The Pianist (Seventy-Fifth Anniversary Edition): The Extraordinary True Story of One Man's Survival in Warsaw, 1939-1945

by Wladyslaw Szpilman

Overview

The 75th Anniversary Edition of the memoir that inspired Roman Polanski's Oscar-winning film, with a new introduction by Szpilman's son, Andrzej

On September 23, 1939, Wladyslaw Szpilman played Chopin's Nocturne in C-sharp minor live on the radio as shells exploded outside—so loudly that he couldn't hear his piano. It was the last live music broadcast from Warsaw: That day, a German bomb hit the station, and Polish Radio went off the air.

Though he lost his entire family, Szpilman survived in hiding. In the end, his life was saved by a German officer who heard him play the same Chopin Nocturne on a piano found among the rubble. Written immediately after the war and suppressed for decades, The Pianist is a stunning testament to human endurance and the redemptive power of fellow feeling.

Product Details

ISBN-13:	9781250249548
Publisher:	Picador
Publication date:	12/31/2019
Edition description:	Anniversar
Pages:	240
Sales rank:	129,467
Product dimensions:	5.30(w) x 8.20(h) x 0.70(d)

About the Author

WLADYSLAW SZPILMAN was born in 1911. He studied the piano at the Warsaw Conservatory and at the Academy of Arts in Berlin. From 1945 to 1963, he was Director of Music at Polish Radio, and he also pursued a career as a concert pianist and composer for many years. The film adaptation of his memoir The Pianist won the Palme d'Or at the Cannes Film Festival as well as three Academy Awards. He lived in Warsaw until his death in 2000.

Table of Contents

Foreword to the Seventy-Fifth Anniversary Edition Andrzej Szpilman 1

The Hour of the Children and the Mad 11

War 22

The First Germans 33

My Father Bows to the Germans 42

Are You Jews? 51

Dancing in Chlodna Street 61

A Fine Gesture by Mrs K 75

An Anthill Under Threat 86

The Umschlagplatz 98

A Chance of Life 108

'Marksmen Arise!' 116

Majorek 126

Trouble and Strife Next Door 133

Szalas' Betrayal 141

In a Burning Building 151

Death of a City 160

Life for Liquor 167

Nocturne in C sharp Minor 177

Postscript 188

Extracts from the Diary of Captain Wilm Hosenfeld 191

Epilogue: A Bridge Between Wladyslaw Szpilman and Wilm Hosenfeld Wolf Biermann 209

Reading Group Guide

The following author biography and list of questions about The Pianist are intended as resources to aid individual readers and book groups who would like to learn more about the author and this book. We hope that this guide will provide you a starting place for discussion, and suggest a variety of perspectives from which you might approach The Pianist.

1. What do we learn about the narrator of The Pianist in the book's opening chapter? Who is he? Where does he live? What does he do for a living? Who are his loved ones? Also, discuss the narrator's tone or attitude, given his use of phrases like "the most wonderful of all gas chambers" and other such remarks.

2. "Two lives began to go on side by side," Szpilman writes near the conclusion of Chapter 4, discussing what it was like to be in Warsaw just after the Germans took the city. What were these two lives? What exactly did each life involve? And who were the people leading them? Comment on the dual character that Szpilman ascribes to his hometown, both in this chapter and throughout The Pianist.

3. "I laid my head on the piano and—for the first time in this war—I burst into tears." What specific event causes Szpilman to react in this way? Why does it affect him so? Explain.

4. Much of this memoir finds Szpilman pent-up, stuck in a cage, or held in some other sort of cell: an empty flat, a forgotten attic, etc. In Chapter 6, for example, he writes: "The reality of the ghetto was all the worse just because it had the appearance of freedom. You could walk out into the street and maintain the illusion of being in a perfectly normal city." What did reading The Pianist show or tell you about the psychology of confinement—about the mental, physical, spiritual, and emotional costs of imprisonment?

5. Chapter 8 of the book is entitled "An Anthill Under Threat." Explicate and explain this metaphor. Who or what is Szpilman describing with this image?

