Podcasts about Bruno Schulz

Nikhil and Raph are joined by the writer and translator Joshua Billings to talk about Bruno Schulz's 1934 collection Sklepy Cynamonowe, translated from the Polish by Celina Wieniewska in 1963. Hosted on Acast. See acast.com/privacy for more information.

Az egyik kedvenc idei olvasmányélményünk lett Selyem Zsuzsa Kicsi kozmosz címmel frissen megjelent regénye. A több szálon futó, Erdélyben és Budapesten is játszódó, a rendszerváltás előtti időszakot és napjainkat is bemutató, emberi és nem emberi szereplőket felvonultató regényben diktatúrák természetéről, felnőtt- és gyereksorsokról, viccekről és traumákról is szó esik. Selyem Zsuzsával ezeken túl még decentralizált regényekről, algoritmusokról, rókaszukákról és lehallgatásokról is beszélgettünk a Nem rossz könyvek legújabb részében. A tartalomból 00:00 Pár új könyv, amit említünk, bár még nem is olvastuk őket: Csordás Kata - A tékozlás öröme, Tandori Dezső - Barátaim, találkozunk a fűben, Karl Ove Knausgård - A harmadik birodalom és Kirsten Thorup - Őrülten és halálosan. 02:40 Vendégünk Selyem Zsuzsa, témánk az áprilisban megjelent regénye, a Kicsi kozmosz. És indításként a nem centralizált gondolkodás fontossága, az állati nézőpontok szerepe, a Moby Dick erényei, és hogy az egyik legjobb dolog a művészetben az, hogy azt is észrevehetjük, ami amúgy nem ismerős. 09:30 Min múlik, hogy melyik szereplőből mennyit látunk, és a bizalom az olvasóban: „át kell vágnod magad a bozóton.” 13:45 Irodalmat írni irodalomtörténészként. És pár fontos szerző, akik sokszor név szerint is visszaköszönnek a regény lapjain: David Foster Wallace, Robert Musil, Nádas Péter vagy Bruno Schulz. És ehhez jön még a matematika. 15.20 Élet a diktatúrában és az igazság lehetősége, például a matematikában. Lehallgatások, megfigyelések, a bizalom szétrágása és az emberek a kiszolgáltatottságban. 27:30 Kedvenc vicc és a viccek szerepe a regényben: egy jó vicc felér egy jó könyvvel. 29:30 Mit jelent gyereknek lenni? Ez a könyv a gyerekek szenvedéséről szól, és ha nem lennének gyerekek, nem lenne ki előtt szégyellnünk magunkat. És a kérdés: egyáltalán hogyan tudunk ebben a világban szembenézni a gyerekekkel? És ehhez jönnek még az algoritmusok. 34:40 Élet és halál kérdése, az anyaságban is. Ki válhat anyává? És a személyes történetek hogyan válnak társadalmivá? „Az egyik munkám az volt most, hogy a transzgenerációs traumákat transzgenerációs empátiává próbáljam meg változtatni.” 46:00 Rókaszuka alakja és a regény művészképe, az írók és költők fetisizálása ellen. 50:00 Három könyv Selyem Zsuzsa ajánlásában: Arundhati Roy - A Felhőtlen Boldogság Minisztériuma, Juan Carlos Galeano -Amazonia és Virginia Woolf - Gondolatok a békéről légiriadó idején, amit az izraeli katonai szolgálatot megtagadó 18 éves transz fiatal, Ella Keidar Greenberg vitt magával a börtönbe. A vele készült, a beszélgetés során említett interjú itt olvasható. See omnystudio.com/listener for privacy information.

W roku 2024 udało nam się zgromadzić naprawdę pokaźną bazę rozmów o książkach, którymi, tak nam się wydaje, jeszcze jakiś czas będziemy się z wami dzielić. I tym oto sposobem dzisiaj cofamy się do ubiegłorocznego Bruno Schulz. Festiwalu, gdzie Mariusz Urbanek rozmawiał z Grzegorzem Gaudenem o jego najnowszej ksiażce „Polska sprawa Dreyfusa. Kto próbował zabić prezydenta”. Sprawa Alfreda Dreyfusa, żydowskiego oficera armii francuskiej fałszywie oskarżonego o szpiegostwo, obnażyła francuski i światowy antysemityzm u progu XX wieku. Podobnie rzecz ma się ze sprawą Stanisława Steigera, która nie doczekała się jednak takiego rozgłosu. Polski Żyd został wskazany jako sprawca zamachu na prezydenta RP Stanisława Wojciechowskiego w 1924 roku. I mimo że do zamachu przyznali się ukraińscy nacjonaliści, prasa narodowa rozpoczęła nagonkę na Steigera, który ledwo uniknął kary śmierci. Jak wyglądała praca nad ta książką. Między innymi o tym opowiada Grzegorz Gauden. Udanego słuchania! 

Jul Łyskawa i jego „Prawdziwa historia Jeffreya Watersa i jego ojców” (Wydawnictwo Czarne) królowali w licznych końcoworocznych rankingach i literackich podsumowaniach (w naszym także ten duet się pojawił) i aż trudno uwierzyć, że premiera książki miała miejsce raptem kilka miesięcy temu, a autor jest długo wykluwającym się debiutantem. A jednak. Dziś zapraszamy was do powrotu do początku tej literackiej historii (jak wspomnieliśmy, nie tak długiej historii), a dokładnie do wysłuchania drugiego w życiu spotkania autorskiego Jula Łyskawy, które odbyło się we Wrocławiu podczas Bruno Schulz. Festiwalu. Rozmowę poprowadził nasz redakcyjny kolega Waldek Mazur. Kim jest Jeffrey Waters i skąd się wziął? Jakie tajemnice kryje amerykańskie miasteczko Copperfield? I jak napisać w Polsce debiut porównywany do książek Davida Fostera Wallace'a? Zapraszamy do słuchania! Choć na jedno z tych pytań rozmowa nie udziela odpowiedzi. Ale i tak warto posłuchać.

