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ISSN 1409-6900 | UDK 82+7     Blesok no. 101-102 | volume  | November-December, 2015



                     Peer-reviewed journal
Blesok no. 101-102November-December, 2015

DNA Writing for DNA Poetry

p. 1
Elizabeta Šeleva


DNA Writing for DNA Poetry

Translated from Macedonian by Elizabeta Bakovska
    Igor Isakovski (1970-2014) is a poet, prose writer, editor and publisher who belongs to the generation of not only locally and regionally, but also internationally well-known and acclaimed Macedonian authors, born in the 1970es (where there are also Lidija Dimkovska, Dejan Dukovski, Goce Smilevski, Zhanina Mirchevska, Nikola Madzirov). In his early 20es, he was a member of “The Little Prince” literary club, together with Lidija Dimkovska, Janko Ninov (now Father David), Boris Chavkovski, Ana Pejchinova, Goran Bozhović (today Bishop Kliment), etc.
    His writing and his poetics are consistent in their expression and recognizable in their fierce urban sensibility. He is identified by his individual radicalism, rebellious Eros, counter-cultural drive, his need of escapism in the blues, sex, alcohol. The city is the ultimate lyrical space in Isakovski’s poems, a privileged “setting” of the irrevocable loneliness of the lyrical subject. The city is a décor, but also a crutch. A moving testimony of the uncompromising quest and thirst for the essential Love(ability), but also a meditative nocturnal setting to the unavoidable loneliness.
    It is in the last 4 of the total 9 of Isakovski’s poetry books: “Interning for a Saint”, “The Love Poem”, “Death Has Seaweed Hair”, concluding with the last one, “Poems from the Big Room”, as well as the poems (so far) published only on Facebook where the “erotological” twist happens, and the lyrical subject transforms from his initial, known from earlier, bitter-nihilistic mood, into lovability as an ontological equation to existence and the only desirable home.
    This is dedicated, self-aware and auto-poetically blooming lyrics, which exists in the first grip between the seemingly hardly connective components: the element of confessionality, the new (“man’s” and “manly”) intimism of the lyrical subject, in the predominant “first person” singular – on one hand, and the element of auto-reflexiveness (“come out, take a breath, connect with the world. I’m telling you with good intentions, Isakovski”) and the cruel “laboratory” self-examination of one’s own, radical poetics – on the other hand. “Fuck You Isakovski” in that sense in an especially indicative example of the explicit (metalinguistic and auto-referential) address to, and naming, oneself (him being the first to introduce this in the Macedonian poetry, as it stretches from being strict to oneself in a humorous self-irony, which the lyrical subject expresses for himself… These impressionable meta-linguistic, meta-poetic, auto-poetic elements speak not only of the

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