{"id":1213,"date":"2017-08-18T08:03:16","date_gmt":"2017-08-18T06:03:16","guid":{"rendered":"https:\/\/www.bubakov.net\/?p=1213"},"modified":"2017-08-18T08:35:50","modified_gmt":"2017-08-18T06:35:50","slug":"ohnisko-m-svetlo-v-rane","status":"publish","type":"post","link":"https:\/\/www.bubakov.net\/?p=1213","title":{"rendered":"OHNISKO, M., Sv\u011btlo v r\u00e1n\u011b"},"content":{"rendered":"

<\/a>V\u00a0po\u0159ad\u00ed des\u00e1t\u00e1 b\u00e1snick\u00e1 sb\u00edrka Milan Ohniska \u201eSv\u011btlo v\u00a0r\u00e1n\u011b\u201c pat\u0159\u00ed ke \u0161pi\u010dce soudob\u00e9 \u010desk\u00e9 poezie, nebo\u0165 z\u00edskala cenu Magnesia Litera 2017. Plat\u00ed to patrn\u011b i obr\u00e1cen\u011b, ale takhle je to p\u0159esn\u011bj\u0161\u00ed. V\u00a0poezii panuje st\u00e1le v\u011bt\u0161\u00ed nejistota o estetick\u00e9 hodnot\u011b konkr\u00e9tn\u00edch tv\u016fr\u010d\u00edch postup\u016f a nal\u00e9zt obecn\u011b sd\u00edlen\u00e1 krit\u00e9ria kvality b\u00e1snick\u00e9ho textu se da\u0159\u00ed \u010d\u00edm d\u00e1l m\u00e9n\u011b. Hodnota konkr\u00e9tn\u00ed poezie p\u0159est\u00e1v\u00e1 b\u00fdt odvoditeln\u00e1 z\u00a0n\u00ed sam\u00e9; dobrou poezi\u00ed je tak ta, o n\u00ed\u017e to \u0159ekne reprezentativn\u00ed \u010d\u00e1st jej\u00edch \u010dten\u00e1\u0159\u016f, p\u0159esn\u011bji reprezentativn\u00ed \u010d\u00e1st expertn\u00ed komunity. Co\u017e je zhusta tat\u00e1\u017e skupina lid\u00ed.<\/p>\n

V\u00a0p\u0159\u00edpad\u011b leto\u0161n\u00ed Magnesie Litery, medi\u00e1ln\u011b nejvlivn\u011bj\u0161\u00ed liter\u00e1rn\u00ed ceny u n\u00e1s, to porota \u0159ekla o Sv\u011btle v\u00a0r\u00e1n\u011b. S\u00a0t\u00edmto v\u011bdom\u00edm je dobr\u00e9 k\u00a0textu p\u0159istupovat: P\u0159es v\u0161echny v\u00fdhrady, kter\u00e9 ke sb\u00edrce mohu m\u00edt, je to d\u00edlo t\u011b\u0161\u00edc\u00ed se uzn\u00e1n\u00ed odborn\u00e9 ve\u0159ejnosti.<\/p>\n

Recenzenti se v\u011bt\u0161inou shoduj\u00ed na tom, \u017ee Milan Ohnisko t\u011b\u017e\u00ed p\u0159edev\u0161\u00edm z\u00a0citliv\u00e9ho, ba hypersenzitivn\u00edho vn\u00edm\u00e1n\u00ed reality, j\u00ed\u017e b\u00e1snicky p\u0159etv\u00e1\u0159\u00ed v\u00a0jedine\u010dn\u00e9 sd\u011blen\u00ed o povaze lidsk\u00e9 existence tak v\u016fbec i v\u00a0kontextu post-postmodern\u00edho sv\u011bta. M\u016f\u017ee b\u00fdt. V\u00a0podstat\u011b ano.<\/p>\n

