Small Town Boy: The Ballad of Barnabas Pierkiel

The Ballad of Barnabas Pierkiel by Magdalena Zyzak 

Henry Holt 

Pp. 269

The narrator of this tale is our guide to the tiny town of Odolechka “located so far from the sea and everything else that nearly no one had known it existed, that is, until everyone knew at once.” In a cross between Borat and Gogol, she mocks the town and all the inhabitants with a gentle satire that points out both their limitations and pomposity. The parishioners and villagers hate each other and are mainly concerned with eating sausages and salted herrings. Our eponymous hero is seventeen and lazy; obsessed with Roosha, the gypsy woman, and his own appearance.

Odolechka does not have much to recommend it. Indeed, when a German spy (with the wonderfully unsubtle name of Boguswav) arrives by parachute and quizzes the mayor and the police chief about their town’s assets, they proudly show him the highlights: an abandoned barracks; haylofts; straw stacks; the windmill; the abandoned string factory; “the scarecrow in the corn field by the wheat field by the edge of town”; “our split oak tree, where Kashak crashed his bicycle” the scorched bootlegging barn; hectares and hectares of cabbage fields; some picket fences; and a well with four bricks missing.

In the true style of a picaresque novel, the town is populated by simultaneously dull and colourful characters, including the police chief who is so fat he can barely squeeze between the church pews, and the mayor who is not much thinner. There is an entrepreneur with a motor vehicle (the only one in the village) a doctor and his phlegmatic wife, and Kumashka, the drunken priest, concerned with minor points of scripture.

Much of the humour comes from the fact that the author claims this is a poor translation, while using specific expressions and complex vocabulary, which has the reader rushing to a dictionary. For example, at one point in church, Barnabas was “leaning on a splintery pilaster in the narthex” and when there is nothing to counter the religious fervour of Kumashka, “The speechlessness of the laity was so entire that borborygmus here and there was heard.” Throughout the narrative, she deliberately deconstructs and draws attention to the artifice of the novel, and frequently loses track of the main narrative, trailing off after other non-entities, only to “return to our hero, whose perspective the negligent author keeps abandoning.”

The quixotic folk tale elements cease abruptly, and a realistic WWII conflict ensues which none predicted. Zyzak’s tale is a blow to complacency. The fictional, bumbling, rural town of Odolechka and inhabitants are mocked, but the town is now destroyed by war. As such it represents a “touchstone for a hundred towns” near the Polish/ German border. We are rocked by sadness for a traditional town we never knew, but also remembrances of real residences that were similarly obliterated. By weaving a tale of froth and humour before ripping it apart with brutal force, Zyzak teaches us a lesson we cannot and should not ignore.