Czech Writers Quotes

Very often the test of one's allegiance to a cause or to a people is precisely the willingness to stay the course when things are boring, to run the risk of repeating an old argument just one more time, or of going one more round with a hostile or (much worse) indifferent audience. I first became involved with the Czech opposition in 1968 when it was an intoxicating and celebrated cause. Then, during the depressing 1970s and 1980s I was a member of a routine committee that tried with limited success to help the reduced forces of Czech dissent to stay nourished (and published). The most pregnant moment of that commitment was one that I managed to miss at the time: I passed an afternoon with Zdenek Mlynar, exiled former secretary of the Czech Communist Party, who in the bleak early 1950s in Moscow had formed a friendship with a young Russian militant with an evident sense of irony named Mikhail Sergeyevitch Gorbachev. In 1988 I was arrested in Prague for attending a meeting of one of Vaclav Havel's 'Charter 77' committees. That outwardly exciting experience was interesting precisely because of its almost Zen-like tedium. I had gone to Prague determined to be the first visiting writer not to make use of the name Franz Kafka, but the numbing bureaucracy got the better of me. When I asked why I was being detained, I was told that I had no need to know the reason! Totalitarianism is itself a cliché (as well as a tundra of pulverizing boredom) and it forced the cliché upon me in turn. I did have to mention Kafka in my eventual story. The regime fell not very much later, as I had slightly foreseen in that same piece that it would. (I had happened to notice that the young Czechs arrested with us were not at all frightened by the police, as their older mentors had been and still were, and also that the police themselves were almost fatigued by their job. This was totalitarianism practically yawning itself to death.) A couple of years after that I was overcome to be invited to an official reception in Prague, to thank those who had been consistent friends through the stultifying years of what 'The Party' had so perfectly termed 'normalization.' As with my tiny moment with Nelson Mandela, a whole historic stretch of nothingness and depression, combined with the long and deep insult of having to be pushed around by boring and mediocre people, could be at least partially canceled and annealed by one flash of humor and charm and generosity.

Hope is not the conviction that something will turn out well,” Václav Havel, the Czech dissident, writer, and statesman, said, “but the certainty that it is worth doing no matter how it turns out.

English: "If I believed slanders told by my Czech language school marks, I could not even think of writing books." Česky: „Kdybych uvěřil pomluvám, co o mě prohlašují známky z češtiny, nemohl bych ani pomyslet na psaní knih.

Milan Kundera, the Czech-born writer, has a pithy quote about this in his novel The Unbearable Lightness of Being: “Human life occurs only once, and the reason we cannot determine which of our decisions are good and which bad is that in a given situation we can make only one decision; we are not granted a second, third or fourth life in which to compare various decisions.

When Karel Gott, the Czech pop singer, went abroad in 1972, Husak got scared. He sat right down and wrote him a personal letter (it was August 1972 and Gott was in Frankfurt). The following is a verbatim quote from it. I have invented nothing. Dear Karel, We are not angry with you. Please come back. We will do everything you ask. We will help you if you help us … Think it over. Without batting an eyelid Husak let doctors, scholars, astronomers, athletes, directors, cameramen, workers, engineers, architects, historians, journalists, writers, and painters go into emigration, but he could not stand the thought of Karel Gott leaving the country. Because Karel Gott represents music minus memory, the music in which the bones of Beethoven and Ellington, the dust of Palestrina and Schonberg, lie buried. The president of forgetting and the idiot of music deserve one another. They are working for the same cause. “We will help you if you help us.” You can’t have one without the other.

This does not in any way close the argument for the development of African languages by the intervention of writers and governments. But we do not have to falsify our history in the process. That would be playing politics. The words of the Czech novelist Kundera should ring in our ears: Those who seek power passionately do so not to change the present or the future but the past—to rewrite history. There is no cause for writers to join their ranks.

3 Feb. 2020, from A Deeper Sickness by Erik Peterson and Margaret Peacock: “…ophthalmologist Li Wenliang died of the [covid-19] virus after trying to warn people that something terrible was happening. The Chinese government censored him in late 2019. Then, after he signed an official apology for ‘rumormongering,’ he contracted the virus….The outpouring of emotion from the Chinese people is overwhelming. One Weibo post says, ‘The only thing is not to forget.’ That’s right, of course. ‘The struggle of man against power is the struggle of memory against forgetting,’ penned Czech writer Milan Kundera fifty years ago. The tragedy of Dr. Li reminds us that under the weight of a powerful and callous government, one can be made to apologize for one’s own death. But one cannot be forced to forget. When the Chinese people agree not to forget Dr. Li, they refuse to relinquish to the regime the power that real history confers. They fight quietly to remember things as they were, as opposed to remembering a past that the powerful construct for them.

I have a habit, before leaving my flat in Prague, of checking three times to make sure I’ve shut off the gas stove, that I’ve turned off the lights in the bathroom and the water closet, and that I’ve locked the door, and then I go back once more to check on everything a fourth time, and so now, though I knew that nothing but my swan could possibly be lying there under the snow, I still brushed the snow away with trembling hands and saw the curve of her wing, and I went on brushing the snow away and yes, there was her neck, then I elbowed my way back like a sloth, and now nothing ached anymore but my heart, and so I crawled back from the riverbank to the swan again, and then again, trying to brush away more and more snow from that beautiful snowbound creature who, perhaps for my sake alone, had arranged herself in my sight so that I cried out into the dark morning and realized, bitterly, that the king of Czech comedians could go to claim his advance for this story, not to the Writers’ Publishing House, but to the very center, not of death, but of hell itself, where I will suffer pangs of guilt and remorse and shame that will pursue me into eternity, into the very heart of incalculable consequences.

The late Czech writer Milan Kundera wrote that we live our lives as a first draft that is also the finak text, a dress reherssl that is itself our final performance. We stitch little pieces of knowledge together to create understanding, but these flashes come too late to prevent the mistakes we've already made along the way. By the time we've learned enough about something to handle it properly, we've probably already fucked it up beyond repair.