I can attest that when I reach that knowledge of the Other from within him—and this does not always occur, not with every character; I wish I could reach it with every character, but regrettably that does not happen— when I reach that place in the story, I experience one of the greatest pleasures of writing: the ability to allow my characters to be themselves—inside me. The writer then becomes the space within which his characters can fulfill their characteristics and desires, their urges and acts of foolishness, madness, and kindness, which the writer himself is incapable of—because he is a specific, finite person, and because these characteristics, these desires and acts, threaten him or somehow contradict him, even invalidate him.
What marvelous happiness, what sweet reward there is in these moments, when in the very act of writing a character, the writer is also written by him or her. Some unknown option of his personality, an option that was mute, latent, suppressed, is suddenly articulated to him, redeemed by a particular character, brought to light.
From experience I know how wonderful it is when a character I have written surprises me this way, or even betrays me, by acting in contrast to my consciousness and personality and fears, acting beyond my horizons. The feeling at those times is one of extraordinary physical and emotional pleasure. In the simplest way, I can say that it is as though someone grabs me by the back of my neck with immense vigor and lifts me up, forcing me to take off outside my own skin.
On a closely related issue, I would like to say a few words about the meaning of literary writing—as I see it, as I believe in it—for people who have been living for over a century in an area that can be described, without exaggeration, as a disaster zone.
First, a clarification: I am not planning to talk “politics,” but rather to address the intimate, internal processes that occur among those who live in a disaster zone, and the role of literature and writing in a climate as lethal as the one we live in.
To live in a disaster zone means to be clenched, both physically and emotionally. The muscles of the body and the soul are alert and tensed, ready for fight or flight. Anyone who lives in this condition knows that not only the body clenches but also the soul, preparing itself for the next explosion or news bulletin. “He who laughs has not yet heard the terrible tidings,” wrote Bertolt Brecht—another experienced citizen of disaster zones—in his poem “To Posterity.” Indeed, when one lives in a disaster zone, one is constantly on guard, and one’s entire being anticipates imminent pain, imminent humiliation.
It is difficult to determine the moment at which the cruel reversal occurs. When is the question of whether the pain and humiliation will in fact occur no longer significant because, either way, you are already deep inside them, even if they themselves remain only possibilities? For you have already created them inside you. You are already maintaining a routine that is saturated with humiliation because of the constant fear of humiliation. You no longer realize to what extent your life is largely conducted within the fear of fear, and how much the anxiety is slowly distorting your nature—as an individual and as a society—and how it is robbing you of your happiness, of your purpose in life.
In this intolerable climate, I and many other writers try to write.
In the first two years of the last intifada, for example, I went into my study every morning and wrote a story about a man and a woman who spend an entire night in a car, on an intense and turbulent journey. There were moments when it seemed utterly mad to shut myself up with these people in the car while the world around me turned upside down. On the other hand, writing has always been the best way for me to stay sane, and to find a grasping point in the world, which, as I grow older, seems more and more illusory and absurd, not truly graspable.
When the book I was writing—Her Body Knows—was eventually published, I was frequently asked, “Why didn’t you write about the intifada?” “How could it be that the man and the woman are not a Palestinian who falls in love with an Israeli?” And also, “Is the man’s broken leg a metaphor for the fracture occurring in the Zionist idea?” And of course, “Is the car really an allegory for the stifling Occupation?”
My reply was, No, these are a man and a woman who insist on turning inward, to each other—because they must. They even turn their backs on the “situation” outside, perhaps because they instinctively feel that this “situation” may cause them to miss out on the most important things in their lives. They feel that because of the “situation” and its terrors, they barely have the time or energy left over to inquire into the greater questions of human existence, and their own private little existence, which happens to have been tossed into the disaster zone of the Middle East.
When we live in a perpetual battle for our very existence, we often begin, out of despair and anxiety, and perhaps mainly out of exhaustion, to believe deep in our hearts that the war—in all its forms and guises—is the main thing in life, and often the only thing. We are so submerged in our warped perception that we barely grasp the true price we are paying for living alongside our own lives, for not daring even to dream about the whole spectrum of possibilities that a full, normal, peaceful life can offer a human being.
Again, I hope you understand that I am not talking “politics” in the narrow and restricted meaning of the term, in its insulting meaning, I would say. I will not discuss occupied territories or settlements or unilateral or bilateral withdrawals today. But I will talk of the principles of this disastrous condition, and of the roots it is striking in us, and the blows it is delivering us. Moreover, I will address the role of literature in this state, the healing and mending that literary writing and a literary way of thinking, observing, and regarding can bring to these distortions.