Bohaterką 188 odcinka w naszym pasmie głównym podcastu Radio Proza jest Bożena Keff i jej książka „Nieśmiertelny”. Usłyszymy w niej echa najważniejszych sporów ideowych naszej współczesności, zobaczymy bohaterów rozdartych między katolickim pesymizmem a oświeceniową wiarą w lepszy świat. Ale „Nieśmiertelny” to też książka o dążeniu do spójnej, ale niezamkniętej tożsamości. O pragnieniu wewnętrznej integracji. A także o tym, co tę integrację utrudnia czy wręcz uniemożliwia.  O tych wszystkich sprawach z autorką podczas Bruno Schulz. Festiwalu rozmawiał Irek Grin. Zapraszamy do słuchania!

W 187 odcinku naszego pasma głównego raz jeszcze wracamy na ubiegłoroczny Bruno Schulz. Festiwal, tym razem, by przypomnieć rozmowę z Martą Sawicką-Danielak, autorką książki „Oko tygrysa. Opowieść o bestii, którą stworzył człowiek”. O ludzkiej fascynacji tygrysami, o narosłych wokół nich stereotypach i o tym, jak antropomorfizacja szkodzi naturze z autorką rozmawia Olga Maria Szelc. Zapraszamy do słuchania!

Author Belicia Rhea comes onto the podcast to talk to Scotty about influences as diverse as Ray Bradbury, Bruno Schulz, and "House of Leaves," terrible elementary school teachers, amazing college professors, and establishing her own voice in the strange netherworld between surrealism, literary fiction, and horror. And they discuss her short fiction, as well as her debut novella "Voracious" (2024, Dark Matter Ink). They also spend a few minutes talking about the acclaimed Persian-language indie rockabilly vampire/western "A Girl Walks Home Alone at Night" (2014), written and directed by Ana Lily Amirpour. You can find Belicia online at https://www.beliciarhea.com You can buy "Voracious" at https://darkmattermagazine.shop/products/voracious You can read the short story "Victim 6" in the anthology "Human Monsters_,"_ which is available at https://darkmattermagazine.shop/products/dark-matter-presents-human-monsters Be sure to check out Daniel Braum's YouTube series "Night Time Logic." The series focuses on the strange, weird, and wonderful side of dark fiction through readings and discussions with diverse authors from around the world. You can tune in on Daniel's You Tube Channel, which is his name DanielBraum or @danielbraum7838. Author Laird Barron will appear live on December 19 at 7 p.m., EST: https://www.facebook.com/events/558650660357949 This podcast is powered by Pinecast.

W dzisiejszym odcinku podcastu Radio Proza gościmy Jakuba Małeckiego, którego najnowsza książka „Korowód” bardzo długo była owiana nimbem tajemnicy. Autor tym razem opowiada nam o granicach prawdy i fikcji, o strachu i wielkich, często szalonych marzeniach. To odważna, zaskakująca historia, która pędzi, wiodąc czytelnika przez wieki. Z Małeckim podczas Bruno Schulz. Festiwalu spotkała się i poroamawiała Anna Fluder. Udanego słuchania!

Pamiętacie jeszcze Pawła Sołtysa? Pytamy oczywiście przewrotnie, jako że od premiery poprzedniej książki tego prozaika, poety i muzyka (znanego jako Pablopavo), minęło pięć długich lat! Aż w końcu nastał „Sierpień”, i do tego w październiku. W swojej najnowszej książce Sołtys zabiera nas do Warszawy – letniej, upalnej, melancholijnej. Razem z nim krążymy po zakamarkach, przedmieściach i bramach, mówimy językiem chodników i ulic, śledzimy wspomnienia miasta i odkrywamy miejsca nieznane lub przypominamy sobie te zapomniane. O książkę podczas Bruno Schulz. Festiwalu autora pytał Irek Grin. Udanego słuchania! Ponadto zachęcamy was też do odwiedzania innych bliskich nam miejsc w przestrzeni internetowej: ➡️ kanał YT Dom Literatury: https://www.youtube.com/@wroclawskidomliteratury     ➡️ FB Radio Proza: https://www.facebook.com/radioproza    ➡️ Ig Radio Proza: https://www.instagram.com/radio_proza/  

Obiecaliśmy jakiś czas temu odcinek specjalny i oto on! Podczas tegorocznego Bruno Schulz. Festiwalu nasz redakcyjny kolega Waldek Mazur miał okazję porozmawiać z osobami, które w świecie polskich podcastów znają chyba wszyscy. Karolina Głowacka (Radio Naukowe) i Maciej Okraszewski (Dział Zagraniczny), których każdego tygodnia słuchają dziesiątki tysięcy osób, opowiedzieli o swoich początkach z podcastami, budowaniu społeczności wokół swoich platform i całkiem ambitnych planach na przyszłość. Było też o kilku innych rzeczach. Koniecznie posłuchajcie! Ponadto zachęcamy was też do odwiedzania innych bliskich nam miejsc w przestrzeni internetowej: ➡️ kanał YT Dom Literatury: https://www.youtube.com/@wroclawskidomliteratury     ➡️ FB Radio Proza: https://www.facebook.com/radioproza    ➡️ Ig Radio Proza: https://www.instagram.com/radio_proza/

More podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books.Please consider supporting ARB's Patreon!Credits:Guest: Juan MartinezTitle: Gilded Needles by Michael McDowellHost: Jake Casella BrookinsMusic by Giselle Gabrielle GarciaArtwork by Rob PattersonOpening poem by Bhartṛhari, translated by John BroughReferences:Juan's collection Best Worst American & horror novel Extended StayJackleg PressStoryStudioTananarive Due's The ReformatoryEden Robins' Remember You Will DieSofia Samatar's The Practice, the Horizon, and the ChainAnanda Lima's Craft: Stories I Told the DevilJesse Ball's The Repeat RoomT.E.D. Klein's The CeremoniesPeter StraubBeetlejuice, directed by Timothy BurtonTales from the Crypt & Tales from the DarksideThe Nightmare Before Christmas, directed by Henry SelickMcDowell's The Elementals"A little bit like Edith Wharton with more murder"Jaws, directed by Steven SpielbergArthur Conan Doyle's The Adventures of Sherlock HolmesVictor Hugo's The Hunchback of Notre Dame & Les MisérablesTriangle of Sadness, directed by Ruben ÖstlundAlexandre Dumas' The Count of Monte CristoThe Abominable Dr. Phibes, directed by Robert FuestThey Might Be GiantsLydia LunchRobert MapplethorpePatti SmithShakespeare's Titus Andronicus & Julie Taymor's film adaptationThomas Ligotti, Bruno Schulz, & Franz KafkaMcDowell's Death CollectionStephen King, Philip K. Dick, & C.J. CherryhAnne Lamott's Bird by BirdThe Ghosts of Where We Are FromJuan's DNC protest coverage at the Believer, parts one & twoFollow Juan on Instagram & Threads for the good doodle content

