Introductory and Methodological Statements

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1 The Problem of Christian Images in Contemporary Lithuanian Poetry Radvyda Vaišvilaitė, LCC International University, Lithuania Abstract: An interdisciplinary study of literary works and a Christian perception of the world allow merging literary criticism and Christian studies. Both methodology questions and challenges appear in the essence of such study, which combines equally the criteria of literature and theology, of aesthetics and ethics. The importance and problem of Christian images in the text becomes significant, because it allows analyzing not only images themselves, but also emphasizes the specifics of their use, which opens the discourse of the perception of the world and the value structure seen in the text, of the relationship of contemporary subjects with specific values, and of the complications and the problems of that relationship. Most typical Christian images used in the poetry of three contemporary, well known Lithuanian poets Sigitas Parulskis, Aidas Marčėnas and Gintaras Grajauskas are gathered, analyzed and described. The use of Christian images in poetic texts hovers between a traditional understanding of Christianity and its images and questioning that traditional understanding. Keywords: Lithuanian poetry, Christian images, interdisciplinary study. Introductory and Methodological Statements The methodology of this research lies in the interdisciplinary study of literary works and a Christian perception of the world. An interdisciplinary point of view allows merging literary criticism and Christian studies. Both the questions and challenges appear simultaneously in the core of this interdisciplinary study, combining the criteria of literature and theology, of aesthetics and ethics equally in evaluating the texts of literature. This challenge is the impetus for the main task in this work: balancing appropriately between theological and aesthetical values. Literature can be seen as a reflection of processes that are important and take place in society. The literary text can represent values and an understanding of the world characteristic to one or another part of the society. The concrete nature of literary work can (and does) represent the universalities that are important in society, reflected in its culture and life. Because literary works have aesthetic and/or ethical value, they are a critical issue of consideration. Poetry can be seen as a creation where the essential and deepest problems, the deepest understanding of the world can be represented. In literature it is possible to see and to recognize these deepest questions, deepest moods and deepest understandings of contemporary subjects expressed metaphorically and artistically.

2 The interdisciplinary point of view, for the analysis of literature from the perspective of a Christian world view, is based on its interest in the metaphoric, symbolic and image-based language of literature, which expresses the deepest existential questions and transcendental dimensions of human essence. The importance and problem of Christian images in the text becomes significant because it allows analyzing not only images themselves, but also emphasizes the specifics of their use. The images, their frequency, the contexts and the situations in which they are used, opens a discourse on the perception of the world and the value structure seen in the text, the relationship of contemporary subjects with specific values, the complications and problems of that relationship. The work is seen as the representation of common experience that is expressed in the artistic form and it shows the values of one or another group of society and the relationship of the contemporary subject with religious tradition. Even though contemporary poets feel a longing for moral or absolute value they don t necessarily tie themselves to a particular religious tradition. As secular poets this tension between faith and non-belief creates a rhetorical space for variations and raises many questions about their use of Christian images in their poetry. This article is based on the poetry of three contemporary, well known Lithuanian poets: Sigitas Parulskis (1990, 1994, 1998, 2004, 2009), Aidas Marčėnas (1988, 1991, 1993, 1994, 1998, 2001, 2005, 2008) and Gintaras Grajauskas (1993, 1996, 1997, 1999, 2004, 2008). All three poets started to publish and firmly established themselves as part of contemporary Lithuanian culture after Lithuania regained its independence from the Soviet Union. Wile A. Marčėnas faithfully maintained his poetic identity, S. Parulskis and G. Grajauskas tried out other genres novels and dramas. All of the poets also published books of essays; their articles, interviews and comments constantly appear in periodicals and newspapers. But the most important reason of looking at the poetry of these poets is their particular writing style and possible variations of the usage of Christian images. Christian images used in the poetry of these poets are gathered, analyzed and described. The use of Christian images in poetic texts hovers between a traditional understanding of Christianity and its images and questioning that traditional understanding. The inclusion of traditional Christian images and the way those images are presented and described in poetry represents the deep conflict of values and value systems that can be recognized as common to national Lithuanian identity. Christian images are the ones that can be directly connected with the Christian tradition and Christian culture: the Bible, church and its history, practices and signs of cultural heritage. Reading the poetry initial questions are: Are there any Christian images in the poetic text? What Christian images are used in the text and how are those images used. And the last question would be: What are those images and how are they used and what does that indicate about literature and the relationship of literature and the Christian perception of the world?

