Nobel Lecture (1970)
Translated from the Russian by F.D. Reeve
AS THE SAVAGE, WHO IN BEWILDERMENT has picked up a strange sea--leaving, a thing hidden in the sand, or an incomprehensible something fallen out of the sky--something intricately curved, sometimes shimmering dully, sometimes shining in a bright ray of light--turns it this way and that, turns it looking for a way to use it, for some ordinary use to which he can put it, without suspecting an extraordinary one...
So we, holding Art in our hands, self-confidently consider ourselves its owners, brashly give it aim, renovate it, re-form it, make manifestoes of it, sell it for cash, play up to the powerful with it, and turn it around at times for entertainment, even in vaudeville songs and in nightclubs, and at times--using stopper or stick, whichever comes first--for transitory political or limited social needs. But Art is not profaned by our attempts, does not because of them lose touch with its source, Each time and by each use it yields us a part of its mysterious inner light.
But will we comprehend all that light? Who will dare say that he has DEFINED art? That he has tabulated all its facets? Perhaps someone in ages past did understand and named them for us, but we could not hold still; we listened; we were scornful; we discarded them at once, always in a hurry to replace even the best with anything new! And when the old truth is told us again, we do not remember that we once possessed it.
One kind of artist imagines himself the creator of an independent spiritual world and shoulders the act of creating that world and the people in it, assuming total responsibility for it--but he collapses, for no mortal genius is able to hold up under such a load. Just as man, who once declared himself the center of existence, has not been able to create a stable spiritual system. When failure overwhelms him, he blames it on the age-old discord of the world, on the complexity of the fragmented and torn modern soul, or on the public's lack of understanding.
Another artist acknowledges a higher power above him and joyfully works as a common apprentice under God's heaven, although his responsibility for all that he writes down or depicts, and for those who understand him, is all the greater. On the other hand, he did not create the world, it is not given direction by him, it is a world about whose foundations he has no doubt. The task of the artist is to sense more keenly than others the harmony of the world, the beauty and the outrage of what man has done to it, and poignantly to let people know. In failure as well as in the lower depths--in poverty, in prison, in illness--the consciousness of a stable harmony will never leave him.
All the irrationality of art, however, its blinding sudden turns, its unpredictable discoveries, its profound impact on people, are too magical to be exhausted by the artist's view of the world, by his overall design, or by the work of his unworthy hands.
Archaeologists have uncovered no early stages of human existence so primitive that they were without art. Even before the dawn of civilization we had received this gift from Hands we were not quick enough to discern. And we were not quick enough to ask: WHAT is this gift FOR? What are we to do with it?
All who predict that art is disintegrating, that it has outgrown its forms, and that it is dying are wrong and will be wrong. We will die, but art will remain. Will we, before we go under, ever understand all its facets and all its ends?
Not everything has a name. Some things lead us into a realm beyond words. Art warms even an icy and depressed heart, opening it to lofty spiritual experience. By means of art we are sometimes sent -dimly, briefly--revelations unattainable by reason.
Like that little mirror in the fairy tales--look into it, and you will see not yourself but, for a moment, that which passeth understanding, a realm to which no man can ride or fly. And for which the soul begins to ache…
DOSTOEVSKY ONCE ENIGMATICALLY let drop the phrase: "Beauty will save the world." What does this mean? For a long time I thought it merely a phrase. Was such a thing possible? When in our bloodthirsty history did beauty ever save anyone from anything? Ennobled, elevated, yes; but whom has it saved?
There is, however, something special in the essence of beauty, a special quality in art: the conviction carried by a genuine work of art is absolute and subdues even a resistant heart. A political speech, hasty newspaper comment, a social program, a philosophical system can, as far as appearances are concerned, be built smoothly and consistently on an error or a lie; and what is concealed and distorted will not be immediately clear. But then to counteract it comes a contradictory speech, commentary, program, or differently constructed philosophy--and again everything seems smooth and graceful, and again hangs together. That is why they inspire trust--and distrust.
There is no point asserting and reasserting what the heart cannot believe.
