Zuzanna Ginczanka - Knowledge (XXG)

1538: 1910: 1597:, was very afraid of torture (for which that prison was infamous), and to stave off attacks on her body she affected a particular concern for her hair, which she would repeatedly touch during interrogations to make small corrections to her locks, etc. This was noticed by the Gestapo interrogators, and when they came to torment her it was her hair that was selected for special treatment: she was dragged across the floor by the hair. Although she screamed in pain, she was never broken and never admitted to being Jewish. However, this was not the case with her friend (Blumka Fradis), who broke down: "perhaps she lacked the courage and the willpower of Ginczanka", Garlicka comments. Blumka Fradis made a confession which spelt the end of the investigations and "sealed the fate for both of them". Ginczanka was hoping to be deported in the aftermath to the 1593:. Krystyna Garlicka was incarcerated at one point together with Ginczanka, in the same cell, and as a fellow-prisoner developed a rapport with her which made her privy to Ginczanka's confessions and much of her ultimate fate unknown to outsiders. According to Garlicka's report given to Kiec in 1992, 47 years after the fact, Ginczanka accepted her in prison because she was acquainted with her brother, Tadeusz Breza. They slept together on a single straw mattress that was spread out on the floor for the night, a time when Garlicka would listen to Ginczanka's confessions. According to Garlicka, Ginczanka told her that her final arrest was due to a betrayal by her Kraków hostess, Elżbieta Mucharska, as she never left the house and "no one had any knowledge of her whereabouts". Ginczanka, who was at first detained in the notorious facility in the 1534:) and addressed to them. The Stopkas, who were themselves incriminated by the clandestine messages in question, managed to get the Gestapo to leave without arresting them by bribing them with bottles of liquor and — gold coins, "which disappeared into their pockets in a flash". As soon as the Gestapo were safely away Wodzinowska-Stopkowa rushed to Ginczanka's nearby hideout to forewarn her of imminent danger, only to be greeted at the door by a sobbing woman who directly said, "They took her already. She yelled, spat at them..." Wodzinowska-Stopkowa then ran breathlessly to the residences of all the other people named in the "kites" written by Woźniakowski, arriving in each case too late, after the arrests of the individuals concerned. 1810:, serving as they are as an epitaph on the sepulchre of millions, make a similar impression, but not even do they evince the same degree of bitterness, of irony, of virulence and power or convey the same brutal truth as does the testament of Ginczanka. I find its impact impossible to shake off. We read it for the first time pencilled on a torn and wrinkled piece of paper, like the secret messages that prisoners smuggle out of their dungeons. (…) The most despairing confessions, the most heartrending utterances of other poets before their death fall far below this proudest of all poetic testaments. This indictment of the human beast hurts like an unhealed wound. A shock therapy in verse. 1561:), to date the most serious book on Ginczanka — a poet who is still awaiting a proper critical, academic biography. At the time of Ginczanka's arrest in the autumn of 1944, Tomczak was ten years old and living in one room with Ginczanka for about a month or so. He recalls that during her stay Ginczanka never left the premises even once for security reasons, and she would never open the door if she happened to be alone. The only visitor she received was a high-school friend of hers, "a blonde without Semitic features" (Blumka Fradis). Returning from school one day he was intercepted on the stairs by a neighbour who told him to back off: " 429:, with the publication of the 16-line poem entitled "Żyzność sierpniowa" (Fertility in the Month of August; or perhaps, with greater poetic licence: Fullness of August). In the "Żyzność sierpniowa", the 16-year-old poet speaks with the voice of a mature woman looking wistfully back on the world of young people in the bloom of life, with its ripeness for love (hence the title), from the knowing and indulgent perspective of one whose life had come to fruition long before: the reader can be forgiven for thinking that the author of the verses before him is a person of advanced age. The last two lines, moreover, give voice to the 1401:, barely 17 kilometres away. In Lviv, the female concierge in the building where Ginczanka lived, resentful of having allocated space in her building to a refugee like Ginczanka in the first place, saw her opportunity to rid herself of the unwelcome tenant and at the same time to enrich herself. In the summer of 1942, she denounced Ginczanka to the Nazi authorities newly in power in town as a Jew hiding in her building on false papers. The Nazi police immediately attempted to arrest Ginczanka, but other residents of the building helped her avoid arrest by slipping out the back door, etc. On one single day, the 1620: 1198: 1438:, and Weinzieher was literally running away from death. During his stay in Kraków with the Güntner family Weinzieher (unwisely for the times) continued to pursue his left-wing political activism and continued to maintain contacts with underground left-wing political parties. It is here, and in these circumstances, that he was joined a few months later by his wife, Zuzanna Ginczanka, whose false papers indicated that she was a person of 863: 31: 2075:, Arco Publishing Co., 1947. (Includes an English translation of "Non omnis moriar", pp. 262–263, perhaps the first publication of the poem, in any language, in book form. Important also for the background information on the situation of the Jews within the Polish society in the immediate aftermath of the Second World War, shedding light on their situation before and during the War.) 1240:, situated 213 kilometres to the south-east and likewise occupied by the Soviet Union. Before departure, the grandmother packed all the family heirlooms and valuables like table silver into her luggage, both as a means of preserving her ownership of the movable property and to provide for Ginczanka's future dowry. In Lviv Ginczanka rented a flat in the apartment building in the 1886:, Zofja Chomin, and her son Marjan Chomin were arrested and tried in a court of law. Ginczanka's poem "Non omnis moriar" formed part of the evidence against them. (This is considered by many scholars to be the only instance in the annals of juridical history of a poem being entered in evidence in a criminal trial.) According to the article which appeared in the newspaper 1702:. Moreover, Kiec also states — thereby possibly reconciling all the earlier sources — that Ginczanka was indeed imprisoned at first in the Montelupich Prison, where her interrogation under torture took place, and only after that had been completed was she transferred to the (smaller) prison in the ulica Czarnieckiego, where she was murdered. Ginczanka was 27 years old. 1236:

the town's main street was immediately expropriated, while their second-story living quarters were in large measure requisitioned for Soviet officials, squeezing the owners (including Ginczanka) into a single servant's room. These developments forced upon Ginczanka the decision to leave Równe to try to find accommodation in the much larger Polish city of

