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Zato se umaknejo v gozd, ki se izkaže kot najprimernejši prostor za tovrstno početje. \u003C/p>",{"__typename":590,"id":595,"sizeVariant":592,"html":596,"author":35},"Zt2txMwhQ5WISI1uA0h-_g","\u003Cp>Do odgovora se želijo dokopati tako, da svoje življenje neprestano fabulirajo in na novo zapisujejo.\u003C/p>",{"__typename":590,"id":598,"sizeVariant":592,"html":599,"author":35},"QV7L8wXvRhG854Iyh1npmw","\u003Cp>Izhodišča so zanimiva, kar sem pogrešal, je bilo več konkretne izpeljave. Nekako tavamo po filozofskih poantah, a se zadev, o katerih teče pogovor, nikoli zares ne dotaknemo, besede hipijevske družbe so bolj kot ne lahen vetrič, ki se spreletava po površini. \u003C/p>",[],{"schema":602,"document":603},"dast",{"type":604,"children":605},"root",[606,637,650,652,656,664,665,669,675,676,680],{"type":607,"children":608},"paragraph",[609,612,616,618,621,623,626,628,630,632,635],{"type":610,"value":611},"span","Ajda Bračič, arhitektka in pisateljica, je bila dvakrat nagrajena s kritiškim sitom. Prvič za svoj literarni prvenec, kratkoprozno zbirko ",{"type":610,"marks":613,"value":615},[614],"emphasis","Leteči ljudje",{"type":610,"value":617},", drugič za ",{"type":610,"marks":619,"value":620},[614],"Kresničevje",{"type":610,"value":622},", njen prvi roman, za katerega je pred kratkim prejela tudi kresnika. Mislim, da ne pretiravam, če rečem, da imamo pri ",{"type":610,"marks":624,"value":625},[614],"Kresničevju",{"type":610,"value":627}," opravka z enim izmed najbolj izpostavljenih romanov letošnjega leta, o njem so mi cehovski kolegi in prijatelji pripovedovali z nalezljivim entuziazmom. Pred nedavnim sem se v neki ljubljanski knjigarni zapletel v pogovor z naključno mimoidočo, v rokah sem pestoval svoj recenzentski izvod, zato je pogovor nanesel na ",{"type":610,"marks":629,"value":620},[614],{"type":610,"value":631},". Komentar prijazne neznanke me je presenetil, takole mi je rekla: ",{"type":610,"marks":633,"value":634},[614],"»Za tega so se pa vsi že odločili, da bo zmagal letošnjega kresnika.« ",{"type":610,"value":636},"In res, napoved se je uresničila.",{"type":607,"children":638},[639,641,644,646,648],{"type":610,"value":640},"Prve strani ",{"type":610,"marks":642,"value":643},[614],"Kresničevja",{"type":610,"value":645}," služijo kot strnjen uvodni akord, ki razpre tematsko pahljačo pripovedi. Pri tem so še posebej izpostavljeni krivda, obžalovanje in iskanje odpuščanja. Vsi nastopajoči liki iščejo nekakšno spravo, tako s sabo kot v medosebnih odnosih in s svetom. Zato se umaknejo v gozd, ki se izkaže kot najprimernejši prostor za tovrstno početje. A slednji v ",{"type":610,"marks":647,"value":625},[614],{"type":610,"value":649}," (na začetku romana sploh) ne deluje kot prostor pastoralnega spokoja, ampak kot nekaj krutega, nekaj, kar lahko mimogrede pogoltne kakšno utrujeno, neprevidno dušo, ki se znajde ob nepravem času na nepravem mestu. Roman se začne konec marca, zato bi pričakovali, da bo gozd na pragu bohotnega razcveta, a njegov izgled je prej srhljiv, kot da bi bila narava tokrat preutrujena, da bi si opomogla od hude zime.",{"item":591,"type":651},"block",{"type":607,"children":653},[654],{"type":610,"value":655},"Ta podoba pa seveda ni brez pomena, temveč je vtkana v vsebinsko plat knjige; v bistvu dopolnjuje notranje doživljanje Agnes, glavne junakinje pripovedi, ki prav tako išče nov začetek in spravo s svojo sestro Klaro, pri čemer se ta zdi nedosegljiva. Njun sestrski odnos je poglavitna gonilna sila pripovedi, Klara se po sporu z Agnes umakne v gozdno kočo, ki je bila last njunega očeta. Agnes ji sledi in ob prihodu ugotovi, da je njena sestra izginila neznano kam, zato se odloči, da jo bo poiskala. Med iskanjem v gozdu naleti na skrivnostno trojico: Saro, Tulsi in Joshuo. Gre za nekakšne gozdne hipije, ki s pomočjo gong terapij, nabiranja zelišč in energijskih kamnov bežijo pred modernim svetom, zastrupljenim s tehnološkim razvojem. Ker je koča zaradi razbitega okna neprimerna za bivanje, se Agnes odloči, da se bo pridružila trojici, česar ne stori brez skepse, obenem pa se v njej razrašča ideja, da o izginotju Klare vedo več, kot so pripravljeni priznati, še več, da so z njim mogoče celo povezani.",{"type":607,"children":657},[658,660,662],{"type":610,"value":659},"Bračič se, kot sem že omenil, v ",{"type":610,"marks":661,"value":625},[614],{"type":610,"value":663}," dotika problema krivde, pri čemer glavni liki neprestano iščejo vzrok, s katerim bi osmislili nastanek svojih čustvenih ran. Do odgovora