Selected poems from "First Step into Darkness" and "Wild Animals Crossing"
Translated from Croatian by Majda and Damir Šodan
Ivana Bodrožić was born in Vukovar in 1982. In 2005, she published her first poetry collection entitled Prvi korak u tamu (The First Step into Darkness) as part of the Goran Award for young poets.
Her first novel Hotel Zagorje (Hotel Tito) was published in 2010. The novel has been published at numerous respectful publishing houses and received a prestigious Prix Ulysee for the best debut novel in France, as well as numerous important awards in Croatia and the Balkan area such as the Kočićevo Pero Award, Josip and Ivan Kozarac Award, and Kiklop Award for the best work of fiction in 2010.
She has since published her second poetry collection Prijelaz za divlje životinje (A Road for Wild Animals) and a short story collection 100% pamuk (100% Cotton), which has also received a regional award.
Her works have been translated to German, French, Czech, Danish, Slovenian, Spanish, Macedonian.
***
Extension is God’s attribute,
or in other words, God is something extendable.
I’m standing at that particular Zagreb public transport counter
where there’s never a queue.
The one for the children of those killed / imprisoned /
abducted / disappeared /
taken in an unknown direction /
Croatian defenders.
It’s all written on the application form
and I have a discount pass every year.
It’s two thousand and three,
you say that to yourself slowly,
and there are still those who think that
I’ve jumped the queue without reason
and that’s what bothers me the most.
Aside from that
I have no trauma.
The more the spirit understands things as necessary,
the more power it has over emotions
and suffers less from them.
Room 325
Translators reserve the right
not to translate the term.
The world is happening outside me.
I live in a hotel
and every day, on my way
to school I leave my key
in cubby-hole
number 325,
slightly smaller than
the room in which we live
my mother, my brother, and I,
and the television that will
maybe, one day
reveal where my father is.
Until then, everything in threes;
beds, cups, spoons,
the Father, the Son and the Holy Ghost,
and we cowardly buy
everything in threes
as if we’re not counting on him
anymore.
Even the pillow we sit on
is made out of the fur lining of his jacket
that Auntie saved from Vukovar,
and that's pretty much it,
but no one can save my mother,
no one.
She will spend years in the small
bathroom of room 325
writing letters to my father
who DISAPPEARED.
That's the official term.
* * *
Must take the dog for a walk.
Must keep in touch.
Must always be truthful, polite and well-meaning
towards him. Above all, must forget those times
when, we’d turn our cups over
after every coffee break,
and when we ordered for everyone
a gold lucky four-leaf-clover pendant
from Arena (described as gold-plated,
but which eventually started to peel).
It healed one woman’s son,
while a wealthy older man met
a beautiful young woman, it was a time of despair.
It’s all behind us now, the new bathroom has arrived.
It’s important we stay close and devoted.
That this may never happen to us again.
I’ll ignore that slight feeling of faking it.
Being yours, even though I’m not.
Being happy, even if I don’t believe it.
Life is good finally, and we’ll never again
have to order lucky charms.
In any case, this was a long time ago,
These days, I’m so out of the loop,
I wouldn’t even recognise help on its way.
***
I was ten thousand times dead
suffering all that pain that death brings.
Here, words like “epiphany”, “miracles”, “messages”
have the meaning of all too human
testimonials.
I don’t want to prejudice the judgment of the Church
to which here I absolutely submit.
Wrote the author on the cover of the book
that the woman next to me was reading.
Pope Urban VIII was also mentioned.
I sat next to her reading a poem
by Charles Bukowski
about his first visit to a brothel.
He mostly talked about whores
and some of his friends.
At that time I started publishing poetry,
wanting to write something about life.
***
(NOVEMBER 20th, every year, Vukovar)
I particularly like imagining
the wreaths of flowers on the Danube…
Sometimes you can even see them on television.
What you will never see is,
how people throw those flowers;
from the banks, or they come to the middle of the river,
in wooden or motor-powered rowboats.
For all those who lost their lives on the Danube.
I don’t try to imagine how, but I nevertheless wonder…
Was it from the banks, or did they bring them to the middle of the river?
FRANCE, JE T’AIME
The French live in France.
One of the French photographed the bridge,
the church with the two towers,
a horse and some buildings.
Orléans is too grey for your liking this year.
You haven’t slept,
and you’re writing nonsense,
the postcard will hopefully come before I go to the seaside.
I have so much to tell you.
I left for the seaside before the postcard came.
I wish I was French,
or at least had a passport from Orléans,
but like this, I’m just Ivana – Jeanne.
