Aleksander Fiut writes in escape from history,
accompanied by
a retreat from the fatherland
(ucieczka od
historii
rejterada z ojczyzny
). While Fiut
successfully argues this point with regard to Olga Tokarczuk's first
two novels,
It is difficult to imagine an English title for Prawiek,
which can be translated as the long ago
or time
immemorial,
is, in the novel, a place, a small
town. Inne czasy
refers literally to other
times,
but also to other events in space, for the novel is
arranged in small units, each of which is called a
czas,
a unit of time, or a pulsation, which can be
measured only by the event which occurs within it. Indeed, Tokarczuk
continues this sense of spatialized time—or temporalized
space—in the novel's first sentences: Immemorial is a
place which lies in the center of the universe. To walk across
Immemorial from North to South takes an hour, walking quickly. The
same from East to West. And if someone wanted to walk around
Immemorial, not hurrying, looking at everything carefully and
thoughtfully—that would take an entire day. From morning to
night.
[my translation]
The novel goes on to tell the history of the town by relating the stories of its inhabitants, their animals, their guardian angels, their possessions, their God, and their land. There are clues which reveal that this history begins with the First World War and ends sometime in the seventies, but never are we given exact dates.
heroine
can really be identified). Tokarczuk, in
interviews, claims to be upset by the careless classification of her
book by some reviewers as a collection of short stories, and
rightfully so—Ona
(She
):
Every single thing, even the tiniest one, is a part of a bigger
thing, and the bigger things are an element of the great, powerful
processes, so every little thing must have a purpose which plays a
part in the general meaning.
It is, however, a novel which
counters the traditional concepts of time and space with a distinctly
feminine unity of events.
Tokarczuk herself characterizes her
treatment of historical events in her latest two novels as
history from the kitchen
(historia z
kuchni,
personal interview, March 11, 1999). This paper posits
that Tokarczuk uses women's gossip
to narrate the
history of twentieth-century Poland. Drawing on the work of such
feminist theorists as Joanne Frye and Susan Lanser, I explore her
implied question of whether there isn't a particularly feminine sense
of time and space which requires that history be told not in the
traditional, linear way, but in another way altogether.