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Home of the Shape
We will go far away
To nowhere
To conquer
To fertilize
Until we become tired
Then we will stop
And there will be our home
We will go far away
To nowhere
To conquer
To fertilize
Until we become tired
Then we will stop
And there will be our home
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Poetry in translation. Translated from the Serbian (Znak i njegova deca).
The Sign and Its Children (Znak i njegova deca, 2000) is a collection of poetry by the Serbian-American poet Dejan Stojanović (1959). The book contains 43 poems in five sequences: "The Supreme Sign," "The Sign and Nothing," "Sign Face," "A Word and a Sign," and "The Sign and the Dream."
The search for more compact and essential relations between the poetic statement and the image (symbol) conditions new qualitative and creative accents in Dejan Stojanović's writing compared to his previous poetic work. Loyalty to subtle linguistic essences, "linguistics," and the hermeticity of meaning place Stojanović in a small and autochthonous circle of poets representing Serbian poetry's basic creative and artistic strength in the last few decades. The poet's esoteric curiosity questions the formative causes of the world—the Sign and the Lightray, the first destroyers and builders, the primary metaphors of existence, which multiply in the interrelationships of analogy and denial of the eternal truths of existence and duration against the transience of earthly days. Symbolic, transparent, metaphysical, and magical form concentric circles of meaning that achieve their unique elementarization about basic human aspirations; towards the heavenly and divine essence or the intoxicating depths of the abyss of absolute oblivion.
– Petar V. Arbutina
The Sign and Its Children (Znak i njegova deca, 2000) is a collection of poetry by the Serbian-American poet Dejan Stojanović (1959). The book contains 43 poems in five sequences: "The Supreme Sign," "The Sign and Nothing," "Sign Face," "A Word and a Sign," and "The Sign and the Dream."
The search for more compact and essential relations between the poetic statement and the image (symbol) conditions new qualitative and creative accents in Dejan Stojanović's writing compared to his previous poetic work. Loyalty to subtle linguistic essences, "linguistics," and the hermeticity of meaning place Stojanović in a small and autochthonous circle of poets representing Serbian poetry's basic creative and artistic strength in the last few decades. The poet's esoteric curiosity questions the formative causes of the world—the Sign and the Lightray, the first destroyers and builders, the primary metaphors of existence, which multiply in the interrelationships of analogy and denial of the eternal truths of existence and duration against the transience of earthly days. Symbolic, transparent, metaphysical, and magical form concentric circles of meaning that achieve their unique elementarization about basic human aspirations; towards the heavenly and divine essence or the intoxicating depths of the abyss of absolute oblivion.
– Petar V. Arbutina
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The Over-Sky Sign
The thought measures the new sight’s secret
And the over-sky sign emerges
Realizing what its arm is
When with God it lives in solitude
To sense the peace of extinguished passion
Happiness in not knowing the ultimate knowledge
Carelessness and delight, but with no delight
Against both moving and dying
The thought measures the new sight’s secret
And the over-sky sign emerges
Realizing what its arm is
When with God it lives in solitude
To sense the peace of extinguished passion
Happiness in not knowing the ultimate knowledge
Carelessness and delight, but with no delight
Against both moving and dying