How Dolly Parton led me to an epiphany | Jad Abumrad

Prevodilac: Milenka Okuka Lektor: Ivana Korom

I want to tell you about my search for purpose as a journalist

Želim da vam govorim o mom novinarskom traganju za smislom

and how Dolly Parton helped me figure it out.

i kako mi je Doli Parton pomogla da ga otkrijem.

So I've been telling audio stories for about 20 years,

Dakle, već dvadeset godina pripovedam audio priče,

first on the radio and then in podcasts.

prvo na radiju, a potom u podkastima.

When I started the radio show "Radiolab" in 2002,

Kada sam pokrenuo radijsku emisiju „Radiolab” 2002. godine,

here was the quintessential story move we would do.

naš suštinski pripovedački postupak se svodio na sledeće.

We'd bring on somebody --

Doveli bismo nekoga -

(Audio) Steven Strogatz: It's one of the most hypnotic

(Audio) Stiven Strogac: To je jedan od najhiponitičnijih

and spellbinding spectacles in nature,

i najčarobnijih prizora u prirodi

because, you have to keep in mind, it is absolutely silent.

jer morate da imate na umu da je u potpunosti tih.

Jad Abumrad: Like this guy, mathematician, Steve Strogatz,

Džed Abumrad: Ovaj čovek, matematičar, Stiv Strogac

and he would paint a picture.

bi naslikao sliku.

SS: Picture it. There's a riverbank in Thailand,

SS: Zamislite. Postoji rečna obla na Tajlandu

in the remote part of the jungle,

u udaljenom delu džungle,

you're in a canoe, slipping down the river.

u kanuu ste, klizite niz reku.

There's no sound of anything,

Ništa se živo ne čuje,

maybe the occasional, you know, exotic jungle bird or something.

možda povremeno, znate, egzotična ptica ili nešto slično.

JA: So you're in this imaginary canoe with Steve,

DžA: U ovom ste zamišljenom kanuu sa Stivom,

and in the air all around you are millions of fireflies.

a u vazduhu svuda oko vas su milioni svitaca.

And what you see is sort of a randomized starry-night effect.

A ono što vidite je nekakav nasumičan efekat zvezdane noći.

Because all the fireflies are blinking at different rates.

Iz razloga što svi svici trepere različitim tempom.

Which is what you would expect.

A to biste i očekivali.

But according to Steve, in this one place,

Međutim, prema Stivu, baš na ovom mestu,

for reasons no scientist can fully explain --

iz razloga koje nijedan naučnik ne može skroz da objasni -

SS: Whoop.

SS: Vup.

Whoop.

Vup.

Whoop.

Vup.

With thousands of lights on and then off, all in sync.

Sa hiljdama svetala upaljenih, pa ugašenih, potpuno sinhronizovano.

(Music and electric sounds)

(Muzika i elektronski zvuci)

JA: Now it's around this time

DžA: Otprilike u ovom trenutku

that I would generally bring in the beautiful music, as I just did,

uopšteno bih uveo lepu muziku, kao što upravo i jesam,

and you'd start to get that warm feeling.

i sustizao bi vas onaj osećaj topline.

Osećaj koji je, kao što znamo iz nauke,

A feeling, that we know from science,

kind of localizes in your head and chest

nekako lokalizovan u vašoj glavi i grudima

and spreads through your body.

i širi se kroz vaše telo.

It's that feeling of wonder.

To je osećaj zadivljenosti.

From 2002 to 2010, I did hundreds of these stories.

Od 2002. do 2010. godine, napravio sam na stotine ovih priča.

Sciency, neurosciency, very heady, brainy stories

Naučnih, neuronačnih, veoma pametnih, priča mozgalica

that would always resolve into that feeling of wonder.

koje bi se uvek razrešile osećanjem zadivljenosti.

And I began to see that as my job,

Smatrao sam to svojim zaduženjem

to lead people to moments of wonder.

da dovedem ljude u trenutke zadivljenosti.

What that sounded like was:

A to je zvučalo ovako:

(Various voices) "Huh!" "Wow!" "Wow!"

(VIšestruki glasovi) „Ha!” „Opa!” „Opa!”

"That's amazing."

„To je sjajno!”

"Whoa!" "Wow!"

„Voa!” „Opa!”

JA: But I began to get kind of tired of these stories.

