Zuzanna Ginczanka

Source: Wikipedia, the free encyclopedia.
Zuzanna Ginczanka
secundo voto Roth; mother);[5]

Klara Sandberg (maternal grandmother)

Zuzanna Ginczanka, pen name Zuzanna Polina Gincburg (March 22, 1917 – 1944) was a Polish-Jewish poet of the interwar period. Although she published only a single collection of poetry in her lifetime, the book O centaurach (On Centaurs, 1936) created a sensation in Poland's literary circles.[6] She was arrested and executed in Kraków shortly before the end of World War II.[a]

Life

Zuzanna Ginczanka was born Zuzanna Polina Ginzburg ("Gincburg" in Polish phonetic respelling) on March 22, 1917

Warsaw University.[16] Her studies there soon ended, likely due to antisemitic incidents at the university.[17]

Early period

Ginczanka spoke both Russian, the choice of her emancipated parents, and the Polish of her friends, but did not know a word of Yiddish. Her longing to become a Polish poet caused her to choose the Polish language. According to Ginczanka's mother, she began composing verses at the age of 4, authoring a whole ballad at the age of 8.[18] She published her first poems while still at school, debuting in 1931 — at the age of 14 — with the poem "Uczta wakacyjna" (A Vacation Feast) published in the bimonthly high-school newspaper Echa Szkolne edited by Czesław Janczarski.[13] During this period of her life Ginczanka was also active as the author of song lyrics.[19] Her "mainstream" debut in a nationwide forum took place in August 1933 in the pages of the Kuryer Literacko-Naukowy, a Sunday supplement to the well-known Ilustrowany Kuryer Codzienny, with the publication of the 16-line poem entitled "Żyzność sierpniowa" (Fertility in the Month of August; or perhaps, with greater poetic licence: Fullness of August).[20] In the "Żyzność sierpniowa", the 16-year-old poet speaks with the voice of a mature woman looking wistfully back on the world of young people in the bloom of life, with its ripeness for love (hence the title), from the knowing and indulgent perspective of one whose life had come to fruition long before: the reader can be forgiven for thinking that the author of the verses before him is a person of advanced age. The last two lines, moreover, give voice to the catastrophic sonorities that will forever remain the signature trait of Ginczanka's poetry, often couched in sanguinary imagery as they are here:

W gałęziach gruszy zawisł wam księżyc, jak choinkowe złociste czółno, a w wargach malin milczą legendy o sercach, które skrwawiła północ — —[21]

      

The Moon stranded in pear-tree branches like a golden pirogue on a Christmas tree, on lips of raspberry the legends fall silent of the hearts bloodied by a midnight's decree — —

Encouraged by

left parenthesis), deals with parts of speech, describing each in a poetic way beginning with the adjective, then taking on the adverb, and ending with a philosophico-philological analysis of the personal pronoun
("I without you, you without me, amounts to nought"; line 30) —

a pokochać słowa tak łatwo: trzeba tylko wziąć je do ręki i obejrzeć jak burgund — pod światło[24]

      

for words freely do love incite: you just take them in hand and assay like burgundies — against the light

To this period belongs likewise Ginczanka's poem "Zdrada" (Betrayal; though the word can also mean "treason") composed sometime in 1934.

Warsaw period

Upon her arrival in

memoirs that Ginczanka was tied to this particular weekly magazine by the closest bonds of all the alliances that she maintained with the literary press.)[31] In testimony to her fame, she would sometimes be herself the subject of satirical poems and drawings published in literary periodicals, as for example in the 1937 Christmas issue of the Wiadomości Literackie where she is pictured in the collective cartoon representing the crème de la crème of Polish literature (next to Andrzej Nowicki and Janusz Minkiewicz, both holding Cupid's bows, though their arrows point discreetly away from her rather than towards).[32]

Impressions

Ginczanka was a woman possessed of striking, arresting beauty — "the beauty of a

i.e., ecclesiastical] sense".[45] This perception was shared by others; the poet Alicja Iwańska, whose literary journey largely coincided with Ginczanka's, remembers that despite the exquisite poetry she kept publishing in the best literary journals of the country and a personal beauty that had a dazzling effect on the onlookers, Ginczanka was often diffident, given to blushing, and stammered when put on the spot.[46]

Apartment building at corner of ulica Szpitalna and ulica Przeskok, in Warsaw, where Ginczanka resided in the late 1930s

War by those who knew Ginczanka personally, betraying an undying love and affection on his part carried over an entire lifetime.[48]

With the kind of celebrity she enjoyed, her apartment in the ulica Szpitalna in Warsaw (picture at right) was transformed into the premier literary salon of Poland on the occasions of her birthdays, name-days, etc. Eryk Lipiński reports that it is here that he saw the famed author Witold Gombrowicz in the flesh for the first time.[49]

Publication

Although she published only a single collection of poetry in her lifetime, the book O centaurach ("About the Centaurs"), it created a sensation.