3 One of the examples of Christian images used in contemporary Lithuanian poetry is a poem by G. Grajauskas Before Crucifixion There Was a Murmur (Prieš nukryžiavimą buvo murmėjimas, Grajauskas, 2008, 9 10) : oh, that Christ. Earlier, by the way, he talked quit well, but now in his late adulthood he degenerated totally. he does not care about us anymore. Earlier he changed water to wine, true. But he became stubborn, he does not change it anymore. he does not communicate. He wanders around Gethsemane and is quiet, only God knows what he is thinking. Yesterday he offended righteous Peter. The sacrifice coffer is empty. Disciples desert in cohorts. It is very interesting with whom is he going to build that church? we believed in him. But who could have imagined at that time that this will happen. Like yesterday: he changed our wine to water and laughed. and what a man he was. What a passionate orator he was. I tell you, he had the ability to resurrect from the dead. it is scary to look he himself feels everything, he is not stupid. I think, my dear friends, it is our sacred duty to help that man. The poet uses Christian images and the figure of Christ in his poem. Events that are described in the New Testament are recognizable in the text: water changing in to wine the wedding in Cana, prayer in the garden of Gethsemane, words to Peter before the arrest, the intention to build the church, the gift of the orator, the ability to resurrect from dead. But the way this image is presented is individualistic and possible (probably) only in literary work, quiet different from a theological interpretation. In the poem there is a contrast between Christ in the past and the Christ of the present (time of the poem). The persona of the poem indicates a regression or degeneration of the actions of Christ (almost going back and undoing his own works). And what is most interesting is that at the end the persona is invited to help Christ involving human action. The Two poems by G. Grajauskas cited in the article Before Crucifixion There Was a Murmur and Already I Have Everything are translated by Simona Ubartaitė, a student of LCC International University. All other cited texts were translated by the author of this article Radvyda Vaišvilaitė.

4 poem might be read as an ironic use of Christian images, and the Christian images used in the contemporary poem contradict and show the regression of their significance, nevertheless the main idea of the poem, presenting Christ in the poem as being absolutely different and not understood even by his own disciples, follows the Christian tradition: the Messiah is not the powerful and triumphant but lonely, misunderstood and abandoned. Christ was not recognized as a Son of God till the end of fulfilling his mission. Gintaras Grajauskas: Christian Images in the Contemporary Context of Ordinary Life G. Grajauskas poetic voice is one of the most novel in Lithuanian poetry, not following any of the previous literary traditions very much. As a professional jazz player he improvises with words, meanings and poetry itself. Because of deliberate openness, his poetry seems to be understandable, attractive, but also thrilling, giving shock and opening another point of view. His poetic voice is full of ordinary life situations, details and language that at the same time, speaks and questions problematic human existence in a particular way. The persona of G. Grajauskas poetry is open and simple. He doesn t try to hide under complicated metaphors, symbols or phrases. His poetic language is sometimes very simple, with ordinary phrases and words. G. Grajauskas uses Christian images in a very random and unusual way. Those images can be recognized only by precise and very accurate readings. G. Grajauskas in his poetry is using more descriptive than metaphoric language; his poetry is like a list of contemporary objects, suddenly filled with cultural, historical or existential meaning. In his poetry many characters and people from the Bible and the Christian tradition appear. The understanding of self as prophet is seen in the poem Today I am strong where the persona of the poem is thinking about his own essence, understands himself as a prophet, as an imposter, and as insane at the same time. But the end of the poem emphasizes