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It is a selection of letters related, inter alia, to the edition of Aleksander Wat's My Century, in charge of which were the poet's wife and Czeslaw Milosz. The letters are treasured at the Beinecke Rare Book and Manuscript Library (Yale University) in Czeslaw Milosz archives collection (catalogue number: GEN MSS 661). They contain important pieces of information especially about the final stage of the edition of My Century. Apart from detailed information about the edition of My Century in the letters to Czeslaw Milosz one also finds a touching text in which Watowa tells Milosz about her last meeting with Jaroslaw Iwaszkiewicz during his stay in France. In Ola Wat's letters we also come across pieces of information about American edition of My Century, for which publishing Czeslaw Milosz and Jan Gross acted as agents. The letters are published with the permission of Andrzej Wat, the poet's son, and the above selection of letters will be included into the edition of the second volume of Letters about All That Really Matters prepared by the 'Literary Notebooks' Foundation (Fundacja 'Zeszytów Literackich').
The article is devoted to one of the most important threads of the theory of poetry formulated by Aleksander Wat in the time of his evolving creative biography: from his futurist debut, through the period of leftist involvement and the poet’s lyrical silence until developing a new diction which he himself referred to as the “epiphany of the natural.” Remarks on the necessity of preserving this par excellence poetic way of “a man’s fulfilment” recorded in My Century: The odyssey of a Polish intellectual arrange into a story about the lyric as about internal experience preserving the deep, dark, exposed to decadent “decay” mental source of a free subject. In his conversations with Milosz, Wat reconstructs the birth of this poetological conception as parallel to the trauma of Soviet prisons and concurrent to “disenchantment” with the communism. The theory of the “epiphany of the natural” presented by Wat as a radical shift of accent from the aesthetic and the social to the anthropological gains its complete fulfilment no later than when the poet succeedes in rejecting the late immensely strong antinomies of social and subjective reality: futurist freedom of word being a thing and hidden intimist depth of song which is existence. Due to that in Wat’s optic lyric allows not only for sheltering from history but also, in return, becomes a space of contemplative and active being.
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