Académique Documents
Professionnel Documents
Culture Documents
The first version of this chapter was published in Polish in the book Od poetyki
do polityki, edited by Cezary Zalewski (2010), dedicated to the supervisor of my
doctoral thesis and friend, Professor Stanis aw Jaworski, who also knew the taste
of emigration (while living abroad in France). I wish to thank the Polish publisher
Universitas for granting me permission to publish this English edition. All literary
exerpts in this chapter are translated by Marek Kazmierski.
82
Chapter Three
and short tales about othersall those interesting characters met along the
way.2 This form of autobiographical writing involves the theme of the
female writer as protagonist, while the narration is marked by selfreferences, including experiences of travel, out of which emerge images of
the writer/narrator/travellers gender, by which I mean a portrait of a
woman and the specific aspects of her modes of travel as well as the motif
of the homeland, Poland, which is always somehow the start of these
womens journeys.
Here, I will primarily analyse the figure of the travelling woman, who
records the world during her peregrinations, capturing in narrations what
she sees around her, and above all her own, very often physical,
experiences and trials as a travelling woman. The protagonistthe
wandering womanenriches and modifies the literary motif of the
journey, which is a common theme in literature, especially present in
mythology, fairy tales, folklore, and in such figures as Gilgamesh,
Theseus, Odysseus, The Wandering Jew and Moses.3 We will focus on the
divide between the familiar place of origin and the ill-defined place to
which one travels, the need to journey, to experience dislocation; though
in fact, as is explained in the fragment essays on the psychology of
travel in Olga Tokarczuks Runners, the desire to keep moving
is in and by itself hollow, showing only the direction, not the destination,
which always remains phantasmagorical and unclear [] it is in no way
possible to reach such a destination or to satisfy such needs. The
preposition toward highlights this process of attempting. Toward what?
(R, 86)4
83
84
Chapter Three
which is dark (night), the foretelling of birth (east, sunrise) and the danger
of death (west, sunset, night). The emergence of the subject from this
unarticulated semiotic field is only possible due to social contextthe
Other, in this case a customs official or a receptionist, who presents the
traveller with keys (perhaps to language). The narrator simultaneously
emphasizes the fact that she is a woman. In her narrative experience,
gender plays a vital role in this story of travel. The narrator of Tokarczuks
book highlights the gender aspect of the narration. How and why we look
is defined by gender too, by symbols imposed by it. But luckily for her
status as a woman traveller, she is no longer a young female, and hence is
invisible:
Year by year, time becomes my ally, as it does to all womenI have
become invisible, transparent. I can move about like a ghost, look over
peoples shoulders, listen in on their arguments and watch as they sleep
with their heads resting on rucksacks, how they talk to each other, unaware
of my presence, they move the scales, formulate words, which I will then
utter in their names. (R, 25)