In the immediate postwar years Marinković was one of the rising stars in Zagreb cultural life, active in the theater and in publishing and teaching, while in the same period Ujević was working only as a literary translator, having been banned for five years by the Writers’ Association from publishing his own poetry and essays — punishment for accepting employment from the fascist regime as a translator during the war. Marinković was among those who saw to it that Ujević always had enough translation work to support him during this time. Harold Bloom alerts us to the dynamic that often shapes relations between younger generations of writers and the powerful figures of previous generations. Ranko Marinković was not a poet, so he was not competing directly with Ujević’s looming influence, but this dynamic is also worth keeping in mind when parsing his portrait of Ujević in the character of Maestro.
Marinković is frequently hailed for his irony and the psychological and social analysis he brings to his stories, novels, and plays, but, as several recent critics have remarked, there is room for more scholarship on his work. As one scholar comments, “CYCLOPS, the novel by Ranko Marinković published in 1965, is regularly accorded a distinguished place in critical and historical surveys of Croatian literary modernism, but this claim is supported by a somewhat tautological argumentation. Namely, instead of insisting on the stylistic excellence of Marinković’s writing and the vivid elaboration of the characters, Croatian criticism hardly ever moves beyond discussing the plot.”16
On the other hand, a critic notes, “CYCLOPS will continue to be read for pure pleasure for a long time to come … It is a great urban novel. Academic critics, in speaking of CYCLOPS, insist on the theme of fear and other things which are certainly relevant, but which sidestep the ‘details’ that make even high school students enjoy this novel … CYCLOPS will survive because it takes place on the street and in the smoke of cafés, because it is promiscuous, witty and full of fools.”17
A new generation of scholars is rediscovering Marinković’s writing, bringing the precepts of literary theory to bear on his themes, characters, and structures in a variety of productive and engaging ways. Aside from the two articles cited here, there is very little critical writing available in English on Marinković’s work. The entry in the Dictionary of Literary Biography is a valuable general overview of his opus.
Aside from delighting generations of high school students, Ranko Marinković and CYCLOPS have entered into the cultural parlance with a television series and a 1982 film based on the novel CYCLOPS (directed by Antun Vrdoljak), and Kiklop [CYCLOPS] is the name of the most prestigious cultural award conferred annually in Croatia to winners in categories such as best editor, best prose work, best book of essays, best first book, best children’s book, best translation, etc. The Vjesnik newspaper also confers a “Ranko Marinković” best short story award.
I knew Ranko Marinković only briefly, late in his life, when he and I occasionally ran into each other at a Zagreb publishing company. Always the gentleman, Magritte-like in his impeccable gray coat and bowler hat, a twinkle in his eye, he’d raised his hat in greeting, and it is in this pose, hat in hand, eyes twinkling, that I will always remember him. Vlada Stojiljković I never met, but several friends of mine knew him well and tell of his fascination of many years with CYCLOPS, his commitment to the translation, the quandaries he regaled them with, and the solutions he devised for the book’s countless quips, puns, and verses. Hats off, then, to Yale University Press for bringing this marvelous novel to American readers!
Notes
1. Gundulić’s dream (510) refers to the scene painted by Vlaho Bukovac on the stage curtain of the Croatian National Theater in Zagreb.
2. “Stories from the Olden Days” (432), the title of a popular collection of children’s stories.
3. Leone from Krleža’s Glembays, 132.
4. “We drank the blazing sun …” (42); “Each beech …” (527).
5. “Zeus was a wonderful god …” (42); “a Pompeiian scene” (113); and “I have been on a cloud …” (145).
6. “You are our leader!” (379), from the Dubrovnik Trilogy. The original line reads, “Gulls and clouds will ask us: who are you? what do you seek? … and our sails will reply: Dubrovnik sails! Dubrovnik seeks a barren reef, to hide her Liberty thereon.”
7. “to be pure, to be pure …” (38); “a little smile on dear lips, a bunch of flowers in a water glass” (65); “and his feet are bloody …” (305); “A star on his forehead, a sparkle in his eye …” (512).
8. See page 436.
9. “to the queen of all women …” (456).
10. The NIN award is still given out today for Serbian writers in Serbia.
11. Ante Stamać reprinted the three articles (Republika 11, no. 4 [2004]: 38–63) as part of a discussion of Marinković’s understanding of Ujević and his development of the character of Maestro.
12. Tin Ujević figured large on the Yugoslav cultural scene during the first half of the twentieth century, as much for his scandalous behavior as for his poetry. He dedicated his life to art and became a legend in his own time, the archetype of the bohemian figure in the cafés of Split, Belgrade, Sarajevo, and Zagreb, a quixotic public personality. Having spent most of the thirties in Sarajevo, Ujević moved to Zagreb in 1937, where he died of cancer in 1955, ten years before CYCLOPS came out.
13. “Esej o pjesniku rezignacija,” Republika 11, no. 4 (2004): 50.
14. Ibid., 53.
15. “Jeka ‘Ojađenog zvona,’” Republika 11, no. 4 (2004): 57.
16. Morana Čale, ‘The Fraction Man’: Anthropology of CYCLOPS,” Slavica Tergestina n. 11–12. Studia slavica III, Scuola Superiore di Lingue Moderne per Interpreti e Traduttori, May 2004, 83.
17. Robert Perišić, “Ranko Marinković;, on the Occasion of His Death,” Relations, 3–4 (2004): 295–296.
Ellen Elias-Bursać
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“MAAR … MAAR …” cried a voice from the rooftop. Melkior was standing next to the stair railing leading down below ground; glowing above the stairway was a GENTS sign. Across the way another set of stairs angled downward, intersecting with the first, under the sign of LADIES. A staircase X, he thought, reciprocal values, the numerators GENTS and the numerators LADIES (cross multiplication), the denominators ending up downstairs in majolica and porcelain, where the denominators keep a respectful silence; the only sounds are the muffled whisper of water, the hiss of valves, and the whirr of ventilators. Like being in the bowels of an ocean liner. Smooth sailing. Passengers make their cheery and noisy way downstairs as if going to the ship’s bar for a shot of whiskey. Afterward, they return to the promenade deck, spry and well satisfied, and sip the fresh evening potion from MAAR’s air.
MAAR conquers all. When the darkness falls, it unfurls its screen high up on the rooftop of a palace and starts yelling, “MAAR Commercials!” After it finishes tracing its mighty name across the screen using a mysterious light, MAAR’s letters go into a silly dance routine, singing a song in unison in praise of their master. The letters then trip away into the darkened sky while giving a parting shout to the dumbstruck audience, “MAAR Movietone Advertising!”