Global Journal of Human Social Science, G: Linguistics and Education, Volume 22 Issue 9

toward the unexpected, is the best salvation from the banal,” says Urošević at one point). Here is the entire poem “Childhood”: Thermometers, dictionaries, alarm clocks ringing, mother-of-pearl boxes dolls and oranges. Glass vials filled with insects zeppelins, angels, Turkish delights and rhinos. Peddlers of colorful lollipops islands with hidden treasure and old picture postcards. Expeditions, parrots, a world closed in a marble, watermelon lanterns, shells and butterflies. Natives and volcanos, carriages and bats, evening lamps under arbors and a war – coming ever closer. “As far as catalogization is concerned, I enjoy it, it’s true,” Vlada Urošević says. “I can’t explain why. Simply, the enumeration and placing those objects one next to the other is for my enjoyment that might be visual. But I enjoy the objects, the tactile experience with them. Especially the rare, unusual objects. Some objects are unusual, which come from distant countries, which belonged to other cultures. It is all connected to my sense of the miraculous, of wonder. ” 24 24 В . Јанковски , Огледало на загатката (conversations with Vlada Urošević), op.cit., p. 78. So, the author links enumeration as a visual act (present in many other poems besides the mentioned one, “Childhood”) with visual art. Throughout the entire poetic output of Vlada Urošević, there are reminiscences (explicit or implicit) of painters with whom he has his own, unconventional dialogue. For example, in the poem “Paleography of the Dream” ( Diving Bell ), we can sense traces of the atmosphere of De Chirico’s paintings: “There are such dreams in which / you walk the empty city squares. / A monument stands in the middle of the square. / You run the smooth stairs...” Giorgio de Chirico is not mentioned here, but in the poem “A Riddle of the Afternoon” ( Indiscriminate Laboratory ), there is an homage to this painter in the motto. Apart from De Chirico, Urošević’s imagination museum also contains: Hieronymus Bosch, Pieter Brueghel, Vincent van Gogh, Marc Chagall (eponymous sonnets from the cycle “Canvases,” The Invisible Land ), Hiroshi Nakamura, Max Ernst and again H. Bosch ( Indiscriminate Laboratory ). As a kind of a counterpart of the museum, in Urošević’s poetry (in numerous poems), there is the presence of the library, the literary museum in which a whole series of unique names from literary history gain a significant place: from Homer and Shakespeare – to Baudelaire and Borges, and from Konstantin Miladinov and Kosta Racin – to Blaže Koneski and Mateja Matevski . 25 Urošević is a scenographer and a director of numerous scenes in his verses. Beside the connection with the theatrical play, these events can also connect to the narrative of the film art (critics, among other things, have established a relation between Urošević’s poetry and the oniric poetics of the cult director Fellini). Scenery in the poetic discourse (theatrical and film shots, but also the production, collage and other techniques) indicates not only the ludic principle, and the poetics of “estrangement,” but also the aspect of the narrative in poetry. Thus the appearance of characters; through Urošević’s verses, a multitude of constant characters appear – especially children and women, dreamers and fantasts; as well as mythological creatures (Minotaur, Dionysius, Pythia, Argonauts, etc.) and fairy tale creatures (Sinbad the Sailor, Scheherazade, princesses, magicians), the alchemical King and Queen and others, but also unique creations of the author, such as: Mister Mysterious Case, Mannequin in the Landscape, The Green Spirit of the Park, The Air Diver, The Great Hunter, The God of The triad: museum-library-theatre, illustrative of the “places of memory” – places in which the images of history, culture, and experience are stored, in the poetry (as well as in the prose) of Urošević, has the status of the city as a product of a specific civilizational model, as a cosmogony act of ordering the world, a transition from chaos to cosmos. All together are parabolas for an inevitable parallel reality. Touched by the magical wand of the poet, the library, the museum, and the theatre become sites of new urban mythology: “The library is a ship that sinks” (the poem “Library,” Indiscriminate Laboratory ), the mythical Minotaur, “half bull, half man” is a museum piece to which “two elderly ladies (...) offer some grass”, while “the tourists take photos ( “The Minotaur”, The Dreamer and Emptiness ), and below the theatre there are catacombs in which “a whole storehouse of bombs has remained!” (“Panicky Theatre”, Indiscriminate Laboratory ). Yet, in the museums, “metals stand in which / the splendor of the distant fire without sun still burns / and the King and Queen stand still / offering smiles to each other” (“A Poem of Museums,” A Mannequin in the Landscape ), while, after the fire in the Library of Alexandria” “the night printer continues to work / printing dark books with letters of phosphorus” (“The Library of Alexandria,” Secret Gold ). The parallel between the alchemical and the creative process in the mentioned poems suggests, after all, the faith of the poet in the eternity of art (museums, libraries, theatre). 25 Konstantin Miladinov, Kosta Racin, Blaže Koneski and Mateja Matevski are Macedonian poets. © 2022 Global Journals Volume XXII Issue IX Version I 30 ( ) Global Journal of Human Social Science - Year 2022 G Poetry as Playfulness and as Riddle (On the Poetry of Vlada Urošević)