Supplement Contemporary Croatian Literature, pp. 15 - 34

byweekly magazine for cultural and social issues • zagreb, 12th ostober 2000, issue II, # 40

Edited by:

Katarina Luketiæ, Iva Pleše, Dušanka Profeta

Translated by:

Nataša Govediæ, Dubravka Petroviæ, Aleksandra Mišak

Sv. Jeronim, Museu National de Arte Antiga, Lisabon

Although Croatian litera- and publishing. The major part of this authors were taken into account, but ture cannot count on broad reception issue contains essays, critics and inter- also authors whose books were first and big commercial success outside the views (some of them published pre- published by Croatian publishers. This borders of its own language, we believe viously and edited for this purpose) selection is not supposed to be an that Croatian authors, especially youn- which present Croatian authors by anthology of recent Croatian literature, ger ones, fit into the broad context of giving our readers insight into recent but a sort of critical survey written by European and global culture of books literary production. Not only Croatian our authors and editors.

2000. ISSN 1331-7970

dvotjednik za kulturna i društvena zbivanja • zagreb, 12. listopad 2000, godište II, broj 40 • cijena 10,00 kn; za BiH 2,5 km; za Sloveniju 320 sit

Razgovor Antun Vujiæ Pluralizam i kulturna estetika stranice 4-5

Eseji - poezija Krešimir Bagiæ Pjesnièki naraštaj devedesetih stranice 10-11

Esej - proza Andrea Zlatar Književno vrijeme - sadašnjost stranice 8 - 9

Esej - drama Nataša Govediæ Opasni stihovi, beskorisne zastave stranica 9

Esej - novine Mister Lapsus i Miss Pasiv Boris Beck strana 3

Recentna hrvatska književnost 52 naslova za 52. Frankfurtski sajam knjiga 2 II/40, 12. listopada 2,,,.

gdje je što

Mister Lapsus i Miss Pasiv Boris Beck 3 dvotjednik za kulturna i društvena zbivanja Razgovor s Antunom Vujiæem: Pluralizam kulturnih estetika Davorka Vukov Coliæ 4-5 adresa uredništva: Hebrangova 21, Zagreb Nakladništvo i izdavaštvo: stanje Grozdana Cvitan 6 telefon: 4855-449, 4855-451 Hrvatski nezavisni nakladnici 6 fax: 4856-459 e-mail: [email protected] web: www.zarez.com TEMA uredništvo prima: radnim danom od 12 do 15 sati Recentna hrvatska književnost 52 naslova za 52. Frankfurtski sajam knjiga nakladnik: Druga strana d.o.o. Uredile: Katarina Luketiæ, Iva Pleše, Dušanka Profeta za nakladnika: Boris Maruna poslovna direktorica: Marcela Ivanèiæ Eseji: 8-11 glavna i odgovorna urednica: Andrea Zlatar Književno vrijeme: sadašnjost Andrea Zlatar pomoænice glavne urednice: Katarina Luketiæ, Iva Pleše Opasni stihovi, beskorisne zastave Nataša Govediæ redaktor: Boris Beck Pjesnièki naraštaj devedesetih Krešimir Bagiæ redakcijski kolegij: Sandra Antoliæ, Tomislav Brlek, Grozdana Cvitan, Razgovori: 12-13 Dean Duda, Nataša Govediæ, Giga Graèan, Rade Jarak, Agata Juniku, Pavle Kaliniæ, Branimira Lazarin, Miljenko Jergoviæ Dušanka Profeta Jurica Pavièiæ, Dušanka Profeta, Dina Puhovski, Slavenka Drakuliæ Andrea Zlatar Srðan Raheliæ, Sabina Saboloviæ, David Šporer, Predrag Luciæ Katarina Luketiæ Igor Štiks, Gioia-Ana Ulrich, Davorka Vukov Coliæ Tatjana Gromaèa Rade Jarak grafièki urednik: Željko Zorica lektura: Marko Plaviæ Prikazi: 14, 35-46 tajnica redakcije: Nataša Polgar Dževad Karahasan, Sara i Serafina; Josip Mlakiæ, Kad magle stanu; Irena Vrkljan, Posljednje putovanje u priprema: Romana Petrinec, Damir Raliæ Beè; Roman Simiæ, Mjesto na kojem æemo provesti noæ; Marinko Košèec, Otok pod morem; Jurica Pavièiæ, tisak: Novi list, Rijeka, Zvonimirova 20a Nedjeljni prijatelj; Igor Štiks, Dvorac u Romagni; Slavenka Drakuliæ, Kao da me nema; Robert Perišiæ, Mo- Tiskanje ovog broja omoguæili su žeš pljunuti onog tko bude pitao za nas; Miljenko Jergoviæ, Mama Leone; Ðermano Senjanoviæ, US&A; Zo- Institut Otvoreno društvo Hrvatska ran Feriæ, Anðeo u ofsajdu; Borivoj Radakoviæ, Ne, to nisam ja; Ozren Kebo, Sarajevo za poèetnike; Edo Ministarstvo kulture Republike Hrvatske Popoviæ, San žutih zmija; Branko Maleš, Male ljubavi; Viktor Ivanèiæ, Toèka na U; Rat u Hrvatskoj i Bosni i Hercegovini (uredili Ivo Žaniæ i Branka Magaš); Sonia Wild Biæaniæ, Dvije linije života; Stanko Andriæ, Dnevnik iz JNA; Ilija Jakovljeviæ, Konclogor na Savi; Jakša Kušan, Bitka za Novu Hrvatsku; Bora Æosiæ, Carinska deklaracija; Predrag Matvejeviæ, Vidosav Stevanoviæ i Zlatko Dizdareviæ Gospodari rata i mira; Marinko Èuliæ, Tuðman – anatomija neprosvjeæenog apsolutizma; Petar Lukoviæ, Godine raspada; Stanko Lasiæ, Autobiografski zapisi; Krešimir Bagiæ, Umijeæe osporavanja; Stanko Andriæ, Èudesa Svetog Ivana Kapistrana; Slobodan Prosperov Novak, Povijest hrvatske književnosti III; Enciklopedija Miroslava Krleže; Mladen Machiedo, Slatkogorka Italija; Hrvoje Turkoviæ, Teorija filma; Pavle Kaliniæ, Pušaèi vremena; Vanja Cijene oglasnog prostora Sutliæ, Sve je samo putovanje; Igor Mandiæ, Prijapov problem; Cyberfeminizam (uredio Igor Markoviæ); Pakiranje vlasti, Izbori u Hrvatskoj 1995. i 1997; Tijelo u tranziciji (uredila Djurdja Bartlett); Andrija 1/1 stranica 4500 kn Mauroviæ, Kandaul; Željko Zorica, H. C. Zabludovsky, Fantastièni bestijarij Roskildea; Branko Fuèiæ, 1/2 stranice 2500 kn Fraške; Ivo Maroeviæ, Zagreb njim samim; Miljenko Jergoviæ, Kažeš anðeo; CD-ROM Klasici hrvatske 1/4 stranice 1600 kn književnosti II (Pjesništvo); U obranu buduænosti, traženje u minskom polju (uredili Freimut Duve i Nenad 1/8 stranice 900 kn Popoviæ); Nada Švob Ðokiæ, Tranzicija i nove europske države; Evakuacija, izbor iz suvremene prièe iz Bos- ne i Hercegovine (uredio Dragoslav Dedoviæ); Miljenko Jergoviæ, Historijska èitanka; Frakcija; Quorum Info 46 PRETPLATNI LISTIÆ Supplement 15–34 izrezati i poslati na adresu: Contemporary Croatian Literature Edited by: Katarina Luketiæ, Iva Pleše, Dušanka Profeta Translated by: Nataša Govediæ, Aleksandra Mišak, Dubravka Petroviæ

Na naslovnici: Albrecht Dürer - Krist meðu uèenjacima, Zbirka Thyssen, Lugano dvotjednik za kulturna i društvena zbivanja 10000 Zagreb, Hebrangova 21 Želim se pretplatiti na zarez: DRUŠTVO HRVATSKIH KNJIŽEVNIH 6 mjeseci 120,00 kn s popustom 100,00 kn PREVODILACA 12 mjeseci 240,00 kn s popustom 200,00 kn Organizira Rockefellerova 26, 10 000 Zagreb Hrvatska Kulturne, znanstvene i obrazovne ustanove te Tel & Fax 385 1 46 83 020 E-mail [email protected] RADIONICU KNJIŽEVNOG studenti i uèenici mogu koristiti popust: PREVOÐENJA Centar za mirovne studije, neprofitna i 6 mjeseci 85,00 kn SA ENGLESKOG JEZIKA nevladina organizacija koja promièe nenasilje 12 mjeseci 170,00 kn i društvenu promjenu povezujuæi obrazovanje, Za Europu godišnja pretplata 100,00 DEM, za u prostorijama ART NET KLUBA istraživanje i aktivizam, najavljuje upise u (Preradoviæeva 25), dva puta tjedno jednogodišnji obrazovni program za odrasle ostale kontinente 100,00 USD. (ponedjeljak i srijeda, 18-19:30) PODACI O NARUÈITELJU u razdoblju od 6. studenog do 13. prosinca 2000. g. MIROVNI STUDIJI ime i prezime: Prijaviti se mogu: adresa: – diplomirani anglisti UPISI telefon/fax: – osobe koje se veæ bave književnim od 9. do 13. listopada vlastoruèni potpis: prevoðenjem od 10 do 16 sati – apsolventi anglistike sve informacije na broj telefona 46 83 020 Uplate na žiro-raèun kod Zagrebaèke banke: 30101-601-741985. Kopiju uplatnice priložiti Upisi: 13 osnovnih kolegija, kontekstualno i interaktivno uèe-nje, 23–27. listopada 2000. g. od 10-12 sati niz seminara, predavanja, diskusija, radionica, tribina, video listiæu i obavezno poslati na adresu redakcije. u tajništvu Društva, Ilica 42/II projekcija..... Mirovna knjižnica Upisnina: 100 kn kolegiji:uvod u mirovne studije; umijeæe nenasilja; ra-zumi- Sve ostale informacije na telefon jevanje nasilja; upravljanje sukobom; ženska kultura otpora; 01/48 47 565. ljudska prava – izazovi za promjene; izgradnja mira; kultura, znanost, tehnologija i komunikacija; civilna politika; nena- Radionicu sufinancira Ministarstvo kulture Re- silje na dugi rok; nacionalni identiteti; odnosi meðu rodovi- publike Hrvatske. ma/spolovima; zaštita okoliša i odr-živi razvoj II/40, 12. listopada,,,. 3

(najèešæe) (ne)potrebne (u zag- nice nisu. bilo koji podatak o intervjuira- što reæi. radama je (tek) dio reèenice (ili — kuštravi: stižu natipkani nom; ako je to prikaz izložbe, — roh bau: neki autori, èak je umetnuta reèenica (pa se mo- na pisaæem stroju s bezbroj pog- ilustracija je okrenuta naopaèke. poznati publicisti, tekstove pro- Autorova beskrajna samouvjere- daju kao visoki ili niski roh bau i nost èitatelja stavlja u poziciju to po naèelu ideje naše - stil vaš. Ahileja koji nikada ne sustiže Autori koji pišu roh bau vrlo su kornjaèu pogrešaka, propusta i tolerantne i simpatiène osobe, Mister lapsus i Miss pasiv proizvoljnosti. neskloni su zanovijetanju i nisu — panoramska kamera: nes- zlopamtila. posobni su razluèiti važno od — spoji toèkice: podsjeæaju že odvojiti “obiènim” (za)rezo- rešaka i ispravaka unijetih ru- nevažnoga, a možda im i vjera na one zadatke u djeèjim èasopi- Tekst, to je èovjek m)) (ili je rijeè o kakvu objašnje- kom, bez margina i proreda, po brani isticanje jednoga na raèun sima kod kojih morate redom nju (sic!) (koje nikoga ne zani- moguænosti na obje strane papi- drugoga. Zbog toga se jednoliè- spojiti numerirane toèkice da ma) pa se može - ispustiti)) dob- ra i to tako da jedna strana bude no i ravnomjerno kreæu poljem biste dobili sliku, uz jednu bitnu Boris Beck ro doðu da - otežavaju “èita- obrnuto natipkana od druge. No svojega interesa, posve nalik pa- razliku – ne isporuèuju numera- nje”!? Od (matematièkih) zna- tekstovi su duhoviti i pametni, noramskim kamerama HRT-a, ciju. Meðutim, njihove su toèki- Jeduæi zadnjih godina svoj kruh kova vole i potencije: one pred- pa nije šteta truda raspetljavati ništa ne naglašavajuæi i nikoga ne ce toliko zabavne i multidimen- po redakcijama upoznao sam vrlo stavljaju fusnote (za koje vrijedi ih. preskaèuæi. San im je pisanje te- zionalne da vas jednostavno ma- mnogo autora i autorica, ali polo- isto što i za zagrade)3… Korije- — nedodirljivi: književni pa- lefonskih imenika, ali Pošta ih me na spajanje. Kad vam dojadi vièno. To znaèi da bih se na novi- ne, razlomke i integrale još nisu rije. Nisu dobrodošli zbog toga previše rijetko izdaje da bi od to- spajanje, jer kraja tu nema, ne narskim skupštinama, balovima i poèeli rabiti, ali postavit æe èita- što su im autori a) ksenofobi, b) ga mogli živjeti. možete znati je li slika vaša ili radionicama, na koje doduše ne telju svaku moguæu prepreku u rasisti, c) ženomrsci, d) dužni — pasivni krajevi: to ne znaèi njegova. idem, mogao naæi pored meni “tekstu”: crte, crtice, navodnike, uredniku sto maraka, e) nacisti, da se ondje jede puno kruha, ne- — svete krave: neki autori dragog pera, a da nemam pojma. zvjezdice, semikolon & sl.) f) napisali su uredniku negativnu go da njihovi autori obožavaju uživaju privilegij da im se teksto- Što mogu kad, obrnuto od Iranki i pasivne kon- ve ni ne lektorira ni ne redigira. vojnika koji osim lica nemaju niš- strukcije (od- Mora se, istina, priznati da se ra- ta drugo, novinski tekstovi baš li- nosno da su di o vrhunskim stilistima, èesto ca nemaju. Iznimka nisu ni ko- pasivne kon- sklonima novotvorenicama, ko- lumne jer fotografija kolumnista strukcije obo- jima se i nema što popravljati. ne služi pružanju obavijesti o au- žavane od nji- Kod njih je jedino nezgodno ako torovu izgledu (ja sam, primjerice, hovih autora). se otkrije kakav tipfeler – možda ljepši u stvarnosti), nego je više Osim što se iz- je i to neko izražajno sredstvo. kao neki orden na tekstu - poka- ražavaju pasi- — turbo katanèiæ: lih stanete zuje da je autoru ukazana najviša vom (oni bi pregnantnoshchu i erudicijom moguæa novinarska èast. rekli: putem nafutrani, a riecsosloxjem, pacse, Pa ipak, tekstovi što se motaju pasiva), teksto- pravopisanyem uglednijeh perah po redakcijama imaju tolika sas- ve uništavaju i horvackih sastavlyeni ter knyis- vim ljudska obilježja da ne mogu èitavim arsena- hkim leksemima i inom verbal- ne zakljuèiti: tekst, to je èovjek. lom antistil- nom mrtvorodjencsadi zapraha- Na primjer: skih sredstava ni, diskurs proshiven nitima mi- — amateri: iako se lako pre- (oni bi rekli: u nucioznosti csitati, sjevoblyesk pozna amaterski tekst, malo je posjedu se je i pred ocsima kaxe vam da to- teže reæi što toèno razdvaja ama- drugih metoda boxnya artikulirana refleksija tere u pisanju od neamatera, po- temeljem kojih opskurantisticski destilat glu- gotovo zato što živimo u zemlji dolazi do otu- posti jest. u kojoj su prvi èlanovi DHK-a, a ðenja teksta od — urudžbeni broj: to su èlan- drugi ne žive od svojega književ- èitatelja te od- ci èiji se autori profesionalno ba- nog rada. Opæenito se misli da bijanja istih ve neèim drugim, a u novinama amatere u pisanje vuku izvan- pošto je èitanje objavljuju sluèajno. Da imaju književni razlozi, ali to nije pos- stavljeno u urudžbeni broj, tekstovi bi izgle- ve toèno zato što oni prvenstve- funkciju). dali kao službeni dokumenti Eu- no žele saèuvati rijeèi svojega za- — pasterov ropske unije ili plan i program vièaja i djetinjstva. Èini mi se da institut: nema Ministarstva prosvjete. Malu si je važnija razlika to što ih èitanje mnogo èlano- opuštenost dozvoljavaju even- tuðih tekstova ne može iznervi- va, ali prepoz- tualno u naslovima, pa se upuste rati - èitaju, a i pišu, s više uživa- naje ih se još s i u prpošne nja od tih profiæa. Prelazak iz vrata. Paginira- — igre rijeèima: Konvencija blaženog amaterizma u ozbiljno ni su, propisno lingvista – lingvistièke konvenci- pisanje, ukoliko je uopæe moguæ, naslovljeni i je, Buduænost škole – škola bu- obavijen je velom tajne poput potpisani, ima- duænosti, Kongres povjesnièara – nastanka svemira ili poèetaka ži- ju dvostruki povijesni kongres i sliène delici- vota na Zemlji. prored, slova je. Opæoj zamamnosti pridonose — anemija: to su tekstovi ko- nisu ni sitna ni i reèenice koje vrve multikultu- ji u redakciju stignu bez nadnas- kitnjasta, tipfe- ralnošæu, autentiènošæu, kon- lova, podnaslova i naslova. Obiè- leri su potri- ceptima, funkcijama, metodolo- no urednik po èitanju utvrdi ka- — diva: na samu pomisao da kritiku prošle godine, g) pisali u gijama, identitetima, izvješæima, ko to nije sluèajno – u njima se izrazi na tri (umjesto dvadeset konkurentskom listu, h) preda- decentralizacijama... zaista nema nijedne reèenice, ni- tri) kartice uvrijeðeno trepæe vali na konkurentskom fakulte- — zadnja vura: nekim autori- jedne misli, nijedne rijeèi koju bi oèima i zgraža se: A i ja stvarno tu, i) djeca profesora koji su ma muza proradi tek kad je Da- vrijedilo istaknuti. ne mogu na manje... urednika uporno rušili, a na ne- moklov maè zadnjeg roka veæ — baloni: tekstovi koji se na- — hiperkorektni: nov/a poja- kom smiješnom predmetu. Sas- poèeo padati. Tekst predaju još puhuju da bi zauzeli što veæi va/ak kojim/om su zahvaæeni/e vim je razumljivo da postoje re- vruæ i tako izbjegavaju napast da prostor. Zbog toga neprestano svi/e oni/e autori/ce, znanstve- dakcije u kojima su više nego ga unište. vrte iste rijeèi i misli. Moraju iz- nici/e i teoretièari/ke koji/e su se dobrodošli, a u koje mi nemamo — zvijezda vodilja: ovu po- bjegavati urednike s iglama za bojali/e prigovor/a zbog rod- pristupa. malo kièastu etiketu izabrao sam kravatu ili broševima te pušaèe i ne/spolne diskriminacije/ice. — nisu sami u glavi: kao nor- zato da, pošto sve složim po abe- one koji zalijevaju male kaktuse — jebivjetri: na njih se ne malne tekstove prihvaæam sve kod cedi, najvažniji doðu na kraj tek- na stolovima. može i ne smije raèunati. Ako kojih nadzorni odbor kontrolira sta. Kod svih tih od A do Z jedi- — èiji je duži: ukoliko tekst trebaju doæi, još ih nema; ako su 51% duševnih dionica. No kada no je neizvjesno tko æe ponijeti ima naslov poput "Implementa- došli, ne zna se tko ih je, za kada veæinski paket doðe u posjed para- jebljeni. Užitak za èitanje, iako titulu Mistera i Miss u svojoj ka- cija nekoliko teza o nekim pos- i za što naruèio; ako su na putu, noika, shizofrenika ili maniènog pomalo sterilan. Odmah znate tegoriji, dok ovi zadnji doista tteorijskim aspektima”, odmah ne zna se kad æe stiæi; ako su stig- depresivca, to se i te kako osjeti. da za takvo prokuhavanje tek- predstavljaju zvijezdu vodilju za znam da je to natjecatelj u aka- li, nema diskete; ako ima diskete, Objavljuju se samo u terapijske stova vremena imaju samo sveu- nas književne Gašpare (i Kaspa- demskoj sportskoj disciplini tko prazna je; ako nije prazna, ne svrhe, inaèe se bacaju u tapecirane èilišni profesori, stipendisti stra- re), štap na koji se možemo oslo- ima duži (popis knjiga u bibliog- može se otvoriti; ako se otvorila, koševe za smeæe. Nažalost, njiho- nih fondacija, urednici književ- niti putujuæi kroz literarnu doli- rafiji). Vrlo su stidljivi i nikada u zaražena je virusom koji upravo vi autori katkad urgiraju ili, još nih èasopisa i slièan dokon svijet. nu suza, kljuè za vlastita i tuða javnost ne izlaze u Adamovu uništava hard disk. gore, osobno doðu. — poèetnièki: njihova nesi- književna i životna djela (dapaèe, kostimu (tj. bez fusnota). Kada — kriva adresa: jedina je na — nonšalantni: tekst glatko gurnost proizlazi iz uvjerenja da multipraktièni kalauz). Rijeè je nisu sigurni u sebe, odaberu nep- njima krivnja što su se našli na teèe, ali unutra vrebaju podvod- ulaze u svijet pun izvrsnih pisaca hrabrim putnicima u dubine sve- retenciozan naslov, recimo: “Pre- krivom mjestu u krivo vrijeme: ne mine. Strana su prezimena koji neprestano proizvode izvr- mira odakle nam se vraæaju s èa- listavajuæi Gadamera”. Ja ih rado šalju aforizme u književne èaso- pogrešno napisana, uz njih èesto sne tekstove te da za njih nema robnim zvjezdanim zemljovidi- èitam jer me uvijek neèemu po- pise, romane u novine, pjesme u stoji tek inicijal, citati su ne- mjesta. Dirljive li naivnosti! Toli- ma. Èitanje tih tekstova jednako duèe, makar i tome da dužina ni- Autoklub, savjete o èišæenju pouzdani i barem bez jednog ko su skromni da èesto uopæe ni- je paranju zastora i otvaranju je uvijek najvažnija. osobnog oružja u ženske èasopi- znaka navoda, podaci neprovje- su potpisani. prozora u blažim sluèajevima, a u — èitanje s preponama: ne se. Tako su sigurni da im nikada reni, tvrdnje nedoreèene, tipfele- — reagiranje: reagira na èla- težim tajfunu što odnosi krovo- mogu odoljeti (sirenskom) zovu nitko neæe ništa objaviti. ri obvezni. Ako je to kritika knji- nak u kojemu njegov autor uop- ve i topi brodove na dno oceana. zagrada (pa smjeste u njih 30% — krležosaurusi: Krleža je ge, nedostaju bibliografski poda- æe nije spomenut, na temu koja U svakom sluèaju, zbog njih ži- teksta1). Iako su te ZAGRADE mrtav, ali imitatori njegove reèe- ci; ako je intervju, izostavljen je ga se uopæe ne tièe i o kojoj nema vimo i èitamo. 4 II/40, 12. listopada 2,,,.

ta, nego na svaki oblik suprema- nalne kulture u kojima nacional- može dotaknuti, materijalna i gospoði Biserki Cvjetièanin koja cije koja potiskuje autentiènost na kultura èesto zna biti vezana duhovna. Završio je deklaracijom je s Culturelinkom ostvarila kulture, od jezika i medija, do uz državnu kulturu, pri èemu je u kojoj se, izmeðu ostaloga, na svjetsku bazu podataka u Zagre- vrlo zanimljiv naèin provlaèi os- bu ili o Hrvoju Hribaru, izuzet- novna teza koja ima gotovo nor- no aktivnom u meðunarodnim Antun Vujiæ, ministar kulture Republike Hrvatske mativnu formu, a za koju bi filmskim udrugama i brojnim mnogi u Hrvatskoj rekli da je drugima. Kao što je prije mjesec konzervativna: kultura se na tr- dana reèeno na skupu Vijeæa Eu- žištu ne smije tretirati kao roba. U rope u Bukureštu, nova hrvatska nas se pak modernim gledanjem kulturna politika prati se s veli- na kulturu smatra ono koje kaže kim zanimanjem, tim više što je Pluralizam da se vezama izmeðu kulture i toliko hvaljeni Nacionalni izvješ- gospodarstva, prvenstveno kroz taj o kulturnoj politici RH iz donacije, sponzorstva i oslobo- 1998. godine pisan kritièno u od- ðenje od poreza, može ostvariti nosu na tadašnje stanje, pa se sa- tip kulture nezavisan od države. da želi vidjeti kojim smo putem kulturnih estetika U tom pogledu katkad mi se èini krenuli. Za mnoge smo pravo ot- da smo moderniji od mnogih za kriæe, pa naše ideje više vežu uz koje držimo da bi nam trebali bi- iskustva sjevernoeuropskih ze- ti uzori. Stoga, kada bi neki naši malja nego uz našu vlastitu regi- Kultura se na tržištu ne politièkih i drugih utjecaja. Tre- državna kultura najèešæe odvodi ljudi, pa i s mentalitetom Zareza ju, u kojoj su odnosi prema kul- smije tretirati kao roba ba, dakle, utvrditi negativne ele- u ropstvo državnim ritualima. ili nekih drugih kritièara, došli na turi vrlo konzervativni. mente, a potom naæi instrumente Nakon moga izlaganja nekoliko takvu konferenciju, vjerujem da za njihovo rješavanje, od provo- kolega mi je reklo da je to prim- bi se prilièno iznenadili kada bi Jesu li u predstavljanju Hr- Davorka Vukov Coliæ ðenja meðunarodnih konvencija jereniji pristup. Naime, obièno èuli o èemu se tamo govori. Uk- vatske u svijetu uèinkovitije i o zaštiti kulturnih dobara i au- se pojednostavljeno raspravlja o ratko, èinjenica je da mnoge eu- važnije veze, akcije i manifesta- Kada bi o alternativnoj, deeta- torskih prava, do poticajnog za- pitanju kulturnoga identiteta, ropske zemlje imaju etatistiènije cije bilateralne naravi, poput ne- tiziranoj kulturi u bilo kojoj od konodavstva. Mnoge je iznena- kao o obliku nacionalnog, etniè- shvaæanje kulture nego što ga da- davnog gostovanja zagrebaèkog zapadnoeuropskih zemalja govori- dio takav pristup. No to je meto- kog identiteta ili identiteta ma- nas mi razvijamo. HNK u Budimpešti s Nikolom li kao u Hrvatskoj, sumnjam da bi dološki obrat u ostvarivanju njih grupa. Ukazao sam na mo- Šubiæem Zrinskim, ili sudjelova- to èinili s toliko nezadovoljstva, praktiène kulturne politike, uko- guænost da se on može izvuæi iz Èime to tumaèite? nje na EXPO-u, Venecijanskom kao što se to èini u nas. Svugdje u liko želimo da europska i svjet- svoje primarne funkcije i falsifi- – U hrvatskoj tradiciji kritièan bijenalu i sajmu knjiga u Fran- Europi ima etatizma, i u drugim ska zajednica formira djelotvor- cirati putem države. je odnos prema državi, koji se kfurtu...? zemljama ima historicizma. Pre- ne sudove i akcije. zadržao i danas kada je ta država –Teško je na to jednoznaèno ma nacionalnoj baštini i drugi se Što je inaèe bila glavna tema prvi put naša. Iskustva poput na- odgovoriti. Naš paviljon u Han- èesto odnose na memorijalan, ju- Mentalitet Zareza ovogodišnjeg Skupa ministara šega mnogi narodi jednostavno noveru jedan je od najposjeæeni- bilaran naèin, a nacionalni i kul- O èemu ste inaèe govorili na kulture u Grèkoj? nemaju. Francuzi ili Grci nisu jih, i to doista nije pretjerivanje. turni identitet u Zapadnoj Europi skupu? Kakva iskustva može hr- – Osnovna je tema bila zaštita morali u tolikoj mjeri razvijati tu Nakon završetka programa pos- nerijetko se shvaæa kao jedan. Ne vatski ministar kulture ponuditi kulturnog nasljeða, pri èemu se vrstu kulturnog iskustva koje dr- jetitelji redovito plješæu, što se u spominjem to stoga da bih kultur- ostalima? pod nasljeðem ne podrazumije- žavu uvijek smatra neèim sum- drugim paviljonima ne dogaða. S noj javnosti u Hrvatskoj odrekao vaju samo objekti, slike, gradovi i njivim, a u nas je taj mentalitet druge strane, imamo krajnje pravo na kritiku, nego samo da – Na tom sastanku bio sam je- crkve, nego sve što se u današ- veoma jak. Ne mislim da je loše konzervativne i birokratske bila- naglasim da je konzervativno dini koji je upozorio na negativ- njoj terminologiji naziva dodir- što ga imamo, no bilo bi dobro teralne odnose. Nije stvar samo shvaæanje kulture uvelike prisutno ne elemente u shvaæanju nacio- ljiva kultura i kultura koja se ne da se naðe prava mjera. A prava u tome da mi šaljemo ono što je u mnogim europskim zemljama, a mjera bila bi ono kako zamišljam nama najlakše poslati – folklorni da smo mi veæ sada ispred mnogih. i voðenje Ministarstva: kada go- ansambl, gudaèki kvartet ili et- vorim o kulturi, uvijek govorim nografsku izložbu – nego što to - To je osnovni dojam koji je o i-i, nikada o ili-ili. Uvijek govo- najèešæe traže te druge zemlje. Antun Vujiæ stekao na netom rim u konjunkcijama, nikada u Svugdje gdje država posreduje u završenom godišnjem summitu disjunkcijama, uvijek smatram i kulturnoj razmjeni i odnosima, ministara kulture, održanom na najozbiljnije mislim da je plurali- kultura se obièno svodi na stan- grèkom otoku Santorini zadnje- zam kulturnih estetika bitan za dardne oblike, pa se uglavnom ga tjedna rujna, na temu zaštite kulturu, a u tome se razlikujem i radi samo o tome kolika se koli- kulturnog nasljeða. od nekih mojih prijatelja i od ne- èina takve kulture razmjenjuje. kih mojih protivnika. Dolazi li cijelo kazalište ili samo Nedjelotvorno slaganje manji broj solista zbog rezanja - Redovito sastajanje minista- Pravo otkriæe troškova, velika izložba ulja ili ra kulture inicirao je prije nekoli- U nekim svjetskim medijima, grafika zato što su jeftinije. S ko godina Meksiko, a mrežu je poput kritièki raspoloženog New druge strane, Nikola Šubiæ Zrin- razvila Kanada, okupivši prve lju- York Timesa, prvi put sa simpati- ski pokazao je u Maðarskoj nešto de iz kulture tridesetak zemalja jama i razumijevanjem pišu o hr- izuzetno. Nakon superlativnih cijeloga svijeta s idejom da raz- vatskoj kulturi. Je li to izravna kritika i urnebesnog aplauza gos- mjenjuju iskustva i traže rješenja posljedica promijenjene politièke tovanje se pokazalo kao sjajan zajednièkih problema. U mreži klime u odnosu na Hrvatsku? potez ne samo kao moguæe oživ- dominiraju zemlje koje kulturu ljavanje politièkih odnosa, nego ne zamišljaju na naèin meltingpo- – Dakako! Hrvatska odjed- prije svega kao oživljavanje me- ta i premda na skupove dolaze nom postaje domaæin konferen- ðusobnog srdaènog raspoloženja promatraèi iz SAD, nije sluèajno cijama na kojima je ranije jedva dvaju naroda. da s amerièkog kontinenta glav- bila gost. Osim spomenutog nu rijeè vode Kanada i Meksiko, skupa u Dubrovniku, 2003. godi- Žensko rublje a od europskih zemalja one koje ne bit æemo domaæini i godišnjeg Ako sam dobro obaviještena, su kritiène prema amerièkom svjetskog skupa mreže ministara Zagreb se kandidirao za Europ- konceptu, pogotovo kada je rijeè kulture, što pokazuje da Hrvat- ski grad kulture 2004. godine. o zaštiti europske tehnologije i ska kao mala zemlja uživa sve ve- Koliko su takvi planovi i želje nacionalne kulture, što æe reæi æi ugled, a on raste zahvaljujuæi realni? poglavito Francuzi, ali i drugi. prije svega brojnim kulturnim - U tom društvu Hrvatska se djelatnicima koji u razlièitim me- – Zagreb neæe biti grad kultu- od nekadašnjeg promatraèa od- ðunarodnim forumima potvrðu- re zato što bi on to želio, on to nedavna prometnula u aktivnog ne bi bio ni kada bi to nominalno sudionika. Štoviše, ministar Vujiæ postao ako ne bi u stvarnosti bio najavljuje da æe krajem ožujka u grad kulture. Prema tome, ne Dubrovniku biti domaæin europ- Hrvatska kao može se razmišljati o Zagrebu skog skupa na temu kulture i na- kao europskom gradu kulture silja. mala zemlja uživa 2004. ukoliko se neke stvari bit- – Veæina konferencija završava no ne promijene u gradu, a onda opæim, ali nedjelotvornim slaga- sve veæi ugled i u državi jer su Zagreb i država njem, jer se pobroje pozitivne uvelike povezani. Èinjenica je da vrijednosti prema kojima se us- zahvaljujuæi danas u Zagrebu imamo znatnih mjerava kulturna politika, a ja brojnim kulturnim problema i s kazalištima, i s gale- sam predložio da krenemo pu- rijama, i s izložbenim prostori- tem negativnog odreðenja onoga djelatnicima ma. Javna sramota je pomanjka- što ogranièava kulturu, za što je nje odgovarajuæeg izložbenog Dubrovnik više nego dobro prostora. To je grad koji nema mjesto jer pokazuje i najdrastiè- Muzej suvremene umjetnosti ni- nije oblike nasilja prema kulturi – ju visoki modernitet naše kultu- ti ima uvjeta za primanje znaèaj- kaže Vujiæ. – Dakako, pod nasi- re, bilo da je rijeè o sudjelovanju nije svjetske izložbe. To je grad u ljem u kulturi ne misli se samo na gospoðe Naime Baliæ u radu tije- kojem neki misle da je kazalište bombardiranje i rušenje objeka- la Vijeæa Europe, bilo da je rijeè o preskupo, a to je kazalište s go- II/40, 12. listopada,,,. 5 tovo jednom nulom jeftinije od da ne govorim o jednom Ham- države, gdje Ministarstvo doduše Svaka promjena vlasti u nas municiranja sa svijetom i interesa bilo kojeg sliènog kazališta u Eu- burgu gdje gradski teatar ima 80 odobrava budžet, pa je potpis znaèi promjenu zakona, korjeni- samoga grada i turizma. Po svoj ropi. Èetiri glavna beèka teatra milijuna DEM godišnjeg budže- ministra zadnji, ali ministar ga te reforme i nove sustave odluèi- prilici postoje razlièita viðenja imaju budžet jednak budžetu ta. Ne mislim da bi to morao mora javno obrazložiti, èime je vanja. Jesu li i kulturna vijeæa kako do toga doæi, pa æemo us- Ministarstva vanjskih poslova imati Zagreb, jer Njemaèka i Hr- struka kultura javnost osigurana jedna od takvih promjena ili æe porediti argumente, osvrnuti se Austrije, što najbolje govori o vatska nisu isto, no to bi trebao kao troèlana dinamika, a ne kao to biti ipak trajno rješenje? na njih kritièki i donijeti rješenje. tome koliko Beè drži do kulture biti smjer, ali za mnoge to još ni- odnos subordinacija i nametanja. – Naglasak je upravo na stva- Prije toga ne želim komentirati i umjetnosti. Samo Budimpeš- je tako. Time æemo, uvjeren sam, pitanje ranju sustava koji æe djelovati nièiji pojedinaèni rad. U svakom tanska opera ima 1.600 zaposle- etatizma, decentralizacije i de- neovisno od politièkih struktura. sluèaju, tko god vodio Igre, mora nih! Ako Moderna galerija, una- Oslobaðanje od PDV-a monopolizacije rješavati na viso- Smatram da ono što dolazi s po- to èiniti na temelju nekoliko kri- toè nekom proširenju na poticaj Ove se godine takoðer posta- koj europskoj razini koju nemaju litikom, treba iæi s politikom, a terija, i radnih i struènih, a i spo- Ministarstva, još nije spremna vilo i pitanje zašto Frankfurtski ni sve važne europske zemlje. to je vrh odluèivanja koji se od- sobnosti da komunicira s drugi- ugostiti znaèajniju izložbu, ako sajam knjiga osim Ministarstva Meðutim, upozoravam, bit æe to nosi na ministra, zamjenika, mjesecima ne funkcionira èak ni financira i grad Zagreb. Nije li u poèetku prilièno bolan proces. eventualno i pomoænike. Sve os- ma. Kako inaèe raditi? Kada je ri- tako mala galerijica kao Galerija to èinio i ranijih godina? talo je nezavisna tehnologija koja jeè o Dubrovniku, osobno se os- Forum, jer se ne mogu riješiti Sukobljene strane mora osigurati autonomnost jeæam pomalo iznevjeren. Ne sa- problemi prodavaonice ženskog Na temelju èega to zakljuèujete? kulture. To je osnovna politièka mo da su bila osigurana velika rublja, onda su to velièine koje – Na temelju negativnih is- ideja kulturnih vijeæa i baš zato u sredstva, nego je osim njih, iz te- odreðuju je li naša metropola Ako Zagreb nešto kustava s formiranjem prvih pov- šali kažem da želim biti zadnji kuæe rezerve, osigurano i podmi- doista europski grad kulture ili jerenstava za film, kao posljedice važni ministar kulture. renje starog duga Festivala, što u nije. Prema tome, mislim da bi se hoæe, mora znati spomenutoga sindroma odnosa ovim vremenima besparice nije puno više trebalo koncentrirati prava i odgovornosti. Osim toga, Izlaganje kože bilo nimalo lako i za što sam na na ono što spominjem kao druk- vezu izmeðu svjestan sam da monopoli posto- Sjednica Vijeæa Ljetnog festi- Vladi izložio vlastitu kožu. Kao èije shvaæanje kulture u gradu, a kulture i èinjenice je i u strukama, a ne samo na re- vala Dubrovnik veæ æe se održati kolektivnu zahvalnost dobio sam mnogo manje na nominalni nas- laciji struka-država. Ako oni koji kada izaðe ovaj broj Zareza, pa javne polemike o stupidnim stva- lov, do koga je vrlo teško doæi na da je on glavni grad odgovornost konzumiraju kao ipak kako ocjenjujete Festival i rima, što me povrijedilo i kao postojeæoj podlozi. Kuda god pravo kritike, a ne i kao pravo što bi trebalo mijenjati? èovjeka. Kako æu sljedeæi put na krenete, nešto ne štima, jer Zag- prihvaæanja suodluèivanja, ne – Na sjednici se usvaja finan- Vladi tražiti novac za nešto što reb ni u ranijem režimu nije bio poènu mijenjati taj mentalitet, cijski i programski izvještaj, raz- æe možda biti i važnije od starih dovoljno kulturan grad, bez ob- – Tako je to veæ godinama, a imat æemo vrlo rizièan proces u matra prijedlog novog Statuta i dugova Festivala? zira što mislio o sebi, a u posljed- prvenstveno zato što 95% izda- kulturi, no nadam se da se Minis- potvrðuju ili ne potvrðuju kad- njih deset godina to je još manje vaèa djeluje u Zagrebu, pa ovdje tarstvo neæe morati vraæati na rovska rješenja. U ovom trenut- bio, zbog èega ni sada nisu riješe- plaæaju i poreze, te se ti omjeri fi- kontrolnu funkciju. Netko æe ku mogu tek reæi da æe se sve do- Što vam se èini najuspješnijim na neka kljuèna pitanja, pa Mi- nanciranja nikada nisu dovodili u morati odobriti odlazak na Ma- gaðati pred licem javnosti. Stav je postignuæem u nepunoj godini nistarstvo daje poticaj i pomoæ pitanje. Prvi se puta dovode u pi- nifestu, netko æe morati odobriti dana mandata? da se neke stvari promijene. tanje sada, što je izdavaèe stavilo sredstva za zaštitu spomenika, – Uspjeli smo poveæati udio u nevjerojatan položaj, o èemu je netko æe morati odrediti priori- kulture u proraèunu, što smat- Još o mentalitetu predsjednik Vijeæa zajednice tete, a prema tom Zakonu sve to Najneugodnije je ram ozbiljnim i, ako ništa drugo, Na što mislite? nakladnika i knjižara Albert Gol- neæe smjeti odluèivati ministar. mjerljivim uspjehom. Željeli smo – Vidjeli smo diskusiju o dstein dao svoje mišljenje. Eto, i Time æe se ublažiti stari odnos kada vas se ne kulturu staviti u aktivniji položaj HNK, vidjeli smo poèetke meni to je mali detalj koji pokazuje da kulture i države kao sukobljenih i na razini Vlade shvatilo se da to nekih nesimpatiènih shvaæanja s takvim mentalitetom neæemo strana, koji je istodobno poticao kritizira, nego nije potrošnja, nego ono što Hr- oko izgradnje Muzeja suvremene puno postiæi. neodgovornost na jednoj, a sa- proziva zbog stvari vatsku ventilira i osposobljuje za umjetnosti, vidimo da se mnogo movolju na drugoj strani. Bit æe svaku društvenu, pa i gospodar- prièa o smanjenju gradskog nov- Prijedlog Zakona o kulturnim više polemika, ali one neæe imati s kojima nemate sku egzistenciju. ca namijenjenog kulturi. Ne mo- vijeæima je u proceduri. Zašto samo jednu adresu i nadam se da gu biti kritièar proraèunske poli- Ministarstvo toliko insistira baš æe vijeæa biti neka vrst sanatorija nikakve veze A što vam se èinilo najgorim tike Grada, ali ako Zagreb nešto na tom zakonu, kao prvom koji za ozdravljenje cjelokupnog od- tijekom dosadašnjeg mandata? hoæe, mora znati vezu izmeðu æe biti donesen u podruèju kultu- nosa prema hrvatskoj kulturi, u – Najgore su mi bile krive op- kulture i èinjenice da je on glavni re? kojemu æu – kako kažem u šali, tužbe. Ministarstvo se tako stal- grad. Mora znati da se od plaæa – Zato što je rijeè o bitnoj no- ali u njoj je pola istine – biti pos- Ministarstva takoðer da Grad no poziva na odgovornost zbog koje taj glavni grad ima samo za- vini u rekonstrukciji odnosa iz- ljednji važni ministar kulture u mora preuzeti svoju obvezu, kao moguæeg gostovanja neke beog- to što je glavni ubiru prihodi koji meðu hrvatske kulture i države. Hrvatskoj. i prava koja ima kao osnivaè, i u moraju iæi i u kulturu. Možda je Pokazalo se, naime, da ljudi žele tom pogledu za sada nema bitnih radske grupe u Hrvatskoj, kao da najjednostavnija veza izmeðu prava u odluèivanju, no kada su u Koliko æe po vašoj procjeni nesporazuma. Ministarstvo želi, mi izdajemo vize. Najneugodnije grada i kulture ona u Dubrovni- situaciji da ta prava ostvare, ne trebati vremena da kulturna vi- u omjerima u kojima sudjeluje u je kada vas se ne kritizira, nego ku. Kada doðu dva velika broda i žele prihvatiti odgovornosti koje jeæa doista zažive? financiranju festivala, osigurati proziva zbog stvari s kojima ne- iskrcaju turiste, onda to sigurno im uz ta prava pripadaju. Tim za- – Ne želimo žuriti, a vezuje politiku koja je važna na repub- mate nikakve veze. Vrlo muèna ne èine zbog kupanja, a to isto konom želimo ostvariti naèelo nas i saborska procedura, pa vije- lièkoj razini, a to je angažiranje mi je bila i dubrovaèka polemi- treba shvatiti i Zagreb, da ne spo- po kojemu kultura i kulturni dje- æa još neæe odluèivati o raspodje- struènih ljudi, sposobnih za vo- ka.... a ostalo? Ostalo je uglav- minjem primjere Budimpešte i latnici odluèuju prvenstveno sa- li predstojeæeg proraèuna, ali æe ðenje i realiziranje programa na nom prilièno dobro, a i imam op- Beèa koji su nam pred vratima; mi o sebi, uz rezervnu poziciju ga ubrzo nadzirati. razini nacionalnih potreba, ko- timizam pamæenja. 6 II/40, 12. listopada 2,,,.

itekako živ u nakladnièkoj djelat- (i ne može) uvesti samo jednu ili nosti u Hrvatskoj. Trendovi rasta veæi broj jeftinih stranih knjiga. Nakladništvo i zabilježeni sredinom ovog deset- Uvoznici knjiga èesto su u prilici ljeæa nakon pretrpljenih pokusa s odbiti pojedinaène narudžbe i PDV-om bili su urušeni. Dodat- uglavnom se na narudžbe stranih ne neprilike koje prate hrvatsko knjiga osvræu kad njihov broj gospodarstvo kao mnoga slièna u izdavaštvo: stanje može znatnije umanjiti prosjeè- tzv. tranzicijskim zemljama samo nih i stvarnih nakladnika i izda- jalnu situaciju od one što je ima- pojaèavaju negativne trendove u nu cijenu koju uvoznik nakon vaèa. Dok prvi broj govori o do- ju pisci i književnost u Hrvat- proizvodnji i plasmanu knjiga. plaæanja dažbina mora formirati Fragment teksta Strategija tad registriranim nakladnicima i skoj. Prvih šest mjeseci ove 2000. Novih zakona u vezi s knji- za kupca. Ili kratko reèeno: dek- razvitka kulture iz dionice izdavaèima, drugi je stvaran broj godine pokazuje lagani opora- gom još nema, ali se u novije vri- laracija o oslobaðanju od carine Književnost i nakladništvo onih koji su u 1998. godini obja- vak, pa je veæ moguæe reæi da æe jeme pokazalo da postoji javna i uz ležarinu, obavijest o prispije- vili makar jedan naslov. Kad zat- broj od preko 3.000 naslova u tajna legislativa. Odnosi se na æu i predpregledu (!) iznosi po ražite podatak, ponude vam prvi njoj biti ostvaren, ali u svemu to- uvoz, odnosno izvoz knjiga, a paketu do pet kilograma oko 260 broj! Statistika za 1999. još je me premalo je razloga za optimi- osloboðenje od carine prema na- do 270 kuna bez obzira koliko je ostojeæe podatke treba po- èudnija: prema postojeæim poda- zam. šem zakonu i potpisanim meðu- knjiga u tih pet kilograma. sebno komentirati, a upu- cima 2.829 izdavaèa i nakladnika Kad je rijeè o proizvodnji narodnim konvencijama (ne pla- Procedura za èasopise je sliè- æuju na nered koji vlada u objavilo je 2.940 naslova. Stvar- knjige u Hrvatskoj mnogi su se æa se carina ni PDV) ne znaèi i na, a ponekad (!) joj podliježu i regulativi tih podruèja. Iako je o nost je ipak ponešto drukèija. veæ pitali što je to ona donja gra- oslobaðanje od znatnih carinskih tome bilo govora i u prvom dije- dažbina koje propisuju interni katalozi nakladnika koji su naj- lu istraživanja u projektu Kultur- akti. Prema tim aktima obvezat- èešæe besplatni! na politika u Republici Hrvatskoj, Statistika proteklih godina navodi: na procedura carinskog postupka Za razliku od nabrojanih važno je ponoviti da se prilike ni- pokazala se u praksi i sastoji se u uvoznih propisa izvoz knjiga su ni poboljšale, a još manje sre- tome da svaku fakturiranu pošilj- pretrpio je slijedeæe nove izmje- dile. Konkretno to znaèi da nije godina broj naslova broj izdavaèa i nakladnika ku koja stigne u zemlju, bez ob- ne: moguæe dobiti stvaran broj nak- zira na vrijednost i broj knjiga, - ove godine ukinuta je pov- ladnika i izdavaèa, a ni specifika- prati isti postupak: laštena 30% niža tarifa za poš- ciju knjiga po podruèjima. Tako 1997. oko 3.600 oko 1.600 - svaka pošiljka se evidentira i tanske isporuke knjiga i èasopisa, se u broju nakladnika i izdavaèa skladišti u carinskom skladištu i a uveden dodatni trošak od 10 kn èesto nalaze "mrtve duše", od- naplaæuje poèetno s 29 kn za prvi po svakom paketu koji odlazi iz nosno oni koji duže vrijeme nisu 1998. oko 3.150 oko 2.400 / 1.074 dan te 7,20 kn za svaki sljedeæi zemlje. objavili nijedan naslov ili su se dan (postupak izuzimanja pošilj- èak u meðuvremenu ugasili. U ke traje u prosjeku od 3 do 8 da- Njih zasad nitko od korisnika tom smislu možda je uži pokaza- 1999. 2.940 2.829 na), nije dobio na uvid, ali su zato ite- telj broj nakladnika i izdavaèa s - za svaku pošiljku posebno kako osjetili njihov uèinak. I dok makar dva objavljena naslova. Ma kako statistika bila loša i nica ispod koje proizvodnja zna- potrebno je ispuniti uvoznu ca- oni sa skupom procedurom oko On za 1997. godinu iznosi 529, nedostatna, pokazuje da je broj èi i odumiranje. rinsku deklaraciju koja stoji 170 oslobaðanja od carine pogaðaju ali taj broj takoðer malo govori naslova protekle dvije godine U prvom dijelu Kulturne poli- kn na više (toènije 50 DM plus uvoznike i pojedince, oni koji se jer u njemu su sadržani svi: od pao ispod razine koja je dopusti- tike Republike Hrvatske pitali PDV!) te odnose na izvoz pogaðaju nak- stvarnih nakladnika i izdavaèa va. S upola manjim brojem sta- smo se o uèincima najavljenog - platiti za to 50 kn biljega. ladnike, izdavaèe i ukupne poku- književnih djela do opæinskih iz- novnika susjedna država Repub- PDV-a na kulturu pa tako i knji- Opisanim naèinom oslobaða- šaje da kulturnom proizvodu danja ili župnih ureda. lika Slovenija ostvaruje isti broj gu. Oèekivao se poraz. Iako u nja od carine pri uvozu knjiga in- omoguæimo što jednostavniji put Na dvije brojke izdavaèa i naslova bez tendencije pada, a meðuvremenu i uveden i ukinut, ternim aktima uvedeni su pos- izvan vlastitih granica. nakladnika 1998. godine moguæe njezini književnici imaju sasvim porez na dodanu vrijednost svo- tupci koji toliko poskupljuju je oèitati razliku izmeðu virtual- drugu i društvenu ulogu i materi- jim je negativnim posljedicama uvoz knjige da više nitko ne želi Grozdana Cvitan

DORA KRUPIÆEVA d.o.o. tel: (01)4846635, (01)4816624 MIOB NAKLADA Branimir Donat, fax: 4816624 Mirjana Obuljen, Kerstnerova 29 Prilaz Gjure Deželiæa 75 HR-10410 Velika Gorica HR-10000 Zagreb KRUZAK tel/fax: (01)6224222 tel: (01)3775362, (098)209169 Kruno Zakarija, Zastavnice 29 tel: (098)2207650, (098)453033 fax: (01)3775362 HR-10251 Hrvatski Leskovac tel/fax: (01)6578565 e-mail: [email protected] DRUGA STRANA e-mail: [email protected] Andrea Zlatar-Violiæ, Hebrangova 21 NAKLADA BENJA d.o.o. ARKZIN d.o.o. HR-10000 Zagreb Sreæko Jelušiæ Vesna Jankoviæ, Republike Austrije 23 tel: (01)4855449, (01)4855451 KURZIV d.o.o./MALA KNJIŽARA HR-10000 Zagreb Vedrana Runjiæ, Kružiæeva 3 HR-51316 Lokve tel: (01)3777866, fax: (01)3777867 fax: (01)4856459 HR-21000 Split tel: (051)453004, fax: (051)454604 e-mail: [email protected] e-mail: [email protected] tel/fax: (021)345693, (021)360826 e-mail: [email protected] [email protected] e-mail: [email protected] DURIEUX NAKLADA MD Nenad Popoviæ, Smodekova 2 LASER PLUS Dražen Latin, Vlaška 35 BARBAT HR-10000 Zagreb Branko Cindro, Brijunska 1a HR-10000 Zagreb Vladimir Štokalo, Iblerov trg 9 tel/fax: (01)2321178 HR-10000 Zagreb tel: (01)4814567, fax: (01)4814562 HR-10000 Zagreb tel: (01)2300337, (098)350935 tel: (01)6180111 e-mail: [email protected] tel/fax: (01)4555452, (01)4615056 e-mail: [email protected] tel/fax: (01)6180110 e-mail: [email protected] e-mail:[email protected] PROFIL INTERNATIONAL d.o.o. FAUST VRANÈIÆ d.o.o. Daniel Žderiæ, Kaptol 25 Valerij Jurešiæ, Trg Otokara Keršovanija 1 BTC – ŠAHINPAŠIÆ LUNAPARK HR-10000 Zagreb Lada Jurkoviæ, Borovje 13a HR-10000 Zagreb Maleš/Živkoviæ, Vukovarska 232c tel: (01)4812083, (099)550348 HR-10000 Zagreb tel: (01)218344; fax: (01)2313646 HR-10000 Zagreb fax: (01)4812088 tel/fax: (01)6602940; e-mail: [email protected] tel: (01)615844, fax: (01)4677308 e-mail: [email protected] e-mail: [email protected] tel: (099)427791 [email protected] e-mail: [email protected] FERAL TRIBUNE Predrag Luciæ, Šetalište Baèvice 10 MARJAN EXPRESS HR-21000 Split Zvonimir Krstuloviæ, Nad lipom 22a SCCA - INSTITUT ZA CASTROPOLA tel: (021)589288, (021)589165 HR-10000 Zagreb SUVREMENU UMJETNOST fax: (021)343290 Magdalena Vodopija, Zagrebaèka 14 tel: (01)3777983, fax: (01)3772450 Jadranka Vinterhalter, Berislaviæeva 20/1 e-mail: [email protected] e-mail: [email protected] HR-52000 Pula HR-10000 Zagreb tel/fax: (052)218197, (052)216159 e-mail: [email protected] tel/fax: (01)4872111; (01)4872122 IZDANJA ANTIBARBARUS MEANDAR e-mail: [email protected] Albert Goldstein, Nova ves 4 Branko Èegec, Nova ves 5 CELEBER HR-10000 Zagreb HR-10000 Zagreb Ivo Caput, Grobnièka 34 tel: (01)4666916, fax: (01)4666917 tel: (01)4666437, (01)4666438, HR-10000 Zagreb e-mail: [email protected] (01)4813323, (098)302519 SVJETLA GRADA tel/fax: (01)3636085 fax: (01)4666437, (01)4813323 Ivica Vuletiæ, Gunduliæeva 1a tel: (099)464994 e-mail: [email protected] HR-31000 Osijek JESENSKI I TURK tel/fax: (031)211380; (031)209811 e-mail: [email protected] Mišo Nejašmiæ, Vlaška 10 e-mail: [email protected] HR-10000 Zagreb MEDIUS DEMETRA d.o.o. tel/fax: (01)4816574 Nenad Maljkoviæ, Nova cesta 188 Dimitrije Saviæ, Zeleni trg 2 e-mail: [email protected] HR-10000 Zagreb ŽENSKA INFOTEKA HR-10000 Zagreb tel/fax: (01)3834848, Vivijana Radman, Varšavska 16 tel: (01)6522296, (01)6199347 KONZOR fax: (01)3835016 HR-10000 Zagreb fax: (01)6199347 Milan Šarac, Ilica 47 tel: (091)3834848 tel: (01)4830557, fax: (01)4830552 e-mail: [email protected] HR-10000 Zagreb e-mail: [email protected] e-mail: [email protected] II/40, 12. listopada,,,. 7

dvotjednik za kulturna i društvena zbivanja • zagreb, 12. listopada 2000, godište II, broj 40 •

Uredile: Katarina Luketiæ Iva Pleše Dušanka Profeta

Sv. Jeronim, Museu National de Arte Antiga, Lisabon

Recentna hrvatska književnost 52 naslova za 52. Frankfurtski sajam knjiga

Iako hrvatska književnost ne može bismo njima pomogli, a èitateljima su izdanja hrvatskih autora te autora raèunati na znatnu recepciju i komer- omoguæili uvid u našu tekuæu književ- koji su svoja djela objavili prvi put up- cijalne uspjehe izvan granica svojega nu produkciju, veæi dio Zareza ustupili ravo kod hrvatskih izdavaèa. Zarezov jezika, uvjereni smo da se njezini auto- smo esejima, kritikama i intervjuima, izbor ne predstavlja antologijski preg- ri, napose mladi, uklapaju u kontekst dijelom ponovljenima u skraæenom led, veæ je odraz vrijednosnih sudova europske i svjetske kulture knjige. Da obliku iz prošlih brojeva. Predstavljena naših autora i urednika.

