{"id":822,"date":"2017-05-12T07:27:48","date_gmt":"2017-05-12T05:27:48","guid":{"rendered":"https:\/\/www.bubakov.net\/?p=822"},"modified":"2017-05-12T07:27:48","modified_gmt":"2017-05-12T05:27:48","slug":"martinikova-j-ladim-struny-klece","status":"publish","type":"post","link":"https:\/\/www.bubakov.net\/?p=822","title":{"rendered":"MARTIN\u00cdKOV\u00c1, J., Lad\u00edm struny klece"},"content":{"rendered":"<p><a href=\"http:\/\/www.srdecnivydej.cz\/wp-content\/uploads\/2016\/11\/martinikova_obalka-e1479997777757.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft \" src=\"http:\/\/www.srdecnivydej.cz\/wp-content\/uploads\/2016\/11\/martinikova_obalka-e1479997777757.jpg\" width=\"151\" height=\"199\" \/><\/a>Zral\u00e1 b\u00e1snick\u00e1 prvotina, ji\u017e autorka vyd\u00e1v\u00e1 ve v\u011bku, kter\u00fd by patrn\u011b snesl tot\u00e9\u017e p\u0159\u00edzvisko, rozhodn\u011b stoj\u00ed za vn\u00edmavou pozornost. Ostravsk\u00e1 knihovnice, zn\u00e1m\u00e1 doposud hlavn\u011b porotc\u016fm liter\u00e1rn\u00edch sout\u011b\u017e\u00ed, ve sb\u00edrce <em>Lad\u00edm struny klece<\/em> shrom\u00e1\u017edila p\u0159edev\u0161\u00edm texty, je\u017e v\u00a0t\u011bchto kl\u00e1n\u00edch do\u0161ly uzn\u00e1n\u00ed.<!--more--><\/p>\n<p>Sb\u00edrka je rozd\u011blena do \u010dty\u0159 odd\u00edl\u016f: Prohl\u00eddky, \u0160eptem, Ho\u0159k\u00e9 \u00fasm\u011bvy a P\u00edsni\u010dky. Prohl\u00eddky a \u0160eptem se podobaj\u00ed shodn\u00fdmi form\u00e1ln\u00edmi prost\u0159edky a autorsk\u00fdmi postupy typick\u00fdmi pro v\u00e1zan\u00fd ver\u0161. Prvn\u00ed odd\u00edl je osobn\u011bj\u0161\u00ed, lyrick\u00fd subjekt je v\u00a0nich \u00fast\u0159edn\u00ed a poku\u0161en\u00ed ztoto\u017enit ho s\u00a0autorkou velk\u00e9. Druh\u00fd odd\u00edl je obecn\u011bj\u0161\u00ed, poezie se tu z\u00a0v\u011bt\u0161iny \u201ed\u011bje\u201c, je pops\u00e1na a p\u0159edlo\u017eena \u010dten\u00e1\u0159i k\u00a0u\u017easnut\u00ed. Lyrick\u00fd subjekt je tu v\u00edc obecn\u00fd, \u010demu\u017e nahr\u00e1v\u00e1 i er-forma. Form\u00e1ln\u011b zcela odli\u0161n\u00fd je t\u0159et\u00ed odd\u00edl Ho\u0159k\u00e9 \u00fasm\u011bvy, psan\u00fd voln\u00fdm, epizuj\u00edc\u00edm ver\u0161em. Ani v\u00a0tomto p\u0159\u00edpad\u011b se Jana nevzd\u00e1v\u00e1 sv\u00e9 typick\u00e9 obraznosti; i do ver\u0161\u016f neukotven\u00fdch v\u00a0rytmu a r\u00fdmu vn\u00e1\u0161\u00ed po\u0159\u00e1daj\u00edc\u00ed prvek sv\u00fdch metonymi\u00ed a metafor. B\u00e1sn\u011b jsou mikrop\u0159\u00edb\u011bhy, drama se odehr\u00e1v\u00e1 a\u017e na pozad\u00ed krotk\u00e9 \u0159e\u010di. Posledn\u00ed odd\u00edl P\u00edsni\u010dky jsou logicky velmi zp\u011bvn\u00e9, autorka v\u00a0nich \u010dasto pracuje se zvukomalbou a h\u0159\u00ed\u010dkou \u2013 a ob\u010das balancuje nad propast\u00ed \u010dir\u00e9 r\u00fdmov\u00e1nky. Nikdy se do n\u00ed ale nez\u0159\u00edt\u00ed; ta poezie m\u00e1 tak\u00e9 p\u016fvab takhle podstoupen\u00e9ho rizika.