Tolstant nuo socialistinio realizmo: karas Alfonso Maldonio poezijoje

LTStraipsnyje analizuojama karo tema Alfonso Maldonio poezijoje. Maldoniui rūpėjo karo aukos, didvyriai jo nedomino. Antrojo pasaulinio karo tema leido poetui kritiškai pažvelgti į lietuvių nacionalinio charakterio stereotipus. Tipiškai sovietiškai, nužymėdamas kontrastą tarp karo metų tragedijos ir šviesios dabarties, Maldonis pradėjo ir svarbią jam Holokausto temą, tačiau vėliau jis kalbėjo apie užmarštį, o vėliausiuose, jau po mirties išspausdintuose eilėraščiuose – liko tik ironija ir sarkazmas, nes aukos ir tikroji istorijos tiesa niekam nerūpi. Karo temos Maldonio kūryboje evoliucija atspindi ne tik jo vieno poezijos raidą, bet ir kintančius tiesos pasakymo būdus ir galimybes sovietinėje poezijoje.

ENIn Alfonsas Maldonis’ debut collection of poetry, published in 1958, the most important or main ideologically marked theme was that of the war which also prevailed in the Soviet poetry of that time. He was particularly interested in the Soviet partisans, but not so much in their battles as their return home, and the death of their friends. It was the victims of war rather than its heroes who concerned Maldonis throughout. Some of his poems may be read in two ways: as representations of socialist realism or of universal human content, as they do not contain any specific signs of the epoch. The subject of World War II allows the poet to look critically at the stereotypes depicting Lithuanian national character. While at the beginning Maldonis also treated the theme of the Holocaust in the typically Soviet manner, concentrating on the areas of the city where the ghetto was the place of suffering, belonging to the past, but now overcome by present optimistic life, later the poet talked mainly about forgetting. In the latest poems published after his death, only irony and sarcasm remain because no one cares about the victims and the historical truth. Thus, the subject of war in Maldonis’ creative writing does not demonstrate just the evolution in his individual poetry, but reflects the changing modes of expressing historical truth and the related possibilities in Soviet poetry as a whole.