Ana Stjelja: SANGRIJA: distopijska poema / SANGRIA: a dystopian poem

Ana Stjelja

distopijska poema • a dystopian poem

SANGRIJA • SANGRIA

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Ana Stjelja

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distopijska poema • a dystopian poem

Ana Stjelja

SANGRIJA • SANGRIA

ЕDICIJA

POEZIJANA SANGRIJA / SANGRIA distopijska poema / a dystopian poem Izdavač / Publisher Ana Stjelja Koizdavač/ Co-publisher Udruženje „Alia Mundi” / Association “Alia Mundi” Prevod na engleski / Translation into English Ana Stjelja Recenzija Prof. Marija Juračić Naslovnica / Cover Ana Stjelja, digital art Crveno / Red ISBN 978-86-900334-8-5

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distopijska poema • a dystopian poem

Ana Stjelja

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Ana Stjelja

SANGRIJA distopijska poema

SANGRIA a dystopian poem

Beograd / Belgrade 2024. distopijska poema • a dystopian poem

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SANGRIJA Na španskom jeziku „krvarenje”; potiče od reči sangre „krv”, od kolokvijalnog latinskog sanguem, od latinskog sanguis (sanguinari).

Piće nazvano tako po svojoj boji.

Ranije na engleskom kao sangre (1736), sangaree.

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„Ko kontroliše prošlost, kontroliše budućnost: ko kontroliše sadašnjost, kontroliše prošlost.”

Džordž Orvel

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Budi se Čovek uz zvuk paukova u njihovoj mreži razapet.

Spavao je dubokim snom.

Iz džepa nespretno vadi perorez što vešto seče paukove mreže tkanje.

I tada sledi pad.

Udahne taj Čovek čađ proteklih vremena i to mu beše prvi jutarnji vazduh, svaki drugi ga sve više oko vrata steže, kao konopac u mornarske čvorove uvezan.

Komadić hleba, za jutarnji doručak – bezukusne gomile mrva što stoje rasute po stolu, utrkujući se sa muvama i mravima.

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Korakom teškim ide, jer bukagije vuče, odgegavši se jedva do prozora sa koga se prostire pogled na nepregledna polja užasa, na deponije među kojima prednjače poslednji ostaci ljudskosti i dobrote, i razbacane ljudske kosti slomljene pod udarcima opresije.

Ogleda se Čovekovo lice u zamrljanom staklu prozora koje nije čistio decenijama, kao ni svoju dušu što nije mogao da očisti, nisu mu dozvolili da je sačuva, da je uglanca kao od zlata jabuku.

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I čeka, taj nesrećni Čovek, da se pojavi sunce, da dune vetar, da neki list zaluta i padne na pod njegove sobe – te puste tamničke ćelije.

I čeka, Beket bi rekao Godoa, neki bi rekli sudnji dan.

Tako čekajući da dan odmakne pod njegovim prozorom se odvija slavlje.

Plešu crne senke, cerekajući se bezdušno jer ovo je svet skrojen za njih.

To odelo bezumnika taman im pristaje na unakaženo telo i za sitne pare prodatu kožu.

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Onaj mučeni Čovek sanja otvorenih očiju, sa onog istog prozora, i umesto prljavih papira što lete nošeni nekim neodređnim zagušljivim dimom, kao na zagađenim oblacima on vidi jato belih ptica, a od šarenih konfeta što su preostale od slavlja ovih bezdušnika pod njegovim prozorom on vidi leptirove i sanja slobodu, sanja preobražaj.

Sanja revoluciju i evoluciju, sanja novu budućnost, sanja neku novu utopiju.

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Ali i jedna i druga nestale su davno u vihoru velikih ratova, u logorima smrti u kom su majke umirale na dan kada i njihova deca, u padu ljudskog bića, u najveći ponor ove proklete civilizacije.

Nema više LJUDI. Nestali su kao istrebljena vrsta, dok je zlokobni časovnik na zidu istorije otkucavao tik-tak, tik-tak...

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Ali svestan je i on sâm, taj napaćeni Čovek da taj dan nikada neće doći.

Soba je njegova prostor od četiri zida – jedna obična tamnička ludnica koja ga baca sa jednog na drugu stranu sobe dok se ne onesvesti.

A kad dođe sebi već je pala noć, ni prst se pred okom se ne vidi.

