Trans-Atlantyk by Witold Gombrowicz
An Alternate Translation by Danuta Borchardt
Yale University Press
ISBN 978-0-300-17530-1
From The History of Polish Literature by Czesław Miłosz
(434) For Gombrowicz, there is always both a striving toward
liberation from “the form” and a necessary submission to it, since ever
antiform freezes into a new form. Each book of his, however, is a renewed
attempt to capture one variety of strivingand to smash one more sacrosanct rule
of art.
(434) His novel Transatlantic
(Transatlantyk, 1953), has an
Argentinian setting but is written in a language that parodies Polish
seneteenth-century memorialists. Many consider it his most accomplished work,
as it brings into the open a theme underlying all he writings: how to transform
one’s “Polishness,” which is felt as a wound, an affliction, into a source of
strength. A Pole is an immature human being, an adolescent, and this saves him
from settling into a “form.”
Preface to the 1957
Edition
Has any author explained his work as much as Gombrowicz?
“On this scale of things the best opinion I could hope for
would be one that sees in this work “a national self-examination” as well as a
“criticism of our national flaws.” (xvi)
“I do not deny: Trans-Atlantyk
is, among other things, a satire. It is also, among other things, a rather
intense reckoning…but, obviously, not with the Poland of our time, but with the
Poland that has been reated by her historical existence and her location in the
world (this means a w e a k Poland). And I concur that Trans-Atlantyk is a corsair ship that smuggles a lot of dynamite in
order to explode our hitherto-felt national emotions. It even conceals within
it a requirement of sorts with regard to certain emotions: to overcome
Polishness. To loosen up our submission to Poland! To break away just a little!
Rise from our knees! To reveal, legalize another dimension of feeling which
orders a human being to defend himself against his nation as against any collective
force. To obtain—this is most important—freedom from the Polish form, while
being a Pole to be someone larger and higher than a Pole! Here it is—Trans-Atlanthk’s ideological contraband.
This might mean a very far-reaching revision of our relationship to the
nation—so far-reaching that it might totally transform our frame of mind and
liberate energies that would, as the final outcome, be useful to the nation. A
revision, nota benne, of a universal
character—I might propose this to peoples of other nations, because the problem
is not only the relationship of a Pole to Poland but that of any human being to
his nation. And finally a revision as it most closely relates to all the
contemporary problems, because I have my sights (as always) on strengthening, enriching,
the life of the individual, making him more resistant to the oppressive
superiority of the masses. This is the ideological mode in which Trans-Atlantyk is written. (xvi-xvii;
ellipsis in original)
Gombrowicz doesn’t aim low, does he? But then, “I am one of
those ambitious shooters who, if they botch things up, it’s because they take
on bigger beasts.” (xvi)
Then again, he dismisses his own statement by saying “Trans-Atlantyk does not have a subject
beyond the story that it is telling” (xvii) and that it has “a multitude of
meanings.” (xviii) He declares he has only written about himself.
Trans-Atlantyk
Characters:
-
Gombrowicz—author
-
Czesław Straszewicz—writer friend
accompanying Gombrowicz on trip to Argentina
-
Rembieliński—senator (trip companion)
-
Mazurkiewicz—cabinet minister (trip companion)
-
Minister Felix Kosiubidzki—Polish envoy (minister)
to Argentina
-
Mr. Cieciszowski—Polish ex-pat living in Buenos
Area. G. turns to him for help.
-
Councilor Podsrotski—works at Polish Legation as
Councilor.
-
Popatski—the old Accountant at the firm. A kind
old man.
-
Ficinati—Polish painter in Buenos Ares.
-
Gonzalo—a puto,
native of Buenos Ares.
-
Pitskal, Baron, and Ciumkała.
Partners (and rivals) in the firm.
-
Thomas Kobrzycki—Retired Polish army major
-
Ignatius (Iggy): Thomas’ son (who Gonzalo
fancies)
-
Dr. Garcia: Thomas’ second witness; a successful
lawyer
-
Colonel Fichcik: the military attaché at the
embassy
-
Horatio: employee of Gonzalo. Hired to stand
near-by for show.
