On a December visit from Los Angeles to his native city of Kraków, writer and translator Piotr Florczyk longs for the snow of his childhood, and I think of how weather translates from physical to emotional, personal to communal, into landscapes current and remembered.
They say there is no weather in Los Angeles, but for one who's lived here always, it's a different story. Only in deep winter, do all the camellias open to a riot of pink, the backyard orange tree alight with small suns.
The first time I saw snow in the real world, I was in a home other than my own, an Amsterdam pensione in the century before Airbnb.
I proselytize for Tadeusz Różewicz (1921–2014) and his poetic legacy as a new convert, not with unique insight into his importance or his poetics. That I leave to the eleven Polish poets sampled here (and several translators), who can testify better than I can.
The way the poetry of Tadeusz Różewicz (1921–2014) is used by the school system in Poland shows how we disfigure some poets to make them palatable. The educational package has it that his was an attempt to rebuild the basic powers of language after the catastrophe of human slaughter in this part of the world during WWII.
Like many a poet of his generation, Bonowicz has read Tadeusz Różewicz as both an apprentice and an interlocutor. After all it was the old master who, having cleansed his verse of what he deemed superfluous ornamentation, demonstrated that it was possible to write poetry after Auschwitz. In doing so, Różewicz aimed to make sense of our postapocalyptic existence by questioning the basic principles of human nature and language’s role as our would-be ally in the process of acquiring meaning.
For someone who has worked with, and in, words, Różewicz has always approached language with an uncompromising suspicion. I cannot think of another poet who distrusts words more consistently. After the war, when words seemed compromised, Różewicz made a utopian attempt to rebuild trust in words by returning to simplest phrases and basic truths.
Who was Różewicz for me? First, a figure from school — I discussed his poems and this was terribly boring. It was all understood, the War, the Holocaust, the partisans. Not for a fifteen-year-old to digest. His poems were boring. But his plays and prose were an entirely different matter. Oh! It was something. White Marriage (Białe Małzenstwo) and Card Index (Kartoteka) read wonderfully. Only now, in hindsight, I rediscover Różewicz the poet, but still, for me [he is] a playwright. Above all.
Strange weathers: Piotr Florczyk in Kraków
On a December visit from Los Angeles to his native city of Kraków, writer and translator Piotr Florczyk longs for the snow of his childhood, and I think of how weather translates from physical to emotional, personal to communal, into landscapes current and remembered.
They say there is no weather in Los Angeles, but for one who's lived here always, it's a different story. Only in deep winter, do all the camellias open to a riot of pink, the backyard orange tree alight with small suns.
The first time I saw snow in the real world, I was in a home other than my own, an Amsterdam pensione in the century before Airbnb.