4. i 5. jul – Kikinda, Narodna biblioteka “Jovan Popović”
6. i 7. jul – Beograd, Studentski park
Nađite nas na fejsu
Kikinda 7 promo video
Kratko s Gostom iznenađenja Vladimirom Arsenijevićem
Da li nailaziš na iznenađenja tokom pisanja?
Naravno. Pisanje se uglavnom i sastoji od iznenađenja i od namernih ili, naprotiv, krajnje nenamernih izneveravanja originalnih planova i namera, naročito ukoliko se čovek bavi Širim formama pri čemu je planiranje i razmišljanje unapred naprosto neizbežno. Međutim upravo taj proces izneveravanja jeste ono što je kod samog pisanja najuzbudljivije – trenutak kad se priča otrgne iz ruku onog koji je stvara i počne prakticno da piše sebe. Momenat u kom se pisac spram dela na kom radi oseća samo kao medijator a ne kao stvaralac najneobičniji je i za mene lično najneprocenjiviji u čitavoj toj kompleksnoj umetnosti.
Može li pisanje da pobedi dosadu?
Dugo mi se činilo da sam proces pisanja ne oplemenjuje već tek kasniji susret s rezultatom. Međutim, poslednjih godina zaista sam počeo da intenzivno uživam u samom procesu stvaranja. Bavim se temama koje od mene zahtevaju mnogo više istraživanja i saznavanja unapred nego ranije, kad sam uglavnom pisao o neposrednoj stvarnosti i direktno iz stomaka. Priča pred mene postavlja probleme i pitanja koje sa žarom rešavam i pri tom neprestano učim. Nikad mi nije dosadno.
Kratko s Martinom Felderom
Po čemu se pisac razlikuje od drugih ljudi?
Pisac veruje da kroz njegov rad ima smisla ponuditi ljudima umetničko iskustvo. Osim toga pisci su kao i svi ostali: pametni, zbunjeni, pravični, nepravedni, duhoviti, tmurni, privlačni, seksi. Ne biste ih čak prepoznali među ljudima u gužvi.
Ako bi imao/la zadatak da prodaješ knjige kratkih priča, kakva bi bila tvoja priča?
Argument prilikom prodaje knjige kratkih priča koji, uglavnom, završava posao, je: “Mnogi ljudi, koji nisu kupili ovu knjigu kratkih priča, su pomrli ili su pali sa slonova”.
Kratko s Kozminom Pertom
Gde počinje a gde završava pisanje?
Ne postoji nešto poput početka i kraja pisanja. Pisanje ima drevne početke i počinje svakim zasepnim pisanjem i, viđeno pri najbooljem svetlu, nikad* ne prestaje, ili, u nesrećnoj varijanti, može, eventualno, umreti sa mnom.
* Ovo “nikad” mora biti izračunato negde između sadašnjosti i Armagedona.
Da li je moguće vezati se za ličnost iz kratke priče?
Pa, sasvim sigurno mi se to može desiti, najpre zato što pišem samo o osobama za koje sam već nekako vezan, a zatim i zato što većina mojih literarnih maštanja nagoveštava promenu neshvaćenog života nekih sporednih likova.
Kratko s Vladimirom Arsenićem
Šta bi bio uspeh u pisanju?
Uspeh u pisanju je uvek mač sa dve oštrice. Po mom mišljenju najveći uspeh je kada vam neko potpuno nepoznat kaže da je ono što ste napisali strahovito uticalo na njega/nju. Nasuprot tome stoji varljivi uspeh u vidu književnih nagrada, priznanja, stipendija i ostalih drangulija koje čine “književni život”. Pisanje je krajnje intiman čin i za mene je uspeh kada svojim tekstom nekoga naterate na neku vrstu reakcije, odnosno promene, pri čemu vas niko ne tapše po ramenu. Naravno da je lepo primati nagrade jer one delom povećavaju čitanost, a ona je osobama koje pišu od presudnog značaja. Ipak, pravi uspeh, onaj u kojem je moguće naći uporište i koji je dugotrajan tiče se malih koraka, komunikacije u uskom krugu, uživanja među posvećenicima.
Postoje li priče koje pišeš da bi “ostale u fijoci” bez objavljivanja?
