Stanisław Barszczak; Werner’s vision, or satire on the universe (part II)
Return to Calcutta—
It’s much better to do good in a way that no one knows anything about it. Professor Grass wished to do well to the Indians. Kolkata occupied a special place in Gunter Grass’ heart, his consciousness and in his works.
Kolkata also known as Calcutta (the official name until 2001) is the capital of the Indian state of West Bengal. Located on the east bank of the Hooghly River, it is the principal commercial, cultural, and educational centre of East India, while the Port of Kolkata is India’s oldest operating port and its sole major riverine port. In 2011, the city had a population of 4.5 million, while the population of the city and its suburbs was 14.1 million, making it the third most populous metropolitan area in India. In the late 17th century, the three villages were there. In 1712, the British completed the construction of Fort William, located on the east bank of the Hooghly River to protect their trading factory. Facing frequent skirmishes with French forces, the British began to upgrade their fortifications in 1756. The British moved the capital to New Delhi in 1911. India has an alarming rate of poverty. Calcutta stands as India’s poorest city, with sprawling slums and decaying infrastructure. Those most affected by this abject poverty are children. No one knows how many hundreds of thousands of children are born into the hopelessness of extreme poverty in Calcutta. Fortunately, there are people who care, people who venture into the slums to offer help and hope. These children are beautiful because they are homeless.You have to help them.
It was a bitter-sweet relationship that he shared with this city, and its residents with him. Grass visited Kolkata thrice: first in 1975 when he stayed at Raj Bhawan as a state guest and wrote ‘The Flounder’, then for six months in 1986 after which he wrote ‘Show Your Tongue’, and for the last time in 2005. Grass’ morbid description of Kolkata in ‘The Flounder’ was stark and ferocious and enraged many here. Not unsurprisingly, because he wrote: “Calcutta is a pile of shit that God dropped… How it swarms, stinks, lives and gets bigger and bigger… Delete Calcutta from all guide books”. He found the whole city to be a large “slum”, but then threw fuming and indignant Kolkatans off-track by saying that the United Nations headquarters should be located here! Kolkata’s libertine and hidebound intellectuals alike, including many prominent litterateurs, mocked Grass and, when he returned to the city to live, write and paint for six months in 1986, decried the return of the “drain inspector”. But that was Grass- straightforward, honest and fearless. And these are the qualities that have endeared him to many as well. “He always used to tell me that I cannot lock myself in an ivory tower and be ignorant of all that’s happening around me. My works have to reflect present-day realities,” said painter Shuvaprasanna, who hosted the Nobel Laureate in 1986 and has been close to the German poet and philosopher ever since.
-“If one looks at Kolkata through the eyes of a westerner, one can understand why such a visitor would feel appalled by the poverty and destitution in the city. I spoke to him many times about his depiction of Kolkata in his two novels. Grass viewed Kolkata as a city of contradictions, a city that was both lovely and dirty. He used to be both exhilarated and upset by this city. He viewed Kolkata as a heterogeneous city, not a homogenous one,” said Ghose. -“The passing away of Grass marks the end of an era. He was a great thinker, philosopher and intellectual and, above all, a great humanist,” Ghose told too. Shuvaprasanna also remembers his ‘friend, philosopher and guide’ in the same manner. “He was a great humanist and one of the towering figures of our times,” said the painter.
Grass’ trust with Kolkata extended to Bengali theatre also. Amitava Roy, professor of English and drama at the city’s Rabindra Bharati University, who runs Theatre Arts Workshop, had translated ‘The Plebians’ by Grass and had decided to stage it. Grass happily agreed to be the co-director, sat through the rehearsals and even detected a missed line or a scene even though the play was in Bengali.The idea of the title of Grass’ second book on Kolkata (‘Show Your Tongue’) was born while he was witnessing a night-long Kali Puja at Shuvaprasanna’s in-laws in the winter of 1986. -“He asked me why the Goddess had her tongue out and I explained to him it was because she was ashamed of having stepped on her consort. He named his book thus because he wanted Kolkatans to be ashamed of the conditions in the city,” explained the painter.
