>> From the Library of Congress in Washington DC.
>> Rob Casper: Hello and welcome to the Library of Congress.
My name is Rob Casper, I'm the head of the library's Poetry
and Literature Center here, and I could not be more excited
to celebrate the 50th anniversary
of the acclaimed essential International Writers Program
at the University of Iowa.
It's a historic occasion for literature and for our country.
I would like to take this opportunity
to thank not only IWP for being here,
but also thank our presenting partners, the Hispanic division
of the Library of Congress and the Bureau of Educational
and Cultural Affairs at the U.S. Department of State.
Before we begin, let me ask you,
since you are all taking pictures of yourselves,
why don't you just put them on silent.
I'm going to turn mine off just
to make sure they don't interfere
with the recording event.
This is being recorded and we'll have a Q&A section at the end.
By participating in that section, you give us permission
for future use of the recording.
Second, let me tell you a little bit about the Poetry
and Literature Center.
We are home to the U.S. Poet laureate;
our current poet laureate is Tracy K. Smith and we put on 20
to 30 programs like this one throughout the year.
In fact, next week on November 9th, in honor of Veterans Day,
we are featuring Pulitzer Prize Winning Poet Yusef Komunyakaa
reading his favorite poems of World War I in honor
of our exhibit upstairs, Echoes of the Great War,
American Experiences of World War I.
To learn more about the programs that we do
and programs sponsored by not only the Poetry
and Literature Center, but also the Hispanic Division,
you can sign our signup sheet out in the foyer.
You can also visit our website www.loc.gov.
Speaking of the Hispanic Division, I know most of you got
to check out the collections of Gabriel Garcia Marquez 100 years
of solitude books that we have there,
curated by our reference librarian Heather Gomez.
If you haven't had a chance to check them out, you should.
They're wonderful and exciting and show the history
of that book, which we'll talk about in today's program.
You can read about the participants in today's program
in your print program,
you should all have one at your seat.
But I need to introduce Chris Merrill,
the longtime director of the IWP.
Chris Merrill has published six selections, six collections
of poetry including Watchfire,
for which he received the Lavone Younger Poet's award
from the Academy of American Poets.
Many works of translation edited volumes, among them,
The Forgotten Language Contemporary Poets of Nature
and six books of nonfiction.
His work has bravely been translated
into nearly 40 languages.
And his honors include a Knighthood in Arts and Letters
from the French government.
His journalism also appears in many publications.
As Director of the IWP, Merrill has undertaken cultural
diplomacy missions for more than 50 countries
and I can say personally that Chris is a tireless,
inspiring advocate for writers and writing.
Please join me in welcoming
and congratulating Christopher Merrill.
[ Applause ]
>> Christopher Merrill: Thank you, Rob.
It's a thrill to be here today.
The IWP has had the good luck to partner with the Library
of Congress for the last several years
and this year is an especially rich moment for us.
So, I'm going to read just a tiny little introduction
to what we'll be doing today.
Many years later, when he faced the firing squad,
Colonel Aureliano Buendia was to remember that distant afternoon
when his father took him to discover ice.
So, begins 100 years of solitude,
Gabriel Garcia Marquez's masterpiece,
which was published 50 years ago in Buenos Aries
and is widely regarded as the key text
in the Latin American boom, the literary Renaissance
of the 1960's and 70's that reshaped world literature.
The Columbian novelist, journalist and Nobel laureate,
Garcia Marquez and fellow writers like Jorge Luis Borges,
Julio Cortazar, Jose Donoso, Carlos Fuentes
and Mario Vargas Liosa were not only bold explorers
of foreign history and politics,
but also influential thinkers whose works continue
to inspire intrepid spirits to strike out on their own.
Take that opening sentence, which brings together a wealth
of dispirit elements, a firing squad, a visit to an ice house,
a father and son past and present in the service
of what critics from term, magical realism.
A vision of the human condition that resonated around the world.
In that same year, 1967, the American poet, Paul Engle
and his soon to be second wife,
a Chinese novelist Nieh Hualing hosted the first residency
of the University of Iowa's International Writing Program.
Engle had directed the Iowa writers workshop for decades
and upon his retirement, Hualing convinced him
to start a similar program for writers from abroad,
what he called the craziest idea he had ever heard.
Then he and Hualing proceeded to build the IWP believing
that distinguished foreign poets
and writers would welcome the chance to spend three months
in Iowa City working and exchanging ideas
with their counterparts from other lands.
In this, the Engle's anticipated Kevin Costner's famous line
from Field of Dreams, a film set in Iowa and based on a novel
by a graduate of the writer's workshop who wrote,
If You Build It They Will Come.
With funding from the U.S, Department of State,
the university arranged through philanthropic sources
and through bilateral agreements, the IWP has hosted
over the last half century, more than 1,400 writers
from 150 countries, including 189
from Central and South America.
The IWP, included in this are two prize winning,
two Nobel laurates, Orhan Pamuk from Turkey, Mo Yan from China,
best-selling writers from every continent and major boom figures
like Jose Donoso, the Chilean author of The Obscene Bird
of the Night, as well as post boom writers
like Luisa Valenzuela, the Argentinean author
of the Lizard's Tale
and Gustavos Sainz the Mexican author
of the Princess of the Palace.
In short, the IWP brings together writers
from distant lands in the service of literature,
that magical arena in which all manner of memory's, impressions
and stories continue, combine to address the complicated days
and nights of characters real and imagined
and cultural diplomacy which has been defined as the exchange
of ideas and information.
The result, on the one hand, poems and novels,
plays and films, essays and nonfiction works,
all seeking to bear witness to our walk in the sun
and on the other hand, the gift of cultural exchange,
which is the capacity to entertain a larger,
more nuanced understanding of the infinitely diverse peoples
with whom we share this earth.
That's the theme of what we'll be talking about today
and we'll begin with Cynthia Schneider, the professor
from Georgetown who has, who probably knows more
about cultural diplomacy than anybody on the planet.
