Supplement Contemporary Croatian

Literature, pp. 15 - 34

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

Edited by:

Katarina Luketi,
Iva Plee,
Duanka Profeta

Translated by:

Nataa Govedi,
Dubravka Petrovi,
Aleksandra Miak

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 drutvena zbivanja zagreb, 12. listopad 2000, godite II, broj 40 cijena 10,00 kn; za BiH 2,5 km; za Sloveniju 320 sit

Razgovor
Antun
Vuji
Pluralizam
i kulturna
estetika
stranice 4-5

Eseji - poezija
Kreimir Bagi
Pjesniki narataj
devedesetih
stranice 10-11

Esej - proza
Andrea Zlatar
Knjievno vrijeme
- sadanjost
stranice 8 - 9

Esej - drama
Nataa Govedi
Opasni stihovi,
beskorisne zastave
stranica 9

Esej - novine

Mister Lapsus
i Miss Pasiv
Boris Beck
strana 3

Recentna hrvatska knjievnost

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

gdje je to
Mister Lapsus i Miss Pasiv Boris Beck 3 dvotjednik za kulturna i drutvena zbivanja
Razgovor s Antunom Vujiem: Pluralizam kulturnih estetika Davorka Vukov Coli 4-5 adresa urednitva: Hebrangova 21, Zagreb
Nakladnitvo i izdavatvo: stanje Grozdana Cvitan 6 telefon: 4855-449, 4855-451
Hrvatski nezavisni nakladnici 6 fax: 4856-459
e-mail: zarez@zg.tel.hr
web: www.zarez.com
TEMA
urednitvo prima: radnim danom od 12 do 15 sati
Recentna hrvatska knji*evnost 52 naslova za 52. Frankfurtski sajam knjiga nakladnik: Druga strana d.o.o.
Uredile: Katarina Luketi, Iva Plee, Duanka Profeta za nakladnika: Boris Maruna
poslovna direktorica: Marcela Ivani
Eseji: 8-11 glavna i odgovorna urednica: Andrea Zlatar
Knji*evno vrijeme: sadanjost Andrea Zlatar pomonice glavne urednice: Katarina Luketi, Iva Plee
Opasni stihovi, beskorisne zastave Nataa Govedi redaktor: Boris Beck
Pjesniki narataj devedesetih Kreimir Bagi redakcijski kolegij:
Sandra Antoli, Tomislav Brlek, Grozdana Cvitan,
Razgovori: 12-13 Dean Duda, Nataa Govedi, Giga Graan, Rade Jarak,
Agata Juniku, Pavle Kalini, Branimira Lazarin,
Miljenko Jergovi Duanka Profeta Jurica Pavii, Duanka Profeta, Dina Puhovski,
Slavenka Drakuli Andrea Zlatar Sran Raheli, Sabina Sabolovi, David porer,
Predrag Luci Katarina Luketi Igor tiks, Gioia-Ana Ulrich, Davorka Vukov Coli
Tatjana Gromaa Rade Jarak grafiki urednik: eljko Zorica
lektura: Marko Plavi
Prikazi: 14, 35-46 tajnica redakcije: Nataa Polgar
D*evad Karahasan, Sara i Serafina; Josip Mlaki, Kad magle stanu; Irena Vrkljan, Posljednje putovanje u priprema: Romana Petrinec, Damir Rali
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Nedjeljni prijatelj; Igor tiks, Dvorac u Romagni; Slavenka Drakuli, Kao da me nema; Robert Perii, Mo- Tiskanje ovog broja omoguili su
,e pljunuti onog tko bude pitao za nas; Miljenko Jergovi, Mama Leone; ermano Senjanovi, US&A; Zo- Institut Otvoreno drutvo Hrvatska
ran Feri, Aneo u ofsajdu; Borivoj Radakovi, Ne, to nisam ja; Ozren Kebo, Sarajevo za poetnike; Edo Ministarstvo kulture Republike Hrvatske
Popovi, San ,utih zmija; Branko Male, Male ljubavi; Viktor Ivani, Toka na U; Rat u Hrvatskoj i Bosni
i Hercegovini (uredili Ivo @ani i Branka Maga); Sonia Wild Biani, Dvije linije ,ivota; Stanko Andri,
Dnevnik iz JNA; Ilija Jakovljevi, Konclogor na Savi; Jaka Kuan, Bitka za Novu Hrvatsku; Bora osi,
Carinska deklaracija; Predrag Matvejevi, Vidosav Stevanovi i Zlatko Dizdarevi Gospodari rata i mira;
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Lasi, Autobiografski zapisi; Kreimir Bagi, Umijee osporavanja; Stanko Andri, udesa Svetog Ivana
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Sutli, Sve je samo putovanje; Igor Mandi, Prijapov problem; Cyberfeminizam (uredio Igor Markovi);
Cijene oglasnog prostora
Pakiranje vlasti, Izbori u Hrvatskoj 1995. i 1997; Tijelo u tranziciji (uredila Djurdja Bartlett); Andrija 1/1 stranica 4500 kn
Maurovi, Kandaul; @eljko Zorica, H. C. Zabludovsky, Fantastini bestijarij Roskildea; Branko Fui, 1/2 stranice 2500 kn
Frake; Ivo Maroevi, Zagreb njim samim; Miljenko Jergovi, Ka,e aneo; CD-ROM Klasici hrvatske 1/4 stranice 1600 kn
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Info 46
PRETPLATNI LISTI
Supplement 1534 izrezati i poslati na adresu:
Contemporary Croatian Literature
Edited by: Katarina Luketi, Iva Plee, Duanka Profeta
Translated by: Nataa Govedi, Aleksandra Miak, Dubravka Petrovi

Na naslovnici: Albrecht Drer - Krist meu uenjacima, Zbirka Thyssen, Lugano dvotjednik za kulturna i drutvena zbivanja
10000 Zagreb, Hebrangova 21
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 II/40, 12. listopada,,,. 3

(najee) (ne)potrebne (u zag- nice nisu. bilo koji podatak o intervjuira- to rei.
radama je (tek) dio reenice (ili kutravi: sti*u natipkani nom; ako je to prikaz izlo*be, roh bau: neki autori, ak
je umetnuta reenica (pa se mo- na pisaem stroju s bezbroj pog- ilustracija je okrenuta naopake. poznati publicisti, tekstove pro-
Autorova beskrajna samouvjere- daju kao visoki ili niski roh bau i
nost itatelja stavlja u poziciju to po naelu ideje nae - stil va.
Ahileja koji nikada ne susti*e Autori koji piu roh bau vrlo su
Mister lapsus i Miss pasiv kornjau pogreaka, propusta i
proizvoljnosti.
panoramska kamera: nes-
tolerantne i simpatine osobe,
neskloni su zanovijetanju i nisu
zlopamtila.
posobni su razluiti va*no od spoji tokice: podsjeaju
*e odvojiti obinim (za)rezo- reaka i ispravaka unijetih ru- neva*noga, a mo*da im i vjera na one zadatke u djejim asopi-
Tekst, to je ovjek m)) (ili je rije o kakvu objanje- kom, bez margina i proreda, po brani isticanje jednoga na raun sima kod kojih morate redom
nju (sic!) (koje nikoga ne zani- mogunosti na obje strane papi- drugoga. Zbog toga se jednoli- spojiti numerirane tokice da
ma) pa se mo*e - ispustiti)) dob- ra i to tako da jedna strana bude no i ravnomjerno kreu poljem biste dobili sliku, uz jednu bitnu
Boris Beck ro dou da - ote*avaju ita- obrnuto natipkana od druge. No svojega interesa, posve nalik pa- razliku ne isporuuju numera-
nje!? Od (matematikih) zna- tekstovi su duhoviti i pametni, noramskim kamerama HRT-a, ciju. Meutim, njihove su toki-
Jedui zadnjih godina svoj kruh kova vole i potencije: one pred- pa nije teta truda raspetljavati nita ne naglaavajui i nikoga ne ce toliko zabavne i multidimen-
po redakcijama upoznao sam vrlo stavljaju fusnote (za koje vrijedi ih. preskaui. San im je pisanje te- zionalne da vas jednostavno ma-
mnogo autora i autorica, ali polo- isto to i za zagrade)3 Korije- nedodirljivi: knji*evni pa- lefonskih imenika, ali Pota ih me na spajanje. Kad vam dojadi
vino. To znai da bih se na novi- ne, razlomke i integrale jo nisu rije. Nisu dobrodoli zbog toga previe rijetko izdaje da bi od to- spajanje, jer kraja tu nema, ne
narskim skuptinama, balovima i poeli rabiti, ali postavit e ita- to su im autori a) ksenofobi, b) ga mogli *ivjeti. mo*ete znati je li slika vaa ili
radionicama, na koje dodue ne telju svaku moguu prepreku u rasisti, c) *enomrsci, d) du*ni pasivni krajevi: to ne znai njegova.
idem, mogao nai 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 obo*avaju u*ivaju privilegij da im se teksto-
to mogu kad, obrnuto od Iranki i pasivne kon- ve ni ne lektorira ni ne redigira.
vojnika koji osim lica nemaju ni- strukcije (od- Mora se, istina, priznati da se ra-
ta drugo, novinski tekstovi ba li- nosno da su di o vrhunskim stilistima, esto
ca nemaju. Iznimka nisu ni ko- pasivne kon- sklonima novotvorenicama, ko-
lumne jer fotografija kolumnista strukcije obo- jima se i nema to popravljati.
ne slu,i pru,anju obavijesti o au- *avane od nji- Kod njih je jedino nezgodno ako
torovu izgledu (ja sam, primjerice, hovih autora). se otkrije kakav tipfeler mo*da
ljepi u stvarnosti), nego je vie Osim to se iz- je i to neko izra*ajno sredstvo.
kao neki orden na tekstu - poka- ra*avaju pasi- turbo katani: lih stanete
zuje da je autoru ukazana najvia vom (oni bi pregnantnoshchu i erudicijom
mogua novinarska ast. rekli: putem nafutrani, a riecsosloxjem, pacse,
Pa ipak, tekstovi to se motaju pasiva), teksto- pravopisanyem uglednijeh perah
po redakcijama imaju tolika sas- ve unitavaju i horvackih sastavlyeni ter knyis-
vim ljudska obilje,ja da ne mogu itavim arsena- hkim leksemima i inom verbal-
ne zakljuiti: tekst, to je ovjek. 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-
te*e rei to tono razdvaja ama- drugih metoda boxnya artikulirana refleksija
tere u pisanju od neamatera, po- temeljem kojih opskurantisticski destilat glu-
gotovo zato to *ivimo u zemlji dolazi do otu- posti jest.
u kojoj su prvi lanovi DHK-a, a enja teksta od urud3beni broj: to su lan-
drugi ne *ive od svojega knji*ev- itatelja te od- ci iji se autori profesionalno ba-
nog rada. Openito se misli da bijanja istih ve neim drugim, a u novinama
amatere u pisanje vuku izvan- poto je itanje objavljuju sluajno. Da imaju
knji*evni razlozi, ali to nije pos- stavljeno u urud*beni broj, tekstovi bi izgle-
ve tono zato to oni prvenstve- funkciju). dali kao slu*beni dokumenti Eu-
no *ele sauvati rijei svojega za- pasterov ropske unije ili plan i program
viaja i djetinjstva. ini mi se da institut: nema Ministarstva prosvjete. Malu si
je va*nija razlika to to ih itanje mnogo lano- oputenost dozvoljavaju even-
tuih tekstova ne mo*e iznervi- va, ali prepoz- tualno u naslovima, pa se upuste
rati - itaju, a i piu, s vie u*iva- naje ih se jo s i u prpone
nja od tih profia. Prelazak iz vrata. Paginira- igre rijeima: Konvencija
bla*enog amaterizma u ozbiljno ni su, propisno lingvista lingvistike konvenci-
pisanje, ukoliko je uope mogu, naslovljeni i je, Budunost kole kola bu-
obavijen je velom tajne poput potpisani, ima- dunosti, Kongres povjesniara
nastanka svemira ili poetaka *i- ju dvostruki povijesni kongres i sline delici-
vota na Zemlji. prored, slova je. Opoj zamamnosti pridonose
anemija: to su tekstovi ko- nisu ni sitna ni i reenice koje vrve multikultu-
ji u redakciju stignu bez nadnas- kitnjasta, tipfe- ralnou, autentinou, kon-
lova, podnaslova i naslova. Obi- leri su potri- ceptima, funkcijama, metodolo-
no urednik po itanju utvrdi ka- diva: na samu pomisao da kritiku prole godine, g) pisali u gijama, identitetima, izvjeima,
ko to nije sluajno u njima se izrazi na tri (umjesto dvadeset konkurentskom listu, h) preda- decentralizacijama...
zaista nema nijedne reenice, ni- tri) kartice uvrijeeno trepe vali na konkurentskom fakulte- zadnja vura: nekim autori-
jedne misli, nijedne rijei koju bi oima i zgra*a 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 ruili, a na ne- moklov ma zadnjeg roka ve
baloni: tekstovi koji se na- hiperkorektni: nov/a poja- kom smijenom predmetu. Sas- poeo padati. Tekst predaju jo
puhuju da bi zauzeli to vei va/ak kojim/om su zahvaeni/e vim je razumljivo da postoje re- vru i tako izbjegavaju napast da
prostor. Zbog toga neprestano svi/e oni/e autori/ce, znanstve- dakcije u kojima su vie nego ga unite.
vrte iste rijei i misli. Moraju iz- nici/e i teoretiari/ke koji/e su se dobrodoli, a u koje mi nemamo zvijezda vodilja: ovu po-
bjegavati urednike s iglama za bojali/e prigovor/a zbog rod- pristupa. malo kiastu etiketu izabrao sam
kravatu ili broevima te puae i ne/spolne diskriminacije/ice. nisu sami u glavi: kao nor- zato da, poto sve slo*im po abe-
one koji zalijevaju male kaktuse jebivjetri: na njih se ne malne tekstove prihvaam sve kod cedi, najva*niji dou na kraj tek-
na stolovima. mo*e i ne smije raunati. Ako kojih nadzorni odbor kontrolira sta. Kod svih tih od A do Z jedi-
iji je du3i: ukoliko tekst trebaju doi, jo ih nema; ako su 51% duevnih dionica. No kada no je neizvjesno tko e ponijeti
ima naslov poput "Implementa- doli, ne zna se tko ih je, za kada veinski paket doe u posjed para- jebljeni. U*itak za itanje, iako titulu Mistera i Miss u svojoj ka-
cija nekoliko teza o nekim pos- i za to naruio; ako su na putu, noika, shizofrenika ili maninog pomalo sterilan. Odmah znate tegoriji, dok ovi zadnji doista
tteorijskim aspektima, odmah ne zna se kad e stii; 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 knji*evne Gapare (i Kaspa-
demskoj sportskoj disciplini tko prazna je; ako nije prazna, ne svrhe, inae se bacaju u tapecirane ilini profesori, stipendisti stra- re), tap na koji se mo*emo oslo-
ima du*i (popis knjiga u bibliog- mo*e se otvoriti; ako se otvorila, koeve za smee. Na*alost, njiho- nih fondacija, urednici knji*ev- niti putujui kroz literarnu doli-
rafiji). Vrlo su stidljivi i nikada u zara*ena je virusom koji upravo vi autori katkad urgiraju ili, jo nih asopisa i slian dokon svijet. nu suza, klju za vlastita i tua
javnost ne izlaze u Adamovu unitava hard disk. gore, osobno dou. poetniki: njihova nesi- knji*evna i *ivotna djela (dapae,
kostimu (tj. bez fusnota). Kada kriva adresa: jedina je na nonalantni: tekst glatko gurnost proizlazi iz uvjerenja da multipraktini kalauz). Rije je
nisu sigurni u sebe, odaberu nep- njima krivnja to su se nali na tee, 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 vraaju s a-
listavajui Gadamera. Ja ih rado alju aforizme u knji*evne aso- pogreno napisana, uz njih esto sne tekstove te da za njih nema robnim zvjezdanim zemljovidi-
itam jer me uvijek neemu po- pise, romane u novine, pjesme u stoji tek inicijal, citati su ne- mjesta. Dirljive li naivnosti! Toli- ma. itanje tih tekstova jednako
due, makar i tome da du*ina ni- Autoklub, savjete o ienju pouzdani i barem bez jednog ko su skromni da esto uope ni- je paranju zastora i otvaranju
je uvijek najva*nija. osobnog oru*ja u *enske asopi- znaka navoda, podaci neprovje- su potpisani. prozora u bla*im sluajevima, a u
itanje s preponama: ne se. Tako su sigurni da im nikada reni, tvrdnje nedoreene, tipfele- reagiranje: reagira na la- te*im tajfunu to odnosi krovo-
mogu odoljeti (sirenskom) zovu nitko nee nita 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% krle3osaurusi: Krle*a je ge, nedostaju bibliografski poda- e nije spomenut, na temu koja U svakom sluaju, zbog njih *i-
teksta1). Iako su te ZAGRADE mrtav, ali imitatori njegove ree- ci; ako je intervju, izostavljen je ga se uope ne tie i o kojoj nema vimo i itamo.
4 II/40, 12. listopada 2,,,.

ta, nego na svaki oblik suprema- nalne kulture u kojima nacional- mo*e dotaknuti, materijalna i gospoi Biserki Cvjetianin koja
cije koja potiskuje autentinost na kultura esto zna biti vezana duhovna. Zavrio je deklaracijom je s Culturelinkom ostvarila
kulture, od jezika i medija, do uz dr*avnu kulturu, pri emu je u kojoj se, izmeu ostaloga, na svjetsku bazu podataka u Zagre-
vrlo zanimljiv nain provlai os- bu ili o Hrvoju Hribaru, izuzet-
novna teza koja ima gotovo nor- no aktivnom u meunarodnim
Antun Vuji, ministar kulture Republike Hrvatske mativnu formu, a za koju bi filmskim udrugama i brojnim
mnogi u Hrvatskoj rekli da je drugima. Kao to je prije mjesec
konzervativna: kultura se na tr- dana reeno na skupu Vijea Eu-

Pluralizam
,itu ne smije tretirati kao roba. U rope u Bukuretu, nova hrvatska
nas se pak modernim gledanjem kulturna politika prati se s veli-
na kulturu smatra ono koje ka*e kim zanimanjem, tim vie to je
da se vezama izmeu kulture i toliko hvaljeni Nacionalni izvje-
gospodarstva, prvenstveno kroz taj o kulturnoj politici RH iz

kulturnih estetika
donacije, sponzorstva i oslobo- 1998. godine pisan kritino u od-
enje od poreza, mo*e ostvariti nosu na tadanje stanje, pa se sa-
tip kulture nezavisan od dr*ave. da *eli vidjeti kojim smo putem
U tom pogledu katkad mi se ini krenuli. Za mnoge smo pravo ot-
da smo moderniji od mnogih za krie, pa nae ideje vie ve*u uz
koje dr*imo da bi nam trebali bi- iskustva sjevernoeuropskih ze-
ti uzori. Stoga, kada bi neki nai malja nego uz nau vlastitu regi-
Kultura se na trBitu ne politikih i drugih utjecaja. Tre- dr*avna kultura najee 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 dr*avnim ritualima. ili nekih drugih kritiara, doli na turi vrlo konzervativni.
mente, a potom nai instrumente Nakon moga izlaganja nekoliko takvu konferenciju, vjerujem da
za njihovo rjeavanje, od provo- kolega mi je reklo da je to prim- bi se prilino iznenadili kada bi Jesu li u predstavljanju Hr-
Davorka Vukov Coli enja meunarodnih konvencija jereniji pristup. Naime, obino uli o emu se tamo govori. Uk- vatske u svijetu uinkovitije i
o zatiti kulturnih dobara i au- se pojednostavljeno raspravlja o ratko, injenica je da mnoge eu- vanije veze, akcije i manifesta-
Kada bi o alternativnoj, deeta- torskih prava, do poticajnog za- pitanju kulturnoga identiteta, ropske zemlje imaju etatistinije cije bilateralne naravi, poput ne-
tiziranoj kulturi u bilo kojoj od konodavstva. Mnoge je iznena- kao o obliku nacionalnog, etni- shvaanje kulture nego to ga da- davnog gostovanja zagrebakog
zapadnoeuropskih zemalja govori- dio takav pristup. No to je meto- kog identiteta ili identiteta ma- nas mi razvijamo. HNK u Budimpeti s Nikolom
li kao u Hrvatskoj, sumnjam da bi doloki obrat u ostvarivanju njih grupa. Ukazao sam na mo- ubiem Zrinskim, ili sudjelova-
to inili s toliko nezadovoljstva, praktine kulturne politike, uko- gunost da se on mo*e izvui iz ime to tumaite? nje na EXPO-u, Venecijanskom
kao to se to ini u nas. Svugdje u liko *elimo da europska i svjet- svoje primarne funkcije i falsifi- U hrvatskoj tradiciji kritian bijenalu i sajmu knjiga u Fran-
Europi ima etatizma, i u drugim ska zajednica formira djelotvor- cirati putem dr*ave. je odnos prema dr*avi, koji se kfurtu...?
zemljama ima historicizma. Pre- ne sudove i akcije. zadr*ao i danas kada je ta dr*ava Teko je na to jednoznano
ma nacionalnoj batini i drugi se to je inae bila glavna tema prvi put naa. Iskustva poput na- odgovoriti. Na paviljon u Han-
esto odnose na memorijalan, ju- Mentalitet Zareza ovogodinjeg Skupa ministara ega mnogi narodi jednostavno noveru jedan je od najposjeeni-
bilaran nain, a nacionalni i kul- O emu ste inae govorili na kulture u Grkoj? nemaju. Francuzi ili Grci nisu jih, i to doista nije pretjerivanje.
turni identitet u Zapadnoj Europi skupu? Kakva iskustva moe hr- Osnovna je tema bila zatita morali u tolikoj mjeri razvijati tu Nakon zavretka programa pos-
nerijetko se shvaa kao jedan. Ne vatski ministar kulture ponuditi kulturnog nasljea, pri emu se vrstu kulturnog iskustva koje dr- jetitelji redovito pljeu, to se u
spominjem to stoga da bih kultur- ostalima? pod nasljeem ne podrazumije- *avu uvijek smatra neim sum- drugim paviljonima ne dogaa. 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 to se u dana- veoma jak. Ne mislim da je loe konzervativne i birokratske bila-
naglasim da je konzervativno dini koji je upozorio na negativ- njoj terminologiji naziva dodir- to ga imamo, no bilo bi dobro teralne odnose. Nije stvar samo
shvaanje kulture uvelike prisutno ne elemente u shvaanju nacio- ljiva kultura i kultura koja se ne da se nae prava mjera. A prava u tome da mi aljemo ono to je
u mnogim europskim zemljama, a mjera bila bi ono kako zamiljam nama najlake poslati folklorni
da smo mi ve sada ispred mnogih. i voenje Ministarstva: kada go- ansambl, gudaki kvartet ili et-
vorim o kulturi, uvijek govorim nografsku izlo*bu nego to to
- To je osnovni dojam koji je o i-i, nikada o ili-ili. Uvijek govo- najee tra*e te druge zemlje.
Antun Vuji stekao na netom rim u konjunkcijama, nikada u Svugdje gdje dr*ava posreduje u
zavrenom godinjem summitu disjunkcijama, uvijek smatram i kulturnoj razmjeni i odnosima,
ministara kulture, odr*anom na najozbiljnije mislim da je plurali- kultura se obino svodi na stan-
grkom otoku Santorini zadnje- zam kulturnih estetika bitan za dardne oblike, pa se uglavnom
ga tjedna rujna, na temu zatite kulturu, a u tome se razlikujem i radi samo o tome kolika se koli-
kulturnog nasljea. od nekih mojih prijatelja i od ne- ina takve kulture razmjenjuje.
kih mojih protivnika. Dolazi li cijelo kazalite ili samo
Nedjelotvorno slaganje manji broj solista zbog rezanja
- Redovito sastajanje minista- Pravo otkrie trokova, velika izlo*ba ulja ili
ra kulture inicirao je prije nekoli- U nekim svjetskim medijima, grafika zato to su jeftinije. S
ko godina Meksiko, a mre*u je poput kritiki raspoloenog New druge strane, Nikola ubi Zrin-
razvila Kanada, okupivi prve lju- York Timesa, prvi put sa simpati- ski pokazao je u Maarskoj neto
de iz kulture tridesetak zemalja jama i razumijevanjem piu 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 tra*e rjeenja posljedica promijenjene politike tovanje se pokazalo kao sjajan
zajednikih problema. U mre*i klime u odnosu na Hrvatsku? potez ne samo kao mogue o*iv-
dominiraju zemlje koje kulturu ljavanje politikih odnosa, nego
ne zamiljaju na nain meltingpo- Dakako! Hrvatska odjed- prije svega kao o*ivljavanje me-
ta i premda na skupove dolaze nom postaje domain konferen- usobnog srdanog raspolo*enja
promatrai iz SAD, nije sluajno cijama na kojima je ranije jedva dvaju naroda.
da s amerikog kontinenta glav- bila gost. Osim spomenutog
nu rije vode Kanada i Meksiko, skupa u Dubrovniku, 2003. godi- ensko rublje
a od europskih zemalja one koje ne bit emo domaini i godinjeg Ako sam dobro obavijetena,
su kritine prema amerikom svjetskog skupa mre*e ministara Zagreb se kandidirao za Europ-
konceptu, pogotovo kada je rije kulture, to pokazuje da Hrvat- ski grad kulture 2004. godine.
o zatiti europske tehnologije i ska kao mala zemlja u*iva sve ve- Koliko su takvi planovi i elje
nacionalne kulture, to e rei i ugled, a on raste zahvaljujui realni?
poglavito Francuzi, ali i drugi. prije svega brojnim kulturnim
- U tom drutvu Hrvatska se djelatnicima koji u razliitim me- Zagreb nee biti grad kultu-
od nekadanjeg promatraa od- unarodnim forumima potvru- re zato to bi on to *elio, on to
nedavna prometnula u aktivnog ne bi bio ni kada bi to nominalno
sudionika. tovie, ministar Vuji postao ako ne bi u stvarnosti bio
najavljuje da e krajem o*ujka u grad kulture. Prema tome, ne
Dubrovniku biti domain europ- Hrvatska kao mo*e se razmiljati o Zagrebu
skog skupa na temu kulture i na- kao europskom gradu kulture
silja. mala zemlja uEiva 2004. ukoliko se neke stvari bit-
Veina konferencija zavrava no ne promijene u gradu, a onda
opim, ali nedjelotvornim slaga- sve vei ugled i u dr*avi jer su Zagreb i dr*ava
njem, jer se pobroje pozitivne uvelike povezani. injenica je da
vrijednosti prema kojima se us-
zahvaljujui danas u Zagrebu imamo znatnih
mjerava kulturna politika, a ja
sam predlo*io da krenemo pu-
brojnim kulturnim problema i s kazalitima, i s gale-
rijama, i s izlo*benim prostori-
tem negativnog odreenja onoga djelatnicima ma. Javna sramota je pomanjka-
to ograniava kulturu, za to je nje odgovarajueg izlo*benog
Dubrovnik vie nego dobro prostora. To je grad koji nema
mjesto jer pokazuje i najdrasti- Muzej suvremene umjetnosti ni-
nije oblike nasilja prema kulturi ju visoki modernitet nae kultu- ti ima uvjeta za primanje znaaj-
ka*e Vuji. Dakako, pod nasi- re, bilo da je rije o sudjelovanju nije svjetske izlo*be. To je grad u
ljem u kulturi ne misli se samo na gospoe Naime Bali u radu tije- kojem neki misle da je kazalite
bombardiranje i ruenje objeka- la Vijea Europe, bilo da je rije o preskupo, a to je kazalite s go-
 II/40, 12. listopada,,,. 5

tovo jednom nulom jeftinije od da ne govorim o jednom Ham- dr*ave, gdje Ministarstvo dodue Svaka promjena vlasti u nas municiranja sa svijetom i interesa
bilo kojeg slinog kazalita u Eu- burgu gdje gradski teatar ima 80 odobrava bud*et, pa je potpis znai promjenu zakona, korjeni- samoga grada i turizma. Po svoj
ropi. etiri glavna beka teatra milijuna DEM godinjeg bud*e- ministra zadnji, ali ministar ga te reforme i nove sustave odlui- prilici postoje razliita vienja
imaju bud*et jednak bud*etu ta. Ne mislim da bi to morao mora javno obrazlo*iti, ime je vanja. Jesu li i kulturna vijea kako do toga doi, pa emo us-
Ministarstva vanjskih poslova imati Zagreb, jer Njemaka i Hr- struka kultura javnost osigurana jedna od takvih promjena ili e porediti argumente, osvrnuti se
Austrije, to najbolje govori o vatska nisu isto, no to bi trebao kao trolana dinamika, a ne kao to biti ipak trajno rjeenje? na njih kritiki i donijeti rjeenje.
tome koliko Be dr*i do kulture biti smjer, ali za mnoge to jo ni- odnos subordinacija i nametanja. Naglasak je upravo na stva- Prije toga ne *elim komentirati
i umjetnosti. Samo Budimpe- je tako. Time emo, uvjeren sam, pitanje ranju sustava koji e djelovati niiji pojedinani rad. U svakom
tanska opera ima 1.600 zaposle- etatizma, decentralizacije i de- neovisno od politikih struktura. sluaju, tko god vodio Igre, mora
nih! Ako Moderna galerija, una- Oslobaanje od PDV-a monopolizacije rjeavati na viso- Smatram da ono to dolazi s po-
to initi na temelju nekoliko kri-
to nekom proirenju na poticaj Ove se godine takoer posta- koj europskoj razini koju nemaju litikom, treba ii s politikom, a
terija, i radnih i strunih, a i spo-
Ministarstva, jo nije spremna vilo i pitanje zato Frankfurtski ni sve va*ne europske zemlje. to je vrh odluivanja koji se od-
ugostiti znaajniju izlo*bu, ako sajam knjiga osim Ministarstva Meutim, upozoravam, bit e to nosi na ministra, zamjenika, sobnosti da komunicira s drugi-
mjesecima ne funkcionira ak ni financira i grad Zagreb. Nije li u poetku prilino bolan proces. eventualno i pomonike. Sve os- ma. Kako inae raditi? Kada je ri-
tako mala galerijica kao Galerija to inio i ranijih godina? talo je nezavisna tehnologija koja je o Dubrovniku, osobno se os-
Forum, jer se ne mogu rijeiti Sukobljene strane mora osigurati autonomnost jeam pomalo iznevjeren. Ne sa-
problemi prodavaonice *enskog Na temelju ega to zakljuujete? kulture. To je osnovna politika mo da su bila osigurana velika
rublja, onda su to veliine koje Na temelju negativnih is- ideja kulturnih vijea i ba zato u sredstva, nego je osim njih, iz te-
odreuju je li naa metropola Ako Zagreb neto kustava s formiranjem prvih pov- ali ka*em da *elim biti zadnji kue rezerve, osigurano i podmi-
doista europski grad kulture ili jerenstava za film, kao posljedice va*ni ministar kulture. renje starog duga Festivala, to u
nije. Prema tome, mislim da bi se hoe, mora znati spomenutoga sindroma odnosa ovim vremenima besparice nije
puno vie trebalo koncentrirati prava i odgovornosti. Osim toga, Izlaganje koEe bilo nimalo lako i za to sam na
na ono to spominjem kao druk- vezu izmeu svjestan sam da monopoli posto- Sjednica Vijea Ljetnog festi- Vladi izlo*io vlastitu ko*u. Kao
ije shvaanje kulture u gradu, a
mnogo manje na nominalni nas-
kulture i injenice je i u strukama, a ne samo na re-
laciji struka-dr*ava. Ako oni koji
vala Dubrovnik ve e se odrati
kada izae ovaj broj Zareza, pa
kolektivnu zahvalnost dobio sam
javne polemike o stupidnim stva-
lov, do koga je vrlo teko doi na da je on glavni grad odgovornost konzumiraju kao ipak kako ocjenjujete Festival i rima, to me povrijedilo i kao
postojeoj podlozi. Kuda god pravo kritike, a ne i kao pravo to bi trebalo mijenjati? ovjeka. Kako u sljedei put na
krenete, neto ne tima, jer Zag- prihvaanja suodluivanja, ne Na sjednici se usvaja finan- Vladi tra*iti novac za neto to
reb ni u ranijem re*imu nije bio ponu mijenjati taj mentalitet, cijski i programski izvjetaj, raz- e mo*da biti i va*nije od starih
dovoljno kulturan grad, bez ob- Tako je to ve godinama, a imat emo vrlo rizian proces u matra prijedlog novog Statuta i
dugova Festivala?
zira to mislio o sebi, a u posljed- prvenstveno zato to 95% izda- kulturi, no nadam se da se Minis- potvruju ili ne potvruju kad-
njih deset godina to je jo manje vaa djeluje u Zagrebu, pa ovdje tarstvo nee morati vraati na rovska rjeenja. U ovom trenut-
bio, zbog ega ni sada nisu rijee- plaaju i poreze, te se ti omjeri fi- kontrolnu funkciju. Netko e ku mogu tek rei da e se sve do- to vam se ini najuspjenijim
na neka kljuna pitanja, pa Mi- nanciranja nikada nisu dovodili u morati odobriti odlazak na Ma- gaati pred licem javnosti. Stav je postignuem u nepunoj godini
nistarstvo daje poticaj i pomo pitanje. Prvi se puta dovode u pi- nifestu, netko e morati odobriti dana mandata?
da se neke stvari promijene. tanje sada, to je izdavae stavilo sredstva za zatitu spomenika, Uspjeli smo poveati udio
u nevjerojatan polo*aj, o emu je netko e morati odrediti priori- kulture u proraunu, to smat-
Jo o mentalitetu predsjednik Vijea zajednice tete, a prema tom Zakonu sve to Najneugodnije je ram ozbiljnim i, ako nita drugo,
mjerljivim uspjehom. @eljeli smo
Na to mislite? nakladnika i knji*ara Albert Gol- nee smjeti odluivati ministar.
Vidjeli smo diskusiju o dstein dao svoje miljenje. Eto, i Time e se ubla*iti stari odnos kada vas se ne kulturu staviti u aktivniji polo*aj
HNK, vidjeli smo poetke meni to je mali detalj koji pokazuje da kulture i dr*ave kao sukobljenih i na razini Vlade shvatilo se da to
nekih nesimpatinih shvaanja s takvim mentalitetom neemo strana, koji je istodobno poticao kritizira, nego nije potronja, nego ono to Hr-
oko izgradnje Muzeja suvremene puno postii. neodgovornost na jednoj, a sa- vatsku ventilira i osposobljuje za
umjetnosti, vidimo da se mnogo movolju na drugoj strani. Bit e
proziva zbog stvari svaku drutvenu, pa i gospodar-
pria o smanjenju gradskog nov-
ca namijenjenog kulturi. Ne mo-
Prijedlog Zakona o kulturnim
vijeima je u proceduri. Zato
vie polemika, ali one nee imati
samo jednu adresu i nadam se da
s kojima nemate sku egzistenciju.
gu biti kritiar proraunske poli- Ministarstvo toliko insistira ba e vijea biti neka vrst sanatorija nikakve veze A to vam se inilo najgorim
tike Grada, ali ako Zagreb neto na tom zakonu, kao prvom koji za ozdravljenje cjelokupnog od- tijekom dosadanjeg mandata?
hoe, mora znati vezu izmeu e biti donesen u podruju kultu- nosa prema hrvatskoj kulturi, u Najgore su mi bile krive op-
kulture i injenice da je on glavni re? kojemu u kako ka*em u ali, tu*be. Ministarstvo se tako stal-
grad. Mora znati da se od plaa Zato to je rije o bitnoj no- ali u njoj je pola istine biti pos- Ministarstva takoer da Grad
no poziva na odgovornost zbog
koje taj glavni grad ima samo za- vini u rekonstrukciji odnosa iz- ljednji va*ni ministar kulture u mora preuzeti svoju obvezu, kao
mogueg gostovanja neke beog-
to to je glavni ubiru prihodi koji meu hrvatske kulture i dr*ave. Hrvatskoj. i prava koja ima kao osniva, i u
moraju ii i u kulturu. Mo*da je Pokazalo se, naime, da ljudi *ele tom pogledu za sada nema bitnih radske grupe u Hrvatskoj, kao da
najjednostavnija veza izmeu prava u odluivanju, no kada su u Koliko e po vaoj procjeni nesporazuma. Ministarstvo *eli, 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 dou dva velika broda i *ele prihvatiti odgovornosti koje jea doista zaive? financiranju festivala, osigurati proziva zbog stvari s kojima ne-
iskrcaju turiste, onda to sigurno im uz ta prava pripadaju. Tim za- Ne *elimo *uriti, a vezuje politiku koja je va*na na repub- mate nikakve veze. Vrlo muna
ne ine zbog kupanja, a to isto konom *elimo ostvariti naelo nas i saborska procedura, pa vije- likoj razini, a to je anga*iranje mi je bila i dubrovaka polemi-
treba shvatiti i Zagreb, da ne spo- po kojemu kultura i kulturni dje- a jo nee odluivati o raspodje- strunih ljudi, sposobnih za vo- ka.... a ostalo? Ostalo je uglav-
minjem primjere Budimpete i latnici odluuju prvenstveno sa- li predstojeeg prorauna, ali e enje i realiziranje programa na nom prilino dobro, a i imam op-
Bea koji su nam pred vratima; mi o sebi, uz rezervnu poziciju ga ubrzo nadzirati. razini nacionalnih potreba, ko- timizam pamenja.
6 II/40, 12. listopada 2,,,.

Nakladnitvo i itekako *iv u nakladnikoj djelat-

nosti u Hrvatskoj. Trendovi rasta
zabilje*eni sredinom ovog deset-
ljea nakon pretrpljenih pokusa s
(i ne mo*e) uvesti samo jednu ili
vei broj jeftinih stranih knjiga.
Uvoznici knjiga esto su u prilici
odbiti pojedinane narud*be i

izdavatvo: stanje PDV-om bili su urueni. Dodat-

ne neprilike koje prate hrvatsko
gospodarstvo kao mnoga slina u
tzv. tranzicijskim zemljama samo
uglavnom se na narud*be stranih
knjiga osvru kad njihov broj
mo*e znatnije umanjiti prosje-
nu cijenu koju uvoznik nakon
nih i stvarnih nakladnika i izda- jalnu situaciju od one to je ima- pojaavaju negativne trendove u
vaa. Dok prvi broj govori o do- ju pisci i knji*evnost u Hrvat- proizvodnji i plasmanu knjiga. plaanja da*bina mora formirati
Fragment teksta Strategija tad registriranim nakladnicima i skoj. Prvih est mjeseci ove 2000. Novih zakona u vezi s knji- za kupca. Ili kratko reeno: dek-
razvitka kulture iz dionice izdavaima, drugi je stvaran broj godine pokazuje lagani opora- gom jo nema, ali se u novije vri- laracija o oslobaanju od carine
Knjievnost i nakladnitvo onih koji su u 1998. godini obja- vak, pa je ve mogue rei da e jeme pokazalo da postoji javna i uz le*arinu, obavijest o prispije-
vili makar jedan naslov. Kad zat- broj od preko 3.000 naslova u tajna legislativa. Odnosi se na u i predpregledu (!) iznosi po
ra*ite 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. jo je me premalo je razloga za optimi- osloboenje od carine prema na- do 270 kuna bez obzira koliko je
ostojee podatke treba po- udnija: prema postojeim poda- zam. em zakonu i potpisanim meu- knjiga u tih pet kilograma.
sebno komentirati, a upu- cima 2.829 izdavaa i nakladnika Kad je rije o proizvodnji narodnim konvencijama (ne pla- Procedura za asopise je sli-
uju na nered koji vlada u objavilo je 2.940 naslova. Stvar- knjige u Hrvatskoj mnogi su se a se carina ni PDV) ne znai i
na, a ponekad (!) joj podlije*u i
regulativi tih podruja. Iako je o nost je ipak poneto drukija. ve pitali to je to ona donja gra- oslobaanje od znatnih carinskih
tome bilo govora i u prvom dije- da*bina koje propisuju interni katalozi nakladnika koji su naj-
lu istra*ivanja u projektu Kultur- akti. Prema tim aktima obvezat- ee besplatni!
na politika u Republici Hrvatskoj,
Statistika proteklih godina navodi: na procedura carinskog postupka Za razliku od nabrojanih
va*no je ponoviti da se prilike ni- pokazala se u praksi i sastoji se u uvoznih propisa izvoz knjiga
su ni poboljale, a jo manje sre- tome da svaku fakturiranu poilj- pretrpio je slijedee nove izmje-
dile. Konkretno to znai da nije godina broj naslova broj izdavaa i nakladnika ku koja stigne u zemlju, bez ob- ne:
mogue dobiti stvaran broj nak- zira na vrijednost i broj knjiga, - ove godine ukinuta je pov-
ladnika i izdavaa, a ni specifika- prati isti postupak: latena 30% ni*a tarifa za po-
ciju knjiga po podrujima. Tako 1997. oko 3.600 oko 1.600 - svaka poiljka se evidentira i tanske isporuke knjiga i asopisa,
se u broju nakladnika i izdavaa skladiti u carinskom skladitu i a uveden dodatni troak od 10 kn
esto nalaze "mrtve due", od- naplauje poetno s 29 kn za prvi
nosno oni koji du*e vrijeme nisu 1998. oko 3.150 oko 2.400 / 1.074 dan te 7,20 kn za svaki sljedei
po svakom paketu koji odlazi iz
zemlje.
objavili nijedan naslov ili su se dan (postupak izuzimanja poilj-
ak u meuvremenu ugasili. U ke traje u prosjeku od 3 do 8 da- Njih zasad nitko od korisnika
tom smislu mo*da je u*i pokaza-
1999. 2.940 2.829 na), nije dobio na uvid, ali su zato ite-
telj broj nakladnika i izdavaa s - za svaku poiljku posebno kako osjetili njihov uinak. I dok
makar dva objavljena naslova. Ma kako statistika bila loa 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 i i odumiranje. rinsku deklaraciju koja stoji 170 oslobaanja od carine pogaaju
ali taj broj takoer malo govori naslova protekle dvije godine U prvom dijelu Kulturne poli- kn na vie (tonije 50 DM plus uvoznike i pojedince, oni koji se
jer u njemu su sadr*ani svi: od pao ispod razine koja je dopusti- tike Republike Hrvatske pitali PDV!) te odnose na izvoz pogaaju nak-
stvarnih nakladnika i izdavaa va. S upola manjim brojem sta- smo se o uincima najavljenog - platiti za to 50 kn biljega. ladnike, izdavae i ukupne poku-
knji*evnih djela do opinskih iz- novnika susjedna dr*ava Repub- PDV-a na kulturu pa tako i knji- Opisanim nainom oslobaa- aje da kulturnom proizvodu
danja ili *upnih ureda. lika Slovenija ostvaruje isti broj gu. Oekivao se poraz. Iako u nja od carine pri uvozu knjiga in- omoguimo to jednostavniji put
Na dvije brojke izdavaa i naslova bez tendencije pada, a meuvremenu i uveden i ukinut, ternim aktima uvedeni su pos- izvan vlastitih granica.
nakladnika 1998. godine mogue njezini knji*evnici imaju sasvim porez na dodanu vrijednost svo- tupci koji toliko poskupljuju
je oitati razliku izmeu virtual- drugu i drutvenu ulogu i materi- jim je negativnim posljedicama uvoz knjige da vie nitko ne *eli
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 II/40, 12. listopada,,,. 7

dvotjednik za kulturna i drutvena zbivanja zagreb, 12. listopada 2000, godite II, broj 40

Uredile:
Katarina Luketi
Iva Plee
Duanka Profeta

Sv. Jeronim, Museu National de Arte Antiga, Lisabon

Recentna hrvatska knjievnost

52 naslova za 52. Frankfurtski sajam knjiga

Iako hrvatska knjiBevnost ne moBe bismo njima pomogli, a itateljima su izdanja hrvatskih autora te autora
raunati na znatnu recepciju i komer- omoguili uvid u nau tekuu knjiBev- koji su svoja djela objavili prvi put up-
cijalne uspjehe izvan granica svojega nu produkciju, vei dio Zareza ustupili ravo kod hrvatskih izdavaa. 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 skraenom led, ve je odraz vrijednosnih sudova
europske i svjetske kulture knjige. Da obliku iz prolih brojeva. Predstavljena naih autora i urednika.

