I Don't Care

At a short story level, Kristóf – one of the 20th century’s great writers – reminds us what startling potential and transcendental power the form holds. The stories in I Don’t Care are fairytales from a strange and illuminating landscape – Camilla GrudovaPure genius – Max PorterHer descriptions – of those with whom she escaped and whose sense of isolation eventually leads them back to Hungary even at the cost of their lives, as well as those whose sense of despair brings them to suicide – offer an uncomfortable insight into the extreme vulnerability of those obliged to seek asylum abroad – Eimear McBride * Times Literary Supplement *Stark and haunting * San Francisco Chronicle *Mischievous and mournful… moves at a velocity that puts one in mind of Italo Calvino. Readers of modernist European fiction ought to snatch this up * Publishers Weekly *Many of Kristóf’s stark vignettes, reported in unflinching detail, have a cool, disturbing power – part documentary-like, part surreal that is fierce and distinctive * Kirkus Reviews *For Kristóf, fiction is the only thing that might provide an escape from solitude… Her novels likewise lead to an engagement with the world. They open things up because of how they undermine what we consider to be true; they shatter a supposed unity. Kristóf’s writing shows us both the pleasure and the necessity of literary refraction – Missouri Williams * The Nation *Kristóf’s sentences are like skeletons, commemorations of indescribable sadness that have been meticulously scrubbed of gore and gristle. She seems to sculpt her stories by omission, the great unspoken throughout her books being Hungarian. One might think of Kristóf’s fiction as an act of recuperation, an expression of loss that preserves loss in the form – Jennifer Krasinski * The New Yorker *

Agota Kristof was born in Csikvand, Hungary, in 1935. Aged twenty-one, Kristof and her husband and four-month-old daughter fled the Soviet repression of the Hungarian Uprising to Austria and were resettled in French-speaking Switzerland. Working in a factory, Kristof slowly learned the language of her adopted country. Her first novel, The Notebook (1986), won the European Prize for French literature and was translated into forty languages. Kristof’s other work included plays and stories as well as The Proof (1988) and The Third Lie (1991), which complete the trilogy begun with The Notebook. She died in 2011.