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1

Bruno, syn Franciszka

100%

Sitkiewicz P.

Schulz/Forum

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2020

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issue 15

5-25

EN

Already the first reviewers of Bruno Schulz’s exhibitions and stories compared him to Franz Kafka, pointing at clear resemblances of imagination and motifs. Those analogies were later noticed also by literary scholars who either tried to prove that Schulz was inspired by the work of the Prague writer, or – on the contrary – demonstrated that all the correspondences between their literary worlds were accidental or determined by the times. Analyzing the reception of Kafka and Schulz in Poland before World War II, and the arguments used by both parties, the author makes an attempt to establish whether Schulz was indeed Kafka’s follower. It transpires that even though Schulz most likely knew Kafka’s novels and stories already before 1926, and one may find a number of links connecting not only their works, but also biographies, in terms of their idiom and worldviews the two writers were dramatically different. This, however, does not mean that there is no connection between them. On the contrary, the author realizes that it was actually Kafka who encouraged Schulz to write and ultimately made him an artist, so that Schulz’s writing may be considered a kind of response addressed to his literary progenitor. The picture of Schulz as an imitator of Kafka was largely influenced by the first postwar critics of his work, who promoted it abroad and looked for analogies with that of another Jewish writer active at approximately the same time and in the same geographical area. The ultimate step toward a firm belief in the literary affinity of Schulz and Kafka was made by Jerzy Ficowski who, even though he rejected analogies, created Schulz’s legend using the same methods as Max Brod – with similar merits as well as errors.

2

Schulzoidzi

100%

Sitkiewicz P.

Schulz/Forum

|

2016

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issue 8

3-4

PL

The term “schulzoids,” coined by Igor Klech to identify the admirers of Schulz’s fiction and graphic art, who travel to Drogobych in search of the genuine cinnamon shops, has been accepted by the Schulz scholars as referring to those writers who follow the topics, vision of the world, and, in particular, the style and idiom of Schulz; who have chosen him as their patron saint and partner of discussion. The authors of the present, eighth number of Schulz/Forum, approach the Schulzean inspirations in a similar perspective.

3

À la manière de Bruno Schulz. Pastisz parodia i naśladowanie Brunona Schulza w okresie dwudziestolecia międzywojennego

100%

Sitkiewicz P.

Schulz/Forum

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2016

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issue 8

123-132

PL

The paper focuses on three cases of pastiche and parody of Schulz’s fiction, published in the Polish press in the 1930s. The author realizes that success in emulating was conditioned not so much by the imitation of Schulz’s style and referring to the main motifs of his short stories, but, above all else, by the application of Schulz’s creative method which consists, paradoxically, in a parodistic, “panironic” approach to reality.

4

Bruno Schulz w Poznaniu

100%

Sitkiewicz P.

Schulz/Forum

|

2015

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issue 5

133-146

PL

For the last several decades Schulz’s oeuvre has been a kind of “work in progress.” Although he has been long dead, more and more of his texts, drawings, and paintings seem to come down to us from the hereafter – both known from more or less credible testimonies, and quite unexpected and never before acknowledged. Certainly the most impressive findings of the recent years are Schulz’s frescoes from Landau’s villa in Drogobych, discovered by the German filmmaker, Benjamin Geissler, in 2001 and then partly removed to Israel to cause an international scandal. As it turns out, however, to find new traces of Schulz’s life and work one does not have to penetrate into inaccessible archives or count on a miracle. In the Poznań newspaper Nowy Kurier, an interview with Schulz and a review of his Sanatorium under the Sign of the Hourglass have been just found, both never reprinted or commented upon. The present paper changes this state of affairs.

5

Korekta

100%

Sitkiewicz P.

Schulz/Forum

|

2014

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issue 4

3-4

PL

The fourth issue of “Schulz/Forum” is an opportunity to draw conclusions, but also to correct the originally chosen approach. Its dominant are Jewish motifs in Schulz’s life and fiction. Besides, it contains a new rubric, “Horizon of Reading.” The future numbers will focus not so much on Schulz himself, but on various problems related to his oeuvre. We are planning to publish special thematic issues on Schulz’s women, his literary and artistic followers, the literature of Galicia, masochism, and Schulz’s manuscripts. Besides, “Schulz/Forum Library” and an annotated edition of Schulz’s complete writings and drawings will be initiated this year, too. Therefore, interpretations, analyses, reviews, and archival materials related to the above are welcome.

