The politics of fiction | Elif Shafak

418,575 views ・ 2010-07-19

TED


Please double-click on the English subtitles below to play the video.

00:15
I'm a storyteller.
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That's what I do in life -- telling stories,
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writing novels --
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and today I would like to tell you a few stories
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about the art of storytelling
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and also some supernatural creatures
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called the djinni.
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But before I go there, please allow me to share with you
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glimpses of my personal story.
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I will do so with the help of words, of course,
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but also a geometrical shape, the circle,
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so throughout my talk,
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you will come across several circles.
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I was born in Strasbourg, France
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to Turkish parents.
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Shortly after, my parents got separated,
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and I came to Turkey with my mom.
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From then on, I was raised
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as a single child by a single mother.
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Now in the early 1970s, in Ankara,
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that was a bit unusual.
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Our neighborhood was full of large families,
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where fathers were the heads of households,
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so I grew up seeing my mother as a divorcee
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in a patriarchal environment.
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01:12
In fact, I grew up observing
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two different kinds of womanhood.
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On the one hand was my mother,
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a well-educated, secular, modern, westernized, Turkish woman.
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On the other hand was my grandmother,
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who also took care of me
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and was more spiritual, less educated
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and definitely less rational.
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This was a woman who read coffee grounds to see the future
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and melted lead into mysterious shapes
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to fend off the evil eye.
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Many people visited my grandmother,
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people with severe acne on their faces
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or warts on their hands.
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Each time, my grandmother would utter some words in Arabic,
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take a red apple and stab it
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with as many rose thorns
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as the number of warts she wanted to remove.
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Then one by one, she would
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encircle these thorns with dark ink.
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A week later, the patient would come back
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for a follow-up examination.
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Now, I'm aware that I should not be saying such things
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in front of an audience of scholars and scientists,
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but the truth is, of all the people
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who visited my grandmother for their skin conditions,
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I did not see anyone go back
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unhappy or unhealed.
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I asked her how she did this. Was it the power of praying?
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In response she said, "Yes, praying is effective,
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but also beware of the power of circles."
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From her, I learned, amongst many other things,
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one very precious lesson --
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that if you want to destroy something in this life,
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be it an acne, a blemish
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or the human soul,
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all you need to do is to surround it with thick walls.
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It will dry up inside.
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Now we all live in some kind of a social and cultural circle.
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We all do.
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We're born into a certain family, nation, class.
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But if we have no connection whatsoever
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with the worlds beyond the one we take for granted,
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then we too run the risk
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of drying up inside.
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Our imagination might shrink;
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our hearts might dwindle,
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and our humanness might wither
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if we stay for too long
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inside our cultural cocoons.
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Our friends, neighbors, colleagues, family --
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if all the people in our inner circle resemble us,
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it means we are surrounded
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with our mirror image.
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Now one other thing women like my grandma do in Turkey
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is to cover mirrors with velvet
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or to hang them on the walls with their backs facing out.
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It's an old Eastern tradition
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based on the knowledge that it's not healthy
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for a human being to spend too much time
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staring at his own reflection.
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Ironically, [living in] communities of the like-minded
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is one of the greatest dangers
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of today's globalized world.
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And it's happening everywhere,
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among liberals and conservatives,
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agnostics and believers, the rich and the poor,
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East and West alike.
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We tend to form clusters
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based on similarity,
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and then we produce stereotypes
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about other clusters of people.
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In my opinion, one way of transcending
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these cultural ghettos
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is through the art of storytelling.
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Stories cannot demolish frontiers,
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but they can punch holes in our mental walls.
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And through those holes, we can get a glimpse of the other,
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and sometimes even like what we see.
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I started writing fiction at the age of eight.
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My mother came home one day with a turquoise notebook
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and asked me if I'd be interested in keeping a personal journal.
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In retrospect, I think she was slightly worried
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about my sanity.
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I was constantly telling stories at home, which was good,
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except I told this to imaginary friends around me,
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which was not so good.
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I was an introverted child,
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to the point of communicating with colored crayons
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and apologizing to objects
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when I bumped into them,
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so my mother thought it might do me good
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to write down my day-to-day experiences
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and emotions.
