Krzysztof Czyzewski_The Path of the Borderland-Sciezka pogranicza

7/25/2019 Krzysztof Czyzewski_The Path of the Borderland-Sciezka pogranicza

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cieka pogranicza

The Path O The Borderland

Krzysztof Czyewski

Sitka/ Sejny

2012


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cieka pogranicza



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cieka pogranicza


Krzysztof Czyewski

Sitka/ Sejny

2012


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cieka pogranicza /

The Path Of The Borderland

Orodek Pogranicze sztuk, kultur, narodw

ul. Pisudskiego 37, 16-500 Sejny

skr. poczt. 15, Polska

tel. / faks +48 87 516 27 6 5

www.pogranicze.sejny.pl

wydanie drugie

Krzysztof Czyewski 2001, 2012

---

10 cieka

11 The Path

20 Kamie Graniczny

21 The Border Stone

38 Pogranicz e

39 Borderland

40 Miejsce

45 The Place

54 Podzikowanie

55 Acknowle dgment s


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ciek jest wszystko przez co ona biegnie nie ma koca w sobie.

Gary Snyder

Poniewa bez domu podrni pord nieba i ziemi,

ja w Jego towarzystwie.

Kenkon muju; do-ko-ninin.

[sowa, ktre Basho wypisa sobie na kapeluszu

z turzycy o szerokim rondzie, udajc si na

wdrwk do odlegej prowincji]

To wrzosowisko przed wamipene jest spltanych cieek

i obcy atwo moe tu zbdzi.Wecie zatem mego konia,

a kiedy ju przestanie i dalej,odelijcie go z powrotem.

Basho

the path is whatever passes no end in itself.

Gary Snyder

Because with no home travellers 'twixt heaven & earth,

I in company with Him.

Kenkon muju; do-ko-ninin.

[the pilgrim's motto Basho penned on his

widebrimmed sedge hat during his wandering

to a Far Province]

This moor be alla tangle of paths,

and a stranger could easily go astray.Take my horse

and when he will go no farther,send him back.

Basho


6/34

Ziemia zapisana jest ciekami.

S jak zmarszczki na twarzy starego czowieka.Bl je pogbia, czujno napra, za goryczyi radoci na przemian usiewa cichym wiatem,mier zarasta.

Pozostawiaj lad. Odciskaj dzianie si.

Smugi znikajce w cieniu, za zakrtem, w spojrzeniupod soce. Wymuskane deniem, krte,bo posuszne ziemi, z pyem kwiatw i lat, zawszepod wiatr, bo powracaj nie cofajc si, inne.

Nikt na ziemi nie zna ich penego rysunku.Nikt te nie wie do koca czy to z nas wysnuwasi ich przebieg, z naszej woli i intuicji, czy te kreli

je niewidzialny rylec w rku Pana Losu.Moe wiedzieli to Indianie odrysowujcy na skalewwozu rzeki Kolumbia wi zerunek Tej-Ktra-Patrzy.Moe. Nie wiemy.

Zacieraj si lady i wiedza jest zapominana.

Poszukujcy wybiera trop zwierzcej cieki.

Tam, gdzie Indian zmuszano do ycia w rezerwatach,gdzie uprawiano orgie nocy krysztaowej, gdzie jednaza drug szy wywzki do guagu tam zwykle

jedynie zwierzce cieki pozostay niezaronite.

T

The earth is traced with paths.

They are like the wrinkles on an old mens face:deepened by pain, drawn taut by vigilance, cast witha quiet light from tears of bitterness and joy, withdeath they become overgrown.

They leave a trace. They print what is in act.

Wisps of destiny vanishing in the shadows, beyondthe next bend, or when looking towards the sun.They are struck by striving; twisted, becauseobedient to the Earth; with the pollen from flowersand the dust of the ages; always going against thewind, because they return without turning backupon themselves, different now.

No one on the Earth knows their entire map.No oneis sure whether they originate from within us, fromour will and intuition, or whether it is the invisiblehand of the Lord of Fate that has traced them. Maybe

the Indians knew the answer as they drew the imageof the She Who Watches on the cliff rock by theColumbia River. Perhaps. We do not know.

The traces are swept away, and the knowledge isforgotten.

It is the animals trail a wayfarer chooses to follow.

The animals trails are the only paths left inthose places where Indians were forced to live onreservations, where there were Kristallnacht orgies,and where transports to the Gulag set off, one afterthe other.


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Biegn poza horyzont nowoprzybyych,w im nieznane, w zarola niedostpne pamitaniu.

Strzelisty most w Staczykach niedaleko Sejnpozosta zagubionym w lesie przsem traktu starejcywilizacji. Martwy, donikd. Juniecieka.

Bo cieka biegnie, przeciera zarastanie. Potrzebujeywych stp, oczu w kadym calu ciaa, wahaniaprzed krokiem w nieznane.

Ukadaj si na niej do snu wdrowni zwierz,czowiek i anio. Dlatego tyle w niej nadziei naprzebudzenie i pjcie dalej. Dlatego marzenie stajesi praktykowaniem.

Juniecieka ginie w nostalgii zarastania,majc sny nieprzebudzone.

Kade imi pod a ciek, niepowtarzaln.Kada cieka odciska to, co w nas jedyne:ciar serca, si krgosupa, widzenie. cieka nosinasze imi.

cieka biegnie rnymi drogami.

Drzewo czowiek sadzi, dom buduje, sztukprzedstawia, ciek idzie. Dniem i noc.Nie widzi tego. Nie zajmuje si praktyk cieki.Poznaje techniki rnych profesji. Dziki nimzdobywa nowe obszary i wznosi budowle.Zamieszkuje na wyspecjalizowanych, odpywajcychod siebie wyspach. Ledwie si pomidzy nimikomunikuje.

They are found beyond the newcomers horizon,in places they do not know, where the underbrushmakes memory impossible.

The slender bridge, lost in the forest in Stanczyki nearSejny, seemed to be a pillar supporting the path of anancient civilisation. Lifeless, leading nowhere.Nolongerapath.

Because the path runs through, cutting through theundergrowth. It requires living feet, an eye in everyinch of ones body, hesitation before stepping into theunknown.

Wanderers an animal, a man, and an angel prepare to sleep on the path, which is why it is so fullof the hope of awakening and continuing on onesway. That is how dream comes to be practice.

Nolongera path perishes in nostalgia, still asleepwith its dreams.

Each name goes along its own path, unique. Eachpath prints that which is unique in each of us: our

hearts weight, the strength of our backbone, ourvision. The path bears our name.

The path runs in different ways.

