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{\fhimajor\f31502\fbidi \froman\fcharset238\fprq2{\*\panose 02040503050406030204}Cambria;}{\fbimajor\f31503\fbidi \froman\fcharset238\fprq2{\*\panose 02020603050405020304}Times New Roman{\*\falt  Times};}
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{\fhiminor\f31506\fbidi \fswiss\fcharset238\fprq2{\*\panose 020f0502020204030204}Calibri{\*\falt Arial};}{\fbiminor\f31507\fbidi \froman\fcharset238\fprq2{\*\panose 02020603050405020304}Times New Roman{\*\falt  Times};}
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{\f43\fbidi \froman\fcharset162\fprq2 Times New Roman Tur{\*\falt  Times};}{\f44\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew){\*\falt  Times};}{\f45\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic){\*\falt  Times};}
{\f46\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic{\*\falt  Times};}{\f47\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese){\*\falt  Times};}{\f381\fbidi \froman\fcharset0\fprq2 Cambria Math;}
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{\f387\fbidi \froman\fcharset163\fprq2 Cambria Math (Vietnamese);}{\f411\fbidi \fswiss\fcharset0\fprq2 Calibri{\*\falt Arial};}{\f410\fbidi \fswiss\fcharset204\fprq2 Calibri Cyr{\*\falt Arial};}
{\f412\fbidi \fswiss\fcharset161\fprq2 Calibri Greek{\*\falt Arial};}{\f413\fbidi \fswiss\fcharset162\fprq2 Calibri Tur{\*\falt Arial};}{\f416\fbidi \fswiss\fcharset186\fprq2 Calibri Baltic{\*\falt Arial};}
{\f417\fbidi \fswiss\fcharset163\fprq2 Calibri (Vietnamese){\*\falt Arial};}{\flomajor\f31510\fbidi \froman\fcharset0\fprq2 Times New Roman{\*\falt  Times};}{\flomajor\f31509\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr{\*\falt  Times};}
{\flomajor\f31511\fbidi \froman\fcharset161\fprq2 Times New Roman Greek{\*\falt  Times};}{\flomajor\f31512\fbidi \froman\fcharset162\fprq2 Times New Roman Tur{\*\falt  Times};}
{\flomajor\f31513\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew){\*\falt  Times};}{\flomajor\f31514\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic){\*\falt  Times};}
{\flomajor\f31515\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic{\*\falt  Times};}{\flomajor\f31516\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese){\*\falt  Times};}
{\fdbmajor\f31520\fbidi \froman\fcharset0\fprq2 Times New Roman{\*\falt  Times};}{\fdbmajor\f31519\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr{\*\falt  Times};}
{\fdbmajor\f31521\fbidi \froman\fcharset161\fprq2 Times New Roman Greek{\*\falt  Times};}{\fdbmajor\f31522\fbidi \froman\fcharset162\fprq2 Times New Roman Tur{\*\falt  Times};}
{\fdbmajor\f31523\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew){\*\falt  Times};}{\fdbmajor\f31524\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic){\*\falt  Times};}
{\fdbmajor\f31525\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic{\*\falt  Times};}{\fdbmajor\f31526\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese){\*\falt  Times};}{\fhimajor\f31530\fbidi \froman\fcharset0\fprq2 Cambria;}
{\fhimajor\f31529\fbidi \froman\fcharset204\fprq2 Cambria Cyr;}{\fhimajor\f31531\fbidi \froman\fcharset161\fprq2 Cambria Greek;}{\fhimajor\f31532\fbidi \froman\fcharset162\fprq2 Cambria Tur;}
{\fhimajor\f31535\fbidi \froman\fcharset186\fprq2 Cambria Baltic;}{\fhimajor\f31536\fbidi \froman\fcharset163\fprq2 Cambria (Vietnamese);}{\fbimajor\f31540\fbidi \froman\fcharset0\fprq2 Times New Roman{\*\falt  Times};}
{\fbimajor\f31539\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr{\*\falt  Times};}{\fbimajor\f31541\fbidi \froman\fcharset161\fprq2 Times New Roman Greek{\*\falt  Times};}
{\fbimajor\f31542\fbidi \froman\fcharset162\fprq2 Times New Roman Tur{\*\falt  Times};}{\fbimajor\f31543\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew){\*\falt  Times};}
{\fbimajor\f31544\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic){\*\falt  Times};}{\fbimajor\f31545\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic{\*\falt  Times};}
{\fbimajor\f31546\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese){\*\falt  Times};}{\flominor\f31550\fbidi \froman\fcharset0\fprq2 Times New Roman{\*\falt  Times};}
{\flominor\f31549\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr{\*\falt  Times};}{\flominor\f31551\fbidi \froman\fcharset161\fprq2 Times New Roman Greek{\*\falt  Times};}
{\flominor\f31552\fbidi \froman\fcharset162\fprq2 Times New Roman Tur{\*\falt  Times};}{\flominor\f31553\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew){\*\falt  Times};}
{\flominor\f31554\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic){\*\falt  Times};}{\flominor\f31555\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic{\*\falt  Times};}
{\flominor\f31556\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese){\*\falt  Times};}{\fdbminor\f31560\fbidi \froman\fcharset0\fprq2 Times New Roman{\*\falt  Times};}
{\fdbminor\f31559\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr{\*\falt  Times};}{\fdbminor\f31561\fbidi \froman\fcharset161\fprq2 Times New Roman Greek{\*\falt  Times};}
{\fdbminor\f31562\fbidi \froman\fcharset162\fprq2 Times New Roman Tur{\*\falt  Times};}{\fdbminor\f31563\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew){\*\falt  Times};}
{\fdbminor\f31564\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic){\*\falt  Times};}{\fdbminor\f31565\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic{\*\falt  Times};}
{\fdbminor\f31566\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese){\*\falt  Times};}{\fhiminor\f31570\fbidi \fswiss\fcharset0\fprq2 Calibri{\*\falt Arial};}{\fhiminor\f31569\fbidi \fswiss\fcharset204\fprq2 Calibri Cyr{\*\falt Arial};}
{\fhiminor\f31571\fbidi \fswiss\fcharset161\fprq2 Calibri Greek{\*\falt Arial};}{\fhiminor\f31572\fbidi \fswiss\fcharset162\fprq2 Calibri Tur{\*\falt Arial};}{\fhiminor\f31575\fbidi \fswiss\fcharset186\fprq2 Calibri Baltic{\*\falt Arial};}
{\fhiminor\f31576\fbidi \fswiss\fcharset163\fprq2 Calibri (Vietnamese){\*\falt Arial};}{\fbiminor\f31580\fbidi \froman\fcharset0\fprq2 Times New Roman{\*\falt  Times};}{\fbiminor\f31579\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr{\*\falt  Times};}
{\fbiminor\f31581\fbidi \froman\fcharset161\fprq2 Times New Roman Greek{\*\falt  Times};}{\fbiminor\f31582\fbidi \froman\fcharset162\fprq2 Times New Roman Tur{\*\falt  Times};}
{\fbiminor\f31583\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew){\*\falt  Times};}{\fbiminor\f31584\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic){\*\falt  Times};}
{\fbiminor\f31585\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic{\*\falt  Times};}{\fbiminor\f31586\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese){\*\falt  Times};}}{\colortbl;\red0\green0\blue0;\red0\green0\blue255;
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\rtlch\fcs1 \ab\af0\afs28 \ltrch\fcs0 \b\fs28\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid1917762 Po\'e9zia p\'edsan\'e1 \'9eenami
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\b\lang1051\langfe1029\langnp1051\insrsid16393617\charrsid1917762  J\'e1na Smreka 2011}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid1917762 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid16393617\charrsid1917762 
\par }\pard \ltrpar\ql \li0\ri-468\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin-468\lin0\itap0\pararsid1917762 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14812738 Semin\'e1r otvoril v }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid14812738\charrsid1917762 Univerzitnej kni\'9enic}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14812738 i}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid14812738\charrsid1917762  v\~Bratislave d\'f2a 5. septembra 2011}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14812738  p}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid7688050 rezident festivalu J\'e1na Smreka Milan Richter}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid6109198\charrsid1917762 . Po\'e8as viac ako trojhodinovej }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid14812738 rozpravy}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid6109198\charrsid1917762  vyst\'fapili slovensk\'e9 aj zahrani\'e8n\'e9 \'fa\'e8astn\'ed\'e8ky festivalu. }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid7688050 Medzi popredn\'e9 osobnosti semin\'e1ra patrila \'e8}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid2823465\charrsid1917762 esk\'e1 poetka Jana \'8atroblov\'e1, laure\'e1
tka Ceny J\'e1na Smreka }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14812738 za }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid7688050 rok }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid2823465\charrsid1917762 2011. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid6109198\charrsid1917762 Slovensk\'e9 poetky reprezentovali Anna Ondrejkov\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid2823465\charrsid1917762 , }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14812738 Mila Haugov\'e1, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid2823465\charrsid1917762 
Stanislava Chrob\'e1kov\'e1 Repar, Etela Farka\'9aov\'e1, M\'e1ria B\'e1torov\'e1, Ivica Ruttkayov\'e1, Judita Ka\'9a\'9aovicov\'e1, Hana Ko\'9akov\'e1, Zlata Matl\'e1kov\'e1 a\~Dana }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid14812738 Podrack\'e1, ktor\'e1 podujatie moderovala}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid2823465\charrsid1917762 . Zo zahrani\'e8ia vyst\'fapili Mariko Sumikura a\~No}{\rtlch\fcs1 
\af41 \ltrch\fcs0 \f41\lang1051\langfe1029\langnp1051\insrsid2823465\charrsid1917762 riko Mizusaki z\~Japonska, Tone H\'f8dneb\'f8 z\~N\'f3rska, Corina Cooper z\~Rumunska a\~tureck\'e1 poetka Beste Sakalli zo Severn\'e9ho Cypru.}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14825487\charrsid1917762  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid1917762\charrsid1917762 Tematick\'e9 okruhy boli rozvrhnut\'e9 do \'9atyroch okruhov: P\'edsanie ako\~kumul
\'e1cia \'e8asu v\~liter\'e1rnom priestore, p\'edsanie ako spove\'ef a\~p\'fa\'9d, p\'edsanie ako virtu\'e1lne zrkadlo a p\'edsanie ako vy\'9eiaren\'e1 sila Eros & Tanatos. Ka\'9ed\'e1 autorka ilustrovala svoje vyst\'fapenie b\'e1s\'f2ou. }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid7688050 Prin\'e1\'9aame \'faryvky z\~vyst\'fapen}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14812738 ia}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid7688050  Jany \'8atroblovej a niektor\'fdch slovensk\'fdch poetiek. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid1917762\charrsid1917762 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12413986 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid2908364 Dana Podrack\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid6109198 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid2908364\charrsid1917762 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 {\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 Anna Ondrejkov\'e1}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 \'8eijeme tajne}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035  
\par }\pard\plain \ltrpar\s15\ql \li0\ri0\sl240\slmult0\widctlpar\brdrb\brdrs\brdrw15\brsp20 \wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 
\fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 Anna Ondrejkov\'e1 vydala 8 b\'e1snick\'fdch zbierok. Jej najnov\'9aia zbierka, ktor\'e1 vy\'9ala minul
\'fd rok, m\'e1 n\'e1zov Izolda: sny, listy Tristanovi. Anka Ondrejkov\'e1 patr\'ed ku klenotom slovenskej  poetickej sc\'e9ny. Venuje sa aj divadlu \endash  ako here\'e8ka, dramaturgi\'e8ka a autorka textov. \'da\'e8
inkuje ako performerka. Okrem toho ilustruje, tvor\'ed kol\'e1\'9ee a\~grafiky. Pracuje ako knihovn\'ed\'e8ka v\~Liptovskom Mikul\'e1\'9ai, \'9eije v\~ne\'efalekom Bobrovci. Jej po\'e9zia je ako ve\'e8ne sa hojaca nezahojite\'ben\'e1 rana, l\'e1
ska na pokra\'e8ovanie, spev v\~pustom lese, svetlo v\~hlbo\'e8ine t\'fa\'9eby.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018  
\par }\pard \ltrpar\s15\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid6768150 \'8eijeme tajne}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018     }{\rtlch\fcs1 \ab\ai\af0\afs20 \ltrch\fcs0 \b\i\fs20\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid13322325 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 Vo svete, ktor\'fd pon\'ed\'9eil b\'e1snictvo na s\'fakromn\'fa psychoterapiu a\~vyplnenie vo\'ben\'e9ho \'e8asu (\'84ak\'e9ho m\'e1te kon\'ed\'e8ka,\'93 p\'fd
taj\'fa sa ma, trpezlivo a l\'e1skavo), ktor\'fd si vy\'9eaduje len nie\'e8o \'beahk\'e9 a\~nech to preboha nesiahne do h\'e5bky a nech netrv\'e1 dlho.
\par Vo svete, kde l\'e1ska ost\'e1va utajen\'e1 a\~stravuje n\'e1s ako div\'fd ohe\'f2, kde\~smr\'9d sa z\'e1merne nespomenie. 
\par Odchovan\'ed na m\'fdtoch a\~balad\'e1ch. Prerast\'e1me tento priestor: mrza\'e8ia n\'e1s jeho tesn\'e9 steny, alebo ho zmu\'e8en\'ed roztv\'e1rame? Najmlad\'9aej otcovej sestre, \'e8o umrela na srdce ako tridsa\'9dro\'e8n\'e1, slobodn\'e1, n\'e1hlivo 
\'9aili do truhly dlh\'e9 biele \'9aaty so zap\'ednan\'edm na chrbte, \'9aaty pre mladuchu. 
\par V\'9edy to bolo o\~l\'e1ske a\~o\~smrti, o\~smrti a\~o\~l\'e1ske.
\par Patr\'edme svetu, ktor\'fd n\'e1s nepotrebuje, ktor\'e9mu sme na smiech.
\par A\~my sme si vyvolili to, \'e8o sme.
\par Stali sme sa: u\'9e to nie sme my, sme l\'e1ska, sme pozna\'e8en\'ed smr\'9dou. Sme viac ako my, sme \'fapln\'ed.
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12413986 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 \af0 \ltrch\fcs0 
\ul\lang1051\langfe1029\langnp1051\insrsid12458018 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid2823465\charrsid15741630 Anna Ondrejkov\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid2823465\charrsid15741630 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid3692003\charrsid15741630 Secret Lives}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12850189\charrsid15741630  }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12850189\charrsid15741630 (}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 P}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12850189\charrsid15741630 relo\'9eila Daniela Richterov\'e1)}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3692003\charrsid15741630  
\par We live in a world, which has downgraded poetry to a private psychoterapeutic exercise or a way of killing time \endash 
 one that should not dare to go indepth and go on for too long. In a world where love is hidden and where we deliberately avoid talking about death. Are we scared of this world\rquote s tight walls or are we desperately trying to unclench from them? 

\par Life has always been about love and death, death and love. 
\par We are part of a world which does not need us, which laughs into our faces. 
\par We are responsible for being who we are.
\par }\pard\plain \ltrpar\s15\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid7688050 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 
\af0 \ltrch\fcs0 \insrsid7688050 
\par Anna Ondrejkov\'e1
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\insrsid7688050\charrsid7688050 Tristan
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid7688050 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid7688050\charrsid7688050 tlej\'face snov\'e9 nevesty: hlava v\~\'e8ervenom: medov\'e9 
\par hodv\'e1by: medov\'e9 z\'e1voje: med na vie\'e8kach,
\par Tristan,
\par med na tvojich vie\'e8kach,
\par ktor\'fd ma \'9eiv\'ed: div\'fd med na tvojich
\par vie\'e8kach, na \'fastach: medov\'e9
\par \'9akvrny v\~pam\'e4ti:
\par zab\'fadanie?
