Svetlana Alexievich gave her Nobel lecture yesterday in Stockholm. Excerpts from “On the Battle Lost”:
Flaubert called himself a human pen; I would say that I am a human ear. When I walk down the street and catch words, phrases, and exclamations, I always think – how many novels disappear without a trace! Disappear into darkness. We haven’t been able to capture the conversational side of human life for literature. We don’t appreciate it, we aren’t surprised or delighted by it. But it fascinates me, and has made me its captive. I love how humans talk … I love the lone human voice. It is my greatest love and passion.
“I am a human ear.” (Photo: Elke Wetzig)
The road to this podium has been long – almost forty years, going from person to person, from voice to voice. I can’t say that I have always been up to following this path. Many times I have been shocked and frightened by human beings. I have experienced delight and revulsion. I have sometimes wanted to forget what I heard, to return to a time when I lived in ignorance. More than once, however, I have seen the sublime in people, and wanted to cry.
I lived in a country where dying was taught to us from childhood. We were taught death. We were told that human beings exist in order to give everything they have, to burn out, to sacrifice themselves. We were taught to love people with weapons. Had I grown up in a different country, I couldn’t have traveled this path. Evil is cruel, you have to be inoculated against it. We grew up among executioners and victims. Even if our parents lived in fear and didn’t tell us everything – and more often than not they told us nothing – the very air of our life was poisoned. Evil kept a watchful eye on us.
I have written five books, but I feel that they are all one book. A book about the history of a utopia …
In shock.
Varlam Shalamov once wrote: “I was a participant in the colossal battle, a battle that was lost, for the genuine renewal of humanity.” I reconstruct the history of that battle, its victories and its defeats. The history of how people wanted to build the Heavenly Kingdom on earth. Paradise! The City of the Sun! In the end, all that remained was a sea of blood, millions of ruined human lives. There was a time, however, when no political idea of the 20th century was comparable to communism (or the October Revolution as its symbol), a time when nothing attracted Western intellectuals and people all around the world more powerfully or emotionally. Raymond Aron called the Russian Revolution the “opium of intellectuals.” But the idea of communism is at least two thousand years old. We can find it in Plato‘s teachings about an ideal, correct state; in Aristophanes’ dreams about a time when “everything will belong to everyone.” … In Thomas More and Tommaso Campanella … Later in Saint-Simon, Fourier and Robert Owen. There is something in the Russian spirit that compels it to try to turn these dreams into reality.
***
Right after the war, Theodor Adorno wrote, in shock: “Writing poetry after Auschwitz is barbaric.” My teacher, Ales Adamovich, whose name I mention today with gratitude, felt that writing prose about the nightmares of the 20th century was sacrilege. Nothing may be invented. You must give the truth as it is. A “super-literature” is required. The witness must speak. Nietzsche‘s words come to mind – no artist can live up to reality. He can’t lift it.
It always troubled me that the truth doesn’t fit into one heart, into one mind, that truth is somehow splintered. There’s a lot of it, it is varied, and it is strewn about the world. Dostoevsky thought that humanity knows much, much more about itself than it has recorded in literature. So what is it that I do? I collect the everyday life of feelings, thoughts, and words. I collect the life of my time. I’m interested in the history of the soul. The everyday life of the soul, the things that the big picture of history usually omits, or disdains. I work with missing history. I am often told, even now, that what I write isn’t literature, it’s a document. What is literature today? Who can answer that question? We live faster than ever before. Content ruptures form. Breaks and changes it. Everything overflows its banks: music, painting – even words in documents escape the boundaries of the document. There are no borders between fact and fabrication, one flows into the other. Witnessеs are not impartial. In telling a story, humans create, they wrestle time like a sculptor does marble. They are actors and creators.
I’m interested in little people. The little, great people, is how I would put it, because suffering expands people. In my books these people tell their own, little histories, and big history is told along the way. We haven’t had time to comprehend what already has and is still happening to us, we just need to say it. To begin with, we must at least articulate what happened. We are afraid of doing that, we’re not up to coping with our past. In Dostoevsky‘s Demons, Shatov says to Stavrogin at the beginning of their conversation: “We are two creatures who have met in boundless infinity … for the last time in the world. So drop that tone and speak like a human being. At least once, speak with a human voice.”
That is more or less how my conversations with my protagonists begin. People speak from their own time, of course, they can’t speak out of a void. But it is difficult to reach the human soul, the path is littered with television and newspapers, and the superstitions of the century, its biases, its deceptions.
Read the whole thing here.