Lech Majewski

Majewski is fascinated by the world of art, painting and symbols

His pencil moves swiftly over the paper.


So what have we here? It’s a city. The inner circuit of its walls forms an almost perfect circle – the golden circle of life. Simple as that.

Looking at the city, Bruegel draws a circle in the upper-left corner.


And another circle on the other side.

He draws another circle opposite.

They are both facing Golgotha.


The black circle is the circle of death, surrounded by a crowd that rushed to the place of execution like starving flies.

Bruegel quickly draws a few lines along the very edge of the piece of paper.


And down here is the tree of death – with a horse’s head at its foot, and us, the two of us beside it; you’re leaning against the tree, downcast.

He quickly sketches them in. Jonghelinck looks over the painter’s shoulder to see the sketch better. Bruegel draws a few more lines on the opposite side of the paper.


And here’s another tree. Its fresh, delicate leaves tremble in the wind. It’s the tree of life. And the backdrop is ready.


Between life and death?

Bruegel nods.


And here’s the third circle, trodden down by the people running from the first to the second. From life to death. Just tell me why they’re in such a hurry.

Jonghelinck looks questioningly.



They simply want to know what happens when you reach the gates of death. They want to know but at the same time make it home for lunch.

Before their eyes two dogs run to each other and begin to sniff each other’s tails. Bruegel watches them intently.


They want terribly to sniff Death’s backside, but they don’t want to be bitten… Or go inside. They know that if you enter once – and we all finally will – going home is out of the question.

Jonghelinck nods.

Bruegel sketches the mill and its stone foundations. He is a little carried away by his artistic imagination, as far as the height of the rock and the quality of his drawing go. He also draws a tiny miller leaning against the building, intently watching the events unfold.


The paintings in our churches depict God watching people through the clouds with disapproval or discontent. I won’t do that in my painting, but I suppose the miller will take on His role. But that’s not all!!!

At the same time, we see the events through the miller’s eyes.


He runs the heavenly mill that grinds corn for the bread of life. This mill revolves on its own axis, around which the entire universe revolves in turn. Day and night. Along with all living creatures and its residents. But here…

Bruegel makes delicate pencil strokes along the diagonal ones he made earlier.


And here, in the very heart of my spider’s web, one can say that the Saviour himself is being crushed mercilessly like grain under the huge, cosmic millstone of events.

Excerpt translated by David French

Lech Majewski

Majewski is fascinated by the world of art, painting and symbols

Publisher: Rebis, Angelus Silesius, Poznań-Katowice 2016-2019
Translation rights: Rebis,

The three-volume edition of Lech Majewski’s screenplays in an opportunity for readers to familiarize themselves with the world of an artist who since the 1980s has doggedly blazed his own trail, creating original arthouse cinema that is respected all over the world. Majewski’s cinema emerges from thinking pictorially and not in terms of narrative; thus most of his screenplays – like his films – have unconventional forms, which record his imagination, his poetic and painterly visions.

The first two volumes present the screenplays of his best-known films (including Wojaczek, Angelus), as well as uncompleted projects (Ellis Island, Yves, Mon Amour). Beside these fully auteur works there are also two commercial pictures (The Flight of the Spruce Goose, Prisoner of Rio) made in Hollywood and the script for Basquiat which was ultimately directed by the painter Julian Schnabel.

There are certain threads running through Majewski’s cinema, such as: love, death, victimhood, mystery. The artist is fascinated by unusual, over-sensitive individuals who fight against self-destruction, like Basquiat, which presents the story of an avant-garde artist who dies of an overdose.

