{"id":4984,"date":"2021-07-14T18:25:53","date_gmt":"2021-07-14T16:25:53","guid":{"rendered":"https:\/\/pokreni.rs\/?p=4984"},"modified":"2021-07-14T18:50:15","modified_gmt":"2021-07-14T16:50:15","slug":"nikola-marinkovic-omama-i-berlinska-tragika-milosa-crnjanskog","status":"publish","type":"post","link":"https:\/\/pokreni.rs\/index.php\/2021\/07\/14\/nikola-marinkovic-omama-i-berlinska-tragika-milosa-crnjanskog\/","title":{"rendered":"Nikola Marinkovi\u0107: „OMAMA“ i Berlinska tragika Milo\u0161a Crnjanskog"},"content":{"rendered":"\n

\u201eOmama\u201c<\/strong> je roman posle kojeg ostaju pitanja \u010diji domet prevazilazi okvire umetni\u010dkog dela i se\u017ee u nukleus Vladu\u0161i\u0107evog ukupnog pregnu\u0107a \u2013 u suo\u010davanje s Megalopolisom.<\/p>\n\n\n\n

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Foto: Jutjub, naslovna fotografija romana<\/em><\/figcaption><\/figure>\n\n\n\n

Produktivne kulture, kakva je zapadnoevropska, izazove koje im istorija podastire do\u010dekuju kao priliku. Jedan od takvih izazova bio je uspon desne ideje u Evropi i na Zapadu u celini, koji je bio odgovor te iste kulture, ili makar njenog zanemarenog dela, na masivan priliv migranata s Bliskog istoka i iz Afrike. Dakle, s usponom desne ideje, u Zapadnoj Evropi se pojavila velika tema Vajmarske Nema\u010dke. Fascinacija ovom temom, kao i celokupnim me\u0111uratnim periodom kao da je vrhunila u seriji \u201eVavilon Berlin\u201c, a onda je nekako presahnula. Migranata vi\u0161e nema i kao da nema potrebe zaranjati ponovo u istoriju jer vi\u0161e ni desne ideje u naletu \u2013 nema. No kako bi bilo da se stvari sagledaju iz druga\u010dije perspektive? \u0160ta ako Vajmarska Nema\u010dka nije bila liberalno-opijumski raj razli\u010ditosti, kakvom je predstavljaju, ve\u0107 samo predvorje, lepo na\u0161minkano, totalitarizma?<\/strong><\/p>\n\n\n\n

\"\"
Foto: Slobodan Vladu\u0161i\u0107, autor romana „Omama“<\/em><\/figcaption><\/figure>\n\n\n\n

Ovim putem, pokazao je to Slobodan Vladu\u0161i\u0107 u knjizi Crnjanski, Megalopolis,<\/em> po\u0161ao je Milo\u0161 Crnjanski, pi\u0161u\u0107i svoje putopise iz Berlina. Docnije, kao dopisnik Centralnog presbiroa i \u010dlan na\u0161e diplomatske misije u nema\u010dkoj prestonici, Crnjanski je, videlo se iz njegovih Diplomatskih izve\u0161taja 1936-1941, dodatno izo\u0161trio svoju perspektivu, premda verovatno nije bilo nikoga da je razume i uva\u017ei iako je Hitler ve\u0107 bio na vlasti.<\/p>\n\n\n\n

Ova dva \u010dinioca \u2013 odjek kulturnog rata protiv probu\u0111ene desnice i nasle\u0111e srpske me\u0111uratne knji\u017eevnosti \u2013 \u010dine najneposredniji savremeni i tradicijski kontekst novog romana Slobodana Vladu\u0161i\u0107a Omama<\/em>. Skop\u010dan s tradicijom, ali i aktuelan istovremeno, tekst ovog romana pru\u017ea mnoge rukavce razumevanja koji mogu zadovoljiti o\u010dekivanja razli\u010ditih slojeva publike.<\/p>\n\n\n\n

Oma\u017e Crnjanskom<\/h2>\n\n\n\n
\n\n\n\n

Da bi to uspeo, Vladu\u0161i\u0107 je morao, kao i u prethodnim svojim delima, da slo\u017eeno zna\u010denje utkiva u \u017eanrovsku mustru \u2013 ovoga puta detektivskog romana. I na tom planu, ovo delo oma\u017e je Crnjanskom. Piscu Seoba<\/em> pisanje \u017eanrovske proze (pod pseudonimom) nije bilo strano, a na Crnjanskog \u010ditaoca upu\u0107uje i prepoznatljiv stil. Skupa s fragmentarnim oblikom poglavlja, ovi postupci usmeravaju pa\u017enju koliko na sam tok radnje, toliko i na detalje koji su veoma va\u017eni da bi se razumela sr\u017e ovog dela.<\/p>\n\n\n\n

