Literatura in cenzura - Društvo za primerjalno književnost - ZRC SAZU

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Literature and Censorship: Who is Afraid of the Truth of Literature?rectly understood the way Handke reasons, a seventeen-year-old boy hasto know what he is doing, but a sixty-five-year-old famous writer maydeclare publicly that, in spite of all the documents and evidence collectedand published over fifteen years, he does not know what the truth is concerningMilošević.Beyond this affair, beyond Handke as an individual who is also, likeall of us, a symptom of his own history, the question is: how was a newgenocide possible, in Europe, after the destruction of the Jews duringWorld War II? What interests me is literature’s ability to sometimes maskthe reality happening under our eyes, as Handke actually masks it with anapparently clear style and a very sophisticated and subtle rhetoric, and tosometimes reveal the same reality thanks to the use of a new form and asimple language, making the same reality suddenly comprehensible foreveryone. This is what I tried to do and, if I have succeeded as I hope andthink I have, because people in Croatia and in Bosnia do agree stronglywith my interpretation, and because the historical facts also confirm thistroubling interpretation, it is paradoxically thanks to Peter Handke: becausethe Freudian mechanism audible in his texts actually functioned ata collective level in the Serbian propaganda. During the affair, I tried toopen this larger debate, which is much more important than the isolatedcase of Peter Handke. However, it remained impossible. Was it becauseof censorship? If I were a little bit paranoid, perhaps I would be saying so.Fortunately for me, though, I am not. Actually, I prefer to consider it a matterof prejudices and psychic repression. The way I read Peter Handke isquite disturbing – as disturbing as the way I interpret the war in Yugoslaviain its entirety. It is disturbing, but it is also constructive. Because of this,I hope that this new approach will forge a path in people’s minds. In thisregard, the Handke Affair was the first step. I hope it has helped stimulatea kind of new historical conscience and open people’s minds to a questionthat cannot be avoided when writing and talking about events happeningin the world around us: what is our responsibility as writers? If we arefree to keep quiet, are we free to deny the truth of events by replacing itwith a fantasy of our own, possibly troubled mind? How are we to knowwhether what we call truth is imaginary or not? How are we to be sure thatthe language we use is adequate to the events? Answering those questionssupposes working in other disciplines, such as history and psychoanalysis.Working in these three fields makes it possible to understand what thetruth of literature is. Having done significant work in these three fields formany years, I have a fairly good understanding of why people, and perhapswriters more than the rest, are afraid of the truth of literature.292
Louise L. Lambrichs:Talking about Censorship Supposes Being PreciseNOTES1 Both works (Nous ne verrons jamais Vukovar and L’effet papillon) have now been translatedinto Croatian and Bosnian and are available in Zagreb and Sarajevo (some copieshave also reached Belgrade).2 This declaration was made by Peter Handke in Serbian and translated by himself intoFrench. Le Nouvel Observateur published it during the affair on its website under the title:“Droit de réponse de Peter Handke à l’article paru dans le Nouvel Observateur le 6 avrildernier [2006]”). See http://archquo.nouvelobs.com/cgi/articles?ad=culture/20060503.OBS6399.htmlhost.3 In the meantime in Germany, for the same political reasons, a very similar affair wastaking place with regard to the Heine Prize in Düsseldorf.WORKS CITEDFreud, Sigmund. Malaise dans la civilisation. Paris: PUF, 1971.Le Nouvel Observateur, Reporters sans frontières (coll.). Le Livre noir de l'ex-Yougoslavie.Paris: Arléa, 1993.Garde, Paul. Vie et mort de la Yougoslavie. Paris: Fayard, 1992.Goldschmidt, Georges-Arthur. Peter Handke. Paris: Seuil, 1988.Grmek, Mirko D. La guerre comme maladie sociale. Paris: Seuil, 2001.Grmek, Mirko D., Marc Gjidara, and Neven Šimac. Le nettoyage ethnique, documents sur uneidéologie serbe. Paris: Fayard, 1993.Handke, Peter. Autour du grand tribunal. Paris, Fayard, 2003.Lambrichs, Louise L. Le cas Handke. Paris: Inventaire-Invention, 2003.– – –. L'effet papillon. Paris: Inventaire-Invention, 2007. [Also published as Efekt Leptira.Sarajevo: Armis Print, 2007.]– – –. Nous ne verrons jamais Vukovar. Paris: Philippe Rey, 2005. [Also published as Vukovarnikad nečemo vidjeti. Zagreb: Naklada Luka, 2007.]Laplace, Yves. Considérations salutaires sur le désastre de Srebrenica. Paris: Seuil, 1998.Le Brun, Annie. Les Assassins et leurs miroirs. Paris: Jean-Jacques Pauvert au Terrain vague,1993.Lukić, Renéo. L'Agonie yougoslave (1986–2003). Québec: Les Presses de l'Université deLaval, 2003.McDonald, Michael. “The Apologist.” The American Scholar, 2007. 1 January 2008 .293
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Literatura in cenzura - Društvo za primerjalno književnost - ZRC SAZU

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