\u1ed1i. Vi\u1ec7c \u00f4ng \u0111\u01b0\u1ee3c vinh danh v\u00ec th\u1ebf kh\u00f4ng ch\u1ec9 l\u00e0 chi\u1ebfn th\u1eafng c\u1ee7a m\u1ed9t c\u00e1 nh\u00e2n m\u00e0 c\u00f2n l\u00e0 chi\u1ebfn th\u1eafng c\u1ee7a m\u1ed9t quan ni\u1ec7m v\u0103n ch\u01b0\u01a1ng ki\u00ean \u0111\u1ecbnh v\u1edbi c\u00e1i kh\u00f3, c\u00e1i ph\u1ee9c t\u1ea1p v\u00e0 c\u00e1i b\u1ea5t an trong tinh th\u1ea7n con ng\u01b0\u1eddi hi\u1ec7n \u0111\u1ea1i.<\/p>\n

L\u00e1szl\u00f3 Krasznahorkai sinh n\u0103m 1954 t\u1ea1i Gyula, m\u1ed9t th\u1ecb tr\u1ea5n nh\u1ecf mi\u1ec1n \u0111\u00f4ng Hungary g\u1ea7n bi\u00ean gi\u1edbi Romania. \u00d4ng tr\u01b0\u1edfng th\u00e0nh trong b\u1ed1i c\u1ea3nh \u0110\u00f4ng \u00c2u v\u1eabn \u0111\u1eafm m\u00ecnh trong s\u1ef1 tr\u00ec tr\u1ec7 c\u1ee7a ch\u1ebf \u0111\u1ed9 x\u00e3 h\u1ed9i ch\u1ee7 ngh\u0129a. H\u1ecdc lu\u1eadt v\u00e0 v\u0103n h\u1ecdc nh\u01b0ng s\u1edbm ch\u1ecdn con \u0111\u01b0\u1eddng bi\u1ec7t l\u1eadp, \u00f4ng tr\u00e1nh xa \u0111\u1eddi s\u1ed1ng ch\u00ednh tr\u1ecb v\u00e0 v\u0103n h\u00f3a ch\u00ednh th\u1ed1ng. Vi\u1ec7c b\u1ecb h\u1ea1n ch\u1ebf di chuy\u1ec3n, b\u1ecb ki\u1ec3m duy\u1ec7t v\u00e0 c\u00f4 l\u1eadp \u0111\u00e3 s\u1edbm khi\u1ebfn \u00f4ng hi\u1ec3u r\u1eb1ng t\u1ef1 do \u0111\u00edch th\u1ef1c ch\u1ec9 c\u00f2n t\u1ed3n t\u1ea1i trong kh\u00f4ng gian ng\u00f4n t\u1eeb. V\u0103n ch\u01b0\u01a1ng, v\u1edbi \u00f4ng, l\u00e0 h\u00e0nh tr\u00ecnh \u0111i v\u00e0o b\u00f3ng t\u1ed1i c\u1ee7a th\u1ebf gi\u1edbi, n\u01a1i \u0111\u1ed5 v\u1ee1 v\u00e0 tr\u1ed1ng r\u1ed7ng kh\u00f4ng th\u1ec3 c\u1ee9u r\u1ed7i b\u1eb1ng \u1ea3o t\u01b0\u1edfng ti\u1ebfn b\u1ed9. Ch\u00ednh trong b\u1ed1i c\u1ea3nh \u1ea5y, n\u0103m 1985, \u00f4ng xu\u1ea5t b\u1ea3n S\u00e1t\u00e1ntang\u00f3, cu\u1ed1n ti\u1ec3u thuy\u1ebft \u0111\u1ea7u ti\u00ean v\u00e0 c\u0169ng l\u00e0 c\u1ed9t m\u1ed1c m\u1edf \u0111\u1ea7u cho to\u00e0n b\u1ed9 v\u0169 tr\u1ee5 s\u00e1ng t\u00e1c sau n\u00e0y.<\/p>\n

S\u00e1t\u00e1ntang\u00f3 k\u1ec3 v\u1ec1 m\u1ed9t c\u1ed9ng \u0111\u1ed3ng nh\u1ecf \u0111ang tan r\u00e3 trong c\u01a1n m\u01b0a kh\u00f4ng d\u1ee9t, n\u01a1i nh\u1eefng con ng\u01b0\u1eddi ki\u1ec7t qu\u1ec7 c\u1ed1 g\u1eafng t\u00ecm ki\u1ebfm m\u1ed9t h\u00ecnh th\u1ee9c c\u1ee9u r\u1ed7i. Nh\u01b0ng \u0111i\u1ec1u khi\u1ebfn t\u00e1c ph\u1ea9m tr\u1edf th\u00e0nh hi\u1ec7n t\u01b0\u1ee3ng kh\u00f4ng ph\u1ea3i l\u00e0 c\u1ed1t truy\u1ec7n m\u00e0 l\u00e0 c\u00e1ch vi\u1ebft. Nh\u1eefng c\u00e2u v\u0103n d\u00e0i \u0111\u1ebfn h\u00e0ng ch\u1ee5c trang, kh\u00f4ng d\u1ea5u ch\u1ea5m, kh\u00f4ng ng\u1eebng tr\u00f4i theo d\u00f2ng \u00fd th\u1ee9c. \u0110\u1ecdc Krasznahorkai kh\u00f4ng ph\u1ea3i l\u00e0 \u0111\u1ecdc m\u1ed9t c\u00e2u chuy\u1ec7n, m\u00e0 l\u00e0 b\u1ecb cu\u1ed1n v\u00e0o m\u1ed9t c\u01a1n l\u0169 ng\u00f4n ng\u1eef. C\u00e1i m\u1ec7t m\u1ecfi, c\u00e1i cho\u00e1ng v\u00e1ng \u1ea5y ch\u00ednh l\u00e0 ch\u1ee7 \u0111\u00edch c\u1ee7a \u00f4ng: ng\u00f4n t\u1eeb ph\u1ea3i t\u1ef1 th\u00e2n t\u00e1i t\u1ea1o c\u1ea3m gi\u00e1c suy ki\u1ec7t v\u00e0 tuy\u1ec7t v\u1ecdng c\u1ee7a t\u1ed3n t\u1ea1i.<\/p>\n