A man plants a tree, builds a house, presents anartwork, but a path he follows. Day and night.Without even being aware of it. He is not dealingwith the paths practice. He comes to know the skillsof different professions, which enable him to conquernew territory and erect new buildings. He settles onspecialized islands, which are drifting apart fromeach other, barely communicating with one another.


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cieka si skrywa.

Nie ma jej w naszej kulturze, gdzie wszystkoprzygotowane jest do prezentacji i na sprzeda,wyniesione w gablot, na scen, choby niewielkiepodwyszenie, oderwane i wyspecjalizowane.

Jest o i wobec.

cieka nie jest o i wobec. Biegnie.Jest czynieniem, czyli nieprzerwanym cigiemmaych krokw. cieka w kulturze dzisiajzbiega w d ze sceny i porusza stopy zamarejw odbiorze widowni. Chce by kultur czynn,cho nie ma adnej techniki.

Bezimienni prbuj pierwszych krokw.Wok nich wielkie zarastanie. Krel dziwolgi,troch mieszne dla pozostaych na widowni.Ale ju nie uciekaj jak kiedy w odosobnienie.Pozostaj z innymi i pord nich dziaaj.

cieka jest kul z gosami innych ludzi, dzieci,historii, odpowiedzialnoci, caej yciowej drobnicy.Na niej i niebo bywa pod stopami, gdzie wszystkie

nasze dzienne sprawy.

cieka bdzi. Nie eby gubia drog. Po prostuszuka inaczej, odkadajc ju gotowe i poznanena bok. Widzi naszymi zamknitymi oczami.Kiedy ju przestaniemy kania si publicznoci,albo oklaskiwa prestigitatorw.

cieka dobiega do granicy. Tylko tak yje.Wszystko, co przebudzone, zna granic.

The path hides.

We do not have it in our civil isation, whereeverything is prepared for presentation and sale, putinto showcases or on the stage, or sometimes just ona modest pedestal, isolated and specialised.

Everything there is about something, and inrelation to it. The path is not about somethingand in relation to it. It just runs. It is all in the

acting, which means it is actually an uninterruptedsuccession of small steps. In todays culture, thepath has come down off the stage and has beguntweaking the numbed feet of the audience. It wantsto be an active culture, though it has no techniquefor accomplishing this.

The nameless are taking their first steps. Aroundthem the thick overgrowth. They draw out an odditythat seems a bit silly to the rest of the audience.But they no longer escape into seclusion, to be bythemselves as was once the case. They stay amidothers and are active among them.

The path is a sphere, filled with the voices of otherpeople, children, history, responsibility, and all oflifes small things. For this path, even the sky isbeneath feet, where all of our daytoday matters lie.

The path falters. Not because it has lost its way. Itis simply searching in a different way, setting thatwhich is already prepared and familiar aside. It seeswith our closed eyes. When we will stop bowing tothe audience, or applauding the illusionist.

The path comes right up to the border. This is theonly way it can live. Everything that is awakenedknows the border.


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Dzie i noc maj swe granice, take ludzkiewsplnoty, pastwa i religie. Rodz si pord innychi inni pord nich yj. Krel granicpozostajc blisko, zaledwie przez miedz, zawszew ssiedztwie.

I cieka biegnie tamtdy, pord.

cieka dobiega do innego. Tylko tak nosi imi.Wszystko, co otwarte, spotyka innego.

cieka, ktra biegnie wzdu granicy, umacnia j.Inna, ktra granic przekracza, jest ciekpogranicza.

Bdc nieprzerwanym cigiem maych krokw,jest u siebie po kadej stronie. Ani nie wzmacniagranicy, ani jej nie zaciera. Przekracza.

Jest jak most prowadzi dalej, ale nie mona na niejbudowa swego domu.

U siebie w domu jest si tylko tam, skd mona odej.

ciek biegnie pogranicze.

Day and night have their borders, as do humancommunities, states, and religions. They are amongothers, and others are other among them. Theydefine the border and remain close, just across theway, always in the neighbourhood.

And the path goes that way, twixt.

The path comes right up to the Other.Only in this way can it bear a name.Everything that is open meets the Other.

The path that runs along the border strengthensit. Another one crossing it becomes a path of theborderlands.

As an uninterrupted succession of small steps, it is inits own element on both sides, neither strengtheningthe border nor eroding it. But crossing it.

It is like a bridge which continues on, but uponwhich one cannot build a home.

One can only be at home in a place from which it is

possible to leave.

The borderland runs along the path.


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11/34

K

Kamie graniczny trwa odkd biegnie cieka.

Czowiek, stawiajc kamie graniczny, zaznaczakrawd swojej posiadoci, przestrze ojczyzny.Zaznacza nie tylko swe posiadanie i przynaleno,take sw odrbno. Nazywa siebie.

Kamie graniczny spoczywa w nas samych.Daje oparcie wyobrani i zadamawia nasw przestrzeni. Nie powinien by naruszany.

Kamie graniczny bywa obronnym. Fortyfikuje.Zamyka nas w pewnym krgu, wasnym, wsobnym.Zakrela limes, granic naszej cywilizacji, za ktrs barbarzycy; albo kordon graniczny naszegopastwa, za ktrym jest inny nard (skoro yjemyw pastwach narodowych); albo miedz naszegogospodarstwa, bram domu, prg mieszkaniaza ktrymi jest ssiad, inny.

Czowiek bez instynktu samoobrony ginie. Czowiek

o mentalnoci oblonej twierdzy zabija, a jeeliumiera wasn mierci, to na zaraz panujcpo wewntrznej stronie murw.

T B S

A border stone exists since a path is print on the earth.

A man laying down a border stone is marking wherehis property ends, the space of his homeland.Not only is he marking his possession of it, and hisbelonging to it, but also his own separateness.That is how he gives himself a name.

Borders rest deep within us all, providing support forour imaginations and locating us in our place underthe sun. They should not be violated.

A border stone used to be defensive. It fortifies.It closes us within our own, in an introverted circle.It defines the l imes, our civilisations border, beyondwhich lurk the barbarians; or a buffer along theborder, beyond which lies a different nation (since welive in nation-states); or the boundary of our farm;or our front door; or the threshold of our apartment,demarcating the point beyond which we find ourneighbour the Other.

A man who lacks the instinct of self-defence perishes.A man who has a besieged-fortress mentality kills,and if he himself dies, a plague befalls those withinthe walls.