\par noci:
\par \'fazka poste\'be, moja:
\par \'fazka smr\'9d, moja:
\par tmavo\'e8erven\'e9 nevesty, v\~t\'e0n\'ed a tme: zrel\'e9, hladn\'e9: v\~snehu 
\par po biele lono: v\~snehu driemaj\'fa hady, sladk\'e9 zimn\'e9 hady: v\~hniezdach, z\~neskroten\'e9ho:
\par to zrel\'e9, hladn\'e9, striehnuce ticho
\par 
\par keby som mohla, plakala by som:
\par keby som mohla: plakala by som
\par krv
\par 
\par }\pard\plain \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 
\ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 Jana \'8atroblov\'e1}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 : Chvenie a pevn\'fd tvar }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 
\par }\pard \ltrpar\ql \li0\ri1134\nowidctlpar\brdrb\brdrs\brdrw15\brsp20 \wrapdefault\faauto\rin1134\lin0\itap0\pararsid12458018 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 Jana \'8atroblov\'e1 je svetozn\'e1
ma pra\'9esk\'e1 poetka, prekladate\'beka a\~milovn\'ed\'e8ka vn\'fatorn\'fdch priestorov, vidite\'ben\'fdch zn\'fatra navonok. Jej sedemn\'e1sta b\'e1snick\'e1 zbierka vy\'9ala minul\'fd rok pod n\'e1zvom }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 \'dazkost na kost}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035 . Po\'e8as normaliz\'e1cie, zhruba desa\'9d rokov, nemohla publikova\'9d a
\~bola prepusten\'e1 z\~pr\'e1ce, konkr\'e9tne z\~vydavate\'bestva Albatros. Anga\'9euje sa aj v ekologick\'fdch aktivit\'e1ch, zameran\'fdch na estetiku krajiny a ochranu zvierat. Viac razy sme spolu hovorili o\~chven\'ed a\~v\~mojom s\'fa
kromnom priestore patr\'ed Jana \'8atroblov\'e1 do kozmickej te\'f3rie str\'fan, kde je jadro sveta ver\'9aovan\'e9.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\insrsid12458018 Jana \'8atroblov\'e1: }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\insrsid12458018\charrsid6768150 Chvenie a pevn\'fd tvar}{\rtlch\fcs1 \ab\af0\afs20 \ltrch\fcs0 \b\fs20\insrsid12458018  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid13322325 
\par }\pard\plain \ltrpar\s15\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 
\af0 \ltrch\fcs0 \insrsid12458018\charrsid12458018 Moje obl\'edben\'e1 b\'e1sn\'ed\'f8ka Marina Cv\'ectajevov\'e1 o sob\'ec r\'e1da prohla\'9aovala, \'9ee nen\'ed b\'e1sn\'ed\'f8ka, ale b\'e1sn\'edk. Odm\'edtala t\'edm d\'eclen\'ed poezie na mu\'9e
skou a na \'9eenskou. Ale jednou se vyj\'e1d\'f8ila o Ann\'ec Achmatovov\'e9, kter\'e9 si jinak velmi v\'e1\'9eila, \'9ee v ml\'e1d\'ed psala ver\'9ae, \'84jako kdy\'9e na ni p\'f8i tom hled\'ed mu\'9e\'93. Vlastn\'ec tak potvrdila existenci p\'f8inejmen
\'9a\'edm jednoho typu \'9eensk\'e9 poezie \endash  t\'e9 nep\'f8\'edli\'9a \'9e\'e1douc\'ed. Ps\'e1t ver\'9ae, jako kdy\'9e na m\'ec p\'f8i tom hled\'ed mu\'9e, znamen\'e1 b\'fdt lehce koketn\'ed, upejpav\'e1, rozechv\'ecl\'e1, mo\'9en\'e1 i sebel\'ed
tostiv\'e1. \'8eensk\'e9 autorky se tomuto postoji n\'eckdy br\'e1n\'ed z\'e1m\'ecrnou drsnost\'ed a\'9e hrubost\'ed, ok\'e1zal\'fdm sd\'eclov\'e1n\'edm intimit, potla\'e8ov\'e1n\'edm \'9eenskosti u\'9e i jakoby mimo literaturu. Spolu s rozechv\'eclost
\'ed pak zatracuj\'ed i samo chv\'ecn\'ed, kter\'e9 \endash  jak v\'edme se sp\'f8\'edzn\'ecnou du\'9a\'ed Danou Podrackou - p\'f9sob\'ed v podzemn\'edch chodb\'e1ch poezie a kter\'e9ho se m\'f9j dal\'9a\'ed obl\'edben\'fd b\'e1sn\'edk, Milan R\'fa
fus, dovol\'e1val cit\'e1tem z Vladim\'edra Holana: \'84Co je bez chv\'ecn\'ed, nen\'ed pevn\'e9.\'93 
\par V rozechv\'eclosti se t\'f8ese ruka, ale }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\insrsid12458018\charrsid12458018 chv\'ecn\'ed}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12458018\charrsid12458018  znamen\'e1 n\'ecco jin\'e9ho ne\'9e rozechv\'eclost; chv\'ecn\'ed
 je citlivost p\'f8i vysok\'e9m nap\'ect\'ed, napjat\'e1 struna nebo telefonn\'ed dr\'e1t, kter\'fd pak p\'f8en\'e1\'9a\'ed sd\'eclen\'ed (nebo chcete-li poselstv\'ed) a\'9e mimo n\'e1\'9a dosah. Chv\'ecn\'ed zkr\'e1tka zp\'f9sobuje ten efekt, \'9ee \'84
mot\'fdl zde pohne k\'f8\'eddlem a n\'eckde nad mo\'f8em se zved\'e1 v\'edtr\'93, a zat\'edmco p\'f8i rozechv\'eclosti, tedy rozt\'f8esenosti ruky se ver\'9a a v\'9aechno rozpad\'e1, chv\'ecn\'ed doprov\'e1z\'ed pevn\'fd tvar. A trouf\'e1m si tvrdit, \'9e
e pr\'e1v\'ec pevn\'fd tvar, \'fasil\'ed o pevn\'fd tvar je to, co spojuje opravdov\'e9 b\'e1sn\'edky jak \'9eensk\'e9, tak mu\'9esk\'e9. Odli\'9anosti mezi nimi jsou v\'ect\'9ainou podru\'9en\'e9, ne v\'ect\'9a\'ed ne\'9e mezi jednotliv\'fdmi b\'e1snick
\'fdmi individualitami bez rozd\'edlu pohlav\'ed, podstatn\'e1 je ta schopnost chv\'ecn\'ed a nap\'ect\'ed.
\par Je\'9at\'ec n\'ecco je v poezii ov\'9aem nepostradateln\'e9: tajemstv\'ed. Omlouv\'e1m se za u\'9eit\'ed tak opot\'f8ebovan\'e9ho slova, snad je opot\'f8ebovan\'e9 i t\'edm, jak je pot\'f8ebn\'e9. Tajemstv\'ed m\'e1 r\'f9zn\'e9 zp\'f9soby projevu, n\'ec
kdy je v\'9audyp\'f8\'edtomn\'e9, jindy jeho plachou p\'f8\'edtomnost odhal\'ed t\'f8eba z\'e1mlka nebo n\'e1znak. A je jedno tajemstv\'ed, jeho\'9e vn\'edm\'e1n\'ed p\'f8ece jen odli\'9auje, a to v\'fdrazn\'ec, \'9eensk\'e9 autorky od b\'e1sn\'edk\'f9
 opa\'e8n\'e9ho pohlav\'ed. Pokud bereme b\'e1snickou v\'fdpov\'ec\'ef jako snahu vytv\'e1\'f8et sv\'f9j vnit\'f8n\'ed obraz, nepochybujeme, \'9ee mo\'9enost pro\'9eitku nejenom po\'e8\'edt, ale p\'f8iv\'e9st na sv\'ect d\'edt\'ec do tohoto obrazu pronik
\'e1. Tajemstv\'ed tkv\'ed v tom, \'9ee \'9eena se nemus\'ed st\'e1t zaslou\'9eilou matkou, \'9ee i kdy\'9e j\'ed nen\'ed d\'e1no pro\'9eitek uskute\'e8nit, posta\'e8\'ed jeho }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\insrsid12458018\charrsid12458018 mo\'9e
nost}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12458018\charrsid12458018 , aby n\'eckde n\'ecjak poznamenal jej\'ed ver\'9a a aby se b\'e1sn\'ed\'f8ka \endash  navzdory Marin\'ec Cv\'ectajevov\'e9 tedy nakonec \'f8ekn\'ecme b\'e1sn\'ed\'f8ka \endash  ve vnit
\'f8n\'edm obraze vymezila nikoli snad v\'fdhradn\'ec v\'f9\'e8i mu\'9e\'f9m, zato v\'f9\'e8i \'9eivotu.
\par Jist\'ec nemus\'edm zd\'f9raz\'f2ovat, \'9ee v\'9aechno, o \'e8em tu byla \'f8e\'e8, se v poezii hodn\'e9 toho jm\'e9na odehr\'e1v\'e1 v pouh\'e9m podtextu - podv\'ecdom\'ec a nez\'f8eteln\'ec.
\par 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12413986 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 \af0 \ltrch\fcs0 
\ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Jana \'8atroblov\'e1}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 : Chvenie a pevn\'fd tvar}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630  
\par }\pard\plain \ltrpar\s15\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12413986 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 \ab\af0 
\ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 Vibration and a firm form }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 (Prelo\'9eila Heather Trebatick\'e1)
\par One of my favourite poetesses Marina Tsvetaeva liked to declare that she was not a poetess, but a poet. She was thus rejecting the division of poetry into that written by men and that by women. But once she said of Anna Akhmatova, for whom she otherwise h
ad great respect, that in her youth she wrote verses "as if a man was watching her doing it". She was therefore actually confirming the existence of at least one kind of female poetry \endash 
 a kind that is hardly desirable. To write verse as if a man is watching
 me, means to be a little coquettish, coy, agitated, maybe also self-pitying. Women writers sometimes defend themselves against this attitude by being deliberately rude or even coarse, ostentatiously imparting intimacies and suppressing femininity, even i
t might seem outside literature. Along with the agitation they also lose the very vibration that \endash  as we know with a kindred spirit, Dana Podracka \endash 
 operates in the underground passages of poetry and which another of my favourite poets, Milan R\'fafus, referred to with a quotation from Vladim\'edr Holan: "What does not vibrate is not firm." With agitation the hand trembles, but }{\rtlch\fcs1 \ai\af0 
\ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 vibration}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
 means something different from agitation; vibration is the sensitivity under high voltage, a taut string or telephone line, that
 then relays a message to somewhere out of our reach. Vibration in short has the following effect: "here a butterfly flutters its wings and somewhere over the sea the wind rises", and while agitation, causing the hand to tremble, makes verse and everythin
g
 else fall apart, vibration is accompanied by a firm form. And I venture to claim that it is just this firm form, the endeavour to achieve a firm form, is what unites real poets, both female and male. The differences between them are for the most part sec
ondary, no greater than those between different poetic individualities without regard to gender; the important thing is that ability to vibrate and remain taut. 
\par There is, however, something else that is essential in poetry: mystery. I apologise for using s
uch a worn-out word, maybe it is worn-out partly because it is so necessary.  Mystery has various modes of expression, sometimes it is omnipresent, at other times its shy presence is revealed for instance by a pause or hint. And there is one mystery whose
 
perception does after all distinguish, and that empathically, women authors from poets of the opposite gender. So far as we take poetic expression as the endeavour to create one's inner image, no doubt the possibility of not only partaking in its concepti
on, but actually bringing a child into the world does influence this image. The mystery lies in the fact that a woman need not actually become a mother, that even if it is not given to her to experience this pleasure, the very }{\rtlch\fcs1 \ai\af0 
\ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 possibility}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630  is sometimes enoug
h for it to influence her poetry in some way and for the poetess \endash  in spite of Marina Tsvetaeva we shall in the end say "poetess" \endash 
 to see her inner image as different, not perhaps exclusively in relation to men, but nevertheless in relation to life. 
\par No doubt I need not stress that in poetry worthy of that name everything I have been talking about takes place purely in between the lines \endash  subconsciously and indistinctly.
\par }\pard\plain \ltrpar\ql \li0\ri0\nowidctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid12413986 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 EURYDICE }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 (from }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 Performance on Lucidity}{\rtlch\fcs1 \af0\afs26 \ltrch\fcs0 \fs26\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 )}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par Tanslated by Ewald Osers
\par 
\par From the faint flickering flames of memories
\par beyond the river of oblivion
\par (from the soul\'b4s underworld)
\par led out into the light. By day.
\par He (oh, that roguish smile!)
\par would even
\par rob Charon of his coin. Now he made you
\par walk
\par blindfold (What is? And what is not?)
\par with him, behind him...
\par 
\par Pity - he no longer looks back!
\par 
\par But you are in the light,
\par once more in this life!
\par 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 {\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid6768150 Stanislava Chrob\'e1kov\'e1 Repar:
}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018  }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid8667552 \'84My vanishing point\'93 alebo Prepisovanie sa do po\'e9zie}{\rtlch\fcs1 
\ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12458018 
\par }\pard \ltrpar\ql \li0\ri72\sb140\widctlpar\brdrb\brdrs\brdrw15\brsp20 \tx9720\tx10620\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin72\lin0\itap0\pararsid12458018 {\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid6768150 Stanislava Chrob\'e1kov\'e1 Repar}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018  je slovensk\'e1 a\~slovinsk\'e1 spisovate\'beka, poetka, prekladate\'be
ka, vydavate\'beka, liter\'e1rne vedky\'f2a a\~vydavate\'beka. O}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 d r. 2001 \'9eije v}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018 \~}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 \'bcub\'beane}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 
, kde pracuje najm\'e4 pre vydavate\'bestvo KUD Apokalipsa}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 . }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 Je }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 docentka literat\'fary na Univerzite v\~Novej Gorici}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 .}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid7081033  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 Kni\'9ene }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 
vydala}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997  10 kn\'edh po\'e9zie, pr\'f3zy, esej\'ed a\~vedeck\'fdch \'9at\'fadi\'ed, naposledy \endash  dvojjazy\'e8ne \endash  autofikciu }{\rtlch\fcs1 \ai\af0 
\ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 Slovenka na kvadr\'e1}{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018 t}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997  a\~b\'e1snick\'fa zbierku }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 Dotakniti se prazne sredine}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997  (2010). }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 Tento rok}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997  jej na Slovensku vy}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 jde}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997  nov\'e1 b\'e1snick\'e1 zbierka }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 Ticho\'9eitia}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997 .}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018  Text, ktor\'fd si teraz vypo\'e8ujete, pova\'9eujem  za jeden z najv\'fdsti\'9enej\'9a\'edch}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid16474035  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 vstupov do problematiky \'9eensk\'e9ho p\'edsania. }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid10516997  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\tx9720\tx10620\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 {\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid6768150 
Stanislava Chrob\'e1kov\'e1 Repar}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid6768150 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid6768150 \'84My vanishing point
\'93 alebo Prepisovanie sa do po\'e9zie}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12458018  
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 U\'9e koncept \'e8i z\'e1mer tohto semin\'e1ra d\'e1va tu\'9ai\'9d, \'9ee \'84m\'e0tvy bod\'93 v\~rodov\'fdch ot\'e1zkach neexistuje. V\'9edy sa n\'e1
jdu autori a autorky, myslitelia a\~myslite\'beky, ktor\'fdch probl\'e9m rodovej podmienenosti v\~literat\'fare znepokojuje a\~oslovuje. [...] Vo svojom pr\'edspevku budem hovori\'9d }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 za seba}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018  a\~o\~ve\'bekej t\'e9me toho poviem }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 m\'e1lo}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 . To prv\'e9 s\'favis\'ed s r\'f4znorodos\'9dou a\~nes\'famerate\'benos\'9d
ou jednotliv\'fdch \'9eivotn\'fdch aj spisovate\'besk\'fdch pr\'edbehov (okrem problematizovania tzv. kolekt\'edvneho \'9eenstva v literat\'fare tu mierim aj na pestr\'e9 zast\'fapenie poet\'edk a\~autorsk\'fdch \'84polit\'edk\'93 zosobnen\'fdch v\~\'fa
\'e8astn\'ed\'e8kach tohto semin\'e1ra). O to druh\'e9 sa postaral \'e8asov\'fd a\~priestorov\'fd limit, ktor\'fd som okam\'9eite rozhodnut\'e1 poru\'9ai\'9d, aj ke\'ef nie celkom ob\'eds\'9d: \'9eeny, \'9eenskos\'9d v\'f4bec, boli uml\'e8iavan\'e9 cel
\'e9 tis\'edcro\'e8ia, a\~teraz by sme im chceli odmera\'9d 5 min\'fat a\~2000 znakov, aby prehovorili o\~sprostredkovali svoj \'9da\'9eko uchopite\'ben\'fd pr\'edbeh?! Pr\'edbeh, ktor\'fd, navy\'9ae, v\'9edy bude ma\'9d svoj rub a\~svoje l\'ed
ce... svoju osvetlen\'fa/manifestovan\'fa a\~svoju temn\'fa/skryt\'fa polohu?! 
