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28 februarja, 2021

Agata Tomažič: Poklic – rečni zaporničar

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Ko se nad mesto začne spuščati mrak in iznad rečne gladine dvigovati meglice, se osvetlijo tri okenca v treh kvadratnih stolpičih kompleksa, ki se pne nad reko. Tedaj se začne delovnik rečnega zaporničarja. Odpira okna in razpira ušesa: posluša glasove in ječanje vseh utopljenih duš, ki so končale svoje življenje v mrzlih vrtincih reke in jih je ta naposled izbljuvala na plano prav pri zapornicah. Samo zaporničar jih zna potolažiti, samo on razume, kaj govorijo in kričijo, samo on zmore ločiti posamezne glasove iz mnoštva drugih – ker jih samo on sliši. Ostalim ljudem so njihova pomenkovanja neslišna, zgolj nejasen zlovešč občutek jih spreleti, kadar jih v mehkem somraku pot zanese po bregu Ljubljanice. Tam nekje med Plečnikovimi zapornicami in Cukrarno, še enim objektom, ki je bil v zrelih letih svojega obstoja kar tesno povezan s smrtjo, boleznijo, revščino. Z druge strani reke se rišejo okna mestne mrtvašnice, kar prav tako ne pripomore k razposajenosti sprehajalca po Poljanskem nasipu.

Saj vem, okoliš, ki mu v zgornjih, povsem izmišljenih vrsticah pripisujem nekakšna spiritistična obeležja, bo v prihajajočih mesecih z odprtjem Galerije Cukrarna vstal v novo življenje. Tudi Plečnikove zapornice so predvsem čudovit arhitekturni presežek, tako kot večina njegovih stvaritev. Ampak mene, otroka s široko razprtimi očmi in (pre)obilico domišljije, je od nekdaj navdajal z nelagodjem. Še danes se mi, če se potrudim, pred očmi prikažejo zmaličene in grozljivo napihnjene podobe utopljencev, katerih črno-bele fotografije je objavljalo dnevno časopisje, v upanju, da se bo javil kdo, ki bo obličje nesrečnika le prepoznal. In mu vsaj v smrti namenil več pozornosti kot za časa življenja. (Preveč živa domišljija v kombinaciji z branjem vsega, kar mi je prišlo pod roke in česar odrasli niso pravočasno poskrili pred mano, je terjala svoj davek tudi v obliki rahlo zoprnega občutka, ki me še danes obide, ko odprem zabojnik za smeti. Takrat ponavadi gledam stran. Zakaj? Kakšno vprašanje! Ker se vendar vsi članki o umorih na straneh črne kronike začno z odrezano roko ali celo glavo, ki jo je kak nič hudega sluteč stanovalec v meglenem jutru našel v kontejnerju nekje na Bratovževi ploščadi. Kako da tega niste vedeli?!)

Drug del krivde za tesnobna občutja na Poljanskem nasipu nosi slovenski šolski sistem, natančneje pouk slovenskega jezika. Vsi vemo, da je bila Cukrarna zadnje pribežališče avtorjev slovenske moderne, ki so tod bivali, ustvarjali in nazadnje izkašljali svoje življenje v okrvavljene robce. Če so imeli denar zanje. Sledili so jim brezdomci, ki so se pod sesipajočo se streho Cukrarne udomačili v osemdesetih. Ne govorite mi, da jih ni bilo, še celo Andrej Skubic piše o njih v zbirki kratkih zgodb Norišnica. Vsa ta dejstva, vsa skupaj ali zgolj vsako posebej, so menda dovoljšen razlog za mojo tesnobo. Poklic rečnega zaporničarja je zatorej eden bolj ljubkih, brezskrbnih odvodov mojih blodenj. Pravzaprav v svoji prisrčni skrbi za duše utopljencev nekoliko spominja na prižigovalca cestne svetilke iz Malega princa, mar ne? Ali celo kraljevega preštevalca labodov: človeka, ki enkrat na leto vzdolž Temze prešteje vse labode grbce v lasti britanske kraljice. (Vsi labodi grbci vzdolž Temze so v lasti britanske kraljice.)

Ampak, če pustimo ob strani vse te blodnje: čemu je Plečnik predvidel tiste tri prostore v treh stolpih, ki jih povezuje brv za pešce? Ki se zdijo ravno dovolj veliki za pisarne z delovno mizo, telefonom in fikusom? Tega, tako kot še marsičesa iz življenje velikega mojstra, najbrž nikoli ne bomo izvedeli …

Besedilo: Agata Tomažič
Ilustracija: Milanka Fabjančič

 

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