prose

Sibila Petlevski: Correspondence (excerpt from "A State of Twilight")

Sibila Petlevski is the author of 23 books in different genres of fiction, non-fiction, drama and poetry.
Some of her sonnets originally written in English appeared in Douglas Messerli's anthology of world authors 50: A Celebration of Sun & Moon Classics (Sun & Moon Press, Los Angeles, 1995). Her poetry, drama and extracts from her fiction have been translated into numerous languages.
She won the "Vladimir Nazor" Award for literature for 1993. She also won the literary award for the best national novel published in 2009, tportal award, for her novel "Vrijeme laži".
"Correspondence" is an excerpt from "A State of Twilight", the third novel in the "Taboo" trilogy.



How things return to their starting point! How persistent, how malicious these ghosts of the past are! - Viktor wrote. He dated it: Lublin, November 22nd 1916, 2:40 AM. He was in a state of fatigue; weary in spirit and exhausted from work. He sat at a desk in an office of the Psychiatry ward of Lublin army headquarters.  For a while now - since that first operation he had to perform under fire, in the improvised conditions of a field hospital, up to the moment when he could start practicing his specialty in Lublin - he had a feeling that he was haunted by the faces from those years which he lived through - in his own words - "foolishly, arrogantly wasteful of time, as if he would live forever". The train brought fresh cannon fodder from the eastern front. Delivery - that's what Viktor called the newly arrived wounded. Whenever a larger "delivery" arrived, he would get involved. He considered it his duty; "roll up your sleeves, get out of the privileged position of the head of the psychiatric ward, and do the butcher's job as one should". There weren't many educated physicians among the psychoanalysts who gathered around Freud. He was in many ways an exception.

I'm tired, tired, tired, like a heavy saddle is covering me. My eyelids are closing, and there is no merciful sleep. I haven't slept properly in weeks - Viktor wrote down. I thought the twilight period in which I still believed myself to be an artist was over. In a way, it is. Nothing can ever be the same again. But the curse returns. It was and remained. It's following me. When he removed the white coat stained with blood, Viktor neatly buttoned it up and put it on the hanger. He didn't have it washed, and now the "filthy butcher's apron" had pride of place on a silly wooden hanger for the upper part of the uniform, which in peacetime would surely hold the pressed jacket of his dinner suit. He placed the hanger opposite the desk, in the position where a patient would usually find himself after opening the door and stepping into his office. First he began to laugh, and then he forgot about that "little play" he put on for his own amusement, and started writing. Just before four o'clock in the morning, when his eyes had gone completely blurry from fatigue, he looked up, and his doctor's coat still stood there like a headless man - he himself. At four AM, seeing an empty doctor's uniform, the discarded armor of his own doctor persona, wasn't the least bit pleasant.

Is there any content in it... this role of humanist and physician? - he wondered.

On the coat, the blood had once more, with a bureaucrat's dilligence, written the message of another senseless death, and at the sight of these blood stains, Viktor couldn't escape the impression - for quite some time he couldn't escape the horrific impression - that the canvas of his doctor's coat was a surface used by some utterly cunning, unidentified force - God or the Devil, whichever - to send him messages.

Those aren't stains. No, those aren't lines either. It's writing.

Finally, he could make out "a hand"; he thought that every other, minimally skillful eye could differentiate between a random form - a bloody arabesque of chance - and a deliberate intervention into randomness. It was writing. Those were signs. perhaps even letters. There wasn't much chance that he could be mistaken on this issue, because Viktor was also an artist. As much as he wanted to forget this innate passion - he was, among all other things, an artist - and he was a better draughtsman than many of those who entered the Academy.

Endowed in all things, he proved with every life decision that overabundance can become a serious problem for a "serious man in a serious society". For some time now he copied the letters of the blood alphabet into his Diary, pretending he was merely doodling. He could never admit it to anyone. He could barely admit to himself what he was doing, in the small hours of the morning, after work; this "infernal calligraphy" and an incidental search for the key to this coded writing. Precisely - "incidental search" - because how could one believe a system could really exist where arbitrariness, absurdity, complete chaos of causes and effects were shown?

