My life 104

Stanislav Barszczak – You have to find more time to be honest

In my self-imposed exile I have been living in my youth. I made many things in the liberty of me. And even I had to do it already in the past tense; I had to do it. I said so myself. I had had my mother but I would have lived in an orphanage. I have sought out the high tower for words of comfort and advice and even I have been found it in my country. One of the major themes of poetry and prose of the world is the isolation of individuals from communities and from one another. In my tales I present four major characters, each of whom is separated from society in some important way. Character the first, Joys relies cheerfully on the kindness of strangers, is morally isolated because of her illicit pregnancy and socially isolated because of her constant traveling. Character the second, the sullen John is isolated because of his seemingly mixed racial heritage, which causes him to emphasize the differences between himself and those around him. Stanley is, like Joys, morally isolated, though by his own choice; he makes no friends except priest Peter and works almost all the time because he is so afraid of how he might spend his time otherwise. Father Peter himself is isolated as an outcast, rejected by society, in his case because he failed in his appointed task as guardian of public standards, delivering incoherent sermons while his wife carried on obvious sexual affairs…Characters’ interior states, with all their inconsistencies and unspoken motivations, overlap with the generalized voices of the community to create a dynamic and realistic portrait of individuals constantly asserting and renegotiating their places in the larger social order…Though the characters search for a sense of stability, belonging, and consistency, their inherently fractured natures consistently conspire to thwart these desires…In plumbing the depths that exist beneath people’s words, the vulnerabilities, fears, and evasions that often do not register in articulated speech. I try to portray inherently inconsistent and self-contradictory nature of identity. People, I argue, in all their complexity, cannot be reduced to a simple summation or generalized description. What exist instead are warring impulses and an often wide gulf between private and public worlds…In telling the backstory of my heroes, I continue to explore the notion of a fluid, unstable, indeterminate identity. John is literally a man without a name…His unknown parentage and ambiguous racial heritage condemn him to a life as a shadow figure. He is a man who walks on the edges of society, just as he restlessly and silently wanders the streets of our city, passing unnoticed through the black and white neighborhoods alike, a stranger to both realms and accepted fully by neither. At times mistaken for a foreigner, John is variously tagged as being either white or black, absolute distinctions that deny his essential nature as a biracial man, a person with roots in both worlds….As I often show that competing interpretations and perspectives can reveal new truths, we see that they can also result in misunderstandings and pave the way for tragic events. When the five-year-old John is caught behind a screen in the dining’s room, a black comedy of misinterpreted intentions and mistaken impressions ensues…Authorial eye of me darts forward and backward in time, often presenting a scenario from one character’s point of view and then revisiting the same incident from an alternate perspective…Nameless and mysterious figures, the matron, the janitor, the dietician (revealed to be named Miss Helen only at the episode’s end) populate a classic setting of childhood deprivation and abuse: the orphanage…Ultimately, my portrait of John formative years serves to complicate the moral questions of my tale.
Throughout the tale like “Light in Summer” I explores the importance of memory amid the various layers of consciousness and thought that contribute to an action, motivation, or story. This approach gives us a more dynamic and complex understanding of character, gesturing to the parts of an individual that words cannot access or elucidate. For all the thoughts, impulses, and articulation that help define a person, there is always an unspoken element, the haunting record of the past that can never be expunged. Amid this seeming confusion, memory emerges as a potent and supreme form of knowledge, or personal truth. For John memory consists of a painful personal history, an autobiography told not in facts and events but in an ever-present and instinctively referenced record of humiliation, abuse, and shame. For him memory is a burden that cannot be erased or escaped. With his own life and sense of self so emptied and devalued,… Yet I do not seat my characters in a tidy world of moral absolutes, and we cannot label John’s upbringing as the sole cause of his vagrancy and criminal activity. John himself also plays an active role in seeking his own demise and self-destruction…Joys, her baby represents a hope and a boundless possibility that John was never able to fulfill…He slides further and further from his own existence, crossing over a threshold to embrace and embody his bestial associations. Father Peter muses that, since being defrocked, he has slowly slipped out of conventional time and entered an existence of his own making. He believes that suffering is the lot of the wicked and good alike. He also believes that joy and pleasure are complicated gifts that most people do not know what to do with…Women form a curious, tangential presence in “Light in Summer”. The novel resides in a male-centered, male-dominated world, exploring masculine brutality and the idea of hero of our time—a brooding, restless, and flawed individual wounded by life’s cruelties and slights. Women exist on the edges of this world, scapegoats for the frustrations and unrealized potential of the men in their lives, and often the victims of physical brutality…Surprisingly, father Peter, despite his isolation, emerges as the philosophical center of the novel—a humanist presence who rejects the rigid moral codes that confine town’s residents. Father Peter’s static, abstract journey to self-knowledge and self-acceptance contrasts with the strivings of the other main characters, who either fail to attain insight or fail to act on it. Peter, Joys, and John all attempt to salvage their pride, turn from the harsh realities of the past, and infuse their lives with a newfound purpose. They all are damaged individuals whose reputations and senses of self have been compromised, both by their own actions and by social forces beyond their control. Peter eventually makes peace with his life of internal struggle, stoically embracing