I first learned about Sándor Márai’s Embers
Embers itself is an unbelievably simple and powerful story, with just three main characters, one of whom is dead but who appears in flashbacks. The two living characters, both now in their mid-70s, meet for the first time in forty-one years as the visitor, Konrad, has returned from a self-imposed exile. Henrik, his host and formerly his closest friend, receives Konrad with cold hospitality and a long but spellbinding harangue on their friendship, Konrad’s exile, and the event that triggered Henrik’s flight.
There’s almost no action, and what action there is occurs in cut scenes where we meet Krisztina, the late wife of Henrik, and discover the key differences in Konrad’s and Henrik’s upbringings. Márai replaces action with the gradual unfolding of secrets and the stories that bound the three characters together and then drove them apart. Along the way, Henrik muses (to Konrad) on the nature of anger, betrayal, and vengeance. It’s a deep psychological novel in the tradition of Tolstoy or Dostoevsky, but in a much more manageable package. For those of you still in school, it would lend itself well to an analysis of how Marai uses environmental factors such as light, temperature, and weather to reflect or even set the moods of the book’s various scenes.
To say more of the characters would be to risk spoiling the plot, if I haven’t done too much of that already. If you can stand a book that is all talk and no action, but is gripping all the same, Embers is worth the three or four hours it will take you to tear through it.