DžA: No, postao sam nekako umoran od ovih priča.

I mean, partially, it was the repetition.

Mislim, delom, radilo se o ponavljanju.

I remember there was a day I was sitting at the computer,

Sećam se dana kada sam sedeo za kompjuterom

making the sound of a neuron.

praveći zvuk neurona.

(Crackling sound)

(Pucketavi zvuk)

You know, take some white noise, chop it up, very easy sound to make.

Znate uzmete malo belog šuma, isečete ga; taj zvuk je lako napraviti.

I remember thinking, "I have made this sound 25 times."

Sećam se da sam razmišljao: „Napravio sam ovaj zvuk 25 puta.”

But it was more than that --

Međutim, radilo se o nečem većem -

there was a familiar path to these stories.

ove priče su imale poznatu stazu.

You walk the path of truth, which is made of science,

Hodate stazom istine, koja je sačinjena od nauke

and you get to wonder.

i dosežete zadivljenost.

Now, I love science, don't get me wrong.

Volim nauku, nemojte da me pogrešno shvatite.

My parents emigrated from a war-torn country,

Moji roditelji su emigrirali iz ratom razorene države,

came to America,

stigli u Ameriku

and science for them was, like, more their identity than anything else,

i za njih je nauka više bila poput identiteta nego bilo šta drugo,

and I inherited that from them.

a ja sam to nasledio od njih.

But there was something about that simple movement

Međutim, bilo je nečeg u tom prostom pokretu

from science to wonder

od nauke do zadivljenosti

that just started to feel wrong to me.

što je meni počelo da se čini pogrešnim.

Like, is that the only path a story can take?

U smislu, da li je to jedina staza kojom priča može da krene?

Around 2012,

Oko 2012. godine,

I ran into a bunch of different stories that made me think, "No."

naleteo sam na gomilu različitih priča zbog kojih sam pomislio: „Ne.”

One story in particular,

Naročito jedna priča

where we interviewed a guy who described chemical weapons

u kojoj smo intervjuisali momka koji je opisivao hemijsko oružje

being used against him and his fellow villagers

koje je korišćeno protiv njega i drugih seljana

in the mountains of Laos.

u planinama Laosa.

Western scientists went there,

Naučnici sa zapada su išli tamo,

measured for chemical weapons, didn't find any.

merili su tragove hemijskog oružja i nisu ih našli.

We interviewed the man about this,

Intervjuisali smo ga u vezi s ovim,

he said the scientists were wrong.

rekao je da su naučnici pogrešili.

We said, "But they tested."

Rekli smo: „Ali testirali su.”

He said, "I don't care, I know what happened to me."

Rekao je: „Baš me briga, znam šta mi se dogodilo.”

And we went back and forth and back and forth,

Pa smo se vrteli tamo i ovamo, tamo i ovamo,

and make a long story short,

i da skratim priču,

the interview ended in tears.

intervju je završen u suzama.

I felt ...

Osećao sam se...

I felt horrible.

Osećao sam se užasno.

Like, hammering at a scientific truth, when someone has suffered.

Inisistiranje na naučnoj istini, uprkos nečijoj patnji.

That wasn't going to heal anything.

To ne može da zaleči bilo šta.

And maybe I was relying too much on science to find the truth.

I možda sam se suviše oslanjao na nauku da dođem do istine.

And it really did feel, at that moment,

I zaista se činilo u tom trenutku

that there were a lot of truths in the room,

da ima mnogo istina u prostoriji,

and we were only looking at one of them.

a da mi samo gledamo u jednu.

So I thought, "I've got to get better at this."

Pomislio sam: „Moram ovo bolje da radim.”

And so for the next eight years,

Te sam narednih osam godina

I committed myself to doing stories where you heard truths collide.

bio posvećen pričama sa suprotstavljenim istinama.

We did stories about the politics of consent,

Radili smo priče o politici pristanka,

where you heard the perspective of survivors and perpetrators

gde ste slušali perspektive preživelih i počinilaca

whose narratives clashed.

čije su se priče sudarale.

We did stories about race,

Radili smo priče o rasi,

how black men are systematically eliminated from juries,

kako su crni muškarci sistematski eliminisani iz porota,

and yet, the rules that try and prevent that from happening

pa ipak, pravila koja pokušavaju to da spreče

čine stvari još gorim.

only make things worse.

