The examples of documents of the Main Office for the Control of Presentations and Public Performances (GUKPIW) quoted in the article show the censorship strategies towards Słonimski. Interestingly, in this case the most controversial – from the point of view of GUKPPiW – were not the works of this writer, but his figure. This is particularly evident in the materials from 1976, after the death of the author of Alarm. As a result of the previously binding “entry” on the poet, only reprinting of the Polish Press Agency (PAP) communiqué was allowed. The censorship’s attitude to Słonimski is undeniably illustrated by the types of interference – the author was perceived as an undesirable, controversial figure, whose courageous actions – not least in the fight for freedom of speech in Poland – should not be reminisced. Mentions in the texts – potentially referring to the political context – were removed. Censorship was very meticulous: single words or whole sentences were cut out, and when it was not possible to “neutralise” the meaning of the text in this way – the whole thing was not allowed to be printed. Unfortunately, this way considerably impaired the reception of Słonimski.
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