Radost i tuga Samokovlijinih Jevreja

Abstract

Potomak serfadskih Jevreja, Isak Samokovlija, za dominantne likove svojih pripovijedaka uzimao je Jevreje bosanske kasabe. Gradeći svoje likove u psihološkoj prizmi, književnik je vješto opisivao ambijent svojih junaka. Na prostornom planu gradio je zgusnutu priču emotivno obojenu i sudbinski predodređenu. Gotovo sve njegove pripovijetke obiluju svijetom malovarošana, likova iz siromašnih prigradskih četvrti, onih koji su sitni trgovci ili su makar priželjkivali da mjesto nosača zamijene tezgom. Istovremeno, svi njegovi likovi bili su nesrećni na svoj način, ali ih lična nesreća nije sputavala da se makar jednim krajičkom duše ili uglom oka ne raduju ili nadaju. Na kontrastu ambijentalne bijede, duhovnog potonuća i djelića sreće, Samokovlija je stekao reputaciju jednog od najboljih bosanskohercegovačkih pisaca koji je Jevrejima iz Bosne i Hercegovine na teret života nakalemio mogućnost radovanja i nadanja. U vječnom perpetuum mobile njegovi likovi su neprikosnoveni tragači za srećom i radošću, i ta ih potraga opravdava u svijetu siromaštva čineći ih gordima, da se u datim momentima, makar na tren, pokušavaju izdići iznad okruženja, iznad svijeta kojem pripadaju, pa i iznad sebe samih. Netipično ružan umjetnički svijet, u momentu će se otvoriti u svijet dubine ljudske duše, skrivene ljupkosti kojoj nema mjesta u svakodnevici.

A writer and advocate of the disenfranchised, Samokovlija wrote about everything that made up their world of emotions: both sadness and pain, small joys and rare happy moments which filled the lives of his heroes, and to which he devotedly surrendered in the role of the mediator to the outside world. The characters are insulated, barely porous to external influences, and that is why he devoted himself to each destiny individually to show the essence of the Jewish soul. Samokovlija is not only a writer of sorrow and death, since together with his characters he knows how to laugh, illuminate a tired face with the rays of sunshine, and be filled with the quiet inner joy that secretly hides in the depths of every being. With the diversity of motifs, he created a universal world of literary reality. “His realism necessarily emerges from a correct, fair observation of the opposites of relations and events in human society and its economy” (Samokovlija 1946: 1-7). In that reality, in interpersonal relations, he pointed to evil, to misery, wanting to give his contribution to the understanding of actions caused by cause-and-effect factors. The world of his literary sufferers is made up of craftsmen and people who barely survive their hard work.