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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 title of the sketch is an allusion to Michal Pawel Markowski's essay Life Within the Limits of Literature (Zycie na miare literatury). Following Markowski's thesis, the author attempts to analyse selected pieces by Czeslaw Milosz from the breakthrough of his creativity (the turn of 1960s and 1970s), when Milosz more and more observably approaches a meditational model of poetry. The change was influenced by students' moral revolution in the year 1968 which he observed at the California University and by the decision to start translation of the Bible from its original languages. Milosz was baffled by the changes that took place in culture at that time and admitted his failure to understand them; thus he saw his aforementioned translating activity as a means of finding a contemporary hieratic language. It led to simplification of poetic language devoid of embellishments and rhetorics, together with treatment poetry in a similar mode as Greek philosophers did, i.e. as a meditation over one's own fortune and ultimate matters.
The present article is an attempt at making an inventory of the pictures of devil in Czeslaw Milosz's literary creativity. In the chronological order (from a juvenile text Poems for the Posessed to end with the poem Late Old Age ) the author shows a fixed presence of the figures of devil in Milosz's writings. The devilish problem is also evoked indirectly through the records of the 'demonic' state (in Kierkegaard's view) which in Milosz's texts usually takes shape of torment of acedia. Tischner therefore proves that Milosz's devils are for the most part ostentatiously anachronistic or amusing but reveal temptations which Milosz himself faced. Most important of those temptations are urge for dualism that shatters the hope of redemption, urge of historiosophically justified immoralism, urge to doubt into free will, urge for pride and vanity, urge for heartlessness, and ultimately paralysing awareness of one's own sinfulness which is accompanied by urge for sadness and despair.
The article approaches the problem of Polish reception of Philip Larkin, one of the most influential 20th-century English authors. The image of the poet is shaped principally by two translations: one by Stanislaw Baranczak (1991) and the other by Jacek Dehnel (2008), both of which contributed to important literary critical debates in Poland and diversified the reader's perception of Larkin influenced by Jerzy Jarniewicz and Czeslaw Milosz. The article presents a case study of one poem from High Windows collection, The Building, accompanied by a comparative analysis of two different translation strategies and extra-textual factors which modulated distinct poetological shapes of the renderings. As a consequence of the translators' choices, the Polish Larkin bifurcates into two images: Baranczak's metaphysical and 'brightened' version, and Dehnel's skeptical and a more subversive one.
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