\u0110\u1ea1o di\u1ec5n B\u00e9la Tarr, ng\u01b0\u1eddi b\u1ea1n tri k\u1ef7, \u0111\u00e3 chuy\u1ec3n th\u1ec3 S\u00e1t\u00e1ntang\u00f3 th\u00e0nh b\u1ed9 phim d\u00e0i h\u01a1n b\u1ea3y ti\u1ebfng, m\u1ed9t trong nh\u1eefng t\u00e1c ph\u1ea9m \u0111i\u1ec7n \u1ea3nh \u00e1m \u1ea3nh nh\u1ea5t th\u1ebf k\u1ef7 20. S\u1ef1 k\u1ebft h\u1ee3p \u1ea5y kh\u00f4ng ch\u1ec9 l\u00e0 g\u1eb7p g\u1ee1 ngh\u1ec7 thu\u1eadt m\u00e0 c\u00f2n l\u00e0 s\u1ef1 c\u1ed9ng h\u01b0\u1edfng gi\u1eefa hai c\u00e1i nh\u00ecn tri\u1ec7t \u0111\u1ec3: th\u1ebf gi\u1edbi kh\u00f4ng c\u00f3 trung t\u00e2m, th\u1eddi gian l\u00e0 v\u00f2ng lu\u00e2n h\u1ed3i v\u00e0 con ng\u01b0\u1eddi trong n\u1ed7 l\u1ef1c t\u00ecm \u00fd ngh\u0129a ch\u1ec9 c\u00e0ng l\u00fan s\u00e2u v\u00e0o m\u00ea l\u1ed9. \u1ede Krasznahorkai \u0111i\u1ec1u \u1ea5y \u0111\u01b0\u1ee3c th\u1ec3 hi\u1ec7n b\u1eb1ng ch\u1eef, \u1edf Tarr b\u1eb1ng h\u00ecnh \u1ea3nh; c\u1ea3 hai c\u00f9ng s\u1eed d\u1ee5ng s\u1ef1 ch\u1eadm r\u00e3i v\u00e0 d\u00e0i d\u00f2ng nh\u01b0 m\u1ed9t ph\u01b0\u01a1ng ti\u1ec7n ph\u1ea3n kh\u00e1ng – ph\u1ea3n kh\u00e1ng t\u1ed1c \u0111\u1ed9, ph\u1ea3n kh\u00e1ng n\u1ec1n v\u0103n h\u00f3a ti\u00eau th\u1ee5, ph\u1ea3n kh\u00e1ng s\u1ef1 r\u00fat ng\u1eafn c\u1ee7a tr\u1ea3i nghi\u1ec7m tinh th\u1ea7n.<\/p>\n

T\u1eeb S\u00e1t\u00e1ntang\u00f3, \u00f4ng m\u1edf r\u1ed9ng th\u1ebf gi\u1edbi c\u1ee7a m\u00ecnh qua The Melancholy of Resistance, War and War, Seiobo There Below v\u00e0 Baron Wenckheim\u2019s Homecoming. M\u1ed7i t\u00e1c ph\u1ea9m l\u00e0 m\u1ed9t bi\u1ebfn th\u1ec3 c\u1ee7a c\u00f9ng m\u1ed9t \u00e1m \u1ea3nh: s\u1ef1 suy t\u00e0n c\u1ee7a nh\u00e2n lo\u1ea1i. Nh\u00e2n v\u1eadt c\u1ee7a \u00f4ng th\u01b0\u1eddng l\u00e0 nh\u1eefng k\u1ebb c\u00f4 \u0111\u1ed9c, linh m\u1ee5c l\u1ea1c l\u1ed1i, tr\u00ed th\u1ee9c th\u1ea5t b\u1ea1i, l\u1eef kh\u00e1ch v\u00f4 \u0111\u1ecbnh, nh\u1eefng b\u00f3ng ng\u01b0\u1eddi l\u1ea1c gi\u1eefa th\u00e0nh ph\u1ed1 s\u1ee5p \u0111\u1ed5 v\u00e0 vi\u1ec7n b\u1ea3o t\u00e0ng hoang l\u1ea1nh. D\u00f9 b\u1ed1i c\u1ea3nh thay \u0111\u1ed5i, t\u1eeb l\u00e0ng qu\u00ea Hungary \u0111\u1ebfn Kyoto hay B\u1eafc Kinh, nh\u01b0ng c\u1ea3m th\u1ee9c chung v\u1eabn kh\u00f4ng \u0111\u1ed5i. Con ng\u01b0\u1eddi \u0111ang s\u1ed1ng trong th\u1eddi \u0111\u1ea1i m\u00e0 m\u1ecdi h\u1ec7 th\u1ed1ng ni\u1ec1m tin truy\u1ec1n th\u1ed1ng \u0111\u1ec1u \u0111\u1ed5 v\u1ee1, c\u00f2n ngh\u1ec7 thu\u1eadt ch\u1ec9 c\u00f2n l\u1ea1i nh\u01b0 m\u1ea3nh v\u1ee5n mong manh \u0111\u1ec3 b\u1ea5u v\u00edu.<\/p>\n

\u0110\u1ecdc Krasznahorkai l\u00e0 b\u01b0\u1edbc v\u00e0o m\u1ed9t th\u1ebf gi\u1edbi kh\u00f4ng c\u00f2n ranh gi\u1edbi gi\u1eefa t\u00f4n gi\u00e1o, tri\u1ebft h\u1ecdc v\u00e0 v\u0103n ch\u01b0\u01a1ng. C\u00e2u ch\u1eef c\u1ee7a \u00f4ng mang nh\u1ecbp \u0111i\u1ec7u c\u1ee7a l\u1eddi c\u1ea7u nguy\u1ec7n, nh\u01b0ng \u0111\u1ed3ng th\u1eddi c\u00f3 c\u1ea5u tr\u00fac c\u1ee7a m\u1ed9t suy t\u01b0\u1edfng tri\u1ebft l\u00fd. \u00d4ng ch\u1ecbu \u1ea3nh h\u01b0\u1edfng Kafka, Musil, Dostoevsky, nh\u01b0ng m\u1edf r\u1ed9ng t\u1ea7m nh\u00ecn \u0111\u1ebfn tri\u1ebft h\u1ecdc Ph\u1eadt gi\u00e1o v\u00e0 m\u1ef9 h\u1ecdc ph\u01b0\u01a1ng \u0110\u00f4ng. Trong nh\u1eefng n\u0103m s\u1ed1ng \u1edf Nh\u1eadt, \u00f4ng t\u1eebng n\u00f3i m\u00ecnh t\u00ecm th\u1ea5y \u201c\u00fd ni\u1ec7m v\u1ec1 t\u0129nh l\u1eb7ng nh\u01b0 m\u1ed9t h\u00ecnh th\u1ee9c nh\u1eadn th\u1ee9c\u201d. T\u0129nh l\u1eb7ng, trong \u00f4ng, l\u00e0 c\u00e1ch \u0111\u1ed1i di\u1ec7n v\u1edbi h\u1ed7n lo\u1ea1n. Nh\u1edd \u0111\u00f3, th\u1ebf gi\u1edbi c\u1ee7a \u00f4ng v\u1eeba mang \u00e2m h\u01b0\u1edfng Kinh Th\u00e1nh, v\u1eeba ph\u1ea3ng ph\u1ea5t h\u01a1i th\u1edf thi\u1ec1n \u0111\u1ecbnh. N\u1ebfu Kafka vi\u1ebft v\u1ec1 s\u1ef1 phi l\u00fd c\u1ee7a h\u1ec7 th\u1ed1ng, th\u00ec Krasznahorkai vi\u1ebft v\u1ec1 s\u1ef1 phi l\u00fd c\u1ee7a ch\u00ednh linh h\u1ed3n, \u1edf \u0111\u00f3 \u00fd th\u1ee9c con ng\u01b0\u1eddi v\u1eeba l\u00e0 n\u1ea1n nh\u00e2n, v\u1eeba l\u00e0 c\u00f4ng c\u1ee5 c\u1ee7a s\u1ef1 \u0111\u00e0y \u1ea3i.<\/p>\n