A work of art contains its verification in itself: artificial, strained concepts do not withstand the test of being turned into images; they fall to pieces, turn out to be sickly and pale, convince no one. Works which draw on truth and present it to us in live and concentrated form grip us, compellingly involve us, and no one ever, not even ages hence, will come forth to refute them.
Perhaps then the old trinity of Truth, Goodness, and Beauty is not simply the dressed-up, worn-out formula we thought it in our presumptuous, materialistic youth? If the crowns of these three trees meet, as scholars have asserted, and if the too obvious, too straight sprouts of Truth and Goodness have been knocked down, cut off, not let grow, perhaps the whimsical, unpredictable, unexpected branches of Beauty will work their way through, rise up TO THAT VERY PLACE, and thus complete the work of all three?
Then what Dostoevsky wrote--"Beauty will save the world"--is not a slip of the tongue but a prophecy. After all, he had the gift of seeing much, a man wondrously filled with light.
And in that case could not art and literature, in fact, help the modern world?
What little I have managed to learn about this over the years I will try to set forth here today.
TO REACH THIS CHAIR FROM WHICH the Nobel Lecture is delivered--a chair by no means offered to every writer and offered only once in a lifetime--I have mounted not three or four temporary steps but hundreds or even thousands, fixed, steep, covered with ice, out of the dark and the cold where I was fated to survive, but others, perhaps more talented, stronger than I, perished. I myself met but few of them in the Gulag Archipelago,1 a multitude of scattered island fragments. Indeed, under the millstone of surveillance and mistrust, I did not talk to just any man; of some I only heard; and of others I only guessed. Those with a name in literature who vanished into that abyss are, at least, known; but how many were unrecognized, never once publicly mentioned? And so very few, almost no one ever managed to return. A whole national literature is there, buried without a coffin, without even underwear, naked, a number tagged on its toe. Not for a moment did Russian literature cease, yet from outside it seemed a wasteland. Where a harmonious forest could have grown, there were left, after all the cutting, two or three trees accidentally overlooked.
And today how am I, accompanied by the shades of the fallen, my head bowed to let pass forward to this platform others worthy long before me, today how am I to guess and to express what they would have wished to say?
This obligation has long lain on us, and we have understood it. In Vladimir Solovyov's words:
But even chained, we must ourselves complete
That circle which the gods have preordained.
In agonizing moments in camp, in columns of prisoners at night, in the freezing darkness through which the little chains of lanterns shone, there often rose in our throats something we wanted to shout out to the whole world, if only the world could have heard one of us. Then it seemed very clear what our lucky messenger would say and how immediately and positively the whole world would respond. Our field of vision was filled with physical objects and spiritual forces, and in that clearly focused world nothing seemed to outbalance them. Such ideas came not from books and were not borrowed for the sake of harmony or coherence; they were formulated in prison cells and around forest campfires, in conversations with persons now dead, were hardened by that life, developed out of there.
When the outside pressures were reduced, my outlook and our outlook widened, and gradually, although through a tiny crack, that "whole world" outside came in sight and was recognized. Startlingly for us, the "whole world" turned out to be not at all what we had hoped: it was a world leading "not up there" but exclaiming at the sight of a dismal swamp, "What an enchanting meadow!" or at a set of prisoner's concrete stocks, "What an exquisite necklace!"--a world in which, while flowing tears rolled down the cheeks of some, others danced to the carefree tunes of a musical.
How did this come about? Why did such an abyss open? Were we unfeeling, or was the world? Or was it because of a difference in language? Why are people not capable of grasping each other's every clear and distinct speech? Words die away and flow off like water--leaving no taste, no color, no smell. Not a trace.
Insofar as I understand it, the structure, import, and tone of speech possible for me--of my speech here today--have changed with the years.
It now scarcely resembles the speech which I first conceived on those freezing nights in prison camp.
