URBANOST I MODERNOST U HAIKU POEZIJI DEJANA BOGOJEVIĆA

Dimitar Anakiev
URBANOST I MODERNOST U HAIKU POEZIJI DEJANA BOGOJEVIĆA

Susret sa haiku poezijom Dejana Bogojevića uvek je izazov. Iako sam u nekoliko navrata pisao o fenomenu Dejana Bogojevića u našem haikuu, neka mi bude dozvoljeno da napišem još nekoliko reči uz njegove zbirke koje su tek nedavno došle do mene.
Reč je o trojezičnoj zbirci sabranih haiku izašloj u Sloveniji “Iščem obraz vode” (Tražim lice vode) i njegovom poslednjom zbirkom Ćutim sa majkom, izašlom povodom majčine smrti.
Dok čitam slovenačku zbirku nameće mi se misao da je Dejan Bogojević, uprkos tome da živi u srpskoj provinciji, kao malo ko u našem haikuu, izuzetno urban haiku pesnik. Ova pojava nije tipična za haiku, a kod nas posebno. Uzimam za primer njegov ciklus turističkih haikua napisanih tokom posete Budimpešti. Ne mogu se setiti da sam kod nas uopšte video turističkih haikua a nije ga ni lako pisati, jer pesnik biva izmešten iz svog prirodnog okoliša što znači da je sposobnost identifikacije, tako značajna za haiku, veoma umanjena. Ovaj fenomen, otežanog pisanja (dobrih) haikua izvan domaćeg tla, prvi put su uočili japanski pesnici koji su kao imperijalni vojnici bili poslati u Kinu. Potreban je elemenat urbanosti, da bi pesnik mogao biti duboko intiman i u stranoj zemlji. Za primer dajem tri zaista odlična Dejanova haikua napisana u Budimpešti:

Budimska tvrđava-
pogledi u tmini
postaju nove senke
*
obala Dunava -
svetlost koja uranja
i izranja u mašti
*
88 bisti kraljeva -
ponegde žbun
potamnele mahovine
*
Od urbanosti, potrebno je učiniti samo korak i uskočiti u modernost, kako je definiše japanski koncept “modernog haikua” (Gendai haiku). Haiku zbog svoje kratkoće obično nije liniearan izraz (neka mi bude dozvoljeno poređenje sa matematikom) već je pre svega za njega tipična eksponencijalnost (kao u matematici kvadratna funkcija). Ona se postiže jukstapozicijom, superponiranjem dva nezavisna elementa u asocijativnu vezu, čime su u stvari formira primitivna metafora, postupak kakvog viđamo u filmskoj montaži (o čemu je pisao Tarkovski u svojoj knjizi Kiparenje u vremenu). I Dejanovi haikui bazirani su u jukstapoziciji, evo nekih primera:

ciganska muzika -
starac preturom štapom
po kontejneru
*
sahrana -
lica pokislih ljudi
osvetli munja
*
Međutim, posle drugog svetskog rata grupi japanskih pesnika na čelu sa Kaneko Totom, prosti i jednostavni asocijativni postupci tako tipični za klasičan haiku nisu bili dovoljni u tesnoj koži koju im je skrojila nagla urbanizacija i modernizacija Japana. Oni su počeli da dižu eksponencijalni novo svojih pesama čineći od njih ne samo kvadrate već i kubove sve više se udaljavajući od fizičke stvarnosti, koristeći pritom simbolički jezik i pomerajući haiku od jednostavne, primitivne metafore ka kompleksnim alegorijama (zar nije fascinantno da se alegorija može stvoriti u samo u tri stiha?).
Jedan od tipičnih primera je poetski odgovor Tota Kaneke na poznatu Bašovu pesmu o usahlom polju:

Bolestan na putu
moji snovi lutaju
usahlim poljem.
(Macuo Bašo)

Ima i ovde upotrebe simboličnog jezika, “usahlo polje”, inače “kigo” (reč koja označava godišnje doba”) za zimu, označava smrt i autor ovde zapravo izražava svoje predosećanje skorašnje smrti. Potpuno sjajna pesma, jednostavna, duboka i melanholična, tipični Bašo, ali pogledajmo poetski “odgovor” Tota Kaneka na istu temu:

Spavah dobro
sve dok usahlo polje mog sna
neozelene.
(Tota Kaneko, prevod Dimitar Anakiev)

Kanekina pesma nije samo jednostavan izraz osećanja već je cela priča sažeta u trostihu. Tu više nije samo jedno godišnje doba, već pored zime, smrti (usahlo polje) imamo i “kigo” za proleće “ozeleniti”. Jasna je ideja reinkarnacije ali paradoksalno, ona pesniku ne donosi olakšanje već nesanicu. Bašo se je “uplašio” smrti a Tota Kaneko se je uplašio da će se ponovo roditi. Kakav fascinantan preokret u samo tri stiha, kako kompleksan i prefinjen poetski izraz iz koga može nastati ne samo jedna ili više priča već i poetski eseji.

