On Monday 29 June 2015, acclaimed Polish writer Mariusz Szczygiel joined an audience at the Frontline Club to introduce the film Gottland and to discuss his book of the same name. Bloomberg News writer Doug Lytle joined the panel for a discussion on Szczygiel‘s ongoing interest in Czech culture.

The international bestseller Gottland: Mostly True Stories from Half of Czechoslovakia, published in English in late 2014, was awarded the European Book of the Year prize in 2009. The book attracted the attention of a group of young Czech filmmakers, who decided to use the text as a starting point for their collection of filmic interpretations.

“The film is inspired by my book, but it doesn’t illustrate it,” Szczygiel said. His remarks were relayed by Gottland translator Antonia Lloyd-Jones, who has also translated works writers including Ryszard Kapuscinski and Wojciech Jagielski.

Szczygiel explained to the Frontline Club audience his reasons for learning the Czech language. He wanted to tell the extraordinary life story of Czech singer Marta Kubišová but, as none of her family, friends and colleagues spoke English or Polish, he was unable to interview her. “So I did learn the Czech language for a particular singer,” he admitted.

Szczygiel elaborated on his views on the differences between Czech and Polish people with a number of personal stories. “I’ve got two posters at home,” he said. Both of them were designed to promote the 1965 Czech New Wave classic, Love of a Blonde by Miloš Forman. “The Czech one says [the film is] a comedy, the Polish one a psychological drama.”

Despite the many evident differences, the author concluded that the nations have more in common than one would expect. “Deep inside we’re exactly the same: sad, depressed. We have similar dramas inside. Except in one case it comes out as humour, to kill it a bit, and in the other version it comes out as melancholy,” Szczygiel said.

“I don’t speak about stereotypes; I give you facts,” Szczygiel remarked. He then went on to give an example of a feature of Czech identity that he has found to be largely true: “When a Czech man sits with his beer, it’s as if he was sitting in his own private church.”

Lytle concluded the discussion by asking about the second volume of Szczygiel‘s portrait of the country, Udělej si ráj (Make Your Own Paradise). The book has not yet been published in English, and explores, amongst other things, the regular occurrence of strictly religious Polish people living side-by-side with their atheist Czech neighbours, whose homeland is often described as the ‘most secular country in Europe.’

Click here for more information about Gottland: Mostly True Stories from Half of Czechoslovakia.

This screening will be preceded by a discussion with author Mariusz Szczygieł, translator Antonia Lloyd-Jones and chaired by Bloomberg News writer Doug Lytle.

The Frontline Club is delighted to partner with Czech Centre London, the Polish Institute and the 13th Kinoteka Polish Film Festival to bring you a screening of Gottland, directed by Viera Cákanyová, Petr Hátle, Rozálie Kohoutová, Lukás Kokes, Radovan Síbrt, and Klára Tasovská. Gottland is a cross-genre film based on selected parts of the international bestseller Gottland: Mostly True Stories from Half of Czechoslovakia (European Book of the Year 2009) by Mariusz Szczygieł.

After reading his book about their compatriots, a group of young Czech filmmakers approached the Polish author to ask for his thoughts and advice on a film project based on five of the true stories he tells. Szczygieł replied that for a filmmaker, the best author is a dead, or at least a silent one, and that he would prefer to leave them to interpret his stories in their own way. The result is a film in five very different parts, each episode a spin-off from Szczygieł’s originals, rather than a retelling.

This event combines the literary and the cinematic versions. The screening of the Czech film will be preceded by a discussion with Mariusz Szczygieł about the source of inspiration for his moving and at times shocking accounts of the life stories of: the film star who was Goebbels’ mistress; the despotic founder of a shoe-making empire; the sculptor who lost his life creating the world’s biggest monument to Stalin; the writer who reinvented himself for political survival; and the ‘human torch’ who copied Jan Palach’s fateful gesture as recently as 2003.

Born in 1966, Mariusz Szczygieł has been a reporter for Gazeta Wyborcza since 1990. He is the recipient of numerous awards for his writing on Poland and Czechoslovakia, including the Europe Book Prize and the Prix l’Amphi for Gottland. From 1995-2001, he hosted his own talk show (Na każdy temat – ‘On Any Topic’), and he runs the Polish Reportage Institute in Warsaw together with Wojciech Tochman and Paweł Goźliński.

