Karuza Senko: Otimanje

Senko Karuza: Kidnapping

If we assert that polemics and dialogue could be supporting and opposing determinants of Senko Karuza's book of songs Kidnapping, we will not be wrong, especially if we think about guilt, futility and failure. Combining two different and contradictory textual forms: a diary entry, an intimate confession (can it be any other way?) and songs about lonely days and courtships, unnecessary and wrong encounters, statements, about doubts and fears, about vocals and sighs - is at the same time approaching and withdrawing, commenting on and keeping silent about what is being sung about. The adventure continues and repeats, from the loss of voice and sense to a lavish staging of touch, dreams, violence and strength, to a sign that outgrows and outgrows the possible meaning of one's own existence, life and death. In contrast to the documentary part, the tone and voice in the songs is not always dark or bright, but is felt and recorded as a pause "to get air before the point". At a crucial moment, the reader, along with the author, leaves the expected meaning frame and context of Abduction. It is about evasion, transformations, subterfuge and play, with oneself and with others, it is about torment that is divisible, that becomes ironic and combative, self-ironic and conciliatory writing, singing and speaking. Literary subtext (Proust, Beckett, Cioran, Hemingway, Manguel and Pavese, especially Pavese) is not only an added value, the inclusion of the other, but becomes a possible place of resistance, complicating self-evident motives and themes of escape, defeat and self-destruction. Creating one's own poetic language is an opportunity for the coexistence of past and present, erotic and sexual, a zone of memory and verification of what has been read and experienced: faces, women and cities, the Mediterranean, travels, letters written in capital letters, mothers, fathers and children... Karuza is a poet who somnabulously repeats and renews the working areas of his own life: intimate to the point of pain, and then a few steps, lines, forward or backward, with him we arrive at paradoxical and beautiful insights about himself and the world. He is a poet of decisions, of a panicked search for oblivion and memory, of everything "that he could not touch". Or what he didn't know how to steal, it's about kidnapping and searching for what is nothing, nothing from which it is renewed and moves. If we decide to look for an answer to the question "how to write about myself", we will discover in Abduction some of the sudden insights that what we read or touch leaves us, goes to the other side: "I took off everything I knew and sank into the sea / Waiting to become a fish. / The sun was already in the west." Knowledge is not the only tool in the business of reading and "kidnapping", which is more than stimulating and necessary! Abduction and discovery in the depth and nakedness of our own (reader's) lives is a recommendation for Karuza's poetry. And more than that! Miroslav Mićanović