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Świadectwo umierania. O projekcie autobiograficznym Marii Kuncewiczowej

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Banot A. E.

Świat i Słowo

2013

vol. 11

issue 1(20)

145-155

Analysis of works of Maria Kuncewiczowa leads to the conclusion that the parent category, which organises the writer’s work is autobiographism. Autobiographical traces can be found in almost every novel or short story: Cudzoziemka (‘The Foreigner’, 1935) is the story of a mother, Leśnik (‘The Forrester’, 1957) – about his father, Twarz mężczyzny (‘A Man’s Face’, 1928) – by the same author, and Tristan 1946 (‘The Tristan 1946, 1967) tells the story of the writer’s son, Witold. Fantomy (‘The Phantoms’, 1971) and Natura (‘The Nature’, 1975), complete and legitimize the autobiographical dimension of Kuncewiczowa’s work. This article characterizes the autobiographical project of the writer, present-ing its distinguishing formal features, relating for example to the issues of genre, and of content – an autobiography as evidence of dying. However, I perceive the testimony not as an autobiographical stance, but as a dominant thematic feature. Choosing death instead of life, Kuncewiczowa seems to negate the assumption of autobiography as the sphere of women’s empowerment and presentation of universal, gender-related problems, yet what matters more is the fact, that she focuses on entirely different topics. Instead of youth, love and continuity she exposes such topics as illness, dying, passing away and disintegration.

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1 Świat i Słowo

1 2013

1 Banot A. E.

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Świadectwo umierania. O projekcie autobiograficznym Marii Kuncewiczowej