\u00a0<\/a><\/p>\nAbout the books<\/i><\/p>\n
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About the novel The Journey of the People of the Book<\/i><\/b><\/p>\n
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(…) The authoress, with sovereignty, demonstrates knowledge of different types of statements and a skill of composing them into one whole, as well as an ability to design an intriguing plot and interesting literary heroes, with a substantial cognitive reach. Without doubt, the novel is built on a postmodernist base, which does not reflect reality but plays with the world of literature.\u00a0\u00a0\u00a0<\/p>\n
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About the novel House of Day, House of Night<\/i><\/b><\/p>\n
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The latest book by the Polish authoress is an exemplary case of breaking logocentricity. House of Day, House of Night <\/i>is a novel based not on the requirements of coherence and consistency of the narrative-motivational unity, but a series of independent fragments (which, as we know, the \u2018great story\u2019 of the past has turned into). These fragments are kept together by several common characters and a loose narrative link. The novel\u2019s essential orientation \u2013 also close to a postmodernist\u2019s heart \u2013 is the sphere of dream, always valued more than the sphere of reality \u2013 all the way to the denial of matter, oscillating between Htonos and Chaos, creation and the void. The readers who liked Milorad Pavi\u0107, Nemanja Mitrovi\u0107 and Goran Petrovi\u0107 will find in Olga Tokarczuk a follower of postmodernist poetical oneirism, but she adds to this pattern the vision of a relationship between creation and nothingness as an innovation.<\/p>\n
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The fragments usually speak about an event, a reflection of which is in a virtual world, on the website that records dreams. If the segments do not refer to dreams, they will address other intangible spheres of the being (the past, writing or nature, embodied in a landscape of such sensory vividness that they also penetrate the shell of reality). Different forms of the unreal dimension of existence are associated to the material world by means of humour or bizarre banalisation. Humour, which is also a kind of distance, points to the cracks on both poles, while the encounter with the naked reality suggests that \u2013 although the dream is our ontological and existential contexts \u2013 the concrete reality should not be annihilated. The poles can only exist in a balance which, however fragile it might be, alike the relationship between Htonos and Chaos, makes the world possible and whole.\u00a0<\/p>\n
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The reflexive foundation of this novel\u2019s vision is the thesis that there is no world \u2013 as Calderon taught us \u2013 outside a dream. It is produced \u2013 as Olga Tokarczuk suggests \u2013 by people who died and are now dreaming their new lives. It consists of the life Dis fell into, never to accept its limitations, never to renounce his astral origin. The human yearning for distant worlds is the same as the yearning for those worlds they came from, that is, for immortality. The yearning for immortality, disguised in a literary play, explained as an effort to tell the truth, therefore, does not seem as something already seen. Stepping out of herself into some other bodies and other souls, the writer accurately depicts what she has seen through this paradoxical realism.<\/p>\n
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You could not have been expecting the brilliance of postmodernist play without the prolificacy of paradox, which is always ready to show us the way to some new world.<\/p>\n
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Du\u0161ica Poti\u0107, <\/i>Politika<\/p>\n
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About the book Playing Many Drums<\/i><\/b><\/p>\n
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Olga Tokarczuk\u2019s heroes are ordinary people, \u2018walking indefinities\u2019 in a hostile (vast, incomprehensible) world. Marked (wounded, damaged) by their environment (the soc-realistic city \u2013 prison), they, as if under a spell (course), attempt to overcome humiliating family and social circumstances and become wholesome (beautiful, dignified, unique). For this reason, their (flat) reality is illuminated (and disguised) by a subconscious understanding (acceptance) of the world: embroiled in the menacing atmosphere of the carnival (of a personal or historical war), which erases the border between the reality and an image, idea and shadow, they are trying to reconcile the urban and primordial, the male and female, the human and superhuman, inside their own beings. However, entrapped by linear time order, the adopted androgyny is more morbid than ethereal (\u2018Glacinia\u2019), the magical power of words is more fatal than healing (\u2018Open Your Eyes, You Are No Longer Alive\u2019), personal determinedness starts to resemble \u2018finality\u2019 (\u2018Subject\u2019), and between a need for loneliness (\u2018Che Guevara\u2019) and a Robinsonean agony (\u2018The Island\u2019, \u2018Professor Andrews Goes to Warsaw\u2019) there is no \u2018middle ground\u2019; subject to animal instinct or demonic apathy, the heroes suspect that the inhuman (loveless, empty) resides in their own selves, in Man, and that the mutants (de)generated by nature (of everything visible and invisible) are disturbing avatars of the road to the \u2018heart of the secret\u2019, to immortality. Each hero, plugged into the (drumming, primary, unspoilt) rhythm of the universe, whose fallen, astray particle he is, is a character with at least two sides who remains an unexplored, desert island.<\/p>\n
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Revealing elementary forces in the drama of humanness, mixing pure evil with the light, these stories are both tender and brutal; Olga Tokarczuk sees in transcendence nothing that could be friendly to man.<\/p>\n
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Vesna Triji\u0107<\/i>, Blic<\/p>\n
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About the novel Runners<\/i><\/b><\/p>\n
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This is a kind of novel that is written only once in many years and is remembered still when many books along the way are already forgotten. Although written by a Polish authoress, this novel has no national, temporal, generational, thematic or genre limits. I would offer it for a serious reading to very good contemporary writers too, when they are not reading their own or their friends\u2019 literature.\u00a0\u00a0 <\/em><\/em><\/p>\n <\/p>\n
Ljiljana \u0160op<\/em><\/i><\/p>\n <\/p>\n
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The novel Runners <\/i>is a literary monograph of the dynamism, motion, restlessness of a traveller. The world of contemporary Runners<\/i> is a world of permanent travellers who have their products, travellers\u2019 cosmetics, their own language: simple, functionalised English, even their own, travellers\u2019 psychology. The discontinuous and quivering contemporary world has reanimated in man the atavist, nomadic desire satisfied by travelling. Moving, changing places, discovering new spaces enable a kind of a peek under the underlining of the world, a look through the curtain hiding the unknown and the unspeakable which is left ajar. Against the backdrop of an ancient orthodox sect, a universal story about human destinies has been constructed: so we get to know about the life of sailor Eric; ambitions of doctor Blau, who wants to eternalise parts of the body; the case of Kunitski and his wife, who mysteriously disappears; Anushka, who leaves her home and family to roam the routes of the Moscow underground trains; Philip Verheyen, the 17th<\/sup> century Flemish anatomist; or the drama of Josefine Soliman, who seeks to have her father\u2019s remains properly buried.<\/p>\n <\/p>\n
<\/p>","protected":false},"excerpt":{"rendered":"
About the author Olga Tokarczuk (1962) is one of the most eminent contemporary Polish prose and essay writers. Born in Sulech\u00f3w, a psychologist by education, she lives and writes in Krajan\u00f3w, a small place in the Sudetes Mountains. She has received prestigious literary awards: the Polish Publishers’ Association Award, the Ko\u015bcielski Foundation Award, […]<\/p>\n","protected":false},"author":2,"featured_media":645,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"categories":[54,55],"tags":[],"class_list":["post-644","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-54","category-ucesnici-2013"],"acf":[],"_links":{"self":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/644","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/comments?post=644"}],"version-history":[{"count":7,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/644\/revisions"}],"predecessor-version":[{"id":3861,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/644\/revisions\/3861"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/media\/645"}],"wp:attachment":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/media?parent=644"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/categories?post=644"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/tags?post=644"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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