Cosmos
Witold Gombrowicz
Cosmos
Translated from the Polish
by Danuta Borchardt
Grove Press
New York
Copyright © 2005 by Rita Gombrowicz.
Original Polish edition, published as Kosmos,
copyright © by Rita Gombrowicz
and Institut Littéraire, copyright © by
Wydawnictwo Literackie, Kraków, 1896, 1994.
Translation copyright © 2005 by Danuta Borchardt.
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Published simultaneously in Canada
ISBN: 9780802195265
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To my husband, Thom Lane, with gratitude for his support, both technical and personal, in the course of the translation
—D.B.
Translator’s Note
When I read Cosmos many years ago, I thought how beautifully it would read in English. I translated a couple of chapters and submitted them to Professor Stanislaw Barańczak. I was diverted to translating Ferdydurke, Witold Gombrowicz’s ground-breaking first novel. Now I have come back to Cosmos, for which Gombrowicz won the Editor’s International Prize for Literature, second in importance only to the Nobel Prize, in 1967. This is the first translation of Cosmos directly from the Polish.
Cosmos is now considered by some to be the most private of Gombrowicz’s works. It is a starkly self-revealing work by the man who, in his Testament—Conversations with Dominique de Roux, said about himself: “I am a humorist, a clown, a tightrope walker, a provocateur, my works stand on their head to please, I am a circus, lyricism, poetry, terror, struggle, fun and games—what more do you want?” This is what one faces in the process of translating his works, particularly Cosmos. The novel calls for empathy, focusing beyond the nitty-gritty of the narrative itself.
Gombrowicz’s style has been described as “mad, breathless, sometimes jerky, sometimes lazy.” Imagine the task confronting the translator who must find the appropriate words in order to accomplish, in English, what Gombrowicz has set before us, and for which, in the end, he provided no solution—only chicken fricassee for dinner.
Let me mention some of the dilemmas I encountered while translating this work.
Generally speaking, to convey the sense of the work (its characters, themes of darkness and obsessions) as it developed under his pen, Gombrowicz used long sentences, repetitions, lists of words, many of them without commas. I have left these elements unchanged.
Considering that departure from home is one of Gombrowicz’s themes, the oscillation between the English “house” and “home”—the word in Polish, dom, being the same in both instances—required particular attention.
The words “shame” and “embarrassment” are in Polish one and the same word, wstyd. It was important to decide which of the two nuances Gombrowicz had in mind when talking about Lena and her cat. She was, I decided, ashamed of the cat.
In order to develop the onanistic theme of the book, Gombrowicz chose the Polish expression swoj do swego po swoje, which he used to convey a succession of meanings. Literally it means “himself to his own for his own,” and it refers to buying stuff from your own people—a distant cousin to “buy American,” or, more personally, “getting one’s gratification from one’s own.” It first appears, innocently enough, in one of Fuks’s remarks as early as the second chapter of the book, and then, in the second half, it gathers momentum and gravity as Gombrowicz gives it self-gratifying, onanistic implications. It seemed necessary to use a progression of English expressions—from Fuks’s “whatever turns you on,” to Venomie’s “her own self, just for herself”—to achieve a satisfactory effect without violating the original text.
One of the central characters, Leon, uses many odd, even bizarre, inventions in his conversation. For example, he creates the nonexistent Polish word mlimli, which hints at milk. I thought that “milkie” was, linguistically and phonetically, an adequate transposition into English. Another example is Leon’s incorporation into certain words of the Latin um, which led me to such translation as “miraculum miraculosum” to convey his “latinizing” tendency. Another of Leon’s oddities was the word berg. It does not exist in the Polish language and I left it untranslated in the English. In its multiple permutations it occurs in Cosmos more than one hundred times, as a noun, a verb, an adverb, etc. Leon not only uses it as a masturbatory word but also gives it other, though related, meanings, some of which I translated as “penal-berg,” “lovey-doveberg,” “pilgrimageberg.”
