“Lead Children”: The Heaviness of Poland under Communism

I recently discovered the Polish TV series Lead Children on Netflix—and pretty much binge-watched it. This gripping 6-episode series follows young Doctor Jolanta Wadowska-Król (played by Joanna Kulig) as she gradually uncovers and pieces together a mysterious health crisis that affects children living in the district of Szopienice (in the city of Katowice) dominated by a zinc / lead smelter.

Jolanta stands at a Szopienice graveyard filled with children’s graves (“Lead Children”)

While the title gives away the subject matter of the series, episodes still unravel with insidious deliberation. In the first scene (after the flash forward) a young boy faints for no apparent reason, bringing our good doctor to his aid; in another scene Jolanta is wiping her filthy windows of black dust (from the nearby smelter) before visiting a pregnant mother with two anemic children who promptly gives birth to a stillborn child. We then move to a meeting of city officials who are deciding which factory Comrade General Secretary Brezhnev will visit and one official suggests the Szopienice Non-Ferrous Metal Works; the plant, he claims, has had “improvements and so forth,” that allowed it to exceed the plan for the past two months (the plan being Boleslaw Bierut’s Six-Year Plan started in 1950, for aggressively industrializing Poland through unrealistic production). All this sets the stage for a dark tale of treachery and brave but dangerous persistence to reveal the truth that will reach deep into your soul and squeeze until you are breathless.  

Doctor Jolanta Wadowska-Król and her assistant walk through the smelter district in “Lead Children”

When local children begin showing signs of serious illness and developmental problems—high anemia (e.g. haemoglobin less than half normal), headaches, stomach pain, sluggishness, joint pain and muscle weakness, learning problems, hearing loss, irritability, vomiting, internal bleeding and seizures, enamel hypoplasia, blue gums—Jolanta pushes against what looks like a cover-up to investigate the unusual pattern of sicknesses.

Jolanta recognizes the blue-black gum line in the children as a telltale sign of chronic lead toxicity. Known as “Burton’s line”, it is caused by a chemical reaction by a high level of lead in the child’s blood and sulfur-producing bacteria in the mouth. The interaction creates insoluble lead sulfide deposits in the gum tissue, typically near the gum margin. Jolanta links the poisoning to the lead emitted from the smelter in the Targowisko neighbourhood: in the dust, in the water and the ground where people keep their gardens and children play.

Watercolour drawing of the mouth and gums of a woman who worked in a lead-mill. There is saturnine impregnation with a well-marked Burton’s line and a blue stain on the buccal membrane opposite (source: Wikipedia)

The Szopienice Non-Ferrous Metal Works (“Lead Children”)

Jolanta’s efforts to address the problem are met with a concerted resistance from company managers, local officials and authorities, pressured by politics and the need for production over health and welfare of the community. For instance, workers and their families, live in shabby familoks around the smelter; kids play in the dirt, beneath the billowing smoke stacks, exposed to heavy metal-contaminated ash and dust. It gets even more dangerous for Jolanta when the Polish Security Service starts to interfere. As with the Stasi situation in East Germany, citizens are regularly pressganged into denunciating targeted individuals and Jolanta is denunciated by a member of her own staff.

Woman and baby walks in the dust of the smelter as children play in the contaminated dirt (“Lead Children”)

By Episode four, the show becomes heart-breaking as the first of the children dies shortly after returning to Targowisko after a reprieve and recovery from the smelter contamination. Meantime, local Polish Communist Party leader and politburo member Zdzislaw Grudzień pressures the smelter managers to “be the best” by comparing them to a high-producing metal works in Dresden (at the time still in East Germany under the GDR); they respond by removing all the dust-catching filters to increase the draft in the chimneys. Here we also learn that the previous head engineer in charge of stack air quality had been for years using only half the filters of the sieve plates in the pneumatic dust extractor to meet productivity targets.

The smelter with village below (from “Lead Children”)

The film notes that in the 1970s lead levels around the plant exceeded safety limits a thousand fold. Recent research indicates that even though the smelter was shut down in 2008, lead levels around it still exceed the limits set by the WHO.

