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Maciej Dajnowski, Groteska W Twórczości Stanisława Lema

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Maciej Dajnowski, Groteska W Twórczości Stanisława Lema http://rcin.org.pl 232 RECENZJE [...] Bêdziemy dryfowaæ, bo stracilimy kontakt z baz¹, z ziemi¹, a z czasem tak¿e z czasem. Polska. Nocny poci¹g jedzie z miasta A do B. Oblicz opónienie 6. Anna Czabanowska-Wróbel (Uniwersytet Jagielloñski Jagiellonian University of Cracow) Abstract The text analyses Danuta Opacka-Walaseks book on the issue of time and the modes of its presentations in contemporary lyric poetry. Special attention is here paid to the categories of moment and eternity in the poetry by Czes³aw Mi³osz, Wis³awa Szymborska, Zbigniew Herbert, and Adam Zagajewski approached from different philosophical perspectives. Maciej Dajnowski, GROTESKA W TWÓRCZOCI STANIS£AWA LEMA. (Recenzent: Antoni Smuszkiewicz). Gdañsk 2005. Wydawnictwo Uniwersytetu Gdañskie- go, ss. 214. Pisarstwo Stanis³awa Lema, do tej pory nie maj¹ce szczêcia do syntetycznych, wy- czerpuj¹cych omówieñ, w ostatnich latach coraz czêciej staje siê przedmiotem analiz m³odych badaczy, zainteresowanych jego topik¹, poetyk¹ i stylistyk¹. Ukaza³y siê ksi¹¿ki Mariusza M. Lesia Stanis³aw Lem wobec utopii (Bia³ystok 1998) oraz Izabeli Domaciuk Nazwy w³asne w prozie Stanis³awa Lema (Lublin 2003), a rok 2005 przyniós³ publikacjê pracy Macieja Dajnowskiego Groteska w twórczoci Stanis³awa Lema. Wygl¹da na to, ¿e Lem, nie zwyciê¿ony dotychczas przez armiê krytyków, coraz staranniej jest okr¹¿a- ny z najmniej mi³ego mu, humanistycznego skrzyd³a. W¹tpliwe, czy kiedykolwiek po- wstanie kompletna monografia tej twórczoci jej napisanie wymaga³oby od autora erudycji i horyzontów mylowych o takiej szerokoci, by chocia¿ umieæ nazwaæ i omó- wiæ wszystkie wa¿niejsze zagadnienia tego pisarstwa, nie trac¹c z oczu jego cile lite- rackich jakoci. Taki krytyk-erudyta, posiadaj¹cy równie szerok¹ wiedzê literack¹, jak przyrodnicz¹, to kwadratura ko³a, której najpe³niejszym wcieleniem dotychczas by³ po prostu sam Lem. Na razie jednak cieszmy siê tym, co mamy, bo czêstotliwoæ ukazywa- nia siê analitycznych, filologicznych opracowañ wskazuje, ¿e pod koniec ¿ycia Lem zyska³ zainteresowanie nie tylko mediów, ale te¿ ambitnych, dobrze przygotowanych badaczy. Dajnowski podj¹³ próbê opisania tego nurtu twórczoci Lema, którego specyfika do- maga siê tyle¿ analizy krytycznej, ile najogólniejszej refleksji genologicznej. Co sprawia, ¿e Wizja lokalna i Dzienniki gwiazdowe to inna literatura ni¿ Solaris i Opowieci o pilocie Pirxie? Gdzie tkwi¹ ród³a tej odmiennoci i jakie s¹ jej funkcje? I wreszcie kwestia za- sadnicza, a chyba zaniedbana, jak wiele innych problemów twórczoci Lema, czyli sam przedmiot genologiczny: tekst groteskowy Lema i groteska jako kategoria Lemowskiej poetyki. Pytania domagaj¹ce siê postawienia brzmi¹: które teksty Lema zas³uguj¹ na miano groteskowych, a jeli ju¿ tego terminu u¿ywamy, to jak nasze lemologiczne jego u¿ycie ma siê do tradycji badañ nad grotesk¹? Do tej pory pytañ tych w³aciwie nie stawia- no, za co winê ponosi prawdopodobnie obezw³adniaj¹ca moc autorskich komentarzy Lema, które zazwyczaj wywo³ywa³y w krytykach odruch autocenzury i zmusza³y do uleg³oci analitycznej. Wyboru nie pozostawia³a choæby biblia lemologów, czyli Rozmowy ze Stani- s³awem Lemem Stanis³awa Beresia (Kraków 1987; w postaci poprawionej i uzupe³nionej 6 T. Ró¿ycki, Kolonie. Kraków 2006, s. 41. Podkrel. A. Cz.