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9781590176658 English 1590176650 A Memoir of the Warsaw Uprising is both a work of memory and a work about memory. Miron Bialoszewski, the great avant-garde Polish poet, memorializes the doomed uprising of the Polish population against their Nazi masters, which began on August 1, 1944, and was eventually abandoned on October 2, 1944, with the physical destruction of Warsaw, street by street and house by house, and the slaughter of 200,000 civilians. Yet Bialoszewski begins his memoir not with an invocation of the great historical events about to unfold but with a simple observation: "Tuesday, August 1, 1944, was cloudy, humid, not too warm...and I remember that there were many trolleys, cars, and people and that right after I reached the corner of Zelazna Street, I realized what day it was (the first of August) and I thought to myself, more or less in these words: 'August 1 is Sunflower Day.' " Bialoszewski concentrates on recalling the things he saw, felt, smelled, and heard. Each object is precious. Each possesses its own integrity, which the violence of the Nazis will destroy. In reclaiming these objects, Bialoszewski combats the inner evil of the time he recounts, the thinking of those for whom the individual is meaningless and the moment is a fraud. In dwelling with loving concern on the cobblestones, glass jars, and the casual words people spoke in passing, Bialoszewski sets himself against those for whom history justifies all actions and violence is a substitute for truth. Bialoszewski rescues memory from history. He rescues the moment from the epic sweep of the thousand-year Reich. He observes "the glaring identity of 'now.' " He tells us: "That is why I am writing about this. Because it is all intermeshed. Everything. My neighborhood too. Leszno, Chlodna, and Muranow. Because the majority of my churches were there. Then the Jews. And Kochanowski. And that woman near the pillars." In reclaiming the memory of the anonymous "woman near the pillars," Bialoszewski reaffirms the life-giving power of the imagination, which all the force of the inhuman Nazi machine could not--and cannot--obliterate., On August 1, 1944, Miron Bia oszewski, later to gain renown as one of Poland s most innovative poets, went out to run an errand for his mother and ran into history. With Soviet forces on the outskirts of Warsaw, the Polish capital revolted against five years of Nazi occupation, an uprising that began in a spirit of heroic optimism. Sixty-three days later it came to a tragic end. The Nazis suppressed the insurgents ruthlessly, reducing Warsaw to rubble while slaughtering some 200,000 people, mostly through mass executions. The Red Army simply looked on. Bia oszewski s blow-by-blow account of the uprising brings it alive in all its desperate urgency. Here we are in the shoes of a young man slipping back and forth under German fire, dodging sniper bullets, collapsing with exhaustion, rescuing the wounded, burying the dead. An indispensable and unforgettable act of witness, "A Memoir of the Warsaw Uprising"is also a major work of literature. Bia oszewski writes in short, stabbing, splintered, breathless sentences attuned to the glaring identity of now. His pages are full of a white-knuckled poetry that resists the very destruction it records. Madeline G. Levine has extensively revised her 1977 translation, and passages that were unpublishable in Communist Poland have been restored.", On August 1, 1944, Miron Bialoszewski, later to gain renown as one of Poland's most innovative poets, went out to run an errand for his mother and ran into history. With Soviet forces on the outskirts of Warsaw, the Polish capital revolted against five years of Nazi occupation, an uprising that began in a spirit of heroic optimism. Sixty-three days later it came to a tragic end. The Nazis suppressed the insurgents ruthlessly, reducing Warsaw to rubble while slaughtering some 200,000 people, mostly through mass executions. The Red Army simply looked on. Bialoszewski's blow-by-blow account of the uprising brings it alive in all its desperate urgency. Here we are in the shoes of a young man slipping back and forth under German fire, dodging sniper bullets, collapsing with exhaustion, rescuing the wounded, burying the dead. An indispensable and unforgettable act of witness, A Memoir of the Warsaw Uprising is also a major work of literature. Bialoszewski writes in short, stabbing, splintered, breathless sentences attuned to "the glaring identity of 'now.'" His pages are full of a white-knuckled poetry that resists the very destruction it records. Madeline G. Levine has extensively revised her 1977 translation, and passages that were unpublishable in Communist Poland have been restored., The great Polish poet Miron Bia oszewski was twenty-two on August 