Naravno da postoje. Iako pisanje podrazumeva komunikaciju i zahteva čitaoca/e, ipak postoje priče, ne nužno lične i ne nužno neprikladne, koje moraju da ostanu u fijoci i da tamo otčame čuvenih Horacijevih sedam godina, a neke od njih i da nikada ne izađu iz nje. Odlažući priču u fijoku, pisac ne čini ništa protivno svom pozivu. Priča koja vredi, znamo iz mnogo primera, ne može biti sklonjena. Ona će kad-tad izbiti na videlo. Neke stvari jednostavno morate skloniti da bi bile vidljivije. Priče koje odložite u fijoku i zaboravite na njih očigledno nije trebalo ni da budu napisane.
Kratko s Edijem Matićem
Kako tvoji najbliži prijatelji gledaju na tvoje pisanje?
Ja imam nekoliko potpuno različitih krugova bliskih prijatelja.
Jedni od njih knjigu smatraju jako dobrim stalkom za reguliranje
visine televizora u regalu. Njih uopće ne zanima moje pisanje. Drugima
se poznavanje literature svodi na popis djela lektire njihove djece,
pa kako me ne pronalaze na tom popisu, smatraju da nisam posebno važan
kao autor. Ali postoje i oni treći koji sa zanimanjem i oduševljenjem
prate moje pisanje i ponosno to ističu gdje god stignu.
Da li je moguće vezati se za ličnost iz kratke priče?
Pa, kao autor se nemam potrebe više vezivati za ličnost iz kratke
priče, jer je ionako nastala na osnovu neke izmišljene ili stvarne
ličnosti koja se na neki način uvukla u mene.
Nadam se uvijek da se čitatelji mogu vezati za njih, da su ih dotakle
nekom karakternom osobinom ili prepoznatom situacijom u koju sam ih
kao autor uvalio. Ako se čitatelj zaista uspije u tako malom vremenu,
kolliko traje kratka priča, vezati za lik unutar nje, to bih smatrao
najvećim uspjehom te priče.
Kratko s Karlesom el Saurom
Imaš li neku preporuku za čitanje?
Nedavno sam pročitao “Prirodne istorije” od katalonskog pisca Joana Perucha i “Llefre de tu” majorkanskog pisca Biela Mesquide i preporučujem obe. Takođe, mislim da je Homerova Odiseja predivno ostvarenje.
Šta bi bio uspeh u pisanju?
Najpre, uspeh u komunikaciji pisca sa samim sobom. Zatim, komunikacija između pisca i čitaoca. Konačno, uspeh je potpun kada ova komunikacija dovodi do stvarnosti ispunjene vratima koja otvaraju iznenađenja.
Kratko s Boržom Bagunjom
Da li je pisanje prijatan ili mučan proces?
Mislim da nije ni jedno ni drugo. Nije prijatno, definitivno, jer pisanje uključuje sve što vi jeste. A sve znači strah, ludilo, neurotičnost i čak neku vrstu psihopatoloških trenutaka. Ono ne znači napredak u terapeutskom smislu, već pogoršanje, bar u nekim momentima procesa. Pisanje pretpostavlja istraživanje onog dela bića za koje nema mesta u svakodnevnom životu. I, zbog svega toga, postaje veoma intenzivan, fascinantan i, gotovo, nepodnošljiv proces. Dakle, ono nije ni mučno. Rekao bih da je ono neizbežno.
Da li je moguće vezati se za ličnost iz kratke priče?
Mario Vargas Ljosa je govorio da je Madame Bovari važnija u njegovom životu (ličnom životu) nego većina “stvarnih” ljudi. Potpuno se slažem sa tim. Postoji ubedljivost izmišljenih likova koju, obično, ne nalazite u stvarnim ljudima. Možda zato čitamo. Možda je razlika između izmišljenih likova i empirijskih ljudi u tome što se ovi drugi mnogo teže čitaju, to jest, razumevaju, dok izmišljeni likovi, uglavnom, ne troše vaše vreme, ne provode tri sata gledajući krabu na TV-u ili, bar, ne prenose vam svaki detalj iz tih tri sata. Izmišljeni likovi su egzistencijalno usredsređene verzije nas samih. Dakle, pitanje je: kada osetite da ste se vezali za izmišljni karakter, za šta ste se zaista vezali? Da li se osećate vezani za takvu vrstu obećavajuće smernosti postojanja? Ili za osećaj da ste u stanju da slično prepoznate u liku i, zahvaljujući tome, u sebi? Kakav god da je odgovor, važan razlog za pisanje i čitanje je upravo sledeći: zaljubiti se u i unutar samih likova.