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What she didn't know was that I thought my life was terribly boring,
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and the last thing I wanted to do
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was to write about myself.
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Instead, I began to write about people other than me
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and things that never really happened.
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And thus began my life-long passion
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for writing fiction.
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So from the very beginning, fiction for me
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was less of an autobiographical manifestation
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than a transcendental journey
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into other lives, other possibilities.
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And please bear with me:
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I'll draw a circle and come back to this point.
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Now one other thing happened around this same time.
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My mother became a diplomat.
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So from this small, superstitious,
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middle-class neighborhood of my grandmother,
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I was zoomed into this
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posh, international school [in Madrid],
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where I was the only Turk.
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It was here that I had my first encounter
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with what I call the "representative foreigner."
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In our classroom, there were children from all nationalities,
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yet this diversity did not necessarily lead
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to a cosmopolitan, egalitarian
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classroom democracy.
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Instead, it generated an atmosphere
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in which each child was seen --
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not as an individual on his own,
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but as the representative of something larger.
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We were like a miniature United Nations, which was fun,
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except whenever something negative,
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with regards to a nation
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or a religion, took place.
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The child who represented it was mocked,
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ridiculed and bullied endlessly.
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And I should know, because during the time I attended that school,
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a military takeover happened in my country,
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a gunman of my nationality nearly killed the Pope,
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and Turkey got zero points in [the] Eurovision Song Contest.
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(Laughter)
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I skipped school often and dreamed of becoming a sailor
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during those days.
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I also had my first taste
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of cultural stereotypes there.
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The other children asked me about the movie
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"Midnight Express," which I had not seen;
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they inquired how many cigarettes a day I smoked,
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because they thought all Turks were heavy smokers,
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and they wondered at what age
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I would start covering my hair.
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I came to learn that these were
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the three main stereotypes about my country:
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politics, cigarettes
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and the veil.
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After Spain, we went to Jordan, Germany
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and Ankara again.
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Everywhere I went, I felt like
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my imagination was the only suitcase
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I could take with me.
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Stories gave me a sense of center,
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continuity and coherence,
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the three big Cs that I otherwise lacked.
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In my mid-twenties, I moved to Istanbul,
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the city I adore.
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I lived in a very vibrant, diverse neighborhood
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where I wrote several of my novels.
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I was in Istanbul when the earthquake hit
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in 1999.
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When I ran out of the building at three in the morning,
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I saw something that stopped me in my tracks.
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There was the local grocer there --
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a grumpy, old man who didn't sell alcohol
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and didn't speak to marginals.
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He was sitting next to a transvestite
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with a long black wig
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and mascara running down her cheeks.
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I watched the man open a pack of cigarettes
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with trembling hands
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and offer one to her,
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and that is the image of the night of the earthquake
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in my mind today --
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a conservative grocer and a crying transvestite
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smoking together on the sidewalk.
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In the face of death and destruction,
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our mundane differences evaporated,
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and we all became one
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even if for a few hours.
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But I've always believed that stories, too, have a similar effect on us.
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I'm not saying that fiction has the magnitude of an earthquake,
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but when we are reading a good novel,
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we leave our small, cozy apartments behind,
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go out into the night alone
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and start getting to know people we had never met before
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and perhaps had even been biased against.
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Shortly after, I went
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to a women's college in Boston, then Michigan.
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I experienced this, not so much as a geographical shift,
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as a linguistic one.
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I started writing fiction in English.
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I'm not an immigrant, refugee or exile --
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they ask me why I do this --
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but the commute between languages
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gives me the chance to recreate myself.
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I love writing in Turkish,
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which to me is very poetic and very emotional,
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and I love writing in English, which to me
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is very mathematical and cerebral.
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So I feel connected to each language in a different way.
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For me, like millions of other people
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around the world today,
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English is an acquired language.
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When you're a latecomer to a language,
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what happens is you live there
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with a continuous
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and perpetual frustration.
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As latecomers, we always want to say more, you know,
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crack better jokes, say better things,
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but we end up saying less
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because there's a gap between the mind and the tongue.
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And that gap is very intimidating.
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But if we manage not to be frightened by it,
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it's also stimulating.
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And this is what I discovered in Boston --
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that frustration was very stimulating.