\par Na druhej strane, \'e8\'edm dlh\'9aie sa zaober\'e1m \'84p\'edsan\'edm \'9eien\'93, presnej\'9aie \endash  vz\'9dahom feministick\'fdch te\'f3ri\'ed k\~p\'edsaniu \'9eien... a e\'9ate presnej\'9aie \endash  \'e8\'edm dlh\'9aie som poetkou, spisovate\'be
kou, autorkou, ktor\'e1 sa prepisuje do literat\'fary a\~ktor\'e1 je literat\'farou prepisovan\'e1, t\'fdm menej m\'e1m chu\'9d vysvet\'beova\'9d svoju poz\'edciu v\~kult\'fare \endash  teda to, \'e8o pova\'9eujem za samozrejm\'e9. Ka\'9ed\'e1
 sloboda, aj t\'e1 rodov\'e1, aj t\'e1 tvoriv\'e1 (sloboda vyjadrovania, sloboda v\'fdrazu), je nedelite\'ben\'e1 a\~bezpodmiene\'e8n\'e1, alebo, povedan\'e9 inak a osobnej\'9aie: p\'ed\'9aem v\'fdlu\'e8ne sebou, svoj\'edm individualizovan\'fdm \'9e
enstvom, (preva\'9ene) \'9eensk\'fdm \'e8lovekom vo mne, a\~jazyk, v\~ktorom sa pritom pohybujem, je jazykom \'9eivotn\'fdch ambivalenci\'ed a\~protichodn\'fdch v\'fdznamov. Na jednej strane apofatick\'fd, ob\'e8as dokonca eskapistick\'fd (sama sa v \'f2
om str\'e1cam a\~znova nach\'e1dzam), na druhej strane (s)tvorite\'besk\'fd (sebapotvrdzuj\'faci a\~seba-sa-presahuj\'faci) \endash  oboje s\'fa\'e8asne a vo vz\'e1jomnej podmienenosti. 
\par Moja \'e8oraz v\'e4\'e8\'9aia nechu\'9d p\'fa\'9a\'9da\'9d sa do podobn\'fdch diskusi\'ed na dan\'fa t\'e9mu pramen\'ed najm\'e4 z toho, \'9ee u\'9e cel\'e9 desa\'9dro\'e8ia sa mi priamo pred o\'e8ami odv\'edja star\'e1 zn\'e1ma pravda, pod\'bea ktorej 
\'84vinn\'edkom\'93 (t\'fdm podozrievan\'fdm, spolo\'e8ensky delegitimizovan\'fdm, odsudzovan\'fdm \'e8i vytes\'f2ovan\'fdm) je obvykle ten, kto na ur\'e8it\'fd (spolo\'e8ensk\'fd) neduh \'e8i probl\'e9m pouk\'e1\'9ee, a\~nie ten, kto sa o\'f2 pri\'e8
inil, kto ho \'9eivil svoj\'edm postojom a konan\'edm alebo zahl\'e1dzal vlastn\'fdm (povedzme psycho-soci\'e1lnym alebo kult\'farno-symbolick\'fdm) \'84telom\'93, \'e8i u\'9e vedome alebo nevedomky. Patriarch\'e1lna spolo\'e8nos\'9d (v \'e8oraz pevnej
\'9aom spojenectve s\~glob\'e1lnym neoliberalizmom, ako ho dnes zak\'fa\'9aame), ktor\'e1 u\'9e polstoro\'e8ia ignoruje tzv. druh\'fa vlnu feminizmu a\~jej s\'fa\'e8asn\'e9 pokra\'e8ovanie v\~postfeminizme, obr\'e1tila feministick\'fa kartu tak, \'9ee po
d kateg\'f3riu \'84p\'edsanie \'9eien\'93 subsumovala tie najslaboduchej\'9aie v\'fdkony a\~v\'fdtvory niektor\'fdch mojich, priznajme si, o\~dos\'9d pragmatickej\'9a\'edch rodov\'fdch (!) koleg\'fd\'f2. \'8eien (ale aj mu\'9eov pod \'84gynonymami\'93 
\'e8i bez nich), ktor\'e9 vo svojom neraz a\'9e mechanickom p\'edsan\'ed (\'9da\'9eko hovori\'9d o\~auton\'f3mnom tvorivom geste) usilovne kop\'edruj\'fa najhrub\'9aie genderov\'e9 stereotypy a\~ktor\'e9 svojou \'e8i u\'9e sentiment\'e1lnou, alebo \'9a
kandal\'f3zne pohor\'9auj\'facou produkciou \'faspe\'9ane prehlbuj\'fa polariz\'e1ciu rodov\'fdch rol\'ed \endash  jednak zvn\'fatra rodov\'fdch ident\'edt, a\~jednak medzi nimi navz\'e1jom. Dekon\'9atrukcia rodov\'fdch stereotypov, estetick\'e1
 subverzia, politick\'e1 korektnos\'9d pre ne ost\'e1vaj\'fa nezn\'e1mymi, nepotrebn\'fdmi pojmami. Je pre m\'f2a nielen demotivuj\'face, ale aj vcelku z\'e1bavn\'e9 pozorova\'9d, ako ich na\'9aa plytk\'e1 a povrchn\'e1 spolo\'e8nos\'9d, vr\'e1
tane intelektu\'e1lnych, liter\'e1rnych \'e8i medi\'e1lnych kruhov, za to odme\'f2uje a\~ako ich men\'e1 neraz za\'9eiaria tam, kam sa slu\'9an\'e1, to znamen\'e1 }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 status quo}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018  }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 problematizuj\'faca}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018  spisovate\'beka takmer nedostane. [...]
\par Mus\'ed by\'9d teda jasn\'e9: svoje sebavymedzenie vo\'e8i podobn\'fdm autorsk\'fdm \'84veli\'e8in\'e1m\'93 na liter\'e1rnom poli a\~z\'e1rove\'f2 tvrd\'e9 ohradenie (sa) vo\'e8i pr\'edpadn\'e9mu us\'favs\'9da\'9e\'f2ovaniu mojej tvorby s\~ich s\'e9
riovou produkciou pova\'9eujem za k\'be\'fa\'e8ov\'e9 a prvorad\'e9. Za nemenej k\'be\'fa\'e8ov\'e9 v\'9aak pova\'9eujem upozornenie na sk\'f4r zlomyse\'ben\'e9, ne\'9e neznal\'e9 stototo\'9e\'f2ovanie lacn\'e9ho braku (tzv. \'9eensk\'fdch rom\'e1nov \'e8
i\~b\'e1sn\'ed utopen\'fdch v\~lyrizuj\'facej \'84krasore\'e8i\'93 ) s\~}{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 \'9eensk\'fdm p\'edsan\'edm}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018  alebo }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 literat\'farou p\'edsanou \'9eenami}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 , ktor\'e9ho sme \'e8asto svedkami pr\'e1ve tam (a u t\'fdch), kde (a ktor\'ed) v\~sebe \'9eivia jednak rodov\'fa z\'e1\'9a\'9d, a jednak hlbok\'e9 nepochopenie s\'fa\'e8asnej kult\'fa
rnej a civiliza\'e8nej paradigmy vo v\'9aetk\'fdch jej aspektoch \endash  t\'fdch posil\'f2uj\'facich aj t\'fdch ochromuj\'facich, ba dokonca ohrozuj\'facich \'beudsk\'fd druh a\~jeho pre\'9eitie. Preto sme \endash  t\'ed rodovo osvietenej\'9a\'ed
 a osvietenej\'9aie, ktor\'ed sme si vedom\'ed pasc\'ed patriarch\'e1lneho dedi\'e8stva \endash  obvykle n\'faten\'ed siahnu\'9d po franc\'fazkom prepise tohto pojmu, t. j. }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 \'e9criture f\'e9minine}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 , ktor\'fd \endash  t\'fdm \'9ee sa via\'9ee na franc\'fa
zsky postlacanovsk\'fd feminizmus 70. rokov \endash  v\~sebe implikuje feministick\'fd v\'fdklad pojmu \'84\'9eensk\'e9 p\'edsanie\'93, vylu\'e8uj\'fac tak jeho v\'fdznamov\'fd aj hodnotov\'fd zosun \'e8i ideologicky motivovan\'e9 zneu\'9e\'edvanie. 

\par Chronick\'fd probl\'e9m s\~\'9eenskou identitou, resp.\~s jej patriarch\'e1lne pozna\'e8en\'fdm vn\'edman\'edm sa prejavuje aj v\~tom (a dokazuj\'fa to viacer\'e9 v\'fdskumy), \'9ee producentky liter\'e1rnych g\'fd\'e8ov sa be\'9ene dost\'e1vaj\'fa 
\endash  ako relevantn\'e9 \'84liter\'e1rne tvorkyne\'93 \endash  do preh\'beadov\'fdch \'9at\'fadi\'ed a\~encyklop\'e9di\'ed, zatia\'be \'e8o mu\'9esk\'ed producenti g\'fd\'e8a z\~nich z\'e1konite vypad\'e1vaj\'fa. Nielen\'9ee sa tu verejnosti pods\'fa
va dvojak\'fd meter, \'e8o sa t\'fdka neod\'f4vodnite\'benej zhovievavosti najm\'e4 vo\'e8i autork\'e1m novodob\'fdch bestsellerov, ale sa (na)\'efalej, priamo aj podprahovo, recykluje presved\'e8enie o\~ni\'9e\'9aej liter\'e1rnej kvalite a\~sp\'f4
sobilosti \'9eien-spisovateliek. Navy\'9ae, skuto\'e8ne pozoruhodn\'e9 autorky a\~ich diela v\~podobn\'fdch sumarizuj\'facich preh\'beadoch \'e8asto nen\'e1jdeme a\~neraz sa pritom argumentuje pr\'e1ve \'84\'faspe\'9anos\'9dou\'93 spisovateliek na kni\'9e
nom trhu a\~ohlasom ich diel u\~\'e8itate\'besk\'e9ho publika. (Dvakr\'e1t zabodnut\'e1 m\'e0tvola, povedal by metaforik-gotik.) Na druhej strane, ani t\'e1to \'84\'faspe\'9anos\'9d\'93 autork\'e1m nezaru\'e8\'ed ich hladk\'fd vstup do liter\'e1rneho k
\'e1nonu alebo do dej\'edn pr\'edslu\'9anej n\'e1rodnej literat\'fary. 
\par [...] Diskrimin\'e1cia m\'e1 ve\'bea pod\'f4b; alibistick\'e9 ml\'e8anie oh\'beadom\~\'9eivotn\'fdch z\'e1ujmov t\'fdch druh\'fdch je jednou z\~nich. Nem\'e1m \'e8as vyrat\'fava\'9d, kde v\'9aade a\~pre ko\'bek\'fdch mil\'fdch kolegov sme u\'9e boli 
\endash  v\~slovenskej literat\'fare alebo liter\'e1rnej vede \endash  \'84nevidite\'ben\'e9\'93 a \'84neexistuj\'face\'93. Bohu\'9eia\'be, som presved\'e8an\'e1, \'9ee tzv. vysok\'fd referen\'e8n\'fd kvocient alebo cita\'e8n\'fd index ani jednej z n\'e1
s e\'9ate dlho nehroz\'ed. Mu\'9ei n\'e1s (pov\'e4\'e8\'9aine) e\'9ate v\'9edy NEumiest\'f2uj\'fa do horizontu svojho vn\'edmania a\~maskul\'ednna kult\'fara ich v\~tejto rodovo selekt\'edvnej zameranosti podporuje a utvrdzuje. [...] Spisovate\'be
ka Dubravka Ugre\'9ai\'e6 ned\'e1vno v\~interview pre slovinsk\'fa tla\'e8 zap\'edsala, \'9ee }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 je}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018  feministka \endash  aj preto, lebo pokia\'be ide o\~feminizmus, v\~podstate nem\'e1(me) na v\'fdber. [...] Pr\'edspevky k\~v\'9aeobecn\'fdm dejin\'e1m, ale aj k dejin\'e1
m filozofie, literat\'fary, vedy, politick\'e9ho a\~verejn\'e9ho \'9eivota... spod pera feministicky orientovan\'fdch badate\'beov a\~b\'e1dateliek hovoria jasnou re\'e8ou: \'9atruktur\'e1lne rodov\'e9 asymetrie s\'fa neodmyslite\'benou kon\'9atitut\'ed
vnou s\'fa\'e8as\'9dou z\'e1padnej civiliz\'e1cie a\~jej historick\'e9ho v\'fdvoja, ba dokonca (pod\'bea dostupn\'fdch m\'fdtov a\~n\'e1bo\'9eensk\'fdch legiend) zasahuj\'fa a\'9e do jej prehist\'f3rie. Dnes u\'9e ide o vedecky dok\'e1zan\'fd fakt, ktor
\'fd feminizmom a\~rodov\'fdm te\'f3ri\'e1m poskytuje pln\'fa legit\'edmnos\'9d v\~ich \'fasil\'ed o\~nastolenie spravodlivej\'9a\'edch, rovnocenn\'fdch vz\'9dahov medzi pohlaviami/rodmi (}{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 sex/gender}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 ) tak v\~s\'fakromnej, ako aj verejnej sf\'e9re. Ide dokonca o\~viac: o\~zru\'9a
enie samotn\'fdch polariz\'e1ci\'ed obsiahnut\'fdch v\~kategori\'e1lnych dvojiciach mu\'9esk\'e9/\'9eensk\'e9, s\'fakromn\'e9/verejn\'e9, ovl\'e1daj\'face/ovl\'e1dan\'e9, ale aj objekt/subjekt, pr\'edroda/kult\'fara a pod. 
\par Svojich p\'e4\'9d \'84historick\'fdch\'93 min\'fat som \endash  zd\'e1 sa \endash  vy\'e8erpala. Rada by som v\'9aak na z\'e1ver zd\'f4raznila: rozpr\'e1va\'9d o\~po\'e9zii p\'edsanej \'9eenami a\~neoprie\'9d sa pritom aspo\'f2 o t\'fdchto p\'e1r z\'e1
kladn\'fdch my\'9alienkov\'fdch prem\'eds pova\'9eujem nielen za nemo\'9en\'e9, ale aj za m\'e1rnenie \'e8asu. A\'9e\~tu niekde sa toti\'9eto dost\'e1va k\~slovu aj (moja) individu\'e1lna citlivos\'9d na b\'e1snick\'e9 v\'fdznamy re\'e8i/ml\'e8
ania, moje prepisovanie sa do textu/\'9eivota, a\~s n\'edm aj \'e8osi, \'e8o by sme mohli nazva\'9d }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 liter\'e1rnou konfesiou}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 . Pravda\'9ee, v\'9edy len podmien\'e8ne, ke\'ef\'9ee sa nach\'e1dza mimo v\'9aetk\'fdch krit\'e9ri\'ed a\~noriem a je nezadefinovate\'ben\'e1. A\~to aj napriek reflexii,\~ktor\'e1 probl\'e9
m }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 p\'edsania \'9eien}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018  s\'edce otv\'e1
ra, artikuluje, ale nevystihuje, ani nerie\'9ai. 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12458018 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12458018\charrsid12458018 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12413986 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Stanislava Chrob\'e1kov\'e1 Repar}{
\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 :}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630  }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 \'84My vanishing point\'93 alebo Prepisovanie sa do po\'e9zie}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid14316385\charrsid15741630  }{\rtlch\fcs1 \ab\af0 
\ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\tx9720\tx10620\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12413986 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 \'84My Vanishing Point
\'93 or Transcribing Oneself to Poetry }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 (Prelo\'9eil John Minahane)}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 
\b\i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 As one may gather from the very concept or purpose of this seminar, there is no such thing as a \lquote deadlock\rquote 
 in gender questions. Always one can find male and female authors, male and female thinkers, for whom the problem of gender conditioning in literature is disquieting and who feel it addresses them personally  [...] In my paper, firstly, I\~will speak }{
\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 for myself}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 , and, secondly, on the great theme I\~will say }{
\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 a\~little}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
. That first part has to do with the heterogeneity and incommensurability of individual life stories and histories of writing (besides putting a\~question mark over the so-called \lquote collective feminine\rquote  in literature, here I\~
am thinking also of the diverse modes and \lquote politics\rquote  of authorship, personified by this seminar\rquote s participants).  That I\~would say only a little was ensured by the limits on space and time, which I\~
am determined to breach, if not to circumvent entirely: women, womanhood in general, have been silenced for whole millennia, and now we propose to allot them 5 minutes and 2,000 characters, to speak out and convey their baffling story?! A\~
story which besides will always have its reverse side and its outer edges... an illuminated, manifest aspect and an aspect which is dark or hidden?!   
\par On the other hand, the longer I\~occupy myself with \lquote women\rquote s writing\rquote , or more precisely, the relationship of feminist theory to women\rquote s writing... and still more precisely, the longer I\~am a\~poet, a\~
writer, an author, who transcribes herself to literature and who is transcribed by literature, the less inclined I\~feel to explain my position in culture \endash  to clarify what I\~
consider self-evident. Every freedom, including gender freedom, including creative freedom (freedom of utterance, freedom of expression) is indivisible and unconditional, or, to put it differently and more personally: I\~
write exclusively by myself, through my individualised femininity, through the (mainly) feminine human being in me, and the language in which I\~am moving is a\~language of life ambivalences and contradictory meanings. On the
 one hand apophatic, sometimes even escapist (I lose myself in language and find myself again), on the other hand creative (self-affirming and self-surpassing) \endash  both simultaneously, mutually conditioning. 
