Vol. 10, No. 17, Summer 2013
Vol. 9, No. 16, Summer 2013
Vol. 8, No. 15, Winter 2011
Vol. 8, No. 14, Summer 2011
Vesna Oborina, Proljeće u srcu / Spring in the Heart; translation into English: Saša Važić; Belgrade: The Haiku Association of Serbia and Montenegro, 2013 (Beograd:Megraf); p. 78; 21 cm; ISBN 978-86-84813-17-8.
Zoran Raonić, Montenegro
Deep Insight into the Essence
With Vesna Oborina, spring is always present. Not only in a poem, but also in a story, image; she is not a physician only in her life but also in her art.
Oborina sees the world as it is. Hence – good. Beautiful. By no means as it is today in emotions of our people, especially of some people. Her youthful spirit and poem, haiku, is a winning combination at this time. Just the way we need them in these depressive times, we ourselves have made such. It is on us to fix them. And it is possible if “Spring is in the heart”.
An earthly image floating in the sky and the image of the sky that has descended on the earth, evoked by the poem as a kind of a magical ritual, and even bi-directionally: Floating clouds . . . / In a magical carriage, / my dreams, tells us Vesna to support this. It is possible to warm winter, not only spring, with one's full heart. Self-confident, the author firmly walks the ground, but she is in no time in the clouds, not to lose herself, but to bring a piece of sky to the earth, to share it with us.
In this manuscript there are some poems that are not the best by Vesna Oborina, that perhaps aren't even “real” haiku, but there are also ascents that lead not only to the best of the author, but also to those details that we place in our own memory. How not to take seriously if: Joined by fate, / a poet and the mountains- / on the way to eternity is a deep insight into the essence of the world, soil and sky, everything? So be it!
Vesna’s picturesque scenes, like old masters’ paintings, lead us into the well-known and new areas, not reproduced yet. Again, a great artist's though is in place - by which the reader should be surprised by something familiar.
This time the poet – haijin -- and watercolor painter – finds herself on the same task. On a project that has to be a success.
Even when varying familiar motifs, Oborina finds a way to be different, and again, by no means a repetition or replica. Which is the evidence of her mastery achieved in the creation of haiku poems, but also in observing the world around her. And this process is not the role of the poet, but in the function of life. Therefore – I live haiku and I write because I want to preserve some detail (moment) worth of attention for myself and others. So that a moment can last, a haiku moment in our short duration. A set of such moments we have to keep in a string as gems in a necklace, in order for them to have their way through life, a life that was given to us, for once. Or maybe not for once, all the same. Let's go on a trip. With Vesna or alone, but – let's go.
Milenko D. Ćirović Ljutički, Serbia
Haiku in the Heart
Here I am over the manuscript of the fourth book of haiku poetry by Vesna Obirina, Spring in the Heart.
Distinctive style, distinctive manuscript. It makes the poet unique and not emulous of models. The book's title contains its unstressed motto. In fact, it is not about spring - the season in the poet's heart (as is in the sequence of the same name), but about the heart in which a permanent spring is metaphorically shown. Spring for all times. Knowing that spring is the season when nature awakens as well as life in it, then it means that her heart is symbolically so big that there is always a place for the permanent spring in it, in which her - why her, and our – environment abides.
Her empathy in nature is depicted by the titles of the individual cycles: Spring in the Heart, The Sun in the Eyes, Autumnal Colors, Where the Sky Begins. These titles are not releant as either questions or answers, but simply as the poet's insight, the poet whose perception does not escape anything that is going on around her and what is natural, belonging to the same nature. With no need for questions and answers, but with the need for the experienced to be recorded and shared with others, just the way nature has shared it with her. Thus, a total interaction in which it is most natural to be natural.
Vesna's strong visual artistry is not surprising considering that she is also a painter. I dare say that a significant number of her haiku originated at the time when contours or final brush strokes emerged on her canvas placed on the easel. There is where her haiku emerged as a sketch of a haiku moment. Sometimes fully defined, sometimes needing polishing.
Haiku is poetry of the real (Jim Kacian) – therefore, of the experienced. That is what makes this form demanding, without phraseology or philosophy, and yet at the risk of slipping into banality. Vesna has mastered the art of “balancing” between these extremes. Sometimes at the cost of failing - at first glance - to reach the best.
The essence of haiku is to be sensual to the eye and to the ear. Vesna's haiku is characterized by uneven amplitudes - jumpiness in the rhythm and melody. This is what emanates from the emotional structure of her personality, which is characterized by dynamism, humanity, love of nature, restless spirit.
This is a collection of haiku poems that recommends itself.