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Foto: vizonar Milo\u0161 Crnjanski <\/em><\/figcaption><\/figure>\n\n\n\n

Jer ukoliko makar i nakratko rekapituliramo radnju Omame<\/em>, vide\u0107emo da su u njoj akcenti ve\u0161to pomereni na ono \u0161to se krije iza berlinskog kolorita i detektivske dinamike. Crnjanski, ata\u0161e za kulturu, i Milo\u0161 Verulovi\u0107, vojni savetnik u ambasadi Kraljevine SHS, kre\u0107u u potragu za izgubljenim radnikom iz Gru\u017ee Milutinom Topalovi\u0107em. Tragaju\u0107i za njim, dospevaju do neobi\u010dnog doktora za siroma\u0161ne Berlince Maksa de Grota i njegove sestre Lusi, preko kojih dospevaju i do samog vrha visoke nema\u010dke klase. Potraga za radnikom tako dobija dva rukavca koji se neretko ukr\u0161taju: na jednom polu ona vodi ka nepoznatim mo\u0107nicima s vrha piramide koji radnike odvode na poluropski rad u rudnicima (odakle se mnogi ne vrate), a na drugom polu u opasnu blizinu poluokultisti\u010dkih, polukonspirolo\u0161kih dru\u017eina u \u010dijoj perspektivi je \u010dovek pretvoren u rezervoar energije i organa za odr\u017eanje onih, da parafraziramo jednog od sporednih likova, koji zaslu\u017euju da opstanu.<\/p>\n\n\n\n

Na prvom mestu se postavlja pitanje za\u0161to je na\u0161e poslanstvo, a ne policija, povela istragu o nestalom radniku? Nema neposrednih odgovora, premda ima tuma\u010denja koja se ti\u010du li\u010dnosti Crnjanskog, ali o va\u017enosti nestanka Milutina Topalovi\u0107a presudila je intuicija ata\u0161ea za kulturu. Na ovom mestu Vladu\u0161i\u0107 kao da aktivira, u formi romana, one kvalitete koje su razni tuma\u010di prepoznali u esejima i depe\u0161ama Milo\u0161a Crnjanskog \u2013 nepogre\u0161ivo istorijsko ose\u0107anje. Drugim re\u010dima, ose\u0107anje za istorijske tokove, koje je vodilo pisca Stra\u017eilova<\/em> da u me\u0111uratnoj Evropi \u010duje takt nadolaze\u0107eg rata, u Omami<\/em> se pretvara u sposobnost junaka da pronikne u dubine mehanizma Megalopolisa, sistema u kome je sve mogu\u0107e, samo autenti\u010dan \u010dovek nije mogu\u0107.<\/p>\n\n\n\n

\"Slobodan
Slobodan Vladu\u0161i\u0107 tokom promocije svoje knjige \u201eOmama\u201c u knji\u017eari Laguna (Foto: Snimak ekrana\/Jutjub\/Laguna)<\/figcaption><\/figure>\n\n\n\n

Taj put ka autenti\u010dnosti karakteristi\u010dan je za Milo\u0161a Verulovi\u0107a, saborca Crnjanskog u istrazi. On je ratni veteran ispra\u017enjen od smisla, s krnjim se\u0107anjima, ali nepogre\u0161ivo siguran da je u ratu znao \u0161ta treba da radi, dok u Berlinu ne zna. Dok luta ubrzanim bulevarima, neretko menjaju\u0107i omamljuju\u0107i sjaj barova i bur\u017eoaskih budoara kriminalnim miljeom ulice, kroz Verulovi\u0107evu svest prolaze krhotine li\u010dne istorije \u2013 Kajmak\u010dalan, povratak ku\u0107i, gubitak svega i besmisao novog \u017eivota.<\/p>\n\n\n\n

Me\u0111utim, istra\u017eiteljski dvojac nema protiv sebe samo otu\u0111ene koridore mo\u0107i, berlinsku policiju koja ne sme previ\u0161e da posumnja, ve\u0107 i Njegovu ekselenciju \u017divojina Balugd\u017ei\u0107a. Na tragu Balugd\u017ei\u0107evog porteta koji je dao Crnjanski u Embahadama<\/em>, i Vladu\u0161i\u0107 nam predstavlja jednog \u010doveka na zalasku karijere koji ne izlazi iz diskursa, izvan ideologije epohe. Uprkos znacima koji su rasprostri po berlinskom \u201evazduhu\u201c, predstavnik novostvorene dr\u017eave neprekidno ponavlja da je \u201esada\u0161nja\u201c Nema\u010dka \u201edemokratska, socijalisti\u010dka i pacifisti\u010dka\u201c, propu\u0161taju\u0107i, ili ne \u017eele\u0107i da vidi \u0161ta se iza dirigovane pojavnosti krije. Kao na primer u mar\u0161u nove, vajmarske vojske.<\/p>\n\n\n\n