I guess that’s something in itself,
her being a saviour.
CHRISTMAS CARD
They raised a high brick wall in the courtyard.
And beside it, in the courtyard, they parked a boat.
The sea is far from our town, where
the only fish you can buy is frozen.
Beside the boat they trimmed a Christmas tree
with multicoloured lights.
All of this is somehow a little silly, but very appropriate,
like those tired men on every railroad station
in this part of the world, whom you can be sure
are missing a finger, or part of one,
but can rarely recall how they lost it.
Probably building a wall,
or working for a boat,
or a tree…
Certainly not by trimming one.
* * *
They placed their cameras by the curb.
You were leaving the town, like so many times before.
But somewhat differently that morning, your father hanging off your neck.
I look at you today, after all these years
On some foreign TV programme, and think,
How you could have been a friend of mine,
as you utter:
we are not guilty,
we don’t have food,
they kill us,
but we still don’t hate.
It’s touching, this window you have onto the world,
and I imagine you learning English at school,
maybe even at mine, and wonder what that lesson was about,
where you learnt the words kill, guilty, hate,
or did you get that from the movies, and now you feel yourself
closer to those people who are in the safe world, because they’re behind the camera.
What strange rules this world has,
while a war is waging in that very town.
I change the channel,
and know I’ll regret it, but I’m haunted by your father’s image,
as he hits that spot on his chest, beside a tear in his sweater,
somewhere close to where the heart is, and how he’s
weaker than you, a child, because he can’t even convey
how much he hurts, and if he could, he thinks,
those behind the camera would at least come over
and press their palms against that spot.
It’s clear now how high the language barrier can be,
when it wants to.
REMIND ME
All I can do,
is to write about the night air.
When I take off my jacket in the hallway,
it seeps out of my sleeves and pockets…
So fragrant and Christmas Eve-like,
sticking to my hair and face,
and I quickly run over to you,
to press my cheek against yours,
so you can feel its coldness,
as you smile and duck,
pretending not to like it.
All I can do,
is to write about a snowball.
Or rather, write about one
before it’s formed, in the early morning,
when it suddenly appears and I contemplate
how to bring it to you,
without ruining it,
bring it to you, or you to it…
All I have left to do, is write about
the Danube in the summer
and the time when I thought everything was possible.
Because I was seven,
and had a blue pail,
with a fish on it,
that I would fill up and drag home,
to rinse it out under the faucet and drink.
These are the things worth remembering.
* * *
What happened to the women in my life?
I know that no one is watching my back anymore.
After its thirtieth attempt, the Moon has thinned in the waist
and little by little I am left alone.
When I visit them
I am saddened most by their veiled glances
and stained tablecloths.
I take their place, there is a need to fight and call for backup.
I fill the spot under the bed sheet.
Please straighten out my hood, even though you think it trivial,
but one can’t ask such trivialities from just anyone.
Straighten it out and I’ll open up to you.
I’ll remain in the corner of the room, quietly, waiting for it all to finish.
Like a child licking off the fill inside of a wafer
and hiding the rest in a napkin.
I turn around after every flash of light, master the necessary skills,
I listen to the grass fighting a subterranean war,
spilling out its juices.
I refrain from life, sometimes I am so out of love for you.
For instance, for instance,
when a storm blows the windows open, and the wind shrieks into the room
and I imagine them finding me drowned and I cry, and cry,
and all you do is shut the window, and think yourself God.
I turn around after every flash of light.
Can I be even more fearful of life than I already am?
***
Everything is ready for your arrival.
The war is over.
The smuggled cube, two chocolates in the labour ward.
Bubbling water in the oxygen bottle.
Daddy says: that's the sea!
The magnificent moment of Your arrival
Into this world as we're crying from joy.
Here it is!
So far the most palpable moment of my motherhood.
I kiss you on your tiny back.
Mostly we're left alone, us two girls.
Then we spawn stories.
Listening to the batting of wings outside the window.
Batting.
How am I going to explain that to you, so much
has to be taken into consideration: feathers, wind, the space
of freedom, hollow bones...
Once my mother stole for me pair of black
tights at the Nama department store.
One needs war for something like that, a child who lost her father
and the beginning of the new school year.
I kiss you on your tiny back.
Instead of baby-talking to it, I fear it might be bending.
I'm saying all the wrong words on your twenty second day.
How am I going to explain than this whole world to you?
***
I was lying on my belly on the bed
in the Continental Hotel in Rijeka,
it was awfully cold,
but the sea was there,
it was March
and I was a poet.
my room-mate was smoking weed
since 6 AM,
the wallpaper was reminiscent of the one in Rosemary's Baby
and my first collection of poems
had just come out.