2000. 8 II/40, 12. listopada 2,,,.

situacija usporeðuje sa šahov- otvorila je teorijsku raspravu o prve faze hrvatske književnosti pripovjedna distanca je uspostav- skom igrom. Nije rijeè o figura- odnosu književnosti i zbilje. No, devedesetih (do 1995) neposto- ljena stvaranjem fiktivnoga lika, a ma, nego o osobama koje se kao glavni žanr prve polovice devede- janje distance, vremenskog od- pripovijedanje više nije optereæe- maka od (ratne) stvarnosti, što no dokumentarnim izvješæiva- ima za posljedicu nepostojanje njem i politološkim analizama. razvijenih fikcionalnih modela Tu liniju nastavljaju Alemka pripovijedanja. Fikcionalni okvir Mirkoviæ i Ratko Cvetniæ, dvoje nerijetko se u tekstovima toga autora koji su – u kritièarskoj re- Književno vrijeme: vremena doživljava neprirodno, cepciji – napokon prešli granicu kao nasilno prirodan znak "um- prema književnosti. Èinjenica jetnosti" na "sirovu" stvarnost. U što su se pisci bez "književnog tom prvom razdoblju, valja nag- pedigrea" dvije godine za redom sadašnjost lasiti, nismo imali èesto posla s ovjenèali literarnim nagradama patetiènom i implicitno apolo- nije prošla bez otpora u taborima getskom literaturom, tek u pri- kritièara i književnih udruga. Èi- godnoj lirici i spomenièarskim tateljska recepcija i zdrav razum setih bio je esej, složena vrsta ko- izdanjima. Prièe koje su se izno- kritièara nadvladali su, naposljet- Kako smo, tijekom deset ja spaja elemente pripovjednog i sile u prognanièkim i ratnim ku, ukorijenjeni otpor hrvatske godina literarnoga preob- refleksivnog, autobiografskog i zbornicima bile su odviše muène književne tradicije prema auto- ražavanja, stigli od progna- teorijskog. Esejistika, u rasponu i tragiène da bi mogle ukrašavati. biografskim formama i "nelite- nièkih ispovijesti do žan- od dnevnih kolumni do literari- Najkraæe: svjedoèanstva o silova- rarnoj" literaturi. Autobiografski ziranih eseja, bila je dominantni njima i metodama etnièkog èiš- tekstovi u hrvatskoj književnosti rovskog "ratnog romana" naèin èitanja stvarnosti i pisanja æenja mogu biti ideologizirana i književnoj kritici rijetko se, nai- o njoj: Barikade Borisa Budena i tek kad se odmaknu od svojih me, smatraju "pravom" književ- Kultura laži Dubravke Ugrešiæ autentiènih iskazivaèa. nošæu. Spoèitava im se pretjera- Andrea Zlatar vrhunski su domet prve polovice, no razotkrivanje privatnosti, pad a u knjigama sabrane kolumne Ratna autobiografska proza u banalnost i svakodnevicu ili jeæate li se uopæe kako je Ive Žaniæa, Zvonimira Berkoviæa, Sredinom devedesetih na knji- memoarska vezanost za povijes- izgledala književna pano- Viktora Ivanèiæa i Slobodana žarskim policama svakodnevno ni kontekst, stilska nedotjerano- rama Hrvatske poèetkom Šnajdera druge polovice devede- su se poèeli zatjecati novi i novi st. Sa svim tim predrasudama devedesetih? Barem što se pripo- setih godina. naslovi koji pripadaju "ratnom suoèavala se autobiografska pro- vijedanja tièe, okviri su bili jasno za devedesetih. 91,6 Mhz. Gla- postavljeni. Èvrste okomice som protiv topova Alemke predstavljali su prozni doajeni Mirkoviæ pripovjedni je tekst u Ranko Marinkoviæ i Slobodan retrospektivnoj formi koji stvar- Novak, èija su se djela, nešto mogu mijenjati i njihov je broj ne osobe i likove uoblièuje u na- prorijeðena u ritmu izlaženja, naèelno neogranièen. Ne radi se petu fabulu, a Cvetniæev Kratki doèekivala s dužnim poštova- ni o zadanom polju igre s pozna- izlet predstavlja rafiniranu esejis- njem i zanimanjem. Odmah uz tim pravilima: prostor za pisanje tièku prozu koja pripovjedni njih stajali su, u naponu zrelosti, je otvoren, a pravila se stvaraju i kontinuitet gradi na temelju je- Nedjeljko Fabrio i Ivan Aralica, mijenjaju u hodu. dinstva pripovjedaèke svijesti, a kao pisci razlièitih estetièkih pri- ne s pomoæu fabularnog slijeda padnosti. Srednju generaciju, još Vrijeme dokumenata ili dogaðaja. Alemka Mirkoviæ i uvijek s epitetom "mlaðih", zas- dokumenti vremena Ratko Cvetniæ nisu bili važni sa- tupali su Pavao Pavlièiæ i Goran O hrvatskoj književnosti de- mo kontekstualno, kao dokaz da Tribuson, pokušavajuæi uporno vedesetih prvi sam put pokušala se o ratu može pisati iako su pro- kritièarsku i èitateljsku èeljad sustavno razmišljati 1995. kada je fesionalne muze uglavnom šutje- priuèiti žanrovskoj literaturi, za èasopis Dubrovnik Vlaho le, veæ zbog toga što su pripov- poetici kriminalistièkog i fantas- Bogišiæ prireðivao temat pod na- jednu vizuru pomaknuli na pozi- tièkog romana. Cjelovitu sliku zivom "Dokumentarnost u suv- ciju pojedinca. Njihov je pripov- upotpunjavali su kvorumaši, kao remenoj hrvatskoj književnosti". jedaè – ne sluèajno u 1. licu – "nositelji avangardnih tendenci- Neosporna èinjenica rastuæeg osamljena i izdvojena jedinka ko- ja" i spisateljice identificirane sin- broja autobiografskih i doku- ja, korak po korak uz "povijesne" tagmom "ženskoga pisma": Irena mentarnih tekstova u prvoj polo- dogaðaje, gubi iluziju o njihovoj Vrkljan, Dubravka Ugrešiæ i Sla- vici devedesetih nagnula je vagu univerzalnoj važnosti i postaje venka Drakuliæ. Dakle, imali smo izmeðu faction i fiction literatu- svjestan tragiènosti svake pojedi- sve što jedna književnost treba re u korist fakticiteta u tekstu, u naène sudbine. "Mala prièa" nad- imati: žive klasike, tradicionalis- korist stvarnosti koja zarobljava vladala je "veliku prièu" i time je te, tzv. "trivijalnu" a priznatu lite- pripovjedni interes. Svejedno definitivno otvoren prostor ro- raturu, mlade buntovnike i žene. mislimo li mi da je književnost manu. I Alemka Mirkoviæ i Rat- Priznajem, kad sada gledam devedesetih odrediva kao doku- ko Cvetniæ objavili su knjige osamdesete, èini mi se da smo ment vremena ili smatramo da je 1997: tu godinu možemo smat- imali prilièno dobru književnost, ona posljedica vremena dokume- rati završetkom drugog, središ- književnost koja je imala unutar- njeg razdoblja hrvatske književ- nje kriterije vrednovanja i poetiè- nosti devedesetih. Njezina je ka naèela o kojima se moglo ras- Glavni žanr prve centralna liènost, meðutim, pisac pravljati. Koliko bi ta idila trajala kojega dosad nismo spomenuli: da povijest nije umiješala svoje polovice devedese- Miljenko Jergoviæ. Njegove pro- prste? O tome ne mogu ni naga- ze Sarajevski Marlboro, Karivani ðati. tih bio je esej, i Mama Leone dugoroèno pruža- Današnja slika hrvatske pri- složena vrsta koja ju iskoristivi model pisanja: rijeè povjedne književnosti izgleda mi je o suvremenoj urbanoj prozi s mnogo raznorodnije i bez mo- spaja elemente elementima ispovjednog, auto- guænosti da je usustavim u preg- biografskog diskursa. Oni koji ledan niz. Na pitanje što se doga- pripovjednog i U cjelini gledano, u zamislivi diskursu" – njihovi autori uglav- Jergoviæu nisu skloni pokušavaju ðalo s proznom proizvodnjom u okvir dokumentaristièke i stvar- nom su bili bez literarnog podri- ga odijeliti od hrvatske književ- Hrvatskoj tijekom devedesetih, refleksivnog, nonosne literature devedesetih jetla, a za imena smo im ponekad nosti nizom razlièitih i meðu- nije teško dati odgovor jedino sa ulaze sljedeæe grupe tekstova: èuli iz ratnih izvješæa. Uz oèeki- sobno nesklopivih argumenata: statistièke strane. Pojavili su se autobiografskog – zbornici razlièitih dokume- vanu i uobièajenu produkciju piše o Sarajevu i bosanskim te- novi autori, a sve navedene gru- i teorijskog nata i svjedoèanstava (tematski "vojnièke literature", knjiga me- mama, previše piše za novine, je- pacije iz osamdesetih u veæoj su vezani uz prognanike i izbjeglice moarskog diskursa koje imaju zik mu baš nije "èist" (tj. hrvatski ili manjoj mjeri preživjele, s time ili ratne operacije), jasnu funkciju dokumentiranja, èist), nacionalno je sumnjiv itd. da su izgubile meðusobni odnos nata, ne možemo osporiti èinje- – publicistika i feljtonistika, pojavili su se naslovi koji upuæu- Svi ti bijedni argumenti (koji su, hijerarhije. Toènije bi bilo kazati nicu svakodnevne opkoljenosti – mnogobrojni ratni dnevnici ju na transpoziciju dogaðajnoga usput reèeno, nužna i logièna da su preživjeli pisci kao pojedin- tekstovima koji su, na razlièite (od Šimunoviæa i Grugurovca do u pripovjedno. Prva knjiga Pavla posljedica samodovoljnog poi- ci koji su morali nastavljati svoju naèine, govorili o zbilji. Iz aspek- Željka Ivankoviæa i Ivana Lovre- Kaliniæa Ni pukovnik ni pokojnik manja hrvatske kulture) otvara- karijeru samostalno, bez zajed- ta literature poèetak devedesetih noviæa), primjer je takve primarne tran- ju, meðutim, pitanja sa suprot- nièkog zaštitnika poetike ili žan- obilježile su u tom smislu knjige – autobiografska pripovjedna spozicije, u kojoj se miješaju do- nim vrijednosnim predznakom: ra. I politika je tu uplela svoje pr- Željke Èorak (Krhotine) i Pavla proza. kumentaristièka proza, politièki èime se mjeri neèija prisutnost u ste: Aralica je, na primjer, dobio Pavlièiæa (Šapudl), a iz pozicije U tu posljednju grupu – auto- komentari i ispovjedna retros- kulturi ako ne umjetnièkim utje- izdvojenu kategoriju "dvorskoga književne teorije Dubravke biografsku pripovjednu prozu – pekcija dogaðaja. Osnovni je ton cajem i recepcijom u publici? A pisca", a ženske autorice listom Oraiæ Toliæ (Književnost i sudbi- u prvoj fazi ubrajam tekstove u pripovijedanja osobni, koji istièe toga Jergoviæu ne nedostaje. su promaknute u "vještice" i disi- na):Krhotine su bile prva knjiga kojima se koriste jednostavni au- toèku proživljenoga i stvara do- dentice. Zbivanja u literaturi de- u kojoj se izlaže u fragmente raz- tobiografski oblici, bez namjere jam autentiènog, estetièki nepos- Napokon: romani kao fikcija vedesetih nisu, meðutim, samo lomljena, mala i privatna prièa, da se konstruira fikcionalni mo- redovanog iskustva. Kaliniæeva Èini se da su kritièari napo- pomicanja istih figura po zadanoj Šapudl je otkrio preobrazbu pis- del prièe ili likova; kao primjer druga knjiga - Requiem za jednu kon odahnuli kada su se, od ploèi. Zapravo i nema nikakve ca fantastièara u autobiografiju, a može služiti Prièa po Pavlu Slavi- mladost, moju baku i USA (1996) 1998. nadalje, poèeli pojavljivati osnove da se hrvatska književna Oraiækina Književnost i sudbina ce Stojan. Temeljno je obilježje veæ je strukturirana kao roman: romani koji su "od poèetka do II/40, 12. listopada,,,. 9 kraja" i izgledali kao romani. vam lagala, 1998) kao i knjige nasilju. Destruktivni obrasci obi- Drugaèiji tip konvencionalizira- Bez dvojbe o autobiografskom uspomena iz djetinjstva i mla- teljskog života (ukljuèujuæi i te- nih i predvidljivih prizora/likova ili fikcionalnom, o dokumen- dosti koje su objavili prvaci me kao što su incest, pedofilija, nude drame dvojice autora vul- tarnom ili umjetnièkom, nova žanrovske literature osamdese- garnih groteski: mislim na Ro- je generacija pisaca žanrovski tih, Pavao Pavlièiæ i Goran Tri- berta Perišiæa i Filipa Šovagoviæa. èitko ispisala tekstove koji su buson (Rani dani,1998). Da je Najinovativnijom i najzanim- bili dogaðajno situirani u vrije- autobiografija tijekom devede- Opasni stihovi, ljivijom dramatièarkom dekade me i prostore Domovinskoga setih postala samostalan i cije- smatram Ivanu Sajko, posebno u rata, ali su u izboru pripovjed- njeni žanr, pokazuje i specijali- komadima kao što su Naranèa u nih strategija slijedili fikcional- ziranje pojedinih izdavaèa za tu beskorisne zastave oblacima ili 4 suha stopala. Sajko ne modele. Jurica Pavièiæ, Ante tematiku. Tako Durieux, nakon je sposobna za pisanje unutar Tomiæ, Igor Irene Vrkljan i narkomanija) predmetom su in- granica realistièke motivacije Petriæ, Josip Ivana Lovreno- Najmlaða i najintrigantnija teresa dramatièara poput Ivana (moj dramski ljubimac ipak osta- Mlakiæ autori Romaneskno viæa, izdaje dra- generacija domaæih Vidiæa i Lukasa Nole, no obojica je njezina modernistièka drama su koji tran- gocjena sjeæa- dramatièara mahom mlaðih autora nemaju mjere u Obojeni dom), ali autorièini sformiraju is- nasljeðe osamde- nja Eve Grliæ i izbjegava eksperimente s eksploatiranju atmosfere crtano- kreativni prioriteti pristaju uz kustvo rata u Sonie Wild filmske groteske, toliko karakte- postmodernistièki žanr fantasti- fikcionalne setih omoguæilo je Biæaniæ. formom, ali uvodi niz ristiène za poèetnièke korake u ke te lirske drame apsurda. Na- forme romana, novih tema, te nov svim vrstama pripovijedanja. Po- ranèa u oblacima predstavlja nam uglavnom u stvaranje žanrov- A ostali? kritièki senzibilitet navljaju se kako u tematskom, ženski lik koji stiže u Èistilište treæem licu. U skih oblika roma- Linija izla- tako i u stilskom registru. Zrelu nakon poèinjena samoubojstva, njihovu se pri- ganja, koja je satirièku vještinu saèuvao je i tražeæi svog ljubavnika za koga je povijedanju na, neoptereæenih pratila tijek hr- Nataša Govediæ razvio Boris Senker. Njegova godinama vjerovala da je tužno mogu identifi- vatske književ- olovka, naoštrena na socijalistiè- "doziva" iz Beskonaènosti. Me- cirati strategije vrijednosnim nosti devedese- kom šiljilu, ostala je nesmiljeno ðutim, susret s onu stranu vela poznate iz eu- tih godina, pr- rvatska drama u devedese- kritièka i tijekom postsocijalis- iluzije i smrtnosti tijela pokaže ropskoga nas- razlikama izmeðu venstveno je tima ne postoji ni u kak- tièke ere. Senkerov Cabare joj kako je u oèima ljubavnikova ljeða moder- pratila naèin vom objedinjenom obliku: &TD, predstava koja prireðuje uma odavno zaboravljena. Gos- nog ratnog ro- tzv. visoke i niske oblikovanja postoje samo pojedinaèni drama- pod Bog u istoj je drami sarkas- mana te mode- ratne proze, od tièari koji su hrvatski jezik koris- Kao da su drama- tièno portretiran kao nestrpljiv, li fabule pre- književnosti njezinih poèe- tili u vrlo razlièite politièke i es- provincijski DJ, zaslužan za puš- poznatljivi u taka u ispov- tetske svrhe. Neke od dramskih tièari savršeno tanje naših emocionalnih "glaz- filmskim strukturama. Ekono- jednom diskursu svjedoka zbi- prvaka devedesetih naslijedili benih snimki". U 4 suha stopala miènost izraza i oblikovanje vanja, do formiranja fikcional- smo iz osamdesetih godina, pri- svjesni da rat u Sajko ponovno kreira situaciju realistièkog postupka razlikuju nih struktura. Kut gledanja bio mjerice Slobodana Šnajdera, dok izvan granica zbiljskog svijeta, Pavièiæa i Tomiæa od dijela baš- je zadan odnosom fiction i fac- mladog Dubravka Mihanoviæa Hrvatskoj možda ovaj put crtajuæi vodenim boja- tine hrvatskog romana osamde- tion literature, odnosno èinje- susreæemo prvi put. Zanimljivo ma apokaliptièkog potopa. Teži- setih, koji je birao fantastiène nicom oèevidnoga rasta auto- je usporediti Šnajderove drame jest završio u na elementarnog preživljavanja ili povijesne teme i pokazivao biografske književnosti deve- komunistièkog režima s djelima predstavlja stalnu temu njezine sklonost estetiziranoj pripov- desetih u odnosu na prethodno nastalim za vrijeme tuðmanizma, najužem politiè- dramaturgije i èvrstu referencu jednoj strukturi. S druge pak razdoblje. Iz takvoga kuta gle- odnosno tijekom Šnajderova pri- kom smislu, ali prema suvremenoj hrvatskoj strane, romaneskno nasljeðe danja iz našega je pripovijeda- silnog egzila s hrvatskih pozor- realnosti (vjerojatno i prema pri- osamdesetih omoguæilo je stva- nja bio iskljuèen èitav niz auto- nica. Pa dok je socijalistièku po- kulturalni ratovi i vatnoj situaciji nacionalno i in- ranje žanrovskih oblika roma- ra – Damir Miloš, Borivoj zornicu Šnajder opskrbio gran- ternacionalno nagraðivane dra- na, neoptereæenih vrijednosnim Radakoviæ, Zoran Feriæ, Viktor dioznim metahistorijskim spek- dalje bijesne matièarke koja unatoè nagrada- razlikama izmeðu tzv. visoke i Ivanèiæ i Ðermano Senjanoviæ, taklima, scenskim "operama" s ma u Hrvatskoj nema ni zaposle- niske književnosti. primjerice – èije se autorske oèitim brehtijanskim dramatur- bitku literarnih divova, izravno u nje ni ikakvu materijalnu sigur- U toj generaciji pisaca po- poetike trebaju odèitavati iz škim zaleðem, kasnije drame odluku o ishodu ukljuèujuæi i nost). Ne zaboravimo: unatoè sebno mjesto zauzima Josip drugaèijeg teorijskog gledišta. "bez domovine" postaju intimni- publiku, uspijeva na domaæoj po- priznanjima, Ivana Sajko zasad Mlakiæ ro- Onoga koje je, elegiène, usredotoèene na zornici saèuvati skoro stoljetnu nije uvrštena na repretoar doma- manom bi, izmeðu ženske likove i na teme kao što je tradiciju zagrebaèkog cabareta. æih institucionalnih kazališta. Kad magle ostalog, trauma ratnog silovanja (mislim Možda bi mi se s obzirom na Rekla bih da njezina kritika muš- stanu obuhvaæalo na djela poput Nevjeste od vjetra kratku formu ovog osvrta moglo kog i opresivnog svijeta kulmini- (2000) koji niz pitanja ili Zmijina svlaka). Mogli bismo oprostiti što neæu nabrojati niz ra dramom 4 suha stopala, u kojoj ne koristi o ostavšitini stoga reæi da Šnajderov opus u nacionalistièkih i politièki uliziè- voda, tradicionalno smatrana žanrovske kvorumaš- devedesetima lagano zaokreæe kih drama koje su nam obilato "ženskim elementom", odnosno modele rat- ke estetike prema ženskoj, ako ne i feminis- nicale u devedesetima. Neæu ta- elementom fizièkog i metafiziè- nog roma- osamdese- tièkoj perspektivi; kog obnavljanja, po- na, veæ se tih, odnosa èak i onda kada pri lako preplavljuje od odluèuje za moderne i tom secira mentalitet èitavog èovjeèanstva (pseu- postmoder- mafije ili kada nekri- jedina dva preostala do)auto- ne književ- tièki likuje nad upos- plutajuæa i pjevajuæa biografsko nosti te u lenom megalomani- tijela. Dakako da je pripovije- kontekstu jom Wagnerove glaz- autorièina ironija ne- danje u ko- kretanja u be (usp. Kod bijelog milosrdna. Lirske in- je se, u ret- europskim labuda). U djelima kantacije njezina rospekciji, literaturama drugih proslavljenih dramskog opusa, do- uklapaju posljednjih dramatièara, recimo datno je važno nag- ratna zbiva- èetvrt sto- Ive Brešana ili Mate lasiti, èine je bližom nja i reflek- ljeæa. Matišiæa, kodovi he- poeziji no prozi (za- sija o njima. Još je te- rojski-maskuline pažamo, dakle, utje- Iako temat- že pitanje reprezentacije prola- caj Eliota i Becket- ski razlièita koje se tièe ze nemilosrdnu kriti- ta). (nije rijeè o hrvatskih ku, ali kao njihove su Ovaj bismo pri- "ratnoj", veæ o "egzilantskoj" te- "disidentskih" pisaca, poput alternative ponuðeni kaz mogli privesti matici) tom je pripovjednom Slavenke Drakuliæ i Dubravke ili stoicizam (u Bre- kraju zakljuèkom da postupku bliska i proza Daše Ugrešiæ u podruèju proze, a šanovu sluèaju) ili najmlaða i najintri- Drndiæ u Canzone di guerra Slobodana Šnajdera u podruèju vjerski uvid (Mati- gantnija generacija (1998). Na raskrižju roman- drame, èiji su tekstovi u velikoj šiæ). Uzmemo li pak domaæih dramatièara sknog, autobiografskog i esejis- mjeri još uvijek nepoznati èita- u obzir muzikalnost mahom izbjegava tièkog njezina proza oblikuje teljskoj/gledateljskoj publici. Matišiæeva jezika, eksperimente s for- pitanja potrage za identitetom Za njihov se sluèaj doista može njegov etièki integri- mom, ali uvodi niz u nekoliko razina: potraga za parafrazirati filozofski iskaz po tet ili stupanj do ko- novih tema te nov osobnim identitetom koja se kojemu "na temelju onoga što jeg je svladao klasiè- kritièki senzibilitet. oblikuje kroz biografiju, potra- dostaje, treba izmjeriti velièinu nu vještinu dobrog pisanja, Mate koðer ulaziti ni u književno kva- Kao da su savršeno svjesni da rat ga za socijalnim i (nad)nacio- nedostatka": tek onda kada bu- Matišiæ zapravo predstavlja žanr litetne izvedbene scenarije neko- u Hrvatskoj možda jest "završio" nalnim identitetom te potraga demo mogli (u hrvatskom izda- za sebe. likih izvrsnih predstava, napros- u najužem politièkom smislu, ali za intelektualnim identitetom – nju ili prijevodu, a ne na engles- Sofisticirani psihološki odno- to stoga što njihovo kolektivno istinski kulturalni ratovi i dalje koju predstavlja pisanje. kom u knjižari Algoritma) po- si likova središte su nagraðene autorstvo potpada pod kazališne, bijesne u svim našim institucija- Krajem devedesetih godina segnuti za njihovim knjigama, drame Bijelo Dubravka Mihano- a ne dramske klasifikacije. Spo- ma. Premda ovi autori izbjegava- autobiografizam u "èistom ob- moæi æemo poèeti razmišljati viæa, gdje dvojica introvertiranih minjanje plitkih melodramatskih ju politièku eksplicitnost, držav- liku" u hrvatskoj književnosti kako bi nam izgledala bliska sobnih lièilaca s djeèjom njež- bisera poslovièno plodnog dra- ne kazališne kuæe i dalje ih nala- povukao se u prostor tema koji povijest književnosti da su oni nošæu dijele strahove, bolesti i matièara Mire Gavrana izbjegla ze odveæ provokativnima za in- mu je tradicijski blizak: sjeæa- kao autori bili u nju ravnoprav- snove. Druga mlada dramatièar- sam ne zato što emocije smatram scenaciju. Kao i obièno, posjedo- nja, intima, djetinjstvo. U to se no integrirani, a ne putem me- ka, Asja Srnec, zaslužna je za "manje vrijednima", nego zato vanje profesionalnih kriterija u literarno okruženje može dija ozloglašeni. Ovako o ne- izvrsnu komornu dramu Dodir, što mislim da sentimentalni kli- Hrvatskoj èita se kao mnogo ve- smjestiti prva prozna knjiga Ju- dostatku možemo samo naga- vjerojatno najbolju u nizu dosad šeji nemaju nikakve veze ni s æa prijetnja negoli je to posjedo- lijane Matanoviæ (Zašto sam ðati. napisanih komada o obiteljskom emocijama ni s dobrim pisanjem. vanje onih politièkih. 10 II/40, 12. listopada 2,,,.

vanje vlastite pozicije i kao autoi- Zapadno radno vrijeme. ðen na nedoslovno ponavljanje, ronièan izrièaj. U oba sluèaja, lir- Dugaèak crni kaput, siva svjetlost na traženje izvornosti u osvješta- ski govor ima terapijsku funkci- na njenom licu. vanju neizvornosti svakog iskus- ju. Jer: rijeè je o subjektu koji je Kosa zataknuta iza uha. tva i svake pomišljive reèenice. S pristao na svoje izgnanstvo i ko- U njenom sanduèiæu nema nièeg raznih nas strana upozoravaju da jemu upravo zbog tog pristanka osim reklama za besplatnu dosta- je upravo repeticija vjerodosto- Pjesnièki naraštaj prijeti išèeznuæe. Ovakav ravno- vu pizze jan izraz trenutka. "Ako bi treba- dušan subjekt, ovakav nemetafo- i raèuna za vodu i grijanje. lo okarakterizirati trenutaèno rièan (“novinarski”) pjesnièki stil Otkljuèava vrata, baca stvari na stanje stvari, rekao bih da je u pi- devedesetih i diskurzivni obrazac pjesme u pod. tanju stanje poslije orgija." - pri- prozi temeljne su odlike lirskih Umiva se i dok se briše mekim mijetio je Jean Baudrillard, utje- diskurza veæine naših najmlaðih frotirom cajni mislilac i jedan od ideologa pomisliti kako je rat uzrokovao pjesnika. Kao korelate navedenoj dugo gleda svoje lice u ogledalu. postmoderne pa dodao: "Orgije Ovakav ravnodušan naglo stvaranje novog sustava Vukoviæevoj pjesmi i njezinoj Oblaèi staru isfucanu trenirku i su eksplozivni trenutak moder- subjekt, ovakav nemeta- vrijednosti. No, postmoderna se pseudopoenti (Zadovoljan sam) sjeda pred TV. nosti, onaj koji oslobaða u svim forièan (“novinarski”) ravnodušnost toliko ukorijenila nasumièno izdvajam i prispo- Podgrijava jelo od juèer. podruèjima. Danas je sve dopuš- pjesnièki stil i diskurzivni u našoj sredini da je (bar u lirici dobljujem sljedeæe stihove nje- Gleda kroz prozor, pere zube. teno, igre su odigrane i mi se ko- najmlaðih ) nadjaèala i stvarnos- govih vršnjaka: Napokon, odlazi spavati. lektivno nalazimo pred krucijal- obrazac pjesme u prozi nu ratnu apokalipsu. Pjesnici ko- – U stvari, ništa se ne dogaða. nim pitanjem: Što raditi poslije temeljne su odlike lirskih (Alen Galoviæ, Sijaèica žita, u Subjekt Gromaèine poezije orgija?" Èini mi se da je moguæi diskurza veæine naših Malo tijelo jutra) zorno potvrðuje da u životu – za odgovor najmlaðih hrvatskih – Najbolje je prièati o vremen- razliku od gramatike – ne posto- pjesnika na ovo pitanje - narcis- najmlaðih pjesnika skoj prognozi. (Ivan Herceg, Na- je samo tri lica, dapaèe da se is- tièko osamljivanje subjekta te in- ša druga imena) pod naoko nedužnog Ja mogu tertekstualno i intermedijalno – Ovo je život koji mi odgova- kriti èitavi svjetovi. Taj subjekt, obnavljanje spomenutih igara. Krešimir Bagiæ ra (Tatjana Gromaèa, U poljskom naime, istodobno provodi kritiè- Narcistièko je osamljivanje pos- zahodu na brijegu, u Nešto nije u ku mimezu svakodnevice i sa- ljedica subjektova upornog foku- redu?) mokritièko propitivanje vlastite siranja detalja i prizora kojima je utjecajnoj studiji Poetika – Ustvari, dobro sam --- i uop- doživljajnosti. Njegova je raspr- okružen, a koje je iskljuèivo u postmodernizma Linda æe nije loše --- još uvijek je dobro šenost, meðu inim, signalizirana funkciji njegove autoanalize i te- Hu-tcheon je podsjetila na (Katarina Zrinka Matijeviæ. Us- èestim prebacivanjem iz ženskog rapije. Ono je najoèitije u pisanju nesvakidašnju intervenciju Mic- tvari, dobro sam) itd. u muški rod, te ludièkim povezi- Ivice Prtenjaèe, Lane Derkaè i haela Ashera. Rijeè je o èovjeku vanjem tzv. visokih i niskih moti- Radenka Vadanjela. koji je pješèanim mlazom oèistio Kolokvijalizacija lirskog idioma va i kategorija. On zapravo nas- Staru ideju o blagotvornom zid milanske galerije Toselli kako Pjesnici koji su se javili se- toji dedramatizirati stvarnost i uèinku poezije, o simbolièkom bi svijetu “objavio” malter kao damdesetih i svoju poziciju oèuvanju ili ponovnom stjecanju svoje umjetnièko djelo. Ta je in- osamdesetih u njoj, te pri- mentalnog zdravlja bijegom u tervencija dovela u pitanje i 'djelo' mistificirali su i tom iskazivaè- stih Prtenjaèa je aktualizirao veæ i 'galeriju', te iznova aktualizirala na razlièite na- Na radikalnost, ku lakoæu nad- naslovom svoje prve zbirke Pisa- raspre o odnosima kreacije i des- èine iskušavali rediti nekadaš- nje oslobaða. Njegova se prigod- trukcije, umjetnièkim konvenci- (gotovo sakra- doslovnost i oèitost njem grèu. Ne- na lirska terapija odvija u dvije jama, pojmu ruba i moguænosti- ji se javljaju usred rata uglavnom lizirali) pozici- posredno is- faze – najprije se subjekt pole- ma njegova prekoraèivanja. rat ne tematiziraju (ili to èine vr- ju autsajdera, Asherove “akcije” kustvo prati, mièki suèeljava s okolnim svije- Na radikalnost, doslovnost i lo diskretno, rubno i usput); oni uglavnom se dakako, i prik- tom kako bi naglasio vlastitu oèitost Asherove “akcije” asoci- odustaju od lirskih projekata ko- panièno zatva- asocirale su me ladan govorni neprilagoðenost da bi potom ta- rale su me kreativne strategije ji bi pretpostavljali bilo kakav an- rajuæi u prostor idiom. Izrazi ko odnjegovanu “autistiènost” najmlaðih hrvatskih pjesnika, gažman ili akciju, bave se privat- literature ili al- kreativne strate- poput “pošte- pokušao pretvoriti u kapital. Po- onih koji su se javili devedesetih nošæu, pjesmu prave nasumiènim ternativne kul- gije najmlaðih njak do jaja”, lemièka oštrica Prtenjaèina govo- godina. Njihove su knjige poput nizanjem konkretnih detalja i re- ture. Pjesnici “egzistencijalni ra najviše je usmjerena prema spomenutog pješèanog mlaza èenica kojima su okruženi, baca- devedesetih hrvatskih pjesnika bed” ili “cura potrošaèkom društvu i njegovim kritièki osvijetlile bitna iskustva ju se na posao slijedeæi "novu iz- prema svemu koja je sjeba- statusnim simbolima. Višestruko hrvatskoga pjesništva zadnjih ne- reku da tko traži ne nalazi" Kao (pa i prema na” jasno upu- se istièe da u svijetu oko nas ne- koliko desetljeæa te u prvi plan tekst koji na tipièan naèin zrcali prostorima li- æuju na žar- ma istinskih vrijednosti, tj. da istaknule narcistièko osamljiva- senzibilnost i tvoraèke postupke terature i kulture) iskazuju jed- gonsku opuštenost suvremenog mu je temeljna odlika patvoreno- nje subjekta, stilizirano “prepisi- devedesetih ovdje æu citirati pjes- naku ravnodušnost. U tome je, loosera. Iako je u pojedinim tek- st. Blještavilo neonskih reklama, vanje” svakodnevnih prizora, in- mu Vikend broj 31 Tvrtka Vuko- koliko zasad mogu razabrati, nji- stovima posve jasno da je Gro- sakraliziranost novca, silikoni, tertekstualnu i intermedijalnu viæa. Da ne bi bilo zabune: izdva- hova diferentia specifica. Ako je maèin subjekt bitno teatraliziran, semafori, ekrani… - to je (prema gestualnost, žanrovsku mimik- jajuæi Vukoviæev tekst nisam po- ravnodušnost (makar i hinjena) veseli njegova sklonost ospora- Prtenjaèi) inventar luna-parka u riènost, fragmentarnost i kolok- kušao izdvojiti najkvalitetniji glavno obilježje ponašanja lir- vanju inaèe tako tipiène ravno- kojemu živimo. Buduæi da se op- vijalizaciju lirskog idioma kao tekst, nego tekst koji je moguæe skog subjekta, onda su improvi- dušnosti i prateæeg joj osjeæaja redijelio za samoæu, njegov lirski uporišne toèke novih pjesnièkih interpretirati kao simptom opæeg zacija i inzistiranje na nefigura- nemoæi. protagonist inzistira na razlici. praksi… stanja. tivnosti pjesnièkoga govora glav- Poput Vukoviæa i Gromaèe Npr. ovako: Za razliku od prethodnih, na- na obilježja poetskih tehnika de- (èije su spisateljske prakse dija- u nedjelju kad ugase plavu neon- raštaj devedesetih nije imao upo- VIKEND BROJ 31 vedesetih. sku reklamu rišnog mjesta svoje promocije. Ivan je mrtav. Cecilija ima psa. Majstorom lirske hiperboliza- i ohlade se cijevi pune osamljenog Njegovi su se pripadnici oglaša- Zove se Lucky. Marina je operira- cije sadašnjeg trenutka, sluèajnih plina vali u povremenim publikacijama la tumor na maternici. Baka kuha pojedinosti i ni po èemu iznim- da samoæa je savršena èasopisnog ili zbornièkog tipa juhu od paradajza. Mrzim juhu od nih situacija predstavila se Tatja- ako je od prirodnih materijala (Godine, Zor, Libra, Rijek, Aleph, paradajza. Danima jedem samo na Gromaèa u nedavno tiskanom (Ivica Prtenjaèa, Silikoni, u Pisa- Homo volans…) ili pak u Quoru- jaja. Mesa nema. Volim jesti meso. lirskom prvijencu Nešto nije u re- nje oslobaða) mu, kultnom èasopisu osamdese- Vikendom nema struje. Struja je du?. Rijeè je o autorici koja je na tih koji je zadržao sklonost pre- skupa. Život je jeftin. Susjedi su stanovit naèin sintetizirala nasto- Suèeljujuæi raznorodne dis- ma urotnièkoj žestini pisanja naj- debeli i dosadni. Grad je porušen. janja svojih vršnjaka oko kolok- kurzivne matrice, on razgraðuje i mlaðih. Važniji pjesnici koji su se Kuæa je èitava. Birtije su prazne. vijalizacije pjesnièkoga jezika, ironizira idejne koncepte koji javili u desetljeæu na izmaku su: Policijski je u jedanaest. Zagreb je upravo promocije tzv. stvarnosne stoje iza njih. Sintagma i reèenica Tvrtko Vukoviæ, Katarina Mažu- privlaèan. Vlak polazi u tri. Stvari poezije te prokazivanja svakog su najèešæi okviri u kojima pos- ran, Ivan Herceg, Alen Galoviæ, su spakirane. Odlazim. Doèekat oblika lirske muzealnosti. Te- vjedoèuje svoju “moæ govora”. Damir Radiæ, Tatjana Gromaèa, æe me Neda. Neda je lijepa. Zado- matska ishodišta njezinih teksto- Moglo bi se kazati kako je njego- Ivica Prtenjaèa, Dragan Jurak, voljan sam. (iz zbirke Slijeganje va su npr. obiteljska prepirka, vo poetsko pismo na tragu šala- Zvjezdana Bubnjar, Krešimir ramenima) odlazak kod frizera, razgovor munovske ili maleševske euforiè- Pintariæ, Srðan Sacher, Katarina- Gomilanjem “informacija” o dviju žena u tramvaju, momci ne asocijativnosti i ludiènosti Zrinka Matijeviæ, Robert Perišiæ, sebi i neposrednoj okolini, Vu- koji èiste snijeg, party, radnici (osobito kada ispisuje stihove Milana Vukoviæ, Kemal Mujièiæ- koviæev subjekt zapravo inzistira koji u vlaku kartaju belu i sl. Ono poput "otok nema djecu/ on je Artnam, Radenko Vadanjel, Lu- na raspršenosti svoje svijesti, jer što njezinu inaèicu te “stvarnos- neèiji pad u bakreno ljeto/ u koje cija Stamaæ, Tomislav Bogdan, se ta raspršenost može sugerirati ne poezije” èini privlaènom su pristaju plave jahte/ napuèene Sanjin Sorel, Stjepan Balent, Ana tek kada se dokine semantièka zavodljiva narativnost, duhovito- metralno suprotne – pojednos- odisejima"). Poetski svjetovi koje Brnardiæ, Dorta Jagiæ, Lana Der- vrijednost “informacijama” koje st tematizacije i izrazita komuni- tavljeno kazano, njegova je ek- stvara su trenutaèni, ekstrava- kaè i dr. je unio u tekst. Izmjenom krat- kativnost teksta. Ona inzistira na skluzivistièka, a njezina žurnalis- gantni i ekskluzivni oblici samo- Teško bi se moglo kazati da je kih jednostavnih reèenica, njiho- stihovanim prièicama koje odli- tièka), na kolokvijalizaciji lirskog zaborava biæa uronjena u jezik. kontekst devedesetih u Hrvat- vom uvjetnom korespondenci- kuje umješno biranje iskaznih i idioma te na mistifikaciji kon- Prtenjaèa uvažava èinjenicu da skoj pogodovao poeziji. Prva po- jom i potpunim odustajanjem od iskustvenih perspektiva, uvjerlji- kretnog, sadašnjeg i trenutaènog mu orgije prethode te da su u nji- lovica desetljeæa obilježena je ra- metaforiènosti taj subjekt isto- vi dijalozi i inventivna poentira- ustrajno rade Ivan Herceg, Dor- ma sudjelovali drugi, što meðu tom, a druga ozbiljnom krizom. dobno legitimira nezainteresira- nja. Gromaèin lirski model dob- ta Jagiæ, Alen Galoviæ, Katarina inim znaèi da je njegova (naslo- Katastrofièna je zbilja potpuno nost i za prostor zbilje i za pros- ro ilustrira sljedeæa pjesma: Mažuran i dr. vom proklamirana) terapija poe- obesmislila ionako erodirane vri- tor imaginacije. Stoga je njegovu zijom uvjetovana iskustvima i pi- jednosti i dokinula moguænost zakljuènu konstataciju (Zadovo- Cura koja je sjebana Narcistièko osamljivanje sanjem njegovih prethodnika. Je- postojanja bilo kakve vrijednos- ljan sam) moguæe shvatiti i kao Odlazi ujutro, vraæa se nešto prije Današnji je pisac, pa tako i ziène igre za kojima poseže “pre- ne hijerarhije. Netko bi mogao doslovno autsajdersko osvješta- TV dnevnika. pjesnici o kojima govorim, osu- pisuju” veæ ostvarene prekide s II/40, 12. listopada,,,. 11 kanoniziranim govornim praksa- frizirani kompas za brz, koji su posegnuli za gotovo para- zirane portrete junaka i njegovih turom, koje više ne pokušavaju ma te izazivaju nastanak djelomi- precizno usmjeren doksalnim korespondencijama. neprijatelja, funkcionalne opise stvoriti zaseban prostor za viso- ce novog poretka èije su globalne odlazak u potrošeno… Njihovi se lirski protagonisti dvoboja, terena, konja, pastira, ku književnu kulturu." – zaklju- oznake otvorenost, fragmentar- … prepisujem, bestidno prepisu- kreæu ni manje ni više nego Div- diližansi… Lirski se govor preto- èio je Jameson, zamijetivši usput nost i pluralnost. Rijeè je zapravo jem ljim Zapadom i tematiziraju od- èio u “govor golih èinjenica”. Za kako danas, za razliku od moder- o svojevrsnom heterogenom po- rijeèi, cijele reèenice, a one se, nose izmeðu kauboja i Indijana- ilustraciju citirat æu prikaz uvoda ne u kojoj se umjetnièko djelo retku, o tipu diskursa èije je ina- kao na ulici, kao u literaturi, ca. U pitanju je, dakako, poseza- u revolveraški obraèun: promatralo imanentno (kao èice kreirala nekolicina pjesnika nude ovom prezentu u kojem se nje za žanrovskim stereotipima kreacija pojedinca), "prije svega u sedamdesetim i osamdesetim brutalno sažima oèaj westerna, tj. izravno povezivanje Priðe konju, odriješi uzde, htjede imamo problem naæi individual- godinama (Makoviæ, Maleš, Èe- o kome bih mogao napisati prostora poezije i filma. Dobar uzjahati. no umjetnièko djelo". Možda je gec, Rešicki…). Ipak, zahvaljuju- Enciklopediju primjer aklimatizacije kauboja u "Trenutak, èovjeèe" – dobaci mu Jameson u pravu, a možda su ele- æi osvještavanju neizvornosti, Pr- kada veæ ne bi postojala: hrvatskoj poeziji nalazimo u Ju- Ringloke iz sjene. menti individualne kreacije i da- tenjaèa svome pisanju uspijeva Enciklopedija mrtvih, Enciklope- rakovoj zbirci Konji i jahaèi: Chat Salvador zastane, još mu je lje prisutni, samo diskretnije i na priskrbiti terapijsku funkciju, dija okrenut leðima. drugim tekstualnim razinama. odnosno pronaæi onu toèku u ništavila, Enciklopedija hrvatskog Marlon u kinoteci Neko vrijeme se ne mièe, samo je kojoj i “prepisivanje” poèinje os- leksikografskog zavoda, Enciklo- Pojavljuje se malo spustio glavu. Žurnalizacija pjesnièkog jezika lobaðati! pedija u uniformi šerifa. Ponaša se poput èovjeka koji oèe- i ogrešenja o pismenost Lana Derkaè, pak, inzistira na sporta, Enciklopedija sobnog bi- ispija kave kuje udarac nesreæe Na koncu držim važnim istak- prodiranju u prostor nevidljivog, lja… s mukom govori i vjeruje da toèno zna kako tu nes- nuti kako je možda najveæa novi- dvojbenog, nejasnog kako bi ta- s naporom se kreæe. reæu ništa ne može sprijeèiti. na pjesništva devedesetih desak- mo osvijestila svoj identitet i eg- U naslovu ove pjesme nalazi- pitoma žena gleda ga Ringloke mu se približi još tri ili ralizacija pjesnièkoga jezika. U zistencijalno iskustvo. Taj pros- mo zapravo komentar teksta, de- suznim oèima. èetiri koraka, znaèajnom broju otpoèetih opu- tor je na kraju pronašla u metafo- pola grada sve dok se i sam ne naðe pod zra- sa nailazimo na žurnalistièke ri šume. Epiteti za kojima poseže gleda ga kama svjetla idiome koji sasvim jasno svjedo- pri pretvaranju šume u simbol suznim oèima. što padaju kroz prozore i vrata èe o tome da je jezik prestao biti lirskog staništa su zatvorenost i druga polovica i zlatasto boje sivu prašinu ceste. posveæeni prostor stjecanja is- tamnost. "Šuma je moja/ prošire- (rednecksi) "Okreni se i bori" - reèe Ringlo- kustva, eksperimentiranja i grad- na postelja" (Vez, u Škrabica za strepe za svoje žene. ke… sjene), uzvikuje ona, naglašujuæi nje imaginarnih svjetova te pos- intimnost i inspirativnost uspos- Susret poezije i filma izravno Vjerujem da citirani ulomak tao puko sredstvo prenošenja tavljenog odnosa. Tim stihovima se dogaða u naslovu – lirski je ka- dobro ilustrira Radiæevo hoti- poruka. Mnogi su zanemarili kla- Derkaèeva kreativno pokazuje da zivaè smješten u kinoteku, pred mièno pridržavanje žanra wes- sièan stav da je "gotovo nemogu- je šuma simbol središta intim- filmsko platno na kojemu se oèi- terna. No, kada se malo bolje æe ne karikirati vlastita iskustva i nosti kao što to može biti kuæa, to u glavnoj ulozi pojavljuje Mar- promotri tekst u cjelini, oèitim ne rasprodati ono što se proživ- spilja ili katedrala te da "zatvoren lon Brando. Rijeè je o ludièkom postaje da stihovna organizacija jelo i osjetilo ako se posegne za pejzaž šume stvara sveto mjesto" povezivanju zbivanja na platnu i manje poistjeèe iz prirode auto- uobièajenim oblicima komunika- (Gilbert Durand). Svijet izvan pred njim, o hotimiènom miješa- rova govora a više iz njegove pot- cije" (Peter Sloterdijk). Nastavi li šume prikazan je kao do krajnjih nju perspektiva i dokidanju gra- rebe da razlabavi žanrovske ka- se tim smjerom, vjerojatno æe se granica isparceliran prostor, kao nica izmeðu artificijelnoga svije- none i westerna i lirske pjesme. dogoditi bitna promjena statusa i prostor u kojemu su moguæa sa- ta filma i stvarnosti njegova kon- On, istinabog, baš kao i Jurak, smisla poezije u nas. Indikativno mo frustrirajuæa ponavljanja is- zumenta. I ovlašan pogled na pripovijeda o kaubojima i Indi- je da se nemar spram jezika pov- toga. Rijeè je o svijetu kataloga, kompoziciju teksta sugerira da je jancima, ali zapravo pokušava remeno oèituje i ogrešenjima o registara, formulara i garancij- ona filmièna, da imamo posla s pronaæi posredan naèin prezen- elementarnu pismenost. Tatjana skih listiæa (koji je vrlo lako us- ogoljelom filmskom naracijom, tacije svoje prièe. Filmski je ste- Gromaèa, primjerice, bez ikakvih porediv s Prtenjaèinim luna-par- tekciju stanja subjekta, ali i de- nizanjem poetskih paragrafa po reotip iskorišten kao prihvatljiv umjetnièkih razloga ili stilskih kom). Ta administrativna ureðe- tekciju stanja svijeta pred kojim principu nizanja kadrova i klišei- okvir lirskoj mistifikaciji i globa- efekata, inzistira na konstrukci- nost ne obilježava samo materi- se on osjeæa nemoænim. Taj svijet ziranim stvaranjem napetosti. lizaciji drukèijega iskustva. Isto jama u kojima se javlja dvostruka jalnu, nego i duhovnu sferu tog je enciklopediziran, tj. na stano- Damir Radiæ je otišao i korak tako, podvaljujuæi žanrovsku pri- negacija: "klinci se igraju skriva- svijeta. Uvjet istinskog pojavlji- vit naèin “dovršen”. Opet smo, dalje. Gotovo svi interpretatori èu kao pjesmu, on “žurnalizira” èa./ Ni ne slute da iza mene/ ho- vanja subjekta i stjecanja produk- dakle, blizu Prtenjaèinu luna- njegove poezi- lirski tekst, da strièek s pucaljkom u gaæa- tivnog iskustva je, dakako, odla- parku ili, pak, svijetu kataloga i je istièu filmiè- uvodi ga u me- ma"; "ima puno sprovoda/ koji zak. Metafora šume zapravo je formulara Lane Derkaè. Sve što nost kao njezi- Teško bi se dijsku igru, a niti nisu bogzna što". Korektnije metafora osamljivanja te signal pomislimo, veæ je netko uèinio - nu krucijalnu fetišiziranom bi, dakako, bilo da Gromaèini imaginacijskog obnavljanja kra- to je smisao Vukoviæeva navoðe- odliku. Quo- moglo kazati da je poetskom is- klinci i ne slute, a sprovodi da i jolika i povratka iskonskom zavi- nja naslova knjiga Danila Kiša i rumaš Delimir kustvu jezika nisu bogzna što. Dogode joj se èaju. U toj lirskoj šumi posveæe- Stanka Andriæa odnosno nekoli- Rešicki nagla- kontekst devede- suprotstavlja èak i krive kongruencije kao u re- no stanje kreacije postaje stanje ko nefikcionalnih leksikograf- sio je da njego- ogoljenu reèe- èenici "Pusti da ti ja skinem/ tih tišine - "Šuma umjesto mene skih djela. Vukoviæ je nedvosmis- va zbirka Lov setih u Hrvatskoj nicu, depoeti- tri pari gaæa". Ispravno bi bilo: ta zna:/ tišina je kapital". leno osvijestio nedoslovno pre- na risove sinte- ziranu frazu, tri para gaæa. Uostalom, slièna se Radenko Vadanjel je, pak, pisivanje kao jedini moguæi oblik tizira "postup- pogodovao poeziji. naraciju i ritam greška omakla i Draganu Juraku pjesnik detalja, sitnih pomaka, kreacije. Razlièite inaèice inter- ke transmedi- Prva polovica svakodnevno- na kraju citirane pjesme Marlon u neoèitih tragova… Njegov je tekstualnosti pojavljuju se u zbir- jalnoga i tran- ga govora. Ret- kinoteci. Njegova "druga polovi- poetski junak hipersenzibilni kama Sanjina Sorela, Krešimira stekstualnoga desetljeæa obilje- rospektiva je ca/ (rednecksi)/ strepe za svoje promatraè koji se hrani slikama Pintariæa, Tomislava Bogdana i palimpsesta u tako doista žene", iako bi svatko od te iste iz sjeæanja te koji se povremeno dr. No, ovdje æemo više pažnje svoj specifièni žena je ratom, a postala povlaš- polovice oèekivao da strepi. Da- stapa s promatranim prizorima. posvetiti jednoj drugoj pojavi. western cut tena perspekti- mir Radiæ, pak, ima teškoæa s ref- Iako pretežu melankoliène fabu- up", a mladi je druga ozbiljnom va. No, ona ni- Intermedijalna gestualnost leksom glasa “jat” pa piše “zah- lacije doživljenoga, kadšto se Sven Cvek krizom je nimalo be- tjevati”, “svijetovi” ili “poslje”; u može naiæi na kritièki intonirane Kreativne strategije jednog di- konstatirao da zazlena, jer jednom se trenutku toliko zabo- tekstove koji ironiziraju banal- jela pjesnika devedesetih usmje- se "u vremenu stavlja u zagra- ravio te je ovako formulirao lir- nost, neupitnost, spoznajnu i do- rene su prema svojevrsnoj globa- kada je jedina de klasiène ob- ski iskaz: "kartonski svitak/ u življajnu skuèenost. lizaciji lirskoga govora. Ona je stvarnost medijska i kada je ret- rasce percepcije i dovodi u pita- kojem se nalazi papiri o vlasniš- ponajprije rezultat otvaranja tek- rospektivnost (u obliku re-viva- nje samorazumljivost analitièkih tvu". Nastavi li se ovako, na kraju Intertekstualna gestualnost sta prema popularnoj kulturi i la, re-ciklaže i ostalih re-pojava) pojmova poput subjekta, indivi- æe, èini se, nekim pjesnicima ipak O iznimnoj bliskosti, dapaèe medijskim iskustvima te svoðe- dominantna kulturna èinjenica… dualnog stila, žanra, napokon i trebati pojasniti da su puèkoš- zamjenjivosti kategorija moæi i nja jezika pjesme na donedavno retrospektiva nameæe kao jedina samog umjetnièkog djela. Ges- nemoæi današnjega pjesnika po- nezamislivu ulogu pukoga ko- perspektiva". Doista, Radiæeva je tualnost Jurakova, Radiæeva i Pe- kolske trivijalije poput statusa najbolje svjedoèi njegov odnos munikacijskog sredstva. Inter- poezija krcata aluzijama, izrièaj- rišiæeva pisanja podjednako se te- subjekta u reèenici i njegova sla- spram tekstualnoga nasljeða. S medijalnost u hrvatskom pjesniš- nim i strukturnim klišejima, nos- melji na popularnoj i visokoj kul- ganja s predikatom uistinu ne- jedne se strane èini kako ne ras- tvu nije, naravno, novost. Dapa- talgiènim ili ironiènim obnavlja- turi i nije je moguæe (bez nasilja) važne, ali samo dok njima bespri- polaže nièim nego tuðim rijeèi- èe, ona je kao poetièki poželjna njima kanoniziranih umjetnièkih svoditi na jednu ili drugu. Iako je jekorno vladamo. Itd., itd. ma, reèenicama, postupcima i praksa iznova kanonizirana postupaka. Njezin je predmetno- spomenuta ambivalencija prisut- Ovim izdvajanjem jeziènih stilskim figurama, a s druge kako osamdesetih prilagoðavanjem tematski svijet posve artificijelan na u hrvatskoj poeziji od poèetka grešaka nisam kanio umanjiti vri- upravo to nasljeðe podvrgava hu- tehnika i postupaka rock glazbe, – u njemu je sve iz druge ruke, u osamdesetih, njihove su inaèice jednost poetika i lirskih iskusta- mornoj ili ironiènoj reinterpreta- videa, stripa ili filma pjesnièkim njemu je vjerojatno najmanje po- “globalne” pjesme najradikalnije. va devedesetih. Dapaèe, i njihovo ciji. Lirski subjekt pritom pod- tehnikama i postupcima. Meðu- željna i produktivna doslovna Opisana se kreativna strategi- je pojavljivanje jedan od simpto- sjeæa na turista koji dodiruje tim, devedesetih se dogodilo ra- komunikacija s tekstom. Radiæev ja u potpunosti poklapa s duhom ma trenutka i primjerenih mu površinu stvari, ali koji je u bit- dikalno intermedijalno širenje is- lirski koncept vjerojatno najbolje vremena. O tome, meðu inim, praksi. Vratimo li se poèetnoj nom smislu odsutan iz svijeta kustvenoga polja. Iako su se zad- zastupa dugaèka poema Obma- svjedoèe i nedavne izjave ugled- prièi o Michaelu Asheru i mlazu koji tematizira. Intertekstualna njih godina na tiskanje stihova nuti šerif. Rijeè je zapravo o sti- noga teoretièara Frederica Jame- pijeska kojim je otkrio malter is- je gesta gotovo teorijski proble- odluèili glazbenici Srðan Sacher i hovanom western scenariju u ko- sona. On je, naime, u jednom in- pod žbuke kao svoje umjetnièko matizirana u tekstu Enciklopedi- Lidija Bajuk Pecotiæ (koji su, jemu nalazimo vrlo intrigantnu tervjuu konstatirao da se s knji- djelo, i te æemo greške moæi tre- ja oèaja veæ spomenutog i citira- dakle, i doslovno ujedinili razlièi- fabulu o kreposnom šerifu koji ževnošæu oèito nešto dogodilo i tirati zakonitim dijelom potpu- nog Tvrtka Vukoviæa: te medije), smjer i smisao tog ši- se nepokolebljivo zauzima za da se danas teško može govoriti nog ogoljavanja pjesnièke kreaci- renja najoèitiji su i najekstrava- pravdu, pridržavajuæi se pritom o postojanju tzv. visoke literatu- je, njezinog materijala i intencija Enciklopedija oèaja gantniji u pisanju Dragana Jura- najviših moralnih naèela. Umješ- re. "Zapravo, mislim da su knjige koje iza nje stoje. I one su zako- Sve što ispisujem ka, Damira Radiæa i Roberta Pe- no “kadrirajuæi” prizore lirske koje su danas znaèajne… knjige nit dio fenomena današnje hrvat- kilavi je jauk u epohi šutnje, rišiæa. Rijeè je, naime, o autorima prièe, Radiæ je u tekst unio klišei- koje su prožete popularnom kul- ske književnosti. 12 II/40, 12. listopada 2,,,.

