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This book presents the two main Old-Bulgarian dualistic apocrypha dealing with the creation of this world, that is part of The Secret Book of Bogomils, and also a legend about the Antichrist and the end of the world.
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This is the first translation into Romany of Jordan Yovkov's "Stara Planina Legends".
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The Smell of Wet Bricks is a pioneering short novel in English by a Kurdish author. ”The smell of wet bricks” is a fresh voice from a region marked by violence and wars over a century. An author from Kurdistan in Iran, Parvizpur “craves to become the voice of a rich repository of powerful stories.” Excerpt: “His life was not empty of excitement; never did he have a monotonous life, and, even now that his body is lying in a corner there under a tree, never will he be immune from menace. Wanderer, nomad, homeless, or whatever you may call him will not make a change in his path, since he is an emperor. Nothing else matters to him except for his mission. He is in thorough possession of freedom and, equally, emancipated from any kind of blameworthiness.” … “The girl closes the notebook. She thinks about the day that she can go to Resho’s room to be exposed to his inspirations. She would smell the bricks of his room’s wall from which Resho detached its plasters to pour water on them. He loved the smell of wet bricks.”
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UVODNA REČ, Piše: Petar Dančev i Dalibor Plečić; Zornica Garkova: Nikad ti ne kažu; Petar Denčev: Ana i usamljenost; Ivan Dimitrov: Snaga reči; Svetoslav Todorov: Putopis / Slomljeno ime /Svako to jutro; Petar Denčev: Biću mladež iznad tvoje gornje usne
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Criticism After Literature constitutes the next stage of the critical project undertaken by Krzysztof Uniłowski over the decades. Criticism is understood here not only as a certain way of thinking, but also as a culturally creative practice. As such, it takes various discourses, including non-literary ones, and even itself, as its object of interest. In some chapters, the monograph undertakes theoretical considerations, while others are devoted to the interpretation of literary works.The monograph discusses the role of criticism at the beginning of the 21st century, where it finds itself in a new reality for literary communication (in the chapter “Criticism After Literature”). However, the considerations also tend towards metacritical reflection (“Hospitality of Criticism”), theoretical and literary reflection (“Textualism, Materialism, Immersion, Interpretation”) or post-secular reflection (“Don’t Touch Me…” and “The Defenders of Literature and Their (Cryptotheological) Fantasies”). Moreover, the author considers critical practices and their conditions (“The Avant-garde in the Television Era”).Part of the monograph is devoted to the interpretation of literary works. In the chapter “Hope from the Stars,” the author looks at the gnostic conditions of dystopia; in “History as Parody,” he touches upon the story of the Witcher by Andrzej Sapkowski; and in the chapter “Zły Zagłoba,” he delves into the relationship between Sienkiewicz’s character and Anna Brzezińska’s Mr. Krzeszcz.
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At the court of Komnenoi, in the twelfth century only four novels (romances) were written. One of these was Rhodanthe and Dosikles by Theodor Prodromos, the first novel since eighth hundred years. The author was the most famous poet of his time and he wrote numerous secular and religious works. Prodromos’ Rhodanthe and Dosikles consists of nine books in which the author describes, in the realities of ancient Greece, the adventures of two young beloveds. Rhodanthe and Dosikles were captured by pirates, imprisoned and separated, but in the end they meet again. Behind the trivial tale there is a work full of rhetoric art and full of allusion to the twelfth century Byzantium.
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The short story collection The Lines Which You Call Rivers contains both short stories and novellas that testify about Amir Alagić's true talent manifesting itself through authentic narratives, strong images, and daring, rich figurative expressions we have already had the chance to experience in his novels The Sacravenges and Hundred Years' Childhood. Alagić is a master narrator, his reality is tangible, odorous and visible, the events multi-layered and refined with symbolism. The twelve stories, that depict different periods and places, the old age and wasted youth, the devil, curse and madness, show us that Amir Alagić is an important name in our literature, and we should read his works. Amir Alagić was born in 1977, in Banja Luka. So far he has published the novels The Sacravenges (2016), Hundred Years' Childhood (2017), and Tunnels (2019), and the short story collections Under the Same Sky (2010), and The Lines Which You Call Rivers. He published short stories and poems in various literary magazines and anthologies. He wrote a screenply for the short feature film Toying, or a Broken Water Heater (2012). He lives in Pula.