To, co je na Ohniskov\u011b tv\u016fr\u010d\u00edm postupu oce\u0148ov\u00e1no p\u0159edev\u0161\u00edm, je zp\u016fsob, jak\u00fdm to d\u011bl\u00e1: kombinace snov\u00e9ho p\u0159etv\u00e1\u0159en\u00ed skute\u010dnosti v\u00a0obrazy, kter\u00e9 svou vyhrocenost\u00ed umo\u017en\u00ed nahl\u00e9dnout i b\u011b\u017en\u011b neregistrovan\u00e9 rozm\u011bry existence, a jej\u00ed karikov\u00e1n\u00ed: ironii, v\u00fdsm\u011bch, cynismus. Docela zaj\u00edmav\u011b t\u00edm obohacuje onu \u010d\u00e1st soudob\u00e9 poetick\u00e9 produkce, kter\u00e1 si popis reality v\u00a0posledn\u00ed dob\u011b dala do erbu.<\/p>\n

Mocn\u00fd proud sou\u010dasn\u00e9 \u010desk\u00e9 poezie toti\u017e dnes p\u0159edev\u0161\u00edm vypravuje p\u0159\u00edb\u011bhy. T\u00fddny<\/em> Olgy Stehl\u00edkov\u00e9, za kter\u00e9 z\u00edskala cenu Magnesia Litera v\u00a0roce 2015, jsou dobr\u00fdm p\u0159\u00edkladem, podobn\u011b jako dosud ne(d)ocen\u011bn\u00e9 Tance<\/em> Simony Mart\u00ednkov\u00e9 Rackov\u00e9. Postup sest\u00e1v\u00e1 z\u00a0toho, \u017ee v\u00a0z\u00e1sad\u011b lyrizovan\u00e1 pr\u00f3za, rytmizovan\u00e1 ob\u010dasn\u00fdmi repeticemi, je l\u00e1m\u00e1na do ver\u0161\u016f, kter\u00e9 nikdy (nikdy!) nesm\u00ed kop\u00edrovat syntaktickou strukturu v\u00fdpov\u011bdi. P\u0159esah je zde v\u00a0podstat\u011b obligatorn\u00ed, v\u011bta mus\u00ed kon\u010din v\u017edy v jin\u00e9m ver\u0161i, ne\u017e za\u010dala. Tento osv\u011bd\u010den\u00fd urychlova\u010d, \u017eenouc\u00ed zrak i vn\u00edmavost \u010dten\u00e1\u0159e slokou jak kon\u011b ho\u0159\u00edc\u00ed st\u00e1j\u00ed, jej nakonec bezpe\u010dn\u011b dovede k\u00a0n\u011bkter\u00e9mu obrazu reality se siln\u00fdm metaforick\u00fdm potenci\u00e1lem (strom, opr\u00fdskan\u00fd d\u016fm, po\u017e\u00e1r skladu), kde kone\u010dn\u011b spo\u010dine a b\u00e1snicky zarezonuje. \u010cten\u00e1\u0159 \u0161tvan\u00fd p\u0159\u00edb\u011bhem od obrazu k\u00a0obrazu z\u00a0n\u011bj na konci vypadne jak z\u00a0koloto\u010de: nen\u00ed si \u00fapln\u011b jist smyslem, ale m\u00e1 siln\u00fd pocit poezie, a tud\u00ed\u017e estetick\u00fd z\u00e1\u017eitek. Je to osv\u011bd\u010den\u00e9 a autorsky v\u00a0podstat\u011b bezpe\u010dn\u00e9.<\/p>\n