Ja sam prvi u generaciji koji nije nikakve veze ni sa vjerom u boga onog svijeta. Moj je zavièaj, jedi- tela Beograd u Sarajevu. To je bi- imao pravo da se besplatno vozi ni s ateizmom. Jedna od forma- ni moguæi zavièaj, Sarajevo. Me- lo jedno od prvih ogromnih gra- željeznicom, i možda sam iz tog tivnih prièa mog djetinjstva je bi- ðutim, moj unutrašnji zavièaj, re- natiranja, sjedili smo u ostaklje- la ta kako je moj djed proveo jed- kao bih, važniji je i od tog zavièa- noj kavani i mene je bilo, moram nu noæ u zatvoru. To se dogodilo ja. Taj unutarnji zavièaj zapravo priznati, užasno strah. Kad god nakon što je 9.10. 1934. u Mar- je zavièaj djedova i baka, zavièaj bi udarila neka granata u blizini, Miljenko Jergoviæ seilleu ubijen kralj Aleksandar. roditelja, uspomena, zavièaj mo- ja bih se bacao pod stol. Preko Tad je moj djed u nekoj kavani je sobe i jednoga svijeta koji više puta mene sjedio je jedan èastan rekao “E neka ga ubiše” nakon ne postoji i možda stvarno nika- gospodin koji se zove Vlatko književnik i novinar kompleksa dosta pisao o svom èega su ga žandari odveli u zatvor da nije ni postojao, ali je formi- Kraljeviæ, danas ambasador Bos- djedu željeznièaru. Takve se stva- i sutradan pustili. To je prièa koja ran u meni i u meni jednostavno ne i Hercegovine u Italiji i Vati- ri jednostavno ne zaboravljaju. mi je kao klincu bila užasno važ- traje. Ja ga nosim sa sobom i kanu. On je mirno sjedio i pušio, U uvodnom tekstu Naci bon- Nikad u narednim godinama i na. Onoga dana kad je osloboðe- premještam s jednog na drugo gledao kako te granate padaju i u tona kažete da je vaša generacija vremenima nisam osjetio tu vrstu no Sarajevo, moj djed, koji je tad mjesto po mojoj vlastitoj volji, jednom trenutku pogledao ispod odgojena na “pedagogiji katodne nacionalne, socijalne, rasne ili radio u direkciji željeznica, zapu- po mom nekom unutrašnjem od- stola gdje sam bio ja i izgovorio cijevi”, èesto pišete o fotografiji, vjerske ugroženosti koju sam os- tio se iz svog stana da zauzme di- reðenju. Dakle, ja mislim da je jednu od meni najdražih reèenica filmovima, stripu kao umjetniè- jetio kad ja jedini nisam imao re- rekciju željeznica da mu ne bi biti apatrid, ne pripadati, nešto koju sebi ponavljam kad se jako kim medijima koji su izvršili va- žijsku kartu. tko što opljaèkao, ili sluèajno ne- što donosi nevjerojatnu, rajsku puno prepadnem, a to je “Više žan utjecaj na formiranje vaše ki ustaški ili fašistièki elementi ugodu, rajsku prijatnost, a u isto Djed je važan dostojanstva, Jergoviæu!” poetike. Kakav je odnos književ- što zapalili. Taj dan, i sljedeæa je vrijeme smrtonosno. Jer, biti Puno je vaših sugraðana, od nih utjecaja i utjecaja tih medija Naèin na koji pišete o djedu dva, on je u svojim rukama držao èovjek koji nema stalno mjesto kojih su neki sigurno i vaši prija- direkciju i bio je jako sretan što boravka, koji nema domovinu i u vašem sluèaju? daje naslutiti da mu puno dugu- telji, pisalo o ratu, o opsadi, o — Važno je napomenuti da je tako važnu ulogu u životu može koji nema zastavu koja ga štiti i jete u ljudskom smislu. Djed je gradu, no kvaliteta tih tekstova moja generacija, dakle generacija “važan”? odigrati. Iako nikad nije bio ni za koju æe poginuti jako je opas- prilièno varira. Koje autore ili roðena izmeðu 1960. i 1973. bila — Djed je jako važan. Djed i partizan, ni komunist, a naravno no i baš smrtonosno. Ali, s druge knjige iz toga korpusa preporu- je jedina generacija na ovim pros- baka, majèini roditelji, odgojili su ni nacionalist. Jedina vojska ko- strane, to je zapravo najveæi osje- èate ? torima od 1945. godine koja se me i nauèili svim važnim stvari- joj je u životu pripadao bila je æaj slobode, i nikada nisi toliko — Ima nekoliko pisaca koje formirala paralelno sa svojom ma u životu. Kad to izgovorim, vojska cara i kralja Franje Josipa slobodan koliko si slobodan kada bih uvijek i na svakom mjestu generacijom iz bilo kojeg dijela moji roditelji uvijek bivaju jako iz koje je bio pao u talijansko za- nemaš svoju zastavu, svoj grb i Europe, koja se formirala na jed- nesretni, jer osjeæaju da su nešto robljeništvo, gdje mu je bilo od- svoju vjeru u kolektivitet. Ima je- preporuèio kao jako vrijedne èi- nakim vrijednostima, istim fil- propustili uèiniti, i budi im se lièno. dan stih Miloša Crnjanskog iz tanja, a reklo bi se da su sarajev- movima, knjigama i istim život- kompleks krivnje. Meðutim, Bilješke iz Kiševe rukopisne Lirike Itake koji mi je užasno ski pisci. Jedan je zasigurno Ne- nim idealima. Sve generacije prije doista je istina da presudan utje- ostavštine pokazuju da je krzmao èesto zadnjih šest-sedam godina nad Velièkoviæ – sve što naðete s naše su zapravo bile generacije caj na mene nisu izvršili ni moj oko naslova jedne pripovijesti – padao na pamet, a stih glasi “Ni potpisom Nenada Velièkoviæa èi- jugoslavenskog socijalizma, koje otac ni moja majka, vjerojatno iz Apatrid ili Duh je naša domovi- jedna èaša što se pije,/ ni jedna tajte; drugi je Semezdin su se na potpuno drugi naèin for- tog razloga što, bez obzira što na. Osjeæate li se u književno- trobojka što se vije/ naša nije. “ Mehmedinoviæ, treæi je sjajni sa- mirale, na drugim vrijednostima. me nisu dobili jako rano, nisu bi- duhovnom smislu apatridom? To je napisano 1918. godine, i rajevski pisac koji živi u Chicagu, Sve generacije nakon nas formi- li zreli za dijete. Oni æe vjerojat- —S jedne strane mislim da svi pokazuje važan, dubinski osjeæaj Aleksandar Heman, potom Go- raju se po modelu aktualnih reži- no sazrijeti tek ako budu imali mi, svojom voljom ili bez nje, da ne pristaneš na to da pripadaš ran Samardžiæ. To su sve pisci ge- ma, i to je jedna jako bitna èinje- unuke. Ja sam duboko uvjeren da sudjelujemo u podjelama i dio simbolima i da ne pripadaš niži- neracije o kojoj sam maloprije nica za veæinu ljudi te generacije su djedovi i bake najbolji rodite- smo nekog kolektiviteta kojim se ma od tebe, a niži od tebe su svi govorio, roðeni izmeðu 1960. i koja danas na prostoru bivše Ju- lji, jer vjerojatno su u stanju is- manipulira ovako ili onako. Me- oni koji te prisiljavaju na pripada- 1973. i naèin na koji oni pišu je goslavije pokušava nešto raditi, praviti one greške koje su poèini- ðutim, isto tako, postoji i neka nje. Najmizerniji su oni ljudi koji vrlo važan jer je nov i jer je pot- nešto pisati, snimati. Sasvim je li na svojoj djeci. Ja sam zapravo vrsta moguænosti da se èovjek in- od drugih ljudi oèekuju izjašnja- puno depatetiziran i dezanagaži- sigurno da su na tu generaciju, i, odrastao s prièama o nekom jako dividualno odredi. Moje indivi- vanje. Sjeæam se onih mon- ran u dnevno politièkom smislu naravno na mene, ogroman utje- davnom vremenu, iz današnje dualno odreðenje bitno je uvje- struoznih zahtjeva od hrvatskih rijeèi. caj izvršili izvanknjiževni mediji. perspektive govoreæi. Moji sta- tovano mojim životom, a to je Srba da 1990. godine potpisuju Dakle, film, muzika, fotografija i vovi, èak i politièki, formirani su odreðenje da doista nikom ne dokaze o svojoj lojalnosti. To je Pornografija i nogomet strip i, na kraju, televizija. To je na neèemu što nije pripadalo ni pripadam na takav naèin da bih se bilo nešto bestidno, bez obzira Objavili ste nedavno u nešto što se jako osjeæa u teksto- žanru komunizma ni antikomu- sad mogao udarati šakama u prsa na ono što se dogodilo nakon to- Playboyu tekst o pornografiji, a vima ljudi koji su u tom periodu nizma, što nije imalo apsolutno i vikati ja sam iz ovog ili ja sam iz ga, bez obzira na to što su ti isti to se mnogim našim piscima ne bi odrastali u gradovima. hrvatski Srbi u agresiji sudjelova- tako lako dogodilo. Je li bilo ko- li, osjeæaj odvratnosti prema tom mentara u stilu “što to njemu tre- Prièa o željeznici èinu zahtijevanja od nekoga da ba” ? Talijanski i francuski kritièari potpisuje dokaz svoje lojalnosti — Konzumiram ogromne ko- èesto nalaze veze izmeðu vaše u meni je ostao do danas. lièine pornografskih materijala proze i proze Danila Kiša. svake vrste i mislim da sam za pi- — Ne mogu govoriti o tome Kad je strah postao prevelik tanja pornografije, a ozbiljno kolika je književna i poetièka ve- Željko Ivankoviæ u svom mislim ovo što govorim, jedan za izmeðu mene i Danila Kiša, ali dnevniku 700 dana opsade piše od jaèih autoriteta u Hrvatskoj, sigurno postoji jedna veza – že- kako ste u svibnju 1992., kada je barem kada je rijeè o javnim oso- ljeznica. Kad bih govorio o Kišu zapoèela opsada, bili izrazito oš- bama, iako, vjerojatno, postoje i i sebi izgledao bih sam sebi malo tri prema onima koji su napušta- oni koji su više samozatajni, pa pretenciozan i bezobrazan. Veza li grad. Nakon otprilike godinu se za njih ne zna. Eto, zato ja pi- postoji u tome što je moj djed dana vi ste napustili Sarajevo, šem o pornografiji. Mislim da ta Franjo Rejc bio visoki željezniè- što se tumaèilo kao izdaja. Koli- floskula da pisac èuva svoje dos- ki službenik i završio karijeru ko je ostati ili otiæi osobno ljud- tojanstvo pišuæi samo o važnim i kao konstruktor reda vožnje, a u sko pravo izbora, i osjeæate li se uzvišenim stvarima s jedne stra- životu je bio otpravnik vozova na zbog odlaska kao izdajica? ne ništa ne znaèi, a s druge strane podruèju od Usore do Sarajeva, — Odlazak u trenutku dok je sputava književnost samu. Ako na masi tih malih željeznièkih grad još bio pod opsadom je ne- pišemo samo o važnim i sudbo- stanica i zapravo je moja obitelj s ka vrsta izdaje, ali izdaje jedino i nosnim stvarima, na kraju ne pi- majèine strane jako formirana na iskljuèivo samoga sebe, drugih šemo ni o èemu. Hrvatska knji- toj prièi o željeznici. I postoji ne. Nitko nema pravo u svoje ževnost je, na žalost, u velikoj jedna stvar koje se sjeæam iz naj- ime nekom spoèitavati odlazak. mjeri književnost ni o èemu i ranijeg djetinjstva, trenutka kad Može se spoèitavati u ime nekog možda bi bilo dobro kad bi se hr- sam se prvi put osjetio jako dis- univerzalnog principa, i ja sam se vatski pisci malo više bavili por- kriminiran, duboko ugrožen i za taj univerzalni princip svim sr- nografijom i nogometom, možda nesretan. To se dogaðalo kad bi cem i dušom zalagao sve do tre- bi konaèno propisali. Problem je kondukter u vlaku ušao u naš ku- nutka kad moj strah nije postao pe, kada bi djed izvadio svoju re- prevelik. Kad je strah u meni veæine hrvatskih pisaca, bez ob- žijsku kartu, baka svoju, mama postao prevelik, ja sam taj prin- zira na kolièinu knjiga koje ob- svoju, a za mene su morali platiti. cip iznevjerio, a to je iskljuèivo i javljuju, taj što do dana današnje- To je za mene bila èista tragedija. samo moja osobna stvar i ona se ga gotovo da nisu propisali. U drugih ljudi ni na koji naèin ne Hrvatskoj, a tako je bilo i u biv- iljenko Jergoviæ roðen je 1966. u Sa- može ticati, niti bih ikome dao šoj Jugoslaviji, ljudi su važni rajevu. Piše poeziju, prozu, književ- pravo da mi se to uzima kao bilo onoliko koliko se važnima pred- nu kritiku i publicistiku. Objavio je kakav argument. Naime, hrabro- stavljaju okolini. A najprazniji zbirke pjesama Opservatorija Varšava st je svakako vrlina, ali nije dob- ljudi se najvažnijima predstavlja- (1988), Uèi li netko noæas u ovom gradu ja- ro kada èovjek zarad postojanja ju, najprazniji ljudi imaju najoz- panski (1990), Himmel Comando (1992), te vrline prekoraèuje vlastite gra- biljniju misiju. Èovjek koji pre- tendira da bude važan ovome svi- Preko zaleðenog mosta (1996), zbirke prièa nice. Nekad valja pristati na vlas- jetu nikad neæe pisati o nogome- Sarjevski Marlboro (1994), Karivani (1995), titi strah i ja sam na njega u jed- tu i pornografiji, jer mu to ne da- Mama Leone (1999) te dramu Kažeš anðeo nom trenutku pristao. Postoji jedna silno lijepa i slatka epizoda je moguænost da bude važan. (2000). Publicistièki tekstovi objedinjeni su u iz 2. svibnja 1992. godine i veli- Dušanka Profeta knjigama Naci bonton (1998) i Historijska èi- kog granatiranja koje me je, za- tanka (2000). mislite, bilo zateklo u kavani ho- (iz intervjua Zarez, br. 1, 19 veljaèe 1999.) II/40, 12. listopada,,,. 13

æom, pripadnost jednoj kulturi nije isklju- znat æete veæ koga: kutija otrovnih slova èivo stvar politike, nego i jezika i osjeæaja posljednje je što je èovjek izumio u obra- pripadnosti. Meðutim, ni tu nisam posve nu vlastitog dostojanstva. “etnièki èista”, živim èak i na rubu jezika Kako dolazite do potencijalno zanim- jer pišem i živim u drugom jeziku, engles- ljivih naslova? Slavenka Drakuliæ kom. Uvijek sam živjela na razlièitim mar- Predrag Luciæ – Pronalazimo se uzajamno: i bibliote- ginama i uvijek mi se èinilo da to ima dob- ka pisce, i pisci biblioteku. Sva èarolija ru stranu jer èovjeku daje više slobode. ove igre je u prepoznavanju. Veæ u sa- književnica i novinarka Mora da sam ustvari okorjeli kozmopolit, urednik novina i biblioteke mom Feralovom imenu ljudi prepoznaju jer živim u nekoliko zemalja, aktivno sud- Feral Tribune je li to prostor koji ih zanima ili ne. Na jelujem u kulturama tih zemalja. meni je i ostalim urednicima Feralove lavenka Drakuliæ je, uz Dubravku Koji su elementi bili presudni u stvara- biblioteke bilo da izborom prvih desetak Ugrešiæ, najpoznatija i najprevoðe- nju tvojeg intelektualnog i književnog Biblioteka Feral Tribune pokrenuta je naslova odagnamo jedinu eventualnu za- nija hrvatska književnica u inozem- identiteta u inozemstvu? prije šest godina i dosada je u njoj objav- bunu koju je njezino ime moglo proiz- stvu. Dosada je objavila romane Hologra- – Kao i u drugim podruèjima, važno je ljeno gotovo šezdesetak naslova. vesti: onu da, sukladno dosadašnjim na- mi straha, Mramorna koža i Kao da me ne- stvoriti prepoznatljivo ime, a ime se stvara Koja je osnovna ureðivaèka koncepci- vadama na ovim prostorima, svaka edicija ma, te zbirke eseja Smrtni grijesi feminiz- na razne naèine, od nastupa u knjižarama, ja biblioteke i koje su dodirne toèke Fera- pokrenuta unutar nekih novina mora ma, Kako smo preživjeli komunizam i pri do intervjua, kritika i konaèno, pisanja la kao novina i njegove biblioteke? nužno i neizostavno ostati u granicama tome se smijali i Cafe Europa. Tijekom de- novinskih tekstova. Sve je to važno za re- – Feralova biblioteka nije ništa drugo publicistike. Kada su ljudi prepoznali na- vedesetih, od strane vlasti Franje Tuðma- cepciju, moglo bi se reæi da je biti pisac fu- nego nastavak Ferala skoro pa istim sred- kanu da Feral i svojom bibliotekom pre- na i dijela hrvatskih intelektualaca, izrazi- ll-time job, izdavaèi na primjer zahtjevaju stvima. Baš kao ðe sve granice, tog nacionalistièkog odreðenja, bila je puno veæi angažman kod publiciranja što je i tjednik Fe- poèeli su nam u marginalizirana i oštro kritizirana. knjige nego nekada. Sigurno da mi poma- ral Tribune nasta- tome bezgraniè- Kakva slika u Hrvatskoj danas postoji že to što sam novinarka, pa se povremeno vak satiriènog no pomagati. A o tebi? Da li još uvijek dominira lik “vješ- javljam tekstovima u talijanskim, njemaè- podlistka skoro onda su poèele i tice”, “izdajice domovine”? kim, amerièkim, švedskim itd. novinama, pa istim sredstvi- moje brige s na- – Na to je pitanje teško odgovoriti. U odnosno u zemljama u kojima mi se po- ma. Ovakvu je gomilanim gra- ovoj zemlji ljudima ionako nije ostavljeno javljuju knjige. Zatim, èesto sudjelujem na biblioteku stvori- divom. puno prostora ni da sa- meðunarodnim kon- la ona ista potreba Sjeæam se, na mi stvaraju sliku o ne- ferencijama, držim koja je stvorila i listi želja koju èemu niti da prosuðuju predavanja na sveuèi- ovakav list, potre- sam ispisao jut- o bilo èemu. Sliku o lištima itd. Osim ro- ba nekolicine lju- ro nakon što se meni stvorili su “dr- mana pišem i knjige di da na podvalu nisam uspio ot- žavni mediji” i to napa- eseja, pa to dopire do vremena u kojem rijezniti od svo- dima, glupostima i uv- razlièitih kategorija živimo odreagira je noæne ideje da redama na moj raèun... publike. Sve to zajed- onako kako bi pokrenem bib- S druge strane, nema no stvara prepoznatlji- pismen svijet ko- lioteku, stajala mojih tekstova, osim vost. jemu nije amputi- su i imena Mirka povremeno, u Hrvat- Prva moja knjiga ran obraz i inaèe Kovaèa i Predra- skoj nisu objavljene ni objavljena u inozem- trebao reagirati ga Matvejeviæa. sve moje knjige. Kakvu stvu jest roman Ho- kad prepozna I naslovi Kristal- onda sliku javnost logrami straha. Objav- podvalu. ne rešetke i Epis- uopæe može imati? Ali ljena je u Rowohltovoj - Danas, dakle, u vrijeme naprasno tolar iz Druge Evrope. Tada nisam znao da nisam jedina kojoj se biblioteci Neue Frau progledalih, mojih mi 15 feralovskih go- su obje te knjige veæ u pripremi kod dru- to dogodilo, ima do- 1988. godine u Nje- dina daju za pravo da se narugam aktual- gih izdavaèa. Kada sam to doznao, bio voljno pisaca, režisera, maèkoj. Druga knjiga nim frustracijama svih koji tvrde da su bi- sam, priznajem, ljut na sebe što se nisam glumaca kojima se do- bila je Mramorna koža, li prevareni. A prevareni su bili svi koji su ranije sjetio Feralove biblioteke, ali – poš- godilo isto. Ustvari, u izdanju Roberta Laf- to – što zbog osobnog komoditeta, što tujuæi èinjenicu da i Kovaè i Matvejeviæ svatko tko se usproti- fonta u Francuskoj. zbog lijenosti ganglija, a što zbog siren- imaju svoje izdavaèe – odustao sam od vio propagandi. Jasno Objavila sam jedan skoga zova gomile – zapravo i željeli biti. namjere da ih nazovem i pozovem da ne- je da HDZ-ovu režimu mali odlomak rukopi- Jer ako si dopustio da ti bace prašinu u ku buduæu knjigu objave kod nas. Ne pri- nije trebala kultura, sa u nekom kanad- oèi, uopæe ne moraš gurati glavu u pije- èam vam ovo da bi netko rekao “Vidi, što nego samo propagan- skom èasopisu i ubrzo sak. Ona je veæ u njemu. Ja, dakle, ne je ovaj fin i kolegijalan!” ili “Ala krete- da... Ali o èemu mi mi je stiglo pismo iz priznajem nikakvu naknadnu pamet, jer na!”, što je valjda bliže istini, nego da po- uopæe govorimo, o ko- Pariza, urednica Laf- ona u pravilu ne priznaje svoju prethod- kušate zamisliti kolika je moja radost joj javnosti? Kulturnoj, fonta molila je da joj nu glupost. Mi smo u Feralu svih ovih go- zbog toga što su kasnije i Kovaè i pretpostavljam. A kul- pošaljem cijeli ruko- dina pravili novine koje su javno spaljiva- Matvejeviæ prepoznali Feralovu bibliote- turna javnost živi u si- pis. Hoæu reæi, protiv- ne dok su ovi, što su danas progledali, ku kao svoj prostor. To što se u istom tuaciji da tisuæu proda- no nekim mišljenjima mahom zatvarali oèi. Znate, kad zažmiriš prostoru prepoznaju i Milan Kangrga koji nih knjiga znaèi uspjeh, da postoji jedan da sam se na stranom tržištu probila knji- pred lomaèom, ono što nazireš kroz po- iza sebe ima i Izabrana djela i Marinko jedini list za kulturu, da jedva da postoje gom eseja Kako smo preživjeli komuni- lustisnute vjeðe možda ti doista i izgleda Košèec koji još nije imao objavljenu knji- poštene knjižare – to su uglavnom papir- zam, prvo su prevedeni romani. Istina, kao vatromet i možda ti je tako ljepše, u gu najveæa je pohvala mojoj izdavaèkoj lu- nice – da izdavaèi moraju raèunati na gu- knjiga eseja Kako smo preživjeli komuni- redu, neka im bude... Isto tako, objavlji- dosti. Ne, ne, ne... Ne bojte se, neæu sad bitak ako se odluèe objavljivati domaæu zam probila je led na anglosaksonskom tr- vali smo knjige koje ignorantima što o krenuti u kuknjavu bez koje izdavaštvo u prozu... i sve to u opæoj skupoæi i bespari- žištu, u Velikoj Britaniji i u SAD-u. Tamo svome vremenu uvijek znaju da je takvo, ovoj zemlji naprosto ne ide. Samo æu vam, ci kad ljudi jedva imaju za novine... sam takoðer pokušala najprije Hologrami- ali nikada ne žele znati kakvo je doista, pozivajuæi se na Kiša, ponoviti ono što Osjeæaš li se pripadnom hrvatskoj knji- ma, ali nije išlo. Sve dok mi urednica W. W. nisu kazale ništa, jer ih oni nisu ni èitali. veæ znate: Mi objavljujemo u pustinji. Pa ževnoj zajednici u užem smislu? Nortona, koja je zapazila moje tekstove u A nisu ih èitali, jer je to Feral i jer je to fu- ako je i ludost, moja je. – Ja tzv. “književnu zajednicu” ni ne The Nation, nije manje-više naruèila knji- j-kaka. Taj fini i uglaðeni svijet kojemu je poznajem, ne poznajem te ljude, ne sudje- gu eseja o životu u komunizmu. Feral bio vulgaran dok mu hrvatska stvar- Katarina Luketiæ lujem u njihovim djelatnostima, nisam nost, naprotiv i nipošto, vulgarna bila ni- (iz intervjua Zarez, èlan njihovih udruženja, ne objavljujem u Andrea Zlatar je, mogu poèastiti jednom parafrazom br. 17, 28. listopada 1999.) njihovim èasopisima i zbornicima. Sre- (iz intervjua Zarez, br. 24, 3. veljaèe 2000.)

i prazno. Moja stanja nemaju ve- usmjerenost na realnost u poeziji Realnost kao nizovi slika na pov- stoje u obranu našeg identiteta. ze s uspjehom moje zbirke. To varka, kao što je i sama realnost, ršini, vrh nekog durbina kroz ko- Bulgakov, Babelj, Kiš, Crnjanski, najbolje znam po tome jer kad ji se vidi ono što zapravo jest, Popa, Tadiæ, Ladin, Mehmedino- sam tužna i želim se nekako išèu- ono što je unutra. Srce oceana. viæ, Rešicki, Dragojeviæ, Ham- pati iz toga, kažem sebi "Hej, ni- Kako se odnosiš prema drugim vas, Maspero, Cendrares, Cesai- je sve tako crno! Tvoja zbirka je piscima? re, Callaghan, Ondaatje, Carver, Tatjana uspjela!" Ali, ništa. To mi tada ne - Ima puno pisaca koje cije- Atwood, Fante, Bukowski, Sal- pomaže. A, ako mi tada ne po- nim. Neke sam voljela u odreðe- linger, Kureishi, Canetti... maže, u drugim sluèajevima mi nim periodima života, ali ih poš- Kako vidiš svoju buduænost? Gromaèa ne treba. Kada sam sretna, ne tujem i danas, mada ih možda ni- - Svoju buduænost vidim, tj. razmišljam o svojoj zbirci. Ima sam èitala desetak godina. Oni su priželjkujem, kao obiènu ljudsku puno važnijih stvari, uostalom, tu i ja uvijek mogu stati u obranu pjesnikinja i novinarka onda sam sretna i bez nje. Mogu njihove èasti. Ali, život ide dalje, buduænost. Sve što želim ostvari- je samo blago pogledati i reæi dolaze nove knjige, nova imena ti, želim to uèiniti kao èovjek, ne "O.K., draga si, stoj tu i dalje!" koja nas osvajaju. Potraga traje i kao pjesnik. Nemam posebno Odakle ta usmjerenost na to je dobro. Jer, taman kad po- velikih literarnih ambicija i to mi Kako se osjeæaš nakon uspjeha realnost u tvojoj poeziji? mislimo da smo prokopali sve odgovara. Novac trenutno zara- tvoje prve knjige pjesama Nešto - Svatko usmjerava svoje pisa- kanale i da više nema nièega što ðujem kao novinar honorarac, a nije u redu? nje onamo kamo je usmjeren nje- svijet predmetnih stvari, obma- nas može protresti, evo ga, nala- vjerujem da bih se jednog dana - Osjeæam se kao i svako dru- gov pogled. Pogled je ondje gdje na. Predmeti su tu, èvrsti, jasni, zimo još jednog, pa još jednog. voljela vratiti svom profesor- go biæe - èas veselo, èas tužno. je neko stanje, osjeæanje koje te- oblikovani, ali sve ostalo je nes- Probiramo ih kao zrnje i guramo skom poslu. Uplašeno pa smireno, ispunjeno žimo izraziti. Jasno je da je moja talnost, promjenjivost, borba. u naš kutiæ. Neka budu tu, neka Rade Jarak 14 II/40, 12. listopada 2,,,.

Irena Vrkljan Josip Mlakiæ Serdar srednjobosanski je ratni veteran Roman Simiæ koji leži na jednom zagrebaèkom psihijat- Posljednje Kad magle stanu rijskom odjelu zbog PTS-a. Tamo je dos- Mjesto na kojem putovanje u Beè Nomad, Zagreb, 2000 pio nakon što je ubio svog suborca, oteo æemo provesti auto vojne policije, napravio pravi kraval. Znanje, Zagreb, 2000. Jakov po nalogu lijeènika bilježi svoja sje- noæ ad magle stanu opisuje hrvatsko- æanja na prošle dogaðaje, ukljuèujuæi i one Naklada MD, Zagreb, 2000. biteljska tajna” središnji je pojam bošnjaèki rat hrvatskim pogledom koji su prethodili utamnièenju. Jakov je romana Posljednje putovanje u Beè. iznutra, iz perspektive èovjeka koji ubio svog predratnog najboljeg prijatelja ugo oèekivana zbirka prièa Ro- Tajna pripada kriminalistici, obitelj se našao u rovu, puškom na pušku sa svo- Mirsada, muslimana. Ubio ga je u zarob- mana Simiæa, urednika u èasopi- poetici Irene Vrkljan. “Obiteljska tajna”, jim susjedima. Istovremeno, ta je knjiga ljeništvu nakon što mu je podmetnuto su Quorum, pravo je osvježenje kao takva, predstavlja opæe mjesto tradicije politièki duboko razbo- pismo koje indicira da je na prilièno zamrloj domaæoj književ- kriminalistièkih romana, i to onih engles- rita, trezvena i poštena. Mirsad imao preljubniè- noj sceni. Sukladno patafizici, znanos- ke, nešto staromodnije provenijencije. Da- Ona s razumijevanjem i ku vezu s junakovom že- ti o imaginarnim prostorima, koju su kako, u takvom romanu neæe biti nikakvih poznavanjem pripovije- nom. Srednjobosanski tijekom ovog stoljeæa u Francuskoj patologa, analitièarskih timova koji izraðu- da prièu koja se toliko Otelo imao je – kao i afirmirali pisci fantastièari: Jarry, Arra- ju profil serijskog ubojice, kompjutorskih puta ponovila Bosni, Li- obièno – svog Jaga. On bal, Vian, Perec i drugi, Roman Simiæ struènjaka koji provjeravaju brojeve auto- ci i Slavoniji: prièu o do- se zove Keške, junakov je unutar vlastite proze pronalazi nove mobilskih tablica... Na mjestu intelektual- juèerašnjim komšiluci- suborac iz rova, cinik i prostore koji funkcioniraju kao èista no precizno planiranog “savršenog zloèi- ma u kojima su ljudi bili mizantrop sklon neprim- metafora... Simiæ je prvi pravi hrvatski na” nalazi se obièna obiteljska tajna. Najo- povezani kumstvima, jerenom humoru koji patafizièar, ili Borghesovac u punom biènija, onakva kakvih ima u gotovo svakoj školskim drugarstvima i namjesti Serdaru "inkri- smislu rijeèi, raèunajuæi na njegov radi- (normalnoj!) obitelji: vanbraèna djeca, iz- sportskim rivalstvima, minirajuæe" pismo i ruž- kalan tretman imaginarnog, kao i neu- gubljeni ljubavnici, usvajanja, neuspješna da bi na koncu završila u nom šalom uputi meha- taživu želju za egzotikom... potraga za nikad dobivenom ljubavi. Ni- krvi. Mlakiæevi junaci nizam tragedije... Simiæevi svjetovi nastaju na margi- kakva asocijalna psihopatologija, samo katolici su i muslimani Pored mnogo papirna- nama veæ postojeæih, jednom izmašta- normalna patologija naših svakodnevnih koji jednako psuju Ala- tih ratnih knjiga Mlakiæe- nih egzotiènih svjetova. Oni nastaju iz života i poremeæenih odnosa. Jedino što ha, govore istu arhaiènu va miriše na autentiènost. registra njegova iskustva, ali i registra ovaj roman direktno dijeli s modernim kri- ikavicu i ne navijaju ni Karakteri, ratna psiholo- njegova èitanja. Ovi prostori deriviraju minalistièkim romanima èinjenica je što i za Dinamo ni za Saraje- gija i tehnologija, specifi- iz veæ postojeæe patafizike jednog Ma- Posljednje putovanje u Beè na samome po- vo, nego za Hajduk. To èan rovovski mentalitet, rqueza, Llose ili Asturiasa, na prim- èetku izlaže leš... jesu li se oni mrzili prije rata ili ne u cije- humor i sentiš – sve naprosto odaje èovje- jer... Pripovjedanje Irene Vrkljan u Posljed- loj prièi nije bitno: stvari su se dogodile ka koji je tamo bio kao senzibilni promat- Možemo reæi da je Simiæeva zbirka i njem putovanju u Beè dosljedno je moder- mimo njih, a da nisu imali izbora. Sad se raè. To nije naravno jamstvo za dobru rat- neobièna i znaèajna u aktualnom tre- nistièko pismo u kojem nad autorskim pri- rokaju dugim i kratkim cijevima i èekaju. nu knjigu, ali jest nužan preduvjet, nešto nutku domaæe prozne produkcije. Do- povijedanjem u treæem licu dominira pri- Èekaju, kako tipiènim bosanskim fataliz- što se ne da ni kupiti ni posuditi. bili smo pisca koji se ne uklapa u vlada- povjedanje iz oèišta lika... Irena Vrkljan is- mom piše Mlakiæ, da završi rat kao da èe- U Mlakiæevoj poziciji nema nièeg fol- juæi kanon, nego, naravno posredno, u pripovijedala je jednu tipiènu obiteljsku kaju da završi pljusak. Èak i kad ne bi bila klorno-zavièajnog. On je i jezikom i kul- svojim tekstovima iznosi svu težinu prièu, poput onih koje najèešæe ostaju zat- dobra knjiga, Mlakiæeva bi knjiga bila sjaj- turom urbani tridesetpetogodišnjak koji stoljeæa i sav pritisak avangarde, mo- vorene i dobro èuvane unutar èetiri zida na, jer predstavlja pošteni, svjež i nevin u roman unosi kulturu i afinitete svog na- derne i drugih književnih pravaca. graðanskih kuæa. Zloèin (pravni ili moralni) pogled na najmanje nevino mjesto i vrije- raštaja. Njegove æe reference biti jednako kao dio obiteljskog inventara, pospremljen me. Osim toga, meðutim, to je i sasvim fi- Bulgakov i Led Zeppelin, Rolling Stones i Rade Jarak u škrinjama ili kovèezima, na tavanu ili u na mala knjiga. Siegfried Lenz, Komandant Mark i Let iz- podrumu, sve dok se ne dogodi nešto neo- Sluèaj Josipa Mlakiæa mnogi dijelom i s nad kukavièjeg gnijezda. Zvuèi malo zas- èekivano i “neka ruka sluèajno ne otvori je- razlogom usporeðuju sa sluèajem Ratka tarjelo? Naravno. Mi i govorimo o tride- dan takav kovèeg”... Cvetniæa i njegovim Kratkim izletom. Baš setpetogodišnjacima kojima je rat pojeo kao i Cvetniæ i Mlakiæ je debitant koji je u desetljeæe i koji su kulturno ostali živjeti Andrea Zlatar književnost banuo niotkuda u kasnim tri- u srednjoškolskim ljubavima, jer je nakon desetima... Kad magle stanu na putu su da, toga kulturu pojeo veliki pirotehnièki baš poput Cvetniæeve knjižice, postanu li- šou. terarna stvar u modi. Ipak, s usporedbama Kad magle stanu nije velika knjiga. Ona Cvetniæa i Mlakiæa ne treba pretjerivati. je mala: i po volumenu i po ambicijama. Cvetniæeva je knjiga faction, Mlakiæeva fic- Ona je, meðutim, beskrajno èestita, senzi- tion, Cvetiæeva memoarski esej, Mlakiæeva bilna i potresna mala knjiga... Mlakiæ prièa dulja pripovijetka ili kratki roman. Najvaž- o svemu majušnom: o lokalnim obješenja- nija je razlika što Cvetniæ piše o jednom cima, o vrapcima, o pogledu kroz prozor, romantiènom i romantiziranom ratu koji baš kao i o zlodjelima, blatu i alkoholu. Jer, provlaèi kroz centrifugu crne depatetizaci- što su vremena strašnija, važnije postaju je. Mlakiæ piše o jednom ratu koji je pošte- nevažne stvari. nom Hrvatu bolje ne spominjati ga. A piše Na svoj malen, nevažan, nesavršen i o njemu prostodušno i prirodno kao da ga hrapav naèin Mlakiæ nudi pogled na ono nosi kao odjeæu. Piše o njemu ne pokuša- što je za hrvatsku kulturu dosad bilo neka- vajuæi stvari prikazati boljima nego što je- zivo i kazuje to razumljivo, pametno i bol- su. no. Mlakiæeva knjiga uvelike je obješena o središnju dosjetku. Junak knjige Jakov Jurica Pavièiæ

Dževad Karahasan stvarnoga svijeta naspram moguæega blizak samome piscu – mora nabavi- zine ogoljenosti, postali toliko važni gim svojim knjigama... svijeta književnosti... Njega tako za- ti potrebne dokumente i nagovoriti odnosi meðu ljudima, prijateljstvo i U tom o toj “opozicijskoj napetos- Sara i Serafina nimaju likovi i odnosi meðu njima, do tada mu nepoznatu Saru, odnos- uzajamno razumijevanje, jer, kako ti” kao konstruktu kulture i kon- dogaðajna stvarnost te, možda prije no Serafinu na odlazak... Kroz tako piše u romanu “u graniènim situaci- struktu svijeta romana dovoljno go- Durieux, Zagreb, 1999. svega, moguænost da se ispripovije- naznaèenu konstrukcijsku osnovicu jama, u vremenima velikih iskušenja, vori dvojni oblik imena naslovne ju- da prièa; lijepa, uzbudljiva i u najma- ljudi postanu moralno osjetljiviji ne- nakinje, pri èemu ime Sara potjeèe iz ovi Karahasanov roman Sara prièe o odlasku i ostanku Karahasan nju ruku vjerodostojna prièa. Osim je na neizravan naèin ocrtao i sara- go inaèe, recimo mnogo moralniji židovske starozavjetne tradicije, a i Serafina može se odrediti te obnove žanra, ovaj roman upuæu- nego što su u normalnim uvjetim, Serafina se pak veže uz kršæanski na- kao svojevrsni pokušaj “ob- jevsku ratnu svakodnevicu, svakod- je i na široko semantièko polje nevicu u kojoj su, upravo zbog nje- jer im ništa drugo ne ostaje”... ziv za anðela. Tako unutarnja kon- nove žanra”, toènije kao ustrajanje smješteno izvan granica teksta, od- Naèelo dualiteta koje se prepoznaje tradikcija lika Sare i Serafine podvla- na tradicijski potvrðenim modelima nosno na niz tema i motiva iz drugih u toj dramaturškoj koncepciji ka- èi i unutarnju razlièitost bosansko- romanesknog oblikovanja. Ta “ob- Karahasanovih pripovjednih i esejis- rakterizacije, odnosno dijalogiènost hercegovaèke kulture, a važno je is- nova romana” oèituje se ponajviše u tièkih tekstova te na znaèenjski po- kao princip uspostavljanja znaèenja taknuti da taj odnos tekstualnoga i vraæanju težišta na prièu i neposred- tencijal kulture u kojoj on prebiva. meðu pojedinim elementima teksta, izvantekstualnoga nije nipošto te- no ispripovijedanu stvarnost, zatim Rijeè je tako o kompleksnoj i dobro izraženo je na gotovo svim razinama meljen na pukom simbolièkom pa- u tretiranju jednoga lika kao integra- promišljenoj romanesknoj strukturi ovoga romana. Tako primjerice glas ralelizmu, veæ je rijeè o utvrðivanju cijske jedinice teksta, jaèanju moti- koja pretpostavlja nekoliko razina pripovjedaèa ponekad mijenja ton istovjetnosti pojava na nekoliko raz- vacijskih mehanizama i uopæe u slo- èitanja i razina tumaèenja, pri èemu skretanjem pažnje s prièe i upušta- lièitih razina, odnosno o sveproži- ženijoj izgradnji svijeta djela teme- se – koliko god daleko otišli u otkri- njem u razlièite refleksije, pa mjesti- majuæem naèelu razumijevanja jedne ljenoj prije svega na naèelu kontras- vanju znakova teksta – uvijek vraæa- mice dominantni pripovjedni disku- kulture. Upravo u takvoj sposob- ta. Pomalo u inat postmodernoj mo na zanimljivost same ispripovi- rs biva zamijenjen onim esejistièkim nosti izbjegavanja doslovnosti i pa- multiplicirajuæoj retorici ili, kako æe jedane prièe. èime se ovaj roman približava žan- tetike te finoj mreži aluzija, u kojoj u jednom intervjuu kazati ubogoj Ukratko, prièa romana Sara i Serafi- rovskim hibridima modernizma se niz znakova povezuje neprekidno vještini zbunjivanja koju su razvili na odvija se u sarajevskim ratnim znanim pod nazivom roman-esej. upuæujuæi jedan na drugoga, sastoji suvremeni pisci, Karahasan u ovom godinama i koncipirana je oko prili- Takvi esejistièki pasaži u romanu re- se velikim dijelom Karahasanova romanu, kao i u ranijim narativnim ke koja se pružila likovima da izaðu dovito se odnose na teme razumije- spisateljska vještina i, recimo to ta- djelima, nastoji ponovno uspostaviti iz opkoljena grada. Kako bi omogu- vanja tradicije i kulture, bosansko- ko, snaga njegove romaneskne ima- naèelo kauzaliteta i homogenizacije æio svojoj ženi odlazak, pripovjedaè hercegovaèke prošlosti i stvarnosti o ginacije. teksta te iznova promisliti odnos – po nekim biografskim detaljima kojima je Karahasan pisao u mno- Katarina Luketiæ II/39, 28. rujna 2,,,. 15

biweekly magazine for cultural and social affairs • zagreb, 12th october 2000, issue II, # 40

Edited by: Katarina Luketiæ Iva Pleše Dušanka Profeta

Translated by: Nataša Govediæ Dubravka Petroviæ Aleksandra Mišak

Sv. Jeronim, Museu National de Arte Antiga, Lisabon Contemporary Croatian literature fifty titles for fifty second Frankfurt Bookfair

Although Croatian literature cannot The major part of this issue contains into account, but also authors whose depend upon wide reception and signifi- essays, critics and interviews (some of books were first published by Croatian cant commercial success outside its own them published previously and edited publishers. This selection is not to be language-frame, we believe that Cro- for this purpose) which present Cro- understood as an anthology of recent atian authors, especially younger ones, atian authors by giving our readers Croatian literature, but as a survey of fit into the broader European and global insight into recent literary production. criticism published during the last two context of book writing and publishing. Not only Croatian authors were taken years in Zarez.

2000. 16 II/40, 12. listopada 2,,,.

Croatian literature of the nineties hest achievements in the genre. and implicitly apologetical litera- Outing comes off as a sophistica- are not to be equated with moving The second half of the nineties al- ture; the patriotic kitsch mostly ted essayist fiction that builds nar- the same figures around the prede- so had its masters of essayistic resided in lyrical poetry for special rative continuity on the basis of occasions and commemorative unity of narrator's consciousness, editions. Stories from refugee an- not by the fictional plot. Alemka thologies were too painful and tra- Mirkoviæ and Ratko Cvetniæ were gic to tolerate any fictional orna- important not only contextually, mentation. To make a long story as a proof that writing about war Literary Time: short: testimonies about rape and was possible even when professio- ethnical cleansing can be ideologi- nal Muses were being silenced, but zed only after they are distanced also because they returned the from their authentic narrators. narrative focus to individual per- spective. Their narrators - not ac- The Present Autobiographical war fiction cidentally in the first person - are In the mid-nineties, urban lonely and isolated individuals, bookstores started featuring new who, forced to follow the histori- In the course of ten years writing: see books of collected co- "war discourse" books on an almo- cal events on foot and step by lumns by Ivo Žaniæ, Zvonimir st daily basis - for the most part, step, slowly lose illusions about of literary metamorpho- Berkoviæ, Viktor Ivanèiæ and Slo- their authors had no literary bac- their universal importance. In ses, how did we reach the bodan Šnajder. kground, and their names were of- Mirkoviæ and Cvetniæ these indivi- genre destination of refu- As a whole, these are the imagi- ten familiar from television repor- dual figures gradually realize that gee confessions and war nary frames of documentary and ts on the war. Thus, the anticipa- the tragic scale can be fully measu- factual literature of the nineties ted production of "soldier literatu- red only when each single, indivi- novel? within which the existing texts re" came into full bloom, including dual story is taken into account. may be placed: many memoirs and other works "Minor narration" has overpowe- Andrea Zlatar - anthologies of different docu- that were clearly intent on "docu- red "master narration", paving the ments and testimonies (themati- menting" historical events. Then way for novels. Since both o you remember how the cally expanding on displaced pe- the first books trying to transpose Mirkoviæ and Cvetniæ published panorama of Croatian lite- ople and refugees, war operations the factual into fictional cautious- their books in 1997, this could be rature looked like at the be- etc.) ly appeared. Pavle Kaliniæ's Neither seen as the year when the long, ginning of the nineties? As far as - political journalism and feuil- A Colonel, Nor A Corpse was pro- predominantly factual period of the fiction goes, the framework leton writing bably one of the first. Kaliniæ the Croatian literature in the nine- was clearly set. Its solid edges we- blends documentary narration, ties finally ended. The space was re drawn by fiction doyens like political commentary and confes- open for the central protagonist of Ranko Marinkoviæ and Slobodan sional reflections. The dominant fiction writing in the second part Novak, whose works, in those tone is personal, emphasizing the of decade: Miljenko Jergoviæ. His slightly less productive years of termined chessboard. We cannot personally experienced elements books (Sarajevo Marlboro, Kariva- their mature careers, were welco- compare Croatian literature to and leaving the impression of an ns, Mamma Leone) offer a writing med with respect and interest. chess: its participants are not me- authentic, immediate testimony. model for the future. This is urban Right beside them, in the prime of rely "figures", but persons who Kaliniæ's second book, Requiem for fiction with elements of the con- their writing years, stood Nedjelj- might change and whose number One Youth, My Grandma and USA fessional, autobiographical dis- ko Fabrio and Ivan Aralica, as wri- is not limited. Nor are the rules of (1996) already has a structure of course. Critics who see Jergoviæ as ters with very different aesthetic the game fixed or strict: the writi- the novel: narrative distance is es- a foreign body in Croatian litera- preferences. In the name of the ng space is open-ended, and rules tablished by creation of fictional ture usually cite numerous contra- middle-aged generation, still con- can change on the spot. characters, and enunciation is no dictory arguments: he is suspect sidered "young", stood Pavao longer burdened with political "re- because he writes about Sarajevo Pavlièiæ and Goran Tribuson: the Time of documents or docu- porting" and analysis. This line of and Bosnia, because he often wri- authors who worked stubbornly ments of time writing was further developed by tes for newspapers and magazines, in order to teach critics and reade- The first time I attempted to Alemka Mirkoviæ and Ratko because his language is “impure” rs how to appreciate the genre. write about Croatian literature of (i.e., it does not adhere to the “pu- The picture is complete when we the nineties in a systematic fas- rist”, pompous standard Croa- add the writers who used to publi- hion, it was for the special issue of tian), because his ethnicity is un- sh in the literary magazine "Quo- the “Dubrovnik” journal (edited - numerous war journals (from clear. All these petty arguments rum", also known as the "exponen- by Vlaho Bogišiæ) and entitled Šimunoviæ and Grugurovac to (an unavoidable and logical con- ts of avant-garde tendencies", and “Documentarity in Contemporary Željko Ivankoviæ and Ivan Lovre- sequence of understanding Croa- women, usually identified with the Croatian Literature”. Undeniably, noviæ) tian literature in self-sufficient ter- phrase "female writing": Irena Vr- the growing number of Croatian - autobiographical fiction. ms) open questions with conflicti- kljan, Dubravka Ugrešiæ, Slavenka autobiographical and documenta- The last group, autobiographi- ng value charges: how else can we Drakuliæ. All this brings us to a ry texts in the first half of the ni- cal fiction, has undergone two sta- measure someone's presence in the conclusion that we had everything neties shifted the weight toward ges. The first one is characterized given culture, except by his/her ar- a literature must have: living clas- the factual, and away from the fic- by simple autobiographical forms, tistic influence and popularity wi- sics, traditionalists, "trivial" write- tional elements of the text. Regar- uninterested in producing a fictio- th wider audience? Jergoviæ cer- rs who in fact produced respectab- dless of whether we consider lite- nal model of story or conceiving a tainly has both. le literature, young rebels and wo- rature of the nineties a "document character. Slavica Stojan’s Story men. From today's perspective, I of the times" or a consequence of According to Pavle is a good exam- At last: novel as fiction admit that the eighties seem like a "the times of documents" - what Critics seemed to breathe a sigh pretty good literary period to me: cannot be denied is the fact that of relief when, in 1998 and onwar- period that had inner criteria of we are surrounded by texts that The central genre of ds, the book market was finally evaluation and poetic principles testify about factuality. From the able to once again offer novels one could discuss. How long wou- perspective of literary writing, the the first part of the which, "from beginning to end", ld have this idyll lasted if the his- beginning of the nineties was mar- really were novels. No longer va- tory had not spoiled it? I cannot ked by Željka Èorak's book Shards nineties was, Cvetniæ, two authors who - in cri- cillating between autobiography even begin to guess the answer to and Pavlièiæ's Šapudl, while the tical reception - finally crossed and fiction, or between documen- that question. theoretical scene noted the appea- however, the essay: over to the fictional pole of litera- tary and art, the new generation Today's picture of Croatian fic- rance of Dubravka Oraiæ-Toliæ's a complex form that ture. The fact that both of them started writing genre fiction, still tional literature is far more hetero- book Literature and Destiny. Èo- had no previous literary experien- thematically rooted in time and geneous and it does not readily le- rak’s Shards was probably the first merges the fictional ce presented no obstacle to their space of the war, but employing nd itself to neat systematization. book to narrate the fragments of a award winning, critically acclai- fictional models in their choice of The question of "what happened small, shattered and private story. with reflexive, and med status. Their huge popularity narrative strategy. Jurica Pavièiæ, in Croatian fiction during the ni- Šapudl revealed Pavlièiæ's transfor- with reading audience and the pu- Ante Tomiæ, Igor Petriæ and Josip neties" is easy only from the statis- mation from the fantasy to auto- autobiographical re common sense of critics finally Mlakiæ transformed the experien- tical point of view. Many new aut- biographical writer, and Oraiæ-To- triumphed over the traditional ce of war into the fictional forms hors happened, and while the ol- liæ's book opened the discussion with theoretical academic resistance towards auto- of the novel, mostly written in thi- der generation from the eighties about the relationship between elements biography and other "non-literary" rd person. Their writing clearly has endured, what is completely fiction and reality. The central genres. Both authors are neverthe- shows the influence of European lacking is their hierarchical inter- genre of the first part of the nine- less reproached for being "too tradition of war novels, and their -evaluation. It would be more ac- ties was, however, the essay: a ple. Basic characteristic of the first open" about their privacy, someti- plot models are inherently cine- curate to say that the older writers complex form that merges the fic- stage (until 1995) of Croatian lite- mes "banal and too preoccupied matic. Economy of expression and survived by choosing entirely au- tional with reflexive, and auto- rature in general is its lack of dis- with everyday things", "overly realistic narrative patterns in tonomous careers, without the biographical with theoretical ele- tance, the lack of chronological rooted in history" or "lacking in Pavièiæ and Tomiæ represent a defi- common denominator of "poetics" ments. In the first part of the de- distance from the reality of war, style". Well, these prejudices were nite departure from the Croatian or genre. Politics also had played cade, the essay genre, and now I which caused further lack of fic- the norm of reception for all auto- novel structures inherited from the role in literary history: Aralica, refer to anything from newspaper tional narration. Fictional frame is biographical fiction in the nine- the eighties, i.e. from the fantasti- for example, achieved separate sta- columns to literary essays, became often perceived as something "un- ties. 91,6Mhz: A Voice That Defied cal or historical subjects and hig- tus by becoming a "court writer", a dominant mode of "reading reali- natural"; as an aggressively added The Cannons by Alemka Mirkoviæ hly aestheticized narrative styles. while the female writers were ty" and writing about it: Barricades marker of "art" that the "raw" reali- is a retrospective narrative that On the other hand, it is exactly the branded as "witches" and dissiden- by Boris Buden and Culture of Lies ty does not really require. This pe- weaves real characters into a fasci- fictional heritage of the eighties ts. Nevertheless, the events in by Dubravka Ugrešiæ are the hig- riod was therefore free of pathetic nating plot, and Cvetniæ's A Brief that allowed the formation of gen- II/40, 12. listopada,,,. 17 re novels in the first place, unen- toonish grotesque, typically Robert Perišiæ and Filip Šovago- the gift of deep sarcasm. In 4 cumbered by the pejorative dicho- indicative of baby steps in any viæ. Dry Feet she again creates an tomy between "high" and "low" li- fiction writing. Both of them To me, the most interesting otherworldly situation, but now terature. she paints apocalyptic watercol- Josip Mlakiæ, and his novel or of global Flood. The hardship When The Fog Lifts (2000), hold a of survival as a constant subject special place in this generation of of her plays is certainly a refer- writers. Mlakiæ does not use genre Dangerous Verses, ence to current Croatian reality models of war novel, but the (qua- (and perhaps to her own situa- si)autobiographical narration in tion of a nationally and interna- retrospective time that blurs the tionally award-winning author boundary between the events of Useless Flags who is still unemployed and has war and the reflection about them. no material security whatsoev- Although Daša Drndiæ's fiction er). Not to forget: despite the Canzone di guerra cannot be the- also tend to repeat their themat- and innovative playwright of the awards, Sajko's plays have never matically compared with Mlakiæ The youngest, most ic and stylistic features. The true decade turned out to be Ivana been performed in Croatian (since she talks about exile, not intriguing generation of mature satirical wit comes to the Sajko, with plays like Orange in institutional theatre. Her criti- war), it is close to Mlakiæ’s enun- playwrights does not fore in the works of Boris the Clouds or 4 Dry Feet. Sajko is cism of male and oppressive ciation techniques. On the cros- experiment too much Senker, a politically biting and capable of writing within the world culminates with 4 Dry sroads between fiction, autobiog- sharp social observer in the post- boundaries of realistic motiva- Feet, where water, traditionally raphy and essay, Drndiæ's writing with form, but introduces socialist, as well as the socialist tion (my personal favorite is her considered as a "female element" poses questions about the quest new subjects and new era (with his Cabaret &TD, con- modernist drama The Painted and a symbol of physical and for identity and the shaping of critical sensibility ceived as a stage fight of Home), but her preference lies metaphysical renewal, slowly identity through biography. She al- Croatian literary giants that with postmodern fantastical takes over the entire reality, but so explores social and (inter)natio- invites audience participation, plays and lyrical drama of the only to bring death to singing nal identity, although she puts the Nataša Govediæ Senker managed to preserve the absurd. In Orange in the Clouds, voices and floating bodies of the quest for "intellectual identity" century-old cabaret tradition of female character reaches purga- only two remaining men. Her above anything else. In her opi- Zagreb). tory after committing suicide irony is lacerating. Sajko's style nion, this can only be achieved I think that considering the because she has spent many of lyrical incantation makes her through writing. roatian drama in the short form of this review I can years believing that her dead plays much closer to poetry than By the end of the nineties, auto- nineties never presented a be excused from listing the vari- fiction and it reminds us of biography in its "pure form" had le- united front; there were ous nationalistic and politically authors like T.S. Eliot or Samuel ft the historical stage and conti- only individual playwrights who fawning plays of the '90s. Nor Playwrights are Beckett. nued to flourish in the realm it tra- used Croatian language for very will I mention the performance Generally, we might conclude ditionally "owned": memories, inti- different aesthetic and political manuscripts (although some of aware that the war with observation that the youn- macy, childhood. This is literary purposes. Some of them rose to them were created by literary gest, most intriguing generation environment in which one finds prominence in the eighties, for gifted theatre crews, dra- in Croatia politically of playwrights does not experi- Julijana Matanoviæ's fiction Why I instance Slobodan Šnajder, and maturges, directors and actors), ment too much with form, but Lied To You (1998), as well as the some of them are literary new- because I consider them a part of may have ended, introduces new subjects and new memoirs of youth and childhood comers, like Dubravko Miha- theater, not drama, classifica- but the cultural and critical sensibility. They are that were published by eminent noviæ. It is however interesting tion. The reason why I left out aware that the war in Croatia genre writers from the eighties: Pa- to see that Šnajder's typical writ- the works of Miro Gavran, an institutional war politically may have ended, but vao Pavlièiæ and Goran Tribuson ing style in the communist peri- extremly productive writer of the cultural and institutional war (Early Days, 1998). Autobiograp- od included "angry" metahistori- sentimental and shallow melo- still rages still rages. Although they avoid hy has in the meantime turned into cal spectacles, grand scale dramatic plays, is not because I being politically overt, institu- an independent and respected gen- "operas" with obvious Brechtian am "above" emotion, but because tional theatre finds them too re, to the degree where some pub- undertones, while some of his I believe that sentimental clichés lover was calling her from the provocative to stage. As always, lishers chose it as their specialty. works from Tuðman's period, have nothing in common with Other Side, while in fact her the notion of having professional For example, after Irena Vrkljan i.e. period of Šnajder's involun- emotionality or good writing. A indifferent partner has com- standards is seen as a much and Ivan Lovrenoviæ, the publishi- tary exile from the Croatian different set of stock-scenes and pletely forgotten her. God in the worse threat in Croatia than ng house Durieux also published stage, took on a more elegiac, stock-characters, this time in the play is an impatient provincial having political ones. valuable memories of Eva Grliæ intimate tone, focusing on fe- vulgar grotesque vein, is what DJ who plays our "emotional and Sonja Wild Biæaniæ. male characters or woman's per- characterizes the theater work of tapes", so Sajko clearly possesses Nataša Govediæ sonal trauma of war rape (I refer What about the rest? to the The Bride of the Wind and My line of argument, focusing The Slough). We could say that on Croatian literature in the nine- Šnajder's oeuvre in the '90s leans ties, primarily followed the ways in slightly towards the female, if which the war fiction was formed, not feminist perspective, even from its beginning in the confes- when he dissects Mafia mentali- sional discourse of witnesses until ty or when he gloatingly, uncriti- the ultimate appearance of fictio- cally celebrates Wagner's mega- nal structures. I chose the fictio- lomaniac music (as in the play At nal/factual angle to emphasize the the White Swan). In works of growing significance of autobiog- other acclaimed dramatists, na- raphical fiction during the nineties, mely Ivo Brešan and Mate Ma- which automatically excluded ma- tišiæ, the codes of heroic/mascu- ny writers who are theoretically di- line representation undergo vorced from it, like Damir Miloš, merciless scrutiny, but the alter- Borivoj Radakoviæ, Zoran Feriæ, natives are either stoicism (Bre- Viktor Ivanèiæ, Ðermano Senja- šan) or religious insight (Mati- noviæ etc. It is more likely that the- šiæ). That said, Mate Matišiæ se authors are heirs to the aesthetic possesses the musicality of lan- standards of the literary magazine guage, ethical integrity and dra- "Quorum" that was very influential matic skill without compare in in the eighties, and the European contemporary Croatian litera- postmodernist literary repertoire. ture; he stands in a class by him- We are faced with even more self. difficult questions when we consi- Sophisticated psychological der the work of Croatian dissident issues are at the center of the writers, like Slavenka Drakuliæ and award-winning play White by a Dubravka Ugrešiæ (in the realm of young author Dubravko Miha- fiction) and Slobodan Šnajder noviæ, where two introverted (where drama is concerned). Croa- and kind house painters lovingly tian readers are still unfamiliar wi- share their fears, illnesses and th their texts. Here the saying “the dreams. Another young play- lack is measured by what suffices” wright, Asja Srnec, has con- applies; only after we finally get ceived an excellent closet drama the chance to read them in Croa- The Touch, probably her best yet tian (instead of looking for them in the growing number of her in the English bookstore “Algori- dramas on family violence. tam”), will we be able to determine Destructive patterns of family how our literature would look if behavior (including subjects of only these authors were fully in- child abuse, incest, pedophilia tegrated in it, without being stig- and drug abuse) come into focus matized by the media. In the ab- in plays of Ivan Vidiæ and Lukas sence of a better past, we can only Nola, but both authors still guess. favor the atmosphere of car- 18 II/40, 12. listopada 2,,,.

