Wednesday, June 28, 2017

HUSNIJA CRNJAK u epizodi “KAKO JE FIKRETA IZNIJELA TREŠNJE I STALA U GOVNO”

 U Ajovi ima grad, zove se Le Mars, i fakat jebote dok do tamo dođeš isto ko da ideš na Mars!




Elem, vozimo ti se badžo Sulejman i ja u taj Mars. Nikad doć. A đe ćeš doć kad smo krenuli iz Arizone! S jednog ćoška Amerike na drugi. A u Arizoni vrućina jebote možeš bukvalno jaje na cesti ispržit. Nije zajebancija. Sulejman fakat razbio jaje da vidi. I jaje se ispeče za tili čas. A njega mal srčani nije strefio. Ovih dana su se tamo i kaktusi borili za život, bodlje im otpadaju od vrućine. Tu smo se namah zakleli da ne vozimo više za Arizonu, mal nam kamion nije prokuho. Morali smo vozit brzo, jer se Suljo prepo da će nam se gume počet topit ako usporimo. Odo ja s priče... Jah, i vozimo mi u taj Mars... dalekooo u pičku materinu.

Kad smo bili blizu tog Marsa, nađem nam ja turu iz Ajove za Jutu, lova OK, istovar nam je u mandej, dan prije Fortofdžulaj, naperilo se samo tako. Kontam, zasješćemo kući za Četvrti juli par dana, razbacit roštilj i laganice. Jes da ne volim onaj vatromet, matermu i ko ga izmisli, i dan-danas samo gledam đe ću zaleć, al haj, djeca ga vole, ućerašmu. Ja sebi turim one čepove u uši i milina ― nit čujem kako ovi pucaju nit čujem Džemilu šta priča. Pošo sam čepove i po kući nosat pa i ja opalim dvaput godišnje ko i vatromet, al jebajiga, sve ima svoju cijenu. Vidi mene, odo opet s teme... Elem, blizu smo mi tog Marsa al nikad doć, jebote, ko da na Mars idemo.

I pičimo mi tako, kad će ti badžo meni:

― Meni se uopšte ne ide kući...

― Čuj to... A što to? ― pitam ti ja njega.

― Ma šta znam, Fikreta me više očima ne može... ― veli ti on.

― A moreš li ti nju? ― pitam ja.

― A što bi ja nju ako ona mene ne može?

― Dobro to, al što to? ― opet ja, nejasno mi skroz. A ko koga više može? ― A ko koga više može? ― ponovim to naglas.

― Ne znam, badžane, ja sam mislio da joj svaku znam i taman kad to pomislim, dokaže se suprotno, i ja se iznenadim, isto ko da ništa ne znam.

Šutim ja, gledam kad će više taj Mars, ućeroonsebi, ne znam šta bi mu reko... Pa reko:

― Ne znam šta bi ti reko, badžo, žene su ti s druge planete.

― Jašta su ― veli ― ko da ih nije ista mati pravila! U mene se Fikreta godinama žali što me nikad nema kući, sama, veli, odgaja djecu, a jel sam ja par dana kod kuće, ona se nešto naheri odma ujutru i ne pričamo vas to vrijeme što sam ja kući. Tek kad ja trebam opet na put, ona ko da ništa nije bilo. Jebomater, ne znam jel joj drago što me vidi il joj je drago što odo! Meni, bolan Huso, svaki holidej propadne. Kajem ti: ne ide mi se kući. Radije bi meščini osto u kamionu i prespavo ovaj Fortofdžulaj.

Ne znam fakat šta bi mu reko. Nije ni u mene bogzna drukčije.

― Nije, ba, ni u mene, badžane, drukčije ― velim ja da ga utješim. ― Ja ti onu Džemilinu periodu osjetim ko ulje kad pođe curit na kamionu: nazovem je iz Kolorada i po glasu joj osjetim da joj ulje curi. Ni kriv ni dužan, sve pazim šta ću reć, a ona sve fata ono između redova, priprema materijal za dramu, i ja znam da mi je frka jal u kuću uđem. Take su žene, šta ćeš, al i žene su ljudi!

― Pa sad si reko da su s druge planete!

― Ma to nako, figurativno, ljudi su, jašta su.

Gleda Sulejman tugaljivo prema onom Marsu, tabla samo što se nije ukazala, gleda, suze mu meščini krenile. A jebote, pa ovo je ozbiljno, kontam ja. Da ga nije prevarila, pa neće da kaže, zadnje joj bilo?!

― Jesam ja tebi pričo kako sam ja zbario Fikru? ― veli naposlijetku.

― Ono kad si joj sviro onu od „Pušenja”? ― reko, đe se neću sjećat, stoput sam čuo, i pjesmu i priču.

― Ja, ba ― veli on, ko da priča s nekim tamo. ― Zagledo sam ja nju u čaršiji jednom... I pitam jarana kako se zove onaj curetak... Veli: Fikreta. A baš u to vrijeme bila popularna ona „Fikreta” od „Zabranjenog pušenja”. I toliko ti se ona meni svidjela, moj Huso, da sam ja uzo gitaru i naučio svirat tu pjesmu samo radi nje! Vježbo sam ti ja čitavo to ljeto da odsviram tu jednu pjesmu... Došo septembar, kažem ja jaranu: haj da napravimo kakav dernek, da zovnemo i Fikretu i da ja nju zbarim sa tom pjesmom. Tako i bi. Napravili mi dernek, skupilo se raje, došla i ona sa drugaricama, svira Hamo, super, svira Moke, super, i taman da oni odmore, reko, Hamče daj da ja jednu. Svi ono gledaju, otkad ja to sviram gitaru, jebote, kontaju zajebancija. Uzmem ja gitaru, svi se ušute. Ona gleda, smješka se. I ja nipenišes: Fiikretaa, između mene i dna još samo ti stojiš, Fikreta!