A je to taky z\u00e1sadn\u011b jin\u00e9, ne\u017e jak s\u00a0realitou ka\u017edodennosti pracuje jej\u00ed nejv\u011bt\u0161\u00ed novodob\u00fd mistr, guru a stvo\u0159itel V\u00edt Janota. Jeho popis nejoby\u010dejn\u011bj\u0161\u00edch obraz\u016f zahl\u00e9dnut\u00fdch z\u00a0okna tramvaje, st\u0159\u00edzliv\u00fdch textov\u00fdch fotografi\u00ed, jak jej podal v\u00a0kultovn\u00ed sb\u00edrce Fasov\u00e1n\u00ed ko\u0161\u0165at<\/em> (Daupnih 2004), doposud nebyl p\u0159ekon\u00e1n. Janota toti\u017e nestav\u00ed tyto obrazy do p\u0159\u00edm\u00fdch juxtapozic, nehled\u00e1, resp. nenab\u00edz\u00ed \u017e\u00e1dn\u00e9 paraleln\u00ed v\u00fdznamy a nevyt\u011b\u017euje jejich \u201epoetick\u00fd obsah\u201c. M\u00e1 velkou d\u016fv\u011bru ve \u010dten\u00e1\u0159e, v\u011b\u0159\u00ed mu. V\u011b\u0159\u00ed, \u017ee ten n\u00e1klad poezie najde, \u017ee ho tam uvit\u00ed.<\/p>\n

Milan Ohnisko naproti tomu nev\u011b\u0159\u00ed nikomu ne\u017e sob\u011b. Vypr\u00e1v\u011bt p\u0159\u00edb\u011bhy v\u00a0jejich epick\u00e9 \u00faplnosti nen\u00ed (na\u0161t\u011bst\u00ed: u\u017e je v\u0161ech t\u011bch n\u00e1v\u0161t\u011bv h\u0159bitov\u016f a sobotn\u00edch cest na chalupu trochu p\u0159\u00edli\u0161) nic pro n\u011bj. Jde cestou legitimn\u00ed b\u00e1snick\u00e9 zkratky: napne jen osnovu z\u00e1kladn\u00edch v\u00fdznamov\u00fdch \u00fatk\u016f, nevyslovuje, co vysloveno b\u00fdt nemus\u00ed. Deset ver\u0161\u016f sv\u00fdch pov\u00eddav\u00fdch koleg\u016f a kolegy\u0148 nahrad\u00ed p\u0159esn\u011b zvolen\u00fdm detailem. Vr\u00e1tn\u00e1 lad\u00ed r\u00e1dio. Mu\u017e nese z\u00a0auta n\u00e1\u0159ad\u00ed. Podob\u00e1 se to Janotovi, ale jen na prvn\u00ed pohled. Ohnisko ka\u017ed\u00e9mu takov\u00e9mu obrazu vyrob\u00ed fantaskn\u00ed kontext \u2013 pok\u0159iven\u00e9 zrcadlo, kter\u00e9 ho zdeformuje a zkarikuje.<\/p>\n

Nejsnaz\u0161\u00ed tvorbou takov\u00e9ho kontextu je sen. Jedna z\u00a0b\u00e1sn\u00ed se tak p\u0159\u00edmo jmenuje, jinde si sny nesou jin\u00e9 n\u00e1zvy, a tedy zadn\u00ed vr\u00e1tky paraleln\u00edch interpretac\u00ed. Takov\u00e9 b\u00e1sn\u011b sice dob\u0159e pln\u00ed \u00fa\u010del rozost\u0159en\u00ed, ale ob\u010das vykazuj\u00ed i na poetick\u00fd text pov\u00e1\u017eliv\u011b malou kohezi.<\/p>\n

Jin\u00fdm zp\u016fsobem zpochyb\u0148ov\u00e1n\u00ed v\u00fdznam\u016f jsou textov\u00e9 kol\u00e1\u017ee, skl\u00e1dan\u00e9 z\u00a0replik nejr\u016fzn\u011bj\u0161\u00ed povahy, od reklamn\u00edch slogan\u016f na vysava\u010d p\u0159es \u00fatr\u017eky hovor\u016f (\u010dast\u00e1 je dokonce p\u0159\u00edm\u00e1 \u0159e\u010d) a\u017e po cit\u00e1ty z\u00a0Bible. Text je tu konglomer\u00e1tem jazyka, strukturou, v\u00a0n\u00ed\u017e je ale p\u0159esto mo\u017en\u00e9 uvid\u011bt tvar, jako v\u00a03D obr\u00e1zc\u00edch, na kter\u00e9 se mus\u00edte dlouho d\u00edvat s\u00a0v\u011bdom\u011b nep\u0159irozenou akomodac\u00ed oka. Zde toto \u201espat\u0159en\u00ed skryt\u00e9ho\u201c roste z\u00a0komunikace v\u00fdznam\u016f; jaksi samovoln\u011b, bez autorova z\u00e1sahu, jen z\u00a0potenci\u00e1lu a \u017eivotn\u00ed s\u00edly jazyka.<\/p>\n