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At this stage, my grandmother,
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who had been watching the course of my life
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with increasing anxiety,
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started to include in her daily prayers
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that I urgently get married
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so that I could settle down once and for all.
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And because God loves her, I did get married.
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(Laughter)
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But instead of settling down,
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I went to Arizona.
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And since my husband is in Istanbul,
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I started commuting between Arizona and Istanbul --
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the two places on the surface of earth
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that couldn't be more different.
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I guess one part of me has always been a nomad,
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physically and spiritually.
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Stories accompany me,
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keeping my pieces and memories together,
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like an existential glue.
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Yet as much as I love stories,
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recently, I've also begun to think
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that they lose their magic
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if and when a story is seen as more than a story.
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And this is a subject that I would love
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to think about together.
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When my first novel written in English came out in America,
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I heard an interesting remark from a literary critic.
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"I liked your book," he said, "but I wish you had written it differently."
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(Laughter)
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I asked him what he meant by that.
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He said, "Well, look at it. There's so many
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Spanish, American, Hispanic characters in it,
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but there's only one Turkish character and it's a man."
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Now the novel took place on a university campus in Boston,
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so to me, it was normal
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that there be more international characters in it
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than Turkish characters,
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but I understood what my critic was looking for.
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And I also understood that I
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would keep disappointing him.
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He wanted to see the manifestation of my identity.
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He was looking for a Turkish woman in the book
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because I happened to be one.
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We often talk about how stories change the world,
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but we should also see how the world of identity politics
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affects the way stories
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are being circulated,
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read and reviewed.
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Many authors feel this pressure,
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but non-Western authors feel it more heavily.
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If you're a woman writer from the Muslim world, like me,
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then you are expected to write
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the stories of Muslim women
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and, preferably, the unhappy stories
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of unhappy Muslim women.
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You're expected to write
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informative, poignant and characteristic stories
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and leave the experimental and avant-garde
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to your Western colleagues.
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What I experienced as a child in that school in Madrid
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is happening in the literary world today.
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Writers are not seen
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as creative individuals on their own,
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but as the representatives
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of their respective cultures:
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a few authors from China, a few from Turkey,
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a few from Nigeria.
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We're all thought to have something very distinctive,
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if not peculiar.
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The writer and commuter James Baldwin
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gave an interview in 1984
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in which he was repeatedly asked about his homosexuality.
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When the interviewer tried to pigeonhole him
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as a gay writer,
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Baldwin stopped and said,
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"But don't you see? There's nothing in me
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that is not in everybody else,
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and nothing in everybody else
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that is not in me."
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When identity politics tries to put labels on us,
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it is our freedom of imagination that is in danger.
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There's a fuzzy category called
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multicultural literature
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in which all authors from outside the Western world
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are lumped together.
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I never forget my first multicultural reading,
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in Harvard Square about 10 years ago.
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We were three writers, one from the Philippines,
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one Turkish and one Indonesian --
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like a joke, you know.
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(Laughter)
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And the reason why we were brought together
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was not because we shared an artistic style
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or a literary taste.
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It was only because of our passports.
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Multicultural writers are expected to tell real stories,
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not so much the imaginary.
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A function is attributed to fiction.
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In this way, not only the writers themselves,
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but also their fictional characters
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become the representatives of something larger.
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But I must quickly add
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that this tendency to see a story
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as more than a story
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does not solely come from the West.
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It comes from everywhere.
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And I experienced this firsthand
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when I was put on trial in 2005
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for the words my fictional characters uttered in a novel.
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I had intended to write
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a constructive, multi-layered novel
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14:02
about an Armenian and a Turkish family
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through the eyes of women.
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My micro story became a macro issue
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when I was prosecuted.
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Some people criticized, others praised me
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for writing about the Turkish-Armenian conflict.
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But there were times when I wanted to remind both sides
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that this was fiction.
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It was just a story.
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And when I say, "just a story,"
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I'm not trying to belittle my work.
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I want to love and celebrate fiction
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for what it is,
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not as a means to an end.
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Writers are entitled to their political opinions,
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and there are good political novels out there,
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but the language of fiction
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is not the language of daily politics.
