David Varno has just posted to Critical Mass, the National Book Critics Circle blog, a summary and downloadable podcast of the second panel of “After Kapuściński: The Art of Reportage in the 21st Century.”

This panel, titled “Literary Reportage Between Fact and Fiction, Self and Other,” was moderated by Lawrence Weschler and featured Random Family author Adrian Nicole LeBlanc; long-time New Yorker writer and Borges translator Alastair Reid; and Wojciech Jagielski, Gazeta Wyborcza journalist and author of the recent and much-acclaimed reportage about child soldiers in Uganda, Nocni wędrowcy (Night Wanderers, WAB 2009) and Towers of Stone: The Battle of Wills in Chechnya (which, translated by Soren Gauger, was just published by Seven Stories Press in the U.S.). One point made early on in the discussion is that the questionability of Kapuściński’s “fact-checking” itself needs to be called into question. At any rate, it seems to me to be a moot point, but one that is troublesome for many people and probably won’t ever be resolved.

Susan Harris’s recent podcast interview on Wisconsin Public Radio’s “Here On Earth” show brings the issue up again. Harris is Editor of Words without Borders, and talks about the journal’s October issue on international reportage, specifically about the thin line between objectivity and confirmatory bias — mainly on the example of Swedish writer Peter Fröberg Idling’s remarkable book Pol Pot’s Smile — which is often considered an ineluctable feature of journalism, and not only of the literary or long-form variety.

Critical Mass also has Varno’s summary and a downloadable podcast available for the first panel of “After Kapuściński: The Art of Reportage in the 21st Century.” Titled “The Art of Reportage on the Ground and on the Page,” the discussion was moderated by NBCC President Jane Ciabattari. and focused on its participants’ practical experiences as reporters. Those participants were: Polish journalist Paweł Smoleński, author of Irak. Piekło w raju (Iraq: Hell in Paradise, 2004, for which he was awarded a 2005 Kurt Schork Award);  poet and current American Academy in Rome Fellow Eliza Griswold, whose reportage on the faultline between Islam and Christianity, The Tenth Parallel, is forthcoming with FSG; Arif Jamal, the Pakistani journalist and author of The Shadow War: The Untold War of Jihad in Kashmir (Melville House, 2009); acclaimed American journalist Elizabeth Rubin, just back from Afghanistan; and Joshua Clark, author of the Katrina memoir, Heart Like Water (Free Press, 2007).

A few updates on recent goings-on in Polish literature:

This year’s NIKE Literary Award was announced on October 4. It went to Eugeniusz Tkaczyszyn-Dycki, the only poet among 7 finalists, for his book Piosenka o zależnościach i uzależnieniach (Song of Relationships and Addictions, Biuro Literackie 2009). Tkaczyszyn-Dycki, who was born in 1962, has over 9 books of poetry in Polish and one in English: Peregrinary, which was translated by Bill Johnston and published in 2008 by Zephyr Press.

The other finalists were: Andrzej Bart for Fabryka muchołapek (Flycatcher Factory, WAB), Inga Iwasiów for Bambino (Świat Książki), Ignacy Karpowicz for Gesty (Gestures, Wydawnictwo Literackie), Tomasz Piątek for Pałac Ostrogskich (The Ostrogski Palace, WAB), Bohdan Sławiński for Królowa tiramisu (The Queen of Tiramisu, Czarna Owca), and Krzysztof Varga for Gulasz z turula (Turul Gulash, Czarne). Of these other finalists, all but one are men, all but one were nominated for a novel (Varga’s Turul Gulash is a reportage about Hungary), and all but one already had a book or more under their belts (The Queen of Tiramisu is Sławiński’s first novel).

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Andrzej Stasiuk has just published a new novel, Taksim (Czarne). Here’s a summary by critic Przemysław Czapliński from Czarne’s rights catalogue:

In his latest novel Andrzej Stasiuk tells a tale of a very last chase of capitalism. His two main heroes – Paweł, a marketeer who circulates among the bazaars of European provinces, and Włodek, his driver – suffer a symbolic and actual defeat in their encounter with the new force. Up till this moment they’d always managed to come out on top. Paweł in particular is like a knight errant of the first phase of capitalism in these parts.