Em geral, as notícias que nos chegam da realidade lêem-se como episódios de uma qualquer ficção descontrolada, e depois de nos provocarem alguma indisposição, levam cada um a subscrever e afundar-se nesses canais de inanidades. As pessoas já nem se aferram a um resquício de esperança, simplesmente escavam as suas vidas como buracos, submergem-se nos seus delírios e compulsões. Perdemos o direito à acção, mesmo na sua forma desesperada. As nossas bibliotecas vão florescendo em torno de ruínas, prestando testemunho das muitas realidades que desapareceram para sempre, e deixando em nós a sensação de que, em breve, a realidade em si mesma poderá desaparecer. Nas livrarias, ao lado dos relatos mais pessimistas temos esses mastigadores de palavras brandas e as suas ficções edulcoradas ou as autobiografias soluçantes e complacentes. Não vivemos sujeitos apenas a uma crise da imaginação, mas a uma fé negativa, a programas que dinamitam o infinito, as forças daquilo que deveria empurrar-nos para outro tempo. Prescindimos desse saber essencial que nos lembrava que somos habitantes de um mundo rigoroso, e que está inscrito em tudo uma ordem. Hoje tudo o que emerge tem de forçar o caminho, tudo o que nasce, nasce de imediato para a guerra, toda a esperança chega-nos aos ouvidos como um cântico de morte. No discurso daqueles que são sensíveis às novas causas, cada uma das suas palavras surge como um milagre de sobrevivência, como se fosse vegetação nascida do betão. Nas raízes da poesia, como nos lembra Borges, “está a épica e a épica é o género poético primordial, narrativo”. “Na épica está o tempo, na épica existe um antes, um enquanto e um depois”, adianta o majestoso fabulista argentino. Mas o homem que se devotava à imortalidade transmitida pelo canto, da boca de uma geração ao ouvido da seguinte, deixou-se degradar e submeter ao ciclo constante do consumo e à neurose patrocinada pelos efeitos publicitários, que gerou “uma segunda natureza do homem que o liga, libidinal e agressivamente, à forma da mercadoria”, diz-nos Marcuse. “A necessidade de possuir, consumir, manusear e renovar constantemente bugigangas engenhosas, dispositivos, instrumentos, mecanismos, oferecidos e impostos às pessoas para que usem esses produtos mesmo com risco da sua própria destruição, tornou-se numa necessidade ‘biológica'.” Antes, um sinal do espanto nos homens era a forma como resistiam à literalidade, a alimentar cada apetite mal este se lhes impusesse, havia um sentido de que o gosto se educava, e que em lugar de um fruto qualquer, havia a possibilidade de afinar a fome e alcançar aqueles frutos amadurecidos ao longo de milénios, com um sabor enriquecido por migrações e regressos. Era outra coisa aquilo que buscávamos, e ainda persistem uns poucos por aí, que resistem a abdicar do tempo que se rege segundo o ritmo e a disponibilidade humana, alguns que se mostram capazes ainda de colher e remontar outras épocas, “esvaziar uma música como um saco (…) ordenhar um vinhedo como uma vaca/ desarvorar vacas como veleiros/ pentear um veleiro como um cometa/ desembarcar cometas como turistas/ enfeitiçar turistas como serpentes (…) depenar uma bandeira como um galo/ apagar um galo como um incêndio/ vogar em incêndios como em oceanos/ ceifar oceanos como searas/ repicar searas como sinos/ esquartejar sinos como cordeiros (…) tripular crepúsculos como navios/ descalçar um navio como um rei/ pendurar reis como auroras/ crucificar auroras como profetas” (Huidobro)… Não faz muito tempo, os homens ainda falavam entre eles uma linguagem de incêndios, tinham um vigor que se alimentava na natureza de forma a transcendê-la. Hoje, somos incapazes de colher uvas nos espinheiros ou figos nos cardos. Mesmo a literatura deixou de se exercer em flagrante delito. A velocidade substitui o tempo enquanto ordem ou efeito que impedia tudo de suceder em simultâneo e, desse modo, encadear algum tipo de nexo narrativo. Somos projectados na inconsciência pelo ruído de todos esses “acontecimentos que não têm o seu próprio lugar no tempo, os acontecimentos que chegaram tarde demais, quando todo o tempo já foi distribuído, dividido, desmontado, e que ficaram em suspenso, não alinhados, flutuando no ar, sem lar, errantes” (Bruno Schulz). Hoje a própria espécie humana perdeu a ligação com a realidade, e deriva em suspenso, impondo as suas ilusões como uma doença que procura paralisar todos os ciclos.

[…] Pour mieux préparer ses vacances, la Salle 101 te propose des oeuvres d’une grande spiritualité, regarde : Le sanatorium au croque-mort et Les boutiques de Cannelle, deux recueils de nouvelles de Bruno Schulz. L’arnaqueur, roman bien connu de Walter Tevis. Ovni 78, vrai chef d’oeuvre de Wu-Ming. Allez, bonne vacances, hein ! « J’aime le […]

