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Prinde iepurele
Prinde iepurele spune povestea unei prietenii, a unei dispariții și a ecourilor pe care războiul le lasă peste ani. Expune intimitățile relației de prietenie dintre două femei cu toată suferința, iubirea, dezamăgirea și neînțelegerilor ei. Expune o călătorie prin spațiul ex-iugoslav și prin limitările memoriei care silesc povestitoarea să regândească felul în care a înțeles lucrurile în copilărie: pe cea mai bună prietenă a ei, primele experiențe împărtășite, dar și limitele religioase și sociale care le-au separat și le-au catapultat în vieți atât de diferite.
Paperback
First published September 1, 2018
About the author
Lana Bastašić
15 books746 followersLana Bastašić rođena je u Zagrebu, tadašnjoj SFRJ, 1986. godine. Završila je studije anglistike i komunikologije u Banjoj Luci, i odbranila master rad iz Studija kulture na FPN u Beogradu. Objavila je dvije zbirke kratkih priča: Trajni pigmenti (SKC Kragujevac, 2010, konkurs edicije Prvenac) i Vatrometi (Čekić, Beograd, 2011). Samostalno je objavila knjigu priča za djecu, Nastja crta sunce (Banja Luka, 2015, ilustracije Sandre Dukić). Godine 2014. osvojila je prvu nagradu za neobjavljenu zbirku poezije na Danima poezije u Zaječaru i objavila Naivni triptih o Bosni i umiranju. Njen prvi roman, Uhvati zeca (Kontrast, Beograd 2018), dobitnik je Evropske nagrade za književnost 2020. godine. Roman je bio uvršten u najuži izbor za NIN-ovu nagradu i nagradu Biljana Jovanović. Preveden je na španski, italijanski, katalonski i mađarski, a u pripremi su i prevodi na engleski, njemački, francuski, ruski, turski, makedonski, albanski, slovenački i bugarski jezik.
Dobila je nekoliko priznanja za kratke priče: prvu nagradu za priču na konkursu Ulaznica (Zrenjanin, 2010), specijalnu nagradu na konkursu Karver: Odakle zovem (Podgorica, 2010), te prvu nagradu na konkursu Zija Dizdarević (za 2010. i 2011. godinu). Dobitnica je nagrade za poeziju Targa Centro UNESCO u Trstu, 2013. godine i nagrade za najbolju neobjavljenu dramu u sklopu natječaja Udruženja Fercera i Kamernog teatra 55 u Sarajevu, 2013.
Osnovala je školu književnosti Escola Bloom u Barseloni, gdje je uređivala književni časopis Carn de cap.
Živi u Beogradu.
Dobila je nekoliko priznanja za kratke priče: prvu nagradu za priču na konkursu Ulaznica (Zrenjanin, 2010), specijalnu nagradu na konkursu Karver: Odakle zovem (Podgorica, 2010), te prvu nagradu na konkursu Zija Dizdarević (za 2010. i 2011. godinu). Dobitnica je nagrade za poeziju Targa Centro UNESCO u Trstu, 2013. godine i nagrade za najbolju neobjavljenu dramu u sklopu natječaja Udruženja Fercera i Kamernog teatra 55 u Sarajevu, 2013.
Osnovala je školu književnosti Escola Bloom u Barseloni, gdje je uređivala književni časopis Carn de cap.
Živi u Beogradu.
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October 25, 2022EDIT: Ne, Gudridsu, ne znam kako ti je pošlo za rukom da mi obrišeš daleko najpopularniji tekstić, a da ostaviš lajkove i komentare, a i ne želim da znam. Evo ga opet, dok mi ga opet ne obrišeš, a što se mene tiče preispitaću malo ovaj stokholmski sindrom vezanosti za društvenu mrežu jer je ovo brisanje prikaza uz ukidanje opcije da sami dodajemo knjige stvarno poslednja kap.
***
Ne volim kad knjizi priđem sa velikim očekivanjima jer se svidela raznim ljudima čije mišljenje cenim pa se razočaram. Uvek se pitam da li bi bilo bolje da sam ušla na neviđeno.
Uhvati zeca ima jednu jaku stranu, a to je struktura koju je Lana Bastašić po sopstvenom iskazu preuzela od Džojsa tj. svako poglavlje odgovara drugom poglavlju odabranog interteksta, ovde Kerolove Alise, i ima što jasnije što skrivenije reference na njega. Istovremeno i površinska struktura funkcioniše dobro u naizmeničnim sadašnjost/prošlost poglavljima. I prstenasto zatvorena završna-početna rečenica je preuzeta od Džojsa i odlično funkcioniše. Odnos pripovedačica-najbolja drugarica-brat najbolje drugarice vrlo dobro hvata dinamiku tih mladalačkih druženja u kojima se stapaju razna protivrečna i latentna osećanja i težnje a još mnogo više toga projektuje na drugu osobu, sve dok više niste u stanju da je istinski vidite.
I... to je to o stvarima koje dobro funkcionišu, ako mene pitate. Uhvati zeca ima ozbiljne probleme s motivacijom likova i upotrebom simbola koje ne mogu da otpišem samo zato što eto nije u pitanju stvarnosna proza. Recimo, u prvoj polovini pripovedačica krene da se vozi Bosnom i odjednom padne mrak u tri popodne i ostane tako sve do izlaska iz Bosne. Mrak vide i drugi, dakle objektivno postoji, svuda je takav (samo je u Banjaluci crnji), eto nama magičnog realizma... samo što do kraja knjige on ne dobije nikakvu drugu funkciju u okviru zapleta ni na koji način ne utiče na prikazani svet, ostaje samo jeftini prvoloptaški znak da je Bosna tamni vilajet i da u njoj vlada MRAK ako niste znali. To ne valja. Sličan prvoloptaški pristup primetan je, recimo, i u oblikovanju lika majke. Ne volim kad me lupaju po glavi simboličnim scenama tipa: onda je mama isekla moju papirnu lutku jer joj se nije dopalo kako predstavljam sebe nedovoljno ženstveno pa je napravila drugu, roze i sa šljokicama. Takođe ne volim kad je presudna crta u karakterizaciji negativnog ženskog lika (te iste majke) to što je neverovatno debeo i sve deblji i na kraju postane karikaturalno debelo čudovište koje se oglašava replikama Kraljice Srce.
I tako dalje. Dovoljno sam kukala za vreme čitanja o tome kako nekome ko je otprilike junakinjinih godina ili stariji može da smeta komotna tvrdnja da dete rođeno na dan Titove smrti u prvom osnovne ne zna ko je Tito, ovde bih samo da pomenem kako ta simbolička upotreba 4. maja 1980. ima već ozbiljan staž u eks-ju umetnosti (npr. filmovi Autsajder i Rane, roman Ponoć u njenim rukama, znam da ih ima još samo ne mogu da se setim) i da uglavnom izaziva instant prevrtanje očima i ne tako blagu iritaciju.
Da, Lana Bastašić ima talenta, da, ovo je ambiciozna knjiga, ne, ni izdaleka nije savršena, videćemo da li će iduće biti manje pokvarene težnjom da se sve nacrta i onima što spavaju u poslednjoj klupi.
***
Ne volim kad knjizi priđem sa velikim očekivanjima jer se svidela raznim ljudima čije mišljenje cenim pa se razočaram. Uvek se pitam da li bi bilo bolje da sam ušla na neviđeno.
Uhvati zeca ima jednu jaku stranu, a to je struktura koju je Lana Bastašić po sopstvenom iskazu preuzela od Džojsa tj. svako poglavlje odgovara drugom poglavlju odabranog interteksta, ovde Kerolove Alise, i ima što jasnije što skrivenije reference na njega. Istovremeno i površinska struktura funkcioniše dobro u naizmeničnim sadašnjost/prošlost poglavljima. I prstenasto zatvorena završna-početna rečenica je preuzeta od Džojsa i odlično funkcioniše. Odnos pripovedačica-najbolja drugarica-brat najbolje drugarice vrlo dobro hvata dinamiku tih mladalačkih druženja u kojima se stapaju razna protivrečna i latentna osećanja i težnje a još mnogo više toga projektuje na drugu osobu, sve dok više niste u stanju da je istinski vidite.
I... to je to o stvarima koje dobro funkcionišu, ako mene pitate. Uhvati zeca ima ozbiljne probleme s motivacijom likova i upotrebom simbola koje ne mogu da otpišem samo zato što eto nije u pitanju stvarnosna proza. Recimo, u prvoj polovini pripovedačica krene da se vozi Bosnom i odjednom padne mrak u tri popodne i ostane tako sve do izlaska iz Bosne. Mrak vide i drugi, dakle objektivno postoji, svuda je takav (samo je u Banjaluci crnji), eto nama magičnog realizma... samo što do kraja knjige on ne dobije nikakvu drugu funkciju u okviru zapleta ni na koji način ne utiče na prikazani svet, ostaje samo jeftini prvoloptaški znak da je Bosna tamni vilajet i da u njoj vlada MRAK ako niste znali. To ne valja. Sličan prvoloptaški pristup primetan je, recimo, i u oblikovanju lika majke. Ne volim kad me lupaju po glavi simboličnim scenama tipa: onda je mama isekla moju papirnu lutku jer joj se nije dopalo kako predstavljam sebe nedovoljno ženstveno pa je napravila drugu, roze i sa šljokicama. Takođe ne volim kad je presudna crta u karakterizaciji negativnog ženskog lika (te iste majke) to što je neverovatno debeo i sve deblji i na kraju postane karikaturalno debelo čudovište koje se oglašava replikama Kraljice Srce.
I tako dalje. Dovoljno sam kukala za vreme čitanja o tome kako nekome ko je otprilike junakinjinih godina ili stariji može da smeta komotna tvrdnja da dete rođeno na dan Titove smrti u prvom osnovne ne zna ko je Tito, ovde bih samo da pomenem kako ta simbolička upotreba 4. maja 1980. ima već ozbiljan staž u eks-ju umetnosti (npr. filmovi Autsajder i Rane, roman Ponoć u njenim rukama, znam da ih ima još samo ne mogu da se setim) i da uglavnom izaziva instant prevrtanje očima i ne tako blagu iritaciju.
Da, Lana Bastašić ima talenta, da, ovo je ambiciozna knjiga, ne, ni izdaleka nije savršena, videćemo da li će iduće biti manje pokvarene težnjom da se sve nacrta i onima što spavaju u poslednjoj klupi.
May 6, 2021
"Writers are cartographers of inner worlds...literature is there precisely as a means of questioning our idea of what is real...whether this reality is the same for both you and I."
-Lana Bastasic (Interview in Libartes Magazine)
"For me, the Balkans are a color...A sad brown that goes on meandering like a dead river after an apocalypse...Hundreds of boots over the beaten earth...". "I could see her there...glancing condescendingly at my Dublin phase...she wouldn't even say anything; she would take Europe off me with her eyes...shamelessly revealing my Balkan scars...Home was not Bosnia. Bosnia was not home."
"Memories might be like a frozen lake to me...but every now and then there's a crack in the surface and I can put my hand through it and catch a detail, a recollection...I have done my best not to remember for twelve years. And it worked...then I answered the phone and said her name." After a falling out and twelve long, silent years between two former best friends, Sara received a call from Lejla. "Armin is in Vienna." Sara was expected to drop everything, leave Dublin, and take a road trip with Lejla, a drive through the Bosnian countryside to Vienna. During wartime Bosnia, Lejla's older brother Armin had disappeared. With hopes of seeing Armin, after twenty years, Sara agreed.
"When Lejla showed up...everything froze." "I was stuck between two Lejla's- the one I had known my whole life...and this stranger with bleached hair and slutty clothes." As the road trip unfolded, two childhood friends shared their memories. Do fragmented memories lie? If so, whose truth is to be believed? Memories of birthday parties, prom night, a white rabbit and what happened on the island come to the forefront. Sara would go down the rabbit hole , a confusing, disorienting, dark place she was loath to revisit.
"Catch the Rabbit" by Lana Bastasic introduces the reader to the narrator, Sara. Growing up in a Serbian family with a father as police chief, Sara's childhood was easier than Lejla's. Lejla's family life was shaped by identity politics. She spent more time at home after Armin's disappearance, confined by her fearful mother. Bastasic's prose is exquisite. Sara and Lejla, their memories and complicated friendship is masterfully revealed. This novel is a classic in the making! Highly recommended!
Thank you Restless Books via Edelweiss for the ARC in exchange for an honest review.
-Lana Bastasic (Interview in Libartes Magazine)
"For me, the Balkans are a color...A sad brown that goes on meandering like a dead river after an apocalypse...Hundreds of boots over the beaten earth...". "I could see her there...glancing condescendingly at my Dublin phase...she wouldn't even say anything; she would take Europe off me with her eyes...shamelessly revealing my Balkan scars...Home was not Bosnia. Bosnia was not home."
"Memories might be like a frozen lake to me...but every now and then there's a crack in the surface and I can put my hand through it and catch a detail, a recollection...I have done my best not to remember for twelve years. And it worked...then I answered the phone and said her name." After a falling out and twelve long, silent years between two former best friends, Sara received a call from Lejla. "Armin is in Vienna." Sara was expected to drop everything, leave Dublin, and take a road trip with Lejla, a drive through the Bosnian countryside to Vienna. During wartime Bosnia, Lejla's older brother Armin had disappeared. With hopes of seeing Armin, after twenty years, Sara agreed.
"When Lejla showed up...everything froze." "I was stuck between two Lejla's- the one I had known my whole life...and this stranger with bleached hair and slutty clothes." As the road trip unfolded, two childhood friends shared their memories. Do fragmented memories lie? If so, whose truth is to be believed? Memories of birthday parties, prom night, a white rabbit and what happened on the island come to the forefront. Sara would go down the rabbit hole , a confusing, disorienting, dark place she was loath to revisit.
"Catch the Rabbit" by Lana Bastasic introduces the reader to the narrator, Sara. Growing up in a Serbian family with a father as police chief, Sara's childhood was easier than Lejla's. Lejla's family life was shaped by identity politics. She spent more time at home after Armin's disappearance, confined by her fearful mother. Bastasic's prose is exquisite. Sara and Lejla, their memories and complicated friendship is masterfully revealed. This novel is a classic in the making! Highly recommended!
Thank you Restless Books via Edelweiss for the ARC in exchange for an honest review.
October 2, 2018
Moram priznati da pre ovog romana nisam čuo za Lanu. Sudeći po koricama ovog romana, Lana ima 32 godine i rođena je u Zagrebu. Iza sebe ima dve zbirke priča, jednu zbirku poezije, i jedan roman za decu. Svako od ovih izdanja krunisan je nekom nagradom, tako da je ona dobitnica nagrada kao što su Zija Dizdarević, Ulaznica i Karver. Uhvati zeca je njen prvi roman za odrasle, i moram da priznam, iako ima i pozitivnih i malo manje pozitivnih elemenata, zaista je odličan roman prvenac. Ona trenutno živi u Barseloni gde uređuje jedan književni časopis i vodi školu književnosti.
