欧洲艺术协会 | 孤独艺术家布鲁诺·舒尔茨

     Schulz was born in Drohobych, Austrian Galicia, historically part of the Kingdom of Poland, and today part of Ukraine. Bruno Schulz was the son of cloth merchant Jakub Schulz. At a very early age, he developed an interest in the arts. He attended Władysław Jagiełło Middle School in Drohobych from 1902 to 1910, graduating with honours. Then he studied architecture at Lviv Polytechnic. His studies were interrupted by illness in 1911 but he resumed them in 1913. At the end of World War I, when Schulz was 26, Drohobych became part of the newly reborn Polish Second Republic. Schulz returned to Władysław Jagiełło Middle School, teaching crafts and drawing from 1924 to 1941. His employment kept him in his hometown, although he disliked the teaching, apparently maintaining his job only because it was his sole source of income.

     In 1939, Drohobych was under the control of the Soviet Union. At the time, Schulz was known to have been working on a novel called The Messiah, but no trace of the manuscript survived his death. When the Germans launched their Operation Barbarossa against the Soviets in 1941, they forced Schulz into the newly formed Drohobych Ghetto along with thousands of other dispossessed Jews, most of whom perished at the Belzec extermination camp before the end of 1942. A Nazi Gestapo officer, Felix Landau, however, admired Schulz's artwork and extended him protection in exchange for painting a mural in his Drohobych residence. Shortly after completing the work in 1942, Schulz was walking home through the "Aryan quarter" with a loaf of bread, when another Gestapo officer, Karl Günther, shot him with a small pistol, killing him. This murder was in revenge for Landau's having murdered Günther's own "personal Jew," a dentist named Löw. Subsequently, Schulz's mural was painted over and forgotten – only to be rediscovered in 2001.

     布鲁诺·舒尔茨是一个用波兰语思考和写作的犹太人，精通德语。他的写作灵感都是来自于当地文化及种族来源，贴近家乡，而不是放眼整个世界。

     Bruno Schultz is a Jew who thinks and writes in Polish and is proficient in German. His writing inspiration comes from local culture and ethnic origin, close to his hometown, rather than writing about the whole world.

      The "The Beijing News" e-news short book review wrote, "Before Schultz was shot and killed by the Nazis on the corner of a small Polish town, he only published two collections of short stories-"Cinnamon Shop" and "Sanatorium Under the Sign of the Hourglass". Some people commented that he was “Kafka’s twin brother, the silent side of Proust, the writer of fables, doing the reverse writing of myths.” Actually Schultz was able to feel the scenes of Goethe’s folk songs and their transcendental subtleties, when he was eight years old. He said that in a sense, the ‘fiction’ in the novel is real, and shows his life and unique destiny, which retreats from the affairs of daily life, and is dominated by a strong loneliness'."

     《肉桂色铺子》出版于1934年，由十五个相对独立的小短篇构成一个浩瀚宏大的叙事框架，这是一个对欲望、疯狂、变形、梦、死亡和美的极端审视，文字晦涩、诡秘，犹如难分难辩的梦境。

    “小镇的最深处是敞开的，某种程度上是两倍的街道，幽灵般的街道，凭空捏造出来的虚假的街道。人的想象力被误导和蛊惑，创造出表面上早已熟悉的小镇的虚假地图。那些原本拥有自己位置和名字的街道被这个无限生殖的夜晚乐此不疲地产出虚构的新轮廓。”

——布鲁诺舒尔茨，《肉桂色铺子》，选自《外国文艺》一九九二年第三期

      "Cinnamon Shop" was published in 1934. It consists of fifteen relatively independent short stories that constitute a vast narrative framework. This is an extreme scrutiny of desire, madness, transformation, dreams, death, and beauty. The text is obscure and mysterious, just like an indistinguishable dream.  

     “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.”

― Bruno Schulz, “Cinnamon Shop”

     《沙漏做招牌的疗养院》是布鲁诺·舒尔茨两本传世的小说集之一，共收录13篇小说，充分展现了舒尔茨绚烂、奇特的写作风格。这部小说采用了一系列梦幻般的诗意短篇小说的形式，这些短篇小说反映了叙述者父亲的死，以及德罗霍贝奇犹太区简陋的生活。标题的沙漏是指使用这个物体作为波兰人讣告和死亡通知的象征。

     "Sanatorium Under the Sign of the Hourglass" is one of two collections of novels handed down by Bruno Schultz. It contains 13 short stories, which fully demonstrates Schultz's splendid and peculiar writing style. The novel takes the form of a collection of dreamlike, poetic short stories that reflect on the death of the narrator's father, as well as life in the modest Jewish quarter of Drohobych. The hourglass of the title refers to the use of this object as a symbol in obituaries and death notices among the Poles.

“总有些事件永远不可能完全、确凿地发生。它们太宏伟，太辉煌，以至纯粹的事实根本没法容纳。它们仅仅尝试着显形，想试探一下真实世界能否承载其重量。但它们将迅速退缩，生怕因虚弱的现实而丧失完整性。”

——布鲁诺舒尔茨，《沙漏标志下的疗养院》，陆源译

“There are things than cannot ever occur with any precision. They are too big and too magnificent to be contained in mere facts. They are merely trying to occur, they are checking whether the ground of reality can carry them. And they quickly withdraw, fearing to loose their integrity in the frailty of realization. ”

― Bruno Schulz, “Sanatorium Under the Sign of the Hourglass”

     布鲁诺·舒尔茨还是一位不错的画家。据说，舒尔茨常年生活在孤独中，离群索居，沉醉在梦想和童年的回忆中。他的作品表现出极度紧张的情绪，令人惊讶的内心生活和阴郁的想象力。令人惊奇的是，虽然梦在舒尔兹的小说中扮演重要角色，但却没有在他的画作上留下印记。反而是随着他的成熟，嘲弄式戏剧的元素愈发强烈。

     Bruno Schultz is also a good painter. It is said that Schultz lives in solitude all year round, living alone, indulged in dreams and childhood memories. His works show an extremely tense emotion, an astonishing inner life and a gloomy imagination. Surprisingly, although dreams play an important role in Schultz's novels, they do not leave a sound on his paintings. On the contrary, as he matured, the elements of a mocking drama became stronger.