Den väntande kvinnan har inte alltid varit en stereotyp. Och väntan kan vara värdefull, inte minst i en kreativ process. Karin Brygger reflekterar kring litteraturens väntande kvinnor. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Mina starkaste barndomsminnen av väntan handlar om en far som inte kom. Eller kom för sent. Inte tio minuter, men kanske en timma, två timmar, en dag, en vecka. Jag minns en sommardag när jag stod på trottoaren utanför mitt och mammas hyreshus, med min väska. Pappa hade, trodde jag, kommit hem från någonstans långt bort och skulle hämta mig för en sommarvistelse. Jag stod i sommarens ljus. Väntade. Men pappa kom aldrig och jag fick till slut gå tillbaka in och bekänna min övergivenhet för mamma.Men väntan behöver inte vara en död erfarenhet. Ur den stiger det vi ännu inte vet fram. Väntan är därmed som lyssnandet, en förutsättning för ny kunskap. Om vad? Tid? Om jaget? En annan människa? Eller kanske om hårt fästa föreställningar om vad en väntande kvinna är?Sedan något halvsekel har kvinnan som väntar på en man blivit en stereotyp man ser på med beklagande blick. Men hon har inte alltid betraktats så. Se på Penelope, som väntade på Odysseus i tjugo år. Väntan utarmar inte hennes gestalt. Som karaktär byggs hon tvärtom upp genom sin hängivenhet. Förlöjligandet av den väntande kvinnan kan med det i bakhuvudet ses som ett slags utsuddande av nyanserna i relationen mellan väntan och frånvaro. Kvinnans svar på frånvaro beskrivs som passivt, medan orsaken – den försvunna mannen – skildras som aktiv frihet. Och med ens har vi glömt att en vuxen kvinna har förutsättningarna för att själv definiera vad hennes väntan innebär.Simone Weils nästintill sakrala påminnelse om att de som inte upplever avstånd, faktiskt inte heller är åtskilda säger något om vad det betyder att vänta. Oavsett smärtan det kan medföra att vänta så är det älskande tillstånd som är väntans förutsättning ett priviligierat tillstånd.Romaner och dikter med väntan i centrum skildrar ofta väntan som en kombination av förtrollad leda och vidgad erfarenhet. Den koncentrerade ensamheten ger upphov till existentiell kunskap. Inte sällan är den början på en konstnärlig process. Men väntan kan förstås vara både en startpunkt för skrivande och enformig leda. Poeten Debora Vogel skriver i dikten Trötthet om hur tiden förvrängs: ”Räkna inte år. /Det finns bara dagar”.Det är i dikten åter den femtonde dagen i månaden – många ”den femtonde” har redan kommit och gått. Många gånger har äppelträden blommat och blivit gula. För henne finns nu bara en enda dag, och den kommer tillbaka tusen gånger.Det repetitiva står i centrum för Vogels poetik men för den noggranna läsaren är det ändå lätt att upptäcka hur den väntande blicken framtvingar nya dimensioner ur gatorna där dikterna utspelar sig. Det är inte bara en enda dag, som träder fram ur det stora havet av tid. Tvärtom! Fram träder den ena färggranna dagen efter den andra. Tristessen ger näring åt ett för tiden radikalt och nytt poetiskt bildspråk. Och ibland kommer han faktiskt, om det nu är en han, som diktjaget söker: ”Det var inte en gul dag, då allt står på spel/ inte heller en blå kväll, då man är utom sig av väntan - / när du kom till mig- /utan en grå eftermiddag/ mellan två tryckande eftermiddagar”.Debora Vogel föddes 1900 i staden Burshtyn, i nuvarande Ukraina i en judisk familj. Det mesta av brevväxlingen med författaren Bruno Schulz, som hon inte gifte sig med eftersom hennes mor avvärjde den kärleken, är förstörd. Ändå faller det sig lätt att undra om dikternas väntan handlar om honom. De flesta utspelar sig på gatorna och de två brukade promenera.En samtida beteendeterapeut skulle säkert gett vogel rådet att släppa taget och ”börja leva”, övertygad om att detta ”leva” inte finns inuti människan och inte heller i skrivandet, utan bara handlar om vad vi gör eller inte gör. Kanske hade det rådet gjort Fogel lyckligare. Men det skulle ha omintetgjort en del av hennes starkaste poesi. Identitet och skrivande är sammantvinnat och skrivande en praktik som alltid riktar sig mot något eller något, utanför det egna jaget.1942 sköts Debora Vogel brutalt till döds i Lvivs ghetto. Två år senare föds en annan kvinna som skildrat väntan. Det är 2022 års nobelpristagare Annie Ernaux. Också hon fyller sina papper med bågnande begär bundet i väntan. Från vogels poetik, som drivs av ”det statiskas mobilitet”, det vill säga av en leda som blir levande, är det faktiskt inte så långt till den fusion av besatthet och väntan som Ernaux levandegör i boken Sinnenas tid.Ernaux väntar på den ryske diplomat som var hennes älskare i ett och ett halvt år. Under denna tid ockuperar han, och hennes väntan på honom, Ernauxs hela varelse. ”Sen september förra året har jag inte gjort annat än väntat på en man: att han ska ringa mig eller komma till mig.”Där Vogel skriver fram hur världen utanför gestaltar sig medan hon väntar, undersöker Ernaux vad den sexuella passionen gör med hennes eget liv. Allt förtrollas. Därvidlag är de två författarna lika: väntan visar dem vad de förut inte visste. Kroppens hetta och leda fungerar som ett framkallningsbad. Ur det osynliga sköljs det synliga fram och måhända är det inte mannen de ser, men något vad han gjorde med den väntande. Vad som uppstått är ett tänkande.Gemensamt för de väntande är dessutom att de börjar mäta tiden på nya sätt. Som Ernaux uttrycker det: plötsligt mäter hon den med hela sin kropp. Vad är det om inte en upptäckt av att kroppen är alltings mått. Och att det måttet inte är hugget i sten.Det är förvisso möjligt att väntan gör en människa galen. Men det är också möjligt att det är passionen som gör det. Det verkligt intressanta med detta står ändå fram: det är bättre där, i galenskapen och ledan, än det skulle vara om jaget slutade vänta.När jag betraktar dessa kvinnors passion och väntan som källan till så mycket mer än en bild av en passiv kropp, minns jag plötsligt att både Ernaux och ännu en passionerad kvinna, Marguerite Duras, ständigt återvänder till sina passioner för att skriva om dem på nytt. Vad har hänt? Jo, tiden har åter verkat. I Se perdre skriver Ernaux ut hela sin dagbok om tiden med den ryske älskaren. När Duras sent i livet får veta att den kinesiska älskare hon skildrar i romanen Älskaren dött skriver hon helt sonika ännu en bok: Älskaren från norra Kina.I Ernauxs förord till dagboken beskrivs hur den ryske älskaren förkroppsligade den universella principen om begär, död och skrivande. Duras menar att återvändandet till berättelsen gör henne till romanförfattare igen. Litteraturens väntande kvinnor motsäger således tanken på att tid skulle sakna värde om den tillbringas i väntan. Den väntande kvinnan hos Vogel och hos Ernaux mister inte sin subjektivitet. Hon bygger upp kunskap om både den värld hon vistas i - och om sig själv. Väntan som upptäcksresa, helt enkelt.Karin Brygger är poet, författare och adjunkt i Medier, estetik och berättande

“Sanatorium Under the Sign of the Hourglass” reimagines Bruno Schulz's surreal narratives. Explore how the Quay Brothers approach memory and identity in this haunting cinematic experience. The post “Sanatorium Under the Sign of the Hourglass”, interview with directors Quay Brothers appeared first on Fred Film Radio.

