Autobiographicals and biographical discourse in Slavenka Drakulić's literary works : Holograms of fear and Frida's Bed

Odabranim književnim djelima Slavenke Drakulić, romanima Hologrami straha i Frida ili o boli, u ovom se radu pristupa kao djelima srodnoga (auto)biografskoga diskursa. S gledišta književnih teoretičara jasno je istaknuta mogućnost podudaranja i prožimanja autobiografskih elemenata u biografskoj prozi. Obzirom da spomenuta djela sadrže temeljne odrednice ,,ženskoga pisma“, u njihovoj se interpretaciji uzima u obzir i način konstruiranja navedene poetike, koja se odmicanjem od „velikih tema“ usmjerava prema intimističkim temama. Budući da je cilj ove poetike prikazati žensku intimu, ne čudi činjenica kako mnoge spisateljice posežu za autobiografskim elementima nastojeći što vjerodostojnije rekonstruirati određene emotivne situacije. U skladu s tim, Slavenka Drakulić kao narativni okvir postavlja (auto)biografiju, a zatim neprimjetno u (auto)biografski diskurs ugrađuje fikcionalne elemente. U svojim ženskim romanima bez ustručavanja progovara i o svojoj intimi, a posebice o fizičkoj boli i stanju straha. Rekonstruirajući traumu vlastite prošlosti u Hologramima straha Slavenka Drakulić uspijeva privatno iskustvo prikazati kao dio općega stanja, odnosno vlastitu bolest podići do univerzalne razine. S druge strane, pišući o slikarici Fridi Kahlo uspješno ugrađuje i dio sebe u rekonstrukciju njezina portreta, te se taj roman s pravom smatra pseudo(auto)biografijom.The paper explores chosen literary works Holograms of fear and Frida's Bed as a writings of related (auto)biographical discourse. From the point of view of literary theorists, there is the ability to match autobiographical elements within a biographical prose. The selected literary works contain the fundamental characteristics of the ,,woman's letter“ so it is necessary before analyzing the novels to take into consideration the method of constructing this poetics,which, by moving away from ,,great themes“, is directed towards intimate themes. The goal of this poetics is to show a woman's intimacy so many female writers use autobiographical elements to credibly reconstruct certain situations and portray emotions. According to this poetics, Drakulić sets (auto)biography as narrative framework, then in (auto)biographical discourse unnoticeably incorporates fictional elements. In her woman's novels, she talks about her intimacy without hesitation especially about the physical pain and the state of fear. Drakulić reconstructs her own trauma past in the Holograms of Fear, to show the private experience as a part of the general condition or to raise her own illness to the universal level. On the other hand she successfully incorporates part of herself in the reconstruction of Frida Khalo's potrait, so that is why this novel is rightly considered a pseudo(auto)biography