feminist literary theory as it presents a vision of what has traditionally been considered male and female elements fused together in art and life.[51] To those who had not heard of Ginczanka before, the first exposure to her verses was often an awakening. The testimony of the poet Tadeusz Bocheński may be cited as a case in point, being the more valuable for having been expressed in a private letter and not intended for public consumption. Writing in February 1936 to the editor-in-chief of the literary monthly Kamena, Kazimierz Andrzej Jaworski, Bocheński excoriates the well-known poets Tuwim and Pawlikowska
while at the same time stating the following:

Jastrun inspires interest, [as does] Ginczanka, otherwise unknown to me: I feel instinctively that we are dealing here with a deeper nature, with poetry of a higher pedigree (rasowsza poezja); who is she? where is this lady coming from?[52]

One of the most distinguished modern Ukrainian poets and the one most hated by the Soviets,

sc. the remaining winter pages in the tear-off calendar on the wall, and the money to be saved) as she accuses the potentates of stalling for time in the hope that the cold spell will pass and they will not have to make good on their pledges.[55]

Radio dramas

Ginczanka wrote several

radio dramas for the Polish national broadcaster, Polskie Radjo. In July 1937 her programme Pod dachami Warszawy ("Under the Roofs of Warsaw"), authored jointly with Andrzej Nowicki, was broadcast.[56] In March 1938 Polish press carried an announcement of another radio drama authored by Ginczanka jointly with Nowicki, Sensacje amerykańskie ("American Sensations"), on the theme of Sherlock Holmes's journey to America, broadcast by Polskie Radjo.[57]

Intimations of war

As observed by attentive readers such as

famous poem
, it makes no difference here to take "the one less travelled by":

Na maju, rozstaju stoję u dróg rozdrożnych i sprzecznych, gdy obie te drogi twoje wiodą do spraw ostatecznych.[60]

      

I stand at the forking of May where road bifurcate at odds springs while both those roads per se lead to the ultimate things.

Invasion of Poland

The building in the ulica Jabłonowskich № 8a in Lviv where Ginczanka lived in 1939–1942 and where she was betrayed to the Nazis (in a 2011 photo; street today renamed after Rustaveli)

Ginczanka left Warsaw in June 1939 to spend her summer vacations (as was her habit every year) with her grandmother in Równe Wołyńskie. Here she was caught by the outbreak of the Second World War occasioned by the

Jabłonowskich № 8a (pictured to the right), where her co-residents included Karol Kuryluk, and the writers Władysław Bieńkowski [pl] (1906–1991), Marian Eile [pl] (1910–1984), and Franciszek Gil [pl] (1917–1960).[61]

During the years 1939–1942 Ginczanka lived in the city of Lviv in occupied Poland, working as an editor. She wrote several Soviet propaganda poems. She narrowly managed to avoid arrest by Ukrainian forces targeting Jewish population of the city, being shielded by her Nansen passport which, unfamiliar to them, impressed them sufficiently to spare her.[62]

Early in 1940, at the age of 22, she married in Lviv the Polish art historian Michał Weinzieher, her senior in age by 14 years (in some accounts, by 16 years), a move which she did not elect to explain to her friends.[62] While officially married to Weinzieher, she carried on a contemporaneous relationship with an artist Janusz Woźniakowski, a young Polish graphic designer extremely devoted to her poetry.[62] Woźniakowski helped her avoid detection after Nazi Germany's invasion of Lviv late in June 1941 and offered her general moral support.[63][64] In the report of the writer Franciszek Gil (1917–1960) who lived in the same apartment building with Ginczanka, she became for Woźniakowski the sole reason for his existence.[62] During this period Ginczanka was very active literarily, composing many new poems which, while unpublished, were read during small gatherings of friends. Most of the manuscripts with these works have perished, very few of them being recreated after the War from memory by those who had come to know them by heart.[62]

Non omnis moriar. My grand estate—
Tablecloth meadows, invincible wardrobe castles,
Acres of bedsheets, finely woven linens,
And dresses, colourful dresses—will survive me.
I leave no heirs.
So let your hands rummage through Jewish things,
You, Chomin’s wife from

Schupo
came,
Thought of me, in fact reminded them about me.
So let my friends break out holiday goblets,
Celebrate my wake and their wealth:
Kilims and tapestries, bowls, candlesticks.
Let them drink all night and at daybreak
Begin their search for gemstones and gold
In sofas, mattresses, blankets and rugs.
Oh how the work will burn in their hands!
Clumps of horsehair, bunches of sea hay,
Clouds of fresh down from pillows and quilts,
Glued on by my blood, will turn their arms into wings,
Transfigure the birds of prey into angels.

"Non omnis moriar"
translated by Nancy Kassell and Anita Safran[65]

With the invasion by Nazi Germany of the Eastern Borderlands of Poland on

Schupo made three separate raids on the building to arrest Ginczanka. They finally succeeded in capturing her.[66] While a narrow brush with death, this arrest did not result in Ginczanka's execution as on this occasion she escaped from captivity. Sources differ as to the exact circumstances in which this happened. According to the court documents from the post-War trial of Zofja Chomin, as reported in the press (see Aftermath below), she managed to escape from her captors after having been brought to the police station but before being securely imprisoned; according to other sources, her friends managed to redeem her from Nazi hands by bribery.[67] Whatever the details of this outcome, the incident led Ginczanka to the writing of her best known poem "Non omnis moriar"[68] (see insert
).

