In his latest book Piotr Wojciechowski raises the question: to what extent do contemporary myths influence our lives? This time his heroes are in Zakopane at the end of the 1980s, beginning of the 1990s. This is not, however, a totally real world - an underground links the capital of the Tatra with Paris, and in special silence areas voices from the past can be recorded, and compose today's myths. The scientists, who come from many countries, studying them congregate in a mysterious academy. The Polish mountains draw them with an unknown force. The Harpoonist of the Abyss is interpreted as a jazz composition, made up of escapes and returns.
"You may be surprised to hear that barely had I learned about your method when I felt like a renegade from the clan of the initiated. It is, of course, a great achievement to reconstruct a complete conversation from half a century ago, to catch orders being given to a surrounded partisan band or to hear a lullaby being sung before the war. I am hardly surprised that you are enrapt by this acoustic archaeology. Voices persist, and multitudes of them hang in the air, layer upon layer. I, however, have been occupied for some time by silence itself, which for me is more interesting than voices. It has its own structure with currents and whirlpools, places of such dead silence that they suck the sound out of places behind which one senses layer upon layer of depths arranged according to a musical order. When I dived into these spaces with the harpoon of my microphone, I was ready to grasp at the tiniest fragment of a voice, any note or squeak, but I was more fascinated with the hunting than cheered by what I caught." (Harpoonist of the Abyss)