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10. Februara 2015.
 

”Kuća od stakla” Tatjane Debeljački

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Written by: Redakcija
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KUĆA OD STAKLA  ガラスの家 A HOUSE MADE OF GLASS

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

Serbian Japanese and English

 

KUĆA OD STAKLA

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.

 

 

ガラスの家

ガラスでできた家

そこで与えられる最後の演技

最後の役割

掛け値のない役割

恋人たちよ、愛撫しつつ

飛んでゆけ、飛んで

長く、長くあなたたちの沈黙に耐えよ

夜の闇で、少なくとも一つの星はあなたがたのもの。

 

 

A HOUSE MADE OF GLASS

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

 

 

 

AGAINST CONVENTIONALITY

 

(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

KUĆA OD STAKLA  ガラスの家

 

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

 

因習に抗う

 

(テベリャスキー ガラスの家)

 

題名は表表紙と裏表紙の間に所収されたありのままの姿や真の同一体と関係しているとは限らないが、常に、あるいはほとんど常に作家の意図や使命を顕在する小径を強調する。ターニャ・テベリャスキーの詩集「ガラスの家」の詩は、因習的な主旋律のなかの詩人の誠実さと倫理-美学的義務での真実とともに「視界と反射の家」を構築している。

人はガラスを通して見ることができる、でも同様に自分自身の反射を見ることができる。自分の前および他人の前の空間を同時に二倍にする鏡のように。このように「ガラスの家」は特別な視界を呈する。この詩の「実在の人々」のように、精神界を知覚する望遠鏡、また人々や物、感情や時や永遠、生や死が同時進行であるところの「温室」なのだ。

詩の相当な数のなかで、詩の紋章や支配のレベル上、人間疎外の思想や経験、その習慣、先入観や厳しい制度上の方法が良心をもっての世界の受容、最多の基本的欲求、原初の衝動と衝突することが示唆される。同時に、よきロマン主義者のごとく、ターニャ・テベリャスキーについては、美は死にたいする抵抗の方法なのだ。

しかし、それは審美的なカテゴリーとしてのこの詩にではなく希望と感情として存在する。特殊な事情に構築されるそれだけがその瞬間より長く続くことが可能だ。

「命の悲劇の感覚」に切迫していることだけが、真実に肉薄できる。詩「素顔」の中で、素顔の感情として、一つの、必須の、そして信頼と愛の結果、愛は意味の行き止まりに変容する。同じ詩では、我々は、絵印の等級から相互の推移の本質的な非決意可能性(女流詩人たちはそれを主張するようだが)を認める。概念、抽象および様々な認識の展望〔世界はそれによって現れる)からダイナミックな変化での現実的な等級へ、そしてまた単一の詩の表象へ、までその関係の範囲で荘厳、聖礼、冒瀆的で一般化された概念の範囲の境界で働く。錯覚の反対(私はかけることのなかを見ている/しかし、それを探すときに持っている)、より深く明確にすること、全体中の詩の基礎的な詩の原理、広い思考、地平線の形成、異常なもの、およびその後ろに置かれたオリジナルを明らかにするためにその固定範囲を貶めて主題をしばしば超えてしまう。因習、および予期された因果の果てに固定したステレオタイプを越えて。

したがって、一つの正面側だけがあるのだ。そしてターニャ・デベルジャスキーが探索する多くの背後側、固執するほどの長い時間で、また彼女はもっとも成功した詩集、詩に見出している。彼女の内省は、精神の地図上の原因およびその射出をより深く知覚する必要だけでなく彼女自身なのだ。ものと目に見えない、ならびに社会規則のあわいの条件を

すべて知覚したい、また接近および経験(最悪の事態は、内部でいつ消えるか)の精神中のそのイメージ。種々のリズムはイメージ多様性および示唆性への注意をどうにか集中して、思考との連合性を内包しない。女流詩人は、関係の神秘主義をあわいに見つけて描きたい、外部ー内部のドラマ、またそれらがオーバーラップすることに映る彼女の感傷的な影に適当な量を見つけること、それは絶対にある場合、彼女は詩の重要な数のなか、そのすべてで何とかしようと述べた。各詩の明瞭な考えおよび内容やアウトラインをもち、かつ各々詩が世界の特別の精神状態および感傷的な感覚のイメージであるため努力する詩人の思考で行っている。ターニャ・テベリャスキーは大気の詩人で、単に視覚的なひとつの形態を作らなかった。これらの詩の人生経験や予想、瞑想は、複雑な感傷的なイメージを作成する必要をもたらす。また十字の小径の意味、ドラマを確認するために、この本の支配的な特性であることを私たちが主張することができたという感覚は、もう一方の端に女流詩人と読者を閉じる。詩的に、多重な個性、世界の懐疑的で重大な感覚の特別な接続によりイメージで作られていた詩の流体および感情(それはすべての知的合成に先行する)に。

ターニャ・テベリャスキーにとって全体中の韻文や詩は、いくつかの定数を持つ詩的世界〔対立的で偽る現実の代わり)をつくり、かつ意味の危機で疲弊し落ち着かない短い人命が、方法が意味を持つ方法を見つけるだろうという創造的意図の一部なのだ。少なくとも現在の無意味を実現する際にある新しい感覚の中でなければ。

 

Petar V. Arbutina

ガラスの家

書評
「ガラスの家」を日本語に訳しながら思ったことがある。これを単なる愛の悲劇詩と取るべきではない。壊れやすいガラスという材質ではあるものの、愛の居場所である家で、愛を育てるはずであり、明るい光を受けたならば、またなんの外部よりの力が加わらなければ、いつまでも存在はしただろう。そこでは、ガラスの脆弱性を凌駕する愛の強靭性が担保されねばならなかった。この詩人は愛する人に、それを知らせ、互いの力を高めようと訴える。そして一編の長大な詩「ガラスの家」が書かれた。美しくも哀しい愛と、家が壊れても愛は壊れぬ詩の強靭さが読者を魅了する。

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。

現在まで四冊の詩集を出版「ガラスの家」1996年ウジツェ、「ユアーズ」2003年ベオグラード、俳句集「VOLCANO」2004年、CD本「ガラスの家」、2008年セルビア語―英語「AH-EH-IH-OH-UH」を出版。

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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