Events and Places
The Town of Sejny
After Sarajewo and Wrocław, the next stage of this mobile academywas held in Sejny. This Polish-Lithuanian small town, situated in the neighbourhood of the juncture of the borders with Lithuania, Belarus and Russia, has very rich traditions of multiculturalism. Their traces left here Jews, Russian Old-Believers, Byelorussians, Gypsies and Germans. From the beginnings of its activities, i.e. from the 1990s, it has been the headquarters of the Borderland Foundation and the Centre "Borderland". Although it is difficult to imagine today, the rebuilt and used by Borderland buildings, formerly belonging to the local Jewish community, in the past were abode of rich and progressively oriented scientific and pedagogical life - they housed a Hebrew Enlightenment grammar school, yeshiva and a heder. Also the once operating in the walls of the Dominican monastery Polish grammar-school enjoyed a high renown and attracted to Sejny professors and students even from distant parts of the country.
However, it is not the rich traditions of multiculturalisms or educational systems that determined the choice of Sejny as the venue for the 2008 Symposium. For the subject matter of the Symposium, very essential is the aspect of the existing here junction of Lithuania, Poland and Germany. Sejny is not only the heart of the Polish-Lithuanian borderland, it is also close to the territories of the former Eastern Prussia, Protestant colonization and the influences of the German culture.
And the last important determinant for the choice of the venue: after years of preparation and efforts to acquire funds Borderland launches the construction of the International Dialogue Centre. In the situated near Sejny locality of Krasnogruda, the former estate belonging to Czesław Miłosz's family, in the restored manor and surrounding it great park, we shall witness the slow process of the construction of a small pedagogical province which all year round will train bridge builders.
More on Sejny
The Residential Arts Centre in Wigry
It is an artistic venture carried out in relation to the context of the place and community.
Wigry Lake is one of the most precious water ecosystems in the world, whereas the situated on it Post-Camaldolese Monastic Complex is the most precious monument of the architecture of north-east Poland. For over a dozen years continues the search of a new formula that could justify immense investment required to renovate the Wigry complex of buildings.
The 17th century Camaldolese Monastic Complex in Wigry from its early beginnings was an incarnation of the primacy of ideology over matter. At the end of the 17th century erection of the monumental walls on the wet ground could not have any defensive function, in its military sense. The monastery was built in the image of a castle symbolizing the struggle of Catholicism with Reformation and heresy. It towered over the Polish and Lithuanian villages with still alive was the memory of their former pagan inhabitants.
The extraordinarily rich and prosperous Camaldolese latifundia existed, however, for only about 130 years. After the dissolution of the monastery in 1800, its brickwork started to gradually leave the Wigry Hill. Both informally in the time of peace and by force of bombs and shells of the successive wars.
The complex enjoyed its splendour for only a few dozens years. For over 200 years, however, continues the idea of its restoration and search for a new function that could physically and spiritually fill the picturesque walls in the middle of a beautiful lake. Conservation work started already in the 19th century. In the 20s of the 20th century, architect Oskar Sosnowski carried out an analysis and inventorying of the preserved elements of the former monastic foundation and in 1922, the Ministry of Art and Culture the renascent Polish state placed advertisement in newspapers seeking an institu¬tion that could rebuild the Wigry monastery for scientific and general cultural aims.
During all that period of time, care was shown only to the building of the church functioning as a parish church. The rest of the existing today buildings came into being in 1971 - 1994, following the Polish conservation doctrine that showed no qualms about creating new historical monuments based on doubtful historical records. The born in the 20s idea of the residential art centre lived to see its fulfilment in the Polish People's Republic in the form of a luxurious, as for those times, holiday house for meritorious artists and workers of the ministry.
Some years ago, the authorities realized the anachronism inherent in this mode of operation and began the process of reorganization of the institution a cultural centre per se. In spite of the ongoing disputes about its future the Residential Arts Centre in Wigry became an institution of undeniable significance for the artistic culture of our country, as well as an important contributor to the regional development. Since 1999, the year Wigry hosted a two-day visit of John Paul II, the place has increasingly become the target of pilgrim type of visitors. Both factors: the development of an institution dedicated to art and the existence of a centre of religious worship should find their reflection in the schedule of the activities of the Wigry Residential Arts Centre.
