Potok Has Chosen to Create Worlds from Words By Mike Field Born in the Bronx to Polish immigrants just months before the start of the Great Depression, Chaim Potok grew up in an Orthodox Jewish home where his businessman father, "a great admirer of the capitalist system," discouraged his son's early aptitude for painting in favor of a more practical occupation. Potok received rabbinic ordination in 1954 and a doctorate in Western philosophy in 1965, but, other than a two-year stint as a chaplain on the front lines in Korea, he chose not to make religion his avocation. Instead, he turned his talents to writing. In 1967 he published The Chosen, a novel that examined value systems in conflict and won Potok a worldwide audience. Seven other major novels have followed, including The Promise and My Name Is Asher Lev. This fall, Potok joined the Writing Seminars program as a visiting professor, where he teaches an undergraduate course in fiction writing. ------------------------------------------------------------- Q: I've read that in 1945 at the age of 15 or 16 you read Evelyn Waugh's Brideshead Revisited and decided to become a writer. Is this story true? Potok: It was after I read Brideshead Revisited and soon afterwards read A Portrait of the Artist as a Young Man. Those two did it to me. ------------------------------------------------------------- Q: Brideshead Revisited was not the novel I would have initially thought would have propelled you to commence writing. Potok: I think it was the writing. I think it was also the realization that you could really create the world out of language. I was a very orthodox Jewish boy. I figured if these writers could get me to be interested in two different Catholic worlds that there was something about this form of communication that I wanted to be part of. That it captivated me the way it did, that it worked its magic on me, made me realize how powerful this medium is. And I wanted to become part of it. ------------------------------------------------------------- Q: Can you teach writing? Potok: Somebody who does not have basic talent cannot be taught writing. Somebody who has talent can have his or her writing improved through the learning of technique. ------------------------------------------------------------- Q: When you say technique, are you talking basic mechanics? Potok: Structuring. ------------------------------------------------------------- Q: Was teaching in the back of your mind always, or was it something you came to? Potok: It was never in the back of my mind. I never wanted just to teach. I got a rabbinic ordination so that I could know my own tradition better because I knew I wanted to write about it. And I went and got a doctorate in secular philosophy because I wanted to know Western civilization better, because I knew I wanted to write about that. I taught school all along, until it was possible for me to then concentrate solely on the writing. I do this now, this teaching, to keep myself in touch with younger people and with the newer thinking that's going on, which you can find in academic circles, much easier, probably, than you can anywhere else. ------------------------------------------------------------- Q: You actually wrote your first published novel, The Chosen, in Jerusalem. Potok: That's right. I was working on my doctorate, finishing it in Jerusalem because two of the people I needed to work with were at the Hebrew University. And that same year that I was working on my doctorate I wrote The Chosen. ------------------------------------------------------------- Q: Back and forth? You'd set one down and you'd pick the other up? Potok: I wrote The Chosen in the morning and my doctorate in the afternoon. ------------------------------------------------------------- Q: Did you prefer writing one to the other? Potok: Actually no, I thought they were two very interesting and very different experiences. ------------------------------------------------------------- Q: You said the reason you went to rabbinical school was to find out about yourself. Was the thought in your mind that you were going to be writing about this? Potok: Well I knew that I was going to write. What else did I know to write about? I knew I was going to write about something Jewish and something American. I mean that's what I was. I wanted to know my subject better. I learned a lot about the gritty side of life in the Army, I wanted to learn about the creative, the core of Western culture, and I did that by doing a doctorate in philosophy. ------------------------------------------------------------- Q: Are there certain issues that you are trying to figure out when you write, or is the writing more just an innate process and these issues come to the surface? Potok: The Chosen was an intuitive process. I was dealing with something that troubled me a great deal, and that is, what happens when two idea systems collide inside human beings? Both seem at times to be inherently valid. And both are at times contradictory. It was only after I finished and published The Chosen and got reaction to it--letters from everywhere and all kinds of people--that I began to realize that I was not the only one going through these experiences. What I'm trying to explore is how people react when things that are very dear to them are challenged by alternate ways of structuring the human experience. ------------------------------------------------------------- Q: You paint as well as write. Potok: Actually, I began to paint when I was about 9 or 10 years old. It really became a problem in my family, especially with my father, who detested it. ------------------------------------------------------------- Q: Why? Potok: Well, he thought it was a gentile enterprise. He couldn't connect to it. He was very religious. ------------------------------------------------------------- Q: Did you have to paint on the sly? Potok: Oh no, there was no sly to paint on in our apartment in New York, and it became increasingly problematic as I was growing up. And then I think what I did was I shifted the hunger to create from painting to writing, which is much more accepted in the Jewish tradition. ------------------------------------------------------------- Q: Do the results differ from what you expected at the beginning? Potok: You dream of the accidents. You pray for them. You hope for the accidents. In other words, the unanticipated moves: Because what that means is that the piece that you're creating is alive, it's like a child full of surprises. If it's not suddenly making its own demands and is only lying there inert, your best bet is to walk away from it and start something else. ------------------------------------------------------------- Q: The last two books you've written are children's books. Potok: I think it is very important to deal with the fears of children. In so many ways that's where our problems begin. One of the primary terrors in our society is the terror that results from the very nature of our society. We are a mobile society. The dream of America is to move up the economic ladder. Every move vertically involves a move horizontally, because if you get a better job and you move up that vertical ladder economically, you're going to trade your house for another house--horizontally. You're going to move from one kind of house to another kind to match the economic move. Your child is moving too. Nearly every move to a child is a terrifying time. It's by the way also very stressful for adults. The Tree of Here is about that fear. The next book for children, The Sky of Now, is about the terror of falling. ------------------------------------------------------------- Q: Literally, like falling down steps? Potok: From heights. It's a sort of metaphor for what happens when Americans become failed Americans. What do you then do about flying? Children's literature has always fascinated me from the time that I myself was a child. I see it as a great opportunity to communicate with young people. ------------------------------------------------------------- Chaim Potok will read from his works on Thursday, Nov. 17, at 8 p.m. in Homewood's Mudd Hall Auditorium. -------------------------------------------------------------