Grass returned to Kolkata in 1986 because many had cited his stay in the Raj Bhawan in 1975 to criticize his first book, arguing that Grass couldn’t have got an authentic view of the city by staying in the mansion. “He thus wanted to live among the people and write another book on this city,” said Shuvaprasanna, who met Grass for the first time on the first day of the writer’s 1986 visit to this city. -“The Max Mueller Bhawan here hired a ‘baganbari’ (country house) for him at Baruipur to stay in. He used to commute from there to Kolkata every day in overcrowded local trains. After a few months, he requested me to get him a place in the city. My wife’s house in Lake Town was empty and I put him up there. He would come down to my College Street residence every day for lunch,” he said. ‘Show Your Tongue’ holds a mirror to Kolkatans. The sheer volume of deprivation and the apathy of both the middle class and the (then) ruling communist party appalled Grass. Grass, says Shuvaprasanna, often used to wonder why Kolkata is “full of hypocrites”. During his last visit to Kolkata in 2005, Grass observed some improvements, but he felt they weren’t enough. In an interview then, he said his books attracted controversy because they “caught the wounds in society”. A decade later, many of those wounds still exist, and are festering sores.
Grass first encounter with the city was short and quite passionate. He was surprised and dazed by the struggle, and abject poverty of the lower rung population in the city and wrote a surreal piece in his novel ‘The Flounder’, where his strong emotions wove a high-pitched, antithetical tapestry. Later he and his wife came here for six months in 1986 after which he wrote ‘Zunge Zeigen’: ‘Show Your Tongue’. And for the last time he came in 2005, with the company of his family members, including his daughter Nele Kruger and daughter-in-law Yvonne Grass. During the fall and winter of 1986-87, as I mentioned, Günter Grass and his wife, Ute, settled in Calcutta (Now Kolkata), invited by Max Mueller Bhavan (Goethe-Institut) in Kolkata. In commotion with the Bengali-language production of his 1966 play, ”The Plebeians Rehearse the Uprising.” Amitava Roy, the Professor of Drama at Kolkata’s ‘Rabindra Bharati University’, who also runs ‘Theatre Arts Workshop’, had translated ‘The Plebians’ and decided to stage it. Grass pleasantly agreed to be the co-Director of the play, sat diligently through the rehearsals and even commented on scenes, though he was not familiar with the language, Bengali! His 1986 stay in the city ended up in his controversial writing ‘Zunge Zeigen’: ”Show Your Tongue” is his candid, even passionate response to the fabled and much maligned city. 97 pages of journals, a 12-stanza poem and 112 pages of expressionist drawings, all in one. Grass revisited Kolkata in 1986 mainly because many had referred to his stay in the Raj Bhawan in 1975 to criticise his first book, arguing that Grass couldn’t have got a reliable view of the city by staying in the Governor’s Mansion.
-“He thus wanted to live among the people and write another book on this city,” said renowned artist Shuvaprasanna, who met Grass for the first time on Grass’s second visit to this city. “
Grass in ‘Bagan Bari’ at Baruipur, then on Lake Town. After living in Baruipur for a few months, Grass moved to up market Lake Town but remained consistently critical of the class division prevailing in the city. To the question if he could write a novel on Calcutta’s widespread contradiction, his reply was direct. He said:
-“I cannot write a novel on Calcutta… Calcutta is a city that demands its own Bengali James Joyce, Alfred Doblin and Dos Passos”. Once day Gunter Grass was in a slum cluster ‘Dhapa’. I experienced it very much, he noticed it in a conversation. Nevertheless, he stuck to the essential truth and mentioned in his long poem on Calcutta. It was in a slum cluster near Calcutta’s biggest dumping ground ‘Dhapa’, he found little children practising their first writings in Bengali. So, he combined the spread of garbage and literacy and wrote a stunning stanza concentrating on the tragic pathos of Calcutta. Bengali letters of Gunter Grass have been preserved.
Gunter Grass crouched over slates, practizing Bengali letters. The exercise, written over and over…In translation: Life is beautiful.” (‘Show Your Tongue’) Metaphorically, Grass, making a comparison between Calcutta and Frankfurt, had stated unequivocally that:
-The well-ordered basti (squatter’s) living room of Calcutta was more satisfying and true to life ,than the enormous building of the multinational Deutsche Bank in Europe’s commercial capital.
He found hope, love, ardour, simplicity and the precious values of life in the basti home of a poor person, which spoke of greater ethics than the all-conquering sight of Deutsche Bank in Frankfurt! Calcutta had already became a permanent icon in the Weltgeist (Worldspirit) of Gunter Grass and he told the journalists that the three cities which have governed his life’s outlook and emotions are Danzig where he was born and grew up, Berlin where he lived for a long time, and Calcutta.
In an interview in 2001 he said quite earnestly: “My Indian experience has left an indelible imprint on my creativity. Even when I am not writing directly about India or Calcutta, that experience continues to hover.”
