Autor: Stiven Sparks
Prevod: Danilo Lučić
Džojsova izuzetno izazovna knjiga može se smatrati bazičnom vrstom teksta za listu koju ovde pravimo. Puno neologizama, portmantua, lingvističkih hibrida, i možda tek sa trunkom besmislica, “Fineganovo bdenje” postavilo je standarde modernističke literature.
I put hem behind the oasthouse, sagd Pukkelsen, tuning wound on the teller, appeased to the cue, that double dyode dealered, and he’s wallowing awash swill of the Tarra water. And it marinned down his gargantast trombsathletic like the marousers of the gulpstroom. The kersse of Wolafs on him, shitateyar, he sagd in the fornicular, and, at weare or not at weare, I’m sigen no stretcher, for I carsed his murhersson goat in trotthers with them newbuckle-noosers behigh in the fire behame in the oasthouse. Hops! sagd he.
PAKLENA POMORANDžA, Entoni Bardžis (1962)
Džojsovo remek-delo je možda bolja knjiga, ali Bardžisov roman (koji mnogo duguje Kjubrikovoj filmskoj adaptaciji) nesporno je mnogo poznatiji, ili makar citiraniji. Nijedna druga knjiga sa ove liste se nije do te mere infiltrirala u kulturu kao “Paklena pomorandža”. Zaista, mnoštvo reči iz Nadsata, Bardžisovog amalgama romskog, rimovanog koknija i rusko-engleskog žargona, postalo je deo popularnog rečnika.
The stereo was on and you got the idea that the singer’s goloss was moving from one part of the bar to another, flying up to the ceiling and then swooping down again and whizzing from wall to wall. It was Berti Laski rasping a real starry oldie called ‘You Blister My Paint’. One of the three ptitsas at the counter, the one with the green wig, kept pushing her belly out and pulling it in in time to what they called the music. I could feel the knives in the old moloko starting to prick, and now I was ready for a bit of twenty-to-one. So I yelped: ‘Out out out out!’ like a doggie, and then I cracked this veck who was sitting next to me and well away and burbling a horrorshow crack on the ooko or earhole, but he didn’t feel it and went on with his ‘Telephonic hardware and when the farfarculule gets rubadubdub’. He’d feel it all right when he came to, out of the land.
TRAINSPOTTING, Irvin Velš (1993)
Ovaj uzvišeni niz literarnih dela prati Velšov poznati roman sastavljen delimično na škotskom dijalektu, kao što su “Orkanski visovi” i neka dela Džejmsa Kelmana, iako Kelman ne prihvata termin dijalekat, jer ga smatra elitističkim. Iako je vizualno nepoznat mnogim engleskim čitaocima, “Trejnspoting” je, kao i “Fineganovo bdenje”, mnogo jasniji zvučno. Pročitajte, kao dokaz, naglas sledeći odeljak romana, pogotovo ako se neko nalazi u blizini i može da vas čuje:
Ah sit frozen for a moment. But only a moment. Ah fall off the pan, ma knees splashing oantae the pishy flair. My jeans crumple tae the deck and greedily absorb the urine, but ah hardly notice. Ah roll up ma shirt sleeve and hesitate only briefly, glancing at ma scabby and occasionally weeping track marks, before plunging ma hands and forearms intae the brown water.
THE POLICEMAN’S BEARD IS HALF-CONSTRUCTED, Racter (1984)
“Policajčeva brada je polukonstruisana” je kolekcija proze i poezije koju je napisao Racter (skraćeno od “raconteur”, što znači vešt pripovedač na francuskom, prim. prev.), kompjuterski program koji su stvorili Vilijam Čembrlen i Tomas Eter i koji su predstavili 1984. godine, kao odgovor na pitanje kakav bi jezik mašina, kojoj je ljudsko iskustvo strano, stvorila. Rezultat je, kao što dijalog ispod pokazuje, fascinantan – i malo me podseća na poeziju Eni Karson. (Hvala Brajanu Rodžersu na ovoj sugestiji.)
BILL. I love a child.
MARCELLA. Children are fortunately captivating.
BILL. Yes, yet my love is excellent.
MARCELLA. My love is spooky yet we must have a child; a spooky child.
BILL. Do you follow me?
MARCELLA. Children come from love or desire. We must have love to possess children or a child.