Kraków period

In September 1942 Michał Weinzieher, Ginczanka's husband, decided to leave Lviv to escape the internment in the

Felsztyn, 97 kilometres to the south-west of Lviv, where Ginczanka was presented as Woźniakowski's fiancée. The false papers on which Ginczanka and Weinzieher travelled were provided in both cases by Janusz Woźniakowski.[70]

In Kraków Ginczanka occupied a room next door to Weinzieher's, spending most of her time in bed. According to her hosts, Ginczanka used to say that "My creative juices flow from my laziness".

art historian Michał Walicki, Anna Rawicz, and others.[71] Because even on rare outings in the street Ginczanka was attracting the unwelcome attention of passers-by with her exotic beauty, she decided to change her hideaway by moving to the (then suburban) spa locality of Swoszowice on the southern outskirts of Kraków, where she joined up with a childhood friend of hers from Równe, Blumka Fradis, who was herself at the time hiding there from the Nazis.[72]

At the beginning of 1944, apparently by pure accident, Janusz Woźniakowski was arrested in a mass łapanka or random round-up of Polish citizens in the street.[72] The laundry receipt found on his person indicated the address of Ginczanka's old hideout, no longer occupied by her but a place where Woźniakowski continued to live with Weinzieher. During a search of the premises, which a bloodied Woźniakowski was made to witness, Ginczanka's husband, Michał Weinzieher, was additionally arrested.[72] On 6 April 1944 an announcement issued by the "Summary Tribunal of the Security Police" (Standgericht der Sicherheitspolizei) appeared pasted on the walls of Kraków listing 112 people sentenced to death: the first 33 were those on whom the sentence of death had already been carried out, the rest were those awaiting execution. Janusz Woźniakowski's name is the fifth on the list. Michał Weinzieher's is further down.[73]

Arrest

Zuzanna Ginczanka frequently changed hiding places, the last one was in the apartment of Holocaust rescuer Elżbieta Mucharska; located at Mikołajska № 5 Street in the heart of Kraków Old Town.[72] The circumstances of Ginczanka's arrest were pondered upon by postwar memoirist.[72] The first account is that of Wincentyna Wodzinowska-Stopkowa (1915–1991), published in her 1989 memoir Portret artysty z żoną w tle ("A Portrait of the Artist with the Wife in the Background").[74] Ginczanka's hideout and the passwords used by her rescuers were intercepted by Gestapo from several clandestine messages intended to be smuggled out of prison (Polish: gryps) and addressed to them.[74] The Stopkas, who were themselves incriminated by the clandestine messages in question, managed to get the Gestapo to leave without arresting them by bribing them with bottles of liquor and — gold coins, "which disappeared into their pockets in a flash".[74] As soon as the Gestapo were safely away Wodzinowska-Stopkowa rushed to Ginczanka's nearby hideout to forewarn her of imminent danger, only to be greeted at the door by a sobbing woman who directly said, "They took her already. She yelled, spat at them..."[74] Wodzinowska-Stopkowa then ran breathlessly to the residences of all the other people named in the "kites" written by Woźniakowski, arriving in each case too late, after the arrests of the individuals concerned.[74]

16th-century house in the ulica Mikołajska № 18 in Kraków, directly across from № 5 where Ginczanka lived in 1944, from where J. Tomczak witnessed Ginczanka's arrest by the Gestapo

A separate account of Zuzanna Ginczanka's arrest was given orally to Professor Izolda Kiec of the University of Poznań 46 years after the fact, in January 1991, by Jerzy Tomczak, grandson of Elżbieta Mucharska, Ginczanka's last hostess in Kraków mentioned in the preceding paragraph; it is included in her 1994 book Zuzanna Ginczanka: życie i twórczość ("Zuzanna Ginczanka: Life and Work"; see Bibliography), to date the most serious book on Ginczanka — a poet who is still awaiting a proper critical, academic biography. At the time of Ginczanka's arrest in the autumn of 1944, Tomczak was ten years old and living in one room with Ginczanka for about a month or so.[75] He recalls that during her stay Ginczanka never left the premises even once for security reasons, and she would never open the door if she happened to be alone. The only visitor she received was a high-school friend of hers, "a blonde without Semitic features" (Blumka Fradis).[75] Returning from school one day he was intercepted on the stairs by a neighbour who told him to back off: "They are at your place...". He withdrew at this and went into the entryway of the apartment building across the street (pictured to the right). About half an hour later, from this vantage point, he observed Zuzanna Ginczanka and Blumka Fradis being escorted by the Gestapo out of his building.[75] He comments: "I have no idea how they managed to track them down. I suspect a denunciation by a neighbour. There is no other possibility."[75]

Notes from the prison cell

Izolda Kiec (b. 1965), the author of the 1994 book on Ginczanka, was able to track down a person who was in direct contact with Ginczanka after her last arrest in autumn 1944: Krystyna Garlicka, the sister of the Polish writer

Auschwitz, resolved to overcome everything and survive.[77]
This however did not happen, as she was transferred to another prison in Kraków.