but that is not the case. Postmode- nation. Thus, his final statement (I of forms known for their lyrical idiom and the mystification of the rn indifference is so deeply rooted am content) could be understood monumentality. Thematic referen- concrete, present and momentary in our environment (at least in the both as a means by which the out- ces of her poetry are, for instance, perception - these characteristics works of the youngest genera- sider becomes literally conscious a family quarrel, going to a hair- are eagerly explored in the works of his position, and as a self-ironic dresser, conversation of two wo- of Ivan Herceg, Dorta Jagiæ, Alen expression. In both cases, lyrical men in the tram, guys who shovel Galoviæ, Katarina Mažuran etc. speech has therapeutic function, snow, workers playing cards in the Poetic Generation because we are talking about the train etc. What makes her variant Narcissistic isolation subject who consented to his exile of "factual poetry" attractive is its Contemporary writers, includi- and who is in danger of disappea- seductive narrativity, ingenuity of ng the Croatian poets under dis- of the Nineties rance for that very reason. Indiffe- thematization and an outstanding cussion, are condemned to both rent subject, non-metaphorical communicative force of the text. nonliteral reiterations and search Indifferent subject, non- ("journalistic") poetic style and the She insists on little stories in verse, for authenticity in spite of their discoursive pattern of prose poem: with skillfully chosen expressive awareness of how inauthentic their metaphorical ("journali- these are the basic characteristics and factual perspectives, and she every experience and thought is. stic") poetic style and of lyrical discourses in works of excels at dialogue and effective Various authorities warn us that it discoursive pattern of the most of our young poets. As emphasis. Gromaèa's model could is exactly repetition that "authenti- statements correlative to Vukoviæ's be illustrated with the next poem cally" marks our times. If someone prose poem: these are the pseudo-punchline (I am content), I of hers: forced us to characterize the cur- basic characteristics of randomly quote verses of his poe- rent state of affairs, I would say we lyrical discourses in the tic peers: Fucked-up Girl live "after the orgies", said Jean - Actually, nothing is happening She leaves in the morning, comes Baudrillard, influential thinker and works of the most of our (by Alen Galoviæ, poem The Girl back just before the evening news. one of the ideologues of postmo- young poets Who Sows Wheat from the book Western working hours. dernism. Baudrillard adds: Orgies Little Body of Morning) Long black coat, gray reality on her are explosive moment of moderni- Krešimir Bagiæ - It’s best if we talk about the face. ty, they liberate modernity on eve- weather (by Ivan Herceg, from Hair tucked behind the ears. ry level. Today anything goes, the Our Other Names) Her mailbox empty, games are already played out and n her influential work Poeti- - This life suits me (by Tatjana except for the pizza ads (free delive- we are collectively faced with the cs of Postmodernism, Linda Gromaèa, poem Latrine in the Hil- ry) question: but what after the or- Hutcheon retraces Michael ls, from the book Is Something and bills for heat and water. gies? It seems to me that the an- Asher's extraordinary spatial inter- Wrong?) She unlocks the door, throws things swer of the youngest Croatian vention: in 1973, he sandblasted - I'm fine, in fact --- no big deal on the floor. writers to this question amounts the wall of Toselli Gallery in Milan everything's fine anyway (by Kata- She washes her face, and while dryi- to narcissistic isolation of the sub- in order to "reveal" the plaster be- rina-Zrinka Matijeviæ, from the ng it with a fluffy towel ject on the one hand, and inter- neath as his work of art. His inter- tion), that it managed to over- book I'm Fine, In Fact) watches her face in the mirror. textual and intermedial revival of vention called into question not power even the factual apocalypse She slips on some old worn-out trac- the old games on the other. Nar- only the status of the "work of a- of war. The poets who started pub- Colloquialisation of the ksuit and sits in front of the TV. cissistic isolation comes as a con- rt", but also the status of "gallery"; lishing during the war mostly do lyrical idiom Warms up yesterday’s meal. sequence of subject's persistent fo- it breathed new life into the debate not thematize the war (or if they Poets from the seventies and Looks through a window, brushes cusing on the details and scenes on the relationship between crea- do, they do so very subtly, perip- eighties mystified and variously her teeth. that immediately surround him/- tion and destruction, artistic con- herally and an passant); they ref- challenged the (almost sanctified) And finally, goes to sleep. /her. Isolation is used for self-ana- ventions, the concept of "fringe" rain from lyrical projects that im- position of an outsider. They fear- lysis and therapy in the strict sen- and the possibilities of going ply any involvement or action; fully shut themselves off from rea- The subject of Gromaèa's poet- se. This is most readily apparent in beyond the boundary of the frin- they are preoccupied with intima- lity into the realm of literature or ry clearly shows that in life - as op- the writings of Ivica Prtenjaèa, La- ge. cy, composing their poems by ran- alternative culture. But poets from posed to grammar - there are more na Derkaè and Radenko Vadanjela. What made me think of radica- dom succession of concrete details the nineties are equally indifferent than three persons to consider; With the title of his first poetry lism, literalness and obviousness and sentences that surround them. to everything (even the realms of moreover, under the first person book, Writing Liberates, Prtenjaèa singular, of Asher's "action" were the creati- Their motto is "knock, and it shall actualizes the ancient idea about not be opened unto you." To illus- countless ve strategies of the youngest Croa- beneficial effects of poetry and the trate the typical sensibility and worlds might tian poets, by which I mean the ge- symbolic healing and mental heal- creative methods of the nineties, I hide. Groma- neration that emerged during the th acquired through escape into have chosen the poem Weekend èa's subject nineties. Like that blast of sand, poetry. His impromptu lyrical the- No. 31 by Tvrtko Vukoviæ. Let me simulta- their books critically reve-aled ma- rapy is performed in two stages: make things absolutely clear: in se- neously criti- jor experiences of Croatian poetry first the subject polemically faces lecting Vukoviæ's poem I was not cally re-eva- during the last few decades and fo- the surrounding world and decla- trying to single out the best text of luates the mi- cused our attention to narcissistic res his nonconformity, then he the period, but simply the one that mesis of eve- tries to capitalize on his precious isolation of literary subject. They functions as a symptom of the pre- ryday life and "autism". His polemical blade cuts "copied" everyday scenes with only vailing poetic condition. self-critically most deeply where the consumeri- slight stylization, as they copied questions its st society and its status symbols intertextual and intermedial ges- experiences. WEEKEND No. 31 are concerned. We are repeatedly tuality, mimicries of the genre, Its dispersion reminded that all the real values in fragmentation and colloquization Ivan is dead. Cecilia has a dog. His is signalized, today's world are lost, and that this of lyrical idiom: these are the poin- name is Lucky. among other ts of reference for "new poetry"... Marina has undergone surgery: tu- things, by world is primarily characterized by Unlike the previous generatio- mor of the uterus. frequent its artificiality. The dazzle of neon ns, the nineties poets lacked a fo- Granny makes tomato soup. I hate changes of ads, sacralization of money, silico- rum that would help promote their tomato soup. the speaker's nes, street lights, screens: this, ac- work. They published in random For days, I eat only eggs. No meat. I gender from cording to Prtenjaèa, is the inven- publications like magazines or an- love to male to fema- tory of the amusement park we li- thologies (magazines Godine, Zor, eat meat. On weekends, there is no le or by play- ve in. Since he opted for loneline- Libra, Rijek, Aleph, Homo Vola- electricity. ful intercon- ss, his lyrical subject insists on the ns...) or Quorum (the cult magazi- Electricity is expensive. Life is necting of hi- distinction of artificial/natural. I ne of the eighties, still favoring the cheap. Neighbors gh and low quote Prtenjaèa's Silicone from the conspiratorial ferocity of the you- are fat and boring. The city lies in motives and book Writing Liberates: ngest poets). More important poe- ruins. Our categories. on Sunday whenF they turn off the ts to appear during the last decade house still stands. Bars are empty. This subject blue neon light are: Tvrtko Vukoviæ, Katarina Ma- Police hour dedramatizes and cool off the pipes full of lonely žuran, Ivan Herceg, Alen Galo- starts at eleven. Zagreb is attractive. reality and gas viæ, Damir Radiæ, Tatjana Groma- The train his/her posi- yes solitude is perfect èa, Ivica Prtenjaèa, Dragan Jurak, leaves at three o'clock. My belongin- tion in it by if made of natural materials Zvjezdana Bubnjar, Krešimir Pin- gs are packed. exchanging tariæ, Srðan Sacher, Katarina-Zrin- I leave. Neda will be waiting for previous Juxtaposing various discoursive ka Matijeviæ, Robert Perišiæ, Mila- me. Neda is culture and literature). And this, as "expressive spasms" with expressi- matrices, Prtenjaèa analyzes and na Vukoviæ, Kemal Mujèiæ-Art- beautiful. I am content. far as I can see, is their diferentia ve ease. As we might expect, this ironizes ideas and concepts behind nam, Radenko Vadanjel, Lucija (from the book specifica. If indifference (no matter immediate experience is accompa- them. The syntagm and the sen- Stamaæ, Tomislav Bogdan, Sanjin Shrugging Your Shoulders) how phony) is understood as ma- nied by appropriate speech idiom. tence are the most frequently used Sorel, Stjepan Balent, Ana Brnar- jor characteristic of a lyrical subje- Expressions like "honest to the hi- Prtenjaèa's frames through which diæ, Dorta Jagiæ, Lana Derkaè and By accumulating "information" ct, than improvisation and non-fi- lt", "existential comma" or "fucked he achieves his "power of speech". others. about himself and his immediate gurative poetic speech stand as up girl" clearly point to the relaxed One might say that his poetic style The Croatian setting in the ni- surroundings, Vukoviæ's subject in chief characteristic of poetic tec- jargon of the contemporary loser. follows the trace of Šalamun's or neties did not really lend itself to fact insists on dispersion of his hniques in the nineties. Although in some poems Groma- Maleš's euphoric associative links poetry. The first half of the decade consciousness. Lyrically, this dis- In Tatjana Gromaèa and her re- èa theatralizes the lyrical subject, and playfulness (especially in ver- was marked by war, the second persion may act suggestively only cently published first book of lyri- we can’t help rejoicing in the fact ses like "the island has no children/ one by the profound national cri- after the semantic value of "infor- cs called Is Something Wrong, we that the poet challenges the typical he is someone’s dive into the cop- sis. The catastrophic reality has mation" from the text has been gained a master of lyrical hyperbo- and often employed duo of "indif- per summer/ blue yachts dock the- completely wiped out the values abolished. Through the succession lization of the present tense, acci- ference cum sense of powerlessne- re/ yachts brimming with Odyss- that were already eroded even be- of simple sentences, their relative dental details and unexceptional ss". euses//"). Prtenjaèa’s poetic wor- fore the war, simultaneously abo- correspondence and the absolute situations. This author synthesi- Besides Vukoviæ and Gromaèa lds are immediate, extravagant and lishing the possibility of forming denial of metaphorical speech, the zes, to a certain degree, her genera- (whose writing styles are diametri- exclusive forms of self-oblivion any evaluative hierarchy. Someone lyrical subject expresses and estab- tion’s effort to colloquialize poetic cally opposed - he writes in exclu- practiced by a being immersed in might think that war triggered the lishes his disinterest in the space of discourse, since she advocates tho- sivistic, she in journalistic style), language. emergence of a new value system, reality and the space of imagi- se "factual" verses and dethroning the colloquialization of lyrical Prtenjaèa also takes into accou- II/40, 12. listopada,,,. 19 nt that orgies that preceded him tical precision in the poem En- ning of media transgressions is turned to Ringloke. portant today... are the books per- had other revelers, which means cyclopedia of Despair. most obvious and most extravaga- He did not move for a while, just meated with popular culture; the that his proclaimed therapy by nt in writings of Dragan Jurak, lowered his head. books that do not try to create se- poetry (also emphasized by the Encyclopedia of Despair Damir Radiæ and Robert Perišiæ. He acts like a man who expects the parate space for high literature.", book title) springs from the expe- Everything I write They reached out for almost para- blow of disaster and concluded Jameson, observing riences and writings of his prede- is just a half-assed cry in the era of doxical media correspondences, believes that he knows all too well that today, contrary to moderni- cessors. Language games he em- silence since their lyrical protagonists wa- that disaster is inevitable. sm, when works of art had an im- ploys "copy" already established a doctored compass for a fast, lk the prairies of the Wild West and Ringloke comes three or four feet manent value (as a creation of an disunities in canonical speeches; precisely directed thematize relationships between closer individual person), "we are having they cause the emergence of the departure toward what's already Indians and cowboys. They reach, until he too is exposed to sun rays huge difficulties in finding indivi- new order with global characteris- been spent... of course, for the genre stereo- that shine through windows and dualistic works of art." Maybe Ja- tics of openness, fragmentariness ... I copy, I shamelessly copy types of western movies, directly doors meson is right, but then again, and plurality. This order is in fact words, whole sentences, and they, linking poetry with film. Good and paint the dust road with golden maybe the elements of individual heterogeneous, like the discourse as if in the street, as if in literature, example of how cowboys acclima- colors. creation do still exist, only on ot- launched during the seventies and offer themselves to this present tense ted themselves to Croatian poetry "Turn around and fight", says Rin- her, more subtle textual levels. eighties (by Makoviæ, Maleš, Èe- in which the despair is brutally con- is Jurak's book Horses and Riders, gloke. gec, Rešicki...). And yet, thanks to densed from which I quote: Poetic language turns jour- I believe the quoted passage il- his conscious use of inauthenticity, despair about which I could write nalistic and other sins of li- lustrates quite well Radiæ's delibe- Prtenjaèa succeeds in making his an Encyclopedia Marlon at the Movies teracy rate mimesis of western movie writing really therapeutic: he finds if it did not exist already: He appears genre. However, when the text is Finally, what I consider the mo- the point where "to copy" transla- Encyclopedia of the Dead, Encyclo- in sheriff's uniform. observed more carefully and in fu- st innovative in the poetry of the tes "to set free"! pedia of he drinks coffee by the gallon ll, it becomes obvious that author's nineties is the desacralization of Lana Derkaè, on the other ha- Nothingness, Croatian Institute of talks with difficulty lyrical organization arises much poetic language. In significant nd, insists on penetrating the rea- Lexicography walks with an effort. more from the need to loosen up number of new works we find lm of the invisible, doubtful and Encyclopedia, Encyclopedia of Spo- a docile woman watches him the canons of both lyrical poetry journalistic idioms which eviden- unclear, in order to achieve greater rt, with tears in her eyes. and westerns, than from the "natu- tly testify to the fact that language awareness of her own identity and Encyclopedia of Houseplants... half of the city re" of author's speech. To tell the has ceased to be a consecrated spa- existential experience. She has fou- watches him truth, Radiæ, similarly to Jurak, ce of gaining experience, experi- nd her space in the metaphor of The title of this poem is also its with tears in their eyes. does narrate about cowboys and mentation and imaginary world- the forest. Epithets she chooses commentary, a detection of the the other half Indians, but they are here only be- makings, turning instead into a while turning the forest into the subject's condition, but also the (rednecks) cause the author is searching for mere vehicle for relaying messa- symbol of lyrical habitat are "dar- fear for their wives. indirect way to present his story. ges. Many have neglected the clas- kness" and "enshrinement". She Film stereotypes are used as accep- sical attitude that "it is almost im- exclaims, with pronounced intima- The poetry and film blend in table frame for lyrical mystifica- possible not to characterize perso- te and inspiring note of verbally the title and beyond - lyrical subje- tion and globalization of a differe- nal experience or not to sell off established relationship: The fore- ct sits in the movies, in front of the nt experience. By the same token, what we felt and lived through if st is my/ Extended bed (poem giant screen, obviously watching Radiæ cheats the reader by offering we persist in the regular forms of Embroidery, from Poor Box for Marlon Brando in the leading role. a genre story as a poem, which fur- communication" (Peter Sloterdi- Shadows). With these verses, Lana The poet playfully connects events ther transfers the lyrical discourse jk). If Croatian poetry continues Derkaè creatively shows that fore- on the movie screen and in front to the journalistic level and intro- on its present course, I expect sub- st can be a center of the intimate of him, deliberately mixing per- duces the reader to a new media stantial changes of its literary sen- self, just like the house, cave or spectives and abolishing the boun- game. The fetishistic experience of se and status. It is indicative that cathedral. In words of Gilbert Du- daries between artificial world of ornamented poetic language is negligence towards language is ref- rand, "the enclosed space of the fo- the movie and the reality of its confronted with the bare sentence, lected also as the negligence of ele- rest makes it a sacred place." In consumer. A cursory glance revea- depoetized phrase, narration and mentary literacy. Tatjana Gromaèa, Derkaè's poetry, the world outside ls the cinematic composition of rhythm of everyday narration. for example, for no apparent artis- the forest looks utterly compar- the text: Jurak presents film narra- Thus the retrospective becomes a tic reasons or stylistic effects, in- tmentalized, the space where only tion stripped of its usual lyrical privileged perspective. Neverthe- sists on constructions with double the frustrating repetition of the sa- expectations - what we follow are negation: "kids are playing hide me is possible. This outside world in fact shots from the movies and and seek/ nor do they not notice is the world of office binders, ad- old cliches of creating movie sus- the fellow with the gun in his pan- ministrative forms and warranties pense. ts walking behind me" or "there are (we can easily compare it with Pr- Damir Radiæ goes a step fur- The creative many funerals/ they are not nothi- tenjaèa's amusement park), and its ther. Almost all commentators of ng special". It would be, of course, “administrative orderliness” doe- his poetry point out that its cine- strategies of more correct to say that kids "do sn’t extend just into the material, detection of global condition, in matic quality is crucial for under- not notice" the uncle and that the but also into the spiritual sphere of face of which the subject feels hel- standing this poet. For instance, young Croatian funerals are "nothing special". She the world. The precondition for a pless. All the world is "encyclope- Quorum critic Delimir Rešicki even misuses congruencies, like in true subject to emerge and gain dized", "finished" in a sense. Again, described Radiæ's book Lynx Hun- poets remind me the sentence "let me undress this experience is its departure from may I add, the reader is faced with ting as the synthesis of "techniques three pairs of pants", instead of the outside world. The forest me- the frame of mind of Prtenjaèa's of transmediary and transtextual of the radicalism, "these three pairs of pants." Similar taphor is in fact a metaphor of iso- amusement park of administrative palimpsests with typical western mistakes are present in Dragan Ju- lation and the signal of imaginary catalogues of Lana Derkaè. Whate- cut ups", and young Sven Cvek literalness and rak's poetry, at the end of the alrea- renewal of the landscape; signal of ver we think of doing - someone wrote: "in the era when the only dy quoted poem Marlon in the return to the original homeland. has already done it: that is why reality is media reality and when obviousness of Movies. Jurak says that "the other The consecrated state of creativity Vukoviæ cites Danilo Kiš's and restrospectiveness (in the form of half/ (redneckes)/ fear for their in the lyrical forest is the state of Stanko Andriæ's book titles, i.e. a re-vivals, re-cycles and a whole Asher’s "action" wives", although we could expect silence. Derkaè: Instead of me, the few non-fiction lexicographical bunch of other re-phenomena) him to say that the other half "fea- forest knows:/ Silence is a capi- works. Vukoviæ unambiguously stands as a dominant cultural tre- in Milan rs for their wives". Damir Radiæ tal.// realizes nonliteral copying as the nd... retrospective becomes the customarily misspells the words. Radenko Vadanjel, on the other only possible mode of creation. only possible perspective." Indeed, Sometimes he is so inattentive that hand, is preoccupied with details, Different variants of intertextuali- Radiæ's poetry is filled with allu- he writes sentences like "a car- small shifts, subtle traces... His ty appear in works by Sanjin Sorel, sions, expressive and structural less, it continues to be a very sub- dboard tube/, who contains the poetic hero is a hypersensitive ob- Krešimir Pintariæ, Tomislav Bog- cliches, nostalgic or ironic revivals versive strategy, since it relativizes title deed." If this trend continues, server who feeds upon images he dan etc. But let us now concentra- of canonized artistic techniques. classical patterns of perception it seems that some of our poets wi- committed to memory and even- te on another feature. His thematical world is entirely ar- and puts into question the usual ll have to realize that elementary tually blends with the scenes ob- tificial: everything in it is second- understanding of the analytical school trivia (like the status of the served. Although majority of his Intermedial gestuality hand, and a literal communication terms like "subject", "individual subject in the sentence and its ag- fabulations are melancholic, every Some poets from the nineties with the text is probably the least style", "genre", "art work". Gestua- reement with the predicate) in- once in a while he writes with a cri- focused their creative strategies on welcome approach. In my opinion, lity of Jurak's, Radiæ's and Perišiæ's deed are of lesser importance, but tical edge and ironizes banality, the goal of somehow "globalizing" Radiæ's lyrical concept is best illus- writing is based equally on the mo- only when we use them impeccab- things we take for granted, intel- lyrical speech. Globalization mea- trated by the long poem The Delu- tives from popular and high cultu- ly. lectual and emotional limitations. nt opening of the text toward the ded Sheriff. It is basically a Western re, and it is not possible (at least By pointing out some common popular culture and media expe- screenplay in verse in which we not without considerable violence) Intertextual gestuality riences, and reducing the language follow a very interesting plot mistakes of Croatian poets I did to reduce them to one or the oth- Exceptional closeness and the of the poem to merely communi- about the virtuous sheriff who not intend to reduce the value of er. Although the high/popular am- potential substitution of catego- cative "means" (until recently, this unwaveringly fought for justice their poetics or lyrical experiences bivalence has been present in ries of "power" and "powerlessne- strategy was unthinkable). But in- and who obeyed the highest moral of the nineties. I even consider the Croatian literature from the early ss" is best witnessed by poet's rela- termediality, of course, is not a no- principles. Skillfully "shooting" eighties, their variants of the "glo- above mistakes as a symptom of tionship to his/her textual herita- velty in Croatian poetry. On the scenes of this lyrical story, Radiæ bal” poem are its most radical the present moment and its atten- ge. It might seem like s/he has on- contrary, it is a desirable method provides the text with stereotypi- expression so far. dant practices. If we go back to ly other people's words, sentences, that has been re-canonized by the cal portraits of heroes and their our initial story about Michael As- techniques and stylistic figures un- lyrical techniques of the eighties; enemies, together with the fun- The described creative strategy der her/his disposal, but we may thanks to the influences of rock ctional description of duel, the la- is completely in sync with the pre- her who sandblasted a wall in or- also claim that poet subjugates this music, video, film and comic stri- nd territory, horses, shepherds, vailing spirit of the era. We can fi- der to reveal the plaster as Asher's very heritage to his own humorist ps. However, the nineties have stage coaches... Lyrical speech be- nd the confirmation of our thesis "original" work of art, we will be or ironic reinterpretation. Lyrical brought with them a radical inter- comes the speech of "sheer facts." I in a recent statement of Fredric Ja- able to treat those mistakes as the subject in this respect looks like a mediary widening of the empirical quote an illustrative introduction meson. This distinguished theorist legitimate part of absolute baring tourist that touches only upon the field. Although in recent years so- to a gun duel: proclaimed that something ob- of artistic creation, its material and viously happened with literature, surface of things, not really "parti- me musicians, like Srðan Sacher He approached the horse and undid the intentions behind it. Mistakes cipating" in the world he themati- and Lidija Bajuk Pecotiæ, decided since it has become hard to ac- the reins, preparing to mount. are the legitimate part of the con- zes. Already quoted Tvrtko to print their songs as poems (and "Just a moment, man", he heard knowledge the existence of the so Vukoviæ puts intertextual gestus thereby literally unite different Ringloke from the shadows. called "high literature". "In fact, I temporary Croatian literary phe- into question with almost theore- media), the direction and the mea- Chat Salvador stopped, his back still think that the books that are im- nomenon, too. 20 II/40, 12. listopada 2,,,.

against, deeply threatened and ing the political ones, were shaped and my view is that I really don’t Sarajevo. That was one of the first unhappy. This would happen every by something that had nothing to belong anywhere to the degree really bad artillery attacks, and we time a train conducter entered our do with either communism or anti- where I would feel justified in patri- were sitting in this glass-paneled communism, and absolutely noth- otic chest-thumping. My home, my café, and I have to admit that I was ing to do with believing in God or only possible home, is Sarajevo. terribly scared. Whenever some being an atheist. One of the forma- Nevertheless, I would say that my shell hit anywhere near us, I would Miljenko Jergoviæ tive stories of my childhood is the inner home takes precedence over dive under the table. At the table one about my grandfather spending any other. This inner home is really across from mine calmly sat an hon- a night in prison. It happened after the home shaped by my grandpar- orable gentleman called Vlatko Writer and journalist compartment to check on our tick- the assassination of King Alexander ents, parents, my memories, the Kraljeviæ, who is now Bosnia and ets. My grandfather, grandmother in Marseilles, on October 9, 1934. home of my room and a world that Herzegovina’s ambassador to Italy In your introduction to Nazi and my mom all had reduced-fare My grandfather said in some café no longer exists, and that may have and Vatican, smoking his cigarette Etiquette, you say that your genera- tickets, but they always had to pay “He had it coming” and the gen- never existed in the first place. and watching the shells fly by, and tion was raised on the “pedagogical my fare. To me, that was pure darmes promptly took him to Whatever the case, it certainly came at one point, he looked under my principles of TV tube”; you often tragedy. I was the first one who did- prison, releasing him the next day. to being inside me, where it keeps table and uttered the line, which has write about photography, film and n’t have the right to ride on the This story was unbelievably impor- on living. I always carry it with me, become my favorite mantra when- comic books as artistic media that trains for free, so the resulting frus- tant to me when I was a kid. On the moving it from one place to the ever I get really frightened: “More had a significant influence on the tration may be the reason why I day Sarajevo was liberated, my next at my own will, following dignity, Jergoviæ!” development of your poetics. What wrote so much about my grandfa- grandfather, who at that time some inner voice. So, I think that A lot of your fellow citizens, is the relationship between your lit- ther the railwayman. You simply worked in the railway’s main office, being a person without a country, some of whom are probably also erary influences and the influences don’t forget things like that. Later set off from his apartment to take without affiliation, brings a kind of your friends, have written about the from these media? in my life, I never felt any national, over the main office, in order to incredibly heavenly comfort, a war, the siege, city, but the quality of - It’s important to note that my social, racial or religious discrimina- prevent looting or possible arson by heavenly contentment, but at the these writings varies considerably generation, that is, the generation tion that equalled what I felt on remaining ustashas or fascists. That same time, it’s deadly. Because from case to case. Which authors or born between 1960 and 1973, was those occasions. day, and the next two days, he sin- being a person without permanent books on this subject would you rec- the only one from 1945 onwards to gle-handedly ran the office, and he residence, without a country and a The importance of grandfather ommend? be shaped by the same values, films, was overjoyed that he could play flag that protects you, and that you - There are several authors who books and outlook as our counter- The way you write about your such an important role for once in can die for, is very dangerous, and could be called Sarajevan that I parts from other parts of Europe. grandfather suggests that you owe his life. Although he was neither a yes, deadly. On the other hand, it is would always recommend as wor- Previous generations were shaped him a lot, humanity-wise. Your partisan, nor a communist, nor, the greatest freedom that you can thy reading. One of them is surely by Yugoslav socialism, and their val- grandfather was a real “character”? obviously, a nationalist. The only achieve, and you are never as free as Nenad Velièkoviæ - whenever you ues were completely different from - My grandfather is very impor- army he ever served was Emperor you are when you don’t have a flag, find something of his, read it; the ours. The generations that followed tant to me. My maternal grandpar- Francis Joseph’s army, where he was a coat of arms or faith in your col- second one is Semezdin Mehme- are being shaped by current ents raised me and taught me every- captured by Italians, and conse- lective. There’s a verse by Miloš dinoivæ, the third one is a wonderful regimes. This is an important factor thing important about life. quently had a grand old time. Crnjanski, in that I Verses of Ithaca Sarajevan author living in Chicago for most people from my genera- Whenever I say this, my parents often thought of in the last six or The notes from Kiš’s manuscripts called Aleksandar Heman, and the tion who are now trying to do, become unhappy, because they feel seven years, and it goes like this: show that he was in two minds fourth one is Goran Samardžiæ. write or film something anywhere as if they failed somewhere, and about the title of one short story - he “Not a single glass, not one flag that They all belong to that generation I in former Yugoslavia. There’s no they feel guilty. But the simple truth couldn’t decide between A Man pass, cannot be called ours." It was already talked about, born between doubt that the non-literary media is that they weren’t crucial in shap- Without A Country and The written in 1918, and it really 1960 and 1973, and their way of have made a huge impact on the ing me, probably due to the fact Spirit Is Our Homeland. Do you expresses that important, profound writing is very important, because it whole generation, and of course, on that, although they were not that feel stateless in a literary and spiri- feeling that you shouldn’t consent represents a novel way of looking at me personally. I’m talking about young when they had me, they tual sense? to allying yourself with symbols things, utterly devoid of pathos and films, music, photography, comic weren’t ready for a child. They will - On one hand, I think that we and people lesser than you, lesser current politics. books, and finally, television. You probably be ready for grandchil- all, whether we want it or not, par- being everyone who forces you to can feel it really strongly in the writ- dren. I am deeply convinced that ticipate in the divisions, and we are declare your affiliation. Pornography and football ing of everyone who was growing grandparents make the best parents, all a part of some collective that is The people who demand that up in urban areas during this period. because it’s their chance to correct being more or less manipulated. you take sides (declare your affilia- You recently published an article the mistakes they made with their However, we also have the opportu- tion) are really the lowest of the on pornography in Playboy, which The railway story own children. When I look back, I nity to take a some kind of individ- low. I can still recall those mon- is something a lot of our authors Italian and French reviewers see that I grew up on stories of the ual stand. My individual stand has strous demands in 1990 that would shy away from. Did you hear often write about connections times past. My convictions, includ- been largely determined by my life, Croatian Serbs should sign state- any comments of the “why did he do between your fiction and Danilo ments of their loyalty. That was dis- it” variety? Kiš’s fiction. graceful, regardless of what hap- I consume huge amounts of - I really couldn’t comment on pened later, regardless of the fact pornographic material of every the literary and poetical connec- that Croatian Serbs took part in the type, and I seriously think that I am tions between me and Danilo Kiš, aggression. That feeling of revul- one of the greatest authorities on but there is one definite link sion that anybody should be asked pornography in Croatia, at least between us, and that’s the railway. to sign some statement of loyalty is where public figures are concerned, Claiming any other kind of connec- something I carry with me to this although I suppose some are more tions with Kiš seems to me preten- day. discreet than I am, so we never hear tios and presumptious. The link from them. That’s why I write exists in that my grandfather, When fear became unbearable about pornography. I think that all Franjo Rejc, was a high-ranking rail- In his chronicle 700 Days of those platitudes about writers who way official who concluded his Siege, Željko Ivankoviæ wrote that have to write about important and career as a designer of train sched- in May of 1992, when the siege lofty things in order to preserve ules. Earlier in his career, he worked began, you were very hostile to those their dignity are meaningless, and as a train dispatcher in the area who were fleeing the city. Less than ultimately detrimental to literature. between Usora and Sarajevo, on a a year later, you left Sarajevo, which If we only write about important number of the small railway stations was seen as an act of betrayal. To and fateful issues, we end up writing there, so the maternal side of my what degree is staying or going a about nothing. Unfortunately, family was strongly shaped by this matter of free human choice, and do Croatian literature in large measure railway story. One of my earliest you feel as a traitor because you left? is a literature about nothing, and childhood memories recalls the first - Leaving the city while it was perhaps it would be a good thing if time I felt deeply discriminated still under a siege was a kind of Croatian writers spent more of betrayal, but only in the sense that I their time dealing with pornogra- Miljenko Jergoviæ (b. betrayed myself, not others. No phy and football. Maybe some of 1966, Sarajevo) writes one has the right to point the finger them would finally learn how to poetry, fiction, literary at those who decided to leave. You write. The problem with the major- criticism and other non-fiction could justify their disapproval by ity of Croatian writers is that most pieces. He has published several citing some universal principle, as I of them still don’t know how to poetry collections: The Warsaw did with all my heart and soul, until write, regardless of the number of Observatory (1988); Anybody Stu- my fear got too much to bear. When books they published. In Croatia, that fear became unbearable, I dies Japanese in This Town Tonig- just like in former Yugoslavia, a per- betrayed the principle, but this is son is as important as they make ht/ (1990); Himmel Comando my personal business that doesn’t out to be. Moreover, the emptiest (1990) and Across the Frozen concern others, and I don’t think people are the ones who puff up Bridge (1996). Jergoviæ oeuvre al- anyone should use it as an argument their importance the most, and the so includes few short story col- against me. Courage is certainly a emptiest people are always on a cru- lections: Sarajevo Marlboro virtue, but when that virtue makes a sade. A man who aspires to great (1994), The Karivans (1995), man overstep his boundaries, that importance will never write about Mamma Leone (1999), can’t be good. Sometimes you have pornography and football, because plus the play You Say Angel to embrace your fear, and that is that won’t get him where he wants (2000). His non-fiction texts are what I did. There is one lovely, to be. sweet anecdote from May 2, 1992, collected in books Nazi Etiquet- Dušanka Profeta during one very heavy shelling, te (1998) and A History Manual which caught me in, of all places, (Excerpt from the interview, published in issue #1, (2000). the café of the Belgrade hotel in February 19, 1999) II/40, 12. listopada,,,. 21

general impoverishment and high cost of upstanding citizens who found Feral vulgar living; most of them can’t afford a newspa- while pretending that Croatian reality was per... anything but, is the paraphrase of you’ll- Do you feel any sense of belonging to the know-who: a box of poisonous letters is Croatian literary community? the ultimate human invention in defense of Slavenka Drakuliæ – I am not familiar with "Croatian literary Predrag Luciæ one’s dignity. community", I am not acquainted with its How do you find potentially interesting members, I do not participate in their activ- works? writer and journalist ities, I am not member of their associations, editor at Feral Tribune weekly – We find each other: the book division I do not publish in their journals and and Feral Tribune Publishing finds the writers, and writers find the book anthologies. Luckily, belonging to one cul- division. The magic of this game lies in the side from Du- ture is not only a political matter; it has a lot act of mutual recognition. Feral’s name car- bravka Ugre- to do with language and my emotional sense eral Tribune Publishing was started ries enough weight for people to recognize šiæ, Slavenka of belonging. But even in that area, I am not six years ago, publishing nearly sixty whether this is the space that interests Drakuliæ is the most truly "ethnically clean": I live on different titles during that time. them or not. What I and other Feral editors famous and the most language borders, because I write and live in had to do was make sure that our first ten translated Croatian English. I have always lived on different Could you explain your basic editorial titles dispelled any possible confusion that expatriate writer. So margins and I have always considered them policy and tell us about the common ground our name might have caused: namely, that far she has published a very good position for someone who between Feral Tribune the magazine and in keeping with the local customs, any novels Holograms of needs freedom. Since I live in several coun- its book division? book division of a magazine must necessar- Fear, Marble Skin tries and actively participate in their cul- – Feral Tribune Publishing is simply the ily remain within the boundaries of non- and As If I'm Not tures, it must be that I am a hardened cos- continuation of Feral Tribune by practically fiction writing. Once people realized that There (this is literal mopolitan. the same means, in the same way that Feral Feral fully intends this venture to cross all translation of the Which elements were crucial in forming Tribune weekly is the bou-ndaries, they started title, but the book your intellectual and literary identity out- continuation of the erst- giving us their uncondi- was translated in side Croatia? while satirical supple- tional help. And that’s English by Marko – As in other professions, gaining name ment in Nedjeljna Dal- where my worries with Iviæ under the title S: A Novel About the recognition is the most important thing. It macija. The book divi- surplus manuscripts Balkans) and two collections of essays can be done in a variety of ways, from pub- sion is the logical result began. I remember the called Deadly Sins of Feminism and How We lic readings in bookshops to interviews, by of the same need that wish list I wrote the Survived Communism and Even Laughed. getting your work reviewed or by publish- created our weekly, the morning after the idea During the 90’s, Slavenka Drakuliæ was ing your articles in newspapers and maga- need of a few people about publishing books marginalized and fiercely criticized in zines. All this is very important for author's who wanted to respond first struck me. I was still Croatia, and her critics have covered the reputation. You might say that being a writ- to the deceit of the times drunk with possibilities, spectrum from members of Franjo er is a full-time job, especially with today’s we live in the same way and among the names Tuðman's staff to a considerable number of publishers who demand much more cooper- any literate person who- that I wrote down were her intellectual colleagues. ation from the writer than before. My jour- se honor hasn’t been those of Mirko Ko-vaè What kind of image do you have in nalistic career helps as well, and it’s no acci- amputated should res- and Predrag Matve-jeviæ. today’s Croatia? Is your reputation still dent that I have been writing essays for pond when they recog- I also wrote down the dominated by the stigma of "witch" and Italian, German, American, Swedish etc. nize that they’ve been titles: Crystal Bars and "traitor of the homeland"? newspapers and simultaneuosly publishing cheated. Epistles from Other Europe. I didn’t know – Answering that question is difficult. In my books in the same countries. I often par- Now that we are surrounded by people at the time that both books already had this country (Croatia) there is not much ticipate in international conferences and I who have miraculously regained clear sight, publishers. When I found out, I admit that space for the people to make their own hold university lectures. It all reaches differ- I think my 15 years at Feral has earned me I was angry at myself for not thinking of judgments, nor are they accustomed to ent types of audience and therefore creates the right to ridicule the fashionable frustra- starting the book division sooner, but – think critically of what they are being told. author’s visibility. My first book that was tion of all those who claim that they’ve respecting the fact that both Kovaè and My image has been created by the state-con- published outside Croatia, in Germany, was been cheated. The truth is that the only Matvejeviæ already had publishers – I decid- trolled media and they used the strategy of the novel Holograms of Fear (in 1988; the ones who had been cheated are those who ed against calling them and inviting them to personal attacks, insults and general non- publisher was Rowohlt's edition Neue wanted to be cheated – some for personal publish their next books with us. I am not sense. On the other hand, my works haven't Frau). Than Marble Skin appeared, pub- comfort, some because they couldn’t be telling you this because I want people to been published in Croatia; some of my lished by Robert Laffont in France. bothered to think, and some because they say “Oh, look how polite and considerate books are still waiting for Croatian edition. Laffont's offer came as a reaction to a small fell for the siren song of mob rule. You see, he is!” or “What a moron!”, which is prob- So how can the public judge me without excerpt from the manuscript that was pub- once you allow them to throw dust in your ably closer to the truth, but because I want reading me? I am not the only one who suf- lished in a Canadian journal; I was invited to eyes, you don’t even have to bury your you to try and imagine how overjoyed I fers from prejudices engendered by propa- submit the rest of the book. What I want to head in the sand. It’s already there. So, I was when both Kovaè and Matvejeviæ later ganda; I share that experience with other emphasize, contrary to common opinion don’t as a rule give much credit to hind- recognized Feral Tribune Publishing as their Croatian writers, directors and actors. It is that foreign market accepted me thanks pri- sight, because hindsight rarely involves space. The fact that, say, Milan Kangrga, clear to me that Tuðman's regime didn’t give marily to my book of essays How We admitting previous lack of insight. For who has already had his Selected Works pub- a fig about culture - all they were interested Survived Communism and Even Laughed, is years we at Feral have been writing a paper lished, and Marinko Košèec, who was never in was cheap propaganda... But what we are that what cracked the ice were my novels. that was regularly burned in public, while published before, also recognized this talking about, really, what "public" are we True, the Anglo-American audiences at first those freshly clear-sighted types kept their space as their own is to me the biggest discussing just now? I guess the cultural did not accept my novels (I had tried to eyes firmly closed. You know, if you squint compliment for my publishing madness. one. In that case, Croatian cultural public publish Holograms of Fear without success in front of a burning stake, I guess that No, no, no… don’t be afraid, I won’t lives in a situation where selling a thousand in England and America); what helped me whatever you manage to glimpse may seem launch into obligatory lamentation on the copies of a book is considered "success", there was the book of essays. Nothing like a pretty fireworks display. If that sorry state of publishing in this country. I where there is only one magazine for cultur- worked until the editor of W.W. Norton, makes it easier for you, O.K., fine, have will simply quote Kiš, and repeat some- al issues, where we can find hardly any who has read my articles in The Nation, yourself a ball… We have also published thing you already know: We are publishing decent bookstores (which more often than suggested that I write a book of essays books that didn’t speak to ignoramuses in the desert. And even if it is madness, it is not sell stationary and office supplies), about my life in Communism... who always justify the times by saying my madness. where publishers know that they will lose that’s the way it is, for the simple reason Katarina Luketiæ money if they print domestic fiction... And Andrea Zlatar that they never read them. And they didn’t all that is just a part of the larger picture (Excerpt from an interview read them because it’s Feral, and Feral is so (Excerpt from the interview, published in where people share the consequences of published in issue # 24, February 3, 2000) icky-poo. All I can say to those fine, issue #17, October 28, 1999)

it with this simple exercise: when I lity is best described as a succes- them to our little corner. Let them feel down and try to get better, I sion of images on the surface, the be here, let them defend our iden- say to myself: "Hey, why such long end of the telescope through tity. Bulgakov, Babel, Kiš, Crnjan- face, your book is such a success!", which one see the things that real- ski, Popa, Ladin, Mehmedinoviæ, but it doesn't work. It doesn’t ly exist; inner things. Heart of the Rešicki, Dragojeviæ, Hamvas, help. And if it doesn’t help when I ocean. Maspero, Cendrares, Cesaire, Ca- Tatjana feel sad, I don't need it to help me Describe your relationship with llaghan, Ondaatje, Carver, At- in any other case. I don’t think of other writers? wood, Dante, Bukowski, Salinger, Gromaèa my book when I’m happy; there - There are many writers I Kureishi, Canetti... are other things to think when one respect. Some of them I used to How do you see your future? is happy. So, it seems that when love in certain periods of my life, - I see my future, or I would poet and journalist I'm happy, I'm happy regardless of but I still respect them (although I like to see it, as an ordinary human the book. Well, the purpose of the haven't read them in years). But I future. Everything I intend to do, How do you feel after the suc- book is obviously to look at it would always defend their honor. I intend to do as a human being, cess of your first poetry book, occassionally and say "OK, dear, And there is also a constant flow not as a poet. I don’t have particu- called "Is Something Wrong"? you just be here with me!" express. It is clear that, in my of new books, new names that larly big literary ambitions, and - I feel like any other creature: In your poetry, why are you so poetry, the concentration on reali- seduce me. The search never ends, that suits me just fine. At the merry for a moment, then blue. focused on reality? ty is really a trick, just like the real- and that's good. I love the feeling moment, I make my living as an First fearful, then calm, at the - Everyone writes about the ity itself is a realm of tricks and of discovering a new book or two independent journalist, and I same time fulfilled and empty. My things that catch his or her eye. illusions. Objects are firm, clear, just after I conclude that there is believe some day I would love to state of being has nothing to do The eye searches for certain condi- shaped - but everything else is nothing there for me. Like birds, return to teaching. with the success of my book. I test tion, certain emotion we try to instability, change, fighting. Rea- we select these grains and push Rade Jarak 22 II/40, 12. listopada 2,,,.

do understand that the stumbling text" from the writer to the reader. not around the squares, but around much (at least not in all the stories). block in terms of reception of The It only means that I hope for a re- the exceptional people. But there The stories you are talking about, Place Where We’ll Spend the Night is ception of the book which won’t are also much weirder cities, empty the ones based on dialogue and very its refusal of what we recognize as treat it as a failure just because the shells of the former cities that "sti- spare descriptions, the ones where "familiar reality", and I do realize author rejects some self-implying nk" of Europeness; the places that the desert has inhabited both the Roman Simiæ why this is so hard to accept. I do model of literary expectation. Be- jealously cherish their impotent city story style and the language, are not however think that expectations to tween the covers of the book I wan- pride. Like Pouertomarin, which re- the dominant ones (at least I don’t make the text too familiar are rather ted to create a text that shall be jud- members the sea only in its title (it think so). It’s true that for a while I oman Simiæ (b. 1972, Za- rigid and exclusive, and they show ged by its own likeability and per- is actually situated in the heart of was fascinated with the dialogue dar) is the editor of the li- possible limitations of readers. Whi- suasiveness, maybe even its faithful- the desert. It was ripped off the sea- techniques, but only because I was- terary magazine Quorum. ch doesn’t mean that I’m trying to ness to itself (if faith is the approp- coast by some tough old woman n't really sure that the dialogue is He writes poetry and fiction, and pass the hot issue of the "guilt in the riate word). We might say that I as- who wanted to beach the big fish possible. The world of The Place has recently published his first pired to be understood as if I have that has been destroying the dreams Where We’ll Spend the Night is crea- collection of stories called The written a fantasy or an SF book. of her family for centuries). It’s dif- ted as a world were all conversations Place Where We’ll Spend the Night. Is there a specific cartography ficult to draw a map of this world, are already spent, in which the spee- Could you describe the genesis of your pataphysical world? On because it is hard to calibrate the ch is a useless tool that people keep of the fictional world in your sto- the North we find Conn, on the measuring tools. Distance is all and out of laziness or sentiment. It is ries: how much do they owe to South – Yopa. But where does your all is distance. In any case, there is really a world that suffers from the your life experience, and how mu- map put places like Puertomarin always a reason for staying and stan- lack of syllogistic logic, which fur- ch to your reading experience, i.e. and Panamatta? Is there any space ding still. That is why these cities ther complicates the communica- to literature? left for some new cities? don’t really know about each other; tion (or makes it easier, depending – The symmetric proportion be- – The wasteland where all the sto- they merely suspect they are not on your habits). Reduction that you tween life experience and reading ries take place is imagined as a huge, alone. American circle and Hispanic mention could also be explained wi- experience is always the prerequisite limitless territory, the space with ra- circle, protestants and Catholics, th the fact that the author is not fa- of its balance; it is this proportion re lost cities that function as oases; they all make some kind of a Pan-A- miliar with the world he writes that reshapes the life experience in- the space where everything stands merican preapocalyptic or postapo- about, or it could be explained by to patterns of reading experience still. The only ones who do change calyptic desert. my laziness and literary influences... and what anchors the literature into are the eccentric "highwaynauts", Why do you withold the infor- but the problem of any explanation the experience we have already had. creatures foreign to this world be- mation from the reader to such a is that it could justly be used as an It is true that my stories (in relation cause they are both founders of it degree? Tell us more about this explanation for other, more infor- to plot, time and place) lack referen- and strangers to it. Cities like Conn, stylistic reduction, which you of- mative stories in my book; and I ces to my present life in Croatia. Yopa or Panamatta are most often ten use in your dialogues? wrote quite a few of those. Perhaps it doesn’t make the reading just a random pile of many houses, – I do not think that I withold the easier, but it certainly helped me. I and the center of the town spreads information from the reader that Rade Jarak

Josip Mlakiæ htly compared with the case of Ratko who prefers cruel humor, and the real Irena Vrkljan Cvetniæ and his novel A Brief Outing. author of the incriminating letter about When Both writers entered Croatian literatu- Mirsad and Jakov's wife. What started The Last Journey re unexpectedly, and both wrote their as an ugly joke, inexorably leads to tra- the Fog Lifts first novels in late thirties... When the gedy... to Vienna Fog Lifts, just like Cvetniæ's A Brief Ou- In contrast to numerous second-ha- published by Znanje, Zagreb, 2000 published by "Nomad", Zagreb: 2000 ting, is on its way to becoming a fashio- nd accounts of the war, Mlakiæ’s work entral to the novel The Last Jour- hen the Fog Lifts describes Croa- nable success with Croatian readers. is steeped in authenticity. The characte- ney to Vienna is the concept of However, I would not overdo the com- rs, the psychology and technology of tian-Bosniac war from the inner “family secret”. The secret is the parisons between Mlakiæ and Cvetniæ. war, the unique trench mentality, hu- Croatian perspective, from the domain of crime investigations, while viewpoint of the man who finds himse- Cvetniæ wrote faction, Mlakiæ writes mor and sentimentality - all of this re- the subject of family stands as a consis- lf in the trenches, a target and a shooter fiction. Cvetniæ wrote an autobiograp- veals a man who was there and who was tent preoccupation of Irena Vrkljan's at the same time. It shows profound hical essay, Mlakiæ wrote a short novel a sensitive observer. That doesn’t auto- poetics. Moreover, “family secret” is a political sensibility, level-headedness or a (longer) novella. The most impor- matically guarantee a good book about locus communis of crime fiction, espe- and honesty. It is a sensitive retelling of tant difference is Cvetniæ's insistence the war, but war experience is essential cially the old-fashioned, British school a story that happened so many times in on gloomy deromanticisation of the for such an endeavor, and it can be neit- of mystery writing. You will find no fo- different places in Bosnia, Lika and Sla- War for Croatian Independence, as op- her borrowed nor bought. rensic pathologists here, no serial killer vonia; the story about people who until posed to Mlakiæ's testimony about the (...) Mlakiæ avoids the fiction of profiling units, or car plate experts. (...) recently lived toget- imperialistic war "quaint folk customs". He is an urban In place of "perfect crime" planned with her as godfathers, that puts every de- thirty-five year old man whose langua- intellectual precision, the reader en- counters just a plain family secret. So schoolmates or sport cent citizen of ge, culture and affinities correspond to Croatia to shame. those of his generation. His references plain in fact, that you will find somethi- rivals, only to see it ng like it in almost every (normal!) fami- What's more, Mla- are Bulgakov and Led Zeppelin, Rolling end in a bloody war. ly: illegitimate children, lost lovers, Mlakiæ's heroes are kiæ writes about the Stones and Siegried Lenz, comic hero adoptions, unsuccessful search for love Croats and Muslims war with amazing Commander Mark and One Fly Over that never comes. Nothing asocial or who curse Allah sincerity, as if talki- the Cuckoo's Nest. Sounds a bit old- psychopathological; simply the patholo- when they’re angry, ng about his "natu- fashioned? But of course. We are talki- gy of our daily lives and disturbed rela- who speak the same ral" condition or ng about the generation that had been tionships. The only thing that The Last ancient dialect, who the clothes that he robbed by that biggest pyrotechnic Journey to Vienna does has in common support the same wears. He is not spectacle of them all, the war, remaini- with modern crime fiction is the fact football club (not trying to make ng culturally stuck in the era of high that it begins with a corpse... Zagreb’s “Dinamo”, things appear bet- school romances. (...) Irena Vrkljan's narration in The Last not “Sarajevo”, but ter than they are. When the Fog Lifts is not a large Journey to Vienna is consistently moder- Split’s “Hajduk”). Mlakiæ's book book; it is rather small, in terms of vo- nist, with the narration from the charac- ters’ point of view overshadowing the Whether they hated hinges on its cen- lume and ambition. It does, however, tral gimmick. The possess astonishing honesty, sensitivity author’s narration in third person… Ire- each other before na Vrkljan tells a typical family story, main character is and poignancy. It also provides space the war is utterly ir- one of those that usually remain under relevant: they had no Jakov Serdar, a war for “little” things: local rogues, spar- lock and key, behind closed doors of choice in the matter. veteran from cen- rows, looking through a window. They bourgeois homes. The crime (be it legal So now they are ai- tral Bosnia. We share that space with enormous crimes, or ethical) becomes a part of family in- ming guns at each other, armed with meet him in Zagreb, where he has been mud and alcohol. The more terrible the ventory, to be put away into trunks and deadly intentions and deadly ammuni- hospitalized on a psychiatric ward with times become, the more important the boxes, up in the attic or down in the ba- tion. And they’re waiting. They’re wai- the diagnosis of PTSP. He ended up in little things get. In his small, unassumi- sement, until something unexpected ting, Mlakiæ writes with typical Bosnian the hospital after killing a fellow sol- ng, imperfect and rough way, Mlakiæ happens and “some hand accidentally fatalism, for the war to end, the same dier, hijacking a military police vehicle offers a fresh view on things that are al- rattles the skeleton in the closet...” way they would wait for a sudden and generally making a huge mess. At most impossible to express, and he Andrea Zlatar downpour to stop. Even if this book the request of his psychiatrist, Jakov does so with understanding, intelligen- didn’t fulfill our literary expectations, it writes down his memories of the events ce and compassion/empathy. would still be great, thanks to Mlakiæ’s that transpired. We learn that Jakov had Jurica Pavièiæ fair, fresh and innocent view of the ti- killed his best friend before the war, mes that were anything but innocent. Mirsad, a Moslem. He killed him when Even if this book didn’t meet our lite- Mirsad was taken prisoner, after findi- rary expectations, it would be a great ng a fake letter claiming that Mirsad one, because of Mlakiæ's fair, fresh and had an affair with Jakov’s wife. Of innocent view on the times that were course, Othello from Central Bosnia anything but fair and innocent. (...) had to have his local Iago, here called The case of Josip Mlakiæ is often rig- Keške. Keške is a cynical misanthrope II/40, 12. listopada,,,. 23

Igor Štiks Jurica Pavièiæ vestigators, but the final solution still takes over. His police partner is a more traditonal, us by surprise without resorting to cheap older, heavier man. The cinematic genre Castle in Romagna A Sunday Friend gimmickry. Pavièiæ skillfully makes the sinis- structure is compensated by the serious, pe- published by Durieux, Zagreb, 2000. published by Znanje, Zagreb 1999 ter game of the killer just one of the branches netrating description of the social context in the storyline. Others lead us gor Štiks’ novel is a deceptively or- typical for the late ‘90s... The political dimen- he novel opens with a series towards the key contract of seven dinary piece of reading, with a sho- sion of the story is not just a "dressing"; it of murders that are concei- partners in dubious business... rt, simple and open structure and roots Pavièiæ's fiction deeply into Croatian ved as a riddle. The killer The detective, who is naturally two relatively “familiar” and parallel stories reality. This crime story could not have pos- always leaves behind a particular the main character, moves in a typi- that melt into one. We could call it a love sibly come to life anywhere else but here, and message and a carefully arranged cal professional, private and emo- story, or a historical piece, or simply a to- that’s more than we could say for much of murder scene, with a dead body at tional context. His last name is pical story, but whatever we call it, we are the regular genre production. Pavièiæ cap- its (symbolic, not geometrical) Barbir (we never find out his first dealing with a text that has been tailored tures the foreboding atmosphere of Split center. The framing method of this name), he is a youngish, recently by a steady hand (and head) of a sophisti- in the '90s, and its social setting convincin- psychopathological game eventual- divorced man who is carrying on cated author. We should also mention that gly transcends mere fictional scenery... ly becomes more transparent to the two affairs: one is a budding ro- Castle in Romagna is Štiks’ first work of reader than to the team of crime in- mance, while the other is almost Vedrana Martinoviæ fiction… Štiks simply and clearly expands on the Slavenka Drakuliæ contemporary Croatian readers come to- Marinko Košèec gether. As an editor of a magazine aimed at The Island As If I Am readers of a specific generation, Perišiæ su- rely knows what his audience needs and Under the Sea Not There lacks. Like other Croatian writers who ca- me to prominence during the nineties, he published by Feral Tribune, Split, 1999 published by Feral Tribune, Split, 1999 has been heavily influenced by the “hall of fame” from the literary magazine Quorum, emands of chronological con- hat redeems the novel As If I Am namely such writers like Carver, Bu- textualization will probably lead Not There is the author’s sensiti- kowski, Ondaatje, Irvine Walsh. His to overlooking playful juxtaposi- ve and slightly sardonic under- strongest influence remains the genre of ng of extremely different stylistic regis- standing of the role ordinary "things" urban landscape fiction. That is not, howe- ters that Marinko Košèec employs in his play in woman’s life. This is especially ver, the final destination of Perišiæ's writi- novel The Island Under The Sea, focusi- vital in view of the fact that the novel ng. He goes on to explore – in a documen- ng instead on the war elements in Koš- was inspired by journalistic research tary manner – the actual social pulse, the èec’s fiction. Admittedly, Košèec is the and data collected for the book on war sensibility of Croatian cities in the pos- twar period, with the attendant postwar chronicler of war, and with The Island testimonies by victims of mass rape iconography. You will never catch Perišiæ Under the (from the victims’ standpoint, of cour- talking about "exotic places like Sumatra Sea, he has se). That is also why the novel was "al- historical trauma of an individual who has and Java" (to quote Ante Stamaæ, a literary considerably most impossible" to write. been denied any possibility of control over theorist from an older generation) that so strengthened But what was "almost impossible" to his own life. He draws very direct parallels preoccupied older Croatian writers; he the corpus of shape into a journalistic discourse (as between historical events, individual and writes about post-traumatic stress syndro- subversive the author herself has said), in the no- collective paranoia, political and romantic me, heroin abuse, football fans, interest ra- Croatian war vel begins and ends in Caroline's Hos- passions from ancient and more recent his- tes and sublet tenants. The composite pic- fiction pub- pital in Stockholm, during March 1993. tory, both dominated by practically the sa- ture of the literary decade that emerges lished in the Drakuliæ begins the story with motives me lexis, same mental code, and same fetis- from Perišiæ’s book reveals how much of '90s. While of hatred and dreams of revenge, and their influences and methods the younger hes. He combines the archaic/poetical dis- Košèec suc- wraps it up at the moment when her writers learned from their predecessors. course of Renaissance with the lexicon of cessfully pro- heroine lets go of hate and revenge and However, the stable socialist existence of the socialist-realist authoritarian mentality, vides a new feels the first signs of forgetting... The the previous generation was lost, so what spicing it up with the commentaries and perspective story is based on author’s journalistic permeates the nineties ficiton is anxiety observations of our own era, the era of iro- on Croatian research: the description of the central and a sense of maturity. ny and distance, fast moves and fast emo- War of Inde- event in the Feel Free to Spit... consists of twelve sto- tions, fast wars, fast food and fast motion, pendence, what is even more precious is novel – rape of ries. Even a casual glance through the in the spirit of a digest epoch that increa- his ironic view of war events (the usual the main cha- book reveals that Perišiæ knows what he singly resembles something out of a comic excuse that the war is too recent to wri- racter – has wants to say, but he is less certain of how book. te about does not apply to Košèec’s wri- been adopted to say it. All the stories are iconographical- Castle in Romagna is a democratic ly and thematically similar. As a rule, they ting). However, the socio-political di- from the aut- book. It speaks democratically about the describe the fragmentation of urban expe- mension of the novel is not the only hor's interview irreparably despotic nature of the Homo rience seen through the eyes of a young, reason for its relevance. Košèec is the with the actual sapiens. The structure of the book is neit- passive outsider, surrounded by hypocrisy first author to ironize the turbo-folk va- rape victim, her epical nor unrestrained nor emotional, and corruption, whose resignation slowly riant of Croatian nationalism, although that is, from on the contrary, it appears as a deliberately pushes him towards the "anything goes" that’s not his only target: he also ironi- the authentic skeletal structure that allows the reader to attitude, drugs, exile, street violence, cri- zes the idea of united Europe, feminism accounts. At imprint something of his/her own story. It minal actions, sex. Nevertheless, we can and French national narcissism (with the same time, allows the reader to “write in” what s/he safely say that Perišiæ is very prolific in fin- special emphasis on its most dangerous the novel keeps wants and can, to show the marks of time ding new ways of spinning the basically derivative: Lepenism). He also settles up a constant and history. This book encourages readers "same" story the score with theoretical and critical dialogue with writers of literature over and over to recognize what they are. The readers are dogmatism of Croatian literary scene. about concentration camps (Jorge again. He gives free to enrich it with their own experience, (...) Sempurn being the most obvious in- a nod to the knowledge, or poetics, or they can reduce The Island Under the Sea is a Bildun- fluence). The third major influence co- American tradi- the book to a sketch, a croquis, if that fits gs novel with a highly picturesque struc- mes from an unexpected source: con- tion of shocki- their psychological profile better. Castle in ture. Vivid narration helps the reader to temporary Hollywood imaginarium or ng short story Romagna tells a story of great passion in a closely follow the narrator's spiritual contemporary media images of the with a powerful dispassionate, calm, almost absentminded metamorphosis. (...) world. This excessive media literacy in punchline and manner. Like our era, it is callous. One of the more charming features Drakuliæ’s novel is precisely the reason experiments We must face the fact that what we have of the book is caricatural portrayal of why the scenes of violence don’t seem with narrative here is a new, different aesthetic and emo- famous heroes from Croatian political too credible. After all, the heroine of miniatures. He tional sensibility, and I am sure that we can doesn’t shy and literary scene (where the supposed the novel is a typical protagonist of learn something from it. Igor Štiks’ gene- away from clas- monumentality of many contemporary Drakuliæ's oeuvre: an urban girl obses- ration already sees history (including rece- sical and com- fiction writers melts with suspicious ea- sed with "female objects" and the wor- nt history) as something that passed them pletely cohere- se under the fiery gaze of our literary ldview borrowed from women’s maga- by. Perhaps they don’t sense it yet, or may- nt, longer types of narration, nor does he rookie). Longevity of this novel is all zines... be they just don’t know it, but “sins of fat- lack the skill in techniques like stream of but guaranteed thanks to the way in hers” always have to be repaid. In the fet- consciousness, anarrative introspection, which the author arranges the semantic Gordana Crnkoviæ ters of 20th century global trauma, this punning or interdiscoursive collage. net of his motives throughout the book, stuporous generation is dealing with itself Unlike most "new naturalists", Perišiæ is thus multiplying meanings on every tu- and its times the best way it can, protecti- interested in the language of the story. rn and creating the impression of conti- ng itself from pain. Maybe Castle in Ro- Robert Perišiæ That is why his language becomes so inte- nual narrative flow. (...) resting for the readers, too. Perišiæ uses an magna is a way, a first step towards teachi- The Island Under the Sea stands out Feel Free to Spit on exciting mixture of colloquial expressions ng this generation that there is a better, less among more celebrated names of Croa- from Split and Zagreb, as well as slang and radical way. Perhaps, and maybe this is Whoever Asks About Us tian contemporary fiction as a genuine even the archaic micro-dialects (which what Igor Štiks’ book is about, there is breath of fresh air: it combines fun, in- published by Konzor, Zagreb, 1999 doesn’t always work in favor of story’s lin- nothing more valuable than we are, than guistic balance). Besides quotations from tellectuality, sensitivity and topicality. e all know how tiresome the talk each individual person. Maybe we should different language-orders, it seems that at This book was obviously written with a of “generations” among Croatian realize that all that drivel about the need to his heart of hearts what Perišiæ cares about great deal of relish, and I feel safe in writers has become, but there is sacrifice for “higher goals” or “in the name the most is polyphony and interdicoursive promising the same enjoyment to every no doubt that Feel Free to Spit... is a of higher goals” is just empty talk – empty, style, which is why his texts are so rich in reader of Košèec’s new novel. book marked by a particular generation. but lethal. heterogeneity and irony. Andreja Gregorina Perišiæ’s “yearbook” functions as a poi- Daša Drndiæ nt at which many interests and tastes of Jurica Pavièiæ 24 II/40, 12. listopada 2,,,.

