Bruno Schulz (July 12, 1892 – November 19, 1942) was a Polish Jewish writer, fine artist, literary

critic
and art teacher.[1] He is regarded as one of the great Polish-language prose stylists of the 20th century.
In 1938, he was awarded the Polish Academy of Literature's prestigious Golden Laurel award. Several of
Schulz's works were lost in the Holocaust, including short stories from the early 1940s and his final,
unfinished novel The Messiah. Schulz was shot and killed by a German Nazi in 1942 while walking back
home toward Drohobycz Ghetto with a loaf of bread.

Contents

1 Biography

2 Writings

3 Adaptations

4 Literary references and biography

5 Mural controversy

6 Notes

7 References

8 Further reading

9 External links

Biography

Schulz was born in Drohobych, Austrian Galicia, historically part of the Kingdom of Poland before the
three partitions, and today part of Ukraine. After World War One, Drohobycz became part of the Lwów
Voivodeship. Bruno Schulz was the son of cloth merchant Jakub Schulz and Henrietta née Kuhmerker.[2]
At a very early age, he developed an interest in the arts. He attended Władysław Jagiełło Middle School
in Drohobych from 1902 to 1910, graduating with honours.[3] Then he studied architecture at Lviv
Polytechnic. His studies were interrupted by illness in 1911 but he resumed them in 1913 after two years
of convalescence. In 1917 he briefly studied architecture in Vienna. At the end of World War I, when he
was 26, Drohobycz became part of the newly reborn Polish Second Republic. Schulz returned to
Władysław Jagiełło Middle School, teaching crafts and drawing from 1924 to 1941. His employment kept
him in his hometown, although he disliked the teaching, apparently maintaining his job only because it
was his sole source of income.[4] He also amused himself by telling his students stories during classes.[5]
Schulz developed his extraordinary imagination in a swarm of identities and nationalities: he was a Jew
who thought and wrote in Polish, was fluent in German, immersed in Jewish culture, yet unfamiliar with
the Yiddish language.[6] He drew inspiration from specific local and ethnic sources, looking inward and
close to home rather than to the world at large. Avoiding travel, he preferred to remain in his provincial
hometown, which over the course of his life belonged to or was fought over by successive states: the
Austro-Hungarian Empire (1792–1919); the short-lived West Ukrainian People's Republic (1919); the
Second Polish Republic (1919–1939); the Soviet Ukraine from the invasion of Poland in 1939; and, during
Operation Barbarossa, Nazi Germany after the German attack on the Soviet Union in 1941. His writings
avoided explicit mention of world events of the time period.

Schulz was discouraged by influential colleagues from publishing his first short stories. However, his
aspirations were refreshed when several letters that he wrote to a friend, in which he gave highly original
accounts of his solitary life and the details of the lives of his family and fellow citizens, were brought to
the attention of the novelist Zofia Nałkowska. She encouraged Schulz to have them published as short
fiction. They were published as The Cinnamon Shops (Sklepy Cynamonowe) in 1934. In English-speaking
countries, it is most often referred to as The Street of Crocodiles, a title derived from one of its chapters.
The Cinnamon Shops was followed three years later by Sanatorium Under the Sign of the Hourglass,
(Sanatorium Pod Klepsydrą). The original publications were illustrated by Schulz; in later editions of his
works, however, these illustrations were often left out or poorly reproduced. In 1936 he helped his
fiancée, Józefina Szelińska, translate Franz Kafka's The Trial into Polish. In 1938, he was awarded the
Polish Academy of Literature's prestigious Golden Laurel award.