<\/p>\n<p>To, co je pro Janu Martin\u00edkovou typick\u00e9, je pr\u00e1v\u011b ona vysok\u00e1 m\u00edru form\u00e1ln\u00edho zvl\u00e1dnut\u00ed b\u00e1snick\u00e9ho \u0159emesla; nesklouz\u00e1v\u00e1 p\u0159itom do rutiny ani machy. Naopak trvale, t\u00e9m\u011b\u0159 v\u00a0ka\u017ed\u00e9m ver\u0161i p\u0159ekvapuje originalitou, kreativitou, kter\u00e1 v\u00a0n\u011bkter\u00fdch b\u00e1sn\u00edch v\u00a0podstat\u011b atakuje hranice mo\u017enost\u00ed, kter\u00e9 jazyk nab\u00edz\u00ed. Hled\u00e1n\u00ed jeho mo\u017enost\u00ed a hranic je signifikantn\u00edm rysem Janiny tvorby.<\/p>\n<p>Projevuje se jednak v\u00a0rovin\u011b lexik\u00e1ln\u00ed &#8211; tvorbou n\u00e1padit\u00fdch neologism\u016f bezm\u00e1la v\u00a0duchu Emanuela Frynty \u010di Josefa Hir\u0161ala, pota\u017emo Christiana Morgensterna (<em>rozkmo\u010dty\u0159ili<\/em>), tak na rovin\u011b morfologick\u00e9 (nesou hlas vs. nesouhlas \u2013 fale\u0161n\u00e9 kompozitum), ale p\u0159edev\u0161\u00edm stoj\u00ed a pad\u00e1 s\u00a0vyu\u017eit\u00edm homonymie a polys\u00e9mie. U\u017e s\u00e1m z\u00e1m\u011br postavit b\u00e1se\u0148 na h\u0159e s\u00a0v\u00fdznamy je autorskou v\u00fdzvou; nerezignovat p\u0159itom na poeti\u010dnost, ale ani na p\u0159esn\u00fd smysl sd\u011blen\u00ed, to u\u017e je autorsk\u00fd majstr\u0161tyk. A Jana ho zvl\u00e1d\u00e1 se sebejistotou, je\u017e bere dech.<\/p>\n<p>Mimoto sb\u00edrka dokl\u00e1d\u00e1 schopnost objevovat p\u0159ekvapiv\u00e9 souvislosti s&nbsp;velk\u00fdm poetick\u00fdm potenci\u00e1lem. Nejde p\u0159itom o introspekci jazyka samotn\u00e9ho \u2013 hra s&nbsp;v\u00fdznamy vych\u00e1z\u00ed z&nbsp;reality, ji\u017e je autorka schopn\u00e1 nahl\u00e9dnout jako pretext. Ona zkr\u00e1tka vid\u00ed v&nbsp;alergii d\u011bt\u00ed na pe\u0159\u00ed jejich l\u00edtost nad k\u0159\u00eddly, kter\u00e1 bez n\u011bj u\u017e nikdy neodlet\u00ed na jih. Tedy nejen brilantn\u00ed ovl\u00e1dnut\u00ed formy, ale osobit\u00fd b\u00e1snick\u00fd n\u00e1hled na realitu.<\/p>\n<p>Dolo\u017eme autor\u010din tv\u016fr\u010d\u00ed postup na jedin\u00e9m p\u0159\u00edkladu za v\u0161echny, b\u00e1sni<em> Partie v\u00a0mlze<\/em>. B\u00e1se\u0148 za\u010d\u00edn\u00e1 poetick\u00fdm popisem p\u0159\u00edrodn\u00ed scen\u00e9rie, s\u00a0kr\u00e1sn\u00fdm synestetick\u00fdm obrazem \u201ehv\u011bzd\u00e1m je tma\u201c a personifikac\u00ed \u201emlha u\u017e d\u00e1v\u00e1 lesku mat\u201c. V\u00a0n\u00ed se poprv\u00e9 setk\u00e1v\u00e1me