828:, to meet her in the street was an experience akin to encountering a star break away from the heavens above and land straight on the pavement next to you. (There is evidence that while outwardly she received all the adulation with gracious warmth, the attention she generated weighed heavy on her mind; she reportedly confided in a female friend ( 1414:), she managed to escape from her captors after having been brought to the police station but before being securely imprisoned; according to other sources, her friends managed to redeem her from Nazi hands by bribery. Whatever the details of this outcome, the incident led Ginczanka to the writing of her best known poem "Non omnis moriar" ( 859:, whose literary journey largely coincided with Ginczanka's, remembers that despite the exquisite poetry she kept publishing in the best literary journals of the country and a personal beauty that had a dazzling effect on the onlookers, Ginczanka was often diffident, given to blushing, and stammered when put on the spot. 1449:

In Kraków Ginczanka occupied a room next door to Weinzieher's, spending most of her time in bed. According to her hosts, Ginczanka used to say that "My creative juices flow from my laziness". Here her most frequent visitor was Janusz Woźniakowski, but she also maintained close contacts with the noted

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During the years 1939–1942 Ginczanka lived in the city of Lviv in occupied Poland, working as an editor. She wrote several Soviet propaganda poems. She narrowly managed to avoid arrest by Ukrainian forces targeting Jewish population of the city, being shielded by her Nansen passport which, unfamiliar

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on 17 September, which brought Soviet rule to Równe (a town never to be returned to Poland again), and with it communist harassment and attacks targeting the "bourgeois elements" and the propertied classes in particular. The grandmother Klara Sandberg's ground-floor business (pharmacy store) in

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in March 1937, whose message impugns the honesty of the country's authorities and industrial groupings in making promises to render assistance to those in need during the difficult winter period. Her voice here is mercilessly biting and derisive ("they count, and count, and lick their fingers, and

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hideout, no longer occupied by her but a place where Woźniakowski continued to live with Weinzieher. During a search of the premises, which a bloodied Woźniakowski was made to witness, Ginczanka's husband, Michał Weinzieher, was additionally arrested. On 6 April 1944 an announcement issued by

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late in June 1941 and offered her general moral support. In the report of the writer Franciszek Gil (1917–1960) who lived in the same apartment building with Ginczanka, she became for Woźniakowski the sole reason for his existence. During this period Ginczanka was very active literarily, composing

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The exact date of birth of Zuzanna Ginczanka (Sara Ginzburg) is a subject of an ongoing debate due to conflicting documentary evidence. It is being quoted also as March 9 by Tomaszewski & Żbikowski, or March 15 by Kiec, and March 20 by Bartelski, as well as March 22, 1917,

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made three separate raids on the building to arrest Ginczanka. They finally succeeded in capturing her. While a narrow brush with death, this arrest did not result in Ginczanka's execution as on this occasion she escaped from captivity. Sources differ as to the exact circumstances in which this

639:, have traced aspects of Ginczanka's lyricism to the poetic achievement of Tuwim, deemed both indefinable and inimitable but concerning primarily the renewed focus on the word, its freshness, and the ultimate conciseness of expression respective of each particular poetic image or vision treated. 1892:

of 5 July 1948 (page 2), Zofja Chomin, the concierge in the building (in the ulica Jabłonowskich № 8a) where Ginczanka lived in Lviv, was sentenced to four years' imprisonment for betraying Ginczanka's identity to the Nazis — the poem "Non omnis moriar" again being cited in the writ of the

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are at your place...". He withdrew at this and went into the entryway of the apartment building across the street (pictured to the right). About half an hour later, from this vantage point, he observed Zuzanna Ginczanka and Blumka Fradis being escorted by the Gestapo out of his building. He

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to be a companion of convenience without relational entanglement. Ginczanka was seen as abstemious, of studiedly modest demeanour, and virtuous — she didn't smoke or drink ("except for a few drops now and then under the duress of social propriety"): Wittlin calls her "Virtuous Zuzanna

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for his part recalls that Ginczanka was "very good" as a poet from the first, without any initial period of incubation of the poetic talent, and — conscious of her literary prowess — kept herself apart from literary groupings, in particular wishing to distance herself publicly from the

370:, she lived in the Równe home of her maternal grandmother, Klara Sandberg, by all accounts a wise and prudent woman who was responsible for her upbringing. The moderately affluent house of Klara Sandberg in the town's main street, with its ground-floor shop, was described by the writer 1686:, basing her conclusions on unpublished written sources as well as on the numerous oral interviews with eyewitnesses and others directly connected with Ginczanka's life conducted in the 1970s and 1980s, indicates for the first time the courtyard of the prison facility located in the 406:, the choice of her emancipated parents, and the Polish of her friends, but did not know a word of Yiddish. Her longing to become a Polish poet caused her to choose the Polish language. According to Ginczanka's mother, she began composing verses at the age of 4, authoring a whole 1226:

on Friday, 1 September 1939, and in reaction to this news decided to stay at Równe, a town which, being located on the Eastern Borderlands of Poland, was relatively sheltered from the hostilities of war. This circumstance changed dramatically just two weeks later with the

1931:, entitled "Smak słowa i śmierci" (The Taste of the Word and Death) and published in 1967, which ends: "I will know at the furthermost confines | The taste of your death". Another poem in her honour is the composition "Zuzanna Ginczanka" by Dorota Chróścielewska (1948–1996). 1396:

being already in full swing at that time. In Równe, Ginczanka's grandmother and her closest relative in Poland, Klara Sandberg, was arrested by the Nazis and died of a heart attack induced by the horror of impending death while being transported to a place of execution at

1124:, the only other piece printed on the page. Ginczanka's poem, deceptively insouciant — almost ebullient — in tone while it considers the uncertainty as to whether the Spring might pass under the shadow of war or alternatively under the spell of love, employs the 1295:, her senior in age by 14 years (in some accounts, by 16 years), a move which she did not elect to explain to her friends. While officially married to Weinzieher, she carried on a contemporaneous relationship with an artist Janusz Woźniakowski, a young Polish 985:

as it presents a vision of what has traditionally been considered male and female elements fused together in art and life. To those who had not heard of Ginczanka before, the first exposure to her verses was often an awakening. The testimony of the poet

771:, adding that the painter (identified by him only as "C.") for whom she sat in the nude (in the presence of her husband) confessed to him "to have never set his eyes on anything quite so beautiful in his life". Her portrait by the noted Polish painter 1101:

and the annihilation that it would bring with it, but expressed it all in poetic touches so delicate that their true import might have been missed before the event. Such is her poem entitled "Maj 1939" (May 1939) published on the first page of the

5529: 2439:Отож точна дата народження Зузанни — 22 березня 1917 року, оскільки дата 9 березня у записі подана за старим стилем, а ім'я Сара, радше за все, помилково інтерпретоване Сана, бо саме так називали її в дружньому колі, скорочуючи Зузанна (Сусанна). 1304:

many new poems which, while unpublished, were read during small gatherings of friends. Most of the manuscripts with these works have perished, very few of them being recreated after the War from memory by those who had come to know them by heart.