FOR AGES, SUCH HAS BEEN MAN'S nature that his view of the world (when not induced by hypnosis), his motivation and scale of values, his actions and his intentions have been determined by his own personal and group experiences of life. As the Russian proverb puts it, "Don't trust your brother, trust your own bad eye." This is the soundest basis for understanding one's environment and one's behavior in it. During the long eras when our world was obscurely and bewilderingly fragmented, before a unified communications system had transformed it and it had turned into a single, convulsively beating lump, men were unerringly guided by practical experience in their own local area, then in their own community, in their own society, and finally in their own national territory. The possibility then existed for an individual to see with his own eyes and to accept a common scale of values--what was considered average, what improbable; what was cruel, what beyond all bounds of evil; what was honesty, what deceit. Even though widely scattered peoples lived differently and their scales of social values might be strikingly dissimilar, like their systems of weights and measures, these differences surprised none but the occasional tourist, were written up as heathen wonders, and in no way threatened the rest of not yet united mankind.
In recent decades, however, mankind has imperceptibly, suddenly, become one, united in a way which offers both hope and danger, for shock and infection in one part are almost instantaneously transmitted to others, which often have no immunity. Mankind has become one, but not in the way the community or even the nation used to be stably united, not through accumulated practical experience, not through its own, good-naturedly so-called bad eye, not even through its own well-understood, native tongue, but, leaping over all barriers, through the international press and radio. A wave of events washes over us and, in a moment, half the world hears the splash, but the standards for measuring these things and for evaluating them, according to the laws of those parts of the world about which we know nothing, are not and cannot be broadcast through the ether or reduced to newsprint. These standards have too long and too specifically been accepted by and incorporated in too special a way into the lives of various lands and societies to be communicated in thin air. In various parts of the world, men apply to events a scale of values achieved by their own long suffering, and they uncompromisingly, self-reliantly judge only by their own scale, and by no one else's.
If there are not a multitude of such scales in the world, nevertheless there are at least several: a scale for local events, a scale for things far away; for old societies, and for new; for the prosperous, and for the disadvantaged. The points and markings on the scale glaringly do not coincide; they confuse us, hurt our eyes, and so, to avoid pain, we brush aside all scales not our own, as if they were follies or delusions, and confidently judge the whole world according to our own domestic values. Therefore, what seems to us more important, more painful, and more unendurable is really not what is more important, more painful, and more unendurable but merely that which is closer to home. Everything distant which, for all its moans and muffled cries, its ruined lives and, even, millions of victims, does not threaten to come rolling up to our threshold today we consider, in general, endurable and of tolerable dimensions.
On one side, persecuted no less than under the old Romans, hundreds of thousands of mute Christians give up their lives for their belief in God. On the other side of the world, a madman (and probably he is not the only one) roars across the ocean in order to FREE US from religion with a blow of steel at the Pontiff! Using his own personal scale, he has decided things for everyone.
What on one scale seems, from far off, to be enviable and prosperous freedom, on another, close up, is felt to be irritating coercion calling for the overturning of buses. What in one country seems a dream of improbable prosperity in another arouses indignation as savage exploitation calling for an immediate strike. Scales of values differ even for natural calamities: a flood with two hundred thousand victims matters less than a local traffic accident. Scales differ for personal insults: at times, merely a sardonic smile or a dismissive gesture is humiliating, whereas, at others, cruel beatings are regarded as a bad joke. Scales differ for punishments and for wrongdoing. On one scale, a month's arrest, or exile to the country, or "solitary confinement" on white bread and milk rocks the imagination and fills the newspaper columns with outrage. On another, both accepted and excused are prison terms of twenty-five years, solitary confinement in cells with ice-covered walls and prisoners stripped to their underclothing, insane asylums for healthy men, and border shootings of countless foolish people who, for some reason, keep trying to escape. The heart is especially at ease with regard to that exotic land about which nothing is known, from which no events ever reach us except the belated and trivial conjectures of a few correspondents.
For such ambivalence, for such thickheaded lack of understanding of someone else's far-off grief, however, mankind is not at fault: that is how man is made. But for mankind as a whole, squeezed into one lump, such mutual lack of understanding carries the threat of imminent and violent destruction. Given six, four, or even two scales of values, there cannot be one world, one single humanity: the difference in rhythms, in oscillations, will tear mankind asunder. We will not survive together on one Earth, just as a man with two hearts is not meant for this world.
