Put Alije Đerzeleza (=The Journey of Ali Djerzelezu) štampan je 1920. i 1922. godine u Beogradu, ali delovi ove pripovetke su izlazili u zagrebačkom Književnom jugu. Iako je osnova za sadržinu i značenje Puta Alije Đerzeleza, Mustafe Madžara, Mosta na Žepi i Trupa pronađena u istoriji, legendi i sudbini pojedinca u njima, Andrić istoriju ne posmatra kao zbir poznatih i poverljivih događaja medju njenim učesnicima, niti legendu doživljava kao gotovu i nepromenljivu sižejnu činjenicu priče, nego kao adekvatnu početnu osnovu za dublje i postojanije shvatanje smisla i značenja istorije, legende u životu pojedinca i trajanju sveta. Vidi ih kao simboličan doživljaj istorije, kao pozornicu na kojoj se odvija čovekov susret sa neminovnostima svoje prolaznosti, nesavršenstva, straha i nemoći. Andrić’s first short story, published in 1920. Its protagonist is the hero of a large number of Moslem heroic ballads. Bearing in mind the special place accorded to “legend” and “fairy-tale” in Andrić’s statements about art, we should consider exactly what form “the grain of truth contained in legend” takes in this tale. The traditional ballads concerned with Alija deal exclusively with his prowess on the battlefield. Andrić refers to his fame in just one sentence: "He was renowed for many battles and his fearful strength... " and immediatelly takes him off his horse, setting him down in a context where he appears awkward because he is not used to being on the ground, or to normal social interaction. His stature is a t once diminished: “In a few days the magic circle around Đerzelez had quite disappeared. “There is no clear reason why the label “hero“ should have attached itself to this particular person. He is small, unprepossessing and ungainly as soon as he dismounts, awkward and uninteresting in conversation. He is slow-witted and chronically lacking in imagination. But he is also obsessive. Once he sees a beautiful woman he can think of nothing else but possessing her. Or he abandons himself wholeheartedly to the singing of a particularly fine traditional singer: “Đerzelez felt that the singer tugging at his soul and that any moment now, he would expire, from excessive strength, or excessive weakness. “ Đerzelez can flourish only in circumstances where his simple-minded strength energy can be expressed in the immediate violent ways he understands. He is quite baffled by more intricate social relationships and by the whole deeply disturbing question of women. Andrić here exploits the comic possibilities exposing a renowned hero to the demands made on men by their ballads about Marko Kraljević.
Author
Ivan "Ivo" Andrić (Cyrillic: Иво Андрић) was a Yugoslav and Bosnian novelist, short story writer and Nobel prizewinner. His writings deal mainly with life in his native Bosnia under the Ottoman Empire. His house in Travnik is now a Museum. His Belgrade flat on Andrićev Venac hosts the Museum of Ivo Andrić and the Ivo Andrić Foundation. After the Second World War, he spent most of his time in his Belgrade home, held ceremonial posts in the Communist government of Yugoslavia and was a Bosnia and Herzegovina parliamentarian. He was also a member of the Serbian Academy of Sciences and Arts. In 1961, he was awarded the Nobel Prize for Literature "for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country". He donated the prize money to libraries in Bosnia and Herzegovina. His works include The Bridge on the Drina, Bosnian Chronicle (aka Chronicles of Travnik), and The Woman from Sarajevo. These were written during WW2 while he was living quietly in Belgrade and published in 1945. They are often referred to as the "Bosnian Trilogy" as they were published simultaneously and had been written in the same period. However, they're connected only thematically. Other works include Ex Ponto (1918), Unrest (Nemiri, '20), The Journey of Alija Đerzelez (Put Alije Đerzeleza, 1920), The Vizier's Elephant (Priča o vezirovom slonu, 1948; tr. 1962), The Damned Yard (Prokleta avlija, 1954), and Omer-Pasha Latas (Omerpaša Latas, released posthumously in 1977)