Junakinja ovog romana, kao i pripovedač je mlada devojka Sara, koja trenutno živi u Dablinu sa svojim izabranikom. Sara u Dablinu vodi jedan normalan život, potpuno drugačiji od onog koji je vodila na Balkanu. Međutim, jedne večeri, dobija telefonski poziv od Lejle, njene stare najbolje prijateljice sa kojom se nije videla niti čula 12 godina. Lejla stupa u kontakt sa Sarom kako bi je zamolila da dođe po nju u Mostar i da zajedno, iz nekog razloga, odu u Beč. Naravno, kako to i uvek biva sa starim, slomljenim prijateljstvima, Sara baš i nije rada da to učini, međutim kada čuje rečenicu ’’Saro, Armin je u Beču’’, stvar se apsolutno menja. Ko je Armin, zašto je on bitan kao i razlog zbog kog Sara nakon svega kupuje kartu za Sarajevo, ostavlja apsolutno sve što ima i u roku od nekoliko sati odlazi u Mostar po Lejlu, neću otkrivati.
Ceo roman je ispričan iz Sarine perspektive, i svako poglavlje se može podeliti na dva dela. Naime, prvi deo svakog poglavlja smešten je u sadašnjost, i pratimo Sarin odlazak u svoje rodno mesto, njen ponovni susret sa starom prijateljicom, dok nas drugi deo svakog poglavlja vraća u njihovu prošlost i detaljnije opisuje njihov odnos pre više od jedne decenije. Iz ovih poglavlja nam je apsolutno jasno da su Sara i Lejla dve potpuno drugačije individue, sa drugačijim mišljenjima i drugačijim šablonom ponašanja, i automatski nam je jasno da je cilj ovog romana da istraži do koje mere suprotnosti mogu da obitavaju zajedno u miru. Druga stvar koju roman istražuje je prijateljstvo ne samo dve različite osobe, već žene. Žene koje su delile svoj prvi seks i prvu menstruaciju, a opet odrasle na dva potpuno drugačija načina koja su ih na kraju definisala kao osobe.
Lanina proza je zaista specifična, i nije ni čudo što je imenovana ’’jugoslovenskom Elenom Ferante’’. Rečenice u ovom romanu su izuzetno poetske i to na jedan vrlo nenametljiv način, potpuno prirodan i lirički. Čitanje priče koju Sara pripoveda je stvarno jedno iskustvo. Kada na sve to dodamo sudar dva Balkana, dve Jugoslavije, odnosno one predratne i današnje dobijamo jedan mozaik svakakvih emocija. Bosna u romanu ima jednu izuzetno bitnu ulogu, koja na jedan način služi kao spona između Hrvatske i Srbije, jer se čini da je radnja smeštena na jednu neutralnu teritoriju, a opet, s druge strane, Bosna je ta gde tačno možemo da vidimo razliku između katolika, pravoslavaca i muslimana, kao i sve ono što je rat sa sobom doneo i ostavio.
Ukoliko okrenete na pozadinu ove knjige, shvatićete da je Alisa u Zemlji Čuda jedna bitna metafora. Odnosno, zec u naslovu romana je jedan jak simbol prijateljstva Sare i Lejle, i ceo metaforički i simbolički momenat ove knjige je spektakularno odrađen, i mnogo mi je drago što imamo nekog mladog pisca sa ovih prostora ko to ume i zna da uradi.
Iako je roman zaista jedno posebno iskustvo i nešto drugačije jer je u središtu moderna Bosna koja prepliće sadašnje vreme kao i ono predratno, vidi se da je ovo Lanin roman prvenac. Naime, odnos Sare i Lejle je na momente opisan na jedan vrlo čudan način, gde ne možemo da se poistovetimo ni sa jednim likom niti da razumemo apsolutno sve njihove izbore. Takođe, s obzirom na to da su poglavlja pisana kao Sarina obraćanja Lejli, malo je neprirodno da do najsitnijih detalja opisuje nešto čega bi se Lejka, kako bi trebalo, sećala. Čini se da su neke emocije malo usiljene, ali postoji mogućnost da je to samo neka moja lična duboka analiza.
Zaključak
Sve u svemu, Uhvati zeca je možda najbolji debitantski roman sa ovih prostora ove godine. Lanin jezik je odličan, simbolizam u romanu takođe za svaku pohvalu, a lično smatram da je dobar simbolizam izuzetno bitan za knjigu. Kada na sve to dodamo Jugoslaviju – kupljen sam. Ovaj roman ne da preporučujem svima, nego smatram da, čitali ili ne, trebalo bi da ga kupite i imate kod sebe. Ne samo zato što ćete podržati Lanu Bastašić kao nekoga ko ima potencijala za spektakularne stvari u književnosti, već zato što možete sebi dati šansu da pročitate ovaj roman, u kom ćete stvarno uživati.
Junakinja ovog romana, kao i pripovedač je mlada devojka Sara, koja trenutno živi u Dablinu sa svojim izabranikom. Sara u Dablinu vodi jedan normalan život, potpuno drugačiji od onog koji je vodila na Balkanu. Međutim, jedne večeri, dobija telefonski poziv od Lejle, njene stare najbolje prijateljice sa kojom se nije videla niti čula 12 godina. Lejla stupa u kontakt sa Sarom kako bi je zamolila da dođe po nju u Mostar i da zajedno, iz nekog razloga, odu u Beč. Naravno, kako to i uvek biva sa starim, slomljenim prijateljstvima, Sara baš i nije rada da to učini, međutim kada čuje rečenicu ’’Saro, Armin je u Beču’’, stvar se apsolutno menja. Ko je Armin, zašto je on bitan kao i razlog zbog kog Sara nakon svega kupuje kartu za Sarajevo, ostavlja apsolutno sve što ima i u roku od nekoliko sati odlazi u Mostar po Lejlu, neću otkrivati.
Ceo roman je ispričan iz Sarine perspektive, i svako poglavlje se može podeliti na dva dela. Naime, prvi deo svakog poglavlja smešten je u sadašnjost, i pratimo Sarin odlazak u svoje rodno mesto, njen ponovni susret sa starom prijateljicom, dok nas drugi deo svakog poglavlja vraća u njihovu prošlost i detaljnije opisuje njihov odnos pre više od jedne decenije. Iz ovih poglavlja nam je apsolutno jasno da su Sara i Lejla dve potpuno drugačije individue, sa drugačijim mišljenjima i drugačijim šablonom ponašanja, i automatski nam je jasno da je cilj ovog romana da istraži do koje mere suprotnosti mogu da obitavaju zajedno u miru. Druga stvar koju roman istražuje je prijateljstvo ne samo dve različite osobe, već žene. Žene koje su delile svoj prvi seks i prvu menstruaciju, a opet odrasle na dva potpuno drugačija načina koja su ih na kraju definisala kao osobe.
Lanina proza je zaista specifična, i nije ni čudo što je imenovana ’’jugoslovenskom Elenom Ferante’’. Rečenice u ovom romanu su izuzetno poetske i to na jedan vrlo nenametljiv način, potpuno prirodan i lirički. Čitanje priče koju Sara pripoveda je stvarno jedno iskustvo. Kada na sve to dodamo sudar dva Balkana, dve Jugoslavije, odnosno one predratne i današnje dobijamo jedan mozaik svakakvih emocija. Bosna u romanu ima jednu izuzetno bitnu ulogu, koja na jedan način služi kao spona između Hrvatske i Srbije, jer se čini da je radnja smeštena na jednu neutralnu teritoriju, a opet, s druge strane, Bosna je ta gde tačno možemo da vidimo razliku između katolika, pravoslavaca i muslimana, kao i sve ono što je rat sa sobom doneo i ostavio.
Ukoliko okrenete na pozadinu ove knjige, shvatićete da je Alisa u Zemlji Čuda jedna bitna metafora. Odnosno, zec u naslovu romana je jedan jak simbol prijateljstva Sare i Lejle, i ceo metaforički i simbolički momenat ove knjige je spektakularno odrađen, i mnogo mi je drago što imamo nekog mladog pisca sa ovih prostora ko to ume i zna da uradi.
Iako je roman zaista jedno posebno iskustvo i nešto drugačije jer je u središtu moderna Bosna koja prepliće sadašnje vreme kao i ono predratno, vidi se da je ovo Lanin roman prvenac. Naime, odnos Sare i Lejle je na momente opisan na jedan vrlo čudan način, gde ne možemo da se poistovetimo ni sa jednim likom niti da razumemo apsolutno sve njihove izbore. Takođe, s obzirom na to da su poglavlja pisana kao Sarina obraćanja Lejli, malo je neprirodno da do najsitnijih detalja opisuje nešto čega bi se Lejka, kako bi trebalo, sećala. Čini se da su neke emocije malo usiljene, ali postoji mogućnost da je to samo neka moja lična duboka analiza.
Zaključak
Sve u svemu, Uhvati zeca je možda najbolji debitantski roman sa ovih prostora ove godine. Lanin jezik je odličan, simbolizam u romanu takođe za svaku pohvalu, a lično smatram da je dobar simbolizam izuzetno bitan za knjigu. Kada na sve to dodamo Jugoslaviju – kupljen sam. Ovaj roman ne da preporučujem svima, nego smatram da, čitali ili ne, trebalo bi da ga kupite i imate kod sebe. Ne samo zato što ćete podržati Lanu Bastašić kao nekoga ko ima potencijala za spektakularne stvari u književnosti, već zato što možete sebi dati šansu da pročitate ovaj roman, u kom ćete stvarno uživati.
August 23, 2022
Picture The Neapolitan Novels by Elena Ferrante, set in former Yugoslavia, Bosnia, Croatia, Ireland and Austria in the nineties and nowadays, but shortened to 272 pages, partly turned into a road novel, more intense, more emotional, a bit heavy-handed, sometimes disturbing, with a recurring symbol of a rabbit/hare popping out from time to time, and you will get a gist of my experience with Catch the Rabbit (2018) by a Croatian author, Lana Bastašić.
I do not know if the similarities to Ferrante's series were coincidental, subconscious or intended but they are a fact which kept bothering me a bit and sometimes I felt like rolling my eyes, exactly like Lejla, one of the two protagonists, who used to do it quite often. The disappearance of a family member, the change of name, both enriching and destructive female friendship with a drop of erotic fascination, spread over many years, the dynamics of this relationship: I would always be lagging behind you in search of some sort of grownup, intangible knowledge, while you were already disappearing into the distance. The desperate efforts to depict a complex, hypnotizing personality: Facing her, all words are miserably colorblind, despite the literary talent, ambitions and career of the narrator. Even the name of one of the two main characters, Lejla/Lela, was almost twin similar to Ferrante's Lila.
I found Catch the Rabbit uneven which frustrated me because the elements I loved kept whetting my appetite. It caused my reactions to sway between awe and chagrin. The things that especially appealed to me were the nervous pace of the narration flow and the denouement in front of Young Hare by Albrecht Dürer in Albertina Modern Museum in Vienna. The ending definitely worked for me. Another element that appealed to me was the circular composition of the novel, with the motto from Alice in Wonderland featuring a rabbit at the beginning and Dürer's painting at the end. Besides, I admire the way Sara and Leja's story is interspersed among tragic historical facts.
As for the things that I did not particularly enjoy, I think Lana Bastašić got slightly carried away portraying Lejla as an appalling energetic vampire. The blood, which appears in one of the scenes, intensifies this vampiric association, albeit the novel is 100% realistic. Lejla is so preposterous, selfish and sickening that it makes embracing Sara's fascination a challenge, even taking into account the fact that she might have had a tendency to engage in venomously toxic relationships. Nevertheless, Sara's portrayal is tantalizing. I wish a few subplot characters were more nuanced and multifaceted too, for example, the maths and biology teachers or Sara's father. They would have benefited from it greatly.
I was truly impressed when I found out that the author herself translated Catch the Rabbit into English. As for Bastašić's writing style, I liked it a lot at first but after a while got a little overwhelmed with surprising similes which seem to be the author's trademark:
Mostar glimmered, like a polished jug, though the day was inexplicably gloomy.
They spread across the Old Bridge like a wreath of plastic flowers on an important grave.
All of a sudden words seemed false, expired, like stiff dry makeup on an old woman’s face.
They are fascinating but I found their frequency (sometimes even two on one page) rather extensive. The second half of the novel was much better in this respect. I loved the frozen lake metaphor though and will always remember Sara walking on ice in search of Lejla and lost time: Memories might be like a frozen lake to me – blurry and slippery – but every now and then there’s a crack in its surface and I can put my hand through it and catch a detail, a recollection in the cold water. But frozen lakes are vicious. Sometimes you catch a fish, other times you fall through and drown.
Young Hare, a 1502 watercolour and bodycolour painting by Albrecht Dürer.
I do not know if the similarities to Ferrante's series were coincidental, subconscious or intended but they are a fact which kept bothering me a bit and sometimes I felt like rolling my eyes, exactly like Lejla, one of the two protagonists, who used to do it quite often. The disappearance of a family member, the change of name, both enriching and destructive female friendship with a drop of erotic fascination, spread over many years, the dynamics of this relationship: I would always be lagging behind you in search of some sort of grownup, intangible knowledge, while you were already disappearing into the distance. The desperate efforts to depict a complex, hypnotizing personality: Facing her, all words are miserably colorblind, despite the literary talent, ambitions and career of the narrator. Even the name of one of the two main characters, Lejla/Lela, was almost twin similar to Ferrante's Lila.
I found Catch the Rabbit uneven which frustrated me because the elements I loved kept whetting my appetite. It caused my reactions to sway between awe and chagrin. The things that especially appealed to me were the nervous pace of the narration flow and the denouement in front of Young Hare by Albrecht Dürer in Albertina Modern Museum in Vienna. The ending definitely worked for me. Another element that appealed to me was the circular composition of the novel, with the motto from Alice in Wonderland featuring a rabbit at the beginning and Dürer's painting at the end. Besides, I admire the way Sara and Leja's story is interspersed among tragic historical facts.
As for the things that I did not particularly enjoy, I think Lana Bastašić got slightly carried away portraying Lejla as an appalling energetic vampire. The blood, which appears in one of the scenes, intensifies this vampiric association, albeit the novel is 100% realistic. Lejla is so preposterous, selfish and sickening that it makes embracing Sara's fascination a challenge, even taking into account the fact that she might have had a tendency to engage in venomously toxic relationships. Nevertheless, Sara's portrayal is tantalizing. I wish a few subplot characters were more nuanced and multifaceted too, for example, the maths and biology teachers or Sara's father. They would have benefited from it greatly.
I was truly impressed when I found out that the author herself translated Catch the Rabbit into English. As for Bastašić's writing style, I liked it a lot at first but after a while got a little overwhelmed with surprising similes which seem to be the author's trademark:
Mostar glimmered, like a polished jug, though the day was inexplicably gloomy.
They spread across the Old Bridge like a wreath of plastic flowers on an important grave.
All of a sudden words seemed false, expired, like stiff dry makeup on an old woman’s face.
They are fascinating but I found their frequency (sometimes even two on one page) rather extensive. The second half of the novel was much better in this respect. I loved the frozen lake metaphor though and will always remember Sara walking on ice in search of Lejla and lost time: Memories might be like a frozen lake to me – blurry and slippery – but every now and then there’s a crack in its surface and I can put my hand through it and catch a detail, a recollection in the cold water. But frozen lakes are vicious. Sometimes you catch a fish, other times you fall through and drown.
Young Hare, a 1502 watercolour and bodycolour painting by Albrecht Dürer.
