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Govedic Natasa. Beogradskoj trilogiji. Americi, drugi deo. Does evil \[ Is not evil analogous to illusion? When we are victims ofan illusion we do notfeel it to be an illusion but a reality. It is the same perhaps with evil. Evil when we are in Us power is not felt as evil but as a necessity, or even duty. Let us now explore now this anti-Kantian, in fact Nietzschean notion of 'duty as evil'. Can we relate it to duty to go to war? Duty to accept unjust laws? Duty to make profit? Or in fact, any kind of socially, economically and religiously imposed duty? In the course of the last century, the political violence and the media information about it has reached an unprecedentedly wide audience, and y et it seems that our only remaining 'duty' was simply to survive, not to understand or prevent the violence. Speaking of the twentieth century, we also talk about era of political antiradicalism that openly confesses its utter help- lessness. At the end of the s, Daniel Bell 's book The End of Ideology concludes that there is no radical, reformational political philosophy available, while Francis Fukuyama's The End ofHistory and the Last Man, published in , states that there are no political alternatives to Western liberalism. Of course, there are some exceptions, there are radical critics of the dominant ideology - Noam Chomsky cornes immediately to mind - but compared to mainstream ideology, Chomsky is a lonely and oftentimes censored voice. Even more problematic is the lost utopian potential of political theory, followed by the extinction of human faith in the practical possibility of just social change. Of course, nothing devastated it more than Nazism, the Holocaust, Soviet concentration camps, the nuclear genocide in Hiroshima, the American invasion of Vietnam, the political genocide in East Timor, genocide and human disaster in Rwanda, political atrocities in South Africa, the exodus of people in Kosovo or present-day Israeli- Palestinian wars, to name just a few centres of major political violence. Some scholars, like J. But let me express myself beyond academie vocabulary, more in tune with vocabulary of everyday existence: Where there is no trust in political processes, there is no chance that the participation of citizens will bring about any political changes. It would therefore be more accurate to discuss the end of social hope, but certainly not the end of ideology, since the aforementioned liberal ideology still functions as a perfect machine for the production of social powerlessness. Both of them are relatively young, in their thirties, and both of them write about apathy as the. Therefore I thought it might be interesting to compare their versions of ethical trauma, perhaps also keeping in mind the works of the British playwright Sarah Kane, who gives a rather aceurate report of our collective ethical trauma, which I will now quote in full, from her last play 4. What is trauma? We laugh at the truth of their utter passivity being just as rutile as ail of our frantic activity. This, of course, is a dark, dis- turbing laughter. But such laughter can rarely be found in contemporary plays, which are more prone to exploring psychosis, not the paradoxical 'calmness' of nihilism. The traumatic. The play unfolds through three stories about living abroad in Prague, Australia and Los Angeles , in which no emigrant escapes despair. Various characters are plagued by sexual dysfunction, general anhedonia, costant edginess and anger, dissolution of their relationships. Despite leaving their country of origin, no one manages to escape the terror of its political system. I think she is at her most interesting when portraying children as out of control 'mirrors' of their parent' s political trauma, as seen in Family Stories. I quote Bataille :. What kind of pleasures? Sade 's ibid. I would like. Crime is therefore set religiously: as an attempt to reach 'the absolute', because only the absolute can break total desensitization or apathy. They 'unplug' and participate in one's pain as if they are watching it happen to somebody else. Contrary to that, the therapeutic replaying of the scene of the crime gives them back their own integrity, or ability to react to abuse. In ail situations, Voj in is the oppressor such characterisation also points to the patriarchal distribution of power. In truth, Voj in just repeats the slogans of the totalitarian state or police officers. On one occasion, he makes his family chant in one voice: 'Don't trust anybody! Keep your ass to the wall! Man is an enemy to man! When Mom and Dad finally go to sleep, without paying any attention to their child Andrija, he sets them on fire, killing them in their sleep. The second story in the same play is about a child learning English because the whole family is planning to leave Serbia, but it is again the parents who are so desperately self-centred that they disrespect, belittle and insuit the child. This time the revenge comes in the form of shooting the parents while repeating the correctly memorized English word for the murder weapon: the gun. The third. Voj in is now a very rich car mechanic, who subjects his family wife and daughter, played by Andrija in a girl' s dress to starvation. For instance, in one scene of tormenting others by denying them food, Vojin brags: 'This is who I am. A true Serb. A true altruist. In the course of the scene, just before his death, Vojin admits that she might be pregnant with him. The mother, however, continues to play a distraught, 'grieving widow', until Andrija-the-girl cuts her throat. The first one seems to cite the movie Kids , dir. Andrija reaches the climax by singing a fascist song in praise of Chetnik victories at the top of his voice, and only then does he ask about the name of the girl with whom he has just had sex. The second narrative intermezzo in Family Stories features kids discussing their terrible dreams. In one of them, the Serbian boy Andrija is lost in Zagreb, and he is so afraid to ask for directions scared that someone might hurt him if he shows any sign of being a Serb , that he simply disappears into nothingness. This dream is an obvious critique of the military cult of male heroism. Milena