Zofia Nalkowska – författare

Considered a masterpiece of antifascist world literature, Medallions stands as the culmination of Nalkowska's literary style, a style the Polish writer Witold Gombrowicz once described as "the iron capital of her art and one of the very few exportables in our national literature." More than mere historical record, Medallions offers the reader startling immediacy, the repetition of an event as it persists in the testimonial present, in the scars on the consciousness and conscience of individuals.

The novel in Europe in the early twentieth century took a decidedly inward turn, and Choucas (1927) is an intriguing example of the modernist psychological tradition. Its author, Zofia Nalkowska (1884–1954), was a celebrated Polish novelist and playwright. She rose to prominence in interwar Poland and was one of a group of early feminist writers that included Pola Gojawiczynska, Maria Dabrowska, and Maria Kuncewiczowa.Choucas is set in the Swiss Alps in the mid-1920s in a sanatoria village near Lake Geneva. The book has an international focus, and the narrator, a polish woman, profiles a motley collection of visitors to the village and patients at the sanatorium and their interactions with each other. Among these she encounters Armenian survivors of the 1915–16 genocide who were given refuge in Switzerland. The characters are all from different countries and each represents a distinct political or religious point of view. The title is derived from the French word for a species of bird native to this region of Switzerland. Nalkowska was known for her love of nature and animals, and the birds have symbolic significance for the characters themselves. The choucas fly down from the mountain passes seeking food, while some of the characters in the novel wander around the sanatorium seeking philosophical truths.In Choucas, there is a strong autobiographical element to the story, as Nalkowska had stayed in a sanatorium in Leysin, Switzerland, with her husband in 1925. A comparison may also be drawn with the classic novel by Thomas Mann, The Magic Mountain (1924), which has similar themes. The book delineates a fascinating time period, and the author's concise fictional technique is strikingly innovative and groundbreaking. Choucas is a fine example of early modernist literature and is translated for the first time into English for a new generation of readers.

The Romance of Teresa Hennert is a masterpiece of psychological realism and a still-shocking portrait of mixed motives and bad behavior. It renders a tragicomic vision of what happens when a society is suddenly deprived of the struggle that had defined it for more than a century. Written in 1922, just four years after Poland achieved independence from its neighboring empires, the novel focuses on a Warsaw community of officers, bureaucrats, intellectuals, wives, and lovers, all of them adrift in a hell of their own making—the long-sought freedom to shape their own destiny. At the center of this milieu is Teresa Hennert, whose youthful charm, modern habits, and apparent indifference to the emotional torment of those around her make her an inescapable object of their fascination and desire. Told in multiple voices and from numerous perspectives, Zofia Nalkowska's novel is a mosaic of dysfunction at all levels of the new Polish society, from a bumbling lieutenant who cannot stand his home life to a young Communist who believes his forebears have made a mess that only the next generation can clean up. In this world, ideological battles, personal animosity, postwar trauma, and infidelity become inextricably bound together, driving these colorful, increasingly confused characters toward corruption, suicide, and murder. Nalkowska (1884–1954), though long neglected in the West, was a central figure in the literary life of interwar Poland and was an early pioneer of feminist fiction in Central Europe. Her spare, witty prose will surprise contemporary readers with its frank sexuality and stark illustration of dreams gone horribly, humiliatingly, dramatically awry.

Available for the first time in English, Zofia Nalkowska's Boundary was originally published as Granica in Poland in 1935. The modernist novel was widely discussed upon its publication and praised for its psychological realism and stylistic and compositional artistry. Over the years, it has been translated into several languages and made into a feature film, and remains a standard text in the Polish secondary school curriculum. Nalkowska was a pioneer of feminist fiction in Central Europe. Her observation of inequality in the treatment of men and women is at the heart of Boundary, which explores a transgressive love affair and its repercussions. She perceived that men—especially of the upper and middle classes—felt free to have sexual relations with lower class women, whereas it was not socially acceptable for women of any class to have sexual relations outside of marriage, or even admit to enjoying sex. This meant that working class women were seduced and then abandoned when they became pregnant, leaving them with the stigma of illegitimate children and the problem of finding work. Meanwhile, the higher class wives found themselves betrayed. While Boundary can be interpreted as a novel about power and its abuses, it contains several dimensions—philosophical, emotional, existential, moral—that render it a consummate piece of social criticism. An elegantly composed work of imaginative fiction, it does not preach or offer solutions. Ursula Phillips's excellent translation will interest readers of early twentieth century novels and scholars and students of Polish literature, feminist studies, and European modernism.

"Medaillons", das sind acht Begegnungen mit Opfern und Handlangern des Nationalsozialismus: Eine Frau befreit sich mühsam aus dem fahrenden Viehwaggon, stolpert über die Gleise und wird auf der Flucht angeschossen. Wie im Traum nimmt sie wahr, dass Menschen um sie herum sich zögerlich fragen, ob sie ihr helfen oder sich lieber in Sicherheit bringen sollen. Eine andere, die für die Ausrottung der Juden Verständnis hat, weil sie deren Hass auf die Polen mehr als die Nazis fürchtet, hört beim Blumengießen auf dem Warschauer Friedhof, wie die verzweifelten Stimmen der im Ghetto Eingeschlossenen zu ihr dringen. Mitarbeiter eines Labors finden nichts dabei, dass ihr deutscher Vorgesetzter aus Menschenknochen Seife herstellt. Es sind Geschichten des Grauens, die eine Beobachterin in einer zugleich glasklaren und poetisch dichten Sprache einfängt. Sie selbst hält sich im Hintergrund und verzichtet auf jegliche Wertung, wodurch sie die geschilderten Verbrechen und Leiden umso intensiver für sich sprechen lässt.Zofia Nalkowskas 1946 erschienene, von Marta Kijowska neu übersetzte und mit einem Nachwort versehene "Medaillons" gelten als ein Meisterwerk der Miniaturprosa und einer der wichtigsten Texte der polnischen Kriegsliteratur. "Dieses Schicksal haben Menschen den Menschen bereitet", lautet Nalkowskas Erkenntnis, die bis heute nichts an Gültigkeit verloren hat."

Den polska författaren Zofia Na?kowska (1884-1954) är en av Polens mest berömda fo?rfattare under 1900-talet. Hennes novellsamling Medaljonger, som blev hennes na?st sista verk, samlar a?tta korta bera?ttelser om nazisternas krigsbrott i Polen. Na?kowska var med och samlade information om dessa brott. Boken gavs ut strax efter andra va?rldskrigets slut och är ett unikt dokument med na?gra av de allra fo?rsta vittnesma?len fra?n Fo?rintelsens ha?rjningar. Novellerna vittnar om en enorm grymhet och är en i det närmaste smärtsam läsning. Na?kowskas strama stil understryker den fullständigt absurda i brotten och dödens konstanta närvaro i vardagen. Na?kowska presenteras för första gången på svenska i bokform med denna volym som dessutom innehåller ett initierat efterord av översättaren Emi-Simone Zawall. Zofia Na?kowskas Medaljonger inga?r i Bokfo?rlaget Faethons serie alpha. Varje originalutga?va i serien a?r tryckt i 25 exemplar hors commerce, I-XXV och 475 numrerade exemplar. Redakto?r fo?r alpha a?r Daniel Pedersen.