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Po njegovu vremenu u ovom stanu zadnji put bio je prekjučer na nedjeljnom ručku iako su se stan u kojem je bio i ovaj u koji je zakoračio potpuno razlikovali. Razlika između te dvije verzije bila je razlika između odraslog Nedima i Nedima djeteta. Već na ulasku obuzele su ga emocije i izgleda da je unutrašnjost stana imala veću snagu da ga katapultira u prošlost nego sve što je do tada vidio. Zakoračio je oprezno, kao da bi mu se pod mogao izmaknuti pod nogama, a onda se osvrnuo oko sebe.
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Na satu male železničke stanice videh da je negde iza jedanaest noću, Krenuh peške u hotel. Kao i obično, osećao sam zadovoljstvo i olakšanje koje nam uliva dobro poznata okolina. Velika kapija stajala je otvorena, posed je počivao u tami. Ušao sam u trem čija su bleda ogledala udvostručavala cveće u salonu. Vlasnik hotela me, začudo, nije prepoznao i pruži mi knjigu gostiju. Uzeh pero pričvršćeno na pultu, umočih ga u bronzanu mastionicu, i kada se nagnuh nad otvorenom knjigom, doživeh prvo iznenađenje od mnogih koja su mi se spremala ove noći.
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Dok je Gospodin Iks ručao u svom omiljenom restoranu, priđe mu neki čovek sa pištoljem prislonjenim uz slepoočnicu. – Molim vas, dajte mi pet dinara ili ću se ubiti – reče čovek.
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Kelj fel! Ébresztõ! Ki az? Hahó, Lívia, én vagyok! Hoztam brióst. Jaj, azta, de jó! Azt hittem, megint a nõvérke tapiz. Itt vettem a pékségben, még meleg. Istenem, de szeretem, hiszen tudod. Akkor kapd már be!
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This paper has examined the explicit manner in which “Teddy” adopts “the Orient” as a point of reference from which to consider the West and denounce the Western dualism. This paper has also looked at the implicit deconstruction of “the Occident” by way of “the Orient” being depicted as part of Teddy’s hybridity. Through these investigations of the representations of “the Orient,” this paper argues that Salinger represents “the Orient” as a literary strategy to challenge Orientalist appropriation and consumption in post-war America. Upon investigation, it may well be that Salinger displays his own Orientalism in his stereotypical representations of the East. Nevertheless, his depiction of the protagonist Teddy as a hybrid genius gives merit to Salinger’s attempts to describe “the Orient.” It can therefore be said that the literary space presented by “Teddy” is an exemplary case of Salinger’s attempts to deconstruct Orientalism, revealing his skepticism towards the chauvinism in post-war America. Despite the noticeable representations of “the Orient,” “Teddy” has long been interpreted to reflect the limitations of Salinger’s challenge to the materialistic “phoniness” of America because of the implication of Teddy’s death in the last scene. Academic explorations of whether Salinger questions the Orientalist manner of America have been neglected. This paper, however, has demonstrated that revisiting this story today can shed a new light on Salinger’s attempts to assault the chauvinism of America in the mid-twentieth century. “Teddy” illustrates how Salinger’s literary challenge is of significance in that this piece thematizes flexibility of borders between “the Occident” and “the Orient,” one of the major topics of interdisciplinary academic discussion today.
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Ovo je priča o mojem ocu. Nju ne stvara književnik (ta kako bi ju pisao književnik kada je moj otac bio jedan od najvećih što ih poznaje naše vrijeme, a ja to nisam), ne stvara ju ni želja da pripovijedajući istaknem sebe, a još manje da istaknem oca koji je još za života bio istaknut zahvaljujući svojim djelima. Ovu priču ispisuje kajanje za koje je sada prekasno budući da je moj otac prešao u carstvo sjena. Ipak, što vrijeme više prolazi sve više uviđam da nisam bio dostojan sin svojega oca, da sam materijalne vrijednosti stavio ispred ljubavi prema roditelju te da sam na taj način pogriješio u odnosu prema njemu. Otac je kroz život nakupljao mudrost pa mi je, zaogrnut starošću, prorokovao da će doći dani napunjeni kajanjem (ja sam mu se tada smijao izrugujući njegovu starost, o neokajana moja ludosti!).
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Childhood and youth emerge and re-emerge, time and again, as durable concerns and difficult intervals to reach adulthood, as John McGahern describes his experience in novels and short stories. In Memoir (2005), the writer adopts a more detached vision than in his earlier writings, yet he does not admit it to be a typical autobiography. How are conflicts shaped and reconverted by the passage of time? Where does imagination start and where do facts determine the narrative? Is Memoir a piece of fiction, a well-documented and rather neutrally-written volume, or something in between? This article aims at exploring the way in which the narrator’s identity is infused with difficult, tormenting memories of a distant past, while the writer undergoes a difficult process. To understand the process, the analysis relies on major cultural concepts: collective memory (Halbwachs), communicative memory (Assmann), remembering as remediation (Erll) and memory seen as migration (Glynn and Kleist).
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Nagy, húsos leveleket növesztett a bürök, rögtön az elsõ napokban, amint a hosszú tél után elcsendesedett a jégzajlás, és a Homoród tavaszi tajtékzása a dombok alatt elkanyarodott a tenger felé. Szokatlanul eresek voltak a levelek, mintha nem ugyanaz a sziklás mészkõ húzódott volna meg mindenütt, rögtön a tenyérnyi talaj alatt, a völgy mindkét oldalán, mert középen a patak volt, és mellette az út. Mintha túlságosan is élni akart volna minden, az Istennel együtt vagy nélküle, de egyre terebélyesedõ testben, dagadón.
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Short stories by Dubravka Ugrešić: -Celebrity -I am just a kid! -Sreća -Hometown -Ah, ta retorika! -Pravo na nesreću -Prostor i vrijeme -Tamilci
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Ovih dana umro je neko kome smo odnosili novine. Bila je to smrt najavljena elektronskom porukom koja se vizuelno sastojala iz četiri dela. U prvom fragmentu pojavio se olimpijski bazen, koji je već u sledećem kadru bio ispunjen vodom; treći deo celine prikazivao je truplo u vodi, dok je poslednji odslikavao krst kako jednim svojim krajem izlazi iz bazena. Tekstualna poruka bila je na stranom jeziku i nejasno ispisana, ali se ono što se iz nje jedva naziralo, moglo okarakterisati kao proročanstvo, što je u sebi pohranjivalo mističko ukrštanje elemenata vode i ognja.
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