Being There

The novella argues that television and the media have created a society that cares only about appearances. How would you update this idea for a contemporary audience?

In the 1979 film adaptation, written by Kosiński, the housekeeper Louise sees Chance’s This Evening interview and tells her companions—who are also Black—that she knows Chance cannot read or write, and that being white is all it takes to succeed in America. In your opinion, what roles do race and white privilege play in the novella? Why did Kosiński include this comment in the film but not in the book?

Why is the novella’s title Being There?

The narrative is set during the Cold War. How does the historical context influence the plot?

Chance is able to maintain his appearance, his position in the Rand’s household, and navigate complex social engagements. Is he as innocent as he seems, or is he aware of his need for self-preservation and deception?

Why is EE so drawn to Chance? What does he offer that is missing in her life?

Chapter 7 is a sharp stylistic departure from the rest of the novella, in that it does not provide a clear depiction of characters or events. Is the ending insufficient, or is it appropriate for the parabolic nature of the narrative?

In 1982, The Village Voice alleged that Being There was plagiarized from the 1932 Polish novel The Career of Nicodemus Dyzmy and that the novella was ghost-written by Kosiński’s editors. Accusations of plagiarism and ghostwriting accompanied several of Kosiński’s other novels as well. Do these controversies affect Being There’s literary merit? Should they be ignored or taken into consideration when studying the work? Support your response with outside research.