-W. http://rcin.org.pl RECENZJE 233 o fragmenty usuniête pierwotnie przez cenzurê oraz o nowe rozmowy wznowione w r. 2002 pt. Tako rzecze... Lem. Ze Stanis³awem Lemem rozmawia Stanis³aw Bere), w której pisarz wielokrotnie dzieli³ swoj¹ twórczoæ na dwa osobne nurty powa¿ny i groteskowy, wy- prowadzaj¹c z tego podzia³u wiele wniosków, bêd¹cych siln¹ inspiracj¹ dla póniejszych krytyków jego dzie³a. Tytu³em swojej ksi¹¿ki Dajnowski zdaje siê sugerowaæ, ¿e zaczyna od podstaw: wskazuje pojêcie genologiczne, by zdefiniowaæ i poddaæ filologicznej anali- zie jego przedmiot; poznawczy zysk tak zakrojonego badania winien byæ podwójny, czyli nale¿a³oby oczekiwaæ, ¿e wzbogaci ono stan badañ zarówno na temat groteski, jak i samej twórczoci Lema. Lektura ksi¹¿ki jednak ju¿ na wstêpie uwiadamia, ¿e od autorytetu autora Cyberiady i dotychczasowej recepcji krytycznej nie³atwo siê uwolniæ. Ksi¹¿ka Dajnowskiego ma uk³ad, by tak rzec, warstwowy, czyli podejmuje tytu³o- wy temat na kilku najwa¿niejszych zdaniem autora p³aszczyznach twórczoci Lema. Rzut oka na spis treci uwiadamia z³o¿onoæ zjawiska, jakim jest Lemowska groteska. Po wstêpie metakrytycznym (rozdzia³ Tropy. Groteska Lema w oczach krytyki) i teoretycz- nym (Groteska i jej relacje z fantastyk¹ naukow¹) kolejne rozdzia³y zawieraj¹ analizê gro- teski jako kategorii uobecniaj¹cej siê w warstwie jêzykowej, w kreacji personelu, czyli ludzkich, robocich i monstrualnych postaci, w labiryntowej topice, w literackich przekszta³- ceniach dyskursu nauk cis³ych oraz w stosowanej przez Lema instrumentacji gatunko- wej. Pracê koñczy refleksja nad filozoficznym wymiarem groteski Lema. Grunt pod próbê ca³ociowego jej opisania autor ksi¹¿ki przygotowuje poprzez selekcjê materia³u tu jed- nak uwidacznia siê si³a tradycji krytycznej, której Dajnowski ju¿ na samym wstêpie nie chcia³ nie tylko zakwestionowaæ, ale choæby przedyskutowaæ lub poddaæ indywidualnej refleksji. Oto kilka znamiennych uwag ze wstêpu, wiadcz¹cych o pewnej nonszalancji w doborze tekstów i w jego umotywowaniu teoretycznym: Spor¹ grupê utworów napisanych przez Stanis³awa Lema zwyk³o siê okrelaæ mia- nem groteskowych. Uzasadnienia takiego zaszeregowania bywaj¹ rozmaite autorzy zwra- caj¹ uwagê ju¿ to na charakter stylizacji jêzykowej, ju¿ to na wewnêtrznie niespójn¹ logi- kê wiata przedstawionego czy sk³onnoæ autora do igrania z purnonsensem. Bior¹c pod uwagê brak zgody poród badaczy w kwestii jednoznacznego okrelenia, czym jest grote- ska, fakt ten nie powinien dziwiæ. [...] Intencj¹ niniejszej pracy nie jest wiêc wykazanie ponad wszelk¹ w¹tpliwoæ, ¿e pew- ne elementy pisarstwa Lema s¹ lub te¿ nie s¹ groteskowe (s. 8). Wyliczenie tekstów natomiast rozpoczyna autor s³owami: Rozprawa powiêcona jest analizie tych sporód utworów fantastycznych autora Solaris, które mog¹ byæ okrelone jako groteskowe (s. 8) zatem doskonale przewidywalnych utworów, których grotesko- wy status nie budzi w¹tpliwoci w ¿adnym czytelniku Lema. Mo¿na by spytaæ: i có¿ z te- go? A jednak jest to decyzja metodologicznie podejrzana, bo nie polega na zdefiniowaniu