curricula

Wislawa Szmborska (Polish)

Wislawa Szymborska was born in Kórnik* in Western Poland on 2 July 1923. From 1931 she lived in Krakow, where during 1945-1948 she studied Polish Literature and Sociology at the Jagiellonian University. Szymborska made her début in March 1945 with a poem "Szukam slowa" (I am Looking for a Word) in the daily "Dziennik Polski".

Szymborska published 16 collections of poetry: Dlatego zyjemy (1952), Pytania zadawane sobie (1954), Wolanie do Yeti (1957), Sól (1962), Wiersze wybrane (1964), Poezje wybrane (1967), Sto pociech (1967), Poezje (1970), Wszelki wypadek (1972), Wybór wierszy (1973), Tarsjusz i inne wiersze (1976), Wielka liczba (1976), Poezje wybrane II (1983), Ludzie na moscie (1986). Koniec i poczatek (1993, 1996), Widok z ziarnkiem piasku. 102 wiersze (1996). Wislawa Szymborska has also translated French poetry.  She died in 2002 at the age of 101.

 

The End and the Beginning

After every war
someone has to clean up.
Things won’t
straighten themselves up, after all.
Someone has to push the rubble
to the sides of the road,
so the corpse-laden wagons can pass.

Someone has to get mired
in scum and ashes,
sofa-springs,
splintered glass,
and bloody rags.

Someone must drag in a girder
to prop up a wall.
Someone must glaze a window,
rehang a door.

Photogenic it’s not,
and takes years.
All the cameras have left
for another war.

Again we’ll need bridges
and new railway stations.

Sleeves will go ragged
from rolling them up.
Someone, broom in hand,
still recalls how it was.
Someone listens
and nods with unsevered head.
Yet others milling about
already find it dull.

From behind the bush
sometimes someone still unearths
rust-eaten arguments
and carries them to the garbage pile.

Those who knew
what was going on here
must give way to
those who know little.
And less than little.
And finally as little as nothing.

In the grass which has overgrown
causes and effects,
someone must be stretched out,
blade of grass in his mouth,
gazing at the clouds.

 

 

Voices in Wartime Discussion Guide

How to Use This Module

Determining the Reasons for Using the Film
 
Why are you using Voices in Wartime as part of your curriculum, study, or discussion group? Answering this question will help you begin to determine how you will be using the Voices in Wartime Discussion and Action Guide.  The first step as an instructor or facilitator you will want to take is to view the film. Starting on pages 51 of this module you will find the script for the film. As you watch the film, use the script as a guide to help determine which areas of the film you will want to concentrate your discussion. Mark these areas as you go along. After seeing the film and reflecting on it, return to the script, review the questions that correspond to portions of the film you want to explore in your discussion session. Some instructors will be using the film to support the study of history, others as an introduction to war poetry, and still others as part of a film studies curriculum. Facilitators may use the film to advance their discussion on efforts of peace, as an action component to their work, or to help determine next steps in their strategic planning.
 
 
Determining Discussion Questions
 
As you read through the discussion questions, determine if these are the most appropriate questions to meet your needs. Reframe the questions, add new ones to complement your objectives. Questions provided are there as a framework. As you can see there are no questions about the technical nature of the film. If this is your area of interest, you will need to come up with questions.
 
Setting Objectives  
 
After viewing the film, consider the objectives for showing it. Writing out your objectives will determine how you will use the supportive material in this module. Some examples of objectives might be:
 
  1. Explore the role of the poet and poetry in today’s society.
  2. Discuss the importance of poetry during times of conflict and war.
  3. Experience the use of writing in response to expressing one’s thoughts and feelings.
  4. Relate specific national and global events to the writing of a period.
  5. Read, discuss, and relate to the poetry of the First World War.
  6. Learn about psychological trauma that has plagued warriors and civilians of war through the ages.
  7. Commit to a plan of involvement to help returning veterans or victims of war.
 
If you are exploring literature or using the film to support classes in the humanities or social sciences you will want to consider using the first essay in the module, “War, Poetry and the Human Spirit” by Jon Stallworthy. The essay is rich with references to poetry through the ages and numerous selections of writing, discussion questions and activities are included. Some instructors may elect to use the essay and supporting materials to it as an introduction to the film. Other teachers may decide to use the essay as a follow-up to the film.
 
One approach to setting the stage for viewing Voices in Wartime is for people to talk first in small groups about war, the reasons wars occur, and the consequences of war, and then share their ideas within a larger group. As the students present their ideas, ask them to talk about how conflict arises in their own lives and communities, how it is dealt with, and the fear and stress it engenders. If this approach is used to set the stage for the film, you will
 
 
want to come back to it as part of the debriefing after the film. In addition to this procedure, you may decide to use some of the following questions when discussing the film:
 
  1. What image are you left with after seeing the film? What do these images make you think and feel?
  2. What emotions are churning in you at this moment? Why do you believe you are feeling the way that you are?
  3. How is poetry a coping mechanism for those who experience war?
  4. Out of the voices of poets in the film, which ones resonate for you and why do you think this is so?
  5. What lessons are you reminded of after seeing the film?
 
Another excellent way to process the film is to use writing as a tool. Review the activity, “Writing Your Reactions,” on page 86. Other activities are contained in the section, “Responding to Viewing the Film,” pages 86-116, are also offered. These include the work of nine individuals who have chosen to write about their experiences and thoughts of war. Questions for reflection are provided for each of their works.
 
Another section in the module, “Acting on the Film,” pages 117-128, presents a framework to think differently about conflict and war. The opening essay, “Our Responsibility to Wage Peace,” by David Krieger is followed by questions for reflection, and the exploration of a number of historical documents that help us consider how peace, responsibility to issues of justice and equity and humane conduct are in place for the global community. The final activity in the section, “Thinking Through a Different Perspective,” takes an approach that the sociologist and futurist Elise Boulding has been using for years to imagine the future.
 
The final working section of the module, pages 129-132, presents materials that you can use with a short film that on focuses on post-traumatic stress disorder, Beyond Wartime. This section suggests further resources are provided and offers background information on post-traumatic stress disorder.

Education Packets: Lincoln & International Women's Day

Dakota womanOur education packet on Abraham Lincoln includes sections on his poetry and speeches, as well as films and books about the 16th President.
A troubling section on the 1862 Dakota Conflict is also included.

Inaugural Addresses and Presidential Poetry

We have a new curricula module ready for the historical inauguration of Barack Obama.

Democracy and the Arts

Our latest curricula module, Democracy and the Arts, was written by Merna Hecht for The Poet Populist Program.

The Death March of Bataan

In Mariveles, which is on the southern tip of the Bataan peninsula of the Philippines, nearly 66,000 Filipino and 12,000 American soldiers surrendered to the Japanese in 1942 as part of World War II.

Anti-War Films & Documentaries

Our curricula now includes a module on anti-war films. Learn more about how you can use film as part of a classroom lesson.

Activities and an annotated bibliography on anti-war films and documentaries from various parts of the world are included.

Here's the entry on "Tae Guk Gi: The Brotherhood of War":

Wilfred Owen in Voices in Wartime



The life and art of this British soldier-poet from World War 1, who wrote some of the most searing and emotionally profound poetry ever written.

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