A. Kalanavičiaus poetikos keistumas

Abstract

A. Kalanavičius prepared eight collections of poetry for publishing. Born in the Soviet Lithuania, he was alien, different and as unnecessary for the country as his poetry. After an unsuccessful marriage he chose Sapiegiškės as the centre of his life and creation. “Vaga” remained silent, the collections of poetry written by A. Kalanavičius were buried in the drawers of responsible editors or were returned to the poet. The poet’s heart broke in solitude in September 1992. At the end of 1994 the Publishing House of the Writers’ Union published the first collection of poetry by A. Kalanavičius entitled ,,Ne akmenys guli“ . The book was prepared by Judita Vaičiūnaitė and Perpetua Mozūraitytė. The collection contains 600 pages of a different poetry. The strangeness of the poetry by A. Kalanavičius lies in its original poetic lexis and original syntax. Through the apotheosis of the sacral space of his native Sapiegiškės the poet creates his own, different myth of the world – out of the colourful stones, water, fire, wood and suffering live Jesus Christ. The object of this investigation is the whole of A. Kalanavičius poetry, except for his poems for children. Through the comparative analysis of Vilius Orvidas’ and A. Kalanavičius’ works an attempt is made to perceive the pulse of the sacral spaces standing apart from other works of the Soviet époque. Three methods of text analysis were employed in the paper: historical, intermedial (comparing verbal and visual creation) and phemenological the primary condition for which is the transcendence of a work. The dominating feature of the stylistics of A. Kalanavičius is that the themes of his poetry are directly connected with the lexical and syntactical levels, the language of the poet is creation itself. The atypical word-building methods, the nominalization processes in the language and significant poetic syntax is the background of the difference of the poetic language of A. Kalanavičius. The dialogue between Vilius Orvidas and A. Kalanavičius starts with the motif of the stone which then brings with itself fire, wood, water – the primary elements of the world. The pantheistic myth of the creators is intertwined with the Christian one. The withdrawal from the centre of the Soviet culture, the apotheosis and sacralization, and mystification of the creative space does not represent resistance against the totalitarian system both in Vilius Orvidas’ and A. Kalanavičius’ works. It is the need of the inborn directness of a creator, the unconquerable desire to live authentically without any double-facedness. Loneliness and difference is the price to pay for the possibility to create the world.