Gi\u1ea3i Nobel n\u0103m nay trao cho \u00f4ng kh\u00f4ng ch\u1ec9 v\u00ec m\u1ed9t t\u00e1c ph\u1ea9m m\u00e0 v\u00ec to\u00e0n b\u1ed9 h\u00e0nh tr\u00ecnh \u1ea5y. B\u1ed1n th\u1eadp ni\u00ean ki\u00ean tr\u00ec v\u1edbi m\u1ed9t m\u1ef9 h\u1ecdc kh\u1eafc kh\u1ed5. Th\u00f4ng \u0111i\u1ec7p c\u1ee7a Vi\u1ec7n H\u00e0n L\u00e2m \u2013 \u201ctrong c\u01a1n ho\u1ea3ng lo\u1ea1n t\u1eadn th\u1ebf, \u00f4ng kh\u1eb3ng \u0111\u1ecbnh quy\u1ec1n n\u0103ng c\u1ee7a ngh\u1ec7 thu\u1eadt\u201d \u2013 kh\u00f4ng ch\u1ec9 m\u00f4 t\u1ea3 v\u0103n nghi\u1ec7p m\u00e0 l\u00e0 ph\u00e1c h\u1ecda t\u01b0 th\u1ebf t\u1ed3n t\u1ea1i. Krasznahorkai l\u00e0 ng\u01b0\u1eddi nh\u1eafc th\u1ebf gi\u1edbi r\u1eb1ng v\u0103n ch\u01b0\u01a1ng kh\u00f4ng ch\u1ec9 \u0111\u1ec3 an \u1ee7i, m\u00e0 c\u00f2n \u0111\u1ec3 l\u00e0m ta s\u1ee3 h\u00e3i, \u0111\u1ec3 \u0111\u1ea9y ta ra kh\u1ecfi v\u00f9ng an to\u00e0n. Trong th\u1eddi \u0111\u1ea1i m\u1ecdi th\u1ee9 b\u1ecb r\u00fat g\u1ecdn th\u00e0nh m\u1ea9u tin, th\u00e0nh clip ng\u1eafn, vi\u1ec7c t\u00f4n vinh m\u1ed9t nh\u00e0 v\u0103n c\u1ee7a nh\u1eefng c\u00e2u d\u00e0i v\u00f4 t\u1eadn l\u00e0 tuy\u00ean ng\u00f4n cho chi\u1ec1u s\u00e2u, cho s\u1ef1 ch\u1eadm r\u00e3i, cho s\u1ee9c ch\u1ecbu \u0111\u1ef1ng c\u1ee7a t\u01b0 t\u01b0\u1edfng.<\/p>\n

S\u1ef1 d\u1ea5n th\u00e2n \u1ea5y kh\u00f4ng ch\u1ec9 n\u1eb1m trong c\u1ea5u tr\u00fac ch\u1eef ngh\u0129a m\u00e0 c\u00f2n trong c\u00e1ch s\u1ed1ng. \u00d4ng \u1ea9n d\u1eadt, tr\u00e1nh xa \u0111\u00e1m \u0111\u00f4ng, kh\u00f4ng m\u1ea1ng x\u00e3 h\u1ed9i, kh\u00f4ng ph\u00e1t bi\u1ec3u ch\u00ednh tr\u1ecb. Cu\u1ed9c \u0111\u1eddi \u00f4ng l\u00e0 h\u00e0nh tr\u00ecnh di tr\u00fa gi\u1eefa Berlin, Kyoto, B\u1eafc Kinh, Budapest, kh\u00f4ng ph\u1ea3i \u0111\u1ec3 t\u00ecm n\u01a1i ch\u1ed1n, \u0111\u00f3 l\u00e0 \u0111\u1ec3 ch\u1ee9ng nghi\u1ec7m s\u1ef1 v\u00f4 tr\u00fa. Trong nhi\u1ec1u cu\u1ed9c tr\u00f2 chuy\u1ec7n, \u00f4ng lu\u00f4n n\u00f3i r\u1eb1ng vi\u1ebft l\u00e0 h\u00ecnh th\u1ee9c kh\u1ed5 h\u1ea1nh, l\u00e0 vi\u1ec7c \u0111\u1ed1i m\u1eb7t v\u1edbi s\u1ef1 b\u1ea5t l\u1ef1c c\u1ee7a ng\u00f4n ng\u1eef, b\u00f3ng t\u1ed1i c\u1ee7a t\u01b0 t\u01b0\u1edfng v\u00e0 ch\u00ednh n\u1ed7i c\u00f4 \u0111\u01a1n c\u1ee7a m\u00ecnh. Ch\u00ednh v\u00ec v\u1eady m\u00e0 v\u0103n ch\u01b0\u01a1ng c\u1ee7a \u00f4ng, d\u00f9 tr\u0129u n\u1eb7ng, v\u1eabn mang t\u00ednh thi\u00eang li\u00eang. N\u00f3 nh\u1eafc ta nh\u1edb r\u1eb1ng ng\u00f4n t\u1eeb, khi \u0111\u01b0\u1ee3c \u0111\u1ea9y \u0111\u1ebfn gi\u1edbi h\u1ea1n, c\u00f3 th\u1ec3 tr\u1edf th\u00e0nh m\u1ed9t con \u0111\u01b0\u1eddng gi\u1ea3i tho\u00e1t.<\/p>\n

Gi\u1ea3i Nobel d\u00e0nh cho L\u00e1szl\u00f3 Krasznahorkai kh\u00f4ng ch\u1ec9 t\u00f4n vinh m\u1ed9t c\u00e1 nh\u00e2n m\u00e0 c\u00f2n \u0111\u00e1nh d\u1ea5u s\u1ef1 tr\u1edf l\u1ea1i c\u1ee7a ti\u1ebfng n\u00f3i \u0110\u00f4ng \u00c2u trong \u0111\u1eddi s\u1ed1ng tinh th\u1ea7n c\u1ee7a nh\u00e2n lo\u1ea1i. \u0110\u00e2y l\u00e0 v\u00f9ng \u0111\u1ea5t t\u1eebng s\u1ea3n sinh nhi\u1ec1u nh\u00e0 v\u0103n v\u0129 \u0111\u1ea1i, nh\u01b0ng trong nh\u1eefng th\u1eadp ni\u00ean g\u1ea7n \u0111\u00e2y d\u01b0\u1eddng nh\u01b0 b\u1ecb khu\u1ea5t l\u1ea5p b\u1edfi l\u00e0n s\u00f3ng Anglo-American. T\u1eeb Imre Kert\u00e9sz \u0111\u1ebfn Olga Tokarczuk, v\u0103n ch\u01b0\u01a1ng \u0110\u00f4ng \u00c2u lu\u00f4n mang trong m\u00ecnh ba m\u1ea1ch ng\u1ea7m ch\u1ee7 \u0111\u1ea1o: \u00fd th\u1ee9c l\u1ecbch s\u1eed nh\u01b0 m\u1ed9t \u0111\u1ecbnh m\u1ec7nh, c\u1ea3m th\u1ee9c t\u1ed9i l\u1ed7i nh\u01b0 m\u1ed9t h\u00ecnh th\u00e1i t\u1ef1 v\u1ea5n v\u00e0 kh\u00e1t v\u1ecdng si\u00eau h\u00ecnh nh\u01b0 ph\u1ea7n c\u00f2n l\u1ea1i c\u1ee7a linh h\u1ed3n sau \u0111\u1ed5 n\u00e1t. \u1ede Krasznahorkai, ba d\u00f2ng ch\u1ea3y \u1ea5y h\u1ed9i t\u1ee5 th\u00e0nh m\u1ed9t gi\u1ecdng n\u00f3i ri\u00eang, n\u01a1i l\u1ecbch s\u1eed, tri\u1ebft h\u1ecdc v\u00e0 hi\u1ec7n sinh kh\u00f4ng t\u00e1ch r\u1eddi m\u00e0 h\u00f2a tan v\u00e0o nhau nh\u01b0 nh\u1eefng t\u1ea7ng tr\u1ea7m t\u00edch c\u1ee7a c\u00f9ng m\u1ed9t h\u1ec7 \u00fd th\u1ee9c. \u00d4ng kh\u00f4ng k\u1ec3 l\u1ea1i l\u1ecbch s\u1eed m\u00e0 \u0111\u1ec3 l\u1ecbch s\u1eed th\u1ea5m v\u00e0o t\u1eebng h\u01a1i th\u1edf c\u1ee7a nh\u00e2n v\u1eadt. \u00d4ng kh\u00f4ng tr\u00ecnh b\u00e0y tri\u1ebft h\u1ecdc m\u00e0 \u0111\u1ec3 tri\u1ebft h\u1ecdc t\u1ef1 v\u1eadn h\u00e0nh trong c\u1ea5u tr\u00fac c\u1ee7a c\u00e2u ch\u1eef. \u00d4ng kh\u00f4ng n\u00f3i v\u1ec1 t\u1ed9i l\u1ed7i nh\u01b0 m\u1ed9t ph\u1ea1m tr\u00f9 \u0111\u1ea1o \u0111\u1ee9c. \u00d4ng xem n\u00f3 nh\u01b0 b\u1ea3n ch\u1ea5t c\u1ee7a t\u1ed3n t\u1ea1i, nh\u01b0 chi\u1ebfc b\u00f3ng \u0111\u1ed5 kh\u00f4ng th\u1ec3 r\u1eddi kh\u1ecfi th\u00e2n ng\u01b0\u1eddi.<\/p>\n

