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jezik","\u003Cp>Prozna zbirka Hudičev jezik Veronike Simoniti prinaša klic in duha daljnih svetov, njen dogajalni čas je cel svet. Ne samo njegova površina, ne samo različni kraji v vseh, tudi preteklih časih, enako zastopani kot ta tako imenovana realnost so tudi literarni svetovi, zgodovina in pod njenim delovanjem strte in z njo obremenjene osebnosti, umetniki vseh orientacij, stilov, njihove različne in včasih paradoksalne usode. Izpod teh natančno in mestoma malo skrivnostno in zabrisano, torej vabeče in bralca dražeče izpisanih zgodb se svetlikajo in vznikajo Calvinov baronet z dreves, Cankar in Černigoj, latinskoameriški neoavantgardisti, graditelji in dekonstruktivisti, prevaranti in znanstveniki, politični emigranti. Opazno je spogledovanje z literarno tradicijo dvajsetega stoletja, predvsem njegove druge polovice, tudi z latinskoameriško, vendar ne kot priklicevanje ali potrjevanje avtoričine erudicije, ki je nesporna in dih jemajoča v raznolikosti, ne kot morebitno ustvarjanje lastnih literarnih predhodnikov ali prvinsko veselje nad apokrifi in palimpsesti. Vse to je manj poudarjeno in skoraj v ozadju kot v preteklih desetletjih, bolj se zdi, da gre zdaj za skoraj samoumevnost, da sta pretekla literatura in zgodovina kot rahlo drugačen način oblikovanja fikcije sestavni del naše izkušnje, izkušnje bralcev in prevajalcev in poseljevalcev in pionirskih raziskovalcev svetov iz črk. Tako tudi Cartázarjev uvodni citat ne deluje samo kot morebiten poklon mojstru, temveč zameji glavno temo zbirke Simonitijeve: problematiko jezika kot negotovega orodja, ki ne more zajeti stvarnosti, ampak ustvarja svojo, dodano in enako negotovo, izmuzljivo. Takoj zraven so še zagate z identiteto, povezane z izgubo tega istega in nič več samoumevnega jezika. Zato v zgodbah mrgoli ljudi, ki so na mešanem jezikovnem terenu, jezikovni apatridi, razseljeni v različne in privzete, nikoli povsem domače jezike, drugič zaradi poškodb ob eno samo skladnjo; literarne osebe so pogosto v vmesnem prostoru, obsojene na površnost in nezadostnost komunikacije, na njeno fluidnost in provizoričnost. Pregnani so iz enega zadnjih rajev, jezikovnega, in imajo težave s prizemljenostjo in poselitvijo teritorija, istovetnostjo, so kot otok, ki ga iztrga in pljuje v neznano, so kot otep v slamoreznici idej; brezdomovinskost, nomadstvo, babilonsko brbotanje jezikov in nesposobnost, da bi se ugledali v enem samem zrcalu, brez pomnožene in odbite podobe, to so seveda še vedno velike in problematične teme literature. Simonitijeva jih izpisuje jezikovno občutljivo, natančno in zabrisano, pridušeno, pač zaradi zavesti o nekdanjem heroičnem vztrajanju in manifestativnih držah predhodnikov. Matej Bogataj\u003C/p>","Prozna zbirka Hudičev jezik Veronike Simoniti prinaša klic in duha daljnih svetov, njen dogajalni čas je cel svet. Ne samo njegova površina, ne samo različni kraji v vseh, tudi preteklih časih, enako zastopani kot ta tako imenovana realnost so tudi literarni svetovi, zgodovina in pod njenim delovanjem strte in z njo obremenjene osebnosti, umetniki vseh orientacij, stilov, njihove različne in včasih paradoksalne usode. Izpod teh natančno in mestoma malo skrivnostno in zabrisano, torej vabeče in bralca dražeče izpisanih zgodb se svetlikajo in vznikajo Calvinov baronet z dreves, Cankar in Černigoj, latinskoameriški neoavantgardisti, graditelji in dekonstruktivisti, prevaranti in znanstveniki, politični emigranti. Opazno je spogledovanje z literarno tradicijo dvajsetega stoletja, predvsem njegove druge polovice, tudi z latinskoameriško, vendar ne kot priklicevanje ali potrjevanje avtoričine erudicije, ki je nesporna in dih jemajoča v raznolikosti, ne kot morebitno ustvarjanje lastnih literarnih predhodnikov ali prvinsko veselje nad apokrifi in palimpsesti. Vse to je manj poudarjeno in skoraj v ozadju kot v preteklih desetletjih, bolj se zdi, da gre zdaj za skoraj samoumevnost, da sta pretekla literatura in zgodovina kot rahlo drugačen način oblikovanja fikcije sestavni del naše izkušnje, izkušnje bralcev in prevajalcev in poseljevalcev in pionirskih raziskovalcev svetov iz črk. Tako tudi Cartázarjev uvodni citat ne deluje samo kot morebiten poklon mojstru, temveč zameji glavno temo zbirke Simonitijeve: problematiko jezika kot negotovega orodja, ki ne more zajeti stvarnosti, ampak ustvarja svojo, dodano in enako negotovo, izmuzljivo. Takoj zraven so še zagate z identiteto, povezane z izgubo tega istega in nič več samoumevnega jezika. Zato v zgodbah mrgoli ljudi, ki so na mešanem jezikovnem terenu, jezikovni apatridi, razseljeni v različne in privzete, nikoli povsem domače jezike, drugič zaradi poškodb ob eno samo skladnjo; literarne osebe so pogosto v vmesnem prostoru, obsojene na površnost in nezadostnost komunikacije, na njeno fluidnost in provizoričnost. Pregnani so iz enega zadnjih rajev, jezikovnega, in imajo težave s prizemljenostjo in poselitvijo teritorija, istovetnostjo, so kot otok, ki ga iztrga in pljuje v neznano, so kot otep v slamoreznici idej; brezdomovinskost, nomadstvo, babilonsko brbotanje jezikov in nesposobnost, da bi se ugledali v enem samem zrcalu, brez pomnožene in odbite podobe, to so seveda še vedno velike in problematične teme literature. Simonitijeva jih izpisuje jezikovno občutljivo, natančno in zabrisano, pridušeno, pač zaradi zavesti o nekdanjem heroičnem vztrajanju in manifestativnih držah predhodnikov. 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