More on The Residential Arts Centre in Wigry
A Visit to Prof. Andrzej Strumiłło in Maćkowa Ruda
Prof. Andrzej Strumiłło - Resident at Maćkowa Ruda. He studied at the State Higher School of Fine Arts in Łódź and the Fine Arts Academy in Cracow graduated with diploma in 1950. In 1949-1953 lectured at both academies. In 1977-1980 adjunct professor at FAA in Cracow, 1982-1984 worked at Graphic Presentation Unit of UN Secretariat, New York, 1987-1988 - lecturer at the branch of the Warsaw Theological Acadaemy in Suwałki. In the early 80s settled in the Suwałki region, in the village of Maćkowa Ruda.
For over 50 he has been practicing art in many disciplines: painting, sculpture, drawing, photography, poetry, scenography, book illustration and design and other fields. His achievement includes over 120 individual exhibitions home and abroad and 250 publications. He is the author of two volumes of poetry, one volume of memoirs and books on nature and culture. Summing up his artistic journeys he created cycles of drawings and photographs, inter alia, from China 1954, 1961; Italy 1957; India 1959, 1970, 1972; Nepal 1974, 1980; Japan and Thailand 1987. His collections of works of art and artefacts of material culture from Far and Middle East enriched the collections of the Ethnographic Museum in Cracow and the Museum of Asia and Pacific Ocean in Warsaw.
He has also actively participated in various activities for the benefit of the development of Suwałki and the region, including the projects aiming at the revitalization of the city; he is a member of the chapter of "Włócznia Jaćwingów" ("The Spear of Sudovians") and the City Culture Council. Prof. Strumiłło is an expert on the culture of the region and popularizes the borderland art and cultures as well as the natural values of the Suwałki region. He is the organizer and manager of the "Culture and Environment" Meetings and the International Sculpture Open Air Workshop "Integrart". He has been laureate of numerous awards and prizes, in 2000 granted the Order of the Rebirth of Poland, awards of the Marshal of Podlaskie Province and President of Suwałki. In 2005, he received a prestigious award of the Minister of Culture - the Gold Medal of "Gloria Artis". In acknowledgement of his contribution he has been honoured with the titles „Meritorious for the City Suwałki" in 2001 and "Honorary Citizen of the City of Suwałki" in 2002. He lives in Maćkowa Ruda on the Czarna Hańcza River, Suwałki region.
Puńsk
Once, the area of today's Puńsk belonged to the former Sejny Forestry. In the past stood here a manor house, the headquarters of the Forestry. At the turn of the 17th century, Stanisław Zaliwski, Lithuanian standard-bearer and Sejny Forester set about turning Puńsk into a municipal centre. In 1597 he founded and provided for the local parish church and allowed organization of trade fairs on Sundays and religious holidays. In the documents from 1612, Puńsk is already called a town, although most probably it received the town charter only in 1647 from king Ladislaus IV. It became thus king's town, and the third (after Berżniki and Sejny) town in the Sejny region. It lost its town rights in 1852. After the First World War, in 1919-1920, the Sudovian region was contested and became a scene of Polish-Lithuanian war. In 1920, Puńsk together with the neighbouring villages was incorporated into Poland without carrying any consultations among the local residents. The established then administrative borders of the region exist until today. After 1920, the inhabitants of Puńsk and neighbouring lands were forced to submit to new local administration. Most of the inhabitants of Puńsk in that period were Jewish. Most of the trade and services of the town were concentrated in their hands. The vestiges of the Jewish past are the old, post-Jewish houses, the building of the synagogue and, situated near the town, large Jewish cemetery. In 1934, a great fire demolished the town of Puńsk; as a result it was rebuilt obtaining a new layout of a country town. After the Second World War, Puńsk became a cultural capital of the Polish Lithuanians.
Old Parsonage (Regional Chamber)
The Chamber was established in 1995 in a hundred years old wooden building standing near the church in Puńsk. At first it was used as a place of meetings of the members of folk groups. Later, there were attempts to organize here workshop of weaving, social meetings and gatherings and art exhibitions. The first exhibition of traditional fabrics provided foundation for the fabric archive. There is also a department of artefacts of ritual art.
In the interior of the house still active are exhibitions of the former folk costumes, folk handicraft: fabrics, wooden sculp-ture, portery, paper cut-outs, paintings and wickerwork.
