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Jerzy Kosiński (name bestowed upon him by his father while in hiding from the Nazis, original name: Josek Lewinkopf) (June 18, 1933 – May 3, 1991) was a Polish-born Jewish English-language novelist, who acquired American citizenship.

Early life, teaching, and marriage

He was born in Łódź. As a child during World War II, he survived under a false identity in a Roman Catholic Polish family in eastern Poland. A Roman Catholic priest had issued him a forged baptismal certificate.

After World War II, Kosiński was reunited with his parents and earned degrees in history and political science in Poland (at University of Łódź), and worked as an assistant in the Polish Academy of Sciences (Institute of History and Sociology). In 1957 he emigrated to the United States.

He graduated Columbia University, and was a fellow of Guggenheim (1967), Ford (1968), and American Academy (1970).

In the USA he was a lecturer at Yale, Princeton, Davenport University, and Wesleyan. In 1965 he became an American citizen.

In 1962 he married 18-years-older American steel heiress Mary Hayward Weir, who in 1968 died of brain cancer. He later married Katherina von Fraunhofer, a descendant of Bavarian aristocracy.

Novels

Kosiński is perhaps best known for his novels The Painted Bird (1965), Steps (1968), and Being There (1971). Almost all of Kosinski's novels were on the New York Times Best Seller list, and they were translated into over 30 languages, with total copies estimated at 70 million in 1991.

The Painted Bird describes the experiences of a boy (of unknown religious and ethnic background) wandering about a surreal Polish countryside and hiding among cruel peasants, the novel is presumably a metaphor for the human condition: alienation in a dehumanized, hostile, and thoroughly evil world. It was viewed by Arthur Miller and Elie Wiesel as one of the most important books in Holocaust literature. Wiesel wrote in The New York Times Book Review that it was: "One of the best... Written with deep sincerity and sensitivity." Norman Finkelstein, an assistant professor of political science at DePaul University and the son of Holocaust survivors and a controversial figure himself,, commented on Wiesel's review by stating in his controversial book The Holocaust Industry: "Long after Kosinsky was exposed as a consummate literary hoaxer, Wiesel continued to heap encomiums on his "remarkable body of work"."

Richard Kluger, reviewing it for Harper's Magazine, wrote: "Extraordinary... literally staggering ... one of the most powerful books I have ever read." And John Yardley, reviewing it for The Miami Herald, wrote: "Of all the remarkable fiction that emerged from World War II, nothing stands higher than Jerzy Kosinski's The Painted Bird. A magnificent work of art, and a celebration of the individual will. No one who reads it will forget it; no one who reads it will be unmoved by it. The Painted Bird enriches our literature and our lives."

Although some readers assumed it was based on the author's experiences during World War II, the book was published and marketed as "fiction." Most of the events depicted are now widely considered to be fictional. Some readers accused Kosiński of anti-Polonism; others argued that The Painted Bird is a misinterpretation of the metaphoric nature of the novel. In newer editions Kosiński explained that his characters' nationality and ethnicity had intentionally been left ambiguous in order to prevent that very interpretation.

Steps (1968), a novel comprising scores of loosely connected vignettes, won the National Book Award in 1969.

Being There was made into a 1979 movie directed by Hal Ashby, starring Peter Sellers. The screenplay was written by Kosinski, and won the 1981 British Academy of Film and Television Arts (Film) Best Screenplay Award, as well as the 1980 Writers Guild of America Award (Screen) for Best Comedy Adapted from Another Medium. It was also nominated for the 1980 Golden Globes Best Screenplay Award (Motion Picture).