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

situacija usporeuje sa ahov- otvorila je teorijsku raspravu o prve faze hrvatske knji*evnosti pripovjedna distanca je uspostav-
skom igrom. Nije rije o figura- odnosu knji*evnosti i zbilje. No, devedesetih (do 1995) neposto- ljena stvaranjem fiktivnoga lika, a
ma, nego o osobama koje se kao glavni *anr prve polovice devede- janje distance, vremenskog od- pripovijedanje vie nije opteree-
maka od (ratne) stvarnosti, to no dokumentarnim izvjeiva-
ima za posljedicu nepostojanje njem i politolokim analizama.

Knjievno vrijeme:
razvijenih fikcionalnih modela Tu liniju nastavljaju Alemka
pripovijedanja. Fikcionalni okvir Mirkovi i Ratko Cvetni, dvoje
nerijetko se u tekstovima toga autora koji su u kritiarskoj re-
vremena do*ivljava neprirodno, cepciji napokon preli granicu
kao nasilno prirodan znak "um- prema knji*evnosti. injenica

sadanjost jetnosti" na "sirovu" stvarnost. U

tom prvom razdoblju, valja nag-
lasiti, nismo imali esto posla s
patetinom i implicitno apolo-
getskom literaturom, tek u pri-
to su se pisci bez "knji*evnog
pedigrea" dvije godine za redom
ovjenali literarnim nagradama
nije prola bez otpora u taborima
kritiara i knji*evnih udruga. i-
godnoj lirici i spomeniarskim tateljska recepcija i zdrav razum
setih bio je esej, slo*ena vrsta ko- izdanjima. Prie koje su se izno- kritiara nadvladali su, naposljet-
Kako smo, tijekom deset ja spaja elemente pripovjednog i sile u prognanikim i ratnim ku, ukorijenjeni otpor hrvatske
godina literarnoga preob- refleksivnog, autobiografskog i zbornicima bile su odvie mune knji*evne tradicije prema auto-
raBavanja, stigli od progna- teorijskog. Esejistika, u rasponu i tragine da bi mogle ukraavati. biografskim formama i "nelite-
nikih ispovijesti do Ban- od dnevnih kolumni do literari- Najkrae: svjedoanstva o silova- rarnoj" literaturi. Autobiografski
ziranih eseja, bila je dominantni njima i metodama etnikog i- tekstovi u hrvatskoj knji*evnosti
rovskog "ratnog romana" nain itanja stvarnosti i pisanja enja mogu biti ideologizirana i knji*evnoj kritici rijetko se, nai-
o njoj: Barikade Borisa Budena i tek kad se odmaknu od svojih me, smatraju "pravom" knji*ev-
Andrea Zlatar Kultura la,i Dubravke Ugrei autentinih iskazivaa. nou. Spoitava im se pretjera-
vrhunski su domet prve polovice, no razotkrivanje privatnosti, pad
a u knjigama sabrane kolumne Ratna autobiografska proza u banalnost i svakodnevicu ili
jeate li se uope kako je Ive @ania, Zvonimira Berkovia, Sredinom devedesetih na knji- memoarska vezanost za povijes-
izgledala knji*evna pano- Viktora Ivania i Slobodana *arskim policama svakodnevno ni kontekst, stilska nedotjerano-
rama Hrvatske poetkom najdera druge polovice devede- su se poeli zatjecati novi i novi st. Sa svim tim predrasudama
devedesetih? Barem to se pripo- setih godina. naslovi koji pripadaju "ratnom suoavala se autobiografska pro-
vijedanja tie, okviri su bili jasno za devedesetih. 91,6 Mhz. Gla-
postavljeni. vrste okomice som protiv topova Alemke
predstavljali su prozni doajeni Mirkovi pripovjedni je tekst u
Ranko Marinkovi i Slobodan retrospektivnoj formi koji stvar-
Novak, ija su se djela, neto mogu mijenjati i njihov je broj ne osobe i likove uobliuje u na-
prorijeena u ritmu izla*enja, naelno neogranien. Ne radi se petu fabulu, a Cvetniev Kratki
doekivala s du*nim potova- ni o zadanom polju igre s pozna- izlet predstavlja rafiniranu esejis-
njem i zanimanjem. Odmah uz tim pravilima: prostor za pisanje tiku 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 pripovjedake svijesti, a
kao pisci razliitih estetikih pri- ne s pomou fabularnog slijeda
padnosti. Srednju generaciju, jo Vrijeme dokumenata ili dogaaja. Alemka Mirkovi i
uvijek s epitetom "mlaih", zas- dokumenti vremena Ratko Cvetni nisu bili va*ni sa-
tupali su Pavao Pavlii i Goran O hrvatskoj knji*evnosti de- mo kontekstualno, kao dokaz da
Tribuson, pokuavajui uporno vedesetih prvi sam put pokuala se o ratu mo*e pisati iako su pro-
kritiarsku i itateljsku eljad sustavno razmiljati 1995. kada je fesionalne muze uglavnom utje-
priuiti *anrovskoj literaturi, za asopis Dubrovnik Vlaho le, ve zbog toga to su pripov-
poetici kriminalistikog i fantas- Bogii prireivao temat pod na- jednu vizuru pomaknuli na pozi-
tikog romana. Cjelovitu sliku zivom "Dokumentarnost u suv- ciju pojedinca. Njihov je pripov-
upotpunjavali su kvorumai, kao remenoj hrvatskoj knji*evnosti". jeda ne sluajno u 1. licu
"nositelji avangardnih tendenci- Neosporna injenica rastueg osamljena i izdvojena jedinka ko-
ja" i spisateljice identificirane sin- broja autobiografskih i doku- ja, korak po korak uz "povijesne"
tagmom "*enskoga pisma": Irena mentarnih tekstova u prvoj polo- dogaaje, gubi iluziju o njihovoj
Vrkljan, Dubravka Ugrei i Sla- vici devedesetih nagnula je vagu univerzalnoj va*nosti i postaje
venka Drakuli. Dakle, imali smo izmeu faction i fiction literatu- svjestan traginosti svake pojedi-
sve to jedna knji*evnost treba re u korist fakticiteta u tekstu, u nane sudbine. "Mala pria" nad-
imati: *ive klasike, tradicionalis- korist stvarnosti koja zarobljava vladala je "veliku priu" i time je
te, tzv. "trivijalnu" a priznatu lite- pripovjedni interes. Svejedno definitivno otvoren prostor ro-
raturu, mlade buntovnike i *ene. mislimo li mi da je knji*evnost manu. I Alemka Mirkovi i Rat-
Priznajem, kad sada gledam devedesetih odrediva kao doku- ko Cvetni objavili su knjige
osamdesete, ini mi se da smo ment vremena ili smatramo da je 1997: tu godinu mo*emo smat-
imali prilino dobru knji*evnost, ona posljedica vremena dokume- rati zavretkom drugog, sredi-
knji*evnost koja je imala unutar- njeg razdoblja hrvatske knji*ev-
nje kriterije vrednovanja i poeti- nosti devedesetih. Njezina je
ka naela o kojima se moglo ras- Glavni Eanr prve centralna linost, meutim, pisac
pravljati. Koliko bi ta idila trajala kojega dosad nismo spomenuli:
da povijest nije umijeala svoje polovice devedese- Miljenko Jergovi. Njegove pro-
prste? O tome ne mogu ni naga-
ati.
tih bio je esej, ze Sarajevski Marlboro, Karivani
i Mama Leone dugorono pru*a-
Dananja slika hrvatske pri-
povjedne knji*evnosti izgleda mi
sloEena vrsta koja ju iskoristivi model pisanja: rije
je o suvremenoj urbanoj prozi s
mnogo raznorodnije i bez mo- spaja elemente elementima ispovjednog, auto-
gunosti da je usustavim u preg- biografskog diskursa. Oni koji
ledan niz. Na pitanje to se doga- pripovjednog i U cjelini gledano, u zamislivi diskursu" njihovi autori uglav- Jergoviu nisu skloni pokuavaju
alo s proznom proizvodnjom u okvir dokumentaristike i stvar- nom su bili bez literarnog podri- ga odijeliti od hrvatske knji*ev-
Hrvatskoj tijekom devedesetih, refleksivnog, nonosne literature devedesetih jetla, a za imena smo im ponekad nosti nizom razliitih i meu-
nije teko dati odgovor jedino sa ulaze sljedee grupe tekstova: uli iz ratnih izvjea. Uz oeki- sobno nesklopivih argumenata:
statistike strane. Pojavili su se
autobiografskog zbornici razliitih dokume- vanu i uobiajenu produkciju pie o Sarajevu i bosanskim te-
novi autori, a sve navedene gru-
pacije iz osamdesetih u veoj su
i teorijskog nata i svjedoanstava (tematski
vezani uz prognanike i izbjeglice
"vojnike literature", knjiga me-
moarskog diskursa koje imaju
mama, previe pie za novine, je-
zik mu ba nije "ist" (tj. hrvatski
ili manjoj mjeri pre*ivjele, s time ili ratne operacije), jasnu funkciju dokumentiranja, ist), nacionalno je sumnjiv itd.
da su izgubile meusobni odnos nata, ne mo*emo osporiti inje- publicistika i feljtonistika, pojavili su se naslovi koji upuu- Svi ti bijedni argumenti (koji su,
hijerarhije. Tonije bi bilo kazati nicu svakodnevne opkoljenosti mnogobrojni ratni dnevnici ju na transpoziciju dogaajnoga usput reeno, nu*na i logina
da su pre*ivjeli pisci kao pojedin- tekstovima koji su, na razliite (od imunovia i Grugurovca do u pripovjedno. Prva knjiga Pavla posljedica samodovoljnog poi-
ci koji su morali nastavljati svoju naine, govorili o zbilji. Iz aspek- @eljka Ivankovia i Ivana Lovre- Kalinia Ni pukovnik ni pokojnik manja hrvatske kulture) otvara-
karijeru samostalno, bez zajed- ta literature poetak devedesetih novia), primjer je takve primarne tran- ju, meutim, pitanja sa suprot-
nikog zatitnika poetike ili *an- obilje*ile su u tom smislu knjige autobiografska pripovjedna spozicije, u kojoj se mijeaju do- nim vrijednosnim predznakom:
ra. I politika je tu uplela svoje pr- @eljke orak (Krhotine) i Pavla proza. kumentaristika proza, politiki ime se mjeri neija prisutnost u
ste: Aralica je, na primjer, dobio Pavliia (apudl), a iz pozicije U tu posljednju grupu auto- komentari i ispovjedna retros- kulturi ako ne umjetnikim utje-
izdvojenu kategoriju "dvorskoga knji*evne teorije Dubravke biografsku pripovjednu prozu pekcija dogaaja. Osnovni je ton cajem i recepcijom u publici? A
pisca", a *enske autorice listom Orai Toli (Knji,evnost i sudbi- u prvoj fazi ubrajam tekstove u pripovijedanja osobni, koji istie toga Jergoviu ne nedostaje.
su promaknute u "vjetice" i disi- na):Krhotine su bile prva knjiga kojima se koriste jednostavni au- toku pro*ivljenoga i stvara do-
dentice. Zbivanja u literaturi de- u kojoj se izla*e u fragmente raz- tobiografski oblici, bez namjere jam autentinog, estetiki nepos- Napokon: romani kao fikcija
vedesetih nisu, meutim, samo lomljena, mala i privatna pria, da se konstruira fikcionalni mo- redovanog iskustva. Kalinieva ini se da su kritiari napo-
pomicanja istih figura po zadanoj apudl je otkrio preobrazbu pis- del prie ili likova; kao primjer druga knjiga - Requiem za jednu kon odahnuli kada su se, od
ploi. Zapravo i nema nikakve ca fantastiara u autobiografiju, a mo*e slu*iti Pria po Pavlu Slavi- mladost, moju baku i USA (1996) 1998. nadalje, poeli pojavljivati
osnove da se hrvatska knji*evna Oraikina Knji*evnost i sudbina ce Stojan. Temeljno je obilje*je ve je strukturirana kao roman: romani koji su "od poetka do
 II/40, 12. listopada,,,. 9

kraja" i izgledali kao romani. vam lagala, 1998) kao i knjige nasilju. Destruktivni obrasci obi- Drugaiji tip konvencionalizira-
Bez dvojbe o autobiografskom uspomena iz djetinjstva i mla- teljskog *ivota (ukljuujui i te- nih i predvidljivih prizora/likova
ili fikcionalnom, o dokumen- dosti koje su objavili prvaci me kao to su incest, pedofilija, nude drame dvojice autora vul-
tarnom ili umjetnikom, nova *anrovske literature osamdese- garnih groteski: mislim na Ro-
je generacija pisaca *anrovski tih, Pavao Pavlii i Goran Tri- berta Periia i Filipa ovagovia.
itko ispisala tekstove koji su
bili dogaajno situirani u vrije-
me i prostore Domovinskoga
buson (Rani dani,1998). Da je
autobiografija tijekom devede-
setih postala samostalan i cije-
Opasni stihovi, Najinovativnijom i najzanim-
ljivijom dramatiarkom dekade
smatram Ivanu Sajko, posebno u
rata, ali su u izboru pripovjed-
nih strategija slijedili fikcional-
njeni *anr, pokazuje i specijali-
ziranje pojedinih izdavaa za tu beskorisne zastave komadima kao to su Narana u
oblacima ili 4 suha stopala. Sajko
ne modele. Jurica Pavii, Ante tematiku. Tako Durieux, nakon je sposobna za pisanje unutar
Tomi, Igor Irene Vrkljan i narkomanija) predmetom su in- granica realistike motivacije
Petri, Josip Ivana Lovreno- Najmlaa i najintrigantnija teresa dramatiara poput Ivana (moj dramski ljubimac ipak osta-
Mlaki autori Romaneskno via, izdaje dra- generacija domaih Vidia i Lukasa Nole, no obojica je njezina modernistika drama
su koji tran- gocjena sjea- dramatiara mahom mlaih autora nemaju mjere u Obojeni dom), ali autoriini
sformiraju is- nasljee osamde- nja Eve Grli i izbjegava eksperimente s eksploatiranju atmosfere crtano- kreativni prioriteti pristaju uz
kustvo rata u Sonie Wild filmske groteske, toliko karakte- postmodernistiki *anr fantasti-
fikcionalne setih omoguilo je Biani. formom, ali uvodi niz ristine za poetnike korake u ke te lirske drame apsurda. Na-
forme romana,
stvaranje Eanrov- novih tema, te nov svim vrstama pripovijedanja. Po- rana u oblacima predstavlja nam
uglavnom u A ostali? kritiki senzibilitet navljaju se kako u tematskom, *enski lik koji sti*e u istilite
treem licu. U
njihovu se pri-
skih oblika roma- Linija izla-
ganja, koja je
tako i u stilskom registru. Zrelu
satiriku vjetinu sauvao je i
nakon poinjena samoubojstva,
tra*ei svog ljubavnika za koga je
povijedanju na, neoptereenih pratila tijek hr- Nataa Govedi razvio Boris Senker. Njegova godinama vjerovala da je tu*no
mogu identifi- vatske knji*ev- olovka, naotrena na socijalisti- "doziva" iz Beskonanosti. Me-
cirati strategije vrijednosnim nosti devedese- kom iljilu, ostala je nesmiljeno utim, susret s onu stranu vela
poznate iz eu- tih godina, pr- rvatska drama u devedese- kritika i tijekom postsocijalis- iluzije i smrtnosti tijela poka*e
ropskoga nas- razlikama izmeu venstveno je tima ne postoji ni u kak- tike ere. Senkerov Cabare joj kako je u oima ljubavnikova
ljea moder- pratila nain vom objedinjenom obliku: &TD, predstava koja prireuje uma odavno zaboravljena. Gos-
nog ratnog ro- tzv. visoke i niske oblikovanja postoje samo pojedinani drama- pod Bog u istoj je drami sarkas-
mana te mode-
li fabule pre-
knjiEevnosti ratne proze, od
njezinih poe-
tiari koji su hrvatski jezik koris-
tili u vrlo razliite politike i es-
Kao da su drama- tino portretiran kao nestrpljiv,
provincijski DJ, zaslu*an za pu-
poznatljivi u taka u ispov- tetske svrhe. Neke od dramskih tiari savreno tanje naih emocionalnih "glaz-
filmskim strukturama. Ekono- jednom diskursu svjedoka zbi- prvaka devedesetih naslijedili benih snimki". U 4 suha stopala
minost izraza i oblikovanje vanja, do formiranja fikcional- smo iz osamdesetih godina, pri- svjesni da rat u Sajko ponovno kreira situaciju
realistikog postupka razlikuju nih struktura. Kut gledanja bio mjerice Slobodana najdera, dok izvan granica zbiljskog svijeta,
Paviia i Tomia od dijela ba- je zadan odnosom fiction i fac- mladog Dubravka Mihanovia Hrvatskoj moEda ovaj put crtajui vodenim boja-
tine hrvatskog romana osamde- tion literature, odnosno inje- susreemo prvi put. Zanimljivo ma apokaliptikog potopa. Te*i-
setih, koji je birao fantastine nicom oevidnoga rasta auto- je usporediti najderove drame jest zavrio u na elementarnog pre*ivljavanja
ili povijesne teme i pokazivao
sklonost estetiziranoj pripov-
biografske knji*evnosti deve-
desetih u odnosu na prethodno
komunistikog re*ima s djelima
nastalim za vrijeme tumanizma,
najuEem politi- predstavlja stalnu temu njezine
dramaturgije i vrstu referencu
jednoj strukturi. S druge pak
strane, romaneskno nasljee
razdoblje. Iz takvoga kuta gle-
danja iz naega je pripovijeda-
odnosno tijekom najderova pri-
silnog egzila s hrvatskih pozor-
kom smislu, ali prema suvremenoj hrvatskoj
realnosti (vjerojatno i prema pri-
osamdesetih omoguilo je stva- nja bio iskljuen itav niz auto- nica. Pa dok je socijalistiku po- kulturalni ratovi i vatnoj situaciji nacionalno i in-
ranje *anrovskih oblika roma- ra Damir Milo, Borivoj zornicu najder opskrbio gran- ternacionalno nagraivane dra-
na, neoptereenih vrijednosnim Radakovi, Zoran Feri, Viktor dioznim metahistorijskim spek- dalje bijesne matiarke koja unato nagrada-
razlikama izmeu tzv. visoke i Ivani i ermano Senjanovi, taklima, scenskim "operama" s ma u Hrvatskoj nema ni zaposle-
niske knji*evnosti. primjerice ije se autorske oitim brehtijanskim dramatur- bitku literarnih divova, izravno u nje ni ikakvu materijalnu sigur-
U toj generaciji pisaca po- poetike trebaju oditavati iz kim zaleem, kasnije drame odluku o ishodu ukljuujui i nost). Ne zaboravimo: unato
sebno mjesto zauzima Josip drugaijeg teorijskog gledita. "bez domovine" postaju intimni- publiku, uspijeva na domaoj po- priznanjima, Ivana Sajko zasad
Mlaki ro- Onoga koje je, elegine, usredotoene na zornici sauvati skoro stoljetnu nije uvrtena na repretoar doma-
m a n o m bi, izmeu *enske likove i na teme kao to je tradiciju zagrebakog cabareta. ih institucionalnih kazalita.
Kad magle ostalog, trauma ratnog silovanja (mislim Mo*da bi mi se s obzirom na Rekla bih da njezina kritika mu-
s t a n u obuhvaalo 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 to neu nabrojati niz ra dramom 4 suha stopala, u kojoj
ne koristi o ostavitini stoga rei da najderov opus u nacionalistikih i politiki ulizi- voda, tradicionalno smatrana
*anrovske kvoruma- devedesetima lagano zaokree kih drama koje su nam obilato "*enskim elementom", odnosno
modele rat- ke estetike prema *enskoj, ako ne i feminis- nicale u devedesetima. Neu ta- elementom fizikog i metafizi-
nog roma- osamdese- tikoj perspektivi; kog obnavljanja, po-
na, ve se tih, odnosa ak i onda kada pri lako preplavljuje od
odluuje za moderne i tom secira mentalitet itavog ovjeanstva
( p s e u - postmoder- mafije ili kada nekri- jedina dva preostala
do)auto- ne knji*ev- tiki likuje nad upos- plutajua i pjevajua
biografsko nosti te u lenom megalomani- tijela. Dakako da je
pripovije- kontekstu jom Wagnerove glaz- autoriina 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 dramatiara, recimo datno je va*no nag-
ratna zbiva- etvrt sto- Ive Breana ili Mate lasiti, ine je bli*om
nja i reflek- ljea. Matiia, kodovi he- poeziji no prozi (za-
sija o njima. Jo je te- rojski-maskuline pa*amo, dakle, utje-
Iako temat- *e pitanje reprezentacije prola- caj Eliota i Becket-
ski razliita koje se tie ze nemilosrdnu kriti- ta).
(nije rije o hrvatskih ku, ali kao njihove su Ovaj bismo pri-
"ratnoj", ve o "egzilantskoj" te- "disidentskih" pisaca, poput alternative ponueni kaz mogli privesti
matici) tom je pripovjednom Slavenke Drakuli i Dubravke ili stoicizam (u Bre- kraju zakljukom da
postupku bliska i proza Dae Ugrei u podruju proze, a anovu sluaju) ili najmlaa i najintri-
Drndi u Canzone di guerra Slobodana najdera u podruju vjerski uvid (Mati- gantnija generacija
(1998). Na raskri*ju roman- drame, iji su tekstovi u velikoj i). Uzmemo li pak domaih dramatiara
sknog, autobiografskog i esejis- mjeri jo uvijek nepoznati ita- u obzir muzikalnost mahom izbjegava
tikog njezina proza oblikuje teljskoj/gledateljskoj publici. Matiieva jezika, eksperimente s for-
pitanja potrage za identitetom Za njihov se sluaj doista mo*e njegov etiki 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 to jeg je svladao klasi- kritiki senzibilitet.
oblikuje kroz biografiju, potra- dostaje, treba izmjeriti veliinu nu vjetinu dobrog pisanja, Mate koer ulaziti ni u knji*evno kva- Kao da su savreno svjesni da rat
ga za socijalnim i (nad)nacio- nedostatka": tek onda kada bu- Matii zapravo predstavlja *anr litetne izvedbene scenarije neko- u Hrvatskoj mo*da jest "zavrio"
nalnim identitetom te potraga demo mogli (u hrvatskom izda- za sebe. likih izvrsnih predstava, napros- u naju*em politikom smislu, ali
za intelektualnim identitetom nju ili prijevodu, a ne na engles- Sofisticirani psiholoki odno- to stoga to njihovo kolektivno istinski kulturalni ratovi i dalje
koju predstavlja pisanje. kom u knji*ari Algoritma) po- si likova sredite su nagraene autorstvo potpada pod kazaline, bijesne u svim naim institucija-
Krajem devedesetih godina segnuti za njihovim knjigama, drame Bijelo Dubravka Mihano- a ne dramske klasifikacije. Spo- ma. Premda ovi autori izbjegava-
autobiografizam u "istom ob- moi emo poeti razmiljati via, gdje dvojica introvertiranih minjanje plitkih melodramatskih ju politiku eksplicitnost, dr*av-
liku" u hrvatskoj knji*evnosti kako bi nam izgledala bliska sobnih liilaca s djejom nje*- bisera poslovino plodnog dra- ne kazaline kue i dalje ih nala-
povukao se u prostor tema koji povijest knji*evnosti da su oni nou dijele strahove, bolesti i matiara Mire Gavrana izbjegla ze odve provokativnima za in-
mu je tradicijski blizak: sjea- kao autori bili u nju ravnoprav- snove. Druga mlada dramatiar- sam ne zato to emocije smatram scenaciju. Kao i obino, posjedo-
nja, intima, djetinjstvo. U to se no integrirani, a ne putem me- ka, Asja Srnec, zaslu*na je za "manje vrijednima", nego zato vanje profesionalnih kriterija u
literarno okru*enje mo*e dija ozloglaeni. Ovako o ne- izvrsnu komornu dramu Dodir, to mislim da sentimentalni kli- Hrvatskoj ita se kao mnogo ve-
smjestiti prva prozna knjiga Ju- dostatku mo*emo samo naga- vjerojatno najbolju u nizu dosad eji nemaju nikakve veze ni s a prijetnja negoli je to posjedo-
lijane Matanovi (Zato sam ati. napisanih komada o obiteljskom emocijama ni s dobrim pisanjem. vanje onih politikih.
10 II/40, 12. listopada 2,,,.

vanje vlastite pozicije i kao autoi- Zapadno radno vrijeme. en na nedoslovno ponavljanje,
ronian izriaj. U oba sluaja, lir- Dugaak crni kaput, siva svjetlost na tra*enje izvornosti u osvjeta-
ski govor ima terapijsku funkci- na njenom licu. vanju neizvornosti svakog iskus-
ju. Jer: rije je o subjektu koji je Kosa zataknuta iza uha. tva i svake pomiljive reenice. S
pristao na svoje izgnanstvo i ko- U njenom sanduiu nema nieg raznih nas strana upozoravaju da

Pjesniki narataj jemu upravo zbog tog pristanka

prijeti ieznue. Ovakav ravno-
duan subjekt, ovakav nemetafo-
osim reklama za besplatnu dosta-
vu pizze
i rauna za vodu i grijanje.
je upravo repeticija vjerodosto-
jan izraz trenutka. "Ako bi treba-
lo okarakterizirati trenutano