June 17, 2021
The blurb on the cover describes this novel as “Lewis Carroll meets Elena Ferrante in a Balkanized Wonderland.” That’s a fair assessment, especially in regards to its Ferrante comparison: a condensed The Neapolitan Novels set in Dublin, Bosnia, and Vienna, with one of its themes being language(s)—this author is also her book’s translator. The name of the narrator’s friend is Lejla/Lela, similar to Ferrante’s Lila. A name change (Ferrante also employs a “new name”) is central to the background story of the two friends growing up in Bosnia of the 90s. If the blurb hadn’t told me so, I still would’ve picked up on the Ferrante similarities. There’s no so-called magical realism a la Alice's Adventures in Wonderland, though more than a few images evoke the Carroll classic as the two women go down a “rabbit hole.”*
There’s no denying this is a familiar story, one of a childhood friendship that is both destructive and has lasting effects into adulthood. It leaves its marks on the obsessive narrator who doesn’t always see clearly. I get impatient with a story whose character can’t get loose from the spell of another if I can’t see the attraction and there was a bit of that for me here.
The first-person narrator/writer at times identifies so closely with her estranged friend she seems to want to be her. But that could be viewed as a metafictional trick of any writer who needs to inhabit her character in order to write about her. At the point I was starting to be impatient, the story veered, got more interesting, and ended with my thinking of another novel, The Goldfinch. To say which painting this novel makes use of would be to give away a pleasure of the ending.
This is the June pick of The Nervous Breakdown Book Club and I’m glad it came my way.
*
Added 6/17: Yesterday I listened to an interview with the author: https://otherppl.com/lana-bastasic-in... In it she said her novel's framework purposely took the 12-chapter structure of Alice's Adventures in Wonderland, which I didn't pick up on at all; it's been a long time since I read Alice.
There’s no denying this is a familiar story, one of a childhood friendship that is both destructive and has lasting effects into adulthood. It leaves its marks on the obsessive narrator who doesn’t always see clearly. I get impatient with a story whose character can’t get loose from the spell of another if I can’t see the attraction and there was a bit of that for me here.
The first-person narrator/writer at times identifies so closely with her estranged friend she seems to want to be her. But that could be viewed as a metafictional trick of any writer who needs to inhabit her character in order to write about her. At the point I was starting to be impatient, the story veered, got more interesting, and ended with my thinking of another novel, The Goldfinch. To say which painting this novel makes use of would be to give away a pleasure of the ending.
This is the June pick of The Nervous Breakdown Book Club and I’m glad it came my way.
*
Added 6/17: Yesterday I listened to an interview with the author: https://otherppl.com/lana-bastasic-in... In it she said her novel's framework purposely took the 12-chapter structure of Alice's Adventures in Wonderland, which I didn't pick up on at all; it's been a long time since I read Alice.
January 24, 2019
Dalo bi se o ovom romanu baš mnogo pisati jer je prilično kvalitetan, ozbiljan i slojevit i Lana piše besprekorno. Međutim, isto tako nisam potpuno očarana i mogla bih ovome naći i mnogo zamjerki. U svakom slučaju, detaljnu analizu ću ostaviti struci jer znam da imaju razloga da pohvale mnoge elemente vrijedne isticanja.
Mene je oduševio Lanin stil, njena načitanost i obrazovanost, dubina, nesumnjiva književna vrijednost romana i prvenstveno sva zastupljena poređenja, ali me je kraj mnogo razočarao i naljutio, ne volim simboliku i ostala sam uskraćena finala. Takođe, roman obiluje negativnostima, kao da su se sve ružne stvari ovog svijeta naselile na tle ovog nesrećnog i otužnog usuda.
Negdje mi se čini kao da je Lana u ovaj roman htjela sažeti sva svoja iskustva, kao da više nikad neće pisati, pa će sad sve i teme i razmišljanja i uspomene i jezičke formulacije, pogotovo metafore objediniti u jednom djelu. Pomalo nadobudan ton takođe ne ide u prilog mom bezrezervnom oduševljenju. Dakle, da je umjetnički kvalitetno i na nivou jeste (ako izuzmemo neka jezička rješenja koja paraju uši), tematikom, nažalost, ne po mom ukusu.
Takođe, treba istaći da je Lana savršeno dočarala stanje svijesti i sve što proživljavaju junakinje romana. Uvijek se divim piscima koji umiju tako vjerno i autentično prenijeti razmišljanja, emocije, pa i način izražavanja nekog u određenoj životnoj dobi, pogotovo onoj ranijoj, u kojoj više sami nisu. Baš se moguće poistovjetiti s likovima i nekim njihovim iskustvima. Vrlo realistično, ali istovremeno mnogo skrivenih značenja koja običnom čitaocu, pogotovo na prvo čitanje, ostaju skrivena i nejasna. Dakle, ne očekujte lagano štivo iako autorka lako uvodi u priču koja teče.
Sa zadovoljstvom sam se vraćala na pojedine pasuse, rečenice, sintagme i to najviše iz onog prostog čitalačkog užitka ne bih li eventualno i memorisala brojne prelijepe rečenice, a povremeno i ne bih li pokušala otkriti dublja značenja kojih zaista ima na pretek. Nije ovo nimalo naivno štivo, a Lanina izbrušena vještina pripovjedanja je zadivljujuća. Svakako knjiga vrijedna pažnje.
Mene je oduševio Lanin stil, njena načitanost i obrazovanost, dubina, nesumnjiva književna vrijednost romana i prvenstveno sva zastupljena poređenja, ali me je kraj mnogo razočarao i naljutio, ne volim simboliku i ostala sam uskraćena finala. Takođe, roman obiluje negativnostima, kao da su se sve ružne stvari ovog svijeta naselile na tle ovog nesrećnog i otužnog usuda.
Negdje mi se čini kao da je Lana u ovaj roman htjela sažeti sva svoja iskustva, kao da više nikad neće pisati, pa će sad sve i teme i razmišljanja i uspomene i jezičke formulacije, pogotovo metafore objediniti u jednom djelu. Pomalo nadobudan ton takođe ne ide u prilog mom bezrezervnom oduševljenju. Dakle, da je umjetnički kvalitetno i na nivou jeste (ako izuzmemo neka jezička rješenja koja paraju uši), tematikom, nažalost, ne po mom ukusu.
Takođe, treba istaći da je Lana savršeno dočarala stanje svijesti i sve što proživljavaju junakinje romana. Uvijek se divim piscima koji umiju tako vjerno i autentično prenijeti razmišljanja, emocije, pa i način izražavanja nekog u određenoj životnoj dobi, pogotovo onoj ranijoj, u kojoj više sami nisu. Baš se moguće poistovjetiti s likovima i nekim njihovim iskustvima. Vrlo realistično, ali istovremeno mnogo skrivenih značenja koja običnom čitaocu, pogotovo na prvo čitanje, ostaju skrivena i nejasna. Dakle, ne očekujte lagano štivo iako autorka lako uvodi u priču koja teče.
Sa zadovoljstvom sam se vraćala na pojedine pasuse, rečenice, sintagme i to najviše iz onog prostog čitalačkog užitka ne bih li eventualno i memorisala brojne prelijepe rečenice, a povremeno i ne bih li pokušala otkriti dublja značenja kojih zaista ima na pretek. Nije ovo nimalo naivno štivo, a Lanina izbrušena vještina pripovjedanja je zadivljujuća. Svakako knjiga vrijedna pažnje.
January 6, 2021
Lässig und freundlich und mystisch und reich.
December 29, 2020
This is one of the last books I read in 2020 and also one of the best. The writing itself is amazing (with the English translation done by the author herself); a book with hardly a wasted word makes quite an intense read.
The protagonist is Sara, a young woman born in Bosnia, now living in Dublin with her boyfriend. It becomes clear she has worked hard to disassociate and distance herself from all things Bosnia. Out of the blue, her best friend from childhood, Lejla, (who she hasn’t spoken to for 12 yrs) calls asking Sara to drive her from Mostar to Vienna. Although they have not communicated for years, there is still a final link between them of childhood trauma – Lejla had an older brother who disappeared during the Bosnian war when the girls were 11/12yo. Lejla tells Sara her brother is in Vienna, and so she goes to her.
As they wind their way across the countries, each chapter is split in two - the first half shows the present, the second recounts an event from their shared past. It becomes clear they do not always remember things the same way – but who is remembering correctly and who is lying to themselves? It is hard to decide when both must be scarred from their experiences - Lejla belonged to the persecuted minority where they lived (Banja Luka) and the family had to change their names when it started, around the same time her brother went missing. Neither of them believed Lejla's brother was dead, even when one of his friends turned up floating in the river. Despite not having been in the minority, Sara is yet also damaged – in part due to experiencing second hand Lejla’s misfortunes via their friendship. In addition, they both grew up in this toxic war environment, unimaginable for many of us. The text does not contain graphic war conflict, but rather an undercurrent of dread and threat, showing another side of the damage wrought on everyone, especially the young:
“I would lie to foreigners later on. I was too little, I would say, I wasn’t even aware of what was going on. But that’s not true. We knew, you and I. We knew it had started, that they had started it. We knew it would last. Soon it was a constant, like an extra chemical element in the air.”
As they drive through Bosnia, darkness falls almost as soon as it is afternoon. At first I was confused, double checking my map and wondering why it went dark there so early, before coming to the conclusion that it was figurative – Sara is so traumatised that the place is eternally dark for her:
“Not a big deal – Zagreb, Mostar, Vienna. Not the end of the world… Bosnia. Lejla. That’s not a two-week holiday after which you come home and go to bed with Michael. That’s like going back to heroin. I had already gotten myself dirty with my mother tongue.”
&
“Home was not Bosnia. Bosnia is something else. A rusty anchor in a sea full of piss. You keep getting tetanus shots, although it’s been years. Bosnia is not home.”
There are unexpected lighter touches though – like a book quote game they played together. Actually I got one of my future reads from this - Danilo Kiš, whom, as yet, I have read nothing by. In fact I am ashamed to admit to the lack of Balkan authors on my shelves; I hope to change that. For extra interest, I followed their journey on google maps as I read, and my geographic knowledge of that area is also now improved.
As well as within their 'book game' there are other literary mentions, including James Joyce (which reminds me I haven’t read him yet either!). But these literary references do not make the book inaccessible – I didn’t feel like it was (too far) over my head - and if you are not familiar with them it makes no difference to the story that's being told.
The writing itself, as I mentioned already, is beautiful. The imagery can be quite unexpected and original:
“…behind you the church is shining like a freshly polished coffee grinder…”
I highlighted many sentences in this book that I found striking (on my kindle, don't worry I didn’t deface anything!).
Due to life getting in the way I read this slowly over a couple of weeks, but when I wasn't reading, I was thinking about it - Sara and Lejla's relationship is unusual; they were very different from each other back then, and their lives are starkly different now. I felt I got to know the characters more reading at this pace and the book got under my skin, so will stay with me longer. Obviously there is a melancholic undercurrent throughout, which is to be expected considering the subjects, but although unsettling it is a necessary and worthwhile read. I had an inkling how it would pan out, and I wasn’t a million miles away, but for me the journey through the book was just as important as the ending.
I will definitely be reading Lana Bastašić’s next book.
I got this on Netgalley - it will be published 27 May 2021
The protagonist is Sara, a young woman born in Bosnia, now living in Dublin with her boyfriend. It becomes clear she has worked hard to disassociate and distance herself from all things Bosnia. Out of the blue, her best friend from childhood, Lejla, (who she hasn’t spoken to for 12 yrs) calls asking Sara to drive her from Mostar to Vienna. Although they have not communicated for years, there is still a final link between them of childhood trauma – Lejla had an older brother who disappeared during the Bosnian war when the girls were 11/12yo. Lejla tells Sara her brother is in Vienna, and so she goes to her.
As they wind their way across the countries, each chapter is split in two - the first half shows the present, the second recounts an event from their shared past. It becomes clear they do not always remember things the same way – but who is remembering correctly and who is lying to themselves? It is hard to decide when both must be scarred from their experiences - Lejla belonged to the persecuted minority where they lived (Banja Luka) and the family had to change their names when it started, around the same time her brother went missing. Neither of them believed Lejla's brother was dead, even when one of his friends turned up floating in the river. Despite not having been in the minority, Sara is yet also damaged – in part due to experiencing second hand Lejla’s misfortunes via their friendship. In addition, they both grew up in this toxic war environment, unimaginable for many of us. The text does not contain graphic war conflict, but rather an undercurrent of dread and threat, showing another side of the damage wrought on everyone, especially the young:
“I would lie to foreigners later on. I was too little, I would say, I wasn’t even aware of what was going on. But that’s not true. We knew, you and I. We knew it had started, that they had started it. We knew it would last. Soon it was a constant, like an extra chemical element in the air.”
As they drive through Bosnia, darkness falls almost as soon as it is afternoon. At first I was confused, double checking my map and wondering why it went dark there so early, before coming to the conclusion that it was figurative – Sara is so traumatised that the place is eternally dark for her:
“Not a big deal – Zagreb, Mostar, Vienna. Not the end of the world… Bosnia. Lejla. That’s not a two-week holiday after which you come home and go to bed with Michael. That’s like going back to heroin. I had already gotten myself dirty with my mother tongue.”
&
“Home was not Bosnia. Bosnia is something else. A rusty anchor in a sea full of piss. You keep getting tetanus shots, although it’s been years. Bosnia is not home.”
There are unexpected lighter touches though – like a book quote game they played together. Actually I got one of my future reads from this - Danilo Kiš, whom, as yet, I have read nothing by. In fact I am ashamed to admit to the lack of Balkan authors on my shelves; I hope to change that. For extra interest, I followed their journey on google maps as I read, and my geographic knowledge of that area is also now improved.
As well as within their 'book game' there are other literary mentions, including James Joyce (which reminds me I haven’t read him yet either!). But these literary references do not make the book inaccessible – I didn’t feel like it was (too far) over my head - and if you are not familiar with them it makes no difference to the story that's being told.
The writing itself, as I mentioned already, is beautiful. The imagery can be quite unexpected and original:
“…behind you the church is shining like a freshly polished coffee grinder…”
I highlighted many sentences in this book that I found striking (on my kindle, don't worry I didn’t deface anything!).
Due to life getting in the way I read this slowly over a couple of weeks, but when I wasn't reading, I was thinking about it - Sara and Lejla's relationship is unusual; they were very different from each other back then, and their lives are starkly different now. I felt I got to know the characters more reading at this pace and the book got under my skin, so will stay with me longer. Obviously there is a melancholic undercurrent throughout, which is to be expected considering the subjects, but although unsettling it is a necessary and worthwhile read. I had an inkling how it would pan out, and I wasn’t a million miles away, but for me the journey through the book was just as important as the ending.
I will definitely be reading Lana Bastašić’s next book.
I got this on Netgalley - it will be published 27 May 2021
July 4, 2020
Jer samo ona zna da se mrak ne tumači, da nema temu i ideju. Samo ona zna kako da me oslobodi korica.
Znate ono kad konačno uzmete da čitate previše ishajpovanu knjigu sa nekom perverznom nadom da ćete posle moći da kažete kako nije ništa posebno? E pa ovde to neće biti moguće, pre svega zato što sam ovaj roman p r o g u t a l a. Sve vreme me vuklo dalje, kao da sam i ja taj neuhvatljivi zec koji mora da stigne što pre do kraja, samo da pobegne od mraka, Bosne, Balkana.
Poređenje sa Elenom Ferante je neminovno, odatle ona iritantnost koju sam spomenula (mada sam roman dotične razvlačila, tako da: you go, Lana!).