“Sanatorium Under the Sign of the Hourglass” reimagines Bruno Schulz's surreal narratives. Explore how the Quay Brothers approach memory and identity in this haunting cinematic experience. The post “Sanatorium Under the Sign of the Hourglass”, interview with directors Quay Brothers appeared first on Fred Film Radio.

“Sanatorium Under the Sign of the Hourglass” reimagines Bruno Schulz's surreal narratives. Explore how the Quay Brothers approach memory and identity in this haunting cinematic experience. The post “Sanatorium Under the Sign of the Hourglass”, interview with directors Quay Brothers appeared first on Fred Film Radio.

“Sanatorium Under the Sign of the Hourglass” reimagines Bruno Schulz's surreal narratives. Explore how the Quay Brothers approach memory and identity in this haunting cinematic experience. The post “Sanatorium Under the Sign of the Hourglass”, interview with directors Quay Brothers appeared first on Fred Film Radio.

“Sanatorium Under the Sign of the Hourglass” reimagines Bruno Schulz's surreal narratives. Explore how the Quay Brothers approach memory and identity in this haunting cinematic experience. The post “Sanatorium Under the Sign of the Hourglass”, interview with directors Quay Brothers appeared first on Fred Film Radio.

“Sanatorium Under the Sign of the Hourglass” reimagines Bruno Schulz's surreal narratives. Explore how the Quay Brothers approach memory and identity in this haunting cinematic experience. The post “Sanatorium Under the Sign of the Hourglass”, interview with directors Quay Brothers appeared first on Fred Film Radio.

"Những hiệu quế" được xuất bản lần đầu vào năm 1934 và được coi là một trong những tác phẩm văn học quan trọng nhất của Bruno Schulz. Tập truyện ngắn bao gồm một loạt các câu chuyện có kết nối với nhau diễn ra tại một thị trấn nhỏ ở Ba Lan vào đầu thế kỷ 20. Những câu chuyện này đều có điểm chung là giàu trí tưởng tượng và thường siêu thực, làm mờ ranh giới giữa thực và ảo. Phong cách viết của Schulz được đặc trưng bởi ngôn ngữ giàu chất thơ và những mô tả phức tạp tạo nên một bầu không khí thơ mộng. Ông thường kết hợp các yếu tố thần thoại, ngụ ngôn và biểu tượng vào các câu chuyện của mình. "Những hiệu quế" khai thác các chủ đề như thời thơ ấu, ký ức, sức mạnh của trí tưởng tượng và sự ngây thơ bị đánh mất. Schulz miêu tả thế giới qua con mắt của một cậu bé, sử dụng góc nhìn độc đáo của mình để đi sâu vào sự phức tạp của sự tồn tại của con người và những bí ẩn của cuộc sống. Tập truyện được biết đến với những mô tả sống động về thị trấn và cư dân của nó, cũng như việc khám phá sức mạnh chuyển biến của nghệ thuật và quá trình sáng tạo. Những câu chuyện của Schulz thường có những nhân vật lập dị, những sinh vật thần thoại và những sự kiện kỳ ​​diệu, pha trộn giữa cái trần tục với cái kỳ ảo. Được sự cho phép của FORMApubli, Trạm Radio trích đọc truyện ngắn "Những hiệu quế" trong tập truyện cùng tên của Bruno Schulz xuất bản năm 2023. Bản dịch tiếng Việt thuộc về FORMApubli. __________ Để cam kết với bạn nghe đài dự án Trạm Radio sẽ chạy đường dài, chúng tôi cần sự ủng hộ của quý bạn để duy trì những dịch vụ phải trả phí. Mọi tấm lòng đều vô cùng trân quý đối với ban biên tập, và tạo động lực cho chúng tôi tiếp tục sản xuất và trau chuốt nội dung hấp dẫn hơn nữa. Mọi đóng góp cho Trạm Radio xin gửi về: Nguyen Ha Trang STK 19034705725015 Ngân hàng Techcombank. Chi nhánh Hà Nội.

Today We have Benjamin Balint with us speaking about his book 'Kafka's Last Trail'. Kafka's Last Trial begins with Kafka's last instruction to his closest friend, Max Brod: to destroy all his remaining papers upon his death. But when the moment arrived in 1924, Brod could not bring himself to burn the unpublished works of the man he considered a literary genius—even a saint. Instead, Brod devoted his life to championing Kafka's writing, rescuing his legacy from obscurity and physical destruction.By the time of Brod's death in Tel Aviv in 1968, Kafka's major works had been published, transforming the once little-known writer into a pillar of literary modernism. Yet Brod left a wealth of still unpublished papers to his secretary Esther Hoffe, who sold some, held on to the rest, and then passed the bulk of them on to her daughters, who in turn refused to release them. An international legal battle erupted to determine who could claim ownership of Kafka's work: Hoffe's Family, Israel, where Kafka dreamed of living but never entered, or Germany as Kafka wrote exclusively in German. Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts.Benjamin Balint is the author of Bruno Schulz' S Biography and Kafka's Last Trial,. He was awarded the 2020 Sami Rohr Prize for Jewish Literature, and is the coauthor of Jerusalem: City of the Book. A library fellow at the Van Leer Institute in Jerusalem, he regularly writes on culture for The Wall Street Journal, the Jewish Review of Books, and other publications.You may Please use the link given in the show notes to buy the books mentioned .Please follow and review the Harshaneeyam Podcast on Apple and Spotify Apps.To buy 'Kafka's Last Trial' - https://tinyurl.com/kafkastrial* For your Valuable feedback on this Episode - Please click the link below.https://tinyurl.com/4zbdhrwrHarshaneeyam on Spotify App –https://harshaneeyam.captivate.fm/onspotHarshaneeyam on Apple App – https://harshaneeyam.captivate.fm/onapple*Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacy

Hiếm nhà văn nào để lại thật ít tác phẩm nhưng được xếp vào hàng lớn nhất như Bruno Schulz. Dưỡng đường đồng hồ cát, một trong hai tập truyện ngắn được xuất bản trước khi Schulz bị ám sát vào năm 1942, đã lập tức nối thẳng ông với Kafka, nhà văn lớn không cách xa ông về thời gian và cả khoảng cách khi ấy. Đó là câu chuyện về tuổi thơ tìm thấy lại trong những ấn tượng vừa kỳ dị vừa đẹp thổn thức sinh ra từ những chi tiết tưởng hết sức tầm thường của đời sống tỉnh lẻ. Người đọc bị cuốn theo nhịp của câu và sự bùng nổ của hình ảnh để rồi được mang đến một thế giới khác tự lúc nào. Cả một đại giáo đường quá khứ hiện ra, vừa âm hiểm vừa quyến mị, từ dòng ngôn ngữ cuồn cuộn tuôn trào ấy. Được sự cho phép của công ty sách FORMApubli, Trạm Radio trích đọc truyện ngắn "Mùa hè tháng Bảy" trong tuyển tập Dưỡng đường đồng hồ cát của Bruno Schulz. Bản quyền tiếng Việt thuộc về FORMApubli.

Quinten Weeterings is a history post-graduate who studied under Rico Sneller at Leiden university. In this episode we discuss the life and work of Bruno Schulz. ------Become part of the Hermitix community:Hermitix Twitter - https://twitter.com/HermitixpodcastSupport Hermitix:Patreon - https://www.patreon.com/hermitixDonations: - https://www.paypal.me/hermitixpodHermitix Merchandise - http://teespring.com/stores/hermitix-2Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLKEthereum Donation Address: 0x31e2a4a31B8563B8d238eC086daE9B75a00D9E74

Raz jeszcze wspominamy ubiegłoroczny Bruno Schulz. Festiwal, tym razem w towarzystwie Agnieszki Szpili i Zofii Krawiec – autorek, które w swoich książkach poruszają tematy, przez wiele osób uważane za gorszące, szokujące, może nawet obrazoburcze? Ale czy tak jest w rzeczywistości? O to pytała je Agnieszka Wolny-Hamkało. Agnieszka Szpila, „Octopussy. Opowiadania postporno” Wydawnictwo W.A.B.), Zofia Krawiec, „Szepczące w ciemnościach” (Wydawnictwo Znak). Zapraszamy też do innych bliskich nam miejsc w przestrzeni internetowej: ➡️ kanał YT Dom Literatury: https://www.youtube.com/@wroclawskidomliteratury ➡️ FB Radio Proza: https://www.facebook.com/radioproza ➡️ Ig Radio Proza: https://www.instagram.com/radio_proza/

Dzisiaj znowu wracamy na ubiegłoroczny Bruno Schulz. Festiwal, tym razem by przypomnieć rozmowę z Beatą Dżon-Ozimek oraz Michałem Olszewskim wokół ich książki o długim i dość trudnym tytule, mianowicie: „Ptaki krzyczą nieustannie. Historia Günthera Niethammera, esesmana i ornitologa z Auschwitz” (Wydawnictwo Czarne). Z duetem autorskim rozmawiała Urszula Glensk. Udanego słuchania! Zapraszamy też do innych bliskich nam miejsc w przestrzeni internetowej: ➡️ kanał YT Dom Literatury: https://www.youtube.com/@wroclawskidomliteratury ➡️ FB Radio Proza: https://www.facebook.com/radioproza ➡️ Ig Radio Proza: https://www.instagram.com/radio_proza/

Dzisiaj wracamy na ubiegłoroczny Bruno Schulz. Festiwal, gdzie można było spotkać się z cenioną psycholożką Ewa Woydyłło. Autorka w swojej najnowszej książce, „Nasz bieg z przeszkodami. O wrażliwości i inności” (Wydawnictwo Literackie), wyjaśnia, jak zrozumieć i otworzyć się na różnorodność i rozbudzić w sobie większą wrażliwość, zarówno wobec innych, jaki i przede wszystkim wobec siebie. Podczas Bruno Schulz. Festiwalu z Ewą Woydyłło rozmawiał Irek Grin. Udanego słuchania! Zapraszamy też do innych bliskich nam miejsc w przestrzeni internetowej: ➡️ kanał YT Dom Literatury: https://www.youtube.com/@wroclawskidomliteratury ➡️ FB Radio Proza: https://www.facebook.com/radioproza ➡️ Ig Radio Proza: https://www.instagram.com/radio_proza/

Dla jednych renegatka, kolaborantka i zdrajczyni. Dla drugich – bohaterka, wybawicielka, dzielna przywódczyni Polaków w ZSRR. Opinie o Wandzie Wasilewskiej zawsze były skrajne, a jej zwolennikom i krytykom nigdy nie udało się dojść do porozumienia. Aleksander Wat opowiadał o niej: „Niezbadana jest dusza kobiet fanatycznych, świętych Teres komunizmu. To są mistyczki, które nie widzą rzeczywistość, raczej widzą inną rzeczywistość, której my nie widzimy”. Jak więc wyglądała rzeczywistość Wandy Wasilewskiej? Dzisiaj zapraszamy do wysłuchania rozmowy z Piotrem Lipińskim autorem książki, „Wasilewska. Czarno-biała” (Wydawnictwo Czarne). Z autorem we Wrocławiu podczas Bruno Schulz. Festiwalu spotkał się i porozmawiał Michał Olszewski. Zapraszamy też do innych bliskich nam miejsc w przestrzeni internetowej: ➡️ kanał YT Dom Literatury: https://www.youtube.com/@wroclawskidomliteratury ➡️ FB Radio Proza: https://www.facebook.com/radioproza ➡️ Ig Radio Proza: https://www.instagram.com/radio_proza/ Udanego słuchania!

Benjamin Balint, an award-winning American-Israeli writer based at the Van Leer Jerusalem Institute, discusses his book Bruno Schulz: An Artist, A Murder, and the Hijacking of History. The literary legacy of Schulz, the  so-called Polish Kafka, has been the subject of an international legal, cultural and diplomatic debate.

