A következő címkéjű bejegyzések mutatása: politics. Összes bejegyzés megjelenítése
A következő címkéjű bejegyzések mutatása: politics. Összes bejegyzés megjelenítése

2026. szeptember 19., szombat

LET'S PISS INTO IT ! (EXCERPT FROM THE NOVEL CHESS ON THE ISLAND)

 

… The next day Gorky gets Ilyich off the island—though perhaps it is the other émigrés he is rescuing from him—by suddenly proposing a trip to Pompeii. “And Vesuvius,” Lenin adds, evidently pleased at the prospect of meeting, at last, something of his own temperament. The lanky, wild-haired writer, in sandals and dark glasses, and the stocky little man, mopping his celebrated Socratic brow with a handkerchief, duly make their way to the rim of the crater. The eruption two years earlier has destroyed the famous funicular, so from the carriage terminus onwards there is nothing for it but to climb. It is much as it was in Goethe’s day—he made the ascent three times. Smart Neapolitan peasants, their clean-shaven jaws blue beneath the skin, wait for the tourists with broad leather belts around their waists and long straps hanging from them. One takes hold, and the human funicular sets off. “Funiculì, Funiculà,” sing the mountain men. They might have stepped straight out of Repin’s Volga Boatmen. The travellers exchange a glance. Assistance will not be refused. Gorky is two years the older, exactly forty, and seriously ill with his lungs—or at least this is how he prefers to present matters during an Italian exile not otherwise conspicuous for deprivation. Lenin’s complaint, meanwhile, is already known to us. Tuberculosis is fit to be displayed. Syphilis is not. Consumption comes furnished with intellectual and romantic associations: sensitivity, passion, refinement. By the end of the nineteenth century the hollow cheek, the pallor, the attenuated frame have acquired a certain aesthetic distinction. Better still, the recommended cures—Mediterranean travel and frequent, strenuous sexual activity—give the disease an almost enviable programme. Keats, Poe, Chopin, Gorky explains, his coat slung over his shoulders as he pauses on the black slope of the lava. For emphasis he hawks noisily, spits, or coughs into his sleeve. Chekhov. Kalinnikov. Petrov. Even death by consumption has style. Malaria or a duel may be better, of course: Byron and Pushkin saw to that. Gorky, besides his hereditary weak chest, could also boast of a bullet in the lung. The effect is somewhat spoiled by the fact that he acquired it neither in battle nor in a duel but during an inept attempt at suicide. Naturally he hopes Lenin will be moved by all this and reciprocate. Confession for confession. Lung for lung. But Lenin’s disease is vulgar and humiliating. There is no sanctity in it, no elevated theology of suffering. The indignity lies not merely in being mortally ill, but in having to keep it quiet. He cannot advertise his intimacy with death, and therefore cannot enjoy the intellectual distinction that ought, by rights, to accompany it. A man with a seat already reserved in the next world might reasonably expect some privileges in this one. People still prefer illnesses with moral content. Disease is thought to reveal character much as a sentence reveals the crime. And beside the romantic elegance of consumption, syphilis cuts a poor figure. The consumptive may at least expect to die pale, weightless and transfigured. The syphilitic, on the other hand… And yet what a list he too might produce: Ivan the Terrible, Henry VIII, Napoleon Bonaparte. The Creator keeps an admirably well-stocked cupboard of punishments. He may rummage about in it at leisure, select what pleases Him, and enjoy the doctors’ efforts.