Stories about counter terrorism, Guantanamo detainees,

Priče o kontraterorizmu, zatvorenicima iz Gvantanama,

priče u kojima su svi posvađani,

stories where everything is disputed,

all you can do is struggle to try and make sense.

sve što ste mogli je da se borite da shvatite smisao.

And this struggle kind of became the point.

A ova borba je nekako postala poenta.

I began to think, "Maybe that's my job."

Počeo sam da mislim: „Možda je to moja dužnost.”

To lead people to moments of struggle.

Da navodim ljude na trenutke borbe.

Here's what that sounded like:

Evo kako je to zvučalo:

(Various voices) "But I see -- I, like --"

(Više glasova) „Međutim, vidim - ja, kao -”

"Uh, I --" (Sighs)

„Uh, ja -” (Uzdah)

"Well, so, like, huh --"

„Pa, dakle, kao, eh -”

"That, I mean, I --"

„Smatram da, I -”

"You know -- golly -- I --" (Sighs)

„Znate - gospode - ja -” (Uzdah)

JA: And that sigh right there,

DžA: A taj uzdah baš tu,

I wanted to hear that sound in every single story,

želeo sam da čujem taj zvuk u svakoj priči

because that sound is kind of our current moment, right?

jer tako nekako zvuči trenutak u kom živimo, zar ne?

We live in a world where truth is no longer just a set of facts

Živimo u svetu u kom istina više nije samo niz činjenica

to be captured.

koje treba obuhvatiti.

It's become a process.

Postala je proces.

It's gone from being a noun to being a verb.

Prešla je iz imenice u glagol.

But how do you end that story?

Međutim, kako da završite takvu priču?

Like, what literally kept happening is we'd be, you know, telling a story,

Bukvalno se stalno dešavalo to da bismo, znate, pripovedali priču,

cruising along, two viewpoints in conflict,

krstareći duž dve sukobljene tačke gledišta,

you get to the end and it's just like --

stignete do kraja i prosto je poput -

No, let me see.

Ne, dozvolite da vidim.

What do I say at the end?

Šta kažem na kraju?

Oh, my God.

Oh, gospode.

What do you -- how do you end that story?

Kako završiti takvu priču?

You can't just happily-ever-after it,

Nema tu srećnog kraja

because that doesn't feel real.

jer se on ne čini stvarnim.

At the same time,

Istovremeno,

if you just leave people in that stuck place,

ako prosto ostavite ljude u škripcu,

like, "Why did I just listen to that?"

u stilu: „Zašto sam upravo odslušao ovo?”

Like, it felt like there had to be another move there.

Osećao sam da mora da postoji još jedan potez.

Had to be a way beyond the struggle.

Morao je da postoji put van borbe.

And this is what brings me to Dolly.

A to me dovodi do Doli.

Or Saint Dolly, as we like to call her in the South.

Ili Svete Doli, kako je mi sa Juga volimo da zovemo.

I want to tell you about one little glimmer of an epiphany that I had,

Želim da vam govorim o iskrici prosvetljenja koje sam doživeo

doing a nine-part series called "Dolly Parton's America" last year.

prošle godine radeći na devetodelnom serijalu „Doli Partonina Amerika”.

It was a bit of a departure for me,

Radilo se o iskoraku za mene,

but I just had this intuition that Dolly could help me

ali prosto sam imao predosećaj da bi Doli mogla da mi pomogne

figure out this ending problem.

da shvatim problem u vezi s krajem.

And here was the basic intuition:

A osnovno predosećanje glasi:

You go to a Dolly concert,

odete na Dolin koncert,

you see men in trucker hats standing next to men in drag,

vidite muškarce u kačketima kako stoje pored dreg muškaraca,

Democrats standing next to Republicans,

demokrate stoje pored republikanaca,

women holding hands,

žene se drže za ruke,

every different kind of person smashed together.

raznorazni ljudi svi izmešani.

All of these people that we are told should hate each other

Svi ti ljudi za koje nam kažu da bi trebalo da se mrze

are there singing together.

pevaju zajedno.

She somehow carved out this unique space in America,

Ona je nekako izdubila ovaj jedinstven prostor u Americi

and I wanted to know, how did she do that?

i ja sam želeo da znam kako je to postigla.

So I interviewed Dolly 12 times, two separate continents.

Intervjuisao sam Doli 12 puta, na dva različita kontinenta.