12/34

Bywa, e z kamienia granicznego czowiek czerpiejedynie moc obronn. W ten sposb formuje kultur,dziedziczon poprzez pokolenia. Dobrze si czujepord swoich i tylko pord swoich. Nie przepadaza podr. Zapomina o kodeksie kultury dialogu.Inne staje si zagroeniem. Kada gocina,wymagajca znajomoci zasad savoir vivre w obecnocissiadw, to dla niego istna mka. Nabierakompleksw. Umacnia granice. Staje na stray bramywejciowej.

Kultura pastwa narodowego jest kultur stranikabramy. Zamknit. Nie nage trzanicie bramyczyni j tak. Zamykanie trwa przez pokolenia.Ma swoje koniecznoci, swoje zwycistwa i chwa,swoich bohaterw i geniuszy. Przez ten czaswytwarza mnogo nawykw, rozmaite techniki,obyczaje, mentalno I zaciera lady innego,zwalcza, zapomina.

Czowiek wychowany w tej kulturze zacierana starych pomnikach obcobrzmice nazwiskai nie czuje si o nie uboszy. Nie zna si napolifonii, nie syszy wspbrzmienia swego gosu

z innymi. Dysonans odczuwa jako fasz.Chce by samowystarczalny i sob obj uniwersum.Limes, ktre zakrela, nie obejmuje ju caejcywilizacji, lecz wasny nard to poza jegoobrbem s obcy, najczciej wrogowie.

Kultura zamknita tworzy si niepostrzeenie.udz si ci, ktrzy wierz, e pki nie sysztrzanicia, pty bramy ich wiata s otwarte.

It sometimes happens that a man draws on theborder stone only the defensive strength. This ishow he forms his own culture, handed down fromgeneration to generation. He feels good among hisown kind. He does not like to travel much, andforgets about the code that accompanies a culture ofdialogue. The Other becomes a threat. For him,it is torture every time guests must be received,and he must show a familiarity with the principlesof savoir vivrein front of his neighbours. He begins to

develop complexes. He reinforces his borders.He stands guard at the entrance gate.

The culture of the nation-state is that of thegatekeeper. Closed. This has not been brought aboutby a sudden slamming shut of the gate. The closinglasts over generations. It has had its inevitabilities,its triumphs and praise, as well as its heroes andgeniuses. Over time, it engenders many habits,approaches, traditions, and a certain mentalityAnd it erases all traces of the Other, opposing andforgetting it.

A man raised in this culture erases the foreign

sounding names on old monuments, without havingany sense that he is missing anything in particularby doing so. He knows nothing about the polyphony,and is deaf to the harmony of one voice joined byothers. For him, dissonance always sounds off-key.He strives to be self-sufficient and to encompass theuniversum within himself. The limes that he definesthus no longer embraces the entire civilisation, butrather his own nation making those beyond itsborders into foreigners, and, most often, enemies.

A closed culture is created virtually imperceptibly.Those who believe that the gates to their worldremain open until they hear them slam shut aremerely deluding themselves.


13/34

Kultura wasnoci prywatnej jest kultur stranikabramy.

Caa przestrze zachodniego wiata zadrutowanajest wasnoci prywatn, z tabliczkami: niewchodzi, trzymaj si z dala, przejcia nie ma.Przy tabliczkach stoj stranicy bramy, nerwowi.Niepokoj si o cisz i wasne bezpieczestwo.

Inny znowu jest zagroeniem. Ale trzymaniego z dala nie zmienia faktu, e po wewntrznejstronie murw wicej pozostaje niepokoju, ni ciszyi bezpieczestwa.

W tej kulturze nie ma ju sugi w charakterzeodwiernego. By niewolnikiem tsknicymza wolnoci.

W tej kulturze jest pan na wociach,z pomnaajcym si kapitaem, i to on jeststranikiem bramy. Nie tskni za wolnoci,bo nawet nie wie o swojej niewoli.

Kultura wiata zachodniego nie tskni za wolnoci.

I ona zamykaa si przez pokolenia. I ona miaa sweszczytne wartoci, swych mczennikw i wielkichzwycizcw. I ona zamykaa si niepostrzeenie,bez trzanicia bramy.

Jest naturaln potrzeb czowieka posiada nawasno, wasno t wypracowywa i strzec jej jakoka w gowie. Nie ma w tym nic zdronego. Gorzej,

jeeli wraz z tym zanika agora, miejsce spotkaniaz innymi, wymiany, przemieszania, konfrontacji,polemiki

The culture of private property is that of thegatekeeper.

The entire space of the Western world is delineated byprivate property, with signs announcing: Keep Out,

No Trespassing, No Entry. Gatekeepers stand nearthese signs, on edge. They are concerned for the sakeof peace and quiet, and for their own safety.

The Other appears as a threat once again, though

merely keeping him at bay does not change the factthat inside the walls there is sure to be more unrestthan peace and safety.

In this culture, there is no longer a servant acting asa doorman. He was a slave yearning for his freedom.

In this culture, there is now a lord on his estate,with capital that is increasing, and it is he who is thegatekeeper now. He does not yearn for his freedombecause he does not even know he is a slave.

Western culture does not yearn for its freedom.It, too, has been in the process of closing for

generations. It, too, has its lofty values, its martyrsand its great victories. And it, too, has been closingimperceptibly, without any great slamming shutof its gates.

It is natural for a man to possess something of hisown, to improve his property, and to protect it likehis own child. There is nothing immoral about this.Worse, however, is if the agora disappears alongwith it that place where people can meet others,where views can be exchanged, where there ismotion, a place of confrontations and polemics


14/34

Wwczas siedliska ludzi przemieniaj si w dugie,proste ulice, coraz rzadziej s i ze sob krzyujce,bdce cigami prywatnych posesji, ze stranikiembramy przy kadej. Zanikaj krte uliczki, imbliej centrum tym wsze, tym bardziejspotykajce ludzi ze sob, kuszce kawiarniamii klubami rodowiskowymi, wycigajce z domwprzynajmniej wieczorami, i zapraszajcena dzielony przez wszystkich rynek.

Agora, miejsce spotkania, ktre dao pocztekpierwszej demokracji, nie jest ju centrum tejprzestrzeni.

Kultura prywatnej wasnoci przeniosa centrum dowasnych posesji, samowystarczalnych, uzbrojonychw coraz doskonalsze techniki kontaktowania si zewiatem. Tyle tylko, e spoza grubego muru,przy ktrym czuwa nerwowo stranik bramy.

Czowiek, ktry utraci agor, nie potrafi czynidaru ani daru przyjmowa.

Dar przekazany innemu jest witem zawizujcym

wsplnot, na ktrym opiera ona swe istnienie.