P\u0159\u00edzna\u010dn\u00e9 je pro Ohniskovy b\u00e1sn\u011b m\u00ed\u0161en\u00ed rovin: vedle v\u00fdsostn\u011b b\u00e1snick\u00fdch obraz\u016f (zdi pros\u00e1kl\u00e9 \u00fazkost\u00ed jak f\u00e1\u010d hnisem<\/em>) se z\u00e1m\u011brn\u011b objevuj\u00ed ban\u00e1ln\u00ed kli\u0161\u00e9: \u201eTo seb\u011bhli se mlad\u00ed sta\u0159\u00ed a bylo veselo<\/em>\u201c; \u201ed\u011bkuji za hezk\u00fd ve\u010der<\/em>\u201c; \u201es sebou\u2026 pl\u00e1\u0161t\u011bnku a dobrou n\u00e1ladu<\/em>\u201c.<\/p>\n

Zaj\u00edmav\u00fdm koncep\u010dn\u00edm prvkem je p\u0159ech\u00e1zen\u00ed motiv\u016f a dokonce doslovn\u00fdch zn\u011bn\u00ed cel\u00fdch ver\u0161\u016f z\u00a0b\u00e1sn\u011b do b\u00e1sn\u011b nap\u0159\u00ed\u010d sb\u00edrkou. \u201eVousy mu von\u00ed sol\u00ed a tab\u00e1kem<\/em>,\u201c stoj\u00ed ve\u00a0snov\u00e9 b\u00e1sni Lulu<\/em> na str. 11. Stejn\u00fd ver\u0161 pak zazn\u00ed v\u00a0jin\u00e9m kontextu v\u00a0b\u00e1sni Kund\u00edra<\/em> na str. 37. B\u00e1sn\u00ed samou je pak ov\u0161em\u017ee a\u017e nap\u011bt\u00ed mezi t\u011bmito dv\u011bma texty a jejich diskurzy. Stejn\u00fd v\u00fdznam m\u00e1 i tent\u00fd\u017e motiv v\u00a0nedoslovn\u00e9m, n\u00e1znakov\u00e9m v\u00fdskytu \u2013 viz nap\u0159. mo\u0159sk\u00fd vlk<\/em> v\u00a0b\u00e1sni Autorsk\u00e9 \u010dten\u00ed<\/em>. Texty t\u00edm ztr\u00e1cej\u00ed autonomn\u00ed platnost; oslaben\u00e1 gravitace putuj\u00edc\u00edch motiv\u016f, obraz\u016f a slov je jakoby v\u0159azuje zp\u00e1tky do mohutn\u00e9ho proudu \u0159e\u010di, z\u00a0n\u00ed\u017e byly na \u010das vyloveny jak st\u0159\u00edbrn\u00e9 ryby.<\/p>\n

Dal\u0161\u00edm zp\u016fsobem, jak ohmat\u00e1vat a relativizovat jazyk, je pro Ohniska akustick\u00e1 asociace, volaj\u00edc\u00ed k\u00a0sob\u011b motivy a slova pouze na z\u00e1klad\u011b souzvuk\u016f: \u201e\u0158asy rety \u0148adra \/ poezie hadra\u201c; \u201e\u2026pln\u00e1 p\u00e1n\u016f, pln\u00e1 dam \/ Popo-papa-pampa-dam\u201c<\/em>, jinde sofistikovan\u011bji, na b\u00e1zi aliterace: „Rozt\u00edr\u00e1m nosem \/ sopel po skle.“<\/em> Vrcholem t\u011bchto snah je tot\u00e1ln\u00ed destrukce slova, rozpadl\u00e9ho na \u010d\u00e1sti, kter\u00e9 se n\u00e1hodn\u011b spojuj\u00ed s jin\u00fdmi, \u010di solit\u00e9rn\u011b tr\u010d\u00ed z\u00a0jazyka jak ulomen\u00fd \u0161pi\u010d\u00e1k: \u201ea leje vev\u011b kuje jic hot c\u016f\u201c; \u201ebas kor ou \u017eid\u011b d\u016f.\u201c<\/em> Nav\u00edc t\u00edm Ohnisku ukazuje slova sp\u00edc\u00ed v\u00a0jin\u00fdch slovech. Intepretac\u00ed je milion a smysl je jasn\u00fd \u2013 nebudu to tu rozm\u011bl\u0148ovat v\u00fdklady.<\/p>\n

