Francis Berger
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Hungarians Drive Well, But . . .

10/4/2019

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Most Hungarians are skilled drivers. Unfortunately, skilled does not necessarily mean good. Though Hungarians generally handle their vehicles far better than Americans and Canadians do, they are also far more committed to taking reckless and unnecessary risks. In fact, the average North American would have to watch a Hollywood action film to experience the same level of over-adventurous driving Hungarians enthusiastically engage in on a daily basis. Unlike Canadians and Americans, who are stymied by manual transmissions and often struggle with simple maneuvers such as parallel parking or navigating a traffic circle, Hungarians have a natural panache behind the wheel. Everyday sights such as clumsy three-point-turns, timorous driving in reverse, and logic-defying fender benders in shopping mall parking lots – all common in the US and Canada – are practically nonexistent here. Simply put, unlike some North American drivers, Hungarian motorists know how to drive. The problem with Hungarians is they know how to drive a little too well, which inspires them to heights of daring North American drivers would feel uncomfortable even contemplating.

For example, Hungarians see nothing wrong with overtaking another vehicle at speeds of 140 kilometers per hour in blind, hairpin turns. This ties in to their overall lack of concern for speed limits, which most motorists here regard as strictly optional. Doing 200 kilometers per hour or more on highways with 130-kilometer speed limits is taken as a national duty. Tailgating other vehicles at distances of less than two centimeters is a national pastime. And cutting in front of other vehicles at the very last minute during lane changes and turns is merely par for the course. Thanks to their superior driving skills, Hungarians successfully manage these precarious maneuvers and thousands more, ninety-nine-point-nine percent of the time.

I have been driving in Hungary for nearly four years and during this time I have tried to find explanations for the foolhardy and unsafe manner in which most Hungarians choose to drive. I have made the following observation: Hungarians generally find the presence of other vehicles on the roads insulting and offensive, and they tend to regard their fellow motorists as nothing little than annoying obstacles whose only purpose in life is to be in the way. It is with sense of injury and insult that most Hungarians take to the road, which helps explain the palpable antagonism and irritation that hangs over most Hungarian roads like a cold, dawn fog. Everyone is familiar with the “Keep calm and carry on” posters the Brits created during the Second World War. I once saw a satirical version that read “I can’t keep calm; I’m Hungarian, damn it.” That pretty much sums up why the average Hungarian driver thinks it is perfectly acceptable to enter a traffic circle doing 90 kilometers per hour despite the clearly posted 30 km speed sign.

I have mentioned that Hungarians nearly always manage to pull off their incautious driving maneuvers, but nearly always is not always. Accidents are rare in Hungary, but when they do happen, they tend to be incredibly spectacular and destructive affairs inevitably involving fatalities. Drive past an average Hungarian accident scene and you would swear you were driving by an abstract sculpture exhibit or a scene from some Mad Max-style apocalypse film. As a result, small gravestones, wooden crosses, and other little tributes dot the shoulders of most Hungarian roads. I see a half-dozen or more of them every time I drive, regardless of the route I take.

Families of traffic accident victims erect these melancholy memorials at the accident sites, and then visit them with the same dedication and diligence they visit the actual graves. Recent memorials are often adorned with flowers. At night, candles illuminate the small smiling portraits encased in the granite and wood. You can see these memorials everywhere, and you would think they would serve as a warning, or have some effect on the way people over here choose to drive. But they don't. I sometimes stop at these little markers and spend a few minutes contemplating the hows and whys of these roadside deaths before continuing on my way. When I pull back onto the road, I am usually overtaken by some hotshot clocking 150 or more even though the posted speed limit is only 70. I respond by sighing and praying that my destiny in this world does not involve being memorialized on a small strip of gravel sandwiched between a corn field and a stretch of deadly roadway.  
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Autumn Landscape

10/2/2019

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Some days still cling to summer's fading whispers, yet the ever-descending arch the sun carves speaks another language. The change is already behind us. The signs are everywhere. Yes, the frosts will soon be upon us, but for now simply sip your tea and watch the softly tapping rain at your window blur the cascading leaves into a living, kaleidoscopic painting. 
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Autumn Landscape - László Mednyánszky
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Unscripted

10/1/2019

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I am not supposed to be here. Here - in a small, nondescript Hungarian village mere kilometers from the Austrian border. It was not in the script. Mind you, the script was never engraved in stone or stamped with a seal, but it had certain boundaries and constraints, certain contractual responsibilities and understandings that, in lieu of a careful and pedantic inspection, left little room for improvisation.

