In Honor of Daisies

Because the only calmness she can find in the song. The active duality speech-silence is immanent of the structure of any song, which, we can say, pulsates between the language and the silence. Or, the silence is the pre-condition and the post-condition, and meanwhile is the creation, says Katica Kjulavkova about the poetry as the creation between two states of silence. According to her, the silence is an act of ritual in which the poetry is conceived and which precedes the poetry; and the poetry is an act of language that follows the silence and incorporates and expresses – within itself – the inspiration3F. And most of all, the silence is needed by this kind of confessional poetry. This book of poetry is fulfilled by the emotions of a couple who doesn’t even know how to speak any more, for a couple who are more easy in silence, for a couple in which He isn’t The Master for Her and She isn’t Daisy/Margaret for Him, and finally, for those two who dance the dance for two between the four walls, as in the song
Samba (in few steps):
When we are between four walls
and two in two:

two separate souls,
two separate bodies,
and only one room,

then
the walls multiply in vertigo
and the windows divide as mine and yours

And – when we have the pain – we have the song, too. The opinion that the poets are the most competent thinkers of poetry is confirmed in those verses of Bulgakova. The maintained relation: poet – song, at the level of the song itself, always does the suplemental ‘poetisation of the poetic act’. Poets become the conspirators of the artism the understands emancipation of the art, the trademark of its independence. It is the source of the idea about the pure poetry (poesie pure). Namely, the song doesn’t mean, nor signify, but only is: it exists.
If we agree that the words are linguistic symbols with which precise thought operations can be implemented, as in the mathematics, then it’s not surprising that some of the songs in this book, fulfilled with the words from the fields of geography, mathematics/geometry, grammar/literature, astronomy, philosophy, physics, etc… doesn’t sound banal. It seems that every woman accepts that corpus of words – more or less – while in the afternoon hour’s works with her children on their homework, on learning of theirs school-day’s lessons and on their absorbing of the new terms and expressions. But, the question is open what that woman does with all that when afterwards she remains alone with her solitude and pain, in her silence – when she can’t just erase them out of her head. She suppresses them, she imprisons them in her heart, she shares them with her friends, she inscribes them onto some new recipes, she paints them, she translates them in some other languages…? Bulgakova places them in a hat, she mixes them and then she randomly draws word after word, she classifies them, places them and she writes them drawing them in some new geometry (Circle). In that way, among us as readers, the next question imposes it self: does she, while helping her child in learning mathematics, tries to contemplate and prove her own and personal life theorem? as in the song Uncurling (sad geometry). It seems that Bulgakova constantly watches as a sentinel upon her words. As a result of some mystical consciousness, her poetry becomes clairvoyant. It’s a concept of the new poetics conceived in the European lyrics by Rimbaud. The goal of poetry is to see the unseen and to hear the unheard, which is possible only through the certain state of constant awareness of the poet. So Bulgakova is aware upon her words, as Šopov with his verses from his song Nonbeing (Nebidnina): who sentenced us to the same vigilance. The Sentence of Vigilance sounds so fatal-like, as A Sentence of Eternal Creation. In that way, the geographic terms as: deserts, jungles, taigas, glaciers, monsoons, rain forests, north iceberg regions, sub-polar winter, cruel climate, sub-tropic moisture… oceans, oceanographers… typhoons, cyclones, tornados, hurricane (Hemispheres, Ocean (Pacific), Equilibrium), the grammatical terms: plural, verb, delighted nouns, adverb (Love Syntax (morphology of love)), literature science terms: verses, haiku, ballades, sonnets, madrigals, elegies, hymns, madrigals (Prosaic), astronomy terms: galaxies, star constellations, orbits, asteroid, Halley comet, Milky Way, stars (Orbit), as well as the philosophy and theosophy thoughts about yin & yang, Zen & zenith, arouse some very different and diverse dimensions.
This book also has that common female sensibility, especially when the lyric subject prepares the dinner for two (Dinner), when she prepares the magic sweet rice (Sweet Rice), when she mixes the love/life cocktail (Cocktail (a summer one)), as well as when someone else is trying to patch her intimacy (A Knot, Knots). Also, many elements from the flora and fauna become subjects when emphasizing the female sensibility, as in the songs Iris, Cocoon, Cities, or when accenting the duality of the male-female world, as when she opposites the salmon to the water-lily (Floating), or when she opposites the sand to the water world (Wavy), and when she opposites the oak to the white mistletoe (White Mistletoe).