Imre Oravets is a Hungarian writer. He sings. Novelist. Translator. Author of works for children. With philological education. It is defined as the authority of the European literary scene. He spent his life as a teacher, secretary, general worker.

Briefly outlined, the author's biography contains tributes to multiple stories, with the same main 'character'. As a character, he would have acquired a finished look when considering his images and incarnations as parts of the whole, as touches drawn on a constantly complementing portrait. A similar, but still artistic, story is set out in September 1972 (Ergo Publishing House, 2012), translated by Martin Hristov.

Beyond the interpretive breaks of the biographical, the silhouette of Imre Oravets gradually becomes more dense in the contemporary Bulgarian literary context. After the poem in the prose "September 1972", poems of the Hungarian writer appeared in Bulgarian - poems from various books of his, including the latest - "The Dying Tree" (2015). Selected poems are featured in a book entitled "Adequate Day" (Ergo Publishing, 2016). Outside the context, September 1972 can be placed in classic works such as the genre, e.g. to the Baudelaire's and Turgene's poems in prose and why not to the Hellenic-Pelin's Black Roses.

The September 1972 preface outlines one of her readings. In the short preface, the author introduces us to the processes that took place in the creation of the works, and in particular - the hero, in distinguishing the writer from the creation, at the same time Oravets presents himself as a writer beyond biographical facts, at different levels of the text, presents us with poets who reflects, metaphorizes, models the non-verbal into verbal, fiction writers, interwoven the subjects and themes so as to crystallize their entirety, a translator who knows and relates to contemporary aesthetic searches, ilologa familiar with samples of world literature and so on. The book is not divided by novelist poet, philologist not put before the translator. In September 1972, they coexist in a dialectical manner, with different species and generic characteristics of the work. The book opposes the strict markers and signifiers, adopts, transforms, combines (in the genre) prose and poetry.

It is symptomatic that the character in the book recounts lives in summary, through situations developed on a textual level, returns to "other" times - times of love, times of separation, times-states - coming together in the different life roles that we find in the seeming approaches and distances from Imre Oravets's biography.

It should be noted that the author initially did not envision "September 1972" either as a poem or as a book. The works emerged as memories, lyrical fragments of a diary. Oravets does not comprehend their literary potential, accepts them as "unpretentious improvisations", "obscure pursuits", admits that they were not written to be collected in a book body.

The book is shaped and shaped gradually, and later, when the writer looks away from the works, already less emotionally engaged with the writing, he notes in them "structural flexibility and linguistic openness, capable of embodying elements of every order and significance." Facts have changed for this purpose, the protagonist and protagonist, with all their hypostasis, have been transformed, the closeness to the prototypes has been deleted, the plots have been adapted to turn the personal from the diary into the fiction from the poems into prose, to "recede" the voice. the author before the poem's symphony.

In the poem, as in the stream of consciousness, the boundaries of the moment, of the situation are determined by the monologue of the inner self, also found in a linguistic expression - in which the individual parts consist of one sentence (in the order of half or full page). It is not a monologue in the dramatic sense, but rather a specific speech that is reminiscent of the way the thought moves. In the hero's address to the woman, as concrete as he is in a collective image, the implied dialogue in the poem is also indicated. The poem's logical construction extends between an internal monologue and a seemingly imaginative oral utterance of the monologue to past love. The hero returns to his memories to rearrange them. The September 1972 is dominated by the chronology of memory - a chronology in which consciousness sets coordinates, shifts focus from one moment to another when the poetic maps the expanding, page after page, narrative unfolded in ephemeral spaces that enclose large temporalities cuts.

"I couldn't say it then, I still didn't have the words for it, I didn't have more than twenty-five years that have passed since then, and I, who have understood something since then, was missing, but now I can say it, for the first time in my life. I felt love for you… "

The themes and plots in the poem go one way in love during separation, on the path of falling in love after partitions, on separation after love, in cold intrusiveness and sharpness of absences, the heightened sense of emptiness in attempts at balance, in the specifics of the moment, reproduced in the moment. the impulses of memory, after the experience of the moment, the experience of fleeting sensations, to the comprehension of the memory derived from the ripple of everyday life.

"… The day is barely over, and I am already looking forward to the next one, a repetition of this down to the smallest detail, a worthy continuation of this profound and life-giving monotony."

At the level of the plot and at the level of the thematic circles, the hero tells a story, defines a topic, but at the same time remembers the previous meeting, the distant withdrawal from love, the other image of the woman, the forgotten correspondence, the contents of the letters, the past, the previous your being.

"In the beginning you came this or that, a letter or, less often, a postcard, sometimes a message of several pages, other times just a few lines… and I also answered, not everything and immediately, because I didn't want to shake the already shaken your faith that I can start over, if not what we started with you, then another, and that it makes sense, since the bells had not yet rung, nor had night fallen, and yet there was some continuity, like an underground river bubbling beneath the surface of my defeat… "

The topic changes. The story does not follow strictly constructed. Poetry rises above the plain narrative and sometimes "shrinks" the plot, takes over its functions. Emotion blurs the situation. The city is viewed as a place for man by the city as a state of man. The "environment" catalyzes the processes by which reality in reality takes its form, begins to exist in its own order. The space is deformed to the reproduction of thought in its course. Time breaks into timeless ranges.

"I live in another time, not in mine, not in yours, but in the time of someone else, of the one I could be…"

In September 1972, love becomes a biography of the character. Just as he talks about her, so does she (about) him, about all his possible lives. Its absence is reflected in its incompleteness. Until the absence passes in the illusory future and "There will be no past, no present, no sweetness, no sorrow, and you will have none, because I do not want to have you; there will only be a future, beautiful and merciless."

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