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Dejan Stojanović

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Born March 11, 1959 (67 years old)
Peja, Serbia
Also known as: Dejan Stojanović , Dejan Stojanović, Dejan Stojanovic
18 books
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Dejan Stojanovic was born in Pec, Kosovo (the former Yugoslavia), in 1959. Although a lawyer by education, he has never practiced law and instead became a journalist, working as a foreign correspondent in the early nineties. He is a poet, essayist, philosopher, and businessman. He has published books of poems: Circling (Krugovanje), Narodna knjiga – Alfa, Belgrade, three editions – 1993, 1998, and 2000. The Sun Observes Itself (Sunce sebe gleda), NIP Književna reč, Belgrade, 1999. The Sign and its Children (Znak i njegova deca), Prosveta, Belgrade, 2000. The Creator (Tvoritelj), Narodna knjiga, Belgrade, 2000. The Shape (Oblik), Gramatik, Podgorica, 2000. The Dance of Time (Ples vremena), Konras, Belgrade, 2007. Pentalogy: The World in Nowherness (Svet u nigdini): 1. Ozar (Ozar), Udruženje književnika Srbije, Belgrade, 2017. 2. The World and God (Svet i Bog), Udruženje književnika Srbije, Belgrade, 2017. 3. The World in Nowhereness (Svet u nigdini), Udruženje književnika Srbije, 2017. 4. The World and Humans (Svet i ljudi), Udruženje književnika Srbije, Belgrade, 2017. 5. The Home of Light (Dom svetlosti). Udruženje književnika Srbije, Belgrade, 2017. The Hidden Light (Skrivena svetlost), Čigoja, Belgrade, 2018. Primordial Spark (Iskra iskona), Albatros plus, Belgrade, 2021. Centuries and Steps (Vekovi i koraci), Albatros plus, Belgrade, 2023. Essays: Creator and Creating (Stvaralac i stvaranje), Albatros plus, Belgrade, 2021. The New Man and the New World (Novočovek i novosvet), Rad, Belgrade, 2022. Anthology: Selected Serbian Plays (Izabrane srpske drame), USA, 2016. A book of his selected interviews entitled Conversations was published in 1999 by NIP Književna reč, Belgrade, and was awarded the Rastko Petrović Prize by the Serbian Heritage Foundation and the Association of Writers of Serbia for intellectual engagement. The book included interviews with several major American writers, including Nobel Laureate Saul Bellow, Charles Simic, and Steve Tesic. In 1986, as a young writer, he was recognized among 200 writers at the Bor (former Yugoslavia) Literary Festival. In addition to poetry and prose, he has worked as a journalist for the Serbian weekly magazine Pogledi (Views).

Books

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Ples vremena

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Dejan Stojanović, Ples vremena (Dance of Time), Konras, Biblioteka Beli vuk, Beograd, (Belgrade), 2007 Ples vremena, Dance of Time By statement: Dejan Stojanović. Series: Biblioteka Beli vuk -- knj. 7. Source records: Library MARC record Library MARC record Language: Serbian Edition: [1. izd.]. Dimensions: 18 cm. Pagination: 135 p. ; ISBN 13: 9788675520337 LCCN: 2008359693 LC: PG1419.29.T587 P57 2007 Subject: Poetry

Oblik

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Dejan Stojanović, Oblik (The Shape), Gramatik, Podgorica, 2000 By statement: Dejan Stojanović. Source records: Library MARC record Library MARC record Language: Serbian Dimensions: 21 cm. Pagination: 66 p. ; LCCN: 2001364940 LC: PG1419.29.T587 O25 2000 Subject: Poetry OBLIK Prapostojbina oblika, sažetog u pesmama Dejana Stojanovića, ne počiva u osnovi istorijskog i mitskog predanja, iako se na njega posredno oslanja, ona je duboko porinuta u tamu praoblika i njegovih bezbroj alotropnih formi oslikanih u prirodnom ciklusu. Pesma je relacija između sopstvene oblikotvorne moći i naslućivanja obrisa i granica sveta—prostora i vremena, jedinstvenog i apsolutnog bića, početka i kraja sveta. -Petar V. Arbutina SAŽET I PROČIŠĆEN JEZIK U knjizi "Oblik" objavljenoj kod podgoričkog "Gramatika" preovlađuju filozofske reminiscencije. Osnovni motiv prodenut kroz celu knjigu jeste oblik; od atoma do veličina. Mora se priznati da o ovako apstraktnom pojmu nije lako pevati. "Oblik što sija sam / Veliki Atom / Malo Sunce / Veliki i mali" ("Sreća atoma"). Afirmacija života i stvaralaštva jeste dominanta sveta. "Oblik sam koji oblike stvara / Stvarati znači živeti" ("Život oblika"). U pesmi "Sjaj" iskazana je pohvala obliku: "Kad biste shvatili moj sjaj / I vi biste zasijali". Tihim glasom pesnik opominje one koji su gluvi za sjaj: "Jedino ćutanjem govorim // Kada bih zaista progovorio / Utonuli biste u nemušto" ("Povratak iz sna"). Kretanje je: "Kroz svašta prosao / Nigde bio nisam // U najmanjem i najvećem spavam / Na istom mestu ostajem // Kud god krenem / Na sebe nailazim", iz istoimene pesme. U pesmi "Klopka i izbavilac" ponovo će Stojanović dodirnuti poetsku simboliku i poetiku Aleka Vukadinovića. Preko puta stoji mržnja, čak se i pesme sa tim naslovima u knjizi gledaju, Pesnik se, prirodno, opredeljuje za ljubav ali i razume onog koji mrzi: "Ništa ne nastaje / Ništa ne nestaje" ("Velika soba"). Dalek oblik je čujan. U knjizi "Oblik" Stojanović je iskazao visok stepen filozofskog poimanja stvari i pojava, apstraktnih pre svega, i pokazao se kao vrstan poetičar. -Draginja Urošević Borba, 2001. Table of contents DOM OBLIKA Dom oblika, 7 Sve-oblik, 8 Protiv-oblik, 9 Oblik i smeh, 10 Oblik i toplota, 11 Govor oblika, 12 Otac i sin, 13 Oblik i oblik, 14 Oblik i istina, 15 SREĆA ATOMA Oblik i društvo, 19 Razgovor velikog i malog oblika, 20 Sreća atoma, 21 Nemoć oblika, 22 Život oblika, 23 Sjaj, 24 Gluvilo, 25 Podražavanje, 26 Građani svetlog grada, 27 Povratak iz sna, 28 Ja i ja, 29 Kretanje, 30 ZVONA Zvono oblika, 35 Tihi razgovor, 36 Oko i uvo, 37 Klopka i izbavilac, 38 Čekanje 39 UTROBA KAMENA Utroba kamena, 43 Dolina beskraja, 44 Šuma i pustinja, 45 Drvo oblika, 46 Molitva, 47 Ćutljivi oblik, 48 Oblik veličine 49 ČUDA Tvoj život, 53 Ljubav, 54 Mržnja, 55 Usta, 56 Odsustvo, 57 Avet i oblik, 58 VELIKA SOBA Ćutanje, 61 Velika soba, 62 Dalek oblik, 63 Put oblika, 64 Oblik—putnik, 65 Smrt oblika, 66 Beleška o pesniku, 68 By statement: Dejan Stojanović. Source records: Library MARC record Library MARC record Language: Serbian Dimensions: 21 cm. Pagination: 66 p. ; LCCN: 2001364940 LC: PG1419.29.T587 O25 2000 Subject: Poetry

