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SADRŽAJ GODIŠTE XIII Zagreb, Listopad–Prosinac 2015. Broj 10–12 SADRŽAJ KLOPKA ZA USPOMENE Dimitrije Popović: Poetika raspadanja, 3 Stanko Andrić: Tranzicijski frazarij, 31 Antun Vujić: O memoarima, 55 NOVA PROZA Rade Jarak: Život je vrsta pogrešne magije, ulomak iz romana Emigranti, 60 Marina Krleža: Porno svijet današnjice, ulomak iz romana Žena robot, 70 ALAIN BADIOU Žarko Paić: Antiteologija novoga događaja: Alain Badiou i kontingencija politike, 75 Ed Pluth: Politika, 107 Bruno Bosteels: O subjektu dijalektike, 123 MOJ IZBOR Dubravka Đurić: Rod, trauma rata i drama identiteta u poeziji Vojke Smiljanić–Đikić, 139 Vojka Smiljanić–Đikić: Pjesme, 147 IN MEMORIAM — ARSEN DEDIĆ Zoran Predin: Osuđen na istinu, 170 GODIŠTE XIII Zagreb, listopad–prosinac 2015. Broj 10–12 rrepublika124.inddepublika124.indd 1 111.12.2015.1.12.2015. 111:39:251:39:25 KRITIKA Nikica Mihaljević: Plivajući (s)tečaj identiteta ili gušenje trivijalnosti (Miljenko Jergović: Rod), 172 Nikola Petković: Promišljanje identiteta (Vesna Biga: Bijela panika), 182 Nikola Petković: Kompaktna i uvjerljiva knjiga (Željka Horvat Čeč: Moramo postati konkretni), 185 Sonja Krivokapić: Predmeti koji pričaju (Bora Ćosić: Mirni dani u Rovinju), 188 rrepublika124.inddepublika124.indd 2 111.12.2015.1.12.2015. 111:39:371:39:37 Klopka za uspomene Dimitrije Popović Poetika raspadanja Izuzimajući slike čije sam reprodukcije gledao u monografijama, enciklopedi- 3 jama ili umjetničkim časopisima, poput Boschovih kompozicija bizarnih hi- bridnih bića, Grünewaldovog Iskušenja svetog Antuna, Goyinog Saturna koji proždire vlastitu djecu, Dalíjevo Predosjećanje građanskog rata... neposredan susret s »ljepotom ružnog« doživio sam u cetinjskoj Umjetničkoj galeriji. Među izloženim radovima crnogorskih slikara moju je pažnju posebno zaokupila sli- ka Miodraga Dada Đurića. Na toj kompoziciji naslovljenoj Pubertet, rađenoj u plavim tonovima, naslikan je prizor koji bi zbog svoje bizarne zanimljivosti zahtijevao posebnu elaboraciju. Na toj slici dominira jedna ženska zdepasta fi- gura predimenzionirane, hidrocefalusne glave s deformiranim licem što cijeloj kompoziciji daje dojam mračne groteske. U tim danima dječaštva, pri završetku osnovne škole, privlačilo me sve ono što je neobično, sve ono što odudara od konvencija odnosno propisanih standarda. U to sam vrijeme, u hodniku na zidu moje kuće akvarelnim boja- ma naslikao jednu kompoziciju inspiriranu Picassovom slikom Dječiji doručak Kompozicija pokazuje plošne, stilizirane »kubističke« deformacije lica. Zani- mala me mogućnost da se stvarni oblik ljudskog lica može preobraziti u nešto što je drugačije od stvarnog a da pritom ne izgubi svoj karakter. Jednom sam u nekom stranom ilustriranom časopisu vidio usporedne portrete Dore Maar. Jedan je portret bio realistička fotografija Dorinog lica, a drugi Picassova sli- karska preinaka tog istog lica. U takvim kompozicijama drastičnih preinaka stvarnosti privlačilo me nešto istovremeno lijepo i ružno. Ali ne ružno u smislu odbojnog. Nego ružno na likovno estetiziran način. U ranoj mladosti sam gledao u cetinjskom kinu Hitchcockov film Psiho koji je na mene ostavio snažan dojam. Posebno mrtvački lik Normanove majke što se pojavljuje pred završetak filma. Često sam prizivao u sjećanju taj lik crtajući ga. Sve ono gdje se moglo vidjeti deformiranost oblika i sjenka smrti privlačilo rrepublika124.inddepublika124.indd 3 111.12.2015.1.12.2015. 