Utiču li pohvale čitalaca na tvoj rad?
Voleo bih da mislim da ne utiču. Ili da na njega utiče samo ona vrsta čitaoca kakvog zapravo zamišljam da čita ono što pišem. Ali nisam siguran da takav čitalac postoji ili, ako postoji, da je to vrsta čitaoca koji čita moj rad. U svakom slučaju, pisac mora da bude spreman da bude zaboravljen, pogrešno shvaćen, loše ocenjen i neobjavljen, ako je potrebno. Drugim rečima, on ne sme da piše za već postojećeg čitaoca, već da stvara novog.
Špricer/gemišt ili pivo?
Pivo, pretpostavljam.
Kratko s Blažejom Đikovskim
Kako na tebe utiče kontakt s publikom?
Tokom susreta, osećam i tremu i uzbuđenje. Pre susreta, nisam siguran da se neradi o nekoj vrsti prevare – ljudi su u publici a ja sam na podijumu. Sasvim čudno!
Kako bi glasio kratak opis tvojih priča?
Kratke priče koje ću čitati su odgovori na pitanja koja sam postavio sebi pre nekog vremena: koliko malo je potrebno da biste dobili priču?
Stvaran život može biti smešan ili tragičan, zavisno gde stavite tačku.
Kratko s Rejčel Trezise
Kako tvoji najbliži prijatelji gledaju na tvoje pisanje?
Nadam se da im se ono sviđa, ali ih nikada ne dovodim u situaciju da mi namah odgovore, jer zaista me se ne tiče šta oni misle. Imamo kodeks ponašanja po kom ih ja u šali pitam – Da li je to nešto najbolje što ste pročitali? I, u šali oni kažu – Da. I ostavljamo stvari na tome.
Imaš li neku preporuku za čitanje?
Moji omiljeni autori u ovom trenutku su Danijel Vudrel i Eni Proulks. Moji favoriti, iako se oni stalno menjaju, su pisci koji su čvrsto ukorenjeni u svetovima o kojima pišu, a ti svetovi su negostoljubivi i puni sukoba kultura.
Kratko s Dragoslavom Barzut
Da li nailaziš na iznenađenja tokom pisanja?
Pisanje bi trebalo shvatiti kao posao. To je posao kojim se ja bavim, koji volim i koji radim najbolje što mogu. Da, to je vrlo kreativan posao. Radije bih izbegla iznenađenja u pisanju, iznenađenje je kod mene rezervisano za čitanje. Kad pišem volim da držim na oku svog pripovedača. Mada, moram da priznam, iznenađenja su uvek u igri.
Šta bi bio uspeh u pisanju?
Prikazati svet drugima drugačijim očima.
Kratko s Albom Dedeu
Kako na tebe utiče kontakt s publikom?
Prilično stidljiva pred publikom, i uvek se trudim da pronađem utočište u svojoj priči i zaboravim da ljudi slušaju. Inače, mislim da bih se osećala isuviše samosvesnom i moj glas bi drhtao.
Utiču li pohvale čitalaca na tvoj rad?
Imam nekoliko prijatelja kojima verujem i koji uvek čitaju moj rad i daju mi povratnu informaciju. Sa njima, kao i sa čitaocima uopšte, uvek sam više osetljiva na kritiku nego pohvale. To je razlog zbog kojeg retko čitam prikaze kritike.
Kratko sa Zoranom Bejkovskim
Špricer/gemišt ili pivo?
Špricer nikada ne pijem osim kad nema ničeg drugog (i ne cenim mešanje vina s vodom), pivo je OK, ali ja volim tekilu ili pelinkovac.
Kako na tebe utiče kontakt s publikom?
Nikada nisam imao kontakt s publikom. Imam tremu
Kratko sa Štefani Zurlije
Da li nailaziš na iznenađenja tokom pisanja?