Svuda je mrak.

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Ako bude imao sreće, samo će pretrpeti manje ozlede praćene blagim krvarenjem iz njegove duše.

I sutradan, kad se probudi u istoj onoj paukovoj mreži njemu će se, od njegove sopstvene krvi posute po memljivim zidovima, pričiniti krvavocrvena, slasna i neodoljiva SANGRIJA.

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O POEMI

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O

vu distopijsku poemu, koju je napisala na srpskom i engleskom jeziku, otvorila je Ana Stjelja mišlju Džordža Orvela:

„Ko kontroliše prošlost, kontroliše budućnost: ko kontroliše sadašnjost, kontroliše prošlost.”

Duboka je ta filozofska jednačina. Čini se da je u ime istine važno govoriti istinu sada. Sadašnji je trenutak onaj koji sve određuje. Često se dogodi da istina spava, zapletena u neke mreže, daleka i nedokučiva. No čovek stalno preispituje činjenice, reže stare spoznaje udiše čađ proteklih vremena.

Budi se Čovek uz zvuk paukova u njihovoj mreži razapet.

Spavao je dubokim snom.

Iz džepa nespretno vadi perorez što vešto seče paukove mreže tkanje.

I tada sledi pad.

Ne sviđa se čoveku ono što vidi, što se oko njega zbiva.

Ratovi su dovedeni pred njegove oči. Svakodnevno sluša distopijska poema • a dystopian poem

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vesti o broju poginulih. On gleda kako ljudi ginu u svojim domovima, kako se stambene zgrade ruše i postaju polja užasa i osjeća da su ta polja užasa, te masovne deponije ljudskih kostiju rezultat delovanja superiorne društvene grupe koja ugnjetava slabe, oseća da s ovoga sveta nestaju poslednji tragovi ljudske dobrote, ali on sam ne poduzima ništa. Njegova je bespomoćnost golema. A ta bespomoćnost hrani ego bezumnika.

Tako čekajući da dan odmakne pod njegovim prozorom se odvija slavlje.

Plešu crne senke, cerekajući se bezdušno jer ovo je svet skrojen za njih.

To odelo bezumnika taman im pristaje na unakaženo telo i za sitne pare prodatu kožu. Čovek beži od stvarnosti. Iako se sve grozote odvijaju pod njegovim prozorom, odnosno vape s televizijskog ekrana, on samo okrene kanal. Prepušta se snovima, sanja, mašta o boljim vremenima. Misli dotaknu evoluciju i revoluciju koje trebaju donijeti jednakost među ljudima i slobodu, ali sve to pripada prošlosti, jednom vremenu, danu kada je ljudsko biće palo „u najveći ponor ove proklete civilizacije.“

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Autorka zaključuje: Nema više LJUDI. Nestali su kao istrebljena vrsta, dok je zlokobni časovnik na zidu istorije otkucavao tik-tak, tik-tak...

Potpuna bespomoćnost čovekova izrečena je ovom poemom iskreno i neutešno. Svoju patnju, svoje pogaženo srce, svoju uništenu dušu, svoj smisao postojanja čovek zatvara u svoja četiri zida, u taj ludački tamnički prostor, u tu gustu paukovu mrežu i pokušava biti sretan jer su njega svi ti užasi zaobišli. Njemu će se pričiniti da je krv njegove duše samo slasna i neodoljiva SANGRIJA. Marija Juračić, prof.

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SANGRIA In Spanish, literally “a bleeding,” from sangre “blood,” from Vulgar Latin sanguem, from Latin sanguis (sanguinary). The drink so named for its color. Earlier in English as sangre (1736), sangaree; Cold drink made variously from sweetened and diluted red wine (created in 1800).

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“Who controls the past controls the future: who controls the present controls the past.”

George Orwell

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The Man awakens to the sound of spiders In their web, he slept deeply.

From his pocket, He clumsuly takes out a utility knife, Skillfully cutting weaving of spider webs.

And then follows the fall.

The Man breathes in the soot of bygone times, And this was his first morning breath.

Each day, he tightens the noose around his neck, Like a rope tied in sailor's knots.

A piece of bread, for breakfast Tasteless crumbs scattered on the table, Competing with flies and ants.

