(b. 1976) – a prose writer and journalist, one of Poland’s most recognised authors of pop literature. Miłoszewski made his debut with the novel ‘Domofon’…
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The Book Institute offers translation of excerpt from Joanna Chmielewska’s work in Hebrew. Interested parties are kindly invited to contact us.
(1932 – 2013, born Irena Barbara Kuhn) – writer, scriptwriter; author of thrillers, crime novels and books for children and young adults.
An architect by education, in mid-1950s Chmielewska started publishing prose in the magazine “Kultura i Życie”. After her debut as a novelist (“Klin” – Hair of the Dog, 1964), she mostly wrote; she was one of the most popular contemporary Polish novelists and also one of the most prolific ones, publishing on average two books a year in the 1990s.
Chmielewska’s oeuvre can be divided into at least three groups: crime novels, writing for young readers, and humorous how-to books such as “Jak wytrzymać z mężczyzną?” (How to Put Up with a Man?, 1996) or “Jak wytrzymać ze sobą nawzajem” (How to Put Up with Each Other, 2001). She became especially popular in the 1970s, as a crime novelist. Her books sold impressively well in present-day Russia (over 8 million copies sold), where she was considered one of the most important foreign writers.
She liked to arrange her novels into cycles, connected by the same characters and references to events known to readers from previous books. However, that does not mean that Joanna Chmielewska wrote only for her fans. There have been many – futile – attempts to explain the phenomenon of her popularity. One can only point to a few important factors. During the years of the Polish People’s Republic, Chmielewska’s crime novels had a certain air of “exoticism” stemming from the fact that she guided her readers around places such as a Copenhagen casino or the mansion of a Brazilian mafioso. These books featured everything that is important to a consumer of literary entertainment: kidnappings, going incognito, sudden plot twists, surprising punchlines. The most-mentioned among the merits of Chmielewska’s writing are her distance towards stale genre conventions, linguistic wit, gentle irony. Her books are, simply, cheerful, very accessible to readers who don’t mind that the author makes not infrequent use of grotesque effects. In her chillers which do not take themselves too seriously – whose genre could be described as ironic crime novels – it might happen that, for example, the victim murdered at the very start announces at the end that they were only playing dead.
Understandably, the writer herself – an unconventional woman, a unique personality in almost every respect – sparked much interest. In response to this, Joanna Chmielewska published a five-volume autobiography (1994), where she not only revealed many details from her private life, but also expressed a multitude of political opinions and included many reflections about her own literary career. As befits an unconventional person, most of these statements are as brilliant as they are controversial.
In 2004, Chmielewska received the Officer’s Cross of the Order of Polonia Restituta.
thrillers:
children’s and young adult literature:
autobiographical prose and guides:
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