Lead Poisoning in Children and Adults: where it comes from, what it does, and where it goes

Lead Poisoning in Children (image from Pure Earth)

Lead is a cumulative toxicant that affects multiple body systems; this includes the neurological, hematological, gastrointestinal, cardiovascular and renal systems. According to the WHO, there is no known safe level of lead exposure. Relatively low levels of lead exposure previously considered ‘safe’ are now known to damage children’s health and impair their cognitive development. With even low-level exposure, lead is associated with brain damage, reduced IQ, decreased intelligence, learning difficulties, lower lifetime earnings, increased incidence of heart and kidney disease later in life, and increased tendency for violence.

Young children are particularly vulnerable to lead poisoning, given that they can absorb up to 5 times as much lead as adults from an ingested dose. Children under the age of 5 years are at the greatest risk of suffering lifelong neurological, cognitive and physical damage and even death from lead poisoning. Older children as well as adults suffer severe consequences from prolonged exposure to lead in food, water and the air they breathe; this includes increased risk of cardiovascular death and kidney damage in later life. Children are particularly vulnerable to lead poisoning due to their smaller size and higher rate of lead absorption.

According to the WHO, once lead enters the body, it distributes to organs, including the brain, kidneys, liver and bones. Lead stores in the teeth and bones, where it accumulates over time. Lead stored in bone may release into the blood during pregnancy and expose the fetus.

Lead poisoning is not a thing of the past or restricted to communist nations. According to Pure Earth, lead exposure is responsible for an estimated 3.5 million cardiovascular deaths each year; more than HIV, malaria and tuberculosis combined. A World Bank analysis in 2019 demonstrated that children under five years old worldwide lost 765 million IQ points from lead exposure; about 95% of IQ point loss due to lead exposure were in LMICs. Lead poisoning may also account for 20% of the education gap between high- and low-income countries. 

Major sources of lead contamination include mining & smelting, manufacturing and recycling activities, and lead use in a range of products. These include lead-acid batteries for motor vehicles. Products that may contain lead include pigments, paints, solder, stained glass, lead crystal glassware, ammunition, ceramic glazes, jewelry, toys, some traditional cosmetics, and some traditional medicines. Lead may contaminate drinking water through plumbing systems that contain lead pipes, solders and fittings.

1970s Communist Poland

Inspired by real events from 1970s Upper Silesia during Communist‑era Poland, the TV series Lead Children showcases the atrocities committed in the name of industrial growth and production during that time.

This was a time when the Polish Służba Bezpieczeństwa (SB) or the Security Service of the Ministry of Internal Affairs infiltrated all elements of Polish life—not unlike the Stasi in eastern Germany—to ensure that everyone followed party dogma and the mandate of the Polish United Workers’ Party for industrial productivity. The Security Service of the Communist Polish People’s Republic did their bidding from 1956 to 1990, often enlisting the citizens’ militia. Key aspects of the SB mandate involved political repression and surveillance, infiltration of civil society, persecution of the Catholic Church, suppressing strikes and protests, controlling information, and protecting the state-controlled economy.

Boleslaw Bierut’s Six-Year Plan started in 1950, aggressively industrializing Poland and causing widespread shortages, particularly for meat and dairy. In 1956, when Gomułka came into power, things became somewhat less dangerous, but the shortages continued and in some cases got worse. The period between 1976 and 1989 experienced a maximum in shortages of nearly all products. Under communist rule, Poland was driven by rapid industrial growth, often using low-skilled workers with no consideration for their health and welfare. Criticism or resistance was suicidal. Protests and ensuing riots were violently crushed and suspected leaders hunted down and executed.

(Re)Genesis and the Kurpiowska Forest

Puszcza Białowieska (The White Forest) of the Kurpiowska Forest (photo by OTOP)

Several key scenes of my upcoming eco-fiction thriller (Re)Genesis take place inside the Kurpiowska Forest in central Poland’s Mazovian Lowlands during the communist rule of Poland (specifically from the 1950s to the 1970s). Young Zofia and Piotr Wójcik and their little twins have come to the Puszcza Kurpiowska to work for Zima Performance Elastomers, a chemical plant that makes a mysterious miracle chemical called syprene that is highly volatile, flammable and toxic. Zima compromises the health and safety of its workers under the yoke of productivity. Workers fall ill and are usually replaced within a decade, either leaving due to ill health or dying of complications. In the following scene in 1959, Zofia has invited her older sister to take care of her twins so she can continue working at Zima Performance Elastomers deep inside the Kurpiowska Forest:

Zofia can’t help a smile. Her older sister is more of an intellectual; she isn’t the mothering type and has made it clear that she doesn’t like children. Yet the twins seem to have softened her heart a little, thinks Zofia, who is so grateful that her older sister is here, so she can return to work.