WHO WILL COORDINATE THESE SCALES of values, and how? Who will give mankind one single system for reading its instruments, both for wrongdoing and for doing good, for the intolerable and the tolerable as they are distinguished from each other today? Who will make clear for mankind what is really oppressive and unbearable and what, for being so near, rubs us raw--and thus direct our anger against what is in fact terrible and not merely near at hand? Who is capable of extending such an understanding across the boundaries of his own personal experience? Who has the skill to make a narrow, obstinate human being aware of others' far-off grief and joy, to make him understand dimensions and delusions he himself has never lived through? Propaganda, coercion, and scientific proofs are all powerless. But, happily, in our world there is a way. It is art, and it is literature.
There is a miracle which they can work: they can overcome man's unfortunate trait of learning only through his own experience, unaffected by that of others. From man to man, compensating for his brief time on earth, art communicates whole the burden of another's long life experience with all its hardships, colors, and vitality, re-creating in the flesh what another has experienced, and allowing it to be acquired as one's own.
More important, much more important: countries and whole continents belatedly repeat each other's mistakes, sometimes after centuries when, it would , seem, everything should be so clear! No: what some nations have gone through, thought through, and rejected, suddenly seems to be the latest word in other nations. Here too the only substitute for what we ourselves have not experienced is art and literature. They have the marvelous capacity of transmitting from one nation to another despite differences in language, customs, and social structure--practical experience, the harsh national experience of many decades never tasted by the other nation. Sometimes this may save a whole nation from what is a dangerous or mistaken or plainly disastrous path, thus lessening the twists and turns of human history.
Today, from this Nobel lecture platform, I should like to emphasize this great, beneficent attribute of art.
Literature transmits condensed and irrefutable human experience in still another priceless way: from generation to generation. It thus becomes the living memory of a nation. What has faded into history it thus keeps warm and preserves in a form that defies distortion and falsehood. Thus literature, together with language, preserves and protects a nation's soul.
(It has become fashionable in recent times to talk of the leveling of nations, and of various peoples disappearing into the melting pot of contemporary civilization. I disagree with this, but that is another matter; all that should be said here is that the disappearance of whole nations would impoverish us no less than if all people were to become identical, with the same character and the same face. Nations are the wealth of humanity, its generalized personalities. The least among them has its own special colors, and harbors within itself a special aspect of God's design.)
But woe to the nation whose literature is cut off by the interposition of force. That is not simply a violation of "freedom of the press"; it is stopping up the nation's heart, carving out the nation's memory. The nation loses its memory; it loses its spiritual unity--and, despite their supposedly common language, fellow countrymen suddenly cease understanding each other. Speechless generations are born and die, having recounted nothing of themselves either to their own times or to their descendants. That such masters as Akhmatova and Zamyatin were buried behind four walls for their whole lives and condemned even to the grave to create in silence, without hearing one reverberation of what they wrote, is not only their own personal misfortune but a tragedy for the whole nation--and, too, a real threat to all nationalities.
In certain cases, it is a danger for all mankind as well: when HISTORY as a whole ceases to be understood because of that silence.
AT VARIOUS TIMES IN VARIOUS PLACES people have argued hotly, angrily, and elegantly about whether art and the artist should have a life of their own or whether they should always keep in mind their duty to society and serve it, even though in an unbiased way. For me there is no problem here, but I will not again go into this argument. One of the most brilliant speeches on this subject was Albert Camus's Nobel lecture, the conclusions of which I happily support. Indeed, for decades Russian literature has leaned in that direction--not spending too much time in self-admiration, not flitting about too frivolously--and I am not ashamed to continue in that tradition as best I can. From way back, ingrained in Russian literature has been the notion that a writer can do much among his own people--and that he must.
We will not trample on the artist's RIGHT to express exclusively personal experiences and observations, ignoring everything that happens in the rest of the world. We will not DEMAND anything of the artist, but we will be permitted to reproach him, to make requests, to appeal to him and to coax him. After all, he himself only partially develops his talent, the greater portion of which is breathed into him, ready-made, at birth and. along with it, responsibility for his free will. Even granting that the artist DOES NOT OWE anybody anything, it is painful to see how, retreating into a world of his own creation or into the vast spaces of subjective fancies, he CAN deliver the real world into the hands of self-seeking, insignificant, or even insane people.
