(1960)
­­­ ­­ ­­­
­­­­ ­­ ­
­­ ­­ (1960), ­

­­­­ ­ ­­­ ­­­ ­­­­ ­­ – ­ , ­­­ ­­­ ­­­ ­­­ ­ ­­­, ­ ­­­­ ­ ­­­­ ­­­ ­­ ­­­, ­­­­ ­­­ ­­ ­­ ­­ ­­ ­­ ­­­­ ­ ­, ­­­ ­­ ­­­ ­­­ ­­­ ­­, ­­ ­ ­­ ­­­ ­­ ­, ­­­ ­ ­­ ­ ­­­ ­.
­ ­­ ­ ­, ­­; ­­ ­, ­ ­ ­ ­­­ ­­ ­­­­ ­­ – ­ 2016. ­­ ­­


­­ ­­ (Thomas Boberg),
­­­ ­ ­­ ­
­­ ­­­ ­­­

­­ ­­ ­­ ­­ ­­.

­ ­ ­ 1960. ­­ ­. ­­­ 1984. ­ ­­ ­­ ­­ (æ­ ø). ­­ 17. ­­, ­­­ ­ ­ ­­, ­­ ­­ ­ ­ ­­­­ ­­ (øå), ­­­ ­ (­­ ­), ­­ (­­) ­ ­­­ (­­­ ­). ­ ­­­ ­­ ­­ ­­ – 2000. ­ ­­­ ­­ 2006. ­ ­­ ­­ (­). 2012. ­ ­­ ­­ ­­ ­ ­­­. ­­ ­ ­ ­­. ­ ­­ ­­ ­ ­­, ­­ ­ ­­, ­ ­­ ­ ­­­ ­­­.
­­ ­­­ ­­ ­ (­æ­­) ­ ­ ­ ­ ­­ ­­­ ­ ­ ­­ ­­ ­­­ ­­­ ­­ ­ ­­ ­­. ­­­ ­ ­ ­­­ ­­­ ­ (­­­­ ­­­­, ­­ ­­­, ­­­ ­­, ­­­ ­­­, ­­­ ­­­­ ­­ ­­ ­­­­ ­), ­ ­ ­ ­­­, ­ ­­ – ­­ ­­. ­­ ­ ­ ­­ ­­ ­­­ ­­­­ – ­­ ­ ­­ ­­ ­­, ­ ­ ­ ­ ­­­­. ­­­ ­­­ ­­­ ­ ­­­, ­­­ ­ ­­ ­­ ­­ ­­ ­­ ­­ ­.
­­ ­­ ­ ­ ­­­ ­­­ ­­ ­­­­, ­ ­­ ­­­ ­­, ­­ ­­ ­­ ­­­ ­­­ ­­­ ­­ ­­. ­­ ­­­ ­­ ­­ ­­ ­­ ­ ­ ­­, ­ ­ ­­ ­­­­ ­­­ ­­ ­­­.
­­­ ­­ ­­ ­­­ ­­­ "­­­ ­" ­ ­­ ­­­­, ­ ­­ ­ ­­ ­­ ­ ­­ ­. ­ ­­­ ­­­ ­­ ­­ ­­, ­­ ­ ­ ­ ­ ­ ­­ ­­. ­ ­­ ­ ­­ ­­ ­, ­­ ­­ ­­, ­ ­­­, ­­­ ­, ­­ ­­­ ­­­ ­­­ ­­­ ­ ­ ­ ­ ­ ­­ ­ ­­.
­ ­ , ­­, ­­­ ­­ ­ ­­­­ ­­ ­­ ­ ­­ ­ ­ ­­, ­­­­ ­­­ ­­­ ­­­ ­ ­­­ ­ ­­­ ­­.
­­ ­­ ­­ ­ ­­ 31. ­­ ­­­ ­ ­­­ ­ ­.

