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Bruno Schulz

Bruno Schulz Biography

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“There open up, deep inside a city, reflected streets, streets which are double, make-believe streets. One's imagination, bewitched and misled, creates illusory maps of the apparently familiar districts, maps in which the streets have their proper places and usual names but are provided with new and fictitious configurations by the inexhaustible inventiveness of the night.”

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Book:The Street of Crocodiles
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“And then as the knives and forks began to clank softly above the white tablecloths, the violins would rise alone, now suddenly mature although tentative and unsure just a short while before; slim and narrow-waisted, they eloquently proceeded with their task, took up again the lost human cause, and pleaded before the indifferent tribunal of stars, now set in a sky on which the shapes of the instruments floated like water signs or fragments of keys, unfinished lyres or swans, an imitatory, thoughtless starry commentary on the margin of music.”

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Author:Bruno Schulz
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“It was difficult to anticipate—in these monsters with enormous, fantastic beaks which they opened wide immediately after birth, hissing greedily to show the backs of their throats, in these lizards with frail, naked bodies of hunchbacks—the future peacocks, pheasants, grouse or condors. Placed in cotton wool, in baskets, this dragon brood lifted blind, walleyed heads on thin necks, croaking voicelessly from their dumb throats.”

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Book:The Street of Crocodiles
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“On those luminous mornings Adela returned from the market, like Pomona emerging from the flames of day, spilling from her basket the coloful beauty of the sun –the shiny pink cherries full of juice under their transparent skins, the mysterious apricots in whose golden pulp lay the core of long afternoons. And next to that pure poetry of fruit, she unloaded sides of meat with their keyboard of ribs swollen with energy and strength, and seaweeds of vegetables like dead octopuses and squids–the raw material of meals with a yet undefined taste, the vegetative and terrestrial ingredients of dinner, exuding a wild and rustic smell.”

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Book:The Street of Crocodiles
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“He took me between his knees and shuffled some photographs before my eyes with his dextorous hands, showing me images of naked women and boys in strange positions. I leant against him and peered at those delicate human bodies with distant, unseeing eyes, as the fluid of a vague agitation that had suddenely clouded the air reached me, running through me in a shiver of anxiety, a wave of sudden understanding. In the meantime, the haze of a smile that had appeared under his soft, beautiful moustache, the germ of desire that had stretched across his temple in a pulsing vein, the tension holding his features together for a momenr, fell back into nothingness, and his face departed into absence, forgot itself, and disintegrated.”

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Author:Bruno Schulz
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“On Saturday afternoons I used to go for a walk with my mother. From the dusk of the hallway, we stepped at once into the brightness of the day. The passerby, bathed in melting gold, had their eyes half-closed against the glare, as if they were drenched with honey, upper lips were drawn back, exposing the teeth. Everyone in this golden day wore that grimace of heat–as if the sun had forced his worshippers to wear identical masks of gold. The old and the young, women and children, greeted each other with these masks, painted on their faces with thick gold paint; they smiled at each other's pagan faces–the barbaric smiles of Bacchus.”

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Book:The Street of Crocodiles
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“There was something tragic in that sloppy and immoderate fertility: the misery of a creature struggling on the border of nothingness and death; the strange heroism of a femininity triumphant in its fecundity over the deformity of nature and the insufficiency of man. Yet her progeny revealed the cause of that maternal panic, that frenzy of birthing that had exhausted itself in abortive foetuses and an ephemeral generation of phantoms without blood or faces.”

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Book:Nocturnal Apparitions: Essential Stories
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“On a small square, wood is being cut for the city school. Cords of healthy, crisp timber are piled high and melt slowly, one log after another, under the saws and axes of workmen. Ah, timber, trustworthy, honest, true matter of reality, bright and completely decent, the embodiment of the decency and prose of life! However deep you look into its core, you cannot find anything that is not apparent on its evenly smiling surface, shining with that warm, assured glow of its fibrous pulp woven in a likeness of the human body. In each fresh section of a cut log a new face og the human body. In each fresh section of a cut log a new face appears, always smiling and golden. Oh, the strange complexion of timber, warm eithout exaltation, completely sound, fragrant, and pleasant!”

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Book:The Street of Crocodiles
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“The cashier had long since left for home. By now she was probably bustling by an unmade bed that was waiting in her small room like a boat to carry her off to the black lagoons of sleep, into the complicated world of dreams. The person sitting in the box office was only a wraith, an illusory phantom looking with tired, heavily made-up eyes at the empyiness of light, fluttering her lashes thoughtlessly to disperse the golden dust of drowsiness scattered by the elctric bulbs.”

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Book:The Street of Crocodiles
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“Ordinary facts are arranged within time, strung along its length as on a thread. There they have their antecedents and their consequences, which crowd tightly together and press hard one upon the other without any pause. This has its importance for any narrative, of which continuity and successiveness are the soul.”

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Book:The street of crocodiles and other stories
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“An event may be small and insignificant in its origin , and yet, when drawn close to one’s eye, it may open in its center an infinite and radiant perspective because a higher order of being is trying to express itself in it and irradiates it violently.”

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Book:The Fictions of Bruno Schulz: The Street of Crocodiles & Sanatorium Under the Sign of the Hourglass: The Street of Crocodiles & Sanatorium Under the Sign of the Hourglass
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“Man was entering under false pretenses the sphere of incredible facilities, acquired too cheaply, below cost price, almost for nothing, and the disproportion between outlay and gain, the obvious fraud on nature, the excessive payment for a trick of genius, had to be offset by self-parody.”

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Book:The street of crocodiles and other stories
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“Animals! the object of insatiable interest, examples of the riddle of life, created, as it were, to reveal the human being to man himself, displaying his richness and complexity in a thousand kaleidoscopic possibilities, each of them brought to some curious end, to some characteristic exuberance.”

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Book:The street of crocodiles and other stories
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“Under the imaginary table that separates me from my readers, don’t we secretly clasp each other’s hands?”

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Book:The Fictions of Bruno Schulz: The Street of Crocodiles & Sanatorium Under the Sign of the Hourglass: The Street of Crocodiles & Sanatorium Under the Sign of the Hourglass
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“So, it comes to pass that, when we pursue an inquiry beyond a certain depth, we step out of the field of psychological categories and enter the sphere of the ultimate mysteries of life. The floorboards of the soul, to which we try to penetrate, fan open and reveal the starry firmament.”

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Book:Letters and drawings of Bruno Schulz: with selected prose
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