Our twentieth century has turned out to be more cruel than those preceding it, and all that is terrible in it did not come to an end with the first half. The same old caveman feelings--greed, envy, violence, and mutual hate, which along the way assumed respectable pseudonyms like class struggle, racial struggle, mass struggle, labor-union struggle--are tearing our world to pieces. The caveman refusal to accept compromise has been turned into a theoretical principle and is considered to be a virtue of orthodoxy. It demands millions of victims in endless civil wars; it packs our hearts with the notion that there are no fixed universal human concepts called good and justice, that they are fluid, changing, and that therefore one must always do what will benefit one's part.
. Any and every professional group, as soon as it finds a convenient moment TO RIP OFF A PIECE, unearned or not, extra or not, immediately rips it off, let all of society come crashing down if it will. As seen from outside, the mass of waste in Western society is approaching the limit beyond which the system will become metastable and must collapse. Violence, less and less restricted by the framework of age-old legality, brazenly and victoriously strides throughout the world, unconcerned that its futility has been demonstrated and exposed by history many times. It is not simply naked force that triumphs but its trumpeted justification: the whole world overflows with the brazen conviction that force can do everything and justice nothing. Dostoevsky's DEMONS,2 a provincial nightmare of the last century, one would have thought, are, before our very eyes, crawling over the whole world into countries where they were unimaginable, and by the hijacking of planes, by seizing HOSTAGES, by the bomb explosions, and by the fires of recent years signal their determination to shake civilization apart and to annihilate it! And they may very well succeed. Young people, being at an age when they have no experience except sexual, when they have as yet no years of personal suffering and personal wisdom behind them, enthusiastically repeat our discredited Russian lessons of the nineteenth century and think that they are discovering something new. They take as a splendid example the Chinese Red Guard's degradation of people into nonentities. A superficial lack of understanding of the timeless essence of humanity, a naive smugness on the part of their inexperienced hearts--We'll kick out thosefierce, greedy oppressors, those governors, and the rest (we!), we'll then lay down our grenades and machine guns, and become just and compassionate. Oh, of course! Of those who have lived their lives and have come to understand, who could refute the young, many DO NOT DARE argue against them; on the contrary, they flatter them in order not to seem "conservative," again a Russian phenomenon of the nineteenth century, something which Dostoevsky called SLAVERY TO HALF-COCKED PROGRESSIVE IDEAS.
The spirit of Munich has by no means retreated into the past; it was not a brief episode. I even venture to say that the spirit of Munich is dominant in the twentieth century. The intimidated civilized world has found nothing to oppose the onslaught of a suddenly resurgent fang-baring barbarism, except concessions and smiles. The spirit of Munich is a disease of the will of prosperous people; it is the daily state of those who have given themselves over to a craving for prosperity in every way, to material well-being as the chief goal of life on earth. Such people--and there are many of them in the world today--choose passivity and retreat, anything if only the life to which they are accustomed might go on, anything so as not to have to cross over to rough terrain today, because tomorrow, see, everything will be all right. (But it never will! The reckoning for cowardice will only be more cruel. Courage and the power to overcome will be ours only when we dare to make sacrifices.)
We are also threatened by the catastrophe that the physically squeezed, constrained world is not allowed to become one spiritually; molecules of knowledge and compassion are not allowed to move across from one half of the world to the other. This is a grave danger: THE STOPPAGE OF INFORMATION between the parts of the planet. Contemporary science knows that such stoppage is the way of entropy, of universal destruction. Stoppage of information makes international signatures and treaties unreal: within the zone Of STUNNED SILENCE any treaty can easily be reinterpreted at will or, more simply, covered up, as if it had never existed (Orwell understood this beautifully). Within the zone of stunned silence lives--seemingly not Earth's inhabitants at all--a Martian expeditionary force, knowing nothing whatever about the rest of the Earth and ready to trample it flat in the holy conviction that they are "liberating" it.