Cynthia.
[ Applause ]
>> Cynthia P. Schneider: That's a [inaudible] idea
but thank you, thank you very much.
And it's really wonderful to be here.
I don't want to take up too much of your time away
from these wonderful writers we're going to hear from.
But I think I'm going to begin by quoting a Dutch historian
who said, Johan Huizinga who said,
if you want to understand America, read Walt Whitman,
and after that, watch American cinema.
Now, this idea that you understand a country
through its writers, through its creative writers
who of course are also involved in cinema is
such an important idea, I think, and I wish very much
that it was an idea that policy makers
in America not only believed in but practiced.
I have been trying for the last 10 years to integrate politics
and culture to try to persuade policy makers here
that culture is not just a nice thing
that you praise once a year at the Kennedy Center Honors,
but actually something that is essential
to international relations.
If you look around you can see how successful I've been.
But, this idea came to me when I had the great privilege
of serving as U.S. Ambassador to the Netherlands
under President Clinton and there, I came to that position
as an art historian and in
that position I could see first-hand the power of culture
in the context of diplomacy and with all due respect
to the State Department colleagues here,
they are not implicated in this, I also could see
that the State Department just didn't take culture seriously.
It just puts it to one side and so I have tried
through my position at Georgetown to embrace other ways
and initiatives to try to demonstrate the importance
of culture in diplomacy and the role I think is captured
by great Nigerian playwright novelist, Wole Soyinka,
who said at the one national conference on cultural diplomacy
that was held in November, 2000, at the White House,
Soyinka said, and I'm condensing,
culture humanizes, politics demonizes.
And I think, you know, we've never been more aware
of the latter phrase than we are today.
And this kind of separation of culture
and politics was not always true in the United States.
Interestingly, at times of conflict,
and I would argue we are in a time of conflict now,
when in times of conflict the U.S. Government
and policy makers turn to culture
and have played a very important role.
I'll give you two examples.
One in Latin America, in 1941 there was a symbiotic aligning
of the stars when animators in Hollywood went on strike
and the U.S. Government, taking advantage of this, asked,
invited Walt Disney to create a couple of animated films
for the Latin American audience with the goal
of stemming the tide toward fascism in the lead
up to World War II in South America.
This was kind of an amazing idea when you think about it.
And if you think that is amazing,
what is even more incredible is that the government,
instead of just saying OK go make movies for Latin America,
sent Walt Disney and his whole animating team
on a nine-week tour of Latin and South America to try to,
incredible idea, understand the audience and see
where they are coming from.
And create films that will be, you know, appropriate
and understandable and meaningful
in some way in that context.
And there's a wonderful documentary about this made by,
directed by the son of one of the animators called Walt
and El Groupo, that's what they were called.
And it's based on the letters they wrote back,
because of course that was the means of communication then.
And they produced a couple of films
that really were quite successful.
Did they, you know, they didn't say resist totalitarianism,
they had particularly independent minded speaking
birds and you know, things like that.
But I've had students who said, oh yes, I remember those films,
my parents always talked about those films,
they loved those films.
And so, there is one example and the other is, I think,
very well known to you, the use of culture during World War II.
I'm sorry during the Cold War, and I think what's best known is
of course the jazz musicians who travelled all over the world
and I think such an important point to make
about that particularly in today's climate,
is that these are of course mostly African American
musicians travelling as ambassadors of a government
that suppressed them horribly at home in the United States,
this was during the era of extreme segregation
and the Jim Crow laws.
And what made an incredible impression
on audiences abroad particularly behind the iron curtain,
but in any country with a totalitarian government
which was most countries they visited, was that these artists,
they were there to play music and they did,
but if anyone asked them about their life at home,
they were very honest about it
and what I think is most commendable is
that the state department that sent them knew that.
There's a famous story in Dizzy Gillespie's autobiography
where he says, they wanted me to go
to some briefing before the trip,
but I don't need any briefing, I know what this country is
and I have my own story to tell.
Well, the people who sent him knew that and sent him.
And nobody said, oh you're just musicians, you can't speak,
you don't have anything to say.
And it was this very freedom of expression
that was not only tolerated by the U.S. Government,
but actively supported and actually funded,
that made such an extraordinary impression.
But what we understood in the Cold War, and I think that's
so important in today's context, was it wasn't just
about sending American's abroad,
we also spent a phenomenal amount of money,
some say up to a million dollars a year, publishing
and distributing rush literature from Eastern Europe
and particularly from Russia.
It was the United States that got Dr. Zhivago out of Russia
and [inaudible] writings and not only that,
but also distributed them inside Russia.
So, there was a recognition of something so important
that it's not just about sending Americans around
and American's writings around,
but it's about leveraging local voices, which was something
that really just the United States had the capacity to do.
And getting that word out, getting those creative voices
out and telling the world what was the story of the Gulag
and disseminating it within the vast, then, Soviet Union,
was so important in seeding the idea of freedom
and seeding the idea of a different system.
And when you look at the situation we're in today,
we are locked in a kind of ideological battle
and what's our answer?
Drones, special forces, you know, that has a role,
but we're really talking about ideas here
and we have amongst our writers in every country
that is problematic in this war against extremists,
also has their own writers.
Very often they're suppressed by their own governments,
and I wish that we would spend as much attention and learn
from our own history, lifting up those writers and the ideas
and the vision and the imagination
about individual freedoms and a different kind of life,
a life that's appropriate in that place.
And, you know, we have the capacity to do that
and I think the State Department's support
for this wonderful program shows that, you know,
we know how to do this, at least in the United States.
I just wish the people in the regional bureaus dealing
with all these countries would take this seriously,
because it's a very serious thing,
the incredible work you produce
and everyone should take it more seriously, even when it's funny.
[ Applause ]
>> Christopher Merrill: And now
for the State Department, Amy Storrow.
>> Amy Storrow: Thank you.