W jzyku Indian pnocno-zachodniego wybrzeaPacyfiku taki dar nazywa si potlatch, co MarcelMauss tumaczy jako nakarmi. W ich kulturzematerialna posta daru bya zjadana podczasobdarowywania, a dar zostaje skonsumowany tylkowwczas podam teraz tropem myli LewisaHyde, autora ksiki The Gif gdy przechodziz jednej rki do drugiej bez oczekiwania czegokolwiekw zamian.

If it does, then the places where people live turninto long, straight streets, intersecting less and less,mere extensions of peoples private property, withtheir own guarded gates. The little crooked streetsdisappear those that become narrower the closerthey get to the city centre, bringing people togethermore the narrower they become, tempting themwith cafs and clubs, drawing them out of theirhomes at least in the evenings and beckoningthem to the market square that is everyones to share.

Agora that meeting place that gave rise to democracyitself has ceased to be the centre of that space.

The culture of private property has transposedthe centre there, to peoples private possessions,which are self-sufficient, and armed with anincreasingly perfect technology that enables themto communicate with the outside world. Except thatthey are within thick wall, with its ever-vigilantgatekeeper, always on edge.

A person who has lost his agora is not capableof giving or receiving gifts.

One such gift to another can take the shape ofa celebration that binds the community, creatinga basis for its very existence.

In the language of the Pacific Northwest Coast Indians,the potlatch was just this kind of gift, a word thatMarcel Mauss has translated as to nourish. In theirmaterial culture, a representation of the gift was

eaten during the act of giving, and the gift was onlyconsumed at that moment here I am drawing onthe work of Lewis Hyde, author of The Gift whenit moves from one hand to another with no assuranceof anything in return.


15/34

Lecz i Indianie w swoich pniejszych ceremoniachnie ustrzegli si przed zatarciem pierwotnegoznaczenia potlatch.

W naszej kulturze dar sta si prezentem, spowiaym,zwielokrotnianym a do wytarcia przez bogactwo,zmaterializowanym, interesownym, bez wyczuciaautentycznej potrzeby obdarowywanego.

Prezent uzalenia, dar czyni wolnym.

Prezent usidla w posiadaniu. Dar sprawia,e wchodzimy w posiadanie obdarzajc.

Moe dlatego Indianie Haida nazywali swj potlatchzabijaniem bogactwa. I moe dlatego dar syszydrugiego.

Prezent zadomowiony jest w kulturze odbioru,pasywnej, w interesownej wymianie.Dar jest u siebie tylko w kulturze czynnej,w uczestniczeniu. Wprowadza na ciek.

Nie jest na ciece ten, ktry oglda si za siebie,

szukajc korzyci i oczekujc wynagrodzenia.

Dar jest ciek biegnc przez agor.

cieka si nie cofa, a dar nie oczekuje zwrotu.

cieka powraca biegnc do przodu, dar wzbogacabdc bezinteresownym.

Some Indians, however, in their later ceremoniessuffered the erosion of the original meaning ofpotlatch.

In our culture, a gift has become a present, faded andmultiplied to the point of being erased completelyby wealth, made into something purely material innature, something conditional, something givenwithout any sense of the needs of the gifts recipients.

A present makes us dependent; a gift makes us free.

A present ensnares us through possession. A giftexists thanks to possession, but it goes beyond that,giving possession sense through the careful givingof a gift to someone else.

Maybe that is why the Haida Indians called theirpotlatch kill ing wealth. And maybe that is whya gift hears the Other.

A present is at home in the culture of receiving,passive, in a conditional exchange. A gift is at homeonly in an active culture, one of participation.

It leads one onto the path.

A man who looks over his shoulder, checking to seehow he can get ahead and expecting some kindof reward, is not someone on the path.

A gift is the path that takes us through the agora.

That path does not go back on itself, and the gift doesnot expect to be reciprocated.

The path learns about returning by going forward,and a gift enriches unconditionally.


16/34

Kamie graniczny peen jest ambiwalencji. Rnieoddziauje na czowieka w swoim pobliu. A czowieki kamie graniczny zawsze s w pobliu siebie, jakzwierz i las.

Czowiek ustawia kamie graniczny w trwodze przedbezkresem, przed nieskoczonoci przestrzeni.Ustawia go, bo wszdzie jest nigdzie. A nigdzienie jest prawdziwym imieniem czowieka. Wicposzukuje miejsca.

Przestrze bez kamienia granicznego jestprzestrzeni wykorzenienia.

cieka biegnc poszukuje miejsca. Praktykowaniecieki j wanie czyni miejscem. Bo nie ma innego,ktre zostanie znalezione.

cieka i kamie graniczny zakorzeniaj w bezkresie,w bezimiennym, w zarastaniu. Orientuj nasw wiecie, jak soce i gwiazdy. Orientuj nas,ocalaych po dwudziestowiecznych kataklizmach,zamieszkujcych krajobraz po kocu wiata, gdzie

wygnane i utracone byo u siebie (Celan).

Mieszkaniec tych przestrzeni zdziczaych sadw,zarastajcej pamici, pozrywanych mostw najczciej przybysz z innych okolic, bo niewielupozostao autochtonw musi na nowo ustawikamie graniczny, samookreli si. Musi w nowysposb, wypracowujc od pocztku wasn technik,znale si na ciece przecierajcej zarastanie.

Ustawiajc kamie graniczny czowiek ustanawianow utopi.

A border stone abounds in ambiguities. It influencesthose nearby in different ways. And people andborders are always in close proximity, just likeanimals and the forest.

Man places a border stone out of his fear of infinity,of spatial limitlessness. He places it, because to beeverywhere is to be nowhere. And nowhere is nota humans real name. So he searches for his ownplace.

Space without a border stone is one of rootlessness.

The path goes along, searching for a place. How thepath practices is how it finds its place there is noother that can be found.

The path and the border stone rooted us in a spacethat is infinite, nameless, and overgrown. They getour bearings in the world, as do the sun and stars.We take our bearings from them we who havesurvived the cataclysms of the twentieth century, wewho inhabit the landscape after the end of the world,where the exiled and lost were at home (Celan).

An inhabitant of these areas where orchards havegrown wild, where memory has become overgrown,and where bridges have been torn down mostlya newcomer from somewhere else, because there arefew natives left now he must place his border stoneanew in other words, he must now define himself.He must do so in a new way, working out his owntechnique from scratch, finding himself on the pathcutting through the undergrowth.

By placing the border stone, a man identifies a newutopia.