Naš haiku je svojim pretežno rustičnim i narodnjačkim duhom mnogo bliži tradicionalnom japanskom shvatanju haikua od recimo američkog i zapadnjačkog haikua uopšte. Međutim, na celom Zapadu (sa izuzetkom haikua Tomasa Transtremera i Daga Hamarskjelda)), pa tako i kod nas, modernizam, zbog epigonskog shvatanja ove forme, još nije zakucao na vrata. Kod nas se vrlo retko vide haikui koji su rašireni do celih alegorija. Ovde je opet izuzetak Dejan Bogojeveć, za koga se može sa sigurnošću tvrditi da je jedna od prvih lasta haiku modernizma kod nas. Pogledajmo na primer njegove sledeće haikue:

Eksplozija bisera -
tišina naše ljubavi
zamire
*
Svaki moj stih
za tren je dubina
tvog imena.
*
okrečen zid-
za večnost
senke lica
*

Haikui Dejana Bogojevića, u svoj svojoj kompleksnosti i raznolikosti, prava su i kvalitetna literatura a pored toga i svojevrstna poetska avangarda. Dejan Bogojević je pesnik koji je prekoračio kulturne šablone i razlike i od haiku napravio vlastiti izraz. Iz njegovog pera haiku progovara istovremeno svojom arhetipskom dubinom i modernim duhom. A to u stvari i jeste haiku.
Evo još nekoliko Dejanovih haikua tipičnih za Gendai haiku:


prve pahulje -
otrgnut pas
od zelenila
*
pod kabanicom
bledi prećutano
pero srca
*
zrele dunje -
tik do zida
prva suza

25 YEARS OF "PRIJATELJ", THE FIRST SLOVENIAN HAIKU MAGAZINE

It is now 25 years as I founded the first Slovenian haiku magazine Prijatelj (Friend, 友 Tomo in Japanese). It was hand-made publication, done in the way as Japanese magazin Azami, from Osaka, edited by my late friend Ikkoku Santo. It was still time of splitting Yugoslavia, the wars caused by nationalists-communist coalition were not yet finished but Prijatelj succeed to link poets from all warring sides and also to link Balkans' haiku poets with the world haiku scene. From 1996 to 1998 I published 7 issues with about 37 authors in each issue. In sum it was published 747 haiku, 29 articles, 10 renga poems (collective linked form) and about 100 haiga (drawings and aquarelles mostly).
At the time I was living in a small town Tolmin (western Slovenia, in the foots of Julian Alps by Soča river) without any personal document (like ID, or Passport) being one of 25.000 Slovenian Yugoslavs "erased" from official records (administrative ethnic cleansing). I "enjoyed" such "status" of living without papers 17 years. Prijatelj helped me much to stay alive, with some social function. It was very beginning of the haiku movement in Slovenia. After the last Prijatelj was issued, next year (1999), Jim Kacian and I started editing Knots, an anthology of Southeastern haiku poetry which was also one of great turning points in world's haiku movement, with the influence in connecting ex-Yugoslav poets. In that way Prijatelj was predecessor also of World Haiku Association founded in 2000 in Tolmin. I served as the very first WHA director about a year... Modest magazine with enormous impact. Unfortunately, it is mostly forgotten in today Slovenia.





Four issues of Prijatelj

IF YOU ARE HAIRY, haiku from the edge (1)

Dimitar Anakiev and Maribor's public toilets muralists
IF YOU ARE HAIRY
(Haiku from the social margin or LGTB beyond the gentrification)



Hello my darling!
Free fucking in the ass or
blow job for all?
*
If you are hairy
stop for a while
cocks are waiting.
*
Public toilet
graffiti "Blow job" – in the hottest
day of the year.
*



Ejaculation with
blow job – my pleasure is
making people happy.
*
“Steal or die” -
if they catch you: sex
and food are gratis.
*
I am young and hairy,
already 18 years old – do with me
what you want.
*
Blow job, licking – ass,
balls – kissing and fucking –
only if you are hairy.
*


I adore all kinds of dicks:
blow job, fucking, jerking,
all this and more – gratis.
*
My name is Ella,
I love hairy and shaved –
I am a gifted boy.
*
Hey, salesman,
stop for a while – for a small money
you can suck my dick.
*
I work with asses and dicks -
you will never forget
my fucking.
*
If you have bigger dick
then fuck me – If my dick is bigger
I will fuck you.
*