Majewski is fascinated by the world of art, painting and symbols, the fullest expression of which can be found in volume 3, which consists of five screenplays. This newest publication begins with an unrealised script called Beuys, which is a biographical sketch of one of the most important twentieth-century artists. This avant-garde artist transforms his traumatic wartime experiences into his creations, liberating himself from social conventions through form. The theme of the artist also appears in Glass Lips and the poetic Onirica, inspired by Dante’s Divine Comedy and Majewski’s own biography. The protagonist – who loses his beloved woman and a close friend in an accident – finds solace in the world of dreams, where he meets the two people closest to him. The theme of death is also present in The Garden of Earthly Delights, which the director based on his own novel Metaphysics. The Mill and the Cross, however, is a kind of apogee of Majewski’s passion for art. The artist invites us into the world of Pieter Bruegel’s The Way of the Cross, which is brought to life by giving some of the painting’s characters their own stories. The screenplay was co-written by the famous art critic Michael F. Gibson, whose analysis of the Dutch master’s work inspired Majewski. The screenwriters made Bruegel himself the guide to this world of rich meanings.

Thus, in the last volume Majewski appears as a cinematic visionary who through his art conducts a dialogue with long-dead masters and at the same time imagines a pessimistic vision of today.

Urszula Tes, translated by David French

Selected samples

Julita Deluga
Wojtek Wawszczyk, Tomasz Leśniak
Anna Kańtoch
Andrzej Bobkowski
Wisława Szymborska
Zdzisław Kranodębski
Andrzej Nowak
Wiesław Myśliwski
Jarosław Jakubowski
Anna Piwkowska
Roman Honet
Miłosz Biedrzycki
Wojciech Chmielewski
Aleksandra Majdzińska
Tomasz Różycki
Maciej Hen
Jakub Nowak
Elżbieta Cherezińska
歐菈·沃丹斯卡-波欽斯卡(Ola Woldańska-Płocińska)
作者:沃伊切赫·維德瓦克(Wojciech Widłak), 插圖:亞歷珊德拉·克珊諾夫斯卡(Aleksandra Krzanowska)
文字:莫妮卡·烏特尼-斯特魯加瓦(Monika Utnik-Strugała), 概念和插圖:皮歐特·索哈(Piotr Socha)
作者:亞格涅絲卡·斯特爾馬什克(Agnieszka Stelmaszyk)
尤安娜·日斯卡(Joanna Rzyska)、阿嘉妲·杜德克(Agata Dudek)、瑪格熱妲·諾瓦克(Małgorzata Nowak) Druganoga出版社,華沙2021
艾麗莎·皮歐特夫斯卡(Eliza Piotrowska)
米科瓦伊·帕辛斯基(Mikołaj Pasiński)、瑪格熱妲·赫爾巴(Gosia Herba)
歐菈·沃丹斯卡-波欽斯卡(Ola Woldańska-Płocińska)
瑪麗安娜·奧克雷亞克(Marianna Oklejak)
拉法爾·科希克(Rafał Kosik)
亞歷珊德拉·沃丹斯卡-波欽斯卡(Aleksandra Woldańska-Płocińska)
巴托米耶·伊格納邱克(Bartłomiej Ignaciuk), 阿嘉塔·洛特-伊格納邱克(Agata Loth-Ignaciuk)
文字和插圖:皮歐特·卡爾斯基(Piotr Karski)
文字和插圖:皮歐特·卡爾斯基(Piotr Karski)
羅珊娜·延澤耶夫斯卡-弗魯貝爾 (Roksana Jędrzejewska-Wróbel)
作者:普舎米斯瓦夫·維赫特洛維奇(Przemysław Wechterowicz) 插圖:艾米莉·吉烏巴克(Emilia Dziubak)
尤斯提娜·貝納雷(Justyna Bednarek) 插圖:丹尼爾·德拉圖爾(Daniel De Latour)
尤安娜·巴托西克(Joanna Bartosik)
瑪格熱妲·斯文多夫斯卡(Małgorzata Swędrowska)、尤安娜·巴托西克(Joanna Bartosik)
Jan Kochanowski
Jarosław Marek Rymkiewicz
Olga Tokarczuk
Władysław Stanisław Reymont
An Ancient Tale
Stanisław Rembek
Elżbieta Cherezińska
Henryk Sienkiewicz
Maria Dąbrowska
Stefan Żeromski
Bronisław Wildstein
Zbigniew Herbert / Wisława Szymborska
Karol Wojtyła
Wiesław Myśliwski
Czesław Miłosz
Anna Świrszczyńska / Melchior Wańkowicz
Tadeusz Borowski / Gustaw Herling-Grudziński
Wiesław Helak
Góra Tabor
Adriana Szymańska
Paweł Rzewuski
Mariusz Staniszewski
Radek Rak
Urszula Honek
Kazimierz Orłoś
Rafał Wojasiński
Antonina Grzegorzewska
Józef Mackiewicz
Tobiasz Piątkowski, Marek Oleksicki
Daniel Odija
Bronisław Wildstein
Józef Mackiewicz
Józef Mackiewicz
Witold Szabłowski
Andrzej Muszyński
Wiesław Helak
Bartosz Jastrzębski
Dariusz Sośnicki
Łukasz Orbitowski
Jakub Małecki
אנדז'יי ספקובסקי
Elżbieta Cherezińska
Wiesław Myśliwski
Jakub Małecki
Aleksandra Lipczak
Jacek Dukaj
Wit Szostak
Bartosz Biedrzycki
Zyta Rudzka
Maciej Płaza
Wojciech Chmielewski
Paweł Huelle
Przemysław "Trust" Truściński
Angelika Kuźniak
Wojciech Kudyba
Michał Protasiuk
Stanisław Rembek
Krzysztof Karasek
Elżbieta Isakiewicz
Artur Daniel Liskowacki
Jarosław Jakubowski
Zbigniew Stawrowski
Szczepan Twardoch
Wojciech Chmielarz
Robert Małecki
Zygmunt Miłoszewski
Anna Piwkowska
Dominika Słowik
Wojciech Chmielewski
Barbara Banaś
Rafał Mikołajczyk
Jerzy Szymik
Waldemar Bawołek
Julia Fiedorczuk
Jakub Szamałek
Witold Szabłowski
Jacek Dukaj
Grzegorz Górny, Janusz Rosikoń
Paweł Piechnik
Andrzej Strumiłło


