Tuesday, September 3, 2024

"Alchemy of Words" by Ella Czajkowska - A New Poetic Voice & Classical Aesthetics

  



The Alchemy of Words is the first English-language poetry book of Ella Czajkowska who previously published a book of poems in Polish. These 70 poems deal with themes of nature, divinity, human emotions, existential contemplation and the complexities of life. The poems explore the beauty and terror of natural world, the fleeting nature of joy, the struggles of existence, and the interplay of love and hate. Through vivid imagery and entrancing verse, the poems evoke a sense of wonder and introspection. They invite readers to an adventure of exploring human experience, reflecting upon the intricacies of life and the power of language and art.

ISBN 978-1-945938-80-1, paperback, 98 pages, $22.00


ABOUT THIS BOOK

"With Alchemy of Words by Elzbieta Czajkowska, a diamond of a poet is born. We dive into a deep, bold exploration of man's place in the cosmos. Standing solo at the gate of the garden of dreams with questions sharp as a knife... "Why am I? What is my choice?" Every page cuts through the upper lip of time and echoes in the reader's head, unveiling the deepest secrets of the soul one poem at a time. Elzbieta's poems electrify, like touching a spark to gunpowder, seeing a starless sky explode in a blaze of colors. Exciting. Original. Thought provoking. Inspiring." 

                                                   ~ Marek Probosz, actor, director, and writer, 
                                                      Adjunct Professor at UCLA


"Ella Czajkowska ushers a voice of sublime sincerity into our increasingly outlandish human realm." 
                                                    ~ Piotr D. Siemion, Ph.D., Author and Essayist



                          I am the lens through which at the world I gaze,
                          And just so position myself within it.
                         Perspective—sand in an hourglass, a maze—
                         Keeps shifting: a kaleidoscope set ablaze. 
                         Love the eyes that see; love the hands that spin it.

                                                               ~ Ella Czajkowska



ABOUT THE POET



Ella Czajkowska (b. Elżbieta Czajkowska) is a professional Translator, Transcriptionist, Polish and English-Speaking certified Neuro-Linguistic Programming Master Practitioner, Certified Personal & Business Life Coach, Graphic Designer, English Second Language Teacher, Poet, and PR Manager. Her love of creative writing was born in high school, where she started writing poetry and short stories. In 2015, Ella started to write poetry in both Polish and English, and from 2017 she writes only in English. Her book of Polish language poetry, entitled “Tam, gdzie umierają marzenia”, was published in Rzeszów by Sowello in 2019. Her English-language poems appeared in the California Quarterly and the Crystal Fire anthology (Moonrise Press, 2022). She was nominated for the Pushcart Prize in 2022 by the California State Poetry Society for her poem "The Calling”. 

Ella worked for many years as Public Relations (PR) Manager for the EWELINEB brand. She has produced music and PR materials for fashion shows at the Fashion Week in such places like NYC, London, and Amsterdam, among others. Ella’s other great passion and inspiration in life is music. Surrounded by it her whole life, with both her father and mother having graduated from prestigious music schools, there was always a great respect for art and culture in her family home. All throughout her childhood she would be taken to theaters and opera houses, where her love for opera, ballet, and classical music ever grew. A graduate of two music schools, Ella learned to play piano, clarinet, and percussion—piano remains her favorite instrument to this day. A true Renaissance person with a wide range of interests, talents, and knowledge, she was born in Warsaw, Poland and lives in Los Angeles, California.


TABLE OF CONTENTS
1.   He, Who Watches  ~  2
2.   The Balance  ~  3
3.   Beauty  ~  4 
4.   Butterflies  ~  5
5.   The Sublime Senses ~ 6
6.   Of Happiness and Perfection  ~  7
7.   Nameless  ~  8
8.   Sweet Lullaby  ~  9
9.   Lady of the Gardens  ~ 10
10.   And Still  ~  12
11.   In Time  ~  13
12.   Lovely  ~  14
13.   The Calling  ~  15
14.   Of Easy Paths  ~  16
15.   Close Enough  ~  18
16.   As the Door Opens…  ~  19
17.   The Rose Path  ~  20
18.   What I Know  ~  22
19.   Covetous  ~ 24 
20.   The Fee  ~ 25
21.   Fruits of Infinity  ~  26
22.   Unforgiven  ~ 27
23.   Given  ~ 28
24.    Who You Were Before They Broke Your Heart  ~ 29
25.    Gentle Fellow  ~  30
26.    The Greatest Game  ~  31
27.    Would That It Could  ~  32
28.    Nature’s Call  ~  33
29.    Vermillion ~ 34
30.    Snake in the Grass  ~  35
31.    Eternal Change  ~  36
32.    Panic  ~  37
33.    Contemplation  ~  38
34.    Tomorrow, Tomorrow  ~  39
35.    Blood Price  ~  40
36.    Deeper Way  ~  42
37.     Endless Feast  ~  43
38.     Do Not Be Taken By The Far-Off Shores  ~  44
39.     The Wishing Well  ~  45 
40.     Outlier of Old  ~  46     
41.     Bird of Hermes  ~  47
42.     Surfeit  ~  48
43.     Eat Your Heart Out  ~  49
44.     A Moment in Time  ~  50
45.     Labyrinthine ~  52
46.     Disordered  ~ 56 
47.     The Narcissist  ~  57
48.     For the Divinity  ~  58
49.     To Whom Does Nature Speak?  ~ 60
50.      Under Savage Eye  ~ 62
51.      Our Due  ~  64
52.      Of Sky, and Ocean, and Earth ~  65
53.      Fly, Fly, Flee ~  66
54.      Remember  ~  68
55.      Little Voice  ~ 69
56.      Of Silent Songs (Three Sonnets)  ~ 70
57.      Prison-flesh  ~  73
58.      Desert Contemplations  ~  74
59.      What Heart May Be Dreaming  ~ 75
60.      I Burn  ~ 76
61.      Circles  ~  77
62.      To Be  ~  78
63.      All You  ~ 80
64.      Sisyphean (For E.V.E)  ~ 81
65.      Alchemy of Words  ~  82
66.      Secrets of the Wind  ~  83
67.      Golden Relics  ~  84
68.      Ballade in D Minor  ~  85
69.      Miracles of an Age ~  86
70.      Brick by Brick  ~  87
About Ella Czajkowska   ~  89



SAMPLE POEMS


The Sublime Senses


Until the heart stops
it desires;
until the mind stills
it aspires;

until the senses
take their leave
they deceive
such dreams they weave…



Eternal Change


Thousands of roads divergent, paths split and never taken,
Unveiling as they unravel, strand by strand, that precept
Of bygone days of youth, forgotten and forsaken.
In the face of change eternal ferocious waves have swept
Perceptions in stone written, and suddenly thus shaken
The foundations of skies burst – the heavens wept, and wept.
Torrents of tears weep they did, to cleanse and reawaken
That fair slumbering spirit, that an age and half has slept
Away in gentle dreaming, and deceit has mistaken
For benevolence charming; words of those in craft adept
For nobility and truth. That honor be retaken
In prideful arrogance, that those vices nigh be kept,
In regard highest viewed – with such lie overtaken
Deaf they be to destiny; ah! would that they awaken.

(But they slept, and slept, and slept…)



Secrets of the Wind  


On the precipice a sentinel’s
Searching eyes peer beyond the shroud
Of blurring mists of time inveiled
In truths that wove a tale so fine
Wind whispers it as secrets blest:

Where knowing dark awaits aloof,
There light shines brightest, blazing white;

Where great abyss lingers hungry,
There undaunted gaze back boldly;

Where idle words still hollow ring,
There silence speaks, all music is;

Where nothing stirs amongst gilt walls,
Where nothing sits amongst chipped plates,
There art breathes life, love nourishes.

And where longing for destruction 
At foundations tears with fury,
There passion’s fires forge despair 
Into beauty of creation.



Miracles of an Age


You, who wears your sorrow like a veil of black,
Come! Pour all your tears into an open heart
And transform your grief into boundless wonder.

In the dark of night, a glimmer of light shines,
On water’s surface shimmers, on waves, on lines
That shan’t be exceeded: safe in their confines

You stand, witness to miracles of an age
That would crush as soon as build, would free to cage,
To grow would smother; to save would hide the stage.

But there you sit, and seethe, and ever ponder,
And will your cup of wrath, full of rage, apart;
Let time pass, see all erased, then cycle back…



PRIOR PUBLICATION CREDITS

This book of 70 poems includes ten that were earlier published in Crystal Fire: Poems of Joy & Wisdom (Moonrise Press, 2022). These poems are: “Of sky, and Ocean, and Earth,” “What Heart May Be Dreaming,” “The Sublime Senses,” “Given,” “I Burn,” “Fruits of Infinity,” “Close Enough,” “Circles,” “All You,” and “The Calling.” 

In addition, prior publication of the following poems is hereby gratefully acknowledged:
o “The Calling,” California Quarterly, Vol. 48, No. 3 (Autumn 2022) 
o “Would That It Could, Eternal Change,” California Quarterly, Vol. 49, No. 1 (Spring 2023) 





Tuesday, August 27, 2024

Kazimierz Braun - Collected Plays. Volume 2. Theater of Discord published in August 2024

ISBN 978-1-945938-67-2 E-book, PDF format, $10.00
ISBN 978-1-945938-66-5, hardcover, 312 pages, $60.00  

 "Dramaty Zebrane. Collected Plays. Teatr Niezgody. The Theater of Discord" is the second volume of a collection of dramas by Kazimierz Braun. It contains five plays in Polish and English recounting stories about people who did not agree to enslavement, to restraining human freedom in both spiritual and practical dimensions, including political considerations. "The Wind of Independence" presents the struggle for the liberation of the city of Tarnów from the unwanted rule of Austria in 1918, when Poland regained its independence after 123 years of being divided between Austria, Russia and Prussia. The author's family played a vital role in the independence movement in Tarnów. 

The play "Lanckorońska" tells the story of Karolina Lanckorońska’s opposition to totalitarian regimes—the Soviet’s and the Nazis’—during World War II. The heroine, a noted art historian and a Polish patriot of the highest ethical standards, became a soldier in the underground Polish Home Army and was incarcerated by both hostile invaders. 

"The Internees" and "The Boycott" are a testimony to the resistance of Poles against the introduction of martial law in 1981, a totalitarian action ostensibly designed to protect the country from a potential Soviet invasion, but actually having a purpose of destroying the anti-communist opposition and ending the peaceful revolution of the Solidarity movement. Both plays present a range of moral choices made by their protagonists, including heroes and cowards, patriots and traitors. 

Finally, "The Quarantine" depicts the resistance to the enslavement imposed on people in the times of the so-called global “pandemic” of the 2020s, that was nothing but a global power grab by enemies of humanity. While focusing on different periods of Polish history, "The Boycott" and "The Quarantine" portray moral dilemmas and difficult choices to be made by actors, faced with options of resisting or succumbing to economic and political challenges imposed on their careers by totalitarian government policies.

Kazimierz Braun in London, 2024

Kazimierz Braun is a director, writer and theater historian. He studied Polish Literature and Directing. He earned his doctorate at the University of Poznań, and his habilitation at the University of Wrocław; he also obtained a habilitation in directing at the State Drama School in Warsaw. He holds the title of full professor both in Poland and the United States. He directed over 150 theater productions in Poland—in theaters in Gdańsk, Kraków, Lublin, Łódź, Tarnów, Toruń, Warsaw—and in the USA, Canada, Germany, Ireland, and other countries. He was the Artistic Director and General Manager of the City Theater of J. Osterwa in Lublin and the Contemporary Theater in Wrocław. He lectured at the universities in Poland and the United States, including the University of Wrocław, Drama School Kraków-Wrocław, University of California, City University of New York, New York University, University at Buffalo. He is the author of over 70 books on the history and practice of theater, as well as novels, poetry and dramas published in several languages. His dramas were produced in Poland, the USA, Canada. and Ireland. He has received a number of artistic, literary and scholarly awards, including awards from the Guggenheim Foundation, Fulbright Foundation, Turzański Foundation, Japanese Foundation, and the London Prize for Literature.


TABLE OF CONTENTS

SPIS TREŚCI

Teatr niezgody—————————————— 1

Wiatr Niepodległości ———————————— 3

Postscriptum: Powrót do domu ———————  25

Lanckorońska —————————————— 27

Internowani. Zły Sen ——————————— 55

Bojkot. Dramat w dwóch częściach —————  85 

Kwarantanna —————————————— 125

Nota o autorze —————————————  305

CONTENTS

Theater of Discord ————————————— 151

Wind of Independence ———————————   153

Postscript: Returning Home —————————  176

Lanckorońska ———— ——————————  179

Internees. A Nightmare———————————  208

Boycott. Drama in Two Parts ————————   239

Quarantine ————————————————279

Note About the Author ——————————— 305

Thursday, August 15, 2024

Deszczowy Chleb - Polish version of 40 poems from The Rainy Bread published in August 2024


In preparation of Maja Trochimczyk's travel to Poland and sharing the poetry there at two readings, on 16 September 2024 at Dom Ksiegarza in Warsaw, and on 20 September 2024 at Sybir Museum in Bialystok, Moonrise Press issued a Polish translation and revision of 40 poems from The Rainy Bread of 2021; in two format, paperback and E-book in PDF Format (the latter available only on lulu.com). 

Ebook. ISBN 978-1-945938-78-8, PDF, 68 pages, $10.00

https://www.lulu.com/shop/maja-trochimczyk-and-maja-trochimczyk/deszczowy-chleb-wiersze-z-wygnania/ebook/product-e78y656.html?page=1&pageSize=4

Paperback. ISBN 978-1-945938-77-1, 68 pages, 40 poems, $20.00

https://www.lulu.com/shop/maja-trochimczyk-and-maja-trochimczyk/deszczowy-chleb-wiersze-z-wygnania/paperback/product-652gq9y.html?page=1&pageSize=4



 ABOUT THIS BOOK

The book contains Polish translations of 40 poems from Maja Trochimczyk's volume of poetry, "The Rainy Bread: More Poems from Exile." Published in 2021 (first edition in 2016), the collection of 63 poems describes the tragic experiences of Poles during and after WWII, especially the author's family, originating from the country's eastern Borderlands (Baranowicze and the surrounding areas). Some poems capture the trauma, resilience, ordeals, and miraculous survival stories of the author’s immediate family. Their experiences of displacement, hunger, cold, and poverty during the war are typical of Polish civilians. They were killed, deported, imprisoned, or starved after the invasion of Poland by the Soviet Union on September 17, 1939.. They were deported to Siberia, the Arctic Circle, or Kazakhstan. Some left the Soviet Union with the Second Corps of the Polish Army under the command of General Władysław Anders. Others were transported to refugee camps in India or Africa; and ended up in Argentina, Canada, Australia or the U.S. The focus is not the tragedy itself, but the power of will, the resilience, and the strength of character that safeguarded their survival. The English-language book is an expanded edition of "The Rainy Bread: Poems from Exile" (30 poems, 2016) and a companion to "Slicing the Bread" (25 poems, 2014).


ABOUT THE POET


MAJA TROCHIMCZYK

Maja Trochimczyk, Ph.D., is a Polish-Canadian-American poet, music historian, photographer, and non-profit director born in Poland and living in California (www.trochimczyk.net). She published six collections of poems: Rose Always and Miriam’s Iris (Moonrise Press, 2008), Slicing the Bread (Finishing Line Press, 2014), The Rainy Bread, Into Light (Moonrise Press, 2016), and Bright Skies (Moonrise Press 2022). The revised and expanded version of The Rainy Bread. More Poems from Exile came out in 2021. She also edited five anthologies of poetry. Chopin with Cherries (2010) and Meditations on Divine Names (2012) offer “rich poetic material selected and collected with great sensitivity” (Prof. Grażyna Kozaczka, Polish Review, 2014). In 2018 Dr. Trochimczyk co-edited with Kathi Stafford an anthology of Westside Women Writers, Grateful Conversations, with work by nine female California poets, members of her writing group.  In 2020, Dr. Trochimczyk co-edited with Marlene Hitt the tenth anniversary anthology for Village Poets of Sunland-Tujunga, celebrating the featured poets and organizers of their monthly readings series: We Are Here: Village Poets Anthology.  In 2022, she edited an anthology of "positive poetry' with work by 12 poets, Crystal Fire. Poems of Joy and Wisdom.

Hundreds of Trochimczyk’s articles and poems appeared in English, Polish, as well as in German, French, Chinese, Spanish and Serbian translations. The venues for her poetry have included: The Loch Raven Review, Epiphany Magazine, Lily Review, Ekphrasis Journal, Quill and Parchment, Magnapoets, SGVGPQ, Pirene's Fountain, Cosmopolitan Review, The Scream Online, The Original Van Gogh’s Ear Anthology, Clockwise Cat, Lummox Journal, Phantom Seed, Colorado Boulevard, Spectrum, Poezja Dzisiaj, OccuPoetry, as well as many anthologies issued by Poets on Site, Silver Birch Press, Pisarze.pl, Bezkres and others.

As a music historian, Trochimczyk published eight books on music and Polish Culture: After Chopin: Essays on Music (2000), The Music of Louis Andriessen (2002), Polish Dance in Southern California (2007); A Romantic Century in Polish Music (2009); Frederic Chopin: A Research and Information Guide (co-authored with William Smialek, Routledge, 2015), Lutoslawski: Music and Legacy (co-authored with Stanislaw Latek, 2014); Gorecki in Context: Essays on Music (2017); and Album 50-lecia Klubu Kultury im. Heleny Modrzejewskiej (2021). She authored  27 book chapters for edited volumes on such topics as: Chopin (Indiana UP), Lutoslawski (Oxford UP), women composers, Polish music after 1945, emigres, ecomusicology, and more. She published English translation of two essays by Andrzej Wendland on Penderecki and Gorecki in 2020. For the 50th anniversary of Helena Modjeska Art and Culture Club in 2021, she co-edited a 380+ page Album 50-lecia Klubu Kultury im. Heleny Modrzejewskiej, with Elzbieta Kanski and Elzbieta Trybus. Dr. Trochimczyk also wrote 28 peer-reviewed articles in English and Polish for professional journals: Musical Quarterly, Computer Music Journal, Leonardo, Studia Chopinowskie, American Music, the Polish Review, and Muzyka. She presented papers at over 90 national and international conferences in Poland, France, Germany, Hungary, U.K., Canada, the U.S. and Australia. 

The Sixth Poet Laureate of Sunland-Tujunga (2010-12), she currently serves as President of the California State Poetry Society, President of Helena Modjeska Art and Culture Club, and President of Moonrise Press. She taught music history at McGill University and at USC. Dr. Trochimczyk received awards and fellowships from ACLS, SSHRCC, USC, McGill University, MPE Fraternity, Polish American Historical Association (Swastek Prize, 2007, Distinguished Service Award, 2014 and Creative Arts Prize, 2016), City and County of Los Angeles, and Poland’s Ministry of Culture (Medal for the Promotion of Polish Culture, 2012). She was a member of various poetry groups, such as Westside Women Writers, Poets on Site, and Village Poets. In 1998-2009 she served as Scholarship Chair for Polish University Club of Los Angeles and in 2009-2020 as Secretary and Communications Director of the Polish American Historical Association.



SAMPLE POEMS IN POLISH AND ENGLISH

≡ PIEŚŃ O KLUCZU ≡

       ~ dla Tomasza Kuby Kozłowskiego i jego Mamy


To jest klucz.

To jest żelazny klucz.

To jest duży, żelazny klucz.

To stary, duży, żelazny klucz.

Klucz, który moja Mama nosiła w torebce.

To stary, duży, kuty klucz mojej Mamy.

Nosiła go codziennie w torebce.


To jest pole.

To jest płaskie pole.

To płaskie, puste pole.

To płaskie, puste pole na Ukrainie.

Tu była kiedyś Polska. Płaskie, puste pole

gdzie kiedyś stał dom mojej Mamy, otoczony

wysokim drewnianym płotem z wysoką drewnianą bramą,

z solidnym, dużym zamkiem z kutego żelaza.

Powiedzieli jej: pakuj się!

Powiedzieli jej: won stąd!

Powiedzieli jej: wynoś się!

To nasza ziemia.


Nie ma już domu.

Nie ma już płotu.

Nie ma już bramy.

To jest klucz.


≡ A SONG FOR A KEY ≡

                 ~ for Tomasz Kuba Kozłowski and his Mother


This is a key.

This is an iron key.

This is a large, iron key.

This is an old, large, iron key.

A key my mother carried in her purse.


This is an old, large, wrought-iron key my mother 

carried in her purse every single day.


This is a field.

This is a flat field.

This is a flat, empty field.

This is a flat, empty field in the Ukraine

that used to be Poland. A flat, empty field 

where my mother’s house once stood, surrounded 

by a tall wooden fence with a tall wooden gate, 

and a solid, large, wrought-iron lock.


They told her: pack!

They told her: go!

They told her: out!

You do not belong.

This is our land.


There is not house.

There is no fence.

There is no gate.


This is the key.




≡ NAJSŁYNNIEJSZY GŁOS ≡

  ~ dla Hanki Ordonówny, gwiazdy z sercem (1902-1950)


Miłość Ci wszystko wybaczy. . .

Refren najsłynniejszej polskiej piosenki

odbija się echem w pamięci, gdy słucha

historii sierot wojennych – dzieci mówią

o ranach i wszach. Te wygłodzone szkielety

znajdują czas na zabawę. Proszą ją, by śpiewała.


Byla kiedyś Ordonką, w innej konstelacji, 

na innej osi czasu, może innej planecie –

w samo jej istnienie trudno tu uwierzyć,

w pociągu z sierotami, w drodze na wygnanie,

do obozu w Indiach – w szorstkim mundurze 

zamiast jedwabi, sznurów pereł i strusich piór.

Szampan dla największej gwiazdy! Bale i rewie

dla ukochanego głosu. Idealna miłość! Co za czar!


Znalazła schronienie w Bejrucie, w Paryżu Lewantu. 

Nie było już Polski, nie było gdzie wracać. 

Tam wjechały czołgi Stalina, zostały na 45 lat. 

Nie miała ochoty na jedwabie, pióra, perły – 

z sierotami przeżyła odyseję – 

pojechała w świat, by stać się kimś innym – 

te biedne zguby, polskie dzieci śmiały się 

z zachwytem, gdy śpiewała dla nich...


Miłość ci wszystko wybaczy… 

bo miłość, mój miły, to ja!


≡ THE GREATEST SONG ≡

       ~ for Hanka Ordonówna, a humanitarian star (1902-1950)


Miłość Ci wszystko wybaczy… Love will forgive you everything. . .


The refrain of Poland’s most famous song

echoes through her memory, as she listens 

to the stories of war orphans – covered in

wounds and lice, starved to skeletons, yet

finding time to play. They asked her to sing. 


Ordonka, she used to be in another life, 

on a different timeline, another planet, perhaps – 

its very existence impossible to believe in, here 

on the train with orphans, on the way to a refugee

camp in India – in a coarse military uniform instead 

of silks, pearl strings, shawls, and ostrich feathers.

Champagne for the greatest star! Balls and revues

for the beloved singer of perfect Love! Such charm! 


She found refuge in Beirut, her final stop, Paris 

of the Levant. There was no Poland to return to, after 

Stalin’s tanks rolled in to stay for 45 years. She did not 

make it. She did not feel like wearing silks, feathers, 

pearls – after the orphans that survived their odyssey 

went somewhere else to become someone else – not 

her lost Polish children, smiling with delight as she sang.


Miłość ci wszystko wybaczy… bo miłość, moj miły, to ja!

Love will forgive you everything. . . for Love, my dear, I’m Love!




≡ SZAMBALA ≡


Czy dzieci, które zmarły po drodze na Syberię

dostaną ozdobione klejnotami parasole 

w tybetańskim niebie? Czy Syberia jest za daleko od Szambali,

by znękane sieroty mogły wejść w jej złote bramy, 

lśniące tysiącami ozdób, skarbami z galaktyk,

dziesięcioma miliardami słońc? Czy były zbyt chore i brudne, 

aby pójść po błyszczącej ścieżce, cudzie dla Buddy — 

po drodze pachnącej olejkiem sandałowym, ozdobionej 

nieprzeliczonym mnóstwem najpiękniejszych drzew,

co zakwitły kryształem, roziskrzyły się biżuterią z nieba. 

Podobno, gdy narodził się Budda, Ziemia poruszyła się

i zatrzęsła aż sześć razy. Tak powiedział mędrzec.


Czy Ziemia poruszy się chociaż raz na cześć 

polskich dzieci? Tych, co zwijały się z bólu i jęczały

aż do błogosławionej ulgi odejścia? Tych, co oddały 

swój ostatni oddech jak kryształowy znak zapytania 

w zamarzniętym powietrzu Syberii? Czy tych 

w konwulsjach po nagłej serii strzałów,

kuli prosto w serce?  Czy tych, co zamarzły na śmierć 

w konwoju? Zemdlały na podłodze wagonu? 


Mówią, że sowy zamilkły, kiedy urodził się 

wielki Budda Siakjamuni. Słodko brzmiąca muzyka 

popłynęła przez niezliczone kwitnące sady,

najszlachetniejszy blask tęczowych drzew.


Czy obolałe, chore dzieci usłyszały pohukiwanie 

sowy, kiedy zmarły? Och, głodne dzieci gułagów, 

zagubione dzieci Syberii – czy poruszyła się Ziemia? 

Czy czekały na was klejnoty wśród niebiańskich 

parasoli, czy tylko szare i okrutne sowy?


≡ SHAMBHALA ≡


Do children who die on the way

carry bejeweled parasols in a Tibetan heaven?

Is Siberia too far from Shambhala 

for the bedraggled orphans to enter through

its golden doorways, glistening with ten thousand 

ornaments, treasures from a galaxy with ten billion suns?


Are they too sick and dirty to walk on a shining path 

made for the birth of the Buddha — scented 

with sandalwood, adorned with an unsurpassed 

multitude of rarest gems.

When the Buddha was born, the Earth 

moved six ways, the wise man said.


Did it move at least once to mark your passage?

When you rolled in pain and moaned 

until the blessed moment of relief?

Gave up your last breath like a crystal question mark 

in a frozen Siberian air? Convulsed 

in a sudden burst of gunfire, a bullet straight 

through your heart? Froze to death in a convoy?

Fainted on the floor of a railroad car?


There was no hooting of owls, they say,

when the great Shakyamuni Buddha 

was born. Sweet sounding music floated

through a myriad of flowering orchards, 

filled with a rainbow of gemstone trees.


Did you hear an owl hoot when you died? 

Oh, hungry child of gulags, the lost child 

of Siberia — Did the Earth move? 

Were there parasols, or owls?






Wednesday, June 12, 2024

Moonrise Press in Warsaw - ZPPNO, PIASA, "The Rainy Bread," and "Celebrating Modjeska in California," May-June 2024

Dr. Maja Trochimczyk at the World Book Fair. Photo by Dr. Jerzy Barankiewicz.
 
In May and June 2024, I had a pleasure to travel to my hometown of Warsaw, Poland, to participate in a series of cultural events, starting from the presentation of Moonrise Press books at the stand managed by Union of Polish Writers Abroad from London (Zwiazek Pisarzy Polskich na Obczyznie) at the International Book Fair in Warsaw's Palace of Culture, on 24-26 May 2024. I could not arrive at the beginning but I made it for the last day and brought for display some Moonrise Press books, including the anthology Chopin with Cherries, three of my own poetry volumes Into Light, Bright Skies, and The Rainy Bread, as well as nonfiction Celebrating Modjeska in California: A History of Helena Modjeska Art and Culture Club. The stand no. 149 was inside the Palace of Culture and Science, and located next to a bookseller of maps - facsimiles of old Polish maps, as well as the Polish Music Publishers PWM, where I found some interesting new books for my future reading. A report from the Book Fair was published in London and reprinted on ZPPNO website. ZPPNO website.

Maja Trochimczyk presents "Celebrating Modjeska" at the Internationl Book Fair in Warsaw.

I recently joined the ZPPNO (actually this spring), so it was a pleasure to meet Regina Wasiak-Taylor, the president of the ZPPNO, as well as some of the organization's notable members, both during the book fair and the subsequent reading.  In getting ready for my travel to Poland, I was not aware of the fact that the duty of participating writers is to advertise their presence on social media and in emails to their family and friends, and readers, if there are any, prior to the event. Apparently, some writers were quite successful in bringing the audience, especially those with major publication contracts in Poland. As a scholarly English-language writer, just starting to be published as a poet in Poland, I do not have a large following. But I had an opportunity to chat with some guests to the book stand, including Dr. Jerzy Barankiewicz of San Diego, as well as discuss the books with passersby and other poets present.


All books available at the stand ZPPNO were to be sold for 15 Polish zloty, or less than 5$ so it is actually quite good that I sold only two. Enough for coffee and a sandwich afterwards.  Thanks ZPPNO for the invitation and the opportunity! By next year, I'll have more Polish-language books. . . 


Decorated with a beautiful and colorful banner, the stand of the Union of Polish Writers Abroad could not have been present at Warsaw's Book fairs in the 50 years from the WWII to the fall of PRL in 1989.  It consisted of those that the regime considered "Traitors" of the "socialist" nation. The ZPPNO is one of the many organizations established after WWII in London by refugees and exiles who could not return back home - as members of Polish Armed Forces, or the Home Army, as "elements of hostile class" of the pre-war intelligentsia with roots in nobility or affluent bourgeoisie. 

One of the floats from the Parade of the Mermaid in front of the Palace of Culture, June 8, 2024.

The peasant-worker-paradise, the Polish People's Republic, was ruled from Moscow and the symbol of that dominance was the Palace of Culture and Science, built in the early 1950s over a large block of ruined downtown Warsaw, as a stamp of Soviet Stalinist dominion. A couple of days after the Book Fair, the grounds became the storage for floats used for a Parade of Mermaids - representing various regions of Warsaw with whimsical design of the city's old Logo - a mermaid with a sword raised up to defend the city (see the photo above). 


In the afternoon of Sunday, May 26, 2024, the poets and writers from ZPPNO in London moved to the Booksellers Club, Klub Ksiegarza, in Warsaw's historic (and rebuilt after its total destruction during WWII) Old Town Square for a lively reading and reception. The reading hosted by Regina Wasiak-Taylor and Zbigniew Zbikowski of the Writers' Union, presented poetry and other writings by emigre writers from the U.K (Renata Cygan, Grazyna Maxwell, Elzbieta Smolenska, Krystyna Stevenson), Canada (Waldemar Kontowicz), Australia (Bogumila Zongollowicz) and the U.S. (M.T.) coupled with texts by representatives of the local branch of the Polish Writers' Union, Zwiazek Literatow. (Anna Nasilowska listed on the poster above could not attend.)  Hosted by Jan Rodzen, the director of the Booksellers Club, the event gathered about 40 listeners enjoying the brief self-introductions and readings of the assembled poets and writers. The work of the host writers and of the foreign guests was quite impressive and the reception lovely, so it was an enjoyable afternoon. 


I read two poems from  The Rainy Bread: More Poems from Exile collection, and the reading was received very well. I also sold copies of the translations of 24 poems from the Rainy Bread, that I prepared specifically for this event. net revenue: 45 zloty, enough for dinner :). Listeners came up to me to say that the poems moved them to tears, especially "Ciocia Tonia," describing a tragic fate of a sudden widow deported to Siberia. Some audience members thought that the key I held up while reading the second poem was the actual key discussed in my verse - but actually it was the key to my Warsaw rental apartment in the New Town district... Nonetheless, it played its role well, moving people with the feelings of regret and sorrow at the magnitude of losses experienced by Poles from Kresy, the country's Easter Borderland taken over by Soviets, and now converted into independent countries of Belarus and Ukraine. My family, mother, great aunts, my grandparents, my great grandma were among those displaced, but luckily not killed during WWII. The poems I read are reproduced below in English and Polish translations, I read them only in Polish.

≡ CIOCIA TONIA ≡

                  ~ dla Ciotecznej Babki, Antoniny Glińskiej

Tylko ta grusza wśród buraków, zboża.
Dojrzale gruszki – wszystko, co zostało
z domu, obejścia, sadu. Tam urodziła dzieci, 
doiła krowy, piekła chleb.

Tylko ta grusza – samotne memento 
stoi smutne w sierpniowym polu. 

Wszystko zburzyli, zaorali – kościól, wioskę, 
zagrodę sąsiadów, gdzie niegdyś rżały konie.
Wszystko zaorali – jej ogród zielny, i sad,
i kwietnik, gdzie słońce całowalo śliczny kosmos 
z delikatną koronką liści – marzenie, nie kwiat.
Dawno, tak dawno temu podziwiała 
tę wątłą urodę, ten czar.

Nic już nie boli, tylko trochę dziwi –
całe życie zniknęło – tylko jedno drzewo
jeszcze jest. Nie ma śladu po rodzinnej 
wiosce. Na nowych mapach brak nazw.
Najgorsze: gdy przybiegli sąsiedzi 
wołając z daleka: twój mąż nie żyje, 
zastrzelili go na środku drogi. 
Nie czas na żal, chowa łzy do kieszeni.
Rozkaz przyszedł natychmiast – 
Syberia. Dzień na zbieranie rzeczy. 

Długa jazda pociągiem w nieznane, 
do obcego miasta nad wielką, zimną rzeką, 
nie taką z sennych marzeń. Mówili: 
spakuj się mądrze, najcieplejsze ubrania, buty, 
poduszki, tyle jedzenia, ile udźwigniesz. Sól.
Tam gdzie jedziesz, nie ma nic 

–prócz zamarzniętego oddechu,
koszmaru zimna.

Tylko ta grusza 
na pustym ściernisku – 
tylko ta perła 
w złotym sadzie snów –

 

≡ CIOCIA TONIA ≡

                ~ for Great Aunt, Antonina Glińska neé Wasiuk


Only a pear tree
between fields of sugar beets and corn.

Ripe pears — that’s all left from the house,
barn and orchard. The farm where she raised
her sons, milked her cows, and baked her bread.

Only a pear tree. Alone memento
standing forlorn in an August field.

They ploughed it over— the village church and bus stops,
the neighbors’ corrals, where their horses used to neigh.
They ploughed it over — her garden of herbs
and cosmos, its fragile lace of leaves kissed
by sunlight, a dream of a flower —
she used to so love its effervescent beauty
in the past.

It is not painful now, just surprising,
her whole life gone, and only one tree left.
No trace of her ancestral village on the maps.

It was the worst to see her neighbors
running with news, her husband shot
in the middle of the dusty village road.

No time for grief, she saved her tears for later.
The orders came at once, a day to pack,


a long train ride to an unfamiliar city,
near a river she never longed to see.

They said, pack wisely —
take the warmest
clothes, boots, pillows.
Bring as much food
as you can carry.
Where you are going,
there is nothing,
except for freezing breath
and bitter cold.

Only a pear tree
in an empty field of stubble.
Only a pearl tree
in her golden field of dreams.


Warsaw's Old Town Square - Rynek Starego Miasta



≡ PIEŚŃ O KLUCZU ≡

                                          ~ dla Tomasza Kuby Kozłowskiego i jego Mamy


To jest klucz.
To jest żelazny klucz.
To jest duży, żelazny klucz.
To stary, duży, żelazny klucz.
Klucz, który moja Mama nosiła w torebce.
To stary, duży, kuty klucz mojej Mamy.
Nosiła go codziennie w torebce.

To jest pole.
To jest płaskie pole.
To płaskie, puste pole.
To płaskie, puste pole na Ukrainie.
Tu była kiedyś Polska. Płaskie, puste pole
gdzie kiedyś stał dom mojej Mamy, otoczony
wysokim drewnianym płotem z wysoką drewnianą bramą,
z solidnym, dużym zamkiem z kutego żelaza.
Powiedzieli jej: pakuj się!
Powiedzieli jej: won stąd!
Powiedzieli jej: wynoś się!
To nasza ziemia.

Nie ma już domu.
Nie ma już płotu.
Nie ma już bramy.
To jest klucz.



≡ A SONG FOR A KEY ≡

                 ~ for Tomasz Kuba Kozlowski and his Mother

This is a key.
This is an iron key.
This is a large, iron key.
This is an old, large, iron key.
A key my mother carried in her purse.

This is an old, large, wrought-iron key my mother 
carried in her purse every single day.

This is a field.
This is a flat field.
This is a flat, empty field.
This is a flat, empty field in the Ukraine
that used to be Poland. A flat, empty field 
where my mother’s house once stood, surrounded 
by a tall wooden fence with a tall wooden gate, 
and a solid, large, wrought-iron lock.

They told her: pack!
They told her: go!
They told her: out!
You do not belong.
This is our land.

There is not house.
There is no fence.
There is no gate.

This is the key.




Nearly two weeks later, on Friday June 7, 2024, the 9th World Congress of Polish Studies was held at the Palace of Culture's Collegium Civitas. The site deserves an introduction. Instead of rebuilding much needed homes and apartment blocks in the center of war-devastated Warsaw, the Soviet overlords constructed a stamp of their power, in the architectural style imported directly from Moscow, with monumental stone walls, huge cement sculptures of historical figures (Mickiewicz and Copernicus at the entrance) and workers, marble floors, heavy crystal chandeliers, wood paneling, and the like. Monumental and foreboding, the Palace of Culture reminded the residents of who really ruled in the Polish People's Republic. 



The imprint of the name Josef Stalin Palace of Culture and Science was visible on the stone walls of the entrance for years after the removal of actual letters after the end of the Stalinist era. (The Silesian city of Katowice also changed its name back from Stalinogrod). Shaped like an oriental temple or a monumental stamp with the tower serving as its handle, and the various buildings at its feet as the "stamp" of power, the Palace was designed to be the tallest building in Warsaw - taller construction was simply not allowed. Therefore, it dominated the landscape as a symbol of foreign oppression. Fittingly, the Palace was surrounded by Plac Defilad - the Parade Square where May 1 Parades and military parades were supposed to be held.  I have been particularly interested in this building for years, maybe because my childhood was spent in a small wooden house with a garden, in a subdivision constructed for engineers and workers of the Palace of Culture and later designated as Osiedle Przyjazn for faculty and students of Warsaw Polytechnic University where my father worked... My parents lived there from 1956 to 1970.

Finally, more than 30 years after the fall of the Polish People's Republic in 1989 (known as the fall of communism, but actually it was the end of the "socialist system" - full communism was never reached!) the empty space around the palace is being filled out with new construction. There are taller office towers nearby, and the meaning of the Palace of Culture as a sign of "Soviet dominance" is long gone. The Palace now houses Collegium Civitas, a new college, along with two theaters, cinemas and a museum or two... The site also presents frequent events such as the International Book Fair I attended or the June Home Fair of home furnishing and designs...  

This "palace" looks a bit like a sci-fi fortress...

By now, the Palace of Culture became one of the city's landmarks, along with the Mermaid.... Its image may be even found on colorful socks! Made in China, of course... Personally, I have fond memories of the Palace since this is where I took my intensive English course during a break from university - 5 days a week, four hours a day of classes, and plentiful homework for 10 months. The course was all the more memorable that the students heard current BBC World Service news about the Martial Law, strikes and arrests during the 1980-81 winter. Our brave instructor got up daily at 5 am to record the news for us so we could learn what was going on while studying English. Remarkably, in a 20-student class, nobody denounced him, that's a true miracle of Solidarity! We were all grateful to receive a daily dose of current news in this difficult time... Now Collegium Civitas occupies those floors...


The 9th World Congress of Polish Studies organized by Polish Institute of Arts and Sciences in America took place from June 7 to 9, 2024, with my paper based on a chapter from my book, Celebrating Modjeska in California, scheduled at session no. 53 on Sunday, 9 June 2024, the very last session in the program. "My" session featured also a study of Jewish cabaret musicians and music - and its transition from Poland/Polish to Israel/Yiddish or Hebrew (by Prof. Marcos Silber, University of Haifa in Israel), and a reception study of Kalina Jedrusik as a sex symbol maligned in prudish, socialist Poland with false rumors and ad-personam attacks (Prof. Jozef Figa, Southern New Hampshire University).  The session brought together topics of diverse "Artists, Actors and Singers" - and ended with a discussion that highlighted shared threads between the three presentations. 


My paper was entitled "Polish Emigres in California: Leonidas Dudarew-Ossetynski, the Modjeska Players, and the Modjeska Club" and was an overview of Ossetynski's theatrical career including his education in Vilnius, engagement in the Polish Theater of Artists in New York (1942-45) after coming to the U.S., the creation of the Modjeska Players with Lidia Prochnicka in 1954 and the new group's mission to promote "real theater" in the era of film and TV, especially the tours of the U.S. and Canada with the Polish program From Fredro to the Uprising (1955-58), as well as the various theatrical achievements of Ossetynski in the Modjeska Club (1973-1978): the first pre-premiere presentation of Mrozek's Emigrants, a workshop with Jerzy Grotowski, performances by Eskulap and Esperanto Theaters. The last section of the presentation was dedicated to the achievements of Ossetynski Actors Lab (tours of Poland in 1977, 1986, and introduction of Witkacy to the U.S. in 1980-83, including The Madman and the Nun and Matka that won 10 prizes in 1983 and converted many theatre specialist into Witkacy aficionados. At the end, I mentioned briefly my efforts to restore Dudarew-Ossetynski's good name: Poland's Cavalier Cross of the Order of Merit (2013), and restoration of his title of Founder and Honorary President of the Helena Modjeska Art & Culture Club, which took place at the General Meeting of the Club on 24 February 2024. 


Cover of inaugural program of The Modjeska Players of 1954, presenting Goldoni's The Mistress of the Inn starring Lidia Prochnicka with Ossetynski, as a fundraiser for Szukalski's planned Modjeska Monument. The Modjeska Players' logo was designed by Szukalski as well.

Cover of Oct. 1957 "White Eagle/ Bialy Orzel" with the Modjeska Players caricature promoting Polish literature, she holds the book with the title of their program, the Pegasus travels across North America...LDO Collection 177, Polish Museum of America in Chicago. 

Scholars from a "Migrant Theater" study group based at the University of Wroclaw were very interested in this previously unknown information about Ossetynski and Helena Modjeska reception in the U.S. This paper was for them a veritable discovery of theatrical groups and projects that they never heard of. 
They received a copy of the book after the event in order to review the content and add Ossetynski's achievements to their databases of what they call "migrant theater" and what we in the U.S. call "emigre theater" - the word "migrant" having derogatory connotations of transients living in tents without access to water and basic amenities, certainly without any means to engage in the creation of theater. 




Ours was one of five sessions dedicated to theater, music and performing arts during the 9th World Congress of Polish Studies  - two sessions were exclusively focused on theater (10 scholars), two on music (five scholars) and our panel had one paper on theater (mine) and two on popular music.  Overall, the PIASA World Congress included 176 papers/presentations in 53 sessions and 2 keynote addresses, plus an awards ceremony (if my accounting is correct). Of these papers/presentations, 7 were on music, 11 on theater, 17 about Ukrainian-Belorussian topics, and 33 about Polish-Jewish topics. The majority of sessions were dedicated to Polish and Polonian history and sociology, esp. immigration studies (51 presentations), literature and the arts (42 presentations including theater and music listed separately above), and politics and economy (31 presentations). It was a cross-section of current interests of scholars specializing in Polish studies, primarily in the U.S. and Poland, with some participants from Australia, Spain, France, Mexico, and the U.K.  A very informative and educational experience. . . 

Session Chair Dr. Dorota Kolodziejczyk of Wroclaw U, presenters Prof. Marcos Silber of the U. of Haifa in Israel, Dr. Maja Trochimczyk, and Dr. Jozef Figa of Southern New Hampshire University after the last session of PIASA's World Congress. 

The session on classical music focused on little known emigre composers, brothers Wiktor Labunski and Feliks Roderyk Labunski (Prof. Slawomir Dobrzanski), a New Yorker Karol Rathaus (pianist Aleksandra Halat), and a Californian Polish-Swiss-Canadian-American Roman Ryterband (pianist Anna Kijanowska). These presentations were all the more enjoyable that they included music excerpts. . . 

Prof. Dobrzanski shared some YouTube recordings of the Labunski brothers, here are samples:
1. Rustic Dance by Wiktor Labunski: https://www.youtube.com/watch?v=PQpXSqeOhz0
2. "Fast and Spirited" from Patterns by Wiktor Labunski: https://www.youtube.com/watch?v=CmZtyYGshjk
3. Three excerpts from Seven Miniatures by Feliks Labunski: https://www.youtube.com/watch?v=njNwNcWjEqM
4. Feliks Roderyk Labunski;s Threnody (Homage to Paderewski): https://www.youtube.com/watch?v=7JhtbLXl02c
5. Feliks Roderyk Labunski's Miniatury: IV Toccatina: https://www.youtube.com/watch?v=bfii_L--8PM

Dr. Aleksandra Halat shared recordings of her Karol Rathaus Ensemble dedicated to recording and promoting the composer's music, I found the following links on YouTube:
1. Karol Rathaus, Trio op. 53: https://www.youtube.com/watch?v=CmZtyYGshjk
2. Karol Rathaus, Trio Serenade op. 69: https://www.youtube.com/watch?v=7M1xYVZ2d4U
3. Karol Rathaus Ensemble at Queens College (two hours): https://www.youtube.com/watch?v=QSCGbiFTLk0

Ann Kijanowska sent me the following links to her YouTube recordings:
2. Woś- Sonata- CD LUSH Romeo Records  https://www.youtube.com/watch?v=jIdTBmy_f3k
4. Ryterband- The Journey DUX https://www.youtube.com/watch?v=O66IorUvJBI

Maja Trochimczyk, Anna Kijanowska, Slawomir Dobrzanski, and Aleksandra Halat after the session, with a motto of Roman Ryterband on the screen. 

I was pleased to connect with colleagues from my ten years of service on the board of the Polish American Historical Association (2010-2020), especially Dr. Ewa Barczyk, who published Footprints of Polonia: Polish Historical Sites Across North America (2022) and during her discussion of this book graciously gave credit for my role as California editor. She referred especially to the monument of Pola Negri in Los Angeles at the Polish church on Adams Blvd.  That was a nice reminder of the many hats I have worn over the 30 years of living as an emigre in North America... 

During an intermission in Peter Grimes opera by Benjamin Britten, with L to R: Prof. Dorota Praszalowicz of Jagiellonian University, Dr. Ewa Barczyk, Prof. Neal Pease and Maja Trochimczyk, June 7, 2024, National Opera in Warsaw.

Very impressive building, National Opera in Warsaw, in te wing on the right -National Theater.