Moje pisanje je prilično asocijativno i nije pravolinijsko, inače ne znam kako će se završiti priča, pa se često iznenadim dok pišem. Ponekad me, takođe, likovi iznenade, kao da sam mislila da ih znam, jer su moja konstrukcija, ali onda izgleda kao da oni ožive i imaju sopstvenu volju. Mislim da interesantan tekst sadrži iznenađenje, ne samo u neočekivanom zapletu, već i u svom jeziku i svojim različitim glasovima.
Može li pisanje da pobedi dosadu?
Postoji mnogo dobre literature o dosadi (na primer Čehov ili Pesoa) koja je savršena da se pobedi dosada, ali to ne znači da je ona nastala iz dosade. Ili možda dosada nije toliko negativana, ako nešto kreativno može da nastane iz nje. Ali ako je meni dosadno, ne počinjem da pišem, radije čitam, gledam filmove, šetam, putujem, a zatim ponovo pišem. Pisanje je usko povezano sa posmatranjem i promišljanjem onoga što nas okružuje, i to znači da sam, nekako, zainteresovana za to. Ako ne pišem duže vreme, nezadovoljna sam, pa može biti da je pisanje sredstvo za pobeđivanje dosade.
Kratko s Todorom Nikolovom Radevom
Možeš li da opišeš svoj radni prostor?
U nekoliko reči, moj radni prostor može biti svuda. Obično pišem kod kuće, okružena knjigama i noćnim zvucima, s čašom vina ili viskija. Ali, volim da pišem i u prirodi, u kafićima ili parku, ponekad čekajući u redu u poreskoj upravi. Šetnja, pronalaženje različitih mesta, posmatranje ljudi, hvatanje njihovih priča, sve je to deo pisanja.
Da li je pisanje prijatan ili mučan proces?
Stvarno je sjajno kad imaš dobru ideju i svoje likove osećaš kompletnim i živim. Ali može biti prilično zamorno ako ne možeš da pronađeš najbolji način da izraziš svoje ideje.
Kratko s Vesnom Tvrtković
Po čemu se pisac razlikuje od drugih ljudi?
U potrazi za inspiracijom, pisac mora da posmatra, čak i da bulji, prisluškuje i postavlja čudna pitanja. To sve je jako važno, ali izvor originalnih ideja nalazi se u njegovim snovima i podsvjesti. Za razliku od ostalih ljudi, pisac radi i dok spava.
Može li pisanje da pobedi dosadu?
Dosadno pisanje ne zaslužuje čitaoca.
Kratko s Urošem Sadekom
Da li je pisanje prijatan ili mučan proces?
Pisanje je istovremeno i prijatno i mučno. Mučno je zato što je, ako želiš biti u ravnoteži i miru sa sobom, neke stvari bolje ostaviti neartikulisanim i ne istraživati podsvest. S druge strane, zadovoljstvo je kada se pisanjem uobliči smislena celina i u priči možda otkrije neočekivana istina, poenta, kraj kojeg na početku pisanja nije bilo na vidiku. To je, u svakom slučaju, lični užitak koji se ne može porediti sa bilo kojim dionizijskim načinom uživanja.
Utiču li pohvale čitalaca na tvoj rad?
Pohvale imaju uticaj još pre nego se dogode, još kad su u latentnoj fazi postojanja. Sigurno da želim da moje pisanje bude dobro primljeno. Iako pokušavam da njihov uticaj svedem na minimum,teško je postići da pišem samo po svojim,unutrašnjim kriterijumima.Kada postoje pohvale, postoje i velika očekivanja. A to je opterećujuće.
Kratko sa Sinišom Soćaninom
Postoje li priče koje pišeš da bi “ostale u fijoci” bez objavljivanja?
Kad bih pisao priču sa namerom da je nikom ne pokažem, to bi morala biti priča sa takvim značenjem da je pitanje da li bi to onda uopste bila priča. Ne posedujem takvu fijoku, ili bar nikad neću priznati.
Šta možeš da kažeš o tvom čitanju u Kikindi?
Čitanje sopstvenih priča naglas pred drugima podseća me na egzibicionističko samozadovoljavanje. Zbog toga uvek biram najbolje priče kojima, pritom, odgovara ta vrsta saopštavanja i trudim se da ih čitam tako da i publika može da uživa.
Kratko s Varadi Nađ Palom
Praviš li ispravke već objavljenih priča?