Commemorative plaque at the Drohobycz Ghetto house of Bruno Schulz with text in Ukrainian, Polish
and Hebrew

In 1939, after the Nazi and Soviet invasion of Poland in World War II, Drohobych was occupied by the
Soviet Union. At the time, Schulz was known to have been working on a novel called The Messiah, but no
trace of the manuscript survived his death. When the Germans launched their Operation Barbarossa
against the Soviets in 1941, they forced Schulz into the newly formed Drohobycz Ghetto along with
thousands of other dispossessed Jews, most of whom perished at the Belzec extermination camp before
the end of 1942.[7][8] A Nazi Gestapo officer, Felix Landau, however, admired Schulz's artwork and
extended him protection in exchange for painting a mural in his Drohobych residence. Shortly after
completing the work in 1942, Schulz was walking home through the "Aryan quarter" with a loaf of bread,
when another Gestapo officer, Karl Günther,[9][10] shot him with a small pistol, killing him.[5] This
murder was in revenge for Landau's having murdered Günther's own "personal Jew," a dentist named
Löw. Subsequently, Schulz's mural was painted over and forgotten – only to be rediscovered in 2001.
Writings

Schulz's body of written work is small; The Street of Crocodiles, Sanatorium Under the Sign of the
Hourglass and a few other compositions that the author did not add to the first edition of his short story
collection. A collection of Schulz's letters was published in Polish in 1975, entitled The Book of Letters, as
well as a number of critical essays that Schulz wrote for various newspapers. Several of Schulz's works
have been lost, including short stories from the early 1940s that the author had sent to be published in
magazines, and his final, unfinished novel, The Messiah.

Both books were featured in Penguin's series "Writers from the Other Europe" from the 1970s. Philip
Roth was the general editor, and the series included authors such as Danilo Kiš, Tadeusz Borowski, Jiří
Weil, and Milan Kundera among others.[11]

An edition of Schulz's stories was published in 1957, leading to French, German, and later English
translations which included The Street of Crocodiles, New York: Walker and Company, 1963 (translation
by Celina Wieniewska of Sklepy Cynamonowe (Cinnamon Shops) as well as the Sanatorium Under the
Sign of the Hourglass New York: Penguin, 1988, (translation by Celina Wieniewska of Sanatorium Pod
Klepsydrą, with an introduction by John Updike) ISBN 0-14-005272-0, and The Complete Fiction of Bruno
Schulz. New York: Walker and Company, 1989. (Combination of the prior two collections.) ISBN 0-8027-
1091-3

Madeline G. Levine published a new translation of Schulz's Collected Stories in 2018, which won the
Found in Translation Award in 2019.

Adaptations

Schulz's work has provided the basis for two films. Wojciech Has' The Hour-Glass Sanatorium (1973)
draws from a dozen of his stories and recreates the dreamlike quality of his writings. A 21-minute, stop-
motion, animated 1986 film, Street of Crocodiles, by the Quay Brothers, was inspired by Schulz's writing.

In 1992, an experimental theatre piece based on The Street of Crocodiles was conceived and directed by
Simon McBurney and produced by Theatre de Complicite in collaboration with the National Theatre in
London. A highly complex interweaving of image, movement, text, puppetry, object manipulation,
naturalistic and stylised performance underscored by music from Alfred Schnittke, Vladimir Martynov
drew on Schulz's stories, his letters and biography. It received six Olivier Award nominations (1992) after
its initial run, and was revived four times in London in the years that followed influencing a whole
generation of British theatre makers. It subsequently played to audiences and festivals all over the world
such as Quebec (Prix du Festival 1994), Moscow, Munich (teatre der Welt 1994), Villnius and many other
countries. It was last revived in 1998 when it played in New York (Lincoln Center Festival) and other cities
in the United States, Tokyo and Australia before returning the London to play an 8-week sell out season
at the Queens Theatre on Shaftesbury Avenue. It has been published by Methuen, a UK publishing
house, in a collection of plays by Complicite.[12]

In 2006, as part of a site-specific series in an historic Minneapolis office building, Skewed Visions created
the multimedia performance/installation The Hidden Room. Combining aspects of Schulz's life with his
writings and drawings, the piece depicted the complex stories of his life through movement, imagery and
highly stylized manipulation of objects and puppets.