17/34

Paul Celan zapisujc s owo utopia w tak i sposb,myla o miejscu, ktrego nie ma, ale do ktregozdamy, dziki czemu ono istnieje jednak,

dalekie i zajmowalne. I przeciwstawia je innemugreckiemu sowu: metopia, okrelajcemu miejscenieistniejce, niemiejsce.

Kamie graniczny to take denie, wyjcie poza,pocztek poszukiwania.

Nie rozpoczyna wdrwki ten, ktry jest wszdziei nigdzie.

Niemiejsce jest bezdrone, bezpamitne,bezgraniczne, bezimienne.

Wszystko, co czyni drog, pami, granic, imi,czyni miejsce.

Czowiek ustawia kamie graniczny najczcieju zbiegu drg. Wyznacza w ten sposb miejscespotkania.

Zaznaczajc swoj odrbno, nazywajc siebie,

czowiek orientuje si na innego, wychyla kurozmowie, wypatruje, czy kto nie nadchodzi.Nie zawsze po to, by zamkn bram i przeposzyintruza. Czasem by dowiedzie si wieci ze wiata,zwily jzyk dialogiem, rozrusza w polemicezastyge czonki.

The poet Paul Celan a poet-survivor, who juxtaposeda new word with silence wrote this word utopiadown in this way to refer to a place that does notexist, but which we nevertheless aspire to: thus,it actually exists, faraway and occupiable.He juxtaposed utopia with another Greek word,metopia, which describes a place that does not existas a nonplace.

A border stone is also a striving, transcending, start

of the quest.

A journey is not undertaken by man who areeverywhere and nowhere.

A non-place has no path, no memory, no border,and no name.

Everything that makes the path, memory, border,and name creates the place itself.

A man most often places a border stone where thereare crossroads. That is how he establishes a meetingplace.

By marking his separateness and giving himselfa name, a man gets his bearings with respect tothe Other, becomes more inclined to engage inconversation, watches to see if someone is coming.Not always so that they can shut the gates and wardoff intruders. Sometimes he does this in order toget news from the outside world, to get a taste ofdialogue, and to brush up on his debating skills.


18/34

Przy kamieniu granicznym stoi nie tylko stranikbramy, take pontiex, budowniczy mostu. Potrzebujedla przsa, ktre ma unie delikatn konstrukcjwizi, wyrazistego brzegu, granicy, ktra zostanieprzekroczona. Dlatego pontiex przy tym samymkamieniu stawia przso, przy ktrym stranikbramy zabezpiecza swoje posiadanie.

Budowa przsa przypomina pocztkowo wznoszeniewiey. Stranikowi bramy mogoby si wydawa,e zna si na tym fachu. Ale mostw nie stawia siwzdu rzeki.

Pontiexz wiey czyni przso mostu, z zamknitegootwarte. Przekracza brzeg, ktry da mu oparcie.czy, co pozostawao rozdzielone. Tego te niedokonuje si z dnia na dzie.

Za budowniczym mostu, podobnie jak za stranikiembramy, stoi kultura, od ktrej otrzymuje narzdziawypracowane przez pokolenia. Wyrasta wrd ludzi,dla ktrych wasne niebo to za mao.

Kultura przekraczajca brzeg dajcy jej oparcie, jest

kultur pogranicza.

At the border stone stands not only a gatekeeper, butalso a pontifex, the builder of the bridge. He needsa clear edge for the span that is to raise the delicateconstruction of links, a border that will be crossed.That is why the pontifex chooses to locate his spanby the same stone the gatekeeper uses to mark hisproperty.

The construction of the span at first is like thatof a tower. The gatekeeper might believe he knows

something about this field. But bridges are notconstructed alongside rivers.

A pontifex turns the tower into the bridges span,something that had been closed into openness.He transcends the bank that served as his foundation.He bridges that which had been divided.This too cannot be accomplished overnight.

Culture sustains the bridges builder, just as it doesthe gatekeeper. It provides him with his tools, whichhave been developed over generations. He has beenraised among people for whom their own sky does notsuffice.

A culture that transcends the bank that served as itsfoundation is a borderland culture.


19/34


20/34

Pogranicze jest cieniem rzuconym przez granicna najblisze ssiedztwo.

Powstaje w ten sposb strefa chronicazrnicowanie, yciodajna. Inaczej ni strefapasa przygranicznego, pusta, strzeona i wroga.

Pogranicze nie zaciera granicy, lecz rozszerza jejprzestrze, oswaja zamieszkiwanie i przenikaniew jej strefie.

Pogranicze jest agor. Tutaj ten, ktry nie jestw dialogu z innym, wegetuje na peryferiach.rodek tej kuli znajduje si zawsze w spotkaniu,czyli wszdzie, a jej obwd w tym, co nietkniteinnoci, czyli nigdzie.

Pogranicze odbiera granicy bezwzgldno cienkiejlinii, ktra w otwartej przestrzeni rozcina i dzieli,wyjaawiajc wszystko w obszarze najbliszegossiedztwa.

Kto mieszka w strefie granicy, ten bardziej mylio jej przekraczaniu, ni o powrocie do domu.

W wiecie zwierzt pogranicze odgrywa podobnrol jak w wiecie ludzi. Ornitolodzy uywajpojcia ostrej krawdzi, ktre odnosi si do granicypomidzy dwoma obszarami wegetacji, i mwio korzyci przebywania w obu.

The borderland is the shadow cast by the border onthe nearest neighbourhood.

Therefore, a life-giving buffer zone takes shape, oneprotecting diversity. It differs from the usual kind ofborder zone empty, guarded, and rife with enmity.

The borderland does not erode the borders, but ratherexpands the sphere that they encompass, absorbingthose who live there, accepting their interminglingas a matter of course.

Borderland is an agora. Here, he who is not indialogue with others simply vegetates on theperiphery. The centre of this sphere is always foundin the meetings that take place there that is to say,everywhere and its circumference is found in thatwhich remains untouched by Otherness in otherwords, nowhere.

The borderland deprives the border itself of the

ruthlessness inherent in a thin line that slicesthrough open space and divides it, while at the sametime rendering everything in its immediate vicinitybarren.

Anyone who lives in a border zone thinks more aboutcrossing it than about going back home.

In the animal world, the borderland plays a rolesimilar to the one it plays in the human world.Ornithologists use the idea of an abrupt edge torefer to the border between two zones of vegetation,and also to the benefits of spending time in both.


21/34

Krawd, i to jest ta jej przewaga, daje ptakom moliwo yciaw dwch wiatach jednoczenie. Im ostrzejsza jest krawd,tym jej przewaga jest wiksza.

