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The Questionnaire
Originally circulated in Czechoslovakia in an underground edition of nineteen typewritten copies (which landed the author in jail for "initiating disorder"), The Questionnaire is Jirí Grusa's internationally acclaimed masterpiece. In completing a standard employment questionnaire, narrator Jan Kepka manages to write a beautifully impressionistic history of his life, his family, and his hometown as he obeys—with mock solemnity—the handwritten command on top of the form: "DO NOT CROSS OUT."
Details
Title
The Questionnaire
Title First Published
2000
Format
Paperback
Nb of pages
288 p.
ISBN-10
1-56478-227-1
ISBN-13
9781564782274
Publication Date
2000
Nb of pages
288
Dimensions
5.5 x 8.5 in.
List Price
$12.95
Excerpt
1. GRANIT 01
On September 19, 197―, in the city of Prague (i.e., right here, not in the town of Chulmec), I visited the enterprise GRANIT, the sixteenth organization I had contacted over the past two years, and I received my sixteenth Questionnaire (in room 102, second floor), from the hand of Comr. Pavlenda (Comr. = Comrade; i.e., friend, mate, companion, fellow member of a Communist society).
In contrast to those previous questionnaires, this one was marked in the upper-right-hand-corner, in blue pencil, most probably by Comr. Pavlenda himself: DO NOT CROSS OUT! — an exhortation I considered highly significant, since nothing like it had appeared on any of the previous forms. In fact, I considered this bit of information extremely encouraging. When I first spotted the form in Comr. Pavlenda’s hand, my heart sank, but now I decided without hesitation to complete it.
After all, this was a message, an omen. None of the Comrs. (Comrades) with whom I had dealt before felt any need to elaborate on the bare questions or prescribe any particular method for filling out the form. They merely asked that I hand it in. In return, they generally sent me a curt notice two or three weeks later, that my application had been rejected.
True, in those previous questionnaires I had indulged in quite a bit of crossing out; e.g. in Question 19 (Public Functions) I always deleted “Lay Judge” as a function for which I had neither inclination nor opportunity. I also crossed out Question 27 (Names of Relatives Living Abroad). There were a few additional items I had been deleting because they referred to activities in a period when I had not yet been born or I had been too young to have possibly participated in the evens in question. I had always filled out all the questionnaires with a perfectly clear conscience, solemnly declaring each time that the information given was complete and correct to my best knowledge and belief, as attested by my handwritten signature.
This last questionnaire, however, was a challenge. An invitation.
The way that fellow Pavlenda kept looking at me with his blue-green eyes, the way he adjusted the cushion under his behind, the way he leaned toward me as I sat facing him in my chair (only on one other occasion had I ever been asked to sit down), the way he slid the questionnaire across the marble-top table (Form 01-240-0, Printed in Pilsen — I had grown familiar with those forms I practically knew them by heart), the way Comr. Pavlenda breathed almost in my face as he smiled — all this seemed extremely promising.
A woman came in from the hall carrying a folder with letters for signature, and as she opened the door the questionnaire, which had already been within reach of my fingertips, suddenly took off and with a loping glide landed on the office rug.
We rose to our feet, Comr. Pavlenda and I, and bowed deeply before the woman because the questionnaire was lying at her feet, but Comr. Pavlenda was quicker than I and reached for the form before I did. In the course of this effort his necktie flopped out and his hair lost its neat part. I examined him in this dis-officialed state and saw before me a flushed albinoid man more or less my own age. But a Comrade. That was promising, too.
He smiled a second time.
I accepted the smile along with the questionnaire.
Then I stepped past the lady with the folder and descended the granite steps of Granit — to have a dream, or vision, or premonitions as is my wont.
The lady with a folder, or rather: a lady whose face remained hidden but who undoubtedly was the same person as the woman who had caused a gust of air to blow upon me in Comr. Pavlenda’s office — this lady was waiting for me on the first landing, where she told me to enter the elevator, even though Granit occupied only a small two-story rococo building. We rode the elevator high up, and as we stepped out of the cage we found ourselves in a pharmacy full of bottles and glasses. The bottles had labels in Latin and Greek, yet for all their high-flown names they were quite common drugs, at least according to the woman (still faceless), busily pouring and decanting, until at last she reached for a green fluorescent vital full of deep-green liquid labeled Pharmakon athanasis. But as she was about to pour me some of this elixir of immortality I shouted and begged her to stop, because inside the vital there was another me, in the shape of a homunculus. But the woman continued to drain me of a fluid until I felt myself gasping like a fish, suffocating.
And so I went to see Olin, who is my cousin but old enough to be my uncle, to ask him to explain this vision. For he also serves as interpreter of my dreams, diviner of my intuitions, and general prognosticator. This time, however, he turned me down derisively suggested that for the sake of sounder sleep I learn to stand on my head. I let it pass and asked him whether he agreed that things looked promising.
“Sure,” he nodded, “you’re turning into a nut.”
“True. You know what occurred to me? That I’ve been filling out these forms all wrong. For instance, the part about Lay Judge.”
“What’s that?”
“Lay Judge. You know — a judge picked from the people. I always crossed it out. But that hurt my chances, you understand?”