devedesetih rian (novinarski) pjesniki stil

i diskurzivni obrazac pjesme u
prozi temeljne su odlike lirskih
Otkljuava vrata, baca stvari na
pod.
Umiva se i dok se brie mekim
stanje stvari, rekao bih da je u pi-
tanju stanje poslije orgija." - pri-
mijetio je Jean Baudrillard, utje-
diskurza veine naih najmlaih 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 ravnoduan naglo stvaranje novog sustava Vukovievoj pjesmi i njezinoj Oblai staru isfucanu trenirku i su eksplozivni trenutak moder-
subjekt, ovakav nemeta- vrijednosti. No, postmoderna se pseudopoenti (Zadovoljan sam) sjeda pred TV. nosti, onaj koji oslobaa u svim
forian (novinarski) ravnodunost toliko ukorijenila nasumino izdvajam i prispo- Podgrijava jelo od juer. podrujima. Danas je sve dopu-
pjesniki stil i diskurzivni u naoj sredini da je (bar u lirici dobljujem sljedee stihove nje- Gleda kroz prozor, pere zube. teno, igre su odigrane i mi se ko-
najmlaih ) nadjaala i stvarnos- govih vrnjaka: Napokon, odlazi spavati. lektivno nalazimo pred krucijal-
obrazac pjesme u prozi nu ratnu apokalipsu. Pjesnici ko- U stvari, nita se ne dogaa. nim pitanjem: to raditi poslije
temeljne su odlike lirskih (Alen Galovi, Sijaica ,ita, u Subjekt Gromaine poezije orgija?" ini mi se da je mogui
diskurza veine naih Malo tijelo jutra) zorno potvruje da u *ivotu za odgovor najmlaih hrvatskih
Najbolje je priati o vremen- razliku od gramatike ne posto- pjesnika na ovo pitanje - narcis-
najmlaih pjesnika skoj prognozi. (Ivan Herceg, Na- je samo tri lica, dapae da se is- tiko osamljivanje subjekta te in-
a druga imena) pod naoko nedu*nog Ja mogu tertekstualno i intermedijalno
Ovo je ,ivot koji mi odgova- kriti itavi svjetovi. Taj subjekt, obnavljanje spomenutih igara.
Kreimir Bagi ra (Tatjana Gromaa, U poljskom naime, istodobno provodi kriti- Narcistiko je osamljivanje pos-
zahodu na brijegu, u Neto nije u ku mimezu svakodnevice i sa- ljedica subjektova upornog foku-
redu?) mokritiko propitivanje vlastite siranja detalja i prizora kojima je
utjecajnoj studiji Poetika Ustvari, dobro sam --- i uop- do*ivljajnosti. Njegova je raspr- okru*en, a koje je iskljuivo u
postmodernizma Linda e nije loe --- jo uvijek je dobro enost, meu inim, signalizirana funkciji njegove autoanalize i te-
Hu-tcheon je podsjetila na (Katarina Zrinka Matijevi. Us- estim prebacivanjem iz *enskog rapije. Ono je najoitije u pisanju
nesvakidanju intervenciju Mic- tvari, dobro sam) itd. u muki rod, te ludikim povezi- Ivice Prtenjae, Lane Derka i
haela Ashera. Rije je o ovjeku vanjem tzv. visokih i niskih moti- Radenka Vadanjela.
koji je pjeanim mlazom oistio 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 uinku poezije, o simbolikom
bi svijetu objavio malter kao damdesetih i svoju poziciju ouvanju ili ponovnom stjecanju
svoje umjetniko djelo. Ta je in- osamdesetih u njoj, te pri- mentalnog zdravlja bijegom u
tervencija dovela u pitanje i 'djelo' mistificirali su i tom iskaziva- stih Prtenjaa je aktualizirao ve
i 'galeriju', te iznova aktualizirala na razliite na- Na radikalnost, ku lakou nad- naslovom svoje prve zbirke Pisa-
raspre o odnosima kreacije i des- ine iskuavali rediti nekada- nje oslobaa. Njegova se prigod-
trukcije, umjetnikim konvenci- (gotovo sakra- doslovnost i oitost njem gru. Ne- na lirska terapija odvija u dvije
jama, pojmu ruba i mogunosti- ji se javljaju usred rata uglavnom lizirali) pozici- posredno is- faze najprije se subjekt pole-
ma njegova prekoraivanja. rat ne tematiziraju (ili to ine vr- ju autsajdera, Asherove akcije kustvo prati, miki sueljava s okolnim svije-
Na radikalnost, doslovnost i lo diskretno, rubno i usput); oni uglavnom se dakako, i prik- tom kako bi naglasio vlastitu
oitost Asherove akcije asoci- odustaju od lirskih projekata ko- panino zatva- asocirale su me ladan govorni neprilagoenost da bi potom ta-
rale su me kreativne strategije
najmlaih hrvatskih pjesnika,
ji bi pretpostavljali bilo kakav an-
ga*man ili akciju, bave se privat-
rajui u prostor
literature ili al-
kreativne strate- idiom. Izrazi
poput pote-
ko odnjegovanu autistinost
pokuao pretvoriti u kapital. Po-
onih koji su se javili devedesetih
godina. Njihove su knjige poput
nou, pjesmu prave nasuminim
nizanjem konkretnih detalja i re-
ternativne kul-
ture. Pjesnici
gije najmlaih njak do jaja,
egzistencijalni
lemika otrica Prtenjaina govo-
ra najvie je usmjerena prema
spomenutog pjeanog mlaza enica kojima su okru*eni, baca- devedesetih hrvatskih pjesnika bed ili cura potroakom drutvu i njegovim
kritiki osvijetlile bitna iskustva ju se na posao slijedei "novu iz- prema svemu koja je sjeba- statusnim simbolima. Viestruko
hrvatskoga pjesnitva zadnjih ne- reku da tko tra*i ne nalazi" Kao (pa i prema na jasno upu- se istie da u svijetu oko nas ne-
koliko desetljea te u prvi plan tekst koji na tipian nain zrcali prostorima li- uju na *ar- ma istinskih vrijednosti, tj. da
istaknule narcistiko osamljiva- senzibilnost i tvorake postupke terature i kulture) iskazuju jed- gonsku oputenost suvremenog mu je temeljna odlika patvoreno-
nje subjekta, stilizirano prepisi- devedesetih ovdje u citirati pjes- naku ravnodunost. U tome je, loosera. Iako je u pojedinim tek- st. Bljetavilo 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 via. Da ne bi bilo zabune: izdva- hova diferentia specifica. Ako je main subjekt bitno teatraliziran, semafori, ekrani - to je (prema
gestualnost, *anrovsku mimik- jajui Vukoviev tekst nisam po- ravnodunost (makar i hinjena) veseli njegova sklonost ospora- Prtenjai) inventar luna-parka u
rinost, fragmentarnost i kolok- kuao izdvojiti najkvalitetniji glavno obilje*je ponaanja lir- vanju inae tako tipine ravno- kojemu *ivimo. Budui da se op-
vijalizaciju lirskog idioma kao tekst, nego tekst koji je mogue skog subjekta, onda su improvi- dunosti i prateeg joj osjeaja redijelio za samou, njegov lirski
uporine toke novih pjesnikih interpretirati kao simptom opeg zacija i inzistiranje na nefigura- nemoi. protagonist inzistira na razlici.
praksi stanja. tivnosti pjesnikoga govora glav- Poput Vukovia i Gromae Npr. ovako:
Za razliku od prethodnih, na- na obilje*ja poetskih tehnika de- (ije su spisateljske prakse dija- u nedjelju kad ugase plavu neon-
rataj devedesetih nije imao upo- VIKEND BROJ 31 vedesetih. sku reklamu
rinog mjesta svoje promocije. Ivan je mrtav. Cecilija ima psa. Majstorom lirske hiperboliza- i ohlade se cijevi pune osamljenog
Njegovi su se pripadnici oglaa- Zove se Lucky. Marina je operira- cije sadanjeg trenutka, sluajnih plina
vali u povremenim publikacijama la tumor na maternici. Baka kuha pojedinosti i ni po emu iznim- da samoa je savrena
asopisnog ili zbornikog 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 Gromaa u nedavno tiskanom (Ivica Prtenjaa, Silikoni, u Pisa-
Homo volans) ili pak u Quoru- jaja. Mesa nema. Volim jesti meso. lirskom prvijencu Neto nije u re- nje oslobaa)
mu, kultnom asopisu osamdese- Vikendom nema struje. Struja je du?. Rije je o autorici koja je na
tih koji je zadr*ao sklonost pre- skupa. Jivot je jeftin. Susjedi su stanovit nain sintetizirala nasto- Sueljujui raznorodne dis-
ma urotnikoj *estini pisanja naj- debeli i dosadni. Grad je poruen. janja svojih vrnjaka oko kolok- kurzivne matrice, on razgrauje i
mlaih. Va*niji pjesnici koji su se Kua je itava. Birtije su prazne. vijalizacije pjesnikoga jezika, ironizira idejne koncepte koji
javili u desetljeu na izmaku su: Policijski je u jedanaest. Zagreb je upravo promocije tzv. stvarnosne stoje iza njih. Sintagma i reenica
Tvrtko Vukovi, Katarina Ma*u- privlaan. Vlak polazi u tri. Stvari poezije te prokazivanja svakog su najei okviri u kojima pos-
ran, Ivan Herceg, Alen Galovi, su spakirane. Odlazim. Doekat oblika lirske muzealnosti. Te- vjedouje svoju mo govora.
Damir Radi, Tatjana Gromaa, e me Neda. Neda je lijepa. Zado- matska ishodita njezinih teksto- Moglo bi se kazati kako je njego-
Ivica Prtenjaa, Dragan Jurak, voljan sam. (iz zbirke Slijeganje va su npr. obiteljska prepirka, vo poetsko pismo na tragu ala-
Zvjezdana Bubnjar, Kreimir ramenima) odlazak kod frizera, razgovor munovske ili maleevske eufori-
Pintari, Sran Sacher, Katarina- Gomilanjem informacija o dviju *ena u tramvaju, momci ne asocijativnosti i ludinosti
Zrinka Matijevi, Robert Perii, sebi i neposrednoj okolini, Vu- koji iste snijeg, party, radnici (osobito kada ispisuje stihove
Milana Vukovi, Kemal Mujii- koviev subjekt zapravo inzistira koji u vlaku kartaju belu i sl. Ono poput "otok nema djecu/ on je
Artnam, Radenko Vadanjel, Lu- na rasprenosti svoje svijesti, jer to njezinu inaicu te stvarnos- neiji pad u bakreno ljeto/ u koje
cija Stama, Tomislav Bogdan, se ta rasprenost mo*e sugerirati ne poezije ini privlanom su pristaju plave jahte/ napuene
Sanjin Sorel, Stjepan Balent, Ana tek kada se dokine semantika zavodljiva narativnost, duhovito- metralno suprotne pojednos- odisejima"). Poetski svjetovi koje
Brnardi, Dorta Jagi, Lana Der- vrijednost informacijama koje st tematizacije i izrazita komuni- tavljeno kazano, njegova je ek- stvara su trenutani, ekstrava-
ka i dr. je unio u tekst. Izmjenom krat- kativnost teksta. Ona inzistira na skluzivistika, a njezina *urnalis- gantni i ekskluzivni oblici samo-
Teko bi se moglo kazati da je kih jednostavnih reenica, njiho- stihovanim priicama koje odli- tika), na kolokvijalizaciji lirskog zaborava bia uronjena u jezik.
kontekst devedesetih u Hrvat- vom uvjetnom korespondenci- kuje umjeno biranje iskaznih i idioma te na mistifikaciji kon- Prtenjaa uva*ava injenicu da
skoj pogodovao poeziji. Prva po- jom i potpunim odustajanjem od iskustvenih perspektiva, uvjerlji- kretnog, sadanjeg i trenutanog mu orgije prethode te da su u nji-
lovica desetljea obilje*ena je ra- metaforinosti taj subjekt isto- vi dijalozi i inventivna poentira- ustrajno rade Ivan Herceg, Dor- ma sudjelovali drugi, to meu
tom, a druga ozbiljnom krizom. dobno legitimira nezainteresira- nja. Gromain lirski model dob- ta Jagi, Alen Galovi, Katarina inim znai da je njegova (naslo-
Katastrofina je zbilja potpuno nost i za prostor zbilje i za pros- ro ilustrira sljedea pjesma: Ma*uran i dr. vom proklamirana) terapija poe-
obesmislila ionako erodirane vri- tor imaginacije. Stoga je njegovu zijom uvjetovana iskustvima i pi-
jednosti i dokinula mogunost zakljunu konstataciju (Zadovo- Cura koja je sjebana Narcistiko osamljivanje sanjem njegovih prethodnika. Je-
postojanja bilo kakve vrijednos- ljan sam) mogue shvatiti i kao Odlazi ujutro, vraa se neto prije Dananji je pisac, pa tako i zine igre za kojima pose*e pre-
ne hijerarhije. Netko bi mogao doslovno autsajdersko osvjeta- TV dnevnika. pjesnici o kojima govorim, osu- pisuju ve 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 vie ne pokuavaju
ma te izazivaju nastanak djelomi- precizno usmjeren doksalnim korespondencijama. neprijatelja, funkcionalne opise stvoriti zaseban prostor za viso-
ce novog poretka ije su globalne odlazak u potroeno Njihovi se lirski protagonisti dvoboja, terena, konja, pastira, ku knji*evnu kulturu." zaklju-
oznake otvorenost, fragmentar- prepisujem, bestidno prepisu- kreu ni manje ni vie nego Div- dili*ansi Lirski se govor preto- io je Jameson, zamijetivi usput
nost i pluralnost. Rije je zapravo jem ljim Zapadom i tematiziraju od- io u govor golih injenica. Za kako danas, za razliku od moder-
o svojevrsnom heterogenom po- rijei, cijele reenice, a one se, nose izmeu kauboja i Indijana- ilustraciju citirat u prikaz uvoda ne u kojoj se umjetniko djelo
retku, o tipu diskursa ije je ina- kao na ulici, kao u literaturi, ca. U pitanju je, dakako, poseza- u revolveraki obraun: promatralo imanentno (kao
ice kreirala nekolicina pjesnika nude ovom prezentu u kojem se nje za *anrovskim stereotipima kreacija pojedinca), "prije svega
u sedamdesetim i osamdesetim brutalno sa,ima oaj westerna, tj. izravno povezivanje Prie konju, odrijei uzde, htjede imamo problem nai individual-
godinama (Makovi, Male, e- o kome bih mogao napisati prostora poezije i filma. Dobar uzjahati. no umjetniko djelo". Mo*da je
gec, Reicki). Ipak, zahvaljuju- Enciklopediju primjer aklimatizacije kauboja u "Trenutak, ovjee" dobaci mu Jameson u pravu, a mo*da su ele-
i osvjetavanju neizvornosti, Pr- kada ve ne bi postojala: hrvatskoj poeziji nalazimo u Ju- Ringloke iz sjene. menti individualne kreacije i da-
tenjaa svome pisanju uspijeva Enciklopedija mrtvih, Enciklope- rakovoj zbirci Konji i jahai: Chat Salvador zastane, jo mu je lje prisutni, samo diskretnije i na
priskrbiti terapijsku funkciju, dija okrenut leima. drugim tekstualnim razinama.
odnosno pronai onu toku u nitavila, Enciklopedija hrvatskog Marlon u kinoteci Neko vrijeme se ne mie, samo je
kojoj i prepisivanje poinje os- leksikografskog zavoda, Enciklo- Pojavljuje se malo spustio glavu. urnalizacija pjesnikog jezika
lobaati! pedija u uniformi erifa. Ponaa se poput ovjeka koji oe- i ogreenja o pismenost
Lana Derka, pak, inzistira na sporta, Enciklopedija sobnog bi- ispija kave kuje udarac nesree Na koncu dr*im va*nim istak-
prodiranju u prostor nevidljivog, lja s mukom govori i vjeruje da tono zna kako tu nes- nuti kako je mo*da najvea novi-
dvojbenog, nejasnog kako bi ta- s naporom se kree. reu nita ne mo,e sprijeiti. na pjesnitva devedesetih desak-
mo osvijestila svoj identitet i eg- U naslovu ove pjesme nalazi- pitoma ,ena gleda ga Ringloke mu se pribli,i jo tri ili ralizacija pjesnikoga jezika. U
zistencijalno iskustvo. Taj pros- mo zapravo komentar teksta, de- suznim oima. etiri koraka, znaajnom broju otpoetih opu-
tor je na kraju pronala u metafo- pola grada sve dok se i sam ne nae pod zra- sa nailazimo na *urnalistike
ri ume. Epiteti za kojima pose*e gleda ga kama svjetla
idiome koji sasvim jasno svjedo-
pri pretvaranju ume u simbol suznim oima. to padaju kroz prozore i vrata
e o tome da je jezik prestao biti
lirskog stanita su zatvorenost i druga polovica i zlatasto boje sivu prainu ceste.
posveeni prostor stjecanja is-
tamnost. "uma je moja/ proire- (rednecksi) "Okreni se i bori" - ree Ringlo-
kustva, eksperimentiranja i grad-
na postelja" (Vez, u krabica za strepe za svoje ,ene. ke
sjene), uzvikuje ona, naglaujui nje imaginarnih svjetova te pos-
intimnost i inspirativnost uspos- Susret poezije i filma izravno Vjerujem da citirani ulomak tao puko sredstvo prenoenja
tavljenog odnosa. Tim stihovima se dogaa u naslovu lirski je ka- dobro ilustrira Radievo hoti- poruka. Mnogi su zanemarili kla-
Derkaeva kreativno pokazuje da ziva smjeten u kinoteku, pred mino pridr*avanje *anra wes- sian stav da je "gotovo nemogu-
je uma simbol sredita intim- filmsko platno na kojemu se oi- terna. No, kada se malo bolje e ne karikirati vlastita iskustva i
nosti kao to to mo*e biti kua, to u glavnoj ulozi pojavljuje Mar- promotri tekst u cjelini, oitim ne rasprodati ono to se pro*iv-
spilja ili katedrala te da "zatvoren lon Brando. Rije je o ludikom postaje da stihovna organizacija jelo i osjetilo ako se posegne za
pejza* ume stvara sveto mjesto" povezivanju zbivanja na platnu i manje poistjee iz prirode auto- uobiajenim oblicima komunika-
(Gilbert Durand). Svijet izvan pred njim, o hotiminom mijea- rova govora a vie iz njegove pot- cije" (Peter Sloterdijk). Nastavi li
ume prikazan je kao do krajnjih nju perspektiva i dokidanju gra- rebe da razlabavi *anrovske ka- se tim smjerom, vjerojatno e se
granica isparceliran prostor, kao nica izmeu artificijelnoga svije- none i westerna i lirske pjesme. dogoditi bitna promjena statusa i
prostor u kojemu su mogua sa- ta filma i stvarnosti njegova kon- On, istinabog, ba kao i Jurak, smisla poezije u nas. Indikativno
mo frustrirajua ponavljanja is- zumenta. I ovlaan pogled na pripovijeda o kaubojima i Indi- je da se nemar spram jezika pov-
toga. Rije je o svijetu kataloga, kompoziciju teksta sugerira da je jancima, ali zapravo pokuava remeno oituje i ogreenjima o
registara, formulara i garancij- ona filmina, da imamo posla s pronai posredan nain prezen- elementarnu pismenost. Tatjana
skih listia (koji je vrlo lako us- ogoljelom filmskom naracijom, tacije svoje prie. Filmski je ste- Gromaa, primjerice, bez ikakvih
porediv s Prtenjainim luna-par- tekciju stanja subjekta, ali i de- nizanjem poetskih paragrafa po reotip iskoriten kao prihvatljiv umjetnikih razloga ili stilskih
kom). Ta administrativna uree- tekciju stanja svijeta pred kojim principu nizanja kadrova i kliei- okvir lirskoj mistifikaciji i globa- efekata, inzistira na konstrukci-
nost ne obilje*ava samo materi- se on osjea nemonim. Taj svijet ziranim stvaranjem napetosti. lizaciji drukijega iskustva. Isto jama u kojima se javlja dvostruka
jalnu, nego i duhovnu sferu tog je enciklopediziran, tj. na stano- Damir Radi je otiao i korak tako, podvaljujui *anrovsku pri- negacija: "klinci se igraju skriva-
svijeta. Uvjet istinskog pojavlji- vit nain dovren. Opet smo, dalje. Gotovo svi interpretatori u kao pjesmu, on *urnalizira a./ Ni ne slute da iza mene/ ho-
vanja subjekta i stjecanja produk- dakle, blizu Prtenjainu luna- njegove poezi- lirski tekst, da striek s pucaljkom u gaa-
tivnog iskustva je, dakako, odla- parku ili, pak, svijetu kataloga i je istiu filmi- uvodi ga u me- ma"; "ima puno sprovoda/ koji
zak. Metafora ume zapravo je
metafora osamljivanja te signal
formulara Lane Derka. Sve to
pomislimo, ve je netko uinio -
nost kao njezi-
nu krucijalnu
Teko bi se dijsku igru, a
fetiiziranom
niti nisu bogzna to". Korektnije
bi, dakako, bilo da Gromaini
imaginacijskog obnavljanja kra-
jolika i povratka iskonskom zavi-
to je smisao Vukovieva navoe-
nja naslova knjiga Danila Kia i
odliku. Quo-
ruma Delimir
moglo kazati da je poetskom is-
kustvu jezika
klinci i ne slute, a sprovodi da i
nisu bogzna to. Dogode joj se
aju. U toj lirskoj umi posvee- Stanka Andria odnosno nekoli- Reicki nagla- kontekst devede- suprotstavlja ak i krive kongruencije kao u re-
no stanje kreacije postaje stanje ko nefikcionalnih leksikograf- sio je da njego- ogoljenu ree- enici "Pusti da ti ja skinem/ tih
tiine - "uma umjesto mene skih djela. Vukovi je nedvosmis- va zbirka Lov setih u Hrvatskoj nicu, depoeti- tri pari gaa". Ispravno bi bilo: ta
zna:/ tiina je kapital". leno osvijestio nedoslovno pre- na risove sinte- ziranu frazu, tri para gaa. Uostalom, slina se
Radenko Vadanjel je, pak, pisivanje kao jedini mogui oblik tizira "postup- pogodovao poeziji. naraciju i ritam greka omakla i Draganu Juraku
pjesnik detalja, sitnih pomaka, kreacije. Razliite inaice inter- ke transmedi- svakodnevno-
neoitih tragova Njegov je tekstualnosti pojavljuju se u zbir- jalnoga i tran-
Prva polovica ga govora. Ret-
na kraju citirane pjesme Marlon u
kinoteci. Njegova "druga polovi-
poetski junak hipersenzibilni
promatra koji se hrani slikama
kama Sanjina Sorela, Kreimira
Pintaria, Tomislava Bogdana i
stekstualnoga
palimpsesta u
desetljea obilje- rospektiva je
tako doista
ca/ (rednecksi)/ strepe za svoje
*ene", iako bi svatko od te iste
iz sjeanja te koji se povremeno dr. No, ovdje emo vie pa*nje svoj specifini Eena je ratom, a postala povla- polovice oekivao da strepi. Da-
stapa s promatranim prizorima. posvetiti jednoj drugoj pojavi. western cut tena perspekti- mir Radi, pak, ima tekoa s ref-
Iako prete*u melankoline fabu- up", a mladi je druga ozbiljnom va. No, ona ni- leksom glasa jat pa pie zah-
lacije do*ivljenoga, kadto se Intermedijalna gestualnost Sven Cvek je nimalo be-
mo*e naii na kritiki intonirane Kreativne strategije jednog di- konstatirao da krizom zazlena, jer
tjevati, svijetovi ili poslje; u
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 klasine ob- ski iskaz: "kartonski svitak/ u
*ivljajnu skuenost. lizaciji lirskoga govora. Ona je stvarnost medijska i kada je ret- rasce percepcije i dovodi u pita-
kojem se nalazi papiri o vlasni-
ponajprije rezultat otvaranja tek- rospektivnost (u obliku re-viva- nje samorazumljivost analitikih
Intertekstualna gestualnost tvu". Nastavi li se ovako, na kraju
sta prema popularnoj kulturi i la, re-cikla*e i ostalih re-pojava) pojmova poput subjekta, indivi-
e, ini se, nekim pjesnicima ipak
O iznimnoj bliskosti, dapae medijskim iskustvima te svoe- dominantna kulturna injenica dualnog stila, *anra, napokon i
trebati pojasniti da su puko-
zamjenjivosti kategorija moi i nja jezika pjesme na donedavno retrospektiva namee kao jedina samog umjetnikog djela. Ges-
nemoi dananjega pjesnika po- nezamislivu ulogu pukoga ko- perspektiva". Doista, Radieva je tualnost Jurakova, Radieva i Pe- kolske trivijalije poput statusa
najbolje svjedoi njegov odnos munikacijskog sredstva. Inter- poezija krcata aluzijama, izriaj- riieva pisanja podjednako se te- subjekta u reenici i njegova sla-
spram tekstualnoga nasljea. S medijalnost u hrvatskom pjesni- nim i strukturnim kliejima, nos- melji na popularnoj i visokoj kul- ganja s predikatom uistinu ne-
jedne se strane ini kako ne ras- tvu nije, naravno, novost. Dapa- talginim ili ironinim obnavlja- turi i nije je mogue (bez nasilja) va*ne, ali samo dok njima bespri-
pola*e niim nego tuim rijei- e, ona je kao poetiki po*eljna njima kanoniziranih umjetnikih svoditi na jednu ili drugu. Iako je jekorno vladamo. Itd., itd.
ma, reenicama, postupcima i praksa iznova kanonizirana postupaka. Njezin je predmetno- spomenuta ambivalencija prisut- Ovim izdvajanjem jezinih
stilskim figurama, a s druge kako osamdesetih prilagoavanjem tematski svijet posve artificijelan na u hrvatskoj poeziji od poetka greaka nisam kanio umanjiti vri-
upravo to nasljee podvrgava hu- tehnika i postupaka rock glazbe, u njemu je sve iz druge ruke, u osamdesetih, njihove su inaice jednost poetika i lirskih iskusta-
mornoj ili ironinoj reinterpreta- videa, stripa ili filma pjesnikim njemu je vjerojatno najmanje po- globalne pjesme najradikalnije. va devedesetih. Dapae, i njihovo
ciji. Lirski subjekt pritom pod- tehnikama i postupcima. Meu- *eljna i produktivna doslovna Opisana se kreativna strategi- je pojavljivanje jedan od simpto-
sjea na turista koji dodiruje tim, devedesetih se dogodilo ra- komunikacija s tekstom. Radiev ja u potpunosti poklapa s duhom ma trenutka i primjerenih mu
povrinu stvari, ali koji je u bit- dikalno intermedijalno irenje is- lirski koncept vjerojatno najbolje vremena. O tome, meu inim, praksi. Vratimo li se poetnoj
nom smislu odsutan iz svijeta kustvenoga polja. Iako su se zad- zastupa dugaka poema Obma- svjedoe i nedavne izjave ugled- prii o Michaelu Asheru i mlazu
koji tematizira. Intertekstualna njih godina na tiskanje stihova nuti erif. Rije je zapravo o sti- noga teoretiara Frederica Jame- pijeska kojim je otkrio malter is-
je gesta gotovo teorijski proble- odluili glazbenici Sran Sacher i hovanom western scenariju u ko- sona. On je, naime, u jednom in- pod *buke kao svoje umjetniko
matizirana u tekstu Enciklopedi- Lidija Bajuk Pecoti (koji su, jemu nalazimo vrlo intrigantnu tervjuu konstatirao da se s knji- djelo, i te emo greke moi tre-
ja oaja ve spomenutog i citira- dakle, i doslovno ujedinili razlii- fabulu o kreposnom erifu koji *evnou oito neto dogodilo i tirati zakonitim dijelom potpu-
nog Tvrtka Vukovia: te medije), smjer i smisao tog i- se nepokolebljivo zauzima za da se danas teko mo*e govoriti nog ogoljavanja pjesnike kreaci-
renja najoitiji su i najekstrava- pravdu, pridr*avajui se pritom o postojanju tzv. visoke literatu- je, njezinog materijala i intencija
Enciklopedija oaja gantniji u pisanju Dragana Jura- najviih moralnih naela. Umje- re. "Zapravo, mislim da su knjige koje iza nje stoje. I one su zako-
Sve to ispisujem ka, Damira Radia i Roberta Pe- no kadrirajui prizore lirske koje su danas znaajne knjige nit dio fenomena dananje hrvat-
kilavi je jauk u epohi utnje, riia. Rije je, naime, o autorima prie, Radi je u tekst unio kliei- koje su pro*ete popularnom kul- ske knji*evnosti.
12 II/40, 12. listopada 2,,,.

Ja sam prvi u generaciji koji nije nikakve veze ni sa vjerom u boga onog svijeta. Moj je zaviaj, jedi- tela Beograd u Sarajevu. To je bi-
imao pravo da se besplatno vozi ni s ateizmom. Jedna od forma- ni mogui zaviaj, Sarajevo. Me- lo jedno od prvih ogromnih gra-
*eljeznicom, i mo*da sam iz tog tivnih pria mog djetinjstva je bi- utim, moj unutranji zaviaj, re- natiranja, sjedili smo u ostaklje-
la ta kako je moj djed proveo jed- kao bih, va*niji je i od tog zavia- noj kavani i mene je bilo, moram
nu no u zatvoru. To se dogodilo ja. Taj unutarnji zaviaj zapravo priznati, u*asno strah. Kad god
Miljenko Jergovi nakon to je 9.10. 1934. u Mar-
seilleu ubijen kralj Aleksandar.
Tad je moj djed u nekoj kavani
je zaviaj djedova i baka, zaviaj
roditelja, uspomena, zaviaj mo-
je sobe i jednoga svijeta koji vie
bi udarila neka granata u blizini,
ja bih se bacao pod stol. Preko
puta mene sjedio je jedan astan
rekao E neka ga ubie nakon ne postoji i mo*da stvarno nika- gospodin koji se zove Vlatko
kompleksa dosta pisao o svom ega su ga *andari odveli u zatvor da nije ni postojao, ali je formi-
knjiBevnik i novinar djedu *eljezniaru. Takve se stva- i sutradan pustili. To je pria koja ran u meni i u meni jednostavno
Kraljevi, danas ambasador Bos-
ne i Hercegovine u Italiji i Vati-
ri jednostavno ne zaboravljaju. mi je kao klincu bila u*asno va*- traje. Ja ga nosim sa sobom i kanu. On je mirno sjedio i puio,
U uvodnom tekstu Naci bon- Nikad u narednim godinama i na. Onoga dana kad je osloboe- premjetam s jednog na drugo gledao kako te granate padaju i u
tona kaete da je vaa 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 *eljeznica, zapu- po mom nekom unutranjem od- stola gdje sam bio ja i izgovorio
cijevi, esto piete o fotografiji, vjerske ugro*enosti koju sam os- tio se iz svog stana da zauzme di- reenju. Dakle, ja mislim da je jednu od meni najdra*ih reenica
filmovima, stripu kao umjetni- jetio kad ja jedini nisam imao re- rekciju *eljeznica da mu ne bi biti apatrid, ne pripadati, neto koju sebi ponavljam kad se jako
kim medijima koji su izvrili va- *ijsku kartu. tko to opljakao, ili sluajno ne- to donosi nevjerojatnu, rajsku puno prepadnem, a to je Vie
an utjecaj na formiranje vae ki ustaki ili faistiki elementi ugodu, rajsku prijatnost, a u isto dostojanstva, Jergoviu!
poetike. Kakav je odnos knjiev- Djed je vaEan to zapalili. Taj dan, i sljedea je vrijeme smrtonosno. Jer, biti Puno je vaih sugraana, od
nih utjecaja i utjecaja tih medija Nain na koji piete o djedu dva, on je u svojim rukama dr*ao ovjek koji nema stalno mjesto kojih su neki sigurno i vai prija-
u vaem sluaju? daje naslutiti da mu puno dugu- direkciju i bio je jako sretan to boravka, koji nema domovinu i telji, pisalo o ratu, o opsadi, o
Va*no je napomenuti da je jete u ljudskom smislu. Djed je tako va*nu ulogu u *ivotu mo*e koji nema zastavu koja ga titi i gradu, no kvaliteta tih tekstova
moja generacija, dakle generacija vaan? odigrati. Iako nikad nije bio ni za koju e poginuti jako je opas-
prilino varira. Koje autore ili
roena izmeu 1960. i 1973. bila Djed je jako va*an. Djed i partizan, ni komunist, a naravno no i ba smrtonosno. Ali, s druge
knjige iz toga korpusa preporu-
je jedina generacija na ovim pros- baka, majini roditelji, odgojili su ni nacionalist. Jedina vojska ko- strane, to je zapravo najvei osje-
ate ?
torima od 1945. godine koja se me i nauili svim va*nim stvari- joj je u *ivotu pripadao bila je aj slobode, i nikada nisi toliko
Ima nekoliko pisaca koje
formirala paralelno sa svojom ma u *ivotu. 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- nema svoju zastavu, svoj grb i
Europe, koja se formirala na jed- nesretni, jer osjeaju da su neto robljenitvo, gdje mu je bilo od- svoju vjeru u kolektivitet. Ima je- preporuio kao jako vrijedne i-
nakim vrijednostima, istim fil- propustili uiniti, i budi im se lino. dan stih Miloa Crnjanskog iz tanja, a reklo bi se da su sarajev-
movima, knjigama i istim *ivot- kompleks krivnje. Meutim, Biljeke iz Kieve rukopisne Lirike Itake koji mi je u*asno ski pisci. Jedan je zasigurno Ne-
nim idealima. Sve generacije prije doista je istina da presudan utje- ostavtine pokazuju da je krzmao esto zadnjih est-sedam godina nad Velikovi sve to naete s
nae su zapravo bile generacije caj na mene nisu izvrili ni moj oko naslova jedne pripovijesti padao na pamet, a stih glasi Ni potpisom Nenada Velikovia i-
jugoslavenskog socijalizma, koje otac ni moja majka, vjerojatno iz Apatrid ili Duh je naa domovi- jedna aa to se pije,/ ni jedna tajte; drugi je Semezdin
su se na potpuno drugi nain for- tog razloga to, bez obzira to na. Osjeate li se u knjievno- trobojka to se vije/ naa nije. Mehmedinovi, trei 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 *ivi u Chicagu,
Sve generacije nakon nas formi- li zreli za dijete. Oni e vjerojat- S jedne strane mislim da svi pokazuje va*an, dubinski osjeaj Aleksandar Heman, potom Go-
raju se po modelu aktualnih re*i- no sazrijeti tek ako budu imali mi, svojom voljom ili bez nje, da ne pristane na to da pripada ran Samard*i. To su sve pisci ge-
ma, i to je jedna jako bitna inje- unuke. Ja sam duboko uvjeren da sudjelujemo u podjelama i dio simbolima i da ne pripada ni*i- neracije o kojoj sam maloprije
nica za veinu ljudi te generacije su djedovi i bake najbolji rodite- smo nekog kolektiviteta kojim se ma od tebe, a ni*i od tebe su svi govorio, roeni izmeu 1960. i
koja danas na prostoru bive Ju- lji, jer vjerojatno su u stanju is- manipulira ovako ili onako. Me- oni koji te prisiljavaju na pripada- 1973. i nain na koji oni piu je
goslavije pokuava neto raditi, praviti one greke koje su poini- utim, isto tako, postoji i neka nje. Najmizerniji su oni ljudi koji vrlo va*an jer je nov i jer je pot-
neto pisati, snimati. Sasvim je li na svojoj djeci. Ja sam zapravo vrsta mogunosti da se ovjek in- od drugih ljudi oekuju izjanja- puno depatetiziran i dezanaga*i-
sigurno da su na tu generaciju, i, odrastao s priama o nekom jako dividualno odredi. Moje indivi- vanje. Sjeam se onih mon- ran u dnevno politikom smislu
naravno na mene, ogroman utje- davnom vremenu, iz dananje dualno odreenje bitno je uvje- struoznih zahtjeva od hrvatskih rijei.
caj izvrili izvanknji*evni mediji. perspektive govorei. Moji sta- tovano mojim *ivotom, a to je Srba da 1990. godine potpisuju
Dakle, film, muzika, fotografija i vovi, ak i politiki, formirani su odreenje da doista nikom ne dokaze o svojoj lojalnosti. To je Pornografija i nogomet
strip i, na kraju, televizija. To je na neemu to nije pripadalo ni pripadam na takav nain da bih se bilo neto bestidno, bez obzira Objavili ste nedavno u
neto to se jako osjea u teksto- *anru komunizma ni antikomu- sad mogao udarati akama u prsa na ono to se dogodilo nakon to- Playboyu tekst o pornografiji, a
vima ljudi koji su u tom periodu nizma, to nije imalo apsolutno i vikati ja sam iz ovog ili ja sam iz ga, bez obzira na to to su ti isti to se mnogim naim piscima ne bi
odrastali u gradovima. hrvatski Srbi u agresiji sudjelova- tako lako dogodilo. Je li bilo ko-
li, osjeaj odvratnosti prema tom mentara u stilu to to njemu tre-
Pria o Eeljeznici inu zahtijevanja od nekoga da ba ?
Talijanski i francuski kritiari potpisuje dokaz svoje lojalnosti Konzumiram ogromne ko-
esto nalaze veze izmeu vae u meni je ostao do danas. liine pornografskih materijala
proze i proze Danila Kia. svake vrste i mislim da sam za pi-
Ne mogu govoriti o tome Kad je strah postao prevelik tanja pornografije, a ozbiljno
kolika je knji*evna i poetika ve- @eljko Ivankovi u svom mislim ovo to govorim, jedan
za izmeu mene i Danila Kia, ali dnevniku 700 dana opsade pie od jaih autoriteta u Hrvatskoj,
sigurno postoji jedna veza *e- kako ste u svibnju 1992., kada je barem kada je rije o javnim oso-
ljeznica. Kad bih govorio o Kiu zapoela opsada, bili izrazito o- bama, iako, vjerojatno, postoje i
i sebi izgledao bih sam sebi malo tri prema onima koji su naputa- oni koji su vie samozatajni, pa
pretenciozan i bezobrazan. Veza li grad. Nakon otprilike godinu se za njih ne zna. Eto, zato ja pi-
postoji u tome to je moj djed dana vi ste napustili Sarajevo, em o pornografiji. Mislim da ta
Franjo Rejc bio visoki *eljezni- to se tumailo kao izdaja. Koli- floskula da pisac uva svoje dos-
ki slu*benik i zavrio karijeru ko je ostati ili otii osobno ljud- tojanstvo piui samo o va*nim i
kao konstruktor reda vo*nje, a u sko pravo izbora, i osjeate li se uzvienim stvarima s jedne stra-
*ivotu je bio otpravnik vozova na zbog odlaska kao izdajica? ne nita ne znai, a s druge strane
podruju od Usore do Sarajeva, Odlazak u trenutku dok je sputava knji*evnost samu. Ako
na masi tih malih *eljeznikih grad jo bio pod opsadom je ne- piemo samo o va*nim i sudbo-
stanica i zapravo je moja obitelj s ka vrsta izdaje, ali izdaje jedino i nosnim stvarima, na kraju ne pi-
majine strane jako formirana na iskljuivo samoga sebe, drugih emo ni o emu. Hrvatska knji-
toj prii o *eljeznici. I postoji ne. Nitko nema pravo u svoje *evnost je, na *alost, u velikoj
jedna stvar koje se sjeam iz naj- ime nekom spoitavati odlazak. mjeri knji*evnost ni o emu i
ranijeg djetinjstva, trenutka kad Mo*e se spoitavati u ime nekog
mo*da bi bilo dobro kad bi se hr-
sam se prvi put osjetio jako dis- univerzalnog principa, i ja sam se
vatski pisci malo vie bavili por-
kriminiran, duboko ugro*en i za taj univerzalni princip svim sr-
nografijom i nogometom, mo*da
nesretan. To se dogaalo kad bi cem i duom zalagao sve do tre-
bi konano propisali. Problem je
kondukter u vlaku uao u na ku- nutka kad moj strah nije postao
pe, kada bi djed izvadio svoju re- prevelik. Kad je strah u meni veine hrvatskih pisaca, bez ob-
*ijsku kartu, baka svoju, mama postao prevelik, ja sam taj prin- zira na koliinu knjiga koje ob-
svoju, a za mene su morali platiti. cip iznevjerio, a to je iskljuivo i javljuju, taj to do dana dananje-
To je za mene bila ista tragedija. samo moja osobna stvar i ona se ga gotovo da nisu propisali. U
drugih ljudi ni na koji nain ne Hrvatskoj, a tako je bilo i u biv-
iljenko Jergovi roen je 1966. u Sa- mo*e ticati, niti bih ikome dao oj Jugoslaviji, ljudi su va*ni
rajevu. Pie poeziju, prozu, knji(ev- pravo da mi se to uzima kao bilo onoliko koliko se va*nima pred-
nu kritiku i publicistiku. Objavio je kakav argument. Naime, hrabro- stavljaju okolini. A najprazniji
zbirke pjesama Opservatorija Varava st je svakako vrlina, ali nije dob- ljudi se najva*nijima predstavlja-
(1988), Ui li netko noas u ovom gradu ja- ro kada ovjek zarad postojanja ju, najprazniji ljudi imaju najoz-
panski (1990), Himmel Comando (1992), te vrline prekorauje vlastite gra- biljniju misiju. ovjek koji pre-
nice. Nekad valja pristati na vlas- tendira da bude va*an ovome svi-
Preko zaleenog mosta (1996), zbirke pria
titi strah i ja sam na njega u jed- jetu nikad nee pisati o nogome-
Sarjevski Marlboro (1994), Karivani (1995),
nom trenutku pristao. Postoji tu i pornografiji, jer mu to ne da-
Mama Leone (1999) te dramu Ka(e aneo je mogunost da bude va*an.
jedna silno lijepa i slatka epizoda
(2000). Publicistiki tekstovi objedinjeni su u
iz 2. svibnja 1992. godine i veli- Duanka Profeta
knjigama Naci bonton (1998) i Historijska i- kog granatiranja koje me je, za-
tanka (2000). (iz intervjua Zarez,
mislite, bilo zateklo u kavani ho-
br. 1, 19 veljae 1999.)
 II/40, 12. listopada,,,. 13

om, pripadnost jednoj kulturi nije isklju- znat ete ve koga: kutija otrovnih slova
ivo stvar politike, nego i jezika i osjeaja posljednje je to je ovjek izumio u obra-
pripadnosti. Meutim, ni tu nisam posve nu vlastitog dostojanstva.
etniki ista, *ivim ak i na rubu jezika Kako dolazite do potencijalno zanim-
jer piem i *ivim u drugom jeziku, engles- ljivih naslova?
Slavenka Drakuli kom. Uvijek sam *ivjela na razliitim mar-
ginama i uvijek mi se inilo da to ima dob-
Predrag Luci Pronalazimo se uzajamno: i bibliote-
ka pisce, i pisci biblioteku. Sva arolija
ru stranu jer ovjeku daje vie slobode. ove igre je u prepoznavanju. Ve u sa-
knjiBevnica i novinarka Mora da sam ustvari okorjeli kozmopolit, urednik novina i biblioteke mom Feralovom imenu ljudi prepoznaju
jer *ivim u nekoliko zemalja, aktivno sud-
jelujem u kulturama tih zemalja.
Feral Tribune je li to prostor koji ih zanima ili ne. Na
meni je i ostalim urednicima Feralove
lavenka Drakuli je, uz Dubravku Koji su elementi bili presudni u stvara- biblioteke bilo da izborom prvih desetak
Ugrei, najpoznatija i najprevoe- nju tvojeg intelektualnog i knjievnog Biblioteka Feral Tribune pokrenuta je naslova odagnamo jedinu eventualnu za-
nija hrvatska knji*evnica u inozem- identiteta u inozemstvu? prije est godina i dosada je u njoj objav- bunu koju je njezino ime moglo proiz-
stvu. Dosada je objavila romane Hologra- Kao i u drugim podrujima, va*no je ljeno gotovo ezdesetak naslova. vesti: onu da, sukladno dosadanjim na-
mi straha, Mramorna ko,a i Kao da me ne- stvoriti prepoznatljivo ime, a ime se stvara Koja je osnovna ureivaka koncepci- vadama na ovim prostorima, svaka edicija
ma, te zbirke eseja Smrtni grijesi feminiz- na razne naine, od nastupa u knji*arama, ja biblioteke i koje su dodirne toke Fera- pokrenuta unutar nekih novina mora
ma, Kako smo pre,ivjeli komunizam i pri do intervjua, kritika i konano, pisanja la kao novina i njegove biblioteke? nu*no i neizostavno ostati u granicama
tome se smijali i Cafe Europa. Tijekom de- novinskih tekstova. Sve je to va*no za re- Feralova biblioteka nije nita drugo publicistike. Kada su ljudi prepoznali na-
vedesetih, od strane vlasti Franje Tuma- cepciju, moglo bi se rei 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, izdavai na primjer zahtjevaju stvima. Ba kao e sve granice,
tog nacionalistikog odreenja, bila je puno vei anga*man kod publiciranja to je i tjednik Fe- poeli su nam u
marginalizirana i otro kritizirana. knjige nego nekada. Sigurno da mi poma- ral Tribune nasta- tome bezgrani-
Kakva slika u Hrvatskoj danas postoji *e to to sam novinarka, pa se povremeno vak satirinog no pomagati. A
o tebi? Da li jo uvijek dominira lik vje- javljam tekstovima u talijanskim, njema- podlistka skoro onda su poele i
tice, izdajice domovine? kim, amerikim, vedskim itd. novinama, pa istim sredstvi- moje brige s na-
Na to je pitanje teko odgovoriti. U odnosno u zemljama u kojima mi se po- ma. Ovakvu je gomilanim gra-
ovoj zemlji ljudima ionako nije ostavljeno javljuju knjige. Zatim, esto sudjelujem na biblioteku stvori- divom.
puno prostora ni da sa- meunarodnim kon- la ona ista potreba Sjeam se, na
mi stvaraju sliku o ne- ferencijama, dr*im koja je stvorila i listi *elja koju
emu niti da prosuuju predavanja na sveui- ovakav list, potre- sam ispisao jut-
o bilo emu. Sliku o litima itd. Osim ro- ba nekolicine lju- ro nakon to se
meni stvorili su dr- mana piem i knjige di da na podvalu nisam uspio ot-
*avni mediji i to napa- eseja, pa to dopire do vremena u kojem rijezniti od svo-
dima, glupostima i uv- razliitih kategorija *ivimo odreagira je none ideje da
redama na moj raun... 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 inae Kovaa i Predra-
skoj nisu objavljene ni objavljena u inozem- trebao reagirati ga Matvejevia.
sve moje knjige. Kakvu stvu jest roman Ho- kad prepozna I naslovi Kristal-
onda sliku javnost logrami straha. Objav- podvalu. ne reetke i Epis-
uope mo*e 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 ve u pripremi kod dru-
to dogodilo, ima do- 1988. godine u Nje- dina daju za pravo da se narugam aktual- gih izdavaa. Kada sam to doznao, bio
voljno pisaca, re*isera, makoj. Druga knjiga nim frustracijama svih koji tvrde da su bi- sam, priznajem, ljut na sebe to se nisam
glumaca kojima se do- bila je Mramorna ko,a, li prevareni. A prevareni su bili svi koji su ranije sjetio Feralove biblioteke, ali po-
godilo isto. Ustvari, u izdanju Roberta Laf- to to zbog osobnog komoditeta, to tujui injenicu da i Kova i Matvejevi
svatko tko se usproti- fonta u Francuskoj. zbog lijenosti ganglija, a to zbog siren- imaju svoje izdavae odustao sam od
vio propagandi. Jasno Objavila sam jedan skoga zova gomile zapravo i *eljeli biti. namjere da ih nazovem i pozovem da ne-
je da HDZ-ovu re*imu mali odlomak rukopi- Jer ako si dopustio da ti bace prainu u ku buduu knjigu objave kod nas. Ne pri-
nije trebala kultura, sa u nekom kanad- oi, uope ne mora gurati glavu u pije- am vam ovo da bi netko rekao Vidi, to
nego samo propagan- skom asopisu i ubrzo sak. Ona je ve u njemu. Ja, dakle, ne je ovaj fin i kolegijalan! ili Ala krete-
da... Ali o emu mi mi je stiglo pismo iz priznajem nikakvu naknadnu pamet, jer na!, to je valjda bli*e istini, nego da po-
uope govorimo, o ko- Pariza, urednica Laf- ona u pravilu ne priznaje svoju prethod- kuate zamisliti kolika je moja radost
joj javnosti? Kulturnoj, fonta molila je da joj nu glupost. Mi smo u Feralu svih ovih go- zbog toga to su kasnije i Kova i
pretpostavljam. A kul- poaljem cijeli ruko- dina pravili novine koje su javno spaljiva- Matvejevi prepoznali Feralovu bibliote-
turna javnost *ivi u si- pis. Hou rei, protiv- ne dok su ovi, to su danas progledali, ku kao svoj prostor. To to se u istom
tuaciji da tisuu proda- no nekim miljenjima mahom zatvarali oi. Znate, kad za*miri prostoru prepoznaju i Milan Kangrga koji
nih knjiga znai uspjeh, da postoji jedan da sam se na stranom tr*itu probila knji- pred lomaom, ono to nazire kroz po- iza sebe ima i Izabrana djela i Marinko
jedini list za kulturu, da jedva da postoje gom eseja Kako smo pre,ivjeli komuni- lustisnute vjee mo*da ti doista i izgleda Koec koji jo nije imao objavljenu knji-
potene knji*are to su uglavnom papir- zam, prvo su prevedeni romani. Istina, kao vatromet i mo*da ti je tako ljepe, u gu najvea je pohvala mojoj izdavakoj lu-
nice da izdavai moraju raunati na gu- knjiga eseja Kako smo pre,ivjeli komuni- redu, neka im bude... Isto tako, objavlji- dosti. Ne, ne, ne... Ne bojte se, neu sad
bitak ako se odlue objavljivati domau zam probila je led na anglosaksonskom tr- vali smo knjige koje ignorantima to o krenuti u kuknjavu bez koje izdavatvo u
prozu... i sve to u opoj skupoi i bespari- *itu, u Velikoj Britaniji i u SAD-u. Tamo svome vremenu uvijek znaju da je takvo, ovoj zemlji naprosto ne ide. Samo u vam,
ci kad ljudi jedva imaju za novine... sam takoer pokuala najprije Hologrami- ali nikada ne *ele znati kakvo je doista, pozivajui se na Kia, ponoviti ono to
Osjea li se pripadnom hrvatskoj knji- ma, ali nije ilo. Sve dok mi urednica W. W. nisu kazale nita, jer ih oni nisu ni itali. ve znate: Mi objavljujemo u pustinji. Pa
evnoj zajednici u uem smislu? Nortona, koja je zapazila moje tekstove u A nisu ih itali, jer je to Feral i jer je to fu- ako je i ludost, moja je.
Ja tzv. knji*evnu zajednicu ni ne The Nation, nije manje-vie naruila knji- j-kaka. Taj fini i uglaeni svijet kojemu je
poznajem, ne poznajem te ljude, ne sudje- gu eseja o *ivotu u komunizmu. Feral bio vulgaran dok mu hrvatska stvar- Katarina Luketi
lujem u njihovim djelatnostima, nisam nost, naprotiv i nipoto, vulgarna bila ni- (iz intervjua Zarez,
lan njihovih udru*enja, ne objavljujem u Andrea Zlatar je, mogu poastiti jednom parafrazom br. 17, 28. listopada 1999.)
njihovim asopisima i zbornicima. Sre- (iz intervjua Zarez, br. 24, 3. veljae 2000.)

i prazno. Moja stanja nemaju ve- usmjerenost na realnost u poeziji Realnost kao nizovi slika na pov- stoje u obranu naeg identiteta.
ze s uspjehom moje zbirke. To varka, kao to je i sama realnost, rini, vrh nekog durbina kroz ko- Bulgakov, Babelj, Ki, Crnjanski,
najbolje znam po tome jer kad ji se vidi ono to zapravo jest, Popa, Tadi, Ladin, Mehmedino-
sam tu*na i *elim se nekako iu- ono to je unutra. Srce oceana. vi, Reicki, Dragojevi, Ham-
pati iz toga, ka*em sebi "Hej, ni- Kako se odnosi prema drugim vas, Maspero, Cendrares, Cesai-

Tatjana
je sve tako crno! Tvoja zbirka je piscima? re, Callaghan, Ondaatje, Carver,
uspjela!" Ali, nita. To mi tada ne - Ima puno pisaca koje cije- Atwood, Fante, Bukowski, Sal-
poma*e. A, ako mi tada ne po- nim. Neke sam voljela u odree- linger, Kureishi, Canetti...
Gromaa ma*e, u drugim sluajevima mi
ne treba. Kada sam sretna, ne
razmiljam o svojoj zbirci. Ima
nim periodima *ivota, ali ih po-
tujem i danas, mada ih mo*da ni-
sam itala desetak godina. Oni su
Kako vidi svoju budunost?
- Svoju budunost vidim, tj.
pri*eljkujem, kao obinu ljudsku
puno va*nijih stvari, uostalom, tu i ja uvijek mogu stati u obranu
budunost. Sve to *elim ostvari-
pjesnikinja i novinarka onda sam sretna i bez nje. Mogu njihove asti. Ali, *ivot ide dalje,
ti, *elim to uiniti kao ovjek, ne
je samo blago pogledati i rei dolaze nove knjige, nova imena
"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 osjea nakon uspjeha realnost u tvojoj poeziji? mislimo da smo prokopali sve odgovara. Novac trenutno zara-
tvoje prve knjige pjesama Neto - Svatko usmjerava svoje pisa- kanale i da vie nema niega to ujem kao novinar honorarac, a
nije u redu? nje onamo kamo je usmjeren nje- svijet predmetnih stvari, obma- nas mo*e protresti, evo ga, nala- vjerujem da bih se jednog dana
- Osjeam se kao i svako dru- gov pogled. Pogled je ondje gdje na. Predmeti su tu, vrsti, jasni, zimo jo jednog, pa jo jednog. voljela vratiti svom profesor-
go bie - as veselo, as tu*no. je neko stanje, osjeanje koje te- oblikovani, ali sve ostalo je nes- Probiramo ih kao zrnje i guramo skom poslu.
Uplaeno pa smireno, ispunjeno *imo izraziti. Jasno je da je moja talnost, promjenjivost, borba. u na kuti. Neka budu tu, neka Rade Jarak
14 II/40, 12. listopada 2,,,.