Da i ne – ne verujem da je objavljivanje značajan momenat u životu teksta, smrt autora svakako jeste. Zapravo imam sistem za verzije s malim i velikim verzijama. Glavna verzija se uvećava svaki put kad napišem ili potpuno preradim nešto – tj. od 0 do 1 tokom prve formulacije. Manja verzija uvećava se svaki put kad izmenim tekst – jednom smatran završenim – uvođenjem značajne promene, poput promene pasusa. Dakle, u mojoj bazi podataka Distanco 3.2 znači da je to treći pokušaj da se napiše “Distanco” ideja, jer tekst ima dve značajne promene. Neke 2.x ili 3.x verzije već objavljenih tekstova bivaju (ponovo) objavljene pod različitim naslovima, pošto urednici, u stvari, ne vole sadržaj istog naslova, već sasvim drugačijeg – za šta sigurno imaju svoje razloge. Na ovaj način mogu da pratim moje tekstove.
Imaš li neko pitanje za nas?
(“mi” znači organizatori, višenacionalna zajednica pozvanih i literate uopšte …)
Ne zaista.
Kratko s Lanom Bastašić
Da li je pisanje prijatan ili mučan proces?
Mislim da odgovor leži negdje između ponuđena dva. Ako se pisac previše zadrži u jednom ili u drugom onda je doveden u zabludu. Kad osjetiš da ti stvaranje ide suviše lako ili, pak, ako ti se čini da se mučiš sa svakom novom rečenicom, onda nešto radiš pogrešno. Mi ovdje stvaramo književnost, a tu ništa nije crno-bijelo, stoga treba biti oprezan.
Šta bi bio uspeh u pisanju?
Uspjeh počinje kad dovršiš rukopis, nasloniš se u svojoj stolici (sva iskrivljena i bolne kičme) i otvoriš bocu vina. Uspjeh se zaokružuje kada neki stranac kojeg nikada nećeš upoznati pročita taj rukopis i osjeti da neki mali dio njega ili nje viđe nikada neće biti isti. Sve drugo su prolazne tričarije.
Kratko s Ivanom Dimitrovim
Kako tvoji najbliži prijatelji gledaju na tvoje pisanje?
Srećni su što sam našao način da se izrazim i mislim da im se dopadaju stvari koje pišem.
Postoje li priče koje pišeš da bi “ostale u fioci” bez objavljivanja?
Mislim da autor mora biti veoma oprezan s pričama koje objavljuje. Uvek se suočavamo sa donošenjem odluke – ostaviti priču u fioci, ili ne.
Kratko s Janom Sojkom
Kako tvoji najbliži prijatelji gledaju na tvoje pisanje?
Moji prijatelji su često i moji prvi čitaoci, kao i prvi kritičari. Naravno, ne uzimam svako njihovo viđenje kao svoje, ali njihov podstrek mi umnogome pomaže i ukazuje na ono što kao autor ne vidim.
Utiču li pohvale čitalaca na tvoj rad?
A pohvala čitaoca? Ona je draga, ali i vrlo nezgodna, pa se trudim da ne padnem previše pod njen uticaj. U umetnosti se posebno često potvrđivalo da mišljenje većine ne mora biti ispravno.
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July 4th & 5th – Kikinda, National Library “Jovan Popović”
July 6th & 7th – Belgrade, Students Park (Studentski park)
Find us on Facebook
Kikinda 7 promo video
Short with the Surprise Guest Vladimir Arsenijević
Do you find yourself surprised while writing?
Of course. Writing is mostly composed of surprises and of deliberate or, rather, utterly unintentional betrayal of original plans and intentions, especially if the person is concerned with the broader forms when all the planning and thinking ahead is simply unavoidable. But it is this process of betrayal is what is most exciting in the writing – the moment when the stories break away from the hands of those who create and begin, practically, quite to write themselves. The moment in which the writer starts to feel himself merely as a mediator and not as the creator, is the most unusual and, for me personally, the most valuable throughout this complex art.
Is it possible to defeat boredom by writing?
It long seemed to me that the very process of writing does not refine, and that only later encounter with the result does. However, last year I really started to enjoy the intense process of creation. I deal with issues that require a lot of research and learning in advance, now more than before when I mostly wrote about the very real and directly from the stomach. The story raises issues and questions in front of me which I solve with a passion and thereby constantly learn. I never get bored.
