Part, if not completely the reason Utopia…happiness, paradise, etc. are a never-ending pursuit is the following writer, Bruno Shultz. The moment at which a writer of this type is discovered by readers could also describe this ongoing pursuit too. In this moment, the writer can stop time, and readers are frozen in his or her world. The translation of emotion via ordinary words, becomes a language that acts as a time machine.
Lesson / Koan : Stopping is not a trick, and should be practiced daily.
Quotes from Bruno Shultz’s writing:
‘Somewhere in the dawn of childhood was The Book; the wind would rustle through its pages and the pictures would rise. Page after page floated in the air and gently saturated the landscape with brightness.‘
“And as the wind silently turned those pages over, blowing the colours and figures away, a shudder ran through the columns of its text, releasing flocks of swallows and skylarks from among the letters. It rose into the air, scattering page after page; it gently suffused the landscape, saturating it with colour. At times it slept, and the wind blew it around quietly like a cabbage rose. Its leaves parted, sheet after sheet, eyelid after eyelid—all of them blind, velvety and lulled to sleep, each one concealing deep within it, at the centre, an azure pupil, its peacock core, a screeching nest of humming-birds.”
- Bruno Schulz (1892-1942)A Polish author sadly neglected by publishers and public but whose genius has been recognized by such established authors as John Updike and Isaac Bashevis Singer. He wrote only two books of stories, Sklepy cyanomonowe (1934; English translation published in the U.S. as Cinnamon Shops, in Britain as The Street of Crocodiles, 1963) and Sanatorium pod klepsydra (1937; English translation, Sanatorium under the Sign of the Hourglass, 1978), both of which Schulz illustrated. Although Schulz is credited with the first Polish translation of Kafka’s The Trial, he only attached his name to that work to ensure its publication.
In 1986, the Quays Brothers produced the stop-motion animation film of The Street of Crocodiles. Considering the talents of Bruno Schulz, it is natural to think why the Quay Brother’s talents were so on target for the film version of the story. In other words, the sequence of time for both Schulz & the Quays Brothers is identical, in that it is unimportant when in their worlds.