the contradiction between the subject and the rest of society. The insanity is attributed more to everybody else, but not to the persona itself (Šiandien aš stiprus, Grajauskas, 1993, 15). The persona in Pilgrim does not appear as lonely, but as the one who does not have anyone to whom he can leave his songs, and at the same time is tired from an insane desire to live (Piligrimas, Grajauskas, 1993, 36). The image of the prodigal son appears in an ordinary situation at the same time reflecting the meaning of poetic writing (Sūnaus palaidūno sugrįžimas, Grajauskas, 1993, 109). A provoking image of a saint is found in a very sensual poem Temptation of St. Antonio, describing the mirage of love that St. Antonio experienced without water and food on his thirty ninth day in the desert (Šv. Antano gundymai, Grajauskas, 1999, 18). Noah is mentioned in several of the poems of G. Grajauskas. In the poem This city is seen the city, where Noah was born and sometimes he is still standing near the Zoo. This is the same city where the eyes of the persona always looks at the drain spouts with fear (Šitas miestas jame, Grajauskas, 1993, 50). The ark of Noah indicates a moment in the history of civilization, a benchmark of rationalization, because meaning is / melancholic little animal / that didn t go into the ark of Noah / slept through the big flood / and Newton with Galileo (Yra prasmė, Grajauskas, 1996, 21). In the poem XV of the cycle of poetry Poems of a woven chair Noah is

5 given the power not to save, but to create and recreate the creatures, genders, and structures, but ends up being obsessed by insanity / he started to create an island / on the top of mountain (Pintos kėdės eilėraščiai, Grajauskas, 1997, 91). Even the image of Christ is transformed and subverted in G. Grajauskas s poem. In the poem II of the cycle Poems of a woven chair Christ appears like a boy: he was a little boy / with the stigmatic palms / a crown of thorn / grew roots / into his head // he was a little boy / he used to cry in the darkness / and used to say father / why did you abandon me (Pintos kėdės eilėraščiai, Grajauskas, 1997, 78). The image of Christ who also belongs to the tradition of an older generation in the old lady s home, where everything smells and has the smell of things that are old and used, the picture of Christ is colored with markers: his cheeks are painted red, red blood falling under the crown of thorns, blue eyes (Pauostyk, Grajauskas, 2004, 93). The most grotesque image of Christ appears in the poem Carnival, where Jesus is participating in the Carnival together with other figures such as Robinson (Crusoe), the hunter of the mountains, a monument, a peasant, Nabokov an absolute grotesque and really carnival-like situation, where everybody changes roles and become equally valuable (or devalued) (Karnavalas, Grajauskas, 2004, 58). The poem Second coming could be read in the light of Christian images. There he is coming to the world as a hero, respected and greeted by the contemporary crowd, provided with a wonderful carriage, surrounded by the crowd of people, greeted by the discharge of solders, welcomed by the simple people and governors that were gathering for the last meeting. The image of the Second coming is ironic and sarcastic, full of modern realities and contemporary objects, but there are two dramatic moments that raise questions and make the poem existentionally important the embarrassed smile of the one who came, and the palpable feeling of the crowd full of fear and spite (Antrasis atėjimas, Grajauskas, 1999, 100). G. Grajauskas uses the image of Messiah in very unexpected and contradictory way. Messiah is a prisoner (in slang called zekas) with a bandage on his face and a sense of disappointment, emptiness, nothingness (Mesijas, Grajauskas, 1997, 20 21). And this sense of emptiness becomes very strong and is characteristic of all the poetry of G. Grajauskas. The essential feeling of the persona is that the era of messiahs has come to an end, / and they say that God has died (Apie ką tu su jais kalbėsi, Grajauskas, 1993, 52). This emptiness and the sense of difference of the past and present continues in the poem In the Attics of Village Churches where a young man is wandering in the church and sees the emptiness, dust