I'm looking forward the Q&A afterwards,
we might have [inaudible].
Thank you, Rob, thank you Chris, thank you Iowa and thank you ECA
for this invitation today.
It's really a pleasure to be here.
I'm going to tell four short, tiny stories
and then draw some conclusions from them.
I'm kind of an odd bird in the State Department
in that I myself have a Master
of Fine Arts and Creative Writing.
And I wanted to begin by telling the story of my taking the exam
to get into the Foreign Service.
There was a structured day where they run you through all sorts
of tests and at the end of the day they say,
is there anything you'd like to talk about, and I said yes,
I'd like to explain why a Master of Fine Arts
and Creative Writing is excellent preparation
for the Foreign Service.
And this was my argument, first of all it produces good writers
and you can't write well if you can't think well.
Secondly, it produces people who have read deeply,
and if you've read deeply, you have an understanding
of human consciousness that cannot be gotten
in any other way and what could be more important for diplomacy.
It also means that you've spent extensive time
in creative writing workshops
which means telling people things very gently
that they don't want to hear.
[ Laughter ]
So that they absorb them and telling them things
that they do want to hear that they'll dismiss
because they don't want to be embarrassed by them.
So, that was the background that I came in with.
I guess that speech was successful.
My second tour I had the great privilege of serving in Scopje,
Macedonia as a cultural affairs officer there.
And when I arrived within a day or so I learned
from the cultural affairs specialist there,
[inaudible] that the famous writer, Caroline Forche,
was coming for the Scopje, for the [inaudible] festival
and I had met her when I was 19, and I was dazzled, you know,
I thought this was like Mick Jagger coming
to the states or something.
So, she came and she was spectacular.
She loved the community there.
She met, as did I, Vladimir Martinovski, and the thing
about it was that, you know, back in the states
if I told somebody, even if I told, to be honest,
my fellow Foreign Services officers at the embassy,
a famous poet is coming, they'd say, oh Amy, that's an oxymoron,
there's no such thing as a famous poet.
But there she was, she was like the Dalai Lama, you know,
she was on the front page of all the newspapers.
She did major evening talk shows, they loved her
and she came back more than once, I believe, since then.
What that taught me is that although
in America we have ideas about poetry as a kind
of niche activity, sometimes in a high culture context,
the rest of the world poets and writers are public intellectuals
and they are here to, to a degree,
but sometimes they've been usurped lately by comedians.
Also, there I met Nikola Madzirov, who was a,
IWP graduate who went on to great success.
Caroline and I kind of badgered poor Chris to make sure
that he got into the program, and he went on to,
his work is now available in more than 30 languages
and he's one of the, often called one
of the most powerful voices in European poetry.
That resonated for me what, the hunger for poetry and so I drew
from work of a group that I used to work with called Writers
in the Schools in Houston, Texas,
and decided that what we needed were the writers and residents
that are American spaces, which are like small branch libraries.
So, a woman named Merilee Cunningham agreed to come
and she spent a week in residence at each
of our three American spaces teaching creative writing
to young people.
That program went so well it spread to Serbia
where she worked in all of their American spaces there,
and I also brought a different writer, Tilapia.
The thing about that too was
that there was Merilee Cunningham
on the morning talk show, because in Macedonia
at that time, the idea
of formally teaching creative writing to young people,
that is teaching critical thinking skills,
that is teaching how to think clearly, was not something
that was taken for granted as an activity.
My third little story is my previous job I was head
of the alumni office at the Bureau of Educational
and Cultural Affairs and there we launched a program called
Washington Circle, which is an online talk show.
So, we had the privilege of having the poet, Edward Hirsch,
as a guest to talk about civic engagement in the arts.
And he was a spectacular guest but I think the thing
that really struck me was that the room that,
we did this in the Foreign Press Center in New York,
was full of exchange students, current exchange students
and there were a bunch of people there from China and one
of them, and he was talking you know about all kinds of work
and he mentioned Chinese poets and I think someone thought,
haha, I'm going to play gotcha with Ed Hirsch and said,
well you know, could you talk about some Chinese poets
that have really influenced you?
He said, well you know, for example, Li Po, and they just,
they were staggered, so I think it's really this idea to go back
to what Ambassador Schneider was saying, of mutuality,
that Americans certainly don't know all the answers
about everything, nobody does,
but people to people exchanges are really, really integral
for building common shared language and shared values.
And I wanted to also highlight for you that the next episode
of the show will be on November 8th at 2:00 p.m.
and it will feature Margot Lee Shetterly who is the author
of Hidden Figures, which became a film.
So, if you can watch that, please do.
So, what do we make of all of this?
Why does it matter?
I'm going to argue two things.
First, that there are intellectual gains
at the individual level, which everybody here already knows.
Creative writing in particular, it's the most complex
and nuanced form of freedom of expression that we have
as human beings, that's verbal.
With writers in the schools, that group that I worked
with way back when, and that group, the two poets who came
to Eastern Europe, they've done a bunch of studies
about the impact of their work and what it shows is,
and this was a third party evaluator from University
of St. Thomas, the students who participated
in the program showed measurable gains in writing skills
and confidence in writing and creativity as well
as an overall increase
in standardized test scores compared to a controlled group
who did not participate in the program.
And these are evaluations that have been going on since 1999.
So, at the societal level, what that programs does,
and many others like it, and the work that you do, you know,
you who are participants, is you create the core
of an educated citizenry, and there's nothing more
than important than that.
Another thing at the societal level is that you are all,
you know, a core of public intellectuals and I wanted
to highlight Vladimir Martinovski's work for a second.
I reached back to the Post and asked them, what would then
like me to say here at the Library of Congress,
and they wanted me to talk about Vladimir's work
with the professor's [inaudible].
The main goal is to ensure independence
of higher education institutions and the work and freedom
of expression that then spread from that goal to a wider range.
So, poets are civic activists, it's built into your DNA
because you care about words and you care about thinking
and you care about people.
And we need you, so thank you.