Translator Antonia Lloyd-Jones is the pre-eminent translator of Polish reportage: the authors she has translated include Wojciech Tochman, Wojciech Jagielski, Jacek Hugo-Bader, and Ryszard Kapuscinski. She received the Found in Translation Award from the Polish Cultural Institute in 2008 for her translation of Pawell Huelle’s novel The Last Supper.

This event is organised by the Polish Cultural Institute in London as part of the 13th Kinoteka Polish Film Festival in partnership with Czech Centre London.

Gottland (FILM)
Directed by Lukáš Kokeš, Petr Hátle, Viera Čákanyová, Rozálie Kohoutová, Klára Tasovská, Radovan Síbrt
Duration: 100′
Year: 2014
Czech Republic/Poland/Slovakia

Gottland: Mostly True Stories from Half of Czechoslovakia (BOOK)
By Mariusz Szczygieł
Translated by Antonia Lloyd-Jones
Published by Melville House
Year: 2014

On 3 November the Frontline Club hosted an event organised by the Czech Centre London, the insight with Michael Žantovský was part of the ‘Made in Prague’ festival season. Michael Žantovský, who is the current Czech Ambassador to the Court of St James, was discussing his new book called Havel: A Life. 

Václav Havel was elected as President of Czechoslovakia in December of 1989 after 41 years of communist rule. His political activities during the communist regime brought him under the surveillance of the secret police and led to multiple prison stints, including a four-year incarceration between 1979 and 1983. His Civic Forum Party played a major role in the Velvet Revolution, and Havel himself was instrumental in dismantling the Warsaw Pact and expanding NATO eastwards.

In January 1990, Žantovský served as Havel’s spokesman, press secretary and advisor. It was in this capacity that he was able to address a sold out Frontline Club about his lifelong friend. Not only could Žantovský provide a unique perspective on Havel as a statesman, but also as a playwright, essayist, dissident and philosopher. Alongside Žantovský sat Edward Lucas, senior editor at The Economist, and he began the questioning around the issue of Havel’s death in 2011 and what effect that had.

“It brought back many a memory and it bought back the importance of the man,” Žantovský said. “It was not quite self evident at the time [because] the last few years of Havel’s life were years of personal decline and also of some public amnesia of sorts and one could be forgiven for having the impression that he was no longer relevant to the events of the day . . . and then he died and it came as a shock to so many people and the public response was so emotional, so spontaneous and so massive that all of a sudden people realised what he meant for history, what he meant for the Czech nation and for the Slovak nation as well and some of us, including myself, realised what he meant to me personally.”

The interview then led us through Havel’s early life as a playwright and focused particularly on Havel’s 1963 play, The Garden Party, which Žantovský commented, “was an excellent metaphor for the Communist system” as it focused upon a “bureaucratic, heartless system which is only concerned with its own self preservation and with the internal struggles and games that it plays”.

Conversation then zoned in upon Havel’s political dissidence to which Lucas asked about Havel’s role in “nurturing the sentiment of independent thought”. Žantovský replied:

“Havel for a time actually went along with the way. He moved out of Prague with Olga, he stayed . . . in his country house, and he was not – he was watched – but he was not overly bothered as long as he stayed where he was . . . as long as you were not publicly active they, the system, did not necessarily hold it against you, you know, they would let you live a nice life if you didn’t bother them.”

Žantovský then went on to describe a series of events which led to the conclusion, in Havel’s mind that, “If the situation is to change he couldn’t wait for the other side to make the first move, he would have to make the first move.”

The rest of the interview covered topics such as his unconventional marriage, the chaos surrounding the abrupt fall of the Berlin wall, and the common misconceptions surrounding Havel’s character. When the floor was opened to for the question and answer session, Žantovský fielded numerous questions about Havel and his relationship with Václav Klaus. Žantovský replied:

“Again [there is] this stereotype that Václav Havel and Václav Klaus were antagonists who were at loggerheads throughout their political lives and couldn’t get along. I think it shows that, you know, for all their differences and they had significant differences and I comment on a couple of those, they were real politicians, and as politicians they both realised at certain points they couldn’t get some things done without each other. . . . They were able to forget about their differences and do the important things together.”

You can order a copy of Michael Žantovský’s book Havel: A Life here.

Watch and listen to the talk here:

This event is organised by the Czech Centre London.

Twenty five years ago in December 1989, Václav Havel was elected as President of Czechoslovakia, marking the end of the Velvet Revolution and with it, the culmination of 41 years of communist rule.