Fakat, pođe frajer pjevat „Fikretu” u kamionu. Onog Marsa niđe zglave. Haj, reko, ufatila ga nostalgija, ućerašmu. Pjeva Suljo i odjednom utihnu. Konto sam, to je to... Kad će ti on:

― Fiikretaa mi trešnje iznijela, a ja se sjetih onog filma o pticama... ― otpjeva badžo to plačnim glasom, konto sam vode mu treba. ― I sjećam se njenog pogleda ― veli ― sva se raznježila. Svi se ušutili, sjebali se kako sam ja to uvježbo, ba! Pokupim ti ja nju na tu stvar, pred svima! Kaže ona meni: „Znaš li šta drugo?” Reko: „Meni ništa drugo ne treba!” I to je bilo to! Zabavljali se tri godine, uzmemo se u onom najvećem kijametu, niko sretniji. Dođemo u Ameriku, kuću kupimo, djecu izrodimo, radim ko konj, nikad kući nisam, samo da bi ona imala šta god joj duša zaište. I neki dan... Neki dan nam bila godišnjica, ja usto u šest, uzo od malog gitaru, ona gitara mala, isto ona kukulele...

― Nije, ba, kukulele, nego ukulele...

― Ućerašjoj, naštimo sam ti ja nju preko one aplikacije za štimanje, malo se uštelio, i odem ti tamo u spavaću, reko da joj zapjevam, da je iznenadim, da je probudim na godišnjicu sa tom našom pjesmom. Sjednem na krevet pored njenih nogu, udarim onaj D dur i zapjevam: „Fiikretaa mi trešnje iznijela...”

― I stala u govno, samo tako!!! ― veli ona i skoči iz kreveta. ― Jebla te Fikreta!

― Moš mislit, Huso: stala u govno! To da mi kaže! Ja se vucaram po ovoj jebenoj Americi, a ona stala u govno!

― I? Šta ti?

― Ma razbio sam onu kukulele ko Hendriks, jebomujamater!

Uto, dođosmo mi u onaj Mars.

A tamo... niđe žive duše...

Thursday, June 22, 2017

ELVIS HADŽIĆ: ISTINA JE ISTINA, JEB'O JOJ JA MATER!

Skoro trideset godina je od početka rata u Jugoslaviji. Neki taj rat i danas smatraju građanskim, neki očiglednom agresijom, neki konspiracijom Zapada... Nekima čak smeta i kad se pomene da je rat bio „u Jugoslaviji”. Bilo kako bilo, tu se još nismo dogovorili, i sad je već svima jasno da se oko toga nećemo nikada dogovoriti. I jebe mi se. Svako dobro zna ko je napadao a ko se branio, i tu nema neke posebne filozofije. 

Eto, naša istina je već trideset godina živući cirkus! Cirkus, u kojem se uvijek čudimo i ismijavamo drugima, nikada sebi. Cirkus, u kojem vi žonglirate iz potrebe a mi, dijasporci, iz neizliječevih navika. Cirkus, u kojem je i smrt, kao posljednje ljudsko dostojanstvo - postalo cirkus. Cirkus, kojem smo sami dignuli šatru, a sad se čudimo što klovnovi i slonovi od svega prave cirkus.

Eto, opet, naša sudbina je cirkus kojem nema kraja, jer su svi naučili da se cirkus završava sretno. Ali jednog dana kad ne bude više nas, cirkusanata koji žude najesti se, nasmijati, igrati lopte i sahraniti se pod vašom šatrom, jednog dana... otiće i cirkus...

I vi ćete ostati sami sa svojom istinom.





Tuesday, June 20, 2017

ELVIS HADŽIĆ: NASTAVNICA MAJDA, MAJKA HAZIMA I SMEĐI DŽEMPER SA ZELENOM ŠTRAFTOM

Nastavnica Majda je imala običaj da prozove učenika koji bi se „ponovio” i da ga pred cijelim razredom pohvali. Onomad su se džemperi češće pleli nego kupovali, pa se đaci nisu baš često ni „ponavljali”. Tako je i Majidi, visokoj i mršavoj nastavnici maternjeg jezika (koja je posebno njegovala estetiku riječi, lijepu misao i kulturno ponašanje), novitet lako padao u uči. Elem, učenik bi na Majdin vokativ morao ustati i pred cijelim razredom ukratko „deklinirati” novi džemper. Naravno, nikom od nas nije bilo drago ustajati i objašnjavati porijeklo novog džempera. No, to je bio običaj koji se nije dao izbjeći: zima je, hladno je, briga tvoju staru što ćeš se ti crveniti pred cijelim razredom, djeca rastu brže nego što se džemperi pletu ― drugog ti nema, imaš novi džemper, ustani da te vidimo! 

Iskreno, mrzio sam te „fine i solidarne” rituale naše razredne pa sam duboko u noć razmišljao kako i na koji način bi izbjegao blamiranje. Pogotovo nakon što je moja majka Hazima isporila dajdžin stari džemper i našla neđe kolut zelene da štraftom ukrasi i ubaci malo akcije u pravo-krivo bod smeđe boje. Bio je to najružniji džemper na svijetu! Taj džemper je bio toliko ružan da se i dan danas sjećam muke s kojom sam ga oblačio. Majka Hazima bila je totalno operisana od svake vizuelne estetike. Ona đe šta vidi i čega se dograbi, to uzme i pretvori u nešto: „Ovo vune je taman djedu za priglavke, malo ću prošarat’ s crvenom što mi je Nazifojca donijela na bajram, od toga šta ostane mogu metnut Esmi u pulover, Elvisu treba džemper, isporiću Mićin onaj što mi stoji tamo, imam malo zelene u vitrini...” I to je to ― tako je moja majka sklapala svojih ruku djela: po potrebi i nakani. Vizuelno je bilo usput.

E, i ja sam ti sad sa takvim džemperom, načinjen najjednostavnijim bodom na svijetu, isporenim i rehabilitovanim, tamno-smeđe boje i sa dva-tri reda vodoravnom zelenom štraftom preko grudi, morao ustati i pohvaliti se pred svima! Jao, blamaže, unutrašnji vokativu moj! Kad nisam u zemlju propao!

― O, Elvisu, pa ti si se ponovio! Hajde, ustani da te svi vidimo!

