аЯрЁБс>ўџ TVўџџџSџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅС9 јП„;bjbj§Я§Я.^ŸЅŸЅ-џџџџџџl"ЄЄЄЄ А"[Жацццццццbdddddd 1€dБцццццdФ ццФ Ф Ф цъццbФ цbФ žФ bbцФ рrDcdоР"‚Єа šbb+0[bБj ZБbФ ""йA PORTRAIT OF ZVONIMIR BALOG Zvonimir Balog was born in 1932 in the small village of Sv.Petar vrstec in the north of Croatia.Having completed his college education in visual arts at the Teacher Training College in Zagreb he pursued different jobs: he was an art teacher, a painter, the editor of children's magazines.Finally, he dedicated his whole life to his greatest love – literary work, especially to literary activity dedicated to children and young people. He established himself with his collection of poems Nevidljiva Iva (The Invisible Iva; Zagreb, Mladost, 1970) and very soon became the leading children's poet of the seventies, although several good poets were active in that period. During this period he published the following collections of poems: Male pri e o velikim slovima (Little Stories about Big Letters; `kolska knjiga, 1970), 365 brae (365 Brothers, `kolska knjiga, 1972), `aaavi (The Silly, Naprijed, 1975), Pjesme sa alagom ili aumar nosi aumu na dlanu (Poems with Whipped Cream or the Forester Keeps the Forest in the Palm of his Hand, Školska knjiga, 1975), Zlatna nit (The Golden Thread, Mladost, 1978) and two collections of prose: Ja magarac (Me the Mule, Mladost, 1973) and Zeleni mravi (Green Ants, Naša djeca, 1977). As early as in his first book Nevidljiva Iva Balog is at his peak, and the book Ja magarac is on a level with it. Almost every poem or story in these books is of anthology value. The books ran through several editions and the author was awarded several highly regarded literary prizes. It is actually difficult to draw a precise line between stories and poems in Balog`s literary work since it comprises numerous atypical poems and atypical stories. Neither is he in his poems slave to the rules of traditional metre and rhyme nor is he in his stories slave to the rules of prose or narrative style. Both are based on the same style procedures typical of Balog, and, besides, some stories are in rhyme. Balog`s inspiration is deeply rooted in the language as a system and language game mainly replaces everything which is usually referred to as “motif”, “story-line” or “lyrical experience”. It is for this reason that many of his texts are difficult to translate into other languages. Balog materializes his poetic creative game as a language game with words (phonological, morphological, word-formational and graphic), a game with word meanings as well as with objects, with creatures, and both natural and social phenomena. What lies at the roots of his poetic creative game is a sense of humour as an immanent value of his human and poetical personality, a sense of the sound of words and rhythm, of new meanings and senses of words. Balog is the most inventive and most original creator of puns, ranging from the mere lexical tightrope walker to an original word artist whose art has its full sense and meaning. Looking for answers to what is going on in a child and his/her reality Balog plays himself, thus offering the child a game, tempting him/her and luring him/her into his world. Whereas a pun is the starting point in many of Balog`s texts, the method of structuring both poems and stories is nonsense logic. Starting from a pun Balog leads the reader like an illusionist into newly created worlds, unusual situations or into parodied conventional reality. When looking into Balog`s texts more carefully a systematic quality can be found usually not expected in nonsense writers. His whole game starts from the system (the language code or the code of behaviour of adults), he notices its functioning and then opposes it (mocks it, demystifies it) with an analogous or contrary system. The absurdities in his poems and fantastic stories do not create an incoherent mess, but a restructuring with a polyvalent possibility of meanings. Although what goes on is a destruction of language and a destruction of “normal” behaviour, this destruction is always accompanied by the creation of something new: new language forms, new rules of behaviour, new systems. The poems in the collections Male pri e o velikim slovima and 365 brae are somewhat different. These collections are of an educational character. They teach about letters and days in the guise of poetic and humorous literature. In the stories found in the book Zeleni mravi the author gets closer to the “real” story by replacing the language nonsensical game with a story line and a symbolic subtext. In this way he announces certain changes in his literary work, which can be observed in the following decades. Namely, in the eighties and nineties Balog still dominates the scene of Croatian children`s literature. He continues his poetics, created and established in the seventies, only to give a somewhat greater priority to humour, which is achieved by witty twists and unexpected changes, whereas poems based on the sole game with morphemes disappear. Balog publishes the following collections of poems: Kako sam doaao na svijet (How I Was Born, Novi Sad, irpanov, 1981), Jednod~eki Ok (One-Jacked Eye, Belgrade, Vuk Karad~i, 1981), Veseli zemljopis (Cheerful Geography, `kolska knjiga, 1983), Bijesne gliste (Shenanigans, Naaa djeca, 1989), Sto najzanimanja (The Top Hundred Professions, Mladost, 1990), Ljubav za po etnike (Love for Beginners, Mladost, 1991), Pusa od Krampusa (A Kiss Kuss from Krampus, Mladost, 1993) as well as some prose works: Bonton (Etiquette, Mladost, 1986), Bosonogi general (The Barefooted General, Mladost, 1993) and Bonton 2 (Etiquette 2, Znanje, 1995). The author introduces refreshment in terms of topics in his poetry with the collection Ljubav za po etnike in which, unlike other poets, he does not concentrate on the mental experiences of children when a new emotion is born, but he finds love and attraction between the sexes everywhere around him, including animals