\par I\~feel an ever more pronounced unwillingness to involve myself in such discussions on our given theme, and the reason is mainly this, that for whole decades I\~have found an old familiar truth unfolding before my eyes: the \lquote culprit\rquote 
 (the suspected, socially delegitimised, condemned or ostracised) is commonly the one who points to a\~
certain (social) failure or problem, and not one of those who have caused it, who have nurtured it by attitude and action or glossed it over with their own (let us say psycho-social or cultural-symbolic) \lquote body\rquote , whether consciou
sly or unconsciously. Patriarchal society (in an ever-closer alliance with global neo-liberalism, as we experience it today), which for half a\~
century has ignored the so-called second wave of feminism and its present-day continuation in postfeminism, is now attempting a\~usurpation of feminism: the most feeble-witted performances and concoctions of some of my (let\rquote 
s admit) more pragmatic gender (!) colleagues are to be subsumed under the category of \lquote women\rquote s writing\rquote . Women \endash   and men too, writing under \lquote gynonyms\rquote  or without them \endash 
, who in writing that sometimes verges on the mechanical (it\rquote s difficult to speak of an autonomous creative gesture), assiduously copy the grossest gender stereotypes, and who by their sentimentality or scandalous provocation manage
 to heighten the polarisation of the gender roles \endash 
 from within gender identities on the one hand, and on the other hand between them. For such people, deconstruction of gender stereotypes, aesthetic subversion, political correctness, remain unknown and superflous concepts. I\~
find it not only demotivating but also amusing to watch how our shallow and superficial society, including its intellectual, literary and media circles, rewards them for this, and how their names sometimes sparkle in places where the d
ecent woman writer, that is to say the writer who puts the status quo in question, is scarcely ever admitted. [...]
\par Let me be clear, then: I\~consider it of first-rate importance to separate myself from suchlike \lquote star\rquote  authors in the literary field and firmly reject any attempt to associate my own work with their serial production. However, I\~
consider it no less crucial to draw attention to the identification, more through ill-intent than through ignorance, of pulp literature (so-called women\rquote s novels, or poems drowned in flowery lyricism) with }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 women\rquote s writing}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630  or}{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630  literature written by women}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
. We frequently witness this in those places, and among those people, where and by whom gender hatred is cultivated, and with it a\~profound incomprehension of the current paradigm of culture and civilisation in all its aspects  \endash 
 those which fortify us and those which cripple us, indeed threaten the very survival of the human species. Therefore we \endash  the men and women who are more enlightened about gender, who are conscious of the traps of the patriarchal heritage \endash 
 are commonly compelled to make use of the French form of this concept, i.e. }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 \'e9criture f\'e9minine}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 , which, being associated with the post-Lacanian feminism of the 1970s, inherently implies a\~feminist interpretation of the concept \lquote women\rquote s writing\rquote 
, thus making impossible a\~displacement of its meaning or an ideologically motivated abuse.   
\par The chronic problem with female identity, or with its patriarchally marked perception, is reflected also in the fact (confirmed by ma
ny surveys) that the female producers of literary kitsch commonly make their way into general surveys and encyclopaedias as relevant \lquote literary creators\rquote , while the male producers of kitsch are excluded. Not only is a\~
double standard imposed upon the public
, with the indefensible indulgence extended to authors of modern bestsellers, but the conviction that women writers are of lower literary quality and more conformist is further recycled, directly and subliminally. Furthermore, genuinely remarkable women w
riters and their works are not to be found in such general surveys, and sometimes the case is argued precisely in terms of the \lquote success\rquote 
 of woman writers in the book market and the response to their work among the reading public. (To put it in a\~Gothic metaphor, the corpse is stabbed to death twice.) On the other hand, even this \lquote successfulness\rquote 
 does not guarantee these authors easy access to the literary canon or to the history of the relevant national literature.    
\par [...] Discrimination has many forms; an alibistic silence regarding the life interests of those others is one of them. I\~do not have time to draw up accounts of the numerous instances when we have been \lquote invisible\rquote  and \lquote non-existent
\rquote  for our dear colleagues. Alas, I\~am convinced that none of us will need to worry about a\~so-called high reference quotient or citation index for a\~
long time to come. Men (for the most part) exclude us from the horizon of their perception, and masculine culture encourages and confirms them in this purposeful gender selectivity. [...] Not long ago the Slovenian writer Dubravka Ugre\'9ai\'e6 in a\~
press interview declared that she }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 is}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630  a feminist \endash 
 among other reasons, because where feminism is concerned she has (and we have) no choice [...] Contributions to universal history, al
so to the history of philosophy, literature, science, political and public life... written by feministically orientated researchers, male and female, say this much loud and clear: structural gender asymmetries are an indispensable constituent part of West
ern civilisation as it has evolved historically, indeed (according to the available evidence of myths and religious legends) they go back into its prehistory. Today that is a\~
scientifically proven fact, which fully legitimises the efforts of feminism and ge
nder theory to establish more just and equal relationships between the sexes/genders in private life as well as in the public sphere. Indeed, there is even more at issue; abolition of the polarisations themselves that are included in the categorical duali
sms male/female, private/public, dominating/dominated, and also object/subject, nature/culture, and so on.
\par  My five \lquote historic\rquote  minutes are up, it seems. To conclude, however, I\~would like to emphasise this: to speak about poetry written by women, without taking these few premises of thought as fundamental, is to my mind impossible and a\~
waste of time. It is somewhere here that (my own) individual sensitivity to the poetic meanings of speech/silence, my transcription to text/life, and with it something which we might call }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 literary confession}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
, all find utterance. Granted, always only conditionally, since it exists somewhere outside all the criteria and norms and is indefinable. And this even in defiance of reflection, which opens up, articulates, the problem of \lquote women\rquote s writing
\rquote , but cannot define or resolve it.    
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12413986 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri540\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin540\lin0\itap0\pararsid12413986 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\scaps\lang1051\langfe1029\langnp1051\insrsid1064864\charrsid15741630 Stanislava Chrob\'e1kov\'e1
 repar
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\scaps\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 Vernis\'e1\'9e I; }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 uprostred
\par }{\rtlch\fcs1 \ai\af41\afs20 \ltrch\fcs0 \i\f41\fs20\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 H. O. Villase\'f1orovi}{\rtlch\fcs1 \ab\af0\afs20 \ltrch\fcs0 
\b\scaps\fs20\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\scaps\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par 
\par }\pard \ltrpar\qr \li0\ri540\widctlpar\tx4680\tx4860\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin540\lin0\itap0\pararsid12413986 {\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 \endash 
 Nahota je pulzuj\'faca re\'e8.
\par \endash  Zrkadlo je dut\'e9 telo.
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 Margret }{\rtlch\fcs1 \af0 \ltrch\fcs0 \scaps\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 Kreidl}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri540\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin540\lin0\itap0\pararsid12413986 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par \'d3
\par \'f3\'f3\'f3, 
\par je oko;
\par 
\par potokom
\par (potomkov 
\par a predkov) tak 
\par preplaven\'e9, \'9ee aj
\par du\'9aa stene Erosom.
\par                 
\par Uprostred: ty a\~ja, oba-
\par ja. Kladivko, n\'e1kovka. Str-
\par mienok, bo\'9e\'ed dar. A\'9e telo v\~u-
\par chu prahist\'f3rie \'fakosom odkryje }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 
\par nevidite\'ben\'e9}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12413986\charrsid15741630 . 
\par                      
\par                      Kaleidoskopom metafor, 
\par farieb. Ich-formou defin\'edcie, z ktorej pre-
\par \'9eije len bodka.        
\par                          Nedotka\'9d text \endash  a po\'e8ka\'9d na
\par zmysel usaden\'fd v\~tele orgasticky nem\'fdch slov.
\par 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid14825487 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid13507022 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid14825487\charrsid15741630 Mila Haugov\'e1}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid14825487\charrsid15741630 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid4277720\charrsid15741630 P\'edsa\'9d ako d\'fdcha\'9d
\par 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14825487\charrsid15741630 B\'e1se\'f2 je smrte\'ben\'e9 p\'edsanie}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4277720\charrsid15741630 , }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14825487\charrsid15741630 okamih odblesku mora: zrkadlo horizontu: nebo
\par a \'efalej len v d\'f2och bez b\'e1sne: \'efalej len \'e8erven\'e1 p\'fa\'9a\'9d za\'e8\'ednaj\'faca pri pobre\'9e\'ed... 
\par B\'e1se\'f2 je sladk\'fd vt\'e1k smrti, ktor\'fd spieva do sna. 
\par Pozeranie sa do pomal\'e9ho zrkadla: zobudenie na nezn\'e1mom brehu slov. 
\par Ka\'9edodenne sa n\'e1m zm\'fdvaj\'fa z vie\'e8ok p\'edsmen\'e1 a sny rob\'ed to denne \'9eivot, ktor\'fdm, ke\'ef p\'ed\'9aeme poh\'e0dame. 
\par 
\par Ke\'ef v\'9aetko zanikne zostane len meno:
\par z\'e1vrat mo\'9eno tie ist\'e9 slov\'e1 v sp\'e4tnom porad\'ed: \'e8akanie na slov\'e1, ktor\'e9 si  n\'e1s zvolia:   
\par M\'f2a si nezvolia lebo nepokra\'e8ujem? M\'e1m vlastn\'e9 obetn\'e9 olt\'e1re: p\'ed\'9aem srdce odobrat\'e9 slovu a du\'9au vytvoren\'fa z objatia.
\par  
\par Predpokladan\'fd \'e8as vzniku b\'e1sne neexistuje: len tu\'9aenie. Let kame\'f2a sk\'fa\'9aka kr\'eddel nad pr\'e1zdnymi priestormi seba zdr\'9euj\'faci
\par dych rytmus: pulzovanie seba a v\'9aetk\'e9ho tu: okolo v sebe.
\par P\'edsanie ako pocit ch\'fdbania: A to \'e8o ch\'fdba nikdy nebolo? B\'e1se\'f2 je pohyb, ktor\'fd \'9eijem, nevylu\'e8ujem ho: pohyb, v ktorom sa
\par str\'e1cam. Tv\'e1r p\'edsania akoby nehybnos\'9d: Oko p\'edsania akoby nekone\'e8n\'e1 kamera filmovala nekone\'e8n\'fd priestor.
\par V tesnej kab\'edne textu: vesm\'edrna lo\'ef: puzdro maternice a slov\'e1 dovo\'beuj\'fa pozera\'9d cez \'fazky priezor str\'e1\'9een\'fd okom Boha.
\par 
\par A vid\'edme v zrkadlovom labyrinte:  z\'e1ber na tie\'f2 zasrienenej tr\'e1vy: ohrada pre kone zhrdzaven\'e1 
\par a pokryt\'e1 n\'e1mrazou: v\'9aetko ako v hmle: biela na bielom: rozochven\'e9 ter\'e8e tiel: ako biele kone na vz\'efa\'beuj\'facom sa horizonte.
\par A p\'edsa\'9d: st\'e1le dokola ale aspo\'f2 v presne sa dv\'edhaj\'facej \'9apir\'e1le.
\par P\'edsan\'edm sa chceme odl\'ed\'9ai\'9d. Odl\'ed\'9ai\'9d sa}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid13635747 ,}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14825487\charrsid15741630  aby sme c\'ed
tili, \'9ee sme. 
\par P\'edsan\'edm chceme splyn\'fa\'9d so v\'9aetk\'fdm. Splyn\'fa\'9d a podoba\'9d sa. Zabudn\'fa\'9d na kone\'e8nos\'9d. Prenikn\'fa\'9d za}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid13635747 .}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid14825487\charrsid15741630 
\par P\'edsanie je presn\'e9 ako ch\'f4dza n\'e1mesa\'e8nej. By\'9d n\'e1mesa\'e8n\'e1 v presnosti. 
\par P\'edsanie je strie\'beanie do ter\'e8a bez toho aby sme sa na\'f2 pozerali...a\'9e potom...nesk\'f4r...\'e8\'edta\'9d po sebe nap\'edsan\'e9...vystrelen\'e9...
\par 
\par Lukostrelky\'f2a, niekedy si povie\'9a: toto je struna ktor\'fa neroztiahne\'9a; zomrie\'9a tak; bez toho 
\par aby si TO vedela; prek\'e5zne\'9a cez v\'9aetko; ako salamandra.
\par Alfa a omega v\'9aetk\'e9ho je prija\'9d sa, prija\'9d to, \'9ee p\'ed\'9aeme.
\par 
\par Slov\'e1 z premenliv\'e9ho zdroja \'9eiarenia: TOHO \'e8o n\'e1s presahuje. 
\par ...are essential and must be preserved: 
\par 
\par \'c8o je esenci\'e1lne, to by sme mali zachova\'9d: nap\'edsa\'9d: tvrd\'fd: kr\'e1sny 
\par \'9eivot: b\'e1se\'f2 akoby tich\'e9 ve\'bek\'e9 srdce zvona pod snehom: 
\par pozorn\'e9 oko privret\'e9 nad krajinou: treba n\'e1js\'9d sp\'f4sob... 
\par Vn\'edma\'9d aj in\'fa kr\'e1sa, plynul\'fa pravidelnos\'9d (zdanlivo skuto\'e8n\'e9: v izbe s otvoren\'fdm oknom 
\par 
\par v izbe dlhej nepr\'edtomnosti je v\'f4\'f2a ru\'9ee e\'9ate st\'e1le 
\par zmie\'9aan\'e1 s na\'9aim dychom). 
\par 
\par B\'e1snik je lukostrelec skroten\'fd kr\'e1sou...nap\'ed\'9ae Ren\'e9 Char, vedel o \'e8om hovor\'ed, pre\'9aiel mu\'9eskou lekt\'farou druhej svetovej vojny... potom u\'9e p\'edsal len o kr\'e1snych veciach TU. 
\par \'c1no. C\'edti\'9d a ch\'e1pa\'9d v\'9aetko a nem\'f4c\'9d tomu zabr\'e1ni\'9d. 
\par Lukostrelec ochrnut\'fd kr\'e1sou ter\'e8a: 
\par 
\par By\'9d lesn\'e1 zver zanech\'e1va\'9d stopy, nie d\'f4kazy. 
\par By\'9d svoje telo b\'e1sne. 
\par P\'fdta\'9d sa len to \'e8o sa mus\'edme op\'fdta\'9d. 
\par Silnej\'9a\'ed sme obkolesen\'ed tajomstvom  
\par C\'edti\'9d v\'9aetky veci v\'9aetk\'fdmi sp\'f4sobmi V krajine element\'e1rnych v\'e1\'9an\'ed 
\par 
\par Nech je b\'e1se\'f2-telo str\'e1canie, ktor\'e9 sa nestrat\'ed. 
\par 
\par ... b\'e1se\'f2 je biol\'f3gia vroden\'e1 \'9eiv\'e1 \'9atrukt\'fara rytmu (dychu); zrkadlo: voda: star\'9aia ako kamene;
\par Pre\'e8o e\'9ate p\'edsa\'9d?
\par 
\par Aj more sa zmen\'ed kv\'f4li jedin\'e9mu kamienku...
\par (p\'ed\'9ae d\'fdcha ide) Treba zachyti\'9d mo\'9enosti du\'9ae; jej vok\'e1lny priestor
\par (tajn\'fd dych pohlavia)... len 
\par bezprostredne pred koncom sa objav\'ed najdokonalej\'9aia forma...
