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| POETICS
OF THE YOUNGEST MACEDONIAN POETRY
The youngest generation of poets from Macedonia tries to get out
from the traditional poetics of Macedonian lyrical poem which is
a big but hard step forward. Poems included in selection 20.young.m@k.poets
are anthological because of their redundancy of refusal of Macedonian
traditional poetics. Cultural dialogue with the world, values, tradition
and generation itself are new tendencies that can be observed in
the youngest Macedonian poetry - this is a basic and (programatic)
message of my generation. Unfortunately, some of the poetry texts
included in the above-mentioned anthology do not follow this principle
completely. Flashes of wit that announce the new atmosphere and
touch the reader are sketches of poetry from the year 2000 - poetry
that will, of course, develop and form itself in the future. Poetry
is a live organism and not a dead idea, therefore these poets will
be indispensable in the year 2000.
The selection begins with Emil Kalesovski and ends with Sasho Gigov
Gish and Irena Pavlova. Even among the youngest poets we can find
the oldest! Almost all of the existing presentations of the last
Macedonian generation of writers begin with Gish?s literary work
but for this time the order will be different. My selection begins
with less known poets because in this way a possible risk can be
avoided.
Emil Kaleshkovski?s poems represent a refusal of sacralisation of
the confirmed reality and negation of basic values of traditional
humanism. Aleksandar Kirkovski changes immortal into mortal, bantering
and drawing it out of illusions in the field of cultural dialogue.
Eternian?s Broken Images are mutilated existences gathered in discontinuity
of speech, divided between gnomic modern expression and iconic post-modern
writing. Neosurrealism in literary works of Ivica Antevski represents
ironical and intertextual point of view that melts the transcendental
in stale water of reality. Aleksandra Nikolova drown herself in
the triple: poetical being - text - society, she is aware of apocalyptic
reality and creates authentic poetical images of man?s interaction
with the systems that he belongs to. Ivan Dodovski strictly resists
temptations of post-modernism, sticking to ontological questions
about the act of poetical creation, man?s existence and traditional
values: love, community, friendship, faithfulness. The principle
of difference of female writing emerges in Ana Pejchinova?s poetry
which is female in profusion of "signifiants", however Pejchinova?s
poems are first of all poetical, autoironic or even sarcastic in
the effect of "signifie". Narrative and filled with the feeling
for the margins of the things that surround us are the poems of
Nicola Maxirov, they are biographical and autobiographical images
of the universe, a sarcastic filter for life?s rhetoric as neorethoric
singing. Cultural dialogue with tradition, non-identification with
it and intertextual relations with mythic and literary culture with
the aim to create an authentic poetry are the main characteristics
of Ninov?s poetry. Love symbiosis Suzana V. Spasovska is realized
by the referential; the cerebral is realized by the autoreferential,
the identity crisis as a "Déjá vu" being realized by lost naiveté
that is typically post-modernist. The irony in Bogdan Bogatinovski?s
poems does not represent a nihilistic point of view, but a view
of the world in permanent destruction, the world in which animals
and poetical messages (as an intertextual pattern of self-sacrifice
in poetical creation) are destructive themselves. Igor Isakovski
takes out of the world everything that can be textualized, especially
personal experience and life mechanisms which he takes to the pieces
and reconstructs new sarcastic, apocalyptic and lively poems, known
in the framework of Macedonian poetry for their seduction and authenticity.
Teuta Arifi the greatest discovery of young poetry from Macedonia
belongs to post-modernist spirit in principle "I will face entire
cultural and spiritual past, but I cannot identify myself with it"
she creates a cultural discourse with all values on the basis of
poetical provocation and not naive nostalgia. Apolon Gilevski is
unconditional in his poems included in this anthology: he extends
contemporary writing to eclectic surprise and at the same time "semantisizes"
post-modernist expression until ontological challenge, connecting
two different bodies in one love soul.
History , religion, mythology and other human inventions are reflected
in Gish?s poems as playing games with tradition, as representing
liberation from vices of culture with an aim to create his own,
authentic culture which should be felt as nature. Apocalyptic awareness
of the end of the world in Irena Pavlova?s poems is revealed as
the "apocalyptus" of poetical, social, national, historical, religious
and existential human existence which is tragic because of beforehand
determined "end with the death".
Culture, the point of departure on existential poetical adventure
is common to all of the poets included in above mentioned anthology,
although we may encounter some returns to the nature, characteristic
for modernist writing. Poems included in the anthology present the
authors as poets with clear vision of the poetry that they create,
the poetry that is changing developing, and imposing - regarding
the form - new poetics or improving its individual poetics. Metaphor
has almost vanished and metonymy creates plots in poems. Who does
not like a story? Poetical affirmation of Igor Isakovski "only geographical
coordinates bind me with old poets" in his poem Bird - Crane is
a programme affirmation of all of the poets included in this selection.
Aleksandra Nikolova polemizes with post-modernism "Nowadays poetics
doesn?t know ethics/ Labyrinth of meditations/observations, memories,
masturbations/ Legal terrorism/ in a post-modern agnosticism", her
poetical expression is the same. This is the point of view of the
rest of poets from Macedonia. Contradiction between the experience
and the theory (the consequence of Macedonian modernist tradition)
is solved by provocative poetical texts. Young poets from Macedonia
try to liberate themselves from the traps of the "oasis of a lyric
poem" as someone well-intended named the poetry from Macedonia,
refusing compromises with the tradition, looking within it for their
own way.
In this way, in the words of Blazhe Koneski, young poets are contemporary
with literature written in the world. Cultural dialogue is a salvation,
many poets included in this anthology are using it. The results
are obviosus: contemporary poetry and more readers. In the year
2000 there will be said much more words about individual poetry
of these authors and also about the poetry of the generation if
it keeps the common poetical evolution. I hope that all of the poets
from this selection will continue their own way: creating poetical
worlds without any doors or walls, open for new, interesting, experimental,
rude, lucid, heretic or even apocalyptic ideas that will enrich
the poetry with poetry and life.
"The poetry of this selection has proved to me that it wants me.
The proof exists: writing as a pleasure of the language, its Kama
Sutra.?
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