When talking about contemporary Macedonian literature, we are bound to mention the contemporary Macedonian language constituted in 1945. In a synchronic presentation of the Macedonian literature, it is important to point out that its history does not mechanically reduce the Macedonian literature to its achievements rendered in the contemporary language. It also takes into consideration its older accomplishments in different Macedonian dialects. This, as well as the particular historical context of the development of the Macedonian literature, extends the life of our -- for others perhaps objectively new -- literature.

Gane Todorovski
This relatively brief period of time resulted in the coexistence of writers of all generations, all with the vigour of their own individual creative vitality. New authors and works were appearing alongside the authorities of the contemporary Macedonian literature. We here mean authors such as Blaze Koneski, Slavko Janevski, Aco Sopov, Gane Todorovski, Mateja Matevski, Ante Popovski, Jovan Koteski, Vlada Urosevic, Petre M. Andreevski, Zivko Cingo, Mihail Rendzov, Radovan Pavlovski, Cedo Jakimoski, Bogomil Gjuzel, and others, already established with their works in this continuity.

Macedonian writers generally move into two directions: research within their own national tradition and exploring the world literary experiences as a result of their familiarity with the world literary movements.

At present, the most vital literary generation in Macedonia dictates a critical approach toward the traditional, essential literary values, including the folklore, the 19th century poets, Koco Racin, and even their own immediate predecessors. The revival of these values moves from defining them as an enhancing metatextual model to language experiments. The appreciation of folklore as an integral constituent of the tradition is apparent in the Macedonian literature. Blaze Koneski’s poetry, for instance, follows that course of recovering folk motifs in modern poetry.

The Macedonian writers' attitude toward the language does not seem to differ much from that of all other writers in the world who extract their speech from the general dialect of their national being, always striving to be new, different. This attitude has, in the course of the 50-year existence of the contemporary Macedonian language, included estrangement of the everyday language of communication, surpassing the original transparency of the poetical expression (Racin and post-Racin period, for instance), consciously obscuring interpretations resulting from a consciously broken syntax and observant acceptance of the modern which has been alive and present in the Macedonian literature since the 1950ies. Macedonian authors use the Church Slavonic language to add archaic quality to the literary expression for the purpose of innovation and effect easily infiltrated into the discourse of both poetry and prose through postmodern poetics.

Certain literary aspects, such as the formal aspect of poetry, the organisation of the verse, the stanza, do not have any rich sources of their own in the Macedonian literature from which they can further develop. In most cases, Macedonian poetry follows the generally inherited tradition of world poetry. Evidently, part of the Macedonian poetry is premeditated and with no stanzas, which is seen as part of the concept of liberty in modern lyrics. On the other hand, a large number of poets, acquainted with the foreign poets’ study of the form, introduce these models to the Macedonian poetry. For instance, the sonnet, the rondel, and other forms unfamiliar to the tradition in the national literature are being introduced to the Macedonian poetry as a result of contact with works of foreign poets. Some poets see this as a challenge and trial for their own talent. In a previously defined structure, Macedonian poets discipline the word and try to control it; this -- from one aspect -- is surely difficult. We say ‘from one aspect,’ because some Macedonian poets discard the sonnet as an anachronism and an unnecessary trap and fiercely debate against it in the name of the freedom of writing. On this occasion, we will refrain from commenting on either of the views. We will only say that, although with no history in our national tradition, the sonnet is revived and enhanced with distinctive polemics with the genre due to its origins in the world poetic tradition.

As far as graphic effects are concerned, Macedonian poets experiment with the visual effect of their poetry. Obviously, we cannot conceive these experiments as anachronism in relation to the world experiences in a particular literary age or poetics. Because of the nation’s historical and sociological delay in historical and other movements in the world, the Macedonian literature is trying to compensate for the stages it has missed. What might appear like deja vu is explained by the conscious choice of poets who, with their critical attitude, adopt the world tradition as their own creative heritage.

In a historical perspective, Macedonian writers do not normally belong to only one genre. In most cases, they also act as literary critics, essayists, linguists, theoreticians, publishers, and always enlighten their literary rumination. A number of literary manifestos appeared in the Macedonian literature of the 1960ies. In addition to the individual and group manifestos through which Macedonian poets expressed their preoccupation with poetry, non-poetic texts were employed enabling poets to return to their own former solutions and apply them to certain poetic issues.

Foreign poetic achievements reach the Macedonian poets in original or in translation made by the poets themselves to serve the needs of their colleagues and the Macedonian readers, in general.

Contemporary Macedonian literature is characterised by intensified erudition of its writers, who further develop their poetic activity with theoretical study of poetry. The metatextual procedure incorporates the general human knowledge and the accomplishments of the spirit. Aware of the merits achieved in the world literature, Macedonian authors participate with creations in their own language. Their restless curiosity, their dissatisfaction with the stillness of the previous poetic solution, their constant thirst for novelties and learning -- all this makes them self-aware, objectively liberates them from the complex and the meaningless labels attached by others about the ‘small’ language, the ‘small’ literature, and makes them natural participants in the world literature -- as downright Macedonians!

Excerpt of the opening speech at London Foyle's book fair (on behalf of Tabernakul Publishing House, Skopje) by Jadranka Vladova