Progutati M/mamac: čitanje Albaharijevog predstavljanja Holokausta u kontekstu postjugoslovenskih ratova

Abstract

Ovo izlaganje ispituje povezanosti između holokausta i ratova iz 1990-ih godina u romanu Davida Albaharija Mamac (1996). Dosadašnja kritika već je ukazala na “kopernikanski obrt” koji postoji između Albaharijevih ranih, postmodernističkih, aistorijskih knjiga i erupcije istorije u njegove romane posle 1990. godine. U ovom radu iznosi se tvrdnja da ovo pomeranje težišta u Albaharijevom opusu ukazuje na to da za njega holokaust kao trauma može biti predstavljen kroz pisanje samo nakon savremene traume post-jugoslovenskih ratova i raspada zemlje. Ipak, prethodni tumači (Vervaet 2013) uglavnom su Albaharijevu naraciju o holokaustu čitali kao primera onoga što Merien Hirš (Marianne Hirsch) naziva post-sećanje (postmemory) i opisuje kao “veza koju ‘generacija posle’ oseća sa ličnom, kolektivnom i kulturnom traumom onih koji su došli pre – iskustva kojih se oni ‘sećaju’ samo putem priča, slika i ponašanja onih s kojima su rasli.” Nedavno, međutim, proučavaoci poput Ive Kosmos izneli su stav da se, preplićući priču o holokaustu sa novijim kontekstom balkanskih ratova, Albahari zapravo ograničio na “hegemonski narativ srpske žrtve, odnosno, priču o povijesnom stradanju srpskoga naroda koja je poslužila kao opravdanje za rat” (Kosmos 2016). U ovom članku ukršteni su Albaharijevo pisanje o holokaustu u sa njegovim referencama na post-jugoslovenske ratove u romanu Mamac, kako bi se utvdilo u kojoj meri oni poseduju kritički potencijal a u kojoj se uklapaju u dominantan srpski narativ o događajima iz novije istorije.

This paper explores the relations that David Albahari’s writings about the Holocaust in his novels Mamac (1996), Svetski putnik (Globetrotter, 2001) and Gec i Majer (Götz and Meyer, 2004) establish with the Yugoslav wars of the 1990s. Previous scholarship already pointed out the Copernican twists between Albahari’s early, postmodern, ahistorical writing and the eruption of history into his post-1990s novels. This thereby implies that for him the Holocaust as a trauma can be represented into writing only after the contemporary trauma of the Yugoslav wars and country’s dissolution. Yet, earlier scholarship (Vervaet 2013) mostly remained confined to the reading of his Holocaust narratives as instances of what Marianne Hirsch calls postmemory: “the relationship that the ‘generation after’ bears to the personal, collective, and cultural trauma of those who came before – experiences they ‘remember’ only by means of the stories, images, and behaviors among which they grew up.” Most recently, however, scholars such as Iva Kosmos argued that by framing the Holocaust narratives into the recent context of the Balkan wars, Albahari actually remains confined to the “hegemonic narrative of Serbian victimhood, story about historical suffering of the Serbian people that served as an excuse for the war” (Kosmos 2016). I therefore intend to relate Albahari’s Holocaust narratives against the backdrop of the 1990s post-Yugoslav wars in order to determine their critical potential for understanding the recent violent Balkan past.