Now, yesterday’s culture of short-lived products becomes a culture of one-time use. Asia invades Europe, not with an army, but with trade. It floods the continent with knockoffs, in other words merchandise the Chinese copied from Central European products that were themselves copies of Western items.

If someone has the impression that Stasiuk has created a contemporary version of the story of how “the yellow race overcomes the white race,” they will only partly be right. Stasiuk is less interested in portraying the victors in this capitalist duel of deceptions, more in showing us the losers – that is to say, the pariahs of Europe, inhabitants of its poorest regions, people condemned to a worse life because they live in a worse place. These people acquire the cheapest goods, but they themselves, especially the women, are also turned into merchandise. The only thing Western Europe exports to Central Europe is its trash, its used objects, the detritus of its development, while from there it imports male bodies for its harsher jobs and female bodies for its entertainment. In this way the strength of money and the weakness of the provinces cause the ideal of Europe to enter liquidation. And since history driven by money has no brakes, it is a liquidation that cannot be reversed.

I wonder if this book was picked up by an American publisher at Frankfurt last week. Houghton Mifflin Harcourt, which published Stasiuk’s novel Nine three years ago, has plans to release his book Traveling to Babadag sometime in the relatively near future. And if you haven’t yet read his amazing Fado, which came out last month with Dalkey Archive, please drop everything this minute and go out and get it.

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The plot of Stasiuk’s Taksim calls to mind another recent, darkly futuristic Polish novel rooted in a topical discourse: Paweł Huelle’s The Last Supper (translated by Antonia Lloyd-Jones; Serpent’s Tail 2008; US edition forthcoming in December 2009). One wonders if a new catastrophism is under way in Polish fiction, a throwback to Witkacy’s apocalyptic novels of the 1930s… Here’s an excerpt of The Independent review last year, after Huelle’s novel came out in England:

The Last Supper, again [like previous novels Mercedes Benz and Castorp] centred on Gdansk, makes a small leap forward in time. Bomb attacks on liquor stores have raised the fear of jihadi militancy taking root among local Muslims (at present, they hardly exist), while others blame provocations by rival booze tycoons. The Church, via the flashy local prelate Father Monsignore (who runs his own-brand wine label), is shoring up its status via showbiz-style stunts and entrepreneurial gambits. Meanwhile, the artist Mateusz gathers a group of old friends – all veterans of the 1980s opposition circles, some thriving but others marooned in the free market – to take part in a re-enactment of the Last Supper.

The book’s first US review, in Publishers Weekly, just came out today, and is somewhat lukewarm, beginning with a caution: “American readers may struggle with this near-future novel from Polish author Huelle… a meandering meditation on contemporary Poland and Europe,” and ending with a proviso: “Those familiar with the social, political and religious issues Huelle addresses will best appreciate this challenging book.” It does, however, raise some important questions about translation, reception, and differing horizons of expectations between Poland and the U.S. (and between Poland and the U.K.).

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Poet, translator, and Literatura na świecie editor Piotr Sommer is a Franke Visiting Fellow at Yale University this semester. He gave a reading together with Christian Hawkey at Symphony Space last month at the Polish Cultural Institute’s season opener, joined by members of theNew York-based ensemble The Knights, who performed settings of his and Hawkey’s poems by, respectively, Jeffrey Lependorf and Lisa Bielawa. He will be giving a reading at Yale tomorrow (20 October).

Andrzej Wajda’s film adaptation of Jarosław Iwaszkiewicz’s short story “Tatarak” (translated as “Sweet Rush”) will enjoy its U.S. premiere at the New York Film Festival on October 2. The film is Wajda’s third Iwaszkiewicz adaptation, following The Birch Wood (1971) and The Maids of Wilko (1979) and stars Krystyna Janda (Man of Marble, Interrogation). Significantly, the adaptation involves an autobiographical film-within-a-film based on the death of Janda’s husband, and Wajda’s long-time cameraman, Edward Kłosiński. Acclaimed author Olga Tokarczuk wrote the screenplay.

Trailer for the film (in Polish).

Hollywood Reporter review of the world premiere at the Berlinale.
A little more about Iwaszkiewicz.