Miljenko Jergoviæ nal point comes as an obvious conclusion to Smoje's lips) American customs, Croa- perfectly in sync with academic literary tas- Mamma Leone the associative flow. This is why Jergoviæ ne- tian politics, literary usurpers and no- tes of Croatian critics, famous for their ver strays too far from essayist writings. But table names in Croatian society (plus loathing of mainstream writing (we shoul- published by Durieux, Zagreb, 1999 this is also what makes the book so special: some names from the book list for dn’t judge them too harshly: mainstream is stories in Mamma Leone deviate from the schoolchildren), his compatriots from a rather fragile plant in the literary habitat f the future mainstream of the twentieth century short- Split, philistines and a few dead people. of our homeland). developme- fiction far more than any of his previous Senjanoviæ refuses to idolize, which is Academic criticism notwithstanding, nt of Mi- works (...) why Smoje gets his spanking too. Why? Feriæ is not an academic writer, nor is he a ljenko Jergoviæ’s To be honest, it is fair to say that Mamma In America, obsessed with healthy food, meta-literary fiction writer from the univer- fictional style once Leone contains quite a few ordinary stories. Smoje insists on his old habits, so he sity lecture-room. There is enough madne- he “exhausted” the By that I mean the eleven stories from the smokes, drinks and eats with complete ss, sickness, oral sex, death, vulgarities and subject of war and second part of the book, called On That disregard for his health. And he seduces incest to place him with absolute certainty recent Bosnian his- Day, A Childhood History Was Coming To A the air-hostess. far, far away from drawer reserved for lite- tory was ever in any Close. Despite that, this book represents the Senjanoviæ uses America only as an rary escapists and "pure" theorists. If we doubt, after reading most balanced and coherent, in short, the excuse, a mask. The real aim of the may use the term without the ideological Mamma Leone, we best short-fiction cycle Jergoviæ has ever book, I suppose, was to commit to pa- burden it carries, Feriæ is an "existential" can rest assured, written. What fascinates the most is their per a part of the memories, conversatio- writer. knowing that wha- thematic exclusivity: most of them describe ns and lectures connected with Smoje, Angel Ran Offside, the new collection of tever subject he chooses, it will be worth our exiled citizens of Sarajevo, former neighbo- "because I owe it short stories by the writer who used to belo- while. Instead of expanding his thematic ho- rs, lovers and schoolmates, now scattered all to him, to myself ng to Quorum generation, consists of nine rizons, what Jergoviæ achieves with his new over the world, from Israel to Canada. All and everything short stories. Feriæ is not a very productive book is quite the opposite: he the writer and he does not change his writing narrows the stories in the second part are also me- and everyone narrative focus to present a precise and mag- who loved Smo- styles dramatically: Angel Ran Offside is very lodramatic love stories, preoccupied with nificent microworld of a family. The main je”, writes Senja- similar to his previous book, Walt Disney’s lovers' unions and separations, their longing part of the book (twenty one short stories noviæ. If such Mousetrap. What unites them is the atmos- and broken hearts. Jergoviæ, it appears, again entitled When I Was Born, A Dog Barked in debts can be re- phere of grotesque, evil and treachery. The practices his avowed passion for melodrama the Corridor of the Maternity Ward) is reser- paid at all, Senja- first thing to notice while reading the con- (let us not forget his well-known declara- ved for stories evoking the writer's early noviæ has paid tents is disparity of story lengths. The book tion that writer's happiness is making reade- childhood, his grandparents, family atmos- them off with in- offers longer fiction forms, with complicated phere and himself as a little boy. In resolving rs cry). Barring the too obviously Marque- terest. plotlines and multiple fabulation (like Amor- the question of his own cultural identity (in sian story called The Second Kiss of Gita Da- phous Forms, Symmetries of Miracles, Blues terms of writer's homeland, city and genera- non, the second part of Jergoviæ's book con- Dušanka Profeta for the Lady With Red Spots), but there are al- tion), Jergoviæ sorts out his biological "affi- tains absolutely first-class melodramatic so works closer to the pattern of classical liation" as well. But the cultural forms are stuff. short story (like Island on the Kupa River, A what really counts: Mamma Leone talks Probably everyone today (apart from Sad Fairytale about Clara Schumann and the about hit songs, homemade compotes and rampant literary dogmatists) fully realizes Zoran Feriæ Brothers Grimm). (...) liqueurs, holidays and toys, vacations and how difficult it is to write with respect for Feriæ is not a typical "slice of life" master grieving. In this respect, Jergoviæ writes in sentimentality, and that is why Jergoviæ re- Angel Ran like Carver, Chekhov, Jergoviæ or Tomiæ. He the memoir vein characteristic of nineties mains a rare example of the writer who suc- is not a champion of punchline conclusions, Croatia, and it is precisely the autobiograp- ceeds in melodrama – not only in his fiction, Offside effective plot-reversals and the usual drama- hical genre that has produced the best work but also in other genres he tackles. This is turgy of the short story genre. His stories are on the domestic literary scene of the period. his central quality. Of course, there will published by "Naklada MD", Zagreb 2000 built on the strategy that Hollywood used to (...) always be people who hate bringing paper call "high concept": a powerful pun around While it would be an exaggeration to call tissues to the movies, preferring instead to t took only which the whole story slowly develops. (...) Mamma Leone, as Rizvanoviæ did, "the best crack jokes while heart-rending violins weep two collec- Part of the Feriæ's stories completely dis- Croatian fiction published in the last fifteen in the background, but Mamma Leone was tions of cards the organizing principle in the rest of years", it certainly ranks among the best never meant for them. This mamma is old- short fiction (Walt the book. Instead, they are structured like books of the decade. Furthermore, it is the fashioned and simple; just like the sunset it- Disney’s Mousetrap, Chinese boxes, with extremely loose outer best, most balanced Jergoviæ's book so far self. 1996 and Angel frame. As a rule, this frame is bizarre. For in- (this is his third work of fiction). The reason Run Offside, 2000), stance: a group of people in the immunology for its quality is quite simple: Jergoviæ has Jurica Pavièiæ by Zoran Feriæ, a clinic are waiting to find out whether they managed to find a new formula for an age-o- forty-year old teac- are HIV positive or not; or: a group of local ld subject. her from Zagreb, eccentrics is attending a funeral of a four- Today, demonstrating how insistently Ðermano Senjanoviæ to put an end to a year old girl, somewhere on the remote Ad- writing about childhood haunts the contem- frustrating pheno- riatic island... The loose frame "melts" into porary authors is no longer necessary. In US&A (United menon that has several directions, and, very similar to Hero- Flauber's Parrot, Julian Barnes has already plagued the Croatian literary studies for a dotus Histories, spreads like an oil spillover mentioned that every writer has a right to Split & America) long time - the phenomenon of "the missi- across the water surface. Heroes of the story one inadmissible book per oeuvre, but no ng link". Namely, Croatian criticism has for or the narrator himself disturb the frame by more than that. Jergoviæ is obviously heavily illustrated by Branko Efendiæ-Efi, publis- several decades despaired about the genera- personal memories, retrospective analysis of hed by Durieux, Zagreb: 1999 influenced by this "one inadmissible book". tion gap between the first generation of their history, anecdotes from the time elap- When we read about old railwayman studyi- fantasists, born in the fifties (Tribuson, sed, various references to past events, or hid- ng Hungarian dictionary and railway time- ermano Senjanoviæ, also known Ugrešiæ) and the second one, better known den ironic subversions of the action that ta- tables, Jergoviæ unmistakably reminds us as “Chicho”, requries no special as the "post-fantasy" or the war generation, kes place in the moment of narration. (...) who the Grandfather of this book is: after introduction for the faithful rea- born during the sixties (Jergoviæ, Tomiæ, If they were not organized as the collec- identifying the writer's close relatives incar- ders of his satirical column in Feral Tri- Perišiæ...). To put it simply, this problem tion of short stories, Feriæ's petite parables nated in Carver, Sidran, Chekhov and bune. However, if you prefer the right- was usually addressed in the following would strongly remind us of the terrible and Andriæ, the overall winner undoubtedly tur- wing Croatian Letter and need further manner: "Why did the Quorum generation magnificent miniatures from the black chro- ns out to be Danilo Kiš. The content of explanation, Senjanoviæ actually writes failed to produce a fiction writer?". The nicles of Thomas Bernhardt, and when I say Mamma Leone is unique only if we consider several columns: Dora's Diary, parts of problem is actually more far-reaching than Bernhardt (especially in Voice Imitator) I am every individual experience unique, which is Luminino's Mailbox, Beef (a TV colu- the question suggests: the generation gap not just casually dropping the great name. It hardly the best way for an author to achieve mn) and finally, he is the author of the has left its mark not only in fiction, but in is not by accident that Feriæ's first book was subject matter autonomy. most puzzling crossword puzzle in the film and theatre production too. Apparen- immediately translated into German and of- In every single story featured in the first world. Aside from his previous collec- tly the forty-something generation did not fered to Austrian reading-audience (publis- part of the book (twenty one in all), tion of Dora's Diary columns, US&A is have much interest in pursuing creative her: Folio Verlag). It is not unusual that Feriæ Jergoviæ blends the writing techniques of es- Senjanoviæ's first fictional work. It con- writing in their formative years, which is was quickly embraced by the Austrian pub- say, short story and fragmented autobiog- tains brief accounts of Senjanoviæ's stay probably the reason why so few of them lic. There is something deeply Austrian and raphy. He follows the free flow of associa- in America during the spring of 1998. work in the cultural field. Zoran Feriæ (b. Middle-European in the misanthropy and tions and writes without the firm narrative Senjanoviæ invited his compañero Mi- 1961) has gone some way towards closing black humor of Feriæ's fictions. structure, anchoring his style in images ljenko Smoje to accompany him on the that generation gap, by providing Croatian And I do not mean Middle-European in drawn from childhood memories. The main trip, despite Smoje's temporary resi- literary studies with the sense of continuity the sense of tasteful Mozart candies and Li- motive of the story is usually revealed or es- dence in the Other World. Once you and homogeneity in fiction, so beloved by pizaner horses that shaped and polluted the tablished in the last third of the text, which read about Senjanoviæ’s and Smoje’s ad- local critics. Croatian perception of Middle Europe duri- is why the whole textual dramaturgy slightly ventures in America, you will find it ha- Seen from another angle, Feriæ is a "pu- ng the nineties (thanks to ideological propa- resembles the one used by neorealists. rd to believe that Smoje is deceased. re" writer. It is not an accident that the pa- ganda). Feriæ's Middle Europe is not a Spani- Jergoviæ concludes most of his stories by Bringing Smoje back to life means brin- negyric reviews of Feriæ's book Angel Run sh riding school nor has it anything to do wi- reactivating the motive from the very begin- ging back the spirit we used recognize Offside praise the fact that Feriæ is interesti- th Strauss' and chardash dances. It is Middle ning of the text, and it is not rare to see him as a Split’s trademark; nothing captured ng precisely as literature, without any "out- Europe as "the rectum of Europe, a place that additionally emphasizing the motive by that spirit the way Smoje’s literary side influences" that might "pollute" him. anyone with brains will flee as soon as they juxtaposing it with surprising story-titles chronicles did. Its strongest weapon is And by "outside influences" everyone of possibly can” (according to Paolo Magelli). (for instance, If You’re Sure You Saw A Car, humor, ranging from parody to sarca- course means socially vehement political or It is the place of incest, arsonists, suicides, Do Tell Me). Short fiction experts will im- sm. Senjanoviæ is not afraid of self-iro- thematic provocations. morbid neighbors and provincial malice best mediately spot Raymond Carver’s footprin- ny (at one point, Smoje tells him: Chic- Furthermore, we should never forget described by Austrians themselves: Thomas ts in this method, except that Carver, much ho, you know, I've been thinking about Feriæ’s sensitivity to literary nuances. His Berhardt, playwright Werner Schwab in his like Joyce, is the kind of writer who recogni- you, and I came to the conclusion that meandering, inticately structured stories- play Die Präsidentinnen and Michael Hanne- zes his main point; Carver finds it in a gestu- you really are an absolute idiot), and it is within-the-stories in the style of Chinese ke in his movies. re, action, plot reversal or dialogue. Jergoviæ precisely his self-irony that gives boxes, are a good example of mature pos- prefers to pronounce his main thesis; his fi- Senjanoviæ the right to parody (through tmodernist take on fiction. This style is Jurica Pavièiæ II/40, 12. listopada,,,. 25

Branko Maleš title of the entire book. It is written in the Ozren Kebo Borivoj Radakoviæ first person, although the epilogue explains Little Love Affairs how the previous pages were really "found Sarajevo No, This is Not published by Naklada MD, Zagreb, 2000 by accident" by the posthumous "editor" of for Beginners Raf's (the dominant narrator) personal no- Me (Yes, I'm Not ollected un- tes (resembling a diary). It is therefore ob- Feral Tribune, Split, 2000 the One ) der the title vious that Popoviæ does not experiment on he actions of the primitive mind published by Celeber, Zagreb, 1999 Little Love the level of plot or compositio. On the that was destroying Sarajevo for Affairs is a number contrary, his references are firmly groun- three years have found their chro- of different texts ded in narrative styles of Bukowski and nicler in Ozren Kebo and his story about inguistic potency of Borivoj Ra- written by a well- Henry Miller, Cortazar and Carlos Fuen- the survival of the people in Sarajevo. The dakoviæ, the foremost scatological known Croatian cri- tes, and many other writers of postmoder- title for beginners refers to those who live genius of Croatian literary scene, tic, poet and essayist nist "urban fiction". Notwithstanding the in Sarajevo today, regardless of whether remains the most important energetic Branko Maleš in the ecstatic praise that Popoviæ received from they have remained in the city for the du- source for the book No, This is Not Me past two years. It is his generational colleagues and fellow aut- ration of the war or whether they returned (Yes, I'm Not the One). Sentences imbued very hard to catego- hors for his allegedly "baroque prose style", afterwards from various voluntary or im- by punk rock vehemence are immediately rize these texts by in my opinion, the talk of Popoviæ's "ba- posed exiles. They all start building, loving, followed by calmer, more stylistically pre- normal standards of literary criticism; one has roque" elocutio is utterly unfounded. Al- living from the beginning, after years of cise expressions, but the level of verbal ag- to take into account author’s wide range of in- though his second work of fiction abounds mere surviving. Thematically different wri- gression builds up steadily throughout the terests, which in this book include sports, phi- with verbal puns, he never enters the realm tings have a common underlying concept: book. This is why I feel obligated to warn losophy, art and politics. My impression is that of baroque hyper-rhetorization. The real the disappearance of the city, its people, the reader of what lies ahead: if you are not Maleš’s writing should be seen as essayistic, novum of this book lies in the subtle, but and good old ways. Kebo’s basic thesis, prepared to step out of the "shit of senti- with all the aesthetic breadth that the term im- consistent stylistic skill of metaphorically that everything is made of illusion and that mentalism and realism", you will have se- plies. Whatever the case, by injecting artistic interconnecting the stories and their moti- human wisdom is revealed to the degree in rious difficulties digesting Radakoviæ's har- overtones and artificiality into the most banal ves into a which one is conscious of that illusion, in dcore writing, to say nothing of his acade- everyday circumstances, Little Love Affairs whole that one’s caution, and in the energy that one mic posture. Despite the basic elegiac nar- transgresses the classic boundary between the – under invests against the belief that anything can rative tone, brutalities, bestialities and ver- world and the text. Maleš's collection of essays closer scru- last long. The first in a series of illusions, bal exhibitionism prevail. Although autho- makes the most sense when compared with tiny – re- which the author will gradually disclose, is r's nihilism stems from his exhausted paci- Michel Tournier's Petit Proses. sembles a the one about the world in which there are fism, which has been forced to turn into On the other hand, his writing is relaxed, "hidden" United Nations, Declaration on Human violence while struggling against it, the fi- fragmented and heavily influenced by rock novel. Mo- Rights, and a number of other declarations nal result is fiction that shocks, written "in music. I quote the opening passage from the reover, which guarantee some kind of human right spite of everybody and to everyone's hor- eponymous essay in Little Love Affairs: "Why Popoviæ is to each and every citizen of the world. At ror". (...) do I like dirty girls in commando jackets, with innovative the moment when the first projectiles we- Reader gets the book of "hot" content and cigarettes hanging from their lips? Girls who and poeti- re launched from Pale, Sarajevo was aban- "boiling" vocabulary, treating subcultural is- drink heavily, smoke passionately and play bil- cally sop- sues like sex, drugs and violence with cyni- liard in exotically named filthy bars somewhe- histicated cism and pathos. However, the writer dis- re in the suburbs? Why am I allergic to girls about his guises these elements with elitist rhetoric who never set foot in any suburb at all; or ano- lexical of "art about art". In order to "heat" the co- rexic models in the company of large-mustac- choices, ld and socially idle style that marks the sur- hed bigshots from some obscure football thereby creating a thoughtful and suggesti- face of his work, Radakoviæ exaggerates team? It is because I love the margin and the ve narrative tone, a tone that employs very everything: from the loneliness that suppo- urban Left connected with it." I think this different language-styles, from colloquial sedly leads to lust to the eroticism presen- "rocking" and relaxed passage gives a pretty ac- speech to standardized language. The aut- ted through pornography, or fear raised by curate taste of what follows later, including the hor has a musically accurate feeling for the repression and pacifism expressed by ag- poetics of urban spaces and the author's ideali- rhythm of language and for playing with gression. (...) zation of the whole social reality (and therefo- "appropriate" and "provocative" sentence Hiding behind the title No, This Is Not Me re his obvious naivete). That is why the real nuances. With Popoviæ we have therefore (Yes, I'm Not the One) Radakoviæ weaves a subject of the book is the repression, the denial gained a writer who not only hears, but al- fabric of truly autoreferential records, so- of everyday reality, where the author turns his so tests the boundaries of contemporary metimes militant and self-congratulatory, head away from the decade during which the language. Whether readers share his the- sometimes tired and whining, but always conservative Right has shown its ugliest face. matic interests is an altogether different mocking the position of godlike authors The real question about Maleš's book is there- question: personally, I do not consider fore this: how could an enlightened modernist excessive use of alcohol a heroic mode of such as Maleš survive all these years that effec- behavior (to say nothing of its unoriginali- tively destroyed all of his ideals? And by ideals ty as a literary subject), nor do I think that I don’t mean the rhetorical trickery that nowa- sexual consummation without intimacy days comes under the heading of “pining for implies the ultimate in human happiness. former Yugoslavia”; I mean the modernist nos- (...) talgia for universal values of solidarity, social In the second story, Under the Rainbow, sensibility, ethnic tolerance. Today’s Left is Popoviæ shifts our attention from drunkar- doned. Now Karadžiæ was making decisio- completely on the defensive, which is why all ds to soldiers. He resemanticizes the moti- ns on human rights. The illusion that the "leftist stories/stories from/of the Left" sound ves of "sleep" from the first story, but now world would intervene proved the worst of more or less unrealistic and utopian. The es- he talks about "sleeping in the snake pit" all illusions for those who waited for the sential question for the leftist author today (i.e. in the trenches), where the exhausted bombing to stop. In a shell of surrounded is the question of elementary survival. Bran- characters even manage to dream from ti- Sarajevo, everything that makes normal ci- ko Maleš provides some modest answers, me to time. War becomes a variation on de- ty life had to be forgotten. For instance, modeled on his own personal experience. based humanity and company of men in- those who invested their money and time Rade Jarak troduced in the previous story. (...) in creating a family library first had to de- In his war stories, but also in his stories cide whether to use the books as kindling, that take place during peacetime, Popoviæ then watch their pages disappear in flames, and voyeuristic readers (regardless of how treats women like commodity: "I can pay and finally learn to live with the fact that in simultaneously exciting and humiliating Edo Popoviæ for her, I can have her for free... She is wea- this part of the world that we prefer not to the latter position may be). By stripping ring an extremely short skirt, she spreads call the Balkans, the family library is also down the methodology of conventional Yellow Snakes' her legs wide open, no panties." Only in the an illusion, an enormous one. Kebo’s wri- narrative procedure until we are faced with third story, called In the Spider's Web, do tings are structured as a string of notes the "naked intimism" of the narrator him- Dream women acquire faces to go with their geni- dealing with the same topic, sometimes self, Radakoviæ sticks his tongue out with published by Moderna Vremena, tals. (...) Here the subplot, symbolically comprising of only a line or two, someti- obvious pleasure, inviting the gentle reader Zagreb, 2000 more important than the main plot, deals mes filling a single page. They synthesize on the spiritual Odyssey through the duo- with the young couple's neighbor, Ms. In- what the author had witnessed, what he denum, small intestine and large intestine. t might be a good idea to approach grid. She has spent practically her entire life had heard, and, most importantly, what he The last story catapults the reader directly this book with several "naive" ques- nurturing an almost sacral belief in the ki- had learned about war and peace, about from the rectum into the world of violen- tions. For instance: why is it that nd of love that is truly ascetic, absolute, himself and the people around him. ce. And it is exactly violence cum language, Croatian authors are at their most convin- boundless, tragic. This notion of love rep- violence over the language as well as lin- cing when they write about the experience resents the third dream of the yellow sna- Dušanka Profeta guistic violence, that constitutes the the- of passivity, hopelessness and psychologi- kes in the book: the dream of her inability matic and stylistic axis of Radakoviæ's poe- cal stagnation of their characters; in other to face the real risk of emotional surrender tics. words, when they write about various - therefore the dream closely related to an- No, This Is Not Me (Yes, I'm Not the One) "dead end" situations? Why is it that typical ticipation of death (...) is a book of powerlessness and anger, often metaphors for Croatia in contemporary In light of another local-patriotic para- emotional, sometimes pretentious, but writing (form Krleža to Robert Perišiæ) dox, we should admit that while Popoviæ's mostly sincere. It won't spiritually euthani- equate the country with a "swamp", "cheap "novel" does in fact thematize the passive ze its readers, but it will, eloquently and vi- dive", "mud", "quick sand", "desert"? Why philosophy of defeat, it simultaneously vidly, reiterate the same message Ed Sande- this insistence on the notion of powerles- performs active revalorization of the cultu- rs conveyed long ago with the cover of his sness? (...) ral space he describes. “FUCK YOU” magazine… Dream of Yellow Snakes is the title of the first story in Popoviæ's book, and also the Nataša Govediæ Andreja Gregorina 26 II/40, 12. listopada 2,,,.

Sonja Wild Biæaniæ War in Bosnia and Herzegovina Two Lines of Life/Dvije linije života 1991 – 1995 translated from English by Mia Pervan, published by Durieux, Zagreb: 1999 edited by Branka Magaš and Ivo Žaniæ, onja Wild Biæaniæ’s autobiography, originally published by Naklada Jesenski i Turk and Dani, written in English under the title Two Lines Zagreb – Sarajevo: 1999 of Life, has now been published as a two-lan- he book War in Bosnia and Herzegovina 1991–1995 is a collection of papers guage edition. Two Lines of Life is probably the per- that were presented at the conference dedicated, as we used to say, to Third fect title for this book, since it encompasses two world countries. I will give the list of paper presenters in alphabetical order: countries, two languages, two wars, and even (if we Dušan Bilandžiæ, Norman Cigar, Jovan Divjak, Marko Attila Hoare, Rusmir take into account the author’s private life) two mar- Mahmutæehajiæ, Stjepan Mesiæ, Warren Switzer, Martin Špegelj, Anton Tus, Paul Wil- riages and two children. The coherence and intelli- liams and Ozren Žunec. The conference was held in Budapest, during September gence of her writing becomes apparent as soon as 1996. It was organized by The Bosnian Institute from London and The Institute for one begins reading her book. In times when war and South-East Europe from Middle-European University in Budapest. The discussions autobiographical writings comprise the largest part were held in three main thematic sections: War in Croatia, War in Bosnia and Herze- of fictional production, Sonja Wild Biæaniæ succeeds govina and International Response: Lessons for the Future, with additional section, pre- in talking both about herself and the Croatian his- sented by Ofelija Backoviæ, Miloš Vasiæ and Aleksandar Vasoviæ, called: Is there anyo- tory, offering a new outlook, unencumbered by ne who is happy to become a soldier – mobilization crisis – analytical survey of media co- ideology. She is an excellent observer, and her Engli- verage. At the end of the book reader will find The Chronology of Events 1985–1995, sh origin provides her with sufficient distance to an article on the organization of Yugoslav National Army and various geographical judge the last fifty years with both objectivity and maps. In my opinion, this book will remain influential for a very long time. In contra- love. st to the usual monological talking and writing about the war, this book really contai- Dušanka Profeta ns dialogues: it is open, provocative and surprising. I have never come across a similar publication before… Here we discover that there are war subjec- ts on which we can agree, at least partly; or we Viktor Ivanèiæ can agree on certain aspects of some question. Of course, the conversations in the book re- Dotting Our U’s – veal many more subjects which are still, both publicly and privately, in question, for the sim- The Šakiæ Case: ple reason that the data on them is either illo- Anatomy of a Scandal gical or missing… War never offered any Biblical solutions published by Feral Tribune, Split, 1998; second about the truth, but it has opened a tremen- printing 2000 dous space for the discussion of it. We will ha- ve to accept it and participate in it. After readi- onsidering the fact that Ivanèiæ has alrea- ng this book, those who were brave and dedi- dy dedicated a series of newspaper artic- cated enough to initiate or prepare these con- les in Feral to the Šakiæ case, the pheno- versations are left with personal doubts and menon of Independent State of Croatia and to personal answers. I recommend the book to Tuðman’s doctrine of national reconciliation, a everyone. If for no other reason, than for the reader would be forgiven for thinking that this fact that at least it teaches us how to raise is a collection of previously published articles, a questions. customary practice of our star columnists. However, this is not the case; only some small Grozdana Cvitan portions of the text have been published in Feral. In terms of composition, this book is a coherent whole; its rhetoric and argumenta- tion far surpass the simplicity of journalistic style, transforming it instead into a poli- Stanko Andriæ tical and psycho-sociological treatise. Although he uses the relevant literature on phi- losophy and political science (H. Arendt, J. Benda, I. Bibo, P. Sloterdijk, E. Canetti, D. de Ruogemont, E. Cioran and others) in his analysis of the cult of nation and sta- Diary from the Yu- te, and the parallels between the Independent State of Croatia and the contemporary goslav National Republic of Croatia, he is not a scholar, but rather a dedicated political journalist who approaches his subject matter with passion, never hiding his own opinions. Army and The starting point of Ivanèiæ’s analysis is the neurosis of the current Croatian regi- me, dismayed by the global pressure to put Dinko Šakiæ on trial. At the same time, he Other Glosses and discusses the identical attitude of the majority of “liberal” Croatian intellectuals who cannot comprehend why the world is forcing Croatia into opening those old wounds. Arabesques Everyone realizes that this case is a litmus test to determine the real attitude of the re- published by Durieux, Zagreb, 2000 gime, and the Croatian public as a whole, towards the fascist heritage… “Glorifying the state (including the Independent State of Croatia) as an empty ab- tanko Andriæ's fictional and essayist solute, the perfect frame to end historical and social development, by emptying that oeuvre consists of History of Slavo- frame in mass consciousness of its sickening content, by airbrushing crimes, terror nia in Seven Conflagrations (1992) and violence committed in its name, all of this is expedient and necessary to conceal and Encyclopedia of Nothingness (1995), and downplay the outrages committed in the name of today’s Croatia. This idealized plus the various texts from the newspapers. empty frame that races through eras and epochs stripped of any content that might The book Diary from the Yugoslav National distract from its gilding is supposed to be our only available reality and unique ideolo- Army and Other Glosses and Arabesques lar- gical truth.” gely comprises Andriæ’s journalistic writi- The closing chapters of the book deal with Franjo Tuðman as the main protagonist ng. One of the main features of Andriæ's of this ideology. Ivanèiæ pays particular attention to Tuðman’s Wilderness of Historical scholarly and fictional writing is the atten- Reality, proving that this book represents Tuðman’s defense of genocide. Tuðman is tion he pays to interior structure; balanci- trying to prove that genocide can be a useful social tool in human history, affecting ng the particular in relation to the textual the future of the nation in a positive way, particularly in terms of its natural ethnic la- whole. In his new book, Andriæ continues nd holdings. For him, nationalist state is the only option, which requires the highest the same practice. He divides texts into "glosses", treatises and "arabesques", managing to possible degree of ethnic homogenization and the highest possible conformity be- avoid the classification term "essays" (an appropriate move, considering that some texts in tween ethnic structure of population and state boundaries. Ivanèiæ concludes: “Tuð- the book certainly couldn’t be qualified as essays). Glosses refer to the texts that resulted man's real purpose in The Wilderness is giving crimes meaning. In keeping with his gui- from his previous reading (Hugo Pratt, Hamvas...) and the texts that to some extent re- se of fatalist historian, he sees the occurrence of crime as a given, as a historical pre- semble literary criticism, essayistic or autobiographical writing. In his treatises, Andriæ destination, or, in his own words, as an “endless repetition”. His scholarly eye is not discusses etymology, separatism, fear of cancer, millennial anxiety and many other issues. focused on examining the roots and origins of evil – which is inescapable, don’t you By calling these texts "treatises", Andriæ plays with the reader and exhibits signs of self-i- know, like the ground we walk on – but rather on providing evil with appropriate sen- rony: specifically, in contemporary vocabulary, treatises are long, boring, overloaded with se and reason.” data and prim writing. Andriæ's texts are just the opposite: balanced, interesting, and writ- Ivanèiæ pays particular attention to Tuðman's doctrine of national reconciliation and ten without any desire to dazzle the reader with academic knowledge. The smallest group his wish to build a shrine to this idea in Jasenovac, where he would bury the jumbled of texts are called "arabesques", and this is where part of Andriæ's diary from the book tit- bones of everyone who died for the dream of independent state, regardless of who le can be found. Andriæ's diary teems with notes (usually a sentence or two) about the they fought for… books that he read or is planning to write about. When he writes about his "immediate en- Although conceived as an analysis inspired by the Šakiæ case, Ivanèiæ’s book does vironment" (army), he does so as a distanced observer, enclosed within the boundaries of not dwell so much on the history of the Independent State of Croatia and its regime; his inner self, capable of understanding the whole pointless world around him only as me- he has no doubts about its fascist nature. He is far more interested in examining the taphor. I will quote one: on the sidewalk, the soldier stands still, while the fork from his mess common ground between political doctrines of the two regimes, the former one and kit sticks out greedily (from the text The Border, August 7, 1987). Andriæ's place in contem- the contemporary one. Although he sometimes comes off a little too impassioned, his porary Croatian fiction is not very different from the place he has chosen for himself in analysis of our society’s phenomena is for the most part extraordinarily lucid an intel- the army: in all the fuss of recent fiction trends, poetical or generational preferences of ligent, and his opposition to the prevailing intellectual conformity is nothing short of Stanko Andriæ lie with the personal and private world – no less vivid because of its splen- courageous. did isolation. Velimir Viskoviæ Dušanka Profeta II/40, 12. listopada,,,. 27

Bora Æosiæ Jakša Kušan Custom Declaration Battle for The New Croatia published by Feral Tribune, Split, 2000. published by Otokar Keršovani d.o.o, Rijeka, 2000 eckett's Malone is paralyzed. He is laying in bed, waiting for death to come. Using a long akša Kušan’s Battle For The New Croatia is an autobiographical account of his stick with a hook, he draws to himself objects within the reach. He makes inventory of his thirty years of publishing The New Croatia, a journal he started in London and life. And he tells stories. which was for many years considered the most influential emigrant publication Bora Æosiæ does not have his fictional character, his Malone. Instead of it, he is the one, in fla- (not only because of its circulation, but also because of its reception in Croatia). The sh, who sits alone in a large, empty room of his Berlin apartment. The emptiness of his room mu- New Croatia was a thorn in the side of both Udba (Yugoslav Secret Police) and the Croa- st be horrible, unbearable. He makes a mental list of personal belongings to declare to the custo- tian emigrant circles. Kušan's book consists of his reprinted editorials and his public and m's office; this inventory declaration will allow him to transport his former life legally from the private letters (in which he explains the goals and policy of the journal). With the excep- country he used to consider his homeland to the new country, where he will live under the differe- tion of the journal’s editorial board, his associates and simphatzers, Kušan demonstrates nt, foreign sky. Both of our heroes, Malone and Æosiæ, finally conclude that there is not much to how little consensus was achieved between different emigrant groups around the world. declare. Both of them conclude that what they have been collecting all their lives is, in fact, empti- He admits to minor disagreements on the disunited emigrant scene but only hints at the ness... existence of major conflicts. He also provides the information on the beginnings and re- That is why I understand Æosiæ's Custom Declaration and Beckett's Malone Dies as comple- lative success of Croatian National Council in rallying the mentary literary works. In many details, in many thoughts, they are similar, but in the final run Croats scattered all over the world. they drift apart. Beckett's Malone dies, and Bora starts all over again – with a baggage full of em- The dark side of the emigrant scene is best described ptiness... through the activities of Udba and its attempts to get to Custom Declaration is a testimonial, lyrical, metaphysical, and philosophical essay about typical those emigrants considered dangerous to Yugoslavia strollers of our century. It is "a chronicle about migration, a chronicle that has been lasting from through various “friends”, with the goal of “neutralizing” the days of youth..." In order to be free, Æosiæ firmly believes (and we must agree with him) that the targets under suspicion at all costs. Framing a suspect one has to "leave one’s own country simply to have some rest". If the country that one "belongs was considered "mild" and assassination the most extreme to" starts to weigh down on a person, it is one’s own fault, because the country knows nothing of Udba’s tactics. The executors of these "measures" ran- about itself, let alone about being this person's country. It is us that declared the country our own ged from convicted criminals and professional assassins and thereby committed the biggest mistake possible..." to Yugoslav citizens who worked abroad and were blac- As Æosiæ himself admits, he is, in fact, "taking the graduation exam in leaving his own country" kmailed into cooperation with Udba. The latter group of- (and a very important exam, especially if one wants to become of age and maturity). Æosiæ takes ten tried to sidestep Udba’s orders in various ways. But his time. Without any "nervousness", he studies "deep science of emptiness". He notices how "we Kušan also remembers those who didn’t have to be blac- have lived in the area in which there was always too kmailed, who willingly volunteered their services to help much history; far too much for a person to handle." Udba. He wants to change this for the better, at least a little bit. Grozdana Cvitan While he leaves "the Balkan inn, where everyone has been eating and drinking until nothing was left", Æosiæ maintains an ironical distance between both himself Ilija Jakovljeviæ and his destiny, which is another quality of this book. He does not think that he was sentenced to that kind Concentration of life; he knows he has chosen it... Custom Declaration is cathartic for the author as Camp on Sava River much as for his “fellow comrades" from the previous published by Konzor, Zagreb, 1999 decade; the ones who are now aware that they belon- ged to the "unknown civilization trash". Their war en- esides being a schoolmaster who worked in Saraje- ds by defeat. The war campaign, lead by the whole cen- vo and Zagreb, Croatian writer and lawyer, editor- tury, has been “a cause lost long ago”, and the defeat in-chief of the influential Croatian political was created in foreign generals' offices. Custom Decla- newspaper called Hrvatski dnevnik (owned by the Croa- ration is a masterly written fugue. Not the death fugue, tian Peasant Party) and a one-time president of the Croa- but the fugue for a new day. Well, day by day... tian Writers’ Association, Ilija Jakovljeviæ, born in the Tur- Daša Drndiæ kish Quarter "Podhumska mahala" in the city of Mostar (1898), also had "the honor" of becoming a prisoner of no less than three different dictatorships. First the dictator- ship declared in monarchist Yugoslavia on January 6, 1929, then the Ustasha dictatorship during the Second World Predrag Matvejeviæ War, and, finally, after the war, the Communist dictator- Vidoslav Stevanoviæ ship. He died in a communist prison at the end of October 1948, under mysterious circumstan- ces, thus becoming what we call a "non-person" during all the subsequent years of the Communi- and Zlatko Dizdareviæ st rule. This biographical data is also where we must look for the reasons why the account of at- rocities in the Ustasha concentration camp Nova Gradiška, where Jakovljeviæ spent more than a Masters of War and Peace year (from October 1941 until December 1942), is being published only now, after being almost forgotten for more than half a century. This question becomes especially vital once we realize that published by Feral Tribune, Split, 1999 Jakovljeviæ's work is the first important document about "Ustashia" (Jakovljeviæ's term) that we- nt public in the period after Croatia has proclaimed its independence from Yugoslavia. he book, already published in Italy and Fran- Let us therefore begin with the conclusion: this is the most important book that has appeared ce, has been conceived as a report on Balkan in Croatia in a very, very long time. It is precisely because Jakovljeviæ was so perfectly perceptive rulers, where Miloševiæ is portrayed by a Ser- and analytically bold, as well as contemptuous of any mystification, that his chronicle is precious bian dissident writer, Vidosav Stevanoviæ, Tuðman to us – both literary and historically. It encompasses pain and despair, a sense of survival, pity, de- by Predrag Matvejeviæ, and Izetbegoviæ by a Saraje- fiance, and a good deal of astuteness. It strips the Ustasha demagogy bare, revealing the so-called vo journalist Zlatko Dizdareviæ. Independent State of Croatia for what it was: a reign of hardened criminals. Jakovljeviæ knew the Bigraphers specializing in political rulers typically complete truth about Ustashas and could not be seduced by their apologetic stupidity that preac- manage to find at least some small elements of huma- hed "blossoming" of Croatian culture "despite the unsuitable circumstances" of the present war. nity in their power-wielding subjects, if for no other (...) reason, than to provide justification and explanation for their actions. Stevanoviæ, howe- It is difficult to evoke all the richness of Jakovljeviæ's testimony. The book also offers nume- ver, finds not a trace of humanity in the president of his country. "Slobo" is just a bare po- rous proofs about the resistance to the committed atrocities, even among freshly recruited Us- litical function from Dedinje that appears before the people wearing a grim bureaucratic tashas. (...) suit. His humor is simply a rehearsed political routine and his smile is a fake. His words Jakovljeviæ's observations about nationalism are of utmost importance (as he says: "It is a conflict are lies and the essence of his existence is his endless lust for power: This is Stevanoviæ’s of two philistine nationalisms, Ottoman brutality and a thousand year old cultural fakery"), as are take on the fifteen long years of Miloševiæ's regime... his views on differences between populist and ideological consciousness, and between Ustashas' Unlike Stevanoviæ, Matvejeviæ is interested in the personality of the ruler, which is "parlamentarism" and "Christian corporativism". It also provides the crucial testimony about im- why his portrayal of Tuðman is replete in quotations from Tuðman's customarily mysti- portant political leaders of the era (Jakovljeviæ on Budak: "he is the biggest thug ever to appear fying pronouncements, strategic statements and intellectual fantasizing we so enjoyed under the mask of a writer, in any country in the world"). (...) hearing when he was alive. Tuðman comes off as a pathological liar, a Narcissus with a In the preface to Jakovljeviæ's book, Ivan Lovrenoviæ points out that the discovery of Jakovlje- crooked upper lip, whose obsession with history is comparable only to his obsession viæ's manuscript should be treated as "(...) one of the most important events of contemporary about his place in the historical hall of fame. His pathological state of mind, suggests Croatian literature. Neither Croatian literature, nor Croatian self-image, can remain the same af- Matvejeviæ, is the source of many Croatian troubles... ter this book." And he would be right, if only contemporary Croatian literature and historical se- Just like his pals "Slobodan" and "Franjo", "Alija" was also successful in getting rid of lf-knowledge could be said to adhere to clear political, ethical and intellectual standards. Howe- his more popular partners. While hiding behind statements like "This is not our war" and ver, that is rarely the case. This lack of standards is underlined not only by such trivial political ar- "The one who shots knows", Alija created a public impression of a reasonable man; he rangements as banal majorette routines that accompanied the official unveiling of the most banal presented himself as a slightly naïve old man who devoted his whole life to the prosperi- monument imaginable, but even more by the fact that today's "blackcoats" (Jakovljeviæ's term) ty of his people. Like hell, says Dizdareviæ. Izetbegoviæ used the war years to mould the still celebrate Masses for Ustashas' Commander-in-Chief and his Commissioner. That is why this whole political system to his autocratic rule, to say nothing of numerous catastrophic de- book, soaked in the blood of its author, shall remain one of those rare lights that appeared to him cisions that left Bosniacs completely unprepared for the war or the fact that he installed in visions during the period after Jakovljeviæ left Gradiška – visions that took the form of places himself as the ultimate leader of Bosnia and Herzegovina... Like his friends from Zagreb like Jablanac, Gradine and Mlaka. He saw "that every clump of earth that covers the body of the and Belgrade, Izetbegoviæ today enjoys all the luxuries and spoils of the war, i.e. luxuries martyr is now a beacon, lighting the roads to a new life." Until that happy moment when Croa- paid with the money of taxpayers who are left to grapple with the burden of poverty on tian culture finally reclaims its place European culture, and Croatian history learns the inestimab- their own. le value of self-criticism, Jakovljeviæ's chronicle shall continue to light the way for all of us. Dragan Koruga Ivo Banac 28 II/40, 12. listopada 2,,,.

Marinko Èuliæ at least glean the answer to that ques- together a special Informative Guide (or, Stanko Lasiæ tion. In the interview he gave to Zarez The Hall of Fame), which lists the main “he- Autobiographical Tuðman – before his book was about to be pub- roes” of The Breakdown Years, from folk lished, he was explicit: “I think that stars, women mystics, heavenly warriors, Anatomy of would-be journalists, writers and spiritual Notes those with guilty conscience will start Unenlightened restorers of Serbianhood to various minis- published by Nakladni zavod Globus, discrediting him as soon as he dies, ters and politicians - both the ones belongi- Zagreb, 2000 and I have to admit that I find it a little Absolutism ng to the regime and those who belong to lthough the publishing of autobiog- unfair, considering that they were the quasi-opposition - as well as their wives, and published by Feral Tribune, Split, 1999 raphical writings by the respected li- ones who kept giving him their whole- generally speaking, a whole battalion of terary theorist and historian Stanko hearted support for a very long time. professional Serbs. Articles are prefaced wi- Lasiæ (b. 1927) probably caught most of the You know what happened with Tito: th some of the most famous, most terrifyi- Croatian reading public by surprise, audien- ng and most insane quotes of the period, so ce initiated into his literary and scholarly first we had this big, charismatic death, that every text in the book boasts its own than he was discredited, and now he’s oeuvre could have predicted such a text from anti/motto. One of the most famous is cer- the discourse that emerges from the previous back in favor. Tuðman won’t be so luc- tainly Miloševiæ’s “If we have to fight, by six books of Lasiæ's Krležology (1989, 1993). ky. He made so many mistakes and God, we will fight!” This nursery of stupi- Lasiæ's analytical and scholarly subject pre- stupid moves in the past ten years that dity serves almost as a sequel to The Antho- sents his own life as a place of experience, it won’t be long before everyone re- logy of Contemporary Croatian Stupidity, temptations, restlessness and dialogue, i.e. as nounces him. The man will probably compiled by writers from Feral Tribune, and material for transforming the personal expe- at the same time represents a perfectly re- rience into the narrative act, which means sink lower than Franco.” liable, documentary material for better un- Now that the citizens of Croatia, that with Lasiæ, some sort of Bildungsroman derstanding of the history/reality of Serbian was waiting for its chance for quite some ti- whatever their political bent, regard downfall. The other supplement to the me. Based in part on his conversations with Franjo Tuðman primarily as a bad book is a collection of e-mail messages that Branko Matan, Lasiæ's Autobiographical Notes dream they had a long time ago, this Lukoviæ received from friends and strange- fulfill indications already present in Krležolo- prediction sounds as if Èuliæ was rein- rs during the NATO bombing of Serbia gy. (after he made his e-mail address public in venting the wheel. However, you only Whenever the autobiographical discourse Feral Tribune), and which have been chro- in employed, the most frequently asked have to look at the sullen eyes and the nologically arranged and entered in his elec- tightly pressed lips on the book cover questions are, on one hand, how to establish tronic journal… characteristics of the subject that narrates its to remember, and admit, how daring Lukoviæ uses different journalistic and li- own life, and, on the other, how to define and optimistic, even unbelievable, this terary genres to record the decaying Serbian "real" subject's relationship with the narrative riting Franjo Tuðman’s political statement sounded in the summer of history and its decaying reality: from subject; with the "character" of life history biography (of sorts) while he is 1999. newspaper columns and reportage, his and that is produced only by enunciation. Who is still alive is like trying to fish other people’s diary entries to the fantasti- Marinko Èuliæ probably still has his "Lasiæ" made by Lasiæ's authorial discourse? while the river is up.”, warns Marinko cal-documentarist novel named Psycho and Does Lasiæ produce his "wishful" self or is he Èuliæ at the beginning of his book. notes for the biography of Slobodan dramatic fragments, or rather, palimpsests Miloševiæ, a project that never got off really openi- This task was made even harder by the of famous literary works, here entitled Pulp ng up to the fact that at the time of writing, Èuliæ, the ground thanks to some publishing Fiction. One unique genre he introduces potential rea- a long-time journalist and editor at Fe- and distribution problems. That’s a pi- consists of the stolen letters of Mirjana der, with all ral Tribune – literally the only Croa- ty. A lot of things may have been clea- Markoviæ (Miloševiæ’s wife), Borislav Joviæ his weak spo- tian paper with respectable circulation rer today if it had. or Radoje Kontiæ, and confidential tran- ts, delusions who from its first issue onwards never scripts from the sessions of the Supreme and contra- stopped opposing Tuðman and his re- Agata Juniku Defense Council. In addition to this variety dictions laid gime – had to stand trial for the char- of genres and authorial mimicry, Lukoviæ al- bare? The an- ges brought against him and Feral’s so employs numerous literary techniques swer could be editor-in-chief, Viktor Ivanèiæ, by no- Petar Lukoviæ and linguistic/stylistic acrobatics, such as found in cen- ne other than the offended President different types of parody, compilation and tral formative himself. The paraphrase of other people’s speech; grote- touchstones Despite this delicate situation, sque, satire and irony; hyperbole, Rabelai- of Lasiæ's Èuliæ rose to the challenge, approachi- Breakdown Years sian stylistic reversals, self-irony and many, (hi)story; the ng his “hero” less in a form of biograp- many more. ones that per- hy than something closer to psycholo- A Chronicle of Serbian Nevertheless, a laughter of Pero from the meate three gical portrayal. Consciously or not, Other Side is the laughter that liberates; it central relations between the world and the the term “anatomy” in the title had al- Downfall represents a heretical, rebellious and at the text. Firstly, Lasiæ's treatment of historical ready set the medical tone of the pro- published b: Feral Tribune, Split, 2000 same time experiences (Second World War, Ustashas ceedings. Whatever the case, the tone profoundly "Independent State of Croatia", his involve- is justified, because what follows later etar Lukoviæ’s The Breakdown Years ethical and ment in antifascist movement, acceptance of evokes the way in which the psychiat- is an exceptional, excellently written, humane testi- the totalitarian Communist matrix, its sub- rist diagnoses the patient (implicitly, deliriously poignant and deliriously mony against sequent rejection, participation in the "Croa- of course) by analyzing his actions and witty book. We are talking about a total the reality tian spring" in 1971, emigration). Secondly, behavior. book or a sum total of Serbian downfall that that surroun- Lasiæ's relationship to himself (intellectual Èuliæ is coolly objective, and preci- was ten years in the making. It expresses ds him… In coming of age, reading lists, learning, discip- se in his argumentation, but there is a possibly the strongest opposition yet to writing the line and scholarly “fit-ness”). And finally his hint of subtle compassion for the “ca- Miloševiæ’s imperialist politics and the ge- chronicle of relationship with Others (opponents, collea- se” he is treating. He analyzes Tuðman neral nationalist/ideological/mythological one nation’s gues, friends, family, Europe). Lasiæ the sto- primarily through his relationship wi- matrix which the Serbian regime has been downfall and ryteller skillfully pieces all of these elements th several figures from recent past using for the past ten years to create the identifying together and the (hi)story produced beco- who, each in his own way, fascinated icon of the imperiled and righteous heaven- the bounda- mes flavored with self-reflection that turns and inspired him: Tito, Paveliæ and ly nation. Moreover, everything that is dis- ries of mad- his autobiographical pages into one of the Franco (“Fascism and antifascism are tinctive in Lukoviæ’s writing, from his ness in regio- most impressive intellectual testimonies of two planks that help him walk on wa- thoughts and the topics he discusses to his ns of former Yugoslavia, Lukoviæ is not in- the recent Croatian history. ter”), and through his relationship wi- style and language, is diametrically opposed terested in serious political analysis, logical Although he performs the role of the sto- th his only living “idol”, and the only to everything that the Serbian governing dissection of the situation or predictions ryteller well, Lasiæ has difficulties with avoi- reason that he managed to hold on to body had to offer during those years. Thus for the outcome. Most of his texts deal wi- ding his other favorite roles, for instance the power for the entire decade – Slobo- Lukoviæ responds to mass hysteria of pat- th the daily life, a bizarre and schizophrenic one of the literary scholar, classificator or dan Miloševiæ (“What we have here is riotism with indifference/rage/laughter re- daily life filled with watching the news on systematic analyst. The text reveals many the symbiosis between a man garding his duties towards the fatherland. Serbian state-owned television, reading Po- traces of author's profession, which makes (Miloševiæ) who had a Berlin Wall col- He puts his urban identity, public spirit and litika, waiting for water, gasoline, electrici- the decision on whether one should under- lapse in front of him, preventing him individualism before provincial, tub-thum- ty… or, in more general terms, they record stand Autobiographical Notes as a story about from going further, and a man (Tuð- ping mentality, and his love of rock music, the insanity in which Lukoviæ lives... the personal life or the story about social man) who was fortunate enough to ha- universal parody and literary fiction before The Breakdown Years is the funniest, system difficult to make; is it a discourse that ve the Wall collapse behind him.”). the revival of orthodox faith, historical most comprehensive and most moving shapes life and then transfers is back to being Three concrete political examples myths and tribal/patriarchal spirit that do- chronicle of the madness of Serbian regime, a "system" (through the process of author's on which Èuliæ builds his case are also minates Serbia. In short, Lukoviæ fights the but also a general history of stupidity that reflection) or is it the other way round: three main Tuðman’s obsessions, on ten years of Miloševiæ’s tyranny and natio- was being produced in the region for the la- system is applied to personal life and there- which he built his “unenlightened ab- nalist euphoria, both Serbian and Croatian, st ten years. It is a cutting condemnation, a fore made more "personal". In any case, we solutism” – division of Bosnia and with a healthy common sense and a healthy first-rate satire superior to almost anything are presented with an impressive book. I am Herzegovina, the Serbian question in humor. else by contemporary authors, especially sure some people will find it terrifying (it Croatia and abolishment of distinctio- The Breakdown Years, subtitled A Chro- when we take into account, and this is im- does, after all, discuss bloody history, totali- ns between victims of fascism and nicle of Serbian Downfall, contains articles portant, that to write like this in a place like tarian regimes, hard, self-imposed scientific communism (what Feral Tribune cal- that this music critic and journalist publis- Serbia implies considerable courage and discipline and deep self-analysis), but to ma- led “bones in the blender”). hed in the period from 1993 to 1999 in va- personal dedication… Laughter and writing ny others it will bring the pleasures of readi- How will the people see Tuðman rious magazines, from Belgrade independe- may be the last resorts of reason - but what ng, gaining insight, dialogue and encounteri- off – as a Liberator and a Nation-buil- nt weeklies Vreme and Nedjeljna Naša Bor- endless possibilities they have. ng the discoursive Other. der, or as an Autocrat and Dictator? ba, Slovenian Mladina, Sarajevo’s Dani and Èuliæ’s “biography” is his attempt to Split’s Feral Tribune to Internet. He also put Katarina Luketiæ Dean Duda II/40, 12. listopada,,,. 29

Krešimir Bagiæ arrival of Andriæ's second book, Encyclo- Slobodan Prosperov Novak tory of Croatian Literature III shows ob- Art of Dissent pedia of Nothingness, which pointed us vious preference for anti-holistic thinki- toward the interpretation of Stanko A History ng typical of the recent fin de siecle at- Polemic Styles of, A.G. Matoš Andriæ as a fictional writer; certainly the of Croatian mosphere, so much so that it refuses to and M. Krleža writer who insists on "fantastical supple- operate under the notion of "historical ments" to reality. Being a competent nar- Literature III objectivism" (which is a legitimate con- published by Naklada MD, Zagreb, 1999 rator, Andriæ nevertheless fascinates his temporary approach) or to abandon the readers with the scope of his historiograp- published by Naklada anti-BARBARUS, concept of "little history". Zagreb, 1999 hical knowledge, thereby casting his All in all, by departing from the usual extraordinary fictional net while using the periodisation and classification standar- factual data. (...) he third volume of A History of ds, the third volume of Novak's History As a whole, monograph Miracles of Jo- Croatian Literature by Slobodan of Croatian Literature (much like the fir- hannes Capistranus follows the chronolo- P. Novak boasts a chronometrical st two volumes) has succeeded in posing gical thread of Capistranus’ life, ending and periphrastic subtitle: "From Gundu- a formidable challenge to Croatian scho- only after the saint's death and interpreti- liæ's The Spawn of Darkness to Pleasant lars of literature and history). The true ng miracles performed during the "real" ti- Conversation of Slavic People (1756)", value of this book lies not in the author's me of Capistranus’ sainthood, after his ac- and thanks to its simple and relaxed nonchalant attitude towards universalia tual death. This performance of sainthood composition, it is as difficult to review as of literary history, but rather in the sen- is essential for the understanding of ha- it was easy to read. Much like the first sible usage of the advantages that come giographic discourse and its functions, es- two volumes in the edition, the third vo- with that nonchalance. When we disrega- pecially if we keep in mind that these fun- lume consists of short and independen- rd the general terms, we also make room ctions remained unchanged during many tly titled chapters, mostly dealing with for the rehabilitation of particularities. centuries after the physical death of parti- particular literary works and arranged In Novak's book, the particular wins cular saints. (...) according to their completion or release hands-down. Chapters on individual lite- While in his other fictional works Andriæ date. Since chapters are not arranged hie- rary works and writers' oeuvre, under- played with the relationship between fic- rarchically, even the texts that have so- stood as unique historical events, are mething in common are never grouped written imaginatively and without a trace roatian literature contains a rather under any single heading or title. (...) of predictability, and the approach to in- large corpus of polemical texts, whi- After decades of employing the same dividual works remains well-rounded ch, until now, lacked systematic his- classification, A History of Croatian Li- and free from theoretical abstractions, torical analysis and presentation. After ope- terature, VOL. III, breaks the tradition heuristic hypotheses or a predetermined ning his book on polemical writings with by refraining from the use of the word analytical program. This newly won free- this statement, Krešimir Bagiæ goes on to "baroque" in discussions of seventeenth dom does not equate emptiness, and for emphasize the necessity of thorough resear- century Croatian literature. (...) that let us be thankful to Novak's already ch, in light of the fact that insight into pole- But Novak's disregard for the baroque as established large experience with literary mical praxis of Croatian literature is manda- a period designation is only a symptom texts, to his knowledge (acquired throu- tory for any understanding of Croatian lite- of his disregard for the periodisation in gh scrupulous and passionate reading of rary periods. Bagiæ suggests the polemical general. He is equally dismissive of the scholarly literature), to his famous ars texts of Matoš and Krleža as the best pos- term Enlightenment, although he does bene dicendi (as witnessed in Novak's sible examples of the polemical genre duri- use it in one of the book subtitles, i.e. as earlier works), and, finally, to his engagi- ng the period when these authors wrote the title of an individual chapter ("The ng, and frequently illuminating metap- their works. First Enlightenment"). However, when hors. discussing the individual writers of the In order to be fair, in his introductory Zoran Kravar note Bagiæ tries to prove the possibility of period in the same chapter, he never uses conceptualizing literary polemic as a recog- the term, neither as programmatic idea nizable genre, at the same time disputing nor as heuristic hypothesis. (...) the genre history, different textual forms in The Miroslav which the polemical content appeared and tion and reality, in the work about saintly the "polemical style" as trans-genre and acts of Johannes Capistranus the author Krleža transdisciplinary phenomenon. decided to make the ontological differen- Encyclopedia I/II (...) Art of Dissent describes basic featu- ce between fiction and reality the main res of a literary polemic, its character, prac- subject of his analysis. Hence the monog- tice, styles and goals of its participants, as raph starts with a detailed, step-by-step and well as its social function within the particu- portrayal of Capistranus’ historical jour- Bibliography of Mi- lar literary community. Bagiæ also offers ney (locating his stations, his encounters useful advice on how to conduct a polemic and real references in Slavonian history), roslav Krleža with the examples from both the older and and it ends with the discovery of the mec- more recent polemical debates, where, if we hanisms of miraculous reality "estrange- ment". Andriæ groups Capistranus’ mirac- by Davor Kapetaniæ are to believe the author, knocking out your published by "Leksikografski zavod opponent after the round has been comple- les according to the manner of their pro- ted (à la Mike Tyson) is perfectly acceptab- duction and/or to the fictional status of Miroslava Krleže", Zagreb 1993/99 le, and if that fails, the Croatian polemical the event. The classification of miracles fi- practice has already demonstrated the ad- nally builds into a seven-step scale which he making of The Miroslav Krle- vantages of simply attacking your rival in depicts rather contradictory miracles – ža Encyclopedia took fifteen the middle of the street. from the entirely fictional ones and those years, and the whole research that are pure deception, also including was conducted under the guidance of Igor Štiks coincidences and self-suggestions, to the Velimir Viskoviæ. In the summer of cases where the measure of miraculous is A second major criterion that Novak 1993, the first volume (letters A-LJ) obviously a product of "stylization" or systematically avoids when dealing with was published, and this autumn brings Stanko Andriæ quoting from the unreliable story-tran- chronological orientation and division is us the final volume (letters M-Ž) with sfer. Andriæ refuses the possibility to tran- the concept of literariness, despite the Bibliography of Miroslav Krleža by Da- Miracles slate the difference "fiction/reality" in the fact that this very concept has been vor Kapetaniæ. In composing and edi- world of miraculous with a statement that keenly discussed and carefully applied in of Johannes "the miracles were simply illusionary". On Croatian literary studies, regardless of the contrary, Andriæ considers the pheno- whether they employ a philological, his- Capistranus menon of miraculous performance a per- torical or theoretical approach. (...) Published by Hrvatski institut za manent and active element of the whole Novak does not distinguish between povijest - podružnica za povijest medieval reality. Disciplines like religion, a review of lyrical poetry and a review of Srijema i Baranje and Matica hrvatska experiences with magic, psychological "Illiric" dictionary, or between an essay Osijek, Slavnoski Brod-Osijek, 1999 schools of thought certainly helped him on baroque epic poem and the one on ting of Krleža's literary and personal in this interpretation of reality... – various anatomy atlases: they mesh quite effor- glossary, more than fifty relevant aut- roatian reading audience knows elements of medieval reality that contri- tlessly under his treatment. The proxi- hors were included: from literary his- Stanko Andriæ (b. 1967) primarily buted to the forceful process of spirituali- mity of such disparate literary items ren- torians, critics and theorists to philo- for his previous two books: Histo- zation during the Middle Ages. ders the book confusingly "light", but it sophers, philologists, historians, and ry of Slavonia in Seven Conflagrations With his conclusive remarks, Andriæ deli- also reflects the author's effort to distan- journalists... Together they prepared and Encyclopedia of Nothingness. During vers a persuasively well-rounded monog- ce himself from historical and scholarly almost two thousand encyclopedic en- the Croatian '90s, both books established raph dedicated to Johannes Capistranus holism. This could be interpreted as No- tries. The basic principles of encyclo- Stanko Andriæ as a genuinely original and Slavonia, the homeland of both Ca- vak's readiness to (mis)use metahistori- pedical classification were based on author whose texts defy sharp bounda- pistranus’ saintly deeds and Andriæ's cal perspective and stretch the argument the diversity of Krleža's activities on ries of literary classification within any scholarly research. The book Miracles of towards the attitude that all early mode- one hand, and on the desire to paint a given genre. It remains uncertain whet- Johannes Capistranus should earn itself rn literacy could be treated as literature. detailed portrait of Krleža on the ot- her History of Slavonia in Seven Conflag- the highest place within Andriæ's oeuvre, To be fair, we should keep in mind her. Separate encyclopedic articles are rations should be understood as a fictio- and the status equal in scope and quality that Novak's disobedience to the canon dedicated to Krleža's texts, his public nal work with historiographical bac- to any contemporary European study of literary science theoretical vocabulary activities, esthetical attitudes and be- kground, or a metafiction, or else as a about medieval hagiography. does not serve only as a distinguishing liefs, his translators and propagandists postmodern historiography. But these Andrea Zlatar feature of his book; it can also be under- and finally, members of his family... questions started to disentangle after the stood as a mark of its modernity. A His- Krešimir Bagiæ 30 II/40, 12. listopada 2,,,.