I glanced at Olin, and strangely enough, this time he seemed unable to follow my thought.
“They always took it to mean that I didn’t want to serve as a Lay Judge; in other words, that I was rejecting the honor. Otherwise, why did they keep the questionnaire if they had no intention of hiring me?”
“Because you’re not entitled,” replied Olin.
(Not entitled, in Olinian terminology: an expression denoting the ultimate degree of inadmissibility.)
“On the other hand,” said Olin, “if they take one questionnaire after another and note the trend of your X-ation, they will have to admit that you’re improving.”
“In other words, that document is really a message,” I said. “They’re actually hinting …”
“Go to sleep,” interrupted Olin. “Enough of this nonsense!”
I went to sleep with my dream still unclarified, I went to bed drunk and befuddled as always happens when Olin starts to drink and to sing … and to interpret dreams, especially his own, which are so totally different from mine. In his dreams there is always a river or a light or a woman who’s got one and knows what it’s for and lets Olin enjoy it. In my dreams there is always some kind of disk or wheel (anything circular) and it keeps turning.
Perhaps I should have mentioned that in the questionnaire. Or at least in my curriculum vitae. But I always attached my c.v.’s to the questionnaires quite mechanically, in the form of carbon copies, without the slightest change. I should have mentioned the dream with the circle, about the way it turns and about the faceless women and the women whose faces are made of layers of pink petals which I keep peeling off to get at the likeness underneath but the layers are without end and the petals circle as they spiral to the ground. Good Lord, this dream makes me dizzy, but I’d rather feel drunk than dead-tired. Though sometimes I even seem to die in this dream.
Reviews
Press Reviews
The Questionnaire
Washington Post
Grusa blends masterfully the soaringly magical with the gritty commonplace . . . The Questionnaire is a fabulous fabrication, a work of high literary craftsmanship, a flawless evocation of a rare mood of innocent bafflement and enchanted omniscience.
The Questionnaire
Nation
This quirky and brilliant novel would be maddeningly elusive if Grusa weren't also addicted to prosaic reality . . . The Questionnaire becomes a whimsical family chronicle, a poignant historical novel, in which private legend congenially coexists with public fact . . . The Questionnaire resonates with historical, mythological and religious echoes, and the profusion of influences is evident in Grusa's prose, which is alternately archaic, poetic and slangy. (Peter Kussi's English translation is itself a feat of considerable virtuosity; his versions of political slogans . . . are as perfect as his renderings of Grusa's extraordinary descriptions of lovemaking.)
The Questionnaire
Christian Science Monitor
The images of Nabokov, Grass and Garcia Marquez do spring initially to mind, but they quickly fade, so enchanting is the voice of the inspired lunatic, so compelling his fabulous story.
The Questionnaire
New York Review of Books
No summarizing can do more than suggest how rich this novel is. It is complex, confident, luminous. It is about the modesty of ordinary Czech life, and about the angels and demons that sustain that life.
The Questionnaire
Choice
An internationally acclaimed novel by one of the major contemporary Czech writers . . . Brilliantly translated into crisp and vivid English . . . Grusa's novel superbly blends bold fantasy with blunt realism. The effect is often deadpan picaresque, which can be found also in the work of other contemporary East European writers, most notably Janusz Glowacki.
The Questionnaire
Chicago Tribune
This ingenious comedy mocks 'serious' questioning, while vividly depicting an irresistible gallery of eccentric survivors and endurers.
The Questionnaire
New Yorker
The complete, cryptic, blackly comic story of a town which (centuries older than Czechoslovakia itself) has survived bloody invasions and violent regimes.
The Questionnaire
World Literature Today
His intimate traffic with the eternal distinguishes him from his equally gifted contemporaries like Milan Kundera, with whom he shares a propensity for savage irony and a fascination with sexuality . . . For all its obsession with death and decay, this brilliant novel is animated by a thrust which points heavenward, beyond desperate derision, and calls for forgiveness.
The Questionnaire
Times Literary Supplement
If Grusa is a subversive, his mentors are writers and his targets are the purveyors of down-to earth literature. Like Sterne's [ Tristram Shandy], his book is intensely personal, but because the history he relates in his idiosyncratic fashion is Czechoslovakian it becomes impossible to separate the personal from the political . . . His variations on themes set by the Comrade Questioner are as unlikely and as colorful as Gaugin's answer to the inquiry, 'Where do we come from, What are we, Where are we going?'
The Questionnaire
Atlantic Monthly
His answers are impertinently semi-fanciful and unsuitably but delightfully verbose. They add up to a satirical view of the past and an oblique criticism of the present. Mr. Grusa is undoubtedly a fine young writer.
The Questionnaire
Times Literary Supplement
If Grusa is a subversive, his mentors are writers and his targets are the purveyors of down-to earth literature. Like Sterne's [ Tristram Shandy], his book is intensely personal, but because the history he relates in his idiosyncratic fashion is Czechoslovakian it becomes impossible to separate the personal from the political . . . His variations on themes set by the Comrade Questioner are as unlikely and as colorful as Gaugin's answer to the inquiry, 'Where do we come from, What are we, Where are we going?'
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Genres : Fiction : Europe : Central Europe
Countries : Czech Republic
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