and objects, planets and atoms, and strives to emit sparks of humour by playing with associations and ideas. The collection Pusa od Krampusa gives a very bold interpretation of religious topics, whereas the poems from the collection Kako sam došao na svijet show that even totally non-poetic objects, such as a water tank, a funnel, a match-box, pipes, dustbins etc., can become poetic motifs. Each of his poems is a playful joke, but this time without disrupting the morphological and phonological rules. A similar situation can be found in the collection Bijesne HYPERLINK "\\\\\\\\\\\\\\\\\\\\\\\\bijesne"  gliste where the main inspiration to the poet are slimy, non-poetic animals and the metaphorical folk idiom related to them. The collection Veseli zemljopis is, in terms of topics and ideas, an extension to the above-mentioned collections with educational topics. By means of witty and amusing poems the author teaches children geography. Creative curiosity led Balog to the field of children’s education. He wrote two books in prose about etiquette (Bonton). Of course they do not deal with stereotyped preaching about conventional behaviour. Balog creates his own “educational methods”. It is an anti-etiquette at the service of etiquette. The lessons do not prescribe or enumerate rules of behaviour. On the contrary, they offer a cheerful kaleidoscope of inverse behaviour, often blown up out of proportion, which clearly shows how stupid and twisted the behaviour of egoists, ignoramuses, stupid persons… is. Since Balog’s shorter texts are not characterised by the presence of a story, but by lyricism, rhythm, associations of ideas and anecdotal features, which, at times, brings him closer to poetry, the appearance of the novel Bosonogi general was quite a surprise. As many writers before him Balog also felt the need to convert his childhood into literature. It is a very unusual autobiography in which Balog moves away considerably from the traditional structure of children’s fiction. The Croatian novel for children up to Balog has a pronounced adventure element which is either realistic and has a story line or is realistic-fantastic, including a group of children or an individual as the hero. Balog abandons these novelistic features. He writes anti-novels in which the story and the collective role of the children-characters are not predominant. What is important are lyricism, nonsensicalness and thoughtfulness as well as the individualized free action of the individual. In Bosonogi general we can find elements of diary, short story, fairy-tale and sketch. From the creative procedures typical of children’s fiction he retains action and humour. The main hero tells about his adventures and interesting situations and gives his opinions about events and people. Many adventures end with the author pondering about ethical and universal philosophical categories in life. Thus we can distinguish two levels in the novel. The first, which is, due to its action and adventure element attractive to children, and the second one, attractive to the adult reader because of its associative thoughtfulness and its critical attitude. The novel is filled with situational humour as well as word and game humour. And his humour is sometimes mild, sometimes sharp, sometimes crude, sometimes quiet and sometimes hilarious. For Balog humour becomes the main tool not only to make readers laugh but also to overcome the painful reality through which he expresses his discontent with the present situation and finds a sense in nonsense. The same applies to his latest novels Zeleni osmjeh (The Green Smile, Znanje, 2000) and Slone, volim te (Elephant, I Love You, Znanje, 2000). What characterizes his novels is nonsense und unexpectedness, with the aim to entertain the readers and make them laugh, but also to draw attention to all the paradoxical social and moral manifestations of the modern world thus expressing the writer’s humoristic-ironic attitude towards these manifestations. The appearance of Zvonimir Balog in Croatian children’s literature opened a new chapter. His poems marked a most radical break with the traditional language of children’s poetry and completely established a modern poetic expression mainly based on pun and humour. Indeed, pun and humour represent two constants by means of which Balog achieves identification with childhood. His unconventional relationship towards words is accompanied by an unconventional choice of motifs, by a tendency towards the bizarre and towards breaking the didacticism in children’s literature, towards rejecting the patterns of imposed ideas and feelings both in poetry and in prose. It is important to point out that Balog strongly influenced other writers with his literary work (especially in the field of poetry). As a result, today we speak about Balogian poets as well as about Balogian methods in writing. Dubravka Te~ak QUOTATIONS I do not write for children. I write for the child in myself. I let him play in the poem. I also write for all of them who rejoice at the game of a child. Zvonimir Balog, Pjesnikova rije ; Pljesak travi i zvijezdama (The Poet’s word; Applause to the Grass and the Stars, poems and stories, Školska knjiga, Zagreb, 1984, p.4) A book is a mirror which reflects our common face tormented by everyday life but also irradiated with hope and love. Without this mirror the world would be left without its true face. Zvonimir Balog, Knjiga je ukras ljudske povijesti, Dje ja knjiga u Hrvatskoj danas (A Book is an Ornament of Human History, Children s Books in Croatia Today, Hrvatski centar za dje ju knjigu, Zagreb, 1997) џ:АТ  X В E O ‘ › О Ъ   B M c d ц(2DТмж`zмўVrЖж4\ІЦ+2N^Œ”  X"h"Х"о" $$$>$?$A$H$Ю$о$& &З(Ч(Џ+П+э/њ/0/0z7–7ђ7j8$9:ˆ:‚;„;ћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓћѓчѓичѓћѓћѓћѓћѓћѓћѓћдбдћCJ6]j6U]mH sH j6U]mH sH 6]mH sH mH sH R:<я їнВ–%з'Š155 5 5"6$6&6(6>6@6B6x7z7h8i8j8#9$9‚;§§ї§§§§§§§§§§§§§§§§§§§ѕѕѕѕѕѕ„Ф`„Ф„;ў‚;„;§,1hА‚. 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