Igor Mandiæ lies ever. The same text professes a view that within the scene (...). Pavle Kaliniæ pornography is so artificial it resembles art. The third part of the book explains the The Priapus (...) problem of the editorial motivation citing It seems that The Priapus Problem is Pria- Hitchcock's movies Psycho and The Birds, Defeated by pus' basic indifference to sex outside porno- Godard's To Live Your Own Life and Problem topia. Like the tragic character played by Breathless and finally Buñuel's Un Chien the Times published by Bastard, Zagreb, 1999 Brando in The Last Tango in Paris, Mandiæ andalou. Turkoviæ lists the central princip- published by Nova knjiga RAST, Zag- preaches dehumanized copulation of "uni- les of editorial and narrative motivation reb, 1999 versal cock" with "universal cunt"; intimacy is and explains the regular patterns of moti- just an unattainable "surplus" of communica- vational force, which results in some cuts tion... being "visible" while others remain "invi- You won’t enhance your sexual life by readi- sible". Of course, when narrative organiza- ng The Priapus Problem, but you will learn tion and metacommunicational instructio- something about the sexual taboos of Mandiæ and our civilization in general. It ns serve the purpose of organizing the par- might help you to lose some of your own ticular scene, the agents of production be- prejudices. And it certainly serves as a hel- come agents of coherence (structuring, or- pful guide through sexual fantasies of the ganizing...) and they are, in principle, un- middle-aged men of today. In spite of all derstood as "macrostructures", i.e., general stylistic imbalances and repetitions (sympto- principles of coherence. Turkoviæ uses the matic of the journalistic genre in which the term thematisation to describe this unique texts were originally written), The Priapus (and integrated) regulation of coherent Problem is a provocative and stimulating perception (including both protagonists book. Let’s call it the McDonald's of erotic and their fictional worlds). The fourth part lthough he spent a long time in fu- literature. It certainly serves up some tasty of Film Theory discusses thematisation in rious polemic with Slavenka Drakuliæ morsels of information that none of the ot- more detail, and the author tries to explain and although (in theory) he remains a her supposedly liberal and open-minded a connection between thematic focus and sworn enemy of feminism, Igor Mandiæ is the Croatian intellectuals (Left or Right) would the formation of the film world... only intellectual in these parts to renounce dare publish. Compared with them, Mandiæ's the posture of a macho who is waited upon advantage is absolute, and it involves real, Nikica Giliæ ince he writes as a firsthand witness by publicly announcing how much he loves not virtual, courage. of hard times, Kaliniæ is at his most to cook. What is more, he is good at it (and Nataša Govediæ persuasive in stories thematically he readily shares his recipes with the reading Mladen Machiedo connected with the Croatian War for Inde- public). Now he has published a collection of pendence. Through the bloody mist of war essays (originally published in Erotica maga- Bittersweet Italy the reader clearly sees that war is neither zine) subtitled: "vulgar essays or essays on Hrvoje Turkoviæ heroic nor wonderful, but a succession of vulgarity". This way, Mandiæ has artfully ma- (Three Decades chaotic coincidences caused by hatred, vio- naged to free himself from another typically Film Theory lence and revenge. Besides the reality of Puritan Croatian taboo. He is not a member published by Meandar, Zagreb, 2000 With war, Kaliniæ also describes the bitter fate of of that intellectual club that patiently studies Croatian emigrants and obtuseness of fo- encyclopedia-loving, sexually challenged Kr- Writers) reigners who don’t have a clue about wha- leža, only to proclaim the interest in joy but- published by "Matica hrvatska", Zag- t’s going on in the Balkans. The author ton or joy stick to be a dangerous deviation reb, 1999 describes basic differences between Croa- from their habitual ascetic posturing. Mandiæ tia and Europe and writes very critically is, dare I mention that horrible, horrible wo- about the Croatian present. In some of the rd – a hedonist. What this actually means in stories Kaliniæ makes clear that all these the country that canonizes the cult of masoc- Balkan blues of national and political hat- histic victims is that he is a heretic. Or at lea- red are not characteristic of only our times, st heretical enough to make fun of his repu- but also the times when our fathers and tation by ironically calling himself a "vulgar grandfathers were young... essayist", to use one example. Since this re- viewer cannot comprehend how any conver- Marinko Krmpotiæ sation about sex could be understood as "vul- gar", I am inclined to say that The Priapus Problem conducts a thorough on-the-spot in- vestigation of private places of both sexes, Everything Is Just and it does so with the almost pedagogical zeal. If Mandiæ fails in anything, it is not the A Journey genital explicitness, but the far subtler art of Conversations with Vanja Sutliæ eroticism (as game of suggestion and guessi- ng, not surgical penetration of the eye into edited by Boris Juriniæ, published by Iri- the pornographically dilated vagina or anus). da, Zagreb, 1999 (...) urkoviæ's Film Theory treats conti- The book begins with the essay The Cult nuity of perception and invisibility of Penis, where, to use some of Mandiæ's (not of editing as the central problem of very rich) vocabulary, a boner or or pecker or both film production and its reception: pistle is the central term in Machie- dong or pee-pee or cock undergoes a process everything has to be discernible, rooted in do's book Bittersweet Italy, where it of deification and becomes the "lifemaker" human cognitive apparatus... Films, of serves as a main strategy for intro- and archetype of desire. In the second essay, course, do shape human cognitive abilities ducing our unknown neighbors (to use Emancipation of the Cock, we again read in special ways (Hawks' Rio Bravo ob- Machiedo's term). The book consists of about the male fears and dreams… Mandiæ viously has a different impact than Godar- ninety texts dedicated to Italian writers does not hide that he explores an exclusively d's Breathless). This epistemological fun- with whom the author cooperated during male view of both men and women. ction is closely connected with social re- the last thirty years. Some of them are In In Praise of the Tush, Mandiæ is careful gulation which in turn shapes our sociabi- friends, acquaintances and fellow scholars, to point out that he is hundred percent hete- lity, making the art of film not only an but there are also others, with whom Mac- rosexual: he sees no traces of transsexuality epistemological, but also a communication hiedo did not get along. All of them are in his erotic appetites. The conservatism of phenomenon (not necessarily a "langua- listed in alphabetical order and divided in- this statement simply astonishes. How is it ge"). to four sections: the ones that visited possible that anyone who enjoys sex as a zo- In the first part of his book, Turkoviæ Croatia; the ones that Machiedo met only ne of free, carnival-like transgression of de- concludes his examination of film produc- on Italian soil or only through letters; the cency, could suddenly consider himself a "pu- tion with two relevant points. Firstly, he ones he (in spite of his efforts) did not rist", i.e., a Puritan "man"? Mandiæ is either claims that epistemological function of fi- meet at all. The last section is called "traces pretending to be pure or else he is a hypocri- lm procedures complies with general cog- of the spaces". Although the book will be te. In either case, he occasionally demonstra- nitive foundations, although, in principle, of most use to scholars if Italian culture, it verything Is Just A Journey..., a col- tes Victorian cowardice, and from the stan- it remains open to a wide range of possibi- is not written exclusively for academic cir- lection of interviews with Vanja dpoint of the androgynous 21st century, he lities. Epistemological function is capable cles. The author defines each writer within Sutliæ, a distinguished Croatian even sounds a bit grandfatherly... of further development, but only within his/her cultural context - the reader will philosopher, has been published to mark Only when we reach the essay The Appeal the frame of human cognitive limitations therefore meet Montale and the coast of the tenth anniversary of his death. This is and the Curse of Perversions are we introdu- and social possibilities (which escape pre- Liguria, Bigongiari and Florentine cafes the first time that all of Sutliæ’s interviews ced to a wholly liberal text boasting this in- cise definition). Turkoviæ uses George Ste- for the literary and academic set, Venice in Croatia and abroad have been compiled structive sentence: "Codex of perversion vens’ Place Under the Sun and Hitchcock's and Paolo Barbaro. Machiedo’s criterion in one book. The interviews cover the pe- should be abolished as the perversion that it Psycho as cases in points. for the selection of authors in the book is riod from 1966 through 1989 and deal wi- is". Thus the book really gets interesting In the second part of the book he at- very personal. The ones who appear in the th a wide range of subjects, including daily around its hundredth page, when Mandiæ fi- tempts to elaborate on this "epistemic, book have given Machiedo the gift of, as political events, Sutliæ’s university activi- nally admits that pornography is "nothing epistemological and communicative" prin- he says, an exquisite encounter. ties, lectures and writings… more than a dream of colossal fucking" and ciples, applying them to a concrete prob- for this very reason one of the best-selling lem of making a film scene. This problem Dušanka Profeta Tonèi Valentiæ boils down to the realization of continuity II/40, 12. listopada,,,. 31

Dževad Karahasan respected on almost all narrative levels, from sociology, ethnology, cultural stu- as the artistic skill is concerned, Maurovi- can also be identified in the concept of dies, psychoanalysis, communication æ’s erotic testament makes Auer’s erotic Sara and Serafina dramatic characterization, where dialogi- theory, philosophy, philosophy, history legacy appear naïve and amateurish, while cal principle turns out to be the pattern published by Durieux, Zagreb: 1999 and art theory. the male rape from Pulp Fiction seems li- of signification and interconnection be- The book of sixteen essays on the subject ke a work of an innocent schoolboy tween separated elements of the text. For of the body opens with Igor Pribac's when compared to Mauroviæ’s doctoral instance, narrator’s voice changes into- comparison between Descartes' and Spi- nation by shifting from the main plot noza's notion of the body, followed by thesis entitled In Prison. I have no doubt towards more personal reflections, the- Nadežda Èaèinoviæ's text Civilizing the that this antipode to Manara's erotic refore changing the dominant linearity of Body (here the discussions include aut- wonderings through literature and the narrative discourse to a more essayistic hors like Elias, Mauss, Nietzsche, Derri- subconscious, as brutal and banal as it is style. Using the same methods, Karaha- da, Baudrillard, Mary Douglas). Daniel gynecologically precise, shall find many san also tries his hand at modernistic for- Labaš lists the elements of non-verbal faithful followers among its readers... mulas of generic hybridization, better communication, Maria Bruna Pustetto is known as "novel-essay". Essayistic parts preoccupied with body in politics. Flo- Boris Beck of the novel always elaborate on subjects rence Müller writes about "ideal female that form specific cultural and historical image versus the female reality from context of Bosnia and Herzegovina (also neoclassicism till today", and "male" part frequently discussed in other Karahasan's works). (...) of the story is covered by the text Mascu- New dialogical and culturally contrasted linity, Fashion and the Body 1870-1915 by perspective within the novel is introdu- Christopher Breward. Ingrid Šafranek ced through the duality of the name Sa- discusses Paradoxical Body - Texts of Mar- ra/Serafina, where Sara refers to Jewish garet Duras and Mariapija Bobbioni is the heritage (the name is taken from Old author of Face, the Space of the Speech. In Testament), while Serafina connotes a the work Body Fetish, Ugo Volli presen- arahasan's novel Sara and Serafina Christian name for an angel. Inner con- ts a thesis on body fragmented in porno can be seen both as a "genre revi- tradiction of this "dual personality" em- industry images. Ivanka Ivkanec registers val" and as a call for the traditio- phasizes many inner conflicts within the some elements of eroticism in traditional nally accepted models of fictional narra- cultural system in Bosnia and Herzegovi- national costumes and oral literature. The tion. Both notions are clearly present in na. The dialogical relationship between only text that was not presented at Zag- the writer's formal insistence on the pri- textual and extratextual meaning in the reb conference but was nevertheless in- macy of the storyline that reflects narra- novel does not only serve as a hugely cluded in the book is the abbreviated Cyberfeminism ted reality, in his treatment of the charac- symbolic parallelism; it also registers bi- chapter About Sexual Life of the Feet and [ver.1.0] ter as an integrative force of the text, in narism on almost every level of cultural Shoes from Valerie Steele's book Fetish: reinforcing the mechanisms of "realistic" signification of the described and narra- Fashion, Sex and Power. edited by Igor Markoviæ and narrative motivation and, most generally, ted area. Karahasan successfully avoids Alexander Štulhofer deals with rela- translated by Rada Boriæ, Mario in the methodology that constructs the pathetic and simplistic narrative solutio- tionship between postmaterialism and Duževiæ, Vesna Jankoviæ, Igor world of the text on the principle of dis- ns; he makes sophisticated allusions and social organization of sexuality; Inga Markoviæ, Natalija Rihtman, Oliver coursive contrasts. It seems that despite careful semantic interconnections, con- Tomiæ Koludroviæ expounds on the no- Seriæ and Goran Vujasinoviæ. the prevalent postmodern rhetoric of stantly keeping in mind the whole "ne- tion of transition (underlined with the Published by Centar za ženske studi- narrative multiplication, Karahasan, who je, Zagreb: 1999 twork" of the story. I believe that this title of the whole book) that permanently in one interview described literary pos- narrative excellence and the power of his determines transsexual behavior. The last tmodernism as "the pitiful capacity to novelistic imagination are Karahasan's part of the book, entitled Bodies of the confuse", is trying to reestablish the prin- essential qualities. ciple of consequential and textual homo- Future, consists of texts by Ted Polhemus genization in his latest novel (and in his Katarina Luketiæ (Postmodern Body) and Marie-Louise other works too), thereby rethinking the Angerer (The Body Possibilities: Body as relationship between the real world and Interface). the possible worlds of the literature. He is interested in characters and Iva Pleše their relationships, he takes care to narra- Body in Transi- te events in "real time", but above eve- rything else, he is doing it to honor the tion good old-fashioned story. The story mu- edited by Djurdja Barlett, published Andrija Mauroviæ st be beautiful, exciting and trustworthy. by Faculty of Textile Technology, Uni- Besides reinventing the genre, Karahasan versity of Zagreb, Department of Fas- Kandaul: Erotic creates and nurtures an impressively wi- hion Design; Zagreb, 1999 de semantic field located outside the Testament boundaries of the text, sometimes crossi- published by TV Extra, Zagreb 2000 ng over into his previous works, and so- metimes over the historical borders of a oubtless it began as an accident: much broader culture-specific context. on some occasion while he was The structure of Sara and Serafina is drawing an intercourse between a complex and carefully plotted, presuppo- man and a woman, something Mauroviæ sing several levels on which the text can did frequently and enthusiastically to be read and interpreted. But no matter amuse himself and the others, his hand how far the reader heremeneutically added an onlooker. Having made the dis- nthology of female on-line and strolls, he is always invited to return to covery, the hand got busy turning out en- off-line writings offers different the core of well-narrated story. dless variations of the subject, until it fi- approaches to cyberfeminist re- The plot of the Sara and Serafina nally supplied the onlooker with its own search, theoretical analysis and cyber ac- unwinds during the war years in Sarajevo. face. There must have been a single mo- tivism in general. Rosi Braidotti, Sadie It concerns itself with different ways in ment when Mauroviæ stopped in amaze- Plant, Anne Balsamo, Nancy Paterson, which people escaped the besieged city. ment: his comic strip had revealed the Alla Mitrofanova, Olga Suslova, Faith In order to persuade his wife to leave unknown, suppressed, probably unac- Wilding and Jennifer Brayton are some of town, the narrator (if biographical data is knowledged truth. In any case, once the the authors selected by Igor Mirkoviæ. It to be believed, he closely resembles the artist faced his most secret fancies, he seems that his goal was to cover the lar- writer himself) has not only to obtain the continued exploring them insatiably. In gest possible field of cyberfeminism, the- necessary documents, but also to persua- years to come, his fantasy has achieved al- refore including variety of subjects (whi- de the stranger Sara, that is, Serafina, to gorithmic precision, where the same in- ody as a culturological fact makes ch include problems of sex, gender, body leave the town. (...) put always resulted in the same output, a common denominator of othe- and its lack, identity, cyber-art, virtual Through the composition that con- i.e. the artist’s pleasure. rwise very heterogeneous texts in reality, science fiction, techno culture and stantly questions the reasons for going Input, if you must know, involves a the book Body in Transition. The texts women’s love/hate relationship with the and reasons for staying, Karahasan also spitting image of Mauroviæ and his wife, reflect different styles of writing, from Internet and technology en gros). indirectly depicts the everyday life duri- the scientific analysis of empirical data to a fifty year old woman of ample bosom ng wartime. War has made personal rela- art essay. All the works, published in this and buttocks. Her thin hair is tied in a Iva Pleše tionships (like love, friendship and mu- two-language edition in English and bun, she has a certain type of earrings, tual understanding) so important preci- Croatian, are based on the papers presen- and a transparent dark slip with stockin- sely because they are inseparable from ted during the international conference gs, or else she wears nothing at all. The the "bare" reality of daily life, the reality that was organized several years ago by third player in this perfect triangle is a of survival. The novel says it perfectly: the Fashion Design Department at the stranger: he is usually black, Jewish, Mus- "In liminal states, in times of great tem- Faculty of Textile Technology. The aut- lim, German or some homegrown rake: a ptations, people become more sensitive hors deal with the body, in the spectrum dock worker, drunk, cobbler or priest as to ethics than usual, perhaps even more of ideologized, dressed, artful, sexed or ugly as the Devil. After a brief introduc- ethical in general, or at least more ethical future body images (these attributes are tion, the old sly "yields" his wife to the than they would normally be, because also the thematic units within the book). other man, and later on decides whether there is nothing else left." (...) Scholarly perspectives include authors to join the game or just watch it (while he The principle of duality, expressed and conveniently pretends he's asleep). As far 32 II/40, 12. listopada 2,,,.

Željko Zorica Branko Fuèiæ Ivo Maroeviæ Miljenko Jergoviæ H. C. Zabludovsky Trifles/Fraške Zagreb Writes You Say Angel published by Kršæanska sadašnjost, published by: "Durieux", 2000 Fantastical Bes- Zagreb, 1999 Zagreb You Say Angel, the latest book by writer tiary of Roskilde he title of Fuèiæ's book, Trif- published byDurieux, Zagreb, 1999. and essayist Miljenko Jergoviæ, boasts an les/Fraške, is derived from old unexpected subtitle – drama. It contains published by Niska, Zagreb, 1999. Glagolitic jargon, where it stood thirty-one dialogic scenes, which together for "trifles, worthless things, prattles, make a single story about a life “in a new follies". We already met them in Fuèiæ's part of town, born on the other side of the previous book, Terra Incognita, under the river”. The story takes place in an easily guise of "little" (h)istories about ordinary conceivable setting, a number of cramped people, landscapes, customs and histori- apartments in a skyscraper. There are exac- cal monuments of Istria and Kvarner. In tly hundred characters, if I counted them Fuèiæ's latest book, the author continues right. A hundred faces, young and old, ma- to intermingle history and present times, le and female, with or without a name, who travel books, biography and autobiog- present small scenes from their happy-un- raphy, documents and fiction, ethnog- happy lives. Besides living in this universal raphy and "little" histories. These are not skyscraper, the characters are also bound cultural studies, nor could they be used together by the fact that in every story, at as teaching material, but Trifles/Fraške least one of the characters says angel. The does have cultural and historical value characters are not connected by plot and because it provides extraordinary and they, of course, don’t know each other in personal perspective... The book is the space of reality. Although in Jergoviæ’s he official, documented history of exceptional in more ways than one: one published by Durieux, Zagreb 2000 dramatical fiction they don’t come into di- the town of Roskilde is not parti- of the most interesting things about it is he book synthesizes all the most rect contact with each other, the similari- cularly interesting, or, to be more the author's rare gift for writing. Althou- important transformations of city ties and analogies are clearly recognizable precise, not a bit more interesting than gh he is mostly preoccupied with values space during history: from the to readers. Contrary to Tolstoy, Jergoviæ the history of so many small European initial medieval cities to (post)socialist could say that all unhappy families resem- towns that take great pride in their old urban expansion. However, the scientific ble one another. Or, alternatively: all fami- churches, castles, or archeological sites. style has been replaced with the essayis- lies are both happy and unhappy, without What makes Roskilde interesting is its, tic one, sometimes even with very pro- even knowing it, or realizing why their li- for want of a better term, alternative his- nounced subjective and emotional attitu- ves proceed in a certain way. tory, that is, the history of its fantastical des. Although he omitted the usual re- The narration in Jergoviæ’s previous books creatures. Željko Zorica set out to inves- pertoire of footnotes, quotations and has always been marked by the inner voice tigate that history, with a little help from scholarly terms, and neglected detailed of the narrator, whether it was a voice of Zabludovsky… argumentation and verbal precision, the characters or Jergoviæ’s voice. While In the introduction, Zorica explains the Maroeviæ has managed to write an the voices in his stories always seemed au- start of his cooperation with Zabludov- adequate and interesting text that can be tonomous when telling their stories, they sky in the late eighties. They agreed that read in one breath. It appears, however, were always intertwined with Jergoviæ’s Zabludovsky would “reveal secrets from that the speed of reading matches the own voice – the voice of the narrator who the other side of life, from the parallel speed with which it was written. analyzed them, entered them, who made worlds”, and that Zorica would write comments, pitied them or laughed with them down and adapt them, also taking Katarina Luketiæ them. Formally speaking, the dramatic dis- care of the publishing part. They would course of You Say Angel cannot tolerate sign it as co-authors. A critic living at Jergoviæ’s authorial voice. The only time the end of 20th century is used to all kin- he appears in the first person is in the pro- ds of miracles, but accepting the fact logue of the book, in a lovely miniature on that she has to review an author who in- life in a big city, which also serves as the habits some parallel world is a little diffi- of national importance – like Glagolitic most accurate, and self-reflective review of cult to take… writings and medieval paintings in Croa- his book. He writes: “Each part of the Although the title suggests the fantasti- tia – Fuèiæ nevertheless succeeds in writi- book can function on its own, but it also cal beasts of Roskilde, the creatures we ng about "trivial" and "unimportant" relates to other parts, combining with dif- encounter belong to a joint celestial things" in an easy, simple and attractive ferent parts into different wholes. The way world of gods and animals. Thus we manner, showing both wit and intelligen- in which they combine, and how they are meet brewer’s horses and Roskilde swa- ce. It only goes to prove that serious The publisher has produced a represen- selected, depends only on the will of the ns alongside gods from Nordic myths – scholarship can go hand in hand with ha- tative reader of Croatian poetry, espe- person who is making the selection and on Thor, Freya, Loki and others…. The tra- ving fun and enjoying one’s work… cially its older periods. Anthologies that his/her divine need to choose a whole that will express some particular feeling.” Based ces of gods were followed and celebrated Iva Pleše could not be found in Croatian book- by many poets, which is why we know shops for decades, like Ranjina's Treasu- on this prologue, it is also easy to imagine more about gods than fantastical anima- ry of Verse, are now easily accessible in Jergoviæ building a complex dramatic ls, although their diminishing traces are electronic form. The CD-ROM presen- skyscraper consisting of hundred faces still here - on façades, coats of arms, ts some of the most ancient lyrical verses that represent the sadness and sorrow of fountains and portals. Zorica has found CD-ROM in Croatia, as well as the note on Cvijeta the life we are living. Jergoviæ can rightly and described many slumbering Roskil- Zuzoriæ, the most celebrated woman in be compared to Balzac and the way he mi- de beings: swans, snakes, basilisks, trol- Classics of Croatian poetry. Every author is intro- nutely painted and systematized an enor- ls, griffins, even the Devil himself. Assis- duced with exhaustive bibliographical mous building that is his Human Comedy. ted by Zabludovsky, Zorica tells stories notes, and his/her poetic work is accom- Without any doubt, Jergoviæ’s dramatic of their origin and experiences, showing panied with a dictionary where one can genre is a tragicomedy, farce, grotesque. how ties between people and fantastical find explanations of certain less familiar These features are not new to his discour- beings were once much stronger than terms in the text. Besides the authored se, but they are more apparent in this dra- they are today. Façades of our houses, verses, the CD contains anonymous oral matic form, where they cannot be concea- which are often made in concrete, with poetry as well. That is what makes this led by the narrator’s gentleness or tempe- neon signs instead of guardians made in CD, created by the most relevant Croa- red by the slower rhythm of fiction. Gro- stone, testify to that as well…Series of tian philologists, a valuable critical edi- tesque and comedy may naturally spring photographs, drawings, designs, and tion, lyrical anthology and multimedia from the scenes themselves, but tragic and paintings provided by the authors show history of Croatian poetry, all at the sa- farcical tone is in line with the way that fantastical beings on the old buil- me time. Jergoviæ observes them. dings also die, wiped out by the dictates When compared with Classics of Andrea Zlatar of modern construction, or else they di- Croatian Literature I (Epic poetry, No- sappear beneath concrete and aggressive vel, Short stories), the first CD-ROM in billboards. Now the issue at stake is the edition, the second one offers several their actual, final death, in this world and important improvements. First, the pos- all parallel worlds – death by oblivion. Croatian Literature sibility of browsing through the texts; … Zorica and Zabludovsky aim to show secondly, the possibility of hearing some us that we live in illusions, that we too II. (Poetry) seventy-odd sound recordings of poetry often keep our eyes firmly glued to our published by Bulaja naklada, Zagreb, reading, performed by Tomislav Rališ shoes, instead of looking up. Up where 2000 and Joško Ševo basilisks and griffins, stone angels and Dean Duda two-headed snakes are, and if we watch fter the pioneering CD edition them long enough, we will see entire ci- Classics of Croatian Literature I ties behind them, cities that appear so (Epic poetry, Novel, Short sto- close that we could reach out and touch ries), publishing group "Bulaja" continues them with bare hands. their work on this second CD, which contains the most important works of Dušanka Profeta Croatian poetry from the Middle Ages until the second half of the 20th century. II/40, 12. listopada,,,. 33

Nada Švob-Ðokiæ reason, more precise data about them is Drago Janèar. Although they choose dif- difficult to come by, so our vision of the In Defense of the ferent forms – from diary notes to perso- Transition and new states, including their economic pa- Future, Searching nal letters and essays – most authors ag- rameters, is understandably blurred. Rig- ree on one thing: it is almost certain that New European the future of the nations of former Yu- ht now, we couldn’t even write an accura- the Mine Field goslavia has been forfeited. Authors mos- States te account of their most recent (ten yea- edited by Freimut Duve and Nenad tly write about the future of their own published by: "Barbat", Zagreb: 2000 rs) history, let alone understand them in Popoviæ; published by OSCE and Du- countries, barely touching upon global is- the context of similar countries elswhere rieux,Zagreb, 1999 sues. It seems that instead of sharing glo- in the world. bal fears, we are focused on our narrow local concerns, which results in uniting Grozdana Cvitan us in a pretty bizarre way. Instead of bei- ng afraid of nuclear and ecological catas- trophes or the dangers of genetic engi- neering, this part of the globe fears the Miljenko Jergoviæ remains of land mines, corruption, natio- nalism, political anachronisms, isolation from the world. The ultimate fear is ob- A History Manual viously the fear of being condemned to published by Naklada ZORO & DANI, your own backyard – another way of can- Zagreb – Sarajevo, 2000 celing human rights in future. Talk about the future is necessarily connected with History Manual contains Miljenko our awareness of the present tense, the Jergoviæ’s articles originally pub- present moment, but more often than lished in the independent Sarajevo magazine Dani. In his columns, this pro- not we derive our future from our recent ductive, widely read and popular multina- or more remote past. In Branko Sbutega's tional (Bosnian, Herzegovinian and words, quoted from Writings about Boka Croatian) writer discusses his past, his Kotorska 1993-1999: "It is not very un- common for a world to wait for somebo- dy or something to die, in order to awake he future of the region of former the global interest and respect for the de- he subjects of the latest Švob-Ðo- Yugoslavia was "defended" by Ru- ceased." Sbutega's words perhaps contain smir Mahmutæehajiæ, Miljenko both the diagnosis and the medicine for kiæ's book, Transition and New Jergoviæ, Ivan Lovrenoviæ, Dragan Pa- our ailing future. This region has under- , fit into different European States veliæ, Slobodan Šnajder, Andrea Zlatar, stood the word "future" as an excuse to frameworks: transition to a new system, Branko Sbutega, Baton Haxiu, Bora rewrite the past for far too long. transition period leading to a more digni- Æosiæ, Dragan Velikiæ, Filip David and fied living, concepts of globalization and Dušanka Profeta regionalism, new uncertainties based on historical events, fear (or positive antici- pation) of new and different times. While gton, Chicago, Zagreb or Belgrade. Most accepting the need for a concise, theore- Dragoslav Dedoviæ of those who remained in Bosnia and Her- tically sound and (especially in her own zegovina live and work in Sarajevo, and two country) topically relevant book about Evacuation are no longer among the living… transformations, and keeping in mind selected contemporary fiction What makes this book extraordinarily that, in this respect, Croatia is not very from Bosnia and Herzegovina interesting in terms of reading experience different from the rest of the world, the published by Feral Tribune, Split, 1999 is its textual organization, that is, its story author describes transition processes that placement. Specifically, Dedoviæ circum- marked the last decade for the fourteen vented some of the more usual solutions: new European countries. As a result, the he did not arrange the stories according to border of Europe has moved a little fur- childhood and life in Sarajevo. In his at- authors’ age, or alphabetically, or even ac- ther to the East. But what have the new tempts to collect the fragments of his cording to his own reading logic. He divi- states (and Europe) gained in all this own history, Jergoviæ evokes a now bygo- ded the contents of the anthology into four changes, where are they heading and ne era; the era that was smothered by ma- sections entitled Child, Woman, Soldier what are the results of their first indepen- ny layers of ideology and nationalism. and City, although he doesn’t always stric- dent decade - these are the complex ques- Jergoviæ is not interested in political pro- tly adhere to the constraints of these sub- tions that Nada Švob-Ðokiæ tries to ad- file of socialism, nor is he attracted to ho- titles. In other words, he has arranged the dress with equally complex answers. At mogenous chronology and master history stories thematically, grouping them in four least they are complex when compared to with all its literary laws. What interests separate wholes dealing with the subject our expectations. Bilateral and multilate- Jergoviæ are our daily lives, and all those matters of childhood, love, war, and “city” plain, banal or intimate details that have ral relationships of existent states initia- as the crucial background against which the been a feature of his worldview for so lo- plots take place and fate of characters is de- ted the new processes: globalization and ng. His generation and his hometown are cided. In most cases, the city in question is regionalism. Are these concepts mutually an integral part of that worldview too. In Sarajevo, as a paradigm of everything that exclusive or connected by cause and effe- the course of cleaning up his personal his- ct? What abut the new integrations, espe- tory, Jergoviæ digs deep in the storage happened in Bosnia since April 1992, when cially the European one? Has the state room of what was, rediscovering such the first grenade exploded. To quote the become, as the author notices, simply the things as “sugar bars” that the replaced sentence from Asmir Kujoviæ’s story The best delegate of a certain society in mat- chocolate bars as the most popular sweets Bum And The Princess, “what made most of the people here related was a sense that ters of international affairs, or could we in the eighties, the first Coca-Cola mac- they were all somehow at odds with their describe the state as force that guards the hines, the football games where one past: in conversations, everyone divided authoritarian and powerful national elite bought newspapers to sit on, the period of Sarajevo Olympics, old city coffee- their lives in before and after war.” War is (national elite being a group of people re- Dedoviæ decided to compile a cor- houses, housmasters and many other the canvas on which stories dealing with pus of fiction by a younger genera- fusing to relinquish their positions - al- things that marked, he writes, the golden childhood, living abroad, falling in love, ur- tion of Bosnian authors, who star- though they have formally accepted the prewar years. This makes Historical ted writing in the late eighties. In the wor- ban setting and its protagonists intermingle processes of democratization, just like Manual a book of nostalgia and sentime- ds of the editor himself: “in those several with events from the earlier war and war the majoriy of their society)? What stan- nt, of yearning for the “old” and “inno- prewar years when Communists lost any stories from the front line. ds in the way of democratization, eman- cent” times. In its narrative technique of ability to govern, and the chauvinists still Dedoviæ’s Evacuation completely fulfil- patchwork and narrative fragmentation cipation and development of new states: hadn’t consolidated their power, the old ru- ls the role of every anthology, which is to (short cuts), and the continuous emphasis these questions remain very important in les of the game barely applied, and the new provide the reader with the information on on the didactic, this book closely resem- terms of the changes that have been em- ones were still unclear”, adding that “in this the literary “state of affairs”, and to afford bles previous Jergoviæ's works, namely braced on the global level. New interna- zone of zero gravity, a number of new na- the critics and literary historians easier na- Sarajevo Marlboro and Mamma Leone. tional subjects must address and face mes appeared, working on the margins of vigation through the texts. Considering them as well. Interestingly enough, these Bosnian literary scene and heralding the re- that short fiction in contemporary Bosnian difficult processess vary significantly Katarina Luketiæ valuation of the prevalent literary tradi- literature, as in Croatian new fiction, is a from country to country, depending on tion.” (…) The anthology features twenty- favorite genre of many novelists, Dragoslav the local situation and the way the local three authors and thirty-two short stories Dedoviæ’s Evacuation offers a useful over- government is run. Thanks to the relative written between 1987 and 1998… Just like view of all pertinent writers of fiction from many of their compatriots, the featured “youth” of these countries, and to the younger generation of Bosnian autho- authors have in the meantime scattered ac- rs. For those readers who are only prepari- frequent changes in their domestic policy ross the globe, so some of them now live in (a result of learning by trial and error), ng to read Bosnian authors, this book will bizarrely named cities like Kerkrade in the provide a good introduction to contempo- we cannot say with certainty what is the Netherlands, or Tampere in Finland, while rary fiction in Bosnia and Herzegovina. best way for any of them. For the same others reside in Prague, Frankfurt, Washin- Igor Štiks 34 II/40, 12. listopada 2,,,.

Theatre Publishing Triennale, Novi Sad, 2000. FRAKCIJA As of the year 2001, Frakcija will be published Packaging in six bilingual, Croatian/English, issues. The performing arts magazine subjects of following issues include: energy, of Government he performing arts magazine Frakcija radical movements in Eastern Europe, religion Elections in Croatia1995 and 1997 : is published jointly by the Center for and the theatre, dance: concept or skill. collected papers Drama Art and the Academy for Dra- ma Art, Zagreb. Its main focus is on explori- Tomislav Brlek published by Alinea, Zagreb,1999. ng relevant occurrences in performing arts ackaging of Government is a result of theoretical analyses, empiri- theory and production in Croatia and abroad. Quorum cal investigations, and the analysis of law regulations on multi-par- Within the scope of its abilities, Frakcija en- Literary magazine ty elections in Croatia. It provides a complete overview of electio- deavours to encourage new tendencies in ns and presents the view of Croatia from the standpoint of sociology and Croatian production and to present them in- Quorum has been published regularly political science... ternationally. Among the projects and autho- ever since the mid-eighties. During the In his valuable theoretical articles, Srðan Vrcan discusses the views of the ruling political party, its motto rs included are Robert Wilson, Eurokaz – Fes- eighties, it provided space for the that “nation comes before democracy”, and its support of ethnic homogeneity as an expression of state sta- tival of the New Thetre, Peter Sellars, Wiener youngest generation of authors, which later bility. At the same time, this attitude represented a serious obstacle to democratic transition and genuine Festwoche, Eugenio Barba, Branko Brezovec, became known as a “Quorum generation”. political pluralism… The author is particularly critical of the efforts to legitimize political power by meta- Societas Raffaello Sanzio, Nataša Rajko- Among its members were some of our most social and transcendental phenomena, and of attempts to justify authoritarian style of government by pre- viæ/Bobo Jelèiæ, Goat Island, Ivica Buljan, Jan acclaimed literary names today, such as Miros- senting it as a holy mission. Political power elite in Croatia controlled every area of social life by relying on Fabre, Vili Matula, etc. lav Miæanoviæ, Zoran Feriæ, Edo Popoviæ, widespread political clientelism, which gave rise to a block bound by common interest – something akin to The editor-in-chief, Goran Sergej Pristaš, Branko Èegec etc. Their writing favored the “alliance for profit”… himself a dramaturge, theatre director and ju- fragmented style, poetry, rock music and so Vrcan also elaborates on the concepts of ethnic policy, political ethnicity and increasingly nationalist nior lecturer at the Academy for Drama Art, called "urban fiction." ideas of state in Croatia… In another discussion, Vrcan expounds on the idea of the democratization of so- has gathered a team of diverse and highly The magazine has also proved vital and im- ciety and the technology of government. The 1995 and 1997 elections confirm the continuing trend to see competent Croatian and international contri- portant for the generation of writers who elections as a technology of government, and not as a pluralistic shaping or an expression of the political wi- butors, such as Lada Èale Feldman, Darko Su- started publishing their works in the nineties. ll of the people… vin, Hans-Thies Lehmann, Valentina Valenti- Quorum’s most enduring quality is its edito- Boris Buklijaš’ article on changes and amendments to numerous law regulations after 1993 also offers ni, Elin Diamond, Ljiljana Filipoviæ, Josette rial policy of openness to the latest movemen- comprehensive and useful insight. In his conclusion, the author criticizes the introduction of special Dias- Féral, Rus- ts in history and fiction. The editorial board pora lists in 1995, which gave great privileges to a minor part of the elective body, predominantly those livi- tom Bharuc- has continually shown support for many you- ng in Bosnia and Herzegovina, for the simple reason that most of them were supporters of the ruling Tuð- ha, Viktor ng authors, giving them space and opportuni- man's party, Croatian Democratic Union (CDU)… Misiano, Na- ties for new projects. Dražen Laliæ and Suzana Kunc analyzed the election TV ads of the parties participating in pre-election taša Govediæ In many ways, the Croatian literary scene in campaigns in 1995 and 1997. Their analysis, describing the research methodology in detail, shows that the and Ivica Bu- the nineties was very idiosyncratic. Not only CDU campaign emphasized the “nation-building” and nationalist elements, whereas the ad campaigns of ljan. Apart has it been affected by the war, but also by the opposition parties insisted on “society-building” elements and the development of democratic society. Se- from the ori- hostile attitude of Tuðman’s Ministry of Cultu- miotic analysis of TV spots is also interesting… Nenad Bulat analyzes the changes in the structure of Croa- ginal contri- re, which failed to provide for a relevant literary tian political scene between 1995 and 1998. The author describes the first five years of multi-party democ- butions, the journal dedicated to young authors. Everything racy in Croatia, calling that period a “pre-political stage”, because the task of building the system with re- magazine in- depended on individual initiatives, resulting in a cognizable political options and the development of autonomous institutions of civil society is still ahead of cludes tran- confusing situation where several journals, ma- us… slations of re- gazines and pop-magazines aspired to the leadi- Damir Štrelov provides an overview of the sociodemographic characteristics of the elective body. In levant theore- ng position. comparison with 1996, some significant changes took place on the Croatian political scene in the period be- tical essays by None succee- fore the spring of 1998. It is steadily more apparent that CDU’s popularity is decreasing, while the number the likes of Derrida, Gilles Deleuze, Lacan, ded in becomi- of SDP supporters keeps on growing… Judith Butler, Foucault, Camille Paglia, Sue ng the best in a In conclusion, we can say that this compilation of papers offers many solid theoretical views and results Ellen-Case, Barthes or Slavoj Žižek. Of the purely literary of empirical research, which remain relevant even after the 1999/2000 elections. subjects covered in various issues the followi- sense; nor did ng are of special interest: the Bertolt Brecht the any of them Dušan Žubriniæ centennary, sexuality, and Giullio Camillo's had the honor theatre of memory. of becoming an In collaboration with various international exclusive and institutions, Frakcija publishes special issues dogmatic repre- in English. The issue on Utopia/Dystopia was sentative of the realised under the auspices of the Landscape X Generation X. project, as a part of the programme Stockholm- Which, in fact, Cultural Capital of Europe 1998, while the one is good thing. entitled disOrientation: Eastern Europe (1999) Whether we ad- was conceived with two leading European mit it or not, theatre festivals, Internationales Sommer- the literary scene has undergone the process of theater Festival Hamburg and the Aarhus democratization which opened many new pos- Festuge, Denmark. FaMa, a special bilingual, sibilities. During the process, Quorum has pro- Address: Hebrangova 21, Zagreb, Croatia German/Croatian, joint issue of Frakcija and ven that its open policy is genuine, since it con- Phone: + 385 1 4855 449, +385 1 4855 451 the Slovene magazine Maska, on the subject tinued to help young writers by publishing Fax: +385 1 4856 459 of Body/Difference, was published in collabo- them and helping them gain recognition. [email protected] ration with the Dance2000 Festival, Munich. We could say that in the nineties, Quorum E-mail: Together with the Chapter Arts Centre, Car- has turned into a trans-generational magazine. Web: www.zarez.com diff, Wales, Frakcija realized the issue on ico- It has proven that successful cooperation is noclastic theatre, Disturbing (the) Image. possible between writers of different genera- Publisher: Druga strana, d.o.o This year the magazine was awarded a spe- tions, a perfect formula for a respected maga- cial plaque for the international promotion of zine. Publishing Manager: Boris Maruna Croatian theatre, and a special diploma on the Rade Jarak Editor in-chief: Andrea Zlatar Assistant Editor: Katarina Luketiæ, Iva Pleše "Moderna vremena" - /www.moderna- Copy Editor: Boris Beck vremena.hr The biggest and the most popular Croa- tian online bookshop that sells new and Editorial board: Zarez- www.zarez.com used books. It offers plenty of informa- Sandra Antoliæ, Tomislav Brlek, Grozdana Cvitan, Dean Duda, Zarez is independent biweekly magazine tion about recent editions and publishers, Nataša Govediæ, Giga Graèan, Rade Jarak, Agata Juniku, for cultural and social affairs. Its first issue interviews with writes, thier texts etc. was published in February 1999. Pavle Kaliniæ, Branimira Lazarin, Jurica Pavièiæ, Dušanka Profeta, Dina Puhovski, Srðan Raheliæ, Sabina Saboloviæ, David Šporer, Hyp.txt, Libra - www.autonomous-c-fac- Feral Tribune - www.feral.hr tory.hr/hipertekst www.autonomous-c- Igor Štiks, Gioia-Ana Ulrich, Davorka Vukov Coliæ One of the most influential political factory.hr/mase weekly magazines, both in Croatia and in This address allows one to read - in Croa- the whole area of former Yugoslavia Layout Editor: Željko Zorica tian - hypertexts or "texts that branch out Layout: Romana Petrinec and present the reader with a choice, and Nacional - www.nacional.com Language Editor: Marko Plaviæ Besides Feral Tribune, Nacional is probab- the best way to read hypertexts is on the ly the most influential political magazine in interactive screen” (T. H. Nelson). The Marketing: Marcela Ivanèiæ in Croatia. It contributed to democratiza- project was launched by editors of literary Administration: Nataša Polgar tion of the country. journal Libra Libera. Printed by Novi list, Rijeka, Zvonimirova 20a HINA - www.hina.hr Ženska infoteka -www.zinfo.hr Central press agency in Croatia Educational and reference center for Vjesnik - www.vjesnik.hr women, established in Zagreb eight years This issue is subsidized by Open Society Institute Croatia and Croatian Daily newspaper ago, as the first center for feminist Ministry of Culture Klik - www.klik.hr research in Croatia and East Europe II/40, 12. listopada,,,. 35

Igor Štiks Jurica Pavièiæ Detektiv, glavni lik, opremljen je tipiènim radnim, prijatelj- skim i emocionalnim kontekstom. Barbir, neimenovani (samo Dvorac u Romagni Nedjeljni prijatelj prezimenovani) istražitelj, naoèit je rastavljen èovjek – s jed- Durieux, Zagreb, 2000. Znanje, Zagreb, 1999. nom ljubavnom vezom u nestajanju, a drugom u nastajanju – mlaðe generacije i modernog svjetonazora, a radi s oman Igora Štiksa naizgled ri poèetku se pred èitateljem dogaða niz zlo- tradicionalnim vrijednostima sklonim, znantno sta- obièno je štivo, obimom kratko, èina sa zagonetkom. Ubojica za sobom redo- rijim i debljim Èorakom. Struktura žanrovski blis- strukture jednostavne (ali otvo- vito ostavlja poruku te pažljivo osmišljeni i kih filmova upotpunjena je, meðutim, ozbiljnim rene), štivo s dvije relativno “poznate”, izvedeni aranžman s mrtvim tijelom u (znaèenj- prodorom u društvenu zbilju kasnih devedesetih... a paralelno voðene prièe koje se stapa- skom, ne geometrijskom) središtu. Okvirni sistem Politièki segment nije tek zaèin – on ukorjenjuje ju u jednu, recimo ljubavnu, recimo ove psihopatske igre može èitatelju biti vidljiv rani- ovu prozu u naš svijet. Takva ona naprosto nije povijesnu, recimo aktualnu, ali štivo je nego istražiteljskom tandemu, no, naravno, time mogla nastati drugdje, što se za dobar broj krimiæa skrojeno smirenom rukom (glavom) æe još uvijek ostati daleko od rješenja koje se ne ne bi moglo reæi. Još je jednom Pavièiæ vjerno ispi- sofisticiranog pisca. Recimo i ovo – iscrpljuje u dosjetki i kojemu je crna igra serijskog sao sliku tjeskobne atmosfere Splita u devedesetima, Dvorac u Romagni prvo je Štiksovo ubojice samo jedan od krakova. Drugi æe nas odves- a taj kontekst kudikamo nadilazi funkciju kulise... prozno djelo... ti do kljuènog ugovora sedmoro ortaka u sumnji- vom poslu... Vedrana Martinoviæ

Marinko Košèec Robert Perišiæ Otok pod morem Možeš pljunuti Feral Tribune, Split, 1999. onoga tko bude

otreba za vremenskom kontek- pitao za nas stualizacijom nužno æe iz Koš- Konzor, Zagreb, 1999. èecova prvijenca Otok pod mo- rem, romana èiji je glavni zaèin upravo omalo je dosadno u Hrvatskoj autorova sklonost ludièkom izmjenji- stalno tupiti o generacijama, ali vanju najrazlièitijih registara, izdvojiti Možeš pljunuti... stvarno je vrlo onaj sloj koji ga pridružuje korpusu generacijska knjiga. Knjiga koja je, ka- domaæe ratne proze. Neæemo pogrije- Slavenka Drakuliæ, ko i prilièi uredniku naraštajnog èaso- ...Jednostavno i jasno, povlaèeæi èak šiti, jer je s njim hrvatska proza 90-tih pisa, sjecište kojeèega što noviji hrvat- vrlo izravnu paralelu izmeðu povijes- ojaèana za djelo èiji subverzivni duh Kao da me nema ski književni senzibilitet voli, traži i nih zbivanja, individualne i kolektivne omogu- Feral Tribune, Split, 1999. drži da nemamo. Perišiæ “posuðuje” paranoje, politièkih i ljubavnih strasti æuje no- književni hall of fame kvorumovaca: iz daleke prošlosti s onima iz nešto bli- vi pog- enzibilno i prožeto duhom cr- èovjek æe tu, kao i kod veæine naših že nam historije, u kojima dominiraju led na nog humora, razumijevanje prozaika devedesetih, napipati Carve- gotovi isti leksik, da ne kažemo goto- domo- uloge predmeta u ženskom ži- ra, Bukowskog, Ondaatjea, Irwina vo isti mentalni kod, isti fetiši, kombi- vinski votu spasilo je knjigu Kao da me ne- Walsha i “prozu urbanog pejsaža”. Na nirajuæi arhaièno-poetièni diskurs re- rat, do- ma, roman koji nije bilo moguæe na- tu èitanku Perišiæ nadograðuje socijal- nesanse s leksikom soc-realistièkog, kazujuæi pisati, potaknut novinarskim istraži- no-dokumentarni senzibilitet devede- autoritarnog mentaliteta, a sve to zaèi- da je vanjem, graðom prikupljenom za setih i (po)ratnu ikonografiju... Perišiæ njeno komentarima i zapažanjima u umjesto knjigu svjedoèanstava o masovnim je èovjek koji piše o PTS-u, heroinu, duhu ovog našeg doba, doba ironije i vremen- ratnim silovanjima, dakako iz per- Torcidi, kamatarima i podstanarima. distance, doba brzih poteza, brzih ske dis- spektive žrtvi. Cijeli fotorobot književnosti devede- emocija, brzih ratova, brze hrane, br- tance, setih je u toj knjizi: fotorobot deset- zog kretanja, u duhu jedne digest epo- koja se ljeæa u kojem su pisci posuðivali utje- he sve više nalik na strip, Štiks zapravo èesto caje i lektiru od starijih i obrazovanijih progovara o povijesnoj traumi poje- povlaèi prethodnika, ali su te obrasce punili dinca lišena bilo kakve moguænosti da kao ar- tjeskobnom životnom zrelošæu i is- upravlja vlastitim životom. gument kustvom koje posljednja sretna soc- Dvorac u Romagni je demokratska za nepisanje, dragocjenija ipak ona generacija nije mogla imati. knjiga. Demokratska knjiga o nepop- ironijska. Meðutim aktualnost roma- Perišiæeva se knjiga sastoji od dva- ravljivo despotskoj naravi homo sa- na ne leži samo u njegovoj društveno- deset prièa. Veæ i nasumièno listanje piensa. Ona èitaocu dopušta da u njen, politièkoj dimenziji. Košèec beskom- svjedoèi da Perišiæ ima èvršæu viziju o ni epski ni raspojasani ni emotivni ok- promisno ironizira novokomponiranu onom “što” nego “kako”. Ikonograf- vir, nego u okvir koji se doima kao varijantu hrvatskog domoljublja, ideju ski i tematski prièe mu slièe jedna na namjerna konstrukcija, kao skelet, upi- europskog ujedinjenja, feminizam ili drugu. U pravilu se bave atomiziranim suje svoju prièu, onako kako želi. Ka- francusku nacionalnu samodopadnost urbanim mladim marginalcima koji ko umije. Kako su ga povijest i vrijeme (s osobitim naglaskom na njenu najo- pasivno kližu obilježili. Dopušta mu da u njoj èita pasniju derivaciju – fašistoidni “lepe- polusvijetom (ili prepoznaje) ono što u sebi nosi. Da nizam”), a jednako tako razraèunava i s jednakom je obogati vlastitim iskustvom i zna- se i s književnoteorijskim dogmatiz- rezigniranom njem, vlastitom poetikom ili da je ogo- mom... refleksivnoš- li do skice, do krokija, ukoliko je sam Otok pod morem razvojni je ro- Roman o temi koja se, tvrdi auto- æu iskušavaju takav, skica. Ona je prièa o velikim man neobièno pitoreskne strukture rica, ne da novinarski obraditi, poèi- skijanje, trip, strastima isprièana bez strasti, stalože- koja svojom šarolikošæu oživljava pra- nje i završava u Karolinskoj bolnici izbjeglištvo, no, na trenutke i odsutno. Ona je kao i æenje pripovjedaèeve duhovne preob- u Stockholmu, u ožujku 1993: poèi- šoru u kafiæu, ovo naše vrijeme. Bešæutna. razbe... Bijeg s kopna na otok, osnov- nje mržnjom i snom o osveti, a zavr- kriminal i se- Treba se suoèiti s èinjenicom da je na linija radnje, samo je kièma razve- šava u trenucima kada protagonisti- ks. “Kako” je pred nama novi, drukèiji estetski, pa i dene romaneskne strukture – u ubrza- ca odustaje od mržnje i osvete i os- kod Perišiæa, emotivni senzibilitet od kojeg se da nom ritmu pred našim oèima promièu jeæa nagovještaj zaborava... Ishodiš- meðutim, ja- nešto i nauèiti. Generacija Igora Štiksa nadrealistiène scene, groteskne epizo- te prièe je novinarsko istraživanje; ko raznorod- veæ èita povijest (pa i ovu nedavnu) de, živopisni likovi, poetski nadahnuti opis središnjeg dogaðaja – silovanja no. Ima tu kao nešto što se zbilo mimo nje. Mož- opisi, sentimentalne evokacije, erot- glavne junakinje – preuzet je iz au- amerièki skockanog short storyja da ne sluteæi, a možda i ne želeæi znati ska uznesenja, angažirani ekskursi, li- torièina intervjua sa silovanom že- snažne poante, potom jednostraniènih da “grijesi oèeva” uvijek dolaze na nap- terarne aluzije, sve prožeto nepresuš- nom, autentiènog novinarskog tek- narativnih minijatura, ali i dugih i latu. U negvama globalne traume dva- nom energijom. Dojam necjelovitosti, sta. Roman je istodobno napisan u kratkih prièa koje teže razlaganju ko- desetog stoljeæa, ta generacija u stupo- kao nužan rezultat ovako izrazito mo- dijalogu s piscima logoraške litera- herentnog pripovjednog diskursa, ka- ru suoèava se sa sobom i svojim vre- zaiène forme, tako postaje posljedica ture (najviše se uoèava lektira Jorgea lamburu, struji svijesti, anarativnoj in- menom na naèin kako umije, štiteæi se teme i, s obzirom na nju, smišljeno Sempruna). Treæi utjecaj kao da se trospektivnosti, pa èak i interdiskur- od boli. Možda je naèin na koji je napi- izabrane i provedene polifone kon- najviše primjeæuje: u duhu suvreme- zivnom kolažu. san Dvorac u Romagni put, prvi korak, cepcije... nog holivudskog imaginarija ili suv- Više nego veæinu novih “naturalis- ka “osvješæivanju” te generacije na Otok pod morem sa svojom sret- remene medijske slike svijeta, gomi- ta” Perišiæa zanima jezik. I jezik mu je drugaèiji, manje radikalan naèin. Mož- nom sintezom zabavnosti, intelek- lanjem prizora nasilja nehotice se zaista zanimljiv. Rijeè je o uzbudljivoj da, a i o tome ili upravo o tome govori tualnosti, osjeæajnosti i aktualnosti gubi željeno djelovanje na èitatelja. smjesi zagrebaèkog i splitskog urba- knjiga Igora Štiksa, možda nema veæih pravo je osvježenje za suvremenu hr- Naposljetku, glavna junakinja je ti- nog slanga, kolokvijalizma i klasiène vrijednosti od nas samih, od svakog vatsku proznu produkciju. I koliko je pièna protagonistica u opusu Sla- èakavice... Nije, meðutim, samo stvar èovjeka ponaosob, a sva nagvaždanja o oèigledno da se autor odlièno zabav- venke Drakuliæ, ona je urbana dje- u višeglasju jeziènih izvora, nego i u potrebi žrtvovanja za “više ciljeve” u ljao pišuæi ovu knjigu, toliko je vjero- vojka, opsjednuta ženskim predme- Perišiæevoj sklonosti polifoniji i inter- “ime viših ciljeva” prazne su rijeèi, jatno da æe se èitatelj jednako osjeæati tima i svjetonazorom ženskih èaso- diskursu u kojem su citatni jezièni prazne, ali smrtonosne. dok je bude èitao. pisa. materijal ironijski gomila i kulja. Daša Drndiæ Andreja Gregorina Gordana Crnkoviæ Jurica Pavièiæ 36 II/40, 12. listopada 2,,,.

