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From one of Bosnia’s most prominent poets and writers: spare and haunting stories and poems that were written under the horrific circumstances of the war in Bosnia-Herzegovina. Semezdin Mehmedinovic remained a citizen of Sarajevo throughout the Serbian nationalists’ siege and was active throughout the war in the city’s resistance movement, as one of the editor’s of the magazine Phantom of Liberty. Sarajevo Blues was originally published at the end of 1992 and was the first book in the Biblioteka “egzil-abc” series, published in Ljubljana, which provided a forum for Bosnian writers and translators under siege or living in exile. Semezdin Mehmedinovic says that “writing is, finally, quite a personal thing that doesn’t make much sense unless you are practicing for the last word.” For those Bosnians emerging from the siege or still in exile, these “last words” remain intimate possessions, one of the last bastions left against the commodification of tragedy. "Sarajevo Blues is widely considered here to be the best piece of writing to emerge from this besieged capital since Bosnia's war erupted in April 1992."—Washington Post "A Supreme masterpiece witnessed and redeems with total detachment. I have experienced this only twice in my life: with Zoran Mušic's drawings from Dachau and Semezdin Mehmedinovic's Sarajevo Blues. This book will be a classic."—Tomaž Šalamun, The book for my brother "Sarajevo Blues is at once a battle report and a philosophical investigation. In poems, micro-essays, and prose vignettes, Semezdin Memedinovic charts the collapse of a world with heart-breaking clarity and precision. His book conveys the same clear-eyes passion for the truth that one finds in the young Hemingway, the Hemingway of in our time."—Paul Auster, Book of Illusions Semezdin Mehmedinovic was born in Tuzla, Bosnia in 1960 and is the author of four books. In 1993 he was cowriter and codirector, with Benjamin Filipovic, of Mizaldo, one of the first Bosnian films shot during the war. The film was presented at the Berlin Film Festival in 1994, and won the first prize at the Mediterranean Festival in Rome the following year. He, his wife, and their child left Bosnia and came to the U.S. as political refugees in 1996. His collection of poetry Nine Alexandrias is Number 56 in the City Lights Pocket Poets Series.
From one of Bosnia's most prominent poets and writers: spare and haunting stories and poems that were written under the horrific circumstances of the recent war in Bosnia-Hercegovina. Semezdin Mehmedinovic remained a citizen of Sarajevo throughout...
Essays, stories and a play set in Yugoslavia. The title piece, written by Dubravka Ugresic, is a satire on murderous folklore, while Bogdan Bogdanovic's The City of Death is on Belgrade.
One of the 25 Books That Inspired the World (1989–2014), World Literature Today A remarkable and bracing collection of “classic anti-war writing” from a Croatian writer whose piercing prose recalls Kurt Vonnegut and Aleksander Hemon (Richard Flanagan, Booker Prize–winning author) Miljenko Jergović’s remarkable debut collection of stories, Sarajevo Marlboro, earned him wide acclaim throughout Europe. In “melancholy, dreamlike” prose, the stories in Sarajevo Marlboro “recall Alan Lightman's Einstein's Dreams and Italo Calvino's Invisible Cities, but Jergovic’s book is the strongest of the three” (Maud Newton). Croatian by birth, Jergović spent his childhood in Sarajevo and chose to remain there throughout most of the war. These stories are distinctly of the material world, and they are shaped by Jergović’s deeply personal vision, subterranean humor, and a razor-sharp understanding of the fate of the city’s young Muslims, Croats, and Serbs—the minute details of their interior lives in the foreground, the killing zone in the background.
In Writing the Yugoslav Wars, Dragana Obradovi? analyses how the Yugoslav wars of secession helped shape the region's literary culture. Obradovi? argues that the crisis of the country's disintegration posed an ethical challenge to self-identified postmodernists. This book takes a transnational approach to literatures of the former Yugoslavia that have been, since the 1990s, studied separately, in line with geopolitical divisions. This post-socialist conflict was one of the moments that reshaped postmodernism for both local and international thinkers, much in the same way modernism was shaped by World War I and the advent of mechanized warfare.
