Kapuściński himself called his work " literary reportage ", and reportage d ' auteur.

Pruszyński indeed, together with Franciszek Gil ( 1917 – 1960 ), were the two literary personages whom Kapuściński himself invoked as unattainable ideals for any journalist.

) A respected Polish journalist, Monika Olejnik ( b. 1956 ), attributes this instance of censorship to Kapuściński himself, who was allegedly motivated by his own scruples.

Kapuściński did not think much of his early poetic output, on the other hand, dismissing it as " production-line Mayakovskyism " ( produkcyjna majakowszczyzna ) and later in life congratulating himself on having avoided publishing his collected juvenilia in book form.

Neal Ascherson, Kapuściński's contemporary and a connoisseur of his work ( b. 1932 ), likened him to Egon Erwin Kisch ( 1885 – 1948 ), the German-speaking left-leaning citizen of Czechoslovakia considered the father of literary reportage, " who travelled the globe to stimulate the fantasies " of his readers ( and who, like Kapuściński, spent a number of years in Mexico ).

Certainly, neither Kisch nor Kapuściński believed in what might be called " journalistic objectivity ": whereas Kisch thought it necessary for a ( Communist ) reporter to " engage politically " with his subject, Kapuściński would put objectivity as a concept out of court altogether, stating explicitly, " I don't believe in unbiased journalism ( bezstronne dziennikarstwo ), in formal objectivity: a journalist can never be a disinterested witness ".

His subsequent application for full membership, written a month after the death of Stalin and dated 9 April 1953, Kapuściński buttressed with the avowal to " serve, with all of myself, the immortal idea of Stalin ".

After publishing, in September 1955, a critical article about the construction of Nowa Huta, a Cracow conurbation built on a site chosen by Soviet " advisors " as the " first socialist municipality in Poland ", which brought to light the inhuman working and living conditions of the labourers involved in the venture — a story which occaioned consternation before eventually winning favour with the Communist authorities unsure at first how to react to a fault-finding depiction of their pet project by one of their own — Kapuściński was awarded the Golden Cross of Merit at the age of 23.

Both Terzani and Kapuściński had been accused of espionage, though with diametrically opposite moral implications of the fact ( Terzani having been arrested in China in February 1984, and subsequently expelled from that country, on the charge of promoting democracy ).

On some level, Pruszyński and Wańkowicz shared a very similar approach to facts with Kapuściński, believing that the general picture of the story can be glued from bits and pieces to reveal a truth as a wholly independent construct.

In a 2006 interview with Reuters, Kapuściński said that he wrote for " people everywhere still young enough to be curious about the world.

( The censorship of the American edition, ironic in a book that deals in part with the terror of pervasive censorship unleashed on the people of Iran by the Shah's security agency, the SAVAK, has never been satisfactorily explained, and is not fully elucidated even in Domosławski's latest biography of Kapuściński ( see section " Controversial biography ", below ).

Notwithstanding such self-judgements, it is untrue that all of Kapuściński's early verses were " very bad ": some of them ( to be sure, likewise not all ) reveal a level of prosodic finesse and a degree of genuinely poetic sensibility and conceptual sophistication of which a schoolboy could be rightfully proud ; the poem entitled " Uzdrowienie " ( Healing ), with its expertly codified trope of Christ, published in the periodical Dziś i jutro in August 1949 when Kapuściński was 17, could be cited as an example.

Kapuściński debuted as a photographer in the year 2000 with the publication of the album entitled Ryszard Kapuściński z Afryki (" Ryszard Kapuściński out of Africa "), a photographic harvest of his journeys in that continent.

Some ( limited ) light has been thrown on Kapuściński's lifelong visceral anti-Americanism by Monroe Edwin Price ( b. 1938 ), professor in the University of Pennsylvania, in his book Television, the Public Sphere, and National Identity published in 1995, but in general nowhere in his writings does Kapuściński respond to or engage in any remotely sophisticated way with the classic exposition of the reasons for anti-Americanism formulated in various publications by the French philosopher, Jean-François Revel ( for whom Kapuściński would seem to have served as a case study ).

In 1969 Kapuściński edited and translated from the Spanish El diario del Che en Bolivia, the final literary bequest of Che Guevara's, first published in Havana and, separately, in Mexico City in 1968, with the introduction by Fidel Castro.

At the same time, Kapuściński never revealed in his public reporting on the Angolan conflict the presence in Angola of Cuban " instructors " and the participation of units of Cuban soldiers in the armed combat on the side of the MPLA ( making only veiled references to the fact with expressions like, " the MPLA is not bereft of all support "), while at the same time expatiating on the Egyptian, Portuguese, and South African mercenaries fighting on the side of FNLA and UNITA.

