{"id":286286,"date":"2011-07-28T14:33:09","date_gmt":"2011-07-28T14:33:09","guid":{"rendered":"http:\/\/www.wdev.rochester.edu\/College\/translation\/threepercent-dev\/2011\/07\/28\/an-interview-with-gregor-von-rezzori-read-this-next\/"},"modified":"2018-04-16T16:17:04","modified_gmt":"2018-04-16T16:17:04","slug":"an-interview-with-gregor-von-rezzori-read-this-next","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2011\/07\/28\/an-interview-with-gregor-von-rezzori-read-this-next\/","title":{"rendered":"An Interview with Gregor Von Rezzori [Read This Next]"},"content":{"rendered":"

As part of this week’s Read This Next<\/a> focus on Gregor Von Rezzori’s An Ermine in Czernopol<\/em>, we dug up this interview with Von Rezzori<\/a> that appeared in BOMB<\/span><\/em> magazine way back in 1988.<\/p>\n

\n

Bruce Wolmer:<\/b> I\u2019m tempted to begin by asking the question interviewers on French TV like to pose: \u201cGregor von Rezzori, _qui \u00eates-vous?_\u201d\u2014Who are you? Which is immediately funny considering that the enigmas and paradoxes\u2014and humor\u2014of identity is a central concern of your work. But one wouldn\u2019t know that reading the reviews, where you\u2019re almost inevitably conflated with the first-person narrator.<\/p>\n<\/blockquote>\n

\n

Gregor von Rezzori:<\/b> Absolutely. This is such an old discussion: To what extent are books autobiographic? It\u2019s ridiculous. As Flaubert famously said, Mme. Bovary c\u2019est moi.<\/em> You can\u2019t eliminate yourself totally unless you\u2019re Shakespeare.<\/p>\n<\/blockquote>\n

\n

BW:<\/b> That goes against the grain of much contemporary opinion and practice, which claims to be getting down to the truth of the author rather than the truth of the fiction.<\/p>\n<\/blockquote>\n

\n

GvR:<\/b> The Death of My Brother Abel<\/em> is narrated by a writer. The narrator, the \u201cI\u201d\u2014and funnily enough he is less my own person than any other first person in any of my other books\u2014the narrator in The Death of My Brother Abel<\/em> is a totally fictitious character. But, of course, nowadays people have little curiosity about examining such complexities. There is this desire of authenticity and transparency which connects with the curious contemporary belief that everybody is, or should be, an artist.<\/p>\n<\/blockquote>\n

\n

I must tell you that when I was young I never had the faintest idea that I should ever become a writer. I studied mining engineering, of all things. I came to writing by accident at a rather ripe age. I never thought of really having the urge to express myself, but obviously I had it in some way or other. But without ever having heard the phrase, I had to find my identity. That\u2019s one of those dreadful verbal expressions. A phrase like that becomes fashionable and then becomes a slogan and becomes really a program for people\u2019s lives. Every young man or girl nowadays ponders about his or her identity without even realizing what it is. My identity is \u201cI\u201d. It takes a long time to learn that that much celebrated \u201cI\u201d is never lost, but never really found either.<\/p>\n<\/blockquote>\n

\n

Anyway, in my case I was having a period in my life in which I didn\u2019t have anything else to do\u2014this was before the war\u2014so one day I sat down and wrote a story. Somebody got hold of it and sent it to a publisher. They instantly wanted me to write another one, which I did. Because I thought, my God, this is a very agreeable way of earning money. How wrong I was I found out later. But by then it was too late.<\/p>\n<\/blockquote>\n

