Vasko Popa — laterna magica eseja srpskih posleratnih pesnika

Abstract

How to talk about the poet of the cut, when Popa's (hyper)modern penetration before Baudrillard’s recognizable trail, in the literary-historical moment of Serbian cultural and poetic thought that simply requires a new language for poetically diffuse spot, needs theoretical as practical sight within poets-essayists themselves? The majority of post-war poetry programs in essay writings about Vasko Popa are united in the Mišić’s position that Popa's poetry is new. That fresh novelty resonates in the discursive-lyrical post-war essays as an important thread in the weaving of what is called modernity - from Mišić to Marino, from Nastasijević to Blanchot, from Baudelaire to Foucault. That (readers) novelty, with the Blanchot intimacy of the work that becomes a generator of truths and a repository of meaning, both explicitly and implicitly translated into a creative polemic about what the (poetic) mole should actually be. Both a critique and a poetic document in the cultural climate of language individuation, all writings about the work of Vasko Popa written by post-war poets-essayists remain significant prolegomena for the future of the poetic act.