We know there are many distinguished members
of the IWP.
For those of you who are current participants,
I want to highlight some opportunities that are available
to you through the Office of Alumni Affairs.
When you get back home, please do, you know,
knock on your embassy's door or call them, and ask to talk,
if you can, say that you want to get involved if you have time,
teach some workshops, do something, give back,
I know that you want to, I know that's built into who you are.
There are programs through the alumni office,
the address is Alumni.state.gov.
I particularly want to highlight
for you the alumni engagement innovation fund
which offers grants of up to $25,000 for programs
that you design yourselves.
It's a competition that we'll launch again in February.
Because I asked for you, what will you do with your success?
What will you do with your medal that you wear
as a public intellectual?
And I thank you for that and for your time today.
[ Applause ]
>> Christopher Merrill: Thank you Amy.
I do want to say that you're welcome to visit us
in Iowa City anytime you like because that's the one place
in America where if you tell someone you're a poet,
they're excited about it,
which is why we are a city of literature.
Next, we're going to turn to Santiago Giralt, our film maker,
novelist, writer of screen plays from Argentina.
>> Santiago Giralt: Thank you very much.
Well, I will mix a little bit of biographical with a little bit
of some historical ideas.
I want to talk about international changes
versus cultural isolation.
When I was five years old, my sister, one year older,
started studying English in an English Academy.
Back then I wanted to do everything she did,
she was like my twin sister.
So, she taught me how to read a year before I supposed
to learn it in school.
I convinced my mother to go to the same lessons that she went
at the English Academy and a few weeks later
after the classes started,
my mother received a phone call from the academy.
At first, she worried because a phone call was not
like an ordinary thing.
It was not about my sister, it was about me.
Christina, the woman said on the phone calmly to my mother,
you have to pay the tuition for your younger kid.
He's participating in class, solving problems
on the chalkboard, and honestly seems more interested
in the language than your daughter.
So, I started reading English
and Spanish almost at the same time.
Years later there was a famous French song called Joe Le Taxi
by Vanessa Paradix.
I love this song in French, I asked my mom
to send me to the [inaudible].
I've never forgotten the basics
of the language I learned in those days.
American, British, Irish writers made me love English.
I consider myself an anglophile.
Television sitcoms, subtitled movies and books did the rest
until I had some time to immerse in the language when I was 19
and I spent a year abroad.
With my French, I used to go stronger with [inaudible]
after I discovered Marcel Proust and I wanted
to enjoy the [inaudible] themes without subtitles and I hope
to live to learn much more languages, I love languages.
I decided to be a writer in a country
where we have already one sacred cow, Jorge Luis Borges.
And at least a few other international representatives,
[inaudible].
Many people ask me often, more often than I would expect,
how could you write under the influence of [inaudible],
I just respond, he is my influence as much
as Marcel Proust in Virginia Wolf or John Irving.
My nation is human kind,
my influences are not localized geographically.
I would also ask that same person, how could you write
after Cervantes and there would be no Spanish literature
to be begin with.
So, after the Latin American boom, a literary phenomenon
that meant an expansion of Latin American literature in the world
and some of Argentina in particular.
After that, in Argentina we had a big dictatorship
then democracy.
And after the crisis of 2001,
a few years of populous government.
After the crisis of 2001 the politicians in Argentina had
to reveal the identity and the confidence of the nation
by focusing only on internal affairs on local culture.
As a result, the politics became a way to reimagine Argentina
within its own borders and a result of this,
a new form of naturalism and cultural isolation emerged.
It's like the country closed on itself
and we started getting less news about international affairs.
It was all about Argentina
as if it was the only thing that mattered.
So, populism focused their attention on the needs
of Argentina and recreated them to the fractured nation.
But the breech ran deeper and deeper and after 12 years
of populism the rich became, the crack became an abyss.
Now a day's society is divided in two
and the two fractions fight each other in a silent civil war.
And cultural isolation became stronger and stronger.
In Argentina there is only one big airport and less than 5%
of the population travels beyond the bordering countries.
It is a hard place for a free thinker and an artist
who doesn't think the needs
of Argentina history are untouchable
and who questions many of the ideas
that constitute the nations identity.
Actually, my first novel is about an affair
that [inaudible] had with a 14-year-old girl.
So, imagine how I embrace the Argentinian [inaudible].
I am an Argentine who doesn't eat meat, I love traveling and I
like to discuss all the time about the meats of Argentina.
So, where is my haven, where did I find my haven?
First, in the foreign languages that I learned
in visiting other cultures, living inside a foreign land,
which one that is not your mother tongue,
is finding an adopting nation.
To expand this concept, art has become my nation.
For example, I studied a year cowriting and directing a play.
I had to learn many words, for example,
every piece of clothing is called differently in Spain.
A sweatshirt we call buzo, it's called sudadera
and the name we use in Argentina means for them a diver.
A woman's sweater, a pullover for us, would be a [inaudible],
name that came from the Hitchcock movie,
and they use now for the piece of clothing.
And so that's why I had to understand the nuances
of the culture in order to understand basic things,
and we are talking about things like clothing.
I spent the last 11 weeks in Iowa City sharing
in the International Writing Program
with 34 other participants.
Every time we had a discussion about gender, sexuality,
politics, I felt like I was walking on broken glass.
Understanding the boundaries
of every culture was a fundamental aspect
of this experience.
Creating a common ground
to share our experiences was another one.
Artistic exchanges are a way to break cultural isolation,
or at least they are for me.
It creates a land of exploration
for many people beyond the boundaries of their own country
or region and allows people to build a temporary society
with temporary rules that apply to everyone involved.
These rules allow the group to understand its own need.
[ Inaudible Conversation ]
So, these rules allow the group to understand its own needs
and to explore dynamic forms of organization, gender, race,
religion, sexuality, systems of belief, are obliged to coexist
in a parallel society, a micro cosmos
that reflects all societies.