I ustanemo moj džemper i ja, a ne zna se ko bi se od koga prije sakrio...

― Majka plela, baka? ― razredna ponavlja za mnom. ― Predivno, predivno!

Djeca se smijulje, ja sjedam, i sve nešto kontam možda džemper i nije toliko ružan koliko sam ja mislio... Onako kako mi ga je nena Hazima isplela tako sam ga i ja nosio ― strogo po potrebi. I nisam nikako sebi mogao objasniti žal za tim džemperom kada mi je ustrebao jedne prohladne noći za kamuflaže.  Išli smo krasti trešnje u Srpskoj varoši. Rub džempera mi se pri bijegu nabio na šiljastu ogradu, jedva sam se izmigoljio pred srditim domaćinom. A na džemperu je ostala rupa kojoj nije bilo zakrpe, porila se pred mojim očima. Jebo trešnje, šta ću reći materi?

A stara je samo rekla:

― Mog'o si ga nosit bar još godinu...

Forsirala je nas Majida u mnogim stvarima koje mi nikako nisu išle na buntovničku dušu. Šta će nama, mislio sam, takve budalaštine? Koga, bolan, briga za moj rehabilitovani džemper?

No, osim „džemperisanja”, Majida je imala još jednu slabost: cvijeće. O, kako mi je samo to išlo na živce! Imala je Majida običaj da đacima priča, sa nekom neobjašnjivom sjetom i pretjeranom romantikom, kako su je bivši učenici iznenadili tog dana sa cvijećem. A za takve prilike, ona je iz ko zna koje ruske novele iščeprkala „predivnu” i prikladnu misao: „Od cvijeća cvijeće cvijeću!” Na ovu romantičnu budalaštinu, po mom pubertetskom shvatanju, ženske u razredu su odlijepile sve do jedne. Pa čak i pokoji dječak. E, taj je poslije najeb’o. Čuj, „od cvijeća cvijeće cvijeću!” Mada, priznajem, svi do jednog smo se dobro zamislili nad tom poetikom: tri iste riječi, zaredom, i sve imaju drugačije značenje! Deklinacija do jaja! Kad skontaš, ima logike. Jest da je bezveze, ali ima logike! A joj, moje muke u stomaku kad su joj se počeli redati sa cvijećem. I svako je morao reći: „Od cvijeća cvijeće cvijeću!” Da ti se želudac u stomaku prevrne od romantike! Meni, bogami, takva glupost nije padala na pamet. Šta, da ja njoj idem tamo pred cijelim razredom k’o posljednji štreber i da joj dajem cvijeće! Nema pojma. I još joj moram reći ono, jer ona napomene, iščika iz tebe to: „Od cvijeća cvijeće cvijeću!” Jašta ću. To ispadne da sam ja, fol, cvijeće i da je ona, fol, cvijeće, a jedino cvijeće je ustvari cvijeće, i ništa više. Nema pojma. E, kako su mi išli oni uvlakači na živce sa tim „cvijeće cvijeću” da mi i dan-danas padne ta ruska izreka na pamet svaki put kad vidim cvijeće!

I onda se rastužim. I raznježim se. I sve nešto hoće da mi bude... Jebem ti cvijeće! Sjetim se i razredne Majde i majke Hazime i isporenog džempera dajdže Miće, sjetim se trešanja... Pitam se, koja bi to budala trčala za djecom što ti kradu trešnje? Pitam se ko sam, šta sam, dekliniram samog sebe, volio bih onaj Hazimin džemper da sad imam pa da ga uokvirim kao što djeca uokviruju dresove svojih junaka. Volio bih da mogu da se vratim nazad, kao čovjek, i da svojoj nastavnici pružim buket cvijeća i da joj od srca kažem:

„Od cvijeća cvijeće cvijeću!”

I da joj kažem, sad shvatam, Vi ste, nastavnice, imali isti zadatak kao i majka Hazima: da nas utoplite, da nas počastite, da nas ljudima napravite. I zbog vas moj sin sada trči svojoj majci sa svakim maslačkom kojeg ugleda.




Tuesday, June 13, 2017

Elvis Hadžić: KUSTINE VJETRENJAČE

Neki ga zovu kontroverznim genijem, neki izdajicom, neki hinjom i lešinarom, u crkvi ga zovu Nemanjom, na filmu je Emir, a na ulici ga zovu Kusta. Neki ga uopšte ne zovu ― on sam dođe.

Dođe tako Kusta u Višegrad, popne se na onu istu ćupriju koju je legendarni Murat (imenjak Nemanjinog oca) 1992. prijetio da digne u zrak (baš kao sporedni karakter u Andrićevom romanu), pa udahnu duboko i Emir i Nemanja, te vele i sebi i drugima: „Ah, razlike ― drastićne! " A Drina dole ispod huči između dvije obale... Naravno, Emir je respektabilna ličnost jednog dijela Bosne i Hercegovine, entiteta kojeg  podržava i intelektualno i spiritualno, pa je tamo vazda dobrodošao. Onaj drugi dio se i ne pita vazda, zauzet je svojim bezumljem, pa samo gleda i cvokoće dok im fabrike propadaju, prisvaja se imovina i poništava identitet.

U onom entitetu gdje je Kusturica rado viđen, i ratni zločinci se dočekuju sa cvijećem i zagrljajem. Tu su identitet i entitet jednaki pojmovi. Tu se pravi država mimo države, a djeci se poturaju fikcije umjesto činjenica. A Emir Kusturica je majstor fikcije. Kao takav, odavno fiktivan i samom sebi, na prostoru gdje razumu nema mjesta ― on ima posebno mjesto i maestro je svoj na svome.

