Word: kosinski
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...suddenly thrust before the world. Works such as Selected Poems (Seabury Press, New York) and Bells in Winter (Ecco Press, New York) have long attracted glowing attention from other writers and poets, especially those who share Milosz's state of spiritual and political exile. Says fellow Pole Jerzy Kosinski: "He remains very Slavic in his idiom and main obsession: What is the essence of life? Why are we here? It is not how to live, but why, for the sake of what?" Emigré Poet Joseph Brodsky adds: "What this poet preaches is an awfully sober version of Stoicism...
...does the badinage with Kermit seem to be entirely fortuitous in its timing. Sellers taped his Muppet appearance not long before he went to work on Being There, the film version of Jerzy Kosinski's novel about how a totally blank, isolated man, whose only knowledge of the world comes from television, emerges from the Edenic walled garden he has tended all his life to become a presidential adviser, media pundit and, finally, presidential timber himself. Sellers has indicated that in this character of Chance the gardener (Chauncey Gardiner, as his fancy new friends later take to calling...
...meek who are supposed to inherit the earth, and actually does just that by being his simple self. That is the trick Sellers has once again pulled off, keeping his own essential blankness intact behind his multitude of masks. This interpretation stands the intended meaning of Kosinski's fable on its ear. If Sellers' vision of the character becomes gospel for a new generation, a certain concern is justified. "They see themselves as innocent, nonverbal," Kosinski says of Chance's fan club. But "they are children of the middle class, don't forget that. They still want money, power...
...world's greatest detective. It is this blithe, impenetrable side of Sellers, pared down and exhibited with art old master's exquisitely crafted minimalism, that is perfectly stated in the character of poor, Effectless Chance. Sellers has created a figure subtly different from, perhaps more generally appealing than, Kosinski's original...
...creation of my concern, not my sympathy or empathy," says Kosinski, 46. "He is the enemy of everything I stand for, a point zero from which all my other characters depart." As Kosinski sees him, Chance is a victim, innocent and nonverbal, of a corporate state that, through the instrument of television, "has rendered him unaware, passive, with no notion of himself, his life, or of others." He is, in short, the ultimate voyeur, the sum not of his actions but of his reactions to a world of which he has been permitted only a partial and distorted view. Success...