The Best American Crime Reporting 2009 (12 page)

Bala’s father, Stanislaw, who was a construction worker and a taxi-driver (“I’m a simple, uneducated man,” he says), was proud of his son’s academic accomplishments. Still, he occasionally wanted to throw away Krystian’s books and force him to “plant with me in the garden.” Stanislaw sometimes worked in France, and during the summer Krystian frequently went with him to
earn extra money for his studies. “He would bring suitcases stuffed with books,” Stanislaw recalls. “He would work all day and study through the night. I used to joke that he knew more about France from books than from seeing it.”

By then, Bala had become entranced by French postmodernists such as Jacques Derrida and Michel Foucault. He was particularly interested in Derrida’s notion that not only is language too unstable to pinpoint any absolute truth; human identity itself is the malleable product of language. Bala wrote a thesis about Richard Rorty, the American philosopher, who famously declared, “The guise of convincing your peers is the very face of truth itself.”

Bala interpreted these thinkers idiosyncratically, pulling threads here and there, and often twisting and turning and distorting them, until he had braided them into his own radical philosophy. To amuse himself, he began constructing myths about himself—an adventure in Paris, a romance with a schoolmate—and tried to convince friends that they were true. “He would tell these tall stories about himself,” Rasinski says. “If he told one person, and that person then told someone else, who told someone else, it became true. It existed in the language.” Rasinski adds, “Krystian even had a term for it. He called it ‘mytho-creativity.’” Before long, friends had trouble distinguishing his real character from the one he had invented. In an e-mail to a friend, Bala said, “If I ever write an autobiography, it will be full of myths!”

Bala cast himself as an enfant terrible who sought out what Foucault had called a “limit-experience”: he wanted to push the boundaries of language and human existence, to break free of what he deemed to be the hypocritical and oppressive “truths” of Western society, including taboos on sex and drugs. Foucault himself was drawn to homosexual sadomasochism. Bala devoured the works of Georges Bataille, who vowed to “brutally oppose all systems” and who once contemplated carrying out human sacrifices; and William Burroughs, who swore to use language to “rub out the word” and the Marquis de Sade, who demanded, “O
man! Is it for you to say what is good or what is evil?” Bala boasted about his drunken visits to brothels and his submission to temptations of the flesh. He told friends that he hated “conventions” and was “capable of anything,” and he insisted, “I will not live long but I will live furiously!”

Some people found such proclamations juvenile, even ridiculous; others were mesmerized by them. “There were legends that no woman could resist him,” one friend recalled. Those closest to him regarded his tales simply as playful confabulations. Sierocka, his former professor, says that Bala, in reality, was always “kind, energetic, hardworking, and principled.” His friend Rasinski says, “Krystian liked the idea of being this Nietzschean superman, but anyone who knew him well realized that, as with his language games, he was just playing around.”

In 1995, Bala, belying his libertine posture, married his high-school sweetheart, Stanislawa—or Stasia, as he called her. Stasia, who had dropped out of high school and worked as a secretary, showed little interest in language or philosophy. Bala’s mother opposed the marriage, believing Stasia was ill-suited for her son. “I thought he should at least wait until he had finished his studies,” she says. But Bala insisted that he wanted to take care of Stasia, who had always loved him, and in 1997 their son Kacper was born. That year, Bala graduated from the university with the highest possible marks, and enrolled in its Ph.D. program in philosophy. Although he received a full academic scholarship, he struggled to support his family, and soon left school to open his cleaning business. In the documentary on Poland’s new generation of businessmen, Bala says, “Reality came and kicked me in the ass.” With an air of resignation, he continues, “Once, I planned to paint graffiti on walls. Now I’m trying to wash it off.”

He was not a good businessman. Whenever money came in, colleagues say, instead of investing it in his company he spent it. By 2000, he had filed for bankruptcy. His marriage also collapsed. “The basic problem was women,” his wife later said. “I knew that
he was having an affair.” After Stasia separated from him, he seemed despondent and left Poland, travelling to the United States, and later to Asia, where he taught English and scuba diving.