Odlučio je Nemanja da sebi izgradi grad (kad već nije dobrodošao tamo odakle je otišao), e da bi osmislio svoj besmisao, da bi materijalizovao paralelni svijet u kome živi evo već treću deceniju. Napravio je naš umjetnik Andrić-Grad da bi fol odao počast velikom piscu i da bi „svom narodu” ostavio nešto u amanet i unio malo svjetlosti u mrak u kojem živi. I fino to zvuči, humano i kosmopolitski. Čovjek bi rekao neka nam umjetnik oboji sivilo, neka nam bar neko stvara ljepšu i svjetliju budućnost. Kad mu se ne bi znala pozadina... A Emirova pozadina, ili stražnjica, je tako očigledno samoljubiva da se čak i ona stolica pod njim sramoti njegovog licemjerja. Ovdje Nemanjin hedonizam i oportunizam dolaze do pravog izražaja. Emir bi, u stvari, da ispravi krivu Drinu, sve do Knina, ako ikako može. A Drina se, nažalost, ne da ispraviti. Ali se zato može snimiti film. Film, o kojem Kusta sanja otkako je pročitao prve stranice Andrićevog klasika, i zbog kojeg je možda i postao filmadžija.

Danas se o Andriću mnogo palamudi. No, jedino šta se Andriću može zamjeriti je to što je mnogima zapetljao takve čvorove na mozgu da ih hiljadu kolariću-paniću ne bi raspetljalo. Nemanja bi htio da bude kao Andrić. To je to. Kusturica bi da svoje ime, misao i djelo permanentno priveže za Andrićevu veličinu. To je glavni mehanizam njegovih unutarnjih pobuda. „Na Drini ćuprija” je vjerovatno najveće književno djelo na ovim prostorima, ali paradoks ovog štiva nije u onome šta i o čemu govori, nego šta i kako vrijeme u kojem se ono čita ― gleda na ovu tematiku. Tako, recimo, Andrićevo jugoslovenstvo možda danas izgleda paradoksalno, ali u vrijeme kada ga je ovaj intelektualac ispoljavao, ideja jugoslovenstva je bila pozitivna i miroljubiva teorija, koja se sa varljivim rezultatima sprovodila u praksi sve do ’90-tih. Kada je ta furka potonula, na površinu su isplovila sva ona govna koja su tu ideologiju vukla u mulj. E, Kusturica sa uhvatio za jedno takvo govno, kao za balvan. Malo je plivao, plivao, pa kad je shvatio da će potonuti, uhvatio se za govno, za koje je mislio da je Andrićevo.

Elem, uhvati se tako za govno naš Emir i ispliva na obalu kao Nemanja! 

Novi čovjek, snažan čovjek, nadčovjek, što bi Niče rek’o...

Od tog trenutka Kusturica je bio na misiji.

Možda bi neki Eskim, koji nema pojma o historiji balkanskih prostora, uživao u ovoj knjizi kao da gleda neki dobar film, ali ne i mi. Ne svi. Više ne. A to nije do Andrića. To je do nas i naših unutrašnjih poriva. Velika djela su vanvremenska, a mi smo ti koji se mijenjamo i činimo nedjela u ime velikih dijela! Velika djela pričaju za sebe, nedjela za sve nas. No, zar nije doista čudno da jedna fiktivna priča, historijski roman, nastao u stanu izolovanog čovjeka, u zemlji pod okupacijom, može toliko uticati na našu psihu? Može. Zato Andrić i jeste Nobelovac.

Ivo je dobio Nobelovu nagradu, pa možda i Nemanja dobije Oskara. Bio bi to filmčina, onako ― silovit i moćan, emotivan, uzvišen i brutalan, kao što je i sama Bosna... Ali Nemanji nije toliko do Oskara koliko mu je do historijske „korektnosti”. On je davno prevazišao ulogu režisera. On bi da bude više, mnogo više. On bi da bude kulturna ikona, div, besprijekorni borac za malog čovjeka velikih ciljeva. On je Don Kihot koji želi biti stvaran i zauvijek prisutan.

Pretpostavljam da su dvije scene iz Andrićeve "Ćuprije" posebna motivacija Kusturici da napravi istoimeni film. Prva je ona sa početka romana, kada majka trči za svojim sinom kojeg odvode Osmanlije na konju, u sepetu, kao vreću krompira, otimaju joj dijete da bi ga obrazovali i navukli na svoje, i uz to ide sva muka i tragedija ovog čina. Andrić je događaj tako slikovito opisao da svakom ko pročita poglavlje jednom ― pamti ga za čitav život. Druga, još slikovitija scena, je drama za sebe. Naime, radi se o Ciganima-poturicama koji po naredbi Turaka nabijaju Vlaha (kako ih Andrić zove) na kolac. Njima je to zanat, uredno izučen, pa je pravovjerno opisana čitava operacija, od ulaska među noge, pažljivog izbjegavanja vitalnih organa, do samog izlaska kolca u vrhu kičme i laganoj smrti na vrućem suncu... Da se čovjek fakat naježi. I stisne guzove. Oskar zagarantovan! E sad, Andrić naravno nije živio u doba Turaka, ali je garant istraživao, pa ne dovodim ni u kakvu sumnju sadističko iživljavanje Osmanlija. Ni krišćani nisu bili ništa bolji. Svi znamo šta su radili križarski pohodi i inkvizicija i na čemu su Turci učili zanat. Elem, čitava stvar je mnogo kompleksnija: onaj kolac poturice izrodio je posrbice. Taj kolac je mnogima oštetio sve vitalne organe, uključujući i mozak. I, naravno, dušu. Jer, Kusturica je zaboravio jedno, ono kad se uhvatio za govno kao za balvan: čovjek ima pravo da se izjašnjava kako hoće, ali ako pri toj preobrazbi izgubi dušu, onda i nije čovjek. Istina, i Andrić i Selimović su se izjašnjavali kao Srbi, ali nikada nisu zaboravili ko su i odakle su, i, na kraju krajeva, čijoj mizeriji mogu zahvaliti svoj talenat i motivaciju. Bosna je bila i ostala njihova neiscrpna muza. Radi nje su bili ono što jesu, pa i kad bi je se gnušali ― nikada je se nisu odricali. Upravo zbog te ljubavi, koja je određena sudbinom ili slučajem, savjestan čovjek, umjetnik, je tu da kaže, da priča, da tu svoju ljubav kritikuje ili uzdiže, da joj osjeti damar, da joj kaže šta o njoj misli. Ali, to je još uvijek ljubav. Kao što ne biraš svoje roditelje, tako ne biraš ni zemlju u kojoj ćeš biti rođen. A ljubav prema Bosni ni Andrić ni Selimović nikada nisu dovodili u pitanje. Niti se ona ispoljavala na tako patetične načine kao u knjigama i novijim filmovima Emira Kusturice. Jer, budimo iskreni, dok je bio „Bosanac” Kusturica je pravio i dobre filmove...  