Miljenko Jergoviæ Pisac asocijativno i bez èvrste narativ- crtice s boravka u Americi u prolje- Njegove meandriène, kompleksno ne okosnice prebire po niski motiva æe 1998. godine. Na put u Ameriku strukturirane novele-kineske kutije li- Mama Leone sjeæanja iz djetinjstva sidreæi se uz sre- pozvao je kumpanja Miljenka Smoju jep su primjer zrelog postmodernistiè- Durieux, Zagreb, 1999. dišnji motiv u posljednjoj treæini tek- i tako ostvario sasvim izniman pot- kog razmišljanja o proznoj formi... sta, na naèin koji unekoliko podsjeæa hvat u novijoj hrvatskoj prozi: na- Na koncu konaca, Feriæ nije profe- na neorealistièku dramaturgiju. kon èitanja Æiæinih i Smojinih dogo- sorski pisac, akademski metaliterarni Jergoviæ prièe-eseje obièno završava dovština nemoguæe je povjerovati da kabinetski prozaik. U njegovim proza- reaktivirajuæi neki motiv sa samog po- je rijeè o mrtvom èovjeku. Oživlja- ma ima dovoljno ludila, bolesti, oral- èetka, èesto ga podvlaèeæi zaèudnim vanje Smoje ujedno je i oživljavanje nog seksa, smrti, incesta i vulgarnosti naslovima (Ako vidiš da je to auto, reci onoga duha koji podnosi jedino od- da ga nitko ni u bunilu ne bi svrstao u mi). Poznavatelj kratke prièe prepoz- rednicu splitski, a èiji je Smoje ne- ladicu književnih eskapista teoretièara. nat æe tu, dakako, odbljesak carverov- nadmašeni "kronièar". Najjaèe oruž- Ukoliko nam je dopušteno upotrijebi- skog iskustva. No, Carver je, baš kao i je toga duha je humor, koji varira od ti taj ideologem, Feriæ je “životan” pi- Joyce, pisac koji poante prepoznaje, parodije do sarkazma. Senjanoviæ se sac... promatraè koji ih nalazi u gesti, pos- ne boji autoironije ("Paško, znaš, Nova zbirka 39-godišnjeg negdaš- malo san razmišlja o tebi i doša san njeg quorumovca ima devet proza. tupku, obratu radnje ili replici. do zakljuèka da si kreten." – kaže Feriæ ne piše mnogo i ne mijenja se u Jergoviæ poante radije izrièe, one su njemu Smoje) koja mu daje pravo da bitnome: njegova nova zbirka uvelike toèka na i asocijativnog toka. Zato kroz Smojina usta parodira amerièke slièi na Mišolovku Walta Disneya po Jergoviæeve prièe i slièe toliko na ese- obièaje, hrvatsku politiku, samozva- sveopæoj atmosferi groteske, zloæe i jistiku. Zato su i posebne: udaljavaju ne i priznate velièine iz javnog živo- podmuklosti... se kudikamo više od središnjeg toka ta (pa i obavezne lektire), sugraða- ovostoljetne novele nego one pret- ne, malograðane te ponekog pokoj- hodnih zbirki. nika. Senjanoviæ izmièe svakom ido- Treba, meðutim, reæi da Mama Leo- lopoklonstvu, pa je i Smoje dobio ne sadrži i dosta obiènih kratkih prièa. svoje. U zdravljem opsjednutoj Rijeè je o jedanaest prièa iz drugog di- Americi on ne odustaje od svojih akon èetriju zbirki pjesama, jela knjige pod nazivom Toga dana navika, dimi, pije i muma sve u šes- zbirke novinskih eseja i jedne završila je jedna djeèja povijest. I one naest, zavodi stjuardese. Senjanovi- antologije, Miljenko Jergoviæ se uklapaju u sjajan dojam o Mami æevoj knjizi Amerika je tek povod, ukorièio je i treæu zbirku prièa U èeti- Leone: rijeè je o možda najujednaèeni- kulisa. Pretpostavljam da je pravi ri godine koje su prošle od Jergoviæe- jem i najdojmljivijem novelistièkom razlog zapisati dio sjeæanja, razgo- ve prethodne zbirke prièa Karivani, ciklusu koji je Jergoviæ napisao. Oso- vora i lekcija, jer je to ka neki moj sarajevsko-hrvatski je pisac promije- bito je zanimljiva stroga tematska ek- dug prema Smoji, prema sebi, prema nio troje novina kao novinar, poèeo skluzivnost tog paketa. Veæina se prièa svima koji su Smoju volili piše pisati i odbacio antiutopijski SF ro- bavi iseljenim Sarajlijama, bivšim sus- Senjanoviæ. Ako se dugovi te vrste man, izdao odliènu zbirku poezije te jedima, ljubavnicima i šulkolegama mogu vratiti, onda je ovaj isplaæen s postao meðunarodno ugledan pisac. koji su raspršeni od Kanade do Izrae- kamatom. Postao je to ponajviše svojim prièama: la. Sve su prièe ujedno ljubavne, prièe knjige Sarajevski Marlboro i Karivani o sastancima, rastancima i puknutim Dušanka Profeta prevedene su na glavne europske jezi- srcima. Jergoviæ u ovom bloku uvjež- ke i popraæene pozitivnim kritikama... bava svoje deklarativno nagnuæe me- Ako su postojale dvojbe kuda æe se lodrami, iskazano izjavom kako je naj- razvijati prozaik Jergoviæ kad potroši sretniji kad èitatelja navede na suze. bosanske i ratne teme, nakon Mame Osim jedne prvoloptaške a la Ma- Leone one više i ne postoje. Ovom rquez varijacije (Drugi poljubac Gite knjigom Jergoviæ nije proširio svoje Danon), ostale su prièe zaista prvo- tematske obzore na nešto novo. Up- razredna melodramska roba. ravo obratno, svoju je tematologiju Da je sentimentalnost zeznut knji- precizno i raskošno suzio na mikros- Feriæ nije tipièni majstor slice of li- ževni zadatak, zna danas svatko, osim vijet: obitelj. Jer, glavninu knjige (toè- fea poput Carvera, Èehova, Jergoviæa nije, blok od dvadeset jedne kratke literarnih dogmata: taj zadatak Jergovi- ili Tomiæa. On nije majstor novelistiè- proze pod nadnaslovom Kad sam se æu uvijek ponajbolje uspjeva, kroz ove i ke poente, efektnih obrata i tipiène rodio, zalajao je pas na hodniku rodiliš- one forme, žanrove i teme. To je mož- dramaturgije short storyja. Njegove ta) èine prièe u kojima Jergoviæ evoci- da i glavna vrlina njegove književnosti. prièe poèivaju na onome što se u holi- ra rano djetinjstvo, bake i djedove, Doduše, uvijek æe biti ljudi koji mrze vudskom žargonu zove high concept: obiteljski ambijent i sebe sama kao nositi papirnate maramice u kino i koji jakoj dosjetki oko koje se gradi sve os- djeèaèiæa. Nakon što se pozabavio imaju poriv dobaciti nešto smiješno talo... svojom kulturnom pripadnošæu (zavi- dok se drugima srce kida od gudaèa u Strukturirane poput kineskih kuti- èajem, gradom i naraštajem), Jergoviæ offu. Mama Leone nije knjiga za takve. ja, te novele imaju vrlo labav vanjski je tako opisao i svoju biološku pripad- Ona je na svoj naèin strašno staromod- okvir, u pravilu bizaran. Taj okvir raz- nost. Stavljajuæi opet kulturu u prvi na i obièna onoliko koliko je obièan i vija se u više smjerova... Junaci (ili pri- plan: Mama Leone ponajviše je knjiga zalazak sunca. povjedaè) upliæu se vlastitim sjeæanji- o starim hitovima, kompotima i likeri- ma, retrospekcijama na prošlost liko- ma, blagdanima i igraèkama, ljetova- Jurica Pavièiæ va, anegdotama iz prošlosti, referen- njima i žalovanjima. U tom smislu cama na bivša zbivanja ili skriveni iro- Jergoviæeva autobiografska zbirka nas- Zoran Feriæ nijski potencijal onog što se upravo tavlja memoarsku produkciju hrvat- dogaða. Gradivne ciglice Feriæevih skih devedesetih, produkciju koja je prièa pri tome su minianegdote... koje po mnogima i najbolje što se u nas pi- Anðeo u ofsajdu se slažu u cjelinu asocijativno ili po salo devedesetih.... Naklada MD, Zagreb, 2000. analogiji. Možda je pretjerano reæi da je Ma- Feriæeve bi male parabole – da nisu ma Leone “najbolja hrvatska prozna rvatska kritika veæ puno deset- uglavljene u novelistièku cjelinu – uve- knjiga zadnjih petnaest godina” (N. ljeæa zdvaja zbog generacijskog like podsjeæale na užasne i velièanstve- Rizvanoviæ), ali nema sumnje da je Ðermano Senjanoviæ zijeva koji postoji u hrvatskoj ne minijature crne kronike iz Imitato- jedna od najboljih u ovom desetljeæu i prozi izmeðu fantastièara i postfan- ra glasova Thomasa Bernhardta. Ber- najbolja – pogotovo najujednaèenija – US&A tastièara roðenih oko 1950. godine nhardt i njegova zbirka crtica nisu ov- izmeðu autorovih triju. Razlog je jed- (Tribuson, Ugrešiæ) i tzv. ratne gene- dje spomenuti sluèajno... Ima nešto nostavan: nimalo novoj temi Jergoviæ (United Split racije roðene sredinom i koncem šez- duboko austrijsko i srednjoeuropsko u je našao novu formu. desetih (Jergoviæ, Tomiæ, Perišiæ...). Feriæevim mizantropskim crnohumor- Ne treba odviše dokazivati kako je &Amerika) Pojednostavljeno, ovaj se problem nim novelama. pisanje o djetinjstvu itetako uèestala ilustracije Branko Efendiæ-Efi, Durieux, oèitovao kao quorumovci nisu dali To nije srednjoeuropsko u onom li- rabota. Još je Julian Barnes u Flauber- Zagreb, 1999. prozaika. On je, meðutim, i širi i dub- citarskom, lipicanerskom smislu, smis- tovoj papigi u indeksu nedopustivih lji: i hrvatska proza, baš kao i film i lu mozart-kugle koji je zahvaljujuæi knjiga napisao kako su “takve knjige ermana Senjanoviæa zvanog donekle kazalište, pati od naraštajne uèinku ideologije zagadio hrvatsku dopuštene”, ali “samo jedna po sva- Æiæo nije potrebno pred- rupe... Feriæ roðen 1961. godine lijeèi percepciju Srednje Europe u devedese- kom piscu”. U Jergoviæa se nerijetko stavljati vjernim èitateljima donekle tu frustraciju i u hrvatskoj tima... To je Srednja Europa kao “šu- osjeti utjecaj takvog štiva. Onda kad satiriènog priloga Feral Tribunea. Za prozi stvara dojam homogenog kon- pak Europe, mjesto odakle svi pametni èitamo o starom željeznièaru koji pred one koji su èitali Hrvatsko slovo tinuiteta koji naša kritika voli. bježe” (Paolo Magelli), mjesto incesta, sobom ima rastvoren maðarski rjeènik Senjanoviæ je autor kolumne Dorin S druge strane, Feriæ je èist pisac. palikuæa, suicida, morbidnih susjeda i i vozni red, pred èitateljem se nepog- dnevnik, dijelova Luminove pošte, Nije sluèajno da je najveæi dio hvalos- provincijske zlobe koju su razorno rešivo raskriljuje veliki djed ove knji- kolumne Teletina u kojoj komentira pjeva novoj autorovoj zbirci Anðeo u opisali upravo Austrijanci: Thomas ge, èovjek koji je kod Jergoviæa potis- televizijski program te apsolutno ofsajdu motiviran èinjenicom što je Bernhardt, dramatièar Schwab u svo- nuo Carvera, Sidrana, Èehova i Andri- najnerješivije križaljke u domovini i Feriæ zanimljiv baš kao literatura, a ne jim Predsjednicima, Michael Hanneke æa: Danilo Kiš... svijetu. Knjiga US&A njegov je zbog neèeg izvanjskog, oneèišæuju- u filmovima... Svaka od dvadeset jedne prièe iz pr- prozni prvijenac (ne raèunamo li æeg: politièke ili tematske provokativ- vog dijela knjige zapravo je smjesa no- ukorièeni Dorin dnevnik), toènije – nosti, društvene žestine. Jurica Pavièiæ vele, eseja i memoarskog fragmenta. Feriæ je k tome osvješten pisac. II/40, 12. listopada,,,. 37

Branko Maleš tièkog registra urbane proze. O ne- Ozren Kebo Borivoj Radakoviæ kakvom "baroknom" stilu pripovije- Male ljubavi danja nema ni govora, buduæi da Sarajevo Ne, to nisam ja Naklada MD, Zagreb, 2000. povremene – vrlo uspjele – igre rije- èima ne znaèe odmah da je autor za- za poèetnike (da, to nisam ja) šao u takozvanu hiperretoriènost Feral Tribune, Split, 2000. Celeber, Zagreb, 1999. (pa je u tom smislu ekstatièna recep- cija Popoviæeva malenog opusa od ebina knjiga svojevrsna je kro- ezièna potentnost Borivoja Ra- strane njegovih generacijskih i stru- nika djelovanja primitivne svi- dakoviæa, psovaèkog meštra kovnih kolega koji ga opisuju kao jesti koja je tri godine uništava- domaæe književne scene, os- "baroknog" autora naprosto nezna- la Sarajevo, prièa o tome kako su Sa- novni je energetski izvor knjige Ne, to laèka). Novum Popoviæeve knjige ti- rajlije preživljavale. Kada u naslovu nisam ja. Dok se reèenice punkoidne èe se diskretne, ali isto toliko i dos- kaže za poèetnike misli na one koji u žestine izmjenjuju sa smirenim i, bez ljedne stilistièke vještine metaforiè- Sarajevu danas žive, bilo da su u nje- obzira na to što opisuje, preciznim iz- kog i motivskog povezivanja prièa u mu preživjeli, bilo da su se vratili iz rièajem, stupanj verbalne agresije nep- cjelinu blisku romanu; takoðer i raznih, dobrovoljnih ili prisilnih egzi- rekidno raste. Zato... svaki èitatelj koji poetske istanèanosti u vrlo promiš- la. Svi poèinju iz poèetka, graditi, vo- knjizi pristupi prethodno ne iskora- ljenom i sugestivnom izboru leksi- ljeti, poèinju živjeti nakon godina pre- èivši iz govna od sentimentalizma i ka: od onog kolokvijalnog, do onog življavanja. Tematski razlièiti zapisi realizma, imat æe problema s probav- imaju zajednièku potku: kako je nes- ljanjem ovog akademskog hardcorea u tajao grad, njegovi ljudi i dobri obièaji. kojem, temeljnom elegijskom tonu Kebina je osnovna teza da je sve saz- usprkos, caruju brutalnost, bestidnost dano od privida te da se mudrost ljud- i jezièni egzibicionalizam. Jer, iako je ska vidi u tome koliko je tko toga pri- autorov nihilizam samo izraz onemo- vida svjestan, koliko je na oprezu i ko- æalog pacifizma koji je u borbi protiv od naslovom Male ljubavi Bran- liko energije ulaže u to da ne povjeru- nasilja i sam bio prisiljen postati nasil- ko Maleš, poznati kritièar, pjes- je da je išta trajno. Prvi u nizu privida nim, konaèni je rezultat šokantna pro- nik i esejist, okupio je zbirku koje æe autor postupno otkrivati, onaj za pisana svima u inat i svima na tekstova pisanih zadnjih nekoliko go- je o svijetu u kojem postoje Ujedinje- užas... dina. Te je tekstove vrlo teško svrstati ni narodi, Povelja o pravima èovjeka i Èitatelj u ruke dobiva knjigu vru- u neku od poznatih kategorija knji- niz drugih deklaracija kojima se sva- æeg sadržaja i kipteæeg leksika, cinièno ževne kritike buduæi da je pišèeva in- kom stanovniku svijeta jamèe neka i patetièno štivo koje subkulturne te- tencija bila izuzetno široka. Našlo se ljudska prava. U trenutku kada su s me nasilja, seksa i droge oblaèi u eli- tu filozofskih, sportskih, umjetnièkih Pala poletjeli projektili, Sarajevo je os- tistièko ruho art about art podrijetla. i politièkih tema, stoga bi tekstove bi- talo samo. O ljudskim pravima odluèi- Kako bi otoplio u površnom stilu hla- lo najbolje nazvati esejima koristeæi vao je Karadžiæ. Iluzija o tome da æe dan i društveno dokon govor “umjet- svu teorijsku širinu tog pojma. Male svijet intervenirati pokazala se najgo- nosti o umjetnosti”, autor pretjeruje u ljubavi prelaze granicu jednostavne rim prividom za one koje su išèekivali svemu - o usamljenosti progovara opozicije svijet – tekst i unose efekt kroz požudu, o erotici kroz pornogra- umjetnièkog, artificijelnog u najbanal- fiju, o strahu kroz represiju, o pacifiz- nije èinjenice... mu kroz agresiju... Maleševo je pismo opušteno, frag- Pod zaštitom naslova Ne, to nisam mentarno, rokersko. Citirat æu uvod- standardiziranog. Osim toga, ja satkao je pravu mrežu, èas umornih nu reèenicu Malih ljubavi, eseja po ko- Popoviæ ima glazbeno toèan osjeæaj i plaèljivih, èas borbenih i samodopad- jemu je knjiga dobila ime: “Zašto vo- za jezièni ritam i poigravanje "prim- nih, autoreferencijalnih zapisa, naru- lim prljave cure u tankericama, kojima jerenošæu" ili "provokativnošæu" od- gavši se koliko svojoj demijurškoj sve- u ustima visi cigareta, koje loèu, dime reðene replike ili reèenice; konaèno moæi toliko i èitateljskoj, u isto vrije- i igraju bilijar u groznim kafiæima eg- možemo govoriti o piscu koji èuje, me uzbudljivoj i ponižavajuæoj, voa- zotiènih imena, negdje po periferiji, a paèe i testira bogatstvo nijansi suv- jerskoj poziciji. Ogoljavajuæi pripov- to je sve ono gdje ne zalaze izgladnjele remenog jeziènog svijeta u koji je jedni postupak do intime golotinje manekenke u društvu brkatih èelnika uronjen. Drugo je pitanje vrti li se i pripovjedaè s oèiglednim užitkom pla- druge lige Zapad? Zato jer volim mar- svijet èitatelja Popoviæeva romana zi jezik èitatelju da bi ga nakon “du- ginu i urbanu ljevicu na njoj.” U tim je oko tema koje odabire autor: osob- hovne” odiseje kroz duode- uvodnim reèenicama, uz obaveznu ro- no, alkoliziranje ne smatram ni malo num/dvanaesterac, tanko i debelo cri- kersku opuštenost, postavljena i nas- herojskim naèinom ponašanja (još jevo posljednjom prièom iz rectuma luæena èitava prièa, poetika urbanog, a manje "originalnom" književnom te- ujedno i stanovita naivnost i idealiza- mom), kao što ne mislim ni da je vr- cija ukupne društvene situacije. Prije hunac ljudske "sreæe" seksualno "tro- bi se moglo reæi da je na djelu potiski- šenje" tijela... vanje, ignoriranje svakodnevne banal- Od pijanaca k ratnicima: Ispod nosti, okretanje glave od desetljeæa u duge elegantno retematizira i rese- kraj granatiranja. U èahuri opkoljenog kojem je konzervativna desnica poka- mantizira motive iz prve prièe, ali Sarajeva trebalo je polako zaboravljati zala svoje najgore lice. sada je rijeè o "spavanju na klupku na sve ono što je èinilo normalan zmija" (tojest na prvoj liniji fronte), gradski život. Primjerice, oni koji su Rade Jarak prilikom èega se umornim likovima vrijeme i novac ulagali u stvaranje obi- ipak katkad prikradu i snovi. Rat je, teljske biblioteke, morali su donijeti dakle, varijacija dna i ekskluzivno odluku da knjige iskoriste kao ogrjev, muškog društva iz ranije Rafove a potom gledati kako stranice nestaju Edo Popoviæ prièe... u plamenu i na kraju se suoèiti s èinje- U prièama mirnodopskog baš nicom da je u ovom dijelu svijeta, koji San žutih zmija kao i ratnog "dna", žene su tretirane ne volimo nazivati Balkanom, kuæna Moderna vremena, Zagreb, 2000 iskljuèivo kao: može besplatna, biblioteka takoðer privid, velika iluzi- može i za lovu... minjak do pupka, ja. Kebini zapisi strukturirani su u ni- ožda nije loše dobrim knjiga- raširila noge, bez gaæa. Tek u tre- zove koji s bave istom temom, pone- ma pristupiti s nekoliko æem dijelu, naslovljenom U pauko- kad obasižu redak ili dva, ponekad "naivnih" pitanja. Primjerice: voj mreži, žene (osim genitalija) stranicu. U njima je sintetizirano ono zašto hrvatski pisci uglavnom naj- dobivaju i lica... èemu je autor svjedoèio, ono što je vjerodostojnije umiju pisati upravo Podradnja je, meðutim, èak i važ- èuo, i najvažnije – ono što je nauèio, o o iskustvu pasivnosti, bezizlaznosti i nija od glavne radnje: susjeda mla- ratu i miru, sebi i ljudima oko sebe. psihološke zaustavljenosti likova u dog para, gospoða Ingrid, proživje- izbacio ravno u svijet nasilja. A upravo mrtvim toèkama (metafore Hrvat- la je život u gotovo posveæenoj vje- Dušanka Profeta su nasilje i jezik, nasilje nad jezikom i ske u prozi od Krleže do Roberta ri u drugu vrstu ljubavi: asketsku, jezik nasilja, tematska i stilska okosni- Perišiæa: "moèvara"; "krèma"; "živo apsolutnu, bezgraniènu, tragiènu; ca poetike Borivoja Radakoviæa... blato"; "pustinja"). Zašto im je toliko ljubav koja u knjizi predstavlja treæi Ne, to nisam ja knjiga je nemoæi i važno naglasiti sveprožimajuæi osje- san o žutim zmijama ili san o suo- bijesa, èesto afektivna, ponekad pre- æaj bespomoænosti? (...) èenju s rizikom emocionalnog pre- tenciozna, ali uvijek iskrena. Knjiga je San žutih zmija otvara istoimenu davanja, koji je toliko "opasan", da to koja èitatelja neæe podvrgnuti du- zbirku Ede Popoviæa. Prièa je napi- biva izravno povezan s anticipaci- hovnoj eutanaziji, ali æe mu, s popri- sana u prvom licu, s epilogom na- jom smrti... liènom rjeèitošæu i oèiglednom živoš- vodnog posthumnog ureðivaèa "pro- Pod svjetlom još jednog lokal- æu, poruèiti ono što mu je Ed Sanders naðenih" Rafovih bilježaka. Napo- patriotskog paradoksa, valja nam još davno poruèio naslovnicom svog menimo da Popoviæ ne izvodi ni priznati da Popoviæev roman dodu- èasopisa Fuck you... kompozicijske ni sižejne eksperi- še tematizira pasivnu filozofiju uz- mente; dapaèe: njegove se reference maka, ali zapravo izvodi aktivnu re- Andreja Gregorina kreæu od Bukowskog i Henryja Mil- valorizaciju sredine koju opisuje . lera do Cortazara i Fuentesa, ostaju- æi unutar prokušanog postmodernis- Nataša Govediæ 38 II/40, 12. listopada 2,,,.

Sonia Wild Biæaniæ Rat u Two lines of life Hrvatskoj i Bosni i /Dvije linije života Hercegovini 1991 – 1995. s engleskoga prevela Mia Pervan, Durieux, Zagreb, 1999. uredili Branka Magaš i Ivo Žaniæ, Naklada Jesenski i Turk – Zagreb, Dani – Sarajevo, 1999. ijeè je o autorièinim memoarima, izvorno njiga Rat u Bosni i Hercegovini 1991 – 1995 rezultat je skupa održanog, kako napisanima na engleskom jeziku kao Tw o se to govorilo, u treæim zemljama. Naime referenti (abecednim redom Dušan Lines of Life, objavljenima na oba jezika Bilandžiæ, Norman Cigar, Jovan Divjak, Marko Attila Hoare, Rusmir istovremeno. Dvije linije života vjerojatno je naj- Mahmutæehajiæ, Stjepan Mesiæ, Warren Switzer, Martin Špegelj, Anton Tus, Paul bolji moguæi naslov za ovu knjigu, jer su unutar Williams i Ozren Žunec) i sudionici rasprave sastali su se u rujnu 1998. godine u Bu- istih korica objedinjene dvije zemlje, dva jezika, dimpešti u organizaciji Bosanskog instituta iz Londona i Instituta za jugoistoènu dva rata, pa èak i, osvrnemo li se na detalje iz pri- Europu u sklopu Srednjoeuropskog sveuèilišta u Budimpešti. Tada podneseni refe- vatnog života, dva supruga i dvoje djece. Èitaju- rati, rasprave voðene nakon svakog od tri tematska bloka (Rat u Hrvatskoj, Rat u æi njezine zapise, ipak, ubrzo postaje jasno da je Bosni i Hercegovini te Meðunarodni odgovor – pouke za buduænost) uz dodatak (tek- rijeè o koherentnom i inteligentno pisanom tek- st Ko to rado ide u vojnike – mobilizacijska kriza – analitièki pogled medijskog izvešta- stu. U vrijeme kada ratno i ispovjedno-memoar- vanja autora Ofelije Backoviæ, Miloša Vasiæa i Aleksandra Vasoviæa) i priloge na kra- sko pismo èini najveæi dio prozne produkcije, So- ju (Kronologija 1985 – 1995., ustroji JNA i razne karte) sadržaj su knjige koja æe se nia Wild Biæaniæ uspijeva progovoriti o sebi, ali i hrvatskoj povijesti, na nov, ideolo- dugo išèitavati. Jer, za razliku od monološkog govora/pisanja o ratu ona zaista sadr- gijom neoptereæen naèin. Ona je izvrstan promatraè, a englesko porijeklo daje joj ži razgovore, otvorene, provokativne i iz- distancu dovoljnu za taman toliki odmak da o posljednjih pedeset godina progovori nenaðujuæe kakvi do danas uglavnom nisu na objektivan naèin, no s puno ljubavi. publicirani na razini traženja suglasnosti... Ima ratnih tema oko kojih se prilièno Dušanka Profeta lako dogovoriti ili makar oko nekih njiho- vih elemenata. Naravno, razgovori name- æu one koje su predmet sumnji, javnih i tajnih dvojbi, nelogiènosti i (zasad) nez- Viktor Ivanèiæ nanja koja æe tek trebati rasvjetliti. Toèka na U Rat nema svetopisamskih rješenja o is- tini, ali ostavlja ogroman prostor razgo- sluèaj Šakiæ: anatomija vora u kojem æe se mnogi morati naæi. U kojemu je tek, kako stvarnost pokazuje, jednog skandala nauèiti sudjelovati. Oni koji su te razgo- Feral Tribune, Split, 1998; drugo izdanje 2000. vore zapoèeli hrabro i temeljito izmeðu ostalog u knjizi su za koju vrijedi prepo- obzirom na èinjenicu da je u sluèaju ruka kako je svatko treba proèitati zbog Šakiæ i fenomenu NDH, te Tuðmanovoj osobnih dvojbi pa tako i osobnih odgovo- doktrini nacionalnog pomirenja, posve- ra. Ili možda samo zbog toga da bi konaè- tio èitav niz novinskih èlanaka u Feralu, prva je no shvatili kako se postavljaju pitanja? èitateljska pomisao da je posrijedi zapravo zbirka veæ objavljenih èlanaka, kakve masovno Grozdana Cvitan štancaju zvijezde naše novinske kolumnistike. No, ovdje se radi o neèemu posve drugom; tek mali dijelovi ove knjige objavljeni su u Feralu, ona je zapravo kompozicijski koherentna cje- lina; svojim jezikom i argumentacijskim sklo- Stanko Andriæ pom umnogome nadilazi jednostavnost novin- skog stila izlaganja i pretvara se u politološku i psihosociološku raspravu. Iako se u Dnevnik iz analizi kulta nacije i države i paralelizma Nezavisne Države Hrvatske i suvremene Republike Hrvatske služi relevantnom filozofsko-politološkom literaturom (H. JNA i druge Arendt, J. Benda, I. Bibo, P. Sloterdijk, E. Canetti, D. de Ruogemont, E. Cioran i dr.), on ipak nije znanstvenik veæ prije svega angažirani publicist koji i sam duboko glose i proživljava temu o kojoj piše, strasno uranja u nju i ne krije ni u jednom trenutku arabeske svoje stavove. U analizi Ivanèiæ polazi od zamijeæene neuroze aktualnog hrvatskog režima kon- Durieux, Zagreb, 2000. sterniranog èinjenicom da mu iz svijeta nameæu pokretanje suðenja Dinku Šakiæu, ali i identiènog osjeæaja najveæeg dijela “liberalnih” nacionalnih intelektualaca koji rozno-esejistièki opus takoðer ne mogu razumjeti zašto svjetska politika Hrvatskoj nameæe to muèno ko- Stanka Andriæa èine panje po starim ranama. Svima je jasno da taj sluèaj jest svojevrsni lakmus koji æe Povijest Slavonije u se- poslužiti u detektiranju stvarnog odnosa režima, ali i hrvatske javnosti, prema fašis- dam požara (1992) i Enciklo- tièkom naslijeðu... pedija ništavila (1995) te niz “Velièanje države – pa i NDH kao praznog apsoluta, kao savršenog okvira koji tekstova objavljenih u perio- predstavlja konac povijesnog i društvenog razvitka, i to tako što æe se u masovnoj dici, od kojih je dio objavljen svijesti taj okvir isprazniti od svoga muènog sadržaja, što æe se retuširati zloèini, te- u knjizi Dnevnik iz JNA i ror i nasilje nekoæ poèinjena u njegovo ime, poželjno je zbog toga da bi se pokrile i druge glose i arabeske. Jedna relativizirale svinjarije poèinjene u ime današnje Hrvatske. Taj idealizirani prazni ok- od odlika Andriæevih teksto- vir, koji leti kroz vrijeme i epohe, lišen bilo kakvog sadržaja koji bi mogao skrenuti va, znanstvenih i proznih, jest pažnju s njegove pozlate, zamišljen je da se prihvati kao jedina dostupna stvarnost i briga o unutarnjoj strukturi, kao unikatna ideološka istina”. funkcioniranju dijelova u od- Završna poglavlja knjige posveæena su Franji Tuðmanu kao protagonistu takve nosu na cjelinu. U ovoj æe ideologije. Ivanèiæ analizira posebno Bespuæa povijesne zbiljnosti dokazujuæi da Tuð- knjizi Andriæ nastaviti s tom man u toj knjizi zapravo nastoji dokazati kako genocid u ljudskoj povijesti ima druš- praksom i tekstove podijeliti tveni smisao i može pozitivno utjecati na buduænost nacije, osobito na definiranje u glose, traktate i arabeske, te njezina prirodnog etnièkog areala. Buduænost Tuðman vidi iskljuèivo u nacionalnoj tako izbjeæi opæi klasifikacij- državi kao realizaciji konaène sreæe, za što je nužno postiæi što veæu etnièku homo- ski pojam eseja, kojem dio genizaciju i što veæi sklad nacionalnog sastava puèanstva i državnih granica. Ivanèiæ ovih tekstova zasigurno ne konstatira: “Ono èime se Tuðman u Bespuæima uistinu bavi jest osmišljavanje zloèi- pripada. Glosama Andriæ naziva tekstove koji su nastali na temelju prethodnih èita- na èiju pojavu on – u najboljoj maniri povjesnika fatalista – doživljava kao zadano nja (Huga Pratta, Kiša, Shulza, Hamvasa…), a dijelom se približavaju književnoj kri- stanje, kao historijsku predodreðenost uz ’neprestana opetovanja”. Predmet njego- tici, eseju ili autobiografskom zapisu. U traktatima Andriæ se bavi etimologijom, se- va znanstvenièkog upliva nije istraživanje korijenja i nastajanja zla – koje je neizbjež- paratizmom, strahom od raka, strahom od nultih godina i još mnogoèime. Naziva- no, je li, kao zemlja po kojoj hodamo – veæ odreðivanje tome zlu primjerenog razlo- juæi ove tekstove traktatima, Andriæ se poigrava sa èitateljem i pokazuje sklonost au- ga i smisla.” toironiji – traktatom danas kolokvijalno nazvano duga, dosadna, podacima pretova- Posebnu pozornost Ivanèiæ posveæuje Tuðmanovoj doktrini nacionalne pomirbe rena i uštogljena izlaganja. Andriæevi tekstovi posjeduju upravo opreèna svojstva: pi- i želji da upravo u Jasenovcu podigne svetište toj ideji te da se tamo pohrane ispre- sani su s mjerom, zanimljivi, i ne osjeæa se ni najmanja želja da se èitatelja impresio- miješane kosti svih koji su pali za ostvarenje državotvornog sna boreæi se na raznim nira uèenošæu. Obimom najmanja grupa tekstova nazvana je arabeske, a u njoj je dio stranama... dnevnika po kojem je knjiga dobila ime. Andriæev dnevnik vrvi zapisima o proèita- Premda tematski odreðena kao analiza inicirana sluèajem Šakiæ, Ivanèiæeva se nom i nacrtima za neke buduæe tekstove, èesto ne veæima od reèenice, dvije. Kada knjiga ne bavi toliko poviješæu NDH i razmatranjem o prirodi te države i njezina re- piše o "neposrednom okruženju", èini to iz pozicije promatraèa, osobe koja gleda iz žima; za njega, uostalom, nije sporno da se radi o fašistièkom tipu vladavine. Ono svoga unutarnjeg svijeta i do koje cijeli besmisao u kom se nalazi prodire tek kao me- što je njemu mnogo bitnije jest istraživanje dodirnih toèaka u politièkim doktrina- tafora: Na ploèniku, vojnik mirno stoji, dok mu iz pribora o boku proždrljivo izviruju ma onog režima i današnjega. Ponekad možda u svojem angažmanu i previše ostraš- zubi viljuške (Meða, 6. kolovoza 1987). Andriæevo mjesto u suvremenoj hrvatskoj æeno, ali najèešæe izvanredno lucidno i inteligentno, Ivanèiæ analizira fenomene prozi odgovara donekle poziciji pripovjedaèa u njegovu dnevniku: u križaljci aktual- društva u kojemu živimo, smiono se pritom suprotstavljajuæi dominantnom intelek- nih proznih trendova, generacijske ili poetièke pripadnosti Andriæ je autor koji piše tualnom konformizmu. iz svoga, vrlo osobnoga i osebujnoga svijeta. Velimir Viskoviæ Dušanka Profeta II/40, 12. listopada,,,. 39

Bora Æosiæ Jakša Kušan Carinska deklaracija Bitka za Novu Hrvatsku Feral Tribune, Split, 2000. Otokar Keršovani d.o.o., Rijeka, 2000. eckettov Malone je paraliziran. On leži u krevetu i èeka smrt. Dugaèkom akša Kušan odluèio se na memoarsko-dokumentarno djelo o radu Nove Hr- motkom s kukom na jednom kraju privlaèi predmete u sobi i pravi inventar vatske, lista koji je kroz tri desetljeæa izdavao u Londonu, koji je –mjeren ne svog života. Usput prièa prièe. samo brojem primjeraka, nego i recepcijom u domovini – bio najutjecajnija Bora Æosiæ nema svog Malonea. On je taj glavom i bradom koji sjedi u velikoj emigrantska novina, lista koji je bio trn u oku ne samo Udbi u domovini nego i sobi svog berlinskog stana, po svemu sudeæi zastrašujuæe praznoj, i pravi mentalni mnogima u emigraciji. U knjizi je ponovno tiskao mnoge uvodnike, javna, ali i pri- popis stvari za carinsku deklaraciju koja æe mu omoguæiti legalan transport bivšeg vatna pisma koja su podcrtavala ono što se Novom Hrvatskom htjelo postiæi i poru- života iz zemlje koju je nekada smatrao svojom u život pod jednim drugim, njemu èiti. Iskljuèujuæi èlanove redakcije, suradnike i simpatizere Nove Hrvatske, Kušan stranim nebom. Obojica, i Malone i Æosiæ, na koncu zakljuèuju da tu nema bog- pokazuje kako je bilo malo sporazuma meðu razlièitim iseljenièkim grupacijama u znašto da bi se uskladištilo. Obojica zakljuèuju da su uglavnom èitava života zgrta- svijetu. Iako, štoviše, ostaje slutnja velikih li prazninu. svaða, Kušan samo daje naznake nejedinstva Carinska deklaracija Bore Æosiæa i Malone umire Samuela Becketta dva su kom- emigrantske scene te poèetke i uspjehe Hrvat- plementarna djela. Po mnogim pojedinostima, po mnogim razmišljanjima slièna, skog narodnog vijeæa u kakvom-takvom ona se, unatoè tome što se dopunjuju, u krajnjoj, ishodišnoj toèki, posve razilaze. okupljanju Hrvata u svijetu... Beckettov junak umire. Bora poèinje iznova. S punim kuferima praznine... Mraèna strana emigrantske scene najbolje Carinska deklaracija je ispovjedni, lirski, metafizièki i filozofski esej o šetaèu na- je opisana kroz djelovanje Udbe, pokušaje šeg stoljeæa, “kronika o jednoj seobi, koja od mladosti traje”... Da bi bio slobodan raznih "prijatelja" da se približe onima koje su Æosiæ vjeruje, a tu se s njim moramo složiti, kako se “treba odmoriti od svoje zem- smatrali opasnima po Jugoslaviju i njihovo lje” jer “zemlja kojoj... èovjek pripada poèinje da ga pritišæe. On je za to kriv. Jer "neutraliziranje" na bilo koji naèin. Podmeta- zemlja o sebi ne zna ništa, posebno to da je zemlja upravo ovog èovjeka. To je on nja kao blaži i likvidacije kao najteži oblik tog proglasio onu zemlju po kojoj koraèa svojom, što mu je bila najveæa pogreška...” Udbina djelovanja samo su krajnje strane ras- Kako sam veli, Æosiæ je na “jednom ispitu”, on “maturira iz predmeta odlaska iz pona na kojoj je djelovala vrlo šarolika zbirka svoje zemlje”, što je ispit, dodali bismo, vrlo bitan za stjecanje punoljetnosti, za saz- tipova: od kriminalaca i profesionalnih uboji- rijevanje opæenito. Njemu se ne žuri. On bez imalo “nervoznosti” izuèava “jednu ca do onih jadnika koji su bili ucijenjeni na duboku nauku i njen najvažniji pred- razne naèine i koji su ponekad pokušali ne iz- met, prazninu”. Jer, “mi smo živeli na vršiti zadaæe koje su dobili od Udbe. Bilo je i jednom prostoru, evropskom, na ko- onih koji nisu dobili nikakvu zadaæu, ali su ra- jem je povesti bilo vrlo mnogo, više do samoinicijativno ponudili svoja znanja i nego i jedna povest može da izdrži”. spoznaje. To sada on želi da popravi, “bar u ma- lom”. Grozdana Cvitan Dok napušta “tu krèmu u kojoj je pojeo svoje i popio, do kraja”, Æosiæ, i to je jedna od mnogih vrlina ove knji- ge, zadržava ironièan odmak prema Ilija Jakovljeviæ sebi i sudbini, ne sudbini koja ga je za- desila, nego koju je izabrao... Carinska deklaracija Æosiæeva je Konclogor na Savi katarza kao što je i katarza za sve one Konzor, Zagreb, 1999. “njegove suborce” koji su u prethod- nom desetljeæu jeèali, a danas su svjes- lija Jakovljeviæ, roðeni Mostarac iz ni da se radilo o “otpadu jedne davne Podhumske mahale (1898), sarajevski još nerazriješene civilizacije”. Njihov i zagrebaèki školnik, hrvatski književ- rat završava porazno po njih; ta kam- nik i odvjetnik, urednik središnjeg haesesov- panja koju vodi ovo stoljeæe “to je jed- skog lista Hrvatski dnevnik, predsjednik na izgubljena stvar veæ odavno, poraz Društva hrvatskih književnika, imao je èast osiguran u tuðem generalštabu”. Ca- biti zatoèenik triju diktatura – šestojanuar- rinska deklaracija majstorski je uobli- ske, ustaške i komunistièke. Umro je u ko- èena fuga. Ne fuga smrti, nego fuga za munistièkom zatvoru koncem listopada novi dan. Pa, dan po dan. 1948. godine pod tajnovitim okolnostima te je stoga tijekom komunistièkog razdoblja Daša Drndiæ uglavnom bio unperson. Zato se i njegov ru- kopis o grozotama ustaškog logora Stara Gradiška, gdje je proveo nešto više o godine dana, od listopada 1941. do prosinca 1942, Predrag Matvejeviæ, pojavljuje u tisku tek sada, poslije više od oila stoljeæa u zapeæku, kao prvi znaèajan Vidosav Stevanoviæ, dokument o “Ustašiji” (Jakovljeviæev izraz) nakon hrvatskog osamostaljenja. Poènimo sa zakljuèkom: ovo je najvažnija knjiga koja se u Hrvatskoj pojavila Zlatko Dizdareviæ, nakon dugo vremena. Upravo zato što je Jakovljeviæ imao savršen dar zapažanja, analitièku smjelost te prezir prema mistifikacijama svake vrste, njegova je kronika Gospodari rata i mira rijetka dragocjenost kako s književnog tako i povijesnog aspekta. U nju su utkani bol, oèaj, dar za preživljavanje, samilost, prkos i nemalo lukavstva. Ona razgoljuje Feral Tribune, Split, 1999. ustašku demagogiju, a NDH prikazuje onakvom kakva je bila – kao vlast okorjelih zloèinaca. Jakovljeviæ je znao punu istinu o ustašama te nije mogao upasti u apolo- njiga je zamišljena kao prikaz životopisa bal- getske gluposti o procvatu hrvatske kulture unatoè nepovoljnim ratnim okolnosti- kanskih moænika Miloševiæa (iz pera Vidosava ma... Stevanoviæa, srpskog disidentskog pisca), Tuð- Teško je doèarati sva bogatstva Jakovljeviæeva svjedoèanstva. U knjizi ima mno- mana (iz Matvejeviæeva pera) i Izetbegoviæa (iz pera go dokaza o otporu prema zloèinu, èak i kod unovaèenih ustaša, ali i o slabiæima i Zlatka Dizdareviæa, sarajevskog novinara), a prethod- kolaborantima meðu logorašima... Izuzetno su važna Jakovljeviæeva zapažanja o na- no je veæ objavljena u Italiji i Francuskoj. cionalizmu (“Sukob dvaju malograðanskih nacionalizama, osmanlijske silovitosti i Usprkos staroj navadi biografa da u mraènom predmetu svojih spisateljskih želja tisuæugodišnje kulturne šmire”), razlikama izmeðu narodske i ideologijske svijesti, pronaðu splet ljudskih i osobnih karakteristika u kojima bi našli uzroke i opravda- karaktera endehaškog “parlamentarizma” i “kršæanskog korporativizma” te svjedo- nja njegova djelovanja, Stevanoviæ svome predsjedniku ne daje nikakve osobine èanstva pojedinim nositeljima režima (o Budaku: “najveæa haramija koja se pojavila ljudskosti. Slobo je za njega ogoljela funkcija s Dedinja obuèena u sumorno komi- meðu književnicima svih vremena i naroda”)... tetsko odijelo. Voždov je humor rutiniran i smišljen. Njegov je osmijeh poza. Nje- U pogovoru ove Jakovljeviæeve knjige Ivan Lovrenoviæ zakljuèuje da bi otkriæe gove su rijeèi laž, a smisao njegova postojanja beskrajna je moæ, i to je ukratko po- “rukopisa Ilije Jakovljeviæa o zatoèeništvu u ustaškom logoru u Staroj Gradiški lazišna osnova s koje Stevanoviæ opisuje 15 godina Miloševiæeve vlasti... Za razliku 1941. i 1942. godine moralo (...) biti jedan od najvažnijih dogaðaja moderne hrvat- od Stevanoviæa, Matvejeviæa ponajprije zanima voðina osobnost, pa se ovaj psiho- ske književnosti. Ni ta književnost, ni opæenito hrvatska graðanska ’slika o sebi’, portret temelji na svim onim mistifikacijama, taktiènim izjavama, pa i malim inte- poslije ove knjige ne može ostati ista”. To bi doista tako moglo i biti da u sadašnjoj lektualnim bravurama s kojima nas je u svojim rado slušanim govorima znao poèas- hrvatskoj književnosti i povijesnoj samospoznaji postoje jasna politièka, moralna i titi pokojni Tuðman. Matvejeviæev Tuðman tako ispada patološki lažac, krivousti intelektualna mjerila. No, u Hrvatskoj danas takvih mjerila nema ili nisu veæinska; i narcis èiju je opsesiju poviješæu premašivala jedino opsesija o mjestu istoga u njoj. to ne samo zato što danas u Hrvatskoj mažoretkinje izvode svoje banalne, cirkusa- To je, po Matvejeviæu, ujedno i uzrok svih hrvatskih nedaæa... rije na državnoj promociji najbanalnijeg spomenika koji se uopæe da zamisliti, nego Kao i njegovi drugovi Slobodan i Franjo, i Alija se uspio riješiti svojih popularnih ponajviše zato jer “ustaške popeskare” (Jakovljeviæev izraz”) još i danas služe misu suradnika da bi potom, lukavo se skrivajuæi iza izjava tipa "ovo nije naš rat" i "zna Poglavniku i njegovu Povjereniku. Zato æe ova krvlju natopljena Jakovljeviæeva knji- onaj tko puca", u javnosti ostavio dojam razumnog iako pomalo naivnog èièice koji ga ostati kao jedno od onih svjetala što su mu se poslije izlaska iz Gradiške priviða- je život posvetio prosperitetu svoga naroda. Vraga, kaže Dizdareviæ. S vremenom je la u slikama Jablanca, Gradine i Mlake, u kojima se “svaka gruda zemlje koja pokri- pod okriljem rata èitav sustav podvrgao svojoj samovlasti, i iako odgovoran za broj- va tijelo muèenika pretvara u baklju, osvjetljujuæi putove u novi život”. U tom sret- ne loše poteze koji su Bošnjake ostavili potpuno nespremne za rat, nametnuo se kao nijem vremenu, kad hrvatska kultura ponovno postane dijelom evropske kulture, a neprikosnoveni voða... Danas se naravno poput svojih ratnih drugova iz Zagreba i hrvatska povijest samokritièna, Jakovljeviæ æe zablistati u punini svoje logoraške Beograda kupa u novcu poreskih obveznika koji grcaju pod teretom bijede... kronike. Dragan Koruga Ivo Banac 40 II/40, 12. listopada 2,,,.

Marinko Èuliæ ili naprotiv kao Autokrata i Diktato- pridodan, za ovu knjigu posebno sas- Stanko Lasiæ ra? Bilo je to jedno od pitanja na ko- tavljen, Informativni vodiè (ili The Ha- Tuðman – ja je Èuliæ pišuæi “biografiju” želio ll Of Fame), u kojemu su likom i dje- Autobiografski barem u naznakama odgovoriti. U lom predstavljeni glavni “junaci” Go- zapisi anatomija intervjuu Zarezu, neposredno nakon dina raspada, od folk zvijezda, žena- izlaska knjige, bio je eksplicitan: mistika, nebeskih ratnika, nazovi-novi- Nakladni zavod Globus, Zagreb 2000. neprosvijeæenog “Nakon njegove smrti, mislim da æe nara, književnika i duhovnih obnovite- se kod ljudi zbog neèiste savjesti od- lja srpstva do raznih ministara i politi- ako je pojava autobiografije ug- apsolutizma mah probuditi potreba za pljuva- èara – onih režimskih i onih nazovi-o- lednoga književnog povjesnièa- Feral Tribune, Split 1999 njem, u èemu æe, moram priznati, pozicijskih – pa supruga tih politièara i ra i teoretièara Stanka Lasiæa biti male nepravde jer su ga ti isti uopæe cijelog bataljona Srba po profe- (1927) vjerojatno iznenaðenje za širu ljudi zdušno, dugo i u svemu podr- siji. Uz to u knjizi se ispred svakog èitateljsku zajednicu, poznavatelji nje- žavali. Sjeæate se kako je bilo s Ti- teksta, kao njegov svojevrstan an- gova književnoznanstvenoga opusa tom: prvo smo imali veliku karizmu ti/moto, navode neke od najpoznati- mogli su takav tekst predvidjeti iz dis- smrti, onda je uslijedilo pljuvanje, pa jih, najstrašnijih i najbezumnijih izjava, kurza koji se mjestimice probija u šest povrat natrag. Tuðman neæe imati poèevši od one èuvene Miloševiæeve knjiga njegove Krležologije (1989, sreæu da proðe te mijene. On je u “A ako treba da se tuèemo, bogami æe- 1993). U njemu se analitièkome znan- proteklih deset godina napravio toli- mo da se tuèemo”. Taj rasadnik glu- stvenom subjektu vlastiti život otvo- ko puno grešaka i ludosti da æe ga se posti zapravo je svojevrstan nastavak rio kao polje iskustva, kušnje, nemira i vrlo brzo svi odreæi. Past æe èovjek Antologije suvremene hrvatske gluposti dijaloga te prometnuo u pripovjedaèki vjerojatno i ispod razine Franca.” koju su sastavili feralovci i veæ sam po èin, odnosno neku vrst Bildungsroma- sebi, èini pouzdanu, dokumentarnu na koji je zapravo vrebao pravu prili- Danas, kada se graðani Hrvatske, graðu za razumijavanje povijes- ku. Nastali djelomice na temelju raz- bez obzira na svoju politièku orijen- ti/stvarnosti srpske propasti. Uz to, govora s Brankom Matanom, Lasiæevi taciju, prema Franji Tuðmanu uglav- poseban dio èine i e-mail poruke koje su Autobiografski zapisi ostvarenje in- nom odnose kao prema davno odsa- je Lukoviæ (nakon što je u Feralu obja- dicija sadržanih u Krležologiji. njanom ružnom snu, ova se Èuliæe- vio svoju Internet adresu) dobivao od Kad je posrijedi autobiografski dis- va prognoza èini kao “otkrivanje prijatelja ili njemu nepoznatih èitatelja kurz, najèešæe se postavlja pitanje o tople vode”. Meðutim, dovoljno je u vrijeme NATO bombardiranja Srbi- znaèajkama subjekta koji pripovijeda pogledati smrknute oèi i stisnute us- je, a koje su u knjizi kronološki uvršte- vlastiti život i, njegovu odnosu spram nice na naslovnici knjige, prisjetiti ne u njegov elektronski dnevnik… subjekta koji je pripovijedanjem se, i priznati u kojoj je mjeri, u ljeto U ispisivanju raspadajuæe srpske po- proizveden kao glavni lik jedne život- 1999, ova izjava zvuèala smjelo i op- vijesti i raspadajuæe stvarnosti Lu- ne pripovijesti. Kakav je «Lasiæ» stvo- isati neku vrstu politièke biog- timistièno, èak nevjerojatno. koviæ se koristi razlièitim publicistiè- ren Lasiæevim autorskim diskurzom? rafije Franje Tuðmana dok je Marinko Èuliæ negdje meðu svo- kim i književnim žanrovima, od novin- Proizvodi li Lasiæ željenoga sebe ili se on još živ, izgleda kao pecanje jim papirima vjerojatno još uvijek skih kolumni i otvara moguæem èitatelju, nudi mu u nabujaloj rijeci” – upozorava u pr- èuva pripreme za biografiju Slobo- reportaža, pre- svoja slaba mjesta, svoje zablude i pro- voj reèenici svoje knjige Marinko dana Miloševiæa, projekt koji – zbog ko vlastitih, ali tuslovlja? Odgovor je moguæe potra- Èuliæ. Za njega osobno, kao dugo- odreðenih izdavaèko-distribucijskih i tuðih dnev- žiti u kljuènim formativnim toèkama godišnjeg novinara i urednika u Fe- problema – na žalost nikada nije nièkih bilješki, Lasiæeve pripovijesti, onima u kojima ral Tribuneu – doslovce jedinoj hr- pokrenut. Šteta. Možda bi nam da- pa do fantastiè- se prožimaju tri kljuène relacije: od- vatskoj novini relevantnije tiraže ko- nas štošta bilo jasnije. no-dokumenta- nos prema povijesnim zglobovima ja je od prvog broja nadalje, bez iz- ristièkog roma- (Drugi svjetski rat, Nezavisna Država nimke, djelovala protiv Tuðmana i Agata Juniku na pod nazi- Hrvatska, antifašistièki i komunistièki njegovog režima – ovaj je zadatak vom Psiho i angažman, pristajanje na totalitarnu bio utoliko teži što je tada bio usred dramskih frag- matricu i odustajanje od nje, dogaðaji sudskog procesa što ga je protiv nje- menata, ovdje iz '71, emigracija), odnos prema sebi ga i glavnog urednika Ferala Viktora zajednièki naz- (intelektualno sazrijevanje, lektira, Ivanèiæa, pokrenuo sam (uvrijeðeni) Petar Lukoviæ vanih Pulp Fic- uèenje, disciplina i znanstvena kondi- predsjednik. tion, odnosno svojevrsnih palimpsesta Delikatnoj situaciji usprkos, Godine raspada, poznatih književnih djela. Osobitu Èuliæ je izazov prihvatio, prišavši Hronika žanrovsku vrstu èine ukradena pisma svom “junaku” ne baš u formi kla- Mirjane Markoviæ (Miloševiæeve sup- siène biografije, veæ neèega što bi u srpske propasti ruge), Borislava Joviæa ili Radoja Kon- svojoj krajnjoj svrsi bilo bliže psiho- tiæa, te povjerljivi stenogrami sa sjedni- portretu. Svjesno ili ne, djelo je veæ Feral Tribune, Split, 2000. ca Vrhovnog savjeta obrane. Uza tu u podnaslovu žanrovski odredio pri- žanrovsku šarolikost i autorsku mi- marno medicinskim pojmom “ana- odine raspada Petra Lukoviæa mikriju, Lukoviæ koristi mnoštvo knji- tomija”, èime je na neki naèin naja- posebna je, izvrsno napisana, ževnih postupaka i jezièno-stilskih ak- vio i opravdao svoju daljnju funkci- mahnito potresna i mahnito robacija, kao što su razni oblici parodi- ju. Naime, funkciju vrlo sliènu psi- duhovita knjiga. Rijeè je o nekoj vrsti ranja, kompiliranje i parafraziranje tu- hijatru koji æe pacijentu, analiziraju- totalne knjige, sumi srpske desetogo- ðih govora; zatim još grotesku, satiru i æi njegove postupke i ponašanje, dišnje propasti, u kojoj je izražen do- ironiju; hiperbolu, rableovske stilske naprosto postaviti dijagnozu. Impli- sada vjerojatno najjaèi otpor Miloševi- obrate, samoironiju i još mnogo, mno- cite, dakako. æevoj osvajaèkoj politici i uopæe nacio- go toga. Precizno argumentirajuæi, hlad- nalistièkoj/ideološkoj/mitološkoj mat- Ipak, smijeh Pere s onoga sveta je no-objektivno, ali istovremeno s ne- rici po kojoj je srpski režim posljed- smijeh koji oslobaða; on je istovreme- kim suptilno intoniranim suosjeæa- njih deset godina stvarao ikonu ugro- no heretièan, pobunjenièki te visoko njem za “sluèaj” na kojemu radi, ženog i pravednog nebeskog naroda. etièan i human iskaz protiv stvarnosti Èuliæ rašèlanjuje Tuðmana prije sve- Štoviše, sve što karakterizira Lukovi- koja ga okružuje… Ispisujuæi kroniku ga kroz njegov odnos prema ljudima æevo pisanje, od toga što misli i o èe- propasti jednog naroda i utvrðujuci cija) i odnos prema Drugom (protiv- iz bliže prošlosti koji su ga svaki na mu piše, do njegova stila i jezika, dija- granice ludila na prostorima bivše Ju- nici, suputnici, prijatelji, obitelj, Euro- svoj naèin opèinjavali i inspirirali – metralno je razlièito od onoga što je goslavije Lukoviæa ne zanima ozbiljna pa). Sve to pripovjedaè Lasiæ znalaèki Titu, Paveliæu i Francu (“Fašizam i svih ovih godina nudilo srpsko vlada- politièka analiza, logièka razlaganja si- ugraðuje u pripovijest zaèinjenu auto- antifašizam su dva stupa po kojima juæe biæe. Tako, na opæu histeriju pat- tuacije i predviðanja. Sadržaj veæine refleksijom koja od njegovih auto- on hoda preko vode”), te prema je- riotizma Lukoviæ odgovara ravnoduš- njegovih tekstova zapravo je svakod- biografskih stranica èini jedno od naj- dinom živuæem od svojih “idola”, nošæu/bijesom/smijehom spram otad- nevica, bizarna i šizofrena svakodnevi- impresivnijih intelektualnih svjedoèe- zahvaljujuæi kojemu je i opstao na žbinskih dužnosti. Palanaèkom i mi- ca ispunjena gledanjem Dnevnika Ra- nja o novijoj hrvatskoj povijesti. vlasti èitavo desetljeæe – Slobodanu tingaškom mentalitetu te ideji kolekti- dio Televizije Srbija, èitanjem Politike, Istodobno je, iako u ulozi pripovje- Miloševiæu. (“Tu je rijeè o simbiozi vizma on nadreðuje vlastitu urbanost, èekanjem vode, benzina, struje..., uop- daèa, Lasiæu teško izbjeæi ulogu znan- izmeðu èovjeka (Miloševiæa) pred graðansku svijest i individualizam, a æe registriranjem bezumlja u kojem ži- stvenika, klasifikatora i sistematièara. kojim se Berlinski zid srušio, pa više obnovi pravoslavlja, povijesnih mitova vi… U tekstu su oèevidni tragovi struke i nije moga dalje, i èovjeka (Tuðmana) i plemensko-patrijarhalnog vladajuæeg Godine raspada su najsveobuhvatni- doista je teško odgovoriti na pitanje koji je imao sreæe da se Zid sruši iza duha pak rock’n roll, sveopæu parodi- ja, najsmješnija i najpotresnija kronika jesu li Autobiografski zapisi pripovijest njega”.) zaciju i liteterarnu fikciju. Ukratko, ludila jednog režima, ali i opæa povijest o vlastitu životu ili pripovijest o susta- Konkretni pak primjeri iz politiè- desetogodišnjoj Miloševiæevoj tiraniji i gluposti koja se posljednjih deset godi- vu, oblikuje li njihov diskurz život ko- ke prakse na kojima Èuliæ obrazlaže nacionalnoj euforiji, podjednako sr- na proizvodila na ovim prostorima. Ri- ji se naknadnom refleksijom pretvara svoje teze, ujedno su tri glavne Tuð- pskoj i hrvatskoj, Lukoviæ suprotstav- jeè je o oštroj kritici, vrhunskoj satiri u sustav ili pak sustav koji se primje- manove opsesije na kojima je gradio lja zdrav razum i zdrav humor. kakvu gotovo neæemo naæi meðu suv- njuje na materijal osobnoga života. U svoj “neprosvijeæeni apsolutizam” – Godine raspada, podnaslovljene kao remenijim autorima i koja, što je iteka- svakom sluèaju dobili smo dvojako podjela Bosne i Hercegovine, srpsko Hronika srpske propasti, sastoje se od ko važno, pretpostavlja priliènu hrab- impresivnu knjigu koja s, jedne strane, pitanje u Hrvatskoj te izjednaèava- tekstova što ih je ovaj glazbeni kritièar rost i osobni angažman da se od tamo može izazvati strah (strah od krvave nje zloèina to jest žrtava fašizma i i novinar objavljivao od 1993. do kraja odkuda se piše, piše upravo na ovakav povijesti, totalitarizama, znanstvene komunizma ( ili ono što Feral Tribu- 1999. godine u raznim novinama, od naèin... Smijeh i pisanje tako su možda discipline ili duboke samoanalize), a s ne bilježi kao “kosti u mikseru”). beogradskih nezavisnih tjednika Vre- posljednje, ali i beskrajne, moguænosti druge užitak (èitanja, spoznaje, dijalo- Kako æe narod ispratiti Tuðmana me i Nedeljne Naše Borbe, slovenske razuma. ga i Drugog). – kao Osloboditelja i Državotvorca Mladine, sarajevskih Dana i splitskog Dean Duda Feral Tribunea do Interneta. Tome je Katarina Luketiæ II/40, 12. listopada,,,. 41

