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By Bruno Jasienski

Translated via Soren A. Gauger and Marcin Piekoszewski

"This is a wonderful textual content of extraordinary modernity, a veritable manifesto of the wretched of the earth ..."
— Marianne

Bruno Jasienski’s I Burn Paris has remained certainly one of Poland’s such a lot uncomfortable masterstrokes of literature because its preliminary and arguable serialization in 1928 within the French journal L’Humanité (for which Jasienski was once deported). It tells the tale of a disgruntled manufacturing facility employee who, discovering himself at the streets, takes the chance to poison Paris's water offer with a dangerous virus. With the deaths piling up, we stumble upon chinese language communists, rabbis, upset scientists, American millionaires and a bunch of others because the urban sections off into ethnic enclaves and everybody plots their direction of break out. on the middle of the cosmopolitan urban is a deep-rooted xenophobia and hatred — the single thread that binds some of these teams jointly. As Paris lies in wreck, Jasienski matters a rallying cry to the downtrodden of the area whereas blending "The Internationale" with a published of well known music.

With its montage innovations akin to early avant-garde cinema and fist-to-the-gut metaphors, I Burn Paris has misplaced none of its power and power. Ruthlessly dissecting a number of utopian fantasies, Jasienski is out to disorient, and he has a possible unlimited skill to rework the Parisian panorama into the manufactured from disease-addled minds. a beautiful instance of literary Futurism and Catastrophism, the unconventional provides a grimy, degenerated global the place factories and machines have changed the human, yet instead of cliché and simplistic propaganda, those gains are given an immediacy that depicts the trendy city as simply superficially cosmopolitan, as adverse and animalistic to its middle.

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C'est la mer mêlée Au soleil. ––––––––––––––– Je devins un opéra fabuleux : je vis que tous les êtres ont une fatalité de bonheur : l'action n'est pas la vie, mais une façon de gâcher quelque force, un énervement. La morale est la faiblesse de la cervelle. À chaque être, plusieurs autres vies me semblaient dues. Ce monsieur ne sait ce qu'il fait : il est un ange. Cette famille est une nichée de chiens. Devant plusieurs 48 hommes, je causai tout haut avec un moment d'une de leurs autres vies. – Ainsi, j'ai aimé un porc.

Mais nous sommes polis ; nos relations avec le monde sont très-convenables. » Est-ce étonnant ? Le monde ! les marchands, les naïfs ! – Nous ne sommes pas déshonorés. – Mais les élus, comment nous recevraient-ils ? Or il y a des gens hargneux et joyeux, de faux élus, puisqu'il nous faut de l'audace ou de l'humilité pour les aborder. Ce sont les seuls élus. Ce ne sont pas des bénisseurs ! M'étant retrouvé deux sous de raison – ça passe vite ! – je vois que mes malaises viennent de ne m'être pas figuré assez tôt que nous sommes à l'Occident.

Ah ! je n'aurai plus d'envie : Il s'est chargé de ma vie. Ce charme a pris âme et corps Et dispersé les efforts. 50 Ô saisons, ô châteaux ! L'heure de sa fuite, hélas ! Sera l'heure du trépas. Ô saisons, ô châteaux ! ––––––––––––––– Cela s'est passé. Je sais aujourd'hui saluer la beauté. ––––––––––––––– 51 L'IMPOSSIBLE Ah ! cette vie de mon enfance, la grande route par tous les temps, sobre surnaturellement, plus désintéressé que le meilleur des mendiants, fier de n'avoir ni pays ; ni amis, quelle sottise c'était.

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