In his novel “Dolina Radości” [“Valley of Joy”] Stefan Chwin tackles the subject of metamorphoses. In this article I will talk about the issue of transformations in “Dolina radości”. The hero of the novel is a makeup­-artist and that is why metamorphoses are at the center of the action. Noteworthy are also transformations connected with the most important political events and the most important places in Europe in the 20th century for example in the Polish city of Gdańsk (...) which Chwin writes about. The events of December 1970 are described in an episode of the novel but are a very important element of the whole book. This article first presents references to German literary works which are the part of the literature of German­-Polish dialogue. (shrink)

The article deals with the images of Lithuania found in Czesław Milosz’s poetry. The novels and essays have only been used to confirm the conclusions drawn from the interpretation of selected poems. Despite the frequently-declared unwillingness of the author of Dolina Issy [The Valley of the Issa] to accept and use any autobiographical elements in literature, the land of his childhood has always been present in all the poet’s works. The explanation of this fascination with nostalgia seems to be (...) unsatisfactory. The author of the article perceives the poetic images of Lithuania created by the uprooted immigrant as a symbol of his inner, not purely geographical, settlement. The subject of the discussion is the ever-changing perception of the Eastem-Borderland, which corresponds to particular stages of the protagonist’s journey through life. The starting point is the experience of eviction. It modifies the originally idealized vision of the „little homeland” and makes the hero’s attempt to reject or „amputate” it. The poems from the volume Światło dzienne [Daylight] surprise the reader by a hostile attitude towards the poet’s youth spent in Lithuania and the perception of these early memories as some destructive forces threatening the artist. It is only after a many-years’ quest that the borderland heritage is appreciated and conquered again. Now, however, it acquires a different, more symbolic form. The cycle Miasto bez imienia [A Town without a Name] and the poem Gdzie wschodzi słońce i kędy zapada [Where the Sun Rises and Sets] are evidence of a gradual transformation. The faithful recreation in the poet’s memory of particular places and people changes into the construction of some outside religious space, built from the traces of the real world. Lithuania changes into a perfect reality, a Super-Land, capable of retaining the past and combining it with the present. It is a prop freeing the poet from the waste land of Urizen. (shrink)