Story:
Gombrowicz feels out of place, lost among the official
meetings. Strangeness, Unfamiliarity, Puzzle, nothingness, grayness, “calling
out to my home, Friends, and Companions.” (3)
G. decides not to return on the ship (which would sail to
England, not Poland). He feels he can’t reveal his true, “Blasphemous reason
for his stay here” (7)
Mr. Cieciszowski finds it difficult to commit on any advice.
Members of the LLC he recommends G. to: the Baron, Pitskal, Ciumkała.
G. rents a room. Next morning he hears an old man moaning
“guerra, guerra, guerra” (war). The war was big news. G. keeps debating whether
or not to go to the Polish Legation.
Starts to go to the Legation, but he hesitates for a little
bit before going inside. “[W]hy go to a Bishop when I’m a heretic, an apostate
from Faith, a blasphemer.” (11) Painting himself as a unbeliever in the
“church” (Poland)
At the Legation: Minister Felix Kosiubidzki only gives G. a
little money, although he offers travel money for him to go to Rio de Janeiro.
“I want no literati here: they just milk you and crab at you.” G., realizing
he’s being bought off, tells Kosiubidzki “I’m not only a literatus, I am Bombrowicz!” (14)
Kosiubidzki offers G a job “with writing articles for our
newspapers here, praising, glorifying our Great Writers and Geniuses”. (16) He
mentions historical figures only: Copernicus, Chopin, Mickiewicz. “For God’s
sake we must praise what’s Ours or they’ll gobble us up!” G. confesses he would
be embarrassed to do so. The Minister and the Councilor freak out at first,
then treat G. with deference. It all feels like a joke.
“Because I knew of course that they’re shitheads and they’re
taking me for a shithead, and this is shit, shit, and I’d sooner hit those
shitheads on the head.” (19)
Propaganda requires that G. be treated as a genius. (19) Who
is this for? The shitheads they are trying to convince? Or their own shithead
selves?
G. goes back to Cieciszowski. While walking through town,
the see the Baron (partner in the LLC) who is moved by G.’s story and hires him
as his secretary in the company. The Baron’s exuberance is tempered when he
sees his partner Pitskal, who begins to beat G. Pitskal stops when the other
partner, Ciumkała, appears. All the partners begin to fight over who G. will
be working for. They fight each other over G. until they arrive at their
office: “Baron, Ciumkała, Pitskal, Horse and Dog Enterprise.” (27)
G. gets a peek in at the clerks. The order of things are
fouled up: “but instead of the Bookkeeper crying first, and the Accountant then
comforting him, they mixed up the sequence of moves, and what was the end came
at the beginning!” (30)
History on the bad blood (despite profits) of the
partnership. Even though supposedly in the same boat together there is so much
history of bickering, lawsuits, and just making things difficult in general
between them.
G.’s conditions and circumstances made things somber for
him: unfamiliar place, strangeness all around, anxiety, the war (even though
far away). G. wonders if the partners aren’t up to something with him—he can’t
completely trust them.
Suddenly G. is being feted. Invited to a party. Sent letters
and flowers. Moved out of his cubbyhole of a room to the best room. Treated
with dignity at the office. Feels uncomfortable with it, especially with the
“Murder, Slaughter” of the war. Feels trapped—wants to avoid this pomp, but
feels if he does it will look worse. Besides, he’s quite enjoying the adulation
on some level (no longer met with disdain). ‘Compromises—says he will go and
judge those that salute him do so “with the best intentions and most
righteously!” (36)
How G. feels about going to be honored:
Hence, you shitheads, go ahead and Connive and Ply the Wise,
and go pecking for your own gain like hens. While I—whatever is born of your
dumb and conniving Nature—will accept according to my Nature, and when you feed
me shit, I will partake of it as Bread and Wine and I will be satiated. Thus,
when like a true master I will wax brilliant at that reception, when by the
foreigners I will be hailed and recognized as a Master, no longer will I be
frightened by H.E. the Envoy’s fooliery, and he too will perforce respect me…
Mount then, mount that horse that is being offered you, and you will go far!
