Detalji predmeta

• Stanje Nekorišćeno

The Damned Yard and Other Stories is a profound exploration of human suffering, memory and identity, set against the backdrop of the Balkans' tumultuous history, especially during the Ottoman period.

A recurring theme in these stories is the weight of history and how it shapes individual destinies. Andrić’s prose is elegant, often poetic, filled with vivid descriptions of landscapes and psychological insights into his characters' inner worlds, and marked by a blend of realism and allegory. Despite the bleakness of many of the stories, there is also a deep compassion for the human condition.

These are the short stories included:

"The Story of the Vizier's elephant": The story is an allegory about a vizier who brings an elephant to a small Bosnian town. At first, the townspeople are both amazed and fearful of the beast, which they have never seen before. However, over time, their fascination turns into frustration and anger as the elephant becomes a symbol of the vizier’s power and indifference toward their suffering. The town’s resources are drained to keep the elephant fed and housed, while the people receive no benefit from its presence. Eventually, the townspeople's patience runs out, and they find a way to rid themselves of the elephant. As such, the story is a critique of authoritarian rule and the arbitrariness of power which can still be found nowadays.

"The Bridge on the Žepa": The narrative centers on a bridge built across the Žepa River, commissioned by a Turkish vizier who hails from the area. After achieving great success in the Ottoman Empire, he returns to his homeland with a vision of leaving a lasting legacy. The bridge is a symbol of that legacy, bridging both literal and metaphorical divides in a region shaped by turbulent history and cultural intermingling. For the vizier, the bridge is a way to reconnect with his roots while demonstrating his accomplishments; however, its construction proves challenging, involving engineering feats and requiring skillful, resilient local labor.

"In the Guest House": Brother Marko, a simple-minded monk with a rustic background, struggles to fit into monastic life. Though often confused by religious dogma, he finds solace and a sense of connection with God while working on the monastery's land and tending to the animals and guests. His faith is severely tested when a dying Turkish man, abandoned by his companions, is left in his care. Driven by a desire to save the man's soul, Marko tries to offer him Christianity. In the Turk’s final act, he defiantly spits on the crucifix, leaving Marko furious and disheartened. Yet, Marko ultimately holds onto his belief in a compassionate God who embraces all sinners, regardless of their faith.

"Death in Sinan's Tekke": As Alidede, a wise, respected dervish, lies on his deathbed, people gather, expecting profound final words. But in his last moments, instead of praying, he recalls two unsettling encounters with women: discovering a drowned woman's body as a child, and, as a young monk, ignoring a woman desperately seeking refuge at the monastery. His final silent prayer reflects these memories, contrasting sharply with the serene wisdom the onlookers imagine. The story suggests that Alidede’s simple, devoted life allows him unique insight into life's fundamental forces, unhindered by worldly distractions.

"The Climbers": Set in the mountain town of Osatica during the period of Austrian rule in Bosnia, the story centers around the expansion of the local church. The main character, Lekso, achieves an extraordinary feat by climbing to the dome of the church. Yet, unless others confirm his accomplishment, it remains as if it never happened. The church soon becomes embroiled in a heresy trial as the entire town denies Lekso's deed to protect him. Through this, Andrić explores the notion that 'reality' is shaped by perception. Symbolic truths—expressed through legends, myths, or symbols like the climbing the dome—hold a deeper, more enduring significance than mere facts, which only gain validity when acknowledged by others.

"Letter from the Year 1920": A reflection on the nature in Bosnia with its potential for intercultural conflict, as an image of the human world where the basic conditions of existence can be seen in an extreme, raw form. The story revolves aroun two friends who briefly talk about leaving Bosnia temporarily or permanently due to the impact of WW1while on a train platform. Such brief conversation will be finalised through a letter explaining their reasons. The letter frequently references the widespread and deep-seated hatred which he describes as characterizing the atmosphere of Bosnian life.

"The house on its own" - An introduction: Nothing about this house is accidental: not its architecture, not its location, not its isolation. The architecture of the house is a blend of two cultures: on the inside, the architectural structure is Ottoman; on the outside, it is *švabska* (a pejorative term for "German" or "Austrian"). Thus, the house reflects the history of Bosnia, which, since 1463, was dominated by the Turks and, from 1878, by the Austro- Hungarian Empire, to which it was ceded at the Congress of Berlin "for occupation and administration."

"Alipasha": This one is another story about a Vizier; this time of Herzegovina around the year 1831. After clashing with his father, a notable captain from Stolac, Ali spent years in Turkey, returning home only after his father's death with considerable wealth. Soon after, he fought his brothers, especially Mehmed, for control in Herzegovina, which ultimately separated administratively from Bosnia. Ali acted as a powerful, shrewd leader, balancing tyranny with significant development projects: irrigation, planting, and construction of infrastructure like palaces, mosques, and trade exports with Austria. By 1850, as imperial forces sought to enforce new reforms, Ali—then elderly—was outmaneuvered, stripped of his title and property, publicly humiliated and eventually exiled to Asia, marking the end of his reign.

"A story": this short story explores the art of storytelling, the power of narrative, and the role of the storyteller in society. The tale revolves around a humble yet enigmatic storyteller (Ibrahim-Effendi Skaro) who captivates his listeners with tales that transport them beyond the ordinary. Andrić’s narrative reflects on the storyteller’s gift to connect deeply with people, helping them escape their hardships and everyday struggles by offering new worlds through his words.

"The Damned Yard": set against the last years of the Ottoman Empire, the story centers on Ćamil, a wealthy young man from Smyrna who becomes obsessed with the tragic history of Džem, the ill-fated brother of Sultan Bayezid from the 15th century. Ćamil identifies so deeply with Džem’s doomed fate, seeing himself as a victim of the state, that he is eventually imprisoned on suspicion of treason. In his cell in Istanbul, he recounts Džem’s story to Petar, a monk.