She started every interview this way:

Svaki intervju je započela ovako:

(Audio) Dolly Parton: Ask me whatever you ask me,

(Audio) Doli Parton: Pitaj me šta god želiš,

and I'm going to tell you what I want you to hear.

a ja ću da ti kažem ono što želim da čujem.

(Laughter)

(Smeh)

JA: She is undeniably a force of nature.

DžA: Ona je nesumnjivo živa vatra.

But the problem that I ran into

Međutim, problem na koji sam naišao

is that I had chosen a conceit for this series

je što sam se, radeći na serijalu, vodio taštinom

that my soul had trouble with.

koja mi je uznemiravala dušu.

Dolly sings a lot about the South.

Doli mnogo peva o Jugu.

If you go through her discography,

Ako preslušate njenu diskografiju,

you will hear song after song about Tennessee.

čućete pesmu za pesmom o Tenesiju.

(Music) DP: (Singing, various songs) Tennessee, Tennessee...

(Muzika) DP: (Peva, više pesama) Tenesi, Tenesi...

Tennessee homesick ...

Nostalgija za Tenesijem...

I've got those Tennessee homesick blues runnin' through my head.

Osećam nostalgični bluz Tenesija kako juri mojim umom.

Tennessee.

Tenesi.

JA: "Tennessee Mountain Home," "Tennessee Mountain Memories."

DžA: „Tenesijevska planinska kuća”, „Planinska sećanja Tenesija”.

Now I grew up in Tennessee,

Odrastao sam u Tenesiju

and I felt no nostalgia for that place.

i nisam osećao nostalgiju prema tom mestu.

I was the scrawny Arab kid

Bio sam žgoljavo arapsko dete

who came from the place that invented suicide bombing.

koje je poticalo iz mesta na kom su izumeli bombaše samoubice.

I spent a lot of time in my room.

Proveo sam mnogo vremena u sobi.

When I left Nashville,

Kada sam napustio Nešvil,

I left.

otišao sam.

I remember being at Dollywood,

Sećam se kad sam bio u Dolivudu,

standing in front of a replica, replica of her Tennessee Mountain Home.

stajao sam ispred replike, replike njene planinske kuće u Tenesiju.

People all around me were crying.

Ljudi oko mene su plakali.

This is a set.

Radilo se o postavci.

Why are you crying?

Zašto plačete?

I couldn't understand why they were so emotional,

Nisam mogao da shvatim zašto su tako potreseni,

especially given my relationship to the South.

naročito imajući u vidu moj odnos prema Jugu.

And I started to honestly have panic attacks about this.

I iskreno počeo sam da dobijam napade panike zbog toga.

"Am I not the right person for this project?"

„Da li sam prava osoba za ovaj projekat?”

But then ...

Međutim, onda...

twist of fate.

obrtom sudbine.

We meet this guy, Bryan Seaver,

Upoznali smo ovog tipa, Brajana Sivera,

Dolly's nephew and bodyguard.

Dolinog nećaka i telohranitelja.

And on a whim, he drives producer Shima Oliaee and I

I iz čista mira, on je odvezao producentkinju Šimu Olija i mene

out of Dollywood,

izvan Dolivuda,

round the back side of the mountains,

skroz s druge strane planina,

up the mountains 20 minutes,

20 minuta uz planine,

down a narrow dirt road,

pa niz uski prašnjavi put,

through giant wooden gates that look right out of "Game of Thrones,"

kroz džinovske drvene kapije koje kao da su ispale iz „Igre prestola”,

and into the actual Tennessee Mountain Home.

pravo u stvarni planinski dom iz Tenesija.

But the real place.

Stvarno mesto.

Valhalla.

Valhala.

The real Tennessee Mountain Home.

Stvarni tenesijevski planinski dom.

And I'm going to score this part with Wagner,

I uz ovaj deo ću da pustim Vagnera

because you've got to understand,

jer morate da razumete,

prema predanjima iz Tenesija,

in Tennessee lore,

this is like hallowed ground, the Tennessee Mountain Home.

radi se o svetoj zemlji, tenesijevski planinski dom.

So I remember standing there, on the grass,

Sećam se da sam stajao u travi,

next to the Pigeon River,

pored reke Pidžn,

butterflies doing loopty loops in the air,

leptiri su poskakivali u vazduhu,

and I had my own moment of wonder.

i ja sam imao sopstveni trenutak zadivljenosti.

