Razumem (kar ni zares ustrezna beseda), kar pises o smrti. Da se je ne bojis, da se je bojis, da si kak trenutek skoraj nestrpna ... Vsi se v tem loncu pocasi kuhamo. Morda je pesem edini nacin, na katerega se sploh dá govoriti o smrti. Hvala, da govoris. Da odpiras skupni prostor za to, kar mora izpeljati vsak sam. Da pripeljes ta zadnji, a nepremagljivi regulator nazaj v zivljenje, v zavedanje. Alenka Planinsic Pesniska zbirka Vnazaj Barbare Korun je knjiga o zalovanju. Je poskus soocanja z osebno in tudi sirso druzbeno izgubo in premislek o pomenu jezika in pesnjenja v mejnih trenutkih, ki se izmikajo ustaljenim registrom, tudi pesniskim. »To ni pesem,« pravi, ko izrisuje obliko nica. In v resnici ni, vsaj ne taka, kakrsne je vajena, saj gre za konec neke poetike, vsaj toliko kot nekdanje identitete. Jezik se pripovedovalki naenkrat kaze, kot bi bil strt in odsekan, nemocen. Pravi: »ne zmorem / tega sem se najbolj / bala / z ogromnimi crkami / necitljivimi / s svincnikom cez papir / komaj nekaj / besed na stran / neoblikovanih«. In vendar »vseeno pise«: teh nekaj besed iz strahu in navade, edinih mejnikov pretekle osebe. Iz spremne besede: Iva Jevti´c

Please note: This audiobook has been created using AI voice. Roswitha, also known as Hrotsvitha of Gandersheim, was a tenth century German canoness, dramatist, and poet. A remarkable woman, she has been called the first Western playwright since antiquity as well as the first known woman playwright. She was inspired by the Roman comic playwright Terence, who wrote six farces filled with disguises, misunderstandings, and pagan debauchery. Upset by Terence's immoral subject matter but also inspired by his wellcrafted plays, Roswitha sought to "Christianize" his work by writing six plays of her own. Roswitha wrote six dramas in Latin. Two are concerned with the conversation of nonbelievers (Gallicanus and Callimachus), two are concerned with the repentance of sinners (Abraham and Paphnutius), and two are concerned with the martyrdom of virgins (Dulcitus and Sapientia). This edition, originally published in 1923, includes an introduction by Cardinal Francis Aidan Gasquet (an English Benedictine monk and scholar), a critical preface by the translator (Christopher St. John), and prefaces written by Roswitha herself.