They eat supper quietly together; Piotr is on the evening shift and won’t be home until later at night when Zofia will reheat some bigos and bread for him.

“How’s Piotr? Still losing his hair?” Ewa asks casually, helping herself to more bigos from the pot.

“Not so much now,” says Zofia. She wipes the side of her bowl with some rye bread to catch the rest of her bigos. “He still gets headaches. I give him piołun for them.”  

Ewa frowns and shakes her head. “Does it work?”

Zofia shrugs.

Ewa makes a scoffing sound; she knows that it doesn’t. She leans forward suddenly. “Seriously, you need to do something, Zofia.”

“But what can I do?”

“Zima’s clearly breaking safety rules. The first is not having sufficient signage. Then hiring idiots straight from high school who don’t know what they’re doing and not educating them. You mentioned Janek smoking in the Polyanna Building? Didn’t you say that stuff is flammable?”

“I think so, based on other similar compounds I know about. No one knows what syprene really is.”

“Well, he’ll blow up the plant if he isn’t careful. Good god, sister, you need to report this to the government before it’s more than just some headaches or a bit of hair loss. Before there’s a serious accident. The constitution of ‘52—”

“The constitution! It’s just paper. The Polish United Worker’s Party has its own rules and ways of doing things.” She waves the bread in her hand at her older sister. “Who would I report this to, eh? Have you forgotten what happened when workers demanded better working conditions at the Poznań’s Cegielski Factories in ’56? Nothing can interfere with progress. The government doesn’t care. And let’s not forget the secret police. That Łukasz Zieliński, who’s so chummy with Wozniak, gives me the creeps. I’m sure he’s secret police. He hardly does anything except wander about poking his long nose in everything and making derogatory remarks.”

 “Now who’s the cynic.” Ewa leans back with a crooked smile. The smile turns into a scowl as she acknowledges Zofia’s point. “But you’re probably right about him.” She shakes her head, spoon playing with the stew. “And, you do have to be careful, sister. Something will happen. I can feel it in my bones.”

Unfortunately, so can Zofia. Her older sister is right, she concedes. The whole place is a tinder box and lately emotions have been high with arguments and even fights erupting in the polymer building. It doesn’t help that Piotr doesn’t seem to take the dangers seriously by not wearing protection, just to fit in—

There’s a noise outside.

The women turn, hearing shuffling at the door and men talking in low urgent voices. The door bursts open and two workmen—Vasili and Krzysztof—drag Piotr inside. He is barely conscious and his head lolls as he groans and murmurs through a frothing mouth.

The women rush forward.

“What happened?” Ewa demands.

“There’s been an accident,” Vasili says, glancing at Krzysztof, who normally works the shift with Piotr. “He got splashed when the drum broke, and may have even swallowed some of the stuff. Then he went into convulsions.”

“And you brought him here?” Ewa says, aghast.

“There’s no emergency shower or eye wash there—”

“Don’t come any further into the house!” Ewa orders gruffly. “Strip him naked and throw the clothes outside. Then take him to the shower. And for god’s sake take off your shoes!”

The men jump into action.

Zofia looks on, tongue-tied.

“Well, get in there!” Ewa shouts at Zofia. “Scrub him clean. With soap! Quickly!”

The Kurpiowska Forest near Czarnia, not far from the fictional Zima plant (photo by Polish Tourism)
Kozienice Landscape Park, Massovia, Poland (image by MasovianStyle.com)

Nina Munteanu is an award-winning novelist and short story writer of eco-fiction, science fiction and fantasy. She also has three writing guides out: The Fiction WriterThe Journal Writer; and The Ecology of Writing and teaches fiction writing and technical writing at university and online. Check the Publications page on this site for a summary of what she has out there. Nina teaches writing at the University of Toronto and has been coaching fiction and non-fiction authors for over 20 years. You can find Nina’s short podcasts on writing on YouTube. Check out this site for more author advice from how to write a synopsis to finding your muse and the art and science of writing. Her most recent novel “Gaia’s Revolution” was released in March 2026 by Dragon Moon Press (Calgary).

