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ISSN 1409-6900 | UDK 82+7     Blesok no. 63 | volume XI | November-December, 2008



                     Peer-reviewed journal
Blesok no. 63November-December, 2008

“The Claws” is in fashion

(The Claws, by Marko Vidojković)

p. 1
Violeta Vučetić

Marko Vidojković's novel “The Claws” was in the centre of media attention, and literary critics had to express their attitude towards it, eventhough, in the beginning, they were denining the thesis by which Vidojković's novel could be considered artistic literature. “The Claws” has become a cult book of the generation of the nineties (those who were young in these years, but also those who were born in the nineties), with all the characteristics of that time: depression, desperation, alchololism, promiscuity, senseless life… The novel had a pompous TV commercial. It was announced as the “annals of the students′ protest”, as the “demonstrations diary”. Reffering to this, numerous and strictly bounded readers have been created.
    Vidojković could not be determined as “an erudite writer”, but what he certanly is, is a multi–medial artist, raised on hard punk sound, he is the ex singer of a punk bend concentrated on the urban surrounding where he comes from, where he belongs, without an interest to come out of the field of interest. As he is, he writes about the things he knows and tells the story he experencied and that is why his story is convincing, dinamic and rapid. The language of the novel is verbal, colloquial, Belgrade slang. It defines subjects and situations brutally, roughly and cruelly, avoiding to be beyond that story and always staying its integral part, incapable to see it from any other point of view, but author′s and narrator′s I, which are most of the time in the novel indetically the same.
    The novel has a quitesimplified composition: in fact, we could discuss a modern fairy-tale, the main carachter is a prince, and the main heroine is the princess. The modern fairy-tale in it's structure has the new wording: the princess has no long eye-lashes, the prince is inapprehensible, dark guy. His behavour is adolescent and he is a marijuana addict. The fairy tale has a Hichkoh-like atmosphere, the princess appears and disappears, and in the life of the prince the nightmares and reality are mixing, their boudaries not recognisible. An important subject is also the main character′s mother, the woman who was abandonded by her husband, who lives from nothing and passivly suppotts the regime of Slobodan Milosevic, who is the main bad and evil character of this fairy-tale.
    Why do we here insist on the determination of a fairy-tale?
    Precisely because, besides the structure of the novel, also the

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