Irena Vrkljan Josip Mlaki Serdar srednjobosanski je ratni veteran Roman Simi
Posljednje Kad magle stanu
koji le*i na jednom zagrebakom psihijat-
rijskom odjelu zbog PTS-a. Tamo je dos- Mjesto na kojem
putovanje u Be Nomad, Zagreb, 2000 pio nakon to je ubio svog suborca, oteo
auto vojne policije, napravio pravi kraval.
emo provesti
Znanje, Zagreb, 2000.
Jakov po nalogu lijenika bilje*i svoja sje- no
ad magle stanu opisuje hrvatsko- anja na prole dogaaje, ukljuujui i one Naklada MD, Zagreb, 2000.
biteljska tajna sredinji je pojam bonjaki rat hrvatskim pogledom koji su prethodili utamnienju. Jakov je
romana Posljednje putovanje u Be. iznutra, iz perspektive ovjeka koji ubio svog predratnog najboljeg prijatelja ugo oekivana zbirka pria Ro-
Tajna pripada kriminalistici, obitelj se naao u rovu, pukom na puku sa svo- Mirsada, muslimana. Ubio ga je u zarob- mana Simia, urednika u asopi-
poetici Irene Vrkljan. Obiteljska tajna, jim susjedima. Istovremeno, ta je knjiga ljenitvu nakon to mu je podmetnuto su Quorum, pravo je osvje*enje
kao takva, predstavlja ope mjesto tradicije politiki duboko razbo- pismo koje indicira da je na prilino zamrloj domaoj knji*ev-
kriminalistikih romana, i to onih engles- rita, trezvena i potena. Mirsad imao preljubni- noj sceni. Sukladno patafizici, znanos-
ke, neto staromodnije provenijencije. Da- Ona s razumijevanjem i ku vezu s junakovom *e- ti o imaginarnim prostorima, koju su
kako, u takvom romanu nee biti nikakvih poznavanjem pripovije- nom. Srednjobosanski tijekom ovog stoljea u Francuskoj
patologa, analitiarskih timova koji izrau- da priu koja se toliko Otelo imao je kao i afirmirali pisci fantastiari: Jarry, Arra-
ju profil serijskog ubojice, kompjutorskih puta ponovila Bosni, Li- obino svog Jaga. On bal, Vian, Perec i drugi, Roman Simi
strunjaka koji provjeravaju brojeve auto- ci i Slavoniji: priu o do- se zove Keke, junakov je unutar vlastite proze pronalazi nove
mobilskih tablica... Na mjestu intelektual- jueranjim komiluci- suborac iz rova, cinik i prostore koji funkcioniraju kao ista
no precizno planiranog savrenog zloi- ma u kojima su ljudi bili mizantrop sklon neprim- metafora... Simi je prvi pravi hrvatski
na nalazi se obina obiteljska tajna. Najo- povezani kumstvima, jerenom humoru koji patafiziar, ili Borghesovac u punom
binija, onakva kakvih ima u gotovo svakoj kolskim drugarstvima i namjesti Serdaru "inkri- smislu rijei, raunajui na njegov radi-
(normalnoj!) obitelji: vanbrana djeca, iz- sportskim rivalstvima, minirajue" pismo i ru*- kalan tretman imaginarnog, kao i neu-
gubljeni ljubavnici, usvajanja, neuspjena da bi na koncu zavrila u nom alom uputi meha- ta*ivu *elju za egzotikom...
potraga za nikad dobivenom ljubavi. Ni- krvi. Mlakievi junaci nizam tragedije... Simievi svjetovi nastaju na margi-
kakva asocijalna psihopatologija, samo katolici su i muslimani Pored mnogo papirna- nama ve postojeih, jednom izmata-
normalna patologija naih svakodnevnih koji jednako psuju Ala- tih ratnih knjiga Mlakie- nih egzotinih svjetova. Oni nastaju iz
*ivota i poremeenih odnosa. Jedino to ha, govore istu arhainu va mirie na autentinost. registra njegova iskustva, ali i registra
ovaj roman direktno dijeli s modernim kri- ikavicu i ne navijaju ni Karakteri, ratna psiholo- njegova itanja. Ovi prostori deriviraju
minalistikim romanima injenica je to i za Dinamo ni za Saraje- gija i tehnologija, specifi- iz ve postojee patafizike jednog Ma-
Posljednje putovanje u Be na samome po- vo, nego za Hajduk. To an rovovski mentalitet, rqueza, Llose ili Asturiasa, na prim-
etku izla*e le... jesu li se oni mrzili prije rata ili ne u cije- humor i senti sve naprosto odaje ovje- jer...
Pripovjedanje Irene Vrkljan u Posljed- loj prii nije bitno: stvari su se dogodile ka koji je tamo bio kao senzibilni promat- Mo*emo rei da je Simieva zbirka i
njem putovanju u Be dosljedno je moder- mimo njih, a da nisu imali izbora. Sad se ra. To nije naravno jamstvo za dobru rat- neobina i znaajna u aktualnom tre-
nistiko pismo u kojem nad autorskim pri- rokaju dugim i kratkim cijevima i ekaju. nu knjigu, ali jest nu*an preduvjet, neto nutku domae prozne produkcije. Do-
povijedanjem u treem licu dominira pri- ekaju, kako tipinim bosanskim fataliz- to se ne da ni kupiti ni posuditi. bili smo pisca koji se ne uklapa u vlada-
povjedanje iz oita lika... Irena Vrkljan is- mom pie Mlaki, da zavri rat kao da e- U Mlakievoj poziciji nema nieg fol- jui kanon, nego, naravno posredno, u
pripovijedala je jednu tipinu obiteljsku kaju da zavri pljusak. ak i kad ne bi bila klorno-zaviajnog. On je i jezikom i kul- svojim tekstovima iznosi svu te*inu
priu, poput onih koje najee ostaju zat- dobra knjiga, Mlakieva bi knjiga bila sjaj- turom urbani tridesetpetogodinjak koji stoljea i sav pritisak avangarde, mo-
vorene i dobro uvane unutar etiri zida na, jer predstavlja poteni, svje* i nevin u roman unosi kulturu i afinitete svog na- derne i drugih knji*evnih pravaca.
graanskih kua. Zloin (pravni ili moralni) pogled na najmanje nevino mjesto i vrije- rataja. Njegove e reference biti jednako
kao dio obiteljskog inventara, pospremljen me. Osim toga, meutim, to je i sasvim fi- Bulgakov i Led Zeppelin, Rolling Stones i Rade Jarak
u krinjama ili kovezima, na tavanu ili u na mala knjiga. Siegfried Lenz, Komandant Mark i Let iz-
podrumu, sve dok se ne dogodi neto neo- Sluaj Josipa Mlakia mnogi dijelom i s nad kukavijeg gnijezda. Zvui malo zas-
ekivano i neka ruka sluajno ne otvori je- razlogom usporeuju sa sluajem Ratka tarjelo? Naravno. Mi i govorimo o tride-
dan takav koveg... Cvetnia i njegovim Kratkim izletom. Ba setpetogodinjacima kojima je rat pojeo
kao i Cvetni i Mlaki je debitant koji je u desetljee i koji su kulturno ostali *ivjeti
Andrea Zlatar knji*evnost banuo niotkuda u kasnim tri- u srednjokolskim ljubavima, jer je nakon
desetima... Kad magle stanu na putu su da, toga kulturu pojeo veliki pirotehniki
ba poput Cvetnieve knji*ice, postanu li- ou.
terarna stvar u modi. Ipak, s usporedbama Kad magle stanu nije velika knjiga. Ona
Cvetnia i Mlakia ne treba pretjerivati. je mala: i po volumenu i po ambicijama.
Cvetnieva je knjiga faction, Mlakieva fic- Ona je, meutim, beskrajno estita, senzi-
tion, Cvetieva memoarski esej, Mlakieva bilna i potresna mala knjiga... Mlaki pria
dulja pripovijetka ili kratki roman. Najva*- o svemu majunom: o lokalnim objeenja-
nija je razlika to Cvetni pie o jednom cima, o vrapcima, o pogledu kroz prozor,
romantinom i romantiziranom ratu koji ba kao i o zlodjelima, blatu i alkoholu. Jer,
provlai kroz centrifugu crne depatetizaci- to su vremena stranija, va*nije postaju
je. Mlaki pie o jednom ratu koji je pote- neva*ne stvari.
nom Hrvatu bolje ne spominjati ga. A pie Na svoj malen, neva*an, nesavren i
o njemu prostoduno i prirodno kao da ga hrapav nain Mlaki nudi pogled na ono
nosi kao odjeu. Pie o njemu ne pokua- to je za hrvatsku kulturu dosad bilo neka-
vajui stvari prikazati boljima nego to je- zivo i kazuje to razumljivo, pametno i bol-
su. no.
Mlakieva knjiga uvelike je objeena o
sredinju dosjetku. Junak knjige Jakov Jurica Pavii

D3evad Karahasan stvarnoga svijeta naspram moguega blizak samome piscu mora nabavi- zine ogoljenosti, postali toliko va*ni gim svojim knjigama...
svijeta knji*evnosti... Njega tako za- ti potrebne dokumente i nagovoriti odnosi meu ljudima, prijateljstvo i U tom o toj opozicijskoj napetos-
Sara i Serafina nimaju likovi i odnosi meu njima,
dogaajna stvarnost te, mo*da prije
do tada mu nepoznatu Saru, odnos-
no Serafinu na odlazak... Kroz tako
uzajamno razumijevanje, jer, kako
pie u romanu u graninim situaci-
ti kao konstruktu kulture i kon-
struktu svijeta romana dovoljno go-
Durieux, Zagreb, 1999. svega, mogunost da se ispripovije- jama, u vremenima velikih iskuenja, vori dvojni oblik imena naslovne ju-
naznaenu konstrukcijsku osnovicu
da pria; lijepa, uzbudljiva i u najma- prie o odlasku i ostanku Karahasan ljudi postanu moralno osjetljiviji ne- nakinje, pri emu ime Sara potjee iz
ovi Karahasanov roman Sara nju ruku vjerodostojna pria. Osim go inae, recimo mnogo moralniji *idovske starozavjetne tradicije, a
i Serafina mo*e se odrediti je na neizravan nain ocrtao i sara-
te obnove *anra, ovaj roman upuu- jevsku ratnu svakodnevicu, svakod- nego to su u normalnim uvjetim, Serafina se pak ve*e uz kranski na-
kao svojevrsni pokuaj ob- je i na iroko semantiko polje jer im nita drugo ne ostaje... ziv za anela. Tako unutarnja kon-
nove *anra, tonije kao ustrajanje nevicu u kojoj su, upravo zbog nje-
smjeteno izvan granica teksta, od- Naelo dualiteta koje se prepoznaje tradikcija lika Sare i Serafine podvla-
na tradicijski potvrenim modelima nosno na niz tema i motiva iz drugih u toj dramaturkoj koncepciji ka- i i unutarnju razliitost bosansko-
romanesknog oblikovanja. Ta ob- Karahasanovih pripovjednih i esejis- rakterizacije, odnosno dijaloginost hercegovake kulture, a va*no je is-
nova romana oituje se ponajvie u tikih tekstova te na znaenjski po- kao princip uspostavljanja znaenja taknuti da taj odnos tekstualnoga i
vraanju te*ita na priu i neposred- tencijal kulture u kojoj on prebiva. meu pojedinim elementima teksta, izvantekstualnoga nije nipoto te-
no ispripovijedanu stvarnost, zatim Rije je tako o kompleksnoj i dobro izra*eno je na gotovo svim razinama meljen na pukom simbolikom pa-
u tretiranju jednoga lika kao integra- promiljenoj romanesknoj strukturi ovoga romana. Tako primjerice glas ralelizmu, ve je rije o utvrivanju
cijske jedinice teksta, jaanju moti- koja pretpostavlja nekoliko razina pripovjedaa ponekad mijenja ton istovjetnosti pojava na nekoliko raz-
vacijskih mehanizama i uope u slo- itanja i razina tumaenja, pri emu skretanjem pa*nje s prie i uputa- liitih razina, odnosno o svepro*i-
*enijoj izgradnji svijeta djela teme- se koliko god daleko otili u otkri- njem u razliite refleksije, pa mjesti- majuem naelu razumijevanja jedne
ljenoj prije svega na naelu kontras- vanju znakova teksta uvijek vraa- mice dominantni pripovjedni disku- kulture. Upravo u takvoj sposob-
ta. Pomalo u inat postmodernoj mo na zanimljivost same ispripovi- rs biva zamijenjen onim esejistikim nosti izbjegavanja doslovnosti i pa-
multiplicirajuoj retorici ili, kako e jedane prie. ime se ovaj roman pribli*ava *an- tetike te finoj mre*i aluzija, u kojoj
u jednom intervjuu kazati ubogoj Ukratko, pria romana Sara i Serafi- rovskim hibridima modernizma se niz znakova povezuje neprekidno
vjetini zbunjivanja koju su razvili na odvija se u sarajevskim ratnim znanim pod nazivom roman-esej. upuujui jedan na drugoga, sastoji
suvremeni pisci, Karahasan u ovom godinama i koncipirana je oko prili- Takvi esejistiki pasa*i u romanu re- se velikim dijelom Karahasanova
romanu, kao i u ranijim narativnim ke koja se pru*ila likovima da izau dovito se odnose na teme razumije- spisateljska vjetina i, recimo to ta-
djelima, nastoji ponovno uspostaviti iz opkoljena grada. Kako bi omogu- vanja tradicije i kulture, bosansko- ko, snaga njegove romaneskne ima-
naelo kauzaliteta i homogenizacije io svojoj *eni odlazak, pripovjeda hercegovake prolosti i stvarnosti o ginacije.
teksta te iznova promisliti odnos po nekim biografskim detaljima kojima je Karahasan pisao u mno- Katarina Luketi
 II/39, 28. rujna 2,,,. 15

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

Edited by:
Katarina Luketi
Iva Plee
Duanka Profeta

Translated by:
Nataa Govedi
Dubravka Petrovi
Aleksandra Miak

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

Literary Time:
thologies were too painful and tra- Mirkovi and Ratko Cvetni were
gic to tolerate any fictional orna- important not only contextually,
mentation. To make a long story as a proof that writing about war
short: testimonies about rape and was possible even when professio-
ethnical cleansing can be ideologi- nal Muses were being silenced, but

The Present
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-
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 @ani, Zvonimir st daily basis - for the most part, step, slowly lose illusions about
of literary metamorpho- Berkovi, Viktor Ivani and Slo- their authors had no literary bac- their universal importance. In
ses, how did we reach the bodan najder. kground, and their names were of- Mirkovi and Cvetni these indivi-
genre destination of refu- As a whole, these are the imagi- ten familiar from television repor- dual figures gradually realize that
nary frames of documentary and ts on the war. Thus, the anticipa- the tragic scale can be fully measu-
gee confessions and war 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 Mirkovi and Cvetni 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 Kalini'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. Kalini 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 Marinkovi 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 Jergovi. 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 Kalini'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 Jergovi 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
Pavlii 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 Mirkovi 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 Bogii) and entitled imunovi and Grugurovac to (an unavoidable and logical con-
ts of avant-garde tendencies", and Documentarity in Contemporary @eljko Ivankovi and Ivan Lovre- sequence of understanding Croa-
women, usually identified with the Croatian Literature. Undeniably, novi) 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 Ugrei, Slavenka autobiographical and documenta- The last group, autobiographi- ng value charges: how else can we
Drakuli. 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? Jergovi 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 Stojans 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 @eljka orak's book Shards nineties was, Cvetni, two authors who - in cri- cillating between autobiography
even begin to guess the answer to and Pavlii's apudl, 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-
tional literature is far more hetero-
rance of Dubravka Orai-Toli's
book Literature and Destiny. o-
a complex form that ture. The fact that both of them
had no previous literary experien-
started writing genre fiction, still
thematically rooted in time and
geneous and it does not readily le- raks 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 Pavii,
in Croatian fiction during the ni- apudl revealed Pavlii's transfor- with reading audience and the pu- Ante Tomi, Igor Petri and Josip
neties" is easy only from the statis- mation from the fantasy to auto- autobiographical re common sense of critics finally Mlaki transformed the experien-
tical point of view. Many new aut- biographical writer, and Orai-To- triumphed over the traditional ce of war into the fictional forms
hors happened, and while the ol- li's book opened the discussion
with theoretical academic resistance towards auto- of the novel, mostly written in thi-
der generation from the eighties
has endured, what is completely
about the relationship between
fiction and reality. The central
elements biography and other "non-literary"
genres. Both authors are neverthe-
rd person. Their writing clearly
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 Pavii and Tomi 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 Mirkovi 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 Ugrei are the hig- riod was therefore free of pathetic nating plot, and Cvetni'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 Perii and Filip ovago- the gift of deep sarcasm. In 4
cumbered by the pejorative dicho- indicative of baby steps in any vi. 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 Mlaki, and his novel or of global Flood. The hardship
When The Fog Lifts (2000), hold a
special place in this generation of
writers. Mlaki does not use genre
models of war novel, but the (qua-
Dangerous Verses, of survival as a constant subject
of her plays is certainly a refer-
ence to current Croatian reality
(and perhaps to her own situa-
si)autobiographical narration in
retrospective time that blurs the
boundary between the events of
war and the reflection about them.
Although Daa Drndi's fiction
Useless Flags tion of a nationally and interna-
tionally award-winning author
who is still unemployed and has
no material security whatsoev-
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 Mlaki 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 Mlakis 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- Senker, a politically biting and capable of writing within the world culminates with 4 Dry
sroads between fiction, autobiog-
experiment too much sharp social observer in the post- boundaries of realistic motiva- Feet, where water, traditionally
raphy and essay, Drndi'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 Nataa Govedi 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 Matanovi's fiction Why I instance Slobodan najder, 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 novi. 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 najder's typical writ- the works of Miro Gavran, an institutional war politically may have ended, but
vao Pavlii 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 clichs lover was calling her from the provocative to stage. As always,
lishers chose it as their specialty. works from Tuman'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 najder's involun- emotionality or good writing. A indifferent partner has com- standards is seen as a much
and Ivan Lovrenovi, 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 Grli intimate tone, focusing on fe- vulgar grotesque vein, is what DJ who plays our "emotional
and Sonja Wild Biani. male characters or woman's per- characterizes the theater work of tapes", so Sajko clearly possesses Nataa Govedi
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- najder'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 Brean and Mate Ma-
which automatically excluded ma- tii, the codes of heroic/mascu-
ny writers who are theoretically di- line representation undergo
vorced from it, like Damir Milo, merciless scrutiny, but the alter-
Borivoj Radakovi, Zoran Feri, natives are either stoicism (Bre-
Viktor Ivani, ermano Senja- an) or religious insight (Mati-
novi etc. It is more likely that the- i). That said, Mate Matii
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 Drakuli and award-winning play White by a
Dubravka Ugrei (in the realm of young author Dubravko Miha-
fiction) and Slobodan najder novi, 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 Vidi 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 Jagi, Alen
expression. In both cases, lyrical men in the tram, guys who shovel Galovi, Katarina Ma*uran etc.

Poetic Generation speech has therapeutic function,

because we are talking about the
subject who consented to his exile
snow, workers playing cards in the
train etc. What makes her variant
of "factual poetry" attractive is its
Narcissistic isolation
Contemporary writers, includi-

of the Nineties and who is in danger of disappea-

rance for that very reason. Indiffe-
rent subject, non-metaphorical
seductive narrativity, ingenuity of
thematization and an outstanding
communicative force of the text.
ng the Croatian poets under dis-
cussion, are condemned to both
nonliteral reiterations and search
("journalistic") poetic style and the She insists on little stories in verse, for authenticity in spite of their
Indifferent subject, non- 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
the most of our young poets. As emphasis. Gromaa's model could is exactly repetition that "authenti-
discoursive pattern of statements correlative to Vukovi'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
tic peers: Fucked-up Girl live "after the orgies", said Jean
lyrical discourses in the - Actually, nothing is happening She leaves in the morning, comes Baudrillard, influential thinker and
works of the most of our (by Alen Galovi, 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-
- Its best if we talk about the face. ty, they liberate modernity on eve-
Kreimir Bagi 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 Gromaa, 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 Matijevi, 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 yesterdays 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 Gromaa'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 Prtenjaa, La-
ge. cy, composing their poems by ran- alternative culture. But poets from posed to grammar - there are more na Derka 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, Prtenjaa
Their motto is "knock, and it shall singular, actualizes the ancient idea about
of Asher's "action" were the creati-
not be opened unto you." To illus- countless beneficial effects of poetry and the
ve strategies of the youngest Croa-
trate the typical sensibility and worlds might symbolic healing and mental heal-
tian poets, by which I mean the ge-
creative methods of the nineties, I hide. Groma- th acquired through escape into
neration that emerged during the
have chosen the poem Weekend a's subject poetry. His impromptu lyrical the-
nineties. Like that blast of sand,
No. 31 by Tvrtko Vukovi. 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 Vukovi'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-
isolation of literary subject. They tries to capitalize on his precious
functions as a symptom of the pre- ryday life and
"copied" everyday scenes with only "autism". His polemical blade cuts
vailing poetic condition. self-critically
slight stylization, as they copied most deeply where the consumeri-
questions its
intertextual and intermedial ges- st society and its status symbols
WEEKEND No. 31 experiences.
tuality, mimicries of the genre, are concerned. We are repeatedly
Its dispersion
fragmentation and colloquization Ivan is dead. Cecilia has a dog. His reminded that all the real values in
is signalized,
of lyrical idiom: these are the poin- name is Lucky. today's world are lost, and that this
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 Prtenjaa, 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 Prtenjaa'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 Vukovi, Katarina Ma- Police hour dedramatizes and cool off the pipes full of lonely
*uran, Ivan Herceg, Alen Galo- starts at eleven. Zagreb is attractive. reality and gas
vi, Damir Radi, Tatjana Groma- The train his/her posi-
leaves at three o'clock. My belongin- yes solitude is perfect
a, Ivica Prtenjaa, Dragan Jurak, tion in it by
gs are packed. if made of natural materials
Zvjezdana Bubnjar, Kreimir Pin- exchanging
tari, Sran Sacher, Katarina-Zrin- I leave. Neda will be waiting for previous Juxtaposing various discoursive
ka Matijevi, Robert Perii, Mila- me. Neda is culture and literature). And this, as "expressive spasms" with expressi- matrices, Prtenjaa analyzes and
na Vukovi, Kemal Muji-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-
Stama, 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- Prtenjaa's frames through which
di, Dorta Jagi, Lana Derka 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, Vukovi's subject in chief characteristic of poetic tec- jargon of the contemporary loser. follows the trace of alamun's or
neties did not really lend itself to fact insists on dispersion of his hniques in the nineties. Although in some poems Groma- Male's euphoric associative links
poetry. The first half of the decade consciousness. Lyrically, this dis- In Tatjana Gromaa and her re- a 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 cant 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 someones 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//"). Prtenjaas poetic wor-
fore the war, simultaneously abo- correspondence and the absolute situations. This author synthesi- Besides Vukovi and Gromaa 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- tions 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 Prtenjaa 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 Radi and Robert Perii. 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 Makovi, Male, e- in which the despair is brutally con- is Jurak's book Horses and Riders, gloke.
gec, Reicki...). And yet, thanks to densed from which I quote: Poetic language turns jour-
despair about which I could write I believe the quoted passage il- nalistic and other sins of li-
his conscious use of inauthenticity,
Marlon at the Movies lustrates quite well Radi's delibe-
Prtenjaa succeeds in making his an Encyclopedia
rate mimesis of western movie
teracy
writing really therapeutic: he finds if it did not exist already: He appears Finally, what I consider the mo-
Encyclopedia of the Dead, Encyclo- genre. However, when the text is
the point where "to copy" transla- in sheriff's uniform. st innovative in the poetry of the
pedia of observed more carefully and in fu-
tes "to set free"! he drinks coffee by the gallon nineties is the desacralization of
Nothingness, Croatian Institute of ll, it becomes obvious that author's
Lana Derka, on the other ha- talks with difficulty poetic language. In significant
Lexicography lyrical organization arises much
nd, insists on penetrating the rea- walks with an effort. number of new works we find
Encyclopedia, Encyclopedia of Spo- more from the need to loosen up
lm of the invisible, doubtful and a docile woman watches him journalistic idioms which eviden-
rt, the canons of both lyrical poetry
unclear, in order to achieve greater with tears in her eyes. tly testify to the fact that language
Encyclopedia of Houseplants... and westerns, than from the "natu-
awareness of her own identity and half of the city has ceased to be a consecrated spa-
re" of author's speech. To tell the
existential experience. She has fou- watches him ce of gaining experience, experi-
The title of this poem is also its truth, Radi, similarly to Jurak,
nd her space in the metaphor of with tears in their eyes. mentation and imaginary world-
commentary, a detection of the does narrate about cowboys and
the forest. Epithets she chooses the other half makings, turning instead into a
subject's condition, but also the Indians, but they are here only be-
while turning the forest into the (rednecks) mere vehicle for relaying messa-
cause the author is searching for
symbol of lyrical habitat are "dar- fear for their wives. ges. Many have neglected the clas-
indirect way to present his story.
kness" and "enshrinement". She sical attitude that "it is almost im-
Film stereotypes are used as accep-
exclaims, with pronounced intima- The poetry and film blend in possible not to characterize perso-
table frame for lyrical mystifica-
te and inspiring note of verbally the title and beyond - lyrical subje- nal experience or not to sell off
tion and globalization of a differe-
established relationship: The fore- ct sits in the movies, in front of the what we felt and lived through if
nt experience. By the same token,
st is my/ Extended bed (poem giant screen, obviously watching we persist in the regular forms of
Radi cheats the reader by offering
Embroidery, from Poor Box for Marlon Brando in the leading role. communication" (Peter Sloterdi-
a genre story as a poem, which fur-
Shadows). With these verses, Lana The poet playfully connects events jk). If Croatian poetry continues
ther transfers the lyrical discourse
Derka creatively shows that fore- on the movie screen and in front on its present course, I expect sub-
to the journalistic level and intro-
st can be a center of the intimate of him, deliberately mixing per- stantial changes of its literary sen-
duces the reader to a new media
self, just like the house, cave or spectives and abolishing the boun- se and status. It is indicative that
game. The fetishistic experience of
cathedral. In words of Gilbert Du- daries between artificial world of negligence towards language is ref-
ornamented poetic language is
rand, "the enclosed space of the fo- the movie and the reality of its lected also as the negligence of ele-
confronted with the bare sentence,
rest makes it a sacred place." In consumer. A cursory glance revea- mentary literacy. Tatjana Gromaa,
depoetized phrase, narration and
Derka's poetry, the world outside ls the cinematic composition of for example, for no apparent artis-
rhythm of everyday narration.
the forest looks utterly compar- the text: Jurak presents film narra- tic reasons or stylistic effects, in-
Thus the retrospective becomes a
tmentalized, the space where only tion stripped of its usual lyrical sists on constructions with double
privileged perspective. Neverthe-
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 Radi goes a step fur-
tenjaa's amusement park), and its ther. Almost all commentators of The creative many funerals/ they are not nothi-
ng special". It would be, of course,
administrative orderliness doe- his poetry point out that its cine-
snt extend just into the material, detection of global condition, in matic quality is crucial for under-
strategies of more correct to say that kids "do
not notice" the uncle and that the
but also into the spiritual sphere of
the world. The precondition for a
face of which the subject feels hel-
pless. All the world is "encyclope-
standing this poet. For instance,
Quorum critic Delimir Reicki
young Croatian funerals are "nothing special". She
even misuses congruencies, like in
true subject to emerge and gain
experience is its departure from
dized", "finished" in a sense. Again,
may I add, the reader is faced with
described Radi's book Lynx Hun-
ting as the synthesis of "techniques
poets remind me the sentence "let me undress this
three pairs of pants", instead of
the outside world. The forest me-
taphor is in fact a metaphor of iso-
the frame of mind of Prtenjaa's
amusement park of administrative
of transmediary and transtextual
palimpsests with typical western
of the radicalism, "these three pairs of pants." Similar
mistakes are present in Dragan Ju-
lation and the signal of imaginary catalogues of Lana Derka. Whate-
ver we think of doing - someone
cut ups", and young Sven Cvek
wrote: "in the era when the only
literalness and rak's poetry, at the end of the alrea-
renewal of the landscape; signal of 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 Vukovi cites Danilo Ki's and restrospectiveness (in the form of half/ (redneckes)/ fear for their
in the lyrical forest is the state of Stanko Andri's book titles, i.e. a re-vivals, re-cycles and a whole Ashers "action" wives", although we could expect
silence. Derka: 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. Vukovi unambiguously stands as a dominant cultural tre- in Milan rs for their wives". Damir Radi
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- Radi'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 dboard tube/, who contains the
Kreimir Pintari, Tomislav Bog- less, it continues to be a very sub-
poetic hero is a hypersensitive ob- cliches, nostalgic or ironic revivals title deed." If this trend continues,
dan etc. But let us now concentra- versive strategy, since it relativizes
server who feeds upon images he of canonized artistic techniques. it seems that some of our poets wi-
te on another feature. classical patterns of perception
committed to memory and even- His thematical world is entirely ar- ll have to realize that elementary
and puts into question the usual
tually blends with the scenes ob- tificial: everything in it is second- school trivia (like the status of the
Intermedial gestuality understanding of the analytical
served. Although majority of his hand, and a literal communication subject in the sentence and its ag-
Some poets from the nineties terms like "subject", "individual
fabulations are melancholic, every with the text is probably the least reement with the predicate) in-
focused their creative strategies on style", "genre", "art work". Gestua-
once in a while he writes with a cri- welcome approach. In my opinion, deed are of lesser importance, but
the goal of somehow "globalizing" lity of Jurak's, Radi's and Perii's
tical edge and ironizes banality, Radi's lyrical concept is best illus- only when we use them impeccab-
lyrical speech. Globalization mea- writing is based equally on the mo-
things we take for granted, intel- trated by the long poem The Delu- ly.
nt opening of the text toward the tives from popular and high cultu-
lectual and emotional limitations. ded Sheriff. It is basically a Western
popular culture and media expe- re, and it is not possible (at least By pointing out some common
screenplay in verse in which we
Intertextual gestuality riences, and reducing the language not without considerable violence) mistakes of Croatian poets I did
follow a very interesting plot
of the poem to merely communi- to reduce them to one or the oth- not intend to reduce the value of
Exceptional closeness and the about the virtuous sheriff who
cative "means" (until recently, this er. Although the high/popular am- their poetics or lyrical experiences
potential substitution of catego- unwaveringly fought for justice
strategy was unthinkable). But in- bivalence has been present in
ries of "power" and "powerlessne- and who obeyed the highest moral of the nineties. I even consider the
termediality, of course, is not a no- Croatian literature from the early
ss" is best witnessed by poet's rela- principles. Skillfully "shooting" above mistakes as a symptom of
velty in Croatian poetry. On the eighties, their variants of the "glo-
tionship to his/her textual herita- scenes of this lyrical story, Radi the present moment and its atten-
contrary, it is a desirable method bal poem are its most radical
ge. It might seem like s/he has on- provides the text with stereotypi- dant practices. If we go back to
that has been re-canonized by the expression so far.
ly other people's words, sentences, cal portraits of heroes and their
lyrical techniques of the eighties; The described creative strategy our initial story about Michael As-
techniques and stylistic figures un- enemies, together with the fun-
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
surface of things, not really "parti- me musicians, like Sran Sacher He approached the horse and undid viously happened with literature,
the intentions behind it. Mistakes
cipating" in the world he themati- and Lidija Bajuk Pecoti, decided the reins, preparing to mount. since it has become hard to ac-
to print their songs as poems (and knowledge the existence of the so are the legitimate part of the con-
zes. Already quoted Tvrtko "Just a moment, man", he heard
Vukovi 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 dont 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 caf, 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

Miljenko Jergovi being an atheist. One of the forma-

tive stories of my childhood is the
one about my grandfather spending
Nevertheless, I would say that my
inner home takes precedence over
any other. This inner home is really
shell hit anywhere near us, I would
dive under the table. At the table
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 Kraljevi, who is now Bosnia and
ets. My grandfather, grandmother in Marseilles, on October 9, 1934. home of my room and a world that Herzegovinas ambassador to Italy
In your introduction to Nazi and my mom all had reduced-fare My grandfather said in some caf 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 nt 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, Jergovi!
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 railways main office, being a person without a country, some of whom are probably also
erary influences and the influences dont 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
- Its 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, its 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 ommend?
be shaped by the same values, films, The importance of grandfather 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 Velikovi - whenever you
ues were completely different from - My grandfather is very impor- army he ever served was Emperor you are when you dont have a flag, find something of his, read it; the
ours. The generations that followed tant to me. My maternal grandpar- Francis Josephs 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. Theres a verse by Milo dinoiv, the third one is a wonderful
regimes. This is an important factor thing important about life. quently had a grand old time. Crnjanski, in Verses of Ithaca that I
Sarajevan author living in Chicago
for most people from my genera- Whenever I say this, my parents The notes from Kis manuscripts often thought of in the last six or
called Aleksandar Heman, and the
tion who are now trying to do, become unhappy, because they feel show that he was in two minds seven years, and it goes like this:
fourth one is Goran Samard*i.
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. Theres no they feel guilty. But the simple truth couldnt 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 werent 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 shouldnt consent
represents a novel way of looking at
me personally. Im 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 werent 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 its 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?
Kis fiction. graceful, regardless of what hap- I consume huge amounts of
- I really couldnt 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 Ki, 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 thats 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 Ki seems to me preten- day. discreet than I am, so we never hear
tios and presumptious. The link from them. Thats 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, @eljko Ivankovi 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 Jergovi (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 dont 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 just like in former Yugoslavia, a per-
dies Japanese in This Town Tonig-
betrayed the principle, but this is son is as important as they make
ht/ (1990); Himmel Comando my personal business that doesnt out to be. Moreover, the emptiest
(1990) and Across the Frozen concern others, and I dont think people are the ones who puff up
Bridge (1996). Jergovi 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), cant be good. Sometimes you have pornography and football, because
plus the play You Say Angel to embrace your fear, and that is that wont 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, Duanka Profeta
collected in books Nazi Etiquet-
during one very heavy shelling,
te (1998) and A History Manual which caught me in, of all places, (Excerpt from the interview,
(2000). published in issue #1,
the caf 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 cant afford a newspa- while pretending that Croatian reality was
per... anything but, is the paraphrase of youll-
Do you feel any sense of belonging to the know-who: a box of poisonous letters is

Predrag Luci
Croatian literary community? the ultimate human invention in defense of
Slavenka Drakuli I am not familiar with "Croatian literary ones 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. Ferals name car-
bravka Ugre- to do with language and my emotional sense eral Tribune Publishing was started ries enough weight for people to recognize
i, Slavenka of belonging. But even in that area, I am not six years ago, publishing nearly sixty whether this is the space that interests
Drakuli 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 thats
English by Marko As in other professions, gaining name ment in Nedjeljna Dal- where my worries with
Ivi 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 90s, Slavenka Drakuli 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 todays we live in the same way and among the names
Tuman'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 hasnt been those of Mirko Ko-va
What kind of image do you have in nalistic career helps as well, and its no acci- amputated should res- and Predrag Matve-jevi.
todays 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 theyve been titles: Crystal Bars and
"traitor of the homeland"? newspapers and simultaneuosly publishing cheated. Epistles from Other Europe. I didnt 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. authors visibility. My first book that was tion of all those who claim that theyve respecting the fact that both Kova and
My image has been created by the state-con- published outside Croatia, in Germany, was been cheated. The truth is that the only Matvejevi 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 couldnt 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 dont 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. Its already there. So, I was when both Kova and Matvejevi later
ganda; I share that experience with other emphasize, contrary to common opinion dont 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 Tuman's regime didnt 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 Koec, 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 dont be afraid, I wont
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 Ki, 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 didnt 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 thats the way it is, for the simple reason Katarina Luketi
money if they print domestic fiction... And Andrea Zlatar that they never read them. And they didnt
all that is just a part of the larger picture (Excerpt from an interview read them because its 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, Ki, Crnjan-
face, your book is such a success!", which one see the things that real- ski, Popa, Ladin, Mehmedinovi,
but it doesn't work. It doesnt ly exist; inner things. Heart of the Reicki, Dragojevi, Hamvas,
Tatjana help. And if it doesnt help when I
feel sad, I don't need it to help me
ocean.
Describe your relationship with
Maspero, Cendrares, Cesaire, Ca-
llaghan, Ondaatje, Carver, At-

Gromaa in any other case. I dont think of

my book when Im happy; there
other writers?
- There are many writers I
wood, Dante, Bukowski, Salinger,
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 dont 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 Well Spend the Night is ception of the book which wont 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 Simi why this is so hard to accept. I do
however think that expectations to
model of literary expectation. Be-
tween the covers of the book I wan-
jealously cherish their impotent city
pride. Like Pouertomarin, which re-
story style and the language, are not
the dominant ones (at least I dont
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). Its true that for a while I
oman Simi (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 doesnt mean that Im 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 Well Spend the Night is crea-
collection of stories called The written a fantasy or an SF book. of her family for centuries). Its dif- ted as a world were all conversations
Place Where Well 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? dont 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 doesnt 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 Mlaki htly compared with the case of Ratko who prefers cruel humor, and the real Irena Vrkljan
Cvetni 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 Cvetni'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, Mlakis work
nable success with Croatian readers. is steeped in authenticity. The characte- entral to the novel The Last Jour-
hen the Fog Lifts describes Croa-
ney to Vienna is the concept of
tian-Bosniac war from the inner However, I would not overdo the com- rs, the psychology and technology of
family secret. The secret is the
Croatian perspective, from the parisons between Mlaki and Cvetni. war, the unique trench mentality, hu- domain of crime investigations, while
viewpoint of the man who finds himse- Cvetni wrote faction, Mlaki 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. Cvetni 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, Mlaki wrote a short novel a sensitive observer. That doesnt 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 Cvetni'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 Mlaki's testimony about the (...) Mlaki 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-
cent citizen of ge, culture and affinities correspond to counters just a plain family secret. So
schoolmates or sport
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-
end in a bloody war. What's more, Mla- are Bulgakov and Led Zeppelin, Rolling
ly: illegitimate children, lost lovers,
Mlaki's heroes are ki 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 theyre 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...
Zagrebs 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-
Mlaki's book book; it is rather small, in terms of vo- nist, with the narration from the charac-
Splits Hajduk).
hinges on its cen- lume and ambition. It does, however, ters point of view overshadowing the
Whether they hated
authors narration in third person Ire-
each other before tral gimmick. The possess astonishing honesty, sensitivity
na Vrkljan tells a typical family story,
the war is utterly ir- main character is and poignancy. It also provides space
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 theyre waiting. Theyre wai- the diagnosis of PTSP. He ended up in little things get. In his small, unassumi- sement, until something unexpected
ting, Mlaki writes with typical Bosnian the hospital after killing a fellow sol- ng, imperfect and rough way, Mlaki 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-
didnt fulfill our literary expectations, it writes down his memories of the events ce and compassion/empathy.
would still be great, thanks to Mlakis that transpired. We learn that Jakov had Jurica Pavii
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 didnt 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 Mlaki's fair, fresh and had an affair with Jakovs 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 Mlaki is often rig- Keke. Keke is a cynical misanthrope
 II/40, 12. listopada,,,. 23

Igor tiks Jurica Pavii vestigators, but the final solution still takes over. His police partner is a more traditonal,
Castle in Romagna A Sunday Friend
us by surprise without resorting to cheap
gimmickry. Pavii skillfully makes the sinis-
older, heavier man. The cinematic genre
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 typical for the late 90s... The political dimen-
gor tiks novel is a deceptively or-
he novel opens with a series towards the key contract of seven sion of the story is not just a "dressing"; it
dinary piece of reading, with a sho-
of murders that are concei- partners in dubious business... roots Pavii's fiction deeply into Croatian
rt, simple and open structure and
ved as a riddle. The killer The detective, who is naturally reality. This crime story could not have pos-
two relatively familiar and parallel stories
always leaves behind a particular the main character, moves in a typi- sibly come to life anywhere else but here, and
that melt into one. We could call it a love
message and a carefully arranged cal professional, private and emo- thats more than we could say for much of
story, or a historical piece, or simply a to-
murder scene, with a dead body at tional context. His last name is the regular genre production. Pavii cap-
pical story, but whatever we call it, we are
its (symbolic, not geometrical) Barbir (we never find out his first tures the foreboding atmosphere of Split
dealing with a text that has been tailored
center. The framing method of this name), he is a youngish, recently in the '90s, and its social setting convincin-
by a steady hand (and head) of a sophisti-
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 tiks first work of Vedrana Martinovi
reader than to the team of crime in- mance, while the other is almost
fiction
tiks simply and clearly expands on the

Marinko Koec Slavenka Drakuli contemporary Croatian readers come to-

gether. As an editor of a magazine aimed at
The Island As If I Am readers of a specific generation, Perii 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 authors 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 Koec employs in his play in womans life. This is especially ver, the final destination of Perii'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 Ko- was inspired by journalistic research tary manner the actual social pulse, the
ecs fiction. Admittedly, Koec 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 Perii
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- and Java" (to quote Ante Stama, a literary
historical trauma of an individual who has
considerably most impossible" to write. theorist from an older generation) that so
been denied any possibility of control over
strengthened But what was "almost impossible" to preoccupied older Croatian writers; he
his own life. He draws very direct parallels
the corpus of shape into a journalistic discourse (as writes about post-traumatic stress syndro-
between historical events, individual and
subversive the author herself has said), in the no- me, heroin abuse, football fans, interest ra-
collective paranoia, political and romantic
Croatian war vel begins and ends in Caroline's Hos- tes and sublet tenants. The composite pic-
passions from ancient and more recent his-
fiction pub- pital in Stockholm, during March 1993. ture of the literary decade that emerges
tory, both dominated by practically the sa-
lished in the Drakuli begins the story with motives from Periis book reveals how much of
me lexis, same mental code, and same fetis-
'90s. While of hatred and dreams of revenge, and their influences and methods the younger
hes. He combines the archaic/poetical dis-
Koec suc- wraps it up at the moment when her writers learned from their predecessors.
course of Renaissance with the lexicon of However, the stable socialist existence of
cessfully pro- heroine lets go of hate and revenge and
the socialist-realist authoritarian mentality, the previous generation was lost, so what
vides a new feels the first signs of forgetting... The
spicing it up with the commentaries and permeates the nineties ficiton is anxiety
perspective story is based on authors journalistic
observations of our own era, the era of iro- and a sense of maturity.
on Croatian research: the description of the central
ny and distance, fast moves and fast emo- Feel Free to Spit... consists of twelve sto-
War of Inde- event in the
tions, fast wars, fast food and fast motion, ries. Even a casual glance through the
pendence, what is even more precious is novel rape of
in the spirit of a digest epoch that increa- book reveals that Perii knows what he
his ironic view of war events (the usual the main cha-
singly resembles something out of a comic wants to say, but he is less certain of how
excuse that the war is too recent to wri- racter has
book. to say it. All the stories are iconographical-
te about does not apply to Koecs wri- been adopted
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 rience seen through the eyes of a young,
irreparably despotic nature of the Homo
reason for its relevance. Koec is the with the actual passive outsider, surrounded by hypocrisy
sapiens. The structure of the book is neit-
first author to ironize the turbo-folk va- rape victim, and corruption, whose resignation slowly
her epical nor unrestrained nor emotional,
riant of Croatian nationalism, although that is, from pushes him towards the "anything goes"
on the contrary, it appears as a deliberately
thats not his only target: he also ironi- the authentic attitude, drugs, exile, street violence, cri-
skeletal structure that allows the reader to
zes the idea of united Europe, feminism accounts. At minal actions, sex. Nevertheless, we can
imprint something of his/her own story. It
and French national narcissism (with the same time, safely say that Perii is very prolific in fin-
allows the reader to write in what s/he
special emphasis on its most dangerous the novel keeps ding new ways of spinning the basically
wants and can, to show the marks of time
derivative: Lepenism). He also settles up a constant "same" story
and history. This book encourages readers
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, a nod to the
(...) Sempurn being the most obvious in-
knowledge, or poetics, or they can reduce American tradi-
The Island Under the Sea is a Bildun- fluence). The third major influence co-
the book to a sketch, a croquis, if that fits tion of shocki-
gs novel with a highly picturesque struc- mes from an unexpected source: con-
their psychological profile better. Castle in ng short story
ture. Vivid narration helps the reader to temporary Hollywood imaginarium or
Romagna tells a story of great passion in a with a powerful
closely follow the narrator's spiritual contemporary media images of the
dispassionate, calm, almost absentminded punchline and
metamorphosis. (...) world. This excessive media literacy in
manner. Like our era, it is callous. experiments
One of the more charming features Drakulis novel is precisely the reason
We must face the fact that what we have with narrative
of the book is caricatural portrayal of why the scenes of violence dont seem
here is a new, different aesthetic and emo- miniatures. He
famous heroes from Croatian political too credible. After all, the heroine of
tional sensibility, and I am sure that we can doesnt shy
and literary scene (where the supposed the novel is a typical protagonist of
learn something from it. Igor tiks gene- away from clas-
monumentality of many contemporary Drakuli's oeuvre: an urban girl obses- sical and com-
ration already sees history (including rece-
fiction writers melts with suspicious ea- sed with "female objects" and the wor- pletely cohere-
nt history) as something that passed them
se under the fiery gaze of our literary ldview borrowed from womens maga- nt, longer types of narration, nor does he
by. Perhaps they dont sense it yet, or may-
rookie). Longevity of this novel is all zines... lack the skill in techniques like stream of
be they just dont know it, but sins of fat-
but guaranteed thanks to the way in consciousness, anarrative introspection,
hers always have to be repaid. In the fet- Gordana Crnkovi
which the author arranges the semantic punning or interdiscoursive collage.
ters of 20th century global trauma, this
net of his motives throughout the book, Unlike most "new naturalists", Perii is
stuporous generation is dealing with itself
thus multiplying meanings on every tu- interested in the language of the story.
and its times the best way it can, protecti-
rn and creating the impression of conti- That is why his language becomes so inte-
ng itself from pain. Maybe Castle in Ro-
nual narrative flow. (...)
Robert Perii resting for the readers, too. Perii uses an
magna is a way, a first step towards teachi- Feel Free to Spit on
The Island Under the Sea stands out exciting mixture of colloquial expressions
ng this generation that there is a better, less from Split and Zagreb, as well as slang and
among more celebrated names of Croa- Whoever Asks About Us
radical way. Perhaps, and maybe this is even the archaic micro-dialects (which
tian contemporary fiction as a genuine
what Igor tiks book is about, there is published by Konzor, Zagreb, 1999 doesnt always work in favor of storys lin-
breath of fresh air: it combines fun, in-
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 Perii 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 Koecs new novel. book marked by a particular generation.
but lethal. heterogeneity and irony.
Periis yearbook functions as a poi-
Daa Drndi Andreja Gregorina nt at which many interests and tastes of Jurica Pavii
24 II/40, 12. listopada 2,,,.