Place and date of death

See also: Kraków-Podgórze Detention Centre
Back side of the prison in the ulica Stefana Czarnieckiego 3 in Kraków, facing the back yard where Ginczanka was murdered, in a 2011 photo (note the blocked-out windows). The building, designed as a courthouse by the Polish-Jewish architect Ferdynand Liebling (1877–1942), was built in 1905

There is no consensus among the published sources as to the exact place of Ginczanka's death. There is a broad consensus on the circumstance of her having been executed by firearm, either by single firearm or by firing squad, in a prison located in the southern suburbs of Kraków.[79] Many older sources identify the suburb in question as Płaszów (administratively part of the municipality of Kraków since 1912, but colloquially referred to as a separate community) — not to be confused with the Nazi concentration camp of the same name situated in the same locality: no claim has ever been made that Ginczanka was deported to any concentration camp.[80] Other sources identify the suburb in question to have been the neighbouring spa locality of Swoszowice (likewise today within the southern borders of Kraków municipality).[81] More recently the prison courtyard of the infamous facility in the ulica Montelupich № 7 in Kraków has been pointed out as the place of her death.[82] This identification, perhaps conjectural, would contradict the earlier sources, as the prison in question lies in the city centre and not on the southern confines of the metropolitan area. Finally, and perhaps most authoritatively, Izolda Kiec (see Bibliography), a professor in the University of Poznań, basing her conclusions on unpublished written sources as well as on the numerous oral interviews with eyewitnesses and others directly connected with Ginczanka's life conducted in the 1970s and 1980s, indicates for the first time the courtyard of the prison facility located in the ulica Stefana Czarnieckiego № 3 in Kraków as the place of Ginczanka's martyrdom (see picture to the right).[83] The latter identification does not contradict the earlier sources citing Płaszów, as both the Płaszów precinct and the ulica Czarnieckiego are located in the same southern Kraków district of Podgórze. Moreover, Kiec also states — thereby possibly reconciling all the earlier sources — that Ginczanka was indeed imprisoned at first in the Montelupich Prison, where her interrogation under torture took place, and only after that had been completed was she transferred to the (smaller) prison in the ulica Czarnieckiego, where she was murdered.[77] Ginczanka was 27 years old.

Ginczanka's high-school friend, Blumka Fradis, was shot in the courtyard at Czarnieckiego 3 together with her.[77]

Józef Łobodowski reports the privileged information he received in the 1980s from a source he does not reveal to the effect that Ginczanka's execution took place "just before" (tuż przed) the liberation of Kraków (a historical event dated to 18 January 1945) — that is to say, in the first part of January 1945.

i.e., on 17 January 1945.[86]

In an article published in the Gazeta Wyborcza in December 2015, Ryszard Kotarba, the historian of the aforementioned Kraków-Płaszów concentration camp, speculates however that Ginczanka might have been among the several prisoners brought to that camp by truck on 5 May 1944, most of whom were executed on the spot.[87]

"Non omnis moriar"

Her single best-known poem, written in 1942 and untitled, commonly referred to as "Non omnis moriar" from its opening words (Latin for "Not all of me will die", the incipit of an ode by Horace), which incorporates the name of her purported betrayer within the text, is a paraphrase of Juliusz Słowacki's poem "Testament mój" (The Testament of Mine).[88] The "Non omnis moriar" was first published in the weekly periodical Odrodzenie of Kraków in 1946 at the initiative of Julian Przyboś, a poet who had been one of the most distinguished members of the so-called Kraków Avant-garde (Awangarda Krakowska). Przyboś appended a commentary entitled "Ostatni wiersz Ginczanki" (Ginczanka's Last Poem), saying in part:

Hers is the most moving voice in Polish lyrical literature, for it deals with the most terrible tragedy of our time, the Jewish martyrdom. Only the poems of Jastrun, serving as they are as an epitaph on the sepulchre of millions, make a similar impression, but not even do they evince the same degree of bitterness, of irony, of virulence and power or convey the same brutal truth as does the testament of Ginczanka. I find its impact impossible to shake off. We read it for the first time pencilled on a torn and wrinkled piece of paper, like the secret messages that prisoners smuggle out of their dungeons. (…) The most despairing confessions, the most heartrending utterances of other poets before their death fall far below this proudest of all poetic testaments. This indictment of the human beast hurts like an unhealed wound. A shock therapy in verse.[89]