Mi ovdje imamo posla s čovjekom koji u svom krajnje patetičnom filmu “Život je čudo” fokusira bijelog goluba na topovskoj cijevi! Ulaze tenkovi iz Srbije i idu na bosanske čaršije, a na topovskoj cijevi čuči bijeli golub, i sâm, jadan, zbunjen i pod upitnikom šta on traži ovdje... Prije svega, da se razumijemo, bez obzira gdje i čiji tenkovi išli, bijeli golub nikako ne ide na tenk! Osim ako se radi o mirovnim protestima. No, ovdje se radi o bratoubilačkom ratu i takvim kadrovima bi jedino Gebels, kao poznati ljubitelj rodoljubivih filmova, skinuo kapu. Ali Kusta sebe i dalje smatra kosmopolitom... Emir bi filmom „Na Drini ćuprija" opravdao svoju odluku da bude „posrbica", a isto tako bi, navodno, cijelom svijetu dao do znanja da je etničko čišćenje bila neminovna uspostava historijskog balansa i zaslužena karma primitivnih Bosanaca. I zato je Emir/Nemanja Kusturica najveći Andrićev paradoks: Andrić se borio protiv okupatora, a Emir je, u ime Andrića, postao okupator.

Ipak, kao i svaki drugi umjetnik koji je zbog nečega pobjegao iz Bosne, tako ni Emir ne može bez Bosne i bez Sarajeva. Jer, da može, i da ima imalo obraza, ne bi se više prihvatao ničega što ima pridjev bosanski. Njegova knjiga "Smrt je neprovjerena glasina" je malo patetično djelo velikog patetičnog umjetnika, u kojem on, osim što se pravda zašto je takav kakav je, ogovara Sarajlije i sarajevske mahale i baš kao pravi mahalaš svoj cinizam dovodi do perfekcije. (Nele je ovo kopirao od svog mentora pa je i on izbacio bestseler).

I tako sad naš Don Kihot, paćenik sumnjivog morala, nezasitog ega i osebujne mašte, hodi po vodi, neshvaćen od svojih, i jednih i drugih. On dobro zna da više nigdje nije prispio, pa glumi stanovnika Svijeta, a žrtva je historijskih romana i fiktivnih dijela. Pravi Don Kihot. On živi u vjetrenjačama koje je osvojio na prevaru. Odmetnik i od sebe i od drugih.  Na zadatku da "svoj" narod zauvijek i herojski obilježžrtvama... 

Zamrsio se maestro u sopstvenim zabludama, don kihotski, ali piči dalje, jer nazad mu nema. On to ne bi sebi dozvolio. Ili kao što to Ivo Andrić veli:

"A opet, naš čovjek je takav da bolje njeguje i više voli svoju priču o stvarnosti nego stvarnost o kojoj priča."

Toliko o Emiru i "njegovom" Andriću.




Sunday, June 11, 2017

HUSNIJA CRNJAK u epizodi "DOKTOR ZA ČMAR"

Neki dan hoću da se obrišem i napipam dole gutu, majko draga, haman ko kliker!


Ne smijem Džemili ništa kazat, ukinuće mi odma cigare i alkohol, nego se sjetim da je badžo Sulejman jednom nešto kod sebe to spominjo, pa nazovem badžu, reko, da vidim kojem je on doktoru išo.

― Čmarnom ― ovaj će ko iz topa.

― Misliš, doktoru za šupak?

― Za šupak, za šta će drugo, nisu ti hemoroidi izašli u nosu pa da ideš onom ontoringolaringogringo, šta ja znam. Jes da voliš svuđe gurnut tu svoju surlu, al ovdje je ipak riječ o tvom šupku, jarane. A doktor se zove Čmarni.

― Da ne idem fizišn, nego odma tom čmarnom?

― Pa jedino ako baš hoćeš da se naguziš obojici ― veli badžo. ― Nego, direktno ti Čmarnom, daću ti ja broj telefona.

― Pa kako se zove taj specijalista, nešto ono gastro?

― Zove se Čmarni, sad sam ti reko!

― Dobro, ba, na našem; pitam na engleskom kako se zove specijalista za šupak?

― Čmarni, jebogati! Aleksej Čmarni, Rus, ućero ti on, Čmarni se zove!

― Nemoj srat!

― Ne serem, očiju mi čmarnih!

Tu se obojica odvalimo smijat.

― Ne, ba, fakat se čovjek zove Aleksej Čmarni. Ja nisam danima bio kenjo dok mi Čmarni nije pokazo svoje čmari, hehehe... Pa znaš da sam ono do Teksasa jednom vozio zguza naguz. Ti mislio da imam gliste, papak jedan.

― Pu, jebo on svoj poso! Pa što nije izabro vaginu, ućeroonsebi, ne mogu da vjerujem da nekog može šupak fascinirat!

― Mene, bogami, Fikretina bulja i dan-danas fascinira.

I tu se ope odvalimo smijat.

― Pa i mene Džemilina ― velim ― al to je drugo. Ja bi radije, jarane, išo čistit kanalizaciju nego guro nos ljudima u dupe.

― E, ovaj ti, haman, voli gurnut i nešto drugo... ― smije se Suljo.

― Peder, i još doktor za čmar?

Smije se hinja. ― E, kad mu uđeš u ordinaciju isto ko da si ušo u čmar: čmarovi po zidovima, ono, objašnjeni ko mišići u fizioterapeuta. Te čmar vaki, čmar naki, komplikacije, problemi, dupe ono plastično sa čmarom u sredini, da se valjda objašnjava ljudima... Možeš to fino i rasklopit na dijelove. Ma, ludilo, jarane! I on ti još uđe u ordinaciju ko da je sve normala, ko da se ne radi o šupku nego ko da si trudnica, tako te gotivi...

