It was first published in Poland in Only "Spring," in the same volume, is longer. It contains no dead, hard, limited objects. Everything diffuses beyond its borders, remains in its given shape only momentarily, leaving his shape behind at the first opportunity.
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It was first published in Poland in Only "Spring," in the same volume, is longer. It contains no dead, hard, limited objects. Everything diffuses beyond its borders, remains in its given shape only momentarily, leaving his shape behind at the first opportunity. Once he has arrived, these elements become still more pronounced as time loses its linearity and becomes at once multiple and synchronous. Dead in one time, the father lives in another, and he does not just live but lives, as it were, a double existence.
The son finds himself in a world that appears at once strange yet strangely familiar. It does not contain the pornographic work he ordered and which he now learns is out of stock but a "certain object" that the sender believes will interest his client.
Compared at first to a folded-up accordion, the object is subsequently likened to a telescope, an enormous phallic bellows, a labyrinth of black chambers, a long complex of camera obscuras, an automobile, a theatrical prop, a paper butterfly, a large caterpillar, and a paper dragon. Nearly everything and everyone in the story undergoes similar, often ceaseless metamorphosis, including the father, of course, and a dog that the son greatly fears and that turns out to be a harmless old man whom the narrator-son soon abandons.
The structure of the story follows a similarly Ovidian course, with the abrupt transitions between its five sections rendered as if the parts do make up a single, seamless, continuous whole which in a very different sense they do. The chief exception to the uncertain reality of the sanatorium and its environs, with its sweet air, black vegetation, bands of roving dogs, and occupation by an invading army, is the group of girls the son sees walking as if in possession of an inner rule, "the idee fixe of their own excellence.
As the story progresses, either conditions worsen or Joseph chooses to believe they do. Either his father is quite well, bustling about his shop, or he is dying in his bed.
Time put back—it sounded good, but what does it come to in reality? Deciding on no factual basis whatsoever that his father is dead, he exits the maze "Where am I? What is happening here? What maze have I become entangled in?
This, however, is a train he is doomed never to leave, the train on which he will himself grow old, eventually being forced to sing for his supper, to repeat his story over and over, dressed in the same shabby railway uniform as the old man he met at the very beginning of his story.
Bruno Schulz: Sanatorium pod Klepsydrą
I would spend all day going from apartment to apartment, conducting one never-ending conversation from one end of the city to the other, divided into parts among the householders; I would ask something in one apartment and receive a reply in another, make a joke in one place and collect the fruits of laughter in the third or fourth. This page was last edited on 12 Novemberat I would stop for longer than necessary in kitchens and hallways, where servant girls were tidying up. This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights. File:Sanatorium pod klepsydr
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