Tuesday 31 January 2017
















Inside the Head of Bruno Schultz by Maxim Biller, with two stories by Bruno Schulz {Reviewed by THOMAS}
During World War 2, the writer and painter Bruno Schulz was kept from the gas chamber by a Gestapo officer who wanted him to complete a mural for his children’s nursery. One day he was shot in the street by another Gestapo officer while returning to the ghetto with a loaf of bread. In this little book, Maxim Biller imagines a time just before the German invasion of Poland, with Schulz hidden from fear in his cellar and writing a letter to Thomas Mann, imploring his help and warning him that Mann’s sinister double, or at least someone claiming to be Mann, is present in Schulz’s town of Drohobycz, presaging in many ways the coming German invasion. Biller’s Schulz is having trouble concentrating and in making his message to Mann clear, and has to restart many times, each attempt being less successful than the last. The letters are invaded by fears and memories, or the doubles or stand-ins for fears and memories, and it soon becomes unclear which elements belong to the description of Schulz writing, which to the letter he is writing and which exist only in the head of Schulz and not in what he is writing or in the world in which he sits and writes. Even if it all only exists in Schulz’s head, and of course it does (he is alone), this three-fold distinction, or rather the inability (of Schulz and of the reader) to make this three-fold distinction remains. Biller’s text is followed by two of the actual Schulz’s most representative stories, ‘Birds’ (about a melancholic father’s increasing over-identification with birds) and ‘Cinnamon Shops’ (concerning the dissolution of the actual city into one built of dreams and memories as a boy is sent home from the theatre to fetch his father’s wallet). There is certainly something of Kafka in Schultz’s narratorial relinquishment of initiative to a less-than-conscious weight that presses against the text from below (or within (or wherever)), but Schulz has a wistfulness that gives his writing a flavour all of its own.

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