Puńsk Open-air Ethnographic Museum
It was founded in 1986. It consists of a sumptuous country-farm from the turn of the 20th century. It consists of a house, barns, a cow-shed and a granary (świroń) and a well with a crane. The house preserved its historical 19th century interior. The cow-shed houses an exhibition of the tools and utensils used formerly by local farmers.
The Open Air Museum is a venue of cultural events, concerts and the Barn Theatre Festival.
In 2007, Puńsk obtained the Lithuanian Centre of Folk Cultre, which is situated in the neighbourhood of the Open Air Museum. Its new facilities nów include a museum and an inn ("Użeiga").
Worth paying a visit is the building of the "Zajazd Puński" (the inn) - a wooden house built according to the rules of the 19th century architecture with a traditional interior.
Events
Concert of the Vertical Ensemble at the White Synagogue in Sejny on November 21, 2008
Arranged with precision by the composer. In a slightly perverse, sometimes witty manner she draws on various musical traditions. Musical passages are interwoven with free, energetic improvisations by individual musicians.
All compositions have behind them some type of story and every listener can find something special for themselves. We are interested in different kinds of music: traditional music, rock, jazz, metal, pop... .
Musical authorities for us are: Czesław Niemen, Slava Ganelin, Vladimir Vysocki, The Cracow Klezmer Band, Mr. Bungle, Cinema, Richard Bona, Dj CAM and others.
Creation means for us strong spiritual experience, it cannot bear any falseness, because people will not be able to understand it. And if they hear the things we wish to get across it means the composition has some value.
Vertical cooperates with the artist Stanisław Buinicki... we bring together music, painting and theatre.
Listen to the Vertical Ensemble
Concert of the Bornus Consort Ensemble
at the White Synagogue in Sejny on November 22, 2008
Many years ago, the singers of Bornus Consort were first in Poland to make an attempt at the historic reconstruction of the sound of a historical vocal ensemble. In their work they used the available in Europe historic sources enriched with their own research and reading of old treatises, musical manuscripts and old prints. The pioneer performances of the Polish music from the turn of the 17th century constitute nów the canon of the Polish music industry.
The interests of the Bornus Consort gradually evolved towards ancient music. Their first significant undertaking in the mediaeval music was the performance of the 13th century liturgical drama "Ludus Danielis" at the Great Theatre in Warsaw, in 1984. Almost one hundred performances of the drama performed later all over Europe marked the beginning of an intensive exploration of the genre. Today the ensemble deals mostly with the 13th century liturgical monody. Intensive work on the mediaeval vocal techniques, studies of modality, i.e. the forgotten in the western culture art of monodic singing along as well as close co-operation with traditional singers, acquaintance with the living traditional liturgies and their methods of singing, opened before the singers completely new perspectives of approaching the vocal art in general. Enriched by their experience, they sometimes turn to more recent polyphonic music, presenting, as a rule, its new and always surprising interpretations.
Ensemble Members:
Robert Lawaty
Robert Pożarski
Marcin Bomus-Szczyciński
Cezary Szyfman
Mirosław Borczyński
Stanisław Szczyciński
Listen to the Bornus Consort Ensemble
Hymns to the Saints
When a new saint is raised to the altars, he/she should receive from their faithful a new hymn. According to tradition the hymn should not be a recent one. As a matter of fact, it is not new at all. Some existing hymn, praising the virtues of some other believer already earlier recognized as a saint, is usually slightly adapted for that purpose. One, two or three stanzas receive new or modified content, describing the heroic virtues of the celestial novice. The melody and most of the lyrics remain unchanged. If we do not know an earlier version of the hymn, there is no reason we should boast about its "originality", the way we usually do, e.g. about the Polish Bogurodzica (The Mother of God) hymn. It only means simply that we do not know its earlier version, though it must have been certainly sung earlier in the past, somewhere else in the world and in some language. And that's all we may say about it.
And also the saints themselves, although born always at some concrete place and time, and with their single service multiplied the weal of concrete lands, people and nations, in their own celestial life belong already to no nation or language. They intercede for everyone who turns to them in their prayers. They are no Jews or Greeks anymore.
The form of the hymn suits the universal idea best. The hymns are sung in Latin, but also, if need be, in Polish. We can also sing them, for that matter, in any other language. We can choose their melody equally universally - simply the way its composition fits the lyrics best. We shall sing any melody we all know. Sometimes, in the 16th century hymn books we encounter a standalone text without notes provided with a remark saying: use such and such melody (usually it does not communicate much to us nowadays) or use that melody (which still means nothing to us) or use any melody you like - sounds eventually the Salomonian solution.
