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se, tata","\u003Cp>Disfunkcionalne obitelji, siromaštvo, klasna nejednakost, propuštene prilike, zanemarivana djeca, branitelji, ali prije svega i više od svega čežnja za ljubavlju, za priznanjem, za grljenjem, samo su neke od tema koje u svojim intimnim, lirsko-poetskim dramama ispisuje najvažnija pjesnikinja generacije Monika Herceg. Pet drama, od kojih su neke uspješno izvođene, a druge pak nagrađivane, svakom čitatelju ulazi pod kožu, dramska napetost koju osjećamo dok ih čitamo ne odnosi se toliko na odnose među likovima koliko na istinsku, duboku ljudsku dramu koju svaki od njih proživljava i s kojom se mora nositi, a ne može je podijeliti. Stanje likova uvijek je na rubu ili preko ruba egzistencije, životnih problema, no unatoč svem crnilu koje se nadvilo nad pejzaž Monika i njezini likovi, prije svega ženski, vide neku svjetlost. Monika Herceg u knjizi drama Ubij se, tata uspijeva čitatelju, a onda i redatelju, pa zatim gledatelju posredovati svijet nimalo blistav, svijet koji se krije iza zidova običnih kuća i stanova, muku žena i muškaraca, a nadasve djece, koji nikako da iskorače iz svoje prošlosti i pogledaju tamo kamo ih Monika vodi i navodi, i tamo kamo, kako sami intimno osjećaju, moraju ići, ali ne usude se, jer put ljubavi najteži je put. “Kako god da opišemo ovu predstavu (a mogli bismo je s jednako dobrim razlozima nazvati i feminističkom i klasičnom), njena snaga sigurno izvire iz jezika Monike Herceg, koji ni u jednom trenutku nije ni slučajan ni pretenciozan, baš kao ni kad govorimo o poetskom sadržaju antičke drame ili o literarnom opusu suvremenog dramatičara i pjesnika Thomasa Bernharda. Opisala bih taj jezik kao ne samo ‘operativan’, nego operacijski nagnut nad likove, udubljen u unutarnje tumore i emocionalne provalije, bespoštedno zaokupljen proučavanjem ‘mrakova’ od kojih smo sačinjeni.” – Nataša Govedić “Monika Herceg ozbiljan je pisac i ovo je ozbiljan poetsko-dramski tekst, tako da se ona ne služi štakama i inim ortopedskim pomagalima ideologije. Ona ne piše o zlostavljanim ženama i o muškim zlostavljačima, ne bavi se klasnim razlozima siromaštva, svjesno izbjegava sva jednostavna objašnjenja grubosti, surovosti, odsustva zagrljaja, koja joj se nude sa svih strana, ali koja nepogrešivo vode lošoj, plakatnoj književnosti, nekoj od brojnih varijanti postmodernih socrealizama. Pritom, ona nesreću ne predstavlja samo kao nesreću, nije to fatalizam zle kobi. Samo što za razliku od svijeta mondenih i nedarovitih, njezin obiteljski svijet ne biva objašnjen nizom kolektivnih odgovora i ideoloških objašnjenja, nego individualnim estetskim, fabulativnim, moralnim činom.” – Miljenko Jergović\u003C/p>","\u003Cp>Disfunkcionalne družine, revščina, razredna neenakost, izgubljene priložnosti, zanemarjeni otroci, branitelji, a predvsem in nad vsem hrepenenje po ljubezni, po priznanju, po objemu, so le nekatere od tem, ki jih v svojih intimnih, lirsko-poetskih dramah zapisuje najpomembnejša pesnica generacije Monika Herceg. Pet dram, od katerih so nekatere uspešno izvajane, druge pa nagrajevane, vsakemu bralcu prodrejo pod kožo, dramatična napetost, ki jo občutimo med branjem, se ne nanaša toliko na odnose med liki kot na resnično, globoko človeško dramo, ki jo vsak od njih doživlja in s katero se mora spoprijeti, a je ne more deliti. Stanje likov je vedno na robu ali prek njega obstoja, življenjskih težav, vendar kljub vsemu temnini, ki se je vsula nad pokrajino Monike in njenimi liki, predvsem ženskimi, vidijo neko luč. Monika Herceg v knjigi dram Ubij se, tata uspešno posreduje bralcu, nato pa tudi režiserju, in nazadnje gledalcu svet, ki ni prav nič bleščeč, svet, ki se skriva za zidovi običajnih hiš in stanovanj, trpljenje žensk in moških, predvsem pa otrok, ki se nikakor ne morejo osvoboditi svoje preteklosti in pogledati tja, kamor jih Monika vodi in jih spodbuja, ter