Contemporary Slovene short prose (2000-2004), in which the modern short story prevails, has moved away from the surface causality characteristic of the Poe-esque short story. It replaces it with an 'epicisation' strategy of strengthened dialogue situations thar retain the relative order of the story (Forster's story), but because of their central theme of distorted communication lose the causal principle of construction (Forster's plot). Thus, there is a repetition of the existential experience of powerlessness and presentiments of the absurd with no possibility of resolution.
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