In 2007, physical theatre company Double Edge Theatre premiered a piece called Republic of Dreams,
based on the life and works of Bruno Schulz. In 2008, a play based on Cinnamon Shops, directed by Frank
Soehnle and performed by the Puppet Theater from Białystok, was performed at the Jewish Culture
Festival in Kraków. A performance based on the writings and art of Bruno Schulz, called "From A Dream
to A Dream", was created collaboratively by Hand2Mouth Theatre (Portland, Oregon) and Teatr Stacja
Szamocin (Szamocin, Poland) under the direction of Luba Zarembinska between 2006–2008. The
production premiered in Portland in 2008.

Literary references and biography

Cynthia Ozick's 1987 novel, The Messiah of Stockholm, makes reference to Schulz's work. The story is of
a Swedish man who's convinced that he's the son of Schulz, and comes into possession of what he
believes to be a manuscript of Schulz's final project, The Messiah. Schulz's character appears again in
Israeli novelist David Grossman's 1989 novel See Under: Love. In a chapter entitled "Bruno," the narrator
imagines Schulz embarking on a phantasmagoric sea voyage rather than remaining in Drohobych to be
killed.[13] That entire novel has been described by Grossman as a tribute to Schulz.[14]

In the last chapter of Roberto Bolaño's 1996 novel, Distant Star, the narrator, Arturo B, reads from a book
titled The Complete Works of Bruno Schulz in a bar while waiting to confirm the identity of a Nazi-like
character, Carlos Wieder, for a detective. When Wieder appears in the bar, the words of Schulz's stories
'...had taken on a monstrous character that was almost intolerable' for Arturo B.

Polish writer and critic Jerzy Ficowski spent sixty years researching and uncovering the writings and
drawings of Schulz. His study, Regions of the Great Heresy, was published in an English translation in
2003, containing two additional chapters to the Polish edition; one on Schulz's lost work, Messiah, the
other on the rediscovery of Schulz's murals.[15]

China Miéville's 2009 novel The City & the City begins with an epigraph from John Curran Davis's
translation of Schulz's The Cinnamon Shops: "Deep inside the town there open up, so to speak, double
streets, doppelgänger streets, mendacious and delusive streets". In addition to directly alluding to the
dual nature of the cities in Miéville's novel, the epigraph also hints at the political implications of the
book, since Schulz himself was murdered for appearing in the "wrong" quarter of the city.

In 2010 Jonathan Safran Foer "wrote" his "Tree of Codes" by cutting into the pages of an English
language edition of Schulz' "The Street of Crocodiles" thus creating a new text. In 2011, the Austrian
Rock and Roll Band "Nebenjob"[16] published the Song "Wer erschoss Bruno Schulz "who shot Bruno
Schulz?"),[17] a homage on the poet and accusation of the murderer, written by T.G. Huemer (see
'references' below). Schulz and The Street of Crocodiles are mentioned several times in 2005 novel The
History of Love by Nicole Krauss, with a version of Schulz (having survived the Holocaust) playing a
supporting role.

Mural controversy

In February 2001, Benjamin Geissler, a German documentary filmmaker, discovered the mural that
Schulz had created for Landau. Polish conservation workers, who had begun the meticulous task of
restoration, informed Yad Vashem, the Israeli holocaust memorial, of the findings. In May of that year
representatives of Yad Vashem went to Drohobych to examine the mural. They removed five fragments
of it and transported them to Jerusalem.[18]

International controversy ensued.[6][19][20] Yad Vashem said that parts of the mural were legally
purchased, but the owner of the property said that no such agreement was made, and Yad Vashem did
not obtain permission from the Ukrainian Ministry of Culture despite legal requirements.[21] The
fragments left in place by Yad Vashem have since been restored and, after touring Polish museums, are
now part of the collection at the Bruno Schulz Museum in Drohobych.[6]

This gesture by Yad Vashem instigated public outrage in Poland and Ukraine, where Schulz is a beloved
figure.[6]
The issue reached a settlement in 2008 when Israel recognized the works as "the property and cultural
wealth" of Ukraine, and Ukraine's Drohobychyna Museum agreed to let Yad Vashem keep them as a
long-term loan.[22] In February 2009, Yad Vashem opened its display of the murals to the public.[23]