BILL. Do we have love?
MARCELLA. We possess desire, angry desire. But this furious desire may murder a child. It may be killing babies someday.
BILL. Anyway let’s have a child.
MARCELLA. My expectation is children.
BILL. They will whisper of our love.
MARCELLA. And our perpetual, enrapturing, valuable fantasy.
BILL: I’ll record your journey through your immortal realms of terror and mild moony lustre, in soft sexual delusions of varied beauty. To delight the wanderer and repose his burning thirst and freezing hunger.
They let cords and stakes bind. The eternals began to erect the tent when Enitharmon felt a worm within her womb and with sharp pangs the hissings began; dolorous hissings and poisons round Enitharmon’s loins folding.
RIDLI VOKER, Rasel Hoban (1980)
Objavljivanja postapokaliptične proze u poslednjih par godina ne manjka, ali jedna od najboljih knjiga iz ovog žanra je napisana pre skoro 40 godina. Smestivši radnju romana dva milenijuma pošto je veći deo sveta uništen u nuklearnom ratu, Ridli Voker – delimično inspirisan legendom o svetom Evstatiju – zamišlja svet daleke budućnosti kao veoma sličan svetu daleke prošlosti. Kao i u mnogim primerima predočenim ovde, Hoban upotrebljava jezik koji oslikava razoren pejzaž:
I stood there and holding ready with my spear. Nothing like it never happent befor but it wer like it all ways ben there happening. The dog getting bigger bigger unner the grey sky and me waiting with the spear. It dint seam like the running brung him on tho he wer moving fas. It wer mor like he ben running for ever in 1 place not moving on jus getting bigger bigger til he wer big a nuff to be in front of me with his face all rinkelt back from his teef. Jus in that fraction of a minim the dogs face and the boars face from my naming day they flickert to gether with my dads face all smasht. I helt the spear and he run on to it. Lying there and kicking with his yeller eyes on me and I finisht him with my knife.
DEVOJKA JE POLUFORMIRANA STVAR, Amila Mekbrajd (2014)
Možda se svaki narativ, filtriran kroz tok svesti, može okarakterisati kao pisan na sebi svojstvenom jeziku, ali u rukama Mekbrajdove, ovaj roman o mučnom ženskom seksualnom osvešćivanju dostiže neodoljivu jedinstvenost govora. Kao i druge knjige o kojima ovde govorimo, “Devojka je poluformirana stvar” uči svog čitaoca kako da je čita:
So. This as well when no one looks. Go n’eiri an bother leat while the wind be always at your back. Run up the fields. Blink to the house. Go sun blindness. Turn my arse. Lift to fly. Balloon across the earth. Puff ball keep your knick-knacks covered. Belting on the wind me. Beating me at my own game. Scup there skirts and give us a dance. Be pelted by the dark rains. Feet wet like trough. Soak them blue to black through flesh and bone. Scratch my arms on fair blackthorn. Knee cut rocks for learning how to fly. Whip grass cut hands and lips on a scutch pipe. I’ll call all the fairies and ones living underground. For I know they’re listening. Will give me thorns in my pockets and thorn in my bed. I’ll jig on their houses til my lips turn red. I’ll give you a whirl twirl. A smack on the paddy whack but Get in this house. Get in this house you, always, always comes.
CODEX SERAPHIANUS, Luiđi Serafini (1981)
Kodeks je malo van konteksta ove liste, budući da je pisan na samosvojstvenom izmišljenom jeziku, suprotno od varijacija postojećih jezika, ali knjiga, koja predstavlja enciklopediju vanzemaljskog sveta, jednostavno je previše uvrnuta i predivna da bi se propustila. Na drugim mestima je bilo diskutovano o njenoj dužini (preporučujem esej Džastina Tejlora u Believeru), dok uz to ima još i misterioznijeg pretka, “Vojničev rukopis”, ali samo letimičan pogled na neku od njenih bizarno ilustrovanih stranica efektno će zbuniti svakog čitaoca.
