Selected Bibliography:
  • Wolanie do Yeti (Appeal to the Yeti). 1957.
  • Sol (Salt). 1962.
  • Sto pociech (A Hundred Joys). 1967.
  • Wszelki wypadek (Any Case). 1972.
  • Wielka liczba (High Numbers). 1976.
  • Ludzie na moscie (People on a Bridge). Warsaw, Czytelnik, 1986.
  • Poczatek i koniec (The Beginning and the End). Poznan: a5, 1993.
  • Widok z ziarnkiem piasku (View with a Grain of Sand). Poznan: a5, 1996.
  • Lektury nadobowiazkowe (Optional Reads). Cracow: WL, 1992.
  • Sto wierszy - sto pociech (A Hundred Poems - A Hundred Solaces) - Cracow: WL, 1997.
  • Chwila (Moment), Kraków: Znak, 2002.
  • Rymowanki dla dużych dzieci, Kraków: a5, 2003.
  • Dwukropek, Kraków: a5, 2005.
  • Zmysł udziału, Krakow: WL, 2006.
  • Nic dwa razy. Nothing Twice [Polish_english edition], Krakow: WL, 2007.
  • Miłość szczęśliwa, Krakow: a5, 2007
  • Tutaj (Here), Kraków: Znak, 2009 

Selected translations:

Albanian (anthologized):

  • Fëmijët e Epokes. Antologji e poezisë polake sh. XX, Warsaw: PAVO, 1997.

Catalan:

  • Vista amb un gra de sorra. Barcelona: Columna, 1997.

Czech:

  • Okamžik. Dvojtečka. Tady (Chwila, Dwukropek, Tutaj), transl. Vlasta Dvořáčková, Pistorius & Olšanská 2009

Danish:

  • En kat i en tom lejighed. Aarhus: Husets Forlag, 1996.

Dutch:

  • Dubbele punt [Dwukropek], trans. Karol Lesman, Breda: De Geus, 2007
  • Hier [Tutaj], transl. Karol Lesman, Breda: De Geus, 2009

English;

  • People on a Bridge, trans. Adam Czerniawski, London: Forest Books, 1990; Londyn 1996

Finnish:

  • Wiersze, "Parnasso"1/1997, 2/1998
  • Wiersze, "Tuli " Savu" 2/1998

French:

  • Dans le fleuve d’Héraclite. Anthologie Bilingue, trans. Christophe Jezewski, Isabelle Macor-Filarska, La maison de la poésie du Nord – Pas de Calais, 1995   
  • Poèmes dans: Deux poétesses polonaises contemporaines: Ewa Lipska et Wisława Szymborska, trans. Isabelle Macor-Filarska, Mundolsheim: L’Ancrier Editeur, 1996   
  • De la mort sans exagérer (O śmierci bez przesady), trans. Piotr Kaminski, Paris: Fayard, 1996   
  • Je ne sais quelles gens, trans. Piotr Kaminski, Paris: Fayard, 1997   
  • De la mort sans exagérer (O śmierci bez przesady, édition bilingue), Kraków: Wydawnictwo Literackie, 1997

German:

  • Salz. Gedichte. Frankfurt am Main: Suhrkamp, 1973.
  • Volkabeln. Gedichte. Berlin: Volk und Welt, 1979.
  • Deshalb leben wir. Frankfurt am Main: Suhrkamp, 1980.
  • Auf Wiedersehen. Bis Morgen. Gedichte. Frankfurt am Main: Suhrkamp, 1995.
  • Die Gedichte. Frankfurt am Main: Suhrkamp, 1997.
  • Hundert Freuden. Frankfurt am Main: Suhrkamp, 1986.
  • Poesie 1940-1990, Frankfurt: Eichborn Verlag, 1991
Spanish:
  • Paisaje con grano de arena. Barcelona: Lumen, 1997.
  • Amor feliz y otros poemas [Miłość szczęśliwa i inne wiersze], tłum. Gerardo Beltrán, Abel A. Murcia, Caracas: Bid & co. Editor, 2010 

Swedish:

  • Här [Tutaj], transl. Anders Bodegård, Ellerströms, 2009

Szymborska Wisława

Born in Bnin (near Poznan) in 1923, she has been connected throughout her life with Cracow, where she studied and still lives and works. A poet and essayist, Wislawa Szymborska won the Nobel Prize for Literature in 1996. She is known throughout the world thanks to translations published in English, French, German, Dutch, Spanish, Czech, Slovak, Swedish, Bulgarian, Albanian and Chinese. Szymborska represents a puzzling phenomenon: she electrifies her readers despite being modest, introverted, discreet and hushed. The simplicity of her poetry defies the theorizing of scholars while unerringly zeroing in on the taste contemporary readers. Szymborska reaches out to her readers over the heads of critics and without the help of the mass media. Her poetry collections sell in numbers usually associated with popular novels. What accounts for Szymborska's popularity and success? An individual style, an otherness and an exclusivity understood as a creative condition and an existential autonomy. Never associating herself with any poetical school, she has created her own craft of writing and her own language that maintains its distance from great historical events, the biological conditioning of human existence, the social role of the poet, and also from philosophical systems, ideologies, truths taken on faith, habits, stereotypes and inhibitions. It is also a language of compassion for those who have been wronged, of delight at the beauty of human life with its keen beauty, illogicality and tragedy. It is a language of well-considered judgements and muffled emotions, a language of lyricism controlled by a cold, fresh intellect, a language subjected to intellectual rigor that does not rule out sensitivity to the everyday attractions of existence. It is a language that generally remains faithful to colloquial speech while subtly widening its lexical resources. It is a language of paradox, apparently simple but in fact refined and idiosyncratic. Szymborska writes sparingly; she is reckoned to have written no more than 250 poems. Perhaps this accounts for the fact that almost every one is a masterpiece. At least since the mid-1950s, Szymborska has held a place among the very finest Polish and European poets.

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