Z wysoka i w ukryciu ptak moe dostrzec zagroenie lub pokarm,moe wylecie i szybko powrci, jak zodziej. Tam, gdziewegetacja jest bardziej zrnicowana, cie i zarola gstsze,tam wicej jest robakw i innego poywienia, tam tanagra moesruwa z wysokich konarw, drozd wyania si z pomroki,a rudzik cay letni dzie przesiedzie w socu na pocie.

Krawd to przejcie, cie i wiato, wntrze i zewntrze, wasnaizba i izba wiata, gdzie zagszczenie i rnorodno rolinkochajcych soce i otwarte powietrze, tskni za ciemniejszym,zielonozgniym i chodnym wntrzem, w ustroniu. Zatemnie powinno dziwi, e zdecydowana wikszo gatunkwi pojedynczych istnie yje na krawdzi przelatujc ciekami,przesmykami i korytarzami czcymi rne wiaty. To tam toczysi bujna, gsta i gboka egzystencja na tej cianie ycia, gdzielasy przechodz w ki, a ki w kolumnad przypominajcychwiee stranicze drzew.

Dowiadczony wdrowiec, docierajc do przejrzystej i otwartejprzestrzeni, zawsze zaczeka pord drzew, w przejciu,

zanim si upewni, e nie ma adnego niebezpieczestwa.

Stanley Plumly,The Abrupt Edge

Naga, bez cienia i ustronia, przestrze jest wrogaludziom, zwaszcza przechodnim, przybyszom,innoplemiecom. Nigdzie ich inno tak nie kujew oczy.

The advantage o the edge is that it allows the bird to live in twoworlds at once, and the more abrupt the more intensethe advantage.

From a position o height or secrecy, the bird can spy or dangeror prey; it can come and go quickly, like a thie. Here thevegetation is more varied, the shade and cover thicker, the insectlie rising, the tanager can sweep down rom its treetop, thethrush can fly out rom the gloom, and the redwing can sit theencepost all day in the summer sun.

The edge is a concept o a doorway, shadow and light, inside andoutside, room and warldes room, where the density and varietyo the plants that love the sun and the open air yieldto the darker, greener, cooler interior world, at the margin.It is no surprise, then, that the greatest number o species as wellas individuals live at the edge and fly the pathways and corridorsand trails at the joining o the juxtaposition. That is where therichness is, the thick, deep vegetable lie a wall o lie, where thetrees turn to meadows, the meadows to columnar,watchtower trees.

A man o sense, coming to a clearing, a great open space, willalways wait among the trees, in the doorway, until the coast is

clear.

Stanley Plumly, The Abrupt Edge

Space naked, shadeless, and lacking a safe refuge is hostile to those who happen to pass through, aswell as to newcomers and outsiders. Nowhere else istheir di fference so noticeable.


22/34

Tam, gdzie nie ma mostw, nie ma ssiadwpomocnych w zbudowaniu sobie dachu nad gow.

Na pograniczu czowiek yje w cieniu innego. yje,bo z nim si zmaga, z nim rozmawia i z niego czerpie,choby kradnc.

Zdobywa tosamo wydobywajc si z cienia.Wydobywa si z cienia zdobywajc tosamo.

Tylko w zmaganiu, w tym nieprzerwanym splociez innym, staje si osobny, wasny. Sama odrbnatradycja, przynaleno religijna czy narodowa,do tego nie wystarcza. Dopiero, gdy wchodziw zwarcie, w przestrze przenikania, kiedy napotykaodmienno, staje si tosamoci.Tu, na pograniczu.

Pogranicze nie jest ziemi obiecan dla szukajcychspokoju, ukojenia i mioci bliniego. Organicznympozostaje dla niego napicie i polemika, tak jakdrenie ziemi, groce kataklizmem przynaleydo porzdku rzeczy na obszarach tektonicznych.

I tak jak woda destylowana nie jest zdrowa dlaorganizmu czowieka, tak wszelkie prbywyjaowienia rnic zatruwaj tylko organiczntkank pogranicza.

Inno jest bakteri, ktra pozwala y i przetrwana pograniczu.

Strefa komunikowania si jak jest pogranicze, czyniautentyczne miejsce dla osobnoci. Wanie dlatego,e w centrum jest agora, wok mog istnie odrbnedzielnice, zachowujce wasne tradycje.

In a place where there are no bridges, there are alsono neighbours willing to help each other build theroofs over their heads.

In the borderlands, a man lives in the shadow ofthe Other. He lives because he struggles with him,engages in polemic with him, profits from him (evenif it is only in the form of theft).

He gains his identity by emerging from the shadow.He emerges from the shadow by gaining identity.

Only in a struggle, in that constant grappling withthe Other, does he become unique, his own man.Separate traditions and religious or nationalaffiliations are not enough. Only when one confronts,when one meets with Otherness in this place ofintermingling, does ones identity appear.Here in the borderland.

The borderland is not a promised land for thoseseeking peace, assuagement, and neighbourly love.Tension and quarrels are something endemic here,just as the threat of cataclysm is implicit whenever

the earth begins to quake the order of the day intectonically active areas.

And just as distilled water is not good for the humanbody, any attempts to render differences sterile onlypoison the living tissue of the borderlands.

Otherness is the bacteria that makes it possible tolive and survive in borderland.

The borderland, as a sphere for communication,also provides a place for true separateness. Preciselybecause the agora is at its center, all around differentdistricts can continue to exist while maintainingtheir own traditions.


23/34

Pogranicze nie zna konformizmu, jedynie konsensus.

Wie, co to wyrzeczenie, ale nie wyparcie si.

Dowiadcza pojednania, zawsze trudnego, nigdyjednak za cen zatarcia prawdy czy zapomnienia.

Wsplne nie oznacza tutaj ujednoliconego,a spotykajce si zunifikowanego.

Istot dziaania nie jest konflikt lecz kontrapunkt.

Pogranicze brzmi dysonansem, ktry rozsadzakultur stranika bramy.

Pie pogranicza w swej istocie jest wielogosowa.Jej harmonia powstaje z gosw piewanychw dysonansie do melodii prowadzcej, ktra nie jestw posiadaniu adnego gosu, wyania si z wielu,brzmi pomidzy.

Nikt samemu nie moe wypiewa pienipogranicza. Organizuje j zasada polifonii, dzikiktrej aden z gosw nie zostanie zdominowany

czy unicestwiony. Zamilknicie ktrego z nichwywouje oczekiwanie.