POTONUĆE ODRADEK STADIJUMA, Hari Metjuz (1975)
Metjuzov epistolarni roman se sastoji od pisama koja razmenjuju muž i žena i u kojima se bave svim temama koje se odnose na bračni život… ali uglavnom pišu o izgubljenom blagu na Floridi, iz XVI veka. Tro-tsi Twang Panattapam McCaltex (u slučaju da nije očigledno, to je žena) piše na jeziku koji se zove Pan, kojim Metjuz, onom vrstom humora koju očekujemo od člana Oulipoa, iznosi niz tragova koji nas vode do iznenađujućeg svršetka:
Pan persns knwo base bal. The giappan-like trade-for mishn play with it in our capatal any times. To morrow to work be gin. It ‘s cleen eccepts for the talk. The in-habits live in draems. To raed this has need, not idees but a tenshn (to-trans-late of Twang): “After a land-like giourney a yuong man-Pan a rive deep in a rest hwere the her of his choise was live in a mall she has make. Green aster hang, man re-sieve no to-greet, re-turn to his ghest-there is no re-plies. Rael Zen he is to can make to get a-tention; the stud go to a nother art of rest and biuld his-self yeers. Later, new as-to-weep-like fall leeves, he ‘s line. He then drop. Every thing run throuh the rest to teech and say, Thank you.
DRŽAVA ZVEZDE SLADOLEDA, Sandra Njuman (2014)
Postapokaliptični roman Njumenove prati tradiciju “Ridlija Vokera”, iako se odvija u ne tako dalekoj budućnosti. Kao što se može očekivati u svetu koji naseljavaju samo deca i tinejdžeri – sve starije ljude je pobila kuga – jezik koji se koristi je prepun žargona, koji je jedan kritičar okarakterisao kao “Džar-Džar Binks (fiktivni junak iz serijala “Zvezdani ratovi”, prim. prev.) koji kao narator čitao audio-knjigu Kormaka Makartija “Put”:
House begin to look a little itchy, before the firelight come. As the flickering raise, it show clear in the bust-out windows. Is like it be a life we woke inside. Then the roof go staining black and fire squeeze through the stain. Fire make a hole and flames push through the roof like angry hair.
The flame and sky two different kinds of bright. Sun look tame and sleepy while this fire go left and right so huge. It make us big and bright with nerves, although we Sengles, kin to burning. Keepers settle staring to the fire, her mouth agape. I settle to my fire trance.
BDENjE, Pol Kingsnort (2014)
U “Beleškama o jeziku” u “Bdenju”, debitantskom romanu koji mu je upravo objavljen u SAD, Pol Kingsnort tvrdi da se on “nikada nije slagao sa istorijskim romanima pisanim na savremenom jeziku.” Razlog za ovo, kako on smatra, leži u tome da vernost jeziku određenog perioda dozvoljava čitaocu da oseća distancu od tog perioda. Ovo verovanje – o čijem meritumu možete među sobom polemisati – navelo je Kingsnorta da svoj roman “Bdenje” sroči na onome što on naziva “jezik duhova”, koji manje ili više tačno predočava istorijske okolnosti u kojima se njegova radnja odvija (Engleska tokom normanskih osvajanja). Stoga, na primer, reči francuskog porekla koje su se pojavile zajedno sa osvajačima su izbačene iz rečnika njegovih junaka, pravopis je izmenjen i korišćene su anglo-saksonske reči:
loc it is well cnawan there is those wolde be tellan lies and those with only them selfs in mynd. there is those now who specs of us and what we done but who cnawan triewe no man cnawan triewe but i and what i tell i will tell as i sceolde and all that will be telt will be all the triewth. triewth there is lytel of now in this half broc land our folc wepan and gretan and biddan help from their crist who locs on in stillness saen naht as they weeps. and no triewth will thu hiere from the hore who claims he is our cyng or from his biscops or those who wolde be his men by spillan anglisc guttas on anglisc ground and claiman anglisc land their own.
Ono što ovaj isečak čini očiglednim je da čitanje “Bdenja” može pružiti obeshrabrujuće i dezorijentišuće iskustvo. Iako je rečnik stranih reči relativno neznatan (kratak glosar ovih reči pruža jasan uvid), čak i reči koje čitalac poznaje često deluju čudno na stranici. Zatekao sam sebe kako čitam naglas roman sve dok mi reči u njemu ne postanu smislene. Posle nekih dvadesetak ili tridesetak stranica, jezik je počeo da mi biva sve prirodniji i jedina stvar koja je nadjačala moje osećanje postignutog uspeha je bila rastuća tenzija od zapleta.
Izvor: Glif