Rok 2023 kończymy na Bruno Schulz. Festiwalu, czyli w Prozie, klubie Wrocławskiego Domu Literatury, gdzie jesienią tego roku red. Michał Nogaś poprowadził dyskusję z autorką i autorem książek, które przybliżają nam historię polskiej wsi, ale też w niezwykły sposób się uzupełniają, przywracając należyte miejsce w historii Polski tym, bez których nasz kraj nie mógłby istnieć. Wspomniana autorka to Joanna Kuciel-Frydryszak, która napisała książkę „Chłopki. Opowieść o naszych babkach” (Wydawnictwo Marginesy), z kolei autorem jest Kacper Pobłocki ze swoim wydanym z końcem 2022 roku „Chamstwem” (Wydawnictwo Czarne).  Zapraszamy na blisko 90 minut zajmującej rozmowy. A jako, że jest to ostatni nasz podcast w 2023, wszystkiego najlepszego w 2024!

W 119 odcinku pasma głównego naszego podcastu mamy dla was rozmowę z autorem licznych biografii Mariuszem Urbankiem wokół jego najnowszej książki „Marian Eile. Poczciwy cynik z «Przekroju»” (Wydawnictwo Iskry). Z autorem podczas Bruno Schulz. Festiwalu rozmawiał prof. Stanisław Bereś.

W 118 odcinku pasma głównego podcastu Radio Proza wracamy do październikowego Bruno Schulz. Festiwalu, kiedy to we Wrocławiu z Mikołajem Grynbergiem o jego książce „Jezus umarł w Polsce” (Wydawnictwo Agora) rozmawiała Dorota Oczak-Stach. Tym którzy jeszcze o najnowszej publikacji Mikołaja Grynberga nie słyszeli, przypominamy, że jest to rzecz traktująca o wydarzeniach na polsko-białoruskiej granicy, a bohaterkami i bohaterami książki autor uczynił osoby pomagające uchodźcom  Osoby, które nie miały pojęcia, że w efekcie swoich działań będą musiały ukrywać się, nie tylko przed służbami państwa, ale często również przed swoimi sąsiadami. Zapraszamy do słuchania!

Maciej Robert, do niedawna przede wszystkim poeta (blisko dziesięć książek w dorobku), zadebiutował w tym roku jako autor non fiction, serwując nam książkę zaskakującą, mieszającą gatunki, przepełnioną dygresjami, także autobiograficzną. I traktującą o rzekach, w tym tej niemal nieistniejącej, w mieście Łodzi. O książce „Rzeki, których nie ma” z autorem podczas Bruno Schulz. Festiwalu rozmawiała Małgorzata Lebda, także poetka, także zaliczająca w tym roku debiut niepoetycki, którą także z rzekami wiąże dość specyficzna relacja. Jaka? Tego dowiecie się z rozmowy. Zapraszamy do słuchania!

Zbigniew Rokita, laureat Nagrody Literackiej Nike z 2021 roku za książkę „Kajś. Opowieść o Górnym Śląsku”, wybrał się tym razem w podróż po tak zwanych Ziemiach Odzyskanych. Efektem przyglądania się tej części Polska okazała się książka „Odrzania. Podróż po Ziemiach Odzyskanych” (Wydawnictwo Znak). Jak obecnie wyglądają ziemie, na których po II wojnie światowej dokonywał się jeden z największych eksperymentów społeczno-cywilizacyjnych Europy? Czy Wrocław, Szczecin lub Zielona Góra wciąż wyróżniają się na tle reszty kraju? A jeśli tak, to czym objawia się ta inność? Między innymi o to podczas Bruno Schulz. Festiwalu 2023 autora pytała Kasia Janusik. Udanego słuchania!

Merriam-Webster's Word of the Day for October 19, 2023 is: quintessence • kwin-TESS-unss • noun Quintessence is a formal word that can refer to the most typical or perfect example of something, or the most important part of something. // Roasting marshmallows over an open fire and making s'mores is the quintessence of camping in the great outdoors. // The quintessence of music is the melody. See the entry > Examples: "The stories read like the quintessence of the human imagination in its densest, strangest form, as if his language were a thick, sweet concentrate of the creativity that other writers dilute to a sippable weakness. The comparison with Kafka misses much of [Bruno] Schulz's surreal humour and vivacity; the writer of whom he reminds me most is Maurice Sendak, with his bewitching childhood worlds filled with galumphing, unpredictable adults." — Joe Moshenska, The Guardian (London), 14 May 2023 Did you know? Long ago, when people believed that everything was made up of four elements—earth, air, fire, and water—they thought the stars and planets were made up of yet another element. In the Middle Ages, people called this element by its Medieval Latin name, quinta essentia, literally, "fifth essence." They believed the quinta essentia was essential to all kinds of matter, and if they could somehow isolate it, it would cure all disease. People have since given up on that idea, but English users have kept quintessence, the offspring of quinta essentia, as a word for the purest essence of a thing. Some modern physicists have given quintessence a new twist—they use it to refer to a form of the dark energy believed to make up almost 70 percent of the energy in the observable universe.

„Pociąg do Imperium. Podróże po współczesnej Rosji” Mai Wolny to podróż przez Rosję czasu wojny. Wolny jako jedna z niewielu pisarek i pisarzy na świecie jeździła po kraju Putina tuż po ogłoszeniu przez Rosję mobilizacji. W atmosferze strachu i kontroli pokonała ponad dziesięć tysięcy kilometrów koleją, marszrutkami, samolotem. Zapis tej niezwykłej podróży staje się thrillerem non fiction, zwłaszcza kiedy podróż zostaje przerwana w nagły sposób – w styczniu 2023 została zatrzymana na granicy i otrzymała 20-letni zakaz wjazdu na teren Białorusi, który został wydany przez władze Rosji. O książkę „Pociąg do Imperium. Podróże po współczesnej Rosji” (Wydawnictwo Marginesy) autorkę podczas Bruno Schulz. Festiwalu 2023 pytała Jana Karpienko. Udanego słuchania!

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Chris Power discusses a year in books with Ellah Wakatama and Kate Mosse.