Miljenko Jergovi 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 Jergovi ne-
ver strays too far from essayist writings. But
tian politics, literary usurpers and no-
table names in Croatian society (plus
tes of Croatian critics, famous for their
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 dnt 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 Senjanovi refuses to idolize, which is Academic criticism notwithstanding,
nt of Mi- works (...) why Smoje gets his spanking too. Why? Feri is not an academic writer, nor is he a
ljenko Jergovis 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 Senjanovi 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 Jergovi has ever book, I suppose, was to commit to pa- burden it carries, Feri 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 Jergovi achieves with his new over the world, from Israel to Canada. All and everything short stories. Feri is not a very productive
book is quite the opposite: he narrows the
the stories in the second part are also me-
and everyone writer and he does not change his writing
narrative focus to present a precise and mag-
lodramatic love stories, preoccupied with
who loved Smo- styles dramatically: Angel Ran Offside is very
nificent microworld of a family. The main je, writes Senja- similar to his previous book, Walt Disneys
lovers' unions and separations, their longing
part of the book (twenty one short stories novi. If such Mousetrap. What unites them is the atmos-
and broken hearts. Jergovi, 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 novi 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 Jergovi's book con- Duanka Profeta for the Lady With Red Spots), but there are al-
tion), Jergovi 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 Feri Brothers Grimm). (...)
liqueurs, holidays and toys, vacations and how difficult it is to write with respect for Feri is not a typical "slice of life" master
grieving. In this respect, Jergovi writes in sentimentality, and that is why Jergovi re-
mains a rare example of the writer who suc-
Angel Ran like Carver, Chekhov, Jergovi or Tomi. He
the memoir vein characteristic of nineties is not a champion of punchline conclusions,
Croatia, and it is precisely the autobiograp- ceeds in melodrama not only in his fiction,
but also in other genres he tackles. This is
Offside effective plot-reversals and the usual drama-
hical genre that has produced the best work 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 Rizvanovi did, "the best crack jokes while heart-rending violins weep two collec- Part of the Feri'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- Disneys Mousetrap, Chinese boxes, with extremely loose outer
best, most balanced Jergovi'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: Jergovi has
Jurica Pavii by Zoran Feri, 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 ermano Senjanovi 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
Flauber's Parrot, Julian Barnes has already
US&A (United menon that has
plagued the Croatian literary studies for a
several directions, and, very similar to Hero-
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. Jergovi is obviously heavily illustrated by Branko Efendi-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 Senjanovi, also known Ugrei) and the second one, better known den ironic subversions of the action that ta-
tables, Jergovi 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 (Jergovi, Tomi, If they were not organized as the collec-
identifying the writer's close relatives incar- ders of his satirical column in Feral Tri- Perii...). To put it simply, this problem tion of short stories, Feri'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
Andri, 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 Ki. The content of explanation, Senjanovi 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 Feri'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 Feri
Jergovi blends the writing techniques of es- Senjanovi'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 Senjanovi'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 Feri (b. Middle-European in the misanthropy and
tions and writes without the firm narrative Senjanovi invited his compaero Mi- 1961) has gone some way towards closing black humor of Feri'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 Senjanovis and Smojes 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, Feri 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). Feri's Middle Europe is not a Spani-
Jergovi concludes most of his stories by Bringing Smoje back to life means brin- negyric reviews of Feri'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 Feri is interesti- th Strauss' and chardash dances. It is Middle
ning of the text, and it is not rare to see him as a Splits 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 Smojes 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 Youre 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. Senjanovi is not afraid of self-iro- thematic provocations. morbid neighbors and provincial malice best
mediately spot Raymond Carvers 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 Feris 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 Prsidentinnen 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. Jergovi precisely his self-irony that gives boxes, are a good example of mature pos-
prefers to pronounce his main thesis; his fi- Senjanovi the right to parody (through tmodernist take on fiction. This style is Jurica Pavii
 II/40, 12. listopada,,,. 25

Branko Male title of the entire book. It is written in the Ozren Kebo Borivoj Radakovi
Little Love Affairs first person, although the epilogue explains
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
Raf's (the dominant narrator) personal no-
for Beginners Me (Yes, I'm Not
ollected un-
der the title
tes (resembling a diary). It is therefore ob-
vious that Popovi does not experiment on
Feral Tribune, Split, 2000
the One )
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 dakovi, 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 Male in the ecstatic praise that Popovi 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 Popovi'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 authors 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
Males writing should be seen as essayistic, novum of this book lies in the subtle, but and good old ways. Kebos 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 Radakovi'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 ones 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. Male'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 Popovi 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, Radakovi 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 Popovi we have therefore (Yes, I'm Not the One) Radakovi 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 Male'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 Male 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 dont 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. Todays Left is Popovi shifts our attention from drunkar- doned. Now Karad*i 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 Male 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
troduced in the previous story. (...) in creating a family library first had to de-
Rade Jarak In his war stories, but also in his stories cide whether to use the books as kindling,
that take place during peacetime, Popovi 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 Popovi 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 down the methodology of conventional
Yellow Snakes' her legs wide open, no panties." Only in the
call the Balkans, the family library is also
an illusion, an enormous one. Kebos wri- narrative procedure until we are faced with
third story, called In the Spider's Web, do the "naked intimism" of the narrator him-
Dream women acquire faces to go with their geni-
tings are structured as a string of notes
dealing with the same topic, sometimes self, Radakovi 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- Duanka 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 Radakovi'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 Krle*a to Robert Perii) dox, we should admit that while Popovi'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 Popovi's book, and also the
Nataa Govedi Andreja Gregorina
26 II/40, 12. listopada 2,,,.

Sonja Wild Biani War in Bosnia and Herzegovina

Two Lines of Life/Dvije linije ivota 1991 1995
translated from English by Mia Pervan, published
by Durieux, Zagreb: 1999 edited by Branka Maga and Ivo ani,
onja Wild Bianis 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 19911995 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 Duan Biland*i, Norman Cigar, Jovan Divjak, Marko Attila Hoare, Rusmir
take into account the authors private life) two mar- Mahmutehaji, Stjepan Mesi, Warren Switzer, Martin pegelj, Anton Tus, Paul Wil-
riages and two children. The coherence and intelli- liams and Ozren @unec. 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 Biani 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 Backovi, Milo Vasi and Aleksandar Vasovi, 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 19851995,
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-
Duanka 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 Ivani can agree on certain aspects of some question.
Of course, the conversations in the book re-
Dotting Our Us veal many more subjects which are still, both
publicly and privately, in question, for the sim-
The aki 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 Ivani 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 aki 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
Tumans 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 Andri
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
Republic of Croatia, he is not a scholar, but rather a dedicated political journalist who
goslav National
approaches his subject matter with passion, never hiding his own opinions. Army and
The starting point of Ivanis analysis is the neurosis of the current Croatian regi-
me, dismayed by the global pressure to put Dinko aki 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 Andri'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 todays 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 Andris journalistic writi-
The closing chapters of the book deal with Franjo Tuman as the main protagonist ng. One of the main features of Andri's
of this ideology. Ivani pays particular attention to Tumans Wilderness of Historical scholarly and fictional writing is the atten-
Reality, proving that this book represents Tumans defense of genocide. Tuman 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, Andri 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. Ivani concludes: Tu- the book certainly couldnt 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, Andri
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, dont you By calling these texts "treatises", Andri 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. Andri's texts are just the opposite: balanced, interesting, and writ-
Ivani pays particular attention to Tuman'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 Andri's diary from the book tit-
bones of everyone who died for the dream of independent state, regardless of who le can be found. Andri'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 aki case, Ivanis 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). Andri'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 societys 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 Andri lie with the personal and private world no less vivid because of its splen-
courageous. did isolation.
Velimir Viskovi Duanka Profeta
 II/40, 12. listopada,,,. 27

Bora osi Jaka Kuan

Custom Declaration Battle for The New Croatia
published by Feral Tribune, Split, 2000. published by Otokar Kerovani d.o.o, Rijeka, 2000
eckett's Malone is paralyzed. He is laying in bed, waiting for death to come. Using a long aka Kuans 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 osi 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. Kuan'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 journals editorial board, his associates and simphatzers, Kuan demonstrates
nt, foreign sky. Both of our heroes, Malone and osi, 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 osi'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, osi firmly believes (and we must agree with him) that the targets under suspicion at all costs. Framing a suspect
one has to "leave ones 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 ones own fault, because the country knows nothing of Udbas 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 osi 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). osi takes ten tried to sidestep Udbas orders in various ways. But
his time. Without any "nervousness", he studies "deep science of emptiness". He notices how "we Kuan also remembers those who didnt 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", osi
maintains an ironical distance between both himself Ilija Jakovljevi
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 Jakovljevi, born in the Tur-
Daa Drndi 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 Matvejevi War, and, finally, after the war, the Communist dictator-
Vidoslav Stevanovi 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 Dizdarevi 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 Gradika, where Jakovljevi 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 Jakovljevi's work is the first important document about "Ustashia" (Jakovljevi'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 Jakovljevi was so perfectly perceptive
rulers, where Miloevi is portrayed by a Ser- and analytically bold, as well as contemptuous of any mystification, that his chronicle is precious
bian dissident writer, Vidosav Stevanovi, Tuman to us both literary and historically. It encompasses pain and despair, a sense of survival, pity, de-
by Predrag Matvejevi, and Izetbegovi by a Saraje- fiance, and a good deal of astuteness. It strips the Ustasha demagogy bare, revealing the so-called
vo journalist Zlatko Dizdarevi. Independent State of Croatia for what it was: a reign of hardened criminals. Jakovljevi 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. Stevanovi, howe- It is difficult to evoke all the richness of Jakovljevi'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 Jakovljevi'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 Stevanovis of two philistine nationalisms, Ottoman brutality and a thousand year old cultural fakery"), as are
take on the fifteen long years of Miloevi's regime... his views on differences between populist and ideological consciousness, and between Ustashas'
Unlike Stevanovi, Matvejevi 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 Tuman is replete in quotations from Tuman's customarily mysti- portant political leaders of the era (Jakovljevi 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. Tuman comes off as a pathological liar, a Narcissus with a In the preface to Jakovljevi's book, Ivan Lovrenovi points out that the discovery of Jakovlje-
crooked upper lip, whose obsession with history is comparable only to his obsession vi'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-
Matvejevi, 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 nave old man who devoted his whole life to the prosperi- monument imaginable, but even more by the fact that today's "blackcoats" (Jakovljevi's term)
ty of his people. Like hell, says Dizdarevi. Izetbegovi 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 Jakovljevi left Gradika 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, Izetbegovi 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, Jakovljevi's chronicle shall continue to light the way for all of us.
Dragan Koruga Ivo Banac
28 II/40, 12. listopada 2,,,.

Marinko uli at least glean the answer to that ques- together a special Informative Guide (or, Stanko Lasi
Tuman tion. In the interview he gave to Zarez
before his book was about to be pub-
The Hall of Fame), which lists the main he-
roes of The Breakdown Years, from folk Autobiographical
Anatomy of lished, he was explicit: I think that stars, women mystics, heavenly warriors,
would-be journalists, writers and spiritual
Notes
those with guilty conscience will start
Unenlightened discrediting him as soon as he dies,
restorers of Serbianhood to various minis-
ters and politicians - both the ones belongi-
published by Nakladni zavod Globus,
Zagreb, 2000
Absolutism and I have to admit that I find it a little 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 raphical writings by the respected li-
published by Feral Tribune, Split, 1999 generally speaking, a whole battalion of
ones who kept giving him their whole- terary theorist and historian Stanko
hearted support for a very long time. professional Serbs. Articles are prefaced wi- Lasi (b. 1927) probably caught most of the
th some of the most famous, most terrifyi- Croatian reading public by surprise, audien-
You know what happened with Tito:
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 hes 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. Tuman wont be so luc- tainly Miloevis If we have to fight, by six books of Lasi's Krle,ology (1989, 1993).
ky. He made so many mistakes and God, we will fight! This nursery of stupi- Lasi'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 wont be long before everyone re- logy of Contemporary Croatian Stupidity, temptations, restlessness and dialogue, i.e. as
compiled by writers from Feral Tribune, and material for transforming the personal expe-
nounces him. The man will probably
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 Lasi, 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 Tuman primarily as a bad book is a collection of e-mail messages that Branko Matan, Lasi's Autobiographical Notes
dream they had a long time ago, this Lukovi received from friends and strange- fulfill indications already present in Krle,olo-
prediction sounds as if uli was rein- rs during the NATO bombing of Serbia gy.
(after he made his e-mail address public in Whenever the autobiographical discourse
venting the wheel. However, you only
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 Lukovi 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 Tumans 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 peoples diary entries to the fantasti- "Lasi" made by Lasi's authorial discourse?
Marinko uli probably still has his
while the river is up., warns Marinko cal-documentarist novel named Psycho and Does Lasi produce his "wishful" self or is he
uli at the beginning of his book. notes for the biography of Slobodan dramatic fragments, or rather, palimpsests really openi-
This task was made even harder by the Miloevi, a project that never got off of famous literary works, here entitled Pulp ng up to the
fact that at the time of writing, uli, 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. Thats 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- Markovi (Miloevis wife), Borislav Jovi his weak spo-
tian paper with respectable circulation rer today if it had. or Radoje Konti, and confidential tran- ts, delusions
who from its first issue onwards never scripts from the sessions of the Supreme and contra-
stopped opposing Tuman 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, Lukovi al- bare? The an-
ges brought against him and Ferals so employs numerous literary techniques swer could be
editor-in-chief, Viktor Ivani, by no- and linguistic/stylistic acrobatics, such as
ne other than the offended President Petar Lukovi different types of parody, compilation and
found in cen-
tral formative
himself.
Despite this delicate situation,
The paraphrase of other peoples speech; grote-
sque, satire and irony; hyperbole, Rabelai-
touchstones
of Lasi's
uli rose to the challenge, approachi-
ng his hero less in a form of biograp-
Breakdown Years sian stylistic reversals, self-irony and many,
many more.
(hi)story; the
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, Lasi'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 Lukovis 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- Lasi's relationship to himself (intellectual
uli 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- Miloevis imperialist politics and the ge- chronicle of relationship with Others (opponents, collea-
se he is treating. He analyzes Tuman neral nationalist/ideological/mythological one nations gues, friends, family, Europe). Lasi 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, Paveli 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 Lukovis 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, Lukovi 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, Lasi 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- Lukovi responds to mass hysteria of pat- th the daily life, a bizarre and schizophrenic one of the literary scholar, classificator or
dan Miloevi (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
(Miloevi) 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 (Tu- ping mentality, and his love of rock music, the insanity in which Lukovi 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 uli builds his case are also minates Serbia. In short, Lukovi fights the but also a general history of stupidity that reflection) or is it the other way round:
three main Tumans obsessions, on ten years of Miloevis 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 Tuman 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 Naa Bor- endless possibilities they have. ng the discoursive Other.
der, or as an Autocrat and Dictator? ba, Slovenian Mladina, Sarajevos Dani and
ulis biography is his attempt to Splits Feral Tribune to Internet. He also put
Katarina Luketi Dean Duda
 II/40, 12. listopada,,,. 29

Kreimir Bagi arrival of Andri's second book, Encyclo- Slobodan Prosperov Novak tory of Croatian Literature III shows ob-
Art of Dissent pedia of Nothingness, which pointed us
toward the interpretation of Stanko A History vious preference for anti-holistic thinki-
ng typical of the recent fin de siecle at-
Polemic Styles of, A.G. Mato Andri as a fictional writer; certainly the
writer who insists on "fantastical supple-
of Croatian mosphere, so much so that it refuses to
operate under the notion of "historical
and M. KrleBa
published by Naklada MD, Zagreb, 1999
ments" to reality. Being a competent nar-
rator, Andri nevertheless fascinates his
Literature III objectivism" (which is a legitimate con-
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- li'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 Andri 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, Kreimir Bagi 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. Bagi suggests the polemical general. He is equally dismissive of the scholarly literature), to his famous ars
texts of Mato and Krle*a 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.
In order to be fair, in his introductory discussing the individual writers of the
period in the same chapter, he never uses Zoran Kravar
note Bagi tries to prove the possibility of
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
tion and reality, in the work about saintly
The Miroslav
which the polemical content appeared and
the "polemical style" as trans-genre and acts of Johannes Capistranus the author Krlea
decided to make the ontological differen-
transdisciplinary phenomenon.
(...) Art of Dissent describes basic featu- ce between fiction and reality the main Encyclopedia I/II
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
portrayal of Capistranus historical jour-
well as its social function within the particu-
lar literary community. Bagi also offers ney (locating his stations, his encounters Bibliography of Mi-
and real references in Slavonian history),
useful advice on how to conduct a polemic
and it ends with the discovery of the mec- roslav Krlea
with the examples from both the older and
more recent polemical debates, where, if we hanisms of miraculous reality "estrange-
ment". Andri groups Capistranus mirac-
by Davor Kapetani
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 ( la Mike Tyson) is perfectly acceptab- duction and/or to the fictional status of Miroslava KrleEe", 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 ,a 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 tiks coincidences and self-suggestions, to the Velimir Viskovi. 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 Andri quoting from the unreliable story-tran- chronological orientation and division is us the final volume (letters M-@) with
sfer. Andri refuses the possibility to tran- the concept of literariness, despite the Bibliography of Miroslav Krle,a by Da-
Miracles slate the difference "fiction/reality" in the
world of miraculous with a statement that
fact that this very concept has been
keenly discussed and carefully applied in
vor Kapetani. In composing and edi-

of Johannes "the miracles were simply illusionary". On Croatian literary studies, regardless of
the contrary, Andri 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 - podruEnica 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 Krle*a'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 Andri (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, Andri 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 Andri 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 Andri's cal perspective and stretch the argument the diversity of Krle*a'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 Krle*a on the ot-
her History of Slavonia in Seven Conflag- the highest place within Andri'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 Krle*a'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 feature of his book; it can also be under- and finally, members of his family...
questions started to disentangle after the
Andrea Zlatar stood as a mark of its modernity. A His-
Kreimir Bagi
30 II/40, 12. listopada 2,,,.

Igor Mandi lies ever. The same text professes a view that within the scene (...). Pavle Kalini
pornography is so artificial it resembles art. The third part of the book explains the
The Priapus (...)
It seems that The Priapus Problem is Pria-
problem of the editorial motivation citing
Hitchcock's movies Psycho and The Birds,
Defeated by
Problem pus' basic indifference to sex outside porno-
topia. Like the tragic character played by
Godard's To Live Your Own Life and
Breathless and finally Buuel's Un Chien
the Times
published by Bastard, Zagreb, 1999 Brando in The Last Tango in Paris, Mandi andalou. Turkovi 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 wont enhance your sexual life by readi-
sible". Of course, when narrative organiza-
ng The Priapus Problem, but you will learn
something about the sexual taboos of
tion and metacommunicational instructio-
Mandi 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. Turkovi 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. Lets 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 Drakuli 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 Mandi 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, Mandi's
the posture of a macho who is waited upon advantage is absolute, and it involves real, Nikica Gili ince he writes as a firsthand witness
by publicly announcing how much he loves not virtual, courage. of hard times, Kalini is at his most
to cook. What is more, he is good at it (and Nataa Govedi 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-
Hrvoje Turkovi
Bittersweet Italy the reader clearly sees that war is neither
heroic nor wonderful, but a succession of
zine) subtitled: "vulgar essays or essays on
vulgarity". This way, Mandi has artfully ma-
Film Theory (Three Decades chaotic coincidences caused by hatred, vio-
naged to free himself from another typically lence and revenge. Besides the reality of
Puritan Croatian taboo. He is not a member published by Meandar, Zagreb, 2000 With war, Kalini also describes the bitter fate of
Croatian emigrants and obtuseness of fo-
of that intellectual club that patiently studies
encyclopedia-loving, sexually challenged Kr- Writers) reigners who dont have a clue about wha-
le*a, only to proclaim the interest in joy but- published by "Matica hrvatska", Zag- ts 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. Mandi 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 Kalini 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 Krmpoti
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 Mandi fails in anything, it is not the A Journey
genital explicitness, but the far subtler art of Conversations with Vanja Sutli
eroticism (as game of suggestion and guessi-
ng, not surgical penetration of the eye into edited by Boris Jurini, published by Iri-
the pornographically dilated vagina or anus). da, Zagreb, 1999
(...) urkovi'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 Mandi's (not of editing as the central problem of
very rich) vocabulary, a boner or or pecker or both film production and its reception:
everything has to be discernible, rooted in pistle is the central term in Machie-
dong or pee-pee or cock undergoes a process
human cognitive apparatus... Films, of do's book Bittersweet Italy, where it
of deification and becomes the "lifemaker"
course, do shape human cognitive abilities serves as a main strategy for intro-
and archetype of desire. In the second essay,
in special ways (Hawks' Rio Bravo ob- ducing our unknown neighbors (to use
Emancipation of the Cock, we again read
viously has a different impact than Godar- Machiedo's term). The book consists of
about the male fears and dreams Mandi
d's Breathless). This epistemological fun- ninety texts dedicated to Italian writers
does not hide that he explores an exclusively
ction is closely connected with social re- with whom the author cooperated during
male view of both men and women.
gulation which in turn shapes our sociabi- the last thirty years. Some of them are
In In Praise of the Tush, Mandi is careful
lity, making the art of film not only an friends, acquaintances and fellow scholars,
to point out that he is hundred percent hete-
epistemological, but also a communication but there are also others, with whom Mac-
rosexual: he sees no traces of transsexuality
phenomenon (not necessarily a "langua- hiedo did not get along. All of them are
in his erotic appetites. The conservatism of
ge"). listed in alphabetical order and divided in-
this statement simply astonishes. How is it
In the first part of his book, Turkovi to four sections: the ones that visited
possible that anyone who enjoys sex as a zo-
concludes his examination of film produc- Croatia; the ones that Machiedo met only
ne of free, carnival-like transgression of de-
tion with two relevant points. Firstly, he on Italian soil or only through letters; the
cency, could suddenly consider himself a "pu-
claims that epistemological function of fi- ones he (in spite of his efforts) did not
rist", i.e., a Puritan "man"? Mandi is either
lm procedures complies with general cog- meet at all. The last section is called "traces
pretending to be pure or else he is a hypocri-
nitive foundations, although, in principle, of the spaces". Although the book will be
te. In either case, he occasionally demonstra- verything Is Just A Journey..., a col-
it remains open to a wide range of possibi- of most use to scholars if Italian culture, it
tes Victorian cowardice, and from the stan- lection of interviews with Vanja
lities. Epistemological function is capable is not written exclusively for academic cir-
dpoint of the androgynous 21st century, he Sutli, a distinguished Croatian
of further development, but only within cles. The author defines each writer within
even sounds a bit grandfatherly... philosopher, has been published to mark
the frame of human cognitive limitations his/her cultural context - the reader will
Only when we reach the essay The Appeal the tenth anniversary of his death. This is
and social possibilities (which escape pre- therefore meet Montale and the coast of
and the Curse of Perversions are we introdu- the first time that all of Sutlis interviews
cise definition). Turkovi uses George Ste- Liguria, Bigongiari and Florentine cafes
ced to a wholly liberal text boasting this in- in Croatia and abroad have been compiled
vens Place Under the Sun and Hitchcock's for the literary and academic set, Venice
structive sentence: "Codex of perversion in one book. The interviews cover the pe-
Psycho as cases in points. and Paolo Barbaro. Machiedos criterion
should be abolished as the perversion that it riod from 1966 through 1989 and deal wi-
In the second part of the book he at- for the selection of authors in the book is
is". Thus the book really gets interesting th a wide range of subjects, including daily
tempts to elaborate on this "epistemic, very personal. The ones who appear in the
around its hundredth page, when Mandi fi- political events, Sutlis university activi-
epistemological and communicative" prin- book have given Machiedo the gift of, as
nally admits that pornography is "nothing ties, lectures and writings
ciples, applying them to a concrete prob- he says, an exquisite encounter.
more than a dream of colossal fucking" and
for this very reason one of the best-selling lem of making a film scene. This problem Duanka Profeta Toni Valenti
boils down to the realization of continuity
 II/40, 12. listopada,,,. 31

D3evad 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 s erotic testament makes Auers erotic
Sara and Serafina dramatic characterization, where dialogi- theory, philosophy, philosophy, history legacy appear nave and amateurish, while
cal principle turns out to be the pattern and art theory. the male rape from Pulp Fiction seems li-
published by Durieux, Zagreb: 1999
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
instance, narrators voice changes into- when compared to Maurovis doctoral
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- Nade*da ainovi'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- Laba 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 Mller 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 afranek
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- reb conference but was nevertheless in-
macy of the storyline that reflects narra-
textual and extratextual meaning in the
novel does not only serve as a hugely cluded in the book is the abbreviated Cyberfeminism
ted reality, in his treatment of the charac-
ter as an integrative force of the text, in
symbolic parallelism; it also registers bi-
narism on almost every level of cultural
chapter About Sexual Life of the Feet and
Shoes from Valerie Steele's book Fetish:
[ver.1.0]
reinforcing the mechanisms of "realistic" signification of the described and narra- Fashion, Sex and Power. edited by Igor Markovi and
narrative motivation and, most generally, ted area. Karahasan successfully avoids Alexander tulhofer deals with rela- translated by Rada Bori, Mario
in the methodology that constructs the pathetic and simplistic narrative solutio- tionship between postmaterialism and DuEevi, Vesna Jankovi, Igor
world of the text on the principle of dis- ns; he makes sophisticated allusions and social organization of sexuality; Inga Markovi, Natalija Rihtman, Oliver
coursive contrasts. It seems that despite careful semantic interconnections, con- Tomi Koludrovi expounds on the no- Seri and Goran Vujasinovi.
the prevalent postmodern rhetoric of stantly keeping in mind the whole "ne- tion of transition (underlined with the Published by Centar za Eenske studi-
narrative multiplication, Karahasan, who twork" of the story. I believe that this je, Zagreb: 1999
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 Luketi (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.
Iva Plee
He is interested in characters and
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 Maurovi
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
hion Design; Zagreb, 1999
creates and nurtures an impressively wi-
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 Maurovi
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-
covery, the hand got busy turning out en- nthology of female on-line and
strolls, he is always invited to return to
dless variations of the subject, until it fi- off-line writings offers different
the core of well-narrated story.
nally supplied the onlooker with its own approaches to cyberfeminist re-
The plot of the Sara and Serafina
face. There must have been a single mo- search, theoretical analysis and cyber ac-
unwinds during the war years in Sarajevo.
ment when Maurovi stopped in amaze- tivism in general. Rosi Braidotti, Sadie
It concerns itself with different ways in
ment: his comic strip had revealed the Plant, Anne Balsamo, Nancy Paterson,
which people escaped the besieged city.
unknown, suppressed, probably unac- Alla Mitrofanova, Olga Suslova, Faith
In order to persuade his wife to leave
knowledged truth. In any case, once the Wilding and Jennifer Brayton are some of
town, the narrator (if biographical data is
artist faced his most secret fancies, he the authors selected by Igor Mirkovi. It
to be believed, he closely resembles the
continued exploring them insatiably. In seems that his goal was to cover the lar-
writer himself) has not only to obtain the
years to come, his fantasy has achieved al- gest possible field of cyberfeminism, the-
necessary documents, but also to persua-
gorithmic precision, where the same in- refore including variety of subjects (whi-
de the stranger Sara, that is, Serafina, to ody as a culturological fact makes ch include problems of sex, gender, body
leave the town. (...) a common denominator of othe- put always resulted in the same output,
and its lack, identity, cyber-art, virtual
Through the composition that con- rwise very heterogeneous texts in i.e. the artists pleasure.
reality, science fiction, techno culture and
stantly questions the reasons for going the book Body in Transition. The texts Input, if you must know, involves a
womens love/hate relationship with the
and reasons for staying, Karahasan also reflect different styles of writing, from spitting image of Maurovi and his wife,
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 Plee
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,,,.

Ieljko Zorica Branko Fui Ivo Maroevi Miljenko Jergovi

H. C. Zabludovsky Trifles/Frake Zagreb Writes You Say Angel
Fantastical Bes- published by Kranska sadanjost,
Zagreb, 1999
Zagreb published by: "Durieux", 2000
You Say Angel, the latest book by writer
tiary of Roskilde he title of Fui's book, Trif- published byDurieux, Zagreb, 1999. and essayist Miljenko Jergovi, boasts an
les/Frake, 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 Fui'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
Fui'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/Frake 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, dont know each other in
personal perspective... The book is the space of reality. Although in Jergovis
he official, documented history of exceptional in more ways than one: one published by Durieux, Zagreb 2000 dramatical fiction they dont 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, Jergovi
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 Jergovis previous books
creatures. @eljko 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 Jergovis voice. While
In the introduction, Zorica explains the Maroevi 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 Jergovis
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 Luketi 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 Jergovis 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 Fui 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 brewers 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 ones work cially its older periods. Anthologies that his/her divine need to choose a whole that
ces of gods were followed and celebrated could not be found in Croatian book- will express some particular feeling. Based
Iva Plee on this prologue, it is also easy to imagine
by many poets, which is why we know shops for decades, like Ranjina's Treasu-
more about gods than fantastical anima- ry of Verse, are now easily accessible in Jergovi building a complex dramatic
ls, although their diminishing traces are electronic form. The CD-ROM presen- skyscraper consisting of hundred faces
still here - on faades, 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. Jergovi can rightly
be compared to Balzac and the way he mi-
and described many slumbering Roskil- Zuzori, the most celebrated woman in
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, Jergovis 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. Faades 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 narrators 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 wellSeries 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. Jergovi 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 Rali
shoes, instead of looking up. Up where 2000 and Joko evo
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
Duanka Profeta Croatian poetry from the Middle Ages
until the second half of the 20th century.
 II/40, 12. listopada,,,. 33

Nada vob-oki reason, more precise data about them is

difficult to come by, so our vision of the
In Defense of the Drago Janar. Although they choose dif-
ferent forms from diary notes to perso-
Transition and new states, including their economic pa- Future, Searching nal letters and essays most authors ag-
ree on one thing: it is almost certain that
New European rameters, is understandably blurred. Rig-
ht now, we couldnt even write an accura- the Mine Field the future of the nations of former Yu-
States te account of their most recent (ten yea- edited by Freimut Duve and Nenad
goslavia has been forfeited. Authors mos-
tly write about the future of their own
published by: "Barbat", Zagreb: 2000 rs) history, let alone understand them in Popovi; 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 Jergovi remains of land mines, corruption, natio-
nalism, political anachronisms, isolation
A History Manual from the world. The ultimate fear is ob-
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
Jergovis 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 vob-o- Yugoslavia was "defended" by Ru- ceased." Sbutega's words perhaps contain
smir Mahmutehaji, Miljenko both the diagnosis and the medicine for
ki's book, Transition and New
Jergovi, Ivan Lovrenovi, Dragan Pa- our ailing future. This region has under-
European States, fit into different veli, Slobodan najder, 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- osi, Dragan Veliki, Filip David and
fied living, concepts of globalization and Duanka Profeta
regionalism, new uncertainties based on
historical events, fear (or positive antici-
pation) of new and different times. While
Dragoslav Dedovi gton, Chicago, Zagreb or Belgrade. Most
accepting the need for a concise, theore-
of those who remained in Bosnia and Her-
tically sound and (especially in her own
country) topically relevant book about Evacuation zegovina live and work in Sarajevo, and two
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 is its textual organization, that is, its story
author describes transition processes that published by Feral Tribune, Split, 1999
placement. Specifically, Dedovi 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, Jergovi 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 doesnt always stric-
dent decade - these are the complex ques- Jergovi is not interested in political pro- tly adhere to the constraints of these sub-
tions that Nada vob-oki 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- Jergovi are our daily lives, and all those matters of childhood, love, war, and city
plain, banal or intimate details that have as the crucial background against which the
ral relationships of existent states initia-
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
regionalism. Are these concepts mutually cided. In most cases, the city in question is
an integral part of that worldview too. In
exclusive or connected by cause and effe- Sarajevo, as a paradigm of everything that
the course of cleaning up his personal his-
ct? What abut the new integrations, espe- tory, Jergovi 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 Kujovis story The
best delegate of a certain society in mat- chocolate bars as the most popular sweets Bum And The Princess, what made most
in the eighties, the first Coca-Cola mac- of the people here related was a sense that
ters of international affairs, or could we
hines, the football games where one they were all somehow at odds with their
describe the state as force that guards the
bought newspapers to sit on, the period past: in conversations, everyone divided
authoritarian and powerful national elite
of Sarajevo Olympics, old city coffee- their lives in before and after war. War is
(national elite being a group of people re- Dedovi decided to compile a cor-
houses, housmasters and many other the canvas on which stories dealing with
fusing to relinquish their positions - al- pus of fiction by a younger genera-
things that marked, he writes, the golden childhood, living abroad, falling in love, ur-
though they have formally accepted the tion of Bosnian authors, who star-
prewar years. This makes Historical ban setting and its protagonists intermingle
processes of democratization, just like ted writing in the late eighties. In the wor-
Manual a book of nostalgia and sentime- with events from the earlier war and war
the majoriy of their society)? What stan- ds of the editor himself: in those several
nt, of yearning for the old and inno- stories from the front line.
prewar years when Communists lost any
ds in the way of democratization, eman- cent times. In its narrative technique of Dedovis Evacuation completely fulfil-
ability to govern, and the chauvinists still
cipation and development of new states: patchwork and narrative fragmentation ls the role of every anthology, which is to
hadnt consolidated their power, the old ru-
these questions remain very important in (short cuts), and the continuous emphasis provide the reader with the information on
les of the game barely applied, and the new
terms of the changes that have been em- on the didactic, this book closely resem- the literary state of affairs, and to afford
ones were still unclear, adding that in this
braced on the global level. New interna- bles previous Jergovi's works, namely the critics and literary historians easier na-
zone of zero gravity, a number of new na-
tional subjects must address and face Sarajevo Marlboro and Mamma Leone.
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 Luketi 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 Dedovis 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 the younger generation of Bosnian autho-
youth of these countries, and to
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
best way for any of them. For the same rary fiction in Bosnia and Herzegovina.
others reside in Prague, Frankfurt, Washin-
Igor tiks
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
theory and production in Croatia and abroad. Quorum ackaging of Government is a result of theoretical analyses, empiri-
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, Sran 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, Nataa Rajko- Among its members were some of our most social and transcendental phenomena, and of attempts to justify authoritarian style of government by pre-
vi/Bobo Jeli, 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 Mianovi, Zoran Feri, Edo Popovi, widespread political clientelism, which gave rise to a block bound by common interest something akin to
The editor-in-chief, Goran Sergej Prista, Branko egec 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 ale Feldman, Darko Su- started publishing their works in the nineties. ll of the people
vin, Hans-Thies Lehmann, Valentina Valenti- Quorums most enduring quality is its edito- Boris Buklija article on changes and amendments to numerous law regulations after 1993 also offers
ni, Elin Diamond, Ljiljana Filipovi, Josette rial policy of openness to the latest movemen- comprehensive and useful insight. In his conclusion, the author criticizes the introduction of special Dias-
Fral, 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 Tu-
ha, Viktor ng authors, giving them space and opportuni- man's party, Croatian Democratic Union (CDU)
Misiano, Na- ties for new projects. Dra*en Lali and Suzana Kunc analyzed the election TV ads of the parties participating in pre-election
taa Govedi 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 Tumans 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 trelov 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 CDUs 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 @i*ek. 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 Duan @ubrini
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.
ration with the Dance2000 Festival, Munich. We could say that in the nineties, Quorum
E-mail: zarez@zg.tel.hr
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 Luketi, Iva Plee
"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 Antoli, Tomislav Brlek, Grozdana Cvitan, Dean Duda,
Zarez is independent biweekly magazine tion about recent editions and publishers, Nataa Govedi, Giga Graan, Rade Jarak, Agata Juniku,
for cultural and social affairs. Its first issue interviews with writes, thier texts etc.
was published in February 1999. Pavle Kalini, Branimira Lazarin, Jurica Pavii, Duanka Profeta,
Hyp.txt, Libra - www.autonomous-c-fac-
Dina Puhovski, Sran Raheli, Sabina Sabolovi, David porer,
Feral Tribune - www.feral.hr tory.hr/hipertekst www.autonomous-c- Igor tiks, Gioia-Ana Ulrich, Davorka Vukov Coli
One of the most influential political
factory.hr/mase
weekly magazines, both in Croatia and in
This address allows one to read - in Croa- Layout Editor: @eljko Zorica
the whole area of former Yugoslavia
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 Plavi
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 Ivani
in Croatia. It contributed to democratiza- project was launched by editors of literary Administration: Nataa Polgar
tion of the country. journal Libra Libera.