Da, na početku me jako iritirao taj odnos dve junakinje u kome je jedna uvek oduševljena drugom do imbecilnosti, dopušta joj da je nipodaštava, sve radi kako bi dobila priznanje ove "glavne". Tu će se svako žensko pronaći, evo ja prva, imala sam takve "drugarice" kad sam bila mala, ali onda valjda odrasteš, zavoliš sebe, naučiš da se poštuješ.
Onda, kako roman odmiče, upoznajemo prijateljicu i shvatamo da je ona produkt nepouzdane naratorke koja romantizuje apsolutno sve i koja svemu mora da da objašnjenje, pritom ne puštajući iluziju. Svaka njihova uspomena je iskrivljena, a Lejla nije okrutna koliko su okrutne njene okolnosti. Kaže nam i Bastašićeva da je Lejla zapravo Bosna, ono odakle potičemo, što želimo da zaboravimo ako uspemo da odemo preko, ali što zauvek ostaje deo nas.
Drago mi je što zapravo nisam znala previše o ovoj knjizi. Ne zanima me toliko šta je Džojsovo, Kerolovo, Nabokovljevo, kao ni zašto nam je negde sve nacrtano i time zapravo uništen pokušaj simbolizma. Meni je road trip junakinja na momente čak ličio i na domaći film Parada.
Ima tu dosta toga što je moglo da bude bolje, ali meni je važno da sam se u ovoj knjizi na momente pronašla i da me je kraj oduvao, baš mi je filmičan, malo sam i zasuzila.
Znate ono kad konačno uzmete da čitate previše ishajpovanu knjigu sa nekom perverznom nadom da ćete posle moći da kažete kako nije ništa posebno? E pa ovde to neće biti moguće, pre svega zato što sam ovaj roman p r o g u t a l a. Sve vreme me vuklo dalje, kao da sam i ja taj neuhvatljivi zec koji mora da stigne što pre do kraja, samo da pobegne od mraka, Bosne, Balkana.
Poređenje sa Elenom Ferante je neminovno, odatle ona iritantnost koju sam spomenula (mada sam roman dotične razvlačila, tako da: you go, Lana!).
Da, na početku me jako iritirao taj odnos dve junakinje u kome je jedna uvek oduševljena drugom do imbecilnosti, dopušta joj da je nipodaštava, sve radi kako bi dobila priznanje ove "glavne". Tu će se svako žensko pronaći, evo ja prva, imala sam takve "drugarice" kad sam bila mala, ali onda valjda odrasteš, zavoliš sebe, naučiš da se poštuješ.
Onda, kako roman odmiče, upoznajemo prijateljicu i shvatamo da je ona produkt nepouzdane naratorke koja romantizuje apsolutno sve i koja svemu mora da da objašnjenje, pritom ne puštajući iluziju. Svaka njihova uspomena je iskrivljena, a Lejla nije okrutna koliko su okrutne njene okolnosti. Kaže nam i Bastašićeva da je Lejla zapravo Bosna, ono odakle potičemo, što želimo da zaboravimo ako uspemo da odemo preko, ali što zauvek ostaje deo nas.
Drago mi je što zapravo nisam znala previše o ovoj knjizi. Ne zanima me toliko šta je Džojsovo, Kerolovo, Nabokovljevo, kao ni zašto nam je negde sve nacrtano i time zapravo uništen pokušaj simbolizma. Meni je road trip junakinja na momente čak ličio i na domaći film Parada.
Ima tu dosta toga što je moglo da bude bolje, ali meni je važno da sam se u ovoj knjizi na momente pronašla i da me je kraj oduvao, baš mi je filmičan, malo sam i zasuzila.
July 8, 2021
Damn, what a trip 🥵
January 7, 2021
Hoćemo nastavak - ista priča ali iz Lejlinog ugla.
March 28, 2022
*On a second read through I am more impressed than ever with the structure, the intertextuality and the forward motion, particularly of the first and last chapters.
This is a dark tale of a lost friendship resurrected for one last road-trip across Bosnia and to Vienna, in search of a brother who has been missing for twenty years.
Sara left Bosnia to study literature in Dublin, and has made a concerted effort to leave the country, its history and even its language behind her. She belongs to the generation that were children during the Balkan wars, indelibly touched by the conflict but reluctant to let it define them. She is called home by her childhood friend Lejla, whose brother, presumed killed during the war, is in Vienna. Lejla needs a ride there, and Lejla's not the kind of person Sara can say no to.
As befits a character who has reinvented herself through another country’s, another language's literature, there are Joycean touches, though by way of Lewis Carroll. Where Ulysses corresponds to The Odyssey, Catch the Rabbit takes its structure, loosely and creatively, from Alice's Adventures in Wonderland. Another pleasure of a reread is teasing out more of these subtle references, from a white glove fished out of a river, to people on an endless bus loop between Bosnia and Croatia, trying to outdo one another with their own "long and sad tales." Others have drawn parallels to Ferrante, which are there, but the portrayal of girls in a conflict zone also reminded me of Derry Girls and of Milkman
There are occasional lags in pace as the book moves through different episodes, with each present-day stop triggering a memory of the past, but this is a book with a lot to say, with a lot of parallels to draw, with a lot of writers -- English, Irish, Serbian -- to reference, and with a truly impressive, ferocious circular structure that deals a real payoff.
This is a dark tale of a lost friendship resurrected for one last road-trip across Bosnia and to Vienna, in search of a brother who has been missing for twenty years.
Sara left Bosnia to study literature in Dublin, and has made a concerted effort to leave the country, its history and even its language behind her. She belongs to the generation that were children during the Balkan wars, indelibly touched by the conflict but reluctant to let it define them. She is called home by her childhood friend Lejla, whose brother, presumed killed during the war, is in Vienna. Lejla needs a ride there, and Lejla's not the kind of person Sara can say no to.
As befits a character who has reinvented herself through another country’s, another language's literature, there are Joycean touches, though by way of Lewis Carroll. Where Ulysses corresponds to The Odyssey, Catch the Rabbit takes its structure, loosely and creatively, from Alice's Adventures in Wonderland. Another pleasure of a reread is teasing out more of these subtle references, from a white glove fished out of a river, to people on an endless bus loop between Bosnia and Croatia, trying to outdo one another with their own "long and sad tales." Others have drawn parallels to Ferrante, which are there, but the portrayal of girls in a conflict zone also reminded me of Derry Girls and of Milkman
There are occasional lags in pace as the book moves through different episodes, with each present-day stop triggering a memory of the past, but this is a book with a lot to say, with a lot of parallels to draw, with a lot of writers -- English, Irish, Serbian -- to reference, and with a truly impressive, ferocious circular structure that deals a real payoff.
November 4, 2023
sally rooney kad bi bila zaposednuta duhom murakamija i nostalgična za bosnom
Read
March 29, 2023Διάβασα ένα εκπληκτικό κείμενο του Παλαβού για την έκθεση "Εθνική Οδός" του Αχιλλέα Ραζή, όπου βλέπει την Ελλάδα στον χάρτη σαν μια κυρτωμένη γριά που στέκεται μεταξύ Βαλκανίων και Ανατολής, η Πελοπόννησος είναι η φούστα της, Ρούμελη και Θεσσαλία ο κορμός, Δυτική Μακεδονία και Ήπειρος η πλάτη, Χαλκιδική οι ρυτιδιασμένοι της μαστοί. Η εθνική οδός είναι η ραχοκοκαλιά της και όλοι εμείς που κινούμαστε πάνω της την κρατάμε ζωντανή και μοιραζόμαστε μια κοινή μυρωδιά, μια "ελληνικότητα" που δεν χαρακτηρίζεται μόνο απ'τα σύνορα της γριάς, αλλά απ'τη ζωή που μοιραζόμαστε κάτω απ' τ' άρωμά της.
Αν η Ελλάδα είναι μια σκεβρωμένη γριά, η Βοσνία της Μπάστασιτς είναι μια θυμωμένη φίλη με ψεύτικο χρώμα στα μαλλιά και ψιλοαλλαγμένο όνομα, που γνωρίζει το παρελθόν, ορίζει το μέλλον και κρίνει σκληρά αυτό που εκείνη προσπαθεί να γίνει.
"Έλα, μ ακούς;" και η Σάρα -που γεννήθηκε τη μέρα που πέθανε ο Τίτο- χωρίς να το καταλαβαίνει βρίσκεται να κυνηγάει τον λευκό λαγό (ή κουνέλι τελικά) με το χαλασμένο ρολόι στα χέρια που πότε δείχνει το παρόν και πότε το παρελθόν, μπαίνοντας στην κουνελότρυπα για να βρεθεί στην χώρα που γεννήθηκε και την πότισε με το δικό της άρωμα, τη χώρα των θαυμάτων. Η Λέιλα (ή Λέλα τελικά), με τα ξανθά μαλλιά που κάποτε ήταν μαύρα, που θυμάται το παρελθόν κάπως διαφορετικά αλλά δεν έχει σημασία, απαιτεί τη βοήθειά της γιατί μόνο εκείνη θα καταλάβει και θα μπορέσει να τη βοηθήσει να κυνηγήσουν μια ανάμνηση, ακόμα κι αν έχουν 12 χρόνια να μιλήσουν.
Η Μπάστασιτς έγραψε ένα αλληγορικό παραμύθι για την πατρίδα της, την καταγωγή, τη μνήμη, πλέκοντάς το γύρω απ τη φιλία δύο γυναικών (δεν ξέρω πώς διαβάζεται μια τέτοια σχέση από άντρες αναγνώστες, μεγάλη συζήτηση η πολυπλοκότητα της γυναικείας φιλίας και το ερωτικό στοιχείο που εμπεριέχει) και ένα σωρό ανακουφιστικά οικείες παρατηρήσεις που δίνονται αβίαστα χωρίς ταρατατζούμ : " κι εμείς νιώθαμε αυτή την αδικία σαν σε κάποιον άλλον να είχε δοθεί ένα πολύπλοκο παιχνίδι που εμείς θα το συναρμολογούσαμε να σε δύο δευτερόλεπτα", "δυο γυναίκες [...] οι οποίες απλώς θα έπαυαν να υπάρχουν. Δεν θα αφήναμε το όνομά μας στα δικά μας παιδιά [...]. Ποτέ κανένας δεν θα γινόταν εμείς. Ήμασταν οι δυο μας".
* Δεν γινόταν να μην βάλω το βιβλίο αυτό να κάνει παρέα με την Καταγωγή του επίσης Βόσνιου Σάσα Στάνισιτς και να μην παρατηρήσω την κοινή μυρωδιά που αναδύεται ακόμα κι αν οι πρόζες τους είναι τόσο διαφορετικές, όπως και τη σημασία του να αφήνουμε τα αρώματά μας μέσα από τα δικά μας σύγχρονα βιώματα.
* Αυτό με Το Λαγό και ΤοΝ Λαγό, μπορεί να με κάνει τρελούλα απ όταν έμαθα για την αλλαγή του κανόνα που βάζουμε πάντα ν στα αρσενικά γιατί ας πούμε αν πω "η Αλίκη πήρε το ναυτικό" τι καταλαβαίνετε, ενώ αν έλεγα "η Αλίκη πήρε τον ναυτικό" η Αλίκη θα φαινόταν λιγότερο εξώλης και καλό είναι αυτά να λέγονται.
Αν η Ελλάδα είναι μια σκεβρωμένη γριά, η Βοσνία της Μπάστασιτς είναι μια θυμωμένη φίλη με ψεύτικο χρώμα στα μαλλιά και ψιλοαλλαγμένο όνομα, που γνωρίζει το παρελθόν, ορίζει το μέλλον και κρίνει σκληρά αυτό που εκείνη προσπαθεί να γίνει.
"Έλα, μ ακούς;" και η Σάρα -που γεννήθηκε τη μέρα που πέθανε ο Τίτο- χωρίς να το καταλαβαίνει βρίσκεται να κυνηγάει τον λευκό λαγό (ή κουνέλι τελικά) με το χαλασμένο ρολόι στα χέρια που πότε δείχνει το παρόν και πότε το παρελθόν, μπαίνοντας στην κουνελότρυπα για να βρεθεί στην χώρα που γεννήθηκε και την πότισε με το δικό της άρωμα, τη χώρα των θαυμάτων. Η Λέιλα (ή Λέλα τελικά), με τα ξανθά μαλλιά που κάποτε ήταν μαύρα, που θυμάται το παρελθόν κάπως διαφορετικά αλλά δεν έχει σημασία, απαιτεί τη βοήθειά της γιατί μόνο εκείνη θα καταλάβει και θα μπορέσει να τη βοηθήσει να κυνηγήσουν μια ανάμνηση, ακόμα κι αν έχουν 12 χρόνια να μιλήσουν.
Η Μπάστασιτς έγραψε ένα αλληγορικό παραμύθι για την πατρίδα της, την καταγωγή, τη μνήμη, πλέκοντάς το γύρω απ τη φιλία δύο γυναικών (δεν ξέρω πώς διαβάζεται μια τέτοια σχέση από άντρες αναγνώστες, μεγάλη συζήτηση η πολυπλοκότητα της γυναικείας φιλίας και το ερωτικό στοιχείο που εμπεριέχει) και ένα σωρό ανακουφιστικά οικείες παρατηρήσεις που δίνονται αβίαστα χωρίς ταρατατζούμ : " κι εμείς νιώθαμε αυτή την αδικία σαν σε κάποιον άλλον να είχε δοθεί ένα πολύπλοκο παιχνίδι που εμείς θα το συναρμολογούσαμε να σε δύο δευτερόλεπτα", "δυο γυναίκες [...] οι οποίες απλώς θα έπαυαν να υπάρχουν. Δεν θα αφήναμε το όνομά μας στα δικά μας παιδιά [...]. Ποτέ κανένας δεν θα γινόταν εμείς. Ήμασταν οι δυο μας".
* Δεν γινόταν να μην βάλω το βιβλίο αυτό να κάνει παρέα με την Καταγωγή του επίσης Βόσνιου Σάσα Στάνισιτς και να μην παρατηρήσω την κοινή μυρωδιά που αναδύεται ακόμα κι αν οι πρόζες τους είναι τόσο διαφορετικές, όπως και τη σημασία του να αφήνουμε τα αρώματά μας μέσα από τα δικά μας σύγχρονα βιώματα.
* Αυτό με Το Λαγό και ΤοΝ Λαγό, μπορεί να με κάνει τρελούλα απ όταν έμαθα για την αλλαγή του κανόνα που βάζουμε πάντα ν στα αρσενικά γιατί ας πούμε αν πω "η Αλίκη πήρε το ναυτικό" τι καταλαβαίνετε, ενώ αν έλεγα "η Αλίκη πήρε τον ναυτικό" η Αλίκη θα φαινόταν λιγότερο εξώλης και καλό είναι αυτά να λέγονται.
August 31, 2020
Debe ser que he empezado a trabajar esta semana y estoy empanado....pero no he entendido nada de este libro.
Dos amigas, o lo que sean, viven en Dublín y en Mostar. Ambas son Bosnias. Llevan 12 años sin hablarse. Un buen día la que se ha quedado en Bosnia (Lejla) llama a la que vive en Dublín (Sara), que es la que nos cuenta la historia, y le dice que Armin, el hermano de Lejla que desapareció al comienzo de la Guerra Serbo- Bosnia está en Viena.