GAZA, 21 haiku by David Rodrigues

1.
through walls
steel butterflies
in Gaza

2.
all the Earth
leans towards the Sea
in Gaza

3.
a piece of steel
embedded in the olive tree
in Gaza

4.
hands
smash stones
in Gaza

5.
only missiles
seen intelligent
in Gaza

6.
lips
are in hurry
in Gaza

7.
eyes on the ground
a couple of lovers
in Gaza

8.
palm trees -
dates covered with dust
in Gaza

9.
olive eyes
smile at the sunflowers
in Gaza

10.
written on the wall
God and the question-mark
in Gaza

11.
Full Moon -
like a spyglass
in Gaza

12.
which God
choose the people
in Gaza

13.
a new shoe
lost on the street
in Gaza

14.
you do not look up
to see the sky
in Gaza

15.
children already know
that it's better not see
in Gaza

16.
sparrows sleep
on the naked limbs of the trees
in Gaza

17.
silence
is warning
in Gaza

18.
there's no space for wishes
between the stones of the wall
in Gaza

19.
this women doesn't know
to whom she's crying
in Gaza

20.
Spring
only the fig trees didn't flourish
in Gaza

21.
weather forecast -
someone can read the future
in Gaza


Haiku by David Rodrigues (Portugal)
from the book Gaza, 2009

AMERICAN MOSQUITOES ARE NOT XENOPHOBIC?

This conversation happened recently on Facebook:


Dimitar Anakiev:

This morning I got a letter from a leading American haiku poet and editor. In this letter he suggests me to change the title of my haiku collection Xenophobic Mosquitoes because, as he said, "mosquitoes cannot be xenophobic"... What do you think about the state of poetry in the USA?


Adis Imamovic Pixi:

Mosquito flying,
Diving, taking blood
Horisont is red


Colin Stewart Jones:

My own experience with midges in Scotland and people who go to countries where there are mosquitoes suggests that all biting flies prefer to attack visitors because their blood is different in the hotter climate. This means that biting flies discriminate. Xenophobic is a very clever synonym to describe this selective dining.


Kim Goldberg:

He sounds like a literal-minded nit-picker. Not the mind of a poet.


Dimitar Anakiev:

It is hard to add something but for these who learn from us (I face such objections two decades and I suppose all other poets... That is a disqualification of personification, which is one of the most frequent kind of metaphor in haiku because it comes from identification of poet with subject i.e. from empathy) let me remind you on famous Zhuang Zhou reply from his (mythological) discussion with Confucius where he answered similar objective statement about fishes with: "How do you know when you are not fish"? In this case "How do you know about mosquitoes when you are not a mosquito"? This Zhuang Zhou answer is classical defense of poetic mind, defense of poetry against flat rationalism. Only the identification can speak in the name of things, so only poets. Cold rational mind is killer of poetry. Such "poets" create formalist approach to "poetry". So yes, Kim Goldberg, not a poetic mind. But unfortunately more than two decades he shapes the haiku in US and present day situation in the haiku of US is result of his work - which is very different compared with the situation related to beat generation.


Marta Stothers:

xenophobic twit
can't discern the difference
between bugs and art


Dimitar Anakiev:

Exactly Marta! In fact what are "bugs" in reality in art they become symbols. But it is hard to understand even for leading poets and editors.


Samo Dekleva:

Change the title to Mosquitos Allergic to Foreign Blood?

5G

Tribute to Kim Goldberg fighting against 5G corporate interests in Nanaimo, Canada:

Fifth generation
without corporate interests:
the litter of my cats
- - - Dimitar Anakiev, 7/7/2019

Visual haiku (art work): Nataša Berk

XENOPHOBIC MOSQUITOES visualised

Haiku: Dimitar Anakiev
Visual haiku: Nataša Berk



Only 13 years old
she gave birth, now pregnant
with anemia




I lost 16 kilos
in two months, now I take
antidepressants




Escaping from war,
escaping from poverty
into an asylum center




Rejected asylum-seeker
broken, like the broken nose
of his wife




It's called 'jungle'
but only I, my brothers
and sisters live there




Instead of dreams
my family comes to my mind
every night




The smile on her face
reappears: talking about
shurba from Herat




A tattoo from Kabul
speaks seven languages
to survive




Pakistan's tribal wars
I lost both of my legs
and my arms




In the waves of the sea
I lost my family to become
welder again




Traveling three months
by land, sea and air we come
into your country




Legs injured
by Taliban, soul wounded
by bureaucracy




I seek medicine
boredom is killing me
and my family




"The same for citizens..."
but they need more support,
more rights to live




Arab vs. Afghan
fight
in an asylum center




Sweat body
in convulsions: without heroin
Afghan youth




Help me, doctor!
In Cameroon they beat
homosexuals




Scar on the leg,
wounds in the heart,
I am from Morocco




Asylum-seekers
with an illness on the heart
but no medicine




I changed religion,
then I changed my homeland,
my Iran




Xenophobic mosquitoes
biting all asylum-seekers: black and white,
men and women