The "Non omnis moriar" was highly esteemed by many others, including the poet

Polish antisemitism by a Jewish woman who wished more than anything else to become a Polish poet, and to be accepted as Polish (rather than as an "exotic Other"). In her entire oeuvre Ginczanka never espoused anything like a Jewish identity, her preoccupations with identity having been focused exclusively on her being a woman.[93] It is the reference made in the "Non omnis moriar" to the "Jewish things" (rzeczy żydowskie; line 6) — Ginczanka's personal effects that will now be looted by her betrayer, the thirty pieces of Jewish silver earned by (and in ethnic contrast with) this particular kiss of an Aryan Judas — that takes Ginczanka out of the sphere of realisation of her dream.[94]

Aftermath

In January 1946 on charges of

Nazis, Zofja Chomin, and her son Marjan Chomin were arrested and tried in a court of law. Ginczanka's poem "Non omnis moriar" formed part of the evidence against them. (This is considered by many scholars to be the only instance in the annals of juridical history of a poem being entered in evidence in a criminal trial.) According to the article which appeared in the newspaper Express Wieczorny of 5 July 1948 (page 2), Zofja Chomin, the concierge in the building (in the ulica Jabłonowskich № 8a) where Ginczanka lived in Lviv, was sentenced to four years' imprisonment for betraying Ginczanka's identity to the Nazis — the poem "Non omnis moriar" again being cited in the writ of the sentence — while her son was acquitted. Zofja Chomin's defence before the court were to be her words, intended to refute the charge of collaborationism: "I knew of only one little Jewess in hiding..." (znałam tylko jedną żydóweczkę ukrywającą się...). An account of these events is given in a study by Agnieszka Haska (see Bibliography
).

Remembrance

A commemorative plaque devoted to Zuzanna Ginczanka, Mikołajska Street, Kraków

Despite the quality of her poetry, Ginczanka was ignored and forgotten in postwar

Poland, as communist censors deemed her work to be undesirable. Renewed interest and recognition of her work emerged only after the collapse of communism.[95]

She is the subject of a moving poem by Sydor Rey, entitled "Smak słowa i śmierci" (The Taste of the Word and Death) and published in 1967, which ends: "I will know at the furthermost confines | The taste of your death".[96] Another poem in her honour is the composition "Zuzanna Ginczanka" by Dorota Chróścielewska (1948–1996).[97]

In 1987, poet Józef Łobodowski published a collection of poems in memory of Ginczanka entitled Pamięci Sulamity.[98] In 1991, after Poland regained independence, a volume of her collected poems was published. Izolda Kiec published two books devoted to Ginczanka: a biography entitled Zuzanna Ginczanka. Życie i twórczość (Zuzanna Ginczanka. Life and Works) in 1994[99] and Ginczanka. Nie upilnuje mnie nikt in 2020.[100]

In 2001, Agata Araszkiewicz, published a book Wypowiadam wam moje życie. Melancholia Zuzanny Ginczanki (I Am Expressing to You My Life: The Melancholy of Zuzanna Ginczanka).[101]

In 2003, poet Maciej Woźniak, dedicated a poem to her in his collection of poems Obie strony światła (Both Sides of Light).[102] In 2015, the Museum of Literature in Warsaw hosted an exhibition Tylko szczęście jest prawdziwym życiem (Only Happiness Is Real Life) devoted to the works of Ginczanka.[103][104]

In 2017, on the centenary of Ginczanka's birth, a commemorative plaque was unveiled on a tenement house on Mikołajska Street in Kraków where she was in hiding during her stay in the city.[105] The same year, Marek Kazmierski translated and published the first book of her work in English.[106] In 2019, Jarosław Mikołajewski published a book Cień w cień. Za cieniem Zuzanny Ginczanki which deals with her life and literary legacy.[107]

In 2021, Hanna Kubiak and Bernhard Hofstötter published the first German edition of works by Ginczanka.[108]

Publications

  • O centaurach (1936)
  • Wiersze wybrane (1953)
  • Zuzanna Ginczanka [: wiersze] (1980)
  • "Non omnis moriar" (before 1990)
  • Udźwignąć własne szczęście (1991)
  • Krzątanina mglistych pozorów: wiersze wybrane = Un viavai di brumose apparenze: poesie scelte (2011; bilingual edition: text in Polish and Italian)
  • Von Zentauren und weitere ausgewählte Gedichte (2021; German edition; ISBN 978-3347232334)
Translation
Antologies
  • Sh. L. [Shemuʾel-Leyb] Shnayderman, Between Fear and Hope, tr. N. Guterman, New York, Arco Publishing Co., 1947. (Includes an English translation of "Non omnis moriar", pp. 262–263, perhaps the first publication of the poem, in any language, in book form. Important also for the background information on the situation of the Jews within the Polish society in the immediate aftermath of the Second World War, shedding light on their situation before and during the War.)
  • R. Matuszewski & S. Pollak, Poezja Polski Ludowej: antologia. Warsaw, Czytelnik, 1955. (Includes the original text of "Non omnis moriar", p. 397.)
  • Ryszard Marek Groński, Od Stańczyka do STS-u: satyra polska lat 1944–1956, Warsaw, Wydawnictwa Artystyczne i Filmowe, 1975. (Includes the original text of "Non omnis moriar", p. 9.)
  • I. Maciejewska, Męczeństwo i zagłada Żydów w zapisach literatury polskiej. Warsaw, Krajowa Agencja Wydawnicza, 1988.
    ISBN 8303022792
    . (Includes the original text of "Non omnis moriar", p. 147.)
  • R. Matuszewski & S. Pollak, Poezja polska 1914–1939: antologia. Warsaw, Czytelnik, 1962.
  • Szczutek. Cyrulik Warszawski. Szpilki: 1919–1939, comp. & ed. E. Lipiński, introd. W. Filler, Warsaw, Wydawnictwa Artystyczne i Filmowe, 1975. (Includes Ginczanka's poem "Słówka", p. 145.)
  • Poezja polska okresu międzywojennego: antologia, 2 vols., comp. & ed. M. Głowiński & J. Sławiński, Wrocław, Zakład Narodowy im. Ossolińskich, 1987.