Znak i njegova deca

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Dejan Stojanovic, Znak i njegova deca (The Sign and Its Children), Prosveta, Beograd (Belgrade), 2000 By statement: Dejan Stojanović. Series: Savremena poezija LC: PG1419.29.T587 Z44 2000 ZNAK I NJEGOVA DECA Traganje za kompaktnijim i esencijalnijim odnosima između poetskog iskaza i slike (simbola) uslovljava nove kvalitativne i stvaralačke akcente pesmotvoračkog zahvata Dejana Stojanovića u odnosu na dosadašnji poetski opus. Odanost zaumnim jezičkim suštinama, "jezikoslovlju" i hermetičnosti značenja, svrstavaju Stojanovića u mali i autohtoni krug pesnika koji poslednjih nekoliko decenija predstavljaju osnovnu kreativnu i umetničku snagu srpske poezije. Pesnikova ezoterična radoznalost preispituje oblikotvorne prauzroke sveta—Znak i Zrak; prve rušitelje i graditelje, primarne metafore postojanja, koje se u međuodnosima analogije i poricanja multiplikuju do večnih istina postojanja i trajanja nasuprot prolaznosti zemaljskih dana. Simboličko i transparentno, metafizičko i magijsko formiraju koncentrične krugove značenja koji svoju jedinstvenu elementarizaciju ostvaruju u odnosu na osnovna ljudska stremljenja; ka nebeskoj i božanskoj suštini ili opijajućim ponorima bezdana apsolutnog zaborava. -Petar V. Arbutina PRKOS TAMNIM SILAMA Ako je tačno da poezijom, da poetičkim delom i činom struji čist vazduh, sa svojim iskošenim, zavodničkim pogledom, još je tačnije da pesnik ulazi u reč, logos, stih, metaforu, apostrofu, kliktanje ili ćutanje, sa svojom unutrašnjom energijom. Prema pitanjima filozofije života Dejan Stojanović nema direktne afinitete. Uprkos tome, postoji u njegovom pesničkom delu nešto iz štimunga, atmosfere, "filinga", pitanja ove vrste, koja pripadaju određenoj viziji početka i kraja, inicijacije i vaskrsenja; naročito je njegova poezija takva, solidarisanje sa bujičnim, primarnim životom, kao i čudesno osećanje zore i sutona, , svetlosti i senke, nemira i spokoja, tako da iz njegovog pretapanja proizlazi isti neumorni utisak vedrine u svetlo-tamnom ili svetloljubičastom. Ta neumorna, neiscrpna vedrina Dejanove poezije nije pijana, razuzdana pomama od života, nego je većma jedan etički i estetički ponos i prkos tamnim silama i zlim ljudima. Dakako, ova vrsta vitalizma je ukorenjena u humanom, lekarskom, takođe sudbinskom zadatku; jednoj visokoj, neusiljenoj misiji čoveka koji istinu nalazi među ljudima, a ne mimo ljudi, u staklenoj kuli sebičnog, lažnoromantičnog osećanja sveta drugih, ili po priviđenju jednog bez drugog, baš kao u pesmi "Razonoda praznine". Svaki znak je zbir znakova Nijedan nije potpuno sam Praznina ne broji znake U transu pred njima gubi pamćenje Kakav su samo izvor zadovoljstva Ustreptali i prodorni znaci Beskrajna praznina Sve ih lako prima "Traganje za kompaktnijim i esncijalnijim odnosima izmedju poetskog iskaza i slike (simbola) uslovljava nove kvalitativne i stvaralačke akcente pesmotvoračkog zahvata Dejana Stojanovića u odnosu na dosadašnji poetski opus. Odanost zaumnim jezičkim suštinama, "jezikoslovlju" i hermetičnosti značenja, svrstavaju Stojanovića u mali i autohtoni krug pesnika koji poslednjih nekoliko decenija predstavljaju osnovnu kreativnu i umetničku snagu srpske poezije. Pesnikova ezoterična radoznalost preispituje oblikotvorne prauzroke sveta—Znak i Zrak; prve rušitelje i graditelje, primarne metafore postojanja, koje se u međuodnosima analogije i poricanja multiplikuju do večnih istina postojanja i trajanja nasuprot prolaznosti zemaljskih dana." (Petar V. Arbutina) Iza tih očiglednih biljega i veduta, nad kojima naoko usamljen bdi i smotri, bistro vidi i čisto sanja naš pesnik Dejan Stojanović, rasprostire se jedna neobična, koliko mitska toliko, do dnevnog reporterskog usklika, zemlja praotaca i potomaka, u istoj pesničkoj kantileni. Jer, to ćemo ponoviti, prostor je u Dejanovoj lirici pouzdan, a vreme je leprsavo, nepouzdano. Zemlja je njegova prvočevina, a nebo je njegova tajna, mimezis, zagonetka. Zemlja jesam, podsećaće nas Stojanović na vrhovnu poemu, na lament Desanke Maksimović. Zemlja i dar očiju, mitsko i zavičajno tle, vladaju širokim magnetnim poljima knjige. Naoružan koracima po zemlji, pradedovskoj i ovoj, ništa manje suđenoj, današnjoj, pesnik vaznosi poglede, otkriva nebeske svetlosti, podiže ekumensko blago pogleda. Svaka Dejanova pesma je pisana i očima i govorom tako da je vidokrug sve širi, a zenice sve dublje. Čak i minulim, mrtvim, usnulim stvarima i pejzažima, visinama i dolinama, toposima vraćaće izgubljenu energiju ili zatomljenu vodu vidarušu. "Znak i njegova deca" je poetski utemeljena i simbolički dograđena knjiga stihova koji se susprežu po merama gradacije i po čvrstini konotacije. Ne opisujući suvišno, ne pevajući preglasno, on će omogućiti da udišemo mirise, da delimo ljubavi, da gledamo daleko, da dodirujemo blisko, da naokolo izbijaju pupoljci nepoznatog endemskog bilja, koji sa plodovima zemlje stižu na nebeske gozbe. Iz tamne pojmovne aure odjednom vrcaju i zasvetlucaju ozareni predeli i progovara "krv hajdučka, duša devojačka". Zalebdi u Dejanovoj lirici i nešto smesno i nešto bdesno, iz znaka u znak, iz zraka u zrak! -Miroslav Mirković Buca Ilustrovana politika, rubrika Čitati ili ne čitati, broj 2177, 7. X 2000. SIMFONIJA ZNAKOVA ILI SKLADNA PORODICA Dejan Stojanović od početka svoga pevanja pa do danas ostaje veran filozofskom pogledu na svet. Iako je njegova poezija u neprestanom odgonetanju postojanja i smisla, vrhunac svog približavanja filozofiji, a mogli bismo reći i poistovećivanja s njom, ona dostiže u zbirci "Znak i njegova deca." Ova knjiga svoj prostor traži i nalazi u vremenu pre vremena—u iskonu, onda kad u početku bese Reč". Znak je reč Deljenje znaka jeste deljenje reči Dok je reč bila Jedno Nije joj trebao jezik Kada se izdelila Započeo je razgovor Znak sebe sluša ("Reč i znak") Pevanje o znaku i njegovoj deci moguće je objašnjenje sveta, postojanja i opstajanja, svedeno na začudjujuce malo komponenata. Glavnu ulogu igraju znak i (iliti) zrak. ("On stiže tamo /Gde zrak ne može da priviri"), noć i, ili, tama i prostor odnosno praznina—ništa ("I ništa je deo svega / Bez ništa sve bi bilo ništa"). Takođe je začuđujuće do koliko i kakvih sve značenja pesnik dolazi ukrštajući ove svoje osnovne elemente. A svi oni zajedno proizlaze iz jednog i jesu Jedno, jer "Znak prebogat za Jedno / Nemilosrdno izdeli sebe": Jedno telo je znak Drugo putokaz Odstojanja među znacima Raskršca Kada se potpuno sažme Ostaje sam i jedno ("Jedno") Ova poezija je sva u paradoksima, ali paradoksima koji nisu smišljeni da bi nas šokirali neverovatnim sklopom krajnosti, već su tu da nas iznenade svojom dubokom logikom, u kojoj se krajnosti prirodno otkrivaju kao istovetnosti: Nadnebni izroni zrak ........................................ Oseti mir ugasle strasti Sreću beznanja u konačnom saznanju Bezbrigu i slast nemanja slasti Nasuprot kretanju i umiranju ("Nadnebni znak") I ništa ne štrči, ne bode uho, ne zvuči pretenciozno, što često može da se dogodi kada je ova vrsta poezije u pitanju, već se sve sliva i preliva jedno u drugo i sve je u svemu. Kao neka velika pesma vasione, u kojoj ima puno elemenata od drame kosmičkih razmera, ali koja se ipak pretvara u prefinjeni ples. U čarobnu lakocu muzike, ali i u otkrovenje koje istovremeno ostaje i tajna. Ljubav je jedno od vrlo važnih znacenja ove knjige i njenih znakova: Kako je srećan Vrhovni znak Dok sebe gleda U drugim znacima ("Porodica znakova") Međutim, ljubav je data veoma široko, ona je i pojedinačna ali, gotovo uvek, i opšta ("Znak je jedno nebo / Znakom--drugim nebom--okruženo" ili "Noć bi bila sama / Da nema znaka koji je budi"), pre svega, to je ljubav zajednice, koja se kroz ljubav stvara i kroz nju postoji ("Svaki znak je zbir znakova / Nijedan nije potpuno sam"). Zbirka "Znak i njegova deca" može se smatrati nekom vrstom kosmogonije, ona je svakako pesnikova najznakovitija knjiga, koja zahteva posebnu čitalacku pažnju i posvećenost, ali koja taj trud nagrađuje jednim neobičnim i vanrednim osećanjem jednostavnosti. Paradoksalno, ali u savršenom skladu sa poezijom o kojoj je reč. To je i knjiga svojevrsne vedrine: Znak je osmeh praznine Kako je samo sama bez njega Praznina koja se smeje Probuđeni je znak ("Zrak i znak") Pred nama je i knjiga mudrosti bitisanja i trajanja: I odstojanja su deo reda Oko znaka sve mirno s vrha gleda ("Oko znaka") Ili: Znaci se sudare ponekad Uniste jedno drugo ........................................... Iz sudara dva znaka Rađa se nov svemir znakova ("Sudar dva znaka") Sledeći stihovi imaju u sebi i nesto od njegoševske upitanosti: "Šta je covjek, a mora bit čovjek?": Nije lako biti Znak Lakše je biti ništa ("Čuvari mira") Suština znaka je u letu— "Let je mera sveta": Nebo za nebom Krilo za krilom Život Znaka jeste let Kad znak prestane da leti Nestane nebo ("Znak i let") Ali, da li Znak Dejana Stojanovića može prestati da postoji, da traje, da se preobražava u ništa i ponovo rađa iz ništa? U ovoj knjizi ima svega osim smrti. Kraj Znaka jednostavno ne postoji; ako nestane u jednom obliku, pojaviće se u drugom: "Ništa i Znak su najbliži rod / Ljubavlju pretvoreni u jedno". Znaku sve služi: "Tama nikada nije izneverila svetlost / Ona ponosno čeka". Zrak i nista igraju svoju večnu igru u večnoj potrazi jedno za drugim, to jest za samima sobom: Ništa i znak opet se traže Usna svetlog tela traži usnu mraka Erotika zraka ("Ništa i Znak") Zagledan u suštinu večnog, Dejan Stojanović nam svojom knjigom "Znak i njegova deca" nudi čitav spektar prinicljivih posmatranja i dubokih uvida. Pred nama je nasa vasionska kolevka (u kojoj "Iako sve svuda žuri / Ništa nikuda ne ide") i mogućnost da se bar na tren vratimo svom kosmičkom domu i osetimo da smo i sami jedan njegov znak, odnosno jedno od njegove, to jest, Znakovljeve dece. Jer, kako pesnik podseća: I kad se izdeli Ostaje Jedno Sijanje i sejanje sebe Sobom u sebe pada ("Znak i brzina"). -Nevena Vitošević Književna reč, broj 513, februar 2001. ZNAKOVI SMISLA Središnja, ključna misao vodilja treće knjige pesama Dejana Stojanovića potpuno je obelodanjena u uvodnoj prilog pesmi "Nadnebni znak" kojom se otvara zbirka "Znak i njegova deca." Poput terazija, na jednom njenom tasu je misao sa težinom spoznaje tajne novog vida praiskona, odnosno njegovog, u svemu začetnog, znaka zametnutog u vaseljenskom vrtlogu. Pesma "Nadnebni znak" je kao belutak bačen u središte vode bezdane, odakle je ko zna kad i kako do kopna, do svetlosti, ili do dlana izronio. Nakon ponovnog dospeća do dna, odakle će samo svetlosnim zracima da se oglašava , javiće se između obala korica knjige pet koncentričnih krugova imenovanih kao "Vrhovni znak", "Znak i ništa", "Lice znaka", Reč i znak" i "Znak i san", Poslednji, prividno najmanji, ali koji podlokava i razdire sve dubine Nevremora koje se igra tlom zemaljskim. Kako u prvom, tako i u svim potonjim poetskim krugovima, osim pojma Znak kojeg pesnik uvek ispisuje velikim slovom, javlja se i drugi, takođe sa značenjem "Oblikotvornog prauzroka sveta kojeg preispituje pesnikova ezoterična radoznalost" (zapažanje recenzenta Petra V. Arbutine). Reč je o Zraku sa ne samo metaforičkim značenjem graditelja i rusitelja. Zrak je, po Stojanoviću, "osmeh praznine", a "Praznina koja se smeje / Probuđeni je znak". U drugom ciklusu, "Znak i nista", u središtu filozofsko-poetske opservacije jeste pojam ništavila ili nule. I nije reč o bezizlazu, jer "Ništa je postojano samo dok Znak spava". U ništa se i Vrhovni Znak pretvara, i to u trenu kada je najmoćniji. Bitno je istaći onu primarnu odrednicu kojom se Dejan Stojanović izdvaja iz mnoštva pesnika ne samo svoje generacije. Njegov lirski koncept, kojeg iz knjige u knjigu neprestano dograđuje, zasnovan je na kosmonizmu, filozofskom pogledu na svet, koji na vasionu, zajedno sa čovekom i svim sto je čovecansko, gleda kao na jedno veliko jedinstvo i celinu, a na duh kao na ogledanje vasione. Hipoteze Kanta i Laplasa o postanku sunčevog sistema, kosmogonija, a posebno ono mitsko i metafizičko u njoj što se odnosi na stvaranje i postanje sveta koji je "celokupnost svih pojava u prostoru i vremenu", sve je to poetski veoma uspešno utkano i u Stojanovićevim prethodnim knjigama, "Krugovanje" i "Sunce sebe gleda". Filozofsko često nadvlada ono lirsko, ali melodioznost i metaforicnost, u leksičkom pogledu bogata poezija Dejana Stojanovića, koji punu deceniju živi i stvara u Čikagu, čine ga lirikom-kosmosofistom koji nastavlja poetsku nit začetu lirskim krugovima Momčila Nastasijevića, Vaska Pope i Aleka Vukadinovića. -David Kecman Dako Borba, 15. 3. 2001. Table of Contents ZNAK I NJEGOVA DECA Nadnebni znak 5 VRHOVNI ZNAK Znak i praznina, Porodica znakova, Zrak i znak, Znak Svetlonosac, Zrak osvaja tamu, Vid vrhovnog znaka ZNAK I NIŠTA Dok Znak spava, Ništa i znak, Znak i brzina, Beskrajni znak, Čuvari mira, Znak ljubavnik, Nula i znak, Razonoda praznine LICE ZNAKA Znak i let, Nebo i znak, Znak i mrak, San znaka, San, Znak kap, Lice u lice, Dom Znaka REČ I ZNAK Znaci, Ljubav znakova, Sudar dva znaka, Postelja znaka, Znak Orfej, Oko Znaka, Reč i znak ZNAK I SAN San znaka i buđenje, San oca, Jedno, Skok znaka, Zrak i mrak, Zvezda i znak, Dva znaka, Lutalice i izgnanici, Ljubav dva znaka, Kometa, Zemlja i svetlost Beleška o autoru 59 ***Znak i njegova deca, The Sign and its Children LC: PG1419.29.T587 Z44 2000

