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Passage
from Mira Hamermesh's memoirs THE RIVER BARKS AT NIGHT |
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I
loved the idea of being an English-speaking person. The attempt
to learn the language had begun in pre-war Poland. At school, the
choice of foreign language was French or German, but my Father nursed
a hope that in the future at least one of his children would assist
him with his commercial dealings with England. He hired a neighbour's
son, a student of English, to give us lessons. The young man was
timid and would blush at the slightest provocation. Predictably,
my brother dropped out, my sister was lukewarm about it and I was
the one who tried to memorise sentences, which included 'the cat
sat on the mat'.
Hitler's
invasion had put a stop to the English lessons. The war had brought
linguistic chaos into my life. Within a short period of time (1940-45),
in quick succession, I was exposed to four language changes: Russian,
Lithuanian, Hebrew and English. The crossings of linguistic boundaries
paralleled my border crossings….
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The
route to English was filled with obstacles, but the effort was worthwhile.
As well as giving access to St. James' version of the Bible, Shakespeare
and other linguistic treasures, to become an English-speaking person
was regarded everywhere in the world as a privilege, offering many
advantages in life. The British Empire may have been shrinking territorially,
but linguistically it was victorious. English was becoming a universal
language and the British Council, the 'language missionaries', had
paved the way for this unparalleled conquest.
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My
linguistic transition to English was not without trepidation. After
all, one was taking on a literary legacy of tremendous status. Would
I ever dare write in this language the stories that were crawling
like insects inside my skull? When I first timidly put pen to paper,
I would hide the results in a drawer to which nobody had access.
The term, writing 'for the drawer', used to describe the case of
Russian dissidents hiding from the secret police, was an apt description
of my own case. I was hiding, not from the KGB, but from a harsh
internal taskmaster hissing into my ear, "How dare you use the language
of Shakespeare?" I was afraid that English, my borrowed language,
would find my alien spirit uncongenial. I had before me an image
of a bouncer who kept guard at the gates leading to the English
heritage fortress. Surely, anyone could see at a glance that I was
a gatecrasher! ...
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After
a few years of secretive writing, my psyche began to feel linguistically
more relaxed. But if a word I that I was after would slip from my
grasp, or be replaced with a word from another language blotting
out the original English, I would be reduced to a state of panic.
It was a reminder that an eviction from my new linguistic residence
could be served on me at any time. The anxiety about losing a grip
on the only language I now possessed for self-expression was real,
however unreasonable. The self-consciousness about being engaged
in a charade would imperceptibly creep upon me: I was and was not
entirely at home in the English language...
In
spite of my fears about English being snatched from me, my spirit
was flourishing in the English culture.…..
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English
had turned out to be a magnanimous verbal stepmother, keen to make
up for the loss of my mother tongue. The metaphorical gatekeeper was
after so many years now a paralytic old man and the gates were wide
open. True, I was an outsider, still insecure, still liable to mess
up tenses or syntax, or put commas in the wrong place, but on the
whole I no longer felt like a gatecrasher. When I hear English-born
people massacre their own language through indifference or ignorance,
I feel like shouting at them: "For heavens sake, think about us, we
who had to struggle so hard to master it!" It hurts to hear it maltreated.'
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