se želijo dokopati tako, da svoje življenje neprestano fabulirajo in na novo zapisujejo. Na tej točki avtorica razvije poglavitno in najbolj zanimivo idejo romana, in sicer da je vzrok, ki bi prikladno tičal na začetku zgodbe in osmišljal bolečino likov, neobstoječ (nič čudnega, da ima roman več začetkov!), in če ne moremo povedati svoje zgodbe, kako lahko svojo bolečino sploh razložimo sebi in drugim? Kje bi sploh lahko začeli iskati krivca, se sprašuje. Lahko zgolj potujemo po kontinuiteti bolečine, ki se je skozi generacije stekla v našo bit. Iskanje izvora Agnesine krivde je torej nesmiselno početje, sigurno je zgolj to, da je, ujeta med dvema ognjema – depresivno materjo in težavno sestro –, enkrat zdrsnila, kar je dovolj, da v odnosih nastane nepopravljiva škoda.",{"item":595,"type":651},{"type":607,"children":666},[667],{"type":610,"value":668},"Zgodbo o Agnes in Klari dopolnjuje pripoved o Valentinu, gre za dve niti, ki se med seboj ohlapno prepletata. Obenem je Valentinova pripoved zastavljena bolj dokumentaristično. Avtorica s pomočjo fikcije zapolni vrzeli, ki obstajajo v življenju Valentina Podstenška kot realne (čeprav precej neznane) zgodovinske osebe. Vse, kar se v knjigi nanaša na Agnes, pa je popolnoma izmišljeno. Da se kontrast še bolj poudari, je slog pri Valentinu bolj oskubljen in utilitaren, dočim je pri Agnes, ravno obratno, slog izrazito poetičen; s tem avtorica spretno razgiba pripovedni tok romana.",{"type":607,"children":670},[671,673],{"type":610,"marks":672,"value":620},[614],{"type":610,"value":674}," pravzaprav pesti zgolj en manjši problem. Ko pride do tematike krivde in odpuščanja, pisateljica problemsko polje precej suvereno nastavi, a na momente se zdi, da se z njim rokuje preveč previdno, abstraktno in neopredeljeno, predvsem v osrednjem delu romana, ki ga napolnjujejo kontemplativni pogovori znotraj hipijevske družbe. Poleg krivde tu pride v poštev še tipanje za iskanjem smisla, ideja o svetu, ki se stara in se bo zdaj zdaj končal, ekološki aktivizem itd. Izhodišča so zanimiva, kar sem pogrešal, je bilo več konkretne izpeljave. Nekako tavamo po filozofskih poantah, a se zadev, o katerih teče pogovor, nikoli zares ne dotaknemo, besede hipijevske družbe so bolj kot ne lahen vetrič, ki se spreletava po površini. Roman je sicer vrhunski, ampak predvsem v srednjem delu sem pogrešal več drznosti, neko bolj definirano stališče do problematik, ki so vznikale.",{"item":598,"type":651},{"type":607,"children":677},[678],{"type":610,"value":679},"Nasploh Bračič raje stavi na abstrakcijo kot konkretizacijo, pred nami ni klasična pripoved, ampak – zvečine – meditacija na temo krivde in odpuščanja, toda pisateljica te dvojice nikoli ne sestavi v trden tematski kompozitum, prej me je spominjala na jazz glasbenico, ki dane okruške iz bazena zastavljene problematike uporablja intuitivno. Če strnem to analogijo: pred nami ni trdna kompozicija, ampak improvizacija na dano temo, ki ne sestavlja neke širše slike, temveč se zgolj plasti, ponavljajoče variira in odpira nova vprašanja. Rezultat je poetična asociativnost, mojstrsko ubesedene meditacije si sledijo ena za drugo, a pri tem ničesar ne razpletajo, zgolj poglabljajo našo kontemplacijo. Vsekakor gre za premišljeno kreativno odločitev, a kot sem že omenil, mi je to početje, najsibo še tako dobro izpeljano, na trenutke delovalo preveč raztreseno.",{"type":607,"children":681},[682,684,686],{"type":610,"value":683},"Pod površjem nabrana nelagodnost, ki jo Agnes čuti do hipijevske družbe, izbruhne v destruktivnem in bombastičnem koncu, ki je potrpežljivo nastavljen; zaradi meditativne narave vsega, kar se je zgodilo prej, pa slednji deluje kontrastno in (do neke mere) nepričakovano. Čeprav je zaključek že skorajda hollywoodski, v sebi skriva dovolj abstrakcije, da ne štrli iz zastavljene vsebinske in tematske niti pripovedi. ",{"type":610,"marks":685,"value":620},[614],{"type":610,"value":687}," je roman, ki prepriča z atmosfero in meditativnimi vložki, za odgovore na težka bivanjska vprašanja se lahko obrišemo pod nosom, liki so ujeti v vicah nedosegljive sprave, a prav to jih – konec koncev – dela najbolj človeške.","Vice nedosegljive sprave","vice-nedosegljive-sprave","branje, knjiga, kritika",[692,695,699,702,705,708,711,715,719,723,726,730,733,736,740,743],{"attributes":10,"content":693,"tag":694},"Vice nedosegljive sprave | Beletrina 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izogniti.",{"alt":850,"url":851,"width":572,"height":573,"mimeType":575,"responsiveImage":852},"Meglena fotografija