ur\u010duj\u00edc\u00edm znakem autor\u010diny poetiky zalo\u017een\u00e9 na pr\u00e1ci s\u00a0paraleln\u00edmi v\u00fdznamy, kter\u00e9 si ale v\u00a0dan\u00e9m kontextu oba udr\u017euj\u00ed autonomn\u00ed s\u00e9mantickou platnost. N\u00e1zev b\u00e1sn\u011b oprav\u0148uje \u010dten\u00e1\u0159e k\u00a0tomu, aby \u201emat\u201c vn\u00edmal v\u00a0kontextu \u0161achov\u00e9 terminologie, tedy \u017ee mlha nad leskem hv\u011bzd v\u00edt\u011bz\u00ed. Sou\u010dasn\u011b si obrat ale pln\u011b podr\u017e\u00ed tak\u00e9 v\u00fdznam \u201ematnost\u201c ve smyslu zast\u0159enost. Mat jako opak lesku. Hv\u011bzdy v\u00a0mlze jsou matn\u00e9. N\u00e1sleduj\u00edc\u00ed ver\u0161: \u201eA \u0161ikmo t\u00e1hne v\u011b\u017e\u00ed v\u00a0Pise\u201c zmno\u017euje v\u00fdznamy je\u0161t\u011b mnohovrstevn\u011bji. Personifikovan\u00e1 mlha t\u00e1hne v\u011b\u017e\u00ed jako \u0161achovou figurou (v\u017edy\u0165 d\u00e1v\u00e1 mat), ale t\u00e1hne j\u00ed taky jako skute\u010dn\u00e1 mlha prostupuj\u00edc\u00ed otev\u0159enou stavbu, je\u017e zde zastupuje prostor jako takov\u00fd. T\u00e1hne j\u00ed \u201e\u0161ikmo\u201c nebo\u0165 v\u011b\u017e v\u00a0Pise je \u0161ikm\u00e1, a t\u00e1hne j\u00ed tak\u00e9 \u0161ikmo na \u0161achovnici, tedy z\u00e1ludn\u011b, nekorektn\u011b, tahem, jak\u00fd pravidla \u0161achu nep\u0159ipou\u0161t\u011bj\u00ed. Jak\u00e9 bohatstv\u00ed metonymie! Jak jasnoz\u0159iv\u00e9 b\u00e1snick\u00e9 vid\u011bn\u00ed! Tento princip konstrukce b\u00e1sn\u011b je dostupn\u00fd jen tomu, kdo mistrn\u011b ovl\u00e1dl formu a sou\u010dasn\u011b jako b\u00e1sn\u00edk mysl\u00ed.<\/p>\n<p>Tak\u00e9 dal\u0161\u00ed sloka p\u0159in\u00e1\u0161\u00ed podobn\u011b bohatou \u017ee\u0148 (<em>vykl\u00edz\u00ed \u0161achovnici pol\u00ed \u2013 inverzn\u011b k\u00a0obvykl\u00e9mu souslov\u00ed pole \u0161achovnice<\/em>) a\u017e k\u00a0velik\u00e9mu fin\u00e1le: <em>schov\u00e1me stopky \/ jablek z\u00a0r\u00e1je<\/em>. Druh\u00e1 \u010d\u00e1st ver\u0161e je v\u00a0sazb\u011b opticky odd\u011blena, v\u00a0kontextu \u0161achu tedy vn\u00edm\u00e1me stopky p\u0159edn\u011b jako \u010dasom\u011brn\u00fd p\u0159\u00edstroj. Schov\u00e1me je, budeme dlouho na tahu, jak se prav\u00ed v\u00a0p\u0159ede\u0161l\u00e9m ver\u0161i, tak dlouho, a\u017e se mlha sama zdvihne. Druh\u00e1 \u010d\u00e1st ver\u0161e (jablek z\u00a0r\u00e1je) v\u0161ak p\u0159in\u00e1\u0161\u00ed druh\u00fd v\u00fdznam slova stopky. U\u017e ne pomno\u017en\u00e9 substantivum, ale prost\u00fd plur\u00e1l od singul\u00e1ru stopka. \u010c\u00e1st jablka, jako roub, mo\u017en\u00e1 dokonce jako z\u00e1stupn\u00e9 semeno, z\u00a0n\u011bho\u017e n\u00e1m n\u011bkde znovu vykl\u00ed\u010d\u00ed r\u00e1j, kter\u00fd je pr\u00e1v\u011b te\u010f v\u00a0mlze. T\u00edm nejcenn\u011bj\u0161\u00edm p\u0159itom je, \u017ee \u010dten\u00e1\u0159 nem\u00e1 \u201eproz\u0159\u00edt\u201c, uh\u00e1dnout, kter\u00fd v\u00fdznam je ten spr\u00e1vn\u00fd. Oba jsou spr\u00e1vn\u00e9!