capital, but ruthless Soviet officers and their even more ruthless masters. A reviewer emphasized that Kondor writes about a kind of freedom that has not been common in Hungary: “Without Vilmos Kondor’s work the acts of the man socialized for freedom (with all it consequences) couldn’t be studied in Hungarian texts.” Budapest novemberben (Budapest in November) October 1956 finds Gordon in exile in Vienna, where he is asked to identify a dead body as his adopted daughter. Even though the girl turns out to be someone else, Gordon – along with Krisztina – hops on the last train to Budapest, where a revolution has just started, tanks are rolling onto the streets, and people are dying by the hundreds. But Gordon is interested only in finding his daughter, and the dangerous killer who tries to stay hidden while chaos ensues on the streets of a city that is fighting for its independence and freedom. A reviewer welcomed the way Kondor handles history in this final novel in the Budapest Noir series: "Kondor doesn't only paint a picture and doesn't only repeat what is in the history books: he tries to interpret it, make sense of it, and help us understand the relations and dynamics of this hectic era." Short stories Kondor's collection of short stories was published in 2018 under the title 'A haldokló részvényes.' Interpretations Kondor's work has been present in the Hungarian media in several forms. His novels and short stories have been turned into audiobooks, radio plays, comics and even photo exhibitions. Other Works Kondor wrote a trilogy of thrillers about the fictional Wertheimer family's almost century long affiliation with the Holy Crown of Hungary, and a trilogy of contemporary police procedurals with strong political overtones. He also published a short novel under the title 'Az otthontalanság otthona' whose whole income he donated to an NGO that gave a helping hand to the migrants who arrived to Hungary during the crisis in 2015. Style and method Kondor always uses a third-person narrative that is arguably a masked first-person narrative, since the reader always sees what the protagonist(s) see. The narrator is also an historical figure who knows only the time frame of the novel and never steps out of it. Kondor thus views events through the eyes of his protagonists, and rarely comments on the political situation. He follows in the steps of Charles Willeford in the