1, 1944, when he went on an errand for his mother and ran into history. With Soviet forces on the outskirts of Warsaw, the city revolted against five years of Nazi occupation, an uprising that began in a spirit of heroic optimism but ended tragically sixty-three days later. The Nazis fought back ruthlessly, reducing Warsaw to rubble while slaughtering some 200,000 people, mostly through mass execution. The Red Army simply looked on. Bia oszewski s blow-by-blow account of the uprising brings it alive in all its desperate urgency. Here we are in the shoes of a young man slipping back and forth across German lines, dodging sniper bullets, collapsing with exhaustion, rescuing the wounded, burying the dead. An indispensable and unforgettable act of witness, "A Memoir of the Warsaw Uprising" is also a major work of literature. Bia oszewski writes in short, stabbing, splintered, breathless sentences attuned to the glaring identity of now. His book displays a wild white-knuckled poetry that resists the terrible destruction it records. Translator Madeline Levine has extensively revised her 1970 translation and passages that were unpublishable in Communist Poland have been restored.", The great Polish poet Miron Bialoszewski was twenty-two on August 1, 1944, when he went on an errand for his mother and ran into history. With Soviet forces on the outskirts of Warsaw, the city revolted against five years of Nazi occupation, an uprising that began in a spirit of heroic optimism but ended tragically sixty-three days later. The Nazis fought back ruthlessly, reducing Warsaw to rubble while slaughtering some 200,000 people, mostly through mass execution. The Red Army simply looked on. Bialoszewski's blow-by-blow account of the uprising brings it alive in all its desperate urgency. Here we are in the shoes of a young man slipping back and forth across German lines, dodging sniper bullets, collapsing with exhaustion, rescuing the wounded, burying the dead. An indispensable and unforgettable act of witness, A Memoir of the Warsaw Uprising is also a major work of literature. Bialoszewski writes in short, stabbing, splintered, breathless sentences attuned to "the glaring identity of 'now.' " His book displays a wild white-knuckled poetry that resists the terrible destruction it records. Translator Madeline Levine has extensively revised her 1970 translation and passages that were unpublishable in Communist Poland have been restored.
9781590176658 English 1590176650 A Memoir of the Warsaw Uprising is both a work of memory and a work about memory. Miron Bialoszewski, the great avant-garde Polish poet, memorializes the doomed uprising of the Polish population against their Nazi masters, which began on August 1, 1944, and was eventually abandoned on October 2, 1944, with the physical destruction of Warsaw, street by street and house by house, and the slaughter of 200,000 civilians. Yet Bialoszewski begins his memoir not with an invocation of the great historical events about to unfold but with a simple observation: "Tuesday, August 1, 1944, was cloudy, humid, not too warm...and I remember that there were many trolleys, cars, and people and that right after I reached the corner of Zelazna Street, I realized what day it was (the first of August) and I thought to myself, more or less in these words: 'August 1 is Sunflower Day.' " Bialoszewski concentrates on recalling the things he saw, felt, smelled, and heard. Each object is precious. Each possesses its own integrity, which the violence of the Nazis will destroy. In reclaiming these objects, Bialoszewski combats the inner evil of the time he recounts, the thinking of those for whom the individual is meaningless and the moment is a fraud. In dwelling with loving concern on the cobblestones, glass jars, and the casual words people spoke in passing, Bialoszewski sets himself against those for whom history justifies all actions and violence is a substitute for truth. Bialoszewski rescues memory from history. He rescues the moment from the epic sweep of the thousand-year Reich. He observes "the glaring identity of 'now.' " He tells us: "That is why I am writing about this. Because it is all intermeshed. Everything. My neighborhood too. Leszno, Chlodna, and Muranow. Because the majority of my churches were there. Then the Jews. And Kochanowski. And that woman near the pillars." In reclaiming the memory of the anonymous "woman near the pillars," Bialoszewski reaffirms the life-giving power of the imagination, which all the force of the inhuman Nazi machine could not--and cannot--obliterate., On August 1, 1944, Miron Bia oszewski, later to gain renown as one of Poland s most innovative poets, went out to run an errand for his mother and ran into history. With Soviet forces on the outskirts of Warsaw, the Polish capital revolted against five years of