How a distinguished Lithuanian writer and playwright became a chronicler of emigration – Marius Ivaskevicius

Isvarymas. Londono adata (Expulsion. London Needle), the latest book by Marius Ivaskevicius, a prominent and highly respected Lithuanian writer and playwright, which focuses on the lives of Lithuanians and other emigrants in London, has become a blockbuster – just like the debut performance of the play Išvarymas! The Baltic Times Magazine sat down with Ivaskevicius for an interview.

What does all the hype mean to you? Both the book and the play could not have had a better start!

For me, it is a great joy and motivation to continue working. When you set yourself such a big goal – to write a trilogy of novels like this in three to four years – you live in complete uncertainty about whether it will interest anyone. 

Of course, you do everything to make it interesting, but the uncertainty doesn't diminish because of that. And yet, there would be no turning back even in the case of failure; you are already programmed for those four years of life to do this and only this. And when it turns out that people want to read this story, and after reading it, they even demand to get the sequel as soon as possible, a huge sense of relief and confidence comes over you.

Why were the lives and the search for identity by Lithuanians and other migrants in London important to you?

I got into this topic, you could say, by chance. Fourteen years ago, I received an invitation to go to London and try to conduct a creative study on what our immigrants there do and how they live. When I heard and collected those stories, I sort of became a chronicler of emigration. And from that point on, the topic doesn’t let go of you – you always feel the urge to return to it.

You’ve spent quite some time in London while writing the book, haven’t you? 

While gathering material for the play in 2010–2011, I spent two months in London. Now, as I’ve started writing the novel, I fly to London every three months for long weekends. Gradually, London is becoming my second home. I find myself missing it during those three months apart.

As someone who spent nearly 10 years overseas, I imagine that some of the people you met in London transformed into versions of themselves they never thought possible or accomplished things they never imagined they could. Can you share some of the stories that struck you particularly hard? Why? 

The transformations of those people are in the book, and I wouldn’t want to discuss them separately here or single anyone out. I can only say that when I went to London back then, I expected something completely different from what I found. I thought I would write a comedy – about how flamboyant and bold Lithuanians appear and behave when they find themselves in the London metropolis. But there wasn’t even a hint of comedy there. What I encountered was a brutal daily war that circumstances had dragged these people into. Sometimes it was so harsh that the details made my hair stand on end.

You are a distinguished and highly respected writer, playwright, and director, renowned for your significant contributions to contemporary Lithuanian literature and theatre. Which of the activities is a little bit dearer than the others? Why? 

First and foremost, I am a prose writer and playwright. At various stages of life, one genre tends to dominate over the other. Lately, prose has taken the lead, and this will remain the case for at least another two years until I finish this Isvarymas trilogy. What will happen after that, I don’t know.

You’ve witnessed and been part of the transition from the Soviet era to independence. Do you think we need to phase out everything, including the literature and the culture and their brightest representatives, from the period?

No, I certainly don’t think so. To rethink and analyze – yes. We can allow ourselves to forget something that truly deserves to be forgotten or, more precisely, is unworthy of our attention and memory. But to erase the entire era of occupation would be a mistake. When evaluating the creators of that time, we cannot look down on them, imagining that we would never act in the same way. Unfortunately, humans are fragile beings, and such regimes know how to break them.

What is your take on the canceling culture? 

When it is deserved, it is deserved – a creator must be held accountable for their actions. However, when this is abused, when some kind of professional grudges are settled, and the accusations are baseless, I feel a sense of injustice. Fortunately, such cases are not dominant.

Is the culture politicized now? Were you ever requested or advised to write a ‘right’ book or play? 

I would say it is not so much politicized as it is politicized in terms of political correctness. This somewhat constrains creative freedom, as the values of characters are often attributed to the author, which is neither fair nor accurate. However, the Western world has entered a sort of era of atonement, and that is understandable. Too many crimes were committed against people of other races, women were demeaned for far too long, and people of different sexual orientations were disrespected. I am glad that this atonement is taking place. There are certain excesses, but that is normal when such a struggle over values happens.

With artificial intelligence paving its way in our daily lives and the creative process, human writers may be expelled much faster than one thinks! Do you agree? 

So far, artificial intelligence is an excellent imitator, but it still cannot match human creativity. Will it be able to in the future? I don’t know. In any case, the realm of creativity will be the last one it takes over – if it takes over at all.

What is your advice to someone who suffers? 

There’s not much advice one can give – suffering is a deeply personal experience. You need to trust that after the storm, the skies will clear again, and wait patiently for that sunshine.

Marius Ivaskevicius’ book, Išvarymas. Londono adata, is available for purchase on laisvesknygos.lt