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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

Poetic Trigonometry: On the European Native and European Alien

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

p. 1
Sonja Stojmenska-Elzeser

This collection consists of thirteen poetic triptychs, a kind of the triangular mirrors in a kaleidoscope that vibrate through space and time, thus creating unusual sparks of the enigma called Europe, seen through the prism of the author’s intimate experiences. These, in turn, tell us that outside of the deafening gibberish of Euro-themes, with its everyday pushing and pulling, the sentiments, thought processes and experiences of and about Europe and the European spirit can exhibit a refined, stylized poetic expression, and most definitely, examine, up close and personal, the said problematic and painful sites, identified by a dozen of scientific studies, political speeches or media debates. Most of the verses in the collection find their roots in the real (physical) journeys the author took while traveling to various European cities (primarily, as part of the unusual project-event called “Literary Express Europe 2000”, as well as other specific trips, precisely documented through recently marked dates), but at the same time, a part of them are founded on the spiritual quests and adventures of the European culture and tradition, a sphere Ivan Djeparoski calls home. As a philosopher and a refined and educated aesthetician, Djeparoski, quite autonomously, creates collages out of philosophical statements and film scenes, titles of philosophical treaties and daily headlines, verses by famous poets and political phrases, mathematical operations and scientific theorems… In a Kantian fashion, the poet demystifies the emblematic European emblems and lines them up, partnering them with today’s parameters, which he then reduces, quite mercilessly, to tourism, spectacle, profit. With a good deal of irony and resignation, he returns to the infinitely endless counter-points of the familiar binary stance, namely, East-West, Europe-Asia, Europe-Balkans, Turkey and Europe, Europe and I, Europe and You, etc., which, in the end, trickle away as tiny soap bubbles under the ultimate binary opposition, life-death. The abstraction called Europe, a set of personal traveling experiences, encyclopedia-riddled knowledge of the humanities, underlines by a philosophical mindset and civlizational values, awakes in the poet ambivalent feelings, which he examines further through the Freudian concept of ‘unheimlich’, something uncomfortably close yet distant and foreign; or, frighteningly personal, a part of one’s essence, but also something to run away from; familiar and internalized, yet something he ‘calls an (im)permanent home’. Djeparoski’s entire collection, which is called, far from an accidental choice at best, The Abduction of Europe, bears the bitter taste of stigma and stigmatization,

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