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Meša Selimović (1910–1982)

Author of Death and the Dervish

18+ Works 759 Members 21 Reviews 9 Favorited

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Works by Meša Selimović

Death and the Dervish (1966) 527 copies, 13 reviews
The Fortress (1970) 143 copies, 1 review
Ostrvo (1974) 24 copies, 1 review
Tišine (1961) 12 copies
Romani (2017) 10 copies
Krug (2002) 9 copies, 1 review
Magla i mjesečina (1965) 8 copies, 1 review
Sjecanja (2009) 6 copies, 1 review
Djevojka crvene kose (2006) 3 copies
ZA I PROTIV VUKA (1979) 3 copies
Most od rijeci (2020) 3 copies, 1 review
TIŠINE 1 copy, 1 review
Ön (1998) 1 copy

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[b:Death and the Dervish|358846|Death and the Dervish|Meša Selimović|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347814584l/358846._SY75_.jpg|348971] took me a while to get into. As the introduction repeatedly acknowledges, it is not an easy book. The narrator, a dervish at an unnamed monastery, is very slow and digressive. The reader is presented with all his thoughts as he contemplates every little thing in great depth. Only after 192 pages (when the dervish learns his brother is dead) did I really grasp the book's appeal, although I appreciated moments of beautiful writing in the first half. As it went on I was increasingly reminded of Kafka, especially [b:The Trial|17690|The Trial|Franz Kafka|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1320399438l/17690._SY75_.jpg|2965832]. Selimovic is similarly adept at demonstrating the momentum and arbitrary cruelty of administrative systems. Yet his narrator is not helpless and his choices have powerful consequences. Observing every justification for his decisions in great detail becomes increasingly compelling as the book goes on. The dervish is an intelligent and reflective man, yet also self-serving and weak. His insights into his own and other's behaviour do not necessarily lead him to do good and he is aware of this:

My hidden instincts, which protected me even without my conscious will, generously granted me such beautiful, noble thoughts, without curtailing them: they knew that these thoughts were not dangerous, that they could not turn into deeds. But they helped me to take revenge for the shame that had filled me as I stood before the mufti.

If anyone considers this strange, or even unlikely, I can only say that the truth is something very strange, and we convince ourselves that it does not exist because we are ashamed of it, as we are of a leprous child, although in this manner the truth is not rendered any less truthful. We usually beautify our thoughts and hide the vipers that slither within us.


There are some wonderful turns of phrase and striking insights to be found in the dervish's narration. Although Selimovic's writing is undoubtedly long-winded, certain brief comments struck me, like: 'The empty sponge of my brain began to soak itself full again.' and, 'Because even the Koran is dangerous if you use God's words about sinners to refer to those who decide who the sinners are.' One bleak and vivid passage stood out as the most memorable, on why people don't resist being taken to their death:

That's why no-one ever runs; everyone knows it. Maybe they're hopeful. Hope is the pimp of death, a murderer more dangerous than hatred. It's deceptive; it knows how to win you over, to calm you and lull you to sleep, whispering whatever you want to hear, leading you to the blade.


I gave [b:Death and the Dervish|358846|Death and the Dervish|Meša Selimović|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347814584l/358846._SY75_.jpg|348971] an additional star on the strength of such arresting paragraphs, despite its ponderousness. In addition to a great deal of reflection upon death, duty, fear, and love on the individual level, there are a few notable passages on Bosnia itself. As the introduction notes, the novel is set in an ambiguous location and time, but details in the narrative suggest Sarajevo in the 17th century. A time and place I know little about, so I was interested to learn from the introduction that the novel's popularity seems in part linked to its resonances for 20th century Yugoslavia. The narrator quotes his dear friend's defense of his homeland to people he met in Constantinople:

"Here, in your back yard, not far from this Byzantine splendour and wealth, which has been hauled here from the whole empire, your own brothers live like beggars. But we belong to no-one, we're always on some frontier, always someone's dowry. It is then surprising that we're poor? For centuries we've been trying to find, trying to recognise ourselves. Soon we won't even know who we are, we're already forgetting that we've even been striving for anything. Others do us the honour of letting us march under their banners, since we have none of our own. They entice us when they need us, then reject us when we're no longer any use to them. The saddest land in the world, the most unhappy people in the world. We're losing our identity, but we cannot assume another, foreign one. We've been severed from our roots, but haven't become part of anything else; foreign to everyone, both to those who are our kin and those who won't take us in and adopt us as their own. We live at a crossroads of worlds, at a border between peoples, in everyone's world. And someone always thinks we're to blame for something. The waves of history crash against us, as against a reef. We're fed up with those in power and we've made a virtue out of distress: we've become noble-minded out of spite. You're ruthless on a whim. So who's backward?"