\par 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4936018 Etela Farka\'9aov\'e1}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 : }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4936018 Putovanie za celistvos\'9dou 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\brdrb\brdrs\brdrw15\brsp20 \wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 Etela Farka\'9aov
\'e1 je prozai\'e8ka, poetka, esejistka, filozofka, autorka a spoluautorka viacer\'fdch filozofick\'fdch monografi\'ed. Je spoluzakladate\'bekou Klubu slovensk\'fdch prozai\'e8iek Femina a Centra rodov\'fdch \'9at\'fadi\'ed
 na UK v Bratislave. Vydala 13 prozaick\'fdch kn\'edh, 4 knihy po\'e9zie a 3 knihy esej\'ed. T\'e9mami Etely Farka\'9aovej s\'fa ticho, zr\'fdch\'beovanie \'e8asu, ale aj proviz\'f3rium, v\~ktorom tento \'e8as \'9eijeme. Ako opozitum je tu aj s\'fakromn
\'fd priestor na b\'e1se\'f2. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 Etela aj vo svojej poslednej zbierke b\'e1sn\'ed }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 Prstoklady}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 sk\'fa
ma \'84re\'9daz opakovan\'e9ho \'e8asu, a\'9e do nekone\'e8na\'93, v\~ktorej h\'bead\'e1 pomyseln\'fd, pevn\'fd bod \'e8asu. T\'fdmto bodom je ozajstnos\'9d za\'9eit\'e9ho, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 
ozajstnos\'9d ako }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 n\'e1stroj usporad\'favania chaosu sveta. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 Poetka dospieva k\~
filozofick\'e9mu z\'e1veru: }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 \'e8as }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 m\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 \~dv}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 e}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927  podstat}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 y. J}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 ednou je ka\'9edodennos\'9d \'e8asu}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid4873395 . Druhou }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 je \'e8as}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395  vn\'fatri \'e8asu
}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid9598927 , ktor\'fd naz\'fdva \'84nezvolen\'fdm \'e8asom\'93. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\tx9720\tx10620\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4936018 Etela Farka
\'9aov\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4936018 : }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4936018 Putovanie za celistvos\'9dou}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid6768150 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Spo\'e8iatku som v\'e1hala pri vo\'bebe poh
\'beadu na po\'e9ziu, \'e8i v\~kontexte abstraktnej\'9aieho uva\'9eovania o\~p\'edsan\'ed (nielen po\'e9zie) alebo v\~kontexte m\'f4jho vlastn\'e9ho p\'edsania. Ka\'9ed\'e1 z\~alternat\'edv sa  pod\'bea m\'f2a m\'f4\'9ee viaza\'9d k\~ur\'e8it\'e9mu konkr
\'e9tnemu okam\'9eiku na autorskej \'e8asovej osi,  k\~ur\'e8itej konkr\'e9tnej sk\'fasenosti: p\'edsanie je kumul\'e1ciou, koncentr\'e1ciou a reflexiou osobn\'e9ho \'e8asu p\'ed\'9aucej/ p\'ed\'9auceho, ale aj spove\'efou a\~p\'fa\'9dou/putovan\'ed
m za nie\'e8\'edm, z\'e1rove\'f2 je h\'beadan\'edm a\~utv\'e1ran\'edm celej mno\'9einy virtu\'e1lnych zrkadliacich pl\'f4ch aj vy\'9earovan\'edm (odovzdan\'fdm prij\'edman\'edm?) energie Erota a\~Thanata; je e\'9ate  v\'9aeli\'e8\'edm in\'fd
m, teoreticky rozanalyzovan\'fdm i\~nejasne, iba intuit\'edvne tu\'9aen\'fdm, anal\'fdze sa nepodd\'e1vaj\'facim; pomenovan\'fdm i\~nepomenovan\'fdm/ nepomenovate\'ben\'fdm. 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid7230514 A\~samozrejme, je aj v\'9edy novou, hoci opakovanou, pre p\'ed\'9auceho/p\'ed\'9aucu  nemal\'e9 prekvapenia prin\'e1\'9aaj\'facou sk\'fasenos\'9dou s\~jazykom, s
\~jeho mo\'9enos\'9dami, ale aj limitmi, s\~jeho nanovoobjavovan\'fdmi h\'e5bkami i\~\'9a\'edrkami, otv\'e1raj\'facimi sa horizontmi, ale i\~s\~jeho espo\'e8etn\'fdmi, zdanlivo najprv takmer nevidite\'ben\'fdmi z\'e1hybmi, slu\'e8kami alebo s rafinovan
\'fdmi   pascami, ba priepas\'9dami, do ktor\'fdch mo\'9eno \'beahko padn\'fa\'9d, no z\~ktor\'fdch je o\~to \'9da\'9e\'9aie vyviaznu\'9d.  
\par A\~takisto je v\'9edy novou, hoci opakovanou sk\'fasenos\'9dou so sebap\'edsan\'edm, s\'e8asti aj sebaprepisovan\'edm, s\~vlastnou subjektivitou, s\~objavovan\'edm a\~kreovan\'edm nov\'fdch odtie\'f2ov vlastn\'e9ho Ja,   s\~dotv\'e1ran\'edm \'e8i pretv
\'e1ran\'edm vlastnej identity, preto\'9ee tak ako sa vpisujem v\'9aetk\'fdmi t\'fdmito typmi sk\'fasenost\'ed, z\'e1\'9eitkovosti, vrstvami svojho Ja do ka\'9ed\'e9ho nov\'e9ho (nielen poetick\'e9ho) textu, tak sa ka\'9ed\'fd nov\'fd text vpisuje do m
\'f2a, prepisuje si ma,\~dotv\'e1ra a pretv\'e1ra. P\'edsanie je v\~tomto zmysle nielen tvorbou, ale aj sebatvorbou \'e8i s\~trochou patetizmu: je procesom znovustvorenia vec\'ed, udalost\'ed, vz\'9dahov, a\~aj procesom samotn\'e9ho znovusebastvorenia...

\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Pre t\'fato chv\'ed\'beu ostanem pri poh\'beade na (svoje) p\'edsanie ako na spove\'ef a\~p\'fa\'9d. Spove\'ef s\'e8asti odv\'e1\'9ene, azda a\'9e bezoh\'be
adne a r\'e1\'f2aj\'faco otvoren\'fa (otv\'e1raj\'facu?), a\~s\'e8asti nepriznan\'fa, do zaha\'beuj\'facich metafor skryt\'fa (skr\'fdvaj\'facu?).  A\~p\'fa\'9d /putovanie za niek\'fdm (bl\'edzkym, vzdialen\'fdm, za samou sebou?), za nie\'e8\'ed
m (za spomienkami na minul\'e9, polozabudnut\'fdmi snami, za poznan\'edm myriady drobn\'fdch pr\'e1vd o\~vonkaj\'9a\'edch \'e8i vn\'fatorn\'fdch svetoch?).
\par }\pard \ltrpar\qj \fi709\li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Preber\'e1m v\~
mysli jeden zo svojich poetick\'fdch textov za druh\'fdm, zd\'e1 sa, \'9ee pr\'edbuzn\'fdm je v\~nich putovanie za (stratenou?) celistvos\'9dou, mot\'edv jej h\'beadania, a\~z\'e1rove\'f2 pocit istej rezign\'e1cie na \'f2u. Napad\'e1 mi  (trochu zveli\'e8
en\'e1) anal\'f3gia s Empedoklov\'fdm u\'e8en\'edm o\~vzniku \'9eivota na Zemi, pod\'bea ktor\'e9ho najprv jestvovali izolovan\'e9 elementy, t\'falaj\'face sa \'beudsk\'e9 \'fady, ktor\'e9 sa napokon poskladali na princ\'edpe l\'e1sky do celkov, ak\'fd
mi boli veci, \'9eiv\'e9 tvory i \'beudsk\'e9 bytosti; tak akosi sa v\~procese p\'edsania h\'beadaj\'fa jednotliv\'e9, spo\'e8iatku akoby izolovan\'e9, vo fant\'e1zii bl\'fadiace obrazy, ktor\'e9 sa premie\'f2aj\'fa na slov\'e1 utv\'e1raj\'face celok b
\'e1sne. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid12458018 A\~e\'9ate aj putovanie a\~cesta nielen ako prostriedok, ale ako samotn\'fd cie\'be: pohyb, viac vn\'fatorn\'fd ako vonkaj\'9a\'ed, ktor\'e9
ho impulzom je n\'e1dej, \'9ee raz  vari aj d\'f4jde k\~dotyku so zmyslupln\'fdm slovom, s\~t\'fdm \'84spr\'e1vnym\'93 a \'84prav\'fdm\'93, wittgensteinovsky povedan\'e9 \endash  sp\'e1sonosn\'fdm ... 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 To, \'e8o tu\'9a\'edm vo svojich o\'e8iach a\~
prstoch pri p\'edsan\'ed (nielen b\'e1sne), je azda najm\'e4 t\'fa\'9eba po prekra\'e8ovan\'ed fragment\'e1rnosti, roztrie\'9atenosti  ka\'9edodenn\'e9ho pre\'9e\'edvania smerom k celistvosti, hoci do\'e8asnej a krehkej.
\par }{\rtlch\fcs1 \af0\afs20 \ltrch\fcs0 \fs20\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4936018 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid1064864 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Etela Farka\'9aov\'e1}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Putovanie za celistvos\'9dou }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid1064864\charrsid15741630 (Etela chce dopreklada\'9d text vn\'fatri)}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid1064864\charrsid15741630 The Desire to Go Beyond Fragmentariness }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid1064864\charrsid15741630 (Prelo\'9e
il John Minahane)
\par At first I\~was unsure which way of looking at poetry I\~should choose, whether to take the context of more abstract reflections on writing (not only poetry) or my own writing. Each of these alternatives, in my view, can be bound up with a\~
certain particular moment on the author\rquote s time axis, with a\~certain particular experience: writing is an accumulation, a\~concentration and a\~reflection of the personal time of the writer, and furthermore a\~testimony and a\~
journey or journeying after something. At the same time it is seeking and\~moulding a\~whole range of virtual mirroring surfaces; it is also a\~radiatio
n (emitting by receiving?) of the energy of Eros and Thanatos; it is all sorts of things besides, some of them theoretically analysed in fine detail and some vague, merely intuitively sensed, not amenable to analysis; the named and the unnamed or unnameab
le.
\par }\pard \ltrpar\qj \fi709\li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid1064864 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid1064864\charrsid15741630 For this while I\~
will keep the focus on (my) writing as testimony and journey. A\~testimony in part courageously, even ruthlessly and woundingly open (opening?), and partly unacknowledged, concealed (concealing?) in veils of metaphor. And a\~journey or jo
urneying after someone (near, distant, after oneself?), after something (past memories, half-forgotten dreams, knowledge of a\~myriad of small truths about the outer or inner worlds?) If I\~
bring to mind one after another of my poetic texts, they seem to be akin in that they involve a journeying after a (lost?) wholeness, the motif of seeking it, and at the same time a\~
certain feeling of despairing of it. What occurs to me is a (somewhat exaggerated) analogy with Empedocles\rquote s teaching on the origin of life on
 earth, according to which the isolated elements and wandering human limbs existed in the beginning, and eventually they assembled together on the principle of love into wholes, i.e. inanimate things, living creatures and human beings; in some such way in
dividual images, at first seemingly isolated, roaming about in fantasy, seek one another out in the process of writing and are transformed into words which mould a\~poem that is a\~whole. }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid1064864\charrsid12458018 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid1064864 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid1064864\charrsid15741630 What I\~
feel in my eyes and fingers while writing (not only poems) is perhaps above all a\~desire to go beyond the fragmentariness, the splinteredness of everyday survival in the direction of a\~whole, however transient and fragile.
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid11560025 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid11560025\charrsid15741630 
\par Etela Farka\'9aov\'e1
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid11560025\charrsid15741630 cesta, mo\'9eno chodn\'edk
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid11560025\charrsid15741630 
\par zmysel je cesta,
\par povedal raz zn\'e1my filozof
\par (po \'f2om to potom zopakovali
\par e\'9ate mnoh\'ed \'efal\'9a\'ed)
\par 
\par a\~mo\'9eno je n\'edm tento chodn\'edk,
\par myslievam si ob\'e8as \endash  
\par zapr\'e1\'9aen\'fd, hrbo\'beat\'fd,
\par s\~otl\'e8en\'fdm, krivolak\'fdm obrubn\'edkom,
\par s\~nespo\'e8etn\'fdmi v\'fdtlkmi...
\par ...chodn\'ed\'e8ek, po ktorom kr\'e1\'e8am
\par z\~obchodu k\~n\'e1\'9amu panel\'e1ku
\par ka\'9ed\'e9 r\'e1no s\~ta\'9akami
\par pln\'fdmi najr\'f4znej\'9a\'edch potrav\'edn
\par 
\par (zd\'e1 sa, \'9ee aj v\~jeho ryh\'e1ch
\par h\'bead\'e1m neur\'e8it\'e9 stopy
\par po zmysle
\par vlastnej ka\'9edodennosti)
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid1064864 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid1324997 M\'e1ria B\'e1torov\'e1: }{\rtlch\fcs1 
\ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid1324997 Tvorba ako dar}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid4873395 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\brdrb\brdrs\brdrw15\brsp20 \wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 M\'e1ria B\'e1torov\'e1
 je poetka, prozai\'e8ka, liter\'e1rna vedky\'f2a a\~prekladate\'beka. V\~rokoch 2006-2008 bola predsedn\'ed\'e8kou slovensk\'e9ho PEN klubu. Ako prv\'e1 \'9eena na Slovensku z\'edskala titul profesorky literat\'fary. Pracuje v\~SAV. }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid1324997 Ako spisovate\'beka si vysk\'fa\'9aala v\'9aetky z\'e1kladn\'e9 \'9e\'e1nre}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395  a vydala}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid1324997  celkom \'9aes\'9d kn\'edh. Za\'e8\'ednala novelami kombinovan\'fdmi s po\'e9ziou. V roku 2010 jej vy\'9aiel rom\'e1n }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 
\i\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid1324997 Stred}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid1324997 , ktor\'fd je pod\'bea kritiky diagn\'f3zou s\'fa\'e8asnej bratislavskej intelektu\'e1
lnej spolo\'e8nosti s h\'e5bkov\'fdmi sondami do dej\'edn 20. storo\'e8ia. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 M\'e1ria B\'e1torov\'e1 m\'e1 cit pre zlat\'fd rez medzi rozumom a\~citom, povedan\'fdm a\~zaml\'e8an
\'fdm, odtienen\'fdm a\~zatienen\'fdm, tajomn\'fdm a\~v\'9aedn\'fdm, niektor\'e9 pointy v\~jej poviedkach i\~b\'e1s\'f2ach s\'fa ne\'e8akan\'e9 ako ke\'ef z\~jasn\'e9ho neba sp\'e0chne \'beahk\'fd m\'e1jov\'fd d\'e1\'9e\'ef. 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\insrsid4873395\charrsid1324997 M\'e1ria B\'e1torov\'e1: }{\rtlch\fcs1 \ab\ai\af0 
\ltrch\fcs0 \b\i\insrsid4873395\charrsid1324997 Tvorba ako dar}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid13322325 )
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Dar od \'9eivota. Dar sebe. Mo\'9eno aj in\'fdm? 
\par Po\'e9zia je do slov vd\'fdchnut\'fd cit. Bez siln\'e9ho citu niet po\'e9zie. S\'fa len reflexie, alebo prosto pr\'f3za, ktor\'e1 m\'e1 viac obraznosti a je rozsekan\'e1 do \'84ver\'9aov\'93. Bez n\'e1dychu, bez v\'f4ne, bez \'fa\'9easu, bez vr\'fa
cnosti! No bez tohto v\'9aetk\'e9ho po\'e9zie niet. Bez ve\'bek\'e9ho citu l\'e1sky, ktor\'fd sa n\'e1m prihod\'ed raz za \'9eivot, ke\'ef prebytok citu, ktor\'fd n\'e1m roz\'9dahuje du\'9au do prasknutia, treba niekam vychrli\'9d, niet po\'e9zie o\~l\'e1
ske. Tak\'e9 boli povedzme Portugalsk\'e9 sonety od  Elizabeth Browningovej. Bez ve\'bek\'e9ho sm\'fatku zo straty, z\~redukcie, ktor\'e1 n\'e1s n\'e1hle zasiahne nepripraven\'fdch (ako boli \'8earnovove ver\'9ae za m\'e0tvym synom), niet po\'e9zie o\~
smrti. Bez z\'fafalstva z\~nemo\'9enosti realizova\'9d vlastn\'fa identitu zmie\'9aan\'e9ho so svetielkom vzdoru a n\'e1deje, ako bola b\'e1se\'f2 od Ivana Krasku Otrok, po\'e9zie o\~vlastnej zemi a slobode niet.   
\par Tu sa len tv\'e1rime, \'9ee nov\'fd \'e8as \'84postmoderny\'93, pod ktor\'fd mo\'9eno v\'9aetko skry\'9d, n\'e1m umo\'9e\'f2uje kr\'ed\'9eenie \'9e\'e1nrov, no ka\'9ed\'fd, kto s\~literat\'farou \'9eije, (nielen te\'f3riou postihnut\'ed
 fachmani), vie rozozna\'9d, kedy je po\'e9zia opravdiv\'e1, kedy m\'e1 text v\'9aetko, \'e8o m\'e1 ma\'9d, aby sa po\'e9ziou dal nazva\'9d. Vie to u\~in\'fdch, zriedkavej\'9aie v\'9aak u\~seba.