6. Look again at the brief conversation Szpilman's father has at the Umschlagplatz with a local dentist and a businessman. What crucial question do they discuss here—and how does each of them view this question? And who did you, as a reader, agree with on this score? Defend your own viewpoint with references from the book itself or with other historical and/or textural references.

7. Around Christmas of 1945, after months of more or less solitary confinement, after years of staying completely hidden, Szpilman briefly imagines himself as Robinson Crusoe. How does he specifically compare and contrast himself with Defoe's archetypal loner? What other literary figures, if any, would you cite as reflections of Wladyslaw Szpilman?

8. Discuss in some detail the role of music in The Pianist. How might music itself be understood as a character in this story? What does music do in this memoir? How does influence or otherwise alter the course of Szpilman's book—and, indeed, the course of his life?

9. Interestingly, The Pianist gives us two back-to-back impressions of the German Captain Wilm Hosenfeld. The first, of course, appears within Szpilman's narrative, where Hosenfeld (although we do not know his name at the time) effectively saves our hero's life. The second impression comes in the form of Hosenfeld's diaries. Draw on both impressions to create a full description (or at least a fleshed-out, 3-D summation) of this person. Discuss whatever links or connections you can establish between Hosenfeld's journal entries and his actions toward Szpilman.

10. In his Epilogue, Wolf Biermann points out that The Pianist "was first published in Poland in 1946 under the title of one of its chapters, Death of a City." Which title, in your view, is the more fitting or appropriate one? Explain.

11. Finally, compare and contrast the memoir version of The Pianist with the film version. In what ways did these two works strike you as similar? In what ways did they affect you differently? (Or, if you have not seen Polanski's film, compare and contrast Szpilman's memoir with other books, plays, or films that you have read or seen concerning the Holocaust.)

Editorial Reviews

Stunning...Filled with unforgettable incidents, images, and people.”—The Wall Street Journal

“Remarkable...A document of lasting historical and human value.”—Los Angeles Times

“Historically indispensable.”—The Washington Post

“The Pianist is a great book.”—The Boston Globe

“Even by the standards set by Holocaust memoirs, this book is a stunner.”—Seattle Weekly

“A stunning tribute to what one human being can endure, The Pianist is even more—a testimony to the redemptive power of fellow feeling.”—The Plain Dealer

“[The Pianist] joins the ranks of Holocaust memoirs notable as much for their literary value as for their historical significance...Szpilman is a remarkably lucid observer and chronicler.”—Publishers Weekly (starred review)

“A striking Holocaust memoir that conveys with exceptional immediacy and cool reportage the author’s desperate fight for survival. This is also a book about the power of music, which provides Szpilman the determination to go on.”—Kirkus Reviews (starred review)

“A richly detailed and absorbing work...fascinating for its detail...illuminating and astonishing.”—Rain Taxi

“The Pianist is a book so fresh and vivid, so heartbreaking, and so simply and beautifully written, that it manages to tell us the story of horrendous events as if for the first time...an altogether unforgettable book.”—The Daily Telegraph (UK)

“Wladyslaw Szpilman’s memoir of life in Nazi-occupied Warsaw and the Jewish ghetto has a singular vividness. All is conveyed with an understated intimacy and dailiness that render them painfully close.”—The Observer (UK)

“It is all told with a simple clarity that lodges the story in one’s stomach through a mixture of disgust, terror, despair, rage, and guilt that grips the reader almost gently.”—The Spectator (UK)

“Illuminates vividly the horror that overcame the Polish people. Szpilman’s account has an immediacy, vivid and anguished.”—The Sunday Telegraph (UK)

“Even if you saw the 2003 film about a Jewish pianist who survived the Nazi occupation of Warsaw, the immediacy of this autobiographical account by the musician himself is absolutely gripping. Unlike the majority of Holocaust survivors, who allowed themselves time to take stock, absorb and even come to terms with the past, Szpilman didn’t wait. His book was published in 1946, when his grief and his physical and mental suffering were still raw.”—Sue Arnold, The Guardian (UK)

From the Publisher