the first time on Light sensitivity Peter Gajda landed in a collection of poems presenting the winners of the VII edition of the National Poetry Competition them. CK Norwid. I returned to this text many times, I went in the claustrophobic images straight from the hostel in a dark hallway , poring into the darkness every now and then a light bulb asthmatic. Finally, I read aloud, each time repeating as a mantra: still get a poem .
When I got a copy of the original corpse, a volume from which the Light sensitivity , was obviously the first line, which searched the contents. And there met me a surprise. The text, which not so long ago made a huge impression on me, here presented a more modest, was somewhat less, with no more evocative images. Has he lost his power by the destruction and what is usually called the liquidity of a poetic narrative? It's hard to say. Certainly there is still one of the best poems that I've recently read. Tied for first impressions, very long time I wondered which version of photosensitivity highlighted here. I decided ultimately on the volumes, because it is the last authored a variety of text and therefore treat it as binding. below the line and a brief conversation with Peter Gajda. Feel free to comment and share their insights. Light sensitivity
soul escapes as gas from the stove, the body prodiż,
a copy of current . I took out the child from him,
burned and black. Do you like the smell of markers , daddy,
draw sun? Take a yellow to Draw the navel
rays and turns me to stop bad dream.
whom, my daughter? Mother, with whom I plant in the polar night
forest, to the chilly morning did not run out of fuel? Me
he stared at the asthmatic bulb until it went blind
and heard, as darkness disappears before it is dry
cough? Belonged to her, you hid in the corners
or in a dark hallway. You gave us, and received, and now
scorns in hell. We still have electricity and visit us
sparks, from which is not clearly. Our shadows are getting
gray. Heart beats under the floor of the mouse.
Robert Rutkowski: kwestianajważniejsza It is not, let me, however, that from the start. I've read at least trzywersje photosensitivity. Jepublikowałeś Why? There was better to wait for the version you uznałbyś for the final?
Piotr Gajda: Yes, it should be clarified. As you know, observant poet "makes the poem" to the end, zezrozumiałych reasons, while being not only its author but also jegopierwszym reader and critic. The question is, where he puts the turning point, indicates the point at which considers your text finished. For me, this publication chwiląjest line in the book, not in a literary magazine, not in Interneciei not, say, in some anthology of the competition. Of course, on the muddy path wchodzimytutaj because printing several versions of the same row in różnychmiejscach is evident lack of discipline, but a certificate of epistemology.
RR: Czytomikowa version of the line is the result of your work on the text, or perhaps raczejwspółpracy with Przemek Shepherd, who was editor corpse? How do you work at all if it's not a secret? "You give the bear the images, and then they" clean up ", or maybe pisaniajest strictly subordinated to the process of thought and what you want the text to say?
PG: "Przepracowywałem" Light sensitivity once, maybe twice, because after the publication of its first version (bodajżena Poetry portal Poetry Poland) I was amazed when readers odebraliten line only as text on infanticide, referring to strasznegozdarzenia of Lodz (social reasons, his mother murdered his nowonarodzonedzieci there, and then together with her husband was hiding them in barrels .) Meanwhile, a wspomnianejzbrodni I do not think, I did not take it into account as leitmotivu my story. Therefore, in order to escape from this interpretation, resigned from one of the props line, which originally was just so clearly associate a barrel. Already during his collaboration with Przemek my Shepherd took yet innąpostać line - especially in puencie. Here I must go back a bit to the story. Well Przemekbył also the editor of my debut. Then I refused to żadnezmiany hostel in the system, and zaledwiena cosmetic changes in the matter of lines. This time I agreed nawszystko, because at one point lost certainty as to whether the written wystarczającodobrą to afford the comfort of not taking the wiadomościżadnych comment on its content and structure. And my editor and the lines in the podszedłdo their original form rather critically. This is why he interfered razempozwoliłem much deeper into the structure of the text, preserving the complete independence oczywiścieprzy, because the whole time talking about the form and content nieo. To be honest, it's my punch line today, I like more than that recorded in the poredakcyjnej. However, the version of the book is wersjąostateczną that line. As for the so-called. ... Always najpierwmyślę technique of what I have to pass and if it's not too selfish; czywiersz, which I intend to write the text will not be addressed solely presumption. Jednym zdaniem, czy jego egoizm nie przeszkodzi mu w zdobyciu się napewien uniwersalizm. Następnie szukam tego, co nazywam „frazą otwarcia”, kluczaotwierającego bramę mojej wyobraźni i języka. Cała reszta to już obszar mistykii intuicji, który trudno jest mi do końca zdefiniować.
RR: Pamiętasz okoliczności powstania tego wiersza?
PG: Doskonalepamiętam, skąd wzięła się jego „fraza otwarcia”. W tym przypadku był to wers: Lubisz zapach markerów, tatusiu...? .Słowa they spoke my daughter, addressing them then to have (a visual artist's wife in the house iakurat performed some contract work, using just tymnarzędziem). This question is somehow fascinates me, because postanowiłemje use. To be able to turn in depth answer to your question, reveal something of their privacy. Well, we have two children with his wife and three powinniśmymieć. And this is the second in the order of the child, whom nature never niepozwoliła come into the world, sometimes I dream. For a long time I carried with him zamiaremnapisania a row because I discovered that in terms of emotional damage ... doświadczampoczucia
RR: I assumed that this is also the row and about, but a matter takdelikatna that I had not dared to ask you about it directly. It is difficult zmierzyćsię of such events in life (say zperspektywy father), let alone literature. Is writing a poem, you felt something żedotykasz elusive, extremely important, yet fragile? Guess is that the care with which to write zasiadałeś light sensitivity had to be a real burden ...