A quarter of a century ago, with the great hopes of mankind, the United Nations was born. Alas, in the immoral world it, too, became immoral. It is not a United Nations but a United Governments, in which those freely elected and those imposed by force and those which seized power by arms are all on a par. Through the mercenary bias of the majority, the UN jealously worries about the freedom of some peoples and pays no attention to the freedom of others. By an officious vote it rejected the review Of PRIVATE COMPLAINTS---the groans, shouts, and pleadings of individual, common PLAIN PEOPLE--insects too small for such a great organization. The UN never tried to make BINDING on governments, a CONDITION of their membership, the Declaration of Human Rights, the outstanding document of its twenty-five years--and thus the UN betrayed the common people to the will of governments they had not chosen.
One might think that the shape of the modern world is entirely in the hands of scientists, that they determine mankind's technological steps. One might think that what will happen to the world depends not on politicians but specifically on the international cooperation of scientists. Especially because the example of individuals shows how much could be accomplished by moving together. But no; scientists have made no clear effort to become an important, independently active force of mankind. Whole congresses at a time, they back away from the suffering of others; it is more comfortable to stay within the bounds of science. That same spirit of Munich has spread its debilitating wings over them.
In this cruel, dynamic, explosive world on the edge of its ten destructions, what is the place and role of the writer? We send off no rockets, do not even push the lowliest handcart, are scorned by those who respect only material power. Would it not be natural for us, too, to retreat, to lose our faith in the steadfastness of good, in the indivisibility of truth, and merely to let the world have our bitter observations, as of a bystander, about how hopelessly corrupted mankind is, how petty men have become, and how difficult it is for lonely, sensitive, beautiful souls today?
We do not have even this way out. Once pledged to the WORD, there is no getting away from it: a writer is no sideline judge of his fellow countrymen and contemporaries; he is equally guilty of all the evil done in his country or by his people. If his country's tanks spill blood on the streets of some alien capital, the brown stains are splashed forever on the writer's face. If, some fatal night, his trusting friend is choked to death while sleeping, the bruises from the rope are on the writer's hands. If his young fellow citizens in their easygoing way declare the superiority of debauchery over frugal labor, abandon themselves to drugs or seize HOSTAGES, the stink of it mixes with the writer's breathing.
Will we have the impudence to announce that we are not responsible for the sores of the world today?
I AM, HOWEVER, ENCOURAGED BY A keen sense OF WORLD LITERATURE as the one great heart that beats for the cares and misfortunes of our world, even though each corner sees and experiences them in a different way.
In past times, also, besides age-old national literatures there existed a concept of world literature as the link between the summits of national literatures and as the aggregate of reciprocal literary influences. But there was a time lag: readers and writers came to know foreign writers only belatedly, sometimes centuries later, so that mutual influences were delayed and the network of national literary high points was visible not to contemporaries but to later generations.
Today, between writers of one country and the readers and writers of another, there is an almost instantaneous reciprocity, as I myself know. My books, unpublished, alas, in my own country, despite hasty and often bad translations have quickly found a responsive world readership. Critical analysis of them has been undertaken by such leading Western writers as Heinrich Boll. During all these recent years, when both my work and my freedom did not collapse, when against the laws of gravity they held on seemingly in thin air, seemingly ON NOTHING, on the invisible, mute surface tension of sympathetic people, with warm gratitude I learned, to my complete surprise, of the support of the world's writing fraternity. On my fiftieth birthday I was astounded to receive greetings from well-known European writers. No pressure put on me now passed unnoticed. During the dangerous weeks when I was being expelled from the Writers' Union, THE PROTECTIVE WALL put forward by prominent writers of the world saved me from worse persecution, and Norwegian writers and artists hospitably prepared shelter for me in the event that I was exiled from my country, Finally, my being nominated for a Nobel Prize was originated not in the land where I live and write but by Francois Mauriac and his colleagues. Afterward, national writers' organizations expressed unanimous support for me.
As I have understood it and experienced it myself, world literature is no longer an abstraction or a generalized concept invented by literary critics, but a common body and common spirit, a living, heartfelt unity reflecting the growing spiritual unity of mankind. State borders still turn crimson, heated red-hot by electric fences and machine-gun fire; some ministries of internal affairs still suppose that literature is "an internal affair" of the countries under their jurisdiction; and newspaper headlines still herald, "They have no right to interfere in our internal affairs!" Meanwhile, no such thing as INTERNAL AFFAIRS remains on our crowded Earth. Mankind's salvation lies exclusively in everyone's making everything his business, in the people of the East being anything but indifferent to what is thought in the West, and in the people of the West being anything but indifferent to what happens in the East. Literature, one of the most sensitive and responsive tools of human , existence, has been the first to pick up, adopt, and assimilate this sense of the growing unity of mankind. , I therefore confidently turn to the world literature of the present, to hundreds of friends whom I have not met face to face and perhaps never will see.