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of the Polish poets at the time, a connection which opened for her the doors to all the most important literary periodicals, salons, and publishing houses of the country. (Her detractors bestowed on her the sobriquet of "Tuwim in a petticoat",

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the remaining winter pages in the tear-off calendar on the wall, and the money to be saved) as she accuses the potentates of stalling for time in the hope that the cold spell will pass and they will not have to make good on their pledges.

491:(third class) with the poem "Gramatyka" (The Grammar), printed in the issue of 15 July 1934 of the weekly that was devoted in part to the results of the competition. She was 17 years old; most if not all of the other 22 finalists (like 1472:, and others. Because even on rare outings in the street Ginczanka was attracting the unwelcome attention of passers-by with her exotic beauty, she decided to change her hideaway by moving to the (then suburban) spa locality of 1038:

with the news of the revelation from a new "excellent poetess". Ginczanka did not hesitate to lend her art to the furtherance of a social cause, as shown in her poem "Słowa na wiatr" (Words To the Four Winds), published in the

1430:. They moved to Kraków in the hope that the large city where he was unknown would provide him the anonymity necessary for survival on false papers. His own younger brother had already been murdered two years earlier by the 1526:("A Portrait of the Artist with the Wife in the Background"). Ginczanka's hideout and the passwords used by her rescuers were intercepted by Gestapo from several clandestine messages intended to be smuggled out of prison ( 1029: 5495: 1845:

Ginczanka never espoused anything like a Jewish identity, her preoccupations with identity having been focused exclusively on her being a woman. It is the reference made in the "Non omnis moriar" to the "Jewish things"

1716:) the liberation of Kraków (a historical event dated to 18 January 1945) — that is to say, in the first part of January 1945. Without specifying the 1945 date, Izolda Kiec says much the same thing ("a few days ( 926:, could claim an acquaintance with Ginczanka extending over the longest period of time (having been a resident of Równe contemporaneously with her, as well as having shared her Jewish background and her status as a 1217:

Ginczanka left Warsaw in June 1939 to spend her summer vacations (as was her habit every year) with her grandmother in Równe Wołyńskie. Here she was caught by the outbreak of the Second World War occasioned by the

5090:, Polski Fundusz Wydawniczy w Kanadzie, 1987. (The introduction critiques, in part, Śpiewak's contribution "Zuzanna: gawęda tragiczna" (see above), pointing out inaccuracies in his text and his lapses of memory.) 1446:, 97 kilometres to the south-west of Lviv, where Ginczanka was presented as Woźniakowski's fiancée. The false papers on which Ginczanka and Weinzieher travelled were provided in both cases by Janusz Woźniakowski. 410:

at the age of 8. She published her first poems while still at school, debuting in 1931 — at the age of 14 — with the poem "Uczta wakacyjna" (A Vacation Feast) published in the bimonthly high-school newspaper

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In 2017, on the centenary of Ginczanka's birth, a commemorative plaque was unveiled on a tenement house on Mikołajska Street in Kraków where she was in hiding during her stay in the city. The same year,

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sentence — while her son was acquitted. Zofja Chomin's defence before the court were to be her words, intended to refute the charge of collaborationism: "I knew of only one little Jewess in hiding..." (

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may be cited as a case in point, being the more valuable for having been expressed in a private letter and not intended for public consumption. Writing in February 1936 to the editor-in-chief of the

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settler hailing from the lands of the former Russian Empire), it is the subsequent recollections of Łobodowski that will strike the most intimate note among all the reminiscences published after the

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46 years after the fact, in January 1991, by Jerzy Tomczak, grandson of Elżbieta Mucharska, Ginczanka's last hostess in Kraków mentioned in the preceding paragraph; it is included in her 1994 book

5503:; Blumka Fradis, who was murdered with her in 1945, is on the left; Lusia Gelmont, on the right, will be instrumental in bringing Ginczanka's poem "Non omnis moriar" to publication after the War. 5475: 1728:, a personal acquaintance of Ginczanka, strongly corroborates our dating of Ginczanka's death: in an interview given in 1991, Iwaniuk states: "Ginczanka was murdered by the Gestapo in Kraków, 685:.) In testimony to her fame, she would sometimes be herself the subject of satirical poems and drawings published in literary periodicals, as for example in the 1937 Christmas issue of the 1724:

short time", the date of Ginczanka's death could be pushed back to December 1944, but this procedure would involve stretching the literal meaning of the words of these two key witnesses.

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in Warsaw has at least 19 photographs from different periods of Ginczanka's life (some extremely rare pictures from her childhood, and a picture of her father) which can be viewed on the

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in both", he wrote. (Her Italian translator, Alessandro Amenta, has recently taken this line of reasoning further, opining that for her admirers, her body has merged with her text.) For

1522:. The circumstances of Ginczanka's arrest were pondered upon by postwar memoirist. The first account is that of Wincentyna Wodzinowska-Stopkowa (1915–1991), published in her 1989 memoir 1518:

Zuzanna Ginczanka frequently changed hiding places, the last one was in the apartment of Holocaust rescuer Elżbieta Mucharska; located at Mikołajska № 5 Street in the heart of

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in Kraków has been pointed out as the place of her death. This identification, perhaps conjectural, would contradict the earlier sources, as the prison in question lies in the city

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who remembered her visits to the Zodiak café in Warsaw — many of her fellow writers remarking on her eyes in particular (each slightly different, both in some reports enhanced by a

