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kamni, krave","\u003Cp>Eruditska poezija Marjana Strojana pripoveduje beleži detajle iz narave in dolge, epsko ritmizirane pripovedi.\u003C/p>\r\n\r\n\u003Cp>“To je to! To sem prej videl v zraku /.../ – trenutek, ločen od drugih, zvezan v dogodek s pozabljenimi potmi, s katerimi nas ne veže nič razen časa – samo neki prej in potem, ki se pred njim umikata v vse smeri, kakor v morje zarezana brazda,” piše Marjan Strojan v Kamnih in s temi besedami sam najlepše zareže v srž svoje poezije. V njenem središču sta namreč prav trenutek in dogodek, vendar ne v impresionistični maniri in tudi ne v podobi njene epsko razvejene sestre – čeprav je Strojan verjetno tisti slovenski pesnik, ki smo ga najbolj surovo razklali na melanholičnega lirika in eruditivnega epika. Tudi po njegovi zaslugi, jasno, nenazadnje se njegov opus res giblje med “petjem v starinskem načinu”, ki prevladuje v prvih zbirkah, in “brnenjem kril kačjih pastirjev”, ki se je vehementno razmahnilo na straneh Parnikov v dežju. Da pri njem omenjena pesniška principa nista razločena, je avtor sugeriral z združevanjem drobnejših lirskih in bohotnejših epskih pesmi v skupen kontekst posameznih knjig, v mislih imam predvsem knjigi Dan, ko me ljubiš in pričujočo, in pri tem ne smemo spregledati dejstva, da Strojan kot avtor nikakor ni naključen zbiratelj gradiva – niti na ravni posameznih pesmi niti na ravni pesniške knjige kot celote. Opravka imamo s pesnikom, ki svojo ustvarjalno prakso ves čas budno reflektira, o čemer govorijo številni verzi, tudi v knjigi Vreme, kamni, krave, ki včasih bolj eksplicitno, drugič pa subtilno zabrisani s kontekstom, razmišljajo o nastajanju, življenju in mestu poezije. Jedro Strojanovih pesmi sta torej trenutek in dogodek, in sicer povezana v stanje, morda bi bilo na tem mestu še bolje reči v situacijo ali položaj (povzeta iz realne ali fikcijske zgodbe), saj pojma nekoliko izraziteje predpostavljata sovpletenost posameznika, ki je ključni generator prikazanega, vedno večplastnega pogleda Strojanovih pesmi. Ta posameznik ni (le) govorec sam, saj je Marjan Strojan kot vsak pravi pesnik mojster odkrivanja analoških povezav med pojavnim, ki jih slika tako, da lomi krhko konkretnost motivov v različne čase, prostore in osebe, zato da lahko kot “vzorci, naša edina obramba pred časom,” zaživijo na tisti ravni abstraktnosti, v kateri vase vključijo tudi del vsakega izmed nas, njegovih bralcev. Strojanovo pesniško govorico odlikuje “preprosta strogost” tonalitete, s katero pesnik “razloči piko, postavo”, in ji nato “natančno kot s prstom po zemljevidu sledi v lastno prihodnost”, pri tem pa tonaliteta ves čas predhaja sliko. Če kaj, potem za Strojanovo poezijo ne velja misel: “kolikor več boste vložili, težje boste povrnili svoj vložek,” ki jo najdemo v knjigi; je pa to tudi poezija, ki “z melodično linijo v zgornjih glasovih” vstopa v naše knjige zato, da iz njih “zanalašč trga utvare” – čeprav ali pa prav zato, ker se zaveda, da smo jih potrebni. - Tina Kozin\u003C/p>","Eruditska poezija Marjana Strojana pripoveduje beleži detajle iz narave in dolge, epsko ritmizirane pripovedi.\r\n\r\n“To je to! To sem prej videl v zraku /.../ – trenutek, ločen od drugih, zvezan v dogodek s pozabljenimi potmi, s katerimi nas ne veže nič razen časa – samo neki prej in potem, ki se pred njim umikata v vse smeri, kakor v morje zarezana brazda,” piše Marjan Strojan v Kamnih in s temi besedami sam najlepše zareže v srž svoje poezije. V njenem središču sta namreč prav trenutek in dogodek, vendar ne v impresionistični maniri in tudi ne v podobi njene epsko razvejene sestre – čeprav je Strojan verjetno tisti slovenski pesnik, ki smo ga najbolj surovo razklali na melanholičnega lirika in eruditivnega epika. Tudi po njegovi zaslugi, jasno, nenazadnje se njegov opus res giblje med “petjem v starinskem načinu”, ki prevladuje v prvih zbirkah, in “brnenjem kril kačjih pastirjev”, ki se je vehementno razmahnilo na straneh Parnikov v dežju. Da pri njem omenjena pesniška principa nista razločena, je avtor sugeriral z združevanjem drobnejših lirskih in bohotnejših epskih pesmi v skupen kontekst posameznih knjig, v mislih imam predvsem knjigi Dan, ko me ljubiš in pričujočo, in pri tem ne smemo spregledati dejstva, da Strojan kot avtor nikakor ni naključen zbiratelj gradiva – niti na ravni posameznih pesmi niti na ravni pesniške knjige kot celote. Opravka imamo s pesnikom, ki svojo ustvarjalno prakso ves čas budno reflektira, o čemer govorijo številni verzi, tudi v knjigi Vreme, kamni, krave, ki včasih bolj eksplicitno, drugič pa subtilno zabrisani s kontekstom, razmišljajo o nastajanju, življenju in mestu poezije. Jedro Strojanovih pesmi sta torej trenutek in dogodek, in sicer povezana v stanje, morda bi bilo na tem mestu še bolje reči v situacijo ali položaj (povzeta iz realne ali fikcijske zgodbe), saj pojma nekoliko izraziteje predpostavljata sovpletenost posameznika, ki je ključni generator prikazanega, vedno večplastnega pogleda Strojanovih pesmi. Ta posameznik ni (le) govorec sam, saj je Marjan Strojan kot vsak pravi pesnik mojster odkrivanja analoških povezav med pojavnim, ki jih slika tako, da lomi krhko konkretnost motivov v različne čase, prostore in osebe, zato da lahko kot “vzorci, naša edina obramba pred časom,” zaživijo na tisti ravni abstraktnosti, v kateri vase vključijo tudi del vsakega izmed nas, njegovih bralcev. Strojanovo pesniško govorico odlikuje “preprosta strogost” tonalitete, s katero pesnik “razloči piko, postavo”, in ji nato “natančno kot s prstom po zemljevidu sledi v lastno prihodnost”, pri tem pa tonaliteta ves čas predhaja sliko. 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