(1965) The Painted Bird Read Free Page A

the novel remains banned, still accuse me of treachery, tragically unaware that by consciously deceiving them, the government continues to feed their prejudices, rendering them victims of the same forces from which my protagonist, the boy, so narrowly escaped.
    About a year after the publication of The Painted Bird, P.E.N., an international literary association, contacted me regarding a young poet from my homeland. She had come to America for complicated heart surgery, which, unfortunately, had not accomplished all the doctors had hoped it would. She did not speak English and P.E.N. told me she needed assistance in the first months after the operation. She was still in her early twenties, but had already published several volumes of poetry and was regarded as one of her country’s most promising young writers. I had known and admired her work for some years, and was pleased at the prospect of meeting her.
    During the weeks while she recuperated in New York we wandered through the city. I often photographed her, using Manhattan’s park and skyscrapers as a backdrop. We became close friends and she applied for an extension to her visa, but the consulate refused to renew it. Unwilling to abandon her language and her family permanently, she had no choice but to return home. Later, I received a letter from her, through a third person, in which she warned me that the national writers’ union had learned of our intimacy and was now demanding that she write a short story based on her New York encounter with the author of The Painted Bird. The story would portray me as a man devoid of morals, a pervert who had sworn to denigrate all that her motherland stood for. At first she had refused to write it; she told them that, because she knew no English, she had never read The Painted Bird, nor had she ever discussed politics with me. But her colleagues continued to remind her that the writers’ union had made possible her surgery and was paying for all her post-operative medical attention. They insisted that, as she was a prominent poet, and as she had considerable influence among the young, she was duty-bound to fulfill her patriotic obligation and attack, in print, the man who had betrayed her country.
    Friends sent me the weekly literary magazine in which she had written the required defamatory story. I tried to reach her through our mutual friends to tell her that I understood she had been maneuvered into a position from which there was no escape, but she never responded. Some months later I heard that she had had a fatal heart attack.
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    Whether the reviews praised or damned the novel, Western criticism of The Painted Bird always contained an undertone of uneasiness. Most American and British critics objected to my descriptions of the boy’s experiences on the grounds that they dwelt too deeply on cruelty. Many tended to dismiss the author as well as the novel, claiming that I had exploited the horrors of war to satisfy my own peculiar imagination. On the occasion of the twenty-fifth anniversary observances of the National Book Awards, a respected contemporary American novelist wrote that books like The Painted Bird, with their unrelieved brutality, did not bode well for the future of the English-language novel. Other critics argued that the book was merely a work of personal reminiscence; they insisted that, given the raw materials of war-torn Eastern Europe, anyone could concoct a plot overflowing with brutal drama.
    In point of fact, almost none of those who chose to view the book as a historical novel bothered to refer to actual source materials. Personal accounts of survivors and official War documents were either unknown by or irrelevant to my critics. None seemed to have taken the time to read the easily available testimony, such as that of a nineteen-year-old survivor describing the punishment meted out to an Eastern European village that had sheltered an enemy of the Reich: “I witnessed how the Germans arrived together