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10. Februara 2015.

”Kuća od stakla” Tatjane Debeljački

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Written by: Redakcija


New book Tatjana Debeljački  タチアナ デベリャスキー

Serbian Japanese and English



Kuća od stakla.

U njoj poslednja predstava,

poslednje rolanje,

uloga koja nema cenu.

ljubavnici, na rastanku

letite, letite.

Dugo, dugo suzbijajte svoja ćutanja.

U mrkoj noći, jedna zvezda je bar tvoja.















A house made of glass.

The last performance is given there,

Last role,

A role without a price.

Lovers, on your parting

Fly away, fly.

For long, for long restrain your silence.

In the dark of night, at least one star belongs to you.



Critic/ 講評






(Tatjana Debeljacki – THE HOUSE MADE OF GLASS)



Although a title was not always about the nature or the real identity of the collection gathered between the front and the back book covers, it has always, or almost always, emphasized a path to follow in order to figure out writer’s intention or mission. The poems in Tatjana Debeljacki’s collection – The House Made of Glass, along with poet’s sincerity in the conventional statement and ethic-aesthetic obligation, construct the “house of view and reflection”. One can look through glass, but can see the own reflection as well. Like a mirror that doubles the space in front of one self and other eself at the same time. So this “house of glass” creates a special view, a telescope to perceive the inner world, but also a “greenhouse” where people, things, emotions, time and eternity, life and death… exist simultaneously, like in the poem “Real People”


People die only

In dusk or dawn,

There are no eternal graves.


I smell on sweet basil

Pleasantly and divine,

And I love up to freedom.


In the considerable number of poems, almost on a level of the poetic emblem and rule, the thought and experience of a man’s alienation is suggested; that habits, preconceptions and rigid institutional ways of explaining and accepting the world collide with conscientiousness and the most basic needs and primordial urges. At the same time, as for good romanticists, for Tatjana Debeljacki, the

beauty is a way of resistance to death, but it doesn’t exist in this poetry as an aesthetic category, but as a hope and feeling. Only that

that is built in special circumstances can outlive its moment, only that that is close to a “tragic sense of life” can come closer to the truth. In the poem “Bare Face”, bareness of feelings, as a prerequisite and result of faith and love, love transforms to the dead end of meaning.


I’ve been sick since the very start,

I don’t care up to the very end of the game.

They lost it.

What about the other man?

In the twentieth chapter in the eight line

He was betrayed by the bare face.

In the twenty-third chapter,

It was goodbye.

The same face under the hat,

Bare face.


In the same poem, we recognize essential non-determinability (it seems that the poetess insists on that) of mutual transitions from pictorial grade to conceptual, from abstract to realistic grade – of the poems in whole, and also of the single poem images – in dynamic change and connecting of various cognitive perspectives, through which the world manifests itself. In the scope of that relation, sublime and generalized, sacral and profane, work as borders of conceptual limits; illusory antagonisms (I’m looking in lacking/ but I have it in looking for it) , clarifying more deeply the basic poetic principle of the poem in whole, forming a broad thought horizon which often exceeds the subject, depraving its fixed limits because of revealing the unusual and the original placed behind it. Beyond conventionality and fixed stereotypes, beyond expected causes and consequences. So, there is only one front side and a lot of back sides that Tatjana Debeljacki is searching for, persistently and for a long time, and she is finding them in most successful poems and single verses. Her self-reflexivity isn’t just a need to perceive more deeply the causes and its projections on a spiritual map, but she wants to perceive all conditions between the visible and the invisible, and social rules and its images in the proximity and the spirit of experience (the worst is when you die from the inside).

Diverse rhythm does not muffle the thought and the associativity, managing to focus the attention to the image diversity and suggestiveness. Poetess wants to find and paint the mysticism of the relation between outer – and inner drama, and to find the right measure for her lyrical reflection in their overlapping. It can be absolutely stated that she manages to do that in significant number of poems, and all of that has to do with poet’s idea striving to have a clear thought and content outline of each poem, and for each poem to be an image of a special psychological state and lyrical sense of the world.

