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dotikaj se me","\u003Cp>O čem govorimo, ko govorimo o ljubezni? Če si na to carverjevsko vprašanje poskušamo odgovoriti s pomočjo romana Dušana Merca, potem govorimo predvsem o dotikih in (pre)poznavanju, in sicer o dotikih in (pre)poznavanju drugega – ki smo najprej in samo mi sami. Ko govorimo o ljubezni, torej govorimo o svoji identiteti oziroma, še bolje, jo iščemo in pri tem ostajamo obsojeni na to, da je ne bomo našli. Zakaj? Na začetku je (bila) beseda, to vemo, ampak tudi na koncu je, sodeč po romanu Ne dotikaj se me, (samo) beseda. In če za Jazonovim kritičnim reflektiranjem lastnega jezika in v njegovem spoznanju, da iz njega ne more, ker v njem biva, jasno razločimo horizont Wittgensteinovega sveta, je treba priznati, da je ta horizont v svet besedila inkorporiran nenaivno in (našemu) času primerno postaran.\u003C/p>\r\n\r\n\u003Cp>Protagonist, »izgubljen v labirintih lastnih misli in čustev«, se namreč odloči resnico o sebi in svoji ljubezni poiskati s pomočjo pisanja (ki se mu, pomenljivo, sproti drobi v fragmente), pri tem pa se zaveda, da se je odločil »samo za resnico, ki jo vidi, ki jo ustvarja«, zato tudi lahko prostodušno ugotovi: »Odkar pišem, je vse res.« V tem spoznanju so že implicirani (za)ključni stavki romana, skozi prizmo katerih v besedilo pravzaprav šele zares lahko začnemo vstopati: »Ampak, Jazon, iskrenosti do konca ne more biti, niti pred samim seboj. Se ne da. Ni mogoče.«\u003C/p>\r\n\r\n\u003Cp>Ne dotikaj se me je v tem pogledu najprej roman o tem, česa se oprijeti, ko resnica (katere en vidik je tudi iskrenost) postane poljubna – in odgovor, ki ga ponuja, je nedvoumen: forme, matrice. Ta je od nekdaj ista, vsakič znova enkratna in zmeraj ponovljena. Kdo torej smo, kdo je drugi in koga (ali česa) se dotikamo? Drugi smo pravzaprav mi sami, ker je drugi, če sledimo romanu, le objekt, preko katerega ves čas »vstopamo v lastne vsebine«. Mi pa smo – ne najprej, ampak šele enkrat potem – vse vloge, ki jih privzemamo in igramo, in vse vloge, ki nam jih nadevajo. Ko jih odmislimo, pa se z Merčevim junakom znajdemo presenetljivo blizu Batailla. Izkaže se, da smo potem – pravzaprav bi morali reči najprej – samo samota, obrobljena z izrazito mejo, ki nas ločuje od sveta in vseh nam enakih. Samota, ki sta ji usojena samo tukaj in zdaj ter smrt. Na tem mestu lahko v roman ali v besedo o njem vstopi ljubezen, ki, kolikor omenjene meje lahko raztopi, vodi v poenotenje s svetom. Ne kaže je iskati v besedah romana ali protagonista niti v njegovih opisanih dejanjih. Nakazuje jo protagonistova ›razdrobljenost‹ (Jazon šele s pomočjo pripovedovalca ›zaživi‹ kot neka kvazienotna oseba), nakazuje jo matrica zaljubljenca, s tem pa seveda še ni bilo nič rečeno o vlogi, ki jo je ta zaljubljenec prevzel: je to vloga tistega, ki ljubi, a kljub temu odhaja, vloga tistega, ki je ljubljen zapuščen, ali tistega, ki je neljubljen zapuščen? Kajti, da je v temelju vedno in povsod zgolj odhajanje, je edino gotovo, pa čeprav smo se na tem mestu dotaknili (še) enega izmed mogočih prihajanj k romanu. - Tina Kozin\u003C/p>","O čem govorimo, ko govorimo o ljubezni? Če si na to carverjevsko vprašanje poskušamo odgovoriti s pomočjo romana Dušana Merca, potem govorimo predvsem o dotikih in (pre)poznavanju, in sicer o dotikih in (pre)poznavanju drugega – ki smo najprej in samo mi sami. Ko govorimo o ljubezni, torej govorimo o svoji identiteti oziroma, še bolje, jo iščemo in pri tem ostajamo obsojeni na to, da je ne bomo našli. Zakaj? Na začetku je (bila) beseda, to vemo, ampak tudi na koncu je, sodeč po romanu Ne dotikaj se me, (samo) beseda. In če za Jazonovim kritičnim reflektiranjem lastnega jezika in v njegovem spoznanju, da iz njega ne more, ker v njem biva, jasno razločimo horizont Wittgensteinovega sveta, je treba priznati, da je ta horizont v svet besedila inkorporiran nenaivno in (našemu) času primerno postaran.\r\n\r\nProtagonist, »izgubljen v labirintih lastnih misli in čustev«, se namreč odloči resnico o sebi in svoji ljubezni poiskati s pomočjo pisanja (ki se mu, pomenljivo, sproti drobi v fragmente), pri tem pa se zaveda, da se je odločil »samo za resnico, ki jo vidi, ki jo ustvarja«, zato tudi lahko prostodušno ugotovi: »Odkar pišem, je vse res.« V tem spoznanju so že implicirani (za)ključni stavki romana, skozi prizmo katerih v besedilo pravzaprav šele zares lahko začnemo vstopati: »Ampak, Jazon, iskrenosti do konca ne more biti, niti pred samim seboj. Se ne da. Ni mogoče.«\r\n\r\nNe dotikaj se me je v tem pogledu najprej roman o tem, česa se oprijeti, ko resnica (katere en vidik je tudi iskrenost) postane poljubna – in odgovor, ki ga ponuja, je nedvoumen: forme, matrice. Ta je od nekdaj ista, vsakič znova enkratna in zmeraj ponovljena. Kdo torej smo, kdo je drugi in koga (ali česa) se dotikamo? Drugi smo pravzaprav mi sami, ker je drugi, če sledimo romanu, le objekt, preko katerega ves čas »vstopamo v lastne vsebine«. Mi pa smo – ne najprej, ampak šele enkrat potem – vse vloge, ki jih privzemamo in igramo, in vse vloge, ki nam jih nadevajo. Ko jih odmislimo, pa se z Merčevim junakom znajdemo presenetljivo blizu Batailla. Izkaže se, da smo potem – pravzaprav bi morali reči najprej – samo samota, obrobljena z izrazito mejo, ki nas ločuje od sveta in vseh nam enakih. Samota, ki sta ji usojena samo tukaj in zdaj ter smrt. Na tem mestu lahko v roman ali v besedo o njem vstopi ljubezen, ki, kolikor omenjene meje lahko raztopi, vodi v poenotenje s svetom. Ne kaže je iskati v besedah romana ali protagonista niti v njegovih opisanih dejanjih. Nakazuje jo protagonistova ›razdrobljenost‹ (Jazon šele s pomočjo pripovedovalca ›zaživi‹ kot neka kvazienotna oseba), nakazuje jo matrica zaljubljenca, s tem pa seveda še ni bilo nič rečeno o vlogi, ki jo je ta zaljubljenec prevzel: je to vloga tistega, ki ljubi, a kljub temu odhaja, vloga tistega, ki je ljubljen zapuščen, ali tistega, ki je neljubljen zapuščen? 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