Dolly's Tennessee Mountain Home

Dolin tenesijevski planinski dom

looks exactly like my dad's home in the mountains of Lebanon.

izgleda baš kao dom mog oca u planinama Libana.

Her house looks just like the place that he left.

Njena kuća izgleda baš kao mesto koje je napustio.

And that simple bit of layering led me to have a conversation with him

I taj prosti delić raslojavanja me je naveo da razgovaram s njim

that I'd never had before,

kako nikad pre nisam,

about the pain he felt leaving his home.

o bolu zbog napuštanja njegovog doma.

And how he hears that in Dolly's music.

I kako on to čuje u Dolinoj muzici.

Then I had a conversation with Dolly where she described her songs

Potom sam razgovarao sa Doli kada je opisala svoje pesme

as migration music.

kao muziku migracija.

Even that classic song,

Čak i ta klasična pesma:

"Tennessee Mountain Home," if you listen to it --

„Tenesijevski planinski dom”, ako je poslušate -

(Dolly Parton "Tennessee Mountain Home")

(Doli Parton „Tenesijevski planinski dom”)

"Sittin' on the front porch on a summer afternoon

„Sedeć' na tremu u sunčano popodne

In a straight-backed chair on two legs,

na kuhinjskoj stolici na dve noge,

leaned against the wall."

naslonjena na zid.”

It's about trying to capture a moment that you know is already gone.

Radi se o pokušaju hvatanja trenutka za koji znate da je već prošao.

But if you can paint it, vividly,

Međutim, ako možete živopisno da ga oslikate,

maybe you can freeze it in place, almost like in resin,

možda možete da ga zamrznete u mestu, gotovo kao u ćilibaru,

trapped between past and present.

zarobljen između prošlosti i sadašnjosti.

That is the immigrant experience.

To je iskustvo imigranata.

And that simple thought led me to a million conversations.

I ta jednostavna misao me je navela na milion razgovora.

I started talking to musicologists about country music as a whole.

Razgovarao sam sa muzikolozima o kantri muzici uopšteno.

This genre that I've always felt so

Žanr za koji sam uvek osećao

having nothing to do with where I came from

da nema nikakve veze s mojim poreklom

is actually made up of instruments and musical styles

je zapravo sastavljen od instrumenata i muzičkih stilova

that came directly from the Middle East.

koji potiču direktno sa Bliskog istoka.

In fact, there were trade routes that ran from what is now Lebanon

Zapravo, postojale su trgovinske rute koji su vodile od današnjeg Libana

right up into the mountains of East Tennessee.

skroz do planina istočnog Tenesija.

I can honestly say, standing there, looking at her home,

Iskreno mogu reći, stojeći tamo, gledajući u njen dom,

was the first time I felt like I'm a Tennessean.

prvi put sam se osetio kao Tenesijanac.

That is honestly true.

Kunem se da je to istina.

And this wasn't a one-time thing,

I nije se radilo o jednom trenutku,

I mean, over and over again,

mislim, iznova i iznova,

she would force me beyond the simple categories

gurala me je izvan prostih kategorija

I had constructed for the world.

koje sam sagradio o svetu.

I remember talking with her about her seven-year partnership

Sećam se kada smo razgovarali o njenom sedmogodišnjem partnerstvu

with Porter Wagoner.

sa Porterom Vagonerom.

1967, she joins his band, he is the biggest thing in country music,

Pridružila se bendu 1967. godine, on je najveće ime u svetu kantri muzike,

she is a backup singer, a nobody.

ona je prateći vokal, niko.

Within a short time, she gets huge,

Za kratko vreme ona postaje senzacija,

he gets jealous,

on postaje ljubomoran,

he then sues her for three million dollars

potom je tuži za tri miliona dolara

when she tries to leave.

kada pokuša da ode.

Now it would be really easy to see Porter Wagoner

Sad, bilo bi zaista lako posmatrati Portera Vagonera

as, like, a type: classic, patriarchal jackass,

kao određeni tip ličnosti: klasična, patrijarhalna budala,

trying to hold her back.

koja pokušava da je zadrži.

But any time I would suggest that to her,

Međutim, kad god bih joj to natuknuo,

like, come on.

kao, ma hajde.