that covers the old statues of saints, now without color, without noses and hands, Virgin Mary is without the child Jesus, who is probably crawling in some abandoned place, saints without names, just put together in a stack. Christian images these objects are described as old, covered with dust, broken, covered with spider webs, but the way they are presented there is a feeling of a glorious past, when colors were bright and clear. Christian images are used in the contrast between past and present, between a colorful and alive past, and a dusty and stagnant present. The persona of the poem is a boy helping the master of the organ to make them play. And he feels a deep sense that something is lacking, that there should be something more, he is looking for something and at the same time insisting that there is nothing to fear, nothing to be frightened of (Kaimo bažnyčių palėpėse, Grajauskas, 1999, 11 12). This poem represents the

6 existential situation of the contemporary subject signs of a religion that was glorious in the past, shows that it is abandoned now, but inside there is a feeling that something is lacking. The phenomenon of faith is a huge mystery to the rational contemporary subject because more frightening is not the Job from the Bible, but a silent Job, who knew that everything that was given, will be taken from him and that God will turn away from him (Nutylėtasis Jobas, Grajauskas, 2008, 92). Christian images in the poetry of G. Grajauskas are used in ordinary situations of modern life. Hooligans can be recognized as apostles, when the whole poem is as a description of a bad accident. The hooligans are described as ordinary jobless people, protesting, dissatisfied people without any particular characteristic, but in the end of the poem they can be recognized as apostles: they say there are more of them / we saw only two / out of twelve (Chuliganai, Grajauskas, 1997, 15 16). A rock group going to a concert is like apostles of low frequencies going to the last crusade, ready to fight and confront modern specialists of MTV (Paskutinis kryžiaus žygis. 1995, Grajauskas, 1999, 37 38). Simon Stylite is sitting on a pole of high voltage and reading books (Simonas stulpininkas, Grajauskas, 2008, 91). Paradoxically a painter of icons, who was preparing all his life, fasting and praying, after painting the main icon of his life icon of Madonna, is arrested by the police for distributing pornography (Ikonų tapytojas, Grajauskas, 2008, 20 21). In the poem Satan confesses Satan takes images of different groups of people seen in the contemporary world: Satan is goth, punk, emo, but not the Satanist; sometimes he has a classic look with a smoking and white shirt, sometimes he puts on his glasses and writes a poem about himself, because Satan is like a person but damn lonely (Šėtonas prisipažįsta, Grajauskas, 2008, 50 52). Christian images vary a great deal in the poetry of G. Grajauskas; they are used in unusual, very often ordinary or carnival situations, where there is no difference between the ordinary life and sacred moments. The way Christian images are used illustrates their marginality (old, destroyed, denied), but at the same time they present questions is the transcendental reality empty? Is it really true that there is nothing else? Sigitas Parulskis: The Christian Image as Sacredly Profane or Profanely Sacred S. Prulskis poetry is distinguished by an exceptionally sarcastic style, a chaotic and upsidedown worldview, and an obvious theme of death, a folkloric-agricultural tradition and a baldly realistic view of ordinary life. S. Parulskis breaks into poetry with sarcastic, realistic, and even naturalistic language. S. Parulskis speaks openly about the ugly, unpleasant, and odiferous. He changes and almost overturns the hierarchy of the world and of people s understanding of the world. In his poems there are no strict limits between earth and sky, between ugly and beautiful, between sacrum and profanum, between life and death. This consciously-created, naturalistic chaos opens and leads the reader to look for something more, and urges to question the reality. S. Parulskis uses Christian images very often in relation to agricultural tradition where sacrum and profanum sacred and ordinary life are closely connected.