Krešimir Bagiæ kom, fikcionalizirana povijest ili Slobodan Prosperov Novak aktualnim kritikama historicistièkoga postmoderni oblik historiografije – objektivizma, možda i s “malom povi- Umijeæe to su pitanja na koja nam je druga Povijest ješæu”, odnosno s programatskom ne- njegova knjiga Enciklopedija ništavi- selektivnošæu njezinih tematskih inte- osporavanja la davala odgovore u fikcionalnom hrvatske resa... Polemièki stilovi A. G. Matoša i smjeru pokazujuæi naèine na koji se Sve u svemu, svojim se odmakom M. Krleže izvodi “fantastièna dogradnja” stvar- književnosti III od periodizacijskoga i klasifikacijsko- nosti. Uz vrsno pripovjedno umije- Antibarbarus, Zagreb, 1999. ga konstruktivizma treæi svezak No- Naklada MD, Zagreb, 1999. æe, Andriæeve je èitatelje, meðutim, vakove Povijesti – po èemu je uspore- više mogla fascinirati raznolikost èi- reæa knjiga Povijesti hrvatske div s dvama koji mu prethode – name- njenica povjesnièarskog znanja, koje književnosti Slobodana P. æe kao znatan izazov književnopovi- je stvaralo mrežu fakticiteta u njego- Novaka, s kronometrijsko- jesnoj struci u Hrvata. Ipak, njegova vim tekstovima... perifrastiènim podnaslovom Od Gun- prava vrijednost nije u samu opuštenu U cjelini gledana, monografija duliæeva ‘poroda od tmine’ do ‘Razgo- odnosu prema univerzalijama književ- Èudesa Ivana Kapistrana prati kro- vora ugodnoga naroda slovinskoga’ iz ne povijesti, nego u razumnu iskoriš- nološku nit njegova života, zaustav- 1756, teška je za prikazivanje iz razlo- tavanju pogodnosti što ih ta opušte- lja se poslije smrti te klasificira i tu- ga iz kojega je laka za èitanje. Takvom nost omoguæuje. Kako sam veæ rekao, maèi èudesa uèinjena u pravom vre- je èini njezina jednostavna i ležerna tamo gdje slabije prolaze opæi pojmo- menu svetaèke djelatnosti – poslije kompozicija: slièno prethodnim dvje- vi, može biti rijeè o rehabilitaciji poje- smrti. To svetaèko djelovanje post ma u nizu, knjiga se sastoji od mnoš- dinaènoga. A u Povijesti hrvatske knji- mortem kljuèno je za razumijevanje tva kratkih, samostalno naslovljenih ževnosti III pojedinaèno uistinu dolazi prirode hagiografskog diskursa i poglavlja, posveæenih pretežno pojedi- na svoje. Poglavlja o književnim djeli- njegovih funkcija, koje istrajavaju naènim književnim djelima, a raspore- ma i opusima kao jedinstvenim povi- stoljeæima nakon tjelesne smrti po- ðenih prema vremenu pojave ili nas- jesnim dogaðajima komponirana su jedinih svetaca... tanka dotiènog djela; meðu poglavlji- maštovito i nepredvidivo, a pristup Kao što se Andriæ u proznopri- ma nema naznake hijerarhijskog od- djelima metodièki je višestran i indivi- povjednim djelima poigravao s od- nosa; èak ni dijelovi u kojima je rijeè o dualan u mjeri u kojoj je slobodan od rvatska književnost posjeduje nosom fikcije i stvarnosti, ovdje mu, zajednièkim odreðenjima više književ- teoretskih apstrakcija, heuristièkih hi- razmjerno velik korpus pole- nih tekstova ili o njihovim skupinama poteza i unaprijed zacrtana programa. mièkih tekstova kojima do- i klasama ne izdvajaju se velièinom Pritom se nigdje ne dogaða da poten- sada nedostaje sustavan književnopovi- naslova ili numeracijom... cijalno veliki prostori novoosvojene jesni prikaz. Otvorivši raspravu ovom Povijest hrvatske književnosti III, slobode zjape prazninom, za što je konstatacijom, Krešimir Bagiæ upuæu- nakon više desetljeæa drukèije prakse, zaslužno Novakovo veæ mnogo puta je na nužnost istraživanja s obzirom govori o hrvatskoj književnosti 17. posvjedoèeno iskustvo s književnim na èinjenicu da je uvid u polemièku stoljeæa, bez oslona na pojam “ba- tekstovima, znanje steèeno u savjesnu praksu u domaæoj literaturi skoro pa rok”... Ali, u Novaka je nehaj prema i neumornu prouèavanju struène lite- obvezatan pri svakom pokušaju upoz- baroku kao periodizacijskoj kategoriji rature, pa i njegova ars bene dicendi na navanja i ispravnog opisa hrvatskih simptom ležerna odnosa prema perio- koju nas je veæ navikao svojim starijim književnih razdoblja. U tom smislu dizaciji uopæe. U njega ni tradicional- tekstovima, a koja ne zazire ni od za- autor smatra da su opsežni polemièki niji pojam prosvjetiteljstva, koji, do- nimljivih, nerijetko i iluminantnih me- opusi Antuna Gustava Matoša i Mi- duše, ulazi u podnaslov knjige, a do- tafora. roslava Krleže najbolji primjeri važ- bio je i samostalno poglavlje, nema u nosti ove spisateljske forme unutar poglavljima o odgovarajuæim autorima Zoran Kravar razdoblja u kojem su najaktivnije dje- status prave programske ideje ili heu- lovali. ristièke hipoteze... Kako bi se na pravi naèin pristupilo Još jedan veliki orijentacijski pojam polemiènim tekstovima, autor u uvod- i diobeni kriterij, koji se i u krugu hr- Davor Kapetaniæ nom dijelu pokušava dokazati moguæ- u sluèaju svetaèke djelatnosti, a na vatskih filoloških katedara rado raz- nost promatranja književne polemike primjeru svetog Ivana Kapistrana, Enciklopedija kao prepoznatljivog žanra, ujedno taj problem fikcije i istine, postaje razmatrajuæi moguæu povijest samog temeljnim predmetom analize. Dok Miroslava Krleže žanra, razlièite tekstualne oblike u ko- su poèetna poglavlja monografije jima se pojavljuje njegov sadržaj i fun- Èudesa Ivana Kapistrana podrobno, I/II kcija te polemiènost kao transžanrov- korak po korak, prikazivala Kapis- & Bibliografija sko i transdisciplinarno obilježje... tranov povijesni put, locirala njego- U knjizi Umijeæe osporavanja Kre- ve postaje, susrete, ispitivala stvarne Miroslava Krleže šimir Bagiæ opisao je osnovna obilježja osnove njegovih veza sa Slavonijom, Leksikografski zavod Miroslava Krleže, književne polemike, njezin karakter, završna poglavlja otkrivaju mehaniz- Zagreb 1993/99. praksu te naèine i ciljeve njezinih su- me “oèuðenja” momenta stvarnosti. dionika, kao i funkciju unutar odreðe- Grupirajuæi Kapistranova èudesa zrada Enciklopedije Miroslava ne književne zajednice. Takoðer, pru- prema naèinu proizvodnje èuda i/ili Krleže trajala je petnaestak žio je dobre upute za pristup kako sta- statusu fikcionalnosti dogaðaja, godina, a njome je rukovodio rim tako i aktualnim polemièkim Andriæ dolazi do sedmeroèlane ljes- Velimir Viskoviæ. Nakon što je u lje- pražnjenjima, u kojima je, proizlazi iz tvice koja pokazuje prilièan stupanj to 1993. tiskan prvi svezak (A-LJ), navedenog, uvijek dopušteno da se, disparatnosti èuda – od posve fiktiv- projekt je dovršen jesenas objavlji- poput borbe Mikea Tysona, nokautira nih dogaðaja i obiènih obmana, pre- vanjem drugog sveska (M-Ž) i Bib- i nakon kraja runde ili, ako je veæ do ko sluèajnih koincidencija i autosu- liografije Miroslava Krleže iz pera toga došlo, a znamo da to u domaæoj gestije, do sluèajeva u kojima je stu- Davora Kapetaniæa. U sastavljanju i književnoj sredini nije rijetkost, pro- panj èudesnog oèito produkt “stili- obraðivanju Krležina stvaralaèkog i tivnika doèeka nasred ulice, golim ša- zacije” odnosno nepouzdanog pre- životnog abecedarija sudjelovalo je kama i bez suvišnih rijeèi... našanja prièe. Odbijajuæi moguænost matra na razini teorije i pedantno više od pedeset uglednih autora – da se problem istina/fikcija u svijetu primjenjuje u književnopovjesnim književnih povjesnièara, kritièara i Igor Štiks èudesnog riješi tvrdnjom kako su prouèavanjima, igra u Novakovu djelu teoretièara, filozofa, jezikoslovaca, “èudesa naprosto bila iluzorna”, drugorazrednu ulogu. Mislim na kon- povjesnièara, publicista... Oni su Andriæ pokušava razmotriti feno- cept literarnosti... obradili gotovo dvije tisuæe leksi- men èudesnoga kao stalno prisutnog U Novaka, meðutim, osvrti na lir- kografskih natuknica. Osnovni Stanko Andriæ elementa srednjovjekovne stvarnos- ske zbirke i “ilirièke” rjeènike, na ba- ti. U takvoj interpretaciji stvarnosti rokne epove i anatomske udžbenike Èudesa Svetoga sudjeluju, uz religiju, magijska is- slijede posve neusiljeno jedni za dru- Ivana Kapistrana kustva, medicinski sluèajevi, psiho- gim. Ta blizina nesrodnoga, koja knji- logijska uèenja... – mnogi elementi zi podaje neku ugodno zbunjujuæu Hrvatski institut za povijest – podružni- srednjovjekovne stvarnosti koji su opuštenost, takoðer je izvanjski znak ca za povijest Slavonije, Srijema i Bara- pridonosili jakome procesu njezine autorove distance prema povijesnoz- nje; Matica hrvatska Osijek, Slavonski spiritualizacije. nanstvenom holizmu, ali se može tu- principi enciklopedijske sistemati- Brod – Osijek, 1999. Svojim zakljuènim izvodima maèiti i kao izraz njegove spremnosti zacije proistjeèu, s jedne strane, iz Andriæ uvjerljivo zaokružuje mo- da “do daske” iskoristi svoj metahis- raznorodnosti Krležinih djelatnosti tanka Andriæa (r. 1967) hrvat- nografiju posveæenu èudesima Ivana torijski promatraèki položaj, s kojega te, s druge strane, iz želje za iscr- ska èitateljska publika poznaje Kapistrana, prostor èijega svetaèkog se, dakako, sva ranonovovjekovna pis- pnošæu njegova enciklopedijska por- prvenstveno putem dviju knji- djelovanja je bila Andriæeva Slavoni- menost može èitati kao literatura... treta. Teme zasebnih èlanaka tako su ga – Povijest Slavonije u sedam poža- ja. Knjiga Èudesa Ivana Kapistrana Naèin na koji Novak otkazuje pos- postali Krležini tekstovi, javno dje- ra i Enciklopedije ništavila, knjiga upisuje se s najvišom ocjenom u An- luh velikim pojmovima i teoretskim lovanje, estetièki stavovi i uvjerenja, koje su ga tijekom devedesetih godi- driæevu bibliografiju, takoðer se mo- apstrakcijama nije samo distinktivno ali i proèavatelji, prevoditelji i pro- na proslavile kao izrazito osebujnog že ravnopravno mjeriti s modernim obilježje njegove Povijesti nego se mo- micatelji Krležina djela te èlanovi autora, èiji se tekstovi odupiru jas- europskim studijama o medijevalnoj že smatrati i crtom njezina modernite- njegove obitelji... nim žanrovskim klasifikacijama. Je li hagiografiji. ta. Knjiga ima oèitih srodnosti s anti- prva Andriæeva knjiga Povijest Sla- holistièkom aporetikom tipiènom za Krešimir Bagiæ vonije u sedam požara pripovjedna Andrea Zlatar intelektualnu klimu kraja stoljeæa, s proza s historiografskom temati- 42 II/40, 12. listopada 2,,,.

Igor Mandiæ rafiji koja je toliko artificijelna da kat- Drugi dio knjige pokušava razraditi Pavle Kaliniæ kad nalikuje umjetnosti. ove "epistemièke i epistemološko-ko- Prijapov problem Prijapov problem tako, èini se, ipak munikacijske" principe na konkret- Pušaèi vremena Bastard, Zagreb, 1999 predstavlja Prijapova temeljna nezain- nom problemu konstituiranja scene, Nova knjiga RAST, Zagreb, 1999. teresiranost za seks izvan pornotopi- svodivom na problem ostvarivanja je. Poput tragiènog Brandova lika u kontinuiteta unutar scene... Treæi dio Posljednjem tangu u Parizu, Mandiæ knjige objašnjava problem motivacije teži dehumaniziranom opæenju "uni- reza na primjeru Hitchcockovih fil- verzalnog kurca" i "univerzalne pièke". mova Psiho i Ptice, Godardovih filmo- Intimnost je nedostižni "suvišak" ko- va Živjeti svoj život i Do posljednjeg munikacije. (...) daha, kao i Buñuelova Andaluzijskog Èitajuæi Prijapov problem neæete psa te pokušava popisati glavna moti- unaprijediti svoj erotski život, ali saz- vacijska i interesna naèela i obrazložiti nat æete štošta o Mandiæevim te civili- pravilnosti vezane uz motivacijsku zacijskim tabuima. Možda vam knjiga snagu, zbog kojih su, izmeðu ostalog, pomogne da se nekih predrasuda i sa- neki rezovi "vidljivi", a neki "nevidlji- mi riješite. Svakako je koristan vodiè vi". Dakako, kada fabulistièka organi- kroz muške fantazije danas sredovjeè- zacija i metakomunikacijske upute ne generacije. I pored svih stilskih posluže organizaciji pojedine scene, ti negrapnosti te ponavljanja (tipiènih se èimbenici koherencije (strukturira- za formu novinskog feljtona u kojem nja, organizacije...) u naèelu vezuju uz je tekst knjige nastao), Prijapov prob- "makrostrukture", opæa naèela kohe- ako se gnjevno sporio sa Slaven- lem ostaje provokativan, samim time i toga što piše iz pozicije svjedo- kom Drakuliæ te (u teoriji) os- rencije. Tu jedinstvenu (cjelovitu) ko- ka teških vremena, Kaliniæ je u poticajan èitateljski mamac. Nešto herencijsku regulaciju recepcije (koja tao zakleti protivnik feminizma, kao McDonald's erotske literature. svojoj literarnoj obradi stvar- obuhvaæa likove i njihove svjetove) Igor Mandiæ je jedini intelektualac Ali isto tako i obrok informacija koje nosti najuvjerljiviji u prièama tematski Turkoviæ naziva tematizacijom. Njoj ovih prostora koji se odrekao maèis- se, osim Igora Mandiæa, javnosti ne bi vezanim uz Domovinski rat pri èemu je posveæen èetvrti dio Teorije filma u tièkih poza "podvorenog muškarca", usudio servirati nijedan od tobože ot- se kroz krvavu ratnu sumaglicu jasno kojemu se pokušava obrazložiti veza javno obznanivši da zna i voli kuhati vorenih i/ili tobože liberalnih (svejed- nazire temeljna ideja da rat najèešæe izmeðu tematskog fokusa i modelira- (dapaèe spreman je s nama podijeliti i no lijevih ili desnih) intelektualaca. nije ništa junaèko i divno, veæ su goto- recepte). Sada je pak izdao zbirku ese- Njima je Mandiæeva prednost nedos- nja filmskog svijeta. vo sva ratna zbivanja rezultati kaotiè- ja prvotiskanih u èasopisu Erotika, tižna, a sastoji se od stvarne, a ne vir- Nikica Giliæ nih sluèajnosti isprovociranih mr- podnaslovljenih "vulgarni eseji ili eseji tualne hrabrosti. žnjom, nasiljem i osvetom. Uz ratnu o vulgarnosti". Dakle ispao je i iz kli- stvarnost Kaliniæ se dotaknuo i gorke šeja hrvatskog puritanskog intelek- Nataša Govediæ sudbine emigranata, odlièno opisao tualca koji – ne dižuæi nosa iz enciklo- Mladen Machiedo tupost stranaca koji uopæe i ne razu- pedistièki seksualno frustiranog Krle- miju koji se to vrag na Balkanu zbiva, že – interes za dražicu ili dražièka Hrvoje Turkoviæ Slatkogorka dotaknuo se temeljnih razlika izmeðu smatra opasnom devijacijom od uvri- Hrvatske i Europe te se vrlo kritièki ježene asketske poze. Mandiæ je, spo- Teorija filma Italija osvrnuo i prema našoj suvremenosti. menut æu tu strašnu rijeè, hedonist. Napokon, pojedinim prièama autor Što je u zemlji koja njeguje mazohis- drugo izdanje, Meandar, Zagreb, 2000 (Tri desetljeæa s piscima) jasno pokazuje kako sav taj balkanski tièki kult žrtve ravno herezi. Znajuæi blues nacionalne i politièke mržnje ni- da æe ga kao užitkologa prvenstveno Matica hrvatska, Zagreb, 1999. je svojstven samo našem dobu, veæ i optužiti za "neprimjerenosti", Mandiæ vremenima mladosti naših oèeva i dje- se podnaslovom knjige odmah potru- dova. dio ironièno etiketirati "vulgarnim esejistom". No kako je ovoj kritièarki Marinko Krmpotiæ teško prihvatiti da bi ikakav razgovor o seksu mogao uæi pod rubriku vul- garno, sklonija sam reæi da se Prijapov problem bavi obavljanjem oèevida me- ðu udovima obaju spolova, sa skoro pa pedagoškim žarom. Ako mu ièega ne- Sve je samo dostaje, to nije genitalna eksplicitnost, putovanje – veæ upravo tzv. erotika (kao umjetnost nasluæivanja i istraživanja, a ne por- Razgovori s nografskog prodora oka u kirurški nesputano rastvorene dubine rodnice Vanjom Sutliæem ili anusa). priredio Boris Juriniæ, Irida, Zagreb, Knjigu otvara esej Kult penisa, gdje 1999. kolac/pimpek/visuljak/ piša/kurac (da se poslužimo Mandiæevom podosta si- urkoviæeva Teorija filma polazi knjizi Slatkogorka Italija episto- romašnom terminologijom) biva divi- od netremiènosti i neprimjet- lar postaje kljuèna rijeè, no niziran kao "živototvorac" i prapoèelo nosti kao proizvodno-recep- ovoga je puta rijeè o prepiska- žudnje. U drugom eseju, naslovljenom cijskog problema; sve na filmu mora ma autora Mladena Machieda koje su Emancipacija kurca, ponovno su u pr- biti razaznatljivo, ukorijenjeno u za- poslužile kao glavni izvor za pred- vom planu strahovi i snovi muškog konitosti èovjekova kognitivnog apa- stavljanje, uptrijebimo još jedan Mac- (bl)uda. Mandiæ ne skriva da piše o rata... Filmovi, dakako, modeliraju hiedov naslov, napoznatih susjeda. Ri- muškoj i iskljuèivo muškoj perspektivi èovjekove spoznajne vještine na po- jeè je o devedesetak zapisa koji su na muškarce kao i na žene… sebne naèine (Hawksov Rio Bravo ih posveæeni talijanskim piscima s koji- U Pohvali guze Mandiæ se ograðuje oèito modelira na drugaèiji naèin ne- ma je autor dolazio u dodir posljed- od bilo kakvih primisli na njegovu go Godardov Do posljednjeg daha). Ta njih tridesetak godina. Prijatelji, poz- eventualnu transseksualnost: on je se epistemološka funkcija k tome nanici, suradnici, pa èak i ljudi s koji- "strogo heteroseksualan". Konzerva- odigrava pod utjecajem društvene re- ma se nije uspio složiti, slijede u ovoj tivnost ove izjave upravo zaprepašæu- gulacije te istodobno regulira društve- knjizi abecednim redom, a podijeljeni je. Kako je moguæe da itko tko uživa u nost, pa je film oèito i u tom smislu su u èetiri grupe: oni koji su pohodili seksu kao zoni nesputane karnevalske komunikacijska, a ne samo epistemo- Hrvatsku, oni s kojima se susretao u transgresije pristojnosti pritom sebe loška pojava (što dakako ne znaèi da Italiji ili iskljuèivo dopisivao, oni s smatra puristièkim, to jest puritan- je film nužno i jezik). kojima se nije, usprkos trudu, uspio skim "muškarcem"? Ili Mandiæ hini U prvome dijelu knjige propitiva- susresti te posljednja nazvana tragovi èistunstvo ili je licemjer. Oba su rješe- nje fenomena filmskog prikazivanja u mjestima. Iako æe najveæu nepos- nja viktorijanski kukavièka; iz per- dovodi do zakljuèka kako, s jedne rednu korist od faktografskog materi- spektive uhodano androginog XXI. strane, epistemološka funkcija fil- jala u ovoj knjizi imati talijanisti, stoljeæa pomalo i djedovska. (...) mskih postupaka ima opæe spoznajne Machiedo nije pisao iskljuèivo za aka- ovodom desete obljetnice smrti Tek je Privlaènost i prokletstvo per- temelje, no s druge se strane radi o demske krugove. Govoreæi o pojedi- filozofa Vanje Sutliæa objavljen verzija prvi u cijelosti slobodouman naèelno otvorenom katalogu moguæ- nom piscu, autor ga smješta u kultu- je zbornik koji na jednom mjes- tekst s instruktivnom reèenicom: Ko- nosti koji se može razraðivati, ali sa- roški kontekst. Tako æe èitatelj para- tu okuplja sve intervjue koje je Sutliæ deks perverzija valja odbaciti kao per- mo u okviru (teško odredivih u eg- lelno upoznavati Montalea i ligursku u razdoblju od dvadeset tri godine verziju. Stoga zanimljivost knjige po- zaktnom smislu) èovjekovih kogni- obalu, Bigongiarija i firentinske knji- (1966-1989) davao domaæim struènim èinje negdje oko stote stranice, kada tivnih ogranièenja te njihovih druš- ževno-akademske kavane, Veneciju i i dnevnim tiskovinama, a tièu se tema Mandiæ konaèno odluèuje priznati ka- tvenih razrada. Kao ogledni (polazni) Paola Barbara. Kriterij po kojem je koje su obuhvaæale širok raspon od ko je pornografija ništa drugo doli primjer Turkoviæu je poslužio film Machiedo složio svoj popis autora vr- komentara dnevnopolitièkih dogaðaja "san o velikoj jebaèini" i samim time Mjesto pod suncem Georgea Stevensa, lo je osoban, a u njemu su oni koji su do autorove djelatnosti na fakultetima jedna od najprodavanijih laži (usp. Se- uz Hitchcockov Psiho glavni izvor mu na ovaj ili onaj naèin pružili, kako na kojima je predavao, kao i njegove ks bez muškaraca). U istom tekstu na- primjera i filmskih povoda u Teoriji sam kaže, bogatstvo susreta... bibliografije. lazi se i zanimljiv zakljuèak o pornog- filma. Dušanka Profeta Tonèi Valentiæ II/40, 12. listopada,,,. 43

Pakiranje vlasti opcijama i razvitak autonomnih in- tekst kod Marguerite Duras, a onaj Andrija Mauroviæ stitucija civilnog društva... Mariapije Bobbioni Lice, mjesto go- Kandaul: erotska Izbori u Hrvatskoj 1995. Damir Štrelov prikazuje socijalde- vora; Ugo Volli u tekstu Tijelo Fetiš i 1997, zbornik radova mografska obilježja glasaèkog tijela. razvija tezu o fragmentarnosti tijela ostavština U odnosu na 1996. na politièkoj sce- u pornografiji; Ivanka Ivkanec regis- TV Extra, Zagreb, 2000. Alinea, Zagreb, 1999. ni u Hrvatskoj do proljeæa 1998. do- trira neke elemente erotike u tradi- cijskoj narodnoj nošnji i usmenoj godile su se neke bitne promjene. oèelo je, nesumnjivo, sluèaj- Sve se jasnije oèituje pad popular- književnosti. Jedini tekst u zborniku koji nije napisan za zagrebaèko sav- no: crtajuæi snošaje muška- nosti HDZ-a i sve je oèitiji uspon raca i žena, a èinio je to ra- jetovanje jest skraæeno poglavlje o SDP-a koji je utrostruèio broj svojih do i èesto, sebi i drugima za zaba- seksualnom životu stopala i cipele iz simpatizera... vu, Mauroviæeva je ruka jednom knjige Valerie Steele Fetish: Fashion, nacrtala i promatraèa. I potom se U zakljuèku se može napisati ka- Sex and Power. ko je ovaj zbornik radova pružio sve više i više zabavljala tom te- Aleksandar Štulhofer bavi se od- mom dok nije napokon, u jednoj mnogo solidnih teorijskih pogleda i nosom postmaterijalizma i društvene od beskonaènog niza verzija, pro- rezultata empirijskih istraživanja ko- organizacije spolnosti; Inga Tomiæ matraèu dala svoj lik. Mora da je u ji ostaju aktualni i nakon izbora pro- Koludroviæ pojam tranzicije naglašen vedenih 1999/2000. u naslovu knjige ispituje na primjeru stalnog procesa prijelaza kojem su Dušan Žubriniæ izložene transseksualne osobe. Tek- stovi Teda Polhemusa Postmoderno tijelo i Marie-Luise Angerer Moguæ- nosti tijela: tijelo kao suèelje objavlje- ni su u posljednjoj cjelini pod naslo- Tijelo vom Tijela buduænosti. u tranziciji Iva Pleše uredila Djurdja Bartlett, Tekstilno- bornik Pakiranje vlasti rezultat tehnološki fakultet Sveuèilišta u je teorijskih analiza, empirij- Zagrebu, Zavod za dizajn tekstila i skih istraživanja i analize za- odjeæe, Zagreb, 1999. tom trenu Mauroviæ zastao, i sam konskih propisa u vezi s višestranaè- zateèen – strip mu je otkrio istinu, kim izborima u Hrvatskoj, te pruža nepoznatu, potisnutu ili neprizna- cjelovit prikaz provedenih izbora i tu. U svakom sluèaju, pošto se daje sociološku i politološku sliku suoèio s najtajnijim maštanjima, Hrvatske... bacio se na posao. Rezultat je da je Srðan Vrcan u vrijednim teorij- tijekom godina fantaziji dao upra- skim prilozima ukazuje na poglede vo algoritamsku preciznost u kojoj vladajuæe politièke volje koja je zastu- uvijek isti input daje uvijek zajam- pala stav "najprije nacija, a zatim de- èen output, to jest crtaèev užitak. mokracija", te se kao izraz stabilnosti Cyberfeminizam Input, ako baš morate znati, sas- države zastupala etnièka homogeno- toji se od pljunutog Mauroviæa i st, što je istovremeno bila objektivna [ver 1.0] njegove supruge, pedesetogodiš- prepreka demokratskoj tranziciji i njakinje zamašnih grudiju i straž- stvarnom politièkom pluralizmu... uredio Igor Markoviæ, preveli Rada njice, rijetke kose zamotane u pun- Autor posebno kritizira nastojanja da Boriæ, Mario Duževiæ, Vesna Jankoviæ, džu, koja ima toèno odreðenu vr- se legitimitet vlasti traži i nalazi u Igor Markoviæ, Natalija Rihtman, Oli- stu naušnica, a nosi prozirni crni ver Sertiæ, Goran Vujasinoviæ; Centar metadruštvenim, transcendentnim in- za ženske studije, Zagreb, 1999. kombine i najlonke ili ništa. Treæi stancama, te da se autoritarni naèin u tom savršenom paru jest nezna- vladanja opravdava nekim višim pos- nac: crnac, židov, musliman, Nije- lanjem. Vladajuæa politièka elita u mac ili kakva domaæa baraba – luè- Hrvatskoj provela je nadzor nad svim ki radnik, pijanac, postolar ili sve- podruèjima društvenog života oslo- æenik ružan kao ðavao. Poslije njena na razgranati politièki klijente- ijelo kao kulturološka èinjeni- kratkog upoznavanja sa strancem lizam kojim je stvoren interesni blok ca objedinjujuæi je motiv ina- stari maèak svoju ženu prepušta – svojevrsni "savez za profit"... Vrcan èe vrlo raznorodnih tekstova drugome i katkad u igricama sudje- posebno razraðuje koncept etnifika- u knjizi Tijelo u tranziciji, tekstova luje, a katkad samo promatra ili se cije politike, politizacije etnièkog i koji predstavljaju razlièite naèine pi- pravi da spava. Što se samih crteža nacionalizirajuæe države u Hrvat- sanja, od znanstvene analize empirij- tièe, Auerova erotska ostavština skoj... U drugoj Vrcanovoj raspravi skih podataka do umjetnièkih eseja. prema ovoj djeluje poput hlebinske razraðuje se ideja o demokratizaciji Ti su radovi – istovremeno objavljeni likovne škole, a silovanje muškarca društva i tehnologiji vladanja. Izbori na hrvatskom i engleskom jeziku u u Paklenom šundu školska je zada- 1995. i 1997. godine potvrðuju konti- dvije knjige – nastali na temelju izla- æa u odnosu na Mauroviæevu dok- nuitet stava da se na izbore gleda u ganja s meðunarodnoga skupa održa- torsku disertaciju nazvanu U zat- optici tehnologije vladanja, a ne u nog prije nekoliko godina u Zagrebu voru (str. 80-82). Ne sumnjam da znaku pluralistièkog oblikovanja i iz- u organizaciji Zavoda za dizajn tek- æe taj antipod Manarinim erotskim ražavanja politièke volje graðana... stila i odjeæe pri Tekstilno-tehnološ- lutanjima kroz književnost i pod- Pregledan je i koristan prilog Bori- kom fakultetu. Tijelom su se, ideolo- svijest, surov i banalan, ginekološ- sa Buklijaša o izmjenama i dopunama giziranim, odjevenim, onim poveza- ki precizan, steæi brojne pokloni- brojnih zakonskih propisa nakon nim s umjetnošæu, spolnim tijelom i ke. 1993. godine. U zakljuèku autor kri- tijelom buduænosti (što su ujedno i tizira uvoðenje posebnih "lista za di- cjeline unutar kojih su objavljeni Boris Beck jasporu" iz 1995. godine, prema koji- tekstovi) bavili autori iz perspektive ma se privilegira jedan mali dio biraè- sociologije, etnologije, kulturalnih koga tijela, i to pretežno onaj u Bosni studija, psihoanalize, teorije komuni- ntologija ženskih on i off-line i Hercegovini, a sve u korist vladaju- kacije, filozofije, povijesti, teorije radova nudi razlièite pristupe æeg HDZ-a.... Dražen Laliæ i Suzana umjetnosti. suvremenih cyberfeministiè- Kunac analiziraju politièke propagan- Šesnaest priloga tjelesnoj tematici kih istraživanja, teorijskih promišlja- dne televizijske spotove stranaka u otvara Igor Pribac usporedbom Des- nja i cyber-djelovanja uopæe. Rosi predizbornim kampanjama 1995. i cartesova i Spinozina pojma tijela; Braidotti, Sadie Plant, Anne Balsa- 1997. U detaljno prikazanoj metodo- Nadežda Èaèinoviè èitajuæi Eliasa, mo, Nancy Paterson, Alla Mitrofa- logiji istraživanja njihova analiza po- Maussa, Nietzschea, Derridu, Baud- nova, Olga Suslova, Faith Wilding, kazuje kako je kampanja HDZ-a bila rillarda; Mary Douglas, ispisuje tekst Jennifer Brayton samo su neke od "državotvorna" i odreðena nacijom, Civiliziranje tijela; Aida Brenko bavi autorica èije je tekstove odabrao Igor dok je opozicijska kampanja bila se odnosom ideologije i narodne Markoviæ nastojeæi obuhvatiti što ši- "društvotvorna" i vezana uz razvitak nošnje u Hrvatskoj; Danijel Labaš re podruèje cyberfeminizma i što vi- demokratskog društva. Zanimljiva je i popisuje elemente neverbalne komu- še njegovih tema meðu kojima su semiotièka analiza spotova.... Nenad nikacije; Maria Bruna Pustetto bavi svakako i problemi spola, roda, tijela Bulat analizira promjene u strukturi se tijelom u politici. Florence Müller i bestjelesnosti, identiteta, cyberum- hrvatske stranaèke scene u razdoblju piše o idealnoj slici i zbilji žene od jetnosti, virtualne stvarnosti, znan- od 1995. do 1998. Prvih pet godina neoklasicizma do danas, a "muški" stvene fantastike i tehno kulture, vo- višestranaèke demokracije u Hrvat- dio prièe obradio je u tekstu Mužev- lim/mrzim odnosa žena prema Inter- skoj autor opisuje kao "pretpolitièko nost, moda i tijelo 1870 – 1915 Chris- netu i tehnologiji uopæe. doba" pred kojim tek stoji izgradnja topher Breward. Tekst Ingrid Šarfra- sustava s prepoznatljivim politièkim nek nosi naslov Paradoksalno tijelo – Iva Pleše 44 II/40, 12. listopada 2,,,.

Željko Zorica Branko Fuèiæ Ivo Maroeviæ Miljenko Jergoviæ H.C.Zabludovsky Fraške Zagreb njim Kažeš anðeo Fantastièni besti- Kršæanska sadašnjost, Zagreb, 1999. samim Durieux, 2000. jarij Roskildea uèiæeve fraške – u glagoljaš- Durieux, Zagreb, 1999 ažeš anðeo najnovija je knjiga kom žargonu to je rijeè ko- pripovjedaèa i esejista Mi- Niska, Zagreb, 1999. ja oznaèava trice, bezvrijed- ljenka Jergoviæa, u podnaslo- ne stvari, brbljanje, ludorije – žanrov- vu koje piše – neoèekivano – drama. ski vrlo sliène onima iz njegove knji- Rijeè je o trideset i jednoj dijaloškoj ge Terra incognita, zapravo su male slici, koje sve zajedno stvaraju jedin- (pri)povijesti o obiènim ljudima, stvenu prièu o životu "u novom dijelu krajolicima, obièajima, graðevinama grada roðenom s druge strane rijeke". Istre i Kvarnera. U njima se isprepli- Mjesto radnje jedan je lako zamislivi æu prošlost i sadašnjost, putopisi, neboder, odnosno stanovi malih kvad- biografije i autobiografije, doku- ratura u njemu. Likova, ako sam toè- menti i fikcija, etnografija i mala po- no izbrojala, ima upravo sto. Stotinu vijest. One nisu kulturne studije, ni- lica, mladih i starih, muških i ženskih, ti izvori iz kojih bi se u školama imenovanih i neimenovanih, koja mogla uèiti povijest, one su povijest predstavljaju male prizore iz svojih lužbena, dokumentirana povi- i kultura viðene iz osobne i osobite sretno-nesretnih života. Osim što ih jest danskoga gradiæa Roskil- perspektive... Fraške su takoðer u povezuje moguæi neboder, povezuje ih dea nije naroèito zanimljiva, nas vrlo rijedak naèin pisanja: onih i èinjenica što u svim prièama barem ili, da budemo precizniji, nije ništa koji, premda stvaraju ili se bave vri- jedan lik kaže anðeo. Te likove ne po- zanimljivija od povijesti mnoštva jednostima od nacionalne važnosti – vezuje nikakva zajednièka radnja, u malih europskih gradova koji se dièe kao što se Fuèiæ bavio glagolizmom i prostoru stvarnosti ti se likovi narav- ponekom starom crkvom, dvorcem srednjovjekovnim slikarstvom u Hr- no meðusobno ne poznaju. Iako u ili arheološkim nalazištem. Ono vatskoj – znaju pisati lako i jednos- Jergoviæevoj dramskoj fikciji oni ne zbog èega Roskilde je zanimljiv jest tavno, privlaèno, šaljivo, a pametno, stupaju u direktan dodir, sliènosti i njegova, nazovimo je u nedostatku znaju pisati o trivijalnom i nevaž- ijeè je o knjizi koja sintetizi- analogije meðu njima ono su što èita- boljega izraza, alternativna povijest, nom, znaju se zafrkavati i uživati u ra sve najvažnije transforma- telji prepoznaju. Obrnuto od Tolstoja povijest njegovih fantastiènih biæa. onome što rade. cije zagrebaèkoga gradskog Jergoviæ bi mogao reæi: sve obitelji su U njezino se istraživanje upustio prostora u povijesti – od prvotno nesretne na isti naèin. Ili: sve obitelji Željko Zorica, uz pomoæ Zabludov- Iva Pleše nastalih dvaju srednjovjekovnih su sretne i nesretne ujedno, a da to ni skog... gradova do (post)socijalistièkoga sami ne znaju, da ne znaju ni kako ni U predgovoru nam Zorica objaš- urbanog širenja – pri èemu je zašto im se dogaðaju njihovi životi. njava da je suradnja sa Zabludov- znanstveni pristup zamijenjen ese- Pripovijedanje u ranijim Jergoviæevim skim poèela krajem osamdesetih, jistièkim, s ponegdje vrlo izraže- knjigama uvijek je bilo obilježeno kada je dogovoreno da æe Zabludov- nim subjektivnim i emotivno obo- unutarnjim glasom pripovjedaèa, bilo sky "odavati tajne s one strane živo- jenim stavovima. Izostavljajuæi sav da je to bio glas likova ili sam Jergovi- ta, iz paralelnih svjetova", a Zorica uobièajeni repertoar fusnota, citata æev glas. Glasovi su se u njegovim pri- æe ih obraðivati i preraðivati, te se i uskostruènih termina te zanema- èama pojavljivali u prvi mah samostal- baviti tiskanjem i objavljivanjem rujuæi detaljnu argumentaciju i je- no, iznosili svoje prièe, ali su njihovi knjiga koje æe zajednièki potpisivati. ziènu preciznost, Maroeviæ je ispi- glasovi uvijek bili isprepleteni glasom Kritièar s kraja dvadesetoga stoljeæa sao lako prohodno i zanimljivo šti- Jergoviæa pripovjedaèa koji ih je ras- navikao je na svakakva èuda, no teš- vo koje se èita u dahu, a èini se da tvarao, ulazio u njih, komentirao, ža- ko æe prihvatiti èinjenicu da æe mo- je upravo tako i nastalo... lio ih ili se s njima smijao. U dram- rati recenzirati autora nastanjenog u skom pismu kakvo je knjiga Kažeš an- nekom od paralelnih svjetova... Katarina Luketiæ ðeo formalno gledano nema mjesta za Iako naslov sugerira da æe biti ri- Jergoviæev autorski glas. On se u pr- jeèi o fantastiènim roskildskim živo- vome licu pojavljuje samo u prologu tinjama, biæa koja susreæemo pripa- knjige, jednoj lijepoj minijaturi o ži- daju zajednièkom nebeskom svijetu votu u velikom gradu, koja je ujedno i bogova i životinja. Susrest æemo ta- najtoènija moguæa autorefleksivna re- ko pivarskog konja i roskildskog la- cenzija vlastite knjige, u kojoj se kaže: buda, bok uz bok s bogovima iz "Svaki od dijelova prièe funkcionira nordijskih mitova – Torom, Freyem, sam za sebe i svaki s nekim drugim di- Lokijem i drugima... Tragove bogo- jelom ili s više njih èini cjelinu. Naèin va slijedili su i opjevali pjesnici, i o CD-ROM na koji se dijelovi prièe spajaju, kao i bogovima stoga znamo više no o njihov odabir, zavisi samo od volje fantastiènim životinjama, èiji tragovi Klasici hrvatske onoga koji bira i njegove božanske postoje i danas, iako ih je sve manje, potrebe da cjelinu obilježi nekim od- na proèeljima zgrada, grbovima, fa- književnosti II. reðenim osjeæajem.". I iz tog prologa sadama, fontanama i portalima. Zo- elektronskom obliku. Svoje su mjes- lako je zamisliti Jergoviæa koji gradi rica je pronašao i opisao mnoga us- (Pjesništvo) to našli i vjerojatno najstariji saèuva- složeni dramski neboder od stotinjak pavana roskildska biæa – labudove, Bulaja naklada, Zagreb 2000. ni umjetnièki stihovi, ali i natuknica lica, reprezentativnih za tugu i jad od zmije, baziliske, trolove, grifone, pa o najviše opjevanoj ženi hrvatske re- života kakav živimo, Jergoviæa pisca i samoga vraga. Uz pomoæ Zablu- nesanse Cvijeti Zuzoriæ. Svaki je au- nalik Balzacu koji je pomno crtao i dovskog isprièao je i prièe o njihovu tor predstavljen i iscrpnim biobib- sistematizirao veliku zgradu svoje nastanku i dogodovštinama pokazu- liografskim bilješkama, a njegovo Ljudske komedije. Jergoviæev je dram- juæi da su veze ljudi i fantastiènih bi- pjesnièko djelo rjeènikom i tumaèe- ski žanr, bez sumnje, tragikomedija, æa bile nekad davno puno èvršæe, te njima odreðenih mjesta u tekstu. farsa, groteska. To nisu nove osobine da hodom prema našemu stoljeæu Uz autorske stihove na CD su uvr- za njegovo autorsko pismo, ali su u bivaju sve slabije. O tome uostalom šteni i usmeni lirski tekstovi. Stoga dramskom obliku vidljivije, jer ih ne svjedoèe naše fasade i proèelja, èesto je ovaj CD, pripremljen iz filoloških prikriva nikakva pripovjedaèka blagost izvedene u betonu, s neonskim rek- najrelevantnijih izvora, istodobno niti ublažava polaganiji tempo pripov- lamama umjesto kamenih èuvara... vrijedno kritièko izdanje, pjesnièka jednog teksta. Ako groteska i komedi- Niz fotografija, crteža, nacrta i slika antologija i multimedijalna povijest ja izviru iz samih scena, tragiènost i koje su pribavili autori pokazuje ka- hrvatskoga pjesništva. farsiènost pripadaju pogledu kojim ih ko fantastièna biæa sa starih zdanja U odnosu na prvijenac posveæen Jergoviæ promatra. takoðer umiru, u skladu s imperati- epici i pripovjednoj prozi, Klasici vom moderne gradnje, nestaju pod hrvatske književnosti II. (Pjesništvo) Andrea Zlatar betonom i agresivnim reklamama. donosi nekoliko važnih poboljšanja. Rijeè je sada o pravoj smrti, smrti akon pionirskoga CD-a Klasi- Jedno je moguænost pretraživanja konaènoj i u našem i u svim paralel- ci hrvatske književnosti I. svih tekstova, a drugo se odnosi na nim svjetovima, a ta se zove zaborav. (Epika, romani, novele) mlada sedamdesetak zvuènih zapisa anto- Zorica i Zabludovski pokazat æe nakladnièka kuæa Bulaja nastavlja niz logijskih pjesama u izvedbi Tomisla- nam da živimo u velikoj zabludi, da drugim CD-om na kojemu se nalaze va Rališa i Joška Ševe. preèesto gledamo u vrhove vlastitih najznaèajnija djela hrvatskoga pjes- cipela i opanaka, umjesto da gleda- ništva od srednjovjekovlja do polovi- Dean Duda mo gore. Gore su bazilisci i grifoni, ce 20. stoljeæa. Izdavaè je sastavio kameni anðeli, dvoglave zmije, a ako reprezentativnu èitanku hrvatske dovoljno dugo gledamo u njih vidjet poezije, osobito njezinih starijih raz- æemo iza njih i èitave gradove koje doblja. Zbirke koje se veæ desetljeæi- kao da možemo dotaknuti ru- ma ne mogu naæi u hrvatskim knjiža- kom. rama, poput Zbornika Nikše Ranjine, Dušanka Profeta ovom su se prigodom pojavile u II/40, 12. listopada,,,. 45

Nada Švob-Ðokiæ Miljenko Jergoviæ U obranu nièkih zapisa ili osobnog pisma do eseja, veæina autora slaže se u jednom Tranzicija i nove Historijska buduænosti – buduænost naroda bivše Jugoslavije europske države gotovo je izgubljena. Autori uglavnom èitanka Traženje u minskom polju pišu o buduænosti država u kojima ži- Barbat, Zagreb, 2000. OSCE i Durieux, uredili Freimut Duve i Naklada ZORO, Zagreb-Sarajevo; ve, a manje se osvræu na globalne Nenad Popoviæ, Zagreb, 1999. DANI, Sarajevo, 2000. probleme. Ne dijelimo globalne, veæ usko lokalne strahove, i oni na nas na istorijska èitanka sadrži tek- neki bizaran naèin ujedinjuju. Strah od stove koje je Miljenko ekoloških i nuklearnih katastrofa, Jergoviæ objavljivao u sara- opasnosti o genetskog inžinjeringa na jevskom nezavisnom magazinu ovim prostorima ustupaju mjesto stra- DANI. Rijeè je o kolumnama u hu od nerazminiranih polja, korupcije, kojima ovaj produktivni i rado èi- nacionalizama, politièkih anakroniza- tani bosanskohercegovaèki i hr- ma, i na kraju – izolacije od svijeta, vatski autor piše o svojoj prošlos- straha od osuðenosti na vlastito dvo- ti, djetinjstvu i uopæe životu u rište – èime se ukida pravo na buduæ- Sarajevu. Nastojeæi sakupiti kr- nost. Govor o buduænosti nužno je hotine vlastite povijesti Jergoviæ zapravo ocrtava i jedno prošlo povezan sa sviješæu o sadašnjosti, sa- vrijeme, vrijeme koje je na ovim dašnjem trenutku, ali smo ga èešæe prostorima posljednjih godina za- skloni izvoditi iz bliže ili dalje proš- meteno ideološkim i nacionalis- losti. "Ne jednom se dogodilo da je tièkim talogom. Naime, Jergoviæa netko ili nešto trebalo umirati, ili, èak, ne zanima politièka slika socija- umrijeti kako bi se interes i cijena svi- lizma, ne privlaèi ga homogena jeta probudili. " – kaže Branko Sbute- ranzicija k novom sustavu, kronologija vremena i velika po- knjizi U obranu buduænosti bu- ga u Zapisima o Boki Kotorskoj 1993. – prijelaznim razdobljem do duænost prostora bivše Jugosla- 1999. U Sbuteginim rijeèima nalazi se kvalitetnijeg života ili prema vije brane Rusmir Mahmut- možda i dijagnoza i lijek za naše obo- globalizaciji, regionalizmu, prema æehajiæ, Miljenko Jergoviæ, Ivan ljele buduænosti. Predugo se, naime, neizvjesnosti na temelju dosadašnjih Lovrenoviæ, Dragan Paveliæ, Slobodan pod rjeèju buduænost na ovim prosto- dogaðanja i strahu ili (radosnom) Šnajder, Andrea Zlatar, Branko Sbute- oèekivanju drugog i drukèijeg teme ga, Baton Haxiu, Bora Æosiæ, Dragan rima švercala izgradnja ljepše i bolje su najnovije knjige Nade Švob- Velikiæ, Filip David i Drago Janèar. Ia- povijesti. Ðokiæ Tranzicija i nove europske dr- ko izabiru razlièite forme – od dnev- Dušanka Profeta žave. Prihvaæajuæi potrebu pregled- nog, teorijski utemeljenog i u vlasti- toj sredini aktualnog trenutka tran- sformacija, koje su uvijek u odnosu na svijet i na druge u sliènoj situaciji, Evakuacija bu ili Beogradu. Oni koji su ostali u autorica je napisala knjigu o pojava- Bosni i Hercegovini uglavnom žive i ma što su Europu zadesile stvara- djeluju u Sarajevu, a dvojica meðu nji- njem 14 novih država u prve tri godi- izbor suvremene prièe autora ma više nisu meðu živima… ne zadnjeg desetljeæa, a prostor Eu- iz Bosne i Hercegovine Važno je napomenuti da ovu knjigu rope proširile na istok. Što su nove èitateljski iznimno zanimljivom èini europske države (i Europa) dobile Dragoslav Dedoviæ organizacija graðe tj. raspored teksto- tim promjenama, toènije u što su Feral Tribune, Split, 1999. va. Naime, Dedoviæ je zaobišao neka krenule i koji su rezultati prvog de- od uobièajenih rješenja: tekstove nije setljeæa njihova postojanja na meðu- rasporedio po godini roðenja autora, narodnom planu kompleksno je pita- niti po abecednom rasporedu, a nije ni nje s još kompleksnijim odgovorima. vijest sa svim svojim zakonitosti- prièe organizirao u niz po vlastitoj èi- Kompleksnim u odnosu na oèekiva- ma pisanja. On se prije svega tateljskoj logici. Tekst antologije podi- no. Na meðunarodnom planu stalno zaustavlja na svakodnevici, na jelio je u èetiri cjeline naslovivši ih Di- nazoèni bilateralni i multilateralni obiènim, banalnim ili pak intim- jete, Žena, Vojnik i Grad, dakle, prièe odnosi postojeæih država krenuli su nim detaljima koji su u najveæoj je rasporedio tematski, ne pridržavaju- u nove procese: globalizaciju i regio- mjeri odredili njegov svjetonazor, æi se kruto zadanih podnaslova, grupi- nalizacije. Potiru li se oni, suprot- svjetonazor dijela njegove gene- ravši ih u èetiri cjeline organizirane stavljaju ili izviru jedni iz drugih? Što racije i uopæe atmosferu jednoga oko tematskog kompleksa djetinjstva, su nove integracije, posebice europ- grada. U tom velikom posprema- ljubavi i rata te "grada" kao presudne ske? Što u njima mogu naæi i koliko nju svoje privatne prošlosti pozadine za samu radnju i sudbine li- su njima – u izlasku na meðunarod- Jergoviæ æe iz ropotarnice socija- kova. U veæini sluèajeva grad se može nu pozornicu – uvjetovane novonas- listièke svakodnevice izvuæi po- prevesti sa Sarajevo, koje predstavlja tale zemlje? Je li država, kako autori- novno šeæerne table koje su paradigmu svega onoga što se desilo u ca Švob-Ðokiæ primjeæuje, samo naj- osamdesetih zamijenile èokoladu; Bosni od travnja 1992. kada je u život bolji poslanik odreðenog društva u prve automate za Coca-colu; no- pala prva granata. Da se poslužimo re- meðunarodnim odnosima ili èuvar gometne utakmice na kojima su èenicom iz prièe Bitanga i princeza autoritarnih i moænih nacionalnih se prodavale novine za sjedenje; Asmira Kujoviæa, "ono što je veæinu elita koji nove položaje ne žele is- vrijeme Olimpijade, gradske kafa- ovdje prisutnih èinilo srodnicima, bila pustiti iz ruku iako su formalno, za- ne, hauzmajstore i još mnogo to- je neka vrsta zavade sa vlastitom proš- jedno s društvima u novim državama ga što je obilježilo, kako piše, te lošæu: svi su u razgovoru svoj život di- izabrali procese demokratizacije? Što zlatne, predratne godine. Histo- jelili na prije i poslije rata". Rat je u sve stoji na putu demokratizacije kao rijska èitanka tako je knjiga nos- edoviæ je odluèio antologizirati svemu tome pozadina na kojoj se ispi- i emancipacije u razvoju novih drža- talgije i sentimenta, žala za jed- prozni korpus novog, mlaðeg suje kako djetinjstvo, život u tuðini, va bitno je pitanje za sve ostale pro- nim davnim, nevinim vremenom; naraštaja bosanskih pisaca koji zaljubljivanje, urbani ambijent i njego- cese kojima je svijet krenuo i koje knjiga koja se po motivima i pri- se s prvim proznim knjigama javlja od vi likovi tako i dogaðaji iz jednog dru- novostvoreni meðunarodni subjekti povjedaèkoj tehnici kombiniranja kraja osamdesetih. Kao što sam prire- gog rata te vojnièke prièe sa same lini- moraju nekako stiæi i s njima se nosi- fragmenata (kratkih rezova) sa ðivaè kaže u "onih nekoliko predratnih je fronta. ti. Ti nimalo lagani procesi nemaju èestim poentiranjem u mnogome godina u kojima komunisti nisu više u Dedoviæeva Evakuacija u potpu- zajednièke opæevažeæe karakteristike vezuje uz njegove ranije uspješne stanju da vladaju a šovinisti još nisu nosti ispunjava zadaæu svake antologi- i diktirani su unutrašnjim stanjem i prozne zbirke Sarajevski Marlbo- konsolidovali vlast, stara pravila igre je, a to je da èitatelju prezentira knji- snalaženjem vlasti u novim državama. ro ili Mama Leone. jedva da važe, a nova su nejasna", pa ževno stanje, a kritièarima i povjesni- Zbog njihove relativne "mladosti" ali i nastavlja, "u tom bestežinskom pros- èarima književnosti omoguæi lakše èestih mijenjanja unutrašnjih položa- toru pojavljuje se niz imena na rubu Katarina Luketiæ snalaženje. Uzmemo li u obzir èinjeni- ja (koje rezultira naèin traženja puta bh. literarne scene koja najavljuju cu da je kratka prozna forma u suvre- po sustavu pokušaja i pogreške) nisu prevrednovanje zateèene literarne tra- menoj bosanskoj prozi, slièno kao i u sasvim izvjesni ni putovi na kojima se dicije."… Dvadeset i tri autora u ovoj hrvatskoj novoj prozi, omiljena forma poneke od njih nalaze. To izmeðu os- su antologiji predstavljena s trideset i i mnogih romanopisaca, Evakuacija talog rezultira i nemoguænošæu pre- dva prozna teksta nastala u razdoblju Dragoslava Dedoviæa sadrži koristan ciznijeg prikupljanja podataka i real- izmeðu 1987. i 1998… Uvršteni autori pregled svih važnijih proznih pojava nih slika, parametara (ponajprije eko- danas su, poput velikog broja sunarod- mlaðeg naraštaja bosanskohercegovaè- nomskih) koji bi nove države situirali njaka, raseljeni po svijetu, pa tako neki kih pisaca, a za one koji se tek sprema- u vlastitu noviju povijest (10 godina od njih žive u gradovima èudnih imena ju èitati bosanske autore dobar uvod u unazad), a onda i u kontekst sliènih poput Kerkradea u Nizozemskoj i suvremenu proznu produkciju Bosne i zemalja u svijetu. Tamperea u Finskoj, dok su drugi Hercegovine. emigranti smješteni u Pragu, Fran- kfurtu, Washingtonu, Chicagu, Zagre- Grozdana Cvitan Igor Štiks 46 II/40, 12. listopada 2,,,.

glesko-hrvatskih izdanja godišnje. Neke Hyp.txt, Libra – www.autonomous-c- Frakcija od tema predviðenih za sljedeæu godinu factory.hr/hipertekst su: energija, radikalizmi u istoènoj Euro- – www.autonomous-c-factory.hr/mase magazin za izvedbene umjetnosti pi, religija i teatar, ples: koncept ili vješti- Na ovoj adresi možete èitati na hrvat- na. MEDIJI skom jeziku hipertekstove ili “tekstove agazin za izvedbene umjetnosti Tomislav Brlek koji se granaju i omoguæuju èitatelju iz- Frakcija zajednièko je izdanje Cen- Zarez – www.zarez.com bor, a najbolje ih je èitati na interaktiv- tra za dramsku umjetnost i Akade- nom ekranu” (T. H. Nelson). Projekt su mije dramskih umjetnosti u Zagrebu. Us- Quorum pokrenuli urednici književnog èasopisa mjeren je na praæenje relevantnih zbiva- Feral Tribune – www.feral.hr Libra Libera. nja na domaæoj i svjetskoj sceni teorije i èasopis za književnost produkcije izvedbenih umjetnosti, a u Hrvatsko novinarsko društvo - okviru svojih moguænosti nastoji poticati Nacional – www.nacional.com www.hnd.hr novije tendencije u hrvatskoj produkciji asopis Quorum pokrenut je sredi- te ih meðunarodno prezentirati i afirmi- nom osamdesetih te danas ima za Ženska infoteka - www.zinfo.hr rati. Meðu obraðivanim projektima i au- sobom šesnaest godina izlaženja. HINA – www.hina.hr; Ženski informacijsko-dokumentacijski torima istièu se Robert Wilson, Festival U osamdesetim godinama okupljao je centar osnovan u Zagrebu 1992. godine novog kazališta Eurokaz, Peter Sellars, najmlaði naraštaj pisaca. To su poznati i kao prvi centar takve vrste u Hrvatskoj i Wiener Festwoche, Eugenio Barba, Bran- danas afirmirani quorumaši: Miroslav Vjesnik – www.vjesnik.hr ; istoènoj Europi. ko Brezovec, Societas Raffaello Sanzio, Nataša Rajkoviæ/Bobo Jelèiæ, Goat Isla- Nacionalna i sveuèilišna nd, Ivica Buljan, Jan Fabre, Vili Matula, Klik – www.klik.hr ; Internet magazin knjižnica - www.nsk.hr itd. Glavni i odgovorni urednik Goran Ser- Moderna vremena Online – gej Pristaš, dramaturg, redatelj i asistent www.moderna-vremena.hr na ADU, okuplja raznovrsnu ekipu kom- petentnih suradnika iz Hrvatske i svijeta, Najveæa i najposjeæenija Online knji- meðu kojima su Lada Èale Feldman, Dar- žara i antikvarijat u Hrvatskoj. Donosi ko Suvin, Hans-Thies Lehmann, Valenti- mnoštvo informacija o novim knjigama i na Valentini, Elin Diamond, Ljiljana nakladnicima; intervjue s piscima, njihove Filipoviæ, Josette Féral, Rustom Bharuc- tekstove itd. ha, Viktor Misiano, Nataša Govediæ, Ivi- ca Buljan i drugi. Osim izvornih tekstova, Frakcija donosi i prijevode važnih teoret- skih radova autora kao što su Derrida, Gilles Deleuze, Lacan, Judith Butler, Foucault, Camille Paglia, Sue Ellen-Case, Barthe i Slavoj Žižek. Od tema kojima su djelomièno bili posveæeni pojedini broje- vi mogle bi se izdvojiti stogodišnjica Ber- tolta Brechta, seksualnost ili teatar me- morije Giullija Camilla. U sklopu raznovrsnih meðunarodnih projekata, Frakcija realizira posebne te- matske brojeve na engleskom. Broj pos- veæen utopiji/distopiji (Utopia/Dystopia) Miæanoviæ, Zoran Feriæ, Edo Popoviæ, ostvaren je kao dio projekta Landscape X Branko Èegec i drugi. Njihovo je pisanje u sklopu programa Stockholm-kulturna bilo pretežno usmjereno prema fragmen- prijestolnica Europe 1998., dok su broj tu, poeziji, rock´n´rollu, i takozvanoj posveæen istoènoj Europi (disOrienta- «urbanoj prozi». tion: Eastern Europe), tiskan 1999., pot- Èasopis i dalje izlazi i postaje sve zna- pomogla dva vodeæa europska festivala, èajniji za novu generaciju hrvatskih pisa- hamburški Internationales Sommerthea- ca koji su poèeli objavljivati tijekom de- ter Festival i danski Aarhus Festuge. U vedesetih. Prvenstveno zbog toga jer je suradnji sa srodnim slovenskim magazi- èasopis, zahvaljujuæi ureðivaèkoj politici, nom Maska i minhenskim festivalom ostao otvoren za najnovija zbivanja. Dance2000, realizirano je pod imenom Quorumovo uredništvo podržalo je veliki FaMa zajednièko izdanje na njemaèkom i broj mladih autora, iskazalo je razumije- Dvojezièni kalendar (Hrv/Eng) s edukativnim, hrvatskom na temu tijela i razlike (Bo- vanje za probleme mlaðih pisaca i ponu- dy/Difference), a Chapter Arts Centre iz dilo im prostor i nove projekte. kulturološkim i povijesnim sadržajem, te Cardiffa pomogao je tematski broj pos- Književna scena u Hrvatskoj devede- veæen ikonoklastièkom teatru, Disturbing setih u mnogoèemu je specifièna. Što lunarnim oznakama, tiskan na 14 listova (the) Image. zbog rata, što zbog prilièno negativnog A4 u boji, možete naruèiti Ove je godine Frakciji za meðunarod- stava prijašnjeg Ministarstva, mladi nisu nu promociju hrvatskog teatra dodijelje- dobili kultni središnji generacijski èaso- putem narudžbenice: na povelja grada Zagreba, a nagraðen je i pis. Sve je ovisilo o individualnim inicija- posebnom diplomom na Trienalu kazališ- tivama, pa je na kraju ispalo nekoliko èa- nog izdavaštva u Novom Sadu 2000. Od sopisa, magazina i pop-magazina koji su 2001. Frakcija æe imati 6 dvojeziènih, en- pretendirali da postanu vodeæi. Nijedan se nije nametnuo kao najjaèi ili najbolji u èisto književnom smislu, kao dogmatski i iskljuèivi predstavnik x generacije. To je, zapravo, vrlo dob- NARUDŽBENICA ro. Željeli mi to priznati ili ne, scena se zaista de- mokratizirala i pružila èi- Ovime neopozivo naruèujem komada kalendara tavu lepezu rješenja. U takvim okolnostima Qu- orum se pokazao izuzet- "Starohrvatski sakralni spomenici" no otvorenim i mnogima je pružio priliku za objav- ljivanje i afirmaciju. Dakle, moglo bi se reæi Pravne osobe: 20 kn + PDV + poštarina da Quorum postaje tran- (cca. 6 kn za Hrvatsku) sgeneracijski èasopis. On Fizièke osobe: 25 kn + poštarina svoju vitalnost zasniva na interakciji generacija. Ri- jeè je o suradnji na istim Narudžbenicu možete poslati na adresu: projektima ljudi koji su roðeni tijekom pedesetih, Naklada ZORO, Iblerov trg 9, 10 000 Zagreb, Croatia šezdesetih i sedamdesetih godina. A to je, dosad se pokazalo, prilièno uspješ- Tel./Fax: 01 / 46 15 655, 46 15 071 na formula. E-mail: [email protected] Rade Jarak II/40, 12. listopada,,,. 47 48 II/40, 12. listopada 2,,,.

Hrvoje Grill, roðen u Dubrovniku 3. 3. 1969. Za vrijeme rata radio kao fotoreporter. Ova fotografija je snimljena u jesen 1999. gdje je Grill snimao dokumentarni film o Tibetu s Krešimirom Krnicom i Goranom Vuèièeviæem Prezentacija njihovih dokumentarnih filmova otvorena je do 22. 10. u Galeriji "Za-Te" Plus, Trg hrvatskih velikana 14 GRILL