He maintained contacts with the Indians for the rest of his life, A Multifarious Relationship. So, Mr. SV Raman, former Programme Director of Max Mueller Bhavan in Kolkata, served as Grass’s point man and interpreter in Kolkata, during his stay in 1986-87. Recalling Grass’s trip to Kolkata’s renowned and artistically grandiose Durga Puja Pandals, Raman, who accompanied him, said.
-Grass was “awe-struck and amazed” by the grandeur and the opulence on display. Even as he kept sketching on his pad, he couldn’t help mention that he was surprised by the vast contradiction between the grandeur on the one hand and the grime and the poverty of the slums on the other…
It was Raman who had found the Garden house (Bagan Bari) in Baruipur where Grass spent the first half of his stay in Kolkata.
“He wanted to reside outside the city limits. So, I searched for a suburban location and found this house. He didn’t want people to pry on him or barge into his house. So, the location suited him perfectly,” said Raman.
After years at Max Mueller Bhavan, Raman is now a programme consultant at ‘Victoria Memorial’ in Kolkata. Günter Grass trusted Raman with the responsibility of building up rapport and setting appointments with Kolkata’s writers, poets and theatre personalities. As an international personality and a big writer with huge fan following, Grass’s company was most sought after by intellectuals and writers alike. Too many journalists wanted to meet him and interview, but Grass was reluctant.
-“I played a trick. Instead of making appointments formally,” said Raman, I started leaking out information about Grass to people I wanted him to meet”.
-“I would mention to them that Grass would be at the Max Mueller Cafeteria in the morning, slightly dropping a hint that one could go and meet him there. This is how I got people like Sunil Gangopadhyay, Daud Haider and Goutam Ghose to meet Grass, without annoying others. He shared a warm relationship with each of them that lasted till he died,” remembered Raman.
“He used to tell me that as a creative person I cannot limit myself in an ivory tower and be ignorant of all that’s happening around me. My works have to reflect the realities,” said painter Shuvaprasanna.
Gunter Grass was also in India Bangladesh. During his visit to Calcutta in 2005 Günter Grass did not intend to indulge in any trip to the past, or into controversies.
-“I’m very happy to be back. Kolkata has its own characteristic identity. There are so many indigenous arts here that it fills my heart with pride”. He said.
Martin Kaempchen, Grass’s biographer and a Kolkata aficionado had said, -“This visit is of immense importance to him. He wants to see the city with his own eyes and make note of the changes that have come over.”
Then there was a return from afar, Coming Back. The Gut Feeling left. Christof Siemes wrote in the German Weekly “Die Zeit”, how Grass was equally averse to Mother Teresa cult of destitute service that was grown larger than life, in the vicinity of Kalghat’s Kali Temple and found it somehow publicly hungry, tokenist and pretentious!
-“I shall come back”, Grass had already said in 1987, shortly before his departure, “Calcutta continues to be a devastating city, a fascinating city. It has given me something. And I would like to give something back to it”.
In January 1999, Kalyani Karlekar, the 89-year-old Calcutta-based social worker who ran the Calcutta Social Project (CSP), an NGO, looking after the upkeep and welfare of the slum children for the past 27 years, received a letter from Berlin. A cheque was enclosed with a cryptic note from Gunter Grass.
The Calcutta Social Project run by retired teachers couple the Karlekars had impressed Grass so much that together with friends, Grass had every year since sent about 7,000 Euros to the project. Grass had already dedicated his book “Show Your Tongue” to Kalyani Karlekar, G V Karlekar and CSP… Netai Bera, who has been with CSP since 1984, said:
-“Though he was involved, he couldn’t generate funds individually. So he set up the ‘Hilfe fur Slum Schulen’ program in Germany to raise funds, which would sponsor the children’s tiffin, school uniforms and study materials. The royalty from his book ‘Show your Tongue’ was directed to the children’s welfare.” He kept on sending money regularly and silently, without making a fuss about it.
The idea of the title of Grass’ second book on Kolkata (‘Show Your Tongue’) was born while he was experiencing a night-long Kali Puja at Shuvaprasanna’s in-laws place, in the winter of 1986.
-“He asked me why the Goddess had her tongue out and I explained to him it was because she was ashamed of having stepped on her consort. He named his book thus because he wanted Kolkatans to be ashamed of the conditions in the city,” explained the celebrated painter.
Actually Grass’s harsh comment on the city was not for itself, or its poor people, whom he praised on several instances for their toilsome, squalid yet orderly and optimistic lives. It was the abject indifference and apathy of the so-called intellectuals, the so-called creative people and the politicians in general, about the reality and the stern hypocrisy of this class.