And so we sing hymns, or religious songs. It is our Parthenomelica - favourite songs. They come from different sources, different epochs, used to have a variety of lyrics, and an innumerable quantity of melodie and lingual variants. Most of them are monodic hymns, so archaic that they are intelligible in their form to all Indo-European peoples from India to the Atlantic. They are also polyphonic compositions, such as Congaudeat ecclesia with a melody coming from Santiago de Compostela, Magnificatby Mikołaj of Radom or Ortus de Polonia harmonized by Jerzy Liban.
Antiphone Ortus de Polonia from I Vespers on Feast of St. Stanisław, Library of the Wawel Chapter in Cracow, 15th c.
Psalm 112 Laudate pueri Dominum
Antiphone Ortus de Polonia. A version for 4-voices composed by Jerzy Liban ca. 1501, included in the treatise De Accentuum ecclesiasticorum exquisita ranione, Cracow ca. 1539 Hymn Fulget in templo from Laudes on Feast of St. Adalbert, The Hymn Book of Cracow Dominican Friars 15th/16th c.
Hymn Congaudeat ecclesia from the Vespers of St. Hedwig of Silesia from the Antiphonal of the Cistercians of Lubiąż, from about 1280, with the melody of Congaudeant catholici according to the 12th c. Codex Calixtinus, Santiago de Compostela
Hymn Gaude Mater Polonia from I Vespers on Feast of St. Stanisław, credited to Wincenty of Kielcza ca. 1260, Library of the Wawel Chapter ca. 1320
Hymn Bogurodzica (The Mother of God) according to Parthenomelica by Bartoszewski, together with the sequence Narodził się nam (He was Born for Us), Vilnius 1610, Raczyńskis' Library, Poznań
Hymn In hoc Hyacinthi iubilo from I Vespers on Feast of St. Jacek, Archives of the Dominican Friars, Cracow, 16th/17th c.
Antiphon Gaude solum sleziae from I Vespers on Feast of St. Hedwig of Silesia from the officium Fulget in orbe dies from the Antiphonal of the Cistercians of Lubiąż, 13th c. Magnificat - tone VI. A composition for 3-voices by Mikołaj of Radom from early 15th c., National Library in Warsaw
Antiphon Gaude solum sleziae
Benedicamus Domino - a Franciscan organum from the Clarissian Convent in Old Sącz, 13th c.
Black Light Installation by Piotr Kurek
Piotr Kurek prepared especially for New Agora Symposion in Sejny an Installation Black Light.
An idea and an impulse come from the light arising from the darkness, which is the appearance and transfer of knowledge.
The Installation consists of a string of light bulbs spaced between the former Yeshiva and the White Synagogue in Sejny. The Girlands spread aleatorically in many various directions, connecting the cornices of both buildings and creating thus a multidimensional bridge between them (See the Bridge-Builders). All the bulbs were black and covered with impermeable paint. Only a tight string over the holder let in a minimal amount of light. Apparently this method of spacing the bulbs associates with a feast, but not an amiable and ludic feast, but a hard and a long one (the process of knowledge).
Black light is paradoxical, but as Roland Barthes said: Here meaning is only a flash, a slash of light, and quoting Shakespeare: When the light of sense goes out, but with a flash that has revealed the invisible world.
The meaning of light goes out in the words "black light" to simultaneously confirm the symbol of knowledge arising from darkness. The majority of rules based on the world's dichotomy refer to the difference between light and darkness.
As Heidegger said: Once, however, in the beginning of Western thinking, the essence of langugae flashed in the light of Being.
If we want to build a bridge today, we must turn out the meanings. I do not think that a bulb painted in black posseses such a force. But it can encourage a deeper reflection, encourage to ask questions about the meanings or to start the process of broadenind the horizons of perception.
Exibition of the Calendar of Memory according to Bruno Schulz
by Mira Żelechower-Aleksiun
From the author:
The direct impulse for the creation of the cycle Calendar of Memory according to Bruno Schulz came with my reading of the text by Jörg Schulte originally delivered by its author at Bruno Schulz Conference at KUL (Catholic University of Lublin), in 2002.