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Dejan Stojanović, Tvoritelj (The Creator), Narodna knjiga, Alfa, Beograd (Belgrade), 2000 By statement: Dejan Stojanović. Series: Biblioteka Savremeni srpski pisci, (Unnumbered) Source records: Library MARC record Library MARC record Language: Serbian Dimensions: 21 cm. Pagination: 102 p. ; LCCN: 2001364939 LC: PG1419.29.T587 T88 2000 Subject: Poetry ZNAČAJNI DOMETI KRATKE LIRSKE FORME Sasvim opravdano, može se reći da je Dejan Stojanović (1959) u svojim do sada objavljenim pesničkim knjigama uspeo da uspostavi i omeđi svoj pesnički svet. Ono što taj svet održava jeste određeni pesnički koncept, pojam koji odmah iziskuje nekoliko objašnjenja i razgraničenja. Pre svega, ako je koncept misaona, odnosno čisto misaona kategorija, postavlja se pitanje u kojoj meri se razlikuje onaj izvorni, primarni, filozofski koncept od drugih oblika ovog pojma. U nekim, (čisto) filozofskim konceptima, misao, sama po sebi, na kraju jednog procesa ostaje ono što je bila i na početku tog procesa. U okviru pesničkog koncepta, međutim, misao se, gotovo uvek, s obzirom da je poezija umetnost, neposredno ili posredno služi čulnim sredstvima—slikama, jezičkom melodijom. Zato tvrdnju o postojanju apstraktne poezije, bilo da je reč o poeziji u kojoj preovlađuju slike, bilo, pak, o onoj misaonoj, metafizičkoj, uvek moramo dodatno komentarisati. I Stojanović je shvatio razliku između filozofske i takozvane pesničke misli, pa, u pesmi, "Čista misao" to ovako ilustruje: "Izvija se i provlači / Kroz šumu izazova / Sve bi da je zavede / Ako izdrži izroni čista". Ovakva, čulno obogaćena misao u poeziji ne znači da mi određene pesničke činjenice ne možemo imenovati ili objašnjavati misaonim ili folozofskim terminima. Stojanovićev pesnički koncept upravo ukazuje na jednu misaonu osnovu koja ima filozofske i poetičke reference. Naime, i u ovom slučaju mi, jedan, pesnikov koncept, ne nazivamo filozofskim konceptom, između ostalog i zato što su filozofski koncepti uvek do kraja misaono dograđeni i zaokruženi, a pesnički koncepti nisu niti mogu biti takvi. U poeziji niza srpskih pesnika, čak i onih koji pripadaju krugu takozvanih čistih liričara (Crnjanski) nailazimo na elemente pojedinih filozofski sistema ili pravaca koji su postali pesničke, čulne činjenice, kao što se ovo dešava i u poeziji naglašeno čulnih, metafizičkih pesnika (Branko Miljković). Zato se može reći da pominjanje "atoma", "nečujne melodije" "elemenata" . . . u Stojanovićevoj poeziji nesumnjivo upućuje na predsokratovsku misao, ili onu prvu, izvornu filozofiju, u kojoj Biće i mišljenje još uvek nisu bili odvojeni. Atomisti, pitagorejci, filozofija praelemenata, ili Zenonove aporije--to su uporišta Stojanovićeve poezije, koja istovremeno ostavljaju pesniku mogućnost da pesničkim sredstvima uobliči celine svojih pesama. Materija i kretanje u osnovi su Stojanovićevog pesničkog sveta. Nije ovde u pitanju materija kao neka bezoblična masa, niti kao nekontrolisano kretanje, već se, u skladu sa teorijom o haosu i kosmosu, polazi od uobličene materije, od oblika kao osnovne materijalne jedinice i od osmišljenog kretanja, kojim upravljaju istovremeno i prirodne sile i čovek. Naravno, u Stojanovićevoj poeziji nije rekonstruisana neka celovita kosmogonijska teorija, niti se insistira na nekom, do kraja određenom, sakralnom ili svetovnom demijurgu, već na jednom opštem kretanju koje liči na "treperenje" materijalnih čestica i koje uvek ima svoj cilj, više ili manje dostižan, normalan ili apsurdan, logički ili alogički. (U pesmi "Treperenje" autor je poređao elemente uključene u ovaj oblik kretanja: "krivo drvo", "ravnodušnog galeba", "zvezdu", "čoveka koji gleda", "iskru", "snagu", "vatru", "užas", "raspad", "vonj", "mir".) Tvoritelj, Oblik, Znak . . . , Krugovanje—ovi naslovi Stojanovićevih pesničkih zbirki najbolje ukazuju na dve pomenute dimenzije njegovog pesničkog sveta—na materiju i kretanje. Kretanjem u Stojanovićevoj poeziji upravljaju dijalektički zakoni, koji se primenjuju paralelno, u saglasju, ali, istovremeno i u znaku suprotstavljanja: pesnik polazi od oblika kao ostvarenog cilja, ali, istovremeno, tvrdi da cilj i put prema tom cilju, odnosno "cilj" i "čin" lako menjaju mesta, što ima i etičke i estetičke konotacije: I što se stvori I što se zbroji I što se potroši Sve čini čin Išto se nada I što se ne postigne I što je muka Sve čini cilj ("Cilj") Fizičko kretanje u Stojanovićevoj poeziji u osnovi je paradoksalno, kao odjek Zenonovih aporija, a takvo kretanje prate i verbalni paradoksi: "Smejem se i drugima je hladno". I slikovno kretanje ovde može biti uslovljeno paradoksima koji su sada prevashodno etički intonirani. "Iako istinu nosi / Nijedan oblik / Ne doseže je / Zahvaljujući tome leti". "Širenje" i "skupljanje" oblika u Stojanovićevoj poeziji lako je i ljupko, kao što se šire i skupljaju pneuma ili monada. Tako jedan "oblak" kao elementarni prirodni oblik, "U bezbroj želju pretače / Nasmejan dok sebe guta." Ako su materija ("oblik") i kretanje u temeljima Stojanovićevog pesničkog sveta, pa ako, u odnosu prema ovim pojmovima dolaze do izraza elementi jednog iz pesnikove lektire proisteklog koncepta, koji se nazire kroz pesničku strukturu, onaj drugi pojam, koji je Aristotel, uz materiju, dalekosežno uočio—forma—ukazuje na pesnikova poetička i teorijska načela. Svako ko je upućen u književnoteorijsku terminologiju, uočiće u Stojanovićevoj poeziji nominalno prisutne pojmove vezane za stvaralački postupak ili za umetničku, pesničku formu. U srpskoj, kako klasičnoj tako i savremenoj poeziji, pesma i pesničiki čin česti su, gotovo obavezni pesnički motivi. Jedan, opšti obrazac ovakvog pesničkog opredeljenja ukazuje na težnju da se iskaže sopstveno viđenje pesme kao umetničkog fenomena, i, naročito, mogućnost učinka toga fenomena u svetu i životu. Stojanović je, čini se, jedinstven po insistiranju na pesničkoj "obradi" nekih neprekidno aktuelnih pojmova pesničkog čina i pesničke forme: doživljavanja, opisa, prepričavanja, iskazivanja, znaka . . . Ako ovaj pesnik "doživljaj" poistovećuje sa "istinom", a , nasuprot imenovanju kao najčešće pominjanoj vrsti stvaralačkog postupka, ističe "izricanje", onda takvi stavovi najbolje ukazuju na prirodu njegovog odnosa prema jednom sistematski 'obrađenom" pojmu u njegovoj poeziji -- "znaku" -- kao prema dominantnom obliku iskaza u toj poeziji -- sažetoj, kratkoj lirskoj formi. Znak, kao jedan od osnovnih estetičkih pojmova u XX veku za Stojanovića je višestruki izazov u svim fazama njegovog stvaralačkog postupka. Upravo se u znaku stiče mnoštvo dimenzija, kao što se, istovremeno, stavlja na probu jedan pesnički odnos koji bi obuhvatio sve te dimenzije: opštu, posebnu, pojedinačnu, čulnu i duhovnu, jezičku i značenjsku. U skladu sa zahtevima svoga pesničkog koncepta, Stojanović ponajviše teži približavanju opšte i pojedinačne dimenzije znaka, to jest poistove}enju "forme" ovog pojma s pojedinačnim fizičkim i duhovnim pojavama sveta i života, istorije i umetnosti. Doživljaj i ono što u tom doživljaju prirodno dominira, emocije, ima prevagu nad racionalnom, saznajnom komponentom u Stojanovićevoj poeziji. A ove, doživljajne, emocionalne činjenice, presudno utiču i na njegovu pesničku "kratkoću". Takav odnos prema "znaku" i drugim tematskim "jedinicama" u Stojanovićevoj poeziji, naime, bitno usmerava ovog pesnika u pravcu lirike , ili "lirske kratkoće," a ne u pravcu racionalno-intelektualne sažetosti. U Stojanovićevom doživljajnom odnosu prema "znaku", ali i drugim osnovnim motivskim jedinicama njegove poezije, sadržani su i slikovni (imaginativni) i refleksivni i melodijski impulsi te poezije. Takvi impulsi doprineli su pojavi nekih autentičnih obrazaca Stojanovićeve "maternje melodije". Iskra ti senka Bajka ti san Ti majka mira Opsena i raj Želja ti varka Mašta ti srž Ti otac zraka Izvor i moć Plav i crn Vatra i vrisak Jezgro vulkana Samom sebi dom ("Dom znaka") Stojanovićeva "lirska kratkoća", naravno, ne pojavljuje se izvan tokova savremene, moderne srpske lirike. Njene korene treba tražiti u Nastasijevićevoj i Popinoj poeziji, kao što pojedinačni leksički elementi Stojanovićeve poezije, ili, pak, pesnički koncepti odnosa prema nekim pesničkim motivima, upućuju na Branka Miljkovića, i još ponekog od najboljih predstavnika savremene srpske lirike. Ali, u pitanju su samo fragmentarni odblesci, uključeni u dobro zasnovanu i uspešno oblikovanu celinu jednog veoma interesantnog pesničkog sveta, koju, kao i sve jezičke, krhke tvorevine, treba pažljivo dograđivati i dorađivati, braniti. -Miloslav Šutić Književna reč, broj 515, jul 2001. Odzivi, str. 67, Konras, biblioteka Groš, Beograd 2002. BELINA SVETA I PAPIRA Posle tri pesničke knjige: "Krugovanje" (1993, 1998, 2000), "Sunce sebe gleda" (1999) i "Znak i njegova deca" (2000), Dejan Stojanović se još jednom upustio u neponovljivu avanturu stvaranja--odnosno tvorenja. Demijurški izazov koji se nalazi u biti svakog stvaralastva, u ovoj knjizi je dvostruko ostvaren. Pesnik ovom knjigom tvori svoj poetski svet—jedno pusto prostranstvo (konkretnije belinu papira) naseljava duhom i smislom, a s druge strane, segnuvši duboko u dijahroniju prati nastanak pravog sveta i svemira. Zbirka pesama "Tvoritelj" uglavnom se sastoji od kratkih pesama, međutim, na idejno-tematskom planu ona se može posmatrati i kao jedna jedinstvena poetska celina. Da bi i na jezičkoj ravni istakao drevnost vremena, stihozbirka obuhvata (a postoji li veća drevnost od perioda nastanka svemira, a time i našeg sveta), Stojanović svoju poetiku bazira na samim temeljima čovekove spoznaje sveta: vodi, vatri, zemlji i vazduhu. Stojanovićev, odnosno "Tvoriteljev", svet je na izvestan način "svet pre sveta"—svet koji još nije spoznao sebe. O tome svedoče stihovi iz pesme "Dan i mrak" . . . "Tišinu koju niko nije čuo / Mrak koji niko nije video / Uspavani mrak / Sebe čeka". Dejan Stojanović je zbirkom pesama "Tvoritelj" uspostavio veze i relacije, sklad i harmoniju između duha i materije, dajući i jednom i drugom ono mesto koje im pripada—prvo. Jer, kao sto se ideja ne moze ovaplotiti bez materije, tako ni poetska inspiracija ne moze činiti umetničko delo za sebe, dok ne prozbori kroz um i ruku pesnika. Mogli bismo reći da je "Tvoritelj" plod velike usaglašenosti pesnikove inspiracije, uma i ruke koja ispisuje belinu sveta i papira. -Oliver Janković Borba, 28, 29, 30. 11. 2000. Table of contents: SVETLONOSAC Svetlonosac, 7 Zmaj, 9 Cilj šapuce, 11 Let, 13 Bleštavo jezgro, 15 Zavesa svetlosti, 16 Perpetuum mobile, 17 Zbrka, 19 Đavo i Bog, 20 ŠUMA SVEMIRA Ti, 23 Čekanje, 24 Čista svetlost, 25 Svet kapi, 27 Šuma svemira, 28 Plodonosac, 29 Plođenje, 30 Novost, 31 San o tebi, 32 Azbuka, 33 Krik, 34 GOVOR VATRE Govor vatre, 37 Drvo, 38 Vatra i izvor, 39 Vatra i buđenje, 40 Svet i ti, 41 ODAJA SNA Prolazak, 45 Drvo i praznina, 46 Voda, 47 Koreni, 48 Želja, 49 Odaja sna, 50 ŠAPAT BESKRAJA Dan i mrak, 53 Đavo prevaren, 54 Gnezda, 55 Tunel, 56 Dan, 57 Dan sveta, 58 NASMEJANO NEBO Vrtlog, 61 Nasmejano nebo, 62 Vidljivo i nevidljivo, 63 Boja, 64 MISAO I LET Nikola Tesla, 67 Rene Magrit, 68 Svetlost knjige, 69 Atomi beskraja, 70 Orao, 71 Pravda i moć, 72 ISTO I PROMENA Pretapanje, 75 Promena, 76 Nepodešena čula, 77 Vid tajne, 78 Putevi, 79 Srce, 80 OBALA I CILJ Obala, 83 Svet I, 84 Svet II, 85 Izvor, 86 ČEZNJIVI ELEMENTI Bujica, 89 Čista misao, 90 Zemlja, 91 Knjiga, 92 Čeznjivi elementi, 93 Trošenje,94 Treperenje, 95 Cilj, 96 Beleška o autoru, 98 By statement: Dejan Stojanović. Series: Biblioteka Savremeni srpski pisci, Biblioteka Savremeni srpski pisci (Unnumbered) Source records: Library MARC record Library MARC record Language: Serbian Dimensions: 21 cm. Pagination: 102 p. ; LCCN: 2001364939 LC: PG1419.29.T587 T88 2000 Subject: Poetry

