Diary Volume 1
Witold Gombrowicz Northwestern University Press, 1988 Library of Congress PG7158.G6692A3413 1988 | Dewey Decimal 891.858703
This is the first English translation of Witold Gombrowicz's Diary, the most Polish and the most universal of his works. Gombrowicz (1904-1969), who left Poland at age thirty-five and never returned, whose writings were banned in his own country, has had an impact on Polish literature unlike any of his contemporaries. But he changed more than the image of Polish letters. If literature cannot influence national character, it can at least influence the national image, its understanding and evaluation of itself. That is what Gombrowicz changed: the image and stereotype of the Pole.
This is the first English translation of Witold Gombrowicz's Diary, the most Polish and the most universal of his works. Volume Two explores a more personal and intimate side of Gombrowicz in his adopted country of Argentina. Gombrowicz takes the readers into salons, homes, encounters in restaurants and theaters, dramatizing and self-dramatizing, turning the Diary into a work blending techniques of fiction and theater.
This is the first English translation of Witold Gombrowicz's <i>Diary,</i> the most Polish and the most universal of his works. Volume Three records Gombrowicz's departure from Argentina for Europe, where he spends a year in Berlin and settles on the French Riviera. It details his friendship with Bruno Schulz, his reflections on Dante's "monstrous work," and his responses to the work of contemporaries, and in so doing reveals the core of a great writer's sensibility.
Aleksander Wat Northwestern University Press, 1990 Library of Congress PG7158.W28B413 1990 | Dewey Decimal 891.8537
In these nine stories the Polish writer Aleksander Wat consistently turns history on its ear in comic reversals reverberating with futurist rhythms and the gently mocking humor of despair. Wat inverts the conventions of religion, politics, and culture to fantastic effect, illuminating the anarchic conditions of existence in interwar Europe.
The title story finds a superbly ironic Lucifer wandering the Europe of the late 1920s in search of a mission: what impact can a devil have in a godless time? What is his sorcery in a society far more diablical than the devil himself? Too idealistic for a world full of modern cruelties, the unemployable Lucifer finally finds the only means of guaranteed immortality. In "The Eternally Wandering Jew," steady Jewish conversion to Christianity results in Nathan the Talmudist reigning as Pope Urban IX. The hilarious satire on power, "Kings in Exile," unfolds with the dethroned monarchs of Europe meeting to found their own republic in an uninhabited island in the Indian Ocean.
To see through the eyes of essayist and dramaturge Jan Kott is to gain in knowledge not just of the theater but also of human culture. Since his Shakespeare Our Contemporary appeared in English in 1964, Kott's work has altered—and strengthened—the way critics and the public approach the theater as a whole. The Memory of the Body highlights a number of dramatic personalities and personages: authors and directors Witkiewicz, Brecht, Kantor, Grotoswki, Ingmar Bergman, Wedekind; Tilly Newes on the stage in turn-of-the-century Vienna; the all-too-mortal, two-thirds divine Gilgamesh; and a shaman in rural Korea. In a style flecked with passion, poignancy, and wit, Kott moves beyond a mere discussion of theater to speak of eroticism, painting, love, and death.