\par A\~tak je tvorba prepojen\'e1 na sp\'f4sob autorsk\'e9ho pre\'9e\'edvania, sp\'f4sob existencie autora, na v\'9aetko, \'e8o so sebou nesie a \'e8o sa prejav\'ed v\~n\'edm pou\'9eitom\~\'9e\'e1nri.
\par V\~zmysle intenzity a opravdivosti pre\'9e\'edvania je teda po\'e9zia nie\'e8o mimoriadne, zvl\'e1\'9atne a\~ve\'bemi, ve\'bemi vz\'e1cne.
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid5442319 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid4873395 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 M\'e1ria B\'e1torov\'e1}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 : Tvorba ako dar}{\rtlch\fcs1 
\ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid14316385\charrsid15741630  }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid2108930\charrsid15741630 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 Creative writing as a gift }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 (Prelo\'9eila Heather Trebatick
\'e1)
\par A gift from life. A gift to myself. Perhaps to others as well? 
\par Poetry is feeling breathed into words. Without strong feeling there can be no poet
ry. It is merely reflections, or simply prose with more imagery cut up into lines of "verse". Without inspiration, without aroma, without wonder, without fervour! But without all that there can be no poetry. Without the overpowering feeling of love that c
o
mes to us once in a lifetime, when an excess of emotion swells our souls to bursting point and we have to pour it out somewhere, there can be no poetry about love. Such, for example, were the Sonnets from the Portuguese by Elizabeth Browning. Without grea
t sorrow from a loss, a diminution that suddenly catches us unprepared (such as \'8e
arnov's verses for his dead son), there can be no poetry about death. Without despair arising from the impossibility of realising one's own identity mixed with a little spark of defiance and hope, such as the poem by Ivan Krasko }{\rtlch\fcs1 \ai\af0 
\ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 Otrok}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 /Slave, there can be no poetry about one's homeland and freedom.  
\par Here we just pretend that the new "postmodern" era, under which everything can be con
cealed, enables us to crossbreed genres; but anyone who devotes his life to literature (not just mavens inflicted with theory) , can distinguish when poetry is genuine, when the text has everything it should have to deserve to be called poetry. They know 
when it comes to others, but less often, however, when it comes to themselves. 
\par And so creative writing is bound up with the author's experience of life and way of life, with all this brings and that manifests itself in the genre he or she uses. 
\par As regards intensity and veracity of experience poetry is therefore something exceptional, unusual and very, very precious. 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid11689758 
\par M\'e1ria B\'e1torov\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \cs17\b\insrsid11689758 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \cs17\b\lang1051\langfe1029\langnp1051\insrsid11689758\charrsid11689758 Nekone\'e8ne spleten\'e9 su ramen\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid11689758\charrsid11689758 \line a t\'e1
to chv\'ed\'bea \line nekone\'e8ne spleten\'e1\line a bezmenn\'e1\line Som m\'e4kk\'e1 v\'f4kol teba\line m\'e4kk\'e1 v tebe\line v tebe ukryt\'e1\line jak mu\'9a\'bea v mori\line Do teba vn\'e1ram sa\line a ty sa do m\'f2a nor\'ed\'9a\line \'8aum\'ed\'9a
 a \'9aum\'ed\'9a vo mne\line ako more v mu\'9ali\line \~\line Aj v mojej du\'9ai\line Aj v mojej du\'9ai\line \~\line }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \cs17\b\lang1051\langfe1029\langnp1051\insrsid11689758\charrsid11689758 Do ul\'edc bed\'e1rov }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid11689758\charrsid11689758 \line Vych\'e1dzam \line V \'e8iernom \line \'c8ierne s\'fa \'fasmevy \line \'c8iernych sestier\line \'c8ierne my\'9alienky \line Na \'e8ierno sne\'9eia \line 
Do ul\'edc\line \~\line \'c8ier\'f2avu bed\'e1rov\line So sebou vle\'e8iem\line \~\line \'c8ierne s\'fa svedomia\line Fig\'farok v parlamente\line \'c8ierny \'e8as pok\'e1nia\line tu trv\'e1 ve\'e8ne\line \~\line Pane!\line Na tomto k\'fasku \line zeme
\line \'c8as vzkriesenia\line Nenastane?}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid11689758 
\par }\pard \ltrpar\ql \li0\ri0\sl396\slmult1\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid5442319 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 Ivica Ruttkayov\'e1}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 : }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 Kumulujem \'e8as a\~priestor a\~zrkadlo a\~Eros a\~Thanatos a putujem}{
\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\brdrb\brdrs\brdrw15\brsp20 \wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 Ivica Ruttkayov
\'e1 p\'f4sob\'ed  ako redaktorka Slovensk\'e9ho rozhlasu. Venuje sa kult\'farnej a\~umeleckej publicistike a problematike spolo\'e8ensk\'fdch vied, preva\'9ene vo vysielan\'ed rozhlasovej stanice R\'e1dio Dev\'edn.  V\~roku 2002 debutovala b\'e1
snickou zbierkou Anjeli\'e8k\'e1rka \endash  Koment\'e1re. V\~roku 2007 jej vy\'9ala zbierka kr\'e1tkych pr\'f3z a\~rozhlasov\'fdch dramatick\'fdch textov Marylin miluje literat\'faru. Ivic}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid4873395 a}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231  Ruttkayov}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395 \'e1 \endash 
 to je Ivica a\~mikrof\'f3n a\~nie raz sa n\'e1m spolu pri nahr\'e1van\'ed stalo, \'9ee sme prestali myslie\'9d na nahr\'e1vanie a\~vst\'fapili sme do rozhovoru, ktor\'fd sa vol\'e1 bytostn\'fd rozhovor a\~vtedy akoby aj technika zlyhala \endash  dva \'e8
i tri razy sa n\'e1m stalo, \'9ee rozhovor na p\'e1se nahran\'fd nebol a\~museli sme ho absolvova\'9d znova. Nikdy sa v\'9aak u\'9e nedal zopakova\'9d. A\~tak je to aj s\~b\'e1s\'f2ou. }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231  }{\rtlch\fcs1 \af0\afs32 \ltrch\fcs0 \fs32\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231  }{\rtlch\fcs1 \af0\afs32 \ltrch\fcs0 
\fs32\lang1051\langfe1029\langnp1051\insrsid4873395 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 Ivica Ruttkayov\'e1}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 : }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 Kumulujem \'e8as a\~priestor a\~zrkadlo a\~Eros a\~Thanatos a putujem}{
\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Povaha \'favahy pre potreby \~semin\'e1ra s\~t\'e9mou p\'edsanie  \'9eenskej  po\'e9zie mi, d\'fafam, dovol\'ed odpoveda\'9d na osobitne bl\'edzke a\~pre m\'f2a 
\~k\'be\'fa\'e8ov\'e9 t\'e9my  vlastn\'fdmi poetick\'fdmi textami.  Po\'e9zia je  pod\'bea m\'f2a typ poznania a z\'e1rove\'f2 modul\'e1cia skuto\'e8nosti. Modul\'e1cia seba a\~poznanie skuto\'e8nosti. Prizn\'e1m sa k celkom osobn\'e9mu a\~ojedinel\'e9
mu pocitu \'9a\'9dastia, ktor\'fd ob\'e8as za\'9e\'edvam.  V\~ne\'e8akanej  chv\'edli, ke\'ef sa mi na roztraten\'fdch  papierikoch alebo nes\'farod\'fdch  vet\'e1ch zap\'edsan\'fdch do \'9akolsk\'fdch zo\'9aitov  ur\'e8en\'fdch len pre osobn\'fa
 terapiu / arteterapiu /,  kone\'e8ne podar\'ed  zachyti\'9d ten unikaj\'faci pocit,  to intenz\'edvne a \~int\'edmne poznanie. Zachyti\'9d  to do zhrdzavenej klietky slov. Na sekundu je v\'9aetko zrazu  zvl\'e1dnute\'ben\'e9 ... 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Kumul\'e1cia \'e8asu v\~liter\'e1rnom priestore:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395  Je pozoruhodn
\'e9 , ako sa v\~jednom okamihu
\par osvetl\'ed minulos\'9d, ke\'ef  sa na \'f2u pozer\'e1\'9a z\~ur\'e8it\'e9ho bodu pr\'edtomnosti. Zrazu rozumie\'9a, vid\'ed\'9a v\'9aetko zrete\'benej\'9aie, ale cie\'be nie je, v\'9aetko je len v\~pohybe. V\~kruhu. Tak\'9ee, rovnako 
\par na seba s\~\'fadivom h\'bead\'ed\'9a z\~neistej bud\'facnosti.  
\par }\pard \ltrpar\ql \li0\ri-468\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin-468\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Virtu\'e1lne zrkadlo: }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Meno Alenka sa mi nep\'e1\'e8i, ale nep\'e1\'e8i sa mi ani meno Alica. Ani na jednu z\~nich sa nepodob\'e1m, pozrite sa, nepodob\'e1m sa na nikoho z\~v\'e1
s.... Prech\'e1dzam zrkadlom. Opakujem donekone\'e8na tie ist\'e9  chyby, na konci chodby \'e8ak\'e1m ja a\~be\'9e\'edm si v\~\'fastrety.  
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Vy\'9eiaren\'e1 sila Eros & Thanatos: }{
\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Dost\'e1vam, spr\'e1vy od Teba z\~in\'e9ho zdroja, de\'9aifrujem ich  vlastnou boles\'9dou a\~zahanben\'edm, z\~toho podstatn\'e9ho  kontaktu. Vid\'ed\'9a ma z\~
novej perspekt\'edvy, 
\par vn\'edma\'9a, ako tu sed\'edm, p\'ed\'9aem, mysl\'edm na Teba. Si tu. S\'fa\'e8as\'9dou jednoliateho okamihu, trvaj\'faceho st\'e1le. Pr\'eddem aj ja. Po\'e8kaj ma.
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 Spove\'ef a\~p\'fa\'9d: }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid4873395\charrsid4873395 P\'fatni\'e8ka. Telo je v\'fdtvarn\'fd
  materi\'e1l. Sta\'e8\'ed spozna\'9d techniku, ako kr\'e1\'e8a\'9d. Prich\'e1dza ako vietor, \'e8o ti  podlamuje nohy. Ma\'beuje\'9a dotykom p\'e1du do piesku. In\'9atit\'fat spovede.  Mo\'9enos\'9d vypoveda\'9d, nad\'fdchnu\'9d sa, pohybova\'9d
 svalmi jazyka, \'fast a\~tv\'e1re. Mo\'9enos\'9d vyslovi\'9d. Pomaly, zrete\'bene, nahlas. Slovo sa stane telom a vice versa. 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4873395 {\rtlch\fcs1 \af0\afs20 \ltrch\fcs0 \fs20\lang1051\langfe1029\langnp1051\insrsid4873395\charrsid16408231 
\par 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid5442319 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Ivica Ruttkayov\'e1}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Kumulujem \'e8as a\~priestor a\~zrkadlo a\~Eros a\~Thanatos a}{\rtlch\fcs1 
\ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid14316385\charrsid15741630 \~}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 putujem}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid14316385\charrsid15741630  }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 I\~Accumulate Space and Time and Mirror and Eros and\~Thanatos and I\~Am a\~Pilgrim }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 (Prelo\'9eil John Minahane)
\par It will be natural, I\~hope, in thoughts presented to a\~seminar on the theme of poetry written by women, if I\~respond to themes which are particularly close to me and crucial for me with my own poetic texts. As I\~see it, poetry is a\~
type of knowledge and at the same time a\~modulation of reality. I\~confess to having the occasional experience of an entirely personal and unique feeling of happiness. 
At the unexpected moment when in scattered bits of paper and incoherent sentences written in school jotters, meant only as personal therapy or art therapy, suddenly I\~
manage to capture that elusive feeling, that intensive and intimate knowledge. To capture it in the rusty cage of words. For a\~second, suddenly I can cope with everything.
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 Accumulation of time in literary space}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 
: It is remarkable how the past lights up in a\~single moment when you look at it from a\~certain point in the present. Suddenly you understand, you see everything more clearly, but there is no goal, everything is only in motion. In a\~
circle. So, you look straight at yourself with astonishment from an uncertain future. 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 Virtual mirror}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 : I\~don\rquote 
t like the name Alenka, but then I\~don\rquote t like the name Alice either. I\~don\rquote t resemble either of them, look, I\~don\rquote t resemble any of you... I\~go through the mirror. I\~
repeat these same mistakes neverendingly; at the end of the corridor I\~myself am waiting and I\~run to meet me.
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 Radiant force of Eros and Thanatos}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 :  I\~
receive news of you from another source: I\~decipher it with my own pain and shame, from that elemental contact. You see me from a\~new perspective, you feel how I\~am sitting, writing, thinking of you. You are here. Part of the integral 
moment, enduring always. I\~will come too. Wait for me.
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 Confession and pilgrimage}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 : A\~
pilgrim. The body is art material. It is enough to know the technique of walking. It comes like a\~wind that sweeps you off your feet. You paint with the touch of a\~fall int
o sand. School of confession. The chance to utter, to draw breath, to move with the muscles of tongue, mouth and face. The chance to pronounce. Slowly, perceptibly, out loud. The word becomes flesh and vice versa. 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid1393423 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid11864703 {\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11864703\charrsid11864703 Ivica Ruttkayov\'e1}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\insrsid11864703\charrsid11864703 
\par Kassandra 
\par 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11864703\charrsid11864703 Pr\'edbeh, postup, model 
\par z\'e1kladnej situ\'e1cie:
\par Postava, 
\par alebo sk\'f4r len silueta 
\par le\'9eiaca 
\par {\listtext\pard\plain\ltrpar \rtlch\fcs1 \af0 \ltrch\fcs0 \lang1029\langfe1029\langnp1029\langfenp1029\insrsid11864703\charrsid11864703 \hich\af0\dbch\af0\loch\f0 1.\tab}}\pard \ltrpar\ql \fi-360\li900\ri0\widctlpar
\jclisttab\tx900\wrapdefault\aspalpha\aspnum\faauto\ls1\adjustright\rin0\lin900\itap0\pararsid11864703 {\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11864703\charrsid11864703 na tr\'e1ve 
\par {\listtext\pard\plain\ltrpar \rtlch\fcs1 \af0 \ltrch\fcs0 \lang1029\langfe1029\langnp1029\langfenp1029\insrsid11864703\charrsid11864703 \hich\af0\dbch\af0\loch\f0 2.\tab}na chodn\'edku 
\par {\listtext\pard\plain\ltrpar \rtlch\fcs1 \af0 \ltrch\fcs0 \lang1029\langfe1029\langnp1029\langfenp1029\insrsid11864703\charrsid11864703 \hich\af0\dbch\af0\loch\f0 3.\tab}na dl\'e1\'9eke  
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid11864703 {\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11864703\charrsid11864703 pribl\'ed\'9een\'edm z\'e1beru zis\'9dujeme, 
\par \'9ee je to nah\'e9 telo  \'9eeny,  
\par telo je poliate farbou, 
\par \'e8o sa vp\'edja do p\'f3rov ko\'9ee 
\par ide  o 
\par 1. bodyart
\par 2. dobypaiting
\par 3. konceptu\'e1lnu akciu .
\par Nie je d\'f4le\'9eit\'e9, ako to pomenuje\'9a, 
\par Podstatnej\'9aie je prec\'edti\'9d t\'fa osamelos\'9d a\~ten strach
\par sch\'falenej bytosti,
\par ktor\'e1 c\'edti presnej\'9aie a\~viac.  
\par 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid13782441 Judita Ka\'9a\'9aovicov
\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728 : }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid13782441 St\'e1va sa to samo o sebe
\par }\pard\plain \ltrpar\s15\ql \li0\ri0\sl240\slmult0\widctlpar\brdrb\brdrs\brdrw15\brsp20 \wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 
\fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728 Judita Ka\'9a\'9aovicov\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid3818728\charrsid14968234  }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \cf1\insrsid3818728 \'9eije a p\'f9sob\'ed v\~\'8aamor\'edne. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid2906250 Popri pedagogickej pr\'e1ci sa venovala vydavate\'beskej \'e8innosti (Spolo\'e8nos
\'9d priate\'beov po\'e9zie \endash  Judita). Od roku 2005 sa venovala vydaniu svojej \'84\'9aamor\'ednskej tril\'f3gie\'93 (vydavate\'bestvo Judita) a\~organiz\'e1cii vlastn\'fdch liter\'e1rno-hudobn\'fdch podujat\'ed. Venuje sa }{\rtlch\fcs1 \af0 
\ltrch\fcs0 \cf1\lang1051\langfe1029\langnp1051\insrsid3818728 aj }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid2906250 hudbe a\~v\'fdtvarn\'e9mu umeniu}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\cf1\lang1051\langfe1029\langnp1051\insrsid3818728 . Vydala 8 b\'e1snick\'fdch zbierok, tril\'f3gia \'9aamor\'ednskych ver\'9aov vy\'9ala dvojjazy\'e8ne, po slovensky aj po ma\'efarsky a\~v\~knihe je aj CD, kde si po\'e9ziu m\'f4\'9eeme aj vypo\'e8u\'9d
. Venuje sa aj multimedi\'e1lnym prezent\'e1ci\'e1m. Judita po\'e9ziu vy\'9earuje aj svoj\'edm pohybom, je v\~nej ukryt\'e1 rytmika ver\'9aa a\~prejavuje sa to aj v\~dikcii re\'e8i, svojou priate\'beskou povahou akoby bola predur\'e8en\'e1
 na kontakt so svetom po v\'9aetk\'fdch str\'e1nkach. 