In the almost-eternal disaster zone in which our lives are lived, if we dare for a moment to truly look at what is happening to us and to those around us, we will be forced to admit that, essentially, we are always preparing ourselves for the next disaster. In this perpetual state of preparation, we unconsciously reduce within ourselves, one by one, our human elements and qualities, so that when they are taken from us, or debased by the situation or by the enemy, we will suffer less. Because if my gut feeling, and yours, is right, if it is true that in this terrible situation “he who feels more, suffers more,” then this aphorism is gradually translated in our minds into “he who feels, suffers.” We are so afraid of death that we condense the range of our emotional, psychic vitality.
In a disaster zone, of course, or in a prolonged war, the tendency of the hawkish sides is to minimize and deny the human aspect of the enemy, to flatten it into a stereotype or a collection of prejudices. Because only then can one truly fight to the death for decades, eventually hoping for the enemy’s disappearance or death, believing that he is less human than us, or completely nonhuman.
And please, do not tell me that life here is more or less normal or tolerable, that we have grown accustomed to the periodic, cyclical wars, and that we have learned to make the best of our existence in this cruel region. One cannot truly adapt to such warped conditions without paying a high price, the highest price of all—the price of living itself, the price of sensitivity, of humanity, of curiosity, and of liberty of thought. The fear of and aversion to facing others fully and soberly: not only the enemy, but any others.
After spending a century in all-out war and becoming accustomed to seeing anyone who threatens us as an enemy to the death, and having the concept of “enemy” ingrained in us so deeply, almost from birth, and living in an environment in which the concept is so highly available, because of the hostility and the constant acts of violence—after all this, eventually our compasses and healthy instincts go awry, and then, in almost any situation of conflict and disagreement, even one’s brother looks like the enemy. It is enough for his opinions and habits to be different from our own, for his desires to be distinct from our own, for his interpretation of a situation to be different from ours, for our brother to become, in our minds, in our fears, an enemy.
When I say this, I fear that after decades of spending most of our energies, our thoughts and attention and inventiveness, our blood and our life and our financial means, on protecting our external borders, fortifying and safeguarding them more and more—after all this, we may be very close to becoming like a suit of armor that no longer contains a knight, no longer contains a human. Moreover, I often think that even if this longed-for peace reaches our region tomorrow, in some sense it will already be too late. Because the qualities and the viewpoints and the behaviors that the violence has formulated in us, Israelis and Palestinians, will continue to work their ways on us for many more years. They will not be quick to disintegrate in our bloodstream, both private and national, and they will keep on poisoning our souls, sabotaging the possibility of maintaining a stable peace. Time after time, they will sweep us away and cause us to replay all the same old ills, which will, in turn, create more and more waves of violence.
Let us return to literature for one more moment.
The purpose of literature is the complete opposite of what I have described thus far: in literary writing, we do everything we can to redeem each character in our story from alienation and impersonality, from the grip of stereotypes and prejudices. When we write a story, we struggle—for years, sometimes—to comprehend all the facets of one human character: its internal contradictions, its motives and inhibitions, the boiling magma I talked of earlier.
There is something tender, almost maternal, in the way a writer attunes all his senses, his consciousness and subconscious, his dreams and waking states, to every emotional current and sensation that passes through the characters he has created. There is something naked and exposed, a self-abandonment, in the writer’s willingness to give himself over, unprotected, to the inner workings of the character he is writing about—and, I almost said, communing with.
To write a novel is, to a great extent, to be totally responsible for a few dozen characters. No one will volunteer to write them for us. No one will breathe life into them for us. Sometimes I liken this to a person who is hiding a huge family, several dozen strong, in the cellar beneath his house during a war. This person must go down to the cellar at least once a day to bring food and water to the people. Once in a while he must talk with them about their conditions, try to alleviate their stress, settle the quarrels that erupt among them, offer practical solutions for their immediate troubles. It would also be good of him to tell them about what is going on in the world, listen to their stories and recollections, remind them of all the things they can dream about, and the things they miss, so that they can briefly forget the stifling pit they are trapped in. And then, after doing all these kind things, he must remove their chamber pots and empty them out. Only this person can do all these things; no one can do them for him.
This is exactly the role an author plays for his characters: with all his might, with all his talent and empathy, he must exist in their space—the entire range of human activity that occurs between spiritual talk and the emptying of chamber pots. He must be completely attentive to all their needs, both the spiritual and the corporeal. He must devote himself to them. Body and soul.
If there is one thing I would hope that politics, and politicians and statesmen, might learn from literature, it is this mode of dedication to the situation and to the people trapped in it—after all, they bear significant responsibility for creating the traps, and for the conditions of those trapped. If they are not capable of true dedication, we can demand at the very least that they provide this form of attentiveness, of purposefulness, which is invaluable for reviving the person inside the suit of armor.
By doing so, we remind ourselves again and again of a banal fact that turns out to be so easily forgotten and denied: that behind the armor is a human being. Behind our armor, and behind our enemy’s. Behind the armor of fear, indifference, hatred, and the constriction of the soul; behind everything that languishes within each one of us as these difficult years go by; behind all the fortified walls—there is a human being.