Pues nada, ni corta ni perezosa deja su vida y se va con su supuesta amiga para llevarla en coche a Viena, así sin mas. Durante el viaje, nos narra en flash-backs retazos de la amistad entre las dos amigas. Amistad, dependencia, relación tóxica.....lo que sea.
Pero realmente qué pasa, que hay entre ellas?
-Por qué Sara abandona todo y va a ver a su amiga Lejla?
-Que tipo de relación tienen, hay detrás una atracción sexual no correspondida?
-Que pasa con Armin, el hermano de Lejla? Es por este por el que se sentía atraída Sara y por eso le aguantaba todo a Lejla?
-Que pasó en la Guerra, que está como un runrún detrás de todo el libro y de todos los personajes, pero de la que no se cuenta nada o casi nada?
-Que pasa con la puta liebre? Entierro, ruptura de amistad, Armin, Durero, una ventana en el ojo...madre mía qué paja mental.
Todo demasiado complicado y balcánico para mi mente castellana....suerte para los que se atrevan con esta historia....
Dos amigas, o lo que sean, viven en Dublín y en Mostar. Ambas son Bosnias. Llevan 12 años sin hablarse. Un buen día la que se ha quedado en Bosnia (Lejla) llama a la que vive en Dublín (Sara), que es la que nos cuenta la historia, y le dice que Armin, el hermano de Lejla que desapareció al comienzo de la Guerra Serbo- Bosnia está en Viena.
Pues nada, ni corta ni perezosa deja su vida y se va con su supuesta amiga para llevarla en coche a Viena, así sin mas. Durante el viaje, nos narra en flash-backs retazos de la amistad entre las dos amigas. Amistad, dependencia, relación tóxica.....lo que sea.
Pero realmente qué pasa, que hay entre ellas?
-Por qué Sara abandona todo y va a ver a su amiga Lejla?
-Que tipo de relación tienen, hay detrás una atracción sexual no correspondida?
-Que pasa con Armin, el hermano de Lejla? Es por este por el que se sentía atraída Sara y por eso le aguantaba todo a Lejla?
-Que pasó en la Guerra, que está como un runrún detrás de todo el libro y de todos los personajes, pero de la que no se cuenta nada o casi nada?
-Que pasa con la puta liebre? Entierro, ruptura de amistad, Armin, Durero, una ventana en el ojo...madre mía qué paja mental.
Todo demasiado complicado y balcánico para mi mente castellana....suerte para los que se atrevan con esta historia....
October 9, 2018
''Uhvati zeca'' je roman o dvije žene.
Da li su te dvije žene i prijateljice moraćete sami prosuditi.
Zvuči poznato, zar ne? (da, da, miriše na Elenu Ferante).
Priča koja se dešava u ovom romanu je zaista zanimljiva, a dokaz za to su ova nepuna tri dana koliko mi je trebalo da ga pročitam listajući stranicu za stranicom.
Roman je podijeljen na numerisana i nenumerisana poglavlja, numerisana obuhvataju priču u sadašnjosti, a ona nenumerisana u prošlosti.
Cjelokupna radnja dešava se oko odnosa dvije djevojčice/djevojke/žene Sare i Lejle, od osnovne škole, pa sve do zrelog doba.
U taj odnos utkani su događaji u školi, odnosi sa vršnjacima, porodični odnosi, prve ljubavi, i naravno, nezaobilazna tema naše moderne umjetnosti - rat, koji neminovno nosi promjene i ostavlja ožiljke.
Priča počinje kada se Lejla javi Sari nakon 12 godina tišine koja je vladala između njih.
Napisan pitkim jezikom, ''Uhvati zeca'' obrađuje važne teme poput pripadanja, nesigurnosti, vječnih dilema povezanih sa sopstvenim identitetom, seksualnošću, egzistencijom.
Dodatna čar, za mene lično, je što se veći dio radnje dešava u Banjaluci, u dobro poznatim ulicama i naseljima.
Međutim, moram da se osvrnem na ono što mi je zasmetalo, ne samo u ovoj knjizi, već uopšte u novijem stvaralaštvu ovih prostora (posebno književnosti i kinematografiji), a to je atmosfera beznađa, tame, mržnje.
Osjećaj kada pročitate ili pogledate neko moderno djelo, kao da ste se valjali u blatu, i da ne zaslužujete bolje samo zato što ste rođeni na određenom geografskom području i zato što ste doživjeli i preživjeli rat.
Nažalost, većina domaćih autora ostaje upletena u motiv rata, ostavljaju utisak da nikada nisu zadovoljni i da će zauvijek ostati prekriveni tom koprenom, kao da više ne mogu izaći iz blatnjavih rovova sopstvenih misli.
A zaista mislim, da koliko god vodili svakodnevnu borbu socijalnu, ekonomsku, političku, živimo koliko-toliko slobodno, i da je zaista došlo vrijeme da se motivi nalaze na nekim drugim mjestima.
I to je ta glavna mana ovog romana - bljutavost koju ostavlja za sobom (iako je to crnilo bilo u određenoj mjeri potrebno zarad priče).
Da li su te dvije žene i prijateljice moraćete sami prosuditi.
Zvuči poznato, zar ne? (da, da, miriše na Elenu Ferante).
Priča koja se dešava u ovom romanu je zaista zanimljiva, a dokaz za to su ova nepuna tri dana koliko mi je trebalo da ga pročitam listajući stranicu za stranicom.
Roman je podijeljen na numerisana i nenumerisana poglavlja, numerisana obuhvataju priču u sadašnjosti, a ona nenumerisana u prošlosti.
Cjelokupna radnja dešava se oko odnosa dvije djevojčice/djevojke/žene Sare i Lejle, od osnovne škole, pa sve do zrelog doba.
U taj odnos utkani su događaji u školi, odnosi sa vršnjacima, porodični odnosi, prve ljubavi, i naravno, nezaobilazna tema naše moderne umjetnosti - rat, koji neminovno nosi promjene i ostavlja ožiljke.
Priča počinje kada se Lejla javi Sari nakon 12 godina tišine koja je vladala između njih.
Napisan pitkim jezikom, ''Uhvati zeca'' obrađuje važne teme poput pripadanja, nesigurnosti, vječnih dilema povezanih sa sopstvenim identitetom, seksualnošću, egzistencijom.
Dodatna čar, za mene lično, je što se veći dio radnje dešava u Banjaluci, u dobro poznatim ulicama i naseljima.
Međutim, moram da se osvrnem na ono što mi je zasmetalo, ne samo u ovoj knjizi, već uopšte u novijem stvaralaštvu ovih prostora (posebno književnosti i kinematografiji), a to je atmosfera beznađa, tame, mržnje.
Osjećaj kada pročitate ili pogledate neko moderno djelo, kao da ste se valjali u blatu, i da ne zaslužujete bolje samo zato što ste rođeni na određenom geografskom području i zato što ste doživjeli i preživjeli rat.
Nažalost, većina domaćih autora ostaje upletena u motiv rata, ostavljaju utisak da nikada nisu zadovoljni i da će zauvijek ostati prekriveni tom koprenom, kao da više ne mogu izaći iz blatnjavih rovova sopstvenih misli.
A zaista mislim, da koliko god vodili svakodnevnu borbu socijalnu, ekonomsku, političku, živimo koliko-toliko slobodno, i da je zaista došlo vrijeme da se motivi nalaze na nekim drugim mjestima.
I to je ta glavna mana ovog romana - bljutavost koju ostavlja za sobom (iako je to crnilo bilo u određenoj mjeri potrebno zarad priče).
August 22, 2021
Translated by its author from the Serbo-Croatian, this novel started out promisingly but sadly went off the rails – or should I say off the road. Protagonist Sara, a Bosnian living in Dublin, hears from her childhood frenemy after more than a decade of estrangement; Lejla‘s long-disappeared brother is in Vienna, and she demands Sara drop everything, fly to Bosnia, and go with her to meet him there. The ensuing road trip quickly devolves into the most banal, navel-gazing, angsty narration I‘ve suffered through in a long, long time. A bitter disappointment, which even its very strong last three pages of a conclusion could not redeem.
August 7, 2020
Želim da napomenem da ovaj prikaz čitate dalje od početne rečenice na sopstvenu odgovornost jer nisam sigurna koliko ću otkriti.
Na kraju knjige stoji pogovor koji mi je dosta stvari rasvetlio, ipak pokušaću da prenesem svoje utiske nevezano za njega.
U pokušaju da ostanem u konceptu priče, opisaću ovako. Većim delom romana imala sam utisak da sam upala kroz zečju rupu, obrela se u Zemlji čuda, pojela neki kolačić/pečurku ili šta već (zaista ne mogu da se setim radnje nakon skoro dvadeset godina od čitanja Alise) i tako ostala zbunjena do samog kraja knjige. Šalu na stranu, ne volim romane pune simbolike. Volim ozbiljne priče, teške priče, životne priče. I sa tim nemam problem, sve dok je meni jasno nacrtano i obojeno. Prosto ne volim da mozgam dok čitam i da razmišljam da li bež/braon kauč, mrtav zec ili nešto drugo imaju neku simboliku ili su prosto to što jesu bez skrivenih značenja. Razlog tome je što nikad ne znam jesam li sve, baš sve dokučila. Ova knjiga je jedan veliki simbol. Počevši od imena likova, strukture u kojoj se završna rečenica i početna dopunjuju, belog zeca, samog putovanja, mraka usred dana, Sarine majke, Armina, pa sve do samog lika koji predstavlja Lejlu. Ne, ovo nije priča o prijateljstvu iako tako deluje na površini i ima takvih elemenata. Zapravo, bar ne o prijateljstvu dveju žena, iz prostog razloga što je Lejla simboliše Bosnu. I da su sve njene osobine zapravo način na koji Lana doživljava svoju državu. Da li sam ja to shvatila čitajući knjigu? Iskreno, ne. Doživela sam Lejlu kao živo biće i nekog koga je možda život u toj zemlji izveštačio, promenio, otvrdnuo, videla sam simboliku u njenoj kosi i očima koji se menjaju iz crnih u plave, ali nisam dokučila do kraja ono što je autorka imala na umu kad je počela da piše. Možda jednostavno nisam bila dovoljno pažljiva jer kad premotam film i setim se početka, Lana kaže: "Ili da kažem ona? Možda je tako bolje, to bi ti se svidjelo. Da budeš ona u nekoj knjizi." Da, bilo je naznaka pažljivom čitaocu, ali... Jesam li već rekla da ne volim metafore? Ipak, ostala sam zadivljena Laninom genijalnošću. Sama ideja o ovako nečemu, povlačenje pararela sa Zemljom čuda na mnogo načina, kroz broj poglavlja i tematiku u istima, kroz likove, pa i kroz samu Bosnu i belog zeca zaista ostavlja bez reči i otkriva genijalan um. I što više razmišljam o romanu, pogovoru, vraćam se na poglavlja, sve više mogu da pišem o knjizi, sve više ima delova koji mi se sviđaju i ne sviđaju iz različitih razloga. Ali mislim da je ovakav jedan poduhvat u pisanju zaista za svaku pohvalu. Lana je uspela da mi dočara svoju zemlju i da je doživim kroz njene oči i definitivno neću zaboraviti ovu sumanutu avanturu.
Na kraju knjige stoji pogovor koji mi je dosta stvari rasvetlio, ipak pokušaću da prenesem svoje utiske nevezano za njega.
U pokušaju da ostanem u konceptu priče, opisaću ovako. Većim delom romana imala sam utisak da sam upala kroz zečju rupu, obrela se u Zemlji čuda, pojela neki kolačić/pečurku ili šta već (zaista ne mogu da se setim radnje nakon skoro dvadeset godina od čitanja Alise) i tako ostala zbunjena do samog kraja knjige. Šalu na stranu, ne volim romane pune simbolike. Volim ozbiljne priče, teške priče, životne priče. I sa tim nemam problem, sve dok je meni jasno nacrtano i obojeno. Prosto ne volim da mozgam dok čitam i da razmišljam da li bež/braon kauč, mrtav zec ili nešto drugo imaju neku simboliku ili su prosto to što jesu bez skrivenih značenja. Razlog tome je što nikad ne znam jesam li sve, baš sve dokučila. Ova knjiga je jedan veliki simbol. Počevši od imena likova, strukture u kojoj se završna rečenica i početna dopunjuju, belog zeca, samog putovanja, mraka usred dana, Sarine majke, Armina, pa sve do samog lika koji predstavlja Lejlu. Ne, ovo nije priča o prijateljstvu iako tako deluje na površini i ima takvih elemenata. Zapravo, bar ne o prijateljstvu dveju žena, iz prostog razloga što je Lejla simboliše Bosnu. I da su sve njene osobine zapravo način na koji Lana doživljava svoju državu. Da li sam ja to shvatila čitajući knjigu? Iskreno, ne. Doživela sam Lejlu kao živo biće i nekog koga je možda život u toj zemlji izveštačio, promenio, otvrdnuo, videla sam simboliku u njenoj kosi i očima koji se menjaju iz crnih u plave, ali nisam dokučila do kraja ono što je autorka imala na umu kad je počela da piše. Možda jednostavno nisam bila dovoljno pažljiva jer kad premotam film i setim se početka, Lana kaže: "Ili da kažem ona? Možda je tako bolje, to bi ti se svidjelo. Da budeš ona u nekoj knjizi." Da, bilo je naznaka pažljivom čitaocu, ali... Jesam li već rekla da ne volim metafore? Ipak, ostala sam zadivljena Laninom genijalnošću. Sama ideja o ovako nečemu, povlačenje pararela sa Zemljom čuda na mnogo načina, kroz broj poglavlja i tematiku u istima, kroz likove, pa i kroz samu Bosnu i belog zeca zaista ostavlja bez reči i otkriva genijalan um. I što više razmišljam o romanu, pogovoru, vraćam se na poglavlja, sve više mogu da pišem o knjizi, sve više ima delova koji mi se sviđaju i ne sviđaju iz različitih razloga. Ali mislim da je ovakav jedan poduhvat u pisanju zaista za svaku pohvalu. Lana je uspela da mi dočara svoju zemlju i da je doživim kroz njene oči i definitivno neću zaboraviti ovu sumanutu avanturu.
March 24, 2022
So much feelings. I feel some distant friend has come over to my house, shared her life story, and left me in bewilderment. I’m still confused about the ending, but it was so powerful and touching that i cannot move on. That sense of closeness the author created; that sense of connection to the place despite not wanting the connection that the author depicted. The sense of belonging and detachment at the same time. It was so powerful. The part about speaking/hearing the language, and changing names, it really hurt. So much to say, but I don’t have the words.
I think the story also resonates with me because I know the pain of growing up in and leaving a troubled country. I know lots of Armins, whose shadows follow us wherever we go. I know lots of Leja/Lela/Leilas that I want to run away from as far as I can, but I cannot. I hate it but my memories of places and people don’t leave me alone. I feel haunted almost always. Too much. Too much darkness without being graphic about it.
Now that I’m writing the review, I think it was one of the best novels I have read in years about coming of age during war (or in my case ideological dictatorship) and immigration. It is also one of the best novels showing that “post-war” does not mean “ending” but it is the beginning of never-healing grief and sorrow, that one may or may not move on.
I think the story also resonates with me because I know the pain of growing up in and leaving a troubled country. I know lots of Armins, whose shadows follow us wherever we go. I know lots of Leja/Lela/Leilas that I want to run away from as far as I can, but I cannot. I hate it but my memories of places and people don’t leave me alone. I feel haunted almost always. Too much. Too much darkness without being graphic about it.
