Which is - you know, like check it out, I'm pretty young, I'm only about 40 years old. I still have maybe another four decades of work left in me. And it's exceedingly likely that anything I write from this point forward is going to be judged by the world as the work that came after the freakish success of my last book, right?
Widespread state control over art and culture has left no room for freedom of expression in the country. For more than 60 years, anyone with a dissenting opinion has been suppressed. Chinese art is merely a product: it avoids any meaningful engagement. There is no larger context. Its only purpose is to charm viewers with its ambiguity.
And thus to my final and most melancholy point: a great number of Stalin's enforcers and henchmen in Eastern Europe were Jews. And not just a great number, but a great proportion. The proportion was especially high in the secret police and 'security' departments, where no doubt revenge played its own part, as did the ideological attachment to Communism that was so strong among internationally minded Jews at that period: Jews like David Szmulevski. There were reasonably strong indigenous Communist forces in Czechoslovakia and East Germany, but in Hungary and Poland the Communists were a small minority and knew it, were dependent on the Red Army and aware of the fact, and were disproportionately Jewish and widely detested for that reason. Many of the penal labor camps constructed by the Nazis were later used as holding pens for German deportees by the Communists, and some of those who ran these grim places were Jewish. Nobody from Israel or the diaspora who goes to the East of Europe on a family-history fishing-trip should be unaware of the chance that they will find out both much less and much more than the package-tour had promised them. It's easy to say, with Albert Camus, 'neither victims nor executioners.' But real history is more pitiless even than you had been told it was.