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SAVED IN THE EDIFICE OF THE POEM: MAN AND HISTORY IN STANISLAW BARANCZAK'S 'ATLANTYDA' (ATLANTIS)

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Kandziora J.
Pamiętnik Literacki
|
2005
|
vol. 96
|
issue 3
155-180
EN
Stanislaw Baranczak's poems of the years 1981-1985 are a record of the experience of the poet, who after December 13, 1981 became an 'involuntary emigrant' in the USA, and it is from this perspective that he observes the changes of the history in the country under the martial law. The article refers to three important poems of the 'Atlantyda' (Atlantis) collection and to the three kinds of relations between the History and Man: parallelism between the break-up of the childhood utopia and the ideological utopia ('Historia' ), confrontation with the History that destroys a man ('Grazynie' ) and mediation between an individual and a common celebration that enslaves it ('Msza za Polske w St. Paul's Church, grudzien 1984' ). The degree of the sense of the History's oppression varies in the poems, but all of them are linked by unwillingness to read this sense in the romantic codes as collective and cyclic stories. This point is also reflected in the change of Baranczak's poetics favoring an individual point of view and an intensive recording of the world, and encouraging to a symbolic and multi-layer reading.
2

Poetry won't be surrendered. Jerzy Ficowski's poems on the martial law

100%
Kandziora J.
Teksty Drugie (Second Texts)
|
2007
|
issue 5(107)
165-176
EN
An original poetic testimony of the martial law in Poland is provided by Jerzy Ficowski's two cycles from 1981/1982, entitled 'Przepowiednie' and 'Pojutrznia', edited in 1983 in the form of an 'off-censorship' volume. This sketch describes certain features of the Ficowski collection causing that a historical account has not enslaved the most valuable elements of Ficowski's mature poetry - on the contrary, an ambiguity-related value has been added to it. The language, as it were, 'stages' social processes of shifting meanings; personifications create a theatre of imagination out of abstract notions; time is subject to animation, turning historical analogies with the age of insurrections into completely physical processes; lastly, these poems' lyrical subject moves between the role of a witness to the events and the one of a carrier of magical worlds. This makes the poetry a play of meanings and a domain of imagination, whilst remaining a testimony; it saves its autonomy against History.
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