"We are the things that were and shall be again." So a demonic flesh puppet tells Ash and his allies in a memorable scene from the classic splatstick flick Evil Dead II. In addition to being a rollicking piece of entertainment, Evil Dead II is an expertly crafted film whose director used every tool and technique to generate a cinematic experience that is – as the tagline went – "2 terrifying, 2 frightening ... 2 much!" In this episode, JF and Phil court the absurd by turning a fun 80s horror movie into a statement on the dread aspirations of matter and a shining example of the modern baroque. Listen to volume 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and volume 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2) of the Weird Studies soundtrack by Pierre-Yves Martel (https://www.pymartel.com) Support us on Patreon (https://www.patreon.com/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the new T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! Get your Weird Studies merchandise (https://www.redbubble.com/people/Weird-Studies/shop?asc=u) (t-shirts, coffee mugs, etc.) Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) SHOW NOTES Sam Raimi (dir.), [The Evil Dead II}(https://www.imdb.com/title/tt0092991/) Weird Studies, Episode 121 on Mandy and the Bandwagon (https://www.weirdstudies.com/121) Joe Bob Briggs (https://joebobbriggs.com/), American movie critic Chalres Ludlam (https://en.wikipedia.org/wiki/Charles_Ludlam), American actor Weird Studies, Episode 88 on Mr Punch (https://www.weirdstudies.com/88) Kenneth Gross, Puppet: An Essay on Uncanny Life (https://bookshop.org/p/books/puppet-an-essay-on-uncanny-life-kenneth-gross/1854?ean=9780226005508) Eduardo Viveiros de Castro, Cannibal Metaphysics (https://bookshop.org/p/books/cannibal-metaphysics-eduardo-viveiros-de-castro/9840023?ean=9781517905316) Bruno Schulz, The Street of Crocodiles (https://bookshop.org/p/books/the-street-of-crocodiles-and-other-stories-bruno-schulz/11699271?ean=9780143105145) Victoria Nelson, The Secret Life of Puppets (https://bookshop.org/p/books/the-secret-life-of-puppets-victoria-nelson/10858474?ean=9780674012448) Joseph Cermatori, Baroque Modernity (https://bookshop.org/p/books/baroque-modernity-an-aesthetics-of-theater-joseph-cermatori/16276768?ean=9781421441535)

Victoria Nelson saw it first: Popular culture teems with occult ideas, vestiges of bygone belief, fragments of ancient magic disguised as common entertainment. Her 2001 work The Secret Life of Puppets is in many ways the ur-text of weird studies, so prescient and probing it is even more relevant now than it was when it first appeared. In episode 128 (https://www.weirdstudies.com/128), Phil and JF discussed Nelson's wonderful first novel Neighbor George (2021). In this episode, Nelson joins the hosts of Weird Studies to talk about the vision that drove her to write Secret Life along with its equally insightful follow-up, Gothicka. Listen to volume 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and volume 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2) of the Weird Studies soundtrack by Pierre-Yves Martel (https://www.pymartel.com) Support us on Patreon (https://www.patreon.com/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the new T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! Get your Weird Studies merchandise (https://www.redbubble.com/people/Weird-Studies/shop?asc=u) (t-shirts, coffee mugs, etc.) Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) SHOW NOTES Victoria Nelson, The Secret Life of Puppets, Gothicka, Neighbor George M. R. James, [Collected Ghost Stories](https://en.wikipedia.org/wiki/TheCollectedGhostStoriesofM.R.James)_ Tzvetan Todorov, The Fantastic: A Structural Approach to a Literary Genre (https://www.cornellpress.cornell.edu/book/9780801491467/the-fantastic/#bookTabs=1) Sigmund Freud, [Civilization and its Discontents](https://en.wikipedia.org/wiki/CivilizationandItsDiscontents)_ Carol Clover, Men, Women, and Chainsaws: Gender in the Modern Horror Film (https://www.amazon.com/Men-Women-Chainsaws-Gender-Modern/dp/0851704190) Bruno Schulz, [The Street of Crocodiles](https://en.wikipedia.org/wiki/TheStreetofCrocodiles)_ Stephenie Meyer, Twilight (https://stepheniemeyer.com/the-twilight-saga/) series William P. Young, The Shack: Where Tragedy Confronts Eternity (https://www.amazon.com/Shack-Where-Tragedy-Confronts-Eternity/dp/0964729237) _ Against Everyone with Conner Habib (https://connerhabib.com/against-everyone/), episodes 202 (https://www.patreon.com/posts/74118938?pr=true) & 203 (https://www.patreon.com/posts/74427827?pr=true) James R. Lewis, _The Gods Have Landed (https://sunypress.edu/Books/T/The-Gods-Have-Landed2) Anne Rice, [Interview with the Vampire](https://en.wikipedia.org/wiki/InterviewwiththeVampire)_ Honoré de Balzac, "Séraphîta" (https://en.wikipedia.org/wiki/Séraphîta) L. Ron Hubbard (https://en.wikipedia.org/wiki/L._Ron_Hubbard), founder of Scientology Special Guest: Victoria Nelson.

This story by Nugent Barker comes from his anthology Written By My Left Hand, which I guess is a pointer to the fact that they deal with things that emerge from the night side of the mind, the subconscious. It is a story about the Devouring Mother told in a dream-like way. It's horror for sure. It's short and leaves you scratching your head, yet it is told in a familiar way from ghost stories where gentlemen are sitting in their study around a blazing fire sipping whiskey toddies while they swap scary stories. The content of the story is less than straightforward though. You have the benefit of my thoughts afterwards. Just for you, here's a link to this whole book online as a PDFhttps://s3.us-west-1.wasabisys.com/luminist/EB/B/Barker%20-%20Written%20With%20My%20Left%20Hand.pdf## Get All Episodes Ad Free!$1 a month for the whole back catalog of episodes on Patreon. Download at your leisure. https://www.patreon.com/barcud## Buy Dracula Audiobook for DownloadBuy it directly from me at a knockdown price £4.99.  https://ko-fi.com/s/a7a5c648b8## If You Appreciate The Work I've Put In Here You could buy me a coffee at https://ko-fi.com/tonywalker or join as a Patron for members only stories for $5 a month: https://www.patreon.com/barcud)## Late Night Talk RadioListen to my other podcast! Here [Classic Ghost Stories Episodes – The Classic Ghost Stories Podcast](https://link.chtbl.com/late_night)#audiobook #horroraudiobook #freeaudiobook #horror #classicghoststoriesThe story is reminiscent of Robert Aickman or Bruno Schulz for its uncanny unnerving weirdness.#freeaudiobooks #weirdtales #horror Support the show