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ISSN 1409-6900 | UDK 82+7     Blesok no. 14 | volume III | April-May, 2000



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                     Peer-reviewed journal
Blesok no. 14April-May, 2000
Reviews

The Silence of Miloševska's Powerful Whisper

(Lenče Miloševska, Stone Messages, Matica Makedonska, Skopje, 1999)


/3
p. 1
Jadranka Vladova

    Lenče Miloševska, with her unobtrusive presence in the Macedonian culture, is seemingly better known to Macedonian readers through her translating achievements (which are, by the way, verified with two awards: Bozhidar Nastev and Vangja Čašule). But, it is obvious that Lenče Miloševska’s modesty as a writer stands in the way of her overall creative personality, because by hiding herself as an author behind the allegedly more important, less personal work of a translator, through that language medium she presents – another author.
    The occasion for this pointing to the literary values of Lenče Miloševska’s works (My Thirsty Land, 1992; Censer of the Day, 1996; Milky Way, 1997), is her latest collection of poems Stone Messages (1999), which we recommend to the Macedonian readership.
    The collection of poems Stone Messages consists of two series of unequal size: the cycle Motifs from Matka includes 36 poems, and the cycle Metagrams only seven poems. The poems in the first part of this book belong to the unrhymed, blank verse lyric poetry, while the second part consists of lyric prose, which produces good balance and emphasizes the subtle lyricism.
    Lenče Miloševska, in a particularly interesting way, varies the use of the second person. It is this person that most often discloses the love relationship I-You (We are adults and senselessness is not becoming to our love, but if you wish, I could be your slave – Love). It is striking that this you-addressing is also used in the cases in which Macedonian language implies both an interlocut and the “generally speaking” type of address, which can be interpreted as “self-addressing”:

  PLAYING WITH THE UNKNOWN

  Life is playing with the Unknown
      From cocoon you come
      To cocoon you go.

  Pain makes you grow
      Oftentimes
      You are just the observer
      In the theatre of failures.

  You even happen to knit
      (yourself into)
      a web-like yarn.

    This use of the second person can also have an alternative reading of solidarity with women, as it does in the following poem:

  FROM   PAGAN RITUAL SACRIFICE

  Naked they carried you out,
      You didn’t falter in the sun.

  They sacrificed you innocent
      White as alabaster.

  The skies never thundered
      And rain never poured.

  Humbled and mocked
      The pagans fled.

  Appalled by their vile passion,
      The altar and I remember you.

    Lenče Miloševska points most directly to her feminine subtlety in the I-You poems, but subtlety is the obvious amalgam in her other poems as well. Both in the poems in which the first person singular and plural is used and






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