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In chapter 1 of Olga Tokarczuk's novel 'Bieguni', as well as in Wladyslaw Strzeminski's concept of unism in painting, the axis of considerations is a tension between what is singular, individual, and the totality of impersonal being. In his theory of unism, Strzeminski expressed a modernist experience that revolved around modern aspects of reality being built by man. His focus was reasonability of the modern world and its technological organisation as well as a determinable pure essence of individual artistic genres. For Tokarczuk, the life of post-modern man is spread between impersonality of objectified being and incessant journey through non-places (railway stations, airports, hotels) - a journey that somehow builds the existence but this existence is shredded in the manner the novel 'Bieguni' is itself fragmentary and non-continuous. Impersonal being is a threat, much in the manner the 'il-y-a' is for Lévinas; restless existence becomes, in turn, a rescue inasmuch as eternal elopement of man before the murmur of thickening stagnation. Regardless of the differences between the two authors in question, both have expressed the same conviction. Namely, if one is willing to touch something common, a form of being is reached for which is an undifferentiated, continual and impersonal being.
This essay proposes a reading of Zofia Nalkowska's 'Dzienniki' (Diaries), focusing on moments where the authoress signals her incapacity to write, in connection with appearance in her biography of certain difficult painful experiences; of traumatic experiences which not infrequently get elaborated in the narrative course only some time afterwards. Those moments of 'non-writing' are essential elements in the shaping of an autobiographic story and prove that silence-keeping is an indispensable part of the subject's self-narration.
The sketch concerns two novels dated 1998. Andrzej Falkiewicz's novel 'Ledwie mrok' proves to be interesting in terms of its aesthetics and problems, whilst being a somewhat late-date recapitulation of experiences of modern prose. The author outlines a transgressive project of expressing those aspects of corporeality which are hardly graspable in the language, whilst at the same time gathering arguments testifying to a utopian nature of any such project. In turn, Adam Ubertowski, a representative of a much younger generation of authors, uses in his 'Szkice do obrazu batalistycznego', in a pastiche mode, certain cultural and literary matrices (well-established models of manliness, initiation pattern, etc.) along with elements of a modern literary code, to place a 'simulac' - i.e. intimacy seen in terms of a copy of one's self, relating to repetition; an intimacy that is multiplied and reproduced as a narrative phantasm - precisely where modernism situated the individual's source experience.
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