Krysia Jopek
Autor von Maps and Shadows: A Novel
Über den Autor
Bildnachweis: Krysia Jopek
Werke von Krysia Jopek
Getagged
Wissenswertes
- Geburtstag
- 1967
- Geschlecht
- female
- Nationalität
- USA
- Wohnorte
- Connecticut, USA
- Ausbildung
- University of Connecticut (BA|English)
University of Connecticut (MA|English)
City University of New York (M.Phil|English) - Kurzbiographie
- Krysia Jopek was born in Hartford, Connecticut. She holds three degrees, a BA and MA in English from the University of Connecticut and a M.Phil in English from CUNY Graduate Center. She studied in London her sophomore year of college and attended Semester at Sea in Fall of 1998 before teaching English at CUNY from 1991-2001.
The combination of her travels, education and teaching experience informs her worldview with a global dimension.
She has published poems in various literary journals, including Columbia Poetry Review, Prairie Schooner, The Wallace Stevens Journal, Phoebe, Murmur, Windhover and Artists & Influence, as well as reviews of poetry in The American Book Review, and a review of literary criticism in The Wallace Stevens Journal.
Krysia Jopek lives in Connecticut with her two dogs.
Mitglieder
Rezensionen
2 
Eat_Read_Knit | 19 weitere Rezensionen | Jun 25, 2011 |
Eat_Read_Knit | 19 weitere Rezensionen | Jun 25, 2011 | 
Diese Rezension wurde für LibraryThing Early Reviewers geschrieben.I felt this book didn't fully satisfy. A mix of narrative and poetry that did not blend well enough for me. I was definitely more interested in the narrative elements and was at times engrossed in the story - but the poetical elements did not flow or add to the story as well as the narrative. I was not overly compelled to finish it but did so, so I could write this review.
Maps and Shadows is Krysia Jopek's gripping novel based on the true-life travails of the author's father and his family during World War II. When the Russian army invaded Poland in 1939, it deported the family – and thousands of other Poles – to Siberia, where the father Andrzej and oldest son Hynryk logged the frozen forests while the mother Zofia, daughter Helcia, and toddler Jozef tried to keep the family from starving or freezing to death.
That was just the beginning. Shifting war-time allegiances resulted in release from Siberian slave labor, but separation and years of danger for the family. Forced to disperse, the family found itself swept from Siberia to Iran, Palestine, Italy, Uzbekistan, Africa, and England before finally settling in America.
This is an incredibly story about a seldom-considered aspect of WWII. It is quite short and reads more like non-fiction than a novel, but is still a compelling look at how war affects ordinary people.… (mehr)
That was just the beginning. Shifting war-time allegiances resulted in release from Siberian slave labor, but separation and years of danger for the family. Forced to disperse, the family found itself swept from Siberia to Iran, Palestine, Italy, Uzbekistan, Africa, and England before finally settling in America.
This is an incredibly story about a seldom-considered aspect of WWII. It is quite short and reads more like non-fiction than a novel, but is still a compelling look at how war affects ordinary people.… (mehr)
“I will urge Helcia to carve out the bloodspill with her pen”
This is the thought that Henryk carries in his mind as his family is being transported to Siberia from their rural home in Poland. Despite his youth, he can sense the turmoil that is uprooting them and the violence that will come, and can only hope that Helcia and her poetry will help make sense of it all. In Maps and Shadows, the novel released this month by Krysia Jopek, we see how this small family of five is transported on a journey far more distant than Siberia. The story is tightly based on the actual events in Poland and Russia, and beyond, from 1939 to 1955.
Unique in many ways, Jopek’s novel combines a fast-paced narrative with poetry created by the character of Helcia. Her poems are placed throughout the chapters that explore the events through the separate viewpoints of the four oldest family members: Andrzej and Zofia (the parents), and Helcia and Henryk (the two oldest children). While each experiences their deportation differently, they are united in the hope that “some of us, at least, would survive.”