See also

Footnotes

  1. ^ The exact date of birth of Zuzanna Ginczanka (Sara Ginzburg) is a subject of an ongoing debate due to conflicting documentary evidence. It is being quoted also as March 9 by Tomaszewski & Żbikowski,[1] or March 15 by Kiec,[7] and March 20 by Bartelski,[8] as well as March 22, 1917, proposed most recently by Belchenko.[9] The exact date of her prison death is not known.[10]

Citations

  1. ^
    ISBN 838685958X
    .
  2. ISBN 3598327285
    .
  3. ISBN 8390289415
    .
  4. ISBN 8321400124
    .
  5. ^ Izolda Kiec, "Trochę wierszy, trochę fotografii, wspomnienia kilku przyjaciół", Czas Kultury (Poznań), No. 16, May 1990, p. 107.
  6. ^
    ISBN 8370665187
    .
  7. ISBN 8390172003
    .
  8. ISBN 8301115939
    , (PDF file, direct download 2.54 MB), retrieved December 6, 2013.
  9. ^ a b Бельченко, Наталія. "The Kiev Chartist, Sulamito by Natalia Belchenko" [«Київська чарівнице, Суламіто...»]. Culture.pl (in Ukrainian). Adam Mickiewicz Institute. Retrieved 3 March 2018. Отож точна дата народження Зузанни — 22 березня 1917 року, оскільки дата 9 березня у записі подана за старим стилем, а ім'я Сара, радше за все, помилково інтерпретоване Сана, бо саме так називали її в дружньому колі, скорочуючи Зузанна (Сусанна).
  10. ^ Mariola Krzyworączka, "Ironia – bronią poetów", Polonistyka: czasopismo dla nauczycieli, vol. 59, No. 9, November 2006, pp. 54–58. (in Polish)
  11. ISBN 8390172003
    .
  12. ^ Jan Śpiewak, Pracowite zdziwienia: szkice poetyckie, ed. A. Kamieńska, Warsaw, Czytelnik, 1971, p. 28.
  13. ^
    ISBN 8302054445
    .
  14. Cordova and then at Pamplona, recalls having been told by Ginczanka that her father was "dead", adding that she was very reticent about her family in general; in: Józef Łobodowski, Pamięci Sulamity, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, pp. 11–12. On the grandmother Sandberg, see Jan Śpiewak, Pracowite zdziwienia: szkice poetyckie, ed. A. Kamieńska
    , Warsaw, Czytelnik, 1971, p. 28.
  15. id.
    , Przyjaźnie i animozje, Warsaw, Państwowy Instytut Wydawniczy, 1965, p. 190.
  16. ^ Józef Łobodowski, Pamięci Sulamity, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 8.
  17. ^ Krystyna Kłosińska, "Wypowiadam wam moje życie. Melancholia Zuzanny Ginczanki, Araszkiewicz, Agata." Gazeta Wyborcza, 29 January 2002 (review of the book by Agata Araszkiewicz, Wypowiadam wam moje życie. Melancholia Zuzanny Ginczanki published by Fundacja OŚKA, Warsaw 2001).
  18. Second World War; cited in: Izolda Kiec, "Trochę wierszy, trochę fotografii, wspomnienia kilku przyjaciół", Czas Kultury (Poznań
    ), No. 16, May 1990, p. 107.
  19. ^ Izolda Kiec (see Bibliography), p. 37.
  20. ISBN 8301115939
    .
  21. Ilustrowany Kuryer Codzienny
    of 28 August 1933), p. 2.
  22. ^ See Wiadomości Literackie, vol. 11, No. 29 (556), 15 July 1934, p. 3. Many of the names of the other finalists cannot be further identified: they are people who didn't make a mark in later times.
  23. ^ "Turniej Młodych Poetów", Wiadomości Literackie, vol. 11, No. 36 (563), 2 September 1934, p. 6. Cf. Michelangelo di Lodovico Buonarroti Simoni, Poezje — Michał Anioł Buonarroti, tr. & ed. Leopold Staff, Warsaw, J. Mortkowicz, 1922.
  24. ^ Zuzanna Ginczanka, "Gramatyka" (lines 2–4), Wiadomości Literackie, vol. 11, No. 29 (556), 15 July 1934, p. 3.
  25. ISBN 832310915X. Matuszewski (see Bibliography
    ).
  26. ISBN 8373373675
    .
  27. ^ Karol W. Zawodziński, "Liryka polska w dobie jej kryzysu" (Polish Lyric Poetry in the Age of Its Crisis), Przegląd Współczesny (Warsaw), vol. 69, No. 206, June 1939, pp. 14–15 (302–303).
