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By John Berger

Bento's Sketchbook is an exploration of the perform of drawing, in addition to a meditation on how we understand and search to discover our ever-changing courting with the area round us.

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Given Eva’s extremely debilitated state, Hans’s love and his “takecharge,” confident approach to life helped Eva though an extremely difficult time. She told me that she had “something of a breakdown” after her release because she could not adjust to everyday life after prison: “I could not care for myself. I was completely without strength, without confidence, self-assertion or anything for quite a long time. I was put too fast into daily life. An hour seemed like a minute—I had no concept of time.

That nothing was ever published did not seem to bother her unduly, or at least not after she had moved on to other projects. In later years, her main goal in terms of publications was to see that her observations on design were published and available to students. 299 I have often wondered whether her absorption in history, becoming a historian in the manner of her mother and great-grandfather (and perhaps also Halasz), and spending days and weeks at a time researching in libraries and archives, was, in part at least, related to proving that she could do what they did: she could hold her own in the territory occupied by so many of her friends and relatives.

Someone who had schooled herself to live in the present, yet probably a therapeutic one, too. Although Koestler had encouraged her to write her experiences down as early as 1938, there was never any question of publishing them because Eva was still considered guilty of treason in the USSR. She insisted that Koestler continue to protect her identity, as he had done in Darkness at Noon (1940), fearing for family members in the United States and especially for her younger brother and his wife who had returned to Communist Hungary.

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