Marta Kwaśnicka
Piotr Mitzner
Paweł Sołtys
Wacław Holewiński
Anna Potyra
Wiesław Helak
Urszula Zajączkowska
Marek Stokowski
Hubert Klimko-Dobrzaniecki
Jakub Małecki
Łukasz Orbitowski
Małgorzata Rejmer
Rafał Wojasiński
Wojciech Kudyba
Włodzimierz Bolecki
Jerzy Liebert
Wojciech Zembaty
Wojciech Chmielarz
Bogdan Musiał
Joanna Siedlecka
Krzysztof Tyszka-Drozdowski
Jarosław Marek Rymkiewicz
Marek Bieńczyk
Leszek Elektorowicz
Adrian Sinkowski
Szymon Babuchowski
Lech Majewski
Weronika Murek
Agnieszka Świętek
Stanisław Szukalski
Barbara Klicka
Anna Kamińska

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Szczepan Twardoch
Wiesław Helak
Maria Wilczek-Krupa
Anna Kańtoch
Rafał Kosik
Paweł Sołtys
Dorota Masłowska
Wiesław Myśliwski
Martyna Bunda
Olga Tokarczuk
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Waldemar Bawołek
Marek Oleksicki, Tobiasz Piątkowski
Wojciech Tomczyk
Urszula Zajączkowska
Marzanna Bogumiła Kielar
Ks. Robert Skrzypczak
Bronisław Wildstein
Anna Bikont
Magdalena Grzebałkowska
Wojciech Orliński
Klementyna Suchanow
Andrzej Franaszek
Natalia Budzyńska
Marian Sworzeń
Aleksandra Wójcik, Maciej Zdziarski
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Wacław Holewiński
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