My friends! Let us try to be helpful, if we are worth anything. In our own countries, torn by differences among parties, movements, castes, and groups, who for ages past has been not the dividing but the uniting force? This, essentially, is the position of writers, spokesmen of a national language, of the chief tie binding the nation, the very soil which the people inhabit, and, in fortunate circumstances, the nation's spirit too.
I think that world literature has the power in these frightening times to help mankind see itself accurately despite what is advocated by partisans and by parties. It has the power to transmit the condensed experience of one region to another, so that different scales of values are combined, and so that one people accurately and concisely knows the true history of another with a power of recognition and acute awareness as if it had lived through that history itself--and could thus be spared repeating old mistakes. At the same time, perhaps we ourselves may succeed in developing our own WORLD-WIDE VIEW, like any man, with the center of the eye seeing what is nearby but the periphery of vision taking in what is happening in the rest of the world. We will make correlations and maintain world-wide standards.
Who, if not writers, are to condemn their own unsuccessful governments (in some states this is the easiest way to make a living; everyone who is not too lazy does it) as well as society itself, whether for its cowardly humiliation or for its self-satisfied weakness, or the lightheaded escapades of the young, or the youthful pirates brandishing knives?
We will be told: What can literature do against the pitiless onslaught of naked violence? Let us not forget that violence does not and cannot flourish by itself; it is inevitably intertwined with LYING. Between them there is the closest, the most profound and natural bond: nothing screens violence except lies, and the only way lies can hold out is by violence. Whoever has once announced violence as his METHOD must inexorably choose lying as his PRINCIPLE. At birth, violence behaves openly and even proudly. But as soon as it becomes stronger and firmly established, it senses the thinning of the air around it and cannot go on without befogging itself in lies, coating itself with lying's sugary oratory. It does not always or necessarily go straight for the gullet; usually it demands of its victims only allegiance to the lie, only complicity in the lie.
The simple act of an ordinary courageous man is not to take part, not to support lies! Let that come into the world and even reign over it, but not through me. Writers and artists can do more: they can VANQUISH LIES! In the struggle against lies, art has always won and always will. Conspicuously, incontestably for everyone. Lies can stand up against much in the world, but not against art.
Once lies have been dispelled, the repulsive nakedness of violence will be exposed--and hollow violence will collapse.
That, my friends, is why I think we can help the world in its red-hot hour: not by the nay-saying of having no armaments, not by abandoning oneself to the carefree life, but by going into battle!
In Russian, proverbs about TRUTH are favorites. They persistently express the considerable, bitter, grim experience of the people, often astonishingly:
ONE WORD OF TRUTH OUTWEIGHS THE WORLD.
On such a seemingly fantastic violation of the law of the conservation of mass and energy are based both my own activities and my appeal to the writers of the whole world.
1. Gulag is the state prison-camp administration.
2. A reference to the novel known as The Possessed and The Devils, but which in Russian is literally The Demons.
ALEXANDER SOLZHENITSYN was awarded the Nobel Prize for Literature in 1970. His most recent book is August 1914, the first part of a series of novels on which he is working, and of which October 1916 is to be the next part. His other books include One Day in the Life of Ivan Denisovich, The First Circle, Cancer Ward, and Stories and Prose Poems.
F. D. REEVE is a poet, novelist, and critic whose most recent book is The Blue Cat and Other Poems. His intimate knowledge of Russian was employed by the poet Robert Frost, who invited Mr. Reeve to accompany him as interpreter on his famous visit to the Kremlin.
Text published by Farrar, Straus and Giroux, New York, 1972
Digitized and Formatted in HTML by The Augustine Club at Columbia University, 1999
Last update: September 24, 1999