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in Kraków, facing the back yard where Ginczanka was murdered, in a 2011 photo (note the blocked-out windows). The building, designed as a courthouse by the Polish-Jewish architect

1537: 419:. During this period of her life Ginczanka was also active as the author of song lyrics. Her "mainstream" debut in a nationwide forum took place in August 1933 in the pages of the 461:

The Moon stranded in pear-tree branches like a golden pirogue on a Christmas tree, on lips of raspberry the legends fall silent of the hearts bloodied by a midnight's decree — —

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Józef Łobodowski reports the privileged information he received in the 1980s from a source he does not reveal to the effect that Ginczanka's execution took place "just before" (

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will revisit its poetry competition by publishing a list of additional book prizes awarded to the winners: for her contribution, Zuzanna Ginczanka will receive a collection of

2484:. However, Professor Izolda Kiec states that Ginczanka's parents arrived at Równe in October/November 1917, bringing the several months' old child with them; see Izolda Kiec, 2610:

and then at Pamplona, recalls having been told by Ginczanka that her father was "dead", adding that she was very reticent about her family in general; in: Józef Łobodowski,

2809:, vol. 11, No. 29 (556), 15 July 1934, p. 3. Many of the names of the other finalists cannot be further identified: they are people who didn't make a mark in later times. 5601: 1763:

Her single best-known poem, written in 1942 and untitled, commonly referred to as "Non omnis moriar" from its opening words (Latin for "Not all of me will die", the

1755:, speculates however that Ginczanka might have been among the several prisoners brought to that camp by truck on 5 May 1944, most of whom were executed on the spot. 2582:. suggests that the parents were divorced (with the father going to live abroad and the mother likewise choosing emigration after remarriage). This is confirmed by 1720:) before the end of the war"). If the expressions "just before" and "a few days" were to be interpreted figuratively to mean "a short time" but not necessarily "a 1545:

Mikołajska № 18 in Kraków, directly across from № 5 where Ginczanka lived in 1944, from where J. Tomczak witnessed Ginczanka's arrest by the Gestapo

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in Kraków as the place of Ginczanka's martyrdom (see picture to the right). The latter identification does not contradict the earlier sources citing Płaszów, as

1032:(1897–1968), then living in exile in Warsaw, on being first introduced to Ginczanka's poetry by Julian Tuwim ran breathlessly into the editorial offices of the 4495:

Zbigniew W. Fronczek, "W wojsku i na emigracji: rozmowa z Wacławem Iwaniukiem o Józefie Łobodowskim" (In Military Service and in Exile: An Interview with

4474:. Professor Kiec's dating of Ginczanka's death is unsourced in her book. A further imprecision is introduced by the expression "before the end of the war" ( 1806:

Hers is the most moving voice in Polish lyrical literature, for it deals with the most terrible tragedy of our time, the Jewish martyrdom. Only the poems of

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inspires interest, Ginczanka, otherwise unknown to me: I feel instinctively that we are dealing here with a deeper nature, with poetry of a higher pedigree (

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A 2010 photograph of the house in the ulica Mikołajska 5 in Kraków, the site of Ginczanka's last hideout where she was arrested in 1944 before being executed

5491: 1969: 1823:, considered it to be one of the most beautiful poems in the Polish language. Scholars have uncovered textual parallels between "Non omnis moriar" and the 673:, who will play an important role in salvaging her manuscripts after the War, will name his daughter Zuzanna in memory of Ginczanka. The other co-founder, 5334:. (Includes a German translation of the poem "Non omnis moriar", p. 19. Together with "Non omnis moriar", the article considers two other poems, by 378:, the town's fellow resident. She was called "Sana" by her closest friends. Between 1927 and 1935 she attended a state high school at Równe, the Państwowe 5646: 5469: 3996:. Kiec indicates "Halina Cygańska-Walicka" and "Anka Jawicz ", obvious misprints or mistakes for "Helena Cygańska-Walicka" and "Anna (or Anka) Rawicz". 1752: 1656: 1598: 1132:

where either of the two divergent arms, though ostensibly very different and having the opposite direction "at odds" with the other, does in fact lead "

4844: 1655:(administratively part of the municipality of Kraków since 1912, but colloquially referred to as a separate community) — not to be confused with the 1510:

been carried out, the rest were those awaiting execution. Janusz Woźniakowski's name is the fifth on the list. Michał Weinzieher's is further down.

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regained independence, a volume of her collected poems was published. Izolda Kiec published two books devoted to Ginczanka: a biography entitled

1683: 1550: 3486:, National Resource Center for Translation and Interpretation: SUNY–Binghamton Translation Research and Instruction Program, 1984, p. 27. 4429: 1706: 1687: 1624: 1614: 1574:

Izolda Kiec (b. 1965), the author of the 1994 book on Ginczanka, was able to track down a person who was in direct contact with Ginczanka

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Kiec however misspells the name of the street as the ulica "Czarneckiego ": the street is named after the 17th-century Polish personage of

1506:) appeared pasted on the walls of Kraków listing 112 people sentenced to death: the first 33 were those on whom the sentence of death had 1670:(likewise today within the southern borders of Kraków municipality). More recently the prison courtyard of the infamous facility in the 593:

To this period belongs likewise Ginczanka's poem "Zdrada" (Betrayal; though the word can also mean "treason") composed sometime in 1934.

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comments: "I have no idea how they managed to track them down. I suspect a denunciation by a neighbour. There is no other possibility."