Life was just about to begin,
everyone was telling me that,
but I knew that something had been somehow over
and that never again will I be writing a book
so unaware of the fact that I am writing a book,
with a bottle of Badel brandy, a soft pack of York cigarettes and a candle
pretending I was Yesenin.
I was afraid that actually I was done with writing,
the door simply refused to be closed
with all those heads trying to pop in through the window.
then Simo1 walked into the room.
he laid down beside me.
I don't know how to go on, I said.
as we watched each other from a close proximity.
just pretend you are someone else, he said,
I do that all the time, when I sit down to write.
he pinched me on the thigh,
a little bit later we got drunk together.
sometime later, I bumped into him downtown, after his chemotherapy:
Hey I'm great!
I got a five year guarantee!
just like my washing machine, I replied,
which was the stupidest thing I've ever said in my entire life.
I still haven't erased his phone number from my contacts;
he's still there whenever I want to call someone
whose name begins with the letter "S";
I still pretend that something is just about to begin
that I am someone else
although it's clear - it's just the endings that matter.
***
Did those idiots cut the grandpa’s hands off?
No they didn’t.
But did they kill him?
Yes they did.
Did they beat you?
No they didn’t. I fled before they came.
And did they burn down the house?
Yes they did.
And burned down all your dresses and Barbie-dolls
and then you had only one doll left.
Yes they did.
And what did you tell them then?
Nothing, I fled before they came.
And what did they tell you?
Get out of here, this is our city!
And they killed your kitty?
Well, the kitty remained there.
Poor kitty.
But did they bury the grandpa underground?
They did.
Where?
I don’t know.
But he is watching over us now from the heaven above.
Yes.
How can he look when he has no eyes?
Well, souls don’t have eyes but they can see you nevertheless.
I hate those “didiots”! I will kick them with my legs!
Don’t hate anybody.
Why?
That’s not nice.
***
You will never know how much I love you
How much I enjoy in the smell of the thin line of saliva
Stretching from your chin down your neck
All the way to the collar of your T-shirt
As you hysterically scream – all in tears –
That you will no longer be my son
For you are three years old and you will run me over
With your bicycle.
You will never know how much I love you
In the evening when I enter the room to cover you once again
I am suddenly overtaken by the fear of all those who will enter your life
You always throw away the covers
Sometimes you even take off the bottom of your pajamas
Sleeping with your bare little ass sticking out
I wish I could bite and cover it with kisses that soft flesh of mine
-- mine and nobody else’s.
You will never find know how much I love you
As you sit next to each other
On top of the washing machine, freshly bathed and so fragrant
Amidst all this dirt
As I am cutting twenty little toenails
Those died out cells of your little bodies.
It is just death that we are journeying towards.
You will never know how much I love you
And I am way too tired
I have been screaming since this morning
Because it takes way to long for you to get into the car
Because I am not what you will want me to be
Because I lie about the world you’re living in
Because I lie about myself and others
Because I don’t know any better.
You will never know how much I love you
And how I’m getting ready to stop meddling into your life
One day
***
More and more seriously I am praying to God
for this life to never end.
Last night it took me some time to remember...
What was the name of that place, those circumstances
I once lived in, the relief centre
for accommodating displaced persons.
I knew there were a few words,
It just took me a while to remember...
I glue myself next to you,
We are two people much too responsible,
two prematurely matured children
with the baby in the other room.
The thought of death is so distant.
These shady balconies remind me so much of Vukovar.
Lime trees in June,
Watermelons in bathtub,
Boris Kidrič Street,
The place of perfect happiness.
But I don’t even know who that man is.
I don’t know the place,
The Place Where We Will Spend the Night2,
You,
That spot on her neck,
That’s probably the scent of Heaven,
If only life would spare me this time,
If only if would forget about me.
***
On her fifty-sixth birthday
My Mother smoked weed for the first time in her live.
She started working when she was seventeen
She got married at nineteen
She gave birth at nineteen
For the first time
At the age of thirty six she lost her job
At the age of thirty six she remained a semi-widow
At the age of forty she lost her father
At the age of forty three she slapped me for the last time
At the age of fifty he became grandma for the first time
At the age of fifty three
She became an orphan.
One third of her life she couldn’t sleep.
We sit at the table smoking
All three of us
My husband, herself and me,
She says – well, I don’t feel anything
You’re past the ability to feel anything, I reply.
But look at the two of you!
Your eyes are gleaming!
Yours are gleaming too, Mum, only you cannot see yourself,
And that’s the first sign that you are high.