pokrajine ob vodi","https://www.datocms-assets.com/110736/1788787534-nasilje-je-vedno-nasilje-keyvisual.jpg",{"srcSet":853,"webpSrcSet":854,"sizes":782,"src":855,"width":784,"height":785,"aspectRatio":584,"alt":850,"title":856,"bgColor":857,"base64":858},"https://www.datocms-assets.com/110736/1788787534-nasilje-je-vedno-nasilje-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1788787534-nasilje-je-vedno-nasilje-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1788787534-nasilje-je-vedno-nasilje-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 270w,https://www.datocms-assets.com/110736/1788787534-nasilje-je-vedno-nasilje-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&fit=crop&w=360 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razdiralni moči pogleda","Jasna Lasja","Kritika romana Pogled Elif Shafak razmišlja o tem, kaj pomeni biti gledan, presojan in ujet v tujo predstavo o lastnem telesu. Shafak skozi večplastno pripoved poveže osebno bolečino, družbene predsodke, vprašanje identitete in moč pogleda ...",{"alt":868,"url":869,"width":572,"height":573,"mimeType":575,"responsiveImage":870},"Portret Elif Shafak","https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg",{"srcSet":871,"webpSrcSet":872,"sizes":782,"src":873,"width":784,"height":785,"aspectRatio":584,"alt":868,"title":874,"bgColor":875,"base64":876},"https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 270w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&fit=crop&w=360 360w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=1.5&fit=crop&w=360 540w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=2&fit=crop&w=360 720w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=3&fit=crop&w=360 1080w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=4&fit=crop&w=360 1440w","https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&fm=webp&w=360 90w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&fm=webp&w=360 180w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&fm=webp&w=360 270w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&fit=crop&fm=webp&w=360 360w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=1.5&fit=crop&fm=webp&w=360 540w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=2&fit=crop&fm=webp&w=360 720w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=3&fit=crop&fm=webp&w=360 1080w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=4&fit=crop&fm=webp&w=360 1440w","https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&fit=crop&w=360","Foto: Zeynel Abidin","#f15016","data:image/jpeg;base64,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",{"id":565,"slug":566,"title":567,"parent":10},{"__typename":769,"_firstPublishedAt":879,"id":880,"slug":881,"title":882,"author":795,"excerpt":883,"media":884,"category":894},"2026-08-18T10:16:03+02:00","GoHzMXSITlS4Q85Z0MCkXA","celotni-svet-komorno","Celotni svet, komorno","Besedilo razmišlja o komornosti kot prostoru zbranosti, bližine in natančnega poslušanja. Komorno ni nujno majhno: v omejenem prostoru se lahko zgosti cel svet, če so glasovi dovolj pozorni drug do drugega. 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Ljubljana)","#d76313","data:image/jpeg;base64,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",{"id":565,"slug":566,"title":567,"parent":10},{"__typename":769,"_firstPublishedAt":896,"id":897,"slug":898,"title":899,"author":900,"excerpt":901,"media":902,"category":912},"2026-08-11T10:19:23+02:00","QoBlGXHQTtW3ouYnwWlRPg","moja-tvoja-nolanova-homerjeva-odiseja","Moja, tvoja, Nolanova, Homerjeva Odiseja","Anže Lebinger","Filmski zapis o Nolanovi Odiseji se ne ustavi le pri vprašanju, kako režiser bere Homerjev ep, temveč razmišlja tudi o tem, kako danes filme sprejemamo, komentiramo in skoraj sproti preoblikujemo na družbenih omrežjih.",{"alt":903,"url":904,"width":572,"height":573,"mimeType":575,"responsiveImage":905},"Slika treh žensk ob morju, v ozadju je velika jadrnica","https://www.datocms-assets.com/110736/1786366847-nolanova-odiseja-keyvisual-01.jpg",{"srcSet":906,"webpSrcSet":907,"sizes":782,"src":908,"width":784,"height":785,"aspectRatio":584,"alt":903,"title":909,"bgColor":910,"base64":911},"https://www.datocms-assets.com/110736/1786366847-nolanova-odiseja-keyvisual-01.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1786366847-nolanova-odiseja-keyvisual-01.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1786366847-nolanova-odiseja-keyvisual-01.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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