Новите (авто)биографии и типовите автобиографска проза–македонско искуство (обид за категоризирање на романите излезе сејачот да сее од П. Гилевски и Mемоари на задоцнетиот романтичар од Б. Павловски според типологии на современата (авто)биографска п
The New (Auto)biographies and Types of Autobiographical Prose – Macedonian Experience (An Attempt to Categorize the Novels The Sower Went Out to Sow by Paskal Gilevski and Memoirs of the Belated Romantic by Bozhin Pavlovski According to the Typolo...

Summary/Abstract: The paper raises the issue of drawing up a typology of contemporary autobiographical Macedonian prose, focusing on two novels from the recent Macedonian publishing production – The Sower Went Out to Sow by Pasкal Gilevski (2022) - the first novel for Blazhe Koneski and Memoirs of a Late Romantic by Bozhin Pavlovski (2019). How much is the first novel (only) a novel about Koneski, and how much is an (auto)biography of Gilevski for a period of four decades of his life? Is Pavlovski’s novel (only) a memoir? These questions are an additional provocation for this text. After reading these novels through the prism of existing typologies of autobiographical prose, it is not entirely possible to frame some of the more recent literary achievements in our country within the already defined typologies of other national literatures. But according to the views presented, this is also the case with new literary works from other literary and cultural environments, and even those for which there are already existing typologies of contemporary autobiographical prose, which is why, in fact, any further attempt to typologize autobiographical prose within of the national literature (as before) is a stake in the theoretical notions of the literary autobiographical discourse in the new literary achievements in general. Hence the conclusion that any further attempt at typology would imply a redefining of the genres, i.e. the types of autobiographical writing, and if one takes into account the meta-genre particularity of the new autobiographies, the dilemma is opened whether it is even possible to insist on full boundaries in the literary autobiographical discourse or in fact, any new literary experience will impose the possibility and need for redefinitions.

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