Ienska infoteka -www.zinfo.hr

Printed by Novi list, Rijeka, Zvonimirova 20a
HINA - www.hina.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 tiks Jurica Pavii Detektiv, glavni lik, opremljen je tipinim radnim, prijatelj-
skim i emocionalnim kontekstom. Barbir, neimenovani (samo
Dvorac u Romagni Nedjeljni prijatelj prezimenovani) istra*itelj, naoit je rastavljen ovjek s jed-
Durieux, Zagreb, 2000. Znanje, Zagreb, 1999. nom ljubavnom vezom u nestajanju, a drugom u nastajanju
mlae generacije i modernog svjetonazora, a radi s
oman Igora tiksa naizgled ri poetku se pred itateljem dogaa niz zlo- tradicionalnim vrijednostima sklonim, znantno sta-
obino je tivo, obimom kratko, ina sa zagonetkom. Ubojica za sobom redo- rijim i debljim orakom. Struktura *anrovski blis-
strukture jednostavne (ali otvo- vito ostavlja poruku te pa*ljivo osmiljeni i kih filmova upotpunjena je, meutim, ozbiljnim
rene), tivo s dvije relativno poznate, izvedeni aran*man s mrtvim tijelom u (znaenj- prodorom u drutvenu zbilju kasnih devedesetih...
a paralelno voene prie koje se stapa- skom, ne geometrijskom) sreditu. Okvirni sistem Politiki segment nije tek zain on ukorjenjuje
ju u jednu, recimo ljubavnu, recimo ove psihopatske igre mo*e itatelju biti vidljiv rani- ovu prozu u na svijet. Takva ona naprosto nije
povijesnu, recimo aktualnu, ali tivo je nego istra*iteljskom tandemu, no, naravno, time mogla nastati drugdje, to se za dobar broj krimia
skrojeno smirenom rukom (glavom) e jo uvijek ostati daleko od rjeenja koje se ne ne bi moglo rei. Jo je jednom Pavii 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 tiksovo ubojice samo jedan od krakova. Drugi e nas odves- a taj kontekst kudikamo nadilazi funkciju kulise...
prozno djelo... ti do kljunog ugovora sedmoro ortaka u sumnji-
vom poslu... Vedrana Martinovi

Marinko Koec Robert Perii

Otok pod morem Moe pljunuti
Feral Tribune, Split, 1999. onoga tko bude
otreba za vremenskom kontek- pitao za nas
stualizacijom nu*no e iz Ko- Konzor, Zagreb, 1999.
ecova prvijenca Otok pod mo-
rem, romana iji je glavni zain upravo omalo je dosadno u Hrvatskoj
autorova sklonost ludikom izmjenji- stalno tupiti o generacijama, ali
vanju najrazliitijih registara, izdvojiti Mo,e pljunuti... stvarno je vrlo
onaj sloj koji ga pridru*uje korpusu generacijska knjiga. Knjiga koja je, ka-
domae ratne proze. Neemo pogrije- Slavenka Drakuli, ko i prilii uredniku naratajnog aso-
...Jednostavno i jasno, povlaei ak iti, jer je s njim hrvatska proza 90-tih pisa, sjecite kojeega to noviji hrvat-
vrlo izravnu paralelu izmeu povijes- ojaana za djelo iji subverzivni duh Kao da me nema ski knji*evni senzibilitet voli, tra*i i
nih zbivanja, individualne i kolektivne omogu- Feral Tribune, Split, 1999. dr*i da nemamo. Perii posuuje
paranoje, politikih i ljubavnih strasti uje no- knji*evni hall of fame kvorumovaca:
iz daleke prolosti s onima iz neto bli- vi pog- enzibilno i pro*eto duhom cr- ovjek e tu, kao i kod veine naih
*e nam historije, u kojima dominiraju led na nog humora, razumijevanje prozaika devedesetih, napipati Carve-
gotovi isti leksik, da ne ka*emo goto- domo- uloge predmeta u *enskom *i- ra, Bukowskog, Ondaatjea, Irwina
vo isti mentalni kod, isti fetii, kombi- vinski votu spasilo je knjigu Kao da me ne- Walsha i prozu urbanog pejsa*a. Na
nirajui arhaino-poetini diskurs re- rat, do- ma, roman koji nije bilo mogue na- tu itanku Perii nadograuje socijal-
nesanse s leksikom soc-realistikog, kazujui pisati, potaknut novinarskim istra*i- no-dokumentarni senzibilitet devede-
autoritarnog mentaliteta, a sve to zai- da je vanjem, graom prikupljenom za setih i (po)ratnu ikonografiju... Perii
njeno komentarima i zapa*anjima u umjesto knjigu svjedoanstava o masovnim je ovjek koji pie o PTS-u, heroinu,
duhu ovog naeg doba, doba ironije i vremen- ratnim silovanjima, dakako iz per- Torcidi, kamatarima i podstanarima.
distance, doba brzih poteza, brzih ske dis- spektive *rtvi. Cijeli fotorobot knji*evnosti devede-
emocija, brzih ratova, brze hrane, br- tance, setih je u toj knjizi: fotorobot deset-
zog kretanja, u duhu jedne digest epo- koja se ljea u kojem su pisci posuivali utje-
he sve vie nalik na strip, tiks zapravo esto caje i lektiru od starijih i obrazovanijih
progovara o povijesnoj traumi poje- povlai prethodnika, ali su te obrasce punili
dinca liena bilo kakve mogunosti da kao ar- tjeskobnom *ivotnom zrelou i is-
upravlja vlastitim *ivotom. 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. Meutim aktualnost roma- Periieva se knjiga sastoji od dva-
ravljivo despotskoj naravi homo sa- na ne le*i samo u njegovoj drutveno- deset pria. Ve i nasumino listanje
piensa. Ona itaocu doputa da u njen, politikoj dimenziji. Koec beskom- svjedoi da Perii ima vru viziju o
ni epski ni raspojasani ni emotivni ok- promisno ironizira novokomponiranu onom to nego kako. Ikonograf-
vir, nego u okvir koji se doima kao varijantu hrvatskog domoljublja, ideju ski i tematski prie mu slie jedna na
namjerna konstrukcija, kao skelet, upi- europskog ujedinjenja, feminizam ili drugu. U pravilu se bave atomiziranim
suje svoju priu, onako kako *eli. Ka- francusku nacionalnu samodopadnost urbanim mladim marginalcima koji
ko umije. Kako su ga povijest i vrijeme (s osobitim naglaskom na njenu najo- pasivno kli*u
obilje*ili. Doputa mu da u njoj ita pasniju derivaciju faistoidni lepe- polusvijetom
(ili prepoznaje) ono to u sebi nosi. Da nizam), a jednako tako razraunava i s jednakom
je obogati vlastitim iskustvom i zna- se i s knji*evnoteorijskim dogmatiz- rezigniranom
njem, vlastitom poetikom ili da je ogo- mom... refleksivno-
li do skice, do krokija, ukoliko je sam Otok pod morem razvojni je ro- Roman o temi koja se, tvrdi auto- u iskuavaju
takav, skica. Ona je pria o velikim man neobino pitoreskne strukture rica, ne da novinarski obraditi, poi- skijanje, trip,
strastima ispriana bez strasti, stalo*e- koja svojom arolikou o*ivljava pra- nje i zavrava u Karolinskoj bolnici izbjeglitvo,
no, na trenutke i odsutno. Ona je kao i enje pripovjedaeve duhovne preob- u Stockholmu, u o*ujku 1993: poi- oru u kafiu,
ovo nae vrijeme. Beutna. razbe... Bijeg s kopna na otok, osnov- nje mr*njom i snom o osveti, a zavr- kriminal i se-
Treba se suoiti s injenicom da je na linija radnje, samo je kima razve- ava u trenucima kada protagonisti- ks. Kako je
pred nama novi, drukiji estetski, pa i dene romaneskne strukture u ubrza- ca odustaje od mr*nje i osvete i os- kod Periia,
emotivni senzibilitet od kojeg se da nom ritmu pred naim oima promiu jea nagovjetaj zaborava... Ishodi- meutim, ja-
neto i nauiti. Generacija Igora tiksa nadrealistine scene, groteskne epizo- te prie je novinarsko istra*ivanje; ko raznorod-
ve ita povijest (pa i ovu nedavnu) de, *ivopisni likovi, poetski nadahnuti opis sredinjeg dogaaja silovanja no. Ima tu
kao neto to se zbilo mimo nje. Mo*- opisi, sentimentalne evokacije, erot- glavne junakinje preuzet je iz au- ameriki skockanog short storyja
da ne slutei, a mo*da i ne *elei znati ska uznesenja, anga*irani ekskursi, li- toriina intervjua sa silovanom *e- sna*ne poante, potom jednostraninih
da grijesi oeva uvijek dolaze na nap- terarne aluzije, sve pro*eto nepresu- nom, autentinog 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 pria koje te*e razlaganju ko-
desetog stoljea, ta generacija u stupo- kao nu*an rezultat ovako izrazito mo- dijalogu s piscima logorake litera- herentnog pripovjednog diskursa, ka-
ru suoava se sa sobom i svojim vre- zaine forme, tako postaje posljedica ture (najvie se uoava lektira Jorgea lamburu, struji svijesti, anarativnoj in-
menom na nain kako umije, titei se teme i, s obzirom na nju, smiljeno Sempruna). Trei utjecaj kao da se trospektivnosti, pa ak i interdiskur-
od boli. Mo*da je nain na koji je napi- izabrane i provedene polifone kon- najvie primjeuje: u duhu suvreme- zivnom kola*u.
san Dvorac u Romagni put, prvi korak, cepcije... nog holivudskog imaginarija ili suv- Vie nego veinu novih naturalis-
ka osvjeivanju te generacije na Otok pod morem sa svojom sret- remene medijske slike svijeta, gomi- ta Periia zanima jezik. I jezik mu je
drugaiji, manje radikalan nain. Mo*- nom sintezom zabavnosti, intelek- lanjem prizora nasilja nehotice se zaista zanimljiv. Rije je o uzbudljivoj
da, a i o tome ili upravo o tome govori tualnosti, osjeajnosti i aktualnosti gubi *eljeno djelovanje na itatelja. smjesi zagrebakog i splitskog urba-
knjiga Igora tiksa, mo*da nema veih pravo je osvje*enje za suvremenu hr- Naposljetku, glavna junakinja je ti- nog slanga, kolokvijalizma i klasine
vrijednosti od nas samih, od svakog vatsku proznu produkciju. I koliko je pina protagonistica u opusu Sla- akavice... Nije, meutim, samo stvar
ovjeka ponaosob, a sva nagva*danja o oigledno da se autor odlino zabav- venke Drakuli, ona je urbana dje- u vieglasju jezinih izvora, nego i u
potrebi *rtvovanja za vie ciljeve u ljao piui ovu knjigu, toliko je vjero- vojka, opsjednuta *enskim predme- Periievoj sklonosti polifoniji i inter-
ime viih ciljeva prazne su rijei, jatno da e se itatelj jednako osjeati tima i svjetonazorom *enskih aso- diskursu u kojem su citatni jezini
prazne, ali smrtonosne. dok je bude itao. pisa. materijal ironijski gomila i kulja.

Daa Drndi Andreja Gregorina Gordana Crnkovi Jurica Pavii

36 II/40, 12. listopada 2,,,.

Miljenko Jergovi Pisac asocijativno i bez vrste narativ- crtice s boravka u Americi u prolje- Njegove meandrine, kompleksno
ne okosnice prebire po niski motiva e 1998. godine. Na put u Ameriku strukturirane novele-kineske kutije li-
Mama Leone sjeanja iz djetinjstva sidrei se uz sre- pozvao je kumpanja Miljenka Smoju jep su primjer zrelog postmodernisti-
Durieux, Zagreb, 1999. dinji motiv u posljednjoj treini tek- i tako ostvario sasvim izniman pot- kog razmiljanja o proznoj formi...
sta, na nain koji unekoliko podsjea hvat u novijoj hrvatskoj prozi: na- Na koncu konaca, Feri nije profe-
na neorealistiku dramaturgiju. kon itanja iinih i Smojinih dogo- sorski pisac, akademski metaliterarni
Jergovi prie-eseje obino zavrava dovtina nemogue je povjerovati da kabinetski prozaik. U njegovim proza-
reaktivirajui neki motiv sa samog po- je rije o mrtvom ovjeku. O*ivlja- ma ima dovoljno ludila, bolesti, oral-
etka, esto ga podvlaei zaudnim vanje Smoje ujedno je i o*ivljavanje nog seksa, smrti, incesta i vulgarnosti
naslovima (Ako vidi da je to auto, reci onoga duha koji podnosi jedino od- da ga nitko ni u bunilu ne bi svrstao u
mi). Poznavatelj kratke prie prepoz- rednicu splitski, a iji je Smoje ne- ladicu knji*evnih eskapista teoretiara.
nat e tu, dakako, odbljesak carverov- nadmaeni "kroniar". Najjae oru*- Ukoliko nam je doputeno upotrijebi-
skog iskustva. No, Carver je, ba kao i je toga duha je humor, koji varira od ti taj ideologem, Feri je *ivotan pi-
Joyce, pisac koji poante prepoznaje, parodije do sarkazma. Senjanovi se sac...
promatra koji ih nalazi u gesti, pos- ne boji autoironije ("Pako, zna, Nova zbirka 39-godinjeg negda-
malo san razmilja o tebi i doa san njeg quorumovca ima devet proza.
tupku, obratu radnje ili replici.
do zakljuka da si kreten." ka*e Feri ne pie mnogo i ne mijenja se u
Jergovi poante radije izrie, one su
njemu Smoje) koja mu daje pravo da bitnome: njegova nova zbirka uvelike
toka na i asocijativnog toka. Zato kroz Smojina usta parodira amerike slii na Miolovku Walta Disneya po
Jergovieve prie i slie toliko na ese- obiaje, hrvatsku politiku, samozva- sveopoj atmosferi groteske, zloe i
jistiku. Zato su i posebne: udaljavaju ne i priznate veliine iz javnog *ivo- podmuklosti...
se kudikamo vie od sredinjeg toka ta (pa i obavezne lektire), sugraa-
ovostoljetne novele nego one pret- ne, malograane te ponekog pokoj-
hodnih zbirki. nika. Senjanovi izmie svakom ido-
Treba, meutim, rei da Mama Leo- lopoklonstvu, pa je i Smoje dobio
ne sadr*i i dosta obinih kratkih pria. svoje. U zdravljem opsjednutoj
Rije je o jedanaest pria iz drugog di- Americi on ne odustaje od svojih
akon etriju zbirki pjesama, jela knjige pod nazivom Toga dana navika, dimi, pije i muma sve u es-
zbirke novinskih eseja i jedne zavrila je jedna djeja povijest. I one naest, zavodi stjuardese. Senjanovi-
antologije, Miljenko Jergovi se uklapaju u sjajan dojam o Mami evoj knjizi Amerika je tek povod,
ukoriio je i treu zbirku pria U eti- Leone: rije je o mo*da najujednaeni- kulisa. Pretpostavljam da je pravi
ri godine koje su prole od Jergovie- jem i najdojmljivijem novelistikom razlog zapisati dio sjeanja, razgo-
ve prethodne zbirke pria Karivani, ciklusu koji je Jergovi 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, poeo skluzivnost tog paketa. Veina se pria svima koji su Smoju volili pie
pisati i odbacio antiutopijski SF ro- bavi iseljenim Sarajlijama, bivim sus- Senjanovi. Ako se dugovi te vrste
man, izdao odlinu zbirku poezije te jedima, ljubavnicima i ulkolegama mogu vratiti, onda je ovaj isplaen s
postao meunarodno ugledan pisac. koji su raspreni od Kanade do Izrae- kamatom.
Postao je to ponajvie svojim priama: la. Sve su prie ujedno ljubavne, prie
knjige Sarajevski Marlboro i Karivani o sastancima, rastancima i puknutim Duanka Profeta
prevedene su na glavne europske jezi- srcima. Jergovi u ovom bloku uvje*-
ke i popraene pozitivnim kritikama... bava svoje deklarativno nagnue me-
Ako su postojale dvojbe kuda e se lodrami, iskazano izjavom kako je naj-
razvijati prozaik Jergovi kad potroi sretniji kad itatelja navede na suze.
bosanske i ratne teme, nakon Mame Osim jedne prvoloptake a la Ma-
Leone one vie i ne postoje. Ovom rquez varijacije (Drugi poljubac Gite
knjigom Jergovi nije proirio svoje Danon), ostale su prie zaista prvo-
tematske obzore na neto novo. Up-
razredna melodramska roba.
ravo obratno, svoju je tematologiju
Da je sentimentalnost zeznut knji-
precizno i raskono suzio na mikros- Feri nije tipini majstor slice of li-
vijet: obitelj. Jer, glavninu knjige (to- *evni zadatak, zna danas svatko, osim fea poput Carvera, ehova, Jergovia
nije, blok od dvadeset jedne kratke literarnih dogmata: taj zadatak Jergovi- ili Tomia. On nije majstor novelisti-
proze pod nadnaslovom Kad sam se u uvijek ponajbolje uspjeva, kroz ove i ke poente, efektnih obrata i tipine
rodio, zalajao je pas na hodniku rodili- one forme, *anrove i teme. To je mo*- dramaturgije short storyja. Njegove
ta) ine prie u kojima Jergovi evoci- da i glavna vrlina njegove knji*evnosti. prie poivaju na onome to se u holi-
ra rano djetinjstvo, bake i djedove, Dodue, uvijek e biti ljudi koji mrze vudskom *argonu zove high concept:
obiteljski ambijent i sebe sama kao nositi papirnate maramice u kino i koji jakoj dosjetki oko koje se gradi sve os-
djeaia. Nakon to se pozabavio imaju poriv dobaciti neto smijeno talo...
svojom kulturnom pripadnou (zavi- dok se drugima srce kida od gudaa u Strukturirane poput kineskih kuti-
ajem, gradom i naratajem), Jergovi offu. Mama Leone nije knjiga za takve. ja, te novele imaju vrlo labav vanjski
je tako opisao i svoju bioloku pripad- Ona je na svoj nain strano staromod- okvir, u pravilu bizaran. Taj okvir raz-
nost. Stavljajui opet kulturu u prvi na i obina onoliko koliko je obian i vija se u vie smjerova... Junaci (ili pri-
plan: Mama Leone ponajvie je knjiga zalazak sunca. povjeda) upliu se vlastitim sjeanji-
o starim hitovima, kompotima i likeri- ma, retrospekcijama na prolost liko-
ma, blagdanima i igrakama, ljetova- Jurica Pavii va, anegdotama iz prolosti, referen-
njima i *alovanjima. U tom smislu cama na biva zbivanja ili skriveni iro-
Jergovieva autobiografska zbirka nas- Zoran Feri nijski potencijal onog to se upravo
tavlja memoarsku produkciju hrvat- dogaa. Gradivne ciglice Ferievih
skih devedesetih, produkciju koja je
po mnogima i najbolje to se u nas pi-
Aneo u ofsajdu pria pri tome su minianegdote... koje
se sla*u u cjelinu asocijativno ili po
Naklada MD, Zagreb, 2000.
salo devedesetih.... analogiji.
Mo*da je pretjerano rei da je Ma- Ferieve bi male parabole da nisu
ma Leone najbolja hrvatska prozna rvatska kritika ve puno deset- uglavljene u novelistiku cjelinu uve-
knjiga zadnjih petnaest godina (N. ljea zdvaja zbog generacijskog like podsjeale na u*asne i velianstve-
Rizvanovi), ali nema sumnje da je ermano Senjanovi zijeva koji postoji u hrvatskoj ne minijature crne kronike iz Imitato-
jedna od najboljih u ovom desetljeu i prozi izmeu fantastiara i postfan- ra glasova Thomasa Bernhardta. Ber-
najbolja pogotovo najujednaenija US&A tastiara roenih oko 1950. godine nhardt i njegova zbirka crtica nisu ov-
izmeu autorovih triju. Razlog je jed- (Tribuson, Ugrei) i tzv. ratne gene- dje spomenuti sluajno... Ima neto
nostavan: nimalo novoj temi Jergovi (United Split racije roene sredinom i koncem ez- duboko austrijsko i srednjoeuropsko u
je naao novu formu. desetih (Jergovi, Tomi, Perii...). Ferievim mizantropskim crnohumor-
Ne treba odvie dokazivati kako je &Amerika) Pojednostavljeno, ovaj se problem nim novelama.
pisanje o djetinjstvu itetako uestala ilustracije Branko Efendi-Efi, Durieux, oitovao kao quorumovci nisu dali To nije srednjoeuropsko u onom li-
rabota. Jo je Julian Barnes u Flauber- Zagreb, 1999. prozaika. On je, meutim, i iri i dub- citarskom, lipicanerskom smislu, smis-
tovoj papigi u indeksu nedopustivih lji: i hrvatska proza, ba kao i film i lu mozart-kugle koji je zahvaljujui
knjiga napisao kako su takve knjige ermana Senjanovia zvanog donekle kazalite, pati od naratajne uinku ideologije zagadio hrvatsku
doputene, ali samo jedna po sva- io nije potrebno pred- rupe... Feri roen 1961. godine lijei percepciju Srednje Europe u devedese-
kom piscu. U Jergovia se nerijetko stavljati vjernim itateljima donekle tu frustraciju i u hrvatskoj tima... To je Srednja Europa kao u-
osjeti utjecaj takvog tiva. Onda kad satirinog priloga Feral Tribunea. Za prozi stvara dojam homogenog kon- pak Europe, mjesto odakle svi pametni
itamo o starom *eljezniaru koji pred one koji su itali Hrvatsko slovo tinuiteta koji naa kritika voli. bje*e (Paolo Magelli), mjesto incesta,
sobom ima rastvoren maarski rjenik Senjanovi je autor kolumne Dorin S druge strane, Feri je ist pisac. palikua, suicida, morbidnih susjeda i
i vozni red, pred itateljem se nepog- dnevnik, dijelova Luminove pote, Nije sluajno da je najvei dio hvalos- provincijske zlobe koju su razorno
reivo raskriljuje veliki djed ove knji- kolumne Teletina u kojoj komentira pjeva novoj autorovoj zbirci Aneo u opisali upravo Austrijanci: Thomas
ge, ovjek koji je kod Jergovia potis- televizijski program te apsolutno ofsajdu motiviran injenicom to je Bernhardt, dramatiar Schwab u svo-
nuo Carvera, Sidrana, ehova i Andri- najnerjeivije kri*aljke u domovini i Feri zanimljiv ba kao literatura, a ne jim Predsjednicima, Michael Hanneke
a: Danilo Ki... svijetu. Knjiga US&A njegov je zbog neeg izvanjskog, oneiuju- u filmovima...
Svaka od dvadeset jedne prie iz pr- prozni prvijenac (ne raunamo li eg: politike ili tematske provokativ-
vog dijela knjige zapravo je smjesa no- ukorieni Dorin dnevnik), tonije nosti, drutvene *estine. Jurica Pavii
vele, eseja i memoarskog fragmenta. Feri je k tome osvjeten pisac.
 II/40, 12. listopada,,,. 37

Branko Male tikog registra urbane proze. O ne- Ozren Kebo Borivoj Radakovi
Male ljubavi kakvom "baroknom" stilu pripovije-
danja nema ni govora, budui da Sarajevo Ne, to nisam ja
Naklada MD, Zagreb, 2000. povremene vrlo uspjele igre rije-
ima ne znae odmah da je autor za- za poetnike (da, to nisam ja)
ao u takozvanu hiperretorinost Feral Tribune, Split, 2000. Celeber, Zagreb, 1999.
(pa je u tom smislu ekstatina recep-
cija Popovieva malenog opusa od ebina knjiga svojevrsna je kro- ezina potentnost Borivoja Ra-
strane njegovih generacijskih i stru- nika djelovanja primitivne svi- dakovia, psovakog metra
kovnih kolega koji ga opisuju kao jesti koja je tri godine unitava- domae knji*evne scene, os-
"baroknog" autora naprosto nezna- la Sarajevo, pria o tome kako su Sa- novni je energetski izvor knjige Ne, to
laka). Novum Popovieve knjige ti- rajlije pre*ivljavale. Kada u naslovu nisam ja. Dok se reenice punkoidne
e se diskretne, ali isto toliko i dos- ka*e za poetnike misli na one koji u *estine izmjenjuju sa smirenim i, bez
ljedne stilistike vjetine metafori- Sarajevu danas *ive, bilo da su u nje- obzira na to to opisuje, preciznim iz-
kog i motivskog povezivanja pria u mu pre*ivjeli, bilo da su se vratili iz riajem, stupanj verbalne agresije nep-
cjelinu blisku romanu; takoer i raznih, dobrovoljnih ili prisilnih egzi- rekidno raste. Zato... svaki itatelj koji
poetske istananosti u vrlo promi- la. Svi poinju iz poetka, graditi, vo- knjizi pristupi prethodno ne iskora-
ljenom i sugestivnom izboru leksi- ljeti, poinju *ivjeti nakon godina pre- ivi iz govna od sentimentalizma i
ka: od onog kolokvijalnog, do onog *ivljavanja. Tematski razliiti zapisi realizma, imat e problema s probav-
imaju zajedniku potku: kako je nes- ljanjem ovog akademskog hardcorea u
tajao grad, njegovi ljudi i dobri obiaji. 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 jezini 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- alog pacifizma koji je u borbi protiv
od naslovom Male ljubavi Bran- liko energije ula*e u to da ne povjeru- nasilja i sam bio prisiljen postati nasil-
ko Male, poznati kritiar, pjes- je da je ita trajno. Prvi u nizu privida nim, konani je rezultat okantna pro-
nik i esejist, okupio je zbirku koje e autor postupno otkrivati, onaj za pisana svima u inat i svima na
tekstova pisanih zadnjih nekoliko go- je o svijetu u kojem postoje Ujedinje- u*as...
dina. Te je tekstove vrlo teko svrstati ni narodi, Povelja o pravima ovjeka i itatelj u ruke dobiva knjigu vru-
u neku od poznatih kategorija knji- niz drugih deklaracija kojima se sva- eg sadr*aja i kipteeg leksika, cinino
*evne kritike budui da je pieva in- kom stanovniku svijeta jame neka i patetino tivo koje subkulturne te-
tencija bila izuzetno iroka. Nalo se ljudska prava. U trenutku kada su s me nasilja, seksa i droge oblai u eli-
tu filozofskih, sportskih, umjetnikih Pala poletjeli projektili, Sarajevo je os- tistiko ruho art about art podrijetla.
i politikih tema, stoga bi tekstove bi- talo samo. O ljudskim pravima odlui- Kako bi otoplio u povrnom stilu hla-
lo najbolje nazvati esejima koristei vao je Karad*i. Iluzija o tome da e dan i drutveno dokon govor umjet-
svu teorijsku irinu tog pojma. Male svijet intervenirati pokazala se najgo- nosti o umjetnosti, autor pretjeruje u
ljubavi prelaze granicu jednostavne rim prividom za one koje su iekivali svemu - o usamljenosti progovara
opozicije svijet tekst i unose efekt kroz po*udu, o erotici kroz pornogra-
umjetnikog, artificijelnog u najbanal- fiju, o strahu kroz represiju, o pacifiz-
nije injenice... mu kroz agresiju...
Maleevo je pismo oputeno, frag- Pod zatitom naslova Ne, to nisam
mentarno, rokersko. Citirat u uvod- standardiziranog. Osim toga, ja satkao je pravu mre*u, as umornih
nu reenicu Malih ljubavi, eseja po ko- Popovi ima glazbeno toan osjeaj i plaljivih, as borbenih i samodopad-
jemu je knjiga dobila ime: Zato vo- za jezini ritam i poigravanje "prim- nih, autoreferencijalnih zapisa, naru-
lim prljave cure u tankericama, kojima jerenou" ili "provokativnou" od- gavi se koliko svojoj demijurkoj sve-
u ustima visi cigareta, koje lou, dime reene replike ili reenice; konano moi toliko i itateljskoj, u isto vrije-
i igraju bilijar u groznim kafiima eg- mo*emo govoriti o piscu koji uje, me uzbudljivoj i poni*avajuoj, voa-
zotinih imena, negdje po periferiji, a pae i testira bogatstvo nijansi suv- jerskoj poziciji. Ogoljavajui pripov-
to je sve ono gdje ne zalaze izgladnjele remenog jezinog svijeta u koji je jedni postupak do intime golotinje
manekenke u drutvu brkatih elnika uronjen. Drugo je pitanje vrti li se i pripovjeda s oiglednim u*itkom pla-
druge lige Zapad? Zato jer volim mar- svijet itatelja Popovieva romana zi jezik itatelju 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 reenicama, uz obaveznu ro- no, alkoliziranje ne smatram ni malo num/dvanaesterac, tanko i debelo cri-
kersku oputenost, postavljena i nas- herojskim nainom ponaanja (jo jevo posljednjom priom iz rectuma
luena itava pria, poetika urbanog, a manje "originalnom" knji*evnom te-
ujedno i stanovita naivnost i idealiza- mom), kao to ne mislim ni da je vr-
cija ukupne drutvene situacije. Prije hunac ljudske "sree" seksualno "tro-
bi se moglo rei da je na djelu potiski- enje" tijela...
vanje, ignoriranje svakodnevne banal- Od pijanaca k ratnicima: Ispod
nosti, okretanje glave od desetljea u duge elegantno retematizira i rese- kraj granatiranja. U ahuri opkoljenog
kojem je konzervativna desnica poka- mantizira motive iz prve prie, ali Sarajeva trebalo je polako zaboravljati
zala svoje najgore lice. sada je rije o "spavanju na klupku na sve ono to je inilo normalan
zmija" (tojest na prvoj liniji fronte), gradski *ivot. Primjerice, oni koji su
Rade Jarak prilikom ega 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,
mukog drutva iz ranije Rafove a potom gledati kako stranice nestaju
Edo Popovi prie... u plamenu i na kraju se suoiti s inje-
U priama mirnodopskog ba nicom da je u ovom dijelu svijeta, koji
San utih zmija kao i ratnog "dna", *ene su tretirane
iskljuivo kao: mo*e besplatna,
ne volimo nazivati Balkanom, kuna
biblioteka takoer privid, velika iluzi-
Moderna vremena, Zagreb, 2000
mo*e i za lovu... minjak do pupka, ja. Kebini zapisi strukturirani su u ni-
o*da nije loe dobrim knjiga- rairila noge, bez gaa. Tek u tre- zove koji s bave istom temom, pone-
ma pristupiti s nekoliko em dijelu, naslovljenom U pauko- kad obasi*u redak ili dva, ponekad
"naivnih" pitanja. Primjerice: voj mre*i, *ene (osim genitalija) stranicu. U njima je sintetizirano ono
zato hrvatski pisci uglavnom naj- dobivaju i lica... emu je autor svjedoio, ono to je
vjerodostojnije umiju pisati upravo Podradnja je, meutim, ak i va*- uo, i najva*nije ono to je nauio, o
o iskustvu pasivnosti, bezizlaznosti i nija od glavne radnje: susjeda mla- ratu i miru, sebi i ljudima oko sebe.
psiholoke zaustavljenosti likova u dog para, gospoa Ingrid, pro*ivje- izbacio ravno u svijet nasilja. A upravo
mrtvim tokama (metafore Hrvat- la je *ivot u gotovo posveenoj vje- Duanka Profeta su nasilje i jezik, nasilje nad jezikom i
ske u prozi od Krle*e do Roberta ri u drugu vrstu ljubavi: asketsku, jezik nasilja, tematska i stilska okosni-
Periia: "movara"; "krma"; "*ivo apsolutnu, bezgraninu, traginu; ca poetike Borivoja Radakovia...
blato"; "pustinja"). Zato im je toliko ljubav koja u knjizi predstavlja trei Ne, to nisam ja knjiga je nemoi i
va*no naglasiti svepro*imajui osje- san o *utim zmijama ili san o suo- bijesa, esto afektivna, ponekad pre-
aj bespomonosti? (...) enju s rizikom emocionalnog pre- tenciozna, ali uvijek iskrena. Knjiga je
San ,utih zmija otvara istoimenu davanja, koji je toliko "opasan", da to koja itatelja nee podvrgnuti du-
zbirku Ede Popovia. Pria je napi- biva izravno povezan s anticipaci- hovnoj eutanaziji, ali e mu, s popri-
sana u prvom licu, s epilogom na- jom smrti... linom rjeitou i oiglednom *ivo-
vodnog posthumnog ureivaa "pro- Pod svjetlom jo jednog lokal- u, poruiti ono to mu je Ed Sanders
naenih" Rafovih bilje*aka. Napo- patriotskog paradoksa, valja nam jo davno poruio naslovnicom svog
menimo da Popovi ne izvodi ni priznati da Popoviev roman dodu- asopisa Fuck you...
kompozicijske ni si*ejne eksperi- e tematizira pasivnu filozofiju uz-
mente; dapae: njegove se reference maka, ali zapravo izvodi aktivnu re- Andreja Gregorina
kreu od Bukowskog i Henryja Mil- valorizaciju sredine koju opisuje .
lera do Cortazara i Fuentesa, ostaju-
i unutar prokuanog postmodernis- Nataa Govedi
38 II/40, 12. listopada 2,,,.

Sonia Wild Biani Rat u

Two lines of life Hrvatskoj i Bosni i
/Dvije linije ivota Hercegovini 1991 1995.
s engleskoga prevela Mia Pervan,
Durieux, Zagreb, 1999. uredili Branka Maga i Ivo ani, Naklada Jesenski i Turk Zagreb,
Dani Sarajevo, 1999.
ije je o autoriinim memoarima, izvorno njiga Rat u Bosni i Hercegovini 1991 1995 rezultat je skupa odr*anog, kako
napisanima na engleskom jeziku kao Two se to govorilo, u treim zemljama. Naime referenti (abecednim redom Duan
Lines of Life, objavljenima na oba jezika Biland*i, Norman Cigar, Jovan Divjak, Marko Attila Hoare, Rusmir
istovremeno. Dvije linije ,ivota vjerojatno je naj- Mahmutehaji, Stjepan Mesi, Warren Switzer, Martin pegelj, Anton Tus, Paul
bolji mogui naslov za ovu knjigu, jer su unutar Williams i Ozren @unec) i sudionici rasprave sastali su se u rujnu 1998. godine u Bu-
istih korica objedinjene dvije zemlje, dva jezika, dimpeti u organizaciji Bosanskog instituta iz Londona i Instituta za jugoistonu
dva rata, pa ak i, osvrnemo li se na detalje iz pri- Europu u sklopu Srednjoeuropskog sveuilita u Budimpeti. Tada podneseni refe-
vatnog *ivota, dva supruga i dvoje djece. itaju- rati, rasprave voene nakon svakog od tri tematska bloka (Rat u Hrvatskoj, Rat u
i njezine zapise, ipak, ubrzo postaje jasno da je Bosni i Hercegovini te Meunarodni odgovor pouke za budunost) uz dodatak (tek-
rije o koherentnom i inteligentno pisanom tek- st Ko to rado ide u vojnike mobilizacijska kriza analitiki pogled medijskog izveta-
stu. U vrijeme kada ratno i ispovjedno-memoar- vanja autora Ofelije Backovi, Miloa Vasia i Aleksandra Vasovia) i priloge na kra-
sko pismo ini najvei dio prozne produkcije, So- ju (Kronologija 1985 1995., ustroji JNA i razne karte) sadr*aj su knjige koja e se
nia Wild Biani uspijeva progovoriti o sebi, ali i hrvatskoj povijesti, na nov, ideolo- dugo iitavati. Jer, za razliku od monolokog govora/pisanja o ratu ona zaista sadr-
gijom neoptereen nain. Ona je izvrstan promatra, a englesko porijeklo daje joj *i razgovore, otvorene, provokativne i iz-
distancu dovoljnu za taman toliki odmak da o posljednjih pedeset godina progovori nenaujue kakvi do danas uglavnom nisu
na objektivan nain, no s puno ljubavi. publicirani na razini tra*enja suglasnosti...
Ima ratnih tema oko kojih se prilino
Duanka Profeta lako dogovoriti ili makar oko nekih njiho-
vih elemenata. Naravno, razgovori name-
u one koje su predmet sumnji, javnih i
Viktor Ivani tajnih dvojbi, neloginosti i (zasad) nez-
nanja koja e tek trebati rasvjetliti.
Toka na U Rat nema svetopisamskih rjeenja o is-
tini, ali ostavlja ogroman prostor razgo-
sluaj aki: anatomija vora u kojem e se mnogi morati nai. U
kojemu je tek, kako stvarnost pokazuje,
jednog skandala nauiti sudjelovati. Oni koji su te razgo-
Feral Tribune, Split, 1998; drugo izdanje 2000. vore zapoeli hrabro i temeljito izmeu
ostalog u knjizi su za koju vrijedi prepo-
obzirom na injenicu da je u sluaju ruka kako je svatko treba proitati zbog
aki i fenomenu NDH, te Tumanovoj osobnih dvojbi pa tako i osobnih odgovo-
doktrini nacionalnog pomirenja, posve- ra. Ili mo*da samo zbog toga da bi kona-
tio itav niz novinskih lanaka u Feralu, prva je no shvatili kako se postavljaju pitanja?
itateljska pomisao da je posrijedi zapravo
zbirka ve objavljenih lanaka, kakve masovno Grozdana Cvitan
tancaju zvijezde nae novinske kolumnistike.
No, ovdje se radi o neemu posve drugom; tek
mali dijelovi ove knjige objavljeni su u Feralu,
ona je zapravo kompozicijski koherentna cje-
lina; svojim jezikom i argumentacijskim sklo- Stanko Andri
pom umnogome nadilazi jednostavnost novin-
skog stila izlaganja i pretvara se u politoloku i psihosocioloku raspravu. Iako se u Dnevnik iz
analizi kulta nacije i dr*ave i paralelizma Nezavisne Dr*ave Hrvatske i suvremene
Republike Hrvatske slu*i relevantnom filozofsko-politolokom 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 ve prije svega anga*irani publicist koji i sam duboko
glose i
pro*ivljava temu o kojoj pie, strasno uranja u nju i ne krije ni u jednom trenutku
svoje stavove.
arabeske
U analizi Ivani polazi od zamijeene neuroze aktualnog hrvatskog re*ima kon- Durieux, Zagreb, 2000.
sterniranog injenicom da mu iz svijeta nameu pokretanje suenja Dinku akiu,
ali i identinog osjeaja najveeg dijela liberalnih nacionalnih intelektualaca koji rozno-esejistiki opus
takoer ne mogu razumjeti zato svjetska politika Hrvatskoj namee to muno ko- Stanka Andria ine
panje po starim ranama. Svima je jasno da taj sluaj jest svojevrsni lakmus koji e Povijest Slavonije u se-
poslu*iti u detektiranju stvarnog odnosa re*ima, ali i hrvatske javnosti, prema fais- dam po,ara (1992) i Enciklo-
tikom naslijeu... pedija nitavila (1995) te niz
Velianje dr*ave pa i NDH kao praznog apsoluta, kao savrenog okvira koji tekstova objavljenih u perio-
predstavlja konac povijesnog i drutvenog razvitka, i to tako to e se u masovnoj dici, od kojih je dio objavljen
svijesti taj okvir isprazniti od svoga munog sadr*aja, to e se retuirati zloini, te- u knjizi Dnevnik iz JNA i
ror i nasilje neko poinjena u njegovo ime, po*eljno je zbog toga da bi se pokrile i druge glose i arabeske. Jedna
relativizirale svinjarije poinjene u ime dananje Hrvatske. Taj idealizirani prazni ok- od odlika Andrievih teksto-
vir, koji leti kroz vrijeme i epohe, lien bilo kakvog sadr*aja koji bi mogao skrenuti va, znanstvenih i proznih, jest
pa*nju s njegove pozlate, zamiljen je da se prihvati kao jedina dostupna stvarnost i briga o unutarnjoj strukturi,
kao unikatna ideoloka istina. funkcioniranju dijelova u od-
Zavrna poglavlja knjige posveena su Franji Tumanu kao protagonistu takve nosu na cjelinu. U ovoj e
ideologije. Ivani analizira posebno Bespua povijesne zbiljnosti dokazujui da Tu- knjizi Andri nastaviti s tom
man u toj knjizi zapravo nastoji dokazati kako genocid u ljudskoj povijesti ima dru- praksom i tekstove podijeliti
tveni smisao i mo*e pozitivno utjecati na budunost nacije, osobito na definiranje u glose, traktate i arabeske, te
njezina prirodnog etnikog areala. Budunost Tuman vidi iskljuivo u nacionalnoj tako izbjei opi klasifikacij-
dr*avi kao realizaciji konane sree, za to je nu*no postii to veu etniku homo- ski pojam eseja, kojem dio
genizaciju i to vei sklad nacionalnog sastava puanstva i dr*avnih granica. Ivani ovih tekstova zasigurno ne
konstatira: Ono ime se Tuman u Bespuima uistinu bavi jest osmiljavanje zloi- pripada. Glosama Andri naziva tekstove koji su nastali na temelju prethodnih ita-
na iju pojavu on u najboljoj maniri povjesnika fatalista do*ivljava kao zadano nja (Huga Pratta, Kia, Shulza, Hamvasa), a dijelom se pribli*avaju knji*evnoj kri-
stanje, kao historijsku predodreenost uz neprestana opetovanja. Predmet njego- tici, eseju ili autobiografskom zapisu. U traktatima Andri se bavi etimologijom, se-
va znanstvenikog upliva nije istra*ivanje korijenja i nastajanja zla koje je neizbje*- paratizmom, strahom od raka, strahom od nultih godina i jo mnogoime. Naziva-
no, je li, kao zemlja po kojoj hodamo ve odreivanje tome zlu primjerenog razlo- jui ove tekstove traktatima, Andri se poigrava sa itateljem i pokazuje sklonost au-
ga i smisla. toironiji traktatom danas kolokvijalno nazvano duga, dosadna, podacima pretova-
Posebnu pozornost Ivani posveuje Tumanovoj doktrini nacionalne pomirbe rena i utogljena izlaganja. Andrievi tekstovi posjeduju upravo oprena svojstva: pi-
i *elji da upravo u Jasenovcu podigne svetite toj ideji te da se tamo pohrane ispre- sani su s mjerom, zanimljivi, i ne osjea se ni najmanja *elja da se itatelja impresio-
mijeane kosti svih koji su pali za ostvarenje dr*avotvornog sna borei se na raznim nira uenou. Obimom najmanja grupa tekstova nazvana je arabeske, a u njoj je dio
stranama... dnevnika po kojem je knjiga dobila ime. Andriev dnevnik vrvi zapisima o proita-
Premda tematski odreena kao analiza inicirana sluajem aki, Ivanieva se nom i nacrtima za neke budue tekstove, esto ne veima od reenice, dvije. Kada
knjiga ne bavi toliko povijeu NDH i razmatranjem o prirodi te dr*ave i njezina re- pie o "neposrednom okru*enju", ini to iz pozicije promatraa, osobe koja gleda iz
*ima; za njega, uostalom, nije sporno da se radi o faistikom tipu vladavine. Ono svoga unutarnjeg svijeta i do koje cijeli besmisao u kom se nalazi prodire tek kao me-
to je njemu mnogo bitnije jest istra*ivanje dodirnih toaka u politikim doktrina- tafora: Na ploniku, vojnik mirno stoji, dok mu iz pribora o boku pro,drljivo izviruju
ma onog re*ima i dananjega. Ponekad mo*da u svojem anga*manu i previe ostra- zubi viljuke (Mea, 6. kolovoza 1987). Andrievo mjesto u suvremenoj hrvatskoj
eno, ali najee izvanredno lucidno i inteligentno, Ivani analizira fenomene prozi odgovara donekle poziciji pripovjedaa u njegovu dnevniku: u kri*aljci aktual-
drutva u kojemu *ivimo, smiono se pritom suprotstavljajui dominantnom intelek- nih proznih trendova, generacijske ili poetike pripadnosti Andri je autor koji pie
tualnom konformizmu. iz svoga, vrlo osobnoga i osebujnoga svijeta.
Velimir Viskovi Duanka Profeta
 II/40, 12. listopada,,,. 39