While translating the initial passages about Ludwik and his hand, I had to be aware that these were the foreshadowing of things to come, and to adequately convey their significance in my translation.
Gombrowicz said, “Cosmos for me, is black, first and foremost black, something like a black churning current full of whirls, stoppages, flood waters, a black water carrying lots of refuse, and there is man gazing at it—gazing at it and swept up by it—trying to decipher, to understand and to bind it into some kind of a whole . . . ”
As the translator of Cosmos, I have the hope of having transmitted no more, no less than what Gombrowicz himself had given us.
—D.B.
Cosmos
chapter 1
I’ll tell you about another adventure that’s even more strange . . .
Sweat, Fuks is walking, I’m behind him, pant legs, heels, sand, we’re plodding on, plodding on, ruts, clods of dirt, glassy pebbles flashing, the glare, the heat humming, quivering, everything is black in the sunlight, cottages, fences, fields, woods, the road, this march, from where, what for, a lot could be said, actually I was worn out by my father and mother, by my family in general, I wanted to prepare for at least one of my exams and also to breathe in change, break loose, spend time someplace far away. I went to Zakopane, I’m walking along the Krupówki, thinking about finding a cheap little boarding house, when I run into Fuks, his faded-blond, carroty mug, bug-eyed, his gaze smeared with apathy, but he’s glad, and I’m glad, how are you, what are you doing here, I’m looking for a room, me too, I have an address—he says—of a small country place where it’s cheaper because it’s far away, out in the sticks somewhere. So we go on, pant legs, heels in the sand, the road and the heat, I look down, the earth and the sand, pebbles sparkling, one two, one two, pant legs, heels, sweat, eyelids heavy from a sleepless night on the train, nothing but a rank-and-file trudging along. He stopped.
“Let’s rest.”
“How far is it?”
“Not far.”
I looked around and saw whatever there was to see, and it was precisely what I did
n’t want to see because I had seen it so many times before: pines and fences, firs and cottages, weeds and grass, a ditch, footpaths and cabbage patches, fields and a chimney . . . the air . . . all glistening in the sun, yet black, the blackness of trees, the grayness of the soil, the earthy green of plants, everything rather black. A dog barked, Fuks turned into a thicket.
“It’s cooler here.”
“Let’s go on.”
“Wait a minute. Let’s sit down a while.”
He ventured deeper into the bushes where recesses and hollows were opening up, darkened from above by a canopy of intertwining hazel branches and boughs of spruce, I ventured with my gaze into the disarray of leaves, twigs, blotches of light, thickets, recesses, thrusts, slants, bends, curves, devil knows what, into a mottled space that was charging and receding, first growing quiet, then, I don’t know, swelling, displacing everything, opening wide . . . lost and drenched in sweat, I felt the ground below, black and bare. There was something stuck between the trees—something was protruding that was different and strange, though indistinct . . . and this is what my companion was also watching.
“A sparrow.”
“Ah.”
It was a sparrow. A sparrow hanging on a piece of wire. Hanged. Its little head to one side, its beak wide open. It was hanging on a thin wire hooked over a branch.
Remarkable. A hanged bird. A hanged sparrow. The eccentricity of it clamored with a loud voice and pointed to a human hand that had torn into the thicket—but who?
Who hanged it, why, for what reason? . . . my thoughts were entangled in this overgrowth abounding in a million combinations, the jolting train ride, the night filled with the rumble of the train, lack of sleep, the air, the sun, the march here with this Fuks, there was Jasia and my mother, the mess with the letter, the way I had “cold-shouldered” my father, there was Roman, and also Fuks’s problem with his boss in the office (that he’s been telling me about), ruts, clods of dirt, heels, pant legs, pebbles, leaves, all of it suddenly fell down before the bird, like a crowd on its knees, and the bird, the eccentric, seized the reign . . . and reigned in this nook.
“Who could have hanged it?”
“Some kid.”
“No. It’s too high up.”
“Let’s go.”