Now that I’m writing the review, I think it was one of the best novels I have read in years about coming of age during war (or in my case ideological dictatorship) and immigration. It is also one of the best novels showing that “post-war” does not mean “ending” but it is the beginning of never-healing grief and sorrow, that one may or may not move on.
August 17, 2023
Θα ξεκινησω αναποδα: Τι ηθελα και διαβασα τον επιλογο της συγγραφεως! Δεν εχω χειρο��ερο απο εναν καλλιτεχνη, οποιασδηποτε μορφης να εξηγει το εργο του. Ειναι υπεροπιτικο, αλαζονικο και δικαιολογημενα χλευάσιμο. Εδικα οταν εξηγεις τα συμβολα σου και συγκρινεις εαυτον με Τζειμς Τζους, Βιρτζινια Γιυλφ Ναμποκοφ που αλλους που δεν φτανεις. Ουτε καν.
Περα απο αυτη την ατυχή στιγμή, που απ οτι διαβαζω ευτυχως δεν υπαρχει στις παλαιοτερες εκδοσεις του βιβλιου, μου άρεσε πολυ η ιστορια και με κρατησε.
Μου αρέσουν οι Βαλκάνιες φωνες. Και στην λογοτεχνια και στην μουσικη και στον κινηματογραφο, παντου στην Τεχνη, όπου τις εχω συναντησει. Μοιαζουν με τις δικες μας. Εχουν το στιγμα της δευτεροκοσμικής χωρας με την οριακη φτωχεια, τη βρωμια παντου, τη φασαρια, το στιγμα της Τουρκοκρατιας που περασε απο πανω το��ς και τις ικανοτηγτες επιβιωσης σ εναν τετοιο τοπο μεσα απο την πονηρια την εξαπατηση και το μαυρο αυτοσαρκαστικό χιουμορ που αναπτυσσουμε ως αυτοπροστατευτικο μηχανισμο.
Η ιστορια του Λαγου ειναι η ιστορια ενος ταξιδιου ταυτοχρονα στον δρομο και στη μνημη.
Απολαυσα το road movie σκηνικό μεσα απο τη σκοτεινη Βοσνια, τις ιστοριες μιας σχεσης παθους μισους αγαπης και ζηλιας, ετσι οπως αυθεντικά ειναι μεταξύ μιας γυναικειας φιλιας.
Το ανοιχτο τελος δινει περιθωριο σε sequel, δεν νομιζω ομως οτι αυτος ηταν ο σκοπος του.
Σκοπος ηταν το ταξιδι, με την καβαφική του εννοια, και οχι η Ιθακη, οπου εδω ειναι η Βιεννη.
ΜΟυ αρεσε ακομη η συγκριτική ματιά μιας Βαλκάνιας που ειχε φυγει απο εκει, ειχε απομακρυνθει αποστασιοποιηθεί για χρόνια, ειχε δει τον πολιτισμο και με την συγκριτική αυτή οπτική μπορει και καταγραφει κριτικά την γραφικότητα της πατριδας της, που απο τη μια βγαινει απο τη συγκριση υποδεεστερη, απ την αλλη πατριδα ειναι η καρδια, και δυσκολα την ξεριζωνεις.
Μου εκανε εντυπωση μια σκηνη που περιγραφει, να βλεπει μια ταινια επιστημονικης φαντασιας με τον φιλο της τον Ιρλανδο στο Δουβλινο, οπου ενα παιδι ξερναει στον νιπτηρα εξωγηινους, και αυτο της θυμισε τη σχεση της με τη Βοσνια. Την ειχε μεσα της, αυτο τον αλιεν τοπο, σαν παθογενεια, που ομως επιμονα μεσα της ζει.
Βρηκα καποιες ασυμφωνίες που θα μπορουσαν λιγο ν αποφευχθουν με λιγη παραπανω επιμελεια, οπως η ιστορια με τα καλαμποκοχωραφα οπου στη μια σελιδα το χωμα εινααι λασπωμενο και γεματο νερο κ στην επομενη ξερο και τα καλαμποκια εχουν πεθανει απο την ανομβρια. Μπορει να προκειται για λεπτομερειες, αλλά αυτες ακριβως ειναι που κανουν πιστευτές τις ιστοριες. Ο διαβολος εκει μεσα ειναι ακριβως.
Τελος, θα το ηθελα πολύ, ο πινακας του Ντυρερ με τον Λαγο στον οποιο αναφερεται εκτενως, να βρισκοταν στο εξωφυλλο, γιατι αυτο ειναι και ολο το νοημα του εργου γυρω απ το οποιο περιστρεφεται και συνεχως ξαναγυρναει. Αλλα αυτη ειναι μονο μια προσωπική επιθυμια.
Ημουν ψιλοπεπεισμενη για τα πεντε αστερια για την ωραια λογοτεχνια -αν και λιγες παραπανω παρομοιωσεις σε καθε σελιδα απ οσες μπορω να μεταβολισω- αλλά μετα με τον επίλογό της μου χαλασε ολη την εντυπωση, απο την επαρση της γραφης της συγγραφεως - το εχω ξαναδει σε βιβλιο του Μπαμπασακη στην εισαγωγη του κιολας οπου παρομοιαζε εαυτον ως Κερουακ και Μπαροουζ και τελικα δεν το διαβασα καν - εχω ενα προβλημα με την αυτοαναφορικότητα των καλλιτεχνων, η οποια, σε μενα τουλαχιστον λειτουργει τελειως αντιθετα απο εκει που ηταν η πρόθεσή τους.
Στο συνολο ομως μια απο τις ωραίες φωνές του γειτονικού μας Βορρα
και μπραβο σε οσους μας δινουν την ευκαιρια να τις ακουμε κι αυτες-
Περα απο αυτη την ατυχή στιγμή, που απ οτι διαβαζω ευτυχως δεν υπαρχει στις παλαιοτερες εκδοσεις του βιβλιου, μου άρεσε πολυ η ιστορια και με κρατησε.
Μου αρέσουν οι Βαλκάνιες φωνες. Και στην λογοτεχνια και στην μουσικη και στον κινηματογραφο, παντου στην Τεχνη, όπου τις εχω συναντησει. Μοιαζουν με τις δικες μας. Εχουν το στιγμα της δευτεροκοσμικής χωρας με την οριακη φτωχεια, τη βρωμια παντου, τη φασαρια, το στιγμα της Τουρκοκρατιας που περασε απο πανω το��ς και τις ικανοτηγτες επιβιωσης σ εναν τετοιο τοπο μεσα απο την πονηρια την εξαπατηση και το μαυρο αυτοσαρκαστικό χιουμορ που αναπτυσσουμε ως αυτοπροστατευτικο μηχανισμο.
Η ιστορια του Λαγου ειναι η ιστορια ενος ταξιδιου ταυτοχρονα στον δρομο και στη μνημη.
Απολαυσα το road movie σκηνικό μεσα απο τη σκοτεινη Βοσνια, τις ιστοριες μιας σχεσης παθους μισους αγαπης και ζηλιας, ετσι οπως αυθεντικά ειναι μεταξύ μιας γυναικειας φιλιας.
Το ανοιχτο τελος δινει περιθωριο σε sequel, δεν νομιζω ομως οτι αυτος ηταν ο σκοπος του.
Σκοπος ηταν το ταξιδι, με την καβαφική του εννοια, και οχι η Ιθακη, οπου εδω ειναι η Βιεννη.
ΜΟυ αρεσε ακομη η συγκριτική ματιά μιας Βαλκάνιας που ειχε φυγει απο εκει, ειχε απομακρυνθει αποστασιοποιηθεί για χρόνια, ειχε δει τον πολιτισμο και με την συγκριτική αυτή οπτική μπορει και καταγραφει κριτικά την γραφικότητα της πατριδας της, που απο τη μια βγαινει απο τη συγκριση υποδεεστερη, απ την αλλη πατριδα ειναι η καρδια, και δυσκολα την ξεριζωνεις.
Μου εκανε εντυπωση μια σκηνη που περιγραφει, να βλεπει μια ταινια επιστημονικης φαντασιας με τον φιλο της τον Ιρλανδο στο Δουβλινο, οπου ενα παιδι ξερναει στον νιπτηρα εξωγηινους, και αυτο της θυμισε τη σχεση της με τη Βοσνια. Την ειχε μεσα της, αυτο τον αλιεν τοπο, σαν παθογενεια, που ομως επιμονα μεσα της ζει.
Βρηκα καποιες ασυμφωνίες που θα μπορουσαν λιγο ν αποφευχθουν με λιγη παραπανω επιμελεια, οπως η ιστορια με τα καλαμποκοχωραφα οπου στη μια σελιδα το χωμα εινααι λασπωμενο και γεματο νερο κ στην επομενη ξερο και τα καλαμποκια εχουν πεθανει απο την ανομβρια. Μπορει να προκειται για λεπτομερειες, αλλά αυτες ακριβως ειναι που κανουν πιστευτές τις ιστοριες. Ο διαβολος εκει μεσα ειναι ακριβως.
Τελος, θα το ηθελα πολύ, ο πινακας του Ντυρερ με τον Λαγο στον οποιο αναφερεται εκτενως, να βρισκοταν στο εξωφυλλο, γιατι αυτο ειναι και ολο το νοημα του εργου γυρω απ το οποιο περιστρεφεται και συνεχως ξαναγυρναει. Αλλα αυτη ειναι μονο μια προσωπική επιθυμια.
Ημουν ψιλοπεπεισμενη για τα πεντε αστερια για την ωραια λογοτεχνια -αν και λιγες παραπανω παρομοιωσεις σε καθε σελιδα απ οσες μπορω να μεταβολισω- αλλά μετα με τον επίλογό της μου χαλασε ολη την εντυπωση, απο την επαρση της γραφης της συγγραφεως - το εχω ξαναδει σε βιβλιο του Μπαμπασακη στην εισαγωγη του κιολας οπου παρομοιαζε εαυτον ως Κερουακ και Μπαροουζ και τελικα δεν το διαβασα καν - εχω ενα προβλημα με την αυτοαναφορικότητα των καλλιτεχνων, η οποια, σε μενα τουλαχιστον λειτουργει τελειως αντιθετα απο εκει που ηταν η πρόθεσή τους.
Στο συνολο ομως μια απο τις ωραίες φωνές του γειτονικού μας Βορρα
και μπραβο σε οσους μας δινουν την ευκαιρια να τις ακουμε κι αυτες-
April 22, 2022
Uhvati zeca je djelo koje između svojih korica čuva ono što će na vama ostaviti ožiljke do kraja života. Moram priznati da sam knjigu uzeo da čitam zbog njene ogromne popularnosti u svijetu. Nije mi bilo jasno zašto su svi opsjednuti ovim romanom, ali sada sam dobio sve odgovore koji su mi trebali.
Radnja počinje jednog dana u Dablinu kada se naša naratorka Sara javi na telefona, a na drugom kraju linije je Lejla, njena najbolja prijateljica iz prošlosti. Lejla na telefonu govori Sari kako hitno mora da se vrati u Mostar kako bi mogle zajedno otputovati u Beč. Sara izgubljena u tom pozivu prošlosti sa osobom koju nije vidjela godinama spušta slušalicu. Telefon zvoni ponovo. Čuje se samo glas Lejle kako govori: Saro, Armin je u Beču. I samo tako Lana postavlja najveću misteriju knjige. Misterija koja će biti kriva za ljubav ove knjige, ali i mržnju koju će dobiti sasvim sigurno.
Već od prve stranice sam znao da ću voljeti ovu knjigu. Nije mi bilo važno u kom pravcu će otići priča ovdje, znao sam da mi je pisanje nešto prelijepo. Proza Lane Bastašić je divna. Rečenice ukrašene najljepšim osjećajima i spakovane u jedan veliki zagrljaj prošlosti. Likovi tako toksično privlačni, poraženi u svojoj hrabrosti i izgubljeni u svom bivstvovanju. Teme koje Lana istražuje su poznate, isprljane godinama i ušuškane u uspomene. Ovo nije priča o prijateljstvu, ovo je priča o uspomeni na jedno prijateljstvo. Ovo je priča o pronalasku sebe u jednom muzeju života.
Mislim da me najviše fasciniralo to kako ova knjiga ima možda najljepši početak i kraj ikad, a Lana nam nije dala ni jedno ni drugo. To me očaralo najviše. Taj izlazak iz realnog u onu maštu, odlazak u halucinaciju jedne stvarnosti koja nema svoj početak, a čiji kraj ste već pročitali.
Aluzija na Alisu u zemlji čudesa koja je prisutna u ovom djelu je divno uvrštena u ove rečenice. Djelo je prožeto ogromnom emocijom i tugom, ispunjeno mrakom i na samom kraju nekom nadom.
Učinite sebi uslugu i pročitajte ovu knjigu.
Moj video na temu knjige:
https://www.youtube.com/watch?v=kkr2_...
Radnja počinje jednog dana u Dablinu kada se naša naratorka Sara javi na telefona, a na drugom kraju linije je Lejla, njena najbolja prijateljica iz prošlosti. Lejla na telefonu govori Sari kako hitno mora da se vrati u Mostar kako bi mogle zajedno otputovati u Beč. Sara izgubljena u tom pozivu prošlosti sa osobom koju nije vidjela godinama spušta slušalicu. Telefon zvoni ponovo. Čuje se samo glas Lejle kako govori: Saro, Armin je u Beču. I samo tako Lana postavlja najveću misteriju knjige. Misterija koja će biti kriva za ljubav ove knjige, ali i mržnju koju će dobiti sasvim sigurno.
Već od prve stranice sam znao da ću voljeti ovu knjigu. Nije mi bilo važno u kom pravcu će otići priča ovdje, znao sam da mi je pisanje nešto prelijepo. Proza Lane Bastašić je divna. Rečenice ukrašene najljepšim osjećajima i spakovane u jedan veliki zagrljaj prošlosti. Likovi tako toksično privlačni, poraženi u svojoj hrabrosti i izgubljeni u svom bivstvovanju. Teme koje Lana istražuje su poznate, isprljane godinama i ušuškane u uspomene. Ovo nije priča o prijateljstvu, ovo je priča o uspomeni na jedno prijateljstvo. Ovo je priča o pronalasku sebe u jednom muzeju života.
Mislim da me najviše fasciniralo to kako ova knjiga ima možda najljepši početak i kraj ikad, a Lana nam nije dala ni jedno ni drugo. To me očaralo najviše. Taj izlazak iz realnog u onu maštu, odlazak u halucinaciju jedne stvarnosti koja nema svoj početak, a čiji kraj ste već pročitali.
Aluzija na Alisu u zemlji čudesa koja je prisutna u ovom djelu je divno uvrštena u ove rečenice. Djelo je prožeto ogromnom emocijom i tugom, ispunjeno mrakom i na samom kraju nekom nadom.
Učinite sebi uslugu i pročitajte ovu knjigu.
Moj video na temu knjige:
https://www.youtube.com/watch?v=kkr2_...
July 24, 2024
3.5/5 ⭐
No, I did not dislike this book, but it's (for me) a serious case of 3.5 star rating that I will however round up. I actually enjoyed it for what it was, but it is (and be warned) a heavy story and mostly, its heaviness comes from the themes and motifs crafted along the narrative way.
