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Kind of Testament Paperback – Sep 1 2007

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The Mountain Shadow by Gregory David Roberts The Mountain Shadow by Gregory David Roberts

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Gombrowicz s art cannot be measured with the passing of decades. It is a monument of Polish prose. --Czeslaw Milosz

About the Author

Witold Gombrowicz is the single most important Polish prose writer of the 20th century. He is best known for his novels Ferdydurke(1937), Pornografia(1960) and Cosmos(1966) and his plays Princess Ivona(1935) and The Marriage(1953). Gombrowicz left Poland in 1939, lived in Argentina for over 20 years, and died in France. In 1967, he was awarded the Prix Formentor. This is Bacacay's first English language publication.

Alastair Hamilton is Professor of Radical Reformation History at the University of Amsterdam and the C.L. Thijssen-Schoute Professor of the History of Ideas at the University of Leiden.

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Most Helpful Customer Reviews on (beta) 2 reviews
10 of 10 people found the following review helpful
Gombrowicz 101 March 9 2005
By D. Q. McCarthy - Published on
Format: Hardcover
Kind of Testament is a terrific snapshot of the force behind Gombrowicz's writing. Through his brief biographical narrative we get insight into what ultimately shaped his views on writing, art, politics, religion, and so forth. This wonderful introduction into the Gombrowicz philosophy is dripping with his talent for prose; the sardonic wit, the sarcasm, and the passion for his craft. I choose the word introduction because in his three volume Diary, Gombrowicz expounds on these views going much deeper into their meaning. I highly recommend Kind of Testament if you are either a casual Gombrowicz fan, or if you want to discover one of the 20th Century's truly great (and sadly underappreciated) writers.
3 of 20 people found the following review helpful
A Form of not especially appealing Immaturity April 1 2006
By Shalom Freedman - Published on
In his introduction to this work Gombrowicz's publisher Maurice Nadeau outlines the kind of character the author had. The sharpness of mind, the sarcasm , the focusing on paradox were all connected with Gombrowicz's outlandish conception of himself. He would get irritated thinking about Shakespeare and Goethe the only writers big enough to associate himself with. Nadeau while clearly believing in Gombrowicz as 'one of the most original writers of our time' obviously had strong reservations about him as a person. He writes of how Gombrowicz was angry at him for not getting him all kinds of things , including the Nobel Prize, Nadeau had no control over whatsoever. He gives a sense of Gombrowicz as a quite unpleasant, self- centered person whose own genius was the only subject that really concerned him.

In the memoir itself Gombrowicz does show a certain generosity. He speaks warmly of his friend Bruno Schulz. He commends his Jewish friends including Schultz who he says were the main supporters of his writing in his early days. He speaks it is true of his native Poland with less than full sympathy. This is perhaps a reflection of the twenty- eight years he spent in Argentinian exile . But also is a reflection of his own idea of 'Form' as he seems to believe that 'Form'is more perfectly embodied in England and France .

Perhaps the most instructive part of the memoir is his writing about the background to what is regarded as his masterpiece 'Ferdyduke'.

This is what he quotes Schultz as saying about 'Ferdyduke'."This means that in 'Ferdyduke'a shameful inner world is revealed which can only be confessed to and formulated with the greatest difficulty.Yet the world is not the Freudian world of instinct and the subconscious. It is the result of the following process: in our relations with other people we want to be cultivated, superior mature, so we use the language of maturity and we talk about, for instance, Beauty, Goodness, Truth.. But within our own confidential , intimate reality , we feel nothing but inadequacy, immaturity: and then our private ideals collapse, and we create a private mythology for ourselves, which is also basically a culture, but a shabby, inferior, culture, degraded to the level of our own inadequacy. "

In the end Gombrowicz summarizes. "I am almost ashamed of myself. Where have my assaults on Form got me? To Form. I broke it so much and so often that I became the writer whose subject is Form. That is my form and my definition.And todayI, a living individual am the servant of that official Gombrowicz whom I built with my own hands. I can only add to him. My former impulses, my gaffes, my dissonances, all this trying immaturity.. where has all that gone? In my old age life has become easier for me. I sail confidently between my contradictions and people listen to what I have to say Yes, yes.I've dug my hole. I've played my part. I am a servant. Whose? Gombrowicz's."

I unfortunately find this form of confession less than wholly illuminating .Gombrowiccz is not Shakespeare, and not Goethe. He also is not Borges.

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