7 Christian images come from childhood as part of a child s memory. In the poem Secret the father is growing up a church like some very secret and special job, repeating secret rituals and movements. The disappearance of the father indicates that redemption is no longer possible (Paslaptis, Parulskis, 1990, 7). In general, in the poetry of S. Parulskis, the image of the father is connected with an understanding of God and other Christian images. In Fragments of the myth of the beginning the persona is like a little child trying to learn prayers from the catechism / of strange eternity. The poem is full of the contrasting imagery of the inside of a house, where the child has to sit and learn, which is old, full of flies, dark light, with the outside where the forces of nature show their power (Pradžios mito nuolaužos, Parulskis, 1990, 14). Images of saints (Nuojauta, Parulskis, 1990, 21), paintings of grey martyrs, a rosary falling like drops of blood, Holy Communion (Tyla, Parulskis, 1990, 55), a cross outside the house (Kelias pro namus, Parulskis, 1990, 24), ladies leaving church (Prisikėlimas, Parulskis, 1990, 33) are a natural part of ordinary life, images of home, and elements of village life. The realities of a young man serving as a soldier explodes with the contrast of the reality of a physically complicated life and poetry. The poetry of a line of soldiers is the poem about a missionary carrying the Bible (Kareivių rikiuotės poezija, Parulskis, 1990, 88). In the poem March Satan unexpectedly appears, memories of Christmas and mother celebrating Christmas Eve, the Bible is mentioned among other books and everyday objects, physical exercise is associated with participation in religious feasts and processions in the churchyard (Maršas, Parulskis, 1990, 90 96). Saint Peter converts to Piotr (ironically used Slavic version of the name), but is not converted to the Rock (Baladė apie ilgesio troškulį, Parulskis, 1990, ). Christian images in an ordinary, agricultural reality appear in the middle of common everyday works. A field of beets converts to an altar and candles (Žemė švari, Parulskis, 1994, 13 14). Cleaning ashes from the oven and a nail found among them associates with the suffering of Christ, were the persona suddenly understands that this suffering is giving him warmth (Pervertas rytas, Parulskis, 1994, 49). Cutting limber is associated with the Holy Mass, ordinary people, family members turn into saints and this in turn becomes a sacred moment the ascension of the persona and everyone in the poem to heaven (Ledo laikas, Parulskis, 1994, 56). Christian images appear in the contemporary city, where churches and mention of the holy woman (a reference to the Virgin Mary) do not wash away the sense of guilt, and the experience of suffering (Vartai, Parulskis, 1990, 56). The same feeling continues in the poem Cain where Cain is lost in the middle of the city, between the realities of a contemporary city looking for the chance to wash away the blood of his brother from his hands. For the Cain of the contemporary world, the chance to forget is to pour red wine on himself because in this way nobody will recognize him (Kainas, Parulskis, 1990, 66). The reality of the contemporary world is mixed with Christian images and creates a sense of abandonment: a herd without a shepherd, everyday bread turning into petroleum, thin crosses of the antennas on the roof not receiving the signals of Lord s voice (Kelionė smėlio pakraščiu, poem I, Parulskis, 1990, 73 74). The Holy Family is portrayed as the participants of a typical song festival, between half-empty bottles of beer. Saint Joseph is characterized as a conductor, the Virgin Mary as a woman with hands tired from work (Iki Kristaus, Parulskis, 1990, 97)

8 One of the interesting examples of the use of religious images is the poem It is Possible to Write a Poem (Galima būtų parašyti eilėraštį, Parulskis, 1990, 67). In this poem a contradiction between pre-christian religion and its symbol the oak and the Christian church play a crucial role in representing different ideas and opposite points of view: it is possible to write a poem about an oak which grew near the church his roots like chains would lock the stones of the foundation of the temple and during a strong wind the giant would demolish the church the critic probably would see the victory of paganism against the home of the Christian God the priests from the pulpits would condemn such a text atheists with the education of an ethnic background would rub their hands with joy but most likely nothing like this would happen only in the convulsions of ruins with the fragments of an altar and collapsed crosses from an oak in the churchyard in the football yard The poem represents an important idea of S. Parulskis poetry the contemporary subject lives not between the contradiction of Christian or pre-christian religions, not even a contradiction between different beliefs. A contemporary subject lives in a reality of non-belief, where signs of any religion disappear in the profane reality of the contemporary world. Aidas Marčėnas: The Personalization of Christian Images and the Creative Power Although there is a constant cultural dialog between S. Parulskis and A. Marčėnas, their poetic style and language are quite different. A. Marčėnas follows the classic tradition of lyrics. He does not intend to break that tradition, but to adhere to or recreate it in his own words and images. Furthermore, by recreating tradition, he finds his particular way to play with the language and the meaning of life, and creation itself. A. Marčėnas follows the lyric tradition of Lithuanian poetry.