I’ll go, I’ll go then! (37; ellipsis in original)
G. shows he understands how everyone feels about everyone
else: “Oh, why is this shithead, who takes me for a shithead, calling me
Master?” (37) Honoring and disdaining each other at the same time, and each
knowing it. And this is with men that are trying to support him! (men from the
Legation)
At the event: everyone looks nice but they have no idea how
to speak to each other. G. introduced “as the Master Great Polish Renowned
Genius Gombrowicz.” (39) No one knows how to talk to anyone at these
things—conversations, the few occurring, are hushed. The Councilor upset that
G. isn’t wowing the attendees more: “Show those shitheads something, you shithead,
or else it’ll be embarrassing for us!” (40)
People arrive that are “not near nobodies. Dressed to the
nines, followed by sycophants, secretaries, scribes, and clowns. The man is
“intelligently intelligent.” (41)
G.’s description of the Rabbi shows a unique use of
language: “But how to bite him when the beast is marzipanning, marzipanning as
if from a book ‘til it’s nauseating, and
he’s becoming more and more intelligently intelligent, and more and more finely
refined.” (42)
G., pressed by his ‘supporters’ to he must go “get him,”
makes a loud, banal statement. Parrying of statements to each speakers’ ‘group,’
the Rabbi constantly scrutinizes his notes.
G.’s response to everyone else’s response at the so-called
verbal sparring:
“Thus out of fear, that since these my shitheads who take me
for a shithead, I’ll appear like a shithead in front of those other shitheads,
and in my wish to ruin the other shitheads, I shouted: “Shit, shit, shit! …”
(44-5)
G. turns to flee the room, but changes his mind. He changes
his mind again, and again…and ends up walking back and forth. He feels the
conversation in the room is mocking him as he gets worked up, then he notices
someone else now matching his walk…a man with painted red lips. G. flees the
room.
(48) Natives use a term for a man that “wheedles,
sweet-talks and fawns over” other men: puto.
(49) Gombrowicz’s puto
follows him and tells him the way he (Gonzalo) tries to attract other
boys/youths. Gonzalo has plenty of lust but more fear.
(52) Gonzalo pretends “to be my own butler” in order not to
appear rich. He’s afraid his tricks would ask for more money or try to rob him
(even though he’s paying them). He seems to revel in his misery.
(53) Gombrowicz calls Gonzalo “she”
(54) Gonzalo pines for a fair-haired sailor, his favorite
(at least from afar)
(55) An older man stops to talk with the sailor. Gonzalo,
envious, asks Gombrowicz to listen in. Gombrowicz hears the pair speaking
Polish. The old man is the sailor’s father. Gonzalo begs for an introduction.
(57) Gonzalo and Gombrowicz follw the pair into a dance hall
(58) Gombrowicz runs into Pitskal, Baron, and Ciumkała
at the dancehall.
(59-60) The three argue over who is going to pay for drinks,
shoving money under each others’ noses.
(61) Between visitors to the urinals in the bathroom
PB&C beg Gombrowicz to take their money. They compete with each other *and*
with Gonzalo.
(62) Gonzalo acting the fool. Gombrowicz pities him.
(64) Gonzalo shoves money in Gombrowicz’s hand to invite the
father and son to their table.
(67) Gombrowicz tells Thomas about Gonzalo’s plans. Tells
him to flee.
Gonzalo throws his glass at Thomas, hitting above the eye.
Gonzalo leaves the dancehall.
(72) Thomas shows up
at Gombrowicz’s flat and asks him to challenge Gonzalo to a duel in his name.
(73) Quote: His obstinacy astounded me, and one could see
that this man would not rest ‘til he had forced Gonzalo to be a man; it seemed
he couldn’t bear the idea of his son being exposed to ridicule; and thus in
spite of the obvious, he throws himself
into the obvious and wants to transform it!
Gombrowicz visits Gonzalo and tells him of the challenge.
Gonzalo tries to get Gombrowicz to side with him and incite resistance against
the father.
(77) Quote (from Iggy’s father):
“Has the fate of the
Poles been so delightful up till now? Hasn’t your Polishness become repugnant
to you? Haven’t you had enough of Suffering? Not enough eternal Torture and
Torment? Forsooth, today they’re tanning your hides again! You’re thus sticking
by your hide? Don’t you want to become something Else, become something New? Do
you want all your Boys to repeat in circles everything in the manner of their
Fathers? Or, let the Young Guys out of the paternal cage, let them run free
across the wilderness, let them likewise glimpse the Unknown!”