Catch the Rabbit is a novel that delves into the complexities of friendship, identity, and the lingering shadows of the past. Set against the backdrop of post-war Bosnia, the story follows Sara and Lejla, two childhood friends who embark on a road trip across the country to find Lejla's missing brother, Armin (which, in my opinion, represents only a motif or a metaphor in the book).
And, talking about motifs and metaphors, the book is full of them. They are not in-your-face facts, so maybe a little bit of a historical context will be helpful.
The Bosnian War took place from 1992 and, technically ended in 1995, but I think it will need several more generations to pass in order to properly end (and heal away from people's minds and hearts, where the real war has been taking place all these years). It was a brutal conflict that followed the breakup of Yugoslavia. It involved ethnic cleansing, incredibly bloody war atrocities against the people of the land and left deep scars on the country's social, cultural, and political life. This was the base of a ongoing trauma of a nation and this trauma is so palpable throughout the whole book.
The narrative itself, as construction, in Catch the Rabbit is quite simple - going back and forth between present and past. What sets it apart is actually the themes that are disguised as a journey - an actual, physical one and an internal one.
This is a boom about friendship and identity and even the girls themselves are reimagined into let's say some sort of mythological creatures of the whole story. Their friendship is incredibly toxic but at the same time, it is incredibly strong. Sara tries to run away from a past that left deep scars on her. Lejla drags her back into a place that's going to ravage Sara's mind because she also wants to escape it all. If you look closely, you can see that both of them are trying to cope with trauma differently, they both have different types of let's say selfishness. In a way, that's justified.
This is a book about memory and trauma, about the search for meaning, about historical and cultural contexts that hang on very thin threads, about the faces of friendship and, maybe, about hope. The book ends abruptly and (for me) unsatisfactory because it leaves you there with a piece of hope in your hands but with no conclusion at all. All you need to do it try and piece it together in your head, hoping for the best.
No, I did not dislike this book, but it's (for me) a serious case of 3.5 star rating that I will however round up. I actually enjoyed it for what it was, but it is (and be warned) a heavy story and mostly, its heaviness comes from the themes and motifs crafted along the narrative way.
Catch the Rabbit is a novel that delves into the complexities of friendship, identity, and the lingering shadows of the past. Set against the backdrop of post-war Bosnia, the story follows Sara and Lejla, two childhood friends who embark on a road trip across the country to find Lejla's missing brother, Armin (which, in my opinion, represents only a motif or a metaphor in the book).
And, talking about motifs and metaphors, the book is full of them. They are not in-your-face facts, so maybe a little bit of a historical context will be helpful.
The Bosnian War took place from 1992 and, technically ended in 1995, but I think it will need several more generations to pass in order to properly end (and heal away from people's minds and hearts, where the real war has been taking place all these years). It was a brutal conflict that followed the breakup of Yugoslavia. It involved ethnic cleansing, incredibly bloody war atrocities against the people of the land and left deep scars on the country's social, cultural, and political life. This was the base of a ongoing trauma of a nation and this trauma is so palpable throughout the whole book.
The narrative itself, as construction, in Catch the Rabbit is quite simple - going back and forth between present and past. What sets it apart is actually the themes that are disguised as a journey - an actual, physical one and an internal one.
This is a boom about friendship and identity and even the girls themselves are reimagined into let's say some sort of mythological creatures of the whole story. Their friendship is incredibly toxic but at the same time, it is incredibly strong. Sara tries to run away from a past that left deep scars on her. Lejla drags her back into a place that's going to ravage Sara's mind because she also wants to escape it all. If you look closely, you can see that both of them are trying to cope with trauma differently, they both have different types of let's say selfishness. In a way, that's justified.
This is a book about memory and trauma, about the search for meaning, about historical and cultural contexts that hang on very thin threads, about the faces of friendship and, maybe, about hope. The book ends abruptly and (for me) unsatisfactory because it leaves you there with a piece of hope in your hands but with no conclusion at all. All you need to do it try and piece it together in your head, hoping for the best.
August 22, 2021
Sara, úgy néz ki, kiásta magát a gödörből. Meglépett Boszniából, otthagyta a Balkánt a zsíros burekszaggal meg a szerb-muzulmán vérbosszúkkal együtt, és most Dublinban neveli programozó férjét és szívós avokádócsemetéjét. Migrációs sikersztori. Aztán jön egy telefon Lejlától, hogy hopp, pattanjon repülőre, és irány Mostar, mert szükség van rá. Úgyhogy Sara hiába rágta el a köldökzsinórt, most húzhat vissza a fészekbe.
Lejla miatt. A közös emlékek, a közös szerettek miatt. Lejla amúgy olyan, mint egy metafora: a szülőföld metaforája, aki nélkül meghalni se tudunk, de vele meg: élni se. Hiába akarunk neki tetszeni, le se szar minket, életrevalóbbak mutatja magát nálunk, mintha a puszta létével folyton figyelmeztetni akarna, hogy megfutottunk, hogy nem voltunk elég jók. Neki, nekünk. Frusztrálttá és ingerültté tesz minden szava, minden ócska trükkje, élethazugsága, balkáni durvasága. De mégis. Vele nőttünk fel. Közös a múltunk. Ez a múlt persze tört cserép csupán: kölcsönös sérelmek, félig elfeledett örömök törmeléke.
Úgyhogy Sara és Lejla beülnek Mostarban egy fehér Opel Astrába, suhannak a gyorsan leszálló éjszakában, és megnézik, megragasztható-e, ami eltörött.
Lejla miatt. A közös emlékek, a közös szerettek miatt. Lejla amúgy olyan, mint egy metafora: a szülőföld metaforája, aki nélkül meghalni se tudunk, de vele meg: élni se. Hiába akarunk neki tetszeni, le se szar minket, életrevalóbbak mutatja magát nálunk, mintha a puszta létével folyton figyelmeztetni akarna, hogy megfutottunk, hogy nem voltunk elég jók. Neki, nekünk. Frusztrálttá és ingerültté tesz minden szava, minden ócska trükkje, élethazugsága, balkáni durvasága. De mégis. Vele nőttünk fel. Közös a múltunk. Ez a múlt persze tört cserép csupán: kölcsönös sérelmek, félig elfeledett örömök törmeléke.
Úgyhogy Sara és Lejla beülnek Mostarban egy fehér Opel Astrába, suhannak a gyorsan leszálló éjszakában, és megnézik, megragasztható-e, ami eltörött.
June 28, 2023
Δυο φίλες που ζουν σε διαφορετικές χώρες κι έχουν χάσει επαφή τα τελευταία 12 χρόνια. Ένα τηλέφωνο της Λέιλα στη Σάρα ήταν αρκετό για να την κάνει να επιστρέψει πίσω στη Βοσνία. Ξεκινώντας η Σάρα, κάνει μια καταβύθιση στη σχέση της με τη Λέιλα, με τη χώρα της, με τους ανθρώπους.Οι αναμνήσεις της δίνουν το στίγμα της σχέσης των δύο γυναικών. Η Λέιλα δυναμική και αποφασιστική, διεκδικεί ότι θέλει σε αντίθεση με τη Σάρα που μένει σε δεύτερο χρόνο, γίνεται ο ουραγός αυτής της φιλίας. Οι αλλαγές στη χώρα, φέρνουν αλλαγές στην οικογένεια της Λέιλα ενώ τη Σάρα μοιάζει να μην την αφορούν. Η επανασύνδεση μετά από τόσα χρόνια, συνεχίζει από εκεί που σταμάτησε. Όμως οι δυο τους έχουν αλλάξει, δεν είναι οι ίδιες. Ότι έχουν ζήσει μοιάζει τόσο διαφορετικό. Στη διάρκεια αυτού του ταξιδιού με το αυτοκίνητο, είναι σαν να επαναπροσδιορίζουν τη σχέση τους, την ίδια την ύπαρξή τους.
Κατά τη διάρκεια της ανάγνωσης, ένιωσα τόσα πολλά και διαφορετικά συναισθήματα. Με έκανε να προσπαθήσω να μπω στη θέση των δύο γυναικών και να σκεφτώ ότι οι κοινές μας εμπειρίες με έναν άνθρωπο, δεν έχουν αφήσει το ίδιο αποτύπωμα και στους δυο κι ενδεχομένως οι αναμνήσεις μας να μην είναι ίδιες.. Η Σάρα, προτίμησε να φύγει και να αποκοπεί από τη χώρα της ενώ η Λέιλα, παρόλο που η χώρα της την πλήγωσε βαθιά, έμεινε εκεί. Μια φιλία δυνατή που κλονίστηκε.
Η γραφή της Bastasic είναι δυναμική, ατρόμητη, χωρίς περιττά στολίδια.
Μου άρεσε πολύ.
"Για μένα η μνήμη ίσως να ήταν όμοια με μια παγωμένη λίμνη -θολή και γλιστερή-, όμως στην επιφάνεια της κατά καιρούς εμφανιζόταν κάποια χαραμάδα που από μέσα της μπορούσα να περάσω το χέρι μου και να πιάσω κάποια λεπτομέρεια, μια ανάμνηση μέσα στο κ��ύο νερό. Όμως οι παγωμένες λίμνες είναι ύπουλες. Μερικές φορές πιάνεις ψάρι, άλλες φορές όμως βουλιάζεις και πνίγεσαι."
Κατά τη διάρκεια της ανάγνωσης, ένιωσα τόσα πολλά και διαφορετικά συναισθήματα. Με έκανε να προσπαθήσω να μπω στη θέση των δύο γυναικών και να σκεφτώ ότι οι κοινές μας εμπειρίες με έναν άνθρωπο, δεν έχουν αφήσει το ίδιο αποτύπωμα και στους δυο κι ενδεχομένως οι αναμνήσεις μας να μην είναι ίδιες.. Η Σάρα, προτίμησε να φύγει και να αποκοπεί από τη χώρα της ενώ η Λέιλα, παρόλο που η χώρα της την πλήγωσε βαθιά, έμεινε εκεί. Μια φιλία δυνατή που κλονίστηκε.
Η γραφή της Bastasic είναι δυναμική, ατρόμητη, χωρίς περιττά στολίδια.
Μου άρεσε πολύ.
"Για μένα η μνήμη ίσως να ήταν όμοια με μια παγωμένη λίμνη -θολή και γλιστερή-, όμως στην επιφάνεια της κατά καιρούς εμφανιζόταν κάποια χαραμάδα που από μέσα της μπορούσα να περάσω το χέρι μου και να πιάσω κάποια λεπτομέρεια, μια ανάμνηση μέσα στο κ��ύο νερό. Όμως οι παγωμένες λίμνες είναι ύπουλες. Μερικές φορές πιάνεις ψάρι, άλλες φορές όμως βουλιάζεις και πνίγεσαι."
March 4, 2023
"μερικές φορές πιάνεις ψαρι ,άλλες φορές όμως βουλιάζεις και πνιγεσαι .από την εμπειρία μου ξέρω ότι όλες σχεδόν οι αναμνήσεις μου από εκείνη ανήκουν σε αυτή τη δεύτερη κατηγορία .γι'αυτό και δώδεκα ολόκληρα χρόνια προσπαθούσα να μην τη θυμάμαι .κι επιασε.ειναι απίστευτο πώς με λιγη απανθρωπιά μπορούμε να περιχαρακωθουμε όταν έτσι μας συμφερει .και τότε σήκωσα το τηλέφωνο και είπα το όνομα της .μου ήταν γνώριμο αυτό το παγωμένο νερό .από τα βάθη του αχνοφεγγαν τρικέφαλος τερατα."
Φανταστείτε αυτό το σενάριο: χτύπα το κινητό σας.η τύπισσα που υπήρξε η κολλητή σας από τα παιδικά χρόνια και έχετε πάνω από δώδεκα χρόνια να τη δείτε και να την ακούσετε ,είναι στην άλλη άκρη της γραμμής .σας ζητά με περίσσιο θράσος να σηκωθείτε από το Δουβλίνο και να πάτε στη Βοσνία να την πάρετε με το αμάξι και να πάτε στη Βιέννη να βρείτε τον αδερφό της που είναι αγνοούμενος για πάνω από είκοσι χρόνια!! Νομίζω η πρώτη αντίδραση όλων μας θα ήταν ένα καγχασμα,μια ατάκα τύπου "κουνά λίγο το κεφάλι σου κουκλίτσα μου να πάει το μυαλουδακι στη θέση του ".όμως η Λέιλα δεν είναι μια φίλη που θα δεχτεί το όχι σαν απάντηση και η Σάρα το ξέρει καλά αυτό. Έτσι ξεκινά η ιστορία μας και ένα road trip σχεδόν σουρεαλ με δύο γυναίκες ώριμες που υπήρξαν τα πάντα η μία για την άλλη ,που μοιράστηκαν όλες τις εμπειρίες της παιδικής ,εφηβικής και νεανικής ηλικίας παρέα και όλα αυτά υπό τη σκιά ενός πολέμου ,ιστορικών γεγονότων που σημάδεψαν όλο τον κόσμο ..έτσι κάπως μπαινοβγαίνουμε στο λαγούμι του λαγού από το παρόν στο παρελθόν και τούμπαλιν .από την αποδόμηση της ιστορίας, στον σύγχρονο κόσμο.απο την τρέλα της νεανικότητας ,στη σοβαροφάνεια της ωριμότητας και στην προσπάθεια της Σάρα να κάνει αυτό το μεταφορικό και κυριολεκτικό ταξίδι στα νιάτα της και στην πατρίδα της και να βάλει τις απαραίτητες τελείες.
Το βιβλίο αυτό θα το χαρακτήριζα ιδιοφυές στη σύλληψη του καθώς διαβάζοντας και τον επίλογο της συγγραφέως ,ανακαλύπτεις ότι υπάρχει και μια δεύτερη ανάγνωση ,αυτή της ταύτισης της Λέιλα με την πατρίδα ,που καλεί πίσω το "χαμένο της παιδί" ,τη Σάρα που έφυγε από τη Βοσνία και της ζητά να κοιτάξει ξανά πίσω και να αναθεωρήσει αυτά που θεωρούσε ως δεδομένα . Με αναφορές άμεσες ή έμμεσες στην Αλίκη στη χώρα των θαυμάτων ,στη λολίτα και τους δουβλινεζους ,θυμίζοντας αρκετά τη Φεραντε ,ήταν ένα βιβλίο που σίγουρα ανήκει στα καλύτερά του 2023 ως τώρα και που μου θύμισε την παλιά καλή σειρά aldina ....
🌟🌟🌟🌟💫/5 αστέρια
Φανταστείτε αυτό το σενάριο: χτύπα το κινητό σας.η τύπισσα που υπήρξε η κολλητή σας από τα παιδικά χρόνια και έχετε πάνω από δώδεκα χρόνια να τη δείτε και να την ακούσετε ,είναι στην άλλη άκρη της γραμμής .σας ζητά με περίσσιο θράσος να σηκωθείτε από το Δουβλίνο και να πάτε στη Βοσνία να την πάρετε με το αμάξι και να πάτε στη Βιέννη να βρείτε τον αδερφό της που είναι αγνοούμενος για πάνω από είκοσι χρόνια!! Νομίζω η πρώτη αντίδραση όλων μας θα ήταν ένα καγχασμα,μια ατάκα τύπου "κουνά λίγο το κεφάλι σου κουκλίτσα μου να πάει το μυαλουδακι στη θέση του ".όμως η Λέιλα δεν είναι μια φίλη που θα δεχτεί το όχι σαν απάντηση και η Σάρα το ξέρει καλά αυτό. Έτσι ξεκινά η ιστορία μας και ένα road trip σχεδόν σουρεαλ με δύο γυναίκες ώριμες που υπήρξαν τα πάντα η μία για την άλλη ,που μοιράστηκαν όλες τις εμπειρίες της παιδικής ,εφηβικής και νεανικής ηλικίας παρέα και όλα αυτά υπό τη σκιά ενός πολέμου ,ιστορικών γεγονότων που σημάδεψαν όλο τον κόσμο ..έτσι κάπως μπαινοβγαίνουμε στο λαγούμι του λαγού από το παρόν στο παρελθόν και τούμπαλιν .από την αποδόμηση της ιστορίας, στον σύγχρονο κόσμο.απο την τρέλα της νεανικότητας ,στη σοβαροφάνεια της ωριμότητας και στην προσπάθεια της Σάρα να κάνει αυτό το μεταφορικό και κυριολεκτικό ταξίδι στα νιάτα της και στην πατρίδα της και να βάλει τις απαραίτητες τελείες.