In my own experience, it pushed me to go beyond my comfort zone
and explore the beauty of human bonds.
It's a way to remember how societies are built
and how human forms of organization emerge.
Thank you.
[ Applause ]
>> Christopher Merrill: Thank you Santiago.
And now our last speaker is Enza Garcia Arreaza from Venezuela,
fiction writer and poet.
And I've just learned a fellow lover
of Joseph Brodsky, the poet laurate.
>> Enza Garcia Arreaza: Well, thank you so much
for having me here, it's an honor to be in Washington
as a resident in International Writing Program and I want
to say this, it's an honor to be in front of you,
my colleagues in the program.
For the last time at least for once.
[ Foreign Language ]
Some years ago, a prominent writer from my country asked me,
why do you plan to publish a book with a title
of The Forest of Birches?
In Venezuela, evidently, we don't have birches
or snow or [inaudible].
He said, you should write about what you know, about real life,
about your difficulties of finding a house is Caracas,
about being sad and poor.
So, one day you will discover that you must face and deal
with stupid people who use an abject nationalism
to keep you in your place.
Classists are as uncomfortable with themselves
as with the rest of the world.
For me, first as a reader, and then as a writer,
opening my arms and my mind was the most obvious approach.
My national boundaries were a blur
between [inaudible] coordinates that sooner
or later will become part of my most intimate landscape.
Sometimes I get to like the person I am and that's thanks
to the poets of my country.
Eugenio Montejo, Juan Sanchez Pelaez who was here
in the residency in Iowa, [inaudible], just to name a few,
but I'm also Elliott, Blake, Milton, [inaudible] Brodsky,
especially Brodsky, especially Broksky, [inaudible]
and also Iranian music, and the Irish [inaudible] and colors
and flavors that scare or confuse
but suddenly give you back to the kitchen
of your own grandmother.
We should go beyond the act of surviving.
We should grab the life that, that life is an act of terror
and integrating beauty in the ethical and aesthetic sense.
Overcoming the always new barrier of cynicism
and disappointment, demands sharpen
and arise every moment the [inaudible] diversity
in front of us.
And now [inaudible] I will hate sound like a self-help
or political correctness preacher, but I am not wrong,
I know I am not wrong.
The eternal question about identity also depends
on the fact that we are many in search of the same answer
and on the way, it can be fun and stimulating to recognize
that spark of similarity and difference.
It is good to feel that you belong to a place
but it is much better if you can expand that landscape
and [inaudible] mysteries from another universe.
During my time of International Writing Program,
I saw how people love their own language and at the same time,
develop new facets of themselves in a temporary language.
Each contrast is a new perspective
that allows the [inaudible] to visit new regions
of their spiritual framework.
Writers, we are not easy people but I think that most
of us start from the fundamental conviction,
nothing important can be accomplished without tolerance,
without the divine curiosity that allows us to knock
on a door and peek through.
In Iowa I have the opportunity to translate into Spanish poems
by authors that I have found on my way and to listen
to my own work in other languages.
A poem of mine in Japanese was one
of the happiest revelations of my life so far.
So, once again, it is clear to me
that literature is a human act and therefore political,
not because of its implication or etiological uses,
but because it teaches us nothing more and nothing less
than what we are made of alone and together.
Thank you.
[ Applause ]
>> Christopher Merrill: Thank you Enza,
and we can entertain questions from the audience
and I think we have a microphone that will be going around so
that we can capture this for the recording.
And while we're waiting for you for formulate some questions,
I think I might just say, it seems to me that Santiago
and Enza both gave us really wonderful definitions
of writing, maybe inadvertently
because Santiago described what happened in the IWP
as a dynamic form of organization
which also struck me as being a good way to describe a novel,
right, as a dynamic form of organization.
And Enza was talking about the essential of integrating beauty
which is also what I think we try to do as writers, and Amy,
it occurred to me when you talked about Nikola Madzirov,
I recalled that during his residency we had a night we
called global express of staged plays
and that year we gave the writers a prompt
and Nikola ended up writing a short play together
with an Iranian poet and they wrote it in English
and by the time the play was staged,
neither one could remember who had written which lines,
so I think that's another kind of dynamic form of organization.
So, I'm just treading water here looking for a question
and I have one here, first from Australia and then from Nageire.
>> Thanks for [inaudible] very much in agreement
with your argument for [inaudible] and I wonder
if you're aware of any others like yourself?
>> Amy Storrow: There are four that I know of, yes.
And I would also invite Professor Schneider
to come visit the Educational and Cultural Affairs Bureau.
>> Cynthia P. Schneider: I have, actually many times.
>> Amy Storrow: Oh, I'm sure you have?
>> Cynthia P. Schneider: And I don't want you
to misunderstand what I said, I think you all do wonderful work.
I wish your colleagues and the other [inaudible] would pay more
attention to the work you do.
>> Amy Storrow: I think it's always a work in progress.
>> Cynthia P. Schneider: That's my point,
not that you shouldn't be doing what you do.
>> Amy Storrow: No, I know.
>> Cynthia P. Schneider: But that other,
you shouldn't be isolated.
We talk about isolation and integration and I wish
that you were not so isolated.
I wish that, you know, people working on Pakistan
and Afghanistan were coming to you and trying to understand
through writers, that's all I mean.
>> Amy Storrow: For the record, I actually don't feel isolated,
but thank you for your concern.
>> Cynthia P. Schneider: Good, good.
>> Amy Storrow: And I don't want to get to inside baseball
on this, but it's been really fascinating to me working
in the Educational and Cultural Affairs Bureau
to have the regionals come to us over and over and ask
for more resources, more programs.
It's been really wonderful.
>> Cynthia P. Schneider: I'm so glad to hear it,
that is really fantastic.
I just, I might just go a little bit to your question
since I was appointed ambassador having served,
having been an art historian my whole life
and having done 17th century Dutch art
and travelled many times to Holland and knew the language
and history and the culture and I found that actually
that background as an academic, I mean I taught at a university
where you basically have to do a lot of research,
try to understand a new subject and then talk about it to people
who may or may not agree
with what you're saying, you're my students.