111:39:371:39:37 me. U tom smislu mog afiniteta za neobičnim ili takozvanim »mračnim« među crnogorskim poznatim slikarima, Dadove su me slike posebno zanimale. Zahvaljujući prijateljskim odnosima Dadove i moje obitelji na Cetinju, imao sam prilike u to doba upoznati nekoliko njegovih mladenačkih radova. Među tim radovima u slikarevoj rodnoj kući moju je pažnju posebno privukao jedan crtež urađen perom i laviranim tušem što je prikazivao trenutak u jednoj no- gometnoj utakmici. Crtež je nosio naziv Nogometaši. Očito se radilo o crtačkoj preinaci neke dokumentarne fotografije iz novina koja je prikazivala jedan uzbudljiv trenutak nogometne igre pred golom. Golman u letu hvata loptu ispred dva igrača čiji pokreti svjedoče o dinamici fiksiranoj u jednom trenutku igre. U prvom planu, pri dnu crteža, ne odmah zamjetan, leži srušeni biciklist. Umjesto trbuha i donjeg dijela tijela vidi se samo klupko prosutih crijeva. Eks- presivnost deformiranih figura u pokretu, u tamnom ambijentu događanja radnje davali su tom djelu uznemiravajuću privlačnost. Svidjelo mi se što se realističnost običnog sportskog događaja pretvara u neobičan prizor. Imagi- 4 nacija pokazuje kako se posredstvom nje, imaginacije, realnost može mijenjati sama sobom. Moj izražen afinitet za nadrealizam uključivao je interes za Dadovo sli- karstvo o kome se početkom šezdesetih godina u Crnoj Gori srazmjerno malo znalo. Zato su mi bili dragocjeni susreti sa Dadovom sestrom Tanjom. U to je vrijeme studirala povijest umjetnosti. Volio osam s njom razgovarati o slikar- stvu. Kao vrsna studentica, lucidne misli, s rijetkim darom pisanja približila mi je Dadovu umjetnost. Vidjela je moje dječačke radove i pohvalno ih komen- tirala. Sjećam se kad je prilikom posjete u mojoj kući vidjela jedan akvarel koji sam bio uradio kao domaću zadaću iz likovnog. Na toj je kompoziciji bio nasli- kan WC. Rekao sam tada Tanji kako su se đaci u školi smijali tom radu misleći da provociram i govorili mi da će me nastavnik sigurno kazniti. Na kraju sam ipak odlučio ne pokazati taj rad. Nešto sam drugo nacrtao, na brzinu za vrije- me velikog odmora, neki izmišljeni ženski profil s naopakim uhom. Na pitanje nastavnika zašto žena ima naopako nacrtano uho, odgovorio sam »zato, jer je tako rođena«. Svi su se u razredu smijali. Nasmijao se i nastavnik. Tanja me je ohrabrila za onu sliku s WC–om. Rekla mi je da nije važno što se slika nego kako se slika. Spomenuta je slika sačuvana i moja ju je sestra uokvirila i oka- čila u WC–u, u našoj kući na Cetinju. Tanja mi je otkrila Hansa Bellmera, slavnog nadrealističkog crtača i ki- para, Dadovog prijatelja. Posudila mi je luksuznu umjetnikovu monografiju, koju je dobila na dar kad je jednom prilikom boraveći u Parizu posjetila ugled- nog umjetnika. Knjiga je posvećena njegovim crtežima za koje je tekst napisao Constantin Jelensky. Ta je monografija bila otkriće u onom smislu u kojem mi je pokazala koliki udio može imati erotska imaginacija kada su posrijedi motivi lascivnog sadržaja izvedeni na virtuozan likovni način. Bellmer je bio opčinjen Marquisom de Sadeom i Georgesom Battailleom. Ilustrirao je neke njihove rrepublika124.inddepublika124.indd 4 111.12.2015.1.12.2015. 