While much of the events of the Polish being sent to Siberia were familiar, the aftermath was not. Stalin had “freed” the Poles to fight alongside Russia against Germany, in a move that pleased the US and Britain. However, this left thousands of Polish families stranded in Siberia with no means of return while the Polish men went off to fight. Thus, a displacement of these Poles, mostly women and small children to parts of Africa and the Middle East (22 convalescent camps with 19,000 Poles in Africa alone) was completely new to me. In some cases, the British helped the Poles to reunite with their families and also provided camps and education in the interim. Yet, when WWII ended, despite their the many Polish soldiers who supported the Allied efforts, “the Polish military were asked not to march in the celebratory Victory Parade in London…those in power in England and the United States did not want to alienate Stalin.”
It was painful yet fascinating to read about the resilience of the people whose lives were uprooted so viciously and repeatedly. Only their family ties remained valuable to them as material items were so transient. They had to endure the frigid cold of Siberia and then relatively quickly try to acclimatize to the heat of Africa, and their health was forever compromised by the years of malnourishment and mental anguish. Kopek’s tactic of letting each character explain their own interpretation is revealing as it shows the more personal suffering of each: a father tormented by his inability to protect his family, a mother desperate to see that her toddler have milk, and the two older children trying to put on a brave face to alleviate the worry of their parents as they themselves are forced to grow up far too soon.
Helcia’s means of coping was her poetry. Words and phrases that reveal a mature realization of the larger implications of their suffering, in "Ice Garden":
This scrim of the inner room
The door of some other now, the book
Of will unknown. The book of how
And why drowned, encrusted under:
Sisyphus longed for a beginning, middle
And end to make it all bearable or seem
To have a context. The shortest distance
Between two points can be viole[n]t
Those wounds in the armpits
Wary at the lookout, ready to bow
And disregard history’s narrative.
Notice the word play she creates with viole[n]t. The use of the brackets gives color to the meaning of violence: the violet of the inevitable bruising. In another poem she similarly writes [D]anger, to contrast the emotions felt “to live in a place not one’s own.” In fact, she refers to this homelessness and ties in the book's title with the reality of changing maps of the world:
Villains can change out of costume,
Spectators, easily cajoled
The cartographer obsequiously pleasant
To be paid on time.
In all, the novel was fascinating in style and content, as were the new aspects (to me) of post-Siberia rehabilitation. It’s evident that Kopek did tremendous research (the bibliography is extensive) on the historical events, and the history itself is never dull. However, a few times I wished there might have been more narrative regarding the personal emotions of each of the four characters-did anyone ever really lose their temper? Break down in hysterics? Fight over petty things? Do the wrong thing? They seemed remarkably focused and devoted despite all that happened, almost a bit idealized. This isn't to say they weren't believable, I just think that the novel could have expanded to include more intimate and informal subjective details.… (mehr)
This is the thought that Henryk carries in his mind as his family is being transported to Siberia from their rural home in Poland. Despite his youth, he can sense the turmoil that is uprooting them and the violence that will come, and can only hope that Helcia and her poetry will help make sense of it all. In Maps and Shadows, the novel released this month by Krysia Jopek, we see how this small family of five is transported on a journey far more distant than Siberia. The story is tightly based on the actual events in Poland and Russia, and beyond, from 1939 to 1955.
Unique in many ways, Jopek’s novel combines a fast-paced narrative with poetry created by the character of Helcia. Her poems are placed throughout the chapters that explore the events through the separate viewpoints of the four oldest family members: Andrzej and Zofia (the parents), and Helcia and Henryk (the two oldest children). While each experiences their deportation differently, they are united in the hope that “some of us, at least, would survive.”
