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Józef Czapski (1896–1993) was a writer and artist, as well as an officer in the Polish army. In 1918, he enrolled in the Warsaw School of Fine Arts, but shortly thereafter he suspended his studies in order to travel to Russia at the request of military authorities to search for officers in his division who had disappeared in action. At the end of the Russian Civil War, he went back to his studies, this time at Kraków’s Academy of Fine Arts, and soon relocated to Paris with some fellow students, thus founding the Komitet Paryski (Paris Committee), later known as the Kapist movement. Czapski was drafted into the army at the beginning of World War II, soon after landing in a Soviet prisoner-of-war camp. Once free, he was assigned to investigate another disappearance of officers, who he would discover were victims of the Katyn Massacre, the subject of Inhuman Land. Czapski spent the rest of his years painting and writing.
Eric Karpeles, painter, writer and translator, is the author of Almost Nothing: The 20th Century Art and Life of Józef Czapski. His comprehensive guide, Paintings in Proust, considers the intersection of literary and visual aesthetics in the work of the great French novelist. He has written about the paintings of poet Elizabeth Bishop and about the end of life as seen through the works of Emily Dickinson, Gustav Mahler and Mark Rothko. Painter of the Sanctuary and the Mary and Laurance Rockefeller Chapel, he has also translated Lorenza Foschini's Proust's Overcoat. He lives in Northern California.
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The first translation of painter and writer Józef Czapski's inspiring lectures on Proust, first delivered in a prison camp in the Soviet Union during World War II.
During the Second World War, as a prisoner of war in a Soviet camp, and with nothing but memory to go on, the Polish artist and soldier Józef Czapski brought Marcel Proust’s In Search of Lost Time to life for an audience of prison inmates. In a series of lectures, Czapski described the arc and import of Proust’s masterpiece, sketched major and minor characters in striking detail, and movingly evoked the work’s originality, depth, and beauty. Eric Karpeles has translated this brilliant and altogether unparalleled feat of the critical imagination into English for the first time, and in a thoughtful introduction he brings out how, in reckoning with Proust’s great meditation on memory, Czapski helped his fellow officers to remember that there was a world apart from the world of the camp. Proust had staked the art of the novelist against the losses of a lifetime and the imminence of death. Recalling that triumphant wager, unfolding, like Sheherazade, the intricacies of Proust’s world night after night, Czapski showed to men at the end of their tether that the past remained present and there was a future in which to hope.
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