MD: You are mentioning two wars, but in ‘Bieżeństwo’ the main history takes place in the background. Why?
APO: Because it’s a story about everyday life, which is strongly influenced by history, serving as a background for it. It would be difficult to describe this life while focussing on political treaties or battles deciding the fate of the wars.
While working on Bieżeństwo, it happened that people preferred to tell me the ‘respectable, real history’. Especially men. I visit the elderly, for example, in their 80s – both of them had parents and grandparents who were part of bezhenstvo. A woman begins to talk about the fact that her grandmother, in order to support her children, used to go to the Cossacks to weed gardens. [Editor’s note: Cossacks is a name referring to a multi-ethnic population group with a dominant Russian substrate; the most numerous group of Cossacks lived around the Don River.] To which a man interrupted her, saying: ‘Wait, this isn’t so important, you can talk about it later’. And then he repeats the story he heard from his grandfather about the civil war after the revolution, about how the ‘whites’ attack and the ‘reds’ retreat. Or vice versa. At the same time, the grandfather didn’t take part in these battles.
The history of battles, wars, politics, i.e. men's history in general, is regarded as significant. It is the one that is placed on a pedestal – streets are named after it, and lectures or talks are organized around the topic. It also dominates at schools. We trivialise the stories of everyday life, also of women, although it’s usually been these stories which have determined our survival. We are taught that this is fit for ‘women's literature’ at best, but not for mainstream literature.