“To Your Own Blood”

February 2, 2012

The bitter cold continues in Pristina, and the snow has returned, though so far just flurries, no new drifts. I did face the elements long enough to get a haircut (which, alas, didn’t take long) and to buy more time for my local cell phone.

Serbian Empire 1355 AD (Source: Wikipedia--click image to view)

The rest of my day took place inside, where I continue to enjoy preparing for my American lit class. As I prepared a background lecture on psychoanalytic theory as a critical preface to Faulkner’s “Barn Burning,” I pondered several parallels between Faulkner’s 1938 tale and the current situation in Kosova. Though independent just four years, Kosova has always been cultural hub, not just in the old Yugoslavia but also in the ancient Balkans, a land where blood feuds have always continued because patriots on all sides, like Faulkner’s Abner Snopes, had and have a “ferocious conviction in the rightness of [their] own actions.” Of course, Snopes lays no claim to patriotism, having ‘served’—as a horse-thief—both the Federals and Confederates in the American Civil War. Still, Snopes feels justified in burning barns of rich white men like Major de Spain because his “wolflike independence” tells him that he has been unfairly labeled ‘trash’ and barred from wealth and power, the ‘phallus’ of American culture.

Former Yugoslavia (Source: Wikipedia--click image to view)

Unfortunately for pre-adolescent Sarty, his father Abner’s strong character yields only destruction and therefore only fear for the boy, a fear as strong as the smell of cheese that fills the store where Abner, at the beginning of the story, stands trial, again, for burning a barn. A good Jungian, Sarty understands “the old fierce pull of blood” and the myth of fire that informs his clan’s survival; he therefore will lie if he must to defend his father. Sarty will also fight men twice his size who shout “barn burner” at his father as they leave the courtroom store, with Abner free again, owing to lack of evidence, to burn more barns, more symbols of the phallic power he has always lacked.

Yet Sarty, just like many Kosovarans, longs to escape the cycle of violence, longs for his father’s reformation, so that he can love him without fear. Suspecting Sarty’s disloyalty, Snopes beats his son, teaching him that being a man means sticking “to your own blood,” not cow-towing (as Freud might say) to his “superego,” the internalized values of justice that make Sarty hope his father can “change…from what maybe he couldn’t help but be.”

But Snopes, indeed, cannot change, as he proves when he sets out to burn the barn of his new employer, Major de Spain. When Sarty breaks free from his mother’s restraining arms, he knows that he must betray his father to de Spain, that he must betray him to save him. After the betrayal, as he runs away, Sarty hears repeated shots in the distance, knowing then that his intent has back-fired, that he has enabled the killing of “Pap…Pap…Father.”

Kosovo today (Source: Wikipedia--click image to view)

Such names underscore Sarty’s love for his father, a man who he still believes fought in the cavalry under Colonel Sartoris. Yet he does his mourning on the run and does not “look back,” knowing the direction of freedom and peace.

While it may seem a stretch to make a Balkans allegory out of Faulkner’s post-Civil War story, the parallels seem compelling, at least as I sit here in Kosova, where fidelity to blood has assured its continued spilling. Yet an equally important difference stands out: Sarty did not look back; the Balkans must.

The Balkans (Source: Wikipedia--click image to view)

From Mulliqi and Miller to the American Corner

January 31-February 1, 2012

National Theatre of Kosova

On Monday night Dave McTier and I visited the National Theatre, braving temperatures near zero F to do so. Though we had hoped to see Shakespeare’s Twelfth Night, we learned on arrival that we had been misinformed about the schedule. Instead, we saw a piece by a local intellectual, Haqif Mulliqi. Never having received a program, I can’t report the title of the play, but I can say that the audience loved it, laughing heartily throughout. I loved it, too, even though my nascent Albanian skills proved no match for the rapid dialogue and rather loud musical motifs. The four characters, three middle-aged men and a young woman, seemed adrift, homeless, lugging huge valises constantly about the street. Yet they all showed a zest for life—for vigorous debate, for sexual passion, for patriotism, for friendship, and most of all for laughter. The actors, just like the characters they played, had great fun, embracing one another and thumbing their noses at hard times.

Having thawed out by Tuesday morning—temperatures had fallen below zero by the end of the play and dropped to -8 over night—I spent the day mainly inside, revisiting Willy Loman, a character who could have used the good company I saw on stage last night. As I thought about ways of using Marxist critical theory to help my students understand Willy, I realized that I have always seen the failed Salesman as more than a proletariat victim of capitalist hegemony, that I continue to buy Arthur Miller’s claim that a low-man can attain tragic dignity, so long as we can see, however “wrong” his American dream, that he suffers for the woman and the sons he has hurt but intended—in living and in dying—to love.

Fakulteti i Filologjisë (College of Philology)

Today, February 1, I met Professor Lindita Rugova at the Fakulteti i Filologjisë (Faculty [College] of Philology) at the University of Pristina. Lindita serves as vice dean and teaches in the Departamenti i Gjuhë dhe Letërsi Angleze (Department of English Language and Literature), where I will teach.

My Classroom, in Fakulteti i Filologjisë

Kindly spending two hours with me, Lindita showed me my office and the classroom where I will teach; she also introduced me to Dean Osman Gashi, to the Head of English Language and Literature, Professor Shykrane Germizaj, and to several other colleagues whose names I have yet to master. Though I slipped and slid on ice en route to the university, I could not have asked for a warmer reception.

Then from 2:30-5:00, Dave McTier and I took a cab to the US Embassy, where we received security and medical briefings and learned about the vast array of cultural opportunities available throughout Pristina, including the National Theatre, described above. We also learned more about the “American Corner,” where Fulbrighters and other Americans meet with students, citizens, and tourists for formal presentations and informal discussions on all aspects of American culture. Naturally, I’ll blog about these Kosovaran and American events in the months to come. Expect to hear, too, about Jennifer Washeleski, Aferdita Krasniq, Paul Engelstad, Eileen Drummond, Chuck Harrison, and Svetlana Breca, the US Embassy officers who coordinate such events and who provide briefings and on-going support for visiting professors like Dave and me.