relations between friends from the Skamander literary group Jarosław Iwaszkiewicz and Mieczysław Grydzewski, the latter being the editor of the London-based Wiadomości. The third part, the longest one, contains five studies of how five individual writers were censored, indicating the different extents of the censorship efforts and the reasons for specific interventions. In the case of Tadeusz Różewicz, I have traced the censorship reception and the public reception of his initial poetic collection Opadły liście z drzew. I applied a similar structure to the second chapter in this part, this time devoted to the novel Trampolina by Marek Nowakowski. In both cases I have focussed on a single original volume and reconstruct the story of its publication and reception. The third chapter is devised somewhat differently: we discuss censor reviews of subsequent collections of Teodor Parnicki’s prose in the context of his émigré biography, which was inconvenient for the governing party. The fourth chapter offers a chronological study of the interventions into the works by Jarosław Marek Rymkiewicz, from minor “corrections” to the classicism programme due to his inspiration with Miłosz to more major ones, resulting from his particular use of the Romantic paradigm. The final chapter in this part is devoted to Czesław Miłosz. This time the focus is placed on the subsequent issues of the Tygodnik Powszechny, from its 1980 September issue, prior the Nobel Prize an-nouncement, to the July issue the following year, which contains the last ripples made by Miłosz’ visit in Poland. My selection of the studies was a result of, on the one hand, the fragmenta-tion of the GUKPPiW archives and, on the other, my intention to present interest-ing and sometimes surprising mechanisms of how censorship in Poland worked, mechanisms which become evident only when examined from up close. |