Sunce sebe gleda

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THE SUN WATCHES ITSELF The second collection of Dejan Stojanovic’s verse, “The Sun is Watching Itself,” is covered by a metaphysical and philosophical veil. Eleven segments are connected by these two abstract approaches and by such key images as a circle, suggesting infinity, and silence, reflecting space and eternity. The circle serves as a powerful symbol and a device of the perpetual in this poetry: “the end without endlessness is only a new beginning,” claims the poet. Thus, one of the poems bears the title “God and Circle,” symbolizing the perennial search for an exit and the eventual finding of one, which only leads into another circle and to continuous evolution. This prompts Stojanovic to pose the question “Is God himself a Circle?”—implying that God is endless and ever present. Although concise, the poems convey in a powerful and specific manner messages from the triad circle-God-eternity, connected by man’s destiny and the poet’s concept of human life and origins, and of the universe itself. In other words, microcosmic observations lead to macrocosmic revelations and didactic conclusions. The poems seem to teach us what is obvious in the context of common sense, often surprisingly remote to the modern man. In terms of style and format, the author has a coextensional approach; he uses relatively simple expressions and words in an interplay of brilliant meanings that bring about highly complex but easily readable structures. If elegance is represented by simplicity, then these are some of the most elegant verses imaginable, unadorned verses that are a source of beauty and wisdom. Stojanovic’s perceptions of light and darkness, of fantasy and reality, of truth and falsehood present us with a circular format of infinity and resurrection. The format has its logical beginning and end. “The Sun is Watching Itself” begins with poems dedicated to God and the universe, then descends from the metaphysical to the philosophical, focusing on more ordinary such us the symbolic meaning of a stone, a game, a place, silence, hopelessness, and the question ”Is it possible to write a poem?" Stojanovic’s collection might well serve as an affirmative answer to this question. The poet has taken us on a long journey from God and universe to our everyday world. We all seem to be a part of a circle, says the author, searching for the eternal in the universe, only to realize the finality of life on earth. The poet’s message is doubly effective for its extraordinary, soul-searching content and its reflective, powerful language. -Branko Mikasinovic, Washington, D.C. WLT World Literature Today, A Literary Quarterly of the University of Oklahoma, Norman, Oklahoma, Volume 74, Number 2, Page 442, Spring 2000 SOLARNI KRUG ISTINE Već sa prvom zbirkom ("Krugovanje") Dejan Stojanović je kvalitativno značajno postulirao svoj poetički credo i simbolički kompleks tako da uz pomoć njega može uspešno da se prati obimno koncipirana celina, kontinuitet i preokupacije, drama pesničkog stvaranja u borbi za istinu i traženje smisaonosti kroz kreaciju u zbirci "Sunce sebe gleda." Kroz poetičku prizmu narečenih zbirki jasno se sagledava i poetsko "vjeruju" Dejana Stojanovića koje bi bilo najbliže Nastasijevićevoj misli da bi trebalo prožeti se poezijom, a ne samo dodirnuti je. Pesnik sa prvom zbirkom prihvata izazov, koji još bolje značenjski produbljuje u drugoj; odricanje od moderne koja je sama sebi svrha, opredeljujući se da pesničkim simbolima iskaže univerzalnu dramatičnost. Pesnik, i kada je osećanje slobode u njemu jedna od osnovnih dominanti osećanja sveta, ne može se oteti utisku da je još samo jedna karika u lancu potvrđivanja i nastavljanja volje onih spodoba koje iz dubina nebića izlaze na svetlo dana, zauzimajući sebi svojstvena i primerena mesta u hipokriziji, oportunizmu i egocentričnom konformizmu naših dana. Otuda je u poeziji Dejana Stojanovića put ka suštini i istini poetički i smisleno lociran "s druge strane vida" ("Krugovanje") dok se formalno poigravanje smislom reči—koje na planu metafizičkog usložnjavanja povlači razgranato poigravanje značenjem—prepliće sa nepomućenom verom u pročišćujuću ulogu reči. Profetska uloga poezije u prizivanju i ovekovečavanju kataklizme totalitarnog sveta daruje ontološki pečat postojanja svemu; u rekombinacijama i specifičnim međuodnosima i višnjoj harmoniji između stvari iz fundusa očiglednosti. Osluškivanje pulsacija bića izjednačeno je sa osluškivanjem večnosti koja vaskrsava u poetskoj matrici saznanja o nepreglednosti i, u isto vreme, uniženosti bića u odnosu na apsolut, ciji je pečat jasno utisnut u svakodnevnu pojavnost. Samim tim kategorije vanljudskog počivaju u metaforama i slikama sveta koji se atomizira u supstancijalni praelement smisla; u prapočelo, odakle se ponovo vaspostavlja pod blagotvornim utiskom i oblikom pesme. Poniranje u nemušte i tajinske zone bica, osetljivost i pažljivost u građenju lirskog subjekta, imaginativni spojevi prepuni duhovne osetljivosti, od velike većine pesama zbirke "Sunce sebe gleda" stvaraju univerzalne simbole poetski rafinovane imaginacije, fantazijskih obasjanja i pazljivo odabranih folklornih rudimenata pamćenja izniklih iz našeg tla. Jezički senzibil uvodi nova značenja u poznate relacije; svetlo i tama—oportuna simbolika sna, pretvaraju se u okolnosti stvaranja, tišina prerasta u dinamično stanje unutrašnje molitve, a istina, kroz potrage za njenim ontološkim parametrima—preispitivanjem nutrine, postaje samosvojno stanje izopštenih i jurodivih umova. Upravo takvo posedovanje istine, kao unutrašnjeg osećanja i kao istupa iz sebe, u poetskom ludensu Dejana Stojanovića povlači irinijske i sarkastične linije pevanja; asketskog izrugivanja svetu materije, hipokrizije i prosečnosti, suprotstavljanja istine jedinke (bića) "istini" mase (kolektivnog zla utemeljenog u ne-bicu). Pozicija čoveka samca jeste pozicija pesnika u odnosu na, do obezličenja multiplikovan, organon vaskolikog sveta. Stišani tonovi gradacije simbola, stvaranje specifične hijerarhije, traženje sebe u drugima i drugih u sebi, elementarizuju u ovoj zbirci jedinstvo kruga kao alegorični pečat apsoluta i istraživanja beskonačnosti i konačnosti zemaljskih dana. Između reči i glasova, katalizatora duhovnog i uzvišenog, apsoluta i smisla postojanja, sugestivno i simbolički redukovanih stihova, do širokog narativnog zamaha, utkana je čitava ova zbirka. Ova poezija je sva u jeziku i sva od jezika. Put Nojeve barke jezika jeste njeno apsolutno znanje kojim plovi kroz žamor i bure nerazumevanja, neshvatanja i reči iz kojih je iscureo smisao kao pesak iz klepsidre sveta čije dane prepune iskušenja intenzivno proživljavamo. -Petar V. Arbutina, 1999. PESNIK PRED OTVORENIM VRATIMA Dejan Stojanović, u poslednje dve godine načinio je pravi podvig: objavio je šest knjiga. Osim jedne, sve knjige pesama. Stojanović je pesnik koji traga za savršenim pesničkim oblikom jer istovremeno traga i za apsolutnim smislom čovekovog postojanja. "Krugovanje" (1993) je naznačilo Stojanovićev pesnički put, a nove knjige—"Sunce sebe gleda", "Znak i njegova deca", "Tvoritelj", Oblik, uz treće, dopunjeno izdanje "Krugovanja", zaokruzile su njegovo dosadašnje pesničko delo. U "Razgovorima," Dejan Stojanović je sabrao intervjue koje je početkom devedesetih godina vodio sa veoma istaknutim srpskim i stranim stvaraocima, u Beogradu, Parizu i Čikagu, a objavljivao ih je tih godina (1990-1992) u magazinu "Pogledi". Nije mala stvar naći se oči u oči sa piscima kakvi su Alek Vukadinović, Momo Kapor, Nikola Milosević, Žak Klod Vilar, Sol Belou, Stiv Tešić, Branko Mikašinović, Čarls Simić i Nadja Tesić, ili sa slikarima Petrom Omčikusom, Ljubom Popovićem, Milošem Šobajićem, Savom Rakočevićem. Umeti sa njima razgovarati na visokom, dakle njihovom nivou, postavljati im odgovarajuća, za svakog od njih dobro promišljena i pronađena pitanja, koja otključavaju brave i njihovih dela i njihovih ličnosti, to je posao koji zahteva veliko i veoma rznovrsno znanje. Nije, onda, čudo što je za ovu knjigu Dejan Stojanović dobio nagradu Matice iseljenika i Udruženja književnika Srbije za intelektualni angažman. Knjiga pesama "Krugovanje" bila je objavljena prvi put 1993. godine, a zatim je doživela još dva izdanja, 1998 i 2000. Pesnika iz Čikaga srpska javnost je doskora poznavala samo po toj knjizi. Poznavala i cenila, što se može zaključiti iz sažete ocene Aleka Vukadinovića: "Specifičan, iznenađujuće originalan, izvan tokova kolektivno negovanih senzibiliteta i pomodnih trendova. " I poznati američki pesnik, Čarls Simić, ima laskavo misljenje o prvoj Stojanovićevoj knjizi.: "'Krugovanje' je knjiga u kojoj sam u potpunosti uživao. Obilje lepih kratkih pesničkih formi." Ne iznenađuje ovakva Simićeva ocena, jer on kao stvaralac i prevodilac Nastasijevića i Pope zna šta je lepota kratke pesničke forme. Zato je i važno to priznanje kada ono baš od njega dolazi, a pogotovo što se odnosi na nešto sto je bitna karakteristika Stojanovića kao pesnika: za njega su reči sakralni znaci, pa se on prema njima i odnosi sa krajnjim poštovanjem, odgovornošću, uzdržanošću, koja je na samoj granici straha: Kada bismo utvrdili Koliko je važno da se nešto kaže Mozda nijednu reč ne bismo napisali ("Isto") Ali strah ne sputava pesnika. Razmišljajuci o svojoj poetici , Stojanović se prisetio majstora nad majstorima, Betovena: "Samo praznina kad gleda / Uvek isto vidi". Praznina može da vidi samo prazninu. A čovek kada gleda vidi čoveka—mada ni njega nije lako videti, pogotovo sagledati. Pesnik, međutim, gleda kroz čoveka i vidi ono što vide pravi stvaraoci, umetnici i duhovnici—tajnu. Stojanović je, pored ostalih, napisao i dve lepe pesme o tajni. Prva "Tajna" kao da je od ovoga, čovekovog i prirodnog sveta: Bogata i daleka Ti nemo čekas Gde se kriješ Daj znak Primi u goste Morem opasana Nehajna—sebi dovoljna Nećeš da otvoriš vrata A druga tajna, u pesmi "Tajna i istina", kao da je ona koja je u vezi, pored drugih, sa jednom, najvišom istinom, istinom nad istinama, u vezi sa samim izvorom života i postojanja, sa istinom Tvoritelja: Ima mnogo tajni Nemoj ih sve rešavati Ima mnogo istina Samo ka jednoj teži Sve istine iz jedne dolaze U pesmi "Blago izvora", iz tog istog ciklusa "Betoven i smrt", u knjizi "Sunce sebe gleda", Stojanović se ponovo vraća sličnoj slici početka svih početaka, ishodištu svih ishodišta, izvoru svih izvora: Ne propusti da vidiš Kako se cveće Suncu Galeb vodi raduje Primi ih u sebe Gledaj kroz mrak Sanjaj kroz svetlost Ka jezgru Iz kog si na put krenuo Pored apsolutnih, svemirskih "vrata", Stojanović ne zaboravlja ni čovekova vrata, na kojima se, ranije ili kasnije, ugleda smrt. I ta se pesma, "Betoven i smrt" odlično uklapa u ovaj ciklus u kojem se ukrštaju simboli izlazaka i ulazaka: Smrt je na vratima Kaže Betoven Da li da mu verujemo Možda se i nije šalio Možda je stvarno video smrt Oči im se srele Njemu nije imao ko da kaže Da zaključa vrata I da mu je rekao, Betoven ih ne bi zaključao. Nije ih zaključao ni Stojanović. Srećom po sebe i poeziju koju piše drži ih i on širom otvorena. Sreću mu se oči sa smrću, ali i sa svetlošću. -Aleksandar Petrov Amerikanski Srbobran, Književni dodatak, decembar 2000.