V\u0103n ch\u01b0\u01a1ng c\u1ee7a \u00f4ng l\u00e0 h\u00e0nh tr\u00ecnh song song gi\u1eefa h\u1ee7y di\u1ec7t v\u00e0 c\u1ee9u chu\u1ed9c. M\u1ed7i ti\u1ec3u thuy\u1ebft m\u1edf ra nh\u01b0 m\u1ed9t c\u01a1n m\u1ed9ng k\u00e9o d\u00e0i, cho ph\u00e9p ng\u01b0\u1eddi \u0111\u1ecdc d\u00f2 d\u1eabm t\u1eebng b\u01b0\u1edbc \u0111i gi\u1eefa s\u01b0\u01a1ng m\u00f9 c\u1ee7a \u00fd ni\u1ec7m. Khi k\u1ebft th\u00fac, ta kh\u00f4ng \u0111\u01b0\u1ee3c gi\u1ea3i tho\u00e1t, nh\u01b0ng ta thay \u0111\u1ed5i. Ta hi\u1ec3u r\u1eb1ng c\u00e1i \u0111\u1eb9p kh\u00f4ng ph\u1ea3i l\u00e0 ho\u00e0n h\u1ea3o m\u00e0 l\u00e0 s\u1ef1 ki\u00ean nh\u1eabn t\u1ed3n t\u1ea1i gi\u1eefa \u0111\u1ed5 n\u00e1t. \u0110\u00f3 c\u0169ng l\u00e0 \u00fd ngh\u0129a s\u00e2u xa c\u1ee7a vi\u1ec7c Nobel 2025 ch\u1ecdn \u00f4ng. Gi\u1eefa th\u1ebf gi\u1edbi \u0111\u1ea7y chi\u1ebfn tranh v\u00e0 kh\u1ee7ng ho\u1ea3ng ni\u1ec1m tin, v\u0103n ch\u01b0\u01a1ng c\u1ee7a \u00f4ng nh\u1eafc ta v\u1ec1 s\u1ee9c ch\u1ecbu \u0111\u1ef1ng c\u1ee7a tinh th\u1ea7n, r\u1eb1ng gi\u1eefa tuy\u1ec7t v\u1ecdng v\u1eabn c\u00f2n m\u1ed9t \u00e1nh s\u00e1ng nh\u1ecf nhoi, v\u00e0 ch\u00ednh \u00e1nh s\u00e1ng \u1ea5y c\u1ee9u r\u1ed7i.<\/p>\n

Trong bu\u1ed5i h\u1ecdp b\u00e1o t\u1ea1i Frankfurt, Krasznahorkai n\u00f3i r\u1eb1ng \u201cm\u1ecdi s\u1ef1 c\u00f4ng nh\u1eadn \u0111\u1ec1u t\u1ea1m th\u1eddi, c\u00f2n c\u00e1i b\u00f3ng c\u1ee7a ng\u00f4n ng\u1eef th\u00ec v\u1eabn k\u00e9o d\u00e0i.\u201d C\u00e2u n\u00f3i \u1ea5y kh\u00f4ng ch\u1ec9 ph\u1ea3n \u00e1nh khi\u00eam nh\u01b0\u1eddng m\u00e0 c\u00f2n cho th\u1ea5y \u00f4ng hi\u1ec3u b\u1ea3n ch\u1ea5t c\u1ee7a danh v\u1ecdng: vinh quang phai nh\u1ea1t, ch\u1ec9 v\u0103n ch\u01b0\u01a1ng c\u00f2n l\u1ea1i. Gi\u1ea3i Nobel n\u00e0y, nh\u00ecn r\u1ed9ng h\u01a1n, l\u00e0 tuy\u00ean b\u1ed1 r\u1eb1ng th\u1eddi \u0111\u1ea1i k\u1ef9 thu\u1eadt s\u1ed1 ch\u01b0a th\u1ec3 gi\u1ebft ch\u1ebft v\u0103n ch\u01b0\u01a1ng nghi\u00eam c\u1ea9n. Trong khi th\u1ebf gi\u1edbi b\u1ecb cu\u1ed1n v\u00e0o t\u1ed1c \u0111\u1ed9, v\u1eabn c\u00f3 ng\u01b0\u1eddi nh\u01b0 \u00f4ng, c\u1ea7n m\u1eabn kh\u1eafc ghi t\u1eebng c\u00e2u, tin r\u1eb1ng ch\u1eadm r\u00e3i l\u00e0 kh\u00e1ng c\u1ef1. \u0110\u1ecdc \u00f4ng, ta h\u1ecdc l\u1ea1i c\u00e1ch \u0111\u1ecdc, l\u1eafng nghe v\u00e0 im l\u1eb7ng.<\/p>\n

B\u1edfi th\u1ebf m\u00e0 nhi\u1ec1u nh\u00e0 ph\u00ea b\u00ecnh g\u1ecdi Krasznahorkai l\u00e0 \u201cng\u01b0\u1eddi canh gi\u1eef ng\u1ecdn l\u1eeda cu\u1ed1i c\u00f9ng.\u201d \u00d4ng kh\u00f4ng \u0111\u1ea1i di\u1ec7n cho tr\u00e0o l\u01b0u n\u00e0o, nh\u01b0ng gi\u1eef \u0111\u01b0\u1ee3c ph\u1ea9m ch\u1ea5t hi\u1ebfm hoi: l\u00f2ng tin tuy\u1ec7t \u0111\u1ed1i v\u00e0o ng\u00f4n ng\u1eef. N\u1ebfu v\u0103n ch\u01b0\u01a1ng \u0111\u00e1nh m\u1ea5t ni\u1ec1m tin \u1ea5y, n\u00f3 ch\u1ec9 c\u00f2n l\u00e0 gi\u1ea3i tr\u00ed; c\u00f2n v\u1edbi \u00f4ng, vi\u1ebft v\u1eabn l\u00e0 m\u1ed9t th\u1ef1c h\u00e0nh nghi l\u1ec5, m\u1ed9t h\u00e0nh \u0111\u1ed9ng linh thi\u00eang, m\u1ed9t c\u00e1ch con ng\u01b0\u1eddi ch\u1ea1m \u0111\u1ebfn v\u1ef1c s\u00e2u c\u1ee7a ch\u00ednh m\u00ecnh.<\/p>\n

