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Frederic (Michael) Raphael Biography - Frederic Raphael Comments:

sense novelist language beyond

Although in many ways I am the most marginal of Jews (I am agnostic in religion and wary of communities), I suppose it is honest to say that I would not be a novelist if it were not for the singular experiences of the Jewish people and for my sense of being, if not a direct participant, at least a witness, of them. My themes, if I have themes, are scarcely Jewish since I lack intimate knowledge of the practices and habits of those who live in so-called Jewish society. When I do come in contact with them I do not necessarily find them congenial. Yet, the Final Solution—its vulgarity no less than its brutality, its greedy malice no less than its murderous factories—lies always at the back of my mind even if I myself, as a child growing up in England, suffered nothing more than its bad breath blowing in my face from across the Channel. It may be an indulgence for anyone who did not have closer experience to claim personal acquaintance with the holocaust; it is equally frivolous to ignore it. It is too convenient a conclusion to dispose of the Jewish experience under the Germans (and the Austrians and the Poles and the Hungarians and the Ukrainians and the Russians, and the English and the Americans) as a sort of freakish explosion, a San Francisco earthquake of an event, a once-and-for-all catastrophe after which, in the comforter's cliché, one has to "go on living." And yet, of course, one does.

For me, the novelist is, above all, the historian of conscience. How does the individual conscience—in other words, how do I—go on living in a world which gives the clearest possible testimony of the cruelty and indifference of man? How does one continue to worry about the nuances of personal life, about love, friendship, taste, and responsibility when all the signs are that man is essentially rapacious, vindictive, and stupid? I have no answers to these questions, nor do I pretend they are in themselves new; they have been asked often enough and yet one does live at a particular time and, despite all the elegant suggestions to the contrary, it seems to me that our time is still linear. Certain things are beyond change, others lie ahead.

The problem is, in a sense, of language. Only in language is it possible to assimilate horrors and yet to achieve something which is both clear and, in a sense, pure. The way in which man remembers meaningfully is by not refusing sense in his language to those things which most profoundly influence or instruct him. This might be an argument for writing either history or philosophy and in a way I tried to do this, but I am not an historian or a philosopher. An obsession with a particular instance of the human character and a desire no less than a tendency—to show the futility of generalisation in the face of the fatuous and magnanimous individuality of human beings, lead me to examine the world through dramatic and emotional states rather than through a study of documents or the analysis of trends. Beyond and through the tragic comes the comic—the comic which does not explode the tragic but defines it—and this interpenetration is only one example of the sort of ambiguities in which the novelist finds himself at home. These ambiguities reveal themselves in drama and I have always found that, in spite of the attractions of both the theatre and the cinema, the drama can be worked out at its most personal and in the most piercing fashion in fiction. Truth may be stranger than fiction but fiction is truer.

How loftily one speaks in such generalising terms as these. The actual impulses which start a book are, of course, less grand. They spring as much from a sense of one's own contradictions as from any perception of human inadequacy or follies. When one begins to speak in the first person it sounds like conceit but it is more often confession, at least at my age. I am conscious above all of being equipped to be a novelist because it is only in a multiplicity of characters that I can reconcile my own ragbag personality. When people speak of a crisis of identity, I remind them that we know very well who we are, where we are having dinner and with whom we are sleeping, yet when I consider myself I am less commonsensical.

I was born in Chicago of a British father and an American mother. Beyond them, my grandparents and great-grandparents branched off across the world like an airline network. I was educated at Charterhouse which, I am told, is a great English Public School, and at Cambridge. I was readily influenced both by the ethos of the English middle class and by the intellectual habits of a classical education. Although I now regret much of what I was told and some of what I learned, I cannot shrug off the influence of these places, nor am I certain that I would wish to do so. The conflict of values reveals itself in fiction in the conflict of characters. I am conscious of being foreign in England and I find myself at home to some extent in many other places, yet I cannot sever myself entirely from the country where I live or from the language in which I write. I am sickened by xenophobia and yet in many ways I fear what lies beyond me. I believe that reason is better than unreason and that intelligence is better than instinct but I have not always been impressed by the decency of those who are most intelligent or by the capacity for affection and love of those who are most reasonable.

Within the nooks and crannies of the great edifices of generalisation and judgement, the innocently guilty and the guiltily innocent scurry about carrying nuts to their families, seeking their pleasures, snapping at their enemies, and providing, for those who have eyes to see, the proof of the impossibility of final solutions to the human condition.

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