Short with Martin Felder
What makes a writer different from other people?
A writer believes that it makes sense to offer people an artistic experience through her or his work. Apart from that, she or he is like everybody: intelligent, confused, just, unfair, humorous, shady, adorable, sexy. You wouldn’t even recognize her or him in a crowd of people.
If given a task to sell books of short stories, what would your story be?
an argument to sell a book of short stories, that normally works quite well, is: “a lot of people, who didn’t buy this book of short stories, died or fell from elephants”.
Short with Cosmin Perta
Where is the start and where the end of writing?
There is no such thing as the start and the end of writing. The writing begins immemorial times and starts with every single piece of writing and, in the best perspective, never* ends, or, in the unfortunate way may as well eventually end with me.
*this “never” event must be calculated sometime between now and Armageddon
Is it possible to find yourself attached to a person from a short story?
Well, for me it is quite sure this may happen; firstly because I only write about persons I’m already attached somehow, and secondly because most of my literary fantasies imply changing the misunderstood life of some secondary characters.
Short with Vladimir Arsenić
What would be a success in writing?
Success in writing is always a double-edged sword. In my opinion the greatest success is when someone completely unknown says that what you have written has tremendously influenced him/her. Oposed to that stands a deceptive success in a form of literary prizes, awards, scholarships and other knick-knack that make the “literary life”. Writing is very intimate act, and for me the success is when your text make someone to react, and to make changes, while there’s no one belouds you. Of course, it’s nice to receive the awards because, partly, they increase scope, and it is crutial to people who write. However, real success, the one in which it is possible to find a shelter, and that is long lasting is made of small steps in a narrow circle of communication, and of enjoyment among devotees.
Are there any stories that you write merely to be left to “rest in the drawer” without publishing?
Of course there are. Although writing involves communication and requires the reader/s, there are still stories, not necessarily personal and not necessarily inappropriate, you must retain in the drawer to languish for famous Horatio’s seven years, and some of them never leave the drawer. Laying the story side, the writer does not do anything in contrary to his vocation. The story that is worth, we know from many examples, it can not be removed. It will eventually break out on the scene. Some things you just have to hide in order to be visible. The stories layed aside in the drawer and forget about them, apparently, didn’t even supposed to be written.
Short with Edi Matić
How do your closest friends to look at your writing?
I have several completely different circles of close friends. some of them consider books as a very good stand for the regulation position of the TV on a shelf. They are not at all interested in my writing. The other ones have knowledge of literature based and reduced to the list of reading of their children, and since I can not be found on this list, I am considered to be of no particular importancy as the author. But there are the third ones that follow my writing with great interest and enthusiasm and are to point that out wherever they can.
Is it possible to find yourself attached to a person from a short story?
Well, as the author, I have no need to be attached to a person from a short story, because the connection is already established on the basis of some imagined or real personality that somehow crawled into me.
I always hope that readers can be bind to them, that they were touched with some character traits and some familiar situation in which I have put them as the author. If the reader really succeeds in binding to a figure within a short story in so little a time as the duration of one – we’re done! I would consider that the greatest success of the story.
Short with Carles el Saure
Do you have any recommendation for reading?
I lattely have read “The natural histories” by Catalan writer Joan Perucho and “Llefre de tu” by Majorcan writter Biel Mesquida and I recommend both. I also feel that Homer’s Odissey is a wonderful novelty.
What would be a success in writing?
In a first stage, success is communication between the writer and himself. Next to that, communication between the writer and the reader. Finally, success is completed when this communication leads to a reality full of surprising doors.
Short with Borja Bagunyà
Is writing a pleasant or a tedious process?
It’s neither of both, I think. Not pleasant, definitively, because writing involves everything you are. And everything means fear, madness, neurotic and even kind-of-psychopathic moments. It doesn’t mean getting better in a therapeutic sense – at least at some points of the process-, but getting sick. Writing supposes exploring that part of one self that has no place in everyday life. And by so doing, it becomes an extremely intense, fascinating and almost unbearable process. So it’s not tedious either. I’d say it’s inevitable.
Is it possible to find yourself attached to a person from a short story?