While much of the events of the Polish being sent to Siberia were familiar, the aftermath was not. Stalin had “freed” the Poles to fight alongside Russia against Germany, in a move that pleased the US and Britain. However, this left thousands of Polish families stranded in Siberia with no means of return while the Polish men went off to fight. Thus, a displacement of these Poles, mostly women and small children to parts of Africa and the Middle East (22 convalescent camps with 19,000 Poles in Africa alone) was completely new to me. In some cases, the British helped the Poles to reunite with their families and also provided camps and education in the interim. Yet, when WWII ended, despite their the many Polish soldiers who supported the Allied efforts, “the Polish military were asked not to march in the celebratory Victory Parade in London…those in power in England and the United States did not want to alienate Stalin.”
It was painful yet fascinating to read about the resilience of the people whose lives were uprooted so viciously and repeatedly. Only their family ties remained valuable to them as material items were so transient. They had to endure the frigid cold of Siberia and then relatively quickly try to acclimatize to the heat of Africa, and their health was forever compromised by the years of malnourishment and mental anguish. Kopek’s tactic of letting each character explain their own interpretation is revealing as it shows the more personal suffering of each: a father tormented by his inability to protect his family, a mother desperate to see that her toddler have milk, and the two older children trying to put on a brave face to alleviate the worry of their parents as they themselves are forced to grow up far too soon.
Helcia’s means of coping was her poetry. Words and phrases that reveal a mature realization of the larger implications of their suffering, in "Ice Garden":
This scrim of the inner room
The door of some other now, the book
Of will unknown. The book of how
And why drowned, encrusted under:
Sisyphus longed for a beginning, middle
And end to make it all bearable or seem
To have a context. The shortest distance
Between two points can be viole[n]t
Those wounds in the armpits
Wary at the lookout, ready to bow
And disregard history’s narrative.
Notice the word play she creates with viole[n]t. The use of the brackets gives color to the meaning of violence: the violet of the inevitable bruising. In another poem she similarly writes [D]anger, to contrast the emotions felt “to live in a place not one’s own.” In fact, she refers to this homelessness and ties in the book's title with the reality of changing maps of the world:
Villains can change out of costume,
Spectators, easily cajoled
The cartographer obsequiously pleasant
To be paid on time.
In all, the novel was fascinating in style and content, as were the new aspects (to me) of post-Siberia rehabilitation. It’s evident that Kopek did tremendous research (the bibliography is extensive) on the historical events, and the history itself is never dull. However, a few times I wished there might have been more narrative regarding the personal emotions of each of the four characters-did anyone ever really lose their temper? Break down in hysterics? Fight over petty things? Do the wrong thing? They seemed remarkably focused and devoted despite all that happened, almost a bit idealized. This isn't to say they weren't believable, I just think that the novel could have expanded to include more intimate and informal subjective details.… (mehr)
1 BlackSheepDances | 19 weitere Rezensionen | Dec 30, 2010 |
BlackSheepDances | 19 weitere Rezensionen | Dec 30, 2010 | Statistikseite
- Werke
- 1
- Mitglieder
- 40
- Beliebtheit
- #370,100
- Bewertung
- 3.9
- Rezensionen
- 20
- ISBNs
- 3
- Favoriten
- 1
It's often hard to remember that this is supposed to be fiction and supposed to be told from multiple perspectives. There is a single voice telling the story - or rather, the multiple voices are so similar as to be indistinguishable. The emotions and experiences differ - but the authorial voice is the same.
The prose is heavily narrative, very descriptive. Vivid, beautiful description, both informative and touching - but always narrative rather than experience, always told rather than shown. The book is also surprisingly short: the various vignettes show something of the reality of the family's deportation and lives as soldiers and refugees, but they never really allow much connection with the people.
This is not a bad book. The author is plainly both skilled as a writer and passionate about that part of her family's history. But this book ought to have been written either as a work of non-fiction or as a more heavily fictionalised account. As either, it could have been immensely powerful. As it is, it falls between the two and, while sometimes powerful, more often feels awkward.… (mehr)