Latgalistikys kongresu materiali, III. 2011. - Latvijas Universitāte

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ROMANS SUOCĀS AR EPIGRAFISKU EKSPOZICEJU — DOBYS
AINOVU, TRADICIONALI, TAITOD. 57 (Seiksts, Lukaševičs 1996: 3)
Such commentaries appear throughout the narration concerning the
development of its plot, the formation of characters, setting, the philosophy
and symbolism of the novel. The self-referential voice also tries to account
for the complex narrative structure as if making clear the rules of the
game in the narrattive:
I KAIDA NŪZEIME, KURS PERSONAŽS KOD RUNOJ, KAIDA TAM
NŪZEIME, NU PASTUOSTIT MAŅ, DURACENI? AK SIŽETS
SASAŠOTOJ TAI, KA NI VALNA NAVAR SAPRAST? NU PAPROSIT
ANDRAM PAR SIŽETU! VOI TAM MODŪNYS GLUPEIŠAM, KURŪ
JĪ AR STEPONU APDZIRDEJA PAGUOJUŠU VOSORU PI PYRMUOS
STACEJIS, VOI TAM SLEIKŪŅAM, KURŪ MES ĪRAUDZEJOM
KOUŠĀ PI MASLENĪKU DZARDAMI IZ PUSSOLYS VEINU,
NŪSABEIDOM, KA DAĪS SKAIDRUOTĪS AR KAIDIM NAVĪN
GLUPIM POLICISTIM I NŪBĀGOM. PIEČUOK JUO JAU TĪŅUOK
NABEJA. SKAIDRS NIULE? I TYS NIKUO, KA NAV SKAIDRS.
VALERJANAM TAIPOŠ NI JAU VYSS IR SAPRŪTAMS. JYS SĒD IZ
AUTOŪSTYS JUMTA I TĀLOJ DAO. VYSPUOR LĪK KILUNU IZ
VYSA. 58 (Seiksts, Lukaševičs 1996: 177)
Besides, the self-referential line is sustained in the narrative by the
repeated address to some goddess who may be perceived as an allusion to
Homer’s Muse, only instead of invoking her to sing in this case she is constantly
questioned as to the truthfulness of what is being presented by
asking, “VOI TO NĀ, DĪVESTE?“ 59
These comments and constant verifications of the truthfulness of narration
create an ironic effect and thus set a distance that has very important
aesthetic functions in the text. This ironic distance first of all puts to doubt
the very possibility of any plausible depiction of the complex world projected
out of characters and narrators’ acts, talks, thoughts, fantasies,
57 ‘The novel starts with an epigraphic exposition — a landscape, hence, in a traditional
way.’
58 ‘And what does it matter which character is speaking now or then, what does it
matter, tell me, you fools? You say, you can’t make a heck of the plot? Well, ask
andrs about the plot! Or that lunatic from madona whom he and stepons made drunk
last summer by the first station, or that drowned man whom we noticed while
drinking wine on the peninsula, we got scared that we’ll have to deal with some stupid
cops and ran away. Later he was no longer there. Is it clear now? And it doesn’t
matter if it’s not clear. Valerian does not understand everything either. He is sitting
on the bus station roof and acting dao. And generally not giving a damn.’
59 ‘Isn’t it so, goddess?’ Or: ‘Right, goddess?’