Mario Vargas Llosa used to say that Madame Bovary was more important in his life (personal life) than lots of “actual” people. I totally agree with that. There is an intensity in fictional characters you don’t usually find in actual people. Maybe that’s why we read. Maybe the difference between fictional characters and empirical people is that the latter are more difficult to read, that is, to make comprehensible, whereas fictional characters don’t usually waste your time, don’t spend three hours watching crab in the TV or, at least, don’t tell you every detail of those three hours. Fictional characters are a existentially concentrated versions of ourselves. So the question is: when you feel attached to a character, ¿what are you really being attached to? ¿Do you feel attached to the promise of this kind of concentrated existence? ¿Or to the feeling you are able to recognize in the character and, thanks to that, in yourself? Whichever the answer is, an important reason to write and to read is precisely that: to fell with, and within, the characters.
Is your work influenced by the praise of readers?
I’d like to think it’s not. Or that’s it’s only influenced by the kind of reader I imagine actually reads what I write. But I’m not sure that reader exists or, in case it does, that is the kind of reader that reads my work. In any case, a writer must be ready to be forgotten, misunderstood, underrated and unpublished, if needed. In other words, he must not write for the already existent reader, but to create a new one.
Spritzer or beer?
Beer, I guess.
Short with Blazej Dzikowski
How are you affected by contact with the audience?
During a meet, I feel both shame and excitement. Before a meet, I’mnot sure it isn’t some kind of a fraud that they are in the audience and I’m on the podium… it’s awkward!
What would a brief description of your story be like?
The short stories I’m going to read are answers to the question I asked myself some time ago: how little do you need to get a story?
Real life can be hilarious or tragic, depends on where you put the period.
Short with Rachel Trezise
How do your closest friends look at your writing?
I hope they like it but I don’t ever put them on the spot by asking them outright because really what they think is none of my business. We have a code of conduct where jokingly I ask ‘Is it the best thing you’ve ever read?’ And jokingly they say, ‘Yes.’ And we leave it at that.
Do you have any recommendation for reading?
My favourite authors at the moment are Daniel Woodrell and Annie Proulx. My favourites, though they change all the time, tend to be writers who are firmly rooted in the worlds that they write about, and those worlds tend to be inhospitable and full of cultural conflict.
Short with Dragoslava Barzut
Do you find yourself surprised while writing?
Writing should be understood as a business. It’s a job that I do, that I love and that I do the best I can. Yes, this is a very creative job. I prefer to avoid surprises in writing, the surprise within me is reserved for reading. When I write I like to keep an eye on my narrator. Although, I must confess, surprises are always in the game.
What would be a success in writing?
Showing the world to oders with a different eye.
Short with Alba Dedeu
How are you affected by contact with the audience?
I’m rather shy in front of an audience, and I always try to take refuge in my own story and forget the people listening. Otherwise I think I would feel too self-conscious and my voice would tremble.
Is your work influenced by the praise of readers?
I have a few trustworthy friends who always read my work and give me feedback. With them, and with readers in general, I’m always more sensitive to criticism than to praise. That’s the reason I seldom read any reviews.
Short with Zoran Bejkovski
Spritzer or beer?
I never drink spritzer, save when there’s nothing else (and I don’t appreciate mixing vine with water), beer is OK, but I like tequila or vermouth.
How are you affected by contact with the audience?
I have never had contact with the audience. I have stage fright.
Short with Stefanie Sourlier
Do you find yourself surprised while writing?
My writing is quite assoziative and not linear, normally I don’t know how a story will end, so I often find myself surprised while writing. Sometimes also the characters surprise me, like if I thought I know them, because they are my construction, but then they seem to become alive and have their own will. I think an interesting text contains surprise, not just in a surprising plot, but in its language and in its different voices.
Is it possible to defeat boredom by writing?
There exists a lot of great literature about boredom (think about for example Chekhov or Pessoa) which is perfect to defeat boredom, but this doesn’t mean that it became from boredom. Or maybe boredom is not so negative, if something creative can resolve from it. But if I’m bored, I don’t begin to write, I rather read, watch a movie, go for a walk, travel, and then write again. Writing has a lot to do with observation and reflection what is around me, so it means that I’m somehow interested about it. If I’m not writing for a long time, I’ll get dissatisfied, so maybe writing is a medium to defeat boredom.
Short with Todora Nikolova Radeva
Can you describe your workspace?