Το βιβλίο αυτό θα το χαρακτήριζα ιδιοφυές στη σύλληψη του καθώς διαβάζοντας και τον επίλογο της συγγραφέως ,ανακαλύπτεις ότι υπάρχει και μια δεύτερη ανάγνωση ,αυτή της ταύτισης της Λέιλα με την πατρίδα ,που καλεί πίσω το "χαμένο της παιδί" ,τη Σάρα που έφυγε από τη Βοσνία και της ζητά να κοιτάξει ξανά πίσω και να αναθεωρήσει αυτά που θεωρούσε ως δεδομένα . Με αναφορές άμεσες ή έμμεσες στην Αλίκη στη χώρα των θαυμάτων ,στη λολίτα και τους δουβλινεζους ,θυμίζοντας αρκετά τη Φεραντε ,ήταν ένα βιβλίο που σίγουρα ανήκει στα καλύτερά του 2023 ως τώρα και που μου θύμισε την παλιά καλή σειρά aldina ....
🌟🌟🌟🌟💫/5 αστέρια
March 30, 2023
Sara lebt in Dublin mit ihrem Partner Michael, als sie ein Anruf ihrer alten Freundin Lejla zurück in die Dunkelheit zieht. Nach 12 Jahren Funkstille schafft es Lejla mit einem einzigen Anruf, mit einem einzigen Satz, dass Sara sich in den Flieger setzt und zurück nach Bosnien reist: “Armin ist in Wien.”
Der Glaube daran, dass Lejlas Bruder noch lebt, verschwor die beiden Freundinnen damals gegen die anderen, doch in ihrer engen Verbundenheit lag auch Befremden. Lejla ist rebellisch, unbändig und steht mit einem soliden Selbstverständnis in der Welt, während Sara sich ihrem Umfeld anpasst. Nun begibt sich Sara in die Konfrontation mit ihrem Heimatland und der alten Freundschaft, um mit Lejla nach Wien zu fahren und den verschollenen Armin wiederzusehen.
Die Geschichte wird von Sara auf zwei Zeitebenen erzählt. Die Gegenwart erleben wir in der ersten Person Singular, während sich diese mit Rückblicken in die Vergangenheit abwechselt, die an Lejla gerichtet in der du-Perspektive verfasst sind. Allein mit dieser Entscheidung macht Lana Bastašić deutlich, wie sehr Saras Kindheit und Jugend und damit auch die Erinnerungen an Bosnien um Lejla kreisen und dieses “Du” zum Dreh- und Angelpunkt ihrer eigenen Identität wird. Ihre eigene Wahrnehmung wird von Lejlas Verhalten zu ihr bedingt, ihre Erinnerungen sind durchflutet von dieser ambivalenten Freundschaft, die alles danach Erlebte verblassen lässt.
Das Aufwachsen in Banja Luka stellt Sara nicht als sonderlich glücklich dar. Zu ihren Eltern hat sie keine gute Bindung und der Krieg in den 1990er Jahren wirft seine Schatten auf den Alltag und die Gesellschaft. Auch wenn dieser Aspekt nicht in den Mittelpunkt gerückt wird, lesen wir immer wieder verkohlte Reste auf, die der Krieg wie ein Brandstifter zurückgelassen hat. So ändert Lejla Begić ihren Namen zu Lela Berić, um serbisch anstatt bosniakisch zu klingen - zwei Buchstaben, die Lejla als erste der beiden Protagonistinnen von sich selbst entfernen, noch bevor sich Sara im Ausland von ihrem Zuhause absondert. Als sie ein Jahrzehnt später in Sarajevo landet, schlägt ihr “das schwarze Herz Europas” seine Dunkelheit entgegen und sie erspürt bald, wie viel der Dunkelheit sich bereits in ihr selbst verfangen hat.
Lana Bastašić hat mich mit diesem Roman umgehauen. Nicht nur verwendet sie eine bestechende Sprache, von aufbegehrend und sarkastisch bis feinfühlig und wund, sondern trifft mit ihrer viel- und tiefschichtigen Charakterzeichnung direkt in die Seele. Mit dem Hasen erweckt sie ein Symbol der Freundschaft zwischen den beiden Mädchen zum Leben, die später mit dessen Tod scheinbar zu Grabe getragen wird. Inwieweit diese Beziehung jedoch fast schon in feinstofflicher Weise weiterwirkt, und inwiefern die Freundschaft auch stellvertretend für die Bindung an das Heimatland steht, das wird hier sehr gekonnt und unglaublich berührend verhandelt.
Die Geschichte hat mich ganz anders getroffen, in Mark und Bein erschüttert und sehr zum Nachdenken angeregt. Großartigst!
Der Glaube daran, dass Lejlas Bruder noch lebt, verschwor die beiden Freundinnen damals gegen die anderen, doch in ihrer engen Verbundenheit lag auch Befremden. Lejla ist rebellisch, unbändig und steht mit einem soliden Selbstverständnis in der Welt, während Sara sich ihrem Umfeld anpasst. Nun begibt sich Sara in die Konfrontation mit ihrem Heimatland und der alten Freundschaft, um mit Lejla nach Wien zu fahren und den verschollenen Armin wiederzusehen.
Die Geschichte wird von Sara auf zwei Zeitebenen erzählt. Die Gegenwart erleben wir in der ersten Person Singular, während sich diese mit Rückblicken in die Vergangenheit abwechselt, die an Lejla gerichtet in der du-Perspektive verfasst sind. Allein mit dieser Entscheidung macht Lana Bastašić deutlich, wie sehr Saras Kindheit und Jugend und damit auch die Erinnerungen an Bosnien um Lejla kreisen und dieses “Du” zum Dreh- und Angelpunkt ihrer eigenen Identität wird. Ihre eigene Wahrnehmung wird von Lejlas Verhalten zu ihr bedingt, ihre Erinnerungen sind durchflutet von dieser ambivalenten Freundschaft, die alles danach Erlebte verblassen lässt.
Das Aufwachsen in Banja Luka stellt Sara nicht als sonderlich glücklich dar. Zu ihren Eltern hat sie keine gute Bindung und der Krieg in den 1990er Jahren wirft seine Schatten auf den Alltag und die Gesellschaft. Auch wenn dieser Aspekt nicht in den Mittelpunkt gerückt wird, lesen wir immer wieder verkohlte Reste auf, die der Krieg wie ein Brandstifter zurückgelassen hat. So ändert Lejla Begić ihren Namen zu Lela Berić, um serbisch anstatt bosniakisch zu klingen - zwei Buchstaben, die Lejla als erste der beiden Protagonistinnen von sich selbst entfernen, noch bevor sich Sara im Ausland von ihrem Zuhause absondert. Als sie ein Jahrzehnt später in Sarajevo landet, schlägt ihr “das schwarze Herz Europas” seine Dunkelheit entgegen und sie erspürt bald, wie viel der Dunkelheit sich bereits in ihr selbst verfangen hat.
Lana Bastašić hat mich mit diesem Roman umgehauen. Nicht nur verwendet sie eine bestechende Sprache, von aufbegehrend und sarkastisch bis feinfühlig und wund, sondern trifft mit ihrer viel- und tiefschichtigen Charakterzeichnung direkt in die Seele. Mit dem Hasen erweckt sie ein Symbol der Freundschaft zwischen den beiden Mädchen zum Leben, die später mit dessen Tod scheinbar zu Grabe getragen wird. Inwieweit diese Beziehung jedoch fast schon in feinstofflicher Weise weiterwirkt, und inwiefern die Freundschaft auch stellvertretend für die Bindung an das Heimatland steht, das wird hier sehr gekonnt und unglaublich berührend verhandelt.
Die Geschichte hat mich ganz anders getroffen, in Mark und Bein erschüttert und sehr zum Nachdenken angeregt. Großartigst!
August 6, 2020
„Bila je to prva godina našeg prijateljstva, samo što tada nismo tako razmišljale. Niko ne razmišlja tako kad neke priče počinju. Ne možeš da znaš da je to prvo poglavlje.“
Pre nekoliko godina išla sam za Bosnu i za Beč. Oba putovanja su bila toliko kratka da su vremenom postala tek prolazna i bleda uspomena. Bosna više nego Beč. Nakon putovanja sa Le(j)lom i Sarom, moje kratkotrajno krstarenje istim drumom deluje mi kao plod mašte. Kao slučajnost i uobrazilja. Putešestvije dva stara druga u tolikoj je meri realno; putanja je njihova. Prisvojena i nadasve lična.
Od putovanja u Bosnu ostalo mi je sećanje na tišinu u autu i nekoliko krivudavih cesti. Sada je ona za mene ogrnuta magnovenjem Sarinih uspomena; okrnjena zubom fiktivne, a opipljive prošlosti. Beč je pak postao Direrova slika, veličanstvena, delikatna i krhka. Simbol neokaljanog i čednog, nežno belog, detinjstva. U moru prolaznika i stranaca on čuva Arminov obris koji je prisutan i istrajan, ali istovremeno i nestalan kao Sarine uspomene, uokvirene u ograde kako bi se sačuvale od odrasle Lejle kojoj je um, kao i nekad, precizan, a jezik oštar i po oslikana sećanja poguban.
Ako me (kada me) put opet nanese na drum Le(j)le i Sare, pored nepreglednog asfalta koje će mi se prostirati pred očima ugledaću, između treptaja oka, i njih dve u beloj astri. Lejla peva izlizane hitove sa izlizanih kaseta; Sara drži jedno oko na cesti, a drugo na njoj - nedokučivoj i neukrotivoj.
Pošle su da uhvate zeca. Opet.
Idu kući. Opet.
Otvaraju Pandorinu kutiju svakom ko knjigu drži u rukama - sećaju ga na dom. Prošlost satkanu od uspomena, jezika i običaja. Od spona koje nas večno vežu za tlo s kojeg smo nikli i vrate nas onima od kojih smo se, prividno, odvikli.
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Bulgakov je čitaocu rekao da ga sledi i on je pošao. Isto to, svojom literarnom spretnošću, uradila je i Lana - povela je čitaoca kroz zečju rupu pravo u zemlju čuda.
Pre nekoliko godina išla sam za Bosnu i za Beč. Oba putovanja su bila toliko kratka da su vremenom postala tek prolazna i bleda uspomena. Bosna više nego Beč. Nakon putovanja sa Le(j)lom i Sarom, moje kratkotrajno krstarenje istim drumom deluje mi kao plod mašte. Kao slučajnost i uobrazilja. Putešestvije dva stara druga u tolikoj je meri realno; putanja je njihova. Prisvojena i nadasve lična.
Od putovanja u Bosnu ostalo mi je sećanje na tišinu u autu i nekoliko krivudavih cesti. Sada je ona za mene ogrnuta magnovenjem Sarinih uspomena; okrnjena zubom fiktivne, a opipljive prošlosti. Beč je pak postao Direrova slika, veličanstvena, delikatna i krhka. Simbol neokaljanog i čednog, nežno belog, detinjstva. U moru prolaznika i stranaca on čuva Arminov obris koji je prisutan i istrajan, ali istovremeno i nestalan kao Sarine uspomene, uokvirene u ograde kako bi se sačuvale od odrasle Lejle kojoj je um, kao i nekad, precizan, a jezik oštar i po oslikana sećanja poguban.
Ako me (kada me) put opet nanese na drum Le(j)le i Sare, pored nepreglednog asfalta koje će mi se prostirati pred očima ugledaću, između treptaja oka, i njih dve u beloj astri. Lejla peva izlizane hitove sa izlizanih kaseta; Sara drži jedno oko na cesti, a drugo na njoj - nedokučivoj i neukrotivoj.
Pošle su da uhvate zeca. Opet.
Idu kući. Opet.
Otvaraju Pandorinu kutiju svakom ko knjigu drži u rukama - sećaju ga na dom. Prošlost satkanu od uspomena, jezika i običaja. Od spona koje nas večno vežu za tlo s kojeg smo nikli i vrate nas onima od kojih smo se, prividno, odvikli.
•
•
Bulgakov je čitaocu rekao da ga sledi i on je pošao. Isto to, svojom literarnom spretnošću, uradila je i Lana - povela je čitaoca kroz zečju rupu pravo u zemlju čuda.
March 13, 2023
Πολύ μου αρέσουν τα βιβλία με αναξιόπιστο αφηγητή και ένα διφορούμενο τέλος και πολύ μου άρεσε ο τρόπος που η συγγραφέας προσεγγίζει την μνήμη, την παιδική ηλικία, την καταγωγή και την πατρίδα, με αλληγορίες και καλοδουλεμένες λογοτεχνικές αναφορές σε σπουδαία έργα.
September 30, 2023
M-am gîndit foarte mult la „Prietena mea genială” citind cartea asta.
August 25, 2021
I was glad to read Catch the Rabbit during the Balkans month of the Readtheworld21 challenge, plus the exyulit celebration, both in Instagram. And it had just showed up last month or so because of my Restless Books subscription! Good timing.
The story is starting to sound familiar, and I think it's because it resonates with the experience of so many- relocating because of the war and forced moves of so many populations in the former Yugoslavia, and finding a reason to return as an adult, without feeling at home with the people, language, or culture, in fact being immediately identifiable by using the old consonants, etc.
Sara left for Dublin 12 years ago and hasn't been in touch with her childhood friend Lejla since. But with one phone call, Lejla pulls her into a road trip to Vienna. This may not seem like a story that fits the return-home trope I mentioned, but in many ways her childhood is most embodied in this person.
The novel is translated by the author and has a few typos, plus each chapter starts with a bracket that never closes, so there are a few challenges for the reader. The ending is another challenge. Still it does feel contemporary and was a nice addition to my Europe 2021 project.
The story is starting to sound familiar, and I think it's because it resonates with the experience of so many- relocating because of the war and forced moves of so many populations in the former Yugoslavia, and finding a reason to return as an adult, without feeling at home with the people, language, or culture, in fact being immediately identifiable by using the old consonants, etc.
Sara left for Dublin 12 years ago and hasn't been in touch with her childhood friend Lejla since. But with one phone call, Lejla pulls her into a road trip to Vienna. This may not seem like a story that fits the return-home trope I mentioned, but in many ways her childhood is most embodied in this person.
The novel is translated by the author and has a few typos, plus each chapter starts with a bracket that never closes, so there are a few challenges for the reader. The ending is another challenge. Still it does feel contemporary and was a nice addition to my Europe 2021 project.
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