The betrayed times (3)

The children who came ten years after in our extended village family didn’t have this luck like me. Russian was ubiquitous, no one taught us English. Sometimes someone wrote out the alphabet for us to learn, and that was that; we were expected to do the rest ourselves. My mother’s house was full of religion; there were many ceremonies and readings, some of which went on for days. It was then that I already celebrate the Holy Mass, stood next to my mother, to raise the bell rang, we had an altar with a table, skirt for the cassock and alb, pulpit chairs. But no one explained or translated for us who could no longer follow the only language an individual’s life, hidden under the mantle of everyday language. So our ancestral faith receded, became mysterious, not pertinent to our day-to-day life.
They were policemen; they were teachers. One of them was my very first teacher at the Ząbkowice School; Mrs Grzegorczyk, Mrs Grzesica I remembered her with adoration for years. There was the capital, where very soon we would all have to go for education and jobs, and where we would settle permanently, among strangers. There were the white people, not all of them English; and the Portuguese and the Chinese, at one time also immigrants like us. And, more mysterious than these, were the people we called Kubanski, Ostrouch, Skalski, Sidło, Novak, Mrs Rabova, mixed people of warm brown complexions who came from the other time, before the island was detached from Dąbrowa Górnicza – a kind of history absolutely beyond my child’s comprehension. Later as arrivals at Ząbkowice we were with mum a disadvantaged community, that excluding idea was a kind of protection; it enabled us – for the time being, and only for the time being – to live in our own way and according to our own rules, to live in our own fading Silesia. It made for an extraordinary self-centredness. We looked inwards; we lived out our days; the world outside existed in a kind of darkness; we inquired about nothing.
To give you this idea of my background, I have had to call on knowledge and ideas that came to me much later, principally from my writing. As a child I knew almost nothing, nothing beyond what I had picked up in my grandmother’s house. All children, I suppose, come into the world like that, not knowing who they are. But for the French child, say, that knowledge is waiting. That knowledge will be all around them. It will come indirectly from the conversation of their elders. It will be in the newspapers and on the radio. And at school the work of generations of scholars, scaled down for school texts, will provide some idea of France and the French…In Ząbkowice, bright boy though I was, I was surrounded alas by areas of darkness also. School elucidated nothing for me. I was crammed with facts and formulas. Everything had to be learned by heart; everything was abstract for me. Again, I do not believe there was a plan or plot to make our courses like that. What we were getting was standard school learning. In another setting it would have made sense. And at least some of the failing would have lain in me. With my limited social background it was hard for me imaginatively to enter into other societies or societies that were far away.
I loved the idea of books, but I found it hard to read them. I got on best with things like Andersen and Aesop, timeless, placeless, not excluding. And when at last in the sixth form, the highest form in the college, I got to like some of our literature texts – Moliere, Cyrano de Bergerac, Hugo – I suppose it was because they had the quality of the fairytale, the humble life’s truth…When I became a writer those areas of darkness around me as a child became my subjects. The land; the aborigines; the New World; the colony; the history; India; the Muslim world, to which I also felt myself related; Africa; and then England, where I was doing my writing. That was what I meant when I said that my books stand one on the other, and that I am the sum of my books. That was what I meant when I said that my background, the source and prompting of my work, was at once exceedingly simple and exceedingly complicated.
You will have seen how simple it was in the country town of Silesia. And I think you will understand how complicated it was for me as a writer. Especially in the beginning, when the literary models I had – the models given me by what I can only call my false learning – dealt with entirely different societies. But perhaps you might feel that the material was so rich it would have been no trouble at all to get started and to go on…What I have said about the background, however, comes from the knowledge I acquired with my writing. And you must believe me when I tell you that the pattern in my work has only become clear in the last two months or so. Passages from old books were read to me, and I saw the connections. Until then the greatest trouble for me was to describe my writing to people, to say what I had done.
I said I was an intuitive writer. That was so, and that remains so now, when I am nearly at the end. I never had a plan. I followed no system. I worked intuitively. My aim every time was do a book, to create something that would be easy and interesting to read. At every stage I could only work within my knowledge and sensibility and talent and world-view. Those things developed book by book. And I had to do the books I did because there were no books about those subjects to give me what I wanted. I had to clear up my world, elucidate it, for myself…I had to go to Rome and elsewhere, to get the true feel of the history of the Christianity. I had to travel to India because there was no one to tell me what the India great religion’s tradition had come from was like. There was the writing of Nehru and Gandhi; and strangely it was Gandhi, with his South African experience, who gave me more, but not enough. There was Kipling; there were romances by women writers. The few Indian writers who had come up at that time were middle-class people, town-dwellers; they didn’t know how to catch a glimpse the Indian adventure of ours along the east and the Christian religion we had come from.
And when that Indian need was satisfied, others became apparent: Africa, South America, the Muslim world. The aim has always been to fill out my world picture, and the purpose comes from my childhood: to make me more at ease with myself. Kind people have sometimes written asking me to go and write about Germany, say, or China. But there is much good writing already about those places; I am willing to depend there on the writing that exists. And those subjects are for other people. Those were not the areas of darkness I felt about me as a child. So, just as there is a development in my work, a development in narrative skill and knowledge and sensibility, so there is a kind of unity, a focus, though I might appear to be going in many directions.
When I began I had no idea of the way ahead. I wished only to do a book. I was trying to write in England, where I stayed on after my years at the university, and it seemed to me that my experience was very thin, was not truly of the stuff of books. I could find in no book anything that came near my background…The young French or English person who wished to write would have found any number of models to set him on his way. I had none. My mother’s stories about our community belonged to the past. My world was quite different. It was more urban, more mixed. The simple physical details of the chaotic life of our extended family – sleeping rooms or sleeping spaces, eating times, the sheer number of people – seemed impossible to handle. There was too much to be explained, both about my home life and about the world outside. And at the same time there was also too much about us – like our own ancestry and history – that I didn’t know.
At last one day there came to me the idea of starting with the Związku Orła Białego street to which we had moved from Gospodarcza, then Sikorski street. The life of the street was open to me. It was an intense pleasure for me to observe it from the verandah. This street life was what I began to write about. I wished to write fast, to avoid too much self-questioning, and so I simplified. I suppressed the child-narrator’s background. I ignored ‘the racial’ and social complexities of the street. I explained nothing. I stayed at ground level, so to speak. I presented people only as they appeared on the street. I wrote a story a day. If it were not for the short stories my mother said I would have known almost nothing about the general life of our community. Those stories gave me more than knowledge. They gave me a kind of solidity. They gave me something to stand on in the world. I cannot imagine what my mental picture would have been without those stories.

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