Krugovanje

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Dejan Stojanovic, Krugovanje: 1978-1987, Narodna Knjiga, Beograd, 1993 By statement: Dejan Stojanović. Series: Savremeni jugoslovenski pisci (Narodna knjiga, Beograd) Source records: Library MARC record Library MARC record Language: Serbian Edition: 1. izd. Dimensions: 21 cm. Pagination: 74 p. ; LCCN: 96127254 LC: PG1419.29.T587 K78 1993 Genre: Reflective Poetry Subject: Poetry PESNIČKI KRUGOVI DEJANA STOJANOVIĆA U razuđenoj slici naše savremene poezije pažljiviji čitalac može prepoznati jedan njen tok koji baštini neka izrazito refleksivna iskustva pesničke tradicije, korespondira sa našim srednjovekovljem, otvara se za njegova vizantijska sazvučja, i u kontekstu savremenog pesništva najviše se približava modernom klasicizmu. U prvom talasu našeg posleratnog pesništva taj tok je bio u samom temelju obnove, da bi danas bio gotovo potisnut. Izgleda da se upravo danas, u atmosferi gotovo pune zasićenosti praksom smenjivanja pesničkih trendova, srpsko pesništvo opet vraća svojim temeljnim tokovima. Ova slika laganog preokreta, jedne dugo očekivane preorijentacije na našoj pesničkoj sceni, po svemu sudeći već se događa i već se oseća u aktuelnoj knjizevnoj atmosferi. Iščitavanje pesničkog rukopisa Dejana Stojanovića, Krugovanje, izaziva asocijacije jednog ovakvog talasa koji nije vise u ilegali, nego se pretvara u aktuelan pesnički fenomen. Dejan Stojanović očigledno ne trpi uticaj nijedne škole savremenog pevanja, nije se poveo ni za jednim pomodnim pesničkim trendom, niti je upao u makaze nekog senzibiliteta, kao "pratilac". Reč je o pesniku iskazne i misaone zrelosti, izrazito refleksivnom, neretko diskurzivnom, sa stihom koji vec u prvom sloju oživljava atmosferu klasične starine. Lako je uočljivo šta Stojanovića posebno obeležava u kontekstu savremenih pesničkih strujanja. U tkanju pesme i građenju stiha pesnik se vratio antičkoj formi iskaza, teškom i sporom hodu iskazne građe, tonu dostojanstvenom i gotovo svečanom, i onoj vrsti mudrovanja u stihu koje se negovalo u antička vremena. Taj antički ton, sasvim u sazvučju i atmosferi klasične starine, a koji u savremenom kontekstu odjekuje sasvim moderno, izbija iz gotovo svake Stojanovićeve pesme i daje ton celoj knjizi. Daleko od eksperimenata, od iskušenja hazarda i pesničkog pustolovlja, Stojanovićeve pesme odisu dostojanstvom antičkih formi. Slično postupku slikara, Stojanović svoje guste iskaze, najčesce mediteranski kolorisane, kondenzuje u kratke, harmonicne celine, iznenađujuće uspešnosti. Njegove pesme su, po pravilu, kondenzovane forme, satkane od sažetih iskaza. U drugom delu knjige pesnicka paleta kao da se zamračuje, pojavljuju se elementi fantastičnog i halucinantnog, pa i apokaliptički tonovi. Međutim, načelo kondenzacije i konzistentnost forme kod Stojanovića nikada ne dolaze u pitanje. Apokaliptičke scene i slike zla prikazuju se u krupnim blokovima, koji deluju poput krupnih poteza kakvog arhitekte ili skulptora. Takve su pesme "Vizija", "Šahovska tabla", "Dolazak mraka", "Gutačica", koje sve odreda deluju kao kompozicije. Stiče se utisak da je Dejan Stojanović pojedine pesme pisao uz likovne kompozicije: do te mere su u njima vizuelno-imaginativni efekti impresivni. Pravo je čudo da Dejan Stojanović nije do sada uspeo da svoje pesništvo uspešnije eksponira na javnoj sceni savremene srpske poezije. Specifičan, iznenađujuće originalan, izvan tokova kolektivno negovanih senzibiliteta i pomodnih trendova, Stojanović je izrazit primer stvaralačkog individualizma u generaciji koja je taj individualizam najmanje negovala. Zato je njegova knjiga Krugovanje ne samo primer izrazitog pesničkog dometa, koji predstavlja snažan prilog i podsticaj izuzetno značajnom toku našeg pesništva, nego i objava jednog moralnog i duhovnog projekta. Projekta koji pripada tradiciji srpske duhovnosti u najboljem i najizvornijem smislu te reči. -Alek Vukadinović, 1986. KRUGOVANJE Pesme Dejana Stojanovića jesu tanane i spiritualne tangente kruga koji obuhvata pojavnost skrivenu iza opni neposrednog imenovanja sveta i stvari u poetskoj transpoziciji. On traga po rubovima jezika markirajući svojim pesmama granične linije između sadržaja i njegove metafizičke predstave, čiste misli o svetu i njene esencije. Strast i potpuna i neusiljena odanost poeziji i snazi reči, poetski i značenjski oblikuje njegov nadasve originalan pesnički iskaz. -Petar V. Arbutina, 2000. Table of Contents KRUGOVANJE Ako jesam 7 Daleki sluh 8 I beskraj sta ti znaci 9 Reminiscencija 10 Stapanje 11 Rastrojstvo 12 Otkrovenje 13 Milenarija 14 Mislilac 15 S druge strane vida 16 SVICI Svetlost naroda 19 Svetionik 20 Eteroplan 21 Crna Gora 22 Zastitna rec 23 Divovi 24 Hegemonikon 25 MANTIKORA Razgovori atoma 29 Kresivo 30 Staze 31 Muzika izvora 32 Klijanje 33 Majusni svet 34 Sta si 35 Budjenje cveta 36 Krug 37 CUVAR BEZ KLJUCEVA Hodu u susret 41 Uspon varvarina 42 Jan Palah 45 Plavo 46 Covek i planina 47 Plava planina 48 U tisini veka 49 Ptice zovu 50 Trazenje iskre 51 Isti prah 52 Enformel 53 Novi vandali 54 MRAK CEKA Sukob 57 Kameno drvece 58 Sevanje ponora 59 Paklena zver 60 Pozivotinjenje 61 Predeo mira 62 Vizija 63 Sahovska tabla 64 Dolazak mraka 65 Gutacica 66 Melodija najstarijeg zavicaja 67 Rec samo 68 Pesnicki krugovi Dejana Stojanovica (Alek Vukadinovic) 69 Beleska o autoru 71 By statement: Dejan Stojanović. Series: Savremeni jugoslovenski pisci, (Narodna knjiga) Source records: Library MARC record Library MARC record Language: Serbian Edition: 1. izd. Dimensions: 21 cm. Pagination: 74 p. ; LCCN: 96127254 LC: PG1419.29.T587 K78 1993 Genre: Reflective Poetry Subject: Poetry

Serbian Satire and Aphorisms

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An Anthology of Serbian Satire and Aphorisms Between 1950 and 1990, satire contributed the most to the democratization of society in the former Yugoslavia and Serbia. Cabaret performances, The Alarm-Clock by Vlada Bulatovic Vib; The Tavern, The Court, The Mad House by Brana Crncevic or Marx, Marx, What Time Is It? by Milovan Vitezovic played a large role in the process. In 1969 Vitezovic’s book, My Heart Betrayed Me, was burned. In addition, Matija Beckovic, primarily a poet, had both the courage (considering that he lived in communist Yugoslavia) and the talent to write such provocative texts as “On Yugoslavs” and “On Success and Failure.” Writings of this nature were generally considered heresy, to put it mildly, and could have led to censorship, ostracism, or imprisonment. Under the influence of the great Polish aphorist and poet Stanislaw Jerzy Lec and later under the influence of Brana Crncevic and Milovan Vitezovic, the world-renowned Belgrade Aphoristic Circle was formed. Aphorisms were heavily used in the last decades of the 20th century in Serbia without slowing down in the 21st century. “It is a miserable democracy when people have to choose between two evils,” wrote Vitezovic four decades ago. These words are equally fresh and alive today, regardless of where one stands along the political spectrum. The form of satirical aphorism culminated under the pen of Vitezovic in the earlier decades and more recently under the pen of Aleksandar Baljak and Aleksandar Cotric, to name a few. “Our native land is in danger. From the saviors,” says Cotric, and this is the critique or social function of satire at its best. The absurdity of the situation and the use of paradox by satirists led to the best results in their works. Strangeness in literature is a quality regardless of form or genre, but in satire, strange or grotesque situations create a much stronger message. In a story titled, “Letter from 1920,” Andric wrote that “most evil and dark people can be seen around shrines, monasteries and mosques.” Humor is not present in this sonorous statement, yet the tone and message are piercingly satirical. In his essay "Laughter," Henri Bergson rightfully argues that, when people are found in unusual situations, it triggers laughter. For example, somebody walks down the street and for no obvious reason falls down in a grotesque way, so that passersby start laughing immediately. The peculiarity of this scene lies in the fact that it is not usual that a person walking down the street falls for no obvious reason. People who laugh in such situations react mechanically. Although comedies or humorous literary works are not necessarily satiric, many satirical plays and novels or stories are humorous. Humor in literature is most effective if it contains the elements similar to the situation described in the Bergson’s essay. Strangeness, absurdity, paradox, and hyperbole make satire more appealing, effective, and clear in its message. All these elements were employed by Petar Kocic in his play A Badger in Court. We can hardly imagine a stranger situation than a person suing a badger and bringing it to court to seek justice. From the first stories of Domanovic and Kocic, Serbian satire moved on to an adventurous journey full of creativity and surprises that led to improvement and artistic invention along a wide spectrum of artistic forms and mediums. One of the most popular and fruitful forms was aphorism, in which Serbian authors achieved the highest points even on the world scene. Today, there is no immediate danger for the satirical writers in Serbia since society has changed and democratized and not much courage is needed to write about any subject. Still, this journey not only continues in the 21st century but is equally productive, thought-provoking, and adventurous. -Dejan Stojanovic

The Sun Watches the Sun

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QUOTES “Real geniuses would like that what we think of ourselves is true.” “There are countless circles of hell; believers never penetrate the ninth circle.” “I wanted to write the most beautiful poem but that is impossible; the world has written its own.” “Cosmos is God, who whispered the syllable of life.” “Life is only a flicker of melted ice.” “Stars are only the rain of the Absolute.” “God is a cloud from which rain fell.” “Darkness does not age; nothing is always nothing.” “In the essence of truth lies deceit.” “Deceit dispels the boredom of the Absolute.” “Absolute equals nothingness.” “Absolute is a game with only one player where Absolute forgets itself so it would have a reason to fulfill the motion while returning.” “Omnipotence and omniscience are the end of power and knowledge.” “Everything and nothing are the same in the Absolute.” “Procreation annihilates eternity.” “Existence is the end of endless eternity without a beginning or an end.” “Unborn eternity does not die; existence is dying and falls asleep in the eternity beyond existence.” “Eternity is a glorious word, but eternity is ice.” “Knighthood lies above eternity; it doesn’t live off fame, but rather deeds.” “Our eternity is not real; it resembles us; it is our own invention; its scent is vanity.” “When following God, Zero we never find.” “Infinity is the end. End without infinity is but a new beginning.” “The world is God’s salvation.” “Sun is a hearthstone, a merry-go-round of extinguished hearthstones.” “Universe is the Sun watching its own self.” “The world is a fairy tale; we are its guardians.” “Two forces create eternity – a fairy tale and a dream from the fairy tale.” “God is busy and has no time for you.” “Get close to grass and you’ll see a star.” “Sunbathe from within.” “Arrival in the world is really a departure and that, which we call departure, is only a return.” “The same word we love and hate, leaves in different directions, taking different paths.” “Through words to the meaning of thoughts with no words.” “Different languages, the same thoughts; servant to thoughts and their masters.” “How many unuttered words died in the heads of those for whom a word was too expensive.” “Everybody talks, but there is no conversation.” “We hear only our own voices, still echoes returning to our emptiness.” “When the long bygone Lee Po wanted to say something, he could do it with only a few words.” “We forget old stories, but those stories remain the same.” “How alive is thought, invisible, yet without thought there is no sight.” “The deeper thought is, the taller she becomes.” “A smiling lie is a whirlwind, easy to enter, but hard to escape.” “Truth is hard-hearted and unrelenting, too clear, precise; a lie is much more imaginative.” “In the lie of truth lies the truth.” “Teaching others, he corrected himself.” “He did not waste time in a vain search for a place in history.” “After Homer and Dante, is a whole century of creating worth one Shakespeare?” “How does one say something new and not retell?” “We built tall buildings, but we have not become any taller.” “Either all lights are turned off or one inner light is missing.” “He did not profess to anybody how to reach others without professing.” “You not only are hunted by others, you unknowingly hunt yourself.” “Do not look too far for you will see nothing.” “Either you will be you or you will not be at all.” “We need knew knights, but without swords.” “Say No! Accept the burdens of revenge.” “Wherever there is somebody else, a war is not far away.” “Even if you are alone you wage war with yourself.” “A breeze, a forgotten summer, a smile, all can fit into a storefront window.” “Holy books are an insult to a God with good intentions.” “Whatever others may say, they say it to deceive and comfort themselves, not help you.” “His Highness was always confident in his statements, especially about what he viewed for the first time.” “Now that we are all so smart, we don’t easily find resolutions.” “He thought others were small; that was his greatness.” “This dwarf still observes the world from his own self-imposed height.” “If you could have walked on the planet before humans lived here, maybe the Ivory Coast would have seemed more beautiful than La Côte d'Azur.” “We measure everything by ourselves with almost a necessary conceit.” “There are no winners in real games.” “The game itself is bigger than the winning.” “Serious affairs and history are carefully laid snares for the uninformed.” “Creators of history always play with our impotence and our ignorance.” “You mark and celebrate errors, transforming failures into successes.” “All those big words produce disgust today.” “Statesmen are grocers, ambitious clowns.” “For a game, you don’t need a teacher.” “Faith is a question of eyesight; even the blind can see that.” “The universe is God’s son.” “Burning the witch Giordano Bruno is one more wound inflicted on Christ’s body.” “Christ did not ask or want to be what he was not.” “Strangers are endearing because you don’t know them yet.” “Your head is a lit chamber.” “The light teaches you to convert life into a festive promenade.” “What we call life is only talk of nature.” “Nothing is inanimate; what is the rest is our interpretation.” “We like to admit to only that which already glows, although it is nobler to support brightness before it glows, not afterwards.” “It is easy to see the glow but hard to recognize the awakening of silence.” “Disease often comes with a smiling face.” “Don’t pay attention to those who offer too much.” “He confided his deepest secret to you; be always wary of his secret.” “If what we think of ourselves were true, the planet would overflow with geniuses.” “Is it possible to write a poem or are these words just screams of outlaws exiled to the desert?” “It’s not easy to write a poem about a poem.” “You don’t know anything, but I know even less.” “If you are good, they say you are weak.” “They blossomed, they did not talk about blossoming.” “They grew; they did not talk about growing.” “Pose your questions to people and you will get countless useless answers.” “From whichever side I start, I think I am in an old place where others have been before me.” “For a moment at least, be a smile on someone else’s face.” “Beyond all vanities, fights, and desires, omnipotent silence lies.” “There are many secrets; don’t try to resolve them all.” “If we were to understand how important it is to say something and say it well, maybe we wouldn’t write a single word, but that would be tragic.” “Hope without love is hopeless.” “Nobility is not only in forgiveness.”