As for myself – I am blasted, but I don’t want her to see it.
Before her I am calm and calculated,
I am big and experienced,
I am equally immune to the effects of grass
I am mean and tough – even more than she is.
1 Simo Mraović (1966-2008), Croatian poet, novelist, essayist with highly urban, metropolitan sensibility; the good genie of contemporary Croatian poetry, who lost his battle with cancer at the age of 42.
2 The Place Where We Will Spend the Night (“Mjesto na kojem ćemo provesti noć”, 2000), is the first collection of stories by Roman Simić (1972), a well-known Croatian editor and writer, Ivana Simić Bodrožić’s husband.
Kritična masa raspisuje novi natječaj književne nagrade "Kritična masa" za mlade autorice i autore (do 35 godina).
Ovo je osmo izdanje nagrade koja pruža pregled mlađe prozne scene (širi i uži izbor) i promovira nova prozna imena.
Prva nagrada iznosi 700 eura (bruto iznos) i dodjeljuje se uz plaketu.
U konkurenciju ulaze svi dosad neobjavljeni oblici proznih priloga (kratka priča, odlomci iz većih formi, prozne crtice). Osim prozne fikcije, prihvatljivi su i dokumentarni prozni tekstovi te dnevničke forme koji posjeduju književnu dimenziju.
Prethodnih su godina nagradu dobili Ana Rajković, Jelena Zlatar, Marina Gudelj, Mira Petrović, Filip Rutić, Eva Simčić i Ana Predan.
Krajnji rok za slanje prijava je 10.12.2024.
Pravo sudjelovanja imaju autorice i autori rođeni od 10.12.1989. nadalje.
NAGRADA "KRITIČNA MASA" - UŽI IZBOR
Robert Aralica (Šibenik, 1997.) studij hrvatskoga i engleskoga jezika i književnosti završava 2020. godine na Filozofskom fakultetu Sveučilišta u Splitu. U slobodno vrijeme bavi se pisanjem proze i produkcijom elektroničke glazbe. Svoje literarne radove objavljivao je u studentskim časopisima Humanist i The Split Mind. 2022. kriminalističkom pričom Natkrovlje od čempresa osvojio je prvo mjesto na natječaju Kristalna pepeljara. Trenutno je zaposlen u II. i V. splitskoj gimnaziji kao nastavnik hrvatskoga jezika.
NAGRADA "KRITIČNA MASA" - UŽI IZBOR
Iva Esterajher (Ljubljana, 1988.) živi i radi u Zagrebu. Diplomirala je politologiju na Fakultetu političkih znanosti. Aktivno se bavi likovnom umjetnošću (crtanje, slikarstvo, grafički rad), fotografijom, kreativnim pisanjem te pisanjem filmskih i glazbenih recenzija. Kratke priče i poezija objavljene su joj u književnim časopisima i na portalima (Urbani vračevi, UBIQ, Astronaut, Strane, NEMA, Afirmator) te je sudjelovala na nekoliko književnih natječaja i manifestacija (Večernji list, Arteist, FantaSTikon, Pamela festival i dr.).
NAGRADA "KRITIČNA MASA" - UŽI IZBOR
Nikola Pavičić (Zagreb, 2004.) živi u Svetoj Nedelji. Pohađa Pravni fakultet Sveučilišta u Zagrebu. Piše, napose poeziju i lirsku prozu, te sa svojim tekstovima nastoji sudjelovati u literarnim natječajima i časopisima. U slobodno vrijeme voli proučavati književnost i povijest te učiti jezike.
NAGRADA "KRITIČNA MASA" - UŽI IZBOR
Luca Kozina (Split, 1990.) piše prozu, poeziju i književne kritike. Dobitnica je nagrade Prozak u sklopu koje je 2021. objavljena zbirka priča Važno je imati hobi. Zbirka je ušla u uži izbor nagrade Edo Budiša. Dobitnica je nagrada za poeziju Mak Dizdar i Pisanje na Tanane izdavačke kuće Kontrast u kategoriji Priroda. Dobitnica je nagrade Ulaznica za poeziju. Od 2016. piše književne kritike za portal Booksu. Članica je splitske udruge Pisci za pisce. Zajedno s Ružicom Gašperov i Sarom Kopeczky autorica je knjige Priručnica - od ideje do priče (2023).
