Travels With Herodotus
tr. Klara Glowczewska
Alfred A. Knopf 2007 288 pp.
Copyright © Steven E. Alford
HerodotusÕ
great work, The Histories, recurs in
literary fiction—witness its presence in Michael OndaatjeÕs The English Patient—but seldom in
the work of journalists, whose contemporary concerns veer toward missing cute
white girls, bears at large in suburban neighborhoods, pneumatic blond
do-nothings, missing brunette pregnant women and things that blowed up real good.
Ryszard Kapuściński was
different.
Polish-born
Kapuściński, who died in January, was a
renowned international journalist with a storytellerÕs imagination and a deep
sense of insecurity about his knowledge of the world. The latter compelled him to infuse his work with a scholarÕs
comprehension of his subject.
While his most famous beat was Africa, producing one of his greatest
books, The Shadow of the Sun, his
travels led him across the world, from China, to India, to Latin America and,
inevitably back to Africa.
For
Kapuściński, educated in the war-ravaged Poland
of the early 1950s, the Greeks Òbelonged to some unknown, mythic universe, a
world of sun and silver, warm and full of light, populated by slender heroes
and dancing nymphs. We didnÕt know
what to make of it.Ó Drawn to
journalism and the promise it held out for travel, he Òwanted one thing
only—the moment, the act, the simple fact of crossing the border. É It
made no difference which one, because what was important was not the
destination, the goal, the end, but the almost mystical and transcendent
act. Crossing the border.Ó
Early
in his career he got his chance, traveling to India and China, and accompanying
him (a gift of a thoughtful editor) was a copy of The Histories, a book that didnÕt appear in Polish bookstores until
1955.
The Histories served a dual purpose for Kapuściński. On the one hand, Herodotus Òstrove to find out, learn and
portray how history comes into being every day, how people create it, why its
course often runs contrary to their efforts and expectations,Ó lessons
invaluable to any journalist.
At
the same time, the book, like history itself, became his Òaccustomed refuge, a
retreat from the tensions of the world and the nervous pursuit of novelty into
a peaceful realm of sunshine and quiet that emanates from events that have
already occurred, people now gone and sometimes who were never there, having
been only contrivances of the imagination, fictions, shadows.Ó
Kapuściński notes that HerodotusÕ greatest discovery was
that there is no such thing as unmediated, ÒobjectiveÓ history, that history
always has its origin in the account of some specific individual. His continual references to his
sources, reminders that Òsomeone told me that,Ó are not confessions that there
is no true story of our past, but recognition that our past is the sedimented result of a mass of individual stories.
There is a certain studied artificiality in KapuścińskiÕs attempts to link his reading of
Herodotus to his travels. Indeed,
Jack ShaferÕs charmless posthumous attack on KapuścińskiÕs
methods in JanuaryÕs Slate insinuates
some James Frey/Stephen Glass-like duplicity in his accounts. Poppycock. In reading KapuścińskiÕs
books, like HerodotusÕ inquiries, we are knowingly entering into the world of a
subjective vision, one which, however, has as its goal the portrayal of a truth
that goes beyond facts. Unlike
Frey and Glass, KapuścińskiÕs portrayals
were never self-serving, but oriented toward the readerÕs greater
understanding.