The article touches upon climbing and speleological themes in Wojciech Kuczok’s prose. The author analyzes traces and potential influences of the poetics of mountaineering literature in Kuczok’s narratives and essays – in selected sketches of the collections Poza światłem, Moje projekcje, in the stories Spiski. Przygody tatrzańskie and the Rozmemuary journal. What is interesting is the relationship with model narrative genres – the bujdałka (a mountain record) and the expedition story, as well as the mode of evoking and activating a central quality of the literary-aesthetic mountaineering relationship, namely, the “corporeal sublime,” which is a response to the problem of expressing the specificity of the kinesthetic experience of the rock vertical space. Kuczok fits into the “kinesthetic culture” typical of mountaineering and speleology – he uses professional lexis, knowledge and discourse. He rewrites his own non-literary movement and space
practices – he fictionalizes and conceptualizes the experience of mountain space, combining it with the literary nature he has developed. A gradual increase in climbing and speleological themes in Kuczok’s work coincides with an increasing popularity of mountain literature and its position in relation to the mainstream
literature.

The article discusses Urszula Jabłońska’s reportage Światy wzniesiemy nowe (2021) in the context of research in the field of utopian studies and reportage. The article outlines the issues of Jabłońska’s book, pointing out that, on the one hand, it is a narrative about intentional communities, and, on the other, an important voice in the debate on utopian thinking and utopian impulses and their increased presence in the collective imagination from the 20th to the 21st century, being times of growing social tensions and crises. Also, the article shows how Jabłońska’s reportage – which can be considered an example of engaged reportage – fits into the latest research on reportage prose. The multifaceted analysis and interpretation of the reportage allowed us to show that Światy wzniesiemy nowe is not only a proof of the ongoing process of change
in the way we perceive man’s place in the world, but also a valuable testimony of the author’s social and artistic sensitivity.

This article outlines the most important determinants of the emergence of the Lublin avant-garde in the 1920s. The peripheral model of avant-gardism generated at that time was dependent on a bundle of modernising processes that determined the rhythm of local artistic life. The history of the Lublin avant-garde is also presented and its most important features are indicated (in relation to other avant-garde poetry models of the time).