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ISSN 1409-6900 | UDK 82+7     Blesok no. 112 | volume  | March-April, 2017



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                     Peer-reviewed journal
Blesok no. 112March-April, 2017
Reviews

I am a hunter of moments that I rarely manage to catch

The youngest fifty-year old in the Macedonian poetry on purpose goes about unkempt


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p. 1
Elizabeta Bakovska

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I am a hunter of moments that I rarely manage to catch

  Unable (or unwilling) to deal with some authors in more details, criticism often, without any further elaboration, easily throws the epithet “young” or the syntagm “younger generation” on table, thus distancing itself from any inclusion, classification or canonisation of those writers. It is in such a manner that Jovica Ivanovski has remained one of the youngest fifty-year olds in the Macedonian poetry. After more than twenty tears of writing poetry and twelve published collections, there are barely two dozen critical reviews written about him. Almost all of them are by “non-institutional” critics (i.e. those who formally work outside the scholarly, educational or research institutions that deal with language, literature or culture) and most of them are promotional (i.e. aimed to promote some of the newly written poetry collections). “Despite so many published books, participations at festivals, residences,… despite translations to a number of languages, his inclusion in a number of anthologies,… very little has been written about Jovica Ivanovski”, says Olivera Kjorveziroska, adding that “we all read him, ‘critics’ also read him, but we somehow forget him, we miss him, not avoiding him in a broad circle, but rather keeping quiet about him in a narrow one…” (Ќорвезироска 2015).
    Almost all of these critical reviews are directed to (or at least they persistently refer to) two features of Jovica’s poetry. The first one is its urban nature, or its thematic embeddedness in the city (nowadays Skopje) as the chronotope in which the poet resides[1]. Bogomil Gjuzel thus says that these verses have an “authentically urban sensibility” (Ѓузел 1995), and Elizabeta Šeleva that “Jovica Ivanovski’s poetry is a result of a continuous urban adultery with a space” (Шелева 2005). On this Skopje homeness, Olivera Kjorveziroska says that “Jovica Ivanovski’s poems… are old citizens of Skopje” (Ќорвезироска 2015), and Vlatko Galevski in his promotion of the latest poetry collection of Jovica, The City that Is no Longer Mine (Градот што веќе не е мој, Темплум 2016), says that “Jovica’s poetry is like the first verse museum of the defeats of a city, its residents” (Галевски 2016). The second feature of this poetry which seems to be noticed by the critics is what Duško Krstecski calls a “metonymic” writing style, i.e. narrative, story-telling, even epic, as opposed to the “metaphoric”, i.e. lyrical, for the most part abstract style (according to

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1. Even Jovica Ivanovski himself ends every biographical note with the same sentence: “He still lives and works in Skopje”.






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