Recently I found out that, contrary to my past belief, I’m not 1/4 Polish, but 3/4 Polish (or Prussian, or whatever—most everywhere my family is from has changed hands over and over and over) and have since been on a bit of a Polish pride kick, mostly related to soccer players like Robert Lewandowski (Dortmund’s still perfect on points!), and, after he shut down the dreaded Tottenham Spurs and then trolled their fans, Arsenal’s keeper, Wojciech Szczesny.
All of which is a long and unnecessary way to plug soccer and lead-in to the fact that I received a copy of Grzegorz Wróblewski’s Kopenhaga this morning and am really digging this book.
First, here’s a bit about Wróblewski from translator Piotr Gwiazda’s introduction:
Born in 1962, Polish poet, playwright, and visual artist Grzegorz Wróblewski has lived in Copenhagen since 1985, “far from Poland and far from Denmark” (in his own phrase). Kopenhaga, a collection of prose poems based on his experiences as an emigrant, was published in Poland in 2000. [. . .]
Wróblewski at once exemplifies and complicates the notion of an émigré writer introduced by Joseph Brodsky in “The Condition We Call Exile.” In his 1987 essay Brodsky describes the émigré writer as a person who perpetually looks backward and as a result fails “to deal with the realities of the present of the uncertainties of the future.” Like Brodsky’s typical writer in exile, Wróblewski clings to what is most important to him, his native language, which has suddenly turned from being his “sword” into his “shield.” His lyric narrator in Kopenhaga seems to be in a state of permanent disquiet; he is vulnerable, anxious, self-estranged. We observe his tendency for psychological extremes, his morbid fascination with death and decay, his crippling paranoia and “cosmic loneliness.” But Wróblewski’s self-imposed exile in Copenhagen, which continues to this day, can also be regarded as a kind of metaphysical luxury.
On the subject of “death and decay,” here are a couple of Wróblewski’s prose poems that particularly grabbed me:
You will survive in the minds of distant relatives and cousins, in their memories of you . . . (Motherfuckers! What if they deliberately choose to forget you!) And then, when they also depart, you will be no more.
A long and eventful life? The doctors make no bones about it . . . Your blood cholesterol: 350. You must go on a diet immediately. Reduce your intake of alcohol and start playing sports again. Unless nothing matters to you anymore. If that’s the case, then don’t change a thing. Within three, four years you can expect your first, possibly fatal heart attack. Mind you, though, you still have a chance for a long and eventful life. The Amazon Jungle? Numerology? Sheraton Everest Hotel? Think abou tit!!! It’s all up to you. Unless nothing matters to you anymore. (I think there is a lot to be said for spiritualism, quite a lot, in spite of much imposture. H.G. Wells.)
Going back real quickly to Gwiazda’s intro, here’s a nice bit for all the translators and translation students reading this:
Like most translators, I often found myself confronting aspects of the original text that remained stubbornly untranslatable—I mean interjections (which Roman Jakobson called the “purely emotive stratum in language”), idiomatic and onomatopoeic expressions, clichés, puns. For example, my translation of the phrase “Ołowiany tornister duńskiego narodu”1 only partly succeeds in reproducing Wróblewski’s brilliant reworking of the common Polish metaphor—the literal rendering would have been “Danish nation’s lead satchel.” I was also eventually unable to fully convey the double meaning of “pieczony kurczak przeistacza się szybko w różowego pawika”2—in Polish “paw” refers to “peacock” but also, in a slang phrase, to the act of vomiting.
There’s also a bit about the challenges of dealing with a “linguistically heterogeneous text” that reminded me of things that Esther Allen has talked about previously. But rather than quote that here, I think you should just buy the book and read the intro.
But I’ll end with one last fun opening that will sort of seal the deal on why I would be a fan of this collection:
You’ve got to watch experimental films! Underground. Underground poets. Tripping. Alcohol and sluts. Everything experimental. Nothing ordinary. (A: “Alcohol slows your reflexes.” B: “What reflexes?” A: “Your judgment.” B: “Is judgment reflexive?” A: “Fuck off.”)
1 He translated it as: “A collection of national hang-ups!”
2 Translated as: “Roasted chicken soon turns into flying vomit!”
Though far from the most convincing reason to read literature in translation, one common side effect is learning of another culture, of its history. Within that, and a stronger motivation to read, is the discovery of stories not possible within. . .
Despite cries that literature is dead, dying, and self-replicating in the worst way, once in a while a book comes along to remind readers that there’s still a lot of surprise to be found on the printed page. To be. . .
“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .