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Our admiration of Iwaszkiewicz

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After martial law
Julia Hartwig Poet
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Z Iwaszkiewiczem sprawa skomplikowana. Jak zawsze z takim człowiekiem, bo nawet to widać w jego dziennikach, że... że zawsze coś tam się działo troszeczkę jak gdyby przeciw czy za, a z drugiej strony z takiej... takiej potrzeby jak gdyby uświetnienia swojego życia i upiększenia go tym, co... co jest mu bliskie. Tu myślę o wyjazdach do Włoch takich. Więc na początku był prezesem, więc to nie było łatwe prezesowanie tej grupie, która była przez... przez rząd właściwie – już to było w ZLP jeszcze – która mimo wszystko była przez rząd źle widziana, ponieważ tam jeszcze nie do tego stopnia jak potem, jednak pojawiały się głosy antyrządowe, antypartyjne. Także – niech sobie uprzytomnię – kiedy upłynął stan wojenny ta grupa pisarzy, która nie poparła stanu wojennego i była odosobniona i niezorganizowana, chociaż myśmy... ja byłam w dawnym... w dawnym zarządzie i myśmy się spotykali tajnie u Jana Józefa Szczepańskiego, który przyjeżdżał z Krakowa i właściwie jakoś byliśmy zorganizowani w dalszym ciągu. Jednak ten nawyk organizowania się po ciemku w Polsce to powraca w bardzo wielu sytuacjach – w tej też powrócił. No, ale skończył się stan, no myśmy założyli wtedy nowy związek, który nazwaliśmy właśnie, jak już wspominałam, Stowarzyszeniem Pisarzy Polskich. No i tam już właściwie nie było mowy... właściwie Iwaszkiewicz chyba był jego członkiem, ale już wtedy był... Jan Józef Szczepański był prezesem. Było kilku wiceprezesów, między innymi ja byłam i przez 6 lat, jak to powiedzieć, ucierałam się z tym.

[Q] Ale to po stanie wojennym powstało czy...?

Po stanie wojennym.

[Q] To Iwaszkiewicz już nie żył wtedy.

Iwaszkiewicz... właśnie był już wtedy tylko Jan Józef Szczepański i... a, no i właśnie ten... ten zarząd, w którego skład najpierw ja wchodziłam, a potem zostałam wiceprezesem i przez 6 lat myśmy sprawowali, chociaż właściwie powinno być krócej – kadencja – ale po prostu uważam, że to jest potrzebne żeby... żeby... Jak wróciliśmy po stanie wojennym i pokazaliśmy się w tym samym składzie w którym byliśmy w zarządzie przed... przed stanem wojennym, to właściwie muszę powiedzieć, że taki był entuzjazm, że jesteśmy znowu jakby na swoich śmieciach i ci sami ludzie są na szczęście z nami. Także mieliśmy różne momenty wzruszeń w tym, wtedy.

With Iwaszkiewicz, matters were complicated – they always are with someone like that – as you could tell from his journals that there was always something going on either for or against, while on the other hand there was a need to aggrandize his life and to embellish it with the things that mattered to him. I have in mind trips to Italy. Initially, he was chairman. It wasn't easy chairing this group which didn't have government approval, despite still being the ZLP [Związek Literatów Polskich (Polish Literary Union)] by then, because of the antigovernment, antiparty voices that were being raised although there were fewer at that stage than there were later on. So... let me remember... when martial law had been lifted, that group of writers which hadn't supported martial law and had been isolated and disorganized, even though we'd... I had been in the former... in the former committee and we had met clandestinely at the home of Jan Józef Szczepański who used to come from Kraków, and we were organised somehow. This habit of organising yourself in the dark in Poland returns in many various situations, and it did so here as well. Martial law was lifted and we then formed a new union which we called, as I've already mentioned, the Association of Polish Writers. There was no mention there... Iwaszkiewicz was a member but Jan Józef Szczepański was already the chairman. There were several vice-chairmen including myself, I rubbed along for six years.

[Q] But this was set up after martial law or...?

It was after martial law.

[Q] So Iwaszkiewicz was dead by then.

Iwaszkiewicz was... by then there was only Jan Józef Szczepański and this... this committee which first I was a member of and then I became its vice-chairman, and for six years we performed this role although really it should have been for a shorter period but I think this is necessary for... for... When we came back after martial law and the same people who'd been in the committee before martial law turned up, I have to say there was a lot of enthusiasm that we were back in our familiar surroundings and that fortunately, the same people were there with us. We had plenty of moving moments.

Born to a Polish father and a Russian mother, Julia Hartwig (1921-2017) was a Polish poet, essayist, translator and author of children's books. She studied at the University of Warsaw, the Catholic University in Lublin and the Jagiellonian University in Kraków. Czesław Miłosz called her 'the grande dame of Polish poetry'. Julia Hartwig was one of the few poets in Poland who made masterly use of poetic prose. She translated poems by Apollinaire, Rimbaud, Max Jacob, Cendrars and Supervielle, and published monographs on Apollinaire and Gerard de Nerval. She also translated from English, and published a large anthology of American poetry which she co-edited in 1992 with her late husband, the poet Artur Międzyrzecki.

Listeners: Andrzej Wolski

Film director and documentary maker, Andrzej Wolski has made around 40 films since 1982 for French television, the BBC, TVP and other TV networks. He specializes in portraits and in historical films. Films that he has directed or written the screenplay for include Kultura, which he co-directed with Agnieszka Holland, and KOR which presents the history of the Worker’s Defence Committee as told by its members. Andrzej Wolski has received many awards for his work, including the UNESCO Grand Prix at the Festival du Film d’Art.

Tags: ZLP, Związek Literatów Polskich, Polish Literary Union, Poland, Association of Polish Writers, Jarosław Iwaszkiewicz, Jan Józef Szczepański

Duration: 2 minutes, 45 seconds

Date story recorded: June 2010

Date story went live: 15 June 2011