As He may now enjoy the two men who have at last reached the crater’s edge. Here one breathes the vapours of the underworld. They are not recommended for either man’s particular complaint, but are said to do wonders for gout and conjunctivitis. They peer into the dark, simmering void at their feet and feel the moment to be almost indecently symbolic. Something ought to be done about it. The idea probably comes to both at once, though Lenin later says it was Gorky’s and Gorky says it was the Old Man’s. “Let’s piss into it.” Their flies are already undone. There is, inevitably, a slight pause. Nothing happens. They concentrate. They steal glances sideways. We, meanwhile, are forced into increasingly awkward angles of observation and, finally, into mind-reading. The chronicler is by now no less uncomfortable than the reader. He would happily get the business over with, but certain natural processes dislike being hurried. Indeed, the greater the urgency, the less urgent they become. Lenin is the shorter man and therefore enjoys a better view of the writer’s equipment. A long, crooked muzhik’s prick, of the sort whose dimensions are not greatly altered by erection. Gorky, being built on a more vertical scale, would have to bend considerably to inspect Lenin’s rather smaller apparatus. Fortunately he is too modest. He blushes at nudes in museums; one may search his novels with a magnifying glass for any expression of carnality, let alone obscenity. Besides, leaning forward on the lip of Vesuvius merely to inspect Lenin’s penis would be an undignified way to die. Let us spare him. We know what he wants to know. Two rumours require testing: is Ilyich really syphilitic, and is he really Jewish? Even from the ideal angle he would probably learn very little, whereas we are at liberty to answer without climbing into Gorky’s line of sight. At this stage, after more than a decade of latency, syphilis leaves nothing obvious to inspect. The disease may be busy enough elsewhere, but the penis is no longer its principal theatre of operations. There is nothing to see. Circumcision promises no more enlightenment. If Lenin keeps any account of his maternal great-grandfather, Mozesz Blank of Zhytomyr, he does not boast of him. He was baptised according to Orthodox custom and educated, in every visible respect, as a Russian of his time. It may never have occurred to him that a sufficiently diligent reconstruction of the family tree could bring him a little closer to Marx—or would never have occurred to him, had the Tsarist secret police not recently shown such ingenuity in reminding revolutionaries of their ancestry. For this is the period, after the revolution of 1905, in which The Protocols of the Elders of Zion begins its useful work. The pamphlet, produced in the atmosphere of the Okhrana, connects the leaders of the underground revolution with a worldwide Jewish conspiracy. Its circulation is limited by the inconvenient shortage of readers in Russia, but the lesson is plain enough: ancestry is another thing best kept underground. Inside the party, the Bolshevik–Menshevik quarrel is occasionally simplified into the more manageable form of Russian versus Jew, and Lenin sees no urgent need to object. Nor does he protest when Stalin, whom he is at present encouraging—and who is already known in the party as the Old Man’s left leg—writes of the Mensheviks as a “purely Jewish faction” and the Bolsheviks as a “Russian faction”, concluding with the suggestion that perhaps the party itself is in need of a pogrom. The small, yellow-eyed Georgian has, by the end of the sentence, become Russian. One can see the appeal. Stalin’s remark comes in his report on the London Party Congress, whose undeniable star is Trotsky. Trotsky has the additional misfortune not merely of being Jewish but of looking splendidly so; not merely of being a revolutionary but of looking exactly as a revolutionary ought to look. Slender, handsome, mane flying, forehead broad, profile sharp, fashionable spectacles flashing: worse still, he speaks with such force that even his opponents rise to applaud him. How is one to compete with that? Ideology will only take one so far. Sooner or later one reaches for ancestry. The Jewish card lies conveniently to hand. Lenin sees to it that Stalin is invited to every congress.

