
From a Google Image Search – Simon and Schuster
David Szalay’s main character Istvan, in his Booker Prize (2025) winning book, Flesh, is an exploration of “contemporary masculinity” according to Esquire. Esquire also describes the writer’s style as spare. Okay. If you read the book, you might be tempted to count the number of times the response “okay” appears in the dialogue. It could be argued that English is not Istvan’s first language, he is Hungarian, one of the most difficult languages to learn, we are told.
Istvan’s vapidity does not seem to be related to being Hungarian, however. He is not the only character to respond with just the one word “okay”. Perhaps his lack of verbal content reflects the emptiness of his mind, or his soul. And perhaps other characters copy his laconic way of speaking.
He must be handsome because women seem to like him, especially women with older husbands. His first sexual experience happens with a middle-aged neighbor woman when he is fifteen. It ends badly (an understatement). He does not seem to carry around a burden of guilt. After subsequently serving in the Hungarian army, Istvan goes to England. He works as a bouncer until he has the good fortune to meet a mentor (male) who hires him to serve as a driver for wealthy families. As his bank account gets healthier, he leaves his mentor’s company, and he becomes a permanent driver for Helen, Karl and Thomas. His life gets more complex, but his feelings are as opaque as ever and the dialogue is still monosyllabic.
The author allows us to know some of the inner workings of Helen’s mind and some of the details of her married life, but no insight into Istvan’s mind. Helen’s son Thomas assigns nefarious motives to Istvan, but Istvan seems to be unworried about whether his actions might be considered immoral and criminal. It all just happens. (Okay.) Istvan accepts Thomas’ hostility, perhaps remembering his own sullen behavior from his younger days. He makes a few feeble attempts to connect with Thomas, but he lacks any real motivation.
It’s not easy to write a book so lacking in emotional depth and to make it a great read. One day, Istvan may become one of those classic characters who we refer to as if he’s a real person. He is so passive that when he could be accused of murder, or theft he shakes it off, he doesn’t own that any repercussions of his actions might rebound on him. The way he handles grief also exposes a coolness bordering on coldness. I get what Szalay has done. At least I think I get it. After all I am just a girl.