That was great background to be an ambassador
because that's what you have to do all the time
and I do remember, though, the nervousness of my wonderful DCM
and officers the first time I went to talk to the Administer
of Foreign Affairs and Minister of Defense and there is,
I experienced this kind of macho thing
where everybody else can have like notepads
but the ambassador is not supposed to, you're supposed
to know it and talk and not look down to your little notebook
and I could see they were just terrified and just had no idea
if I was going to know what to say or start spouting off
about Rembrandt or something.
And it was hard, but I did memorize a lot in my life
so I was able to talk about strike fighters as much
as about Rembrandt, and I did find that being able to make
that connection as someone who had spent my career
up until then trying to understand the culture
of the country where I was serving, that meant so much
to the Dutch so that I was able to take, you know,
the Prime Minister and the Foreign Minister
around their own museums and show them their exhibitions.
I also did that with my own embassy staff.
There were some great Rembrandt exhibitions and stuff,
so I got them all in when the museums were closed and,
you know, was able to introduce them to the local culture
as well, and I just would mention that I also had,
every ambassador has, it was a wonderful privilege
to have a collection of art in the embassy.
Some go with their own personal collections.
I did not have one and did not do that, but with the help
of the fantastic bureau at the State Department
that supports this program,
I was able to identify just really fantastic works of art
that in one way or another showed the connection
between the Netherlands and the United States
from the Calder Mobile in the front hall to Claes Oldenburg
to William De Kooning as well
as the great Rembrandt Peale portrait of Thomas Jefferson
and you know, that was a regular part of when people would come
to the residence, I would give them the tour
and they would walk in and they could see they may not know what
the works of were but they could see right way that connection
and they loved seeing that connection.
You know, they'd say wow a new American artist thought
that much about Holland.
After, I'll just leave you with one story of the impact
of culture, and this was on someone who worked
at the embassy, I love this.
I left in June, 2001 so I wasn't there for the fourth
of July party and someone I encountered later in July said,
oh my gosh, I was just at your residence,
I was there for the fourth of July party and a member
of your staff gave a me a tour of the collection that you had.
And I said, but it was gone, all the paintings
and sculptures had been sent back to their owners by then,
and the person said, yes that's right, but the person
from your staff loved that collection so much
that they took me through the house and said,
this is what used to hang here, and this is what it looked like
and this is why it was there.
So, that was one of my favorite public diplomacy actions.
>> Yes, thank you very much for your presentations,
I found them very fascinating.
I was listening to [inaudible]
but I have a question for Amy Storrow.
You referred to active cultural diplomacy on the ground
with a lot of open mindedness and you know,
a lot of understanding of the [inaudible]
on American cultural regions, and I was wondering
if this was something that was restricted
to a particular cultural context, is this still going on,
would this be something that would happen
like today, for example?
I ask this question because as the director
of [inaudible] I have a lot of relationships
with cultural diplomacy of various countries,
including your own, and I have had, I've heard the expression
that cultural diplomacy is there to soften the ground
for political and [inaudible] action and I'm wondering
which of these perspectives correspond
to U.S. Cultural diplomacy let's say, over the past 20 years.
>> Amy Storrow: That's a wonderful, thank you Cynthia,
that's a wonderful question.
I think I'm going to take, first the part of it
about when visitors come,
I think I can give a really clear example,
so my first visitor, as I mentioned, was Carolyn Forshay.
This was during the George W. Bush administration time.
And she had some differences with official policy
and so she gave a lot of interviews and in some
of them she spoke against official U.S. policy
and so I consulted my boss, you know,
as a new officer what is a guideline and he said,
this is freedom of expression in action,
this is why we have people
of varying perspectives give their views.
There was another, sort of famous case of that
of Juno Diaz going to Santa Domingo
and speaking very strongly against official U.S. policy
and it really surprised the people who live there
because they assumed that somebody was being paid
by the government on the program had
to speak that government line.
And for them, that idea of freedom
of expression was really eye opening.
As far as softening the ground or not softening the ground,
I think people view these things in different ways.
Sometimes people view things as transactions,
I think that's a very limited way
to view the world generally speaking and ground comes
in all different kinds of states,
but that we are all people and the more we can learn
from each other the better we all are.
>> [inaudible] Mexican writer, and I was wondering,
and this is for everyone [inaudible].
We know that languages create traditions, literary traditions
in some way handling American literature relying
to English tradition
and of course that's an American tradition and Spanish tradition,
but how important is it these days
if we could have American tradition
across the whole continent like we have the European tradition
in European literature, I think how important it is to build
that tunnel or that wall that they are building right now
that will open up a whole literature of Americas
and we stop saying it's really in English, or really in Spanish
and say it's really on this continent
and it's really important and matters to all of us
and what are the efforts that are being done to build
that bridge, literature bridge and break this idea
that it's English versus Spanish, if America is one
and [inaudible] any thoughts or ideas
of how build this bridge [inaudible]
about the Americas and not America?
>> Christopher Merrill: Santiago or Enza?
Do you want to take that up?
>> Santiago Giralt: I think is sounds utopian the idea
that we could breech the language differences
because even in South America the Portuguese who had the
like the population of almost of all the rest
of the countries together becomes a barrier
because translations are [inaudible] so little
and I also feel like, in my country in particular, literacy,
we have a big literacy, like there's a lot
of literacy in Argentina.
I mean, kids could read,
but there's very little public library's,
very little bookstores left.
Like there's some small towns
that don't even have a bookstore.
Somehow, I still feel like the fight has be again,
first it needs to be stronger locally and it needs to be kind
of like pushed from the local countries.
In Argentina, in Buenos Aries luckily it seems like a paradise
because the bookstores stay open until midnight
and there's beautiful café's and some big theaters have turned
into beautiful bookstores.
