Socialism lives

It was with mixed feelings and a mixed message that I bought three Communist posters for my siblings after visiting Statue Park on Friday. Each had some combination of Lenin, Stalin, Mao, Marx, and others, caricatured in the form of a movie poster, a band, and South Park. Never mind the capitalist profit made from their commodification. The more significant contrast is that my siblings will hang them up without entirely supporting the men (the way Che supporters wear his face), nor will they entirely laugh at the decoration (the way Michael Moore holds hands with Bush).

Whoever designed the posters probably intended them for the latter, ironic purpose, and so I say it is even more ironic that my family, with its socialist leanings, is more in between the Bush and Che alternatives. Safe to say we don’t support any of the reeducation, political purging, or subjugation that would make Orwell turn in his grave. But we remember too that these resulted from totalitarianism, not the ideology of socialism in its economic, sexual, and humanitarian equality.

Then again, I think we are removed enough from the Cold War to see that communism itself isn’t completely the evil we believed it to be. About all this I am unsure. Who knows, maybe not everyone is laughing. What impels people to, for instance, visit places like Statue Park? In between the ironic (though silent) laughter and the homage to the victims of terror, there is probably also a part of us that pays respect to the likes of Lenin and Mao, if only to recognize their impact as world-historical figures. Something like the legacy of Napoleon still upheld in France.

Not that I had much company on Friday. At times I was alone, at times half a dozen tourists wandered Statue Park, also known as Memento Park. And no wonder: I spent over an hour, two buses, and a tram to get outside Budapest, where the statues have been placed. Most were moved there from their sites in the heart of the city, after being toppled in 1989, though their original locations are still denoted on the not-very-informational plaques. What’s worse, I thought, some are “authentic replicas” of original monuments. I complained of this to a Hungarian friend, of city planners fabricating culture and recreating history just to please tourists. But my friend shut me up: is the city really making money on the half dozen tourists that come out there? The truth is, he said, they want to preserve culture and honor history.

He’s probably right, so I’ll just be happy with the huge replica of Stalin’s boots that stand outside the entrance, which is itself a large red brick wall that doesn’t really keep anything out. The park is an outdoor museum, a string of three round fields with a bright red star made of flowers in the center field, and larger-than-life statues, reliefs, murals and any number of monuments along the circumferences. People and writings are a mix of Hungarian and Russian, ranging from the solidarity of the Soviet Union and its satellite, the rights of women, the education of children, and the loyalty, strength, and peace realized through socialism.

The one called “Liberation Monument” shows a wall of white stone, interrupted where a man’s profile takes shape behind the man himself, who stands before the wall from which he has just broken free. The symbolism is clear, but I can’t look at it without thinking, don’t you know it’s you, Communism, from which we are breaking free?

At some point I realized how comic it all was: here I was, standing in a Cold War era park, holding The Joke by Milan Kundera. Like many of the Czech writer’s works, this sets the trials of life and love against the backdrop of Soviet-occupied Central Europe. Ordinarily I would call it a coincidence, but more likely, I am proving Kundera’s own thesis in The Unbearable Lightness of Being. It is not coincidence that my family comes from a still (nominally) Communist country, that I came to study in Hungary, that I read this book and this author, that I visited Statue Park. Kundera uses the example of Anna Karenina to argue that what we call dramatic, like Anna’s preoccupation with and death under trains, is not coincidence but life. The motif of trains (or just as easily of communism) is not dramatic accident created for novels, but drama that we, consciously or not, tend to create for ourselves.

Terror Haza

If the House of Terror did not enclose such a grim legacy - Hungary's more than four decades of terror under Nazi and then Soviet occupations - it would almost succumb to the absurdity in much of tourism. The museum alternates between the poignant (interviews with former prisoners, fascist and Communist propaganda, a preserved basement of torture and incarceration) and the cheesy (a video of actors changing clothes as they found new roles under changing regimes, a pig because collective welfare made it difficult to own your own). I don't know if cheesy is the right word, because I couldn't decide whether to admire the curators for mixing history with symbolism (as that would make them artistic) or dismiss them for trying too hard to please tourists (as that would make them cheesy, like the Buda labyrinth).

But if there's any place a tourist should see in Budapest, this is probably it. The Terror House grabs attention easily, for a few reasons: 1) its name, even if people first think it's a Halloween attraction; 2) its odd location on Andrassy Avenue, known for shopping and its UNESCO World Heritage recognition; and 3) its facade, an overhang with the word "TERROR" carved out like stencils so that the sun writes the letters on the sidewalk below.