My guide became the lecture analysing the Treatise on Tailor's Dummieswhich according to the lecturer must have been written using the code of the Jewish calendar. Following this trail I discovered that the holidays of the Jewish calendar f ind their reflection in the 13 stories corresponding to the pages of the Jewish calendar. My experience of the study, reflection and painting of Torah allowed me easily to build the images that would reflect particular months, their readings and holidays. I used also quotations, drawings and supplemented the pages with texts from other stories.
A year ago I co-operated as scenographer with the Double Edge Theatre in Massachusetts (U.S.A) which was preparing then a performance based on Bruno Schulz's texts and letters. The first pictures of the Calendar of Memory I painted there and exhibited during the performance (La Ma Ma Theatre, New York, 2007). In this way I paid my tribute to the memory of Schulz, the memory of the obliterated Generation, also that of my Father's. When I finished the cycle I felt grateful to Grzegorz Bral for giving me the opportunity to display my pictures in the interior of the Wrocław synagogue during the Brave Festival 2007. My contact with the audience started to bring back to me the energy which seemed to have run out during work, as if in my homage to the memory I had become utterly absorbed by compassion. Therefore, I am also grateful the "Borderland" Centre for the opportunity to present my work on their premises.
Extract of a review of Małgorzata Kitowska-Łysiak's exhibition:
The Schulz's Calendar Cycle, painted by Mira Żelechower-Aleksiun, was directly inspired by her cooperation with the Double Edge Theatre - an American theatrical group that staged a performance based on Bruno Schulz's prose. (...) Mira Żelechower-Aleksiun was invited to cooperate by her friends from the theatre to prepare the scenography for the abovementioned play, and at the same forced to reach back towards its source, i.e. the reading of The Cinnamon Shops. Designing the theatrical space, she simultaneously penetrated the multi-layered space of the literary text. She found here the well known to her rhythm of the Jewish calendar some years earlier noticed and convincingly described in an interesting article by a young German explorer of Schulz, Jörg Schulte. The text was titled The Great Chronicie of Calendar. The stars, Jewish calendar and astronomical myths in the stories of Bruno Schulz. For obvious reasons it would be difficult to analyse the article in detail at this point, readers are advised to refer to its text and read it on their own; let me just say that at the basis of Jörg Schulte's observations lies the awareness of the fact that the Hebrew leap year consists of thirteen months and the fact that The Cinnamon Shops contain thirteen stories (assuming that each part of the Treatise on Tailor's Dummiesconstitutes a separate text). The scholar traced also all astronomical signs in the remaining stories by Schulz, including one outside the two-volume canon (I mean here, of course, the fact that The Comet was not included in The Cinnamon Shops..., or The Sanatorium at the Sign of the Hourglass). The featuring in the story metaphor or "the key to hidden constructions" for both collections of Schulz's prose. Jörg Schulte carried out also a detailed and intricate analysis of the images emerging from the verbal inventiveness of the writer.
For someone of such complex background and biography as Mira Żelechower-Aleksiun, the reading of Schulz's prose as "a great chronicie of calendar" and, what is more, translating that into images, presented little problem. It is, however, easily said only today, when the paintress has had behind her the experience of following different paths of experience, the experience thanks to which the Schulzian cycle became almost a natural crowning of her spiritual and artistic search, in a way rounding off her life and art. The cycle belongs, obviously, to a wide range of interpretations of Schulz's biography and his literary and artistic output, but at the same time it creates an impression of a visual recapitulation of the artist's experience of the self. The palimpsest structure of each of the thirteen pictures requiring a complex intertextual interpretation does not blur the deep connection existing between the images and her own spiritual initiation.
The journey on which Mira Żelechower-Aleksiun embarked to reach the conclusive pictorial effect was not a journey through the history of painting in the second half of the 20th century. It was much more a journey inside the self, and its result an initiation into her own identity. In the 60s and 70s, and even in the early 80s, the artist practiced the art popularly referred to as "New Figuration". Some critics would sometimes label her work "magic realism", which can be interpreted as a clear anticipation of her further individual-artistic life. Such perspective would also incorporate the "pages" of her Schulzian Calendar. What is interesting, the same term is also sometimes used in reference to Schulz's fiction. In many cases it is used just as a kind of a buzzword, here however, in both Schulz and the paintings (earlier and recent), it seems well-founded. In her "earlier" art, Mira Żelechower-Aleksiun willingly crossed the boundaries of various types of reality, combining commonplace with elements of festiveness. She used the, close also to Schulz, poetics of grotesque whose apparent essence is the confusion of categories. On her canvases, among daringly juxtaposed, harsh tones, one can discern expressively depicted, sharply modelled figures and objects, set usually in provocatively, as if surrealistically, arranged interiors of unusual climate.