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In his debut novel The Sacravenges, Amir Alagić already showed his deep understanding of human soul. There he also elevated the art of description to the highest level, reaching the innermost depths through the exterior surface. In his second novel, Hundred Years' Childhood he ventured farther in developing his art. This time the stage of human drama is the Croatian city of Pula. The time spans across the whole century encompassing not only the contemporary period, but also the First and Second World Wars. The city becomes a real theatrum mundi, an intersection of destinies of different nationalities, where each life becomes a story in itself, and whose familiar localities testify about the transience of life. Amir Alagić was born in 1977, in Banja Luka. So far he has published the novels The Sacravenges (2016), Hundred Years' Childhood (2017), and Tunnels (2019), and the short story collections Under the Same Sky (2010), and The Lines Which You Call Rivers. He published short stories and poems in various literary magazines and anthologies. He wrote a screenply for the short feature film Toying, or a Broken Water Heater (2012). He lives in Pula.
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nsan-dan Başka Öyküler, insan türünün imkânsızlıklarını veya sınırsız imkânlarını, oluşlarını izlemeye, okumaya, düşünmeye bir davet. Bu yolculuğu okuruyla birlikte alan öyküler, yeni bir edebiyat akımının başlangıcını müjdeliyor. Ana menüsünde “insan” ve “ötekileri” yer alan İnsan-dan Başka Öyküler, kat edilecek üç aşamadan oluşuyor: Domestik Evre, Ters Yüz Evre, Rizomatik Evre. “İnsan-dan başka varlıkları nasıl anlatabiliriz? Bu mümkün müdür? Onların da hikayeleri var mıdır? Varsa erişebilir miyiz? Erişirsek bize insan-dan başkalar neler söyle(yebili)rler? Söyleseler de onları anlar mıyız? Anlamak ister miyiz? ”Bu soruların ve bunlara benzer nicelerinin oluşturduğu deryaların kıyılarında gezinen İnsan-dan Başka Öyküler, tam da şimdi ve burada dünyalıların krizlerine kısa soluklarla dalış yapıyor. Melike Kuyumcu, bu dalışlarda, bizleri kah kuşların bireysel öykülerine, kah bir tik ağacının ve bastonun yoldaşlığına, kah bir TABUre sarmalına götürüyor. ”İnsan-dan Başka Öyküler, ister klasik kağıda basılı halinden ister elektronik baskısından okuyun, okurlarını farklı bir deneyime de çağırıyor. Bazı öykülerin içinde bulacağınız siyah-beyaz çizimler, bu öykülerin etkisiyle sizlerin üretebileceği resimlerin, fotoğrafların, illüstrasyonların, sosyal medya paylaşımlarının, daha büyük çaplı eserlerin birer parçası olabilirler. İnsan-dan Başka Öyküler’in medyalar arası geçişlilik sunan bu tasarımı, okurun düşünme duraklarında yazar Melike Kuyumcu ile Twitter/Instagram’dan doğrudan iletişim kurmasını da kucaklıyor. Hepimize afiyet olsun. – Şafak Horzum
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“Pilgrimage to a Noble Dream” is a collection of about thirty travelogues from various parts of Europe, created as a result of six years of wandering, hiking, hitchhiking, student exchanges and excursions, or simply travel that was a purpose in itself. There are no great adventures and unexplored landscapes in this book, because the children of post-Dayton Bosnia and Herzegovina could not survive much less than that. Most of the places described in the book are cities, from Granada and Bari, through Berlin, Paris and Amsterdam to Copenhagen, and these cities have been described and presented countless times in popular culture, but because of that they are even more challenging because they provide an opportunity to follow in other people's footsteps and search for ourselves in them. This collection was created as a result of endless hunger for travel, a sense of excitement once we find ourselves on the road, and sometimes disappointment when we realize that this trip was just a pilgrimage to our noble dream.