Pogranicze czerpie dynamik z dramatwnieudanych spotka. Owo Vergegnung, nad ktrymubolewa Martin Buber, jeli si wydarza budziku rozmowie, uprzytamnia nasz niegotowo,ignorancj i zamknicie.

The borderland does not know conformity, onlyconsensus.

It knows renunciation, but not renouncement.

It witnesses reconciliation, which, although alwaysdifficult, never comes at the cost of blurring thetruth, or of oblivion.

Here shared does not mean homogeneous, andwhat is inencounter does not mean standardize.

It is the counterpoint, not the conflict thats essentialhere.

The borderland resounds with a dissonance thatsupplants the culture of the gatekeeper.

The borderlands song is inherently polyphonic,one whose harmony arises from voices sung indissonance in relation to the main melody, whichhas no voice of its own, but rather emerges frommany, creating one amidst them all.

The song of the borderland cannot be sung byone man alone. It is structured on the basis ofpolyphony, thanks to which not even one voice willbe dominated by others or obliterated. The silence ofone voice makes the listener wait.

The dynamic of the borderland derives from thedrama of failed encounters. When it does come topass in the borderland, the Vergegnungthat was sotroubling to Martin Buber incites discussion andmakes us aware of our own ignorance and narrowmindedness.


24/34

Nieznajomo jzyka w potrzebie porozumieniasi z innym wyzwala pragnienie jego poznania.Podobnie wstyd z nieuwagi wobec odmiennoci,zranienie spowodowane nieznajomoci obcegoobyczaju.

Tak biegnie cieka pogranicza.

Nieudane spotkanie nie ucina dialogu. Obnaajcjego trudno, czasem niemono, w istocie goinicjuje.

Pogranicze stawia czowieka w sytuacjipermanentnej prby nieudanych spotka; sprawia,e si wydarzaj, a wic biegn ciek, wcigajcnas w swj dramat.

Dopiero niespotkanie, a wic brak sytuacji prby,zupene zamarcie w osobnoci, czsto wymuszoneideologi nienawici i zagroenia, pociga zasob zarastanie cieki i zanik przestrzeni spotkania.Wtedy towarzyszce pograniczu drenia i napiciaeksplodowa mog niszczycielskim kataklizmem.

Dziki Martinowi Buberowi zachowaa si pewnachasydzka opowie o linoskoczku:

Pewnego razu rabbi Chaim z Krosna, jeden z uczniw Baalszema,przyglda si wraz ze swoimi uczniami jakiemu linoskoczkowi.Tak si na niego zapatrzy, e uczniowie zapytali, co te go urzekow tym prostackim widowisku. w czowiek odpowiedziarabbi naraa swoje ycie, ale nie mgbym powiedzie dlaczegoto robi. Z pewnoci jednak kiedy chodzi po linie, nie myli ezarabia w ten sposb dwiecie guldenw, bo gdyby o tym mylamusiaby sp a.

Not knowing a language when you need tocommunicate with someone else makes you realisethe need to learn it. The same is true of the shameof not noticing differences, and the injury thatcan arise from someones unfamiliarity with otherpeoples customs.

This is the path of the borderland.

Unsuccessful encounters do not break the dialogue

off. Sometimes such events actually initiate dialogueby laying bare how difficult and sometimes evenimpossible it can be.

The borderland constantly puts a man to the testwith these failed attempts, and guarantees theiroccurrence. Thus, they draw us, too, into the dramaof the path they are on.

The path becomes overgrown and the space for suchencounters disappears only when nonencounterstake place, and when there are no situations that canput us to the test, when our isolation proves complete often the result of an ideology characterised by

hatred and threats. It is then that the temblors andtensions inherent to the borderland can explode intoa destructive cataclysm.

The following Hassidic story says much about theborderlands:

Once Rabbi Chaim o Krosno, one o Baal Shem Tovs pupils, waswatching a tightrope walker with some o his own pupils. Heseemed so absorbed by the spectacle that they asked him what heound so ascinating in such a simple-minded display. That man,said the rabbi, is risking his lie, but I wouldnt be able to tell youwhy he is doing it. He cannot be thinking about the act that heis making 200 guldens by doing it, because i he were, he wouldcertainly all.

Martin Buber


25/34

Czowiek pogranicza przypomina tego linoskoczka.Porusza si po cienkiej i napitej linii pomidzyywioami, ktre z atwoci go zniszcz jeli niezachowa rwnowagi. To wymaga kunsztu.

Jeli nie uwolnimy naszej uwagi od nas samych,od naszych dwustu guldenw, spadniemy.By zrobi krok do przodu na pograniczu trzebawyj ze swojego domowego lea, ciepego odwasnych mniema, skarg, interesw, i skupiuwag na innym, wej w skr tego na drugimbrzegu. Inaczej nie posuniemy si nawet o krztyn.

A stojc w miejscu na napitej linie traci sirwnowag.

Jeeli istnieje jakie rozumienie tolerancji napograniczu, to nie jest to zwyka akceptacja innego.Rozumienie i szacunek id ju dalej, ale cigles niewystarczajce. Dopiero uwane wychyleniesi ku innemu, uwalniajc nas od owych dwustuguldenw, zas uguje na miano tolerancji.

I tak jak u linoskoczka, nie jest to kwestia stylistycznej

zabawy albo zachcianki, bez ktrej mona si obej.Tak jak dla niego zachowanie rwnowagi, tak dlaczowieka pogranicza tolerancja jest kwesti ycia.

The borderlander is like that tightrope walker, goingalong a thin, taut line between forces that can easilyannihilate him if he loses his balance. This is an art.

Most importantly, we must stop being so focused onourselves, on our 200 guldens.

To make a step further in the borderland, a manmust leave his cozy hearth, still warm from his ownopinions, values, and interests, and concentrate on

the Other by stepping into the shoes of that personon the opposite bank. Otherwise he wont budge aninch.

And if you stand still on a tightrope, you lose yourbalance.

If a concept of tolerance does exist in borderland,it does not just mean the acceptance of others.Understanding and respect go one step further, butalways fall short. The only way we can l ive up to theword tolerance is when we carefully reach out toothers, and in so doing liberate ourselves from those

200 guldens.

This is not just a superfluous question of style ora caprice for borderlanders, it is

a question of life and death, just as keeping hisbalance is for a tightrope walker.


26/34

I ja nie umiem powiedzie dlaczego to robi, dlaczegowczy si poza domem, pomidzy rnymi ludmi,przez mosty wysoko w nieznane.

Wiem tylko, e gdyby odwrci si za siebie z trosko wasne posiadanie, utraciby na zawsze mioswego serca, ktr po przejciu na drugi brzeg danemu byoby polubi.

