my life (E)

But the poets said: “It is an ancient Mariner, and he stoppes one of three…he holds him with his glittering eye” Water, water. everywhere. Nor any drop to drink.(Coleridge)…Kubla Khan where Alph, the sacred river ran down to a sunless sea…”Before the gods that made the gods had seen their sunrise pass, the White Horse of the White Horse Vale was cut out of the grass.“(Chesterton) Would that the Roman people had but one neck(Caligula)The Guard dies, but does not surrender(Cambronne P.) I see Poland’s future as being in Asia, as one of many poor countries. Now already there is its westernization, so as a poor imitation. These political movements flourish on the margins of Polish society because of technics and because of the people’s feeling that they are not being represented. Well, on the one hand the Poles have the legitimate need to defend their national dignity – and this includes being recognized as a part of Europe and as I think as a part of Asia. As I write in my autobiographical text “Hortensius”, from my childhood until the age of 35 I devoted himself largely to reading and painting and dreamed of becoming an artist. After graduating from the Silesia University in Katowice, I would like have abandoned the course when I gave up my ambition to become a great artist. Then at the age of 35 I decided to become a witness of the modern world, and giving up everything else retreated into my house and my flat and began to write. I am interested that, even in my book set in Poland, “the East” functions as the wilderness, as the place where the characters go to find themselves and endure suffering. Let me enjoy the poetry of East—the strangeness of it—first. Let’s not try to understand it…About my trip to India I would like have told at other occasion. Let me return now to my youth.
In my life I met professor Tischner at a church of saint Cathrin in Cracow, two months after he uttered the infamous phrase at a meeting of a Polish movement of “Solidarity”(1980). No high on the fourth floor, his desk heaved with papers and books and seemed to float in a mythic vision of Cracow. The rounded dome of a church loomed just outside the window, its Polish crescent a cardboard cutout on the distant backdrop of the Vistula. Tischner gave us what all professor would give us at their best: the truth. But earlier I’ve been at Czestochowa. So at the heart of my library is library of minor seminary at Czestochowa. When I was seventeen or eighteen and began to devote most of my time to reading, I devoured the volumes my father kept in our sitting room as well as the ones I found in Czestochowa’s bookshops. These were the days when, if I read a book from a seminarian library and liked it, I would take it into my room and place it among my own books. My rector, who was pleased to see his son reading, was also glad to see some of his books migrating to my library, and whenever he saw one of his old books on my bookshelf, he would tease me by saying, “Aha, I see this volume has been promoted to the upper echelons!” In 1978, when I was eighteen, I—like all Polish children with an interest in books—took to writing poetry. I was painting and studying architecture but the pleasure I took from both was fading away; by night I would smoke cigarettes and write poetry, which I hid from everyone. It was at this point that I read the poetry collections that my father (who had wanted to be a poet when he was young) kept on his shelves. I loved the slender, faded volumes by poets who are known in Polish letters as belonging to the First Wave (1940s and 1950s) and the Second Wave (1960s and 1970s); having read them, I liked to write poems in the same manner. The poets of the First Wave (Ivashkievich, Galczynski) are remembered by the name of the first poetry collection they published together- “Scamander”. They brought to modern Polish poetry the language of the streets, exulting in its wit and refusing the formal conventions of the official language and the oppressive, authoritarian world they echoed. My professor of Polish language would sometimes open a first edition by one of these poets and entertain us with one or two of their droll and capricious poems, reading them out in a loud voice and adopting an air that led us to understand that literature was one of the wondrous treasures of life.
I was also inspired by the poets of the Second Wave, who took this innovative spirit into the next generation, bringing a narrative, expressionistic voice to poetry, and also bringing to their compositions a mixture of Dadaist, Surrealist, and ornamental motifs from time to time; when I read these now deceased poets I would be convinced that I could write as they did, rather in the way that someone viewing an abstract painting might be innocent enough to think he could do such a painting himself. Or rather, I was like an artist who, upon looking at a painting he admires, thinks he has figured out how it was done. In much the same way as that artist might rush back to his studio to prove the point, I would go at once to my desk to write poetry. With some rare exceptions, the work produced by all other Polish poets was artificial and distant from the everyday world, so they did not interest me as poems; it was their intellectual underpinning that concerned me. As he struggled under the crushing influence of Westernization, modernization, and Europe, what could the local poet salvage from the damaged and fast-disappearing the great Polish literary traditions, and how? What was its relevance to modern poetry now that its beauties and its literary conceits could only be understood by later generations with the help of dictionaries and guides?
The vexing questions associated with “drawing from tradition” greatly occupied the writers of the generation that came before me, and my own generation, too. Because Kochanowskis poetry had flourished for centuries, always remaining aloof to Western influence, there was a sense of continuity, and that made it easier and more comfortable to discuss literary and philosophical questions with reference to poetry. Because the novel was a European import, novelists and writers of prose wishing to connect with our own literary tradition turned their attention to poetry. In the early 1970s, after my enthusiasm for poetry had flared up and quickly burned itself out and I had decided to read the writers and novelists, poetry was still seen as true literature in Poland, while the novel seemed a lesser, populist form. It would not be wrong to say that the novel has come to be taken more seriously over the past thirty-five years, while poetry has lost some of its importance. Over the same period, the publishing industry has grown with breathtaking speed, offering ever more diversity to ever more readers. When I decided to become a writer, neither poems nor novels were valued as individual expressions of an artistic sensibility, a strange spirit, a soul: the dominant view was that serious writers worked collectively, and their work was valued for the way in which it contributed to a social utopia and reflected a shared vision (like modernism, socialism, Islamism, nationalism, or secular republicanism). There was little interest in literary circles in the problem of the individual creative writer who drew from history and tradition, or who tried to find the literary form that best accommodated his voice.