Even this war, which put the "blood ink" into mass production, was and remained only a set of god-awfully banal reasons, dominated by the need for gain. Only Gain could give an alleged sense to the senselessness of war, and sell an infernal lie at the price of thousands and thousands of human lives. Only Gain could convince each of them personally - the smart and the stupid, the ignorant and the educated who think they know how to think - that at the end of their life journey they did not die in vain, but as the happy possessors of a great truth. I'd love to know: whose Gain?... Because whoever promised them immortality, they could only achieve it beyond consciousness, in the realm of collective sepulchral stupidity that makes sons continue precisely where their fathers left off. Am I perhaps engaged in correspondence with a force of cerebral inertia stronger than death itself? The blood letters - from whom did they come from, and for whom are they intended?

 

o nama

Nagrada Sedmica i Kritična masa 2019. za Miru Petrović

Pobjednica ovogodišnje nagrade "Sedmica i Kritična masa" za mlade prozne autore je Mira Petrović (1989.) iz Splita.
U užem izboru Nagrade za 2019. bili su: Leonarda Bosilj, Iva Hlavač, Toni Juričić, Maja Klarić, Dinko Kreho, Mira Petrović i Iva Sopka.
Ovo je bio četvrti natječaj koji raspisuje Kritična masa, a nagradu sponzorira cafe-bar Sedmica (Kačićeva 7, Zagreb).
U žiriju nagrade Sedmica i Kritična masa bili su - Viktorija Božina, Branko Maleš i Damir Karakaš.

o nama

Nagrada Sedmica & Kritična masa 2019 - uži izbor

Nakon što je žiri Nagrade Sedmica & Kritična masa za mlade prozne autore bodovao priče autora iz šireg izbora Nagrade, u uži izbor ušlo je sedam autora/ica.
Pogledajte tko su sedmoro odabranih.
Sponzor Nagrade je kulturno osviješteni cafe-bar "Sedmica" (Kačićeva 7, Zagreb).

proza

Mira Petrović: Bye bye baby bye; Zana

NAGRADA "SEDMICA & KRITIČNA MASA" - DOBITNICA NAGRADE 2019

Mira Petrović rođena je 1989. u Splitu. Predaje engleski jezik iako bi više uživala s talijanskim. Piše prozu, ponekad odluta u poeziju. Objavila priče i pjesme na raznim portalima i u časopisima. Bila je u užem izboru za nagradu Sedmice i Kritične mase 2017. Jedna od deset finalista međunarodnog natječaja Sea of words 2016. Dobitnica Vranca – 2015. i Ulaznice 2016.

proza

Dinko Kreho: Zoja

NAGRADA "SEDMICA & KRITIČNA MASA" - UŽI IZBOR 2019

Počinjemo s objavom radova koji su ušli u širi izbor... Dinko Kreho (Sarajevo, 1986.) diplomirao je književnost na Filozofskom fakultetu u Sarajevu. Bio je član uredništva dvotjednika za kulturu i društvena pitanja Zarez, te suradnik na projektu Alternativna književna tumačenja (AKT). Autor je knjiga poezije Ravno sa pokretne trake (2006.) i Zapažanja o anđelima (2009.), kao i koautor (s Darijem Bevandom) radiodramskoga krimi serijala Bezdrov (2013.). Književnu kritiku, esejistiku i poeziju u novije vrijeme objavljuje u tjedniku Novosti, na portalima Booksa i Proletter, te u književnom dvomjesečniku Polja. Živi u Zagrebu.

proza

Leonarda Bosilj: Ptice ne lete

NAGRADA "SEDMICA & KRITIČNA MASA" - UŽI IZBOR 2019

Leonarda Bosilj (2000., Varaždin) studira psihologiju na Filozofskom fakultetu Sveučilišta u Zagrebu. Tijekom srednje škole sudjelovala je na literarnim natječajima (LiDraNo, Gjalski za učenike srednjih škola), a ovo je prvi put da šalje svoj rad na neki javni natječaj.