I cannot say why it is that a borderlander does thesethings why he wanders away from home, amongdifferent peoples, across bridges into the unknown.

I know only that if he turned back, concerned abouthis own possessions, he would lose the love of his lifeforever, whom he should betroth upon crossing to theopposite bank.


27/34


28/34

We have no one to teach us which parts o our landsc ape wereonce thought to be sacred.

Gary Snyder

The path is rubbing against the border stone thatgives a foundation for a bridges span and the bridgeis crossed by a borderlander.

A new beginning arises from what is closed andovergrown, from wordless conversation.

The bridegroom crosses the threshold of his own home.

A practitioner steps on to the path, which runs to thevery place.

A memory being awakened knows a place, so it goesahead, because there is no other one, only a placebefore us, unattainable.

Indians build their longhouse, different than theirown homes, so they can have a place to meet.

The bride waits on the opposite bank.

She / He Who Gives ties a community. Marriage awaitsthose who transcend themselves and their possessions.

Sitka in Oregon, Spring 2001

Nie ma nikogo kto by wskaza, ktre miejsca w pejzau naszegozamieszkiwania byy ongi wite.

Gary Snyder

cieka ociera si o kamie graniczny, wspierajcyprzso mostu, przez ktry poda czowiekpogranicza.

Z zamknicia, zarastania, zamilkej rozmowy rodzisi nowy pocztek.

Oblubieniec wykracza poza prg wasnego domu.

Praktykujcy wkracza na ciek, ktra biegnie domiejsca, zawsze.

Przebudzona pami zna miejsce, wic prowadzidalej, bo nie ma innego ni to przed nami, jeszczeniedosine.

Indianie buduj dugi dom, inny od wasnego,by si spotka.

Oblubienica czeka drugiego brzegu.

Ona / On czynicy dar zawizuj wsplnot.Przekraczajcego siebie i wasne czekaj zalubiny.

Sitka w Oregonie, wiosna 2001


29/34


30/34

The Path o the Borderlandwas born in the Tree House onthe Oregon coast of the Pacific, where I used to live in the

spring of 2001 as a guest ofSitka Center for Art and Ecology.

I would like to thank Jane and Frank Boyden, theinitiators of the foundation for creating such an incredible

workplace, open to wayfarers from distant provinces.

I would like to thank Randall Koch, the foundationdirector and the good spirit of the place for his kind heart

and understanding for the newcomer who went to bedwhen the world was waking up to life and work.

The present text would have sounded different if not onenight begun with my attempts at perfecting the skill

of my translation into English. The ensuing discussion,which turned into a fascinating intercultural dialogue,was participated, apart from Randall Koch, also by Kim

Stafford. His poetic ear and trappers intuition influencedthe shape of the English version of the text and also some

paragraphs of the final version of the original.

I would also like to thank Kim Stafford for his invaluableguidance pointing to people and places

I was to meant to encounter.

cieka pograniczapowstaa w Chatce Drzewana oregoskim wybrzeu Pacyfiku, gdzie mieszkaem

wiosn 2001 roku, bdc gociem fundacjiSitka Centrum Ekologii i Sztuki.

Dzikuj Jane i Frankowi Boyden, zaoycielom fundacji,za stworzenie tego niezwykego miejsca do pracy,otwartego dla wdrowcw z odlegych prowincji.

Dzikuj Randallowi Kochowi, dyrektorowi fundacjii dobremu duchowi tego miejsca, za serce i wyrozumiao

dla przybysza, ktry szed spa, gdy wiat budzi si doycia i pracy.

Tekst ten brzmiaby dzisiaj inaczej, gdyby nie pewienwieczr i noc zapocztkowane prbami udoskonalenia

mego przekadu na jzyk angielski. W tej dyspucie, ktraprzerodzia si w pasjonujcy dialog midzykulturowy,

obok Randalla Kocha, bra te udzia Kim Stafford.Jego poetycki such i intuicja trapera wpyny nie tylkona ksztat angielskiej wersji tekstu, ale take na pewne

akapity ostatecznej wersji oryginau.

Kimowi Staffordowi dzikuj take za bezcenne wskazwkinaprowadzajce na cieki wiodce ku ludziom i miejscom,

ktrymi dane mi byo pody.


31/34

IWould like to thank the people of Oregon, metduring my ramble, giving me shelter and directionsfor further journeying They were recorded in mytravelers journal, from which I would later read

The Path o the Borderland. I would like to thank WaltKlamath from Rogue River tribe and Rick Bartow,who welcomed me under the dome of the turtle

tent in the Siletz Reservation, where I was to learnthe sweat log ritual but first of all what the gift of

community can really mean. I give my thanks to NezPerce and Warm Springs Indians and my guides totheir world: Rick Wandschneider and Amy Minatofrom the Fishtrap Foundation and Jarold Ramsey.

Needless to say, without the road directions givento me by the above-mentioned persons I would have

remained just a lost wanderer on the coast and in themountains and deserts of Oregonlost perhaps not only in Oregons.

Dzikuj wreszcie ludziom Oregonu, napotkanym podczaswdrwek, udzielajcym mi schronienia i wskazwek

na dalsz drog... Zapisane zostay w podrnym notesie,z ktrego po czasie odczytaem ciek pogranicza.

Dzikuj Waltowi Klamathowi z plemienia Rogue Riveri Rickowi Bartow, ktrzy przyjli mnie pod

kopu wiego namiotu w rezerwacie Siletz,gdzie poznaem czym jest rytua sweat log,

a tak na prawdczym jest dar wsplnoty.Dzikuj Indianom Nez Perce i Warm Springs,

a take moim do ich wiata przewodnikom:Richowi Wandschneiderowi i Amy Minato z fundacji

Fishtrap, oraz Rogerowi Ramseyowi.

Nie trzeba chyba dodawa, e bez wskazwek na drogudzielonych przez wymienione tu osoby pozostabym

jedynie zbkanym wczg na wybrzeu,w grach i pustyni Oregonu...

a moe nie tylko Oregonu.


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cieka pogranicza /

The Path Of The Borderland

Roman Kaczmarczyk

Prosz poda osob

Prosz poda osob

Prosz poda osob

drukarnia C.. D w Rudzie lskiej

300 egzemplarz y

Orodek Pogranicze sztuk, kultur, narodw

ul. Pisudskiego 37, 16-500 Sejny

skr. poczt. 15, Polskatel. / faks +48 87 516 27 6 5

www.pogranicze.sejny.pl

wydanie drugie

Krzysztof Czyewski 2001, 2012

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