Many years ago the artist departed from her original motives but it seems to me that the core of her creation remained intact: she is still interested in the coexistence of ordinary and uncommon realities. After her journey to Israel, undertaken by her in the late 80s, she turned to the roots, traditions and religious texts; as if saying after Goethe, and then after Schulz: "she went down to the Mothers", and experienced, in Marek Rostworowski's words, "personal revelation". Since then she has often been invoking the Scriptures - at times even she quotes its fragments in her paintings. The Scriptures, also in its literal meaning - became for her the sign, sometimes an autonomous one, on other occasions in harmony with her artistic vision from another world. Her compositions include biblical symbols, cabalistic signs and semi "ethnographically" treated, reminding one of Chagall, objects of Jewish everyday life. A ladder, a column of fire, but also Mount Sinai, the Wailing Wall, the mazevas on a ruined Jewish cemetery, Jews at a provincial fair etc. all reveal a vision of the world viewed as a whole, from an overhuman perspective, a cosmic vision.
Mira Żelechower-Aleksiun spins a multi-layer narration - depicting the tiny particles, vestiges of both past and presents, hidden in various niches, ravines, rocky rifts which only seen from the top arrange themselves in readable sequences. The logic of their interpenetration is also reflected in the painting technique - slight, glimmeringly pulsating strokes of her brush. The colours usually almost sparkle, and the mood is full of belief in the realization of the depicted vision. Her works painted under the influence of the mentioned above journey „from the Holy Land to the Promised Land" are distinguished, as Wojciech Skrodzki writes, by "the polyphony of meanings". The main hero of her paintings from the 70s - man - who used to be the focus of artist's interest - years later becomes to be perceived from a more distant perspective: no longer an existential but a mythical one. The human figure shrank, became but a small particle of a greater whole, a drop in the ocean of time. For many years Mira Żelechower-Aleksiun explored mainly her own consciousness of the roots of current reality in the general myth. The Schulzian Calendar seems to be an exploration of the myth, experiencing it through the agency of reading (Schulz's fiction), a reading of the reading (of Schulz's fiction as read by Jörg Schulte) and a reading of the image (Schulz's photographic portraits, his drawings and prints from the Book of Idolatry, as perceived by the artist herself)- The tearing down of the triple veil is not easy. The intertextual riddle which the artist offers her spectators, as I said before, is difficult to penetrate. The pictures cannot be passed over in a hurry. It is necessary to stop; to be with them; to scrutinize them, to "read them" by stratifying them and then again and again looking into their meanings.
The thirteen pages of the Calendar make a cycle of a finely thought-out significative construction; we watch a conglomerate of biblical symbols and astronomical metaphors as well as the "duplicates" of well-known characters and scenes drawn from Schulz's fiction, drawings and engravings, with images of the father and "feminine idols" in the foreground. It is also an arresting work of art as regards the painting technique; the artist clashed here two conventions: the vibrating, glimmering tissue of her own works of the recent decades with the fairly raw realism of the modelling of the human figure - the representations of Schulz's heroes are artistic quotations from her own compositions. The Calendar is also an unusual work from the point of view of the history of the reception of Schulz's creativity; doubtlessly one of the most outstanding. It is not confined to its pictorial layer but reaches deeper into the sources of the Schulzian oeuvre. It grows out of the sense of integrity of the Schulzian world, where concrete melts with visionary, a written word with a picture, an archetype with a linguistic innovation, the consciousness of the established visual iconographic patterns in art with the courage of their transposing, the seemingly anachronic tradition of the 19th century realisms with the skill of using poetics of modernity (surrealism), the courage to familiarise both of them and provoke modern audiences. All these aspects determine the individual tone of the author of the Cinnamon Shops...
About her experience, in her own voice speaks here also Mira Żelechower-Aleksiun herself. This time her voice resonates with Schulz's voice."
Małgorzata Kitowska-Lysiak