Bora osi Jaka Kuan

Carinska deklaracija Bitka za Novu Hrvatsku
Otokar Kerovani d.o.o., Rijeka, 2000.
Feral Tribune, Split, 2000.
eckettov Malone je paraliziran. On le*i u krevetu i eka smrt. Dugakom aka Kuan odluio se na memoarsko-dokumentarno djelo o radu Nove Hr-
motkom s kukom na jednom kraju privlai predmete u sobi i pravi inventar vatske, lista koji je kroz tri desetljea izdavao u Londonu, koji je mjeren ne
svog *ivota. Usput pria prie. samo brojem primjeraka, nego i recepcijom u domovini bio najutjecajnija
Bora osi 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 sudei zastraujue praznoj, i pravi mentalni mnogima u emigraciji. U knjizi je ponovno tiskao mnoge uvodnike, javna, ali i pri-
popis stvari za carinsku deklaraciju koja e mu omoguiti legalan transport biveg vatna pisma koja su podcrtavala ono to se Novom Hrvatskom htjelo postii i poru-
*ivota iz zemlje koju je nekada smatrao svojom u *ivot pod jednim drugim, njemu iti. Iskljuujui lanove redakcije, suradnike i simpatizere Nove Hrvatske, Kuan
stranim nebom. Obojica, i Malone i osi, na koncu zakljuuju da tu nema bog- pokazuje kako je bilo malo sporazuma meu razliitim iseljenikim grupacijama u
znato da bi se uskladitilo. Obojica zakljuuju da su uglavnom itava *ivota zgrta- svijetu. Iako, tovie, ostaje slutnja velikih
li prazninu. svaa, Kuan samo daje naznake nejedinstva
Carinska deklaracija Bore osia i Malone umire Samuela Becketta dva su kom- emigrantske scene te poetke i uspjehe Hrvat-
plementarna djela. Po mnogim pojedinostima, po mnogim razmiljanjima slina, skog narodnog vijea u kakvom-takvom
ona se, unato tome to se dopunjuju, u krajnjoj, ishodinoj toki, posve razilaze. okupljanju Hrvata u svijetu...
Beckettov junak umire. Bora poinje iznova. S punim kuferima praznine... Mrana strana emigrantske scene najbolje
Carinska deklaracija je ispovjedni, lirski, metafiziki i filozofski esej o etau na- je opisana kroz djelovanje Udbe, pokuaje
eg stoljea, kronika o jednoj seobi, koja od mladosti traje... Da bi bio slobodan raznih "prijatelja" da se pribli*e onima koje su
osi vjeruje, a tu se s njim moramo slo*iti, kako se treba odmoriti od svoje zem- smatrali opasnima po Jugoslaviju i njihovo
lje jer zemlja kojoj... ovjek pripada poinje da ga pritie. On je za to kriv. Jer "neutraliziranje" na bilo koji nain. Podmeta-
zemlja o sebi ne zna nita, posebno to da je zemlja upravo ovog ovjeka. To je on nja kao bla*i i likvidacije kao najte*i oblik tog
proglasio onu zemlju po kojoj koraa svojom, to mu je bila najvea pogreka... Udbina djelovanja samo su krajnje strane ras-
Kako sam veli, osi je na jednom ispitu, on maturira iz predmeta odlaska iz pona na kojoj je djelovala vrlo arolika zbirka
svoje zemlje, to je ispit, dodali bismo, vrlo bitan za stjecanje punoljetnosti, za saz- tipova: od kriminalaca i profesionalnih uboji-
rijevanje openito. Njemu se ne *uri. On bez imalo nervoznosti izuava jednu ca do onih jadnika koji su bili ucijenjeni na
duboku nauku i njen najva*niji pred- razne naine i koji su ponekad pokuali ne iz-
met, prazninu. Jer, mi smo *iveli na vriti zadae koje su dobili od Udbe. Bilo je i
jednom prostoru, evropskom, na ko- onih koji nisu dobili nikakvu zadau, ali su ra-
jem je povesti bilo vrlo mnogo, vie do samoinicijativno ponudili svoja znanja i
nego i jedna povest mo*e da izdr*i. spoznaje.
To sada on *eli da popravi, bar u ma-
lom. Grozdana Cvitan
Dok naputa tu krmu u kojoj je
pojeo svoje i popio, do kraja, osi, i
to je jedna od mnogih vrlina ove knji-
ge, zadr*ava ironian odmak prema Ilija Jakovljevi
sebi i sudbini, ne sudbini koja ga je za-
desila, nego koju je izabrao...
Carinska deklaracija osieva je
Konclogor na Savi
katarza kao to je i katarza za sve one Konzor, Zagreb, 1999.
njegove suborce koji su u prethod-
nom desetljeu jeali, a danas su svjes- lija Jakovljevi, roeni Mostarac iz
ni da se radilo o otpadu jedne davne Podhumske mahale (1898), sarajevski
jo nerazrijeene civilizacije. Njihov i zagrebaki kolnik, hrvatski knji*ev-
rat zavrava porazno po njih; ta kam- nik i odvjetnik, urednik sredinjeg haesesov-
panja koju vodi ovo stoljee to je jed- skog lista Hrvatski dnevnik, predsjednik
na izgubljena stvar ve odavno, poraz Drutva hrvatskih knji*evnika, imao je ast
osiguran u tuem generaltabu. Ca- biti zatoenik triju diktatura estojanuar-
rinska deklaracija majstorski je uobli- ske, ustake i komunistike. Umro je u ko-
ena fuga. Ne fuga smrti, nego fuga za munistikom zatvoru koncem listopada
novi dan. Pa, dan po dan. 1948. godine pod tajnovitim okolnostima te
je stoga tijekom komunistikog razdoblja
Daa Drndi uglavnom bio unperson. Zato se i njegov ru-
kopis o grozotama ustakog logora Stara
Gradika, gdje je proveo neto vie o godine
dana, od listopada 1941. do prosinca 1942,
Predrag Matvejevi, pojavljuje u tisku tek sada, poslije vie od oila stoljea u zapeku, kao prvi znaajan
Vidosav Stevanovi, dokument o Ustaiji (Jakovljeviev izraz) nakon hrvatskog osamostaljenja.
Ponimo sa zakljukom: ovo je najva*nija knjiga koja se u Hrvatskoj pojavila
Zlatko Dizdarevi, nakon dugo vremena. Upravo zato to je Jakovljevi imao savren dar zapa*anja,
analitiku smjelost te prezir prema mistifikacijama svake vrste, njegova je kronika
Gospodari rata i mira rijetka dragocjenost kako s knji*evnog tako i povijesnog aspekta. U nju su utkani
bol, oaj, dar za pre*ivljavanje, samilost, prkos i nemalo lukavstva. Ona razgoljuje
Feral Tribune, Split, 1999. ustaku demagogiju, a NDH prikazuje onakvom kakva je bila kao vlast okorjelih
zloinaca. Jakovljevi je znao punu istinu o ustaama te nije mogao upasti u apolo-
njiga je zamiljena kao prikaz *ivotopisa bal- getske gluposti o procvatu hrvatske kulture unato nepovoljnim ratnim okolnosti-
kanskih monika Miloevia (iz pera Vidosava ma...
Stevanovia, srpskog disidentskog pisca), Tu- Teko je doarati sva bogatstva Jakovljevieva svjedoanstva. U knjizi ima mno-
mana (iz Matvejevieva pera) i Izetbegovia (iz pera go dokaza o otporu prema zloinu, ak i kod unovaenih ustaa, ali i o slabiima i
Zlatka Dizdarevia, sarajevskog novinara), a prethod- kolaborantima meu logoraima... Izuzetno su va*na Jakovljevieva zapa*anja o na-
no je ve objavljena u Italiji i Francuskoj. cionalizmu (Sukob dvaju malograanskih nacionalizama, osmanlijske silovitosti i
Usprkos staroj navadi biografa da u mranom predmetu svojih spisateljskih *elja tisuugodinje kulturne mire), razlikama izmeu narodske i ideologijske svijesti,
pronau splet ljudskih i osobnih karakteristika u kojima bi nali uzroke i opravda- karaktera endehakog parlamentarizma i kranskog korporativizma te svjedo-
nja njegova djelovanja, Stevanovi svome predsjedniku ne daje nikakve osobine anstva pojedinim nositeljima re*ima (o Budaku: najvea haramija koja se pojavila
ljudskosti. Slobo je za njega ogoljela funkcija s Dedinja obuena u sumorno komi- meu knji*evnicima svih vremena i naroda)...
tetsko odijelo. Vo*dov je humor rutiniran i smiljen. Njegov je osmijeh poza. Nje- U pogovoru ove Jakovljevieve knjige Ivan Lovrenovi zakljuuje da bi otkrie
gove su rijei la*, a smisao njegova postojanja beskrajna je mo, i to je ukratko po- rukopisa Ilije Jakovljevia o zatoenitvu u ustakom logoru u Staroj Gradiki
lazina osnova s koje Stevanovi opisuje 15 godina Miloevieve vlasti... Za razliku 1941. i 1942. godine moralo (...) biti jedan od najva*nijih dogaaja moderne hrvat-
od Stevanovia, Matvejevia ponajprije zanima voina osobnost, pa se ovaj psiho- ske knji*evnosti. Ni ta knji*evnost, ni openito hrvatska graanska slika o sebi,
portret temelji na svim onim mistifikacijama, taktinim izjavama, pa i malim inte- poslije ove knjige ne mo*e ostati ista. To bi doista tako moglo i biti da u sadanjoj
lektualnim bravurama s kojima nas je u svojim rado sluanim govorima znao poas- hrvatskoj knji*evnosti i povijesnoj samospoznaji postoje jasna politika, moralna i
titi pokojni Tuman. Matvejeviev Tuman tako ispada patoloki la*ac, krivousti intelektualna mjerila. No, u Hrvatskoj danas takvih mjerila nema ili nisu veinska; i
narcis iju je opsesiju povijeu premaivala jedino opsesija o mjestu istoga u njoj. to ne samo zato to danas u Hrvatskoj ma*oretkinje izvode svoje banalne, cirkusa-
To je, po Matvejeviu, ujedno i uzrok svih hrvatskih nedaa... rije na dr*avnoj promociji najbanalnijeg spomenika koji se uope da zamisliti, nego
Kao i njegovi drugovi Slobodan i Franjo, i Alija se uspio rijeiti svojih popularnih ponajvie zato jer ustake popeskare (Jakovljeviev izraz) jo i danas slu*e misu
suradnika da bi potom, lukavo se skrivajui iza izjava tipa "ovo nije na rat" i "zna Poglavniku i njegovu Povjereniku. Zato e ova krvlju natopljena Jakovljevieva knji-
onaj tko puca", u javnosti ostavio dojam razumnog iako pomalo naivnog iice koji ga ostati kao jedno od onih svjetala to su mu se poslije izlaska iz Gradike privia-
je *ivot posvetio prosperitetu svoga naroda. Vraga, ka*e Dizdarevi. S vremenom je la u slikama Jablanca, Gradine i Mlake, u kojima se svaka gruda zemlje koja pokri-
pod okriljem rata itav sustav podvrgao svojoj samovlasti, i iako odgovoran za broj- va tijelo muenika pretvara u baklju, osvjetljujui putove u novi *ivot. U tom sret-
ne loe poteze koji su Bonjake ostavili potpuno nespremne za rat, nametnuo se kao nijem vremenu, kad hrvatska kultura ponovno postane dijelom evropske kulture, a
neprikosnoveni voa... Danas se naravno poput svojih ratnih drugova iz Zagreba i hrvatska povijest samokritina, Jakovljevi e zablistati u punini svoje logorake
Beograda kupa u novcu poreskih obveznika koji grcaju pod teretom bijede... kronike.

Dragan Koruga Ivo Banac

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

Marinko uli ili naprotiv kao Autokrata i Diktato- pridodan, za ovu knjigu posebno sas- Stanko Lasi
Tuman ra? Bilo je to jedno od pitanja na ko-
ja je uli piui biografiju *elio
tavljen, Informativni vodi (ili The Ha-
ll Of Fame), u kojemu su likom i dje- Autobiografski
anatomija barem u naznakama odgovoriti. U
intervjuu Zarezu, neposredno nakon
lom predstavljeni glavni junaci Go-
dina raspada, od folk zvijezda, *ena-
zapisi
izlaska knjige, bio je eksplicitan: mistika, nebeskih ratnika, nazovi-novi- Nakladni zavod Globus, Zagreb 2000.
neprosvijeenog Nakon njegove smrti, mislim da e nara, knji*evnika i duhovnih obnovite-
se kod ljudi zbog neiste savjesti od- lja srpstva do raznih ministara i politi- ako je pojava autobiografije ug-
apsolutizma mah probuditi potreba za pljuva- ara onih re*imskih i onih nazovi-o- lednoga knji*evnog povjesnia-
Feral Tribune, Split 1999 njem, u emu e, moram priznati, pozicijskih pa supruga tih politiara i ra i teoretiara Stanka Lasia
biti male nepravde jer su ga ti isti uope cijelog bataljona Srba po profe- (1927) vjerojatno iznenaenje za iru
ljudi zduno, dugo i u svemu podr- siji. Uz to u knjizi se ispred svakog itateljsku zajednicu, poznavatelji nje-
*avali. Sjeate se kako je bilo s Ti- teksta, kao njegov svojevrstan an- gova knji*evnoznanstvenoga 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, najstranijih i najbezumnijih izjava, kurza koji se mjestimice probija u est
povrat natrag. Tuman nee imati poevi od one uvene Miloevieve knjiga njegove Krle,ologije (1989,
sreu da proe te mijene. On je u A ako treba da se tuemo, bogami e- 1993). U njemu se analitikome znan-
proteklih deset godina napravio toli- mo da se tuemo. Taj rasadnik glu- stvenom subjektu vlastiti *ivot otvo-
ko puno greaka i ludosti da e ga se posti zapravo je svojevrstan nastavak rio kao polje iskustva, kunje, nemira i
vrlo brzo svi odrei. Past e ovjek Antologije suvremene hrvatske gluposti dijaloga te prometnuo u pripovjedaki
koju su sastavili feralovci i ve sam po in, odnosno neku vrst Bildungsroma-
vjerojatno i ispod razine Franca.
sebi, ini pouzdanu, dokumentarnu na koji je zapravo vrebao pravu prili-
Danas, kada se graani Hrvatske,
grau za razumijavanje povijes- ku. Nastali djelomice na temelju raz-
bez obzira na svoju politiku orijen- ti/stvarnosti srpske propasti. Uz to, govora s Brankom Matanom, Lasievi
taciju, prema Franji Tumanu uglav- poseban dio ine i e-mail poruke koje su Autobiografski zapisi ostvarenje in-
nom odnose kao prema davno odsa- je Lukovi (nakon to je u Feralu obja- dicija sadr*anih u Krle,ologiji.
njanom ru*nom snu, ova se ulie- vio svoju Internet adresu) dobivao od Kad je posrijedi autobiografski dis-
va prognoza ini kao otkrivanje prijatelja ili njemu nepoznatih itatelja kurz, najee se postavlja pitanje o
tople vode. Meutim, dovoljno je u vrijeme NATO bombardiranja Srbi- znaajkama subjekta koji pripovijeda
pogledati smrknute oi i stisnute us- je, a koje su u knjizi kronoloki uvrte- vlastiti *ivot 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 raspadajue srpske po- proizveden kao glavni lik jedne *ivot-
1999, ova izjava zvuala smjelo i op- vijesti i raspadajue stvarnosti Lu- ne pripovijesti. Kakav je Lasi stvo-
isati neku vrstu politike biog- timistino, ak nevjerojatno. kovi se koristi razliitim publicisti- ren Lasievim autorskim diskurzom?
rafije Franje Tumana dok je Marinko uli negdje meu svo- kim i knji*evnim *anrovima, od novin- Proizvodi li Lasi *eljenoga sebe ili se
on jo *iv, izgleda kao pecanje jim papirima vjerojatno jo uvijek skih kolumni i otvara moguem itatelju, nudi mu
u nabujaloj rijeci upozorava u pr- uva pripreme za biografiju Slobo- reporta*a, pre- svoja slaba mjesta, svoje zablude i pro-
voj reenici svoje knjige Marinko dana Miloevia, projekt koji zbog ko vlastitih, ali tuslovlja? Odgovor je mogue potra-
uli. Za njega osobno, kao dugo- odreenih izdavako-distribucijskih i tuih dnev- *iti u kljunim formativnim tokama
godinjeg novinara i urednika u Fe- problema na *alost nikada nije nikih biljeki, Lasieve pripovijesti, onima u kojima
ral Tribuneu doslovce jedinoj hr- pokrenut. teta. Mo*da bi nam da- pa do fantasti- se pro*imaju tri kljune relacije: od-
vatskoj novini relevantnije tira*e ko- nas tota bilo jasnije. no-dokumenta- nos prema povijesnim zglobovima
ja je od prvog broja nadalje, bez iz- ristikog roma- (Drugi svjetski rat, Nezavisna Dr*ava
nimke, djelovala protiv Tumana i Agata Juniku na pod nazi- Hrvatska, antifaistiki i komunistiki
njegovog re*ima ovaj je zadatak vom Psiho i anga*man, pristajanje na totalitarnu
bio utoliko te*i to je tada bio usred dramskih frag- matricu i odustajanje od nje, dogaaji
sudskog procesa to ga je protiv nje- menata, ovdje iz '71, emigracija), odnos prema sebi
ga i glavnog urednika Ferala Viktora zajedniki naz- (intelektualno sazrijevanje, lektira,
Ivania, pokrenuo sam (uvrijeeni) Petar Lukovi vanih Pulp Fic- uenje, disciplina i znanstvena kondi-
predsjednik.
Delikatnoj situaciji usprkos, Godine raspada, tion, odnosno svojevrsnih palimpsesta
poznatih knji*evnih djela. Osobitu
uli je izazov prihvatio, priavi
svom junaku ne ba u formi kla-
Hronika *anrovsku vrstu ine ukradena pisma
Mirjane Markovi (Miloevieve sup-
sine biografije, ve neega to bi u
svojoj krajnjoj svrsi bilo bli*e psiho-
srpske propasti ruge), Borislava Jovia ili Radoja Kon-
tia, te povjerljivi stenogrami sa sjedni-
portretu. Svjesno ili ne, djelo je ve Feral Tribune, Split, 2000. ca Vrhovnog savjeta obrane. Uza tu
u podnaslovu *anrovski odredio pri- *anrovsku arolikost i autorsku mi-
marno medicinskim pojmom ana- odine raspada Petra Lukovia mikriju, Lukovi koristi mnotvo knji-
tomija, ime je na neki nain naja- posebna je, izvrsno napisana, *evnih postupaka i jezino-stilskih ak-
vio i opravdao svoju daljnju funkci- mahnito potresna i mahnito robacija, kao to su razni oblici parodi-
ju. Naime, funkciju vrlo slinu psi- duhovita knjiga. Rije je o nekoj vrsti ranja, kompiliranje i parafraziranje tu-
hijatru koji e pacijentu, analiziraju- totalne knjige, sumi srpske desetogo- ih govora; zatim jo grotesku, satiru i
i njegove postupke i ponaanje, dinje propasti, u kojoj je izra*en do- ironiju; hiperbolu, rableovske stilske
naprosto postaviti dijagnozu. Impli- sada vjerojatno najjai otpor Miloevi- obrate, samoironiju i jo mnogo, mno-
cite, dakako. evoj osvajakoj politici i uope nacio- go toga.
Precizno argumentirajui, hlad- nalistikoj/ideolokoj/mitolokoj mat- Ipak, smijeh Pere s onoga sveta je
no-objektivno, ali istovremeno s ne- rici po kojoj je srpski re*im posljed- smijeh koji oslobaa; on je istovreme-
kim suptilno intoniranim suosjea- njih deset godina stvarao ikonu ugro- no heretian, pobunjeniki te visoko
njem za sluaj na kojemu radi, *enog i pravednog nebeskog naroda. etian i human iskaz protiv stvarnosti
uli ralanjuje Tumana prije sve- tovie, sve to karakterizira Lukovi- koja ga okru*uje Ispisujui kroniku
ga kroz njegov odnos prema ljudima evo pisanje, od toga to misli i o e- propasti jednog naroda i utvrujuci cija) i odnos prema Drugom (protiv-
iz bli*e prolosti koji su ga svaki na mu pie, do njegova stila i jezika, dija- granice ludila na prostorima bive Ju- nici, suputnici, prijatelji, obitelj, Euro-
svoj nain opinjavali i inspirirali metralno je razliito od onoga to je goslavije Lukovia ne zanima ozbiljna pa). Sve to pripovjeda Lasi znalaki
Titu, Paveliu i Francu (Faizam i svih ovih godina nudilo srpsko vlada- politika analiza, logika razlaganja si- ugrauje u pripovijest zainjenu auto-
antifaizam su dva stupa po kojima jue bie. Tako, na opu histeriju pat- tuacije i predvianja. Sadr*aj veine refleksijom koja od njegovih auto-
on hoda preko vode), te prema je- riotizma Lukovi odgovara ravnodu- njegovih tekstova zapravo je svakod- biografskih stranica ini jedno od naj-
dinom *ivuem od svojih idola, nou/bijesom/smijehom spram otad- nevica, bizarna i izofrena svakodnevi- impresivnijih intelektualnih svjedoe-
zahvaljujui kojemu je i opstao na *binskih du*nosti. Palanakom i mi- ca ispunjena gledanjem Dnevnika Ra- nja o novijoj hrvatskoj povijesti.
vlasti itavo desetljee Slobodanu tingakom mentalitetu te ideji kolekti- dio Televizije Srbija, itanjem Politike, Istodobno je, iako u ulozi pripovje-
Miloeviu. (Tu je rije o simbiozi vizma on nadreuje vlastitu urbanost, ekanjem vode, benzina, struje..., uop- daa, Lasiu teko izbjei ulogu znan-
izmeu ovjeka (Miloevia) pred graansku svijest i individualizam, a e registriranjem bezumlja u kojem *i- stvenika, klasifikatora i sistematiara.
kojim se Berlinski zid sruio, pa vie obnovi pravoslavlja, povijesnih mitova vi U tekstu su oevidni tragovi struke i
nije moga dalje, i ovjeka (Tumana) i plemensko-patrijarhalnog vladajueg Godine raspada su najsveobuhvatni- doista je teko odgovoriti na pitanje
koji je imao sree da se Zid srui iza duha pak rockn roll, sveopu parodi- ja, najsmjenija i najpotresnija kronika jesu li Autobiografski zapisi pripovijest
njega.) zaciju i liteterarnu fikciju. Ukratko, ludila jednog re*ima, ali i opa povijest o vlastitu *ivotu ili pripovijest o susta-
Konkretni pak primjeri iz politi- desetogodinjoj Miloevievoj tiraniji i gluposti koja se posljednjih deset godi- vu, oblikuje li njihov diskurz *ivot ko-
ke prakse na kojima uli obrazla*e nacionalnoj euforiji, podjednako sr- na proizvodila na ovim prostorima. Ri- ji se naknadnom refleksijom pretvara
svoje teze, ujedno su tri glavne Tu- pskoj i hrvatskoj, Lukovi suprotstav- je je o otroj 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 neemo nai meu suv- njuje na materijal osobnoga *ivota. U
svoj neprosvijeeni apsolutizam Godine raspada, podnaslovljene kao remenijim autorima i koja, to je iteka- svakom sluaju dobili smo dvojako
podjela Bosne i Hercegovine, srpsko Hronika srpske propasti, sastoje se od ko va*no, pretpostavlja prilinu hrab- impresivnu knjigu koja s, jedne strane,
pitanje u Hrvatskoj te izjednaava- tekstova to ih je ovaj glazbeni kritiar rost i osobni anga*man da se od tamo mo*e izazvati strah (strah od krvave
nje zloina to jest *rtava faizma i i novinar objavljivao od 1993. do kraja odkuda se pie, pie upravo na ovakav povijesti, totalitarizama, znanstvene
komunizma ( ili ono to Feral Tribu- 1999. godine u raznim novinama, od nain... Smijeh i pisanje tako su mo*da discipline ili duboke samoanalize), a s
ne bilje*i kao kosti u mikseru). beogradskih nezavisnih tjednika Vre- posljednje, ali i beskrajne, mogunosti druge u*itak (itanja, spoznaje, dijalo-
Kako e narod ispratiti Tumana me i Nedeljne Nae Borbe, slovenske razuma. ga i Drugog).
kao Osloboditelja i Dr*avotvorca Mladine, sarajevskih Dana i splitskog Dean Duda
Feral Tribunea do Interneta. Tome je Katarina Luketi
 II/40, 12. listopada,,,. 41

Kreimir Bagi kom, fikcionalizirana povijest ili Slobodan Prosperov Novak aktualnim kritikama historicistikoga
postmoderni oblik historiografije
Umijee to su pitanja na koja nam je druga Povijest
objektivizma, mo*da i s malom povi-
jeu, odnosno s programatskom ne-
osporavanja njegova knjiga Enciklopedija nitavi-
la davala odgovore u fikcionalnom hrvatske
selektivnou njezinih tematskih inte-
resa...
Polemiki stilovi A. G. Matoa i smjeru pokazujui naine na koji se Sve u svemu, svojim se odmakom
M. KrleBe izvodi fantastina dogradnja stvar- knjievnosti III od periodizacijskoga i klasifikacijsko-
nosti. Uz vrsno pripovjedno umije- Antibarbarus, Zagreb, 1999. ga konstruktivizma trei svezak No-
Naklada MD, Zagreb, 1999. e, Andrieve je itatelje, meutim, vakove Povijesti po emu je uspore-
vie mogla fascinirati raznolikost i- rea knjiga Povijesti hrvatske div s dvama koji mu prethode name-
njenica povjesniarskog znanja, koje knji,evnosti Slobodana P. e kao znatan izazov knji*evnopovi-
je stvaralo mre*u fakticiteta u njego- Novaka, s kronometrijsko- jesnoj struci u Hrvata. Ipak, njegova
vim tekstovima... perifrastinim podnaslovom Od Gun- prava vrijednost nije u samu oputenu
U cjelini gledana, monografija dulieva poroda od tmine do Razgo- odnosu prema univerzalijama knji*ev-
udesa Ivana Kapistrana prati kro- vora ugodnoga naroda slovinskoga iz ne povijesti, nego u razumnu iskori-
noloku nit njegova *ivota, zaustav- 1756, teka je za prikazivanje iz razlo- tavanju pogodnosti to ih ta opute-
lja se poslije smrti te klasificira i tu- ga iz kojega je laka za itanje. Takvom nost omoguuje. Kako sam ve rekao,
mai udesa uinjena u pravom vre- je ini njezina jednostavna i le*erna tamo gdje slabije prolaze opi pojmo-
menu svetake djelatnosti poslije kompozicija: slino prethodnim dvje- vi, mo*e biti rije o rehabilitaciji poje-
smrti. To svetako djelovanje post ma u nizu, knjiga se sastoji od mno- dinanoga. A u Povijesti hrvatske knji-
mortem kljuno je za razumijevanje tva kratkih, samostalno naslovljenih ,evnosti III pojedinano uistinu dolazi
prirode hagiografskog diskursa i poglavlja, posveenih prete*no pojedi- na svoje. Poglavlja o knji*evnim djeli-
njegovih funkcija, koje istrajavaju nanim knji*evnim djelima, a raspore- ma i opusima kao jedinstvenim povi-
stoljeima nakon tjelesne smrti po- enih prema vremenu pojave ili nas- jesnim dogaajima komponirana su
jedinih svetaca... tanka dotinog djela; meu poglavlji- matovito i nepredvidivo, a pristup
Kao to se Andri u proznopri- ma nema naznake hijerarhijskog od- djelima metodiki je viestran i indivi-
povjednim djelima poigravao s od- nosa; ak ni dijelovi u kojima je rije o dualan u mjeri u kojoj je slobodan od
rvatska knji,evnost posjeduje nosom fikcije i stvarnosti, ovdje mu, zajednikim odreenjima vie knji*ev- teoretskih apstrakcija, heuristikih hi-
razmjerno velik korpus pole- nih tekstova ili o njihovim skupinama poteza i unaprijed zacrtana programa.
mikih tekstova kojima do- i klasama ne izdvajaju se veliinom Pritom se nigdje ne dogaa da poten-
sada nedostaje sustavan knji,evnopovi- naslova ili numeracijom... cijalno veliki prostori novoosvojene
jesni prikaz. Otvorivi raspravu ovom Povijest hrvatske knji,evnosti III, slobode zjape prazninom, za to je
konstatacijom, Kreimir Bagi upuu- nakon vie desetljea drukije prakse, zaslu*no Novakovo ve mnogo puta
je na nu*nost istra*ivanja s obzirom govori o hrvatskoj knji*evnosti 17. posvjedoeno iskustvo s knji*evnim
na injenicu da je uvid u polemiku stoljea, bez oslona na pojam ba- tekstovima, znanje steeno u savjesnu
praksu u domaoj literaturi skoro pa rok... Ali, u Novaka je nehaj prema i neumornu prouavanju strune lite-
obvezatan pri svakom pokuaju upoz- baroku kao periodizacijskoj kategoriji rature, pa i njegova ars bene dicendi na
navanja i ispravnog opisa hrvatskih simptom le*erna odnosa prema perio- koju nas je ve navikao svojim starijim
knji*evnih razdoblja. U tom smislu dizaciji uope. U njega ni tradicional- tekstovima, a koja ne zazire ni od za-
autor smatra da su opse*ni polemiki niji pojam prosvjetiteljstva, koji, do- nimljivih, nerijetko i iluminantnih me-
opusi Antuna Gustava Matoa i Mi- due, ulazi u podnaslov knjige, a do- tafora.
roslava Krle*e najbolji primjeri va*- bio je i samostalno poglavlje, nema u
nosti ove spisateljske forme unutar poglavljima o odgovarajuim autorima Zoran Kravar
razdoblja u kojem su najaktivnije dje- status prave programske ideje ili heu-
lovali. ristike hipoteze...
Kako bi se na pravi nain pristupilo Jo jedan veliki orijentacijski pojam
poleminim tekstovima, autor u uvod- i diobeni kriterij, koji se i u krugu hr- Davor Kapetani
nom dijelu pokuava dokazati mogu- u sluaju svetake djelatnosti, a na vatskih filolokih katedara rado raz-
nost promatranja knji*evne polemike primjeru svetog Ivana Kapistrana, Enciklopedija
kao prepoznatljivog *anra, ujedno
razmatrajui moguu povijest samog
taj problem fikcije i istine, postaje
temeljnim predmetom analize. Dok Miroslava Krlee
*anra, razliite tekstualne oblike u ko-
jima se pojavljuje njegov sadr*aj i fun-
su poetna poglavlja monografije
udesa Ivana Kapistrana podrobno,
I/II
kcija te poleminost kao trans*anrov-
sko i transdisciplinarno obilje*je...
korak po korak, prikazivala Kapis-
tranov povijesni put, locirala njego-
& Bibliografija
U knjizi Umijee osporavanja Kre- ve postaje, susrete, ispitivala stvarne Miroslava Krlee
imir Bagi opisao je osnovna obilje*ja osnove njegovih veza sa Slavonijom,
Leksikografski zavod Miroslava KrleEe,
knji*evne polemike, njezin karakter, zavrna poglavlja otkrivaju mehaniz- Zagreb 1993/99.
praksu te naine i ciljeve njezinih su- me ouenja momenta stvarnosti.
dionika, kao i funkciju unutar odree- Grupirajui Kapistranova udesa zrada Enciklopedije Miroslava
ne knji*evne zajednice. Takoer, pru- prema nainu proizvodnje uda i/ili Krle,e trajala je petnaestak
*io je dobre upute za pristup kako sta- statusu fikcionalnosti dogaaja, godina, a njome je rukovodio
rim tako i aktualnim polemikim Andri dolazi do sedmerolane ljes- Velimir Viskovi. Nakon to je u lje-
pra*njenjima, u kojima je, proizlazi iz tvice koja pokazuje prilian stupanj to 1993. tiskan prvi svezak (A-LJ),
navedenog, uvijek doputeno da se, disparatnosti uda od posve fiktiv- projekt je dovren jesenas objavlji-
poput borbe Mikea Tysona, nokautira nih dogaaja i obinih obmana, pre- vanjem drugog sveska (M-@) i Bib-
i nakon kraja runde ili, ako je ve do ko sluajnih koincidencija i autosu- liografije Miroslava Krle,e iz pera
toga dolo, a znamo da to u domaoj gestije, do sluajeva u kojima je stu- Davora Kapetania. U sastavljanju i
knji*evnoj sredini nije rijetkost, pro- panj udesnog oito produkt stili- obraivanju Krle*ina stvaralakog i
tivnika doeka nasred ulice, golim a- zacije odnosno nepouzdanog pre- *ivotnog abecedarija sudjelovalo je
kama i bez suvinih rijei... naanja prie. Odbijajui mogunost matra na razini teorije i pedantno vie od pedeset uglednih autora
da se problem istina/fikcija u svijetu primjenjuje u knji*evnopovjesnim knji*evnih povjesniara, kritiara i
Igor tiks udesnog rijei tvrdnjom kako su prouavanjima, igra u Novakovu djelu teoretiara, filozofa, jezikoslovaca,
udesa naprosto bila iluzorna, drugorazrednu ulogu. Mislim na kon- povjesniara, publicista... Oni su
Andri pokuava razmotriti feno- cept literarnosti... obradili gotovo dvije tisue leksi-
men udesnoga kao stalno prisutnog U Novaka, meutim, osvrti na lir- kografskih natuknica. Osnovni
Stanko Andri elementa srednjovjekovne stvarnos- ske zbirke i ilirike rjenike, na ba-
udesa Svetoga ti. U takvoj interpretaciji stvarnosti
sudjeluju, uz religiju, magijska is-
rokne epove i anatomske ud*benike
slijede posve neusiljeno jedni za dru-
Ivana Kapistrana kustva, medicinski sluajevi, psiho-
logijska uenja... mnogi elementi
gim. Ta blizina nesrodnoga, koja knji-
zi podaje neku ugodno zbunjujuu
Hrvatski institut za povijest podruEni- srednjovjekovne stvarnosti koji su oputenost, takoer 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 mo*e tu- principi enciklopedijske sistemati-
Brod Osijek, 1999.
Svojim zakljunim izvodima maiti i kao izraz njegove spremnosti zacije proistjeu, s jedne strane, iz
Andri uvjerljivo zaokru*uje mo- da do daske iskoristi svoj metahis- raznorodnosti Krle*inih djelatnosti
tanka Andria (r. 1967) hrvat- nografiju posveenu udesima Ivana torijski promatraki polo*aj, s kojega te, s druge strane, iz *elje za iscr-
ska itateljska publika poznaje Kapistrana, prostor ijega svetakog se, dakako, sva ranonovovjekovna pis- pnou njegova enciklopedijska por-
prvenstveno putem dviju knji- djelovanja je bila Andrieva Slavoni- menost mo*e itati kao literatura... treta. Teme zasebnih lanaka tako su
ga Povijest Slavonije u sedam po,a- ja. Knjiga udesa Ivana Kapistrana Nain na koji Novak otkazuje pos- postali Krle*ini tekstovi, javno dje-
ra i Enciklopedije nitavila, knjiga upisuje se s najviom ocjenom u An- luh velikim pojmovima i teoretskim lovanje, estetiki stavovi i uvjerenja,
koje su ga tijekom devedesetih godi- drievu bibliografiju, takoer se mo- apstrakcijama nije samo distinktivno ali i proavatelji, prevoditelji i pro-
na proslavile kao izrazito osebujnog *e ravnopravno mjeriti s modernim obilje*je njegove Povijesti nego se mo- micatelji Krle*ina djela te lanovi
autora, iji se tekstovi odupiru jas- europskim studijama o medijevalnoj *e smatrati i crtom njezina modernite- njegove obitelji...
nim *anrovskim klasifikacijama. Je li hagiografiji. ta. Knjiga ima oitih srodnosti s anti-
prva Andrieva knjiga Povijest Sla- holistikom aporetikom tipinom za Kreimir Bagi
vonije u sedam po,ara pripovjedna Andrea Zlatar intelektualnu klimu kraja stoljea, s
proza s historiografskom temati-
42 II/40, 12. listopada 2,,,.