  28. ISBN 8385083286
    .
  29. ^ Szpilki, No. 13, 1937. Cited in: Janusz Stradecki, W kręgu Skamandra, Warsaw, Państwowy Instytut Wydawniczy, 1977, p. 310, n. 38.
  30. ^ Article on the Presspublica web portal.
  31. ^ Zbigniew Mitzner, Tak i nie: wybór felietonów z lat 1936–1966, Warsaw, Czytelnik, 1966, p. 240.
  32. ISBN 8304044811
    .
  33. ISBN 830800508X
    .
  34. ISBN 0906601754
    .
  35. ISBN 9788361978060
    .
  36. ISBN 8308026001
    .
  37. ^ Adolf Rudnicki, Niebieskie kartki: ślepe lustro tych lat, illus. A. Marczyński, Kraków, Wydawnictwo Literackie, 1956, p. 106.
  38. ISBN 8304044811
    .
  39. ^ Reproduction of Aleksander Rafałowski's portrait of Ginczanka on the Gazeta Wyborcza website.
  40. ISBN 8308036023
    .
  41. ^ Józef Łobodowski, Pamięci Sulamity, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 10.
  42. ^ Poeta ziemi rodzinnej: zbiór wspomnień i esejów o Stanisławie Piętaku, ed. A. Kamieńska & Jan Śpiewak, Warsaw, Ludowa Spółdzielnia Wydawnicza, 1970, p. 102.
  43. ISBN 9788361978060
    .
  44. ISBN 8385083286. Józef Łobodowski
    , Pamięci Sulamity, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 11.
  45. ^ a b Tadeusz Wittlin, p. 241 (see Bibliography).
  46. ISBN 8385205330
    .
  47. ISBN 832310915X
    .
  48. ISBN 8322924860
    .
  49. ISBN 8390172003
    .
  50. ^ Araszkiewicz (see Bibliography), p. 9.
  51. ISSN 0890-4758
    .
  52. ^ From the letter of Tadeusz Bocheński to Kazimierz Andrzej Jaworski dated 15 February 1936; quoted in: Kazimierz Andrzej Jaworski, W kręgu Kameny (vol. 7 of Pisma: wydanie jubileuszowe), ed. P. Dąbek, Lublin, Wydawnictwo Lubelskie, 1973, p. 385. (1st ed., 1965.)
  53. ^ S. H. [sic], "Ukrainian Writers in Exile, 1945–1949", The Ukrainian Quarterly, vol. 6, 1950, p. 74.
  54. ^ Józef Łobodowski, Pamięci Sulamity, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 10.
  55. ^ Zuzanna Ginczanka, "Słowa na wiatr", Wiadomości Literackie, vol. 14, No. 14 (700), 28 March 1937, p. 21.
  56. Ilustrowany Kuryer Codzienny
    (Kraków), vol. 28, No. 184, 5 July 1937, p. 24.
  57. Ilustrowany Kuryer Codzienny
    (Kraków), vol. 29, No. 87, 28 March 1938, p. 24.
  58. ^ Monika Warneńska, Warsztat czarodzieja, Łódź, Wydawnictwo Łódzkie, 1975, p. 221.
  59. ^ Cf. Izolda Kiec, "Wiosna radosna? (Ginczanka i Słonimski)", Twórczość, No. 9, 1992, pp. 70–78.
  60. ^ Zuzanna Ginczanka, "Maj 1939" (lines 25–28), Wiadomości Literackie, vol. 16, No. 28 (820), 2 July 1939, p. 1. The poem counts a total of 32 verses arranged in 8 stanzas.
  61. ISBN 8390172003
    .
  62. ^
    ISBN 8390172003
    .
  63. ISBN 8390014939. See also Kiec; Shallcross, The Holocaust Object, p. 39 (see Bibliography
    ).
  64. ISBN 8308009727
    . (1st ed., 1962.)
  65. ^ AGNI magazine, Boston University, 2008.
  66. ^
    ISBN 8390172003
    .
  67. ISBN 8390172003
    .
  68. ^ "*** (Non omnis moriar — moje dumne włości) - Zuzanna Ginczanka". poezja.org. Retrieved 2023-07-25.
  69. ^
    ISBN 8390172003
    .
  70. ^
    ISBN 8390172003
    .
  71. ISBN 8390172003. Kiec indicates "Halina [sic] Cygańska-Walicka" and "Anka Jawicz [sic
    ]", obvious misprints or mistakes for "Helena Cygańska-Walicka" and "Anna (or Anka) Rawicz".
  72. ^
    ISBN 8390172003
    .
  73. ISBN 8390172003
    .
  74. ^
    ISBN 8390172003
    .
  75. ^
    ISBN 8390172003
    .
  76. ISBN 8390172003
    .
  77. ^
    ISBN 8390172003
    .
