This analysis, initially featured in Nova Istra, delves into the significant contributions of Antun Šoljan (1932–1993), a prominent Croatian poet, novelist, and translator. Šoljan stands out as one of the most adaptable and extensively translated literary figures in Croatian literature during the latter half of the 20th century.
George Orwell’s seminal novel, Nineteen Eighty-Four (1949), saw relatively early publication in Yugoslavia, with translations appearing in Slovenian (1967), Serbian (1968), and notably, Croatian (1984), translated by Šoljan himself. As Leszek Małczak observes, a hallmark of Šoljan’s translation approach was the innovative adaptation of the source text to contemporary local contexts. His Croatian rendition of Orwell’s work took a critical, almost polemical, stance against the preceding Serbian version. Šoljan expanded and altered sections, introducing clarifications and additional terminology not present in either the original English or the Serbian translation, thus unmistakably demonstrating characteristics of a ‘politically subversive translation’.
The article particularly highlights Šoljan’s handling of Orwell’s unique neologisms, specifically ‘newspeak’ and ‘crimethink’. In contrast to the Serbian translator, Vlada Stojiljković, who rendered these as novogovor and zlomisao, Šoljan opted for the more distinctive terms novozbor and zlodum. These and other lexical selections by Šoljan were imbued with culturally specific meanings and allusions pertinent to the political landscape of Yugoslavia. They subtly evoked concepts like ‘verbal offence’ (verbalni delikt), a term from criminal law, and made ironic references to state bodies, signaling a profound critique of socialist Yugoslavia’s political environment.
Despite Yugoslavia’s relative openness to publishing dissident literature compared to other communist states, domestic criticism faced considerable constraints. Within this challenging environment, Małczak suggests that Šoljan’s translation serves as a prime example of how literary translation can become a powerful instrument of political dissent.
Sentimental Farce: Irony in Šoljan’s Drama
Helena Peričić investigates the role of intertextuality in crafting irony within Šoljan’s play, Romance of Three Loves (Romanca o tri ljubavi, 1976). Despite its straightforward plot and structure, the play stands out for its sophisticated style, being entirely composed in verse. This unique feature makes it an anomaly both in Šoljan’s dramatic output and in Croatian drama of the 1970s. Furthermore, the play emphasizes love as an all-encompassing experience, diverging from the existential themes of his earlier works and the prevalent socio-political concerns of that era.
Šoljan’s dramatic style is characterized by a sophisticated, Socratic irony, achieved through intertextual techniques that challenge conventional literary authority. The play showcases various forms of intertextuality, such as structural and thematic borrowing from established literary works, historical and metonymic allusions, mythological and religious references, and the use of direct citation and paraphrase. Within this intricate structure, two primary mechanisms for generating irony are highlighted: the manipulation of genre and the use of verse.
The most striking intertextual effect is Šoljan’s self-description of the play as a ‘sentimental farce,’ an oxymoronic classification. This is manifest in the incorporation of classic farcical elements, including the humorous juxtaposition of lofty language with colloquial, even crude, expressions, alongside the use of recognizable character archetypes. Similarly, the deliberate choice of verse serves as an intertextual nod to older literary traditions. In both instances, irony functions by unsettling established formal and generic norms, yet simultaneously, and paradoxically, underscores their enduring importance.
Mediterranean Humanism: Šoljan’s Postmodern Poetics
Sibila Petlevski positions Šoljan’s oeuvre within a postmodern paradigm, distinguished by intertextuality, genre fusion, and an ongoing dialogue between the author’s voice and the broader cultural milieu. His poem, Gazelle (Gazela, 1971), exemplifies a paradoxical structure—simultaneously enigmatic and approachable. It reimagines the ghazal, an amatory poem from the Arabic poetic tradition, into a self-reflective format. The poem’s expression of longing can be interpreted as a cultural stance, advocating ‘Mediterranean humanism’ in opposition to the socio-political climate of 1970s Yugoslavia. The gazelle motif acts as a metaphor for the author’s and his generation’s ‘spiritual ecology’ – an inherently unattainable, elusive, and ‘mirage-like’ ideal.
Petlevski expands her analysis to encompass Šoljan’s broader poetic theory, particularly regarding modernity, stressing the foundational role of dialogue. His works consistently explore the interplay between the individual and external structures—be they geographical, historical, or cultural. This dialogic approach permeates his various genres, influencing both his poetry and drama. His concept of modernity transcends the mere adoption of modern poetic forms and avoids any ideological position that would entirely dismiss its predecessors. Thus, Šoljan’s modernity is inherently paradoxical, arising from a deliberate and continuous engagement with tradition.
Denim Homer: Navigating Modernity in Šoljan’s Novels
Boris Senker’s interpretation places Antun Šoljan’s novel, The Other People on the Moon (Drugi ljudi na mjesecu, 1978), within several literary lineages. The novel can be understood as both participating in and challenging ‘jeans prose,’ a genre typically linked to J. D. Salinger’s The Catcher in the Rye (1951) and, within Croatian literature, Šoljan’s earlier work, A Brief Excursion (Kratki izlet, 1965). The denim motif, with its connotations of wear and tear, primarily symbolizes the characters’ dashed hopes and illusions. The novel’s circular narrative structure portrays the protagonists’ endeavors to ‘escape the confines of daily existence’ ultimately ending in failure, bringing them back to their starting point.
Beyond its connections to beat literature, particularly Jack Kerouac’s On the Road (1957), Šoljan’s work also taps into the rich tradition of maritime literature, tracing back to Homer’s Odyssey. The narrative follows two friends navigating the Adriatic Sea in pursuit of submerged treasure, which symbolically represents ‘lost and forgotten values’. This quest unfolds against the backdrop of the lunar landing, highlighting a poignant contrast between humanity’s technological triumphs and the characters’ profound existential void.
Senker categorizes Šoljan’s text as a ‘novel of navigation.’ He underscores its cinematic potential by focusing on its episodic framework and vibrant descriptive language. Furthermore, Senker identifies various issues addressed by the novel, spanning its fictional universe and broader societal concerns. These include its depiction of modern Adriatic tourism, characterized by the ‘commercialization and dehumanization’ of the coastline, and the escalating environmental deterioration.