Nazi occupation, an uprising that began in a spirit of heroic optimism. Sixty-three days later it came to a tragic end. The Nazis suppressed the insurgents ruthlessly, reducing Warsaw to rubble while slaughtering some 200,000 people, mostly through mass executions. The Red Army simply looked on. Bia oszewski s blow-by-blow account of the uprising brings it alive in all its desperate urgency. Here we are in the shoes of a young man slipping back and forth under German fire, dodging sniper bullets, collapsing with exhaustion, rescuing the wounded, burying the dead. An indispensable and unforgettable act of witness, "A Memoir of the Warsaw Uprising"is also a major work of literature. Bia oszewski writes in short, stabbing, splintered, breathless sentences attuned to the glaring identity of now. His pages are full of a white-knuckled poetry that resists the very destruction it records. Madeline G. Levine has extensively revised her 1977 translation, and passages that were unpublishable in Communist Poland have been restored.", On August 1, 1944, Miron Bialoszewski, later to gain renown as one of Poland's most innovative poets, went out to run an errand for his mother and ran into history. With Soviet forces on the outskirts of Warsaw, the Polish capital revolted against five years of Nazi occupation, an uprising that began in a spirit of heroic optimism. Sixty-three days later it came to a tragic end. The Nazis suppressed the insurgents ruthlessly, reducing Warsaw to rubble while slaughtering some 200,000 people, mostly through mass executions. The Red Army simply looked on. Bialoszewski's blow-by-blow account of the uprising brings it alive in all its desperate urgency. Here we are in the shoes of a young man slipping back and forth under German fire, dodging sniper bullets, collapsing with exhaustion, rescuing the wounded, burying the dead. An indispensable and unforgettable act of witness, A Memoir of the Warsaw Uprising is also a major work of literature. Bialoszewski writes in short, stabbing, splintered, breathless sentences attuned to "the glaring identity of 'now.'" His pages are full of a white-knuckled poetry that resists the very destruction it records. Madeline G. Levine has extensively revised her 1977 translation, and passages that were unpublishable in Communist Poland have been restored., The great Polish poet Miron Bia oszewski was twenty-two on August 1, 1944, when he went on an errand for his mother and ran into history. With Soviet forces on the outskirts of Warsaw, the city revolted against five years of Nazi occupation, an uprising that began in a spirit of heroic optimism but ended tragically sixty-three days later. The Nazis fought back ruthlessly, reducing Warsaw to rubble while slaughtering some 200,000 people, mostly through mass execution. The Red Army simply looked on. Bia oszewski s blow-by-blow account of the uprising brings it alive in all its desperate urgency. Here we are in the shoes of a young man slipping back and forth across German lines, dodging sniper bullets, collapsing with exhaustion, rescuing the wounded, burying the dead. An indispensable and unforgettable act of witness, "A Memoir of the Warsaw Uprising" is also a major work of literature. Bia oszewski writes in short, stabbing, splintered, breathless sentences attuned to the glaring identity of now. His book displays a wild white-knuckled poetry that resists the terrible destruction it records. Translator Madeline Levine has extensively revised her 1970 translation and passages that were unpublishable in Communist Poland have been restored.", The great Polish poet Miron Bialoszewski was twenty-two on August 1, 1944, when he went on an errand for his mother and ran into history. With Soviet forces on the outskirts of Warsaw, the city revolted against five years of Nazi occupation, an uprising that began in a spirit of heroic optimism but ended tragically sixty-three days later. The Nazis fought back ruthlessly, reducing Warsaw to rubble while slaughtering some 200,000 people, mostly through mass execution. The Red Army simply looked on. Bialoszewski's blow-by-blow account of the uprising brings it alive in all its desperate urgency. Here we are in the shoes of a young man slipping back and forth across German lines, dodging sniper bullets, collapsing with exhaustion, rescuing the wounded, burying the dead. An indispensable and unforgettable act of witness, A Memoir of the Warsaw Uprising is also a major work of literature. Bialoszewski writes in short, stabbing, splintered, breathless sentences attuned to "the glaring identity of 'now.' " His book displays a wild white-knuckled poetry that resists the terrible destruction it records. Translator Madeline Levine has extensively revised her 1970 translation and passages that were unpublishable in Communist Poland have been restored.