Tatjana Debeljacki is a poet of atmosphere, and not only visually shaped one. Life experience anticipation and meditativeness of these poems carry a need to create complex lyrical image, but also to verify meaning and drama of the crossed path. That feeling, that we could claim to be the dominant characteristic of this book, closes the poetess and the reader to the other end of poetically multi-valent personality; to the special connection of skeptical and vital sense of the world. To the poetic fluid made of image and emotion, which precede every intellectual synthesis.

The verse and the poem in whole is for Tatjana Debeljacki a part of intention to create a poetic world (substitute for hostile and deceiving reality) which would have some constants, and where the restless and short human life, exhausted with the crisis of meaning, would find ways of making sense; if not in some new sense, then at least in realizing the present nonsense.


Petar V. Arbutina



When I translated the book “A House Made of Glass” by the Serbian poet Tatiana Debeljački,  I got the idea to write this poem of mine. We do not have  to accept the things only through love poetry that is tragic. Although the characteristics of glass itself is that it breaks easily, the love that must have been developed in such a house tells us that it was a place for love. Probably, there was always a notion of love existing in that house. The love would have always existed unless the power of external factors did not influence the bright light of it.

Consequently, the durability of love that overcomes the brittleness of glass must be provided. This poet informs, through her  lyrics, all the people she loved, that both strength and tension in the poetry grow. This is how one part of the long poetry, “A House Made of Glass”, was born. Even if a house with such sad love shatters down, there must still be love poetry, that would not break the enchantment of its reader.


Mariko Sumikura


Tatjana Debeljački, born on 23.04.1967 in Užice. Writes poetry, short stories, stories and haiku. Member of  Association of Writers of Serbia -UKS since 2004 and Haiku Society of Serbia – HDS Serbia, HUSCG – Montenegro and HDPR, Croatia. A member of Writers’ Association Poeta, Belgrade since 2008, member of Croatian Writers’ Association- HKD Croatia since 2009 and a member of Poetry Society ‘Antun Ivanošić’ Osijek since 2011, and a member of “World Haiku Association“ – 2011, Japan. 

Union of Yugoslav Writers in Homeland and Immigration – Belgrade, Literary Club Yesenin – Belgrade. Member of Writers’ Club “Miroslav – Mika Antić” – Inđija 2013, Writers’ Association  “Branko Miljković“ –  Niš 2014, and a member of Japan Universal Poets Association (JUNPA). 2013. “Poetic Bridge: AMA-HASHI  (天橋)
Up to now, she has published four collections of poetry: “A HOUSE MADE OF GLASS “, published by ART – Užice in 1996; collection of poems “YOURS“, published by Narodna knjiga Belgrade in 2003; collection of haiku poetry “VOLCANO”, published by Lotos from Valjevo in 2004. A CD book “A HOUSE MADE OF GLASS” published by ART in 2005, bilingual SR-EN with music, AH-EH-IH-OH-UH, published by Poeta, Belgrade in 2008.“HIŠA IZ STEKLA” was translated into Slovenian and published by  Banatski kulturni centar – Malo Miloševo, in 2013 and also into English, “A House Made of Glass” published by »Hammer & Anvil Books» – American, in2013.
Her poetry and haiku have been translated into several languages.



translation Danijela Milosavljević


Ilustracije / Artwork / イラスト

Dragoljub Djuričić



Critic/ 講評




(テベリャスキー ガラスの家)











Petar V. Arbutina



すみくらまりこMariko Sumikura


タチアナ デベリャスキー、1967年4月23日ウジツェに生まれる。詩、短編小説、小説、俳句を書いている。セルビア作家協会(UKS)会員。2004年よりセルビア俳句協会(HDS)、モンテネグロ(HUSCF),クロアチア(HDPR)俳句協会に所属。2008年よりベオグラード詩人協会かいいん、2009年よりクロアチア作家協会(HKD)、2011年よりアントン・イワノジッチ詩人協会に所属、2011年より日本の国際俳句協会の会員となる。母国・移住地ユーゴスラビア連合、ベオグラード文学クラブ、2013年インドミラソフ作家クラブ、2014年よりブランコ ミルコビッチ作家協会、2014年日本国際詩人協会「詩の架け橋:天橋」会員となる。


HIŠA IZ STEKLA はスロベニア語に訳されMalo Misevoで出版、英語にも訳される。「A House Made of Glass」が2013、アメリカ Hammer & Anvil Booksより出版。彼女の詩や俳句は8・9カ国の言語に訳されている。

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