― I kako si ti skonto da je peder?

― Pa šta će drugo bit, jarane, frajer očmaran čmarovima!

I tu se opet grohotom nasmijemo.

― Plus ― dodaje Suljo kroz smijeh ― kad priča o tvom šupku, jarane, ono, s respektom, ti instantno promjeniš mišljenje o šupcima! Kaže, šupak je prva stvar koja se razvije u majčinoj utrobi, moš mislit!

― To ispade da smo svi prvo bili šupci pa onda postali ljudi?!

Smijeh.

― Neki su, bogami, i ostali šupci, nisu nikad izrasli u insane!

― Pa dobro, to pojašnjava neke stvari: Tramp, Bakir, Čović, Dodik...

― A Šešelj i ekipa nisu čak ni šupci; oni su izrasli u hemoroide, ko ti tvoji: piju ti krv a ne moreš ih se kutarisat!

― E, dobro si. Sad sam i ja dobio respekt za šupke.

Smijemo se.

― Nego, šta ti reče taj tvoj doktor?

― Ma to ti je, maltene, normalno za nas koji žderemo kafe, pušimo i sjedimo na guzici po 12 sati dnevno. Svaki ti treći vozač, jarane, ima problema sa hemoroidima. I svaki drugi Bosanac. Zato nije ni čudo što smo nas dvojica Bosanci, vozimo, i sad ih obojica imamo! Nije nas moglo zaobić nikako. Naučiš se s njima živit, isto ko sa ženom: nekad je vaka, nekad naka, al ti je od vitalne važnosti da je paziš! To je to.

Sad već plačemo od šege, on sa jedne strane slušalice, ja se druge.

― Ja kad čujem tu riječ hemeroid odma mi naka asocijacija na one grčke bogove...

― Joj, nemoj mi Grka, imal većih šupaka od njih? Jesi gledo tekmu?

― Dobro, ba, majmune, ućeraš Grcima, daj mi broj telefona od tog tvog Aleksa Čmarnog.

― Kakog Čmarnog?

― Od tog Rusa.

― Kakog Rusa, bolan, idi fizišn, zajebajem se. Đe si vidio da se doktor za čmar zove Čmarni, i da je još uz to peder? Ako te fizišn bude moro poslat nekom šupku, garant se neće zvat Čmarni, ućerotisebi, joj, jesam te navuko, majko draga, ovo moram na fejsbuk stavit!

Umal nisam krhno telefon od zid. Navuče me šupak, i to moj rođeni!

Friday, June 2, 2017

"The Curious Case Of Benjamin Zec" - BEST EUROPEAN FICTION 2014

   Once upon a time, not long ago, in the mountainous Balkans, lived a boy. His name was Benjamin Zec, and some would say he was just an ordinary boy.

There was no tree around his little town that Benjamin had not climbed, like Tarzan. He was the best marble shooter on his street and an excellent second in the school's kilometer dash. The other boys in class respected him, as he was the best goal scorer on the soccer field, and the girls kept their eyes on him giggling because Benjamin did not hesitate to pinch bottoms or stick out his hand, as if yawning, to grab a barely formed breast. Perhaps this is why he often wore proud bruises under his big green eyes. 

Benjamin, the little devil, used to return from recess, cradling a T-shirt full of early cherries to his chest. Then he would eat them during class and throw pits at the teacher's pets sitting up front. Benjamin loved the smell of the woods and the earthy primrose buds more than any science lesson. Once, he even challenged the physics teacher with the insulting and bold statement that Newton had, in fact, been defecating under that famous tree and that no apple had fallen on his head, but that he, Newton, was inspired by seeing his poop succumb to the force of gravity! Benjamin said that the legend about the apple tree was a blatant fabrication anyway: apples don't just fall off trees like that. Besides, he added, the best ideas always come from relieving oneself in nature! The whole class laughed, and Benjamin, of course, got a D in physics. 

Yet, the covers and the smell of books always fascinated him. He would spend hours lying in tall grass or hiding in the tree canopy. Classrooms were suffocating walls—but in the countryside, surrounded by the thick shade of spruce and pine, he was free to turn into a hero of every adventure he read. His favorite book was "The Picture of Dorian Gray." The story was about a young man who sold his soul to remain forever young. He had rented a paperback edition from the library and did not intend to return it.

Yes, indeed, some would say that Benjamin Zec was just an ordinary boy. But then he decided to become a ladybug.

One time, you see, as he fell off the branch of a cherry tree, he lay spread out, one freckled cheek on the wet ground. His eyes were caught by the frosted grass through which a ladybug was slowly pacing. A ladybug is marvelous, he thought; it's never in a hurry, scrambling nonchalantly from one blade of grass to another as if surprised that its tiny weight is still sufficient to bend the tip of a blade of grass. Strange, he thought, how ladybugs seem to make their decisions at the spur of the moment and suddenly spread out their wings from under their black-spotted armor and fly off who knows where, taking your good luck with them.

He opened the palm of his hand, and the ladybug jumped onto his lifeline.

Benjamin Zec had always wanted to become an actor, to star in action movies or play a significant role on that famous American Broad­way... whatever that meant... But now, it seemed to him that becoming a ladybug would suffice. To be able to turn into one of these insects, like this one here, which was so delightfully walking over his palm—to grow wings and disappear, well, that would be something... Ladybug, ladybug, show me the way, he whispered the children's wish song. A bang burst through the back of his head at that very moment. The cosmos buzzed in his ears, pouring a cold silence down his forehead.

And Benjamin Zec was gone. 

Only a dull thud was left behind, brash and piercing, bouncing off the trees in the forest. The sound wandered through the neighboring villages and then was reduced to a faint echo, only noticed by birds, until it got lost forever. 

That hot summer day was the last anyone heard from the boy. Some kids from the neighborhood alleged that Benjamin had grown wings and that he did turn into a ladybug, for real, and had flown away. Others, however, kept faith in the prospect of his eventual return, believing that he would come back one day and organize nothing less than the most spectacular soccer tournament imaginable. 