But he didn’t stir. The sparrow was hanging. The ground was bare but in some places short, sparse grass was encroaching on it, many things lay about, a piece of bent sheet metal, a stick, another stick, some torn cardboard, a smaller stick, there was also a beetle, an ant, another ant, some unfamiliar bug, a wood chip, and so on and on, all the way to the scrub at the roots of the bushes—he watched as I did. “Let’s go.” But he went on standing, looking, the sparrow was hanging, I was standing, looking. “Let’s go.” “Let’s go.” But we didn’t budge, perhaps because we had already stood here too long and the right moment for departure had passed . . . and now it was all becoming heavier, more awkward . . . the two of us with the hanging sparrow in the bushes . . . and something like a violation of balance, or tactlessness, an impropriety on our part loomed in my mind . . . I was sleepy.
“Well, let’s get going!” I said, and we left . . . leaving the sparrow in the bushes, all alone.
Further march down the road in the sun scorched and wearied us, so we stopped, disgruntled, and again I asked “is it far?” Fuks answered by pointing to a notice posted on a fence: “They’ve got rooms for rent here too.” I looked. A little garden. In the garden there was a house behind a hedge, no ornaments or balconies, boring and shabby, low budget, with a skimpy porch sticking out, wooden, Zakopane-style, with two rows of windows, five each on the first and second floors, while in the little garden—a few stunted trees, pansies withering in the flower beds, a couple of gravel footpaths. But he thought we should check it out, why not, sometimes in a dingy place like this the food could be finger-licking good, cheap too. I was ready to walk in and look, though we had passed a few similar notices and hadn’t paid any attention, and besides, I was dripping with sweat. He opened the gate, and we walked along the gravel path toward the glittering windowpanes. He rang the bell, we stood a while on the porch until the door opened and a woman, no longer young, about forty, came out, maybe a housekeeper, bosomy and slightly plump.
“We’d like to see the rooms.”
“One moment please, I’ll get the lady of the house.”
We waited on the porch, the din of the train still in my head, the journey, the previous day’s events, the swarm, the haze, the roar. Cascading, overwhelming roar. What intrigued me in this woman was a strange deformity of the mouth in the face of a bright-eyed, decent little housekeeper—her mouth was as if incised on one side, and its lengthening, just by a bit, by a fraction of an inch, made her upper lip curl upward, leap aside, or slither away, almost like a reptile, and that sideways slipperiness slipping away repelled me by its reptilian, frog-like coldness, and, like a dark passage, it instantly warmed and aroused me, leading me to a sin with her, sexual, slippery, and lubricious. And her voice came as a surprise—I don’t know what kind of voice I had expected from such a mouth—but she sounded like an ordinary housekeeper, middle-aged and corpulent. I now heard her call from inside the house: “Auntie! A couple of gentlemen are here about the room!”
After a few moments the aunt trundled out on her short little legs as if on a rolling pin, she was rotund—we exchanged a few remarks, yes indeed, there is a room for two, with board, please come this way! A whiff of ground coffee, a narrow hallway, a small alcove, wooden stairs, you’re here for a while, ah, yes, studying, it’s peaceful here, quiet . . . at the top there was another hallway and several doors, the house was cramped. She opened the door to the last room off the hallway, I only glanced at it, because it was like all rooms for rent, dark, shades drawn, two beds and a wardrobe, one clothes hanger, a water pitcher on a saucer, two small lamps by the beds, no bulbs, a mirror in a grimy frame, ugly. From under the window shade a little sunlight settled in a spot on the floor, the scent of ivy floated in and with it the buzzing of a gadfly. And yet . . . and yet there was a surprise, because one of the beds was occupied and someone lay on it, a woman, lying, it seemed, not quite as she should have been, though I don’t know what gave me the sense of this being, let’s say, so out of place—whether it was that the bed was without sheets, with only a mattress—or that her leg lay partially on the metal mesh of the bed (because the mattress had moved a little), or was it the combination of the leg and the metal that surprised me on this hot, buzzing, exhausting day. Was she asleep? When she saw us she sat up and tidied her hair.