\par }\pard\plain \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 
\ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid13782441 Judita Ka\'9a\'9aovicov\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728 : }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 
\b\i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid13782441 St\'e1va sa to samo o}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid3818728 \~}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 
\b\i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid13782441 sebe}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid3818728  }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid13322325 
\par }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 P\'edsanie ako\~kumul\'e1cia \'e8asu v\~liter\'e1rnom priestore. P\'edsanie ako spove\'ef a\~p\'fa\'9d. P\'edsanie ako virtu\'e1lne zrkadlo.
\par P\'edsanie ako vy\'9eiaren\'e1 sila Eros & Thanatos. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 \'c8o doda\'9d, \'e8o nap\'edsa\'9d \'e8i poveda\'9d k\~t\'fdmto t\'e9mam alebo len k\~jednej z\~nich? Mo
\'9eno to, \'9ee P\'edsanie je kumul\'e1cia \'e8asu v\~liter\'e1rnom priestore, P\'edsanie je spove\'ef a\~p\'fa\'9d, P\'edsanie je virtu\'e1lne zrkadlo, P\'edsanie je vy\'9eiaren\'e1 sila Eros & Thanatos, P\'edsanie je... 
\par Op\'fdtal sa ma ned\'e1vno po\'besk\'fd v\'fdtvarn\'edk, keramik a\~rezb\'e1r, profesor Eugenius Molski pri na\'9aom prvom stretnut\'ed na za\'e8iatku symp\'f3zia Ora et ars v\~Tren\'e8\'edne, ke\'ef som mu bola predstaven\'e1 ako \'84poetka\'93, \'9e
e ako p\'ed\'9aem, \'e8i na stroji alebo po\'e8\'edta\'e8i. \'8dukla som si ukazov\'e1kom o\~hlavu a\~on rad\'9aej poodi\'9aiel \'efalej. Nesk\'f4r sa z\~n\'e1s stali, dovol\'edm si poveda\'9d, priatelia. Stalo sa tak vtedy,  ke\'ef som mu pri spolo\'e8
nej ceste mestom na jeho pochybova\'e8n\'fa ot\'e1zku, pre\'e8o som tam, jednoducho odpovedala, \'9ee som tu a\~som tu ve\'bemi rada, ve\'bemi sa te\'9a\'edm, \'9ee m\'f4\'9eem zdie\'bea\'9d ten \'e8as s\~v\'fdtvarn\'edkmi, preto\'9ee ja \'84stra\'9ane
\'93 milujem umenie. Roz\'9eiaren\'fd mi s\~ve\'bekou d\'f4verou v\~tom okamihu zveril nieko\'beko kr\'e1snych katal\'f3gov so svojou tvorbou. Uprostred jedn\'e9ho z\~nich boli jeho Anjeli. Tak ak\'e1 je pravda o\~n\'e1s, kto si, kto som, kto ste, ak\'ed
 sme? Tak\'e9 tajomn\'e9 sa mi to vtedy zdalo, \'9ee len prich\'e1dzaj\'face \'e8osi, zachyten\'e9 p\'edsmom mohlo by\'9d pokusom o\~dotyk so  z\'e1zrakom menom \'e8lovek, so\~z\'e1zrakom jeho bytia  a\~bytia ako tak\'e9ho.
\par A\~ja len bezmocne prizn\'e1vam, \'9ee neviem, kde vznik\'e1, odkia\'be prich\'e1dza nie\'e8o, \'e8o zap\'edsan\'e9 (nap\'edsan\'e9, p\'edsan\'e9) jednoduch\'fdm slovom, jednoduch\'fdm obrazom, jednoduchou vetou zachyt\'ed \'e8osi ako fluidum, z\~ktor\'e9
ho v\'9aetko povst\'e1va, men\'ed sa, vznik\'e1 a\~zanik\'e1. Viem len, \'9ee to prich\'e1dza v\~hlbokom vn\'fatornom tichu a\~deje sa sam\'e9 od seba. 
\par A\~tak }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 Anjeli Eugeniusza Molskeho.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 
\par Trochu odbo\'e8\'edm, vlastne len inak nadvia\'9eem na \'84ruku lie\'e8ite\'bea\'93 a spomeniem postoj Mily Haugovej v\~diskusii\~BIH 3. 11. 2010 na t\'e9mu \'84Etick\'e9 aspekty rann\'fdch \'beudsk\'fdch embri\'ed v\~biomedic\'edne\'93, ke\'ef pouk\'e1
zala otvorene na to, \'9ee za z\'e1chranu zdravia ve\'bemi bohat\'e9ho \'e8loveka riskuje svoje zdravie nezn\'e1ma chudobn\'e1 \'9eena. Zabije sa pritom aj umelo vytvoren\'fd plod. Cenou \'9eivota sa lie\'e8i nie\'e8ia chrbtica, noha, pe\'e8e\'f2... Ke
\'ef sa dobre zaplat\'ed. Mila, nie si v\~tom sama a\~ur\'e8ite aj m\'fadri mu\'9ei zdie\'beaj\'fa s\~nami vedomie, \'9ee svet touto cestou bude prich\'e1dza\'9d aj o\~\'8eivot ako spove\'ef a\~p\'fa\'9d, o \'8eivot s virtu\'e1lnym zrkadlom ducha a\~o 
\'8eivot naplnen\'fd kozmickou silou zrodenia a\~smrti. A\~\'9ee to nie je dobr\'e1 cesta. V\~mori biologickej hmoty potom\~u\'9e nebude mo\'9en\'e9 P\'edsa\'9d.
\par Ver\'edm v\'9aak, \'9ee duch vanie kam chce a\~bude van\'fa\'9d dokedy chce a\~\'9ee mu v\~tom \'beudsk\'e1 v\'f4\'bea v\~kone\'e8nom d\'f4sledku nezabr\'e1ni.
\par }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 C\'edtim/ jemn\'fa energiu/ priestoru. Potemnel\'e9 nebo/ povievaj\'face l\'edstky \'e8ubrice/ vo\'f2av\'e1 srs\'9d ps\'edka./ D\'fdcha\'9a pri mne a\~m\'e1
\'9a/ hor\'facu priehlbinku v\~dlani.// \'c8ajov\'e9 l\'edstky/ rozvinut\'e9/ v\~hlinen\'fdch misk\'e1ch.
\par 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid5442319 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Judita Ka\'9a\'9aovicov\'e1}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 St\'e1va sa to samo o}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid14316385\charrsid15741630 \~}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 sebe}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid14316385\charrsid15741630  }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 It happens all by itself }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 (Prelo\'9eila Heather Trebatick\'e1
)
\par }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 
Writing as an accumulation of time in literary space. Writing as a confession and a pilgrimage. Writing as a virtual mirror. Writing as the radiated power of Eros & Thanatos\'85
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 What to add, to write or 
say on these topics or just one of them? Perhaps that Writing is an accumulation of time in literary space, Writing is a confession and a pilgrimage, Writing is a virtual mirror, Writing is the radiated power of Eros & Thanatos, Writing is\'85
\par When not long ago I met the Polish artist, ceramist and woodcarver, Professor Eugeniusz Molski, for the first time at the beginning of the Ora et ars symposium in\~Tren\'e8\'ed
n and I was introduced to him as a "poet", he asked me how I write, whether on a typewriter or on a co
mputer. I tapped my head with my finger and he chose to move on. Later, I should like to say, we became friends. This happened when we were going through town together and my reply to his sceptical question about why I was there, was simply that I am here
 
and I am very glad to be here, I'm very happy that I can share this time with artists, because I "adore" art. Immediately brightening up, he entrusted me with several catalogues of his work. In the middle of one of them was his Angels. So what is the trut
h about us, who are you, who am I, who are we? This seemed so mysterious to me at that time that only something coming, captured in writing could be an attempt to touch that miracle called Man, the miracle of his existence and existence as such.
\par And I can o
nly helplessly confess that I don't know where that something originates, where it comes from, which when recorded, written down in a simple word, a simple image, a simple sentence captures something like the fluid from which everything is made, which cha
n
ges, originates and ceases to exist. I only know that it comes in a deep inner silence and that it happens all by itself. I'll digress a little, or in fact I shall follow up in a different way on the "hand of the healer" and mention the attitude of Mila H
augov\'e1
 in the discussion at the Bratislava Institute of Humanism (BIH 3.11.2010) on the topic of "Ethical aspects of the early human embryo in biomedicine", when she openly pointed out that to restore a very rich person to health an unknown poverty-stricken
 woman risks her own health. In doing so an artificially created foetus is also killed. Someone's spine, leg, liver, or whatever is healed for the price of a life. If they pay well. Mila, you are not alone and no doubt wise men also share with us the awar
e
ness that in this way the world will lose Life as a confession and a pilgrimage, Life with a virtual mirror of the spirit and Life filled with the cosmic power of birth and death. And that this is not a good way. Then in the sea of biological matter it wi
ll not be possible to Write.
\par I believe, however, that the soul wafts where it wishes and it will waft for as long as it wishes and that in the end human will not prevent it from doing so. 
\par 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8871326 Judita Ka\'9a\'9aovicov\'e1
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\insrsid8871326\charrsid8871326 ...}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8871326 \line \line C\'edtim\line jemn\'fa energiu\line priestoru. \line Potemnel\'e9 nebo\line povievaj\'face l\'edstky \'e8ubrice\line vo\'f2av
\'e1 srs\'9d ps\'edka.\line D\'fdcha\'9a pri mne a m\'e1\'9a\line hor\'facu priehlbinku v dlani.\line \line \'c8ajov\'e9 l\'edstky\line rozvinut\'e9\line v hlinen\'fdch misk\'e1ch.\line \line \line }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid8871326\charrsid15741630 (Prelo\'9eil John Minahane)}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid8871326 
\par ...\line \line I feel\line the subtle energy\line of space.\line Dusky heaven\line stirring the savory leaves\line little dog's fragrant fur.\line You breathe by me and hold\line a burning hollow in your palm.\line \line Tea leaves\line spread out\line 
in clay dishes.\line }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 
\par }{\rtlch\fcs1 \ai\af0\afs20 \ltrch\fcs0 \i\fs20\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid1064864 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 Hana Ko\'9akov\'e1}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 : }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 Rozhovor s tichom}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\brdrb\brdrs\brdrw15\brsp40\brdrcf17 \wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 Hana Ko\'9akov\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728 , a\~to m\'e1lokto vie, bola najprv zdravotnou sestrou. Nesk\'f4r sa stala redaktorkou}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478  okresn\'fdch nov\'edn Ipe\'be, a\~e\'9ate nesk\'f4r pracovala v t\'fd\'9edenn\'edku Novohrad v\~Lu\'e8enci. Od roku 1992 p\'f4sob\'ed v\~slobodnom povolan\'ed
. Vydala 8 b\'e1snick\'fdch zbierok, naposledy to bola zbierka S\'farodenci zo sna, v\~roku 2006. Asi pred piatimi rokmi za\'e8ala p\'edsa\'9d aj pre deti a\~ml\'e1de\'9e. Zauj\'edmaj\'fa ju povesti a\~legendy, ktor\'e9 poetizuje a\~magicky dotv\'e1
ra tak, aby p\'f4sobili aj starobylo, aj moderne. Po\'e9zia Hany Ko\'9akovej sa vyzna\'e8uje stru\'e8nos\'9dou a\~hutnos\'9dou, odvahou pohybova\'9d sa v\~texte len na nieko\'bek\'fdch riadkoch. }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid3818728 Je to poctiv\'e1, pre\'9eit\'e1 po\'e9zia, prameniaca z\~osobn\'fdch zranen\'ed a\~t\'fa\'9eby.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 Hana Ko\'9akov\'e1: }{
\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 Rozhovor s}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid3818728 \~}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 
\b\i\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid9244478 tichom}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid3818728 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 Zmeny v\~\'9eivote s\'fa  zmenami v\~n\'e1s sam\'fdch. V\~na\'9aom vedom\'ed, v\~pocitoch, \'9eije minulos\'9d a\~prekona\'9d inerciu zau\'9e\'edvan\'e9
ho nie je v\'9edy naj\'beah\'9aie. \'c8as n\'e1m neposkytuje mo\'9enos\'9d zastavi\'9d sa na ceste. St\'e1le n\'e1s \'9eenie dopredu. M\'e1me svoju Compostelu , p\'fatnicku palicu,  zodrat\'fa obuv a\~zast\'e1vky, na ktor\'fdch si odklad\'e1me \'e8ierne 
\'9atetce k\~vybielen\'fdm miestam.
\par }\pard \ltrpar\qj \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 Aj ja putujem k\~rozhovoru s\~
tichom. V\~\'e8ase, ke\'ef sa tajomstv\'e1 stret\'e1vaj\'fa s\~ich prezraden\'edm, kriesim chv\'edle , ktor\'fdch u\'9e chv\'ed\'beu niet. Som \'e8oraz tich\'9aia medzi z\'e1\'9eitkami vn\'fatorn\'e9ho zraku. Sna\'9e\'edm sa n\'e1js\'9d priliehav\'e9 slov
\'e1 medzi vlastn\'fdmi sk\'fasenos\'9dami. Pam\'e4\'9d m\'e1m pln\'fa trhl\'edn, magick\'fdch okamihov, ale i\~zav\'e1han\'ed. Balansujem medzi znepokojuj\'facimi ot\'e1zkami a\~nejasn\'fdmi odpove\'efami. 
\par Po\'e9zia, ktorej d\'f4verujem, \'e8astokr\'e1t protire\'e8iv\'e1, zmoren\'e1 pochybnos\'9dami a\~pre mnoh\'fdch \'beud\'ed i\~nepotrebn\'e1, preru\'9auje so mnou ob\'e8as spojenie. Neraz nepo\'e8u\'9d jej sign\'e1l a\~niekedy zvon\'ed, ke\'ef jej n\'e1v
\'9atevu ani ne\'e8ak\'e1m. Vrh\'e1m sa k\~nej a\~ona u\'9e sn\'edva o\~zabudnut\'ed. 
\par Po\'e9zia i\~l\'e1ska bez protikladov je slab\'e1 ako \'9eena po dlhej bezradnosti. A\~ja jej chcem prerozpr\'e1va\'9d ako ma p\'e1lia farby vyhosten\'e9 z\~host\'edn, ako neviem stava\'9d a\~neviem ani b\'fara\'9d. Vdychujem ka\'9edodenn\'e9 hrozby i\~hr
\'f4zy bez dopredu pripraven\'e9ho scen\'e1ra -  hr\'e1m sebe samej rozvidnenie .
\par Moja priate\'beka ukrajinsk\'e1 poetka Oxana Senatovi\'e8, mi v\~jednom zo svojich listov nap\'edsala: \'84 Rod\'edme sa slep\'ed. Cel\'fd \'9eivot sa mus\'edme u\'e8i\'9d, aby sme videli\'93.  Uvedomujem si jej slov\'e1 ke\'ef sa zmierujem s\~rezign\'e1
ciou, ke\'ef ma ohrozuje vlastn\'e1 nemoh\'facnos\'9d pri udalostiach kde je nevyhnutn\'e1 zodpovednos\'9d. Pri svojom putovan\'ed k\'beu\'e8kujem medzi diabolsk\'fdm tancom a\~spovedn\'fdm miestom.   Prem\'fd\'9a\'beam , pre\'e8o s\'fa pocity \'9a\'9d
astia vyk\'fapen\'e9 boles\'9dou, a\~\'e8i je b\'e1se\'f2 zmieren\'edm. 
\par Ob\'e8as som znepokojen\'e1 predstavou, \'9ee by som nena\'9ala priamo\'e8iaros\'9d a\~svojskos\'9d, ktor\'e9 s\'fa darky\'f2ami krvi pr\'fadiacej do mojej po\'e9zie. M\'e1m pochybnosti, \'e8i moje slov\'e1 b\'e1se\'f2 unesie a\~do\'9eije sa nasleduj\'fa
ceho d\'f2a. \'c8i dok\'e1\'9ee by\'9d prirodzen\'e1 bez mejkapu, p\'fadrov a\~silik\'f3nu. 
