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THE PAINTED BIRD JERZY KOSINSKI PDF

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The Painted Bird. Home · The Painted Bird Author: Jerzy Kosinski. downloads Views KB Size The painted bird · Read more · The Painted Bird. Get this from a library! The painted bird.. [Jerzy Kosinski]. As is often the case, happenstance led me to read Jerzy. Kosinski's The Painted Bird: the timing of seeing it on some “top" variety lists followed by watching.


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Download and Read Free Online The Painted Bird Jerzy Kosinski The Painted Bird by Jerzy Kosinski Free PDF d0wnl0ad, audio books, books to read, good. the painted bird by jerzy kosinski ebook, the painted bird by jerzy kosinski pdf, the painted bird by jerzy kosinski doc and the painted bird by jerzy kosinski epub. The painted bird by Jerzy N. Kosinski, , Bantam Books edition, in English.

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Would you also like to submit a review for this item? You already recently rated this item. Your rating has been recorded. Write a review Rate this item: Preview this item Preview this item. The painted bird. Jerzy Kosinski Publisher: New York, Modern Library [] Series: English View all editions and formats Rating: Subjects War stories. Autobiographical fiction. World War, -- Fiction. View all subjects More like this Similar Items. Allow this favorite library to be seen by others Keep this favorite library private.

Find a copy in the library Finding libraries that hold this item By this point, violence is violence is violence. But it also ignores that to which the boy is reacting, and the world-view through which he is interpreting what he sees. Again: Only the conviction that one was as strong as the enemy and that one could pay him back double, enabled people to survive, Mitka said.

He clutches the soldiers hand in response to strength of the will to vengeance he sees glowing in the dying fires of the grey faces. The book emphasizes: survival is an individual event. It is, as was seen in the story of Mitka, a private affair. But is this commentary on this historical reality of the camp survivors? Again, no. This is the world as seen and interpreted through the eyes of the boy, as guided by the world-view of the boy at that time of the book: that is, a world- view of strength based on vengeance.

It is no surprise, then, that the boy survives the trials of the violence that defines the school community by way of the strength of standing his ground. Though, also, it should thus be no surprise that this world-view, too, is abandoned when the boy answers the phone, regains his voice, and finally climbs out of the belly of the whale.

The painted bird.

Three: But, then, none of this should be surprising since the primary theme of the book is that of the inherent antagonism between culture and the individual.

If I were to teach this book, this would be the avenue I would take, not only in theme but in style construction. But I here leave that discussion at but that comment, and at what is and has been said to that end in passing.

What of the relationship between The Painted Bird and Holocaust literature?

The Painted Bird

Finkelstein, a critical look at the whole of Holocaust discourse. This is from online reading; I am not myself familiar with the book as a whole. It was a best-seller and award-winner, translated into numerous languages, and required reading in high school and college classes.

Nor do I agree that the book is an indictment of the Nazi era, as neither is the book specifically about Nazism. Now, I admit my research is unfortunately limited to that which I am finding online.

But in that research it seems a rather obvious current that there was great energy being spent in labeling The Painted Bird as a Holocaust book, a substantially amount of energy in turning it into an indictment of Nazism; and that those energies came not from Kosinski but from other persons, like Wiesel. How can The Painted Bird be a Holocaust hoax if it was never claimed to be about the Holocaust, if, indeed, the Holocaust is but a trivial part of the book.

Yes, Kosinski made claims that the book was based on actual experiences. No, Kosinski was not turned into a wandering orphan during the war. However, the ethnographic detail in the book does speak some familiarity with old world belief.

As well, the war itself — as a historical event — plays a minor role in the book: it is but backdrop to the mythic realm through which boy wanders. Again, the far majority of the violence and perversity in the book is perpetrated and worked by peasants.

In the end, the autobiographic question becomes irrelevant to the final nature of the book as written.

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So also, though, does the historical. Stepping away from the argument through modality, the idea cannot be supported by the internal elements of the book itself if any attention is given. Let me offer some pieces of evidence.

First, both the Germans and the Jews play only a trivial role in the book. At first, the Germans and the war — indeed, it cannot be beyond bounds to say the twentieth century — exists primarily as but outposts outside the realm of the peasant village or railroad lines passing nearby. In terms of the mythic — and even the stylistic mechanisms of fantasy and science fiction apply here — the outposts are alien places set beyond the known world, places to which the villagers must travel so as to encounter.

