These two characters, in the middle of their childhood or their teenage years, describe, with voices and visions marked by their youth, a fictitious place – the fictional embodiment of Transylvania – and the violence induced by the end of communism. The White King and The Bone fire are brought together by their narrators, Dzsátá and Emma. In A fehér király and Máglya (translated in English under the titles The White King and The Bone Fire), his two latest works, Dragomán evokes an unnamed world of violence and childhood, recollecting the memories and impressions of the communist system. In his most recent novels, Dragomán recreates, without ever naming the geographical area in which the action takes place, the conditions of the end of the communist period in Transylvania, and its immediate aftermath. The representation of a fictional Transylvania He experienced first-hand the changes brought by the end of a 40-year-long regime in Hungary – and could only observe, from the outside, the bloody revolution that took his native country by storm. In 1988, he and his family left Transylvania and emigrated to Hungary, where Dragomán lived the last days of communism. György Dragomán was born in 1973 in Târgu Mureș, Marosvásárhely in Hungarian. Rather than examining and reinventing the conflict between Romanian and Hungarian communities mingled in Transylvania, Dragomán, who left his native region when he was 15, focuses on the communist regime in Transylvania, its fall and the impediments to its actual end. Surprisingly enough, one of its greatest literary voices, György Dragomán, a Transylvanian-born author of Hungarian language, chose not to write directly about the conflict and didn’t pick any side. Throughout the 20th century, Transylvania became an ethnic and ideological battlefield disputed from one country to the other, by Romania and Hungary, from the Trianon Treaty to the Second World War.

Dragoman gyorgy a feher kiraly