(In reply to
Gombrowicz’s complaint that he doesn’t want to “incite Son against the Father”
and that “Poles are exceptionally respectful of our Fathers.”)
“The Land of the Sons” sticks in Gombrowicz’s mind.
Gombrowicz sees Gonzalo’s request to drop the bullets into his sleeve (shooting
with only powder, unknown to the father) as a request “to betray the Father and
my Country.” (79)
Gombrowicz plans on getting the Baron and Pitskal in on the
plan for a powder-only duel. The difficulty is figuring out how to help a
countryman (Thomas) keep his honor and avoid jail. He has said he would murder
Gonzalo if the challenge isn’t accepted.
(83) “[E]ven though I am on the Old Father’s side, the budding
Land of the Sons knocks about in my head.” Gombrowicz on the appeal of the
younger generation.
But…following an
embarrassing and eventful night, Gombrowicz finds himself as party to a duel
(86) The envoy and others have heard of the duel and feel it
an important matter. They want “to trumpet it to the four corners of the world
to the greater glory of our name [Poland], and likewise at this moment when
we’re marching on Berlin, on Berlin, to Berlin!”
They want to turn the duel into a political matter (and
diversion?)
Gombrowicz repeatedly falls to his knees as the legation
endorses the plan for a duel and tries to organize a hunt to highlight the duel
taking place (in order for attendees to ‘accidentally’ see it).
They have entered
their intention of attending the duel into the meeting mintues—they feel the
minutes constrains them, and try to find a way out of it.
(90) Quote
Thereupon, having
shown the Duel to their Excellences the Ladies and to the invited Foreigners,
they will thereby show their Manliness, Honor, Prowess, likewise their
immeasurable Valor, Earnest Blood, their Steadfast Reverence, their Faith
sacred and Invincible, their Power sacred and Highest, and the sacred Miracle
of the entire Nation.
(91) In setting the terms with Baron and Piskal, even though
they know it will be a duel without bullets, they insist on terms that include
blood.
There’s always someone for them to fight—if not someone
else, they will fight among themwelves and bring up ancient grudges.
(93) The beginning of the war is always in the back of
Gombrowicz’s mind.
(95) Gombrowicz: “Yet I am Going, Going because the others
are likewise Going and, like sheep, like calves, we are thus leading each other
to that Duel, and useless are all plans, designs and decisions when man is
forced by other people and among people lost as in a dark Forest.”
a) the power of the collective—everyone going because all
others are going
b) a dark forest? Sounds like from Dante
The repeated shouts, in the streets and in the newspapers: “Polonia, Polonia.”
(96) [T]his sacred, oh Accursed Country of mine”
Gombrowicz is confused what exactly is the truth. “[H]ow can
we be marching on Berlin when they’re fighting on the outskirts of Warsaw?”
(97) Envoy still planning a “calvacade” even though there is
a war and there are no hares. Gombrowicz notices/believes the envoy is “Empty”.
All actions, including Gombrowicz’s, become “Empty” (99) “All is Empty.”
(100-1) “Well, I came here because of uneasiness about the
future of our Nation that’s been by the Enemy defeated, and we’re left with
nothing but our Children. May the Sons be faithful to their Fathers and to the
Land of the Fathers!” I’m saying this, but forthwith fear seizes me, what am I
saying this for, and why am I saying this…Suddenly ‘tis Empty here! All at once
‘tis so Empty! All at once ‘tis as Empty as if Nothing to it…as if there’s
nothing.” (ellipsis in original)
(101-7) The duel.
Everything is “Empty.” It’s theater, meant strictly for
show. No bullets in the guns. No hares for the voyeuristic Calvacade. The dogs
of the Calvacade begin attacking Iggy, so Gonzalo throws himself into the dogs
and helps save Iggy. Thomas and Gonzalo make up since G. saved his son.
Iggy has been hiding in the bushes to watch the duel.
(106)”Oh, because ‘tis an assured, a most assured thing,
that a Pole is beloved of God and Nature for his Virtues, but mainly for that
Chivalry of his, for his Courage, Nobility, Piety and that Confidence of his!