­ ­ 24. 08. 2016. ­­

­ ­­
­ ­, ­­, ­­
­­ ­, ­­ ­­­­ ­­­, ­­ ­­
­ ­, ­­ ­­­ ­­­ ­­­

Sum­mary of the an­no­un­ce­ment of the jury

In the po­e­tic tri­logy The Hor­se Ea­ters (He­steæ­der­ne) To­mas Bo­berg por­trays a dysto­pian so­ci­ety in a dark way, ru­led by de­spots and fa­na­tics and whe­re the in­di­vi­dual is bro­ught to the very ver­ge of col­lap­se. In this tri­logy we can see se­ve­ral con­fron­ted gro­ups (Cre­scent wor­shi­pers, Chri­stian pa­tri­ots, im­mi­grant sla­ves, ni­hi­li­stic pri­ests, Con­sul’s ni­hi­li­stic sons and the­ir hor­se whip­pers), which fight for what lit­tle that is left, and the­re is al­so the con­flict bet­we­en two de­spots – the Con­sul and the Ca­liph. The fu­tu­re de­scri­bed by the lyric su­bject is an ex­tre­mely pes­si­mi­stic one – the de­stroyed­ city is ru­led by ho­pe­les­sness and vi­o­len­ce, and, be­ca­u­se of the­ir me­at, the hor­ses are on the brink of ex­tin­cti­on.
In a uni­que way, the po­e­tic tho­ught nar­ra­tes and re­ve­als so­cial pat­ho­logy, man’s ro­le in the abysses of exi­sten­ce, the splits of his cul­tu­re and so­ci­a­bi­lity in the dra­ma­tic mo­ments of his hi­story. In Bo­berg’s po­e­try we find this abysmal ten­dency of man and his so­ci­ety to­wards vi­o­len­ce, a pas­sion that is con­stantly re­ne­wed in the ne­ver-en­ding sce­nes of hi­sto­ri­cal tyranny.

To­mas Bo­berg

Da­me i go­spo­do, ko­le­ge pe­sni­ci,
Za­hva­lju­jem ži­ri­ju, za­hva­lju­jem or­ga­ni­za­to­ri­ma ovog pre­sti­žnog Fe­sti­va­la na na­gra­di.
Po­e­zi­ja se te­ško, to uo­bi­ča­je­no, od­vi­ja i pi­še u od­re­đe­nim gra­ni­ca­ma – ze­mlje, je­zi­ka. Me­đu­tim, po­e­zi­ja je lo­kal­na i ve­za­na za lo­kal­ni glas, mo­glo bi se re­ći za glas de­tinj­stva, isto­vre­me­no, po­e­zi­je je u naj­bo­ljem smi­slu uni­ver­zal­na, ona je uko­re­njena u ljud­skom do­ži­vlja­ju i ti­če se sva­kog. Ta­ko se po­sta­vlja pi­ta­nje za­što je po­e­zi­ji po­tre­ban pre­vod, ia­ko pre­vod za­i­sta ni­je mo­guć, ali je ipak nu­žan, ka­ko bi pe­snik do­bio od­go­vor sa dru­ge stra­ne.
Pe­sni­ci ima­ju mo­guć­nost da se upo­zna­ju na fe­sti­va­li­ma, či­me do­bi­ja­ju mo­guć­nost za raz­me­nu po­e­zi­je i ide­ja.
Ve­o­ma sam sre­ćan i po­no­san što sam pri­mio Me­đu­na­rod­nu knji­žev­nu na­gra­du No­vi Sad. Ne­što se do­go­di­lo, pe­sma je mo­žda us­pe­la da pre­đe gra­ni­cu i upo­zna či­ta­o­ca da­le­ko od svog po­la­zi­šta.
Hva­la vam.

*

Tho­mas Bo­berg

La­di­es and gen­tle­men, col­le­a­gu­es po­ets,
I thank the jury, I thank the or­ga­ni­zers of this pre­sti­gi­o­us fe­sti­val on the pri­ze.
Po­e­try is dif­fi­cult, it usually, ta­kes pla­ce and is writ­ten wit­hin cer­tain li­mits – co­un­try, lan­gu­a­ge. Po­e­try is lo­cal and bo­und to the lo­cal vo­i­ce, you might say the child­hood vo­i­ce, at the sa­me ti­me po­e­try at its best is uni­ver­sal, it’s ro­o­ted in hu­man ex­pe­ri­cen­ce and con­cerns everyone. Thats why we need tran­sla­tion, tho­ugh tran­sla­tion re­ally is not po­si­ble, we still need it, in or­der to me­et the po­et co­ming from the ot­her si­de. As po­ets we ha­ve the po­si­bi­lity to me­et each ot­her in fe­sti­vals, brin­ging the po­em along, ex­chan­ging po­e­try and ide­as. I am very happy and proud to re­ce­i­ve the No­vi Sad in­ter­na­ti­o­nal li­te­ra­tu­re pri­ce. So­met­hing hap­pend, a po­em may ha­ve suc­ee­ded in cros­sing the bor­der and me­et a re­a­der out the­re far from its po­int of de­par­tu­re.
Thank you.