111:39:371:39:37 tekstove. Ovim se piscima nadahnjivao. Crtački rafinman i preciznost davali su svojevrsnu eleganciju linijama koje su u nježnim paučinastim strukturama pokazivale neobičan i uzbudljiv svijet boga Erosa. Na Bellmerovim se crtežima tijela prožimaju, deformiraju ili raspadaju u prizorima bizarne i morbidne ero- tike. Tada me posebno bio dojmio jedan crtež naslovljen Tête à la rose. Na nje- mu dominira metamorfozno žensko lice, jedna glava, jedan zagonetni »vizaž« istovremeno melanholičnog i požudnog izraza. To je lice što se rascvjetava u sadomazohističkom orgijanju i bludno gleda s pohotno poluotvorenim ustima kao kakav Erosov fantom. Kao da se prikazani lik otjelotvorio iz opojnog miri- sa ruže što je nježno nacrtana u donjem dijelu kompozicije. Ova mi je Bellmerova erotika, posebno jedan ženski lik koji sam vidio na drugom crtežu u istoj knjizi, vratila u sjećanju one davne dane kada sam u osnovnoj školi prvi put vidio nago žensko tijelo. (Čitatelju treba napomenu- ti da u to vrijeme, krajem pedesetih godina prošlog stoljeća, nije bilo medija preko kojih su se, kao danas, najmlađi naraštaji mogli vizualno informirati o ženskoj nagosti.) Bila je to crno–bijela fotografija malog formata koju je donio jedan učenik iz razreda. Ukrao ju je svom starijem bratu. Nalikovala je onim 5 viktorijanskim pin–up fotografijama. Samo je nas par učenika moglo krišom pogledati fotos. Postojao je opravdani strah da bi netko od ostalih đaka mogao cinkariti nastavniku kakva se nepoželjna stvar skriva u razredu. Gledanje je bilo upriličeno za vrijeme velikog odmora u jednom dijelu muškog WC–a. S velikom radoznalošću i uzbuđenjem gledali smo nago žensko tijelo. Anonimna mlada žena pozira gola u prirodi ispred jednog gustog širokog grma. Imala je jedro tijelo svijetle puti. Gledala je prema nama i zavodljivo se smiješila. Oče- šljana valovita kosa spuštala se do ramena. Svijetla španga je odvajala jedan gusti pramen kose otkrivajući lijevo uho nepoznate ljepotice. Tijelo joj je bilo skladne građe, izraženost bokova naglašavao je položaj ruku koje su dlanovi- ma bile oslonjene na uski struk kao da ga žele dugim prstima učiniti još užim. Imala je malo uvučen trbuh što je potiskom zraka u grudni koš isturilo njena bujna prsa koja su se završavala velikim bradavicama. Fotografirana je iz po- luprofila. To je učinilo još izražajnijim i bogatijim obline njenog tijela. Venerin brijeg je bio najtamniji, gotovo crn, kao najjači akcent na neznankinom tijelu svijetle puti. Napetost cijelom tijelu posebno izražena u lijepim dugim bedrima davao je način njenog stajanja. Imala je uzdignuta stopala, kao da se propinje. Sva je težina tijela mlade žene bila nošena na nožnim prstima. Stajala je na jednoj širokoj glatkoj kamenoj ploči položenoj u nisko pokošenom travnjaku. Premda smo kratko gledali ovu fotografiju, urezala mi se jasno u pamće- nju. Cijelog sljedećeg sata ta mi je izazovna žena bila pred očima. Njeno sam tijelo doživljavao u mašti tako plastično da mi se na momente činilo kako do- dirujem glatku
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