The Ministry of Pain by
Having fled the violent breakup of Yugoslavia, Tanja Lucic is now a professor of literature at the University of Amsterdam, where she teaches a class filled with other young Yugoslav exiles, most of whom earn meager wages assembling leather and rubber S&M clothing at a sweatshop they call the "Ministry." Abandoning literature, Tanja encourages her students to indulge their "Yugonostalgia" in essays about their personal experiences during their homeland's cultural and physical disintegration. But Tanja's act of academic rebellion incites the rage of one renegade member of her class--and pulls her dangerously close to another--which, in turn, exacerbates the tensions of a life in exile that has now begun to spiral seriously out of control.
Shards by
Ismet Prcic's brilliant, provocative, and propulsively energetic debut is about a young Bosnian, also named Ismet Prcic, who has fled his war-torn homeland and is now struggling to reconcile his past with his present life in California. He is advised that in order to make peace with the corrosive guilt he harbors over leaving behind his family behind, he must "write everything." The result is a great rattlebag of memories, confessions, and fictions: sweetly humorous recollections of Ismet's childhood in Tuzla appear alongside anguished letters to his mother about the challenges of life in this new world. As Ismet's foothold in the present falls away, his writings are further complicated by stories from the point of view of another young man--real or imagined--named Mustafa, who joined a troop of elite soldiers and stayed in Bosnia to fight. When Mustafa's story begins to overshadow Ismet's new-world identity, the reader is charged with piecing together the fragments of a life that has become eerily unrecognizable, even to the one living it. Shards is a thrilling read--a harrowing war story, a stunningly inventive coming of age, and a heartbreaking saga of a splintered family.
The Stranger Next Door by
The Balkans have been so troubled by violence and misunderstanding that we have the verb "balkanize," meaning to break up into smaller, warring components. While some of the regions artists and thinkers have invariably fallen into nationalistic tendencies, the twenty-one prominent authors represented here, originally from the erstwhile Yugoslavia and its neighbors Albania and Bulgaria, have chosen to attempt to bridge these divides. The essays, biographical sketches, and stories in The Stranger Next Door form a project of understanding that picks up where politics fail. The English-language translation joins editions of the book that appeared in Germany and concurrently in all of the participating countries, and follows translations into Hungarian, Italian, and Turkish. Book jacket.
How the Soldier Repairs the Gramophone by
The hardcover publication ofHow the Soldier Repairs the Gramophone launched Stanisic as an exciting and important new voice in literary fiction and earned exuberant praise from readers and critics alike. Now in paperback, Stanisic's debut about a boy who experiences the Bosnian War and finds the secret to survival in language and stories is bound to dazzle a whole new readership. For Aleksandar Krsmanovic, Grandpa Slavko's stories endow life in Visegrad with a kaleidoscopic brilliance. Neighbors, friends, and family past and present take on a mythic quality; the River Drina courses through town like the pulse of life itself. So when his grandfather dies suddenly, Aleksandar promises to carry on the tradition. But then soldiers invade Visegrad—a town previously unconscious of racial and religious divides—and it's no longer important that Aleksandar is the best magician in the nonaligned states; suddenly it is important to have the right last name and to convince the soldiers that Asija, the Muslim girl who turns up in his apartment building, is his sister. Alive with the magic of childhood, the surreality of war and exile, and the power of language, every page of this glittering novel thrums with the joy of storytelling.
Post-Yugoslav Constellations by
Memory in the Balkans has often been described as binding, authoritative, and non-negotiable, functioning as a banner of war. This book challenges such a one-dimensional representation and offers a more nuanced analysis that accommodates frequently ignored instances of transnational solidarity, dialogue, communal mourning and working through a difficult past. Exploring a broad range of memorial practices, the book focuses on the ways in which cultural memory is mediated, performed and critically reworked by literature and the arts in the former Yugoslavia. Against the methodological nationalism of works that study Serbian, Croatian, or Bosniak culture as self-contained, this book examines post-Yugoslav literature, film, visual culture, and politicized art practices from a supranational angle. Not solely focusing on traumatic memories, but also exploring how post-Yugoslav cultural practices mobilize memory for a politics of hope, this volume moves beyond the trauma paradigm that still dominates memory studies. In its scope and approach, the book shows the relevance of the cultural memory of Eastern European citizens and the contribution they can offer to the building of Europe's shared cultural memory and transnational identity.
There are several subject terms that can be of great help to students.
Yugoslav War, 1991-1995 -- Fiction.
Slavic literature, Southern -- Translations into English.
Balkan Peninsula -- Fiction.
Bosnia and Herzegovina -- Fiction.
Yugoslavia -- Fiction.
Croatia -- Fiction.
Serbia -- Fiction.
Citations to research on Eastern Europe, Central Europe, and the former Soviet Union published in the US and Canada. [1990 - present]
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Jugoslavija, moja dežela by 