Gi\u1ea3i Nobel V\u0103n ch\u01b0\u01a1ng 2025, x\u00e9t \u0111\u1ebfn c\u00f9ng, kh\u00f4ng ch\u1ec9 l\u00e0 s\u1ef1 t\u00f4n vinh d\u00e0nh cho m\u1ed9t c\u00e1 nh\u00e2n, \u0111\u00f3 m\u00e0 c\u00f2n l\u00e0 m\u1ed9t tuy\u00ean ng\u00f4n v\u1ec1 gi\u00e1 tr\u1ecb c\u1ee7a s\u1ef1 ki\u00ean \u0111\u1ecbnh trong s\u00e1ng t\u1ea1o. Trong m\u1ed9t th\u1ebf gi\u1edbi \u0111ang b\u1ecb \u00e1m \u1ea3nh b\u1edfi t\u1ed1c \u0111\u1ed9 v\u00e0 s\u1ef1 gi\u1ea3n l\u01b0\u1ee3c, vi\u1ec7c vinh danh m\u1ed9t nh\u00e0 v\u0103n c\u1ee7a b\u00f3ng t\u1ed1i v\u00e0 t\u01b0 t\u01b0\u1edfng l\u00e0 h\u00e0nh \u0111\u1ed9ng can \u0111\u1ea3m, m\u1ed9t s\u1ef1 kh\u1eb3ng \u0111\u1ecbnh r\u1eb1ng v\u0103n h\u1ecdc v\u1eabn c\u00f2n ch\u1ed7 cho nh\u1eefng ti\u1ebfng n\u00f3i kh\u00f4ng th\u1ecfa hi\u1ec7p. B\u1edfi ch\u00ednh trong v\u00f9ng b\u1ea5t an, c\u00e1i \u0111\u1eb9p m\u1edbi t\u00ecm \u0111\u01b0\u1ee3c n\u1ec1n t\u1ea3ng c\u1ee7a m\u00ecnh; v\u00e0 \u0111\u00f4i khi, ch\u1ec9 qua nh\u1eefng c\u00e2u v\u0103n d\u00e0i nh\u01b0 m\u1ed9t nh\u1ecbp th\u1edf cu\u1ed1i c\u00f9ng, ta m\u1edbi c\u00f3 th\u1ec3 l\u1eafng nghe \u0111\u01b0\u1ee3c \u00e2m vang s\u00e2u th\u1eb3m nh\u1ea5t c\u1ee7a nh\u00e2n t\u00ednh.<\/p>\n

Khi \u0111\u00eam xu\u1ed1ng, ng\u01b0\u1eddi ta c\u00f3 th\u1ec3 h\u00ecnh dung \u00f4ng ng\u1ed3i trong c\u0103n ph\u00f2ng nh\u1ecf \u1edf Berlin hay Budapest, vi\u1ebft ti\u1ebfp m\u1ed9t c\u00e2u ch\u01b0a d\u1ee9t t\u1eeb m\u01b0\u1eddi n\u0103m tr\u01b0\u1edbc. Ngo\u00e0i kia, th\u1ebf gi\u1edbi v\u1eabn \u1ed3n \u00e0o. C\u00f2n trong c\u0103n ph\u00f2ng \u1ea5y, m\u1ed9t ng\u01b0\u1eddi \u0111\u00e0n \u00f4ng v\u1eabn c\u1eb7m c\u1ee5i v\u1edbi c\u00e2y b\u00fat c\u1ee7a m\u00ecnh, tin r\u1eb1ng trong nh\u1eefng c\u00e2u ch\u1eef d\u00e0i v\u00f4 t\u1eadn kia, v\u1eabn c\u00f2n m\u1ed9t th\u1ee9 \u00e1nh s\u00e1ng nh\u1ecf nhoi nh\u01b0ng b\u1ec1n b\u1ec9, soi r\u1ecdi b\u00f3ng t\u1ed1i c\u1ee7a th\u1eddi \u0111\u1ea1i.<\/p>\n

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L\u00e1szl\u00f3 Krasznahorkai: Une lumi\u00e8re dans les t\u00e9n\u00e8bres<\/h2>\n

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Comme je l\u2019avais pressenti dans une r\u00e9flexion publi\u00e9e deux semaines plus t\u00f4t, l\u2019intuition s\u2019est aujourd\u2019hui accomplie. Le 9 octobre 2025, l\u2019Acad\u00e9mie su\u00e9doise a annonc\u00e9 que le prix Nobel de litt\u00e9rature revenait \u00e0 l\u2019\u00e9crivain hongrois L\u00e1szl\u00f3 Krasznahorkai. Dans son communiqu\u00e9, elle pr\u00e9cise: \u201cPour une \u0153uvre d\u2019une force de conviction et d\u2019une vision singuli\u00e8res, qui, au c\u0153ur de la terreur apocalyptique, r\u00e9affirme la puissance de l\u2019art\u201d. Cette formule condense l\u2019essentiel de son parcours: un \u00e9crivain des t\u00e9n\u00e8bres demeur\u00e9 fid\u00e8le \u00e0 la lumi\u00e8re; un homme qui, parmi les ruines, continue de pr\u00e9server la dignit\u00e9 du verbe comme ultime forme d\u2019existence. En ce moment pr\u00e9cis, le monde des lettres n\u2019assiste pas seulement \u00e0 la cons\u00e9cration d\u2019un individu, mais \u00e0 la r\u00e9affirmation qu\u2019au milieu du chaos et de l\u2019oubli subsistent encore ceux qui croient au pouvoir r\u00e9dempteur des mots.<\/p>\n

Le milieu litt\u00e9raire a accueilli la nouvelle avec un m\u00e9lange d\u2019\u00e9tonnement et d\u2019\u00e9vidence. \u00c0 soixante-et-onze ans, Krasznahorkai n\u2019est plus un inconnu pour la critique internationale; pourtant, la reconnaissance venue de Stockholm a r\u00e9sonn\u00e9 comme un s\u00e9isme silencieux. Pour beaucoup, il demeure un auteur ardu, parfois intransigeant. Sa prose ne caresse ni ne console; elle exige patience et pers\u00e9v\u00e9rance, engageant le lecteur \u00e0 traverser avec lui les labyrinthes de la conscience et de l\u2019ombre. La distinction qui lui est accord\u00e9e n\u2019est donc pas seulement celle d\u2019un homme, mais celle d\u2019une conception rigoureuse de la litt\u00e9rature, fid\u00e8le \u00e0 la complexit\u00e9, \u00e0 la difficult\u00e9 et \u00e0 l\u2019inqui\u00e9tude constitutives de l\u2019esprit moderne.<\/p>\n

