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ISSN 1409-6900 | UDK 82+7     Blesok no. 36 | volume VII | May-June, 2004



                     Peer-reviewed journal
Blesok no. 36May-June, 2004

Homage: Andrić est arrive

p. 1
Aco Gogov

Ivo Andric

    Precisely – “Andrić est arrive”[1] – the author of “Selidbi” (Moves), the long past Miloš Crnjanski wrote, announcing the entry of a striking author in literature; basing this on the poems in prose “Ex Ponto” as the future literary development of the then young author, not known enough, but with a striking creative self-awareness and individuality – Ivo Andrić. The experienced ear of Crnjanski could not stay deaf for – as he puts it – the dark Slavic tones that could be sensed in this small, but anyway, valuable book. The literary debut of Andrić only confirmed what happened later: his future published works confirmed him as an authentic author whose works have high esthetic values. And if it necessary to say at all, his work, quite expectedly, eventually received the Nobel Prize for Literature.
    It is clear that the writing about an author such as Andrić, from a time distance since the time of his death and his last published works, has its risks. The first, maybe biggest risk is the attempt to understand – in the context of the basic Balkan logic – as a nostalgia for a past time. The risk in the current post-modern time, obsessed with fragmentariness, with the awareness of textuality being different, is big that this attempt is understood as an anachronism, re-actualizing of an outdated poetics, calling of ghosts!
    But, fortunately, what makes the literature a sublimate of eternity; what makes it a sign of the being, though a diachronic vertical, is not the moment in which it was created, but something quite different: to what extent, in which way and how the human existence is questioned? Or, more precisely: how the very phenomenon of existence is artistically shaped? To what extent – via an artistic procedure, of course, the being of man is revealed?
    The fist published literary works of Andrić appeared in the first decade of the last century. This was a time when – in a broader European and world context – there were many voices about the artistic procedures that were practiced: the influence of the symbolism was still present, the futurism slowly entered the stage, there were the first hints of surrealism. Put in the context with the stylistic formations of that time, the first published works of Andrić seemed to have little in common with the general fever of research of that time, with the obsessive demands for new


1. Andrić has arrived.

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