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It ended on a very unpleasant political note however at one annual meeting of the Photographers’ Union I was officially accused of being a cosmopolitan who sees the flesh, but not its social implications. I even produced some nudes of rather attractive nonsocialist female forms. My photographs pointed out an independent, naked human being who, even in the total State, was still willing to be photographed naked. They showed the solitude of a man alone in an empty field or on a crowded street, and the State buildings and Party memorials, ridiculously monumental, inhuman in their grandeur. Thus, my photographs often portrayed old age, which knows no politics. Within the limits of photography, I could contrast collective behavior with individual destiny. Given the dimensions of the political trap, could you express in photographs anything you felt? Which language would I choose? I was split, like a child who belongs to two different families studying in Polish at the university, but at home-my parents, even though Polish, were both Russian-born and -educated-all that mattered was Russian tradition and Russian literature. Of course, there were some other reasons for my apprehension about becoming a writer. That’s why I slowly moved toward visual expression: while officially studying social psychology, I became a professional photographer. I considered this a trap: I would not speak for it nor could I publicly speak against it. To be a writer was to become a spokesman for a particular philosophical dogma. Make no mistake about it: all my generation was perfectly aware of the political price paid for our existence in the total State. I never saw myself as a man willingly expressing opinions in a totalitarian State. I would never have written in Polish or in Russian. If you had continued to live in Eastern Europe and written in Polish or, as you were bilingual, in Russian, do you think your novels would have been published? And if so, would they have been popular? Kosinski was traveling abroad and could not be reached when the transcribed text, prepared by interviewers Rocco Landesman and George Plimpton, was ready for his review. Photograph by Rob MieremetĮditor’s Note: The following conversation with Jerzy Kosinski, which does not contain the customary interviewer’s headnote, is a much expanded version of the one that appeared in The Paris Review in 1972.
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Interviewed by George Plimpton & Rocco Landesman Issue 54, Summer 1972
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