proza

Toni Juričić: Con calma

NAGRADA "SEDMICA & KRITIČNA MASA" - UŽI IZBOR 2019

Toni Juričić (1990., Labin) diplomirao je komparativnu književnost na Filozofskom fakultetu u Zagrebu. Objavljivao je u književnim časopisima Fantom Slobode, UBIQ, Zarez i u zbirkama spekulativne fikcije Transreali, Sfumato i Futur Crni. Režirao je kratkometražne filmove (Momentum Mortem, Preludij Sumanutosti, Rosinette) i spotove za glazbene skupine NLV, Barbari, BluVinil, Nellcote i dr. Osnivač je i predsjednik udruge Notturno za produkciju i promicanje audio-vizualne djelatnosti. Pokretač je i producent projekata [noir.am sessions] i [noir.am storytellers] čiji je cilj promoviranje nezavisne glazbene i književne scene. Režirao je monodramu Sv. Absinthia. Dobitnik je nagrade "Slavko Kolar" Hrvatskog Sabora Kulture za prozno stvaralaštvo mladih autora. Trenutno je na doktorskom studiju u sklopu Sveučilišta u Durhamu.

proza

Iva Sopka: Moje pravo, nezaljubljeno lice

NAGRADA "SEDMICA & KRITIČNA MASA" - UŽI IZBOR 2019

Iva Sopka (1987., Vrbas) objavila je više kratkih priča od kojih su najznačajnije objavljene u izboru za književnu nagradu Večernjeg lista „Ranko Marinković“ 2011. godine, Zarezovog i Algoritmovog književnog natječaja Prozak 2015. godine, nagrade „Sedmica & Kritična Masa“ 2016. i 2017. godine, natječaja za kratku priču Gradske knjižnice Samobor 2016. godine te natječaja za kratku priču 2016. godine Broda knjižare – broda kulture. Osvojila je i drugo mjesto na KSET-ovom natječaju za kratku priču 2015. godine. Trenutno živi u Belišću i radi kao knjižničarka u osnovnoj školi.

proza

Maja Klarić: Japan: Put 88 hramova (ulomak)

NAGRADA "SEDMICA & KRITIČNA MASA" - UŽI IZBOR 2019

Maja Klarić (1985., Šibenik) diplomirala je engleski jezik i književnost i komparativnu književnost na Filozofskom fakultetu u Zagrebu, s diplomskim radom na temu „Suvremeni hrvatski putopis“, a radi kao književna prevoditeljica. Vodi Kulturnu udrugu Fotopoetika u sklopu koje organizira kulturne manifestacije. Objavila je poeziju i kraću prozu u raznim novinama i časopisima: Zarez, Quorum, Knjigomat, Poezija, Tema... Zastupljena je u antologijama Erato 2004. (Zagreb), Rukopisi 32 (Pančevo), Ja sam priča (Banja Luka), Sea of Words (Barcelona), Castello di Duino (Trst), Ulaznica (Zrenjanin). Nagrađena je na međunarodnom pjesničkom natječaju Castello di Duino (Trst, Italija, 2008.), međunarodnom natječaju za kratku priču Sea of Words (Barcelona, Španjolska, 2008.). Dobitnica je UNESCO/Aschberg stipendije za rezidencijalni boravak na otoku Itaparica, Brazil, 2012. te stipendije organizacije MOKS za rezidencijalni boravak u Estoniji (Mooste, Tartu). Objavila je tri zbirke putopisne poezije - Život u ruksaku (AGM, 2012.), Quinta Pitanga (V.B.Z., 2013.) i Nedovršeno stvaranje (vlastita naklada, 2015.) te prozno-poetski putopis Vrijeme badema o hodočašću Camino de Santiago, 880 km dugom putu koji je prehodala 2010. godine. Urednica je brojnih domaćih putopisnih izdanja kao što su knjige Davora Rostuhara, Tomislava Perka, Hrvoja Jurića i ostalih.

proza

Iva Hlavač: Humoreske o ženama koje se ne smiju

NAGRADA "SEDMICA & KRITIČNA MASA" - UŽI IZBOR 2019

Iva Hlavač (1986., Osijek) diplomirala je na pravnom fakultetu u Osijeku. Objavila je dvije zbirke kratkih priča; „I obični ljudi imaju snove“ (2009.) izašla je u sklopu natječaja Matice hrvatske Osijek za osvojeno prvo mjesto, a „Svi smo dobro“ u izdanju Profila (biblioteka Periskop) 2016. godine te je, između ostaloga, dobila stimulaciju Ministarstva kultur za najbolje ostvarenje na području književnog stvaralaštva u 2016. Živi u Valpovu.

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