About a year before her passing, Vesna Parun published a summary of her oeuvre titled I, Who Have Hands More Innocent. In the foreword of this comprehensive, asynchronous selection, Vesna asserted: “ …alongside this river of language, another one – silent, unmarked, and motherly – flows from the same source and in the same direction. This river is life itself. This is myself and my destiny as a cosmic enigma, ethnic equation, bio-spiritual chaos.”
This textual ‘patchwork’ of a unique life – which unfolds on the stage from birth as an emotionally-packed, one-hour psychoanalytical séance – arose from the extensive oeuvre of Vesna Parun which, just as her life, was contained in the famous forty bags that were mostly unavailable to the (dis)interested scientific researchers, ruling structures, cultural institutions, readers and future generations even after her passing. The intimate traumas, in which we are reflected as contemporaries of common climate, same patriarchal umbrella, and mother tongue, are revealed in confessional, diary form, in first person narrative, through lesser-known autobiographic records of the poetess. When denuded in this manner, the life in this case represents a foundation to major works of poetry that do not age over generations, but rather inspire, enrich, purify and remedy time and time again.