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Introduction: Textual Lives, Cover to Cover THE TROUBADOUR TAKES THE TRAM: EXPERIENCE IN POLISH POETRY AND MUSIC by Sylwia D. Ejmont A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in The University of Michigan 2008 Doctoral Committee: Associate Professor Bożena Shallcross, Co-Chair, University of Chicago Professor Anton Shammas, Co-Chair Professor Peggy McCracken Associate Professor Brian Porter-Szűcs Assistant Professor Benjamin Paloff IN MEMORIAM PAWEŁ EJMONT (1975-1994) ii ACKNOWLEDGMENTS Dissertation writing is a long and alienating experience, with too much time spent in confrontation of a frustratingly blank page. To express appreciation for the many people whose fellowship and help have sustained me adds the pleasure of remembering the joys on the way. First of all, I would like to thank my committee for their patience and willingness to entertain all the different ideas as my project changed and evolved: Peggy McCracken, who has shaped my intellectual development over several years; Anton Shammas, whose wisdom and sense of humor kept me afloat during many a storm; Bożena Shallcross, who guided without prodding; Brian Porter-Szűcs, who provided encouragment from the earliest stages to the very end, and truly engaged with my project; Benjamin Paloff, who may have come late but made up for it with enthusiasm and expertise. The Department of Comparative Literature, Rackham Graduate School, the Center for the Education of Women, and Sweetland Dissertation Writing Institute provided institutional and financial support that I never took for granted. I would like to thank in particular Yopie Prins and Alina Clej for their guidance. Many of my colleagues have also become valuable friends: Chris Luebbe, Meredith Martin (the smartest, most dazzling ultimate woman I know), Sean Cotter (my translation guru), Charles Sabatos (the other translation guru), Neil Doshi, Marcelo Hamam, Topher Davis, Mónica Lopez, Nicholas Theisen (who shared with me harmless Asian fetishes), and Ronit Ricci (who iii continues to impress me with her calm and strength). My cohort deserves special mention: Bram Acosta, Jonah Johnson, and Stanton McManus, all good scholars and even better companions. The Great Books Program, where I taught and could feel at home, was the safe haven few places can match. My gratitude for Professor H. D. Cameron and Jo Semanske for their help and support can never be fully expressed. Great Books have become my surrogate family, and as such I would like to thank and remember them: Vadim Jigoulov, Dave Morse, Annie Fisher, Chris Love, John Ramsburgh, Tricia McElroy, Alan Itkin, and especially James McNaughton (for “the third way”) and Julen Etxabe (for always giving what I wasn’t hoping for) who sparked so many stimulatingly heated disputes. My deepest thanks go to Carrie Wood, for the gift of conversation and innumerable other things we are both bound to forget. Family and friends who made progress possible and life bearable include: my parents, Łucja and Stanisław Jacyk; my grandmother Rozalia Jacyk Machelska, who had always said she wanted me to be a doctor; Janusz Mossoń, whose friendship never wavers and whose company never bores; Sara Caswell, who adopted me as her sister/mother and kept my English pronounciation in check; Patrick O’Keeffe, who paved the Hill Road to glory; Louis Cicciarelli, who passed on the olive branch, even if it never grew into a tree; Vi Berchert, who unfortunately did not live to read my dissertation as she said she wanted; Andrzej Myc; Bartek Koss; Michael Drout; Kasia and Andrzej Mazurek, who have known me since diapers; Maciek Mika, my other brother; Peter Ejmont, who continues to be a great friend; Zofia and Antoni Ejmont, who became my family not only in law, but also in spirit; my son Marek, who helps in ways he doesn’t yet iv understand; and Dariusz Franckiewicz, who gave me the first book of Stachura’s poems and thus, unwittingly, started this project twenty years ago. v TABLE OF CONTENTS Dedication.......................................................................................................................... ii Acknowledgments ............................................................................................................ iii Introduction: Textual Lives, Cover to Cover................................................................. 1 Chapter I. Keepin’ It Real ............................................................................................. 17 1. Unserviceable letters................................................................................................. 19 2. The Art of… Dichotomy, Duplicity, One Truth....................................................... 26 3. Wink-wink, Nudge-nudge: the Politics of Belonging.............................................. 46 Chapter II. Poetry on the Move..................................................................................... 56 1. Life, One Page at a Time .......................................................................................... 58 2. Distant Learning........................................................................................................ 73 3. One Man Happening: Stachura and His Times......................................................... 86 Chapter III. Beyond and between Words: A Fluid Poetics ........................................ 98 1. What’s in a Word, and What Not.............................................................................. 99 2. Post-textual Leanings.............................................................................................. 113 3. Flight, or Fall, into Song......................................................................................... 125 Chapter IV. The Bard Battles...................................................................................... 133 1. The Bard as Storyteller ........................................................................................... 136 2. Walls of Song.......................................................................................................... 141 3. The Man Who Wasn’t There, or, the God of Truth................................................ 150 4. The Land of Gentleness .......................................................................................... 161 Conclusion: Looking Backwards, Forward Thinking............................................... 169 Bibliography.................................................................................................................. 178 vi INTRODUCTION: TEXTUAL LIVES, COVER TO COVER A gdyby tak wrócić do ojczystego domu poezji, do jej źródeł, do momentu, gdy tworzyła nierozerwalną całość z muzyką, tańcem, brawurą, kształtem, gdy stanowiła misterium życia i śmierci, do mementu, gdy nie istniał problem: sztuka a życie, treść a forma? [And what if we returned to the paternal house of poetry, to its sources, to the time when it formed one indivisible whole together with music, dance, bravado, shape, when it constituted a ritual of life and death, to the time when the problem: art and life, content and form did not exist?]1 Claudius, king for an evening, king in a dream, did not know he was a dream until that day on which an actor mimed his felony with silent artifice, in a tableau.2 “The Troubadour Takes the Tram: Experience in Polish Poetry and Music” follows select developments in Polish poetry over three decades in order to show how they culminated in the surge of poetic performance activity of the 1980s. The eighties culture in Poland produced an astounding amount and variety of songs—in the styles of rock, cabaret music, sung poetry, and many others. Each style responded and contributed in its own distinct way to the social and political changes that took place over that last decade before the fall of communism in 1989, drawing energy from the frustrations of young people and fueling their desire to transform the world around them. I examine the genre of poezja śpiewana ‘sung poetry’ as a phenomenon that fostered personal growth through a unique experience of poetry, centered around intimate interpretations of common texts and ideas, chanelled through and embodied in the figure of the “bard.” While music facilitated distribution of these ideas and brought people together in private 1 Katarzyna Grela, “Poetyckie znaki zodiaku” (92). 2 Jorge Luis Borges, “Mirrors” [Los espejos], in Alastair Reid’s translation (Selected Poems 107). 1 settings conducive to their reception, it played only one part in a set of self-didactic practices. I argue that Polish artists resurrected the bard in order to revive the national imagination and assist society in its efforts to re-invent itself as more humane, equitable, and just. My analysis of poezja śpiewana places this literary and social phenomenon in the context of contemporaneous debates about the role and function of art in society. In particular, I focus on Edward Stachura (1937-1979), a poet who (in the opinion of many) personified the ultimate bard, both as an experimentator and a thinker vitally interested in designing new forms of artistic expression. Tracing one poet over the course of his career emphasizes and exploits all dimensions of the complicated process I term “textual experience”—living in, through, and around texts. First, we can discern individual goals and idiosyncrasies of one author as he attempts to define himself against existing literary conventions and philosophic traditions, both and home and
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