In the midst of a multi-national comparative study of modern Catholic poets, Charles S. Kraszewski was more than a little surprised at the difficulty he encountered in finding a representative poet from that ostensibly most Catholic of European nations, Poland. With but two guiding criteria in mind – the poet had to be possessed of a Catholic world view and have a significant impact on the development of modern poetry – it seemed that Polish poets were either very good . . . or Catholic. Then, in 2004, during the funeral of the Nobel Prize winning poet Czesław Miłosz, it was revealed that the poet had written a recent letter to the Pope, declaring his intent, in his later writings, to express a Catholic viewpoint. This was a surprising admission, given the rather heterodox reputation that characterized the poet during his long lifetime. Irresolute Heresiarch: Catholicism, Gnosticism and Paganism in the Poetry of Czesław Miłosz is the fruit of Kraszewski’s research into the religious themes expressed in the poetry of the great bard. Beginning with his earliest published poems and continuing through the posthumously printed collections, the book is a careful consideration of the religious claims set forth in Miłosz’s works, which range from orthodox Christianity, through dualism and gnostic thought, with a healthy dose of pagan appraisal of the wonder of the natural world. In response to the question “Was Miłosz a Catholic poet?” Kraszewski first attempts to define that category, on the basis of Catholic core beliefs, and later, in a comparative discussion of indubitably Catholic greats, such as T. S. Eliot, Jan Zahradníček, and Hector de Saint-Denys Garneau. Although for the sake of clarity he focuses only on the poems, and not the prose works, of Czesław Miłosz, the answer to the question is made all the more difficult by the very personal lyrical “I” adopted by Miłosz in his poetic practice. Which “I” is speaking, when Manichean thought is expressed, and which “I” is it, that invokes the saints at moments of temptation? Whatever the answer to these questions may be, Irresolute Heresiarch is successful in highlighting the wide range, and complex nature, of one of the most influential and important poets of our time.

This book presents Czeslaw Milosz's poetic philosophy of the body as an original defense of religious faith, transcendence, and the value of the human individual against what he viewed as dangerous modern forms of materialism. The Polish Nobel laureate saw the reductive biologization of human life as a root cause of the historical tragedies he had witnessed under Nazi German and Soviet regimes in twentieth-century Central and Eastern Europe. The book argues that his response was not merely to reconstitute spiritual or ideal forms of human identity, which no longer seemed plausible. Instead, he aimed to revalidate the flesh, elaborating his own non-reductive understandings of the self on the basis of the body's deeper meanings. Within the framework of a hesitant Christian faith, Milosz's poetry and prose often suggest a paradoxical striving toward transcendence precisely through sensual experience. Yet his perspectives on bodily existence are not exclusively affirmative. The book traces his diverse representations of the body from dualist visions that demonize the flesh through to positive images of the body as the source of religious experience, the self, and his own creative faculty. It also examines the complex relations between masculine and feminine bodies or forms of subjectivity, as Milosz represents them. Finally, it elucidates his contention that poetry is the best vehicle for conveying these contradictions, because it also combines disembodied, symbolic meanings with the sensual meanings of sound and rhythm. For Milosz, the double nature of poetic meaning reflects the fused duality of the human self.

Ecstatic Pessimist is a timely book about the Central and Eastern European experience of the mid 20th century, as told through the poetry and experiences of Czeslaw Milosz, Nobel Laureate for literature, who wrote on the horrors of war and the human experience. Written by a colleague and friend of the poet, it is part literary criticism and part memoir. This biography/memoir of Czesław Miłosz is a first hand account of the poet’s life and his relationship to the author, beginning in the 1960s. Milosz was a Polish-American poet, prose writer, translator, and diplomat. Regarded as one of the great poets of the 20th century, he won the 1980 Nobel Prize in Literature. In its citation, the Swedish Academy called Miłosz a writer who "voices man's exposed condition in a world of severe conflicts". Ecstatic Pessimist expands on Czeslaw Milosz’s commitment to “unpolitical politics” – working for a revolution in culture, and above all poetry, as a necessary preparation for a revolution in politics. This is a familiar notion in Poland, which for two centuries was politically divided, but poets preserved and enhanced a lively Polish consciousness, And, as the book shows, Milosz took steps over two decades to help reunite Poles in the successful Solidarity movement, whose struggle eventually changed the regime and forced the Soviet armies to withdraw. But the book is designed to encouraged a similar development in America. Milosz’s ambition for poetry may at first sound exotic, but as the book says, it is in the spirit of what John Adams wrote late in life to Thomas Jefferson: “The [American] revolution was in the mind of the people, and in the union of the colonies, both of which were accomplished before the hostilities commenced.” Though the book is also designed for those who already know and love Milosz, it is primarily written for those looking for someone whose genius could similarly inspire Americans of both left and right to unite in restoring the badly broken politics of this country. The book argues that Czeslaw Milosz is that genius, as perhaps the only person who has been praised by intellectual leaders like Chris Hedges on the left, and has also spoken at Hillsdale College, the intellectual citadel of the American right.

"Chanameed" is a novel in verse, set in a fictional village on Long Island. The present volume also contains the London cycle “Down in the Tube Station (Not Necessarily at Midnight)”, as well as other verses.

This is the first book-length study to examine the interface between literary and theological modernisms. It provides a comprehensive account of literary responses to the modernist crisis in Christian theology from a transnational and interdenominational perspective. It offers a cultural history of the period, considering a wide range of literary and historical sources, including novels, drama, poetry, literary criticism, encyclicals, theological and philosophical treatises, periodical publications, and wartime propaganda. By contextualising literary modernism within the cultural, religious, and political landscape, the book reveals fundamental yet largely forgotten connections between literary and theological modernisms. It shows that early-twentieth-century authors, poets, and critics, including Rainer Maria Rilke, T. S. Eliot, and Czesław Miłosz, actively engaged with the debates between modernist and neo-scholastic theologians raging across Europe. These debates contributed to developing new ways of thinking about the relationship between religion and literature, and informed contemporary critical writings on aesthetics and poetics.