“Lena, what are you doing, honey? Really! Gentlemen—my daughter.”
In response to our bows she nodded her head, rose, and left silently—her silence put to rest the thought of anything out of the ordinary.
We were shown another room next door, exactly the same but slightly cheaper because it wasn’t connected directly to a bathroom. Fuks sat on the bed, Mrs. Wojtys, a bank manager’s wife, sat on a little chair, and the final upshot was that we rented the cheaper room, with board, of which she said: “You’ll see for yourselves.”
We were to have breakfast and lunch in our room and supper downstairs with the family.
“Go back for your luggage, gentlemen, Katasia and I will get everything ready.”
We returned to town for our luggage.
We came back with our luggage.
We unpacked while Fuks was explaining how lucky we were, the room was inexpensive, the other one, the one that had been recommended to him would surely have been more expensive . . . and also farther away . . . “The grub will be good, you’ll see!” I grew more and more weary of his fish-face, and . . . to sleep . . . sleep . . . I went to the window, looked out, that wretched little garden was scorching in the sun, farther on there was the fence and the road, and beyond that two spruce trees marked the spot in the thicket where the sparrow was hanging. I threw myself on the bed, spun around, fell asleep, mouth slipping from mouth, lips
more like lips because they were less like lips . . . but I was no longer asleep. Something had awakened me. The housekeeper was standing over me. It was morning, yet dark, like night. Because it wasn’t morning. She was waking me: “The Mr. and Mrs. Wojtys would like you to come down for supper.” I got up. Fuks was already putting on his shoes. Supper. In the dining room, a tight cubbyhole, a sideboard with a mirror, yogurt, radishes, and the eloquence of Mr. Wojtys, the ex–bank manager, who wore a signet ring and gold cufflinks:
“Mark you, dear fellow, I have now designated myself to be at the beck and call of my better half, and I am to render specific services, namely, when the faucet goes on the fritz, or the radio . . . I would recommend more sweetie butter with the radishes, the butter is tip-top . . . ”
“Thank you.”
“This heat, there’s bound to be a thunderstorm, I swear on the holiest of holies, bless me and my grenadiers!”
“Did you hear the thunder, Daddy, beyond the forest, far away?” (This was Lena, I hadn’t seen much of her yet, I hadn’t seen much of anything, in any case the ex-manager or the ex-director was expressing himself with a flourish.) “May I suggest a teensy-weensy helping of curdled milk, my wife is a very special specialist when it comes to curdled milkie, and what is it that makes hers the crème de la crème, my dear fellow? It’s the pot! The quality of milk fermentation depends on the lactic attributes of the pot.” “What do you know, Leon!” (The ex-manager’s wife interjected this.) “I’m a bridge player, my dears, an ex-banker, now a bridge player in the afternoons as well as Sunday nights, by special wifely dispensation! So, gentlemen, you are here to study? Quite so, perfect, peace and quiet, the intellect can wallow like fruit in a compote . . . ” But I wasn’t really listening, Mr. Leon’s head was like a dome, elf-like, its baldness riding over the table, accentuated by the sarcastic flashing of his pince-nez, next to him Lena, a lake, and the polite Mrs. Leon sitting on her rotundity and rising from it to preside over supper with self-sacrifice, the nature of which I had not yet grasped, Fuks saying something pallid, white, phlegmatic—I ate a piece of meat pie, still feeling sleepy, they talked about the dust in the air, that the season had not yet begun, I asked if it was cool at night, we finished the meat pie, then the fruit compote made its appearance, and, after the compote, Katasia pushed an ashtray toward Lena, the ashtray had a wire mesh—as if an echo, a faint echo of the other net (on the bed), on which a leg, a foot, a calf lay on the wire netting of the bed when I had walked into the room etc., etc. Katasia’s lip, slithering, found itself near Lena’s little mouth.
Cosmos Page 1