The Battle of Grunwald and the Fate of the Teutonic Knights

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Battle of Grunwald

On this day, June 14th, every year, the Polish and Lithuanians celebrate the Battle of Grunwald; they celebrate with pride, erecting mock-ups of the battle to honour this important—yet largely unknown moment—in history: when the proud Teutonic Order fell to its knees and Poland became a nation.

Which brings me to my book The Last Summoner and how I get my ideas for stories…

Cover1_LastSummoner-frontcoverI teach writing at the University of Toronto and fiction writing at George Brown College in Toronto. A question I’m often asked is how I get my story ideas. I always start by sharing my favourite example of how I came to write my historical fantasy The Last Summoner:

It started in 2008, when I saw the most incredible image by Croation artist Tomislav Tikulin as I was browsing sites on the Internet. The image was of a magnificent knight, standing in a war-littered mire and gazing up, questioning, at the vaulted ceiling of a drowned cathedral. A great light shone upon the knight in streams of white gold–as if a message from heaven. It sent my imagination soaring with thoughts of chivalry, adventure and intrigue.

Who was this knight?

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Teutonic knight

With that image imprinted inside me, the next nexus moment came when I stumbled across a significant but little-known battle in the medieval Baltic, the Battle of Grunwald. It would turn out to be the defining battle for what are now the countries of Poland and Lithuania. On June 14, 1410, they were still part of Prussia and tyrannized by the Teutonic Order, who were Christianizing the pagan Baltic on behalf of the Pope. In truth, the Order had been for centuries gathering wealth and land for colonizing Germans in their drang nach osten; they built sturdy castles (many of which still stand today) and grew into a force of monk warriors, feared for their cunning strategy and treacherous combat abilities.

The Battle of Grunwald was, in fact, an upset in history. The Teutonic Order was powerful, intimidating and extremely capable. They should have won; but the peasant armies of Prussia slaughtered the Order, killing most of its knights. Historians debate that the hochmeister’s arrogance—indeed the arrogance of the entire Order—precipitated their downfall. They underestimated their adversaries and got sloppy.

After the Polish and Lithuanian armies outsmarted the Order and slayed the Order’s hochmeister, along with many of their knights, the Order’s own peasant slaves finished the job using clubs, pitchforks and stones.

Every year, the Polish and Lithuanians celebrate June 14th with pride, erecting mock-ups of the battle.

vivianne-medieval-fighterIntrigued by this little known order of religious crusaders, I pursued the premise of an alternative consequence: what if the Teutonic Knights had NOT underestimated their enemy and won the Battle of Grunwald? Would they have continued their catastrophic sweep of Northeast Europe into Russia and beyond? Would they have claimed the whole for Germany’s expansionist lebensraum movement, fueled by its sonderweg—a dialectic that would ultimately lead to the killing fields of the Holocaust?  What if the success of the Teutonic Order helped consolidate a united fascist elite, ambitious to conquer the world? What if Nazism sprang up 100 years earlier than it did in our current reality?

The Last Summoner arose from this premise. Enter our hero, young 14-year old Vivianne Schoen, Baroness von Grunwald, a self-centred romantic who dreams that her ritter will rescue her from an arranged marriage to some foreign warrior. As a result of an impetuous choice, she makes the startling discovery that she can alter history—but not before she’s branded a witch and must flee through a time-space tear into an alternate present-day France—now ruled by fascists. There, she learns that every choice has its price.

knight-cameo copySpanning from medieval Poland to present day Paris, The Last Summoner explores the sweeping consequences of our “subtle” choices. From the smallest grab to the most sweeping gesture, we are accountable for the world we’ve made. During her 600-year journey to save the world and undo the history she authored, Vivianne learns wisdom and humility. Through the paradox of history, she learns that what might have seemed the right choice for an immediate future, turns out to be disastrous for a distant future. To win is also to lose; to save oneself one must surrender oneself; and to save the world one need only save a single soul.

The knight standing in the drowned cathedral is none other than Vivianne.