PG: Notak, the poet is usually "skinned man." It is he who makes a public row każdymprawie expiation. In this case obawiałemsię falling into banality, and that my personal experience of emotion brzegów.Dlatego hand had to write under the dictation of the poet, and only the second place poddyktando father. As you know, such a division is a very fine line, because these are poets, we are human beings and vice versa. Będącczłowiekiem fundamentally naive, do not assume in this case jakiejkolwiekkalkulacji.
RR: What is poetry which does not save? I have a feeling that this thought zwiersza Czeslaw Milosz, you must be very close. With this thought I read Hostel and delay.
PG: Zwiekiem the world around us seems to be the only burning; naszychmarzeń and youthful ideas. As poets, we are able to save wyłącznieduszę because the body and in the end annihilation. We must constantly renew themselves wykrzesywaćz acts of the spirit, rather than focus all its attention exclusively on aktachnotarialnych. Not think straight oratowaniu entire nation, let's start saving one man - himself.
RR: In photosensitivity niemalwszystkie constituent features, I find your poetry: suggestive, rather klaustrofobiczneobrazowanie, smooth, despite its density of phrase and characteristic anxiety, which says that there is something in that line, something that takes on drugimplanie, beyond words. Light sensitivity mogłabysię probably no problem to find a hostel , who can say, takes place within the four walls of the world.
PG: Niemógłbym deny. I'm not going. The question is whether the writing is still about the same in the end it becomes sterile? Czykonstruowanie own world with that specific jurisdiction is a mistake, or poetyckadojrzałość?
RR already answered these questions? In that Page goes Piotr Gajda wswojej next book?
PG: Tojedno of these questions, which in par answer, actually I do not want. Roi to me only in my head that tymrazem try to move away from the burial of the ashes, in so far as it is possible to tow my case.
RR: Napoziomie have the same text Light sensitivity is to me a touching poem about the futility and try to go beyond it. Wsamym language of the poem feels Instead resignation, sterility podejmowanychwysiłków to overcome this futility. An alternative to dark scenery tegotekstu is light, which was to be a child, but it turns out to be burned and black , and therefore doomed naciemność at the time of the birth (including how many Cioran, from which you quote served as the motto of the book of poems). Word is also the key pojawiającysię in the first and third stanza electricity, which interpret the bergsonowsku. Najbardziejprzejmujący but for me it is mentioned theme of light, true, natural light, which in principle (apart from the title) in this row are not talking about ma.Gdy light, it is artificial (drawn in the sun, which, after all mimonajlepszych desire will not shine, a light bulb, which at the moment chwilęprzerywa darkness, and finally the spark from which no is not clearly ). There's a gray and quiet, the only którejsłychać mice beating heart and an irregular cough jużastmatycznej said bulb.
PG: WspominającBergsona and Cioran's start with the fact that the latter eventually porzuciłoptymistyczną philosophy of this first, becoming the nihilist egzystencjalnym.Jakże cioranowska futility of human existence is familiar to me! How wszerszej run our lives justified? If they do jegorozbioru, piece by piece, would remain the same as his głównysens procreation, and in addition the most important one, not obscured by any religion, or filozofią.Pozostałe our efforts are in vain against the inevitable death, have swojeuzasadnienie only a desire to extend their gatunku.Literatura is only a trick of becoming subordinated kimśnieśmiertelnym delusion, attempt to "life after death" due to left in memory innychludzi śladowi, that really is one in a million chance to live as long, like our children, cultivating in a sense memory of us in własnymżyciu. Just because no appeal to me the arguments that my poezjajest too pessimistic. Writing about our fate is a determinate type przecieżswego catharsis.
RR interpretujędwojako last verse: lyrical vegetating body and listens to the beating heart in mice oczekiwaniuna death, because nothing no longer happen, and if it did, and so niebędzie brighter, or just accept such a force, which suggests owobijące heart. Anyway, both my reading too optimistic są.Co not going to say that punch line?
PG: Oprócztego, as mentioned, also says the punch line of courage. Such a kind of courage, which - despite the fact that from birth we are brought before the face of death, allows us to deal with destiny, even if it is bravery myszypostawionej meet eternity.
RR: Coten verse says about you?
PG: Zarównoten poem, like all others, which have so far written and published, he says about me but the truth. I do not stylises life I live.
__________
PiotrGajda (b. 1966) - author of books of poetry: Hostel (London 2008) and Latency (London 2010). Poems published, among others in the arteries, "" Brick, "" Frazier "," Options "," Toposie "and the" crucible of Culture and wantologii Lodz rookies "on the ridge" (Lodz, 2008). Nominated for nagrodygłównej Competition. Jack Bierezina (2007). Winner of several konkursówpoetyckich, including them. KK Baczynski, to them. W. Bak ("String Orficka"), im.W. Gombrowicz ("Against Poets"), to them. Z. Herbert ("The lily leaf"), im.Brunona Jasienski (Euterpe on Wichrowym Hill ") them. M. Kajki, to them. Wł.Reymonta, to them. W. Sulkowski. He lives in Tomaszów Mazowiecki. Together zKrzysztofem Tongs leads BiałaFabryka blog.