Na z\u00e1v\u011br dovolte subjektivn\u00ed vyzn\u00e1n\u00ed, je\u017e si nem\u016f\u017ee dovolit \u017e\u00e1dn\u00fd recenzent hodn\u00fd toho jm\u00e9na, neboli mn\u011b je ten luxus dop\u0159\u00e1n. Nejsiln\u011bj\u0161\u00ed jsou ty b\u00e1sn\u011b, kde se poda\u0159ilo ur\u010ditou m\u00edru tragiky lidsk\u00e9 existence vyslovit p\u0159\u00edmo. Bez v\u0161ech t\u011bch sofistikovan\u00fdch f\u00ed\u010dur popsan\u00fdch v\u00fd\u0161e. Zemsk\u00e1 t\u00ed\u017ee<\/em> na str. 47, nap\u0159\u00edklad, nebo Sa\u0148<\/em> na str. 50. Takov\u00e9 b\u00e1sn\u011b mi upom\u00ednaj\u00ed na podobn\u011b lad\u011bnou Har\u00e1kovu sb\u00edrku \u201ePanel nebe<\/em>\u201c; ta m\u011b oslovila pr\u00e1v\u011b touhle poetikou, ji\u017e jsem pak v poezii dlouho hledal. \u00dapln\u011b nejlep\u0161\u00ed b\u00e1sn\u00ed sb\u00edrky je L\u00e9to<\/em> na str. 29.<\/p>\n

Petr Kukal<\/p>\n

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Kniha byla za\u0159azena do programu Bub\u00e1kov \u010dte<\/a> a byla v\u011bnov\u00e1na novostra\u0161eck\u00e9 knihovn\u011b, kde si ji lze p\u016fj\u010dit.<\/p>\n

\n

Sv\u011btlo v r\u00e1n\u011b<\/strong><\/p>\n

    \n
  • Autor: Milan Ohnisko<\/li>\n
  • Nakladatel: Druh\u00e9 m\u011bsto<\/li>\n
  • ISBN: 978-80-7227-388-1<\/li>\n
  • Rozsah: 82 stran<\/li>\n
  • Rok vyd\u00e1n\u00ed: 2016 (1. vyd\u00e1n\u00ed)<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

    V\u00a0po\u0159ad\u00ed des\u00e1t\u00e1 b\u00e1snick\u00e1 sb\u00edrka Milan Ohniska \u201eSv\u011btlo v\u00a0r\u00e1n\u011b\u201c pat\u0159\u00ed ke \u0161pi\u010dce soudob\u00e9 \u010desk\u00e9 poezie, nebo\u0165 z\u00edskala cenu Magnesia Litera 2017. Plat\u00ed to patrn\u011b i obr\u00e1cen\u011b, ale takhle je to p\u0159esn\u011bj\u0161\u00ed. …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[14],"class_list":["post-1213","post","type-post","status-publish","format-standard","hentry","category-knihy"],"publishpress_future_action":{"enabled":false,"date":"2026-05-26 12:48:08","action":"category","newStatus":"draft","terms":[],"taxonomy":"category"},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts\/1213","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1213"}],"version-history":[{"count":5,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts\/1213\/revisions"}],"predecessor-version":[{"id":1218,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts\/1213\/revisions\/1218"}],"wp:attachment":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}