Selected Serbian Plays

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AUTHORS presented in this anthology are Branislav Nušić (The Deceased), Djordje Lebović (Hallelujah), Aleksandar Obrenović (The Bird), Aleksandar Popović (Hats Off!), Ljubomir Simović (The Traveling Troupe Šopalović), Dušan Kovačević (Balkan Spy), Siniša Kovačević (Times Have Changed), Nebojša Romčević (Caroline Neuber), Biljana Srbljanović (Barbelo, on Dogs and Children), Milena Marković (A Boat for Dolls). Modern Serbia's theatrical drama began in 1804, when Serb leader Đorđe Petrović, also known as Karađorđe (1762-1817), liberated Serbia from the Ottoman Empire. This volume follows the culmination of a long and progressively successful tradition of the dramatic arts in the country, leading to the zenith of Serbian dramaturgy in the twentieth century. The theatre's limited achievements in the eighteenth century were the result of the Serbian people's negative and sarcastic perception of theatre as an institution. Yet this attitude changed in the subsequent two centuries, when plays based on the concept of realism--both political and social--became popular, contributing to the development of the country's dramaturgy and theatre. Selected writers from this modern period include Branislav Nušić, Dušan Kovačević, Biljana Srbljanović, and Milena Marković--names readily recognized by today's Serbian theatre-goers. The choice of authors for inclusion in this anthology is based on their acknowledged reputations and individual excellence in areas of topical significance, theatrical innovation, continuous performance and acclaim, and enduring truth and message. -Branko Mikasinovich After Tito died in 1980, the Yugoslavian government tried to pretend nothing had changed. Their motto was "After Tito - Tito". The rules may have become less strictly enforced, but their presence still hung in the air. Holding on to the days of Tito, of course, proved more aspirational than actual. Without him, the economic imbalance between different regions continued to grow more severe and the historical grudges between ethnic groups floated back to the surface, making the eventual dissolution of the country, in retrospect, seem like a foregone conclusion. Milošević, eventually, was a poor imitation of Tito - and, where Tito controlled political subversion with a nuanced cleverness, Milošević lost control of it through a brazen arrogance. This allowed for a short period of more explicitly political and defiant works. Nothing of that nature, however, is included in this collection. The socio-political connections within the most contemporary works in the collection, Barbelo and A Ship For Dolls, are less local in their concerns - responding with a wider attack on the human condition within the 21st century. The theatrical imagination at work within these plays provokes and inspires simultaneously . . . Though not about to compete yet on an international scale with the likes of NewYork or London, Belgrade has an astonishingly prolific theatre scene, and as Harold Clurman reminded us at every opportunity, great theatre can only exist where the efforts to make theatre are legion. Belgrade is such a place and as the reader who becomes familiar with the plays in this book will avouch, Belgrade has produced some of the greatest. -Dennis Barnett * In presenting and promoting the contemporary plays, Serbia's four theatres and the Belgrade International Theatre Festival (BITEF) played a major role. The four theaters included the Serbian National Theatre, founded in 1861 in Novi Sad; the National Theatre in Belgrade, built in 1869; the Yugoslav Drama Theatre, set up in Belgrade in 1947 to gather the best actors from across Yugoslavia and eventually becoming an outstanding European theatre; and Atelje 212, established in 1956 to introduce the avant-garde to Belgrade, often producing challenging and provocative plays. Indeed, Atelje 212was the first in Eastern Europe to perform Samuel Beckett's Waiting for Godot, a play banned in all other Communist states. Meanwhile, BITEF, instituted in 1967, supported and performed the latest theatre trends and became one of the most important cultural festivals in Serbia as well as Europe, staging both significant classics and more experimental forms. BITEF was the first international festival to beawarded a special prize, Premio Europa Per Il Teatro, in 1999 for its input and crucial relevance in the theatre arts. After the breakup of Yugoslavia in 1991, the spirit and character of Serbian plays shifted to a basis on altered values and culture as a result of the wars and existential hardships. The most prominent Serbian playwrights following Lebović, Obrenović, and Popović were Ljubomir Simović and Dušan Kovačević. Although primarily a poet, Simović's (1935) plays are readily described as poetic dramas. His The Traveling Troupe Šopalović depicts actors travelling together and sharing their destiny. The play centers on two characters, Vasilije and Jelisaveta, whose best years are behind them. The plot and characters oscillate between reality and self-delusion, from "extreme realism to a poetic vision and we hardly notice the moment when the author ofthe drama has been joined by a poet", as drama critic Jovan Hristić pointed out. Kovačević (1948) is a prolific writer best known for his more than a dozen plays and movie scripts. Two of his best known playsare Balkan Spy and The Professional, which reflect the political and--as some attest--conspiratorial minds of Serbs, with all the ensuing collusions. Kovačević's plays remain very popular in Serbia and have been translated into more than twenty languages and performed abroad. Similar in ideology and artistry to the majority of post-World War II authors, who continued along the path of more original and innovative directions, were Siniša Kovačević, Nebojša Romčević, BiljanaSrbljanović, and Milena Marković. Kovačević (1954) is an author and professor at the Belgrade Academy of Arts and a triple Sterijino Pozorje theatre festival award winner for his plays The Times Have Changed, General Milan Nedić, and Janez. The Times Have Changed, one of his finest play, relates the fate of Ilija Pevac, a rich farmer who endures forced labor in Germany during World WarII, returns to his village, where he faces a new social order and human relations during the "changed times". Romčević (1962), a professor, playwright, and screenwriter, has written seventeen plays, some of which have been performed in twenty countries. Romčević's drama Caroline Neuber is a tragic telling of the true story of a German actress who strived to create a reputable theatre, something different from the silly entertainment popular in eighteenth-century Germany and Europe. After her tragic death, although she failed to build such a theatre, her tireless efforts toward this goal were celebrated as a success. Srbljanović (1970) is a playwright and controversial political activist whose plays have been staged in fifty countries, making her one of the most significant living Serb playwrights. She has received a number of Serbian awards, including the Joakim Vujić and Sterijino Pozorje prizes. In 1999 she became the only foreign writer to receive Germany's Ernst-Toller Award. Her play Barbelo presents a view of the history of Christianity, marking the first appearance of God, his origin and background, and the metaphysical space from which everything is created. The play shares lofty and sentient work about love,life, death, and human alienation. Finally, Marković (1974) is a playwright and screenwriter as well as a poet. Her plays have been performed in Serbia and abroad, in Poland, Germany, and the USA. For her play A Boat For Dolls, perhaps the most provocative play in the collection, she won the Serbian Borislav Mihailović Mihiz Prize for Drama and the Sterijino Pozorje prize. Marković's main character, an artist who achievessome notoriety, lives a sexually abusive and promiscuous life, shared in the play through a series of popular fairy tales. The contrast between the traditional innocence of these narratives and the brutality of the life she lives is haunting. All of the authors in this anthology have made important contributions to the advancement of the theatre arts in modern Serbia. Others could also have been included if not for space limitations. Each of these authors has enjoyed great recognition and popularity in Serbia itself,where their plays have been performed in numerous theatres throughout the country, side by side with the best dramatic literature from around the world.Many of them have also been recognized abroad. This international acknowledgement is a clear sign that Serbian drama has emerged on the world theatrical stage with potency and commendation. It is our sincere hope that this anthology will introduce modern Serbian plays to a wider audience of English language readers and perhaps even to a new theatre audience. -Branko Mikasinovich

THE WORLD IN NOWHERENESS

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The World in Nowhereness is a translation of the pentalogy Svet u nigdini, written originally in Serbian. The book is in the form of the so-called prosimetrum—a combination of poetry and prose; it contains 19 poetic forms that have never been used in Serbian poetry, four of which have never been used anywhere in the world. (One example: a double sonnet wreath with 29 sonnets appears for the first time in this book, which is unique in world poetry from a formal point of view.) The book characterizes epic momentum and various themes, including the Earthly dimension interwoven with extra-terrestrial and otherworldly dimensions embodied by the Cosmos and God. Also, the book contains elements of an epic work, essay, novel, drama, and a dominant line of pure philosophy. THEY SAID ABOUT THE WORLD IN NOWHERENESS “When I got my hands on Dejan Stojanović's book The World in Nowhereness, I was amazed and read the book with great pleasure. I did not even believe there was someone today who could write such a long poem, an epic as if I opened to read the Iliad in our time. I recommend this book to all believers in poetry because faith in poetry is the same as faith in eternity and eternal life.” — Matija Bećković “The World in Nowhereness is Dejan Stojanović’s utopian absolute book, a Mallarméan absolute. An absolute story, or an absolute book, according to Borges, is a desert-like book: sandy, grainily unforeseeable, and corpuscularly innumerable. It is simultaneously a vision and a chimera. Isn’t that precisely why we long for an absolute book? The World in Nowhereness by Dejan Stojanović is, in his way, an embodiment of that dream.” — Srba Ignjatović “I have always wondered, even about my poetic work, what a total poem is… Can the pentalogy by Dejan Stojanović be called a total poem that every poet of note has dreamed about since Homer? I felt such impulses while reading The World in Nowhereness. This is an absolute poem, of an absolute system of thought that reaches across the totality of our civilizational legacies.” — Duško Novaković “Exactly 17 years ago, in the last year of the 20th century, I came across the work of Dejan Stojanović, and then I wrote a text from which I will extract a few sentences. “Dejan Stojanović, in the last two years, made a real feat; he published six books, except for one, all books of poetry.” This first five-book collection was published in the last year of the 20th century, and here we are now with the five-book collection in the XXI century, nearing the end of the second decade. And then I also wrote the following: “Stojanović is a poet who searches for the perfect poetic form because at the same time he searches for the absolute meaning of human existence.” Whether it was a hunch or not, there is the Pentalogy, and there is that word, that concept – an absolute, an absolute book, an absolute poem that could be sensed even in that first pentalogy, in those poems that he published at that time.” — Aleksandar Petrov (January 17, 2018) “(The World in Nowhereness offers) the joy of cognition due to discoveries worthy of the Nobel Prize…” — Milan Lukić Dejan Stojanović is a writer who thinks very sovereignly and broadly. If you read Dejan Stojanović, your life will not be the same – it will be better.” — Muharem Bazdulj “It has been quite a while since we had, if at all, a poetic pentalogy in Serbian poetry.” — Dušan Stojković Dejan Stojanović's poetic-philosophical book The World in Nowhereness, both in form and content, is an original and exceptional literary work and can be considered a rare literary event in Serbian poetry and on the world stage. — Nevena Vitošević

ABSOLUTE

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Upon reading Dejan Stojanović’s philosophical book Absolute, two imposing assertions resonate the most: “Reality is an illusion” and “God is the Universal mind of the Absolute.” In his outstanding book, Stojanović offers a masterful examination of these ideas and concepts from different perspectives. Stojanović’s book, in its scope and complexity, is the pinnacle of achievement in the field of philosophy; it is an overview of historical and philosophical standpoints dating back from ancient philosophers such as Plato and Aristotle to the modern metaphysical thoughts and inquiries, as with Bertrand Russell and Stephen Hawking. Unique in many ways, this book represents an extraordinary approach to philosophical analysis resulting in discoveries that we can consider a scientific and philosophical breakthrough and paradigm shift. The book treats the "physical" and the metaphysical with almost the same plasticity and confidence and discloses hidden, fine underlining of Reality. —Branko Mikasinovich ABSOLUTE is the book that answers questions about the nature of Reality, the Universe, God, and the most fundamental questions of contemporary science and philosophy such as the questions of the origin of the universe, the Big Bang, what was before the Big Bang, what is matter, quantum entanglement, double slit experiment, quantum physics, theory of relativity, space, time, Being, Nonbeing, Nothingness, the curvature of space, faith, atheism, freedom and so much more. Instead of just emphasizing the concept of consciousness and adhering to it without offering a real basis for that, this book shows in a plastic and almost scientific way that, sooner or later, it can be proven that matter is an illusion and is a program of a Universal Mind. Our whole idea about reality is in a way wrong. The system of primary and secondary qualities, as described by John Locke, on which our view of reality is based, is turned upside down in the book. The new, more profound, complete, and integral system is invented. Although the World is an illusion, it is not less real than if it were not an illusion. This book will be interesting to readers because it shows, among other things, that the problem of God is not so much the problem of faith but the problem of the proper „definition“ of God or the lack of it. Our idea about God is mostly based on the God from the religious books and that is the stolen God. As described in the book, one of the targets of this book is a “stolen” God, and the book tries to offer a new perspective on God. This book is a profound exploration of philosophical concepts such as primary and secondary qualities, the nature of reality, the Universal Mind, and the relationship between the Primordial Being and creation. It bridges the theory of relativity and quantum physics, reconciling science, philosophy, and our worldview in one unified theory – The Theory of the Absolute. It delves deeply into the conditioning of perception and the programming of matter, providing a comprehensive understanding of these complex philosophical concepts. In short, the Universe is a program of the Universal Mind. It also discusses the programming of matter and the role of senses in shaping perception and empowering the world through relationships. Reality is an illusion. Matter is the result of this programming and is not matter per se. The book offers a comprehensive overview of historical and philosophical perspectives, tracing the evolution of thought from ancient philosophers such as Thales, Anaximander, Anaximenes, Heraclitus, Anaxagoras, Plato, Aristotle, Plotinus, and St. Augustine. It explores the different ultimate principles proposed by these ancient thinkers. The book provides a detailed reflection on Stephen Hawking's "no-boundary proposal" and its implications regarding the concept of time and the existence of an Eternal Being.