<\/p>\n<p>Mohli bychom takto analyzovat dal\u0161\u00ed a dal\u0161\u00ed b\u00e1sn\u011b sb\u00edrky, nicm\u00e9n\u011b princip je jasn\u00fd. Znovu p\u0159ipome\u0148me, \u017ee nejde o samo\u00fa\u010delnou hru \u2013 poetick\u00e9 sd\u011blen\u00ed v\u0161ech b\u00e1sn\u00ed je uhran\u010div\u011b siln\u00e9 a je takov\u00e9 i v\u00a0t\u011bch p\u0159\u00edpadech, kde je princip rovnocenn\u00e9 polys\u00e9mie uplatn\u011bn v\u00a0men\u0161\u00ed m\u00ed\u0159e, \u010di \u00fapln\u011b potla\u010den (<em>P\u00edsni\u010dka o bezpe\u010dn\u00e9 ch\u016fzi<\/em>). Sb\u00edrka po m\u00e9m soudu sv\u011bd\u010d\u00ed o mimo\u0159\u00e1dn\u00e9m nad\u00e1n\u00ed pro b\u00e1snickou formu a rozhodn\u011b si zaslou\u017e\u00ed \u010dten\u00e1\u0159skou i liter\u00e1rn\u011bkritickou pozornost.<\/p>\n<p>Petr Kukal<\/p>\n<hr \/>\n<p>Kniha byla za\u0159azena do programu <a href=\"\/?cat=14\">Bub\u00e1kov \u010dte<\/a> a byla v\u011bnov\u00e1na novostra\u0161eck\u00e9 knihovn\u011b, kde si ji lze p\u016fj\u010dit.<\/p>\n<hr \/>\n<p><strong>Lad\u00edm struny klece<\/strong><\/p>\n<ul>\n<li>Autor:\u00a0Jana Martin\u00edkov\u00e1<\/li>\n<li>Nakladatel: Srde\u010dn\u00ed v\u00fddej<\/li>\n<li>ISBN: 978-80-905904-4-1<\/li>\n<li>Rozsah: \u00a064 stran<\/li>\n<li>Rok vyd\u00e1n\u00ed: 2016 (1.&nbsp;vyd\u00e1n\u00ed)<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Zral\u00e1 b\u00e1snick\u00e1 prvotina, ji\u017e autorka vyd\u00e1v\u00e1 ve v\u011bku, kter\u00fd by patrn\u011b snesl tot\u00e9\u017e p\u0159\u00edzvisko, rozhodn\u011b stoj\u00ed za vn\u00edmavou pozornost. Ostravsk\u00e1 knihovnice, zn\u00e1m\u00e1 doposud hlavn\u011b porotc\u016fm liter\u00e1rn\u00edch sout\u011b\u017e\u00ed, ve sb\u00edrce Lad\u00edm &#8230;<\/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-822","post","type-post","status-publish","format-standard","hentry","category-knihy"],"publishpress_future_action":{"enabled":false,"date":"2026-05-24 02:03:57","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\/822","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=822"}],"version-history":[{"count":1,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts\/822\/revisions"}],"predecessor-version":[{"id":823,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts\/822\/revisions\/823"}],"wp:attachment":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=822"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=822"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}