Controversy

In June 1982, a Village Voice article accused Kosiński of plagiarism, claiming much of his work was derivative of Polish sources unfamiliar to English readers. (Being There bears a strong resemblance to Kariera Nikodema Dyzmy — The Career of Nicodemus Dyzma — a 1932 Polish bestseller by Tadeusz Dołęga-Mostowicz). The article also claimed that Kosiński's books had actually been ghost-written by his "assistant editors," pointing to striking stylistic differences among Kosiński's novels. New York poet George Reavey, who in American biographer James Sloan's opinion was embittered by his own lack of literary success, claimed to have been one of the "editors" who wrote The Painted Bird. Reavey's assertions were ignored by the press. The article presented a different picture of Kosiński's life during the Holocaust — a view which was later supported by a Polish biographer, Joanna Siedlecka, and Sloan. The article asserted that The Painted Bird, assumed by some to be semi-autobiographical, was a work of fiction. The article maintained that rather than wandering the Polish countryside, Kosiński had spent the war years in hiding with a Polish Catholic family and had never been appreciably mistreated.

The Voice reporters offered the testimony of several free lancers formerly in Kosinski's part-time employ, including Barbara Mackey, the assistant who worked on The Devil Tree. When she was contacted by the Washington Post Book World, however, for a follow-up story, she insisted, "I did nothing but editing," and went on to criticize what she called the Village Voice's "shoddy journalism." Furthermore, she continued, the article's authors asked her "leading questions."

In a Publishers Weekly article, Les Pockell, the editor of Passion Play and The Devil Tree, said that the charges were "totally ludicrous. It's clear no one in the article is asserting that he or she wrote the book." Because Kosinski was "obsessive" about his writing, Pockell continued, "he retained people to copy edit." Pockell told the Los Angeles Times Calendar that he felt the article's authors "played upon the ignorance of the general public about the conventions of publishing," and "to turn Kosinski's working methods into something sinister makes one wonder about their motives."

Kosiński's defenders also assert that these accusations ignore the stylistic differences apparent in the work of almost any artist over a period of more than a few years.

In a letter to the Village Voice, Austen Olney, editor in chief of Houghton Mifflin, wrote:

"I have been marginally involved with the three Kosinski novels published by Houghton Mifflin and can attest to the fact that he is a difficult and demanding author who makes endless (and to my way of thinking often niggling) corrections in proof. I have been sometimes overwhelmed by his flamboyant conceits and his artful social manipulations, but I have never had any reason to believe that he has ever needed or used any but the most routine editorial assistance. The remarkable consistency of tone in all his novels seems to me sufficient evidence that they all come from his hands alone."

Terence Blacker, an English publisher (who published Kosinski's books) and author, wrote in response to the article's accusations in his article published in The Independent in 2002:

"The significant point about Jerzy Kosinski was that ... his books ... had a vision and a voice consistent with one another and with the man himself. The problem was perhaps that he was a successful, worldly author who played polo, moved in fashionable circles and even appeared as an actor in Warren Beatty's Reds. He seemed to have had an adventurous and rather kinky sexuality which, to many, made him all the more suspect. All in all, he was a perfect candidate for the snarling pack of literary hangers-on to turn on. There is something about a storyteller becoming rich and having a reasonably full private life that has a powerful potential to irritate so that, when things go wrong, it causes a very special kind of joy."

John Corry wrote a 6,000-word feature article in The New York Times in November 1982, responding and defending Kosinski, which appeared on the front page of the Arts and Leisure section. Among other things, Corry alleged that the Voice article had been indirectly inspired by a smear campaign conducted by the Polish Communist government.

Kosiński himself responded that he had never maintained that the book was based on autobiographical events, and by writing The Hermit of 69th Street (1988), in which he sought to demonstrate the absurdity of investigating prior work by inserting footnotes for practically every term in the book.

TV, radio, film, and newspaper appearances

Kosiński appeared 12 times on The Tonight Show with Johnny Carson during 1971-73 and The Dick Cavett Show in 1974, was a guest on the talk radio show of Long John Nebel, posed half-naked for a cover photograph by Annie Leibovitz for the New York Times Magazine in 1982, and presented the Oscar for screenwriting in 1982.