The rail lines are like alien technology, beyond the knowledge of the peasant world, strange in their being and in their leading out of and leading forward to the unknown outside. They are of the world, but it is a world beyond village.

Indeed the two encounters with Germans mostly go against the grain of of what would be found within a genre of Holocaust books. In each encounter, while the boy may be threatened or physically abused by German soldiers that is, more undifferentiatable peasants, if peasants from the land beyond the mists , he is rescued by German officers and released by those officers back into the world. In the first, the officer pretends to be taking the boy into the woods so as to shoot him and burn his body, but releases him when out of view.

To note, the officer fakes burning a body after the boy is gone, an act that has a curious parallel to the assassination of the peasants by Mitka, an act of individuality that is kept secret from the members of the community. It is used to create an moral indictment of a group through the psychotic actions of an individual.

I ask, can it be argued that The Painted Bird is a turn-around indictment of such texts, in revealing that the attempt to create an indictment against one culture to the exclusion of another culture depends on the identification of the culture with the psychotic and the dissociation of the culture with the possibility of non-psychotic individuality.

That is, what The Painted Bird is presenting is that such an indictment must and can only be made upon all cultures.

On the simplest level, the book cannot even be said to be specifically about anti-Semitism, as the boy is far more often painted as being a gypsy than he is as being a Jew, the former carrying a far greater magical threat than the latter. The book never permits the boy to identify himself or be solidly identified as being either Gypsy or Jew.

This is the opening to the final chapter: I was too thin and not growing. The doctors advised mountain air and a lot of exercise. The teachers said that the city was not a good place for me. In the fall my father took a job in the hills, in the western part of the country, and we left the city.

B AU M AN N — PAG E 20 — Again, it is at best a hinting within the text, and I question if even putting it forward gives it more strength than it merits, but it might be said that the family was able to re-establish itself remarkably quickly, relatively speaking, in a war-decimated country. Not that that moment on its own carries much weight, but in conjunction with that the father spoke elegant Russian, there may be something to be found there. In sum of the point, though, it seems to me that the identification of The Painted Bird as Holocaust literature is a spurious one, or perhaps, depending on how one sees the culture of Holocaust literature, a politically motivated one.

I do not believe the book itself can sustain such an identification at all. It is a mythic tale that happens to be but chronologically set in Poland during world war two. Kosinski himself seems to have spoken against the blank identification of The Painted Bird as a Holocaust book. I remind you how, to me, it seems Kosinski became caught in the web of the discourse on The Painted Bird.

This also comes from The Holocaust Industry: To his credit, Kosinski did undergo a kind of deathbed conversion. I have not read enough to make a statement to that end beyond that from my observing from a distance. Though further investigation is warranted, my interests lie only in the book itself as a literary work. Reading the book, it seems to me that many of the statements and arguments made about The Painted Bird, especially as concerning Nazism and the Holocaust, are ungrounded.

That is, they cannot be supported by the book itself. Indeed, it seems to me that such is a loss for the book.

Because for The Painted Bird to be, say, a Holocaust text, it would have to be — it would have to be read as — something less than what it is, literarily speaking. Such a sensational novel brought Kosinski a lot of attention, and when you take a look at this guy, he turns out to be very interesting.

No brutality, no ghettos for JK.

So the best guess might be that JK took most of the stuff in his novel from unidentified Polish-language accounts of survival during the war, then paid translators to help him render the material into English. But you can see their point — this is an anti-Polish novel — no, an anti-Polish-peasant novel — no, an anti-Polish-peasant-during-WW2 novel — well, definitely one of those.

In the end, this novel is a failure. But it's a brave, reckless, dangerous, blazing failure. Cinematic PS : I was watching Reds the other week and was mightily impressed by the actor playing Zinoviev.

He had a hell of a face, hell of a haircut and a delivery that made his few scenes the most memorable of the 3 hour movie.

And yes, that actor was Jerzy Kosinski. What a geezer!Places Eastern Europe , Poland. The book is unified, envisioned, and well executed. It is a mythic tale that happens to be but chronologically set in Poland during world war two. And yes, that actor was Jerzy Kosinski. Quote saved. Advanced Search Find a Library. It, no doubt, is, but there is also an ambiguity here that one must reflect on.

They are of the world, but it is a world beyond village. If I were to teach this book, this would be the avenue I would take, not only in theme but in style construction.

CLARIBEL from New Hampshire
I do enjoy reading novels enormously . Please check my other articles. I'm keen on judo.