In a few words: my workplace could be everywhere. I usually write at home, surrounded by books and night noises, over a glass of wine or whiskey. But I also love to write outdoors, in cafes or in the park, sometimes while waiting in a queue at the tax office. Walking around, observing people, finding different places and capturing their stories: all that is part of the writing.
Is writing is a pleasant or a tedious process?
It is really great when you come up with a good idea and feel your characters completed and alive. And it could be quite tedious if you can`t find the best way to express these ideas.
Short with Vesna Tvrtković
What makes a writer different from other people?
In the search for inspiration, the writer must observe, even stare, eavesdrop and ask awkward questions. All this is very important, but the source of original ideas is in his dreams and subconscious. Unlike other people, the writer works while sleeping.
Is it possible to defeat boredom by writing?
Boring writing doesn’t deserve a reader.
Short with Uroš Sadek
Is writing a pleasant or a tedious process?
Writing is both pleasant and tedious. It is tedious because if you want to be in balance and peace with yourself, some things are better left inarticulate and do not explore the subconscious. On the other hand, the pleasure is when the writing shapes a meaningful whole and when the unexpected truth is reveled in a story, the point, the end that was not in sight at the beginning of writing. It is, in any case, the personal enjoyment that can not be compared with any Dionysian way of enjoyment.
Is your work influenced by the praise of readers?
Compliments have an impact even before they happen, existing still in the latent phase. Certainly, I want my writing to be well received. While trying to reduce the impact of praise to a minimum, it is difficult to achieve writing that reflects only my personal, inner criterion. When there are praise, there are great expectations, as well. And that is burdensome.
Short with Siniša Soćanin
Are there any stories that you write merely to be left to “rest in the drawer” without publishing?
To write a story with the intention of not showing it to anybody, it would have to be a story with such meaning, that it would be questionable whether it’s a story at all. I do not own such a drawer, or at least I will never admit it.
What can you say about your reading in Kikinda?
Reading my own stories aloud in front of other people reminds me of exhibitionist masturbation. So I always choose the best stories, the ones that fit that kind of communication, and try to read them in such a way that the audience can enjoy them, too.
Short with VÁRADI NAGY Pál
Do you make corrections of already published stories?
Yes and no – I don’t believe publishing to be a significant moment in the life of a text, the death of the author is much more like it. Actually I have a versioning system with major and minor versions. Major version gets incremented every time I write or completely rewrite something – ie. from 0 to 1 during the first formulation. Minor version gets incremented every time I edit the text – once thought to be finished — introducing a significant change, like changing a paragraph. So in my database Distanco 3.2 means it is the third attempt to write the “Distanco” idea, the text having two significant changes. Some 2.x or 3.x versions of already published texts get (re)published under different titles, since editors don’t really like same-title but radically-different contents – they must have their reasons. This way I can keep track of my writings.
Do you have a question for us? (“us” meaning the organizers, the multinational collective invited, literators in general…)
Not really.
Short with Lana Bastašić
Is writing a pleasant or a tedious process?
I think the answer lies somewhere between the two offered. If a writer stays too long in either of the states, he entered in a fallacy. When you feel that you create too easy or, on the other hand, if you think you are tormented with every new sentence, then something you do is wrong. We are creating literature, and nothing is either black or white, so be careful.
What would be a success in writing?
Success begins when you finish the manuscript, lay your back in your chair (all distorted and with painful spine) and open a bottle of wine. Success is engird when a stranger whom you will never be acquainted with reads the handwriting and feels that a small portion of him or her will never be the same again. Everything else is transitory trifles.
Short with Ivan Dimitrov
How do your closest friends look at your writing?
They are happy that I found way to express myself and I think they like the things I’m writing.
Are there any stories that you write merely to be left to “rest in the drawer” without publishing?
I think that the author must be very careful with the stories he is publishing. So it always comes to the decision whether to leave the story in the drawer or not.
Short wit Jan Sojka
How do your closest friends look at your writing?
My friends are often my first readers, and first critics. Of course, I am not taking their views as my own, but their encouragement helps me greatly, and points at what I, as the author, can’t see.
Is your work influenced by the praise of readers?
Huh, the praise of readers? It is dear, but very tricky too, so I try not to fall under its influence too much. It was the arts that, particularly often, confirmed that the opinion of the majority may not be the right thing.
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