The violence in which we have been living for so long acts naturally and incessantly to turn human beings into faceless, one-dimensional creatures lacking volition. Wars, armies, regimes, and fanatic religions try to blur the nuances that create personal, private uniqueness, the nonrecurrent wonder of each and every person, and attempt to turn people into a mass, into a horde, so that they may be better “suited” to their purposes and to the entire situation. Literature—and not necessarily any particular book, but the attentiveness engendered by direct, profound, complex literature—reminds us of our duty to demand for ourselves—from the “situation”—the right to individuality and uniqueness. It helps us to reclaim some of the things that this “situation” tries relentlessly to expropriate: the subtle, discerning application to the person trapped in the conflict, whether friend or foe; the complex nuances of relationships between people and between different communities; the precision of words and descriptions; the flexibility of thought; the ability and the courage to occasionally change the point of view in which we are frozen (sometimes fossilized); the deep and essential understanding that we can—we must—read every human situation from several different points of view.
Then we may be able to reach the place in which the totally contradictory stories of different people, different nations, even sworn enemies, may coexist and play out together. This is the place where we are finally able to grasp that in true negotiations, our wishes will be forced to encounter the Other’s, forced to recognize their justness, their legitimacy. This is the moment when we feel the sharp growing pains that always attend the arrival of sobriety, and in this case the realization that there is a limit to our ability to mold reality so that it perfectly suits only our own needs. This is the moment when we feel what I called earlier “the principle of Otherness,” whose deep-seated meaning, if you wish, is the rightful existence, the stories, pains, and hopes, of the Other. If we can only reach this Archimedean point, we can begin to dismantle the barriers and detonators that prevent us from solving the conflict.
Because when we know the Other from within him—even if that Other is our enemy—we can never again be completely indifferent to him. Something inside us becomes committed to him, or at least to his complexities. It becomes difficult for us to completely deny him or cancel him out as “not human.” We can no longer employ our usual ease and expertise to avoid his suffering, his justice, his story. Perhaps we can even be a little more tolerant of his mistakes. For we then see these mistakes as part of his tragedy. And if we have any strength and generosity remaining, we can even create a situation in which it is easier for our enemy to step out of his own traps; we too may benefit from this.
To write about the enemy means, primarily, to think about the enemy, and this is a requirement for anyone who has an enemy, even if he is absolutely convinced of his own justness and the enemy’s malice and cruelty. To think (or to write) about the enemy does not necessarily mean to justify him. I cannot, for example, contemplate writing about a Nazi character in such a way as to justify him, although I felt an urge—even an obligation—to write, in See Under: Love, about a Nazi officer, so that I could understand how a normal person becomes a Nazi, how he justifies his acts to himself, and what processes he goes through in doing so.
Sartre’s exploration of why we write, in his essay What Is Literature? is relevant here: “Nobody can suppose for a moment that it is possible to write a good novel in praise of anti-Semitism. For, the moment I feel that my freedom is indissolubly linked with that of all other men, it cannot be demanded of me that I use it to approve the enslavement of a part of these men. Thus, whether he is an essayist, a pamphleteer, a satirist, or a novelist, whether he speaks only of individual passions or whether he attacks the social order, the writer, a free man addressing free men, has only one subject—freedom.”
Sartre may have been naive in his assertion that “nobody can suppose for a moment that it is possible to write a good novel in praise o
f anti-Semitism”; such books have been written and will probably continue to be written. But he was certainly right about the topic that preoccupies authors, and which is also the soul of literature—freedom. The freedom to think differently, to see things differently. And this includes seeing the enemy differently.
To think about the enemy, then. To think about him gravely and with deep attentiveness. Not merely to hate or fear him, but to think of him as a person or a society or a nation that is separate from us and from our own fears and hopes, from our beliefs and modes of thought and interests and wounds. To allow the enemy to be an Other, with all this entails. Such an outlook may also be militarily advantageous from an intelligence point of view: “Know thy enemy—from within him.” It could also help us alter reality itself, so that the enemy gradually ceases to be our enemy.
I would like to clarify that I am not referring to the maxim “Love thy enemy.” I cannot claim to have been blessed with such noble magnanimity (and I always find it somewhat suspect when I encounter it in others). But I am certainly speaking of a sincere effort to try to understand the enemy, his motives, his internal logic, his worldview, and the story he tells himself.
Of course, it is not easy to read reality through the enemy’s eyes. It is difficult and frightening to give up our sophisticated defense mechanisms and be exposed to the feelings with which the enemy experiences the conflict and how, in fact, he experiences us. Taking such a step challenges our faith in ourselves and in our own justness. It poses a danger of undermining “the official story”—usually the only permissible, “legitimate” story—that a frightened nation, a nation at war, always tells itself. But perhaps we can upend the previous sentence and say that sometimes a nation remains in a prolonged state of struggle precisely because it is trapped, for generations sometimes, within a particular “official story”?
Writing in the Dark Page 4