In the works of contemporary Silesian prose writers, language is not just a material or a tool of social communication. It becomes an element of culture, reflecting values and attitude towards the world, determining one’s actions. Language stores and consolidates experience, influences one’s way of thinking. It doesn’t only document reality, it also creates it. This way of understanding the language portrait of Silesia, and depicting the specificity of the region, can be found in Szczepan Twardoch’s novel Drach.
According to Prof. Bogusław Wyderka, ‘like a sociolinguist, [the author] depicts a repertoire of language and dialects typical for a 20th-century Silesian community, their social usage and scope, outlines its history up until the end of the century.’ The complexity is visible in the names of towns or the spelling of names and surnames. Or, for instance in this fragment of the novel: ‘That’s why Josef isn’t szywŏłdziōny (of Schönwald) anymore, and in their dōma gŏdŏ się pō naszymu (‘in their house they talk our way’). ‘Po ślōnsku’. (In Silesian.) In wasserpolnisch (watered down Polish). In Polish, if you will. The newspapers have different names for this diffuse language, depending on the political needs and context.’
The narrator of Drach doesn’t avoid commentary on the history of language, he even pays attention to the exact pronunciation (‘Josef Magner responds, perplexed, in decent yet audibly Silesian German, with a vibrating »r« and indistinct »äu«’). Therefore Silesian appears not only in the characters’ dialogues but also in their articulation. Although the language code switching occurs naturally within the novel, it provokes resistance, especially in a reader that only uses regular Polish. Domesticating this unfamiliarity is made easier by multiple repetitions, abbreviated, descriptive and not always literal explanations and, first and foremost, the situational context, usually described over several pages and interspersed with other threads.
In Twardoch’s prose, the Silesianness manifesting itself in language is of mimetic and holistic character, encompassing phonetics, inflection and vocabulary. One might highlight that the author’s spelling is in accordance with the officially accepted convention of Silesian orthography, while the so-called ‘ślabikorzowy’ script (‘ślabikorz’ meaning spelling book) can be seen in all its glory in the Silesian translation of Drach (trans. Grzegorz Kulik).
Speaking about translation, it’s worth noting the Silesian translation of the Bible (beginning in the mid-1990s), of works by Polish authors such as Jan Kochanowski, Ignacy Krasicki, Jan Brzechwa and Julian Tuwim, as well as of fragments of world literature included in Marek Szołtyska’s book Ślązoki Nie Gęsi (Silesians Are Not Geese) [referring to the famous proverb from a verse by Mikołaj Rej: ‘Poles are not geese, they have their own tongue’, stressing the importance of national language – trans.], for example: ‘Na Konia Pozór Dejcie Trojoki’ (Deceive the Trojans with a Horse), that is, book 8 of The Odyssey; ‘O Wojoku Co Sie Proł z Wiatrakami’ (Of the Soldier Who Would Fight Windmills), a chapter of Don Quixote; ‘Ryba Biere!’ (The Fish Takes!), a fragment of the story Old Man and the Sea; ‘Bajtel z Furgającą Miotłą’ (A Kid with a Flying Broom), based on Harry Potter and the Philosopher’s Stone.