Avant-gardism in Bruno Jasieński’s Socialist GrotesquerieThe Mannequin Ball

Abstract

The remarkable output of Bruno Jasienski (1901-1939) bilingual prose writer, poet, dramatist, whose personal life and literary œuvre in both Russian and Polish were formed by divergent, often conflicting social and cultural traditions stands until today unevaluated in terms of the intrinsic continuity of his writing. Jasienski is acknowledged for his substantial contributions both to the Polish Futurist and the Soviet Socialist Realist literatures.1 Yet, because of the seemingly antinomic features of his works, he has generally been viewed by literary scholars in an exclusivist way: either as one of the most individualistic and innovative figures of Polish Futurism during the 1920s, or as an ideologically orthodox proletarian writer ready to serve the cultural policies of his second homeland, the Soviet Union, during the 1930s. Although he was both calumniated and lionized by the public and literary establishments in Poland, France and the Soviet Union, Jasienski remains diminished in his significance due to an incomplete assessment of his poetics. Viewed either as a flamboyant Futurist or a dogmatic Socialist Realist, he is a writer whose work as a whole has not received its due exegesis in tenus of the stylistic and historical avant-garde principles that inform it. The present paper is premised on the belief that Jasienski's writing offers insight into the relationship between the realm of belles lettres and political society, more specifically, the way ideological beliefs about the contemporary human condition aie conveyed through the postulation of fictional worlds by the only art form that is purely propositional imaginative literature. At the heart of the matter is the need to go beyond the outdated positivistic interpretation of Jasieriski that sees him as a writer who eventually compromised his art in the name of ideology, a categorical view rooted in Platonic idealism which persists in liberal Polish circles today.2 Polish scholars have produced important and absorbing studies of Jasienski's early period but have been intellectually abashed in treating his Soviet period, seeing it as both the personal and literary martyrdom of a writer who succumbed to a well-intentioned but ill-placed ideological loyalty to Marxism a fate common to leading intellectuals between