Veronica Simoniti: How ships are dying

Veronika Simoniti's third novel, Kako umirajo ladje, has been described as a deeply personal diary-like narrative that explores memory, fear of forgetting, and the anxiety of being forgotten. The book was released by Cankarjeva založba on August 5, 2026, and is set to be published in Ljubljana under the auspices of MMC RTV Slovenia’s Radio Ars program. The release date coincides with the publication of the book through RTVSLO.si, which is highlighted as a preferred source on Google. The novel follows the life of its protagonist, Pina, whose self-understanding is shaped primarily through her relationships with others, often unconsciously guiding her existence. Simoniti uses the character of Pina to explore themes of identity, memory, and emotional navigation. The narrative is structured around introspective reflections, offering readers insight into Pina’s internal struggles and moments of clarity. These reflections are interwoven with memories from Pina’s childhood, adolescence, and adult life, creating a layered, contemplative literary figure. Simoniti positions the dramaturg and translator as central figures within the world of theater, highlighting their unseen yet essential role in shaping theatrical performances. Through Pina’s experiences, particularly her past romantic relationship with Urban, a dramatist and professor at the Academy, the novel examines the complexities of trust, uncertainty, and self-discovery. The narrative includes fragments of shared life with Urban, conversations with dramatist Timon, and a journey through Greece, key elements that contribute to the depth and coherence of the story. The novel’s structure is marked by a collage of memories, allowing Pina to navigate different time periods while maintaining a connection to the present. This technique enables the reader to experience Pina’s introspective journey, where each memory finds a link to current understanding. The narrative is further enriched by references to Greek mythology, philosophy, and the broader cultural context of theater, drawing parallels between Pina’s personal experiences and the timeless themes explored in classical literature. Simoniti’s writing style is characterized by a fluid, immediate tone, with dialogue rendered in a natural, conversational manner. The language is both accessible and refined, avoiding unnecessary embellishment while preserving the integrity of the text. This approach enhances the emotional impact of Pina’s inner monologue and the subtle actions of Urban, whose unspoken intentions are revealed through careful observation. The novel also engages with philosophical questions about beauty, goodness, fate, and truth. One notable passage reflects on the power of truth, stating, “Over truth you have control only on stage.” Another highlights the importance of preserving meaningful moments, asserting, “Insignificant days can fade into nothing, but we should preserve those worth recording, depicting, capturing, so theater is never dull: it releases grayness.” These statements are rooted in the concept of anagnorezo, a term derived from ancient Greek philosophy, emphasizing recognition and understanding. Through these reflections, Simoniti intertwines themes of theater, Greece, and Pina’s lived experiences, creating a rich tapestry of meaning that resonates with both personal and universal significance. The novel serves as a meditation on memory, identity, and the enduring power of storytelling.