![]() More recently, this interest has been fueled by the publication in 1988 of “Letters and Drawings of Bruno Schulz, With Selected Prose” (Harper & Row), a highly revealing self-portrait of an artist consumed by his dark obsessions and paralyzing sense of inadequacy, yet also fully aware of his immense creative potential. John Updike has written incisively on his art, and Cynthia Ozick published a novel in which Schulz’s legendary “Messiah,” his unfinished novel that had perished during the Holocaust, played a central part. ![]() ![]() ![]() For the American reader, this is by no means the first encounter with Bruno Schulz, one of the greatest figures in Polish modernist literature of 1918-1939 and one of the most original European fiction writers of the first half of our century.Īt least since the separate Penguin editions of his two collections of short stories, “The Street of Crocodiles” (1977) and “Sanatorium Under the Sign of the Hourglass” (1979), American fascination with this unique storyteller and graphic artist has been growing steadily. ![]()
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