It was that irresolvable internal contradiction of the city, that had agonized Grass, and this emotion was blatantly expressed in a much poignant manner which emphasized the antimony, the big paradox named Calcutta!
-“How, where garbage and only garbage grows, am I to speak of Ilsebill because she is beautiful, and speak of beauty”? (Ilsebill is the main female character in Grimm Brothers; fairy tale: ‘Vom Fischer und seiner Frau’ (The Fisherman and His Wife). Günter Grass’s 1977 novel, “Der Butt” (The Flounder), is loosely based on the fairy tale.)
In an interview with Subhoranjan Dasgupta, Grass had explained it further:
-“You know, during my very first visit to India, I saw an atomic research institute standing very close to a very big slum. At that moment, I realised the essential contradiction. On the one hand, you have such compelling problems of sheer existence which have not been solved (indeed, they are multiplying everyday) and on the other, you are spending millions on a kind of research which is not in a position to tackle these curses. This severe imbalance in perception has led to India’s emerging as a nuclear power while its millions still go hungry to bed”.
In the obituary, many commentators and writers stressed Grass’s narrative skills, his Magic Realism etc..
But Hans Christoph Buch, a German novelist and a popular contributor to popular German weekly ‘Die Zeit’, has written:
-“He’s not a great thinker like Sartre. He’s not a brilliant essayist or intellectual like Hans Magnus Enzensberger. He’s a story-teller who writes from the gut.”
The intellectual hypocrisy is mostly abhorred by Grass. In another interview, few years back, Grass wondered whether Britain should not confront its own past more honestly.
– “I sometimes wonder how young people grow up in Britain and know little about the long history of crimes during the colonial period. In England it’s a completely taboo subject!”
To the interviewers of Goethe institute magazine, he said candidly that it was no ill feeling about the city of Kolkata, but the contradiction and indifference of the privileged class that hurt him most :
-“When I went to Kolkata and was confronted by the slums and the misery, but at the same time with the high Bengali culture and vibrant life, I initially was unable to write. Instead I drew and wandered about with my sketchbook. The drawing led me to a diary-like form of writing that then led to a longer Kolkata poem. These three elements – diary notes, the poem and the drawings – made up the book “Show Your Tongue”.
“When it was published they said in Germany that it did not contain enough about the city’s vibrant culture. My attention was mainly on the lower social conditions. It was also received controversially in India. Many Indians said:
“Do we always have to look at this? Aren’t there more beautiful things in India that could be placed in the foreground?” But since I am used to controversial reception of my books, I would have been mistrustful if the book had met with approval everywhere.”
When poet Allen Ginsberg came to Calcutta in the summer of 1962, he spent hours at the iconic Coffee House discussing poetry with author and the poet Sunil Gangopadhyay, and the maverick poet Shakti Chattopadhyay. But Grass had an avid aversion to such intellectual ponderings. Grass’s grouch against India’s elite is that it doesn’t care or do enough for the impoverished majority. That is why he prefers to spend time with the poor, to sketch and to fill up his diary, rather than fraternize with glamourphiles or visit monuments.
In his last visit to Kolkata, Grass wanted to visit a slum. After some reluctance a Goethe-Institut Staffer accompanied him as a guide and translator. Almost curious as a young reporter Grass asked a slum dweller, which a German publication had quoted this way: -“Woher kommen Sie?«, fragt er eine Frau, die sich hinter ihrem bunten Tuch versteckt. »Aus Bihar.« – »Warum ausgerechnet Kolkata?« – »Der freundlichen Menschen wegen.”In english: “Where are you from?” He asks a woman hiding behind her colourful cloth. “From Bihar .” – ” Why exactly Kolkata?” . “Because of the friendly people.” So, despite all the criticism and cynicism , Kolkata, the city itself is not heartless. And Grass knew it by his heart!
-“Why do you think I wrote all this about the hell that is Calcutta? I wrote it because I really care about Calcutta. I really love this city that is as much mine as yours.” Grass confessed.