But if you go beyond the borders of Buenos Aries,
the fights, it's strong.
Like I remember when I was a kid, there was this truck
who would come to the town with books and it was
like a [inaudible] bookstore and I would go there and spend time
because my hometown had only one library that was like really,
really, really old and nobody wanted to have them.
So, I thing before that, somehow, I feel like we have
to create readers for the future because all the kids are
with their cell phones and with their pads and stuff like that,
so in a way I feel that before I could think
of this broader idea I think with stronger literacy and more,
yeah, more access, better access to books,
I think it's a fight I would go
for in my own country to begin with.
>> Christopher Merrill: Santiago, as you said that,
I was remembering being in Aman, Jordon last December and we went
to an event and when we came outside there was a car covered
with books and it turned out it was this guy who would drive
from village to village to sell books for, you know,
like a dollar and bought a couple books from him.
I think, yeah.
>> First of all I'd like to say hello to Christopher,
I haven't seen you in almost a decade.
My name is Tracey [inaudible] and I am a retired art historian
and for a number of years I worked at the Hirshhorn Museum
and Sculpture Garden and it was during that time
that through the Department of State a colleague of mine,
we coordinated a program with the International Writers
and The Hirshhorn had in place a program called Music Art
to Inspire Writing and the writers would come.
Do you still remember that?
And they would-- .
>> Christopher Merrill: I also remember you sent one
of your great proteges to the Des Moines Art Center
and she's still there, I think, right?
>> Yes. And the writers would come and read collectively
from the works in one of the galleries
and the next day Christopher would select a group of writers
who conducted a workshop with the locals
who in turn produced writing that was read
on Sunday afternoons and all of this was put in a bulletin
and had quite a following and he was there from 2002 to 2005.
So, I'd like to thank you and I happened to get the email
and discovered that you were going to be here,
that's why I came here and invited my colleague [inaudible]
from Pennsylvania and she was trying to get here to say hello
to you as well, so I'm very happy to be a part
of this program, thank you so much.
>> Thank you.
[ Applause ]
>> Christopher Merrill: Let's go here and here.
>> Hi, I'm just wanting to add [inaudible] to the comment
about [inaudible] because I've been in the business sector
for a very long time and one of my exit interviews was
about the [inaudible] for women directors [inaudible] I just
wanted to ask, to what extent do you have your writing
[inaudible] your writing goes to the masses of ordinary people
because one of the best things I've found
in Iowa was not the readings of the people [inaudible],
the readings to the community.
Because it was just amazing that their questions [inaudible]
so how did you do that in your own countries?
>> Enza Garcia Arreaza: I think, I don't have that in mind
when I'm writing because it's dangerous.
I just want to write for the people who is there
in that moment, for someone who needs to read that story
that I brought to life.
And I don't know, I mean, after my last book, someone told me,
oh I don't like anymore your writing
because you're not sexy anymore, you write now a lot
about Japanese reference, now your characters talk
about the books they are reading in that moment.
Your writing now is like too serious
for a small group of people.
And well, I don't know, it's sad but I don't want to write
for a specific audience, I just want to be
who I am when I write.
The other day, with Natasha in the class, I said something
that really moves me now, I said, you know I hate people,
it's difficult for me to be among a crowd but when I write,
I really love the things, the words, the characters,
the humanity, so in the end I really love that person
that I am when I write.
And that's it.
Thank you.
>> Santiago Giralt: What I could add only is as a film maker,
you have more pressure from the production structure to think
about your viewers because it's a more,
although the publishing industry could be tough,
the film industry there's so much money you have to back
that they really think about the audience,
so you are in this conversation,
sometimes you get these screen tests that are really weird.
So, that's why I do the [inaudible]
to be free from that.
And to expand the possibilities of that.
I also got my first novel got published by mistake
because it was financed for this international price
so I didn't even, like think it would be published so quickly.
So, yeah, I really, but what I really love from literature is
that the feedback that you get from your readers it's
so intimate, it feels, people like talking
about themselves much more than when they're talking
about movies because a movie is more like a social thing
and literature is so private.
Even my mother reads my novels like my diary
and so goes crazy every time.
I also wanted to say that I would like to remember
so other Argentinian writers that came
to the International Writers Program.
One of them happens to be one of my greatest friend.
He's [inaudible] and [inaudible] another writer/director,
Christina Pena, like I know many of them and I really think
through the years many people who have been lucky enough
to be part of the program have become lamplights for the,
how you say, lanterns, yeah, for all the ones
who were coming behind, so I even wanted to come
to the International Writers Program when I read it
in the cover of one of [inaudible] books,
he's one of my favorite writer,
oh what is this, I want to go to it.
It's also, it becomes a utopian place to be a part when you feel
like your country is not really getting your inner poetry,
you inner self and so, yeah.
>> Christopher Merrill: I'm so glad you mentioned Martine,
who is both a fiction writer and a film maker and that year,
for a variety of reasons, the writers had roommates
and his roommate was the playwright Mike Finn,
and I said to him one day, so, how is it with Martine
and he said, well you know, I wasn't really planning to write,
I was planning to enjoy myself here
but Martine writes everyday so, now I'm writing.
There was a question here?
>> So this for both Amy Storrow and Ambassador Schneider.
I'm wondering, from being out in the field,
did you see other countries doing cultural diplomacy,
did you see them doing it differently,
do you see this agenda being more important
for like the smaller countries
or perhaps other larger countries?
>> Cynthia P. Schneider: Well, I might tie an answer to that
into coming back to the other Cynthia's question
when you were asking about culture kind of softening,
softening the ground and I think
that there is also this entity called public diplomacy
which is different from cultural diplomacy, particularly
as hearing about it practiced here and the larger
in the United States State Department,
the largest bureau is public diplomacy
with the mission really of promoting the understanding
and acceptance of America's policies,
which is think is a fabulous idea from the 1950's and not
so appropriate now in this age of global communications
and fortunately, you can talk about this more
but I have the sense that the way cultural diplomacy operates
is more in the way of cultural relations
and interestingly enough, the British have gotten rid
of the word cultural diplomacy, and just talk
about cultural relations.
