Browsing Through the Sarajevo Notebooks in the Mirror of Memory
DOI:
https://doi.org/10.3986/pkn.v43.i2.01Keywords:
literature and politics, Yugoslavia, Yugoslav literatures, literary magazines, Sarajevo Notebooks, Europe, Balkan, cultural history, cultural identity, nationalism, emigrationAbstract
Sarajevo Notebooks were the best Yugoslav literary magazine of all times. It is paradoxical that it was created only after the bloody fall of Yugoslavia, in 2002. (The author, a Slovenian poet and professor of comparative literature, was one of the founding members.) Sarajevo Notebooks had no intention whatsoever to revive the late Yugoslavia. Its ambition was much more modest in the political sense, but the highest possible in the artistic and intellectual sense: to restore the cooperation among writers in the region and to articulate the literary images of the radically changed world after the end of the great utopian stories – after the fall of the Yugoslav project of the “brotherhood and unity” and after the fall of socialism, the political project of the twentieth century which first petrified into a totalitarian dictatorship and at its end, failing to democratize, returned from its grave as a blood thirsty vampire of nationalism. The stones of the Berlin fell to the Balkans. Sarajevo Notebooks detected a deeply changed position of writers and intellectuals in the post-war and post-socialist societies, frequently pushed to the destiny of refugees and emigrants; those writers who stayed “at home,” often chose the “inner emigration.” Nationalistic ideologies ruling in the newly formed states have radically re-formed literary history in order to achieve “ethnically pure” literary canons. Sarajevo Notebooks reflected the paradoxes of the transition between socialism and the restored “democracy” and “capitalism.” The magazine analyzed new relations between the West and the East which in spite of all the changes continued to be a different, “non-European Europe.” Although the formal obituary of the magazine was never written, its end was painfully marked by the deaths of two protagonists, its initiator, the Bosnian poetess Vojka Smiljanić Đikić, and the Slovenian poet and professor of cultural studies Aleš Debeljak, in 2016. Sarajevo Notebooks have accomplished their historical mission, remaining a bright example of solidarity and cooperation between writers belonging to mutually hostile Balkan countries, and an inspiration for the future bridge building projects.
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