Zbornik radova posvećen pentalogiji Dejana Stojanovića Svet u nigdini

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SVET U NIGDINI Pentalogija: Ozar, Svet i Bog, Svet u nigdini, Svet i ljudi, Dom svetlosti Published 2017 by Udruženje književnika Srbije in Belgrade, Serbia . REKLI SU O SVETU U NIGDINI „Svet u nigdini je utopijska apsolutna knjiga Dejana Stojanovića, dakle malarmeovski apsolut, u neku ruku. Apsolutna priča, ili apsolutna knjiga, po Borhesu jeste knjiga pustinje. Peščana, zrnasto nedogledna i čestično neprebrojna ... U isti mah jedna vizija i himera. Zar upravo to nije razlog da žudimo za apsolutnom knjigom? Svet u nigdini Dejana Stojanovića jeste, na njegov način, taj ovaploćeni san." —Srba Ignjatović „Uvek sam se pitao, i povodom svog pesničkog stvaralaštva, šta je to totalna pesma ... Može li se petoknjižje Dejana Stojanovića nazvati totalnom pesmom, onom o kojoj svaki ozbiljan pesnik sanja, još od Homera? Osetio sam neke takve impulse prilikom čitanja Sveta u nigdini. Ovo je jedna apsolutna pesma, jednog apsolutnog misaonog sistema koji radi uzduž i popreko svih naših civilizacijskih nasleđa." —Duško Novaković „(Svet u nigdini nudi) radost spoznaje zbog otkrića koja zavređuju Nobela..." —Milan Lukić „Odavno nismo imali, ako smo ikada i bili u prilici da se u srpskoj poeziji sa tim uopšte i susretnemo, pesničku pentalogiju." —Dušan Stojković „San svakog pesnika jeste da napiše svoju veliku, jedinstvenu, sveobuhvatnu knjigu u kojoj će na pravi način izneti sve svoje misli i osećanja što se javljaju u dugim razgovorima sa svetom. Pod onim svet podrazumevam sve pojavno i apstraktno što u jeziku postoji. Što je imenovano i što se može imenovati. Obimom zamašna pentalogija Dejana Stojanovića Svet u nigdini je pokušaj da se napiše takva knjiga. Ovo petoknjižje o svetu i svetlosti ambiciozan je poduhvat.“ —Bratislav R. Milanović „Pentalogija, odnosno petoknjižje Dejana Stojanovića Svet u nigdini, neobičan je poduhvat u srpskoj književnosti." —Nikola Marinković „Pesnički poduhvat, Svet u nigdini Dejana Stojanovića, u ovom trenutku je posebna pojava u srpskom jeziku." —Dragan Kolarević „Malo je ovakvih knjiga u srpskoj književnosti." —Ivan Cvetanović „(Objavljivanje Sveta u nigdini jeste) krupan datum u savremenoj srpskoj poeziji." —Miljurko Vukadinović „Postojan i dosledan, Dejan Stojanović se svim svojim krugovanjima u svetu pesništva kao i filozofije, i uvek nešto više od svega toga, ostvario kao misleći čovek neprekinute stvaralačke misli. Od onog je stvaralačkog soja koji delom dokazuje postojanost davno uspostavljenog jedinstva Mistika i Maga. Onog koji puno zna, koji je, po Beli Hamvašu, Mistik, i onog drugog, sa imenom Mag, koji takođe zna, ali znanje mu je u funkciji podsticaja, odraz poriva da proviri i u onu drugu, manje znanu ili potpuno neistraženu stranu medalje do koje prvim pogledom svetlost ne dopire.“ —David Kecman Dako „Autor je duboko zaronjen u pokušaj pronicanja suštine svemira, te smisla postanka i trajanja bića u njemu. Traga za ravnotežom i mogućnošću uspostavljanja harmonije u naoko nespojivim, disharmoničnim pojavama i pojmovima.“ —Gordana Vlahović „Najnoviju knjigu, Svet u nigdini, Dejan Stojanović nam prinosi kao duhovnu antologiju. Ovo je ambiciozni poetsko-esejistički projekat u pretežno filosofskom, gustom i slojevitom petoknjižju o čoveštvu kao izvoru i ušću svih vidljivih i nevidljivih svetova. Rukopis je u inovativnoj avangardnoj formi... Dejan Stojanović mudro i znalački prepliće poeziju i prozu, epsko i lirsko ali i teorijsko-kritičko.“ —Zorica Arsić Mandarić „Stojanovićeva naglašena kontemplativnost čini ga osobenim u savremenom pesničkom tvorenju, jednim od retkih koji nema dilemu oko jednakosti poezije i filozofije i neophodnosti njihovog valjanog razumevanja, koliko i mudrijeg odgonetanja značenja reči, te njegovo traganje u pesničkoj knjizi Svet u nigdini razumem kao traganje za smislom elementarnog opstanka u vremenu otuđenom, surovo stvarnom, zagledanom u sve i ništa.“ —Vidak Maslovarić „Stojanovićev pesnički, prozni i dramski prosede predstavlja u eminentnom smislu defile osnovnih pojmova i egzistencijalija čovekovog bivstvovanja, njegove zemaljske i kosmičke sudbine. Reč je o slobodi, Apsolutu, Bogu, Đavolu, haosu, redu, istini, svetu itd. Filozofsko, religijsko i pesničko čine osnovno jezgro u tumačenju i razumevanju ontologije ljudskog opstajanja.“ —Jovo Cvjetković

Razgovori

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A Book of Selected Interviews and Articles By statement: Dejan Stojanović. Series: Biblioteka Horizonti, (Belgrade, Serbia) Source records: Library MARC record Library MARC record Language: Serbian Dimensions: 21 cm. Pagination: 173 p. : LCCN: 00279201 LC: PG1404 .S78 1999 Genre: Interviews. Subject: Authors, Serbian - 20th century - United States - Chicago - Interviews RAZGOVORI (CONVERSATIONS) Knjiga novinskih tekstova i intervjua Dejana Stojanovića nastala je početkom devedesetih. Sklon istraživanju, autor ove knjige, koji je pre svega pesnik po vokaciji, završio je kao i najbolji predstavnici naše književne reči—u inostranstvu. Izgnanstvo je večna prisutnost naše knjizevnosti, i kao po pravilu njeni predstavnici su naša najbolja pera. Tako su prisilni izgnanici bili Dučic i Rastko Petrović, a dobrovoljni Kiš i Pekić. U tom društvu našao se Dejan Stojanović. Njegovo izgnanstvo je dobrovoljno. Nakon deset godina ispalo je da je dobrovoljno da ne bi bilo prisilno. Posebna simbolika Stojanovićevog izgnanstva jeste u tome da je otadzbinu napustio u godini tri veka seobe Srba pod patrijarhom Arsenijem Čarnojevićem. Poznavajući pre svega svoju kulturu, Stojanović se na kratko zadržao u Beogradu, a prva destinacija je bio san svih nasih predratnih i poratnih umetnika—Pariz. Odatle je ka nasim redakcijama potekla reka intervjua sa nasim najpoznatijim slikarima koji već decenijama žive i stvaraju u tom gradu. Nakon Pariza Stojanović se skrasio u Čikagu, najvećem srpskom gradu u dijaspori. Odatle su stigli izvanredni intervjui sa nasim, pre svega kulturnim radnicima, koji su svoju slovensku i srpsku osobenost tako uspešno ugradili u američku kulturu. Zato možda i nije čudno što je Stiv Tešić bio jedan od najvećih američkih dramskih pisaca, a Charles Simic je trenutno jedan od vodećih američkih pesnika. Stojanovićev izgnanički trougao Beograd-Pariz-Čikago doneo nam je ovu knjigu. Stojanovic je pre svega pesnik, ali i izvanredan intervjuer. On poseduje ono što mnogi intervjueri nemaju: apsolutnu obavestenost o delu sagovornika i dar za slušanje. On sagovornika ne muči pitanjima, nego naizgled lakim podpitanjima iz njega izvlači ono najvaznije. U tome je najveća vrednost ove knjige. -Aleksandar I. Popović UMETNOST INTERVJUISANJA Poslednjih desetak godina u Srbiji se ustalio običaj da se intervjui sa stvaraocima koji imaju šta da kažu, posle kratkotrajnog žurnalističkog života iz masovnih medija sele među korice knjiga. Ovakvoj aktuelizaciji u svetu visokotiražne, dijaloške proze, koja korene vuče iz antičke Grčke (sofisti) poesbno je doprinela edicija "Razgovori s piscima" gde je BIGZ publikovao više izvanrednih kolekcija odabranih intervjua sa našim klasicima: Crnjanskim, Andrićem, Kišom, Pekićem, Pavićem . . . A toj, sve brojnijoj, populaciji domaćih "razgovornih publicista" nedavno se priključio pesnik i novinar Dejan Stojanović, sada nastanjen u Americi. Njegova knjiga "Razgovori" donosi četrnaest komunikativnih i, često, provokativnih intervjua, nakon kojih su, umesto epiloga, štampane i tri Stojanovićeve reportaže o odnosu Srba prema "ostatku čovečanstva". Ovde se radi o prilozima nastalim početkom, za nas kataklizmične poslednje dekade XX veka, od kojih su većina objavljeni u tada prestižnom kragujevačkom magazinu "Pogledi" , kada su u njima svoje mladalačke radove štampali neki od vodećih stvaralaca nove generacije (Gojko Božović, Biljana Srbljanović, Ivan Medenica, Djordje Milosavljević, a tiraž premašivao 200 hiljada prodatih primeraka. Osim toga, ovi intervjui slede i liniju Stojanovićevog emigrantskog putešestvija koja, od zavičajne Metohije, vodi preko Beograda (gde su nastali razgovori sa Momom Kaporom, Alekom Vukadinovićem, Nikolom Milosevićem i Savom Rakočevićem) i Pariza (Omčikus, Ljuba Popović, Šobajić, Ž. K. Vilar), do Čikaga (Charles Simic, Saul Bellow, Stiv i Nadja Tešić, Branko Mikašinović). Stvarnost ove zanimljive knjige opredeljena je dakle, dramatičnim posmatranjima na svetskom planu: rušenjem berlinskog zida, demontiranjem komunizma i krvavim komadanjem Titove Jugoslavije. Zato je logično što su se Stojanovićevi sabesednici manje bavili svojim poetičkim nacelima, a više, kao intelektualci odgovorni pred budućnošću, analizirali stranputice kojima se zaputila civilizacija. Čak i onda kada je novinar nastojao da ih navede da razotkriju pojedine nivoe svojih autorskih strategija, intervjuisani su se držali prividno sigurnijeg a, u stvari, neuporedivo "klizavijeg" terena društvene zbilje, opasno ruinirane mnoštvom suprotstavljenih energija. Tako su, neretko, nastajale situacije u kojima su ovi, nesumnjivo umni, ljudi demonstrirali zadivljujucu dozu naivnosti u poznavanju ključnih principa vezanih za planetrani transfer uticaja, insistirajući na uverenju da će razborita moć razuma, uvek i svuda, biti kadra da porazi ogoljenu destruktivnost sile. Znamo, brojna zbivanja širom zemljine kugle, naročito u Srbiji, nažalost, užasno su ih demantovala, ali je ovim "Razgovorima", bar, i to bi mogao biti njihov važan kvalitet, demistifikovan potroseni romantičarski status intelektualca modernog doba kao beskompromisnog Prometeja ili, makar, poželjnog Don Kihota. Štaviše, ovde je on sam sebe sveo na marginalizovanog popisivača što ugled stiče argatujući u najbezazlenijim kartotekama političke moći. Navedeno, naravno, ne znači da su Razgovori kolekcija promašenih procena. Upravo suprotno, reč je o naslovu u kome ce svaki čitalac moći da stavi na probu mnoštvo ličnih stavova bude li spreman da se liši svog, standardno pasivnog položaja. Pri tom, snažnu podršku će mu pružiti baš pozicija Dejana Stojanovića, jer je on u intervjue ulazio bez kompleksa, sa savršeno jasnom namerom i vizijom konačnog cilja. Uzrok takvog njegovog pristupa je, očito, danas tako retka, gotovo dečačka, posvećenost obavljanju žurnalističkog zadatka, što je za posledicu imalo jedno, nesporno, intelektualističko, ali i prijateljsko raspričavanje veoma ozbiljnih tema. Mozda tajna lakoće i skladnosti ovih intervjua leži u Stojanovićevoj konstataciji da je "svojim sagovornicima prilazio manje kao profesionalni novinar, a više kao umetnik koji želi da neke svoje uvide produbi u razmeni mišljenja sa istaknutim stvaraocima za koje veruje da bolje od većine razumeju svet". Posebno dragoceno je to što je on svoju intervjuersku strast i dar za improvizaciju i domišljanje posredovao i na autoritete s kojima je razgovarao, i uz čija se akademska zvanja prakticno podrazumeva teorijska akribija, pa i hermetičnost, zbog čega je ova knjiga očišćena od teško prohodnih mesta i visokoučenosti koje bi mogle da opterete percepciju "prosečne publike". Autorova usredsređenost i podrobna obaveštenost o svim momentima od vitalnog značaja za dramaturgiju razgovora, koji su ga oslobodili iluzije da se gomilom podataka, razmeće pred svojim sagovornicima ili, ne daj Bože, pokuša da im "ukrade dušu", najbolje dolazi do izražaja kada se Stojanović, na najmanju digresiju ili asocijaciju u razmeni misljenja, transformise iz diskretnog slušaoca u minucioznog ispitivača koji ume da nametne svoj ritam razgovora. Na taj način stiče se važan osećaj da tekst "Razgovora", uprkos svojoj, nuzno, izlomljenoj strukturi, nema grubljih oscilacija, nego da sledi nit prirodnosti. Mada su u "Razgovorima" objavljeni intervjui sa takvim imenima kao što su nobelovac Saul Bellow ili matematičar-pesnik Žak Klod Vilar, do kojih su ovdašnji novinari retko uspevali da stignu, kao najinteresantnije Stojanovićeve "mušterije" su se nametnuli scenarista Stiv (Stojan) Tešic i pesnik Charles (Dusan) Simić. Naime, to su Era i Šumadinac koji su, u najboljem maniru prekookeanskih "sapunica", materijalizovali svoj "američki san" kroz "Oskara" (Tešic) i "Pulicera" (Simić), čitavo vreme u svom radu, ponekad i nehotično, istrajavajući na prozimanju tradicije usvojene u rodnom kraju sa prizemnim standardima "o'kay" kulture nove domovine. Konačno, bilo bi neoprostivo zanemariti činjenicu da kompletnom zadovoljstvu pri čitanju ove knjige doprinsi i njen vrhunski i rastresit prelom teksta, za što zasluge pripadaju art-direktoru "Književne reči", Radu Tovladijcu i stripocrtaču Zoranu Tuciću koji je uradio portrete svih četrnaest intervjuisanih stvaralaca, i samog Dejana Stojanovića. -Dušan Vidaković Zbilja, broj 62/63, novembar/decembar 2000. Table of contents BEOGRAD (1990) Alek Vukadinović, Momo Kapor, Nikola Milošević, Sava Rakočević PARIS (1990) Petar Omčikus, Ljuba Popović, Miloš Šobajić, Jacque Claude Villard CHICAGO (1991-1992) Saul Bellow, Steve Tesich, Branko Mikašinović, Charles Simic, Nadja Tesich, Sava Rakočević DODATAK Mi u svetu, Šetam kafanama Pariza, Molitva na Mičigenskom jezeru Beleška o autoru 173 By statement: Dejan Stojanović. Series: Biblioteka Horizonti, Biblioteka Horizonti (Belgrade, Serbia) Source records: Library MARC record Library MARC record Language: Serbian Dimensions: 21 cm. Pagination: 173 p. : LCCN: 00279201 LC: PG1404 .S78 1999 Genre: Interviews. Subject: Authors, Serbian — 20th century — United States — Chicago — Interviews