I think to avoid the idea of what you said,
that this is not a kind of backdoor way into getting you
to accept what other nefarious policy we want you to accept
so while you're up watching a science movie we're doing this,
and you know, and even, and cultural diplomacy is a term
which I've used a lot, I'm increasingly troubled with it
because it has that kind of sense of, I have a goal
and I'm going to use this to get to that goal,
but I think what you've heard today is much more in the nature
of cultural relations and cultural exchange, whatever,
you know, whatever it might be called.
I've seen some examples, I think that I really admire
that are more in the way of this leveraging local voices idea,
and it is often the smaller countries,
although Great Britain has bee doing this for a long time and,
you know, the whole structure is different with other countries
where they tend to, Great Britain, France, Italy, Spain,
they all have, Scandinavian countries,
they all have a slightly separate arm's length division
that takes care of culture and so, they're a little bit less,
in my experience, I'm sure there's some exceptions to this,
but there may be a little bit less
about promoting their culture per se
as leveraging local cultures.
I saw for example a fantastic, no you don't think so,
well I'll just give you a couple of examples that I have seen,
they may not do it all the time, but a fantastic hip hop event
that the Scandinavians did in Alexandria in Egypt bringing,
you know, providing a stage and a platform and the opportunity
to perform to local hip hop groups, which they don't have
but that's what they want, to be able to reach their audiences.
At the same time, the way this may have changed,
this was about six or seven years ago,
at the same time the United States policy was
to send American artists to places,
so those are two different approaches.
I'll give one other example that I think was really brilliant,
which is what Great Britain did during the Olympics
with Shakespeare and it was a fantastic way, I think,
of showing how global Shakespeare is and that is
that they invited performances of different Shakespeare plays
in local languages and in local idioms
and they were performed every night at the Globe.
And you know, I don't know who assigned the plays,
it was kind of weird, like China had Richard the Third
and of all things, Pakistan had the Taming of the Shrew.
So, there were some odd things,
but the plays were really incredible and what a way,
you know, without saying, Shakespeare is global,
it just came out through all the performances.
>> Amy Storrow: I would say it a tiny bit differently
but not hugely, from my perspective and I think
from the perspective of the State Department,
cultural diplomacy is part of public diplomacy
and it's also a subset of exchange programs.
So, one interesting thing,
you are all exchange program participants who came here
on J-Visa's, which are foreign exchange programs.
It's how many of them are bilateral agreements?
So, for example, the Fulbright program I believe that funding
from Germany is three times the amount of American funding
that goes into the Fulbright Program.
So, many of these programs are in fact, they go both ways,
so the more that we can collaborate with each other
and not view it as a competition, I think is great.
There are models out there that I admire,
I think that what the Brits do, or what the British do
with English in particular is very impressive,
but I think we've all got a lot to learn from each other
and I do want to go back
to the softening the ground comment for a second.
It's an interesting idea but I don't think that life works
that way, hahaha, we're going to send Cynthia on a program
and then or nefarious plan next,
to go back to Ambassador Schneider,
then this will happen, you know, like it's far to complicated
and complex for that kind of thinking
for that to really work.
I am a kind of true believer and a purist in a lot of ways.
And I really, really believe that exchange programs
and cultural programs, but all kinds
of exchange programs are what make the world a stronger,
safer, better place.
Right now, around the world, one-third of all current heads
of state or current heads of government, exchange alumni
of U.S. Government funded programs like this one.
It's a tremendous legacy that you share,
you as alumni, or as almost alumni.
>> [inaudible] and I'd like to make a comment
about Professor Schneider [inaudible] presentation.
It is so important that indeed poetry
and writers are [inaudible] in many countries.
In Chili [inaudible] a national day of mourning
and this [inaudible] in Latin America
and [inaudible] in the United States.
So, thank you for explaining all that.
Excellent.
>> Christopher Merrill: Thank you.
>> Cynthia P. Schneider: You know,
I would just recall a former poet laurate, Robert Pinsky,
here who had a wonderful project called the Favorite Poem Project
that he did around the year 2000.
And, just to say, I think it is absolutely true
that we don't have the same, I think we do have the same kind
of public intellectuals but again,
for whatever reason we don't take them as seriously
as they are in other countries, which are absolutely right
and Palestine [inaudible] is really the founder
of the country or Iqbal or Pakistan, and yet,
why don't we automatically say Walt Whitman here.
I don't know, but Robert kind of punctured that idea
with his wonderful Favorite Poem Project where he,
and this was before the internet really,
he was really interviewing people all over the country,
all different walks of life,
asking them what was their favorite poem,
and the book puts it all together,
the construction worker loves Walt Whitman
and the Cambodian refugee loves Langston Hughes,
there's two examples I remember, but these are very much people
from all walks of life for whom poetry is really important.
So, I think it's out there but somehow,
we just don't see it as much.
>> Amy Storrow: I think that Chili had some model
of Neruda to draw from.
Yes, yes, as a diplomatic poet and I read once
that more Neruda has published more books than any other work
of literature except for the bible.
So, that is a global legacy right there.
>> Christopher Merrill: We were getting the look
but hands keep going up.
>> Rob Casper: I think we're going to end things.
You do have the opportunity, though, if you want to talk
to all of our panelist afterwards, please do so.
[inaudible] showed herself.
Mary Jane Deeb, the chief
of the African Middle Eastern division is here.
Our areas study divisions have amazing reading rooms
and if you're not scheduled to go see them,
African Middle Eastern, Hispanic, European and Asian,
you should check them out today while you're here
and maybe meet the curators
that are responsible for your countries.
But for now, let's thank our panelists,
thanks so much for being here.
[ Applause ]
>> This has been a presentation of the Library of Congress.
Visit us at loc.gov.
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