Yes, the hiatus is over! The past 5 weeks have seen, among other things, preparations for three Polish Cultural Institute events here in New York City:

the Institute’s season opener at Symphony Space on September 11, which featured readings by Polish poet Piotr Sommer and American poet Christian Hawkey and a performance by members of the New York-based ensemble The Knights of recent works by Lisa Bielawa and Jeffrey Lependorf (works composed as settings of poems by Hawkey and Sommer respectively)…

…the Polish Cultural Institute booth at the 4th Brooklyn Book Festival on Sunday, September 13 (which featured an informal reading by Jacek Dehnel, the author of the acclaimed novel Lala and editor of Six Polish Poets, and a book signing by Alex Storozynski, author of The Peasant Prince: Thaddeus Kosciuszko and the Age of Revolution)…

photos: A. Grenda

…and our first session of the European Book Club, at which both newcomers and seasoned aficionados of European literature in translation discussed Jerzy Pilch’s The Mighty Angel, recently published by Open Letter Books, together with Open Letter publisher Chad Post, who came down from Rochester to talk with readers.

The rest of the autumn will be awash with Polish culture — see the Polish Cultural Institute’s website for more details and consider subscribing to the newsletters if you haven’t already. Be sure not to miss the debut performance in the U.S. of work by celebrated Polish composer Paweł Mykietyn (Thursday, October 1, at Symphony Space; the concert will be preceded by a conversation with Mykietyn and Cuban-American composer Tania Leon) and the dissident Theatre of the Eighth Day’s return to the U.S. with their famous production Wormwood, which will be performed at Yale University November 5-7 and at the Abrons Arts Center in New York City November 11-15.

As for upcoming literary events, make sure to mark your calendar for the following:

October 6-7: After Kapuściński: The Art of Reportage in the 21st Century — a public conversation on the ins and outs of long-form and literary journalism with leading authors of the genre (these include Adrian Nicole LeBlanc, Suketu Mehta, and Lawrence Weschler, as well as Wojciech Jagielski and Paweł Smoleński). The event is cosponsored with the National Book Critics Circle, the New York Institute for the Humanities, and the new Literary Reportage concentration of the Arthur L. Carter Journalism Institute at NYU.

November 3-4: Polish Poetry Now: Bożena Keff, Marzanna Kielar, Tomasz Różycki, and Eugeniusz Tkaczyszyn-Dycki will read at the new Poets House in New York on Wednesday, November 4, following a discussion there the night before with translators Benjamin Paloff and Bill Johnston; on Thursday, November 5, they will read and discuss their work together with translator Antonia Lloyd-Jones at Harvard University. Check back here and at the Polish Cultural Institute website for more details.

November 10: As part of the Performing Revolution in Central and Eastern European festival that the New York Public Library is organizing, there will be a book party at Idlewild Books in New York for The Wall in my Head: Words and Images from the Fall of the Iron Curtain — a Words without Borders anthology published by Open Letter Books. Polish author Dorota Masłowska will read, together with Romanian poet Dan Sociu and German author Kathrin Aehnlich; New York University professor Eliot Borenstein will moderate.

Hope to see you at any or all of these events!

The Nation has just published a great review by Benjamin Paloff of Jarosław Anders’ Between Fire and Sleep: Essays on Modern Polish Poetry and Prose, which Yale University Press brought out recently.

The title, “Cures for the Common Cold War: Postwar Polish Poetry,” is a little befuddling, since much of the work discussed by Paloff—and Anders—is prose. The editorial oversight notwithstanding, the review is informative and, like Anders’ essays, brings an indispensable perspective to bear on the reception of Polish literature in English:

…while [Polish] literature is hardly a historical relic, our approach to it often risks being just that. In this regard, Anders’s critical approach is an invaluable tonic. His fleet-footed leaps between biographical detail and scholarly commentary are enormously edifying and entertaining in their own right. At the same time, Anders generally refuses to succumb to the romanticizing that has reduced so much journalism about these authors to a pocket lexicon of moral clichés.

