World Peace And Legacy Of B. Wongar

as a source of legitimacy of its own government. But Mishima very
simply tells us how this modern superficial concept is worthless. “as
long as they live, industrialists will never grasp the simple fact that an
article only acquires value as it gradually becomes old, obsolete, and
useless. antiques are the only valuable things – old things, traditional
things.” His point is quite simple – having too much is the same as
having nothing. Mishima despises swaggering modernity as an apol-
ogy of colonial culture, as continuity of american revenge on Japan
for their resistance in the Second World War and he reads it as certain
confinement of the traditional culture, as an injury of life, and creation
of blame for existence itself. He tells all about this in his wonderful
novel Golden Pavilion. This temple in Kyoto is named golden because
it was so perfect and so above the people, that a dedicated monk who
served in it was challenged to burn it because he wanted to defend
life from overwhelming image of perfection in comparison to which
entire life looked like crippled, mute, and unable to flow.
Wongar is also sentient that the perfect weapon of destruction,
nuclear modernization, has no ethic code. This modernization tends
to destroy as much life as possible using the threat of untouchable
superiority at all times. That is why he defends Serbian heritage and
traditional epic poems of Serbian heroes glaring at golden pavilion of
modern technocracy that shines in its glow of apocalyptic power while
Mishima is dedicated to the samurai tradition and the Bushido code.
Such mindset is a crucial defense system for freedom.

Raki – a Bridge to the End of the World
“In Melbourne in print magazine appeared Smoke Signals engaged in
aborigines protection. In 1969 they published my report about im-
mense bauxite mine in the reservation that was opened by a Swiss
company without the consent from aborigines. The aborigines fes-
tival was organized in Canberra and I have prepared an exhibition of
photographs and testimonies I had collected. Thus australian Parlia-
ment library was interested in the material because there has been a
debate in progress about aborigines. My material ought to be an evi-
dence of discrimination but parliamentarians have decided to close my
exhibition and to forbid it. My archive was confiscated and authorities
forbade me to speak in public about nuclear experiments. I had nega-
tives which anabled me to save two thousand photographs. I began to
publish books. after my Nuclear Trilogy was issue, the police force
controls became more methodical in nature and were happening more
often. They used to make raids in my house and at the farm and my
manuscript of an uncompleted novel Raki was seized. The police have
never ever brought it back to me. I had to re-write it again.”
It is not at all an easy task for writer to re-write a lost novel. But on
the other hand, a re-written novel is a spiritual rebirth, which seems to
repeat Wongar`s re-birth in the desert. Thus Raki is not only a novel of
his, but his life novel as well. a writer could not wish anything better
for his novels than for them to repeat their life course.
Raki is composed of two biographies. The first one in Trešnjevica
where Sreten Božić had been born and second one in australia where
B. Wongar was created. yet two works should not prevent us from
recognizing two histories as the same story. The story that speaks
of the evil that had been vandalizing the world for many centuries;
of evil deluge that consumed people, their minds and souls, same as
entire nations and continents. It leaves behind a desert of empty glan-
ces, soulless greed, and superficial selfishness. Writing about events
in Serbia and australia, the writer gives us a possibility to grasp the
evil deprived of seductive differentiation of its spatial and temporal
occurrences. In two parts of the world, Serbia and australia, people
are tied by almost unbreakable yarns and they experience invaders
that kidnap their eternal freedom in the present and replace it by the
concept of time and evolution driven by some force independent of the
man obliging life to expand from “lower” to “higher” and forbidding it
to return ever again to where it originated.
Main character in the novel Raki is hemp. It seems the writer
wishes to say that man is not anymore a protagonist; after all he did, it
is better that he leaves an imaginary evolution stage to more powerful
creatures such as plants. Hemp was chosen as subject because it is at
deepest misunderstanding with technology world. Presently, it is dis-
reputable plant which doctors takes as a drug that changes mind. In the
past, hemp was the base of traditional life because it was convenient for
weaving clothing and fabrics, making herbal drinks, oil and food. More
importantly ropes were made from it, without which it would be im-
possible to imagine national economy. We have forgotten that paper for
Bible used to be made of hemp until 1883 and even american Declara-
tion of Independence has been written on hemp paper imported from
netherlands. Hemp used to give a solid woof to a rural community and
firm correlation, securing its production of life cycle. In the sense of
myth, hemp links havens and earth and thus protects and sustains life.
Just because of solid harmony given to the community, Wongar indi-
cates intention of the evil to control hemp as a vital point of the life cycle
that should be cut to spin a thread of unbreakable non-freedom.
In the novel hemp thus bears double meaning. It is the soul of the
world considering the myth, the axis mundi which links havens and
earth. at the same time it is a metaphor for evil rope, chained servitude,