/ THOMAS BOBERG


­­ ­, ­­ ­ 2,
­­ ­ 3 – ­­­ ­


I

­­­­ ­ ­­ ­ ­ ­­
­­.
­ ­­ ­­ ­.
­­ ­ ­
­­­
­­ ­­ ­,
­ ­­,
­ ­­ ­­­ ­ ­­ ­ ­­­,
­­ ­ ­ ­
­­ ­­,
­­ ­ ­­.
­­ ­ ­­­­ ­­ ­­
­ ­­ ­ ­­­.
­ ­­ ­­ ­ ­­­­ ­­­
­ ­ ­­
­ ­­­.
­ ­ ­ ­ ­ ­
­­ ­­ ­,
­ ­ ­ ­­, ­­ ­­­
­­ ­ ­­ ­;
­­ ­­­ ­­­.
­ ­­ ­ ­­ ­­.


II

­­ ­­
­.
­
­ ­ ­ ­
­ ­ ­­­ ­­.
­ ­
­ ­ ­ ­­
­.
­ ­ ­­­­.
­ ­­ ­ ­­.
­­ ­­ ­ ­­ ­.
­­,
­­ ­­
­ ­
­­­­­ ­ ­ ­­
­ ­­
­.
­
­ ­
­­­ ­­ ­­ ­,
­ .


III

­ ­­
­ ­­ ­ ­­­­,
­ ­
­­ ­
­­ ­,
­­­ ­.
­ ­ ­ ­.
­­ .
­ ­ ­­.
­ ­ ­­.
­ ­­ ­
­ ­
­­­ ­ ­­­, ­­­­
­, ­­
­­ ­ ­­, ­­
­
­ ­ ­­ ­­ ­.


IV

­ ­
­ ­­­ ­ ­.
­­ ­ ­­ ­
­ ­ ­­ ­.
­ ­ ­­.
­ ­, ­,
­.
­
­­­,
­­­ ­ ­
­­­ ­.
­ ­ ­,
­ ­ ­­
­, ­
[­ ­ ­ ­­­
­­­­­ ­­ ­­
­­­ ­­­ ­.
­­­ , ­­,
­
­.
­­ ­ ­­,
­ .
­­ ­­
­­ ­ ­ ­,
­ ­ ­.
­ ­­ ­ ­,
.
­ ­ ­
­­­ ­­­
­ ­­.
­ ­ ­
­­­ ­
­­,
­­ ­ ­­ ­,
­­ ­­­­.


V

­­
­ ­­,
­­­­­ ­
­ ­,
­ ­ ­ ­­ ,
?
­­ ­,
­ .
­ ,
­ ­­­.
­ ­ ­­­
­ ­,
­ ­ ­
­­­­­ ­­ ­­ ­­ ­­.
­ ­­­,
­­­.
­ ­ ­ ­
­ ­­ ­
­­ ­­:
­­­ ­­ ­,
­ ­­ ­,
­­ ­­­ ­ ­­­ ­.


VI

­ ­­ ­­ ­­
­ ­­ ­ ­­,
­­ ­­ ­
­ ­ ­,
­ ­­ ­­ ­­ ­
­­ , ­ ­,
­ ­­­,
­ ­, ­ ­ ,
, ­­ ­­ ­ ,
­­­ ­ ­­,
, ­ ­ ­­
­­ ­­,
­ ­ ­,
­ ­­­ ­
­,
­ ­, ­
­­,
­­­ ­­,
­­ ­­ ­
­­ ­­­,
­,
­ ­ ­,
­ ­ ­ ­,
­ ­ ­,
­ ­ ­,
­ ­ ­ ­­,
­­ ­­­,
­,
­ ­­­
­ ­­,
­­ ­­­ ­
­­ ­ ­­,
­ ­ ­­
­­
­ ­ ­
­­­­
­
­­­
­ ­ ­,
­ ­
­­
­ ­
­,
­­ ­­
­ ­
­, ­,
­ ­­
­ ­­,
­ ­­ ­,
­ ­­,
­,
­ ­­ ­­ ­
­
­­ ­­­,
­­­ ­­ ­­ ­­,
­ ­­ ­,
­ ­­ ­­ ­­ ­
­­ , ­ ­,
­ ­­­,
­ ­ ­ ­ ,
­ ­­,
­ ­ ­ ­ ­.


