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The latest of Krasznahorkai’s full-length works to be translated into English, Seiobo There Below is a confrontation with the vast, and therefore with vulnerability. In each of its seventeen chapters, the novel describes a process of artistic creation, from the making of Russian icons and the reconstruction of the Ise Shrine in Japan, to the attribution of Italian Renaissance paintings and the carving of Noh masks. Krasznahorkai’s erudition is staggering, but the way he relates the choosing of the wood for the shrine, or the restoration of a canvas, is so attentive and so modest that is sidesteps pedantry entirely, and instead participates in the very concentration it describes. The chapters are numbered according to the Fibonacci sequence, in which each number is the sum of the two before it, and indeed, Seiobo There Below compounds and reinforces itself ever more rapidly, its scope soon defying human proportions. The artworks Krasznahorkai describes are not only objects, but vessels of a sacred impulse: they are body and soul.

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The protagonists of the novel — artists, academics, and vagabonds — seek out these works, yearning for transcendence, and are instead crushed by terrifying facts: first, the fact of the work’s existence, its material undeniability, and second, the fact of its radical spiritual loneliness. More often than not, the encounter with art and/or the sacred ends in existential disaster. These former channels to the gods have been closed; they have become nearly empty signifiers. In the chapter “Where You’ll Be Looking,” for example, a guard at the Louvre wants nothing more than to spend eight hours a day looking at the Venus de Milo. But he knows that the statue.

The tension between order and chaos has been central to all of Krasznahorkai’s books available in English, Satantango, The Melancholy of Resistance, and War and War. In Seiobo There Below, this tension takes on its most moving and elegant form. Entropy, for Krasznahorkai, is the ultimate destiny of the universe, and art is necessarily in its service. Many characters in the novel are initially attracted by an artwork and the sacred force within it and compelled toward it, only to be overwhelmed by its presence, and then, in the attempt to retreat, paralyzed or annihilated. Some become forces for evil: one chapter is ominously titled “A Murderer is Born”; in another, an artist carves a theatre mask, never understanding that “what his hands have brought into the world is a demon, and that it will do harm.”.

The demonic is the shadow of the sacred, and Krasznahorkai does not let us forget it. He is no stranger to darkness; his work is famously bleak. But with Seiobo There Below, he reminds us of an observation of John Berger’s, once made in relation to Goya: “The despair of the artist is often misunderstood.

Dzhazovie pesni dlya vokaljnogo ansamblya noti 7. It is never total. It excepts his own work.” In Krasznahorkai’s case, it excepts not only his own work, but also that of countless others, named and unnamed, from both the east and the west. Small, understated gestures throughout the book remind us that it is love, not fear, that drives us to art. Within the inevitable move toward entropy, Krasznahorkai traces a tiny space of freedom, a tiny path from which to approach the sacred. It requires making the world as small as possible, narrowing the vastness down to just this one brush, this blue pigment, this hinoki wood, this mask and this tool, this ancient way based on ritual and unflinching observation. The successful artists of Seiobo There Below make the space in which the sacred can appear as small as possible, so that it is not deadly yet, so that Seiobo can come and say, “I am not the desire for peace, I am peace itself do not be afraid.” Seiobo There Below is, in its way, a joyful book.

Even for the most successful of these artists, however, the final result of an encounter with the sacred is non-existence. “Ze’ami is Leaving” is a poignant, beautiful chapter about an ideal artistic creation: one that subsumes the artist into it, making him disappear like the Chinese painter of legend who sailed off into his own landscape. Ze’ami, the most revered figure of the Noh tradition and the author of the original Seiobo play, has been exiled from Kyoto, his home. At some point during his solitary, uneventful days, a poem begins to take shape in his head, and when Ze’ami contemplates the silent hototogisu bird, art and nature finally combine with such harmony that it is as if the poem arises by itself. The Ze’ami chapter is followed by one more, number 2584 in the Fibonacci sequence, called “Screaming Beneath the Earth,” in which buried animal sculptures from China’s ancient Shang dynasty screech for all eternity against the “earth-demon” that crushes them and that will one day crush all of us.