  78. ISBN 8390172003. This detail is also independently confirmed by Łobodowski, who does not reveal his sources; see Józef Łobodowski, Pamięci Sulamity, Toronto
    , Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 13.
  79. ISBN 830201172X
    .
  80. ISBN 8321006841
    .
  81. ISBN 8308009727
    . (1st ed., 1962.)
  82. ISBN 8301115939
    .
  83. ^ Kiec however misspells the name of the street as the ulica "Czarneckiego [sic]": the street is named after the 17th-century Polish personage of Stefan Czarniecki. See the separate article on the Kraków-Podgórze Detention Centre.
  84. ^ Józef Łobodowski, Pamięci Sulamity, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 13.
  85. Second World War
    overall.
  86. ^ Zbigniew W. Fronczek, "W wojsku i na emigracji: rozmowa z Wacławem Iwaniukiem o Józefie Łobodowskim" (In Military Service and in Exile: An Interview with Wacław Iwaniuk about Józef Łobodowski), Gazeta w Lublinie, No. 196, 23 November 1991, p. 5.
  87. ^ Ryszard Kotarba, "Zuzanna Ginczanka: śmierć poetki. Historia okupacyjna", Gazeta Wyborcza, 14 December 2015.http://wyborcza.pl/alehistoria/1,121681,19333036,zuzanna-ginczanka-smierc-poetki-historia-okupacyjna.html
  88. ^ Scharf (see Bibliography).
  89. ^ Julian Przyboś, "Ostatni wiersz Ginczanki", Odrodzenie, No. 12, 1946, p. 5. Cf. Sh. L. [Shemuʾel-Leyb] Shnayderman, Between Fear and Hope, tr. N. Guterman, New York, Arco Publishing Co., 1947, p. 262.
  90. ISBN 0810122030
    .
  91. ^ Anna Kamieńska, Od Leśmiana: najpiękniejsze wiersze polskie, Warsaw, Iskry, 1974, p. 219. Cited in: Shallcross, The Holocaust Object, p. 39 (see Bibliography).
  92. ^ Mieczysław Inglot, "Poetyckie testamenty liryczne: uwagi wokół wiersza 'Testament mój' Juliusza Słowackiego", Zagadnienia Rodzajów Literackich, vol. 40, No.1/2, 1997, pp. 101–119. Cf. Shallcross, The Holocaust Object, p. 49 (see Bibliography).
  93. ^ Bożena Umińska (see Bibliography), p. 353.
  94. ISBN 9788361978060. Cf. also Michel Borwicz [i.e., Michał Maksymilian Borwicz], Écrits des condamnés à mort sous l'occupation nazie, 1939–1945, préface de R. Cassin, nouvelle éd. revue et augmentée, Paris
    , Gallimard, 1973, p. 292.
  95. ^ "Non-Presence: Capturing Zuzanna Ginczanka". Retrieved 6 May 2020.
  96. id., Własnymi słowami, London
    , Poets' & Painters' Press, 1967, p. 27.
  97. ^ Dorota Chróścielewska, Portret Dziewczyny z różą, Łódź, Wydawnictwo Łódzkie, 1972, p. 30.
  98. ^ "Zuzanna Ginczanka". Retrieved 4 May 2020.
  99. ISBN 83-901720-0-3
    .
  100. ISBN 978-83-66500-07-5
    .
  101. ISBN 9781443847087
    . Retrieved 4 May 2020.
  102. ^ "Zuzanna Ginczanka, list z tamtej strony światła". Retrieved 4 May 2020.
  103. ^ "A Lost Feminist Poet Finally Gets Her Due". Retrieved 6 May 2020.
  104. ^ ""Zuzanna Ginczanka. Tylko szczęście jest prawdziwym życiem" – katalog wystawy". Retrieved 4 May 2020.
  105. ^ "Zuzanna Ginczanka uhonorowana tablicą pamiątkową". Retrieved 4 May 2020.
  106. ^ "Invoking Zuzanna Ginczanka: Translation in a Time of Love & War". Retrieved 5 May 2020.
  107. ^ "Cień w cień Za cieniem Zuzanny Ginczanki". Retrieved 4 May 2020.
  108. ^ "Von Zentauren und weitere ausgewählte Gedichte". Retrieved 4 April 2021.

References

Further reading

  • Agata Araszkiewicz Wypowiadam wam moje życie. Melancholia Zuzanny Ginczanki. (2001)
  • Agnieszka Haska, "'Znałam tylko jedną żydóweczkę ukrywającą się…': sprawa Zofii i Mariana Chominów", Zagłada Żydów: Studia i Materiały, No. 4, 2008, pages 392–407.
  • Izolda Kiec Zuzanna Ginczanka. Życie i twórczość. (1994)

External links

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