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From the Sumerian epic of Gilgamesh to Norse prophecies of Ragnarök to the Revelations of Saint John to Cormac McCarthy’s the line, any variety of fictional zombie Armageddons, and the dystopic global of The starvation video games, we've got consistently questioned what's going to take place after the area as we all know it ends. it doesn't matter what the doomsday scenario—cataclysmic weather switch, political chaos, societal cave in, nuclear warfare, pestilence, or such a lot of different dreaded variations—we unavoidably think that although the area perishes, a few part of humankind will continue to exist. Such tales contain dying and catastrophe, yet also they are stories of rebirth and survival. Grim or effective, those amazing post-apocalyptic tales chosen from chosen from the easiest of these released within the tumultuous final decade let us contemplate what existence can be like after the tip.

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Sex, since it is inti­ Stanisiaw Ignacy W itkiew icz: A W riter fo r T oday? 41 mately connected with the "metaphysical feeling of strangeness of existence," was for Witkiewicz akin to art. Yet no discharges are able to calm down his weird puppets. " And since they are not supposed to be "probable" as to the language they speak, they deliver tirades mixing slang and terms of mod­ ern philosophy whether they are artists, princes, or peasants. The composition of his plays may be defined as a parody of psychological drama.

His "psychological por­ traits," mostly of intellectual friends, resemble by their treat­ ment of line and color what we associate today with psychedelic art. " He wrote a few novels, the first in 1910: 622 D ow nfalls o f Bungo or a D em oniac W om an. Two novels of his are major contributions to Polish literature of the years 1918-1939, yet he excluded the 36 Stanisiaw Ignacy W itkiewicz: A Writer fo r Today? " For him the novel was a bas­ tard genre, a catchall, a bag, a device to convey the author's quarrels with his contemporaries.

Poland did not join the anti-Bolshevik crusades (echo of 1919-1920 when Pilsudski refused to cooperate with White Russian gen­ erals Denikin and Wrangel) and has a native brand of semi­ fascism. Europe, however, is threatened by Communist China which has conquered Russia and whose armies are already near the borders of Poland. All hopes turn to the charismatic com­ mander of the army, Kocmoluchowicz (from kocm olu ch — sooty face). " The reader follows the story of a young man, Genezyp Kapen, opening on the night when he is erotically ini­ tiated by a homosexual composer, Putrycydes Tenger, and Princess Irina Vsievolodovna de Ticonderoga.

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