przedmiotu badania, lecz zaledwie na jego wskazaniu, zakreleniu pola badawczego wzd³u¿ wyrysowanych ju¿ dawno i usankcjonowanych przez lemologiczne archiwum linii podzia- ³ów. Tak postêpuj¹cy badacz w nieco nieuprawniony sposób u³atwia sobie zadanie: za jednym zamachem uwalnia siê od koniecznoci definiowania bazowych pojêæ (grotesk¹ jest to, co grotesk¹ siê nazywa) i od odpowiedzialnoci za dokonan¹ selekcjê (groteskowy- mi tekstami Lema s¹ te, które za takowe uwa¿aj¹ znakomici poprzednicy). Czy nie jest to tak¿e decyzja ograniczaj¹ca mo¿liwoci analizy tego, co w badanej twórczoci grotesko- we, oraz interpretowania funkcji groteski? Zwracam na tê kwestiê tak wyran¹ uwagê, mimo ¿e autor asekuracyjnie wielokrotnie podkrela daleki od jednoznacznoci status groteski jako kategorii teoretycznoliterackiej; powiedzia³bym raczej, ¿e taka jej specyfika powinna tym mocniej zobowi¹zywaæ do wska- zania, jaki model groteski jest badaczowi najbli¿szy, b¹d zdefiniowania modelu w³asnego. Echa tej decyzyjnej niesamodzielnoci Dajnowskiego powracaj¹ w dalszej czêci ksi¹¿ki. Rozdzia³ pierwszy, Tropy. Groteska Lema w oczach krytyki, stanowi przegl¹d dotych- http://rcin.org.pl 234 RECENZJE czasowej recepcji krytycznej pisarstwa groteskowego tego autora, pocz¹wszy od wczes- nych recenzji towarzysz¹cych ukazywaniu siê Sezamu, Ksiêgi robotów, Pamiêtnika zna- lezionego w wannie lub pierwszych edycji Dzienników gwiazdowych czy Cyberiady (au- torstwa Jerzego Kwiatkowskiego, Stanis³awa Grochowiaka, Leszka Bugajskiego, Erne- sta Brylla, Marty Wyki), poprzez powstaj¹ce od lat szeædziesi¹tych analizy tych utworów, g³ównie genologiczne i stylistyczne (Ryszarda Handkego, Stanis³awa Barañczaka), a¿ po antropologiczne i filozoficzne interpretacje póniejszej, zw³aszcza obcej krytyki (Do- minique Sila, Michaela Kandela), a skoñczywszy na miejscu Lemowskiej groteski w pró- bach syntezy, podejmowanych w monograficznych ksi¹¿kach b¹d syntetyzuj¹cych ar- tyku³ach przez Ewê Balcerzak, Jerzego Jarzêbskiego czy Ma³gorzatê Szpakowsk¹. Prze- gl¹d dobitnie uwiadamia prawid³owoæ nie tyle cile przynale¿n¹ pisarstwu Lema, ile ogólnie historycznoliterack¹ mianowicie jak wraz z rosn¹cym wyrafinowaniem lite- rackim i mylowym rozmachem twórczoci Lema dojrzewa³a te¿ jego krytyka. Przedsta- wiony w Filozofii przypadku model wzajemnych oddzia³ywañ literatury i krytyki jako sys- temu sprzê¿eñ zwrotnych, stopniowego osadzania dzie³a pisarza w rodowisku odbior- czym, krzepniêcia i ogniskowania sensów owego dzie³a, znajduje tu intryguj¹ce po- twierdzenie mimo ¿e sama istota tego procesu w zasadzie nie dostaje siê w zasiêg ba- dawczego wzroku autora ksi¹¿ki. Dajnowskiego interesuje w³aciwie to, co poszczegól- ni krytycy pisywali na temat Lemowskiej groteski i jak w ich ujêciach mieni siê znacze- niami ów niewygodny termin, pe³ni¹c przy okazji ró¿norodne funkcje. Mo¿na w zasa- dzie pokusiæ siê o konstatacjê, ¿e fakt, i¿ groteska Lema sta³a siê wreszcie przedmiotem ambitnie zakrojonej analizy, jest znacz¹cym potwierdzeniem Lemowskiego modelu kry- tycznej recepcji literatury: oto kolejny kr¹g zagadnieñ zyskuje opracowanie aspiruj¹ce do pewnej ca³ociowoci, zatem mo¿na przyj¹æ, ¿e rozproszone dotychczas s¹dy wreszcie krzepn¹. Teoretycznoliterackie
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