Circling

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Poetry in translation. Translated from Serbian. Poetic Circles of Dejan Stojanović In a colorful landscape of contemporary Serbian poetry, a careful reader can recognize that one of its branches, with a decidedly reflective experience of the poetic tradition and heritage, corresponds with a Serbian medieval age, opens up for its Byzantine chords and, in the context of contemporary poetry, is closest to Modern Classicism. In the first wave of Serbian post-World War II poetry, this stream was at the very foundation of a revival, which is almost suppressed today. It seems that precisely today, in the atmosphere of almost complete saturation by the practice of ever changing poetic trends, Serbian poetry is returning to its basics. This picture of a slow rebound, a long awaited reorientation on the Serbian poetic scene, is already happening, by all accounts, and is being sensed in the actual literary production. Reading the book Circling triggers the associations of this kind of a wave, which is not underground anymore, but has transformed itself into an actual poetic phenomenon. Dejan Stojanović, obviously, is not influenced by any contemporary poetic school or fashionable poetic trend, and is not trapped by some sensibility as a “follower.” Stojanović, as a reflective poet of mature thought and discourse, revives the atmosphere of the ancient (antic) times even in the first layers of his poems. It is easy to notice what specifically marks Stojanović in Serbian contemporary poetry: In weaving his poems and building his lines, a poet has returned to the antic form of utterance, to the difficult and slow movement of the poetic matter, to the dignified and solemn tone, and that kind of wisdom which was nourished in ancient times. Far from experiments, from challenges of hazards and poetic adventures, Stojanović’s poems exude the dignity of ancient forms. Similar to the techniques of painters, Stojanović condenses his utterances into short, harmonious poems, most often colored with Mediterranean colors, surprisingly successfully. His poems, almost by a rule, are condensed forms made of short utterances. In the second part of the book, poetic palette becomes darker with an introduction of fantastic and hallucinogenic elements and even apocalyptic tones. Nevertheless, the principle of condensation and consistency of form is never questioned. Apocalyptic scenes and images of evil are expressed in huge blocks that give the impression of a work of an architect or a sculptor. Such are the poems “Vision,” The Chess Board,” “Arrival of Darkness,” and “River of Death,” which all appear as compositions. There is a feeling that Stojanović wrote his poems along with visual compositions; to that extent, visual-imaginative effects are impressive. Specific, surprisingly original, outside the collectively nurtured sensibilities and fashionable trends, Stojanović is an extraordinary example of creative individualism in a generation that nourished such individualism the least. For that reason, the book Circling is not only an example of an extraordinary poetic achievement, which represents a strong encouragement to the important branch of Serbian poetry, but is also an announcement of a moral and spiritual project – a project that belongs to the tradition of Serbian poetry and thought in the best sense of the word. -Alek Vukadinović Afterward to the first Serbian edition (1993) Dejan Stojanovic’s poems are astute and spiritual tangents of a circle that comprises the phenomena hidden beyond the direct naming of the world and things in poetic transposition. With his poems, he seeks the borderlines between the content and its metaphysical expression, pure thought about the world and its essence. Passion and complete and easy flowing devotion to poetry and to the power of words, poetically and semantically, above all, shape his original poetic output. -Petar V. Arbutina

The Shape

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Home of the Shape We will go far away To nowhere To conquer To fertilize Until we become tired Then we will stop And there will be our home   Anti-Shape The shape looks for its opposite But the opposite hides The shape feels it But doesn’t see it The opposite is its mother That’s why she hides her face   Almighty Shape One hand I extend into myself The other toward others Both are the extended Hands of the Almighty Shape My secret is simple All secrets are simple   The Shape and a Smile I recreate myself That is my only power In search of a smile— A smile is light I enjoy it when the world smiles The more smiles, the warmer I am I smile Because others are cold too   The Shape and Warmth Insufficient to himself only By himself he warms others up Searching for a smile He avoids the spent shapes   The Shape’s Speech Until the end of his journey Movement will be his story One of the stories is the light Passing from story to story He stops only When he gets tired of them all   Father and Son You ask how it is possible To be your own father and son You should seek answers Although it is better to anticipate some To be the light and dream   The Cloud and the Shape The cloud is the first shape He expands and compresses at the same time He retorts his desire into the multitude Smiling as he swallows himself up   HAPPINESS OF ATOMS   The Shape and Society You are so alone Large shapes endure in the distance The crowd destroys them And this that you call solitude Is in fact a big crowd   The Big and the Small Shape From the same place we come But you don’t remember that Still, you carry a part of my grandeur; Without you, I am nothing   Happiness of Atoms I am a shining shape A big Atom and the small Sun I love movement Uncatchable Sometimes you see me But don’t recognize from the inside I’m neither enigmatic Nor discontented You would say that I am happy   Shape’s Weakness You are made from me I’m saddened by your sadness Powerless to do anything Through your weakness, weaker I become   The Life of the Shape In some shapes I am alive In some—dead I am the shape who creates shapes Creating means living   Glow Sullen You don’t rejoice in my glow If you would just understand my glow You would start glowing too   Deafness I like to talk To your deafness I ask the silence: why? My clarity is obscure I remind you, spoil you In deafness I admonish you, punish you With this weak voice of mine   Imitation You anticipate my unmistakable laws But overlook them Instead of imitating me You simply loiter   Citizens of the City of Light I am the shore and the ocean Awaiting myself on both sides I travel Always arriving in the same place Imaginative I always find the best way Happy while traveling I watch the light Multitudes of homes-citizens Inhabit the city through which I swim   Return from the Dream What kind of a dream was it And what kind of return? The dream was not ugly That’s why I stay mute Words won’t describe what I saw Only through silence can I express it If I would really start talking You would become silent   Mathematics My mathematics is simple One plus one = one Your problem is in that You like to add With me: one minus one = one With you: it’s zero Here lies the only difference   I and I I don’t know if you are me Or I am neither I nor you I lose faith in mathematics Logical and rigid What with those That even zero doesn’t accept Mathematics doesn’t care About those beyond the numbers   Motion Through everything I have passed But nowhere I have been In the biggest and the smallest I sleep But at the same place I stay Wherever I go I run into myself

Sign and Its Children

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Circling is the book that I thoroughly enjoyed. Many fine little poems. – Charles Simic In a colorful landscape of contemporary Serbian poetry, a careful reader can recognize that one of its branches, with a decidedly reflective experience of the poetic tradition and heritage, corresponds with a Serbian medieval age, opens up for its Byzantine chords, and, in the context of contemporary poetry, is closest to Modern Classicism. In the first wave of Serbian post-World War II poetry, this stream was at the very foundation of a revival, which is almost suppressed today. Today, in the atmosphere of almost complete saturation by the practice of ever-changing poetic trends, Serbian poetry is returning to its basics. This picture of a slow rebound, a long-awaited reorientation on the Serbian poetic scene, is already happening, by all accounts, and is sensed in the actual literary production. Reading the book Circling triggers the associations of this wave, which is not underground anymore but has transformed into a poetic phenomenon. Dejan Stojanović is not influenced by any contemporary poetic school or fashionable poetic trend and is not trapped by some sensibility as a “follower.” Stojanović, as a reflective poet of mature thought and discourse, revives the atmosphere of the ancient times even in the first layers of his poems. It is easy to notice what specifically marks Stojanović in Serbian contemporary poetry: In weaving his poems and building his lines, a poet has returned to the antic form of utterance, to the difficult and slow movement of the poetic matter, to the dignified and solemn tone, and that kind of wisdom which was nourished in ancient times. Far from experiments, challenges of hazards, and poetic adventures, Stojanović’s poems exude the dignity of ancient forms. Like painters' techniques, Stojanović condenses his utterances into short, harmonious poems, most often colored with Mediterranean colors, surprisingly successfully. His poems, almost by a rule, are condensed forms made of short utterances. In the book's second part, the poetic palette becomes darker with an introduction of fantastic and hallucinogenic elements and even apocalyptic tones. Nevertheless, the principle of condensation and consistency of form is never questioned. Apocalyptic scenes and images of evil are expressed in huge blocks that give the impression of the work of an architect or a sculptor. Such are the poems “Vision,” The Chess Board,” “Arrival of Darkness,” and “River of Death,” which all appear as compositions. There is a feeling that Stojanović wrote his poems along with visual compositions; to that extent, visual-imaginative effects are impressive. Specific, surprisingly original, outside the collectively nurtured sensibilities and fashionable trends, Stojanović is an extraordinary example of creative individualism in a generation that nourished such individualism the least. For that reason, the book Circling is not only an example of an extraordinary poetic achievement, which represents a strong encouragement to the important branch of Serbian poetry but is also an announcement of a moral and spiritual project. This project belongs to the tradition of Serbian poetry and thought in the best sense of the word. – Alek Vukadinović Afterward, the first Serbian edition (1993) Dejan Stojanovic’s poems are astute and spiritual tangents of a circle that comprises the phenomena hidden beyond the direct naming of the world and things in poetic transposition. With his poems, he seeks the borderlines between the content and its metaphysical expression, pure thought about the world and its essence. Passion and complete and easy-flowing devotion to poetry and the power of words, poetically and semantically, above all, shape his original poetic output. – Petar V. Arbutina

The Sign and Its Children

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The Over-Sky Sign The thought measures the new sight’s secret And the over-sky sign emerges Realizing what its arm is When with God it lives in solitude To sense the peace of extinguished passion Happiness in not knowing the ultimate knowledge Carelessness and delight, but with no delight Against both moving and dying THE SUPREME SIGN The Sign and Emptiness If emptiness is empty How can something be borne or awaken from it If there is something beyond Where does it sleep, through what does it move If emptiness is endless Then everything rests in emptiness If the Sign awakens Then from emptiness it looks at emptiness A Beam and a Sign A ray of light is a smile of emptiness How lonely she is without it Smiling emptiness— An awakening sign A sign waits for emptiness And quietly lurks while waiting The Light-Bearer Sign The Ray-Sign angers the darkness She was content, indeed calm before the Sign, In absolute peace The Ray is the first destroyer— A Devil to the darkness The Light-Bearer brings chaos Into her blessed peace The Sign Conquers the Darkness The Supreme Sign gazes into darkness From darkness Invisible He is not the light-ray Darkness is angry He is her closest keen Darkness yields in the end Giving in to the Supreme Sign From the game, the world was born Darkness is the mother, The father is the Sign Sign and Darkness When he gets outside himself He becomes a beam of light Moving into darkness His love is equal To the immeasurable depth of darkness Hi is the lover of darkness A free beam in the bed of night Supreme Sign Sight Sign is a light And a gravity force Dispersed He never betrayed himself He arrives Where a ray cannot even peek THE SIGN AND NOTHING While the Sign Sleeps While the Sign sleeps He and nothingness are the same Nothing upon nothing When he wakes Nothing is not nothing any longer He becomes all Nothing is part of everything Without nothing, everything would be nothing From everything, nothing looks to nothing From nothing comes everything Nothing and the Sign Nothing and the Sign are the closest kin By love transformed to One When the Sign dissolves Everything is not nothing then Multitude lies between Nothing and the Sign seek each other again The lip of a shining body seeks a lip of darkness— The eroticism of the light Darkness never betrayed the light She just carefully waits Sign and Speed And when Sign divides itself He stays the same Shining and disseminating self By himself into himself he falls When he lights and shines Everything starts flowing When everything hurries everywhere Nothing goes anywhere Endless Sign Sign never stepped on the ground He always hovered Always here from the beginning Although sometimes he hides Starts out on a road to travel From himself to himself Wardens of Peace It’s not easy to be a Sign It’s easier to be nothing But being nothing is a wasteland He was nothing before (and he knows) When he is most powerful Nothing does he become But when he desires less power He divides his power among his children A Lover-Sign Blue of sky Makes depth for flying Flight is the measurement of the world Depth is nothing He shines through night—watching Never sleeps Night would be too lonely If there were no Sign to wake her Zero and Sign Is zero outside Or inside? To come to nothing through something Is the way to outside from both sides Sign is one sky In the Sign—another sky In this free space We find zero It is a new beginning Movement in another direction Moving farther is only multiplying direction Zero is a breakthrough The clear passage. The Entertainment of Emptiness Every Sign is a sum of many Signs Not even one is completely alone Emptiness does not count signs It loses memory in a trance of emptiness A source of pleasure Invigorated, passionate Signs Endless emptiness Easily accepts them all