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In the book “Monument”, Berislav Blagojević writes twenty-one short stories in which he expresses a wide range of interests in various aspects of reality, which are considered and shaped into a literary text. Thus, starting from the existence of Don Quixote (and all serious writers, in a way, necessarily refer to Cervantes' novel), the writer creates and introduces us to an imaginary space in which the present constantly confronts the past, where in an undisguised critical tone, and with an ironic manner, points to the anomalies of human existence at the beginning of the third millennium; then there is the postmodernist play with the book, the library, reading and the very act of creation; further, removing layers of historical dust from documents and turning them into fiction; emotional evocation of the past, etc.
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The book consists of three cycles, “Express pot”, “Nervus vagus” and “Letters”. Every story, especially those in the cycle “Express pot”, suggest unresolved emotional tensions / relationships / situations that culminate in the kitchen and with food. Blagojević places these primordial, traditional spaces of women's business in and around the kitchen on a new level and transforms them into spaces of culmination or resolution of the inner dramas of her heroines. The stories told in this way reveal a new dimension of sauerkraut, polenta or meat hammers because they cease to be food or tools in the kitchen and become a symbol of rebellion, disapproval, social disintegration, social status. Overall, “Nervus Vagus and Other Stories” is a collection of likable and readable stories that will easily win over readers with a strong emotional charge, interesting influences in everyday life and a constant walk between the tragic and the comic and make them look at seemingly ordinary things from a different perspective.
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This book deserves attention and positive criticism, primarily because it is a strongly engaged anti-war reminder of the refugee suffering, the forgotten column of the poor, the trouble from which God seems to have given up. Without any embellishment and idealization, often characteristic of children's literature, even naturalistic refinement you would say, Dakić records and literary shapes his memories. The book “Fiver” is characterized by narrative polyphony and skillfully organized auto-referential text. In it, different destinies, stories and confessions touch and intertwine. They literally flow from several branches, as towards the Danube, and merge towards Željko Nišević and his life story, his discreet heroism. They flow like individual refugee destinies that merged into an indelible column of the main road of recent history.
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“Before death – darkness” in 24 short stories illuminates a whole spectrum of human nature and inclinations: it includes silent righteous, noble, invertebrates, thugs, indifferent villains, comrades, people on the last frontier of common sense. In this collection, every reluctant tick, twitch of eyelid or body speaks more about interpersonal relationships than exalted dialogue or surprising twists. And no matter how much they lack great works of Promethean proportions, Zaim, Hasan, Asim, Meho the Butcher, Dr. Crnac still get a space where all the human spirit with a lot of humor comes to life in everyday, almost trivial earthquakes, in which they themselves are so realistically portrayed that someone may say with certainty that their existence and action are not so much imaginary as witnessed. And the ease of language and expression with which it is witnessed - in addition to keeping the reader's attention on the most important, difficult to perceive details - is the greatest value of such stories. Yet the latent melancholy behind that humor cannot and must not be overlooked, a kind of disappointment that hovers over every optimistic, promising start. That is why there is darkness before everyone's grave, whether in the background or not, with which no one manages to maneuver constantly or to hide from. The sensitivity of this collection is in the darkness that is briefly - in certain moments of absurdity and laughter - forgotten.
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Zoran Plavšić writes about conductors, caterers, peasants, soldiers, old teachers, Roma, neighbor's children and he treats all of them with equal respect, understanding and empathy. In short, he loves all their flaws and is able to present them to the reader so that he loves them too. Plavšić's stories in a beautiful way continue the tradition of Serbian realistic short stories, they feel the influence of Glišić, Kočić, Ćopić, and even Stanković, but this is not about imitation, but about mutual respect for the “little man” and his destiny. And there is something else in his stories worth mentioning, and that is the belief that it is the usual, everyday and seemingly irrelevant in our everyday life and our immediate environment at the same time and what makes most of our days, what, when the line is drawn, is our life, and that it is precisely what seems irrelevant to us that connects us with people from all meridians. The struggle to make ends meet, aging, transience, unfulfilled expectations, all our personal struggles are at the same time the struggles of millions of other people, and the story of one of us is actually the story of all of us.