He also played the role of Bolshevik revolutionary and Politburo member Grigory Zinoviev in Warren Beatty's film Reds. The Time magazine critic wrote: "As Reed's Soviet nemesis, novelist Jerzy Kosinski acquits himself nicely--a tundra of ice against Reed's all-American fire." Newsweek complimented Kosinski's "delightfully abrasive" performance."

Suicide

In 1979 Kosinski told a reporter: "I'm not a suicide freak, but I want to be free. If I ever have a terminal disease that would affect my mind or my body, I would end it."

Kosiński committed suicide on May 3, 1991, by taking a fatal dose of barbiturates and his usual rum-and-Coke, twisting a plastic shopping bag around his head and taping it shut around his neck (a method of suicide suggested by the Hemlock Society), and lying down to die in water in the bathtub in his West 57th Street New York apartment.

His parting suicide note read: "I am going to put myself to sleep now for a bit longer than usual. Call the time Eternity." (Newsweek, May 13 1991).

Bibliography

• The Future Is Ours, Comrade: Conversations with the Russians (1960), published under the pseudonym "Joseph Novak"
• No Third Path (1962), published under the pseudonym "Joseph Novak"
• The Painted Bird (1965)
• The art of the self: Essays à propos Steps (1968)
• Steps (1969)
• Being There (1970)
• The Devil Tree (1973, revised & expanded 1982)
• Cockpit (1975)
• Blind Date (1977)
• Passion Play (1979)
• Pinball (1982)
• The Hermit of 69th Street (1988)
• Passing By: Selected Essays, 1962-1991 (1992)

Awards & honors

• Prix du Meilleur Livre Etranger (award for best foreign work of fiction) for The Painted Bird (France)
• 1969 -- National Book Award for Steps.
• 1970 -- Award in Literature, National Institute of Arts and Letters and American Academy of Arts and Letters.
• 1973-75 -- President of the American Chapter of P.E.N. Re-elected 1974, serving maximum 2 terms allowed.
• 1974 -- B'rith Shalom Humanitarian Freedom Award.
• 1977 -- American Civil Liberties Union First Amendment Award.
• 1979 -- Writers Guild of America Best Screenplay Award for Being There.
• 1980 -- Polonia Media Perspectives Achievement Award.
• 1981 -- British Academy of Film and Television Arts (BAFTA) Best Screenplay of the Year Award for Being There.
• International House Harry Edmonds Life Achievement Award.
• Received Ph.D. Honoris Causa in Hebrew Letters from Spertus College of Judaica.
• 1988 -- Received Ph.D. Honoris Causa in Humane Letters from Albion College, Michigan.
• 1989 -- Received Ph.D. Honoris Causa in Humane Letters from State University of New York at Potsdam.

Photography

He practised the photographic arts, with one-man exhibitions to his credit in Warsaw's Crooked Circle Gallery (1957), and in the Andre Zarre Gallery in New York (1988). He was also invited by the dying Nobel Prize-winning French biochemist Jacques Monod to document his final hours.

Miscellaneous

• In 1975 Chuck Ross, a Los Angeles freelance writer conducted the Steps experiment by sending 21 pages of the book to four publishers. The book was turned down by all of them including Random House imprint: Houghton Mifflin, the publisher of three Kosinski’s novels. Ross reveals his findings in New West magazine four years later. His article includes Kosinski's advice that next time he should offer the entire text. Ross repeats his experiment by submitting the entire text of Steps to literary agents in 1981 under pseudonym Erik Demos, with equally dismal results.

• To gather material, he often prowled city streets, sometimes in disguise. "I like to go out at night," he told Ron Base in the Washington Post. "I like to see strange things, meet strange people, see people at their most abandoned. I like people who are driven. The sense of who they are is far greater."