N\u00e9 en 1954 \u00e0 Gyula, petite ville de l\u2019est hongrois pr\u00e8s de la fronti\u00e8re roumaine, Krasznahorkai grandit dans la lenteur \u00e9touffante du r\u00e9gime socialiste. Apr\u00e8s des \u00e9tudes de droit et de lettres, il choisit tr\u00e8s t\u00f4t la solitude, se tenant \u00e0 distance des circuits politiques et culturels officiels. Les restrictions, la censure, l\u2019isolement lui r\u00e9v\u00e8lent que la libert\u00e9 v\u00e9ritable ne subsiste que dans l\u2019espace du langage. Pour lui, la litt\u00e9rature devient un chemin vers la nuit du monde, l\u00e0 o\u00f9 la ruine et le vide ne sauraient \u00eatre sauv\u00e9s par l\u2019illusion du progr\u00e8s. C\u2019est dans cette obscurit\u00e9 que para\u00eet, en 1985, S\u00e1t\u00e1ntang\u00f3, premier roman et pierre angulaire d\u2019un univers d\u2019\u00e9criture appel\u00e9 \u00e0 se d\u00e9ployer.<\/p>\n

S\u00e1t\u00e1ntang\u00f3 raconte la lente d\u00e9composition d\u2019une petite communaut\u00e9 sous une pluie sans fin, o\u00f9 des \u00eatres \u00e9puis\u00e9s cherchent encore une improbable r\u00e9demption. Mais l\u2019essentiel n\u2019est pas dans l\u2019intrigue: il r\u00e9side dans la phrase. Des p\u00e9riodes interminables, courant sur des pages enti\u00e8res, sans r\u00e9pit ni ponctuation, comme un fleuve de conscience. Lire Krasznahorkai, c\u2019est moins suivre un r\u00e9cit que se laisser emporter par une crue verbale. Ce vertige, cette fatigue sont voulus: la phrase doit, par sa propre tension, recr\u00e9er l\u2019\u00e9puisement et le d\u00e9sespoir de l\u2019existence.<\/p>\n

Le cin\u00e9aste B\u00e9la Tarr, son ami et compagnon de route, a adapt\u00e9 S\u00e1t\u00e1ntang\u00f3 dans un film de plus de sept heures, devenu l\u2019une des \u0153uvres les plus saisissantes du vingti\u00e8me si\u00e8cle. Leur rencontre d\u00e9passe la collaboration artistique: elle consacre une m\u00eame vision du monde – un univers sans centre, un temps circulaire, un homme qui, cherchant le sens, s\u2019enfonce dans le labyrinthe de sa propre conscience. Chez Krasznahorkai, cette vision s\u2019exprime par la langue; chez Tarr, par l\u2019image. Tous deux font de la lenteur et de la dur\u00e9e une forme de r\u00e9sistance: r\u00e9sistance \u00e0 la vitesse, \u00e0 la consommation, \u00e0 la contraction de l\u2019exp\u00e9rience int\u00e9rieure.<\/p>\n

\u00c0 partir de S\u00e1t\u00e1ntang\u00f3, Krasznahorkai d\u00e9ploie son cosmos: The Melancholy of Resistance, War and War, Seiobo There Below, Baron Wenckheim\u2019s Homecoming. Chaque \u0153uvre en constitue une variation: la lente agonie du monde, la d\u00e9rive de l\u2019esprit, la chute du sacr\u00e9. Ses personnages, solitaires, pr\u00eatres \u00e9gar\u00e9s, intellectuels d\u00e9chus, voyageurs sans destination, errent parmi des villes en ruine et des mus\u00e9es d\u00e9sert\u00e9s. Les lieux changent – la Hongrie, Kyoto, P\u00e9kin – mais la tonalit\u00e9 demeure: l\u2019humanit\u00e9 vit l\u2019\u00e9poque o\u00f9 tout syst\u00e8me de croyance s\u2019effondre, o\u00f9 l\u2019art n\u2019est plus qu\u2019un fragment fragile auquel se raccrocher.<\/p>\n

Lire Krasznahorkai, c\u2019est p\u00e9n\u00e9trer dans un espace o\u00f9 religion, philosophie et litt\u00e9rature se confondent. Sa syntaxe \u00e9pouse le rythme de la pri\u00e8re et la rigueur du raisonnement. H\u00e9ritier de Kafka, Musil, Dosto\u00efevski, il \u00e9tend sa m\u00e9ditation jusqu\u2019\u00e0 la philosophie bouddhique et \u00e0 l\u2019esth\u00e9tique orientale. Lors de ses ann\u00e9es au Japon, il a confi\u00e9 y avoir d\u00e9couvert \u201cl\u2019id\u00e9e du silence comme forme de connaissance\u201d. Le silence, pour lui, est mani\u00e8re d\u2019affronter le chaos. Ainsi, son univers conjugue r\u00e9sonance biblique et souffle m\u00e9ditatif. Si Kafka \u00e9crivait l\u2019absurde des syst\u00e8mes, Krasznahorkai \u00e9crit l\u2019absurde de l\u2019\u00e2me: une conscience qui est tout \u00e0 la fois victime et instrument de son propre supplice.<\/p>\n

Le Nobel 2025 couronne non pas un livre, mais un itin\u00e9raire: quatre d\u00e9cennies de fid\u00e9lit\u00e9 \u00e0 une esth\u00e9tique asc\u00e9tique. Le message de l\u2019Acad\u00e9mie – \u201cau milieu de la panique apocalyptique, il affirme la puissance de l\u2019art\u201d – esquisse moins une carri\u00e8re qu\u2019une posture d\u2019existence. Krasznahorkai rappelle au monde que la litt\u00e9rature ne sert pas seulement \u00e0 consoler, mais \u00e0 effrayer, \u00e0 d\u00e9ranger, \u00e0 nous chasser hors de la zone de confort. \u00c0 une \u00e9poque o\u00f9 tout se r\u00e9duit \u00e0 des fragments, des nouvelles instantan\u00e9es, des vid\u00e9os \u00e9ph\u00e9m\u00e8res, c\u00e9l\u00e9brer un \u00e9crivain des phrases interminables revient \u00e0 proclamer la valeur de la lenteur, de la profondeur, de l\u2019endurance de la pens\u00e9e.<\/p>\n

Son engagement ne r\u00e9side pas uniquement dans la structure de la phrase, mais dans la mani\u00e8re d\u2019\u00eatre au monde. Solitaire, r\u00e9tif aux foules, absent des r\u00e9seaux sociaux et des tribunes publiques, il m\u00e8ne une vie d\u2019errance entre Berlin, Kyoto, P\u00e9kin et Budapest – non pour trouver un lieu, mais pour \u00e9prouver le non-lieu. Dans de nombreux entretiens, il confie que l\u2019\u00e9criture est une asc\u00e8se: affronter l\u2019impuissance du langage, les t\u00e9n\u00e8bres de la pens\u00e9e, la solitude radicale. C\u2019est pourquoi sa prose, si dense, garde une dimension sacr\u00e9e. Elle nous rappelle que le langage, pouss\u00e9 \u00e0 sa limite, devient un chemin de lib\u00e9ration.<\/p>\n