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When the heroine of this novel, who also played the role of narrator, is run into the room by her mother and interrupted by watching her favorite crime series, the readers begin to discover the almost insane and chaotic world of the story, made up of events like the funeral of Aunt Stana, drowned with a piece of chicken, and thus shattered plans to sell the family home and land, a world filled with unusual visits to police stations and clinics, heroes who unsuccessfully attempt suicide, those who erect monuments to themselves years ago or experience a personal renaissance after deciding to enter the world of smuggling . With each new page, Slađana Nina Perković more and more picturesquely builds a novelistic world that is built on the display of everyday life, only that everyday life, with extremely sharp language and with a negligible dose of dark humor, is moved almost to the limits of absurdity and grotesque. One funeral and sale of a family home and land, these events that we almost automatically perceive as tragic or shocking, in this novel are transformed into the ridiculous that serves us not to ignore tragedy and reality, but to more easily understand the whole picture of the world we are the part itself.
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The novel “Sparrows in the Storm” is set in eastern Serbia in the 1920s and follows the story of Bogdan Prvulović, a returnee from the Great War, who in post-war Serbia tries to make ends meet and feed his family by doing various jobs and cultivating the land. But, as in every post-war period, this time the situation is controlled by those who took positions during the war and acquired property, through smuggling, bribery and similar activities. Faced with a situation from which he sees no way out and an offer from a former war comrade that he cannot refuse, Bogdan will make a choice that will change his life fundamentally. “Sparrows in the Storm” brings a story as old as the world itself, it is a story about wrong choices, remorse, the inability to return to the old and finally revenge, and one that does not bring calm, but must be carried out.
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Adaptations seem to be ubiquitous in contemporary culture. The present monograph touches upon the subject of widely understood adaptations in relation to Joseph Conrad’s life and work. Most definitions of adaptation operate on the assumption that it is a literary work which constitutes the seed of an adaptation. The author argues, however, that biographies of writers have also become fully-fledged cultural texts and, similarly to literary texts, may be subject to adaptation. The biography of Joseph Conrad-Korzeniowski constitutes rich adaptation material, in which sensational plots overlap with adventures, and dramatic events (including love stories) interweave with comedic ones. It comes as no surprise, then, that many artists have drawn on this arsenal of motifs, have tapped into this arsenal of motifs, choosing their favorite episodes and fleshing them out or dramatizing them to transform them in their works. The monograph constitutes an analysis of the transformation of Conrad’s figure (and his works) by contemporary artists within five categories: graphic novels (Heart of Darkness. A Graphic Novel by C. Anyango and D.Z. Mairowitz, Congo by T. Tirabosco and Ch. Perrissin, Joseph Conrad’s Heart of Darkness by P. Kuper and Au coeur des ténèbres by S. Miquel and L. Godart), comic books (The Amazing Tales by J. Conrad, Ł. Godlewski and M. Jasiński), literary appropriations (Heart of Darkness by J. Dukaj, Dżozef by J. Małecki, Condition by E. Rylski), theater plays (Conrad by I. Villqist, Wyspiański/Conrad by T. Man), film scripts and radio plays (Victory by H. Pinter). Finally, the volume discusses the presence of the figure of Conrad in the context of contemporary branding, as well as the factors conducive to building a strong “Conrad” brand in contemporary Polish culture. The conducted analyses demonstrate, in turn, that not only the writer’s works, but also his biography understood as a cultural text remains present in contemporary culture, constituting an attractive and abundant source of adaptation.
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Lalka Pavlova's book contains two monographs: „The Asen People and Bulgarian Statehood in Fanny Popova-Mutafova's Tetralogy“ and „The Epic Monument of Liberty in the Novel "The War Ended on Thursday“ by Neda Antonova".
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Krystiana Robb-Narbutt is one of the most inspiring and at the same time least known Polish-Jewish artists and poets of the 20th and 21st centuries. She created prints, installations and objects, as well as miniature prose and poems. She exhibited them at Kordegarda and Zachęta, among other venues. In March 1968, she was sentenced to prison for participating in protests and distributing leaflets. The subjects of her work were biography and imagination. The book contains all of Robb-Narbutt’s poems and prose deciphered from manuscripts, as well as their critical consideration. They are supplemented by the voices of literary and art critics as well as friends of the artist.
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