To noč sem jo Videla

V romanu To noč sem jo Videla, se lepa, trmasta Veronika najprej pojavi kot sanjska vizija ujetemu srbskemu konjeniku, ki je ni videl že sedem let, od leta 1937. Njuna ljubezenska zveza se je začela, ko ji je njen premožni mož uredil jahalne ure pri častniku. Zapusti moža in živi v revščini s konjenikom na bolgarski meji, vendar se vrne k možu in novemu posestvu, ki ga je kupil v Sloveniji.

Veronikina mama in hišna pomočnica, ki živi na posestvu, se spominjata nanjo in se sprašujeta, kaj se je zgodilo tisto noč, ko sta ona in njen mož izginila v družbi protinemških partizanov. Vojaški zdravnik, ki je bil med nemškimi častniki, ki so redno obiskovali posestvo, in ki je nekoč držal Veroniko za roko, prejme pismo, v katerem ga sprašujejo, ali ve, kaj se je z njo zgodilo. Toda ključne manjkajoče informacije priskrbi Ivan, delavec na posestvu, ki je pomagal partizanom, potem ko je videl Veroniko in zdravnika, kako se držita za roke.

Vsak spomin ustvarja značilen lik in glas ter drugo plat ženske, ki je ganila vse. Vsak ponuja tudi drugačen pogled na vojno. 

Drago Jančar graduated from the Higher School of Law in Maribor. During his studies, he was the cultural, editor-in-chief and editor-in-chief of the student newspaper Katedra. After graduation, he was first employed as a journalist at the daily newspaper Večer, then as a freelance writer, then as a dramaturge at Viba Film, and finally as a secretary and editor at the publishing house Slovenska Matica in Ljubljana.

He studied abroad several times, in the USA, Great Britain, Germany. Since 2001 he has been a full member of the Serbian Academy of Sciences and Arts. He is the most translated contemporary Slovenian writer.

Jančar first began writing narrative works in the modernist narrative technique and under the influence of the French New Novel. In his narrative works, he deals with the conflicts of the individual with the current social environment (the novel Thirty-Five Degrees, the novellas About the Pale Villain) and tells the story of the tragic clash between individual human existence and the chaos of the objective world (the novels Galjot, The Northern Lights, the novellas Death at the Virgin Mary's of the Snows).In Jančar's narrative works in the eighties of the twentieth century, postmodernist elements are noticeable, and later these are joined by a thematic shift towards intimate, existentially decisive problems (the novellas The View of an Angel, the novel Mocking Lust). The writer also used historical themes in his works (novels Galjot, Catherine, Peacock and Jesuit).

In his dramatic oeuvre, Jančar portrays an individual who, as a rule, fails in a conflict with a generalizing and insensitive system. In doing so, he chooses primarily historical material and allegorically elevates it (The Dissident Arnos and His Great Brilliant Waltz, Daedalus, Clement's Fall, Hallstatt). The grotesque The Stalkers of Godot is a variation on a text by S. Beckett.
Also important is Jančar's essays, which deal with existential and political issues of intellectuals in the contemporary, especially socialist world.

Jančar has received numerous awards for his literary oeuvre: in 1982, 1985, 1989, 1995 Grum's Workshop, in 1979 the Prešeren Fund Award, in 1993, 1995 the Rožančev Award, in 1993 the Prešeren Award, in 1999, in 2001 the Kresnik Award, in 1994 the European Prize for Short Prose and in 2003 the Herder Prize.

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