He began to work intensively on “Amok,” which encapsulated all his philosophical obsessions. The story mirrors “Crime and Punishment,” in which Raskolnikov, convinced that he is a superior being who can deliver his own form of justice, murders a wretched pawnbroker. “Wouldn’t thousands of good deeds make up for one tiny little crime?” Raskolnikov asks. If Raskolnikov is a Frankenstein’s monster of modernity, then Chris, the protagonist of “Amok,” is a monster of postmodernity. In his view, not only is there no sacred being (“God, if you only existed, you’d see how sperm looks on blood”); there is also no truth (“Truth is being displaced by narrative”). One character admits that he doesn’t know which of his constructed personalities is real, and Chris says, “I’m a good liar, because I believe in the lies myself.”

Unbound by any sense of truth—moral, scientific, historical, biographical, legal—Chris embarks on a grisly rampage. After his wife catches him having sex with her best friend and leaves him (Chris says that he has, at least, “stripped her of her illusions”), he sleeps with one woman after another, the sex ranging from numbing to sadomasochistic. Inverting convention, he lusts after ugly women, insisting that they are “more real, more touchable, more alive.” He drinks too much. He spews vulgarities, determined, as one character puts it, to pulverize the language, to “screw it like no one else has ever screwed it.” He mocks traditional philosophers and blasphemes the Catholic Church. In one scene, he gets drunk with a friend and steals from a church a statue of St. Anthony—the Egyptian saint who lived secluded in the desert, battling the temptations of the Devil, and who fascinated Foucault. (Foucault, describing how St. Anthony had turned to the Bible to ward off the Devil, only to encounter a bloody description of Jews slaughtering their enemies, writes that “evil is not embodied in individuals” but “incorporated in words” and that even a book
of salvation can open “the gates to Hell.”)

Finally, Chris, repudiating what is considered the ultimate moral truth, kills his girlfriend Mary. “I tightened the noose around her neck, holding her down with one hand,” he says. “With my other hand, I stabbed the knife below her left breast…. Everything was covered in blood.” He then ejaculates on her. In a perverse echo of Wittgenstein’s notion that some actions defy language, Chris says of the killing, “There was no noise, no words, no movement. Complete silence.”

In “Crime and Punishment,” Raskolnikov confesses his sins and is punished for them, while being redeemed by the love of a woman named Sonya, who helps to guide him back toward a pre-modern Christian order. But Chris never removes what he calls his “white gloves of silence,” and he is never punished. (“Murder leaves no stain,” he declares.) And his wife—who, not coincidentally, is also named Sonya—never returns to him.

The style and structure of “Amok,” which is derivative of many postmodern novels, reinforces the idea that truth is illusory—what is a novel, anyway, but a lie, a mytho-creation? Bala’s narrator often addresses the reader, reminding him that he is being seduced by a work of fiction. “I am starting my story,” Chris says. “I must avoid boring you.” In another typical flourish, Chris reveals that he is reading a book about the violent rebellion of a young author with a “guilty conscience”—in other words, the same story as “Amok.”

Throughout the book, Bala plays with words in order to emphasize their slipperiness. The title of one chapter, “Screwdriver,” refers simultaneously to the tool, the cocktail, and Chris’s sexual behavior. Even when Chris slaughters Mary, it feels like a language game. “I pulled the knife and rope from underneath the bed, as if I were about to begin a children’s fairy tale,” Chris says. “Then I started unwinding this fable of rope, and to make it more interesting I started to make a noose. It took me two million years.”

Bala finished the book toward the end of 2002. He had given Chris a biography similar to his own, blurring the boundary between author and narrator. He even posted sections of the book on a blog called Amok, and during discussions with readers he wrote comments under the name Chris, as if he were the character. After the book came out, in 2003, an interviewer asked him, “Some authors write only to release their…Mr. Hyde, the dark side of their psyche—do you agree?” Bala joked in response, “I know what you are driving at, but I won’t comment. It might turn out that Krystian Bala is the creation of Chris…not the other way around.”

Few bookstores in Poland carried “Amok,” in part because of the novel’s shocking content, and those which did placed it on the highest shelves, out of the reach of children. (The book has not been translated into English.) On the Internet, a couple of reviewers praised “Amok.” “We haven’t had this kind of book in Polish literature,” one wrote, adding that it was “paralyzingly realistic, totally vulgar, full of paranoid and delirious images.” Another called it a “masterpiece of illusion.” Yet most readers considered the book, as one major Polish newspaper put it, to be “without literary merit.” Even one of Bala’s friends dismissed it as “rubbish.” When Sierocka, the philosophy professor, opened it, she was stunned by its crude language, which was the antithesis of the straightforward, intelligent style of the papers that Bala had written at the university. “Frankly, I found the book hard to read,” she says. An ex-girlfriend of Bala’s later said, “I was shocked by the book, because he never used those words. He never acted obscenely or vulgar toward me. Our sex life was normal.”

