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determined that the novel’s life be independent of mine. I objected when many foreign publishers refused to issue The Painted Bird without including, as a preface or as an epilogue, excerpts from my personal correspondence with one of my first foreign-language publishers. They hoped that these excerpts would soften the book’s impact. I had written these letters in order to explain, rather than mitigate, the novel’s vision; thrust between the book and its readers, they violated the novel’s integrity, interjecting my immediate presence into a work intended to stand by itself. The paperback version of The Painted Bird, which followed a year after the original, contained no biographical information at all. Perhaps it was because of this that many school reading lists placed Kosinski not among contemporary writers, but among the deceased.

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After The Painted Bird’s publication in the United States and in Western Europe (it was never published in my homeland, nor allowed across its borders), certain East European newspapers and magazines launched a campaign against it. Despite their ideological differences, many journals attacked the same passages from the novel (usually quoted out of context) and altered sequences to support their accusations. Outraged editorials in State-controlled publications charged that American authorities had assigned me to write The Painted Bird for covert political purposes. These publications, ostensibly unaware that every book published in the United States must be registered by the Library of Congress, even cited the Library catalogue number as conclusive evidence that the United States government had subsidized the book. Conversely, the anti-Soviet periodicals singled out the positive light in which, they claimed, I had portrayed the Russian soldiers, as proof that the book attempted to justify the Soviet presence in Eastern Europe.

Most Eastern European condemnation focused on the novel’s alleged specificity. Although I had made sure that the names of people and places I used could not be associated exclusively with any national group, my critics accused The Painted Bird of being a libelous documentary of life in identifiable communities during the Second World War. Some detractors even insisted that my references to folklore and native customs, so brazenly detailed, were caricatures of their particular home provinces. Still others attacked the novel for distorting native lore, for defaming the peasant character, and for reinforcing the propaganda weapons of the region’s enemies.

As I later learned, these diverse criticisms were part of a large-scale attempt by an extreme nationalist group to create a feeling of danger and disruption within my homeland, a plot intended to force the remaining Jewish population to leave the State. The New York Times reported that The Painted Bird was being denounced as propaganda by reactionary forces “seeking an armed showdown with Eastern Europe.” Ironically, the novel began to assume a role not unlike that of its protagonist, the boy, a native who has become an alien, a Gypsy who is believed to command destructive forces and to be able to cast spells over all who cross his path.

The campaign against the book, which had been generated in the capital of the country, soon spread throughout the nation. Within a few weeks, several hundred articles and an avalanche of gossip items appeared. The state-controlled television network commenced a series, “In the Footsteps of The Painted Bird,” presenting interviews with persons who had supposedly come in contact with me or my family during the war years. The interviewer would read a passage from The Painted Bird, then produce a person he claimed was the individual on whom the fictional character was based. As these disoriented, often uneducated witnesses were brought forward, horrified at what they were supposed to have done, they angrily denounced the book and its author.

One of Eastern Europe’s most accomplished and revered authors read The Painted Bird in its French translation and praised the novel in his review.