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40 Simpozij OBDOBJA The poem enacts the journey from powerlessness, humility and estrangement to empowerment through darkness of the hold to light that is both historical and mythical. The feeling of entrapment that precedes this resurgence is total. Noah’s wife becomes one with the animals and emerges as semi-divine. In this way, Korun has created a correlative to God in this woman animate with all the world’s most humble and wild. 6 A society controls its narrative through the language it uses. When it wants to cast a particular image that keeps certain groups in power, then words become ideological tools. If we do not understand the weaponization of language, we can become maimed by it. Alenka Jovanovski opens this frame by addressing language itself as it constructs an alternate reality. She writes in Rehearsals for a Feast at Salo of a society where »Words mean the inverse of what they mean: / ‘transparency’ – an alarm for criminal organizations in fog, / ‘mother’ – a mask of fascism / […] Everything [is] swapped for in-between« (Carlson et al. 2017: 246). This in-between place of subtexts, contradictions, ironies and ambiguities is where »The language of nazis, / spineless as molten rubber, / shall eat us one day« (ibid.). In another poem ets of the WSecr ise Ones silence becomes her skin, which then morphs into a ifre she kneads: »And this is Discipline. Clarity / rises only after centuries« (Carlson et al. 2017: 247). Jovanovski admits to being afraid to write for a time because she believed that poetry could only be written in a certain way. The Slovenian literary establishment dismissed voices that went outside their view. In addition, those who have questioned or exposed the matrices do not get published or lose the ability to work in cultural institutions (ibid.: 254). Her stance that »Poetry is just a form of free speech [that] deals with the unconscious in the way that it catches, observes, analyzes and transforms discourses or matrices that enable […] functioning (neoliberal) societies« (ibid.: 254) is brought to the fore in the poem o Take TApart Frames. The syntagm »To take apart frames,« which appears at the beginning of each stanza (except one), is used to explore various kinds of enclosures, constructions, containers and casings that have enabled and previously deifned the speaker as a member of society but ultimately serve as constraints, often maintained out of fear of the unknown within those structures. Such ambiguity threatens stability and order. At the beginning, the speaker bids goodbye to the suitcase and »foreign objects that have grown into lfesh, / while an organism grew around them and embraced them / in its enormous solitude.« Here is the self, uncertain and fearful of its opened borders, where broken antennas shiver madly, though exhausted in the knowledge received from parents’ allegiance and compliance to the system. In the third stanza we encounter the heart in its power, fragility and inscrutability. To tear apart frames is to behold one’s heart, this supple lump placed wrongly, this medical miracle his exiled heart that pushes its ifst through ribs stripped of citizenship, papers, residence, barely capable of friction and ifre 107
