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“On the one hand, this is another event, another book. On the other hand, it is a special book, because there were no more cases in Lithuanian literature in which literature was written, perceiving and reflecting on its destiny,” he said.
V. Cibarauskė and writers Julius Keleras and Alvydas Šlepikas discussed this during a Facebook broadcast on Sunday.
15-minute photo / Kęstutis Navakas “Six Six”
How to read a book?
In the words of V. Cibarauskė, it is impossible to read the latest book by K. Navakas outside of the autobiographical context. “Six Six” begins with a photo of K. Navakas from Daiva Kairevičiūtė and ends with a black square. “Probably the date, February 3, 2020, indicates when the manuscript was received,” he said.
The moderator was interested in how J.Keler and A.Šlepikas read it: were they looking for signs of death, clarification before death, or just as a book of poetry?
True, after the question, he added that there really is a lot of controlled and disciplined darkness here.
“It turned out to be a smothered expression of samurai pain. He doesn’t give up <...>Keller said. – As if the observations of a lying patient, what happened on his windowsill reminded me of Romualdas Granauskas. He said that he will die when the birch tree dries up, ”thought the poet.
The samurai does not give up, he keeps saluting. And I’m not thinking of a plastic musket.
In his opinion, Six Six describes the subject’s relationship with a window that he can no longer reach. “In this place, the samurai does not give up, he still salutes. And I’m not thinking of a plastic musket. It silently oscillates to itself like a metronome, knowing that time has been counted. But counted for everyone. He knows perfectly well. When we match our metronomes, his and everyone else’s, that doesn’t seem requiemand the finale of Ludwig van Beethoven’s Ninth Symphony “.
There are very good poems and there are weaker ones, ”said A. Šlepikas.
“I don’t know if Kęstutis himself or the publisher had the idea that this book is part of a trilogy. Although it is interesting, but the poem is completely out of control. Like a mouthful of reality, grabbing the words, the sentence, the phrase, the dream of a person who is drowning. Of course, Kęstutis is always saved by his extraordinary sense of language. Some kind of linguistic falsification, inconsistency is never allowed. There are very good poems and there are weaker ones ”Said A. Šlepikas.
According to him, the poems in this collection are very claustrophobic. “But the room is impregnated with a dream.” In the conversation, A. Šlepikas pointed out that “Six Six” is a very oriental stoic work, like “Žinau”, “Vėjas”, “Tarp”, “Alavas”. “These poems express the determination to play to the end,” shared A. Šlepikas.
He also found the first poem interesting. It’s like opening the whole book, a program text, said the speaker.
Song fish nuotr./Alvydas Šlepikas
When creativity is more important than life
Kęstutis was interested in Minezinger, German culture, and studied the language intensively, although he had not studied anything except an internship in Germany, J. Keller said.
According to him, K. Navakas was also interested in British culture, romantic poets, and often carried a volume of George Gordon Byron’s poetry with him. “This brochure was probably more important to him than underwear,” he quipped. The fact that K. Navakas has retained his romantic and somewhat childish image is, in J. Keler’s opinion, charming.
V. Cibarauskė posed the question, which principles of K. Navak’s aesthetics are the most important?
“It just came to our knowledge then [gražu tai, kas yra] book culture. Which is not related to direct experience, but to ideal relationships, playing with beautiful surfaces, ”said J. Keler.
“Domestic circumstances are not very important compared to that world of beauty. The Platonic idea of beauty could be reflected here. Life is a sacrifice at the expense of creation. And creativity is always more important ”, described the speaker.
“Giedrė Kazlauskaitė has beautifully and cruelly described the creative principle of Kęstutis. According to her, it’s twisting a coffee cup around your finger and seeing what comes out of it, “said J. Keler.
Personal album photo album / Kęstutis Navakas
A. Šlepikas: this poet does not come from an empty place
“The closing of K. Navak’s book of poetry” Six Six “reveals two important things: a black square, which failed to become a trio, ends the new work of the poet, and with the last page of the book the epoch can end. of a certain type of poetry and of a certain type of poet. ” – Giedra Radvilavičiūtė writes in the last pages of the book.
Referring to this quote, A. Šlepikas says: “When a person dies, something ends. Natural. But Navak died, literature died, it is not like that. And no current of literature or attitude towards it is forgotten ”.
“You wonderfully mentioned, Virginia, that Kęst was characterized by carnival, various roles, masks,” he continued.
In his opinion, this aspect connects him with Lithuanian literature “very classical, but secluded”.
“I think K. Navakas is close to Henrik Radauskas and his approach to poetry. I don’t know if they are special coincidences, but Kęstutis’s book is called” The Destroyed Baroque “, and H. Radauskas adored baroque music. The same poets Germans, Heinrich Heine, Rainer Maria Rilke, were very important to Kęstutis. Obviously, this poet did not emerge from an empty space. As Julius said, although he was a self-taught man, he could have been a professor at the university, like Joseph Brodsky “.
Photo by Maironis Museum of Lithuanian Literature / Henrikas Radauskas
Three Musketeers: K. Navakas, J.Keleras and A.Marčėnas
“Kęstutis seems to me a poet of a subject, on which he reflected and drew different conclusions throughout his creative path. Still, I would like to go back to your early work to also reveal the details of this book. After his debut, he turned to the process of poetry as a kind of celebration, carnival, performance. He has also written a series of poems of the type “Ars poetica”, in which the writers act as certain actors in life, turning everyday banal life into an impressive and decadent celebration “, – V.Cibarauskė.
Literary criticism provides a broader context. He pointed out that in the same year 1988 Julius Keleras, who participated in the event, and Aidas Marčėnas, a living classic, also debuted. V. Cibarauskė addressed J. Kelera, saying: “I had to say that at that time they called you three musketeers.”
Photo by Sigismund Gedvila / 15min / Virginija Kulvinskaitė
“We were probably an endless party that was always with us,” he began, adding that they were unfamiliar at the time, so the launch of the books in the same year was an event that brought them together. “They came out unexpectedly and for a moment we became a castle on the hill of Gediminas.”
Keller remembers that they didn’t become very good friends afterward. “I studied in the same school with A. Marčėnas, but he was older and we were friends, but not as close as with Kęstutis. We met him five years ago during a Poetry Spring. He came up to me and suddenly began to praise my poems. It was unexpected, somehow I cringed and thought he was joking, lying. “
“He was that swordsman, a samurai,” Keler recalls. “Although at first he was a secret samurai and only later did he surface.”
The speaker said that these three musketeers were a fictitious figure. “But A. Šlepikas can confirm that the fate of people who publish books in the same year suddenly stops at a handful and is done with the fingers of one hand.”
He said that Kęstutis Rastenis’s book was published in the same year, but that he did not become the fourth musketeer.
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