\par Raz som po\'e8ula pri mori piese\'f2 o\~slepcoch, ktor\'ed v\~nepreh\'beadnom lese h\'beadaj\'fa chodn\'edk. Smrte\'bene unaven\'ed kr\'e1\'e8aj\'fa dopredu, aby prekonali vlastn\'fa slabos\'9d.  Ke\'ef potuln\'fd spev\'e1k dospieval, more, ten ve\'bek
\'fd p\'fatnik za ni\'e8\'edm mi pripomenul \'beudsk\'e9 putovanie, ktor\'e9 nem\'e1 ve\'e8nos\'9d mora. Mala som zvl\'e1\'9atny pocit, ako by som chcela presko\'e8i\'9d vlastn\'fa priepas\'9d. Dosta\'9d sa na jej druh\'fa stranu, kde m\'f4\'9eem odovzda
\'9d b\'e1s\'f2ou svoje posolstvo.          
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \af0\afs20 \ltrch\fcs0 \fs20\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid7364450 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid1064864 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Hana Ko\'9akov\'e1}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Rozhovor s\~tichom}{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 
\b\i\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid14644744 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid14644744\charrsid15741630 Interview with Silence }{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14644744\charrsid15741630 (Prelo\'9eila Daniela Richterov\'e1) 
\par Chan
ges in our lives reflect changes in ourselves, in our conscience, our feelings. It is, however, never easy to overcome everyday inertia and time does not allow us to stop on our path of life and reflect. In a space where secrets meet with revelations, I t
r
y to resurrect moments that have passed not long ago. My memory is full of cracks, magical moments, as well as hesitations. I try to balance between unsettling questions and hazy answers. At times, poetry, which I do not always trust, even find it contrad
ictory at times and, which I believe, many consider unnecessary, sometimes decides to break off its connection with me, but then, at other times, it calls to me when I least expect it. My friend, an Ukrainian poet, Oxana Senatovi\'e8 once wrote to me: 
\'93We are born blind. And we are learning to see all throughout our lives.\'94 I remind myself of her words when I am suffering from impuissance and when I am forced to take responsibility. On the path of my life I zigzag between the devil\rquote 
s dance and confession. I won
der, whether poetry has the power to reconcile. Sometimes I doubt whether poetry can handle my candid words and whether my verses will survive until the next morning. Whether it is capable of being natural, without makeup or silicones.  
\par }\pard\plain \ltrpar\s15\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid10583333 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid10583333 
\par Hana Ko\'9akov\'e1
\par 
\par Vyhadzuje\'9a k\'be\'fa\'e8 na strechu 
\par h\'e1d\'9ee\'9a n\'f4\'9e do vetra 
\par odkrajuje\'9a zo zablaten\'fdch
\par st\'f4p
\par za m\'farmi
\par k\'bea\'e8\'ed\'9a na kvapke posv\'e4tn\'e9ho
\par oleja
\par bez priate\'beov i\~nepriate\'beov 
\par prisp\'f4soben\'e1 , ur\'e8en\'e1
\par opra\'9auje\'9a sa zo \'9eelezn\'fdch pil\'edn
\par z\~nest\'e1lych s\'e5z
\par Sl\'e1vi\'e8ia i\~vl\'e8ia 
\par poodt\'e0han\'e1 z\~o\'e8arenia
\par medzi nepre\'e8\'edtan\'fdmi 
\par zrkadlami
\par dr\'9e\'ed\'9a palce d\'f4ver\'e8iv\'fdm.
\par Cez dve lupy
\par pozoruj\'fa \'9da supy
\par \'e8erven\'e9 oh\'f2ostroje
\par pl\'e1vaj\'face krajinou....
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid10583333 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 \rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1029\langfe1029\cgrid\langnp1029\langfenp1029 {\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid5062426 Zlata Matl\'e1kov\'e1: }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid5062426 Kto dotk\'e1 sie\'9d
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\brdrb\brdrs\brdrw15\brsp20 \wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid5062426 Zlata Matl\'e1kov
\'e1 vy\'9atudovala ch\'e9miu a\~biol\'f3giu. Nap\'edsala pr\'edru\'e8ku Podporovanie a\~rozv\'edjanie \'9eiackej liter\'e1rnej tvorivosti}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728 .}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid5062426  Doteraz jej vy\'9alo 6 b\'e1snick\'fdch zbierok, naposledy Nepoznan\'e1, v\~roku 2010. }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728 Po\'e9zia Zlaty Matl\'e1
kovej m\'e1 v\~sebe skryt\'fd vn\'fatorn\'fd dial\'f3g, potrebu dorozumenia medzi du\'9aou a\~duchom, animou a\~animusom. H\'bead\'e1 most medzi \'9eensk\'fdm a\~mu\'9esk\'fdm svetom a\~rob\'ed to prostredn\'edctvom sebaodha\'beovania. V\~
zmysle pravidla: \'8eena ukazuje du\'9au. Jej po\'e9zia d\'e1vno presiahla region\'e1lny diapaz\'f3n a\~m\'f4\'9eeme ju pr\'e1vom priradi\'9d k\~poetk\'e1m celon\'e1rodn\'e9ho v\'fdznamu.
\par }\pard \ltrpar\ql \li0\ri0\sl240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728 Zlata Matl\'e1kov\'e1: }{\rtlch\fcs1 \ab\af0 
\ltrch\fcs0 \b\insrsid3818728 Kto dotk\'e1 sie\'9d }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid13322325 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3818728 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 Na miestach, kam sa chceme vr\'e1ti\'9d
, zvykneme vhadzova\'9d do vody kovov\'e9 peniaze. Vedome vytv\'e1rame il\'faziu mo\'9en\'e9ho ovplyvnenia fyzick\'e9ho \'e8asu. Podvedomie vhadzuje vlastn\'e9 mince. Netu\'9a\'edme, ko\'bek\'e9 z nich sa ulo\'9eia na jeho pomyselnom dne a\~v\~ak\'fdch s
\'favislostiach sa pripomen\'fa. Aj v\~b\'e1sni.}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid3818728\charrsid3818728 Biblick\'fd pr\'edbeh o\~Zuzane a\~\'9eiadostiv\'fdch starcoch je zaznamenan\'fd pod\'bea (mo\'9enej) udalosti z\~obdobia spred nieko\'bek\'fdch storo\'e8\'ed
 pred za\'e8iatkom odrat\'favania n\'e1\'9aho letopo\'e8tu. Prenesen\'fd aj Rembrandtom  do farieb, l\'edni\'ed a\~barokov\'e9ho \'9aerosvitu. Algoritmus v\~pozmenen\'fdch situ\'e1ci\'e1ch  neust\'e1le sa opakuj\'faci v\~\'9eivotoch \'9eien.
\par B\'f6hmov nekone\'e8n\'fd p\'e1sik... 
\par Podie\'beam sa na zdanlivom dotvoren\'ed \'e8asovej slu\'e8ky nap\'edsan\'edm b\'e1sne, ktor\'fa obm\'fdva spomenut\'e1 udalos\'9d nieko\'beko rokov ulo\'9een\'e1 v\~mojom podvedom\'ed a\'9e do noci, v\~ktorej sa mi  o\~babylonskej \'9eene sn\'edvalo.

\par Napriek tomu, \'9ee existuje v\'9aeobecne zn\'e1me rie\'9aenie historky, rozhodla som sa nap\'edsa\'9d ver\'9ae, v\~ktorej ho nepopieram ani nezd\'f4raz\'f2ujem. Nepon\'fakam \'9eiadny fikt\'edvny baedeker , pod\'bea ktor\'e9ho by sa dalo prejs\'9d cez 
\'fazemie mojej b\'e1sne. Pr\'edbeh je iba predporozumen\'edm ver\'9aov. Nazna\'e8ujem, pochybujem, taj\'edm, odkr\'fdvam okamih autorsk\'e9ho fyzick\'e9ho jestvovania, v\~ktorom som sama sebou ale nie sama. B\'e1se\'f2  akoko\'bevek prepojen\'e1 s\~konkr
\'e9tnou (u\'9e zaznamenanou) udalos\'9dou, v\~kone\'e8nom d\'f4sledku odp\'fatava od merate\'ben\'e9ho \'e8asu. Je il\'faziou i\~pravdou, otvoren\'fdm priestorom pre pokoru, ostych a\~zhmotnen\'fa energiu slov.
\par Nechcem definova\'9d vz\'9dah \'e8asu a\~b\'e1sne. To by som musela re\'9apektova\'9d stanoven\'fd limit.
\par Po\'e9zia je plynutie, otvoren\'fd priestor, univerzum a\~za\'e8\'edna prekro\'e8en\'edm merate\'ben\'e9ho. V\~opa\'e8nom pr\'edpade by mohla padn\'fa\'9d do pasce, vytrati\'9d sa, lebo by sp\'e5\'f2ala po\'9eiadavky toho, \'e8o je uchopite\'ben\'e9.

\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid1064864 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid3818728 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Zlata Matl\'e1kov\'e1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 : }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Kto dotk\'e1 sie\'9d}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid14316385\charrsid15741630  }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid10583333 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang2057\langfe1029\langnp2057\insrsid10583333 Completing }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 
\b\lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997 the net}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang2057\langfe1029\langnp2057\insrsid10583333  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid10583333 
(}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 Prelo\'9eila Heather Trebatick\'e1)
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997 In places we wish to return to we usually throw
 coins into water. We consciously create the illusion of the possible influencing of physical time. The subconscious mind throws its own coins. We have no idea how many of them settle on its imaginary bed and in what connection they will be called back to
 memory. In poems too.
\par The biblical story of Susannah and the lustful Elders is recorded according to a (possible) event from a period several centuries before we began counting the years in the Common Era. It has also been presented by Rembrandt in colours
, lines and baroque chiaroscuro. The ever-repeated algorithm in modified situations in the lives of women. 
\par B\'f6hm's never-ending process... 
\par I partake in the seeming completion of the time loop by writing a poem washed by the mentioned event already stored in my subconscious for several years until the night I dreamed about the Babylonian woman. 
\par In spite of the fact that there exists a generally known }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 ending}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997 
 to the tale, I decided to write a poem in which I neither den}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 ied}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997  nor emphasise}
{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 d}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997  it. I }{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang2057\langfe1029\langnp2057\insrsid10583333 am}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997  not offer}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 ing}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997  any fictive Baedeker, according to which it is possible to find your way through the territory of my poem. The story only}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang2057\langfe1029\langnp2057\insrsid10583333  helps you to}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997  understand the }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 
poem}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997  in advance. I hint at, doubt, conceal, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 reveal}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997  the moment of the author's physical existence, in whi
ch I am myself, but not alone. No matter how a poem is linked to a concrete (already recorded) event, it inevitably draws attention away from measurable time. It is both an illusion and truth, an open space for humility, diffidence and the materialised en
ergy of words.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid15747740  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997 
I do not want to define the relationship between time and poems. For that I would have to respect }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 a}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997  given limit.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid15747740  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997 
Poetry is a flowing, an open space, the universe and it begins by overstepping what is measurable. Otherwise it could fall into a trap, }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 disappear}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997 , because it would meet the requirements of that which it is possible to grasp.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang2057\langfe1029\langnp2057\insrsid10583333\charrsid12855997 \tab \tab \tab \tab \tab \tab \tab 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid5442319 {\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 Zlata Matl\'e1kov\'e1
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 Kto dotk\'e1 sie\'9d
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid5442319\charrsid15741630 
\par v \'9aerosvite
\par vnik\'e1m do vody
\par v\~jej ruk\'e1ch som naozaj sama
\par 
\par ktosi vch\'e1dza do horiacej z\'e1hrady
\par 
\par geometria jeho tela
\par smeruje k\~bodu G
\par hladk\'e9 \'efasn\'e1 nad jamou
\par e\'9ate hovoria
\par 
\par v\~\'9ak\'e1ro\'e8ke medzi perami
\par na \'9aedivom vl\'e1sku
\par kyvadlo
\par po\'ef \endash  po\'ef
\par 
\par otv\'e1ram o\'e8i  
\par 
\par na vode siv\'e1 pavu\'e8ina
\par 
\par 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid14644744 {\rtlch\fcs1 \af0 \ltrch\fcs0 \ul\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 Dana Podrack\'e1}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid12280010\charrsid15741630 : }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid13988230 \'c8akanie na zjaven\'e9 obrazy
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid14644744\charrsid15741630 Waiting for Emerging Images }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14644744\charrsid15741630 (Prelo\'9e
ila Daniela Richterov\'e1)}{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid14644744\charrsid15741630  
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid14644744\charrsid15741630 The process of writing for me starts by involuntarily adopting a new temporarily soul \endash 
 a soul tasked with creating the next literature piece. It tells me what to write, what to think \endash  I am left with no other option but to obey its orders. When the proces
s of writing is finished, the soul leaves and I am open to welcoming a new temporary tenant, a new soul. The more I write poetry and I adopt these temporary souls, the more I long for inspiration \endash 
 for images, which arrive only in limited quantity. Sometim
es they come in the form of a dream or they arrive when I am fully conscious. These images first enter my body through my skin. Then they start taking on a more specific form and finally they wait to be discovered. This process consumes me entirely and op
ens me up for an uneasy journey ahead. These images are, however, not only a gift but they also come with responsibility \endash 
 a responsibility to mediate the message to others who, without this gift, would be deprived of something important, something essential.  
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid10841081 {\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\insrsid10841081 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid10841081\charrsid10841081 Dana Podrack\'e1
\par }{\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid10841081\charrsid10841081 Siroty na po\'benej ceste 
\par }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid10841081\charrsid10841081 
\par }{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid10841081\charrsid10841081 Sv\'e4t\'fd J\'e1n Almu\'9en\'edk zakladal sirotince
\par z\~l\'e1sky k\~opusten\'fdm de\'9dom, h\'beadaj\'facich rodi\'e8ov
\par v\~rohoch vank\'fa\'9aa alebo v\~popolni\'e8ke
\par 
\par Vyn\'e1rali sa z\~\'fasvitu, e\'9ate v\~nimbe,
\par rozde\'beovali svet na \'beudsk\'fa a\~bo\'9esk\'fa stranu
\par 
\par Na stoli\'e8ku, obl\'f4\'e8ik a\~plechov\'fd tanier tu
\par a\~na snehov\'fa pl\'e1\'f2, kde za deviatimi kach\'beami mati\'e8ka
\par pl\'e1tenko vy\'9a\'edva
\par 
\par Sirota bola moja matka
\par Sirota bol m\'f4j najmilovanej\'9a\'ed mu\'9e
\par 
\par Z\~uh\'e1\'f2aj\'faceho r\'fdchlika dovid\'edm na deti,
\par be\'9eiace po po\'benej ceste niekam, kde ni\'e8 nie je
\par 
\par Mapujem ter\'e9n, aby som nie\'e8o neprehliadla,
\par mo\'9eno psa, brechaj\'faceho na mot\'fd\'bea, 
\par b\'fat\'beavinu alebo k\'fadoliaci sa dym
\par 
\par Ni\'e8, len divoko rast\'faci porast, vy\'e8k\'e1vaj\'faci
\par na maslov\'fa hru\'9aku, st\'f4l \'e8i }{\rtlch\fcs1 \ai\af0 \ltrch\fcs0 \i\lang1051\langfe1029\langnp1051\insrsid10841081\charrsid10841081 missu solemnis}{\rtlch\fcs1 \af0 \ltrch\fcs0 \lang1051\langfe1029\langnp1051\insrsid10841081\charrsid10841081  

\par 
\par Ale potom prich\'e1dza almu\'9ena
\par 
\par Mihotav\'fd strom, od opaku cel\'fd strieborn\'fd
\par akoby mu do r\'e1na zbeleli vlasy
\par Penia\'9eteky svetla animuj\'fa, \'e8o chce\'9a uvidie\'9d
\par Straten\'fa tv\'e1r, pohladenie, svie\'e8ku za sklom 
\par 
\par Plame\'f2 rozh\'e0\'f2a nebo aj zem
\par Bol\'ed to ako rany sv\'e4t\'fdch  
\par 
\par }{\rtlch\fcs1 \ab\ai\af0 \ltrch\fcs0 \b\i\lang1051\langfe1029\langnp1051\insrsid10841081\charrsid10841081 
\par 
\par 
\par 
\par 
\par 
\par 
\par 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid1064864 {\rtlch\fcs1 \ab\af0 \ltrch\fcs0 \b\lang1051\langfe1029\langnp1051\insrsid12280010\charrsid10841081 
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