Dimkovska’s novel leaves a deep, at times uneasy impression and a number of essential questions, open as a lifelong challenge. The question about our (voluntary of forced) residence in languages is only one of them! And it is a question which equally pertains residing in one’s own mother tongue rather than only in the foreign, newly learned (linguistic-cultural) idiom.
Then, there is also the subtly implied question: at those moment when we address each other in a foreign language, do we also assume a new role and accept it voluntarily, i.e. the role of one’s own stunts…
Actually, for an author such as L. Dimkovska, opening various taboos has never been unusual (regardless whether it pertained to experienced taboos such as: sickness, misery, decay, leaving one’s home, and even the everyday banality, that unavoidable vice and poisonous whirlpool, in which the modern, spiritually devastated man is thrown into).
Here, there is of course also the reawakening of the story about (as we naively thought) an eradicated ghost, that of the resurrected fascism, which among other places, also resurrects in a heroic city, such as Split (and unfortunately, not only there) while young Neda stays there.
It seems that, according to this feature, the “uncensored opening” the taboos, in the context of (and not only) contemporary Macedonian literature, Dimkovska remains if not the only, then by all means a striking and undeniably brave author! An author, who is in line with the noble tradition of the so-called engaged literature, as her own choice and in continuity; not only does she carefully, authentically and most often critically looks into the acute phenomena of our contemporariness, but also sharpens the senses of her readers so that they are always careful and attentive before the latently or openly expressed threat of (always new transformations) of Evil.