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



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

Candid from the ‘Hood

(Ermis Lafazanovski: "Novel about the Weapon", Magor, Skopje, 2003)

p. 1
Elizabeta Šeleva

I can begin this text with a frank and honest lament, written in the spirit of this novel's introductory sentence: “Today it's almost impossible to get a 'healthy' male critic”. That's why I had to – and further I will also have to – do what I'm doing now. And also, I must add that this paraphrase was, namely, inspired from other unusual confession made by this 'brave man': Lafazanovski, which is, I quote: “Today it's almost impossible to get a 'healthy' male beating”.
    But it isn't Lafazanovski's first time to find himself at this kind of a 'striptease standpoint'. It isn't and it simply cannot be any other standpoint, because, indeed – the 'striptease'-poetic (as a poetic of the naked narration form) is his well-known and highly individual narrating 'scenery' – always when he, in such of a sovereign position, steps onto our literature audience – still/always hungry for voyeurism.
    Lafazanovski is wandering through some corridor used for the smuggling of 'carnivalised merchandise' and the sharp-minded Daniil-Harms-like poetic. His previous books (stories, novels) look like an ideal school-book for the illustration of the Russian formalists' theory 'tricks' that made them famous: the poetic of a naked narrative form (“… poor meal… seemed that her elders thought her right… 'Child, don't go, they will tear you apart!'”); the estranged narrating form (“… the explosive 'bardak'-cocktail”); the 'oralisation' (“… the unsuccessful assassination of Marko Cepenkov…”); the use of the grotesque manner of narration (“… he wastes time in the corridors of the institutions of the system…”); the 'callambure'-forms (“… Mrs. Prof. D-r from Eastern Europe…”); the meta– lingual poetics (“… I'll never be able to begin my mornings like in the western movies…”); the epistemological metaphors and homonyms (“… the massager – a person who delivers m-e/a-ssages…”), etc.
    By the way, the previous Lafazanovski's novel “Describer” (2001), also begins from the position of the meta-textuality and results with the so-called 'striping' of the narrating form, and of course, with the demystification of the authorial 'charge' and the 'writer's craft' cult – a craft that he understands as any other one – made by order, and without any craftsman's authentic and art implantation in it.
    This latest novel, tautologically named as “Novel of the Weapon”, not only follows, but also – up to perfection – develops this quite complex 'anatomy' of various crafts. This time, the reader is invited toward the examination (striping, desacralisation) of

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