VII

­­ ­­­ ­­­ ­ ­­,
­ ­ ­­ ­ ­­, ­
­ ­­ ­­ ­­­­,
­­ , ­, ­, ­ ­

­­ ­­, ­ ­­ ­­­,
­­­ ­­ ­ ­­­?
­­, ­ ­­­­ ­ ­ ­­,
­ ­ ­ ­ ­­, ­

­­ ­­­­, ­­ ­­­­­
­­ ­­­ ­­ ­­­ ­,
­ ­ ­­ ­­­­ ­­­,
­ ­, ­,

­­ ­­­, ­ ­­, ­ ­ ­,
­ ­ ­ ­ ­
­, ­­ ­­­­ ­­­,
­­ ­ ­ ­, ­ ­,

­ ­­­ ­ ­­­ ­, ­ ­­
­ ­ ­ ­­, ­ ­, ­
­­, ­ ­ ­, ­ ­ ­,
­­ ­ ­ ­­­ ­ ­

­­ ­ ­­ ­­ ­, ­ ­­,
­ ­ ­, ­­­ ­,
­­ ­­­ ­ ­ ­­ ­­,
­­ ­­ ­ ­­

­, ­ ­­ ­­­ ­,
­­ ­ ­­ ­
­­­, ­ ­­ ­­,
­­­ ­, ­
­, ­­ ­ ­,
­­ , ­­
­­ ­­ ­ ­ ­­,
­ ­­­ ­, ­
­­ ­­ ­­ ­ ­­ ­­

­ ­ , ­ ­ ­ ­­ ­
­ ­, ­­­ ­ ­­ ­­,
­ ­­ ­, ­
­ ­ ­, ­ ­,

­ ­­, ­­­
­ ­ ­­­ ­ ­­ ­ ­­ ­­,
­­ ­ ­ ­, ­ ­,
­ , ­­ , ­­ ­ ,

­ ­ ­, ­­­ ­,
­­­ ­­­ ­, ­ ­­ ­­ ­,
­­ ­ ­­ ­, ­,
­, ­ ­

­ ­­ ­­­
­­, ­­ ­ ­­­
­­ ­ ­­­ ­, ­ ­
­­ ­­­ 70. ­­, ­

­­­, ­ ­ ­ ­, ­ ­­
­, ­­ ­ ­­ ­ ­,
­­, ­­­ ­­­ ­­­
, ­­ ­, ­ ­,

­ ­ ­ ­­, ­ ­ ­­,
­­ ­­ ­­ ­­ ­
­­ ­, ­ ­ ­­ ­­ ­­
­, ­­ ­­ ­ ­­,

­­ ­­­ ­­­­ ­­­,
­­ ­ ­­,
­ ­ ­­ ­­ ­­­­
­­ ­ ­­­­ ­­­, ­ ­­

­­ , ­­ ­ ­­ ­,
­­­­ ­ ­ ­­, ­ ­­­
­­ ­­, ­ ­
­­, ­­ ­­ ­­, ­
­ ­­,
­­, ­­ ­ ­­, ­­­,
­ ­ ­ ­, ­ ­­
­ ­ ­ ­­­ ­ ­ ­ ­.



VIII

­ ­­

­­ ­ ­.
­­.
­ ­­­ ­.
­ ­­.

­ ­­ ­­ ­­.
­­ ­ ­­­ ­
­ ­ ­­­.
­ ­­­ ­ ­ ­
­ ­ ­­ ­.
­ ­
­­ ­ ­­­ ­ ­­
­ ­ ­
­­­ ­ ­ ­­.
­­­­
­ ­ ­
­ ­.
­­­ ­­ ­­.
­­ ­­.
­­ ­­ ­­­ ­­­.
­­­ ­ ­­.
­­ ­ ­­.



IX

­


­­­ ­­ ­ ­ ­­­
­ ­
­­ ­­­­.
­­­ ­ ­
­ ­ ­ ­
­
­­ ­ ­ ­­
­ .
­ ­ ­­
­­ ­
­:
­ ­­
­ ­­­
­ ­
­­ ­ ­­
­ ­.

­ ­ ­ ­­