Although [b:Death and the Dervish|358846|Death and the Dervish|Meša Selimović|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347814584l/358846._SY75_.jpg|348971] is an effort to read, it rewards persistence with flashes of extraordinary writing and a carefully-woven examination of human weakness within capricious systems.
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annarchism | 12 other reviews | Aug 4, 2024 |
U ovom romanu pronalazimo sve dobro poznate osobine književnog stvaralaštva jednog od naših najznačajnijih pisaca XX veka: briljantno umeće pripovedanja, u koje je utkano nastojanje da se čovek sagleda naspram vremena kojem pripada. Za to je potreban dar, ali i snaga duha.

Meša Selimović imao je i jedno i drugo. Osvrćući se na književno stvaralaštvo u knjizi Sjećanja, Meša Selimović zapisao je sledeće: „Kad je izašao iz štampe moj prvi roman (’Tišine’), ja sam imao pedeset i jednu godinu! Niko nije znao koliko sam strahova pobijedio u sebi dok se nisam usudio da izađem pred čitaoce“. Već na prvim stranicama Tišina prepoznaćete glas Meše Selimovića. Ovoga puta ispripovedaće vam priču posle koje će sve tišine odzvanjati drugačije.… (more)
 
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vanjus | Oct 14, 2023 |
„Kako živim? Dobro. Zadovoljan sam što sam proživio vijek a nisam nikome naškodio. Ono što je meni štete naneseno, davno sam zaboravio, gubitak je lakše podnijeti nego kajanje.
Sudbina me je postavila na ovu stazu, za drugu ne znam, i koračaću po njoj dok u meni ima snage. Ovdje sam ugledao nebeski beskraj i pučinu na kojoj mi se oko odmara, i ovo ne bih zamijenio ni za jedan kraj na svijetu.
Ljepših možda ima, dražih nigdje. Ovaj kraj, to sam ja, to je moj život i moja ljubav.“

Srpska književna scena može se pohvaliti brojnim piscima izuzetnog dara, ali malo je onih čije stvaralaštvo dotiče čitaoca kao Selimovićevo – toplina i neposrednost njegovih junaka i čistota osećanja koja izviru sa stranica ovih dela, ispričanih takvom jednostavnošću kakvu samo vrhunski majstor može da postigne, diraju pravo u dušu i zauvek tu ostaju. „Derviš i smrt“, „Tvrđava“ i „Ostrvo“ pravi su biseri ovog velikana.
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vanjus | Jun 26, 2023 |
Romanom Krug, nezavršenim ali poeticki i kompoziciono kompaktnim, Meša Selimovic se vraca svojoj dominantnoj egzistencijalnoj temi; da li je covekov život sudbinski predodreden i da li je covekova sloboda posledica raznih društvenih ili metafizickih meduzavisnosti. Može se reci da je ovo treca knjiga u delu ovoga pisca koja se bavi ovom temom ali bez vremenske distance koja dramu glavnog junaka smešta u istorijski kontekst kao u romanima Derviš i smrt i Tvrdava. U društvenoj ekspoziciji romana Krug je period takozvanog `real-socijalizma` proleterskog društva i pobune idealne svesti glavnog junaka Vladimira protiv vladajuce hijerahije, ideološkog oportunizma i ideološke izdaje bivših revolucionara. Pisan od 1973. do 1976. ovaj roman nije izgubio ništa na aktuelnosti, naprotiv, socijalne nepravde u monopolistickim i represivnim sistemima i sazrevanje mladosti u njima ostali su suštinsko pitanje društvene i eticke svesti do današnjeg dana.… (more)
 
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vanjus | Jun 26, 2023 |

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