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ISSN 1409-6900 | UDK 82+7     Blesok no. 85 | volume XV | July-August, 2012



                     Peer-reviewed journal
Blesok no. 85July-August, 2012

Verse Voyages

(Ivan Djeparoski, The Abduction of Europe, Skopje: Dijalog, 2012)

p. 1
Anastasija Gjurčinova

Out of the plethora of themes found in Ivan Djeparoski’s new collection of poems, the one on voyages springs immediately to mind. Others may indeed, and are likely to do so, speak candidly on the composite meaning of the poet’s wise, stoic and reverent verses; I, on the other hand, wish to share a few keen personal impressions and allusions tied to the same verses.
    As the poem decides to take us on a journey through Europe and its cities, such as Rome, Paris, Amsterdam, Sarajevo, we see this poetry, namely we read its words, as one large and plural travelogue in verse. Djeparoski, while he thus “travels and writes” does not merely offer his readers a simplified description of the landscape or of the chosen place as such. Quite the contrary, the new destination awakens in him a profound sense of curiosity, particularly related to the worlds of art and philosophy, which he then skillfully relates to certain referential sites inside his poetic memory. Along these lines, especially from the standpoint of the awaken erudition and multiple intellectual allusions, this poetic script reminds me, undeniably so, of that specific kind of travel writing, such as Claudio Magris’ The Danube or his Microcosms, or the classics by Goethe and Stendhal dedicated to Italy.
    Djeparoski persistently looks at the European metropolises as he tries to find the true measure of knowing art, not allowing himself to be defeated by ‘The Stendhal Syndrome’, that strange affliction which plagues contemporary cultural tourism, i.e., the ‘hyperkulturemia’ found at the center of man’s inability to handle the overwhelming dosage of beauty while standing in front of works by the great masters. Bowing to the greatness that are the majestically grandiose canvases of Michelangelo or Rafael, or yet the wondrous play of light exacted by Rembrandt, or the recognizably worn-out shoes by ‘poor’ Van Gogh, Djeparoski manages, with a degree of leisure, to wiggle his way out of the ‘severity’ of the given circumstances by employing refined and subtle irony, namely, by connecting certain moments of these timeless pieces with our immediate, living, actual and global/ized reality. We only need to witness how he succeeds in tying the dust on Van Gogh’s shoes to the dust of the active Icelandic volcano, which during the poet’s visit to Amsterdam dominates the European skyline, disrupting hundreds and hundreds of journeys by/of the contemporary tourist nomads. Even the banalization of

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