Inspired by Tikulin’s knight depiction, I managed to convince my publisher at Starfire World Syndicate to purchase rights to the image; Tikulin’s image–Vivianne’s dream–became the actual cover of my book. I was overjoyed! When The Last Summoner hit the shelves in 2012, it quickly soared into an Amazon Canadian bestseller and remained in the top 10 for several months in the category of fantasy, historical fantasy and science fiction. The book continues to find new readers who enjoy the thrilling time-travelling journey of its 15th century heroine and its surprising plot.

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“The Last Summoner” sandwiched nicely between Ray Bradbury and George R.R. Martin

The Last Summoner is a blend of fantasy, history, and alternate history,” writes Canadian author Kristene Perron. “Fourteen year old Vivianne , the story’s hero, discovers that she has strange powers on the eve of the legendary Battle of Grunwald.  Marked as a witch, Vivianne escapes through time and space, but her actions change history and threaten to destroy the world.”

Kristene had chosen the book to review based on a description I had provided of the painting that inspired the novel created by artist Tomislav Tikulin.

Cover1_LastSummoner-frontcover

Illustration by Tomislav Tikulin. Cover design and typology by Costi Gurgu

The Last Summoner fascinated Kristene. “Ordinarily, historical fiction doesn’t excite me,” writes Kristene. “But the premise of this novel—which included a good dash of fantasy and time travel—was an exception. There is history aplenty and Munteanu has obviously done her homework. The world of 15th century Germany is authentically realized and the little touches of fantasy blend seamlessly.” She was pleased with Vivianne as a hero and how I had “endowed [my] protagonist with the skills and knowledge necessary for the plot without stretching plausibility.”

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Kristene then added, “What I most enjoyed about this story was that for the majority of it I genuinely didn’t know where the plot was going or what would happen next. I’m one of those annoying people who can usually figure out the entire plot of a book or movie within the first few scenes (watching movies with me can be challenging), so to come teutons3-close02across a story that stumped my super CSI powers of deduction was a real treat.”

“For those in love with science fiction at its best, The Last Summoner is a complex story of ignored responsibilities and their dire consequences, of love and betrayal that span centuries and multiple worlds. Time travel, multiverse travel, immortality, alternate history in which the Nazis have won, not in the twentieth century but way earlier, in the Teutonic age. Angels and mutants, utopias and dystopias, even a Tesla occurrence— everything a science fiction reader could ever desire in a book. A masterfully told story with great characters. Nina Munteanu moves flawlessly from a medieval story to a modern one and everything in between.”—Costi Gurgu, author of RecipeArium

Jonathan, history buff and author of Sci-Fi & Fantasy Reviews , writes: “The Last Summoner is a unique story melding Germany of the 15th century and modern France, even if a different France from what we would recognize. The story centered around the very real and pivotal Battle of Grunwald in which a coalition of Polish and Lithuanian forces defeated the monastic Teutonic Knights. The book takes a look at the young 14-year-old baroness of Grunwald, someone not quite human, and how she attempts to right a wrong and get history back on track…The author is a good writer, and her wordsmithing is excellent…The historical research was outstanding…Given that this is fiction, and that two settings did not follow history as we know it, never-the-less, each event was either very accurate to our known history or made logical sense in the other settings. I am not a huge fan of alternative history books, but in this one, I was extremely caught up in the final section of the book, and I had to contemplate how the world might be different with only a few changes to our history.”

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Jonathan adds, “While I was familiar with most of the historical background of the book, I was unaware of some facts, such as the Tartars taking part in the Battle of Grunwald. I thought this was a mistake made on the part of the author and went to confirm that, but in fact, the author was correct…a clever, well-written book. I would recommend it without hesitation.” The reviewer did have one quibble: my liberal use of French and German in the book.

Professional photographer and science fiction/fantasy reader, Rick LeBlanc shared that he’d “read The Last Summoner on the flight back from World Fantasy Con: could hardly put it down. Just loved the historical references of gear, place and events. The characters red-leaves-in-pond-vicki horton-botwere incredibly strong and involved you in their lives. The flow was fun & fast-paced. Merci, Nina. Great book!”

“I loved, loved, loved the metaphors. A page-turner that left me wanting to be Vivianne when I grew up.”—Carina Burns, author of The Syrian Jewelry Box

knight-cameo copyThe Last Summoner is an enticing fantasy exploring the Knightly order and adding many new perspectives.”—John Taylor, The Midwest Book Review

nina-2014aaaNina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.