9 He plays, recreates classical, romantic images, metaphors, and symbols, but inserts his own understanding. A. Marčėnas poetry differs from other contemporary poets not only in classical forms and images, but also in a very personal and intimate voice. In almost all of his poems the persona speaks very personally in the first person. This makes the poem personal, intimate, and subtle; it reflects the existentional situation of a persona in a constantly moving and changing life. A. Marčėnas recreates and personalizes Biblical situations. Eve (pani Ieva) appears in a modern city expelled from Paradise and wandering in today s realities, but at the same time, such an image makes the persona of the poem doubt the real meaning of the first sin and the last judgment (Žemyn, Marčėnas, 1988, 28). The image of Judas is seen in the poetry of A. Marčėnas, where the persona repeats the actions of Judas and experiences the same feeling of guilt. In the poem The Death of Judas Judas is touched and filled with the mercy of God still feels emptiness and pain, and realizes, that in his heart there is no Kingdom of God (Judo mirtis, Marčėnas, 1991, 40). The theme of Judas betrayal of Jesus continues in another poem where paradoxically, a person who proclaimed the existence of God became a trader to whom was paid 30 coins with the image of a Tyrant on them (Tirono mirtis, Marčėnas, 1991, 39). In the literary text, the situation of the Bible is not directly quoted but it is recreated, the betrayal is reviled, presenting it as personal tragedy of the persona of the poem. The same subjective situation and a personal contact with the events of the Bible is created in the poem Supper depicting the last supper of Jesus Christ and his disciples. The poet, a creative person, is the one who is recreating the situation and at the same time lives in the situation of Jesus and of Judas, as if writing poetry can provide the opportunity to live every experience from an individual, interior, and subjective perspective (Vakarienė, Marčėnas, 1991, 91). In the poetry of A. Marčėnas the situation of reflecting the process of writing is very typical. That is why he often chooses situations of the Bible that can help reflect this essence of the creative person. In the poem The Healing of the Deaf the persona of the poem decides to test Jesus Christ s abilities to heal, but that testing is more related to making fun of Jesus. The persona pretends that he is deaf-and-dumb. And Jesus follows the rules of the game and heals the persona. And at the moment, when he wants to laugh at Jesus, he himself is surprised and shocked by what he is hearing and saying, because he feels that he speaks like a child, saying his first words (Nebylio išgydymas, Marčėnas, 1993, 18). Images of the Bible appear in the poetry of A. Marčėnas as images of a night-dream or images that open another transcendental reality in the moment between the reality and a dream. In the Bible mentioned sisters Martha and Mary are seen taking care of their guest (Nemiga, Marčėnas, 1998, 92). On another occasion A. Marčėnas depicts an image of the garden where the first sin becomes the expression of love to God (Sapnas, Marčėnas, 1991, 176). While waking from a dream, the persona names some of the Ten Commandments of God (Tyla ir sapnas, Marčėnas, 1988, 106). These are only some of the images that appear in the poetry when realities, both physical and transcendental are intertwined.