Many of Bala’s friends believed that he wanted to do in his fiction what he never did in life: shatter every taboo. In the interview that Bala gave after “Amok” was published, he said, “I wrote the book not caring about any convention…. A simple reader will find interesting only a few violent scenes with a graphic descrip
tion of people having sex. But if someone really looks, he will see that these scenes are intended to awaken the reader and…show how fucked up and impoverished and hypocritical this world is.”

By Bala’s own estimate, “Amok” sold only a couple of thousand copies. But he was confident that it would eventually find its place among the great works of literature. “I’m truly convinced that one day my book will be appreciated,” he said. “History teaches that some works of art have to wait ages before they are recognized.”

In at least one respect, the book succeeded. Chris was so authentically creepy that it was hard not to believe that he was the product of a genuinely disturbed mind, and that he and the author were indeed indistinguishable. On Bala’s Web site, readers described him and his work as “grotesque,” “sexist,” and “psychopathic.” During an Internet conversation, in June of 2003, a friend told Bala that his book did not give the reader a good impression of him. When Bala assured her that the book was fiction, she insisted that Chris’s musings had to be “your thoughts.” Bala became irritated. Only a fool, he said, would believe that.

D
ETECTIVE
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ROBLEWSKI UNDERLINED
various passages as he studied “Amok.” At first glance, few details of Mary’s murder resembled the killing of Janiszewski. Most conspicuously, the victim in the novel is a woman, and the killer’s longtime friend. Moreover, although Mary has a noose around her neck, she gets stabbed, with a Japanese knife, and Janiszewski wasn’t. One detail in the book, however, chilled Wroblewski: after the murder, Chris says, “I sell the Japanese knife on an Internet auction.” The similarity to the selling of Janiszewski’s cell phone on the Internet—a detail that the police had never released to the public—seemed too extraordinary to be a coincidence.

At one point in “Amok,” Chris intimates that he has also killed a man. When one of his girlfriends doubts his endless mytho-
creations, he says, “Which story didn’t you believe—that my radio station went bankrupt or that I killed a man who behaved inappropriately toward me ten years ago?” He adds of the murder, “Everyone considers it a fable. Maybe it’s better that way. Fuck. Sometimes I don’t believe it myself.”

Wroblewski had never read about postmodernism or language games. For him, facts were as indissoluble as bullets. You either killed someone or you didn’t. His job was to piece together a logical chain of evidence that revealed the irrefutable truth. But Wroblewski also believed that, in order to catch a killer, you had to understand the social and psychological forces that had formed him. And so, if Bala had murdered Janiszewski or participated in the crime—as Wroblewski now fully suspected—then Wroblewski, the empiricist, would have to become a postmodernist.

To the surprise of members of his detective squad, Wroblewski made copies of the novel and handed them out. Everyone was assigned a chapter to “interpret”: to try to find any clues, any coded messages, any parallels with reality. Because Bala was living outside the country, Wroblewski warned his colleagues not to do anything that might alarm the author. Wroblewski knew that if Bala did not voluntarily return home to see his family, as he periodically did, it would be virtually impossible for the Polish police to apprehend him. At least for the moment, the police had to refrain from questioning Bala’s family and friends. Instead, Wroblewski and his team combed public records and interrogated Bala’s more distant associates, constructing a profile of the suspect, which they then compared with the profile of Chris in the novel. Wroblewski kept an unofficial scorecard: both Bala and his literary creation were consumed by philosophy, had been abandoned by their wives, had a company go bankrupt, travelled around the world, and drank too much. Wroblewski discovered that Bala had once been detained by the police, and when he obtained the official report it was as if he had already read it. As Bala’s friend Pawel, who was detained with him, later testified in
court, “Krystian came to me in the evening and had a bottle with him. We started drinking. Actually, we drank till dawn.” Pawel went on, “The alcohol ran out, so we went to a store to buy another bottle. As we were returning from the shop we passed by a church, and this is when we had a very stupid idea.”