Page 142 - Vinkler, Jonatan, Ana Beguš and Marcello Potocco. Eds. 2019. Ideology in the 20th Century: Studies of literary and social discourses and practices. Koper: University of Primorska Press
P. 142
Ideology in the 20th Century: studies of literary and social discourses and practices
ga is preparing a new selection of Škerl’s poetry at the time of her dou-
ble anniversary. In 2019, seventy years have passed since the publication
of Senca v srcu as well as ten years since the death of Ada Škerl. The se-
lection will be edited by Ivo Svetina, the author of a libretto of the opera
Ada performed by the National opera and ballet of the Ljubljana Opera
House in 2017.
Literary history never denied the special place Senca v srcu has for
contemporary poetry. However, it never defined the collection as the be-
ginning of intimism, but merely as its early forerunner. Only Denis Poniž
in Slovenska lirika 1950—2000 published in 2001 emphasised that the col-
lection was overlooked, highlighting that it surpasses other early attempts
in intimist poetry (Poniž 2001, 62). There are several reasons why the of-
ficial literary history did not attribute the beginning of intimism to Škerl
142 but to the Pesmi štirih. Pesmi štirih was a collaborative project and hence
appeared as programmatic and figured as a manifest, especially since all
four poets contributed notes about their own understanding of poetry
at the beginning of their part.9 Furthermore, in contrast to the four male
poets, Ada Škerl did not express the same poetic development and cre-
ated a small opus consisting of two collections and a selection of poetry
(containing previously unpublished poems). A different initial reception
of Senca v srcu would undoubtedly influence poet’s consequent poetic ac-
tivity and publication. A 16-years long poetic inactivity in between the
first and the second collection, which was, according to Škerl the result
of the initial negative reception, and the subsequent silence which was
interrupted only with the publication of selected poems, all contribut-
ed to invisibility of the poet for the scholars of Slovenian literary histo-
ry. It was also unfortunate that Senca v srcu did not appear a bit later, at a
time of ideologic thaw beginning shortly after the publication. When Šk-
erl’s entrance into the world of poetry is compared to Mila Kačič, anoth-
er female author who also wrote exclusively about personal experiences
of love, a different reception is apparent. Kačič’s Neodposlana pisma (Un-
sent Letters) published only two years after Senca v srcu, received primar-
ily positive reviews which can be attributed to a difference in the time of
publication, even if a small difference, which already saw changes in lit-
male poets as well as mentors who would introduce younger writers to the literary
scene. This lack of consciousness about the literary tradition produced further per-
petuations of the male role—models in the patrilinear discursive structures (see also
Novak Popov, 2014, 59, note 3).
9 It is interesting to note a testimony by Ciril Zlobec who said that the publishing
house suggested a collaborative publication due to the lack of printing paper.
ga is preparing a new selection of Škerl’s poetry at the time of her dou-
ble anniversary. In 2019, seventy years have passed since the publication
of Senca v srcu as well as ten years since the death of Ada Škerl. The se-
lection will be edited by Ivo Svetina, the author of a libretto of the opera
Ada performed by the National opera and ballet of the Ljubljana Opera
House in 2017.
Literary history never denied the special place Senca v srcu has for
contemporary poetry. However, it never defined the collection as the be-
ginning of intimism, but merely as its early forerunner. Only Denis Poniž
in Slovenska lirika 1950—2000 published in 2001 emphasised that the col-
lection was overlooked, highlighting that it surpasses other early attempts
in intimist poetry (Poniž 2001, 62). There are several reasons why the of-
ficial literary history did not attribute the beginning of intimism to Škerl
142 but to the Pesmi štirih. Pesmi štirih was a collaborative project and hence
appeared as programmatic and figured as a manifest, especially since all
four poets contributed notes about their own understanding of poetry
at the beginning of their part.9 Furthermore, in contrast to the four male
poets, Ada Škerl did not express the same poetic development and cre-
ated a small opus consisting of two collections and a selection of poetry
(containing previously unpublished poems). A different initial reception
of Senca v srcu would undoubtedly influence poet’s consequent poetic ac-
tivity and publication. A 16-years long poetic inactivity in between the
first and the second collection, which was, according to Škerl the result
of the initial negative reception, and the subsequent silence which was
interrupted only with the publication of selected poems, all contribut-
ed to invisibility of the poet for the scholars of Slovenian literary histo-
ry. It was also unfortunate that Senca v srcu did not appear a bit later, at a
time of ideologic thaw beginning shortly after the publication. When Šk-
erl’s entrance into the world of poetry is compared to Mila Kačič, anoth-
er female author who also wrote exclusively about personal experiences
of love, a different reception is apparent. Kačič’s Neodposlana pisma (Un-
sent Letters) published only two years after Senca v srcu, received primar-
ily positive reviews which can be attributed to a difference in the time of
publication, even if a small difference, which already saw changes in lit-
male poets as well as mentors who would introduce younger writers to the literary
scene. This lack of consciousness about the literary tradition produced further per-
petuations of the male role—models in the patrilinear discursive structures (see also
Novak Popov, 2014, 59, note 3).
9 It is interesting to note a testimony by Ciril Zlobec who said that the publishing
house suggested a collaborative publication due to the lack of printing paper.