10 The garden is also an important image as a reflection of sin and the sense of guilt. It introduces the paradigm of person-creator and God-Creator who are united by the same ability to create and paradoxically to have power over their creation (Sapnas, Marčėnas, 1991, 176). The image of the garden that falls in the same semantic meaning as Paradise, and in the ironic mood of a poetic game, questions the creation and the trivial essence of human nature (Adomas slėpėsi krūmuose, Marčėnas, 1998, 97). The garden is seen as something that exists in every person and we all are expelled from it to live (Sodas kuris yra, Marčėnas, 1988, 105). The garden appears as an image of the poet s creative ability (Poeto sodas, Marčėnas, 1998, 164). Creation is a very important paradigm in the poetry of A. Marčėnas. Creation is understood as something that unites the whole existence of a person, his secrets, the meaning of his life, and at the same time the action of creating creates meaning for the Creator. The creative experience is not only a relationship with Christian images, but an indicator of the deep relationship of the persona with religious experience. Poetry is understood as the condition for existence not only of any images, or Christian images, but for existence in general. In the poem If poetry will die the poetry itself and the creative action is seen as a foundation for transcendental experience, for religious images and for the existence of God (Jei mirs poezija, Marčėnas, 1991, 16 17): temples will abandon their believers and the word of prayer will turn to stone in the lips of the last saint if poetry will die wine will turn to water and never water into wine if poetry will die that will be a sign that there is no God a sign that there will never be final judgment Conclusion Christian images used in the poetry of G. Grajauskas, S. Parulskis and A. Marčėnas represent a great variety of Biblical images, signs of Christian tradition and the heritage of Christian practices. At the same time, those images do not illustrate and precisely follow the Bible or primarily Christian sources. They are used in a particularly questioning way and interpreted freely. On the other hand, such free and sometimes even drastic interpretations indicate a longing for religious experience, and raise existentional questions. Christian images used in the poetry give an opportunity and at the same time a literary form for moral, existentional and transcendental questions. Such use of Christian images represents the state of the contemporary subject which can be summarized and recognized in one of the poems of G. Grajauskas Already I Have Everything (Jau viską turiu, Grajauskas, 2008, 89 90):

11 Already I have everything. Respect of the people. Contempt, love and hate of the people. Cruelty of the people. Forgiveness. Sacred joy, demonic despair. Already I have everything. Painful insights. Blessed blindness. Damnation and comfort, grateful generations of descendants, silent compassion of relatives. Already I have everything. What was promised and what I could not even expected. I have some words About myself, those are: decisively, unmercifully. Hopelessly. Already I have everything. Those who are alive and dead. Those who love, who stopped loving. Those who trust, who don t trust any more. Wanderers, who sit and lament. Already I have everything, now only God Already I have everything, now only God Already I have everything, now only God Can save me. References Grajauskas, G. (1993). Tatuiruotė, Vilnius: Vaga. Grajauskas, G. (1996). Atsiskyrėlio atostogos, Vilnius: Lietuvos rašytojų sąjungos leidykla. Grajauskas, G. (1997). Katalogas, Vilnius: Vaga. Grajauskas, G. (1999). Kaulinė dūdelė, Vilnius: Vaga. Grajauskas, G. (2004). Naujausių laikų istorija: vadovėlis pradedantiesiems, Vilnius: Lietuvos rašytojų sąjungos leidykla. Grajauskas, G. (2008). Eilėraščiai savo kailiu, Vilnius: Lietuvos rašytojų sąjungos leidykla. Marčėnas, A. (1988). Šulinys, Vilnius: Lietuvos rašytojų sąjungos leidykla. Marčėnas, A. (1991). Angelas, Vilnius: Vaga. Marčėnas, A. (1993). Dulkės, Vilnius: Lietuvos rašytojų sąjungos leidykla. Marčėnas, A. (1994). Metai be žiogo, Vilnius: Regnum. Marčėnas, A. (1998). Vargšas Jorikas, Vilnius: Vaga. Marčėnas, A. (2001). Dėvėti, Vilnius: Lietuvos rašytojų sąjungos leidykla. Marčėnas, A. (2005). Pasauliai, Vilnius: Lietuvos rašytojų sąjungos leidykla. Marčėnas, A. (2008). Šokiai, Vilnius: Lietuvos rašytojų sąjungos leidykla.

12 Parulskis, S. (1990). Iš ilgesio visa tai, Vilnius: Vaga. Parulskis, S. (1994). Mirusiųjų, Vilnius: Baltos lankos. Parulskis, S. (1998). Mortui sepulti sint, Vilnius: Baltos lankos. Parulskis, S. (2004). Marmurinis šuo: rinktinė, Vilnius: Baltos lankos. Prsulskis, S. (2009). Pagyvenusio vyro pagundos, Vilnius: Baltos lankos.