Before becoming a statesman, Havel was a playwright, essayist, dissident and philosopher. His political activities during the communist regime brought him under the surveillance of the secret police and led to multiple prison stints, including a four-year incarceration between 1979 and 1983. His Civic Forum Party played a major role in the Velvet Revolution, and Havel himself was instrumental in dismantling the Warsaw Pact and expanding NATO eastwards. Above all, however, he remained an intellectual and an artist.

By his side throughout was Michael Žantovský, Havel’s press secretary, speech-writer, translator and close friend. The pair met as dissidents under communist rule and remained close until Havel’s death in 2011. Žantovský will be joining us in conversation with Edward Lucas, senior editor at The Economist, to bear witness to Havel’s extraordinary life as documented in his new book Havel: A Life, and to share his own experiences of living through the Velvet Revolution and the formation of the Czech Republic.

Michael Žantovský is the current Czech Ambassador to the Court of St James. He was among the founding members of the movement that coordinated the overthrow of the communist regime. In January 1990, he became the spokesman, press secretary and advisor to his lifelong friend, President Václav Havel. He has combined a career in politics and the foreign service with work as an author and translator into Czech of many contemporary British and American writers.

Part of the Made in Prague Festival, 17 October – 30 November 2014.

On Wednesday 19 June, the Frontline Club audience burst into spontaneous applause to the precision choreography of a Transnistrian military parade. The footage was part of the documentary film Fortress, shown at the preview screening of Open City Docs Fest, supported by the Czech Centre London as part of One World Echoes in London.

Capturing aspects of everyday life in the unrecognised Pridnestrovian Moldovian Republic, from televised propaganda to school graduation ceremonies, the film offered rare insight into the little-known world that is also known as Transnistria. Czech director Lukáš Kokeš explained what his film was about:

“It’s not only about human rights, and not only a travelogue about an exotic country. The main topic for us was the atmosphere of that place, and we called it Fortress because we think that in every country there is a kind of a fortress. It shows us that Transnistria, with its corruption and its absurd regime is not so far away as we thought. So I think sometimes we all live in a small fortress called Transnistria.”

Moderator and Founding Director of Open City Docs Fest Michael Stewart kicked off the Q&A:  “As young chap who wasn’t, I’m sure, familiar with the occupation of your country by the great Russian forces, how come you made this particular film?”

“The biggest motivation for us to go there and make a film was that we didn’t know about the existence of this territory, or country,” replied Kokeš. “Often the territory is described as a dangerous place where you should never go; so we wanted to explore it and fill this black gap on the European map. … We felt we were connected to the reality there, as it was similar to the communist past of our country.”

“There are speculations,” responded Kokeš, to a question on arms smuggling:

“They may have been sold in the 90s. The main income for the state comes from smuggling. They are smuggling food, cigarettes, alcohol, everything that comes from Ukraine goes through Transnistria. And there it gets lost. The son of Igor Smirnov, the [former] President, was the head of border control.”

“The fear of the people,” was the main obstacle the team faced in filming:

“This situation is similar to the Czechoslovakian reality during the 70s or 80s,” said Kokeš. “Because people fear they could lose their jobs, they don’t want to criticise the regime.”

He added, “It’s very interesting that nowadays:

“The secret service in Transnistria, at that time when we were shooting it was called MGB, which means Ministry of State Security; after the new President was elected – he was perceived as big hope, as a democratic force – he changed the name from MGB to KGB again.”

On internet access in the territory,  Kokeš observed, “there’s only one internet provider, controlled by the state”:

“The internet is there, you can surf, find everything you want, but you are being watched. Last month they started to block all the opposition sites, or the forums where people are discussing political issues. So it’s very easy for them to control.”

Asked about the potential resolution of the territorial conflict with Moldova, Kokeš replied:

“The propaganda is very, very strong. After 20 years they succeeded to make this brainwashed generation, because even the young people, they told us that Moldova is enemy territory to them. Officially there is still war between Moldova and Transnistria. Only they are not fighting. So Moldovans are enemies to them.”

To conclude, Kokeš described how the project changed his own perception:

“I was expecting a Soviet open-air museum. I expected only old cars, but suddenly there were pink Hummers. So I started to think things are more complicated. We started to ask people how could they describe the regime: is it socialist or democratic or dictatorship or something in between? And they said: it’s very complicated. It’s anarchy, it’s oligarchy, it’s democracy but with its own rules, it’s a complex problem.”

Fortress was presented as part of the One World Echoes in London series, supported by the Czech Centre London and in collaboration with One World Prague.

Upcoming films in the series are Black Out and Stone Games, both at Open City Docs Fest on Sunday 23 June.