Latgalistikys kongresu materiali, III. 2011. - Latvijas Universitāte
Latgalistikys kongresu materiali, III. 2011. - Latvijas Universitāte
Latgalistikys kongresu materiali, III. 2011. - Latvijas Universitāte
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On the other hand, the novel is embedded into a wider context exploding<br />
the world of the novel into a thick fabric of postmodernist cultural<br />
awareness. The narration is framed by a reference to 12 October which is<br />
the date of discovering America. The narration begins in April stating that<br />
there are six months until 12 October when the narrator will see the new<br />
land towards which he is setting out. However, at the end of the novel<br />
when this date comes, nothing changes. The narrator returns from work<br />
and performs the same weird actions that at the beginning of the novel he<br />
observes as performed by one of the numerous anonymous characters: he<br />
makes tea, drinks it up from a glass, then smashes the glass against the<br />
wall, goes to the bathroom to wash his socks, pours glass chippings into<br />
the socks and pegs them onto the clothes-line, then turns on the radio,<br />
starts thinking and returns to the bathroom to pour the chippings from his<br />
socks into the pockets of his pants, at night he climbs onto the roof, sits on<br />
the parapet and counts the blue and then the red lights, after getting to the<br />
yellow ones, he jumps down, picks up the parts of his flesh that have come<br />
off and buries them under the doorstep, in the morning he drinks aperitif<br />
from a half-litre jar, etc. (Seiksts, Lukaševičs 1996: 22, 181).<br />
Quest for the New World actually turns out to be a cyclical journey<br />
leading in all directions and nowhere; the intersection of motion and stillness<br />
is symbolized by the bus-station as the central topos of the novel<br />
where the narrator with three other guys (who form the collective 1 st person<br />
‘we’ narrator) are hanging around boozing and watching people come<br />
and go. Their own position is rather Buddhist-like (thus introducing Buddhism<br />
and Daoism as significant intertexts of the novel):<br />
MYUSIM NIKAS NABEJA JUODORA, I VYSS PATS IZADAREJA<br />
MYUSU VĪTĀ. NIKUR NAGUOJOM, I VYSS ATGUOJA PATS. 49<br />
(Seiksts, Lukaševičs 1996: 8)<br />
VYSYS NALAIMIS NU TUO, KA PUORUOK DAUDZI GRIBI. A<br />
VYSS IR VIŅ TE I ITE, NAV VYS TĪ, KUR, KAI I CIK GRIBI, LAI<br />
BYUTU.<br />
TĪ, KUR MES ASAM, VYSS TYS JAU IR. I CYTIM IR. PI TUO, KA<br />
JIM KUO NAVĪN TRYUKST, VAINEIGI TIKAI JĪ POŠI. EISTINEIBĀ<br />
JIM TUO NIMOZ NAVAJAG. KA LABI PADŪMOJ. 50<br />
(Seiksts, Lukaševičs 1996: 100)<br />
49 ‘We had nothing to do and everything got to be done by itself for us. We went nowhere<br />
and everything came itself’ (here and henceforth translation mine — S. M.).<br />
50 ‘All misfortunes come of wishing too much. But all is just here and now, not there<br />
where you want it to be. Everything is where we are. And everyone else has it. If<br />
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