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The fate of Polish literature in this country certainly cannot be isolated from that of translated literature in the publishing economy. Chad Post, the publisher of Open Letter Books and blogger of Three Percent, offers an indispensable assessment of the situation in the new Publishing Perspectives, “Translation Nation: A State of the Union.” He addresses a current conundrum—

So why, if Bolano’s 2666 and Per Petterson’s Out Stealing Horses can hit the best-seller list, and if everyone’s arguing that literature in translation is important for enriching our culture, are there fewer translations coming out this year than last?

and identifies causes not only in the economy, of course, but, structurally, in the

disconnect between publishing thoughtful, long-selling literary translations and a system that thrives on the HUGE HIT and is willing to spend millions to make that hit happen IMMEDIATELY.

I guess this has more to do with Austrian literature than Polish, but I have to say I’m excited to see Krystian Lupa’s adaptation of Thomas Bernhard’s 1970 novel Kalkwerk (translated into English as The Lime Works) tomorrow night at the Lincoln Center Festival. Lupa, who is one of Poland’s most prominent directors and has arguably had more direct influence on younger directors like Warlikowski and Jarzyna than more illustrious names like Grotowski or Kantor, is well known for his adaptations of Austrian literature in particular: Robert Musil’s The Man Without Qualities (the only work of his I’ve seen), Hermann Broch’s The Sleepwalkers, Bernhard’s Extinction, Rilke’s The Notebooks of Malte Laurids Brigge, among others. This is Lupa’s second production in the United States, but the first of his Polish productions to be staged here (Kalkwerk premiered in Krakow in 1992; it is remounted here with the original cast). It is also the first Polish play ever to appear in the Lincoln Center Festival.

More information on Lupa can be found on his website: http://www.krystianlupa.com. Kalkwerk opened last night and runs through Saturday, July 18th.

Tomasz Różycki has a poem (“Scorched Maps,” trans. Mira Rosenthal) and a blogpost about the poem up on the PEN America blog: http://penamerica.blogspot.com.

Różycki was born in 1970 and lives in Opole, in southwestern Poland. He is widely considered one of the foremost poets of his generation, publishing regularly in the important literary journal Zeszyty Literackie, alongside authors like Adam Zagajewski, Ewa Kuryluk, Stanisław Barańczak, and Clare Cavanagh. He has seven books in Polish and one in English (The Forgotten Keys, translated by Mira Rosenthal; Zephyr Press, 2007), and he and his translator are currently working on a second book, Colonies, for which Rosenthal has received awards from the NEA and PEN.

Różycki will be the first writer to take part in the Polish Cultural Institute’s Poland-U.S. Artists-in-Residency Exchange Program, as a guest of the Vermont Studio Center this coming October-November.

Well, Chad Post beat me to the punch with the news about Danuta Borchardt’s new translation of Gombrowicz’s Pornografia, which is forthcoming with Grove in November. It will be the first translation of the book directly from the Polish (Alistair Hamilton’s translation from Georges Lisowski’s French translation appeared with Calder and Boyars in 1966 and with Grove in 1967). Here are some other new translations from Polish to look forward to (I’ll post a downloadable list here soon as well):

Fado
by Andrzej Stasiuk
translated by Bill Johnston
Dalkey Archive Press, forthcoming September 2009

Towers of Stone: The Battle of Wills in Chechnya
by Wojciech Jagielski
translated by Soren Gauger
Seven Stories Press, forthcoming October 2009

Primeval and Other Times
by Olga Tokarczuk
translated by Antonia Lloyd-Jones
Twisted Spoon Press, forthcoming November 2009

The New Century: Poems
by Ewa Lipska
translated by Robin Davidson and Ewa Elzbieta Nowakowska
Northwestern University Press, forthcoming November 2009

The Last Supper
by Paweł Huelle
translated by Antonia Lloyd-Jones
Serpent’s Tail, forthcoming December 2009 (appeared in UK in November 2008)

Archipelago Books‘ Fall 2009 catalogue includes announcements of the following new translations:

Poems
by Cyprian Kamil Norwid
translated by Danuta Borchardt

A Treatise on Shelling Beans
by Wiesław Myśliwski
translated by Bill Johnston

Stone upon Stone
by Wiesław Myśliwski
translated by Bill Johnston

There are also rumours that in addition to Lipska, Northwestern UP will be publishing a new book of poems by Julia Hartwig, translated by John and Bogdana Carpenter; this will be Hartwig’s second book in English (In Praise of the Unfinished came out with Knopf last year). Another book that we’ll hopefully see very soon is Zbigniew Herbert’s collected essays, translated by Alissa Valles and forthcoming next year with Ecco.

