Andrzej Stasiuk
Andrzej Stasiuk is one of the most successful and internationally acclaimed contemporary Polish writers, journalists and literary critics. He is best known for his travel literature and essays that describe the reality of Eastern Europe and its relationship with the West.
After being dismissed from secondary school, Stasiuk dropped out also from a vocational school and drifted aimlessly, became active in the Polish pacifist movement and spent one and a half years in prison for deserting the army - as legend has it, in a tank. His experiences in prison provided him with the material for the stories in his literary debut in 1992. Titled Mury Hebronu ("The Walls of Hebron"), it instantly established him as a premier literary talent. After a collection of poems Wiersze miłosne i nie, 1994 ("Love and non-love poems"), Stasiuk's bestselling first full-length novel Biały kruk (English translation as "White Raven" in 2000) appeared in 1995 and consolidated his position among the most successful authors in post-communist Poland.
Long before his literary breakthrough, in 1986, Stasiuk had left his native Warsaw and withdrew to the seclusion of the small hamlet of Czarne in the Beskids, a secluded part of the Carpathian mountain range in the south of Poland. Outside writing, he spends his time breeding sheep. Together with his wife, he also runs his own tiny but, by now, prestigious publishing business Wydawnictwo Czarne, named after its seat. Apart from his own books, Czarne also publishes other East European authors. Czarne also re-published works by the émigré Polish author Zygmunt Haupt, thus initiating Haupt's rediscovery in Poland.
While White Raven had a straight adventure plot, Stasiuk's subsequent writing has become increasingly impressionistic and concentrated on atmospheric descriptions of his adopted mental home, the provincial south-east of Poland and Europe, and the lives of its inhabitants. Opowieści Galicyjskie ("Tales of Galicia"), one of several works available in English (among the others are "White Raven", "Nine", "Dukla," "Fado," and "On the Road to Babadag") conveys a good impression of the specific style developed by Stasiuk. A similar text is Dukla (1997), named after a small town near his home. Dukla achieved Stasiuk's breakthrough in Germany and helped built him the most appreciative reader-base outside of Poland, although a number of Stasiuk's books have been translated into several other languages.
“Taki jest sens literatury, żeby cię wykoleiła z normalnej codzienności, żeby cię wystrzeliła w kosmos z tego zwykłego życia, żebyś się nie dał udupić. Żebyś nie słuchał rodziców, tylko żebyś słuchał Martina Edena, bo jednak, z całym szacunkiem dla rodziców, oferta, jaką on składa, jest ciekawsza.”
“Po tym poznaje się wielkich pisarzy, że wchodzą w twoją pamięć bez śladu, jak cienka igła, ale już nigdy się od nich nie uwolnisz.”
“That's why I drove there in the middle of February, patches of snow still on the fields. I had the strong feeling that somewhere between Sluejow, Wygwizdow, and Solec time had ground to a halt or simply evaporated or melted like a dream and no longer separated us from our childhood.”
“Sometimes it seems to me that things hold together only thanks to the borders, that the true identify of these lands and peoples is the shape of their territories in an atlas. It's a stupid thought, but I can't shake it.”
“The future is fiction. It will come, of course, we hear about it all the time, but the old wisdom knows that only what is, and what was, exists. The rest does not, because no one ever saw it or touched it.”
“Sometimes I get up before sunrise to watch the way the dark thins out and objects slowly reveal themselves, the trees, the rest of the landscape. You can hear the river below and roosters in the village. The light of dawn, cold and blue, gradually fills the world, and it's the same in every place I've been.”
“With events that have passed there is no problem, provided we don't attempt to be wiser that they are, provided we can't use them to further own own ends. If we let them be, the turn into a marvelous solution, a magical acid that dissolves time and space, eats calendars and atlases, and turns the coordinates of action into sweet nothingness. What is the meaning of the riddle? What is the use to anyone of chronology, sister of death?”
“Now it all seems so simple. Events intersect free of any logic of sequence; they cover space and time in an even, translucent layer. Memory re-creates them from the back, from the front, or sideways, but to them it makes no difference.”
“it gives me no rest, my wish to know the fate of all these scenes that entered my eyes and have remained in my thoughts. What happens to them when I am no longer there?”
“I lack the imagination. For that reason I have to pack, stuff into my pockets odds and ends, passport, money, and go see what it's really like. Whenever the time of year or the weather changes, I have to pack up whatever I can't do without and visit all those places I've been before, to make sure they still exist”
“Overgrown, crumbling, tilted, full of cracks, returning to the soil. Paint fell from boards, plaster from walls. Unsupervised, matter was collapsing under its own weight.”
“Pale and massive, he absorbed time like a sponge. Moved something, wiped something, adjusted something, but the future never came.”
“In the slanting light of late autumn, the gestures and bodies of people are more expressive the less meaning they have. Men stand on street corners staring at the emptiness of the day. They spit on the sidewalk and smoke cigarettes. That's the present. ...Time, approaching from afar, is like the air that someone else has already breathed.”
“Travel is no more than a relatively healthy form of narcotic, after all.”
“It drew us, because life is made of bits of the present that stay in the mind. The world itself, really, is made of that.”
“To piękna rzecz przepierdolić kawał życia. Tę jedną, jedyną rzecz, którą się dostało. Na to trzeba mieć gest. Nie można być ściubolem, co to liczy każdą godzinę, że to trzeba tak, a to trzeba tak. Życie to w końcu strata jest.”
“it is the West’s provincialism, which leads it to perceive the rest of the continent as a failed copy of itself”