In his new book on Serbian literature and esotericism 1957–2000 (Српска књижевност и езотеризам 1957–2000, vol. 2 in the series Подземни Ток, Belgrade: Službeni Glasnik, 2020), Professor Nemanja Radulovic of the University of Belgrade devotes a chapter entitled “Portrait of a Traditionalist” to the Serbian painter, essayist, novelist and political commentator Dragoš Kalajić (1943-2005), already discussed in a previous post here, based on a 2020 article by Branislav Jakovljević.
Radulovic adds a lot of detail to Jakovljević’s article, covers the whole of Kalajić's career, and helps answer the question I asked at the end of my last post: what Kalajić’s distinctive contribution to Traditionalist thought was.
Radulovic argues convincing that whenever René Guénon and Julius Evola differed, Kalajić followed Evola, and also that where de differed from both Guénon and Evola was in his emphasis on the Slavs as the bearers of tradition. Here and in his views on international relations he comes close to Alexander Dugin who, according to Radulovic, he knew, and whose politics he echoed during the 1990s and 2000s, though it is unclear to what extent he was influenced by Dugin and to what extent he came to similar conclusions independently.
What appears as Kalajić’s distinctive contribution to Traditionalism, however, was his “initiatic” novel Kosmotvorac (Cosmocreator; Belgrade: Beletra, 1989), cover pictured above. This, as Radulovic shows, is very much built on an Evolian view of things. It is set in the future and deals with the trial of members of the defeated Ordo explorarum (Order of Explorers), which is based on the actual Order of Templars, and led by an Elder Yalomed, a reverse anagram of the name of the actual Templar Grand Master (Jacques) de Molay. One of the monks of the Order is even called Alovej, J. Evola in reverse.
The Ordo explorarum teaches that there is a divine spark in man, and seeks to replace the diversity of manifestation with original unity. Its members “preserve the doctrine of the restoration of the primordial state, the seeds of which they are to carry into the next cycle.” They also represent the male principle of order against the gynecocratic government, which defeats them, and is then itself defeated in a terrorist attack aided by alchemy. Kosmotvorac is, in Radulovic’s view, an initiatic novel not just because it tells of an initiatic journey, but also because it seeks to alter the reader.