2414: 1077:, was broadcast. In March 1938 Polish press carried an announcement of another radio drama authored by Ginczanka jointly with Nowicki, 5636: 5596: 2155: 5310:, "Von Schräubchen, Pfeilern und Brücken… Dichterinnen und Theologinnen mittel- und osteuropäischer Kontexte ins Wort gebracht"; in: 5631: 5411: 5386: 5378: 5323: 4852: 4802: 4674: 4584: 3268: 3100: 274: 5422:. (Includes a translation of the poem "Non omnis moriar", pp. 37–38, more accurate than the one given above, and a detailed, 4875: 1442:. The few months that separated her and her husband's arrival in Kraków were spent by Ginczanka with Woźniakowski at his aunt's in 1489:

or random round-up of Polish citizens in the street. The laundry receipt found on his person indicated the address of Ginczanka's

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that Ginczanka was tied to this particular weekly magazine by the closest bonds of all the alliances that she maintained with the

945:(picture at right) was transformed into the premier literary salon of Poland on the occasions of her birthdays, name-days, etc. 507:, b. 1910, honourable mention, third class) were her seniors in age. Seven weeks later, in its edition of 2 September 1934, 1605:, resolved to overcome everything and survive. This however did not happen, as she was transferred to another prison in Kraków. 5524: 5389:. (Includes the original text of "Non omnis moriar", p. 32; and an English summary of the entire book, pp. 207–208.) 1921:, as communist censors deemed her work to be undesirable. Renewed interest and recognition of her work emerged only after the 5641: 5419: 5331: 5301: 5286: 5265: 5247: 5228: 5207: 5182: 5160: 5131: 5113: 4959: 4592: 4471: 4406: 4394: 4363: 4334: 4315: 4294: 4261: 4236: 4192: 4167: 4129: 4101: 4071: 4033: 3993: 3962: 3926: 3868: 3837: 3789: 3773: 3765: 3736: 3711: 3671: 3449: 3409: 3384: 3363: 3312: 3211: 3169: 3124: 3071: 3043: 3019: 2945: 2901: 2889: 2865: 2774: 2762: 2754: 2651: 2579: 2571: 2550: 2542: 2497: 2481: 2397: 2373: 2348: 2296: 2270: 2245: 2214: 2105: 1008: 934:

by those who knew Ginczanka personally, betraying an undying love and affection on his part carried over an entire lifetime.

635:, known for inventing his own private names for all his acquaintances, monikered her "Gina".) High-calibre critics, such as 60: 1918: 5481: 4052:, Kraków, Wydawnictwo Literackie, 1974, pp. 331–332. Cf. Izolda Kiec, "Nie zostawiłam tutaj żadnego dziedzica"; in 3571:"Program stacyj radjowych na niedzielę, dnia 4 lipca 1937 r." (Radio Pragrammes for Sunday, 4 July 1937), 2125:, introd. W. Filler, Warsaw, Wydawnictwa Artystyczne i Filmowe, 1975. (Includes Ginczanka's poem "Słówka", p. 145.) 5335: 3588: 3573: 2792: 1678:

and not on the southern confines of the metropolitan area. Finally, and perhaps most authoritatively, Izolda Kiec (see

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where Ginczanka lived in 1939–1942 and where she was betrayed to the Nazis (in a 2011 photo; street today renamed after

425: 5001: 5621: 5616: 5500: 5343: 4896: 3586:"Program stacyj radjowych na niedzielę 27 marca 1938 r." (Radio Pragrammes for Sunday, 27 March 1938), 1116:, 61 days before the outbreak of the War, in July 1939. The poem is surrounded on all sides by the massive article by 736:

saw in fact a connection between her poetry, "which enthuses all", and her personal beauty: "there was something of a

4695: 3760:, ed. J. Czachowska & A. Szałagan, vol. 3 (G–J), Warsaw, Wydawnictwa Szkolne i Pedagogiczne, 1994, p. 46. 2913: 1985: 891:, perhaps the most serious contender for her hand between 1933 and 1938, dedicated to her several poems published in 636: 4264:. This detail is also independently confirmed by Łobodowski, who does not reveal his sources; see Józef Łobodowski, 5591: 3881: 3508: 2150: 1000: 725: 2093:, Warsaw, Wydawnictwa Artystyczne i Filmowe, 1975. (Includes the original text of "Non omnis moriar", p. 9.) 732:) and on the irresistibly attractive harmony between her nimble physical appearance and her personal psychology. 5606: 2422: 1389: 1232: 1144: 2566:, ed. J. Czachowska & A. Szałagan, vol. 3 (G–J), Warsaw, Wydawnictwa Szkolne i Pedagogiczne, 1994, p. 46. 2537:, ed. J. Czachowska & A. Szałagan, vol. 3 (G–J), Warsaw, Wydawnictwa Szkolne i Pedagogiczne, 1994, p. 46. 1426:

In September 1942 Michał Weinzieher, Ginczanka's husband, decided to leave Lviv to escape the internment in the

1257: 1034: 987: 5586: 5236:

Holocaust Chronicles: Individualizing the Holocaust through Diaries and other Contemporaneous Personal Accounts

5093: 2749:, ed. J. Czachowska & A. Szałagan, vol. 3 (G–J), Warsaw, Wydawnictwa Szkolne i Pedagogiczne, 1994, p. 46. 1801:). Przyboś appended a commentary entitled "Ostatni wiersz Ginczanki" (Ginczanka's Last Poem), saying in part: 1663: 1392:

by the Soviet Union, the situation of the Jewish population once again changed dramatically for the worse, the

1074: 982: 965:("About the Centaurs"), it created a sensation. She explained the title by pointing to the dual nature of the 843: 698: 648:

circle with which she would have normally been associated by others. Thus for example, her frequenting of the

3300: 2933: 693: 640: 496: 3640:, vol. 16, No. 28 (820), 2 July 1939, p. 1. The poem counts a total of 32 verses arranged in 8 stanzas. 1451: 1855: 1456: 4751: 4579:, ed. T. Drewnowski, tr. A. Nitecki, Evanston (Illinois), Northwestern University Press, 2007, pp. 86–87. 1619: 772: 2145: 1834: 1495: 1252: 1113: 605:

in September 1935, the 18-year-old Ginczanka, already notable, quickly became a "legendary figure" of the

585:

for words freely do love incite: you just take them in hand and assay like burgundies — against the light

355: 341: 333: 80: 5202:, ed. H. Markiewicz, Kraków, Towarzystwo Autorów i Wydawców Prac Naukowych Universitas, 1997, page 416. 5079: 4524:

http://wyborcza.pl/alehistoria/1,121681,19333036,zuzanna-ginczanka-smierc-poetki-historia-okupacyjna.html

4500: 3396:

Cf. Noelia Román, "Camino de peregrinación: de Lublin a Madrid. Los horizontes de Józef Łobodowski"; in:

3316: 3223: 3031: 2669: 2603: 1935: 888: 504: 5576: 5253: 5034: 4351: 3777: 1995:

In 2021, Hanna Kubiak and Bernhard Hofstötter published the first German edition of works by Ginczanka.