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His steps are heavy, dragging the burden of his existence, He hardly reaches the window, From which a view of endless horrors unfolds, Landfills, among which stand out The last remnants of humanity and human bones broken under the blows of oppression.

The Man’s face reflects in the stained window glass, untouched for decades, just like his soul.

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And he waits, that unfortunate Man, For the sun to appear, For the wind to blow, For astray leaf To fall onto the floor of his room – That desolated prison cell.

And he waits, as Beckett would say, for Godot, Some would call it doomsday.

Thus, waiting for the day to pass, A celebration unfolds under its influence.

Black shadows dance, laughing soullessly.

This is a world tailored for them, The fool’s attire fits perfectly for their deformed bodies and sold-out skin.

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The tortured Man dreams wide awake, From that same window, Instead of dirty papers flying Carried by some indistinct, stifling smoke, Like on clouds, He sees a flock of white birds And colorful confetti remained from the celebration Of those soulless ones beneath his window.

He sees butterflies.

And he dreams of freedom, Dreams of transformation.

He dreams of revolution and evolution,

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But both have long disappeared In the whirlwind of great wars, In death camps where mothers died on the same day as their children, In the fall of humanity into the deepest abyss Of this cursed civilization.

There are no more HUMANS. They vanished like an extinct species, While the ominous clock On the wall of history ticks and tocks...

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But he, the suffering Man, is aware, That day will never come.

His room is a space of four walls, A prison of madness That throws him From one side of the room to the other, Until he loses consciousness.

When he regains consciousness, It’s already night.

Not a finger can be seen before his eyes.

Everywhere is darkness.

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If he is lucky, He will only endure minor injuries Accompanied by a gentle bleeding from his soul.

And the next day, When he wakes up in that same spider’s web, From his own blood splattered on the damp walls, It will appear to him as A bloody red, delicious, and irresistible.

SANGRIA.

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ON THE POEM

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I

n this dystopian poem, written in both Serbian and English, Ana Stjellja opens with a contemplation inspired by George Orwell: "Who controls the past controls the future: who controls the present controls the past." This philosophical equation delves into the profound nature of truth, emphasizing the crucial importance of speaking truth in the present moment, which serves as the determining factor for everything.

Truth, often entangled in distant and unfathomable webs, may sleep, but man persistently re-examines facts, cutting through old knowledge and inhaling the soot of past times. The poet paints a vivid image of awakening, where man, stirred by the sound of spiders in their crucifying webs, rises from a deep sleep. Clumsily wielding a penknife, he skillfully cuts through the intricate spider webs, leading to an inevitable fall.

Surveying the grim reality around him, man witnesses wars, death tolls, and the collapse of residential buildings, attributing these horrors to the actions of a superior social group oppressing the weak. Despite the pervasive sense of helplessness, man fails to act, allowing the ego of the fool to thrive. Meanwhile, a celebration unfolds under his window, with black shadows dancing distopijska poema • a dystopian poem

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soullessly, emblematic of a world seemingly designed for their malevolence.

Man, attempting to escape from this harsh reality, turns away from the horrors occurring under his window, opting to change the channel and indulge in dreams of better times. The poem touches upon thoughts of evolution and revolution that once promised equality and freedom but now belong to a bygone era, the day when humanity plummeted "into the greatest abyss of this accursed civilization."

The poem concludes with a stark declaration: "There are no more PEOPLE." Humanity has vanished, akin to an extinct species, as the ominous clock on the wall of history ticks inexorably. The poem encapsulates the complete helplessness of man, who retreats into the confines of his four walls, within a dense spider's web, attempting to find solace and happiness by convincing himself that the horrors have bypassed him, transforming the blood of his soul into a deceptively sweet and irresistible sangria.

Prof. Marija Juracic

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O autoru / About author

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Ana Stjelja rođena je 1982. godine u Beogradu. Doktorirala je 2012. godine na Filološkom fakultetu u Beogradu odbranivši tezu pod naslovom „Elementi tradicionalnog i modernog u delu Jelene J. Dimitrijević”.

Nagrađivana srpska pesnikinja, spisateljica, prevodilac, novinarka, nezavisni naučni istraživač i urednica. Objavila je više od 30 knjiga različitih književnih žanrova. Autorka je brojnih istraživačkih radova i eseja o književnosti, feminizmu i različitim kulturama. Član je Udruženja književnika Srbije, Udruženja novinara Srbije, Međunarodne federacije novinara (IFJ) i organizacije (portala) za promociju i prezentaciju evropskog digitalnog nasleđa „Europeana” (Europeana).