tja, kamor, kot sami intimno čutijo, morajo iti, a si ne upajo, ker je pot ljubezni najtežja pot. »Kakor koli že opišemo to predstavo (in lahko bi jo z enako dobrimi razlogi imenovali tudi feministično in klasično), njena moč gotovo izvira iz jezika Monike Herceg, ki ni niti v enem trenutku naključen niti pretenciozen, enako kot ko govorimo o poetski vsebini antične drame ali o literarnem opusu sodobnega dramatika in pesnika Thomasa Bernharda. Opisala bi ta jezik kot ne samo 'operativen', temveč operacijsko nagnjen nad like, poglobljen v notranje tumorje in čustvene razpoke, brezkompromisno zaposlen v raziskovanju 'teme', iz katere smo sestavljeni.« – Nataša Govedić »Monika Herceg je resen pisatelj in to je resen pesniško-dramski tekst, zato se ne poslužuje bergel in drugih ortopedskih pripomočkov ideologije. Ne piše o zlorabljenih ženskah in moških zlorabnikih, ne ukvarja se s klasnimi razlogi revščine, zavestno se izogiba vsem preprostim pojasnilom surovosti, brezčutnosti, pomanjkanja objema, ki ji jih ponujajo z vseh strani, a ki nedvomno vodijo v slabo, plakatno literaturo, v eno od mnogih različic postmodernih socialističnih realizmov. Pri tem nesreče ne predstavlja le kot nesrečo, to ni fatalizem zle usode. Le da, za razliko od sveta modnih in neuspešnih, njen družinski svet ni razložen z nizom kolektivnih odgovorov in ideoloških pojasnil, ampak z individualnim estetskim, zgodbenim, moralnim dejanjem.« – Miljenko Jergović\u003C/p>","Disfunkcionalne obitelji, siromaštvo, klasna nejednakost, propuštene prilike, zanemarivana djeca, branitelji, ali prije svega i više od svega čežnja za ljubavlju, za priznanjem, za grljenjem, samo su neke od tema koje u svojim intimnim, lirsko-poetskim dramama ispisuje najvažnija pjesnikinja generacije Monika Herceg. Pet drama, od kojih su neke uspješno izvođene, a druge pak nagrađivane, svakom čitatelju ulazi pod kožu, dramska napetost koju osjećamo dok ih čitamo ne odnosi se toliko na odnose među likovima koliko na istinsku, duboku ljudsku dramu koju svaki od njih proživljava i s kojom se mora nositi, a ne može je podijeliti. Stanje likova uvijek je na rubu ili preko ruba egzistencije, životnih problema, no unatoč svem crnilu koje se nadvilo nad pejzaž Monika i njezini likovi, prije svega ženski, vide neku svjetlost. Monika Herceg u knjizi drama Ubij se, tata uspijeva čitatelju, a onda i redatelju, pa zatim gledatelju posredovati svijet nimalo blistav, svijet koji se krije iza zidova običnih kuća i stanova, muku žena i muškaraca, a nadasve djece, koji nikako da iskorače iz svoje prošlosti i pogledaju tamo kamo ih Monika vodi i navodi, i tamo kamo, kako sami intimno osjećaju, moraju ići, ali ne usude se, jer put ljubavi najteži je put. “Kako god da opišemo ovu predstavu (a mogli bismo je s jednako dobrim razlozima nazvati i feminističkom i klasičnom), njena snaga sigurno izvire iz jezika Monike Herceg, koji ni u jednom trenutku nije ni slučajan ni pretenciozan, baš kao ni kad govorimo o poetskom sadržaju antičke drame ili o literarnom opusu suvremenog dramatičara i pjesnika Thomasa Bernharda. Opisala bih taj jezik kao ne samo ‘operativan’, nego operacijski nagnut nad likove, udubljen u unutarnje tumore i emocionalne provalije, bespoštedno zaokupljen proučavanjem ‘mrakova’ od kojih smo sačinjeni.” – Nataša Govedić “Monika Herceg ozbiljan je pisac i ovo je ozbiljan poetsko-dramski tekst, tako da se ona ne služi štakama i inim ortopedskim pomagalima ideologije. Ona ne piše o zlostavljanim ženama i o muškim zlostavljačima, ne bavi se klasnim razlozima siromaštva, svjesno izbjegava sva jednostavna objašnjenja grubosti, surovosti, odsustva zagrljaja, koja joj se nude sa svih strana, ali koja nepogrešivo vode lošoj, plakatnoj književnosti, nekoj od brojnih varijanti postmodernih socrealizama. Pritom, ona nesreću ne predstavlja samo kao nesreću, nije to fatalizam zle kobi. 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