Incidentally, there’s an early issue of The Complete Review (Twice Removed: Case Studies [Vol. IV, issue 4; November 2003]) that discusses those first second-hand translations of Gombrowicz’s novels (it’s interesting to see, too, that John Ashbery reviewed both Pornografia and Ferdydurke for the New York Times).

The new Harper’s (July 2009) has a great review by Robyn Creswell of the late Sudanese writer Tayeb Salih’s novel Season of Migration to the North (موسم الهجرة إلى الشمال), which, translated from Arabic by Denys Johnson-Davies, has recently been republished by New York Review Books (the first English-language edition appeared with Heinemann in 1969).

The book’s unnamed narrator, a Sudanese man who has spent time in England, reconstructs the life of another anglicized Sudanese, Mustafa Sa’eed, whom he meets shortly before the latter’s suicide. The narrator’s fascination with his semblable/frère resonates, as Creswell suggests, with Marlow’s fascination with Kurtz; and evidently the novel has been held up by postcolonial critics as a kind of Heart of Darkness in reverse, “a classic example of ‘the empire writing back’.” Creswell criticizes the reductionism implicit in that reading, however, and situates the terms of the relationship between the two books within a larger argument about realism and the novel:

The central drama of Salih’s novella is not Mustafa Sa’eed’s journey to the heart of Europe but the confrontation between Sa’eed and the narrator, who, like Marlow, feels himself ‘captured by the incredible,’ faced with a character too big for the otherwise realistic fiction he inhabits. It is Salih’s understanding of this dilemma, which is ethical and literary rather than straightforwardly political, that makes his reading of Conrad distinctive.

While reading Creswell’s review (and I am so intrigued by it that my reading of Salih’s book is not far off either), I found myself recalling my own encounter with Heart of Darkness many years ago, and with V.S. Naipaul’s 1974 essay on it, which Creswell discusses. While Creswell is eager to shed a more complex, literary and ethical light on Salih, and by extension on Conrad, than has been done thus far by postcolonial critics, there is another critique of the postcolonial reception of Conrad that I think bears dwelling on. I had always wondered why postcolonial critics disregarded Conrad’s own history as a colonial subject in an area of the world marked by successive waves of colonization and subjugation of one ethnic group by another (not just of the Poles by the Russians, but of the Ukrainians and Lithuanians by the Poles, and the Jews by everyone), and of empire (which in that part of the world in the nineteenth century had three faces: Russian, Prussian, and Austrian).

Very little has been written about this aspect of Conrad, but it’s crucial, of course, to his relation to Africa and to European imperialism. The translator and scholar Clare Cavanagh has published what I think is the only article so far that addresses this negligent reception (“Postcolonial Poland,” Common Knowledge 10:1 [2004], 82-92). There she not only critiques the postcolonial blindspot to the so-called second world, but situates Conrad into a Polish context that includes Czesław Miłosz, Aleksander Wat, Zbigniew Herbert and Wisława Szymborska. “The most astute and gifted of Poland’s postwar artists,” Cavanagh writes, “have shared Conrad’s wariness, not simply toward one empire or another, but to the very idea of empire that has informed the West from the time, under Rome, that it conceived itself as a global civilization.”

More aptly, Cavanagh discusses Conrad in relation to Ryszard Kapuściński, whose writing of Africa (no less than that of Iran) invokes all sorts of questions about realism and fiction and empire and ethics and the Other:

Kapuściński’s writing not only expresses much of the postcolonial attitude of Polish poetry and fiction but also clarifies the possibilities for an expanded critique of colonialism than current theory offers. He demonstrates, in other words, a way of incorporating the Second World into our present theoretical frame. In a recent review of Kapuściński’s The Shadow of the Sun, Neal Ascherson, the historian, calls attention to the peculiar tradition to which Kapuściński belongs. It is a tradition, including Conrad, that consists of travel writers from European nations invaded, conquered, culturally dominated, and often settled by the Russian, Austro-Hungarian, or German empires. These writers knew all too well what it meant to be at the wrong end of colonialism—and during sojourns in Africa, Asia, or Polynesia, they continually recognized aspects of their own experience.