Le Nobel attribu\u00e9 \u00e0 Krasznahorkai ne c\u00e9l\u00e8bre donc pas seulement un individu: il marque le retour de la voix d\u2019Europe de l\u2019Est dans la conscience spirituelle du monde. Cette r\u00e9gion, jadis foyer de grandes figures litt\u00e9raires, semblait ces derni\u00e8res d\u00e9cennies \u00e9clips\u00e9e par la domination anglo-am\u00e9ricaine. De Imre Kert\u00e9sz \u00e0 Olga Tokarczuk, les lettres d\u2019Europe centrale ont toujours \u00e9t\u00e9 travers\u00e9es par trois courants essentiels: la conscience de l\u2019histoire comme fatalit\u00e9, le sentiment de culpabilit\u00e9 comme interrogation existentielle, et le d\u00e9sir m\u00e9taphysique comme dernier souffle de l\u2019\u00e2me apr\u00e8s la chute. Chez Krasznahorkai, ces trois lignes convergent en une voix unique, o\u00f9 l\u2019histoire, la philosophie et l\u2019existence se fondent en une m\u00eame mati\u00e8re. Il ne raconte pas l\u2019histoire, il la laisse s\u2019infiltrer dans la respiration de ses personnages. Il ne th\u00e9orise pas la philosophie, il la fait vibrer dans la syntaxe. Il ne parle pas de la faute comme d\u2019une cat\u00e9gorie morale. Il la consid\u00e8re comme l\u2019essence m\u00eame de l\u2019\u00eatre, comme l\u2019ombre ind\u00e9tachable du corps humain.<\/p>\n

Son \u0153uvre est une travers\u00e9e parall\u00e8le de la destruction et de la r\u00e9demption. Chaque roman s\u2019ouvre comme un r\u00eave prolong\u00e9, o\u00f9 le lecteur avance pas \u00e0 pas dans la brume des id\u00e9es. \u00c0 la fin, il n\u2019est pas d\u00e9livr\u00e9, mais transform\u00e9: il d\u00e9couvre que la beaut\u00e9 n\u2019est pas perfection, mais persistance au sein des ruines. Tel est le sens profond du choix de Krasznahorkai par le Nobel 2025. Dans un monde ravag\u00e9 par la guerre et la perte de foi, sa litt\u00e9rature rappelle la r\u00e9sistance de l\u2019esprit, la survivance d\u2019une lumi\u00e8re infime, mais tenace, capable encore de sauver.<\/p>\n

Lors de la conf\u00e9rence de presse de Francfort, Krasznahorkai a d\u00e9clar\u00e9: \u201cToute reconnaissance est provisoire ; seule l\u2019ombre du langage demeure\u201d. Cette phrase, empreinte d\u2019humilit\u00e9, t\u00e9moigne aussi d\u2019une lucidit\u00e9 aigu\u00eb sur la nature de la gloire: la renomm\u00e9e s\u2019efface, seule la litt\u00e9rature perdure. Ce Nobel proclame que l\u2019\u00e8re num\u00e9rique n\u2019a pas encore tu\u00e9 la rigueur du verbe. Tandis que le monde s\u2019abandonne \u00e0 la vitesse, lui reste l\u00e0, pench\u00e9 sur la phrase, convaincu que la lenteur est une forme de r\u00e9sistance. Le lire, c\u2019est r\u00e9apprendre \u00e0 lire, \u00e0 \u00e9couter, \u00e0 se taire.<\/p>\n

C\u2019est pourquoi tant de critiques le nomment \u201cle gardien de la derni\u00e8re flamme\u201d. Il ne repr\u00e9sente aucune \u00e9cole, mais incarne une vertu rare: la foi absolue dans le langage. Si la litt\u00e9rature perd cette foi, elle n\u2019est plus qu\u2019un divertissement; pour lui, \u00e9crire demeure un rite, un acte sacr\u00e9, une mani\u00e8re pour l\u2019homme de fr\u00f4ler l\u2019ab\u00eeme de lui-m\u00eame.<\/p>\n

Le prix Nobel de litt\u00e9rature 2025 n\u2019est donc pas seulement une r\u00e9compense: il est une d\u00e9claration sur la valeur de la pers\u00e9v\u00e9rance cr\u00e9atrice. Dans un monde obs\u00e9d\u00e9 par la vitesse et la simplification, honorer un \u00e9crivain des t\u00e9n\u00e8bres et de la pens\u00e9e est un geste de courage, une affirmation que la litt\u00e9rature a encore une place pour les voix intransigeantes. Car c\u2019est dans l\u2019inqui\u00e9tude que la beaut\u00e9 trouve sa base, et parfois, ce n\u2019est qu\u2019\u00e0 travers des phrases longues comme un dernier souffle que l\u2019on peut entendre l\u2019\u00e9cho le plus profond de l\u2019humanit\u00e9.<\/p>\n

Lorsque la nuit tombe, on peut l\u2019imaginer assis dans une petite chambre \u00e0 Berlin ou \u00e0 Budapest, poursuivant une phrase rest\u00e9e inachev\u00e9e depuis dix ans. Dehors, le monde demeure bruyant. L\u00e0, dans la p\u00e9nombre, un homme continue d\u2019\u00e9crire, convaincu que dans la lente lumi\u00e8re de ses phrases interminables persiste une clart\u00e9 fragile mais obstin\u00e9e, capable d\u2019\u00e9clairer les t\u00e9n\u00e8bres de notre \u00e9poque.<\/p>\n

 <\/p>\n

 <\/p>\n

\n

L\u00e1szl\u00f3 Krasznahorkai: A light within the darkness<\/h2>\n

 <\/p>\n

As I had foreseen in a reflection written two weeks earlier, that intuition has now been fulfilled. On October 9, 2025, the Swedish Academy officially announced that the Nobel Prize in Literature had been awarded to the Hungarian novelist L\u00e1szl\u00f3 Krasznahorkai. In its statement, the Academy wrote, \u201cFor a body of work of exceptional conviction and vision that, at the heart of apocalyptic terror, reaffirms the power of art\u201d. That sentence distills the essence of his entire journey: a writer of darkness who has remained faithful to light, a man who, amid the ruins, continues to safeguard the dignity of language as the final form of existence. At that moment, the literary world didn\u2019t merely witness the consecration of an individual but the reaffirmation that within chaos and oblivion there still exist those who believe in the redemptive power of words.<\/p>\n

The literary community greeted the news with both surprise and inevitability. At seventy-one, Krasznahorkai is no stranger to international criticism, yet the recognition from Stockholm still reverberated like a silent earthquake. To many readers he remains a difficult, even austere writer. His prose neither soothes nor flatters; it demands patience and endurance, compelling the reader to traverse with him the labyrinths of consciousness and shadow. His award thus represents not only the triumph of an individual, but the vindication of a vision of literature that resists simplicity, welcomes complexity, and dares to face the restless depths of the modern soul.<\/p>\n

Born in 1954 in Gyula, a small town in eastern Hungary near the Romanian border, Krasznahorkai came of age within the stifling immobility of the socialist regime. After studying law and literature, he chose solitude early, distancing himself from political and cultural orthodoxy. Restrictions, censorship, and isolation soon revealed to him that true freedom survived only within language. Literature, for him, became a journey into the night of the world, where ruin and emptiness can no longer be redeemed by the illusion of progress. It was within that darkness that in 1985 S\u00e1t\u00e1ntang\u00f3 appeared, his first novel and the cornerstone of an entire imaginative universe.<\/p>\n

S\u00e1t\u00e1ntang\u00f3 tells of a small, decaying community under ceaseless rain, its exhausted inhabitants still seeking an impossible salvation. Yet what makes the work extraordinary lies not in its plot but in its form: sentences stretching over pages without pause or punctuation, a relentless current of consciousness. Reading Krasznahorkai is less to follow a story than to be carried away by a verbal flood. The fatigue, the vertigo, are deliberate. Through the strain of syntax itself, language must recreate the exhaustion and despair of existence.<\/p>\n

The filmmaker B\u00e9la Tarr, his close friend and artistic twin, adapted S\u00e1t\u00e1ntang\u00f3 into a film of more than seven hours, one of the most haunting cinematic works of the twentieth century. Their collaboration transcends art; it reveals a shared metaphysical vision, a world without center, a time that loops, a humanity that in its search for meaning sinks deeper into the labyrinth of its own mind. In Krasznahorkai this vision is expressed through language; in Tarr, through image. Both transform slowness and duration into acts of resistance, resistance to speed, to consumption, to the contraction of inner experience.<\/p>\n

From S\u00e1t\u00e1ntang\u00f3 onward, Krasznahorkai expanded his cosmos: The Melancholy of Resistance, War and War, Seiobo There Below, Baron Wenckheim\u2019s Homecoming. Each work offers a variation on the same obsession, the slow agony of the world, the drift of the spirit, the collapse of the sacred. His characters, solitary figures, lost priests, defeated intellectuals, wanderers without destination, move through ruined cities and desolate museums. The settings change, from Hungary to Kyoto to Beijing, but the tonality endures. Humanity now inhabits an age where every traditional system of belief has fallen, and art remains only as a fragile shard to cling to.<\/p>\n

To read Krasznahorkai is to enter a space where religion, philosophy, and literature converge. His syntax carries both the rhythm of prayer and the discipline of thought. Heir to Kafka, Musil, and Dostoevsky, he extends his meditation toward Buddhist philosophy and Eastern aesthetics. During his years in Japan, he confessed that he had discovered \u201cthe idea of silence as a form of knowledge\u201d. Silence, for him, is a way of confronting chaos. His world therefore unites biblical resonance with meditative breath. If Kafka wrote the absurdity of systems, Krasznahorkai writes the absurdity of the soul, a consciousness that is both victim and instrument of its own torment.<\/p>\n

The 2025 Nobel Prize crowns not a single book but an entire journey, four decades of ascetic fidelity to an uncompromising aesthetic. The Academy\u2019s message, \u201cin the midst of apocalyptic panic he affirms the power of art\u201d, sketches less a career than a stance of being. Krasznahorkai reminds the world that literature is not meant only to console but also to terrify, to unsettle, to cast us beyond the comfort zone. In an age that reduces everything to fragments, instant news, and fleeting clips, the celebration of a writer of endless sentences becomes a declaration of the value of slowness, of depth, of the endurance of thought.<\/p>\n

His commitment resides not only in the structure of his sentences but in his way of inhabiting the world. Reclusive, allergic to crowds, absent from social media and public posturing, he leads a nomadic life between Berlin, Kyoto, Beijing, and Budapest, not to find a home but to experience non-belonging. In many conversations he has said that writing is a form of asceticism, to face the impotence of language, the darkness of thought, and one\u2019s own solitude. Hence his prose, for all its density, retains a sacred aura. It reminds us that language, when pushed to its limit, can become a path to liberation.<\/p>\n

The Nobel awarded to Krasznahorkai doesn\u2019t merely honor an individual; it marks the return of the Eastern European voice to the spiritual consciousness of the world. This region, once home to towering literary figures, had in recent decades seemed eclipsed by the Anglo-American wave. From Imre Kert\u00e9sz to Olga Tokarczuk, Central European literature has always carried three subterranean currents: the awareness of history as destiny, the sense of guilt as existential inquiry, and the metaphysical yearning as the soul\u2019s last breath after destruction. In Krasznahorkai these three lines converge into a singular voice where history, philosophy, and existence fuse into one substance. He doesn\u2019t recount history; he allows it to seep into the breathing of his characters. He doesn\u2019t theorize philosophy; he makes it vibrate within syntax. He doesn\u2019t treat guilt as a moral category; he regards it as the very essence of being, the shadow inseparable from the human body.<\/p>\n

His body of work is a parallel crossing between destruction and redemption. Each novel opens like a prolonged dream through which the reader gropes within the mist of ideas. At the end one is not delivered but transformed, realizing that beauty is not perfection but persistence amid ruin. This is the deeper meaning of the Nobel Committee\u2019s choice in 2025. In a world ravaged by wars and the loss of faith, his literature reminds us of the endurance of the spirit, that even within despair there remains a faint yet tenacious light capable still of saving.<\/p>\n

At the Frankfurt press conference, Krasznahorkai remarked, \u201call recognition is temporary; only the shadow of language endures\u201d. The sentence, filled with humility, also reveals a sharp lucidity about the nature of glory: fame fades, only literature remains. This Nobel declares that the digital age hasn\u2019t yet killed the rigor of the word. While the world surrenders to speed, he bends again over his sentence, convinced that slowness itself is a form of resistance. To read him is to relearn how to read, how to listen, and how to be silent.<\/p>\n

That is why so many critics call Krasznahorkai the guardian of the last flame. He represents no school yet embodies a rare virtue, an absolute faith in language. If literature loses that faith, it becomes mere entertainment; for him, writing remains a rite, a sacred act, a way for human beings to brush against the abyss of themselves.<\/p>\n

The 2025 Nobel Prize in Literature is therefore not merely a reward; it\u2019s a declaration of the value of creative perseverance. In a world obsessed with speed and simplification, honoring a writer of darkness and thought is an act of courage, an affirmation that literature still has room for uncompromising voices. For it is within disquiet that beauty takes root, and sometimes only through sentences as long as a final breath can we hear the deepest echo of humanity.<\/p>\n

When night falls, one can imagine him seated in a small room in Berlin or Budapest, continuing a sentence left unfinished ten years ago. Outside the world remains noisy. Inside that dimly lit room a man keeps writing, believing that within those endlessly unfolding sentences there persists a fragile but stubborn light that continues to illuminate the darkness of our time.<\/p>\n

 <\/p>\n

\u2014 Tino Cao<\/strong>, Washington, 9 Oct 2025<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Nh\u01b0 \u0111\u00e3 d\u1ef1 c\u1ea3m trong m\u1ed9t status t\u00f4i vi\u1ebft c\u00e1ch \u0111\u00e2y hai tu\u1ea7n, linh c\u1ea3m \u1ea5y h\u00f4m nay tr\u1edf th\u00e0nh hi\u1ec7n th\u1ef1c. Ng\u00e0y 9 th\u00e1ng 10 n\u0103m 2025, Vi\u1ec7n H\u00e0n L\u00e2m Th\u1ee5y \u0110i\u1ec3n \u0111\u00e3 ch\u00ednh th\u1ee9c c\u00f4ng b\u1ed1 Gi\u1ea3i Nobel V\u0103n Ch\u01b0\u01a1ng n\u0103m nay thu\u1ed9c v\u1ec1 nh\u00e0 v\u0103n Hungary L\u00e1szl\u00f3 Krasznahorkai.<\/p>\n","protected":false},"author":2613,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"h5ap_radio_sources":[],"footnotes":""},"categories":[136,130],"tags":[],"class_list":["post-104160","post","type-post","status-publish","format-standard","hentry","category-gioi-thieu-tac-gia","category-tin-van-hc"],"_links":{"self":[{"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/posts\/104160","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/users\/2613"}],"replies":[{"embeddable":true,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/comments?post=104160"}],"version-history":[{"count":3,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/posts\/104160\/revisions"}],"predecessor-version":[{"id":104167,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/posts\/104160\/revisions\/104167"}],"wp:attachment":[{"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/media?parent=104160"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/categories?post=104160"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/tags?post=104160"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}