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Nebrska Press.
Ryan, 1986: M. L. Ryan, Embedded narratives and tellability, Style, 20(3).
White, 1988: H. White, The Rhetoric of Interpretation, Poetics Today, Vol. 9, No. 2.

Sneana Milosavljevi-Mili
vabica or the rhetoric of delay

Summar y

Laza Lazarevis short story vabica (The German Girl) is receptionally

intriguing more by what it implies, does not say, negates, masks or delays, than
by what it openly indicates. Narrative equivalents of this rhetoric of delay are
contained in the forms of the disnarrated and the nonnarrated, as well as in the
frequent iterations. The technique of pseudo-manuscript in the framework of
the short story points to the unambiguous distance which the implicit author
takes from the story. The strategy of ellipse, which follows the hypothetical
parts of the story, is getting broader and broader, coming to include not only the
possible lost letters and the damaged sections of the existing ones, but also
the bosom-friends words and the words of other heroes -tenants of the boarding
house. The metonymical character of the letter recipient/bosom-friend represents
the set of values confronting the main hero who falls into temptation. At the very
beginning, at least two texts are confronted the one based on the ideologies of

319
the patriarchal system of values, and the private intimate manuscript of the
light-minded end of the heart. Frequent use of the reticence figure shows how
in the very language the hero faces himself and at the same time departs from
his true, but unacceptable identity, as well as from language embodying that
identity. Autoironic decline from what the narrator experiences is also achieved
by the reduction of his own life to a literary cliche. Instead towards a confession, the intmate manuscript is continually slipping towards the interpretation
of himself through the figures of synecdochy, antithesis and metaphor. Moreover, iterations give the story/occurrences a deceitful legitimity, keeping the story in the inter-space of truth and fiction, leaving latent the division of heros
identity in half between the narrative and the experienced. The basis of this
narrative strategy includes the faith in the performative power of the spoken/
written word. Due to this identification of the person with the speech, the last
letter does not imply the drama of delay. Discourse is equalized with the story,
as well as the hero with his dubble, becoming himself as empty as a cliche. Death
of the loved and sacrificed girl makes senseless all potentials of the story or all
pseudocompensations.