Igor Mandi rafiji koja je toliko artificijelna da kat- Drugi dio knjige pokuava razraditi Pavle Kalini
kad nalikuje umjetnosti. ove "epistemike i epistemoloko-ko-
Prijapov problem Prijapov problem tako, ini se, ipak munikacijske" principe na konkret- Puai 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 traginog Brandova lika u kontinuiteta unutar scene... Trei dio
Posljednjem tangu u Parizu, Mandi knjige objanjava problem motivacije
te*i dehumaniziranom openju "uni- reza na primjeru Hitchcockovih fil-
verzalnog kurca" i "univerzalne pike". mova Psiho i Ptice, Godardovih filmo-
Intimnost je nedosti*ni "suviak" ko- va Jivjeti svoj ,ivot i Do posljednjeg
munikacije. (...) daha, kao i Buuelova Andaluzijskog
itajui Prijapov problem neete psa te pokuava popisati glavna moti-
unaprijediti svoj erotski *ivot, ali saz- vacijska i interesna naela i obrazlo*iti
nat ete tota o Mandievim te civili- pravilnosti vezane uz motivacijsku
zacijskim tabuima. Mo*da vam knjiga snagu, zbog kojih su, izmeu ostalog,
pomogne da se nekih predrasuda i sa- neki rezovi "vidljivi", a neki "nevidlji-
mi rijeite. Svakako je koristan vodi vi". Dakako, kada fabulistika organi-
kroz muke fantazije danas sredovje- zacija i metakomunikacijske upute
ne generacije. I pored svih stilskih poslu*e organizaciji pojedine scene, ti
negrapnosti te ponavljanja (tipinih se imbenici koherencije (strukturira-
za formu novinskog feljtona u kojem nja, organizacije...) u naelu vezuju uz
je tekst knjige nastao), Prijapov prob- "makrostrukture", opa naela kohe-
ako se gnjevno sporio sa Slaven- lem ostaje provokativan, samim time i toga to pie iz pozicije svjedo-
kom Drakuli te (u teoriji) os- rencije. Tu jedinstvenu (cjelovitu) ko- ka tekih vremena, Kalini je u
poticajan itateljski mamac. Neto herencijsku regulaciju recepcije (koja
tao zakleti protivnik feminizma, kao McDonald's erotske literature. svojoj literarnoj obradi stvar-
Igor Mandi je jedini intelektualac obuhvaa likove i njihove svjetove) nosti najuvjerljiviji u priama tematski
Ali isto tako i obrok informacija koje
ovih prostora koji se odrekao mais- Turkovi naziva tematizacijom. Njoj vezanim uz Domovinski rat pri emu
se, osim Igora Mandia, javnosti ne bi
tikih poza "podvorenog mukarca", je posveen etvrti dio Teorije filma u se kroz krvavu ratnu sumaglicu jasno
usudio servirati nijedan od tobo*e ot-
javno obznanivi da zna i voli kuhati kojemu se pokuava obrazlo*iti veza nazire temeljna ideja da rat najee
vorenih i/ili tobo*e liberalnih (svejed-
(dapae spreman je s nama podijeliti i izmeu tematskog fokusa i modelira- nije nita junako i divno, ve su goto-
no lijevih ili desnih) intelektualaca.
recepte). Sada je pak izdao zbirku ese- Njima je Mandieva prednost nedos- nja filmskog svijeta. vo sva ratna zbivanja rezultati kaoti-
ja prvotiskanih u asopisu Erotika, nih sluajnosti isprovociranih mr-
podnaslovljenih "vulgarni eseji ili eseji
ti*na, a sastoji se od stvarne, a ne vir- Nikica Gili *njom, nasiljem i osvetom. Uz ratnu
tualne hrabrosti.
o vulgarnosti". Dakle ispao je i iz kli- stvarnost Kalini se dotaknuo i gorke
eja hrvatskog puritanskog intelek- Nataa Govedi sudbine emigranata, odlino opisao
tualca koji ne di*ui nosa iz enciklo- Mladen Machiedo tupost stranaca koji uope i ne razu-
pedistiki seksualno frustiranog Krle- miju koji se to vrag na Balkanu zbiva,
*e interes za dra,icu ili dra,ika Hrvoje Turkovi Slatkogorka dotaknuo se temeljnih razlika izmeu
smatra opasnom devijacijom od uvri- Hrvatske i Europe te se vrlo kritiki
je*ene asketske poze. Mandi je, spo- Teorija filma Italija osvrnuo i prema naoj suvremenosti.
menut u tu stranu rije, hedonist. Napokon, pojedinim priama autor
to je u zemlji koja njeguje mazohis- drugo izdanje, Meandar, Zagreb, 2000 jasno pokazuje kako sav taj balkanski
(Tri desetljea s piscima)
tiki kult *rtve ravno herezi. Znajui blues nacionalne i politike mr*nje ni-
da e ga kao u*itkologa prvenstveno Matica hrvatska, Zagreb, 1999. je svojstven samo naem dobu, ve i
optu*iti za "neprimjerenosti", Mandi vremenima mladosti naih oeva i dje-
se podnaslovom knjige odmah potru- dova.
dio ironino etiketirati "vulgarnim
esejistom". No kako je ovoj kritiarki Marinko Krmpoti
teko prihvatiti da bi ikakav razgovor
o seksu mogao ui pod rubriku vul-
garno, sklonija sam rei da se Prijapov
problem bavi obavljanjem oevida me-
u udovima obaju spolova, sa skoro pa
pedagokim *arom. Ako mu iega ne- Sve je samo
dostaje, to nije genitalna eksplicitnost,
ve upravo tzv. erotika (kao umjetnost
putovanje
nasluivanja i istra*ivanja, a ne por-
nografskog prodora oka u kirurki
Razgovori s
nesputano rastvorene dubine rodnice Vanjom Sutliem
ili anusa). priredio Boris Jurini, Irida, Zagreb,
Knjigu otvara esej Kult penisa, gdje 1999.
kolac/pimpek/visuljak/ pia/kurac (da
se poslu*imo Mandievom podosta si- urkovieva Teorija filma polazi knjizi Slatkogorka Italija episto-
romanom terminologijom) biva divi- od netreminosti i neprimjet- lar postaje kljuna rije, no
niziran kao "*ivototvorac" i prapoelo nosti kao proizvodno-recep- ovoga je puta rije o prepiska-
*udnje. 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- poslu*ile kao glavni izvor za pred-
vom planu strahovi i snovi mukog konitosti ovjekova kognitivnog apa- stavljanje, uptrijebimo jo jedan Mac-
(bl)uda. Mandi ne skriva da pie o rata... Filmovi, dakako, modeliraju hiedov naslov, napoznatih susjeda. Ri-
mukoj i iskljuivo mukoj perspektivi ovjekove spoznajne vjetine na po- je je o devedesetak zapisa koji su
na mukarce kao i na *ene sebne naine (Hawksov Rio Bravo ih posveeni talijanskim piscima s koji-
U Pohvali guze Mandi se ograuje oito modelira na drugaiji nain 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 epistemoloka funkcija k tome nanici, suradnici, pa ak i ljudi s koji-
"strogo heteroseksualan". Konzerva- odigrava pod utjecajem drutvene re- ma se nije uspio slo*iti, slijede u ovoj
tivnost ove izjave upravo zaprepau- gulacije te istodobno regulira drutve- knjizi abecednim redom, a podijeljeni
je. Kako je mogue da itko tko u*iva u nost, pa je film oito i u tom smislu su u etiri 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 loka pojava (to dakako ne znai da Italiji ili iskljuivo dopisivao, oni s
smatra puristikim, to jest puritan- je film nu*no i jezik). kojima se nije, usprkos trudu, uspio
skim "mukarcem"? Ili Mandi hini U prvome dijelu knjige propitiva- susresti te posljednja nazvana tragovi
istunstvo ili je licemjer. Oba su rjee- nje fenomena filmskog prikazivanja u mjestima. Iako e najveu nepos-
nja viktorijanski kukavika; iz per- dovodi do zakljuka kako, s jedne rednu korist od faktografskog materi-
spektive uhodano androginog XXI. strane, epistemoloka funkcija fil- jala u ovoj knjizi imati talijanisti,
stoljea pomalo i djedovska. (...) mskih postupaka ima ope spoznajne Machiedo nije pisao iskljuivo za aka- ovodom desete obljetnice smrti
Tek je Privlanost i prokletstvo per- temelje, no s druge se strane radi o demske krugove. Govorei o pojedi- filozofa Vanje Sutlia objavljen
verzija prvi u cijelosti slobodouman naelno otvorenom katalogu mogu- nom piscu, autor ga smjeta u kultu- je zbornik koji na jednom mjes-
tekst s instruktivnom reenicom: Ko- nosti koji se mo*e razraivati, ali sa- roki kontekst. Tako e itatelj para- tu okuplja sve intervjue koje je Sutli
deks perverzija valja odbaciti kao per- mo u okviru (teko odredivih u eg- lelno upoznavati Montalea i ligursku u razdoblju od dvadeset tri godine
verziju. Stoga zanimljivost knjige po- zaktnom smislu) ovjekovih kogni- obalu, Bigongiarija i firentinske knji- (1966-1989) davao domaim strunim
inje negdje oko stote stranice, kada tivnih ogranienja te njihovih dru- *evno-akademske kavane, Veneciju i i dnevnim tiskovinama, a tiu se tema
Mandi konano odluuje priznati ka- tvenih razrada. Kao ogledni (polazni) Paola Barbara. Kriterij po kojem je koje su obuhvaale irok raspon od
ko je pornografija nita drugo doli primjer Turkoviu je poslu*io film Machiedo slo*io svoj popis autora vr- komentara dnevnopolitikih dogaaja
"san o velikoj jebaini" 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 la*i (usp. Se- uz Hitchcockov Psiho glavni izvor mu na ovaj ili onaj nain pru*ili, kako na kojima je predavao, kao i njegove
ks bez mukaraca). U istom tekstu na- primjera i filmskih povoda u Teoriji sam ka*e, bogatstvo susreta... bibliografije.
lazi se i zanimljiv zakljuak o pornog- filma.
Duanka Profeta Toni Valenti
 II/40, 12. listopada,,,. 43

Pakiranje vlasti opcijama i razvitak autonomnih in- tekst kod Marguerite Duras, a onaj Andrija Maurovi
Mariapije Bobbioni Lice, mjesto go-
Izbori u Hrvatskoj 1995.
stitucija civilnog drutva...
Damir trelov prikazuje socijalde- vora; Ugo Volli u tekstu Tijelo Feti Kandaul: erotska
i 1997, zbornik radova mografska obilje*ja glasakog tijela. razvija tezu o fragmentarnosti tijela
u pornografiji; Ivanka Ivkanec regis-
ostavtina
U odnosu na 1996. na politikoj sce-
Alinea, Zagreb, 1999. trira neke elemente erotike u tradi- TV Extra, Zagreb, 2000.
ni u Hrvatskoj do proljea 1998. do-
godile su se neke bitne promjene. cijskoj narodnoj nonji i usmenoj
knji*evnosti. Jedini tekst u zborniku oelo je, nesumnjivo, sluaj-
Sve se jasnije oituje pad popular- no: crtajui snoaje muka-
koji nije napisan za zagrebako sav-
nosti HDZ-a i sve je oitiji uspon raca i *ena, a inio je to ra-
jetovanje jest skraeno poglavlje o
SDP-a koji je utrostruio broj svojih do i esto, sebi i drugima za zaba-
seksualnom *ivotu stopala i cipele iz vu, Maurovieva je ruka jednom
simpatizera... knjige Valerie Steele Fetish: Fashion,
U zakljuku se mo*e napisati ka- nacrtala i promatraa. I potom se
Sex and Power. sve vie i vie zabavljala tom te-
ko je ovaj zbornik radova pru*io Aleksandar tulhofer bavi se od- mom dok nije napokon, u jednoj
mnogo solidnih teorijskih pogleda i nosom postmaterijalizma i drutvene od beskonanog niza verzija, pro-
rezultata empirijskih istra*ivanja ko- organizacije spolnosti; Inga Tomi matrau dala svoj lik. Mora da je u
ji ostaju aktualni i nakon izbora pro- Koludrovi pojam tranzicije naglaen
vedenih 1999/2000. u naslovu knjige ispituje na primjeru
stalnog procesa prijelaza kojem su
Duan @ubrini izlo*ene transseksualne osobe. Tek-
stovi Teda Polhemusa Postmoderno
tijelo i Marie-Luise Angerer Mogu-
nosti tijela: tijelo kao suelje objavlje-
ni su u posljednjoj cjelini pod naslo-
Tijelo vom Tijela budunosti.

u tranziciji Iva Plee

uredila Djurdja Bartlett, Tekstilno-
bornik Pakiranje vlasti rezultat tehnoloki fakultet Sveuilita u
je teorijskih analiza, empirij- Zagrebu, Zavod za dizajn tekstila i
skih istra*ivanja i analize za- odjee, Zagreb, 1999. tom trenu Maurovi zastao, i sam
konskih propisa u vezi s viestrana- zateen strip mu je otkrio istinu,
kim izborima u Hrvatskoj, te pru*a nepoznatu, potisnutu ili neprizna-
cjelovit prikaz provedenih izbora i tu. U svakom sluaju, poto se
daje socioloku i politoloku sliku suoio s najtajnijim matanjima,
Hrvatske... bacio se na posao. Rezultat je da je
Sran Vrcan u vrijednim teorij- tijekom godina fantaziji dao upra-
skim prilozima ukazuje na poglede vo algoritamsku preciznost u kojoj
vladajue politike volje koja je zastu- uvijek isti input daje uvijek zajam-
pala stav "najprije nacija, a zatim de- en output, to jest crtaev u*itak.
mokracija", te se kao izraz stabilnosti
dr*ave zastupala etnika homogeno-
Cyberfeminizam Input, ako ba morate znati, sas-
toji se od pljunutog Maurovia i
st, to je istovremeno bila objektivna
prepreka demokratskoj tranziciji i
[ver 1.0] njegove supruge, pedesetogodi-
njakinje zamanih grudiju i stra*-
stvarnom politikom pluralizmu... uredio Igor Markovi, preveli Rada njice, rijetke kose zamotane u pun-
Autor posebno kritizira nastojanja da Bori, Mario DuEevi, Vesna Jankovi, d*u, koja ima tono odreenu vr-
se legitimitet vlasti tra*i i nalazi u Igor Markovi, Natalija Rihtman, Oli- stu naunica, a nosi prozirni crni
ver Serti, Goran Vujasinovi; Centar
metadrutvenim, transcendentnim in- za Eenske studije, Zagreb, 1999.
kombine i najlonke ili nita. Trei
stancama, te da se autoritarni nain u tom savrenom paru jest nezna-
vladanja opravdava nekim viim pos- nac: crnac, *idov, musliman, Nije-
lanjem. Vladajua politika elita u mac ili kakva domaa baraba lu-
Hrvatskoj provela je nadzor nad svim ki radnik, pijanac, postolar ili sve-
podrujima drutvenog *ivota oslo- enik ru*an kao avao. Poslije
njena na razgranati politiki klijente- ijelo kao kulturoloka injeni- kratkog upoznavanja sa strancem
lizam kojim je stvoren interesni blok ca objedinjujui je motiv ina- stari maak svoju *enu preputa
svojevrsni "savez za profit"... Vrcan e vrlo raznorodnih tekstova drugome i katkad u igricama sudje-
posebno razrauje koncept etnifika- u knjizi Tijelo u tranziciji, tekstova luje, a katkad samo promatra ili se
cije politike, politizacije etnikog i koji predstavljaju razliite naine pi- pravi da spava. to se samih crte*a
nacionalizirajue dr*ave u Hrvat- sanja, od znanstvene analize empirij- tie, Auerova erotska ostavtina
skoj... U drugoj Vrcanovoj raspravi skih podataka do umjetnikih eseja. prema ovoj djeluje poput hlebinske
razrauje se ideja o demokratizaciji Ti su radovi istovremeno objavljeni likovne kole, a silovanje mukarca
drutva i tehnologiji vladanja. Izbori na hrvatskom i engleskom jeziku u u Paklenom undu kolska je zada-
1995. i 1997. godine potvruju konti- dvije knjige nastali na temelju izla- a u odnosu na Maurovievu dok-
nuitet stava da se na izbore gleda u ganja s meunarodnoga skupa odr*a- 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 pluralistikog oblikovanja i iz- u organizaciji Zavoda za dizajn tek- e taj antipod Manarinim erotskim
ra*avanja politike volje graana... stila i odjee pri Tekstilno-tehnolo- lutanjima kroz knji*evnost i pod-
Pregledan je i koristan prilog Bori- kom fakultetu. Tijelom su se, ideolo- svijest, surov i banalan, ginekolo-
sa Buklijaa o izmjenama i dopunama giziranim, odjevenim, onim poveza- ki precizan, stei brojne pokloni-
brojnih zakonskih propisa nakon nim s umjetnou, spolnim tijelom i ke.
1993. godine. U zakljuku autor kri- tijelom budunosti (to su ujedno i
tizira uvoenje 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 bira- sociologije, etnologije, kulturalnih
koga tijela, i to prete*no onaj u Bosni studija, psihoanalize, teorije komuni- ntologija *enskih on i off-line
i Hercegovini, a sve u korist vladaju- kacije, filozofije, povijesti, teorije radova nudi razliite pristupe
eg HDZ-a.... Dra*en Lali i Suzana umjetnosti. suvremenih cyberfeministi-
Kunac analiziraju politike propagan- esnaest priloga tjelesnoj tematici kih istra*ivanja, teorijskih promilja-
dne televizijske spotove stranaka u otvara Igor Pribac usporedbom Des- nja i cyber-djelovanja uope. Rosi
predizbornim kampanjama 1995. i cartesova i Spinozina pojma tijela; Braidotti, Sadie Plant, Anne Balsa-
1997. U detaljno prikazanoj metodo- Nade*da ainovi itajui Eliasa, mo, Nancy Paterson, Alla Mitrofa-
logiji istra*ivanja 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
"dr*avotvorna" i odreena nacijom, Civiliziranje tijela; Aida Brenko bavi autorica ije je tekstove odabrao Igor
dok je opozicijska kampanja bila se odnosom ideologije i narodne Markovi nastojei obuhvatiti to i-
"drutvotvorna" i vezana uz razvitak nonje u Hrvatskoj; Danijel Laba re podruje cyberfeminizma i to vi-
demokratskog drutva. Zanimljiva je i popisuje elemente neverbalne komu- e njegovih tema meu kojima su
semiotika analiza spotova.... Nenad nikacije; Maria Bruna Pustetto bavi svakako i problemi spola, roda, tijela
Bulat analizira promjene u strukturi se tijelom u politici. Florence Mller i bestjelesnosti, identiteta, cyberum-
hrvatske stranake scene u razdoblju pie o idealnoj slici i zbilji *ene od jetnosti, virtualne stvarnosti, znan-
od 1995. do 1998. Prvih pet godina neoklasicizma do danas, a "muki" stvene fantastike i tehno kulture, vo-
viestranake demokracije u Hrvat- dio prie obradio je u tekstu Mu,ev- lim/mrzim odnosa *ena prema Inter-
skoj autor opisuje kao "pretpolitiko nost, moda i tijelo 1870 1915 Chris- netu i tehnologiji uope.
doba" pred kojim tek stoji izgradnja topher Breward. Tekst Ingrid arfra-
sustava s prepoznatljivim politikim nek nosi naslov Paradoksalno tijelo Iva Plee
44 II/40, 12. listopada 2,,,.

Ieljko Zorica Branko Fui Ivo Maroevi Miljenko Jergovi

H.C.Zabludovsky Frake Zagreb njim Kae aneo
Fantastini besti- Kranska sadanjost, Zagreb, 1999. samim Durieux, 2000.

jarij Roskildea uieve frake u glagolja-

kom ,argonu to je rije ko-
Durieux, Zagreb, 1999 a,e aneo najnovija je knjiga
pripovjedaa i esejista Mi-
Niska, Zagreb, 1999. ja oznaava trice, bezvrijed- ljenka Jergovia, u podnaslo-
ne stvari, brbljanje, ludorije *anrov- vu koje pie neoekivano drama.
ski vrlo sline onima iz njegove knji- Rije je o trideset i jednoj dijalokoj
ge Terra incognita, zapravo su male slici, koje sve zajedno stvaraju jedin-
(pri)povijesti o obinim ljudima, stvenu priu o *ivotu "u novom dijelu
krajolicima, obiajima, graevinama grada roenom s druge strane rijeke".
Istre i Kvarnera. U njima se isprepli- Mjesto radnje jedan je lako zamislivi
u prolost i sadanjost, putopisi, neboder, odnosno stanovi malih kvad-
biografije i autobiografije, doku- ratura u njemu. Likova, ako sam to-
menti i fikcija, etnografija i mala po- no izbrojala, ima upravo sto. Stotinu
vijest. One nisu kulturne studije, ni- lica, mladih i starih, mukih i *enskih,
ti izvori iz kojih bi se u kolama imenovanih i neimenovanih, koja
mogla uiti povijest, one su povijest predstavljaju male prizore iz svojih
lu*bena, dokumentirana povi- i kultura viene iz osobne i osobite sretno-nesretnih *ivota. Osim to ih
jest danskoga gradia Roskil- perspektive... Frake su takoer u povezuje mogui neboder, povezuje ih
dea nije naroito zanimljiva, nas vrlo rijedak nain pisanja: onih i injenica to u svim priama barem
ili, da budemo precizniji, nije nita koji, premda stvaraju ili se bave vri- jedan lik ka,e aneo. Te likove ne po-
zanimljivija od povijesti mnotva jednostima od nacionalne va*nosti vezuje nikakva zajednika radnja, u
malih europskih gradova koji se die kao to se Fui bavio glagolizmom i prostoru stvarnosti ti se likovi narav-
ponekom starom crkvom, dvorcem srednjovjekovnim slikarstvom u Hr- no meusobno ne poznaju. Iako u
ili arheolokim nalazitem. Ono vatskoj znaju pisati lako i jednos- Jergovievoj dramskoj fikciji oni ne
zbog ega Roskilde je zanimljiv jest tavno, privlano, aljivo, a pametno, stupaju u direktan dodir, slinosti i
njegova, nazovimo je u nedostatku znaju pisati o trivijalnom i neva,- ije je o knjizi koja sintetizi- analogije meu njima ono su to ita-
boljega izraza, alternativna povijest, nom, znaju se zafrkavati i u*ivati u ra sve najva*nije transforma- telji prepoznaju. Obrnuto od Tolstoja
povijest njegovih fantastinih bia. onome to rade. cije zagrebakoga gradskog Jergovi bi mogao rei: sve obitelji su
U njezino se istra*ivanje upustio prostora u povijesti od prvotno nesretne na isti nain. Ili: sve obitelji
@eljko Zorica, uz pomo Zabludov- Iva Plee nastalih dvaju srednjovjekovnih su sretne i nesretne ujedno, a da to ni
skog... gradova do (post)socijalistikoga sami ne znaju, da ne znaju ni kako ni
U predgovoru nam Zorica obja- urbanog irenja pri emu je zato im se dogaaju njihovi *ivoti.
njava da je suradnja sa Zabludov- znanstveni pristup zamijenjen ese- Pripovijedanje u ranijim Jergovievim
skim poela krajem osamdesetih, jistikim, s ponegdje vrlo izra*e- knjigama uvijek je bilo obilje*eno
kada je dogovoreno da e Zabludov- nim subjektivnim i emotivno obo- unutarnjim glasom pripovjedaa, bilo
sky "odavati tajne s one strane *ivo- jenim stavovima. Izostavljajui sav da je to bio glas likova ili sam Jergovi-
ta, iz paralelnih svjetova", a Zorica uobiajeni repertoar fusnota, citata ev glas. Glasovi su se u njegovim pri-
e ih obraivati i preraivati, te se i uskostrunih termina te zanema- ama pojavljivali u prvi mah samostal-
baviti tiskanjem i objavljivanjem rujui detaljnu argumentaciju i je- no, iznosili svoje prie, ali su njihovi
knjiga koje e zajedniki potpisivati. zinu preciznost, Maroevi je ispi- glasovi uvijek bili isprepleteni glasom
Kritiar s kraja dvadesetoga stoljea sao lako prohodno i zanimljivo ti- Jergovia pripovjedaa koji ih je ras-
navikao je na svakakva uda, no te- vo koje se ita u dahu, a ini se da tvarao, ulazio u njih, komentirao, *a-
ko e prihvatiti injenicu da e 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 Ka,e an-
nekom od paralelnih svjetova... Katarina Luketi eo formalno gledano nema mjesta za
Iako naslov sugerira da e biti ri- Jergoviev autorski glas. On se u pr-
jei o fantastinim roskildskim *ivo- vome licu pojavljuje samo u prologu
tinjama, bia koja susreemo pripa- knjige, jednoj lijepoj minijaturi o *i-
daju zajednikom nebeskom svijetu votu u velikom gradu, koja je ujedno i
bogova i *ivotinja. Susrest emo ta- najtonija mogua autorefleksivna re-
ko pivarskog konja i roskildskog la- cenzija vlastite knjige, u kojoj se ka*e:
buda, bok uz bok s bogovima iz "Svaki od dijelova prie funkcionira
nordijskih mitova Torom, Freyem, sam za sebe i svaki s nekim drugim di-
Lokijem i drugima... Tragove bogo- jelom ili s vie njih ini cjelinu. Nain
va slijedili su i opjevali pjesnici, i o
bogovima stoga znamo vie no o
CD-ROM na koji se dijelovi prie spajaju, kao i
njihov odabir, zavisi samo od volje
fantastinim *ivotinjama, iji tragovi Klasici hrvatske onoga koji bira i njegove bo*anske
postoje i danas, iako ih je sve manje, potrebe da cjelinu obilje*i nekim od-
na proeljima zgrada, grbovima, fa- knjievnosti II. reenim osjeajem.". I iz tog prologa
sadama, fontanama i portalima. Zo- elektronskom obliku. Svoje su mjes- lako je zamisliti Jergovia koji gradi
rica je pronaao i opisao mnoga us- (Pjesnitvo) to nali i vjerojatno najstariji sauva- slo*eni dramski neboder od stotinjak
pavana roskildska bia labudove, Bulaja naklada, Zagreb 2000. ni umjetniki stihovi, ali i natuknica lica, reprezentativnih za tugu i jad od
zmije, baziliske, trolove, grifone, pa o najvie opjevanoj *eni hrvatske re- *ivota kakav *ivimo, Jergovia pisca
i samoga vraga. Uz pomo Zablu- nesanse Cvijeti Zuzori. Svaki je au- nalik Balzacu koji je pomno crtao i
dovskog ispriao je i prie o njihovu tor predstavljen i iscrpnim biobib- sistematizirao veliku zgradu svoje
nastanku i dogodovtinama pokazu- liografskim biljekama, a njegovo Ljudske komedije. Jergoviev je dram-
jui da su veze ljudi i fantastinih bi- pjesniko djelo rjenikom i tumae- ski *anr, bez sumnje, tragikomedija,
a bile nekad davno puno vre, te njima odreenih mjesta u tekstu. farsa, groteska. To nisu nove osobine
da hodom prema naemu stoljeu Uz autorske stihove na CD su uvr- za njegovo autorsko pismo, ali su u
bivaju sve slabije. O tome uostalom teni i usmeni lirski tekstovi. Stoga dramskom obliku vidljivije, jer ih ne
svjedoe nae fasade i proelja, esto je ovaj CD, pripremljen iz filolokih prikriva nikakva pripovjedaka blagost
izvedene u betonu, s neonskim rek- najrelevantnijih izvora, istodobno niti ubla*ava polaganiji tempo pripov-
lamama umjesto kamenih uvara... vrijedno kritiko izdanje, pjesnika jednog teksta. Ako groteska i komedi-
Niz fotografija, crte*a, nacrta i slika antologija i multimedijalna povijest ja izviru iz samih scena, traginost i
koje su pribavili autori pokazuje ka- hrvatskoga pjesnitva. farsinost pripadaju pogledu kojim ih
ko fantastina bia sa starih zdanja U odnosu na prvijenac posveen Jergovi promatra.
takoer umiru, u skladu s imperati- epici i pripovjednoj prozi, Klasici
vom moderne gradnje, nestaju pod hrvatske knji,evnosti II. (Pjesnitvo) Andrea Zlatar
betonom i agresivnim reklamama. donosi nekoliko va*nih poboljanja.
Rije je sada o pravoj smrti, smrti akon pionirskoga CD-a Klasi- Jedno je mogunost pretra*ivanja
konanoj i u naem i u svim paralel- ci hrvatske knji,evnosti I. svih tekstova, a drugo se odnosi na
nim svjetovima, a ta se zove zaborav. (Epika, romani, novele) mlada sedamdesetak zvunih zapisa anto-
Zorica i Zabludovski pokazat e nakladnika kua Bulaja nastavlja niz logijskih pjesama u izvedbi Tomisla-
nam da *ivimo u velikoj zabludi, da drugim CD-om na kojemu se nalaze va Ralia i Joka eve.
preesto gledamo u vrhove vlastitih najznaajnija djela hrvatskoga pjes-
cipela i opanaka, umjesto da gleda- nitva od srednjovjekovlja do polovi-
Dean Duda
mo gore. Gore su bazilisci i grifoni, ce 20. stoljea. Izdava je sastavio
kameni aneli, dvoglave zmije, a ako reprezentativnu itanku hrvatske
dovoljno dugo gledamo u njih vidjet poezije, osobito njezinih starijih raz-
emo iza njih i itave gradove koje doblja. Zbirke koje se ve desetljei-
kao da mo*emo dotaknuti ru- ma ne mogu nai u hrvatskim knji*a-
kom. rama, poput Zbornika Nike Ranjine,
Duanka Profeta ovom su se prigodom pojavile u
 II/40, 12. listopada,,,. 45

Nada vob-oki Miljenko Jergovi U obranu nikih zapisa ili osobnog pisma do
Tranzicija i nove Historijska budunosti
eseja, veina autora sla*e se u jednom
budunost naroda bive Jugoslavije
europske drave itanka TraBenje u minskom polju gotovo je izgubljena. Autori uglavnom
piu o budunosti dr*ava u kojima *i-
Barbat, Zagreb, 2000. OSCE i Durieux, uredili Freimut Duve i
Naklada ZORO, Zagreb-Sarajevo; ve, a manje se osvru na globalne
Nenad Popovi, Zagreb, 1999. probleme. Ne dijelimo globalne, ve
DANI, Sarajevo, 2000.
usko lokalne strahove, i oni na nas na
istorijska itanka sadr*i tek- neki bizaran nain ujedinjuju. Strah od
stove koje je Miljenko ekolokih i nuklearnih katastrofa,
Jergovi objavljivao u sara- opasnosti o genetskog in*injeringa na
jevskom nezavisnom magazinu ovim prostorima ustupaju mjesto stra-
DANI. Rije je o kolumnama u hu od nerazminiranih polja, korupcije,
kojima ovaj produktivni i rado i- nacionalizama, politikih anakroniza-
tani bosanskohercegovaki i hr- ma, i na kraju izolacije od svijeta,
vatski autor pie o svojoj prolos- straha od osuenosti na vlastito dvo-
ti, djetinjstvu i uope *ivotu u rite ime se ukida pravo na budu-
Sarajevu. Nastojei sakupiti kr- nost. Govor o budunosti nu*no je
hotine vlastite povijesti Jergovi
povezan sa svijeu o sadanjosti, sa-
zapravo ocrtava i jedno prolo
vrijeme, vrijeme koje je na ovim danjem trenutku, ali smo ga ee
prostorima posljednjih godina za- skloni izvoditi iz bli*e ili dalje pro-
meteno ideolokim i nacionalis- losti. "Ne jednom se dogodilo da je
tikim talogom. Naime, Jergovia netko ili neto trebalo umirati, ili, ak,
ne zanima politika slika socija- umrijeti kako bi se interes i cijena svi-
lizma, ne privlai ga homogena jeta probudili. " ka*e Branko Sbute-
ranzicija k novom sustavu, kronologija vremena i velika po- knjizi U obranu budunosti bu- ga u Zapisima o Boki Kotorskoj 1993.
prijelaznim razdobljem do dunost prostora bive Jugosla- 1999. U Sbuteginim rijeima nalazi se
kvalitetnijeg *ivota ili prema vije brane Rusmir Mahmut- mo*da i dijagnoza i lijek za nae obo-
globalizaciji, regionalizmu, prema ehaji, Miljenko Jergovi, Ivan ljele budunosti. Predugo se, naime,
neizvjesnosti na temelju dosadanjih Lovrenovi, Dragan Paveli, Slobodan
pod rjeju budunost na ovim prosto-
dogaanja i strahu ili (radosnom) najder, Andrea Zlatar, Branko Sbute-
oekivanju drugog i drukijeg teme ga, Baton Haxiu, Bora osi, Dragan rima vercala izgradnja ljepe i bolje
su najnovije knjige Nade vob- Veliki, Filip David i Drago Janar. Ia- povijesti.
oki Tranzicija i nove europske dr- ko izabiru razliite forme od dnev- Duanka Profeta
,ave. Prihvaajui 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 slinoj situaciji,
autorica je napisala knjigu o pojava-
Evakuacija bu ili Beogradu. Oni koji su ostali u
Bosni i Hercegovini uglavnom *ive i
ma to su Europu zadesile stvara- djeluju u Sarajevu, a dvojica meu nji-
njem 14 novih dr*ava u prve tri godi- izbor suvremene prie autora ma vie nisu meu *ivima
ne zadnjeg desetljea, a prostor Eu- iz Bosne i Hercegovine Va*no je napomenuti da ovu knjigu
rope proirile na istok. to su nove itateljski iznimno zanimljivom ini
europske dr*ave (i Europa) dobile Dragoslav Dedovi organizacija grae tj. raspored teksto-
tim promjenama, tonije u to su Feral Tribune, Split, 1999. va. Naime, Dedovi je zaobiao neka
krenule i koji su rezultati prvog de- od uobiajenih rjeenja: tekstove nije
setljea njihova postojanja na meu- rasporedio po godini roenja autora,
narodnom planu kompleksno je pita- niti po abecednom rasporedu, a nije ni
nje s jo kompleksnijim odgovorima. vijest sa svim svojim zakonitosti- prie organizirao u niz po vlastitoj i-
Kompleksnim u odnosu na oekiva- ma pisanja. On se prije svega tateljskoj logici. Tekst antologije podi-
no. Na meunarodnom planu stalno zaustavlja na svakodnevici, na jelio je u etiri cjeline naslovivi ih Di-
nazoni bilateralni i multilateralni obinim, banalnim ili pak intim- jete, Jena, Vojnik i Grad, dakle, prie
odnosi postojeih dr*ava krenuli su nim detaljima koji su u najveoj je rasporedio tematski, ne pridr*avaju-
u nove procese: globalizaciju i regio- mjeri odredili njegov svjetonazor, i se kruto zadanih podnaslova, grupi-
nalizacije. Potiru li se oni, suprot- svjetonazor dijela njegove gene- ravi ih u etiri cjeline organizirane
stavljaju ili izviru jedni iz drugih? to racije i uope atmosferu jednoga oko tematskog kompleksa djetinjstva,
su nove integracije, posebice europ- grada. U tom velikom posprema- ljubavi i rata te "grada" kao presudne
ske? to u njima mogu nai i koliko nju svoje privatne prolosti pozadine za samu radnju i sudbine li-
su njima u izlasku na meunarod- Jergovi e iz ropotarnice socija- kova. U veini sluajeva grad se mo*e
nu pozornicu uvjetovane novonas- listike svakodnevice izvui po- prevesti sa Sarajevo, koje predstavlja
tale zemlje? Je li dr*ava, kako autori- novno eerne table koje su paradigmu svega onoga to se desilo u
ca vob-oki primjeuje, samo naj- osamdesetih zamijenile okoladu; Bosni od travnja 1992. kada je u *ivot
bolji poslanik odreenog drutva u prve automate za Coca-colu; no- pala prva granata. Da se poslu*imo re-
meunarodnim odnosima ili uvar gometne utakmice na kojima su enicom iz prie Bitanga i princeza
autoritarnih i monih nacionalnih se prodavale novine za sjedenje; Asmira Kujovia, "ono to je veinu
elita koji nove polo*aje ne *ele is- vrijeme Olimpijade, gradske kafa- ovdje prisutnih inilo srodnicima, bila
pustiti iz ruku iako su formalno, za- ne, hauzmajstore i jo mnogo to- je neka vrsta zavade sa vlastitom pro-
jedno s drutvima u novim dr*avama ga to je obilje*ilo, kako pie, te lou: svi su u razgovoru svoj *ivot di-
izabrali procese demokratizacije? to zlatne, predratne godine. Histo- jelili na prije i poslije rata". Rat je u
sve stoji na putu demokratizacije kao rijska itanka tako je knjiga nos- edovi je odluio antologizirati svemu tome pozadina na kojoj se ispi-
i emancipacije u razvoju novih dr*a- talgije i sentimenta, *ala za jed- prozni korpus novog, mlaeg suje kako djetinjstvo, *ivot u tuini,
va bitno je pitanje za sve ostale pro- nim davnim, nevinim vremenom; narataja 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 dogaaji iz jednog dru-
novostvoreni meunarodni subjekti povjedakoj tehnici kombiniranja kraja osamdesetih. Kao to sam prire- gog rata te vojnike prie sa same lini-
moraju nekako stii i s njima se nosi- fragmenata (kratkih rezova) sa iva ka*e u "onih nekoliko predratnih je fronta.
ti. Ti nimalo lagani procesi nemaju estim poentiranjem u mnogome godina u kojima komunisti nisu vie u Dedovieva Evakuacija u potpu-
zajednike opeva*ee karakteristike vezuje uz njegove ranije uspjene stanju da vladaju a ovinisti jo nisu nosti ispunjava zadau svake antologi-
i diktirani su unutranjim stanjem i prozne zbirke Sarajevski Marlbo- konsolidovali vlast, stara pravila igre je, a to je da itatelju prezentira knji-
snala*enjem vlasti u novim dr*avama. ro ili Mama Leone. jedva da va*e, a nova su nejasna", pa *evno stanje, a kritiarima i povjesni-
Zbog njihove relativne "mladosti" ali i nastavlja, "u tom beste*inskom pros- arima knji*evnosti omogui lake
estih mijenjanja unutranjih polo*a- toru pojavljuje se niz imena na rubu snala*enje. Uzmemo li u obzir injeni-
ja (koje rezultira nain tra*enja puta Katarina Luketi bh. literarne scene koja najavljuju cu da je kratka prozna forma u suvre-
po sustavu pokuaja i pogreke) nisu prevrednovanje zateene literarne tra- menoj bosanskoj prozi, slino 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 izmeu os- su antologiji predstavljena s trideset i i mnogih romanopisaca, Evakuacija
talog rezultira i nemogunou pre- dva prozna teksta nastala u razdoblju Dragoslava Dedovia sadr*i koristan
ciznijeg prikupljanja podataka i real- izmeu 1987. i 1998 Uvrteni autori pregled svih va*nijih proznih pojava
nih slika, parametara (ponajprije eko- danas su, poput velikog broja sunarod- mlaeg narataja bosanskohercegova-
nomskih) koji bi nove dr*ave 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 *ive u gradovima udnih imena
ju itati bosanske autore dobar uvod u
unazad), a onda i u kontekst slinih poput Kerkradea u Nizozemskoj i
suvremenu proznu produkciju Bosne i
zemalja u svijetu. Tamperea u Finskoj, dok su drugi
Hercegovine.
emigranti smjeteni u Pragu, Fran-
Grozdana Cvitan kfurtu, Washingtonu, Chicagu, Zagre-
Igor tiks
46 II/40, 12. listopada 2,,,.

Frakcija glesko-hrvatskih izdanja godinje. Neke

od tema predvienih za sljedeu godinu
Hyp.txt, Libra www.autonomous-c-
factory.hr/hipertekst
su: energija, radikalizmi u istonoj Euro- www.autonomous-c-factory.hr/mase
magazin za izvedbene umjetnosti pi, religija i teatar, ples: koncept ili vjeti- Na ovoj adresi mo*ete itati na hrvat-
na. MEDIJI skom jeziku hipertekstove ili tekstove
agazin za izvedbene umjetnosti Tomislav Brlek koji se granaju i omoguuju itatelju iz-
Frakcija zajedniko je izdanje Cen- Zarez www.zarez.com bor, a najbolje ih je itati na interaktiv-
tra za dramsku umjetnost i Akade-
mije dramskih umjetnosti u Zagrebu. Us-
mjeren je na praenje relevantnih zbiva-
Quorum Feral Tribune www.feral.hr
nom ekranu (T. H. Nelson). Projekt su
pokrenuli urednici knji*evnog asopisa
Libra Libera.
nja na domaoj i svjetskoj sceni teorije i asopis za knjiBevnost
produkcije izvedbenih umjetnosti, a u Hrvatsko novinarsko drutvo -
okviru svojih mogunosti nastoji poticati Nacional www.nacional.com www.hnd.hr
novije tendencije u hrvatskoj produkciji asopis Quorum pokrenut je sredi-
te ih meunarodno prezentirati i afirmi- nom osamdesetih te danas ima za Ienska infoteka - www.zinfo.hr
rati. Meu obraivanim projektima i au- sobom esnaest godina izla*enja. HINA www.hina.hr; @enski informacijsko-dokumentacijski
torima istiu se Robert Wilson, Festival U osamdesetim godinama okupljao je centar osnovan u Zagrebu 1992. godine
novog kazalita Eurokaz, Peter Sellars, najmlai narataj pisaca. To su poznati i kao prvi centar takve vrste u Hrvatskoj i
Wiener Festwoche, Eugenio Barba, Bran- danas afirmirani quorumai: Miroslav Vjesnik www.vjesnik.hr ; istonoj Europi.
ko Brezovec, Societas Raffaello Sanzio,
Nataa Rajkovi/Bobo Jeli, Goat Isla- Nacionalna i sveuilina
nd, Ivica Buljan, Jan Fabre, Vili Matula, Klik www.klik.hr ; Internet magazin knji3nica - www.nsk.hr
itd.
Glavni i odgovorni urednik Goran Ser- Moderna vremena Online
gej Prista, dramaturg, redatelj i asistent www.moderna-vremena.hr
na ADU, okuplja raznovrsnu ekipu kom-
petentnih suradnika iz Hrvatske i svijeta, Najvea i najposjeenija Online knji-
meu kojima su Lada ale Feldman, Dar- *ara i antikvarijat u Hrvatskoj. Donosi
ko Suvin, Hans-Thies Lehmann, Valenti- mnotvo informacija o novim knjigama i
na Valentini, Elin Diamond, Ljiljana nakladnicima; intervjue s piscima, njihove
Filipovi, Josette Fral, Rustom Bharuc- tekstove itd.
ha, Viktor Misiano, Nataa Govedi, Ivi-
ca Buljan i drugi. Osim izvornih tekstova,
Frakcija donosi i prijevode va*nih teoret-
skih radova autora kao to su Derrida,
Gilles Deleuze, Lacan, Judith Butler,
Foucault, Camille Paglia, Sue Ellen-Case,
Barthe i Slavoj @i*ek. Od tema kojima su
djelomino bili posveeni pojedini broje-
vi mogle bi se izdvojiti stogodinjica Ber-
tolta Brechta, seksualnost ili teatar me-
morije Giullija Camilla.
U sklopu raznovrsnih meunarodnih
projekata, Frakcija realizira posebne te-
matske brojeve na engleskom. Broj pos-
veen utopiji/distopiji (Utopia/Dystopia) Mianovi, Zoran Feri, Edo Popovi,
ostvaren je kao dio projekta Landscape X Branko egec i drugi. Njihovo je pisanje
u sklopu programa Stockholm-kulturna bilo prete*no usmjereno prema fragmen-
prijestolnica Europe 1998., dok su broj tu, poeziji, rocknrollu, i takozvanoj
posveen istonoj Europi (disOrienta- urbanoj prozi.
tion: Eastern Europe), tiskan 1999., pot- asopis i dalje izlazi i postaje sve zna-
pomogla dva vodea europska festivala, ajniji za novu generaciju hrvatskih pisa-
hamburki Internationales Sommerthea- ca koji su poeli objavljivati tijekom de-
ter Festival i danski Aarhus Festuge. U vedesetih. Prvenstveno zbog toga jer je
suradnji sa srodnim slovenskim magazi- asopis, zahvaljujui ureivakoj politici,
nom Maska i minhenskim festivalom ostao otvoren za najnovija zbivanja.
Dance2000, realizirano je pod imenom Quorumovo urednitvo podr*alo je veliki
FaMa zajedniko izdanje na njemakom i broj mladih autora, iskazalo je razumije- Dvojezini kalendar (Hrv/Eng) s edukativnim,
hrvatskom na temu tijela i razlike (Bo- vanje za probleme mlaih pisaca i ponu-
dy/Difference), a Chapter Arts Centre iz dilo im prostor i nove projekte. kulturolokim i povijesnim sadrBajem, te
Cardiffa pomogao je tematski broj pos- Knji*evna scena u Hrvatskoj devede-
veen ikonoklastikom teatru, Disturbing setih u mnogoemu je specifina. to
lunarnim oznakama, tiskan na 14 listova
(the) Image. zbog rata, to zbog prilino negativnog A4 u boji, moBete naruiti
Ove je godine Frakciji za meunarod- stava prijanjeg Ministarstva, mladi nisu
nu promociju hrvatskog teatra dodijelje- dobili kultni sredinji generacijski aso- putem narudBbenice:
na povelja grada Zagreba, a nagraen je i pis. Sve je ovisilo o individualnim inicija-
posebnom diplomom na Trienalu kazali- tivama, pa je na kraju ispalo nekoliko a-
nog izdavatva u Novom Sadu 2000. Od sopisa, magazina i pop-magazina koji su
2001. Frakcija e imati 6 dvojezinih, en- pretendirali da postanu vodei. Nijedan
se nije nametnuo kao
najjai ili najbolji u isto
knji*evnom smislu, kao
dogmatski i iskljuivi
predstavnik x generacije.
To je, zapravo, vrlo dob-
NARUDIBENICA
ro. @eljeli mi to priznati
ili ne, scena se zaista de-
mokratizirala i pru*ila i- Ovime neopozivo naruujem komada kalendara
tavu lepezu rjeenja. U
takvim okolnostima Qu-
orum se pokazao izuzet-
no otvorenim i mnogima
"Starohrvatski sakralni spomenici"
je pru*io priliku za objav-
ljivanje i afirmaciju.
Dakle, moglo bi se rei Pravne osobe: 20 kn + PDV + potarina
da Quorum postaje tran- (cca. 6 kn za Hrvatsku)
sgeneracijski asopis. On Fizike osobe: 25 kn + potarina
svoju vitalnost zasniva na
interakciji generacija. Ri-
je je o suradnji na istim Narud*benicu mo*ete poslati na adresu:
projektima ljudi koji su
roeni tijekom pedesetih,
ezdesetih i sedamdesetih
Naklada ZORO, Iblerov trg 9, 10 000 Zagreb, Croatia
godina. A to je, dosad se
pokazalo, prilino uspje- Tel./Fax: 01 / 46 15 655, 46 15 071
na formula. E-mail: zoro@zg.tel.hr
Rade Jarak
II/40, 12. listopada,,,. 47
48 II/40, 12. listopada 2,,,.

Hrvoje Grill, roen 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 Kreimirom Krnicom i Goranom Vuieviem
Prezentacija njihovih dokumentarnih filmova otvorena je do 22. 10.
u Galeriji "Za-Te" Plus, Trg hrvatskih velikana 14

GRILL