Killing the Second Dog

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WHEN THE POLISH-BORN WRITER MAREK HLASKO’S FIRST SHORT novel was published in 1957 he seemed to spring from nowhere. The post-war order, particularly in communist Poland, was a painful and bewildering experience for the rising adult generation. Suddenly the gutsy, pared-down, and hardly optimistic narrative of his debut novel Eighth Day of the Week expressed what young people felt, and how they saw their defeated, deadbeat elders. Hlasko often hinted that he never meant to be a writer, and yet, from the other side of Europe, he fit Jean-Paul Sartre’s definition of contemporary style almost exactly. For the French philosopher the literary scene was now markedly under the influence of “the American writers, Kafka and Camus.” Hlasko wrote in this contemporary style seemingly without trying. How he found overnight success in Poland and then worldwide is a remarkable and tragic story.

He was born in Warsaw in 1934. His father was a lawyer and his mother had artistic leanings. They divorced when Hlasko was three and in 1939, just a couple of weeks into the Second World War, his father died. In Killing the Second Dog the protagonist calls his father gentle and good and notes that he was killed fighting the Germans. Perhaps we can take that as an indication. Certainly it’s the nearest to an autobiographical account we have. Hlasko’s mother ran a grocery stall in the capital during the Nazi occupation, but when the 1944 Warsaw Uprising failed, she and her son fled, along with thousands of others, to safer parts of the country. In his 1966 autobiography, Beautiful Twentysomethings, Marek remembered, aged ten, starting a new life in Czestochowa, southwest Poland. Shortly afterwards his mother remarried, and the family moved to Wroclaw, the nearest larger city.

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