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ISSN 1409-6900 | UDK 82+7     Blesok no. 74 | volume XIII | September-October, 2010



                     Peer-reviewed journal
Blesok no. 74September-October, 2010

Cosmonauts' Square

(Viliam Klimaček: Námestie kozmonautov – Generácia Ю. Bratislava: Koloman Kertész Bagala – LCA Publishers Group, 2007)

p. 1
Alexander Halvoník

Viliam Klimáček won the literary competition for Novel 2006 with Cosmonauts´ Square, and his pseudonymous gangster parody English is Easy, Csaba is dead has become one of the most successful revivalists of the postmodern picaresque novel. However, he is also a member of the literary school that was based on the stages of the alternative theatre scene. This long process of destruction of the traditional novelistic mythology is felt in his prose. Action dominates, comedy is stressed, together with the hyperbolezation of language. At the same time there is a relativezing irony that dissolves everything using any available means, so that the form of the novel is only a communication package delivering diverse contents. This is how the postmodern authors deal with the “freezing“ of the genres that used to operate in a larger temporal and space dimensions and worked with relatively closed systems of action, characters, and time, but could not get to the plurality of the human authenticity or prevent the truth from being ideologized. It seems that dashing around the worlds of novelistic openness on the steed of virtuality became boring even for Viliam Klimáček. One cannot suck a novel out of one’s finger, however magic it may be, and in addition to the craft one does need a bit of conceptual ideology, a pinch of closeness, and certainly also the risk of simplification. So here comes the first point: Cosmonauts´ Square is looking for a novelistic statement.
    Above all, Klimáček has invented the Generation Ю. This is a generation born around 1958 that matured during the time of the Soviet occupation and is marked by its admiration for the western lifestyle symbolized by the English homonym “You.“ These are the two relevant circumstances that caused the notorious generational schizophrenia with consequences that are worse than the Divine Wrath: maybe it was not painful, but it pushed everything into the level of absurd humour. In Klimáček’s novel, socialism is no longer the point, what is important are the consequences of socialism surviving in the schizophrenic situation. We find ourselves in a postcommunist period, in a small town called Veľké Roje that “the history passed by,“ but which always kept its hand on the pulse of the time no matter whether it produced weapons, hosted a Soviet military base, built monuments to heroes, celebrated foreign victories, while all the time diligently destroying its own people. After the Velvet

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