2026. május 16., szombat

2026. április 16., csütörtök

EUROPA

I drew this map of “isolated” Hungary a few years ago at the request of a German magazine. The new version of the image differs in that ship routes marked by dotted lines crisscross the sea surrounding the country, and the city names are different from those on the original map.

My second drawing appeared on the very first cover of the magazine Országút, which was launched six years ago, in 2020. I wonder what readers at the time saw in it? Perhaps that our country’s future can only be outlined in tandem with Europe’s? Or did the concept—which later became established as political policy—already emerge, namely that dependence on Europe inherently hinders our independence? And what, then, is the new government’s vision? Do they have one, and if so, will they possess enough wisdom, foresight, and tact to embark on its realization with the hope of success? 

2026. április 12., vasárnap

A QUICK MORNING INTERVIEW


– Hello. It’s been quite a while since we last talked.

– Hello. I’m at your disposal.

– I was surprised to discover online—while browsing through the events of the Hungarian election campaign—that the leader of a party preparing to take power is posing in front of a poster made 37 years ago. The very same poster that became famous during the 1989–90 regime change. You designed that poster, and the winning party, the Hungarian Democratic Forum, owes no small part of its victory in the first free election to it. Were you aware of this?

– Yes. I was surprised to see it too.

– If you were surprised, then obviously the party leader isn’t using the poster with your knowledge—let alone your permission.

– That’s correct.

– Then I suppose all this must have happened with the permission of the MDF, the party from the 1990 transition.

– I doubt that, since that party no longer exists. The MDF dissolved a long time ago.

– I see. Let me ask you one more thing: do you think it’s possible to change a political system twice using the same poster?

– I’m not aware of anything like that ever happening before.

– In any case, it’s odd that a party which, according to polls, enjoys strong support is unable to come up with its own poster. Certainly not one as iconic as yours.

– Maybe it’s not that strange after all—considering that the party’s logo is plagiarized as well.

– That’s true. One would expect a new party—one that didn’t even exist two years ago, and is trying to appeal to young people—to come up with a fresh, new, modern visual identity. The fact that they don’t have their own distinct visual style—could that suggest they don’t have a distinct cultural or even political identity either?

– There’s some logic in your question, I’ll admit—but drawing that conclusion from a reused poster and a dusted-off graphic emblem is a bit of a stretch, don’t you think?

– I admit it is, but I’ll take the risk. Mainly because I’d like to finally provoke your opinion.

– We’ll soon see how far they get with this retro image. The outcome will be instructive for me as well—far beyond the current political issue.

– Thank you for the conversation. Have a nice day.

– You too. Goodbye.

 


 Klick here for more!


 

2026. március 23., hétfő

IRAN


More than two decades ago, in 2005, I drew the attached illustration to depict the political tension of the time, commissioned by the famous American magazine The Progressive.
Now, for some reason, it came to my mind again.


2026. január 2., péntek

NEW YEAR WITH DAILY HELLER


"The Daily Heller" is a long-running column by renowned design critic, author, and former New York Times art director Steven Heller, published regularly in *PRINT* Magazine and on Instagram. The column features Heller's commentary, essays, and observations on graphic design, typography, art, popular culture, and New York City, often incorporating historical design elements, personal anecdotes, and critiques of contemporary visual trends. A few years ago, he featured my work in a separate daily article, which you can see by clicking here,
he has featured some of my drawings in other publications (click here to see them), and now he begins his article about the theater poster exhibition in Sofia by featuring my work. Click here. Thanks Steve! (We met many years ago in the editorial office of the New York Times.)

2025. június 24., kedd

AN ALMOST TWENTY-YEAR-OLD POSTER

 

History often repeats itself. Sometimes something similar can happen to graphic designers. In 2006, almost twenty years ago, the art director of the famous magazine The Progressive commissioned me to draw the cover of the magazine, referring to the escalating US-Iran conflict. Later, I also created the idea of ​​Mickey Mouse threatening a lion as a poster. Well, Let me show it  again.

2024. augusztus 11., vasárnap

ПАКА !


August 31 marks the 30th anniversary of Russian troops finally leaving Estonian soil.

While Estonia became independent in August 1991, it took another three years for the last soldiers from the former Soviet occupying regime to leave, and while this was done in a largely orderly manner, more recent events in Ukraine have given added poignancy to the Estonian experience, and a reminder that while Estonia is free of occupying armies' boots, some other countries are not so fortunate.

Drawing the dots between the two, long-term Estonian resident and U.S. national Chuck Czepyha has spearheaded a campaign to raise money for Ukraine while commemorating the events of 1994 – and more specifically a major rock concert which took place in Estonia.

"I first came to Estonia one week after the Russians left, and one souvenir I bought was the PAKA! concert poster," Czepyha told ERR News.

"Paka," a Russian word, could approximately be translated as "(good)bye," in this context.

Click here to know more about the poster and the concert.

2023. október 6., péntek

WOMEN - LIFE - FREEDOM


The Norwegian Nobel committee has decided to award the 2023 Nobel peace prize to Narges Mohammadi for her fight against the oppression of women in Iran and her fight to promote human rights and freedom for all,” the committee said in its citation.
Mohammadi is one of Iran’s leading human rights activists, who has campaigned for women’s rights and the abolition of the death penalty and an improvement of prison conditions inside Iran.
The award will be viewed as a tribute to the Woman, Life, Freedom movement in Iran that rocked the clerical establishment last year, but has been suppressed with many activists either killed or in jail.