Maybe Benjamin just got a little lost, wandering the surface of our little planet, and when he realized he had escaped his guards, he just seized the opportunity and ran like hell. People had bigger problems to worry about, so no one troubled themselves about Benjamin Zec for long. He couldn't play along. No great loss, that one. 

Years have passed, but did anyone still care about the mystery of Benjamin Zec? Perhaps only his swaybacked mother, who still watched the canopy of wild chestnut trees and dug up primroses with her bare hands. Time was dripping into the gutters of oblivion. Tick-tock, tick-tock, tick... Drop by drop, Benjamin's mother drank rainwater from the gutters and sadly chewed cherries every July.

The curious case of Benjamin Zec eventually became folklore—a fairy tale. And even though most people had forgotten the real boy behind the story, there were those to whom the question did occur now and again. They would conjure up their memories of him, if only for a moment or two—a freckled boy with green eyes who used to pinch the girls and holler like Tarzan while climbing trees—and so he became the ghost of the town, a myth recounted around shifting candlelight, a legend that was flying around on the black spots of ladybugs, a fathomless public secret that no line of inquiry could penetrate, a surreal remnant of a forgotten past. The only evidence of the boy's existence was a black and white photograph: he, Benjamin Zec, in pants torn at the knees and a threadbare sweatshirt, squinting at the sun from underneath an unkempt head of hair, with marbles in his hand. His mother kept that photo close to her heart, wandering the wide world to pull this memento out of her brassiere from time to time and shove into the face of oblivion a disheveled Benjamin Zec. 

People prayed to him for a good harvest and begged for forgiveness when a drought hit their fields as if worshiping some ancient pagan deity. When they told their children the story, they always began like so: Once upon a time, there was a boy... 

Some said that they recognized Benjamin Zec in America; he hadn’t become a fairy tale but a religious fanatic, had let his beard grow and had married a woman with dark and mysterious eyes. Others said, no, he was in a loony bin now! Another theory was that he had joined the US Marines in penance and was working as a landmine clearer in Iraq! Everybody knew something, but no one knew anything. Still, there was one grain of truth to the whole story: Benjamin Zec did end up in America. But, to complicate matters, Benjamin had no idea how or when he had ended up there! He didn’t remember a thing. All he knew was this: he’d appeared one day, on a stage, in a theater, in the middle of a Shakespeare play, wondering:

“To be or not to be?”

And he was...

He was on stage, on Broadway, and the audience was on its feet. They applauded Mr. Benjamin Zec for so long that he thought he would die of old age standing there, adored by his audience.

“Bravo! Bravooo!” the amazed masses shouted, throwing flowers at him.

No one knew that Benjamin didn’t know how he had come to be there, and he didn’t even know who or what he had been before his arrival. But he was ready as ever, simply accepting his role.

While enthusiastic crowds continued to cheer his name, Benjamin ushered toward a dressing room. On the way, he signed three autographs and absentmindedly nodded at a pushy pitch for a movie role as a Serbian war criminal. How did they learn his name, he wondered. Benjamin said nothing but glided through the crowd. There, in the wardrobe mirror, he stared at his freckled face. He stripped himself of Hamlet and rediscovered Benjamin Zec. He wondered how old this familiar yet unknown figure could be. Not more than twenty-five, he thought, pleased. Twenty-five! Oh, Benjamin Zec was delighted with the body he had found himself in possession of.

Proud of his manly facial fea­tures, strong chin, and piercing green eyes—whoever he was, he certainly deserved this new life of his. No question about that. It felt good to be grown-up and successful. He decided to go along with this adventure, to ignore the past he didn’t remember any­way, to be whomever he had to be, for the situation was already whatever it was.

After the show, a limo driver called him out familiarly, and Benjamin understood that this was his chauffeur. He treated Benjamin like an old friend, politely inquiring whether the opening was as successful as the year before. He drove Benjamin to a beautiful house, majestic with its Greek pillars and Gothic arches, facing the Atlantic Ocean.

Inside, the servants had already kindled a fire in the fireplace. They referred to him as “Mister Benjamin”. He replied in perfect English, though something told him that it wasn’t his first language. He could feel his tongue twisting and straining and words tumbling around in his mouth in a strange accent.

Benjamin decided to go through his house, looking through his stuff and hopefully finding clues about his past life. It was out of the question for him to ask his servants where he had come from and how long he had lived here! He didn’t want them to think he had lost his mind somewhere between slipping into and out of Mr. Hamlet’s skin. Benjamin felt they must have known him well, as they treated him with respect and a subtle touch of intimacy. 

The house was his; of course, he knew where everything was, but he didn’t have conscious memory of any of these familiar objects. Any emotional understanding of the things around him was distant and unfathomable. Even his portraits and photo albums were of no help: all of them showed a recent Benjamin, in the here and now, with the same dark hair, the exact spots around the eyes, and the matchless youth of his face. It seemed that he had never been younger than he was now. As if he had been born just like this, a twenty-five-year-old, and now was meeting himself for the first time. But how was it possible that he didn’t remember anything? How was it possible that there was nothing from his past of which he could grab hold? How did it come to be that he was playing Hamlet on Broadway just like that? Did he have any friends or family? A father? Mother? Where was he born? When was his birthday? Benjamin knew nothing. It was as though someone had just made him up, whole cloth. 

He looked at the photographs on the walls. The pictures were unflattering, he thought—they showed an arrogant man struggling to smile. Cold eyes followed his every move. And why did he have so many photographs hung around the house anyway? And they all seemed as if he took them yesterday. Even his painted portraits appeared completed just the day before as if the oils had managed to dry overnight.

Was he trying to tell himself something?

Well, yes, he realized almost immediately: 

I do not age!

Oh, how confused Mr. Benjamin Zec was just then... He had the face of eternal youth, like that Dorian Gray fellow! And that was another thing. The same way he had known Hamlet by heart, every line of this Dorian Gray had somehow been etched into his gestures, racing into his consciousness—equally inexplicable.

And that was nothing compared to the next miracle. 