Beyond the initial impressions, the museum delivers. This is probably due to its small size, but I've never seen a museum presented as such a complete package that is simultaneously concise and dramatic. The first image that greets visitors is the wall of victims: thousands of low relief, black-and-white head shots, about a square foot each, depicting the deceased and inscribed along a central wall that spans all three floors and the elevator. In the basement is the smaller portion of the wall, that of the victimizers. Their faces are smaller, but they have names and dates, many showing the victimizers to be alive still - hence the debate over what should be done with them and whether they should be allowed into public office.

Like the wall (and like a good meal), the exhibition rooms also rely on the power of presentation for impact. I've realized most of them are works of art in themselves, often for their symbolic significance. One room made manifest the dualism of oppression under fascists and Communists by screening footage on either side of the same wall in the center of the room, Hitler on one side, Stalin on the other. Working with the Hungarian Arrow Cross Party, both at different times controlled Hungary, which seemed to trade one form of totalitarianism for another.

Another room shipped us off to Siberia, as the condemned Hungarians were once expelled. Horizontal wood paneling lined the walls, with windows simulated by TV screens showing the landscape roll by. A carpet map began in Hungary at the entrance and ended in the Soviet far east at the exit. Then there was (what I call) the Warhol room of '60s ads denoting the prosperity and consumption under socialism; the Catholic room, along the length of which ran a huge white cross "exposed" by floorboards pulled aside; and the black-and-white Gabor Peter room, white where the Communist police chief enjoyed a clean office, black where the Jewish Hungarian served a prison sentence under the system he once controlled.

All of this trimming disappears, however, once you walk through the rooms of the basement. For solitary confinement, you have the choice of a closet big enough to hold one person, a larger room just three feet high, or a wet cell. There's a Hungarian flag with the Soviet emblem cut out, a common image during the 1956 Revolution. A gallows is intact. Interviews run on a loop, men and women lamenting the senselessness of their subjugation. A young woman reads the names of the dead. And in the background plays a Hungarian version of Lili Marleen.

Alice in ... Central Europe?

That I should end up studying at Central European University and that it should turn out so well resembles my fate at Columbia: each is a result of negligible research and lots of luck (not that I believe in luck, whatever that is). Basic facts about CEU I should have known, I didn't.

For instance: George Soros funded the university, which is part of the reason Russia in all seriousness believes it to be a haven for conspirators who want to overthrow the Kremlin. My Russian foreign policy professor mentioned so in class today, and considering Soros' contributions to the 1989 revolutions, it's not so crazy (he deems himself "responsible for the 'Americanization' of eastern Europe" according to the New Statesman). The professor went on to tell us about a former student who applied for a job at the Russian foreign ministry, which turned her away after seeing CEU on her CV. The general recommendation if you want to work for the Russian government: downplay your Western education. How ironic, after Russia invited so many Westerners (including Jeff Sachs, Columbia celebrity economist extraodinaire) to help with rebuilding directly after the Cold War.

Other, more relevant facts I should have known: CEU is a graduate school on a strange quarter system, so I'll be done here in March. Also, the only really Hungarian thing about the school is its location, as students, teachers, curriculum, etc. are generally international. So although I'm "immersed" by taking courses like any grad student here, it was not what I had expected immersion to mean. A bubble indeed.

The role of Lady Luck, then, is to prove that none of that really matters. Although my conditions have been a sign of poor planning, they also signify to me what Camus has said, that you can find pleasure in nearly anything. I don't think it is a contradiction to reject the nonsense of fate or luck but believe that everything ultimately works out. I get to finish the term with months to travel. I study refugee law with people from the countries we discuss or Russian foreign policy with people who remember Yeltsin's election. I constantly run into other students I recognize, the school is so small (population: 1,500).

And I find other ways to meet Hungarians. One such recent friend asked me last night, "How do you like Budapest?"

"Well, if I didn't like it, I wouldn't be very happy here," I said.

When he asked what makes me unhappy, I said nothing, that happiness is a choice and I'm always happy. I didn't notice the potential incongruity, but he tried to work it out: "So if you didn't like Budapest you would be unhappy, but you are always happy... So you are happy everywhere?"

That seems about right.

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Reading: Melanie A. Sully, "A Contemporary History of Austria"
Listening to: Josh Groban, "Vincent (Starry, Starry Night)"