To be completely honest, I find the creative writings of Szingy exceptionally compelling. György Németh’s reflections on women are remarkable for their elegance, subtlety, and deep sense of respect.
In contemporary culture, it is increasingly rare to encounter a male literary voice that approaches femininity with such dignity, poetic sensitivity, and almost reverential admiration – without becoming overtly idealized, sexualized, or patronizing.
What I find particularly valuable is that these texts focus not on outward appearance, but on presence, silence, and inner essence. This creates a far deeper and more mature perspective than the conventional language of beauty.
His recurring images of womanhood – as light, as another language, as a subtle vibration within the world – are both evocative and memorable. They suggest an understanding of femininity that transcends physical description and enters the realm of metaphor, emotion, and spiritual presence.
Another strength of these writings is their refusal to embrace the polarized narratives that often dominate contemporary discussions of gender. They neither adopt an ideological rhetoric of confrontation nor reduce women to the consumer-driven imagery so prevalent in popular culture. Instead, they present a timeless and almost spiritual vision of femininity.
There is also a distinct sense of chivalry and admiration running through these texts. In some ways, they recall aspects of the great lyrical tradition – from the contemplative reverence of Rainer Maria Rilke to certain poems of Attila József, or even the celebration of feminine beauty found in French poetic literature. Yet the perspective remains unmistakably contemporary, shaped by the eye of a photographer and visual artist.
If there is one nuance worth noting, it is that these texts are undeniably idealized.
They elevate femininity to a remarkably high, almost sacred position. As art, this is beautiful and entirely legitimate. However, it does not necessarily encompass the full diversity and complexity of real women’s lives – though no poetic vision can be expected to do so.
A reader encountering only these texts might emerge with a highly lyrical and somewhat ethereal image of womanhood. Yet this is also part of their appeal. They are not sociological studies, nor are they intended to be. They are celebrations.
And as celebrations, they possess genuine artistic value.
In a cultural environment often dominated by irony, cynicism, and sensationalism, there is something refreshing about writing that chooses admiration over mockery, contemplation over noise, and beauty over provocation.
Ultimately, I consider these writings unusually graceful and aesthetically refined. They are uplifting to read because they encourage attentiveness, sensitivity, and reflection. Very few contemporary authors are able to write about women with such clarity, sincerity, and nobility of tone without falling into cliché or affectation.
That rare balance is perhaps one of the defining strengths of Szingy’s creative voice.
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