* HERODOTUS AND THE ART OF NOTICING Ryszard Kapuściński emphasises Herodotus's ambition to understand the world, and claims his as the originator of the genre of reportage.

An altar boy in a Roman Catholic church in his childhood, Kapuściński in his adolescence became an amateur ( bantamweight ) boxer of some note and a poet who won two magazine prizes in 1950.

Kapuściński, a journalist who covered Africa from 1957 to the 1990s, wrote a number of books about his experiences in the continent and all over the world which have been widely translated.

From 1952 and till his death Ryszard Kapuściński was married to doctor Alicja Mielczarek.

In the English-speaking world, Kapuściński is best known for his reporting from Africa in the 1960s and 1970s, when he witnessed first-hand the end of the European colonial empires on that continent.

Kapuściński was the hero ( not entirely unjustifiably ) of the article published in the weekly periodical Odrodzenie on the morrow of his 18th birthday ( 5 March 1950 ) reporting on a poetry conference organised at his high school, in which the teenager's poems were compared to those of some of the best-known European poets ( including Mayakovsky and Wierzyński ).

Kapuściński claimed, in response to a question posed by Adam Michnik, that his attitude to Communism changed early on, " the decisive moment having come in the year 1956 " ( presumably a reference to the events of Poznań June and the process of de-Stalinisation brought about by the Thaw of Gomułka, and the Hungarian Uprising ), although he remained a loyal member of the Party until December 1981 and never spoke out against it afterwards, including during the period of the Third Republic following the Party's self-dissolution in January 1990.

Between the years 1958 and 1962 Kapuściński was the domestic correspondent of the weekly Polityka, a periodical organ of the Communist Party ( newly founded in 1957 by a decision of the Central Committee of the Polish United Workers ' Party as a counterpart to their main daily organ, the Trybuna Ludu ).

From the early 1960s onwards, Kapuściński published books of increasing literary craftsmanship characterized by sophisticated narrative technique, psychological portraits of characters, a wealth of stylization and metaphor and unusual imagery that serves as means of interpreting the perceived world.

Kapuściński was fascinated by the humanity he found in different worlds and people, as well as the books of these worlds and people: he approached foreign countries first through literature, spending months reading before each trip.

* The Soccer War by Ryszard Kapuściński

* Imperium ( Polish book ), a 1993 book by the Polish journalist Ryszard Kapuściński

The story of his assassination by Guatemalan guerillas was depicted in a 1970 book Why Karl Von Spreti Died by Ryszard Kapuściński.

The Shadow of the Sun (, literally " Ebony ") is a non-fiction book by the Polish writer Ryszard Kapuściński, published in English translation in 2001.

Category: Works by Ryszard Kapuściński

* Ryszard Kapuściński ( 1932 – 2007 ), Polish writer and reporter

* Ryszard Kapuściński, reporter, born in Pinsk, current Belarus,

* Kapuściński, Ryszard.

** Ryszard Kapuściński, Polish journalist ( d. 2007 )

Ryszard Kapuściński (; March 4, 1932 – January 23, 2007 ) was a Polish journalist and writer whose dispatches in book form brought him a global reputation.

In his early youth Kapuściński started writing for the Sztandar Młodych, a nationwide newspaper founded in 1950 as the organ of the central organisation of the Communist youth, the ZMP, of which he was a member.

The newspaper article having been a commissioned piece, the outcome of the incident was a function, ultimately, of the infighting of competing factions within the Communist Party, Jerzy Morawski, one of the leaders of the Pulavian Faction and a secretary of the Central Committee, being instrumental in bringing the matter to a resolution successful for Kapuściński.

In 1962 Kapuściński joined the Polish press agency, the PAP, and after honing his skills on domestic stories was appointed " its only foreign correspondent, and for the next ten years he was ' responsible ' for fifty countries.

According to some, Italian journalist Tiziano Terzani and Ryszard Kapuściński shared a similar vision of journalism.

Kapuściński confirmed to Bill Deedes the fact that Conrad was one of his literary inspirations.

" Kapuściński died on 23 January 2007 of a heart attack suffered in a Warsaw hospital where he was being treated for unrelated ailments.

The Emperor was also the book that established Kapuściński ’ s reputation in the West.

This tendency to process private adventures into a greater social synthesis made Kapuściński an eminent thinker, and the volumes of the ongoing Lapidarium series are a fascinating record of the shaping of a reporter's observations into philosophical reflections on the world, its people and their suffering.