Look at these groves! Look at Nature entire! And look at us Poles, amen, amen,
amen.” Thus they all exclaimed: “Viva
Polonia Martir!”
(107-9) Gonzalo invites Thomas and Iggy to his hacienda.
Gombrowicz encourages Thomas not to go, but his words have the opposite effect.
(109-13) Description of Gonzalo’s hacienda. So much
stuff/treasures…they are at odds with each other. “Biting.” Commentary on
Europe? (and to follow?)
Gonzalo pays readers to read his library.
Weird mixtures of dogs.
Horatio, the youth employed to stand near-by for show, makes
movements in concert/copying Iggy.
(118-9) Gonzalo confesses to Thomas that the duel was
without bullets.
(121) Thomas demands blood—his son’s.
Avenging his honor by sacrificing his son (Poland; any
country; war)
(121-2) Quote
He wants to fight his Country’s enemy! And when his advanced
years to Impotence condemn him, he gives up his only Son to the army to die or
to be maimed. Hence he throws on the scale not only his Dearest Son but also
his own emotions, an Old Man’s Sacrifice, heavy and bloody! But worthless is
his Sacrifice. Not frightening his gray hair. Futile are the Old Man’s
emotions!
Does Thomas want to kill his impotence by killing his child?
Gonzalo is listening. He says Iggy will kill the father for
him. Begins yelling “Land of the Sons!”
(124) The huge hall, filled with divers objects, one on top
of the other, one with the other, here a Triptych under a Vase, there a Carpet
over a Candelabrum, an Armchair on a small Chair, Madonna and the Ugly
Thing…also a Brother, Brothel, Brothel, one and all coupling without shame with
whoever turns up, a brothel. (ellipsis in original)
(125) And here before me Filicide on the one hand and
Patricide on the other!
(133) Horatio and Gonzalo work together to seduce Iggy. He realizes it but can’t stop
participating.
(134) Gombrowicz in the garden. Pitskal, Baron, and Ciumkała
abduct him. Gombrowicz passes out after Pitskal sticks a spur in him.
(135-6) Gombrowifz wakes up in a cellar. Pitskal, Baron, and
Ciumkała
stick spurs in each other.
(137) Gombrowicz admitted to the Society of the Chevaliers
of the Spur
(139-41) How the spur society started: they were acting
“manly” and honorably. Challenge to a duel and insisting there are stallions,
not mares…in other words, a pissing contest.
(141) “Accursed fate! Therefore I, the Accountant, when I
saw Mr. Thomas firing an Empty Pistol,
this I determined: Terrible I will become and Nature I will attack, violate and
conquer it, Terrify it so that our Fate will alter…Oh, to violate Nature,
violate Fate, violate ourselves and violate God the Highest! Since no one will
fear our Kindness, Terrible we must be!”
(The firm’s accountant on his reaction to Poland’s impotence
in the war. It is taken out on others. Ellipsis in original)
(145) The only way out of the cellar is to counsel greater
stupidities.
(146) The crowd worked up into a fury to kill, finally
settling on Ignation (the Son).
(151) Gonzalo’s plan to kill the Father that night.
(154) Thomas still intent on killing Iggy
(155) Gombrowicz’s terror at his lack of terror: his
“Terrifying Lack of Terror”
(158-60) Party at Gonzalo’s house, including “the flower of
our Émigré Colony!” Attendees have ridiculous names. Poland is being defeated
and the Minister’s response was a “Carnival Cavalcade.” The Minister keeps
shushing Gombrowic’s questions and comments about Poland’s defeat, telling him
not “to brag about it!” Denial.
(162) People behind the trees in a Heap—similar to the end
of each scene in Ferdydurke. They are
there to watch the killing: “Smite and Kill,” they gobbled. “Smite and Kill!”
(163)
(164-6) In the hall, people dance and everyone bangs into
each other. Gombrowicz waiting to see who is killed when Thomas (the Father) is
knocked to the ground, his son falling on him soon after. Ignatio begins to
laugh, sparking laughter in everyone else.
(166) Quote:
And on from Laughter to Laughter, Ha-ha with Laughter, ha-ha
with Laughter, they ha-ha, ha-ha, they Ha-ha-ha!...
(ellipsis in original) Yet the world is still falling apart.
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