dreams that everyone has abandoned her, that all the men had gone to war, and since she is very poor, in her dream she dies of loneliness and poverty. It is hard to comment on a situation so desperate and yet rendered in such sardonic terms. Again and again, people who do not die in war battles, die in the larger context of war trauma. This is perhaps the most violent part of the whole. Andrija kills his parents saying: There is no other way'. I understand this killing as powerrul political statement - if our parents' hatred cannot be stopped, we must break the connection with it. The problem, however, is that killing never stops killing, so violence obviously is not a real solution. Ethical trauma means that we must live with the terrible knowledge of human violation before us and inside us. This is almost unbearable. The whole ethics of the 20th century is written against this apathy, against the position of passive bystander, against doing nothing in the face of atrocities. But we still fail to bring aid. Shoshana Felman 13 has also noted that the 20th century is para- digmatic for its accumulative post-traumatic syndromes, and Robert Jay Lifton in Caruth points to apathy or numbing as the most characteristic reactions to the said traumatization. Lifton in Caruth points out that 'recovery from posttraumatic effects, or from survivor conflicts, cannot really occur until the traumatized self is reintegrated. They are people off whom we live not only economically, as is often the case, but psycho- logically. That is, we reassert our own vitality and symbolic immortality by denying them their right to live and by identifying them with the death taint, by designating them as victims. So we live off them. The Fall is a political allegory of fascism, the play about intellectuals who produce a mythology of hate and then seize power, but the very means of destruction in the. Historically, it is truly the bystanders who invented, supported and profited from fascist wars. He says: 'I only need to turn my back to you, mom, and you no longer exist. However, both in Family Stories and Supermarket, children do remain caught in parental violence. In both plays, folk legends work as mythical mechanism of war propaganda, fatherless sons are turned into objects of social disgust and then, because of their accumulated violence, targets of fear. The dogs bark like crazy. Or is it the howling of a wolf? And the graveyard imagery certainly haunts the plays of Ivana Sajko. Psychology of fear. Should we not adopt an attitude appropriate to the people going into the night? Two characters, The Baritone and the Tenor, are typical bystanders or false witnesses: they discuss new deaths in horrifie detail. This is Tenor speaking:. I noticed the man from the flat across the street giving me signais, waving his arms in panic. I looked beneath me. Water had reached the window sill. Though up close it didn't look like water, clear, transparent, drinking water from the tap, it was brownish, lukewarm, swampy The old man kept waving. Waiting for my reaction, I guess. I shrugged my shoulders, and he nodded like he was approving something, then I nodded and he spread his arms haplessly, and then we continued to look at each other understandingly. I heard him shout: It's damp. Yeah, yeah A piece of plastic floated under the window, probably from somebody's cupboard; plastic bags, Tupperware utensils, and colanders, I think, I don't know, I couldn't make myself put my hand into that. You continue to exist, though distant and hard to relate to. But we no longer exist as a connected pair or as linked cells in larger communal body. It is interesting that throughout the play Sajko identifies the position of a contemporary playwright and herself in particular with the position of the political terrorist, but she also claims that she, the playwright, is 'a coward', while terrorist is maybe insane, but also brave. Sajko herself admits to 'giving birth' to literary life of terrorist act; 'the worm' of the play. Shilla also learns she cannot go back to life and fulfil her need to exist as independent person, free of her former emotional obsession, but she does not want to stay in the realm of death either, now that she is completely disappointed and alone. Orange in the Clouds is probably the most mature of Sajko's plays because it stages the richest range of questions about helplessness and revolt. Needless to say, the play about love as misunderstanding and self-discovery as self-betrayal ends with Shilla sliding into apathy. Types of apathy. Sajko acts as a fearful accuser, yet unable to protest by any means other than violence. Emblematic of this is the scene with the girl Ana that ends The Belgrade Trilogy, simply crying alone in her room, while her house guests are having a New Year's party in the room next. In other words, the logic of capitalistic imperialism necessarily leads to exhaustion of resources and therefore becomes more and more self-destructive and suicidai. Against apathy. This position is politically extremely biased and in fact conservative, but might also be a deeper symptom of her prolonged political and ethical trauma. As Kirby Farrell 11 warns us, 'mentally, neurologically, the veteran is still at war, in a survival mode, unable to corne to terms with original horror. Politics produces constant traumatization that the culture cannot heal. The trauma on stage, as opposed to unarticulated trauma, certainly has the power to heal or at least a potential for it. But what about the audience? I can answer only for myself: the plays discussed make me worried, anxious, and sometimes very bitter. They are asking for change. Baltimore, John Hopkins University Press. University Press. Holocaust, London, Verso. Expectations, New York, W. Otvoreni kulturni forum, Cetinje. George A. Pane has, Wakefield - Rhode Island. It might be interest- ing to note that, according to daily newspaper Vjesnik Plan What is trauma? Simone Weil Let us now explore now this anti-Kantian, in fact Nietzschean notion of 'duty as evil'. This is Tenor speaking: I noticed the man from the flat across the street giving me signais, waving his arms in panic. Notes 1.

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