Remembering Dorian Gray, Benjamin ran into the bedroom. The room was upstairs, the first on the left, and in the night-table drawer was a book—he knew it. So he opened the drawer. The book he found had a cracked, fragile cover and yellowing pages. And it wasn’t in English. But Benjamin knew how to read it, and the cover said: 

Oscar Wilde

The Picture of Dorian Gray

Benjamin quickly opened the first page and began to read uncontrollably. He un­derstood every word; they rushed rapidly through him, first ingratiatingly, warm, pleasant, and familiar, but then painfully, as though this strange language was piercing deeply into his soul. Benjamin felt like something was sawing his lungs in half, as though his ribs were closing in on his innards. He was going to faint. Pictures of his well-mannered smiles spun around him, and his pupils rolled under his fluttering eyelids. A deafening bang forced its way into the back of his head and hit his forehead.

Benjamin lost his balance and fell to the ground.

Bright light soon swallowed the darkness, and he found himself on stage.

“To be or not to be?” The audience applauded, and he bowed. He saw his face in the dressing room mirror. He wondered who he was and why he was there. His limo driver knocked on the door, identified himself as Benjamin’s chauffeur, and asked if he was ready to go home. Benjamin had a beautiful house with Greek pillars and Gothic arches. His portraits and photos hang from the walls. Benjamin looked at himself in the mir­ror and realized he wasn’t aging. Just like Dorian Gray! In the bedroom, he found a book by Oscar Wilde, opened it to the first page, and fainted.

He again found himself under the glaring spotlight when he opened his eyes. Again, To be or not to be! Oblivious to the nature of his predicament. Another standing ovation. He became reacquainted with his face in the dressing room. The figure in the mirror was somewhat familiar. His chauffeur drove him home to a splendid house overlooking the Atlantic Ocean. Benjamin looked at his reflection and realized that he didn’t age, just like the main character in the book. The Picture of Dorian Gray! He ran to his bedroom. Panting, he opened his night-table drawer and found a book by Oscar Wilde. He opened to the first page and was quickly comatose. 

When he recovered again, he saw the spotlight, the stage; he spoke Shakespeare’s famous words, the crowd was shouting his name, and it all happened as it did the first time, and the second, and who knows how many other times... It always started with him waking up on the stage and ended when he opened the first page of The Picture of Dorian Gray. Then, unconsciousness, and then from the beginning again and again.

Benjamin Zec felt like he was skipping transience, trapped in one point of the moment while staring helplessly at the vicious cycle of time. And he would have stayed there, in this parallel world, forever, if there hadn’t finally been one slight variation in his routine—hurrying upstairs, he stumbled, and something fell out of his pocket: a marble.

Next time, when Benjamin Zec ran through his usual loop and dashed upstairs to seek out Dorian Gray, he slipped on that marble and fell. And time skipped ahead of time, just like a stuck record player would skip the chorus and jump right into the third verse! Benjamin fell into his usual oblivion, but the light that welcomed him when he awoke this time wasn’t from a spotlight but a summer sun. He saw a vast green meadow and a single cherry tree in it. The fruit of the tree had a dark red color of blood, and its sweet flesh hung heavily with juice. Cherries that have no worms are no good, Benjamin thought. The tree was bursting with life, and its fragile branches swayed easily in the wind. Hints of cherry scent played across Benjamin's lips, and he licked them to carry off even the slightest trace of sugary stimulus.

Some people were digging close by a lone tree.

Benjamin wanted to pick some cherries. He extended his hand, but just at that moment, his fingers plucked a fruit from its branch, and the ground beneath his bare feet went as dry and loose as the interior of an hourglass. He fell. The soil pulled him down, devouring him in a single bite. He tried to hold on to the cherry tree, but, to his shock, he dragged it into the abyss. The terror of being buried alive shut his eyes fast.

When his consciousness got hold of a bit of light, Benjamin found himself on a pile of bones and grinning skulls, disfigured and broken: skeletons hugging each other in a heap. Benjamin held firmly to the cherry tree, which was now just a root attached to a tiny skeleton in the fetal position, like an umbilical cord. The shrunken bones were the bones of a boy. The skeleton's skull had a hole in the back and an even bigger one in the front, and between its teeth was gripped the seed from which the roots of the wild cherry tree sprang. 

And then, only then, did Benjamin Zec realize it was his skull! 

His teeth... 

His bones... 

His life... 

His death... 

His restless soul wandered around like a gypsy song. 

Benjamin looked around and found that he wasn't alone. Many other souls were down there, looking for their bones. He recognized some of the kids from school... There were also people from the neighboring village... And his physics teacher... And Benjamin's father too! And one of the neigh­bors... And then another... And many, many others... Many that he didn't even know... Quietly, obediently, they searched through this shrine abyss filled with skeletons. 

The dead came for their bones while the living above them exhumed a mass grave. Skeletons were placed sideways and with numbers. Benjamin Zec was number 25. His tagged bones were reconstructed by speechless people, gently, like the bones of a rare dinosaur. Soon, they were laid on the white sheet on the ground, showing a pale construction of a little Benjamin Zec. 

There he was: a little boy again. 

He was eating cherries and reading The picture of Dorian Gray when one of the soldiers violently yanked him down off the lowest branch of the cherry tree. As he fell to the ground, he felt a marble slipping out of his pocket; it got lost in the deep grass. The smell of grass wafted around him, and the soil was still wet. It calmed him down. He didn't want to think about his fear; he ignored the moment's agony. He watched the carefree ladybug whose tiny feet crossed his lifeline. 

As the Kalashnikov barrel rested at the back of boy’s head, he thought of Dorian Gray and his never-ending youth. He wanted to be an actor on Broadway, to have a personal driver and a house with great Greek pillars, Gothic arches, and a view of the ocean. Or if he could at least... if he could at least transform into this beautiful insect... and fly away... Ladybug, ladybug, show me the way, he hummed. 

At that moment, the ladybug spread its transparent wings and flew out of his open palm to fulfill the wish of Benjamin Zec. 

 


"Best European Fiction 2014". Published by Dalkey Archive Press. 

All rights reserved by Elvis Hadzic