Suo\u010davanje s Megalopolisom<\/h3>\n\n\n\n
\n\n\n\n

Tek Crnjanski, kao \u0161to vidi cele li\u010dnosti kod onih koji su na ovaj ili onaj na\u010din \u017ertve mehanizma, tako i sluti, i tom slutnjom i vodi istragu, da se iza svega ovoga krije staro zlo, preobu\u010deno i reorganizovano, ali s istom namerom. \u0160ta Crnjanskog vodi? Ose\u0107anje pravednosti i nepogre\u0161iva intuicija, koja tek na momente dobija detektivski obris. Dakle, Vladu\u0161i\u0107ev Crnjanski nije klasi\u010dan detektiv koji obja\u0161njava svoj postupak ve\u0107 prosto prati svoju intuiciju, koja se pre ili kasnije ispostavi ta\u010dnom. No njegova intuicija ga ne vodi ka razre\u0161enju zlo\u010dina jer bi se time u simboli\u010dkom smislu reintegrisao poredak \u2013 iako u ovom svetu nepravde bude, onda se ipak na neki na\u010din ispravlja. Me\u0111utim, u Omami<\/em> se ne ispravlja. Jer ni\u0161ta nije onako kako izgleda, i \u010ditav svet romana je samo jedan ukr\u0161taj krnjih perspektiva koje skrivaju ne\u0161to vi\u0161e jer vi\u0161e niko ne mo\u017ee obuhvatiti celinu.<\/p>\n\n\n\n

No ipak je ovo i detektivski roman, \u0161to zna\u010di da na vrhu piramide ima nekoga. Ko su oni? Bogovi, kako se (metafori\u010dki?) nazivaju \u010delnici korporacije IG Farben, za koju je i istorijski potvr\u0111eno da je povezivala ameri\u010dki krupni kapital i nacisti\u010dku partiju. Da li u takvom svetu ne\u0161to mo\u017ee promeniti bilo kakav zavr\u0161etak potrage za nestalim \u0161umadijskim gastarbajterom? \u0160ta uop\u0161te ovakvi detektivi mogu prona\u0107i?<\/p>\n\n\n\n

Umesto krivaca, konkretnih mesta i dokaza zlo\u010dina, oni, gotovo i nesvesno, pronalaze mehanizam megalopolisa. Pred njihovim o\u010dima ukazuju se paralelni koridori mo\u0107i, skriveni iza maske tolerantnog, hedonisti\u010dkog i otvorenog grada. Povezanost eugenike, liberalne raskala\u0161nosti, kapitalisti\u010dkog izrabljivanja i pojavne tolerantnosti i benignosti nepogre\u0161ivo ukazuje na to da Vajmarska Nema\u010dka ne samo \u0161to nije demokratska, socijalisti\u010dka i pacifisti\u010dka ve\u0107 je ovaj pojmovni trio neka vrsta anestetika koji onemogu\u0107ava suo\u010davanje s najdubljim strahom koji bi ljudi poput Balugd\u017ei\u0107a mogli osetiti. Da li je on u spoznaji da sve one \u017ertve Velikog rata, sva patnja srpskog naroda prosto nisu bili dovoljni i da zlo nije pobe\u0111eno? Ili, mo\u017eda, da nikada i ne mo\u017ee biti pobe\u0111eno ve\u0107 da etos Kajmak\u010dalana treba da dobije svoje uobli\u010denje i van rovova a da za to nema(mo) snage?<\/p>\n\n\n\n

\"\"
Prednja korica romana \u201eOmama\u201c (Foto: Snimak ekrana\/Jutjub\/Laguna)<\/figcaption><\/figure>\n\n\n\n

Omama<\/em> je roman posle kojeg ostaju pitanja. Ali pitanja \u010diji domet prevazilazi okvire umetni\u010dkog dela i dose\u017ee u nukleus Vladu\u0161i\u0107evog ukupnog pregnu\u0107a \u2013 u suo\u010davanje s Megalopolisom, kao sistemom koji \u010doveka pretvara u kvantitativnu, merljivu jedinicu materije koju treba, poput ekolo\u0161ki problemati\u010dne sirovine, \u0161to efikasnije iskoristiti. Crnjanski u ulozi detektiva ne\u0107e zadovoljiti ose\u0107anje pravde, ali \u0107e, onome ko ovaj roman bude \u010ditao na pravi na\u010din, otvoriti perspektivu da sagleda razmere totalitarnog zla \u2013 kako onda, tako i danas.<\/p>\n\n\n\n

Naslovna fotografija: Snimak ekrana\/Jutjub\/Laguna<\/em><\/p>\n\n\n\n

Autor: Nikola Marinkovi\u0107<\/p>\n\n\n\n

Izvor Pe\u010dat<\/a><\/em>, Novi Standard<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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