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40 Simpozij OBDOBJA experience is one that extends the particular place into a larger vision of space and time, outward to suns, oceans and air, and inward into »the mind of man.« Wordsworth’s extension is to be distinguished from the modern version of space and time as an abstract and detached notion. In Place and Experience , Jeff Malpas (2018) argues that place and humanity are intimately interconnected and that it is both an objective and subjective phenomenon, and so ontologically fundamental to human experience. Or as Edward Casey (1998: 3) writes: »Places are not so much the direct objects of sight or thought or recollections as what we feel with and ound, ar under and above, before and behind our lived bodies.« For Casey, place is »eventmental.« Though it exists in time, space and time are only dimensions of place, a kind of Heideggerian »gathering.« In this view the body itself becomes a place, something we see in the poetry of Iztok Osojnik, while for Debeljak place is experienced by the body: though similar, the two poets emphasize the dimensions of place from different perspectives. Both poets, in differing way, adhere to the ancient notion, to be is to be in place. Though I will focus ifrst on Debeljak’s Smugglers, it should be noted that earlier poems such as Christmas America in (Debeljak 2015: 97), describe place in terms of the experiences of others, often using a second person you that refers to the detached otherness of the self as a way to universalize the experience as an ontological event. Others are more directly third person events as in The Émigré Writer on the Dragon Bridge (Debeljak 2011: 73). The poem begins An open suitcase, they used to say, hides destinies unknown out here: from hotel to the central station and farther, through the many years of wind, the passengers touch Orion above, looking for comfort in rituals down here, in sleepy countryside…. While the structure here resembles the passage I quoted from Wordsworth it is obviously an experience of the generalized emigrant and place itself, the Dragon Bridge becomes deifned by all the possible emigre experiences that are beyond it. The bridge itself becomes deifned as one between the emigrant’s homeland and Debeljak’s Ljubljana at a speciifc time, 1994. In Casey’s view, this would amount to a more space-oriented, abstract sense of place. In Anxious Moments (Debeljak 2011: 37) he describes a man looking at a woman asleep. After carefully describing the perspective through which he views a woman, he wonders if she is tired, but then questions the role of place in the experience: »He thought: why here? So many other places, and yet here, why here?« (Debeljak 2011: 37). Here the emphasis is on the inner experience of the speaker as his vision crosses the room: place becomes almost an afterthought as he muses »indifferently,« the whole prose poem taking an opposite tack as the Dragon Bridge poem. In Smugglers the perspective changes radically: here space is more personal, more »embodied« in the speaker’s consciousness. These poems include geographical and personal indicators like some earlier poems but also include direct addresses 138