NATIONAL BOOK AWARD NOMINEE Long regarded as the most magical of the European dynasties, the Rothschild family today remains one of the most powerful and wealthy in the world. No family in the past two centuries has been so constantly at the center of Europe's great events, has featured such varied and spectacular personalities, has had anything close to the wealth of the Rothschilds. In Frederic Morton's classic tale, the family is brought vividly to life. Here you'll meet characters as lively as you can imagine: Mayer, long-time advisor to Germany's princes, who broke through the barriers of a Frankfurt ghetto and placed his family on the road to wealth and power; Lord Alfred, who maintained a private train, private orchestra (which he conducted), and private circus (of which he was ringmaster); Baron Philippe, whose rarefied vintages bear labels created by great artists, among them Picasso, Dali, and Haring; and Kathleen Nica Rothschild de Koenigswarter, the "jazz baroness," in whose arms Charlie Parker died. The family itself has been at the center of some of the most crucial moments in history: the defeat of Napoleon at Waterloo, the development of the Suez Canal, the introduction of Jews in the House of Lords. Through it all, the Rothschild name has continued to represent the family ideal: a shrewd business and financial sense, activity in the Jewish community and the arts, and an always luxurious-and often eccentric-lifestyle. Nominated for a National Book Award when it was first published in 1962, Frederic Morton's The Rothschllds is here reissued with a new afterword by the author, bringing the tale of this extraordinary family to the present.
Who reads poetry—and why? This rewarding volume provides answers from Roxane Gay, Roger Ebert, Lili Taylor, Alfred Molina, Aleksandar Hemon, and forty-five more. Who reads poetry? We know that poets do, but what about the rest of us? When and why do we turn to verse? Seeking the answer, Poetry magazine since 2005 has published a column called “The View From Here,” which has invited readers from outside the world of poetry to describe what has drawn them to poetry. Over the years, contributors have included philosophers, journalists, musicians, and artists, as well as doctors and soldiers, an ironworker, an anthropologist, and an economist. This collection brings together fifty compelling pieces, in turns surprising, provocative, touching, and funny. Anthropologist Helen Fisher turns to poetry while researching the effects of love on the brain: “As other anthropologists have studied fossils, arrowheads, or pot shards to understand human thought, I studied poetry . . . . I wasn’t disappointed: everywhere poets have described the emotional fallout produced by the brain’s eruptions.” The rapper Rhymefest attests to the self-actualizing power of poems: “Words can create worlds, and I’ve discovered that poetry can not only be read but also lived out. My life is a poem.” Musician Neko Case calls poetry “a delicate, pretty lady with a candy exoskeleton on the outside of her crepe-paper dress.” And music critic Alex Ross tells us that he keeps a paperback of The Palm at the End of the Mind by Wallace Stevens on his desk next to other, more utilitarian books like a German dictionary, a King James Bible, and a Mac troubleshooting manual. Contributors also include Ai Weiwei, Christopher Hitchens, Kay Redfield Jamison, Lynda Barry, and more. “The diversity of the authors results in an exceptionally broad range of topics and perspectives . . . Many of the contributors also tell intimate stories about poetry’s place in their personal lives. Sasaki and Share have chosen these pieces well.” —Publishers Weekly “Funny, moving and inspiring.” —The Australian
Musical terms come to life, and kids get to join in! A rhythmic poem is paired with exuberant illustrations of a conductor and his animal orchestra to convey the meanings of seven musical terms. The text contains a succinct physical definition for each term. For example, to define glissando the text reads, “Gently gliding, slipping, sliding.” And in the illustrations, the animals use movement to interpret this description, flowing across the spread as if rolling on a wave. Readers will find it easy to learn the terms — and will have great fun playing along! Staccato. Adagio. Allegro. Fortissimo. What child can resist pronouncing these words — or performing them!
Immigrant Blues explores the personal and the public devastations of war, especially its effects on exiled survivors. Simic's genius is to present this disturbing reality in terms so vigorous and humane that pain is mixed with the solace and pleasure of great art.