My parents escaped this country as young adults, a little less than a year before I was born. Yes, escaped. You see, Hungary was still communist back then and the western part of the country wore a crown of barbwire bedecked with watchtowers and bejeweled by landmines. My parents applied for travel pass to Yugoslavia shortly after they were married. They told the authorities they were going to the Adriatic for a honeymoon, and then went off script and slipped across the Italian border, leaving everything they had ever known behind. Eventually, they found their way to America, and I was born in New York – another faceless immigrant kid in an ocean of faceless immigrant kids.

My sister was born a short time later, and my parents spent the next four years trying to find a place to call home. That place became a small town just outside the northern fringes of Toronto, Canada. Though I came into the world an American, I grew up Canadian, complete with an ingrained love of ice hockey and a certain foolhardy nonchalance for subzero temperatures. We lived beside a modest lake, which ensured my childhood was a good one, marked with glorious amounts of time in the woods and fields and water and fresh air, but as I grew older, our small town grew bigger, and was encircled by rings of soulless subdivisions.

The familiar faded and the unknown seeped in. Most of the kids I knew moved away as they matured. Those who remained drifted until connections became nothing more than accidental meetings at gas stations and awkward how the hell are yous in the thresholds of convenience stores. The molten change of progress fossilized the place I had known and made it lifeless, but I remained and stuck to the script I believed it my duty to follow.

I got an education and tried to find decent work. I fell in love and mused about buying a house somewhere and settling down, but I could not commit to love or my faint domestic aspirations because I no longer felt at home. I tried to keep to the script, to find that better life my parents had slipped under the barbed wire for, but the better life ended up escaping them as well. Their adopted script had been the hardworking immigrant script, and the diligence and doggedness with which they followed that script did bear fruit. They achieved respectable levels of material success, yet this success ultimately led to failure. They divorced shortly after I turned eighteen. Definitely not in the script. My own wispy daydreams of domestic bliss evaporated for a time. I took the script I had carried in my back pocket my whole life, threw it to the wind, and turned my attention to becoming a writer.

Ten years passed. I wrote volumes during that time, but I did not succeed at becoming a writer. As I was on the verge of abandoning this ambition, I met a young woman from Hungary who happened to be in Canada. Six months later, she was my wife. After that, we set sail on an odyssey, one that took us many places. Like Odysseus before us, a decade was needed before I found my way home, but the nostalgia I experienced was tainted far more with sickness than it was with joy.

The script I had tossed away years before fluttered back to my feet – dirty, worn, covered in grime. I picked it up, dusted it off, and did my best to reprise the role I had abandoned, but to no avail. The lines in the script seemed unnatural and forced. I had outgrown the part, or perhaps the part had outgrown me. After my son was born, my wife and I set sail again, headlong against the prevailing winds. In a fit of defiance, I threw away the rudder and allowed our craft to float away whichever way the waves desired. Before the year was out, we washed up here, in a nondescript village in Hungary mere kilometers from the Austrian border.

It was a place neither of us had known. A place we had never considered knowing. A place that had been as distant from our conscious thought as the silvery outlines of blurred moonlight dreams. And in this place, in this most unlikely of places, which had never appeared in any script, not even vaguely, has become home the way none of the other homes we left scattered in the world ever could.

In my more pensive and reflective moments, I consider picking up a quill and composing a new script, one for this place and this time, but after a few moments, I allow the thought to seep away. For the first time since childhood, I feel an affinity. I know where I am. I know where I am going. My physical vagabondism has come to an end. What I am engaged in now is a different sort of travel.

Though this is home to me now, there is one last destination I hope to reach. This destination is clearer than any I have ever considered before. Clear enough to allow the journey to remain unscripted, as the best journeys home often are.  
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