Exploring Kosinski's Characters

Aside from Chance in Being There, the protagonists in Kosinski's novels often mirror the author himself, prompting critics to frequently highlight these similarities. Kosinski, however, consistently cautioned against interpreting his main characters as autobiographical versions of himself. Following accusations from Stokes and Fremont-Smith, Kosinski chose to confront the ongoing debate about the correlation between himself and his characters. He termed The Hermit of 69th Street as "auto-fiction," a label that inherently complicates any attempts by critics to draw parallels or distinctions between the author and his fictional creations. The playful variations of his and his characters' names add to the intrigue. Notably, Kosky is seen as Kosinski minus "sin," a point repeatedly noted by several critics. Names like J.K., Jay Kay, and Jerzy Kosinski, used in editorial asides, invite further speculation about subtle nuances Kosinski might be suggesting, though critics have found little success in deciphering these. Kosinski further entangles the narrative in a scene where Kosky is informed by his publisher of another forthcoming novel titled The Hermit of 69th Street, authored by none other than Jerzy Kosinski himself. In response, Kosky decides to rename his "Hermit" to "Healer." Yet, as the story unfolds, Kosky's novel, edited by Kosinski, ultimately emerges as "Hermit."

The Enigmatic Kosky/Kosinski

Identifying Kosinski's primary character is a confounding task. Perhaps the cumbersome Kosky/Kosinski appellation is necessary. The character is engrossed "with words, letters, and numbers," as Kosky/Kosinski himself states. He is particularly fixated on the numbers six and nine, owing to their blatant sexual symbolism, while the letters "SS" evoke haunting memories of the Nazis and wartime. Yet, Kosky/Kosinski revels in the fusion of the profane and the sacred. He muses that six and nine also represent a multiplied trinity, and "SS" combinations range from the spiritually sacred to the notion of safe sex. This character's mind, quoting Whitman, "contains multitudes" and "contradicts itself," crafting a figure meant to be perceived as sharp, intricate, and perhaps all-encompassing. Nonetheless, critics largely find the spiritual dimension of his character unconvincing. Instead, he is often seen as shrewd, preoccupied with sexuality, and burdened by the violent shadows of his past.