Further reading

Books

• Sepp L. Tiefenthaler, Jerzy Kosinski: Eine Einfuhrung in Sein Werk, 1980, ISBN 3416015568
• Norman Lavers, Jerzy Kosinski, 1982, ISBN 0805773525
• Byron L. Sherwin, Jerzy Kosinski: Literary Alarm Clock, 1982, ISBN 0941542009
• Barbara Ozieblo Rajkowska, Protagonista De Jerzy Kosinski: Personaje unico, 1986, ISBN 847496122X
• Paul R. Lilly, Jr., Words in Search of Victims: The Achievement of Jerzy Kosinski, Kent, Ohio, Kent State University Press, 1988, ISBN 0873383664
• Welch D. Everman, Jerzy Kosinski: the Literature of Violation, Borgo Press, 1991, ISBN 0893702765.
• Tom Teicholz, ed. Conversations with Jerzy Kosinski, Jackson: University Press of Mississippi, 1993, ISBN 0878056254
• Joanna Siedlecka, Czarny ptasior (The Black Bird), CIS, 1994, ISBN 8385458042.
• James Park Sloan, Jerzy Kosinski: a Biography, Diane Pub. Co., 1996, ISBN 0788153250.
• Agnieszka Salska, Marek Jedlinski, Jerzy Kosinski : Man and Work at the Crossroads of Cultures, 1997, ISBN 8371710879
• Barbara Tepa Lupack, ed. Critical Essays on Jerzy Kosinski, New York: G.K. Hall, 1998, ISBN 0783800738

Articles

• Oleg Ivsky, Review of The Painted Bird in Library Journal, Vol. 90, October 1, 1965, p. 4109
• Irving Howe, Review of The Painted Bird in Harpers, October 1965
• Andrew Feld, Review in Book Week, October 17, 1965, p. 2
• Anne Halley, Review of The Painted Bird in Nation, Vol. 201, November 29, 1965, p. 424
• D.A.N. Jones, Review of Steps in The New York Review of Books, Volume 12, Number 4, February 27, 1969
• Irving Howe, Review of Being There in Harper's, July 1971, p. 89.
• David H. Richter, The Three Denouements of Jerzy Kosinski's "The Painted Bird," Contemporary Literature, Vol. 15, No. 3, Summer 1974, pp. 370-85
• Gail Sheehy, "The Psychological Novelist as Portable Man," Psychology Today, December 11, 1977, pp. 126-30
• Margaret Kupcinskas Keshawarz, "Simas Kidirka: A Literary Symbol of Democratic Individualism in Jerzy Kosinski's Cockpit," Lituanus (Lithuanian Quarterly Journal of Arts and Sciences), Vol. 25, No.4, Winter 1979
• Roger Copeland, "An Interview with Jerzy Kosinski," New York Art Journal, Vol. 21, pp. 10-12, 1980
• Robert E. Ziegler, "Identity and Anonymity in the Novels of Jerzy Kosinski," Rocky Mountain Review of Language and Literature, Vol. 35, No. 2, 1981, pp. 99-109
• Barbara Gelb, "Being Jerzy Kosinski," New York Times Magazine, Feb. 21, 1982, pp. 42-46
• Stephen Schiff, "The Kosinski Conundrum," Vanity Fair, June 1988, pp 114-19
• Thomas S. Gladsky, "Jerzy Kosinski's East European Self," in Critique: Studies in Contemporary Fiction, Vol. XXIX, No. 2, Winter 1988, pp. 121-32
• Michael Schumacher, "Jerzy Kosinski," Writer's Yearbook, 1990, Vol. 60, pp. 82-87.
• John Corry, "The Most Considerate of Men," in American Spectator, Vol. 24, No. 7, July 1991, pp. 17-18

External links

• The Paris Review Interview
• IMDB Bio
• 1988 RealAudio interview with Jerzy Kosiński by Don Swaim
• YALE UNIVERSITY BEINECKE RARE BOOK AND MANUSCRIPT LIBRARY; Katherina von Fraunhofer-Kosinski Collection of Jerzy Kosinski

• 1933 births
• 1991 deaths
• Polish novelists
• Jewish Polish history
• Polish-Americans
• Polish Jews
• Drug-related deaths
• Drug-related suicides
• Writers who committed suicide
• People from Łódź