(Audio) This is a guy, I mean, you see it in the videos too,

(Audio) Radi se o tipu, mislim, vidi se to i na snimcima,

he's got his arm around you.

drži ruku oko tebe.

There's a power thing happening, for sure.

Imamo ispoljavanje moći, zasigurno.

DP: Well, it's more complicated than that.

DP: Pa, daleko je složenije od toga.

I mean, just think about it.

Mislim, samo razmisli o tome.

He had had this show for years,

Imao je taj šou godinama,

he didn't need me to have his hit show.

nisam mu bila potrebna da bi imao hit šou.

He wasn't expecting me to be all that I was, either.

Ni on nije očekivao da ću da budem sve što jesam.

I was a serious entertainer, he didn't know that.

Bila sam ozbiljan zabavljač, on to nije znao.

He didn't know how many dreams I had.

Nije znao koliko snova imam.

JA: In effect, she kept telling me,

DžA: U suštini, govorila mi je:

"Don't bring your stupid way of seeing the world into my story,

„Ne mešaj svoj glupi pogled na svet sa mojom pričom

because that's not what it was.

jer nije tako bilo.

Yeah, there was power, but that's not all there was.

Da, radilo se o moći, ali nije se sve svodilo na to.

You can't summarize this."

Ne možeš to da svedeš.”

Alright, just to zoom out.

U redu, samo da se udaljimo.

What do I make of this?

Kako da ovo shvatim?

Well, I think there's something in here that's a clue, a way forward.

Smatram da ovde počiva trag, staza ka napred.

As journalists, we love difference.

Kao novinari, volimo različitost.

We love to fetishize difference.

Volimo da fetišizujemo različitost.

But increasingly, in this confusing world,

Međutim, sve češće, u ovom zbunjujućem svetu,

we need to be the bridge between those differences.

moramo da premošćujemo različitosti.

But how do you do that?

Kako da to postignemo?

I think for me, now, the answer is simple.

Mislim da je sad za mene odgovor jednostavan.

You interrogate those differences,

Ispitate te različitosti,

you hold them for as long as you can,

držite ih se koliko god možete,

until, like up on that mountain,

sve dok se, kao na toj planini,

something happens,

nešto ne desi,

something reveals itself.

dok se nešto ne otkrije.

Story cannot end in difference.

Priče ne mogu da se završe mimoilaženjem.

It's got to end in revelation.

Moraju da se završe otkrovenjem.

And coming back from that trip on the mountain,

I vraćajući se sa tog putovanja u planine,

a friend of mine gave me a book that gave this whole idea a name.

prijatelj mi je dao knjigu koja je čitavoj ovoj ideji podarila ime.

In psychotherapy, there's this idea called the third,

U psihoterapiji postoji ideja koja se naziva treći,

which essentially goes like this.

a koja u suštini glasi ovako.

Typically, we think of ourselves as these autonomous units.

Obično o sebi razmišljamo kao o autonomnim jedinicama.

I do something to you, you do something to me.

Ja nešto uradim tebi, ti nešto uradiš meni.

But according to this theory, when two people come together

Međutim, prema ovoj teoriji, kada se ljudi sastanu

and really commit to seeing each other,

i zaista se posvete viđenju jedno drugog,

in that mutual act of recognition,

u tom uzajamnom činu prepoznavanja,

they actually make something new.

oni zapravo stvore nešto novo.

A new entity that is their relationship.

Novi entitet koji čini njihova veza.

You can think of Dolly's concerts as sort of a cultural third space.

Možete posmatrati Doline koncerte kao vidove kulturoloških trećih prostora.

The way she sees all the different parts of her audience,

Način na koji ona vidi različite delove njene publike,

the way they see her,

način na koji oni vide nju

creates the spiritual architecture of that space.

stvara duhovnu arhitekturu tog prostora.

And I think now that is my calling.

I ja sad to smatram mojim pozivom.

That as a journalist,

Kao novinar,

as a storyteller,

kao pripovedač,

as just an American,

prosto kao Amerikanac,

living in a country struggling to hold,

koji živi u državi koja se muči da opstane,

that every story I tell has got to find the third.

svaka priča koju pripovedam mora da pronađe trećeg.

That place where the things we hold as different

Mesto gde se stvari koje smatramo različitim

resolve themselves into something new.

razrešavaju u nešto novo.

Thank you.

Hvala vam.