\n

BW:<\/b> A disagreeable way of not earning much money.<\/p>\n<\/blockquote>\n

\n

GvR:<\/b> Yes, yes. Somebody with a little bit more intelligence doing the same amount of work, you\u2019ll become an Onassis. Well, who needs that? But it\u2019s in real disproportion. Then when I realized what crap I had been writing, you see, I sat down, and just then the war came. I was fortunate\u2014I didn\u2019t actually have to be a soldier exactly. I was born in Bukovina, Rumania. Before Rumania went into the war it was given to the Russians so I was already more or less a Russian although I still had a Rumanian passport and was living in Vienna at that time. When Bohemia was taken by the Russians I went to our ambassador in Berlin, who was a friend of the family, and I said, \u201cWhat shall I do, what am I supposed to do?\u201d He said, \u201cWell, you are supposed to go home and find a new identity because you don\u2019t exist. And then you\u2019ll die from Mr. Hitler because within a short time you shall have to join in those struggles. I can\u2019t prolong your passport. How long is it still valid?\u201d I said. \u201cFor a year.\u201d He said, \u201cKeep quiet.\u201d Which I did. It lasted for three more years during the war. I had my share of bombing and all that, but in the meantime I had the opportunity to really fill the unbelievable gaps in my knowledge by reading. I must tell you that I read very slowly and I need months to finish a real masterpiece, for example one of Broch\u2019s novels. [. . .]<\/p>\n<\/blockquote>\n

\n

BW:<\/b> What has been Nabokov\u2019s influence on you?<\/p>\n<\/blockquote>\n

\n

GvR:<\/b> Well, there were many other influences first. I didn\u2019t read Nabokov until late. But when I had started to write Abel in its first version, I got Nabokov\u2019s Pale Fire<\/em> in my hand and instantly put my pen down because I found that there was the book I wanted to write already in the best possible form. Then I collaborated on the translation of Lolita<\/em> into German, and I became aware that I shall never achieve the almost medieval craft of Nabokov\u2019s to link fiction with literary allusion and write a book on many layers\u2014of which one is a direct and fictitiously concrete reality, and behind there is the other reality, the literary reality of all the allusions, all the relations of literature with other literature. At the same time that it\u2019s discouraging, it\u2019s very challenging.<\/p>\n<\/blockquote>\n

\n

BW:<\/b> Other influences?<\/p>\n<\/blockquote>\n

\n

GvR:<\/b> Everything influences you as a writer, whatever you read. I believe there isn\u2019t any such thing as a bad book, because you take out of any book something by which you learn, even if you throw it away. Then there are writers who encourage me immensely and writers whom I admire so much that I put down my pen and say, \u201cI can\u2019t write.\u201d For instance, I can\u2019t read ten lines of Robert Musil and keep on writing, I stop for a week at least. Even Joyce. He discourages me totally. But then there are others who encourage me. Thomas Mann with his sort of schoolboyish sense of humor challenges me to get a little subtler. Ironic. And so on.<\/p>\n<\/blockquote>\n

\n

BW:<\/b> C\u00e8line?<\/p>\n<\/blockquote>\n

\n

GvR:<\/b> Well, yes. Not consciously, but the violence. In literature, particularly at that period, a certain barbarism is necessary. Also for the sake of honesty. You can\u2019t be suave and God knows what in a time like ours. Also there is in him an urge for iconoclastic action which was also very much an aspect of German Expressionism after the First World War.<\/p>\n<\/blockquote>\n

You can read the entire interview here.<\/a><\/p>\n

\n<\/a>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

As part of this week’s Read This Next focus on Gregor Von Rezzori’s An Ermine in Czernopol, we dug up this interview with Von Rezzori that appeared in BOMB magazine way back in 1988. Bruce Wolmer: I\u2019m tempted to begin by asking the question interviewers on French TV like to pose: \u201cGregor von Rezzori, _qui […]<\/p>\n","protected":false},"author":292,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[67486],"tags":[9186,41866,41816,2616,40786,1646],"class_list":["post-286286","post","type-post","status-publish","format-standard","hentry","category-articles","tag-bomb-magazine","tag-bruce-wolmer","tag-gregor-von-rezzori","tag-interview","tag-read-this-next","tag-review"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/286286","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/users\/292"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/comments?post=286286"}],"version-history":[{"count":1,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/286286\/revisions"}],"predecessor-version":[{"id":320466,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/286286\/revisions\/320466"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=286286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=286286"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=286286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}