his impending death, armed with the understanding that suffering is an unavoidable component of existence…I equate life with a game of chess, with its various strategies and attacks and missteps, all obscuring the fact that these individuals are ultimately moving toward a predetermined and inalterable conclusion. In the interim, the characters maintain the sustaining illusion that they are the masters of their own fate, when in fact they are actually pawns being manipulated by forces larger than themselves and beyond their control…Peter was raised in the presence of these phantoms of the past—his father, mother, grandfather, and the slave woman his grandfather had owned until the war. Peter entered the seminary and later married, intent on being given a church in our city. ‘It is because a fellow is more afraid of the trouble he might have than he ever is of the trouble he’s already got…Memory believes before knowing remembers. Believes longer than recollects, longer than knowing even wonder…Since perhaps I could not escape it. Anyway, I mind how I said to you once that there is a price for being good the same as for being bad; a cost to pay…Maybe it takes longer to pay for being good than for being bad. Here I am returning to Jesus from Nazareth.
Jesus brilliantly captures both the disillusion of Israel and the moral failure of a society obsessed with wealth and status. But he does more than render the essence of a particular time and place, for in chronicling young brother’s tragic pursuit of his dream, Jesus re-creates the universal conflict between illusion and reality. The relationship among the apostles of Jesus, who look often like identical twins, in reality becomes a story of the fragility and shifting nature of identity, as all appropriate one another’s memories and exchange places…For a moment they even get beyond one’s depth. The reflective and poetic Tomas confronts more questions at every turn; his tolerance and compassion paralyse him in his search for answers. For these reasons do you know what this summer has meant for me? Constant raptures over Emmanuel Levinas and a whole series of spiritual delights which I’ve never experienced before. No student has ever studied so much on his course, and learned so much, as I have this summer. The problem facing the cosmos today is not to discover which terrorist is preparing a bomb in which tent, which cave, or which street of which remote city, but to understand the poor, scorned majority that does not belong to the entire world. There were many saint people that are mentioned in the Bible. Saint Mary of Magdala has long been interested in various aspects of magic, but is searching for something more, then she has found the Messiah. Her search leads her to people of great wisdom, who begin to teach her about the world of a true love. But we have mother of Jesus who is true image of God and the temple of the holy Spirit. The nations chose her as the queen of their states. She reigns in many country of the world, in Poland also. I enjoy living in Częstochowa. The Monastery of Jasna Góra in Poland, is the third-largest Catholic pilgrimage site in the world. Home to the beloved miraculous icon of Our Lady of Częstochowa, the monastery is also the national shrine of Poland and the center of Polish Catholicism. History first combines with tradition upon the icon’s arrival in Poland in 1382 with a Polish army fleeing the Tartars, who had struck it with an arrow. Legend has it that a mysterious cloud enveloped the chapel containing the image. A monastery was founded in Częstochowa to enshrine the icon in 1386, and soon King Jagiello built a cathedral around the chapel containing the icon. The miracle for which the Black Madonna is most famous occurred in 1655, when Swedish troops were about to invade this place. A group of Polish soldiers prayed fervently before the icon for deliverance, and the enemy retreated. In 1656, King John Casimir declared Our Lady of Częstochowa “Queen of Poland” and made the city the spiritual capital of the nation. Every day, from early in the morning to late in the evening, a stready stream of pilgrims approaches the shrine of our city via the tree-lined main avenue. The groups leave a few hundred feet in between them, so as not to disturb the others as they pray the rosary and sing hymns. Young men carry batteries and speakers to lead the singing. Pilgrims wear badges with the name of their town and a number showing how many times they have come on pilgrimage to our town — many have come every year for decades. After venerating the icon in the Chapel of the Black Madonna, pilgrims usually pin their badges to the walls as a votive offering. As the national shrine of Poland, the city attracts delegations from all walks of life. Government leaders visit regularly; and students, veterans, miners, actors, prisoners, and factory workers arrive on organized pilgrimages. The preferred days to make the pilgrimage to our city are Marian feast days, especially the Feast of the Assumption on August 15. On this day, up to 500,000 people crowd the city. Since 1711, a pilgrimage has left Warsaw and 32 other towns and walked in procession to our city for up to 21 days. The focus of pilgrims to Jasna Góra is not the monastery, but the icon of Our Lady of Częstochowa, which is displayed in a altar in the Chapel of the Black Madonna. The icon shows a serious Mary in the crown holding the infant Jesus on her left arm in the crown also and gesturing towards him with her right hand. The Virgin’s gaze is intense —pilgrims are moved by the way she seems to look right at them. The Virgin’s robe and mantle are decorated with lilies, the symbol of the Hungarian royal family. The infant Jesus is dressed in a red tunic and holds a Bible in his left hand and makes a gesture of blessing with his right. The Virgin and Child are dressed in bejeweled velvet robes and gold crowns for special occasions. The monastery’s treasury is a rich storehouse of votive offerings given to the Black Madonna over the centuries, from the 14th century to the present. Gifts range from swords and scepters to rosaries made of dried bread in concentration camps. Kings, queens and popes have donated a vast array of precious objects. Around the perimeter of the basilica, where the moat once was, are the 14 Stations of the Cross represented by bronze statues from 1913 year. Nearly every pilgrim group prays at the Stations of the Jesus’ Cross; some move from one station to the next on their knees. As we know Jesus is the stream of eternal goodness. He reveals us the plenty of the liberty of God, the human love also. Let’s go with him. Our Lady from Częstochowa is gesturing towards Jesus always.

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