Havel wielded power of poetry

December 20, 2011|By John Timpane, Inquirer Staff Writer
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  • Havel's 2007 play "Leaving" had its U.S. premiere at the Wilma Theater in 2010, starring David Strathairn and Kathryn Meisle.
  • Havel's 2007 play "Leaving" had its U.S. premiere at the Wilma Theater in 2010, starring David Strathairn and Kathryn Meisle. (Wilma Theater )
  • Václav Havel received the Liberty Medal in Philadelphia in 1994. (Inquirer file photograph )
  • Havel (right) and Alexander Dubcek, of "Prague Spring" fame, toasted the end of Communist rule in Nov. 1989. (DUSAN VRANIC / Associated…)

The life of Václav Havel, who died Sunday at age 75, shows poetry can shape the destiny of nations and change the course of history.

Dazzled by dollar signs, we in the United States tend not to take the art of language seriously. But Havel (who was awarded the 1994 Liberty Medal) knew the potency of words to mold the future. For more than five decades - in the tradition of Mohandas Gandhi and the Rev. Dr. Martin Luther King Jr., John Lennon and Pope John Paul II - Havel used words to do just that.

He did nothing single-handedly. He was but one of tens of millions who risked life and livelihood to throw off oppression in the 1980s and 1990s. But in the sweep of that history, he and his words spoke large.

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"Few people can say they changed the world," former U.S. Assistant Secretary of State for Public Affairs P. J. Crowley tweeted Sunday. "#VaclevHavel was one of those people who created the #Europe we have today."

Havel began as an avant-garde poet, publishing samizdat chapbooks in the 1950s and 1960s. As of 1960, he became a playwright, using black humor to probe the hopelessness of life under totalitarianism. His plays often were banned in Czechoslovakia - but that gave them cachet in Europe and the United States. His growing fame flouted the very censorship his works satirized.

He may have had greatest impact as an essayist, as in his crucial "The Power of the Powerless" of 1978, opening with a sardonic echo of Marx and Engels: "A specter is haunting Eastern Europe: the specter of what in the West is called 'dissent.' "

In 1989, the year of the fall of the Berlin Wall, this manipulator of symbols became, often reluctantly, a symbol himself. As of February, he was, as so often in the previous decade, behind bars, where dim-witted communist leaders had once again thrown him. On May 17, bowing to international protest, they released him - or tried to. All Havel had to do, said his captors, was sign a make-nice statement. Brilliantly, he refused. In the comedy the tragedy had become, the regime let him walk, reasoning it was more dangerous to jail poetry than to let it out into the open where you could watch it. Havel passed the next months in the shadowy resistance movement in and around Prague.

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