Instead literature was allied to the future: its job was to work hand in hand with the state to build a happy and harmonious society, or even nation. Utopian modernism—be it secularist, republican, or socialist egalitarian—has had its eyes so firmly planted on the future that it has, I sometimes think, been blind to the heart and the soul of just about everything that has gone on in the streets and houses of Cracow, Przemysl, Katowice, Czestochowa over the past century. It seems to me that the writers who engage so passionately with the question of how to bring Poland to a brilliant future do not tell as honest a story about our lives as writers like Jaroslav Ivashkievich, Czeslav Milosh, who mourned the loss of our traditional culture, who were alert to the poetry of the city’s streets and loved the cities without prejudice. They brought to modern Polish poetry the language of the streets, exulting in its wit and refusing the formal conventions of the official language and the oppressive, authoritarian world they echoed. In the age of Westernization and rapid modernization, the central question—not just for Turkish literature but for all literatures outside the West—is the difficulty of painting the dreams of tomorrow in the colors of today, of dreaming about a modern country with modern values while also embracing the pleasures of everyday tradition. Writers whose dreams of a radical future propel them into political conflicts have often ended up in prison, and their plight has given a hard and embittered edge to their voices and their outlook. In seminarian library there were also the first books published by Jean-Paul Sartre, before he went to communism for his revolutionary ideas. As impressed as I was by these poems’ angry, hopeful tone, their utopian vision, and their formal innovations, inspired by Russian futurism, I was affected just as much by the suffering this poet endured, and his years behind bars…This way of life, which I knew only from books, was not something I wanted for myself, but I found it romantic. When I had a few problems of a similar nature thirty years later, I consoled myself by remembering that my problems were so much lighter than those suffered by the writers I read about when I was young.
I regret that I have not been able to shake off the enlightenment utilitarian idea that books exist to prepare us for life. Perhaps this is because a writer’s life in Turkey is proof that they are. But it also has something to do with the fact that in those days Poland lacked the sort of large library where you could easily locate any book you wanted. In Borges’s imaginary library, every book takes on a mystical aspect, and the library itself offers intimations of a poetic and metaphysical infinity, echoing the complexity of the world outside; behind this dream are real libraries with more books than can ever be counted or read. Borges was the director of one such library in Buenos Aires. But when I was young there was no comparable library in Czestochowa or all of Poland. As for books in foreign languages, not a single public library had these. If I wanted to learn everything that there was to be learned, and become a wise person and so escape the constraints of the national literature—imposed by the literary cliques and literary diplomacy, and enforced by stifling prohibitions—I was going to have to build my own great library. Between 1970 and 1990, my main preoccupation after reading was buying books for my library; I wanted it to include all books that I viewed as important or useful.
My mother gave me a substantial allowance. From the age of eighteen I was in the habit of going all a week to church, the center of the Old City. I spent many hours and days in its depth, which were heated by ineffective little electric heaters, and crowded with towers of unclassified people, and everyone looked new always. I would go into a shop selling secondhand books, comb all the shelves, leaf through the books, and one by one I would pick a history of the relations between polish people or the reflections of a professor from the Vilnius on manic-depressive disorder and predisposition to schizophrenia; or a small collection of poems by a forgotten Ottoman poet in an annotated edition in the Turkish of our time; or an illustrated book of propaganda, published by the Office of the Governor of Istanbul in the 1940s, and showing all the buildings and parks in black and white. After bargaining with the shop assistant, I would cart them all away. In the beginning, I collected all the classics of world and Polish literature—it would be more accurate to describe these as books that were “important” for Polish literature. I thought I would certainly read other books too, just as I’d done with the classics. But when my mother, who was worried about me, because she thought I read too much, saw me bringing in more books than even I could read, she would say wearily, “For once don’t go buying more books until you’ve finished these!”
I wasn’t buying like a book collector but like a frantic person who was desperate to understand why Poland was so poor and so troubled. When I was in my twenties and my friends came to visit the house where I lived with my parents, and they asked me why I was buying these books that were filling up the house so fast, I could never give them an answer that satisfied them. Was I interested enough in the authors of such works to read them from cover to cover? In later years, whenever someone asked, “Mr. Pamuk, have you read all the books in your library?,” I would, without taking the question at all lightly, say, “Yes. But even if I hadn’t read them all, they still might prove useful.” I meant what I said, and when I was young my connection to books was limited by the optimism of an incurable positivist who believed that he could have dominion over the entire world through learning. I believed I would use all this erudition one day in a novel. There is in me something of the autodidact hero in Jean-Paul Sartre’s Nausea, who reads every book in his public library, from A to Z. I was missing out on life by burying myself in books—but even when I’d realized this, I’d still keep buying books, as if to take revenge on the life I was fleeing. It is only now, so many years later, that I realize how happy those hours were that I spent making friends with the shop assistants in those cold bookshops, drinking the tea that they offered me, and inspecting those dusty towers of books from top to bottom. But mostly my choices were spontaneous and impulsive. Buying books one by one is a bit like building a house stone by stone. In the 1980s I saw many others like me, not just in the antiquarian bookshops but in all of Istanbul’s mainstream bookstores. I am talking about the people who turn up at bookshops at five or six in the evening and ask, “Is there anything new in today?” and then go one by one through all the books that have arrived at the bookshop since the day before. In 2008 there are about three times as many books being published as thirty years ago, but in the 1980s, there were on average three thousand books published in Turkey each year. I saw most of these, and almost half of them were translations. Because there were so very few books imported from abroad, I read these hasty and careless translations in an effort to understand what was going on in world literature.
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