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ISSN 1409-6900 | UDK 82+7     Blesok no. 32 | volume VI | May-June, 2003



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                     Peer-reviewed journal
Blesok no. 32May-June, 2003
Reviews

Between the eternal and the everyday

(Nataša Bunteska: "Gorniot grad" (The upper city), published by "Stremež", 2002)


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p. 1
Goce Smilevski

     When in the Foreword to the anthology “Twenty young Macedonian poets” (Prokultura, 2000), Lidija Dimkovska wrote that “Natasha Bunteska textualizes the reality which passes into surreality, but also autotextulizes herself, realizes herself and realizes the reality of the poetic text”, she couldn't suppose where will Bunteska poetics directs itself (Bunteska had only one book of poetry behind herself – “Mali vechnosti” [Little eternities], Studentski zbor, 1998). Now having the second book by Bunteska, “The Upper city”, (divided into three chapters: “The upper city”, “Miniatures, short touring, forgotten turmoil, moments and little eternities” and “Golden book”) we could say that Dimkovska quotation can also refer to this book. In the book, the poet, actually confirms what was announced in her debut book on a very vivid way.
     A characteristic that appear in almost all the poems from “The upper city” is the associative connection of distant things. Vjaceslav Kuprijanov in his essay “Poetry and eternity” specially stresses one aspect of such connection, the meeting (or getting close) of (seemingly) distant things, namely the closeness and interference between the eternity and the everyday, and since this aspect seems to me quite characteristic for Bunteska poetics, I will shortly stick to Kuprianov thesis. The Russian author says that “the search for the wild eternity forces the poet (and artist, in general) to observe events, almost from the everyday life, to try to catch the slippery moment, to catch 'a strange jiffy', and if it is magnificently caught up in poetry, than it meets us with eternity”. He than refers to William Blake demand: “to show eternity in every moment”.
     The closeness and interference between the eternity and the everyday, can be seen since the first poem in the book, “Untying” (the first part from the first verse of this poem “The breathe ties me up” is taken as a title of the short art film written by her and directed by Stojan Vujicic). Here the breath serves as a connection between the two worlds, thus becoming confused before existence, with the simultaneous belonging both to earth and to heaven. Exactly the connection between the two worlds appear as the meaning of life – without the same connection even the lyrical subject would turn into “frozen, stupid figure”, and God would become only object “in the hands. Crumbling as a biscuit”. This connection of the distant things leads to the astonishment “could we






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