| Abstrakt: | The subject of this dissertation is to discuss Zigniew Kruszyński’s output. The paper was designed as a quite complete presentation of the problematic aspects of Kruszyński’s subsequent books although, the main body talks round problematic congeries being at the same time the key words pointed in the title of the paper:
disintegration – writing – salvation. The aim of the dissertation is to order and systematise scattered views and
opinions about the subject of Zbigniew Kruszyński’s prose and in the first place, presenting own interpretation of this phenomenal work based on belief that there are clear relationships between the condition of the literary words created by the author and the repertory of used rhetorical terms. The primary aim is an attempt to capture the core of the literary project created the author of ‘Alexander’s Return’ – extremely original as
well as aesthetically and intellectually sophisticated. The initial chapter contains the general characteristics of Zbigniew Kruszyński’s works, it shows how his novels and stories were placed in the map of Polish prose after
1989, in what contexts it was discussed and how the initial reconnaissance of researchers and critics presented itself. In chapter I (related to the novel Schwedenkräuter, 1995) Anna, who is problematic and intriguing as well as crucial for the interpretation of Zbigniew Kruszyński’s later volumes, is (next to the author) acknowledged as the key character of the writing. The considerance is focused on ambiguous terms: moving, assimilation and
rooting, and on the problems of the language used by the author to ‘capture’ disintegrating reality.
Chapter II (related to Historical Sketches, 1996) begins the speculations on the subject of the genre type of the second novel in Kruszyński’s output. In the course of interpretation the problem of history/historicity rises – as if it was ‘cancelled’ or ‘suspended’. The key issue of disintegration and merging the life of the main hero of the
writing returns. Chapter III (related to the storybook On Lands and Seas, 1999) – brings an attempt of showing the ‘spirit’ of the philosophy present in all the stories – the philosophy determining the whole plot and all the characters’ choices. The result of this philosophy is marginalisation of individuals who experienced the changes very sorely. Anna, the character who tries to merge the disintegrating reality reappears. The subject of a ‘new literature definition’ is also covered (the trace of Kruszyński’s theoreticalliterary interests).
In part IV I (related to Alexander’s Return, 2006) all the stories from the volume are analysed however, in the centre of the author’s attention is Alexander – the motives of his actions, hidden intentions (the issue connected with his fake return from emigration to the home country). Behind the illusion of repatriation there are hidden
failures of individual characters and the above all, the desire to meet the Other.
Chapter V (related to The Last Report, 2009) starts with the contemplation about the subject of the writing. The Last Report only seemingly signs in the political-vetting encounters which were dealt with the most intensively in 2005-2006. The main hero of the novel is not an embodiment of today’s Wallendor and his attachment to the traitors and double agents circle is also doubtful or at least ambiguous. In fact, he is rather a compulsive voyeur, an artist and a graphomaniac, and above all a sensitive human being who tries to save the sense and integrity of the world through the writing.
Chapter VI (related to micronovel Curator, 2014) – was composed as a quite vast interpretative draft presenting initial reconnaissance on the subject of the recently published work. On one hand Curator clearly breaks out of Kruszyński’s previous works, maybe it announces the turning point in writing – in order to communicate with
less demanding audience. On the other hand however, Curator continuous the subject of disintegrating the reality and the loss of Anna. |