My life

Stanislaw Barszczak, The archeology of happyness
The east I know. As I said for the several months I’ve been in India. A long train journey on a late December evening was a new experience. I suppose that my fellow traveller and I could consider ourselves lucky to have a compartment to ourselves, even though the lights went out entirely in the night and were too dim anyway for us to read the book without straining our eyes, and though there was no restaurant car to give at least a change of scene. It was when we were trying simultaneously to chew the same kind of dry bun bought at the same station buffet that my companion and I came together. Before that we had sat at opposite ends of the carriage, on the bet above or beneath, both muffled to the chin in plaids, as I threw the remains of my cake close to wall our eyes met, and
he slept down. By the time we were half-way to Ujjain we had found an enormous range of subjects for discussion; starting with buns and the weather, we had gone on to politics, the government, foreign affairs, the atom bomb, and, by an inevitable progression, God. However, we had not become either shrill or acid. My companion, who now sat opposite me, leaning a little forward, so that our knees nearly touched, gave such an impression of serenity of a spirit that I never would have remembered in my life of today. In the Ujjain’s street called in hindi, near the merchants of books and lanterns, of embroideries and bronzes, miniature gardens are sold: and, as a studious idler amid this fantastic display, I mentally compare these little fragments of the world. The artists have subtly shown themselves masters of the exquisite laws by which the lines of a landscape are composed, like those of a physiognomy. Instead of drawing nature they reproduce it, constructing their counterfeits from the very elements of the original, which they borrow, as a rule is illustrated by an example. These images are usually exact and perfect replicas. All sorts and kinds of pines, for instance, are offered me to choose from; and their position in the jar, with their height as a scale, proportionately shows the dimensions of their original territory. Here is a rice-field in Springtime; in the distance is a hill fringed with trees (they are made of moss). Here is the river Shipra, with its capes! By the artifice of stones we went to the holy river down to make prayer for inhabitants of that city.
For ten years I wrote essay titled ‘Canyon of a life’, I suppose, that as the other essays titled for exemple ‘The evenings of an eternal will’, ‘The concert of Jankiel’, ‘The constitution of a human subjectivity’ had been perished on the parsonages of the friends-priests. In my dreams this was not my first visit to the Grand Canyon. . . Suddenly I plunged into recollection, and arrived at that first great visit there in my writings about. I had planned ‘a stop-over’ of a few hours, I began noting. Our coach leaves the main west-bound train at Williams, Arizona, wanders up the sixty-four
miles to the station at the Southern Rim of the Canyon, doing this during the night when you are fast asleep, and when you wake in the morning–there you are. That is the theory of this ‘side trip.’ It did not work well for me in practice. The night that had seemed
very convenient and comfortable in the railway time-table was actually most unpleasant. First there were giant shuntings and bangings that made sleep impossible. By the time I had adapted myself to these shuntings and bangings, they stopped, and the train was
left paralyzed in an uneasy silence and stillness, a doomed train that whispered, ‘Sleep no more.’ In the end I must have slept a little, for I remember waking to find that we were somewhere very high and it was snowing. Heavy and hot about the eyes, I put on some clothes, then went blinking and shuffling out into the cold blue morning, a peevish passenger. The little station looked dreary. The young man waiting with the hotel bus looked opposite, all wrong. For he wore a ten-gallon hat and an embroidered cowboy coat with English riding-breeches and long boots, like a cowboy in a musical comedy. There was the beginning of my new story about life, that I never have ever changed in my next decades.
For that reason I run in my mind some thoughts. After much thought I chose what as follows: ‘The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.’ On the role of “place” in my work: putting it as modestly as I can, it wouldn’t be what it is if I’d been born in Poland, and it wouldn’t be what it is if I’d stayed in America. On my childhood: ‘I was thought somewhat eccentric, which was fair enough, and stupid, which I suitably resented.’ ‘I am more interested in works than in authors. The paternal wish of critics to show how a writer dropped off or picked up as he went along seems to me misplaced.’ ‘Sartre expressed the despair of this generation. He did not create it, but he gave it a justification and a style.’ I would say I must have given any responsibility. A writer survives in spite of his beliefs. Georges Simenon said; ‘The fact [is] that we are I don’t know how many millions of people, yet communication, complete communication, is completely impossible between two of those people . ‘ On sitting down to write: ‘It’s like standing on the edge of a cliff. This is especially true of the first draft. Every day you’re making up the earth you’re going to stand on.’ ‘I suspect that there is no serious scholar who doesn’t like to watch television. I’m just the only one who confesses.’ ‘When I started out I wouldn’t write a poem until I knew the first line and the last line . . . I was a tyrant and I was good at it.’ That’s true. ‘I need, physically need, several hours every day to be alone and write.’ I create new hero now. But I made him the precocious child already that had been faded away before (at least!)his adolescence. ‘They did type me as a horror writer, but I have been able to do all sorts of things within that framework.’ I am notorious for my political comments, most of which are picked up from international interviews and shamelessly manipulated by some nationalist journalists to make me look more radical and politically foolish than I really am. ‘A story doesn’t have to be simple, it doesn’t have to be one-dimensional but, especially if it’s multidimensional, you need to find the clearest, most engaging way of telling it.’ I try to do something in this way. ‘ I’m not adopted. But longing and sense of absence . . . are perhaps other ways of expressing the actualities of my church. Different facts, same emotions. On starting a new novel: ‘Every time I must find something to do that will look like a novelty, something a little beyond my capabilities.’ On the Sexual Revolution: ‘some very plausible stuff is being written by women in a way that most men are not doing .’ ‘If [you] want to publish the lie perceived behind the interview, [you have] to write fiction.’ I write the throuth only. On the extinction of dinosaurs: ‘When they died, they died in a very clean way . . . This will not happen with human beings. When we die there will be a terrible breath of poison.’ ‘The one thing you can bet is that spying is never over. Spying is like the wiring in this building: It’s just a question of who takes it over and switches on the lights. It will go on and on and on.’ ‘I wouldn’t say that I dislike the young. I’m simply not a fan of naïveté.’ I have a chest full of all the insults, villainies, and infamies a man is capable of withstanding. If I want to become famous, and rather to have distinguished reputation, I will have to go through all that. ‘A book is finished and appears and I feel, Well, next time I will unveil myself. And when the next book appears, I have the same feeling. And then your life ends, and that’s it.’ I have to write the verse titled IT. ‘The sensation of falling into the past is not unlike that of coming home for the holidays from a new, strenuous, unpleasant school and finding oneself back in wholly familiar surroundings.’ ‘If a society without social justice is not a good society, a society without poetry is a society without dreams, without words . . . and without that bridge between one person and another that poetry is. If society abolishes poetry it commits spiritual suicide.’ I knew it. ‘This is a blindness permits us . . . to send a craft to Mars to examine rock formations on that planet while at the same time allowing millions of human beings to starve on this planet. Either we are blind, or we are mad.’ On Yeats’s assertion that one must choose between the life and the work: ‘Of course, if by life you mean life with other people, Yeats’s dictum is true. Writing requires huge amounts of solitude.’ You have to love the victim, but still more the suffering. ‘Southern writers must have learned the art of storytelling from listening to oral tales. I did. It gave me the knowledge that the simplest incident can make a story.’ Such I learned to discover the reality of world and I made trips to a liquor store twice a week on my bicycle.’ On Hemingway: ‘He always had trouble with plots because he wasn’t so much filling out a plot as he was making a journey or progression, day by day.’ I’m looking for my way yet. Somebody said; ‘the idea that by birth you are born a sinner. Why? I didn’t ask to be born. Why do I have to be born on a blacklist?’ ‘The laws of gravity can be figured out much more easily with intuition than anything else. It’s a way of having experience without having to struggle through it.’ I had passed an exam from I.Newton, I suppose now, there would had ben an exam one in the presence of Professor M. Heller, from the saving of a experience without bother about. ‘When I was eighteen I’d write little text reviews. There was a review of pilgrimage of the pope to Poland, and I didn’t see that there was any difference between the kids’ books I read at the time and . . .my Diary. ‘I detest and despise success, yet I cannot do without it. I am like a drug addict if nobody talks about me for a couple of months I have withdrawal symptoms.’ ‘The great European novel started out as entertainment, and every true novelist is nostalgic for it. I’m very serious about it. On being single: ‘You know what happened to poor Norman Mailer. One wife after another, and all that alimony. I’ve been spared all that.’ ‘My house has been burned; I have been detained more than once; I have been exiled; they have declared me incommunicado . . . Very well then. I’m not comfortable with what I have.’ ‘Writing to me is a deeply personal, even a secret function and when the product I turned loose it is cut off from me and I have no sense of its being mine. Consequently criticism doesn’t mean anything to me. As a disciplinary matter, it is too late.’ Somebody said; ‘Appreciation of art is a moral erection; otherwise mere dilettantism. I believe sexuality is the basis of all friendship.’ ‘I’ve shown women as they are, as divided human beings, and not as they ought to be.’ On the origins of Wife to Mr. Milton: ‘I’d always hated Milton, from earliest childhood, and I wanted to find out the reason. I found it. His jealousy. It’s present in all his poems.’ I like jealousy. I spent my entire youth writing slowly with revisions and endless rehashing, speculation and deleting and got so I was writing one sentence a day and the sentence had no feeling. Goddamn it, feeling is what I like in art, not craftiness and the hiding of feelings. ‘I believe in saying the truth, coming out with it cold, shocking if necessary, not disguising it. In other words, obscenity is a cleansing process, whereas pornography only adds to the murk.’ ‘[With Dr. Zhivago] it seemed to me that it was my duty to make a statement about our epoch. . . . I wanted to record the past and to honor . . . the beautiful and sensitive aspects of the Russia of those years.’ ‘Once in college I . . . got to going to the library and reading what I wanted instead of what was required. I got behind. . . . And I still have bad dreams about that. It must have cut a very deep channel.’ When I write, I aim in my mind not toward Częstochowa but toward a vague spot a little to the west of Częstochowa at Tarnowskie Góry.
My east is in Europe also. In 1992 I was in Nicea I saw the night of the Harvest Festival. I dream about it now; ‘So passed the early part of the summer. Night was at one time almost non-existent, a mere holding of the breath, as it were, by the heavens while evening gave way to morning. The young and happy needed sleep only as the slightest break in their days, and very little food either. For many young people, and older ones, it was the last beautiful summer. To be sure, there are always some living their last summer, but in the case of this summer there were special reasons. Everyone had his or her premonitions, but no one knew. Midsummer too passed. The human mind still tried to imagine the nights were white. Here a girl sat by a window reading, as midnight drew nigh, the letter she had received that evening. She even took out her writing materials and set to work on her answer; it was still light enough for that, though July had begun. And so expressive was still the nocturnal light that the writer got no further in her intention than the opening phrase: “I am writing to you in the delicious summer night. . . .”–before she was lost in memories of her distant friend, fancying herself walking with him this same night there where they had once. . . .and the dawn was reddening the north-west. The young lady is on a holiday here and has hoped for more experiences than have come her way, by these hopes betraying her friend. But her hopes have remained unfulfilled, and now she tries to compose a pretty answer to her friend’s letter.’ Dear Reader, now I also would like to compose such pretty answer already on my own to your joy of today for ever. May it will be the archeology of happiness of toomorow.

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