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40 Simpozij OBDOBJA plays her role as daughter while craving otherness, as she sits »at the back door / crying out for them, those who are not« (Carlson et al. 2017: 135). Poems, no matter what the subject, are portraits of a multitudinous self. Vidmar explores aspects of a self she must destroy. Her poem Isaac becomes a metaphor depicting her struggle between obedience to the status quo which might demand that she cut off a live part of herself: »How do I take a knife / as though/ I didn’t care, / take a naked, grey knife– / how do I cut him off / so alive.« Her conlfict with her identity is further dramatized in The Bed with its animal force that »holds the leading / role in this room« as the couple »let it / run away across the carpet.« (ibid.: 137) Just as there are iron remains of weapons from World War I in her hometown (ibid.: 139) there is iron in these poems that give them gravitas and power for what they unleash. 3 For Meta Kušar, transcendence to a higher realm is attained through language. It is a place where »People would take the book / and with one line from it dress their wounds« (Carlson et al. 2017: 68). Kušar has embodied Wallace Stevens’s view of poetry as »a revelation in words by means of the words« (1951: 33). We see this in Zen where »[o]n new lines I catch new spirits« (Carlson et al. 2017: 70). The revelation comes from »eating« raw materials, daring to make a vow with language and trusting what burns. From his small kennel I feel and see and hear. I work in it. See ships that don’t sail. Only trust gets all hands onto the rope. Alone with yourself you burn the language. Even great Dante shivered from hardship. He trembled for his native city. . I quiver (ibid.: 70) Censorship has long been a practice in the history of Slovenes. During the Counter- Reformation, Catholic clerics closed Protestant schools, burned their books, blew up their churches, even dug up some of their corpses, throwing them in the river that winds through Ljubljana (ibid.: 75). Kušar, who was born in 1952 and grew up in Yugoslavia in an environment of censorship, found poetry to be her refuge and 2 language her freedom (ibid.: 73). Tomaž Šalamun became a role model for the audaciousness in his work. For he believes, like Czesław Miłosz and Harold Bloom, that poetry saves civilizations from both moral and spiritual collapse, for »in critical moments, according to [C.G. Jung], the collective unconscious of a nation yields a poet who is a torch-bearer or rather a consciousness forged by poetry« (ibid.: 76). Kušar’s poetry is highly symbolic, addressing the issue of censorship in a more reifned way, questioning relationships of unequal power between different individuals/groups (men/women, the powerful/the marginalized) in a small nation, while admitting that 2 The censorship in ex-Yugoslavia is a complex issue. While Kušar was not subjected to an external, overt censorship, she nonetheless felt a keen sense of what was deemed acceptable, and poetry was a refuge for her due to many other aspects as well. 103