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Chekhov said,
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"The solution to a problem
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and the correct way of posing the question
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are two completely separate things.
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And only the latter is an artist's responsibility."
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Identity politics divides us. Fiction connects.
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One is interested in sweeping generalizations.
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The other, in nuances.
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One draws boundaries.
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The other recognizes no frontiers.
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Identity politics is made of solid bricks.
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Fiction is flowing water.
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In the Ottoman times, there were itinerant storytellers called "meddah."
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They would go to coffee houses,
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where they would tell a story in front of an audience,
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often improvising.
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With each new person in the story,
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the meddah would change his voice,
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impersonating that character.
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Everybody could go and listen, you know --
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ordinary people, even the sultan, Muslims and non-Muslims.
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Stories cut across all boundaries,
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like "The Tales of Nasreddin Hodja,"
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which were very popular throughout the Middle East,
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North Africa, the Balkans and Asia.
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Today, stories continue
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to transcend borders.
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When Palestinian and Israeli politicians talk,
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they usually don't listen to each other,
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but a Palestinian reader
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still reads a novel by a Jewish author,
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and vice versa, connecting and empathizing
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with the narrator.
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Literature has to take us beyond.
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If it cannot take us there,
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it is not good literature.
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Books have saved the introverted,
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timid child that I was -- that I once was.
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But I'm also aware of the danger
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of fetishizing them.
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When the poet and mystic, Rumi,
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met his spiritual companion, Shams of Tabriz,
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one of the first things the latter did
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was to toss Rumi's books into water
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and watch the letters dissolve.
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The Sufis say, "Knowledge that takes you not beyond yourself
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is far worse than ignorance."
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The problem with today's cultural ghettos
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is not lack of knowledge --
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we know a lot about each other, or so we think --
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but knowledge that takes us not beyond ourselves:
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it makes us elitist,
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distant and disconnected.
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There's a metaphor which I love:
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living like a drawing compass.
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As you know, one leg of the compass is static, rooted in a place.
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Meanwhile, the other leg
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draws a wide circle, constantly moving.
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Like that, my fiction as well.
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One part of it is rooted in Istanbul,
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with strong Turkish roots,
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but the other part travels the world,
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connecting to different cultures.
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In that sense, I like to think of my fiction
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as both local and universal,
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both from here and everywhere.
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Now those of you who have been to Istanbul
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have probably seen Topkapi Palace,
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which was the residence of Ottoman sultans
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for more than 400 years.
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In the palace, just outside the quarters
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of the favorite concubines,
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there's an area called The Gathering Place of the Djinn.
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It's between buildings.
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I'm intrigued by this concept.
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We usually distrust those areas
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that fall in between things.
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We see them as the domain
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of supernatural creatures like the djinn,
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who are made of smokeless fire
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and are the symbol of elusiveness.
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But my point is perhaps
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that elusive space
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is what writers and artists need most.
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When I write fiction
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I cherish elusiveness and changeability.
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I like not knowing what will happen 10 pages later.
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I like it when my characters surprise me.
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I might write about
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a Muslim woman in one novel,
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and perhaps it will be a very happy story,
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and in my next book, I might write
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about a handsome, gay professor in Norway.
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As long as it comes from our hearts,
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we can write about anything and everything.
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Audre Lorde once said,
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"The white fathers taught us to say,
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'I think, therefore I am.'"
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She suggested, "I feel, therefore I am free."
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I think it was a wonderful paradigm shift.
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And yet, why is it that,
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in creative writing courses today,
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the very first thing we teach students is
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"write what you know"?
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Perhaps that's not the right way to start at all.
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Imaginative literature is not necessarily about
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writing who we are or what we know
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or what our identity is about.
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We should teach young people and ourselves
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to expand our hearts
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and write what we can feel.
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We should get out of our cultural ghetto
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and go visit the next one and the next.
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In the end, stories move like whirling dervishes,
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drawing circles beyond circles.
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They connect all humanity,
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regardless of identity politics,
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and that is the good news.
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And I would like to finish with an old Sufi poem:
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"Come, let us be friends for once;
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let us make life easy on us;
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let us be lovers and loved ones;
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the earth shall be left to no one."
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Thank you.
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(Applause)
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About this website

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