Osnivač je i glavni urednik: magazina „Alia Mundi” za kulturnu raznolikost, veb-portala „Istočni biser” (2017) posvećenog kulturama Istoka, književnog časopisa „Enheduana” (2019), veb-portala za dečije stvaralaštvo i stvaralaštvo

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za decu „Maštoplet” (2020), bloga Poetryzine, onlajn časopisa za poeziju na engleskom jeziku (2020), elektronskog časopisa za satiru „Oksimoron” (2021), „Kulturnih novina” (2021), veb-portala „Voždovčanka” (2022), magazina „Samo Kulturno” i veb-portala „Tesliarium” (2023). Sarađuje sa nekoliko međunarodnih časopisa. Osnivač je Udruženja za promociju kulturne raznolikosti „Alia Mundi” (2018).

Godine 2021. uspešno je završila kreativnu radionicu Awake Not Sleeping – Reimagining Fairy Tales for a new generation u organizaciji UN WOMEN za Evropu i Centralnu Aziju (UN WOMEN ECA). U julu 2022. uspešno je završila kurs Uvod u psihologiju na američkom univerzitetu Jejl (Yale University) na kojem joj je predavač bio profesor univerziteta i poznati svetski (kanadsko-američki) psiholog Pol Blum (Paul Bloom). U 2023. uspešno je završila program Creative Spotlight koji su zajedničnki podržali Thomson Foundation i British Council.

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Ana Stjelja was born in 1982 in Belgrade. She received her doctorate in 2012 at the Faculty of Philology in Belgrade, defending her thesis entitled “Traditional and Modern Elements in the Work of Jelena J. Dimitrijević”.

Award-winning Serbian poet, writer, translator, journalist, independent scientific researcher and editor. She published more than 30 books of different literary genres. She is the author of numerous research papers and essays on literature, feminism and different cultures. She is a member of the Association of Writers of Serbia, the Association of Journalists of Serbia, the International Federation of Journalists (IFJ) and the organization (portal) for the promotion and presentation of European digital heritage “Europeana”.

She is the founder and editor-in-chief of: the magazine “Alia Mundi” for cultural diversity, the web portal “Eastern Pearl” (2017) dedicated to the cultures of the East, the literary magazine “Enheduana” (2019), the web portal for children’s creativity and creativity for children “Maštoplet” (2020), “Poetryzine”, an online poetry magazine in English (2020), satire electronic magazine “Oxymoron” (2021), “Cultural Newspapers” (2021), web portal “Voždovčanka” (2022), magazine “Only Cultural” and web portal “Tesliarium” (2023).

She collaborates with several international magazines. She is the founder of the Association for the Promotion of Cultural Diversity “Alia Mundi” (2018).

In 2021, she successfully completed the creative workshop “Awake Not Sleeping – Reimagining Fairy Tales distopijska poema • a dystopian poem

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for a New Generation” organized by UN WOMEN for Europe and Central Asia (UN WOMEN ECA). In July 2022, she successfully completed the Introduction to Psychology course at the American Yale University (Yale University), where her lecturer was the university professor and world-famous (Canadian-American) psychologist Paul Bloom. In 2023, she successfully completed the Creative Spotlight program jointly supported by the Thomson Foundation and the British Council.

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CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 821.163.41-1 СТЈЕЉА, Ана, 1982 Sangrija [Електронски извор] : distopijska poema = Sangria : a dystopian poem / Ana Stjelja ; [prevod na engleski, translation into English Ana Stjelja]. - Beograd = Belgrade : A. Stjelja : Udruženje Alia Mundi : Association Alia Mundi, 2024 (Beograd : Udruženje Alia Mundi). - 1 elektronski optički disk (CD-ROM) : ilustr. ; 12 cm. (Edicija Poezijana) Sistemski zahtevi: Nisu navedeni. - Nasl. sa naslovnog ekrana. - Uporedo srp. tekst i eng. prevod. - Autorkina slika. - Tiraž 100. - O poemi = On the poem / Marija Juračić = Marija Juracic. - O autoru = About author.

ISBN 978-86-900334-8-5 (AS) COBISS.SR-ID 134532105

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