Of course, central and eastern Europe is just as affected by Western cultural hegemony as it has been by Russian and Soviet imperialism, which is no doubt an important reason why its experience has been ignored by Western postcolonial theorists, even Conrad scholars, and is often received along the most conventional of patterns. Miłosz, Herbert, and Szymborska themselves are often only legible for Western readers as witnesses of tragedy, as the “victims of history,” as one American poet put it not long ago. Just as the poetic and ethical dimensions of Salih’s or Conrad’s work have been overlooked by postcolonial scholars, so too are the Polish poets often instrumentalized for ideological reasons that ultimately impoverish our understanding of them.

But Cavanagh’s article has another objective, which is to link the study of Polish literature to discourses with which literary studies and literary theory have been saturated for decades, but in which Slavic Studies as a discipline has, until recently, been largely uninvolved. And maybe that encounter between fields will be achieved eventually. It is an objective that is a necessary one for Polish Studies, and ideally will also facilitate the reception of Polish literature more generally outside the typical post-Enlightenment/Cold War binarism of West vs. East (Europe) and re-situate it in terms of a broader, global dynamic. The example of Conrad, from both Cavanagh’s and Creswell’s respective perspectives, demonstrates that it actually makes sense to read Salih’s Season of Migration to the North not only in relation to Conrad or Naipaul or other authors like Jamaica Kincaid (who also writes along a South-North meridian), but to Aleksander Wat’s My Century (another New York Review Books reprint, incidentally), for example, or Gombrowicz’s Cosmos or Diaries or Transatlantyk (North-South and East-West) (anything by Gombrowicz, really) .

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The highlight of the 2nd International Congress of Translators of Polish Literature, of course, was the award ceremony for this year’s Trans-Atlantyk Prize, which went to the Serbian translator Biserka Rajčić. It was a lovely event, which was introduced by the Book Institute Director Grzegorz Gauden and featured a string quartet that played a stunning piece of music, the name of which I forgot to learn… Last year’s winner, Xenia Staroshyelska, did the honors. Here’s an excerpt of the description on the Book Institute website:

Over her forty-five years of translation work, Biserka Rajčić has translated and published 77 books in all spheres of the humanities (poetry, prose, essays, philosophy, theatre studies, political sciences, historiography etc.). She has translated around 330 of the most outstanding Polish artists, philosophers, and historians of all generations, including: Witkiewicz, Gombrowicz, Miłosz, Schulz, Szymborska, Herbert, Różewicz, Hartwig, Międzyrzecki, Białoszewski, Lem, Filipowicz, Herling-Grudziński, Konwicki, Mrożek, Kapuściński, Brandys, Nowakowski, Stachura, Fink, Zagajewski, Lipska, Kornhauser, Barańczak, Tokarczuk, Gretkowska, Goerke, Świetlicki, Kielar, Podsiadło, Sonnenberg, Różycki, Kołakowski, Kott, Kantor, Grotowski, Zanussi, Topolski, Łowmiański, and Michnik. Since 1962 she has published over 470 texts in magazines of every sort, devoted to authors she has translated and Polish literary-cultural life. Her bibliography includes over 1584 items. She has also published 2 books about Poland: ‘Poljska civilizacija’ and ‘Moj Krakov.’

She has received the highest Polish and Serb distinctions for her translation and promotion work, including the Serb Translators’ Union Award for lifetime achievement, the Jovan Maksimović Award for translation from the Russian, the Belgrade Radio 2 Award for her many-year (1958-2008) co-operation in the field of literature and art, the ZAIKS Award, the Polish Republic Order of Service, delivered by the President of the Polish Republic, the Polish Ministry of Foreign Affairs’ Diploma for outstanding service to the promotion of Poland in the world, the Zbigniew Dominiak Award for the translation of poetry, and the Stanisław Ignacy Witkiewicz Award for achievement in promoting Polish theatre culture in the world.

The Trans-Atlantyk Prize is the Book Institute’s annual award for the most outstanding promoter of Polish literature abroad. Its previous winners are:  Henryk Bereska (2005), Anders Bodegard (2006), Albrecht Lempp (2007) and Xenia Staroshyelska (2008).