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ISSN 1409-6900 | UDK 82+7     Blesok no. 60 | volume XI | May-June, 2008



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                     Peer-reviewed journal
Blesok no. 60May-June, 2008
Reviews

Dimkovska's Hidden Camera

(a review about the exile, writing, woman and "pure" through the diary and camera of a nomadic poetess)


/10
p. 1
Duško Krstevski

What do Sylvia Plath, Marina Tsvetaeva and Virginia Woolf have in common? All three of them were well known writers and all three of them committed suicide. What makes the women writers decide on this kind of “self-homicide” (let us use Lidija Dimkovska's term from her book of poetry “Nobel vs. Nobel”[1]). Is it because they are unable to fully fulfill themselves in the world of writers that has been known as a “male” one or because of the deeply complex nature that is independent of gender and social circumstances. Is the deep ingeniousness the reason for the death or fragility of the “sweet-melancholic” nature of art and the artist. When looking into their biographies we come to different conclusions. But are biographies always valid? There are mean mouths that would say that their biographies are more valuable and more interesting that their written works. The well-known Romanian unsystematic philosopher nihilist Emil Cioran says in his book “A Short History of Decay”: “Biographies of poets were invented to replace the life they never had…”[2] Are the prosecution and exile of Cvetaeva guilty for her fate? Are the frequent infidelities of Ted Hughes to Sylvia Plat hand her inability to get out of the “poetic shadow” of her husband the reason for her death? If the split in Woolf's soul, her concealed lesbian feelings and the fear of war the things that brought her closer to her decision to drown? We will never be able to fully penetrate the psyche of these talented women writers.
    Women writing (if the division of the logos to men's and women's exists at all?) has more that definitely been established at the Macedonian literary science for several decades, and if we go back a century earlier one could see that it existed, even in a blurrier form, in the stories and songs of the “sources” of the collectors of folk work, such as: Grigorovič V; Verkovič S.; Miladinovci brothers; Šapkarev K.; Gjinovski P. and a number of other people from the canonized Macedonian folk literature. The women rhapsodists as Depa Kavaveva, Dafina from Prosinek, Gjurgja Koteva, etc. appear as the most important informers on the folk tradition and folklore. It is not by accident that we called them “sources” (the “nature” of the woman is the same as the one of the source and the land – she gives birth and recreates). The old stories,

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1. Димковска, Лидија: Нобел против Нобел, Блесок, Скопје, 2001.
2. Сјоран, Емил: Оглед за распаѓањето, Култура, Скопје, 1996, стр. 133.






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