NAGRADA "KRITIČNA MASA" - UŽI IZBOR
Ana Predan (Pula, 1996.) odrasla je u Vodnjanu. U šestoj godini počinje svirati violinu, a u šesnaestoj pjevati jazz. Po završetku srednje škole seli u Ljubljanu gdje studira međunarodne odnose, a onda u Trst gdje upisuje jazz pjevanje pri tršćanskom konzervatoriju na kojem je diplomirala ove godine s temom radništva u glazbi Istre. U toku studiranja putuje u Estoniju gdje godinu dana provodi na Erasmus+ studentskoj razmjeni. Tada sudjeluje na mnogo vrijednih i važnih projekata, i radi s umjetnicima i prijateljima, a počinje se i odmicati od jazza, te otkriva eksperimentalnu i improviziranu glazbu, te se počinje zanimati za druge, vizualne medije, osobito film. Trenutno živi u Puli, gdje piše za Radio Rojc i predaje violinu u Glazbenoj školi Ivana Matetića-Ronjgova. Piše oduvijek i često, najčešće sebi.
NAGRADA "SEDMICA & KRITIČNA MASA" - UŽI IZBOR
Eva Simčić (Rijeka, 1990.) do sada je kraću prozu objavljivala na stranicama Gradske knjižnice Rijeka, na blogu i Facebook stranici Čovjek-Časopis, Reviji Razpotja i na stranici Air Beletrina. Trenutno živi i radi u Oslu gdje dovršava doktorat iz postjugoslavenske književnosti i kulture.
Jyrki K. Ihalainen (r. 1957.) finski je pisac, prevoditelj i izdavač. Od 1978. Ihalainen je objavio 34 zbirke poezije na finskom, engleskom i danskom. Njegova prva zbirka poezije, Flesh & Night , objavljena u Christianiji 1978. JK Ihalainen posjeduje izdavačku kuću Palladium Kirjat u sklopu koje sam izrađuje svoje knjige od početka do kraja: piše ih ili prevodi, djeluje kao njihov izdavač, tiska ih u svojoj tiskari u Siuronkoskom i vodi njihovu prodaju. Ihalainenova djela ilustrirali su poznati umjetnici, uključujući Williama S. Burroughsa , Outi Heiskanen i Maritu Liulia. Ihalainen je dobio niz uglednih nagrada u Finskoj: Nuoren Voiman Liito 1995., nagradu za umjetnost Pirkanmaa 1998., nagradu Eino Leino 2010. Od 2003. Ihalainen je umjetnički direktor Anniki Poetry Festivala koji se odvija u Tampereu. Ihalainenova najnovija zbirka pjesama je "Sytykkei", objavljena 2016 . Bavi se i izvođenjem poezije; bio je, između ostalog, gost na albumu Loppuasukas finskog rap izvođača Asa 2008., gdje izvodi tekst pjesme "Alkuasukas".
Maja Marchig (Rijeka, 1973.) živi u Zagrebu gdje radi kao računovođa. Piše poeziju i kratke priče. Polaznica je više radionica pisanja poezije i proze. Objavljivala je u brojnim časopisima u regiji kao što su Strane, Fantom slobode, Tema i Poezija. Članica literarne organizacije ZLO. Nekoliko puta je bila finalistica hrvatskih i regionalnih književnih natječaja (Natječaja za kratku priču FEKPa 2015., Međunarodnog konkursa za kratku priču “Vranac” 2015., Nagrade Post scriptum za književnost na društvenim mrežama 2019. i 2020. godine). Njena kratka priča “Terapija” osvojila je drugu nagradu na natječaju KROMOmetaFORA2020. 2022. godine objavila je zbirku pjesama Spavajte u čarapama uz potporu za poticanje književnog stvaralaštva Ministarstva kulture i medija Republike Hrvatske u biblioteci Poezija Hrvatskog društva pisaca.
Juha Kulmala (r. 1962.) finski je pjesnik koji živi u Turkuu. Njegova zbirka "Pompeijin iloiset päivät" ("Veseli dani Pompeja") dobila je nacionalnu pjesničku nagradu Dancing Bear 2014. koju dodjeljuje finska javna radiotelevizija Yle. A njegova zbirka "Emme ole dodo" ("Mi nismo Dodo") nagrađena je nacionalnom nagradom Jarkko Laine 2011. Kulmalina poezija ukorijenjena je u beatu, nadrealizmu i ekspresionizmu i često se koristi uvrnutim, lakonskim humorom. Pjesme su mu prevedene na više jezika. Nastupao je na mnogim festivalima i klubovima, npr. u Engleskoj, Njemačkoj, Rusiji, Estoniji i Turskoj, ponekad s glazbenicima ili drugim umjetnicima. Također je predsjednik festivala Tjedan poezije u Turkuu.