Honors at the end of life—
As I wrote Gunter Grass had a lot of sculpture, had exhibitions of his work, then he met people, but mostly wrote books for himself. The poet writes for himself, because if he writes for people, the poet is not. Until the year 1989, a few translations were officially published, and the avalanche of editions started in the 90s. Now we know not only the Gdansk trilogy (“Tin drum”, “Cat and mouse”, “Dog years”) but also “Turbot”, “Rat,” “Fortune Tellers,” “Going for Cancer,” and many other prose and poetry books from the Nobel Prize of 1999. In the past 25 years he has been in Gdansk for a dozen or so times, and the most solemn occasions were for the honorary citizenship of the city, honorary doctorate of the University of Gdańsk and a few days celebrations 80th birthday of the writer. He was a horned soul, so there was no shortage of controversy. The biggest excitement in 2006, when he revealed the fact of several months of service in the armored unit Waffen-SS. Many probably are ashamed of what they said or wrote at the time. Last time he came for a short time last fall, he decided a bit earlier on his career as a writer. One could guess that it was one of his last stays in Gdańsk, few thought last. Grass and Kaszuby a separate chapter in Grass’s works is Kaszuby and Kashubian. It can be said that describing the inhabitants of the region was a turning point in their perception, both by Germans and Poles.
Grass has proven, especially in the Tin Tin drum, that the “local” have their own world – with a distinct culture and a clear language of meanings and symbols. He did things previously unimaginable. He made the Kashubians begin to dispose of the complexes through the work of the Nobel Prize winners. Of course, this was not his only merit, but it was impossible to overestimate the fact that the writer was openly talking about his Kashubian roots. He never cut himself off. In this context, it is worth to pay attention to the honor that Grass Kashubia gave. In 1985, so far in the Polish People’s Republic, members of the “Pomorania” Student Club awarded him the Stolem Medal, considered the most important distinction in the Kashubian-Pomeranian region. It is hard not to notice that the artist’s declarations of origin encouraged some to look for his family connections. -With Gertrude Grass on board, I had the pleasure of seeing him many times, Pawel Huelle recalls, polish writer and playwright. I was a guest of honor in Gdansk. I was also a guest at his estate near Lubeck. It was a valuable knowledge. I am impressed by his Gdansk trilogy. Less can “Turbot” and “Rat”. Last time we met in Gdynia at the premiere of adaptation of his novel “Going for Cancer”. He came with his wife, daughter-in-law and grandson. He was very moved.
The great writer each time showed astonishingly deep curiosity about someone else’s way of reading his prose. Wladyslaw Zawistowski, a writer and playwright, mentions: – Twenty years ago, Krzysztof Babicki staged my art “A city,” woven from the threads taken from the Grass trilogy, mainly from the volume “Dog years”. Grass agreed to my script, just asking for the poster to say that the text was based on the story of his novel. Later, I met Grass in Gdansk several times… Rabbi Michael Samet, chairman of the Jewish Community of Gdansk, talks about Günter Grass’s visit to the Gdansk synagogue: -“He accepted our invitation and visited us in autumn 2007. It was then a great step in the path of rapprochement after difficult mutual experiences.” Grass at the end of the war was aware of the great misfortune that also touched the native Gdansk. On the other hand, our meeting in the synagogue was in a good atmosphere, although it is worth pointing out that after publishing his poem ‘What to say’, we could not agree on his unilateral understanding of the situation in Israel. In part of our environment it was even thought that this visit was unnecessary.
The Jewish Jewish Community of Gdansk forbade Nobel Prizewriter Günter Grass to enter their synagogue for the poem “What must be said,” criticizing Israel. Grass for several days is once again under fire from various sides, just as when he admitted he was a volunteer for the German armed forces during World War II.
-“What must be said”: “Why until now have I been silent? Because I thought- my origin, associated with a never irreparable defilement. It forbids me to utter this obvious truth, to the State of Israel, to whom I am and will have a debt of gratitude…”
Finally at last, the crucial appointment… Günter Grass is drinking his final Schnapps with his longtime German Publisher, Gerhard Steidl. It’s just eight days before his death while they were working on his most recent book, which one describe as a fusing poetry with prose. He was fully concentrated on his work until the last moment. Intellectually and socially as active and alert as ever, in his last interview given to the leading Spanish newspaper ‘El Pais’, on that last days, Grass had this apprehension that the humanity was “sleepwalking” into a World War!
– “We have on the one side Ukraine, whose situation is not improving, in Israel and Palestine things are getting worse, the disaster the Americans left in Iraq, the atrocities of Islamic state and the problem of Syria,” Grass said. “There is war everywhere. We run the risk of committing the same mistakes as before. So without realising it we can get into a World War as if we were sleepwalking.”
Werter receives a new book with his texts. So, still life is bigger than the legend, because life is the truth. Life must be worth living, because there is only one.(fin)
(The material presented here is based on authentic facts from the life of a great writer, but it remains literary fiction. We used the web pages on his biography, an author)