6

Feliks Lachowicz (1894–1941?). Hasło do „Słownika schulzowskiego”

100%

Sitkiewicz P.

Schulz/Forum

|

2015

|

issue 6

106-107

PL

Amateur painter, draughtsman, and sculptor, born in Drogobych. Fought in World War I, as a Russian POW sent to Siberia. Having returned to Poland, worked at “Galicja” refinery in Drogobych. In 1940, arrested by the NKVD and sentenced to 5 years in concentration camp. The circumstances of his death remain unknown. His most important works are two series of graphics showing his hometown: History of the Town of Drogobych – For the Glory of Motherland and Hope of the Drogobych Burghers (1933) and Urycz in Legends. 14 Miniatures (1938). Lachowicz created in his works a mythology of the town according to his own vision of the past. His art does not reach for the new, but returns to history to connect to the mystery of the bygone and the primeval. At this point, his and Schulz’s artistic paths converge.

7

Ocalony przez mit. Schulz i Lilien

100%

Sitkiewicz P.

Schulz/Forum

|

2015

|

issue 6

97-104

PL

Although at first sight it is difficult to find clear connections between their art, in his essay Schulz expresses his admiration for Lilien’s work and prompts the reader how their respective imaginary worlds come together. The main reason for Schulz’s admiration is the myth of childhood, which the writer cherished so much. Besides, he perceived Lilien as an artist who in his works expressed important currents in the political thought of his times and changes in the collective identity of Jews creating their own state in the land of Israel after centuries of living in diaspora. Thus Lilien is a spokesman of his people, a kind of medium through which the spirit of the age and history can express itself. He is also a great mythmaker.

8

Puzony koniunkturalne. O obwolucie pierwszego wydania Sklepów cynamonowych

100%

Sitkiewicz P.

Schulz/Forum

|

2017

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issue 9

PL

The price of first editions of Schulz’s two collections of stories published in his lifetime is likely to vary depending on whether the original cover and especially the book jacket, which is a bibliophile’s rarity, are preserved. The book jacket of Cinnamon Shops has never been reproduced. Moreover, nobody has ever published the text that appeared on its flap. Probably not written by Schulz himself, it presents such features of his stories as the deformation of the described reality or the unusual plasticity of words. In their reviews written before the war, critics unanimously stated that Schulz was a product of self-promotion, which was characterized by excessive self-complacency and an element of a too intensive advertising campaign that was supposed to promote an unknown author. It appears, however, that the advertising campaign of Schulz’s debut was not at all vigorous, quite the contrary – the author himself paved the road to fame, overcoming the considerable opposition of critics.

9

„Jednakowoż bez pieniędzy”. Sytuacja materialna Brunona Schulza

100%

Sitkiewicz P.

Schulz/Forum

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2018

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issue 12

PL

The author makes an attempt to test a widespread opinion that Bruno Schulz had serious financial problems. This view, however, dating back to the writer’s own statement and then supported by such outstanding experts on his life and work as Jerzy Ficowski, seems to be rather untenable. Having analyzed Schulz’s income confirmed by his letters, as well as the income of other Polish writers in 1918–1939, Piotr Sitkiewicz has reached a conclusion that in fact his living standard in the 1930s was quite high, particularly if one takes into account the economic situation of Poland stricken by the crash of 1929 and its consequences. Schulz’s complaints on his teaching job and salary were not caused by objective estimation, but by his worldview which was influenced by chronic depression.

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Bruno, syn Franciszka

Schulzoidzi

À la manière de Bruno Schulz. Pastisz parodia i naśladowanie Brunona Schulza w okresie dwudziestolecia międzywojennego

Bruno Schulz w Poznaniu

Korekta

Feliks Lachowicz (1894–1941?). Hasło do „Słownika schulzowskiego”

Ocalony przez mit. Schulz i Lilien

Puzony koniunkturalne. O obwolucie pierwszego wydania Sklepów cynamonowych

„Jednakowoż bez pieniędzy”. Sytuacja materialna Brunona Schulza