1628: 1104: 1041: 893: 788: 777: 687: 652:

café, the renowned haunt of the Warsaw literati where with gracious ease she held court at the table of

479: 207: 5339: 4628: 4347: 3504: 3292: 2607: 1807: 1667: 1473: 1244: 1016: 416: 383: 5307: 3601: 2986: 5566: 5561: 5443:

Agnieszka Haska, "'Znałam tylko jedną żydóweczkę ukrywającą się…': sprawa Zofii i Mariana Chominów",

5397: 5101: 4045: 3483: 3335: 3199: 2583: 1825: 1476:

on the southern outskirts of Kraków, where she joined up with a childhood friend of hers from Równe,

1385: 1300: 1292: 793: 430: 219: 147: 5506: 5312:

Building Bridges in a Multifaceted Europe: Religious Origins, Traditions, Contexts and Identities...

5271: 5234:

Rafael F. Scharf, "Literature in the Ghetto in the Polish Language: Z otchlani—From the Abyss"; in:

4669:, ed., tr., & inrod. A. Amenta, Budapest & Kraków, Wydawnictwo Austeria Klezmerhojs, 2011. 3263:, ed., tr., & inrod. A. Amenta, Budapest & Kraków, Wydawnictwo Austeria Klezmerhojs, 2011. 1635:

There is no consensus among the published sources as to the exact place of Ginczanka's death. There

1274: 5539: 5359: 5239: 2614:, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, pp. 11–12. On the grandmother Sandberg, see 2050: 1922: 1787: 1778: 1579: 821: 2822:, vol. 11, No. 36 (563), 2 September 1934, p. 6. Cf. Michelangelo di Lodovico Buonarroti Simoni, 1549:

A separate account of Zuzanna Ginczanka's arrest was given orally to Professor Izolda Kiec of the

1483:

At the beginning of 1944, apparently by pure accident, Janusz Woźniakowski was arrested in a mass

5166: 5141: 5105: 5046: 4726:), vol. 12, No. 4 (1086), 22 January 1967, p. 6. Subsequently published in: 4568: 4376: 2635: 2615: 2509: 2386: 1816: 1795:, a poet who had been one of the most distinguished members of the so-called Kraków Avant-garde ( 1671: 1594: 1499: 1469: 1263: 1219: 802: 762: 737: 666: 657: 488: 379: 371: 76: 5039: 3623: 3491: 2884:, vol. 1, ed. Z. Borzymińska & R. Żebrowski, Warsaw, Prószyński i S-ka, 2003, p. 482. 1830: 1785:" (The Testament of Mine). The "Non omnis moriar" was first published in the weekly periodical 1519: 433:

sonorities that will forever remain the signature trait of Ginczanka's poetry, often couched in

1833:. However, perhaps the most significant aspect of the "Non omnis moriar" is its indictment of 1797: 1197: 995: 729: 5415: 5407: 5382: 5374: 5327: 5319: 5297: 5282: 5261: 5243: 5224: 5203: 5178: 5156: 5127: 5109: 5073: 4848: 4823: 4798: 4670: 4604: 4588: 4580: 4547: 4496: 4467: 4420: 4402: 4390: 4359: 4330: 4311: 4290: 4257: 4232: 4188: 4163: 4125: 4097: 4067: 4029: 3989: 3958: 3922: 3864: 3833: 3785: 3769: 3761: 3732: 3707: 3667: 3487: 3445: 3425: 3405: 3380: 3359: 3351: 3308: 3264: 3243: 3207: 3165: 3120: 3112: 3096: 3067: 3039: 3015: 2941: 2897: 2885: 2861: 2853: 2770: 2758: 2750: 2647: 2623: 2575: 2567: 2546: 2538: 2517: 2493: 2477: 2393: 2369: 2344: 2292: 2266: 2241: 2210: 2176: 2101: 1820: 1792: 1725: 1666:. Other sources identify the suburb in question to have been the neighbouring spa locality of 1465: 1109: 1094: 991: 950: 746: 702: 682: 653: 632: 492: 484: 391: 310: 4667:

Krzątanina mglistych pozorów: wiersze wybrane | Un viavai di brumose apparenze: poesie scelte

4631:, "Poetyckie testamenty liryczne: uwagi wokół wiersza 'Testament mój' Juliusza Słowackiego", 3261:

Krzątanina mglistych pozorów: wiersze wybrane | Un viavai di brumose apparenze: poesie scelte

3085:

Krzątanina mglistych pozorów: wiersze wybrane | Un viavai di brumose apparenze: poesie scelte

2032:

Krzątanina mglistych pozorów: wiersze wybrane = Un viavai di brumose apparenze: poesie scelte

5534: 4572: 4483: 3421: 3280: 3006:, vol. 14, No. 52/53 (738/739), 26 December 1937, p. 24. Cited in: Adam Czachowski, comp., 2715:; cited in: Izolda Kiec, "Trochę wierszy, trochę fotografii, wspomnienia kilku przyjaciół", 2712: 2426: 2262: 2122: 1981: 1879: 1782: 1296: 1098: 1028:

One of the most distinguished modern Ukrainian poets and the one most hated by the Soviets,

946: 931: 909: 670: 540: 520: 403: 359: 132: 56: 5196:, Wydawnictwo Uniwersytetu Wrocławskiego, 1996, pages 135–146. (With a summary in German.) 5188:

Mieczysław Inglot, "Non omnis moriar Zuzanny Ginczanki w kręgu konwencji literackiej"; in:

3307:, ed. M. Iwaszkiewicz, P. Kądziela & L. B. Grzeniewski, Warsaw, Interim, 1993, p. 60. 2940:, ed. M. Iwaszkiewicz, P. Kądziela & L. B. Grzeniewski, Warsaw, Interim, 1993, p. 60. 1888: 500: 285:, 1936) created a sensation in Poland's literary circles. She was arrested and executed in 4518: 3436:), vol. 40, No. 52 (1971), 29 December 1985, p. 11. Cf. Izolda Kiec, 3186: 2690: 2328: 1747: 1527: 1210: 1180:

I stand at the forking of May where road bifurcate at odds springs while both those roads

1121: 1082: 981:, "tightly conjoined at the waist like a centaur". This is especially significant to the 862: 856: 606: 351: 231: 5519: 5276:

Postać z cieniem: portrety Żydówek w polskiej literaturze od końca XIX wieku do 1939 roku

3801: 2975: 1398: 797: 674: 1837:

by a Jewish woman who wished more than anything else to become a Polish poet, and to be

749:, her peer in age, she was a "sacred apparition" with "the eyes of a fawn". The author 5423: 5349: 5119: 3136: 2708: 1435: 1427: 1331: 847: 813: 754: 750: 656:, was memorialized in her poem "Pochwała snobów" (In Praise of Snobs) published in the 614: 528: 394:. Her studies there soon ended, likely due to antisemitic incidents at the university. 340:). Her father, Simon Ginzburg, was a lawyer by profession, with her mother Tsetsiliya ( 306: 2916:, "Liryka polska w dobie jej kryzysu" (Polish Lyric Poetry in the Age of Its Crisis), 434: 374:, Ginczanka's contemporary who sought her acquaintance, and independently by the poet 277:. Although she published only a single collection of poetry in her lifetime, the book 5555: 4105: 2606:, on the other hand, while confirming that the mother settled in Spain, initially at 2072: 1863: 1462: 1279: 1248: 1066: 829: 767: 718: 649: 516: 263: 165: 4759: 3609: 2086:, Czytelnik, 1955. (Includes the original text of "Non omnis moriar", p. 397.) 1652: 1117: 961:

Although she published only a single collection of poetry in her lifetime, the book

917: 375: 4109: 1584: 1578:

her last arrest in autumn 1944: Krystyna Garlicka, the sister of the Polish writer

1228: 1223: 1141: 1062: 1004: 922: 619: 512: 470: 238: 142: 4772: 1917:

Despite the quality of her poetry, Ginczanka was ignored and forgotten in postwar

898: 1964:

In 2003, poet Maciej Woźniak, dedicated a poem to her in his collection of poems

717:

Ginczanka was a woman possessed of striking, arresting beauty — "the beauty of a

3424:, "Ja i wielu ludzi (III): Witold Gombrowicz" (Me and Lots of Others, Part III: 2687:"Wypowiadam wam moje życie. Melancholia Zuzanny Ginczanki, Araszkiewicz, Agata." 2308:

Izolda Kiec, "Trochę wierszy, trochę fotografii, wspomnienia kilku przyjaciół",

1699: 1133: 1129: 825: 609: 524: 127: 107: 30: 4918:""Zuzanna Ginczanka. Tylko szczęście jest prawdziwym życiem" – katalog wystawy" 3156:, vol. 14, No. 28 (714), 4 July 1937, p. 6. Cited in: Adam Czachowski, comp., 1773:), which incorporates the name of her purported betrayer within the text, is a 1299:

extremely devoted to her poetry. Woźniakowski helped her avoid detection after

1268: 5193: 3692:

Izolda Kiec, "Dzieje swarliwe i wielkie przyjdzie ci jeszcze przemierzyć"; in

3649:

Izolda Kiec, "Dzieje swarliwe i wielkie przyjdzie ci jeszcze przemierzyć"; in

3401: 3161: 3011: 2132: 1913:

A commemorative plaque devoted to Zuzanna Ginczanka, Mikołajska Street, Kraków

1815:

The "Non omnis moriar" was highly esteemed by many others, including the poet

1774: 1485: 1291:

Early in 1940, at the age of 22, she married in Lviv the Polish art historian

817: 2660:, Przyjaźnie i animozje, Warsaw, Państwowy Instytut Wydawniczy, 1965, p. 190. 205:

Honourable mention, Young Poets’ Competition (Turniej Młodych Poetów) of the

5149: 4734: 4715: 3728: 2236: 1928: 1705:

Ginczanka's high-school friend, Blumka Fradis, was shot in the courtyard at

1698:

the ulica Czarnieckiego are located in the same southern Kraków district of

1602: 1542: 1439: 1393: 1241: 1202: 978: 969:, a mythological creature that was part man, part horse — here adopted as a 938: 906: 875: 868: 806:, was romantically involved with her. She was known to repulse her suitors 645: 532: 182: 5545: 5370: 5174: 5028: 4463: 4326: 4253: 4228: 4184: 4159: 4121: 4063: 4025: 3985: 3954: 3918: 3860: 3829: 3758:

Współcześni polscy pisarze i badacze literatury: słownik biobibliograficzny

3703: 3660: 3474:

Maya Peretz, "Bondage and Freedom in the Voice of Polish Women Poets"; in:

3441: 3092: 2747:

Współcześni polscy pisarze i badacze literatury: słownik biobibliograficzny

2720: 2643: 2564:

Współcześni polscy pisarze i badacze literatury: słownik biobibliograficzny

2535:

Współcześni polscy pisarze i badacze literatury: słownik biobibliograficzny

2489: 2365: 2313: 1897:). An account of these events is given in a study by Agnieszka Haska (see 709:, though their arrows point discreetly away from her rather than towards). 286: 72: 4516:

Ryszard Kotarba, "Zuzanna Ginczanka: śmierć poetki. Historia okupacyjna",

1384:

With the invasion by Nazi Germany of the Eastern Borderlands of Poland on

855:) in the literal sense". This perception was shared by others; the poet 5354: 4310:, ed. J. Tomaszewski & A. Żbikowski, Warsaw, Cyklady, 2001, p. 106. 3088: 3055: 2686: 2591: 1984:

translated and published the first book of her work in English. In 2019,

1443: 1407: 1125: 927: 901:

press, as well as devoting to her one of his last collections of poetry,

808: 733: 322: 255: 5279: 5153: 3664: 3246:& Jan Śpiewak, Warsaw, Ludowa Spółdzielnia Wydawnicza, 1970, p. 102. 2265:, Muzeum im. Anny i Jarosława Iwaszkiewiczów w Stawisku, 1995, p. 126. 973:

for her poetical project of uniting in verse the disparate qualities of

354:

and despite efforts made to this end, she was unsuccessful in obtaining

5087: 4446: 4269: 3259:), p. 11. Cf. Alessandro Amenta, Introduction; in: Zuzanna Ginczanka, 2958: 1961:(I Am Expressing to You My Life: The Melancholy of Zuzanna Ginczanka). 1851: 1765: 1751:

in December 2015, Ryszard Kotarba, the historian of the aforementioned

1431: 966: 678: 661: 337: 314: 3379:, ed. J. Kryszak, Toruń, Uniwersytet Mikołaja Kopernika, 1998, p. 21. 2860:, ed. J. Kryszak, Toruń, Uniwersytet Mikołaja Kopernika, 1998, p. 60. 1870:— that takes Ginczanka out of the sphere of realisation of her dream. 1657:

Nazi concentration camp of the same name situated in the same locality

5530:

Italian translation of "Non omnis moriar" by Alessandro Amenta (2011)

5402: 5315: 5219: 5135: 4960:"Invoking Zuzanna Ginczanka: Translation in a Time of Love & War" 4739: 4723: 4385: 3520: 3433: 3240:

Poeta ziemi rodzinnej: zbiór wspomnień i esejów o Stanisławie Piętaku

3143:, illus. A. Marczyński, Kraków, Wydawnictwo Literackie, 1956, p. 106. 3063: 2921: 2599: 2472: 2340: 2287: 2231: 2083: 1770: 1402: 1341: 974: 970: 942: 881: 741: 602: 536: 446:

W gałęziach gruszy zawisł wam księżyc, jak choinkowe złociste czółno,

407: 387: 363: 153: 117: 5373:, Towarzystwo Autorów i Wydawców Prac Naukowych Universitas, 2010. 5025:

W 3-cią rocznicę zagłady ghetta w Krakowie (13.III.1943–13.III.1946)

3592:(Kraków), vol. 29, No. 87, 28 March 1938, p. 24. 346: 3577:(Kraków), vol. 28, No. 184, 5 July 1937, p. 24. 2924:), vol. 69, No. 206, June 1939, pp. 14–15 (302–303). 2108:. (Includes the original text of "Non omnis moriar", p. 147.) 1247:№ 8a (pictured to the right), where her co-residents included 846:

was seen to enjoy her favour for a time, but even he was deemed by

4682: 2595: 2400:, (PDF file, direct download 2.54 MB), retrieved December 6, 2013. 1883: 1618: 1590: 1536: 1196: 916:), with a valuable autobiographical introduction. While the poet 861: 833: 792:

weekly in 1937. Ginczanka was admired by many for many reasons.

706: 623: 449:

a w wargach malin milczą legendy o sercach, które skrwawiła północ

367: 326: 318: 5304:. (Recollections of a former personal acquaintance of Ginczanka.) 3849:

Izolda Kiec, "Gdy oto pęka wiersz nie mogąc pomieścić grozy"; in

3818:

Izolda Kiec, "Gdy oto pęka wiersz nie mogąc pomieścić grozy"; in

1976:(Only Happiness Is Real Life) devoted to the works of Ginczanka. 1651:

of Kraków. Many older sources identify the suburb in question as

691:

where she is pictured in the collective cartoon representing the

5138:, 1974. Recollections of a personal acquaintance of Ginczanka.) 3882:"*** (Non omnis moriar — moje dumne włości) - Zuzanna Ginczanka" 2892:. On Gombrowicz's moniker for Ginczanka, see Joanna Siedlecka, 1938:

published a collection of poems in memory of Ginczanka entitled

1738: 1327: 1237: 1206: 721: 503:, b. 1903, who won an honourable mention, first class, and 302: 301:("Gincburg" in Polish phonetic respelling) on March 22, 1917 in 270: 267: 52: 4558:, tr. N. Guterman, New York, Arco Publishing Co., 1947, p. 262. 3511:

dated 15 February 1936; quoted in: Kazimierz Andrzej Jaworski,

5535:

An English translation of the poem "Żyzność sierpniowa" (1933)

5064: 5051: 4728: 4679:Écrits des condamnés à mort sous l'occupation nazie, 1939–1945 4150: 4054: 4016: 3976: 3945: 3909: 3851: 3820: 3694: 3651: 3404:, Wydawnictwo Uniwersytetu Wrocławskiego, 2003, p. 116. 2852:, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 9. 2656: 2598:, after remarriage, while her father worked as an attorney in 1048: 838: 539:, and ending with a philosophico-philological analysis of the 5501:

Ginczanka with high-school friends at Równe Wołyńskie in 1936

5059:, Warsaw, Państwowy Instytut Wydawniczy, 1965, pages 167–219. 4482:", as 18 January 1945 is not the date of the end of the 4289:), Warsaw, Wydawnictwa Szkolne i Pedagogiczne, 1982, p. 30. 3549:, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 10. 3323:, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 11. 3230:, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 10. 3182:

Reproduction of Aleksander Rafałowski's portrait of Ginczanka

2966:, Warsaw, Państwowy Instytut Wydawniczy, 1977, p. 310, n. 38. 2882:

Polski słownik judaistyczny: dzieje, kultura, religia, ludzie

2694:, 29 January 2002 (review of the book by Agata Araszkiewicz, 1841:

as Polish (rather than as an "exotic Other"). In her entire

1659:: no claim has ever been made that Ginczanka was deported to 937:

With the kind of celebrity she enjoyed, her apartment in the

753:, casting for an apt expression to describe her, settled on " 4718:, "Smak słowa i śmierci" (The Taste of the Word and Death), 4665:

Cf. Alessandro Amenta, Introduction; in: Zuzanna Ginczanka,

4577:

Postal Indiscretions: The Correspondence of Tadeusz Borowski

4478:), which has to be taken to mean "before the end of the war 4104:. The artist of the title is Andrzej Stopka (1904–1973; see 3621:

Cf. Izolda Kiec, "Wiosna radosna? (Ginczanka i Słonimski)",

3083:

Cf. Alessandro Amenta, Introduction; in: Zuzanna Ginczanka,

2676:, Toronto, Polski Fundusz Wydawniczy w Kanadzie, 1987, p. 8. 2131:, 2 vols., comp. & ed. M. Głowiński & J. Sławiński, 4323:Świadomość to kamień: kartki z życia Michała Choromańskiego 3158:"Wiadomości Literackie", 1934–1939: bibliografia zawartości 3008:"Wiadomości Literackie", 1934–1939: bibliografia zawartości 2826:, tr. & ed. Leopold Staff, Warsaw, J. Mortkowicz, 1922. 1480:, who was herself at the time hiding there from the Nazis. 4148: