Hybrydy : o "młodej poezji" z lat sześćdziesiątych

Abstract

e author of the book is interested in a decade of Polish young poets, taking into account the consequences of the first aesthetic and political choices. e very issues are worth going through again these days, both idealistic and ideological declarations (above all co-authors of the poetical orientation “Hybrids”, subsequent aesthetic and ethical “turning points”, organizational strategies enabling the realization of publishing ideas. Andrzej Zawada wrote that the “Hybrid” orientation belongs to the history of literature, and even more to the history of cultural politics and its effects whereas Marian Kisiel stated that it is impossible to understand the artistic arguments the 1960s generation entered without understanding the worldview intricacies. Krzysztof Gąsiorowski, the editor of the anthology Coś własnego, regre ably claimed a er years confirming a well-known fact that the grouping of the “debutants from the 1960s” had not been described by the critics and their poems had not been interpreted or reinterpreted for years. In this way the Hybrids were efficiently marginalized which is proved by the lack of partial research realizations, analyses and interpretations. In 1978 Andrzej K. Waśkiewicz published a book Modele i formuła. Szkice o młodej poezji lat sześćdziesiątych, which was composed of socio-literary and interpretative considerations devoted to the books of poem by Janusz Żernicki, Krzysztof Gąsiorowski, Zbigniew Jerzyna, Mieczysław Stanclik, Jerzy Koperski, Jerzy Lesław Ordan, Edward Puzdrowski, Sefan Połom, Wojciech Kawiński, and Jerzy Górzański. e author claimed that initially it was to take into consideration the texts devoted to the New Wave and inter-group polemics. e text closing the volume entitled Co nam zostało z tych lat? enlists among others Stanisław Srokowski, Bohdan Zadura, Lothar Herbst, and the 1966 Literary Grouping in the form of the “list of absence”. Yet, it presents the issues connected with “the Hybrid” poetical orientation e very publication has become for the author of the book an important reference point. A new a empt to describe the poets also refers to the authors beyond the representative orientation “team”. Naturally, the title e Hybrids refers to the circle of poets whom Waśkiewicz describes and, at the same time, devoid of the quotation mark, is to become a landmark of a widely- understood group of poets debuting in the 1960s; a landmark referring to the poetics, imagination, forms of poetical expression and artistic gestures. e book also consists of two parts, yet it is other criteria and historio-literary strategies that have become its basis. e first part contains a reconstruction of programmes by the 1960s “young poets”, presents the issues of the “social engagement” of their authors, and, because of the dominance of poetics and models of their poetry creation, the presence of a poem in the readers’ circulation. A starting point is, however, ge ing the artistic choices and a itudes of debutant authors closer, searching for „their” tradition, a return to an inter-war avant-garde in this case. is series of texts is closed with deliberations on the se ling accounts of the New Wave with the poets of the sixth decade being of interest. e second part covers the interpretations of seven poems by Janusz Żernicki, Zbigniew Jerzyna, Krzysztof Gąsiorowski, Wojciech Kawiński, Andrzej K. Waśkiewicz, Edward Stachura and Stanisław Dróżdż. e last one closes the book, reminding us of its beginning, avant-garde choices, however the “concretist” ending is a dra on poetry deriving from avant-garde fascinations of the end of the decade as well as a developing project of a trans-avant-garde redefinition of art. is, being a description programme to deal with, constitutes nothing but... the beginning. In the case of each poet, one poem was chosen in order to show the evolution of individual poetics, dominants of earlier and later stages of writing in the course of analysis and interpretation, context including. is is not only an a empt to find the poems – lenses sometimes signaling a potential “outline of the whole”, but a comparison of typical works, following the standards and sometimes imaginative simplifications.